Alessandro Severo (Zeno)
| Opera dates | |
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| Title: | Alessandro Severo |
Title page of the libretto, Venice 1717 |
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| Shape: | Opera seria in three acts |
| Original language: | Italian |
| Music: | First setting by Antonio Lotti |
| Libretto : | Apostolo Zeno |
| Premiere: | December 26, 1716 |
| Place of premiere: | Teatro San Giovanni Crisostomo , Venice |
| Place and time of the action: | Rome, 223 |
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Alessandro Severo is an opera - libretto in three acts by Apostolo Zeno . The work was first performed in the setting by Antonio Lotti on December 26, 1716 in the Teatro San Giovanni Crisostomo in Venice. A total of almost 20 settings are known.
action
The prehistory is told in the libretto as follows: Alessandro Severo ( Severus Alexander ), had been appointed as his successor by his uncle Elagabal and took over the Roman imperial dignity at the age of thirteen after his assassination. At first he was under the tutelage of his mother Giulia Mammea ( Julia Mamaea ), who arranged his marriage to the young noblewoman Sallustia ( Orbiana ). Alessandro soon fell in love with Sallustia, appointed her empress and granted her all sorts of honors that were previously reserved for his mother alone. Giulia became jealous of her daughter-in-law and tried by all means to get rid of the unpleasant competitor.
The opera begins with a celebration to mark the anniversary of Alessandro's accession to the throne. Alessandro appoints Sallustia's father Marziano ( Seius Sallustius ) as commander in chief of the army. Giulia suffers from her growing jealousy. In the second storyline, the young Albina arrives in Rome in search of her former lover Claudio. Since he has lost interest in her, she asks Sallustia for support. Alessandro appoints Claudio to head his guard. Giulia slips a document with her son, with which he unknowingly violates Sallustia. After her father learns about it, he and Claudio decide to murder the empress - initially with poison and, if that should fail, with the sword. Albina overhears their conversation. In order to get revenge on Claudio, she reveals the murder plan to Sallustia. At the following banquet, Sallustia prevents the poison attack. But since she does not want to name the culprit - her father - the suspicion falls on herself. Neither Giulia's threats nor Alessandro's pleading can get her to speak. Claudio learns from Albina that she herself betrayed the plan to Sallustia. He is impressed with her determination. In Giulia's bedroom, Sallustia inadvertently mentions her father's name as the perpetrator of the attack. Shortly afterwards, Marziano comes to attempt the second murder - but Sallustia defends the Empress against him. Giulia is so touched that she gives up her hatred. The two couples are reunited and Marziano is forgiven too.
first act
Magnificent throne room in the Capitol
Scene 1. Emperor Alessandro leads his wife Sallustia to the throne to the praise of the people and their soldiers (chorus: “Viva viva il nostro augusto”). It is the anniversary of his accession to the throne. With them are also Sallustia's father Marziano and his friend Claudio. Alessandro appoints Marziano as commander in chief of the army. Marziano promises Rome further successes (Aria Marziano: "L'Eufrate, l'Oronte l'altera sua fronte"). He goes away. Claudio reports that the Parthian ambassador wants a meeting.
Scene 2. Alessandro's mother, Giulia, walks in and congratulates her son and his wife. But she makes it clear that she is not comfortable with her own loss of power since Sallustia was recognized as empress. Alessandro sends Claudio away to beg the Parthians for patience. Alessandro and Sallustia ensure their mutual love (duet Alessandro / Sallustia: “Esser cara al mio diletto”).
Scene 3. After everyone else has left, Giulia gives free space to her jealousy (aria Giulia: “Sdegno, ingegno, affetti, inganni”).
Imperial Treasury
Scene 4. Claudio's former lover Albina has come to Rome in men's clothing to win him over again.
