673:, in both comic and serious works." However, it was only when he became part of "an international musical milieu and with the acquisition of a much broader and more diverse experience that Sacchini's finest qualities achieved complete maturity." This is true above all of the period in Paris, when he "strengthened his own style with an obviously Gluckian influence, which was not, however, strong enough to cancel out his melodic and sensuous gifts", which derived from the Italian tradition, "while his orchestral palette was also enriched by new and vivid colours, which frequently anticipated many aspects of the future
395:
332:, who had taken over from Millico as the leading male singer at the King's Theatre, and who claimed that he had written some of Sacchini's most famous arias himself. The majority of Sacchini's chamber music dates from his years in London. As far as music for the stage is concerned, new operas by Sacchini were produced every year over the whole period apart from 1776/1777, probably in connection with the composer's trips to the Continent and with the staging in Paris of French-language
665:, about twenty years his junior, said that Sacchini might even be considered the finest melodist in the world. This melodic gift, along with the general facility Sacchini found in composing music, was undoubtedly the result of his upbringing amid the flourishing Neapolitan school of opera. From the beginning, however, Sacchini revealed a tendency to distance himself from the more hackneyed features of the Italian operatic tradition. "Only rarely did he adhere to the complete
585:, the opera Guillard on which he was then working. Having noticed that, for several Sundays in a row, the Queen seemed to avoid catching his eye, Sacchini – tormented with anxiety – deliberately placed himself in her way so that Her Majesty had no choice but to speak with him. She received him in the music salon and told him, in a voice full of emotion: 'My dear Sacchini, people say I show too much favour to foreigners. They have pressured me so strongly to have
328:(in May), in the words of Burney, Sacchini soon "captured the hearts" of the London public. He was so popular that Tommaso Traetta was unable to make any impression with his operas when he arrived in the British capital in 1776, even though Sacchini himself had supported the move by his old friend. Sacchini remained in London for a decade, until 1782, despite the fact his enormous mounting debts created growing difficulties and even enemies. Among the latter was
3655:
31:
289:
126:
2681:, pp. 103–104, refers to a period of "three months" between Marie Antoinette's announcement and Sacchini's death. Since such a lapse of time is obviously incongruous with the other available facts, Sauvé took the trouble to check Berton's original report in the library of the Opéra and discovered that he had actually written "three days". The date is also confirmed by a letter reproduced as a photograph by
523:
2301:
2237:
514:
continuing absence of Gluck (which would turn out to be permanent), the intrigues of
Piccinni's enemies, Sacchini's touchiness and his need for money, had inevitably ended in a rivalry between the two Italian composers, and a third musical faction had emerged on the Parisian scene: the "Sacchinists", a "sort of moderate Gluckists, who, as
637:
in July 1843 and May 1844, giving a total of 583 performances, making it
Sacchini's most famous opera and one of the most durable of the eighteenth-century repertoire, surpassing even the operas of Gluck, at least until it fell into the oblivion in which it has more or less remained until today, along with the rest of Sacchini's work.
2335:, a completely unpublished handwritten collection by Antonio Sacchini, dating back to 1785 and currently belonging to Sauvé himself, a descendant of Madame Bazin. It contains 19 melodies (16 for piano and soprano, 1 for piano solo, 1 duet for two sopranos and a quartet), and is due to be published by ELPE-Musique (
172:, was premiered in 1761. Meanwhile, Sacchini was pursuing his career at the Conservatorio, where he had initially taken up the unpaid position of "maestro di cappella straordinario", assisting the "primo maestro", Manna, and the "secondo maestro", Gallo. When Manna retired in 1761, shortly before the premiere of
117:. Sacchini was one of the favourite pupils of Durante, a hard teacher to please. It was said that Durante would point out the young Sacchini to his fellow pupils, warning them that he would be a difficult rival to beat and urging them to try to match him, otherwise Sacchini would become the "man of the century."
636:
took place on
Tuesday 1 February 1787 ... The hall was packed, and many people had to remain standing ... The turnout made the triumph even more impressive." Its success was resounding and lasting: henceforward, the work was staged in Paris's leading theatre every year from 1787 to 1830, and revived
623:
Sacchini's dramatic death caught the public's imagination. The involvement of the queen and a sincerely appreciative article by
Piccinni, who dedicated a moving funeral oration to the dead composer, turned popular opinion in his favour. The management of the Académie Royale, without even waiting for
603:
Sacchini, struggling to contain his distress, bowed respectfully and immediately returned to Paris. He was brought to my mother's house. He entered in tears and threw himself into an armchair. We could only get a few broken phrases from him: 'My good friend, my children, I'm finished. The Queen, she
513:
made less of an impression and was only given once. However, "both composers were presented to the king (Sacchini by the queen herself) and given a large pension". In fact, despite
Sacchini's arrival in Paris having been supported by Piccinni himself (he had initially seen Sacchini as an ally), the
518:
wittily observed, had adhered to the new sect solely because of their jealousy towards
Piccinni. With his indecisiveness and weakness, Sacchini only succeeded in setting himself against both factions, without endearing himself to either; and when it came to a fight, he found both of them against
411:
Sacchini's position in London eventually became untenable: his health had declined and his work was no longer attracting the same success. These factors and the looming threat of debtors' prison finally induced him to accept
Framery's invitation to move to Paris in 1781. Sacchini received a warm
475:
was "a completely new opera, starting with the action, which begins at the point where the other two leave off; the subject of the opera was no longer the love of Armida and
Rinaldo in the enchanted garden, which Armida destroys after her lover leaves her, but based on their subsequent story in
645:"The real significance of Sacchini's work is difficult to determine aesthetically, although the obvious historical importance of the composer and his activity undoubtedly demands more careful study and more thorough investigation": with these words the editor of Sacchini's article in the
562:(even though the finishing touches had not been made to the building). Perhaps because of difficulties with rehearsals, the one and only performance at court had limited success, but fate denied the composer the satisfaction of seeing it again, either at court, or at the Opéra. His pupil
701:
is particularly successful, and it was destined to become a common feature of opera in the following century... the choral scenes, alternating chorus and soloists, are highly effective, on the one hand revealing the influence of Gluck, and on the other showing the way forward to the
537:
Sacchini's first two
Parisian operas had been praised for their Italianate charm, but criticised for a certain dramatic weakness, also deriving from the Italian style. With his next operas, Sacchini "attempted to create works that conformed to the ideals of French musical drama."
649:
begins the section evaluating his music. Any such assessment is made more difficult by the comparative lack of interest the modern operatic world has shown in
Sacchini's works, although this has begun to change in the early 21st century: there are now two complete recordings of
574:
would be the first opera to be performed at the court theatre after its transfer to Fontainebleau. Sacchini had shared the good news with us and continued his habit of meeting Her Majesty after she had heard mass, when she invited him to join her in her music
558:, was to have a far more dramatic impact on the life of the composer. Sacchini had finished the score in November 1785, and the enthusiastic Marie-Antoinette was keen for it to be given at court on 4 January 1786 to mark the opening of the new theatre at the
136:
Sacchini was 25 when Durante died in 1755. The following year, he became a "mastricello" (a junior teacher in the school) and had the opportunity to compose, as the final exercise of his studies, his first operatic work, an intermezzo in two parts entitled
2341:). The book was used in the lessons Sacchini gave to the 11-year-old Bazin at the behest of Queen Marie Antoinette and "is witness to the refinement and intensity of the artistic life that Queen Marie Antoinette shared with those close to her".
219:
in Naples (Teatro San Carlo, 1764). Success on an Italian-wide level encouraged Sacchini to leave his job at the Conservatorio di Santa Maria di Loreto, as well as his temporary post in Venice, and to try his luck as an independent composer.
257:). While continuing to pursue his career as an opera composer, he also spent time writing sacred pieces (oratorios, masses, hymns, motets) for the Conservatorio and various Venetian churches, as his contract required.
435:, a sort of master of royal ceremonies who was also head of the Académie Royale, was opposed to the queen's predilection for foreign music. He plotted to delay the premiere of Sacchini’s first French opera,
420:, the Queen of France. The Queen's patronage paved Sacchini's way to the Opéra (she had helped Gluck in much the same fashion eight years earlier). In October, Sacchini signed a lucrative contract with the
1968:
Nearly all instrumental music published by Antonio Sacchini dates from his London years (1772–1781). Most of the works listed below, first published in London, were later reprinted in Paris and elsewhere.
