It was also performed in Prague in In the following years, Vivaldi wrote several operas that were performed all over Italy. His progressive operatic style caused him some trouble with more conservative musicians, like Benedetto Marcello, a magistrate and amateur musician who wrote apamphlet denouncing him and his operas. The pamphlet, Il teatro alla moda , attacks Vivaldi without mentioning him directly.
Only around 50 operas by Vivaldi have been discovered, and no other documentation of the remaining operas exists. Although Vivaldi may have exaggerated, in his dual role of composer and impresario it is plausible that he may either have written or been responsible for the production of as many as 94 operas during a career which by then had spanned almost 25 years. While Vivaldi certainly composed many operas in his time, he never reached the prominence of other great composers like Alessandro Scarlatti, Johann Adolph Hasse, Leonardo Leo, andBaldassare Galuppi, as evidenced by his inability to keep a production running for any extended period of time in any major opera house.
His most successful operas were La costanza trionfante and Farnace which garnered six revivals each. In or , Vivaldi was offered a new prestigious position as Maestro di Cappella of the court of prince Philip of Hesse-Darmstadt, governor of Mantua. He moved there for three years and produced several operas, among which was Tito Manlio RV In , Vivaldi returned to Venice, where he produced four operas in the same year. During this period Vivaldi wrote the Four Seasons , four violin concertos depicting scenes appropriate for each season.
The inspiration for the concertos was probably the countryside around Mantua. Each concerto is associated with a sonnet, possibly by Vivaldi, describing the scenes depicted in the music. At the height of his career, Vivaldi received commissions from European nobility and royalty.
In , Vivaldi met the emperor while the emperor was visiting Trieste to oversee the construction of a new port. Charles admired the music of the Red Priest so much that he is said to have spoken more with the composer during their one meeting than he spoke to his ministers in over two years. He gave Vivaldi the title ofknight, a gold medal and an invitation to Vienna. Vivaldi gave Charles a manuscript copy of La Cetra , a set of concerti almost completely different from the set of the same title published as Opus 9.
The printing was probably delayed, forcing Vivaldi to gather an improvised collection for the emperor. Accompanied by his father, Vivaldi traveled to Vienna and Prague in , where his opera Farnace RV was presented. His compositions were no longer held in such high esteem as they once were in Venice; changing musical tastes quickly made them outmoded.
In response, Vivaldi chose to sell off sizeable numbers of his manuscripts at paltry prices to finance his migration to Vienna. Shortly after his arrival in Vienna, Charles VI died, which left the composer without any royal protection or a steady source of income. On 28 July he was buried in a simple grave in a burial ground that was owned by the public hospital fund. He was buried next to Karlskirche, in an area which is now part of the site of the Technical Institute.
The house where he lived in Vienna has since been destroyed; the Hotel Sacher is built on part of the site. Only three portraits of Vivaldi are known to survive: an engraving, an ink sketch and an oil painting.
The engraving, by Francois Morellon La Cave, was made in and shows Vivaldi holding a sheet of music. He brightened the formal and rhythmic structure of the concerto, in which he looked for harmonic contrasts and innovative melodies and themes; many of his compositions are flamboyantly, almost playfully, exuberant.
Many Vivaldi manuscripts were rediscovered, which were acquired by the Turin National University Library as a result of the generous sponsorship of Turinese businessmen Roberto Foa and Filippo Giordano, in memory of their sons. Some missing volumes in the numbered set were discovered in the collections of the descendants of the Grand Duke Durazzo, who had acquired the monastery complex in the 18th century. The volumes contained concertos, 19 operas and over vocal-instrumental works.
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On the score of the latter are the words: "music by Vivaldi, made in 5 days. In Antonio Vivaldi returned to Venice where he again staged new operas written by himself in the Teatro Sant' Angelo. In Mantua he had made the acquaintance of the singer Anna Giraud or Giro , and she had moved in to live with him. Vivaldi maintained that she was no more than a housekeeper and good friend, just like Anna's sister, Paolina, who also shared his house.
In his Memoires, the Italian playwright Carlo Goldoni gave the following portrait of Vivaldi and Giraud: "This priest, an excellent violinist but a mediocre composer, has trained Miss Giraud to be a singer. She was young, born in Venice, but the daughter of a French wigmaker.
She was not beautiful, though she was elegant, small in stature, with beautiful eyes and a fascinating mouth. She had a small voice, but many languages in which to harangue. Antonio Vivaldi also wrote works on commission from foreign rulers, such as the French king, Louis XV - the serenade La Sena festeggiante Festival on the Seine , for example.
This work cannot be dated precisely, but it was certainly written after In Rome Vivaldi found a patron in the person of Cardinal Pietro Ottoboni, a great music lover, who earlier had been the patron of Arcangelo Corelli.
And if we can believe Vivaldi himself, the Pope asked him to come and play the violin for him at a private audience. Earlier, in the 's, musical life in Rome had been enormously stimulated by the presence of Christina of Sweden in the city. The "Pallas of the North," as she was called, abdicated from the Swedish throne in A few years later she moved to Rome and took up residence in the Palazzo Riario.
There she organized musical events that were attended by composers such as A. Corelli and Scarlatti. Other composers, too, such as Geminiani and Georg Frideric Handel worked in Rome for periods of time. Like them, Vivaldi profited from the favorable cultural climate in the city. His presence was never required.
He also remained director of the Teatro Sant' Angelo, as he did in the , 7 and 8 seasons. Between and some eight operas were premiered in Venice and Florence. Abbot Conti wrote of his contemporary, Vivaldi: "In less than three months Vivaldi has composed three operas, two for Venice and a third for Florence; the last has given something of a boost to the name of the theater of that city and he has earned a great deal of money. In the publication Il Cimento dell' Armenia e dell'invenzione The trial of harmony and invention , Op.
Vivaldi transformed the tradition of descriptive music into a typically Italian musical style with its unmistakable timbre in which the strings play a major role. These concertos were enormously successful, particularly in France. In the second half of the 18 th century there even appeared some remarkable adaptations of the Spring concerto: Michel Corrette based his motet Laudate Dominum de coelis of on this concerto and, in , Jean-Jacques Rousseau reworked it into a version for solo flute.
In this music-loving city half a century later Mozart would celebrate his first operatic triumphs there Vivaldi met a Venetian opera company which between and staged some sixty operas in the theater of Count Franz Anton von Sporck for whom incidentally, J.
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