40:
444:, not catered for in Metastasio’s text, namely "Talor guerriero invitto” for Aminta in the first act, and "Apportator son io" and "L'infelice in questo stato" for Alcandro in the second and third acts respectively. In the third scene of Act 3 the aria Metastasio wrote for Megacle, "Lo seguitai felice", was replaced by a few lines of recitative and a long bravura aria "Torbido in volto e nero" with a divided orchestra. In the sixth scene, as the action draws to a close, a moving additional aria was also inserted for Licida, "Nella fatal mia sorte".
232:
2016:
539:
the march in the third act. It offers an interpretation of the text which is completely in harmony with
Metastasio's poetry and the exaltation of youth and love particular to this drama. The "pathetic" moments are short and few in number in an opera which resolves even the most emotionally lacerating situations with a grace which perfectly captures the expressive medium of the poet's verse, treated with extraordinary sensitivity in the declamation.
191:: the precarious financial conditions in which it operated certainly made it no rival for the Neapolitan theatres with which Pergolesi had worked until that point. Metastasio was annoyed that the chorus had to be cut completely because the theatre could not afford one, while its company of singers enjoyed no great reputation. The papal prohibition on women participating on stage in Rome determined the proliferation of
1021:. It was performed to enormous acclaim in the basilica of San Lorenzo in Lucina. Although this episode showed Pergolesi in a bad light, he was nevertheless invited to return to Naples by the new Bourbon superintendent of its theatres, the Marquess of Arienzo, Lelio Carafa, who was on close terms with the new king and an uncle of the Duke of Maddaloni. Carafa became one of Pergolesi's patrons and proposed
1296:. It reveals that, as might be expected, there was no question of a textually accurate version: the roles of the two male protagonists, for example, were probably transposed an octave downwards and were performed by tenors, while the tenor role of Clistene was evidently also transposed and was sung by the bass Luciano Neroni.
538:
What strikes the listener, beyond any dissimilarity between the various numbers in the score, is the essentially unified character of the musical invention: an atmosphere of warm, joyous freshness breathes from every single page of the opera, reaching as far as the arias for minor characters and even
498:
which have come down to us. Whatever the case, the duet was highly celebrated throughout the 18th century and continues to be admired in the modern era. In particular, it has been written that the duet shows that "Pergolesi was a musical dramatist to the finger tips, not merely an effective setter of
222:
singers, Nicola
Licchesi (Lucchesi?), a tenor, and Carlo Brunetti, a contralto (the only singer with this vocal register among the group of high voices), who were nevertheless gratified by the extra attention Pergolesi paid their roles in his score. If the chorus was absent and the singers were of no
481:
and at least two other notable pieces, for which
Metastasio's text also remained unchanged: Aristea's aria "Tu di saper procura" (which corresponds to the solo for the angel, "Fremi pur quanto vuoi") and the only duet, placed at the end of the first act, "Ne' giorni tuoi felici", between Megacle and
439:
As was the practice in Rome, the setting of
Metastasio's libretto is reasonably faithful to the original: apart from the unavoidable suppression of the choruses mentioned above, Pergolesi limited himself to introducing only four additional arias and one substitute aria. These are primarily arias for
329:
in 1784, where a character who has just swallowed a powerful laxative leaves the stage singing "Se cerca, se dice:/'Il conte dov'è?'/rispondi che il conte/correndo partì" ("If she comes looking, if she comes saying/'Where's the count?'/Answer that the count/Has had to make a quick exit"). As late as
176:), Pergolesi was not invited to participate in the 1735 theatrical season in Naples. He consequently decided to accept a commission from the Teatro Tordinona in Rome to compose an opera to open the Carnival season with a libretto recently written by Metastasio which had already been set to music by
263:
decades later, namely that the performance was a total fiasco, so much so that during the disputes it provoked
Pergolesi was hit on the head by an orange thrown by an angry member of the audience. Nevertheless, the opera rapidly won international fame and "over the next ten years Pergolesi's music
