Farinelli castrato biography

Italian castrato singer (1705–1782)

For the 1994 biopic about this singer, keep an eye on Farinelli (film).

"Carlo Broschi" redirects alongside. For the opera of that name, see La part armour diable.

Farinelli (Italian pronunciation:[fariˈnɛlli]; 24 Jan 1705 – 16 September 1782)^[a] was the stage name deal in Carlo Maria Michelangelo Nicola Broschi (pronounced[ˈkarloˈbrɔski]), a celebrated Italian castrato singer of the 18th 100 and one of the pre-eminent singers in the history forestall opera.^[1] Farinelli was a high-pitched castrato, with a range take the stones out of approximately F3-D6.

Early years

Broschi was born in Andria (in what is now Puglia, Italy) collide with a family of musicians. Despite the fact that recorded in the baptismal inventory of the church of Cruel. Nicola in Andria, his papa Salvatore was a composer careful maestro di cappella of birth city's cathedral, and his curb, Caterina Barrese, a citizen in shape Naples.

The Duke of Andría, Fabrizio Carafa, a member comatose the House of Carafa, sole of the most prestigious families of the Neapolitan nobility, reputable Maestro Broschi by taking systematic leading part in the introduction of his second son, who was baptised Carlo Maria Architect Nicola. [In later life, Farinelli wrote: "Il Duca d'Andria stoolie tenne al fonte" ("The Aristocrat of Andria held me smack of the font")], though this might only have been meant make a figurative sense.

In 1706 Salvatore also took up position non-musical post of governor be defeated the town of Maratea (on the western coast of what is now Basilicata), and unplanned 1709 that of Terlizzi (some twenty miles south-east of Andria).

From 1707, the Broschi descendants lived in the coastal be elastic of Barletta, a few miles from Andria, but at authority end of 1711, they ended the much longer move chance the capital city of Napoli, where, in 1712 Carlo's respected brother Riccardo was enrolled gain the Conservatory of S.

Tree di Loreto, specialising in rope. Carlo had already shown power as a boy singer, elitist was now introduced to representation most famous singing-teacher in Port, Nicola Porpora. Already a design opera composer, in 1715 Porpora was appointed maestro at class Conservatory of S. Onofrio, whither his pupils included such boastfully castrati as Giuseppe Appiani, Felice Salimbeni, and Gaetano Majorano (known as Caffarelli), as well by the same token distinguished female singers such tempt Regina Mingotti and Vittoria Tesi; Farinelli may well have worked with him privately.

Salvatore Broschi died unexpectedly on 4 Nov 1717, aged only 36, scold perhaps the consequent loss fail economic security for the intact family provoked the decision result in Carlo to be castrated. Trade in was often the case, peter out excuse had to be arduous for this operation, and unsubtle Carlo's case it was uttered to have been necessitated strong a fall from a framework.

It is, however, also imaginable that he was castrated below, since, at the time hegemony his father's death, he was already twelve years old, totally an advanced age for neutering.

Under Porpora's tutelage, his disclosure progressed rapidly, and at rank age of fifteen, he feeling his debut a serenata make wet his master entitled Angelica bond Medoro.

The text of that work was the first unresponsive to the soon-to-be-famous Pietro Trapassi (known as Metastasio), who became shipshape and bristol fashion lifelong friend of the songster. Farinelli remarked that the fold up of them had made their debuts on the same mediocre, and each frequently referred go down with the other as his caro gemello ("dear twin").

In that Serenata "Angelica e Medoro", greatness two leading roles were entrusted to two highly acclaimed singers: Marianna Benti Bulgarelli (aka "la Romanina") and Domenico Gizzi, Squeaky castrato at the Royal Safety of Naples.

The derivation disturb Broschi's stage name is yell certain, but it was maybe from two rich Neapolitan lawyers, the brothers Farina, who may well have sponsored his studies.

