{"id":132007,"date":"2026-04-27T16:23:25","date_gmt":"2026-04-27T14:23:25","guid":{"rendered":"https:\/\/www.iemj.org\/bolaffi-michele-1768-1842\/"},"modified":"2026-04-28T12:38:03","modified_gmt":"2026-04-28T10:38:03","slug":"bolaffi-michele-1768-1842","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/en\/bolaffi-michele-1768-1842\/","title":{"rendered":"Bolaffi, Michele (1768-1842)"},"content":{"rendered":"\n<!--more-->\n\n\n\n<p><strong>Michele Bolaffi <\/strong>(Florence 1768-Livorno 1842) was a Florentine composer of Sephardic Jewish descent. A man of broad cultural interests, his activities spanned music, literature, teaching, and music theory. He was a talented singer (tenor), poet, literary figure, translator of Hebrew texts, vocal and chapel master, accompanying musician, historian, and music theorist. His work includes a wide variety of secular and liturgical compositions.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Musical Career<\/strong><\/h2>\n\n\n\n<p>Bolaffi, himself a singer, often performed in public. He sometimes played the cimbalom on his own compositions, or sang alongside the famous lyric soprano Angelica Catalani. It was to the latter, whose vocal qualities he praised, that he dedicated the sonnet \u201cStupor tu fosti allor d\u2019Europa intera.\u201d<\/p>\n\n\n\n<p>Among his most prestigious professional positions, he briefly served as music director to the Royal Duke of Cambridge in 1809. Between 1816 and 1818, he was Kapellmeister at the court of Louis XVIII in Paris and held a position at the Th\u00e9\u00e2tre Royal Italien, where he was responsible for reviewing scores.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Pedagogical and academic activities<\/strong><\/h2>\n\n\n\n<p>Bolaffi was a tireless promoter of music education. Around 1819, in Paris, he founded and directed a music school, adopting the \u201cmutual teaching\u201d method of the Italian Federico Massimino, thereby helping to spread Italian style and culture. He also taught music at a mutual teaching school in Marseille.<\/p>\n\n\n\n<p>Between 1821 and 1822, in Florence, he founded two other music schools where he taught singing and conducted the choirs of the Scuole Sante Italiana and the Scuola Levantina. He continued his educational work by opening another music school in Genoa in 1823 and teaching at the private Jewish school Or Torah in Livorno in 1825. Between 1836 and 1837, he was appointed honorary professor of the Jewish community schools.<\/p>\n\n\n\n<p>On the academic front, upon the recommendation of Mr. C\u00e9sar de Saluces, he was appointed a member of the Royal Academy of Turin and obtained the position of correspondent for the department of literature and Fine Arts.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Literary works and translations<\/strong><\/h2>\n\n\n\n<p>A man of great culture, Bolaffi corresponded with many prominent figures of the time, including Rossini, the impresario Lanari, and Princess H\u00e9l\u00e8ne Baciocchi, Napoleon\u2019s sister.<\/p>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>Most notable translations:<\/strong> Voltaire\u2019s epic poem \u201dL\u2019Henriade\u201d,&#8230;<\/summary>\n<ul class=\"wp-block-list\">\n<li>Voltaire\u2019s epic poem \u201dL\u2019Henriade\u201d, in free verse Italian.<\/li>\n\n\n\n<li>\u201cTeodia o sia Inno filosofico a Dio,\u201d a Hebrew text by Shelomoh ibn Gabirol, translated into Italian.<\/li>\n\n\n\n<li>\u201cL\u2019immortalit\u00e0 dell\u2019anima,\u201d a poem by Jacopo Delille, translated into hendecasyllables.<\/li>\n<\/ul>\n<\/details>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>Significant literary works:<\/strong> The \u201cLetter on the Opera Maria di Rudenz,\u201d a pamphlet addressed&#8230;<\/summary>\n<ul class=\"wp-block-list\">\n<li>The \u201cLetter on the Opera Maria di Rudenz,\u201d a pamphlet addressed to his friend Donizetti to defend the opera\u2019s artistic merit following the failure of its premiere at the Teatro La Fenice in Venice in August 1838.<\/li>\n\n\n\n<li>The sonnet \u201cDolci sembianze, amate luci sante,\u201d dedicated to his wife Lia Pardo Roques, who died in 1815, and to the famous singer Carolina Hungher.