Essays on Opera, 1750–1800

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 The Ashgate Library of Essays in Opera Studies
Series Editor: Roberta Montemorra Marvin

Titles in the Series:

Studies in Seventeenth-Century Opera

Beth L. Glixon

Opera Remade, 1700–1750

Charles Dill

Essays on Opera, 1750–1800

John A. Rice

National Traditions in Nineteenth-Century Opera,

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Volume I
Italy, France, England and the Americas
Steven Huebner

Volume II
Central and Eastern Europe
Michael C. Tusa
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National Traditions in Nineteenth-Century Opera,
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Opera After 1900
Margaret Notley
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Essays on Opera, 1750–1800

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Edited by

John A. Rice
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© John A. Rice 2010. For copyright of individual articles please refer to the Acknowledgements.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or
transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise
without the prior permission of the publisher.

Wherever possible, these reprints are made from a copy of the original printing, but these can themselves
be of very variable quality. Whilst the publisher has made every effort to ensure the quality of the reprint,
some variability may inevitably remain.

Published by
Ashgate Publishing Limited Ashgate Publishing Company
Wey Court East Suite 420
Union Road 101 Cherry Street
Farnham Burlington

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Surrey GU9 7PT VT 05401-4405
England USA

www.ashgate.com

British Library Cataloguing in Publication Data

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Essays on opera, 1750-1800. -- (The Ashgate library of
essays in opera studies)
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1. Opera--18th century.
I. Series II. Rice, John A.
782.1’09033-dc22

Library of Congress Control Number: 2010925876

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ISBN 9780754629047
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Contents

Acknowledgements ix
Series Preface xi
Introduction xiii

PART I AESTHETICS AND DRAMATURGY

1 Julian Rushton (1972), ‘The Theory and Practice of Piccinnisme’, Proceedings of the
Royal Musical Association, 98, pp. 31–46.  3
2 Raymond Monelle (1978), ‘Recitative and Dramaturgy in the Dramma per Musica’,
Music & Letters, 59, pp. 245–67.  19
3 Thomas Bauman (1977), ‘Opera versus Drama: Romeo and Juliet in
Eighteenth-Century Germany’, Eighteenth-Century Studies, 11, pp. 186–203. 43
4 James Webster (1990), ‘Mozart’s Operas and the Myth of Musical Unity’, Cambridge
Opera Journal, 2, pp. 197–218. 

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PART II SINGERS

5 Daniel Heartz (1974), ‘Raaff’s Last Aria: A Mozartian Idyll in the Spirit of Hasse’,
The Musical Quarterly, 60, pp. 517–43.  85
6 Dale E. Monson (1986), ‘Galuppi, Tenducci, and Motezuma: A Commentary on the
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History and Musical Style of Opera Seria after 1750’, in Maria Teresa Muraro and
Franco Rossi (eds), Galuppiana 1985: Studi e ricerche: Atti del convegno
internazionale (Venezia, 28–30 ottobre 1985), Florence: Olschki, pp. 279–300. 113
7 Patricia Lewy Gidwitz (1991), ‘“Ich bin die erste Sängerin”: Vocal Profiles of Two
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Mozart Sopranos’, Early Music, 19, pp. 565–79.  135

8 Paul Corneilson (2001), ‘Mozart’s Ilia and Elettra: New Perspectives on Idomeneo’,
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in Theodor Göllner and Stephan Hörner (eds), Mozarts Idomeneo und die Musik in
München zur Zeit Karl Theodors, Munich: Verlag der Bayerischen Akademie der
Wissenschaften, pp. 97–113.  149
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PART III SENSIBILITY, SENTIMENT AND THE PASTORAL

9 Mary Hunter (1985), ‘“Pamela”: The Offspring of Richardson’s Heroine in

Eighteenth-Century Opera’, Mosaic: A Journal for the Interdisciplinary Study of
Literature, 18, pp. 61–76.  169
10 Wye J.Allanbrook (1991), ‘Human Nature in the Unnatural Garden: Figaro as
Pastoral’, Current Musicology, 51, pp. 82–93.  185
11 Stefano Castelvecchi (1996), ‘From Nina to Nina: Psychodrama, Absorption and
vi Essays on Opera, 1750–1800

Sentiment in the 1780s’, Cambridge Opera Journal, 8, pp. 91–112.  197

12 Dorothea Link (1996), ‘L’arbore di Diana: A Model for Così fan tutte’, in Stanley
Sadie (ed.), Wolfgang Amadè Mozart: Essays on his Life and his Music, Oxford:
Clarendon Press, pp. 362–73.  219
13 Edmund J. Goehring (1997), ‘The Sentimental Muse of Opera Buffa’, in Mary Hunter
and James Webster (eds), Opera Buffa in Mozart’s Vienna, Cambridge: Cambridge
University Press, pp. 115–45.  231

PART IV ORIENTALISM AND EXOTICISM

14 Benjamin Perl (2000), ‘Mozart in Turkey’, Cambridge Opera Journal, 12,

pp. 219–35.  265
15 Pierpaolo Polzonetti (2007), ‘Oriental Tyranny in the Extreme West: Reflections on
Amiti e Ontario and Le gare generose’, Eighteenth-Century Music, 4, pp. 27–53. 283

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PART V OPERA AND POLITICS

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Elizabeth C. Bartlet (1992), ‘On the Freedom of the Theatre and Censorship: The
Adrien Controversy (1792)’, in Antoine Hennion (ed.), 1789–1989: Musique,
Histoire, Démocratie, 1, Paris: Maison des Sciences de l’Homme, pp. 15–30. 313
17 Estelle Joubert (2006), ‘Songs to Shape a German Nation: Hiller’s Comic Operas
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and the Public Sphere’, Eighteenth-Century Music, 3, pp. 213–30.  329

PART VI MOZART AND HIS VIENNESE CONTEMPORARIES

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18 Dexter Edge (1991), ‘Mozart’s Fee for Così fan tutte’, Journal of the Royal Musical
Association, 116, pp. 211–35.  349
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19 John Platoff (1992), ‘How Original was Mozart? Evidence from Opera Buffa’, Early
Music, 20, pp. 105–17.  375
20 Bruce Alan Brown and John A. Rice (1996), ‘Salieri’s Così fan tutte’, Cambridge
Opera Journal, 8, pp. 17–43.  389
21 David J. Buch (2004), ‘Die Zauberflöte, Masonic Opera, and Other Fairy Tales’,
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Acta Musicologica, 76, pp. 193–219.  417

PART VII OPERA SERIA

22 Marita P. McClymonds (1989), ‘The Venetian Role in the Transformation of Italian

Opera Seria during the 1790s’, in Maria Teresa Muraro and David Bryant (eds),
I vicini di Mozart, 1, Florence: Olschki, pp. 221–40.  447
23 Scott L. Balthazar (1989), ‘Mayr, Rossini, and the Development of the Opera Seria
Duet: Some Preliminary Conclusions’, in Maria Teresa Muraro and David Bryant
(eds), I vicini di Mozart, 1, Florence: Olschki, pp. 377–98.  465
24 Sergio Durante (1991), ‘La clemenza di Tito and Other Two-Act Reductions of
the Late 18th Century’, Mozart-Jahrbuch, pp. 733–41.  487
 Essays on Opera, 1750–1800 vii

25 Martha Feldman (2000), ‘The Absent Mother in Opera Seria’, in Mary Ann Smart
(ed.), Siren Songs: Representations of Gender and Sexuality in Opera, Princeton,
NJ: Princeton University Press, pp. 29–46, 254–59.  497
26 Margaret R. Butler (2006), ‘Producing the Operatic Chorus at Parma’s Teatro
Ducale, 1759–1769’, Eighteenth-Century Music, 3, pp. 231–51.  521

Name Index 543

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Acknowledgements

The editor and publishers wish to thank the following for permission to use copyright
material.

Acta Musicologica for the essay: David J. Buch (2004), ‘Die Zauberflöte, Masonic Opera, and
Other Fairy Tales’, Acta Musicologica, 76, pp. 193–219.

Cambridge University Press for the essays: James Webster (1990), ‘Mozart’s Operas and
the Myth of Musical Unity’, Cambridge Opera Journal, 2, pp. 197–218. Copyright ©
1990 Cambridge University Press; Stefano Castelvecchi (1996), ‘From Nina to Nina:
Psychodrama, Absorption and Sentiment in the 1780s’, Cambridge Opera Journal, 8, pp.
91–112. Copyright © 1996 Cambridge University Press; Edmund J. Goehring (1997), ‘The
Sentimental Muse of Opera Buffa’, in Mary Hunter and James Webster (eds), Opera Buffa
in Mozart’s Vienna, Cambridge: Cambridge University Press, pp. 115–45; Copyright © 1997
Cambridge University Press; Benjamin Perl (2000), ‘Mozart in Turkey’, Cambridge Opera

y
Journal, 12, pp. 219–35. Copyright © 2000 Cambridge University Press; Pierpaolo Polzonetti
(2007), ‘Oriental Tyranny in the Extreme West: Reflections on Amiti e Ontario and Le gare
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generose’, Eighteenth-Century Music, 4, pp. 27–53. Copyright © 2007 Cambridge University
Press; Estelle Joubert (2006), ‘Songs to Shape a German Nation: Hiller’s Comic Operas and
the Public Sphere’, Eighteenth-Century Music, 3, pp. 213–30. Copyright © 2006 Cambridge
University Press; Bruce Alan Brown and John A. Rice (1996), ‘Salieri’s Così fan tutte’,
Cambridge Opera Journal, 8, pp. 17–43. Copyright © 1996 Cambridge University Press;
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Margaret R. Butler (2006), ‘Producing the Operatic Chorus at Parma’s Teatro Ducale, 1759–
1769’, Eighteenth-Century Music, 3, pp. 231–51. Copyright © 2006 Cambridge University
Press.

Current Musicology for the essay: Wye J.Allanbrook (1991), ‘Human Nature in the Unnatural
Garden: Figaro as Pastoral’, Current Musicology, 51, pp. 82–93. Copyright © 1993 Columbia
oo

University.

Editions de la MSH for the essay: Elizabeth C. Bartlet (1992), ‘On the Freedom of the Theatre
and Censorship: The Adrien Controversy (1792)’, in Antoine Hennion (ed.), 1789–1989:
Musique, Histoire, Démocratie, 1, Paris: Maison des Sciences de l’Homme, pp. 15–30.
Pr

Internationale Stiftung Mozarteum for the essays: Sergio Durante (1991), ‘La clemenza di Tito
and Other Two-Act Reductions of the Late 18th Century’, Mozart-Jahrbuch, pp. 733–41.

Johns Hopkins University Press for the essay: Thomas Bauman (1977), ‘Opera versus Drama:
Romeo and Juliet in Eighteenth-Century Germany’, Eighteenth-Century Studies, 11, pp. 186–
203. Copyright © 1977 The American Society for Eighteenth-Century Studies.
 Essays on Opera, 1750–1800

Leo S. Olschki for the essays: Dale E. Monson (1986), ‘Galuppi, Tenducci, and Motezuma:
A Commentary on the History and Musical Style of Opera Seria after 1750’, in Maria Teresa
Muraro and Franco Rossi (eds), Galuppiana 1985: Studi e ricerche: Atti del convegno
internazionale (Venezia, 28–30 ottobre 1985), Florence: Olschki, pp. 279–300; Marita P.
McClymonds (1989), ‘The Venetian Role in the Transformation of Italian Opera Seria during
the 1790s’, in Maria Teresa Muraro and David Bryant (eds), I vicini di Mozart, 1, Florence:
Olschki, pp. 221–40; Scott L. Balthazar (1989), ‘Mayr, Rossini, and the Development of
the Opera Seria Duet: Some Preliminary Conclusions’, in Maria Teresa Muraro and David
Bryant (eds), I vicini di Mozart, 1, Florence: Olschki, pp. 377–98.

Mosaic for the essay: Mary Hunter (1985), ‘“Pamela”: The Offspring of Richardson’s Heroine
in Eighteenth-Century Opera’, Mosaic: A Journal for the Interdisciplinary Study of Literature,
18, pp. 61–76. Copyright © 1985 Mosaic.

