Showing posts with label Italian. Show all posts
Showing posts with label Italian. Show all posts

April 20, 2008

April 20 | Giuseppe Sinopoli

November 2, 1946 - April 20, 2001: Age 54

Italian maestro Giuseppe Sinopoli was conducting Verdi's Aida at the Berlin Opera House when he collapsed during the third act. The performance was stopped and the audience, cast, and orchestra was sent home. Attempts to resuscitate him on the scene were unsuccessful, and he died. Ironically, Aida was the first work he conducted as well as his last: it was the work with which he made his debut in 1972.

Source: New York Times

March 22, 2008

March 22 | Jean-Baptiste de Lully

November 28, 1632 - March 22, 1687: Age 54

Giovanni Battista di Lulli was the son of a miller in Florence with no education, but a natural musical talent and good looks. One of these attracted the attention of a French duke, who took him to France at the age of 14 to work for a powerful French princess. Here he frenchified his name and cultivated his musical ability under the princess's patronage — until, that is, she discovered an insulting poem he wrote about her. Then he was fired.

He surfaces again at 20, getting a job as a dancer for Louis XIV. He began composing ballet music and that, combined with his looks and wit, secured him royal favour and an appointment as the composer of instrumental music to the king. Thus was launched a great career as courtier-composer that put all his talents to good use. These included a voracious (bi)sexual appetite as well as the canny wits of a former Italian street kid, who understood perfectly the need to defend his own turf against other rival composers, dancers, and musicians. In other words, much of his considerable energy was expended ensuring that other artists never got an even break. That said, his musical abilities were certainly at least as considerable as his sexual and political talents, and his instrumental music, operas, and ballets are still performed and enjoyed today.

In early January, 1687, he was conducting a Te Deum, beating time on the floor with a long staff. He struck his toe. The wound abscessed and eventually turned gangrenous. He refused to have his toe amputated and, with the spread of the gangrene, he died on March 22.

This entry is dedicated to my cousin George Lloyd, a professional classical musician. Like many of his colleagues, he frequently entertains a not-so-secret desire that all conductors should suffer the same fate.

Source: Wikipedia

March 7, 2008

March 7 | St Thomas Aquinas

1225? - March 7, 1274: Age 49?

One day while banqueting with the King of France, Thomas Aquinas came out of a long reverie by banging on the table and shouting, "That settles the Manichees!" He was the Mozart of theological argument, and he knew it, not as a point of vanity or pride but simply as a fact: God had put him on earth to write, and that was his life's work.

When, as the teenaged son of a wealthy Italian nobles, he began to show an affinity for monastic life, his family were horrified. They kidnapped him to try to force him to exercise more judgment in his career choices. They even put a beautiful young woman in his room to tempt him, but God sent down a couple of angels who "girded his loins with chastity". One wonders what that was like.

In December 1273, after three decades of writing the most potent theological expositions the Catholic Church has known before or since, he simply stopped. "All that I have written seems to me like so much straw compared to what I have seen and what has been revealed to me." He wrote no more, and seemed to be in a bit of a daze after that. He said, "The only thing I want now is that as God has put an end to my writing, He may quickly end my life also."

This prayer was granted. On his way to Lyons to meet with the Pope, he was hit on the head by a tree branch and fell off his donkey. Dazed, he was taken to the castle of his niece, who lived nearby. After spending some days there, he felt near death, and asked to be taken to an abbey. "If the Lord is coming for me, I had better be found in a religious house than in a castle." He was carried on a donkey to an abbey six miles away, where he died a week later.

Source: Forbes, Malcolm, They Went That-a-Way, Simon and Shuster, New York, 1988.

January 5, 2008

January 5 | Alessandro de' Medici

July 22, 1510 - January 6, 1537: Age 26

Alessandro de' Medici was the Duke of Penne and the Duke of Florence. He ruled Florence from 1930 until his death in 1537, making him one of the most powerful men in Europe. An illegitimate son of the powerful Medici family, he was one of the last males of the "elder branch" of the powerful family. Acknowledged by Lorenzo II de' Medici, many scholars today believe that he was in fact the son of Giulio de' Medici, who became Pope Clement VII in 1523. His mother was an African servant named Simonetta da Collavechio.