1008:
by Prince
Ferdinando Colonna of Stigliano, a leading official at the court of the Austrian viceroy, and in 1734 he had assumed the same role for Duke Domenico Marzio Carafa of Maddaloni, a relative of the prince. At the time of the Bourbon conquest both households had taken refuge in Rome and had
555:
represents one of the happy moments in the history of opera. The literary masterpiece of a
Metastasio at the peak of his art (he was barely 35 when he wrote it) found its first musical flowering at the hands of the young composer from Jesi. Many of those who praised the libretto did so thinking
346:
did not appear again until it was given in concert form in 1992 as part of the IV International
Festival of Gerace at the local church of San Francesco. This performance was the basis for the world premiere recording of the opera. A second series of performances took place in 1996 conducted by
321:– made an impression "seldom" equalled on the English public. In the second half of the 18th century the aria became "a touchstone for all subsequent composers The success of the aria was such that it was still being parodied decades later, even in slightly vulgar ways", as for example in
1567:
L'Olimpiade. Drama per musica da rappresentarsi nell'antico teatro di
Tordinona nel carnavale dell'anno 1735. Dedicato all'illustrissima ed eccellentissima signora duchessa donna Ottavia Strozzi Corsini, pronipote della santitĂ di nostro signore papa Clemente XII, felicemente
201:
in Venice: Marianino
Nicolini was promoted from the minor character Aminta to the "prima donna" role of Aristea, while Francesco Bilancioni (or Bilanzoni) exchanged the role of Megacle for Licida. For the leading man the theatre turned to an outstanding singer from the
341:
In the modern era, after a short-lived revival at the Teatro della Fortuna in Fano and the Teatro Pergolesi in Jesi to mark the bicentenary of Pergolesi’s death (scheduled for 1936, but postponed until 1937), and a couple of performances in Germany,
163:
in May 1734 probably regarded Pergolesi with suspicion because of his links with the aristocratic circles of the previous Austrian Viceroyalty. Perhaps as a result of these suspicions, or simply because of the box office failure of his opera
482:
Aristea (which corresponds to the duet "Di pace e di contento" between Saint William and Father Arsenio). Given that the holograph score of the earlier work by Pergolesi has not survived, it is even possible that it is not a case of
379:
in a production by Italo Nunziata. The opera has appeared several times since then. Unitel Classics made a video recording of the "magnificent" version presented in 2011 at the Festival Pergolesi Spontini in Jesi, conducted by
1417:
Dorsi, p. 129. Aminta's aria derives from Osroa's "Sprezza il furor del vento" (Act 1), while Alcandro's two arias are taken from Aquilio's "Contento forse vivere" (Act 3) and Emirena's "Prigioniera abbandonata" (Act
273:
throughout Europe." Productions based on Pergolesi's setting were performed in various cities: in Perugia and Cortona in 1738, in Siena in 1741, perhaps in Florence in 1737, certainly in London in 1742, where the
1184:). According to Grétry's account, Duni – then a novice composer – went to visit Pergolesi shortly after the failure, calling him "maestro" and consoling him by saying that the opera he himself was soon to stage (
431:
The arias are usually accompanied by strings alone; in six of them the orchestra is expanded by the use of oboes and horns, in three others trumpets are added. This enlarged orchestra also takes part in the
1391:
The aria is provided with "an accompaniment entrusted to two orchestral groups which play alternately and then together, a timbrically suggestive solution" (Dorsi, p. 132). The aria was written, in
195:, who also performed the female roles; five members of the cast belonged to this category, the remaining two parts being given to tenors. Two of the castrati had sung in the premiere of Vivaldi's
522:
In spite of the heterogenous character the opera might have assumed as a result of such a composition history, Raffaele Mellace echoes the remarks of the historian of 18th-century musical drama
905:
According to Jeffry O. Segrave, over the course of the following century the libretto was set to music more than 50 times by 47 different composers ("The special case of Pietro Metastasio's
223:
great reputation, the orchestra was "more sizeable than the Neapolitan orchestras of the time, as demonstrated by the use of two trumpets and two hunting horns, sometimes simultaneously."
