Italian librettist Fabrizio Funari‘s newest opera with music by composer Gaia Aloisi, “Aqua Tofana,” is set to premiere on September 22nd in London at the Tête à Tête Festival. “Aqua Tofana” also features director Rosie Kat, producer Ted Blackburn, lighting designer Mildred Moyo, and singers soprano Sarah Parkin, mezzo-soprano Alexandra Dinwiddie and baritone Thomas Litchev.

Following its London premiere, the opera will tour Italy next year. According to Funari, this project has been an engrossing and extensive creative journey for everyone involved.

As the premiere nears, Funari shared with OperaWire some of the behind-the-scenes details and research that shaped the opera, especially the parts based on real-life accounts, which sometimes get lost in the sharing process.

OperaWire: How did the idea for this opera first come to you?

Fabrizio Funari: The idea for this opera first came to me through a direct approach from composer Gaia Aloisi and producer Ted Blackburn. I was recommended to them by Marco Benetti, a composer I frequently collaborate with, as they were searching for a librettist after the original one withdrew from the project. Interestingly, I had previously been contacted to develop a TV show inspired by Giulia Tofana’s story, which never materialized but gave me initial exposure to the character and her narrative.

This past experience ignited my immediate interest in the project when I met Gaia and Ted. The allure of the story of Giulia Tofana lies in its blend of historical fact and legend, a mysterious tale rooted in both documented history and myth. Despite the existence of several works about Tofana, such as books, short films, and documentaries, what struck me was the often one-dimensional portrayal of Tofana as either a heroine or a feminist icon. This black-and-white depiction seemed oversimplified, and I felt there was a richer, more nuanced story to be told. The numerous versions of Tofana’s story, full of conflicting details and magical elements, inspired me to weave these legends into a magic realist narrative.

OW: What can you tell us about behind-the-scenes details and research that shaped the opera?

FF: In researching Tofana, I discovered conflicting accounts of her life and death, adding layers of mystery. Some sources claim she invented the infamous Aqua Tofana poison, while others suggest she inherited it. Similarly, her end is shrouded in uncertainty, with stories ranging from her dying peacefully in 1651 to being executed decades later. This multiplicity of narratives underscored the enigmatic nature of Tofana and highlighted the challenge of portraying her authentically.

For my research on Giulia Tofana and, most intriguingly, her stepdaughter Gironima Spana, I relied on esteemed works by Salvatore Salomene-Marino, Alessandro Ademollo, and Cardinal Pallavicino’s Vita di Alessandro VII, as well as modern scholars like Craig A. Monson and Mike Dash. These sources provided invaluable insights into the historical context and real events surrounding these figures.

The first thing I discovered was the real (or the realest) identity of Giulia Tofana, whose real name was Giulia Mangiardi (1581-1651). She is widely recognized as the creator of the infamous poison “Aqua Tofana,” which was allegedly sold in Palermo and named after Mangiardi’s alleged stepmother, Thofania d’Adamo (though there is scant evidence to confirm this maternal link).

The lives of Spana and her stepmother are often intertwined, and it is fascinating to uncover how both contributed equally to the legend. Gironima was the daughter of Niccolo Spano, who then married Giulia Mangiardi. When her father died, Mangiardi remarried the well-off investor Cesare Ranchetti. In 1624, the family fled to Rome (with a few legends explaining why), seeking refuge with Giulia’s maternal uncle, the cleric and astrologer Andrea Lorestino. Gironima’s stepfather, Cesare Ranchetti, squandered the family’s wealth, forcing Spana into marriage at fourteen in 1629. Giulia, meanwhile, became a professional matchmaker and allegedly resumed her clandestine poison business in Rome.

By 1643, the family resided on Via della Lungara in Rome. Spana’s husband, Niccolo Caiozzi, a Florentine grain speculator, left Rome by 1655 due to financial troubles, leaving Spana to fend for herself. Officially, Spana was an astrologer and herbal medicine distributor, but she also mastered the art of poison-making from her stepmother. Together, they trafficked Aqua Tofana, specializing in aiding women trapped in abusive marriages.

