Dmitry Stepanovich Bortnyansky (1751–1825) returned to Russia from Italy in the spring of 1779, at the age of twentyeight. Many years earlier the young Imperial Court Chapel chorister from far-away Glukhov had attracted the attention of eminent composer Baldassare Galuppi, who served at the court of Empress Catherine II. Studies commenced in St Petersburg were further pursued in Venice, where the talented youth was sent by Catherine on an annuity, at the recommendation of his mentor. This ‘Italian apprenticeship’ lasted for ten years and produced several outstanding opera compositions (so far we only know of three). Creonte, Alcide and Quinto Fabio were staged at the illustrious theatres of Venice and Modena, winning the approval of connoisseurs and spectators alike.
Bortnyansky faced his return to Russia with a mixture of joy and apprehension. From time to time he reread a letter from ‘director of court theatres and music’ Ivan Yelagin: ‘My dear Bortnyansky, ten years have passed since your departure for Contemporaries recorded how Bortnyansky was in constant transit between St Petersburg and the remote residences of the Grand Duke and Duchess at Pavlovsk and Gatchina, often completing compositions on the way.
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