Francesca Caccini

Francesca Caccini was born in mid-September 1587, the first-born child of two singers then on salary to produce chamber and theatre music for the Medici court–Lucia Gagnolandi, and Giulio Caccini (who was himself the second son of an ambitious wood dealer from Pisa). By 1587 Giulio was already one of the best-known singers and singing teachers of his generation, and the one professional singer known to have regularly participated in the conversations at courtier Giovanni de’Bardi’s Fiesole villa (known as La Camerata) that are supposed to have led to the two most stunning musical innovations of the 17th-century–the invention of a new kind of solo song, and the closely-related invention of new ways of setting plays to music that led directly to the emergence of opera as a genre.

At 13 Francesca sang in the first more-or-less publicly performed opera, L’Euridice, joining her sister Settimia, her step-mother Margerita, and various other pupils of her father to sing the female and the choral parts of the show that had been assigned to Giulio’s composition. At 17, she so impressed the King of France, Henri IV, with the literary sensitivity of her singing in French that the King asked to have her as a musical servant to his household. In the winter before she turned 20 she composed her first theatrical work for the Medici court–a kind of mock sword fight preceded by musico-dramatic dialogue called a barriera. The show’s success seems to have led directly to her hiring by the Medici court as a musica (an all-round musical servant) two months after her 20th birthday; in keeping with local custom, she was married to another musical servant the same week she appeared on the court’s payroll (although, contrary to the prevailing custom, her dowry was paid by her father, not by the court).

According to a biographical sketch penned between 1627 and 1630 by a man who had then known her as a court colleague for 15 years, Cristoforo Bronzini, the adult Francesca was an industrious, talkative woman who compensated by talent, charm, cheerfulness and gracious manners for the fact that, in his words, “she had not been well endowed by nature”.  Francesca had been alone among her father Giulio’s 10 children in receiving something close to a humanist education. This “girl of the sharpest intelligence”, as Bronzini called her, was taught Latin, some Greek, rhetoric, grammar, and languages well enough that she was remembered for writing, as a 12-year-old, a commentary on books 3 and 4 of the Aeneid, and for her adult ability to improvise songs to poetry in Latin, Italian, French, Spanish, German, and several Italian dialects. Constantly eager to learn new things, Francesca seems to have been especially interested in mathematics–arithmetic, geometry and astrology–in the occult sciences, and in philosophy, which, Bronzini says, “she would have studied further had she been able, like Astenia and some others, to wear boy’s clothing to attend the public schools”. Her musical studies, he tells us, were at first a minor part of her education, pursued as a pastime, and “to please her father”.

By the time she impressed the King of France, she was known as much for her skills on the harp, harpsichord, lute, theorbo and guitar as for her singing, and she was said to be able to play any stringed instrument well. Sometime before she was 20, Tuscan Granduchess Christine de Lorraine noticed her talent, and arranged for her to study counterpoint, to marry a handsome, impoverished, respectable tenor on the court’s staff, Giovanni Battista Signorini, and to be hired as a musician of the Granducal court.

In the 20 years that followed, Francesca Caccini performed regularly for the private pleasure of the Medici family–that is, for two Grand Dukes, and for their wives, children, cousins, nephews, nieces, and guests. Annually, during the last three days of Holy Week, Florentine melophiles could be sure of hearing her publicly, when she participated in the poly-choral performances of “the Offices”, singing from the balcony, and behind the grate where the ruling family themselves sat–as if her voice, mixing with those of her own family and pupils, sang in the place of the rulers’. Witnesses to her performances reported that:

“…whenever it suited her, this same woman …could by her singing and playing kindle astonishment and boldness in the breasts of her listeners, so that they would agree to any undertaking, no matter how burdensome…with the soft sound of her playing and the sweetness of her song she invited every breast (even if opposed to chaste intentions) to pure self-containment and integrity…as matched her own…”

In addition, Francesca composed hundreds of songs and duets in the new style her father claimed to have invented, all but 36 of them lost; she taught the daughters of Medici servants or of Florentine professionals who aspired to musical positions at court, paid for her work either by the court or by the girls’ parents, and she taught music to the Medici children, to the daughters of their favorite government ministers, and perhaps to the daughter of Galileo (in whose home conversazione she is known to have participated); and, often collaborating with colleagues Marco da Gagliano and Jacopo Peri,  she composed some of the music for at least 17 court-based entertainments–balli, comedies for Carnival, mascherate, sacred operas–many of them shows authored by  and little shows put on by and for the households of the two Medici Grand Duchesses (that is, their dame and donne, their children, and such professionals as were needed to serve as ‘ringers’ or onstage coaches–these last were usually Caccini herself, along with some of her artisan-class pupils).

