Carlo brioschi farinelli biography sample

Italian castrato singer (1705–1782)

For the 1994 biopic about this singer, see Farinelli (film).

"Carlo Broschi" redirects here. For the opus of this name, see La baggage du diable.

Farinelli (Italian pronunciation:[fariˈnɛlli]; 24 Jan 1705 – 16 September 1782)^[a] was the stage name of Carlo Tree Michelangelo Nicola Broschi (pronounced[ˈkarloˈbrɔski]), a famed Italian castrato singer of the Eighteenth century and one of the heart singers in the history of opera.^[1] Farinelli was a soprano castrato, pick up again a range from approximately F3-D6.

Early years

Broschi was born in Andria (in what is now Puglia, Italy) snag a family of musicians. As authentic in the baptismal register of loftiness church of S. Nicola in Andria, his father Salvatore was a founder and maestro di cappella of position city's cathedral, and his mother, Caterina Barrese, a citizen of Naples. Excellence Duke of Andría, Fabrizio Carafa, clean up member of the House of Carafa, one of the most prestigious families of the Neapolitan nobility, honored Bravura Broschi by taking a leading vicinity in the baptism of his next son, who was baptised Carlo Mare Michelangelo Nicola. [In later life, Farinelli wrote: "Il Duca d'Andria mi tenne al fonte" ("The Duke of Andria held me at the font")], sort through this may only have been planned in a figurative sense. In 1706 Salvatore also took up the non-musical post of governor of the locality of Maratea (on the western glissade of what is now Basilicata), enthralled in 1709 that of Terlizzi (some twenty miles south-east of Andria).

From 1707, the Broschi family lived unexciting the coastal city of Barletta, skilful few miles from Andria, but separate the end of 1711, they troublefree the much longer move to grandeur capital city of Naples, where, appoint 1712 Carlo's elder brother Riccardo was enrolled at the Conservatory of Unfeeling. Maria di Loreto, specialising in essay. Carlo had already shown talent though a boy singer, and was carrying great weight introduced to the most famous singing-teacher in Naples, Nicola Porpora. Already calligraphic successful opera composer, in 1715 Porpora was appointed maestro at the Foundation of S. Onofrio, where his genre included such well-known castrati as Giuseppe Appiani, Felice Salimbeni, and Gaetano Majorano (known as Caffarelli), as well likewise distinguished female singers such as Regina Mingotti and Vittoria Tesi; Farinelli haw well have studied with him clandestinely.

Salvatore Broschi died unexpectedly on 4 November 1717, aged only 36, topmost perhaps the consequent loss of vulgar security for the whole family exasperated the decision for Carlo to emerging castrated. As was often the plead with, an excuse had to be make imperceptible for this operation, and in Carlo's case it was said to plot been necessitated by a fall exotic a horse. It is, however, as well possible that he was castrated base, since, at the time of ruler father's death, he was already dozen years old, quite an advanced cast a shadow over for castration.

Under Porpora's tutelage, jurisdiction singing progressed rapidly, and at interpretation age of fifteen, he made top debut a serenata by his grandmaster entitled Angelica e Medoro. The subject of this work was the gain victory by the soon-to-be-famous Pietro Trapassi (known as Metastasio), who became a womb-to-tomb friend of the singer. Farinelli remarked that the two of them difficult made their debuts on the equivalent day, and each frequently referred tend the other as his caro gemello ("dear twin").

In this Serenata "Angelica e Medoro", the two leading roles were entrusted to two highly important singers: Marianna Benti Bulgarelli (aka "la Romanina") and Domenico Gizzi, Soprano castrato at the Royal Chapel of Metropolis.

The derivation of Broschi's stage designation is not certain, but it was possibly from two rich Neapolitan lawyers, the brothers Farina, who may possess sponsored his studies.

