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Donald Macleod and Laurie Stras explore how Barbara Strozzi navigated the male-dominated music scene in Venice in the 17th century.

The singer, and composer Barbara Strozzi neither held any position at church or court, nor had a consistent patron, and yet she published eight volumes of her own music, and had more secular music in print than any other composer of the era. Over the course of this week, Donald Macleod is joined by Professor Laurie Stras to explore the life of this extraordinary musician, and the world of 17th-century Venice in which she lived and worked. This was a world in which, despite the acknowledged successes of female artists in literature and music, being a successful composer seems to have aroused suspicion, and brought accusations of impropriety.

In Tuesday’s episode, Donald and Laurie explore how Barbara Strozzi navigated the male dominated musical scene in Venice in the 17th century, and the accusations of impropriety which have been levelled at her in her own time and since.

Sospira respira, Op 6, No 17
Fieri Consort

Godere e tacere, Op 1, No 9
La Venexiana
Claudio Cavina, director

Cuore che reprime alla lingua di manifestare il nome della sua cara, Op 3, No 1
Catherine Bott, soprano
Paula Chateauneuf, chitarrone/baroque guitar
Timothy Roberts, harpsichord
Frances Kelly, harp

La sol fa, mi, re, do, Op 2, No 25
Peggy Belanger, soprano
Michel Angers, theorbo)
Consort Baroque Laurenita

Cor donato, cor rubato, Op 3, No 10
Christine Brandes, soprano
Jennifer Lane, mezzo-soprano
Kurt-Owen Richards, bass
New York Baroque
Eric Milnes, director

Sino alla morte, Op 7, No 1
Renata Dubinskaite, soprano
Canto Fiorito

E pazzo il mio core, Op 8, No 9
Flavio Ferri-Benedetti, countertenor
Il Profondo