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mistress of the vatican.pdf - End Time Deception

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Mistress <strong>of</strong> <strong>the</strong> Vatican<br />

ready to rush <strong>of</strong>f but soon realized <strong>the</strong>re was a large basin in front <strong>of</strong><br />

<strong>the</strong>m to catch <strong>the</strong> roaring waves, and it had all been part <strong>of</strong> <strong>the</strong> show.<br />

Opera became popular in Venice in 1637 and spread like wildfire to<br />

o<strong>the</strong>r Italian cities. While most nobles held performances on a temporary<br />

stage set up in <strong>the</strong>ir largest room—<strong>the</strong> reception hall or ballroom—<br />

in 1640 Cardinal Antonio Barberini built a <strong>the</strong>ater seating three thousand<br />

attached to his palazzo. He and his bro<strong>the</strong>r Francesco tried to surpass<br />

each o<strong>the</strong>r in giving <strong>the</strong> best operas, each spending thousands <strong>of</strong> scudi<br />

on a single performance.<br />

The bro<strong>the</strong>rs were <strong>of</strong>ten so immersed in <strong>the</strong>ir competing productions<br />

that <strong>the</strong>y forgot to visit <strong>the</strong>ir uncle <strong>the</strong> pope, leaving him cooling<br />

his heels in <strong>the</strong> Vatican while <strong>the</strong>y fidgeted with stage sets. Particularly<br />

troubling was when <strong>the</strong> pope went to hear Mass sung in <strong>the</strong> Sistine<br />

Chapel and <strong>the</strong> pontifical choir was missing; <strong>the</strong>y were at <strong>the</strong> Palazzo<br />

Barberini <strong>the</strong>ater, rehearsing for <strong>the</strong> next opera.<br />

Olimpia attended <strong>the</strong> Barberini operas and must have had a good<br />

laugh at <strong>the</strong> 1642 première <strong>of</strong> Antonio’s The Enchanted Palace. The performance,<br />

which had cost <strong>the</strong> cardinal eight thousand scudi, flopped<br />

due to malfunctioning machines. “His Eminence became fearfully enraged,<br />

threatening prison and similar things,” wrote <strong>the</strong> musician Ottaviano<br />

Castelli to Cardinal Mazarin in France. 4<br />

We aren’t told exactly how <strong>the</strong> machines malfunctioned, but it is<br />

tempting to imagine Divine Dignity toppling out <strong>of</strong> her flying chariot<br />

and landing on <strong>the</strong> stage below with a thud. Or perhaps a flying Christian<br />

Glory belting out an aria became stuck in <strong>the</strong> air, unable to descend,<br />

legs flailing helplessly until he was plucked to safety by a<br />

stagehand with a ladder. The audience, which was supposed to have<br />

been swept away by <strong>the</strong> glorious rapture <strong>of</strong> <strong>the</strong> moment, fell into paroxysms<br />

<strong>of</strong> laughter.<br />

According to Castelli, <strong>the</strong> most irritating thing about it was that Antonio’s<br />

own bro<strong>the</strong>r was seen laughing loudest <strong>of</strong> all. “It was believed<br />

that Cardinal [Francesco] Barberino laughed at seeing <strong>the</strong>se disorders,<br />

as if from jealousy that Antonio had wished, with <strong>the</strong> display <strong>of</strong> a celebration<br />

superior to all <strong>the</strong> o<strong>the</strong>rs, to obscure his own.” 5<br />

Problems cropped up not only onstage but sometimes in <strong>the</strong> audience<br />

[ 103 ]

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