(b Rome, 3 Jan 1698; d Vienna, 12 April 1782). Italian poet, librettist and moralist. Although his fame rests chiefly on his 27 opera seria librettos, his works intended for musical setting also include a comic intermezzo, close to 40 occasional pieces (ranging from elaborately staged feste teatrale to simple complimenti for two participants), 8 oratorios, 37 cantatas, 8 solo complimenti, 7 canzonettas, 33 strofe per musica and other lyrical stanzas. This broad spectrum, widened further by settings of some of the 32 sonnets, has brought over 400 composers in contact with Metastasian texts, which, along with the music they prompted, were known across Europe, Britain, Scandinavia and imperial Russia during the period from about 1720 to about 1835, and even reached pockets of the New World. To understand these poetic works is a challenge. It demands a thinking back past the movements in realism and naturalism that were so much a part of the latter 19th century and which, in the 20th century, became so photographically and psychologically exact. It also demands a peeling away of 20th-century cynicism. In his writings Metastasio was much more concerned with what humanity might be than with what it actually is.
Born to Felice and Francesca Trapassi, of modest means, Pietro was destined to attain imperial recognition and patronage through talent and learning coupled with appropriate and timely connections, the first of which was Cardinal Pietro Ottoboni, a man of wealth and influence and a beneficiary of Pietro Ottoboni the elder. Elected Pope Alexander VIII in 1689, the older Ottoboni elevated his two nephews, Marco and Antonio, to princely positions and named both as cardinals along with Antonio's son Pietro. The younger Pietro was a devotee of music and theatre and a generous patron; he was also a librettist, and as Pietro Trapssi's godfather he facilitated the boy's early schooling, along with that of his younger brother, Leopoldo. Later, in 1727, he commissioned the writing and staging of Metastasio's first oratorio, Per la festività del santo natale, given in Rome at his own residence, the Cancelleria Apostolica, with music by Giovanni Costanzi, another of his protégés. The distinguished jurist Gianvincenzo Gravina was Pietro Trapassi's next important connection. Impressed by the boy's intelligence and precocious ability at verse improvisation, Gravina adopted him in 1708, the year in which he published his most significant literary treatise, Della ragion poetica libri due. Gravina set in place the boy's classical education, contemplating a career in law. He also introduced him to influential members of society and encouraged his public displays of poetic improvisation as long as the boy's delicate health permitted. In 1712, when Gravina supervised the writing of the 14-year-old Pietro's only tragedy, Giustino, he took him to Scalea in Calabria to study with Gregorio Caloprese, Gravina's cousin and a scholar of Cartesian philosophy. Back in Rome, in 1714, Pietro took minor orders at the Lateran Basilica. The following year, Gravina arranged the name change from ‘Trapassi’ to its Greek equivalent, ‘Metastasio’, and in 1717 Giustino appeared in an edition of Poesie di Pietro Metastasio Romano published in Naples. This volume, in its dedication to Aurelia Gambacorta d'Este, contains a passing compliment to Filippo di Gallas, Austrian Ambassador in Rome, and the tragedy is preceded by the idyll ll convito degli dei a more recent work written on the confinement of the Empress Elizabeth, consort to Charles VI of Austria. Similar tributes to the Austrian court via its representation in Italy were to follow.
Gravina died in 1718, leaving Metastasio well educated, well connected and well provided for. He initially worked in a law office in Naples, where he also continued to build his career as a poet. In 1720 he wrote the azione teatrale Endimione, which was on hand the following year for the wedding of Antonio Pignatelli, Prince of Belmonte, and Anna Pinelli di Sangro. Set by Domenico Sarro, this work was dedicated to the groom's sister, Marianna Pignatelli, a lady-in-waiting to the Empress Elizabeth and wife of Michael Johann d'Althan, a private counsellor, to Charles VI. Michael Johann's brother, Cardinal Michael Friedrich d'Althan, became viceroy of Naples in 1722, the year in which Metastasio wrote La Galatea, another azione which, set by Gioseffo Comito, served another Pignatelli occasion: the birth of a child to Margherita, sister of Antonio and Marianna. Meanwhile, two more azioni, Angelica and Gli orti esperidi, both with music by Nicola Porpora, were written for performance in Naples in 1720 and 1721 as birthday celebrations to honour the Empress Elizabeth. In 1722 Marianna d'Althan in Vienna, became a widow, but she remained close to the throne and was well positioned to add her voice to that of Apostolo Zeno in praise of Metastasio when, in 1729, Zeno announced his intention of returning to Venice, thus leaving open a position for an Italian court poet. That Metastasio was appointed in 1730 by invitation rather than by application, that his salary of 3000 florins was higher than that of the Kapellmeister, J.J. Fux, and that the appointment was made without the knowledge of Siegmund Rudolf Sinzendorf, the Obersthofmeister, under whose jurisdiction the position fell, testifies to the strength of the connections that had been forged. The salary was in fact augmented by an additional 1000 florins annually from the emperor's privy purse and 400 florins for accommodation.
Connections aside, however, by August 1729, when he was offered the court position, Metastasio had also established himself as a poetic dramatist with six successful operas and an oratorio. Further, still in Rome in November 1729, he was to add La contesa de' numi, a festa teatrale in honour of a son born to Louis XV of France and, before leaving for Vienna, the two operas destined to become his most popular, Artaserse and Alessandro nell'lndie, all three in settings by Leonardo Vinci. His first opera, Siface rè di Numidia, by Francesco Feo, had its première in Naples in 1723. It was successful, but Metastasio tended to discount it, as it was largely a reworking of Domenico David's La forza del virtù. The first fully original opera text therefore, was Didone abbandonata, set for Naples by Sarro in 1724 and dedicated to the viceroy. While writing this libretto, Metastasio lived in the home of Giuseppe Bulgarelli and his wife, the singer-actress Maria Anna Benti (‘La Romanina’), for whom the title role was created. She had sung Venus in Gli Orti esperidi and the friendship between poet and singer led to his regular presence in her salon, where he met the composers of his early works and began his lifelong friendship with the castrato Farinelli. Vinci was to set the next opera, Siroe rè Persia, for Venice in February 1726, just a month after his setting of Didone was given in Rome. Catone in Utica (1728, Rome) and Semiramide riconosciuta (1729, Rome) were both Vinci operas, with Ezio (1728, Venice) first set by Porpora. Thus, by the time Metastasio left for Vienna, his dramas had not only succeeded, but had also triumphed in the three major opera centres of Italy, and in settings by the major composers.
Opera and oratorio had reached Vienna early in the 17th century and the regular performance of theatrical pieces for imperial birthdays, namedays, weddings etc. became standard from the middle of the century, with Lenten and Advent oratorios (or their equivalent) following from about 1661. Metastasio's first work for Vienna was the oratorio La passione di Gesù Cristo, performed at the Hofkapelle on 4 April 1730, before he actually arrived in the city. The following year, he complied fully with the existing tradition by providing texts for an Easter oratorio (Sant' Elena al Calvario), a festa teatrale (Il tempio dell'Eternità) for the birthday of the Empress (28 August) and an opera (Demetrio) for the nameday of the emperor (4 November). In all, between 1730 and the death of Charles VI in 1740, he wrote 11 of his opera librettos, another 11 occasional pieces, and the last seven of his eight oratorios, not to mention cantatas, canzonettas, sonnets and other lyrical poetry for which the dates are uncertain. L'olimpiade, Demofoonte and La clemenza di Tito all date from the first half of this decade and by early 1736, with four azioni and an oratorio written the previous year, with Achille in Sciro just completed for the wedding of Maria Theresia and Francis of Lorraine, and with Ciro riconosciuto and Temistocle yet to emerge for August and November, Metastasio was struggling to maintain the pace. Musical settings of most of the major works were by Antonio Caldara, the vice-Kapellmeister, with smaller works generally allotted to the court composers Georg Reutter and Luca Antonio Predieri, both of whom rose to greater prominence after Caldara's death in December 1736. Yet even as he strove to fulfil imperial demands, changes in Vienna's material circumstances were imperceptibly bringing about cultural changes that would render Metastasio's creative life after 1740 quite anti-climactic by comparison with what he experienced under Charles's patronage.
Austria began to suffer territorial losses as from the mid-1730s, and further pressure was placed on an already strained economy with the wars that followed the accession of Maria Theresia in 1740; the bonds between politics and religion that had brought Counter-Reformation Austria to its height under Charles began to loosen, and reform eventually altered Viennese society, from the structures of church and state down to the bill of fare at the theatres, now given over to private management. The Austro-Italian Baroque of which Metastasio had become a part gave way to a form of early classicism, a movement considerably bolstered by the new alliances between France and Austria as already made manifest in the union of Maria Theresia and Francis of Lorraine and further affirmed in 1744 with the marriage of Maria's sister to Francis's brother.
Although between 1741 and 1782 Metastasio wrote about 20 texts tailored to Habsburg court occasions and eight solo complimenti, he wrote no new oratorios and only a few new opera seria librettos. Some of the Metastasian operas performed in the early 1740s were adaptations for Vienna of works previously written for Italy, with new settings of existing texts common by the end of the decade. With the support of the imperial rulers and, in 1752–3, the new chancellor, Wenzel Kaunitz, French theatre and its offshoots reduced productions of Metastasian opera in Vienna to nothing by 1765. Joseph ll's preference for Italian opera buffa over opera seria then became evident after his accession to power in the mid-1760s. When, in 1776, Joseph established the German National theater and then the National Singspiel, Metastasian theatre took another setback, and its continuance into the 1830s was outside the imperial capital.
