Music of Venice

Although Venice bred a great many musicians of rare skill, the Republic frequently searched for talented performers and composers through diplomatic networks.

The institution of opera theaters, open to a fee-paying public in 1637, followed a long period of private performance before noble audiences of plays with musical numbers.

Even the traditional barcarola tunes sung by Venetian gondoliers developed into an important genre of classical music.

[2] The many transformations that Venetian culture underwent in connection with the collapse of the Republic (1797), the turbulence of Napoleonic rule, the strictures of Austrian administration, and the vicissitudes of the Italian state (since 1866) have left their distinct marks on the music made in Venice.

Venice has remained an important venue for the gestation of new music through the activities of such composers as Nino Rota, Luigi Nono, and several others.

The seminal Venetian composer to emerge from this creative milieu was Claudio Monteverdi (see Vespro della Beata Vergine published in 1610).

The Gabrielis established the pinnacle of brass antiphonal effect with double and triple choirs, complete with dynamic markings, and spatial location direction.

Operatic productions decreased a bit in the late 17th century, but picked up as theaters started charging prices that more people could afford.

Historically, the four most important "hospitals" in the Republic of Venice (besides caring for the sick and elderly) were, in fact, orphanages where young children might be taught a useful trade.

It stems from the 1867 and is currently housed in Palazzo Piani, Its famous alumni include Ermanno Wolf-Ferrari、Gian Francesco Malipiero、Toti Dal Monte、Bruno Maderna、Luigi Nono、Maria Chiara、Katia Ricciarelli、Lucia Valentini Terrani、Giuseppe Sinopoli、Sara Mingardo、Luciana D'intino and many more,Lua prominent villa from the 17th century.

Map of Venice (historical center)
Interior of La Fenice