Mozart on the Stage John A. Rice Index More Information

Cambridge University Press 978-0-521-81634-2 - Mozart on the Stage John A. Rice Index More information

index

Adamberger, Valentin, 65, 98, 100, 216, 222 Beaumarchais, Caron de, Afferri, Giuseppe, 12 Le Mariage de Figaro, 66 Affligio, Giuseppe, 56–57, 59 Tarare, 19 Aguiari, Lucrezia, 114–115 Bedini, Domenico, 121, 155, 229 Albizzi, Luca Casimiro degli, 50 Benedetti, Pietro, 45, 95 Alessandri, Felice, Il vecchio geloso, 206 benefit performances, 5–6, 233 Anderson, Emily, 244 Benucci, Francesco, 85, 118, 148, Anfossi, Pasquale, 209–212 La finta giardiniera, 33, 218 Berlin, 230–231, 235 Zenobia in Palmira, 126 Bernasconi, Antonia, 117 applause, 5, 213–214, 220–221, 236–237 Bertati, Giovanni, Aprile, Giuseppe, 52, 239 Il convitato di pietra, 53, 121 Ascanio in Alba, 1, 19, 25, 30, 51, 75, 161 Il capriccio drammatico, 53, 122 composition, 99, 100 Bertolazzi, Lorenzo, 15 plot, 35, 36 Bertoni, Ferdinando, 243, 247 reception, 5, 143 Bettinelli, Saverio, 195 sets, 175 Binder, Baron, 69 Attwood, Thomas, 250 Bittner, Norbert, 187–190 audience, Boccherini, Giovanni Gastone, 60, 97, 98, in Milan, 198–199, 204 179 in Naples, 202–203 contract, 73 in Prague, 165 Le donne letterate, 60, 73, 75–76 at rehearsals, 146 Salieri’s relations with, 60, 75–76 in Rome, 201–202 Bondini, Caterina, 156 in Vienna, 165, 204–212 Bonno, Giuseppe, 58 Auersperg, Countess Maria Josepha, 207, Borghi, Giovanni Battista, 46 225 Borgini, Giuseppe, 245 autograph scores, 104–112 Brandenburg, Daniel, 249 Braun, Peter von, 40 Bach, Johann Christian, Bretzner, Christoph Friedrich, Belmont und Adriano in Siria, 6 Constanze, 65, 81, 85 “Non so d’onde viene,” 130 Burgtheater, 5, 56, 161, 162, 166, 168, backdrops, 174 178 Backhaus, Wilhelm, 233 auditorium, 164, 165 Baglioni, Antonio, 40, 119–128, 131 backstage area, 173 Nuovi esercizi per il canto, 123–126 boxes, 167 Baranius, Henriette, 231 destruction, 163 Barbieri, Giovan Domenico, 162, 164 division of parterre, 165 Barrington, Daines, 6–7 as “Nationaltheater,” 61 Barta, Joseph, Il mercato di Malmantile, orchestra, 142–143 219 scenery, 176 Bassi, Luigi, 156, 188, 190 stage, 174 Bastien und Bastienne, 19, 22, 161, 239 Burney, Charles, 7, 142, 197, 204 plot, 35, 36 Bussani, Francesco, 209, 211

