197:
20:
320:, as with the following operas, was performed on Tuesday and Saturday nights. The exact dates were as follows: Tuesday, November 4; Saturday, November 8; Tuesday, November 18; Saturday, November 22; Tuesday, November 25; and Saturday, November 29. The performances began at 6:00 P.M., and the opera included ballet. For the third performance, the advertisement announced the inclusion of some new arias. On 2 December 1746, the rehearsal of
216:, lists three other performances of this opera, but provides no documentation. The dates given are Florence, Carnival of 1743 and revived there 26 December 1749; Livorno during the Carnival of 1744; and Ancona during the Carnival of 1746. Since there are two extant manuscripts of this opera, it seems possible that there was at least one other performance. A libretto in the library of Santa Cecilia names Terradellas as the composer of a
913:
901:
220:, performed in Florence in 1750, but the attribution is only written in pencil on the flyleaf facing the title page. Comparison of this libretto with that of 1743 casts serious doubt on its authenticity. The 1750 libretto has 22 arias, only five of which have the same text as the arias in the 1743 libretto.
272:
centres at this time. Even Handel, who was backed by the king, experienced difficulty from time to time. Opera did not have the long and continuous history in London that it had in Italy, and therefore it did not flourish as in Italy. Events of the preceding seasons led to
Terradellas's sojourn in England.
230:
Terradellas's most productive years were during his tenure at San
Giacomo, as evidenced by the two operas and the impressive list of religious works. These two operas, while very different in several stylistic features, are very representative works. Certainly, two finer works than these would be
271:
The artistic climate in London was quite different from that of Italy. Italy was the hub of operatic activity with its most important theaters in Rome, Naples, Venice and
Florence, although every town of any size had an opera theatre. London, on the other hand, was fairly remote from the opera
297:
had a passion for producing operas, and he was willing to sacrifice his own fortune and the fortunes of others to bring new works to the stage. He invited
Terradellas to come to London for the 1746–47 season. His arrival was celebrated by the inclusion of one of his arias,
349:
Tuesday, December 9, 1746; Saturday, December 13; Tuesday, December 16; Saturday, December 20; Tuesday, December 23; Saturday, December 27; Tuesday, December 30 Saturday
January 3, 1747 (above comment repeated in Advertisement); Tuesday, January 6; Saturday, January
127:
in Rome in 1898. The library was catalogued shortly after his visit, but when he returned in 1902, the score was missing and was not listed in the catalogue. This was probably a student work, because a note in the archives, dated May 1736, states that
37:. The birthdate is sometimes incorrectly given as 1711. Carreras i Bulbena did extensive research in contemporary documents, such as baptismal records, and found that the correct date was 1713. All his works are thoroughly Italian in style.
332:
upon the stage, agreeable to the printed
Proposals, and doors will be open'd at Ten, and the Rehearsal will begin at Eleven of the Clock. No persons will be admitted without a Subscriber's ticket, and each ticket will admit four
242:
in London, while only two manuscript arias have been found in continental libraries. These arias were evidently taken by him when he travelled to London a few months later and were incorporated, along with arias from
288:
We have operas, but no company at them; the Prince and Lord
Middlesex impresarii. Plays only are in fashion: at one house the best company that perhaps ever were together, Quinn, Garrick, Mrs. Pritchard, and Mrs.
180:
San
Giacomo degli Spagnuoli is a church established for Spanish residents in Rome. This church was already quite old in 1743, because Spaniards had been coming to Rome for centuries. Terradellas was approved as
314:. This opera was the first of four subscriptions planned by Lord Middlesex and his partners, six nights in November, ten in December, seventeen in January (not involving Terradellas), and fourteen in March.
54:
193:, as well as other short works for the service. Later, trouble developed between Terradellas and one of his subordinates, and Terradellas was dismissed in August 1745 after two years and three months.
861:
Groeppe, Kenneth H. "Form and Style in the Arias of
Domingo Terradellas." unpublished M.A. thesis, University of Louisville, 1968. (This is the work upon which most of this article is based.)
227:
was performed in Venice. Loewenberg states that this opera was given on several other
Italian stages, but no documentation has been found. The manuscript in Venice is dated 1744.