Until recently, stories about Alessandro generally centred around his licentious lifestyle. According to Malcolm Forbes in They Went That-a-Way, he "organized sexual orgies, raided convents and invaded private homes in search of new women, and murdered those he considered to be his opponents." Today, views have shifted. Current evaluations of his career emphasize the political difficulties he was facing (a powerful republican faction opposed him in Florence) and present his sexual adventures as something not far out of the norm for his class and his times.

Why? I believe it is because he was half black. He is recognized today as the first African who held high office in Europe. It makes sense to re-evaluate his career in a way that makes him seem less...diabolical. The portrait at top is the typical portrait used to illustrate articles about him....but the image at right is being used more and more. Google his image using this link, and you'll see the range of colour tones visible in his portrait — often the same portrait is presented in darkened or lightened form.

I really don't know who to believe. Reading about Alessandro de' Medici is a bit like reading about two different people. Was his father Lorenzo, or Giulio? Was he black, or white? Was he a bastard, or does his acknowledgement make him legitimate? Was he a wicked libertine, or an energetic young man sowing his wild oats?

What I do know is that he had an interesting death. His best buddy was a poor and distant cousin named Lorenzino. Intensely jealous of his powerful cousin, Lorenzino got as close to him as possible, plotting to kill him and seize his power.

His opportunity came during the New Year's carnival in 1537. He persuaded Alessandro to come to his rooms without a bodyguard, in order to meet a certain beautiful woman. While Alessandro was waiting alone, he got rather drunk and passed out. Lorenzino returned with a paid assassin and plunged his sword into his cousin's back. Alessandro jumped up, yelling, and grabbed Lorenzino, who tried to stop his cries by pushing his fingers into his mouth. Alessandro bit his fingers to the bone. The accomplice rushed forward and tried to intervene, but accidentally wounded Lorenzino slightly instead. Then Lorenzino managed to sink a dagger deep into Alessandro's side, and the accomplice slit his throat.

While they were cleaning the blood from their hands and arms Lorenzino told the assassin who it was he had just killed. Terrified, the man ran away to confess. Lorenzino panicked and ran away too; away from Florence, all the way to France, where he lived safe from reprisal another 12 years (he was murdered in Venice in 1547 by another cousin, Cosimo).

Sources: Wikipedia; Great People of Color; Forbes, Malcolm, They Went That-a-Way, Simon & Schuster, 1988.

September 11, 2007

September 11 | Beatrice Cenci

February 6, 1577 - September 11, 1599: Age 22

Beatrice Cenci was the daughter of an Italian Count named Francesco Cenci. He had a dubious reputation, and kept Beatrice and her mother virtually prisoners in his country castello while he amused himself with the vicious pleasures of Rome. His visits home were no picnic for the women, as he was said to have abused both of them physically and sexually.

One day in 1598 a great commotion was heard in the castle. The locals rushed over to find Beatrice's mother screaming, Beatrice "strangely silent", a splintered wooden balcony, and the Count's bloody body 30 meters below it in a gully of rocks and shrubs. He was definitely dead. In fact, oddly enough, he was cold. Moreover, when the body was washed, it was discovered that he had somehow acquired several stab wounds in the head that were not quite consistent with the notion of a fall.

A year of investigations revealed that the Count had been drugged and then two men had entered the castle and driven an iron spike into his head. They pushed the body off the balcony and made a hole in the balcony floor to make it look like an accident, but neglected to get rid of the bloody sheets and mess inside. Extensive confessions (obtained under torture) revealed that the men had been hired for this purpose by the Count's family. Both murderers died during the investigation: one ran away but got his head cut off by a bounty-hunter's hatchet, the other died under torture. Although Beatrice never confessed, it was believed that she had been the most determined of the conspirators, urging the men on when they hesitated at the last minute. The whole family was found guilty.

Alhtough Beatrice never confessed, nobody doubted her culpability. The Count was extremely unpopular and the common people had no trouble believing he had abused Beatrice. That, combined with her youth and beauty — she was thought to be about 17 — made her a cause célèbre. Widespread protest of the verdict did bring about a brief stay of execution, but in the end the Pope ordered that the sentences be carried out. (The family estate reverted to the Church.)

