Didone abbandonata

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Work data
Title: Didone abbandonata
First act, scene V. "Lascia pria ch'io risponda e poi favella"

First act, scene V.
"Lascia pria ch'io risponda e poi favella"

Shape: Opera seria
Original language: Italian
Music: First setting by Domenico Sarro
Libretto : Pietro Metastasio
Premiere: February 1, 1724
Place of premiere: Naples
Place and time of the action: Carthage , mythical time
people
  • Didone , Queen of Carthage , falls in love with Enea
  • Enea , hero of Troy , lover of Didone
  • Jarba , King of the Moors , under the name Arbace
  • Selene , Didone's sister, secretly in love with Enea
  • Araspe , Jarba's confidante, in love with Selene
  • Osmida , dignitary at the court of Carthage, confidante Didone
  • People of Carthage, refugees from Troy
Title page of the German translation, Steyr 1741

Abbandonata Didone is an opera - libretto in three acts by Pietro Metastasio . It was performed for the first time in the setting by Domenico Sarro on February 1, 1724 in Naples. It is dedicated to Cardinal Michael Friedrich Graf von Althann . With more than 60 settings up to the 19th century, it is one of his most popular works.

A German translation of the libretto by Johann Leopold van Ghelen appeared in Steyr in 1741 . Another German translation by Johann Anton Koch appeared in 1769 under the name The Abandoned Dido in the second volume of his unfinished complete edition Des Herr Abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems. He published the translation of another libretto version in 1776 under the name Die verlassene Dido, modified in the eighth volume.

action

The libretto is based on an episode from Virgil's Aeneid . The Trojan hero Aeneas and the Carthaginian queen Dido fall in love. However, to follow his destiny and found Rome, Aeneas leaves them. In desperation, Dido throws herself into the fire of her burning city. This material was very popular in the Baroque period and was also used in other libretti. Metastasio's opera, like the ancient model, ends tragically and is in contrast to the usual practice of opera seria at the time .

“The unfortunate Dido was a daughter of King Belus at Tir : she was married to the high priest Sicheus , a man who possessed immense wealth. Pigmalion , her brother, and heir to the throne of Belus, was thereby made so lustful that he had his brother-in-law killed in the hope of getting hold of his property. Only Dido slipped away from his pursuits, and she succeeded in sailing with her treasures to the African coasts. There she bought a piece of land and built the city of Carthage. In the meantime the new city had been brought to its final perfection, a neighboring king of the Getulers , Hiarbas by name, who supported himself by the Carthaginians, eagerly applied for its inclination; but he was dealt with with a negative answer, on the pretext that Dido also wanted to remain unbreakable loyal to the ashes of her deceased husband. But after the hand came Aeneas the Trojan, with whom she fell mortally in love. Since he was thrown there by a thunderstorm on his voyage to Latium, so that his ship's flotch had to be repaired and the people of the ship had to be refreshed again, the inclination of his beautiful landlady was very beneficial to him: he allowed himself to be so taken by it that he forgot about this that the gods had determined him to found a new kingdom in Latium. So he had to leave Carthage on the express command of the gods: he obeyed: and really went under sail; But Dido was brought into such anger and despair that she became suicidal through fire and hardship.

We take this from Virgilius' well-known heroic poem, Aeneidus, who makes use of the freedom of poets so unreservedly that he does not stupid the destruction of the city of Troy with the foundation of the city of Carthage at the same point in time, by correctly saying that Troy around 300 Destroyed year earlier than Carthage was founded.

The Fasti of Ovidius state that Hiarbas, after the death of Queen Dido, seized the city of Carthage. There are also some traces that Dido sister Anna (whom we call Selene) was no less in love with Aeneas than she, but secretly. Incidentally, one takes the liberty of making the idea of ​​King Hiarbas, under the assumed name of Arbazes, come to Carthage under the disguise of his bottler, for greater convenience.

In order to churn out the true from the false in this story, one finally wanted to note that the cruel end of Queen Dido was true, and only differentiated in the cause of the movement. Virgilius makes her die out of an inclination for a wandering knight, since she gave herself to death for a hated lover from Eckel, and thereby raised herself to be the model of all stubborn women of statute-barred times.

