OperaWire: How did the idea for this opera first come to you?
Fabrizio Funari: The concept for this opera initially came to me through composer Gaia Aloisi and producer Ted Blackburn, who reached out to me after being recommended by Marco Benetti, a frequent collaborator. They were in need of a librettist following the withdrawal of the original writer. Interestingly, I had been approached earlier to develop a TV show inspired by Giulia Tofana’s story, a project that did not come to fruition but introduced me to her character and narrative.
This previous exposure sparked my interest in the opera when I met Gaia and Ted. The appeal of Giulia Tofana’s story lies in its mix of historical fact and legend, a tale interwoven with both documented history and myth. While there are several existing works about Tofana, including books, short films, and documentaries, I found the common portrayal of her as either a heroine or a feminist icon to be overly simplistic. The multifaceted and often contradictory versions of her story, with their magical elements, inspired me to incorporate these legends into a magic realist framework.
OW: What can you tell us about behind-the-scenes details and research that shaped the opera?
FF: In my research on Giulia Tofana, I encountered various conflicting accounts of her life and death, which added layers of mystery. Some sources suggest she created the notorious Aqua Tofana poison, while others propose she inherited it. Her death is equally uncertain, with reports ranging from her dying peacefully in 1651 to being executed decades later. These differing narratives highlighted the enigmatic nature of Tofana and the challenge of presenting her story authentically.
For my research, I consulted respected works by Salvatore Salomene-Marino, Alessandro Ademollo, and Cardinal Pallavicino’s Vita di Alessandro VII, along with modern scholars like Craig A. Monson and Mike Dash. These sources offered invaluable insights into the historical context and actual events surrounding these figures.
One of my key discoveries was the true identity of Giulia Tofana, who was originally named Giulia Mangiardi (1581-1651). She is widely recognised as the creator of the notorious poison “Aqua Tofana,” which was reportedly sold in Palermo and named after her alleged stepmother, Thofania d’Adamo, though evidence for this maternal connection is scarce.
The lives of Spana and her stepmother are often intertwined, and it is intriguing to see how both contributed to the legend. Gironima Spana was the daughter of Niccolò Spano, who married Giulia Mangiardi. After her father’s death, Mangiardi remarried the affluent investor Cesare Ranchetti. In 1624, the family fled to Rome, with various legends explaining their departure, seeking refuge with Giulia’s maternal uncle, the cleric and astrologer Andrea Lorestino. Cesare Ranchetti squandered the family’s wealth, which led to Spana being married off at fourteen in 1629. Meanwhile, Giulia continued her work as a professional matchmaker and allegedly resumed her clandestine poison business in Rome.
By 1643, the family was living on Via della Lungara in Rome. Spana’s husband, Niccolò Caiozzi, a Florentine grain speculator, left Rome by 1655 due to financial difficulties, leaving Spana to support herself. Officially, Spana worked as an astrologer and herbal medicine distributor, but she also learned the art of poison-making from her stepmother. Together, they trafficked Aqua Tofana, focusing on helping women in abusive marriages.
While contemporary accounts describe Giulia as “nasty, ugly, and unpleasant,” Spana had a close and affectionate relationship with her, referring to her as “una brava donna” (‘a good woman’). Giulia passed away peacefully in 1651, and her poisoning activities went unnoticed. After her stepmother’s death on 17 January 1651, Spana expanded the poison business, employing several women by the 1650s.
Spana became a notable astrologer in Rome, sought after by the aristocracy for her predictive skills and ability to locate lost items. Her refined manners and attire enabled her to move among high society, often travelling in carriages borrowed from wealthy clients. Following Tofana’s death, Spana took over the poison business and became a key figure in the notorious Spana Prosecution. This shift to Spana revealed a more intricate narrative, which I found compelling and chose to explore in the opera. Spana’s character, with her complex motivations and actions, provided a richer story than the traditional portrayal of Tofana. She was a formidable figure who sought revenge on a society that marginalized her, challenging not only men but societal norms. Her story of navigating and manipulating the patriarchal structures of her time to gain power resonated with me as a profound and universal tale of resilience and ambition.
