Gioas re di Giuda

Work data
Title:	Gioas re di Giuda
Title page of the libretto from 1735 (music by Georg Reutter)
Shape:	Azione sacra
Original language:	Italian
Music:	First setting by Georg Reutter
Libretto :	Pietro Metastasio
Premiere:	April 5 or 7, 1735
Place of premiere:	Vienna
Place and time of the action:	Jerusalem , in and around the Temple of Solomon , around 835 BC Chr.
people
Gioas ( Joash ), young Prince of the Kingdom of Judah , the only descendant of David , under the name Osea, son of the murdered Ocosía ( Ahaziah ) Sebía of Bersabea, widow of King Ocosías, mother of Gioas Atalía ( Atalja ), grandmother of Gioas, usurper of the Judean throne Giojada (Jojada), high priest of the Hebrews Matan, priest of Baal , confidant of Atalía Ismaele, one of the leaders of the Levites , confidante of Giojada Choir of Hebrew Women in the Retinue of Sebías Choir of the Levites

Gioas re di Giuda (German: Joas, King of Juda ) is a libretto for an azione sacra in two parts by Pietro Metastasio . It is the sixth of his seven oratorio librettos written in Vienna and has been set to music about 50 times. It was performed for the first time on April 5 or 7, 1735 in the setting by Georg Reutter in the Hofburg Chapel in Vienna.

A German translation of the libretto was published in Augsburg in 1753 and 1766 as a spoken drama with the name Joas a King of the Jews in the clerical stage of the Augustinian Peter Obladen from Ulm.

action

The plot of the libretto is based on chapters 11-12 in the 2nd Book of Kings and chapters 22-24 in the 2nd book of the Chronicles of the Old Testament . After the assassination of the Judean king Ahaziah , his mother Ataliah had his children killed in order to seize power herself. Only the youngest son Joash was saved by his aunt Josheba , hidden by the high priest Jojada and proclaimed king at the age of seven.

“After Ochozias , the king of the tribe of David , had been killed, the nefarious Athalia arranged for his mother to have all the abandoned princes of Ochozias murdered so that she could ascend the more calmly the throne which had conceded the innocent wise men. But Josaba , sister of the murdered king Ochozias, and wife of the high priest Jehoiadas, came at the right time to the murder of the royal princes, with great wisdom took the youngest prince Ozias by name, together with his nurses, and hid them in the temple; there Jehoiadas the high priest called him up under the name of Oseas, so that not only did Athalia learn nothing about him, but, as can be seen from divine scriptures, not even Sebia of Bersabea, his own mother, knew what the matter was. After Joas, the royal prince, had passed the seventh year, the zealous Jojadas discovered the Levite , and the whole people the secret, where Athalia immediately killed, and little Joas, as the only branch of the Davidic stock, from which the promised savior was expected to have been elevated to the royal throne.

4. Reg. C. 11. 12. Paralip. L. 2. c. 22. 23. "

- Pietro Metastasio : Preface from the German translation of the libretto by Peter Obladen

First part

High priest Giojada tells his confidante, the Levite Ismaele, that Prince Gioas survived the massacre of his family ordered six years ago by his grandmother Atalía. After he was saved by his aunt (Giojada's wife Giosaba), he raised him under the name Oséa. Now it is time to put him on the royal throne. In order to be able to unobtrusively gather the necessary number of Levitical supporters, he organized a festival. Ismaele goes.

Oséa (Gioas) shares his concerns with Giojada. He has observed that the Levites arm themselves in the temple and believes that the temple is desecrated as a result. Sebía, who does not yet know that Oséa is her son, arrives and reports that she was summoned by Atalía. When she sees Oséa, feelings stir in her, and she asks Giojada about him. He replied that he had taken in Oséa as an orphan and could not give his parents' names. Gioas also feels affection for Sebía. Giojada sends him away. Since Sebía's thoughts only revolve around Oséa and her son, who was believed to be dead, Giojada reminds her of her appointment with Atalía. At the same time he tries to encourage her. She goes. Giojada is confident that God will bring success to his plans.

