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Cambridge University Press 978-1-107-01429-9 - Performing Operas for Mozart: Impresarios, Singers and Troupes Ian Woodfield Index More information Index Adamberger, Valentin, 53, 144 in La locanda, 223 Agosti in La maga Circe, 226 Das Herbstabendtheuer, 193 in Il matrimonio segreto, 225 Allegranti, Maddalena, 17, 18, 44, 53, 136, 182 in La molinara, 227 Allegretti, Luigia, 49, 57, 58, 222 in Pirro, 167, 225 Altieri, Maria, 58, 59, 60, 63 in Il re Teodoro, 223 Amendola, Giuseppe in Il trionfo d’amore, 227 La schiava fedele, 37 in Zenobia di Palmira, 167, 223 Amicis, Anna de, 144 Baglioni, Clementina, 56 André, Johann Anton, 152 Baglioni, Constanza, 56 Andreozzi, Gaetano Baglioni, Francesco, 56 Virginia, 171 Baglioni, Johanna, 56 Anfossi, Pasquale, 67, 70 Baglioni, Rosa, 18, 56, 57, 59, 60, 62, 63, 75, 77, Antigono, 68 80, 105, 222 Il curioso indiscreto, 37 Baglioni, Vincentia, 56 Le gelosie fortunate, 83 Barberina, N., 59, 60, 62, 80, 105 Il geloso in cimento, 193 Bartha, Dénes, 83 Isabella e Rodrigo, 37, 40, 47, 52, 73, 221 baryton, 150 La maga Circe, 83, 226 basset horn, 150, 173, 174, 203 Il matrimonio per inganno, 47, 53, 220 Bassi, Luigi, 44, 48, 49, 53, 57, 59, 61, 62, 80, I viaggiatori felici, 14, 38, 40 105, 106, 113, 114, 116, 165, 166, 168, Zenobia di Palmira, 52, 167, 168, 180, 223 172, 177, 180, 187, 218 Angiolini, Carlo, 18, 48, 67, 221 in Axur, 226 Antonini, Anna, 172, 173 in Circe ed Ulisse, 221 Arnold, Friedrich Ernst, 16, 22 in Una cosa rara, 223 Arrighetti, Teresa, 165, 168 in Così fan tutte, 175, 226 Artaria & Co, 157 in Don Giovanni, 74, 99, 100, 106, 107, 108, Astarita, Gennaro 109, 116, 123, 166, 226 Circe ed Ulisse, 47, 91, 221 in Gli equivoci, 223 in Il flauto magico, 198, 200, 224 Bach, Carl Philipp Emanuel, 210 in Fra i due litiganti, 222 Bach, Johann Christian, 70 in Isabella e Rodrigo, 221 Armida abbandonata, 67, 68 in La locanda, 223 Bach, Johann Sebastian, 155, 157, 210 in La maga Circe, 226 Baglioni, Antonio, 51, 75, 77, 80, 112, 114, 165, in Il matrimonio segreto, 225 168, 169, 171, 172, 177, 180, 187, 218 in Nannerina e Pandolfino, 225 in Axur, 226 in Le nozze di Figaro, 60, 61, 62, 224 in La clemenza di Tito, 171 in La principessa di Amalfi, 224 in Una cosa rara, 223 in Il re Teodoro, 223 in Così fan tutte, 175, 226 in La scuola de’ gelosi, 221 in La dama soldato, 222 in Il serraglio di Osmano, 222 in Don Giovanni, 100, 108, 109, 116, 222 in Lo spirito di contraddizione, 221 in Gli equivoci, 223 in Il trionfo d’amore, 227 in Il flauto magico, 198, 224 Bauer, Johann Caspar Lorenz, 124 267 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-01429-9 - Performing Operas for Mozart: Impresarios, Singers and Troupes Ian Woodfield Index More information 268 Index Bauman, Thomas, 48 Bondini, Teresa (Teresina), 99, 100, 102, 103, Bavaria 112, 114 War of Succession, 9, 10 Borghi, Giovanni Battista, 67 Beaumarchais, Pierre-Augustin Caron de Bossler, Heinrich Philipp, 131, 145 Le mariage de Figaro, 87 Brada, Signor, 223 Bedini, Domenico, 171, 172 Brandes, Charlotte (Minna), 10 Beethoven, Ludwig van, 203 Brandes, Johann Christian, 8, 9, 10, 11, 12 ‘Ah! Perfido!’, 205 Braun, Herr, 141 Bellomo, Therese, 15, 26 Breitkopf & Härtel, 41, 131, 163 Benda, Georg Brettell, John., 198 Der Barbier von Sevilla, 87 Bretzner, Christoph Friedrich, 29, 184, 185, Romeo und Julie, 13 186, 187, 193 Benedetti, Signor, 198, 224, 