Of the operas written after 1740, Antigono (1743) and Nitteti (1756) had their premières outside Vienna (in Dresden and Madrid respectively), as did Romolo ed Ersilia (1765) and Ruggiero (1771), albeit for Habsburg weddings (in Innsbruck and Milan). Other wedding pieces included the opera Ipermestra (1744) and the elaborately staged feste teatrali Alcide al bivio (1760) and Partenope (1767). Another festa, Egeria (1764), celebrated Joseph's coronation. Of the remaining three operas, ll trionfo di Clelia (1762) was written to celebrate the birth of a daughter to Archduke Joseph and Isabella of Parma, while ll re pastore (1751) and L'eroe cinese (1752) were vehicles for amateur performance by court personnel. Nearly 20 occasional pieces, including the solo complimenti, were prepared for performances by the young royals. Four others, however, were written for Madrid, including L'isola disabitata, an azione teatrale that was to attract the attention of such composers as Jommelli, Paisiello, Perez, Traetta and Joseph Haydn. Further, although Metastasian productions came to grace the stage in Vienna only as formal accompaniments to special court occasions (or as ‘in house’ events), several were set by one of the poet's favourite composers, J.A. Hasse. Other first composers included Reutter, Giuseppe Bonno, Nicola Conforto, C.W. Von Gluck and Georg Wagenseil. Long after Metastasio's death, extracts from his works continued to serve such composers as Leopold Kozeluch, Giovanni Liverati and Antonio Salieri as texts for compilations of solo songs and arias, duets and ensembles, grouped together under such titles as ariette, canzonette, divertimenti vocali or notturni, and published as vocal pieces with keyboard accompaniment.
Metastasio's entire literary career flourished within the milieu of the Arcadian movement. Both Pietro Ottoboni and Gravina were Arcadians, as was Michael Friedrich d'Althan and the whole line of court poets in Vienna from Donato Cupeda (who followed Nicolò Minato) to Pietro Bernadoni, Silvio Stampiglia, Pietro Pariati, Apostolo Zeno and Giovani Pasquini. Poets such as Marco Coltellini and Ranieri de' Calzabigi, later to have associations with Vienna, were also Arcadians. For dramatic poets, the fundamental Arcadian aim was a moral one: to render virtue appealing and vice distasteful. At least, such an aim is articulated along with other literary principles in the treatises of Gravina, Giovanni Crescimbeni and Lodovico Muratori, all published in the first decade of the 18th century. Like Metastasio, these writers were familiar with Cartesian moral philosophy by which virtue was best revealed in an individual's mental and spiritual ability to control actions that may be incited by human passion. Indeed, the human passions – their identity and their understanding – form the very substance of Descartes' discourse (Les passions de l'âme), the moral code that served Arcadian writers as a veritable guide book. It was particularly relevant to the Arcadian dictum, drawn from antiquity, that dramatic poets should teach moral principles under the guise of giving pleasure, and should move the emotions of audiences and readers in favour of the moral stance; the Arcadian librettist, as a writer of moral drama, thus became a preacher in the theatre. For Metastasio, with his first-hand knowledge of ancient tragedy and his capacity to blend Arcadian ideals with the observations of Aristotle and Horace, these moral dramas took on a highly developed literary quality. Complete as they are in text alone, they were also capable of performance as spoken dramas. In musical setting, however, they were constantly modified throughout the 18th century to suit local performance requirements, to accommodate the increased use of duets, ensembles and scene-complex finales and new musical forms, and to reflect changes in the pace and intensity of dramatic expression.
In addition to the Arcadian treatises published at the beginning of the 18th century, there were also three important treatises on pulpit oratory (those of Blaise Gisbert, Jean Gaichiès and François Fénelon), all of which show a remarkable similarity with the Arcadian works in their emphasis on morality, their assumed knowledge of Descartes, their insistence on the principles of teaching, moving (or persuading) and pleasing, and their desire for lofty ideas to be expressed in simple and economical language. The preacher in the chapel, therefore, had much the same demands upon him as the preacher in the theatre. Thus, provided dramatic poets, like the abbe Metastasio, were as informed about matters of church doctrine, the writings of the church fathers, bible stories and the lives of the saints as they were about matters of mythology and ancient history, their task of preaching could be readily moved from theatre to chapel – from opera libretto to oratorio text. In emphasizing the emotional predicaments of the personages in their oratorios, poets automatically aligned themselves with a general trend in pulpit oratory of the day. Indeed, Metastasio, more than being a mere poet and librettist, was also a preacher and, as that term implies, a moral philosopher and a theologian. Unlike the opera texts, those for the oratorios often remained remarkably intact during the 18th century. Oratorios with action plots, however, were frequently reworked during the second half of the 18th century to serve as librettos for operas. Thus such oratorios as Betulia liberata and Isacco figura del redentore were transformed into sacred operas, particularly appropriate for the Lenten season.
When the first Arcadian Academy was founded in 1690, it gave impetus to a movement in Italian literature that Muratori believed to have surfaced as early as 1650. Thus the Arcadians endorsed an already existing call for poets to return to the models of antiquity – to the didactic and moral function of ancient Greek drama and to the simplicity, directness and economy of its language. Metastasio obeyed. Not only was his youthful Giustino based entirely on Greek models, but he was later to provide some observations on several Greek dramas and to attempt a justification of opera seria in terms of Aristotle's Poetics in his Estratto dell' Arte poetica d'Aristotle (1772, published 1782). Ancient Rome also gained representation in his plots and in his annotated translation of Horace's Ars poetica (1749). For Metastasio, however, the moral and technical principles of antiquity had to be reconciled with those of Arcadia, founded on the more recent more philosophy of Descartes and requiring the manipulation of the Italian language as first exemplified by Petrach. Beyond Petrarch, Metastasio also found models in Tasso, Ariosto, Guarini, and even in Marini, the poet most condemned by Arcadia for having corrupted the moral integrity and clear expression of Italian poetry. Out of this background, Metastasio created dramas based upon characters in action (as Aristotle suggests) to which he later assigned names. These characters, however, are engaged in moral action, and their varying degrees of success in subjugating to their wills the deeds to which their emotions may incite them follow the probable outcomes as outlined by Descartes. In this way, Metastasio demonstrated moral aspiration and its universal benefit within the bounds of Aristotelian probability and in line with Aristotle's notion that poets, unlike historians, should demonstrate what might be rather than simply record historical truth. Further, Aristotle's suggestion that characters should be ‘better than average’ and made better looking than in real life was reflected by Metastasio in his depiction of consummate moral heroes and heroines who, if not themselves gods, saints or biblical characters, were of the highest ruling class. Metastasio successfully blended this fusion of Aristotle and Descartes with the external and internal ‘beauties’ of poetry demanded by Arcadia. External beauties included choice of words, versification, figures of speech and eloquence of style, while internal beauties included profundity, hidden mysteries, philosophy and theology. Uniquely Metastasian in the result is the sensitivity to the emotive nuances of words and the moulding of them into mellifluous yet simply stated poetry that in itself could turn both heart and mind in the direction of the noble aspirations expressed. As in the texts of Zeno, there was no place here for comic elements, all of which were expunged.
While satisfying the demands of his literary environment, Metastasio also accommodated genre expectations and the requirements of musical setting. The operas are conceived in three acts, the oratorios in two parts, the feste and azioni in one or two parts and the dramatic cantatas and componimenti in one. Scenes change in the operas according to the entry or exit of a character. Such scene divisions, however, are present in only a few of the feste and azioni, and are completely absent from the oratorios. Often a series of scenes or events will be linked by a character common to all of them (the liaison de scène technique), at the end of which, in the larger theatrical works, a change of location may occur. All the dramatic works, whether for theatre, chapel or salon, begin with the action already in progress, from which the emotional weight of subsequent events, regulated according to genre, builds to climactic points of internal conflict for the central characters. For musical setting, the action of most scenes or events is laid out in dialogue (for recitativo semplice), occasional monologue (for recitativo obbligato) and final exit aria, with the character's state of mind usually set before the aria begins. The individual lines of verse are all musically conceived and are generally cast in two stanzas to accommodate the prevailing da capo settings, with vowel placement appropriate, to vocal rendition. In the operas, the ends of the first two acts are high points of tension, with either a scena for a principal character or a duet for the two principals. In all except three of the operas (Attilio Regio, Catone in Utica and Didone abbandonata) a happy ending (lieto fine), celebrated in the work's final lyrical number, is standard. Typical though these characteristics may be, however, they are generalities around which much variation is woven.
The notion of scenes ending with da capo arias is occasionally broken, even in the operas, with the inclusion of short arias that do not conclude the scenes in which they occur. Beyond the operas, the absence of scene divisions in other genres loosens the convention even further. Almost half the operas contain act-ending duets with medial duets occurring in almost a quarter of them. Both types of duet are found in the azioni and componimenti, while in the feste medial duets dominate, matched by an equal number of act-ending and medial ensembles, which often occur in combination with choruses of gods, muses, virtues and the like. In the feste, three to four numbers usually require chorus, including the final tutti. Egeria, for example, is a festa in one part. It opens with a quartet and chorus, has another at its centre, and concludes with a quintet and chorus. All 7 of the Vienna oratorios call for a chorus at the end of each of their two parts, often with at least one other medial entry. In the operas, the quartet written for the second version of the Catone in Utica conclusion represents the only medial ensemble. Act-ending ensembles, however, occur in 5 other operas, and include the final sextet in Antigono. A chorus is required for half the operas and is thus available to join with or replace the principal singers in the final cori. In most of the remaining operas, ‘extras’ who may or may not contribute to the vocal conclusions, are at least assembled for them. Indeed, Ruggiero and Zenobia may be the only operas with final cori that have to be sung by the soloists alone. Such cori simply do not occur in either Didone or Catone, but are typical of the azioni, where they usually occur as numbers for the solo ensemble. The componimenti and dramatic cantatas tend to end in duets or genuine trios according to the number of dramatis personae involved.
Along with an awareness of this tremendous variety within the librettos, it is also important to bear in mind that nearly all of Metastasio's works, and certainly all the opera seria texts, were written after the publication of Benedetto Marcello's Il teatro alla moda. Indeed, the content of the poet's only comic intermezzo, L'impresario delle Canarie, written as a companion piece to Didone abbandonata, suggests his acquaintance with Marcello's work and the operatic foibles that it satirizes right from the outset of his career. Further, although the tradition that Metastasio upheld during his first ten years inVienna may represent the final flowering of the Austro-Italian Baroque, his earlier works for Rome, Naples and Venice had already attracted the attention of a new generation of composers more associated with an early Classical style than with the passing Baroque. Apart from Caldara, as much an early Classicist as a master of counterpoint in the Fux tradition, Metastasian texts served hundreds of later composers, including Mozart, and it must be remembered that Gluck set far more Metastasio than he did Calzabigi. Beyond Vienna, Metastasian texts remained in vogue until well into the 19th century, a longevity not easily understood if acquaintance with these works is limited to skeletal synopses, occasional arias, or translations that distort the works beyond recognition, such as those of the well-intentioned John Hoole.