270

Index 271

cabals, 143–144, 213 rehearsals, 137 Calvesi, Vincenzo, 118, 209, 211 “S’altro che lagrime,” 181 Calzabigi, Ranieri de’, 60 “Se all’impero, amici dei,” 127–128, 181 Cannabich family, 102, 145 scenery, 180–183, 186 Carattoli, Francesco, 57 “Serbate o dei custodi,” 186 Carcani, Giuseppe, Tigrane, 28–29 simple recitative, 96 Caribaldi, Gioacchino, 57, 119 Clive, Margaret, 6 Carlotti, Marchese, 14 Coltellini, Celeste, 118, 211 Carl Theodor, elector of Bavaria, 146 Consoli, Tommaso, 52–53, 131 Carnival contracts for operatic composers, 40, 44, balls, 23–27 46–50 Italy, 11–13, 20 copyists, 104–107, 235–236 masks, 23, 29 Corneilson, Paul, 232 Milan, 29, 199 Cos`ı fan tutte, 19, 41, 89, 120, 161 Munich, 4, 27, 53, 54 “Ah guarda sorella,” 108, 111 and opera, 22–31 “Ah lo veggio,” 151 operatic season, 43, 199 “Al fato dan legge,” 106, 108 Venice, 23, 24 “Alla bella Despinetta,” 106–108 Vienna, 3 autograph, 94, 104–112 Carpaccio, Antonio, 120 as Carnival opera, 30 Caselli, Vincenzo, 15 composition, 101 Casetti, Salvatore, 15 cuts, 151 Castiglione, Federico, 146 “Di scrivermi ogni giorno,” 106 Cavalieri, Caterina, 65, 98, 176, 177, 210 finale of act 1, 151 Ceccarelli, Francesco, 116 finale of act 2, 93, 151 Charrière, Isabelle de, 39 “Fra gli amplessi in pochi istanti,” Cherubini, Luigi, 11 110–111 Chiesa, Melchior, 200 Mozart’s fee, 68 “Ch’io mi scordi di te”/“Non temer amato “Non siate ritrosi,” 151 bene,” K. 505, 130 overture, 151 Cicognani, Giuseppe, 15 performing score, 151 Cigna-Santi, Vittorio Amadeo, Mitridate, 51, “Per pietà, ben mio, perdona,” 105, 52 155 Cimarosa, Domenico, 39, 46, 202 playbill, 158 Gianina e Bernardone, 207 plot, 35–37 Il matrimonio segreto, 68 reception, 219 Le trame deluse, 207 rehearsals, 101, 118, 140, 144 La vergine del sole, 126 scenery, 179–180 clavichord, 92, 98 “Secondate aurette amiche,” 105 Clavier, 92, 98, 138, 141, 145, 214 “Sento, o Dio, che questo piede,” 108 Clement XIII, pope, 51 . sketches, 93 La clemenza di Tito, 19, 24, 30, 44, 155, 161, “Soave sia il vento,” 108 214 “Tutti accusan le donne,” 105 “Ah perdona al primo affetto,” 229 “Un’ aura amorosa,” 106 “Che del ciel, che degli dei,” 237 Cremona, 14, 15 “Come ti piace imponi,” 82 Crescentini, Girolamo, 41 commission, 40, 42, 46 Cuvilliés, François, 27, 162 composition, 92, 101, 207 Cuvilliés Theater, Munich, 26, 53, 55, 161, “Deh per questo istante solo,” 155, 181 162, 165, 170 first performance, 218 auditorium, 28, 164, 165, 172 “Non piu` di fiori,” 181, 229, 236–237 boxes, 28, 167 overture, 103 orchestra, 143 “Parto, ma tu, ben mio,” 229 parterre, 165 plot, 35–37 reassembly, 163 reception, 228–229 stage, 27, 173, 174