The action takes place in Carthage. "

- Pietro Metastasio : Libretto of the setting by Andrea Bernasconi, Munich 1756

The following table of contents is based on the libretto used by Andrea Bernasconi in 1756 .

first act

Francesco Battaglioli: first act, scene 5

Audience place with a throne on the side; in the distance you can see the building of the city of Carthage

Despite their mutual love, Enea decided to obey divine command and leave Dido. He first says this to Dido's sister Selene and her confidante Osmida. When Dido arrives, he swears his love for her, but at the same time urges her to forget him. Overwhelmed by feelings, however, he does not find the right words and leaves the place. Selene explains his intention to Dido, but Osmida belittles her and claims that Enea is just jealous of Jarba, the King of the Moors , and his courtship for Dido. Then Jarba himself, who for the time being pretends to be his own ambassador Arbace, comes with his confidante Araspe and brings Dido slaves, tigers, lions and other gifts. Dido had already rejected his advertisement once on the pretext that she wanted to remain loyal to her late first husband Sichäus. Since she has now started a relationship with Enea, Jarba no longer accepts this reason and renews his advertising as a condition for peace between her peoples. In addition, she should deliver the head of Enea to him. Dido rejects him. She wants to rule over her heart and her kingdom alone. After she leaves, Jarba swears revenge and orders Araspe to murder Enea from behind. Araspe, however, is only ready for an honorable fight and refuses to do so. Jarba's unscrupulousness struck him.

Forecourt

Enea tells Selene how difficult it is to say goodbye to Dido. Jarba and Araspe join them. While Araspe falls in love with Selene, Jarba starts an argument with Enea. Enea is not afraid of him and goes.

Jarba plans to let his warriors into the castle to destroy Carthage and kill his rival. Osmida tells him that Dido is on his way to the Neptune Temple to marry Enea. He promises Jarba to support him in every way possible. Araspe tries in vain to dissuade Jarba from his plan.

Temple of Neptune with his image

Jarba, who still goes by the name Arbace, tries to attack Enea, but is prevented by Araspe, who takes the dagger. Enea therefore considers Araspe to be the culprit. When Dido arrives with her bodyguard, Osmida names Araspe as the culprit. Dido has him taken away. Enea thinks Arbace prevented the attack and thanks him. However, this now reveals himself as Jarba and declares his hostility to him. Dido has him arrested. Jarba draws his sword, but is persuaded by Osmida to give in and to rely on him for the time being. After being taken away by Osmida, Enea informs Dido of his decision to leave her. Dido feels betrayed by him.

Second act

Image from the libretto, music by Andrea Adolfati, Venice 1747

Royal room with a small table

Osmida released Jarba. They await the arrival of their people to attack. Osmida reminds Jarba that he promised him the throne of Carthage as a reward for his betrayal. When Araspe arrives, Jarba blames him for the failure of the assassination attempt. Selene comes now and asks Araspe about the reason for Jarba's release, which he doesn't know. At Selene's request, he promises her to protect Enea, even though he is actually his enemy. Then he confesses his love to her. Selene replies that she holds him in high regard, but that her heart already belongs to someone else.

Dido has decided to have Jarba executed, and Osmida agrees to execute. However, Enea thinks this punishment is excessive and dishonorable and asks for mercy for Jarba. Nevertheless, she angrily signs the judgment. Since he continues to ask, however, she finally gives in and hands him the sheet.

Jarba accuses Enea of ​​inciting Dido against him. In response, Enea tears up the death sentence signed by Dido. Jarba wonders at the magnanimous behavior of his enemy and the treacherous behavior of his friend Araspe.

Inner courtyard

Araspe challenges Enea to an honorable duel with the sword, but Enea refuses. Only when Araspe accuses him of cowardice does he reluctantly draw his sword. The fight is interrupted by Selene, who accuses Araspe of treason. But Enea defends him by saying that he only fought for his master.