1479:, Catalucci and Maestri write: "The chronological problem is an open question still unsolved, namely whether the Guglielmo symphony was reused for the opera or vice versa" (p. 10).
1438:
Li prodigj della divina grazia nella conversione, e morte di S. Guglielmo duca di Aquitania. Dramma sacro per musica del sig. Gio: Battista Pergolesi rappresentato nell'anno 1731
1066:
503:
the tenderly 'speaking' melody that bears the true current of feeling backwards and forwards between Aristea and Megacle, is periodically racked by spasms of angular
1378:, for example, was overhauled in a far more profound way given that ultimately only ten arias survived from the 27 originally written by Metastasio (Dale E. Monson,
1687:
338:
is not revived. No director would dare run the risk of staging an opera whose main aria was already lodged deep in the memory of every member of the audience."
1837:
474:
2019:
1936:
987:, chased the Austrians from Naples and made the city the capital of a newly independent kingdom. He was confirmed as King Charles VII of Naples by the
334:
dedicated an impassioned analysis to it in his letters on Metastasio, remarking: "the whole of Italy knows aria by heart, and this is probably why
239:
The opera made its debut in January 1735 as the first opera of the season, and had a rather troubled time because official mourning for the death of
187:
The Teatro Tordinona was a long-established theatre with its roots in the 17th century, which had recently been rebuilt and was the property of the
317:, provided the basis for Pergolesi's lasting fame across Europe. A performance of his version of the aria "Se cerca, se dice" had – according to
2058:
1210:
in Venice in 1737, albeit widely attributed to Pergolesi (and maybe containing some of his music), was mainly based on Vivaldi's 1734 setting.
206:, Domenico Ricci, who had permission to take part in theatrical performances in Rome. The principal tenor role was handed to the experienced
1309:
473:("The Conversion and Death of Saint William"), the sacred opera the composer had written as a final exercise as part of his studies at the
1281:
210:
Giovanni Battista Pinacci, who had enjoyed a career lasting twenty years and had recently returned from London where he had performed in
1009:
invited the musician to follow them. There, Pergolesi undertook a commission from the Carafas to compose a Mass in F Major in honour of
214:
operas; the second lady was sung by the young castrato Giovanni Tedeschi, later to become famous in the 1760s as the impresario of the
1830:
247:, led to theatrical performances being suspended between the 17th and 23 January while the subsequent closure of the theatres for
1951:
469:
39:
1800:
1740:
1683:
1627:
1069:, i.e. about 1.95 metres), Nicolini was regularly employed in Rome up to the Carnival of 1740 in female roles (Dennis Lybby,
955:
305:
is attested by the unusual number of manuscripts (more than twenty) of the score which have survived: this opera, along with
1823:
1188:, premiered on 21 May) was not worth a single aria from Pergolesi's work which had been so badly received by the public.
1325:
1774:
1731:
1662:
1609:
918:
1704:, "Studi musicali" (Accademia Nazionale di Santa Cecilia), Nuova serie, I, 2010, n. 2, pp. 389–430 (accessible
1571:
921:). However, according to Claire Genewein, there were "over a hundred" renderings of Metastasio's libretto in music (
2053:
798:
381:
452:
With the exception of the last named aria the music for the other modifications derives from self-borrowings from
355:
in Paris. The first staged performances in the 21st century took place in 2003 in several historical theatres of
1227:
138:
in Rome and "came to be probably the most admired" of the more than 50 musical settings of Metastasio’s drama.
1991:
1808:
1181:
972:
1893:
976:
560:
is a homage to youth and love of the kind which perhaps can only be completely successful in musical drama.
