Anna Girò

Anna Girò (also Girrò or Giraud), 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 (or Tesieri, Teseire or Testeiré), 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.[1]

Early life and career
Frontispiece and cast from the libretto of the 1723 Treviso premiere of La Ninfa Infelice e Fortunata. Girò makes her debut in this pastoral opera. She plays 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.
Sant'Angelo Theatre in Venice

Mantua

Anna Girò was born in Mantua in 1710 or a few years earlier. She was the daughter of a wig maker of French descent called Pietro, whose surname Giraud was made into Girò in italian and passed onto the offspring in its italianized graphy. Her mother was Bartolomea, widow of Giacomo Trevisan.[1]

Venice

At twelve she was sent to Venice to study singing. There, she was welcomed by her half-sister Paolina who was twenty years her senior and already a resident there. (Paolina assisted Anna throughout her career)[2]

Still very young, Anna made her debut in Treviso in 1723 and in Venice in 1724. She first sang roles en travesti and soon female roles followed. With her musical and acting talents she conquered the Venetian Opera Stage in a single year.[1]

She soon started a close professional collaboration with Antonio Vivaldi. She had been his student, was now his protégée, and soon would be his favorite Prima Donna.[3]

Meeting Vivaldi

Anna may have become acquainted with Vivaldi during his time in Mantua between 1718 and 1720. She was then an aspiring young singer and she may have been his student there.[3]

In any case, it is fair to assume that she would have met Antonio Vivaldi, and sang some of his music for the first time, between 1720(?) and 1723(?) as she was then a student at the famous Ospedale della pietà,[4][5] an "orphanage-cum-conservatoire where he was composer in residence".[6] Vivaldi had recently been promoted to the specially created office of Maestro de' Concerti and was in charge of the Figlie di Choro (the musicians), the élite of the Pietà. It is not clear though how Anna was enrolled for the Pietà was "a home for abandoned and unwanted babies, not (as is often stated) a convent or a school for girls."[7] Part of Vivaldi's job was to train those girls to sing and play instruments during services at La Pietà. Under his direction the choro became so famous that they attracted visitors from across Europe and a visit to the Pietà had become a feature of the Grand Tour.[7] (Vivaldi wrote many works for the girls of this establishment ( and of course when Anna was a student there), including for instance: the Kyrie RV587, the Dixit RV594, the Domine RV593 etc.).

Dorilla in Tempe
Frontispiece and Cast from the libretto of the 1726 premiere of Vivaldi's Dorilla in Tempe. Anna 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").

Dorilla in Tempe, which premiered at the Teatro Sant' Angelo in Venice on 9 November 1726, was the first opera by Vivaldi to include Anna Girò in its cast. In this opera she sings the role of Eudamia, the seconda donna. The arias written for her by Vivaldi were made to fit her singing abilities perfectly.[8] (Her voice was not strong, but she was attractive and acted well).[9] For Anna - who will go through thick and thin with him for a long time - he gives priority to sincerity over virtuosity. The captivating aria “Al mio amore il tuo risponda” from Act I, Scene VIII 🎼, which she would have performed for the first time here, would be included in other future operas.[8][10] (With Vivaldi nothing goes to waste, everything is recycled[10]).

The first two pages of the aria "La figlia, lo sposo" 🎼 written specifically for Anna 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.

The plaintive “Il povero mio core” from Act III, Scene IV 🎼, although interpreted by Angela Capuano as Dorilla at the premiere, was reprised by Anna Girò as an aria di baule that she would sing throughout her career. (The arie di baule or "suitcase arias" are an integral part of the traveling singers' luggage. They had them ready at every opportunity.)[8][10]Dorilla in Tempe was well received and became especially popular with its choirs and ballets - rarities in Vivaldi's operas.[10] It also became one of Vivaldi's personal favorites.