225, 226 Brötler, Carl Friedrich Samuel, 124 Benevoli, Orazio, 211 Brown, Bruce Alan, 148 Benucci, Francesco, 53, 106 Bruni, Domenico, 167, 168, 169 Berger, Carl Gottlieb, 35, 124, 159 Buccarelli, Francesca, 44, 67 Berka, Herr, 29 Buchental, Carl Gottlob, 124 Bernardini, Marcello Bulla, Herr, 16 Il conte di bell’umore, 38, 47, 221 Bussani, Dorotea, 63, 104 Bertati, Giovanni, 79, 199 Bussani, Francesco, 63, 73 Berti, Antonio Bustelli, Giuseppe, 7, 8, 13, 24 Il dissoluto, 98 Bertini, Signor, 223, 224, 225, 226, 227 Calcagni, Signor, 67, 221 Bertoldi, Signor, 9, 14 Campi, Antonia, 44, 180, 200 Beulwitz, Caroline von, 155 in Axur, 226 Bianchi, Francesco in Una cosa rara, 223 La villanella rapita, 57 in Così fan tutte, 226 Blümner, Heinrich, 58, 112, 113, 125 in La dama soldato, 222 Bohemia, 13, 51, 137, 170 in Don Giovanni, 226 Mozart reception in, 78, 97 in Gli equivoci, 223 musical taste in, 24, 32, 189, 214 in Il flauto magico, 224 operatic links with Saxony, 7, 22, 51, 217 in Il matrimonio segreto, 225 Bonaverio, Paolo, 18 in La molinara, 227 Bondini, Caterina Saporiti, 8, 43, 44, 49, 53, 56, in Le nozze di Figaro, 224 57, 59, 61, 73, 80, 105, 112, 166 in Pirro, 225 in Don Giovanni, 77, 87, 94, 99, 100, 101, in La principessa di Amalfi, 224 102, 103, 104, 108 in Il trionfo d’amore, 227 in Fra i due litiganti, 70, 77, 222 Campi, Gaetano, 44, 114, 165, 168, 169, 171, in Le nozze di Figaro, 59, 60, 62, 64, 77, 78 172, 173, 177, 180, 214 in Il serraglio di Osmano, 222 in Axur, 226 in Lo spirito di contraddizione, 221 in Una cosa rara, 223 Bondini, Pasquale, 8, 18 in Così fan tutte, 184, 198, 227 death, 20 in La dama soldato, 222 Don Giovanni, commission of, 78 in Don Giovanni, 166, 226 family, 8, 42, 102 in Gli equivoci, 223 home, 33 in Il flauto magico, 200, 224 illness, 162 in L’incanto superato, 225 lease of theatres, 33, 78 in Il matrimonio segreto, 225 as manager, 7–24, 25–31, 32–54, 56 in La molinara, 227 other interests, 22, 39 in Il musulmano in Napoli, 225 as singer, 7, 14, 33, 73 in Le nozze di Figaro, 224 titles, 33, 34 in La principessa di Amalfi, 224 in Il re Teodoro, 223 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-01429-9 - Performing Operas for Mozart: Impresarios, Singers and Troupes Ian Woodfield Index More information Index 269 Canobio, Lorenzo, 57, 59, 60, 61, 221, 222 Dresden Canobio, Vincenzo, 49 German theatre company, 7–24, 25–31, 48, Caravoglia, Francesco, 42, 67 87, 89, 104, 162, 164, 176, 192 Caravoglia, Maria, 42, 44, 67, 70, 221 Hotel de Pologne, 137, 149 Casanova, Jacques de Seingalt, 109, 110 Italian opera company, 7, 42, 43, 53, 54, 56, Catherine the Great, 168 70, 113, 181 Ceccarelli, Francesco, 142, 143, 144, 146 Mozart’s visit to, 156 Celestini, Caterina, 112, 114 Dülon, Friedrich Ludwig, 206 Cimarosa, Domenico, 31, 173 Durante, Sergio, 130, 173, 174 La ballerina amante, 49, 57 Duschek, Josepha, 173, 206, 207, 209 Il convito, 37, 67 Leipzig academy (1788), 136–47 I due supposti conti, 83 Leipzig academy (1789), 159, 161, 162 Il falegname, 37 Leipzig academy (1796), 205 Giannina e Bernardone, 83 Prague academy (1791), 173, 174 L’italiana in Londra, 14 promoter of Idomeneo, 205, 206, 207 Il matrimonio segreto, 180, 188, 224 promoter of La clemenza di Tito, 201, 202 Il pittore parigino, 37, 47, 83, 220 Dutilleux, Pierre Lo sposo senza moglie, 80 Nannerina e Pandolfino (Gli sposi in La vergine del sole, 167, 168 cimento), 188, 225 cor anglais, 