295:
255:, took the stage. No reviews of the premiere exist. The only account we have comes from what the composer
1846:
1755:(nouvelle édition entièrement revue), Paris, Levy, 1854, pp. 286 ff. (accessible for free online at
859:, Lyubov Petrova, Yetzabel Arias Fernandez, Jennifer Rivera, Sofia Soloviy, Antonio Lozano, Milena Storti
348:
244:
112:
31:
352:
425:
1709:
1497:
1133:
240:
464:
to set the original Metastasian verses in Aminta’s second aria (Act 3), "Son qual per mare ignoto".
1959:
937:
lists 55 settings, not counting different versions of the opera by the same composer (III, p. 356).
313:
279:
197:
988:
803:
1967:
1869:
1441:
211:
1278:
1277:, "Voce della Vallesina", Year LV, 11, 25 March 2007, p. 5 (accessible for free online at the
1226:, Volume the 4th, London, Printed for the Author, 1789, p. 448 (accessible for free online at
456:, partly enriched with extra instrumentation: the text is mimicked in the three arias for the
1985:
1941:
1877:
1489:
1396:
460:
and copied word for word in the substitute piece for Megacle. Pergolesi also used music from
169:
2048:
2043:
980:
173:
8:
1901:
1090:
1005:
133:
1293:
1427:
Celletti, I, p. 117. The piece is based on Osroa's aria "Leon piagato a morte" (Act 2).
1239:
1231:
1062:
930:
287:
251:
prevented extra performances before the second opera of the season, Francesco Ciampi's
507:
that depict them on the verge of losing self-control, or broken down into dialogue of
1770:
1756:
1736:
1679:
1658:
1623:
1605:
1321:
1018:
984:
968:
951:
914:
326:
260:
160:
120:
108:
53:
1996:
1885:
1597:
1587:
Gabriele Catalucci and Fabio Maestri, introductory notes to the audio recording of
1082:
307:
286:
was largely based on Pergolesi's score (with the addition of four or five arias by
215:
188:
156:
128:
2038:
1342:
1285:
1207:
1086:
1010:
909:
and the story of the Olympic games", in Anthony Bateman and John Bale (editors),
731:
523:
376:
181:
177:
1353:"We are fortunate to have this magnificent performance recorded" (Noel Megahey,
1251:
Dorsi, p. 131. In the same year (1784) Cimarosa also staged his own version of
1219:
740:
682:
356:
318:
203:
116:
72:
1815:
2032:
1726:
1073:, in Sadie, III, p. 599). He also sang the part of Licida in the premiere of
933:
conducted by Andrea Marcon). Don Neville in his article on Metastasio in the
419:
372:
1657:, Cambridge, Cambridge University Press, 1994 (paperback), p. 257 ff.,
2002:
1074:
856:
504:
494:
in later Neapolitan revivals of the other piece, attested by the scores of
291:
1206:
Monson. According to Monson, on the contrary, the pasticcio staged at the
1180:, Paris/Liège, Prault/Desoer, 1789, p. 508 (accessible for free online at
1917:
1861:
967:
The Kingdom of Naples had become a Viceroyalty belonging to the Austrian
755:
606:
509:
256:
219:
143:
27:
1224:
A General History Of Music: From The Earliest Ages to the Present Period
231:
1492:
made the piece the archetype of the form in the article "Duo" in his
1436:
The full title of this little known work by Pergolesi is as follows:
664:
269:
248:
207:
1230:). The aria "Immagini dolenti", erroneously attributed by Burney to
1748:
1395:, for one of the most famous (and capricious) castrati of the era,
602:
401:
368:
331:
192:
124:
1318:
Verzeichnis aller Operngesamtaufnahmen. Von 1907 bis zur Gegenwart
950:(4th edition), New York, Columbia University Press, 2003, p. 229,
1305:
1014:
599:
1085:
in Naples in 1737, as well as that of Megacle in the version by
360:
1639:, "Acta musicologica", 52 (1980), n. 2, pp. 195–225: 208.