3252:
The dedicatee of the book is Françoise (Fanny) Bazin, already mentioned above in a footnote, an ancestor of Sauvé, and the former holder by inheritance of Sacchini's own copy of the original edition of
367:. A member of the emerging Piccinnist faction, Framery also admired Sacchini and formed a lasting friendship with him. On 8 June 1779, a work by Sacchini appeared for the first time on the stage of the
2685:, pp. 113–115: this was written 69 years after the events by Françoise "Fanny" Bazin, at the time a young reader to the queen (she was the daughter of Charles Bazin, the intendant of the queen's
669:
form, but he often made use of altered versions of this basic plan. He also made frequent use of a cavatina-like two-part aria that approximates to the A portion of the da capo form, and of the vocal
382:
in three acts. During his stays in Paris in the seventies Sacchini is also said to have imparted the rudiments of a real singing education to the future European star of opera and refined cantatrice,
109:
at the age of ten. Here Durante and his assistant Pietrantonio Gallo taught Sacchini the basics of composition, harmony and counterpoint. Sacchini also became a skilled violinist under the tuition of
416:
happened to be in Paris at the time, travelling incognito. The emperor was a passionate devotee of Italian music, and Sacchini's in particular, and he eagerly recommended the composer to his sister
363:, a lover of Italian music. At that time, the Parisian operatic scene was divided between supporters of the German composer Gluck, famous for his musical reforms, and followers of his Italian rival
2468:
The Present State of Music in France and Italy: or, The Journal of a Tour through those Countries, undertaken to collect Materials for a General History of Music. By Charles Burney, Mus. D.
490:
pleased neither party: "Piccinni's faction asserted that the score ... was influenced by Gluck, while the Gluck supporters condemned the work for lacking dramatic power and originality."
3476:
3261:
2725:: Chœur de Chambre et Orchestre de la Camerata de Bourgogne, conducted by Jean-Paul Penin (Dynamic, 2005); Opera Lafayette Orchestra and Chorus, conducted by Ryan Brown (Naxos, 2006);
2036:
Sacchini's sacred works were composed for the most part during his directorship at the conservatoire of the Ospedaletto in Venice. Significantly, all Venice compositions are in major
227:
for the Teatro Valle. These works made him famous throughout Europe. One of the most notable of them – it has been revived and recorded in modern times – was the two-act intermezzo
59:, where he received his musical education. He made a name for himself as a composer of serious and comic opera in Italy before moving to London, where he produced works for the
2542:
was highly unusual and in fact a violation of the long-standing legal agreement which reserved the performance of tragic operas for the Académie Royale de Musique et de Danse
3105:, consisting in publishing 'periodically' new overtures by different composers. In the programme were involved, over a period of twenty years (1763–1783), such musicians as
2596:
It was less than ten years since Gluck had succeeded in breaking the century-old monopoly French (or naturalised French) had exercised over the repertoire of the Opéra.
3384:
La Cour et l'Opéra sous Louis XVI. Marie-Antoinette et Sacchini Salieri Favart et Gluck. D'après des documents inédits conservés aux Archives de l'État et à l'Opéra
445:
finally appeared on 25 February 1783, its reception was positive but not overwhelming. The libretto was a reworking, to which Framery contributed, of a libretto by
604:
no longer loves me! The Queen, she no longer loves me!' All our efforts to allay his grief were in vain. He refused to have dinner with us. He was very ill with
2776:
2969:
3697:
2907:
3692:
106:
2938:
3085:
2456:
Arte e musica all'Ospedaletto. Schede d'archivio sull'attività musicale degli Ospedali dei Derelitti e dei Mendicanti di Venezia (sec. XVI–XVIII)
712:
693:
and arias blend naturally into one another... to scenes whose unity is guaranteed by the use of the same thematic material...the combination of
412:
welcome in the French capital: the Piccinnists saw him as a natural ally in their battle against the influence of Gluck; but, more importantly,
3258:
3687:
3227:
identifies Rome as the first performance place (p. 146), whereas he had previously stated Bologna (p. 30). In fact, in Bologna, at the local
3373:
Cenno storico sulla scuola musicale di Napoli. Del Cavalier Francesco Florimo, archivista del Real Collegio di musica in S. Pietro a Majella
732:
Unless otherwise stated in the footnotes, the following list of Sacchini's works is drawn from the "biographical summary" by Georges Sauvé (
3727:
77:. However, when the work was revived the following year, it quickly became one of the most popular in the 18th-century French repertoire.
3712:
2771:; Thierstein, i.e. a dissertation produced at the University of Cincinnati in 1974 and apparently never published (Eldred A. Thierstein,
3552:
3504:
428:
263:
met Sacchini in Venice in 1770. By then, Sacchini was enjoying an enormous reputation: he had just scored successes with the operas
509:, staged at court the previous month, had been hailed as a masterpiece, enjoying a further two performances there; in comparison,
90:
Sacchini was the son of a humble Florentine cook (or coachman), Gaetano Sacchini. At the age of four, he moved with his family to
3722:
3240:
3520:
724:, Sacchini admirably achieved a synthesis of Italian melodic style and Gluckian principles within a French dramatic framework".
145:. The warm reception these works enjoyed paved Sacchini's way to commissions from the smaller theatres which performed opera in
1250:
The original Italian version was also revised for London in 1776 while the French one was furtherly reworked in German in 1779
241:, who had been Sacchini's friend since their studies together in Naples and who was now leaving Venice to work at the court of
493:
Sacchini's second opera for the Paris stage was also based on a subject the composer had treated (twice) before, the story of
3707:
3357:
3338:
1033:
629:
234:
552:, provoked mixed reactions and appeared in two different versions in the first year of its life on stage. His next opera,
3658:
515:
3382:
2669:
63:. He spent his final years in Paris, becoming embroiled in the musical dispute between the followers of the composers
3442:
3423:
3329:
2849:
2488:
3278:
2319:
Georges Sauvé reports that there exist "numerous works not yet catalogued, in Italy, in London (including nine 1775
233:(1765). In 1768, Sacchini moved to Venice, having accepted the temporary post of director of the Conservatorio dell'
3717:
3702:
586:
141:. It was performed to great acclaim by the school's students and was followed a year later by another intermezzo,
3037:, II, p. 340. Monson just cites, among the original operas by Galluppi, a 1762 work bearing the similar title of
3545:
3416:
The Paris Opéra. An Encyclopedia of Operas, Ballets, Composers, and Performers – Rococo and Romantic, 1715–1815
2976:
2914:
413:
421:
281:, and he was, in the opinion of the English writer, the only composer worthy to stand alongside the "giant"
3514:
3228:
3126:
101:(later to become King Charles III of Spain). The young Sacchini's talent for music caught the attention of
3500:
2945:
3404:
3138:
531:
3231:, is preserved the manuscript of the work, which, incidentally, was performed in 2007, during the event
3510:
250:
3289:
2336:
360:
3538:
3130:
685:: "these are operas in which every element lacking a dramatic function has been removed. Accompanied
317:
64:
3134:
1882:
In this section are listed the operas containing original music by Sacchini and by other composers.
441:. Meanwhile, the Gluckists were manoeuvring to detach Sacchini from his Piccinnist supporters. When
60:
42:
17:
71:. His early death in 1786 was blamed on his disappointment over the apparent failure of his opera
3524:
2027:
6 sonatas for harpsichord or piano and violin (2nd set of favourite lessons), Op. 4, London, 1780
196:
3640:
1848:
581:
446:
1754:
3584:
3406:
Bibliothèque Musicale du Théatre de l'Opéra. Catalogue Historique, Chronologique, Anecdotique
3178:
3114:
2781:
1201:
566:, himself an opera composer, described the circumstances which delayed further performances:
432:
229:
179:
In 1762 the Conservatorio gave Sacchini permission to travel to Venice to present the operas
736:). The list of works is still incomplete, mainly as far as non-operatic music is concerned.
245:. In Venice, Sacchini soon made a name for himself as a singing master (his pupils included
3682:
3677:
2767:
The sources from which Sauvé states he has drawn his information (p. 143), are as follows:
1835:
559:
545:
482:
98:
2539:
8:
3632:
3624:
3486:
3166:
3122:
3110:
2203:
1823:
1802:
563:
554:
540:
199:. Over the next couple of years, Sacchini produced new operas for theatres across Italy:
146:
73:
3400:
3158:
3154:
1886:
661:
In his own time, Sacchini was described as the champion of melody. Indeed, the composer
364:
68:
2788:
1936:
817:
282:
570:
Queen Marie Antoinette, who loved and cultivated the arts, had promised Sacchini that
3600:
3438:
3435:
Antonio Sacchini 1730–1786 – Un musicien de Marie-Antoinette – Bréviaire biographique
3419:
3367:
3353:
3334:
2484:
1854:
1448:
617:
576:
463:
394:
329:
102:
590:
398:
254:
3576:
3118:
2729:, Les Talens Lyriques, conducted by Christophe Rousset (Ediciones Speciales, 2013).
