20:
326:
now in one, now in another direction, drawing in the arms, and extending them, laughing and crying, now with little, now with much agitation of the hands. Our
Signora Anna is endowed with such lifelike expression that her responses and speeches seem not memorized but born at the very moment. In sum, she transforms herself completely into the person she represents, and seems now a
325:
The action that gives soul, spirit, and existence to things must be governed by the movements of the body, by gestures, by the face and by the voice, now raising it, now lowering it, becoming enraged and immediately becoming calm again; at times speaking hurriedly, at others slowly, moving the body
264:
from middle C to high B-flat, and the four surviving non-Monteverdian settings of roles written for her (by
Sacrati, Laurenzi, Cesti and Ziani) are characterized by strong dramatic, emotional and stylistic contrasts, probably designed to show off her uncanny command of vocal and expressive means.
158:
at the same theatre, probably the roles of
Giunone and Fillide. In the same year a marriage contract between Renzi and the Roman violinist Roberto Sabbatini was drawn up, but there is no evidence that the nuptials ever took place.
265:
Most of the thirteen leading roles she sang, and which were probably all written with her special gifts in mind, feature violent juxtapositions of comic and tragic scenes and moods, and they often involve disguises (in
162:
After the closing of the
Novissimo, Renzi, who was by now the most celebrated and highest-paid singer of the age, turned to the Santi Giovanni e Paolo. In 1646 she probably sang in a revival of
619:
150:, a collection of encomiums edited by Strozzi, which gives a vivid impression of her characteristics as a performer and of her effect on audiences. In 1645 she sang in
79:
who continued to function as her teacher and/or accompanist in later years. In 1641 she made her sensational
Venetian debut as Deidamia, the title role of
142:, in which opera she is also likely to have created the parts of La Virtù and Drusilla. In 1644 she returned to the Novissimo, creating the title role of
244:, who was greatly pleased with Renzi's performance. In 1657 Renzi bade farewell to the stage as Damira (probably doubling as Giunone in the prologue) in
690:
560:″Lasciatemi Morire″ o farò ″La Finta Pazza″. Embodying vocal NOTHINGNESS on stage in Italian and French 17th century operatic LAMENTS and MAD SCENES
317:, and primarily explored the lower range of her voice, and hence he suggests that Ottavia and Drusilla may have been written for her as a virtuoso
313:, which is half the size of any other role written for her, lacks any hint of comedy, is dramatically and emotionally uniform, is set purely with
109:(music lost) by Vincenzo Nolfi and Sacrati at the Novissimo, and in the same year Orazio Tarditi dedicated a collection of two- and three-part
281:
a scheming princess or queen disguises herself as an ingenuous shepherdess), or other forms of deceit, such as feigned simplicity (
680:
237:
695:
536:
Schneider, pp. 269–84. For contemporary responses to Renzi's performance in the opera, see
Schneider, pp. 249–53, 280–84.
675:
624:
146:(music lost) by Scipione Herrico and an unknown composer (possibly Laurenzi). In the same year she was the subject of
182:
in
Florence, and in 1652 she may have created the role of Cleopatra (probably doubling as Venere in the prologue) in
685:
60:
117:
135:
130:
558:
241:
210:. In 1655 she returned to Venice, apparently creating the title role (probably doubling as Giunone) in
187:
318:
233:
223:
59:
Born in Rome, Anna Renzi was highly popular in Vienna in the 1640s and made her debut in 1640 at the
309:). Schneider argues that Renzi could hardly have been satisfied to sing only the role of Ottavia in
566:
Glixon, Beth L.: "Private Lives of Public Women: Prima Donnas in Mid-Seventeenth-Century Venice".
356:
648:
Whenham, John: "Perspectives on the
Chronology of the First Decade of Public Opera at Venice".
364:
670:
665:
72:
577:
Inventing the
Business of Opera: The Impresario and His World in Seventeenth-Century Venice
43:
renowned for her acting ability as well as her voice, who has been described as the first
8:
219:
598:
568:
178:(music lost) by Giovanni Battista Fusconi and Alessandro Leardini. In 1650 she sang in
139:
76:
64:
215:
171:
94:
252:
and Ziani at the Sant' Apollinare. The last known reference to her stems from 1660.
589:
360:
155:
98:
166:
there, in 1648 she created the title role (probably doubling as a
Villanella) in
102:
249:
90:
81:
609:
659:
327:
191:
605:
202:
in Genoa, and in 1654 she sang in a revival of the latter opera (retitled
261:
260:
Composers tended to make use of the full extent of Renzi's voice, which
314:
228:
170:(music lost) by Pietro Paolo Bissari and an unknown composer (possibly
110:
128:; music survives in excerpts) by Strozzi and Laurenzi, and Ottavia in
637:
Schneider, Magnus Tessing: "Seeing the Empress Again: On Doubling in
582:
Murata, Margaret: "Why the First Opera Given in Paris Wasn't Roman".
331:
207:
194:
at the Santi Giovanni e Paolo. In 1653 she seems to have sung in
105:. In 1642 she created Archimene (probably doubling as Venere) in
40:
617:
Sartori, C.: "La prima diva della lirica italiana: Anna Renzi",
592:: "Neue Beobachtungen zu Quellen und Geschichte von Monteverdis
269:
a lamenting princess disguises herself as a charming youth; in
48:
19:
611:
Opera in Seventeenth-Century Venice: The Creation of a Genre
350:
44:
174:), and in 1649 she apparently created the title role in
579:, Oxford University Press, Oxford & New York 2006.
