Achille in Sciro

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Work data
Title: Achille in Sciro
Second act, scene VIII. Ulisse: "E qual sarà, se non è questo Achille?"

Second act, scene VIII.
Ulisse: "E qual sarà, se non è questo Achille?"

Shape: Opera seria
Original language: Italian
Music: First setting by Antonio Caldara
Libretto : Pietro Metastasio
Premiere: February 13, 1736
Place of premiere: Court Theater Vienna
Place and time of the action: Skyros island , mythical time
people
  • Licomede , King of Sciro
  • Achille in women's clothes under the name Pirra , Deidamia's lover
  • Deidamia , daughter of Licomede, mistress of Achille
  • Ulisse , ambassador of the Greeks
  • Teagene , Prince of Calcide, fiance of Deidamia
  • Nearco , Achilles friend and overseer
  • Arcade , Ulisse's confidante
  • La Gloria (The Glory)
  • Amore (love)
  • Il Tempo (The Time)

Achille in Sciro is an opera - libretto , a dramma per musica in three acts by Pietro Metastasio . It has been set to music by numerous composers. The first setting by Antonio Caldara was premiered on February 13, 1736 for the wedding of Maria Theresa to Franz von Lothringen in Vienna.

A German translation of the libretto by Johann Anton Koch appeared in 1772 under the name Achilles in Scyro in the fourth volume of his unfinished complete edition Des Herr Abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems.

action

The libretto is about the youth of the Greek hero Achille . He was prophesied that he would fall in the Trojan War . To prevent this, his mother, the sea nymph Thetis , disguised as a woman, together with his friend Nearco , sent him to the court of King Licomede on the island of Sciro . There he fell in love with Princess Deidamia . Only through a list of here Ulisse called Odysseus he can be brought to the opera in the course to go to war.

“It is already well known from the rumor how all the princes of Greece united their forces to avenge the injustice suffered by the kidnapping of Helen with the destruction of Troy. While this terrible army was gathering, the prophecy spread among the united crowd: that they would never conquer the hostile city unless they led the young Achilles, a son of Thetis, and Pelaeus by them: and this received after and after so much power over the minds of the superstitious men of war that, to the shame of their leaders, they pretended not to be able to leave without Achilles. Thethis, who found out about this and was worried for her son's life if he should wield arms, decided to withdraw him from the pursuit of the Greeks. So she went to Thessaly, where Achilles herself was brought up under the supervision of old Chiron, took him with her, and carefully hid him in women's clothes, gave him to one of her confidants, ordered him to go to the island of Scirus, the royal one Seat of Licomedes, and that he was to watch over it closely under the name of Pirrha, as his own daughter. This cautious servant carried out her order with the greatest possible precision; He went to Scirus with such a large pledge, he changed his real name to Nearchus in order to be recognized all the less, and was so happy to bring it to this court that they both received considerable positions of honor in a short time, he among them royal ministers, and the given pirrha, among the court ladies the princess Deidamia, the daughter of Licomedes. In favor of the wrong clothes, Achilles could admire the innumerable charms of the beautiful Deidamia very close by; he was made in love by it; he could no longer hide it from her, found an opportunity to speak to her of it, and both were kindled by a violent mutual love. The watchful Nearchus became aware of this in the course of time, and instead of resisting her growing love, he employed all the art to entertain her, since he promised himself protection from the amorous princess, in order to keep Achilles' impatience in check ; who, since he could not suppress the heated attacks of his warlike disposition, was angry with the soft, feminine ornaments, as with unbearable fetters: and at the flash of a sword, at the sound of a trumpet, or if he only heard of it, quite was out of himself, and feared he might betray himself. And he would have done it too, if the attentive Deidamia, who was afraid of losing him, had not managed to moderate himself. In the meantime this care cost her a lot of trouble, since it was known in the Greek army where and in what clothes Achilles hid, or at least seemed doubtful. It was therefore decided among them to send a wise ambassador to Licomedes, who, under the pretext of asking ships and soldiers for the siege of Troy, should endeavor to find out whether Achilles was there, and him, by whatever means it could happen to bring with it. Ulysses, the most skilful of all, was determined to carry out this unpleasant business. It tore off and landed on the local coast on the very day that the solemn festivals of Bacchus were celebrated in Scirus. On his arrival, luck immediately offered him sufficient indication to start his investigations. He also made use of them. Since he suspected that Achilles was hidden in the pirrha, he thought of ways of making sure of it; he took the opportunity to speak to her, regardless of the dangerous guard of Nearchus and Deidamia; he then made use of all his artificial eloquence, and persuaded him to travel with him. The princess, who received news of this, hastened to prevent it, and found Achilles in the cruelest uncertainty as to whether he should follow her or Ulysses. One used the strongest motives of honor to take him with him, the other used the strongest tenderness of love to keep him there, and Achilles, who was beset by two such violent passions at the same time, was undecided and full of doubt in this tormenting argument. But the wise king laid him down. He had learned everything with constant restlessness; left the requested hero to the request of Ulysses, and gave Achilles the royal princess, while at the same time he gave them instructions on how, by clever alternation, they should share the tender loving cares and the warlike work among themselves, and in this way he united in honor as well as love to his downcast mind.