The show that Magnificat will present October 16-18, La liberazione di Ruggiero, is the only one of these  to survive nearly intact (excerpts from several others exist). When she got the gig to compose it (probably working from a barely-sketched libretto and scenic plan), Francesca was the highest paid musician at the Medici court, an intimate of the royal’s domestic spaces (though always a servant in their eyes), and a person whose special gifts to the court were her ability as a composer to make her patrons “laugh from the heart” and her ability, as both a singer and musician, “to make her listeners do whatever she wanted…”

By the time Caccini’s first husband died in late December 1626, she had borne him only one child, Margerita, born 14 years after her parents married. Left only with the property her own dowry had bought, the household goods her husband’s will specified had all been purchased with her salary, and a nice collection of jewels given to her by those who admired her performances, she arranged immediately to remarry.

Two weeks after her 40th birthday, she married a minor nobleman from Lucca, Tomaso Raffaelli, a man about whom others noted his intense melophilia, the richness of his instrument collection, and his Ganymede-like manner. When Raffaelli died three years later, Francesca had borne him a son. As Raffaelli’s widow and the guardian of his noble son, Francesca enjoyed the lifelong usufruct of his estate and something even more precious–a tenuous but plausible hold on the noble status for which her education but *not* her 20 years of hard work had prepared her. She returned to Florence in 1634, where she again served the Medici women (never singing again in public, but apparently making music and teaching the princesses in their convent home) until her daughter Margherita was settled in life–life as a virtuosa musician in a convent that adjoined the principal Medici palace–in 1640.

In May, 1641, Francesca left Medici service forever, and disappeared from the public record.

Joshua Kosman of the San Francisco Chronicle expressed what many of the audience felt when he commented that “the Carters have wooden stand-ins not only for the main human characters but also for dragons and demons, birds and gamboling lambs, transformed trees and dancing sea horses, and the level of theatrical magic on display was enchanting.” The full review can be read here.

Of course, Caccini’s magnificent work was not originally intended for interpretation by puppets, but the subject of the opera – the legends of Orlando as told by Ariosto and Tasso – was shared with the repertoire of the Sicilian puppet tradition, a specialization of the Carters and it seemed like a good fit. To this already polyglot stew was added the spice of commedia dell’arte characters, creating a unique and enjoyable experience for performers and audience alike.

Here’s an excerpt from the performance on October 18, 2009 – featuring countertenor José Lemos who will also appear in Magnificat’s upcoming production of John Blow’s Venus and Adonis in October. In the first, the good sorceress Melissa appears and announces her intention of saving Ruggiero from the enchantment of Alcina’s isle by appearing to him in the guise of his mentor Atlante. José is accompanied by Katherine Heater.

Photo Gallery
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This past week in the Bay Area the Baroque vocal group Magnificat (in collaboration with the Carter Family Marionettes) performed Francesca Caccini’s La Liberazione di Ruggiero dall’ Isola d’Alcina (The Liberation of Ruggiero from Alcina’s Island, 1625) as a puppet opera. (Images from the website of Magnificat.)

Francesca Caccini was a remarkable figure. According to scholar Suzanne Cusick‘s informative program notes, Francesca was the daughter of the famous singer and composer Giulio Caccini (of “Amarilli, mia bella” fame). Francesca sang at age 13 in the first opera to have survived complete, Jacopo Peri and Ottavio Rinuccini’s L’Euridice (1600), to which her father also contributed music. Francesca not only had a beautiful singing voice by contemporary accounts, but was a multi-instrumentalist and later a teacher and composer as well. She wrote hundreds of songs and music for at least 17 entertainments for the Medici Court in Florence. Unfortunately most of her songs are lost, and the only one of her operas that survives in performable form is La Liberazione di Ruggiero.

Ferdinando Saracinelli’s libretto takes its story from the same portions of Ariosto’s Orlando Furioso (1532) from which Handel’s Alcina (1735) was drawn. The knight Ruggiero has been seduced by the beautiful (but evil) sorceress Alcina and is lingering with her on her enchanted island. Ruggiero doesn’t realize the danger he’s in: he’s just the latest in a series of conquests that Alcina has bewitched; his predecessors have been turned into the lush plant life that covers her island. The beautiful (but good) sorceress Melissa and Ruggiero’s betrothed, Bradamante, go to Alcina’s island to shame Ruggiero into returning to his martial (and marital) duties. As Ruggiero dons his armor and prepares to leave, Alcina at first pleads with him to stay. But when her tears fail, she vengefully uses her magic to unleash demons and fire against Ruggiero. Ruggiero’s valor and Melissa’s counter-magic triumph, however: the other enchanted knights and ladies on the island are freed, the demons are overcome and Alcina is vanquished.

