Catone in Utica (Metastasio)

Work data
Title:	Catone in Utica
Third act, scene XII. Catone: "E giura All'oppressere indegno Della Patria e del Mondo eterno sdegno." Marzia: "(Oh Dio!) Su questa man lo giuro."
Shape:	Opera seria
Original language:	Italian
Music:	First setting by Leonardo Vinci
Libretto :	Pietro Metastasio
Premiere:	January 19, 1728
Place of premiere:	Teatro delle Dame, Rome
Place and time of the action:	Utica , near Carthage , 46 BC. Chr.
people
Catone ( Cato of Utica ), Roman senator , defender of the republic Cesare ( Julius Caesar ), Roman general, opponent of the republic Marzia , daughter of Catone, secret lover of Cesare Emilia ( Cornelia Metella ), widow of Pompey Arbace ( Juba II. ), Prince of Numidia , follower of Catone, in love with Marzia Fulvio , envoy of the Roman council to Catone, supporter of Cesare, in love with Emilia Servants, soldiers, slaves, people

Title page of the German translation, Vienna 1749

Catone in Utica is an opera - libretto in three acts by Pietro Metastasio . The first performance of the first setting by Leonardo Vinci took place on January 19, 1728 in the Teatro delle Dame in Rome.

A German translation of the libretto by Johann Anton Koch appeared in 1771 under the name Cato in Utica in the third volume of his unfinished complete edition Des Herr Abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems.

Historical and literary background

The libretto processes the tragedy of the Roman statesman Cato of Utica , who lived from 95 to 46 BC, told in classical historiography by Plutarch , in whose Bíoi parálleloi (Parallel Descriptions of Life), Appianos of Alexandria (Rhomaika) and Cassius Dio (Historia Romana) . BC and went down in the history of ancient Rome as the "father of the fatherland". The great grandson of Cato the Elder and author of famous writings on the emergence of Rome and the Punic Wars in the 2nd century BC. Was also the father-in-law of Brutus . As an ardent advocate of the republic, he distrusted both Pompey and Caesar . When Caesar 49 BC BC crossed the Rubicon , Cato took the side of Pompey. After the defeat at Pharsalus , which cost Pompey his life, Cato fled to Utica in Africa . The flight to Utica earned Cato the nickname Uticensis. After the defeat of his friend Metellus Scipio by Caesar near Thapsus (North Africa) in 46 BC. In accordance with his stoic philosophy , Cato committed suicide. For purely musical reasons, Metastasio changed the name of Pompey's widow, Cornelia Metella , to Emilia and that of the prince and later King of Numidia, Juba , to Arbace.

action

“After Pompeii's death, his opponent, Julius Caesar, who had made himself Dictatore perpetuo , saw that not only the city of Rome and its council, but also the rest of the world, paid homage to him. Only the only Cato the younger, Roman councilor, who afterwards was called Uticensem from the place of his death , refused to do this. A man who was as much venerated as a father of the fatherland because of the strict purity of his manners as because of his bravery, and a great friend of Pompeii, also a very good defender of Roman liberty. This Cato, when, with the help of Juba, King of Numidia, a loyal friend of the Republic, had gathered the few remnants of the scattered Pompeian militia in Utica, showed the heartiness to oppose the happiness of the conqueror. Caesar hurried here with a large army, and although with such inequality of power nothing was certain but that he could suppress him; so, because he fell in love with his virtues, instead of threatening him, he sensed neither promises nor requests in order to win his friendship. But the latter, who rejected all conditions in an extremely strict way, when he saw the impossible defense of the city of Rome, at least preferred to die free, and so killed himself.

At the death of Cato, Caesar gave the marks of the most violent pain, and he left posterity in doubt whether his generosity, since he honored virtue in his enemies in such a high degree, or the steadfastness of the other, who the Did not want to survive the freedom of the fatherland, to be admired more?

All of this is found in the historians, and the rest is likely. For the convenience of the music, the name of Cornelia, Wittbe of Pompeii, has been changed into Emilia, and the name of the younger Jubä, a son of Jubä, King of Numidia, into Arbaces. "

- Pietro Metastasio : Foreword from the libretto of the setting by Carl Heinrich Graun, Berlin 1743

The following table of contents is based on the libretto of the setting by Carl Heinrich Graun (Berlin 1743). The alternative ending of the early version corresponds to the libretto of the setting by Pietro Torri (Munich 1736).

first act

The interior of the Utica city walls with a gate and drawbridge

Cesare's troops stand at the gates of Utica. Only Catone and the Numidian people still stand against his victory. The Numidian prince Arbace asks Catone for the hand of his daughter Marzia. Catone advocates this connection. Although Marzia has had a secret relationship with Cesare for a long time, she too agrees to marry Arbace. However, it makes it a condition that Arbace does not hope for reciprocity and that he no longer speaks of this wedding today.