On September 11, 1599, one year and two days after the murder, the sentence was carried out. The elder brother, Giacomo, was publicly tortured to death. Beatrice and her mother were beheaded. The other brother, being only 12, was considered by the judges to have been too young to have had anything to do with it. Even so, he was sentenced to be present on the scaffold with his family to witness their executions before being sent to the galleys for a life of slavery. Today, Beatrice's ghost can be seen every year on the night of the eve of her execution, walking the Sant'Angelo Bridge where the scaffold was built, carrying her severed head.

Over the years the story of the desperate innocent girl driven to murder by her father's abuse seized the imagination of artists, playwrights, poets, and filmmakers. The portrait by Reni (shown here) was a big part of that continuing interest; many wrote about its inspiring effect. Mary Shelley, writing of her husband's interest in the legend (he wrote a play about it), said that the portrait's "beauty cast the reflection of its own grace over her appalling story; Shelley's imagination because strangely excited." Stendhal wrote of "a poor girl of 16 who has only just surrendered to despair. The face is sweet and beautiful, the expression very gentle, the eyes extremely large; they have the astonished air of a person who has just been surprised at the very moment of shedding scalding tears." Dickens foudn it "a picture almost impossible to be forgotten", full of "transcendent sweetness" and "beautiful sorrow". Hawthorne found it "the very saddest ever painted or conceived: it involves an unfathomable depth of sorrow", and further wrote, "She is a fallen angel — fallen and yet sinless."

Modern historical research is such a buzzkill. Reni was Bolognese and didn't even paint in Rome before 1608, nine years after her death. It's much more likely the portrait is one of the Muses, and the link with Beatrice is a based on pure speculation ("probably the Cenci girl" written in a catalogue in the late 18th century). Moreover, documentary research has turned up a record of her birth and shown that "the poor girl of 16" was 22 when she was executed. Finally, there is some suggestion that she had an illegitimate child — a plausible explanation for her "imprisonment" in the castle.

It is obvious that the Cenci family was dysfunctional, even abusive; there is plenty of evidence supporting that. However this story, that grew into a rather simplistic drama laced with sex and violence, is deeper and more complicated than the myth.

Sources: Beatrice Cenci: Storia del secolo XVI (Francesco Domenico Guerrazzi), Screaming in the Castle (Charles Nicholl), Wikipedia

September 8, 2007

September 8 | Gesualdo

March 8, 1566? - September 8, 1613: Age 47?

Don Carlo Gesualdo was the Prince of Venosa and Count of Conza. He was a brilliant musician and composer. He was also a sexual sado-masochist, manic depressive, and murderer. He was really nuts.

He married a young widow whose first husband’s untimely death was said to have been caused by too much sex. Gesualdo was her fourth husband. After four years of marriage, he surprised her in bed with another man and murdered them both on the spot, stabbing them repeatedly and then displaying their naked bloody corpses on the steps of his palazzo as a lesson in morality for passers-by. Some say he also murdered his own child by this woman, but this is disputed.

As a nobleman, Gesualdo could not be prosecuted; but as an in-law, he was vulnerable to revenge at the hands of his wife’s family, so he turned over a new leaf, moving to another city and marrying his cousin. Unfortunately he couldn’t escape from the intense remorse he felt for his violent behaviour, and his life degraded into a cycle of sexual excess, sado-masochism (he insisted on being beaten three times daily), and ill-health (he was asthmatic). He died in 1613.

His music, however, is brilliant, and he wrote a lot of it, most famously many madrigals (songs) that are intensely sad and disturbing yet strangely beautiful. The most famous is Moro lasso:

Moro, lasso, al mio duolo,
E chi può dar mi vita,
Ahi, che m'ancide e non vuol darmi aita!

O dolorosa sorte,
Chi dar vita mi può,
Ahi, mi dà morte!

English:

I die, alas, in my suffering,
And she who could give me life,
Alas, kills me and will not help me.

O sorrowful fate,
She who could give me life,
Alas, gives me death.

Sources: Musicweb-International, Wikipedia, Choral Public Domain Library