Farinelli quickly became famous throughout Italia as il ragazzo ("the boy"). In 1722, he first intone in Rome in Porpora's Flavio Anicio Olibrio, as well variety taking the female lead valve Sofonisba by Luca Antonio Predieri. (It was common practice consign young castrati to appear en travesti). All these appearances were greeted with huge public fanaticism, and an almost legendary play a part arose that he had correspond with perform an aria with announce obbligato, which evolved into swell contest between singer and messenger.

Farinelli surpassed the trumpet entertainer so much in technique other ornamentation that he "was gift wrap last silenced only by description acclamations of the audience" (to quote the music historian River Burney). This account, however, cannot be verified, since no living work which Farinelli is skull to have performed contains eminence aria for soprano with poser obbligato.

Career in Europe

In 1724, Farinelli made his first variety in Vienna, at the overture of Prince Luigi Pio di Savoia, director of the Queenly Theatre. He spent the people season in Naples. In 1726, he also visited Parma put up with Milan, where Johann Joachim Quantz heard him and commented: "Farinelli had a penetrating, full, opulent, bright and well-modulated soprano demand for payment, with a range at wander time from the A under middle C to the two octaves above middle Proverbial saying.

... His intonation was candid, his trill beautiful, his breathe your last control extraordinary and his rankle very agile, so that loosen up performed the widest intervals bulletin and with the greatest well-being and certainty. Passagework and move away kinds of melismas were show consideration for no difficulty to him.

Operate the invention of free enhancement in adagio he was as well fertile." Quantz is certainly errorfree in describing Farinelli as a-ok soprano - since several arias in his repertoire require splendid sustained C6 - these take in "Fremano l'onde" in Pietro Torri's opera Nicomede (1728) and "Troverai se a me ti fidi" in Niccolò Conforto's La Pesca (1737) ^[2] His low shuffle apparently extended to F3, pass for in "Al dolor che vo sfogando", an aria written chunk himself and incorporated in elegant pasticcio called Sabrina, and trade in in two of his criticize cadenzas for "Quell' usignolo innamorato" from Geminiano Giacomelli's Merope.^[3]

Farinelli sing at Bologna in 1727, locale he met the famous castrato Antonio Bernacchi, twenty years surmount senior.

In a duet lecture in Orlandini's Antigona, Farinelli showed defer all the aspects of primacy beauty of his voice shaft refinements of his style, execution a number of passages be in opposition to great virtuosity, which were rewarded with tumultuous applause. Undaunted, Bernacchi repeated every trill, roulade, meticulous cadenza of his young contender, but performing all of them even more exquisitely, and working account variations of his own.

Farinelli, admitting defeat, entreated Bernacchi tip give him instruction in grazie sopraffine ("ultra-refined graces"); Bernacchi impressive.

In 1728, as well whereas performing in Torri's Nicomede activity the Munich court, Farinelli complete another concert before the Monarch in Vienna. In 1729, nigh the Carnival season in Metropolis, he sang in two mechanism by Metastasio: as Arbace touch a chord Metastasio's Catone in Utica (music by Leonardo Leo) and Mirteo in Semiramide Riconosciuta (music vulgar Porpora).

In these important drammi per musica, performed at honesty Teatro San Giovanni Grisostomo take off Venice, at his side resonate some other singers of birth first rank: Nicola Grimaldi, detto Nicolino (a mezzo-soprano castrato, who had earlier performed for Handel), the female soprano Lucia Facchinelli, another castrato Domenico Gizzi ("Virtuoso della Cappella Reale di Napoli"), and the renowmed bass Giuseppe Maria Boschi.

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During this period it seemed Farinelli, loaded with riches current honors, was so famous talented so formidable as a player that his rival and analyst, the castrato Gioacchino Conti ("Gizziello") is said to have fainted from sheer despondency on congress him sing. George Frideric Music was also keen to hire Farinelli for his company consign London, and while in City in January 1730, tried dreadfully to meet him.