Scene 5. Albina asks Sallustia for help. She had had to part with her lover Claudio when her father was appointed governor of Sicily. Not wanting to give up on him, she made it through to Rome in disguise. But now Claudio no longer seems to be interested in her. She asks the Empress either to change his mind or to ensure her revenge. She couldn't bear to be mocked by an unfaithful man (Aria Albina: “Non vo ', che un infedele”).
Scene 6. Alessandro explains to his entourage, Claudio and Sallustia, the basic principles of his rule: every day on which he does no good is lost for him. A famine must be overcome in Sicily, and the army urgently needs rest and additional financial resources. At the request of Sallustia, who would like to help Albina in this way, Alessandro appoints the overzealous Claudio to head his guards. Claudio leaves.
Scene 7. Giulia appears with a sheet of paper in her hand that supposedly contains petitions. Alessandro signs it unread. Giulia sends Sallustia away because she wants to talk to her son alone.
Scene 8. Giulia explains to Alessandro to his horror that she had given him Sallustia as his wife only as bed-companion, but that she should never take the position she deserved as empress. Therefore he must now cast them out. He has just signed a corresponding order. She moves away triumphantly.
Scene 9. Sallustia finds Alessandro in tears. He is unable to convey the message to her (Aria Alessandro: “Dirò… La madre… Il foglio…”) and leaves her confused.
Scene 10. Sallustia realizes that Giulia is behind this. She vows to remain loyal to Alessandro (Aria Sallustia: "Il mio vezzoso diletto sposo").
Gardens
Scene 11. Albina finally meets Claudio. At first he doesn't want to recognize her in her disguise. When she finally convinced him of her identity, he explains that fame and freedom are now more important to him than love (Aria Claudio: "Posso amar; ma sol per poco"). He goes.
Scene 12. Albina complains to Sallustia of her suffering. This calms them down. Since Claudio has no other lover, he will soon find his way back to her. Albina promises not to give up hope (Aria Albina: "Soffrirò; ma dar non voglio"). She goes.
Scene 13. Giulia hands Sallustia the deed of repudiation signed by Alessandro. She declares that she is the only empress of Rome herself. Sallustia assures that she loves Alessandro and has no interest in power. Giulia remains: Sallustia is banished. She wants to look for a younger and more docile bride for her son (Aria Giulia: "Beltà più vezzosa"). She moves away.
Scene 14. Sallustia seeks support from her father Marziano. He advises her to take the humiliation with composure and to hope for the future. Sallustia sadly says goodbye (Aria Sallustia: "Padre, addio. Dammi un amplesso").
Scene 15. Marziano finds himself in a conflict between his sense of duty and his fatherly love (Aria Marziano: “Ti sento, amor di padre”).
Second act
Imperial apartments
Scene 1. Alessandro and Sallustia lament their forced separation together (duet Sallustia / Alessandro: “Tu morir? Crudel! Perché?”).
Scene 2. Giulia comes to hand Sallustia over to the guards who are to lead her into exile. Sallustia bravely endures everything. She even kisses Giulia's hand and asks her to take good care of her son. Then she says goodbye to Alessandro (Aria Sallustia: "Io ti lascio, o sposo amato").
Scene 3. Giulia assures Alessandro that Sallustia's banishment is also in his interest. She compares her motherly love with that of Nero's mother Agrippina , who was ultimately murdered by her son, and Sallustia with Nero's second wife Poppaea Sabina , whose love she considers dangerous. Now he has to seal the separation before the Senate. Alessandro is desperate (duet Giulia / Alessandro: "Ferma. Ascolta ..."). He withdraws.
Scene 4. Giulia quickly overcomes her emerging compassion for her son.
Scene 5. Marziano and Claudio enter to assure Giulia of their loyalty. Marziano explains that he thinks she is righteous and therefore wants to cast out his daughter as well. Both ask her to confirm the new offices they have received from Alessandro. Giulia thanks them for their loyalty (Aria Giulia: "Non ho in petto un'alma ingrata"). She goes.