Cabinet with armchairs

Dido wants to put Enea to the last test and arouse his jealousy. She asks him for advice on how to behave, since Jarba is now threatening her realm and her life. The only alternative to marrying Jarba would have been to marry him, Enea, and thereby obtain more allies - but now she is only left with death. So she asks Enea to kill her with her own hands. However, he refuses and advises her to marry Jarba. She has him fetched and asks Enea to attend the ceremony. When Jarba arrives, Dido tells him that Enea has spoken for him and that she now wants to marry him. Enea can't see it and finally leaves, angry. As a result, Dido has regained hope and explains to Jarba that she could never love him. He leaves her under threats.

Third act

Sea port where the Trojan ships are anchored

Enea and the Trojans prepare to leave. Jarba challenges him to a duel. When he is threatened with defeat, his people come to his aid, and Enea's companions help him. The fight continues, but eventually Jarba is defeated. Although Enea gives him his life, Jarba swears revenge.

Tree-lined corridor between the city and the port

Osmida informs Araspe that Jarba's reinforcements have arrived. Araspe doesn't trust Osmida. The two argue about the concept of honor. Selene comes up and asks about Enea. Araspe suspects that she loves him, but she claims she only feels sorry for her sister.

Jarba insists that Enea be killed. Osmida declares that his warriors are ready and once again reminds them of the promised reward. Jarba, however, orders the guard to kill Osmida. That is the appropriate reward for a traitor. Neither Araspe nor Selene want to help Osmida. Enea arrives just in time and frees Osmida, who swears eternal gratitude to him. Selene now confesses her love to Enea, but Enea doesn't want to hear about it. He's only interested in fame.

Royal castle with a view of the city which later goes up in flames

Osmida confesses his betrayal to Dido and asks her for a merciful punishment. Selene tells Dido that Enea is on her way to the ships. Osmida sends them to stop him. Araspe reports that Jarba set Carthage on fire. Osmida is coming back. He couldn't stop Enea anymore because she had already sailed. Dido now assigns him to raise people, ships and weapons in order to stop Enea by force and to sink his ships. Meanwhile, Selene is supposed to take care of the burning city. Osmida comes back without having achieved anything because he couldn't get to the bank through the castle. Jarba's troops are now raging mercilessly in the city. The castle has also caught fire. Selene comes back and urges to flee because her army has been defeated. But it doesn't come to that anymore, because Jarba appears with his people. When he sees Dido's desperation, he offers her again to marry her. However, since Dido continues to defy him, he orders the city to be completely destroyed.

Osimda and Selene ask Dido to give in. However, she only has revenge on her mind. When Selene tells her that she loves Enea too, Dido angrily sends her away. In her desperation, she blasphemed the gods, and Osmida also left her shaken. Left alone, she throws herself into the flames.

history

Didone abbandonata is Metastasio's first libretto. He wrote it in collaboration with the soprano Maria Anna Benti (“La Romanina”, 1684? –1734), who also took over the role of Dido in the first performance of the setting by Domenico Sarro . The role of Enea was the Old - castrato Nicolo Grimaldi sung ( "Nicolini", 1673-1732).

The plot is based on an episode from the fourth book of the Aeneid by Virgil . It tells of the love of the founder and queen of Carthage , Dido , for the Trojan refugee Aeneas . This union is promoted by the gods Venus and Juno and only leads to a marriage-like connection, since Dido has sworn not to get involved with a man again after the murder of her husband Sychaeus . Before his departure from Troy, Aeneas himself received the order from Jupiter to found a new Troy in Italy. Carthage must therefore only be a stopover for him on the way there. Jupiter sends Mercurius to remind Aeneas of his mission. Aeneas obeys and prepares for departure. When Dido found out about it, she made him desperate reproaches. But Aeneas remains firm and leaves secretly. Dido then kills himself on a stake with a sword, a gift from Aeneas. But first she conjures up an avenger and thus creates the basis for the later conflict between Rome and Carthage ( Punic Wars ). Juno takes pity on Dido's long agony and sends Iris, the messenger of the gods . This descends in a rainbow and cuts off a lock of Dido to consecrate it to the underworld.

Another ancient model of Metastasius was the Fasti of Ovid (III: 545, 595, 640). It contains references to the Hiarbas assuming power after Dido's death and the love of Dido's sister Anna for Aeneas.

