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In 1780 Migliavacca was re-engaged as the poet of the court theatre in
Dresden and was paid there regularly through 1795. The cessation of payments after that time without their conversion to a pension suggests that he died shortly after the end of that year. There are no records of the exact date or
260:
was a lavish operatic spectacle which included a procession of 400 soldiers and over 100 horses from the royal stable. When the 1756 Prussian invasion of
Dresden severely curtailed the musical life of the court, Migliavacca worked in Vienna and then returned to Milan in 1765. During his sojourn in
286:
Migliavacca's libretti were long ignored by later literary critics who dismissed them as the work of a semi-dilettante and mediocre imitator of
Metastasio. However, in the late 20th century, he came to be appreciated as one of a group of reforming Italian librettists which also included
303:. They moved away from the traditional Metasasian plot structures, increased the number of ensembles relative to solo arias, and organized the ballets, arias, and ensembles into integrated dramatic scenes rather than the series of showy arias which had previously characterised
153:, and from Caffarelli's refusal to attend rehearsals reached a climax when he and Migliavacca fought a duel at Vittoria Tesi's house. However, her entreaties to the combatants ended the incipient sword fight before anyone was hurt.
588:
Bruno
Brunelli Bonetti (1885–1958) was an Italian literary scholar and historian. Amongst his works were the curation of the five-volume collection of Metastasio's complete works published in 1951 and a biography of
243:
in addition to the seven main singers. His libretto was subsequently set by 18 other composers and saw 36 separate productions over the next 50 years. In 1754 he produced the libretto for Hasse's next opera
145:
was to be performed in 1749, Metastasio delegated his directorial duties to
Migliavacca. Tensions arising from a feud between two of the opera's star singers, Migliavacca's close friend
130:
where he became a favourite of the emperor. After the death of
Charles VII in 1745, Migliavacca saw little future in a diplomatic career and instead focused on his literary pursuits.
114:
Migliavacca was born in Milan around 1718, but the exact date of his birth as well as his parentage and early life are unknown. Much of the information about his life has come from
133:
He moved to Vienna and between 1748 and 1752, and worked there as a secretary, copyist, and later a collaborator of
Metastasio. At the time, Metastasio was the court poet to
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172:
465:
643:
909:: Festa Teatrale. Per le felicissime Nozze del Serenissimo Principe Antonio di Sassonia e della Serenissima Arciduchessa Maria Tèresa di Austria
229:
In 1752, through the intervention of
Metastasio, Migliavacca was appointed court poet and diplomatic counselor to Frederick Christian's father
602:
Original
Italian: "La poesia è del Sig. Giannambrogio Migliavacca, poeta, e Consigliere di Legazione di sua Altezza Serenissima Elettorale"
222:, have survived, but according to Bruno Brunelli, she had earlier composed a short opera (now lost) to a libretto by Migliavacca entitled
703:
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239:. It premiered at the court theatre in Dresden in a spectacular production that included live elephants and camels and hundreds of
1001:
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96:, he was primarily active in the court theaters of Dresden and Vienna. His most successful work was the libretto for the opera
739:
870:
The
Singing Turk: Ottoman Power and Operatic Emotions on the European Stage from the Siege of Vienna to the Age of Napoleon
744:
126:. He initially opted for a career as a diplomat, working as the imperial secretary of the Italian legation to the court of
122:. Soon after, he became a member of the Accademia dei Filodossi and was active in the Milanese intellectual milieu of the
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and Poland, and was a patron of the arts as well as gifted composer, singer, and harpsichordist. Two of her operas,
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Migliavacca made his debut as a librettist in his own right (albeit closely supervised by Metastasio) in 1750 with
127:
394:(opera in three acts) first set by Johann Adolph Hasse, premiered Opernhaus am Zwinger, Dresden, 6 February 1754
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1017:. (Letter from Metastasio to Migliavacca dated 13 January 1753 in which he gives a detailed critique of the
283:. The libretto printed for that performance still listed him as a diplomatic counselor to the Saxony court.