169:, Washington D.C., attests to Terradellas's authorship and the date of performance. Carreras also mentions operas for which no documentation has been found. The operas are
802:
328:
The subscribers to the second subscription for operas, are desired to take notice, that on Thursday Morning next will be a General Rehearsal of the new Opera called
864:
280:. Any opera venture during these years was to prove unfortunate for the producer. Handel had learned this unfortunate lesson several years earlier. As
276:
notes the indifference of the public toward opera in London during these years, when their interests were being absorbed by native playwrights such as
53:
in Barcelona, but Carreras i Bulbena's research in Barcelona uncovered no evidence of this. On 23 May 1732, he entered in Naples as a student in the
59:
71:
Terradellas was one of a group of foreign-born composers who studied in Italy and adopted the Italian style. The reason for this is that
358:
premiered on Tuesday, March 24. Each advertisement announced a fireworks display after the performance as well as dances in the opera.
978:
943:
883:
958:
362:
49:, the son of a day laborer, his early musical training is unknown. It has been said that Terradellas studied with the composer
294:
973:
948:
255:. This is one of only three publications of music by Terradellas during his lifetime. The other two were the arias from
341:
opened at Covent Garden with Susanna Arne Cibber (sister of Thomas A. Arne) as Polly. The dates of the performances of
968:
953:
361:
Nothing is known of the life of Terradellas for the next three years. The several liturgical works in the church of
983:
196:
831:
879:
19:
761:
293:
Letters and other literature of the period attest to the vast financial losses suffered by producers of opera.
963:
157:, was performed in Rome in 1740, probably privately for a group of clergymen, and the three-act comic opera
807:
124:
891:
530:
96:
238:
was performed during the Carnival of 1746 in Florence. Six arias from this opera were published by
75:
was by far the dominant genre of opera at this time, attracting composers from all across Europe: (
146:, performed in Naples during the same year, but the libretto names only Latilla as the composer.
76:
365:
in Brussels may offer a hint as to what Terradellas might have been doing during this period.
84:
938:
933:
239:
138:, was performed at Rome in 1739 during the Carnival season. He may have collaborated with
8:
182:
166:
80:
92:
766:(This work was originally published in London in four volumes between 1774 and 1789.)
693:
835:
755:
201:
65:
800:(June–August 1908). "Musics vells de la Terra: Domingo Miquel Bernabé Tarradellas".
905:
681:
139:
50:
797:
751:
281:
273:
120:
927:
277:
189:
per month. During his tenure, he composed at least four masses, a half dozen
72:
917:
822:
Roca, Joan (August 1934). "La producció musical de Doménec Terrdelles...".
161:
was performed in Naples during the same season. Carreras does not mention
263:, also published by John Walsh in London in his "Favorite Songs" series.
88:
30:(baptized 13 February 1713, Barcelona – 20 May 1751, Rome) was a Spanish
212:, was performed during the Carnival of 1743. Alfred Loewenberg, in the
116:
307:
185:
by the congregation of that church on 1 May 1743 with a salary of 10
46:
150:
108:
34:
729:
717:
64:. He studied composition with the famous Neapolitan composer,
23:
Portrait of Domènec Terradellas (1885) by Beniamino Parlagreco
642:
190:
186:
31:
912:
849:. Carbondale, Illinois: Southern Illinois University Press.
606:
705:
654:
630:
671:
669:
119:
was first performed in Naples in 1736. The musicologist
618:
558:
546:
337:
On Thursday, December 11, a performance of John Gay's
889:
772:
Domènech Terradellas: Compositor de la XVIII Centuria
666:
594:
570:
173:, said to have been performed in Rome in 1739, and
781:I quattro antichi conservatorii di musica a Napoli
582:
447:in Barcelona in 1754 with some aria substitutions)
131:Il figliolo Terradellas è sempre in conservatorio
123:reported seeing the manuscript in the library of
925:
443:(Rome, 1751) (There was another performance of
129:
177:, supposedly performed in Florence in 1742.
840:. Berkeley: University of California Press.
844:
787:
735:
723:
711:
699:
687:
660:
648:
884:International Music Score Library Project
830:
612:
284:said in a letter dated December 5, 1746:
16:Catalan opera composer with Italian works
770:Carreras i Bulbena, José Rafael (1908).