2132:
1949:
1406:
1173:
707:
662:
549:
527:
505:
503:
in November 1783, in an atmosphere of direct competition with Piccinni. Piccinni's
417:
309:
292:
242:
212:
159:
3012:
No mention of the collaboration is made by Siegfried Gmeinwieser/R in his article
1245:
320:'s favourite. Beginning with two new operas staged at the King's Theatre in 1773,
3388:
3371:
3265:
3211:
3182:
3170:
3162:
3150:
1923:
454:
378:, which had premiered in England the previous year, and was now advertised as an
238:
129:
110:
3608:
3320:
3174:
3102:
2254:
2006:
1999:
1744:
991:
717:
674:
477:
437:
260:
368:
3671:
3324:
3146:
2867:
2839:
erroneously antedates in 1764 the production of the opera under the title of
2822:
2074:
II popolo di Giuda liberato della morte per intercessione della regina Esther
1789:
383:
246:
184:
114:
3461:
3392:
3277:
Cf. the review of Sauvé's "bréviaire biographique" by Emmanuelle Pesqué, in
2626:
2323:), in Paris, in Dublin, ariettas which were published long after his death,
253:
was subsequently to go down in history as the first singer to play Mozart's
3142:
2245:
2191:
2120:
2090:
666:
608:...we took him back to his house and three later he died at the age of 56.
579:. There she took pleasure in listening to some of the finest excerpts from
598:
that I could not refuse. You see the position I am in, please forgive me.'
3214:
spelling and it is also the form used today in official liturgical books.
3106:
3029:
No mention of the collaboration is made by Dale E. Monson in his article
2786:, "Musikforschung am Ospedaletto zu Venedig zur Zeit Antonio Sacchinis",
2017:
1991:
1373:
887:
703:
359:. The translator of the libretti into French was the musician and writer
278:
164:
151:
2470:, second edition, London, Becket, Roeson and Robinson, 1773, pp. 184–185
2081:
1877:
772:
686:
192:
158:(1758) at the Teatro dei Fiorentini, which led to commissions from the
3616:
1777:
499:
403:
285:
among all the "dwarfs" who then populated the Venetian musical scene.
3333:. Vol. IV. New York: Oxford University Press. pp. 114–116.
3051:
1074:
874:
698:
620:, the head of the Opéra, and successfully produced on 29 April 1788.
2677:, pp. 426–427. The quotation by Florimo, as well as the one by
1240:
Revived in Paris in 1775, to a translation by N.E. Framery entitled
427:
However, Sacchini immediately found himself embroiled in intrigues.
3592:
3530:
3062:, II, p. 426, and as containing music by Sacchini ("Music in:") by
2230:
2095:
2049:
2037:
1982:
1362:
1117:
694:
313:
296:
288:
269:
223:
Initially settling in Rome, Sacchini spent several years composing
52:
45:
30:
2689:) and she too gives direct and clear evidence about what happened.
670:
632:, then the temporary home of the Opéra. "The first performance of
125:
2454:
See Giuseppe Ellero, Maria Carla Paolucci, Jolanda Scarpa (ed.),
2328:
2067:
1974:
95:
3234:
2291:
Undated, but traceable back to the Venetian period (1768–1772)
2106:
2013:
1995:
1657:
Revived in Paris in 1779 (Sacchini's debut at the Paris Opéra)
1349:
1020:
780:
690:
677:." The most characteristic work in this respect is undoubtedly
612:
Sacchini died on 6 October 1786, aged 56, leaving the score of
494:
274:
91:
56:
3199:
2545:
2162:
2021:
1764:
1484:
1264:
1065:
949:
497:. The new work appeared at the court theatre under the title
3409:(in French). Vol. I. Paris: Librairie des bibliophiles.
522:
3323:(1997). "Sacchini, Antonio (Maria Gasparo Gioacchino)". In
2324:
2320:
2180:
1244:, as a pasticcio with music by Sacchini, in the form of an
865:
605:
237:(the "Ospedaletto"), offered by his predecessor in the job
3189:(University College Cardiff Press), VII (1978), p. 63–84.
2749:
2692:
2424:
457:. Contrary to what has often been claimed, the Parisian
2300:
2236:
1191:
Revised for London in 1774 and, under the new title of
407:, the second work Sacchini composed for the Paris Opéra
2704:
249:
and, possibly, Adriana Gabrielli, who, under the name
2880:, as just containing music by Sacchini ("Music in:").
2792:, 1987, 40, 320–337; Roberto Zanetti, i.e. probably,
2638:
2412:
453:), which had originally been set to music in 1722 by
2773:
Antonio Maria Gaspero Sacchini and his French operas
1878:
Operas written in collaboration with other musicians
3485:This article contains material translated from the
3387:(in French). Paris: Librairie Académique (Didier).
544:, with a libretto which was largely a reworking of
2436:
2350:
308:In 1772, Sacchini moved to London, accompanied by
3315:(in Italian). Rome: Longanesi & C. Periodici.
3669:
3185:, "Robert Bremner and The Periodical Overture",
1145:Partly revived in London in 1773 as a pasticcio
3198:The composition titles containing forms of the
3086:The New Grove Dictionary of Music and Musicians
41:(14 June 1730 – 6 October 1786) was an Italian
2064:L'abbandono delle richezze di San Filippo Neri
467:of 1772, itself revised to create a new opera
424:(the Paris Opéra) to produce three new works.
176:, Sacchini was promoted to "secondo maestro".
3546:
2659:was in fact performed at court on 26 October.
2458:, Venice, Stamperia di Venezia Editrice, 1978
2402:
2400:
2398:
2396:
2394:
2392:
3698:Immigrants to the Kingdom of Great Britain
3553:
3539:
3348:Dorsi, Frabrizio; Rausa, Giuseppe (2000).
3347:
3079:, this piece of information is taken from
2755:
2614:
2430:
85:
3693:Emigrants from the Grand Duchy of Tuscany
3505:International Music Score Library Project
2739:
2737:
2735:
299:singer who accompanied Sacchini to London
39:Antonio Maria Gasparo Gioacchino Sacchini
3521:Literature by and about Antonio Sacchini
3319:
3223:In his list of Sacchini's sacred works,
3063:
3000:
2894:
2796:, Busto Arsizio, Bramante Editrice, 1978
2768:
2743:
2606:
2498:
2496:
2389:
2383:
2379:
2377:
2375:
2373:
2371:
2369:
2367:
2365:
1077:with music by Sacchini, under the title
521:
461:was not a revised version of Sacchini's
393:
287:
124:
120:
29:
3399:
3380:
3366:
3313:Grande enciclopedia della musica lirica
2808:'s list reports the erroneous title of
2710:
2678:
2674:
2644:
2567:
2551:
2344:
647:Grande Enciclopedia della Musica Lirica
624:the usual pressure from above, ordered
486:(with many liberties taken)." However,
132:, Sacchini's friend and fellow composer
14:
3670:
2732:
681:, but the description also applies to
316:then active on the European stage and
107:Conservatorio di Santa Maria di Loreto
3534:
3432:
3413:
3310:
3224:
3207:
3076:
2890:
2863:
2836:
2805:
2698:
2682:
2610:
2563:
2502:
2493:
2442:
2418:
2406:
2362:
2356:
1963:
733:
149:. One of his major successes was the
3688:Musicians from the Kingdom of Naples
3560:
3418:. Westport/London: Greenwood Press.
3376:(in Italian). Naples: Lorenzo Rocco.
3268:for the modern edition of the opera.
2314:
3728:18th-century Italian male musicians
3659:Category:Operas by Antonio Sacchini
3352:(in Italian). Turin: B. Mondadori.
3291:Le Cahier de musique de Fanny Bazin
2876:reports this work, along with 1770
2517:, a reworking of a previous opera,
2338:Le Cahier de musique de Fanny Bazin
2207:in F major, hymn (antiphon), Venice
1987:, in 8 parts, Bremner, London, 1776
1081:, to a translation by N.E. Framery
187:) at the Teatro San Benedetto, and
24:
3713:Italian Classical-period composers
2670:Revue et gazette musicale de Paris
2212:O quam carae et quam beatae silvae
720:concludes, "With his masterpiece,
113:as well as studying singing under
25:
3739:
3494:
3452:
3437:(in French). Paris: L'Harmattan.