203 Corneilson, Paul, 142, 207 Eck, Johann Friedrich, 206, 207, 208 Costa, Gaetano, 110 Edge, Dexter, 146 Costa, Gioachino, 48, 49, 56, 57, 59, 80, 106, Eibl, Joseph Heinz, 199 111, 112, 114, 116 Engel, Carl Immanuel, 125, 132, 163, 210 in Don Giovanni, 106, 107, 109, 123, 222 Esterházy in Fra i due litiganti, 222 Prince Nikolaus, 83, 84 in Le nozze di Figaro, 60 Eszterháza, 82, 83, 122, 150, 166, 167 in Il serraglio di Osmano, 222 in Lo spirito di contraddizione, 221 Falchini, Madame, 8 Crespi, Luigia Prosperi, 112, 114, 116, 119, Fantozzi, Maria Marchetti, 172, 174 120, 165, 166, 168 Ferrarese del Bene, Adriana, 104 in Don Giovanni, 222 Fidanza, Maria, 33, 65, 66, 220 Crespi, Signor, 112, 114 Fleischhauer, Johann Friedrich, 124 Flothius, Marius, 151, 174 Da Ponte, Lorenzo, 30, 78, 79, 96, 97, 104, 111 Forkel, Johann Nicolaus, 30, 44, 56 L’arbore di Diana, 81 Franz, Carl, 150 La capricciosa corretta, 82 Freeman, Daniel, 143 Così fan tutte, 181 Don Giovanni, 74, 77, 108, 121 Gamerra, Giovanni de, 144, 198, 199 An Extract from the Life, 79, 96 Garmanini, Tomaso, 165 meeting with Casanova, 110 Gazzaniga, Giuseppe, 77 Memorie, 96 Don Giovanni o sia Il convitato di pietra, 75 Le nozze di Figaro, 36 La moglie capricciosa, 83 Danzi, Franz, 179, 180, 215 Perseo ed Andromeda, 14, 37, 38, 45, 47, Danzi, Margarethe, 179, 180 70, 220 in Una cosa rara, 223 Il serraglio di Osmano, 46, 47, 75, 77, 222 in Zenobia di Palmira, 223 Geiling, Herr, 193 David, Anton, 150, 153 Geissler, Johann Gottlieb, 124 De Antoni, Signor, 49 Gemmingen, Otto Baron von, 31 Deutsch, Otto Erich, 199 Gerber, Ernst Ludwig, 70, 125, 212, 218 Dittersdorf, Carl Ditters von, 35, 48, 192 Gestewitz, Friedrich Christoph, 17, 49, 58, 59, Dlabacz, Gottfried Johann, 86, 153, 173, 206 104, 112, 114 Doles, Friedrich, 158, 210, 211 Ghinassi, Stefano, 168 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-01429-9 - Performing Operas for Mozart: Impresarios, Singers and Troupes Ian Woodfield Index More information 270 Index Giordani, Giuseppe concert performances of arias in Leipzig, Alciade e Telesia, 120 235 Gluck, Christoph Willibald The Creation, 214 Alceste, 54 Deutschlands Klage, 150 Iphigénie, 54 double bass concerto, 238 Die Pilgrimme von Mecca (La Rencontre La fedeltà premiata, 122 imprévue), 29 oboe concerto, 243 Goehring, Edmund, 184 Orlando Paladino, 122 Goldmeier, Herr, 205 La vera costanza, 122 Gollmick, Herr, 205 Heartz, Daniel, 74 Grenser, Carl August, 17, 81, 89, 123, 125, 162 Heimbacher, Herr, 89 Grétry, André-Ernst-Modeste Heinse, Friedrich, 97 Zemire und Azor, 193 Hellmuth, Josepha, 13, 136 Grossmann, Gustav
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    Christine Siegert, Kristin Herold Die Gattung als vernetzte Struktur Überlegungen zur Oper um 1800 In der zweiten Hälfte des 18. Jahrhunderts bildete sich ein Repertoire vor allem ita- lienischer Opern heraus, die in ganz Europa gespielt wurden. Dabei wurden sie bekanntermaßen an die jeweiligen Aufführungsbedingungen angepasst. Dass die so zustande gekommenen Bearbeitungen als konstitutiv für die Gattung Oper gelten können und dass Opern in jener Zeit daher als Werke angesehen werden müssen, die sich aus der Gesamtheit ihrer Quellen konstituieren, wurde an anderer Stelle zu zeigen versucht. Ein wesentliches Moment bei der Anpassung waren die sogenannten Einlagearien, die zusätzlich oder als Ersatz für andere Arien in die Opern eingefügt wurden. Es konnte