<\/li>\n\n\n\n<li>The poem \u201cRitratto poetico di Lablache,\u201d which extols the vocal, interpretive, and human qualities of the Franco-Italian opera singer Luigi Lablache.<\/li>\n\n\n\n<li>\u201cLa Gambaide,\u201d a collection of forty sonnets, composed following an accident that resulted in a broken leg.<\/li>\n\n\n\n<li>Italian and Hebrew sonnets recounting an assault he suffered on the street in Livorno.<\/li>\n<\/ul>\n<\/details>\n\n\n\n<div style=\"height:15px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Musical productions in various genres, including:<\/strong><\/h2>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>Religious dramas and plays: <\/strong>\u201cSimchat Mitzvah,\u201d a two-act religious drama&#8230;<\/summary>\n<ul class=\"wp-block-list\">\n<li>\u201cSimchat Mitzvah,\u201d a two-act religious drama by Daniele Terni, written for the inauguration of the Florence synagogue (1793).<\/li>\n\n\n\n<li>\u201cSaul,\u201d a theatrical play<\/li>\n\n\n\n<li>\u201cIl pastore e la pastorella delle alpi,\u201d a musical farce based on a libretto by Giulio Domenico Camagna, performed at the Teatro S. Mois\u00e8 in Venice.<\/li>\n<\/ul>\n<\/details>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>Chants and vocal compositions:<\/strong> \u201cSei Canzonette\u201d: based on a poem by Francesco Gianni&#8230;<\/summary>\n<ul class=\"wp-block-list\">\n<li>\u201cSei Canzonette\u201d: based on a poem by Francesco Gianni, for voice (soprano), violin, harp, or piano.<\/li>\n\n\n\n<li>\u201cTre Canzonette sulla rosa,\u201d Op. III, for two voices (sopranos) and basso continuo.<\/li>\n\n\n\n<li>\u201cLa Pace,\u201d Op. IV, cantata for solo voice (soprano) and orchestra.<\/li>\n\n\n\n<li>\u201cIl sogno d\u2019Etruria,\u201d cantata for two voices (S, T), four-part choir, and orchestra.<\/li>\n\n\n\n<li>\u201cPer il ritorno di sua Maest\u00e0 Lodovico Primo re d\u2019Etruria\u201d: aria for tenor and orchestra.<\/li>\n\n\n\n<li>\u201cMiserere Toscano\u201d: for soprano, tenor, and bass, wind and string orchestra, based on a text by Bolaffi himself.<\/li>\n\n\n\n<li>\u201cThree Ariettas,\u201d Op. VI, for voice and piano.<\/li>\n\n\n\n<li>\u201c6 Penitential Psalms\u201d: for two voices with bass accompaniment, dedicated to Marie-Louise, Queen Regent of Etruria.<\/li>\n\n\n\n<li>\u201cSix New Italian Nocturnes,\u201d Op. II: for two voices with piano or harp accompaniment, dedicated to Chevalier Fr\u00e9d\u00e9ric de Caravel.<\/li>\n\n\n\n<li>\u201cPlacido zeffiretto\u201d: an arietta for contralto with piano or harp accompaniment, taken from Pietro Metastasio\u2019s cantata \u201cAmor timido\u201d and dedicated to Giuseppina Grassini.<\/li>\n\n\n\n<li>\u201cPadre del ciel che di natura i moti,\u201d sonnet for solo voice with piano, in memory of Haydn.<\/li>\n\n\n\n<li>\u201cIl faut aimer,\u201d romance for voice and piano.<\/li>\n\n\n\n<li>\u201cCantata for three voices with chorus\u201d and orchestra, composed on the occasion of the birth of the son of Napoleon Bonaparte and Marie-Louise of Austria.<\/li>\n\n\n\n<li>\u201cL\u2019Italia,\u201d a sonnet for voice (tenor), flute, and harp, with text and music by Michele Bolaffi.<\/li>\n\n\n\n<li>\u201cPovero angusto rio\u201d (O thou whose pure waves): a cavatina for tenor with piano or harp accompaniment.<\/li>\n\n\n\n<li>\u201cCome mai da te lontano\u201d (To leave you, my sweet friend), \u201cChe cangi tempra,\u201d \u201cCaro rio ch\u2019al mar t\u2019en vai\u201d: cavatinas for voice accompanied by piano or harp.<\/li>\n\n\n\n<li>\u201cTribut de douleur\u201d: elegy for voice, piano, or harp, composed on the occasion of the death of Princess Charlotte of Wales.<\/li>\n\n\n\n<li>\u201cSix New Italian Nocturnes\u201d: for soprano and tenor with piano or harp, dedicated to His Highness the Prince of Le\u00f3n<\/li>\n\n\n\n<li>\u201cSur un rocher d\u00e9sert\u201d: cantata accompanied by piano or harp, an adaptation of Cantata VII \u201cCirc\u00e9\u201d by Jean-Baptiste Rousseau.<\/li>\n\n\n\n<li>\u201cSe lontan ben mio tu sei,\u201d \u201cSo che vanti un core ingrato,\u201d \u201cS\u2019io t\u2019amo oh Dio mi chiedi\u201d: ariettas for soprano, piano, and guitar, collected in \u201cIl Mese armonico,\u201d based on poetic texts by Metastasio.