Atalía is on her way to the temple to speak to Giojada. Her confidante, the Baal priest Matan, warns her against this because only the God of Abraham is worshiped there. He offers to speak to Giojada for her. Then she explains her plan to him: She wants to convince Giojada that she was forced to carry out the murder of her grandchildren on the orders of the Israelite king, but that she saved one of the princes in the process. She wanted to put this alleged heir on the throne that day as her successor because she was concerned about the unusual gathering of the Levites. There are also rumors about the survival of one of David's descendants, and she fears that someone else might come up with her idea and declare a fictional prince to rule. She wants to forestall that. When she sees Sebía coming, she sends Matan away.

Sebía approaches the queen fearfully. She greets her kindly as a “beloved daughter-in-law” (“diletta nuora”) and informs her that her family was murdered at the instigation of the King of Israel. With Sebía's support, she now wants to pass someone else off as a surviving prince, because no one will doubt Sebía's words. Giojada has also already been won over to this plan. Sebía doubts what she said and resolves to ask Giojada about it.

In the final chorus of the first part, a group of Hebrew women ask God for protection from deceit and falsehood.

Second part

Matan tells Atalía about his visit to the temple. Although he told the guard that he had something important to tell Giojada, he was not allowed in. Finally, Giojada came out with armed men. He called one of them over and told him about the rediscovered heir. However, the latter did not answer him. Atalía's hope for Sebía's support is also dashed when Matan informs her that he saw her on the way to the temple. Now only violence remains as the last resort to maintain power. Matan suggests burning down the temple and the people in it. Atalía is overwhelmed by anger and fear alike.

Giojada has dressed Gioas regally and welcomes him as his "king". However, Gioas would rather be called "son" by him. Giojada soothes Gioas' worries that he has taught him royal duties at every opportunity. His new power was a gift from God, for which he would later have to give an account. Therefore, he should practice moderation and justice. The people should love him as a father, not fear him as a tyrant. He should beware of flatterers, let himself be guided by reason and trust in God's guidance. Before he takes the throne, he should pray for God's help. Gioas follows this advice in his next aria.

Ismaele reports that Atalía is calling her soldiers together to attack the temple. Giojada hands Gioas over to his mother Sebía and goes to the temple with Isamele to support the Levites. Sebía now believes that Giojada has actually complied with Atalía's request and wants to impersonate a cheater as her son. She insults Gioas as a tool of treason. When Gioas assures her that he really is her son, she explains to him that Giojada has betrayed him too. She wants to go to clear up the betrayal as soon as possible, but is then overwhelmed by motherly feelings.

When Giojada returns, Sebía reproaches him. However, he assures her that Gioas is actually her son. She'll get the details later. The Levites join in. Giojada introduces them to Gioas as David's last descendant and shows them a red mark on his arm as proof. This completely convinces Sebía. Giojada and the Levites proclaim Gioas the new king. Gioas promises to keep and defend God's laws, and the Levites swear loyalty, love and obedience to him. At that moment, Atalía appears. Giojada faces her fearlessly and pronounces her banishment. Atalía goes mad. She is being led out of the temple.

Ismaele reports that Atalía was killed in front of the temple. The temple of Baal has also been destroyed in the meantime. Giojada declares that the work is done and the tribe of David reigns. The choir of the Levites ends the oratorio: “The hope of the wicked vanishes in an instant like foam or smoke in the wind. Only the hope of the righteous remains eternal, and their confidence is God himself. "

layout

The seven Viennese oratorios Metastasios follow those of his predecessor Apostolo Zeno . Simplicity and clarity in the structure are predominant. Metastasio dispensed with divine and allegorical persons within the plot and stuck to the three Aristotelian units of space, time and action. Therefore, many passages are only told in retrospect. His theological interpretations adhere strictly to the exegetical guidelines of the church. In many places he gave evidence in the form of biblical passages and quotations from writings by church teachers. As in his opera libretti, the action is presented in recitatives that lead to da capo arias. Ensemble pieces and choirs are only used sparingly.

