The Haydn Mysteries are set in the 1760s. Haydn was in his thirties, at the prime of his life and his musical career. Thirty years later in 1799, he would meet the first of the two men who have come to be known as his early biographers: Georg August Griesinger, a tutor in the household of the Electoral Saxon Ambassador. Six years after that, Haydn met with the painter and engraver Albert Christoph Dies.
Unfortunately, the last excerpt scheduled to appear today on the Haydn’s Great Escape hasn’t posted up yet. For those of you following the blog tour, I’ve included it here.
Kaspar has failed to return home. Unable to find Haydn, Kaspar’s servant, Rudi, seeks out Konzertmeister Luigi Tomasini. Where could Kaspar have gone?
Starting Wednesday, Haydn and I will be on tour with Dolly Caswell’s Great Escapes Virtual Book Tour Company. Join us to read a selection of excerpts from the book and win a print copy of Aria to Death.
Click on the banner for more details or see the itinerary below:
“The comely Grilletta would never roar out her lines in a lusty fortissimo. It is entirely out of character.” (Aria to Death, Chapter One)
How did eighteenth-century audiences regard opera? We’re so used to prioritizing the music of an opera, that its other aspects—the plot, the ability, in particular the thespian ability, of the singers, and the scenery—sometimes pale into insignificance. The composer’s name is so inextricably intertwined with an opera that we forget there would be no opera without the plot and characters furnished by the librettist.