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Papers by Francesca Fantappiè
The thesis reconstructs the Bergamo's theatrical city history between the XVIIth and the XVII... more The thesis reconstructs the Bergamo's theatrical city history between the XVIIth and the XVIIIth centuries, through the finding of the places used for secular theatre's performances, like opera/melodramma and comedian professional troupes. The relations between the civic institutions and the public on one side, with the spreading of commercial theatre on the other side, are defined by a political and social point of view. In order to that are researched the productive patterns arrived in the city and the presence of artists and opera producers working in the Terraferma veneta. Bergamo's peculiarity is the absence of an architectonical recognition to the phenomenon: with the exception of Secco Suardo's theatre (1686-1695), the first permanent theatre goes back to 1791. A delay due to cultural, political and geographical reasons. The Bergamo's theatres system consisted in temporary buildings raised every year for the two main theatrical seasons (Carnevale and the summer fair). The thesis ends with a documentary summery and a chronology of the main spectacular events performed in the city in the age of antico regime.
Medioevo E Rinascimento Annuario Del Dipartimento Di Studi Sul Medioevo E Il Rinascimento Dell Universita Di Firenze, 2001
Annali di Storia di Firenze. III, 2008, 2008
Accademie teatrali fiorentine nel quartiere di Santa Croce tra Sei e Settecento: tra attori dilet... more Accademie teatrali fiorentine nel quartiere di Santa Croce tra Sei e Settecento: tra attori dilettanti, gioco d'azzardo e primi tentativi impresariali
Archivio Storico Italiano, 2008
Una primizia rinucciniana. La Dafne prima della "miglior forma"., 2017
The article publishes the first "libretto" ever written. That is an unknown manuscript version of... more The article publishes the first "libretto" ever written. That is an unknown manuscript version of "Dafne" by Ottavio Rinuccini, the poet who then wrote "Euridice" (1600) the "opera in musica" staged at the wedding of Maria de' Medici and king Henry IV of France. The article, by analyzing the metric forms, reconsidering the theatrical genre, comparing the inedit text and what remains of its music, and shed new light on the cultural and social context which led to the birth of opera.
Dalla tradizione civica dei "sonatori d'arpe" all'"harpa irlandese doppia": nuovi documenti per uno studio della pratica e diffusione di questo strumento a Firenze tra Cinque e Seicento, in "Studi Secenteschi", vol. LVIII (2017), pp. 145-164, 2017
Uno studio sui suonatori d'arpa fiorentini tra Cinque e Seicento, attraverso lettere e documenti,... more Uno studio sui suonatori d'arpa fiorentini tra Cinque e Seicento, attraverso lettere e documenti, dalla cosiddetta "arpa gotica" all'arpa doppia.
Dizionario Biografico degli Italiani, Treccani, 2016
Una biografia aggiornata di Ottavio Rinuccini in cui si correggono numerosi errori (tra cui la da... more Una biografia aggiornata di Ottavio Rinuccini in cui si correggono numerosi errori (tra cui la data di nascita!) e si rivedono alcuni luoghi comuni relativi alla nascita dell'opera. Buona lettura!
An up-to-date biography of Ottavio Rinuccini, which corrects various mistakes (including his date of birth!) and offers a revision of some sterotypes about the birth of opera. Enjoy the reading!
La pubblicazione online: <http://www.treccani.it/enciclopedia/ottavio-rinuccini_%28Dizionario-Biografico%29/>
Il saggio prende in esame le pubbliche cerimonie tenute nella chiesa di San Lorenzo tra la second... more Il saggio prende in esame le pubbliche cerimonie tenute nella chiesa di San Lorenzo tra la seconda metà del Cinquecento e la fine dell’Ottocento. In particolare si sofferma sulla semi-sconosciuta cerimonia della consegna delle doti, cui era legata una processione che interessava l’intera città e vedeva sfilare insieme ai sovrani, le fanciulle povere dello Stato fiorentino. Un’opera di beneficienza, ma anche un grande operazione di propaganda, ideata da Cristina di Lorena, poi proseguita da Ferdinando I e poi Cosimo II. Nel ricostruire i percorsi urbani, si indaga sulla relazione della chiesa di San Lorenzo con la chiesa di Santissima Annunziata e il Duomo, anch’esse interessate dalle processioni e perciò immortalate in due famose lunette, da sempre conosciute, ma finora mai associate alla cerimonia in questione. Nella seconda parte si chiariscono le motivazioni, ideali e politiche, che portarono i Lorena a mantenere solo alcune delle cerimonie inaugurate dai Medici.
The theatrical system in Bergamo from the late XVIth century to the beginning of the XIX century:... more The theatrical system in Bergamo from the late XVIth century to the beginning of the XIX century: theatres, performers, public, architecture, society, culture.