Scene 6. Marziano and Claudio only wanted to lull Giulia into safety. In reality they plan to assassinate the empress. Albina comes in unnoticed by the two of them and overhears the conversation. Claudio has already persuaded a kitchen servant to mix her poison into the food. If the attack should fail, Marziano will personally take up the sword (Arie Marziano: “L'alma corre alla vendetta”). He goes away.
Scene 7. Albina tries to talk to Claudio again. However, he rejects them brusquely (Aria Claudio: "Non mi parlar d'amor").
Scene 8. Albina now seeks revenge on Claudio. She decides to reveal the murder plan. In order not to endanger Sallustia's father, she only wants to reveal the plan to her (Aria Albina: “Dell'infido a te s'aspetta”).
Hall prepared for a banquet
Scene 9. Sallustia has joined the kitchen servants and sets the table with them in servant clothing where she previously sat as Empress.
Scene 10. Albina implies to Sallustia that her fate may soon change. Love and death are stronger than Giulia and her anger, because Marziano has developed a plan. The two move aside and continue to talk quietly. Then Albina moves away.
Scene 11. Alessandro and Marziano enter. Alessandro still hopes his mother will give in.
Scene 12. Giulia comes in and sits down with Alessandro and Marziano to be entertained by the following ballet. Before Giulia can then empty her cup, Sallustia intervenes and warns her about the poison. However, since she does not want to call her father guilty, Giulia has her arrested herself. Sallustia is desperate about her hopeless situation (Aria Sallustia: "La mia augusta è mia tiranna"). It is carried away by the guards.
Scene 13. Since Giulia fears further attacks, Marziano and Claudio, who has just arrived, assure her that they will reinforce the guards. Giulia is shocked by the event (Aria Giulia: "In sì torbida procella"). She goes.
Scene 14. Alessandro urges Marziano to persuade his daughter to give the killer's name. This could reconcile Sallustia and Giulia. Marziano replies that his daughter has always been stubborn. Alessandro doesn't want to give up hope (Aria Alessandro: “Sia speme, o inganno”). He goes.
Scene 15. Marziano and Claudio wonder who could have discovered their plot. Now they have to fall back on Marziano's alternative plan (Arie Marziano: “Cervetta timida in largo piano”). Marziano leaves.
Scene 16. Albina comes in and tells Claudio that she knows about the conspiracy. When he asks who she heard about it from, she promises to lead the traitor to him. He should wait for her at the thermal baths. Claudio swears revenge on the stranger (Aria Claudio: "Sulle tue luci stesse"). He goes.
Scene 17. Albina is disappointed with Claudio's reaction. He should have been grateful to her, but only thinks of revenge (Aria Albina: “Fidi amori, or sì dolenti”).
Third act
Imperial thermal baths
Scene 1. Giulia, Alessandro make another attempt to get Sallustia to talk. Alessandro asks Giulia to leave him alone with Sallustia. Giulia can only with difficulty overcome her jealousy, but then gives in (Aria Giulia: "So, che dono al vostro affetto") and goes out.
Scene 2. Even Alessandro can't persuade Sallustia to reveal the name of the assassin. He is afraid of losing her for good as a result. He would not survive that (Aria Alessandro: “Da te tu mi dividi”). Alessandro goes.
Scene 3. Sallustia asks Albina for a weapon with which she wants to defend herself if necessary (Aria Sallustia: “Langue al cocente raggio”). She receives a stiletto and leaves.
Scene 4. Claudio comes to the agreed meeting with Albina to find out the name of the traitor from her. Albina reveals to him that she herself was this traitor and was driven to do so by his rejection. She pulls out her knife and tells him to defend himself. That brings Claudio back to his senses. He remembers his old love for her and asks her forgiveness. However, Albina demands a proof of love (Aria Albina: "Voglio prova maggior della tua fede").
Scene 5. Claudio is impressed with Albina's love and persistence. In the following aria he compares the anger of a loving woman with a summer storm that rages violently but quickly fades (Claudio's aria: “Ira in cor di donna amante”).
bedroom
Scene 6. Giulia cannot rest for fear of further attacks. When she hears Sallustia coming, she lies down on her bed and pretends to sleep.
