Francesca Caccini Biography

Francesca Caccini (1587 -c.1640)

Francesca Caccini was born and baptized on September 18, 1587. She was born to Giulio Caccini (1546 -1618), who was a prominent composer, singer, theorist, and member of the Florentine Camerata. Her mother, Lucia, was a singer and her sister, Settimia, was a singer and composer. Francesca was fluent in writing Latin and Italian poetry, so she often used her own poetry in her songs. She was not only a singer; she played the harpsichord, the lute, and the guitar. Francesca received her musical training from her father. Since the whole family was involved with music, like Mozart's family, she was able to develop a rich musical background. Francesca started out as a performer and then developed into a composer.

Her career began when she was just 13 (in 1600) when she sang in Jacapo Peri's first opera, Euridice, in which some parts were written by her father. At this time monody and opera were just beginning to develop. In 1604 -1605 the Caccini's went to France, where Maria de' Medici was so impressed with Francesca's singing that she wanted the Tuscan Grand Duke to release Francesca into the French Court. The Count declined her request even though she was said to be a better singer than anyone else in France. She even had a nickname: La Cacchina. Shortly after, in 1606, she began composing canzonettas. At this time she used the texts of Michelangelo Buonarroti the Younger, who was the grandnephew of the painter and sculptor.

In 1607 she officially entered the service of the Medici court and married Giovanni Battista Signori who was a musician, poet, and member of the Florentine Court. Francesca received more praise, in 1610, when Claudio Monteverdi visited the Caccinis' and praised her versatility. In 1614 she began to compose music for intermedios of comedies. Her first publicly acknowledged work was said to have been her Ballo delle Zigane from 1615, which is now unfortunately lost. Francesca wrote "secular songs for her court appearances, sacred songs for Lenten concerts, and operas and other dramatic entertainments, for when she joined with other musicians at the court" (Neuls-Bates, 1996, p.55). In 1616 she traveled with Cardinal de Medici and his entourage to Rome.

Later in 1618, she dedicated her first publication, Il Primo libro delle Musche a una due voci to Cardinal de Medici. This publication, Il Primo Libro, included both sacred and secular compositions for solo soprano voice and continuo. The music for Il Primo, which was written over a period of ten years, also included four soprano and bass duets. She wrote a wide variety of styles in her first publication; it includes: sacred madrigals, sacred arias, motes, hymns, four duets, madrigals, arias and canzonets. Both Francesca and Giulio Caccini used the publisher, Zanobi Pignoni. It was the first published collection of sacred monodies. Il Primo Libro is said to be "the most extensive collection of early monodic music by a single composer up to that time." (Neuls-Bates, 1996, p.55)

During 1618 to 1623, she taught singers in a school that she founded. In 1619, she set M. Buonarrit's play, La Liera, to music. Between the years 1619 -1623, Francesca's two daughters made court appearances with her. Amazingly, as a woman, she was the highest paid employee in the Medici Court in 1623; she earned 240 scudi.

Francesca Caccini's opera -ballet La Liberazione di Riggiero dall' Isola d'Alcina was the first opera to be composed by a woman in 1625. The librettist was Ferdinando Saracinelli. It is also the first Italian opera not performed inside Italy. It was performed in Warsaw in 1682.

Francesca stoped collecting pay at the Medici Court in 1626, so many people have assumed that she either became ill or went into retirement. Researcher Suzanne Cusick has made some new developments about what happened to her. When her husband, G.B.Signorini, died on December 30, 1626 she inherited her 1,000 scudi dowry, 2 houses and all of their valuable contents. Because of this she was in a strong social and economic position to marry again, after a suitable amount of time had elapsed after Signorini's death. She then married Tommaso Raffaelli who was a wealthy musician, musical instrument collector, landowner and a member of the accademia degli oscuri in Lucca. In 1630, Raffaelli died, but left an 18-month son, Tommaso and Francesca a large will. After his death, she eventually returned to Florence, by 1634, with Tommaso and her two daughters.

From 1635 to 1636 she served the dowager grand duchess: Christine of Lorraine, and the young new grand duchess: Vittoria della Rovere. At this time she probably also taught in convents, such as La Convertite and La Crocetta. She performed with her fifteen year-old daughter, Margherita Signori, who also played the guitar and harp.

Suzanne Cusick has made some other interesting discoveries about Francesca Caccini. Cusick found that Francesca composed musica stupenda as early as 1607, for Buonorotti's La Striava, but Giulio deliberately suppressed knowledge of her authorship to protect her dowry and her appointment at the Medici Court. Cusick has also come to believe that the rumor of Francesca dying from Cancer of the Mouth was just a tale passed on from the astrologer Ademollo, who originated the tale, to the next writer.

Francesca Caccini was a talented female performer and composer who wrote two major works: Il Primo Libro; and the opera ñballeto La Liberazione di Riggiero dall' Isola d'Alcina. Unfortunately, most of her compositions were never printed and hence have disappeared. Some of her monody is available through recent song collections books.

