The fake gardener commissioned to Mozart by the Bavarian prince Maximilian III, a talented musician and viola player, was represented at the Salvatortheater in Munich in the carnival season of 1775.
Mozart at the time was 19, but already had behind a catalog rich in various genres of music and a notoriously early artistic maturity.
But what were the reactions of the time? The scholar and composer Christian Friedrich Daniel Schubart wrote about the Deutsche Chronik: ” Mozart will undoubtedly become one of the greatest composers that ever existed”.
And we do not neglect Wolfgang’s reaction: in a letter, crossed by youthful euphoria, he described his success to the mother “Praise to God! Yesterday my work is so much appreciated that I, mum, can not describe the hubbub … and after each aria a dreadful roar of applause and shouts of “Viva Maestro” broke out.
Controversial is the question of the libretto, certainly of recovery, not written on the occasion for Mozart: for a long time we wanted to attribute the paternity to Ranieri de ‘Calzabigi, while today it is more likely to be for Giuseppe Petrosellini.
The work, which appeared for the first time at the Piccola Scala 1971 under the direction of Zoltán Peskó and directed by Filippo Crivelli, will be represented in the setting up of the Glyndebourne Festival for the first time in the great Scala, in the month of October, with the direction of Diego Fasolis, directed by Frederic Wake-Walker and the participation of some of the best voices of the new generation of Mozartian singers. It is interesting to point out the artistic choice of the Theater: the creation within the orchestra of a group with original instruments that after two titles of Haendel comes to Mozart always under the guidance of Fasolis.
In the meeting “Triangles, disguises and happy ending”, with plays and videos, he talks about The Pretend Gardener Cesare Fertonani , historian and music critic, professor of History of Modern and Contemporary Music at the University of Milan.