Virtuosos of the Neapolitan opera in Madrid: Alessandro Scarlatti, Matteo Sassano, Petruccio and Filippo Schor
2009; Oxford University Press; Volume: 37; Issue: 2 Linguagem: Inglês
10.1093/em/cap023
ISSN1741-7260
Autores Tópico(s)Historical Influence and Diplomacy
ResumoIf one single figure can be said to have dominated the musical world of Naples at the end of the 17th century, it was Alessandro Scarlatti (1660–1732).1 The close ties between the Neapolitan viceroyalty and Madrid fomented awareness and reception not only of his works, but also of the musical and theatrical world, then one of the most important of the period. This article discusses the likenesses of three musical protagonists of the Neapolitan scene whose portraits I have identified in Spanish collections, specifically that of the Count of Santisteban, don Francisco de Benavides, Viceroy of Naples between 1688 and 1696. Moreover, the presence of the four virtuosos can be linked with the process of artistic and musical Italianization at the court in Madrid at a critical moment in Spanish history: the final years of the reign of Charles II.2 One of the portraits in the collection is of Alessandro Scarlatti (illus.1); also depicted are the famous castrato Matteo Sassano (illus.2 and 3), known as Matteuccio, the archlute player Petruccio (illus.4)—possibly Pietro Ugolini—and the architect and scenographer Filippo Schor. All were major figures in Neapolitan operatic life and had an important role in artistic developments in Madrid, since some of them were called to serve at court.
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