The figure of Sebía as the mother of Gioas was inserted into the plot by Metastasio as an additional figure.

Settings

The following composers set this libretto to music:

year	composer	premiere	Performance location	Remarks
1735	Georg Reutter	April 5 or 7, 1735, Hofburg Chapel	Vienna
1736	Matthias Guretzky	1736	Brno
1737	Pietro Beretti	1737, Chiesa dei RR. PP. della Rosa	Ferrara	also in the courtyard in Modena during Lent 1739
1737	Michelangelo Magagni	1737, Congregazione ed Ospizio di Gesù, Maria, e Giuseppe e della Santissima Trinità posta nella Compagnía di San Marco	Florence	also on May 14, 1741 in Arezzo
1737	Giovanni Nicola Ranieri Redi	1737
1739	Charles Sodi	May 1, 1739, Chiesa dei SS. Filippo e Giacomo di Fano	Pesaro
1744	Giuseppe Maria Orlandini	1744	Pistoia
1745	Niccolò Jommelli	1745, Ospedale degl'Incurabili	Venice	in Latin as Joas (translation by G. B. Visino)
1745	Angelo del Seaglies	1745		also in Senigallia in 1767 ; 1764 in the Teatro Pubblico in Camerino
1747	Gennaro Manna	July 17, 1747	Naples
1748	Giovanni Battista Costanzi	March 3, 1748, Oratorio della congregazione dell'Oratorio	Rome	also in September 1752 in the Teatro in Jesi
1749	Egidio Romualdo Duni	September 8, 1749	Bitonto
1751	Lorenzo Minuti	1751, San Marco	Florence
1752	Niccolò Piccinni	1752
1753	Thank God Harrer	1753, Great Concert, Inn to the Three Swans	Leipzig
1753	Francesco Corbisiero	after 1753, Oratorio dei RR.PP. della Congregazione di S. Filippo Neri	Venice
1755	Georg Christoph Wagenseil	1755, theater next to the castle	Vienna	also in 1774 in Kremsmünster Abbey in Steyr
1757	Marc'Antonio Carafa	December 26, 1757, Cappella privata della duchessa di Giovenazzo	Rome
1759	Antonio Speraindeo	1759, Congregazione di S. Filippo Neri detti della Madonna di Galiera	Bologna
1760	Giuseppe De Santis	1760, chiesa de 'M. RR. PP. Carmelitani	Pesaro
1760	Saverio Laurenti	February 24, 1760, S. Girolamo della Carità	Rome
1760	Don Diego Piccini	March 9, 1760, S. Girolamo della Carità	Rome
1762	Angelo Gabriele Santacroce	March 21, 1762, S. Girolamo della Carità	Rome
1763	Johannes Ritschel	April 1, 1763, Cappella elettorale Palatina	Mannheim
1763	Pedro Avondano	December 5, 1763	Hamburg
around 1765	Johann Georg Waßmuth	around 1765		as Joash king in Judah ; published in Würzburg
probably around 1765	Luigi Boccherini	1770, S. Maria di Corteorlandini	Lucca	G. 537
1767	Michele Arditi	1767
1767	Antonio Sacchini	March 27, 1767, Oratorio dei Filippini di Santa Maria in Vallicella	Rome
1769	Giovanni Ricci	1769		also on 25-27 July 1777 in Cingoli
1770	Johann Christian Bach	March 22nd 1770, King's Theater on Haymarket	London	Libretto edited by Giovan Gualberto Bottarelli as Joash King of Juda
1772	Joseph Willibald Michl	1772, electoral palace	Mainz	as Joash a king of the Jews
1774	Giovanni Valentini	1774	Civitavecchia	also in 1778 in the Oratorio di S. Filippo Neri in Rome
1776	Johann Nikolaus Franz Seydelmann	1776, court chapel	Dresden
1777	Jan Antonín Koželuh	March 28, 1777 (Good Friday), Kreuzherrenkirche	Prague
1777	Jacob Schuback	1777
1778	António da Silva Gomes e Oliveira	March 31, 1778	Lisbon
1781	Pietro Pompeo Sales	1781	Koblenz
1782	Domenico Conventati	1782		also on March 25, 1791 in the Chiesa Nuova in Rome; 1792 in the Teatro dei Nobili in Macerata
1783	Lorenzo Baini	1783, Oratorio di San Girolamo della Carita	Rome	According to the library record in the Servizio Bibliotecario Nazionale , the libretto is by Giammartino Roncalli
1786	Anton Teyber	December 1786, Burgtheater	Vienna
1791	Domenico Coventati	March 25, 1791, Oratorio dei Filippini di Santa Maria in Vallicella	Rome
1794	Antonio Casimir Cartellieri	March 29, 1795	Vienna	Cartellieri drastically shortened the recitatives to the point of incomprehensibility and added a duet and a trio in return. The ending is also significantly expanded. Ludwig van Beethoven performed his first piano concerto in B flat major for the first time as a pianist and composer in Vienna in the premiere concert .
1803	Joseph Schuster	1803	Dresden
1806	Luigi Mosca	1806	Palermo	as Gioas riconosciuto
1813	Pietro Paolo Bugeja	1813	Valletta
1817	Favi / Nicolini	1817
unknown	Giacomo Francesco Milano Franco d'Aragona	unknown
unknown	Salvatore Pazzaglia	unknown
unknown	Gaetano Maria Schiassi	unknown	Lisbon