This story can be found in almost all poets, both old and new, but since they do not agree with the circumstances, we have, without adhering to either one or the other, taken from each one what to furnish is most useful to our drama.

The setting is in the residence of King Licomedes, on the island of Scirus. "

- Pietro Metastasio : Foreword from the libretto of the setting by Johann Friedrich Agricola, Berlin 1765

The following table of contents is based on the libretto of the 1736 setting by Antonio Caldara .

first act

The Bacchantes celebrate a festival of their god in the square in front of the Temple of Bacchus on the coast of the island of Sciro. Among them are Deidamia and Pirra, the disguised Achilles. The rite is interrupted by the sound of trumpets and everyone looks towards the sea. Two ships can be seen. There are soldiers on the ships. However, Nearco recognizes from the ship's jewelry that they have friendly intentions. Achille would like to watch the ships longer, but Nearco advises against it. It could attract attention if he stayed here longer unaccompanied in women's clothes. In addition, Deidamia would meet Teagene, the prince of Chalcis, in the meantime, and King Licomedes would promise the two to one another today.

After Achille leaves, Nearco ponders how he can continue to hide Achille's identity. As soon as he hears the noise of battle or trumpets, he can no longer be held back. In addition, he does not yet know about the prophecy that he is indispensable for the victory against Troy and is therefore wanted by all of Greece. The guests Ulisse and Arcade who arrived with the ships now come to the shore and are greeted by Nearco. He sets out to report them to the king. However, Ulisse recognized Nearco because he had met him at the court of Achilles father Peleus. He therefore suspects that Achille can also be found here.

In Deidamia's apartments, King Licomede asks her to go into the garden to greet her future husband, Teagene. He himself was expected by the Greek ambassadors. After he leaves, Achille comes over and blames her for her engagement to Teagene. However, she assures him that she has no feelings for him. She wants to do everything possible to stay with Achille. In the meantime, however, he should pay more attention to his camouflage in order not to be recognized. He promises her to be careful. Ulisse appears. Pirra (Achille) is angry about his unauthorized entry into the women's room. Ulisse immediately becomes suspicious and demands to know who she is. Deidamia gives him the name Pirra. Ulisse apologizes for having made a mistake in the room. He wanted to go to the king to ask for ships and warriors for the upcoming war.

Ulisse noticed the similarity between Pirra and Peleus. His language and looks also made him suspicious. But he is still not entirely sure that it is Achille. Arcade tells him that Nearco arrived with Pirra a year ago. This is a friend of Princess Deidamia.

Deidamia awaits Teagene in the palace garden. Achille hides there to watch the conversation. Licomede comes and introduces her Teagene as her future husband. When Teagene compliments her, Achille can no longer hold back and comes out of his hiding place. Licomede Teagene jokingly introduces him as his rival, because Pirra is Deidamia's constant companion. Deidamia asks Teagene not to speak of love to her because she is not interested in it. She moves away. Teagene is confused about this reception. When he tries to follow Deidamia, he is stopped by Achille.