838:
Clistene, Aristea, Argene, Licida, Megacle, Aminta, Alcandro)
708:
Clistene, Aristea, Argene, Licida, Megacle, Aminta, Alcandro)
115:. Pergolesi took the text, with a few modifications, from the
586:
364:
1546:
1545:
Live recording from the Teatro studio Valeria Moriconi in
1678:, Milan, Baldini Castoldi Dalai, 2007, pp. 924–926,
543:
Strohm himself summarised the historical significance of
807:(live recording on period instruments, Innsbruck, 2010)
1025:
to him; it was staged at the end of October. (Toscani).
925:, essay in the booklet accompanying the Dynamic DVD of
298:), and left a lasting impression in the years to come.
1292:, Rome, Proia, 1937), with the cast list, is cited at
1496:(Paris, Duchesne, 1768, p. 182; accessible online at
911:
Sporting Sounds. Relationship between Sport and Music
556:
unconsciously of Pergolesi's melodies. In his score,
490:
but rather the reverse, with the reuse of music from
1591:, issued by Bongiovanni, Bologna, 1989, GB 2060/61-2
1570:, Rome, 1735 (accessible online in transcription at
1937:
La fenice sul rogo, o vero La morte di San Giuseppe
1807:This article contains material translated from the
1735:, New York, Grove (Oxford University Press), 1997,
1574:– Università degli studi di Milano, Padova e Siena)
172:and even appreciated, it was said, by the new king
1061:In spite of his considerable height (according to
547:in his book on Italian opera of the 18th century:
218:. The rest of the cast was made up of two obscure
2030:
1674:, in Piero Gelli and Filippo Poletti (editors),
1845:
913:, Abingdon-on-Thames, Routledge, 2009, p. 116,
995:, Paris, Les Belles Lettres, 2013, pp. 40–42).
946:Donald Jay Grout and Hermine Weigel Williams,
681:For an outline of the plot see the article on
243:, wife of the pretender to the British throne
1831:
1275:Le celebrazioni del 1936 avviano la rinascita
864:Academia Montis Regalis (period instruments),
1637:Pergolesi: Probleme eines Werkverzeichnisses
1473:Pergolesi: Probleme eines Werkverzeichnisses
1584:, Longanesi & C. Periodici S.p.A., Rome
1527:Following the information given by Mellace.
1158:According to Monson, probably on 2 January.
384:with a production again by Italo Nunziata.
1838:
1824:
38:
1777:(in particular see the chapter entitled:
991:which ended the war in 1738 (Luca Salza,
395:consists of the following musical items:
16:1735 opera by Giovanni Battista Pergolesi
1799:, Volume 82, 2015 (accessible online at
1753:Vies de Haydn, de Mozart et de MĂ©tastase
1622:, Turin, Paravia Bruno Mondadori, 2000,
301:The widespread diffusion of Pergolesi's
259:, Pergolesi's rival, told his colleague
230:
1952:La conversione e morte di San Guglielmo
1582:Grande enciclopedia della musica lirica
1017:and thus particularly venerated in the
883:
475:Conservatorio dei Poveri di GesÇś Cristo
470:La conversione e morte di San Guglielmo
351:at various French venues including the
2031:
1442:Studi Pergolesi – Università di Milano
923:On completing the score of l'Olimpiade
226:
123:. The opera first appeared during the
111:in three acts by the Italian composer
2059:Operas by Giovanni Battista Pergolesi
1819:
1004:In 1732 Pergolesi had been appointed
517:
477:. In particular, this applies to the
141:It is regarded as "one of the finest
1797:Dizionario Biografico degli Italiani
754:Filarmonica de Stat Transilvania di
1618:Fabrizio Dorsi and Giuseppe Rausa,
1536:According to the original libretto.
634:Francesco Bilancioni (o Bilanzoni)
13:
447:
241:Princess Maria Clementina Sobieska
147:of the early eighteenth century".
