Antonio Sacchini - Knowledge

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.

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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.

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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:Gesù 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'umiltà 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:Œdipe à 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:Œdipe à 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:Œdipe à 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:Œdipe à 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:Œdipe à 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:Œdipe à Colone 652:Œdipe à Colone 642: 639: 634:Œdipe à Colone 626:Œdipe à Colone 555:Œdipe à 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:Œdipe à 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: 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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: 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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:. 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