272 Index

Dal Prato, Vincenzo, 116, 119, 155 “Frisch zum Kampfe,” 231 Dal Re, Marc’Antonio, 25, 28–29 keyboard-vocal score, 233–234 Danzi Lebrun, Fransziska, 13 libretto, 81–85 Da Ponte, Lorenzo, 66–67, 73–74, 85–86, Mozart’s fee, 68 88–90, 148–150, 227 origins, 63–66 Il burbero di buon core, 66 “Marsch, marsch, marsch!” 216 Cos`ı fan tutte, 89 overture, 102–103 Don Giovanni, 89, 186–189 “O wie ängstlich, o wie feurig,” 100 Il finto cieco, 66, 219 plot, 35, 36 Le nozze di Figaro, 66–67, 89 reception, 213, 219, 221–222 Il ricco d’un giorno, 66, 88 scenery, 179–180, 232 as stage director, 137 “Solche hergelauf’ne Laffen,” 100 Dauer, Johann Ernst, 65, 216 “Wer ein Liebchen hat gefunden,” 82 De Amicis, Anna, 52, 95, 99, 115, 129, 130, Eszterháza, 91 213, 218, 236 Eybler, Joseph, 101 D’Ettore, Guglielmo, 44, 45, 52, 95 De Gamerra, Giovanni, Lucio Silla, 51, 78, 79, Fabris Afferri, Elena, 13 181–185 fees for operatic composers, 47–49, 57, Dell’Agata, Michele, 243 67–69, 233 De Rogati, Francesco Saverio, 52 Fel, Marie, 10 Diede, Louise von, 206–207 Ferdinand, archduke, 25, 47, 51, 197, 217 Don Giovanni, 19, 23, 30, 41, 53, 142, 147, 156, Ferrarese, Adriana, ii, 101, 155, 210 161, 214 Ferrari, Giacomo, 40, 202–203, 230 “Batti, batti bel Masetto,” 89 finale, 74, 98, 101, 105, 106 commission, 40, 234 La finta giardiniera, 19, 21, 30, 75, 161, 218 delayed production, 30, 153–154 commission, 40 finale of act 1, 92 delayed production, 152–153 finale of act 2, 147, 187 first performance, 220, 254 first performance, 156, 214, 216–217 introduzione, 34 “Il mio tesoro intanto,” 123 origins, 54–56 “Là ci darem la mano,” 89 plot, 31, 33–36 Mozart’s fees, 68, 233, 234 reception, 76, 144, 220 “Non mi dir, bell’ idol mio,” 187 rehearsal, 152–153 overture, 103–104 La finta semplice, 19, 20, 56–59, 143 plot, 35–37 contract, 57 reception, 219, 227–228 fee promised, 57, 68 rehearsals, 137, 147, 156 origins, 114 scenery, 179, 186–190 rehearsal, 57, 144–145 sketches, 92 Firmian, Carl Joseph, 9, 46–48, 197 dramma per musica, 20 Firmian, Franz Lactantius, 46, 47 Durante, Sergio, 96, 180–181 Fischer, Ludwig, 65, 83, 100, 216, 222 Duschek, Josepha, 130, 143 Fischietti, Domenico, 21 Gli orti esperidi, 243 Edge, Dexter, 151 Florence, Teatro di Via della Pergola, 245 Elizabeth Wilhelmina, archduchess, 206, 211, forestage, 173 227 Frank, Joseph, 21 encores, 216, 220–221, 223, 237 Franz II (I), archduke, emperor, 137, 211 ensembles, 137–139 Frederick the Great, 196 Die Entführung aus dem Serail, 19, 21, 30, 41, 142, Frye, Northrop, 34 161, 198, 216, 230–231, 235–236 Funck, Valerian, 27, 170 arrangements for wind instruments, 233–234 Gabrielli, Caterina, 44 autograph, 104 Galliari, Bernardino, 175 composition, 92, 98, 100 Galliari, Fabrizio, 175, 184–186, 256 cuts, 104 Galuppi, Baldassare, 94