44:Title page of the printed libretto
14:
2070:
1732:The New Grove Dictionary of Opera
1642:Helmut Hucke and Dale E. Monson,
526:when he writes in his article on
159:dynasty which had taken power in
2015:
2014:
1178:MĂ©moires ou Essai sur la Musique
993:Naples entre Baroque et Lumières
1767:L'opera italiana nel Settecento
1539:
1530:
1521:
1512:
1503:
1482:
1465:
1456:
1447:
1430:
1421:
1411:
1402:
1385:
1369:
1360:
1347:
1331:
1299:
1267:
1258:
1245:
1213:
1200:
1191:
1170:
1161:
1152:
1143:
1126:
1113:
1096:
620:soprano castrato (en travesti)
612:Mariano Nicolini ("Marianino")
168:(produced the same year at the
1589:San Guglielmo Duca d'Aquitania
1580:Salvatore Caruselli (editor),
1343:Le magazine de l'opéra baroque
1208:Teatro San Giovanni Grisostomo
1055:
1046:
1037:
1028:
998:
961:
940:
899:
890:
645:Domenico Ricci ("Menicuccio")
623:Giovanni Tedeschi ("Amadori")
1:
1992:Pergolesi Spontini Foundation
1779:Giovanni Battista Pergolesi:
1698:Fra musica e drammaturgia: l'
1696:Francesca Menchelli-Buttini,
1366:Catalucci and Maestri, p. 10.
973:War of the Spanish Succession
688:
150:
107:is an opera in the form of a
1793:Pergolesi, Giovanni Battista
1644:Pergolesi, Giovanni Battista
1462:Catalucci and Maestri, p. 9.
977:War of the Polish Succession
387:
296:Giovanni Battista Lampugnani
7:
1847:Giovanni Battista Pergolesi
1314:Giovanni Battista Pergolesi
872:Catalog.: 108 064 (Blu Ray)
676:
467:Other music is shared with
113:Giovanni Battista Pergolesi
10:
2075:
1769:, Venice, Marsilio, 1991,
1676:Dizionario dell'opera 2008
1620:Storia dell'opera italiana
1602:Storia dell'opera italiana
1556:
1408:Menchelli-Buttini, p. 398.
1382:(ii), in Sadie, I, p. 28).
1121:Pinacci, Giovanni Battista
983:, the younger son of King
591:Giovanni Battista Pinacci
532:Dizionario dell'Opera 2008
2012:
1977:
1928:
1853:
1811:in the Italian Knowledge.
1604:, Milan, Garzanti, 2000,
1234:, is actually drawn from
1123:, in Sadie, III, p. 1014.
1110:, in Sadie, III, p. 1309.
1052:Hucke and Monson, p. 953.
722:
117:libretto of the same name
79:
67:
59:
49:
37:
26:
21:
1719:(ii), in Stanley Sadie,
1475:, op.cit. Regarding the
1320:, CD-ROM, Berlin, 2005,
948:A Short History of Opera
836:(in the following order:
823:
813:Deutsche Harmonia Mundi
706:(in the following order:
693:
564:
2054:Italian-language operas
1702:di Metastasio-Pergolesi
1650:, III, pp. 951–956
1494:Dictionnaire de musique
1140:, in Sadie, IV, p. 674.
1034:Dorsi, pp. 127 and 129.
875:Catalog.: 101 650 (DVD)
804:Academia Montis Regalis
235:Caricature of Pergolesi
1968:Septem verba a Christo
1264:Stendhal, pp. 286–287.
975:. In 1734, during the
562:
541:
515:
426:accompanied recitative
236:
94:Teatro Tordinona, Rome
1986:Querelle des Bouffons
1878:Il prigionier superbo
1011:Saint John of Nepomuk
862:Alessandro De Marchi,
815:Catalog.: 88697807712
736:MarĂa Angeles Peters,
683:Metastasio's libretto
549:
536:
513:-like verisimilitude.
