UNIVERSITY OF CALIFORNIA AT LOS ANGELES

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ALBERT SCHATZ, 1839-1910.

LIBEAET OF CONGRESS

CATALOGUE

OP

OPERA LIBRETTOS

PRINTED BEFORE 1800

PREPARED BY

OSCAR GEORGE THEODORE SOXNECK

CjdlSV OI TUtf. BIVI8I0M or MUSIC

Volume I

TITLE CATALOGUE

60VERNMENT PRINTING OFFICB in4

LIBEAET OF OOFGEESS

CATALOGUE

OF

OPERA LIBRETTOS

PRINTED BEFORE 1800

PREPARED BY

OSCAR GEORGE THEODORE SONNECK

CHIEF OF THE DIVISION OF MUSIC

Volume I

TITLE catalogue

WASHIKGTON

GOVERNMENT PRINTING OFFICH

1914

L. C. card, 13—35009

This work in two volumes is for sale by the

SUPEHINTENDENT OF DOCUMENTS

Government Printing Office Washington, D. C.

Price, $2.00 per set

CO

PREFACE

Applied to musical dramas like Wagner's "Tristan und Isolde," the term libretto sounds absurd, but it would be difficult to substitute for the purely practical purpose of naming a catalogue an equally convenient, an equally generic, and at the same time equally specific term. By international consent Hbretto has come to mean a text that is intended for musical composition, whether it be a text for musical tragedy, comedy or farce, oratorio, sacred or secular cantata. Exactly therein Hes the value of this somewhat artificial traditional term for purposes of modern pliraseology that it circumscribes with- out necessity of further definition one distinctive field of Hterature, just as opera, a similarly artificial term, possesses an unmistakable significance. Certainly the combination of the two — 'opera-hbretto— o can not be surpassed in terseness of self-explanatory meaning.

At any rate, the term hbretto has here been used without any of

the current aspersions on the esthetic value of texts for dramatic

music. The term opera-Hbretto is usually coupled with the idea of

a type of drama hardly to be dignified by the name of drama or even

literature. Unfortunately this contempt is justified in very many

individual cases; but a sweeping condemnation of opera-hbrettos

would be just as unfair as a sweeping condemnation of "legitimate"

dramas, though most of these, too, suffer from artificiality, conven-

tionahty, and insipidity of theme and treatment. The difference is

this, that the defects of the average opera-hbretto are not hidden

from view so easily by the clever drapery of language. A hbretto is

not an art work complete in itself and self-sufficient as hterature.

It requires to be complemented by music. To use Mr. Forsyth's

witty phrase, it is but one-half of the scissors of opera. A hbretto is

practically useless without the music, and vice versa. Thus, while

working with the tools of dramatic craft, the hbrettist molds some-

^' thing with all the attributes of a play, yet not a play self-sufficient

J* on the stage or in the closet. He is handicapped from the beginning

^ by imperative consideration of the technical problems of the com-

. poser, the hmitations and possibUities of musical art. At his best

^ he delivers into the hands of his partner the perfect half of an art

■^ work. The difficulty of his pecuhar art, therefore, is to prepare and

to facihtate the amalgamation of two different arts, and this is a

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2 PBEFACE

difficulty not always fully appreciated by those who criticize librettos from a literary standpoint and who, over the occasional absurdities of an "Alfred Bunn, Esq.," forget the accomplishments of men like Zeno, Metastasio, Goldoni, Quinault, Favart, Wagner, Boito, Gilbert, Maeterlinck, and many others.

Whatever the place of hbrettos is in the history of Uterature, the Hbretto has its distinct place in the history of music, more especially in the history of opera. This has been recognized for centuries, and none of the fairly numerous treatises on the dramaturgies of opera omits a more or less convincing consideration of the function and art of the librettist. For this very reason it is astonishing that so far no serious attempt should have been made to give us a compre- hensive history of hbretto. It would be, of course, a difficult and a very comphcated task, one that could be undertaken only by a scholar equally intimate with the liistory and technique of dramatic music and of dramatic Uterature, not to forget an indispensible intimacy with "Kulturgeschichte" and the economic as well as purely commercial currents underflowing the development of both arts; but it would be a fascinating task, indeed, fascinating to both the author and the reader. There are signs — I refer to the recent book on Zeno's hbrettos by Mr. Fehr — that the interest in the history of hbrettos is being revived, and if this interest continues the history of opera can not but profit by it. One result would be a clearer understanding of the share progressive Hbrettists had in the shaping of the art form of opera. One hears much of the suggestions* offered by composers to their librettists, one hears less of the outspoken or latent suggestions offered to composers by their librettists. It was Bumey, I beheve, who first made the observation that composers and librettists hke to travel in pairs; that is, one composer preferably setting Hbrettos by one author to music. If that observation is cor- rect, it stands to reason that under the circumstances the influence of thoughtful hbrettists on the evolution of opera as an art form must have been very considerable. To decide, for instance, whether Verdi's "Falstaff," as a combined effort in the right direction, owes more to Verdi than to Boito, would be difficult, indeed, just as it would be to establish a perfect balance between our indebtedness to Wagner, the dramatist, and to Wagner, the composer. Earher periods were not different in this respect. In the case of Calsabigi and Gluck, for in- stance, we have known for some time that Calsabigi had at least an equal share in certain reforms generally attributed to Gluck alone. If we turn to Metastasio, his letters to Hasse and others prove that he was by no means a willing tool in the hands of composers. He submitted to certain traditional conventionalities perhaps because it would have been useless in his time to offer stubborn resistance, but he resented the idea that the Hbrettist had no problems of his own

PREFACE 8

and should be a mere servant to the composer. "The play is the thing" was his maxim, too, and he plainly gave to the dramaturgies of opera deep and continued thought. With something like a mild monopoly on the art of writing "grand opera" librettos for eighty years in the "eroicamente erotico" manner, as one reformer put it, his influence on opera as an art form clearly must have been remark- able. It is not lessened by the fact that he excelled where most of the composers of his time failed because of fossilized conventionahty, namely, in the dialogue, which stamps him, from the purely hterary standpoint, too, a great playwright. What is true of Metastasio is true also mutatis mutandis of Goldoni, of Zeno, and the earher musical plajrwrights that really count. Indeed, the very foundations of opera were laid, I dare say, by Rinuccioi as much as by Jacopo Corsi, Peri, or Caccini,

If, therefore, the importance of librettos is clear for the history of musi- cal dramaturgies and esthetics, in short of opera in general, stOl more so is their importance for the history of individual operas. The truth of this statement is perhaps not fully appreciated by those who use only modern librettos with the object of preparing themselves by a better acquaintance with the text for a better understanding of the opera to be heard, a function of the libretto which our libraries should begin to value more highly. Lexicographers and historians, espe- cially local historians of opera, would have been greatly handicapped in their compilations without the direct or indirect help of the libret- tos which, in innumerable cases, furnish the only available clue as to the composer and author of older operas, the casts, which means biographical data on the singers, and the year-dates of perform- ance, very often of first performance. Beyond such invaluable clues, however, librettos furnish information of a very different and equally important kind. Every student of Wagner's life, for instance, knows that his "Tannhauser" was performed in the earliest days at Dresden with several different endings, but in just what these differ- ences consisted was not accurately known before Tappert carefully compared the several editions of the "Tannhauser" librettos first used at Dresden. If we go back to the eighteenth century the im- portance of librettos for the solution of similar textual problems be- comes even greater, indeed perplexingly so if we are interested in early Italian operas.

This is primarily due to the well-known fact that an opera was hardly ever performed exactly alike as to text and therewith as to music m different cities. The original version of an opera only in rare cases coincided with that of replicas. The pasticcio andrifa^m^nto tendency of the age, fostered by the demands of the singers for ' ' thankful " num- bers and the commercial risks of the managers, undermined the respect for the mental property of author and composer. The custom to sub-

4 PBEFAOE

stitute at will arias in the opera to be performed by arias from other operas by other composers and authors, or to replace them by such composed for the occasion, and all this very often without the slightest notice to the audience, grew into a chronic disease, into a system before which authors and composers bowed resignedly and which last^ed until the latter part of the eighteenth century. There are cases on record in which out of a total of about thirty arias only about half a dozen had been retained from the original version of the opera by the author and composer under whose names the opera continued to sail.

Supposing, therefore, that a Ubrary possesses the score of an old Italian opera and that the score bears the name of a certain com- poser. The inexperienced would look up the date of first performance of the opera in some standard reference work, would attach that date to the score, would accredit the whole score, irrespective of incongruity of style, to one author and one composer and would hold them responsible for the merits or demerits of text and music in detail without further misgivings. This conclusion would be un- sound from the first to the last, as may be inferred from the manner in which the expert would study the score. He would locate in the first place a copy of the libretto as actually used at the first perform- ance of the composer's opera. If the text in the score and the text in the opera agree, with only irrelevant differences, he would conclude- correctly that presumably this was a copy of the score as originally composed by the composer. If the name of the composer had been added by a later hand, he would also conclude that the score had been correctly attributed to him. If, however, the text of the score and of the libretto disagree, he would know immediately, first, that the score in this form was not used for the original performance; secondly, that the score contains ingredients for which the composer named is not responsible. Only by finding an edition of the libretto coinciding fuUy with the score under question would he be able to date it correctly, and only by a comparison of the original edition of the composer's opera with the edition of the established replica would he be able to determine what belongs to the original author and composer of the opera and what not. Other reconstructive possi- bilities any reader may find for himself by applying, as it were, the rules of permutation.

Cursory as these remarks are on the different uses to which librettos may be put, they suffice to illustrate the importance of a libretto collection in any well-equipped musical library. Its importance will increase in the same ratio as the library's collection of opera scores increases, and the need of an adequate Ubretto collection will become imperative should a library attempt to develop its collection of opera scores organically, to build up, as it were, a museum of operatic his-

PREFACE

i^

tory. At any rate, this was the standpoint of the Library of Con- gress when the project of assembling a comprehensive, representa- tive collection of operas began to assume definite shape. The ideal solution of the problem would be to have every opera represented also by its Hbretto. Whether such an ideal solution is possible of attainment or not, it is clearly the course which every systematic effort would have to take. That it would be futile to start such a collection ab ovo by the painfully slow process of acquiring one desirable libretto after the other was realized from the begioning. Even the gradual purchase of small, though fine, collections like that of Mr. James E. Matthew could hardly accomplish the desired result. The Library of Congress, therefore, abided its time until one of the large collections known to be in private hands would be within reach. The supreme opportunity came when in the fall of 1908 one of the most famous of all libretto collections, that of Mr. Albert Schatz, of Rostock, was offered us. The Library of Congress lost no time in acquiring this collection, the formation of which had taken Mr. Schatz not less than forty years.

As Mr. Schatz was in feeble health, and as the Library of Congress quite naturally wished to possess for future use an authoritative state- ment on the origin and history of his great collection before it might be too late, he was requested to furnish such a statement himself. With characteristic promptness he compUed with our request and wrote the following autobiographical sketch under date of Rostock, March 17, 1909:

"Meine Saromlung von Opemtexten, wie sie jetzt die Library of Congress in Washington erworben hat, ist das Ergebnis eigener Sanuneltatigkeit von iiber 42 Jahren. Bereits in friihster Jugend entwickelte sich bei mir ein besonderes Literesse fiir die Oper und ihre Geschichte, das durch altere Freunde nicht bloss wach gehalten, sondem lebhaft gefordert wurde. Als der kaufmannische Beruf mich zunachst nach Hamburg und dann 7 Jahre nach San Francisco fiihrte, ruhte zwar mein Sinn ftir dies Gebiet, Kaum war ich indessen im Herbst 1873 nach Rostock zuriickgekehrt und Besitzer der noch jetzt hier bestehenden Musikalienhandlung Lud- wig Trutschel Nachfolger geworden, als die alte Neigung von neuem erwachte und zu dem Plan erstarkte, sglbst eiae Geschichte der Oper zu schreiben. Dieser Plan ist, trotz bis heute fortgesetz- ter Arbeit daran, noch nicht zur Vollendung gekonmien; denn der Stoff nahm bei der von mir angewandten Methode ungeahnte Dimensionen an. Es stellte sich heraus, dass die bisherigen Darstel- lungen der Opemgeschichte als Quellen vollig unzureichend und unzuverlassig waren, da sie in der Hauptsache nicht unmittelbar auf den Quellen aufgebaut, sondem ohne Kenntnis

6 PREFACE

dieser, einander nachgeschrieben sind. So kam ich zu dem Schluss, dass eine korrekte Darstellung ein unmittelbares Studium der Grundquellen vernotwendige, und sah mich genotigt, da sammt- liche grossen Bibliotheken dies QueUenmaterial nur unvollstandig enthielten, selbst an das Aufspiiren und Sammeln derselben zu gehen. So ist im Laufe der Jahre meine Textsammlung und meine Bibliothek entstanden, von denen in Sonderheit erstere von kaum einer anderen Sammlung gleicher Art iibertroffen werden diirfte und unter alien ernsten Arbeitern auf gleichem Gebiet weit und breit bekannt geworden ist. Sie fiihrte mich mit einer Reihe anderer Musikhistoriker zusammen, mit denen ich korrespond- iert habe und zum Teil noch korrespondiere. Diese Sammlung, sowie die Bestande der Bibliotheken Europas, forderten meine Geschichte der Oper so weit, dass das statistische Material in circa 80,000 Zettehi ziemlich abgeschlossen vorliegt. Diese Zettel ent- halten jeder den Titel einer Oper, Namen des Komponisten und Dichters, Ort, Theater und Zeit, nicht bloss der ersten Auffiihrung, ..sondern auch der erstmaligen Wiederholungen in andern Stadten oder Theatern. Sie sind chronologisch und alphabetisch geordnet, lassen sich ohne grosse Schwierigkeit, aber auch nach Komponis- ten, Dichtern, Stadten und Theatern zusammen steUen und ergeben den voUstandigen Stoff fiir eine Bibliographie der Oper. Zu dem fertigen Material gehort insbesondere das iiber die Komponistea D. Cimarosa, B. Galuppi, C. W. von Gluck, K. H. Graun, P. Guglielmi, G. F. Handel, J. A. Hasse, N. JommeUi, J. S. Mayr, F. Paer, G. Paesiello, N. Piccini, A. M. G. Sacchini, und G. Sarti. Es liegt vor in 36 Banden und bedarf zur VeroffentUchung nur einer Schlussre vision. Das Werk im urspriinglichen Plan zur Aus- fuhrung zu bringen, ist mir, da ich in wenigen Wochen das 70. Lebensjahr erreiche, wohl nicht mehr beschieden. So weit ich selbst nicht noch zu Einzeldarstellungen gelange oder eine andere Ver- wertung sich mir anbietet, beabsichtige ich dieses Material mir bekannten Fachgenossen zur Veroffentlichung oder Benutzung bei anderen Arbeiten zu iibergeben. Das unfertige Material soil dage- gen nach meinem Tode der Vernichtung anheim fallen."

[Translation.]

"My collection of opera-librettos, now in possession of the Library of Congress, is the result of more than forty- two years of collecting. Since early youth I took a particular interest in opera and the history of opera, and this interest was kept alive by older friends and encouraged. When a commercial career took me first to Ham- bourg and then for seven years to San Francisco, my mind was con- centrated on other matters, but hardly had I returned in the fall of 1873 to Rostock, to become the owner of the still existing firm.

PBEFACE 7

'Musikalienhandlung Ludwig Trutschel Nachfolger,' when my old passion awoke and I conceived the plan of writing a history of opera. This project, though I have worked at it until now, has not been completed, inasmuch as it reached unsuspected dimen- sions, owing to the method of procedure employed by me. I found that previous histories of operas were absolutely insufficient and unreliable, since in the main they are not based on primary sources, but were copied one from the other without the knowledge of these sources. I became convinced that a correct history would neces- sitate the study of the primary sources, and since none of the large Ubraries contained the material sufficiently complete, that I would have to trace and collect it myself.

"In this manner my Ubretto collection and my library gradually came into existence, of which especially the former is hardly sur- passed by any other. At any rate, it became known everywhere to scholars interested in the same subject, and through my collec- tion I was brought into contact with quite a few other musical his- torians with whom I corresponded and still correspond. My own collection and librettos in other European collections furthered my history of opera to the point that the statistical part may be con- sidered fairly finished on about 80,000 cards. Each card contains the title of an opera, name of composer and author, place, theatre, and date of the first performance not only, but of the first repeti- tions in other cities or theatres. The cards are arranged chrono- logically, subarranged alphabetically, but without much difficulty could be rearranged by composer or author or cities and theatres. They represent the complete material for a bibliography of opera. I mention especially the material on the composers D. Cimarosa, B. Galuppi, C. W. von Gluck, K. H. Graun, P. Guglielmi, G. F. Handel, J. A. Hasse, N. Jommelli, J. S. Mayr, F. Paer, G. Paesiello, N. Piccini, A. M. G. Sacchini, and G. Sarti. These thirty-six vol- umes need but a final revision for the purpose of publication. (To write my history of opera, according to the original plan, is hardly allotted to me, since in a few weeks I reach my seventieth year.) If I am not able to at least write some monographs, or unless an opportunity arises for disposing of it otherwise, I intend to entrust this material to colleagues of my acquaintance to be published or to be used by them for other works. The incomplete material, on the other hand, shall be destroyed after my death."

Beyond the pride in the possession of the Albert Schatz collection,

•the Library of Congress takes a sentimental interest in it because, as

the reader will have noticed, Mr. Schatz spent some of the best years

of his life in America. After his return to Rostock he lived there

until his death, October 18, 1910 (he was born there May 19, 1839),

8 PREFACE

active in the musical affairs of his city in several honorary positions, quietly and with self-sacrifice and at great expense amassing his libretto collection, industriously collecting and digesting material for his colossal chronological statistics of operas, his opera-dictionary and kindred works, and ever ready to spend liberally from his won- derful store of knowledge to all — and they were many — who sought his advice.

The total number of librettos in the Albert Schatz collection, not counting duplicates, is in round figures 12,240. Of these 12,000 are opera librettos, the remainder librettos of oratorios and cantatas.

These appear to have come into his possession incidentally through the purchase of miscellaneous lots of librettos, such as are offered quite frequently by dealers, who only recently have shown a disposi- tion to give to individual librettos that attention which they deserve and for which collectors and librarians have been sighing. In the same manner he appeals to have acquired many librettos of unim- portant replicas, which he otherwise would hardly have cared to add to his collection. Not that they are valueless — at least they have a decided value for local history — but, as might be expected from a connoisseur like Albert Schatz, his plan seems to have been to collect first editions, i. e., librettos printed for the first performance of an opera ; in other words, librettos in their original state in preference to those used for replicas with the customary alterations, additions, interpolations, etc. This accounts for the presence of such an ex- traordinary number of first editions of seventeenth and eighteenth century librettos, and exactly herein lies the great value of the Albert Schatz collection for historical purposes. If in many cases even a patient collector like Mr. Schatz had to content himself with more or less important replica librettos, it merely serves to show how difficult, not to say impossible, a task it was and still is to form a comprehensive, representative collection of librettos by systematic and organic development. At no time, of course, can Mr. Schatz have enter- tained the notion to acquire every libretto of the more than 30,000 operas performed since 1597. Furthermore, it stands to reason that he knew intimately the weak spots in his, as every expert will agree, formidable collection. There are such weak spots the plenty, as iu every collection of books, pictures, coins, or what not. If Mr. Schatz, for instance, turned to a master like Agostuio Steffani, he must have felt keen disappointment at his inability to make a better showing. Presumably he consoled himself with the knowledge, born of long experience, that the find of a particularly rare libretto is practically' a matter of luck, and presumably he tendered his sUent good wishes to some competitor luckier or speedier than he. Moreover, though in innumerable instances his showing may well excite the envy of some specialist, some collector especially interested in the operas of a par-

PBEFACE 9

ticular master or performed in a particular city, Mr. Shatz umnis- takably was foiming a general collection. If he had concentrated his efforts on particular masters to the neglect of others, probably the result would sometimes have been more satisfactory for the purposes of specialists with a limited sphere of interest, but it certainly would have been less satisfactory for the purposes of a general library. While weak spots, as conceded above, have their explanation in peculiar obstacles over which a collector is not master, another aspect of the Schatz collection is rather puzzling. Though cosmopolitan in his tendencies, Mr. Schatz did not collect French librettos with the same planf ul zeal as he did German and Italian. For reasons imknown to us, he preferred at first German translations to the French orig'mals, and though he evidently in later years paid more attention to the latter, he did not quite succeed in reversing the balance in their favor. In other words, the Schatz collection, relatively speaking, was not as strong in French librettos as it might have been. A similar estimate applies to Russian, Scandinavian, Bohemian, Hungarian, Spanish, English, and American librettos in the original language. That it was not a lack of linguistic ability which prompted Mr. Schatz to leave his collection more or less underdeveloped in these fields is proven by the curious (and sometimes embarrassing) fact that he invariably entered librettos in his own catalogue in the language written, whether that be Hungarian, Norwegian, Portuguese, or any other, and in case of Russian librettos he even made his catalogue entries and notes in Russian script.

After a study of Mr. Schatz' "Hsmd-Katalog," which accompanied the purchase, had estabUshed the character and relative strength and weakness of his collection, the Library of Congress gradually entered on a campaign of fiUing in gaps. Not, of course, recklessly and with- out discrimination. The campaign was based on the fundamental idea of deepening and facilitating the study of opera scores in our possession by putting at the student's disposal also the librettos of the operas. For administrative reasons the want lists were based on our collection of full scores, now more than 2,500, and not on the collection of about 7,000 vocal scores. And in view of the fact that the pubHca- tion of the catalogue of our seventeenth and eighteenth century librettos was likely to precede that of nineteenth century hbrettos by several years, emphasis was laid on the earher period. This was the theory, but for actual results we were subject to the caprices of the market. Still, the Schatz collection was strengthened by many hvm- dreds of hbrettos, including very many French. It further happened that the remarkable Longe collection of minor Enghsh dramatists, acquired by the Library of Congress, included some four hundred Enghsh hbrettos, mostly before 1800. As to American hbrettos, the Library of Congress is practically in a sUUus quo; this means that the

10 PREFACE

eighteenth and the early nineteenth centuries are not yet represented with that completeness which one would Hke to consider characteristic of a national library. This deficiency is due to the exasperating scarcity of early American librettos. On the other hand, by dint of the broadening stream of copyright deposits, the Library of Congress may point to a collection of later American librettos which it would be extremely difl&cult to duplicate by other means. That these copy- right deposits include many foreign librettos of recent date may be mentioned in passing. It is a safe estimate that the total number of librettos accrued to the Library of Congress by purchase, copyright, gift, or otherwise now reaches, if it not surpasses, 17,000. That the publication of a complete catalogue of this huge collection will stimu- late assistance to fill in disagreeable gaps is confidently expected. Perhaps in course of time even the so strangely scarce collected works of certain early hbrettists like Morselli, and others may come our way and we may be able to make a better showing of the ItaUan Hbrettos pubhshed at London in Handel's time, as also in certain other fields now comparatively barren.*

Immediately after purchase of the Albert Schatz collection the plan was conceived of making access to our collections easier by publication of a catalogue, thereby enhancing the practical value of the collec- tions themselves immeasurably. Quite naturally we turned to Mr. Schatz' own catalogue of his collection as a suitable basis for further operations, but the plan of publishing his catalogue as it stood, merely incorporating with it our own librettos, soon had to be abandoned. Much to our regret this idea of a memorial to Mr. Schatz' patience, energy, and enthusiasm was found to be impracticable. Some of the chief obstacles will readily appear from a perusal of the facsimile of a page or rather sheet from his catalogue.

Painstaking and valuable, indeed invaluable, as his entries are for the names of composers and authors, date, and place of first perform- ance, etc., they deal with a system of abbreviations, which, simple, imiform, and understandable to a linguist though it be, would not be quite convenient in an American publication. It wiU also be noticed that the bibhographical description of the librettos is restricted to a minimum, sufficient undoubtedly for Mr. Schatz' own special purposes, but not for ours. In addition, the alphabet under individual com- posers was found to overlap, i. e., to start anew two, three, and more times with annoying frequency — an irregularity easily explained by the gradual growth of Mr. Schatz' collection. Finally, his catalogue is prepared throughout by entry under composers with neither author nor title index, and without the latter his catalogue soon proved of

• Occasion is here taken to inform those interested that it is the practice of the Library of Congress to acquire librettos only, if they are not represented at all in our collections, or, if they antedate the editions in our possession, preference being given to the original libretto of an opera.

PBEFACE 11

too limited usefulness, as, for obvious reasons, will be any libretto catalogue without a title index. The editorial and mere clerical labor in dissecting, realphabeting, copying, standardizing Mr. Schatz' in its way, of course, splendid catalogue for our purposes, would have been very much greater than those uninitiated in library perplexities and drudgery might expect, and too great for practical consideration. In short, as a list his catalogue is too full, as a catalogue too meager. Instead of reducing his catalogue after incorporation of our other librettos to a mere list, the preparation and publication of which would not have consumed more than one or two years, but the fer- manent value of which for reference and research would have been doubtful and the cost not commensurate with its usefulness, a deci- sion was reached to prepare a new and fuU-entry catalogue, which would answer all purposes except perhaps those of bibliographical anatomists. That for this new catalogue Mr. Schatz' own catalogue would have to be utilized to the fullest possible extent was, of course, understood, as was also our obligation to consider him, whom no less a scholar than Friedrich Chrysander in his review of Taddeo Wiel's " Catalogo delle opere Lq musica rapresentate nel secolo XVHI in Venezia" (Viertelj ahrschrif t fiir Musikwissenschaft,. v. 10, 1894) had called "mein Orakel in solchen Dingen" as prime authority in all matters usually embodied in the best kind of opera dictionaries. This obUgation became all the more apparent after the Library of Congress acquired, in 1911, from the heirs of Mr. Schatz all the manu- scripts alluded to in his autobiographical sketch. Now Mr. Schatz' industry in keeping abreast of current literature is well illustrated by the fact that the date for the same opera does not always tally in his several compilations apparently made at different times. Conse- quently I felt obliged to consult them all. Not because this entailed much and tedious labor is the fact mentioned here, but because quite likely now and then I overlooked discrepancies and thereby missed the opportunity to profit by Mr. Schatz' final historical data. These data frequently do not coincide with those in the published standard reference works. In most such cases I felt methodically justified in accepting without question his data instead of those of his predeces- sors, because Mr. Schatz had worked his way through practically all the available standard dictionaries, catalogues, bibliographies, etc., of his time, such as those by Groppo, Allacci, Wotquenne, Wiel, Piovano, von Weilen, Parke, Baker, Grove, Parfaict, Clement and Larousse, F^tis, Goedicke, Riemann, Salvioli, and possibly Eitner, besides many biographies and purely historical works. Furthermore, his own exten- sive researches and his libretto collection as primary source had en- abled him to rectify many errors which had been inherited by one lexicographer from the other, to add new and to suppress antiquated data, or, at any rate, to throw the weight of his authority in favour

12 PREFACE

of one date as against the other — and the catalogue itself is the best proof for this assertion.

Nevertheless, my respect for Mr. Schatz' accomplishments did not render me immune against the necessity of spending off and on many hours in consultation of books that had either escaped his attention or which I interpreted differently or which have appeared during the last few years. These remarks refer, of course, mainly to purely historical data. That there is still ample room for improvement I fully realize, and I realize it aU the more because my experience has taught me that the time for an absolutely comprehensive and accu- rate opera-dictionary has passed forever. The task is altogether too formidable and too compUcated. Even the most conscientious effort in this direction will suffer from the breed of ingrown, inherited errors in books otherwise fuU of new information, but growing too numerous for critical perusal by any one man or set of men. After all, this is a catalogue, not an opera-dictionary (in concept and purpose two dis- tinctly different types of works). All purely historical data that ordinarily come within the province of lexicographers, but not of the cataloguer, are here intended and offered as an accidental, not as the essential feature, though under the circumstances their value for reasonably accurate reference can not be gainsaid.

