Antonio Vivaldi and Carlo Goldoni

“So I went to see Father Vivaldi, announcing myself on behalf of His Excellency Grimani; I found him surrounded by music and with his breviary in his hand.

He rose, made the sign of the cross lengthwise and crosswise, put his breviary aside, and paid me the usual compliments:

— Vivaldi: What is the reason for your visit, sir?


Antonio Vivaldi — Goldoni: His Excellency Grimani has entrusted me with the changes you deem necessary in the opera for the upcoming fair. [...]

— Vivaldi: don't answer me.

— Goldoni: Sir, I said, I would not wish to distract you from your religious duties; I will return at another time.

— Vivaldi: I am well aware, my dear sir, that you have a talent for poetry; I saw your Belisario, which I enjoyed very much, but that is quite different: one can write a tragedy, an epic poem, if one wishes, and still not know how to write a musical quatrain.

Please do me the favour of showing me your drama.

Yes, yes, I'd like to see it; where on earth is Griselda?

She was here... “Deus in adjutorium meum intende. Domine... Domine... Domine...”

She was here just a moment ago. “Domine ad adjuvandum...”

Ah! Here she is, sir, this scene between Gualtiero and Griselda; it is an interesting, touching scene.

The author has placed a pathetic aria at the end, but Miss Giraud does not like languid singing; she would prefer a piece that is expressive and agitated, an aria that expresses passion by different means, through words, for example, interspersed with deep sighs, with action and movement. I don't know if you understand me.

— Goldoni: Yes, sir, I understand very well; moreover, I had the honour of hearing Miss Giraud, and I know that her voice is not strong enough...


Antonio Vivaldi — Vivaldi: What, sir, are you insulting my pupil? She is good at everything, she sings everything.

— Goldoni: Yes, sir, you are right; give me the book, let me do it.

— Vivaldi: No, sir, I cannot part with it, I need it, and I am in a hurry.

— Goldoni: Well, sir, if you are in a hurry, lend it to me for a moment, and I will satisfy you immediately.

— Vivaldi: Right away?

Goldoni: Yes, sir, right away.

The abbot, mocking me, handed me the drama, gave me some paper and a writing case, picked up his breviary and recited his psalms and hymns as he paced up and down.

I reread the scene I already knew; I summarised what the musician wanted, and in less than a quarter of an hour I wrote down an eight-line aria divided into two parts.


Vivaldi's manuscript libretto I call my clergyman and show him my work.

Vivaldi reads, his brow clears, he rereads, he cries out with joy, he throws his office on the floor, he calls Miss Giraud.

She comes:

Ah! he said to her, "here is a rare man, here is an excellent poet; read this aria, Monsieur wrote it here, without moving, in less than a quarter of an hour.

And turning back to me, he said, Ah! Sir, I beg your pardon.

And he embraced me and protested that he would never have another poet but me.

He entrusted me with the drama, ordered me to make further changes, always pleased with me, and the opera was a great success.”
Carlo Goldoni - Memoirs, Volume I, Paris, 1787.

From 1760 to 1761: Fame Beyond Borders

1760

Carlo Goldoni

1761

The beginning of his departure from Venice for Paris:

1762

Carlo Goldoni and Alessandro Longhi

Alessandro Longhi, painter and friend of Goldoni, specialised in painting scenes from everyday life... and was appreciated by Goldoni:

“Your painting is the sister of my muse.”