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182:, proved to be the theatre's last. Debts had continued to mount and the friars were pressing for the return of their land. Girolamo Lappoli ceded the theatre to Maiolino Bisaccioni in May of that year. Several investors plus Giacomo Torelli, Paulo Morandi (the theatre's costume designer), and four singers, including Anna Renzi, sued Lappoli for unpaid debts and wages in the summer of 1645. The following year, Lappoli left Venice with his debts unpaid. The friars re-possessed the theatre and had it demolished in October 1647. In 1648 an equestrian school and stables were constructed on the site.
155:, gave a detailed account of the opera's visual effects. The "cannocchiale" ("telescope") of the title refers to the book's stated purpose of providing a description of the visual effects not only for those who had been unable to attend, but also for those who had been seated far from the stage, implying that the Novissimo was probably a fairly large theatre. According to Rosand, the book also explicitly asserted for the first time the relationship between opera itself and "the miraculous city of Venice". The theme was continued in Bisaccioni's
136:, it "became the first and possibly the greatest operatic 'hit' of the century". Unusually for the time, the complete libretto was published prior to the opening night, and the performances were also advertised through the writings of various members of the Incogniti. The libretto itself contained paeans to the opera's star singer
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allowing them to construct and operate a theatre on land adjacent to the monastery which at the time was occupied by a large shed. The contract stipulated that the new theatre would be only used for the performances of "heroic" operas, not comedies. Girolamo
Lappoli, a businessman from Arezzo, was
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with its entrance on the Calle de
Mendicanti. It was the first theatre built in Venice specifically for the performance of opera. Because it was purpose-built, it had a wider stage than its existing competitors which allowed for the elaborate productions which became the Novissimo's hallmark. The
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had joined the project along with the
Venetian noblemen Gerolamo Landò, Giacomo Marcello, and Giacomo da Mosto who provided further financing. Torelli would not only create the sets and stage machinery, but also design the theatre itself. The stage, almost 11
66:. The Novissimo (the word means "Newest" in English) would be unique in that it was purpose-built for staging opera and, unlike the other three, was built and owned by a consortium rather than a single noble family. The consortium consisted of the
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Public commercial opera had begun in Venice in 1637. By the time the Teatro
Novissimo was conceived and planned three years later, there were already three theatres staging operas in the city,
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composed by
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wide, was able to accommodate
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Inventing the
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theatre opened in the
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Claut, Anna (2014). "Gli italiani a Parigi nei manoscritti musicali marciani" in
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Libretti printed for the premieres at the Teatro Novissimo:
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Opera in Seventeenth-Century Venice: The Creation of a Genre
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Buildings and structures demolished in the 17th century
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I musicisti veneziani e italiano a Parigi (1640-1670)
402:"Public opera and the trials of the Teatro San Moisè"
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Apparati scenici per lo Teatro Novissimo di Venetia
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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