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Review: “The Instrumentalist” by Harriet Constable – Vivaldi’s Protégé’s Tale

Antonio Vivaldi, who served as violin director at the Ospedale della Pietà. Photograph: Getty Images

In the 18th century, Venice’s figlie di coro was widely regarded as the best orchestra in the republic. It was comprised of girls from the Ospedale della Pietà, an orphanage established by wealthy individuals and run by nuns. Unwanted babies – those that had escaped being drowned – were “posted” through a tiny hole in the orphanage’s wall. They were given shelter and a musical education, as well as enduring gruelling domestic work, before they were married off or took the veil.

However, a talented few joined the orchestra and performed in churches and private houses, earning money for the orphanage. Despite their skill, members of the orchestra often had to play behind screens because they were disfigured – scarred from the pox or missing eyes and toes. Antonio Vivaldi served as violin director at the orphanage from 1703 to 1715. Anna Maria, a violin prodigy at the tender age of eight, became his star pupil.

Journalist and documentary-maker Harriet Constable’s compassionate coming-of-age tale, inspired by true events, explores youthful ambition and the allure of fame. Anna Maria’s obstinacy and outspokenness sit uneasily with her status and the period, but Constable understands the power music has to sustain us – her mother was a classically trained musician and she grew up playing the flute and piano. Anna Maria sees colours when she plays, her instrument “an extension of her own body”, and her all-consuming obsession to be the best, to become first violinist and win acclaim as a maestro are vividly described. As her career takes off, however, she becomes increasingly isolated.

Constable is good on atmosphere. Her admirable research and careful accretion of detail as she describes life in Venice, inside and outside the orphanage, gradually work their magic. The pace picks up in the final quarter when Anna Maria’s success and talent as a budding composer threaten to eclipse that of her mentor, and their relationship turns to one of rivalry. Her attempts to emerge from Vivaldi’s shadow and shape her own future are compelling.

The 18th-century Venice saw the rise of the renowned figlie di coro orchestra, hailed as the best in the republic. This ensemble consisted of girls from the Ospedale della Pietà, an orphanage supported by wealthy benefactors and managed by nuns. These orphaned girls, often saved from being drowned, were “posted” through a small hole in the orphanage wall. They received a safe haven, a musical education, and endured arduous domestic chores before eventually marrying or taking religious vows.

Yet, a select few, owing to their musical prowess, joined the prestigious orchestra, performing in churches and private homes to raise funds for the orphanage. Despite their talents, many orchestra members played behind screens due to disfigurations such as pox scars or missing eyes and toes. From 1703 to 1715, Antonio Vivaldi served as the violin director at the orphanage. It was during this period that Anna Maria, an eight-year-old violin prodigy, rose as his star pupil.

Harriet Constable, a journalist and documentary-maker, captures this historical narrative in her empathetic coming-of-age story, inspired by real events. The tale dives into youthful ambition and the lure of fame. Anna Maria’s defiance and outspoken nature clash with her societal status and the era’s expectations, yet Constable skillfully portrays the sustaining power of music, a sentiment likely influenced by her own background with a classically trained musician mother and her experiences playing the flute and piano.

Anna Maria experiences synesthesia, seeing colors while playing, and views her instrument as an extension of her body. Her obsession to excel, to become the first violinist and gain recognition as a maestro, is vividly detailed. However, as her career takes flight, she finds herself increasingly isolated.

Constable excels at creating an evocative atmosphere. Her extensive research and meticulous attention to detail bring to life the intricacies of Venice’s social life, both inside and outside the orphanage. The story gains momentum in its final quarter as Anna Maria’s burgeoning success and emerging talent as a composer begin to overshadow her mentor, turning their relationship into one of rivalry. Her struggle to step out from Vivaldi’s shadow and forge her own path is thoroughly absorbing.

Source:The Guardian