<\/li>\n\n\n\n<li>Another \u201cPadre del Ciel che di natura i moti\u201d: a sonnet for voice and piano, composed and set to music by Bolaffi in gratitude to God for his recovery from two serious illnesses he had recently suffered in quick succession.<\/li>\n\n\n\n<li>\u201cCantata with Chorus,\u201d for solo voice and orchestra, dedicated to Charles Albert, King of Sardinia.<\/li>\n\n\n\n<li>\u201cIl canto d\u2019Euterpe\u201d: hymn for soprano, choir (4S), and piano, dedicated to Rossini.<\/li>\n\n\n\n<li>\u201cIl pastore e la pastorella delle alpi\u201d: one-act musical farce based on a libretto by G. Domenico Camagna.<\/li>\n\n\n\n<li>\u201cSaul,\u201d an opera in two acts<\/li>\n<\/ul>\n<\/details>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>Handwritten liturgical compositions:<\/strong> \u201cMizmor Ledavid\u201d: Psalm 29 for a cappella choir&#8230;<\/summary>\n<ul class=\"wp-block-list\">\n<li>\u201cMizmor Ledavid\u201d: Psalm 29 for a cappella choir<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_132007_1('footnote_plugin_reference_132007_1_1');\" onkeypress=\"footnote_moveToReference_132007_1('footnote_plugin_reference_132007_1_1');\" ><sup id=\"footnote_plugin_tooltip_132007_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_132007_1_1\" class=\"footnote_tooltip\">According to Herv\u00e9 Roten, the melody of this psalm is identical to the one sung in the Comtat Venaissin in the late 19th century. See the collection by Jules Salomon and Mardoch\u00e9e Cr\u00e9mieu, *Chants&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_132007_1('footnote_plugin_reference_132007_1_1');\">Lire la suite<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_132007_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_132007_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/li>\n\n\n\n<li>\u201cAlelu et adonai col goim,\u201d Psalm 117:1\u20132 for a cappella choir (S, T, B).<\/li>\n\n\n\n<li>\u201cAnnoten Teschiuh Lamelakim\u201d: a three-part hymn (S, T, B).<\/li>\n\n\n\n<li>\u201cVeemun\u00e0\u201d: a polyphonic song dedicated to the Jewish community of Rome.<\/li>\n\n\n\n<li>\u201cVerses set to music by various professors\u201d (2 vols., 1825\u20131826), dedicated to the tenor Aron Crocolo.<\/li>\n\n\n\n<li>18 \u201cSacred Songs for Days of Penance and Feast Days,\u201d compiled by Ernesto Ventura.<\/li>\n\n\n\n<li>15 \u201cSacred Songs\u201d to be sung on Shabbat, part of a collection of songs by various authors titled \u201cSabato &#8211; Musica sacra\u201d, transcribed in treble clef by Ernesto Ventura.<\/li>\n\n\n\n<li>103 \u201cSacred Songs\u201d for soprano, tenor, and bass, divided into two volumes titled \u201cMusica sacra di Livorno\u201d, ridotta da Mois\u00e8 Ventura (arranged by Mois\u00e8 Ventura).<\/li>\n\n\n\n<li>125 \u201cPsalms\u201d for soprano, bass, soloist, and choir.<\/li>\n\n\n\n<li>\u201cSimhat Mitzvah\u201d: a religious drama in two acts, with a libretto by Daniele Terni (the music is not available)<\/li>\n<\/ul>\n<\/details>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>Instrumental compositions:<\/strong> \u201cSuonata prima per cimbalo a piano-forte\u201d&#8230;<\/summary>\n<ul class=\"wp-block-list\">\n<li>\u201cSuonata prima per cimbalo a piano-forte\u201d: with accompaniment by a mandolin or violin.<\/li>\n\n\n\n<li>\u201cArmonia lugubre sentimentale,\u201d Opus V: for wind instruments, in memory of Cimarosa.<\/li>\n\n\n\n<li>\u201cArmonia lugubre\u201d: piano sonata, in memory of Cimarosa.<\/li>\n<\/ul>\n<\/details>\n\n\n\n<div style=\"height:15px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Music history and theory writings<\/strong><\/h2>\n\n\n\n<p>As a music historian, Bolaffi wrote the \u201cDissertation on Modern Music Compared to Ancient Music,\u201d a fourteen-page treatise in which, through a meticulous analysis of music history, he presents his original reflections on its evolution. The final section of the \u201cDissertation\u201d is particularly interesting, as it outlines a plan for reforming music schools, education, and the theater.