Also, due to the popularity of the subject, there have been many contemporary works that may have inspired Metastasio. These include the plays Didon by Georges de Scudéry (1673) and L'ambigu comique, ou Les amours de Didon et d 'Aenée by Antoine-Jacob de Montfleury (1673) and the libretti La Didone by Giovanni Francesco Busenello (1641) and Didon by Louise-Geneviève Gillot de Saintonge (1693).

The setting by Leonardo Vinci (Rome 1726) was particularly praised for its portrayal of Dido's rejection of Jarba in the aria Son regina . The same applies to Niccolò Jommelli's treatment of the final scene (Rome 1747). For the performance of 1742 in Hubertusburg Castle in the setting by Johann Adolph Hasse , the ending had to be changed because the burning Carthage could not be shown on this stage. The adaptation of the libretto was done by Francesco Algarotti . Here Dido leaves the plot three scenes before the end after the newly inserted aria Ombra cara . Probably both variants were played in the subsequent performances in Dresden. Other successful settings include those by Gaetano Maria Schiassi (Bologna 1735) and Joseph Schuster (Naples 1776). In 1751 Metastasio sent an abridged version to Farinelli in Madrid, where, in addition to his work as a singer, he also had overall supervision of the theater performances.

Settings

The following composers used this libretto for an opera:

year composer premiere Performance location Remarks
1724 Domenico Sarro February 1, 1724, Teatro San Bartolomeo Naples with Intermezzi Dorina e Nibbio ; further performances in other cities; Revised in autumn 1730 in the Teatro San Giovanni Crisostomo in Venice Domenico Natale Sarro - Didone abbandonata - titlepage of the libretto - Venice 1730.png
1724 Tomaso Albinoni December 26th 1724, Teatro San Cassiano Venice further performances in other cities
1725 Nicola Porpora 1725, Teatro Pubblico Reggio nell'Emilia also Carnival 1745 in the Teatro Ducale in Parma
1726 Leonardo Vinci January 14th 1726, Teatro delle Dame Rome performed on April 13, 1737 in a version reworked as pasticcio by Georg Friedrich Händel in the King's Theater at the Haymarket in London → Didone abbandonata (Handel)
 Leonardo Vinci - Didone abbandonata - titlepage of the libretto - Rome 1726.png
1735 Gaetano Maria Schiassi May 21, 1735, Teatro Formagliari Bologna
1739 Giuseppe Ferdinando Brivio 1739, Teatro Regio Ducale Milan
1739 Egidio Duni Carnival 1739, Teatro Regio Ducale Milan
1739 Giovanni Battista Lampugnani June 1739, Teatro degli Obizzi Padua also in Crema in 1745; Revised on January 20, 1753 in the Teatro San Carlo in Naples
1740 Ant. Paulo Pavensi 1740 Lucca
1740 Baldassare Galuppi December 26th 1740, Teatro Molza Modena first version
1741 Rinaldo di Capua 1741, Teatro Condes Lisbon
1741 Andrea Bernasconi January 28, 1741, Teatro San Giovanni Crisostomo Venice also on May 19, 1743 in the Teatro di Palazzo Spada in Cesena ; Revised on January 26, 1756 and for Carnival 1760 in the Munich Court Theater Andrea Bernasconi - Didone abbandonata - titlepage of the libretto - Venice 1741.png
1742 Johann Adolph Hasse October 7, 1742 for the Dresden court of August III. Hubertusburg Castle also in 1752 at the Royal Court Opera in Berlin Johann Adolph Hasse - Didone abbandonata - german titlepage of the libretto - Berlin 1752.png
1744 Paolo Scalabrini 1744, Opera am Gänsemarkt Hamburg as Didone ;
Resumed November 9, 1746;
also in 1748 in the Kongelige Teater in Copenhagen 		Paolo Scalabrini - Didone abbandonata - titlepage of the libretto - Hamburg 1744.png
1746 Niccolò Jommelli January 28, 1747, Teatro Argentina Rome first version
1747 Andrea Adolfati [19. February] 1747, Teatro di San Girolamo Venice anonymous satirical adaptation of the libretto, performed with puppets
1748 Pietro Chiarini 1748, Teatro dell'Accademia degli Erranti Brescia
1748 Ferdinando Bertoni Carnival 1748, Teatro di San Girolamo Venice anonymous satirical adaptation of the libretto, performed with puppets
1749 Niccolò Jommelli December 8, 1749, Burgtheater Vienna second version
1750 Domènech Terradellas Carnival 1750, Teatro Regio Turin
1751 Davide Perez 1751 Genoa also in other Italian cities as well as on March 14, 1761 in the King's Theater on Haymarket in London
1751 Gennaro Manna January 30th 1751, Teatro San Giovanni Crisostomo Venice
1751 Ignazio Fiorillo Winter fair 1751, court theater Braunschweig
1752 Giuseppe Bonno probably not listed
1752 Francesco Poncini Zilioli Carnival 1752, Teatro San Sebastiano Livorno
1752 Giuseppe Scolari May 30, 1752, Teatro de la Santa Cruz Barcelona Revised for Carnival 1763 in the Teatro Bonacossi in Ferrara
1752 Antonio Maria Mazzoni December 26th 1752, Teatro Formagliari Bologna also at Carnival 1761 in the Nuovo Teatro in Prague
1752 anonymous ( pasticcio ?) December 26th 1752, Teatro della Pergola Florence
1754 Vincenzo Llimitedio Ciampi 1754, King's Theater on Haymarket London
1755 Giovanni Andrea Fioroni 18th January 1755, Teatro Regio Ducale Milan Giovanni Andrea Fioroni - Didone abbandonata - titlepage of the libretto - Milano 1755.png
1757 Tommaso Traetta Autumn 1757, Teatro San Moisè Venice further performances in other cities Tommaso Traetta - Didone abbandonata - titlepage of the libretto - Venice 1757.png
