Essays on Opera, 1750–1800

The study of opera in the second half of the eighteenth century has ourished during the last several decades, and our knowledge of the operas written during that period and of their aesthetic, social and political contexts has vastly increased. Much of what we have learned in these and other areas of scholarship has been recorded in the form of articles published in scholarly journals and in collections of essays. This volume will explore opera and operatic life in the years 1750–1800 through several English-language essays, in a selection intended to represent the last few decades of scholarship in all its excitement and variety. This introduction provides some context for the essays that follow. It briey discusses some of the institutional developments and intellectual trends that have informed scholarship in eighteenth-century opera and mentions some of the criteria that have guided my choice of the essays reprinted here. In following the publisher's policy of limiting this collection to essays written in English, I did not mean to suggest that these essays were in any way superior to the best essays of my colleagues writing in other languages.

Pr oo fC op y Essays on Opera, 1750–1800 The Ashgate Library of Essays in Opera Studies Series Editor: Roberta Montemorra Marvin Titles in the Series: Studies in Seventeenth-Century Opera Beth L. Glixon Opera Remade, 1700–1750 Charles Dill fC op National Traditions in Nineteenth-Century Opera, Volume I Italy, France, England and the Americas Steven Huebner National Traditions in Nineteenth-Century Opera, Volume II Central and Eastern Europe Michael C. Tusa Pr oo Opera After 1900 Margaret Notley y Essays on Opera, 1750–1800 John A. Rice y Essays on Opera, 1750–1800 Pr oo John A. Rice fC op Edited by © John A. Rice 2010. For copyright of individual articles please refer to the Acknowledgements. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Wherever possible, these reprints are made from a copy of the original printing, but these can themselves be of very variable quality. Whilst the publisher has made every effort to ensure the quality of the reprint, some variability may inevitably remain. Published by Ashgate Publishing Limited Wey Court East Union Road Farnham Surrey GU9 7PT England y fC op www.ashgate.com Ashgate Publishing Company Suite 420 101 Cherry Street Burlington VT 05401-4405 USA British Library Cataloguing in Publication Data Essays on opera, 1750-1800. -- (The Ashgate library of essays in opera studies) 1. Opera--18th century. I. Series II. Rice, John A. 782.1’09033-dc22 Pr oo Library of Congress Control Number: 2010925876 ISBN 9780754629047 Contents Acknowledgements Series Preface Introduction PART I ix xi xiii AESTHETICS AND DRAMATURGY PART II SINGERS fC op y 1 Julian Rushton (1972), ‘The Theory and Practice of Piccinnisme’, Proceedings of the Royal Musical Association, 98, pp. 31–46. 3 2 Raymond Monelle (1978), ‘Recitative and Dramaturgy in the Dramma per Musica’, Music & Letters, 59, pp. 245–67. 19 3 Thomas Bauman (1977), ‘Opera versus Drama: Romeo and Juliet in Eighteenth-Century Germany’, Eighteenth-Century Studies, 11, pp. 186–203. 43 4 James Webster (1990), ‘Mozart’s Operas and the Myth of Musical Unity’, Cambridge Opera Journal, 2, pp. 197–218. 61 Pr oo 5 Daniel Heartz (1974), ‘Raaff’s Last Aria: A Mozartian Idyll in the Spirit of Hasse’, The Musical Quarterly, 60, pp. 517–43. 85 6 Dale E. Monson (1986), ‘Galuppi, Tenducci, and Motezuma: A Commentary on the History and Musical Style of Opera Seria after 1750’, in Maria Teresa Muraro and Franco Rossi (eds), Galuppiana 1985: Studi e ricerche: Atti del convegno internazionale (Venezia, 28–30 ottobre 1985), Florence: Olschki, pp. 279–300. 113 7 Patricia Lewy Gidwitz (1991), ‘“Ich bin die erste Sängerin”: Vocal Proiles of Two Mozart Sopranos’, Early Music, 19, pp. 565–79. 135 8 Paul Corneilson (2001), ‘Mozart’s Ilia and Elettra: New Perspectives on Idomeneo’, in Theodor Göllner and Stephan Hörner (eds), Mozarts Idomeneo und die Musik in München zur Zeit Karl Theodors, Munich: Verlag der Bayerischen Akademie der Wissenschaften, pp. 97–113. 149 PART III SENSIBILITY, SENTIMENT AND THE PASTORAL 9 Mary Hunter (1985), ‘“Pamela”: The Offspring of Richardson’s Heroine in Eighteenth-Century Opera’, Mosaic: A Journal for the Interdisciplinary Study of Literature, 18, pp. 61–76. 10 Wye J.Allanbrook (1991), ‘Human Nature in the Unnatural Garden: Figaro as Pastoral’, Current Musicology, 51, pp. 82–93. 11 Stefano Castelvecchi (1996), ‘From Nina to Nina: Psychodrama, Absorption and 169 185 Essays on Opera, 1750–1800 vi Sentiment in the 1780s’, Cambridge Opera Journal, 8, pp. 91–112. 197 12 Dorothea Link (1996), ‘L’arbore di Diana: A Model for Così fan tutte’, in Stanley Sadie (ed.), Wolfgang Amadè Mozart: Essays on his Life and his Music, Oxford: Clarendon Press, pp. 362–73. 219 13 Edmund J. Goehring (1997), ‘The Sentimental Muse of Opera Buffa’, in Mary Hunter and James Webster (eds), Opera Buffa in Mozart’s Vienna, Cambridge: Cambridge University Press, pp. 115–45. 231 PART IV ORIENTALISM AND EXOTICISM OPERA AND POLITICS fC op PART V y 14 Benjamin Perl (2000), ‘Mozart in Turkey’, Cambridge Opera Journal, 12, pp. 219–35. 265 15 Pierpaolo Polzonetti (2007), ‘Oriental Tyranny in the Extreme West: Relections on Amiti e Ontario and Le gare generose’, Eighteenth-Century Music, 4, pp. 27–53. 283 16 Elizabeth C. Bartlet (1992), ‘On the Freedom of the Theatre and Censorship: The Adrien Controversy (1792)’, in Antoine Hennion (ed.), 1789–1989: Musique, Histoire, Démocratie, 1, Paris: Maison des Sciences de l’Homme, pp. 15–30. 17 Estelle Joubert (2006), ‘Songs to Shape a German Nation: Hiller’s Comic Operas and the Public Sphere’, Eighteenth-Century Music, 3, pp. 213–30. 313 329 PART VI MOZART AND HIS VIENNESE CONTEMPORARIES Pr oo 18 Dexter Edge (1991), ‘Mozart’s Fee for Così fan tutte’, Journal of the Royal Musical Association, 116, pp. 211–35. 349 19 John Platoff (1992), ‘How Original was Mozart? Evidence from Opera Buffa’, Early Music, 20, pp. 105–17. 375 20 Bruce Alan Brown and John A. Rice (1996), ‘Salieri’s Così fan tutte’, Cambridge Opera Journal, 8, pp. 17–43. 389 21 David J. Buch (2004), ‘Die Zauberlöte, Masonic Opera, and Other Fairy Tales’, Acta Musicologica, 76, pp. 193–219. 417 PART VII OPERA SERIA 22 Marita P. McClymonds (1989), ‘The Venetian Role in the Transformation of Italian Opera Seria during the 1790s’, in Maria Teresa Muraro and David Bryant (eds), I vicini di Mozart, 1, Florence: Olschki, pp. 221–40. 447 23 Scott L. Balthazar (1989), ‘Mayr, Rossini, and the Development of the Opera Seria Duet: Some Preliminary Conclusions’, in Maria Teresa Muraro and David Bryant (eds), I vicini di Mozart, 1, Florence: Olschki, pp. 377–98. 465 24 Sergio Durante (1991), ‘La clemenza di Tito and Other Two-Act Reductions of the Late 18th Century’, Mozart-Jahrbuch, pp. 733–41. 487 Essays on Opera, 1750–1800 vii 25 Martha Feldman (2000), ‘The Absent Mother in Opera Seria’, in Mary Ann Smart (ed.), Siren Songs: Representations of Gender and Sexuality in Opera, Princeton, NJ: Princeton University Press, pp. 29–46, 254–59. 497 26 Margaret R. Butler (2006), ‘Producing the Operatic Chorus at Parma’s Teatro Ducale, 1759–1769’, Eighteenth-Century Music, 3, pp. 231–51. 521 543 Pr oo fC op y Name Index Acknowledgements The editor and publishers wish to thank the following for permission to use copyright material. Acta Musicologica for the essay: David J. Buch (2004), ‘Die Zauberlöte, Masonic Opera, and Other Fairy Tales’, Acta Musicologica, 76, pp. 193–219. fC op y Cambridge University Press for the essays: James Webster (1990), ‘Mozart’s Operas and the Myth of Musical Unity’, Cambridge Opera Journal, 2, pp. 197–218. Copyright © 1990 Cambridge University Press; Stefano Castelvecchi (1996), ‘From Nina to Nina: Psychodrama, Absorption and Sentiment in the 1780s’, Cambridge Opera Journal, 8, pp. 91–112. Copyright © 1996 Cambridge University Press; Edmund J. Goehring (1997), ‘The Sentimental Muse of Opera Buffa’, in Mary Hunter and James Webster (eds), Opera Buffa in Mozart’s Vienna, Cambridge: Cambridge University Press, pp. 115–45; Copyright © 1997 Cambridge University Press; Benjamin Perl (2000), ‘Mozart in Turkey’, Cambridge Opera Journal, 12, pp. 219–35. Copyright © 2000 Cambridge University Press; Pierpaolo Polzonetti (2007), ‘Oriental Tyranny in the Extreme West: Relections on Amiti e Ontario and Le gare generose’, Eighteenth-Century Music, 4, pp. 27–53. Copyright © 2007 Cambridge University Press; Estelle Joubert (2006), ‘Songs to Shape a German Nation: Hiller’s Comic Operas and the Public Sphere’, Eighteenth-Century Music, 3, pp. 213–30. Copyright © 2006 Cambridge University Press; Bruce Alan Brown and John A. Rice (1996), ‘Salieri’s Così fan tutte’, Cambridge Opera Journal, 8, pp. 17–43. Copyright © 1996 Cambridge University Press; Margaret R. Butler (2006), ‘Producing the Operatic Chorus at Parma’s Teatro Ducale, 1759– 1769’, Eighteenth-Century Music, 3, pp. 231–51. Copyright © 2006 Cambridge University Press. Pr oo Current Musicology for the essay: Wye J.Allanbrook (1991), ‘Human Nature in the Unnatural Garden: Figaro as Pastoral’, Current Musicology, 51, pp. 82–93. Copyright © 1993 Columbia University. Editions de la MSH for the essay: Elizabeth C. Bartlet (1992), ‘On the Freedom of the Theatre and Censorship: The Adrien Controversy (1792)’, in Antoine Hennion (ed.), 1789–1989: Musique, Histoire, Démocratie, 1, Paris: Maison des Sciences de l’Homme, pp. 15–30. Internationale Stiftung Mozarteum for the essays: Sergio Durante (1991), ‘La clemenza di Tito and Other Two-Act Reductions of the Late 18th Century’, Mozart-Jahrbuch, pp. 733–41. Johns Hopkins University Press for the essay: Thomas Bauman (1977), ‘Opera versus Drama: Romeo and Juliet in Eighteenth-Century Germany’, Eighteenth-Century Studies, 11, pp. 186– 203. Copyright © 1977 The American Society for Eighteenth-Century Studies. x Essays on Opera, 1750–1800 Leo S. Olschki for the essays: Dale E. Monson (1986), ‘Galuppi, Tenducci, and Motezuma: A Commentary on the History and Musical Style of Opera Seria after 1750’, in Maria Teresa Muraro and Franco Rossi (eds), Galuppiana 1985: Studi e ricerche: Atti del convegno internazionale (Venezia, 28–30 ottobre 1985), Florence: Olschki, pp. 279–300; Marita P. McClymonds (1989), ‘The Venetian Role in the Transformation of Italian Opera Seria during the 1790s’, in Maria Teresa