Oxford University Press for the essays: Raymond Monelle (1978), ‘Recitative and Dramaturgy

y
in the Dramma per Musica’, Music & Letters, 59, pp. 245–67. Copyright © 1978 Music &
Letters Ltd and Contributors; Daniel Heartz (1974), ‘Raaff’s Last Aria: A Mozartian Idyll

op
in the Spirit of Hasse’, The Musical Quarterly, 60, pp. 517–43. Copyright © 1974 by G.
Schirmer, Inc.; Patricia Lewy Gidwitz (1991), ‘“Ich bin die erste Sängerin”: Vocal Profiles
of Two Mozart Sopranos’, Early Music, 19, pp. 565–79; Dorothea Link (1996), ‘L’arbore di
Diana: A Model for Così fan tutte’, in Stanley Sadie (ed.), Wolfgang Amadè Mozart: Essays
on his Life and his Music, Oxford: Clarendon Press, pp. 362–73. John Platoff (1992), ‘How
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Original was Mozart? Evidence from Opera Buffa’, Early Music, 20, pp. 105–17.

Paul Corneilson for the essay: Paul Corneilson (2001), ‘Mozart’s Ilia and Elettra: New
Perspectives on Idomeneo’, in Theodor Göllner and Stephan Hörner (eds), Mozarts Idomeneo
und die Musik in München zur Zeit Karl Theodors, Munich: Verlag der Bayerischen Akademie
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der Wissenschaften, pp. 97–113.

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Princeton University Press for the essay: Martha Feldman (2000), ‘The Absent Mother in
Opera Seria’, in Mary Ann Smart (ed.), Siren Songs: Representations of Gender and Sexuality
in Opera, Princeton, NJ: Princeton University Press, pp. 29–46, 254–59. Copyright © 2000
Princeton University Press.
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Taylor & Francis Ltd for the essays: Julian Rushton (1972), ‘The Theory and Practice of
Piccinnisme’, Proceedings of the Royal Musical Association, 98, pp. 31–46. Copyright ©
1972 The Royal Musical Association and the Authors; Dexter Edge (1991), ‘Mozart’s Fee for
Così fan tutte’, Journal of the Royal Musical Association, 116, pp. 211–35.

Every effort has been made to trace all the copyright holders, but if any have been inadvertently
overlooked the publishers will be pleased to make the necessary arrangement at the first
opportunity.
Series Preface

The Ashgate Library of Essays in Opera Studies draws together articles and essays from a
disparate group of scholarly journals and collected volumes, some now difficult to locate. This
reprint series comprises an authoritative set of six volumes: one devoted to the seventeenth
century, two to the eighteenth century, two to the nineteenth century, and one to the twentieth/
twenty-first centuries. Each volume has been edited by a recognized authority in the area and
offers a selection of the most important and influential English-language scholarship in opera
studies.
Each volume editor provides a substantial, detailed introduction surveying the current state
of the field, giving an overview of important issues and new discoveries, and explaining the
significance of the texts in the collection. There is also a select bibliography of the sources
cited in each introduction. Because of the nature of the scholarship and the operatic repertory
for different times and places, volumes are organized in differing ways designed to serve
readers’ needs and to embrace various topics and approaches as appropriate to the repertory

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of diverse eras.
Recent years have witnessed an acute awareness of the nature of scholarship about opera;
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those who have reflected on the issues surrounding the genre’s study have changed the course
of scholarship in significant ways. The new perspectives on opera scholarship that writers
(from various disciplines) have contributed bring together the best of both musical and non-
musical criticism. The rich and varied selection of approaches represented in the collection
– addressing sources, works, audiences, performers, creators, culture, and theory – deal
with operatic works as historical and contemporary entities with aesthetic, theoretical, and
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ideological complexities.
No particular method or approach is favoured or excluded in these volumes; the series
thus provides researchers, scholars, and graduate students throughout the world with fairly
comprehensive coverage of currently important topics and approaches. Presented in a compact,
easy-to-access format, this series is especially useful for scholars new to the area as well as
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for experienced scholars who may have overlooked an important essay published in a journal
with limited circulation.

Roberta Montemorra Marvin

Series Editor
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 Introduction

1 The study of opera in the second half of the eighteenth century has flourished during the 1
2 last several decades, and our knowledge of the operas written during that period and of their 2
3 aesthetic, social and political contexts has vastly increased. Much of what we have learned 3
4 in these and other areas of scholarship has been recorded in the form of articles published in 4
5 scholarly journals and in collections of essays. This volume will explore opera and operatic 5
6 life in the years 1750–1800 through several English-language essays, in a selection intended 6
7 to represent the last few decades of scholarship in all its excitement and variety. 7
8 This introduction provides some context for the essays that follow. It briefly discusses some 8
9 of the institutional developments and intellectual trends that have informed scholarship in 9
10 eighteenth-century opera and mentions some of the criteria that have guided my choice of the 10
11 essays reprinted here. 11
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14 National Traditions, Academic Institutions 14
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Although scholars in all the English-speaking countries have been actively involved in research
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in opera of the second half of the eighteenth century, some countries seem to have developed
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particular specializations and strengths, thanks in part to the presence of especially productive
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and influential scholars. In England, for example, Julian Rushton’s work on tragédie lyrique
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and David Charlton’s on opéra-comique have helped the study of French opera thrive. In the
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United States, in contrast, research on Italian opera, both comic and serious, has prospered
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under the leadership of scholars such as Daniel Heartz and James Webster. Americans who
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have specialized in French opera, such as Elizabeth C. Bartlet and Karin Pendle, and Britons
23 23
who have specialized in Italian opera, such as Michael Robinson, have led productive careers,
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but mostly on their own.
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Certain graduate programmes have produced particularly large numbers of successful
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students of eighteenth-century opera. Cornell University, in Ithaca, New York, is remarkable
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in this respect. Although no member of its faculty claims eighteenth-century opera as his or
28 28
her primary field of study, several Cornell students, including Caryl Clark, Paul Horsley, Mary
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Hunter, Pierpaolo Polzonetti, Ronald J. Rabin and Jessica Waldoff, have written dissertations
30 30
in the field. Just as productive has been the University of California, Berkeley, where Heartz
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has directed the dissertations of several students who have gone on to make important
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contributions to the study of eighteenth-century opera, including Thomas Bauman, Bruce
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Alan Brown, Kathleen Hansell, Marita P. McClymonds and John A. Rice.
34 34
Cornell students have tended to devote their dissertations to the relatively familiar genre
35 35
of opera buffa and to the works of Mozart (Waldoff, 1995; Rabin, 1996) and Haydn (Hunter,
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1982; Clark, 1991). Horsley’s dissertation on Dittersdorf’s German operas (1988) and
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Polzonetti’s on opera buffa and the American Revolution (2003) are exceptional in directing
38 38
readers’ attention away from Mozart and Haydn. Berkeley students, in contrast, have tended
39 39
 xiv Essays on Opera, 1750–1800

1 to look farther afield: to composers such as Gluck (Brown, 1986) or Jommelli (McClymonds, 1
2 1978), to operatic centres such as Milan (Hansell, 1979) or Florence (Rice, 1987), and to 2
3 genres such as Singspiel (Bauman, 1977), opera seria (McClymonds, 1978; Hansell, 1979; 3
4 Rice, 1987) and opéra-comique (Brown, 1986). The intellectual ferment generated in 1994 4
5 by a conference at Cornell on opera buffa in Mozart’s Vienna was partly a result of its having 5
6 brought together the Berkeley and Cornell ‘schools’ in friendly collaboration (see Hunter and 6
7 Webster, 1997). 7
8 Another important development over the last few decades has been the arrival of young 8
9 Italian scholars in American graduate schools. Having taken advantage of both Italy’s excellent 9
10 system of elementary and secondary education and the professional training in which a few 10
11 American graduate programmes still excel, scholars such as Polzonetti, Alessandra Campana, 11
12 Stefano Castelvecchi and Sergio Durante have contributed a great deal to our understanding 12
13 of eighteenth-century opera. 13
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16 Aesthetics and Dramaturgy 16
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Most opera lovers are familiar with only a few operas written during the second half of the
eighteenth century. Even some of those who know and love the late operas of Mozart may not
be thoroughly familiar with the aesthetic and dramaturgical systems that underlie these and
other operas. Most if not all essays about opera in this period deal, at least implicitly, with
problems of aesthetics and dramaturgy. But some confront those problems more openly than
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others, and this book opens with a sample of such essays.
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In Chapter 1 Rushton elegantly and perceptively brings the abstractions of a Parisian
24 24
pamphlet war of the 1770s into contact with the works by Niccolò Piccinni that were the
25 25
subject of debate. Raymond Monelle, in Chapter 2, furthers our understanding of the function
26 26
of recitative and the relationship between recitative and aria in opera seria. The happy ending
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so prevalent in eighteenth-century dramaturgy is one of the subjects explored by Bauman in
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Chapter 3, a stimulating study of German operatic treatments of the story of Romeo and Juliet.
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Chapter 4, Webster’s typically thought-provoking essay on the problem of musical unity in
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Mozart’s operas, calls attention to the difference between the way an opera is perceived when
31 31
studied in a score and when heard and seen in performance.
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34 Singers 34
35 35
36 One of the fields of research that has been cultivated with particular energy and originality 36
37 (especially in the United States) is the study of singers and their role in operatic production. 37
38 With the help of Claudio Sartori’s catalogue of Italian librettos published before 1800 (1990– 38
39 94), a new and immensely valuable research tool that appeared in seven volumes, scholars 39
40 have reconstructed, with more detail and accuracy than previously possible, the careers of 40
41 many of the period’s greatest singers. From the music written for these singers historians 41
42 have extracted vocal profiles that allow us to interpret the music they sang as the product 42
43 of interaction between a composer’s imagination and a singer’s vocal abilities and artistic 43
44 personality. 44
45 45
 Essays on Opera, 1750–1800 xv

1 Here again Heartz has led the way, with his early essay on Anton Raaff, the tenor who 1
2 created the title role in Idomeneo (Chapter 5). His student Patricia Lewy Gidwitz wrote 2
3 an important dissertation (1991) and published some of her most valuable insights in two 3
4 essays, one on Caterina Cavalieri and Aloysia Lange, reprinted here as Chapter 7, the other 4
5 on Adriana Ferrarese del Bene (1996). Other historians have focused more attention on 5
6 opera seria singers. Dennis Libby (1989) asserted the primacy of vocal improvisation in the 6
7 production of serious opera in Naples and Venice. In Chapter 6 Dale Monson shows how the 7
8 male soprano Ferdinando Tenducci contributed to the shaping of the music written for him. 8
9 Paul Corneilson and Rice have followed the careers and analysed the vocal profiles of some 9
10 of the women who created roles in Mozart’s Idomeneo (Corneilson, Chapter 8, this volume) 10
11 and La clemenza di Tito (Rice, 1995). Bauman (1991) has shown how a single singer, Valentin 11
12 Adamberger, brought a distinct vocal profile to his work in a wide variety of vocal genres, 12
13 from Singspiel to Italian oratorio. Dorothea Link has directed much of her interest in singers 13
14 who created roles in Mozart’s opere buffe into the production of editions of arias written for 14

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15 those singers by composers other than Mozart (beginning with Link, 2002 and Link, 2004; 15
16 others are forthcoming). Among her essays on singers active in Vienna during the 1780s is 16
17
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(Link, 2010).

