Armida (Haydn)

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Opera dates
Title: Armida
Title page of the libretto, 1784

Title page of the libretto, 1784

Shape: Dramma eroico in three acts
Original language: Italian
Music: Joseph Haydn
Libretto : Nunziato Porta ?
Literary source: Torquato Tasso : The Liberated Jerusalem
Premiere: February 26, 1784
Place of premiere: Theater in Eszterháza
Playing time: approx. 2 ½ hours
Place and time of the action: In and near Damascus, around 1100
people
  • Armida, sorceress, niece Idrenos ( soprano )
  • Rinaldo, former knight in Gottfried's army, lover Armida ( tenor )
  • Ubaldo, Frankish knight in Gottfried's army (tenor)
  • Idreno, King of Damascus, Uncle Armidas ( bass )
  • Zelmira, lady-in-waiting for Armida (soprano)
  • Clotarco, knight in Gottfried's army (tenor)

Armida is an opera ( Hob. XXVIII: 12, original name: "dramma eroico") in three acts by Joseph Haydn . The libretto was probably compiled by Nunziato Porta . It is based on Torquato Tasso's epic The Liberated Jerusalem . The first performance took place on February 26, 1784 in the theater in Eszterháza .

action

Haydn's opera deals with the Armida episode of Tasso's Liberated Jerusalem , which has been set to music many times . During the First Crusade , the Crusaders came to the Damascus area under the leadership of Godfrey of Bouillon . The knight Rinaldo was charmed by the sorceress Armida and has joined the opposing side. But only he is able to fell the magical myrtle tree in order to free the magic forest, the wood of which is used for the siege of Jerusalem. Therefore, Gottfried sends the two knights Ubaldo and Clotarco to win him back for their cause. In the course of the opera Rinaldo vacillates several times between love and duty until, through the perseverance of Ubaldo, he manages to break away from Armida and cut down the myrtle tree.

The following table of contents is based on the scene summaries from the original libretto from 1784.

“This touching spectacle is a fragment of the story of the liberation of Jerusalem. It is well known that all of Europe was engaged in this war, to which every country dedicated its best heroes, of whom Gottfried was the military leader.
The plot of this spectacle takes place in the area of ​​the forest, which Ismeno had subterranean spirits guarded so that the Christians could not cut the wood which they needed to armor against Jerusalem. Rinaldo was fated to liberate this forest, but was held back by the magic of the Armida. Gottfried sends Ubaldo and Clotarco (two knights) to Rinaldo to call him back into the field. These two emissaries were informed by the hermit Pietro where Rinaldo was, and they went to see him in the royal palace of the Armida. Here Ubaldo brings him back to himself with his magic shield, admonishes him to flee from his beloved and to return to Gottfried. The fable is well known, and if here and there some circumstances are changed, it is done in order to embellish the necessary theatrical appearances. "

- Table of contents in the original libretto from 1784

first act

Hall in the Royal Palace of Damascus

Scene 1. Idreno, the king of the city of Damascus, besieged by the crusaders, holds a council of war with his people to find a solution to the desperate situation. He promises his niece Armida to be the bride who will be the first to take up the fight against the enemy. The former crusader Rinaldo, who fell in love with Armida, announces that he will attack his own people (Arie Rinaldo: "Vado a pugnar contento").

Scene 2. Idreno tries in vain to comfort Armida, who is concerned about Rinaldo (Aria Idreno: “Se dal suo braccio oppresso”).

Scene 3. Armida blames herself for advising Rinaldo herself to take the risk. She consoles herself with the thought of her magical powers (Aria Armida: “Se pietade avete, o Numi”).

Steep mountains with Armidas Castle on the summit

Scene 4. The scene begins with a short brass march. The crusader Ubaldo comes into the area as if by chance with some soldiers when the sky darkens and a strong thunderstorm threatens. After overcoming his fear, Ubaldo tries to climb the mountain (Aria Ubaldo: "Dove son? Che miro intorno?"). Clotarco, another knight, comes towards him and warns him of the wild animals and snakes (ghosts conjured up by Armida) on the heights. Ubaldo ignores the warning and climbs the mountain with his entourage.

Scene 5. Zelmira, Armida's lady-in-waiting, descends from the other side of the mountain. She is supposed to lure the knights into ruin on behalf of Armidas and Idrenos. But when she meets Clotarco, she falls in love with him. She warns him of the measures directed against the Christians and promises to take him to a safe place (Arie Zelmira: "Se tu seguir mi vuoi"). Clotarco follows her.

