Illustrations
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Illustrations musical examples 2.1. Wolfgang Amadeus Mozart, aria for Cecilio, “Il tenero momento,” mm. 22–70 58–60 2.2. Riccardo Broschi, “Son qual nave che agitata,” mm. 1–24 74–75 2.3. Riccardo Broschi, “Son qual nave che agitata,” mm. 117–139, with embellishments by Farinelli 77–80 2.4. Wolfgang Amadeus Mozart, “Il tenero momento,” four statements of the vocal line for the fi rst quatrain 86–88 2.5. Johann Christian Bach, “Cara, la dolce fi amma,” mm. 1–3, with embellishments probably by Mozart 91 3.1. Tommaso Traetta, obbligato recitative for Fedra, “Suoni la fatal tromba” (preceding the sinfonia for Diana’s descent by Rameau), mm. 94–114 119–20 3.2. Tommaso Traetta, aria for Aricia, “Va dove Amor ti chiama,” mm. 38–70 126–27 3.3. Tommaso Traetta, aria for Fedra, “Furie del cor geloso,” mm. 1–15 131 3.4. Tommaso Traetta, aria for Ippolito, “Se ai vaghi lumi,” mm. 1–6 132 3.5. Tommaso Traetta, chorus of priestesses with solo grand priestess, “Soggiorno amabile,” mm. 1–15 133 5.1. Tommaso Traetta, aria for Didone, “Ah! non lasciarmi, no,” mm. 1–24 215–16 5.2. Tommaso Traetta, aria for Didone, “In tanto tormento,” mm. 79–110 217–19 5.3. Tommaso Traetta, aria for Jarba, “Cadrà fra poco in cenere,” mm. 1–12 221 {xii} Illustrations 6.1. Antonio Caldara, aria for Temistocle, “Ah, frenate il pianto imbelle,” mm. 7–16 237 6.2. Antonio Caldara, aria for Serse, “Non tremar, vassallo indegno,” mm. 5–9 238 6.3. Johann Adolphe Hasse, substitution aria for Arbace/Farinelli, “Se al labbro mio non credi,” fi rst page 254 6.4. Giovanni Battista Pescetti, aria for Ezio/Manzuoli, “Recagli quell’acciaro” 269–72 7.1. Giacomo Rust, recitative and aria for Artabano, “I tuoi deboli affetti—Ah, che mi sento, oh Dio,” mm. 1–107 326–32 7.2. Giacomo Rust, “I tuoi deboli affetti—Ah, che mi sento, oh Dio,” mm. 133–39 333 7.3. Giacomo Rust, “I tuoi deboli affetti—Ah, che mi sento, oh Dio,” mm. 172–83 334 7.4. Giacomo Rust, aria for Arbace, “Mia speranza, amato bene,” mm. 22–30 335 7.5. Giacomo Rust, aria for Arbace, “Per quel paterno amplesso,” pp. 1–2 337–38 9.1. Nicola Zingarelli, aria for Mitridate, “Morrai lo merti” 422 9.2. Nicola Zingarelli, “Morrai lo merti,” deleted exchange with Vonima 423 9.3. Nicola Zingarelli, death aria for Mitridate, “Nume del ciel” 426 9.4. Nicola Zingarelli, obbligato death scena for Mitridate, “Dove i Romani son?” 428–29 plates (following page 116) 1. Gabrielle Feldman, Pluto in Hades, for Ippolito ed Aricia 2. Gabrielle Feldman, Aricia in pearl shot silk, for Ippolito ed Aricia 3. Gabrielle Feldman, Ippolito and Aricia in woodland fi nery, for Ippolito ed Aricia 4. Gabrielle Feldman, choral dancer on heels, for Ippolito ed Aricia figures 1.1. Teatro San Carlo, Naples, audience awaiting start of performance, ca. 1960s 3 1.2. “Parallelo di alcuni teatri d’Italia,” 1789, showing the varied shapes of fi ve eighteenth-century theaters 4 1.3. Opening page of act 3 of Goldoni’s comedy La putta onorata, showing masked theatergoers purchasing tickets, 1791 7 Illustrations {xiii} 1.4. Scene inside a box at the opera, Milan, 1844 12 1.5. Marco Ricci, Rehearsal of an Opera, ca. 1709 15 1.6. Antonio Zanetti, “The celebrated Caffarelli, who sang at the Teatro San Giovanni Grisostomo,” probably 1730s 20 1.7. A moment of collective effervescence during the 2003 Umbria Jazz festival, Perugia 29 2.1. Pier Leone Ghezzi, caricature of the composer Nicola Logroscino pounding in time on the keyboard cabinet, 1753 54 3.1. Libretto title page and list of scene changes for Abate Frugoni and Tommaso Traetta’s Ippolito ed Aricia, 1759 104 3.2. Pietro Fontana, before and after drawings showing the redesign of the ducal box, Parma, 1750s 108 3.3. Ennemond Alexandre Petitot, design for the redecoration of the ducal box at Parma, ca. 1759–60 109 3.4. “Avvertimento per la conservazione del buon regolamento,” warning about proper behavior at the ducal theater, Parma, 