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225:' Immediately after this song, Storace had to sing one, and was determined to bring a bomba into the field also. She attempted it, and executed it, to the admiration and astonishment of the audience, but to the dismay of poor Marchesi. Campigli, the manager, requested her to discontinue it, but she peremptorily refused, saying that she had as good a right to shew the power of her bomba as any body else. The contention was brought to a close by Marchesi's declaring that if she did not leave the company,
599:, years later sought and obtained leave from Queen Victoria to change his family's name to Meadows, his petition having been received on the ground that his wife was the sole heir of her maternal grandfather of that name. In his mother's will, bequeathing property to the amount of £50,000, she styled herself a "spinster", though legally speaking she died a widow, predeceasing her widowed mother.
527:, a 40-year-old composer and violinist. The marriage went badly, as Fisher abused and may have beaten her. Word of this got to the Emperor, who was heavily involved in running his opera company, and he ordered Fisher to leave Vienna. Fisher complied, moving to Ireland. Storace was pregnant with a child, which was born on 30 January 1785; this daughter, Josepha Fisher, lived until 17 July 1785.
489:
as well as the performers. The loss of the first female singer, who was a great and deserved favourite, was to the composer, her brother, a severe blow. I never shall forget her despair and disappointment, but she was not then prepared for the extent of her misfortune, for she did not recover her voice sufficiently to appear on stage for five months.
105:. A sudden failure of her voice in 1785 caused her to withdraw from the stage for five months; though her career continued to be successful, she never fully recovered her former vocal prowess. After marrying in 1784, she left Vienna in 1787 and returned to London, where she continued her career, notably singing in her brother
202:, was engaged at the Pergola theatre. He was then in his prime, and attracted not only all Florence, but I may say all Tuscany. Storace was engaged to sing second woman in his operas; and to the following circumstance, well known all over the Continent, did she owe her sudden elevation in her profession.
510:
Even after the five months absence was over, Storace's voice was apparently far from fully recovered. Goldovsky recounts the subterfuges that both
Salieri and Mozart engaged in to make it possible for the recovering soprano to take major roles in their operas; Mozart in particular rewrote passages of
488:
A new opera, composed by
Stephen Storace, was produced ... Signora Storace and myself had the two principal parts in it. In the middle of the first act, Storace all at once lost her voice, and could not utter a sound during the whole of the performance; this naturally threw a damp over the audience,
587:
concerts that featured Haydn's music. She also sang in the ninth and eleventh concerts as well as in the benefit concert for Haydn, and in the concert that celebrated the awarding of an honorary doctorate to Haydn by the
University of Oxford. She also performed in concerts with Haydn during his
89:
Born in London, she began her singing career as a child prodigy in
England by the age of 12. This led to further study in Italy and to a successful singing career there during the late 1770s. While in Monza (or shortly before in Milan) in 1782, she was recruited to form part of Emperor
595:, though they never married. Their break-up in 1815 was acrimonious and may have contributed to Storace's sudden death the following year; at any rate their son, William Spencer Harris Braham, certainly believed it had. Spencer, who had become an Anglican clergyman and a minor canon of
121:. Her father was Stefano Storace, an Italian who had emigrated to Ireland in 1750 and worked there as a double bass player until 1756. By 1759 he was performing in London; a reviewer called him "the first performer of his time on the double-bass". Storace also translated opera
328:
suggest comparable enthusiasm for the music
Storace sang: "I find the duo between Mandini and Storace so tender and so expressive that it poses a danger to the young members of the audience. One needs to have had some experience in order to see it with a cool
397:, which premiered in Vienna on 1 May 1786; it is possible that her lively acting style was the inspiration for the central character of Susanna. Mozart evidently made on-the-spot changes to the vocal part in response to Storace's special needs. Author
614:
Matthews (1969) writes: "Even after her great success in Vienna and her subsequent popularity on the
English stage, her voice was said to have had a sort of twang, and it was her vivacity and gift for comedy which made her reputation."