Originally the plan had been to enter our entire libretto collection alphabetically by composer in one catalogue, undivided by periods. By the time about 2,500 librettos of the Schatz collection had been catalogued on this plan, its feasibility had become question- able. Not only did the question of expense assume grave aspects, but the entry by composer of early librettos proved to have very considerable disadvantages. Almost invariably modem librettos mention both composer of the music and author of the text and therewith leave nothing to be desired for main entry under either, though main entry of opera-librettos under author is undesirable for obvious reasons. The chief reason is that in ninety-nine out of a hundred cases the inquirer neither knows nor takes interest in the author, but almost invariably he will know the composer. Library economy, therefore, would seem to suggest a compromise be- tween cataloguing maxims and actual conditions and that in libretto entries the author be subordinated to the composer. It is quite different with the earlier librettos, especially Italian. Often only the author is mentioned, often only the composer, and in many hundreds of cases neither. In these cases the composer either re- mains unknown, or the opera is attributed to a certain composer on the strength of direct or circumstantial historical evidence, in most cases simply on the strength of Allacci's authority. If it is the func- tion of a sensible catalogue to let the books (in this case, librettos) speak as much as possible for themselves and to avoid a confusion

PREFACE 13

in the mind of the user of the catalogue between facts contained in the book and facts furnished by the cataloguer, then the entry of anonymous librettos under composer will inevitably lead to endless explanations, complications, contradictions, or worse. No such drawbacks attach to main entry of early librettos under title. The cataloguer occupies neutral ground, and whether anonymous or not, the librettos fall in line readily. Therefore, it was decided to continue to catalogue modem librettos under composer, but earlier librettos under title. The year 1800 was selected somewhat arbitrarily for the parting of the ways, so that the complete catalogue of our Ubretto collection will consist of two independent parts, the first, here pre- sented, of librettos printed before 1800, the second of librettos printed after 1800, perhaps with supplemental volumes treated in the same manner.^

To my knowledge Alfred Wotquenne's splendidly gotten up and lavishly illustrated catalogue of seventeenth century ItaHan Hbrettos (inclusive of oratorios) in the Royal Conservatory Library of Brussels has been the only Ubretto catalogue available in print, with exception of catalogues and Usts of Umited importance, such as those by Scheur- leer, Bergmans, Walter, von Weilen, Carvalhaes. Since Wotquenne's catalogue, too, is arranged by title, the question arose in how far it might otherwise be followed as a model. One feature of his book is the pubhcation of casts. Their value, of course, Ues mainly in the direc- tion of biographical data on the lives of opera singers of the seven- teenth century. Commendable as is Mr. Wotquenne's idea, his task was not very irksome. Bumey was, of course, mistaken if he dated the origin of the custom to print the cast in Hbrettos about 1680, since a cast may be found at least as early as 1654 in the Ubretto (Lucca) of Cesti's and Bigongiari's "Alessandro U vincitor di se stesso," but generaUy speaking, casts were printed very seldom during the seventeenth century and they occur with anything Uke frequency only toward its very end. Consequently, it would have been easy and comparatively inexpensive to imitate Mr. Wotquenne in our catalogue so far as seventeenth century hbrettos are concerned. On the other hand, it would have been too expensive and too laborious to apply the same principle to the eighteenth century when casts became the rule. One need but turn to Wiel's volume on eighteenth century operas performed at Venice, in which conscientiously every cast is given with the indispensable index to the names in these casts at the end of the volume, to realize the labor, cost of printing, consumption of space that would have been involved by a similar scheme covering several thousand eighteenth century librettos with casts. Conse-

1 The change from composer's entry to title entry obliged me to reconsider hundreds of early librettos among the 2,500 already catalogued by composer. More likely than not, this change of front has sometimes led to inconsistencies in treatment, or inconsistencies were not detected by me, but it is hoped that they ara in no case of a serious nature.

14 PREFACE

quently, as there is no valid reason for discriminating against the eighteenth century in favor of the seventeenth in an otherwise uni- form catalogue, no casts have been copied from the librettos, but every entry states whether the libretto contains a cast or not. No such note has been attempted for the presence of the list of charac- ters, because there exists practically no libretto without the dramatis personae. The so-caUed and often ludicrous ' ' protesta " in old Italian librettos I have disregarded as unnecessary. Maybe it was also unnecessary to note the presence of what I have called, for want of a better term, the scenario, I mean the "mutazioni, " or other such indications of the scenery, but I preferred to be on the safe side in this respect, in order to make identification of a libretto through enumeration of contents as easy as possible. For this reason the arguments, prefatory notes, dedicatory remarks, and the absence or presence of the name of the author or composer have always been noted, just as was done by Mr. Wotquenne. His plan was also adopted to quote from the preliminary contents of the libretto what- ever threw light on the history of the libretto, resp. the opera, on the esthetic and dramaturgic creed of either author or composer, on their technique, or on special customs of the time. Sometimes such a quotation has been limited by me to a mere repetition of statement that the opera was the second of the season, but often enough the quotations consume quite a bit of printer's ink, and in some instances the user of this catalogue is practically treated to fuU or partial reprints of interesting essays. On the whole, I have been inclined to Hberality in the space devoted to such quotations, just as now and then, particularly in the case of "La Dafne" and "II giocatore", my " notes " were allowed to grow into "articles." Of course, the catalogue would be complete in itself without them, but there can be no hard and fast rule as to what a cataogue should contain. This depends entirely on the subject matter, and the fact that early librettos are scarce and not accessible in many libraries, justified the inclusion of nonbibliographical matter in a form that would sug- gest further study of the libretto at least to the specialist.

On these grounds he might expect to find an exhaustive index to the arias contained in the librettos, something that might have been called an ''Aria-Repertorium." Unquestionably, whoever has done work in early operatic history has felt handicapped by the want of such a compilation which would help to trace the migration of arias from one opera to the other, to reduce the innumerable librettos (and scores ! I ) of the pasticcio type into their, as it were, chemical elements and to reconstruct the opera as originally written and composed. For this Bertillon method of analysis, again Mr. Wotquenne has pointed the way by the publication of his so useful "Zeno, Metastasio and Groldoni, Alphabetisches Verzeichnis, " but it would have been a rather quixotic attempt to treat five or six thousand librettos in the

PREFACE 15

same manner. At the low average of twenty arias to a libretto this would have meant an ' ' appendix " to the catalogue with more than one hundred thousand first-line {"indpit") entries. It is one thing to devote a lifetime to the compilation of such an "Aria-Repertorium," quite another to expect a public library to embark on its publication. Yet the mere rscital that the Library possesses the Rome 1740 and the Parma 1745 edition of a libretto means little and conveys no definite suggestion along lines which would interest the historian, and it is he, no less than the librarian, bibliographer, collector, to whom a catalogue of librettos of early operas should appeal. His interest centers more in the textual than in the purely bibliographical differences between two librettos of the same opera. I therefore made it a point to set forth in the briefest manner possible textual distinctions between at least the original edition, if we had it, and editions used for rep- licas. As a rule, such an attempt to call the historian's attention to telling textual differences between replica librettos only, was not made, since the relationship between replica editions without the origi- nal edition as a basis for textual comparison will not permit of sound deductions for reconstructive or analytical purposes. Furthermore, these comparative hints, as a rule, do not go beyond the year 1780, because toward the end of the eighteenth century it came to be more and more the custom to follow the original text for replicas, excepting, of course, cuts and similar unimportant alterations that are custom- ary and perhaps locally necessary even in present-day operatic life. No guarantee is offered that the plan outlined above has been carried out in every single case, as there is a limit to human endurance, and as a musical librarian in a great public library has other duties to perform besides preparing unconventional catalogues. This means that the absence of comparative comment in any given case does not imply textual identity. On the contrary, for the period of about 1700 to 1770 it should be taken for granted without special danger signals of mine that almost invariably replica editions show considerable differences from the original. (If the specialist requires further information, the Library of Congress will feel only too glad to furnish it promptly.)

Careful attention was paid to ballets, pantomimes, etc., mentioned in the librettos (principally Italian of the later eighteenth century) either by characteristic title or more or less fully described in a separate synopsis of plot and often with cast, argument, scenario, etc., and even separate imprint and invariably with the name of the ballet master as author who "composed" the ballet, as the then technical term was, very much less frequently with the name of the actual composer of the music. In the case of Gaspero Angiolini and others the identity of "composer" and composer often is probable, but it is never certain, unless attested to by some such phrase as

16 PBEFACE

"Musics composta da." This distinction has been lost sight of occasionally by recent writers with the result that ballet-masters have sometimes but erroneously been credited with the music of ballets merely "composed" or "invented" by them. Care was taken not to add to the confusion in this catalogue and a composer of the music has not been entered unless so recorded in the Ubretto. But even at that, the activity of certain composers now assumes a different aspect from that in Eitner and elsewhere, and certain men like Canavasso, Le Messier, and Trento appear to have been astonishingly prolific as ballet composers, though of sUght importance as opera composers. It would have been simple enough to suppress all data pertaining to ballets, pantomimes, etc., and thereby to have saved much space, but the history of this once so flourishing form of musical dramatic art is still in its infancy, and the data made accessible through this catalogue for such a history will be welcome. It is no secret that the modern dramatic ballet and pantomime, whether alle- gorical, symbolical, mythological, historical, realistic, and with desig- nations running from tragic to burlesque through the whole gamut of possible shadings, are at least contemporary in their origin with opera, and that opera from the beginning borrowed from the art of dancing for the support of interest, but of course a catalogue can not very well be expected to reflect the evolution as long as the dances — be it even characteristic dances with or without relationship to the opera — continued to be incidental without titles specific enough to afford a grip on them for catalogue entry. Toward the middle of the eight- eenth century, however, the baUets ceased to be incidental, or rather incidental dancing receded in favor of a juxtaposition of generally in theme not connected operas and ballets for the same evening, a kind of double-headed entertainment, often with first the act of an opera, then a ballet followed by the second act of the opera, which in turn was foUowed by another ballet, and so forth. In other words, the ballet was no longer considered an inferior but an equal dramatic art, since in the hands of thoughtful and imaginative ballet "com- posers," it had received a highly developed technique and offered esthetic and dramatic possibilities which soon a genius fike Noverre was to gather into a dramaturgic system. Most of the ballets of this period until the end of the century, when the genre fast deteriorated, necessarily had characteristic and specific titles, and it is with these and these only that this catalogue deals.^

1 Perhaps certain specialists will regret that no attention, as a rule, has been paid to the architect, artists, and engineers who devised the ingenious machines, designed or painted the gorgeous scenery, or acted as stage directors. I appreciate the fact that the history of stage management in all its ramifications is very interesting and instructive, and that at the end of the seventeenth and the beginning of the eighteenth century often the spectacular features of an opera interested the public more than the musical. Indeed, the art of a Balbi or Bibiena was often considered so much more imptortant than that of the composer that the public was not even taken into the impresario's or publisher's confidence as to his name. How- ever, the line had to be drawn somewhere if the catalogue was to be kept within reasonable limits.

PREFACE 17

As to the year and place of publication of undated librettos (marked in the collation for reasons of convenience, though somewhat at variance with the regular practice of the Library of Congress, n. d. (no date), n. -pi. (no place), or n. i. (no imprint) if neither place nor publisher are given, and n. full, if the name of the publisher is absent), the date and place of performance given in the title should be assumed to coin- cide with the actual date and place of publication. Attention of the uninitiated, however, may be called to a fine point of distinction. Many imdated librettos were scheduled for the beginning of the carnival sea- son, and since carnival in certain cities began at the end of December we often have the choice between two years for the year of publication. For instance, if an undated libretto was to have been performed at Turin during carnival of 1800, the libretto may have been pubUshed in December, 1799, or eariy in 1800. In every case the place and year given in the title or in the imprint should be assumed to be the place and year of first performance, unless otherwise stated in a note, and such notes, to repeat it, are generally based on Schatz. If a libretto contained a dated dedication, Mr. Schatz, unless previous performances in the same city or elsewhere were known to him, took the date of dedication to be the date of first performance. Mr. Piovano has questioned the absolute correctness of this procedure on the grounds that often the date of dedication must have preceded the actual date of performance, and I agree with him, but at any rate the date of dedi- cation may be considered the most approximate available in absence of further information. That certain earlier librettos lead to chrono- logical perplexities from local preference of either the JuUan or the Gregorian calendar I mention here, without going into detail.

The librettos have been entered, as a rule, first by the original title, and then by the title of the repHcas and translations. In every case reference is made from the alternative title (abbreviated A. T.), which often became the better known title, from the later (L. T.) and the translated title (Tr. T. or Tr.) to the original title (O. T.). Librettos of the same title by unknown composers precede those by known composers and are in turn preceded by neutral librettos. By this I mean librettos entered from the collected works, for instance, of Metastasio, with or without the name of any particular composer (usually the first to set the text) as the composer of the libretto in the version of the text in that particular edition. If, for instance, the Paris, 1780-82, edition of Metastasio works mentions in the title of each libretto the name of the original composer, it by no means follows that he used the text as then published. On the contrary, it can often easily be proven that he did not. It would therefore be methodologically incorrect to assign the text as given in that particular edition exclu- sively to the composer mentioned, and still more incorrect, if no 72251°— VOL 1—14 2

18 PREFACE

composer is mentioned, to assign it to any one of several composers who are known to have set it to music. Generally speaking, therefore, the "Artaserse" text as published at Paris, 1780-82, would belong with equal right to any of the more than fifty composers who composed it, and for this reason should precede all individual "Artaserse"' librettos with or without composer's name. The text of the titles, with elision of irrelevant matter, has been copied as printed in the libretto with retention of the original orthography, but without imitation of the typographical picture. In this respect there has been a certain amount of modernization which, at times, looks odd if coupled with the origmal orthography. In the use of capital letters, the rules of the Library of Congress have been followed, now and then for practical reasons with slight inconsistencies and generally regard- less of- my personal likes and dislikes in the matter. Furthermore, the remark appears necessary that the catalogue deals only with librettos which are either in the custody of the Music Division or are not in its custody for purely administrative reasons, such as the librettos in special collections like the Goethe, or miscellaneous collections like the Longe collection. The inclusion of librettos contained in the collected writings (pubUshed before 1800) of all authors who happened to write a few librettos has not been attempted, because this would have led entirely too far into literature in general, and because the idea itself from the very nature of things is altogether too pedantic for serious consideration. Exceptions to this rule were of course deemed desirable, but they have been restricted to authors Uke Goldoni, Quinault, Piron, Panard, whose importance for the history of libretto writing is so obvious as to have rendered their exclusion in the present state of our libretto collection just as pedantic as would have been the inclusion of many others.

For the addition of the brief-entry lists by composers and authors and of the index to arias incidentally mentioned no lengthy explana- tion is needed, since they obviously are necessary to complete the circle of possible inquiry. That no attempt was made to furnish year of birth and death of authors may perhaps be regretted by those who wish to consult the author list for purposes of literary bibliography. My principal reason for this omission was the knowledge that with all possible diligence the result would not have been in keeping with the labor of research involved.

Finally, a word of explanation as to the method of dealing with author and composer names. Somewhere in this catalogue the full names of authors and composers had to be given if repetition ad nauseam in the title catalogue was to be dispensed with. The proper places, it seemed to me, were the composer and author lists; and these Usts should be consulted in case of doubt. In whatever form author and composer names appear in the titles themselves the rule

PREFACE 19

has been not to repeat them in full in the editorial matter except to avoid confusion and to facilitate identification. If they appear elsewhere in the libretto, usually in some once current, condensed form (for instance, Ferdinando Bertoni instead of Ferdinando Giuseppe), the editorial matter of the title catalogue records them, as a rule, in full, and in some more or less generally accepted form without com- ment, and with disregard of harmless differences of spelling. But no display has been made of full names in the title catalogue. A per- son with a modicum of culture need not be told every time in a title- catalogue that Goethe is Johann Wolfgang von Groethe, and even the most 'punctilious adherent of uniformity and consistency will admit that Cherubini was too much of a master and still is too well known as such to be put down every time religiously as Maria Luigi Zenobio Carlo Salvatore Cherubim.

O. G. SONNECK

Chief of the Division of Music Herbert Putnam

Librarian of Congress, Washington, D. C. Ncrventler 1, 1913.

' /" , ^ .

FACSIMILE OF ENTRY SHEET IN MR. SCHATZ' CATALOGUE OF HIS COLLECTION.

TITLE CATALOGUE

21

TITLE CATALOGUE

L'abate Collarone. O. T. of Trinchera's text Le chiajese cantarine.

Abduramel, ballet. See Nasolini's Melinda.

Der abend im walde, eine operette in zween aufzuegen. Die musik ist vom krn. capellmeister Wolf.

Weimar, Carl Ludolf Hoffmann, 1774. 1£4 p. 16\"^.

Two acts. By Gottlob Ephraim Heermann, who is not mentioned. Composed by Ernst Wilhelm Wolf.

First perfonned at Weimar, Schlosstheater, Wilhelmsburg, December 10, 1773.

SCHATZ 11075

Die abenteurer. Tr. of Paisiello's Gli awenturieri.

Die abgeredete zauberey. Tr. of Gr^try's La fausse magie.

Das abgeschafte herkommen. Ein westphaelisches schauspiel mit gesang in drey aufzuegen dem herrn justiz-rath Moeser gewidmet. Ossnahrueclc,n. puhl, 178S. 92 f. 16^"^.

Not recorded in Deutsches Anonymen Lexikon. ML 50.2.A19

Abraham auf Moria, ein religioses drama fuer die musik, von A. H. Niemeyer.

n. i., 1779. 32 p. 16'^.

Two acts. The composer, Johann Heinrich BoUe, is not mentioned.

First performed 1777. Schatz 11392

Abroad and at home. A comic opera in three acts. Now per- forming at the Theatre-Royal, Covent-Garden. By J. G. Holman. London, George Cawthom, 1796. 92 p. 21^^.

Cast. The composer, William Shield, is not mentioned. Originally ^'The King^s bench" (Tufts.)

First performed November 19, 1796. (Genest.) Longe 237

L'academie bourgeoise, opera-comique en mi acte; repr6sent6 pour la premiere fois sur le Tn^Mre de la Foire, en 1735.

Charles Francois Pannard, Thedtre, Paris, Duchesne, 1763, v. 2, [US]-504. p. 17"".

In prose and vaudevilles. Composer not mentioned and not recorded by Par-

ffMpf etc

First performed as indicated, February 3, 1735. PQ 2019.P3

Acajou, opera comique, par Monsieur Favart. Repr6sent6 pour la premiere fois sur le Theatre du Fauxbourg Saint-Germain, le 18. mars 1744. ,

Paris, PrauUjils, 17U, 52 p. 18'^.

Three acte. No music printed with the text. In prose and couplets. (Comp. next entry.) ML 50.2.A23

23

24 LIBBABY OF CONGBESS

Acaj ou — Continued . ^

— Acajou, opera comique en trois actes, en vaudevilles. Par le S'

Favart. Paris, PravM fils, 1763, 72 p. 19^. {Theatre de M. FavaH,

Paris, Duchesne, 1763-77, t vii.)

No music printed at the end or in the text. On p. [21 the following note: "Cette piece est tir^e du conte d' Acajou, de Mr. Duclos, elle fut jou6e d'abord en

Eroee & couplets k Paris le 18 mars 1744 eur le Th6S.tre de la Foire St. Germain. Apr^s I defense faite k I'Opera comique de parler, on la repr^senta toute en vaudevilles a la Foire St. Laurent suivante, & sur le Theatre de TAcad^mie royale de musique au mois d'Octobre de la m6me ann^e."

Font does not mention Favart's musical collaborator. ML 49.A2F1

L'accademia di musica e La conversazione. Divertimenti teatrali per musica da rappresentarsi nel Real Teatro di Salvaterra nel carnovale 1775.

[Lishona], Stamperia reale, n. d. 37 p. 14¥^-

One act each. The second divertimento on p. 23-37. Cast and name of Niccol6 Jommelli as composer of both. Authors not mentioned and unknown to Schatz, who says that the text of " La conversazione " is the same as of " II giuoco di picchetto, ' ' which see for further details. Schatz 4887

Accampamento o sia La lotteria militare, ballet. See Anfossi's Armida.

Accampazuento di Micheletti, ballet. See Bosi's La figlia obbediente.

Gli accidenti della villa. Cantata di Saverio Zini da rappresen- tarsi nel Teatro de' Fiorentini nel carnevale di quest' anno 1797.

Napoli, n. publ, 1797. 31 p. 15'=^.

Cast. Pierre Butillieu is mentioned as the composer.

First performed at Vienna, Hoftheater n. d. Burg, Sept. 19, 1794. Schatz 2877

The accomplish'd maid. Tr. of Piccinni's La buona figUuola.

L'accorta cameriera. L. T. of Martin y Soler's In amor ci vuol destrezza.

Achille et Deidaxnie, tragedie repr6sent6e par I'Acad^mie royale de musique I'an 1735. Paroles oe M. Danchet. Musique de M. Campra. CXXI. opera.

n. i., n. d. front., 431-4^6 p. 14"^' (Recueil general des opera, Paris, 1739, t. xv.)

Detached copy. Five acts with prologue.

First performed, as indicated, Febriiary 24, 1735. Schatz 1539

Second copy. ML 48. R4

— Achille et Deidamie, tragedie.

[Sd9]-412 ■ p. 17 Y"^. (Antoine Danchet, Theatre, Paris, 1751, t. Hi.)

Prologue and five acts. The composer, Andr6 Campra, is not mentioned.

PQ 1972.D2

Achille et Polixene, tragedie en musi(jue, representee par I'Acade- mie royale de musique. Suivant la copie imprim^e h Paris.

[Amsterdam, Antoine Schelte], 1687. 57 p. (incl. front.) ^5^*™.

Prologue and five acta. Author and composer not mentioned. ML 49.A2L9

OPERA LIBRETTOS 25

Achille et Polixene — Continued.

— Achille et Polixene, tragedie en musique, representee par I'Academie royale de musique.

Amsterdam, Henry Schelte, 1701. 57 p. (incl. front.) 14"^. Reprint of the 1687 edition. ML 50.2.A25L9

— Achille et Polixene, tragedie representee par TAcademie royale de musique, Tan 1688. Les paroles de M. Capistron, & la musique de M. Collasse. XXII. opera.

n. i., n. d. 14"^. front., 22S-280 f. (Recueil general des opera, t in, Paris, 17 OS.)

Detached copy. Five acts and prologue. The score, Amsterdam, 1688, informs Ufl that the first act was composed by Jean Baptiste de Lully.

First performed, as indicated, November 7, 1687. Schatz 5781

Second copy. ML 48. R4

Achille in Aulide. Dramma per musica da rappresentarsi nel car- nevale dell' anno 1739. Nel Teatro a Torre Argentina . . . Roma, Antonio de' Rossi, n. d. 67 p. 16'^.

Three acts. Author not mentioned and iinknown to Schatz. Dedication by Gius. Polvini FaUconti, argument, cast, name of Geminiano Giacoiuelli as composer and scenario. The libretto mentions also the cast of intermezzi with the characters "Golpone " and "Birina." It would seem as if these intermezzi were also composed by GiacomelU. Their text does not appear in the libretto. ML 50.2.A26G3

Achille in Sciro. Commedia drammatica per musica fedelmente, ed eroicamente tradotta, e ridotta dalF antico stato alio stato pre- sente da Publio Quintiliano Settimio da Sarmacanda. Hisphdhan, Vanno passato. 59 p. 15"^.

Three acts. Printer's dedication "al suo caro M. Timocrato," sonnet by "Clonico Nasposi" to the reader and "dicharamento." The character of this camivalesque effort may be judged from the fact that Achilles figures in the list of characters as "Ermafrodito vulgo detto femminella spassatiempo di Deidamia." ML50.2.A27

Achille in Sciro.

64 p. lO*^^. (Pietro Metastasio, Opere drammatiche, Venezia, Givr seppe Bettinelli, 1733-37, v. 4.)

Three acts. Argument. No composer mentioned. ML 49.A2M4

— ^Achille in Sciro.

[87\-185 p. {Metastasio, Poesie, Parigi, vedova QuiUau, 1755, t. iv)

Three acts. Argument. ML 49.A2M42

— Achille in Sciro. Dramma immaginato,e disteso dall' autorenel

grescritto termine di giorni diciotto, e rappresentato con musica del aldara in Vienna la prima volta, nell mterno gran teatro della Cesarea corte, . . . il di 13 febbrajo 1736, per festeggiare le felicis- sime nozze delle AA. RR. di Maria Teresa . . . e di Stefano Fran- cesco, duca di Lorena . . .

pi., [S]-110 p. 26"^. {Metastasio, Opere, t. v, Parigi, vedova Eerissant, 1780.)

Three acts. Argument. ML 49.A2M44

26 LIBEAEY OF CONGBESS

Achille in Sciro. Dramma per musica e festa teatrale da rap- presentarsi nel Regio Teatro di Berlino per le nozze delle Altezze Loro reali il prencipe ai Prussia, nipote di S. M. il Rd con la principessa Elisabetta Christina Ulrica di Brunswico, per commando di Sua Ma- estk il rd . . .

Berlino, Haude e Spener, 1766. 2p.l., IIS, [3] p. /<?'="•.

Three acts. By Pietro Metastasio. Argument, scenario, and name of the compoeer, Johann Friedrich Ag^ricola. German title "Achilles in Scirus " and text face Italian.

First performed, as indicated, July 16, 1765. Schatz 66

Achille in Sciro. Dramma per musica da rappresentarsi nel nobilissimo Teatro la Fenice 1' autunno dell' anno 1794.

Vmezia, Modesto Fenzo, 1794. 62 p. IS'^'^.

Three acta. Argument, cast, scenario, and name of (Marcello di Capua) Bemaxdini as composer, but not of the author Metastasio. On p. 27-33 argument, cast, and detailed description of "Andromeda e Perseo, ballo eroico pantomimo d' invenzione e composizione del Signor Onorato Viganb." The composer of the music is not mentioned. Schatz 829

Achille in Sciro. Dramma per musica da rappresentarsi nel nuovo Teatro Tron in S. Cassiano il carnovaie dell' anno

mdcx:;lxiv . . .

Venezia, Paolo Colomhani, 1764- 54 p- 16^*^.

Three acts. Impresario's dedication, argiiment, cast, scenario, and name of Ferdinando Giuseppe Bertoni as composer, but not of the author Metastasio. The "primo ballo" (p. 27) is described in form of a sonnet. At the end of the libretto the words of "Porto in sen libero" and "Vanne dal caro bene," two arias which were, to be interpolated "dopo brevi sere" for the primadonnas "che resteranno pienamente contente . ' ' Schatz 903

Achille in Sciro. Dramma per musica, da rappresentarsi nel Gran Teatro dell' imperial corte ... in occasione aelle felicissime nozze de' serenissimi principi Maria Teresa, arciduchessa d'Austria e Francesco III, duca di Lorena. L' anno MDCCXXXVI. La poesia e del Sig. abbate Pietro Metastasio ... La musica h del Sig. Antonio Caldara . . .

Vienna d^ Austria, Gio. Pietro Van Ghelen, n. d. 2 p. I., 76 p. 15^"^.

Three acts. Argument and scenario. The ballet music at the end of the acta waa composed by Niccola Matteis.

First performed at Vienna, February 12, 1736. Schatz 1476

— Achilles in Scyro . . . Bey gelegenheit der hoechstbegluek- ten vermaehlung der durchleuchtigsten ertz-hertzogin Mariae Theresiae mit Francisco dem dritten, nertzogen in Lothringen. In dem grossen Theatro der kaiserlichen burg in einer welschen opera vorgestellet anno 1736. Poesi des herrn abbate Pietro Metastasio . . . Von herrn Antonio Caldara ... in die music verf asset. In das teutsche versetzet von herrn Antonio Prokoff . . .

Wien, Johann Peter Ghelen, 1785. 2 p. I., 75 p. 15<='^.

Imprint on preliminary title-page. Schatz 1477

Achille in Sciro. Dramma per musica da rappresentarsi nel Teatro di S. Angelo nel carnovaie del 1739 . . .

Venezia, Marino Rossetd, 1739. 4^ V- 15Y'^.

Three acts. By Metastasio. Impresario's dedication, argument, cast, scenario, and name of the composer, Pietro Chiajini. Schatz 1852

OPERA LIBRETTOS 27

Achille in Scire. Dramma per musica del celebre Sig. abate Pietro Metastasio, Poeta Cesareo. Da rappresentarsi nel Teatro Grimani in S. Gio. Grisostomo per la fiera delP Ascensione dell' anno 1766 . . .

Veneda, Modesto Fenzo, J 766. 54 p. 17^'^'^.