Anna appeared in nearly all his operas after that.[11]

Repertoire

[1][4][12]

Frontispiece and Cast from the libretto of the 1726 production of Giovanni Porta's Agide, Re di Sparta. Anna 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 Anna. Giovanni Porta'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.[13] This Drama per Musica ("Musical Drama") was put together for the Carnival. Anna 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. Anna 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. Anna 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 Anna 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").[14]
Frontispiece and cast from the libretto of the 1731 production of Riccardo Broschi's Ezio in Turin. Anna is listed under the role of "Onoria, sorella di Valentiniano, amante occulta d'Ezio" ("Onoria, Valentiniano's sister, secretly in love with Ezio") as "La Signora Anna Girò Veneziana" ("Ms Anna Girò, Venitian"). Eight years after her debut Anna is seconda donna in a star-studded cast: the soprano castrato Farinelli, the mezzo-soprano Faustina Hasse (Bordoni), the bass Antonio Montagnana, the tenor Angiolo Amorevoli, all of whom sing in cities and capitals all over Europe.
Frontispiece, cast, and Adelaide's aria (Act I, Scene XVI) from the libretto of Vivaldi's opera L'Adelaide. The role of "Adelaide, Vedova di Lontario, Reina d'Italia" ("Lontario's widow, Queen of Italy") was created by Anna Girò in 1735 at the Carnaval in Verona. Text of the aria: "You are much too easy to believe, Warrior. Every hour this pale face of yours, this trembling gait show you coward and false. In my chest there is a tenacious heart. Do you want to see how strong it is? You ruthless and haughty one!". The music to this aria is lost, like the entirety of the opera L'Adelaide, save part of Scene III, Act III (for bass) recently discovered.
Frontispiece, cast and the famous Scene XII, Act I from the libretto of the 1735 original production of Vivaldi's Griselda. Originally, Vivaldi considered the opera's subject to be too "plebeian" for the Venetian theatres. In the end, Griselda turned into a vehicle for Anna Girò (for whom Vivaldi composed the title role). The libretto, written by Carlo Goldoni, was a subject of tension between the playwright and the composer. One of the points of contention was Vivaldi's incessant requests for Goldoni to revise the text again and again to make it fit Anna's vocal limitations.[15][16] Text of the scene (XII) that concludes the Act I: (Griselda is alone) "Unfortunate Griselda! What is there left for me to fear? Ah! I wish I could, but I do not see any reason to hope. The Stars are all against me: abandoned, betrayed, scorned. I have forever lost my peace, and solace. Ah, Cruel Destiny! My Son! My Spouse! My heart already torn to pieces by innumerable pains, pitiless people. All conspire against me. I wish I could hide, I wish I could flee. The lightening sky frightens me. I am becoming numb by this excruciating pain. I have no more tears. I have no more voice. I cannot even cry. I cannot even talk."[17] 🎼
Frontispiece and cast from the libretto of the 1745 premiere of Christoph Willibald Gluck's L'Ipolito in Florence. Anna sings the Prima Donna role of Phaedra ("Fedra").
Frontispiece and cast from the libretto of the 1747 premiere of Giovanni Battista Runcher's Achille in Sciro. Anna is listed under the role of "Achille, in abito femminile sotto nome di Pirra amante di Deidamia" ("Achilles, dressed as a woman under the name Pirra, in love with Deidamia").

List of Shows in Chronological Order
Year City Work Composer Role Male / Female role Premiere or Revival Additional notes
1723 Treviso La ninfa infelice e fortunata Giuseppe Boniventi Mirtillo[18] M premiere completed by Giacomo Maccari and Antonio Vivaldi.[1]
1724 Venice Laodice Tomaso Albinoni Clistene[19] M premiere
1724 Venice Il nemico amante Giuseppe Maria Buini, Fortunato Chelleri,[1] Antonio, K. Di Gaspari (?)[20] Idalma[20] F revised version pasticcio (?)
1725 Venice Agide re di Sparta Giovanni Porta Filoastro[21] M premiere
1725 Venice Li sdegni cangiati in amore Giuseppe Maria Buini Evanco[22] M premiere
1726 Venice Dorilla in Tempe Antonio Vivaldi Eudamia F premiere
1726 Venice Medea e Giasone Francesco Brusa Isifile[23] F premiere
1727 Venice Farnace Antonio Vivaldi Tamiri F premiere
1727 Milan Tamerlano Giovanni Antonio Giaì Irene[24] F premiere
1727 Venice Orlando Furioso Antonio Vivaldi Alcina F premiere
1728 Venice Rosilena ed Oronta Antonio Vivaldi Oronta[25] F premiere
1728 Venice Gl’odi delusi dal sangue Baldassare Galuppi and Giovanni Battista Pescetti Evandro[26] M premiere Galuppi wrote the music for Acts I and III, whilst Pescetti wrote the music for Act II
1728 Bologna Teodorico Giuseppe Maria Buini[27] Clotilde[27] F premiere
1729 Florence L’Atenaide Antonio Vivaldi Pulcheria F premiere
1729 Florence Catone in Utica Leonardo Vinci Emilia[28]
 F revival
1730 Milan Ezio Luca Antonio Predieri[1](?),

Giuseppe Ferdinando Brivio[29] (?)