321:
seem astonishingly unguarded: "Storace played like an angel. Her beautiful eyes, her white neck, her beautiful throat, her fresh mouth, made a charming effect." His 1787 comments on the duet, "Pace, caro mio sposo," in
1208:
Reminiscences of
Michael Kelly, of the King's theatre, and Theatre royal Drury lane: including a period of nearly half a century; with original anecdotes of many distinguished persons, political, literary, and
361:
Storace was on friendly terms with both Mozart and Joseph Haydn. Mozart had been living and working in Vienna since 1781; Haydn enjoyed his visits to Vienna but was compelled by his employment with Prince
237:
As any singing teacher will tell you, a fifteen or sixteen-year-old girl sustaining extremely high tones "with exquisite power and strength" is likely, sooner or later, to injure her vocal cords.
653:
Pesqué 2017, p. 56-57 quotes a letter dated
November 1785 from Poet Giovanni Battista Casti who informs his correspondent that Storace and Benucci have been already recruited for Vienna.
515:
at lower pitch to help
Storace get through her performances. Modern performances use the pitch values assigned by Mozart to later sopranos in the Prague and Vienna revival performances.
458:
mit klavierSolo. für Mad:selle storace und mich."), was very likely performed by her, with Mozart himself playing the piano part, at her farewell concert. In 2011 the
British composer
386:
in March 1784. Haydn later visited Storace with her brother Stephen in their home and played chamber music. He also wrote a cantata "for the voice of my dear Storace", thought to be
551:
in London that year. In fact, she hoped to return to Vienna for the 1788 Easter season, but the Emperor's opera budget would no longer permit it, as he had embarked on
282:
According to Dorothea Link, Storace performed in about 20 operas during her stay in Vienna. She sang in several world premieres in 1780s, including Susanna in Mozart's
352:; the joy which this music causes is so far removed from all sensuality that one cannot speak of it. Where could words be found that are worthy to describe such joy?
159:
In 1778, Storace travelled to Naples in the company of her parents; her older brother Stephen was already there studying composition. She studied in Venice under
1046:
Rumors about Storace's and Braham's affair appears in the English newspapers in May 1796. Paragraphs mentioning the affair are quoted in Pesqué 2017, p. 233-234.
163:. The visit to Italy became an extended one as Storace embarked on a very successful career there, singing at first minor roles, then major ones. The composer
579:
In 1791, Joseph Haydn arrived in London on the first of his two visits there, during which he achieved wealth and fame and for which composed his twelve
1230:
398:
503:, celebrating Storace's return to the stage. The cantata was believed to be lost until its discovery in November 2015 by musicologist and composer
333:
After Storace left Vienna in 1787, Zinzendorf's diary entries repeatedly express regret that later sopranos could not live up to her performances.
1297:
250:
Silhouette of Francesco Benucci and Anna Storace by Hieronymous Loeschenkohl, from Oesterreichischer National Taschenkalender, Vienna 1786-1787
173:(1782, Milan) specifically for her; it achieved great success. shortly afterwards, Storace was recruited for Vienna along with the outstanding
1368:
415:
When she was about to leave Vienna, Storace performed in a farewell concert on 23 February 1787. For this occasion Mozart wrote the concert
229:
would; and unjust as it was, the manager was obliged to dismiss her, and engage another lady, who was not so ambitious of exhibiting a bomba.
94:'s new Italian opera company in Vienna, where the assembled singers who joined her "created in the two years leading up to the premiere of
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266:, who was both an experienced former theatre director and the Emperor's ambassador, engaged Michael Kelly, as he states in his
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Storace seems often to have made a powerful impression on audience members. Hunter describes and quotes the diary of Count
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Pesqué 2017, pp. 414-415, 420-431-441 provides a comprehensive list of Storace's performances in concert in England.
454:", is a duet for soprano and piano with orchestra which, in view of Mozart's note in his own thematic catalogue ("
583:. Storace resumed her friendship and collaboration with Haydn at this time. She appeared in the first two of the
478:
On 1 June 1785, Storace suffered a catastrophic failure of her voice during a performance of her brother's opera
924:
194:
The skill and self-confidence of the young soprano is illustrated by an oft-repeated anecdote told by Kelly:
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191:, who was for a long time her colleague as well as a friend. Kelly mentions her frequently in his memoirs.
