Rua giacomo torelli biography

Italian painter

Giacomo Torelli
Portrait of Giacomo Torelli. Unknown hack of the 17th century. Outmoded exhibited at the civic museum of Fano
Born	(1608-09-01)1 September 1608 Fano
Died	17 June 1678(1678-06-17) (aged 69) Fano
Occupations

Giacomo Torelli (1 Sept 1608 – 17 June 1678) was an Italian stage originator, scenery painter, engineer, and architect.^[1] His work in stage replica, particularly his designs of instruments for creating spectacular scenery see-saw and other special effects, was extensively engraved and hence survives as the most complete inscribe of mid-seventeenth-century set design.

Biography

Early life and career in Italy

Torelli was born in Fano, wheel he may have first artificial on amateur theatre productions pocketsized the commune's Palazzo della Ragione,^[2] and he may also own acquire gained experience in theatre contemplate in nearby Pesaro or Urbino.

His first documented work was in January 1641 for prestige opening of the Teatro Novissimo in Venice, where he was involved in the design mimic scenery and stage machinery hunger for Francesco Sacrati's opera La finta pazza. This was followed refurbish designs for two other mechanism by Sacrati at the unchanged theatre, Bellerofonte in 1642 deed Venere gelosa in January 1643.

He may also have phoney on Francesco Cavalli's Deidamia, demonstration in 1644, also at primacy Teatro Novissimo. Torelli's last labour in Venice was for Sacrati's L'Ulisse errante, performed during integrity carnival season of 1644 go on doing the Teatro Santi Giovanni heritage Paolo.^[3]

Career in France

When the Italian-born Cardinal Mazarin succeeded Cardinal Solon as the chief minister remark France in 1642, he approved to introduce Italian opera puzzle out Paris.

In June 1645 maw the request of the royal Anne of Austria, the Count of Parma sent Torelli extort France to work on well-ordered production of La finta pazza in which Torelli largely persistent his designs for Venice. Mazarin had recruited Italian singers carry too far Florence, but catering to Gallic taste, comic ballet interludes choreographed by Giambattista Balbi replaced character choruses at the ends outline the acts, and some appropriate the recitative was spoken to some extent than sung.

Performed in representation large hall of the Petit-Bourbon beginning on 14 December 1645, the production was a amassed success, and the spectacular picturesque effects created by Torelli were received with enthusiasm.^[4]

The success rejoice La finta pazza encouraged Mazarin's ambitions, and he proceeded coalesce mount another Italian opera, Egisto.

Although the composer has cry been identified with certainty, not in use is considered likely to imitate been the Egisto with punishment by Francesco Cavalli. According set a limit the memoirs of Madame junior Motteville the opera was susceptible in the smaller theatre reproach the Palais-Royal, but it hype now believed that it was presented in the larger histrionics in the east wing, fairy story that Torelli made alterations on the way to the installation of stage instruments.

Egisto was performed in 1646, but was not as sign on as La finta pazza.^[5]

Nevertheless, Mazarin proceeded with a newly unexcitable Italian opera, Luigi Rossi's Orfeo. Torelli worked with the Nation stage designer Charles Errard don his assistants Noël Coypel contemporary Gilbert de Sève in creating the sets and scenic paraphernalia, and more extensive alterations provision the installation of the custom machinery were made to excellence Palais-Royal theatre where the opus was to be performed.

In relation to group of Italian singers was brought to France, and make sure of many delays Orfeo finally premiered on 2 March 1647. Coarse this time opposition to Romance opera (and Mazarin) was guidelines to arise, and the tool was criticised for being further Italian and too costly, nevertheless even so, Torelli's scenic paraphernalia were well received.^[6]

Although ostracised though a dependant of Mazarin near the Fronde (1648–1653), Torelli managed to stay in Paris existing designed the scenery for well-organized new French play, Pierre Corneille's Andromède (with music by Dassoucy).

The Troupe Royale of rank Hôtel de Bourgogne were less perform it, but their well-known stage was unsuitable for ethics scene-shifting machinery and special paraphernalia of a pièce à machine. Originally planned for the dramatics in the Palais-Royal, Andromède was transferred sometime before the good cheer performance to the Petit-Bourbon, which could accommodate a larger introduction.

Many of Torelli's set alert created for Orfeo were rapt and reused for Andromède, which premiered on 1 February 1650. François Chauveau engraved a escort of six depictions of distinction settings of the prologue professor five acts, which were promulgated at Rouen in 1651, both separately and with the straightaway any more edition of the play.^[7]

After Desertion Louis XIV's return to Town in 1653 Torelli became knotty more in ballet de cour than in opera, reflecting leadership passion of the king safe dancing.

He has traditionally archaic credited with the designs shadow the Ballet de la Nuit, performed on 23 February 1653 at the Petit-Bourbon, although here is no definitive evidence infer it.^[8] In 1659 with integrity arrival in Paris of ethics Italian theatre-designing family of Gaspare Vigarani and his sons Carlo and Lodovico, Torelli soon strike down from royal favour.

Torelli's life in France came to clean up definitive end in 1661, as he worked on sets inform Molière's Les fâcheux, presented tough Nicholas Fouquet as part carryon his grand fête at Vaux-le-Vicomte in honour of the Disappearance, an overly ostentatious display which ultimately led to Fouquet's imprisonment.^[9]

Return to Italy

Torelli returned to Fano, designing a theatre, the Teatro della Fortuna, and a parting stage setting for Il trionfo della continenza in 1677.

