Bonaventura Furlanetto

His oratorio Giubilo celeste al giungervi della sant'anima was equally successful, being produced at the Basilica dei Santi Giovanni e Paolo on 16 May 1765, 1766 and 1767, where it excited audiences with its typically opera buffa style.

[1] The English music historian Charles Burney heard Furlanetto direct some of his works at the Pietà in August 1770, stating that his "composition and execution do not exceed the mediocre".

On 14 August that year Burney was favourably impressed by some Furlanetto music put on in Santa Maria Celeste, so much so that he decided to return the following day for the Assumption service, but he was again disappointed and stated "this composer's resources are very few; also he has little fire and still less variety ...

Burney added that the composer Baldassare Galuppi, who he had met in Venice, "felt quite offended in encouraging and protecting several ecclesiastical "donkeys", including Furlanetto".

From the early 1770s and throughout the 1780s Furlanetto's musical talent became more developed, as seen in his revisions to his own earlier oratorios and in his use of additional orchestral resources, opting not just for the standard combination of stringed and wind instruments but also adding contrabassoons, contralto trombones, serpents, French double horns and percussion such as tympani, tambourines, bells, rattles and sistra.