musician, writer, and scientist, influential in the evolution of opera. About 1573 he founded the Florentine Camerata (Camerata), a group that sought to revive ancient Greek music and drama. Among the members were the theorist Vincenzo Galilei (Galilei, Vincenzo) (father of Galileo) and the composer Giulio Caccini (Caccini, Giulio). Bardi collaborated with these and other Florentine musicians in court entertainments from 1579 to 1608.

Bardi and his circle were influenced by the theorist Girolamo Mei, who had translated all known works of ancient Greek music theory. Bardi's Discorso mandato a Caccini sopra la musica antica (1580; “Discourse to Caccini on Ancient Music”) develops ideas similar to those of Caccini and Galilei— counterpoint obscures the words in musical settings and should be abandoned; music should instead consist of a single, lightly accompanied, vocal line, executed in a manner that reflects the rhythm and intonation of speech. These theories underlie the musical style of the early Florentine operas. Bardi himself was a conservative composer; his only surviving musical works, in whole or part, are five highly contrapuntal madrigals (madrigal).

Bardi also belonged to the Accademia della Crusca (Crusca Academy), a literary association, and in 1592 he became a chamberlain to Pope Clement VIII.