Although Metastasian drama, while still popular elsewhere, fell from fashion in Vienna by 1765, the lyricism and the moral tone that permeated it did not. From the stage, Metastasio's dramatic poetry retired to private libraries where it could be read in unaltered versions. Copies of Metastasio volumes were given as gifts, for example to the young Carl Zinzendorf in Vienna in1762 and Mozart in Milan in 1770. Later, in North America, Thomas Jefferson, keen to amass works of the highest quality for his personal library, obtained a 12-volume Opere del Metastasio. Editions of Metastasio's works, beginning with the first publication of 1717, number over 200, the most significant of which remain the Hérissant edition edited by Giuseppe Pezzana (Paris, and dedicated to Marie Antoinette, the Zatta edition (Venice, 1782–4), dedicated to Catherine the Great, and the Brunelli edition (Milan and Verona, 1943–54). Other early editions contain important critical commentaries, and texual annotations have accompanied editions of selected works published in Italy since the 1960s. The tercentenary of Metastasio's birth in 1998 lent further momentum to research.
each libretto is followed by a list of composers who set it, with dates of first performances of first settings only, except where subsequent revisions provide alternate titles
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Caldara, 1736; Sarri, 1737; G. Arena, 1738; Chiarini, 1739; Leo, 1740; Courcelle, 1744; Manna, 1745; G. Verocai, 1746; Meyer, ?1747 (as Il trionfo della gloria); G.B. Runcher, 1747; Jommelli, 1749; ?Sciroli, 1751; Mazzoni, 1754; Hasse, 1759; Sarti, 1759; Bertoni, 1764; Monza, 1764; Agricola, 1765; Gassmann, 1766; Naumann, 1767; A. Amicone, 1772; Anfossi, 1774; Sales, 1774; Paisiello, 1778; Pugnani, 1785; Bernardini, 1794; Coppola, 1828 |
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Caldara, 1732; Giacomelli, 1733; Pergolesi, 1734; Sandoni, 1734; Broschi, 1735; Duni, 1735; Veracini (rev. Corri), 1735; Ferrandini, 1737; Hasse, 1737; Nebra, 1737 (rev. Bazano as Más gloria es triunfar de si); Porta, 1737; Ristori, 1739; Galuppi, 1740; Giai, 1740; Lampugnani, 1740; Giaino, 1741; ?Logroscino, 1742; Verocai, 1745 (as Die getreue Emirena); Abos, 1746; Graun, 1746; Latilla, 1747; V. Ciampi, 1748; Scalabrini, 1749; Pampini, 1750; Pescetti, 1750 (as Farnaspe); Adolfati, 1751; Perez, 1752; G. Scarlatti, 1752; Valentini, 1753; Conforto, 1754; Scolari, 1754; Bernasconi, 1755; Brusa, 1757; Uttini, 1757; Rinaldo di Capua, 1758; Borghi, 1759; Mazzoni, 1760; Colla, 1762; Schwanenberger, 1762; M. Wimmer, 1764; J.C. Bach, 1765; Guglielmi, 1765; Holzbauer, 1768; Mango, 1768; Majo, 1769; Monza, 1769; Tozzi, 1770; Sacchini, 1771; Insanguine, 1773; Monti, 1775; Mysliveček, 1776; Anfossi, 1777; Sarti, 1778; Alessandri, 1779; Rust, 1781; Cherubini, 1782; Nasolini, 1789; Méhul, comp. 1790–91 (rev. F.-B. Hoffman as Adrien, empéreur de Rome; rev. and perf. 1799); Zingarelli, c1790; Mayr, 1798; ? V. Migliorucci, 1811; P. Airoldi, ?1821; Mirecki, 1826 (inc.); Mercadante (rev. A. Profumo), 1828 |
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Vinci, 1729; Handel, 1731 (as Poro, re dell'Indie); Hasse, 1731 (as Cleofide); Porpora, 1731 (as Poro); Predieri, 1731; Mancini, 1732; Pescetti, 1732; Bioni, 1733; Lucchini, 1734; Schiassi, 1734; Courcelle, 1738; Galuppi, 1738; Brivio, 1742; Sarri, 1743; Uttini, 1743; Gluck, 1744; Graun, 1744 (as Alessandro e Poro); Jommelli, 1744; Perez, 1744; Chiarini, 1745; Pelegrini, 1746; Abos, 1747; Wagenseil, 1748; Scalabrini, 1749; Scolari, 1749; Rutini, 1750; Fiorillo, 1752; Latilla, 1753; G. Scarlatti, 1753; Agricola, 1754 (as Cleofide); Araja, 1755; Perez, 1755; Piccinni, 1758; Holzbauer, 1759; Cocchi, 1761; Dal Barba, 1761; Sarti, 1761; J.C. Bach, 1762; Traetta, 1762; G.G. Brunetti, 1763; Sacchini, 1763; Fischietti, 1764; Sciroli, 1764; Majo, 1766; Gatti, 1768; Naumann, 1768; Bertoni, 1769; J. Kozeluch, 1769; ?Felici, 1771; Anfossi, 1772; Paisiello, 1773; Corri, 1774; Piccinni, 1774; Monza, 1775; Rust, 1775; Marescalchi, 1778; Mortellari, 1778; Vincenti, 1778; A. Calegari, 1779; Cimarosa, 1781; Cherubini, 1784; Bianchi, 1785; Chiavacci, 1785; Caruso, 1787; Tarchi, 1788 (rev. C.F. Badini as Le generosità di Alessandro, 1789); Guglielmi, 1789; Zingarelli, c1790; Gnecco, 1800; Ritter, 1811 (as Alexander in Indien); Pacini (rev. A.L. Tottola), 1824 |
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Hasse, 1743 (rev. 1752 as Alessandro, re d'Epiro); Scalabrini, 1744; Bernasconi, 1745; Galuppi, 1746; Jommelli, 1746; Conforto, 1750;Wagenseil, 1750; Bertoni, 1752; ?Cocchi, 1754; Sarti, 1754; Mazzoni, 1755; Gluck, 1756; Pampani, 1756; Re, 1757; Ferradini, 1758; Duran, 1760; Piccinni, 1762; Traetta, 1764; Zannetti, 1765; Scolari, 1766; Guglielmi, 1767; Majo, 1767; Schwanenberger, 1768; A. Felici, 1769; Sales, 1769; Cafaro, 1770; Monza, 1772; Alessandri, 1773; Anfossi, 1773; Latilla, 1775; Mortellari, 1777; Bachschmidt, 1778; Gazzaniga, 1779; ?Parenti, comp. 1780s; Mysliveček, 1780; Gatti, 1781; Paisiello, 1785; Zingarelli, 1786; Caruso, 1788; ?Rossi, 1788; Ceracchini, 1794; A. De Santis, 1798; Poissl, 1808; Ant. Gandini, 1824 |
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Vinci, 1730; ?Chiocchetti, 1730; Hasse, 1730; D. Zamparelli, 1731; Bambini, 1733; Bioni, 1733; Corradini, 1736 (as Dal er ser el hijo all padre); Paganelli, 1737; Poncini Zilioli, 1737; Schiassi, 1737; Araja, 1738; Brivio, 1738; Ferrandini, 1739; Adolfati, 1741; Arena, 1741; Chiarini, 1741; Gluck, 1741; Graun, 1743; Manna, 1743; Scalabrini, 1743; Duni, 1744; Terradellas, 1744; Abos, 1746; Bernasconi, 1746; V. Ciampi, 1747; Maggiore, 1747; G. Scarlatti, 1747; Carcani, 1748; Perez, 1748; Galuppi, 1749; Jommelli, 1749; Lampugnani, 1749; Mele, 1749; Smith, 1749 (inc.); Fiorillo, 1750s; G. Bollano, 1750; Pampani, 1750; Dal Barba, 1751; Pescetti, 1751; Fischietti, 1754; Cocchi, 1755; Gasparini, 1756; Pampani, 1756; ?G. Quagliattini, 1757; Scolari, 1757; J.C. Bach, 1760; Sarti, 1760; Arne, 1762; Majo, 1762; Piccinni, 1762; Sertori, 1765; Ponzo, 1766; Boroni, 1767; Sacchini, 1768; Paisiello, 1771; Vento, 1771; Manfredini, 1772; Caruso, 1774; Mysliveček, 1774; Borghi, 1775; Bertoni, 1776; Guglielmi, 1777; Re, 1777; Ullinger, 1777–81; ?Parenti, comp. 1780s; Rust, 1781; Schacht, 1781; Zannetti, 1782; Alessandri, 1783; Cimarosa, 1784; Bianchi, 1787; Anfossi, 1788; Tarchi, 1788; Andreozzi, 1789; Zingarelli, 1789; Isouard, 1794; Ceracchini, 1795; Nicolini, 1795; Portugal, 1806; Lucas, 1840 (as The Regicide) |
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Hasse, 1750; Jommelli, 1753; Monza, comp. 1777; Beltrami, 1780; Zingarelli, c1790 |
|
Vinci, 1728; Leo, 1729; Hasse, 1731; Marchi, 1733; Torri, 1736; Vivaldi, 1737; Duni, 1740; Rinaldo di Capua, 1740; Verocai, 1743 (as Cato); Graun, 1744; Scalabrini, 1744; Latilla, 1747; Ferrandini, 1753; Höpken, 1753; Jommelli, 1754; G. Ballabene, 1755; V. Ciampi, 1756; Poncini Zilioli, 1756; J.C. Bach, 1761; Gassmann, 1761; Majo, 1762; Piccinni, 1770; Ottani, 1777; F. Antonelli Torres, 1784; Andreozzi, 1786; Nasolini, 1789; Paisiello, 1789; Zingarelli, c1790; Winter, 1791 |
|
