Venanzio Rauzzini

Venanzio Rauzzini (1746-1810) enjoyed a multi-faceted career as a singer, composer and concert director. He began his career in Rome in 1765 as a soprano castrato, and quickly established his operatic credentials in various Italian centres before undertaking leading roles in Vienna and Munich. He returned to the Italian peninsula in 1772 and created the role of Cecilio in the premiere of W.A. Mozart's opera, Lucio Silla on 26 December. Mozart was so pleased with Rauzzini's singing that...
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Venanzio Rauzzini (1746-1810) enjoyed a multi-faceted career as a singer, composer and concert director. He began his career in Rome in 1765 as a soprano castrato, and quickly established his operatic credentials in various Italian centres before undertaking leading roles in Vienna and Munich. He returned to the Italian peninsula in 1772 and created the role of Cecilio in the premiere of W.A. Mozart's opera, Lucio Silla on 26 December. Mozart was so pleased with Rauzzini's singing that he composed the motet, Exultate jubilate, for the singer. Rauzzini accepted the invitation to become the primo uomo at the King's Theatre in London for the 1774-75 season of Italian operas. Such was his success that the contract was extended for a further two seasons. Rauzzini remained in Britain rather than returning to the Continent. He continued to sing professionally, directed concerts in both London and Bath, and was a prolific composer. Rauzzini directed the subscriptions concerts in Bath from 1777-1810, raising their prestige to the equal of any in London. Furthermore, he was one of the most sought-after voice teachers in Britain. The cantata, Piramo e Tisbe, was drawn from his opera of the same name that was given its first London performance on 16 March 1775. Rauzzini's opera proved to be a favourite with both audiences and other singers, and it was revived in London in 1776 and 1781. The composer never published the complete opera, but extended excerpts from it were published in 1775 that created a cantata for the title characters. Not only did the arrangement preserve the principal elements of the story, it likely had greater utility as a performance score than would the publication of the full opera. The overture of the opera has been appended to this edition of the cantata.