Cusick’s program notes make the case that this story wasn’t chosen at random–that it functions as a partial allegory of the complex political situation in the Medici territories, which were then co-ruled by the regent Archduchess Maria Maddalena and her mother-in-law, Christine de Lorraine. I’m not completely convinced. First, along with Homer, Virgil, Ovid, and Tasso, Ariosto’s chivalric romances were part of the common currency of stories that composers and librettists could be assured that their courtly audiences would be familiar with. Additionally, if the opera is an allegory the role of Alcina is highly problematic. Unlike her portrayal in Handel’s opera a century later, her depiction in La Liberazione di Ruggiero–while initially sympathetic–turns unequivocally negative by the end of the opera. So we have a battle between a good witch (Melissa) and a bad witch (Alcina) over a man reluctant to assume his duties. If the good witch is seen as Maria Maddalena, the bad witch then becomes associated with Christine, and the reluctant knight with Ferdinando II de Medici, for whom Maria Maddalena and Christine were acting as regents. Such associations could not have been anything but highly offensive to Christine, a very powerful woman who was likely present at the first performance.

Magnificat’s production was a pastiche of elements, many of which were deliberately anachronistic. All questions of “authenticity” dissolved, though, in the charming performances. The puppets were an ingenious solution to the problem of staging this spectacular opera, which features mermaids, sorceresses on flying dragons, singing trees, and a concluding (sea)horse ballet. There was a natural connection between the opera and the working-class Sicilian puppet theater tradition, which incorporates figures from the chivalric romances (the armored figures of Ruggiero and the rescued knight Astolfo were, we were informed, actually constructed in Sicily). The Baroque stagecraft in miniature was utterly delightful: the rolling ocean waves, flying dragons, sea monsters, magical transformations, and the highly amusing references to The Sound of Music and The Wizard of Oz were handled with captivating cleverness.

And of course, even in a puppet version the opera had a full share of Baroque gender-bending: Melissa, sung by a male countertenor, cross-dresses as Ruggiero’s former mentor Atlante in order to confront him; meanwhile, the same male countertenor voiced one of the three damigelle who were Alcina’s handmaidens.

The only element of the production that I had mixed feelings about was the puppet Pulcinella, who commented on and participated in the action intermittently throughout the opera. Pulcinella, a commedia dell’arte character associated with earthy jokes and comic misadventures, is a common figure in Sicilian puppet theater, so his presence made sense. But it’s highly unlikely that comic interludes were part of the initial performance of the opera (courtly decorum would not have permitted it). And truth be told, I found it difficult to switch between Caccini’s beautiful music and Pulcinella’s bad puns, bawdy gestures and scatological jokes.

All in all, though, the production was a brilliant success on every level–and most especially the musical. The musicians and singers of Magnificat were uniformly excellent, and Caccini’s music was simply gorgeous. I have to mention by name soprano Catherine Webster (Alcina), mezzo-soprano Jennifer Paulino (Sirena, Damigelle), alto countertenor José Lemos (Melissa/Atlante and other characters), and bass Hugh Davies (Nettuno)–their contributions in particular were superb. But every member of Magnificat and the Carter Family Marionettes should congratulate themselves on a triumph.

This review is reposted from the original posting here.

We have posted more photos on our Flickr Photostream. Everyone perfromed beautifully and we had standing ovations for each performance. Thanks to everyone – performers, audience, staff and board – for making last weekend a tremendous success!

Back Stage on Saturday Night

The Stage on Saturday in Berkeley

Sold Out in Berkeley

Alcina and one of her minions

La Liberazione di Ruggiero is arguably the first opera written by a woman, and features strong feminist themes and a challenge to patriarchal society, but honestly, they had us at Puppet Opera. And not just any kind of puppets: three foot tall, forty pound puppets from Sicily, getting into sword fights and romance. It is actually quite common that your opera singers act stiff and wooden, and these puppets are no exception.