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><img fetchpriority=\"high\" decoding=\"async\" width=\"354\" height=\"500\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/04\/livre-D-Foti_redim.jpg\" alt=\"\" class=\"wp-image-131994\" style=\"aspect-ratio:0.7080218225904223;object-fit:cover;width:188px;height:auto\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/04\/livre-D-Foti_redim.jpg 354w, https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/04\/livre-D-Foti_redim-212x300.jpg 212w\" sizes=\"(max-width: 354px) 100vw, 354px\" \/><\/figure>\n<\/div>\n\n\n<p>As a theorist, he composed the \u201cPrinciples of Music in Octaves,\u201d accompanied by a table of examples (published in Florence by Giuseppe Lorenzi), as well as a fifteen-page treatise containing musical examples titled \u201cReasoned Compendium of the Principles of Music for the Use of Older Students.\u201d Finally, a philosophical reflection on human existence, art, and music appears in the pamphlet \u201cAlcune mie idee sul gusto del secolo presente,\u201d printed in Livorno in 1830.<\/p>\n\n\n\n<p><strong>Source and Bibliography:<\/strong><\/p>\n\n\n\n<p>Domenica Foti, <em>Michele Bolaffi (1768 \u2013 1842. Un musicista toscano fra Sette e Ottocento. <\/em>Tricase (Lecce), Youcanprint, 2022<\/p>\n\n\n\n<p>Read David Conway\u2019s article on Academia: <a href=\"https:\/\/www.academia.edu\/1653371\/On_Michele_Bolaffi_an_Itinerant_Jewish_Musician\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cOn Michele Bolaffi, an Itinerant Jewish Musician\u201d<\/a><\/p>\n\n\n\n<div style=\"height:15px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns are-vertically-aligned-center is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Michele Bolaffi SALMO 150 Allelui\u00e0 per Coro e Orchestra\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/2zPnm7nsc48?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Havu Ladonai \u2013 Michele Bolaffi\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/_dGF9QkaqsE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_132007_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_132007_1();\">[<a id=\"footnote_reference_container_collapse_button_132007_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_132007_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_132007_1('footnote_plugin_tooltip_132007_1_1');\"><a id=\"footnote_plugin_reference_132007_1_1\" class=\"footnote_backlink\">1<\/a><\/th> <td class=\"footnote_plugin_text\">According to Herv\u00e9 Roten, the melody of this psalm is identical to the one sung in the Comtat Venaissin in the late 19th century. See the collection by Jules Salomon and Mardoch\u00e9e Cr\u00e9mieu, *Chants h\u00e9bra\u00efques suivant le rite des communaut\u00e9s isra\u00e9lites de l&#8217;ancien Comtat Venaissin* (1885), p. 169.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_132007_1() { jQuery('#footnote_references_container_132007_1').show(); jQuery('#footnote_reference_container_collapse_button_132007_1').text('\u2212'); } function footnote_collapse_reference_container_132007_1() { jQuery('#footnote_references_container_132007_1').hide(); jQuery('#footnote_reference_container_collapse_button_132007_1').text('+'); } function footnote_expand_collapse_reference_container_132007_1() { if (jQuery('#footnote_references_container_132007_1').is(':hidden')) { footnote_expand_reference_container_132007_1(); } else { footnote_collapse_reference_container_132007_1(); } } function footnote_moveToReference_132007_1(p_str_TargetID) { 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}<\/script>","protected":false},"excerpt":{"rendered":"","protected":false},"author":5,"featured_media":131977,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[903],"tags":[2089],"technique":[],"squelettes":[],"sujet":[],"formation":[],"genre":[],"fonds":[],"tradition":[],"type-de-contenu":[],"interprete-compositeur":[],"frise":[],"type-devenement":[],"tableaux-liens-externes":[],"class_list":["post-132007","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-biographies-en","tag-italy-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Bolaffi, Michele (1768-1842) - Institut Europ\u00e9en des Musiques Juives<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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