769:
760:. with critical and historical notes by
636:
552:
195:
18:
868:magazine, No. 22 (January 1884), p. 126
796:
778:
600:
588:
564:
55:Conservatorio dei Poveri di Gesù Cristo
926:
764:). New York: Harcourt, Brace & Co.
750:
675:
576:
354:His other opera for the London stage,
821:
783:. Vol. 2. Naples: Remo Sandron.
624:
454:(Rome, Iglesia National de España)
200:Domènec Terradellas, caricature by
13:
880:Free scores by Domènec Terradellas
855:
792:. Geneva: Societas Bibliographica.
14:
995:
873:
223:During the Carnival of 1744, his
979:Spanish male classical composers
944:18th-century classical composers
911:
899:
690:, Part 3, Vol. 2, pp. 1260–1267.
702:, Part 3, Vol. 2, p. 1268.
368:
134:" . Terradellas's first opera,
959:Opera composers from Catalonia
779:Giacomo, Salvatori di (1928).
519:
510:
1:
516:This date was given by Burney
498:
845:Van Lennep, William (1965).
494:other brief liturgical works
452:Works for religious services
7:
974:Spanish classical composers
949:18th-century male musicians
847:The London Stage: 1660–1800
788:Loewenberg, Alfred (1955).
393:Gl'intrichi delle cantarine
159:Gl'intrichi delle cantarine
125:San Giacomo degli Spagnuoli
10:
1000:
757:A General History of Music
165:, but the libretto in the
790:Annals of Opera 1597–1940
531:Liceo Musicale di Bologna
376:(in chronological order)
266:
234:Terradellas's setting of
130:
40:
969:Musicians from Barcelona
954:Composers from Catalonia
824:Revista Musical Catalana
803:Revista Musical Catalana
253:Dudici arie e due duetti
102:
984:Spanish opera composers
837:Spanish Cathedral Music
352:
335:
291:
205:
97:Vicente Martín y Soler
77:George Frideric Handel
24:
738:, pp. 1298–1309.
726:, pp. 1270–1278.
347:
326:
286:
199:
113:Giuseppe Riconosciuto
85:Johann Christian Bach
22:
964:Male opera composers
488:Domine ad adjuvandum
251:, in the collection
774:. Barcelona: Altès.
651:, pp. 199–200.
627:, pp. 305–314.
615:, pp. 16, 355.
231:difficult to find.
183:maestro di cappella
167:Library of Congress
107:His first work, an
81:Johann Adolph Hasse
28:Domènec Terradellas
206:
25:
832:Stevenson, Robert
639:, pp. 19–22.
345:were as follows:
202:Pier Leone Ghezzi
91:(an Englishman),
66:Francesco Durante
991:
916:
915:
904:
903:
902:
895:
850:
841:
827:
818:
811:
793:
784:
775:
765:
739:
733:
727:
721:
715:
709:
703:
697:
691:
685:
679:
673:
664:
658:
652:
646:
640:
634:
628:
622:
616:
610:
604:
598:
592:
586:
580:
574:
568:
567:, pp. 118f.
562:
556:
550:
534:
525:The libretto of
523:
517:
514:
413:(Florence, 1746)
312:Anibale in Capua
133:
132:
93:Josef Mysliveček
63:
999:
998:
994:
993:
992:
990:
989:
988:
924:
923:
922:
910:
900:
898:
890:
876:
858:
856:Further reading
805:
798:Pedrell, Felipe
752:Burney, Charles
742:
736:Van Lennep 1965
734:
730:
724:Van Lennep 1965
722:
718:
714:, p. 1271.
712:Van Lennep 1965
710:
706:
700:Van Lennep 1965
698:
694:
688:Van Lennep 1965
686:
682:
674:
667:
661:Loewenberg 1955
659:
655:
649:Loewenberg 1955
647:
643:
635:
631:
623:
619:
611:
607:
599:
595:
587:
583:
579:, p. 926n.
575:
571:
563:
559:
551:
547:
538:
537:
524:
520:
515:
511:
501:
461:Praestantissime
435:Imeneo in Atene
371:
324:was announced.