Second act

In a loggia furnished with Hercules sculptures, Arcade Ulisse reports that all preparations for his plan have been made. Have your people simulate a fight to get Achilles out of the reserve. Ulisse knows that the noise of the guns cannot withstand. You see Pirra coming and decide to watch her behavior. While Arcade is hiding, Ulisse pretends to be completely absorbed in contemplating the statues. He compares Hercules to Achilles in various ways, while Arcade observes Pirra's reaction. Before a decision can be made, however, the king appears and fetches her to eat. The next morning he wants to show them the ships and warriors that have been prepared.

Licomede asks Achille to convince Deidamia of the advantages of Teagenes.

Achille tells Nearco how much he now feels humiliated by the women's clothes. Nearco is concerned about Deidamia, who immediately becomes restless if Achille leaves her alone for a moment. You decide to go to her. Nearco wonders about Achille. He can hardly be tamed at the din of guns, but as soon as he thinks of Deidamia, he calms down immediately.

In a large hall everyone is seated at the set table. Teagene notices the familiarity between Deidamia and Pirra. Ulisse speaks of the upcoming fight in which all of Europe will take part. Arcade observes Pirra's reactions. Pirra (Achille) actually got up, agitated. But then Licomede asks her to give a lecture on the lyre.

Achilles' song is interrupted when some of Ulisse's entourage bring favors from Ithaca. Among them is also a splendid armor, which Achille particularly admires. Deidamia can bring him to his senses just in time. Guns clang from outside. The feigned battle between their people and the royal guards, faked by Ulisse and Arcade, causes Achilles to throw away the lyre, grab hold of the armor and draw his sword. After he was exposed in this way, Ulisse tells him about the Greek mission. Achille is torn between his lust for battle and his love for Deidamia, which he does not want to leave behind. Finally he tears his clothes and follows Ulisse. Desperate, Deidamia asks Nearco to stop Achille. Then she is approached by Teagene, who wants to know what's wrong with her. But she can't tell him yet. Teagene doubts that she is really ready to marry him.

Third act

Ulisse and Achille are preparing to leave. Arcade comes in and makes a hurry. He secretly informs Ulisse that Deidamia is on her way to see them. However, he tells Achilles that he is afraid the king might try to prevent her from leaving. Deidamia comes up and reproaches Achille. Achille explains to her that his feelings for her have not changed, but that he must obey his duty. Ulisse urges him to make up his mind and accuses him of cowardice. Deidamia faints him. Achille rushes to her. Ulisse and Arcade leave him.

After Deidamia wakes up, Achille notices that Ulisse is gone. Nearco arrives and reports that he is on his way to the king to reveal Pirra's true identity. Teagene has since found out the truth and is already with the king. Achille is also on his way there. Nearco now knows that his assignment has failed and thinks about how he can tell Thetis this.

Achille finds Teagene with the king. He volunteered to give up Deidamia and asks Licomede to marry her to Achille. Licomede is happy to have found such a brave son-in-law in the famous Achille. Now Ulisse and Deidamia are also coming. Licomede informs her of his decision. Achille is supposed to go to war with Ulisse and marry Deidamia on his return.

At the end of the opera, the allegorical figures of fame, love and time descend from heaven in a cloud and sing praises of the happy couple with their entourage. An analogy also pays homage to the bride and groom Maria Theresia and Franz von Lothringen , whose wedding was the occasion of the work.

history

Metastasio used several templates for his libretto. These include the third book of the library of Apollodorus , the ninth book of Mythologiae, sive explicationis fabularum libri decem by Natale Conti , No. 96 of the Fabulae by Hyginus and the first book of Achilles by Publius Papinius Statius . In addition, the plot bears strong resemblances to the libretto L'Achille in Sciro by Ippolito Bentivoglio , composed in 1664 and set to music by Giovanni Lenzei in 1663 . This suggests that Metastasio was under time pressure and that the latter used as a direct template.

The work has the subtitle "dramma immaginato". This should have been chosen because the plot has no real dramatic conflict, the hero appears consistently in women's clothes and some supernatural events take place. Therefore and because of the festive occasion, the elaborate stage design created by Antonio and Giuseppe Galli-Bibiena and the use of the choir, it can also be formally referred to as Serenata or festa teatrale .

The text was not very popular. Nevertheless, there were many other versions and performances well into the 19th century. In 1737 the Teatro San Carlo in Naples was inaugurated with Domenico Sarro's setting , where several other versions were later premiered. Jommelli's version for Vienna from 1749 received special praise from Metastasio. The last known setting comes from Pietro Antonio Coppola in 1825. It was performed in Naples in 1832.