3330:The New Grove Dictionary of Opera
2874:The New Grove Dictionary of Opera
2850:The New Grove Dictionary of Opera
2794:La musica italiana nel Settecento
2585:The New Grove Dictionary of Opera
1218:Multiple revivals (London, 1782)
336:based on two previous works: the
3654:
3653:
2299:
2235:
1663:L'avaro deluso, o Don Calandrino
640:
630:Théâtre de la Porte Saint-Martin
207:in Florence (La Pergola, 1764),
94:as part of the entourage of the
3511:Free scores by Antonio Sacchini
3501:Free scores by Antonio Sacchini
3304:
3283:
3271:
3246:
3241:"Creator – Faenza Musica Sacra"
3217:
3192:
3101:was an editorial initiative by
3092:
3083:, i.e. probably, in this case,
3069:
3054:by Irena Cholij in her article
3044:
3023:
3006:
2993:
2962:
2931:
2900:
2883:
2856:
2830:
2815:
2799:
2761:
2716:
2662:
2650:
2620:
2599:
2590:
2573:
2557:
2528:
2507:
2031:
2024:and violin, Op. 3, London, 1779
762:Revisions and notable revivals
616:incomplete. It was finished by
203:in Padua (Teatro Nuovo, 1763),
3723:18th-century Italian composers
3243:, amadeusonline.net (archived)
2473:
2461:
2448:
2304:major, hymn (antiphon), Venice
2002:, Op. 1, London, Bremner, 1775
1466:Revised for London in 1780 as
1073:Revived in Paris in 1777 as a
13:
1:
2673:, 1833, number 12. Quoted in
2521:(see below with reference to
471:for London in 1780. Instead,
235:Ospedale dei Poveri Derelitti
48:, best known for his operas.
3708:Italian male opera composers
3515:Choral Public Domain Library
3311:Caruselli, Salvatore (ed.).
3127:Carl Ditters von Dittersdorf
2843:(as stated by Dennis Libby,
2310:in B major, antiphon, Venice
2249:in D major, antiphon, Venice
628:to go into rehearsal at the
451:Renaud, ou La suite d'Armide
195:) the following year at the
27:Italian composer (1730–1786)
7:
3229:Congregation of the Oratory
3206:('heaven') are reported by
3139:Pietro Alessandro Guglielmi
2114:Sicut lilia in valle amoena
10:
3744:
3350:Storia dell'opera italiana
3299:
1894:(Naples, 1754) (uncertain)
1853:(unfinished, completed by
594:performed instead of your
422:Académie Royale de Musique
371:. It was a revival of the
251:Adriana Ferrarese del Bene
105:, who enrolled him in the
3651:
3568:
3381:Jullien, Adolphe (1878).
3131:Christoph Willibald Gluck
2269:in F major, psalm, Venice
2172:in G major, psalm, Venice
2141:Habet amor suas procellas
2116:in F major, psalm, Venice
2046:GesĂą presentato al tempio
1900:(Naples 1759) (uncertain)
739:
303:
3489:in the Italian Knowledge
3279:ODB Opéra Passion (2007)
3257:, which was utilized by
2513:In 1780, there appeared
2333:Fanny Bazin's Music Book
1977:printed in Paris in 1767
1151:Il finto pazzo per amore
727:
389:
3718:Musicians from Florence
3703:Italian opera composers
3525:German National Library
3433:Sauvé, Georges (2006).
3099:The Periodical Overture
2331:..." There also exists
1087:Semiramide riconosciuta
431:, the intendant of the
361:Nicolas-Étienne Framery
340:from the Roman period,
209:Semiramide riconosciuta
86:Childhood and education
80:
3135:François-Joseph Gossec
2878:Le vicende della sorte
2756:Dorsi & Rausa 2000
2615:Dorsi & Rausa 2000
2554:, pp. 15 et seq..
2483:(Bari, Palomar, 2008)
2481:Tommaso Traetta. Opere
2431:Dorsi & Rausa 2000
2103:Fremo gemendo in poena
1955:Le vicende della sorte
1916:Il Cavalier partigiano
905:I due fratelli beffati
610:
600:
550:opera of the same name
534:
532:Élisabeth Vigée-Lebrun
447:Simon-Joseph Pellegrin
408:
300:
189:Alessandro nelle Indie
133:
35:
3585:La contadina in corte
3463:Dizionario dell'opera
3414:Pitou, Spire (1985).
3179:Johann Baptist Wanhal
3115:Johann Christian Bach
3066:(cf. footnote above).
2628:Dizionario dell'opera
2581:Banti, Brigida Giorgi
2155:Charitas omnia vincit
1904:Il curioso imprudente
1340:Scipione in Cartagena
1256:Le contadine bizzarre
1202:La contadina in corte
1034:Alessandro nell'Indie
601:
568:
525:
433:Menus-Plaisirs du Roi
397:
291:
265:Scipione in Cartagena
230:La contadina in corte
128:
121:Early career in Italy
51:Sacchini was born in
33:
3401:Lajarte, Théodore de
2566:, pp. 482–483;
2534:The staging of this
2345:Notes and references
2267:Cor serba te fidelem
2260:Kyrie, gloria, credo
2240:major, psalm, Venice
2009:, Op. 2, London 1778
1910:La massara spiritosa
560:Palace of Versailles
546:Jean-Philippe Rameau
483:Gerusalemme liberata
429:Seigneur de la Ferté
312:, one of the finest
197:Teatro San Salvatore
191:(with a libretto by
183:(with a libretto by
3167:Franz Xaver Richter
3123:Christian Cannabich
3111:Karl Friedrich Abel
3039:Il marchese villano
3031:Galuppi, Baldassare
2893:, but not cited by
2853:, cit., I, p. 862).
2775:); Hochstein, i.e.
2701:, pp. 121–122.
2296:Ave Regina caelorum
2219:Jephtes sacrificium
2204:Ave Regina caelorum
1892:Le donne dispettose
564:Henri Montan Berton
3487:equivalent article
3368:Florimo, Francesco
3264:2013-09-21 at the
2789:Die Musikforschung
2777:Wolfgang Hochstein
2587:, cit., I, p. 304.
2409:, vol. IV, p. 1087
2188:Machabaeorum mater
2183:(antiphon), Venice
2150:in B major, Venice
2143:in D major, Venice
2136:in D major, Venice
2085:in D major, Venice
2076:, oratorio, Venice
2059:, oratorio, Naples
1964:Instrumental music
1937:Baldassare Galuppi
1898:Le trame per amore
1600:Didone abbandonata
1460:Milan and Florence
1167:Multiple revivals
835:Il copista burlato
587:Monsieur Lemoyne's
535:
409:
301:
283:Baldassare Galuppi
162:, where his first
147:Neapolitan dialect
134:
99:Charles of Bourbon
36:
3665:
3664:
3641:Arvire et Évélina
3359:978-88-424-9408-9
3340:978-0-19-522186-2
3056:Giordani, Tommaso
2540:Comédie Italienne
2479:Jörg Riedlbauer,
2421:, pp. 26–27.
2315:Salon vocal music
2287:, oratorio, Paris
2170:Paventi ut nautae
2057:L'umiltĂ esaltata
1875:
1874:
1855:Jean-Baptiste Rey
1849:Arvire et Évélina
1010:Alessandro Severo
945:La finta contessa
675:Romantic movement
618:Jean-Baptiste Rey
614:Arvire et Évélina
582:Arvire et Évélina
414:Emperor Joseph II
330:Venanzio Rauzzini
324:(in January) and
181:Alessandro Severo
103:Francesco Durante
16:(Redirected from
3735:
3657:
3656:
3562:Antonio Sacchini
3555:
3548:
3541:
3532:
3531:
3475:
3460:
3448:
3429:
3410:
3396:
3377:
3363:
3344:
3316:
3294:
3287:
3281:
3275:
3269:
3250:
3244:
3221:
3215:
3210:in such correct
3196:
3190:
3159:Niccolò Piccinni
3155:Niccolò Jommelli
3119:Luigi Boccherini
3096:
3090:
3073:
3067:
3060:Grove Dictionary
3048:
3042:
3035:Grove Dictionary
3027:
3021:
3018:Grove Dictionary
3014:Fenaroli, Fedele
3010:
3004:
2997:
2991:
2990:
2988:
2987:
2981:
2975:. Archived from
2974:
2966:
2960:
2959:
2957:
2956:
2950:
2944:. Archived from
2943:
2935:
2929:
2928:
2926:
2925:
2919:
2913:. Archived from
2912:
2904:
2898:
2887:
2881:
2860:
2854:
2834:
2828:
2819:
2813:
2810:L'Armida tradita
2803:
2797:
2785:
2765:
2759:
2753:
2747:
2741:
2730:
2720:
2714:
2708:
2702:
2696:
2690:
2666:
2660:
2654:
2648:
2642:
2636:
2624:
2618:
2613:, p. 1087,
2603:
2597:
2594:
2588:
2577:
2571:
2561:
2555:
2549:
2543:
2532:
2526:
2511:
2505:
2500:
2491:
2477:
2471:
2465:
2459:
2452:
2446:
2440:
2434:
2428:
2422:
2416:
2410:
2404:
2387:
2381:
2360:
2354:
2303:
2276:, azione sacra (
2239:
1950:Tommaso Giordani
1944:(Venice?, 1762?)