1758 Francesco Zoppis November 25, 1758 St. Petersburg
1759 Antonio Brunetti Carnival 1759, Accademia degli Intronati Siena
1759 Pietro Auletta August 26th 1759, Teatro della Pergola Florence
1760 Antonio Ferradini 1760, Teatro Pubblico Lucca
1762 Giuseppe Sarti December 1762, Det Kongelige Teater Copenhagen first version
1763 Niccolò Jommelli February 11, 1763, Ducal Theater Stuttgart third version, also revised in 1777, 1780 and 1782
1764 Baldassare Galuppi Carnival 1764, Teatro San Benedetto Venice second version
1765 Johann Gottfried Schwanberger 1765, court theater Braunschweig
1766 Francesco Zannetti 1766 Livorno in two acts; also in autumn 1781 in the Teatro Civico del Verzaro in Perugia
1768 Antonio Boroni 1768, Theater an der Kotzen Prague
1769 Ignazio Celoniati December 26th 1769, Teatro Regio Ducale Milan
1769 Gian Francesco de Majo December 26th 1769, Teatro San Benedetto Venice
1770 Niccolò Piccinni January 8, 1770, Teatro Argentina Rome
1770 Giacomo Insanguine January 20, 1770, Teatro San Carlo Naples
1772 Michele Mortellari 20th September 1772, Teatro della Pergola Florence
1773 Giuseppe Colla January 23, 1773, Teatro Regio Turin as Didone
1775 Domenico Mombelli 1775 Crescentino
1775 Pasquale Anfossi Assumption 1775, Teatro San Moisè Venice further performances in other cities
1775 Venanzio Rauzzini ( pasticcio ) November 11th 1775, King's Theater on Haymarket London
1776 Joseph Schuster January 12th 1776, Teatro San Carlo Naples also at Carnival 1779 in the Teatro San Benedetto in Venice
1779 Bernardo Ottani Spring 1779, Teatro Comunale Forlì as Didone
1779 Ignaz Holzbauer July 6, 1779, Court and National Theater Mannheim Singspiel in one act; as La morte di Didone ; revised in 1780 as Der Tod der Dido (German version by Klein); on June 6, 1784 as The Destruction of Carthago
1780 Gennaro Astarita 1780 Bratislava
1780 Francesco Piticchio Carnival 1780, Teatro di Santa Cecilia Palermo Revised for the winter fair in 1784 in the court theater in Braunschweig
1782 Giuseppe Sarti June 12th 1782, Teatro Nuovo Padua second version; further performances in other cities, including in 1784 in Eszterháza Castle and on August 25, 1792 in the Teatro de los Caños del Peral in Madrid
1784 Gaetano Andreozzi 1784, Hermitage Theater St. Petersburg
1787 Giuseppe Gazzaniga Summer 1787, Teatro Nuovo Vicenza as La Didone
1792 Stephen Storace May 23, 1792, King's Theater on Haymarket London Libretto edited by Prince Hoare in 1775 as a "serious opera" Dido, Queen of Carthage ; Music lost
1794 Giovanni Paisiello November 4, 1794, Teatro San Carlo Naples further performances in other cities
1795 Leopold Koželuh 1795, Theater am Kärntnertor Vienna
1798 Settiminio Marino 1798 postage
1810 Ferdinando Paër 1810, Tuileries Palace Paris as La Didone ; Libretto edited by Stefano Vestris ; also in the spring of 1817 in the Teatro della Pergola in Florence
1810 Valentino Fioravanti June 9, 1810, Teatro Valle Rome as Didone ; in two acts; Libretto edited by Jacopo Ferretti
1823 Bernhard Klein 1823, Royal Theater Berlin German as Dido ; Libretto revised by Ludwig Rellstab
1823 Saverio Mercadante January 18, 1823, Teatro Regio Turin Libretto edited by Andrea Leone Tottola ;
further performances in other cities 		Saverio Mercadante - Didone abbandonata - title page of the libretto - Turin 1823.png
1824 Carl Gottlieb Reissiger 1824, court theater Dresden in two elevators Carl Gottlieb Reissiger - Didone abbandonata - titlepage of the libretto - Dresden 1824.png
2001 Bruno Coli Summer 2001, Filodrammatici Theater Milan
2004 Michael Hirsch October 1, 2004, Festspielhaus Hellerau Dresden Short opera; Commissioned by the Dresden Center for Contemporary Music

