Life
His training took place in a context dominated by the Arcadian style and the nascent gallantry of the Rococo, while his maturity saw him operating in an era in which the reforming spirit of the Enlightenment fully joined these styles.
Francesco Araja, born in Naples in 1709, was one of the most illustrious exponents of the Neapolitan Musical School and a pioneer who brought the prestige of Italian opera to the heart of the Russian Empire. Raised in a family of musicians, he received his first lessons from his father Angelo and his grandfather Pietro Aniello, later perfecting his skills, it is presumed, at the school of great masters such as Leonardo Vinci or Leonardo Leo. His talent blossomed early and, at only twenty years old, he began a brilliant career as an opera composer that saw him acclaimed in the most important theaters of Italy, from Naples to Rome, from Milan to Venice.
The turning point of his life occurred in 1735, when his fame reached as far as Russia. He was invited to Saint Petersburg along with an Italian opera company to assume the prestigious post of maestro di cappella at the court of Empresses Anna and Elizabeth. His arrival marked a historic moment: his opera La forza dell'amore e dell'odio was the first Italian melodrama ever performed in Russia, an event celebrated with the printing of the first libretto in the Russian language. This success was only the beginning of a long and fruitful partnership with the imperial court.
For over twenty years, Araja dominated the Russian musical scene, composing a series of opere serie on Italian librettos that consolidated the operatic tradition in the country. Titles such as Il finto Nino, Artaserse, and Scipione were received with enthusiasm, demonstrating his ability to create music of great dramatic impact and melodic refinement. His masterpiece, however, arrived in 1755 with Cephalus and Procris, a work that marked a milestone in the history of music. It was the first opera ever to be set to a libretto in the Russian language, written by the poet Alexander Petrovich Sumarokov, and interpreted by Russian singers.
After this triumph, which earned him rich gifts from Empress Elizabeth, Araja continued to compose for the court. He made a brief return to Italy in 1759 but was recalled to Russia in 1762 for the coronation of Tsar Peter III. Following the deposition and assassination of the Tsar, he decided to leave Russia permanently, taking with him a cultural legacy of inestimable value. He spent the final years of his life in Italy, still composing an oratorio and an opera, and passed away in Bologna around 1770.
Aneddoto
The birth of Russian opera
On March 7, 1755, at the court of Saint Petersburg, an event destined to go down in history took place. Francesco Araja presented his new opera, Cephalus and Procris. The novelty was not just in the music, but in the fact that, for the first time, an opera was sung entirely in the Russian language, to verses by the national poet Alexander Sumarokov and with a cast of Russian singers. It was a resounding success. Empress Elizabeth, enthusiastic, wanted to generously reward the Neapolitan composer, giving him one hundred imperial gold coins and a lavish carriage. With that opera, Araja not only conquered the court but sowed the seed from which the great Russian operatic tradition would flourish.Works
Francesco Araja's production is a magnificent example of the eighteenth-century Italian operatic style, characterized by great lyricism, formal elegance, and a profound sense of theater. His career began with comic operas in the Neapolitan dialect, such as Lo matremmonejo pe' mennetta (1729), before quickly establishing himself in the serious genre with works like Berenice (Florence, 1730) and Semiramide riconosciuta (Naples, 1731), which made him known in the main Italian theaters.
His long stay in Russia as imperial maestro di cappella gave life to a series of highly successful works that introduced and consolidated the taste for Italian melodrama at the court of the Tsars. Among the most important titles of this period are La forza dell'amore e dell'odio (Saint Petersburg, 1736), the first Italian opera performed in Russia, Seleuco (Moscow, 1744), Scipione (Saint Petersburg, 1745), and Alessandro nell'Indie (Saint Petersburg, 1755), which highlight his mastery of vocal writing and his ability to create highly effective music.
His most lasting contribution is represented by Цефал и Прокрис (Cephalus and Procris), staged in Saint Petersburg in 1755. This was the first opera set to a libretto in the Russian language, an event of exceptional significance that consecrates him as a key figure in the birth of Russian musical theater. His production also includes oratorios, such as La Natività di Gesù, and several occasional cantatas, including La gara dell'amore e dello zelo and Amor prigioniero on texts by Pietro Metastasio, which confirm his extraordinary versatility and leading role in the European musical landscape of the time.
Briciole di storia
Pubblico dominio (Commons)
