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(An-ton’-yo Kal-da’-ra) 1670–1736 Italian composer Caldara was a Venetian composer whose career was divided almost equally between Italy and Austria. He sang under Giovanni Legrenzi (1626–90) at St Mark’s and in 1699 was appointed maestro di cappella at the Mantuan court. In 1708 he left Mantua for Rome, where his oratorio Il martirio di San Caterina (‘The Martyrdom of St Catherine’) ...

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• Late Baroque
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c. 1670–1736, Italian Caldara was probably taught by Giovanni Legrenzi (1626–90) and was a choirboy at St Mark’s in Venice. His earliest operas were composed for Venice, while he was working as a cellist at St Mark’s. He was appointed maestro di cappella at Mantua to the last Gonzaga duke until about 1707, and then worked at Rome ...

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• Late Baroque
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opera, and he sought to represent the idealistic code of honour for real sovereigns in uncompromisingly serious operas influenced by the French dramatist Racine. Composers including Tomaso Albinoni (1671–1751), Caldara and Gasparini set his libretti to music. Scarlatti and Handel both set versions of Zeno’s libretti that were adapted for them by other authors. Zeno was a major influence on ...

• Personalities
• Late Baroque
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She returned to Italy and performed in several operas by Hasse, before joining the ‘Opera of the Nobility’ in 1734. In the late 1730s she sang for Leo and Caldara, but afterwards her career faded and she died in poverty. Introduction | Late Baroque | Opera Personalities | Antoine Danchet | Late Baroque | Opera ...

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• Late Baroque

he died in 1747. Recommended Recording: La nemica d’amore fatta amante, soloists, Ensemble 415 (dir) Chiara Banchini (Zig-Zag Territoires) Introduction | Late Baroque | Classical Personalities | Antonio Caldara | Late Baroque | Classical ...

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was Costanza e Fortezza (1723), performed in Prague to celebrate his patron Charles VI’s coronation as King of Bohemia, although, owing to ill health, Fux’s able assistant Caldara conducted the performances. However, Fux is most remembered for his scholarly book Gradus ad Parnassum (1725), which was a treatise on counterpoint that influenced the greatest Viennese choral composers ...

• Personalities
• Late Baroque
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c. 1680–c. 1759, Italian Francesco Bernardi was nicknamed ‘Senesino’ after his birthplace, Siena. His first known performance was at Venice in 1707–08, and he sang for Caldara at Bologna in 1709. He was dismissed from Dresden in 1720 because he refused to sing an aria during rehearsals for Johan David Heinichen’s (1683–1729) Flavio Crespo (1720). He joined the ...

• Personalities
• Late Baroque
• Opera

the theatre during the 1750s, although the song ‘Heart of Oak’ from Garrick’s Harlequin’s Invasion (1759) was a popular hit. Introduction | Late Baroque | Opera Personalities | Antonio Caldara | Late Baroque | Opera Techniques | The Sonata Principle | Classical Era | Opera ...

• Classical
• Late Baroque

Scarlatti (1685–1757) spent most of his career in the service of Princess Maria Barbara of Portugal, later queen of Spain, and many of the major works of Antonio Caldara (1670–1736) were written for the Imperial chapel and court theatre in Vienna. However talented, though, and however highly regarded their skill by their patrons and others, composers ...

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• Late Baroque
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consequently used many times across several decades, such as the Florentine librettist Antonio Salvi’s Arminio, which was first set by Scarlatti (1703), but it was also set by Caldara (1705), Hasse (1730), Handel (1737) and Galuppi (1747). In fact, all of Handel’s London opera libretti were adapted from Italian sources. Although some were recent revisions of relatively new ...