An anonymous German-language adaptation as a play was published in Nuremberg in 1761 under the name Achilles in the Insul Scyrus .

This libretto plays an important role in two novels in each of which a composer composes an opera, the title role of which is performed by his pupil in Rome. The three-volume novel Hildegard von Hohenthal by Wilhelm Heinse , published in 1795, deals with a young singer who comes to Rome disguised as a man and achieves great success there as a supposed castrato . In Cry to Heaven from 1982 (German: Falsetto , 1998) by Anne Rice , it is a young castrato singer who begins his career with it.

Settings

The following composers based this libretto on an opera of the same name:

year composer premiere Performance location Remarks
1736 Antonio Caldara February 13, 1736, Theater am Kärntnertor Vienna for the wedding of Maria Theresa with Franz von Lothringen
1737 Domenico Sarro November 4, 1737, Teatro San Carlo Naples for the opening of the opera house on the name day of King Charles VII of Naples.
1738 Giuseppe Arena 7th January 1738, Teatro delle Dame Rome
1739 Pietro Chiarini January 10, 1739, Teatro Sant'Angelo Venice
1740 Leonardo Leo Carnival 1740, Teatro Regio Turin Leonardo Leo - Achille in Sciro - titlepage of the libretto - Turin 1740.png
1743 Franz Joseph Leonz Meyer von Schauensee 1743, Teatro Viceregio Cagliari as Il trionfo della gloria
1744 Francesco Corselli December 8th 1744, Real Teatro del Buen Retiro Madrid on the engagement of the Infanta Maria Teresa Antonia to the Dauphin Louis Ferdinand of France
1745 Gennaro Manna January 20, 1745, Teatro San Carlo Naples
1746 Giovanni Verocai Summer fair 1746, court theater Braunschweig
1747 Giovanni Battista Runcher 5th October 1747, Teatro San Samuele Venice Giovanni Battista Runcher - Achille in Sciro - titlepage of the libretto - Venice 1747.png
1749 Niccolò Jommelli August 30, 1749, Burgtheater Vienna first version
1751 anonymous Carnival 1751, Teatro di Corte Modena
1751 Gregorio Sciroli 1751 Naples Place of performance doubtful
1754 Antonio Maria Mazzoni 1754, Teatro Ducale Piacenza
1759 Giuseppe Sarti 1759, Det Kongelige Teater Copenhagen first version
1759 Johann Adolph Hasse November 4, 1759, Teatro San Carlo Naples
1764 Ferdinando Bertoni Carnival 1764, Teatro San Cassiano Venice Ferdinando Bertoni - Achille in Sciro - titlepage of the libretto - Venice 1764.png
1764 Carlo Monza 4th February 1764, Teatro Regio Ducale Milan
1765 Johann Friedrich Agricola September 16, 1765, Royal Court Opera Berlin on the marriage of the " Prince of Prussia " to Princess Elisabeth of Braunschweig Johann Friedrich Agricola - Achille in Sciro - german titlepage of the libretto - Berlin 1765.png
1766 Florian Leopold Gassmann Ascension Mass 1766, Teatro San Giovanni Crisostomo Venice Florian Leopold Gassmann - Achille in Sciro - titlepage of the libretto - Venice 1766.png
1767 Johann Gottlieb Naumann 5th September 1767, Teatro di Santa Cecilia Palermo
1771 Niccolò Jommelli January 26th 1771, Teatro delle Dame Rome second version Niccolò Jommelli - Achille in Sciro - titlepage of the libretto from 1771.jpg
1772 Antonio Amicone August 13th 1772, Teatro San Carlo Naples
1774 Pietro Pompeo Sales January 10, 1774, Cuvilliéstheater Munich Pietro Pompeo Sales - Achille in Sciro - german titlepage of the libretto - Munich 1774.png
1774 Pasquale Anfossi February 4, 1774, Teatro Argentina Rome
1778 Giovanni Paisiello January 26 or February 6, 1778, court theater St. Petersburg
1779 Giuseppe Sarti October 25, 1779, Teatro della Pergola Florence second version
1780 Giuseppe Gazzaniga Autumn 1780, Teatro di Santa Cecilia Palermo further performance in autumn 1781
1785 Gaetano Pugnani January 15, 1785, Teatro Regio Turin Libretto revised by Vittorio Amedeo Cigna-Santi ;
also in 1795 in the Theater am Kärntnertor in Vienna
1794 Marcello Bernardini November 21, 1794, Teatro La Fenice Venice
1825 Pietro Antonio Coppola 1825, Teatro del Fondo Naples also in 1828 and winter 1830 in the Teatro Comunale in Catania

