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COMPOSERS

Life

Formed at the height of Arcadia, his mature career expressed itself in a context of great stylistic richness, where the solid Arcadian structure confronted and merged with the elegance of the Rococo and the new ideas of the Enlightenment.

Born in Naples in 1698, Riccardo Broschi trained as a musician in the Neapolitan school, which in the 18th century was one of the most influential centers in Europe. He was the brother of Carlo Broschi, who went down in history under the name of Farinelli, and this family bond contributed to his career.

He was active as a composer of operas, bringing his works to the main Italian and foreign theaters. He spent a period in London, where he participated in the lively musical scene, and later moved to Madrid, in service to the Spanish court.

He died in the Spanish capital in 1756, leaving a body of work that reflects the elegance and vitality of the Neapolitan tradition.

Aneddoto

The bond with Farinelli

Many of Broschi's works were performed precisely by his brother Carlo, who brought new fame to his compositions thanks to his extraordinary voice.

Works

Among the works of Riccardo Broschi, La Merope, performed in Turin in 1737, and other tragedies in music that circulated in Italy and abroad, stand out. His scores were characterized by virtuosic arias designed for great performers.

He also composed sacred music, including motets and masses, intended for important religious institutions in Naples and Madrid.

Briciole di storia

The vices of the Italians

In the middle of the 18th century, Pietro Calepio wrote a Letter on Italian Customs that was translated into French and published in 1728 in the prestigious Bibliothèque Italique. In this text, which became very well known, Calepio did not limit himself to describing Italy in general, but clearly and sincerely denounced various vices of Italian society. Among his harshest criticisms was the poor functioning of educational institutions and, in particular, the idleness in which most of the nobility lived, considered the cause of their dissoluteness. He also denounced the low consideration given to the female role.

Rappresentazione della Cena di Emmaus caratterizzata da una composizione dinamica e da un realismo nelle espressioni.
L'ultima cena (1724), Olio su tela di Pier Leone Ghezzi, Pinacoteca civica e galleria di arte contemporanea, Jesi.
Pubblico dominio (Google Art Project)