 Onoria[29] F premiere pasticcio (?)
1730 Milan Semiramide riconosciuta Geminiano Giacomelli Tamiri[30] F premiere
1730 Venice Dalisa Johann Adolf Hasse Edita[31] F premiere Anna shares the stage with two stars: Faustina Hasse (Bordoni) and Angelo Amorevoli
1731 Turin Ezio Riccardo Broschi Onoria F premiere In this production Anna shares the stage with a star-studded cast: the castrato Farinelli, the mezzo-soprano Faustina Hasse (Bordoni), the bass Antonio Montagnana and the tenor Angiolo Amorevoli.
1731 Turin Poro Nicola Porpora Erissena[32] F premiere This production had the exact same star-studded cast as Riccardo Broschi's Ezio, produced also in Turin in 1731.
1731 Pavia Farnace Antonio Vivaldi Tamiri F revival
1732 Mantua Semiramide Antonio Vivaldi Semiramide F premiere
1732 Mantua Farnace Antonio Vivaldi Tamiri F revival
1733 Venice Motezuma Antonio Vivaldi Mitrane F premiere
1734 Verona Lucio Papirio dittatore Geminiano Giacomelli Papiria[33] F revival role originally created by Faustina Bordini in 1729[34]
1734 Verona Arsace Giuseppe Maria Orlandini Statira F revival
1735 Verona L’Adelaide Antonio Vivaldi Adelaide[35] F premiere
1735 Verona Tamerlano aka Bajazet Antonio Vivaldi Asteria F premiere pasticcio
1735 Venice Griselda Antonio Vivaldi Griselda F premiere
1736 Florence Cesare in Egitto Geminiano Giacomelli Cornelia[36] F new setting re-arranged by Giuseppe Maria Orlandini and later by Antonio Vivaldi
1736 Florence Ginevra principessa di Scozia Antonio Vivaldi Ginevra F premiere
1737 Ferrara Demetrio Johann Adolph Hasse Cleonice[37] F revival
1737 Ferrara Alessandro nell’Indie Antonio Vivaldi and Johann Adolph Hasse Cleofide F pasticcio based on Johann Adolph Hasse's music or new setting by Hasse (?)
1737 Verona Catone in Utica Antonio Vivaldi Marzia F premiere
1738 Venice L’oracolo in Messenia Antonio Vivaldi Merope F premiere
1738 Venice Armida al campo d’Egitto Antonio Vivaldi Armida[38] F revised version
1738 Venice Rosmira Antonio Vivaldi Rosmira

/Eurimene[39]

 F premiere pasticcio
1738[40] Ancona Siroe re di Persia Antonio Vivaldi Emira[40] F revival
1739 Ferrara Siroe re di Persia Antonio Vivaldi Emira F revival
1739 Ferrara Attalo re di Bitinia Johann Adolph Hasse Arsinoe[41] F revival
1739 Graz Ciro riconosciuto ? Mandane[42] F ?
1739 Graz Rosmira Leonardo Vinci Rosmira[43] F revival pasticcio
1739 Graz Lucio Papirio dittatore Francesco Zoppis ("other composers: AA. and VV.") Papiria F premiere pasticcio (?)
1740 Graz Catone in Utica Antonio Vivaldi Marzia F revival
1740 Graz Amor, odio e pentimento Giovanni Porta Arnea F revival
1742 Vienna L’oracolo in Messenia Antonio Vivaldi Merope (?) F revival Posthumous production (Vivaldi died in 1741)
1743 Venice Ezio Giovanni Battista Lampugnani Fulvia[44] F revival
1745 Milan Ricimero Baldassare Galuppi Ediuge[45] F premiere
1745 Milan L'Ipolito Christoph Willibald Gluck Fedra[46] F premiere
1746 Brescia Alessandro nell’Indie Pietro Pellegrini Cleofide (as "Anna Maria Girò") F premiere
1747 Venice Achille in Sciro Giovanni Battista Runcher Achille[47] M dressed as F premiere
1748 Piacenza Artaserse Giuseppe Carcani Mandane F premiere

Vivaldi's and Girò's professional collaboration in figures

(Based on the information available to us - see above table)

1. From their first premiere together to their last:

  • 12 years span
  • 14 original productions (including premieres). i.e. 14 roles written by Vivaldi specifically for Anna.

