- non son più amante" [a non-
Metastasian text] Act II,
scene 1 - Aria of Clearco, "Pianta, che
sorge in alta" [a non-
Metastasian text] (music lost) Act II...
- audience,
preferring a
greater diversity of texts. At this time the
leading Metastasian composers were H****e, Caldara, Vinci, Porpora, and Pergolesi. Vinci's...
- affanni,
amate pene" [a non-
Metastasian text] Act 1,
scene 3 – Aria of Osroa, "Chi
della sorte infida" [a non-
Metastasian text] Act 1,
scene 5 - Aria...
-
among them
Orfeo ed
Euridice and Alceste, he
broke the
stranglehold that
Metastasian opera seria had enjo**** for much of the century.
Gluck introduced more...
-
Maria Theresa to
compose a
further work,
Ruggiero (1771),
again set to a
Metastasian libretto. In 1771, when
hearing 15-year-old Mozart's
opera Ascanio in...
-
leading form of
Italian opera until the end of the 18th century. Once the
Metastasian ideal had been
firmly established,
comedy in Baroque-era
opera was reserved...
- the 18th
century and is the only
known attempt to
write an Italianate,
Metastasian opera seria, in the
English language,
using recitative instead of spoken...
-
customary to
alter the
Metastasian text
considerably for
operas in the 1770s, but this one
mainly adheres to the
original Metastasian text,
albeit with the...
-
century for
composers to set
Metastasian texts dozens of
times over). It was
typical for
subsequent setting of
Metastasian dramas to
incorporate significant...
-
first performed in 1756, one of the
newer (and less po****r) of the
Metastasian librettos in Mysliveček's day. For a
performance in the 1770s, it would...