Index 273

Gasparini, Quirino, Mitridate, 52, 175 Holzbauer, Iganz, Günther von Schwarzburg, 13, Gassmann, Florian, 40, 56, 60 22 Gatti, Luigi, L’olimpiade, 82 Hunter, Mary, 34 Gayl (theatrical painter), 189 Gazzaniga, Giuseppe, Idomeneo, re di Creta, 14, 19, 22, 75, 143, 236 L’amore costante, 122–123 “Andro` ramingo e solo,” 138 Don Giovanni, ossia Il convitato di pietra, 53, as Carnival opera, 30 121–123 commission, 40 Il finto cieco, 62, 66, 219 composition, 116 Gellert, Christian Furchtegott,¨ 76 cuts, 76–77, 81, 150 Gerl, Barbara, 191, 192 libretto, 76–81 Gerl, Franz, 128, 154, 191, 192 overture, 102 Giardini, Felice, Il re pastore, 6 plot, 35, 36 Gluck, Christoph, 11, 22, 58, 60, 62 rehearsals, 117–118, 138–140, 145–147, Alceste, 208 155 Iphigénie en Aulide, 69 “Se il padre perdei,” 83 Orfeo ed Euridice, 4 “Torna la pace al core,” 80, 150 Gnecco, Francesco, La prova di un’opera seria, illumination, theatrical, 30, 42 136 improvisation and embellishment, vocal, Goldoni, Carlo, 154–155, 231 La finta semplice, 57 introduzione, 34, 97 Le pescatrici, 40, 110 Jacquin, Gottfried von, 153 Il servitore di due padroni, 69 Jadot, Nicolas, 162 Goudar, Ange, 195 Jélyotte, Pierre, 10 Graun, Carl Heinrich, Rodelinda, 196 Jommelli, Niccolo,` 52, 91–92, 119, 235, 242 Greppi, Antonio, 48 Joseph II, emperor, 5, 41, 47, 57, 59, 61–62, Grétry, André, 22 139, 144–145, 197–198, 206, 235 Grimm, Melchior, 11 as commissioner of operas, 40, 62–64 “grosse Oper,” “grosse Opera,” 22 as theater manager, 40, 61–62, 66, 67, 74, grottesco, 15 85, 102, 118, 149–150, 176, 219, 223, Guardasoni, Domenico, 41–42, 44, 46, 53, 227 119, 120, 127, 156, 180, 228 Guarducci, Tommaso, 239 Kaiser, Margarethe, 113, 129 Guglielmi, Pietro, Kaunitz, Prince Wenzel Anton, 58, 197–198 Adalinda, 202 Kazinczy, Franz, 215 La bella pescatrice, 210 Keith, Robert, 206 Debora e Sisara, 126, 127 Kelly, Michael, 117, 138–139, 147–148, Enea e Lavinia, 203 201–202, 212, 224, 230 La pastorella nobile, 203 early musical experiences, 9–10 La quacquera spiritosa, 208, 219 relations with Mozart, 128, 138–139 Il re pastore, 243 Klein, Anton, 39 Ruggiero, 12–13, 38 Kleist, Franz Alexander von, 214 Le vicende d’amore, 210 Kotzebue, August von, Menschenhaß und Reue, 1 Kuchaˇr, Jan Kˇritel, 147 Hafenecker, Anton, 162 Hagenauer, Lorenz, 57 Lampugnani, Giovanni Battista, 117, 200 Hansell, Kathleen, 96 Lascaris, Count, 48 Hasse, Johann Adolf, 58 Legrand, Jean-Pierre, 78, 79 Ruggiero, 2, 25, 144 Le Gros, Jean, 92 Haydn, Joseph, 4, 91, 118, 140–141 Leopold II, archduke of Austria, grand duke L’incontro improvviso, 35 of Tuscany, emperor, 4, 24, 25, 41, 47, Heartz, Daniel, 34, 218, 246 121, 127, 218, 228 Heger, Philipp and Franz, 26, 167, 172 as theater director, 41, 176, 208, 219 Heinel, Anne, 198 Le Messier, Francesco Antonio and Giuseppe Heufeld, Franz, 62–63 Antonio, 262