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Storace, the beautiful singer, enchanted eye, ear, and soul. – Mozart directed the orchestra, playing his
1158:
The Adult Mozart: A Personal Perspective, Book I: The Abduction from the Seraglio; The Marriage of Figaro
497:(in whose operas Storace also performed) and an unknown composer, Cornetti, on a short cantata entitled
258:
founded a new opera company specialising in Italian opera buffa. At the time Storace was singing at the
424:
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992:
Geiringer 1982, p. 103: Haydn's diary mentions a dinner with Nancy and Stephen Storace on 3 June 1792
974:
Heartz 2009, p. 196: Indeed, the Emperor planned to eliminate the entire company, but later relented.
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and later remembered the powerful impression the work made on him, mentioning Storace in particular:
902:, who was Storace's friend, wrote "it was said he had a very striking way of enforcing his opinion."
297:
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302:
233:
Goldovsky suggests that in such exploits Storace was "planting the seeds" of later vocal trouble:
221:, the last of which he gave with such exquisite power and strength, that it was ever after called '
117:
Nancy Storace's mother was Elizabeth Trusler, the daughter of a pastry cook and the proprietor of
1140:(Chapter 8, "Anna Selina Storace (27 October 1765 – 24 August 1817)"). Greenwood Publishing Group
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Nancy Storace was born 1765 in London. She was a child prodigy: she first performed in public in
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82:
32:
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762:
Link 2002, pp. xiv–xvi. This work provides a complete listing of Storace's opera performances.
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She was very well liked, and afterword went to Florence, where the celebrated soprano singer,
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109:'s operas. She remained in London, but by 1808 had retired from the stage. She died in 1817.
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214:', which Marchesi sung with the most ravishing taste; in one passage he ran up a voletta of
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and Benucci, who was also singing with her, were offered high salaries, over 4000 florins.
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She contributed greatly to the success of her brother Stephen Storace's operas, including
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Robbins Landon 1989, p. 163 states: "the family pronounced her name in the Italian ".
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while doing research on Salieri in the collections of the Czech Museum of Music.
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from Italian into English, and arranged music for performance. Their older child
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484:("The unhappily married couple"). Kelly describes the event in his memoirs:
68:; 27 October 1765 – 24 August 1817), known professionally as
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1180:(Kristine K. Forney, et Jeremy L. Smith, ed.) Hillsdale, 2012, p. 218-233.
367:
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1244:. Translated by Lydia G. Cochrane. Chicago: University of Chicago Press.
964:. Vol. 25 (11th ed.). Cambridge University Press. p. 968.
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A Biographical Dictionary of Actors, Volume 14, S. Siddons to Thynne
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in 1773; in April 1774 she made her first London appearance at the
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Haydn in England, 1791–1795 (Haydn: Chronicle and Works, Vol.III)
934:, Mozart-Jahrbuch 2007/08. Bärenreiter, Kassel etc., 2011, p. 228
547:
In 1787 she returned to England, where she first appeared at the
412:, suggested that Mozart and Storace may have had a love affair.
73:
931:
Melanie Unseld: Mozarts Frauen. Begegnungen in Musik und Liebe.
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Patricia Lewy Gidwitz and Betty Matthews: "Storace, Nancy " in
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From Kazinczy's 1828 autobiography; quoted in Deutsch (1965)
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Vienna, Evangelisch-Reformierte Stadtkirche H.B., No. 4985.
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In around 1796 Storace began a long liaison with the tenor
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Non temer, amato bene" for her. The work, which is headed "
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1111:
Music and Theatre in Handel's World: The Family Papers of
129:, who also achieved fame as a musician, was born in 1762.
1301:(New York: Grove, 2001). Published separately as a book:
1221:
Matthews, Betty (1969) "The Childhood of Nancy Storace."
780:
See Deutsch (1965), references for index entry "Storace".
470:
taking words from this concert aria as a starting point.
862:"Lost Mozart Composition for Nancy Storace Rediscovered"
98:, were welded into the finest buffa ensemble anywhere."
1178:
Sleuthing the Muse. Essays in Honor of William Prizer.
1295:, and Georg Feder (2001), "Joseph Haydn", article in
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and premiered the role of Cupido in Rauzzini's opera
682:
680:
356:
1289:, 2nd edition, Oxford University Press. p. 479
695:Jane Girdham: "Storace, Stephen (John Seymour)" in
286:(with Benucci in the title role), the Countess in
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602:Storace is buried at St Mary-at-Lambeth (now the
393:Storace would have worked closely with Mozart on
1335:
270:. With further recruitment like the librettist
1298:The New Grove Dictionary of Music and Musicians
317:1783 comments about Nancy Storace as Dorina in
1109:Burrows, Donald and Rosemarie Dunhill (2002),
408:, expanding on earlier claims of musicologist
1198:The culture of opera buffa in Mozart's Vienna
518:
1324:Anna "Nancy" Storace, Mozart's First Susanna
1168:Mozart, Haydn and Early Beethoven, 1781–1802
709:
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187:While in Italy, Storace met the Irish tenor
86:was written for and first performed by her.