Muraro and David Bryant (eds), I vicini di Mozart, 1, Florence: Olschki, pp. 221–40; Scott L. Balthazar (1989), ‘Mayr, Rossini, and the Development of the Opera Seria Duet: Some Preliminary Conclusions’, in Maria Teresa Muraro and David Bryant (eds), I vicini di Mozart, 1, Florence: Olschki, pp. 377–98. y Mosaic for the essay: Mary Hunter (1985), ‘“Pamela”: The Offspring of Richardson’s Heroine in Eighteenth-Century Opera’, Mosaic: A Journal for the Interdisciplinary Study of Literature, 18, pp. 61–76. Copyright © 1985 Mosaic. fC op Oxford University Press for the essays: Raymond Monelle (1978), ‘Recitative and Dramaturgy in the Dramma per Musica’, Music & Letters, 59, pp. 245–67. Copyright © 1978 Music & Letters Ltd and Contributors; Daniel Heartz (1974), ‘Raaff’s Last Aria: A Mozartian Idyll in the Spirit of Hasse’, The Musical Quarterly, 60, pp. 517–43. Copyright © 1974 by G. Schirmer, Inc.; Patricia Lewy Gidwitz (1991), ‘“Ich bin die erste Sängerin”: Vocal Proiles of Two Mozart Sopranos’, Early Music, 19, pp. 565–79; Dorothea Link (1996), ‘L’arbore di Diana: A Model for Così fan tutte’, in Stanley Sadie (ed.), Wolfgang Amadè Mozart: Essays on his Life and his Music, Oxford: Clarendon Press, pp. 362–73. John Platoff (1992), ‘How Original was Mozart? Evidence from Opera Buffa’, Early Music, 20, pp. 105–17. Pr oo Paul Corneilson for the essay: Paul Corneilson (2001), ‘Mozart’s Ilia and Elettra: New Perspectives on Idomeneo’, in Theodor Göllner and Stephan Hörner (eds), Mozarts Idomeneo und die Musik in München zur Zeit Karl Theodors, Munich: Verlag der Bayerischen Akademie der Wissenschaften, pp. 97–113. Princeton University Press for the essay: Martha Feldman (2000), ‘The Absent Mother in Opera Seria’, in Mary Ann Smart (ed.), Siren Songs: Representations of Gender and Sexuality in Opera, Princeton, NJ: Princeton University Press, pp. 29–46, 254–59. Copyright © 2000 Princeton University Press. Taylor & Francis Ltd for the essays: Julian Rushton (1972), ‘The Theory and Practice of Piccinnisme’, Proceedings of the Royal Musical Association, 98, pp. 31–46. Copyright © 1972 The Royal Musical Association and the Authors; Dexter Edge (1991), ‘Mozart’s Fee for Così fan tutte’, Journal of the Royal Musical Association, 116, pp. 211–35. Every effort has been made to trace all the copyright holders, but if any have been inadvertently overlooked the publishers will be pleased to make the necessary arrangement at the irst opportunity. Series Preface Pr oo fC op y The Ashgate Library of Essays in Opera Studies draws together articles and essays from a disparate group of scholarly journals and collected volumes, some now dificult to locate. This reprint series comprises an authoritative set of six volumes: one devoted to the seventeenth century, two to the eighteenth century, two to the nineteenth century, and one to the twentieth/ twenty-irst centuries. Each volume has been edited by a recognized authority in the area and offers a selection of the most important and inluential English-language scholarship in opera studies. Each volume editor provides a substantial, detailed introduction surveying the current state of the ield, giving an overview of important issues and new discoveries, and explaining the signiicance of the texts in the collection. There is also a select bibliography of the sources cited in each introduction. Because of the nature of the scholarship and the operatic repertory for different times and places, volumes are organized in differing ways designed to serve readers’ needs and to embrace various topics and approaches as appropriate to the repertory of diverse eras. Recent years have witnessed an acute awareness of the nature of scholarship about opera; those who have relected on the issues surrounding the genre’s study have changed the course of scholarship in signiicant ways. The new perspectives on opera scholarship that writers (from various disciplines) have contributed bring together the best of both musical and nonmusical criticism. The rich and varied selection of approaches represented in the collection – addressing sources, works, audiences, performers, creators, culture, and theory – deal with operatic works as historical and contemporary entities with aesthetic, theoretical, and ideological complexities. No particular method or approach is favoured or excluded in these volumes; the series thus provides researchers, scholars, and graduate students throughout the world with fairly comprehensive coverage of currently important topics and approaches. Presented in a compact, easy-to-access format, this series is especially useful for scholars new to the area as well as for experienced scholars who may have overlooked an important essay published in a journal with limited circulation. ROBERTA MONTEMORRA MARVIN Series Editor Introduction National Traditions, Academic Institutions y The study of opera in the second half of the eighteenth century has lourished during the last several decades, and our knowledge of the operas written during that period and of their aesthetic, social and political contexts has vastly increased. Much of what we have learned in these and other areas of scholarship has been recorded in the form of articles published in scholarly journals and in collections of essays. This volume will explore opera and operatic life in the years 1750–1800 through several English-language essays, in a selection intended to represent the last few decades of scholarship in all its excitement and variety. This introduction provides some context for the essays that follow. It briely discusses some of the institutional developments and intellectual trends that have informed scholarship in eighteenth-century opera and mentions some of the criteria that have guided my choice of the essays reprinted here. fC op Although scholars in all the English-speaking countries have been actively involved in research in opera of the second half of the eighteenth century, some countries seem to have developed particular specializations and strengths, thanks in part to the presence of especially productive and inluential scholars. In England, for example, Julian Rushton’s work on tragédie lyrique and David Charlton’s on opéra-comique have helped the study of French opera thrive. In the United States, in contrast, research on Italian opera, both comic and serious, has prospered under the leadership of scholars such as Daniel Heartz and James Webster. Americans who have specialized in French opera, such as Elizabeth C. Bartlet and Karin Pendle, and Britons who have specialized in Italian opera, such as Michael Robinson, have led productive careers, but mostly on their own. Certain graduate programmes have produced particularly large numbers of successful students of eighteenth-century opera. Cornell University, in Ithaca, New York, is remarkable in this respect. Although no member of its faculty claims eighteenth-century opera as his or her primary ield of study, several Cornell students, including Caryl Clark, Paul Horsley, Mary Hunter, Pierpaolo Polzonetti, Ronald J. Rabin and Jessica Waldoff, have written dissertations in the ield. Just as productive has been the University of California, Berkeley, where Heartz has directed the dissertations of several students who have gone on to make important contributions to the study of eighteenth-century opera, including Thomas Bauman, Bruce Alan Brown, Kathleen Hansell, Marita P. McClymonds and John A. Rice. Cornell students have tended to devote their dissertations to the relatively familiar genre of opera buffa and to the works of Mozart (Waldoff, 1995; Rabin, 1996) and Haydn (Hunter, 1982; Clark, 1991). Horsley’s dissertation on Dittersdorf’s German operas (1988) and Polzonetti’s on opera buffa and the American Revolution (2003) are exceptional in directing readers’ attention away from Mozart and Haydn. Berkeley students, in contrast, have tended Pr oo 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 Essays on Opera, 1750–1800 xiv fC op Aesthetics and Dramaturgy y to look farther aield: to composers such as Gluck (Brown, 1986) or Jommelli (McClymonds, 1978), to operatic centres such as Milan (Hansell, 1979) or Florence (Rice, 1987), and to genres such as Singspiel (Bauman, 1977), opera seria (McClymonds, 1978; Hansell, 1979; Rice, 1987) and opéra-comique (Brown, 1986). The intellectual ferment generated in 1994 by a conference at Cornell on opera buffa in Mozart’s Vienna was partly a result of its having brought together the Berkeley and Cornell ‘schools’ in friendly collaboration (see Hunter and Webster, 1997). Another important development over the last few decades has been the arrival of young Italian scholars in American graduate schools. Having taken advantage of both Italy’s excellent system of elementary and secondary education and the professional training in which a few American graduate programmes still excel, scholars such as Polzonetti, Alessandra Campana, Stefano Castelvecchi and Sergio Durante have contributed a great deal to our understanding of eighteenth-century opera. Most opera lovers are familiar with only a few operas written during the second half of the eighteenth century. Even some of those who know and love the late operas of Mozart may not be thoroughly familiar with the aesthetic and dramaturgical systems that underlie these and other operas. Most if not all essays about opera in this period deal, at least implicitly, with problems of aesthetics and dramaturgy. But some confront those problems more openly than others, and this book opens with a sample of such essays. In Chapter 1 Rushton elegantly and perceptively brings the abstractions of a Parisian pamphlet war of the 1770s into contact with the works by Niccolò Piccinni that were the subject of debate. Raymond Monelle, in Chapter 2, furthers our understanding of the function of recitative and the relationship between recitative and aria in opera seria. The happy ending so prevalent in eighteenth-century dramaturgy is one of the subjects explored by Bauman in Chapter 3, a stimulating study of German operatic treatments of the story of Romeo and Juliet. Chapter 4, Webster’s typically thought-provoking essay on the problem of musical unity in Mozart’s operas, calls attention to the difference between the way an opera is perceived when studied in a score and when heard and seen in performance. Pr oo 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 Singers One of the ields of research that has been cultivated with particular energy and originality (especially in the United States) is the study of singers and their role in operatic production. With the help of Claudio Sartori’s catalogue of Italian librettos published before 1800 (1990– 94), a new and immensely valuable research tool that appeared in seven volumes, scholars have reconstructed, with more detail and accuracy than previously possible, the careers of many of the period’s greatest singers. From the music written for these singers historians have extracted vocal proiles that allow us to interpret the music they sang as the product of interaction between a composer’s imagination and a singer’s vocal abilities and artistic personality. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 Essays on Opera, 1750–1800 Arias and Ensembles fC op y Here again Heartz has led the way, with his early essay on Anton Raaff, the tenor who created the title role in Idomeneo (Chapter 5). His student Patricia Lewy Gidwitz wrote an important dissertation (1991) and published some of her most valuable insights in two essays, one on Caterina Cavalieri and Aloysia Lange, reprinted here as Chapter 7, the other on Adriana Ferrarese del Bene (1996). Other historians have focused more attention on opera seria singers. Dennis Libby (1989) asserted the primacy of vocal improvisation in the production of serious opera in Naples and Venice. In Chapter 6 Dale Monson shows how the male soprano Ferdinando Tenducci contributed to the shaping of the music written for him. Paul Corneilson and Rice have followed the careers and analysed the vocal proiles of some of the women who created roles in Mozart’s Idomeneo (Corneilson, Chapter 8, this volume) and La clemenza di Tito (Rice, 1995). Bauman (1991) has shown how a single singer, Valentin Adamberger, brought a distinct vocal proile to his work in a wide variety of vocal genres, from Singspiel to Italian oratorio. Dorothea Link has directed much of her interest in singers who created roles in Mozart’s opere buffe into the production of editions of arias written for those singers by composers other than Mozart (beginning with Link, 2002 and Link, 2004; others are forthcoming). Among her essays on singers active in Vienna during the 1780s is a study of Anna Morichelli, who created roles in several operas by Vicente Martín y Soler (Link, 2010). Another fruitful ield of study has been the close analysis of arias both as musical form and as dramatic expression. Aria types such as the buffo aria, the two-tempo rondò and the cavatina are all more clearly understood now than they were thirty years ago, in terms not only of their musical and poetic structure but also of the way they contribute to characterization and the unfolding drama. Webster’s encyclopedic survey of the types and forms of arias in Mozart’s operas (1991) built on Hunter’s work on Haydn’s arias (1982, 1989) and John Platoff’s on Mozart and his compositional contemporaries in 1780s Vienna (1990). Heartz’s study of Mozart’s La clemenza di Tito as a product of a musical culture that Mozart shared with leading Italian composers of the 1780s and 1790s (1978–79) focused attention on the two-tempo rondò as an aria of particular importance to singers and audiences alike. The rondò was subsequently the object of a great deal of scholarly attention. Rice (1986) analysed an inluential early example of the aria type, Giuseppe Sarti’s ‘Mia speranza io pur vorrei’. Platoff (1991b) examined a poem that Lorenzo Da Ponte intended for Mozart to set as a twotempo rondò for Susanna in Le nozze di Figaro (‘Non tardar amato bene’) but that ended up being composed not by Mozart but by Vincenzo Righini. Don Neville (1994) surveyed the two-tempo rondò in Mozart’s late operas. Equally productive has been the study of ensembles, from duets to inales. In Chapter 23 Scott Balthazar follows the development of the opera seria duet from the mid-eighteenth century to the early nineteenth century in one of several essays on ensembles in serious opera that also include Heartz (1980) on the quartet ‘Andrò ramingo e solo’ in Mozart’s Idomeneo and McClymonds (1996) on the Idomeneo quartet viewed within the tradition of quartets in opera seria. Platoff (1989, 1991a, 1997) has increased our understanding of the ensembles in Mozart’s comic operas in a rich series of essays. Elisabeth Cook (1992), a student of Charlton at the University of East Anglia, has shown that research on eighteenth-century Pr oo 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 xv 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 xvi fC op y operatic ensembles is by no means limited to Italian opera in her study of ensembles in opéra- 1 2 comique. 3 4 Sensibility, Sentiment and the Pastoral 5 6 A cult of sensibility spread through Europe during the second third of the eighteenth century, 7 partly in reaction to the Enlightenment’s emphasis on reason, partly in response to the 8 Enlightenment’s conidence in the innate goodness of human nature. Like so many eighteenth9 century fashions, the cult of sensibility owed a great deal to England. Richardson’s novels 10 made sensibility – deined by Diderot’s Encyclopédie as ‘disposition tendre et delicate de 11 l’âme, qui la rend facile à être émue, à être touchée’ (‘a tender, delicate disposition of the 12 soul that makes it susceptible to being moved, to being touched’) – an emotional state that 13 was cultivated by sophisticated people all over Europe. Several historians have investigated 14 the effect of the cult of sensibility on the creation and perception of opera. Rice (1986) 15 called attention to the way in which the cult of sensibility shaped the reception of a great 16 singer’s performance in a serious opera in Milan, but another essay published the previous 17 year, dealing with the role of sensibility in opera buffa, excited much more interest: Hunter’s 18 essay (Chapter 9) on Richardson’s Pamela and how it and in particular the sensibility of his 19 heroine inluenced eighteenth-century opera initiated a remarkable series of studies during the 20 following two decades, including Castelvecchi (Chapter 11) on Nina as sentimental heroine in 21 operas by Dalayrac and Paisiello, Edmund Goehring (Chapter 13) on sensibility in Viennese 22 opera buffa of the 1780s, Waldoff (1998) on Haydn’s La vera costanza and Castelvecchi 23 (2000) on Mozart’s Figaro. 24 Closely related to eighteenth-century opera’s adoption of the cult of sensibility was its 25 exploitation of pastoral themes. An idealized natural world in which people live in harmony 26 with nature and with each other – the mythical Arcadia of pastoral poets –served as the setting 27 of many eighteenth-century operas and provided important thematic elements to others. Bartlet 28 (1984–85) called attention to the importance of the pastoral in an opera written to celebrate 29 the marriage of Marie Antoinette to the dauphin of France, Grétry’s La rosière de Salency. 30 Among Mozart’s operas, pastoral elements of two in particular – Le nozze di Figaro and 31 Così fan tutte – have attracted the attention of scholars, including Wye Jamison Allanbrook 32 (Chapter 10), Goehring (1995) and Link (Chapter 12). Bauman (1995), in a more widely 33 ranging exploration of the pastoral in eighteenth-century music, starts, unexpectedly, with a 34 famous painting by the seventeenth-century artist Poussin. 35 36 37 Orientalism and Exoticism 38 In yet another productive area of study, historians have analysed the depiction of non-Western 39 cultures in opera, exploring themes of orientalism and exoticism in works such as Haydn’s 40 Lo speziale, Gluck’s Iphigénie en Tauride, Mozart’s Die Entführung aus dem Serail and 41 Salieri’s Axur re d’Ormus. Interest in the way non-European culture is depicted in these and 42 other operas is part of a wider scholarly interest in musical exoticism that has produced a 43 collection of essays on the exotic in Western music (Bellman, 1998). Included in that book is 44 an essay by Hunter (1998) (devoted only partly to opera), which concerns a kind of musical 45 Pr oo 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 Essays on Opera, 1750–1800 Essays on Opera, 1750–1800 exoticism – the attempt to convey some of the sonic qualities of Turkish janissary music – that was particularly characteristic of the second half of the eighteenth century. Other Englishlanguage analyses of exoticism in opera include Thomas Betzwieser (1994) on changes that Beaumarchais and Salieri made to their Tarare during the French Revolution, Margaret R. Butler (2006) on De Maio’s Motezuma in Turin and two essays reprinted here – Chapter 14 by Benjamin Perl, on Mozart’s Turkish style, and Chapter 15 by Pierpaolo Polzonetti, on operas set in the New World. Genre Studies fC op y The differences between the operatic genres that lourished in the eighteenth century – opera buffa, opera seria, Singspiel, opéra-comique, tragédie lyrique – and the relations between these genres have inspired many important essays. Bertil van Boer (1988) analysed the inluence of English ballad opera on the development of Singspiel in Germany in the middle of the century; Alfred R. Neumann (1963) followed the subsequent evolution of the genre. Robinson (1978–81) and Rice (2000) discussed a subgenre of Italian comic opera, the Roman intermezzo, that had not received much attention from scholars. Although most of Robinson’s work has involved Italian opera, he has by no means limited his research to Italy; in an essay published in 1992 he showed how Italian comic opera contributed to the development of French opera. Stephen C. Willis’s study of Luigi Cherubini’s transition from opera seria to opéra-comique (1982) is yet another study of generic inluence and transformation in Paris during the second half of the eighteenth century. But perhaps the generic interaction that has proved most stimulating to writers on opera has been the interaction between opera seria and opera buffa, and especially opera buffa’s incorporation of elements of opera seria. To what extent does that incorporation involve parody? And what does the parody signify? Hunter (1986, 1991) has been particularly active in exploring relations between serious and comic in Italian opera. The interaction between serious and comic in Haydn’s operas has been the subject of studies by Brown (1987), on Orlando Paladino, and Clark (1993), on La fedeltà premiata. Pr oo 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 xvii Opera and Politics As with any theatrical performance involving an audience, no matter how small or select, the performance of an opera is a political act, with the potential for communicating political messages of many kinds and in many directions. Rarely are such messages completely clear and unambiguous, but that has not kept scholars from trying to elucidate the political implications of eighteenth-century opera. One of the ways rulers manipulated opera’s ability to communicate political meaning was through censorship. This is the subject of Chapter 16 by Bartlet, which examines the controversy surrounding an opera by Méhul that during the French Revolution was suspected of encouraging Royalist sympathies. Betzwieser (1994) also looked at an opera through the lens of French Revolutionary politics. Bauman (1986) showed how the early repertory of the Teatro la Fenice relected the political situation in late eighteenth-century Venice, and this essay strongly inluenced a later discussion of Venetian opera in the same period by Martha 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 xviii fC op y Feldman (2007). Opera was no less powerful a conveyer of political meaning in the German- 1 speaking part of Europe, as Estelle Joubert demonstrates in Chapter 17 on the political 2 implications of Hiller’s Singspiele. 