Recordings and performances in recent times

Web links

Commons : Achille in Sciro  - collection of images, videos and audio files

Digital copies

  1. ^ Johann Anton Koch: The abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems, translated from Italian. Fourth volume. Krauss, Frankfurt and Leipzig in 1772 as digitization at the Munich digitization center .
  2. ↑ a b Libretto (Italian / German) of the opera by Johann Friedrich Agricola, Berlin 1765 as digitized version at the Berlin State Library .
  3. ↑ Achilles in the Insul Scyrus. A play. Verlag Johann Paul Krauss, Nuremberg 1761. Digitized at Google Books.
  4. ↑ Score of the opera by Domenico Sarro as digitized version with the International Music Score Library Project .
  5. ^ Libretto (Italian) of the opera by Giuseppe Arena, Rome 1738 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  6. ^ Libretto (Italian) of the opera by Pietro Chiarini, Venice 1739. Digitized in the Corago information system of the University of Bologna .
  7. ^ Libretto (Italian) of the opera by Leonardo Leo, Turin 1740 as digitized version at the Munich Digitization Center .
  8. ^ Libretto (Italian) of the opera by Giovanni Battista Runcher, Venice 1747. Digitized in the Corago information system of the University of Bologna .
  9. ^ Libretto (Italian) of the opera by Johann Adolph Hasse, Naples 1759 as digitized version at the Munich Digitization Center .
  10. ^ Libretto (Italian) of the opera by Ferdinando Bertoni, Venice 1764 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  11. ^ Libretto (Italian) of the opera by Carlo Monza, Milan 1764. Digitized in the Corago information system of the University of Bologna .
  12. ^ Libretto (Italian) of the opera by Florian Leopold Gassmann, Venice 1766 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  13. ^ Libretto (Italian) of the opera by Johann Gottlieb Naumann, Palermo 1767 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  14. ^ Libretto (Italian) of the opera by Niccolò Jommelli, Rome 1771 as digitized version at the Munich Digitization Center .
  15. ^ Libretto (Italian) of the opera by Antonio Amicone, Naples 1772 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  16. ^ Libretto (Italian / German) of the opera by Pietro Pompeo Sales, Munich 1774 as digitized version at the Munich digitization center .
  17. ^ Libretto (Italian) of the opera by Giuseppe Sarti, Florence 1779 as a digitized version in the Internet Archive .
  18. ^ Libretto (Italian) of the opera by Marcello Bernardini, Venice 1794 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  19. ^ Libretto (Italian) of the opera by Pietro Antonio Coppola, Catania 1830. Digitized in the Corago information system of the University of Bologna .