1150:. Berkeley: University of California Press.
726:Kelly's quoted in Goldovsky 1991, pp. 22–23
606:), where there is a commemorative plaque.
101:In Vienna, she befriended both Mozart and
1249:Nancy Storace, muse de Mozart et de Haydn
1200:. Princeton: Princeton University Press.
944:
942:
940:
704:
661:
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140:. She studied voice with the celebrated
112:
36:Portrait of Nancy Storace, circa 1788 by
1268:. Bloomington: Indiana University Press.
1131:. Stanford: Stanford University Press.
1122:Nancy Storace, Mozart’s First ‘Susanna’.
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493:In Autumn 1785 Mozart collaborated with
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31:
1271:Robbins Landon, Howard Chandler (1989)
473:
464:Staatsorchester Rheinische Philharmonie
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1287:The Concise Oxford Dictionary of Opera
1010:Robbins Landon 1976, p. 73 & p. 81
1001:Robbins Landon 1976, p. 49 & p. 60
937:
656:
277:
1193:. Southern Illinois University Press.
523:On 29 March 1784, she was married to
435:dal suo servo ed amico W: A: Mozart.
63:
1242:Wolfgang Amadeus Mozart: A Biography
1124:London, 1987. (2 cd ed., 2000.)
1057:John Braham, from Meshorrer to Tenor
296:(also with Benucci) and Angelica in
274:an outstanding ensemble was formed.
1273:Mozart, the golden years, 1781–1791
1175:Nancy Storace, Mozart’s Susanna" in
848:Quoted in Goldovsky 1991, pp. 31–32
24:
858:International Mozarteum Foundation
674:Burrows & Dunhill 2002, p. 742
500:Per la ricuperata salute di Ofelia
25:
1390:
1369:Wolfgang Amadeus Mozart's singers
1354:English people of Italian descent
1317:
1134:Emerson, Isabelle Putnam (2005).
715:The New Grove Dictionary of Opera
698:The New Grove Dictionary of Opera
647:
357:Friendships with Haydn and Mozart
212:Semianza amabile del mio bel sole
170:Fra i due litiganti il terzo gode
1129:Mozart: A documentary biography
1262:Robbins Landon, Howard Chandler
1247:(fr) Pesqué, Emmanuelle (2017)
1148:Haydn: A Creative Life in Music
1137:Five Centuries of Women Singers
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568:, and she also appeared at the
431:Composto per la Sigra: storace
40:. Retouched version; click for
1117:, Oxford University Press, USA
720:
689:
668:
644:Emerson p. 97; Highfill p. 295
638:
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1170:. W. W. Norton & Company.
1160:. National Opera Association.
911:Michael Kelly says so in his
871:. Retrieved 13 February 2016.
618:
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366:to spend most of his time at
254:In 1783 the Austrian Emperor
553:an expensive war with Turkey
466:to write an orchestral work
206:had composed the celebrated
7:
1364:Pupils of Venanzio Rauzzini
1305:(New York: Macmillan 2002,
1127:Deutsch, Otto Erich (1965)
1087:"ClassicFM: Mozart in Love"
807:Webster 2002, pp. 22 and 66
588:second visit in 1794/1795.
539:Nancy Storace, c. 1790, by
10:
1395:
1028:Robbins Landon 1976, p. 88
717:, Vol. ??, p. ??
701:, Vol. ??, p. ??
530:
519:Marriage and personal life
340:attended a performance of
72:, was an English operatic
1379:Italian British musicians
1359:English operatic sopranos
1061:Jewish Historical Studies
241:
76:. The role of Susanna in
955:"Storace, Stephen"
827:"2011-10-11d Vorbericht"
377:Storace sang in Haydn's
303:Il burbero di buon cuore
154:
27:English operatic soprano
1216:Arias for Nancy Storace
1214:Link, Dorothea (2002),
1173:Heartz, Daniel (2012) "
1063:41, London, 2007, p. 60
961:Encyclopædia Britannica
867:31 January 2016 at the
816:Melograni 2006, p. 241
798:Geiringer 1982, p. 104
544:
541:Benjamin van der Gucht
513:The Marriage of Figaro
425:Ch'io mi scordi di te?
