Le stagioni napoletane “pasticciate” e “accomodate” per il cavaliere Grimaldi

Behind the scenes of the Teatro di San Carlo (the principal Neapolitan opera house), during the 1763-64 season numerous intersections and connections occur. On the one hand, the focus on Metastasian repertoire persists without interruptions – a long and boundless tradition which will only fade towards the end of the century; on the other hand, Hasse’s world still exerts its fascination. Along with Metastasio’s Olimpiade, Issipile and Didone abbandonata, Armida by Migliavacca was staged. This libretto had been set to music by Traetta in 1760 for Vienna, a city which plays a significant role in the annual schedule of the Teatro di San Carlo due to the presence of the “virtuosa” Caterina Gabrielli. The singer had made her debut in that role in the Habsburg capital; the opera was presented with the same music composed by Traetta for the imperial opera house. In the Neapolitan context Cochetta revealed herself in all her splendor, yet also giving a hard time to all those who were in charge of the San Carlo. The select repertoire was then a kind of compromise, a diplomatic act aimed to “tame” the stubborn soprano through the offer of operas suited to her, and in all likelihood they were works proposed by her. While the scores of Armida and Didone arrived in time, Scarlatti’s Issipile did not; in order to prevent the diva’s intemperance, another negotiation was started under the guidance of Pasquale Cafaro, who worked at the San Carlo to “conduct” the repertoire operas, and offered to adapt them to the hired cast.