Individual evidence

  1. ↑ a b c d Don Neville:  Achille in Sciro. In: Grove Music Online (English; subscription required).
  2. ^ Metastasio, Pietro. In: Music in the past and present. (= Digital Library . Volume 60). Bärenreiter-Verlag, 1986, p. 50861 ff. (See MGG Volume 9, p. 229 ff.)
  3. ↑ Libretto of the opera by Antonio Caldara, Vienna 1736 as full text (Italian) at librettidopera.it , accessed on September 25, 2014.
  4. ↑ Daniel Fuhrimann: Herzohren für die Tonkunst. Opera and concert audience in German literature of the long 19th century. Rombach Printing and Publishing House, 2005, ISBN 3-7930-9435-9 , p. 136 ff.
  5. ^ Johann Jakob Wilhelm Heinse: Hildegard von Hohenthal as full text at Zeno.org .
  6. ^ Achille in Sciro (Antonio Caldara) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  7. ↑ Achille in Sciro (Antonio Caldara) at operabaroque.fr , accessed on January 15, 2015.
  8. ↑ Achille in Sciro (Domenico Natale Sarro) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  9. ↑ Karyl Lynn Charna: Italian Opera Houses and Festivals. Scarecrow Press, 2005, ISBN 0-8108-5359-0 , p. 279 ( online at Google Books).
  10. ↑ a b Achille in Sciro (Domenico Natale Sarro) at operabaroque.fr , accessed on January 15, 2015.
  11. ^ Achille in Sciro (Giuseppe Arena) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  12. ↑ Achille in Sciro (1738) , data set at APGRD , accessed on September 26, 2014.
  13. ^ Achille in Sciro (Pietro Chiarini) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  14. ^ Achille in Sciro (Leonardo Leo) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  15. ^ Il trionfo della gloria, ossia Achille in Sciro (Meyer von Schauensee) at opening night! Opera & Oratorio Premieres , Stanford University, accessed September 26, 2014.
  16. ^ Achille in Sciro (Francesco Courcelle) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  17. ↑ Achille in Sciro (Francesco Corselli) at operabaroque.fr , accessed on September 26, 2014.
  18. ↑ Achille in Sciro (Gennaro Manna) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  19. ^ Achille in Sciro (Giovanni Verocai) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  20. ^ Achille in Sciro (Giovanni Battista Runcher) in the Corago information system of the University of Bologna , accessed on September 26, 2014.
  21. ^ Achille in Sciro [1a ver.] (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on October 9, 2014.
  22. ↑ a b Achille in Sciro (Niccolò Jommelli) at operabaroque.fr , accessed on January 15, 2015.
  23. ↑ Achille in Sciro [MO 1751] (anonymous) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  24. ↑ List of stage works by Gregorio Sciroli based on the MGG at Operone, accessed on September 26, 2014.
  25. ↑ Achille in Sciro (1751) , data set at APGRD , accessed on September 26, 2014.
  26. ^ Achille in Sciro (Antonio Mazzoni) in the Corago information system of the University of Bologna , accessed on September 26, 2014.
  27. ↑ Achille in Sciro [1a ver.] (Giuseppe Sarti) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  28. ^ Achille in Sciro (Johann Adolf Hasse) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  29. ↑ Johann Adolph Hasse at operabaroque.fr , accessed on January 15, 2015.
  30. ^ Achille in Sciro (Ferdinando Bertoni) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  31. ^ Achille in Sciro (Carlo Monza) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  32. ^ Achille in Sciro (Johann Friedrich Agricola) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  33. ^ Achille in Sciro (Florian Leopold Gassmann) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  34. ↑ Achille in Sciro (Johann Gottlieb Naumann) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  35. ^ Achille in Sciro [2a ver.] (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on October 9, 2014.
  36. ↑ Achille in Sciro (Antonio Amicone) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  37. ^ Achille in Sciro (Pietro Pompeo Sales) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  38. ↑ List of the stage works by Pietro Pompeo Sales based on the MGG at Operone, accessed on September 26, 2014.
  39. ↑ Achille in Sciro (Pasquale Anfossi) in the Corago information system of the University of Bologna , accessed on September 26, 2014.
  40. ^ Achille in Sciro (Giovanni Paisiello) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  41. ↑ Achille in Sciro [2a ver.] (Giuseppe Sarti) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  42. ↑ Achille in Sciro (Giuseppe Gazzaniga) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  43. ↑ Achille in Sciro (Gaetano Pugnani) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  44. ^ List of the stage works by Gaetano Pugnani based on the MGG from Operone, accessed on September 26, 2014.
  45. ^ Achille in Sciro (Marcello Bernardini) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  46. ^ Achille in Sciro (Bernardini, Marcello) , data set at Trove , accessed on September 26, 2014.
  47. ↑ Achille in Sciro (1825) , data set at APGRD , accessed on September 26, 2014.
  48. ↑ Achille in Sciro (Pietro Antonio Coppola) in the Corago information system of the University of Bologna , accessed on January 15, 2015.
  49. ^ Domenico Sarro: Achille in Sciro - Federico Maria Sardelli . CD information from Allmusic , accessed January 15, 2015.
  50. ^ Domenico Sarro: Achille in Sciro. CD review at operatoday.com , accessed January 15, 2015.