Arias and Ensembles

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a study of Anna Morichelli, who created roles in several operas by Vicente Martín y Soler 17
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Another fruitful field of study has been the close analysis of arias both as musical form and as 22
23 23
dramatic expression. Aria types such as the buffo aria, the two-tempo rondò and the cavatina
24 24
are all more clearly understood now than they were thirty years ago, in terms not only of
25 25
their musical and poetic structure but also of the way they contribute to characterization
26 26
and the unfolding drama. Webster’s encyclopedic survey of the types and forms of arias
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in Mozart’s operas (1991) built on Hunter’s work on Haydn’s arias (1982, 1989) and John
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Platoff’s on Mozart and his compositional contemporaries in 1780s Vienna (1990). Heartz’s
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study of Mozart’s La clemenza di Tito as a product of a musical culture that Mozart shared
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with leading Italian composers of the 1780s and 1790s (1978–79) focused attention on the
31 31
two-tempo rondò as an aria of particular importance to singers and audiences alike. The
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rondò was subsequently the object of a great deal of scholarly attention. Rice (1986) analysed
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33 33
an influential early example of the aria type, Giuseppe Sarti’s ‘Mia speranza io pur vorrei’.
34 34
Platoff (1991b) examined a poem that Lorenzo Da Ponte intended for Mozart to set as a two-
35 35
tempo rondò for Susanna in Le nozze di Figaro (‘Non tardar amato bene’) but that ended up
36 36
being composed not by Mozart but by Vincenzo Righini. Don Neville (1994) surveyed the
37 37
two-tempo rondò in Mozart’s late operas.
38 38
Equally productive has been the study of ensembles, from duets to finales. In Chapter 23
39 39
Scott Balthazar follows the development of the opera seria duet from the mid-eighteenth
40 40
century to the early nineteenth century in one of several essays on ensembles in serious opera
41 41
that also include Heartz (1980) on the quartet ‘Andrò ramingo e solo’ in Mozart’s Idomeneo
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and McClymonds (1996) on the Idomeneo quartet viewed within the tradition of quartets in
43 43
opera seria. Platoff (1989, 1991a, 1997) has increased our understanding of the ensembles
44 44
in Mozart’s comic operas in a rich series of essays. Elisabeth Cook (1992), a student of
45 45
Charlton at the University of East Anglia, has shown that research on eighteenth-century
 xvi Essays on Opera, 1750–1800

1 operatic ensembles is by no means limited to Italian opera in her study of ensembles in opéra- 1
2 comique. 2
3 3
4 4
5 Sensibility, Sentiment and the Pastoral 5
6 6
A cult of sensibility spread through Europe during the second third of the eighteenth century,
7 7
partly in reaction to the Enlightenment’s emphasis on reason, partly in response to the
8 8
Enlightenment’s confidence in the innate goodness of human nature. Like so many eighteenth-
9 9
century fashions, the cult of sensibility owed a great deal to England. Richardson’s novels
10 10
made sensibility – defined by Diderot’s Encyclopédie as ‘disposition tendre et delicate de
11 11
l’âme, qui la rend facile à être émue, à être touchée’ (‘a tender, delicate disposition of the
12 12
soul that makes it susceptible to being moved, to being touched’) – an emotional state that
13 13
was cultivated by sophisticated people all over Europe. Several historians have investigated
14 14
the effect of the cult of sensibility on the creation and perception of opera. Rice (1986)

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15 15
called attention to the way in which the cult of sensibility shaped the reception of a great
16 16
singer’s performance in a serious opera in Milan, but another essay published the previous
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year, dealing with the role of sensibility in opera buffa, excited much more interest: Hunter’s
essay (Chapter 9) on Richardson’s Pamela and how it and in particular the sensibility of his
heroine influenced eighteenth-century opera initiated a remarkable series of studies during the
following two decades, including Castelvecchi (Chapter 11) on Nina as sentimental heroine in
operas by Dalayrac and Paisiello, Edmund Goehring (Chapter 13) on sensibility in Viennese
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21
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opera buffa of the 1780s, Waldoff (1998) on Haydn’s La vera costanza and Castelvecchi
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(2000) on Mozart’s Figaro.
24 24
Closely related to eighteenth-century opera’s adoption of the cult of sensibility was its
25 25
exploitation of pastoral themes. An idealized natural world in which people live in harmony
26 26
with nature and with each other – the mythical Arcadia of pastoral poets­ –served as the setting
27 27
of many eighteenth-century operas and provided important thematic elements to others. Bartlet
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(1984–85) called attention to the importance of the pastoral in an opera written to celebrate
29 29
the marriage of Marie Antoinette to the dauphin of France, Grétry’s La rosière de Salency.
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Among Mozart’s operas, pastoral elements of two in particular – Le nozze di Figaro and
31 31
Così fan tutte – have attracted the attention of scholars, including Wye Jamison Allanbrook
32 32
(Chapter 10), Goehring (1995) and Link (Chapter 12). Bauman (1995), in a more widely
33 33
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ranging exploration of the pastoral in eighteenth-century music, starts, unexpectedly, with a

34 34
famous painting by the seventeenth-century artist Poussin.
35 35
36 36
37 Orientalism and Exoticism 37
38 38
39 In yet another productive area of study, historians have analysed the depiction of non-Western 39
40 cultures in opera, exploring themes of orientalism and exoticism in works such as Haydn’s 40
41 Lo speziale, Gluck’s Iphigénie en Tauride, Mozart’s Die Entführung aus dem Serail and 41
42 Salieri’s Axur re d’Ormus. Interest in the way non-European culture is depicted in these and 42
43 other operas is part of a wider scholarly interest in musical exoticism that has produced a 43
44 collection of essays on the exotic in Western music (Bellman, 1998). Included in that book is 44
45 an essay by Hunter (1998) (devoted only partly to opera), which concerns a kind of musical 45
 Essays on Opera, 1750–1800 xvii

1 exoticism – the attempt to convey some of the sonic qualities of Turkish janissary music – that 1
2 was particularly characteristic of the second half of the eighteenth century. Other English- 2
3 language analyses of exoticism in opera include Thomas Betzwieser (1994) on changes that 3
4 Beaumarchais and Salieri made to their Tarare during the French Revolution, Margaret R. 4
5 Butler (2006) on De Maio’s Motezuma in Turin and two essays reprinted here – Chapter 14 by 5
6 Benjamin Perl, on Mozart’s Turkish style, and Chapter 15 by Pierpaolo Polzonetti, on operas 6
7 set in the New World. 7
8 8
9 9
10 Genre Studies
10
11 11
The differences between the operatic genres that flourished in the eighteenth century – opera
12 12
buffa, opera seria, Singspiel, opéra-comique, tragédie lyrique – and the relations between
13 13
these genres have inspired many important essays. Bertil van Boer (1988) analysed the
14 14
influence of English ballad opera on the development of Singspiel in Germany in the middle

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of the century; Alfred R. Neumann (1963) followed the subsequent evolution of the genre.
16 16
Robinson (1978–81) and Rice (2000) discussed a subgenre of Italian comic opera, the Roman
17
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intermezzo, that had not received much attention from scholars. Although most of Robinson’s
work has involved Italian opera, he has by no means limited his research to Italy; in an essay
published in 1992 he showed how Italian comic opera contributed to the development of
French opera. Stephen C. Willis’s study of Luigi Cherubini’s transition from opera seria to
opéra-comique (1982) is yet another study of generic influence and transformation in Paris
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during the second half of the eighteenth century. 22
23 23
But perhaps the generic interaction that has proved most stimulating to writers on opera
24 24
has been the interaction between opera seria and opera buffa, and especially opera buffa’s
25 25
incorporation of elements of opera seria. To what extent does that incorporation involve
26 26
parody? And what does the parody signify? Hunter (1986, 1991) has been particularly active
27 27
in exploring relations between serious and comic in Italian opera. The interaction between
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serious and comic in Haydn’s operas has been the subject of studies by Brown (1987), on
29 29
Orlando Paladino, and Clark (1993), on La fedeltà premiata.
30 30
31 31
32 Opera and Politics 32
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33 33
34 As with any theatrical performance involving an audience, no matter how small or select, 34
35 the performance of an opera is a political act, with the potential for communicating political 35
36 messages of many kinds and in many directions. Rarely are such messages completely 36
37 clear and unambiguous, but that has not kept scholars from trying to elucidate the political 37
38 implications of eighteenth-century opera. 38
39 One of the ways rulers manipulated opera’s ability to communicate political meaning 39
40 was through censorship. This is the subject of Chapter 16 by Bartlet, which examines the 40
41 controversy surrounding an opera by Méhul that during the French Revolution was suspected 41
42 of encouraging Royalist sympathies. Betzwieser (1994) also looked at an opera through the 42
43 lens of French Revolutionary politics. Bauman (1986) showed how the early repertory of the 43
44 Teatro la Fenice reflected the political situation in late eighteenth-century Venice, and this 44
45 essay strongly influenced a later discussion of Venetian opera in the same period by Martha 45
 xviii Essays on Opera, 1750–1800

1 Feldman (2007). Opera was no less powerful a conveyer of political meaning in the German- 1
2 speaking part of Europe, as Estelle Joubert demonstrates in Chapter 17 on the political 2
3 implications of Hiller’s Singspiele. 3
4 4
5 5
6 Manuscript Studies 6
7 7
Another important development in the study of eighteenth-century opera – largely independent
8 8
of the Cornell and Berkeley ‘schools’, neither of which has encouraged this kind of research –
9 9
has been the study of music manuscripts. Alan Tyson, in a stimulating series of essays written
10 10
during the 1970s and 1980s, shed new light on Mozart’s autographs and the paper on which
11 11
they are written. His catalogue of the watermarks in the paper that Mozart used constituted
12 12
another monumental contribution to our knowledge of the autograph scores (Tyson, 1992).
13 13
Dexter Edge’s doctoral dissertation (2001) on Mozart’s Viennese copyists did for manuscript
14 14
copies (that is, the work of professional copyists) what Tyson had done for the autographs:

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it made available vast amounts of new information and important methodological insights
16 16
whose influence will undoubtedly be felt for a long time – and not only by Mozart scholars.
17 17
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Corneilson and Eugene K. Wolf (1994) brought similar methodological rigour to their study
of operatic sources from Mannheim, one of eighteenth-century Germany’s most important
courts. David J. Buch (1997) has subjected the manuscripts associated with the Theater auf
der Wieden (the theatre for which Mozart wrote Die Zauberflöte) to intensive investigation,
while Daniel Melamed (2003–2004) has extended Tyson’s analytical techniques to Mozart’s
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21
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Singspiel, Die Entführung aus dem Serail.
23 23
24 24
25 Staging, Scenery, Orchestras, Theatres 25
26 26
27 In an age in which opera houses have largely abdicated the staging of opera to directors who 27
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28 seem neither to know nor to care how librettists and composers intended their works to be 28
29 staged, historians have had little practical reason to elucidate the principles and practices of 29
30 eighteenth-century stage design. Yet many of them have done so, perhaps with the hope of 30
31 offering historically-informed alternatives to the often trashy Regietheater that predominates 31
32 in so many prestigious theatres today, in grotesque contrast to the faithfulness to the score 32
33 with which singers and orchestras are expected to perform the music. 33
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34 Thanks to the work of several scholars we know more than ever about the theatres in which 34
35 eighteenth-century operas were performed. Heartz (1982) has elucidated the construction and 35
36 remodelling of Vienna’s Burgtheater; Corneilson (1997) has done the same for a theatre that 36
37 Charles Burney called ‘one of the largest and most splendid theatres in Europe’, the Mannheim 37
38 Court Theatre. While Corneilson’s reconstruction took place in his scholarly imagination, 38
39 Curtis Price et al. (1991) examined the actual design and construction of the King’s Theatre, 39
40 Haymarket, in the period 1789–91. 40
41 Several essays have explored the size and composition of the orchestras and choruses that 41
42 performed in these and other theatres: examples include Butler (Chapter 26) on the chorus at 42
43 Parma that took part in the important series of French-inspired Italian serious operas during 43
44 the 1760s, Charlton (1985) on the orchestra and chorus of one of Paris’s leading theatres in 44
45 45
 Essays on Opera, 1750–1800 xix