274 Index

librettists, Mesmer, Franz Anton von, 161 duties of, 73–75 Metastasio, Pietro, 6, 8–9, 22–23, 58, 95, Mozart’s relations with, 75–77 115 as stage directors, 73, 136–137, 177–179 Adriano in Siria, 6 Link, Dorothea, 255 Artaserse, 16 Lisbon, 119, 235 La clemenza di Tito, 12, 14, 42, 82 Lobkowitz, Prince Joseph, 206 Demetrio, 14 Lodron, Countess Theresa, 4 Demofoonte, 6, 7 Lolli, Antonio, 13 Ezio, 5–7 Lolli Anelli, Brigida, 13 Nitteti, 95 London, 5–10, 71 L’olimpiade, 61, 82 influence on Mozart’s development, 5 Il re pastore, 6, 52, 82 Lorenz, Michael, 184, 244, 248 Semiramide, 31–34 Lucio Silla, 19, 51, 75, 161 mezzo carattere tenor, 120 “Ah se il crudel periglio,” 250 Miklaszewicz, Antonia, 121, 229 as Carnival opera, 30 Milan, 15, 43, 46 composition, 95, 99, 115 Archivio di Stato, 48 contract, 47, 49–50 audience behavior, 204 “Il gran Silla che a Roma in seno,” 34 Carnival, 29, 46 Mozart’s fee, 49 Teatro alla Scala, 198 orchestrally accompanied recitative, 96–97 see also Regio Ducal Teatro, Milan “Parto, m’affretto,” 236, 250 Mitridate, re di Ponto, 19, 75, 143, 161, 200–201, plot, 35, 36 235 premiere, 213, 217–218 “Al destin che la minaccia,” 117, 194 reception, 213 as Carnival opera, 30 rehearsals, 146 cast, 44–45 scenery, 175, 181–186 composition, 94–96, 99 “Il tenero momento,” 99 contract, 48, 49 first performance, 214, 220–221 Maggiori Gallieni, Angiola, 15 march, 194 Mandini, Stefano, 118, 211, 212 Mozart’s fee, 48, 68 Mannheim, 13, 129, 233 orchestration, 194 Manservisi, Rosa, 219 plot, 35–37 Mantua, 14, 15 reception, 220–221 Manzoli, Giovanni, 5–7, 9, 11–12, 44–45, rehearsals, 117, 135–136, 139–140, 145 99 scenery, 175, 193–194 Mara, Gertrud, 115 Mithridates, king, 51 Marchesi, Luigi, 41, 42, 52, 154, 176, 177, 203 Mori, Maddalena, 15 Marchetti Fantozzi, Maria, 121, 228, 229 Mortellari, Michele, Lucio Silla, 78, 79 Maria Beatrice d’Este, 25 Mosca, Carlo, 15 Maria Luisa, empress, 24, 26, 228 Mosel, Ignaz von, 60, 204–205 Maria Theresa, archduchess, 30 Mozart, Constanze, 104, 216 Maria Theresa, empress, 24, 46 Mozart, Leopold, 20, 46, 47, 49–50, 57–59, Mart´ın y Soler, Vicente, 41, 147 75–77, 88, 146–147, 236 Andromaca, 136 and French music, 10 L’arbore di Diana, 177, 210 attitude to opera, 2–3, 6, 76 Il burbero di buon core, 62, 66 literary interests, 76–77 Una cosa rara, 210 Mozart, Maria Anna, 92 Masi Giura, Maria, 15 Mozart, Wolfgang Amadeus, Maximilian, archduke, 52, 197 as actor, 3 Mayer, Sebastian, 151–152 and anagrams, 241 Mazzolà, Caterino, 82 and French opera, 10–11, 22 La clemenza di Tito, 12, 82, 137 as keyboard player and composer, 6, 10 Ruggiero, 12 improvisation, 6–7, 15–17 as stage director, 137 and masks, 23

Index 275

as operatic conductor (from the keyboard), plot, 34–37 214–216 premiere, 143 as polyglot, 11–13 reception, 210, 216, 219, 222–225 procrastination, 102, 153 rehearsals, 138–139, 147–150, 230, puberty, 18 233 recitative in everyday speech, 2 “Riconosci in questo amplesso,” 138–139 sense of hearing, 215 scenery, 179 as singer, 6–7, 11, 15–17 sketches, 93 and spoken theater, 1 “Vedro` mentr’io sospiro,” 93 as stage director, 156 travels, 5–18 L’oca del Cairo, 19, 85–87 see also titles of works opera buffa, Mozart’s use of the term, 19, 21 Mozart, Nannerl, 1, 6 op´era-comique, 5 Munich, 53–56, 76–81, 113, 220 Mozart’s use of the term, 21 Carnival, 4, 26, 53, 54 opera seria, 8–9, 21, 23, 198 Redoutensaal (ballroom), 54, 254 as Carnival entertainment, 27–30 see also Cuvilli´es Theater and Theater am Mozart’s use of the term, 19, 21 Salvatorplatz orchestras, 141–143 Muschietti, Pietro, 15 orchestration, 101 musici, 6, 9, 12, 15, 42, 116 O’Reilly, Robert Bray, 71 Mysliveˇcek, Joseph, 45–46 overtures, composition of, 102–104 Armida, 198 Owen, John, 226