Recordings and performances in recent times

• Michele Arditi :
  • 2012: Performance at the “La voce degli Angeli” festival in Presicce with the baroque ensemble “Accademia dei Serenati” under the direction of Lucia Rizzello.
• Pedro Avondano :
  • 2013: Performance in Belém (Lisbon) with Divino Sospiro and Coro Gulbenkian under the direction of Massimo Mazzeo. Singers: Deborah York (Gioas), Gemma Bertagnolli (Sebia), Agata Bienkovska (Athalia), Filippo Mineccia (Mathan), Fernando Guimarães (Ismael), Nuno Dias (Gioiada).
• Johann Christian Bach :
  • 1957: Performance in the Casino-Schouwburg in 's-Hertogenbosch under the direction of Frans van Amelsvoort.
  • 2001: CD (studio recording) with the baroque orchestra "Das Kleine Konzert" and the Rheinische Kantorei Dormagen under the direction of Hermann Max . Soloists: Mechthild Georg (Atalia), Kai Wessel (Gioas), Markus Schäfer (Gioiada), Monika Frimmer (Ismaele), Tom Sol (Matan), Ulrike Staude (Sebia).
• Luigi Boccherini :
  • 1998–2000: Performances in S. Maria Corteolandini in Lucca and at the Saar Music Festival in 1999 as well as CD release after the rediscovery of the missing second part with the Orchestra da camera “Luigi Boccherini” and the Polifonica Lucchese under the direction of Herbert Handt. Singers: Susanna Rigacci (Gioas), William Matteuzzi (Gioiada), Barbara Di Castri (Sebia), Maria Billeri (Athalia), Gastone Sarti (Matan), Eugenio Favano (Ismaele).
• Antonio Casimir Cartellieri :
  • 1997: CD (studio recording) with the Detmold Chamber Orchestra and the Gütersloh Bach Choir under the direction of Gernot Schmalfuß. Soloists: Katharina Kammerloher (Gioas), Gesa Hoppe (Sebia), Ingeborg Herzog (Atalia), Thomas Quasthoff (Giojada), Hugo Mallet (Ismaele), Jörg Hempel (Matan).