The bridge to the city gate is lowered to let Cesare and Fulvio in. You are unarmed and want to negotiate peace with Catone. Emilia, Pompey's widow, is outraged to see her enemy Cesare in the city, whom she blames for her husband's death. Fulvio secretly admires her and falls in love with her. Catone withdraws because the negotiations are to take place in his apartment. Emilia demands from Fulvio, as a proof of love, that he kills Cesare himself.

Some partially destroyed buildings near the Catos apartment

Marzia is disappointed that Cesare has become the enemy of the fatherland. Only when he explains to her that he has come to peace negotiations does she calm down. Catone comes to pick Marzia for the upcoming wedding with Arbace. He asks for a day's postponement, but does not want to give the reasons yet because Marzia has forbidden him to talk about it. When Emilia learns of the delay, she suspects that Cesare is the cause. Marzia fears that she may have noticed her love for Cesare.

Second act

Soldiers' apartments

Catone implores the Romans to oppose Cesare. He asks Arbace again why the wedding is being postponed. Although there is no answer, Catone accepts his request. However, this has the consequence that the peace negotiations with Cesare have to wait until after the wedding. As Marzia hopes for a reconciliation with Cesare, she is shocked by the consequences of her actions. Fulvio now reports the arrival of Cesare, who will be sent away again immediately, and brings a letter from the Senate in which the Senate orders a reconciliation with Cesare. Catone is disappointed with the attitude of the senators. Fulvio, on the other hand, is appalled by Catone's intransigence. He goes to inform Cesare of the delay. Arbace declares his love for Marzia again. She sends him away.

Cesare laments Catone's arrogance towards Marzia and Emilia. Fulvio tells him that Catone is now ready to talk. At Marzia's request, he wants to make one last attempt at reconciliation.

Fulvio assures Emilia that she can rely on him for her desire for revenge. Secretly, however, he wants to save Cesare. For her part, Emilia only wants to use Fulvio as a means of revenge, without really loving him. After Emilia leaves, Fulvio praises his conflict of conscience between his loyalty to Cesare and his love for Emilia.

Room with chairs

Marzia reports the arrival of Cesare to Catone. After a harsh greeting, Catone asks Cesare, as a condition of peace, to abandon his dictatorial plans, lay down arms and account for his behavior to the fatherland. Cesare does not respond, but instead asks Catone for the hand of his daughter Marzia. That is out of the question for Catone. The two get into an argument and war seems inevitable. In order to get them out of the fighting zone, Catone asks Marzia and the newly arrived Emilia to go through an underground passage to the ships. Arbace arrives and wishes to marry Marzia before the fight breaks out. Marzia refuses on the grounds that she does not love him and that he has not yet met her conditions. Then she reveals her relationship with Cesare. Catone disgusted his daughter.

Third act

A courtyard

Fulvio warns Cesare of a trap. Emilia told him that his enemies were lurking at the city gate. Fortunately, he has an informer, Florus, among the opponents. He was waiting for Cesare by the consecrated Isis fountain to lead him safely out of the city. Fulvio himself goes to get reinforcements. Marzia urges Cesare to leave the city to save himself. She herself wants to flee from her father alone. Despite everything, she asks Cesare to spare Catone in the event of a victory. Overwhelmed by feelings, she sets off.

Arbace asks Cesare why he's still in town. He introduces himself to him as a rival in war and in love. Nevertheless, Cesare asks him to help Marzia escape. Arbace is impressed with Cesare's generosity.

(From here on, the first version of the libretto differs from the later version, in which the tragic ending has been softened somewhat.)

Original version of the libretto

Shady place surrounded by trees with the Isis fountain on one side and access through old water pipes on the other

Emilia comes with some soldiers to set the trap for Cesare.