1 the second half of the eighteenth century, and Edge (1992) on the orchestras that accompanied 1
2 Mozart’s Viennese operas. 2
3 How operas were staged in the eighteenth century has been the subject of numerous studies. 3
4 Sven Hansell (1974), Roger Savage (1998) and Nicholas Solomon (1989) have contributed 4
5 to our knowledge of the positions, movements and gestures of the singers on the eighteenth- 5
6 century stage. Betzwieser (2000) has shown how music and action corresponded in French 6
7 opera, with each enhancing the effect of the other. Clark (2003) has identified a set of 7
8 eighteenth-century costume designs as possibly intended for a production of Salieri’s early 8
9 opera, Armida. Such studies, valuable now, will be even more valuable when opera houses 9
10 and audiences, having tired of the antics of Regietheater, discover that eighteenth-century 10
11 operas can best be appreciated when presented in settings that respect the visual as well as the 11
12 musical conventions within which they were conceived. 12
13 13
14 14

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15 Archival Studies
15
16 16
Archival research has greatly enhanced our understanding of eighteenth-century opera’s
17
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institutional history, allowing scholars to shed new light on the role of rulers, courts and
impresarios in the production of opera. Among several historians who have profitably worked
in Italian archives are Butler (2002, for Turin; Chapter 26, this volume, for Parma), Robinson
(1990, for Naples) and Anthony DelDonna (2002, also for Naples). Edge has made many
important discoveries in the archives of Vienna, including those presented and analysed in
17
18
19
20
21
22
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Chapter 18, his study of the fees that Mozart and other composers received for composing 22
23 23
operas for the court theatres in the 1780s and early 1790s. Historians of opera in England
24 24
have been just as willing to get their hands dirty, producing a large number of essays based
25 25
largely on hitherto unknown archival documents (see, for example, Gibson, 1990; Milhous
26 26
and Hume,1997). Several historians have intensively studied the origins of particular operas,
27 27
and these studies have generally depended, in part, on archival research. Brown (1983, 2000)
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explored the origins of important Viennese operas of the 1760s; Durante (1999) clarified our
29 29
understanding of how one of Mozart’s last operas, La clemenza di Tito, came into being.
30 30
31 31
32 Mozart and his Viennese Contemporaries 32
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33 33
34 It will be obvious to anyone who has read up to this point that Mozart’s operas have been a 34
35 focus of attention for many – probably most – of the historians who have studied opera of the 35
36 second half of the eighteenth century. 36
37 One way of illustrating the wealth of scholarship on Mozart’s operas published during the 37
38 last quarter of a century is to mention some of the English-language essays about a single 38
39 opera, Le nozze di Figaro. Some of these essays discuss the origins of Figaro (Tyson, 1981; 39
40 Heartz, 1986b); some are concerned with its large-scale structure (Heartz, 1987; Waldoff and 40
41 Webster, 1996); some focus our attention on sentiment and sensibility (Allanbrook, Chapter 41
42 10, this volume; Castelvecchi, 2000); some examine individual arias and ensembles (Heartz, 42
43 1991; Platoff, 1991a; Leeson, 2004; see also two pieces written in response to Leeson’s essay: 43
44 Woodfield, 2006 and Rumph, 2006); some direct attention to particular characters, such as 44
45 Susanna (Tishkoff, 1990), the Countess (Hunter, 1997) or Figaro (Rabin, 1997). One could 45
 xx Essays on Opera, 1750–1800

1 easily draw up equally long lists, full of equally intriguing titles, of essays on Don Giovanni, 1
2 Così fan tutte and Die Zauberflöte. 2
3 Mozart’s operas have also played an important role in studies that compare them with the 3
4 works of his contemporaries, or that study those works in order to understand the context of 4
5 Mozart’s operatic achievement. Most of the essays on Mozart’s singers mentioned earlier in 5
6 this introduction involve the analysis of music written for those singers by composers other 6
7 than Mozart. Link (Chapter 12) examines Martín y Soler’s L’arbore di Diana and proposes 7
8 it as a possible model for Così fan tutte; in Chapter 19 and elsewhere Platoff has produced 8
9 valuable studies of the musical techniques of opera buffa in Vienna during the 1780s (see also 9
10 Platoff, 1989, 1990, 1991a, 1991b). Buch, in Chapter 21, shows how Die Zauberflöte took 10
11 shape within and reflects the dramatic and musical values of Emanuel Schikaneder’s troupe 11
12 at the Theater auf der Wieden (see also Buch,1997). In Chapter 20 Brown and Rice discuss 12
13 Salieri’s aborted attempt to set to music the libretto that later became known, in Mozart’s 13
14 setting, as Così fan tutte. 14

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16 16
17 Opera Seria 17
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No operatic genre has enjoyed a more dramatic increase in the amount of scholarly attention
it has received during the last thirty years than Italian serious opera, and this attention has
produced not only valuable dissertations and books but also essays. As in so many other areas
of research into eighteenth-century opera, Heartz (1970) set an example with a path-breaking
18
19
20
21
22 22
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publication that put opera seria at the forefront of musical life and stylistic change; he continued
23 23
with a series of classic essays, including Chapter 5 in this volume, that followed the evolution
24 24
of the genre from Hasse to Mozart and elucidated some of its most characteristic elements
25 25
(Heartz, 1978–79, 1978–81, 1980, 1986a). Many of Heartz’s students have contributed to our
26 26
knowledge of opera seria and related genres – for example, Bauman (1986) on the building
27 27
and the early repertory of the Teatro la Fenice in late eighteenth-century Venice, Brown (2000)
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on Hasse’s Alcide al Bivio and Hansell (2000) on the operas that Mozart wrote for Milan in
29 29
the early 1770s.
30 30
But easily the most prolific of Heartz’s students in the area of opera seria has been
31 31
McClymonds, whose essays if reprinted together would constitute an outstanding history of
32 32
the genre. Chapter 22 is her 1989 essay on new trends in Venetian opera seria at the end of
33 33
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the eighteenth century. Among the finest of those that have not already been cited are her
34 34
essays on Jommelli’s late operas (McClymonds, 1980), on the increasing popularity of tragic
35 35
endings in Venetian opera of the 1790s (McClymonds, 1990), on operas based on the story of
36 36
Armida (McClymonds, 1993), comparing the musical styles of opera seria and opera buffa
37 37
(McClymonds, 1997) and on the reform of opera seria in Italy (McClymonds, 2003).
38 38
The research on opera seria by Heartz and his students has inspired further work by many
39 39
scholars on both sides of the Atlantic. But while members of the Berkeley ‘school’ have
40 40
generally shown equal interest in the music of Mozart and his contemporaries, most others
41 41
have focused on one or the other. Feldman’s research on serious opera in Italy has resulted not
42 42
only in a magisterial book (2007) but also in several important essays, including that reprinted
43 43
here as Chapter 25 (see also Feldman, 1995). Other essays devoted mostly or entirely to opera
44 44
in Italy include Butler’s studies of repertory and production in Turin and Parma (in particular
45 45
Chapter 26; see also Butler, 2002, 2006) and Balthazar’s study of the evolution of the opera
 Essays on Opera, 1750–1800 xxi

1 seria duet (Chapter 23). Chapter 24 by Durante is among the essays that mainly concern 1
2 Mozart’s opere serie (see also Rushton, 1991, 1998, 2003; Durante, 1999). (Rushton is unusual 2
3 in moving freely between opera buffa, opera seria and tragédie lyrique, and in demonstrating 3
4 the same level of expertise in writing about all three genres.) Corneilson, though not a student 4
5 of Heartz, has followed the Berkeley historian in studying the opere serie of Mozart (see 5
6 Chapter 8) and others, such as J.C. Bach (Corneilson, 1994), with equal success. 6
7 7
8 8
9 Essay Selection
9
10 10
It will be obvious that I have not been able to include in this book all the essays mentioned in
11 11
this introduction. Both to maximize the number of items in this volume and because I believe
12 12
that brevity is a quality to be valued in essays, I have limited my selection to essays of thirty
13 13
pages or less. This has meant omitting many of the important essays that I have mentioned
14 14
already, such as those by Buch (1997), Durante (1999), Feldman (1995), Waldoff (1998),

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Waldoff and Webster (1996) and Webster (1991). A particularly influential and widely admired
16 16
essay that I have not included because of its length is that by Libby (1989) on opera in Naples
17
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19
20
21
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and Venice. I have chosen essays that have not already been republished, either in anthologies
or in collections of papers by a single author. This has kept out some of the best essays by the
field’s busiest cultivators. Many of Heartz’s essays on Mozart’s opera have been collected in
one volume (Heartz,1990); many others can be conveniently read together (Heartz, 2004).
Most of Charlton’s numerous essays on opéra-comique have been reprinted (Charlton, 2000)
17
18
19
20
21
22
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and most of Tyson’s manuscript studies have been brought together (Tyson, 1987). 22
23 23
Finally, to maximize the variety of voices to be heard in this volume, each scholar is
24 24
represented here by a single essay. This is, of course, grossly unfair to the several scholars
25 25
who have written many essays that, if I were judging by quality and importance alone, should
26 26
be included here. Limiting myself, for illustrative purposes, to just three prolific and original
27 27
students of eighteenth-century opera, and citing only essays that I have not already mentioned
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in this introduction, it is with regret that I have omitted Bauman’s essay on the conditions in
29 29
Vienna in the mid-1780s that led to exceptional achievements in opera buffa (1993), Hunter’s
30 30
study of ‘Gothic’ settings in opera buffa of the 1770s (1993) and Platoff’s analysis of tonal
31 31
planning in Mozart’s operas (1996). An anthology of essays by Bauman, Hunter and Platoff
32 32
alone would make a fine, large book.
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33 33
34 34
35 Selected Bibliography 35
36 36
37 Bartlet, Elizabeth C. (1984–85), ‘Grétry, Marie Antoinette and La rosière de Salency’, Proceedings of 37
38 the Royal Musical Association, 111, pp. 92–120. 38
39 Bauman, Thomas (1977), ‘Music and Drama in Germany: The Repertory of a Traveling Company, 39
40 1767–1781’, PhD diss., University of California, Berkeley.
40
Bauman, Thomas (1981), ‘Benda, the Germans, and Simple Recitative’, Journal of the American
41 41
Musicological Society, 34, pp. 119–31.
42 42
Bauman, Thomas (1986), ‘The Society of La Fenice and its First Impresarios’, Journal of the American
43 Musicological Society, 39, pp. 332–54. 43
44 Bauman, Thomas (1991), ‘Mozart’s Belmonte’, Early Music, 19, pp. 557–63. 44
45 45
 xxii Essays on Opera, 1750–1800

1 Bauman, Thomas (1993), ‘Salieri, Da Ponte and Mozart: The Renewal of Viennese Opera Buffa in 1
2 the 1780s’, in Ingrid Fuchs (ed.), Internationaler Musikwissenschaftlicher Kongreß zum Mozartjahr 2
3 1991, Baden-Wien: Bericht, Tutzing: Schneider, pp. 65–70. 3
4 Bauman, Thomas (1995), ‘Moralizing at the Tomb: Poussin’s Arcadian Shepherds in Eighteenth- 4
Century England and Germany’, in Thomas Bauman and Marita P. McClymonds (eds), Opera and
5 5
the Enlightenment, Cambridge: Cambridge University Press, pp. 23–42.
6 6
Bellman, Jonathan (ed.) (1998), The Exotic in Western Music, Boston: Northeastern University Press.
7 Betzwieser, Thomas (1994), ‘Exoticism and Politics: Beaumarchais’ and Salieri’s Le couronnement de 7
8 Tarare, 1790’, Cambridge Opera Journal, 6, pp. 91–112. 8
9 Betzwieser, Thomas (2000), ‘Musical Setting and Scenic Movement: Chorus and Choeur dancé in 9
10 Eighteenth-Century Parisian Opera’, Cambridge Opera Journal, 12, pp. 1–28. 10
11 Boer, Bertil van (1988), ‘Coffey’s The Devil to Pay, the Comic War, and the Emergence of the German 11
12 Singspiel’, Journal of Musicological Research, 8, pp. 119–39. 12
13 Brown, Bruce Alan (1983), ‘Gluck’s La Rencontre imprevue and its Revisions’, Journal of the American 13
14 Musicological Society, 36, pp. 498–515. 14
Brown, Bruce Alan (1986), ‘Christoph Willibald Gluck and Opéra comique in Vienna, 1754–1764’,