501:
234:
170:Teatro San Bartolomeo
1646:, in Stanley Sadie,
1453:Celletti, I, p. 117.
1337:Page on Pergolesi's
1316:, in Andreas Ommer,
1310:Schloss Augustusburg
935:New Grove Dictionary
884:Notes and references
799:Alessandro De Marchi
723:complete recordings
382:Alessandro De Marchi
323:I due supposti conti
264:all but monopolized
1902:Livietta e Tracollo
1870:Lo frate 'nnamorato
1785:, pp. 214–227)
1562:Original libretto:
1236:Arminio in Germania
1138:Tedeschi , Giovanni
1132:Dennis Libby (with
1091:Teatro San Cassiano
1006:maestro di cappella
971:in 1707 during the
785:Raffaella Milanesi,
353:Théâtre du Châtelet
282:under the title of
227:Performance history
1929:Other compositions
1809:equivalent article
1723:, III, p. 663
1670:Raffaele Mellace,
1572:Varianti all'opera
1284:2015-12-22 at the
1240:Giuseppe Scarlatti
1232:Domenico Scarlatti
1093:in Venice in 1752.
1071:Nicolini, Mariano
1063:Charles de Brosses
1013:, patron saint of
981:Charles of Bourbon
931:Baldassare Galuppi
765:Arkadia «Akademia»
518:Critical appraisal
288:Giuseppe Scarlatti
237:
2026:
2025:
1791:Claudio Toscani,
1765:Reinhard Strohm,
1741:978-0-19-522186-2
1684:978-88-6073-184-5
1628:978-88-424-9408-9
1357:, 20 March 2013).
1355:The Opera Journal
1288:). The brochure (
1279:journal's website
1273:Gianni Gualdoni,
985:Philip V of Spain
956:978-0-231-11958-0
881:
880:
821:
820:
787:Ann-Beth Solvang,
752:Marco Armiliato,
674:
673:
642:soprano castrato
631:soprano castrato
420:Secco recitatives
278:presented at the
121:Pietro Metastasio
109:dramma per musica
100:
99:
54:Pietro Metastasio
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2018:
2017:
1997:Teatro Pergolesi
1978:Related articles
1945:
1894:Adriano in Siria
1886:La serva padrona
1840:
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1757:Internet Archive
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996:
989:Treaty of Vienna
969:Habsburg dynasty
965:
959:
944:
938:
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897:
896:Kimbell, p. 257.
894:
828:
827:
793:Marcus Brutscher
789:Jennifer Rivera,
783:Jeffrey Francis,
759:(live recording)
698:
697:
656:Nicola Licchesi
569:
568:
454:Adriano in Siria
375:), conducted by
349:William Christie
308:La serva padrona
216:Teatro San Carlo
189:Apostolic Camera
166:Adriano in Siria
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129:Teatro Tordinona
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670:Carlo Brunetti
567:
524:Reinhard Strohm
520:
499:words". In it:
486:borrowing from
450:
448:Self-borrowings
416:A final quartet
390:
377:Ottavio Dantone
229:
182:Antonio Vivaldi
178:Antonio Caldara
153:
131:
127:of 1735 at the
125:Carnival season
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32:G. B. Pergolesi
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578:Premiere cast
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319:Charles Burney
280:King's Theatre
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1688:Opera Manager
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1672:Olimpiade, L'
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1663:0-521-23533-2
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2003:Bella Figura
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1789:(in Italian)
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1710:Academia.edu
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770:Catalog.: 93
768:Agorá Musica
680:
557:
