feet again, he is tempted to follow some up. The two men consider
the practical aspects of their new travel plans and decide to set off
in the autumn, returning in spring and thus avoiding the heat of
summer. It is no difficult task to persuade Paolina to accompany
them; she is more than ready for a break, and sets about
preparations with verve and enthusiasm. Passports are her top
priority, and then arranging leave for Giambattista, who is still a
member of the orchestra of San Marco. Working from a list compiled
by Antonio, she writes to counts, dukes and princes informing
them that Don Antonio Vivaldi would like to pay them the honour
of a visit. Very soon the replies start coming in, to the effect that
the priest will be most welcome! Preparations take all summer, but
by then Paolina has also drawn up a reasonably lean travel schedule.
They persuade Anna to come along too. There will be plenty of
work for her on the way, promises Antonio. She is not so sure.
Just as they are due to depart, Antonio’s sees a house to let on the
Canal Grande. It is not quite the palace of his dreams, but it does lie
on the water, near the Rialto and a number of theatres. The rent is
almost double that of their present accommodation. Antonio
decides to say nothing to his father, and consults only Paolina. She
loves the idea, so Vivaldi goes ahead and signs the contract without
further ado. The house will be theirs at the beginning of May the
next year. Paolina trims the travel schedule so as to be back in time
to direct the removal. What a surprise that will be for father!
Well and truly ready at last, they leave for the mainland.
They make a short and very practical stop at Treviso, where a greedy
public is treated to a revised edition of Vivaldi’s first opera, Ottone
in Villa.
And then they are off again, on the road that takes them
over the Alps and into the uncharted territory of Germania.
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