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Carlo Gozzi

Princess Turandot, performance by Yevgeny Vakhtangov (1922).

Carlo, Count Gozzi (13 December 1720, Venice – 4 April 1806, Venice) was an Italian playwright.

Born in Venice, he came from an old Venetian family from the Republic of Ragusa. His father's debts forced him to look for a means of supporting himself, and at the age of sixteen, he joined the army in Dalmatia; three years later he returned to Venice, where he soon made a reputation for himself as the wittiest member of the Granelleschi society, to which the publication of several satirical pieces had gained him admission. This society, nominally devoted to conviviality and wit, had serious literary aims, and was especially zealous to preserve Tuscan literature from foreign influence.

The displacement of the old Italian comedy by the dramas of Pietro Chiari and Carlo Goldoni's works, modelled on French examples, threatened to defeat the society's efforts; in 1757 Gozzi came to the rescue by publishing a satirical poem, La tartana degli influssi per l'anno 1756, and in 1761 by his comedy, The Love for Three Oranges or Analisi riflessiva della fiaba L'amore delle tre melarance, a parody of the manner of the other two poets, founded on a fairy tale. To perform it, he obtained the services of the Sacchi company of players, who, thanks to the popularity of the comedies of Chiari and Goldoni—which offered no scope for the display of their peculiar talents—had been left without employment. Their satirical powers thus sharpened by personal enmity, the play was an extraordinary success.

Struck by the effect produced on the audience by the introduction of the supernatural or mythical element, which he had merely used as a convenient medium for his satirical purposes, Gozzi produced a series of dramatic pieces based on fairy tales, which were briefly popular, but after the breaking up of the Sacchi company were completely disregarded. They were much praised by Goethe, Schlegel, Madame de Staël and Sismondi; and one of them, Turandot or Re Turandote, was translated by Friedrich Schiller.

In his later years Gozzi began to produce tragedies in which the comic element was largely introduced; as this innovation proved unacceptable to the critics he turned to the Spanish drama, from which he obtained models for various pieces; these had minor success.

His brother, Gasparo Gozzi, was also a well-known writer of the time.

His collected works were published under his own superintendence, at Venice, in 1792, in 10 volumes.

A number of twentieth-century stage works were inspired by Gozzi's plays. These include treatments of Turandot by Karl Vollmöller and Bertolt Brecht, operas based on the same story by Busoni and most famously Puccini and Prokofiev's The Love of Three Oranges.

Plays[link]

• L'amore delle tre melarance (1761)
• The Crow (1762)
• The Stag-King (1762)
• Turandot (1762)
• The Serpent Woman (1763)
• Zobeda (1763)
• The Fortunate Beggars (1764)
• Il mostro turchino (1764)
• The Green Bird (1765)
• Zeim, King of Genies (1765)
• Marfisa bizzarra (1766)
• The Elixir of Love (1775/1776)

References[link]

• The Memoirs of Count Carlo Gozzi at gutenberg.org
•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 

External links[link]

• Works by Carlo Gozzi at Project Gutenberg

Renato Simoni (September 5, 1875 in Verona – July 5, 1952 in Milan) was an Italian journalist, playwright, writer and theatrical critic noted for his collaboration work with Giuseppe Adami for Giacomo Puccini's Turandot.

Simoni's career was entirely devoted to theater. His first job was as an editor and a critic at L'Adige, a local Veronese newspaper company in his hometown. In 1902, he wrote one of his best comedies, La Vedova, followed by Carlo Gozzi (1903), Tramondo (1906), Congedo (1910) and Il matrimonio di Casanova.^[1][2]

In 1914, he succeeded John Pozza as an author and critic at Corriere della Sera newspaper. He worked for the company until the end of his life. He also held a position as a director for a weekly magazine, La Tradotta.^[3]

All his writings and critics were collected in volumes by Lucio Ridenti in 1951 under the title Trent'anni di cronaca drammatica and was published in 1960.

In 1952, Simoni donated 40,000 volumes of his writings and reviews to the Museum of La Scala and dedicated them to his mother, Livia.^[4] The museum library was named Biblioteca Livia Simoni, after his mother’s name.

Simoni died in Milan on July 5, 1952.

References[link]

External links[link]

• Simoni short biography
• Livia Simoni Library
• One of Simoni’s collaboration work

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Charles Felix King of Sardinia Reign 12 March 1821 – 27 April 1831 Predecessor Victor Emmanuel I Successor Charles Albert Spouse Maria Cristina of Naples and Sicily Full name Carlo Felice Giuseppe Maria di Savoia House House of Savoy Father Victor Amadeus III of Sardinia Mother Maria Antonietta of Spain Born (1765-04-06)6 April 1765 Royal Palace of Turin, Turin Died 27 April 1831(1831-04-27) (aged 66) Palazzo Chablais, Turin Burial Basilica of Superga, Turin, Italy

Charles Felix (Carlo Felice Giuseppe Maria; 6 April 1765 – 27 April 1831) was the Duke of Savoy, Piedmont, Aosta and King of Sardinia from 1821 to 1831.