Three acts. Dedication, argument, caat, scenario, and name of the composer, Florian Leopold Gassmann. Schatz 3607

L'Achille in Scire. Favola dramatica da rappresentarsi in musica nel Teatro a S. Stefano in Ferrara 1' anno 1663 ... Venetia, n. puhl, 1663. IO4, [2] p. 14"'^.

Three acts and prologue. Dedication signed by Michiel Colombo mentioning Giovanni Legrenzi as the composer, publishers' notice to the reader, argument. The author, marchese Ippolito Bentivoglio, is not mentioned. The text is followed by a fly leaf with two inside pages of errata. Schatz 5532

— L'Achille in Scire. Favola dramatica da rappresentarsi in musica nel Teatro a S. Salvatore per 1' anno 1664 ....

Venetia, Stefano Curti, I664. 96 p. 14^"^.

Prologue and three acts. Publisher's dedication dated Venice, January 29, 1664, argument, and notice to the reader with apologies for typographical errors as "1' autore non h^ permesso, che ei legga il suo nome in questi fogli, ne meno ha voluto pigliarsi la briga di rivedere queste minutie."

Neither the composer, Giovanni Legrenzi, is mentioned nor the author, marchese Ippolito Bentivoglio. Schatz 11720

Achilla in Scire. Dramma per musica da rappresentarsi nel Regio Teatro di Torino nel carnovale del 1785 . . .

Torino, Onorato Derossi, n. d. viii, 54, U], 15 p. 17Y'^- Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and names of Gaetano Pugnani as composer of the opera, of Vittorio Amedeo Cana- vasso as composer of the music for Paolino Franchi's three ballets, a description of two of which is printed on the last 15 p. with separate imprint, argument, and cast. The titles were "La Galzeuca ossia Golconda liberata dalla tirannide di Scour-Malou, ballo eroico, tragico pantomimo in quattro atti, " and "11 matrimonio per concorso."

Schatz 8505

Achille in Scire. Drama per musica da rappresentarsi nel Teatro Grimani a S. Samuele per la fiera dell' Ascens"® 1' anno 1747.

n. i. n. d. 48 p. 15'^'^.

Three acts. By Metastasio, who is not mentioned. Dedication, argument, sce- nario, cast, and name of Giovanni Battista Buncher as the composer. Schatz 9151

Achilla in Scire. Drama per musica da rappresentarsi sul famosissimo Theatro di Braunsviga nella fiera d estate 1' anno MDCCXXXXVI. —Achilles in Scu-o . . .

Wolff enhiittel, C. Bartsch ivittwe, n. d. Unpaged. 18^"^.

Three acts. By Metastasio, who is not mentioned. German text faces Italian. Argument, scenario, and name of Giovanni Verocai as composer.

First performed in August, 1746, as indicated. Schatz 10717

Achilla placate. Tragedia per musica da rappresentarsi nel Teatro Tron di S. Cassano 1' anno 1707. Impressione seconda.

Venezia, Marino Rossetti, 1707. 72 p. 15*^.

Five acta with "intramezzi ridicoli." By Urbano Rizzi, who is not mentioned. Argument, cast, scenario, notice about the intermezzi, and name of Antonio Lotti as composer. Schatz 5713

28 UBRABY OF CONGRESS

Achille riconosciuto. Introdutione di un balletto fatto dalla Ser°"- Arcid*- Marianne d' Austria: per il giorno natal**- della Ser"*- Arcid*- Leonora d 'Austria. Attione dramatica di Teofilo messa in musica dal Sig. Antonio Draghi . . .

Vienna, Joan. Jacobo Kiimer, 1668. Ip.l., 65 p. 12^^.

One act. Dedication by the author (real name unknown to Wotquenne), notice to the reader mentioning the archducheBS Marianne aa "il personaggio principale," and on p. 52-55 cast (Marianne having the principal part) of the ballet and remark:

All' armonia del canto eegui il rimbombo degli strumenti, che diedero segno all ballo il quale fii per 1' aria composta dall Signore Smelzer fjohann Heinrich Schxaelzer, 1630-lTOOl, e per i passi inventati dal Sign. Santo . . .

Was to be performed on May 21, 1668, but performance was canceled . (von Weilen).

ML50.2.A29D7

Achilles. An opera. As it is perform'd at the Theatre-Royal in Covent-Garden . . . Written by the late Mr. Gay. With the musick prefix 'd to each song.

London, J. Watts, 1733. 4 p. I, 68,[S] p. W"". [Bound vnih his Beggar^ s opera. London, 1728]

Three acts with prologue. Ballad opera. Cast and table of the 54 songs. The airs are given in the text with their titles. The text is followed by a [3] p. publisher's list, first page of which is dated February 28, 1733.

First performed, as indicated, February 10, 1733. ML50.5.B3

— ... Achilles. An opera. As written by John Gay. Dis- tinguishing also the variations of the theatre, as performed, in two acts, at the Theatre Royal in Covent-Garden. Regulated from the prompt-book, by permission of the managers, by Mr. Wild, prompter.

Lond(m, John BeU, 1777. 60 p. 17'"".

Prologue, cast, and at end table of the 58 songs, of which only three are marked as having been introduced for these performances. The text is printed in three acts, but according to a note on p. 38 act III became act II, the two others apparently being performed in one. At head of title: "Bell's edition." Schatz 11469

Achilles. See Keiser's Das zerstoerte Troja.

Achilles in petticoats. An opera. As it is performed at the Theatre Royal, in Covent-Garden . . . Written by Mr. Gay, with alterations. The music entirely new by Dr. Arne.

London, W. Strahan, T. Lovmdes [etc.], 1774. 4 P- I; 38 p. 20^"^.

Two acts. Table of the 25 songs, cast, and Advertisement according to which this is Gray's "Achilles" "now revived with no very essential changes from the original piece; the chief alterations consisting of abridgement and transposition ..." They were made by George Colman.

First performed at London, Covent Garden, December 16, 1773. Lonob 26

Achilles in Scire. Tr. of Verocai's Achille in Sciro.

Achilles in Scirus. Tr. of Agricola's Achille in Sciro.

Achilles in Scyro. Tr. of Caldara's Achille in Sciro.

Achilles und Ulysses auf der insel Scyros, ballet. See Bach's Lucius Silla.

Achills zuemender schatten, ein tragisches singspiel in fuenf

aufzuegen von Traugott Benjamin Berger, alien musicalischen

schauspielern gewidmet. Leipzig, Christian Gotttol Eilscher, 1777. 74, [6] p. IdY"^- The last [61 p. contain a sale's list of the publisher. No composer or performance

recorded by Schatz. Schatz 11595

OPERA LIBRETTOS 29

Achxnet et Almanzine. Piece en trois actes. Par Mrs le S * * e d'Or * * Les couplets des divertissemens sont de M. F * * * Representee k la Foire Saint Laurent 1728. Le TUcLtre de U foire, Paris, 1728, t. vi, pi, [S7S]-493 p. 17<^.

By Le Sage, d'Omeval, and Fuzelier. Largely en vaudevilles. The aire, selected or composed and arranged by Jean Claude Gillier, the "compositeur " of the company, are printed at the end of the volume in the "Table des aire."

Pirat performed June 30, 1728. ML48.L2 VI

Achmet und Almanzine. Ein singspiel in zwei aufzuegen. Nach dem franzoesischen der herrn le Sage und d'Ormeville [!]. Aufgefuehrt auf den K. K. Hof-Theatern in Wien.

[Wienl, mit von KurtzheTcischen schriften, 1795. 100 p. 15^'^.

Johann Baptist Schenck is mentioned as the composer. In the preface the unknown author says of his "gaenzliche umarbeitung" of the French original:

* ' Hier musste man freylich den gang der handlung haeufig veraendern, und noch haeufiger die nicht selten, muthwillige laune der verfasser dem anstande, und der eittlichkeit aufopfern, so, dass von dem franzoesischen originale wenig mehr, als der hauptumriss uebrig geblieben ist."

Firet performed, as indicated, July 17, 1795. Schatz 9591

Aci, e Gkilatea. Dramma per musica da rappresentarsi nel nobilissimo Teatro Venier in San Benedetto I'autunno dell' anno 1792.

Venezia, Modesto Fenzo, 1792. 1^8 p. 17*^.

Two acts. Impresario's dedication, cast, scenario, and names of the composer, Francesco Bianclu, and Giuseppe Foppa, the author.

Firet performed October 13, 1792, as indicated. Schatz 993

Aci e Galatea, ballet. See Cimarosa's II fanatico burlato.

Aci e Qalatea, ballet. See Curcio's SoUmano.

Aci e Gralatea, ballet. See Tarchi's II matrimonio per con- trattempo.

Aci e Gktlatea, ballet. See Traetta's Le feste d'Imeneo.

Acis et Gkilat^e, pastorale heroique en musique, representee pour la premiere fois dans le CMteau d'Anet devant Monseigneur le Dauphin. Par I'Academie royale de musique. Suivant la copie imprim^e h, Paris.

[Amsterdam, Antoine Schelte], l&^Q. 4^ p. (incl.front.) IS^*^.

Prologue and three acts, without name of composer or author. ML49.A2L9

— Acis et G^alatee, pastorale heroique representee par I'Academie royale de musique I'an 1686. Les paroles de M. Uapistron & la musique de M. de Lully. XXI. opera.

n. i., n. d. /^V"- front., 179-222 p. {Recueil general des opera, t. Hi, Paris, 1703.)

Detached copy. Three acts and prologue.

First performed, as indicated, September 17, 1686; at Anet, at the palace of the Duke of Venddme, September 6, 1686. Schatz 5756

Second copy. ML48.R4

30 LIBRARY OF CONGRESS

Acis et Galat^e — Continued.

— Tircis et DoristSe, pastorale; parodie d'Acis et Galat^e; repre- sentee pour la premiere fois par les Com^diens italiens ordinaires du roi, le 4 septembre 1752. Nouvelle Edition.

Paris, N. B. Duchesne, 1759. 60, U] p. 19^"^. (Theatre de M. Favart, Paris, Duchesne, 1763-77, t. n.)

• One act. Cast. En vaudevilles, many of the airs being printed in the text. The [4] p. contain a catalogue of plays and a " Catalogue de musiques nouvelles relatives aux pieces de theatres de M. Favart, & autres.' The arranger of the music is not mentioned by Font. ML49.A2F1

— Acis und GkilatSe. In einem hochteutschen sing-spiel auf dem hoch-fuerstl. Wuertemb. Schauplatz aufgefuehret.

StvMgaH, Paul Treuen, 1698. 43 p. 15^"*.

Three acts and prologue (located at Stuttgart!) Argument. On p. 41-43 seven additional arias. Neither the author is mentioned, nor the translator, nor Lully. First performed 1698, as indicated. Schatz 5757

Acis och Galatea. Heroisk-ballet i tre acter upf6rd p& den Kongl. Svenska theatren. F6rsta g&ngen den 10 maji 1773.

Stockholm, Anders Jacohsson Nordstrdm, 1773. 6 p. I., 30 p. W™.

Dedication, argument, cast, notice to the reader, and statement that the poetry is by Lars Samuel Lalin (translated from John Gay's "Acis and Galatea"?) and that the music of the ballet-opera is "dels ny, dels af Hendels opera Acis och Galatea samt andre beroemde m&stares arbeten uts6kt och i ordning eatt afven" by the author. The prefatory note gives fiurther information on the history of this curious pasticcio product, especially that the recitatives and some of the choruses were composed or adjusted by Henrick Filip Johnsen, the court conductor. Schatz 4494

Acis und Galatea, ballet by Toeschi. See Bach's Lucius Silla.

[L'Acomatel

3-38 p. 16^"^.

Two acts. Aigument, cast, scenario. Title-page wanting, but impresario's dedi- cation to the nobility and "Popolo Pisano" says "Fa la sua prima comparsa su queste scene rAcoMATE." Giusepjje Giordani is mentioned as the composer, and on p. 38 the date of first performance is given as April 21. Consequently this is an imperfect copy of the original Pisa edition by unknown author of Giordani 's opera performed at Pisa, Teatro Nuovo, 1783. ML 48.A5 v.7

— L'Acomate. Dramma per musica da rappresentarsi in Firenze la primavera dell' anno 1784 nel nuovo Regio Teatro degl' Intrepedi detto La Palla a Corda . . .

cm

Firenze, Stamperia Bonducciana, 1784- 34 p. 16\

Two acts. Author not mentioned and unknown to Schatz. Argument, cast, scenario, and name of Giuseppe Giordani as the composer. ("La musica h tutta nuova.") Schatz 3832

— Elpinice. Dramma serio per musica da rappresentarsi in Bo- logna nel Teatro Zagnoni I'autunno dell' anno 1783 . . . Bologna, Sassi, n. d. 62, [7] p. 17*''^.

Though in three acts, and in part radically different, plainly based on "L'Aco- mate " Impresario's dedication, argument, cast, scenario, and name of Giuseppe Gtiordani as the composer. On p. 27-37 argument, cast, and description of fratelli Ricciardi's ballo eroitragico pantomimo in five acta "La morte di Arrigo Sesto, ih d'Inghilterra." music by Mattia Stabingher. Schatz 3843

OPERA LIBRETTOS 31

L'acteur dans son menage, tableau anecdotique, mdl6 de vau- devilles, par M'°. J^. BouUault. Repr6sent6, jjour la premiere fois, sur le Tne^tre de rAmbigu-comique, le 6® jour complementaire, an 7. [Sept. 22, 1799]

Paris, chez le libraire, au TJiedtre du Vaudeville, an viii' [1799-1800] 55 p. W"^.

Cast. Prefatory note. On p. 53-54 the unaccompanied "Air nouveau du C. St.- Amans, membre du Conservatoire: Je quitte k regret." Not recorded by Dl. & L. or Schatz. Ml 48.M2L

L'Adalinda. A. T. of Gl* inganni innocenti.

L'Adaloaldo furioso. Drama per musica da rappresentarsi nel Teatro Giustiniano di S. Moise nel carnovale 1727. Venezia, Carlo Buonarrigo, n. d. 4^ p. 14^'^.

Three acts. By Antonio Maria Lucchini, who is not mentioned. Argument, scenario, and name of Giacomo Macari as composer.

First performed, as indicated, December 26, 1726. SOHATZ 5807

Adela of Ponthieu. A tragy-pantomime ballet.

Noverre, Jean George, Worlcs. Tr. from the French, London, 1783, V. S, p. [5S\-91. 21^"^.

Five actfi. Noverre's dedication and dedicatory poem, "preliminary discourse," argument, detailed scene by scene description, and note to the effect that this ballet was first represented at the King's Theatre, London, in 1782. GV 1787.N8

Adelaide. Drama per musica da recitarsi nel Teatro delle Dame pe'l carnevale dell' anno 1743 . . .

Roma, Bemaho e Luzzarini, 174S. 71 p. 15^*^^.

Three acts. By Antonio Salvi (not mentioned). Dedication, argument, scenario, cast, and name of the composer, Gioacchino Cocchi. Schatz 2052

Adelaide, dramma per musica. Adelheid, ein musicalisches schauspiel.

Hamburg, gedruckt mit Spieringischen schrifften, n. d. 2 p. I., 75 p. 18'=^.

Three acts. Cast, scenario, and argument. German text faces Italian. Neither the author, Antonio Salvi, nor the composers, Fiuazzi, Filippo, Scalabriui, Paolo, etc., are mentioned.

First performed at Hamburg, Opemhaus b. Cransemarkt, July 23, 1744.

Schatz 3101

Adelaide. Dramma per musica da rappresentarsi nel Teatro Tron di S. Cassano nel carnevale 1729 . . .

Venezia, Marino Rossetti, 1729. 59 p. 15^"^- Three acts. By Antonio Salvi, who is not mentioned. Impresario's dedication dated Venice, February 6, 1729, ai^ument, cast, scenario, and name of Giuseppe Maria Orlandini as the composer. Schatz 7326

— Adelaide. Drama per musica, da rappresentarsi nell' Arciducale Teatro di Mantova nel carnovale dell' anno MDCCXXXI . . .

Maniova, Alberto Pazzoni, n. d. 60 p. 16"^.

Three acts. Dedication dated Mantova, December 26, 1730, argument, castj scenario- and note: "La musica h del Signer Giuseppe Orlandini . . . e d'altn autori." Salvi is not mentioned. The differences between the text of Venice, 1729, and this ed. are considerable. For instance, "Ricordati, cor mio" (I, 7) haa become "Conservati fedele" and "La tua fortuna, o bella" (I, 9) haa become "Se

32 LIBBABY OF CONGRESS

Adelaide — Continued.

brami mia bella." "La piet^ del core augusto" has been added to I, 10, as also "Va euperba, ed ostinata to I, 15, whereas "Prendi uno sposo" has been dropped from I, 14. Scene I, 16, now consists of "Ma pur da te dipende (Rec.) — Ciel jnil tranquillo—Palido il Sole," including the original recitative "Quanto piil sien tenaci," but excluding the original aria "Scnerza in mar la navicella." It is reasonable to conjecture that the differences in the texts give a clue to the music "d'altri autori."

ML 60,2.A3107

Adelaide, ballet. See Paisiello's H Sismano nel Mogol.

Adelaide. Drama per musica da recitarsi nel Teatro Alibert pe'l carnevale dell' anno 1723. Presentato alia Maestk di Clementina, regina della Gran Bretagna, etc. Roma Bernabb, 172S. 72 p. 15'^.

Three acts. By Antonio Salvi, who is not mentioned. Dedication, argument, cast, scenario, and name of Nicoli Antonio Porpora as the composer.

First performed, as indicated, January 23, 1723. Schatz 8376

Lcm

— Adelaide. Dramma per musica.

Roma, Pietro Ferri, 1723. 72 p. HY

Three acts. Neither Salvi is mentioned, nor Porpora. Argument. The arias in this edition differ noticeably from those in the Bernabb edition. For instance, in the latter I, 1, has no aria, whereas the Ferri edition has "Contro I'idolo adorato.'' In the Ferri ed. I, 5, has "Om5 la mia diletta," in the Bernabb ed. "Per salvarti, idolo mio," etc., etc. ML 50.2.A31P6

Adelaide, ballet. See Portugal's Fernando nel Messico.

L'Adelaide. Drama per musica da rappresentarsi nel Teatro Vendramino k San Salvatore. L'anno MDCLXXII . . . Venetia, Francesco Nicolini, 1672. 72 p. 14^^- Three acts. By Pietro Dolfino, who is not mentioned. Publisher's dedication, with the name of Antonio Sartorio as the composer, and dated Venice, February 19, 1672. Argument and scenario. Schatz 9488

Adelaide di Ghesclino, ballo eroico. See V. Fabrizj's opera L'amore per interesse.

Adelaide di Guesclin, ballet. See Cafaro's II natal d'Apollo.

L'Adelaide, regia prineipessa di Susa. Dramma musicale da Gio. Batista Rodoteo, Veneto.

Venetia, n. pull., 1670. 48 p. 14""^.

Three acts. Argument, and notice to the reader alluding to the first performances of the opera at Munich, Hoftheater, 1669. Giulio Biva, the composer, is not mentioned. Schatz 8833

Adelasia, ballet. See Zingarelli's II mercato di Monfregoso.

Adelasia riconosciuta, ballet. See Cherubini's Mesenzio r6 d'E- truria.

Adelasia riconosciuta, ballet. See Mayr's Che originali.

Adele di Ponthieu, baUet. See Borghi's Artaserse.

Adelheid. Tr. of Finazzi and Scalabrini's Adelaide.

OPERA LIBRETTOS 33

Adelheid, in einem sing-spiele auf dem Hamburgischen Schau- platze vorgestellet im jahr 1727.

[Hamburg], Gedruckt mit Stromerschen Schrifften, n. d. Unpaged.

Three acts. Author not mentioned and unknown to Schatz. Georg Philipp Telemann is mentioned as the composer.

First performed at Bayreuth, Hochfuerstl. Theater, 1724, aa "Adelheid, oder Die ungezwungene liebe." Schatz 10254

Adelheit von Veltheim. Ein schauspiel mit gesang in vier akten. Leipzig, Dyhische luchhandlung , 1781. 6 p. I., 130, [2] p. 17'^'^.

Dedication signed by the author Gustav Friedrich Wilhelm Grossmann and the composer Christian Gottlob Neefe. This is followed by prefatory remarks of Gross- mann's addressed "An herm magister Dyk" and dated September 10, 1780. To the same is addressed Neefe's preface dated "Frankfurt am Mayn, den 10. Sept. 1780." In this preface we are told:

"Ich hiitte diese arbeit schon laengst geendiget, wenn mein lieber Grossmann nicht bisweilen einen anfall von traegheit bekommen und mich gehemmt hatte. — Pfui ! was ich da fiir verleumdungen geschrieben habe! — Nicht traegheit, sondem veraenderung der umstaende, die viele andre geschaefte von ihm erheischten, sezten ihn ausser stand, an seiner oper fortzuarbeiten. Ich muss ihnen das sagen, um gewis- ser kritischer spione willen, die einige gesaenge darinne finden werden, die sie irgendwo schon gelesen haben, und die sich weidlich lustig machen moechten, etwas ausgespaeht zu haben, das sie berechtige, ihn eines plagiats zu beschuldigen. Aber die herren wuerden sich nur umsonst freuen: denn eben diese gesaenge hatte er vom anfange her fuer Adelheit von Veltheim gefertigt! Umstande . . . machten es unwahrscheinlich, dass diese oper je zu stande kommen wuerde. Ich nahm daher einige gesaenge in eine fremde operette auf . . . Mein freund ging aufs neue an seine oper, und die ausgelehnten gesaenge wurden wieder eingeloest. Das Vos- sische lied: Bey raeinem lieben topf voll Reiss u. s. w. gefiel meinem freunde Gross- mann so sehr und passte so gut fuer einen seiner sklaven, dasser es fast unveraendert beybehielt ..."

First performed at Frankfurt a. M., Theater am Junghof, September 23, 1780.

Schatz 7068

— Adelheit von Veltheim. In vier akten. Komponirt vom herrn hoforganist Neefe zu Bonn.

n. i., n. d. 1 p. I., 186 p. 17^"".

The author, Grossmann, is not mentioned. Schatz 11734

Adelia e Roberto. A. T. of La selvaggia.

Adelina Senese o sia L'amore secreto. Dramma giocoso per musica da rappresentarsi nel Teatro in S. Samuele per la prima opera d'au- tunno 1797.

Venezia, Stamperia Valvasense, n. d. 71 p. 17^^.

Two acts. Author not mentioned and unknown to Schatz. Prefatory note, cast, and name ot Gaspare Spontini as composer. ("La musica del tutto nuova"). On p. [37]-44 argument, cast and description without name of the composer of the music of Antonio Berti's "Duglas ed Emestina, ballo di mezzo carattere. Schatz 9991

Arien und ^esaen^e zum trauerspiel Adelstan und Roeschen von Schink. Die musik von herrn Hiller. n. i., n. d. [8] p. 16^"^.

Two acts. Composed by Friedrich Adam Hiller.

Firet performed at Gustrow, Theater im Rathhause, September.6, 1792.

Schatz 4714 72251°— VOL 1—14 3

34 LIBRARY OF CONGRESS

Ademira. Dramma per musica da rappresentarsi nel Real Teatro di S. Carlo nel di 30 oi maggio 1789 festeggiandosi il glorioso nome di Ferdinando IV . . .

Napoli, Vimenzo Flavto, 1789. 56 p. 15^"^.

Three acts. By Ferdinando Moretti who is not mentioned. Impresario's dedica- tion, dated Naples, May 30, 1789, argument, scenario and name of Pietro Guglielmi as the composer. A footnote states that for brevity's sake the "recita" in the third act would be omitted and its music transferred to I, 7. On p. 9-20 cast and descrip- tion of Sebastiano Gallet's "Amor pub tutto, oesia II trionfo del valore, ballo panto- mimo in tre atti," music by "diversi autori." Schatz 4231

Ademira. Dramma per musica da rappresentarsi nel nobilissimo Teatro di S. Benedetto per la fiera dell' Ascensione dell' anno 1784.

Venezia, Modesto Fenzo, 1784, ^^ P- -^^""•

Three acts. Author not mentioned and unknown to Schatz. Argument, cast, scenario and name of Andrea Luchesi, as composer. On p. 21-34 description, argu- ment, cast, but not name of the composer of the music of Paolino Franchi's "Hurtado e Miranda, ballo tragico-pantomimo.

First performed May 2, 1784, as indicated. Schatz 5739

Ademira. Dranmia per musica da rappresentarsi nel nobilissimo Teatro Venier in San Benedetto I'autunno dell' anno 1787. Venezia, Modesto Fenzo, 1787. 59 p. 17 Y"^.

Two acts. Author not mentioned and unknown to Schatz. Argument, cast, scenario and note "La musica h del Sig. Angelo Taxchi, e d'altri rinomati autori." On p. [471-59 prefatory note, argument, cast without name of the composer of the music ana description of Domenico Ballon's "La conquista del Peru ossia Amazili e Telesco, ballo eroico tragico tratto dall' Incas del Sig. Marmontel." His second ballet is called "La vedova ingegnosa ossiano Le bizzarie del bel sesso."

First performed at Milan, Teatro alia Scala, December 27, 1783. Schatz 10211

Admeto. Dramma per musica di Giuseppe Palomba. Da rappre- sentarsi nel Real Teatro del Fondo di Separazione per second opera di quest' anno 1794 . . .

Napoli, Vincenzo Flauto, 179^. 43 p. i5<=™.

Two acta. Impresario's dedication dated Naples, October 5, 1794, cast and name of Pietro GugUelmi as the composer. On p. 6-13 argument, cast and description of Giovanni Battista Giannini's, "La fata benefica, ballo persiano favoloso," music by Giuseppe Ercolani. Schatz 4286

Admeto.

Three act opera by Georg Friedrich Handel. Text an altered version of Aurelio Aureli's "L'Antigona delusa da Alceste."

First performed at London, Haymarket, January 31, 1727. Not in L. of C.

— Admetus, koenig in Thessalien. In einer opera auf dem Hamburgischen Schau-Platze vorgestellet. Im jahr 1730.

[Hamburg], GedrucJct mit Stromerschen schriften, n. d. Unpaged.

Three acts. Argument and scenario. Neither C. G. Wendt, the translator of "Admeto," nor Georg Friedrich Handel, the composer is mentioned.

First performed at Hamburg, Theater beim Gansemarkt, January 23, 1730.

Schatz 4470

— Admetus, koenig in Thessalien, in einer opera auf dem Ham- burgischen Schau-Platze vorgestellet. Im jahr 1731.

Hamburg, mit Piscators schrifften, n. d. Unpaged. 18*^^.

Three acts. Scenario and " Historischer bericht" (argument) with names of Wend as translator, and Georg Friedrich Handel as composer. The Italian text of the arias is added to the German. Schatz 11713

OPERA LIBRETTOS 35

Adnieto ed Alceste. A. T. of the ballet La maggior impresa d'Ercole.

Admeto ed Alceste, ballet. See Jommelli's L'Olimpiade.

Admeto re di Tessaglia. Melodrama da recitarsi nel Regie Teatro di Milano . . .

Milano, Marc' Antonio Pandolfo Malatesta, 1702. 67 p. 15'^'^.

Three acts. Dedication by the author Pietro d'Averara, argument, scenario, and notice to the reader with name of Paolo Magni as the composer, compliment to the impresarios Piantanida for their generosity in staging the opera and remark:

"Mi son ristretto ne' recitativi, e nelle agnizioni tediose, massime nel fine ... In Bomma ho cercato il tuo diletto, chfe e la regola principale della Drammatica, e I'oggetto della mia attezione . . ." Schatz 5839

Admetus, koenig in Thessalien. Tr. of Handel's Admeto.

Adolphe et Clara, ou Les deux prisoiiniers, comedie en un acte et en prose, melee d'ariettes. Paroles de B. J. Marsollier. Musique du citoj^en d'Aleyrac. Representee, pour la premiere fois, a Paris, sur le Theatre de I'Opera-comique-national, rue Favart, le 22 pluvidse, an 7 [February 10, 1799]. Paris, Cailleau, An septieme [1799]. ^6 p. 19^'="' Cast. ML 50.2.A33D2

L'Adone, tragedia musicale del clarissimo Signot Paolo Vendra- mino. Rappresentata in Venezia 1' anno 1639. All' Ulustrissimo Sig. Antonio Grimani fu dell' illustrissimo Signor Vettor.

Venetia, Sarzina, I64O. 71 p. 13^"^.