SECOND VOLUME (DOCUMENTS) of «Per teatri non è Bergamo sito». La società bergamasca e l’organizza... more SECOND VOLUME (DOCUMENTS) of «Per teatri non è Bergamo sito». La società bergamasca e l’organizzazione dei teatri pubblici tra ‘600 e ‘700, Fondazione per la Storia Economica e Sociale di Bergamo, Castelli Bolis Poligrafiche, Bergamo, 2010.
Career strategies of a castrato singer in the late XVII century: from the court patronage to the ... more Career strategies of a castrato singer in the late XVII century: from the court patronage to the "open market" of the impresarial theatre.
New perspectives of study on the cardinal Francesco Maria Medici brother of the granduke Cosimo t... more New perspectives of study on the cardinal Francesco Maria Medici brother of the granduke Cosimo the III, regarding to his patronage on musicians, singers, actors, theatrical accademies, artists and writers.
Commedia dell'arte actresseses, their career strategies and their relationship with the public.
Theatres in the S. Croce neighbourhood (XVII century). Economic sistem, public, performers.
An academic Florentine theatre in late XVIIth century: public and performers
The polyvalent use of the Pitti palace "theatrical spaces" from the "sala delle commedie" of Euri... more The polyvalent use of the Pitti palace "theatrical spaces" from the "sala delle commedie" of Euridice (1600) to the last performances (ballets, operas, musical entertaiments) in the 1640s.
Books by Francesca Fantappiè
Staging 'Euridice'. Theatre, Sets, and Music in Late Renaissance Florence, 2021
Euridice was one of several music-theatrical works commissioned to celebrate the wedding of Maria... more Euridice was one of several music-theatrical works commissioned to celebrate the wedding of Maria de' Medici and King Henri IV of France in Florence in October 1600. As the first 'opera' to survive complete, it has been viewed as a landmark work, but its libretto by Ottavio Rinuccini and music by Jacopo Peri and Giulio Caccini have tended to be studied in the abstract rather than as something to be performed in a specific time and place. Staging “Euridice” explores how newly-discovered documents can be used to precisely reconstruct every aspect of its original stage and sets in the room for which it was intended in the Palazzo Pitti. By also taking into account what the singers and instrumentalists did, what the audience saw and heard, and how things changed from creation through rehearsals
to performance, this book brings new aspects of Euridice to light in startling ways.
The thesis reconstructs the Bergamo's theatrical city history between the XVIIth and the XVII... more The thesis reconstructs the Bergamo's theatrical city history between the XVIIth and the XVIIIth centuries, through the finding of the places used for secular theatre's performances, like opera/melodramma and comedian professional troupes. The relations between the civic institutions and the public on one side, with the spreading of commercial theatre on the other side, are defined by a political and social point of view. In order to that are researched the productive patterns arrived in the city and the presence of artists and opera producers working in the Terraferma veneta. Bergamo's peculiarity is the absence of an architectonical recognition to the phenomenon: with the exception of Secco Suardo's theatre (1686-1695), the first permanent theatre goes back to 1791. A delay due to cultural, political and geographical reasons. The Bergamo's theatres system consisted in temporary buildings raised every year for the two main theatrical seasons (Carnevale and the summer fair). The thesis ends with a documentary summery and a chronology of the main spectacular events performed in the city in the age of antico regime.
Medioevo E Rinascimento Annuario Del Dipartimento Di Studi Sul Medioevo E Il Rinascimento Dell Universita Di Firenze, 2001
Annali di Storia di Firenze. III, 2008, 2008
Accademie teatrali fiorentine nel quartiere di Santa Croce tra Sei e Settecento: tra attori dilet... more Accademie teatrali fiorentine nel quartiere di Santa Croce tra Sei e Settecento: tra attori dilettanti, gioco d'azzardo e primi tentativi impresariali
Archivio Storico Italiano, 2008
Una primizia rinucciniana. La Dafne prima della "miglior forma"., 2017
The article publishes the first "libretto" ever written. That is an unknown manuscript version of... more The article publishes the first "libretto" ever written. That is an unknown manuscript version of "Dafne" by Ottavio Rinuccini, the poet who then wrote "Euridice" (1600) the "opera in musica" staged at the wedding of Maria de' Medici and king Henry IV of France. The article, by analyzing the metric forms, reconsidering the theatrical genre, comparing the inedit text and what remains of its music, and shed new light on the cultural and social context which led to the birth of opera.
