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La Calisto, Cavalli's fifteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651), premiered at the Teatro Sant'Apollinaire in Venice on 28 November 1651.
Limited Edition Libretto Series Will Reach the Hands of Select Group of Individuals
The case of Argippo is quite different, for only three arias known from other Vivaldi operas appear in the text of the libretto, which is today in the Prague National Library.
McClatchy, an old friend of Rorem's who wrote the libretto for Our Town, disagrees.
In 1636, the Grand Duke of Lithuania and the King of Poland, Wladslaw Vasa, introduced the first Italian opera, The Abduction of Helen, to the Vilnius stage, composed by Marco Scacchi to the libretto by Virgilio Puccitelli.
The serious reader interested in further exploring Leoncavallo's work would also be interested in precise documentation of the location of autograph scores, librettos, and photographs; only the letters are consistently identified by archive.
This volume, originally published in 1972, explores musical theater, focusing on librettos.
with unapologetically gay characters and provided the librettos for Virgil Thomson's Lord Byron and Charles Fussell's The Astronaut's Tale.
By painstaking analysis of scribal hands, watermarks, rastrology, variants among the published librettos, names of performers written on extant parts, and archival payment records, Bartlet is able to outline the composition and performance history of the work in great detail.
In his monograph I drammi per musica di Antonio Salvi: Aspetti della "riforma" del libretto nel primo Settecento (Proscenio, 7 [Bologna: Il Mulino, 1994]), Giuntini explains how in Salvi's later librettos the military imagery (including siege and battle scenes, mutual hostage-taking, and the simple contrast between constancy and cowardice, male and female) prevails over psychological motifs and inner conflicts.
The author, Martin Petzoldt--professor of systematic theology, Leipzig University, and president of the Neue-Bach-Gesellschaft--presents a variety of biblical, exegetical, historical, and theological presuppositions that lie behind the concepts and vocabulary of the cantata librettos.
Cecile Auzolle offers an elegant survey of how the city of Paris is represented in librettos set by Giacomo Puccini, concluding with its role as a veritable protagonist in Il tabarro.
Haym owned both of the 1711 librettos and might have envisaged adapting Orlando as well, but he died in 1729.
Both volumes of Radamisto include complete facsimile reproductions of the original printed librettos.
He argues that for most of the century, the designation on librettos was the latter term, with "opera seria" not appearing until quite late.
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