Five acts with prologue. The dedication is signed by Francesco Manelli and dated Venice, December 21, 1639. It is followed by a Lettera del Signor Ven- dramino al Manelli," dated Bologna, December 16, 1639, in which the author says:

"Intendo, che V. S. vuol porre alle stampe I'Adone. Me ne rincresce altretanto, quanto m'h^ gi^ doluto la sua risoluzione di farlo recitare, non ostante la mia lonta- nanza, ch' 6 a dire, senza i lumi piii necessarii dell' apparenze, co'quali doveva illus- trarsi I'azione ..."

The letter is followed by the argument. Monteverdi, the composer^ is not mentioned. Schatz 6594

Adone e Venese, ballet. See Pugnani's Demofoonte.

v/Adone in Cipro. Drama per musica da rappresentarsi nel famosis- simo Teatro Vendramino di S. Salvatore. L'anno MDCLXXVI. Inventato dal dottor Giannini . . .

Venetia, Francesco Nicolini, 1676. 60 p. 14^^-

Three acts. Publisher's dedication, dated Venice, December 18, 1675, ailment, and note that all the "versi appuntati sono dell' inventore di questo drama," which implies that the others were not. According to Schatz, Tebaldo Fattorino retouched Giannini's original text. The compHsser, Giovanni Legrenzi, is not mentioned.

Schatz 5540

Adone re di Cipro. Drama per musica di Filippo Vanstryp romano, da rappresentarsi nella sala degl' illustrissitni Signori Cap- ranica nel carnevale dell' anno 1731 . . . Roma, Rossi, n. d. 64 p- 16'^^.

Three acts. Impresario's dedication, argument, scenario, cast, and name of the composer, Michele Caballone. Schatz 1446

36 LIBRARY OF CONGRESS

The adopted child, a musical drama, in two acts. As it is per- formed at the Theatre Royal, Drury-Lane. By Samuel Birch. LoTidon, C. DiUy, 1795.' 2 p. I, 4I p. 20^"".

Cast and prefatory note. The composer, Thomas Attwood, is not mentioned. In Longman & Broderip'a vocal score "Woman is curious" is headed as "Selected by Mrs. Bland " and added in pencil is the name of the air "Boded no good." ' First performed May 1, 1795. Longe 230

Adrast und Isidore, oder Die nachtmusik. Eine komische oper in zween aufzuegen. Nach Moliere. Aufgefuehrt im K. K. National- Theater.

Wien, heym Logenmeister, 1780. 52 p. 15''^.

By Christoph Friedrich Bretzner. Neither he nor the composer, Franz Adam, ritter vonMitscha, is mentioned.

First performed at Vienna, Nationaltheater n. d. Burg, April 26, 1781.

ScHATz 6535

Arien aus Adrast und Isidore. Eine komische oper, in zween akten. Nach Moliere.

cm

n. i., 1787. 16 p. 15^

Neither the author, Christoph Friedrich Bretzner, is mentioned, nor the composer, von Kospoth.

First performed at Berlin, Dobbelinsches Theater, October 16, 1779; at Dresden, Hoftheater, February 22, 1779. Schatz 5217

Adrast und Isidore, oder Die serenate. Eine komische oper in zween akten. Nach Moliere. [silhouette] Componirt vom herrn Preu in Leipzig.

[193] -254 p. (C. F. Bretzner, Operetten, hd. I, Leipzig, 1779.) W"^.

The silhouette is a portrait of M. Bauser. In the Vorbericht Bretzner says of this play:

" Das dritte stueck ist posse, und als solche betrachtet, schluepft es vielleicht mit durch. In Wien erhielt es eine premie, und wird vermutlich von dort aus, unter dem titel: die Nachtmusik, gedruckt erscheinen. Ich habe seitdem vershiedne ver- aenderungen darinn gemacht, und haette gem in den liedem noch mehrere gemacht, wenn es nicht bereits componirt gewesen waere . . ."

First.performed at Dresden, Hoftheater, February 22, 1779. Schatz 11680

Second copy. Schatz 8462

Adrasto re d'Egitto. Dramma per musica da rappresentarsi nel Teatro alia Scala il carnevale dell' anno 1792 . . . Milano, Gio. Batista Bianchi, n. d. 96 p. 16'^'^.

Three acts. Impresario's dedication dated Milan, February 4, 1792, author's notice to the reader, ai^ument, cast, scenario and names of Giovanni de Gamerra as author, of Angelo Taxchi as composer. Schatz 10233

Second copy. ML 50. A5 v. 8

Adrasto re degli Arg^vi. Dramma per musica da cantarsi nella Real villa di Queluz per celebraie il relicissimo giorno natalizio di S. M. . . . D. Pietro ill . . . li 5. luglio, 1784. [Lisboa], Nella stamperia reale, n. d. 30 p. 15'^'^.

One act. By Gaetano Martinelli. Argument, cast, and names of the composer, Joao de Souisa Carvalho, and the author. Schatz 1670

Adrian in Syrien. Tr, of Bernasconi's Adriano in Siria.

OPERA LIBKETTOS 37

L'Adriano. Dramma per musica da rappresentarsi nel Teatro Tron di S. Cassiano il carnovale delF anno MDCCXLVIII.

n. i. 66 p. IS''"'.

Three acts. By Metastasio ("Adriano in Siria"). Argument, cast, scenario and name of the composer Vincenzo Legrenzio Ciampi.

First performed at Venice as indicated . Schatz 1875

Adriano en Syria.. Tr. of Conforto's Adriano in Siria.

L'Adriano in Siria.

{75]-1j^7 f. W™. (Pietro Metastasio,Operedrammatiche, Venezia, Giuseppe BeUinelli, 1738-37, v. 1.)

Three acts and Licenza. Argument. No composer is mentioned.

This belongs to those texts which exist in different versions by Metastasio him- self. Some of the telling differences are as follows:

The original version (as here represented) has in I, 8, the aria "E vero che op- presso." Its scene 1, 13,.begins "E nessunosadirmi," its scene 1, 14, begins "Misera, dove fuggo? " and has the aria "Se non ti moro allato."

The later versions (as below 1755, t. I and 1780, t. I) do not have the aria in I, 8. Their I, 13, begins "Se quel folle si perde" and their I, 14, begins "Senti. Come mi lascia " and has no aria. ML 49.A2M4

— Adriano in Siria.

Metastasio, Poesie, Parigi, vedova QuiUau, 1755, t. I, [111]'204 p.

Three acts and licenza. Argument.

"Nella forma in cui sono stati ridotti dall' autore." {See note on p. 169 of v. vi.)

Same, t. VI, [171]-280 p. 16'^^'.

"Come . . . neir altre edizioni." ML 49.A2M42

— Adriano in Siria. Rappresentato con musica del Caldara la prima volta in Vienna nelF interno gran Teatro della Corte Cesarea alia presenza degli augustissimi sovrani, il di 4 novembre 1731, per festeg- giare il nome delF imperator Carlo VI . . .

p. I., [113]-212 p. £6^™. (Pietro Metastasio, Opere, Parigi, vedova Herissant, t. I, 1780.

Three acts and licenza. Argument. ML 49.A2M44

— Adrien.

Metastasio, Tragedies-opera, Vienne, 1751, t. ii, 123 p. 14-'^^. Three acts. Richelet's translation of Adriano in Siria. ML49.A2M47

Adriano in Siria. Dramma per musica da rappresentarsi nel nobilis- simo Teatro di S. Benedetto il carnovale dell' anno 1780.

Venezia, Modesto Fenzo, 1780. 56 p. 16^""-

Three acts. By Pietro Metastasio. Argument, cast, scenario, and name of Felice Alessandri as composer. Schatz 153

Adriano in Siria, ballet. See Bertoni's Eumene.

Adriano in Siria. Dramma per musica da rappresentarsi nel Nuovo Teatro di corte . , . nel carnevale dell' anno 1755. La poesia e del Sig. abbate Pietro Metastasio ... La musica h del Sig. Andrea de Bernasconi . . .

Monaco, Giov. Giac. Vbtter, n. d. 151 p. 19^"^.

Three acts. Argument, cast and scenario. German title-page "Adrian in Syrien " and text face Italian. Schatz 854

355973

38 LIBRARY OF CONGRESS

Adriano in Siria, rappresentato e recitato nel nuovo Teatro Ducale

in Stuggarda, 1737.

n. i., n. d. 237 p., 1 I. i^""*. •

Three acts. By Metastasio, followed by the licenza, p. 190-195 and the three act intermezzo " PoUastrella & Parpagnocco" (text by Panati), p. 196-237. Argument, cast and scenario. German title-page "Der in Syrien triumphirende Kayser Hadri- anus" and text face Italian. Riccardo Broschi's name is not mentioned, but, as he was then the first conductor at the Stuttgart court, it stands to reason that he com- posed this opera. Schatz 1338

Adriano in Siria. Dramma per musica da rappresentarsi nel nuovo Teatro Grimani di S. Benedetto il carnovale aell' anno MDCCLVII. Venezia, Modesto Fenzo, 1757. 58 p. Ij^Y"^.

Three acts. By Metastasio. Argument, cast, and scenario but without name of the composer, Francesco Brusa. Schatz 1376

Adriano in Siria. Drama per musica da rappresentarsi nella Cesarea corte per il nome gloriosissimo della Sac* Ces." e Catt. Real Maesth, di Carlo VI . . . L'anno MDCCXXXII. La poesia h del Sig. abbate Pietro Metastasio ... La musica e del Sig. Antonio Caldara . . .

Vienna d' Austria, Gio. Pietro Van Ghelen, n. d. 4 V- ^-y '^^ P-

Three acts and licenza. Argument and scenario. The ballet music at the end of the acts was composed by Niccola Matteis.

First performed as indicated, November 9, 1732. Schatz 1478

Adriano in Siria. Opera drammatica da rappresentarsi nel Regio Teatro del Buon-Ritiro. Festeggiandosi il gloriosissimo giorno natalizio di sua Maesta Cattolica il re nostro Signore D. Ferdinando VI . . . amio MDCCLVII.

{At end) Madrid, Michele Scrivano. n. d. 13 p. I., 157 p. 20^'"'.

Three acts. By Metastasio and somewhat reduced by him as a note informs the reader. With dedication signed by Carlo Broschi Farinelli and dated "Madrid, 20. settembre 1757," argument, cast, scenario and name of the composer Niccolb Con- forto. Spanish title "Adriano en Syria" and text face the Italian. Schatz 2121

Adriano in Siria. Dramma per musica da rappresentarsi nel Teatro Vendramin di S. Salvatore nella fiera dell' Ascensione dell' anno 1760.

Venezia, Modesto Fenzo, 1760. 56 p.

Three acts. By Metastasio who is not mentioned. Argument, cast, scenario and name of Baldassare Galuppi as composer. "La musica tutta nuova," consequently his second setting of the text. Schatz 3473

Adrian© in Siria. Dramma per musica di Pietro Metastasio trk gli Arcadi Artino Corasio, da rappresentarsi nel famosissimo Teatro Gri- mani di S. Gio. Grisostomo. II carnovale dell' anno 1733 . . . Venezia, Carlo Buonarrigo, 1733. 72 p. IJ^Y"^.

Three acts. By Metastasio with alterations indicated in the libretto. Impresario's dedication, argument, cast, scenario and name of Geminiano Giacomelli as the com- poser. Schatz 3805

Adriano in Siria. Dramma per musica da rappresentarsi nel famo- sissimo Teatro Grimani di S. Gio. Grisostomo il carnovale dell' anno 1740 . . .

Venezia, Marino Rossetti, 1740. 60 p. 15'=^.

Three acts. By Metastasio who is not mentioned. Impresario's dedication, argu- ment, cast, scenario and name of Giovanni Antonio Giai as the composer.

Schatz 3819

OPERA LIBRETTOS 39

Adriano in Siria. Dramma per musica da rappresentarsi nel Teatro nobile di S. Benedetto il carnovale dell' anno MDCCLXVI.

Venezia, Giorgio Fossati, n. d. 55 p. 17"^.

Three acts. By Metastasio who is not mentioned. Argument, cast, scenario and name of Pietro Guglielmi as the composer. The last page contains the additional aria for II, 6 "Alia tua bella face."

First performed, as indicated, December 26, 1765. Schatz 4232

Adriano in Siria, dramma per musica, da rappresentarsi nel Teatro della Regia elettoral corte di Dresda, nel carnevale dell' anno MDCCLII.

Dresda, la vedova Stossel, n. d. 4 P- ^-j ^^ P- 19^^- Three acts. Argument, scenario, cast and names of Metastasio as author, of Johann Adolph Hasse as composer.

First performed, as indicated, Jan. 17, 1752. Schatz 4503

— Adriano in Siria, dramma per musica, da rappresentarsi nel Teatro della Regia elettoral corte di Dresda, nel carnovale dell' anno MDCCLII

Dresda, la vedova Stossel, n. d. 7 p. I., 89, 89 p. 19^'^.

Three acts. The same as Schatz 4503, except that German title "Adrianus in Syrien" and text face Italian. Schatz 4504

Adriano in Siria. Dramma per musica da rappresentarsi alia corte elettorale palatina in occasione delle felicissime nozze di Sua Altezza- Serenissima Federigo Au^usto elettore di Sassonia etc. etc. e di Sua Altezza Serenissima Amalia Augusta contessa palatina de' Due Ponti I'anno MDCCLXIX.

Mannheim, Stamperia elettorale, n. d. 100, [7] p. 15^^.

Three acts. Argument, cast, scenario, and names of Metastasio as author, of Ignaz Holzbauer as the composer. The 7 additional pages contain Mattia Verazi's Licenza. Performed, as indicated, at Mannheim, Hoftheater, January 1769; first performed there November 4, 1768. Schatz 4778

— Hadrian in Syrien. Ein musicalisches trauerspiel, welches an dem hoechsten namensfeste Ihro Churfuerstlichen Durchlaucht zu Pfalz . . . bey Hof aufgefuehret worden.

Mannheim, mit Academischen schriften, 1768. 1 p. I., Ill, 20 p.

German translation for the above performance. Argument, cast, scenario, and names of Metastasio and Holzbauer. The 20 additional pages contain casts and descriptions of Bouqueton's ballets "Cephal imd Procris" and "Reinald und Armide," music by "Cannabich und Toeschi." Schatz 4779

Adriano in Siria. Dramma per musica da rappresentarsi nel Teatro Grimani di S. Samuel nella fiera dell' Ascensione dell' anno 1760. Venezia, Modesto Fenzo, 1760. 56 p. l^Y"^.

Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and name of the composer Antonio Maria Mazzoni (" La musica sar^ nuova.")

First performed May 14, 1760. Schatz 6225

Adriano in Siria. Dramma per musica da rappresentarsi nel Nuovo Teatro in propriety de' quattro cavalieri patrizi della Regio-inclita cittk di Pavia nella prima vera dell' anno 1777 . . .

Pavia, Porro e Bianchi, n. d. 52 p. l^-V^-

Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and name of Joseph Misliweczek as the composer. Schatz 6533

40 LIBRAKY OF CONGRESS

L'Adriano in Siria. Dramma per musica da rappresentarsi ne\ Ducal Teatro di corte il carnovale dell' anno 1775 . . .

Modena, gli eredi di Bartolomeo Soliani, n. d. 4^ p. 18"^.

Three acts. By Metastasio, who is not mentioned. Argument, scenario, cast, and name of Gaetano Monti as the composer. On p. 48 the reader is informed that after publication of the libretto scenes 8 and 10, act II were cancelled, Sabina's aria "Non ha raeione ingrato" transferred from II, 8, to I, 111, etc.

First performed, as indicated, January 31, 1775. Schatz 6605

Adriano in Siria. Dramma per musica da rappresentarsi nel Teatro alia Scala il carnevale 1790 . . .

Milano, Gio. Batista Bianchi, n. d. 68, [10] p. i^J"™.

Three acts. By Metastasio, who is not mentioned. Impressario's dedication, dated Milan, December 26, 1789, argument, cast, scenario, and name of Sebastiano Nasolini, maestro della Capella, e della Direzione Teatrale di Trieste, as the com- poser.

With the opera were performed Francesco Clerico's ballets "La morte d'Ercole" and "La superba innamorata a suo dispetto" (argument on the 10 unnumbered p.). The composer of the music is not mentioned. Schatz 6998

Second copy. ML 48. A5 v. 9

Adriano in Siria. Dramma per musica da rappresentarsi nel nobil Teatro di Torre Argentina il carnovale dell' anno 1758.

Roma, Fausto Amidei, n. d. 72 p.

Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and name of Binaldo di Capua as composer.

First performed at Rome, Teatro Argentina, January 2, 1758. ML 50.2.A36R4

Adriano in Siria. Dramma per musica da rappresentarsi nel Regio

Teatro di Torino nel carnovale del 1782 . . .

Torino, Onorato Derossi, n. d. viii, 64 p. 15Y'^-

Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and

name of Giacomo Rust as the composer. With the opera were performed, music by

Vittorio Amedeo Canavasso, Sebastiano Gallet's ballets "Lauso e Lidia," "II manes-

calco," and "Popoli della Siria."

First performed December 26, 1781. Schatz 9166

Adriano in Siria. Dramma per musica da rappresentarsi nel nobilissimo Teatro di San Benedetto la fiera dell' Ascensione dell' anno 1771.

Venezia, Modesto Fenio, 1771. 61 p. 17 '^'^^

Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and name of Antonio Sacchini as the composer Schatz 9204

Adriano in Siria. Dramma per musica da rappresentarsi nel nobil Teatro a Torre Argentina nel carnevale dell' anno 1779 . . .

Roma, LuigiBendio, 1779. 48 p. 16""^.

Three acts. By Metastasio, to whom this typical note refers:

"Tuttocib, chi si 6 tolto, aggiunto, o sconnesso nel presente dramma, si e fatto per adattarsi alle circostanze del modemo teatro, e non mai per correggere il celeber- rimo Poeta Cesareo, alle opere di cui si protesta tutta la stima e la venerazione."

Argument, cast, scenario, and name of Giuseppe Sarti as the composer. On p. 7 argument without name of the composer of the music of Paolino Franchi's ballet "Gustavo Vaza." Second ballet called "La cappricciosa."

First performed, as indicated, December 28, 1778. Schatz 9470

L'Adriano in Siria. Drama per musica da rappresentarsi nel Teatro Tron di S. Cassiano nel carnovale dell' anno MDCCLII.

[Venezia], n. puhl. 1 p. I., 60 p. 15^'^.

Three acts. By Metastasio (not mentioned), with acknowledged alterations "per comodo del teatro, e per le convenienze degl' attori." Argument, cast, scenario, and name of Giuseppe Scarlatti as the composer. Schatz 9540

OPERA LIBRETTOS 41

Adriano in Siria. Dramma per musica da rappresentarsi nel Teatro di S. Samuelle il carnevale dell' anno MDCCLIV. Venezia, Angiolo Geremia, n. d. 58, [1] p. 16^^.

Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and name of Giuseppe Scolaxi as the composer. Schatz 9802

Adrianus in Syrien. Tr. of Hasse's Adriano in Siria.

Adrien. Tr. of3Ietastasio's text Adriano in Siria.

Adrien, opera en trois actes, repr^ente pour la premiere fois, sur le Theatre de la Republique et des Arts, le 16 Prairial, an VIT.

Paris, Ballard, An vii de la Republique, [1799]. Ip.l., 79 p. 26'^.

"Paroles du ci toy en Hoffmann. Musique du citoyen M6h.ul." Cast.

First performed June 4, 1799. Schatz 6276

An adventure at Margate. A. T. of Arnold's Summer amusement.

Adventures of twelve hours. A. T. of Love in the East.

Aeneas in Latium. Tr. of Righini's Enea nel Lazio.

Der aepfeldieb. A. T. of Gaertner's Ich heisse Theiss.

Der aepfeldieb. Ein originalsingspiel in einem aufzuge. Vom herrn Bretzner. Aufgefuehrt auf dem k. k. Hof-Nationaltheater von der in der schauspielkunst sich uebenden jugend. Die musik dazu ist neu, vom herrn Jast.

Wien, beym logenmeister, 1781. ^5 p. 16'^^.

At end imprint of Joseph, edler von Kurzbeck. Composer F. Jast, also known as Jost. Schatz 4979

Der aepfeldieb, oder Der schatzgraeber, Eine operette in einem akte. [silhouette] Componirt vom herrn Kaffka, Schaiispieler beym Churfuerstl. Saechs. Theater.

W^"^. [255\-298 p. (C. F. Bretzner, Operetten, bd. I, Leipzig, 1779.)

The silhouette is that of the composer, J. C. Kaffka. Of this piece Bretzner says, in his Vorbericht:

"Der aepfeldieb war als lustspiel bereits in meinen ersten Beytraegen ['Neue theatralische beytraege,' 1771] gedruckt; hier habe ich nichts davon als den plan beybehalten; den dialog aber gaenzlich umgearbeitet."

First performed at Berlin, Dobbelin'sches Theater, June 26, 1780.

Schatz 11680 Second copy, detached. Schatz 4982

Der aerndtekranz. Eine komische oper, in drey aufzuegen.

Leipzig, in der Dyckischen buchhandlung , 1771. 214 V- IS*^"^.

Neither the author. Christian Felix Weisse, nor the composer, Johann Adam Hiller, is mentioned.

First performed at Leipzig, Theater am Rannstaedter Thore, 1771.

Schatz 4718

— Der aerntekranz. Eine komische oper in drey aufzuegen.

C. F. Weisse, Komische opem, Carlsruhe, 1778, th. Hi, p. [135]-264 p. 18^"^.

The composer, Johann Adam Hiller, is not mentioned. ML 49.A2W2

42 LIBRARY OF CONGRESS

Aesopus bey hofe, in einem singspiele auf dem Hamburgischen Schau-platze vorgestellet im jahr 1729.

[Hamburg], Gedruckt mit Stromerischen schriften, n. d. Unpaged.

Five acts. Argument and scenario. Neither Johann Mattheson, the author, (reap, translator), nor Georg Philipp Telemann, the composer, is mentioned. First performed, as indicated, February 28, 1729. , Schatz 10255

Aetius. Tr. of Metastasio's text Ezio.

Aetius. Tr. of Graun's Ezio.

Aetius. Tr. of Jommelli's Ezio.

Gli aflfetti generosi. A. T. of Metastasio's text L'Atenaide.

Gli affetti piu grandi, vinti dal piu giusto. Drama per miisica nel felicissimo giorno natalizio della S. R. M** di Giuseppe I. r^ de' Romani . . . 1 anno MDCCI. Posto in musica dal Sig"" Giovanni Bononcini . . . con I'arie per li balletti del Sig"^ Gio. Gioseffo Hoffer

Vienna d' Austria, Susannxi Cristina, vedova di Matteo Cosmerovio, n. d. 77 p, l^Y"^.

Three acts and lictnza. Dedication, signed and dated by the author, Donate Cupeda, Vienna, July 26, 1701, argument, and scenario. Schatz 1199

Aftenen. Et syngespil i een akt. Ved Frederik H0egh Guldberg. Sat i musik af hr. koncertmester Schall.

Ej0henlhavn, Niels Christensen, 1795. 78 p. W"^.

Dedicatory poem and preface.

Firet performed at Copenhagen, Royal Theatre, April 23, 1795. Schatz 9581

AgamemnoiL venge. Ballet tragique en cinq actes par M. Noverre. Ex6cut6 sur les theatres ae Vienne 1771.

[Vienne], de Ghelen, n. d. 42 p. 17^.

Scene by scene description preceded by Noverre's highly interesting "Reflexions justificatives, sur le choix et rordonnance du sujet" on p. 3-13, in which Noverre outlines his entire bold system of ballet of which the leading thought is:

"Un balet n'est pas un drame . . . une production de ce genre ne pent se sub- ordonner aux regies ^troites d'Aristote . . . c'est toujours en grand que la pantomime doit peindre ..."

No composer mentioned. ML 52.2.A2

— Agaraemnon revenged. A tragic ballet in five acts.

Noverre, Jean George, Worlcs. Tr. from the French, London, 1783, V. 3, p. [183]-262. 21^"^.

"Remarks in justification of the author's choice and management of the subject" and detailed scene by scene description. GV 1787. N8

Agaton und Psiche, ein drama mit gesang, von Friedrich Christian Schlenkert.

Leipzig, Paul Gotihelf Rummer, 1780. 86 p. W"^.

No composer or performance recorded by Schatz. Schatz 11598

L'age viril ou L'amour coquet. Entree in Campra's Les ages, ballet.

OPERA LIBRETTOS 43

les ages, ballet, represente par I'Academie royale de musique, I'an 1718. Paroles de M. Fusiber. Musique de M. Campra. XCV. opera.

n. i., n. d. pL, 317-376 p. l^"^- {Recueil general des opera. Paris, 1734, t. xii, no. 6.)

Detached copy. Prologue and three entrees called "La jeunesse ou L'ambur ingenu," "L'age viril ou L'amour coquet," "La vieillesse ou L'amour enjou^." In his Avertissement the author says:

"Je n'ai pretendu donner qu un tissu de maximes enjouees, liees par une intrigue legere, qui piit occasionner des airs gracieux & des danses variees. C'est ce me eemble, ce qui doit constituer le fonds d'un ballet."

First performed, as indicated, October 9, 1718. Schatz 1540

Second copy. ML 48.R4

Agesilao. Dramma per musica da rappresentarsi Del nobilissimo Teatro Venier in San Benedetto il carnovale dell' anno 1788. Venezia, ModeMo Fenzo, 17S7. 64 p. ;7«™.

Three acts. Cast, argument, scenario, and name of Gaetano Andreozzi as com- poser but not of librettist, who is unknown to Schatz. On p. 47-64 the argomento and detailed description of " Sardanopalo, r^ degli Assirj ballo eroico tragico, tratto dair Istoria del regno assiro, d'invenzione, e composizione di Monsieur Domenico Ballon." The composer of the music is not mentioned. Schatz 221

— L' Agesilao. Dranuna per masica da rappresentarsi nel maffni- fico Teatro dell' Accademia Filarmonica di Verona il came vale dell' anno 1792.

Verona, Dionigi Ramanzini, n. d. 37 p. 17^'^^'.

Two acts. Author not mentioned and unknown to Schatz. Impresario's dedica- tion, argimient, cast, scenario and name of Andreozzi as composer. ML 50.2.A38A5

Agesilao. O. T. of Francesco Ballani's text Lisandro. -

Agide re di Sparta. Dramma per musica di Luisa Ber^alli da rap- presentarsi nel Teatro Giustiniano di San Moise I'anno MDCCXXV

Venezia, Marino Rossetti, n. d. front., 57 p. IS*^^. Three acts. Argument, cast, scenario, name of Giovanni Porta as the composer, and author's dedfcation, in which she calls this "mio debole primo componimento."

Schatz 8387

Aglae eller St0tten. Comedie i een act af lir. de Sivry . . . oversat af det franske og for0get med arier hvortil musiquen er sat af hr. Sarti. n. i., n. d. 50 p. 15^'^.

By Claus Fasting and A. G. Carstens, who are not mentioned.

First performed at Copenhagen, Hoftheater, February 16, 1774. Schatz 9423

Songs, chorusses, etc., in the new musical farce called the Agreeable surprise, as it is performed at the Theatre Royal in the Hay- Market.

London, T. Cadell, 1781. 24 p. 20'='^.

Two acts. By John O'Keefe, who is not mentioned. The overture and all the airs in the libretto are indicated as by Samuel Arnold, except airs IV, VI, XI, XII, XIII, for which popular tunes (mostly Irish) were used. According to Biog. Dr. the opera was originally produced at Dublin as "The secret enlarged, in 1776, but Law- rence foimd no trace of this."

First performed at London, Haymarket, September 3, 1781. ML 50.2.A4A7

44 UBRARY OF CONGRESS

Agreeable surprise — Continued.

— Songs, chorusses etc. in the new musical farce called the Agree- able surprise. As it is performed at the Theatre Royal in the Hay-Market. Fourth edition.

London, T. Cadell, 1782. 24 p. 21^^.

Two acts. Cast. The author, John O'Keefe, is not mentioned. The overture and moet of the songs are headed as composed by Arnold. Longe 91

— The agreeable surprise. A comic opera, in two acts. By Mr. O'Keefe. The music composed by Dr. Arnold.

Dublin, W.Wilson, 1786. 48 p. 17 h'"^.