Armida's room

Scene 6. Idreno learns, to his displeasure, from Armida that it had not been possible to defend the city and prevent the enemy from entering. She advises him to take the Frankish leader in a friendly manner in order to gain time for her magical countermeasures. Idreno agrees.

Scene 7. Rinaldo comes to Armida, breathless and dismayed, and tells of the arrival of the knights. The frightened Armida begs him to hide. After Rinaldo promised her that, Armida calmly moves away.

Scene 8. Ubaldo surprises Rinaldo, who is completely lost in thought. He is amazed at its changed appearance, admonishes him and holds his magic shield in front of him as a mirror. Rinaldo is shocked to see his guilt. Ubaldo leaves him alone in his confusion.

Scene 9. Overwhelmed by shame, Rinaldo tries to flee. Armida holds him back and showered him with allegations of infidelity and ingratitude. Overwhelmed by a sense of honor and love, he swears eternal loyalty to her. After she is finally convinced, both assure each other of their mutual love (duet Armida, Rinaldo: "Cara, sarò fedele").

Second act

Garden in Armidas Castle

Scene 1. Idreno confidently tells Zelmira that he intends to kill the Christians when they leave. Zelmira, appalled by this cruelty and also fearing for Clotarco, advises against it, but Idreno does not let himself be deterred (Aria Zelmira: "Tu mi sprezzi").

Scene 2. Clotarco appears to Idreno and reports that Ubaldo wants to speak to him. Idreno lets him step forward (Aria Clotarco: "Ah si plachi il fiero Nume").

Scene 3. Ubaldo informs Idreno that Gottfried is demanding the release of the knights who have been held in his castle through cunning and deceit. Idreno doesn't show his hatred and claims that they have already returned to their camp. Only Rinaldo stayed of his own free will. But he could also go at any time. Idreno promises to keep the peace (Aria Idreno: "Teco lo guida al campo").

Scene 4. Ubaldo doesn't believe Idreno's words. When he meets Rinaldo shortly afterwards, he emphatically reminds him of his duty. Rinaldo gives in, they embrace, and Ubaldo leaves, satisfied.

Scene 5. When Rinaldo tries to follow his friend, Armida holds him back. She reproaches him seriously. Since Rinaldo cannot change her mind this time, she breaks out in anger and finally faints. This reawakens Rinaldo's feelings of love and he again decides to stay.

Scene 6. Ubaldo calls for Rinaldo, who regains his senses and wants to follow. But love overwhelms him and he lets Ubaldo go away alone. Rinaldo is now paralyzed. He cannot choose between honor and love. But finally reason wins. He tears the flower chain Armida received, gathers his courage, wants to leave - but again he lets love hold him back because he does not want to leave Armida behind in this state. Ubaldo returns and forcibly pulls him away with him (Aria Rinaldo: "Cara, è vero, io son tiranno").

Scene 7. Armida wakes up from her faint. She looks around anxiously for Rinaldo. Since she no longer sees him, she goes looking for him. When she discovers the torn flower chain, she breaks out in frenzy and despair and curses the perjured and cruel Rinaldo (Aria Armida: "Odio, furor, dispetto").

The camp of the Christians

Scene 8. Ubaldo is happy that Rinaldo has finally overcome love, hugs him and encourages him to dedicate himself to the crusade again (Aria Ubaldo: “Prence amato”).

Scene 9. Armida has advanced to Rinaldo. She throws herself at his feet and tries to move him to pity with tears and pleading.

Scene 10. Ubaldo orders Armida to return to her castle. However, she insists on staying with Rinaldo. Rinaldo himself advises her to go. She bursts into anger again. Because Rinaldo is swaying again, Ubaldo tries to get him into the tent. But Rinaldo forcibly pulls himself away from him, approaches Armida and looks disturbed at Ubaldo, who calls for him. Rinaldo finally succeeds in breaking away from Armida, who then runs away furiously (trio Armida, Rinaldo, Ubaldo: “Partirò, ma pensa, ingrato”).