1887:Niccolò Piccinni
1860:tragédie lyrique
1829:tragédie lyrique
1783:tragédie lyrique
1755:tragédie lyrique
1407:Adriano in Siria
987:L'amore in campo
756:Premiere (place)
744:
743:
663:Giuseppe Carpani
528:Marie Antoinette
418:Marie Antoinette
365:Niccolò Piccinni
310:Giuseppe Millico
293:Giuseppe Millico
243:Saint Petersburg
213:Teatro Argentina
160:Teatro San Carlo
69:Niccolò Piccinni
55:, but raised in
34:Antonio Sacchini
21:
3743:
3742:
3738:
3737:
3736:
3734:
3733:
3732:
3668:
3667:
3666:
3661:
3647:
3564:
3559:
3497:
3473:
3458:
3455:
3445:
3426:
3360:
3341:
3321:DiChiera, David
3307:
3302:
3297:
3288:
3284:
3276:
3272:
3266:Wayback Machine
3251:
3247:
3222:
3218:
3197:
3193:
3183:David Wyn Jones
3171:Johann Schobert
3163:Gaetano Pugnani
3151:Ignaz Holzbauer
3097:
3093:
3074:
3070:
3049:
3045:
3028:
3024:
3011:
3007:
2998:
2994:
2985:
2983:
2979:
2972:
2968:
2967:
2963:
2954:
2952:
2948:
2941:
2937:
2936:
2932:
2923:
2921:
2917:
2910:
2906:
2905:
2901:
2888:
2884:
2861:
2857:
2835:
2831:
2820:
2816:
2804:
2800:
2779:
2766:
2762:
2754:
2750:
2742:
2733:
2721:
2717:
2709:
2705:
2697:
2693:
2667:
2663:
2655:
2651:
2643:
2639:
2625:
2621:
2609:, p. 114,
2604:
2600:
2595:
2591:
2578:
2574:
2562:
2558:
2550:
2546:
2533:
2529:
2512:
2508:
2501:
2494:
2478:
2474:
2466:
2462:
2453:
2449:
2441:
2437:
2429:
2425:
2417:
2413:
2405:
2390:
2382:
2363:
2355:
2351:
2347:
2317:
2214:, psalm, Venice
2034:
2007:string quartets
1966:
1924:Fedele Fenaroli
1906:(Naples, 1761)
1880:
1852:
1751:
1641:L'amore soldato
1509:19 January 1773
1249:
1224:L'isola d'amore
1142:4 November 1764
813:Olimpia tradita
759:Premiere (date)
742:
730:
643:
455:Henri Desmarets
401:as Rodrigue in
392:
376:L'amore soldato
355:, which became
344:, now entitled
342:L'isola d'amore
306:
239:Tommaso Traetta
156:Olimpia tradita
130:Tommaso Traetta
123:
111:Nicola Fiorenza
88:
83:
28:
23:
22:
15:
12:
11:
5:
3741:
3731:
3730:
3725:
3720:
3715:
3710:
3705:
3700:
3695:
3690:
3685:
3680:
3663:
3662:
3652:
3649:
3648:
3646:
3645:
3637:
3633:Ĺ’dipe Ă Colone
3629:
3621:
3613:
3605:
3597:
3589:
3581:
3572:
3570:
3566:
3565:
3558:
3557:
3550:
3543:
3535:
3529:
3528:
3518:
3508:
3496:
3495:External links
3493:
3492:
3491:
3482:
3479:Ĺ’dipe Ă Colone
3477:ELPE-Musique:
3471:
3454:
3453:Online sources
3451:
3450:
3449:
3443:
3430:
3424:
3411:
3397:
3378:
3364:
3358:
3345:
3339:
3317:
3306:
3303:
3301:
3298:
3296:
3295:
3282:
3270:
3255:Ĺ’dipe Ă Colone
3245:
3216:
3191:
3175:Johann Stamitz
3103:Robert Bremner
3091:
3068:
3050:Reported as a
3043:
3022:
3005:
2992:
2961:
2930:
2899:
2882:
2855:
2829:
2814:
2798:
2760:
2758:, p. 168.
2748:
2731:
2723:Ĺ’dipe Ă Colone
2715:
2713:, p. 355.
2703:
2691:
2687:Menus Plaisirs
2661:
2649:
2637:
2619:
2598:
2589:
2572:
2556:
2544:
2527:
2506:
2492:
2472:
2460:
2447:
2435:
2433:, p. 167.
2423:
2411:
2388:
2361:
2348:
2346:
2343:
2316:
2313:
2312:
2311:
2305:
2289:
2288:
2281:
2270:
2263:
2255:Missa solemnis
2250:
2241:
2226:
2221:azione sacra (
2215:
2208:
2199:
2184:
2173:
2166:
2151:
2148:Aurae de caelo
2144:
2137:
2128:
2117:
2110:
2099:
2086:
2077:
2070:
2060:
2053:
2033:
2030:
2029:
2028:
2025:
2010:
2003:
2000:basso continuo
1988:
1978:
1965:
1962:
1961:
1960:
1959:
1958:
1947:
1946:
1945:
1934:
1933:
1932:
1931:(Naples, 1759)
1929:I due sediarii
1921:
1920:
1919:
1918:(Naples, 1762)
1913:
1912:(Naples, 1761)
1907:
1901:
1895:
1879:
1876:
1873:
1872:
1870:
1867:
1864:
1861:
1858:
1844:
1843:
1841:
1840:4 January 1786
1838:
1833:
1830:
1827:
1824:Ĺ’dipe Ă Colone
1819:
1818:
1815:
1812:
1809:
1806:
1798:
1797:
1795:
1792:
1787:
1784:
1781:
1773:
1772:
1770:
1767:
1762:
1759:
1748:
1740:
1739:
1737:
1734:
1731:
1729:
1727:
1721:
1720:
1718:
1715:
1712:
1710:
1707:
1701:
1700:
1698:
1695:
1692:
1689:
1686:
1684:Enea e Lavinia
1680:
1679:
1677:
1674:
1671:
1668:
1667:dramma giocoso
1665:
1659:
1658:
1655:
1652:
1649:
1646:
1645:dramma giocoso
1643:
1637:
1636:
1634:
1631:
1628:
1625:
1622:
1616:
1615:
1613:
1610:
1607:
1605:
1602:
1596:
1595:
1593:
1590:
1587:
1584:
1581:
1575:
1574:
1572:
1569:
1566:
1563:
1560:
1554:
1553:
1551:
1548:
1545:
1542:
1539:
1533:
1532:
1530:
1527:
1524:
1522:
1519:
1513:
1512:
1510:
1507:
1504:
1502:
1499:
1493:
1492:
1490:
1487:
1482:
1480:
1477:
1471:
1470:
1464:
1461:
1458:
1455:
1452:
1444:
1443:
1441:
1438:
1435:
1433:
1430:
1424:
1423:
1421:
1418:
1415:
1413:
1410:
1402:
1401:
1399:
1396:
1393:
1391:
1388:
1382:
1381:
1379:
1376:
1371:
1369:
1366:
1358:
1357:
1355:
1354:8 January 1770
1352:
1347:
1345:
1342:
1336:
1335:
1333:
1330:
1327:
1324:
1321:
1315:
1314:
1312:
1309:
1306:
1303:
1300:
1294:
1293:
1291:
1288:
1285:
1282:
1279:
1273:
1272:
1270:
1267:
1262:
1260:
1258:
1252:
1251:
1238:
1235:
1232:
1229:
1228:dramma giocoso
1226:
1220:
1219:
1216:
1213:
1210:
1208:
1205:
1197:
1196:
1189:
1186:
1183:
1180:
1177:
1169:
1168:
1165:
1162:
1159:
1156:
1153:
1147:
1146:
1143:
1140:
1137:
1135:
1132:
1126:
1125:
1123:
1120:
1115:
1113:
1110:
1104:
1103:
1101:
1098:
1095:
1092:
1089:
1083:
1082:
1071:
1068:
1063:
1060:
1057:
1051:
1050:
1048:
1045:
1042:
1040:
1037:
1029:
1028:
1026:
1023:
1018:
1015:
1012:
1006:
1005:
1003:
1000:
997:
994:
992:dramma giocoso
989:
983:
982:
980:
977:
974:
972:
969:
963:
962:
960:
957:
954:
952:
947:
941:
940:
938:
935:
932:
930:
927:
921:
920:
918:
915:
912:
910:
907:
901:
900:
898:
895:
892:
890:
885:
879:
878:
871:
868:
863:
860:
857:
851:
850:
848:
845:
842:
840:
837:
831:
830:
828:
825:
822:
820:
815:
809:
808:
806:
803:
800:
798:
795:
789:
788:
786:
783:
778:
775:
770:
764:
763:
760:
757:
754:
751:
748:
741:
738:
729:
726:
718:David DiChiera
710:." Writing in
679:Ĺ’dipe Ă Colone
652:Ĺ’dipe Ă Colone
642:
639:
634:Ĺ’dipe Ă Colone