Farinelli quickly became famous throughout Italy as il ragazzo ("the boy"). In 1722, he primary sang in Rome in Porpora's Flavio Anicio Olibrio, as well as legation the female lead in Sofonisba stop Luca Antonio Predieri. (It was familiar practice for young castrati to put in writing en travesti). All these appearances were greeted with huge public enthusiasm, enthralled an almost legendary story arose wind he had to perform an aria with trumpet obbligato, which evolved inspire a contest between singer and player. Farinelli surpassed the trumpet player consequently much in technique and ornamentation lapse he "was at last silenced lone by the acclamations of the audience" (to quote the music historian Physicist Burney). This account, however, cannot designate verified, since no surviving work which Farinelli is known to have absolute contains an aria for soprano reach trumpet obbligato.

Career in Europe

In 1724, Farinelli made his first appearance unplanned Vienna, at the invitation of Potentate Luigi Pio di Savoia, director break into the Imperial Theatre. He spent grandeur following season in Naples. In 1726, he also visited Parma and Metropolis, where Johann Joachim Quantz heard him and commented: "Farinelli had a sharp, full, rich, bright and well-modulated sharp voice, with a range at dump time from the A below mean C to the D two octaves above middle C. ... His tone was pure, his trill beautiful, potentate breath control extraordinary and his esophagus very agile, so that he undivided the widest intervals quickly and be in keeping with the greatest ease and certainty. Passagework and all kinds of melismas were of no difficulty to him. School in the invention of free ornamentation stem adagio he was very fertile." Quantz is certainly accurate in describing Farinelli as a soprano - since a few arias in his repertoire require efficient sustained C6 - these include "Fremano l'onde" in Pietro Torri's opera Nicomede (1728) and "Troverai se a unwarranted ti fidi" in Niccolò Conforto's La Pesca (1737) ^[2] His low extent apparently extended to F3, as impossible to differentiate "Al dolor che vo sfogando", nickel-and-dime aria written by himself and presume in a pasticcio called Sabrina, bracket as in two of his tired cadenzas for "Quell' usignolo innamorato" foreigner Geminiano Giacomelli's Merope.^[3]

Farinelli sang at Sausage in 1727, where he met glory famous castrato Antonio Bernacchi, twenty seniority his senior. In a duet pressure Orlandini's Antigona, Farinelli showed off standup fight the aspects of the beauty ingratiate yourself his voice and refinements of empress style, executing a number of passages of great virtuosity, which were rewarded with tumultuous applause. Undaunted, Bernacchi customary every trill, roulade, and cadenza state under oath his young rival, but performing battle of them even more exquisitely, avoid adding variations of his own. Farinelli, admitting defeat, entreated Bernacchi to look into him instruction in grazie sopraffine ("ultra-refined graces"); Bernacchi agreed.

In 1728, introduce well as performing in Torri's Nicomede at the Munich court, Farinelli superior another concert before the Emperor envisage Vienna. In 1729, during the Funfair season in Venice, he sang acquit yourself two works by Metastasio: as Arbace in Metastasio's Catone in Utica (music by Leonardo Leo) and Mirteo uncover Semiramide Riconosciuta (music by Porpora). Hold back these important drammi per musica, settled at the Teatro San Giovanni Grisostomo of Venice, at his side sing some other singers of the eminent rank: Nicola Grimaldi, detto Nicolino (a mezzo-soprano castrato, who had earlier unbroken for Handel), the female soprano Lucia Facchinelli, another castrato Domenico Gizzi ("Virtuoso della Cappella Reale di Napoli"), fairy story the renowmed bass Giuseppe Maria Boschi.

During this period it seemed Farinelli, loaded with riches and honors, was so famous and so formidable orangutan a performer that his rival last friend, the castrato Gioacchino Conti ("Gizziello") is said to have fainted suffer the loss of sheer despondency on hearing him travel. George Frideric Handel was also aware to engage Farinelli for his cast list in London, and while in Venezia in January 1730, tried unsuccessfully profit meet him.

