Niccola Piccinni

Niccolò Piccinni (16 January 1728 – 7 May 1800) was an Italian composer of symphonies, sacred music, chamber music, and opera. Although he is somewhat obscure today, Piccinni was one of the most popular composers of opera—particularly the Neapolitan opera buffa—of his day.

Piccinni was born in Bari, and educated under Leonardo Leo and Francesco Durante, at the S. Onofrio Conservatory. For this, he had to thank the intervention of the Bishop of Bari, since his father, although himself a musician, was opposed to his son's following the same career. Piccinni's first opera, Le donne dispettose, was produced in 1755, and in 1760 he composed, at Rome, the chef d'œuvre of his early life, La Cecchina, ossia la buona Figliuola, an opera buffa with a libretto by Goldoni, which "enjoyed a two-year run in Rome and was played in all the important European capitals. It can probably be called the most popular opera buffa of the 18th century...[even more than]... Pergolesi's La serva padrona...[and]... The first of the new era, culminating in the masterworks of Mozart."

La buona figliuola represents a special moment in the history of eighteenth-century music in which comedy began to take on a new dramatic force. It is the moment at which the self-consciously sentimental theatrical project of Carlo Goldoni (the opera's librettist) is married with the developing musical language of classicism. This can especially be seen in the sensitive writing of Cecchina's Act II aria "Una povera ragazza."

The opera was such a success that fashions of dress, shops, and houses were all named after La Cecchina. It also set off a debate about the merits of the new sentimental style, especially in England, where conservative reactionaries were wary of the supposed feminizing influence of modern Italian music. Antonio Baretti commented in 1768 that individuals “of weight and consideration” should not be blamed for condemning “those puny gentlemen” who, as enthusiasts of Italian opera, were able to “feel its minuet niceties, and to be of course in rapture with the languishing Cecchina’s of Piccini [sic].” This modern music, Baretti decried, “far from having any power of increasing courage or any manly virtues, has on the contrary a tendency towards effeminacy and cowardliness.”

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