3 4 5 Manuscript Studies 6 7 Another important development in the study of eighteenth-century opera – largely independent 8 of the Cornell and Berkeley ‘schools’, neither of which has encouraged this kind of research – 9 has been the study of music manuscripts. Alan Tyson, in a stimulating series of essays written 10 during the 1970s and 1980s, shed new light on Mozart’s autographs and the paper on which 11 they are written. His catalogue of the watermarks in the paper that Mozart used constituted 12 another monumental contribution to our knowledge of the autograph scores (Tyson, 1992). 13 Dexter Edge’s doctoral dissertation (2001) on Mozart’s Viennese copyists did for manuscript 14 copies (that is, the work of professional copyists) what Tyson had done for the autographs: 15 it made available vast amounts of new information and important methodological insights 16 whose inluence will undoubtedly be felt for a long time – and not only by Mozart scholars. 17 Corneilson and Eugene K. Wolf (1994) brought similar methodological rigour to their study 18 of operatic sources from Mannheim, one of eighteenth-century Germany’s most important 19 courts. David J. Buch (1997) has subjected the manuscripts associated with the Theater auf 20 der Wieden (the theatre for which Mozart wrote Die Zauberlöte) to intensive investigation, 21 while Daniel Melamed (2003–2004) has extended Tyson’s analytical techniques to Mozart’s 22 Singspiel, Die Entführung aus dem Serail. 23 24 25 Staging, Scenery, Orchestras, Theatres 26 In an age in which opera houses have largely abdicated the staging of opera to directors who 27 seem neither to know nor to care how librettists and composers intended their works to be 28 staged, historians have had little practical reason to elucidate the principles and practices of 29 eighteenth-century stage design. Yet many of them have done so, perhaps with the hope of 30 offering historically-informed alternatives to the often trashy Regietheater that predominates 31 in so many prestigious theatres today, in grotesque contrast to the faithfulness to the score 32 with which singers and orchestras are expected to perform the music. 33 Thanks to the work of several scholars we know more than ever about the theatres in which 34 eighteenth-century operas were performed. Heartz (1982) has elucidated the construction and 35 remodelling of Vienna’s Burgtheater; Corneilson (1997) has done the same for a theatre that 36 Charles Burney called ‘one of the largest and most splendid theatres in Europe’, the Mannheim 37 Court Theatre. While Corneilson’s reconstruction took place in his scholarly imagination, 38 Curtis Price et al. (1991) examined the actual design and construction of the King’s Theatre, 39 Haymarket, in the period 1789–91. 40 Several essays have explored the size and composition of the orchestras and choruses that 41 performed in these and other theatres: examples include Butler (Chapter 26) on the chorus at 42 Parma that took part in the important series of French-inspired Italian serious operas during 43 the 1760s, Charlton (1985) on the orchestra and chorus of one of Paris’s leading theatres in 44 45 Pr oo 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 Essays on Opera, 1750–1800 Essays on Opera, 1750–1800 y the second half of the eighteenth century, and Edge (1992) on the orchestras that accompanied Mozart’s Viennese operas. How operas were staged in the eighteenth century has been the subject of numerous studies. Sven Hansell (1974), Roger Savage (1998) and Nicholas Solomon (1989) have contributed to our knowledge of the positions, movements and gestures of the singers on the eighteenthcentury stage. Betzwieser (2000) has shown how music and action corresponded in French opera, with each enhancing the effect of the other. Clark (2003) has identiied a set of eighteenth-century costume designs as possibly intended for a production of Salieri’s early opera, Armida. Such studies, valuable now, will be even more valuable when opera houses and audiences, having tired of the antics of Regietheater, discover that eighteenth-century operas can best be appreciated when presented in settings that respect the visual as well as the musical conventions within which they were conceived. Archival Studies fC op Archival research has greatly enhanced our understanding of eighteenth-century opera’s institutional history, allowing scholars to shed new light on the role of rulers, courts and impresarios in the production of opera. Among several historians who have proitably worked in Italian archives are Butler (2002, for Turin; Chapter 26, this volume, for Parma), Robinson (1990, for Naples) and Anthony DelDonna (2002, also for Naples). Edge has made many important discoveries in the archives of Vienna, including those presented and analysed in Chapter 18, his study of the fees that Mozart and other composers received for composing operas for the court theatres in the 1780s and early 1790s. Historians of opera in England have been just as willing to get their hands dirty, producing a large number of essays based largely on hitherto unknown archival documents (see, for example, Gibson, 1990; Milhous and Hume,1997). Several historians have intensively studied the origins of particular operas, and these studies have generally depended, in part, on archival research. Brown (1983, 2000) explored the origins of important Viennese operas of the 1760s; Durante (1999) clariied our understanding of how one of Mozart’s last operas, La clemenza di Tito, came into being. Pr oo 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 xix Mozart and his Viennese Contemporaries It will be obvious to anyone who has read up to this point that Mozart’s operas have been a focus of attention for many – probably most – of the historians who have studied opera of the second half of the eighteenth century. One way of illustrating the wealth of scholarship on Mozart’s operas published during the last quarter of a century is to mention some of the English-language essays about a single opera, Le nozze di Figaro. Some of these essays discuss the origins of Figaro (Tyson, 1981; Heartz, 1986b); some are concerned with its large-scale structure (Heartz, 1987; Waldoff and Webster, 1996); some focus our attention on sentiment and sensibility (Allanbrook, Chapter 10, this volume; Castelvecchi, 2000); some examine individual arias and ensembles (Heartz, 1991; Platoff, 1991a; Leeson, 2004; see also two pieces written in response to Leeson’s essay: Woodield, 2006 and Rumph, 2006); some direct attention to particular characters, such as Susanna (Tishkoff, 1990), the Countess (Hunter, 1997) or Figaro (Rabin, 1997). One could 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 xx fC op Opera Seria y easily draw up equally long lists, full of equally intriguing titles, of essays on Don Giovanni, Così fan tutte and Die Zauberlöte. Mozart’s operas have also played an important role in studies that compare them with the works of his contemporaries, or that study those works in order to understand the context of Mozart’s operatic achievement. Most of the essays on Mozart’s singers mentioned earlier in this introduction involve the analysis of music written for those singers by composers other than Mozart. Link (Chapter 12) examines Martín y Soler’s L’arbore di Diana and proposes it as a possible model for Così fan tutte; in Chapter 19 and elsewhere Platoff has produced valuable studies of the musical techniques of opera buffa in Vienna during the 1780s (see also Platoff, 1989, 1990, 1991a, 1991b). Buch, in Chapter 21, shows how Die Zauberlöte took shape within and relects the dramatic and musical values of Emanuel Schikaneder’s troupe at the Theater auf der Wieden (see also Buch,1997). In Chapter 20 Brown and Rice discuss Salieri’s aborted attempt to set to music the libretto that later became known, in Mozart’s setting, as Così fan tutte. No operatic genre has enjoyed a more dramatic increase in the amount of scholarly attention it has received during the last thirty years than Italian serious opera, and this attention has produced not only valuable dissertations and books but also essays. As in so many other areas of research into eighteenth-century opera, Heartz (1970) set an example with a path-breaking publication that put opera seria at the forefront of musical life and stylistic change; he continued with a series of classic essays, including Chapter 5 in this volume, that followed the evolution of the genre from Hasse to Mozart and elucidated some of its most characteristic elements (Heartz, 1978–79, 1978–81, 1980, 1986a). Many of Heartz’s students have contributed to our knowledge of opera seria and related genres – for example, Bauman (1986) on the building and the early repertory of the Teatro la Fenice in late eighteenth-century Venice, Brown (2000) on Hasse’s Alcide al Bivio and Hansell (2000) on the operas that Mozart wrote for Milan in the early 1770s. But easily the most proliic of Heartz’s students in the area of opera seria has been McClymonds, whose essays if