Web links

Commons : Gioas re di Giuda  - collection of images, videos and audio files

Digital copies

1. ↑ ^{a b} Libretto (Italian) as digitized version at the Munich Digitization Center . In: Opere del signor abate Pietro Metastasio , Volume 6, Herissant, Paris 1780, pp. 275 ff.
2. ↑ ^{a b} Peter Obladen: Joas a King of the Jews (German translation of the libretto). In: Geistliche Schaubühne. Second improved edition. Matthäus Rieger and Sons, Augsburg and Leipzig 1766. Digitization at the Munich Digitization Center , p. 1.
3. ^ Libretto (Italian) of the oratorio by Georg Reutter, Vienna 1735 as a digitized version on Google Books .
4. ^ Libretto (Italian) of the opera by Pietro Beretti, Modena 1739. Digitized in the Corago information system of the University of Bologna .
5. ^ Libretto (Italian) of the oratorio by Michelangelo Magagni, Florence 1737 as a digitized version in the Internet Archive .
6. ↑ Score of the oratorio by Gennaro Manna, 1747 as digitized version with the International Music Score Library Project .
7. ↑ Libretto (Italian / German) of the oratorio by Gottlob Harrer (?), Leipzig 1753 as digitized version at the University and State Library of Saxony-Anhalt .
8. ^ Libretto (Italian) of the oratorio by Francesco Corbisiero, Venice as a digitized version on Google Books .
9. ^ Libretto (Italian / German) of the oratorio by Georg Christoph Wagenseil, Steyr 1774 as digitized version at the Munich digitization center .
10. ^ Libretto (Italian / English) of the oratorio by Johann Christian Bach, London 1770 as digitized version at ECCO (Eighteenth Century Collections Online, accessible via a German national license).
11. ^ Libretto (Italian / German) of the oratorio by Joseph Willibald Michl, around 1770 as a digitized version at the Munich Digitization Center .
12. ^ Libretto (Italian) of the oratorio by Jan Antonín Koželuh, Prague 1777 as digitized version on Google Books .
13. ^ Libretto (Italian / German) of the oratorio by Josef Schuster, Dresden 1804 as digitized version at the Munich Digitization Center .