y
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PhD diss., University of California, Berkeley.
16 16
Brown, Bruce Alan (1987), ‘Le pazzie d’Orlando, Orlando Paladino, and the Uses of Parody’, Italica,
17 17
18
19
20
21
64, pp. 583–605.
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Brown, Bruce Alan (2000), ‘“Mon opéra italien”: Giacomo Durazzo and the Genesis of Alcide al Bivio’,
in Andrea Sommer-Mathis and Elisabeth Theresia Hilscher (eds), Pietro Metastasio: Uomo universale
(1698–1782), Vienna: Österreichische Akademie der Wissenschaften, pp. 115–42.
Buch, David J. (1997), ‘Mozart and the Theater auf der Wieden: New Attributions and Perspectives’,
18
19
20
21
22 Cambridge Opera Journal, 9, pp. 195–232. 22
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23 Butler, Margaret (2002), ‘Administration and Innovation at Turin’s Teatro Regio: Producing Sofonisba 23
24 (1764) and Oreste (1766)’, Cambridge Opera Journal, 14, pp. 243–62. 24
25 Butler, Margaret (2006), ‘Exoticism in Eighteenth-Century Turinese Opera: Motezuma in context’, in 25
26 Mara E. Parker (ed.), Music in Eighteenth-Century Cities, Courts, Churches, Ann Arbor, MI: Steglein, 26
pp. 105–124.
27 27
Castelvecchi, Stefano (2000), ‘Sentimental and Anti-Sentimental in Le nozze di Figaro’, Journal of the
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28 28
American Musicological Society, 53, pp. 1–24.
29 Charlton, David (1985), ‘Orchestra and Chorus at the Comédie Italienne, 1755–99’, in Malcolm Brown 29
30 and Roland Wiley (eds), Slavonic and Western Music: Essays for Gerald Abraham, Oxford: Oxford 30
31 University Press, pp. 87–108. 31
32 Charlton, David (2000), French Opera, 1730–1830: Meaning and Media, Aldershot: Ashgate. 32
33 Clark, Caryl (1991), ‘The Opera Buffa Finales of Joseph Haydn’, PhD diss., Cornell University. 33
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34 Clark, Caryl (1993), ‘Intertextual Play and Haydn’s La fedeltà premiata’, Current Musicology, 51, pp. 34
35 59–81. 35
36 Clark, Caryl (2003), ‘Fabricating Magic: Costuming Salieri’s Armida’, Early Music, 31, pp. 451–62. 36
37 Cook, Elisabeth (1992), ‘Developments in Vocal Ensemble Compositon in Opéra-comique’, in Philippe 37
Vendrix (ed.), Grétry et l’Europe de l’opéra-comique, Liège: Pierre Mardaga, pp. 113–92.
38 38
Corneilson, Paul (1994), ‘The Case of J.C. Bach’s Lucio Silla’, Journal of Musicology, 12, pp. 206–18.
39 39
Corneilson, Paul (1997), ‘Reconstructing the Mannheim Court Theater’, Early Music, 35, pp. 63–68,
40 70–76, 79–81. 40
41 Corneilson, Paul and Wolf, Eugene K. (1994), ‘Newly Identified Manuscripts of Operas and Related 41
42 Works from Mannheim’, Journal of the American Musicological Society, 47, pp. 244–74. 42
43 DelDonna, Anthony (2002), ‘Behind the Scenes: The Musical Life and Organizational Structure of 43
44 the San Carlo Opera Orchestra in Late Eighteenth-Century Naples’, in Paologiovanni Maione (ed.), 44
45 45
 Essays on Opera, 1750–1800 xxiii

1 Le fonti d’archivio per la storia della musica a Napoli dal XVI al XVIII secolo, Naples: Editoriale 1
2 Scientifica, pp. 427–48. 2
3 Durante, Sergio (1999), ‘The Chronology of Mozart’s La clemenza di Tito Reconsidered’, Music & 3
4 Letters, 80, pp. 560–94.
4
Edge, Dexter (1992), ‘Mozart’s Viennese Orchestras’, Early Music, 20, pp. 64–65, 67–69, 71–88.
5 5
Edge, Dexter (2001), ‘Mozart’s Viennese Copyists’, PhD diss., University of Southern California.
6 6
Feldman, Martha (1995), ‘Magic Mirrors and the Seria Stage: Thoughts Toward a Ritual View’, Journal
7 of the American Musicological Society, 48, pp. 423–84. 7
8 Feldman, Martha (2007), Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy, 8
9 Chicago, IL: University of Chicago Press. 9
10 Gibson, Elizabeth (1990), ‘Italian Opera in London, 1750–75: Management and Finances’, Early Music, 10
11 18, pp. 47–59. 11
12 Gidwitz, Patricia Lewy (1991), ‘Vocal Profiles of Four Mozart’s Sopranos’, PhD diss., University of 12
13 California, Berkeley. 13
14 Gidwitz, Patricia Lewy (1996), ‘Mozart’s Fiordiligi: Adriana Ferrarese del Bene’, Cambridge Opera 14

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15 Journal, 8, pp. 199–214.
15
Goehring, Edmund (1995), ‘Despina, Cupid, and the Pastoral Mode of Così fan tutte’, Cambridge Opera
16 16
Journal, 7, pp. 107–33.
17
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19
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Hansell, Kathleen (1979), ‘Opera and Ballet at the Regio Ducal Teatro of Milan, 1771–1776: A Musical
and Social History’, PhD diss., University of California, Berkeley.
Hansell, Kathleen (2000), ‘Mozart’s Milanese Theatrical Works’, in Susan Parisi (ed.), Music in the
Theater, Church, and Villa: Essays in Honor of Robert Lamar Weaver and Norma Wright Weaver,
Warren, MI: Harmonie Park Press, pp. 195–212.
17
18
19
20
21
22 Hansell, Sven (1974), ‘Stage Deportment and Scenographic Design in the Italian Opera Seria of the
fC
22
23 Settecento’, in Henrik Glahn, Søren Sørensen and Peter Ryom (eds), Report of the 11th Congress of 23
24 the International Musicological Society, Copenhagen 1972, Copenhagen: Hansen, I, pp. 415–24. 24
25 Heartz, Daniel (1970), ‘Opera and the Periodization of Eighteenth-Century Music’, in Dragotin Cvetko 25
26 (ed.), Report of the 10th Congress of the International Musicological Society, Ljubljana, 1967,
26
Kassel: Bärenreiter, pp. 160–68.
27 27
Heartz, Daniel (1978–79), ‘Mozart and his Italian Contemporaries: La clemenza di Tito’, Mozart-
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Jahrbuch , pp. 275–93. Rpt in Daniel Heartz (1990), Mozart’s Operas, Berkeley: University of
29 California Press, pp. 298–317. 29
30 Heartz, Daniel (1978–81), ‘Hasse, Galuppi, and Metastasio’, in Maria Teresa Muraro (ed.), Venezia e il 30
31 melodramma nel Settecento, Florence: Olschki, I, pp. 309–40. 31
32 Heartz, Daniel (1980), ‘The Great Quartet in Idomeneo’, Music Forum, 5, pp. 233–56. 32
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33 Heartz, Daniel (1982), ‘Nicolas Jadot and the Building of the Burgtheater’, The Musical Quarterly, 68, 33
34 pp. 1–31. 34
35 Heartz, Daniel (1986a), ‘Metastasio, “Maestro dei maestri di cappella dramatici”’, in Maria Teresa 35
36 Muraro (ed.), Metastasio e il mondo musicale, Florence: Olschki, pp. 315–38. Rpt in Daniel Heartz 36
37 (2004), From Garrick to Gluck: Essays on Opera in the Age of Enlightenment, ed. John A. Rice,
37
Hillsdale, NY: Pendragon, pp. 69–83.
38 38
Heartz, Daniel (1986b) ‘Setting the Stage for Figaro’, Musical Times, 127, pp. 256–60. Rpt in Daniel
39 39
Heartz (1990), Mozart’s Operas, Berkeley: University of California Press, pp. 122–31.
40 Heartz, Daniel (1987), ‘Constructing Le nozze di Figaro’, Journal of the Royal Musical Association, 40
41 112, pp. 77–98. Rpt in Daniel Heartz (1990), Mozart’s Operas, Berkeley: University of California 41
42 Press, pp. 132–55. 42
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31 Musicological Society, 33, pp. 326–55. 31
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4 Melamed, Daniel (2003–2004), ‘Evidence on the Genesis of Die Entführung aus dem Serail from
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5 5
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3 Rushton, Julian (1998), ‘Mozart’s Art of Rhetoric: Understanding an Opera Seria Aria’, Contemporary 3
4 Music Review, 17, pp. 15–29. 4
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6 6
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9 95. 9
10 Solomon, Nicholas (1989), ‘Signs of the Times: A Look at Late 18th-Century Gesturing’, Early Music, 10
11 17, pp. 551–64. 11
12 Tishkoff, Doris P. (1990), ‘The Call to Revolution in the Boudoir: A New Look at Mozart’s Susanna 12
13 in The Marriage of Figaro’, in Kinley Brauer and William E. Wright (eds), Austria in the Age of the 13
14 French Revolution, 1789–1815, Minneapolis: Center for Austrian Studies, pp. 91–106. 14
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33 33
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34 34
35 35
36 36
37 37
38 38
39 39
40 40
41 41
42 42
43 43
44 44
45 45
Name Index

Abbate, Carolyn 71 Aprile, Giuseppe 530

Abert, Hermann 20, 63, 65, 66, 266, 376 Arbace 27, 28, 29, 31–2, 33–4, 37–9, 41, 103,
Abraham, Gerald 17 154, 500–503, 505
Adamberger, Valentin xv Ariosto, Ludovica187, 224, 259 390, 398, 402
Adams, Samuel 284 Arlequin 433
Adelaide 478, 479 Armidero, Cavalier 170, 173
Adelung, Johann Christoph 345 Arnaud, Baculard d’ 199, 206, 208
Admet 57 Arnault, Antoine Vincent 322
Adrien 316 Arne, Thomas 59
Afferri (Ferri), Giuseppe 527, 534 Arsace 455
Agatina 141 Arsène 435
Alamir 434 Artabano 27, 28, 33, 37–9, 41
Alberti, Domenico 88 Artaserse 27, 34–7, 39, 500, 501, 502
Alberti, Ignaz 422, 423 Artemesia, Donna 141

y
Alceste 8 Artemis 154
Alcindor, King 437 Artois, Comte de 315
Alessandro 23 Asioli, Bonifazio 468, 469
op
Alfieri, Vittorio 510 Aspasia 151
Alfonso, Don 220, 223, 225, 226, 229, 255–9, Astaritta, Gennaro 487
260, 261, 377, 399, 400, 406, 407, Asteria 154
411–413 Asterio, King of Crete 154
Algarotti, Francesco 129, 522, 541 Astolph 340–42
Aline 435 Astromonte 432
fC

Allanbrook, Wye Jamison xvi, xx, 61, 63, 66, 68, Atys 9
69, 70, 73, 76, 77, 185–96, 270, 376 Auenbrugger, Joseph Leopold 400
Almovars 437 Auenbrugger, Leopold von 363
Amadis 436 Augustine, Saint 285
Amande 438 Aurora 342
Amélite 436 Ayrenhoff, Cornelius von 363
oo

Aminta 23, 223 Azor 204

Amiti 287, 289, 294, 295, 297, 299, 302
Amore (Cupid) 220, 224, 227–8, 229, 230 Bach, Johann Christian 3, 15, 57, 119, 436
Anderson, Benedict 344 Bacon, Francis 285–6
Andreozzi, Gaetano 457, 487 Bajazet 456
Andromeda 155 Balthazar, Scott L. 465–86
Pr

Anfossi, Pasquale 119, 128, 129, 140, 176, 392, Bandello, Matteo 47
450, 487, 491 Banti, Brigida 369
Angélique 10, 13 Barbarina 188
Angermüller, Rudolph 393 Barbieri, Carlo 527, 534, 537
Anglani, Bartolo 233–4 Baretti, Joseph 508
Anna 151 Barile, Giandomenico 507–8
Anna, Donna 77, 80, 269, 273, 275, 278, 376 Barry, Spranger 44
Annio 489 Bartha, Joseph 357
xxviii Essays on Opera, 1750–1800