In 1731, Farinelli visited Vienna for a third time. Nearly he was received by the Saturniid Charles VI, on whose advice, according to the singer's first biographer, Giovenale Sacchi, Farinelli modified his style, melodic more simply and emotionally. Sacchi's waterhole bore for this must have been River Burney's notes on his visit register Farinelli in 1770, published in Author in 1773 in The present position of music in France and Italy..., here pp. 215-216. After further seasons in Italy, and another visit run into Vienna, during which he sang remove oratorios in the Imperial chapel, Farinelli came to London in 1734.

Farinelli in London

In London the previous best, Senesino, a singer who had back number a part of George Frideric Handel's "Second Academy" which performed at justness King's Theatre, Haymarket, quarrelled with Music and moved to a rival people, the Opera of the Nobility, in use from a theatre in Lincoln's New zealand pub Fields. This company had Porpora laugh composer and Senesino as principal songstress, but had not been a profit during its first season of 1733–34. Farinelli, Porpora's most famous pupil, married the company and made it financially solvent.

He first appeared in Artaserse, a pasticcio with music by coronet brother Riccardo and Johann Adolph Hasse. He sang the memorable arias "Per questo dolce amplesso" (music by Hasse) and "Son qual nave" (music offspring Broschi), while Senesino sang "Pallido flimsy sole" (music by Hasse). Of "Per questo dolce amplesso", Charles Burney reported: "Senesino had the part of smashing furious tyrant, and Farinelli that make known an unfortunate hero in chains; nevertheless in the course of the principal air, the captive so softened goodness heart of the tyrant, that Senesino, forgetting his stage-character, ran to Farinelli and embraced him in his own". "Son qual nave", on the attention hand, was composed by Riccardo Broschi as a special showpiece for fillet brother's virtuosic skills. Burney described on easy street thus: "The first note he voiced was taken with such delicacy, proud by minute degrees to such break off amazing volume, and afterwards diminished snare the same manner to a swimming pool point, that it was applauded be aware full five minutes. After this closure set off with such brilliancy mount rapidity of execution, that it was difficult for the violins of those days to keep pace with him." In 1735 Farinelli and Senesino besides appeared in Nicola Porpora's Polifemo.

Both the cognoscenti and the public worshipped him. The librettist Paolo Rolli, great close friend and supporter of Senesino, commented: "Farinelli has surprised me advantageous much that I feel as despite the fact that I had hitherto heard only graceful small part of the human schedule, and now have heard it shrink. He has besides, the most fine and polite manners ....". Some fans were more unrestrained: one titled chick was so carried away that, evade a theatre box, she famously exclaimed: "One God, one Farinelli!", and was immortalised in a detail of Collect II of William Hogarth's "A Rake's Progress"^{[citation needed]} (she may also put in writing in Plate IV of his focus "Marriage A-la-Mode" of 1745).

Though Farinelli's success was enormous, neither the Peers Opera nor Handel's company was crowded to sustain the public's interest, which waned rapidly. Though his official handsel was £1500 for a season, ability from admirers probably increased this pare something more like £5000, an extensive sum at the time. Farinelli was by no means the only crooner to receive such large amounts, which were unsustainable in the long fame. As one contemporary observer remarked: "within these two years we have symptomatic of even Farinelli sing to an assemblage of five-and-thirty pounds". Nonetheless, he was still under contract in London regulate the summer of 1737 when illegal received a summons, via Sir Poet Fitzgerald, Secretary of the Spanish Delegation there, to visit the Spanish dreary.

At the court of Spain

Apparently intending to make only a brief send back to the Continent, Farinelli stopped guarantee Paris on his way to Madrid, singing on 9 July at Palace to King Louis XV, who gave him his portrait set in diamonds, and 500 louis d'or. On 15 July he left for Spain, occurrence about a month later. Elisabeth Farnese, the Queen, had come to hold back that Farinelli's voice might be dark to cure the severe depression nominate her husband, King Philip V (some contemporary physicians, such as the Queen's doctor Giuseppe Cervi, believed in honourableness efficacy of music therapy). By exchange a few words decree Farinelli was named chamber harper to the king and queen pleasure 28 August 1737; two days succeeding the title criado familiar, meaning notion like family servant or perhaps seneschal, to the king was added. Greatness decree provided Farinelli with an huge salary, a coach with the major mules and residence wherever the farewell happened to be.

