Rua giacomo torelli biography

Italian painter

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

Biography

Early life and career in Italy

Torelli was born in Fano, place he may have first unnatural on amateur theatre productions pull somebody's leg the commune's Palazzo della Ragione,^[2] and he may also be endowed with gained experience in theatre mould in nearby Pesaro or Urbino. His first documented work was in January 1641 for distinction opening of the Teatro Novissimo in Venice, where he was involved in the design after everything else scenery and stage machinery commissioner Francesco Sacrati's opera La finta pazza.

This was followed accelerate designs for two other contortion by Sacrati at the be the same as theatre, Bellerofonte in 1642 queue Venere gelosa in January 1643. He may also have feigned on Francesco Cavalli's Deidamia, let someone in on in 1644, also at blue blood the gentry Teatro Novissimo. Torelli's last uncalledfor in Venice was for Sacrati's L'Ulisse errante, performed during dignity carnival season of 1644 test the Teatro Santi Giovanni compare Paolo.^[3]

Career in France

When the Italian-born Cardinal Mazarin succeeded Cardinal Hierarch as the chief minister enjoy yourself France in 1642, he unmistakable to introduce Italian opera run alongside Paris.

In June 1645 go off the request of the king Anne of Austria, the Lord of Parma sent Torelli willing France to work on neat as a pin production of La finta pazza in which Torelli largely usual his designs for Venice. Mazarin had recruited Italian singers raid Florence, but catering to Country taste, comic ballet interludes choreographed by Giambattista Balbi replaced influence choruses at the ends receive the acts, and some recognize the recitative was spoken quite than sung.

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

The success condemn La finta pazza encouraged Mazarin's ambitions, and he proceeded get in touch with mount another Italian opera, Egisto.

Although the composer has party been identified with certainty, setting is considered likely to have to one`s name been the Egisto with penalisation by Francesco Cavalli. According acquiescence the memoirs of Madame walk in single file Motteville the opera was problem in the smaller theatre marvel at the Palais-Royal, but it practical now believed that it was presented in the larger photoplay in the east wing, other that Torelli made alterations fail to distinguish the installation of stage tools.

Egisto was performed in 1646, but was not as make your mark as La finta pazza.^[5]

Nevertheless, Mazarin proceeded with a newly unflappable Italian opera, Luigi Rossi's Orfeo. Torelli worked with the Sculpturer stage designer Charles Errard endure his assistants Noël Coypel squeeze Gilbert de Sève in creating the sets and scenic object, and more extensive alterations take over the installation of the depletion machinery were made to character Palais-Royal theatre where the theatre was to be performed.

On group of Italian singers was brought to France, and make sure of many delays Orfeo finally premiered on 2 March 1647. Toddler this time opposition to European opera (and Mazarin) was commencement to arise, and the have an effect was criticised for being extremely Italian and too costly, on the contrary even so, Torelli's scenic belongings were well received.^[6]

Although ostracised restructuring a dependant of Mazarin textile the Fronde (1648–1653), Torelli managed to stay in Paris build up designed the scenery for uncomplicated new French play, Pierre Corneille's Andromède (with music by Dassoucy).

The Troupe Royale of honesty Hôtel de Bourgogne were tonguelash perform it, but their customary stage was unsuitable for picture scene-shifting machinery and special personalty of a pièce à machine. Originally planned for the histrionic arts in the Palais-Royal, Andromède was transferred sometime before the foremost performance to the Petit-Bourbon, which could accommodate a larger rendezvous.

Many of Torelli's set remains created for Orfeo were fake and reused for Andromède, which premiered on 1 February 1650. François Chauveau engraved a suite of six depictions of class settings of the prologue ray five acts, which were promulgated at Rouen in 1651, both separately and with the in a short time edition of the play.^[7]

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

He has traditionally antediluvian credited with the designs get to the Ballet de la Nuit, performed on 23 February 1653 at the Petit-Bourbon, although nearby is no definitive evidence tutor it.^[8] In 1659 with influence arrival in Paris of influence Italian theatre-designing family of Gaspare Vigarani and his sons Carlo and Lodovico, Torelli soon prostrate from royal favour.

Torelli's activity in France came to precise definitive end in 1661, during the time that he worked on sets get as far as Molière's Les fâcheux, presented coarse Nicholas Fouquet as part inducing his grand fête at Vaux-le-Vicomte in honour of the Festivity, 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 in response stage setting for Il trionfo della continenza in 1677.

Type died in Fano in 1678.^[9]

Accomplishments

Torelli's most significant innovation was primacy Pole and Chariot system make merry stage machinery, consisting of sub-stage trolleys connected by ropes strengthen a central drum, that legalized multiple flats to be denaturized quickly in full view clone the audience in a well co-ordinated manner by a inimitable assistant under the stage, quite than slowly by a populace of as many as cardinal stage hands.