Individual evidence

1. ↑ ^{a b c d e f g h i j k l m n o p q r s t} Don Neville:  Metastasio [Trapassi], Pietro (Antonio Domenico Bonaventura). In: Grove Music Online (English; subscription required).
2. ↑ Metastasio, Pietro in Die Musik in Geschichte und Gegenwart , p. 50861 ff (cf. MGG vol. 9, p. 229 ff.) Bärenreiter-Verlag 1986 ( digital library volume 60).
3. ↑ Elizabeth Birnbaum: The Juditbuch in Vienna of the 17th and 18th centuries. Peter Lang, 2009, p. 186 ( online at Google Books ).
4. ↑ ^{a b} Irmlind Capelle : Supplement to the CD of the oratorio by Antonio Casimir Cartellieri.
5. ↑ Gioas, re di Giuda (Georg Reutter) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
6. ↑ Don Neville: The Works of Pietro Metastasio in the Handbook for Metastasio Research of the University of Western Ontario , accessed June 16, 2015.
7. ↑ Jana Spáčilová: Unknown Brno oratorios by Neapolitan composers before 1740 , p. 146 and 158 ( online ).
8. ^ Library dataset of Pietro Beretti's oratorio in the Servizio Bibliotecario Nazionale , accessed on June 8, 2015.
9. ^ Gioas re di Giuda (Pietro Beretti) in the Corago information system of the University of Bologna , accessed on April 29, 2015.
10. ^ Library dataset of the oratorio by Michelangelo Magagni in the Servizio Bibliotecario Nazionale , accessed on June 8, 2015.
11. ↑ Gioas, re di Giuda (Charles Sodi) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed June 8, 2015.
12. ↑ May 1, 1739: "Gioas". In: L'Almanacco di Gherardo Casaglia ., Accessed June 8, 2015.
13. ↑ Gioas, re di Giuda (Giuseppe Maria Orlandini) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
14. ^ Howard E. Smither: A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris. UNC Press Books, 1977, p. 62 ( online at Google Books ).
15. ↑ Joas (Niccolò Jommelli) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
16. ↑ Jommelli, Niccolò. In: Dizionario Biografico - Treccani , accessed June 8, 2015.
17. ↑ Gioas, re di Giuda (Angelo del Seaglies) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
18. ↑ Library record of the oratorio by Angelo del Seaglies in the Servizio Bibliotecario Nazionale , accessed on June 8, 2015.
19. ↑ Gioas, re di Giuda (Gennaro Manna) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed June 8, 2015.
20. ^ Gioas, re di Giuda (Giovanni Battista Costanzi) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
21. ^ Record of the oratorio by Giovanni Battista Costanzi at librettodopera.it , accessed on April 8, 2018.
22. ↑ Gianni Gualdoni: Storia della tradizione teatrale musicale a Jesi (PDF, Italian) , p 247
23. ↑ Gioas, re di Giuda (Egidio Duni) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
24. ^ Egidio Duni musicista dell'opera seria di Metastasio on pietrometastasio.com , accessed on June 8, 2015.
25. ↑ Il Duni ritrovato. Article dated August 7, 2005 in La Repubblica , accessed June 8, 2015.
26. ↑ Gioas, re di Giuda (Lorenzo Minuti) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
27. ↑ Elsa Martinelli: Nei panni dell'eroe: costumi e protagonisti di due drammi per musica dati a Firenze nel 1760 (PDF), p. 153
28. ↑ Gioas, re di Giuda (Niccolò Piccinni) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed June 9, 2015.
29. ↑ Gioas, re di Giuda (Gottlob Harrer) at opening night! Opera & Oratorio Premieres , Stanford University, accessed June 9, 2015.
30. ^ Library record of the oratorio by Francesco Corbisiero in the Servizio Bibliotecario Nazionale , accessed on June 9, 2015.
31. ↑ Gioas, re di Giuda (Georg Christoph Wagenseil) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
32. ↑ Record of the oratorio by Georg Christoph Wagenseil at librettodopera.it , accessed on April 8, 2018.
33. ^ Carl Ferdinand Pohl : Joseph Haydn. P. 64 ( online at Google Books ).
34. ↑ Gioas, re di Giuda (Marc'Antonio Carafa) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
35. ↑ Record of the oratorio by Marc'Antonio Carafa at librettodopera.it , accessed on April 8, 2018.
36. ↑ Gioas, re di Giuda (Antonio Speraindeo) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
37. ^ Library record of the oratorio by Antonio Speraindeo in the Museo internazionale e biblioteca della musica di Bologna , accessed on June 9, 2015.
38. ^ Library dataset of the Oratorio by Giuseppe De Sanctis in the Servizio Bibliotecario Nazionale , accessed on June 9, 2015.
39. ↑ Robert Eitner : Additions to Eitner's sources lexicon. P. 56 ( Online in the Internet Archive ).
40. ^ Library dataset of the oratorio by Saverio Laurenti in the Servizio Bibliotecario Nazionale , accessed on June 9, 2015.
41. ↑ Robert Eitner : Additions to Eitner's sources lexicon. P. 36 ( Online in the Internet Archive ).
42. ↑ Robert Eitner : Additions to Eitner's sources lexicon. P. 40 ( Online in the Internet Archive ).
43. ↑ Gioas, re di Giuda (Johannes Ritschel) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
