of the fellow until this moment and suspects him of being the type
of impresario who does not let his business ineptitude get in the
way of trying to make a profit on every contract. Antonio’s brain is
working overtime. His first priority is to get a piece of work staged
in Ferrara. Once the audiences there have heard something, he will
have them eating out of his hand. Now to find a way of stitching up
this Bollani fellow.
‘My esteemed Bollani. But of course I understand that you
are working to a limited budget. Ferrara cannot be compared to a
world-famous city such as Venice.’ Bollani swallows and Antonio
watches his eyes narrow venomously. ‘My honorarium for an opera,’
continues Antonio, ‘is a hundred zecchini. I do not intend to barter
with you over this. In appreciation of my friendship with the
Marquis d’Aragona I shall refresh two of my favourite operas and
ask six zecchini for each, the fee you would otherwise pay a copyist.’
For a moment Bollani is robbed of speech. He has heard
how difficult it is to negotiate with Il Prete Rosso, and now he is
being offered two operas on a plate.
‘Which works do you have in mind, Vivaldi?’
‘Ginevra and l’Olimpiade,’ says the priest shortly.
Slowly Bollani nods his fat head.
‘Have you engaged singers, orchestra and ballet?’ asks
Antonio.
‘I have my eye on a number of people,’ pants Bollani.
‘Well now, to make sure these two pieces are perfectly
staged I will select the singers myself. And you are in luck, for
I know that signorina Anna Girò is available, and she has put on a
dazzling performance in the leading role of both productions.’
‘Signorina Girò, do you say? Eh, well, I’m not sure if
I would agree to that. I prefer to keep the whole production under
my own auspices, and my assistant Signor Lanzetti will preside
personally over the auditions.’
This idea does not in the least appeal to Antonio. He might
not know Daniele Lanzetto in person, but he has heard that he is
an extremely mediocre tenor. This cockerel conducting the
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