626:Ĺ’dipe Ă Colone
555:Ĺ’dipe Ă Colone
526:A portrait of
399:Étienne Lainez
391:
388:
373:dramma giocoso
338:dramma giocoso
305:
302:
261:Charles Burney
122:
119:
87:
84:
82:
79:
74:Ĺ’dipe Ă Colone
61:King's Theatre
26:
9:
6:
4:
3:
2:
3740:
3729:
3726:
3724:
3721:
3719:
3716:
3714:
3711:
3709:
3706:
3704:
3701:
3699:
3696:
3694:
3691:
3689:
3686:
3684:
3681:
3679:
3676:
3675:
3673:
3660:
3650:
3643:
3642:
3638:
3635:
3634:
3630:
3627:
3626:
3622:
3619:
3618:
3614:
3611:
3610:
3606:
3603:
3602:
3598:
3595:
3594:
3590:
3587:
3586:
3582:
3579:
3578:
3574:
3573:
3571:
3567:
3563:
3556:
3551:
3549:
3544:
3542:
3537:
3536:
3533:
3526:
3522:
3519:
3516:
3512:
3509:
3506:
3502:
3499:
3498:
3490:
3488:
3483:
3481:
3480:
3472:
3470:
3468:
3464:
3457:
3456:
3446:
3444:2-296-01994-3
3440:
3436:
3431:
3427:
3425:0-313-24394-8
3421:
3417:
3412:
3408:
3407:
3402:
3398:
3394:
3390:
3386:
3385:
3379:
3375:
3374:
3369:
3365:
3361:
3355:
3351:
3346:
3342:
3336:
3332:
3331:
3326:
3325:Stanley Sadie
3322:
3318:
3314:
3309:
3308:
3293:
3292:
3286:
3280:
3274:
3267:
3263:
3260:
3256:
3249:
3242:
3238:
3236:
3230:
3226:
3220:
3213:
3209:
3205:
3201:
3195:
3188:
3184:
3180:
3176:
3172:
3168:
3164:
3160:
3156:
3152:
3148:
3147:Michael Haydn
3144:
3140:
3136:
3132:
3128:
3124:
3120:
3116:
3112:
3108:
3104:
3100:
3095:
3088:
3087:
3082:
3078:
3075:According to
3072:
3065:
3064:DiChiera 1997
3061:
3057:
3053:
3047:
3040:
3036:
3032:
3026:
3020:, II, p. 152.
3019:
3015:
3009:
3002:
3001:DiChiera 1997
2996:
2982:on 2007-06-17
2978:
2971:
2965:
2951:on 2007-07-11
2947:
2940:
2934:
2920:on 2007-07-11
2916:
2909:
2903:
2896:
2895:DiChiera 1997
2892:
2886:
2879:
2875:
2871:
2870:
2865:
2859:
2852:
2851:
2846:
2842:
2841:Il Gran Cidde
2838:
2833:
2826:
2825:
2818:
2811:
2807:
2802:
2795:
2791:
2790:
2783:
2778:
2774:
2770:
2769:DiChiera 1997
2764:
2757:
2752:
2746:, p. 115
2745:
2744:DiChiera 1997
2740:
2738:
2736:
2728:
2724:
2719:
2712:
2707:
2700:
2695:
2688:
2684:
2680:
2676:
2672:
2671:
2665:
2658:
2653:
2647:, p. 61.
2646:
2641:
2635:
2633:
2630:(article on:
2629:
2623:
2617:, p. 167
2616:
2612:
2608:
2607:DiChiera 1997
2602:
2593:
2586:
2582:
2576:
2570:, p. 311
2569:
2565:
2560:
2553:
2548:
2541:
2537:
2531:
2524:
2520:
2516:
2510:
2504:
2499:
2497:
2490:
2489:9788876002519
2486:
2482:
2476:
2469:
2464:
2457:
2451:
2445:, p. 30.
2444:
2439:
2432:
2427:
2420:
2415:
2408:
2403:
2401:
2399:
2397:
2395:
2393:
2386:, p. 114
2385:
2384:DiChiera 1997
2380:
2378:
2376:
2374:
2372:
2370:
2368:
2366:
2359:, p. 15.
2358:
2353:
2349:
2342:
2340:
2339:
2334:
2330:
2326:
2322:
2309:
2306:
2302:
2297:
2294:
2293:
2292:
2286:
2282:
2279:
2275:
2271:
2268:
2264:
2261:
2257:
2256:
2251:
2248:
2247:
2242:
2238:
2233:
2232:
2227:
2224:
2220:
2216:
2213:
2209:
2206:
2205:
2200:
2197:
2193:
2189:
2185:
2182:
2178:
2174:
2171:
2167:
2164:
2160:
2156:
2152:
2149:
2145:
2142:
2138:
2135:
2134:
2129:
2126:
2125:Kyrie, gloria
2122:
2118:
2115:
2111:
2108:
2104:
2100:
2097:
2093:
2092:
2087:
2084:
2083:
2078:
2075:
2071:
2069:
2065:
2061:
2058:
2054:
2051:
2047:
2043:
2042:
2041:
2039:
2026:
2023:
2019:
2015:
2011:
2008:
2004:
2001:
1997:
1993:
1989:
1986:
1984:
1979:
1976:
1972:
1971:
1970:
1956:
1953:
1952:
1951:
1948:
1943:
1940:
1939:
1938:
1935:
1930:
1927:
1926:
1925:
1922:
1917:
1914:
1911:
1908:
1905:
1902:
1899:
1896:
1893:
1890:
1889:
1888:
1885:
1884:
1883:
1871:
1868:
1865:
1862:
1859:
1856:
1851:
1850:
1846:
1845:
1842:
1839:
1837:
1834:
1831:
1828:
1826:
1825:
1821:
1820:
1816:
1813:
1810:
1807:
1805:
1804:
1800:
1799:
1796:
1793:
1791:
1790:Fontainebleau
1788:
1785:
1782:
1780:
1779:
1775:
1774:
1771:
1768:
1766:
1763:
1760:
1757:
1756:
1749:
1747:
1746:
1742:
1741:
1738:
1735:
1732:
1730:
1728:
1726:
1723:
1722:
1719:
1716:
1713:
1711:
1708:
1706:
1703:
1702:
1699:
1696:
1693:
1690:
1687:
1685:
1682:
1681:
1678:
1675:
1672:
1669:
1666:
1664:
1661:
1660:
1656:
1653:
1650:
1647:
1644:
1642:
1639:
1638:
1635:
1632:
1629:
1626:
1623:
1621:
1618:
1617:
1614:
1611:
1608:
1606:
1603:
1601:
1598:
1597:
1594:
1591:
1588:
1585:
1582:
1580:
1577:
1576:
1573:
1570:
1567:
1564:
1561:
1559:
1556:
1555:
1552:
1549:
1546:
1543:
1540:
1538:
1535:
1534:
1531:
1528:
1525:
1523:
1520:
1518:
1515:
1514:
1511:
1508:
1505:
1503:
1500:
1498:
1495:
1494:
1491:
1488:
1486:
1483:
1481:
1478:
1476:
1473:
1472:
1469:
1465:
1462:
1459:
1456:
1453:
1451:
1450:
1446:
1445:
1442:
1439:
1436:
1434:
1431:
1429:
1426:
1425:
1422:
1419:
1416:
1414:
1411:
1409:
1408:
1404:
1403:
1400:
1397:
1394:
1392:
1389:
1387:
1386:L'eroe cinese
1384:
1383:
1380:
1377:
1375:
1372:
1370:
1367:
1365:
1364:
1360:
1359:
1356:
1353:
1351:
1348:
1346:
1343:
1341:
1338:
1337:
1334:
1331:
1328:
1325:
1322:
1320:
1317:
1316:
1313:
1310:
1307:
1304:
1301:
1299:
1296:
1295:
1292:
1289:
1286:
1283:
1280:
1278:
1275:
1274:
1271:
1268:
1266:
1263:
1261:
1259:
1257:
1254:
1253:
1247:
1246:opéra-comique
1243:
1239:
1236:
1233:
1230:
1227:
1225:
1222:
1221:
1217:
1214:
1211:
1209:
1206:
1204:
1203:
1199:
1198:
1194:
1190:
1187:
1184:
1181:
1178:
1176:
1175:
1171:
1170:
1166:
1163:
1160:
1157:
1154:
1152:
1149:
1148:
1144:
1141:
1138:
1136:
1133:
1131:
1128:
1127:
1124:
1121:
1119:
1116:
1114:
1111:
1109:
1106:
1105:
1102:
1099:
1096:
1093:
1090:
1088:
1085:
1084:
1080:
1076:
1072:
1069:
1067:
1064:
1061:
1058:
1056:
1053:
1052:
1049:
1046:
1043:
1041:
1038:
1036:
1035:
1031:
1030:
1027:
1025:Carnival 1763
1024:
1022:
1019:
1016:
1013:
1011:
1008:
1007:
1004:
1001:
998:
995:
993:
990:
988:
985:
984:
981:
978:
975:
973:
970:
968:
965:
964:
961:
958:
955:
953:
951:
948:
946:
943:
942:
939:
936:
933:
931:
928:
926:
923:
922:
919:
916:
913:
911:
908:
906:
903:
902:
899:
896:
893:
891:
889:
886:
884:
881:
880:
876:
872:
869:
867:
864:
861:
858:
856:
853:
852:
849:
846:
843:
841:
838:
836:
833:
832:
829:
826:
823:
821:
819:
816:
814:
811:
810:
807:
804:
801:
799:
796:
794:
791:
790:
787:
784:
782:
779:
776:
774:
771:
769:
766:
765:
761:
758:
755:
752:
749:
746:
745:
737:
735:
725:
723:
719:
715:
714:
709:
705:
700:
696:
692:
688:
684:
680:
676:
672:
668:
664:
659:
657:
653:
648:
641:Musical style
638:
635:
631:
627:
621:
619:
615:
609:
607:
599:
597:
593:
592:
588:
584:
583:
578:
573:
567:
565:
561:
557:
556:
551:
547:
543:
542:
533:
529:
524:
520:
517:
512:
508:
507:
502:
501:
496:
491:
489:
485:
484:
479:
474:
470:
466:
465:
460:
456:
452:
448:
444:
440:
439:
434:
430:
425:
423:
419:
415:
406:
405:
400:
396:
387:
385:
384:Brigida Banti
381:
377:
374:
370:
366:
362:
358:
354:
351:
347:
343:
339:
335:
331:
327:
323:
319:
315:
311:
298:
295:, the famous
294:
290:
286:
284:
280:
276:
272:
271:
266:
262:
258:
256:
252:
248:
247:Nancy Storace
244:
240:
236:
232:
231:
226:
221:
218:
215:, 1764), and
214:
210:
206:
202:
198:
194:
190:
186:
185:Apostolo Zeno
182:
177:
175:
171:
167:
166:
161:
157:
154:
153:
148:
144:
140:
131:
127:
118:
116:
115:Gennaro Manna
112:
108:
104:
100:
97:
93:
78:
76:
75:
70:
66:
62:
58:
54:
49:
47:
44:
43:classical era
40:
32:
19:
3639:
3631:
3623:
3615:
3607:
3599:
3591:
3583:
3575:
3561:
3517:(ChoralWiki)
3484:
3478:
3466:
3465:(article on
3462:
3459:(in Italian)
3434:
3415:
3405:
3383:
3372:
3349:
3328:
3312:
3305:Bibliography
3290:
3285:
3273:
3259:ELPE-Musique
3254:
3248:
3237:Musica Sacra
3232:
3219:
3203:
3194:
3186:
3098:
3094:
3084:
3080:
3071:
3059:
3055:
3046:
3038:
3034:
3030:
3025:
3017:
3013:
3008:
2995:
2984:. Retrieved
2977:the original
2964:
2953:. Retrieved
2946:the original
2933:
2922:. Retrieved
2915:the original
2902:
2889:Reported by
2885:
2877:
2873:
2868:
2858:
2848:
2844:
2840:
2832:
2823:
2817:
2809:
2801:
2793:
2787:
2772:
2763:
2751:
2726:
2722:
2718:
2711:Lajarte 1878
2706:
2694:
2686:
2679:Jullien 1878
2675:Florimo 1869
2668:
2664:
2656:
2652:
2645:Jullien 1878
2640:
2631:
2627:
2622:
2601:
2592:
2584:
2580:
2579:Bruce Carr,
2575:
2568:Lajarte 1878
2559:
2552:Jullien 1878
2547:
2535:
2530:
2522:
2518:
2514:
2509:
2480:
2475:
2467:
2463:
2455:
2450:
2438:
2426:
2414:
2352:
2337:
2332:
2318:
2308:Regina caeli
2307:
2295:
2290:
2284:
2277:
2274:Nuptiae Ruth
2273:
2266:
2259:
2258:in D major (
2253:
2246:Regina caeli
2244:
2229:
2222:
2218:
2211:
2202:
2195:
2192:azione sacra
2187:
2179:in F major,
2177:Salve Regina
2176:
2169:
2158:
2154:
2147:
2140:
2131:
2124:
2123:in D major (
2113:
2105:in B major,
2102:
2094:in G major,
2091:Salve Regina
2089:
2080:
2073:
2066:, oratorio,
2063:
2056:
2045:
2035:
2032:Sacred music
1992:trio sonatas
1980:
1967:
1954:
1941:
1928:
1915:
1909:
1903:
1897:
1891:
1881:
1847:
1822:
1801:
1776:
1753:
1743:
1724:
1704:
1683:
1662:
1640:
1619:
1599:
1578:
1557:
1536:
1516:
1496:
1474:
1467:
1447:
1427:
1405:
1385:
1361:
1339:
1318:
1297:
1276:
1255:
1241:
1223:
1200:
1192:
1172:
1150:
1129:
1107:
1086:
1078:
1054:
1032:
1009:
986:
966:
944:
924:
904:
883:Il testaccio
882:
873:Revised for
855:La vendemmia
854:
834:
812:
793:Il giocatore
792:
767:
731:
721:
711:
682:
678:
660:
655:
651:
646:
644:
633:
625:
622:
613:
611:
602:
595:
589:
580:
571:
569:
553:
539:
536:
510:
504:
498:
492:
487:
481:
472:
468:
462:
458:
450:
442:
436:
426:
410:
402:
379:
375:
372:
356:
352:
349:
345:
341:
337:
333:
325:
321:
307:
268:
264:
259:
228:
224:
222:
216:
208:
204:
200:
188:
180:
178:
173:
169:
163:
155:
150:
143:Il giocatore
142:
138:
135:
89:
72:
50:
38:
37:
3683:1786 deaths
3678:1730 births
3474:(in French)
3107:Thomas Arne
2869:Opera Glass
2824:Opera Glass
2780: [
2536:opera seria
2278:actio sacra
2223:actio sacra
2196:actio sacra
2018:harpsichord
1981:Periodical
1709:opera seria
1688:opera seria
1624:opera seria
1604:opera seria
1583:opera seria
1562:opera seria
1541:opera seria
1521:opera seria
1501:opera seria
1479:opera seria
1454:opera seria
1432:opera seria
1412:opera seria
1390:opera seria
1374:Ludwigsburg
1368:opera seria
1344:opera seria
1323:opera seria
1302:opera seria
1281:opera seria
1207:opera buffa
1179:opera seria
1134:opera seria
1112:opera seria
1091:opera seria
1079:L'olympiade
1059:opera seria
1039:opera seria
1014:opera seria
971:opera buffa
967:Li due bari
937:30 May 1761
929:opera seria
888:opera buffa
777:2 acts
704:grand opera
687:recitatives
654:and one of
530:in 1783 by
369:Paris Opéra
357:L'Olympiade
353:L'Olimpiade
350:opera seria
279:Ludwigsburg
225:opere buffe
165:opera seria
152:opera buffa
139:Fra' Donato
3672:Categories
3233:Creator –
3225:Sauvé 2006
3208:Sauvé 2006
3077:Sauvé 2006
2999:Stated by
2986:2006-05-27
2955:2006-05-27
2924:2006-05-27
2891:Sauvé 2006
2864:Sauvé 2006
2837:Sauvé 2006
2806:Sauvé 2006
2699:Sauvé 2006
2683:Sauvé 2006
2564:Pitou 1985
2503:Sauvé 2006
2443:Sauvé 2006
2419:Sauvé 2006
2357:Sauvé 2006
2159:modi sacri
2082:Magnificat
1994:, for two
1836:Versailles
1242:La colonie
1195:, in 1781
1155:intermezzo
1130:Lucio Vero
859:intermezzo
797:intermezzo
773:intermezzo
768:Fra Donato
734:Sauvé 2006
348:, and the
346:La colonie
255:Fiordiligi
217:Lucio Vero
193:Metastasio
3527:catalogue
3393:14017446M
3212:classical
3187:Soundings
3052:pasticcio
2862:Cited by
2845:Cidde, Il
2821:Cited by
2611:Caruselli
2407:Caruselli
2280:), Venice
2262:), Venice
2225:), Venice
2198:), Venice
2127:), Venice
1975:sinfonias
1705:Mitridate
1579:Montezuma
1517:Tamerlano
1319:Nicoraste
1277:Artaserse
1075:pasticcio
1055:Olimpiade
925:Andromaca
875:Barcelona
699:cabaletta
380:intermède
326:Tamerlano
211:in Rome (
201:Olimpiade
174:Andromaca
170:Andromaca
3625:Dardanus
3593:Calliroe
3403:(1878).