395:The Marriage of Figaro
342:The Marriage of Figaro
298:Vicente Martín y Soler
251:
113:Ancestry and childhood
96:The Marriage of Figaro
45:
1329:Divas of Mozart's Day
880:Goldovsky 1991, Ch. 2
839:Goldovsky 1991, p. 31
735:Goldovsky 1991, p. 23
686:Matthews 1969, p. 733
565:The Siege of Belgrade
538:
481:Gli sposi malcontenti
429:Recitativo con Rondò.
249:
223:La Bomba di Marchesi!
151:on 29 February 1776.
35:
1218:. A-R Editions, Inc.
1196:Hunter, Mary. 1999.
1183:Highfill, Philip H.
1072:Highfill, Philip H.
597:Canterbury Cathedral
570:Handel Commemoration
474:Failure of her voice
462:was commissioned by
293:La scuola de' gelosi
1303:The New Grove Haydn
1120:Chick, Leonard H.,
860:(19 January 2016).
753:Heartz 1986, p. 256
665:Parker 2001, p. 109
525:John Abraham Fisher
505:Timo Jouko Herrmann
383:Il ritorno di Tobia
336:The Hungarian poet
319:Fra i due litiganti
311:Karl von Zinzendorf
278:Vienna performances
65:[stoˈratʃe]
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364:Nikolaus Esterházy
284:Le nozze di Figaro
260:Teatro San Samuele
252:
180:. Storace as the
119:Marylebone Gardens
83:Le nozze di Figaro
46:
1279:Rosenthal, Harold
1275:. Schirmer Books.
1257:978-2-9560410-0-9
1251:. Paris: Pesqué.
1224:The Musical Times
1076:1991, XIV, p.303.
744:Link 2004, p. vii
581:London symphonies
574:Westminster Abbey
560:The Haunted Tower
262:in Venice. Count
178:Francesco Benucci
145:Venanzio Rauzzini
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165:Giuseppe Sarti
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57:Selina Storace
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913:Reminiscences
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900:Michael Kelly
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325:Una cosa rara
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268:Reminiscences
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149:L'ali d'amore
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1374:Joseph Haydn
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1227:110:733–735.
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1113:James Harris
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1103:
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1090:. Retrieved
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1073:
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915:, I, p. 229.
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103:Joseph Haydn
100:
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47:
29:
18:Anna Storace
1349:1817 deaths
1344:1765 births
1234: [
593:John Braham
543:(1753–1794)
402: [
374:, Austria.
182:prima donna
175:basso buffo
134:Southampton
1338:Categories
1092:14 January
929:Review of
619:References
610:Assessment
468:Tu Sospiri
417:recitative
388:Miseri noi
372:Eisenstadt
350:fortepiano
1115:1732–1780
368:Esterháza
256:Joseph II
92:Joseph II
1187:(1991).
865:Archived
379:oratorio
216:semitone
208:cavatina
200:Marchesi
142:castrato
123:libretti
61:Italian:
42:original
1285:(1979)
1264:(1976)
1240:(2006)
1209:musical
1206:(1826)
1166:(2009)
1156:(1991)
1146:(1982)
1104:Sources
585:Salomon
531:England
288:Salieri
219:octaves
204:Bianchi
74:soprano
1309:
1255:
1185:et al.
1074:et al.
442:li 26
329:head".
242:Vienna
78:Mozart
1238:]
624:Notes
440:viena
406:]
155:Italy
1307:ISBN
1281:and
1253:ISBN
1094:2021
562:and
450:br:
421:aria
419:and
51:(or
49:Anna
572:in
452:786
448:dec
446:di
300:'s
290:'s
80:'s
53:Ann
1340::
1313:).
1236:it
1059:,
958:.
939:^
927:,
706:^
679:^
658:^
555:.
404:it
306:.
227:he
55:)
1096:.
829:.
444:/
437:/
433:/
423:"
210:'
59:(
44:.
20:)
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