2. From their first show together to their last:

  • 15 years span
  • 22 productions (including revivals and revised versions)

3. Their collaboration represents 15 years out of:

  • 21 years (Anna). (length of her career whilst Vivaldi was alive)
  • 18 years (Vivaldi) (length of his opera career whilst Anna was active professionally)

4. Their partnership lasted until the very death of the composer in 1741, or very close to it.

This sort of long and fruitful professional collaboration is unheard of concerning Vivaldi. And generally speaking, it was rather uncommon. For instance, Senesino, whom we consider as closely associated with George Frideric Handel for the many famous operas they collaborated on, spent 13 years working with Handel, out of 33 years (length of his career whilst Handel was alive). Together they created 16 roles and collaborated on 3 revivals.[48] Finally, they stopped their partnership 7 years before the death of the composer.

Private life

Without a Patron

With the exception of Alderano Cybo-Malaspina, Duke of Massa and Carrara (who in 1725, through Vivaldi, gave her money for the purchase of a harpsichord), she seems to have always worked without depending on patrons.[1] (Alderano dissipated the assets and heritage accumulated by the Cybo dynasty, including the Duchy of Massa and Carrara itself[49]).

Emperor Charles VI (attrib. to Martin van Meytens)

Last Journey with Vivaldi

In 1741, on his way to Vienna where he wished to take up the position of a composer in the imperial court, Vivaldi may have stopped in Graz to see Anna Girò[50] and she likely went with him on his journey.[1] Her schedule seems to support this theory as the records show that she was in Graz in 1740 and 1741 and then in Vienna in 1742. Vivaldi was hoping to make a fresh start in Vienna.

Antonio Vivaldi by François Morellon de La Cave

However his asthma, exhaustion and the death of the music-loving Emperor Charles VI, one of his great admirers, put an end to the project before it had even begun and the composer died on 28 July of the same year at the age of 63.[10]

A Secret Wedding

In 1748, while on tour in Piacenza, Anna met Count Antonio Maria Zanardi Landi, a local nobleman. He followed her back to Venice and persuaded her to marry him, despite the disparity of their conditions. They married in secret on 20 July 1748 in Venice.[51]

Later life

As of 1748 Anna's trace goes dry. There are no more records of her or her activities. She likely retired from the stage and moved to Piacenza.[1] There is no record of her death, therefore we do not know when and where she died.

Private relationship with Vivaldi
Ospedale della Pietà (source unknown). The building no longer exists.

Speculations

Vivaldi's contemporaries and modern scholars have speculated on the nature of the composer's and Girò's relationship, but no evidence exists to indicate anything beyond friendship and professional collaboration. Vivaldi in fact adamantly denied any romantic relationship with Girò in a letter to his patron Bentivoglio dated 16 November 1737.[52]

Caricature of Vivaldi by Pier Leone Ghezzi. "The Red Priest, composer of music who made the opera at the Capranica of 1723."

All'Ospedale della Pietà

In 2008, Susan Orlando - director of the Vivaldi Edition for Naive/Opus111 - writes in The Guardian: "From 1703 to 1735, Vivaldi [..] played the role of music master and composer to the young girls living at La Pietà. Imagining Vivaldi [...] in a role of both authority and intimacy among these vulnerable young women, has seduced writers and film-makers into fantasising about the erotic potential of the scenario. It is easy to imagine a libidinous red-haired priest exploiting the privileges of the cloth, in an institution that even 17th- and 18th-century visitors described with thinly veiled salaciousness. [...] [But with regard to] illicit affairs, we have nothing to go on."[11]