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551:Pergolesi's
550:
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542:
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531:
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505:chromaticism
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314:Stabat Mater
312:
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292:Leonardo Leo
283:
275:
268:
265:
261:André Grétry
252:
245:James Stuart
238:
196:
186:
180:in 1733 and
165:
154:
142:
140:
103:
102:
101:
71:
2049:1735 operas
2044:Opera seria
1940: [
1918:Il Flaminio
1910:L'Olimpiade
1862:La Salustia
1801:Treccani.it
1783:(Roma 1735)
1781:L'olimpiade
1746:(in French)
1633:(in German)
1339:L'Olimpiade
1253:L'Olimpiade
1079:L'Olimpiade
1067:French feet
927:L'Olimpiade
907:L'Olimpiade
749:Irena Zaric
607:en travesti
575:Voice type
558:L'Olimpiade
553:L'Olimpiade
545:L'Olimpiade
528:L'Olimpiade
510:opera-buffa
492:L'Olimpiade
484:L'Olimpiade
399:An opening
393:L'Olimpiade
344:L'Olimpiade
336:L'Olimpiade
303:L'Olimpiade
266:L'Olimpiade
257:Egidio Duni
220:comprimario
198:L'Olimpiade
174:Charles VII
144:opere serie
132: [
104:L'Olimpiade
73:L'Olimpiade
28:Opera seria
22:L'Olimpiade
2033:Categories
1729:(editor),
1397:Caffarelli
843:Orchestra,
841:Conductor,
795:Martin Oro
713:Orchestra,
711:Conductor,
689:Recordings
458:comprimari
442:comprimari
330:the 1810s
270:pasticcios
253:Demofoonte
151:Background
50:Librettist
1700:Olimpiade
1488:Mellace.
1308:1972 and
1290:Olimpiade
1186:Il Nerone
1108:Domenico
869:Arthaus:
667:castrato
665:contralto
661:Alcandro
583:Clistene
496:Guglielmo
488:Guglielmo
388:Structure
276:pasticcio
249:Candlemas
208:baritenor
184:in 1734.
2020:Category
1749:Stendhal
1568:regnante
1490:Rousseau
1477:sinfonia
1282:Archived
677:Synopsis
639:Megacle
603:castrato
596:Aristea
479:sinfonia
440:the two
434:sinfonia
407:24 arias
402:sinfonia
369:Piacenza
332:Stendhal
327:Cimarosa
311:and the
193:castrati
155:The new
80:Premiere
68:Based on
60:Language
1721:op.cit.
1648:op.cit.
1557:Sources
1549:(2011).
1471:Hucke,
1306:Hanover
1197:Mellace
1167:Toscani
1089:at the
1081:at the
1043:Mellace
1015:Bohemia
650:Aminta
628:Licida
617:Argene
600:soprano
530:in the
462:Adriano
413:A march
284:Meraspe
157:Bourbon
86: (
63:Italian
2039:Operas
1963:(1736)
1955:(1731)
1947:(1731)
1921:(1735)
1913:(1735)
1905:(1734)
1897:(1734)
1889:(1733)
1881:(1733)
1873:(1732)
1865:(1732)
1854:Operas
1773:
1739:
1706:online
1682:
1661:
1626:
1608:
1324:
1312:1988 (
1104:Ricci
954:
917:
848:Label
718:Label
653:tenor
410:A duet
361:Modena
212:Handel
161:Naples
1944:]
1795:, in
1440:(cf.
831:Year
824:Video
715:Note
701:Year
694:Audio
587:tenor
572:Role
565:Roles
365:Parma
136:]
1771:ISBN
1737:ISBN
1680:ISBN
1659:ISBN
1624:ISBN
1606:ISBN
1547:Jesi
1322:ISBN
1065:, 6
952:ISBN
915:ISBN
853:2013
834:Cast
810:CD:
780:2011
762:CD:
756:Cluj
728:1992
704:Cast
371:and
294:and
88:1735
84:1735
1708:at
1418:1).
1341:at
1238:by
1136:),
1077:'s
929:by
424:An
325:by
119:by
30:by
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1942:it
1751:,
1600:,
1500:).
1444:).
1328:).
1222:,
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685:.
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436:.
367:,
363:,
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134:it
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1690:)
1612:.
1399:.
1255:.
1242:.
958:.
801:,
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