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ANALECTA ROMANA INSTITUTI DANICI XLIII © 2019 Accademia Di Danimarca ISSN 2035-2506 ANALECTA ROMANA INSTITUTI DANICI XLIII ANALECTA ROMANA INSTITUTI DANICI XLIII 2018 ROMAE MMXVIII ANALECTA ROMANA INSTITUTI DANICI XLIII © 2019 Accademia di Danimarca ISSN 2035-2506 SCIENTIFIC BOARD Karoline Prien Kjeldsen (Bestyrelsesformand, Det Danske Institut i Rom, -30.04.18) Mads Kähler Holst (Bestyrelsesformand, Det Danske Institut i Rom) Jens Bertelsen (Bertelsen & Scheving Arkitekter) Maria Fabricius Hansen (Københavns Universitet) Peter Fibiger Bang (Københavns Universitet) Iben Fonnesberg-Schmidt (Aalborg Universitet) Karina Lykke Grand (Aarhus Universitet) Thomas Harder (Forfatter/writer/scrittore) Morten Heiberg (Københavns Universitet) Michael Herslund (Copenhagen Business School) Hanne Jansen (Københavns Universitet) Kurt Villads Jensen (Stockholms Universitet) Erik Vilstrup Lorenzen (Den Danske Ambassade i Rom) Mogens Nykjær (Aarhus Universitet) Vinnie Nørskov (Aarhus Universitet) Niels Rosing-Schow (Det Kgl. Danske Musikkonservatorium) Poul Schülein (Arkitema, København) Lene Schøsler (Københavns Universitet) Erling Strudsholm (Københavns Universitet) Lene Østermark-Johansen (Københavns Universitet) EDITORIAL BOARD Marianne Pade (Chair of Editorial Board, Det Danske Institut i Rom) Patrick Kragelund (Danmarks Kunstbibliotek) Sine Grove Saxkjær (Det Danske Institut i Rom) Gert Sørensen (Københavns Universitet) Anna Wegener (Det Danske Institut i Rom) Maria Adelaide Zocchi (Det Danske Institut i Rom) Analecta Romana Instituti Danici. — Vol. I (1960) — . Copenhagen: Munksgaard. From 1985: Rome, «L’ERMA» di Bretschneider. From 2007 (online): Accademia di Danimarca. ANALECTA ROMANA INSTITUTI DANICI encourages scholarly contributions within the Academy’s research fields. All contributions will be peer reviewed. Manuscripts to be considered for publication should be sent to: [email protected] Authors are requested to consult the journal’s guidelines at www.acdan.it Contents MAURIZIO PAOLETTI: “Kleom(b)rotos, figlio di Dexilaos, (mi) dedicò”. L’offerta di un atleta vincitore ad Olimpia nel santuario di Francavilla Marittima 7 JAN KINDBERG JACOBSEN, PETER ATTEMA, CARMELO COLELLI, FRANCESCA IppOLITO, GLORIA MITTICA, SINE GROVE SAXKJÆR: The Bronze and Iron Age habitation on Timpone della Motta in the light of recent research 25 DANIEL DAMGAARD: Architectural Terracottas from Etrusco-Italic Temples on the Later Forum of Ostia. Archaic Ostia Revisited 91 CHRISTINE JEANNERET: Making Opera in Migration. Giuseppe Sarti’s Danish Recipe for Italian Opera 111 NIKOLA D. BELLUCCI: Danici sodales. Schow e Zoëga nel carteggio Baffi (e Baffi nel carteggio Zoëga). Analisi e confronti 135 MARIANNE SAABYE: P.S. Krøyer, Pasquale Fosca and the Neapolitan art scene 149 ANNA WEGENER: Italian Translations of Scandinavian Literature in the Interwar Period: A Bibliographic Overview 179 Reports: GLORIA MITTICA & NICOLETTA PERRONE: Espressioni votive e rituali nel Santuario arcaico di Timpone della Motta. Le novità dagli scavi DIR 2017 237 DOMENICO A. M. MARINO & CARMELO COLELLI: Crotone. Lo scavo urbano di Fondo Gesù 265 Making Opera in Migration Giuseppe Sarti’s Danish Recipe for Italian Opera1 by CHRISTINE JEANNERET Abstract. The first opera season at the permanent theatre of Copenhagen in 1761-2, under the direction of Italian composer Giuseppe Sarti (1729-1802), was a complete fiasco, for both practical reasons and cultural clashes. Unlike anywhere else in Europe, Denmark discovered Italian opera only after the spread of Enlightenment thinking, promoting emergent forms of nationalism that surpassed former universalist perspectives. In Copenhagen, an aristocratic, cosmopolitan culture collided with a bourgeois, nationalist identity, which was rooted in local taste and ferociously opposed to Italian opera. Based on a letter that I recently discovered, this study focuses on Sarti’s solutions for adapting the genre for a foreign audience, from the perspective of opera in migration. The full text of the letter, which is written in French, is given in appendix with an English translation. First, Sarti focussed on the libretto translations, in order to address the criticism of excessive sensuality and theatricality, which had been levelled at opera as a genre. More importantly, he regarded the visual aspects (costumes, above all) as crucial tools for transmitting and adapting the genre to its new environment. Costumes were crucial visual signifiers and played a role even surpassing that of the sung text. Giuseppe Sarti (1729-1802), director of the season with a permanent theatre in 1761-1762 Italian opera in Copenhagen, faced various turned out to be a complete debacle, as we challenges: his audience did not understand learn from the letter Sarti wrote in response the Italian language and had