A Priest's "Perpetua"
Carlo Goldoni

S. Orlando continues: "A better documented trail leads to Vivaldi's muse, Anna Giro. [sic.] In 1724, this promising young singer and her elder half-sister, acting as chaperone, moved in with Vivaldi. [...] She was closely affiliated with him until the end of his life. Again, the titillating image of a "loose" priest comes up. In truth, this arrangement may not have been so shocking in an age in which priests traditionally maintained a life-long, live-in "perpetua" - a woman who dedicated her time to the priest as cook, house cleaner and general companion. But Anna held a special place in Vivaldi's heart; in opera after opera he wrote roles specifically for her, moulding the music to her particular vocal strengths and weaknesses. No other singer received such consistent attention and privilege from the composer. In 1738 Vivaldi was refused entrance to the city of Ferrara where his opera Farnace was to be performed. The city's new cardinal was making a moral point - his disapproval of a priest involved in the frivolities of the operatic world and living under the same roof as a female singer. These are the scant facts we have to go on [...]"[11] "But Vivaldi consistently denied any wrongdoing."[11]

Goldoni's Account and the Virgin Mary

Letting us draw our own conclusions, S. Orlando tells us two anecdotes: "Carlo Goldoni' [the famous Venetian playwright who collaborates with him on his opera Griselda] has left us a vivid description of his first meeting with Vivaldi in 1735. He arrived to find the composer engrossed in meditational reading and describes him clutching his missal throughout the interview - signs of, at the very least, a modicum of religious conviction."[11] "To this should be added that Vivaldi signed many of his music scores, especially but not exclusively the operas and sacred music, with an extravagant dedication to the Virgin Mary."[11]

Cinema

Books (fiction)
  • Romijn, André (2007) Hidden Harmonies The Secret Life of Antonio Vivaldi. Roman House Publishers Ltd. Harmonies.html?id=VeKSZCfM-iAC extracts
  • Bruce Kelly, Sarah (2009) The Red Priest's Annina: A Novel of Vivaldi and Anna Girò. Bel Canto Press. extracts

Discography

Many roles once sung or created by Anna Girò have been interpreted and recorded by mezzo-sopranos, contraltos or countertenors. The musical links below (🎼) will take you to audio recordings of some of Anna's arias that survived the centuries.

Vinci. Catone in Utica. Emilia: Vince Yi. Riccardo Minasi, Il pomo d’oro. Decca 01588194. 2015. 🎼

Vivaldi. Armida all Campo d'Egitto. Armida: Sara Mingardo. Rinaldo Alessandrini, Concerto Italiano. Naïve/Opus111 OP30492. 2010 🎼

Vivaldi. Atenaide. Pulcheria: Guillemette Laurens. Federico Maria Sardelli, Modo Antiquo. Naïve/Opus111 Vivaldi Edition OP30438. 2007 🎼

Vivaldi. Bajazet. Asteria: Marijana Mijanović. Fabio Biondi, Europa Galante. Virgin VCDW 545676-2. 2005 🎼

Vivaldi. Catone in Utica. Marzia: Liliana Faraon. Jean-Claude Malgoire. La Grande Ecurie et la Chambre du Roy. Dynamic 403/1-2. 2002 🎼

Vivaldi. Catone in Utica. Marzia: Sonia Prina. Alan Curtis, Il Complesso Barocco. Naïve OP30545. 2013 🎼

Vivaldi. Dorilla in Tempe. Eudamia: Consuelo Caroli. Gilbert Bezzina, Ensemble Baroque de Nice. Pierre Verany PV794092. 1994 🎼

Vivaldi. Dorilla in Tempe. Eudamia: Sonia Prina. Diego Fasolis, I Barocchisti. Opus111/Naïve. OP30560. 2017 🎼

Vivaldi. Farnace. Tamiri: Ruxandra Donose. Diego Fasolis, I Barocchisti. Virgin Classics 2011 🎼

Vivaldi. Farnace. Tamiri: Sara Mingardo. Jordi Savall, Le Concert Des Nations. Opus111/Naïve. OP30471. 2009 🎼

Vivaldi. Griselda. Griselda: Marie-Nicole Lemieux. Jean-Christophe Spinosi, Ensemble Mattheus. Opus111/Naïve OP30419. 2006 🎼

Vivaldi. Griselda. Griselda: Caitlin Hulcup. Erin Helyard, Orchestra of the Antipodes. Pinchgut Live PG002. 2011 🎼

Vivaldi. Griselda. Griselda: Marion Newman. Kevin Mallon, Aradia Ensemble. Naxos 8.660211-13. 2008 🎼

Vivaldi. Motezuma. Mitrena: Marijana Mijanović. Alan Curtis, Il Complesso Barocco. DG-Archiv 477 599-6. 2006 🎼

