Influence
The concerto delle donne was a revolutionary musical establishment that helped effect a shift in women's role in music; its success took women from obscurity to "the apex of the profession". Women were openly brought to court to train as professional musicians, and by 1600, a woman could have a viable career as a musician, independent of her husband or father. New women's ensembles inspired by the concerto delle donne resulted in more positions for women as professional singers and more music for them to perform.
Despite the dissolution of the court in 1597, the musical style which was inspired by the concerto delle donne spread throughout Europe, and remained prominent for almost fifty years. The concerto delle donne was so influential and often imitated that it became a cliché of northern Italian courts. The concerto brought Alfonso and his court international prestige, as the ladies' reputation spread throughout Italy and southern Germany. It functioned as a powerful tool of propaganda, projecting an image of strength and affluence.
Having seen the concerto delle donne in Ferrara, Caccini created a rival group made up of his family and a pupil. This ensemble was sponsored by the Medici, and traveled as far abroad as Paris to perform for Marie de' Medici. Francesca Caccini had much success composing and singing in the style of the concerto delle donne. Beginning in 1585, rival groups were created in Florence by the Medici, Rome by the Orsini, and Mantua by the Gonzaga. There was even a rival group in Ferrara based in the Castello Estense, the very palace where the concerto delle donne performed. This group was formed by Alfonso's sister Lucrezia d'Este, Duchess of Urbino. She had lived at the Este court since 1576, and shortly after Margherita's marriage to Alfonso in 1579, Alfonso and his henchmen killed Lucrezia's lover. Lucrezia was unhappy about being replaced as the matron of the house by Margherita, and upset by the murder of her lover, leading to her desire to be separate from the rest of her family during her evening entertainments.
Barbara Strozzi was among the last composers and performers in this style, which by the mid-seventeenth century was considered archaic.
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