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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
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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
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Opera After 1900
Margaret Notley
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Essays on Opera, 1750–1800
John A. Rice
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Essays on Opera, 1750–1800
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John A. Rice
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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
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www.ashgate.com
Ashgate Publishing Company
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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
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Library of Congress Control Number: 2010925876
ISBN 9780754629047
Contents
Acknowledgements
Series Preface
Introduction
PART I
ix
xi
xiii
AESTHETICS AND DRAMATURGY
PART II SINGERS
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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
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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
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PART V
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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
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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
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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.
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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.
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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.
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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.
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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
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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
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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.
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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
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Aesthetics and Dramaturgy
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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.
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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.
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Essays on Opera, 1750–1800
Arias and Ensembles
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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
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operatic ensembles is by no means limited to Italian opera in her study of ensembles in opéra- 1
2
comique.
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Sensibility, Sentiment and the Pastoral
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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
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made sensibility – deined by Diderot’s Encyclopédie as ‘disposition tendre et delicate de
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l’âme, qui la rend facile à être émue, à être touchée’ (‘a tender, delicate disposition of the
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soul that makes it susceptible to being moved, to being touched’) – an emotional state that
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was cultivated by sophisticated people all over Europe. Several historians have investigated
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the effect of the cult of sensibility on the creation and perception of opera. Rice (1986)
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called attention to the way in which the cult of sensibility shaped the reception of a great
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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
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(2000) on Mozart’s Figaro.
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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
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of many eighteenth-century operas and provided important thematic elements to others. Bartlet
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(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.
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Orientalism and Exoticism
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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
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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
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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.
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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
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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.
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Manuscript Studies
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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.
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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
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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
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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.
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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
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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
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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
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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.
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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.
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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.),
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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
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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
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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
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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