1759 111 3.5. “Distribuzione de luoghi,” seating arrangements for the ducal box at Parma 113 3.6. Giuseppe Baldrighi, portrait of the ducal family of Parma, 1758, with later additions 128 4.1. Ferdinando Bibbiena, “Study no. 68 to draw a stage, hall, or room seen at an angle,” ca. 1711 155 4.2. Masked ball at the Teatro San Carlo, Naples, nineteenth century 160 4.3. Giuseppe Vassi(?), Masked ball for the birth of the son of Carlo III, Teatro San Carlo, Naples, 1747 161 4.4. “Avviso al pubblico,” for upcoming Carnival in Naples, 1781 (Collection of Sergio Ragni) 162 4.5. Sara Goudar, “en habit de masque,” 1774 164 4.6. Giorgio Fossati, engraving of a fi ctitious Venetian theater, 1749 180 5.1. Antonio Nicolini, project to reconstruct the surrounds of the royal palace at Naples, early nineteenth century 191 5.2. Royal box at the Teatro San Carlo, Naples 194 5.3. Close-up of the royal box and upper perimeter of the Teatro di San Carlo, Naples 195 5.4. Royal balcony facing onto the Piazza del Plebescito, once called the Largo del Palazzo 197 5.5. Giuseppe Vasi’s engraving of beggars sacking the cuccagna designed by Vincenzo Re, before 1762 200 5.6. Antonio Baldi’s engraving of beggars sacking the cuccagna designed by Sanfelice Ferdinando, ca. 1740 201 5.7. Title page and dramatis personae from Metastasio’s Didone abbandonata, Naples, 1764 209 5.8. Dido throwing herself into the fl ames of her burning palace, frontispiece to act 3 of Didone abbandonata, 1781 223 {xiv} Illustrations 6.1. Political, affi nal, and sentimental relationships in Metastasio’s Artaserse, 1730 251 6.2. Engraving for the opening of act 3 of La clemenza di Tito, 1790 277 7.1. Perugia city center, Umbria Jazz 2003 286 7.2. Teatro Pavone outfi tted for Umbria Jazz 2003 286 7.3. Eighteenth-century entrance tickets to the Teatro Civico del Verzaro, Perugia 292 7.4. List of ancient and modern dramatists from Annibale Mariotti’s sketches for the Teatro Civico, Perugia, 1778 305 7.5. Pairings within the portrait gallery and detail of medallions from Annibale Mariotti’s sketches for the Teatro Civico, Perugia, 1778 307 7.6. Layout of the portrait gallery from Annibale Mariotti’s sketches for the Teatro Civico, Perugia, 1778 308 7.7. Broadside advertising Metastasio and Giacomo Rust’s Artaserse, 1781 312 7.8. Dramatis personae for Metastasio and Giacomo Rust’s Artaserse, 1781 313 7.9. Engraving for a memorial concert by castrato Giuseppe Aprile at the Teatro Pavone, Perugia, 1778 318 8.1. Title page with dedication alle dame for a performance of Li due castellani burlati at the Teatro Pavone Perugia, 1789 353 8.2. Luigi Ponelato, engraving of a cicisbeo bowing to his lady, 1790 362 9.1. Eighteenth-century plan of Teatro La Fenice, Venice 398 9.2. Tax report submitted to the municipal government of Venice by Alberto Cavos, the impresario of La Fenice, June 18, 1797 402 9.3. Checklist of an anonymous offi cial of the Committee of Public Instruction, showing demands for changes at La Fenice, May 19, 1797 404 9.4. “Festa in Teatro gratis al popolo,” engraving commemorating a “revolutionary” festival at La Fenice, May 28, 1797 408 9.5. Libretto title page and dramatis personae from Antonio Simeone Sografi ’s La morte di Mitridate, 1797 414 tables 2.1. Aria plans 50 2.2. Koch’s Perioden 64 3.1. Musical plan for act 1 of Frugoni and Traetta’s Ippolito ed Aricia (Parma, Ascension 1759) 134 3.2. Musical plan for act 5 of Frugoni and Traetta’s Ippolito ed Aricia (Parma, Ascension 1759) 135 6.1. Dramatis personae in Zeno’s and Metastasio’s libretti for Temistocle 235 Illustrations {xv} 7.1. Singers in the two casts of Metastasio and Rust’s Artaserse (Perugia, autumn 1781) 310 7.2. Contents and sources for Metastasio and Rust’s Artaserse (Perugia, autumn 1781) 321–23 9.1. Operas performed at Teatro La Fenice, Venice, 1792–1800 395–96 9.2. Reconstruction of compositional stages for act 2 of Sografi and Zingarelli’s La morte di Mitridate (Venice, 1797) 420–21 .