Caldara, 1736; Galuppi, 1737; Rinaldo di Capua, 1737; Leo, 1739; Chiarini, 1743; Jommelli, 1744; Smith, comp. 1745 (unperf.); Verocai, 1746; Duni, 1748; Hasse, 1751; Fiorillo, 1753; Sarti, 1754; G. Meneghetti, 1758; Cocchi, 1759; Piccinni, 1759; Petrucchi, 1765; Puppi, 1765; Mango, 1767; P. Persichini, 1779; Zingarelli, c1790; Tarchi, 1796; Capotorti, 1805 (as II Ciro); Mosel, 1818 (rev. M. von Collin as Cyrus und Astyages) |
|
Caldara, 1731; Bioni, 1732; Giai, 1732; Hasse, 1732 (rev. 1734 as Cleonice); Leo, 1732; Peschetti, 1732; Schiassi, 1732; Araja, 1734; Mele, 1736 (rev. D.V. de Camacho as Por amor y por lealtad recobrar la majestad); Giacomelli, 1737; Perez, 1741; Carcani, 1742; Caroli, 1742; Gluck, 1742; Lampugnani, 1744 (rev. P.A. Rolli as Alceste); Wagenseil, 1746; Galuppi, 1748; D. Naselli (Lasnel), 1748; Jommelli, 1749; Pulli, 1749; Piazza, 1750; Gibelli, 1751; Pallavicini, 1751; G. Scarlatti, 1752; Fiorillo, 1753; Ferrandini, 1758; Perillo, 1758; Insanguine, 1759; Ponzo, 1759; Eberlin,1760; Sala, 1762; Perez, 1766; Pampani, 1768; Monza, 1769; Piccinni, 1769; Paisiello, 1771; Bernasconi, 1772; Guglielmi, 1772; Mysliveček, 1773; Bianchi, 1774; Bachschmidt, 1777; Mysliveček, 1779; Paisiello, 1779; G. Giordani, 1780; Gresnick, 1786 (rev. Badini as Alceste); Tarchi, 1787; Caruso, 1790; Zingarelli, c1790; P.C. Guglielmi, 1793; Mayr, 1824; Aless. Gandini, 1828; Saldoni, 1840 (as Cleonice, regina di Siria) |
|
Caldara, 1733; Chiochetti, 1735; F. Ciampi, 1735; Sarri, Mancini, Sellitto and Leo, 1735; Schiassi, 1735; Duni, 1737 (as Demophontes, King of Thrace); Ferrandini, 1737; Brivio, 1738; Latilla, 1738; Reina, 1739; Bernasconi, 1741; Verocai, 1741; L. Vinci, 1741; Gluck, 1742; Jommelli, 1743; Graun, 1746; Hasse, 1748; Smith, 1748 (inc.); Galuppi, 1749; Fiorillo, 1750; Uttini, 1750; Perez, 1752; Cocchi, 1754; Manna, 1754; Mazzoni, 1754; Sarti, 1755; Pampani, 1757; Ferradini, 1758; Traetta, 1758; P. Vinci, 1758; Eberlin, 1759; Gius. Brunetti, 1760; Piccinni, 1761; Majo, 1763; Petrucci, 1765; Vento, 1765; Guglielmi, 1766; Mysliveček, 1769; Vanhal, 1770; J. Kozeluch, 1771; Anfossi, 1773; Berezovsky, 1773; Mysliveček, 1775; Paisiello, 1775; Monza, 1776; Schuster, 1776; Rust, 1780; Bianchi, 1781; Pio, 1782; Alessandri, 1783; Prati, 1786; Tarchi, 1786; Gatti, 1787; Pugnani, 1787; Cherubini, 1788 (rev. Marmontel as Démophoon); Vogel, 1789 (rev. Desriaux as Démophon); Federici, 1790 (as L'usurpatore innocente); Trento, 1791; Portugal, 1794; Lindpainter, 1811 (rev. I.F. Castelli as Demophoon), 1820 (rev. F.K. Heimer as Timantes); Horn, 1821 (as Dirce, or The Fatal Urn); G.M. Sborgi, 1836 |
|
Sarri, 1724; Albinoni, 1725; Porpora, 1725; Vinci, 1726; Schiassi, 1735; Brivio, 1739; Duni, 1739; Lampugnani, 1739; Galuppi, 1740; Bernasconi, 1741; Rinaldo di Capua, 1741; Hasse, 1742; Scalabrini, 1744; Adolfati, 1747; Jommelli, 1747; Bertoni, 1748; Chiarini, 1748; Terradellas, 1750; Fiorillo, 1751; Manna, 1751; Perez, 1751; Bonno, comp. 1752 (?unperf.); Mazzoni, 1752; Poncini Zilioli, 1752; Scolari, 1752; V. Ciampi, 1754; Fioroni, 1755; Traetta, 1757; F. Zoppis, 1758; Auletta, 1759; Gius. Brunetti, 1759; Ferradini, 1760; Sarti, 1762; Schwanenberger, 1765; Zanetti, 1766; Boroni, 1768; Celoniati, 1769; Majo, 1769; Insanguine, 1770; Piccinni, 1770; Mortellari, 1772; Colla, 1773; Anfossi, 1775; Mombelli, 1776; Schuster, 1776; Hozbauer, 1779 (as La morte di Didone, rev. 1780 as Der Tod der Dido); Ottani, 1779; Astaritia, 1780; Piticchio, 1780; Sarti, 1782; Andreozzi, 1784; Gazzaniga, 1787; Paisiello, 1794; L. Kozeluch, 1795; Marino, 1799; Fioravanti, 1810; Paer, 1810; Klein, 1823 (rev. L. Rellstab as Dido); Mercadante, 1823; Reissiger, 1824 |
|
Porpora, 1728; Auletta, 1728; Hasse, 1730; ?Predieri, 1730; Broschi, 1731; Handel, 1732; Lampugnani, 1737; Cortona, 1740; Jommelli, 1741; Sarri, 1741; Contini, 1742; G. Scarlatti, 1744; Pescetti, 1747; Bernasconi, 1749; Bonno, comp. 1749 (unperf.); Gluck, 1750; Perez, 1751; Ferradini, 1752; Conforto, 1754; Traetta, ?1754; Graun, 1755; Galuppi, 1756; Latilla, 1758; Gassmann, 1761; Rutini, 1763; Schwanenberger, 1763; Alessandri, 1767; Bertoni, 1767; ?Majo, 1769; Guglielmi, 1770; Mango, 1770; Sacchini, 1771; Gazzaniga, 1772; Mysliveček, 1775; Mortellari, 1777; Anfossi, 1778; Bachschmidt, 1780; Levis, 1782; Calvi, 1784; Gabriele Prota, 1784; Pio 1785; Tarchi, 1789; Celli, ?1824; Mercadante, 1827 |
|
Bonno, 1751; Höpken, 1752; Sarti, 1752; Hasse, 1755; Uttini, 1755; Agnesi, ?1756; Gluck, 1756; Perez, 1756; Mazzoni, 1757; Galuppi, 1758; Lampugnani, 1758; Piccinni, 1760; Zonca, 1760; Richter, 1762; Jommelli, 1764; Rush, 1764 (rev. R. Rolt as The Royal Shepherd); Giardini, 1765; Tozzi, 1766; Guglielmi, 1767; Sarti, 1771; Schmittbauer, c1772; Bachschmidt, 1774; Mozart, 1775; T. Giordani, 1778; Platania, 1778; ?Parenti, Comp. 1780s; Sales, 1780s; M. Rauzzini, 1784; Zingarelli, c1790; Santos, 1797 |
|
Hasse, 1762; Gluck, 1763; Mysliveček, 1767; Bertoni, 1769; Vanhal, 1770; Borghi, 1773; |
|
Jommelli, 1774; Michl, 1776; Urbani, 1784–5; Tarchi, 1786 |
|
Predieri, 1740; Porpora, 1740 (as Tiridate); G. Sbacci, 1740; Pellegrini, 1741; Poncini Zilioli, 1741; Latilla, 1742 (as Zenobia und Radamistus); Verocai, 1742; Michieli, 1746; Pulli, 1748; Perez, 1751; Uttini, 1754; Piccinni, 1756; Cocchi, 1758; G.B. Zingoni, 1760; Hasse, 1761; Pescetti, 1761; Sala, 1761; Traetta, 1761; Schwanenberger, 1765; Tozzi, 1773; G. Calegari, 1779; F. Sirotti, 1783; Mount Edgcumbe, 1800 |
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Hasse, 1744; Gluck, 1744; Bertoni, 1748; Duni, 1748; Jommelli, 1751; Adolfati, 1752; Perez, 1754; Re, 1755; Galuppi, 1758; Fiorillo, 1759; Cafaro, 1761; Eberlin, 1761; Sarti, 1766; Majo, 1768; Mysliveček, 1769; Piccinni, 1772; Fortunati, 1773; Naumann, 1774; ?R. Mei, 1778; Martín y Soler, 1780; Millico, 1783; Rispoli, 1785; Astarita, 1789; Zingarelli, c1790; Paisiello, 1791; Morlacchi, 1810 (rev. S. Scatizzi as Le danaidi); Mercadante, 1828; Saldoni, 1838; Carnicer, 1843 |
|
F. Conti, 1732; Bione, 1732; Hasse, 1732; Porta, 1732; Feo, 1733; Porpora, 1733; Sandoni, 1735; Galuppi, 1737; Chiarini, 1740; K. Bellermann, ?1741; Smith, comp. 1743 (unperf.); Verocai, 1743 (as Hissifile); Mazzoni, 1748; Gluck, 1752; Errichelli, 1754; Holzbauer, 1754; Cocchi, 1758; Gassmann, 1758; G. Scarlatti, 1760; Sarti, 1761; Schwanenberger, 1766; Anfossi, 1784; Marinelli, 1796; Poissl, comp. 1818; ?Ellerton, ?1825 |
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Caldara, 1734; ?Chiocchetti, 1735; Hasse, 1735 (as Tito Vespasiano); Leo, 1735; Peli, 1736; Marchi, 1737; Veracini (rev. Corri), 1737; Arena, 1738; Wagenseil, 1746; Camerloher, 1747 (as Die Gütigkeit des Titus); Corradini, Courcelle and Mele, 1747 (rev. I. de Luzán y Suelves); C. Pietragrua, 1748; Pampani, 1748; Perez, 1749; Caputi, ?1750s; A. Correia, c1750; Gluck, 1752; Adolfati, 1753; Jommelli, 1753; Valentini, 1753; Mazzoni, 1755; V. Ciampi, 1757; C. Cristiani, 1757; Holzbauer, 1757; G. Scarlatti, 1757; Cocchi, 1760; Galuppi, 1760; Franchi, 1766; Plantania, 1766; Bernasconi, 1768; Anfossi, 1769; Naumann, 1769; Sarti, 1771; Mysliveček, 1773; Bachschmidt, 1776; Beltrami, 1779; Santos, ?1780s; Apell, 1787; Mozart, 1791; Nicolini, 1797; Ottani, 1798; Del Fante, 1803 |
|
Bonno, 1752; Galuppi, 1753; Hasse, 1753 (rev. 1773 as Der chinesische Held); Perez, 1753; Conforto, 1754; Ballabene, 1757; Piazza, 1757; Uttini, 1757; T. Giordani, 1766; ?Majo, 1770; Sacchini, 1770; Colla, 1771; Mango, 1771; Bertoni, 1774 (as Narbale); Bachschmidt, 1775; Checchi, 1775; Cimarosa, 1782; V. Rauzzini, 1782; Zingarelli, c1790 |
