4
Venice, July 1713
Il celebro Vivaldi! Antonio may consider the performance of Ottone in
Villa sub-standard, but apparently the public does not share his
view. The news seeps slowly from Vicenza into the lagoon, at first a
tiny trickle but soon swelling to become a surging river of praise
that threatens to burst its banks. People who have never even heard
Vivaldi play, let alone been to one of the performances in Vicenza,
are among the most wildly enthusiastic and proud of ‘their’ celebro
virtuoso de violino.
Il Prete Rosso’s standing rises by the day, as do prices for his
commissions. Most thrilled of all are Giambattista and Camilla
Vivaldi. Not so much because of the money pouring in daily, though
this is greatly appreciated, but more with the status and respect
accorded their son. Camilla is proud simply to be pointed out in
church or at the market as the mother of Don Vivaldi. The same
goes for his father and, in some degree, everyone else in the
neighbourhood. Antonio’s success reflects on them too and it is
remarkable how many ‘friends’ the priest soon gathers about him;
each and every one full of exuberant tales of how this very great
composer excels in so many ways and yet remains faithful to them
as a simple comrade. Then there are the brava’cci, the bluffers who
go a step further and relate how the virtuoso de violino actually
comes to them for inspiration! But, it has to be said, not many
people fall for this particular claim.
How different is the reality. In fact Antonio Vivaldi has
very few friends. As a small child he was already an outsider. He
had never cared for ball games in the square, or playing tag and
hide-and-seek. After a few minutes running around he would be
gasping for air and have to retire, half-fainting to his mother’s lap.
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