) Maddalena Tessieri, an Italian mezzo-soprano/contralto of the 18th century. She is best remembered for her numerous collaborations with composer Antonio Vivaldi who wrote operatic roles for her.
Also inDeutsch
Photos 12
Ospedale della Pietà (source unknown). The building no longer exists.![The first two pages of the aria "La figlia, lo sposo"[13] written specifically for Girò. This aria concludes the second act of Vivaldi's Motezuma. The music of Motezuma was thought to have been lost in its entirety, but fragments of it, among which this aria, were discovered in 2002 in the archive of the music library of the Sing-Akademie zu Berlin.](https://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Motezuma_Vivaldi_Aria_End_Act2.jpg/500px-Motezuma_Vivaldi_Aria_End_Act2.jpg?utm_source=en.wikipedia.org&utm_campaign=parser&utm_content=thumbnail)
The first two pages of the aria "La figlia, lo sposo"[13] written specifically for Girò. This aria concludes the second act of Vivaldi's Motezuma. The music of Motezuma was thought to have been lost in its entirety, but fragments of it, among which this aria, were discovered in 2002 in the archive of the music library of the Sing-Akademie zu Berlin.
Frontispiece and cast from the libretto of the 1723 Treviso premiere of La Ninfa Infelice e Fortunata. Girò made her debut in this pastoral opera. She played the role of "Mirtillo, pastore amante di Filli" (Mirtillo, shepherd in love with Filli) as "La Sig. Anna Giro di Mantova" (Miss Anna Girò from Mantua). Her first professional role was en travesti.
Frontispiece and cast from the libretto of the 1726 production of Giovanni Porta's Agide, Re di Sparta. Girò appears under the role of "Filoastro, Principe amante di Antianira, Capitano delle guardie reali" (Filoastro, Prince in love with Antianira, Captain of the royal guards) as "La Sig. Anna Girò Mantovana" (Ms Anna Girò, Mantuan). This is another breeches role for Girò. Giovanni Porta's name appears preceded by del celebre (by the famous).
Frontispiece and cast from the libretto of the 1726 premiere of Vivaldi's Dorilla in Tempe. Girò appears under the role of "Eudamia, ninfa amante non corrisposta d'Elmiro" (Eudamia, nymph, feeling unrequited love for Elmiro). Vivaldi's name appears preceded by del celebre (by the famous).![Frontispiece and cast from the libretto of the 1728 premiere of Vivaldi's Rosilena ed Oronta at the Sant'Angelo Theatre in Venice.[22] This dramma per musica (musical drama) was put together for the Carnival. Girò sings "Oronta, Reina vedova d'Armenia" (Oronta, widowed Queen of Armenia), a seconda donna role. Vivaldi had already written a prima donna role for her in Farnace (Tamiri) the year before. But Oronta, if not a prima donna role, is still one of the title characters.](https://upload.wikimedia.org/wikipedia/commons/thumb/0/01/Roselina_ed_Oronta_Vivaldi.jpg/500px-Roselina_ed_Oronta_Vivaldi.jpg?utm_source=en.wikipedia.org&utm_campaign=parser&utm_content=thumbnail)
Frontispiece and cast from the libretto of the 1728 premiere of Vivaldi's Rosilena ed Oronta at the Sant'Angelo Theatre in Venice.[22] This dramma per musica (musical drama) was put together for the Carnival. Girò sings "Oronta, Reina vedova d'Armenia" (Oronta, widowed Queen of Armenia), a seconda donna role. Vivaldi had already written a prima donna role for her in Farnace (Tamiri) the year before. But Oronta, if not a prima donna role, is still one of the title characters.
Frontispiece and cast from the libretto of the 1728 premier of Gallupi's and Pescetti's Gl'Odj Delusi dal Sangue. Girò is once again playing a role en travesti: "Evandro, creduto figlio d'Oreste poi scoperto figlio di Mezenzio, amante di Turia" (Evandro, thought to be Oreste's son, then revealed to be Mezenzio's son, in love with Tiria).![Frontispiece and cast from the libretto of the 1729 production of Leonardo Vinci's Catone in Utica in Florence. Girò is listed under the role of "Emilia, vedova di Pompeo" (Emilia, widow of Pompey) as "La Signora Anna Girò di Venezia" (Ms Anna Girò from Venice). In this production Girò is reprising a female role which was created the year before by the castrato Giovanni Ossi ("Il Sig. Giovanni Ossi, virtuoso di S.E. il Sig. prencipe Borghese").[26]](https://upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Catone_in_Utica_Vinci_1729.jpg/1280px-Catone_in_Utica_Vinci_1729.jpg?utm_source=en.wikipedia.org&utm_campaign=parser&utm_content=thumbnail)
Frontispiece and cast from the libretto of the 1729 production of Leonardo Vinci's Catone in Utica in Florence. Girò is listed under the role of "Emilia, vedova di Pompeo" (Emilia, widow of Pompey) as "La Signora Anna Girò di Venezia" (Ms Anna Girò from Venice). In this production Girò is reprising a female role which was created the year before by the castrato Giovanni Ossi ("Il Sig. Giovanni Ossi, virtuoso di S.E. il Sig. prencipe Borghese").[26]Musicians born in the 1710s 6
About this person
Anna Girò, also known as l'Annina del Prete Rosso, la Nina del Prete Rosso, or l'Annina della Pietà, was the stage name of Anna Maria(?) Maddalena Tessieri, an Italian mezzo-soprano/contralto of the 18th century. She is best remembered for her numerous collaborations with composer Antonio Vivaldi who wrote operatic roles for her. She is the singer who performed the greatest number of Vivaldi's operas, the one who kept them in her repertoire the longest time and who made them known across the largest geographical area.
Fame.am measures public visibility signals. It does not measure human value, talent, morality, or credibility.