reprinted together would constitute an outstanding history of the genre. Chapter 22 is her 1989 essay on new trends in Venetian opera seria at the end of the eighteenth century. Among the inest of those that have not already been cited are her essays on Jommelli’s late operas (McClymonds, 1980), on the increasing popularity of tragic endings in Venetian opera of the 1790s (McClymonds, 1990), on operas based on the story of Armida (McClymonds, 1993), comparing the musical styles of opera seria and opera buffa (McClymonds, 1997) and on the reform of opera seria in Italy (McClymonds, 2003). The research on opera seria by Heartz and his students has inspired further work by many scholars on both sides of the Atlantic. But while members of the Berkeley ‘school’ have generally shown equal interest in the music of Mozart and his contemporaries, most others have focused on one or the other. Feldman’s research on serious opera in Italy has resulted not only in a magisterial book (2007) but also in several important essays, including that reprinted here as Chapter 25 (see also Feldman, 1995). Other essays devoted mostly or entirely to opera in Italy include Butler’s studies of repertory and production in Turin and Parma (in particular Chapter 26; see also Butler, 2002, 2006) and Balthazar’s study of the evolution of the opera Pr oo 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 Essays on Opera, 1750–1800 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 Essays on Opera, 1750–1800 seria duet (Chapter 23). Chapter 24 by Durante is among the essays that mainly concern Mozart’s opere serie (see also Rushton, 1991, 1998, 2003; Durante, 1999). (Rushton is unusual in moving freely between opera buffa, opera seria and tragédie lyrique, and in demonstrating the same level of expertise in writing about all three genres.) Corneilson, though not a student of Heartz, has followed the Berkeley historian in studying the opere serie of Mozart (see Chapter 8) and others, such as J.C. Bach (Corneilson, 1994), with equal success. Essay Selection fC op y It will be obvious that I have not been able to include in this book all the essays mentioned in this introduction. Both to maximize the number of items in this volume and because I believe that brevity is a quality to be valued in essays, I have limited my selection to essays of thirty pages or less. This has meant omitting many of the important essays that I have mentioned already, such as those by Buch (1997), Durante (1999), Feldman (1995), Waldoff (1998), Waldoff and Webster (1996) and Webster (1991). A particularly inluential and widely admired essay that I have not included because of its length is that by Libby (1989) on opera in Naples and Venice. I have chosen essays that have not already been republished, either in anthologies or in collections of papers by a single author. This has kept out some of the best essays by the ield’s busiest cultivators. Many of Heartz’s essays on Mozart’s opera have been collected in one volume (Heartz,1990); many others can be conveniently read together (Heartz, 2004). Most of Charlton’s numerous essays on opéra-comique have been reprinted (Charlton, 2000) and most of Tyson’s manuscript studies have been brought together (Tyson, 1987). Finally, to maximize the variety of voices to be heard in this volume, each scholar is represented here by a single essay. This is, of course, grossly unfair to the several scholars who have written many essays that, if I were judging by quality and importance alone, should be included here. Limiting myself, for illustrative purposes, to just three proliic and original students of eighteenth-century opera, and citing only essays that I have not already mentioned in this introduction, it is with regret that I have omitted Bauman’s essay on the conditions in Vienna in the mid-1780s that led to exceptional achievements in opera buffa (1993), Hunter’s study of ‘Gothic’ settings in opera buffa of the 1770s (1993) and Platoff’s analysis of tonal planning in Mozart’s operas (1996). An anthology of essays by Bauman, Hunter and Platoff alone would make a ine, large book. Pr oo 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 xxi Selected Bibliography Bartlet, Elizabeth C. (1984–85), ‘Grétry, Marie Antoinette and La rosière de Salency’, Proceedings of the Royal Musical Association, 111, pp. 92–120. Bauman, Thomas (1977), ‘Music and Drama in Germany: The Repertory of a Traveling Company, 1767–1781’, PhD diss., University of California, Berkeley. Bauman, Thomas (1981), ‘Benda, the Germans, and Simple Recitative’, Journal of the American Musicological Society, 34, pp. 119–31. Bauman, Thomas (1986), ‘The Society of La Fenice and its First Impresarios’, Journal of the American Musicological Society, 39, pp. 332–54. Bauman, Thomas (1991), ‘Mozart’s Belmonte’, Early Music, 19, pp. 557–63. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 xxii fC op y Bauman, Thomas (1993), ‘Salieri, Da Ponte and Mozart: The Renewal of Viennese Opera Buffa in the 1780s’, in Ingrid Fuchs (ed.), Internationaler Musikwissenschaftlicher Kongreß zum Mozartjahr 1991, Baden-Wien: Bericht, Tutzing: Schneider, pp. 65–70. Bauman, Thomas (1995), ‘Moralizing at the Tomb: Poussin’s Arcadian Shepherds in EighteenthCentury England and Germany’, in Thomas Bauman and Marita P. McClymonds (eds), Opera and the Enlightenment, Cambridge: Cambridge University Press, pp. 23–42. Bellman, Jonathan (ed.) (1998), The Exotic in Western Music, Boston: Northeastern University Press. Betzwieser, Thomas (1994), ‘Exoticism and Politics: Beaumarchais’ and Salieri’s Le couronnement de Tarare, 1790’, Cambridge Opera Journal, 6, pp. 91–112. Betzwieser, Thomas (2000), ‘Musical Setting and Scenic Movement: Chorus and Choeur dancé in Eighteenth-Century Parisian Opera’, Cambridge Opera Journal, 12, pp. 1–28. Boer, Bertil van (1988), ‘Coffey’s The Devil to Pay, the Comic War, and the Emergence of the German Singspiel’, Journal of Musicological Research, 8, pp. 119–39. Brown, Bruce Alan (1983), ‘Gluck’s La Rencontre imprevue and its Revisions’, Journal of the American Musicological Society, 36, pp. 498–515. Brown, Bruce Alan (1986), ‘Christoph Willibald Gluck and Opéra comique in Vienna, 1754–1764’, PhD diss., University of California, Berkeley. Brown, Bruce Alan (1987), ‘Le pazzie d’Orlando, Orlando Paladino, and the Uses of Parody’, Italica, 64, pp. 583–605. Brown, Bruce Alan (2000), ‘“Mon opéra italien”: Giacomo Durazzo and the Genesis of Alcide al Bivio’, in Andrea Sommer-Mathis and Elisabeth Theresia Hilscher (eds), Pietro Metastasio: Uomo universale (1698–1782), Vienna: Österreichische Akademie der Wissenschaften, pp. 115–42. Buch, David J. (1997), ‘Mozart and the Theater auf der Wieden: New Attributions and Perspectives’, Cambridge Opera Journal, 9, pp. 195–232. Butler, Margaret (2002), ‘Administration and Innovation at Turin’s Teatro Regio: Producing Sofonisba (1764) and Oreste (1766)’, Cambridge Opera Journal, 14, pp. 243–62. Butler, Margaret (2006), ‘Exoticism in Eighteenth-Century Turinese Opera: Motezuma in context’, in Mara E. Parker (ed.), Music in Eighteenth-Century Cities, Courts, Churches, Ann Arbor, MI: Steglein, pp. 105–124. Castelvecchi, Stefano (2000), ‘Sentimental and Anti-Sentimental in Le nozze di Figaro’, Journal of the American Musicological Society, 53, pp. 1–24. Charlton, David (1985), ‘Orchestra and Chorus at the Comédie Italienne, 1755–99’, in Malcolm Brown and Roland Wiley (eds), Slavonic and Western Music: Essays for Gerald Abraham, Oxford: Oxford University Press, pp. 87–108. Charlton, David (2000), French Opera, 1730–1830: Meaning and Media, Aldershot: Ashgate. Clark, Caryl (1991), ‘The Opera Buffa Finales of Joseph Haydn’, PhD diss., Cornell University. Clark, Caryl (1993), ‘Intertextual Play and Haydn’s La fedeltà premiata’, Current Musicology, 51, pp. 59–81. Clark, Caryl (2003), ‘Fabricating Magic: Costuming Salieri’s Armida’, Early Music, 31, pp. 451–62. Cook, Elisabeth (1992), ‘Developments in Vocal Ensemble Compositon in Opéra-comique’, in Philippe Vendrix (ed.), Grétry et l’Europe de l’opéra-comique, Liège: Pierre Mardaga, pp. 113–92. Corneilson, Paul (1994), ‘The Case of J.C. Bach’s Lucio Silla’, Journal of Musicology, 12, pp. 206–18. Corneilson, Paul (1997), ‘Reconstructing the Mannheim Court Theater’, Early Music, 35, pp. 63–68, 70–76, 79–81. Corneilson, Paul and Wolf, Eugene K. (1994), ‘Newly Identiied Manuscripts of Operas and Related Works from Mannheim’, Journal of the American Musicological Society, 47, pp. 244–74. DelDonna, Anthony (2002), ‘Behind the Scenes: The Musical Life and Organizational Structure of the San Carlo Opera Orchestra in Late Eighteenth-Century Naples’, in Paologiovanni Maione (ed.), Pr oo 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 Essays on Opera, 1750–1800 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 Essays on Opera, 1750–1800 fC op y Le fonti d’archivio per la storia della musica a Napoli dal XVI al XVIII secolo, Naples: Editoriale Scientiica, pp. 427–48. Durante, Sergio (1999), ‘The Chronology of Mozart’s La clemenza di Tito Reconsidered’, Music & Letters, 80, pp. 560–94. Edge, Dexter (1992), ‘Mozart’s Viennese Orchestras’, Early Music, 20, pp. 64–65, 67–69, 71–88. Edge, Dexter (2001), ‘Mozart’s Viennese Copyists’, PhD diss., University of Southern California. Feldman, Martha (1995), ‘Magic Mirrors and the Seria Stage: Thoughts Toward a Ritual View’, Journal of the American Musicological Society, 48, pp. 423–84. Feldman, Martha (2007), Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy, Chicago, IL: University of Chicago Press. Gibson, Elizabeth (1990), ‘Italian Opera in London, 1750–75: Management and Finances’, Early Music, 18, pp. 47–59. Gidwitz, Patricia Lewy (1991), ‘Vocal Proiles of Four Mozart’s Sopranos’, PhD diss., University of California, Berkeley. Gidwitz, Patricia Lewy (1996), ‘Mozart’s Fiordiligi: Adriana Ferrarese del Bene’, Cambridge Opera Journal, 8, pp. 199–214. Goehring, Edmund (1995), ‘Despina, Cupid, and the Pastoral Mode of Così fan tutte’, Cambridge Opera Journal, 7, pp. 107–33. Hansell, Kathleen (1979), ‘Opera and Ballet at the Regio Ducal Teatro of Milan, 1771–1776: A Musical and Social History’, PhD diss., University of California, Berkeley. Hansell, Kathleen (2000), ‘Mozart’s Milanese Theatrical Works’, in Susan Parisi (ed.), Music in the Theater, Church, and Villa: Essays in Honor of Robert Lamar Weaver and Norma Wright Weaver, Warren, MI: Harmonie Park Press, pp. 195–212. Hansell, Sven (1974), ‘Stage Deportment and Scenographic Design in the Italian Opera Seria of the Settecento’, in Henrik Glahn, Søren Sørensen and Peter Ryom (eds), Report of the 11th Congress of the International Musicological Society, Copenhagen 1972, Copenhagen: Hansen, I, pp. 415–24. Heartz, Daniel (1970), ‘Opera and the Periodization of Eighteenth-Century Music’, in Dragotin Cvetko (ed.), Report of the 10th Congress of the International Musicological Society, Ljubljana, 1967, Kassel: Bärenreiter, pp. 160–68. Heartz, Daniel (1978–79), ‘Mozart and his Italian Contemporaries: La clemenza di Tito’, MozartJahrbuch , pp. 275–93. Rpt in Daniel Heartz (1990), Mozart’s Operas, Berkeley: University of California Press, pp. 298–317. Heartz, Daniel (1978–81), ‘Hasse, Galuppi, and Metastasio’, in Maria Teresa Muraro (ed.), Venezia e il melodramma nel Settecento, Florence: Olschki, I, pp. 309–40. Heartz, Daniel (1980), ‘The Great Quartet in Idomeneo’, Music Forum, 5, pp. 233–56. Heartz, Daniel (1982), ‘Nicolas Jadot and the Building of the Burgtheater’, The Musical Quarterly, 68, pp. 1–31. Heartz, Daniel (1986a), ‘Metastasio, “Maestro dei maestri di cappella dramatici”’, in Maria Teresa Muraro (ed.), Metastasio e il mondo musicale, Florence: Olschki, pp. 315–38. Rpt in Daniel Heartz (2004), From Garrick to Gluck: Essays on Opera in the Age of Enlightenment, ed. John A. Rice, Hillsdale, NY: Pendragon, pp. 69–83. Heartz, Daniel (1986b) ‘Setting the Stage for Figaro’, Musical Times, 127, pp. 256–60. Rpt in Daniel Heartz (1990), Mozart’s Operas, Berkeley: University of California Press, pp. 122–31. Heartz, Daniel (1987), ‘Constructing Le nozze di Figaro’, Journal of the Royal Musical Association, 112, pp. 77–98. Rpt in Daniel Heartz (1990), Mozart’s Operas, Berkeley: University of California Press, pp. 132–55. Heartz, Daniel (1990), Mozart’s Operas, ed., with contributing essays, ed. Thomas Bauman, Berkeley: University of California Press. Heartz, Daniel (1991), ‘Susanna’s Hat’, Early Music, 19, pp. 585–89. Pr oo 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 xxiii 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 xxiv fC op y Heartz, Daniel (2004), From Garrick to Gluck: Essays on Opera in the Age of Enlightenment, ed. John A. Rice, Hillsdale, NY: Pendragon. Horsley, Paul (1988), ‘Dittersdorf and the Finale in Late-Eighteenth-Century German Comic Opera’, PhD diss., Cornell University Hunter, Mary (1982), ‘Haydn’s Aria Forms: A Study of the Arias in the Italian Operas Written at Eszterháza, 1766–1783’, PhD diss., Cornell University. Hunter, Mary (1986), ‘The Fusion and Juxtaposition of Genres in Opera Buffa, 1770–1800: Anelli and Piccinni’s Griselda’, Music & Letters, 67, pp. 363–80. Hunter, Mary (1989), ‘Text, Music, and Drama in Haydn’s Italian Opera Arias: Four Case Studies’, Journal of Musicology, 7, pp. 29–57. Hunter, Mary (1991), ‘Some Representations of Opera Seria in Opera Buffa’, Cambridge Opera Journal, 3, pp. 89–108. Hunter, Mary (1993), ‘Landscapes, Gardens and Gothic Settings in the Opere Buffe of Mozart and his Italian Contemporaries’, Current Musicology, 51, pp. 94–104. Hunter, Mary (1997), ‘Rousseau, the Countess, and the Female Domain’, in Cliff Eisen (ed.), Mozart Studies 2, New York: Oxford University Press, pp. 1–26. Hunter, Mary (1998), ‘The Alla Turca Style in the Late Eighteenth Century: Race and Gender in the Symphony and the Seraglio’, in Jonathan Bellman (ed.), The Exotic in Western Music, Boston: Northeastern University Press, pp. 43–73. Hunter, Mary and Webster, James (eds) (1997), Opera Buffa in Mozart’s Vienna, Cambridge: Cambridge University Press. Leeson, Daniel (2004), ‘Mozart’s Le nozze di Figaro: A Hidden Dramatic Detail’, Eighteenth-Century Music, 1, pp. 301–304. Libby, Dennis (1989), ‘Italy: Two Opera Centres’, in Neal Zaslaw (ed.), The Classical Era: From the 1740s to the End of the 18th Century, Englewood Cliffs, NJ: Prentice Hall, pp. 15–60. Link, Dorothea (2002), Arias for Nancy Storace, Middleton, WI: A-R Editions Link, Dorothea (2004), Arias for Francesco Benucci, Middleton, WI: A-R Editions Link, Dorothea (2010), ‘La cantante Anna Morichelli, paladín de Vicente Martín y Soler’, in Dorothea Link and Leonardo J. Waisman (eds.), Los siete mundos de Vicente Martín y Soler, Valencia: Institut Valencia de la Musica, pp. 328-62. McClymonds, Marita P. (1978), ‘Niccolò Jommelli: The Last Years’, PhD diss., University of California, Berkeley. McClymonds, Marita P. 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(1997), ‘Opera seria? Opera buffa? Genre and Style as Sign’, in Mary Hunter and James Webster (eds), Opera Buffa in Mozart’s Vienna, Cambridge: Cambridge University Press, pp. 197–231. Pr oo 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 Essays on Opera, 1750–1800 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 Essays on Opera, 1750–1800 fC op y McClymonds, Marita P. (2003), ‘Opera Reform in Italy, 1750–80’, in Bianca Maria Antolini, Teresa M. Gialdroni and Annunziato Pugliese (eds), ‘Et facciam dolci canti’: Studi in onore di Agostino Ziino in occasione del suo 65° compleanno, Lucca: Libreria Musicale Italiana, II, pp. 895–912. Melamed, Daniel (2003–2004), ‘Evidence on the Genesis of Die Entführung aus dem Serail from Mozart’s Autograph Score’, Mozart-Jahrbuch, pp. 25–42. Milhous, Judith and Hume, Robert D. 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Pr oo 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 Essays on Opera, 1750–1800 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 Name Index y Aprile, Giuseppe 530 Arbace 27, 28, 29, 31–2, 33–4, 37–9, 41, 103, 154, 500–503, 505 Ariosto, Ludovica187, 224, 259 390, 398, 402 Arlequin 433 Armidero, Cavalier 170, 173 Arnaud, Baculard d’ 199, 206, 208 Arnault, Antoine Vincent 322 Arne, Thomas 59 Arsace 455 Arsène 435 Artabano 27, 28, 33, 37–9, 41 Artaserse 27, 34–7, 39, 500, 501, 502 Artemesia, Donna 141 Artemis 154 Artois, Comte de 315 Asioli, Bonifazio 468, 469 Aspasia 151 Astaritta, Gennaro 487 Asteria 154 Asterio, King of Crete 154 Astolph 340–42 Astromonte 432 Atys 9 Auenbrugger, Joseph Leopold 400 Auenbrugger, Leopold von 363 Augustine, Saint 285 Aurora 342 Ayrenhoff, Cornelius von 363 Azor 204 Pr oo fC op Abbate, Carolyn 71 Abert, Hermann 20, 63, 65, 66, 266, 376 Abraham, Gerald 17 Adamberger, Valentin xv Adams, Samuel 284 Adelaide 478, 479 Adelung, Johann Christoph 345 Admet 57 Adrien 316 Afferri (Ferri), Giuseppe 527, 534 Agatina 141 Alamir 434 Alberti, Domenico 88 Alberti, Ignaz 422, 423 Alceste 8 Alcindor, King 437 Alessandro 23 Alieri, Vittorio 510 Alfonso, Don 220, 223, 225, 226, 229, 255–9, 260, 261, 377, 399, 400, 406, 407, 411–413 Algarotti, Francesco 129, 522, 541 Aline 435 Allanbrook, Wye Jamison xvi, xx, 61, 63, 66, 68, 69, 70, 73, 76, 77, 185–96, 270, 376 Almovars 437 Amadis 436 Amande 438 Amélite 436 Aminta 23, 223 Amiti 287, 289, 294, 295, 297, 299, 302 Amore (Cupid) 220, 224, 227–8, 229, 230 Anderson, Benedict 344 Andreozzi, Gaetano 457, 487 Andromeda 155 Anfossi, Pasquale 119, 128, 129, 140, 176, 392, 450, 487, 491 Angélique 10, 13 Angermüller, Rudolph 393 Anglani, Bartolo 233–4 Anna 151 Anna, Donna 77, 80, 269, 273, 275, 278, 376 Annio 489 Bach, Johann Christian 3, 15, 57, 119, 436 Bacon, Francis 285–6 Bajazet 456 Balthazar, Scott L. 465–86 Bandello, Matteo 47 Banti, Brigida 369 Barbarina 188 Barbieri, Carlo 527, 534, 537 Baretti, Joseph 508 Barile, Giandomenico 507–8 Barry, Spranger 44 Bartha, Joseph 357 Essays on Opera, 1750–1800 Bourlin, Antoine-Jean (Duminiant) 436 Boyce, William 59 Brandimarte 402 Braunbehrens, Volkmar 424 Brauner, Charles 473 Bretzner, Christoph Friedrich 363, 430, 437 Britanni, 452 Britomarte 224, 227 Brophy, Brigid 428 Brosses, Charles de 25, 506 Brown, Bruce Alan xiii, xiv, xvii, xx, xxi, 389–415, 541 Brown, John 37, 41 Brünnhilde 74 Buch, David J. xix, xxi, 417–43 Budden, Julian 467 Buonafede 288 Burney, Charles 5, xix, 88 Butler, Margaret xvii, xviii, xix, xx, 521–41 Pr oo fC op Bartlet, Elizabeth C. xiii, xvi, xviii, 313–28 Bartolo, Dr 73, 74, 376–7 Basevi, Abramo 468 Basilio 66, 400 Bassa Selim 279, 280 Bastiano 297, 299, 301, 307–8 Balthazar, Scott xv Batzko, Ludwig von 425, 442 Bauman, Thomas xiii, xiv, xv, xvi, xvii, xviii, xxi, 61, 62, 63, 65, 67, 73, 78, 278, 331 Beaumarchais, Pierre 185, 186, 187, 313–14, 407, 454 Bedogni, Giovanni 537 Beethoven, Ludwig van 62, 72, 111, 273, 346 Beliore 251 Bellerophon 154 Bellini, Vincenzo 469, 473 Bellman, xvi Benda, Jiří 43–4 passim, 50–52, 54, 55–7, 59, 60 Beni, Isabella 527, 534 Benincasa, Bartolomea 244, 253 Benvoglio 48 Berlicco, Don 303, 308 Berlioz, Hector 17 Bernardone 383 Bertelli, Nicola Agostino 527, 534 Bertoldino (Berto) 177 Bertoni, Ferdinando Giuseppe 449, 450, 452, 453, 487 Betzwieser xvii, xviii, xix Bianca 456 Bianchi, Francesco 244, 450, 451, 452, 454, 457 Biggi, America 537 Binni, Walter 25, 27, 29, 31, 41 Blasio 399 Blom, Eric 16 Blümml, Emil Karl 424 Blumrosen, Alfred 291, 292, 298 Blumrosen, Ruth 291, 292, 298 Boccaccio 390, 411 Boccherini, Giovanni Gastone 398 Boer, Bertil van xvii Bonaparte, Napoleon 323 Bonil, Milord 237, 242, 258 Bonno, Giuseppe 407 Bonzani, Gabriele 537 Borghi, Giovanni Battista 450, 454 Born, Ignaz von 419, 422, 424, 442 Boselli, Anna 527, 534 Botturini, Mattia 454, 455, 456 y xxviii Cadmus 24 Caesar, Julius 453 Caffarelli (Gaetano Majorano) 120 Cahusac, Louis de 428, 435 Callas, Maria 151 Calvesi, Vincenzo 220 Calvi, 456 Calzabigi, Ranieri de’ 287–91 passim, 294, 295, 296, 298, 301, 302, 449, 452, 456, 457 Caminati, Tommaso 526 Campana, Alessandra xiv Campobasso, Vincenzo 449 Candeille, Amélie-Julie 15 Candeille, Pierre 322 Cannabich, Christian 153 Capulet 48, 51–2, 56–7 Capulet, Lady 45, 48, 51 Carl Theodor, Elector of Bavaria 151, 153 Carlani, Carlo 123 Carlo III, King 498 Carmanini, 530 Carpani, Giuseppe 178, 197 Carter, Tim 61, 62, 65, 70, 72, 74, 75, 76, 78 Caruso, Luigi 487 Cassandre 17 Castelvecchi, Stefano xiv, xx, 97–218 Casti, Giovanni Battista (Giambattista) 370, 379, 398 Cato 398 Catone 149, 151 Essays on Opera, 1750–1800 Cortez, Fernando (Hernán or Hernando) 128, 129–30 Costa, Giuseppe 526 Costelvecchi, Stefano xvi Count, The (Almaviva) (from Marriage of Figaro) 186, 188, 189, 191–2, 193, 194–5, 278, 380–83, 385–6, 400 Count, The (from Nina) 204, 210, 211 Countess, the (from Marriage of Figaro) 186, 188–91 passim, 193–4, 195, 383, 385–6 Cour, Mathon de la 203, 206 Cramer, Carl Friedrich 19 