269:
214:Annals of Opera
140:Gaetano Latilla
115:, with text by
105:
95:(a Czech), and
87:(all Germans),
57:
51:Francisco Valls
43:
17:
12:
11:
5:
997:
987:
986:
981:
976:
971:
966:
961:
956:
951:
946:
941:
936:
921:
920:
908:
888:
887:
875:
874:External links
872:
871:
870:
862:
857:
854:
853:
852:
842:
828:
819:
794:
785:
776:
767:
741:
740:
728:
716:
704:
692:
680:
678:, p. 846.
665:
663:, p. 201.
653:
641:
629:
617:
613:Stevenson 1961
605:
603:, p. 119.
593:
581:
569:
557:
555:, p. 11n.
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508:
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437:(Venice, 1750)
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425:(London, 1747)
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419:(London, 1746)
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408:
407:(Venice, 1744)
402:
396:
395:(Naples, 1740)
390:
384:
370:
367:
339:Beggar's Opera
306:II, 7) in the
295:Lord Middlesex
282:Horace Walpole
274:Charles Burney
268:
265:
121:Felipe Pedrell
104:
101:
99:(a Spaniard).
42:
39:
15:
9:
6:
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637:Carreras 1908
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553:Carreras 1908
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479:Dixit Dominus
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431:(Turin, 1750)
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356:Bellerofonte,
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278:Colley Cibber
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73:Italian opera
69:
67:
61:
56:
52:
48:
38:
36:
33:
29:
21:
865:
846:
836:
823:
814:
801:
789:
780:
771:
762:Frank Mercer
756:
744:
743:
731:
719:
707:
695:
683:
656:
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632:
620:
608:
601:Pedrell 1908
596:
589:Pedrell 1908
584:
572:
565:Giacomo 1928
560:
548:
540:
539:
526:
521:
512:
503:
502:
491:Sat laetitae
485:Laetatus sum
451:
450:
444:
440:
434:
428:
423:Bellerofonte
422:
416:
410:
404:
401:(Rome, 1743)
398:
392:
386:
383:(Rome, 1739)
380:
373:
372:
369:Compositions
360:
355:
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348:
342:
338:
336:
329:
327:
321:
317:
316:
311:
303:
299:
292:
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270:
261:Bellerofonte
260:
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244:
235:
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229:
224:
222:
217:
213:
209:
207:
179:
174:
170:
162:
158:
154:
148:
143:
142:on an opera
135:
112:
106:
70:
44:
27:
26:
939:1751 deaths
934:1713 births
806: [
676:Burney 1935
577:Burney 1935
208:His opera,
89:Thomas Arne
58: [
928:Categories
529:is in the
499:References
473:Confitebor
470:Beatus vir
411:Semiramide
363:St. Gudule
240:John Walsh
236:Semiramide
117:Metastasio
906:Biography
851:(8 vols.)
625:Roca 1934
541:Citations
429:La Didone
417:Mitridate
405:Artaserse
399:La Merope
387:La Cerere
343:Mitridate
330:Mitridate
322:Mitridate
308:pasticcio
304:Artaserse
257:Mitridate
249:Artaserse
225:Artaserse
210:La Merope
171:Artemesia
155:La Cerere
47:Barcelona
834:(1961).
817:: 54–56.
754:(1935).
467:Luminosa
458:3 Masses
445:Sesostri
441:Sesostri
333:persons.
302:II, 12 (
175:Issipile
151:serenata
109:oratorio
45:Born in
35:composer
892:Portals
886:(IMSLP)
882:at the
866:L'Avens
745:Sources
482:Laudate
476:Credidi
381:Astarto
318:Anibale
289:Cibber.
136:Astarto
527:Romolo
464:O Diem
389:(1740)
374:Operas
300:Merope
267:London
245:Merope
218:Merope
204:, 1743
191:motets
163:Cerere
144:Romolo
41:Career
918:Opera
810:]
504:Notes
187:scudi
103:Italy
62:]
32:opera
259:and
247:and
350:10.
930::
813:.
808:ca
668:^
310:,
153:,
149:A
111:,
83:,
79:,
68:.
60:it
894::
826:.
815:V
591:.
533:.
128:"
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