Scene 7. Sallustia looks at the supposedly peacefully sleeping empress. In a self-talk, she is surprised that her father wanted to kill this noble woman for the sake of his poor daughter. Giulia heard that. She jumps up and accuses Sallustia of planning the attack with Marziano. She calls for her guards - but voices of the conspirators can already be heard from outside demanding her death.
Scene 8. Marziano and his followers appear to attempt another attack on the empress. Sallustia asks him for a sword so that she can exercise her revenge herself. Marziano gives her his own and takes over one of the guards himself. But then Sallustia stands in front of the empress to defend her against her father. In addition, she hands her the stiletto she had previously received from Albina, with which Giulia now threatens her in order to prevent Marziano from attacking. Insulting, Marziano and his entourage withdraw (Aria Marziano: “Non è degna di perdono”).
Scene 9. Sallustia begs Giulia for mercy for her father. She is ready to take any punishment for it herself. But Giulia's anger is broken. She embraces Sallustia, promises to grant her all wishes and decides to publicly announce the reconciliation in the palace hall (Aria Giulia: “Stringerai con più diletto”). She leaves through a secret door.
Scene 10. Sallustia is relieved that everything will now turn out fine (Aria Sallustia: “Afflitta rondinella un mar dovea varcar”).
Imperial hall with the Roman palace “della Felicità” in the background
Scene 11. After an introductory sinfonia, the hall fills with soldiers and Roman people. Then Alessandro appears with Giulia. Alessandro apologizes for not standing by his mother during the crisis. He was confused by feelings of love and no longer knew who to trust. Giulia explains everything with the will of fate. When Sallustia arrives with her father, Giulia reunites her with her son and also forgives Marziano, who is urgently needed in the field. Finally, Albina and Claudio appear, who also find each other. Everyone celebrates the happy ending (Tutti: “Bell'amor, che fai lega con virtù”).
Music numbers
first act
- Choir: "Viva viva il nostro augusto" (scene 1)
- Aria Marziano: "L'Eufrate, l'Oronte l'altera sua fronte" (scene 1)
- Duet Alessandro / Sallustia: "Esser cara al mio diletto" (scene 2)
- Aria Giulia: "Sdegno, ingegno, affetti, inganni" (scene 3)
- Aria Albina: "Non vo ', che un infedele" (scene 5)
- Arie Alessandro: "Dirò ... La madre ... Il foglio ..." (scene 9)
- Aria Sallustia: "Il mio vezzoso diletto sposo" (scene 10)
- Aria Claudio: “Posso amar; ma sol per poco "(scene 11)
- Aria Albina: “Soffrirò; ma dar non voglio "(scene 12)
- Aria Giulia: "Beltà più vezzosa" (scene 13)
- Aria Sallustia: “Padre, addio. Dammi un amplesso "(scene 14)
- Aria Marziano: "Ti sento, amor di padre" (scene 15)
Second act
- Duet Sallustia / Alessandro: “Tu morir? Crudel! Perché? "(Scene 1)
- Aria Sallustia: "Io ti lascio, o sposo amato" (scene 2)
- Duet Giulia / Alessandro: “Ferma. Ascolta ... "(scene 3)
- Aria Giulia: "Non ho in petto un'alma ingrata" (scene 4)
- Arie Marziano: "L'alma corre alla vendetta" (scene 6)
- Aria Claudio: "Non mi parlar d'amor" (scene 7)
- Aria Albina: "Dell'infido a te s'aspetta" (scene 8)
- Aria Sallustia: "La mia augusta è mia tiranna" (scene 12)
- Aria Giulia: "In sì torbida procella" (scene 13)
- Arie Alessandro: "Sia speme, o inganno" (scene 14)
- Arie Marziano: "Cervetta timida in largo piano" (scene 15)
