closely to historical fact. This does not much trouble Antonio, who
has never yet made it his business to study Spain’s past.
Whereas the real Montezuma paid with his life for the
arrival of Cortés, Alvise Giusti rewrites history by allowing
friendship to develop between their two peoples. Crowning this
fictional triumph of chivalry over war is the marriage between
Motezuma’s daughter and Ramiro, brother of Cortés. Vivaldi opens
the book and begins reading somewhat sceptically. But he is soon
carried away by the story, and the same itch of inspiration comes to
him that so often precedes good composition. It is all unfolding
before him, the rich décor of the imperial palace, the exotic setting
of a Mexican city. Here’s something new for Venice to get its teeth
into!
‘Mauro will do the set and costumes,’ Fabrizio informs
him flatly, keeping a sharp eye on the priest’s face.
Vivaldi does not flicker. Instead he lets a few minutes pass
before laying the libretto back down in front of the theatre boss.
‘Could turn into something,’ he remarks blandly, picking at a
fingernail. ‘Of course, it’s a bit risky trying to turn a foreign tale
like that into a libretto. Hmm, I’m not sure I’d like my name
associated with it.’
Fabrizio gapes at the book. Bloody hell, he thinks enraged,
the man’s playing games with me! Il Prete Rosso knows perfectly
well how things stand here, business-wise and financially too. This
theatre was his home from home for years! The impresario’s
mistrust of the priest is growing by the moment. The man’s only
out for money!
‘Fine, I’ll be off then,’ Antonio breaks the silence.
‘I take it you’re not interested?’ Fabrizio queries peevishly.
‘Not without hearing all the conditions, and so far you
haven’t told me much. I am prepared to do my utmost to make your
season a success, but you must understand I have my own decisions
to make. There’s a nice offer outstanding from Verona, for
example,’ bluffs the priest, ‘and I can only be in one place at a time,
can I not?’
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