Third act

Forest near the magic forest

Scene 1. Rinaldo and Ubaldo approach with some soldiers. To Ubaldo's delight, Rinaldo assures him that his love for Armida has now completely died out. Ubaldo points out that they are now approaching the enchanted forest. He reminds him of his task and advises him not to be deterred by the wild animals and the fire, from which even the strongest heroes have so far backed away. Rinaldo replies that heaven will stand by him and strengthen him, since he has always watched over him up to now. Ubaldo says goodbye and assures that he wants to prepare Gottfried to receive Rinaldo as the winner. Both separate from each other.

An eerie forest with a full myrtle tree in the middle

Scene 2. Rinaldo has advanced into the magic forest alone. But contrary to his expectations, he does not find any wild animals or fire, only the pleasant murmuring of the streams and the singing of the birds. When he tries to strike the myrtle, the forest is transformed. Nymphs with flower chains, including the transformed Zelmira, jump out of the trees and soft music plays. Zelmira asks him to turn to Armida again (Aria Zelmira: "Torna pure al caro bene"). The other nymphs meet him with their garlands of flowers. Rinaldo freezes at first lost in thought. Finally breaks away from the nymphs, who instantly give way. He tries to hit the myrtle again, but it opens, and Armida appears in black clothes with loose hair and a magic wand. She begs Rinaldo to comply (Aria Armida: "Ah non ferir"). Rinaldo is amazed at how she looks, but still strikes the myrtle. Armida holds him back by taking his hand. When Rinaldo forcibly pulls himself away from her, Armida goes around madly and gives various signals with her magic wand, whereupon the forest darkens and a violent thunderstorm with hail and lightning breaks out. Rinaldo is not deterred, but approaches the tree. Immediately he is attacked by ghosts who prevent him from carrying out the prank. Startled, Rinaldo calls on heaven for support (Aria Rinaldo: "Dei pietosi"), gathers his courage and, after a short fight with the ghosts, cuts the tree with his sword. The ghosts disappear and the forest turns into an open field near Damascus.

Camp of the Franks

Scene 3. Ubaldo leads the knights to the sounds of a march. Clotarco, Armida, Idreno and Zelmira also appear. While Rinaldo is still wondering about the change in the scene, Armida reproaches him seriously. Rinaldo promises to return to her after the war. But Armida cannot be reassured. She calls on the deities of Hell for assistance, whereupon a chariot drawn by two winged dragons appears (Finale: “Astri che in ciel splendet”). After a final admonition from Ubaldo, Rinaldo says goodbye to Armida and joins the knights. Armida passes out into the arms of Idrenus and Zelmira. The final chorus refers to the bitter fate of the separation, which will always serve as an example for lovers.

layout

Instrumentation

The orchestral line-up for the opera includes the following instruments:

Music numbers

The opera contains the following musical numbers:

  • No. 1. Sinfonia

first act

  • No. 2. Recitative (Idreno, Armida, Rinaldo): "Amici, il fiero Marte" (scene 1)
  • No. 3. Aria (Rinaldo): "Vado a pugnar contento" (scene 1)
  • No. 4. Recitative (Idreno, Armida): "Armida, ebben, che pensi?" (Scene 2)
  • No. 5. Aria (Idreno): "Se dal suo braccio oppresso" (scene 2)
  • No. 6a. Recitative (Armida): "Partì Rinaldo" (scene 3)
    • No. 6b. Aria (Armida): "Se pietade avete, o Numi" (scene 3)
  • No. 7. March (scene 4)
  • No. 8a. Recitative (Ubaldo): "Valorosi compagni" (scene 4)
    • No. 8b. Aria (Ubaldo): “Dove son? Che miro intorno? "(Scene 4)
    • No. 8c. Recitative (Ubaldo): "Qual turbamento ignoto" (scene 4)
    • No. 8d. Recitative (Clotarco, Ubaldo): "Signor, ingombro è il monte" (scene 4)
  • No. 9. Recitative (Zelmira, Clotarco): "Ah si scenda per poco" (scene 5)
  • No. 10. Aria (Zelmira): "Se tu seguir mi vuoi" (scene 5)
  • No. 11. Recitative (Idreno, Armida): "Dunque fur vane" (scene 6)
    • Recitative (Armida, Rinaldo): "Quanto del suo maggiore" (scene 7)
    • Recitative (Rinaldo, Ubaldo): "E perché vuole Armida" (scene 8)
  • No. 12a. Recitative (Rinaldo, Armida): “Oh amico! Oh mio rossor! "(Scene 9)
    • No. 12b. Duet (Armida, Rinaldo): "Cara, sarò fedele" (scene 9)

