A Dictionary of Music and Musicians/Raaff, Anton
RAAFF, Anton, one of the most distinguished tenors of his day; born 1714 in the village of Holzem, near Bonn, and educated for the priesthood at the Jesuit College at Cologne. There he learned his notes for the first time at 20 years old, having previously sung by ear. His fine voice so struck the Elector Clement Augustus, that he offered to have him trained for a singer, and after making him sing in an oratorio, took him to Munich, where Ferrandini brought him forward in an opera. Raaff then determined to devote himself entirely to music, and after studying for a short time with Bernacchi at Bologna, became one of the first tenors of the day. In 1738 he sang at Florence on the betrothal of Maria Theresa, and followed up this successful début at many of the Italian theatres. In 1742 he returned to Bonn, and sang at several of the German courts, particularly at Vienna, where he appeared in Jomelli's 'Didone' (1749), to Metastasio's great satisfaction. In 1752 he passed through Italy to Lisbon, where he was engaged for three years on highly advantageous terms. In 1755 he accepted a summons to Madrid, where he remained under Farinelli's direction, enjoying every possible mark of favour from the court and public. In 1759 he accompanied Farinelli to Naples, where he afterwards met with Naumann, and where his tine singing cured the Princess Belmonte Pignatelli of a profound melancholy into which she had fallen on the death of her husband. In 1770 he returned to Germany and entered the service of the elector, Karl Theodor, at Mannheim. In 1778 he was in Paris with Mozart, and in 1779 he followed the court to Munich, where Mozart composed the part of Idomeneo for him. Soon afterwards he quitted the stage, and took to teaching singing, but his pupils left him on account of his extreme strictness. Towards the close of his life he gave up music entirely, giving away his piano and his music, and abandoning himself to contemplation. He died in Munich, May 27, 1797. 'Raaff's voice was the finest possible tenor, full, pure in tone, and even throughout the register, from deep bass to extreme high notes. He was moreover a complete master of the art of singing, as is shown by his extraordinary power of reading at sight, by the skill with which he introduced variations and cadenzas, and by his wonderful expression, which made his singing seem an accurate reflection of his mind and heart. Another admirable quality was his pure and distinct pronunciation of the words, every syllable being audible in the largest space.' Mozart in his letters speaks of him as his 'best and dearest friend,' especially in one from Paris, dated June 12, 1778. He composed for him in Mannheim the air, 'Se al labro mio non credi' (Köchel 295).
[ C. F. P. ]