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Sarri, 1724 (as Dorina e Nibbio); Albinoni, 1725; Chiocchetti, 1726; Orlandini, ?1729; Leo, 1741; Martini, 1744 |
|
Caldara, 1733; Vivaldi, 1734; Pergolesi, 1735; Brivio, 1737; Leo, 1737; ?Orlandini, 1737; Corradini, 1745 (rev. M. Guerrero as La más heroica Amistad el Amor más verdadero); Fiorillo, 1745 (rev. 1749 as Die olympischen Spiele); G. Scarlatti, 1745; Galuppi, 1747; Scolari, 1747; Lampugnani, 1748; Wagenseil, 1749; Pulli, 1751; Latilla, 1752; Logroscino, 1753; Perez; 1753; Uttini, 1753; Duni, 1755; Hasse, 1756; Carcani, 1757; Monza, 1758; Traetta, 1758; Sciroli, 1760; Jommelli, 1761; Piccini, 1761; Manfredini, 1762; Fischietti, 1763; Guglielmi, 1763; Sacchini, 1763 (rev. 1777 as L'olympiade ou Le triomphe de l'amitié); Bernasconi, 1764; Gassmann, 1764; Arne, 1765; Bertoni, 1765; Brusa, Guglielmi and Pampani, 1766; Zanotti-Cavazzoni, 1767; Piccinni, 1768; Cafaro, 1769; Anfossi, 1774; Gatti, 1775; Rosetti, 1777; Mysliveček, 1778; Sarti, 1778; Bianchi, 1781; Andreozzi, 1782; Schwanenberger, 1782; Cherubini, 1783; Sarti, 1783; Borghi, 1784; Cimarosa, 1784; Paisiello, 1786; Minoja, 1787; Federici, 1789; Zingarelli, c1790; Reichardt, 1791; Tarchi, 1792; Poissl, 1815 (as Der Wettkampf zu Olympia, oder Die Freunde) |
|
Conforto, 1756; Piccinni, 1757; Traetta, 1757; Fiorillo, 1758; Hasse, 1758; Holzbauer, 1758; Jommelli, 1759; Sarti, 1760; Mazzoni, 1764; Fischietti, 1765; Adlgasser, 1766; Carvalho, 1766; Petrucci, 1766; Czeyka, 1768; Mysliveček, 1770; Rutini, 1770; Anfossi, 1771; Monza, 1771; Gatti, 1773; Sacchini, 1774; Accorimboni, 1777; Paisiello, 1777; G. Giordani, 1781; Rispoli, 1782; Curcio, 1783; Parenti, 1783; Nasolini, 1788; Bertoni, 1789; Bianchi, 1789; Zingarelli, c1790; Benincori, ?1797; Pavesi, 1811; Poissl, 1817 |
|
Hasse, 1765; Mysliveček, 1773 |
|
Hasse, 1771; Ant. Gandini, ?1820 |
|
Vinci, 1729; Porpora, 1729; Giacomelli, 1730; Leo, 1730; Araja, 1731 (rev. F. Silvani as Il finto Nino, 1737); Porta, 1733; Lapis, 1737; Aliprandi, 1740; Jommelli, 1741; Lampugnani, 1741; Hasse, 1744; Terredellas, 1746; Gluck, 1748; Galuppi, 1749; Perez, 1750; Guiseppe de Majo, 1751; G. Scarlatti, 1751; Rutini, 1752; Cocchi, 1753; Brusa, 1756; Fischietti, 1759; Manfredini, 1760; Sarti, 1762; Sacchini, 1764; Bernasconi, 1765; Mysliveček, 1765; Traetta, 1765; Bertoni, 1767; Guglielmi, 1776; Salieri, 1782; Gyrowetz, 1791; Meyerbeer, 1819 (rev. G. Rossi) |
|
Feo, 1723; Porpora, 1725; G.N.R. Redi, 1729 (as Viriate); G.M. Nevli, 1732; Leo, 1737; Hasse, 1739 (as Viriate); Maggiore, 1744; Cocchi, 1748; Fiorillo, 1752; Fischietti, 1761; Valentini, 1761 (as Viriate); Galuppi, 1762 (as Viriate) |
|
Vinci, 1726; Porta, 1726; Porpora, 1727; Sarri, 1727; Vivaldi, 1727; Handel, 1728; Fiorè, 1729; Bioni, 1732; Hasse, 1733; Latilla, 1740; Perez, 1740; G. Scarlatti, 1742; Manna, 1743; Scalabrini, 1744; Mazzoni, 1746; Wagenseil, 1748; Cocchi, 1750; Conforto, 1752; Uttini, 1752; Poncini Zilioli, 1753; Galuppi, 1754; Lampugnani, 1755; Errichelli, 1758; Piccinni, 1759; Raupach, 1760; Boroni, 1764; Guglielmi, 1764; Tozzi, 1766–7; Traetta, 1767; Franchi, 1770; Borghi, 1771; Sarti, 1779; Beltrami, 1783; Ubaldi, 1810 |
|
Caldara, 1736; Chinzer, 1737; Latilla, 1737; Orlandini, 1737; Pampani, 1737 (as Artaserse Longimano); Ristori, 1738; Poncini Zilioli, 1739; Bernasconi, 1740; Maggiori, 1743; Porpora, 1743; Costantini, 1744; Finazzi, 1746; Jommelli, 1757; Manna, 1761; Durán, 1762; Schwanenberger, 1762; Uhde, 1762; Monza, 1766; J.C. Bach, 1772; G.G. Brunetti, 1776; Ullinger, 1777; Beltrami, 1780; Pacini, 1823 (rev. P. Anguillesi) |
|
Hasse, 1760; Conforto, 1765; Bortnyansky, 1778; Santos, 1778; L. Xavier, 1778; Paisiello, 1780; Zingarelli, 1787; Righini, 1790; Mayr, 1809 |
|
Predieri, 1732; Beringer, ?1740s; Reutter, 1741; Perez, 1751; Araja, 1755; M. Mancini, ?; Bonno, ?(unperf.); Ferrandini, 1781; Bevilacqua, 1784; Musenga, 1789; Schuster, 1801; S. Cristiani, 1803; Vogler, comp. 1804 |
|
Porpora, 1720; G.F. Milano, 1740; Fiorillo, 1744; Scalabrini, 1746; Mele, 1747; Brusa, 1756; Zonca, 1758; Carvalho, 1778; Moneta, 1780; Cimarosa and Millico, ?1783 (as Angelica e Medoro); Andreozzi, 1783/92; Mortellari, 1796; Cinque, c1800 (as Angelica e Medoro); ?Valero, 1843 |
|
Predieri, 1739 (also as La felicità della terra); J.M. Bräunich, 1742; Schürer, 1746 (rev. B. Campagnari); Majo, 1760; Sarti, 1760; Mango, 1765; Traetta, 1770; Anton of Saxony, 1785 |
|
Reutter, 1749; L. Calegari, 1827 |
|
Hasse, 1764; Tantari, 1800 |
|
Sarri, 1721; G. Mancini, 1729; Alberti, 1737; Pescetti, 1739 (as Diana e Endimione); ?Treu, 1741; Bernasconi, 1742; Hasse, 1743; Mele, 1749 (as Endimione e Diana); N. Conti, 1752; Fiorillo, 1754 (rev. 1763 as Diana ed Endimione); Sabatini, 1758; Jommelli, 1759; Sigismondo, comp. 1760s (unperf.); Conforto, 1763; A. Rugarli, 1769; J.C. Bach, 1770; Schmittbaur, 1772; M. Haydn, ?1778; Guglielmi, 1781 (rev. Serio as Diana amante); Carvalho, 1783; G. Rugarli, 1795 |
|
Porpora, 1721; Conforto, 1751; Santos, 1764; J.C. Bach, 1765; Lima, 1779; Vannacci, 1802 |
|
Bonno, 1740; Hasse, 1749; Plá, 1752; Richter, 1764; Santos, 1766; Lucchesi, 1772; J. da Silva, 1778; Fracassini, ? |
|
Reutter, 1735; Meyer von Schauensee, 1743; Santos, 1771; ? F. Robuschi, c1805 |
|
Reutter, 1738; Breunich, 1750; Mango, 1766; Schwanenberger, 1768 |
|
Gluck, 1765; Sarti and ?Bertoni, 1766; Rust, 1778 |
|
Reutter, 1756 |
|
Predieri, 1735; Porta, 1744 (as Der Traum des Scipio); Nichelmann, 1746; ?Sciroli, 1752; Llussa, 1753; Bernasconi, 1765 (as Il trionfo della costanza); ?Hasse, 1758; Confortto, ?; Bonno, comp. 1763 (unperf.); Mango, 1764; Uttini, 1764; Santos, 1768; Mozart, 1772; Cinque, c1800 |
|
Fux, 1731 (also as Enea negli Elisi); comp. unknown, 1772; Mysliveček, 1777; ?Tritto, 1793; Liverati, 1810 |
|
Gassmann, 1765; Zingarelli, c1785; Portugal, 1817 |
|
Bonno, 1743; J.W. Hertel, ?1761; Anton of Saxony, 1783 |
|
Vinci, 1729; Gluck, 1749 |
|
Gluck, comp. 1765; De Mora, 1815 |
|
Comito, 1722; Alberti, 1737; Nichelmann, 1740; Schürer, 1746; Uttini, 1755; Zoppis, 1760; Gius. Brunetti, 1762; Schwanenberger, 1763; J.C. Bach, 1764; Mango, 1767; Gomes, 1779; B. Furlanetto, 1780s; Santos, comp. 1780s; Bertoni, 1781; Cipolla, 1786 (as Polifemo); Sclart, 1789; Zingarelli, ?; Benincori, comp. 1804; L Kozeluch, 1806 |
|
Reutter, 1755 |
|
Predieri, 1738; Bioni; 1739; Adolfati, 1746; Galuppi, 1766; Perez, 1777 |
|
?Conforto, 1765 |
|
No settings known |
|
Reutter, 1750 |
|
comp. unknown, 1759; Elsner, c1825 (unperf.) |
|
Caldara, 1732; Paganelli, 1732; Pescetti, 1738; Hasse, 1743; comp. unknown, Vienna 1743; Courcelle, 1750; Jommeli, 1758; Gassmann, 1765 (as Il trionfo dell'onore); Sarti, 1769 (rev. Deschamps as L'asile del'amour); P.A. Skokov, 1787; Schicht, 1789 |
|
Bonno, comp. 1762 (unperf.) |
|
Caldara, 1735; Conforto, 1750 (rev. 1751 as La festa cinese); Gluck, 1754; Holzbauer, 1756; Misón, 1757 (as La festa chinese); Sales, 1757; Jommelli, 1765; Perez, 1769; Astarita, 1773; Millico, ?1780s; Anton of Saxony, 1784; ?Cedronio, 1789; García, ?1831 |
|
Caldara, 1735; Ferrandini, 1753; Reutter, 1758; Santos, 1762; Anton of Saxony, 1784 |
|