In creating the opera, I decided to focus on Giulia Tofana as the central character to blend history and legend, reflecting my own journey of discovery and the multifaceted nature of her story. This approach allowed me to weave together various historical inaccuracies and legends into a cohesive and engaging narrative.
The linguistic aspect of the opera was crucial as well. Collaborating with Francesco M. Caruso, we incorporated Sicilian dialect into the libretto to reflect Tofana and Spana’s origins. The transition from Sicilian to Roman dialect mirrored the characters’ journey and added an authentic cultural layer to the opera. This nuanced use of language enriched the plot and character development, creating a distinctive auditory experience that was both historically informed and dramatically effective.
The opera was shaped by thorough research into the lives of Tofana and Spana. Gironima Spana’s life, from her Sicilian roots to her execution in Rome, offered a rich backdrop of historical events and personal struggles. Her role as an astrologer and poisoner, navigating Rome’s aristocratic circles, highlighted the intersection of power, gender, and societal constraints. The Spana Prosecution, a detailed legal case, revealed the complex network of women involved in the poison trade and their eventual downfall.
The libretto’s structure, divided into interrogatio and confrontatio, facilitated a dynamic narrative that combined trial testimonies and flashbacks. This approach allowed for an exploration of the characters’ pasts and the unfolding drama of the trial, creating a layered and immersive experience for the audience.
Overall, “Aqua Tofana” blends historical research, creative storytelling, and cultural authenticity, aiming to bring a nuanced and multifaceted story to the stage.
OW: Do you feel this story is indicative of how women are still surviving in a patriarchal society in modern day? What is your personal take on this?
FF: As someone originally from Italy, where patriarchal norms still persist, I am acutely aware of the social, economic, and cultural dynamics surrounding gender politics and marginalized groups (being a gay man myself). Although Italian society has made significant progress since the 17th century, these insights remain crucial. I approached this project with a sense of responsibility and sensitivity, navigating its social and political dimensions with care. The most compelling aspect of this research and creative process was the environment and situation of the characters, which required extensive research and empathy.
The story and legend of Giulia Tofana are compelling due to their richness and complexity. However, there is a surprising lack of creative and artistic exploration of her story. Existing works often reduce her narrative to a simplistic tale of a woman killing men because they were abusive, viewed through a modern feminist lens that oversimplifies her actions.
My research revealed that the essence of this story has often been overlooked. Over the centuries, Giulia Tofana has become a legendary figure merging the lives of both Giulia Mangiardi and her stepdaughter Gironima Spana, who took the “family business” to new heights. While both sold poisons to abused women, they also served a diverse clientele, including men and people from various social classes who could afford their services, which included astrology, spagyric, physiognomy, and alchemy. Spana, in particular, emerged as a figure akin to a mafia boss or an exceptionally astute 17th-century entrepreneur, with no exclusive focus on her clientele.
The story I aimed to tell has a broader universal resonance, and while Aqua Tofana is a significant element of the plot, it isn’t the central focus. My goal was to portray a specific journey—from an allegedly orphaned and bright girl in Palermo to a prominent entrepreneur in Renaissance society—a testament to resilience and ingenuity. This is why I chose to centre the main character on the legendary Giulia Tofana, incorporating historical accounts from—primarily—Gironima Spana’s life, while adding fictionalised elements. The main character, Giulia Tofana, seeks revenge through redemption, employing her knowledge in alchemy, pharmacy, and astrology in a society that offered her little and obstructed her at every turn. Some of the methods she resorts to are morally ambiguous, which adds depth to her story and personal arc.
One of the final lines in the opera, “Io sulu m’arripìgghiu chiddu ca Diu mi detti e l’omini mi livàru” (“I’m only taking back what God gave me and men [or society] took away”), encapsulates a modern and constructive perspective on her story. It reveals the struggles and triumphs of a woman striving to find her place in a world that continually challenged her.
In essence, the evolution of Giulia Tofana is not just about surviving a patriarchal society; it’s about reclaiming agency and redefining one’s place against all odds. I hope this story resonates with the ongoing challenges and triumphs faced by women today and perhaps even extends beyond those demographics.
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