Despite contemporary descriptions of Giulia as “nasty, ugly, and unpleasant,” Spana had a close and affectionate relationship with her, describing her as “una brava donna” (‘a good woman’). Giulia died peacefully in 1651, her poisoning activities unnoticed. After her stepmother’s death on January 17, 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 abilities and talent in locating lost items. Her refined behavior and attire allowed her to mingle with high society, often traveling in carriages borrowed from her affluent clients. When Spana took over the poison business after Tofana’s death, she became a central figure in the infamous Spana Prosecution. This shift in focus to Spana revealed a deeper, more complex narrative, one that I found compelling and decided to explore in the opera. Spana’s character, with her multifaceted motivations and actions, offered a richer narrative than the traditional portrayal of Tofana. She was a force of nature who sought revenge on a society that marginalized her, working not just against men but against societal norms. This narrative of a woman navigating and manipulating the patriarchal structures of her time to gain power resonated with me as a more profound and universal story of resilience and ambition.

In crafting the opera, I chose to maintain Giulia Tofana as the central character to blend history and legend, reflecting my own journey of discovery and the multifaceted nature of the story. This allowed me to incorporate various historical inaccuracies and legends into a coherent, compelling narrative. The linguistic aspect of the opera was another critical element. Working with Francesco M. Caruso, we integrated Sicilian dialect into the libretto to reflect Tofana and Spana’s origins. This linguistic evolution, from Sicilian to Roman dialect, mirrored the characters’ journey and added an authentic cultural layer to the opera. This nuanced use of language helped enhance plot points and character development, creating a unique sound experience that was historically informed and dramatically effective.

Behind the scenes, the opera was shaped by extensive research into the lives of Tofana and Spana. Gironima Spana’s life, from her origins in Sicily to her execution in Rome, provided a rich tapestry of historical events and personal struggles. Her role as an astrologer and poisoner, navigating the aristocratic circles of Rome, highlighted the intersection of power, gender, and societal constraints. The Spana Prosecution, a detailed and complex legal case, revealed the intricate network of women involved in the poison trade and their eventual downfall.

The libretto’s structure, divided into interrogatio and confrontatio, allowed for a dynamic narrative that interwove trial testimonies and flashbacks, creating a layered and engaging story. This structure facilitated an exploration of the characters’ pasts and the unfolding drama of the trial, providing a comprehensive and immersive experience for the audience.

Overall, the opera “Aqua Tofana” is a blend of historical research, creative narrative, and cultural authenticity, aiming to bring a nuanced and multifaceted story to life on 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, a country still grappling with patriarchal norms, I am deeply aware of the social, economic, and cultural dynamics surrounding gender politics and marginalized groups (being a gay man myself). While Italian society as a whole has made significant strides since the 17th century, these insights remain crucial. I approached this project with a sense of responsibility and sensitivity, carefully navigating its social and political dimensions. I quickly realized that the most intriguing part of this research and creative process is the environment and situation of the characters, which required extensive research and empathy.

The story and legend surrounding Giulia Tofana is compelling precisely because it is rich in nuance. Despite this, there is a surprising lack of creative and artistic exploration of her story. Existing works tend to lack critical or nuanced approaches, often reducing her narrative to a simplistic tale of a woman killing men because they were bad. They looked on it with specific modern feminist lens, a simplistic approach that tells the story about a woman killing abusive husbands, end of story.

As I delved deeper, I found that the real essence of this story remained untapped. My research promptly revealed that, over the centuries, Giulia Tofana has simply become a legendary figure embodying and blurring the lives of both Giulia Mangiardi and her step-daughter Gironima Spana, who really took the “family business” to another level. Both did indeed sell their poisons to abused women, but this was likely because they were their primary market. They also sold to men and people from various social classes who could pay for their services, which included (particularly in the case of Spana) of astrology, spagyric, physiognomy, and alchemy. Spana, in particular, evolved into what could be seen as a mafia boss or an exceptionally bright entrepreneur of the 17th century, with no exclusivity regarding her clientele.

The story I wanted to tell has a more universal resonance, and though Aqua Tofana could be seen as the fil rouge of the plot, it isn’t the main focus. I aimed to portray a specific journey, from an allegedly orphaned and bright girl in Palermo to an entrepreneur within Renaissance society, which is a testament to resilience and ingenuity. This is why I chose to keep the main character as the legendary Giulia Tofana, using historical accounts from—mostly—Spana’s life whilst adding fictionalized elements. The main character, Giulia Tofana, sought revenge through redemption (employing her knowledge in alchemy, pharmacy and astrology) in a society that gave her little or nothing and placed obstacles at every turn. And yes, some of the means she was forced to use by society are without doubt morally ambiguous, adding depth to her story and personal arc.

One of the final lines in the opera is, “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”). This line encapsulates a modern and constructive perspective on her story, revealing the struggles and triumphs of a woman finding her place in a world that constantly challenged her.

In essence, the evolution of Giulia Tofana is not just about surviving in 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 of women today, and maybe even beyond those demographics.