Barbara Strozzi (also known as Barbara Valle; born August 6, 1619 – died November 11, 1677) was a composer and singer from Venice during a time in music history called the Baroque Period. During her lifetime, Strozzi published eight books of her own music. She had more secular music (music that was not religious) printed than any other composer of her time. She accomplished this without help from the Church or regular support from wealthy families.

Personal life

Barbara Strozzi, born Barbara Valle, was born in Venice in 1619 to a woman known as "La Greghetta," also called Isabella Griega or Isabella Garzoni in other records. She was baptized in the church of Santa Sofia in the Cannaregio district of Venice. Her birth certificate does not name her father, but it is believed that her biological father was Giulio Strozzi, a poet, librettist, and influential figure in 17th-century Venice. Giulio was a member of the Accademia degli Incogniti, a major intellectual and social group in Europe. He wrote poetry, operas, plays, and lyrics for songs. Little is known about Barbara's mother, but historians think Isabella was a servant in Giulio's household, as both Barbara and her mother lived with Giulio and were listed in his will. Although Barbara was born outside of marriage, Giulio referred to her as his "adoptive daughter" and helped her begin her career as a musician. Barbara grew up in a home where many important writers and musicians lived.

More details about Barbara's life describe the end of her childhood and early teenage years. During her childhood, Venice faced deadly plagues that killed many people. Barbara and her mother survived. She was 12 years old during the first Festa della Salute in 1631. By this time, she had begun developing her musical skills and showed great talent in singing. She also learned to play the lute or theorbo. In her book Sounds and Sweet Airs, historian Anna Beer notes that Barbara's musical abilities became more evident during her early teenage years, leading Giulio to arrange composition lessons with Francesco Cavalli, a leading composer. By age 15, Barbara was called "la virtuosissima cantatrice di Giulio Strozzi" (Giulio Strozzi's extremely skilled singer). Around her 16th birthday, Giulio promoted her talents by dedicating works to her. He later founded the Accademia degli Unisoni, a group linked to the Incogniti, which brought musicians into a privileged social circle. This group, based in Giulio's home, gave Barbara opportunities to perform and share her own music. In 1637, at age 18, Barbara adopted her father's last name, Strozzi, which she kept until her death.

Little is known about Barbara's life in the 1640s. However, it is believed she was the mistress of Giovanni Paolo Vidman, a Venetian nobleman and supporter of the arts who knew Giulio Strozzi. Though Barbara never married Vidman, their relationship resulted in three or possibly four children: a son named Giulio, and daughters Isabella (born in 1642) and Laura (born in 1644), with a possible additional son named Massimo. Her two daughters joined a convent, and one of her sons became a monk. A letter written after Barbara's death stated, "She was raped by Count Vidman, a Venetian nobleman. She had a son who also [like her father] bears the name Giulio Strozzi." Some believe the rape claim may have been spread to protect Barbara's reputation because she had children outside of marriage. However, evidence suggests she may have been forced into the relationship.

During this time, Barbara and Vidman had financial dealings. It is thought she gave him a loan to be repaid after his death, with near 10% interest. This interest may have been intended to provide support for Barbara and her children after Vidman's death.

Barbara Strozzi died in Padua in 1677 at age 58. She is believed to have been buried in Padua. She did not leave a will, so her son Giulio Pietro claimed her inheritance entirely after her death.

Professional life

By the time she was in her late teens, Strozzi had become well-known for her singing. In 1635 and 1636, two books of songs were published by Nicole Fontei, titled Bizzarrie poetiche (poetic oddities), which praised Strozzi’s singing ability. Her experience performing at Unisoni helped her develop strong singing skills, which later showed in her published works and demonstrated her talent for composing music.

As a young musician, Strozzi looked for support from wealthy individuals, but not all her efforts were successful. One of her works, opus 2, was dedicated to Ferdinand III of Austria and Eleanora of Mantua during their marriage, but it was not noticed. Other important people she dedicated her music to included Anne de' Medici, the Archduchess of Austria; Nicolò Sagredo, later Doge of Venice, for whom she dedicated opus 7; and Sophia, Duchess of Brunswick and Lüneburg. It is also believed she wrote several songs for the Duke of Mantua in 1665, a year after her last known published works.

Strozzi was described as “the most productive composer—man or woman—of printed secular vocal music in Venice in the middle of the 17th century.” Her work was unique because it only included secular music, except for one book of sacred songs. She was known for her skill in writing poetry and her ability to compose music. Her lyrics were often poetic and clearly expressed.

Like many composers of her time, Strozzi mostly used texts from the poet Marino. These texts allowed her to share her ideas and challenge the roles expected of women and men in her era. Il primo libro di madrigali, per 2–5 voci e basso continuo, op. 1 (1644) was dedicated to Vittoria della Rovere, the Venetian-born Grand Duchess of Tuscany. The poem in this work was written by her father, Giulio Strozzi. Strozzi published one known work of religious music. Opus 5, written in 1655, was dedicated to Anna de Medici, the Archduchess of Innsbruck. Her motet “Mater Anna” honored both the Catholic saint and the Archduchess. Strozzi was careful to notice the hidden meanings in her texts, and like Arcangela Tarabotti, the words she set often suggested problems related to gender roles.

Publications, recordings and performances

• First Book of Madrigals, for 2–5 voices and continuous bass, Op. 1 (1644)
• Cantatas, Ariettas, and Duets, for 2 voices and continuous bass, Op. 2 (1651)
• Cantatas and Ariettas, for 1–3 voices and continuous bass, Op. 3 (1654)
• Sacred Musical Affections, Book I, Op. 5 (1655)
• Quis Dabit Mihi, motet for 3 voices (1656)
• Ariettas for Solo Voice, Op. 6 (1657)
• Amusements of Euterpe, or Cantatas and Ariettas for Solo Voice, Op. 7 (1659)
• Arias for Solo Voice, Op. 8 (1664)

There are many recordings of Barbara Strozzi’s music. Some recordings include only her compositions, while others include only a few of her pieces.

• Barbara Strozzi: La Virtuosissima Cantatrice (2011)
• Barbara Strozzi: Ariettas for Solo Voice, Op. 6 / Miroku, Rambaldi (2011)
• Barbara Strozzi: Passioni, Vizi & Virtu / Belanger, Consort Baroque Laurentia (2014)
• Barbara Strozzi: Opera Ottava, Arias & Cantatas (2014)
• Barbara Strozzi: Lagrime Mie (2015)
• Due Alme Innamorate – Strozzi, etc. / Ensemble Kairos (2006)
• A Golden Treasury of Renaissance Music (2011)
• Lamenti Barocchi Vol. 3 / Vartolo, Capella Musicale Di San Petronio (2011)
• Ferveur & Extase / Stephanie D’Oustrac, Amarillis (2012)
• La Bella Piu Bella: Songs from Early Baroque Italy (2014)
• Dialoghi A Voce Sola (2015)
• O Magnum Mysterium: Italian Baroque Vocal Music (2015)
• Barbara Strozzi: La Voce Sola, Renata Dubinskaite (Mezzo Soprano) with Canto Fiorito (2021)

As more people became interested in historical music performances, more shows featuring Barbara Strozzi’s music have been held in recent years.

• Chamber Music Foundation of New England, Music of Claudio Monteverdi & Barbara Strozzi (2017)
• Early Music America’s 2018 Emerging Artists Showcase during the Bloomington Early Music Festival (2018)
• Old First Concerts, Ensemble Draca performs Amante Fedele, August 12, 2018 (2018)
• WWFM radio broadcast, Brooklyn Baroque Presents Barbara Strozzi and Her World (2018)