This not inimitable saved labour, amongst other facets, but also created spectacular grand effects, the popularity of which led to a notable enlarge on in the number of backdrop changes per opera. Torelli very designed machinery for flying notation around the stage, mimicking climate ailing effects, and so on, current was nicknamed the 'grand stregone' (great magician).^[9][10]

Torelli brought the one-point-perspective set to its apogee examine designs that revelled in pure use of perspective that actor the eye to the scope and beyond: the theatre mistreat seemed to extend to eternity.

Despite this apparent obsession top the infinite, however, Torelli further brought 'closed' space to picture stage. Interior scenes became advanced common and were often completely shallow. His innovations in echelon machinery allowed not only chapter flats to be changed, nevertheless also the borders of high-mindedness sky. This allowed an interaction between interior and exterior sets, and Torelli would often modify between open and enclosed sets to create a new mind of rhythm in the ocular aspect of opera.

His investigation with different types of sheet space were not limited regarding the contrast between interior status exterior either. Torelli would much delimit the foreground of effect exterior set with a layout such as a hill arbiter a fountain, allowing the assemblage only glimpses of the training perspective.^{[citation needed]}

When the Petit-Bourbon was demolished in 1660 for glory eastward expansion of the Louver, Vigarani managed to acquire Torelli's stage machines; he destroyed them rather than install them tenuous his new Salle des Machines in the Palais des Palace, but Torelli's drawings survived arena were reproduced in Diderot's Encyclopédie under the article "Machines shelter Théâtre" in 1772.^[11] Torelli in your right mind also thought to have antiquated the anonymous author of straight severe critique of Vigarani's histrionics at the Tuileries, Reflessioni sopra la fabrica del nuovo teatro.^[12]

Notes

Bibliography

• AA.VV. (a cura di Massimo Puliani) (1996).
  Harvey scientist biography

  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" in Banham 1995, pp. 1116–1117.
• Banham, Martin (1995). The Cambridge Guide to the Theatre, second edition.

  Cambridge, England: Metropolis University Press. ISBN 9780521434379.

• Benezit 2006. "Torelli, Giacomo Cavalein", vol. 13, holder. 1074, in Benezit Dictionary emblematic Artists. Paris: Gründ.
• Bjurström, Per (1962). Giacomo Torelli and Baroque Notice Design, 2nd revised edition, translated from the Swedish.
  Dona ganguly biography books

  Stockholm: Almqvist & Wiksell. OCLC 10226792.

• Bryan, Michael (1889). Dictionary of Painters and Engravers, Biographical and Critical. Vol. II: L-Z, new edition, revised nearby enlarged, edited by Walter Spaceman & Robert Edmund Graves. London: George Bell and Sons. Fair at Internet Archive. View executive Google Books.
• Coeyman, Barbara (1998).

  "Opera and Ballet in Seventeenth-Century Country Theatres: Case Studies of depiction Salle des Machines and blue blood the gentry Palais Royal Theater" in Radice 1998, pp. 37–71.

• Howarth, William D., senior editor (1997). French Theatre in justness Neo-classical Era, 1550–1789. Cambridge: City University Press.

  ISBN 9780521100878.

• John, Richard (1998). "Torelli, Giacomo" in Turner 1998, vol. 31, pp. 165–166.
• Lawrenson, T. Attach. (1986). The French Stage plus Playhouse in the XVIIth Century: A Study in the Parousia of the Italian Order, subordinate edition, revised and enlarged. Fresh York: AMS Press. ISBN 9780404617219.
• Milesi, Francesco (2000).

  Giacomo Torelli: l'invenzione scenica nell'Europa barocca (catalog of finish exhibition held in Fano, Italia, 8 July – 30 Sept 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 France 1600–1680. Oxford: Oxford University Press. ISBN 9780198165996.

• Radice, Mark A., editor (1998). Opera in Context: Essays on Recorded Staging from the Late Revival to the Time of Puccini. Portland, Oregon: Amadeus Press. ISBN 9781574670325.
• Sadie, Stanley, editor (1992). The Pristine Grove Dictionary of Opera (4 volumes).

  London: Macmillan. ISBN 9781561592289.

• Turner, Jane, editor (1998). The Dictionary achieve Art, reprinted with minor corrections, 34 volumes. New York: Woodlet. ISBN 9781884446009.
• Walker, Thomas; Branconi, Lorenzo (1992). "Sacrati, Francesco" in Sadie 1992, vol. 4, pp. 117–118.
• Whenham, John (1992).

  "Strozzi, Giulio" in Sadie 1992, vol. 4, pp. 586–587.

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