Vivaldi. Orlando furioso. Alcina: Jennifer Larmore. Jean-Christophe Spinosi, Ensemble Mattheus. Opus111/Naïve OP30393. 2004 🎼

Vivaldi. Orlando furioso. Alcina: Marina de Liso. Federico Maria Sardelli, Modo Antiquo. cpo 777095-2. 2008 🎼

Vivaldi. Rosmira. Rosmira: Marianna Pizzolato. Gilbert Bezzina, Ensemble Baroque de Nice. Dynamic CDS437/1-3. 2003 🎼

La Ninfa Infelice e Fortunata. This pasticcio is likely to have reused a number of arias from Vivaldi's La Verità in Cimento. It marked the operatic debut of Anna Girò. Frédéric Delaméa writes in the liner notes to the Naive/Opus111 recording of La Verità in Cimento (OP 30365. 2003) that it "bears the stamp" of Vivaldi".[53]

Notes
  1. Lora, Francesco (2019). "Dizionario Biografico degli Italiani".
  2. (Vio, 1988).
  3. Talbot, Michel (1978). Vivaldi. London: J.M. Dent & Sons, Ltd.<nowiki>
  4. "Quell'usignolo".
  5. Heller, p. 54.
  6. Ashley, Tim (2016). "Juditha Triumphans review – Magdalena Kožená has done nothing finer". Guardian News & Media Limited.
  7. White, Micky (2004). "The Pietà in Vivaldi's day". Vivaldi's Women, Schola Pietatis Antonio Vivaldi.
  8. Hoppe, Bernd (2017). "Der Stunde der Anna Girò". Opera Lounge.
  9. "Anna Girò - Italian Singer". Encyclopædia Britannica.
  10. Borel, Vincent (2007). Dorilla - La Stagione di Anna Girò. As quoted by Opera Lounge in their article "Der Stunde der Anna Girò". Naive/Opus111 OP 3060 (CD booklet).
  11. Susan, Orlando (2008). "Saint or sinner? Rumours were rife about Vivaldi's sex life, but the truth is murky. Susan Orlando on an intriguing character". The Guardian News & Media Limited.
  12. "Eventi - Anna Girò". Corago.
  13. "Rosilena ed Oronta, RV 730". IMSLP.
  14. "Catone in Utica : tragedia per musica". Library of Congress.
  15. Tuttle, Raymond (2007). "CD Review - Antonio Vivaldi: Griselda, RV 718 (Naïve 30419)". Classical Net, The Internet's Premier Classical Music Source.
  16. Holden, manda (2001). The New Penguin Opera Guide. New York: Penguin Putnam. p. 1018.
  17. "VIVALDI: Griselda [Opera] Naxos 8.660211-13" (PDF). Naxos Records. 2008.
  18. "La ninfa infelice e fortunata, melodramma pastorale da rappresentarsi nel Teatro Dolfin in Treviso con l'occasione della Fiera dell'anno 1723. Consacrata a [...] il signor Bortolo Mora". Internet Culturale.
  19. "Laodice - dramma per musica". Corago.
  20. "Il nemico amante : drama per musica da rappresentarsi nel Teatro Giustiniano di S. Moisè l'anno 1724 : dedicato all'illustrissimo signor Gio. Battista Fagia bresciano". Library of Congress.
  21. "Agide re Sparta : dramma per musica, Venezia, Teatro Giustiniani di San Moisè, 1725". Library of Congress.
  22. "Li sdegni cangiati in amore : dramma : da rappresentarsi nel Teatro Giustiniano di S. Moisè, il carnevale dell'anno MDCCXXV [i.e. 1725] : dedicato a Sua Altezza Sereniss. il Sig. D. Alderano Cibo Malaspina, duca del sacro romano impero, e di massa principe di Carrara, duca d'Aiyello, duca di Ferrentillo, signore di Padula Beneventana, &c. &c. &c". Library of Congress.
  23. "Medea e Giasone : drama per musica : da rappresentarsi nel Teatro di Sant'Angelo nel carnovale dell'anno 1726". Library of Congress.
  24. "Il Tamerlano, drama, da rappresentarsi nel Regio Ducal Teatro di Milano in occasione di celebrarsi il giorno natalizio della Cesarea Cattolica maestà di Elisabetta Cristina imperadrice, regina delle Spagne etc.etc". Internet Culturale.
  25. "Rosilena, ed Oronta : drama per musica da rappresentarsi nel Teatro di Sant'Angelo nel carnovale dell'anno 1728 : dedicata a Sua Eccellenza il signor Leopoldo del Sacro Roman Impero conte di Paar". Library of Congress.
  26. "Gl'odj delusi dal sangue : drama per musica : da rappresentarsi nel Teatro di S. Angelo nella fine del carnovale 1728". Library of Congress.
  27. "Teodorico : dramma per musica da rappresentarsi nel Teatro Formagliari l'autunno dell'anno MDCCXXVIII [i.e. 1728] : dedicato alla nobil donna la signora contessa Vittoria Caprara". Library of Congress.
