While Italian theatre has always been a significant component of state spectacles across Europe, it was only in the early decades of the eighteenth century that the Russian Empire became an active participant in the pan-European performance network that already connected various courts and capitals. The essay argues that the gradual integration of the Russian Empire in the theatre network happened thanks to the activities of the company of Italian actors, musicians, choreographers, dancers, and theatre architects active at the Russian court from 1733 to 1735. The reconstruction of the troupe’s composition and analysis of its repertoire yield valuable insights on the complex communication channels used by the Tsarina Anna Ioannovna and her agents in hiring the personnel; the careers and migration paths of the artists willing to cross borders to put Russia on the theatrical circuit; the decisive role of the actor-singers in importing the repertoire; and the reception of music-theatrical entertainments by the local spectators, with nearly no prior exposure to theatre and Italian culture. The examination of the events surrounding the recruitment of the company demonstrates the reliance of the Empress’s agents on family networks as well as on the interconnected networks of personal and professional relationships. The substantive bodies of evidence collected and studied here point to fact that the Russian Empire did not simply represent a financial Eldorado for Italian theatre professionals in search of employment. Even in the very early stages of the institutionalization of Italian theatre and opera at the Russian court, St Petersburg proved to be a productive destination and attractive workplace where performers could extend their professional skills, acquire new expertise, and bolster their artistic reputation.