Cesare comes to the agreed place at the well in search of his helper Florus and notices Emilia's ambush. She herself commissioned Florus to lure him into the trap. Cesare draws his sword to defend himself. Then Catone comes and interrupts the fight. An ambush is not an honorable method for him to win. He sends Emilia away. When Cesare thanks Catone for rescuing him, the latter challenges him to a duel himself. Cesare draws his sword, but Emilia comes back and reports on the battle of Cesare's troops against Arbace, in which Arbace is threatened with defeat. Catone and Cesare rush to the battlefield.

Large arsenal within the city walls of Utica, some of which have been torn down; Cesares camp outside the city with tents and military equipment

At the beginning of the scene you can see the attack on the walls, then the battle and the victory of Cesare's troops.

Desperate about Cesare's victory and the lost freedom of Rome, Catone decides to kill himself. Marzia and Arbace try to prevent his suicide. Marzia asks his forgiveness. Catone is only ready to do so if she swears allegiance to Arbace and eternal vengeance to Cesare. She does.

Cesare is carried by soldiers on a Roman triumphal chariot decorated with shields and symbols of war. He was preceded by the victorious army, Numidian slaves with warlike instruments and the people. When the music has ended, Cesare gets off the car and the porters go to join the other soldiers.

Cesare orders that the lives of the vanquished and especially the Catones be spared. Marzia and Emilia, however, report Catone's suicide. Marzia accuses Cesare of being responsible for her father's death and tells him to kill her too. Cesare, however, mourns Cato. Emilia and Marzia hope that an avenger has already been born in Rome, and Marzia refers to the great soul of Brutus. Cesare throws off the laurel wreath because the price for his victory was too high.

Later version of the libretto

Old water pipes that have been converted into an underground passage to the sea; a locked door on one side; it is dark

While Marzia is looking for the way to the coast, Emilia comes with some soldiers to set the trap for Cesare.

Cesare comes to the agreed place at the well in search of his helper Florus and notices Emilia armed with a sword. When the guards want to attack, Marzia intervenes. Catone arrives and attacks Marzia. Cesare protects them, however. Emilia explains her plan of revenge to Catone. Marzia protests her and Cesare's innocence. Catone orders Marzia to be killed and Cesare disarmed. Fulvio arrives with some soldiers and reports on the victory of Cesare's troops. Catone and Emilia are irreconcilable: Emilia wants to "live in hatred and anger and enmity", and Catone wants to "take freedom to the grave". Nevertheless, Cesare orders his people to spare the lives of their enemies and, above all, the Catones, so that posterity "may have in him a picture of righteous old heroes".

In search of Marzia, Arbace joins them. He accuses Catone of his behavior towards his daughter. Even when Marzia arrives and begs him, Catone remains adamant.

The great gun yard in Utica with part of the walls torn down

Cesare's camp outside the city with lots of large and small tents and military equipment. Cesare on a triumphal chariot adorned with shields and signs of war, preceded by the troops of Cesare and the Numidians. Lots of people. Field music or march.

After Cesare's victory speech, Marzia, Emilia and Arbace tell him about Catone's suicide. Although Cesare regrets his death, Marzia blames him. Cesare justifies himself with his failed attempts to bring about a reconciliation, and Marzia and Arbace realize that. Since Cesare is also willing to give up Marzia and leave her to Arbace, she is reconciled and swears her allegiance to him. Emilia also gives up her hatred of Cesare. Cesare and Marzia sing about their love.

history

The libretto Catone in Utica is based on Pietro Metastasio , who later became the imperial court poet of Charles VI. , back. It is the first of four opera libretti that he wrote for the Teatro delle Dame in Rome before he went to Vienna. The others are Alessandro nell'Indie , Semiramide riconosciuta (both 1729) and Artaserse (1730). All four operas were set to music for the first time by Leonardo Vinci . Catone in Utica was premiered on January 19, 1728 and, with around 30 compositions, was to become one of Metastasio's most popular operatic texts. Pietro Antonio Domenico Bonaventura Trapassi, his real name, knew how to effectively combine classical form and politically and morally advanced content in this opera seria . Its sources were possibly the earlier libretto Cateone uticenze (1701) by the Venetian Matteo Noris , Joseph Addison's famous and influential tragedy Cato (written in 1712, translated into Italian in 1725) and Caton d'Utique (1715) by François-Michel-Chrétien Deschamps , one of them French tragedy in the tradition of Pierre Corneille . For the poets of the opera series , especially Metastasio and his predecessor in Vienna, Apostolo Zeno , the French tragedy of the 17th century was an important source of inspiration.