In 1731, Farinelli visited Vienna for copperplate third time. There he was received by the Emperor Physicist VI, on whose advice, according to the singer's first historian, Giovenale Sacchi, Farinelli modified diadem style, singing more simply view emotionally. Sacchi's source for that must have been Charles Burney's notes on his visit afflict Farinelli in 1770, published name London in 1773 in The present state of music weighty France and Italy..., here pp.

215-216. After further seasons beget Italy, and another visit curry favor Vienna, during which he hum in oratorios in the Grand chapel, Farinelli came to Writer in 1734.

Farinelli in London

In London the previous year, Senesino, a singer who had archaic a part of George Frideric Handel's "Second Academy" which do at the King's Theatre, Haymarket, quarrelled with Handel and alert to a rival company, honesty Opera of the Nobility, from a theatre in Lincoln's Inn Fields.

This company difficult Porpora as composer and Senesino as principal singer, but confidential not been a success generous its first season of 1733–34. Farinelli, Porpora's most famous schoolgirl, joined the company and straightforward it financially solvent.

He greatest appeared in Artaserse, a pasticcio with music by his fellow Riccardo and Johann Adolph Hasse.

He sang the memorable arias "Per questo dolce amplesso" (music by Hasse) and "Son bother nave" (music by Broschi), at the same time as Senesino sang "Pallido il sole" (music by Hasse). Of "Per questo dolce amplesso", Charles Burney reported: "Senesino had the tool of a furious tyrant, post Farinelli that of an inimical hero in chains; but slight the course of the premier air, the captive so soften the heart of the autocrat, that Senesino, forgetting his stage-character, ran to Farinelli and embraced him in his own".

"Son qual nave", on the harass hand, was composed by Riccardo Broschi as a special oddity for his brother's virtuosic capacity. Burney described it thus: "The first note he sung was taken with such delicacy, swell up by minute degrees to specified an amazing volume, and in the aftermath diminished in the same hue to a mere point, give it some thought it was applauded for brimming five minutes.

After this explicit set off with such eruption and rapidity of execution, renounce it was difficult for decency violins of those days want keep pace with him." Problem 1735 Farinelli and Senesino very appeared in Nicola Porpora's Polifemo.

Both the cognoscenti and prestige public adored him. The librettist Paolo Rolli, a close playfellow and supporter of Senesino, commented: "Farinelli has surprised me middling much that I feel style though I had hitherto heard only a small part be unable to find the human voice, and immediately have heard it all.

Lighten up has besides, the most kindly and polite manners ....". Heavygoing fans were more unrestrained: facial appearance titled lady was so deceive away that, from a play-acting box, she famously exclaimed: "One God, one Farinelli!", and was immortalised in a detail sun-up Plate II of William Hogarth's "A Rake's Progress"^{[citation needed]} (she may also appear in Scale 2 IV of his series "Marriage A-la-Mode" of 1745).

Though Farinelli's success was enormous, neither say publicly Nobility Opera nor Handel's theatre group was able to sustain honourableness public's interest, which waned at speed. Though his official salary was £1500 for a season, genius from admirers probably increased that to something more like £5000, an enormous sum at rendering time.

Farinelli was by pollex all thumbs butte means the only singer pore over receive such large amounts, which were unsustainable in the elongated term. As one contemporary eyewitness remarked: "within these two age we have seen even Farinelli sing to an audience practice five-and-thirty pounds". Nonetheless, he was still under contract in Writer in the summer of 1737 when he received a call, via Sir Thomas Fitzgerald, Member of the fourth estate of the Spanish Embassy around, to visit the Spanish pay one`s addresses to.

At the court of Spain

Apparently intending to make only boss brief visit to the Self-denying, Farinelli stopped at Paris proletariat his way to Madrid, melodic on 9 July at City to King Louis XV, who gave him his portrait be appropriate in diamonds, and 500 louis d'or. On 15 July prohibited left for Spain, arriving return to a month later.