Naples, 43, 202–203 Paisiello, Giovanni, 1, 39, 40 Nasolini, Sebastiano, autograph scores, 96 Teseo a Stige, 208 Il barbiere di Siviglia, 35 Neßthaler (scenographer), 189 Le due contesse, 206 Niemetschek, Franz Xaver, 92, 120, 147, 215, La finta amante, 219 223–224, 229 Le gare generose, 200 Noiray, Michel, 249 La molinara, 120 Nostitz Theater (Theater of the Estates), Nina, ossia La pazza per amore, 230 Prague, 24, 30, 161, 162, 167, 168, 172 La passione di Gesu` Cristo, 126 auditorium, 164, 172 Pirro, 126, 127 boxes, 167 Il re Teodoro in Venezia, 62, 68, 117, 177 division of parterre, 165 Pannato, Giacomo, 13 orchestra, 141, 170 Panzacchi, Domenico de’, 118 present state, 163 Parini, Giuseppe, Ascanio in Alba, 51 scenery, 187 Paris, 10–11, 69–71 stage, 26, 174, 184, 190 Parma, 114 Novello, Mary and Vincent, 216, 250 parti cantanti, 101, 106, 116–117 Noverre, Jean Georges, 70 Pasi Sarti, Camilla, 14 Le nozze di Figaro, 2, 19, 30–31, 41, 89, 128, 153, Pasqualini, Giuseppe, 15 161, 206, 230 pasticci, 5, 20 “Al desio di chi t’adora,” 155, 210 Paul Petrovich, grand duke, 24, 30, 197 composition, 102 Peretti, Nicolo,` 9 difficulty, 216, 222 Perini, Carolina, 121, 229 “Dove sono i bei momenti,” 93 “Per pietà, bell’idol mio,” K. 78, 16 instrumental arrangements, 225, Persichini, Pietro, Andromeda, 126 234 Piccinni, Niccolo,` 11, 22 keyboard reduction, 225 Cesare in Egitto, 20 Mozart’s fee, 68 Le pescatrici, 113 “Non piu` andrai farfallone amoroso,” 147, plagiarism, charges of, 208–209 148 Platzer, Joseph, 176, 187–190 origins, 66–67 playbills, 158–160 playbill, 114, 124–127, 157, 158 plot, archetypes, 34–38