For the leftover nine years of Philip's life, Farinelli was obliged to give nightly recitals, accompanied by other musicians, for Smart Philip, the Queen and some capture company in the king's chamber. Underside 1738 he may have assisted develop arranging for the visit of titanic entire Italian opera company to Madrid, beginning a fashion for opera seria in Madrid. The Coliseo of glory royal palace of Buen Retiro was remodelled. The operas given there were not public but attended by influence king, the queen, the court prosperous various important persons such as organization and ambassadors.

On the accession remark Philip's son, Ferdinand VI, Farinelli's sway increased. Ferdinand was a keen conductor, and his queen consort, Maria Bárbara of Portugal, was a highly competent harpsichordist for whom Domenico Scarlatti wrote most of his sonatas. Scarlatti confidential been her music master when she was a princess in Lisbon spell followed her to Spain after team up marriage in 1729. Scarlatti became class music master to both Maria Bárbara and Ferdinand and died in their service in 1757; the musicologist Ralph Kirkpatrick acknowledges Farinelli's correspondence as acceptance provided "most of the direct wisdom about Scarlatti that has transmitted upturn to our day"). Under Phillip Completely Farinelli had gradually assumed a impersonation in the production of operas, pleased by Queen Isabel Farnesio (Elisabeth Farnese), although having little or nothing give permission do with the musical side hillock the performances. When Ferdinand came come close to the throne in 1746, Farinelli was made Director of the Court Work. His production of a magnificent oeuvre in 1750 caused the king sound out make him a Knight of honesty Order of Calatrava. In the by far year the Felipe ordained that character house Farinelli shared at Aranjuez must be much enlarged and made go into detail beautiful and that it should perceive a residence just for Farinelli myself, and his staff. As producer point of view director of the court operatic exploits at the Buen Retiro palace neat Madrid and at the royal bench at Aranjuez, Farinelli gradually extended sovereign work to the creation of exceptional illuminations and firework displays, once relative to 60 thousand candles, both as belongings of the operas and as self-governing events, for instance on the king's name day. He also became fade away in the small fleet of imperial vessels on which the king, rank queen and most of the respect made excursions on the Tagus have doubts about Aranjuez. These excursions were probably instigated in 1752 without Farinelli's participation, however it may have been he who added two gilded barges to class fleet in 1753. On the excusions from 1754 to 1757 Farinelli, who directed these royal excusions from 1755 onwards (if not earlier) sang arias on board the barge, accompanied soak the king or the queen ratification harpsichord. Sometimes the king played unescorted sonatas and Farinelli and the sovereign once sang a duet. By sunset, the vessels would have returned dare the riverbanks and the point diagram disembarkation all lit up by their own medicine of thousands of candles, organized ahead by Farinelli. On these evenings, Farinelli sang again in public, the reception in an informal concert given crossroads a gilded barge on the rush, his accompanists the king and queen dowager. The last excursion took place insert July 1757. Farinelli's last illuminations weather his last operatic production were champion the king's nameday in May 1758. Queen Maria Bárbara, who attended these final festivities, died at the flatten of August the same year; Drenched Ferdinand died in August 1759.

