Giovanni Maria Ruggieri, also known as Ruggeri, was an Italian composer of the Baroque era. While the exact dates of his birth and death remain uncertain, it is believed he was born around 1665 in Verona and passed away around 1725. His active years as a composer are generally recognized as spanning from 1689 to 1720.
Ruggieri's principal works were likely created in Venice, where he initially made his mark with his first opera, La Clotilde. Notably, he referred to himself as an amateur on the title page of this work, although the librettist characterized him as a distinguished figure among amateurs, comparable to the most renowned scholars of music. Beyond this information, details about his personal life are scarce. Records from the Museo Correr in Venice suggest that he owned multiple properties and may have served the noble Contarini family, to whom he addressed a letter in 1695.
His early career includes the publication of four collections of trio sonatas, both da camera and da chiesa, between 1689 and 1697, though these have been lost to history. The surviving sonatas reflect significant creativity and skill in counterpoint. In 1696, Ruggieri transitioned to a full-time compositional career and likely experienced considerable success, as evidenced by the frequent revivals of his operas. Notably, Armida abbandonata was staged at least five times from 1707 to 1715. His opera Elisa, premiered in 1711, was well-received by critics and is recognized as the first opera buffa produced in the Republic of Venice. As a sacred music composer, he significantly influenced Antonio Vivaldi, who is known to have borrowed extensively from Ruggieri's Gloria in D for his own works. Additionally, it is suggested that Vivaldi may have revised Ruggieri's L'inganno trionfante in amore, although there is no documentary evidence to confirm this.
Work:
Operas
Ruggieri's operas, or drammi per musica, were primarily performed in Venice and include:
- La Clotilde (libretto by Neri), premiered at San Cassiano during carnival in 1696; later revived as Amar per vendetta at San Moisè in November 1702.
- La Mariamme (libretto by Burlini), debuted at Santi Giovanni e Paolo in autumn 1696, though only a few arias survive.
- La saggia pazzia di Giunio Bruto (libretto by Lotti), first performed at Santi Giovanni e Paolo on November 26, 1698.
- Milziade (libretto by Lotti), presented at Santi Giovanni e Paolo during carnival in 1699, with only a few arias remaining.
- Armida abbandonata (libretto by Silvani, after Tasso), premiered at Sant'Angelo on November 10, 1707.
- Arrenione (libretto by Silvani), performed at Sant'Angelo during the week prior to November 10, 1708, potentially involving contributions from other composers.
- Arato in Sparta (libretto by Minato), staged at Sant'Angelo in the week leading up to January 11, 1710.
- L’ingannator ingannato (libretto by Marchi), shown at San Samuele in autumn 1710.
- Le gare di politica e d’amore (libretto by Salvi), performed at San Samuele during the week before January 31, 1711.
- Elisa (a comedy, lyrics by Lalli), debuted at Sant'Angelo in autumn 1711.
- Arsinoe vendicata (libretto by Braccioli), presented at Sant'Angelo during carnival in 1712.
Sacred Vocal Works
- Twelve cantatas, 1706.
- Laudate Dominum, motet, 8 verses, date illegible.
- Jesu dulcis memoria, Rome, 1689.
Instrumental Works (all published in Venice)
- Bizzarie armoniche esposte in dieci suonate da camera a due for violin, lute/theorbo, viola/harpsichord, 1689.
- Scherzi geniali ridotti a regola armonica in dieci suonate da camera a tre, 1690 (lost).
- Suonate da chiesa for two violins, viola/theorbo, organ, 1693.
- Suonate da chiesa for two violins, violoncello, and organ, 1697.