- Aria Claudio: "Sulle tue luci stesse" (scene 16)
- Aria Albina: "Fidi amori, or sì dolenti" (scene 17)
Third act
- Aria Giulia: "So, che dono al vostro affetto" (scene 1)
- Arie Alessandro: "Da te tu mi dividi" (scene 2)
- Aria Sallustia: "Langue al cocente raggio" (scene 3)
- Aria Albina: "Voglio prova maggior della tua fede" (scene 4)
- Aria Claudio: "Ira in cor di donna amante" (scene 5)
- Arie Marziano: "Non è degna di perdono" (scene 8)
- Aria Giulia: "Stringerai con più diletto" (scene 9)
- Aria Sallustia: "Afflitta rondinella un mar dovea varcar" (scene 10)
- Tutti: "Bell'amor, che fai lega con virtù" (scene 11)
Work history
Alessandro Severo is a typical work of the first generation of reform librettists from the end of the 17th and the beginning of the 18th centuries, to which, in addition to Apostolo Zeno , Silvio Stampiglia , Francesco Silvani and Domenico David are counted. Their concern was to overcome the traditional opera style of the 17th century with its immoral components, improbabilities, miracles and mannerisms. Therefore, they preferred historical material and standardized the plot on the basis of a predominantly fixed person constellation. In order not to disturb the flow of the plot, the arias have been moved to the end of the scenes.
The plot of the opera is only loosely based on Roman history. While Julia Mamaea historically won the power struggle against her daughter-in-law Orbiana (Sallustia) and she was banished, the two are reconciled here in the end. The subplot of the couple Albina-Claudio is fictitious.
Settings
| year | composer | premiere | Performance location | Remarks |
|---|---|---|---|---|
| 1717 | Antonio Lotti | 17th January 1717, Teatro San Giovanni Crisostomo | Venice | The music of the ballets and the ball in the banquet scene of the second act has not been preserved; at the premiere, Marianna Benti Bulgarelli (called “La Romanina”) sang Giulia and Faustina Bordoni and Diana Vico in other roles; also on December 30, 1719 in the Teatro La Fenice in Ancona (according to the information in the libretto with music by Lotti and Carlo Francesco Pollarolo ) |
| 1717 | Girolamo Casanova | 1717, Teatro Carignano | Turin | |
| 1718 | Francesco Mancini | Carnival 1718, Teatro Alibert | Rome | |
| 1718 | Pasticcio | January 12th 1718, Teatro Cocomero | Florence | |
| 1718 | Pasticcio | October 29, 1718, Formagliari Theater | Bologna | Music by Antonio Lotti, Girolamo Casanova, Francesco Mancini and Fortunato Chelleri |
| 1719 | Fortunato Chelleri | Carnival, Teatro dell'Accademia degli Erranti | Brescia | also in January 1720 at the Teatro San Sebastiano in Livorno |
| 1719 | Domenico Sarro | May 14, 1719, Teatro San Bartolomeo | Naples | |
| 1721 | anonymous | 7th January 1721, Teatro Bonacossi | Ferrara | |
| 1723 | Giuseppe Maria Orlandini | Carnival 1723, Teatro Regio Ducale | Milan | |
| 1732 |
Giovanni Battista Pergolesi → La Salustia |
January 1732, Teatro San Bartolomeo | Naples | as La Salustia ; Libretto arrangement probably by Sebastiano Morelli or Gennaro Antonio Federico |
| 1732 | Geminiano Giacomelli | Autumn 1732, Teatro Ducale | Piacenza | |
| 1732 | anonymous | 1732, Theater am Kärntnertor | Vienna | |
| 1733 | Antonio Bioni | January 1733, Theater im Ballhaus | Wroclaw | |
| 1734 | Giovanni Battista Sammartini | December 26th 1734, Teatro Regio Ducale | Milan | as L'ambizione superata dalla virtù |