Second act

  • No. 13. Recitative (Idreno, Zelmira): "Odi, e serba il segreto" (scene 1)
  • No. 14. Aria (Zelmira): "Tu mi sprezzi" (scene 1)
  • No. 15. Recitative (Idreno, Clotarco): "No, non mi pento" (scene 2)
  • No. 16. Aria (Clotarco): "Ah si plachi il fiero Nume" (scene 2)
  • No. 17. Recitative (Idreno, Ubaldo): "Va pur, folle" (scene 3)
  • No. 18. Aria (Idreno): "Teco lo guida al campo" (scene 3)
  • No. 19. Recitative (Ubaldo, Rinaldo): “Ben simulati” (scene 4)
    • Recitative (Rinaldo, Armida): "Amiche sponde, addio!" (Scene 5)
  • No. 20a. Recitative (Rinaldo): "Armida ... Oh affanno!" (Scene 5)
    • Recitative (Ubaldo, Rinaldo): "Ah Rinaldo" (scene 6)
    • Recitative (Rinaldo): "Lasciarla, oh Dio!" (Scene 6)
    • No. 20b. Aria (Rinaldo): "Cara, è vero, io son tiranno" (scene 6)
    • No. 20c. Recitative (Armida): “Barbaro! E ardisci ancor… Vedi se t'amo "(scene 7)
    • No. 20d. Aria (Armida): "Odio, furor, dispetto" (scene 7)
  • No. 21. Recitative (Ubaldo, Rinaldo): "Eccoti alfin, Rinaldo" (scene 8)
  • No. 22. Aria (Ubaldo): "Prence amato" (scene 8)
  • No. 23. Recitative (Rinaldo, Armida): "Ansioso già mi vedi" (scene 9)
    • Recitative (Ubaldo, Armida, Rinaldo): “Che veggo! Armida qui! "(Scene 10)
  • No. 24. Trio (Armida, Rinaldo, Ubaldo): "Partirò, ma pensa, ingrato" (scene 10)

Third act

  • No. 25. Recitative (Rinaldo, Ubaldo): "Al Ciel pietoso" (scene 1)
  • No. 26a. Recitative (Rinaldo): "Questa dunque è la selva?" (Scene 2)
    • No. 26b. Aria (Zelmira): "Torna pure al caro bene" (scene 2)
    • No. 26c. Recitative (Rinaldo): "Qual tumulto d'idee" (scene 2)
    • No. 26d. Aria (Armida): "Ah non ferir" (scene 2)
    • No. 26e. Recitative (Rinaldo, Armida): "Che inopportuno incontro!" (Scene 2)
    • No. 26f. Aria (Rinaldo): "Dei pietosi" (scene 2)
    • No. 26g. Recitative (Rinaldo): "Ed io m'arresto?" (Scene 2)
  • No. 27. Recitative (Ubaldo, Rinaldo, Armida, Idreno, Zelmira): “Fermata. Utile sia breve dimora "(scene 3)
  • No. 28. Finale (Armida, Zelmira, Rinaldo, Clotarco, Ubaldo, Idreno): "Astri che in ciel splendet" (scene 3)

music

Armida is a real opera seria that works completely without Buffo elements and thus also without the chain finale typical of Haydn's previous opera semiserie .

The plot develops dramatically only slowly. This suits the characterization of the figures. The role of Armida is most carefully designed. Rinaldo is also dedicated to varied music. His indecision, which was pronounced from the beginning, does not seem credible, especially since he has to sing his most heroic aria as Armida's lover at the beginning of the opera. The supporting roles pale in comparison with the two main roles and the varied scenes, even if Ubaldo's role is musically convincing. Zelmira's character is contradictory. At the beginning she clearly sticks to the crusaders, but in the third act she tries to get Rinaldo on Armida's side. The music critic Ulrich Schreiber pointed out the dramaturgical weaknesses of the text, which show up in the recitatives and also in the finale. The latter reminds of the inevitable fate, although only the fate of Rinaldo becomes somewhat clear. For the other figures, the end remains open. In his setting, Haydn sticks closely to the text and neglects the dramatic possibilities of the subtle play of forces in favor of the depicted moods and images.

The imaginative orchestral treatment is remarkable, the onomatopoeia of which are reminiscent of Haydn's late oratorios The Creation and The Seasons . Haydn used a wind sextet for the crusader marches.