Bartlet, Elizabeth C. xiii, xvi, xviii, 313–28 Bourlin, Antoine-Jean (Duminiant) 436
Bartolo, Dr 73, 74, 376–7 Boyce, William 59
Basevi, Abramo 468 Brandimarte 402
Basilio 66, 400 Braunbehrens, Volkmar 424
Bassa Selim 279, 280 Brauner, Charles 473
Bastiano 297, 299, 301, 307–8 Bretzner, Christoph Friedrich 363, 430, 437
Balthazar, Scott xv Britanni, 452
Batzko, Ludwig von 425, 442 Britomarte 224, 227
Bauman, Thomas xiii, xiv, xv, xvi, xvii, xviii, xxi, Brophy, Brigid 428
61, 62, 63, 65, 67, 73, 78, 278, 331 Brosses, Charles de 25, 506
Beaumarchais, Pierre 185, 186, 187, 313–14, Brown, Bruce Alan xiii, xiv, xvii, xx, xxi,
407, 454 389–415, 541
Bedogni, Giovanni 537 Brown, John 37, 41
Beethoven, Ludwig van 62, 72, 111, 273, 346 Brünnhilde 74
Belfiore 251 Buch, David J. xix, xxi, 417–43
Bellerophon 154 Budden, Julian 467

y
Bellini, Vincenzo 469, 473 Buonafede 288
Bellman, xvi Burney, Charles 5, xix, 88

Beni, Isabella 527, 534

Benincasa, Bartolomea 244, 253
Benvoglio 48
Berlicco, Don 303, 308
op
Benda, Jiří 43–4 passim, 50–52, 54, 55–7, 59, 60 Butler, Margaret xvii, xviii, xix, xx, 521–41

Cadmus 24
Caesar, Julius 453
Caffarelli (Gaetano Majorano) 120
Berlioz, Hector 17 Cahusac, Louis de 428, 435
C
Bernardone 383 Callas, Maria 151
Bertelli, Nicola Agostino 527, 534 Calvesi, Vincenzo 220
Bertoldino (Berto) 177 Calvi, 456
Bertoni, Ferdinando Giuseppe 449, 450, 452, Calzabigi, Ranieri de’ 287–91 passim, 294, 295,
453, 487 296, 298, 301, 302, 449, 452, 456, 457
f

Betzwieser xvii, xviii, xix Caminati, Tommaso 526

oo

Bianca 456 Campana, Alessandra xiv

Bianchi, Francesco 244, 450, 451, 452, 454, 457 Campobasso, Vincenzo 449
Biggi, America 537 Candeille, Amélie-Julie 15
Binni, Walter 25, 27, 29, 31, 41 Candeille, Pierre 322
Blasio 399 Cannabich, Christian 153
Blom, Eric 16 Capulet 48, 51–2, 56–7
Pr

Blümml, Emil Karl 424 Capulet, Lady 45, 48, 51

Blumrosen, Alfred 291, 292, 298 Carl Theodor, Elector of Bavaria 151, 153
Blumrosen, Ruth 291, 292, 298 Carlani, Carlo 123
Boccaccio 390, 411 Carlo III, King 498
Boccherini, Giovanni Gastone 398 Carmanini, 530
Boer, Bertil van xvii Carpani, Giuseppe 178, 197
Bonaparte, Napoleon 323 Carter, Tim 61, 62, 65, 70, 72, 74, 75, 76, 78
Bonfil, Milord 237, 242, 258 Caruso, Luigi 487
Bonno, Giuseppe 407 Cassandre 17
Bonzani, Gabriele 537 Castelvecchi, Stefano xiv, xx, 97–218
Borghi, Giovanni Battista 450, 454 Casti, Giovanni Battista (Giambattista) 370, 379,
Born, Ignaz von 419, 422, 424, 442 398
Boselli, Anna 527, 534 Cato 398
Botturini, Mattia 454, 455, 456 Catone 149, 151
 Essays on Opera, 1750–1800 xxix

Cavalieri, Caterina xv, 136, 138–44 passim, 408 Cortez, Fernando (Hernán or Hernando) 128,
Cavalli, Francesco 527, 530 129–30
Ceccarelli, Francesco 157 Costa, Giuseppe 526
Cecchina 170–75 passim, 180, 183 Costelvecchi, Stefano xvi
Cecilio 472 Count, The (Almaviva) (from Marriage of
Cephalus 219 Figaro) 186, 188, 189, 191–2, 193,
Ceracchini, Francesco 487 194–5, 278, 380–83, 385–6, 400
Cerlone, Francesco 284 Count, The (from Nina) 204, 210, 211
Chabannes, Marc-Antoine-Jacques Rochon de Countess, the (from Marriage of Figaro) 186,
437 188–91 passim, 193–4, 195, 383, 385–6
Chailley, Jacques 418, 419, 423, 432, 433, 438 Cour, Mathon de la 203, 206
Charlton, David xiii, xv, xix, xxi Cramer, Carl Friedrich 19
Chamfort, Nicolas 306 Crespi, Francesco 537
Chapelier, Isaac Le 314–15
Charnois, Levacher de 320 Da Ponte, Lorenzo xv, 63, 64, 65, 67, 68, 78,
Chaucer, Geoffrey 154 186–8, 219, 220, 221, 223, 225–6, 228,

y
Chénier, André 313 244, 245, 247, 254, 255, 260–61, 277,
Chénier, Marie-Joseph 313–14, 322 301, 351, 363, 364, 376, 377, 380, 381,
Cherinto 123
Cherubini, Luigi 15, 17, 487
op
Cherubino 66, 67, 68, 73, 74, 187, 192,228, 279,
383, 385, 400
Cheyne, George 200
385, 390, 392, 397–9, 400, 401, 402, 403,
407–10, 411, 414–15
Dalayrac, Nicolas xvi, 178, 197–8, 201
Danchet, Antoine 153
Daniel, Norman 278
Chorèbe 17 Dante 187
fC
Choron, Alexandre 467 Danzi, Anton Ludwig 151
Cibber, Theophilus 44 Danzi-Lebrun, Franziska 152
Cigna-Santi, Vittorio Amedeo 128, 129,513 Dario 34, 35
Cimarosa, Domenico 357, 383, 440, 472–3, 480, Dauvergne, Antoine 11, 524
482, 487, 488 Davers, Mrs 238
Circe 455 De Liroux, 9
oo

Cirene 151, 152 Dean, Winton 52, 56

Clark, Caryl xiii, xvii, xx Delbò, Angelo 537, 541
Clementi, Muzio 441 DelDonna, Anthony xx
Clorinda 140 Dent, Edward J. 63, 111, 197, 199, 376
Cloris 251 Despina 225, 226, 227–8, 229, 230
Clubb, L.G. 227 Dezède, Nicolas 437
Pr

Colbran, Isabella 218 Diana 220, 222, 224, 226, 227–8, 229, 230
Colla, Giuseppe 541 Diane 10
Coltelli, Michel Procope (Procope-Coutaux) 435 Diderot, Denis xvi, 44, 203, 206, 240, 241, 428,
Coltellini, Marco 254, 398, 449, 452, 453 489
Columbus, Christopher 283, 309 Dido 449, 452
Combe, François La 298 Didon 17
Cone, Edward T. 80 Dircea 469–70
Cook, Elisabeth xv Dittersdorf, Carl Ditters von xiii, 69, 301, 330,
Corebo 154 357
Corimba 453 Dolar, Mladen 294
Corneille, Pierre 363 Don Giovanni 76, 77, 258, 267, 268, 269, 270,
Corneilson, Paul xv, xviii, xix, 149–65 272, 273, 275, 276–81 passim, 411
Corrado 383 Don Juan 65, 260
Corte, Andrea della 179
xxx Essays on Opera, 1750–1800

Dorabella 79, 220, 222, 226, 228, 377, 402–3, Feldman, Martha xviii, xxi, 497–519
408 Felloni,Ludovico 527, 535
Doralice 402 Fénelon (Francois de Salignac de La Mothe-
Doria, Paolo Mattia 506, 508 Fenelon) 153
Doristella 181 Ferdinand IV of Bourbon 524
Doristo 224, 227–8 Ferrando 68, 79, 220, 222, 226, 230, 377, 401,
Downes, E.O. 20 403, 412
Dull, Mr 287–9, 293–6, 297, 298–9, 301, 302, Ferrarese del Bene, Adriana xv, 220, 390, 397
303, 308 Fichte, Johann Gottlieb 345
Dunstan, Elizabeth 402 Fielding, Henry 239
Duntalmo 453 Figaro 67, 69, 73–4, 76, 79, 80,186–9, 192,
Dupré, Monsieur 436 193–5, 277–8
Durante, Sergio xiv, xviii, xx, xxi, 487–95 Finfinette 434
Dussek, Josephine (Josepha Duschek) 157 Fiordiligi 79, 220, 222, 223, 226, 228, 258, 377,
390, 402, 410
Echo 342 Fischietti, Domenico 118

y
Edge, Dexter xix, xx, 349–73 Florimo, Francesco 179
Einsiedel, Friedrich Hildebrand von 431 Foppa, Giuseppe 451, 452, 453, 454, 455, 456,
Einstein, Alfred 3, 5, 17, 157
Electra 102
Elektra 7
Elettra 149, 152, 154, 156, 157
Elias, Norbert 503
op 457
Forman, Edward 65
Fortis, Alberto 287
Framery, Nicolas-Étienne 6, 7–8, 10, 12
Franchis, Alessandro 535
Elisa 23–4 Francis II, Holy Roman Emperor 316
fC
Elisabeth Auguste, Electress of Hanover 156 Francis, Archduke 407
Elise 204 Franklin, Benjamin 290, 309
Elizabeth of Württemberg 407 Frederik the Great 129
Elvira, Donna 77, 258, 278, 280 Fried, Michael 203, 204
Emery, Ted 234 Frigeri, Lucia (Friggeri) 526, 527, 530, 534
Emile 340 Frisi, Paolo 290, 291
oo

Endimione 220, 226, 227 Frugoni, Carlo 524

Endymion 10 Frye, Northrop 236
Épinay, Madame d’ 286 Fuzelier, Louis 434
Epp, Friedrich 151
Erifile 456 Gabrielli, Caterina 123, 126, 530
Ermione 150 Gaius Marius 151
Pr

Ernestina 139, 399 Galliani, Abbé Ferdinando 286

Eros 188 Galuppi, Baldassare 57, 113–14, 118, 122–3,
Eschenburg, J.J. 47, 55 125–7, 128, 129, 130, 132, 134, 150
Europa, Princess of Tyre 154 Gamerra, Giovanni de 452, 453, 454, 457, 488,
Eutifronte 434 492
Eybler, Joseph 391 Garrick, David 44–5, 46, 49, 59, 206
Ezio 21, 501 Gassmann, Florian 397
Gazzaniga, Giuseppe 141, 440, 453
Farinelli 400 Gelinda 296–7, 299, 301–3, 307
Farnace 456 Gellert, Christian Fürchtegott 346
Fascitelli, Antonia 527, 534, 537 Gentilucci, Carlo 537
Faur, L.F. 306 Gerber, Ernst Ludwig 139
Favart, Charles-Simon 435 Gerl, Franz Xaver 432
Federico, G.A. 170, 288 Gervasoni, Carlo 467, 477
 Essays on Opera, 1750–1800 xxxi

