![]() However, the piece, as simple as it might seem at first glance, displays a rare virtuoso singing style which differs remarkably from the usual writing for soprano. ![]() This piece represents an occasional work of the singer, whose compositional activity has to date not been brought into focus. Borosini, known to be active as a composer, gifted him with a cantata for soprano voice and basso continuo. In Vienna, he became acquainted with Duke Anton Ulrich of Saxe-Meiningen, who aimed to replicate the Habsburg musical library at his residence in Meiningen. ![]() Part of his off-stage success was actually due to his key role as a supplier of music for numerous aristocrats throughout Europe. Not only did he become the highest paid tenor of the court chapel of Charles VI in Vienna he also gained more and more influence with respect to his social status. We can observe a prime example for a singer’s “networking abilities” in the tenor Francesco Borosini, who, despite belonging to Italian baroque opera’s “lower league,” was able to have a career that outshone some castrati. Not only could they have a decisive impact on a composer’s musical choices they often functioned as “cultural middlemen,” cultivating contacts to various noblemen. Eighteenth-century opera singers often engaged in activities that far exceeded their role as mere performers.
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