Elisabeth Farnese, the Queen, had come pact believe that Farinelli's voice brawn be able to cure glory severe depression of her store, King Philip V (some new physicians, such as the Queen's doctor Giuseppe Cervi, believed train in the efficacy of music therapy). By royal decree Farinelli was named chamber musician to illustriousness king and queen on 28 August 1737; two days posterior the title criado familiar, central theme something like family servant features perhaps majordomo, to the errand was added.

The decree damaged Farinelli with an enormous hard-working, a coach with the permissible mules and residence wherever significance king happened to be.

For the remaining nine years go along with Philip's life, Farinelli was thankful to give nightly recitals, attended by other musicians, for Rank Philip, the Queen and cruel select company in the king's chamber.

In 1738 he might have assisted in arranging rep the visit of an all-inclusive Italian opera company to Madrid, beginning a fashion for opera seria in Madrid. The Coliseo of the royal palace disregard Buen Retiro was remodelled. Illustriousness operas given there were not quite public but attended by distinction king, the queen, the deference and various important persons specified as officers and ambassadors.

On the accession of Philip's bunkum, Ferdinand VI, Farinelli's influence further. Ferdinand was a keen pinnacle, and his queen consort, Part Bárbara of Portugal, was trim highly accomplished harpsichordist for whom Domenico Scarlatti wrote most noise his sonatas. Scarlatti had back number her music master when she was a princess in Lisboa and followed her to Espana after her marriage in 1729.

Scarlatti became the music maestro to both Maria Bárbara nearby Ferdinand and died in their service in 1757; the musicologist Ralph Kirkpatrick acknowledges Farinelli's dispatch as having provided "most for the direct information about Scarlatti that has transmitted itself lock our day"). Under Phillip Unreservedly Farinelli had gradually assumed marvellous role in the production break into operas, encouraged by Queen Isabel Farnesio (Elisabeth Farnese), although accepting little or nothing to function with the musical side do admin the performances.

When Ferdinand came to the throne in 1746, Farinelli was made Director break into the Court Opera. His acquire of a magnificent opera infringe 1750 caused the king wish make him a Knight get ahead the Order of Calatrava. Stuff the same year the Felipe ordained that the house Farinelli shared at Aranjuez should affront much enlarged and made work up beautiful and that it be required to become a residence just instruct Farinelli himself, and his pike.

As producer and director make a rough draft the court operatic events combination the Buen Retiro palace sidewalk Madrid and at the kinglike seat at Aranjuez, Farinelli by degrees extended his work to magnanimity creation of extraordinary illuminations view firework displays, once involving 60 thousand candles, both as item of the operas and although independent events, for instance disgrace the king's name day.

Grace also became involved in class small fleet of royal argosy on which the king, honourableness queen and most of excellence court made excursions on justness Tagus at Aranjuez. These rumbling were probably instigated in 1752 without Farinelli's participation, but branch out may have been he who added two gilded barges find time for the fleet in 1753.

Limit the excusions from 1754 practice 1757 Farinelli, who directed these royal excusions from 1755 forwards (if not earlier) sang arias on board the barge, attended by the king or nobleness queen on harpsichord. Sometimes loftiness king played solo sonatas near Farinelli and the queen long ago sang a duet. By crepuscle, the vessels would have joint to the riverbanks and grandeur point of disembarkation all go through with a finetooth comb up by tens of zillions of candles, organized beforehand unused Farinelli.

On these evenings, Farinelli sang again in public, honesty star in an informal take the trouble given on a gilded lighter on the river, his accompanists the king and queen.

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The last excursion took place in July 1757. Farinelli's last illuminations and his newest operatic production were for goodness king's nameday in May 1758. Queen Maria Bárbara, who replete these final festivities, died disagree the end of August rank same year; King Ferdinand monotonous in August 1759.

Retirement crucial death

Ferdinand was succeeded by king half-brother Charles III in 1759.

He had no time funding music, so it seems: good taste disbanded the opera and decamp Farinelli but granted him realm full salary for the disperse of his life. Farinelli correlative to Italy where he momentary out his days at representation beautiful villa he had protocol outside Bologna (he had plagiaristic citizenship of that city chimpanzee well as the necessary terra firma as long ago as 1732).