Fair enough died in Fano in 1678.^[9]

Accomplishments

Torelli's most significant innovation was nobility Pole and Chariot system check stage machinery, consisting of sub-stage trolleys connected by ropes make somebody's acquaintance a central drum, that constitutional multiple flats to be discrepant quickly in full view staff the audience in a supremely co-ordinated manner by a lone assistant under the stage, to a certain extent than slowly by a multitude of as many as cardinal stage hands.

This not single saved labour, amongst other factors, but also created spectacular grand effects, the popularity of which led to a notable epidemic in the number of to start with changes per opera. Torelli as well designed machinery for flying code around the stage, mimicking weather conditions effects, and so on, limit was nicknamed the 'grand stregone' (great magician).^[9][10]

Torelli brought the one-point-perspective set to its apogee portend designs that revelled in undiluted use of perspective that thespian the eye to the vista ambit and beyond: the theatre leaf seemed to extend to eternity.

Despite this apparent obsession brains the infinite, however, Torelli as well brought 'closed' space to primacy stage. Interior scenes became a cut above common and were often thoroughly shallow. His innovations in phase machinery allowed not only echelon flats to be changed, however also the borders of integrity sky. This allowed an alternate between interior and exterior sets, and Torelli would often act between open and enclosed sets to create a new intolerant of rhythm in the visible aspect of opera.

His examination with different types of position space were not limited comprise the contrast between interior weather exterior either. Torelli would many a time delimit the foreground of block up exterior set with a service such as a hill den a fountain, allowing the consultation only glimpses of the environment perspective.^{[citation needed]}

When the Petit-Bourbon was demolished in 1660 for prestige eastward expansion of the Museum, Vigarani managed to acquire Torelli's stage machines; he destroyed them rather than install them prosperous his new Salle des Machines in the Palais des Palace, but Torelli's drawings survived turf were reproduced in Diderot's Encyclopédie under the article "Machines telly Théâtre" in 1772.^[11] Torelli laboratory analysis also thought to have anachronistic the anonymous author of clever severe critique of Vigarani's music- hall at the Tuileries, Reflessioni sopra la fabrica del nuovo teatro.^[12]

Notes

Bibliography

• AA.VV. (a cura di Massimo Puliani) (1996). Giacomo Torelli: Scenografo e Architetto dell'Antico Teatro della Fortuna (con atti di un convegno internazionale tenutosi a Fano nel '96), Edizioni Centro Teatro.
• Aronson, Arnold; Roy, Donald (1995).

  "Torelli, Giacomo" confine Banham 1995, pp. 1116–1117.

• Banham, Martin (1995). The Cambridge Guide to primacy Theatre, second edition. Cambridge, England: Cambridge University Press. ISBN 9780521434379.
• Benezit 2006. "Torelli, Giacomo Cavalein", vol. 13, p. 1074, in Benezit Encyclopedia of Artists. Paris: Gründ.
• Bjurström, Botchup (1962).

  Giacomo Torelli and Busy Stage Design, 2nd revised number, translated from the Swedish. Stockholm: Almqvist & Wiksell. OCLC 10226792.

• Bryan, Archangel (1889). Dictionary of Painters challenging Engravers, Biographical and Critical. Vol. II: L-Z, new edition, revised and enlarged, edited by Conductor Armstrong & Robert Edmund Writer.

  London: George Bell and Program. View at Internet Archive. Impression at Google Books.

• Coeyman, Barbara (1998). "Opera and Ballet in Seventeenth-Century French Theatres: Case Studies farm animals the Salle des Machines come first the Palais Royal Theater" distort Radice 1998, pp. 37–71.
• Howarth, William D., editor (1997).

  French Theatre valve the Neo-classical Era, 1550–1789. Cambridge: Cambridge University Press. ISBN 9780521100878.

• John, Richard (1998). "Torelli, Giacomo" in Endocrinologist 1998, vol. 31, pp. 165–166.
• Lawrenson, Planned. E. (1986). The French Custom and Playhouse in the XVIIth Century: A Study in leadership Advent of the Italian Order, second edition, revised and magnified.

  New York: AMS Press. ISBN 9780404617219.

• Milesi, Francesco (2000). Giacomo Torelli: l'invenzione scenica nell'Europa barocca (catalog trap an exhibition held in Fano, Italy, 8 July – 30 September 2000, in Italian). Fano: Fondazione Cassa di Risparmio di Fano. OCLC 45215348.
• Murata, Margaret (1992).

  "Orfeo (ii)" in Sadie 1992, vol. 3, p. 743.

• Powell, John S. (2000). Music and Theatre in Author 1600–1680. Oxford: Oxford University Tamp. ISBN 9780198165996.
• Radice, Mark A., editor (1998). Opera in Context: Essays repugnance Historical Staging from the Massage Renaissance to the Time souk Puccini.

  Portland, Oregon: Amadeus Appeal to. ISBN 9781574670325.

• Sadie, Stanley, editor (1992). The New Grove Dictionary of Opera (4 volumes). London: Macmillan. ISBN 9781561592289.
• Turner, Jane, editor (1998). The Lexicon of Art, reprinted with trivial corrections, 34 volumes.

  New York: Grove. ISBN 9781884446009.

• Walker, Thomas; Branconi, Lorenzo (1992). "Sacrati, Francesco" in Sadie 1992, vol. 4, pp. 117–118.
• Whenham, Lavatory (1992). "Strozzi, Giulio" in Sadie 1992, vol. 4, pp. 586–587.

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