Written in 1625 by a woman, Francesca Caccini, for a woman, Maria Magdalena de Medici, who wanted to impress the visiting prince of Poland to her court of Tuscany, it is based on Ariosto’s “Orlando Furioso“. Magnificat Baroque will perform the score, under the baton of artistic director (and blogger) Warren Stewart, while the Carter Family Marionettes will do the visuals. We caught up with Warren Stewart and Stephen Carter during a break in their rehearsals. It became quite obvious that they were an excellent match to collaborate, as both of them share a charming volubility, and combine an obvious passion with an erudite scholarship for some rather arcane artistic forms: 17th century music and puppetry.

“There certainly was a tradition of performing opera with puppets,” Warren said, “going back to the beginning of opera. Unlike previous productions we have done with the Carters, this opera was never done with puppets. This opera was performed only once for a specific occasion in 1625, and not performed again until the 20th century.” It is not a US premiere, however. “We have done plenty of modern premiere of 17th century music,” Warren acknowledged, “but in this case it has been done. This opera received a lot of attention since it is the first opera by a woman. So there has been musicological work on it and several productions in the last couple decades.”

Actually, apart from Kaija Saariaho and the upcoming commission of the SF Opera from Jennifer Higdon we could not come up with another opera written by a female composer. “We should advertise this as the only opera by a woman,” joked Warren.

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Keyboards

Catherine Webster - Alcina

Catherine Webster has been singing with Magnificat for ten years now. Since her unforgettable debut as a last minute addition in our first performance of the remarkable music of Chiara Margarita Cozzolani in 1999, Catherine has become an audience favorite. In this production she will sing the role of the evil sorceress Alcina, who has seduced Ruggiero, like so many knights before him, with her charm and beauty and the sensual delights of her palace. Though her beauty turns out to be an illusion, the pathos of her lament/complaint after Ruggiero abandons her, the high point of the opera, both thematically and musically is genuine.

Jennifer Paulino - Sirena

Fresh from her triumphant performances with Les Grâces on the SFEMS series last month, Jennifer Paulino will sing the role of the Siren sent to entertain Ruggiero in Alcina’s pleasure garden, as well as several other roles. Jennifer first sang with Magnificat in our 2007 performances of Stradella’s La Susanna and has returned frequently since then. In contrast to the three principal characters, Ruggiero, Alcina, and Melissa, who sing entirely in syllabic recitative, the other roles, like the Siren, sing in strophic, metered poetry, often in triple meter.

José Lemos - Melissa

It is a pleasure to welcome back José Lemos, who sang the role of Nino in Magnificat’s production of Stradella’s Il Tespolo tutore in 2007. This time José will sing the role of the good sorceress Melissa, who is actually the agent of Ruggiero’s “liberation” from the enchantment of Alcina’s island. In order to demonstrate to  Ruggiero of the error of his ways and convince him to return to his knightly duties, Melissa transforms herself into the appearance of Atlante (Atlas in Orlando furioso), who had been a mentor/father figure to both herself and Ruggiero. José will also sing the role of Alcina’s servant Oreste, who delivers the news that Ruggiero has forsaken Alcina.

Scott Whitaker - Ruggiero

Tenor Scott Whitaker will be reviving the role of Ruggiero, which he sang in the Carter Family’s production in 2007. Scott has sung many times with Magnificat over the past decade, most recently in Schütz’ Resurrection Story in 2005. In the particular episode of Orlando furioso captured in Caccini’s opera, Ruggiero is initially depicted as emasculated and weak, having succumbed to the powers of Alcina, affording the opportunity for a love duet based on the conceit of the mirror, drawn from Tasso’s Gerusalemme liberata. After his “liberation” though, he dons his armour and returns to his heroic ways, conquering dragons and various demons in pitched battle.

Daniel Hutchings - Shepherd

A familiar face (and voice) to Magnificat audiences, Tenor Daniel Hutchings has appeared with Magnificat for many years. In this production, he will sing a variety of roles, most notably a lovesick shepherd who entertains Ruggiero in Alcina’s garden with his aria about love lost and then re-affirmed. The pastoral topic of the amorous adventures of shepherd and shepherdesses was well established by the 1620s, owing in no small part to the remarkable popularity of Guarino’s Il Pastor Fido, along with Orlando furioso the most popular literature in Italy at the time.

Hugh Davies - Neptune

Baritone Hugh Davies first sang with Magnificat in our 1994 prodcution of Cavalieri’s Rappresentatione di Anima e di Corpo. Among his roles in that production was a “damned soul in Heaven” for which he wore a flaming red body suit. (Hugh is thankful that Facebook and cell phone cameras didn’t exist in 1994!) In this production, Hugh will sing the role of Neptune, who appears in the Prologue to welcome the guest of honor – the Crown Prince of Poland, who was visiting Florence for Carnival. Neptune urges the mighty Vistola river (sung by Dan Hutchings), which flows through Warsaw, to join him in the welcome, and then sets the stage for the drama to follow.