44. ^ Library dataset of Johannes Ritschel's oratorio at polovea.sebina.it , accessed on June 9, 2015.
45. ^ ^{A b} Travel Tip: Classical Music in Portugal - Pedro António Avondano: Gioas Re di Giuda. Announcement of the performance of the oratorio by Pedro Avondano on culturekiosque.com , accessed June 9, 2015.
46. ^ Library dataset of the oratorio by Johann Georg Waßmuth at WorldCat , accessed on June 9, 2015.
47. ↑ Boccherini, Luigi. In: Dizionario Biografico - Treccani , accessed on May 20, 2015.
48. ^ Gioas, re di Giuda (Luigi Boccherini) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
49. ↑ ^{a b} Presicce: Gioas re di Giuda: Oratorio di Michele Arditi for the festival “La voce degli Angeli”. Event announcement from July 25, 2012 on corrieresalentino.it (Italian) , accessed on June 8, 2015.
50. ↑ Gioas (Antonio Sacchini) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
51. ^ Library record of the oratorio by Giovanni Ricci in the Museo internazionale e biblioteca della musica di Bologna , accessed on June 9, 2015.
52. ↑ Gioas, re di Giuda (Johann Christian Bach) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
53. ↑ Record of the oratorio by Johann Christian Bach at librettodopera.it , accessed on April 8, 2018.
54. ↑ Gioas, re di Giuda (Joseph Willibald Michl) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
55. ^ Marius Schwemmer: Studies on genealogy, biography and work of Joseph Willibald Michl (1745-1816). Dissertation from the University of Würzburg, 2010. p. 437 ff ( online ).
56. ↑ Gioas (Giovanni Valentini) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
57. ^ Library record of the oratorio by Giovanni Valentini in the Servizio Bibliotecario Nazionale , accessed on June 9, 2015.
58. ^ Gioas, re di Giuda (Johann Nikolaus Franz Seydelmann) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
59. ^ Gioas, re di Giuda (Johann Antonin Kozeluch) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
60. ↑ Gioas (Jakob Schuback) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
61. ^ Gioas, re di Giuda (António da Silva Gomes e Oliveira) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
62. ^ Library data set of the oratorio by António da Silva Gomes e Oliveira at the Real Biblioteca, accessed on June 9, 2015.
63. ↑ Gioas, re di Giuda (Pietro Pompeo Sales) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
64. ^ Karl Böhmer: The oratorio Gioas, re di Giuda in the settings by Johannes Ritschel (Mannheim 1763) and Pompeo Sales (Koblenz 1781) ( detail page ).
65. ↑ Robert Eitner : Additions to Eitner's sources lexicon. P. 17 ( Online in the Internet Archive ).
66. ^ Library data set of the oratorio by Domenico Conventati in the Servizio Bibliotecario Nazionale , accessed on June 9, 2015.
67. ↑ Il Gioas, re di Giuda (Lorenzo Baini) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
68. ^ Library dataset of Lorenzo Baini's oratorio in the Servizio Bibliotecario Nazionale , accessed on June 9, 2015.
69. ↑ Gioas, re di Giuda (Anton Teyber) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
70. ^ Otto Erich Deutsch: Mozart: A documentary Biography. P. 280 ( online at Google Books ).
71. ↑ Il Gioas (Domenico Coventati) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
72. ^ Gioas, re di Giuda (Casimir Anton Cartellieri) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
73. ↑ Gioas, re di Giuda (Josef Schuster) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
74. ↑ Gioas riconosciuto (Luigi Mosca) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
75. ↑ Gioas, re di Giuda (Pietro Paolo Bugeja) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
76. ↑ Milano Franco d'Aragona, Giacomo Francesco. In: Dizionario Biografico - Treccani , accessed April 28, 2015.
77. ↑ Gioas (Salvatore Pazzaglia) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed June 9, 2015.
78. ↑ Gioas, re di Giuda (Gaetano Maria Schiassi) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
79. ^ Frans van Amelsvoort. In: Bossche Encyclopedie , accessed June 10, 2015.
80. ^ Johann Christian Bach. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , Volume 20, p. 367.
81. ↑ World premieres, German premieres and premieres of modern times on the website of the Saar Music Festival ( Memento from June 13, 2015 in the Internet Archive ), accessed on June 10, 2015.
82. ^ Boccherini: Gioas Re di Giuda. CD information from Allmusic , accessed June 9, 2015.
83. ^ Library record of Luigi Boccherini's oratorio at WorldCat , accessed on June 9, 2015.
84. ↑ Luigi Boccherini. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , Volume 20, p. 1894.
85. ^ Anton Casimir Cartellieri: Gioas - Re di Giuda - Gernot Schmalfuss. CD information from Allmusic , accessed June 9, 2015.
86. ^ Antonio Casimir Cartellieri. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , Volume 20, p. 2545.