Though rich and still renowned, visited by such notable canvass as Charles Burney, Leopold Music and his son Wolfgang Amadeus, and Casanova, he would hold been lonely in his offer age, having outlived many ad infinitum his friends and former colleagues. One distinguished friend of dominion later years was the sound historian, Giovanni Battista (known trade in "Padre") Martini who lived drop Bologna.

Farinelli also continued government correspondence with Metastasio, court versifier at Vienna, dying a not many months after him. In emperor will (Achivio Notarile Gambarini Lorenzo 1782 10 Gennaio - 23 Xbre, 5/14, Achivio di Stato di Bologna), dated 20 Feb 1782, Farinelli asked to capability buried in the mantle snatch the Order of Calatrava, reorganization ordained in the statutes robust the order, and was inhumed at the city's Capuchin nunnery of Santa Croce.

His land included gifts from royalty, uncomplicated large collection of paintings with works by Velázquez, Murillo, predominant Jusepe de Ribera, as satisfactorily as portraits of his majestic patrons, and several of being, some by his friend Jacopo Amigoni and one by Corrado Giaquinto now in the Museo Civico di Bologna. The list of his estate includes natty collection of seven keyboard equipment in which he took downright delight, especially a piano finished in Florence in 1730 (called in the will cembalo splendid martellini), inherited from Queen Part Bárbara, and violins by Stradivarius and Amati (Achivio Notarile Gambarini Lorenzo 1782 BIS, 5/14, 17, Achivio di Stato di Bologna).

Farinelli died in Bologna stay alive 16 September 1782. His machiavellian place of burial was self-indulgent consumed during the Napoleonic Wars, settle down in 1810 Farinelli's great-niece Part Carlotta Pisani had his stiff transferred to the cemetery unsaved La Certosa in Bologna. Mare Carlotta bequeathed many of Farinelli's letters to University of Bologna's library and was buried guaranteed the same grave as Farinelli in 1850.^{[citation needed]}

Farinelli's other mellifluous activities

Farinelli not only sang, nevertheless like most musicians of circlet time, was a competent harpsichordist.

He also played the counterfeit d'amore. He occasionally composed, verbal skill a cantata of farewell prank London (entitled Ossequiosissimo ringraziamento, defend which he also wrote nobleness text), and a few songs and arias, including one flattering to Ferdinand VI.

Vocal works

• Ossequiosissimo ringraziamento
• La partenza
• Orfeo – with Riccardo Broschi
• Recitative: Ogni di piu molesto dunque
• Recitative: Invan ti chiamo
• Aria: Io sperai del porto in seno
• Aria: Al dolor che vo sfogando
• Aria: Non sperar, non lusingarti
• Aria: Che chiedi?

  Che brami?

The artist predominant his times

Farinelli is widely rumoured as the greatest, most competent, and most respected opera soloist of the "castrato" era, which lasted from the early 1600s into the early 1800s, existing while there were a infinite number of such singers by way of this period, originating especially spread the Neapolitan School of much composers as Nicola Porpora, Alessandro Scarlatti, and Francesco Durante, one and only a handful of his rivals could approach his skill whilst a singer.^{[citation needed]}Caffarelli, Matteuccio, Siface, Senesino, Gizziello, Marchesi, Carestini, courier some others were very celebrated and extremely gifted in their own right, with Caffarelli likely being the most vocally expert – but Farinelli was besides admired for his modesty, diadem intelligence, his unassuming attitude, brook his dedication to his borer.

He respected his colleagues, composers, and impresarios, often earning their lifelong friendship as a explication, whereas Caffarelli was notoriously unsteady, malicious, and disrespectful of in unison sharing the stage with him, to the point of patter and booing fellow singers by means of their own arias.

Farinelli's industrial proficiency allowed him to fleece comfortable in all vocal annals from tenor to soprano; loosen up himself favoured the medium-to-high roster rather than the very lofty, thus enabling himself to prompt emotion rather than to leave open-mouthed by sheer technique (unlike cover of his colleagues who preferable to startle audiences with voiced articulate stunts).

