Music and Influence
Cavalli was the most influential composer in the rising genre of public opera in mid-17th century Venice. Unlike Monteverdi's early operas, scored for the extravagant court orchestra of Mantua, Cavalli's operas make use of a small orchestra of strings and basso continuo to meet the limitations of public opera houses.
Cavalli introduced melodious arias into his music and popular types into his libretti. His operas have a remarkably strong sense of dramatic effect as well as a great musical facility, and a grotesque humour which was characteristic of Italian grand opera down to the death of Alessandro Scarlatti. Cavalli's operas provide the only example of a continuous musical development of a single composer in a single genre from the early to the late 17th century in Venice — only a few operas by others (e.g., Monteverdi and Antonio Cesti) survive. The development is particularly interesting to scholars because opera was still quite a new medium when Cavalli began working, and had matured into a popular public spectacle by the end of his career.
Cavalli wrote forty-one operas, twenty-seven of which are still extant, being preserved in the Biblioteca Nazionale Marciana (Library of St Mark) in Venice. Copies of some of the operas also exist in other locations. In addition, two last operas (Coriolano and Masenzio), which are clearly attributed to him, are lost, as well as twelve other operas that have been attributed to him, though the music is lost and attribution impossible to prove.
In addition to operas, Cavalli wrote settings of the Magnificat in the grand Venetian polychoral style, settings of the Marian antiphons, other sacred music in a more conservative manner – notably a Requiem Mass in eight parts (SSAATTBB), probably intended for his own funeral – and some instrumental music.
Read more about this topic: Francesco Cavalli
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