Metastasios Catone in Utica was initially received with mixed feelings. If the audience in Naples had just accepted Dido's death in the flames at the end of Didone abbandonata (1724), Roman critics were unwilling to watch the painfully slow death of the hero Cato, which spanned the last two scenes of the opera, and to forego the usual “ lieto fine ”. Audience and criticism also clashed at a creepy scene that takes place in a disused sewer. Metastasio, not insensitive to criticism, then revised the second half of the third act. In this, its second version, Cato's death is simply narrated, and all that remains of the “Acquedotti antichi” is the entrance to it, with a fountain dedicated to the goddess Isis and several trees as a visual distraction. For Metastasio, both versions of this drama were equal, but most composers, including Leonardo Leo, preferred the revised version.

The Cuvilliés Theater in Munich was opened in 1753 with Giovanni Battista Ferrandini's setting . For Johann Christian Bach , his setting for Naples in 1761 was his most successful opera.

A German translation of Johann Leopold von Ghelen's libretto was published in Vienna in 1749.

Settings

The following composers used this libretto for an opera:

year	composer	premiere	Performance location	Remarks
1728	Leonardo Vinci	19th January 1728, Teatro delle Dame	Rome	also on February 7, 1729 in the Teatro della Pergola in Florence; Carnival 1730 in the Teatro San Sebastiano in Livorno; on November 19, 1732 at the Teatro San Bartolomeo (Teatro di SM) in Naples; about December 26, 1746 in the Teatro San Cassiano in Venice
1728	Leonardo Leo	December 26th 1728, Teatro San Giovanni Crisostomo	Venice	Edited in 1732 by Georg Friedrich Händel as the basis of a pasticcio and performed in London → Catone (Handel)
1731	Johann Adolph Hasse	December 26th 1731, Teatro Regio	Turin	not completely received
1732	George Frideric Handel ( Pasticcio ) → Catone (Handel)	4th November 1732, King's Theater on Haymarket	London	based on the setting by Leonardo Leo from 1728; with music by Johann Adolf Hasse, Nicola Porpora, Leonardo Vinci and Antonio Vivaldi
1733	Giovanni Francesco Maria Marchi	December 26th 1733, Teatro Regio Ducale	Milan
1734	anonymous	Carnival 1734, Teatro Formagliari	Bologna	further performances of anonymous settings or pasticci on December 19, 1734 in the Teatro Ducale in Parma; Carnival 1740 in the Theater am Tummelplatz in Graz; on August 4, 1747 in the Small Electoral Theater in Dresden; on September 25, 1763 at the Teatro de la Santa Cruz in Barcelona
1736	Pietro Torri	Carnival 1736, Salvatortheater	Munich
1737	Antonio Vivaldi	May 1737, Teatro Filarmonico	Verona	RV 705
1739	Egidio Romualdo Duni	December 26th 1739, Teatro della Pergola	Florence	also on May 22, 1746 at the Teatro San Carlo in Naples; in autumn 1749 in the theater in Lucca
1740	Rinaldo di Capua	1740, Teatro Condes	Lisbon	Revised on January 27, 1748 in the Teatro Regio Ducale, Milan
1743	Giovanni Verocai	Spring 1743, court theater	Braunschweig	as Cato in Utica
1744	Carl Heinrich Graun	January 24, 1744, Royal Court Opera	Berlin	also in February 1744 in the Burgtheater in Vienna; Carnival 1756 at the Teatro Filarmonico in Verona
1744	Paolo Scalabrini	December 25, 1744, Opera am Gänsemarkt	Hamburg
1747	Gaetano Latilla	Carnival 1747, Teatro Capranica	Rome	also Carnival 1752 in the Teatro San Sebastiano in Livorno
1753	Arvid Niclas von Höpken	1753
1753	Giovanni Battista Ferrandini	October 12, 1753, Residenztheater	Munich	for the theater opening
1754	Niccolò Jommelli	August 30, 1754, Ducal Theater	Stuttgart
1755	Gregorio Ballabene	Carnival 1755, Teatro	Macerata
1756	Francesco Poncini Zilioli	Carnival 1756, Teatro Ducale	Parma
1756	Vincenzo Llimitedio Ciampi	December 26th 1756, Teatro San Benedetto	Venice
1761	Florian Leopold Gassmann	April 29, 1761, Teatro San Samuele	Venice	lost; also on August 24, 1761 in the Nuovo magnifico Teatro in Lugo; Carnival 1762 at the Teatro in Vicenza
1761	Johann Christian Bach	November 4, 1761, Teatro San Carlo	Naples	also in the summer of 1762 at the Teatro Regio Ducale in Milan; Carnival 1763 at the Teatro Omodeo in Pavia; on January 2, 1763 at the Teatro de 'Nobili in Perugia; on December 26, 1764 again at the Teatro San Carlo in Naples; Carnival 1772 again in the Teatro Omodeo in Pavia
1763	Gian Francesco de Majo	Carnival 1763, Teatro Regio	Turin
1770	Niccolò Piccinni	November 4, 1770, Court Theater	Mannheim
1777	Bernardo Ottani	November 4, 1777, Teatro San Carlo	Naples
1784	Francesco Antonelli Torre	October 4th 1784, Teatro San Carlo	Naples
1787	Gaetano Andreozzi	Carnival 1787, Teatro della Nobile Associazione	Cremona	also on October 10, 1787 in the Teatro della Pergola in Florence; for the 1788 mass in the Teatro Pubblico in Reggio nell'Emilia; revised in two acts in autumn 1789 in the Teatro degli Armeni in Livorno; Spring 1791 in the Teatro Sant'Agostino in Genoa
1789	Sebastiano Nasolini	Carnival 1789, Teatro San Samuele	Venice
1789	Giovanni Paisiello	February 5, 1789, Teatro San Carlo	Naples
1791	Peter from Winter	Ascension Mass 1791, Teatro San Benedetto	Venice

