Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83

Favel, Andrée.

Stage name of Claudine Duclairfait, wife of Louis Lacombe.

Favereo, Joannin [Janino]

(fl c1590–1610). Italian composer. By 1593 he was assistant choirmaster, under Antonius Gosswin (d 1594) to Ernst of Bavaria, Elector of Cologne, and he may have served the Elector for some years after that. His book of canzonettas (Cologne, 1593) consists of settings of 21 strophic poems based on symmetrical patterns of changing rhymed couplets. Binary musical forms predominate. The upper voices cross frequently and are paired in a high tessitura over a supporting bass. Rapid declamation and passages in ternary metre are characteristic features of his style.

WORKS

Il primo libro di canzonette, napolitane, 3vv (Cologne, 1593); 2 intabulations in 1594^19

Teutsche lieder auff Neapolitanische Art componiret, 4vv (Cologne, 1596); lost, listed in Draudius, see Ameln

Cantiones, a 4–5, ad quaeunque instrumenta accommodatae (Cologne, 1606); listed in Draudius, see Ameln

1 motet, 5vv, in 1604^7

BIBLIOGRAPHY

G.M. Monti: Le villanelle alla napoletana e l’antica lirica dialettale a Napoli (Città di Castello, 1925)

E. Gerson-Kiwi: Studien zur Geschichte des italienischen Liedmadrigals im XVI Jahrhundert (Würzburg, 1938)

K.G. Fellerer: ‘Von Kölner Musikdruckern des 16./17. Jahrhunderts’, Musik im Kriege, ii (1944), 51–2

K. Ameln, ed.: Verzeichnisse deutscher musikalischer Bücher 1611 und 1625 (Bonn, 1957) [incl. facs. of music sections of both edns. of G. Draudius: Bibliotheca librorum germanicorum classica, 1611, enlarged 2/1625]

R.I. DeFord: ‘The Evolution of Rhythmic Style in Italian Secular Music of the Late Sixteenth Century’, Studi musicali, x (1981), 43–74

C. Assenza: ‘La trasmissione dei testi poetici per canzonetta negli ultimi decenni del secolo XVI’, RIM, xxvi (1991), 205–40

DONNA G. CARDAMONE

Faveretto [Favretto, Favereto, Fabreti], Bartolomeo

(b Padua; d probably Padua, 1616). Italian composer, maestro di cappella and instrumentalist. He was a priest. A document dated 7 March 1595 shows that he was a trombone player at S Antonio, Padua. In the same year he was appointed for three years from 1 May as a trombonist in the chapel of Padua Cathedral, and this position was renewed in 1598. He was maestro di cappella at Montagnana, following Lucrezio Venturo, from 14 October 1600 to 24 August 1603; he was succeeded by Vincenzo Neriti. He maintained connections, during this period, with the chapel of Padua Cathedral and had occasional engagements there. On 21 February 1602 he had returned to the cathedral as a chorister. On 21 November 1602 he obtained a papal brève which allowed him to receive his salary while out of residence, and on 6 July 1606 he was appointed for six years as assistant maestro in succession to Lelio Bertani ‘on the condition that he cannot ask an increase during those six years, and that the canons are free to appoint another maestro if they can find one better [than Faveretto]’. His conduct was presumably satisfactory since on 8 August 1609 he was appointed maestro for six years as from 6 July 1610. In 1612 during Holy Week he brought to Montagnana some singers from the chapel of Padua Cathedral. Since the chapter decided to seek another maestro on 26 July 1616 it may be assumed that Faveretto died shortly before that date. The final notice of him is dated 20 January 1616 when he was awarded expenses for the binding of books and for transporting instruments. He contributed two madrigals, Amor se leghi and Ma desio ben ch'accenda, to the collection Laudi d'amore (RISM 1598⁷) and was the composer of Laude spirituali nella Assontione della gloriosa Vergine (RISM 1604⁹), for four voices. One of his compositions also appears in Giulio Radino's Concerti per sonare et cantare (1607⁸). A set of Madrigali, laudi spirituali for two to four voices by him is advertised in Vincenti's trade lists of 1621 and 1635 (MischiatiI VII:51; VIII:72; may refer to 1604⁹).

BIBLIOGRAPHY

Acta Capituli (MS, I-Pc)

Registro delle parti (MS, Pca)

R. Casimiri: ‘Musica e musicisti nella cattedrale di Padova nei secoli XIV, XV, XVI’, NA, xviii (1941), 1–31, 101–214, esp. 134; xix (1942), 49–92, esp. 83

N. Bridgman: ‘Musique profane italienne des 16e et 17e siècles dans les bibliothèques françaises’, FAM, ii (1955), 40–59, esp. 55

A. Lovato: ‘Gli organisti della cattedrale di Padova nel Secolo XVII’, RIM, xvii (1982), 3–70

J. Roche: ‘On the Border Between Motet and Spiritual Madrigal: Early 17th Century Books that Mix Motets and Vernacular Settings’, Seicento inesplorato: Lenno, nr Como 1989, 309, 311, 313, 315

PIER PAOLO SCATTOLIN

Favero, Mafalda

(b Portomaggiore, nr Ferrara, 6 Jan 1903; d Milan, 3 Sept 1981). Italian soprano. She studied with Vezzani in Bologna and in 1926 made her début at Cremona, under the name of Maria Bianchi, as Lola (Cavalleria rusticana); her ‘official’ début was at Parma in 1927 as Liù. After singing Elsa and Margherita she was engaged at La Scala, where she made her début as Eva in 1928. She continued to sing there until 1950. A leading singer throughout Italy, she sang Norina, Liù and Zerlina at Covent Garden (1937, 1939) and in 1938 made her only American appearances, at San Francisco and the Metropolitan (where she made her début as Mimì). Her repertory included Carolina (Il matrimonio segreto), Susanna, Violetta, Martha, Suzel (L’amico Fritz), Zazà and – her most famous role – Puccini’s Manon Lescaut. In addition, she created several roles, including the title role in Mascagni’s Pinotta (1932), Laura in Zandonai’s La farsa amorosa (1933) and, at La Scala, Gasparina in Wolf-Ferrari’s Il campiello (1936) and Finea in his La dama boba (1939). Her voice and vibrant, appealing style can be heard in a number of recordings that also catch the immediate eloquence of her interpretations.

BIBLIOGRAPHY

GV (R. Celletti; R. Vegeto)

I. Buscaglia: Mafalda Favero, nella vita e nell’arte (Milan, 1946)

G. Lauri-Volpi: Voci parallele (Milan, 1955)

L. Rasponi: The Last Prima Donnas (New York, 1975), 512–18

HAROLD ROSENTHAL/ALAN BLYTH