Cast. Longe 149

— The agreeable surprise. A comic opera.

{117]-14S p. 16'='". (A volume of plays Dublin, Printed for the booJcseUers, 1791.)

Without name of author or composer. PR 1269. V6

Agrippina. Drama per musica. Da rappresentarsi nel famosissimo Teatro Grimani di S. Gio. Grisostomo I'anno MDCCIX. Venezia, Marino Rossetti, 1709.

Three acts. Argument, cast, scenario. Neither the author, Vincenzo Grimani, nor Georg Friedrich HSndel, the composer, is mentioned.

First performed, as indicated, December 26, 1709. Schatz 4471

— Agrippina. Drama per musica da rappresentarsi nel Teatro d'Hamburgo I'anno 1718. — Agrippina in einer opera vorgestellet . . .

Hamburg, Caspar Jakhel, n. d. Unpaged. 181'="*.

Three acts. German text faces Italian. Neither Grimani nor Handel is men- tioned. The Italian text follows the original closely, though with some differences. For instance, I, 3 "A cenni tuoi sovrani" has become "Ah Pallante, Pallante," and I, 4 "Or che Pallante 6 vinto" has become "Di occulto arcano." Schatz 4472

L' Agrippina, moglie di Tiberio. Dramma per musica di Guido Riviera Piacentino da rappresentarsi nel Regio-Ducal Teatro di Milano nel carnov^le deU' anno 1743 . . .

•

Milano, Giuseppe Richino Malatesta, 1743. 6 p. I., 70 p. 15<=^.

Three acts. Dedication, argument, scenario, cast, and name of Giovanni Battista San Martino (Sammaxtini) as composer. It is said on 5th p. 1. that the character of Emilio was added for these performances.

First performed in January, 1743, as indicated. ML 48.A5 v. 18

Ahtor ed Erma, ballet. See G. Nicolini's Artaserse.

Ahtor ed Erma, ballet. See Prota's I studenti.

Aigle. See Lagarde's Egl^.

L'Ajace. Dramma per musica del Signor A. D. Averara [!].

Napoli, Dom. Ant. Parrino e Michele Luigi Mutio, 1697. 76 p. ISY'"^.

Three acts. Dedication by Nicola Serino as impresario, argument, cast, scenario, and notice to the reader:

"Eccoti un drama, ch' havendo alcuni anni sono riportato nel Teatro di Milano un sommo applauso, & in quello delli Signori Capranica in Roma [1697] estremo gradi- mento, uscendo per la terza volta, alia luce in questa fedelissima citt^ di Napoli aspira al tuo gradimento . . . Hora ti si aggiunge, che secondo la prima impressione, il

OPERA LIBRETTOS 45

L'Ajace — Continued.

riconoscimento, che Idraspe sia figlio del rb, e fratello di Ajace ei faceva per mezzo di Zelta vecchia nutrice di corte, ed essendosi dovuta sostituire una damigella giovanetta k convenuto per salvar parte dell' impropriety supporre, che questa sia figlia della medesima nutrice informata di tutto. L'opera troverai mutata quasi in tutte I'ariette con I'aggiunta di alcune scene ridicole, e ci5 si e fatto per piu compiacerti ..."

Schatz records as composers Carlo Ambrogio Lonati and Paolo Magni. He also records, in accordance with the title page, A. D. Averara as author, but the title page of the Rome, 1697 ed. (Brussels Conservatory) haa "signer A. d'Averara," which Wotquenne reads to mean "I'abbe Pietro d'Averara," who is of some note as librettist, whereas an A. D. 'Averara haa not otherwise come to my notice. Probably Wot- quenne's conjecture is correct.

First performed at Milan, Teatro al Ducale Palazzo, 1694. Schatz 5682

Ajace e Cassandra, ballet. See Borghi's Ricimero.

Ajax, tragedie, representee pour la premiere fois par I'Acad^mie royale de musique, le lundi 20. avril 1716. Les paroles de M. Men- nesson & la musique de M. Bert in. LXXXIX opera.

n. i. , n. d. pi., [419]-472, [4] p. Z-^*"". (Recueil general des opera, t. xi, Paris, 1720.)

Detached copy. Prologue and five acts. Schatz 878

Second copy. ML 48. R4

— Ajax, tragedie representee pour la premiere fois, par L'Academie royale de musique, de Lyon en I'annee 1742. Lyon, Aime Belaroche, 1742. 67 p. 23'^'^.

Five acts. Cast. Neither the author, Mennesson, is mentioned, nor the com- poser, T. Bertin de la Dou6. Schatz 11668

Al fatto ci vuol pazienza. Intermezzi per musica a quattro voci da rappresentarsi nell' antico Teatro di Tordinona, nel carnevale dell' anno 1753 . . .

Roma, Giuseppe Agazzi, 1753. 22 p. IS'^.

Two parts. Publisher's dedication and cast. The characters are PoUmante, Dorilla, Fumantino, and ScruUetta. Neither author nor composer mentioned and both unknown to me. ML 50.2.A42

Alarbas. A dramatick opera. Written by a gentleman of qual- ity . . . London, Printed by M. J. for J. Morphew, 1709. 3 p. I., 51, [1] p.

21^"^.

Three acts with prologue and epilogue. In his preface the unknown author says: "... The poem being some time since drawn according to the model of our English dramatick opera's, any person that is the least acquainted with the late performances, will easily account lor its appearing in this manner before it had pass'd the stage, if they will be pleas'd to observe, that the nature of the play will not admit of its representation in either house. The opera-theatre being wholly taken up with Italian airs, and the other totally excluding the musical part." Longe 132

L'Alarico. Drama per musica da rappresentarsi nel Teatro For- magliari Testate dell' anno 1716 . . .

Bologna, Giampietro Barhiroli, n. d. 59 p. 13'^'^.

Three acts. Dedication signed by Francesco Antonio Novi and dated Boloena, June 5, 1716, argument, scenario, cast, and notice to the reader. Neither the auuior, Borso Buonacossa, is mentioned, nor the composer, Giov. Battista Bassani.

First performed, as indicated, June 7, 1716; at Ferrara, Teatro del conte Pinamonte Buonacossi in 1685. Schatz 633

46 LIBBARY OF CONGRESS

Alarico il Baltha, cioe I'Audace, re de Gothi. Drama per musica comandato dalF Altezza Serenissima di Massimiliano Emanuele duca deir una e I'altra Baviera . . . per celebrare il di natal.zio dell' Augustissima consorte . . . Maria Antonia . . . Tanno 1687. Com- posto da Luigi Orlandi . . . e posto in musica dal S. Agostino StefTani . . . con I'arie per i balletti del S. Melchior d'Ardespin maestro di concerti e ajutante di camera di S. A. E.

Monaco, Giovanni JecTclino, n. d. 4 V- ^-y ^4 V- i^Y"^- Three acts. Author's dedication dated Munich, January H, 1687, argument, scenario, and names of the "cavalieri " who danced Francisco Rodier's three incidental ballets on this occasion, January 18, 1687, at the Hoftheater. Schatz 10036

Alba Cornelia, musicalische opera, welche auf dem Teatro zu Bresslau anno 1726 in der fastnacht vorgestellet . . . wie auch . . . zu den heurigen fuersten-tag dediciret wu-d . . . n. i., n. d. Unpaged. 18'^'".

Three acts. By Pietro Pariati. Impresario's dedication, argument, scenario, and names of the author and the composer, Francesco Bartolomeo Conti. German text faces Italian, which Schatz attributes to Silvio Stampiglia!

According to Schatz the opera was first performed at Milan, Regio Ducal Teatro, carnival 1704 and at Vienna, February, 1714. Schatz 2203

L'Albagia in fumo, ballet. See Tarchi's La congiura Pisoniana.

L'alberga trice vivace. Dramma giocoso per musica da rappre- sentarsi in Parma nel R. D. Teatro di Corte il carnevale dell' anno MDCCLXXXI ...

Parma, Filippo Carmignani, n. d. 3 p. I., 62 p. 17^™.

Two agts. Author unknown to Schatz. Impresario's dedication, cast, and name of the composer, Luigi Caruso.

First performed at Venice, Teatro di S. Samuele, carnival 1780. Schatz 1655

L'Albergia smascherata o sia II cittadino rinnobilito. Dramma giocoso per musica da rappresentarsi ne' Teatri privilegiati di Vienna nel camovale dell' anno 1767.

Vienna, Ghelen, n. d. 95 p. 17'^'^.

Three acts. Author not mentioned and imknown to Schatz. Prefatory poem by the publisher, cast, and name of Giuseppe Pasqua (Pa^que) as the composer.

First performed, as indicated, February 23, 1767. Schatz 7782

Albert der Dritte von Bayern. Im originale. Ein singspiel in fuenf aufzuegen. Mit musik von Georg Vogler . . . n.i.,1781. 88 p, 16'^.

"Vorerinnerung" signed "Th. T***r." (Karl Theodor von Traiteur). First performed at Stuttgart, National schaubiihne im kleinem theater, Decem- ber, 1781. Schatz 10791

Albion and Albanius : an opera. Perform'd at the Queens theatre, in Dorset Garden. Written by Mr. Dryden . . . London, J. Tonson, 1685. 6 p. I., 30 p. 28'^'^.

Three acts. Prologue, Epilogue, description of "the frontispiece," and Dryden's extraordinary, esthetical, historical, polemical preface, with postscript. The opera was first performed at the Theatre Royal, in Dorset Garden, June 6, 1685 (Grove). As specimens of Dryden's opinions, may be quoted from the prefac?: "... An opera is a poetical tale, or fiction, represented by vocal and instrumental mus'ick, adorn d with scenes, machines, and dancing. The suppos'd persons of this musical drama, are generally supernatural, as Gods and Goddesses, and Heroes, which at least are descended from them, and are in due time, to be adopted into their number.

OPERA LIBRETTOS 47

Albion and Albanius — Continued.

The subject therefore being extended beyond the limits of humane nature, admits of that sort of marvellous and surprizing conduct, which is rejected in other plays. Humane impossibilities are to be receiv'd, as they are in Faith; because where Gods are introduc'd, a Supreme Power is to be understood, and second Causes are out of doors: Yet propriety is to be observ'd even here . . .

"The recitative part of the Opera requires a more masculine beauty of expression and sound : the other, which (for want of a proper English word) I must call the Songish Part, must abound in the softness and variety of numbsrs; its principal intention, being to please the hearing, rather than to gratifie the understanding ... I have probable reasons, which induce me to believe, that some Italians having curiously observ'd the gallantries of the Spanish Moors at the Zambra's, or royal feasts, where musick, songs and dancing were in perfection; together with their machines . . . may possibly have refin'd upon those Moresque divertisements, and produc'd this delightful entertainment, by leaving out the warlike part of the carousels, and forming a poetical design for the use of the machines, the songs, and dances . . ,

"... The Italian . . . seems indeed to have been invented for the sake of poetry and musick . . . their very speaking has more of musick in it than Dutch poetry and song . . . the French, who now cast a longing eye to their country, are not less ambi- tious to possess their elegance in poetry and musick; in both of which they labour at impossibilities . . . The English has yet more natural disadvantages than the French ; our original Teutonick consisting most in monosyllables, and those incumbred with consonants, cannot possibly be freed from those inconveniences. The rest of our words, which are deriv'd from the Latin chiefly, and the French, with some small sprinklings of Greek, Italian and Spanish, are some relief in poetry and help us to soften our uncouth numbers ;«»which together with our English genius, incomparably beyond the trifling of the French, in all the nobler parts of verse, will justly give us the preheminence. But, on the other hand, the effeminacy of our pronunciation, (a defect common to us, and to the Danes,) and our scarcity of female rhimes, have left the advantage of musical composition for songs, though not for recitative, to our neighbours.

"Through, these difficulties, I have made a shift to struggle, in my part of the per- formance of this opera; which, as mean as it is, deserves ai least a pardon, because it has attempted a discovery beyond any former undertaker of our nation . . . Yet I have no great reason to despair; for I may with out vanity, own some advantages, which are not common to every writer; such as are the knowledge of the Italian and French language, and the being conversant with some of their best performances in this kind; which have fumish'd me with such variety of measures, as have given the composer Monsieur [Louis] Grabut what occasions he cou'd wish, to shew his extraor- dinary talent . . . And let me have the liberty to add one thing; that he has so exactly express'd my sense, in all places, where I intended to move the passions, that he seems to have enter'd into my thoughts, and to have been the poet as well as the composer. This I say, not to flatter him, but to do him right; because amongst some English musicians and their scholars, (who are sure to judge after them) the imputa- tion of being a Frenchman, is enough to make a party, .who maliciously endeavour to decry him. But the knowledge of Latin and Italian poets, both which he possesses, besides his skill in musick, and his being acquainted with all the performances of the French opera's, adding to these the good sense to which he is born, having rais'd him to a degree above any man, who shall pretend to be his rival on our stage. WTien any of our Country-men excel! him, I shall be glad, for the sake of old England, to be shewn my errour; in the mean time, let vertue be commended, though in the person of a stranger . . .

"The same reasons which depress thought in an opera, have a stronger effect upon the words; especially in our language: for there is no maintaining the purity of English in short measures, where the rhime returns so quick, and is so often female, or double rhime, which is not natural to our tongue, because it consists too much of monosyllables, and those too, most commonly clogg'd with consonants; for which reason I am often forc'd to coin new words, revive some that are antiquated, and botch others; as if I had not serv'd out my time in poetry, but was bound 'prentice to some dowgrel rhimer, who makes songs to tunes, and sings them for a livelihood. 'Tis true, I have not been often put to this drudgery; but where I have, the words will sufficiently shew, that I was then a slave to the composition, which I will never be again: 'Tis my part to invent, and the musician's to humour that invention. I may be counseli'd, and will always follow my friend's advice, where I find it reasonable; but will never part wnth the power of the militia . . .

"It [this opera] was originally intended only for a prologue to a play, of the nature of the Tempest; which is a tragedy jnix'd with opera; or a drama written in blank

48 LIBRARY OF CONGRESS

Albion and Albanius — Continued.

verse adom'd with scenes, machines, songs and dances: so that the fable of it is all spoken and acted by the best of the comedians; the other part of the entertainment to be penorm'd by the same singers and dancers who are introduc'd in this present overa . . . But some intervening accidents having hitherto deferr'd the performance or the main design, I propos'd to the actors, to turn the intended prologue into an entertainment by itself, as you now see it, by adding two acts more to what I had already written. The subject of it is wholly allegorical . . . The descriptions of the scenes and other decorations of the stage, I had from Mr. Betterton, who has spar'd neither for industry, nor cost, to make this entertainment perfect, nor for invention of the ornaments to beautifie it . . ."

In the "Post-Script" Dryden says that though the whole preface was written before the death of Cliarles II., he found himself so satisfied with it even after the King's death, that he saw no reason for alterations except "for the addition of twenty or thirty lines in the Apotheosis of Albion" to "save" the piece "from a botch'd ending." He also says that by the late King's command the opera, especially the first and third acts of it, had been "practis'd before him" to his entire satisfaction with opera. He died just before the first performance. ML 50.2.A43

— Albion and Albanius : an opera. Perform'd at the Queens Theatre in Dorset-Garden. Written by Mr. Dryden ... London, Jacob Tonson, 1691. .7 p. l, 34 p. 21'='".

P. 32-33 incorrectly numbered 24-25.

Three acts. Text and contents as in the 1685 edition. Schatz 4060

Albion restored, or Time turned ocuUst: a masque. London, J. Seymour, 1758. 22 p. 20^"^.

One act. Dedicated "To the Grand President ... of the Laudable Order of Anti-Gallicans ... by the author, a true Anti-Gallican." No further data in Clarence's "The Stage," except that the masque was produced in 1757. "Not acted and probably never set t<? music " (Squire). ML52.2.A3

L'Alboino in Italia. Drama per musica da rappresentarsi nel famo- sissimo Teatro Grimano di SS. Gio. e Paolo I'anno 1691 . . . Venetia, Nicolini, 1691. 57 p. i^'™.

Three acts. Dedication signed with the initials of Giulio Cesare Corradi, argu- ment, scenario, and notice to the reader, speaking of this as: "due miracoli di musica, {)rodotti da due gran maestri, e publicati da sette voci canore tutte ammirabili nel oro essere." These two composers were Giuseppe Felice Tosi and Carlo Francesco PoUaroU. Schatz 10382

Albumazar. Drama per musica da rappresentarsi nel Teatro Ven- dramini a S. Salvatore la prima vera dell anno MDCCXXVII. Venezia, Marino Rossetti, 1727. 48 p. 14^"^-

Three acts. By the composer, Giuseppe Maria Bulni (Schatz). Argument. First performed at Bologna, Teatro Formagliari, carnival 1727. Schatz 1387

L'Alcate. Drama di Marc' Antonio Tirabosco. Rappresentato in musica nel Teatro novissimo di Venetia I'anno 1642 . . .

Venetia, Gio. Battista Suriano, I642. 96 p. 14""^.

Prologue and three acts. Author's dedication dated Venice, February 13, 1642, with name of Francesco Manelli as composer, his notice to the reader and argument.

Schatz 5890

L'Alcatrasso geloso. Drama per musica di D. Carlo Antonio Mar- chesini Mantovano . . .

Vicenza, Giacomo Amadio, 1672. 72 p. 14'='^.

Three acts. Impresario's dedication, notice to the reader, scenario, and argument. The composer, Alessandro Spinazzaxi, is not mentioned.

First performed at Vicenza, Teatro di Piazza, 1672. Schatz 9975

OPERA LIBRETTOS 49

Alceste. Tragedia per musioa.

Vienna, Ghelen, 1767. 54 p. 7 <?'="'.

Three acts. By Ranieri de 'Calsabigi, who signed the dedication. Argument and scenario, but no cast, and Gluck, the composer, is not mentioned.

First performed at Vienna, December 26, 1767. (Wotquenne incorrectly sub- stitutes December 16 in his Thematic catalogue without giving his reasons.)

ScHATZ 3885

— Alceste. Tragedia per musica da rappresentarsi in Bologna nel Nuovo Pubblico .Teatro nella pJmavera dell' anno MDCCLXXVIII.

Bologna, Sassi, n. d. 60, [2] p. 19^"^.

Three acts. Argument, cast, and names of Calsabigi as author, of Gluck ("Sig. cavaliere Gluk fra gli Arcadi Armonide Terpsicoreo") as composer.

First performed, as indicated. May 9, 1778. ML48.A5 v. 29

— Alceste, tragedie-opera, en trois actes, representee pour la pre- miere fois par rAcademie-royale de musique, le mardi 16 avril 1776. Et rimise au theatre le vendredi 22 octobre 1779.

Paris, aux depens de V Academie. de Vimprimerie de P. de Lormel, 1779. 52 p. 24^^"^.

Three acts. Cast. By Du RouUet, who in the unsigned Avertissement comments on the liberties which he took with Calsabigi's text. Gluck is mentioned as the composer.

Originally performed at Paris, Academie royale de musique, April 23, 1776 (de- ferred from April 16, the date of the original libretto), and not on April 30, as the printed score has it. (Comp. Wotquenne.) Schatz 3888

— Alceste, tragedie-op^ra en trois actes; representee devant Leurs Majestes, a Fontainebleau, le 13 octobre 1785, et remise a Paris, sur le Theatre de I'Academie royale de musique, le vendredi 24 fevrier 1786.

Paris, P. de Lormel, 1786. 47 p. 24^"^.

Three acts. By Du Roullet, who is not mentioned. Cast and name of Gluck as the composer. Schatz 3940

Second copy. ML48.M2B

— Alceste. Eine ernsthafte oper in drey akten von Schmieder. Die musik ist von Ritter Gluck.

n. i., 1792. 48 p. 13^^.

First performed at Mayence, National theater, April 9, 1791. Schatz 3889

— La bonne femme, ou Le Phenix, parodie d'Alceste, en deux actes, en vers, mdles de vaudevilles et de danses; representee pour la premiere fois par les Comediens italiens ordinaires du Roi, le dimanche 7 juillet 1776.

Paris, Chardon, 1776. 47 p. 19'"^.

Neither author nor composer recorded by Schatz. Schatz 11484

Alceste. Dranmia tragico da rappresentarsi nel Regio-Ducal Teatro di Milano nel carnovale dell' anno 1769 . . .

Milano, Giuseppe Richino Malatesta, 1768. 6 p. I., 46, [1] p. 14h'^' Three acts. By Ranieri de' Calsabigi, who is not mentioned. Dedication, argu- ment, cast, scenario, and name of Pietro Guelielmi as the composer. Pasted on the p. following the (unnumb.) p. 46 the aria " V^go la sposa, oh Die" as substitute for So, che morir dovrei," III, 2. First performed, as indicated, December 26, 1768. Schatz 4233

72251°— VOL 1—14 4

50 LIBRARY OF CONGRESS

Alceste. Tragedia per musica del Signer Antonio Simon Sografi A. V. Poeta del nobilissimo Teatro La Fenice. Composta per il teatro stesso pel carnovale 1799.

Venezia, Stamperia Valvasense, n. d. 64 p- 17*^^.

Three acts. Cast, scenario, and name of Marcos Portugal as the composer ("La musica tutta nuova"). On p. 63 a substitute scene for III, 1. On p. [53J-62 Argu- ment, cast, description, and name of Luigi Gianella as composer of la musica tutta nuova" of Onorato Viganb's "La morte di Geta, ballo eroico tragico pantomime" in five acts.

First performed, as indicated, December 26, 1798. . Schatz 8396

Alceste. Ein singspiel in fuenf aufzuegen.

n. L, 1773. 48 p. 18^"^.

Cast. Neither Wieland, the author, is mentioned nor Anton Schweitzer, the composer.

First performed at Weimar, Kleines Schlosstheater, May 28, 1773. Schatz 9768

— Alceste. Ein singspiel in fiinf aufzuegen. In musik gesetzt von dem kapellmeister Anton Schweitzer, und in den jahren 1773 und 74 auf dem damahligen Weimarischen Hoftheater aufgefiihrt.

n. i. 58 p. 26^"^. (Wielands Sdmmtl. werJce, xxvi. bd.)

Before 1800? Schatz 9768a

Alceste ou Le triomphe d'Alcide, tragedie. Representee devant Sa Majeste k Fontainebleau. Suivant la copie imprimee h, Paris. [Amsterdam, Antoine Schelte], 1688. 68 p. {incl. front.) 13Y^.

Prologue and five acts. Cast and dedicatory poem to the king. Neither author nor composer mentioned. ML 50.2.A49L9

— Alceste, ou Le triomphe d'Alcide, tragedie representee par FAcademie royale de musique Fan 1674. Les paroles sont de M. Quinault e la musique de M. de LuUy. V. opera.

n. i., n. d. 14'^^- front., 205-272 p. {Recueil general des opera, t i, Paris, 1703.)

Detached copy. Dedicatory poem, prologue, and five acts. First performed, as indicated, January 19, 1674. Schatz 5758

Second copy. ML 48. R4

— Alceste, ou Le triomphe d'Alcide, tragedie. Representee par FAcademie royale de musique, en 1674.

Quinault, Theatre, t. iv, Paris, 1739. pi, p. [143]-189. 17'^'^. Prologue and five acts. Liilly is not mentioned. PQ1881.A1739

— Alceste, parodie. Par les Srs. Dominique & Romagnesi . . . Representee pour la premiere fois, par les Com^diens italiens ordi- naires du roi, le 28 juin 1728.

Les parodies du Nouveau theatre italien, Nouv. ed., Paris, Briasson, 1738, t. iv, [121]-182 p. 16^<=^.

One act. The airs and vaudeville used are printed at end of the volume in the "Table des aire" (92 p.). ML 48.P3

— La noce interrompue, parodie d'Alceste, representee pour la premiere fois; par les Comediens italiens, ordinaires du roi, le jeudi 26 Janvier 1758.

Paris, la veuve Delonnel & flls, 1 758. 2 p. I., 64 p. 19^"^. ( Theatre de M. Favart, Paris, Duchesne, 1763-77, t. iv.)

Three acta. Cast. No music printed in the text! Composer, resp. arranger, not knowB to Font. ML 49.A2F1

OPERA LIBRETTOS 51

Alceste; or, The triumph of conjugal love. A tragic ballet.

Noverre, Jean George, ^Yorks. Tr. from the French, London, 1783, V. 3, p. [301]-330. 21 Y"^'

Detailed description of the nine scenes. GV 1787. N8

Alceste e Admeto, ballet. See Monza's Cleopatra.

Alceste ed Admeto. A. T. of the baUet La discesa d' Ercole all' inferno.

Alcesti, o sia L'amor sincero. Tragedia musicale, nelle seconde nozze deUa Reale Altezza di Savoia. L'anno 1665. Torino, Bartolomeo Zavatta, 1665. 76, [1] p. 17Y^\ Prologue anfl five acts. Argument. Not recorded by Schatz. ML 50.2.A5

Der alchymist. See Meissner's text Der liebesteufel oder Der alchymist.

L'Alciade overo L? violenza d'amore, opera tragicomica da rappre- sentarsi in Bergamo nella partenza . . . dell' illustriss., e eccel- lentiss. Sig"" Francesco Donaldo . . .

Milano, Giuseppe Pandolfo Malatesta, 1709. 52 p. 14'^"^.

Three acts. By Marc' Antonio Gasparini, who is not mentioned, and whose original alternative title was "L'eroico amore." The one quoted above is pasted over the original. Argiunent, scenario, cast, and names of the composers, Carlo Francesco Gasparini, act I; Carlo Francesco Polaroli, act II; Francesco Ballarotti, act III.

Schatz 3597

— L'amante impazzito. Drama per musica, da rappresentarsi nel Teatro di S. Fantino Fautunno dell' anno 1714 . . .

Venetia, Girolamo ATbrizzi, n. d. If.6 p. IJ^.'^™-.

Three acts. Merely a later version of "L'Alciade overo La violenza d'amore." The dialogue not so different in the two versions as the arias. For instance, the opening aria of third act "Sento che a poco a poco" has been dropped, "Qui la vipera sog- gioma" (III, 5) has become "Sul mio crin di sdegno armato," "Come sento in un momento" (III, 7) has become *'T' intendo si mio cor," etc. Neither author nor the composers are mentioned. Dedication, notice to the reader, and scenario.

Schatz 3598

■^ L'Alciade. Drama decimo quarto di Giovanni Faustini. Da rap- presentarsi in musica nel famoso Theatro Grimano di SS. Gio. e Paolo l'anno MDCLXVII ...

Venetia, Francesco Nicolini e Steffano Curti, 1667. 83 p. 15*^^.

Prologue and three acts. Nicolini's dedication, argument, scenario, and this notice to the reader:

"II Signor Giouanni Fauetini nell' etil sua piii giouenile per diletto proprio applic6 I'ingegno alle compositioni Dramatiche Musicali, nelle quali riusci ammirabile nell' invetione in particolare; Onde nel corso di soli anni nove (essendo stato troppo pre- maturemente rapito dalla morte l'anno 1651., nel trigesimo secondo dell' etk sua) si viddero rappresentare nei Theatri di questa Citt^ con gli applausi maggiori la Virtil de Strali d'Amore, L'Egisto, L'Ormindo, il Titone, La Doriclea, L'Ersilda, L'Euripo, L'Oristeo, La Rosinda, La Calisto, L'Eritrea, & doppo la di lui morte ancora I'Eupa- tra, poi L' Elena rapita da Teseo, vestita col man to di Poesia da sublime virtuoso, tutte poste in Musica, 6 dalla Adrtti singolare del Signor Francesco Cavalli dignissimo Organista della Serenisslma Republica, 6 dal Signor Don Pietro Andrea Zianni hora Maestro di Capella della Maest^ dell' Imperatrice, incontrarono non solo nel genio, & nella sodisfattione di questa Citt^ tanto delicata nell' vdire simili rappresentationi, m^ di molte altre principali dell' Italia, nelle quali, piii, e piu volte sono state rap- preeentate con ogni pienezza d'applauso; anzi che con I'lnuentioni multiplici, &

62 LIBRARY OF CONQRESS

L'Alciade — Continued.

varie d' esse quasi come di cose obliate si sono addobbate, & arrichite altre com- poeitioni. Restano ancora tre fatiche di questo virtuoso: La Medea placata, L'Al- ciade, & il Meraspe, overo il Tiraimo humiliato d'Amore: L'anno presente com- parianno nel Nobilissimo Theatro Grimano prima I'Alciade, & poi il Meraspe, pro- messi dall' Auttore nelle sue stampe l'anno 1651., che passb ad altra vita; L'inyen- tioni saranno nuove, curiose, & dilettevoli, havendo procurato d'allontanarsi da introdurvi in esse femine in habito virile datesi ^ credere per huomeni, & altre cose ancora, piu, & piu volte vedute, rappresentate; Onde si puo credere, che anco queste fiiano per incontrare nella sodisfattione della Citt^. Nell' Alciade si sono aggionte alcune cose, composte da virtuoso sog^etto per favorire, & k richiesta di chi^ rap-

f>resentare il DRAMA. La compositione aella Musica d'Esso 6 del Si^nor Zianni Pietro Andrea Ziani], che conforme al suo solito h^ fatto cose mirabi'li; Viui in tanto lieto, & tatendi alia favela." Schatz 11211

Alcibiade. Dramma per musica da rappresentarsi nel Teatro Tron di S. Cassano I'autunuo dell' anno MDCCKLVI.

cm

n. i., n. d. 72 p. 15

Three acts. By Gaetano Roccaforte. With argument, cast, scenario, and name of the composer, Giuseppe Carcano, but not of librettist.

