of the Teatro della Pergola in Florence.
The social status of the priest-composer is a matter of the
utmost insignificance to Luca Casimiro degli Albizzi, impresario of
the old theatre and long-time acquaintance of Vivaldi. Luca
remembers the violinist with the red curls as if it were yesterday. As
far as he can recall, the priest’s conduct has on no occasion been
unseemly. Antonio has never breathed a word concerning the
shameful details of his encounter with the incontinent heir of
Tuscany. Moreover, Luca Casimiro has heard tell that Vivaldi’s
productions at the San Angelo pull in more than average crowds.
And that is precisely what he needs in Florence!
Scanderberg, the title for his new production, is the name of
a fifteenth-century Albanian prince who leads a successful rebellion
against the Turkish oppressor. Juditha has clearly rung some bells.
Soon after the Christmas of 1717, Antonio hears from the adjutant
of Prince Philip, Count of Hesse-Darmstadt and Habsburg governor
of Mantua. Prince Philip, a great music lover, would like to inquire,
quite without obligation, whether or not it would please Don Vivaldi
to consider a position as Maestro di Capella di Camera at the Court of
Mantua.
‘Give it some thought,’ advises the adjutant. ‘Prince Philip
will be glad to meet you at the embassy to discuss the conditions
with you personally.’
Antonio does indeed need time to consider, and replies to
this effect. He must first talk to his father! But the wildest ideas are
already racing through his head. The governor of Mantua is the
port of entry to the Court of Vienna! The Habsburg Empire offers
such an array of opportunities, and is Vienna not far more
interesting than Dresden?
But what about the Pietà? Antonio has not forgotten how
much he missed the Figlie when his contract with the institute was
terminated so abruptly. And given that Scarpari is incapable of
composing, who’s going to take over his duties there?
One by one he enumerates to himself the pros and cons.
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