Bonno, 1753; Holzbauer, 1754; Uttini, 1755; Sales, 1758 (as Die unbewohnte Insel); Arne, 1760 (rev. Murphy as The Desert Island); Sarti, 1760; Jommelli, 1761; Schmittbaur, 1762 (as Die wüste Insel); Sigismondo, 1766; Perez, 1767; Traetta, 1768; G. Calegari, 1770; Astarita, 1773; Naumann, 1773; Anton of Saxony, 1775; Boroni, 1775; Bologna, 1777; ?Garbi, 1779; J. Haydn, 1779; Schuster, 1779 (as Die wüste Insel); Millico, ?1780s (unperf.); Michl, 1780; Gatti, 1783; Mengozzi, 1783; ?Musenga, 1789; Lanza, 1792; G. Rugarli, 1794; Paisiello, 1799; García, c1831 |
|
Hasse, 1767; Martín y Soler, 1782; Zingarelli, c1790; Benelli, 1798; G. Farinelli, 1814; ?Pacini, 1826 |
|
Reutter, 1754 |
|
Reutter, 1734; Leoni, 1737; Sodi, 1740; Jommelli, 1743; Matini, 1743; B. Angelini, 1746; Ciampi, 1747; Bernasconi, 1754; Aurisicchio, 1756; Holzbauer, 1760; Matucci, 1760; Ricci, 1767; Scolari, 1768; G. Calegari, 1771; Mozart, 1771; Mysliveček, 1771; Gassmann, 1772; Schuback, 1773 (as Die Rettung Bethuliens); Seydelmann, 1774; Manna, 1775 (as Judith seu Bethulia ad obsidione liberatio); Almerici, 1776; Pio, 1776; Alessandri, 1780; Sala, 1780; Anfossi, 1781; Morosini, 1781; Sales, 1783; Favi, 1787; Pugnani, ?1780s; Furlanetto, 1790; Guglielmi, 1791 (arr. Fiori as Il trionfo di Giuditta, ossia La morte di Oloferne); Nasolini, 1794; G. Giordani, 1796; Schuster, 1787; A. Brunetti, 1799; Pacini (and others), 1803 (as Giuditta); Mussini, 1805 (as Das befreiete Bethulien); Naumann, 1805 (posth.) |
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Reutter, 1735; Milano, 1735; Berett, 1737; Magagni, 1737; Redi, 1737; Sodi, 1739; Orlandini, 1744; Jommelli, 1745; Seaglias, 1745; Manna, 1747; Costanzi, 1748; Duni, 1749; Minuti, 1751; Piccinni, 1752; Harrer, 1753; Wagenseil, 1755; Mar. Carafa, 1757; Speraindeo, 1759; G. De Santis, 1760; Santacroce, 1762; Ritschel, 1763; Boccherini, 1767; Ricci, 1769; J.C. Bach, 1770 (arr. Bottarelli as Joash King of Juda); Michl, 1772; Duyle, 1773 (as Joas ein König der Juden); Valentini, 1774; Seydelmann, 1776; J. Kozeluch, 1777; Schubach, 1777; Gomes, 1778; Avondano, c1780; Sales, 1781; Conventati, 1782; Baini, 1783; Cartellieri, 1794; Laurentini, ?; Pazzaglia, ?; Wassmuth, ? (as Joas König in Juda); Schuster, 1803; Mosca, 1806; Favi/Nicolini, 1817 |
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Porsile, 1733; Redi, 1735; ?Milano, ?;Terradellas, 1736; Leoni, 1738; Santacroce, c1739; Hasse, 1741; Scalabrini, 1742; Seaglies, 1743; Ferradini, 1745; Orlandini, 1745; Bencini, 1748; Eberlin, 1750s; ?Fornasari, 1750; Lombardo, 1752; B. Angelini, 1754; Predieri, 1755; Cröner, 1756; Dianda, 1757; Duni, 1759; Sales, 1759; Gibelli, 1762; Accorimboni, 1765; Cogiola, 1765; Borghi, 1766; Boccherini, 1767; Mysliveček, ?1770; ?San Giorgi, 1770; O. Nicolini, 1771; Omobuono, 1771 (as Der wiedererkannte Joseph); Bonno, 1774; Fasch, 1774 (as Der wieder erkannte Joseph); Gaiani, 1774; Anfossi, 1776; Naumann, 1777; Pasterwiz, 1777; Meder, 1779; Fontemaggi, 1782; Morosini, 1782; Prati, 1783; Bertoni, 1787; Calvi, 1787; Zingarelli, 1797 (as Giuseppe in Egitto); Fiodo, 1804; ?Cappelli, 1904 |
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Predieri, 1740; Coletti, 1741; N. Conti, 1741; Redi, 1741; Chiarini, 1742; Jommelli, 1742 (as Il sacrifizio di Abramo); Matucci, 1742; Pizzolo, 1743; Rolle, ?1741–6 (as Die Opferung Isaacs); G.B. Martini, ? (as Il sagrificio d'Abramo); B. Felici, 1747; Schürer, 1748; Fiorillo, ?; Orlandini, 1752; Fischetti, 1754; Bizzarri, 1755; Vici, 1756; Holzbauer, 1757; Bonno, 1759; Crispi, 1762; F. Ricci, 1762; Cafaro, 1763; Santos, 1763; Borghi, 1764; Harrer, 1764; Bellini, 1765; Dittersdorf, 1766; Küffner, 1769 (as Isaac als ein Vorbild des Erlösers); Zanetti, 1769; Naumann, 1772; Gius. Brunetti, 1775; Mysliveček, 1776; Sales, 1778; Avondano, c1780 (as Die Aufopferung Isaacs); Luciani, 1781; Martinez, 1782; Andreozzi, 1785; Bocaccio, 1786 (as Isacco); Cimarosa (and others), 1786 (as Il sacrificio d'Abramo); Torelli, 1788 (as Isacco); Himmel, 1792; G. Giordani, 1794; Marcori, 1796; Tarchi, 1796; Fusz, 1812 (arr. J. Perinet); Zingarelli, c1815 (as Il sacrificio d'Abramo); Morlacchi, 1817 |
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Caldara, 1732; Leo, 1732; Bracci, 1735; Galeazzi, 1735; Gigli, 1737; D. Valentini, 1741; Arne, 1744 (as The Death of Abel); N. Conti, 1748; Meli, 1748; Dolé, 1752; Harrer, 1753; Abos, 1754; Zonca, 1754; Vannucci, 1757 (as L'uccisione d'Abele); Costanzi, 1758; Pampani, 1758; Piccinni, 1758; Seaglies, 1759; Crispi, 1763; Fischetti, 1763; G. Calegari, 1769; J. Kozeluch, 1776; Gatti, 1778 (as Abels Tod); Avondano, c1780; Morosini, ? (as Caino ed Abele); G. Giordani, 1785; Cristiani, 1788 (as L'Abele); Borghi, 1789; Naumann, 1790; C. Angelini, 1794; Perotti, 1794 (as L'Abele); Seydelmann, 1801; Rungenhagen, ?1810; Morlacchi, 1821; L. Bringeri, 1823; Guglielmi, ?; Wassmuth, ? (as Der Tod Abels) |
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Caldara, 1730; Sodi, 1733; Gregori, 1735; Magagni, 1736; Sarri, 1737; Venturelli, 1738; Perez, 1742; N. Conti, 1743; D. Valentini, 1743; Cordicelli, 1747; Cornario, 1749; Jommelli, 1749; Santo Gemmine, ?; Runcher, 1751; Pietragrua, 1754 (as Das Leyden Jesu Christi); Holzbauer, 1754; Eberlin, 1755 (as Des Leiden unsers heilands Jesu Christi); Schürer, 1755; Harrer, ? (as Ich weiss nicht, wo ich bin); Feroci, 1756; Masi, 1759; ?Zannetti, 1759; Starzer, ?; Vannucci, 1762; Naumann, 1767; Sales, 1772; Mysliveček, 1773; Crispi, 1775; Salieri, 1776; Uttini, 1776; Lucchesi, 1776–7; Majo, 1778; Morosini, 1778; Schuster, 1778; Pavani, 1779; A. Calegari, ?; C. Spontini, 1781 (as A Paixat de Jesus Christo); Paisiello, 1783; Reichardt, 1783; Santos, 1783; Commandini, 1785; Prati, 1786; Torelli, 1787; Zingarelli, 1787; Fiocchi, 1789; Guglielmi, 1790; Almerici, 1791; Mattei, 1792; Mortellari, 1794; Andreozzi, 1799; Nicolini, 1799; Azopardi, 1802; Morlacchi, 1812 |
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Costanzi, 1727; Gregori, 1735 (as La natività di nostro Signor Gesù Cristo); Mazzoni, 1735 (as Il santo natale di Jesu Cristo); Chiarini, 1744; N. Conti, 1755; Sales, 1756; Sigismondo, c1761; Manna, ? (as Oratorio pel Santissimo Natale); Sacchini, 1779; Uttini, ?; ?Fioravanti, 1822 |
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Caldara, 1731; Leo, 1732; F. Conti, 1736; Chiocchetti, 1737; Leoni, 1737; Hasse, 1746 (as Die heilige Helena); Bencini, ?; Eberlin, 1750s; Pietragrua, 1750; Seaglies, 1757; Costanzi, 1758; Küffner, ? (as Die heilige Helena); Martinez, ?; Naumann, 1775; Anfossi, 1777; Pozzo, 1777; Baini, 1778; F. Luciani, 1779; N. Luciani, 1780; Pascali, 1780; Sarti, 1781; Morosini, ?; Schacht, ?; F. Bringeri, c1790; Sales, 1790; Tozzi, 1790; Isola, 1791; ?Lepri, 1817 |
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Il ciclope, dramatic cant., 2vv: comp. unknown, 1754; Hasse, 1776; Asioli, 1787; Rössler, ?; Morosini ?; Kleinheinz, ?; Kanne, 1804 |
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La danza, dramatic cant., 2vv: Bonno, 1744; Gluck, 1755; Conforto, 1756; Santos, 1766; Hasse, 1775; Reichardt, 1788; Zingarelli, ?; Himmel, 1792; Scondito, ?; Celli, ? |
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Il quadro animato, dramatic cant., 2vv: Wagenseil, 1760 |
