Biography
Peri was born in either Rome or Florence to a middle-class family. Peri himself claimed to be from Rome, but considering the pro-Roman sentiments of the reigning Fernando de'Medici, it was a disadvantage to be known as a Florentine, which may have motivated Peri to lie about his true birthplace. Nonetheless, he was employed to sing at the Servite monastery of SS. Annunziati in the city of Florence. He likely received an education from the monastery school as well. Due to its size and favour with the Medici court, who attended mass each week, SS. Annunziati was a pipeline for many musical students into musical careers. Because of his talent and education, Peri was able to study in Florence with Cristofano Malvezzi, and went on to work in a number of Christian Church, churches there, both as an organist and as a singer. He subsequently began to work in the Medici court around September 1588, first as a tenor singer and keyboard player, and later as a composer. His earliest works were incidental music for plays, ''intermedio, intermedi'' and Madrigal (music), madrigals. In the 1590s, Peri became associated with Jacopo Corsi, the leading patron of music in Florence. They believed contemporary art was inferior to classical Ancient Greece, Greek and Ancient Rome, Roman works, and decided to attempt to recreate Greek tragedy, as they understood it. Their work added to that of the Florentine Camerata of the previous decade, which produced the first experiments in monody, the solo song style over Figured bass, continuo bass which eventually developed into recitative and aria. Peri and Corsi brought in the poet Ottavio Rinuccini to write a text, and the result, ''Dafne'', though nowadays thought to be a long way from anything the Greeks would have recognized, is seen as the first work in a new form, opera. Rinuccini and Peri next collaborated on ''Euridice (Peri), Euridice''. This was first performed on 6 October 1600 at the Palazzo Pitti for the wedding of Princess Maria de'Medici and Henry IV. Unlike ''Dafne'', it has survived to the present day (though it is hardly ever staged, and then only as a historical curio). The work made use of recitatives, a new development which went between the arias and Choir, choruses and served to move the action along. Peri produced a number of other operas, often in collaboration with other composers (such as ''La Flora'' with Marco da Gagliano), and also wrote a number of other pieces for various court entertainments. Few of his pieces are still performed today, and even by the time of his death, his operatic style was looking rather old-fashioned when compared to the work of relatively younger reformist composers such as Claudio Monteverdi. Peri's influence on those later composers, however, was large.Works
* Jacopo Peri: Ai Lettori. Introduzione a 'Le Musiche sopra l'Euridice', revisione e note di Valter Carignano * Jacopo Peri: Le Musiche sopra l'Euridice. Revisione e Note di Valter Carignano, L'Opera Rinata, TorinoReferences
Bibliography
*"Jacopo Peri", in ''The New Grove Dictionary of Music and Musicians'', ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. *Carter, T. (1980). Jacopo Peri. ''Music & Letters'', ''61''(2), 121–135.External links
* * {{DEFAULTSORT:Peri, Jacopo 1561 births 1633 deaths Renaissance composers 17th-century Italian composers Italian Baroque composers Italian opera composers Italian male classical composers Italian operatic tenors Male opera composers Musicians from Rome 17th-century male musicians