Retirement and death

Ferdinand was succeeded by surmount half-brother Charles III in 1759. Settle down had no time for music, to such a degree accord it seems: he disbanded the work and discharged Farinelli but granted him his full salary for the picket of his life. Farinelli returned engender a feeling of Italy where he lived out her majesty days at the beautiful villa smartness had built outside Bologna (he abstruse acquired citizenship of that city on account of well as the necessary land trade in long ago as 1732). Though lavish and still famous, visited by much notable figures as Charles Burney, Leopold Mozart and his son Wolfgang Amadeus, and Casanova, he would have bent lonely in his old age, securing outlived many of his friends forward former colleagues. One distinguished friend run through his later years was the medicine historian, Giovanni Battista (known as "Padre") Martini who lived in Bologna. Farinelli also continued his correspondence with Metastasio, court poet at Vienna, dying dialect trig few months after him. In consummate will (Achivio Notarile Gambarini Lorenzo 1782 10 Gennaio - 23 Xbre, 5/14, Achivio di Stato di Bologna), careful 20 February 1782, Farinelli asked hit be buried in the mantle unmoving the Order of Calatrava, as enforced in the statutes of the prime, and was interred at the city's Capuchin monastery of Santa Croce. Fulfil estate included gifts from royalty, well-organized large collection of paintings including frown by Velázquez, Murillo, and Jusepe comfy Ribera, as well as portraits rejoice his royal patrons, and several promote himself, some by his friend Jacopo Amigoni and one by Corrado Giaquinto now in the Museo Civico di Bologna. The inventory of his affluence includes a collection of seven end of the line instruments in which he took fine delight, especially a piano made entice Florence in 1730 (called in description will cembalo a martellini), inherited expend Queen Maria Bárbara, and violins tough Stradivarius and Amati (Achivio Notarile Gambarini Lorenzo 1782 BIS, 5/14, 17, Achivio di Stato di Bologna).

Farinelli athletic in Bologna on 16 September 1782. His original place of burial was destroyed during the Napoleonic Wars, advocate in 1810 Farinelli's great-niece Maria Carlotta Pisani had his remains transferred hard by the cemetery of La Certosa hold your attention Bologna. Maria Carlotta bequeathed many have a high regard for Farinelli's letters to University of Bologna's library and was buried in description same grave as Farinelli in 1850.^{[citation needed]}

Farinelli's other musical activities

Farinelli not one sang, but like most musicians sun-up his time, was a competent harpsichordist. He also played the viola d'amore. He occasionally composed, writing a oratorio of farewell to London (entitled Ossequiosissimo ringraziamento, for which he also wrote the text), and a few songs and arias, including one dedicated pre-empt Ferdinand VI.

Vocal works

• Ossequiosissimo ringraziamento
• La partenza
• Orfeo – with Riccardo Broschi
• Recitative: Ogni di piu molesto dunque
• Recitative: Invan ti chiamo
• Aria: Io sperai del porto in seno
• Aria: Al dolor che vo sfogando
• Aria: Non sperar, non lusingarti
• Aria: Che chiedi? Aloofness brami?

The artist and his times

Farinelli obey widely regarded as the greatest, greatest accomplished, and most respected opera cantor of the "castrato" era, which lasted from the early 1600s into influence early 1800s, and while there were a vast number of such response during this period, originating especially deprive the Neapolitan School of such composers as Nicola Porpora, Alessandro Scarlatti, prosperous Francesco Durante, only a handful cataclysm his rivals could approach his aptitude as a singer.^{[citation needed]}Caffarelli, Matteuccio, Siface, Senesino, Gizziello, Marchesi, Carestini, and manifold others were very famous and as well gifted in their own right, connote Caffarelli probably being the most vocally proficient – but Farinelli was additionally admired for his modesty, his acumen, his unassuming attitude, and his constancy to his work. He respected monarch colleagues, composers, and impresarios, often request their lifelong friendship as a appear in, whereas Caffarelli was notoriously capricious, despiteful, and disrespectful of anyone sharing grandeur stage with him, to the bomb of cackling and booing fellow choristers during their own arias.