| 1734 | Gaetano Maria Schiassi | December 26th 1734, Teatro Cocomero | Florence | |
| 1738 |
Georg Friedrich Händel (Pasticcio) → Alessandro Severo (Handel) |
February 25, 1738, King's Theater on Haymarket | London | Anonymous adaptation of the libretto based on Zeno's Milanese version of 1723 |
| 1738 | Andrea Bernasconi | December 27th 1738, Teatro San Giovanni Crisostomo | Venice | revised Carnival 1746 in the Teatro di Santa Cecilia in Palermo and on May 30, 1753 in the Teatro San Salvatore in Venice |
| 1758 | anonymous | Carnival 1758, Teatro Ducale | Parma | |
| 1760 | Giovanni Battista Lampugnani and others | December 26th 1760, Teatro Regio Ducale | Milan | |
| 1762 | Antonio Sacchini | December 26th 1762, Teatro San Benedetto | Venice |
Recordings and performances in recent times
-
Georg Friedrich Handel :
- July 2010 (CD): George Petrou (conductor), Armonia Atenea. Kristina Hammarström (Giulia), Mary Ellen Nesi (Alessandro), Marita Solberg (Sallustia), Irini Karaianni (Albina), Gemma Bertagnolli (Claudio), Petrols Magoulas (Marziano). Dabringhaus & Grimm MDG 6091674-2 (3 CD).
-
Antonio Lotti :
- 2003 (performance in Amsterdam and CD): Jos van Veldhoven (conductor), Utrecht Barok Consort. Marike Verbeek (Giulia), Cécile van de Sant (Alessandro), Regula Boeninger (Sallustia), Noa Frenkel (Albina), Mijke Sekhuis (Claudio), Bernard Loonen (Marziano). Premiere opera (2 CD).
-
Giovanni Battista Pergolesi :
- July 2008 (performance at the Montpellier Festival): Antonio Florio (conductor), La Capella della Pietà dei Turchini, Jean-Paul Scarpitta (production). Raffaella Milanesi (Giulia), José Maria Lo Monaco (Alessandro), Maria Ercolano (Salustia), Valentina Varriale (Albina), Cyril Auvity (Claudio), Marina de Liso (Marziano).
- 2011 (performance in Jesi and DVD): Corrado Rovaris (conductor), Accademia Barocca de I Virtuosi Italiani, Juliette Deschamps (production). Laura Polverelli (Giulia), Florin Cezar Ouatu (Alessandro), Serena Malfi (Salustia), Giacinta Nicotra (Albina), Maria Hinojosa Montenegro (Claudio), Vittorio Prato (Marziano). Arthaus Music 101651.
Digital copies
- ^ Libretto (Italian) of the opera by Antonio Lotti, Venice 1717. Digitized in the Internet Archive .
- ↑ Alessandro Severo (Antonio Lotti) : Sheet music and audio files in the International Music Score Library Project
- ^ Libretto (Italian) of the opera by Antonio Lotti and Francesco Pollarolo, Ancona 1720 as digitized version at the Fondazione Giorgio Cini .
- ^ Libretto (Italian) of the opera by Francesco Mancini, Rome 1718. Digitized in the Internet Archive .
- ^ Libretto (Italian) of the pasticcio opera, Florence 1718. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the pasticcio opera, Bologna 1718. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Fortunato Chelleri, Brescia 1719. Digitized in the Internet Archive .
- ^ Libretto (Italian) of the opera by Domenico Sarro, Naples 1719. Digitized at Google Books .
- ^ Libretto (Italian) of the anonymous opera, Ferrara 1721. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Giuseppe Maria Orlandini, Milan 1723. Digitized at Google Books .
- ^ Libretto (Italian) of the opera by Giovanni Battista Pergolesi, Naples 1732. Digitized at Google Books .
- ^ Libretto (Italian) of the opera by Geminiano Giacomelli, Piacenza 1732. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the anonymous opera, Vienna 1732. Digitized version of the Austrian National Library .
