Rauzzini, Venanzio (EN)

Rauzzini Venanzio, *18 December 1746 Camerino (near Rome), †8 April 1810 Bath, Italian singer (castrato) and composer. He studied at first in Rome (possibly under G. Santarelli) and then probably under N. Porpora in Naples. Rauzzini made his debut in the role of Clarice in Il finto astrologo by N. Piccinni at the Teatro della Valle in Rome in 1765. From 1766–1772, he was a singer at the court of Elector Maximilian III in Munich, then gave concerts in Italy (including Venice, Turin, Padua, and Milan). In 1774 he moved to England, staying in London until 1777 (making his debut there in the pasticcio Armide in 1774. He was associated mainly with the stage of the King’s Theatre. Then he lived, for some time, at his residence in Bath, where he was active as a vocal teacher and co-organiser of concerts at the New Assembly Rooms, performing there with his students (including M. Kelly, J. Braham, N. Storace) and other distinguished musicians. From 1781, he continued to give concerts in London for several seasons, settling permanently in Bath in 1787.

Venanzio Rauzzini mastered his vocal technique and had great intuition in his interpretations. It was said that his voice was full of sweetness, he had a wide vocal range but low volume. To enthusiasts of Venanzio Rauzzini’s singing belonged both L. and W.A. Mozart, who had the opportunity to hear his “angelic” voice in J.A. Hasse’s Partenope in Vienna in 1767. Perhaps this influenced Mozart to entrust Rauzzini with the role of Cecilia in Lucio Silla (premiered in Milan 1772) and to write the famous motet Exsultate, jubilate KV 165/158a for him a year later. Furthermore, the operas in which the parts performed by Rauzzini were particularly well received include Sesostri by P.A. Guglielmi (Venice, 1766), Siroe by T. Traetta (Munich, 1767), Demetrio by A. Bernasconi (Munich, 1772), Sismano nel Mogol by G. Paisiello (Milan, 1773), Montezuma by K. Sacchini (London, 1775). Rauzzini is also known for his compositional output, mainly operas (although Ch. Burney also admired him as a skilled harpsichordist), representing features of the Neapolitan school. The instrumental compositions comprise mainly chamber music, which is dominated (especially in the slow and final movements) by tuneful, cantilena-like melodics; the sonatas are in the form of 2 (referring to D. Scarlatti) or 3 movements (classical).

Literature: M. Sands Venanzio Rauzzini. Singer, Composer, Traveller, “The Musical Times” XCIV, 1953; S. Hodges Venanzio Rauzzini. The First Master of Teaching in the Universe, “The Music Review” LII, 1991; P. Michot Le créateur de Cecilio. Venanzio Rauzzini, “L’Avant-Scène Opéra” No. 139, 1991.