Giacinto Andrea Cicognini (1606–1651) was an Italian playwright and librettist, the son of poet and playwright Jacopo Cicognini.

Biography

Giacinto Andrea Cicognini was born in Florence. In 1627, he graduated from the University of Pisa, and he lived in Florence from 1640 to 1645 where he had legal advice to the poet and playwright Giambattista Ricciardi. In 1646 he wrote his first libretto, Il Celio, which was set to music by Sapiti and Baglioni. In autumn 1646, Cicognini moved to Venice, where he began work as the secretary of Francesco Boldieri, a nobleman who handled the property of the Knights Hospitallers of St. John of Jerusalem. In Venice Cicognini participated in the cultural activities of the Accademia degli Incogniti, ‘which functioned as an unofficial seat of political power’.[1] His fame began to grow, as both playwright and librettist, and his output of plays, tragedies, comedies, and librettos was almost all for theatres and opera houses in Venice. His works were set to music by some of the most famous composers of the day, including Francesco Cavalli, Antonio Cesti, Barbara Strozzi, and Francesco Lucio. He died in Venice.

Cicognini was one of the most important figures in seventeenth-century opera, where he brought together elements of tragedy and comedy, and often shows signs of Spanish influence. His most famous works are Giasone (set to music by Cavalli, 1649) and Orontea (set to music by Lucio, 1649 and Cesti, 1656), which were to become the two most popular operas in 17th century Europe.

Notes

  1. ↑ Rosand, Ellen (1991). Opera in Seventeenth-Century Venice: The Creation of a Genre. Berkeley: University of California Press. p. 37. For Cicognini's connections with the members of the Accademia degli Incogniti see Melcarne, Nunzia (2006). "Giacinto Andrea Cicognini: Un amico dell'Accademia veneziana degli Incogniti". Aprosiana. Rivista annuale di studi barocchi. 14: 34–40. ISSN 1590-993X.

References

  • Lisoni, Alberto (1896). Un famoso commediografo dimenticato: G. A. Cicognini. Parma.{{cite book}}: CS1 maint: location missing publisher (link)
  • Crinò, Anna Maria (1961). "Documenti inediti sulla vita e l'opera di Jacopo e di Giacinto Andrea Cicognini". Studi secenteschi. II: 255–286.
  • Grashey, Ludwig (1909). "Giacinto Andrea Cicogninis Leben und Worke unter besonderer Berücksichtigung seines Dramas La Marienne ovvero Il maggior mostro del mondo". Münchener Beiträge zur romanischen und englishen Philologie. 43: 126 ff.
  • Sanesi, Irene (1954). La commedia. Vol. I. Milan. pp. 697–722.{{cite book}}: CS1 maint: location missing publisher (link)
  • De Simone Brouwer, Francesco (1894). "Lo scenario della commedia dell'arte e il Convitato di pietra del Cicognini". Don Giovanni nella poesia e nell'arte musicale. Napoli: 15–24.
  • Croce, Benedetto (1953). "Intorno a Giacinto Andrea Cicognini e al Convitato di pietra". Aneddoti di Varia Letteratura. Bari: 116–133.
  • Wadsworth, Philip A. (1974). "Recollections of Cicognini's Gelosie fortunate in Le Misanthrope". PMLA. Cambridge University Press. 89 (5): 1099–1105. doi:10.2307/461381. JSTOR 461381. S2CID 163870338.
  • Korneeva, Tatiana (2016). "The Political Theater and Theatrical Politics of Andrea Giacinto Cicognini: Il Don Gastone di Moncada (1641)". Politics and Aesthetics in European Baroque and Classicist Tragedy. Brill: 260–293. doi:10.1163/9789004323421_011. ISBN 9789004323414. S2CID 250987069.
  • Garavaglia, Andrea (2018). "Funzioni espressive dell'aria a metà Seicento secondo il Giasone di Cicognini e Cavalli". Il Saggiatore musicale. 25 (1): 5–32. JSTOR 26761143.


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