father has left the country. The army proves incapable of
withstanding the Prussians. On the other side of the frontier,
Bavarian troops are making ready for an assault upon Prague. By a
stroke of good fortune, Anna has already left the city and, with
some other singers, has arrived safe and sound in Vienna. Seeing
no future here, Anna is now planning to move on. She and the rest
of the group she performed with in Prague are travelling to
northern Italy. If they are quick, they may still find roles for
themselves there.
‘Would it not be more sensible for you to come home, too?’
Anna suggests to Paolina and Antonio. Like many others, she is
convinced a war is looming. But Vivaldi sees things differently.
Now that Frederik II has his province, things will calm down.
‘When the theatres reopen next year, mine will be the first
production! And what’s more, there’s a good chance I may be
appointed Kapellmeister at court. No, Anna, we’re staying put! And if
by October next year you have no roles lined up for yourself, you
can come back to Vienna. Be my prima donna again.’
Laughing, she embraces the priest. She has so much to
thank him for. She has been able to build a good name for herself
professionally, and nowadays it is she who often has the choice of
roles offered her.
‘’Bye, sister,’ says Paolina, kissing Anna on the cheek. She
stands and watches as Anna runs down the stairs to join her
waiting friends. Vivaldi waves to his daughter, but she is already
gone. He shuts the door softly.
The last thing on Maria Theresa’s mind is the court orchestra. She
is seven months pregnant and her country is entering a state of
war, when suddenly she is confronted with the death of her little
one-year-old daughter.
Only the previous year she lost her eldest daughter, Maria
Elisabeth, and events since have prevented her even from mourning
this loss. Yet, despite pregnancy and grief, her energy seems
unabated and she remains capable of motivating all around her.
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