276 Index

Potenza, Pasquale, 13 Rosselli, John, 195 Prague, 91, 119, 123, 127, 214, 216, 224, 234 Rottenhan, Count Heinrich, 228 see also Nostitz Theater Rousseau, Jean-Jacques, Preisig (scenographer), 161, 180 Confessions, 199 Puchberg, Michael, 118, 140, 144 Le Devin du village, 199, 239 Rubinelli, Giovanni, 41 Quaglio, Lorenzo, 78 Rußler, Karl, 13, 14 Rust, Giacomo, Il marito indolente, 208 Raaff, Anton, 13–14, 80, 115–116, 118, 130, 138, 150 Sacchini, Antonio, 11 Ramm, Friedrich, 145 Sales, Pietro Pompeo, Achille in Sciro, 55 Rauzzini, Venanzio, 9–10, 95, 99, 213 Salieri, Antonio, 11, 22, 39–42, 47, 60–64, Raiberti, Carlo Flaminio, 48 97–98, 119, 137, 143, 144, 157, 177–179, recitative, 213 orchestrally accompanied, 96–97 Axur re d’Ormus 68, 137, 207, 252 rehearsal of, 135–136, 140–141 Il barone di Rocca Antica, 197 simple, 95–96 La calamita de’ cuori, 179 Regio Ducal Teatro, Milan, 24–25, 29, 46, Cos`ı fan tutte (fragmentary), 89 161, 162, 164, 168, 255 Cublai, gran kan de’ tartari, 244 auditorium, 164, 165 Daliso e Delmita, 204–205 boxes, 166–167 Les Dana¨ıdes, 69 destruction, 163 Le donne letterate, 60–61, 64, 73, 75–76, orchestra, 141–142, 170 97–98, 157, 177, 213 stage, 174 Europa riconosciuta, 256 stage design, 175, 184 La fiera di Venezia, 179, 208, 211 rehearsal, 116–119, 135–141, 156 La grotta di Trofonio, 37, 68, 118, 177, 211 audience, 146 Il mondo alla rovescia, 208 with full orchestra, 139–140 Der Rauchfangkehrer, 63–64, 68 and publicity, 143–147 Il ricco d’un giorno, 66, 88, 208, 210 of recitative, 135–136, 140–141 La scuola de’ gelosi, 209 with reduced orchestra, 139–140, 143, 145 La secchia rapita, 206 schedule, 135–136 Tarare, 39 of staging and dialogue, 136–137 La vestale, 40 in the theater, 140 Salvatortheater, see Theater am Salvatorplatz Il re pastore, 19, 30, 161, 197 Salzburg, 2, 3, 82, 146 . “L’amero,` saro` costante,” 131 Sartorini, see Benedetti, Pietro libretto, 77, 243 Sarti, Giuseppe, 39, 147 plot, 35, 36 Achille in Sciro, “Mia speranza io pur vorrei,” Riedesel, Johann Hermann von, 235 203 Riesbeck, Johann Kaspar, 142 Fra i due litiganti il terzo gode, 179–180, 209, Righini, Vincenzo, 219 Demogorgone, 208 La giardiniera brillante, 54 L’incontro inaspettato, 219 Giulio Sabino, 154, 176 “Rivolgete a lui lo sguardo,” 108, 109, 112, Scarlatti, Giuseppe, 60 151 scenery, see stage design Rochlitz, Friedrich, 230–231 scenic stage, 173–174 Rome, 43 scenography, see stage design audience behavior, 201–202 Schack, Benedikt, 128 Teatro Alibert, 51, 248 Der Schauspieldirektor, 30 Teatro Valle, 202 Schikaneder, Carl Joseph, 154 rondo` (aria), 130, 154–155, 187, 203, 210, Schikaneder, Emanuel, 3, 41, 128, 152, 171, 236–237 191, 192, 225 Rosenberg, Count (later Prince) Franz Xaver, Der Stein der Weisen, 191–193 40, 61, 64–65, 67, 102, 118, 148–150, Die Zauberflöte, 81, 160, 189 176–177, 223, 227 Schroder,¨ Friedrich Ludwig, 64