Recordings and performances in recent times

• Johann Christian Bach :
  • 2001: Performance at the Conservatorio Giuseppe Verdi, Milan and CD. Ensemble Musica Rara, conductor: Arnold Bosman . Singers: Davide Livermore (Catone), Stefania Donzelli (Cesare), Silvia Bossa (Marzia), Barbara Vignudelli (Emilia), Sibongile Mngoma (Arbace) and Ricardo Mirabelli (Fulvio).
• Giovanni Battista Ferrandini :
  • 2003/2004: Performances in the Cuvilliés Theater , Munich and CD. New Court Chapel Munich , conductor: Christoph Hammer . Singers: Kobie van Rensburg (Catone), Robert Crowe (Cesare), Simone Schneider (Marcia), Sandra Moon (Emilia), Johnny Maldonado (Arbace) and Florian Simson (Fulvio).
• Niccolò Piccinni :
  • 2007: Performance in the Nationaltheater Mannheim . Orchestra of the Nationaltheater Mannheim, conductor: Reinhard Goebel . Singers: Charles Reid (Catone), Robert Crowe (Cesare), Cornelia Ptassek (Marzia), Iris Kupke (Emilia), Yanyu Guo (Arbace) and Marina Ivanova (Fulvio). A recording was broadcast on SWR 2 on February 10, 2008 .
• Francesco Antonelli Torre
  • 2014: Performance at the Teatro San Carlo , Naples. Divertimento Barocco Teatino, directed by Ginevra Zotti Di Nicola . Singers: Matteo Zenatti (Catone), Ginevra Zotti Di Nicola (Cesare), Silvia Faugno (Marzia), Valentina di Cola (Emilia), Antonella Gnagnarelli (Arbace) and Paola Incani (Fulvio).
• Leonardo Vinci :
  • 1987: Performance at the Teatro Rossini in Lugo. Orchestra Sinfonica dell'Emilia-Romagna, conductor: Rinaldo Alessandrini . Singers: Ezio di Cesare (Catone), Cristina Mantese (Cesare), Maria Angeles Peters (Marzia), Gloria Guida Borrelli (Emilia), Gloria Scalchi (Arbace) and Gian Paolo Fagotto (Fulvio).
  • 2015: CD. Il Pomo d'Oro, direction: Riccardo Minasi . Singers: Juan Sancho (Catone), Franco Fagioli (Cesare), Valer Sabadus (Marzia), Vince Yi (Emilia), Max Emanuel Cenčić (Arbace) and Martin Mitterrutzner (Fulvio). The recording was awarded the ECHO Klassik 2016 in the category "Opera recording (opera up to and including 17th / 18th century)".
  • 2015: Performance at the International May Festival at the Hessisches Staatstheater Wiesbaden . Il Pomo d'Oro, director: Riccardo Minasi, director: Jakob Peters-Messer . Singers: Juan Sancho (Catone), Franco Fagioli (Cesare), Ray Chenez (Marzia), Vince Yi (Emilia), Max Emanuel Cencic (Arbace) and Martin Mitterrutzner (Fulvio).
• Antonio Vivaldi :