  28. "Catone in Utica, drama [sic] per musica da rappresentarsi in Firenze nel Teatro di via della Pergola nel Carnovale dell'anno 1729. Sotto la protezione dell'Altezza Reale del Serenissimo Gio: Gastone I. Gran Duca di Toscana". Internet Culturale.
  29. "Ezio, drama per musica da rappresentarsi nel Regio Ducal Teatro di Milano nel carnovale del 1730, dedicato a sua eccellenza il signor Wirico Filippo Lorenzo conte di Daun". Internet Culturale.
  30. "Semiramide riconosciuta, drama per musica da rappresentarsi nel Regio Ducal Teatro di Milano nel carnovale dell'anno 1730, dedicato a sua eccellenza la signora Maria Barbora contessa di Daun [...] moglie di S.E. il signor Wirico Filippo Lorenzo conte di Daun". Internet Culturale.
  31. "Dalisa : dramma per musica : da rappresentarsi nel Teatro Grimani di S. Samuele nella fiera dell'ascensione dell'anno MDCCXXX [i.e. 1730]". Library of Congress.
  32. "Poro - dramma per musica". Corago.
  33. "Lucio Papirio dittatore, dramma per musica da rappresentarsi nel nuovo Teatro dell'accademia Filarmonica nel carnevale dell'anno 1734 dedicato a s. eccellenza il signor Carlo Pisani [...]". Internet Culturale.
  34. "Lucio Papirio dittatore : dramma per musica da rappresentarsi nel nuovo Ducal Teatro di Parma la primavera dell'anno MDCCXXIX [i.e. 1729] : dedicato all'altezza serenissima di Antonio I. duca di Parma, Piacenza, e Castro &c". Library of Congress.
  35. "L'Adelaide, dramma per musica da rappresentarsi nel nuovo Teatro dell'Accademia Filarmonica nel carnovale dell'anno 1735. Dedicato a sua eccellenza il signor Antonio Grimani [...]". Internet Culturale.
  36. "Cesare in Egitto, opera lirica". Corago.
  37. "Il Demetrio, dramma per musica da rappresentarsi nel Teatro Bonacossi a Santo Stefano nel carnevale dell'anno 1737. Dedicato al [...] principe il sig. cardinale Agapito Mosca". Internet Culturale.
  38. "Libretti a stampa di Antonio Vivaldi". italianopera.org.
  39. "Rosmira : dramma per musica da rappresentarsi nel Teatro di S. Angelo il carnovale 1738 : dedicato al altezza serenissima di Federico margravio di Brandemburgo, Culumbach Bagreuth ... &c". Library of Congress.
  40. "Siroe re di Persia, drama per musica del sig. abate Pietro Metastasio poeta di S.M.C.C. da rappresentarsi nel nobilissimo Teatro della Fenice di Ancona nell'estate dell'anno 1738, dedicato all'ill.mo e R.mo Signore, monsignor Niccolò Serra, patrizio genovese [...]". Internet Culturale.
  41. "Atta[lo] re di Bitinia : dramma per musica da rappresentarsi in Ferrara nel Teatro Bonacossi da S. Stefano il carnovale dell'anno 1739". Library of Congress.
  42. "Ciro Riconosciuto - anonymous". Corago.
  43. "Rosmira, opera lirica". Corago.
  44. "Ezio : dramma per musica da rappresentarsi nel Teatro Grimani à San Samuele per la fiera dell'ascensione l'anno 1743". Library of Congress.
  45. "Ricimero, dramma per musica. Da rappresentarsi nel Regio-Ducal Teatro di Milano nel carnovale dell'anno 1745. Dedicato a sua altezza il signor Giorgio Cristiano del Sacro Romano Impero principe di Lobkowitz [...]". Internet Culturale.
  46. "L'Ipolito : dramma per musica : da rappresentarsi nel Regio-Ducal Teatro di Milano nel carnovale dell'anno 1745 : dedicato a Sua Altezza il signor Giorgio Cristiano del sacro romano impero principe di Lobkowitz, duca di Sagan ec". Library of Congress.
  47. "Achille in Sciro : drama per musica da rappresentarsi nel Teatro Grimani a S: Samuele per la fiera dell'ascens:ne l'anno 1747". Library of Congress.
  48. "Handel's Castratos - Senesino and Carestini". Planet Hugill - A World of Classical Music. 2002.
  49. Formentini, Ubaldo (1934). "MASSA e CARRARA, Ducato di". Treccani, Enciclopedia Italiana.
  50. Walter Kolneder, Antonio Vivaldi: Documents of his life and works (Amsterdam: Heinrichshofen's Verlag, Wilhelmshaven, Locarno, 1982), 180.
  51. (Vio, 1988, pp. 32-41).
  52. Heller, Karl (1997). Antonio Vivaldi: The red priest of Venice. Hal Leonard Corporation, ISBN 978-1-57467-015-8
  53. "Antonio Vivaldi's Operas - Recommended Recordings". NewOlde.