"Francesca Caccini was one of the few women to achieve individual success and recognition for her artistic endeavors during a time when such a status for women was unheard of."
(Lennerton, 2000)


	Francesca Caccini (1587 -c.1640)

	Francesca Caccini was born and baptized on September 18, 1587. She was born to Giulio Caccini (1546 -1618), who was a prominent composer, singer, theorist, and member of the Florentine Camerata. Her mother, Lucia, was a singer and her sister, Settimia, was a singer and composer. Francesca was fluent in writing Latin and Italian poetry, so she often used her own poetry in her songs. She was not only a singer; she played the harpsichord, the lute, and the guitar. Francesca received her musical training from her father. Since the whole family was involved with music, like Mozart's family, she was able to develop a rich musical background. Francesca started out as a performer and then developed into a composer. Her career began when she was just 13 (in 1600) when she sang in Jacapo Peri's first opera, Euridice, in which some parts were written by her father. At this time monody and opera were just beginning to develop. In 1604 -1605 the Caccini's went to France, where Maria de' Medici was so impressed with Francesca's singing that she wanted the Tuscan Grand Duke to release Francesca into the French Court. The Count declined her request even though she was said to be a better singer than anyone else in France. She even had a nickname: La Cacchina. Shortly after, in 1606, she began composing canzonettas. At this time she used the texts of Michelangelo Buonarroti the Younger, who was the grandnephew of the painter and sculptor. In 1607 she officially entered the service of the Medici court and married Giovanni Battista Signori who was a musician, poet, and member of the Florentine Court. Francesca received more praise, in 1610, when Claudio Monteverdi visited the Caccinis' and praised her versatility. In 1614 she began to compose music for intermedios of comedies. Her first publicly acknowledged work was said to have been her Ballo delle Zigane from 1615, which is now unfortunately lost. Francesca wrote "secular songs for her court appearances, sacred songs for Lenten concerts, and operas and other dramatic entertainments, for when she joined with other musicians at the court" (Neuls-Bates, 1996, p.55). In 1616 she traveled with Cardinal de Medici and his entourage to Rome. Later in 1618, she dedicated her first publication, Il Primo libro delle Musche a una due voci to Cardinal de Medici. This publication, Il Primo Libro, included both sacred and secular compositions for solo soprano voice and continuo. The music for Il Primo, which was written over a period of ten years, also included four soprano and bass duets. She wrote a wide variety of styles in her first publication; it includes: sacred madrigals, sacred arias, motes, hymns, four duets, madrigals, arias and canzonets. Both Francesca and Giulio Caccini used the publisher, Zanobi Pignoni. It was the first published collection of sacred monodies. Il Primo Libro is said to be "the most extensive collection of early monodic music by a single composer up to that time." (Neuls-Bates, 1996, p.55) During 1618 to 1623, she taught singers in a school that she founded. In 1619, she set M. Buonarrit's play, La Liera, to music. Between the years 1619 -1623, Francesca's two daughters made court appearances with her. Amazingly, as a woman, she was the highest paid employee in the Medici Court in 1623; she earned 240 scudi. Francesca Caccini's opera -ballet La Liberazione di Riggiero dall' Isola d'Alcina was the first opera to be composed by a woman in 1625. The librettist was Ferdinando Saracinelli. It is also the first Italian opera not performed inside Italy. It was performed in Warsaw in 1682. Francesca stoped collecting pay at the Medici Court in 1626, so many people have assumed that she either became ill or went into retirement. Researcher Suzanne Cusick has made some new developments about what happened to her. When her husband, G.B.Signorini, died on December 30, 1626 she inherited her 1,000 scudi dowry, 2 houses and all of their valuable contents. Because of this she was in a strong social and economic position to marry again, after a suitable amount of time had elapsed after Signorini's death. She then married Tommaso Raffaelli who was a wealthy musician, musical instrument collector, landowner and a member of the accademia degli oscuri in Lucca. In 1630, Raffaelli died, but left an 18-month son, Tommaso and Francesca a large will. After his death, she eventually returned to Florence, by 1634, with Tommaso and her two daughters. From 1635 to 1636 she served the dowager grand duchess: Christine of Lorraine, and the young new grand duchess: Vittoria della Rovere. At this time she probably also taught in convents, such as La Convertite and La Crocetta. She performed with her fifteen year-old daughter, Margherita Signori, who also played the guitar and harp. Suzanne Cusick has made some other interesting discoveries about Francesca Caccini. Cusick found that Francesca composed musica stupenda as early as 1607, for Buonorotti's La Striava, but Giulio deliberately suppressed knowledge of her authorship to protect her dowry and her appointment at the Medici Court. Cusick has also come to believe that the rumor of Francesca dying from Cancer of the Mouth was just a tale passed on from the astrologer Ademollo, who originated the tale, to the next writer. Francesca Caccini was a talented female performer and composer who wrote two major works: Il Primo Libro; and the opera ñballeto La Liberazione di Riggiero dall' Isola d'Alcina. Unfortunately, most of her compositions were never printed and hence have disappeared. Some of her monody is available through recent song collections books. "Francesca Caccini was one of the few women to achieve individual success and recognition for her artistic endeavors during a time when such a status for women was unheard of." (Lennerton, 2000)