sich sowohl um eigens für den neuen Kontext komponierte Arien handeln als auch um Arien, die ursprünglich aus anderen Opern stammten. Diese Arien wanderten also von einem Bühnenwerk in ein anderes – sei es auf der Basis des Notentextes, der verbreitet wurde, sei es auf der Basis des Materials, indem eine Arie einer Opernpartitur entnommen und in eine andere wieder eingefügt wurde. Gerade der letztere Vorgang zeigt, dass die Arien im Resultat beiden Opern zugehörten, der Oper, aus der sie ursprünglich stammten, und der Oper, der sie später angehören. Die Arien schaffen also eine Verbindung zwischen verschiedenen Werken der Gattung. Die Erforschung solcher Verbindungen hat sich bislang auf den Einzelfall beschränkt, etwa indem Einlagearien einer Oper als aus einer anderen Oper stammend identifiziert wurden. Indes wurde unseres Wissens noch nicht versucht, das Phänomen umfassend zu untersuchen. So haben auch wir bei unseren Recherchen zunächst begonnen, solche Einzelbeobachtungen zu sammeln.
  • Une Histoire De La Réception De La Donna Del Lago Au Théâtre Royal Italien De 1824 À 1848

    Une Histoire De La Réception De La Donna Del Lago Au Théâtre Royal Italien De 1824 À 1848

    6 « Fatale expérience » ou « fête pour le public des Italiens » ? Une histoire de la réception de La donna del lago au Théâtre royal Italien de 1824 à 1848 a donna del lago connaît cent treize représentations au Théâtre royal Italien entre 1824 et 1848. À cela s’ajoutent onze représentations séparées de l’acte II. C’est L donc bien, si l’on en croit les contemporains, « un opéra de répertoire »1. Cette expression ne désigne pas une réalité harmonieuse dont le secret tiendrait à la perfection de l’œuvre elle-même. Elle procède d’une construction dans le temps, au fil des attentes, des colères et des bonheurs du public vis-à-vis des artistes et de l’administration. C’est donc sous la plume même des contemporains que l’on peut faire émerger les grands enjeux d’une histoire de la réception de La donna del lago au Théâtre-Italien. Bien sûr, il serait difficile, impossible même, de retracer ici toute cette histoire. Notre premier choix consistera donc à nous interroger plus longuement sur la création, décisive pour saisir les éléments qui reviendront par la suite de façon récurrente. Notre second choix sera de privilégier, non pas la musique de l’opéra telle que la reçoivent les spectateurs parisiens, mais les questions de scénographie et d’interprétation. Les raisons justifiant cette approche constituent aussi les deux enjeux de notre propos. Le premier tient à la partition même de l’opéra, à son exigence première : la présence simultanée de trois premiers chanteurs, un soprano, un ténor, et un contralto.
  • [Untitled] Author(S): John Platoff Source: the Journal of Musicology, Vol. 12, No. 1 (Winter, 1994), Pp. 85-115 Published By: Un

    [Untitled] Author(S): John Platoff Source: the Journal of Musicology, Vol. 12, No. 1 (Winter, 1994), Pp. 85-115 Published By: Un

    [untitled] Author(s): John Platoff Source: The Journal of Musicology, Vol. 12, No. 1 (Winter, 1994), pp. 85-115 Published by: University of California Press Stable URL: http://www.jstor.org/stable/763939 Accessed: 09/02/2009 21:13 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology. http://www.jstor.org Review-Essay A New History for Martin's Una cosa rara Vincente Martin y Soler, Una cosa rara, ossia Bellezza ed onesta: drammagiocoso.