The house has an unbeatable location. Situated halfway up the hill that gradually becomes mountain, the San Bartolo – the only high stretch of coast on the Adriatic sea along with Trieste and Ancona – it faces a large bay. A lush vegetation surrounds the white building from early spring to late autumn. During summer it provides a shelter from the heat of the blazing sun and also from the curious eyes of the bathers crowding the beach – mainly locals as this is not a trendy beach; it’s simply a nice place -. Vegetation could not, however, shield the sounds. So, in the years gone by, it was quite common for people lying on the beach – including me – to hear the Maestro’s powerful voice singing a piece or some musical charade. It was quite something!
Venice was an important and rich commercial centre, welcoming foreign merchants, businessmen dignitaries and aristocrats on the Grand Tour. The demand for entertainment was therefore high, particularly during the Carnevale, Some enterprising impresarios came up with the idea of setting up a public opera house, charging the public for the hire of boxes on a subscription system. The business turned out to be profitable. In a few years 16 theatres were built requiring a big number of new operas. By the end of 1600 the repertoire counted about 300 operas.
At the beginning of his carrier, Donizetti writes mainly for the small theatres in Venice. Every new work by the young maestro was welcomed and praised by the press, as an original new development of Rossini’s style. Anna Bolena and L’Elisir d’Amore both premiered in Milan on librettos by Felice Romani, finally launched Donizetti as one of the most prominent European opera composers. These two masterpieces are the first of a list of milestones written by Donizetti that mark the history of romantic Italian theatre.
Verdi’s last opera Falstaff relates to Verdi’s late years when after the enormous success of Otello no one expected him to create yet another opera. A pleasant routine Verdi and Giuseppina had a pleasant life routine at that stage. They used to spend winters in Genoa; the beginning of spring in Milan attending music events; the end of spring and most part of summer in Sant’Agata, where the composer attended business such as the collection of rent payments, purchase of seeds, repairs, new buildings works. Yet his friend, librettist and composer Arrigo Boito noticed how much Verdi missed composing and for that reason started to insist in working together on something new, an opera that could end his career in an even better way than Otello, a “triumph with a laughter”. Triumph with a laughter The idea came out during a conversation between Boito and Verdi. By May 1889 Boito had already sketched the libretto from Shakespeare’s Henry IV (1597) and The Merry Wives of Windsor (1602). Verdi, who had considered a comic subject before, at that stage was worried for not being able to complete it: “What would happen if I won’t overcome my weakness…If I won’t be able to finish […]