Crespi, Francesco 537 y Da Ponte, Lorenzo xv, 63, 64, 65, 67, 68, 78, 186–8, 219, 220, 221, 223, 225–6, 228, 244, 245, 247, 254, 255, 260–61, 277, 301, 351, 363, 364, 376, 377, 380, 381, 385, 390, 392, 397–9, 400, 401, 402, 403, 407–10, 411, 414–15 Dalayrac, Nicolas xvi, 178, 197–8, 201 Danchet, Antoine 153 Daniel, Norman 278 Dante 187 Danzi, Anton Ludwig 151 Danzi-Lebrun, Franziska 152 Dario 34, 35 Dauvergne, Antoine 11, 524 Davers, Mrs 238 De Liroux, 9 Dean, Winton 52, 56 Delbò, Angelo 537, 541 DelDonna, Anthony xx Dent, Edward J. 63, 111, 197, 199, 376 Despina 225, 226, 227–8, 229, 230 Dezède, Nicolas 437 Diana 220, 222, 224, 226, 227–8, 229, 230 Diane 10 Diderot, Denis xvi, 44, 203, 206, 240, 241, 428, 489 Dido 449, 452 Didon 17 Dircea 469–70 Dittersdorf, Carl Ditters von xiii, 69, 301, 330, 357 Dolar, Mladen 294 Don Giovanni 76, 77, 258, 267, 268, 269, 270, 272, 273, 275, 276–81 passim, 411 Don Juan 65, 260 Pr oo fC op Cavalieri, Caterina xv, 136, 138–44 passim, 408 Cavalli, Francesco 527, 530 Ceccarelli, Francesco 157 Cecchina 170–75 passim, 180, 183 Cecilio 472 Cephalus 219 Ceracchini, Francesco 487 Cerlone, Francesco 284 Chabannes, Marc-Antoine-Jacques Rochon de 437 Chailley, Jacques 418, 419, 423, 432, 433, 438 Charlton, David xiii, xv, xix, xxi Chamfort, Nicolas 306 Chapelier, Isaac Le 314–15 Charnois, Levacher de 320 Chaucer, Geoffrey 154 Chénier, André 313 Chénier, Marie-Joseph 313–14, 322 Cherinto 123 Cherubini, Luigi 15, 17, 487 Cherubino 66, 67, 68, 73, 74, 187, 192,228, 279, 383, 385, 400 Cheyne, George 200 Chorèbe 17 Choron, Alexandre 467 Cibber, Theophilus 44 Cigna-Santi, Vittorio Amedeo 128, 129,513 Cimarosa, Domenico 357, 383, 440, 472–3, 480, 482, 487, 488 Circe 455 Cirene 151, 152 Clark, Caryl xiii, xvii, xx Clementi, Muzio 441 Clorinda 140 Cloris 251 Clubb, L.G. 227 Colbran, Isabella 218 Colla, Giuseppe 541 Coltelli, Michel Procope (Procope-Coutaux) 435 Coltellini, Marco 254, 398, 449, 452, 453 Columbus, Christopher 283, 309 Combe, François La 298 Cone, Edward T. 80 Cook, Elisabeth xv Corebo 154 Corimba 453 Corneille, Pierre 363 Corneilson, Paul xv, xviii, xix, 149–65 Corrado 383 Corte, Andrea della 179 xxix Essays on Opera, 1750–1800 Dorabella 79, 220, 222, 226, 228, 377, 402–3, 408 Doralice 402 Doria, Paolo Mattia 506, 508 Doristella 181 Doristo 224, 227–8 Downes, E.O. 20 Dull, Mr 287–9, 293–6, 297, 298–9, 301, 302, 303, 308 Dunstan, Elizabeth 402 Duntalmo 453 Dupré, Monsieur 436 Durante, Sergio xiv, xviii, xx, xxi, 487–95 Dussek, Josephine (Josepha Duschek) 157 Pr oo fC op Echo 342 Edge, Dexter xix, xx, 349–73 Einsiedel, Friedrich Hildebrand von 431 Einstein, Alfred 3, 5, 17, 157 Electra 102 Elektra 7 Elettra 149, 152, 154, 156, 157 Elias, Norbert 503 Elisa 23–4 Elisabeth Auguste, Electress of Hanover 156 Elise 204 Elizabeth of Württemberg 407 Elvira, Donna 77, 258, 278, 280 Emery, Ted 234 Emile 340 Endimione 220, 226, 227 Endymion 10 Épinay, Madame d’ 286 Epp, Friedrich 151 Eriile 456 Ermione 150 Ernestina 139, 399 Eros 188 Eschenburg, J.J. 47, 55 Europa, Princess of Tyre 154 Eutifronte 434 Eybler, Joseph 391 Ezio 21, 501 Feldman, Martha xviii, xxi, 497–519 Felloni,Ludovico 527, 535 Fénelon (Francois de Salignac de La MotheFenelon) 153 Ferdinand IV of Bourbon 524 Ferrando 68, 79, 220, 222, 226, 230, 377, 401, 403, 412 Ferrarese del Bene, Adriana xv, 220, 390, 397 Fichte, Johann Gottlieb 345 Fielding, Henry 239 Figaro 67, 69, 73–4, 76, 79, 80,186–9, 192, 193–5, 277–8 Fininette 434 Fiordiligi 79, 220, 222, 223, 226, 228, 258, 377, 390, 402, 410 Fischietti, Domenico 118 Florimo, Francesco 179 Foppa, Giuseppe 451, 452, 453, 454, 455, 456, 457 Forman, Edward 65 Fortis, Alberto 287 Framery, Nicolas-Étienne 6, 7–8, 10, 12 Franchis, Alessandro 535 Francis II, Holy Roman Emperor 316 Francis, Archduke 407 Franklin, Benjamin 290, 309 Frederik the Great 129 Fried, Michael 203, 204 Frigeri, Lucia (Friggeri) 526, 527, 530, 534 Frisi, Paolo 290, 291 Frugoni, Carlo 524 Frye, Northrop 236 Fuzelier, Louis 434 y xxx Farinelli 400 Farnace 456 Fascitelli, Antonia 527, 534, 537 Faur, L.F. 306 Favart, Charles-Simon 435 Federico, G.A. 170, 288 Gabrielli, Caterina 123, 126, 530 Gaius Marius 151 Galliani, Abbé Ferdinando 286 Galuppi, Baldassare 57, 113–14, 118, 122–3, 125–7, 128, 129, 130, 132, 134, 150 Gamerra, Giovanni de 452, 453, 454, 457, 488, 492 Garrick, David 44–5, 46, 49, 59, 206 Gassmann, Florian 397 Gazzaniga, Giuseppe 141, 440, 453 Gelinda 296–7, 299, 301–3, 307 Gellert, Christian Fürchtegott 346 Gentilucci, Carlo 537 Gerber, Ernst Ludwig 139 Gerl, Franz Xaver 432 Gervasoni, Carlo 467, 477 Essays on Opera, 1750–1800 Günther 109 Gürke 340 Gurnemanz 67 y Habermas, Jürgen 329, 335 Hännschen 333 Hansell, Kathleen xiii, xiv, xvii, xix Hanslick, Eduard 5 Harmonesus 422 Harpe, Jean-François de La 6 Harris, Ellen 223 Hartig, Franz 154 Hase, Hermann 334 Hasse, Johann Adolph xvii, 20, 21, 23, 24-5, 31, 39, 40, 41, 98, 103–4, 109, 111, 427 Haydn, Joseph xiii, xv, xvi, xvii, 20, 71, 73, 113, 129, 244, 266 Heartz, Daniel xiii, xv, xvii, xviii, xix, xx, xxi, 61, 63, 65, 67, 72, 74, 75, 79, 85–111, 228 Heinse, Friedrich 389, 390 Heinse, Wilhelm 150 Hensler, Karl Friedrich 430 Herder, Johann Gottfried 46, 345 Herz, Madame 143 Hill, Cecil 419 Hiller, Johann Adam xviii, 43, 44, 47, 329–35 passim, 337–9, 342, 343–6 Hoffman, François Benoît 315, 316–17, 319–20, 322 Holzbauer, Ignaz Jakob 86, 109, 150, 153 Homer 149, 398 Horace 285, 322 Horsley, Paul xiii Horosius 285 Horus 421, 422 Hume, Robert D. xx, 175 Hunt, Lynn 510, 511 Hunter, Mary xiii, vi, xv, xvi, xvii, xx, xxi, 67, 169–84, 251, 298, 299, 306 Hüon 438 Hythloday, Raphael 285 Pr oo fC op Ghita 247, 380 Gibson, Elizabeth xx Gianelli, Margherita 527 Gianetta 176, 180 Giannina 383, 385 Giazotto, Remo 118 Gidwitz, Patricia Lewy xv, 135–47 Giesecke, Karl Ludwig 441 Gilliers, Jean-Claude 433 Ginguené, Pierre-Louis 7, 8, 9, 15 Giordani, Giuseppe 450 Giotti, Cosimo 454, 457 Giovannini, Pietro 451, 454, 455, 513 Girelli, Barbara 526, 527, 534 Giulietta 456 Giunia 151, 472 Gizziello (Gioacchino Conti) 120 Gleim, Johann Wilhelm Ludwig 49 Gluck, Christoph Willibald xiv, xvi, 3–7, 8, 9, 10, 11–17, 20, 21, 57, 59,118, 120, 127, 173, 289, 316, 410, 439, 440, 441, 448, 522, 524, 534, 537 Goehring, Edmund J. xvi, 231–61 Goethe, Johann Wolfgang von 47, 239, 363 Goldoni, Antonio 527, 534 Goldoni, Carlo 41, 118, 169–73 passim, 175, 177, 183, 206, Goldoni, Carlo 231–5 passim, 241–4, 247, 253, 254, 260–61, 288, 399, 403, 407, 409, 426 Gorsas, Antoine Joseph 316, 317, 319 Gossec, François-Joseph 4, 14, 15, 16, 322 Gossett, Philip 466, 467 Gotter, F.W. 43, 44, 48, 50–52, 54, 55–6, 59, 60 Gottlieb, Anna 438 Gottsched, Johann Christoph 345 Gozzi, Carlo 426, 428, 429 Gozzi, Gasparo 426 Grandval, Nicolas Ragot de 435 Graun, Carl Heinrich 21, 129 Grétry, André xvi, 12, 204, 316, 322 Greuze, Jean-Baptiste 203, 206, 207 Grimm, F.M. von 4, 9, 10, 15, 428 Griselda 180–83 Grua, Paul 153 Grynaeus, Simon 45 Guacozinga (Erismena) 129–30 Guarini, Giovanni Battista 221, 398 Guglielmi, Pietro 244, 259, 449, 452, 457 Guglielmo 79, 220, 222, 223, 226, 230, 377, 401, 402, 403, 412 xxxi Idalide 474–7 passim Idamante 102, 154, 156 Idomeneo 86, 88 93, 95, 154, 156 Idomeneus 149 Ilia 149, 151, 154, 156 Insanguine, Giacomo Antonio Francesco Paolo Michele 128 Essays on Opera, 1750–1800 Iphigenia 156 Isabella 402 Isabella of Bourbon, Infanta 524 Isis 421 Isménie 10 fC op Jantz, Harold 285 Jerocades, Father 290 Jewkes, Mrs 240 Johnson, Samuel 218, 236 Jommelli, Niccolò xiv, 20, 87–8, 125–7, 134 Jordan, David P. 511 Joseph II, Holy Roman Emperor 139, 275, 349, 350, 351, 353, 363, 369, 370, 371–2, 399, 401, 407, 409, 410, 427, 524 Joubert, Estelle xviii, 329–46 Juliet 46, 48–52 passim, 54, 55, 56 Leopold II, Holy Roman Emperor 315, 317 363, 371, 414,488 Leporello 77, 258, 275, 277, 281, 383, 385 Lesage, Alain René 433 Lessing, Gotthold Ephraim 47 Levarie, Siegmund 75 Lévis, Anne-Claude-Philippe de Tubieres Grimoard de Pestels de , Comte de Caylus 435 Libby, Denis xv, xxi Liebeskind, Jakob August 431 Lieschen 333 Lilla 245, 247, 255, 377, 383 Lindoro (Germeuil) 179, 180, 202, 210 Link, Dorothea xv, xvi, xxi, 219–30 Lippmann, Friedrich 472 Lisimaco 125 Livigni, Filippo 383 Loesser, Arthur 334 Lolli, Anna 527 Lolli, Brigida 527, 534 Lolli, Elisabetta 527 Longhi, Pietro 506 Lorenz, Alfred 64, 69, 76 Lorenzi, Giambattista 178, 197, 244, 288 Lottchen 340–42 Louis XVI, King of France 315, 316, 320, 511 Lubano 438 Lucinda, Marchesa 170, 171 Lucio Silla149, 151 Lully, Jean-Baptiste 3, 4, 5, 11, 13, 439, 441 y xxxii Pr oo Kantorowicz, Ernst 502 Kerman, Joseph 64, 277 Kierkegaard, Søren 279 Kimbell, David R.B. 467 Kinkead-Weekes, Mark 171 Knowles, Captain 291 Koch, Heinrich Gottfried 334 Konstanze 279 Kotzebue, August von 438 Krämer, Jörg 330, 331 Kunze, Stefan 61, 63, 65–7, 69, 70, 72, 74, 76, 77, 260 Laborde, Jean B. 338 Lajarte, T.J. 18 Lambertini, Domenica 527 Landini (Landi), Girolamo 527, 534, 535 Landon, H.C. Robbins 423, 488 Lange, Aloysia Weber xv, 136, 138–41, 143 Lanval 436 Laodamia (daughter of Bellerophon) 154 Laodamia (wife of Protesilaus) 154 Laodamia, Queen of Crete 154, 155, 156 Laura (nurse in Romeo and Juliet) 48, 51, 52, 57 Laurence, Friar 48, 51, 54 Lavinia 449 Lawton, David 467 Laya, Jean-Louis 321 Lazzari, Anna 537 Leeson, xx Lemoyne, Jean Baptiste 15 Leopardi, Giacomo 31 Mackenzie, Henry 236 Maggi, Carlo Maria 506–7 Maio, De Francesco xvii Maj, Girolima 527, 534 Majo, Gian Francesco de 128, 150 Makon 437 Malsora, King 437 Mandane 27, 28, 29, 31–2, 38, 39, 500–503, 505 Mandolino 432 Mandricardo 402 Manelli, Petronio 534, 535 Mansield, Lord 291 Manuel, Pierre 317, 319 Manzuoli, Giovanni 85, 118, 122, 125, 126 Marcellina 66, 70, 73–4, 186, 187, 380 Marchant, François 319 Maria Amalia, Princess 524 Maria Antonia, Infante of Spain 118 Essays on Opera, 1750–1800 y Monelle, Raymond xiv, 19–41 Monostatos 265, 270, 279, 280, 423 Monsigny, Pierre-Alexandre 435 Monson, Dale E. xv, 113–34 Montague 48 Montezuma (Motezuma) 128, 129–30, 132, 134, 283 More, Thomas 285 Morelli, Cosimo 364 Moretti, Ferdinando 449, 450, 451, 452, 455, 456, 513 Morichelli, Anna xv Mosel, Ignaz von 401 Mouret, Jean-Joseph 435 Mozart, Constance (Constance Nissen)389, 391–392, 407, 415, 427 Mozart, Leopold 85, 88, 90, 92, 93, 109, 139, 157, 410 Mozart, Wolfgang Amadeus xiii, xiv, xv, xvi, xvii, xviii, xix, xx, xxi, 4, 7, 14, 16, 20, 61–82 passim, 85–93 passim, 95, 97–8, 101–4, 107, 109, 111, 113, 119, 135, 136, 140–45 passim, 