233:. The following year, he produced what was to prove his most enduring work, the libretto for Hasse's opera
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in one act), set by Johann Gottlieb Naumann, premiered Opernhaus am Zwinger, Dresden for the wedding of
118:'s letters. At the age 18, in 1736, Migliavacca edited a collection of poetic tributes dedicated to the
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in one act), set to pre-existing arias by Christoph Willibald Gluck, premiered Favorita Palace,
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137:. One of his duties was to supervise opera rehearsals and give directions to the singers. When
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in 1753 and subsequently set by eighteen other composers in the following decades.
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was subsequently set by several other composers, including Josef MysliveÄŤek whose
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Migliavacca's first name is sometimes rendered as Giannambrogio or Gianambrogio.
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The Modern Castrato: Gaetano Guadagni and the Coming of a New Operatic Age
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Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy
191:
156:
710:. Retrieved 3 December 2016 (Subscription required for full access).
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From Garrick to Gluck: Essays on Opera in the Age of Enlightenment
202:. Through Metastasio, Migliavacca had also become acquainted with
361:
269:
place of his death. His last known libretto from that period was
1000:. (A re-assessment of Migliavacca's work in the context of the
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55:
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was subsequently set by numerous other composers, including
464:, premiered Burgtheater, Vienna to celebrate the birth of
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performed in Dresden in 1787 to celebrate the marriage of
190:. It was performed again in Vienna later that year in a
542:
Mosè riconosciuto figura di Gesù Cristo salvator nostro
248:
and in 1755 adapted Metastasio's libretto for Hasse's
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and performed in Madrid to celebrate the marriage of
194:version with music by several composers including
771:in L. Bianconi; G. Pestelli; K. Singleton (eds).
1077:
1032:Works with text by Giovanni Ambrogio Migliavacca
548:, premiered Royal Chapel, Dresden, 15 April 1786
538:, premiered Royal Chapel, Dresden, 10 April 1784
994:L'Europa del melodramma: da Calzabigi a Rossini
892:Music at Court: Four Eighteenth Century Studies
926:, pp. 138; 371. University of Chicago Press.
261:Milan he was instrumental in negotiating the
754:. Online version retrieved 3 December 2016
1013:, Vol XXXII, pp. 116–118. C. Mezzana
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841:
520:, first set by Tommaso Traetta, premiered
31:
1036:International Music Score Library Project
873:, pp. 79–107. Stanford University Press.
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155:
88:1718 – c. 1795) was an Italian poet and
996:, pp. 150–154. Edizioni dell'Orso
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775:, p. 141. University of Chicago Press.
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810:"Performances of works by Migliavacca"
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466:Archduchess Maria Theresa of Austria
911:, p. 3. KurfĂĽrstliche Hofdruckerey.
812:. L'Almanacco di Gherardo Casaglia
713:
325:, Migliavacca's last known libretto
13:
986:
973:, p. 96. Oxford University Press.
738:Caprioli, Leonella Grasso (2010).
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849:Pietro Metastasio, Tutte le opere
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184:Maria Antonia Ferdinanda of Spain
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951:, pp. 296–297. Pendragon Press.
895:, p. 84. Weidenfeld and Nicolson
826:Bibliothèque nationale de France
740:"Migliavacca, Giovanni Ambrogio"
704:"Migliavacca, Giovanni Ambrogio"
506:, Eisenstadt for the wedding of
204:Duchess Maria Antonia of Bavaria
135:Holy Roman Empress Maria Theresa
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358:Giove fulminatore dei giganti
224:Giove fulminatore dei giganti
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82:Giovanni Ambrogio Migliavacca
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25:Giovanni Ambrogio Migliavacca
832:. Retrieved 6 December 2016
434:in one act) co-written with
414:, Vienna for the wedding of
380:in three acts) first set by
7:
1010:Opere di Pietro Metastasio
1007:Metastasio, Pietro (1835).
855:, p. 1225 (note). Mondadori
420:Joseph, Archduke of Austria
406:in two parts) first set by
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92:. A student and protégé of
37:Portrait of Migliavacca by
16:Italian poet and librettist
10:
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830:Bruno Brunelli (1885–1958)
808:Casaglia, Gherardo (2005).