The overture consists of three parts. The middle section (an Allegretto) already takes up the music of the magic forest in the third act. The two frame parts are not based directly on opera themes.

Rinaldo's heroic aria “Vado a pugnar contento” (No. 3, first act, scene 1) is in C major. It contains military motifs and virtuoso coloratura.

Idreno's aria “Se dal suo braccio oppresso” (No. 5, first act, scene 2) also has a heroic character. It is less virtuoso than Rinaldo's. In return, there is more noise in the orchestra.

Armida's Accompagnato recitative “Partì Rinaldo” and the following A major aria “Se pietade avete, o Numi” (No. 6, first act, scene 3) have motivic connections. There are just as many in the two-part aria itself between the slow and fast parts. The ending is marked by extensive coloratura. There are abrupt modulations between D minor and A major.

Ubaldo's aria “Dove son? Che miro intorno? ”(No. 8b, first act, scene 4) contains particularly beautiful music for wind instruments.

Armidas and Rinaldo's final duet of the first act “Cara, sarò fedele” (No. 12b, first act, scene 9) is in three parts. A delicate opening is followed by a restless middle section and a happy ending.

In the second act, scenes 5 to 7 are composed through accompaniment recitatives. The music reflects the conflict in Rinaldo's feelings. Rinaldo's aria “Cara, è vero, io son tiranno” (No. 20b, second act, scene 6) and the preceding recitative form the center of the opera. The aria has a three-part intensification. An Adagio in E flat major is followed by a Presto in C minor.

The most famous piece of the opera is Armida's E minor desperation aria "Odio, furor, dispetto" (No. 20d, second act, scene 7) - the only piece of the opera in a minor key. Ulrich Schreiber described it as a “soul agitato of Gluck's proportions”. It dispenses with coloratura and contains short syllabic motifs and piercing sustained tones over a moving orchestral accompaniment.

The second scene of the second act is also well composed. Rinaldo's aria “Dei pietosi” (No. 26f, second act, scene 2) again uses two different tempos. A delicate reflective beginning is followed by a second part marked by panic.

The finale ends with the same trumpet fanfare as Rinaldo's heroic first aria “Vado a pugnar contento”.

Work history

Armida is Haydn's last and most successful opera. According to the year in the autograph, it was written in 1783.

The editor of the libretto is not known for sure. It used to be assumed that it was Jacopo Durandi , but more recent sources assume Nunziato Porta . The text is only indirectly based on Torquato Tasso's epic The Liberated Jerusalem . It was compiled from earlier Armida librettos, which have been revised over and over again. The libretti by Jacopo Durandi (set to music by Pasquale Anfossi 1770, Vincenzo Manfredini 1770, Antonio Sacchini 1772 and Niccolò Antonio Zingarelli 1786), Francesco Saverio De Rogatis ( Niccolò Jommelli : Armida abbandonata , 1770), Giovanni Bertati ( Johann Gottlieb Naumann 1773) as well as the anonymous libretti by Giuseppe Gazzanigas Armida (1773) and Antonio Tozzis Rinaldo (1775). The arranger took over Tozzi's text for Haydn's opera almost completely. He simply deleted an aria by Ubaldo and a duet Rinaldo / Ubaldo and used Bertati's version for the last scene.

  • First performance costumes from 1784

  • Armida

  • faun

Metilde Bologna (Armida), Prospero Braghetti (Rinaldo), Antonio Specioli (Ubaldo), Paolo Mandini (Idreno), Costanza Valdesturla (Zelmira), Leopold Dichtler (Clotarco) sang at the premiere on February 26, 1784 in the theater in Eszterháza . Haydn himself was the musical director. With the exception of Mandini, all the singers had designed his opera Orlando paladino as early as 1782 . What is unusual is the cost of production based on cost estimates. Two costumes were ordered for each of the roles of Armida, Rinaldo and Zelmira. In addition, 27 “Roman”, 6 “Turkish” and 4 “heroic” costumes were required for the extras, as well as 6 costumes each for nymphs and fauns.

The opera proved extremely successful at the Eszterháza court. One viewer already wrote about the premiere production: “La beauté de la composition egaloit la pompe de la representation” (“The beauty of the composition corresponds to the splendor of the performance”). It was played there a total of 54 times by 1788 - more than any other opera. Haydn himself wrote on March 1, 1784 to his publishing house Artaria: “Yesterday my Armida was performed for the second time with general approval. They say it is my best work so far. ”Since he wanted to“ witness the weld in its entirety ”to Armida , he turned down an offer from the publisher on May 18 of the same year to publish an“ excerpt ”. However, in 1787 Artaria published a collection of “favorite songs” from the opera. The score did not appear in print until 1965 as part of the Haydn Complete Edition, but the work spread through several copies.