First performed at Venice, as indicated. Schatz 1621

/ L'Alcibiade. Drama per musica nel famosissimo Teatro Grimano ^ SS. Gio. e Paolo. Di Aurelio Aurelii. Opera XX. . . .

Venetia, Francesco Nicolini, 1680. 72 p. (incl. front.) l^*^^.

Three acts. Author's dedication, argument, scenario, and notice to the reader, ■with name of Marc' Antonio Ziani as the composer.

First performed, as indicated, carnival 1680. Schatz 11177

Second copy. ML 48. M2

Alcide, tragedie representee par I'Academie royale de musique I'an 1693. Les paroles de M. Capistron, & la musique de M"" Louis de Lully, & de M*" Marais. XXIX. opera.

n. i., n. d. 14'^'"K front., 229-280 p. {Recueil general des opera, t. iv, Paris, 1703.)

Detached copy. Five acts and prologue.

First performed, as indicated, February 3, 1693. Schatz 5785

Second copy. ML 48. R4

— La mort d'Hercule, tragedie, representee pour la premiere fois par I'Academie royale de musique, sous le titre d'Alcide, le [blank] d'avril 1693. Remise au theatre le 23 juin 1705.

Paris, CtiristopJie Ballard, 1705. 6 p. I., 48, [1] p. 23 p.

Prologue and five acts. Cast. Neither Campistron nor the composers, Louis de Lully and Marin Marais, are mentioned. ML 50.2.A51L9

Alcide al Bivio. Questa festa teatrale, tutta allusiva ai sicuri se^ni d 'indole generosa dati fin dalla prima sua adolescenza dal gran prm- cipe per cui e scritta, fu d'ordine sovrano composta in Vienna, e rap- presentata con musica dell' Hasse nella Cesarea corte . . . per le nozze delle AA. RR. di Giuseppe II ... e della principessa Isabella di Borbone, l'anno 1760.

pi., [207]-248 p. 26'^'^. {Metastasio, Opere, t. viii, Parigi, vedova Herissant, 1781.)

One act. Argument. ML 49.A2M44

OPERA LIBRETTOS 53

Alcide al bivio. Festa teatrale da rappresentarsi in musica per le felicissime nozze delle LL. AA. RR. I'arciduca Giuseppe d'Austria e la principessa Isabella di Borbone ... In Vienna I'anno MDCCLX.

n. %., n. d. Unpaged. 211'^^.

The ornamental engraved title page is preceded by a frontispiece engraved by Ant. Tischler and followed by exquisite head and tail pieces by the same artist.

One act. Argument, cast, and name of Johann Adolph Hasse as the composer. The author, Metastasio, is not mentioned.

First performed at Vienna, Grosser Redontensaal, October 8, 1760. Schatz 4505

— Alcides an der doppel-strasse. Ein theatralisch-musicalisches schauspiel, so bey dem glorreich begangenen vermaehlungs-feste Ihrer Koenigl. Honeiten des Durchleucntigsten erz-herzogens Joseph von Oesterreich, und der Durchleuchtigsten prinzessin Isabella von Bourbon ... in Wien aufgefuehret worden, im jahr 1760. Ver- fasset von herrn abbate Metastasio . . . und in das teutsche ueber- setzt von J. A. E. v. G.

[TFien], Gedruckt mit von Ghelischen schriften, n. d. Unpaged,

One act. Translated by Johann Anton, edler van Ghelen. Argument, cast, and name of Johann Adolph Hasse as composer. , Schatz 4506

— Alcide al bivio. Dramma per musica, da rappresentarsi nel Regio Teatro. — Alcides ved te to veie . . .

K%0benhavn, H. J. Graae, 1774. 79, [3] p. 17^.

One act and licenza. Argument, cast, and name of Johann Adolph Hasse as the composer. Danish text faces Italian.

First performed, as indicated, February 2, 1774. Schatz 4507

Alcide negli orti Esperidi, ballet. See P. Guglielmi's Tomiri.

Alcides an der doppel-strasse. Tr. of Hasse's Alcide al bivio.

Alcides ved te to veie. Tr. of Basse's Alcide al bivio.

Alcimena principessa dell' Isole Fortunate o sia L'amore fortu- nato ne' suoi disprezzi. Dramma per musica da rappresentarsi nel Teatro Tron di San Cassiano il carnovale dell' anno 1750.

Venezia, Modesto Fenzo, 1750. 39 p. IGY"^'

Modern transcript. By Pietro Chiari, who is not mentioned. Argument, cast, and name of Galuppi as composer.

First performed, as indicated, December 26, 1749 (Pavan), Schatz 3479

Alcina. An opera: as it is perform'd at the Theatre Royal in Covent-Garden. The third edition.

London, T. Wood, 1736. 48 p. 17'"^.

Three acts. Argument and caet. Neither the author, Antonio Marchi, nor the composer, Georg Friedrich Handel, is mentioned. An English translation faces Italian, which is an altered version of Marchi's "Alcina delusa da Ruggiero."

First performed, as indicated, April 16, 1735. Schatz 4496

Alcina delusa da Rugero. Drama per musica da rappresentarsi nel Teatro Tron di S. Cassan I'autunno dell' anno MDCCXXV. Di Antonio Marchi.

Venezia, Marino Rosetti, 1726. 68 p. l^Y"^-

Three acts. Notice to the reader, east, scenario, and name of Tommaso Albinoni ae composer. Schatz 113

54 LIBRAT^Y OF CONGRESS

Alcina delusa da Rugero — Continued.

— or evenimenti di Rugero. Drama per musica da rappresen- tarsi nel Teatro Giustiniano di vS. Mois6 il carnevale dell anno MDCCXXXII. Di Antonio Marchi . . .

Venezia, Siefano Valvasense, 1732. Jfi p. IS^""^.

Three acts. Cast, scenario, and notice to the reader. Merely a somewhat altered version of Albinoni's "Alcina delusa da Rugero." For instance, the opening four lines of the first scene "Care spiaggie, amato lido," were dropped. Schatz 93

Alcina e Leone, ballet. See Rust's Alessandro nelV Indie.

Alcina e Ruggero. Dramma per musica da rappresentarsi nel Regio Teatro di Torino nel camovale del 1775 alia presenza dalle Maestk Jjoro.

Torino, Onorato Derossi, n. d. viii, 68 y. 15^'^.

Three acts. Notice to the reader, scenario, cast, and names of Vittorio Amedeo Cigna-Santi as author, Felice Alessandri as composer. The ballet music was com- posed by "Paolo Ghebart," of Vienna. Schatz 141

Alcina ed Astolfo, ballet. See Zingarelli's Annibale in Torino.

Alcine, tragedie. Re'^:)r^sentee par I'Academie royale de musique I'an 1705. IjCS paroles de M. Danchet & la musique de M. Campra. LXIII. Opera.

n. %., n. d. front., 333-392 p. 14'^^. (Becueil general des opera, Paris, 1706, t. viii, no. 7.)

Detached copy. Five acts, with prologue. Schatz 154

Second copy. ML 48.R4

— Alcine, tragedie, representee par I'Academie royale de musique le quinzieme jour de Janvier 1705.

Amsterdam, Henri Schelte, 1707. 69 (incl. front.), [3] p. IJf"'. Five acts with prologue. Cast. Neither Campra nor Danchet mentioned. On the [3] p. a "Catalogue de tons les opera" published by Schelte. ML 50.2.A512C2

— Alcine, tragedie. Representee par I'Academie royale de musique, I'an 1705.

{335\-398 p. 17 Y"^. (Antoine Danchet, TJiedtre, t. ii, Paris, 1751)

Prologue and five acts. The composer, Andr^ Campra, is not mentioned.

PQ 1972.D2

Alcines oe. Tr. of Gazzaniga's L'isola d' Alcina.

Alcione. Dramma per musica per celebrare il felicissimo giorno natalizio della serenissima Signora Donna Maria Francesca Benedetta principessa del Brasile li 25 luglio 1787.

[Lishona], Nella stamperia reale, n. d. 28 p. 15'^'^.

One act. By Gaetano Martinelli. Argument, cast and names of the author and the composer, Joao de Sousa Carvalho. Schatz 1674

Alcione, tragedie, representee par I'Academie royale de musique le jeudy dix-huitieme revrier 1706.

Amsterdam, Henri Schelte, 1707. 67 {incl. front ,), [3] p. I4 <^™.

Five acts with prologue. Cast. Neither the author, La Motte, nor the composer, Marais, mentioned. On the [3] p. "Catalogue de tous les opera" published by Schelte. ML 50.2.A513M2

OPERA LIBEETTOS 55

Alcione — Continu ed .

— Alcione, tragedie representee par TAcademie royale de musique I'an 1706. Les paroles de M. de la Mothe & la musique de M. Marais. LXVI. Opera.

n. i., n. d. pL, p. 65-114 {Recueil general des opera, Paris, 1710, t. ix) U'^'^.

Detached copy. Five acts and prologue. Schatz 5919

Second copy. ML 48. R4

A Aldeana em corte. Tr. of Rust's La contadina in corte.

Aldiso. Drama per musica da rappresentarsi nel famosissimo Teatro Grimani a S. Gio. Grisostomo. Nel carnovale delF anno 1726.

Venezia, Marino Rossetti, 1726. 59 p. ^4^^™.

Three acts. By conte Claudio Nicola Stampa, who is not mentioned. Argument, cast, scenario and name of Giovanni Porta as the composer. Schatz 8383

Alessandro.

Metastasio, Poesie, Parigi, vedova QuiUau, 1755, t. iv, 85 p. 16'''^.

Three acts. Argument. Same as his "Alessandro nell' Indie."

"Nella forma in cui sono stati ridotti dalF autore." {See note on p. 169 of v. VI.)

This revised version is easily identified from the first scene, which has no aria

and has the lines in Poro's monologue "Delia spoglia piii grande / II trionfo a cestui

. . . Ma la mia sposa." Also its III, 1 begins "Malasciami, Erissena" and has

the aria "Se troppo crede al ciglio."

Same, t vii, 117 p. W"^.

["Come . . ,. neir altre edizioni." (Note, VI, 169.) This original version has in I, 1 the aria " E prezzo leggiero " and the lines in Poro's monologue " Delia spoglia piu grande / II trionfo a cestui. Gia visse assai; " also its III, 1 begins " Erissena / Che miro " and has the aria " Risveglia lo sdegno." ML 49.A2M42

Alessandro.

[£21]-258 p. 17*^^. (RoUi, Componimenti poetid, Nuova edizione, Verona, G. Tumermani, 17 44-)

Three acts. Argument. The composer, Handel, is not mentioned.

First performed at London, Haymarket, May 5, 1726. ML 49.A2R7

— Der hochmuethige Alexander, in einem sing-spiele auf dem Hamburgischen schau-Platze vorgestellet ini jahr 1726.

Hamburg, Gedruckt mit Stromerschen schrifften, n. d. Unpaged. 18"'^.

Three acts. German version by C. G. Wendt of "Alessandro" by Rolli, neither of whom mentioned. Argument, scenario and name of Hendel (Georg Friedrich Handel) as the composer. Italian text of the arias added to the German.

Schatz 4473

Alessandro. Dramma pej musica in due atti, con balli analoghi. Da rappresentarsi nei Teatri di S. M. I. nel 1799.

S. Pietrohurgo, Stamperia impeHale, 1799. 35 p. W^.

Author not mentioned and unknown to Schatz. Argument (in Italian and French), cast and name of Friedrich Heinrich Himmel as the composer. Schatz 4741

• Ij' Alessandro amante. Drama per musica da rappresentarsi nel Teatro di San Moise I'anno MDCLXVII . . . Venetia, Francesco Nicolini cfc Steffano Curti, 1667. 5 p. I., 69 p. 14*^^'

Three acts with prologue. Impresario's dedication, dated January 28, 1667, notice to the reader, and scenario.

According to the preface, in which Giovanni Antonio Boretti is mentioned as composer, the libretto was finished after the death of the author, Giacinto Andrea

56 LIBRARY OF CONGRESS

L'Alessandro amante — Continued.

Cico^ini, "da altro virtuoso eoggetto." For these performances at Venice in 1667 the hbretto was considerably altered by an (anonymous) "virtuoso ingegno" to con- form to the tastes of the time. Cicognini's libretto was originally called "Gli amori di Alessandro e di Rossane" and as such was performed at Venice in 1651 with Fr. Luzzo's music. With music by Benedetto lerrari the libretto was performed at Bologna in 1656 and in 1663 Lupardi published a new edition at Rome under the title "La Rosane, con gli Amori di Alessandro Magno." Both of these editions are preserved at Brussels and described by Wotquenne. Schatz 1215

Alessandro e Campaspe, ballet. See Mayr's Un pazzo ne fa cento.

Alessandro e Poro. Dramma per musica da rappresentarsi nel Regie Teatro di Berlino per ordine di Sua Maest^. Berlino, A. Hande, 17 U- 187, [3] 16^"^.

Three acts. Metastasio (original title: "Alessandro nell' Indie") is mentioned as author and Carl Heinrich Graun as the composer. Argument and scenario. Ger- man title page "Alexander und Porus" and text face Italian.

First performed as indicated, December 21, 1744. Schatz 4087

Alessandro e Timoteo. Dramma per musica da rappresentarsi nel R. D. Teatro di corte nella primavera dell' anno MDCCLXXXII.

Parma, Stamperia reale, n. d. 8 p. I., 37 p. 28^^.

One act. Dedicatory poem signed by the author, conte Gastone della Torre di Rezzonico. Argument, cast, scenario and name of Giuseppe Saxti as the com- poser. ("La musica sar^.")

First performed as indicated, April 6, 1782. Schatz 9424

Alessandro fra' le Amazon!. Drama per musica da rappresentarsi nel Teatro di S. Angelo I'anno 1715 . . .

Venezia, Marino Rossetti, 1715. 60 p. 16"™.

Three acts. By Grazio Braccioli. Author's dedication, notice to the reader, cast, scenario and name of the composer, Fortunato CheUeri. Schatz 1812

Alessandro il vincitor di se stesso. Tragicomedia musicale. Di Francesco Sbarra in questa terza impressione ridotta all' intera sua forma . . .

Lucca, Francesco Marescandoli, 1654- 177, [1] p. 13^"^.

Three acts, with two prologues, author's dedication dated Lucca, Feb. 1, 1654, notice to the reader, argument, and at end (p. 170-177) source of plot, allegoria, cast, and names of the two composers. ("La musica f u per la maggior parte del Sig. Antonio Cesti . . . et il resto del Sig. Marco Bigongiari . . .") The one additional page contains a sonnet by Dalli to Sbarra. The one prologue is that "recitato in Venetia," 1651, with Cavalli's music, the other that "rappresentato in Lucca." The author's notice to the reader is in substance similar to that in the Venice, 1651, ed. of the text (see infra), but special emphasis is laid on the fact that the original version ' ' precipitato dalla mia penna, si port6 k Venetia per le poste, ove per accomodarsi alia brevit^, che in simili funtioni si desidera, fii ridotto in forma molto minore di quella, che port6 dalla sua nascita, ricoperto in gran parte questo defetto dalla magnificenza delle scene, e machine, dalla vaghezza, e bizzarria delle comparse, e de bsuli, e sopra tutto dall' eccellenza della musica, e dall' esquisitezza de gl' attori; hoggi per6 che s'espuone sopra il nostro teatro non potendo farsi vedere con quegl' aLodoDbi, de i quali fti arricchito in Venetia, comparisce se non vagho, almeno intero, e con tutte le sue parti . . ."

The differences between the two editions are quite noticeable. For instance, I, 9 of the Venice ed., "Piii celar non si pub," is I, 11 in the Lucca ed.; I, 9 of the Lucca ed., "Alessandro, che pensi," is I, 10 in the Venice ed.; I, 14 in the Lucca ed., "Ohimfe, dov'6," as I, 12 in the Venice ed. Schatz 1786

OPERA LIBRETTOS 57

Alessandro in Armenia. Dramma per musica da rappresentarsi nel nobilissimo Teatro di S. Benedetto rautunno delF anno 1768. Venezia, Modesto Fenzo, 1768. 48 p. 17^"^.

Three acts. Dedicatory sonnet addressed by "Dolenio, P. A." to the author, argu- ment, cast, and names of the composer Giovanni Battista Borghi, and the librettist, "Cleofonto Doriano P. A. Accademico Quirino, Infecondo ec. ec. ec." Wotquenne does not mention this Arcadian name in his "Essai d'un dictionnaire des noms academiques . . ." (Brussels Catalogue, Annexe I.), but Schatz identifies him with conte Antonio Papi.

First performed, as indicated, November 26, 1768. Schatz 1226

Alessandro in Sidone.

Apostolo Zeno, Poesie drammaiiche, Venezia, llliJt., t. ix, p. [29S\' 4I6 p. W"".

Five acts. Ai^ument. Written in collaboration with Pietro Pariati. No com- poser is mentioned. In the "Catalogo" at end of t. x, date and place of first ed. are given as Vienna, 1721. ML 49.A2Z3

— Alessandro in Sidone. Pubblicato per la prima volta in Vienna 1721.

Apostolo Zeno, Poesie drammatiche, Orleans, 1785 ~86, t. xi, p. 223- 347. 21""^.

Five acts. Argument. No composer is mentioned. Written in collaboration with Pietro Pariati. ML 49.A2Z4

Alessandro in Sidone. Tragicom media per musica, da rappre- sentarsi nella Cesarea corte . . . nel carnevale dell' anno MDCCXXI. La musica e del Sig. Francesco Conti ...

Vienna d^ Austria, Gio. Van Ghelen, n. d. 4 P- ^v ^^ V- 14Y^-

Five acts. By Apostolo Zeno and Pietro Pariati, who are not mentioned. Argu- ment and scenario. Nicpola Matteis is mentioned as the composer of the ballet music.

First performed at Vienna, Hoftheater, February, 1721. Schatz 2192

— Alessandro in Sidone. Tragicomedia per musica da rappre- sentarsi sul famosissimo Teatro di Braunsviga nella fier? d'estate I'anno 1726. — Alexander in Sidon ...

Wolffenbuttel, Christian Bartsch, n. d. Unpaged. 18'^'^.

Three acta. Scenario and name of Francesco Conti as composer. The argument is in German. Text in Italian and German. The first act exactly like the first act in the Vienna, 1721, five-act ed. The first nine scenes of the second also identical, but then the differences begin, owing to the contraction of the text into three acts. For instance, the scene "Tu, Addolonimo, sei " (II, 11) has been dropped, also "Come pensi echemirle" (III, 1) and "Due soli di nostr' alma" (III, 2) has become II, 12.

Schatz 219i

Alessandro in Susa. Tragicomedia da rappresentarsi in musica nel famosissimo Teatro Grimano di S. Gio. Grisostomo Tanno 1708 ...

Venezia, Marine Rosetti, 1708. 60 p. 14^"^-

Five acts. By conte Girolamo Frigimelica Roberti, who is not mentioned. Print- er's notice to the reader, dedication in form of argument, "fondamento istorico, e poetico," cast, scenario. Luigi Manza, the composer, is not mentioned. (Schatz records a Carlo Manza as composer, Eitner, perhaps more correctly, the above.)

Schatz 5916

58 LIBRAEY OF CONQEBSS

' Alessandro Magno in Sidone. Drama per miisica. Da rappre- sentarsi nel famoso Teatro Grimano k SS. Gio. Paolo di Aurelio Aureli. Opera XIX . . .

Venetia, Francesco Nicolini, 1679. 70, [1] p. l^*^.

Three acts. Dedication, argument, scenario, and author's notice to the reader, in which he mentions the "giovinetto Signer Marc' Antonio Ziani," and says:

"Amico, sbche ti sembrera stravagante successo il veder la mia Musa, che dopo haver nel corso di due lustri esule pellegrina dal famoso Teatro Grimano, ora conosciuta, ora mascherata, ed occulta passeggiato sovra altri teatri, ritorni in quest' anno h, calcar quella scena dove tra pomposi e dorati cotumi campeggi6 fortunata ne la rappresertatione di undici continuati miei drami . . ."

First performed, as indicated, carnival, 1679. Schatz 11178

— Alessandro Magno in Sidone. Dfama in musica, rappresen- tato in Venetia nel famosissimo Teatro Grimano di S. S. Giovanni e Paolo. Hora da rappresentarsi con alcune aggionte in Vicenza . . .

Vicenza, gVH. di Giacomo Amadio, 1681. 68 p. 14*^^. Three acts. Dedication, argument, scenario. Neither Aureli, nor Ziani men- tioned. ML 50.2.A515Z3

— La virtu sublimata dal grande, ovvero II Macedone conti- nente. Drama per musica. Da rappresentarsi nel Teatro di Canal regio I'anno MDCLXXXIII.

Venetia, Francesco Nicolini, 1683. 60 p. l^Y'^.

Three acts. Argument, scenario, and prefatory notice to the reader with apolo- ^es for this replica of "Alessandro Magno in Sidone" in a small theatre with an inferior cast. Neither the author, Aureuo Aureli, nor the composer, Marc' Antonio Ziani, is mentioned.

First performed under the new title, as indicated, carnival 1683. Schatz 11209

L' Alessandro nell' Indie.

[243'\-322 p. 19^^. (Pietro Metastasio, Opere drammatiche, Vene- zia, Giuseppe BettineUi, 1733-37, v. 2.)

Three acta. Argument. No composer mentioned. {Comp. next entry.)

ML49.A2M40

— Alessandro nell' Indie. Rappresentato con musica del Vinci la prima volta in Roma nel Teatro detto delle Dame, il 26 decembre deir anno 1729.

J)l., [263]-356 p. 26'^'^. (Pietro Metastasio, Opere, t. 4, Parigi, ova Herissant, 1780.) Three acts. Argument. The revised version of his "Alessandro," which see for telling differences between the versions. ML 49.A2M44

Alessandro nell' Indie. Drama per musica da rappresentarsi nel teatro di Torre Argentina nel carnevale dell' anno 1772 . . .

Roma, Archangelo Casaletti, n. d. 71 p. 15'^'^.

Three acts. Impresario's dedication with indication of Metastasio as author, argument, cast, scenario,' and name of Pasquale Anfossi as composer.

First performed January 7, 1772, as indicated. Schatz 282

Alessandro nell' Indie. Dramma per musica da rappresentarsi in Oranienbaum . . . La poesia k, del celebre Signor abbate Pietro Metastasio ... La musica e del Signor Francesco Araja . . .

St. Pietrohurgo, nella Stamperia delV Accademia imperiale deUe scienze, 1759. 125 p. 18'='^.

Three acts. Cast and scenario. French text faces Italian.

First performed at St. Petersburg, Court opera, Dec. 8 (19), 1743. Schatz 304

OPEEA LIBRETTOS 59

Alessandro nell' Indie. Dramma serio per musica da rappresen- tarsi in Bologna nel Teatro Zagnoni rautunno dell' anno 1787 . . .

Bologna, Sassi, n. d. 51, [2] p. 17 Y"^.

Imprimatur dated October 8, 1787. Impresario's dedication, argument, cast, scenario and name of Francesco Bianchi as composer. Metastasio is not mentioned.

ML 50.2.A517B25

— Alessandro nell' Indie. Dramma per musica da rappresentarsi nel nuovo e nobilissimo Teatro detto La Fenice I'autunno dell' anno 1792.

Venezia, Modesto Fenzo, 1792. 64 p. leV"^.

Three acts. Argument, cast, scenario, and name of Francesco Bianchi as com- poser, but not of the librettist, Pietro Metastasio. On p. 29-32 argument and cast of the "Ballo primo. Giulio Sabino . . . composto e diretto dal Signor Onorato Vi- ganb." Neither of this nor of his second ballet "Lafolliaelasaggiezza" is the com- poser of the music mentioned.

First performed at Venice, Teatro di S. Benedetto, January 28, 1785

SCHATZ 974

Alessandro nell' Indie, ballet. See Cimarosa's Circe.

[Alessandro nell' Indie] Alexander in Indien, ein musical isches schauspiel aufzufuehren auf dem grossen hochfuerstl. Braunschw. Theatre im Opern-hause in der AVinter-Messe 1752.

Braunschweig, Keitel, n. d. Unpaged. 18'^^.

Three acts. By Metastasio. German text faces Italian. Argument, scenario, cast, and name of the composer "Ignazio Fiorillo, maestro di capella di corte." ("di nuova composizione")

Accordingly * E prezzo leggero" was added to 1, 1, and "Se vuol mirarti esangiie" to II, 8.' The latter is not by Metastasio.

Second setting, first performed at Stuttgart, Hochfiirstl. Theatre, in February, 1752. The first setting was first performed at Mantova, Nuovo Arciducale Teatro, carnival 1738 (Piovano). Schatz 3198

Alessandro nell' Indie. Dramma per musica da rappresentarsi nel Teatro di San SamueUe per la fiera dell' Ascensione dell' anno MDCCLV.

Venezia, Angiolo Geremia, n. d. 60 p. 15Y™'.

Three acts. By Metastasio. Argument, scenario, cast, and name of Baldassare Galuppi as composer. Between p. 6-7 one page of "Arie aggiunte e mutate."

Schatz 3430

— Alessandro nell' Indie. Dramma per musica da rappresentarsi nel nuovo Teatro di corte per comando di S. A. S. E. Massimiliano Gioseppe . . . nel giorno glorioso di suo nome li 12, ottobre 1755. La poesia e del Sig. abbate Pietro Metastasio . . . La musica e del Signor Baldassare Galuppi ... • '

Monaco, Gio. Giac. V'otter, n. d. 131, [1] p. W™.

Three acts. Argument, scenario, and cast. German title "Alexander in Indien" and text face Italian. At end, one page of Errata. Schatz 3431

Alessandro nell' Indie. Dramma per musica da rappresentarsi nel Real Teatro di S. Carlo nel di 4 di novembre 1789 per resteggiarsi il glorioso nome di Sua Maesth. la regina . . .

Napoli, Vincenzo Flauto, 1789. 70 p. i^*"™.

Two acts. By Metastasio, who is not mentioned. Impresario's dedication dated, Naples, November 4, 1789, cast, argument, scenario, and name of Pietro Guglieliai as the composer. On p. 9-28 cast and description of Sebastiano Gallet's "Telemaco neir isola cii Calipso, ballo eroico pantomimo m cinque atti," music by Pietro Dutil- lieu. On p. 29-31 synopsis of the ballet "Di rado Tuom sa giudicar se stesso," also by Gallet. Schatz 4234

60 UBRAEY OF CONGRESS

Alessandro nell' Indie, ballet. See P. Guglielmi's Enea e Lavinia.

L'Alessandro nell' Indie. Dramma per musica da rappresentarsi nel famosissimo Teatro Grimani di S. Gio. Grisostomo nel camovale deir anno 1736 .. .

Venezia, Marino Rossetti, 1736. 72 p. loY"^.

Three acts. By Metastaaio. Dedication by Domenico Lalli, argument, cast, Bcenario, and name of Johann Adolph Hasse as the composer. Mennicke lists this as a second version, numbering the "Cleofide" of 1731, whose text was based on "Alessandro nelle Indie " as the first version. Schatz 4508

— Alessandro nell' Indie. Dramma per musiea, da rappre- sentarsi nel Nuovo Teatro di Prespurgo nell' estate del' anno 1741 .. .