149–50, 151, 153, 154, 155, 156–7, 185, 186, 187, 188, 195, 234, 244, 254, 255, 260, 265–74 passim, 276, 277, 278–9, 280–81, 294, 303, 309, 349–51, 352, 353, 356, 357, 363, 364, 369, 371–3, 375–9, 380, 382–3, 385–7, 389, 390, 391–2, 393, 397, 398, 400–401, 402, 406, 407, 411–15 passim, 417, 418, 419, 422, 423, 424, 425, 426, 427, 431, 432, 438, 439, 441–3, 471–2, 477, 482, 487, 488, 490, 491–2, 513 Mühle, Nikolaus 437 Müller, Wenzel 430 Mutius Scevola 322 Pr oo fC op Maria Theresia , Holy Roman Empress 275, 425, 524 Marie-Antoinette, Queen of France 185, 316, 320, 511, 513 Marinelli, Gaetano 455 Marmontel, Jean François 4–5, 6, 8, 10, 11, 12, 14, 204, 428, 436, 451 Marpurg, Wilhelm 20–23 Mars 187 Marsollier, Benoît-Joseph 197–8, 199, 200, 201, 202, 207, 208, 210 Marsollier, Joseph 178 Martín y Soler, Vicente 219–20, 245, 247, 363, 364, 375, 377, 403, 412 Martinelli (Martelli), Pietro 535 Marvell, Andrew 185 Marzia 151 Masetto 77, 267 Massa, Anastasio 526, 527, 530, 535 Massinissa 152 Mayr, Simone 469, 473, 475–6, 47–80, 482 Mazzolà, Carlo 377–8 Mazzolà, Caterino 399, 487, 489–90, 491, 492 McClymonds, Marita P. xiii, xiv, xv, xviii, 447–64 McKillop, Alan D. 169 Megabise 27, 29, 34–35 Megacles 501 Méhul, Etienne Nicolas 14, 17, 315, 317, 322 Melamed, Daniel xix Meneghelli, Pier Antonio 456 Mengone 173 Mengotta 170, 174 Mercier, Louis Sebastien 206 Mercutio 48 Méreaux, 15 Merlin 434 Mesmer, Dr 228 Metastasio (Pietro Antonio Domenico Trapassi) 19, 23, 24–5 passim, 27, 31, 39, 41, 44, 87–9 passim, 92, 98, 102, 122, 123, 316, 398, 399, 400, 401, 407, 427, 452, 453, 455, 469–70, 472, 482, 487, 489, 490, 500, 502, 513 Meyer, Leonard B. 80 Milhous, Judith xx Milmi 438 Mislivecek, Josef 128 Mitridate 456, 513 Mortellari, Michael 513 xxxiii Nadine 438 Nadir 438 Narcissus 342 Nasolini, Sabastiano 454 Nĕmetschek (Niemetschek), Franz Xaver 149, 156, 349, 389 Nettl, Paul 418, 419, 433, 438 Neumann, Friedrich-Heinrich xvii, 19, 20, 21 Neville, Don xv Nina 178–81, 183, 197–8, 199, 200, 201–202, 204, 206, 207, 208, 210–11, 213, 215, 217, 247, 254 Nino 453 Essays on Opera, 1750–1800 Nissen, Georg Nikolaus von 389, 427 Noske, Frits 75 Novello, Mary 391–2, 407 Novello, Vincent 391–2, 407 fC op Ontario 289, 294, 295, 297 Opfer, Rache 423 Orazia 456, 457 Oreste(s) 9, 12, 156 Orfeo 173 Oriane 436 Orlando 402 Orsini-Rosenberg, Count 370, 372, 410, 415 Osiris 421 Osmida 489 Osmin 270, 273, 277, 278, 279 d’Orneval, Jacques-Philippe 433 Ottavio, Don 77, 80, 269, 273 Ovid 154, 390 Philipart, C.-A.-J. 109 Philips, Edith 285 Piccinni, Niccolò xiv, 3–5, 7, 8–10, 12, 13, 14, 15, 16, 17, 18, 127, 169, 173, 178, 244, 284, 286, 454 Pinel, Philippe 200, 202–3, 204, 208 Piovene , Agostino 448 Pizzaro y González, Francisco 128 Pizzi , Giovaccino 448 Pizzimiglia, Pietro 526 Platoff, John xv, xx, xxi, xxi, 65, 68, 375–87 Plutarch 422 Poggioli, Renato 223 Polybius 285 Polzonetti, Pierpaolo xiii, xiv, xvii, 283–309 Poncini, Francesco 536, 537, 541 Porpora, Nicola 20 Porto, Luigi da 47, 49 Poussin, xvi Powers, Harold 467 Prati, Alessio 152, 451, 513 Price, Curtis xix Procris 219 Protesilaus 154 Provence, Comte de 315 Puchberg, Michael 349–50, 353, 371–2, 392 Pulcinella 290 Puttini, Francesco 244 y xxxiv Pr oo Paer, Ferdinando 513 Paisiello, Giovanni xvi, 65, 69, 128, 129, 130, 132, 134, 178, 179, 180, 183, 197–8 passim, 200, 201, 207, 209, 210, 215, 218, 244, 247, 254, 287, 287, 299, 301, 302, 303, 309, 350, 357, 364, 375, 379, 449, 452, 453, 457,469, 487, 492, 513 Palombo, Antonio 287 Palombo, Giuseppe 296 Pamela 170–71, 174–5, 180, 183, 235, 236, 237–9, 240, 241, 242, 247, 258 Pamina 280, 438, 440 Paoluccia 170 Papageno 279, 432, 438 Papillone 434 Parker, Roger 71 Parsifal 67 Parthenia 57 Pedrillo 270, 278 Pendle, Karin xiii Penn, William 285 Pepoli, Count Alessandro 455–6 Perez, David 127 Pergolesi, Giovanni Battista 20, 113, 170, 299, 301 Perinet, Joachim 230, 425 Perl, Benjamin xvii, 265–81 Perrault, Charles 429 Petrosellini, Giuseppe 244 Philidor, François-André 4, 11, 14, 15, 16 Quaglio, Lorenzo 109 Quazza, Pio 529, 530, 535 Quinault, Philippe 4, 11, 439, 449 Raaff, Anton xv, 86–93 passim, 95, 97–8, 101–4 passim, 107, 109, 111, 123, 135, 149, 153, 156 Rabin, Ronald xiii Racine, Jean 6, 363 Rainieri, Veronica 527, 534 Rameau, Jean-Philippe 3, 11, 435–6, 441, 524 Ratner, Leonard 63 Raynal, Abbé 286–7, 298 Reichardt, J.F. 54, 55, 59, 60, 335, 344 Reinhard, Kurt 272 Réti, Rudolph 64 Reynaud, Allexandre 535 Rice, John A. xiii, xiv, xv, xvi, xvii, xxi, 389–415 Richardson, Samuel xvi, 169–71, 173, 174, 175, 183, 206, 218, 235–8 passim, 240, 241–2, 245, 251 Essays on Opera, 1750–1800 y Scarlatti, Giuseppe 287 Schachtner, Andreas 90 Schack, Benedikt 438 Schäfer, Maria Josepha 154 Scheibe, Johann Adolph 345 Schenker, Heinrich 64 Schikaneder, Eleonore 430 Schikaneder, Emanuel xxi, 418, 419, 421–3, 424, 425, 426, 429, 430, 431–2, 434, 438, 441–3 Schiller, Friedrich 344, 346 Schlegel, August Wilhelm 47 Schmidt, Johann Friedrich 429 Schoenberg, Arnold 64 Schröder, Friedrich Ludwig 56 Schubart, Christian Friedrich Daniel 59, 150–51, 152, 272, 343, 439 Schuster, Joseph 449 Schwab, Heinrich W. 338 Schwanberg, Johann Gottfried 55 Schwarzburg, Günther von 149 Schweitzer, Anton 44, 57 Sedaine, Michel-Jean 202 Semira 27, 28, 29, 35–7, 39, 500 Semiramide 513 Sernicola, Carlo 456–7 Serpetta 170 Serpina 299, 301 Serse 28, 34, 35, 125, 500 Sertor, Gaetano 449, 450, 453, 454, 455, 457 Sesto 489 Shakespeare, William 6, 44, 45, 47–8, 50, 51, 55, 57,186, 187, 192, 195, 438 Silberklang, Mademoiselle 143 Silvani, Francesco 448 Silvia 223, 225 Silvio 227, 229 Smith, Adam 239 Smollett, Tobias 119 Sofonisba 152 Sofrano 438 Sograi, Antonio 453–5, 456, 457, 513 Soler, Vicente Martin y xv, xxi Solis y Rivadeneyra, Antonio de 128, 129 Solomon, Nicholas xix Somerset 291–2 Sonneck, O.G. 25 Sonnleithner, Leopold von 425 Spaur, Graf von 430, 437 Spengler, Friedrich 430 fC op Righini, Vincenzo xv Ripaverde, Count 140 Ristorini, Giambattista 527, 530 Ritorni, Carlo 465, 468, 469 Robespierre, Maximilien 315 Robinson, Michael xiii, xvii, xx, 65 Roccaforte, Gaetano 448 Roche, Alessandro La 526, 535 Rodomonte 402 Roger de Sicile 433 Roland 10–11 Romagnesi, Jean-Antoine 435 Romeo 45, 48–52, 54, 55, 56, 57, 456 Rosen, Charles 64, 65, 76, 80 Rosina 247 Rossane 456 Rosselli, John 522 Rossi, Gaetano 454, 455 Rossini, Gioachino Antonio 466, 469, 470, 471, 472, 473, 475–6, 478, 479, 483 Rothe, Klara 364 Rousseau, Jean-Jacques 7, 329, 339, 345, 428 Ruggiero (Rinaldo) 177 Rumph, Stephen xx Ruprecht, Joseph Martin 434 Rushton, Julian xiii, xiv, xviii, 3–18, 61, 62, 65, 77–8, 273, 275, 376, 418, 419 Rust, Giacomo 409 xxxv Pr oo Sacchini, Antonio 7, 14, 128, 177, 316 Saint-Foix, Germaine-Francois Poullain de 435 Salieri, Antonio xvi, xvii, xx, xxi, 14, 15, 139, 152, 154, 220, 244, 350, 353, 357, 369, 373, 375, 391, 392–4, 396–8, 399, 400–401, 403, 406–10 passim, 411–15 passim, 452 Salvi, Antonio 448 Salvioni, Abate 449 Salvoni (Salvonio), Luigi Bernardo 535, 536, 537 Sanctis, Luigi de 457 Sandrina 170, 177 Sannazaro, Jacopo 390 Sanseverino, Carlo 55 Sarastro 279, 280, 421, 422, 424, 432, 438, 440 Sarpedon 154 Sarselli, Carolina 151 Sarselli, Pietro 151 Sarti, Giuseppe xv, 139, 450, 524, 541 Sartori, Claudio xiv Savage, Roger xix Essays on Opera, 1750–1800 Spontini, Gaspare 17, 18 St Phar, Madame de 207 St Phar, Monsieur de 207–8 Stephanie, Johann Gottlieb (Stephanie the Younger) 363 Steptoe, Andrew 61, 62, 70, 73, 76, 77, 78, 79 Sterne, Laurence 236 Storace, Nancy 139, 140, 141, 301, 303 Suardi, Felicita 537 Sucarelli, Filippo 526 Sulzer, Johann Georg 232–3 Susanna 66, 67, 68, 70, 73–4, 79, 186–90 passim, 192–5 passim, 278, 380–83, 385–6, 400 Vacchi, Pietro 537 Valmaggi, Luigi 506 Vandomo 478, 479 Varesco, Abbé 87, 88, 90–93, 156 Varese, Claudio 27, 41 Venus 187 Verazi, Giovanni Battista 154, 155 Verazi, Mattia 154, 449–50, 451, 452, 454, 455, 513 Verdi, Guiseppe 62, 80, 466 Vespone 308 Vespucci, Amerigo 285 Vignati, Giuseppe 530 Villeneuve, Jérôme Petion de 317, 318 Villeneuve, Louise 408, 415 Vinci, Leonardo 20, 25, 39, 41 Violante 247, 251, 255 Virgil 185 Vittorio Amedeo, Duke of Saxony 118 Vivetières, Marsollier des 513 Vogel, J.C. 14 Vogelsang, Herr 143 Vogler, Georg Joseph 152 Voisenon, Claude-Henri Fusée de 435 Voltaire 283, 285, 363, 451, 513 Vulcan 187 Vulpius, Christian August 434, 437 Pr oo fC op Tacchinardi, Niccola 468, 469 Tagliaferro 170 Tamino 280, 422, 438 Tammaro, Don 288 Tarare 435 Tarchi, Angelo 449, 455, 487 Tasso, Torquato 187, 221, 223 Tassoni, Alessandro 398 Tedeschi, Giovanni (Giovanni Tadeschi Amadori) 123 Temistocle 149, 151 Tenducci, Giusto Ferdinando (Il Senesino) xv, 114–20 passim, 122–3, 125–32 passim, 134 Terrasson, Jean 419, 421, 442 Terry, C.S. 3 Theorirus 185 Thoas 152 Thyrsis 251 Tibaldi, Domenico 534, 535 Tillot, Guillaume du 524, 529 Timante 469–70 Tishkoff, Doris xx Tita 380 Tito 489 Tomeoni, Irene 200 Tomiri, Princess of Taurus 152 Tornielli, Gaspero (Gasparo) 535 Tosi, Pier Francesco 120 Tovey, D.F. 15, 72, 80 Traetta, Tommaso 150, 440, 449, 522, 524, 525, 529, 530, 534, 535, 536–7 Treitschke, Georg Friedrich 229–30 Tybalt 48, 56 Tyson, Alan xix, xx, xxi, 141, 397, 403, 414 Uberto 288, 299, 301 Ulysse 8 Umlauf, Ignaz 357 Urbélise 436 y xxxvi Wagenseil, Georg Christoph 118 Wagner, Heinrich Leopold 50 Wagner, Richard 5, 17, 21, 62, 64, 74, 80, 330, 331 Waldoff, Jessica xiii, xvi, xx, xxi Walter, Ignaz 438 Warrack, John 331 Wasserman, Earl 240 Weber-Lange, Aloysia 152, 157 Webster, James xiii, xiv, xv, xx, xxi, 61–82 Weigl, Joseph 379 Weiss, Pietro 173 Weisse, Christian Felix 47–52 passim, 55, 329, 331–9 passim, 342, 344–6 Wendling, Dorothea 149–53 passim, 154, 155, 156, 157 Wendling, Elisabeth 149–53 passim, 156, 157 Essays on Opera, 1750–1800 Wendling, Elisabeth Augusta 151 Wendling, Franz Anton 151 Wendling, Johann Baptist 150, 151 Wiel, 449 Wieland, Christoph Martin 43, 44–8 passim, 55, 59, 430, 431, 441 Willis, Stephen C. xvii Winter, Peter 487 Wise, Steven 291, 292 Wolf, Ernst Wilhelm xix, 437 Wood, Gordon 306 Woodield, Ian xx Wranitzky, Paul 430, 441 Zamoro 473–7 passim Zehnmark, Ludwig 433 Zélide 435 Zelmira 152 Zémire 204 Zeno, Apostolo 448, 500, 513 Zephyr 342 Zerlina 76, 77, 275, 278 Zeus 154 Zingarelli, Niccolò Antonio 15, 129, 454, 488 Zini, Francesco Saverio 244 Zinzendorf, Count 139, 301 Žižek, Slavoj 294 Zonca, Giovanni Battista 154 Zoroastre 435–6 Pr oo fC op y Zaira 456 Zais 435 xxxvii

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