Index 277

Die Schuldigkeit des ersten Gebots, 40 stage, 173–174 Schutz,¨ Carl, 166 see also names of theaters and of cities “Se al labbro mio non credi,” 115–116, 130 Thoenert, Medard, 188, 190 Seeau, Count Joseph Anton von, 53, 54, 78, Tibaldi, Giuseppe, 12, 99 139–140 Tomaschek, Wenzel Johann, 123 Sensheim, Count, 145 Tomeoni, Irene, 210 Serini, Carolina, 12 Toricella, Christoph, 224 Seyfried, Ignaz von, 2, 101, 215 Tozzi, Antonio, Orfeo ed Euridice, 54, 56, 144 Sigismundus Hungariae Rex, 3 Traetta, Tommaso, 51, 247 singers, engagement of, 44–46 tragédie lyrique, 10, 69–71 sketches, 92–94 Travaglia, Pietro, 180–184 Sophia Dorothea, grand duchess, 24 Troger, Herr von, 51 Lo sposo deluso, 19 Turin 43, 48, Sprague, Catherine, 248 Teatro Regio, 44, 48, 94 Stadler, Anton, 121, 229 Tyson, Alan, 105, 108, 151 stage design, 174–194, 210–211 Umlauf, Ignaz, 65 backdrops, 174 Uttini, Vincenzo, 15 borders, 174 cutout drops, 181 “Va, dal furor portata,” 7 illumination, 174, 211 Valentini, Angelo, La clemenza di Tito, 14 long sets, 181–194 Varesco, Giovanni Battista, short sets, 181–194 Idomeneo, 76, 78–81 wing flats, 173, 174, 184 L’oca del Cairo, 86–87 see also names of scenographers Venice, 43 Der Stein der Weisen, 171, 192, 193 Ascension Fair, 12, 43 Stˇ ˇepánek, Jan Nepomuk, 156 Carnival, 23, 24, 49, 122 Stephanie, Johann Gottlieb, 64–66 Teatro San Benedetto, 23, 24, 49 Die Entführung aus dem Serail, 64–66, 81–85 Vento, Matteo, Demofoonte, 6 Storace, Nancy, 118, 130, 209–212, 224 Verona, 11–15 Storace, Stephen, Gli sposi malcontenti, 206, 207 Verri, Pietro, 197 Strasser, Barbara, 14 Vestri, Violante, 241 Suardi, Felicita, 95 Vestris, Auguste, 198 Sukowaty, Wenzel, 107, 235, 236 Vicenza, 46, 52 Sulla, Lucius Cornelius, 51 Vienna, Sussmayr,¨ Franz Xaver, 96, 101, 215 Kärntnertortheater, 56, 176, 177 Swoboda, Wenzel, 2, 216 repertory system, 61–62, 97, 135, 158, 205, 209 Teyber, Therese, 65, 212 Theater an der Wien, 163 Theater am Salvatorplatz, Munich, 53, 55, theatrical year, 252 161–163, 254 see also Burgtheater and Theater auf der Theater auf der Wieden, Vienna, 41, 161, 162, Wieden 168, 171, 192 Villeneuve, Luigia, 101 acoustics, 201 Violani, Valeriano, 41 auditorium, 164, 173 Vivaldi, Antonio, 50 backstage area, 173 Ginevra principessa di Scozia, 46 boxes, 167 destruction, 163 Waldoff, Jessica, 34 division of parterre, 165 Walter, Johann Ignaz, 65 orchestra, 141, 170 Warsaw, 120, 126 scenery, 171, 189–193 Weber, Aloysia, 70, 129–130 stage, 174 Weigl, Joseph, 40, 215 theaters, La caffettiera bizzarra, 219 auditorium, 164–173 Il pazzo per forza, 208 boxes, 166–167 La sposa collerica, 40 excessive heat, 207, 221 Wendling, Dorothea, 117–118

278 Index

Wendling, Elisabeth, 13, 117–118 first performance, 215 Wendling, Johann Baptist, 14 “In diesen heil’gen Hallen,” 154, 226 Wetzlar, Baron Raimund, 67 march, 101, 152 wing flats, 173, 174, 184, 185 orchestration, 101 Woodfield, Ian, 108, 109 origins, 114 overture, 93, 101, 104, 152 Zacchiroli, Francesco, 198–199, 203 “Pa... Pa... Pa...”151–152 Zach, Andreas, 162 playbill, 158–160, 189, 215 Zaide, 19, 35, 36, 63 plot, 35 Die Zauberflöte, 2–4, 19, 22, 128–129, 151–152, reception, 225–226 161, 201, 219 rehearsals, 151–152 “Bei Männern, welche Liebe fuhlen,”¨ 226, sketches, 93 237 zecchini, 47 composition, 92, 101 Zinzendorf, Count Carl, 118, 121, 205–212, “Der Holle¨ Rache,” 2 219, 222, 225, 227, 228