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37 other cants. (26 with titles), incl. Amor timido, Il consiglio, Il nido degli amor, Il nome, Il primo amore, Il ritorno, Il sogno, Il tabacco, Il trionfo della gloria; Irene, La cacciatrice, La cioccolata, La gelosia, La Pesca, La primavera, L'Armonica, La scusa, La tempesta, L'Aurora, L'estate, L'inciampo, L'inverno, Pel giorno natalizio di Francesco I, Pel giorno natalizio di Maria Teresia, Pel nome glorioso di Mari Teresia, Primo omaggio di canto; 7 canzonettas: A Nice, Canzonetta, La libertà, La partenza, La primavera, L’estate, Palinodia: variously set by Adolfati, Agricola, Ansani, Apell, G. Aprile, Asioli, C.P.E. Bach, J.C. Bach, Benati, Bizza, Bonno, Brusa, Capece, Celoni, Channan, Corigliano, Ettore, Ferrari, Galuppi, Gassmann, G. Giordani, Graun, Hasse, Jommelli, L. Kozeluch, Kraus, Martinez, Mayr, Meder, Mortellari, Motta, Mysliveček, Nägeli, Ottani, Paer, Paisiello, Piccinni, Pollini, Porpora, Prati, Reggio, Reutter, Rossini, Rutini, Schuster, Telemann, Traetta, Wagenseil, Zingarelli, Zonca |
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9 complimenti: 2 as dramatic cants., Hasse, 1760; 5 as cants., Reutter, 1748, 1751 (La virtuosa emulazione), 1754, 1759, Bonno, 1761; 2 as arias, Wagenseil, 1752, Reutter, 1760 |
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33 strofe per musica, several set as canons by Caldara, presumably 1730–36, first pubd 1748; then set variously by others |
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Collections for v or vv that incl. Metastasio texts: Apell, Aprile, Asioli, J.C. Bach, Cannabich, V. Ciampi, Cipolla, Cocchi, Consalvo, Ferrari, Gastoldi, Gyrowetz, Hasse, L. Kozeluch, G. Liverati, Mercadante, Meyerbeer, Mysliveček, Paisiello, Piccinni, Piticchio, Rösler, Salieri |
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32 sonnets and other lyrical verses (some inc.), stanzas from which have been set to music; 4 sacred poems, incl. Inno a san Giulio (set in 1751), Pel Santo Natale, paraphrase of the Miserere (Ps 51, 50 in Vulgate) and a preghiera based on its final stanza; many texts as separate arias, either set independently (some by Metastasio) or derived from complete settings of larger works. Prose writings, translations, other lyrical poems, not intended for musical setting |
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Over 2,600 pubd letters |
Grove O (D. Neville) [incl. further bibliography]
R. de' Calzabigi: ‘Dissertazione su le poesie drammatiche del sig. abate Pietro Metastasio’, Poesie del signor abate Pietro Metastasio, i (Paris, 1755), pp.xvii–cciv; repr. in Poesie, i (Turin, 1757), pp.iii–ccxiv, and in Poesie, ii (Livorno, 1774)
S. Mattei: ‘Memorie per servire alla vita del Metastasio in una lettera dell'abate Giuseppe Orlandini’, Opere drammatiche del Sig. Abate Pietro Metastasio, xiii (Naples, 1784); repr. as ‘Memorie per servire alla vita del Metastasio raccolte da Saverio Mattei’, Metastasio e Jommelli (Colle, 1785), 1–57
‘Osservazioni di vari letterati sopra i drammi dell'abate Pietro Metastasio’, Opera del signor Pietro Metastasio (Nice, 1785)
S. D'Ayala: ‘Ristretto della vita del Metastasio’, Opere postume dell'abate Pietro Metastasio, iii (Vienna, 1795), 311–48
C. Burney: Memoirs of the Life and Writings of the Abate Metastasio (London, 1796)
Stendhal [H. Beyle]: Vies de Haydn, de Mozart et de Métastase (Paris, 1817; Eng. trans., 1818 and 1972)
F. Reina: ‘Vita di Pietro Metastasio’, Opere scelte di Pietro Metastasio (Milan, 1820), pp.ix–lv
P. Emiliani Giudici: ‘Poesia drammatica: Pietro Metastasio–Carlo Goldoni’, Storia delle belle lettere in Italia (Florence, 1844), 993–1036; (2/1855), ii, 287–321; repr. in Opere di Paolo Emiliani-Giudici (Florence, 1863), ii, 287–321
V. Paget [V. Lee]: Studies on the Eighteenth Century in Italy (London, 1880)
G. Carducci: ‘Pietro Metastasio’, Domenica letteraria, (16 April 1882); repr. in Opere, xix (Bologna, 1909), 63–93, and Edizione nationale delle opere di Giosuè Carducci, xv (Bologna, 1955), 237–67
A. de Gubernatis: Pietro Metastasio: corso di lezioni fatte nell'Università di Roma nell'anno scolastico 1909–1910 (Florence, 1910)
L. Russo: Pietro Metastasio (Pisa, 1915, 3/1945)
M. Fubini: ‘Pietro Metastasio’, I classici italiani, ed. L. Russo, ii (Florence, 1939), 459–94
N. Burt: ‘Opera in Arcadia’, MQ, xli (1955), 145–70
W. Weichlein: A Comparative Study of Five Musical Settings of ‘La clemenza di Tito’ (diss., U. of Michigan, 1956)
S. Townley: ‘Metastasio as a Librettist’, Art and Ideas in Eighteenth-Century Italy (Rome, 1960), 133–45
W. Binni: L'Arcadia e il Metastasio (Florence, 1963)
Venezia e il melodramma nel settecento: Venice 1973–5, i [incl. D. Heartz: ‘Hasse, Galuppi and Metastasio’, 309–39; E. Surian: ‘Metastasio, i nuovi cantanti, il nuovo stile: verso il classicismo’, 341–62; B. Brizi: ‘La “Didone” e il “Siroe”, primi melodrammi di Pietro Metastasio a Venezia’, 363–88, and ‘Le componimenti del linguaggio melodrammatico nelle “Cinese” di Pietro Metastasio’, 389–406; K. Hortschansky: “Die Rezeption der Wiener Dramen Metastasios in Italien’, 407–20]
R. Monelle: ‘The Rehabilitation of Metastasio’, ML, lvii (1976), 268–91
J. Joly: Les fêtes théâtrales de Métastase à la cour de Vienne (1731–1767) (Clermont-Ferrand, 1978)
C.S. Demmel: A Comparison of Five Musical Settings of Metastasio's Artaserse (diss. UCLA, 1979)
J.L. Jorgensen: Metastasio: Revaluation and Reformulation (diss., U. of Minnesota, 1980)
Crosscurrents and the Mainstream of Italian Serious Opera, 1730–1790: London, ON 1982 [SMC, vii (1982)] [incl. N. Pirrotta: ‘Metastasio and the Demands of his Literary Environment’, 10–27; D. Neville: ‘Moral Philosophy in the Metastasian Dramas’, 28–46; M??. Robinson: ‘The Ancient and the Modern: a Comparison of Metastasio and Calzabigi’, 137–47]
Metastasio e il melodramma: Cagliari 1982 [incl. C. Varese: ‘Metastasio scrittore in prosa’, 11–38; E. Fubini: ‘Razionalità e irrazionalità nel melodramma metastasiano’, 39–53; E. Sala Di Felice: ‘Virtù e felicità alla corte di Vienna’, 55–87; P. Gallarati: ‘Zeno e Metastasio tra melodramma e tragedia’, 89–104; R. Chiesa: ‘Metastasio e Mozart’, 105–30; M. Delogu: ‘La clemenza di Tito tra Metastasio e Mozart’, 131–60; I. Ciani: ‘La Didone rivisitata’, 209–23; M. Teresa Marcialis: ‘Il melodramma o le trasgressioni della tragedia’, 225–46; L. Sannia Nowé: ‘Una voce sul melodramma nelle discussioni del primo settecento (S. Maffei)’, 247–70]
Metastasio e il mondo musicale: Venice 1982 [incl. P. Weiss: ‘Metastasio e Aristotle’, 1–12; D. Goldin: ‘Per una morfologia dell'aria metastasiana’, 13–37; E. Sala Di Felice: ‘Il desiderio della parola e il piacere delle lacrime nel melodramma metastasiano’, 39–97; M. Viale Ferrero: ‘Le didascalie sceniche del Metastasio’, 133–49; R. Wiesend: ‘Le revisioni di Metastasio di alcuni suoi drammi e la situazione della musica per melodramma negli anni ‘50 del settecento’, 171–97; R. Weaver: ‘Metastasio a Firenze’, 199–206; D. Heartz: ‘Metastasio, “maestro dei maestri di cappella drammatici”’, 315–38]
J.K. Wilson: L'Olimpiade: Selected Eighteenth-Century Settings of Metastasio's Libretto (diss., Harvard U., 1982)