Marionettes meet 17th-century feminism
The Magnificat ensemble explores the lost art of puppet opera

by Be’eri Moalem

“Marionettes are able to do fantastic things,” Carter said. “They can fly through the air. They can burst into flames. You can chop a character’s head off. We built a wave machine.”

Lovers of classical music all know masters such as Bach, Mozart and Beethoven; their music is performed year after year.

Some may even know 17th-century names such as Monteverdi and Purcell. But what about composers such as Peri, Allegri, Melani or Caccini? Cazzati, Rovetta and Rigatti?

When examining the music of the 17th century, Stanford-trained musicologist Warren Stewart was amazed at its beauty, and how relatively rarely it is performed. So he co-founded Magnificat, a San Francisco early-music ensemble that promotes and performs 17th-century music.

Magnificat’s performers try to give authentic Baroque-style concerts, using special instruments such as valve-less horns and working within an entirely different style of musical organization and style (clefs and key signatures did not function as they do today).

“The 17th century was a big experiment,” Stewart said, referring to the arts as well as science. “Suddenly Earth was not the center of the universe but a tiny speck in space, and suddenly exaggerated human emotions were depicted in painting and in this new art form, opera.”

Next week, Magnificat brings to Palo Alto an opera that is particularly pioneering — Stewart says it’s the first opera composed by a woman. Francesca Caccini’s “La Liberazione di Ruggiero” is a tale of two powerful sorceresses who battle over the political fate of a young prince. Over the course of the story, monsters are conjured up and one of the women magically transforms into a man and then back into a woman.

According to Stewart, the political subtext and symbolism were not lost on Archduchess Maria Magdalena, who commissioned the opera as the prelude to an equestrian ballet. She was struggling to hold on to power in the early 1620s after her husband died and his heir was only 10 years old; feminism and gender power struggles are age-old themes.

Meanwhile, Stewart said, the feminist angle is magnified by the fact that the opera was composed by arguably one of the first women in modern history to make a full career out of music. The main breadwinner in her family, Caccini was a respected lutenist, harpsichordist, singer, writer and composer.

In addition, Magnificat’s production of “La Liberazione” features the lost art of puppet opera. Once a thriving tradition, especially in Italy, puppetry has been usurped by film and TV media. But this production provides a rare opportunity to see ornate miniatures and mechanized special effects in a live performance.

The Seattle-based Carter Family Marionettes group, which will be featured in this production, has been working with puppets for more than 30 years.

“We build them ourselves. We carve the wood and paint all the scenery,” company founder Stephen Carter said. The Carters have toured the world with their puppets, performing from Uzbekistan to France to Mexico. Three generations of Carters are all involved in the production.

Puppet theater originates from the time of troubadours who traveled Europe singing epic poems about adventures full of magic, love and sword fighting, Carter said. When political satire was added to the mix, fussy rulers were dismayed. They decreed restrictions on the number of actors allowed on stage. The actors cleverly circumvented the laws by acting with dolls instead of live actors, and so marionettes were born.

“Marionettes are able to do fantastic things,” Carter said. “They can fly through the air. They can burst into flames. You can chop a character’s head off. We built a wave machine.”

In the 17th century, before the days of cinematic special effects, at royal courts “extremely elaborate stage mechanisms were constructed,” Carter said. “They had huge revolving drums with ropes and pulleys and an extraordinary amount of painting. Nobody can afford to build these sets live today. But we do it in half scale. Compared to (today’s) cinema magic the effects can seem naive … but it was really quite spectacular.” Having this happen on stage gives extra meaning to the phrase “deus ex machina.”

Only a handful of puppet opera productions have taken place in the past decade, and most use recorded music, Carter said.

In Magnificat’s Oct. 16 production, the singers will be in the pit with the musicians rather than on stage, and thus won’t act out the action as they normally would. At center stage are the 3-foot-tall puppets operated by metal rods. The opera is 90 minutes long and sung in Italian with translations in supertitles.

This will be the first of Magnificat’s four concerts this season, each featuring music from a different Italian city: Florence, Milan, Venice and Mantua. Stewart, who traveled in Italy this summer, said, “Although the cities are modern in every way, you are always aware of the past.”

Anybody who has been to Italy can confirm that thanks to the overload of art and architecture, history surely asserts itself, Stewart said. “Though I can’t afford to take my audience on a grand tour of Italy, we can do it musically.”