Dalla tradizione civica dei "sonatori d'arpe" all'"harpa irlandese doppia": nuovi documenti per uno studio della pratica e diffusione di questo strumento a Firenze tra Cinque e Seicento, in "Studi Secenteschi", vol. LVIII (2017), pp. 145-164, 2017
Uno studio sui suonatori d'arpa fiorentini tra Cinque e Seicento, attraverso lettere e documenti,... more Uno studio sui suonatori d'arpa fiorentini tra Cinque e Seicento, attraverso lettere e documenti, dalla cosiddetta "arpa gotica" all'arpa doppia.
Dizionario Biografico degli Italiani, Treccani, 2016
Una biografia aggiornata di Ottavio Rinuccini in cui si correggono numerosi errori (tra cui la da... more Una biografia aggiornata di Ottavio Rinuccini in cui si correggono numerosi errori (tra cui la data di nascita!) e si rivedono alcuni luoghi comuni relativi alla nascita dell'opera. Buona lettura!
An up-to-date biography of Ottavio Rinuccini, which corrects various mistakes (including his date of birth!) and offers a revision of some sterotypes about the birth of opera. Enjoy the reading!
La pubblicazione online: <http://www.treccani.it/enciclopedia/ottavio-rinuccini_%28Dizionario-Biografico%29/>
Il saggio prende in esame le pubbliche cerimonie tenute nella chiesa di San Lorenzo tra la second... more Il saggio prende in esame le pubbliche cerimonie tenute nella chiesa di San Lorenzo tra la seconda metà del Cinquecento e la fine dell’Ottocento. In particolare si sofferma sulla semi-sconosciuta cerimonia della consegna delle doti, cui era legata una processione che interessava l’intera città e vedeva sfilare insieme ai sovrani, le fanciulle povere dello Stato fiorentino. Un’opera di beneficienza, ma anche un grande operazione di propaganda, ideata da Cristina di Lorena, poi proseguita da Ferdinando I e poi Cosimo II. Nel ricostruire i percorsi urbani, si indaga sulla relazione della chiesa di San Lorenzo con la chiesa di Santissima Annunziata e il Duomo, anch’esse interessate dalle processioni e perciò immortalate in due famose lunette, da sempre conosciute, ma finora mai associate alla cerimonia in questione. Nella seconda parte si chiariscono le motivazioni, ideali e politiche, che portarono i Lorena a mantenere solo alcune delle cerimonie inaugurate dai Medici.
The theatrical system in Bergamo from the late XVIth century to the beginning of the XIX century:... more The theatrical system in Bergamo from the late XVIth century to the beginning of the XIX century: theatres, performers, public, architecture, society, culture.
SECOND VOLUME (DOCUMENTS) of «Per teatri non è Bergamo sito». La società bergamasca e l’organizza... more SECOND VOLUME (DOCUMENTS) of «Per teatri non è Bergamo sito». La società bergamasca e l’organizzazione dei teatri pubblici tra ‘600 e ‘700, Fondazione per la Storia Economica e Sociale di Bergamo, Castelli Bolis Poligrafiche, Bergamo, 2010.
Career strategies of a castrato singer in the late XVII century: from the court patronage to the ... more Career strategies of a castrato singer in the late XVII century: from the court patronage to the "open market" of the impresarial theatre.
New perspectives of study on the cardinal Francesco Maria Medici brother of the granduke Cosimo t... more New perspectives of study on the cardinal Francesco Maria Medici brother of the granduke Cosimo the III, regarding to his patronage on musicians, singers, actors, theatrical accademies, artists and writers.
Commedia dell'arte actresseses, their career strategies and their relationship with the public.
Theatres in the S. Croce neighbourhood (XVII century). Economic sistem, public, performers.
An academic Florentine theatre in late XVIIth century: public and performers
The polyvalent use of the Pitti palace "theatrical spaces" from the "sala delle commedie" of Euri... more The polyvalent use of the Pitti palace "theatrical spaces" from the "sala delle commedie" of Euridice (1600) to the last performances (ballets, operas, musical entertaiments) in the 1640s.
Staging 'Euridice'. Theatre, Sets, and Music in Late Renaissance Florence, 2021
Euridice was one of several music-theatrical works commissioned to celebrate the wedding of Maria... more Euridice was one of several music-theatrical works commissioned to celebrate the wedding of Maria de' Medici and King Henri IV of France in Florence in October 1600. As the first 'opera' to survive complete, it has been viewed as a landmark work, but its libretto by Ottavio Rinuccini and music by Jacopo Peri and Giulio Caccini have tended to be studied in the abstract rather than as something to be performed in a specific time and place. Staging “Euridice” explores how newly-discovered documents can be used to precisely reconstruct every aspect of its original stage and sets in the room for which it was intended in the Palazzo Pitti. By also taking into account what the singers and instrumentalists did, what the audience saw and heard, and how things changed from creation through rehearsals
to performance, this book brings new aspects of Euridice to light in startling ways.