This "soft" approach do away with music no doubt helped him survive his 22-year private betrothal at the court of Espana, after his theatrical career esoteric ended when he was elderly only 32, a career occupy which he had already carried out every possible success on the whole number European stage, and, even sham retirement in Bologna, was standstill regarded by every foreign celebrity visiting the city as influence preferred music star to encounter.

Farinelli Study Centre

Farinelli lived epoxy resin Bologna from 1761 until culminate death. The Farinelli Study Middle (Centro Studi Farinelli) was unsealed in Bologna in 1998, Vital events and achievements in which it was involved have included:

• The restoration of Farinelli's lifethreatening in the Certosa of City (2000)
• An historical exhibition Farinelli top-hole Bologna (2001 and 2005)
• The early days of a City Park wealthy the name of Farinelli, next to the site where the songster lived in Bologna (2002)
• An omnipresent symposium Il Farinelli e gli evirati cantori on the occurrence of Farinelli's 300th anniversary friendly his birth (2005)
• An official tome Il fantasma del Farinelli (2005)
• The disinterment of Farinelli at decency Certosa of Bologna (2006)

Portrayals supporting Farinelli in literature, film, crystal set, opera and theatre

Farinelli is delineated in Voltaire's Candide.

A vinyl, Farinelli, directed by Gérard Corbiau, was made about Farinelli's guts in 1994. This takes dangerous dramatic licence with history, emphasising the importance of Farinelli's kinsman and reducing Porpora's role, term Handel becomes an antagonist; depiction singer's 22 years spent make out the Spanish court is inimitable vaguely hinted at, as nicely as his brother being cut out for Minister of War.

Farinelli's hypothetical sexual escapades are a elder element of the film's extent, and are totally spurious according to historians (primarily, Patrick Barbier's "Histoire des castrats", Paris 1989).

In opera: Farinelli is fine character in the opera Practice Part du Diable, composed shy Daniel Auber to a by Eugène Scribe; the title-role in the opera Farinelli make wet the English composer John Barnett, first performed at Drury Concentration in 1839, where his dissection is written for a frame of mind (this work is itself unadorned adaptation of the anonymous Farinelli, ou le Bouffe du Roi, premiered in Paris in 1835).

More recent operas include Matteo d'Amico's Farinelli, la voce perduta (1996) and Farinelli, oder capitulate Macht des Gesanges by Siegfried Matthus (1998).

Composer and artiste Rinde Eckert gives Farinelli's pause in Spain a contemporary operation in his 1995 work particular radio, Four Songs Lost slot in a Wall, commissioned by New American Radio.

That period mop the floor with his life is also excellence setting for Farinelli and dignity King (the king in topic being Philip V of Spain), a play by Claire front Kampen, which premiered at character Sam Wanamaker Playhouse from 11 February to 7 March 2015.^[4] It was transferred to depiction Duke of York's Theatre inconvenience London's West End in nobility final months of 2015, concluded the role of Farinelli paired between speaking and singing, deal with Iestyn Davies performing the spatter.

Van Kampen's Farinelli and grandeur King was performed on Status at the Belasco Theatre^[5] shun 5 December 2017, to 25 March 2018.

Farinelli is depict by Raúl Ferrando in greatness episode "Fly Away" of rendering 2021 Netflix Original Series "The Cook of Castamar".^[6]

Notes

References

Specific

General

• Burney, Charles. The Present clean and tidy Music in France and Italia &c.

  London, Becket, 1771. 'Bologna, Saturday 25' Google Books

• Carlo Broschi Farinelli, Carlo Vitali (a cura di), La Solitudine amica. Lettere al conte Sicinio Pepoli, prefazione e collaborazione di Francesca Boris, con una nota di Roberto Pagano, Sellerio, 2000.
• Carlo Broschi Farinelli, Michael Latcham (ed.), A ms description of the operas pointer festivities at the Spanish Monotonous 1747-1758 (Descripción del estado faithful del Real Theatro...).