Preshurgo, Eredi Royeriani, n. d. 103 p. ISV'^.

Three acts. Dedication by Pietro Mingotti, argument, cast, scenario, and name of Franz Joseph Pirker aa the translator of the German text, which faces the Italian. Neither the author, Metastasio, nor the composer, Johann Adolph Hasse, is men- tioned. The text is somewhat different from that in the original Venice edition of 1736. For instance, I, 5 has now the aria "Scherza il nocchier tal' ora" instead of "O su gli estivi ardori," and the scene, I, 12, "Non condannarmi, amico," has be- come 1,9. Schatz 4509

— Alessandro nell' Indie. Dramma per musica da rappresen- tarsi nel famosissimo Teatro Grimani di S°.Gi6. Grisostomo net carne- vale 1743 . . .

n.i.,n.d. 1 p. I., 67 p. ./5<="».

Three acts. Argument, cast, scenario, and name of Joh. Ad. Hasse as the com- pjoser. The text is somewhat different from the Dresden ed of 1741 and the Venice ed. of 1736. For instance, their aria at end of I, 2, "Vedrai con tuo periglio," has been dropped, and their aria, " Vil trofeo d'un' almaimbelle," in 1, 3, has become " Vadan li rei felloni." In this Venice, 1743 ed., the original aria, "Osu gli estivi ardori," for 1,5, has been restituted, as also the scene "Non condannarmi, amico," as I, 12. Indeed, the Venice, 1743, ed., as might be expected, is more like the Venice, 1736, ed. than like the Dresden, 1741, ed. Schatz 4593

L'Alessandro nell' Indie. Dramma per musica da rappresen- tarsi nel Teatro ducale di Stutgart festeggiandosi il felicissimo fiorno natalizio di Sua Altezza Serenissima Carlo, Duca regnante di ^irtemberg e Teck, etc., etc. La poesia e del Signor abbate Pietro Metastasio ... La musica b nuovamente composta dal Signor Nicolo Jommelli . . .

Stutgart, Cristqfero Frederico Cotta, 1760. 201 p. 19^^, Three acts. Argument, scenario, cast. German title page "Alexander in Indian" and text face Italian. The ballets have no specific titles.

First performed at Stuttgart, as indicated, February 11, 1760. Schatz 4841

— Prologo da recitarsi avanti I'opera Alessandro nell' Indie nel Teatro ducale di Stutgart nel solenne giorno natalizio di Sua Altezza Serenissima Carlo, duca regnante di Wirtemberg e Teck, etc etc.

Stutgart, Cristqfero Frederico Cotta, 1760. 15 p. 18^"^.

Cast. German title, "Prologus," and text face Italian. Schatz 11754

— Alessandro nell' Indie. Dramma per musica da rappresen- tarsi nel Keal Teatro dell' Ajuda nel felicissimo giorno natalizio del fedelissimo monarca D. Giuseppe I . . . nel di 6 giugno 1776.

[Lisbona], Stamperia reale, n. d. 79 p. 15'^^.

Three acts. Argument, cast, scenario, and names of Metastasio as author, of Niccol6 Jommelli as composer. The text is somewhat different from that of 1760, as it, for instance, jumps from the aria "Se mai turbo il tuo riposo" (I, 7) to the former I, 10 "Principessa adorata" as I, 9, interpolating as I, 8 the scene "Dei, che tormento ^questo." Schatz 4899

OPERA LIBRETTOS 61

Alessandro nell' Indie. Dramjna per mueica da rappresentarsi nel Teatro Tron di San Cassiano. II carnovale dell' anno 1753 . . , Venezia, Modesto Fenzo, 1753. 60 p. 75'=™.

Three acts. By Metastaaio, who is not mentioned. Dedication by "Li virtuosi," who had assumed the management of the theatre, argument, cast, scenario, and note that the music was "in gran parte" by Gaetano Latilla, the rest by "altri bravi autori." . Schatz 5455

T^Alessandro nell' Indie. Dramma per musica da rappresentarsi nel nobilissimo Teatro di S. Benedetto la fiera dell' Ascensione dell' anno 1778.

Venezia, Modesto Fenzo, J 778. 64 p. 17 Y"^.

Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and name of Luigi Marescalchi as the composer ("La musica e tutta nuova").

On p. 27-40 cast, argument, and description of Onorato Vigan6's "II Rinaldo, ballo tragico eroico pantomimo di lieto fine, " in six parts. The composer of the music is not mentioned.

First performed as indicated. May 27, 1788. Schatz 5946

Alessandro nell' Indie. Dramma per musica del Signore abate Pietro Metastasio, Poeta Cesareo da rappresentarsi nel pubblico Teatro di Lucca nell' autunno dell' anno MDCCLXXXIII. Lucca, Francesco Bonsignore, n. d. 68 p. l^Y^- Three acts. Argument, cast, scenario, and name of Michele Mortellari as the composer.

First performed at Siena, Teatro degl' Intronati, July 22, 1778; at Lucca, August 9, 1783. Schatz 6683

Alessandro nell' Indie, dramma per musica da rappresentarsi nel gran teatro nuovamente eretto alia real corte di Lisbona, nella primavera dell' anno MDCCLV. Per festeggiare il felicissimo giorno natalizio di Sua Maesta fedelissima D. Maria Anna Vit- toria . . . La poesia del dramma e del . . . Pietro Metastasio . . . La licenza e del Sig"" Giuseppe Bonechy ... La musica h del Sig*" David Perez ...

Lishonu, Regia stamperia Sylviana, 1755. front., 4 p. I., 53, [2] p., 9 folded pi. 19^.

Three acts. Argument, cast, and scenario. The plates are by I. Berardi, Le Bouteux, J. B. Dourneau. The front, by S. Manelli.

First performed, as indicated, March 31, 1755; at Genova, Teatro di Sant' Agostino, December 26, 1745. Schatz 7882

Alessandro nell' Indie. Dramma per musica di Pietro Metastasio fra gli Arcadi Artino Corasio. Da rappresentarsi nel Teatro di S. Angelo nel carnovale dell' anno 1732.

Venetia,, Carlo Buonarrigo, n. d. 70 p. l^h*^^-

Three acts. Argument, cast, scenario, and name of Giovanni Battista Pescetti as the composer. Schatz 7960

Alessandro nell' Indie. Dramma per musica da rappresentarsi nel Teatro di via della Pergola nel carnevale del MDCCLXXVII . . .

Firenze, Gio. Risaliti, n. d. 39 p. 15^'^^.

Three acts. By Metastasio, who is not mentioned. Argument, scenario, cast, and name of Niccolb Piccinni as the composer. Schatz calls this his second setting of the text.

First performed at Naples, Teatro di S. Carlo, January 12, 1774. Schatz 8137

62 LIBRARY OF CONGRESS

Alessandro nell' Indie. Dramma per musica del Si<^. abate Pietro Metastasio . . . Da rappresentarsi nel nobil Teatro di S. Samuel la fiera dell' Ascensione I'anno 1775 . . .

Venezia, Gio. Battista Casaii, 1775. 36 p. 17''"'.

Three acts. Dedication by Giacomo Bust, who is mentioned as the composer, cast, and scenario.

With the opera was performed Antonio Pi trot's ballet "Alcina e Leone," music by Piombanti, a description of which is said to have been published separately.

SCHATZ 9175

Alessandro nell' Indie. Dramma per musica da rappresentarsi nel Teatro Vendramino di San Salvatore nella fiera dell Ascensione deir anno 1763.

Venezia, Francesco Valvasense, 1763. Jf.8 p. 15'^^.

Three acts. By Metastasio, who is not mentoined. Cast, scenario, and name of Antonio Sacchini as the composer. ("La musica sari tutta nuova.")

ScHATz 9243

— Alessandro nell' Indie. Dramma per musica da rappresentarsi nel Kegio Teatro di Torino nel carnovale del 1766 . . .

Torino, Stamperia reale, n. d. viii, 62 p., [2] I.

Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and name of Antonio Sacchini as composer. Giuseppe Antonio Le Messier com- posed the ballet music. The [2] 1. contain the aria "Se vedi il caro bene" substi- tuted for "Tu, che il tenor gia sai" (II, 8), and the imprimatur. Schatz 11746

Alessandro nell' Indie. Dramma per musica del celebre Sig. abate Pietro Metastasio . . . Da rappresentarsi nel Nuovo Pubblico Teatro di Bologna la primavera dell' anno 1764 . . . Bologna, Lassi, n. a. 68, [2] p. W"".

Three acts. By Metastasio, who is not mentioned. On the last page the addi- tional aria "Se possono tanto" (I, 9). Impresario's dedication, argument, cast, scenario, and name of Gregorio Sciroli as the composer. ("La musica 6 tutta nuova. ")

First performed May 3i, 1764, as indicated. Schatz 9781

Alessandro nell' Indie. Dramma per musica da rappresentarsi nel famoso Teatro Vendramin di S. Salvatore per la solita fiera dell' Ascensione dell' anno 1759 . . .

Venezia, Modesto Fenzo, 1759. 56 p. 15^'^.

Three acts. By Metastasio, who is not mentioned. Impresario's dedication, scenario, cast, and name of Giuseppe Scolari as composer. Schatz 9786

Alessandro nell' Indie. Dramma serio per musica da rappresen- tarsi nel Regio Teatro dell' Accademia degli Awalorati in Livorno I'autunno dell' anno 1791 . . .

[Livorno], Tommaso Masi e comp., n. d. 4-8 p. W^.

Two acts. By Metastasio, who is not mentioned. Impresario's dedication, cast, scenario, and name of Angelo Tarchi as the composer. On p. [26J-34 argument and description without name of the composer of the music of Francesco Clerico's "Am- leto, ballo tragico pantomimo, in quattro atti." His second, a "ballo comico," waa called "I due vedovi."

Schatz distinguishes this opera, first performed at London, Haymarket, spring of 1789, as first setting of the text, from the opera of the same title, first performed at Torino, Regio Teatro, carnival 1798, which he, without giving his reasons, calls the aecond settmg. Schatz 10228

OPERA LIBRETTOS 63

Alessandro nell' Indie. Dramma per musica da rappresentarsi nel rinovato Teatro di Piazza di Vicenza il came vale dell' anno JVIDCCL . . .

Vicenza, Pierantonio Bemo, 1750. 52 p. 15*^^.

Three acts. By Metastasio, who is not mentioned. Impresario's dedication, ai^ument, cast. Note : "La musica eara diretta dal Sig. Antonio Tiraboschi, maestro di cappella," whom Schatz calls the composer of this opera. Schatz 10355

Alessandro nell' Indie. Drama per musica di Pietro Metastasio fra gli Arcadi Artino Corasio. Da rappresentarsi nel Teatro detto delle Dame nel came vale dell' anno 1730 ...

Roma, Zempel e il de Mey, n. d. S3 p. IS^™-.

Three acts. Impresario's dedication, argument, scenario, cast, and name of Leonardo Vinci as composer.

First performed, as indicated, December 26, 1729. Schatz 10742

— Alessandro nell' Indie. Drama per musica da rappresentarsi nel Teatro di S. A. S. E. di Baviera net carnevale dell' anno 1735.

Monaco, Giovanni Giacomo Votter, n. d. 82, [1] p. 15*''^.

Three acta. Argument and cast. By Metastasio, who is not mentioned. The composer unknown to Schatz, but the name of [Leonardo] Vinci is written in pencil on the title page. Schatz 11297

Alessandro Severo.

Apostolo Zeno, Poesie drammatiche, Venezia, 1744} i- ^j V- [•^7'/]- 355. i^^™.

Three acts. Argument. No composer is mentioned. In the "Catalogo" at end of t. X, date and place of first ed. are given as Venice, 1717. {See below.) ML49.AZ3

— Alessandro Severo. Pubblicato per la prima volta in Venezia 1717.

Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. iv, p. 353- 430. 21'='^.

Three acts. Argument. No composer is mentioned. ML 49.A2Z4

Alessandro Severo. Dramma per musica da rappresentarsi nel famoso Teatro Grimani di S. Gio. Grisostomo nel camovale del 1739 . . .

Venezia, Marino Rossetti, 1738. 58 p. 15^'^.

Three acts. By Apostolo Zeno. Dedication by Dom. Lalli. Argument, scenario, cast, and name of librettist, but not of composer, Andrea Bemasconi.

First performed at Venice, as indicated, December 27, 1738. Schatz 867

— Salustia. Dramma per musica da rappresentarsi nel Teatro Vendramin di San Salvatore per I'occasione della fiera dell' Ascen- sione dell' anno MDCCLIII . . .

Venezia, Modesto Fenzo, n. d. 58 p. 14¥'^-

Three acts. Impresario's dedication, cast, scenario, and name of Andrea Bemas- coni as composer, but not of author of libretto, which is a condensation and otherwise altered version of Zeno's "Alessandro Severo." In this the three acts have 15, 15, 11 scenes, in "Salustia" 12, 12, 11. Schatz 866

Alessandro Severo. Drama per musica, da rappresentarsi nel famosissimo Teatro Grimani di S. Giovanni Grisostomo . . .

Venezia, Marino Rossetti, 17 17 . 60 p. 15^"^.

Three acts. Dedication signed by the author, Apostolo Zeno, with his initials, argument, cast, scenario, and name of Antonio Lotti as composer.

First performed, as indicated, December 26, 1716. Schatz 5714

64 LIBRARY OF CONGRESS

Alessandro Severe. Dramma per musica da rappresentarsi nel Teatro Grimani di S. Benedetto il carnovale dell' anno 1763. Venezia, Paolo Colombani, 1763. 48 p. i5J<='».

Three acts. Argument, cast, scenario, and name of Antonio Sacchinl as the com- poser. Text by Apostolo Zeno, who is not mentioned. First performed, as indicated, December 26, 1762. Schatz 9241

Alessandro Severe. Drama per musica da rappresentarsi nel Teatro di S. Bartolomeo nel maggio del 1719 . . . Napoli, MicTiele Luigi Muzio, 1719. 60 p. W^^.

Three acts. By Apostolo Zeno, who is not mentioned. Dedication dated Naples, May 14, 1719, argument, scenario, cast, and name of Domenico Sbjito as composer.

Schatz 9412

Alessandro trienfante nell' Indie, ballet. See Salieri's La scuola de' gelosi.

Alessandro vincitor di se stesso. Dramma musicale del Signor Francesco Sbarra, gentilhuomo Lucchese. Dedicato all' Altezza Sereniss. di Leopoldo Guglielmo da Gio. Battista Balbi, inventore degli apparati di scena, machine, e balli. Rappresentato in Venezia nel Theatro di S. Gio. e Paolo.

Venetia, Giacomo Batti, 1651. 11 p. I., 72 p. IS""^.

Three acts, with prologue. Dedication dated Venice, January 20, 1651, a "Lettera deir autore al Signor Michel' Angelo Torcigliani " dated Lucca, December 29, 1650, and argument.

In his "Lettera" Sbarra says:

"II Padre Cesti, miracolo della musica, con altri virtuosi rappresentb nel passato autimno un gentilissimo dramma nella citt^ nostra; io se bene all' hora relegato in letto da una lunga, e pericolosa indispositione, a dispetto del male, che voleva trk I'altre miserie, che seco adduce, privarmi ancora della vista drquesta virtuosa attione, mi portai a vederla: il gusto, ch'io ne retrassi, fu riconosciuto da me per I'unico mio rimedio . . . Per sodisfare all' istanze di questi virtuosi, da' quali riconosceva la ricuperata salute, intrapresi, e ultimai un dramma, in quel pochi giomi, che d'otio mi concesse la mia convalescenza, tempo ma^ore, e piu opportune non venendomi

rjrmesso dalla necessity, che tenevano di rappresentarlo prontamente in Venetia. parti, che sono concepiti in stato simile di non intera saniti, sono sepre imperfetti: ma questi 6 piii d'ogni altro, non havendo havuto ben minimo tempo di rivederlo, necessitate dall' angustia del tempo a lasciarlo metter sotto le note nella stessa forma, che alia giornata I'andava abbozzado. S'a^iunge, che per esser riuscito troppo lungo per la musica, b convenuto a i medesimi d'accorciarlo, si che e impossibile, one qualche storpiatura non apparisca, & in questa maniera mi avvisano, che sono neces- sitati a stamparlo ..."

He further calls this "quest'opera, prima che si stampi, che in questa conformity Bcrivo." In his notice to the "spettatori del dramma" Sbarra remarks:

"S6 che I'ariette cantate da Alessandro, & Aristotile, si stimerano cotro il decoro di personaggi si gradi; ma s5 ancora, ch'e improprio il recitarsi in musica, non imitan- dosi in questa maniera il discorso naturale, e togliendosi I'anima al coponimeto dra- matico, che no deve esser altro, che un' imitatione dell' attioni humane, e pur questo difetto non solo h tolerate dal secolo corrente; ma ricevuto con applause; questa specie di peesia hoggi non hk altro fine che il dilettare, ende conviene accommodarsi air use de i tempi; se lo stile recitative non venisse intermezzato con simili scherzi, porterebbe piii fastidio, che diletto . . . se in questo spettacolo ritroverai con che appagare il tuo gusto, il tutto riconosci dall' esquisitissime inventioni del mirabile Sig. Gio. Battista Balbi, autore non meno de' balli, e delle machine, che d'ogni altro scenico apparato."

It will be noticed that the composer, in this case no less a master than Francesco Cavalli, is mentioned nowhere.

First performed carnival 1651, as indicated.

(For further data, see Cesti's Alessandro il vincitor di se stesso, Lucca, 1654.)

Schatz 1715

OPERA LIBRETTOS ' 65

Alessandro vincitor di se stesso — Continued.

— Alessandro vincitor di se stesso. Dramma musicale del

signer Francesco Sbarra, gentiluomo lucchese . . .

Bologna, Giacomo Monti, 1655. front., 92 p. W^.

Prologue and three acts. Dedication by Pietro Antonio Cerva, notice to the reader, argument. The composer, Francesco Cavalli, is not mentioned.

First performed at Bologna, Teatro Gua8ta\-illani, 1655. Schatz 11681

Alessio ed Eloisa o sia II disertore, ballet. See Astaritta's Iper- mestra.

Alexander in Indien. Tr. of Fiorillo's Alessandro nell' Indie.

Alexander in Indien. Tr. of Galuppi's Alessandro nell' Indie.

Alexander in Indien. Tr. of Jommelli's Alessandro nell' Indie.

Alexander in Sidon. Tr. of Fr. Conti's Alessandro in Sidone.

Alexander und Porus. Tr. of Graun's Alessandro e Poro.

Alexandre aux Indes, opera en trois actes, represents, pour la premiere fois, sur le Theatre de rAcademie-rovaie de musique, le mardi 26 aotit 1783.

Paris, P. de Lormel, 1783. vi, 43 p. 24""^.

By Etienne Morel de Chefdeville, who is not mentioned. On p. ii Jean Nicolas Le Froid de MSreaux is mentioned as the composer. Cast. Schatz 6310

Alexandre et Thalestris, ballet-heroique en trois actes.

Venard de La Jonchere, Theatre lyrique, Paris, 1772, t. i, p. [289]- 343. 18^"^.

"Avant-propos" (p. 291-302). No composer mentioned, and none recorded by CI. & L. ML 49.A2L2

Alexis, ou L'erreur d'un bon pere. Comedie,. en un acte, et en prose, mSlee d'ariettes. Paroles du citoyen Marsollier, musique du citoyen Daleyrac. Represente sur le theatre Feydeau, le 5 pluviose, an 6 de la R^publique [January 24, 1798].

Paris, Barha, (1798). An vi. 40 p. 19^'"'".

Cast. ML 50.2.A52D2

Alexis et Justine, comSdie-lyrique, en deux actes et en prose, m^lSe d'ariettes; representee pour la premiere fois, a Versailles, devant Leurs Majestes, le vendredi 14 Janvier 1785; & k Paris, sur le Th6&tre de la Comedie italieime, le lundi 17. Paroles de M. de Monvel, musique de M. De Zede.

Toulouse, BroulUet, 1785. 40 p. 22^"^.

Cast. ML 50.2.A53D3

Alfonso di Castiglia, ballet. See Paer's Tegene e Laodicea. 72251°— VOL 1—14 5

66 LIBRARY OF CONGRESS

Alfea reverente. Rappresentata nella seconda vemita della Serenis- sima Vittoria della Rovere gran duchessa di Toscana in essa cittk I'anno 1639.

[Atend] In Pisa, appresso Francesco deUe Dote, 1639. 20 p. 20*^™.

Historical-allegorical "funzione," "sovra pompoeo carro, tirato da sei bianchi e generoei dsetieri" fully described on p. 3-12 preceding the text. On p. 20:

"Li noue gentiV huomini a caxtaUo jurono . . . [follow the names, as ninth that of] II Sig. cav. Pietro Cascina. Del quale sono I'inventioni, e le compositioni.

II carro fti disegno del Sig. Alfiere Giovanni Navarretti, la direzione del quale oper6 molto in questa funzione.

Le musiche furono del Sig. Antonio Pisani organista della Chiesa de Ca\alieri di S. Stefano di Pisa.

II musico che rappre8ent6 Alfea fu il Sig. Luca Angeletti, musico di S. A. S.

Quello che fece la prima ninfa del coro, e doppo rappre8ent6 la Fama, f u il Sig. Chrietofano Bastini, musico dell' eccell. Repub. di Lucca, condotto per questa fun- zionze dalli suddetti nove gentil' huomini, li quail fecero anche il rimanente di tutta la spesa.

Le ninfe dell' Amo erano musici delle due Cappelle della Chiesa Primatiale, e di S. Stefano, con I'assistenza del Sig. Lorenzo Brunelli maestro di capella della mede- eima Chiesa di S. Stefano, in assenza del medeeimo Sig. Pisani." Schatz 8191

Alfonso, dramma per miisica rappresentato per regie comando in Dresda in occasione delle auguste nozze di Carlo re delle Due Sicilie, e Amalia, principessa reale di Polonia, duchessa di Sassonia, MDCCXXXVIII.

n. i., n. d. 4 p. I., 68, 22 p. 18^'"".

At end of opera the imprint of "la vedova Stossel."

Five acts. Dedication by the author Stefano Benedetto Pallavicini, argument, caat, and name of Johann Adolph Hasse as the composer.

The 22 additional pages contain text (by unknown author) and cast of Hasse'a "II tutore. Intermezzi ... In Dresda, I'anno 1738," first performed at Naples, Teatro di S. Bartolomeo, 1730.

"Alfonso" was first performed as indicated, May 11, 1738. Schatz 4510

— Alfonso, dramma per musica rappresentato per regio comando in Dresda . . . MDCCXXXVIII.

Dresden, verwittibte Hqf-hucMr. Stoessel, n. d. 135 p. 16Y'^.

Five acts. Argument, cast, scenario, names of Pallavicini as author, of Hasse as the composer. The same as Schatz 4510, except that German title "Alfonso" and text face Italian and that the intermezzi do not appear in this edition, issued in honor of the same nuptial festivities. Schatz 4511

Alfonso Primo. Drama per musica. Da recitarsi nel Teatro Ven- dramino di S. Salvatore. L'anno 1694. Di Matteo Noris . . .

Venetia, Nicolini, 1694. ^4 P- H'^'^-

Three acts. Author's dedication, brief argument, and scenario. The composer, Carlo Francesco PoUaroli, is not mentioned. Schatz 8268

Alfred : a masque. Represented before Their Royal Highnesses the prince and princess of Wales, at Cliff den, on the fii'st of August, 1740.

London, Printed for A. MiUar, 1740. 44 p. 19^'^.

Two acts. Cast. Neither authors nor composer mentioned. {See next entry.) On p. 42-43 "An ode. When Britain, first, at heaveri's command." AC 901.M5v.590

— Alfred, a masque. As it is now revived at the Theatre-Royal, in Drury Lane, by His Majesty's servants.

London, T. CadeU and T. Beclcet [etc.], 1 773. 4 p. I., 72, [2] p. 19^"^.

Three acts and "Prologue, by a friend. Spoken by Mr. Garrick, when it was first acted." Cast, argument, and this prefatory note:

"Alfred, a masque, was written by Mr. [James] Thompson, in conjunction with Mr. [David] Mallet, at the request of his Royal Highness Frederick Prince of Wales,

OPERA LIBRETTOS 67

Alfred — Continued .

before their Royal Highnesses, on the first of August, 1740. Ten years after it was adapted for the stage by Mr. Mallet and was received with great applause. Mr. Mallet, in his advertisement (after giving an account of his joining with Mr. Thompson in the performance) goes on —

" 'But to fit it for the stage, I foimd it would be necessary to new plan the whole, as well as write the particular scenes over again; to enlarge the design, and make Alfred what he should have been at first, the principal figure in his own masque. This I have done; but, according to the present arrangement of the fable, I was obliged to reject a great deal of what I had written in the other, neither could I retain of my friend's part, more than three or four single speeches, and a part of one song, I mention this expressly, that whatever faults are found in the present performance, they may be charged, as they ought to be, entirely to my account.

" 'D. Malletr

The note then goes on to say :

"It is now rev-ived with some few alterations, and with some new music; the favourite airs of Dr. Ame, as they stood in the masque altered by Mallet, are reserved; there are some few alterations, which are now published."

David Garrick is supposed to have been responsible for this second revision. The last [2] p. contain "^Mien Britain first, at heav'n's command," with first refrain line "Rule, Britannia, rule the waves" and headed by note: "The following song was altered by the author, and is now printed as it is sung."

First performed at Cliefden, August 1, 1740; at Dublin, Theatre Royal in Smock Alley, March 10, 1744; at London, Drury Lane, March 20, 1745, in an altered version and further altered at London, Drury Lane, February 23, 1751. The above version was first performed, as indicated, October 9, 1773. Longe 36

Alfredo il grande, re degli Anglo-Sassoni, ballet by Trento. See Bianchi's Seleuco.

Alfsol. Plan eines singspieles von fiinf acten, in einem briefe an den herausgeber.

7^*=™. p. 205-229. {Cramer's Musik, Copenhagen, 1789.)

Signed by Sander. ML 4.M3

Aline, dronning i Golconda, en opera i tre acter. Oversat af det franske til lir. capellmester Schulzes musik ved Thomas Thaarup . . . Andet oplag.

Ki0hen7iavn, Johan Frederick Schultz, 1789. 46 p. 16'^"^.

Prefatory note by the translator, "Udtog af den franske fortaelling," and cast. Johann Abraham Peter Schulz' "Aline, reine de Golconde," text by Sedaine, was first performed before Prince Henry of Prussia at Rheinsberg in 1787, and in this Danish version at the Royal Theatre, Copenhagen, January 30, 1789. Schatz 9717

— Aline, koniginn von Golconda. Eine oper in drey acten. W"". p. [298]'346. (Cramer's Musik, Copenhagen, 1789.)

Carl Friedrich Cramer's own translation, with "vorbericht" of Sedaine's text, as composed by Schulz. ML 4.M3

Aline, reine de Golconde.

Three acts, text by Sedaine, music by Monsigny. First performed at Paris, Acad^mie royale de musique, April 15, 1766. Not in L. of C.

This title appears on the original score as published by H^rissant and appears to be the O. T. ol the following:

'— La reine de Golconde, opera en trois actes, repr^sent^, pour la premiere fois, par TAcad^mie-royale de musique, en 1766. Et remis au Theatre le mardi 26 mai 1772.

Paris, de Lormel, 1772. 69 p. 25^"".

Sedaine is mentioned as author, but Monsigny not a3 composer. Argument and cast. Schatz 6587

68 LIBRARY OF CONGRESS

Aline, reine de Golconde. O. T. of Schulz's Aline, droiming i Golconda and Aline, koniginn von Golconda.

Alisbelle, ou Les crimes de la f^odalit^, opera en trois actes, en vers, par le citoyen Desforges, musique du citoyen Louis Jadin. Paris, Prault I'aine, ventose Van II. [1794]. 48 p. 20^'^'".

First performed at Paris, Th^^tre National, rue de la Loi, February 27, 1794.

ScHATZ 4949

Le allegrezze per le vittorie di Scipione, ballet. See Galuppi's Sofonisba.

L'allegria della campagna. Commedia per musica da rappresen- tarsi nel Teatro Nuovo sopra Toledo per 'prim' opera di questo corrente anno 1791.