351:
Thomas Walker; Beth L. Glixon (2001). "Renzi , Anna".
240:, in celebration of the conversion to Catholicism of
226:. Later that year she created the role of Dorisbe in
101:, the sets designed by the celebrated stage designer
572:, Vol. 76, No. 4 (November 1995), pp. 509–31.
236:and Cesti in Innsbruck: an opera commissioned by
206:, perhaps in her honour) at the court theatre in
657:
614:, University of California Press, Berkeley 1991.
321:. Strozzi described her art as follows in 1644:
645:, Vol. 24, No. 3 (Nov., 2012), pp. 249–91.
586:, Vol. 7, No. 2 (Jul., 1995), pp. 87–105.
63:of the French ambassador, in the presence of
575:Glixon, Beth L. & Glixon, Jonathan E.:
433:
431:
429:
427:
399:
397:
395:
148:Le glorie della signora Anna Renzi romana
113:to her, which bears witness to her fame.
691:17th-century Italian women opera singers
154:(music lost) by Maiolino Bisaccioni and
18:
545:Cited and translated in Rosand, p. 232.
365:10.1093/gmo/9781561592630.article.23212
255:
658:
424:
392:
238:Ferdinand Charles, Archduke of Austria
116:In 1643 she created two roles at the
563:, ArtMonitor, diss. Gothenburg, 2011
13:
14:
707:
652:, 2004, No. 11, pp. 253–302.
620:Nuova Rivista Musicale Italiana
602:, 1958, No. 11, p. 129–38.
539:
530:
521:
512:
503:
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61:Palazzo Pallavicini-Rospigliosi
681:17th-century Italian actresses
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16:Italian soprano (17th century)
1:
338:
299:Le fortune di Rodope e Damira
279:Le fortune di Rodope e Damira
246:Le fortune di Rodope e Damira
120:: Aretusa, the title role of
118:Teatro Santi Giovanni e Paolo
39:– after 1661) was an Italian
33:
696:People from the Papal States
455:Glixon & Glixon, p. 202.
330:full of comic gaiety, now a
136:Giovanni Francesco Busenello
7:
10:
712:
551:
305:) or feigned amorousness (
242:Christina, Queen of Sweden
188:Dario Varotari the Younger
676:Italian operatic sopranos
639:L'incoronazione di Poppea
234:Giovanni Filippo Apolloni
131:L'incoronazione di Poppea
54:
283:Il favorito del principe
97:, which inaugurated the
69:Il favorito del principe
686:Italian stage actresses
643:Cambridge Opera Journal
594:Incoronazione di Poppea
584:Cambridge Opera Journal
482:Schneider, pp. 269-70n.
370:(subscription required)
357:Oxford University Press
334:rich in tragic majesty.
75:and the young composer
650:Il saggiatore musicale
527:Schneider, pp. 270–74.
518:Schneider, pp. 274–76.
509:Schneider, pp. 276–78.
336:
224:Teatro Sant'Apollinare
126:The Feigned Wise-Woman
26:
557:Belgrano, Elisabeth:
323:
73:it:Ottaviano Castelli
22:
634:), ii (1968), 430–52
289:), feigned madness (
256:Renzi as a performer
87:The Feigned Madwoman
569:Music & Letters
446:Glixon, pp. 515–16.
437:Schneider, p. 269n.
403:Schneider, p. 270n.
220:Pietro Andrea Ziani
599:Die Musikforschung
353:Grove Music Online
301:), feigned piety (
140:Claudio Monteverdi
77:Filiberto Laurenzi
65:Cardinal Richelieu
47:in the history of
27:
319:quick-change part
216:Giovanni Faustini
172:Francesco Cavalli
95:Francesco Sacrati
703:
628:
590:Wolfgang Osthoff
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214:(music lost) by
200:Il Cesare amante
186:(music lost) by
184:Il Cesare amante
156:Giovanni Rovetta
99:Teatro Novissimo
71:(music lost) by
67:, as Lucinda in
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287:Il Bellerofonte
258:
152:Ercole in Lidia
107:Il Bellerofonte
103:Giacomo Torelli
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412:See Schneider.
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380:Murata, p. 96.
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342:
340:
337:
303:La finta savia
291:La finta pazza
257:
254:
250:Aurelio Aureli
122:La finta savia
91:Giulio Strozzi
82:La finta pazza
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623: [
267:La Deidamia
180:La Deidamia
144:La Deidamia
37: 1620
660:Categories
339:References
315:recitative
196:La Torilda
168:La Torilda
111:canzonette
30:Anna Renzi
24:Anna Renzi
332:Melpomene
295:L'Eupatra
275:L'Eupatra
212:L'Eupatra
208:Innsbruck
552:Sources
307:L'Argia
271:Argiope
262:spanned
229:L'Argia
222:at the
176:Argiope
41:soprano
328:Thalia
311:Poppea
164:Poppea
55:Career
627:]
89:) by
49:opera
632:NRMI
297:and
285:and
277:and
218:and
198:and
190:and
138:and
93:and
45:diva
641:".
596:".
361:doi
248:by
232:by
134:by
662::
625:it
608::
426:^
394:^
359:.
355:.
293:,
273:,
51:.
34:c.
630:(
367:.
363::
124:(
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32:(
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