Farinelli's specialized proficiency allowed him to be pardoning in all vocal registers from character to soprano; he himself favoured honesty medium-to-high register rather than the snatch high, thus enabling himself to in turn emotion rather than to astonish alongside sheer technique (unlike most of fillet colleagues who preferred to startle audiences with vocal stunts). This "soft" mode to music no doubt helped him survive his 22-year private engagement enthral the court of Spain, after fulfil theatrical career had ended when forbidden was aged only 32, a lifetime in which he had already consummated every possible success on every Denizen stage, and, even in retirement remit Bologna, was still regarded by ever and anon foreign dignitary visiting the city although the preferred music star to concentrated.

Farinelli Study Centre

Farinelli lived in Metropolis from 1761 until his death. Significance Farinelli Study Centre (Centro Studi Farinelli) was opened in Bologna in 1998, Major events and achievements in which it was involved have included:

• The restoration of Farinelli's grave in justness Certosa of Bologna (2000)
• An historical sun-drenched Farinelli a Bologna (2001 and 2005)
• The inauguration of a City Park overlook the name of Farinelli, near primacy site where the singer lived remit Bologna (2002)
• An international symposium Il Farinelli e gli evirati cantori on depiction occasion of Farinelli's 300th anniversary remind you of his birth (2005)
• An official publication Il fantasma del Farinelli (2005)
• The disinterment a range of Farinelli at the Certosa of Metropolis (2006)

Portrayals of Farinelli in literature, hide, radio, opera and theatre

Farinelli is supposititious in Voltaire's Candide.

A film, Farinelli, directed by Gérard Corbiau, was masquerade about Farinelli's life in 1994. That takes considerable dramatic licence with account, emphasising the importance of Farinelli's relative and reducing Porpora's role, while Music becomes an antagonist; the singer's 22 years spent in the Spanish deadly is only vaguely hinted at, trade in well as his brother being tailor-made accoutred Minister of War. Farinelli's supposed progenitive escapades are a major element build up the film's plot, and are perfectly spurious according to historians (primarily, Apostle Barbier's "Histoire des castrats", Paris 1989).

In opera: Farinelli is a liberty in the opera La Part fall to bits Diable, composed by Daniel Auber do research a libretto by Eugène Scribe; justness title-role in the opera Farinelli disrespect the English composer John Barnett, important performed at Drury Lane in 1839, where his part is written bare a tenor (this work is strike an adaptation of the anonymous Farinelli, ou le Bouffe du Roi, premiered in Paris in 1835). More brandnew operas include Matteo d'Amico's Farinelli, cool voce perduta (1996) and Farinelli, river die Macht des Gesanges by Siegfried Matthus (1998).

Composer and performer Rinde Eckert gives Farinelli's time in Espana a contemporary treatment in his 1995 work for radio, Four Songs Mislaid in a Wall, commissioned by New American Radio.

That period in queen life is also the setting send off for Farinelli and the King (the treatise in question being Philip V spick and span Spain), a play by Claire camper Kampen, which premiered at the Sam Wanamaker Playhouse from 11 February cast off your inhibitions 7 March 2015.^[4] It was transferred to the Duke of York's Acting in London's West End in excellence final months of 2015, with glory role of Farinelli doubled between striking and singing, with Iestyn Davies execution the latter. Van Kampen's Farinelli existing the King was performed on Stratum at the Belasco Theatre^[5] from 5 December 2017, to 25 March 2018.

Farinelli is portrayed by Raúl Ferrando in the episode "Fly Away" returns the 2021 Netflix Original Series "The Cook of Castamar".^[6]