almost no prior to a request made by the management, a letter exposure to the operatic genre. In Denmark, I recently discovered in the Danish National there was a political conflict between an Archive.2 This article locates Sarti’s efforts aristocratic, cosmopolitan, Italianate identity and suggestions within the fraught cultural on the one hand, and a bourgeois, nationalist contexts of eighteenth-century Denmark, and identity rooted in local Danish taste and a through the broader perspective of opera in resistance to opera on the other. The first opera migration.3 First, I present a brief survey of 1 This article is a revised version of my acceptance modifications: in French, I have tacitly changed “j” talk at receiving Queen Margrethe’s Rome Prize in to “i” and “u” to “v”, capitalization, accents, dier- October 2017. I would like to heartily thank the esis, and cedilla have been modernized; in German, Carlsberg Foundation, Eric Bianchi, Valeria De Luc- “ß” has been modified to “ss;” in Danish, capital- ca, Petra Dotlačilová, Peter Hauge, Jens Hesselager, ization according to eighteenth-century norms has Anne Ørbæk Jensen, Christina Lysbjerg Mogensen, been retained. Square brackets have been used to Nicolai Østenlund, Marianne Pade and the Danish indicate errors or clarify meanings, punctuation and Academy in Rome, Karl Aage Rasmussen, Carmel capitalisation have been normalised. Raz, Ellen Rosand, Magnus Tessing Schneider, Per 2 RA Breve 220, letter from Giuseppe Sarti to the Seesko, Nikolaj Strands and Christoph Wernli for opera management. their precious help and suggestions. Translations are 3 I coined the term, based on previous research on mine unless otherwise stated. I retained the origi- the topic of Italian opera performed outside Italy nal spelling of the sources, except for the following and related issues of cultural transfer, adaptations, 112 CHRISTINE J EANNERET the introduction of Italian opera in Denmark onerous cultural questions of adapting opera by the traveling troupe of Pietro Mingotti, for a foreign audience. First, he focussed on followed by Sarti and his productions for the the libretto translations, in order to address permanent theatre. Next, I outline the cultural the criticism of excessive sensuality and world Sarti encountered at the Danish court, theatricality levelled at the operatic genre. the concept of “Danishness” and national But more importantly, he regarded the visual identities, language, and migration studies. aspects (above all costumes) as crucial tools The English translation of this sixteen- for transmitting and adapting the genre to page letter originally written in French is its new context. Costumes are primary visual followed by a critical commentary on Sarti’s signifiers and play a role even surpassing that letter, where I present and discuss the most of the sung text. important aspects and challenges faced by the composer in Copenhagen. Finally, the French A Citizen of the World text is given in the Appendix. Fairly little scholarly attention has been paid Transnational studies are not new and to Sarti.4 He is mostly known to us for having many scholars have studied opera in migration: written an aria that Mozart quoted in Don Europe, but also distant continents, main Giovanni.5 He spent almost two decades in centres such as Paris and London, but also Copenhagen (1753-1775), with regular trips smaller cities have benefitted from numerous back to Italy during the summer – or for a studies. However, Scandinavia has not yet longer stay in 1765-68 – to hire new singers appeared on the map and brings a stimulating and procure new music. He was then invited perspective, not only with regard to Denmark by Catherine II of Russia to St Petersburg to but also to other countries, by considering the become director of the imperial chapel and introduction of opera to the northern part of the Italian opera. He paved the way for the Europe. creation national traditions of operas in both At the request of the theatre managers, Danish and Russian, without speaking either Sarti writes down in the letter presented of the two languages. here everything that is necessary for a Italian opera was introduced in Copenhagen professional production of Italian opera. This very late when compared to other European document is rare and fascinating because it cities. Except one case, none of the few clarifies many issues and conventions that isolated performances of music dramas that were never discussed in countries with a took place in the seventeenth century were in longer tradition of producing this genre. Italian.6 Frederik IV’s newly built theatre was Sarti was faced with a series of challenges, inaugurated by a performance of Bartolomeo from practical and technical issues to more Bernardi’s Il Gige fortunato, the first Italian
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