Biography[link]

Early life[link]

Carlo Felice di Savoia was born in Turin as the eleventh child and fifth son born to Victor Amadeus III of Savoy and Maria Antonietta of Spain. His paternal grandparents were Charles Emmanuel III of Savoy and his German wife Polyxena Christina of Hesse-Rotenburg. His maternal grandparents were French born King Philip V of Spain and his Italian wife Elizabeth Farnese.

He was a younger brother of two other rulers of Savoy Charles Emmanuel IV and Victor Emmanuel I. He spent his childhood with his sister Maria Carolina and Count of Moriana where they lived at the Castle of Moncalieri. Carlo Felice was reported as having a closed character, prone to loneliness, with an almost ascetic (which for some time, had flashed the ecclesiastical career) and a sacral conception of the monarchy and the right to reign. With the Napoleonic occupation of Piedmont in 1796, he lost the crown of Savoy, the Duchy of Savoy and area of Genevois. Carlo Felice, who was titled Duke of Genevois, obtained the title of Marquis of Susa in compensation for his nominal loss.

Succession[link]

He was a younger brother of Charles Emmanuel IV of Savoy and Victor Emmanuel I of Savoy. He was not expected to ever succeed to the throne. However Charles Emmanuel never had any children and abdicated the throne on 4 June 1802. Victor Emmanuel had four living daughters when he abdicated the throne in 1821. As the succession was regulated by the Salic Law, Charles Felix succeeded his brother on the throne.

Marriage[link]

He was married by proxy to Princess Maria Cristina of Naples and Sicily (17 January 1779 - 11 March 1849) on 7 March 1807. She was a daughter of Ferdinand I of the Two Sicilies and Maria Carolina of Austria, sister of Marie Antoinette.

Charles Felix died without issue after a reign of ten years. He was succeeded by the senior male of his House as Charles Albert of Savoy after he died in Turin at the Palazzo Chablais which had been given to him by his sister Princess Maria Ana of Savoy.

Legacy[link]

The Teatro Carlo Felice in Genoa is entitled to him.

The principal road of the island of Sardinia, the Strada statale 131 Charles Felix, that connects the towns of Cagliari and Sassari-Porto Torres, realised in 19th century, is entitled to him.

Ancestry[link]

Titles, styles, honours and arms[link]

Titles and styles[link]

Arms of Charles Felix, King of Sardinia

• 6 April 1765 – 12 March 1821 His Royal Highness the Duke of Genevois
• 12 March 1821 – 27 April 1831 His Majesty the King of Sardinia

Arms[link]

• écartelé, en 1 d'argent, à la croix de gueules, cantonnée de quatre têtes de maures de sable, tortillées d'argent, en 2 grand quartier parti en 1 burelé d'azur et d'argent de dix pièces au lion de gueules armé lampassé et couronné d'or brochant sur le tout et en 2 d'argent à la croix potencée d'or cantonné de quatre croisettes de même, en 3 grand quartier d'argent à la croix de gueules et en 4 grand quartier de gueules à la croix d'argent brisé d'un lambel d'azur, sur le tout d'or à l'aigle de sable, sur le tout du tout de gueules à la croix d'argent

See also[link]

v t e Kings of Sardinia Victor Amadeus II (1720–1730) · Charles Emmanuel III (1730–1773) · Victor Amadeus III (1773–1796) · Charles Emmanuel IV (1796–1802) · Victor Emmanuel I (1802–1821) · Charles Felix (1821–1831) · Charles Albert (1831–1849) · Victor Emmanuel II (1849–1861)

Antonello Palombi (born in Spoleto, Italy) is an Italian operatic tenor.

Palombi joined the Carabinieri, Italy’s paramilitary police force, when he was 20. (His father was also in the Carabinieri). While stationed in Perugia and Florence, he also sang in the cathedral choir of Todi. At the suggestion of the choirmaster there, he decided to study singing seriously. After private lessons he made his debut in 1990, as Pinkerton in Madama Butterfly in the small German city of Fürth. He went on to sing in various European and Italian opera houses. He made his American debut in 2004 as Dick Johnson in Puccini's La fanciulla del West at the Seattle Opera. He subsequently appeared in the US as Canio in Pagliacci at Dallas Opera and Palm Beach Opera, as Radames in Aida at Michigan Opera Theatre and as Cavaradossi Tosca at Cincinnati Opera.

On 10 December 2006 he was thrust into the media spotlight in Franco Zeffirelli's new production of Aida at La Scala, which opened the theatre's 2006/2007 season. During the second night of the run, Palombi took over the role of Radames when Roberto Alagna walked off the stage after booing from the loggione (opera fans who sit in the less-expensive seats at the very back of the Scala). Palombi entered on stage wearing jeans and a black shirt to finish the act, and returned in costume after the interval to sing the remainder of the opera.

References[link]

• "Booed tenor quits La Scala's Aida." BBC News Online. 11 December 2006.
• Wakin, Daniel J., Stepping in for a Star, but Not Feeling Like One , New York Times, 11 December 2006.

External links[link]

• Official Site (Italian) (English)
• Antonello Palombi, Tenor, Pinnacle Arts Management
• "Roberto Alagna Booed at La Scala" Telegiornale 3 (RAI), December 2006.

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