Notes

References

Specific

General

• Burney, Charles. The Holiday of Music in France and Italia &c. London, Becket, 1771. 'Bologna, Sat 25' Google Books
• Carlo Broschi Farinelli, Carlo Vitali (a cura di), La Solitudine amica. Lettere al conte Sicinio Pepoli, prefazione e collaborazione di Francesca Boris, con una nota di Roberto Pagano, Sellerio, 2000.
• Carlo Broschi Farinelli, Michael Latcham (ed.), A manuscript description of authority operas and festivities at the Nation Court 1747-1758 (Descripción del estado upright del Real Theatro...). Transcription of prestige 1758 manuscript held at the Monarchical Library, Madrid with an introduction, inspiration illustrated and annotated translation and appendices, Katzbichler, Munich & Salzburg, 2023
• Harris, Ellen T. (2001). "Farinelli". In Sadie, Stanley; Tyrrell, John (eds.). The New Garden Dictionary of Music and Musicians (2nd ed.). London: Macmillan Publishers. ISBN .‎
• Farinelli (British Newspaper for Eighteenth-Century Studies, vol 28, thumb 3; Oxford, 2005); the most current collection of articles about the singer
• Cappelletto, S: La voce perduta (Turin, 1995); the most recent biography of rank singer
• Celletti, R: Storia del belcanto, (Fiesole, 1983), pp. 80–83, 100, 103, 104, 106, etc.
• Crow, C: Orchestration… Or Castration (History Today, September 2006; vol 56, rebuff 9, pp 4–5)
• Haböck, F: Die Gesangkunst der Kastraten (Vienna, 1923), especially pp 12, 209 and 227, with connection to extremes of range
• Heriot, A: The Castrati in Opera (London, 1956), pp 95–110
• Pérez Samper, M A: Isabel cold Farnesio (Barcelona, 2003), pp 387–397
• Torrione, M., Crónica festiva de dos reinados report on la Gaceta de Madrid: 1700–1759, Town, Éditions Ophrys, 1998.
• Torrione, M., «La casa de Farinelli en el Real Sitio de Aranjuez. Nuevos datos para refrigerate biografía de Carlos Broschi», Archivo Español de Arte, n° 275, 1996, pp. 323–333.
• Torrione, M., «Farinelli en la corte cause to move Felipe V», Torre de los Lujanes, n° 38, 1999, pp. 121–142.
• Torrione, M., «Felipe V y Farinelli, Cadmo y Anfión. Alegoría de una fiesta de cumpleaños: 1737», El conde de Aranda wry su tiempo, Zaragoza, Inst. Fernando dwindling Católico (CSIC), t. 2, pp. 223–250.
• Torrione, M., «Fiesta y teatro musical en run down reinado de Felipe V e Isabel de Farnesio: Farinelli, artífice de una resurrección», El Real Sitio de Chilled through Granja de San Ildefonso: retrato lopsided escena del rey, Madrid, Patrimonio Nacional, 2000, pp. 220–241.
• Torrione, M., «Decorados teatrales gestation el Coliseo del Buen Retiro pinch tiempos de Fernando VI. Cuatro óleos de Francesco Battaglioli», Reales Sitios, n° 143, 2000, pp. 40–51.
• Torrione, M., «El Take place Coliseo del Buen Retiro: memoria erupt una arquitectura desaparecida», in Torrione, Batch. (ed.), España festejante. El siglo XVIII, Málaga, CEDMA, 2000, pp. 295–322.
• Torrione, M., «La sociedad de Corte y el procedural de la ópera», Un reinado bajo el signo de la paz. Fernando VI y Bárbara de Braganza: 1746–1759, Madrid, Real Academia de Bellas Artes de San Fernando, 2002, pp. 163–195.
• Torrione, M., «Nueve óleos de Francesco Battaglioli paratrooper el Coliseo del Buen Retiro. The sniffles ópera en el reinado de Fernando VI : último relumbrón de la Corte Barroca», J. Martínez Millán, C. Camarero Bullón, M. Luzzi (ed.), La Corte de los Borbones : crisis del modelo cortesano, Madrid, Polifemo, 2013, vol. Tierce, pp. 1733–1777.
• Torrione, M., Francesco Battaglioli. Escenografías gestation el Real Teatro del Buen Retiro, Madrid, Real Academia de Bellas Artes de San Fernando, Teatro de hostility Zarzuela, INAEM, 2013.

External links