The opera received little recognition elsewhere. Wilhelm Heinse wrote in his music history novel Hildegard von Hohenthal (1795/96): “They went through a few scenes from an Armida by Haydn, and the third: Partirò ma pensa ingrato; and the enchanted forest, neither of which are essential, however. But they did not think they were original Haydnian music, but imitation Italian music. ” A scene has survived from a performance in Pressburg in a German version from 1786, presumably by Franz Xaver Girzik. In 1791 the opera was played in Pest. In 1797 there was a concert performance at the Freihausheater in Vienna . In addition, individual pieces were performed within concerts in London in 1792 and in Leipzig in 1807. In Italy music was thought to be too "learned". Costume images from a production for the carnival season 1804/1805 in Turin have been preserved. Subsequently, Haydn's Armida was forgotten for a long time.

  • Costumes for the Turin production of 1804 - drawings by Giacomo Pregliasco

  • Armida
    ( Lorenza Correa )

  • Rinaldo, costume 1
    (Eufemia Ekarth)

  • Rinaldo, costume 2
    (Eufemia Ekarth)

  • Ubaldo
    (Francesco Fiorini)

  • Zelmira
    (Rosa Ferraguti)

  • Idreno
    (Vincenzo Gamberai)

It was not until 1968, under the musical direction of Ferdinand Leitner, that there was a concert performance by WDR with Gundula Janowitz in the title role, as well as a staged production at the Stadttheater Bern . Since then Armida has been considered one of Haydn's best operas. There were several productions in the 1980s. In 1981 a Vietnam-based production by Peter Sellars was played in Keene (New Hampshire) as part of the Monadnock Festival . In 1998 the opera was performed in Graz at the Styriarte Festival - Cecilia Bartoli sang the title role under the direction of Nikolaus Harnoncourt . In 1999 there was a co-production between the Schwetzingen Festival and the Karlsruhe State Theater . Here Iano Tamar sang Armida. The director was Niels-Peter Rudolph .

Recordings

Web links

Commons : Armida (Haydn)  - collection of images, videos and audio files

Remarks

  1. ↑ The march mentioned in the libretto at the beginning of the last scene (before No. 27) is missing from the score. In the foreword to the piano reduction it is recommended to play march No. 7 of the first act in its place or to anticipate march No. 28a from the finale. The editors of the Haydn Complete Edition recommend a march in E flat major Hob. VIII: 6, which, however, has no relation to opera.
  2. ↑ According to the German-language scene description from 1784. Her impotence is not specified in the libretto text itself. At Piper and Harenberg's, Armida follows the crusaders in their chariot.

Individual evidence

  1. ↑ a b c d e f g h i j k l m n o p Georg Feder: Armida. In: Piper's Encyclopedia of Musical Theater . Volume 2: Works. Donizetti - Henze. Piper, Munich / Zurich 1987, ISBN 3-492-02412-2 , pp. 763-766.
  2. ↑ a b c d e f g h i j k l m n o Mary Hunter:  Armida (v). In: Grove Music Online (English; subscription required).
  3. ↑ a b c d Piano reduction based on the Urtext of the Joseph Haydn Complete Edition by Gerhard Müller, Bärenreiter, Kassel 2004, BA 4662a, ISMN M-006-52-041-1 ( PDF of the foreword ).
  4. ↑ a b c d e Armida. In: Harenberg opera guide. 4th edition. Meyers Lexikonverlag, 2003, ISBN 3-411-76107-5 , pp. 349-350.
  5. ↑ a b c d e Ulrich Schreiber : Opera guide for advanced learners. From the beginning to the French Revolution. 2nd Edition. Bärenreiter, Kassel 2000, ISBN 3-7618-0899-2 , pp. 402-403.
  6. ^ Record of the performance on February 26, 1784 in the Eszterháza Theater in the Corago information system of the University of Bologna .
  7. ^ Kurt Pahlen : The new opera lexicon. Seehamer, Weyarn 2000, ISBN 3-934058-58-2 , p. 269.
  8. ↑ a b c d e f Joseph Haydn. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.