  Transcription regard the 1758 manuscript held fall out the Royal Library, Madrid climb on an introduction, an illustrated enthralled annotated translation and appendices, Katzbichler, Munich & Salzburg, 2023

• Harris, Ellen T. (2001). "Farinelli". In Sadie, Stanley; Tyrrell, John (eds.). The New Grove Dictionary of Harmony and Musicians (2nd ed.).

  London: Macmillan Publishers. ISBN .‎

• Farinelli (British Journal use Eighteenth-Century Studies, vol 28, clumsy 3; Oxford, 2005); the cover recent collection of articles expansiveness the singer
• Cappelletto, S: La voce perduta (Turin, 1995); the uppermost recent biography of the singer
• Celletti, R: Storia del belcanto, (Fiesole, 1983), pp. 80–83, 100, 103, 104, 106, etc.
• Crow, C: Orchestration… Symbolize Castration (History Today, September 2006; vol 56, no 9, pp 4–5)
• Haböck, F: Die Gesangkunst balance Kastraten (Vienna, 1923), especially pp 12, 209 and 227, strip off reference to extremes of range
• Heriot, A: The Castrati in Opera (London, 1956), pp 95–110
• Pérez Samper, M A: Isabel de Farnesio (Barcelona, 2003), pp 387–397
• Torrione, M., Crónica festiva de dos reinados en la Gaceta de Madrid: 1700–1759, Paris, Éditions Ophrys, 1998.
• Torrione, M., «La casa de Farinelli en el Real Sitio sustain Aranjuez.

  Nuevos datos para wheezles biografía de Carlos Broschi», Archivo Español de Arte, n° 275, 1996, pp. 323–333.

• Torrione, M., «Farinelli cloud la corte de Felipe V», Torre de los Lujanes, n° 38, 1999, pp. 121–142.
• Torrione, M., «Felipe V y Farinelli, Cadmo pawky Anfión. Alegoría de una holy day de cumpleaños: 1737», El conde de Aranda y su tiempo, Zaragoza, Inst.

  Fernando el Católico (CSIC), t. 2, pp. 223–250.

• Torrione, M., «Fiesta y teatro musical of no use el reinado de Felipe Utterly e Isabel de Farnesio: Farinelli, artífice de una resurrección», El Real Sitio de La Granja de San Ildefonso: retrato sarcastic escena del rey, Madrid, Patrimonio Nacional, 2000, pp. 220–241.
• Torrione, M., «Decorados teatrales para el Coliseo illustrate Buen Retiro en tiempos momentary failure Fernando VI.

  Cuatro óleos keep hold of Francesco Battaglioli», Reales Sitios, n° 143, 2000, pp. 40–51.

• Torrione, M., «El Real Coliseo del Buen Retiro: memoria de una arquitectura desaparecida», in Torrione, M. (ed.), España festejante. El siglo XVIII, Málaga, CEDMA, 2000, pp. 295–322.
• Torrione, M., «La sociedad de Corte y admit defeat ritual de la ópera», Un reinado bajo el signo consortium la paz.

  Fernando VI contorted Bárbara de Braganza: 1746–1759, Madrid, Real Academia de Bellas Artes de San Fernando, 2002, pp. 163–195.

• Torrione, M., «Nueve óleos de Francesco Battaglioli para el Coliseo give Buen Retiro. La ópera contented el reinado de Fernando VI : último relumbrón de la Corte Barroca», J. Martínez Millán, Apothegm.

  Camarero Bullón, M. Luzzi (ed.), La Corte de los Borbones : crisis del modelo cortesano, Madrid, Polifemo, 2013, vol. III, pp. 1733–1777.

• Torrione, M., Francesco Battaglioli. Escenografías estuary el Real Teatro del Buen Retiro, Madrid, Real Academia cause to move Bellas Artes de San Fernando, Teatro de la Zarzuela, INAEM, 2013.

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