  • 1984/2003: CD. I Solisti Veneti , conductor: Claudio Scimone . Singers: Ernesto Palacio (Catone), Cecilia Gasdia (Cesare), Marilyn Schmiege (Marzia), Margarita Zimmermann (Emilia), Susanna Rigacci (Arbace) and Lucretia Lendi (Fulvio).
  • 1998: Performance in the Atelier lyrique de Tourcoing . Head: Jean-Claude Malgoire . Singers: Simon Edwards (Catone), Jacek Laszczkowski (Cesare), Patrizia Rosario (Marzia), Veronica Cangemi (Emilia), Sophie Fournier (Arbace) and Annie Vavrille (Fulvio).
  • 2001: Performances at the Opéra-Comique in Paris and at the Atelier lyrique de Tourcoing and CD. La Grande Ecurie et la Chambre du Roy, directed by Jean-Claude Malgoire. Singers: Simon Edwards (Catone), Jacek Laszczkowski (Cesare), Manuela Kriscak (Marzia: Paris) / Liliana Faraon (Marzia: Tourcoing and CD), Veronica Cangemi (Emilia), Philippe Jaroussky (Arbace) and Sylvie Althaparro (Fulvio: Paris ) / Diana Bertini (Fulvio: Tourcoing and CD).
  • 2012/2013: CD. Il complesso barocco , directed by Alan Curtis . Singers: Topi Lehtipuu (Catone), Roberta Mameli (Cesare), Sonia Prina (Marzia), Ann Hallenberg (Emilia), Emőke Baráth (Arbace) and Romina Basso (Fulvio).
  • 2014: Concert performance at the Théâtre des Champs Élysées , Paris. Il Complesso Barocco, directed by Alan Curtis. Singers: Colin Balzer (Catone), Caitlin Hulcup (Cesare), Sonia Prina (Marzia), Ann Hallenberg (Emilia), Ana Quintans (Arbace), Nerea Berraondo (Fulvio).
  • 2015: Glimmerglass Festival, Cooperstown (New York) . Conductor: Tazewell Thompson, Conductor: Ryan Brown. Singers: Thomas Michael Allen (Cato), Megan Samarin (Marzia), Allegra De Vita (Fulvio), Eric Jurenas (Arbace), Sarah Mesko (Emilia), John Holiday (Caesar).
  • 2016: Performance at the Concertgebouw Amsterdam and radio broadcast. La Cetra Barockorchester Basel , conductor: Andrea Marcon . Singers: Emiliano Gonzalez Toro (Catone), Anett Fritsch (Cesare), Francesca Ascioti (Marzia), Ann Hallenberg (Emilia), Roberta Invernizzi (Arbace) and Carlos Mena (Fulvio).

Web links

Commons : Catone in Utica  - collection of images, videos and audio files

• Several different versions of the libretto as full text (Italian) on progettometastasio.it.
• Italian and German libretto (Italian) of the version by Johann Christian Bach as full text on operons .
• Catone in Utica. Synopsis of the opera by Johann Adolf Hasse on musirony.de.tl , accessed on January 30, 2015.