Il centenario della morte di Metastasio: Rome 1983 [incl. G. Giarrizzo: ‘L'ideologia di Metastasio tra cartesianesimo e illuminismo’, 43–77; G. Muresu: ‘Metastasio e la tradizione poetica italiana’, 111–46; C. Varese: ‘Tempo e struttura nel dramma metastasiano’, 147–66; F. della Corte: ‘Metastasio e l'“Arte poetica” d'Orazio’, 167–86; G. Santangelo: ‘Vita e letteratura nell'“Epistolario” del Metastaasio’, 187–97; R. Macchioni Jodi: ‘Metastasio, Assisi e l'Arcadia umbra’, 223–43; N. Pirrotta: ‘I musicisti nell'Epistolario di Metastasio’, 245–55; J. Joly: ‘Le didascalie per la recitazione nei drammi del Metastasio’, 277–91; A. Wandruska: ‘Pietro Metastasio e la corte di Vienna’, 293–300]
M. Saccenti, ed.: ‘Metastasio e altro settecento’, Italianistica, xiii/1–2 (1984) [incl. N. Mangini: ‘Il teatro italiano tra seicento e settecento: primi tentativi di riforma’, 11–20; C. Varese: ‘Metastasio scrittore in prosa’, 21–39; E. Sala Di Felice: ‘Metastasio sulla scena del mondo’, 41–70; M. Accorsi: ‘Metastasio e l'idea dell'amore’, 71–123; A. Bellina: ‘Metastasio in Venezia: appunti per una “ricensio”’, 145–73; J. Joly: ‘Dall'“Adriano in Siria” metastasiano all'“Adrien” di Méhul’, 211–22; J. Da Costa Miranda: ‘Sul teatro di Metastasio nel settecento portoghese’, 223–27]
A. Gerhard: ‘Republikanische Zustände: der “tragico fine” in den Dramen Metastasios’, Zwischen Opera buffa und Melodramma: Bad Homburg 1985 and 1987, 27–65
D. Neville: Mozart's ‘La clemenza di Tito’ and the Metastasian Opera seria (diss., U. of Cambridge, 1986)
Mozart, Padova e la Betulia liberata: Padova 1989 [incl. M. Accorsi: ‘Le azione sacre di Metastasio: il razionalismo cristiano’, 3–26; G. Gronda: ‘La “Betulia liberata” e la tradizione viennese dei componimenti sacri’, 27–42; E. Sala Di Felice: ‘Betulia come casa d'Austria’, 43–63; J. Joly: ‘Atalia e Gioas tra religione, potere e teatro’, 65–72; P. Pinamonti: ‘“Il ver si cerchi, / non la vittoria”: Implicazioni filosofiche nel testo della “Betulia” metastasiana’, 73–86; G. Mangini: ‘“Betulia liberata” e “La morte dell’Oloferne”: momenti di drammaturgia musicale nella tradizione dei “trionfi di Giuditta”’, 145–69; F. Piperno: ‘Drammi sacri in teatro (1750–1820)’, 289–316; M. de Angelis: ‘La “Betulia liberata” e l'oratorio a Firenze nel settecento’, 317–27]
A. Bellina: ‘Metastasio: le cantate a voce sola’, Quaderni della Civica Scuola di Musica, nos.19–20 (1990), 134–41
G. Mangini: ‘Le azioni sacre di Pietro Metastasio: conservazione del testo e varianti librettistiche’, Il diletto della scena e dell'armonia: teatro e musica nelle Venezie dal' 500 al ‘700: Adria 1986–8, 277–314
Opernheld und Opernheldin im 18. Jahrhundert: Aspekte der Librettoforschung: Münster 1989 [incl. A. Gerhard: ‘Rollenhierarchie und dramaturgische Hierarchien in der italienischen Oper des 18. Jahrhunderts’, 35–55; H. Lühning: ‘Metastasios “Semiramide riconosciuta”. Die verkleidete Opera seria oder: Die Entdeckung einer Gattung’, 131–38; R. Wiesend: ‘Der Held als Rolle: Metastasios Alexander’, 139–52; M. de Brito: ‘Der theatralische und literarische Erfolg Metastasios im Portugal des 18. Jahrhunderts’, 153–73; H. Geyer: ‘Die Sterbeszene im Oratorium des 18. Jahrhunderts’, 195–231]
R. Candiani: ‘Sul epistolario di Pietro Metastasio: note e inediti’, Giornale storico della letteratura italiana, clxix/1 (1992), 49–64
K. Markstrom: The Operas of Leonardo Vinci, Napoletano (diss. U. of Toronto, 1993)
S. Stroppa: ‘Fra notturni sereni’: le azioni sacre del Metastasio [Saggi di ‘Lettere italiane’, xliv] (Florence, 1993)
M. Arshagouni: Aria Forms in the Opera seria of the Classic Period: Settings of Metastasio's ‘Artaserse’ from 1760–1790 (diss. U. of California, Los Angeles, 1994)
F. Nicolodi and P. Trovato, eds.: Le parole della musica I: studi sulla lingua della letteratura musicale in onore di Gianfranco Folena (Florence, 199?? [incl. F. Nicolodi: ‘Sul lessico di Metastasio. Le forme e la prassi esecutiva’, 143–67; R. di Benedetto: ‘Sul lessico di Metastasio. “Magistrale”, “popolare” e altre categorie estetiche’, 169–76]
P. Ferrara: ‘Gregorio Caloprese and the Subjugation of the Body in Metastasio's dammi per musica’, Italica, lxxii (1996), 11–23
Metastasio at Home and Abroad: London ON 1996 [incl. K. Markstrom: ‘Metastasio's Delay in Reaching Vienna’, 1–25; F. Szabo: ‘The Cultural Transformation of the Habsburg Monarchy in the Age of Metastasio, 1730–1780’, 27–50; A. Sommer-Mathis: ‘II lamento di Metastasio: Metastasio and the Viennese Theatre in a Changing Society’, 51–85; D. Neville: ‘Metastasio: Beyond the Stage in Vienna’, 87–109; M. Burden: Metastasio on the London Stage: Adaptations and Permutations’, 111–34; A. Stonehouse: ‘Demofoonte and Democracy or the Taming of a French Tyrant’, 135–53; V. Meredith: ‘The Old World in the New: Metastasio's Verse and Diversity in North America’, 155–71]
S.T. Knighton and M. Burden, eds.: ‘Metastasio, 1698–1782’, Early Music, xxvi/4 (Nov. 1998) [incl. R. Strohm: ‘Dramatic Dualities: Metastasio and the Tradition of the Opera Pair’, 551–61; W. Heller: ‘Reforming Achilles: Gender, Opera Seria and the Rhetoric of the Enlightened Hero’, 562–81; R. Savage: ‘Staging an Opera: Letters from the Cesarian Poet’, 583–95; D. Neville: ‘Opera or Oratorio?: Metastasio's Sacred Opere Serie’, 596–607; M. Burden: ‘“Twittering and Trilling”: Swedish Reaction to Metastasio’, 608–21; J. Leza: ‘Metastasio on the Spanish Stage: Operatic Adaptations in the Public Theatres of Madrid in the 1730s’, 623–31; R. Savage: ‘Iconography: A Dynastic Marriage Celebrated’, 632–35]
D. Neville: ‘Metastasio and the Image of Majesty in the Austro-Italian Baroque’, Italian Culture in Northern Europe in the Eighteenth Century, ed. S. West (Cambridge, 1999), 140–58
E. Hilscher and A. Sommer-Mathis, eds.: Pietro Metastasio (1698–1782), ‘uomo universale’, (Vienna, forthcoming) [incl. A. Noe: ‘Hoftheater und italienische Hofdichter vor Metstasio’; E. Kanduth: ‘Metastasio als kaiserlicher Hofdichter’; R. Strohm: ‘The Contribution of Musicology to Metastasio Studies’; D. Neville: ‘Metastasio: Poet and Preacher in Vienna’; E. Hilscher: ‘Antike Mythologie und habsburgischer Tugendkodex. Metastasios Libretti für Kaiser Karl VI. und ihre Vertonung durch Antonio Caldara’; O. Schindler: ‘Vom böhminschen Schneider zum Impresario des Kaisers. Johann Wolfgang Haymerle, Metastasios erster “Opera-Meister zu Wein”’; B. Brown: ‘“Mon opéra italien”: Giacomo Durazzo and the Genesis of Alcide al bivio (1760)’; L. Maddalena: ‘Die Gebrüder Galliari und die Festopern Metastasios. Under besonderer Berücksichtigung der festa teatrale Partenope (1767)’; S. Dahms: ‘Wiener Ballette zur Zeit Metastasios’; F. Cotticelli: ‘Metastasio a Napoli. Vicende di Orti Esperidi (1721/1751)’; P. Maione: ‘Un impero centenario Didone sul trono di Partenope (1724 ff.)’; A. Sommer-Mathis: ‘Achille in Sciro: eine europäische Oper? Drei Aufführungen von Metastasios dramma per musica in Wien (1736), Neapel (1737) und Madrid (1744)’; J. Carreras and J. Leza: ‘La recepción española de Metastasio durante el reinado de Felipe V (ca. 1730–46)’; R. Candiani: ‘Tra Vienna e Dresda: I’amicizia epistolare tra Pietro Metastasio e l'Algarotti e gli allestimenti di opere nei teatri di Dresda’; N. Salwey: ‘Artaserse on the London Stage’; M. Burden: ‘Metastasio's “London Pasties”: Curate's Egg or Pudding's Proof?’; R. Meyer: ‘Die Rezeption der Opernlibretti Pietro Metastasios’; W. Telesko: ‘Das Programm des Deckenfreskos im Festsaal des Hauptgebäudes der Österreichischen Akademie der Wissenschaften in Wien’]