shadowofthecourtesan

discovering the hidden worlds of women composers

389 years and one day later…

The three best ways to travel – if one can – are by train, by bike, or (especially in cities) on foot. Going by plane is simply not travelling. It is annihilating distance and, for me at least, identity. And I’m writing this having experienced one of the slowest train journeys imaginable (the night train from Palermo to Roma) – having experienced some imaginative but definitely decline-able propositions from said night train’s conductor (the only one that tempted was accompanying him up to the deck as the boat, with train in its bowels, made its way across the Messina Strait, but I regretfully decided that maintaining my virtue and/or not punching the gentleman should be my priority) – and having experienced severe delays out of Roma Termini because of the sadly international phenomenon of a body on the line. And yet, all these, and the fast, cheap, trains from Rome to Florence and back again, were journeys.

Similarly, the February rains in Florence did not for one moment detract from the pleasures of wandering the city’s streets. I can, at least, justify this in terms of ‘research’. Only when one moves to older rhythms, walking rhythms, can one understand time, distance, and indeed power in the past. Walking up the hill to Villa Poggio Imperiale,

Poggio Imperiale

past the city walls, through the Porta Romana, up an immense tree-lined avenue, to a place away from, and just as important high above, the Pitti and the Uffizi made me realise just how interesting a choice of venue Poggio Imperiale was for Maria Magdalena d’Austria when she sought to display her power – as a regent, as a woman, as the ruler of Tuscany. She had the power to bring anyone who was anyone out of Florence, up to her palace, through her avenue of trees, into her domain, to see her entertainment, with music composed by her composer, Francesca Caccini.

view from Poggio Imperiale down into Florence

My visit occurred precisely 389 years and one day after La Liberazione di Ruggerio was performed on 3 February 1625. If it gets into the music history books, La Liberazione is described as the first opera to be written by a woman. As Suzanne Cusick, the superb biographer of Caccini points out, the work is not in fact an opera – although on the other hand it’s hard to say what it is. It certainly ended with an extraordinary balletto a cavallo (a dance on horseback, imagine dressage set to music), watched by the rich and powerful from the balconies and terraces of the Villa. I can’t help wondering if it rained that day as well…

Advertisements

Single Post Navigation

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: