Desperate Measures: The Life and Music of Antonia Padoani by Claire Fontijn

Desperate Measures: The Life and Music of Antonia Padoani by Claire Fontijn

By Claire Fontijn

Probably the most interesting figures of seventeenth-century tune, composer and singer Antonia Padoani Bembo (c.1640 - c.1720) used to be lively in either Venice and Paris. Her paintings presents a distinct cross-cultural window into the wealthy musical cultures of those towns, but due to her clandestine lifestyles in France, for nearly 3 centuries Bembo's existence used to be shrouded in secret. during this first-ever biography, Clare Fontijn unveils the enchanting and unbelievable tale of a awesome girl who moved within the musical, literary, and creative circles of those eu cultural facilities.

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Which will serve as the wedding contract of the Illustrious Signora Antonia, daughter of the aforementioned Excellent Signor Giacomo, and wife of aforementioned Illustrious Signor Lorenzo . . seen by me the notary and by Signor Christoforo Brombilla as witness. . And for the love that the said Nobleman Lorenzo holds for the aforementioned Illustrious Signora his wife, to the above he liberally adds to the dowry from his own goods as a counterdowry, or wedding gift . . [in the amount of ] , ducats.

V–). 60 I-Vas, Notarile, Atti, Tadeo Fedrici, b. , ff. v–. 61 I-Vas, Notarile, Atti, Camillo Lion, b. , f. . As with his San Pantalon home, he rented from the nobility; the studio belonged to Scipion Boldù.      fear of God” by threatening to give as their inheritance just a pair of devotional paintings: I leave to Illustrious Signor Lorenzo Bembo, my son-in-law, for now and forever, my Redentore, a copy of one by Titian, kept in the Fontego dei Tedeschi.

Alvise Foscari q. Franc[esc]o habitata dalli Sig[no]ri Prencipi di Bransvich”; see I-Vas, X Savi alle decime, b. , no. . See, too, Dubowy, “Ernst August,” –. The palazzo now belongs to the Università degli Studi di Venezia, Cà Foscari. 38 Paola Besutti has shown that Carlo II Gonzaga sang baritone and often sent for vocal music; see her “Produzione e trasmissione di cantate romani nel mezzo del Seicento,” in La mu-       No surviving document reveals what Corbetta had to tell the duke, but Bosso’s letter of  July provided the information that the guitarist had not yet left Venice and that the situation with Antonia and her father had become still more complicated.

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