666:This three-act version of
416:Princess Isabella of Parma
388:, Dresden, 5 February 1753
339:in two acts) first set by
1101:Italian opera librettists
992:Gallarati, Paolo (1999).
967:Howard, Patricia (2014).
889:Yorke-Long, Alan (1954).
767:Guccini, Gerardo (2002).
462:Georg Christoph Wagenseil
460:(serenata), first set by
408:Christoph Willibald Gluck
210:, heir to the thrones of
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920:Feldman, Martha (2010).
904:Migliavacca, G. (1787).
847:Brunelli, Bruno (1951).
642:was subsequently set by
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454:. Vienna, 3 January 1761
366:Maria Antonia of Bavaria
216:Il trionfo della fedeltĂ
536:Johann Gottlieb Naumann
498:(cantata), both set by
496:Vivan gl'illustri sposi
354:, Madrid, 12 April 1750
508:Prince Anton Esterházy
341:Giovanni Battista Mele
326:
206:. She was the wife of
173:Giovanni Battista Mele
164:
163:, Migliavacca's mentor
1002:opera reform movement
867:Wolff, Larry (2016).
653:and performed at the
524:, Naples, 30 May 1763
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289:Ranieri de' Calzabigi
263:Biblioteca Ambrosiana
231:Frederick Augustus II
196:Luca Antonio Predieri
159:
655:Teatro San Benedetto
386:Opernhaus am Zwinger
544:(oratorio), set by
382:Johann Adolph Hasse
297:Giovanni de Gamerra
208:Frederick Christian
200:Johann Adolph Hasse
149:, and the castrato
104:Johann Adolph Hasse
75:Poet and librettist
1106:Writers from Milan
907:La Reggia d'Imenèo
708:Grove Music Online
552:La reggia d'Imeneo
352:Buen Retiro Palace
327:
323:La reggia d'Imeneo
301:Gaetano Martinelli
271:La reggia d'Imeneo
165:
769:"Directing Opera"
676:was performed at
657:, Venice in 1782.
644:Giuseppe Calegari
591:Giustiniana Wynne
562:, 21 October 1787
510:, 11 January 1763
504:Schloss Esterházy
458:Prometeo assoluto
422:, 10 October 1760
161:Pietro Metastasio
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448:Tommaso Traetta
446:, first set by
436:Giacomo Durazzo
431:azione teatrale
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110:Life and career
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834:(in French)
748:, Vol. 74.
647: [
452:Burgtheater
378:opera seria
344: [
336:opera seria
306:opera seria
176: [
128:Charles VII
1080:Categories
979:0199365202
957:1576470814
932:0226044548
879:0804799652
781:0226045919
688:References
616:Fischietti
534:), set by
151:Caffarelli
116:Metastasio
94:Metastasio
90:librettist
1058:Biography
1021:libretto)
851:, Vol. 3
640:Artemisia
482:Laxenburg
392:Artemisia
364:) set by
246:Artemisia
1019:Solimano
945:(2004).
751:Treccani
702:(2001).
680:in 1779.
678:La Scala
630:(1760).
622:(1756),
620:Pescetti
618:(1755),
612:Solimano
440:Quinault
404:serenata
373:Solimano
313:Libretti
254:Solimano
236:Solimano
220:Talestri
192:pastiche
139:Jommelli
99:Solimano
1044:Portals
1038:(IMSLP)
1034:at the
853:Lettere
628:Galuppi
472:Arianna
362:cantata
360:(opera/
252:. Like
67:c. 1795
58:, Italy
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673:Armida
668:Armida
518:Armide
514:Armida
444:Armide
426:Armida
399:Tetide
299:, and
241:extras
212:Saxony
143:Merope
1070:Opera
651:]
624:Perez
567:Notes
348:]
180:]
56:Milan
975:ISBN
953:ISBN
928:ISBN
875:ISBN
777:ISBN
418:and
273:, a
258:Ezio
250:Ezio
218:and
198:and
186:and
64:Died
52:1718
46:Born
442:'s
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