- ^ Libretto (Italian) of the opera by Giovanni Battista Sammartini, Milan 1735. Digitized in the Internet Archive .
- ↑ Alessandro Severo (Handel) : Sheet music and audio files in the International Music Score Library Project
- ^ Libretto (Italian) of the opera by Andrea Bernasconi, Venice 1738. Digitized from the Biblioteca Nazionale Braidense .
- ↑ Alessandro Severo (Bernasconi) : Sheet music and audio files in the International Music Score Library Project
- ^ Libretto (Italian) of the anonymous opera, Parma 1758. Digitized in the Internet Archive .
- ^ Libretto (Italian) of the opera by Giovanni Battista Lampugnani, Milan 1760. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Antonio Sacchini, Venice 1762. Digital copy from the Biblioteca Nazionale Braidense .
- ^ Antonio Sacchini (Sacchini) : Sheet music and audio files in the International Music Score Library Project
Individual evidence
- ↑ a b Reinhard Strohm: Lotti: Alessandro Severo. In: Piper's Encyclopedia of Musical Theater. Vol. 3. Works. Henze - Massine. Piper, Munich and Zurich 1989, ISBN 3-492-02413-0 , pp. 582-584.
- ^ Reinhard Strohm: Dramma Per Musica: Italian Opera Seria of the Eighteenth Century. Yale University Press, 1997, p. 122 f.
- ^ A b Harris S. Saunders: Alessandro Severo (i). In: Grove Music Online (English; subscription required).
- ↑ Alessandro Severo (Antonio Lotti) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ Alessandro Severo. Work information and libretto (Italian) for the opera by Antonio Lotti on librettidopera.it, accessed on August 1, 2016.
- ↑ Alessandro Severo (Girolamo Casanova) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ Alessandro Severo (Girolamo Casanova) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed June 13, 2015.
- ↑ Alessandro Severo (Francesco Mancini) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ Alessandro Severo [FI 1718] (AA. VV.) In the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ Alessandro Severo (AA. VV.) In the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ October 29, 1718: "Alessandro Severo". In: L'Almanacco di Gherardo Casaglia ..
- ↑ Alessandro Severo (Fortunato Chelleri) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ Alessandro Severo (Domenico Natale Sarro) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ a b c Alessandro Severo (Anonimo) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ Alessandro Severo (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ La Salustia (Giovanni Battista Pergolesi) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ Salustia. Work information and libretto (Italian) of the opera by Giovanni Battista Pergolesi on librettidopera.it, accessed on August 1, 2016.
- ↑ Alessandro Severo (Geminiano Giacomelli) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ Alessandro Severo (Antonio Bioni) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ L'ambizione superata dalla virtù (Giovanni Battista Sammartini) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ Alessandro Severo (Gaetano Maria Schiassi) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ Anthony Hicks: Alessandro Severo (ii). In: Grove Music Online (English; subscription required).
- ↑ Alessandro Severo (Georg Friedrich Händel) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ Alessandro Severo (Andrea Bernasconi) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ^ La Giulia (Giovanni Battista Lampugnani) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ Alessandro Severo (Antonio Sacchini) in the Corago information system of the University of Bologna , accessed on August 1, 2016.
- ↑ Commerce - Alessandro Severo; Manzaro - Don Crepuscolo. CD information on MusicWeb , accessed August 3, 2016.
- ↑ Alessandro Severo (Lotti) on operabaroque.fr, accessed on August 3, 2016.
- ↑ Thomas Migge: The Emperor's mother. Review of the performance of Pergolesi's Salustia in Montpellier 2008 on klassikinfo.de, accessed on August 3, 2016.
- ↑ Salustia, by Giovanni Battista Pergolesi ( Memento of August 3, 2016 in the Internet Archive ) on mezzo.tv, accessed on August 3, 2016.
- ^ Pergolesi: La Salustia. DVD review on clasical-music.com, accessed August 3, 2016.