(b Verona; fl 1616). Italian composer and musician. In 1616 he was a musician in the service of the Archbishop of Salzburg, Markus Sittikus, a devotee of the latest Italian music. The only surviving music certainly by him, Arie op.2, for one to three voices (Venice, 1616), is of this sort. Nearly half the book is taken up with two long dialogues for three characters, conducted almost entirely in recitative seemingly influenced by early operatic music but generally of no great distinction; yet one passage in Hor già che 'l cielo is strikingly reminiscent of Peri at his best (Whenham, i, 195). The rest of the volume consists of eight monodies and six duets, in the form of either the madrigal or the strophic aria, the latter including strophic variations. Again the music, except for some sturdy bass lines, lacks interest. Three sets of strophic variations are built on the same bass, giving a total of 13 stanzas over it. After the first ten bars the bass of the trio that ends the second dialogue is not written out: the implication is that the piece is founded on a ground bass.
A. Einstein: ‘Die Aria di Ruggiero’, SIMG, xiii (1911–12), 444–54
J. Whenham: Duet and Dialogue in the Age of Monteverdi (Ann Arbor, 1982)
Orlandi [Orland, Orlando], Ferdinando
(b Parma, 7 Oct 1774; d Parma, 5 Jan 1848). Italian composer. He learnt the first elements of music from Gaspare Rugarli, organist at Colorno, a small town near Parma. He continued his studies at Parma under Gaspare Ghiretti and Paer, and later in Naples at the Conservatorio di S Maria della Pietà dei Turchini in 1793–9 under Sala and Tritto. In 1800 he was summoned back to Parma to a post in the ducal chapel, and he produced his first opera, La pupilla scozzese, at the Teatro Ducale. Between 1806 and 1822 he taught singing in Milan, firstly in the Reale Casa dei Paggi, then from 1814, as a result of the success of his operas at La Scala, at the conservatory. He also taught with great success in Munich (1822–3) and Stuttgart (1823–8). He returned to his native city of Parma, where he assumed the post of honorary maestro di cappella at the court and director of the school of singing of the Teatro Ducale from 1834 until his death. Orlandi composed 25 operas between 1800 and 1820, which show him as a facile melodist and imitator of the typical forms of 18th-century opera; he also wrote church music, chamber music and cantatas.
25 ops, incl.: La pupilla scozzese (L. Da Ponte), Parma, Ducale, carn. 1801; Il podestà di Chioggia (dg, A. Anelli), Milan, Scala, 12 March 1801, B-Bc, I-Fc; Il fiore, ossia Il matrimonio per svenimento (farsa giocosa, 2, G.M. Foppa), Venice, S Benedetto, 20 Sept 1803; Le nozze chimeriche (A. Locrence), Milan, Carcano, 27 Nov 1804, as Le nozze poetiche, Genoa, 1805; I raggiri amorosi, Milan, Scala, 30 May 1806; La donna [dama] soldato (melodramma giocoso, 2, C. Mazzolà), Milan, Scala, 20 Sept 1808, D-DS, I-Fc, Nc, US-Wc, 1 aria (Munich, ?1810); Il cicisbeo burlato (dg, Anelli), Milan, Scala, 2 May 1812; Il quid pro quo (melodramma comico, G. Rossi), Milan, S Radegonda, 1812
Sacred music, incl. 4 masses, motets, pss
FlorimoN [incl. a list of works in I-Nc]
GroveO [incl. complete list of ops]
C. Alcari: ‘Ferdinando Orlandi’, Parma nella musica (Parma, 1931), 139–40
N. Pelicelli: ‘Musicisti in Parma dal 1800 al 1860’, NA, xii (1935), 317–42
C. Gallico: Le capitali della musica: Parma (Parma, 1985), 142, 154–6
C. Parsons: ‘Ferdinando Orlandi’, The Mellen Opera Reference Index (Lewiston, NY, 1986), iii, 1318–19
GIOVANNI CARLI BALLOLA/ROBERTA MONTEMORRA MARVIN
(d Mantua, 1619). Italian composer. He was employed in at least May and September 1596 at S Maria Novella, Florence. His next known appointment was as maestro di cappella in the household of Prince Ferdinando Gonzaga at Florence. In 1608, when Ferdinando was created a cardinal by Pope Paul V, he followed him to Rome. On the death of Duke Vincenzo Gonzaga I in February 1612, Ferdinando’s brother Francesco succeeded to the duchy of Mantua, and he appointed Orlandi temporarily to the post of maestro della musica from which he had dismissed Monteverdi. Orlandi was recalled to Rome by Cardinal Ferdinando in October 1612, but on 22 December Duke Francesco II died, and the cardinal became duke. Orlandi seems to have spent the rest of his life in his service at Mantua. He may have been employed as a singer at S Pietro there; a list of singers in a partbook (in I-Mc) refers to a tenor by the name of Orlandi from S Pietro. He published five volumes of five-part madrigals. The first, third and fifth, none of which survives complete, appeared in Venice in 1602, 1605 and 1609 respectively. The other two books are effectively lost. The fourth may have been published in Venice in 1607; the only surviving (bass) partbook is fragmentary. One six-part madrigal by him survives (in RISM 161310). He also composed an opera, Gli amori di Aci e Galatea, which was performed at Mantua in March 1617 as part of the festivities celebrating Duke Ferdinando’s marriage to Caterina de’ Medici; this is also the first opera known to have been performed in Poland (in 1628). The libretto was by Chiabrera; the music is lost. Bonini surveyed the history of composition between the time of Willaert and about 1645, and divided composers into three ‘orders’: Orlandi he placed in the third, together with Monteverdi, Filippo Vitali and others, and recommended his works as models.
S. Bonini: Discorsi e regole sopra la musica (MS, 1640s, I-Frc 2218); ed. L. Galleni-Luisi, IMa, ii/5 (1975); Eng. trans., ed. M. Bonino (Provo, UT, 1979)
E. Vogel: ‘Claudio Monteverdi’, VMw, iii (1887), 315–450
E. Vogel: ‘Marco da Gagliano’, VMw, v (1889), 396–442, 509–68