Napoli, Vincenzo Flauto, n. d. 4'^ P- ^^i*^™-

Two acts. Cast and name of Marcello di Capua as composer. Librettist not mentioned, and unknown to Schatz. Schatz 839

Alles aus liebe. Tr. of Naumann's Tutto per amore.

L'alliance de Romulus et de Tatius. — Der fried zwischen Romulo und Tatzio, ballet. See Sacchini's Scipione in Cartagena.

L'allure. Piece en im acte. Representee k la Foire Saint Laurent. 1732.

Le Theatre de la foire, Paris, 1737, t. ix, 2, pi., [169]-215 p. 17""^. By Carolet. The airs, probably selected or composed and arranged by Jean Claude Gillier, are printed at the end of the volume in the "Table des airs."

First performed September 27, 1732. ML 48.L2

L'Almadero. Drama per musica, da rappresentarsi nel Teatro di Castello; composto . . . dal marchese Armibale Lanzoni . . . Mantova, gli Osanna , 1 667 . 86 p. lo'"".

Three acts. Author's dedication, dated Mantova, April 30, 1667, argument. The composer is not mentioned, and is unknown to Schatz. Schatz 11298

Almansore o sia II pregindizio che nasce dal mancare di oarola. O. T. of Pollaroli's Almansore in Alimena.

L' Almansore in Alimena. Drama per musica. Da recitarsi nel Teatro di Sant' Angelo I'anno 1703 ...

Venetia, Girolamo Alhrizzi, n. d. 60 p. 15'^'^.

Three acts. By Giov. Matteo Giannini, who is not mentioned. Impresario's dedication, argument, scenario, and notice to the reader, with the name of Carlo [Francesco] Pollaroli as the composer. If the impresario, Giovanni Orsato, says that "questo drama . . . nel Teatro di Reggio di Modona h4 saputo riportame i primi applausi," he refers to the performances there of the opera in 1696, under the title of Almansore o sia II pregiudizio che nasce dal mancare di parola."

First performed at Bologna, Teatro Pubblico della Sala, carnival, 1690.

Schatz 8269

Almena : an English opera. As it is performed at the Theatre- Royal in Drury-Lane. Written bv Mr. Kolt . . . The music com-* posed by Mr. Arne and Mr. Battishill. London, T. BecTcet and P. A. de Hondt, 1764. 4 p. l, 32 p. 19^"^.

Three acts. Cast and argument. The last p. 1. a publishers' book-list. The Arne mentioned is Michael, not Thomas Augustine. Thompson's vocal score mentions only Battishill as composer.

First performed November 2, 1764, as indicated. Longe 37

OPEKA LIBBETTOS 69

L'Almeria. Nuovo dramma per musica da rappresentarsi in Livorno nel Teatro da S. Sebastiano la primavera deli' anno 1761. Livorno, Gio. Paolo Fantechi, 1761. port., xvi, 88 p. 17^^.

Three acts. By Marco Coltellini, whose port, adorns the book. Coltellini's dedi- catory poem to Metastasio, cast, scenario, name of Giovanni Francesco de Majo as composer, and notice to the reader, containing argument, statement that certain indicated lines, for brevity's sake, were not composed, and this remark:

"II pubblico, che e il giudice piii compet«nte delle opere di teatro, quando mi metta in conto anche le angiistie, in cui e ndotta la tragedia dalle leggi della musica, non potra a meno di accordarmi un cortese compatimento per un primo parto ..."

ML 50.2.A54M3

^^L'Almerico in Cipro. Drama per musica di Girolamo Castelli. Da recitarsi nel Teatro di S. Moise I'anno 1675 . . . Venetia, Francesco Nicolini, 1675. 66, [1] p. 14'^"^.

Three acts. Author's dedication dated Venice, November 30, 1674, notice to the reader with name of Antonio dal (del) Gaudlo as the composer, argument and scenario.

ScHATZ 3635

L'Almerinda. Drama per musica da rappresentarsi nel Teatro di San Casciano I'anno 1691 ...

Venetia, Girolamo Alhrizzi, 1691. 68 p. 13^"^.

Three acts. Impresario's dedication dated Venezia, January 20, 1690, author's notice, argument, scenario, and name of the composer, Giuseppe Boniventi. The author, Giulio Pancieri, w^ho is not mentioned by name, informs the reader that this is the totally changed version of a pre\'iou8 libretto which he does not mention by title. ScEiATZ 1187

L'Almira. Drama per musica da rappresentarsi nel famosissimo Teatro Grimani di S. Giovanni e Paolo I'anno 1691 . . . Venetia, Girolamo Alhrizzi, 1691. front., 68 p. 14*^^.

Three acts. Impresario's dedication, dated Venice, November 22, 1691, author's notice, argument, scenario, and name of the composer, Giuseppe Boniventi, but not of the librettist, Giulio Pancieri. Schatz 1188

Almira, koenigin in Castilien. A. T. ol Reiser's Der durch- lauchtige secretarius.

Almira, koenigin von Castilien. A. T. of Handel's Der in krohnen erlangte glueckswechsel.

Alonso e Cora. Dramma per musica da rappresentarsi nel nobilis- simo Teatro di S. Benedetto il carnovale dell' anno 1786.

Venezia, Modesto Fenzo, 1786. 55 p. 18^^-

Two acts. Notice tothe reader, argument, cast, scenario, and name of composer, Francesco Bianchi, but not of the librettist, Giuseppe Foppa. On p. [25]-34 argument and full description of "Gli amori di Clodio e Pompea, oallo eroico pantomimo," in five acts by Antonio Muzarelli, "esposto per la prima volta," music ("tutta nuova") by Vittorio Trento.

First performed February 7, 1786, as indicated. Schatz 994

Alonso e Cora, ballet. See Bianchi's Piramo e Tisbe.

Alonzo e Cora. A. T. of the ballet La vergine del Sole.

Alonzo e Cora, ballet. See Bianchi's Aspard.

Die als magd geworde.ne frau. Tr. of Pergolesi's La serva pa- drona.

70 LIBRABY OF CONGRESS

Alsinda. Dramma per musica da rappresentarsi nel Teatro alia Scala il came vale dell anno 1785 . . .

Milano, Gio. Batista Bianchi, n. d. 72 p. 16"^.

Three acts. By Ferdinando Moretti, who is not mentioned. Dedication, ail- ment, cast, scenario, and name of Nicola Antonio Zingarelli as the composer. With the op)era were performed, composers of the music not mentioned, Sebastiano Gallet's ballets "II signore benefico," '41 maniscalco francese" and "Mascherata." Descrip- tions of these are remarked to ha^e been published separately.

First performed, as indicated, February 22, 1785. Schatz 11264

Der alte freyer, eine komische oper in einem aufzuge. Verfertigt iind in musik getzt von Johann Andre.

Frankfurt am Mayn, Johann Christian Gehhard, 1775. 72 y. 15^^.

Andr6 characterizes in a prefatory note as "dumme Beschuldigungen " the report: "ich hatte meine musick zum Topfer aus franzoeischen operetten genommen." J'irst performed at Berlin, Dobbelinsches Theater, October 2, 1775.

Schatz 178

Der alte ueberall und nirgends. Erster theil. Ein schauspiel mit gesang in fiinf aufziigen, nach der geistergeschichte des herrn Spiess bearbeitet von Karl Friedrich Hensler, Die musik ist von herrn Wenzel ^liiller ...

Wim, J oh. Bapt. Wallishausser, 1796. 96 p. W"^.

"Aufgefuehrt zum erstenmale auf der k. k. priv. Marinellischen Schaubiihne in Wien," Jime 10, 1795. Schatz 6906

— Der alte ueberall und nirgends. Zweyter theil . . . Wien, Joh. Bapt. WaUishamer, 1796. 102 p. W^'K

"Aufgefuehrt zum erstenmale auf der k. k. priv. Marinellischen schaubuhne in Wien," December 16, 1795 (Schatz), December 10 (Krone). Schatz 6907

Arien und gesange aus der komischen oper: Alter schiitzt fur thorheit nicht. In einem aufzuge.

Hamburg, J. M. Alichaelsen, 1781. 16 p. 17""^.

By Friedrich Ludwig Wilhelm Meyer. Neither he nor the composer, Johann Andx6, mentioned.

First performed at Hamburg, Theater beim Gansemarkt, June 14, 1781; at Mann- heim, Churf. deutsche Schaubuhne, June 20, 1779. Schatz 179

L'Alvilda. Dramma per musica. Da rappresentarsi nel nobilissimo Teatro Grimani di S. Samuele in tempo della fiera dell' Ascensione Tanno 1737.

Venezia, Marino Rossetti, 1737. 48 p. W"".

Three acts. "L'amor generoso" by Apostolo Zeno, retouched by Dom. Lalli, neither mentioned. Lalli's dedication, argument, cast, and name of Galuppi as composer.

First performed, as indicated. May 29, 1737. Schatz 3480

L'Alvilda, regina de Goti. A. T. of Pallavicino's L'Amazone corsara.

Alzira. Dranmia per musica da rappresentarsi nel Teatro da S.

Agostino il carnovale dell' anno 1797 . . . Genova, Stamperia Gesiniana, n. d. 55, [1] p. 14h'"^- Two acts. The author is not mentioned, and is unknown to Schatz. Cast, scenario,

and names of Giuseppe Nicolini as composer of the opera ("affatto nuova"), and of

Santi Trento, of the ballet music. Schatz 7153

OPERA LIBRETTOS 71

Ama chi t'ama. Dramma per musica fatto recitare da' SS. Con- siglieri nel Teatro di Siena, Tanno 1682.

Siena, Stamparia del puhhlico, n. d. J^5 p. 13^''^.

Prologue and three acts. Dedication of this "operetta," dated Siena, February 6, 1682. Unknown to Schatz. ML 50.2.A57

Ama piu chi men si crede. Melodrama pastorale da rappresen- tarsi nel famosissimo Teatro Grimani di S. Gio. Grisostomo nell' autunno ^IDCCIX . . .

Venezia, Marino Rossetti, 1709. 71, [1] p. l/^Y"^.

The add. p. contains a list of "Opere musicali sin' ora stampate in Venezia da Antonio Bortoli."

Three acts. Dedication signed by the author, Francesco Silvani, and dated Venice, November 20, 1709, argument, notice to the reader, cast, scenario, and name of Antonio Lotti as the composer. Schatz 5715

Amadi. Tragedia per musica di Filippo Quinault. Traduzione deir abate Gaetano Sertor.

Venezia, Nuova Stamperiu, 1793. xi, 72 p. 12^'^.

Five acts. Argument, "Giudizi ed aneddoti sopra 1' Amadi" (p. vii-xi), without even hinting at a composer. Schatz 11666

Amadigi di Gaula.

Three-act opera by Georg Friedrich Handel. Text supposedly by John James Heidegger.

First performed at London, Haymarket, May 25, 1715. Not in L. of C.

— Oriana. [vignette.] Wurde in einem singe-spiel auf dem Ham- burgischen Scliau-Platz vorgestellet im monath September 1717.

Hamburg, gedruckt mit set. Friedrich Conrad Grejlingers schrifften, n. d. Unpaged. 18'^'^.

Three acts. German version by Joachim Beckau of Heidegger's "Amadigi di Gaula." Neither they nor the composer, Georg Friedrich Handel, are mentioned. The Italian text of the arias is added to the German. Schatz 4474

Amadis, tra^edie en musique, representee par I'Academie royale de miisique. Suivant la copie imprim^e a Pans.

[Amsterdam, Antoine ScheUe], 1687. 60 p. .{incl. front.) 14*^.

Pr6l(^:ue and five acts. Neither Quinault nor Lully mentioned.

ML 50.2.A59L9

— Amadis, tragedie representee par I'Academie royale de musique I'an 1684. Les paroles de M. Quinault, e la musique de M. de Lully. XVI. opera.

n.i.,n.d. IJf.'^^. front., /fSl-J^l p. {Recueil general des opera, t. a, Paris, 1703.)

Detached copy. Five acts and prol<^;ue.

First performed, as indicated, January 18, 1684. Schatz 5759

Second copy. ML 48. R4

— Am.adis, tragedie en musique. Representee par I'Academie royale de musique, le 15. Janvier 1684.

Philippe Quinault, Theatre, Paris, 1739, t. v, pi, p. [249]-311. 17^^.

Prolc^ue and five acts. Lully is not mentioned. PQ 1881. Al 1739

72 LIBRABY OF CONGRESS

Amadis de Qrece, tragedie representee par TAcademie royale de musique.

Amsterdam, les Mritiers d'Antoine Schelte, 1699. 60 p. {incl. front.) 15^"^.

Prologue and five acts, with Houdar[!] De La Motte's dedicatory poem tq the King. Destouches is not mentioned. ML 50.2.A595D2

— Amadis de Grece. Tragedie representee par I'Academie royale de musique Fan 1699. Les paroles de M. de la Mothe, e la musique de M. Destouches. XL VII. opera.

n.i.,n.d. front. , p. 355 -412. (Recueil general des opera, t.vi, Paris, 1703.) W"".

Detached copy. Prologue and five acts, with laudatory poem to the King. First performed, as indicated, March 26, 1699. Schatz 2543

Second copy. ML 48. R4

— Amadis de Grece. Tragedie representee par I'Academie royale de musique de Paris, les vingt-six mars 1699, trois novembre 1711 & deux mars 1724. Et par L'Academie royale de musique de Lyon en 1742.

Lyon, Aime Delaroche, 17^2. 60 p. 23^"^,

Cast, Schatz 2543A

— Amadis le cadet. Parodie d'Amadis de Grece. Representee pour la premiere fois par les Comediens italiens ordinaires du roi, le 24. mars 1724.

Les parodies du Nouveau theatre italien, Nouv. id., Paris, 1738, t.ii, [279]-328 p. 16^"^.

One act. By Fuzelier {see 1. 1). The aire and vaudeville used are printed at the end of the volume in the "Table des Airs" (60 p.). ML 48. PS

Amage, regina de' Sarm.ati. Dramma per musica da rappresen- tarsi nel Teatro di S. Angelo. L'anno 1694. Di Giulio Cesare Corradi ...

Venetia, Nicolini, 1694. 60 p. i^^"*.

Three acts. Author's dedication, argument, and scenario. The composer. Carlo Francesco Pollaxoli, is not mentioned.

This libretto would seem to contradict Allacci, Wotquenne, Schatz, etc., who give the date of first performance as fall of 1693, at the same theatre. Schatz 8270

Amalasunta. Drama per musica da rappresentarsi nel Teatro di S. Angelo nel Carnevale dell' anno 1719 . . . Venezia, Marino Rossetti, 1719. 60 p. 15""^.

Three acts. By G[iacomol G[abrieli]. Author's dedication dated Venice, Decem- ber 24, 1718, argument, cast, scenario, and name of the composer, Fortunato CheUeri.

Schatz 1811

L'am.alato per am.ore. A. T. of Astaritta's II medico parigino.

Les am.ans brouilles, comedie en im acte, et en vers, meiee d'ari- ettes. Par M. D. L. * * *, Mise en musique par M. D. . . .

Paris, veuve Duchesne, 1776. 30, [i] p. 19^"^.

Author, composer and date of first performance imknown to me. ML 50.2.A62

Les amans inquiets. Parody of Colasse's Thetis et Peiee.

OPERA LIBRETTOS 73

Les amans reunis — Die wieder vereinigten freier, ballet. See Sacchini's Scipione in Cartagena.

Les amans trompes, piece en un acte m616e d'ariettes, par Mrs. Anseaume & de Marcouville. Representee pour la premiere fois & rOpera-comique, sur le Th6^tre du Fauxbourg St. Laurent le lundi 26. juillet 1756. Paris, Duchesne, 1766. 86 p. 19^'^'^.

Cast. On p. 64-86 the same airs as in next entry. The arranger and composer of the music is not recorded by Schatz, whereas Towers attributes the music to Laruette.

ML 50.2.A63

— Les amants trompes, piece en un acte, melee d'ariettes, repre- sentee pour la premiere fois a I'Opera-comique, sur le Theatre du Fauxbourg Saint Laurent, le lundi 26 juillet 1756. Par Mr. An- seaume.

Paris, veuve Duchesne, 1756. 84 p- 19*^^.

On p. 62-84 the "Airs des Amants trompes": "Revenez cher amant," "Pour I'objet qui rfe»ne," "Lorsque deux coeurs," "Dans I'exces de sa tendresse," "Quelle cruaute! Si 1 'inconstant," "L'amant d^licat," "Ma vive tendresse," "Vous ne devez rien menager," "C'est pour jamais," "Loin d'imiter son inconstance," "Ne me parle plus d'Emilie," "N'est-ii. n'est-il done."

Schatz 11478

L'am.ant deguise ou I^e Jardinier suppose, com^die en un acte, m^l^e d'ariettes; representee pour la premiere fois par les Comediens italiens ordinaires du roi, le samedi 2 septembre 1769. La musique est de M. Philidor.

Paris, la veuve Dvxhesne, 1769. iv, 4^ p. 19*^'^. (Theatre de M. Favart, Paris, Duchesne, 1763-77, t. x.)

Cast. On p. 46-47 the air of the final vaudeville "Pour les amans & les belles." The authors, Favart and Voisenon, are not mentioned. Text preceded by this Avertissement:

"Cette bagatelle fut representee au Theatre italien au mois de Juin 1756, sous le litre de la Plaisantene de campagne: elle fut regue avec plaisir; son succ^s fut inter- rompu par la maladie & la mort de Mademoiselle Silvia. On a cru pouvoir remettre cette piece au theatre, en y ajoiitant des ariettes pour se conformer au godt dominant. M. Philidor a bien voulu se pr§ter k cette tentative, & nous esperons que le public aura assez de bont^ pour nous savoir gr^ des efforts que nous avous faits pour con- tribuer k son amusement." ML 49.A2F1

— L'am.aiit deguise, ou Le jardinier suppose, comedie en un acte, m§16e d'ariettes, representee pour la premiere fois par les Com6diens italiens ordinaires du roi, le 2 septembre 1769. La musique est de M. Philidore.[!]

Paris, La veuve Duchesne, 1772. 35 p. 18""^.

By Charles Simon Favart and Claude Henri Fus^e de Voisinon, who are not men- tioned. Cast and air (on p. 34-35) of the vaudeville "Pour les amants & les belles."

Schatz 8005 Second copy. Yudin PQ

— L'am.ant deguise, ou Le jardinier suppos6, comedie en un acte, m^lee d'ariettes. Representee pour la premiere fois par les Come- diens italiens ordinaires du roi, le 2 septembre 1769. La musique est de M. Philidor.

Paris, la veuve Duchesne, 1785. 36 p. W^"^.

Cast. On p. 11-14 the ariette "Que la campagne est un sejour" and on p. 36-37 the vaudeville "Pour lea amans & les belles." The authors, Favart and Voisenon, are not mentioned. Schatz 11735

74 LIBBABY OF CONGBESS

— Dei verkleidete liebhaber oder Der verstellte gaertner, ein sing- spiel in einem aufzuge aus dem franzoesischen uebersetzt mit musik.

Frankfurt am Mayn, mit Andreaeischen schriften, 1774- 53 p., 16 p. (folded music) 17*^"*.

Translated by Johann Heinrich Faber, Neither he nor the composer, Philidor, is mentioned. The music (voice and bass) consists of: "Ein gartner ist" ^I, 2) [" Un jardinier est un grand homme"], "Nur inderstadt" (I, 3) ["J'aimela ville ], "Lustig eeyn die Schwobemaidle " (I, 5) ["Toute fiUe en Provence"]. Cast of Theob. Mar- chand's company. Schatz 8006

L'amant jalouz. A. T. Gr4»try's Les fausses apparences.

L'amant statue, com^die en un acte et en prose, mdl6e d'ariettes. Representee, pour la premiere fois, par les (Jom^diens italiens ordi- naires du roi, le jeudi 4 aodt 1785. Paris, Brunet, 1786. 52 p. 19^""".

Neither the author, Desfontaines, nor the composer, Dalayrac, is mentioned.

ML 50.2.A64 D2

— De minnaer standbeeld : zangspel. Gevolgd naar het fransch, door W. van Ollefen [vignette].

Amsterdam, J. Helders en A. Mars, 1794- 4^ p- 19^'^"',

Vignettes. Translator's "Opdragt aan den heere B. Ruloffs," dated Amsterdam,

March 15, 1794, and privilege notice, dated Amsterdam, March 20, 1794.

Schatz 2388

L'amante cabala. Intermezzo.

(Carlo Goldoni, Opere drammatiche giocose, t. iv, Torino, 1757.)

{110]-152 p. 16^^^^.

Three parts. Original composer unknown to Schatz, who dates first performance Venice, Teatro di S. Samuele, fall 1736. ML 49.A2G6

— L'amante cabala. Intermezzo di tre parti per musica.

Carlo Goldoni, Opere teatrali, Venezia, Zatta efgli, 1788-95, t. 35, {9S\-140 p. 18\'^\ PQ

L'amante che spende. O. T. of Tassi's libretto II cavalier mag- nifico.

L'amante che spende. Dramma giocoso per musica da rappre- seutarsi nel Teatro Giustiniani di S. Moise I'autunno dell' anno 1770. Venezia, Antonio Graziosi, 1770. 54 p- 18^^.

Three acts. Dedication, cast, scenario, and names of Niccol6 Tassi as author, of Pietro GugUelnai as composer. Schatz 4309

L'amante combattuto dalle donne di punto. Commedia per musica di Giuseppe Palomba da rappresentarsi nel Nuovo Teatro de' Fiorentini per prima opera di quest' anno 1781. Napoli, n. puhl, 1781. 71 p. W"^.

Three acts. Cast and name of the composer, Domenico Nicola Cimarosa.

Schatz 1994

L'amante confuso. Commedia per musica di Saverio Zini. Da rappresentarsi nel Teatro de' Fiorentini nell' autunno de corrente anno 1772.

Napoli, Raffade Lanciano, 1772. 3 p. l, 68 p. 15^"^.

Three acts. Argument, scenario, cast, and name of Pasquale Anfossi as com- poser. Schatz 258

OPERA LIBRETTOS 75

L'amante contrastata. Dramma giocoso del Signor D. Giacomo

Lendenesi da rappresentarsi nel Teatro Giustiniani di S. Moise I'au-

tunno deir anno 1768.

Venezia, Modesto Fenzo, 1768. 60 p. IS^*^.

Three acts. Cast, scenario, and name of the composer, Alesaandro Felici.

ScHATz 3053

L'amante del cielo. Dramma sacro per musica da rappresentarsi nel Collegio Nazzareno per le vacanze dell' anno 1699 . . . Roma, Gioseppe Vannacci, 1699. 71 p. 13^^.

Three acts. Author not mentioned and unknown to Schatz. Dedication signed by Erasino de Silvestris and dated Rome, February 13, 1699, ailment, and scenario. The composer, Francesco lilinissari, is not mentioned.

On p. 68-69 '"Drammi stampati da Carlo Giannini," on p. 70 "Drammi che si vendono dall' istesso," and on p. 71 "Opere in prose, che si vendono dal medesimo."

Schatz 6520

L'amante del studio, ballet. See Bianchi's L'orfano cinese.

L'amante dem.ocratico. Dramma giocoso da rappresentarsi nel Teatro Carignano nella prima vera dell' anno 7? Rep? [1799].

Torino, Giacomo Fea, n. d. 4 V- ^-y ^-4 V- 13^"'^.

Two acts. By Gian. Domenico Boggio. Cast. Names of the author and the composer, Stefano Cristiani. With the opera were performed two ballets, one of which was called "L'ltalia rigenerata, " by Luigi Dupen. The composer of the music is not mentioned. Schatz 2293

L'am.ante di tutte. Drama giocoso per musica di Ageo Liteo Da rappresentarsi nel Teatro delta Fama de' nobili Signori di Gubbio ne' mesi di maggio, e giugno 1761 . . .

JJrhino, NeUa stamperia camerale, 1761. 61 p. 15'^.

Three acts. By Antonio Galuppr. Impresario's dedication, cast, and name of Baldassare Galuppi as composer.

First performed at Venice, Teatro di S. Mois^, fall of 1760. Schatz 3432

— L'amante di tutte. Dramma giocoso per musica da rappre- sentarsi in Firenze nel Teatro di via del Cocomero, nella primavera deir anno 1764 .. .

Firenze, Anton Giuseppe Pagani, 1764- 58 p. 15'^'^.

Three acts. By Antonio Galuppi, who is not mentioned. Cast and name of Bal- dassare Galuppi as composer. With the opera were performed (composers of the music not mentioned) Vincenzio Monari's ballets "II giardiniere convinto da Amore" Mid "II quadro movibile." ML 48. A5 v. 20

— L'amante di tutte. Dramma giocoso per musica. Di Ageo Liteo. Da rappresentarsi nel Piccolo Teatro di S. A. E. di Sassonia. Dresda, I'anno 1770.

n. i., n. d. 139 p. 15^"^.

Three acts. Scenario and name of the composer, Galuppi. German title: "Der liebhaber von alien," and text face Italian. Schatz 3433

— La m.oglie bizzarra. Operetta comica, da rappresentarsi sul Regio Teatro Danese, nell' autunno dell' anno 1763. — Den flanevume kone. . . . Oversadt paa dansk, af R, Soelberg ... *

Ki(j)ben7iavn, Lars Nielsen Svare, n. d. 71 p.

Two acts. Cast and names of Galuppi, as composer, and of Pietro Chiari, as author, but comparison proves that this is only a very much altered version in two acts of "L'amante di tutte," leaving most of the arias intact. Schatz 3434

76 LIBRABY OF CONGRESS

L'amante di tutte — Continued.

— II vecchio geloso, dramma giocoso per musica da rappresentarsi ne' Teatri privilegiati di Vienna I'anno 1767.

[Vienna], GTielen, n. d. 66 p. W"^,

Three acta. By Antonio Galuppi, who is not mentioned. Cast, scenario and name of Oaluppi as composer. Slightly altered version of his "L'amante di tutte." For instance, the latter does not contain the aria (I, 2) "Quando vedi il Damerino," but ' * Qualora un galantuomo . ' ' Sch atz 35 10

— Der liebhaber von alien, ein singspiel aus dem italiaenischen welches an dem churpf aelzischen hof in dem carneval des jalires 1770 aufgefuehret worden.

Mannlieim, AJcademische buchdmckerei, n. d. 58 f, 15^^"^. Three acts. Scenario and cast. Galuppi is not mentioned. Schatz 3435

L'amante eroe. Drama per musica di Domenico David, da rappre- sentarsi nel Teatro Vendramino di San Salvatore ranno 1691 . . .

Venetia, Nicolini, 1691. front, 71 p. IJ^Y"^-

Three acts. Author's dedication, argument, scenario, and notice to the re'kder, with the name of Marc' Antonio Ziani ("che nel giomo d'oggi k la delizia dei teatri di Venezia") and remark:

"II poco tempo, che nell' uso d'oggidi si permette alle scene di Venezia, ed il soverchio niimero delle canzoni, desiderate anche fuori dalle loro nicchie non mi ha lasciato in liberta I'ingegno di amplificar nei recitativi, e di fedelmente eseguire i buoni precetti della Poetica."

First performed, as indicated, carnival 1691. Schatz 11198

L'amante fortunate per forza. Dramma per musica; da recitarsi nel Teatro di Sant' Angiolo, I'anno MDCLXXXIV . . . Venetia, Francesco Nicolini, 1684- 60 p. llf.*^^.

Three acts. By Pietro d'Averara, who is not mentioned. Dedication dated Venice, November 30, 1684, argument, scenario, and notice to the reader:

"... per addattarmi all' uso di questo paese [the text was based on 'un' his- torietta, scritta in francese 'j, (nel quale li signori musici vogliono havere piu canzoni, che parole, e dove h, chi scnve viene prescritta, non solo la quantitil m^ anco la qualit^ de' personaggi), h5 convenuto alterare I'inventione, I'intreccio, e quasi tutti gl' epis- vodii; e perci6, se vi trovi qualche cosa d'aggradevole, (che pur sar^ puoco) h d'afiri: tutto I'imperfetto h mio. E guesto basti, perche tu sappia, ch'io non vado h, caccia di lode. Se per6 sar5 compatito, I'havrb k caro. Quanto al verso havrei forse potuto tenerlo piii sollevato, m^ anche in questo mi son accommodato al genio universale, & al Boggetto, ch'5 piti tosto comico. Vivi felice.

"La musica q compositione del Signor Giovanni Varischini, le di cui note ti riuscirono tanto gradite nel