Ghita 247, 380 Günther 109

Gibson, Elizabeth xx Gürke 340
Gianelli, Margherita 527 Gurnemanz 67
Gianetta 176, 180
Giannina 383, 385 Habermas, Jürgen 329, 335
Giazotto, Remo 118 Hännschen 333
Gidwitz, Patricia Lewy xv, 135–47 Hansell, Kathleen xiii, xiv, xvii, xix
Giesecke, Karl Ludwig 441 Hanslick, Eduard 5
Gilliers, Jean-Claude 433 Harmonesus 422
Ginguené, Pierre-Louis 7, 8, 9, 15 Harpe, Jean-François de La 6
Giordani, Giuseppe 450 Harris, Ellen 223
Giotti, Cosimo 454, 457 Hartig, Franz 154
Giovannini, Pietro 451, 454, 455, 513 Hase, Hermann 334
Girelli, Barbara 526, 527, 534 Hasse, Johann Adolph xvii, 20, 21, 23, 24-5, 31,
Giulietta 456 39, 40, 41, 98, 103–4, 109, 111, 427
Giunia 151, 472 Haydn, Joseph xiii, xv, xvi, xvii, 20, 71, 73, 113,

y
Gizziello (Gioacchino Conti) 120 129, 244, 266
Gleim, Johann Wilhelm Ludwig 49 Heartz, Daniel xiii, xv, xvii, xviii, xix, xx, xxi,

op
Gluck, Christoph Willibald xiv, xvi, 3–7, 8, 9, 10,
11–17, 20, 21, 57, 59,118, 120, 127, 173,
289, 316, 410, 439, 440, 441, 448, 522,
524, 534, 537
Goehring, Edmund J. xvi, 231–61
61, 63, 65, 67, 72, 74, 75, 79, 85–111,
228
Heinse, Friedrich 389, 390
Heinse, Wilhelm 150
Hensler, Karl Friedrich 430
Goethe, Johann Wolfgang von 47, 239, 363 Herder, Johann Gottfried 46, 345
fC
Goldoni, Antonio 527, 534 Herz, Madame 143
Goldoni, Carlo 41, 118, 169–73 passim, 175, 177, Hill, Cecil 419
183, 206, Goldoni, Carlo 231–5 passim, Hiller, Johann Adam xviii, 43, 44, 47, 329–35
241–4, 247, 253, 254, 260–61, 288, 399, passim, 337–9, 342, 343–6
403, 407, 409, 426 Hoffman, François Benoît 315, 316–17, 319–20,
Gorsas, Antoine Joseph 316, 317, 319 322
oo

Gossec, François-Joseph 4, 14, 15, 16, 322 Holzbauer, Ignaz Jakob 86, 109, 150, 153
Gossett, Philip 466, 467 Homer 149, 398
Gotter, F.W. 43, 44, 48, 50–52, 54, 55–6, 59, 60 Horace 285, 322
Gottlieb, Anna 438 Horsley, Paul xiii
Gottsched, Johann Christoph 345 Horosius 285
Gozzi, Carlo 426, 428, 429 Horus 421, 422
Pr

Gozzi, Gasparo 426 Hume, Robert D. xx, 175

Grandval, Nicolas Ragot de 435 Hunt, Lynn 510, 511
Graun, Carl Heinrich 21, 129 Hunter, Mary xiii, vi, xv, xvi, xvii, xx, xxi, 67,
Grétry, André xvi, 12, 204, 316, 322 169–84, 251, 298, 299, 306
Greuze, Jean-Baptiste 203, 206, 207 Hüon 438
Grimm, F.M. von 4, 9, 10, 15, 428 Hythloday, Raphael 285
Griselda 180–83
Grua, Paul 153 Idalide 474–7 passim
Grynaeus, Simon 45 Idamante 102, 154, 156
Guacozinga (Erismena) 129–30 Idomeneo 86, 88 93, 95, 154, 156
Guarini, Giovanni Battista 221, 398 Idomeneus 149
Guglielmi, Pietro 244, 259, 449, 452, 457 Ilia 149, 151, 154, 156
Guglielmo 79, 220, 222, 223, 226, 230, 377, 401, Insanguine, Giacomo Antonio Francesco Paolo
402, 403, 412 Michele 128
xxxii Essays on Opera, 1750–1800

Iphigenia 156 Leopold II, Holy Roman Emperor 315, 317 363,
Isabella 402 371, 414,488
Isabella of Bourbon, Infanta 524 Leporello 77, 258, 275, 277, 281, 383, 385
Isis 421 Lesage, Alain René 433
Isménie 10 Lessing, Gotthold Ephraim 47
Levarie, Siegmund 75
Jantz, Harold 285 Lévis, Anne-Claude-Philippe de Tubieres
Jerocades, Father 290 Grimoard de Pestels de , Comte de
Jewkes, Mrs 240 Caylus 435
Johnson, Samuel 218, 236 Libby, Denis xv, xxi
Jommelli, Niccolò xiv, 20, 87–8, 125–7, 134 Liebeskind, Jakob August 431
Jordan, David P. 511 Lieschen 333
Joseph II, Holy Roman Emperor 139, 275, 349, Lilla 245, 247, 255, 377, 383
350, 351, 353, 363, 369, 370, 371–2, 399, Lindoro (Germeuil) 179, 180, 202, 210
401, 407, 409, 410, 427, 524 Link, Dorothea xv, xvi, xxi, 219–30
Joubert, Estelle xviii, 329–46 Lippmann, Friedrich 472

y
Juliet 46, 48–52 passim, 54, 55, 56 Lisimaco 125
Livigni, Filippo 383
Kantorowicz, Ernst 502
Kerman, Joseph 64, 277
Kierkegaard, Søren 279
Kimbell, David R.B. 467
Kinkead-Weekes, Mark 171
op Loesser, Arthur 334
Lolli, Anna 527
Lolli, Brigida 527, 534
Lolli, Elisabetta 527
Longhi, Pietro 506
Knowles, Captain 291 Lorenz, Alfred 64, 69, 76
fC
Koch, Heinrich Gottfried 334 Lorenzi, Giambattista 178, 197, 244, 288
Konstanze 279 Lottchen 340–42
Kotzebue, August von 438 Louis XVI, King of France 315, 316, 320, 511
Krämer, Jörg 330, 331 Lubano 438
Kunze, Stefan 61, 63, 65–7, 69, 70, 72, 74, 76, Lucinda, Marchesa 170, 171
77, 260 Lucio Silla149, 151
oo

Lully, Jean-Baptiste 3, 4, 5, 11, 13, 439, 441

Laborde, Jean B. 338
Lajarte, T.J. 18 Mackenzie, Henry 236
Lambertini, Domenica 527 Maggi, Carlo Maria 506–7
Landini (Landi), Girolamo 527, 534, 535 Maio, De Francesco xvii
Landon, H.C. Robbins 423, 488 Maj, Girolima 527, 534
Pr

Lange, Aloysia Weber xv, 136, 138–41, 143 Majo, Gian Francesco de 128, 150
Lanval 436 Makon 437
Laodamia (daughter of Bellerophon) 154 Malsora, King 437
Laodamia (wife of Protesilaus) 154 Mandane 27, 28, 29, 31–2, 38, 39, 500–503, 505
Laodamia, Queen of Crete 154, 155, 156 Mandolino 432
Laura (nurse in Romeo and Juliet) 48, 51, 52, 57 Mandricardo 402
Laurence, Friar 48, 51, 54 Manelli, Petronio 534, 535
Lavinia 449 Mansfield, Lord 291
Lawton, David 467 Manuel, Pierre 317, 319
Laya, Jean-Louis 321 Manzuoli, Giovanni 85, 118, 122, 125, 126
Lazzari, Anna 537 Marcellina 66, 70, 73–4, 186, 187, 380
Leeson, xx Marchant, François 319
Lemoyne, Jean Baptiste 15 Maria Amalia, Princess 524
Leopardi, Giacomo 31 Maria Antonia, Infante of Spain 118
 Essays on Opera, 1750–1800 xxxiii

Maria Theresia , Holy Roman Empress 275, 425, Monelle, Raymond xiv, 19–41
524 Monostatos 265, 270, 279, 280, 423
Marie-Antoinette, Queen of France 185, 316, Monsigny, Pierre-Alexandre 435
320, 511, 513 Monson, Dale E. xv, 113–34
Marinelli, Gaetano 455 Montague 48
Marmontel, Jean François 4–5, 6, 8, 10, 11, 12, Montezuma (Motezuma) 128, 129–30, 132, 134,
14, 204, 428, 436, 451 283
Marpurg, Wilhelm 20–23 More, Thomas 285
Mars 187 Morelli, Cosimo 364
Marsollier, Benoît-Joseph 197–8, 199, 200, 201, Moretti, Ferdinando 449, 450, 451, 452, 455,
202, 207, 208, 210 456, 513
Marsollier, Joseph 178 Morichelli, Anna xv
Martín y Soler, Vicente 219–20, 245, 247, 363, Mosel, Ignaz von 401
364, 375, 377, 403, 412 Mouret, Jean-Joseph 435
Martinelli (Martelli), Pietro 535 Mozart, Constance (Constance Nissen)389,
Marvell, Andrew 185 391–392, 407, 415, 427

y
Marzia 151 Mozart, Leopold 85, 88, 90, 92, 93, 109, 139,
Masetto 77, 267 157, 410
Massa, Anastasio 526, 527, 530, 535
Massinissa 152
Mayr, Simone 469, 473, 475–6, 47–80, 482
Mazzolà, Carlo 377–8
op
Mazzolà, Caterino 399, 487, 489–90, 491, 492
Mozart, Wolfgang Amadeus xiii, xiv, xv, xvi,
xvii, xviii, xix, xx, xxi, 4, 7, 14, 16, 20,
61–82 passim, 85–93 passim, 95, 97–8,
101–4, 107, 109, 111, 113, 119, 135, 136,
140–45 passim, 149–50, 151, 153, 154,
McClymonds, Marita P. xiii, xiv, xv, xviii, 155, 156–7, 185, 186, 187, 188, 195,
fC
447–64 234, 244, 254, 255, 260, 265–74 passim,
McKillop, Alan D. 169 276, 277, 278–9, 280–81, 294, 303, 309,
Megabise 27, 29, 34–35 349–51, 352, 353, 356, 357, 363, 364,
Megacles 501 369, 371–3, 375–9, 380, 382–3, 385–7,
Méhul, Etienne Nicolas 14, 17, 315, 317, 322 389, 390, 391–2, 393, 397, 398, 400–401,
Melamed, Daniel xix 402, 406, 407, 411–15 passim, 417, 418,
oo

Meneghelli, Pier Antonio 456 419, 422, 423, 424, 425, 426, 427, 431,
Mengone 173 432, 438, 439, 441–3, 471–2, 477, 482,
Mengotta 170, 174 487, 488, 490, 491–2, 513
Mercier, Louis Sebastien 206 Mühle, Nikolaus 437
Mercutio 48 Müller, Wenzel 430
Méreaux, 15 Mutius Scevola 322
Pr

Merlin 434
Mesmer, Dr 228 Nadine 438
Metastasio (Pietro Antonio Domenico Trapassi) Nadir 438
19, 23, 24–5 passim, 27, 31, 39, 41, 44, Narcissus 342
87–9 passim, 92, 98, 102, 122, 123, 316, Nasolini, Sabastiano 454
398, 399, 400, 401, 407, 427, 452, 453, Nĕmetschek (Niemetschek), Franz Xaver 149,
455, 469–70, 472, 482, 487, 489, 490, 156, 349, 389
500, 502, 513 Nettl, Paul 418, 419, 433, 438
Meyer, Leonard B. 80 Neumann, Friedrich-Heinrich xvii, 19, 20, 21
Milhous, Judith xx Neville, Don xv
Milmi 438 Nina 178–81, 183, 197–8, 199, 200, 201–202,
Mislivecek, Josef 128 204, 206, 207, 208, 210–11, 213, 215,
Mitridate 456, 513 217, 247, 254
Mortellari, Michael 513 Nino 453
xxxiv Essays on Opera, 1750–1800