References
  • Vivaldi's Muse by Sarah Bruce Kelly, Bel Canto Press 2011, ISBN 978-0-9836304-0-1
  • The Red Priest's Annina by Sarah Bruce Kelly, Bel Canto Press 2009, ISBN 978-0-578-02565-0
  • Fonti e Bibl.: C. Goldoni, Delle commedie, XIII, Venezia 1761, pp. 10-13; Id., Mémoires de M. Goldoni, pour servir à l’histoire de sa vie, et à celle de son théâtre, I, Paris 1787, pp. 286-291
  • A. Cavicchi, Inediti nell’epistolario Vivaldi-Bentivoglio, in Nuova Rivista musicale italiana, I (1967), pp. 45-79; J.W. Hill
  • Vivaldi's “Griselda”, in Journal of the American musicological society, XXXI (1978), pp. 53–82;
  • M. Talbot, Vivaldi, Torino 1978, ad ind.; L. Moretti, Un cembalo per la Girò, I (1980), pp. 58–60;
  • G. Vio, Antonio Vivaldi prete, in Informazioni e studi vivaldiani, 1980, vol. 1, pp. 32–57;
  • A.L. Bellina - B. Brizi - M.G. Pensa, Il pasticcio “Bajazet”: la “favola” del Gran Tamerlano nella messinscena di Vivaldi. Nuovi studi vivaldiani. Edizione e cronologia critica delle opere, a cura di A. Fanna - G. Morelli, Firenze 1988, pp. 185–272;
  • W.C. Holmes, Vivaldi e il Teatro La Pergola a Firenze: nuove fonti, ibid., pp. 117–130;
  • S. Mamy, La diaspora dei cantanti veneziani nella prima metà del Settecento, ibid., pp. 591–631;
  • F. Tammaro, I pasticci di Vivaldi: “Dorilla in Tempe”, ibid., pp. 147–184; G. Vio, Per una migliore conoscenza di Anna Girò (da documenti d’archivio), in Informazioni e studi vivaldiani, 1988, vol. 9, pp. 26–44;
  • C. Vitali, I fratelli Pepoli contro Vivaldi e Anna Girò. Le ragioni di un’assenza, ibid., 1991, vol. 12, pp. 19–46;
  • A. Conti, Lettere da Venezia a Madame la Comtesse de Caylus, 1727-1729, a cura di S. Mamy, Firenze 2003, p. 125;
  • R. Strohm, The Operas of Antonio Vivaldi, Firenze 2008, ad ind.;
  • G.A. Sechi, Nuove scoperte dal carteggio tra Albizzi e Vivaldi (1735/1736), in Studi vivaldiani, XII (2012), pp. 53–89;
  • M. White, Antonio Vivaldi: a life in documents, Firenze 2013, ad ind.; M. Talbot - M. White, A lawsuit and a libretto: new facts concerning the pasticcio “La ninfa infelice e fortunata”, in Studi vivaldiani, XIV (2014), pp. 45–57
  • Enciclopedia Treccani
  • Quell'Usignolo website
  • BBC4 - Vivaldi's Women
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