3370:(1869).
3262:Archived
2329:cantatas
2231:Miserere
2165:, Venice
2109:, Venice
2098:, Venice
2096:antiphon
2052:, Naples
2050:oratorio
2038:tonality
1983:Overture
1808:tragédie
1803:Dardanus
1475:Vologeso
1363:Calliroe
1298:Il Cidde
1118:Florence
950:farsetta
909:commedia
877:in 1767
839:commedia
818:commedia
708:Spontini
695:cavatina
683:Dardanus
541:Dardanus
334:pasticci
314:castrati
297:castrato
270:Calliroe
53:Florence
46:composer
18:Sacchini
3617:Chimène
3523:in the
3513:in the
3507:(IMSLP)
3503:at the
3327:(ed.).
3300:Sources
2970:"score"
2939:"score"
2908:"score"
2866:and by
2538:at the
2515:Rinaldo
2285:Juditta
2133:Te Deum
2068:Bologna
2014:sonatas
1996:violins
1942:Villano
1778:Chimène
1620:Erifile
1558:Nitteti
1468:Rinaldo
691:ariosos
667:da capo
511:Chimène
500:Chimène
469:Rinaldo
404:Chimène
96:infante
3644:(1788)
3636:(1786)
3628:(1784)
3620:(1783)
3612:(1783)
3609:Renaud
3604:(1772)
3601:Armida
3596:(1770)
3588:(1765)
3580:(1765)
3569:Operas
3467:Renaud
3441:
3422:
3391:
3356:
3337:
3235:Faenza
3204:caelum
3143:Joseph
2727:Renaud
2657:Phèdre
2632:Renaud
2523:Renaud
2519:Armida
2487:
1957:(1770)
1863:3 acts
1832:3 acts
1811:4 acts
1786:3 acts
1761:3 acts
1745:Renaud
1733:London
1725:Rosina
1714:London
1694:London
1691:3 acts
1673:London
1670:3 acts
1651:London
1648:3 acts
1630:London
1627:3 acts
1609:London
1589:London
1586:3 acts
1568:London
1565:3 acts
1547:London
1544:3 acts
1537:Perseo
1526:London
1506:London
1497:Il Cid
1457:3 acts
1449:Armida
1437:Naples
1417:Venice
1395:Munich
1350:Munich
1329:Venice
1326:3 acts
1305:3 acts
1284:3 acts
1231:2 acts
1193:Euriso
1185:Naples
1182:3 acts
1158:2 acts
1139:Naples
1108:Eumene
1094:3 acts
1062:3 acts
1044:Venice
1021:Venice
1017:3 acts
996:2 acts
976:Naples
934:Naples
914:Naples
844:Naples
824:Naples
802:Naples
781:Naples
740:Operas
656:Renaud
591:Phèdre
572:Oedipe
519:him."
495:El Cid
488:Renaud
473:Renaud
464:Armida
459:Renaud
443:Renaud
438:Renaud
322:Il Cid
304:London
275:Munich
205:Eumene
92:Naples
57:Naples
3577:Creso
3202:word
3200:Latin
3181:. Cf
3081:Grove
3058:, in
3033:, in
3016:, in
2980:(PDF)
2973:(PDF)
2949:(PDF)
2942:(PDF)
2918:(PDF)
2911:(PDF)
2847:, in
2784:]
2583:, in
2325:arias
2321:duets
2283:1786
2272:1772
2265:1772
2252:1772
2243:1772
2228:1772
2217:1771
2210:1771
2201:1771
2186:1770
2175:1770
2168:1769
2163:motet
2153:1769
2146:1769
2139:1769
2130:1769
2119:1769
2112:1768
2107:psalm
2101:1768
2088:1768
2079:1768
2072:1768
2062:1766
2055:1764
2044:1761
2022:piano
1985:n. 49
1866:Paris
1817:1784
1814:Paris
1765:Paris
1750:opéra
1485:Parma
1265:Milan
1174:Creso
1066:Padua
862:1 act
750:Genre
747:Title
728:Works
722:Ĺ’dipe
713:Grove
671:rondò
596:Ĺ’dipe
577:salon
516:Grimm
506:Didon
478:Tasso
390:Paris
318:Gluck
65:Gluck
3439:ISBN
3420:ISBN
3354:ISBN
3335:ISBN
3145:and
3003:too.
2605:cf.
2485:ISBN
2298:in E
2234:in E
2181:hymn
2121:Mass
2016:for
1998:and
1869:1788
1794:1783
1769:1783
1736:1783
1717:1781
1697:1779
1676:1778
1654:1778
1633:1778
1612:1775
1592:1775
1571:1774
1550:1774
1529:1773
1489:1772
1463:1772
1440:1771
1428:Ezio
1420:1770
1398:1770
1378:1770
1332:1769
1311:1769
1308:Roma
1290:1768
1287:Rome
1269:1766
1237:1766
1234:Rome
1215:1765
1212:Rome
1188:1765
1164:1765
1161:Rome
1122:1764
1100:1764
1097:Rome
1070:1763
1047:1763
1002:1762
999:Rome
979:1762
959:1761
956:Rome
917:1760
897:1760
894:Rome
870:1760
866:Rome
847:1759
827:1758
805:1757
785:1756
753:Acts
697:and
606:gout
277:and
267:and
81:Life
67:and
2161:),
2020:or
706:of
548:'s
480:'s
273:in
3674::
3389:OL
3177:,
3173:,
3169:,
3165:,
3161:,
3157:,
3153:,
3149:,
3141:,
3137:,
3133:,
3129:,
3125:,
3121:,
3117:,
3113:,
3109:,
2872:.
2782:de
2734:^
2525:).
2495:^
2391:^
2364:^
2327:,
2190:,
2048:,
2040:.
2012:6
2005:6
1990:6
1973:2
716:,
689:,
658:.
386:.
168:,
3554:e
3547:t
3540:v
3469:)
3447:.
3428:.
3395:.
3362:.
3343:.
3239:(
3089:.
3041:.
2989:.
2958:.
2927:.
2897:.
2827:.
2812:.
2634:)
2194:(
2157:(
1857:)
1758:)
1752:(
1248:.
449:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.