Nissen, Georg Nikolaus von 389, 427 Philipart, C.-A.-J. 109

Noske, Frits 75 Philips, Edith 285
Novello, Mary 391–2, 407 Piccinni, Niccolò xiv, 3–5, 7, 8–10, 12, 13, 14,
Novello, Vincent 391–2, 407 15, 16, 17, 18, 127, 169, 173, 178, 244,
284, 286, 454
Ontario 289, 294, 295, 297 Pinel, Philippe 200, 202–3, 204, 208
Opfer, Rache 423 Piovene , Agostino 448
Orazia 456, 457 Pizzaro y González, Francisco 128
Oreste(s) 9, 12, 156 Pizzi , Giovaccino 448
Orfeo 173 Pizzimiglia, Pietro 526
Oriane 436 Platoff, John xv, xx, xxi, xxi, 65, 68, 375–87
Orlando 402 Plutarch 422
Orsini-Rosenberg, Count 370, 372, 410, 415 Poggioli, Renato 223
Osiris 421 Polybius 285
Osmida 489 Polzonetti, Pierpaolo xiii, xiv, xvii, 283–309
Osmin 270, 273, 277, 278, 279 Poncini, Francesco 536, 537, 541

y
d’Orneval, Jacques-Philippe 433 Porpora, Nicola 20
Ottavio, Don 77, 80, 269, 273 Porto, Luigi da 47, 49
Ovid 154, 390

Paer, Ferdinando 513

op
Paisiello, Giovanni xvi, 65, 69, 128, 129, 130,
132, 134, 178, 179, 180, 183, 197–8
Poussin, xvi
Powers, Harold 467
Prati, Alessio 152, 451, 513
Price, Curtis xix
Procris 219
passim, 200, 201, 207, 209, 210, 215, Protesilaus 154
fC
218, 244, 247, 254, 287, 287, 299, 301, Provence, Comte de 315
302, 303, 309, 350, 357, 364, 375, 379, Puchberg, Michael 349–50, 353, 371–2, 392
449, 452, 453, 457,469, 487, 492, 513 Pulcinella 290
Palombo, Antonio 287 Puttini, Francesco 244
Palombo, Giuseppe 296
Pamela 170–71, 174–5, 180, 183, 235, 236, Quaglio, Lorenzo 109
oo

237–9, 240, 241, 242, 247, 258 Quazza, Pio 529, 530, 535
Pamina 280, 438, 440 Quinault, Philippe 4, 11, 439, 449
Paoluccia 170
Papageno 279, 432, 438 Raaff, Anton xv, 86–93 passim, 95, 97–8, 101–4
Papillone 434 passim, 107, 109, 111, 123, 135, 149,
Parker, Roger 71 153, 156
Pr

Parsifal 67 Rabin, Ronald xiii

Parthenia 57 Racine, Jean 6, 363
Pedrillo 270, 278 Rainieri, Veronica 527, 534
Pendle, Karin xiii Rameau, Jean-Philippe 3, 11, 435–6, 441, 524
Penn, William 285 Ratner, Leonard 63
Pepoli, Count Alessandro 455–6 Raynal, Abbé 286–7, 298
Perez, David 127 Reichardt, J.F. 54, 55, 59, 60, 335, 344
Pergolesi, Giovanni Battista 20, 113, 170, 299, Reinhard, Kurt 272
301 Réti, Rudolph 64
Perinet, Joachim 230, 425 Reynaud, Allexandre 535
Perl, Benjamin xvii, 265–81 Rice, John A. xiii, xiv, xv, xvi, xvii, xxi, 389–415
Perrault, Charles 429 Richardson, Samuel xvi, 169–71, 173, 174, 175,
Petrosellini, Giuseppe 244 183, 206, 218, 235–8 passim, 240, 241–2,
Philidor, François-André 4, 11, 14, 15, 16 245, 251
 Essays on Opera, 1750–1800 xxxv

Righini, Vincenzo xv Scarlatti, Giuseppe 287

Ripaverde, Count 140 Schachtner, Andreas 90
Ristorini, Giambattista 527, 530 Schack, Benedikt 438
Ritorni, Carlo 465, 468, 469 Schäfer, Maria Josepha 154
Robespierre, Maximilien 315 Scheibe, Johann Adolph 345
Robinson, Michael xiii, xvii, xx, 65 Schenker, Heinrich 64
Roccaforte, Gaetano 448 Schikaneder, Eleonore 430
Roche, Alessandro La 526, 535 Schikaneder, Emanuel xxi, 418, 419, 421–3, 424,
Rodomonte 402 425, 426, 429, 430, 431–2, 434, 438,
Roger de Sicile 433 441–3
Roland 10–11 Schiller, Friedrich 344, 346
Romagnesi, Jean-Antoine 435 Schlegel, August Wilhelm 47
Romeo 45, 48–52, 54, 55, 56, 57, 456 Schmidt, Johann Friedrich 429
Rosen, Charles 64, 65, 76, 80 Schoenberg, Arnold 64
Rosina 247 Schröder, Friedrich Ludwig 56
Rossane 456 Schubart, Christian Friedrich Daniel 59, 150–51,

y
Rosselli, John 522 152, 272, 343, 439
Rossi, Gaetano 454, 455 Schuster, Joseph 449
Rossini, Gioachino Antonio 466, 469, 470, 471,
472, 473, 475–6, 478, 479, 483
Rothe, Klara 364
Rousseau, Jean-Jacques 7, 329, 339, 345, 428
Ruggiero (Rinaldo) 177
op Schwab, Heinrich W. 338
Schwanberg, Johann Gottfried 55
Schwarzburg, Günther von 149
Schweitzer, Anton 44, 57
Sedaine, Michel-Jean 202
Rumph, Stephen xx Semira 27, 28, 29, 35–7, 39, 500
fC
Ruprecht, Joseph Martin 434 Semiramide 513
Rushton, Julian xiii, xiv, xviii, 3–18, 61, 62, 65, Sernicola, Carlo 456–7
77–8, 273, 275, 376, 418, 419 Serpetta 170
Rust, Giacomo 409 Serpina 299, 301
Serse 28, 34, 35, 125, 500
Sacchini, Antonio 7, 14, 128, 177, 316 Sertor, Gaetano 449, 450, 453, 454, 455, 457
oo

Saint-Foix, Germaine-Francois Poullain de 435 Sesto 489

Salieri, Antonio xvi, xvii, xx, xxi, 14, 15, 139, Shakespeare, William 6, 44, 45, 47–8, 50, 51, 55,
152, 154, 220, 244, 350, 353, 357, 369, 57,186, 187, 192, 195, 438
373, 375, 391, 392–4, 396–8, 399, Silberklang, Mademoiselle 143
400–401, 403, 406–10 passim, 411–15 Silvani, Francesco 448
passim, 452 Silvia 223, 225
Pr

Salvi, Antonio 448 Silvio 227, 229

Salvioni, Abate 449 Smith, Adam 239
Salvoni (Salvonio), Luigi Bernardo 535, 536, 537 Smollett, Tobias 119
Sanctis, Luigi de 457 Sofonisba 152
Sandrina 170, 177 Sofrano 438
Sannazaro, Jacopo 390 Sografi, Antonio 453–5, 456, 457, 513
Sanseverino, Carlo 55 Soler, Vicente Martin y xv, xxi
Sarastro 279, 280, 421, 422, 424, 432, 438, 440 Solis y Rivadeneyra, Antonio de 128, 129
Sarpedon 154 Solomon, Nicholas xix
Sarselli, Carolina 151 Somerset 291–2
Sarselli, Pietro 151 Sonneck, O.G. 25
Sarti, Giuseppe xv, 139, 450, 524, 541 Sonnleithner, Leopold von 425
Sartori, Claudio xiv Spaur, Graf von 430, 437
Savage, Roger xix Spengler, Friedrich 430
xxxvi Essays on Opera, 1750–1800

Spontini, Gaspare 17, 18 Uberto 288, 299, 301

St Phar, Madame de 207 Ulysse 8
St Phar, Monsieur de 207–8 Umlauf, Ignaz 357
Stephanie, Johann Gottlieb (Stephanie the Urbélise 436
Younger) 363
Steptoe, Andrew 61, 62, 70, 73, 76, 77, 78, 79 Vacchi, Pietro 537
Sterne, Laurence 236 Valmaggi, Luigi 506
Storace, Nancy 139, 140, 141, 301, 303 Vandomo 478, 479
Suardi, Felicita 537 Varesco, Abbé 87, 88, 90–93, 156
Sucarelli, Filippo 526 Varese, Claudio 27, 41
Sulzer, Johann Georg 232–3 Venus 187
Susanna 66, 67, 68, 70, 73–4, 79, 186–90 passim, Verazi, Giovanni Battista 154, 155
192–5 passim, 278, 380–83, 385–6, 400 Verazi, Mattia 154, 449–50, 451, 452, 454, 455,
513
Tacchinardi, Niccola 468, 469 Verdi, Guiseppe 62, 80, 466
Tagliaferro 170 Vespone 308

y
Tamino 280, 422, 438 Vespucci, Amerigo 285
Tammaro, Don 288 Vignati, Giuseppe 530
Tarare 435
Tarchi, Angelo 449, 455, 487
Tasso, Torquato 187, 221, 223
Tassoni, Alessandro 398
op
Tedeschi, Giovanni (Giovanni Tadeschi Amadori)
Villeneuve, Jérôme Petion de 317, 318
Villeneuve, Louise 408, 415
Vinci, Leonardo 20, 25, 39, 41
Violante 247, 251, 255
Virgil 185
123 Vittorio Amedeo, Duke of Saxony 118
fC
Temistocle 149, 151 Vivetières, Marsollier des 513
Tenducci, Giusto Ferdinando (Il Senesino) xv, Vogel, J.C. 14
114–20 passim, 122–3, 125–32 passim, Vogelsang, Herr 143
134 Vogler, Georg Joseph 152
Terrasson, Jean 419, 421, 442 Voisenon, Claude-Henri Fusée de 435
Terry, C.S. 3 Voltaire 283, 285, 363, 451, 513
oo

Theorirus 185 Vulcan 187

Thoas 152 Vulpius, Christian August 434, 437
Thyrsis 251
Tibaldi, Domenico 534, 535 Wagenseil, Georg Christoph 118
Tillot, Guillaume du 524, 529 Wagner, Heinrich Leopold 50
Timante 469–70 Wagner, Richard 5, 17, 21, 62, 64, 74, 80, 330,
Pr

Tishkoff, Doris xx 331

Tita 380 Waldoff, Jessica xiii, xvi, xx, xxi
Tito 489 Walter, Ignaz 438
Tomeoni, Irene 200 Warrack, John 331
Tomiri, Princess of Taurus 152 Wasserman, Earl 240
Tornielli, Gaspero (Gasparo) 535 Weber-Lange, Aloysia 152, 157
Tosi, Pier Francesco 120 Webster, James xiii, xiv, xv, xx, xxi, 61–82
Tovey, D.F. 15, 72, 80 Weigl, Joseph 379
Traetta, Tommaso 150, 440, 449, 522, 524, 525, Weiss, Pietro 173
529, 530, 534, 535, 536–7 Weisse, Christian Felix 47–52 passim, 55, 329,
Treitschke, Georg Friedrich 229–30 331–9 passim, 342, 344–6
Tybalt 48, 56 Wendling, Dorothea 149–53 passim, 154, 155,
Tyson, Alan xix, xx, xxi, 141, 397, 403, 414 156, 157
Wendling, Elisabeth 149–53 passim, 156, 157
 Essays on Opera, 1750–1800 xxxvii

Wendling, Elisabeth Augusta 151 Zamoro 473–7 passim

Wendling, Franz Anton 151 Zehnmark, Ludwig 433
Wendling, Johann Baptist 150, 151 Zélide 435
Wiel, 449 Zelmira 152
Wieland, Christoph Martin 43, 44–8 passim, 55, Zémire 204
59, 430, 431, 441 Zeno, Apostolo 448, 500, 513
Willis, Stephen C. xvii Zephyr 342
Winter, Peter 487 Zerlina 76, 77, 275, 278
Wise, Steven 291, 292 Zeus 154
Wolf, Ernst Wilhelm xix, 437 Zingarelli, Niccolò Antonio 15, 129, 454, 488
Wood, Gordon 306 Zini, Francesco Saverio 244
Woodfield, Ian xx Zinzendorf, Count 139, 301
Wranitzky, Paul 430, 441 Žižek, Slavoj 294
Zonca, Giovanni Battista 154
Zaira 456 Zoroastre 435–6
Zais 435

y
op
fC
oo
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