There is also no information on her musical training: the beginnings of her career were in Naples, where she had her first successes. There is news of the Neapolitan theatre season of 1697–1698, remembered as memorable because the king had beautiful scenery set and hired new singers, including Nannini. From about 1700 to 1705, her career was intense; in this period he seemed to assert himself particularly in the comic genre and it was in these years that he met and collaborated with some of the most famous singers of the time such as
Nicolò Grimaldi, called Nicolini,
Matteo Sassano known as Matteuccio,
Vittoria Tarquini, known as
la Bombace, Maria Maddalena Musi, known as
la Mignatti, who would be her rival for a long time, the famous Neapolitan castrato Nicola Paris, known as
Nicolino and the
bass Giovanni Battista Cavana. In 1697 she was Virginia in ''La Caduta de' Decemviri
, in 1698 Muzio Scevola, in 1700 she played Livio in Eraclea and sang in Il Pastor di Corinto
, both by Alessandro Scarlatti. In Naples in 1702 she performed in Tiberio imperatore Oriente
and in Semiramide'' by Vivaldi in Modena, where a sonnet was dedicated in her honour as a token of appreciation. She returned again to Naples to interpret the part of Bellina in
Il Più Fedel tra i vassalli by
Giuseppe Aldrovandini, in 1705. In 1709, there was a short interlude in her intense activity because Livia got married in Vienna to the famous actor
Angelo Costantini, an established performer of the then emerging
Commedia dell'arte, for whom it was his second marriage. In 1710, she sang in
Gli amanti generosi by
Francesco Mancini with Nicolini in Genoa and in 1713 she performed in
Cassandra Indovina by
Nicola Fago. In the same year, with his colleague and favourite comic companion, the bass Cavana, she performed in ''Basilio, re d'Oriente
by Nicola Porpora and sang the comic interludes
of Domenico Sarro inserted in Il Comando non inteso ed ubbidito'' by
Antonio Lotti at the
Teatro dei Fiorentini. == Dresden ==