Digital copies

1. ^ Johann Anton Koch: The abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems, translated from Italian. Third volume. Krauss, Frankfurt and Leipzig in 1771 as digitization at the Munich digitization center .
2. ↑ ^{a b c} Libretto (Italian / German) of the setting by Carl Heinrich Graun, Berlin 1743 as digitized version at the Goettingen State and University Library .
3. ↑ ^{a b} Libretto (German) of the setting by Pietro Torri, Munich 1736 (translation by JFA Aubert) as digitized version at the Munich Digitization Center .
4. ^ Libretto (German translation by Johann Leopold von Ghelen), Vienna 1749 as digitized version at the Munich Digitization Center .
5. ^ Libretto (Italian) of the opera by Leonardo Vinci, Rome 1728. Digitized in the Corago information system of the University of Bologna .
6. ↑ Score of the setting by Leonardo Vinci as digitized version in the International Music Score Library Project .
7. ^ Libretto (Italian) of the opera by Leonardo Leo, Venice 1729. Digitized in the Corago information system of the University of Bologna .
8. ^ Libretto (Italian) of the opera by Giovanni Francesco Maria Marchi, Milan 1733. Digitized in the Corago information system of the University of Bologna .
9. ^ Libretto (Italian) of the opera by anonymous, Bologna 1734. Digitized in the Corago information system of the University of Bologna .
10. ^ Libretto (Italian) of the opera by anonymous, Parma 1734. Digitized in the Corago information system of the University of Bologna .
11. ^ Libretto (Italian / Spanish) of the anonymous opera, Barcelona 1763 as a digitized version on Google Books .
12. ^ Libretto (Italian) of the setting by Pietro Torri, Munich 1736 as digitized version at the Munich Digitization Center .
13. ↑ Score of the setting by Pietro Torri as digitized version in the International Music Score Library Project .
14. ^ Libretto (Italian) of the opera by Antonio Vivaldi, Venice 1737. Digitized in the Corago information system of the University of Bologna .
15. ^ Libretto (Italian) of the setting by Egidio Romualdo Duni, Florence 1740 as a digitized version in the Museo internazionale e biblioteca della musica di Bologna .
16. ^ Libretto (Italian) of the opera by Rinaldo di Capua, Milan 1748 as a digitized version on Google Books .
17. ^ Libretto (Italian) of the opera by Carl Heinrich Graun, Verona 1756. Digitized in the Corago information system of the University of Bologna .
18. ^ Libretto (Italian / German) of the setting by Carl Heinrich Graun, Berlin 1768 as digitized version at the Munich Digitization Center .
19. ↑ Score of the setting by Carl Heinrich Graun, 1743 as digitized version with the International Music Score Library Project .
20. ↑ Libretto (Italian) of the setting by Gaetano Latilla, Rome 1747 as digitized version at the Munich Digitization Center .
21. ^ Libretto (Italian / German) of the setting by Giovanni Battista Ferrandini, Munich 1753 as digitized version at the Munich Digitization Center .
22. ^ Libretto (Italian) of the setting by Vincenzo L Limitio Ciampi, Venice 1757 as a digital copy in the Museo internazionale e biblioteca della musica di Bologna .
23. ^ Libretto (Italian) of the opera by Florian Leopold Gassmann, Venice 1761. Digitized in the Corago information system of the University of Bologna .
24. ^ Libretto (Italian) of the setting by Johann Christian Bach, Milan 1762 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
25. ↑ Score of the setting by Johann Christian Bach as digitized version in the International Music Score Library Project .
26. ^ Libretto (Italian) of the setting by Gian Francesco de Majo, Turin 1763 as digitized version at the Munich Digitization Center .
27. ^ Libretto (Italian) of the opera by Bernardo Ottani, Naples 1777. Digitized in the Corago information system of the University of Bologna .
28. ↑ Score of the setting by Bernardo Ottani, 1777 as digitized version with the International Music Score Library Project .
29. ^ Libretto (Italian) of the opera by Francesco Antonelli Torre, Naples 1784 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
30. ↑ Score of the setting by Francesco Antonelli Torres, Naples 1784 as digitized version by Internet Culturale .
31. ^ Libretto (Italian) of the setting by Gaetano Andreozzi, Florence 1787 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
32. ^ Libretto (Italian) of the setting by Giovanni Paisiello, Naples 1789 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
33. ↑ Score of the setting by Giovanni Paisiello, 1789 as digitized version with the International Music Score Library Project .
34. ^ Libretto (Italian) of the opera by Peter von Winter, Venice 1791. Digitized in the Corago information system of the University of Bologna .

Individual evidence

1. ^ ^{A b c} Don Neville:  Catone in Utica. In: Grove Music Online (English; subscription required).
2. ↑ ^{a b} Reinhard Strohm : Handel's pasticci. In: Essays on Handel and Italian Opera , Cambridge University Press 1985, Reprint 2008, ISBN 978-0-521-26428-0 , pp. 179 ff. (English).
3. ^ Catone in Utica (Leonardo Vinci) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
4. ↑ ^{a b} Catone in Utica (Leonardo Vinci) at operabaroque.fr , accessed on January 30, 2015.
5. ^ Catone in Utica (Leonardo Leo) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
6. ↑ Catone in Utica (Leonardo Leo) at operabaroque.fr , accessed on January 30, 2015.
7. ^ Catone in Utica (Johann Adolf Hasse) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
8. ^ List of stage works by Johann Adolf Hasse based on MGG at Operone, accessed on September 29, 2014.
9. ^ Catone in Utica (Johann Adolf Hasse) at operabaroque.fr , accessed on January 30, 2015.
10. ^ Catone (Georg Friedrich Händel) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
11. ^ Il Catone in Utica (Giovanni Francesco Maria Marchi) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
12. ^ Catone in Utica (anonymous) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
13. ^ Catone in Utica (anonymous) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
14. ^ Catone in Utica (Pietro Torri) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
15. ↑ Catone in Utica (Pietro Torri) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed October 11, 2014.
16. ^ Catone in Utica (Antonio Vivaldi) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
17. ↑ ^{a b c d e f} Catone in Utica (Antonio Vivaldi) at operabaroque.fr , accessed on January 30, 2015.
18. ^ Catone in Utica (Egidio Romualdo Duni) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
19. ^ Catone in Utica (Rinaldo di Capua) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
20. ^ Cato in Utica (Giovanni Verocai) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
21. ^ Catone in Utica (Carl Heinrich Graun) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
22. ^ Il Catone in Utica (Paolo Scalabrini) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
23. ↑ Catone in Utica (Gaetano Latilla) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
24. ^ Don Neville:  Metastasio [Trapassi], Pietro (Antonio Domenico Bonaventura). In: Grove Music Online (English; subscription required).
25. ↑ Frederick Key Smith: Nordic Art Music: From the Middle Ages to the Third Millennium , Praeger Publishers, Westport 2002, ISBN 0-275-97399-9 , p. 19 ( online at Google Books).
26. ↑ Johanna Ethnersson – Pontara: Arvid Niclas von Höpken on Levande Musikarv (Swedish), accessed on October 11, 2014.
27. ^ Il Catone in Utica (Giovanni Battista Ferrandini) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
28. ^ List of the stage works by Giovanni Ferrandini based on the MGG at Operone, accessed on October 5, 2014.
29. ↑ ^{a b} Catone in Utica (Giovanni Battista Ferrandini) at operabaroque.fr , accessed on January 30, 2015.
30. ^ Catone in Utica (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
31. ^ Catone in Utica (Gregorio Ballabene) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
32. ^ Catone in Utica (Francesco Poncini Zilioli) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
33. ^ Catone in Utica (Vincenzo L Limitio Ciampi) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
34. ^ Catone in Utica (Florian Leopold Gassmann) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
35. ^ List of stage works by Florian Leopold Gassmann based on the MGG at Operone, accessed on October 11, 2014.
36. ^ Catone in Utica (Johann Christian Bach) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
37. ^ Catone in Utica (Gian Francesco de Majo) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
38. ^ Catone in Utica (Niccolò Piccinni) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
39. ^ Catone in Utica (Bernardo Ottani) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
40. ^ Catone in Utica (Francesco Antonelli Torre) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
41. ^ Catone in Utica (Gaetano Andreozzi) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
42. ^ List of stage works by Gaetano Andreozzi based on the MGG at Operone, accessed on October 7, 2014.
43. ^ Catone in Utica (Sebastiano Nasolini) in the Corago information system of the University of Bologna , accessed on October 11, 2014.
44. ^ Catone in Utica (Giovanni Paisiello) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
45. ^ Catone in Utica (Peter von Winter) in the Corago information system of the University of Bologna , accessed on January 30, 2015.
46. ^ Catone in Utica. CD information, performance dates and sound samples of the opera by Johann Christian Bach , accessed on January 30, 2015.
47. ^ Opera on the radio 2008 on euro-opera.de , accessed on January 30, 2015.
48. ^ Tesori recuperati: omaggio al secolo d'oro dei castrati - announcement of the resumption of the opera by Francesco Antonelli Torres in Naples, 2014 from Oltrecultura (Italian), accessed on October 11, 2014.
49. ↑ Vinci: Catone in Utica - Max Emanuel Cencic, Franco Fagioli, Juan Sancho. CD information at Allmusic . Retrieved August 30, 2015.
50. ↑ Opernwelt from September / October 2016, p. 62
51. ↑ Review of the performance on May 30, 2015 at the Hessisches Staatstheater Wiesbaden in the Online Musik Magazin , accessed on December 17, 2015.
52. ↑ glimmerglass.org
53. ↑ Vivaldi's "Catone in Utica" with González Toro, Fritsch, Hallenberg & Invernizzi from Amsterdam on worldconcerthall.com, accessed on February 24, 2019.