Recordings and performances in recent times

Web links

Commons : Didone abbandonata  - Collection of images, videos and audio files

Digital copies

  1. ^ Libretto (Italian / German) with the translation by Johann Leopold van Ghelen, Steyr 1741 as a digitized version at the Berlin State Library .
  2. ^ Johann Anton Koch: The abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems, translated from Italian. Second volume. Krauss, Frankfurt and Leipzig in 1769 as digitization at the Munich digitization center .
  3. ^ Johann Anton Koch: The abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems, translated from Italian. Eighth volume. Krauss, Frankfurt and Leipzig in 1776 as digitization at the Munich digitization center .
  4. ↑ a b c Libretto (Italian / German) of the opera by Andrea Bernasconi, Munich 1756 as digitized version at the Munich Digitization Center .
  5. ^ Libretto (Italian) of the opera by Domenico Natale Sarro, Venice 1730. Digitized in the Corago information system of the University of Bologna .
  6. ↑ Score of the opera by Domenico Natale Sarro, 1730 as digitized version with the International Music Score Library Project .
  7. ^ Libretto (Italian) of the opera by Tomaso Albinoni, Venice 1725. Digitized in the Corago information system of the University of Bologna .
  8. ^ Libretto (Italian) of the opera by Nicola Porpora, Reggio nell'Emilia 1725. Digitized in the Corago information system of the University of Bologna .
  9. ^ Libretto (Italian) of the opera by Leonardo Vinci, Rome 1726. Digitized in the Corago information system of the University of Bologna .
  10. ^ Libretto (Italian) of the opera by Gaetano Maria Schiassi, Bologna 1735 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  11. ^ Libretto (Italian) of the opera by Egidio Romualdo Duni, Milan 1739. Digitized in the Corago information system of the University of Bologna .
  12. ^ Libretto (Italian) of the opera by Andrea Bernasconi, Venice 1741. Digitized in the Corago information system of the University of Bologna .
  13. ^ Libretto (Italian / German) of the opera by Johann Adolph Hasse, Berlin 1752 as digitized version at the Berlin State Library .
  14. ↑ Score of the opera by Johann Adolph Hasse, 1742 as digitized version with the International Music Score Library Project .
  15. ^ Libretto (Italian / German) of the opera by Paolo Scalabrini, Hamburg 1744 as a digitized version at the Berlin State Library .
  16. ^ Score of the opera by Niccolò Jommelli, 1746 as digitized version with the International Music Score Library Project .
  17. ^ Libretto (Italian) of the opera by Andrea Adolfati, Venice 1747. Digitized in the Corago information system of the University of Bologna .
  18. ^ Libretto (Italian) of the opera by Davide Perez, Reggio nell'Emilia 1752 as digitized version at the Munich Digitization Center .
  19. ^ Libretto (Italian) of the opera by Francesco Poncini Zilioli, Livorno 1752 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  20. ^ Libretto (Italian / Spanish) of the opera by Giuseppe Scolari, Barcellona 1753 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  21. ^ Libretto (Italian) of the anonymous opera, Florence 1753 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  22. ^ Libretto (Italian) of the opera by Giovanni Andrea Fioroni, Milan 1755. Digitized in the Corago information system of the University of Bologna .
  23. ^ Libretto (Italian) of the opera by Tommaso Traetta, Venice 1757. Digitized in the Corago information system of the University of Bologna .
  24. ^ Libretto (Italian) of the opera by Pietro Auletta, Florence 1759 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  25. ^ Libretto (Italian) of the opera by Ignazio Celoniati, Milan 1769 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  26. ^ Libretto (Italian) of the opera by Michele Mortellari, Florence 1772 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  27. ^ Libretto (Italian) of the opera by Giuseppe Colla, Turin 1773 as digitized version at the Munich Digitization Center .
  28. ^ Libretto (Italian) of the opera by Pasquale Anfossi, Venice 1775 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  29. ^ Libretto (Italian) of the opera by Bernardo Ottani, Forlì 1779 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  30. ^ Libretto (Italian / Spanish) of the opera by Giuseppe Sarti, Madrid 1792 as a digitized version on Google Books .
  31. ^ Libretto (Italian) of the opera by Giovanni Paisiello, Naples 1794 as a digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  32. ^ Libretto (Italian / French) of the opera by Ferdinando Paër, Paris 1811 as digitized version at the Munich Digitization Center .
  33. ^ Libretto (Italian) of the opera by Valentino Fioravanti, Rome 1810 as a digitized version in the Museo internazionale e biblioteca della musica di Bologna .
  34. ^ Libretto (German) of the opera by Bernhard Klein, Berlin 1823 as digitized version on Google Books .
  35. ^ Libretto (Italian) of the opera by Saverio Mercadante, Turin 1823 as digitized version at the Munich Digitization Center .
  36. ^ Score of the opera by Saverio Mercadante, 1823 as digitized version with the International Music Score Library Project .
  37. ^ Libretto of the opera by Carl Gottlieb Reissiger, Dresden 1824 as digitized version at the Munich Digitization Center .

Individual evidence

  1. ↑ a b c d e f Don Neville:  Didone abbandonata. In: Grove Music Online (English; subscription required).
  2. ↑ Metastasio, Pietro in Die Musik in Geschichte und Gegenwart , p. 50861 ff (cf. MGG vol. 9, p. 229 ff.) Bärenreiter-Verlag 1986 ( digital library volume 60).
  3. ^ Didone abbandonata (Domenico Sarro) in the Corago information system of the University of Bologna
  4. ↑ Didone abbandonata (Domenico Natale Sarro) in the Corago information system of the University of Bologna , accessed on October 25, 2014.
  5. ^ List of stage works by Domenico Natale Sarri based on the MGG at Operone, accessed on September 29, 2014.
  6. ↑ Didone abbandonata (Domenico Sarro) at operabaroque.fr , accessed on February 1, 2015.
  7. ↑ Didone abbandonata (Tomaso Albinoni) in the Corago information system of the University of Bologna , accessed on October 25, 2014.
  8. ↑ Didone abbandonata (Tomaso Albinoni) at operabaroque.fr , accessed on February 1, 2015.
  9. ↑ Didone abbandonata (Nicola Porpora) in the Corago information system of the University of Bologna , accessed on October 25, 2014.
  10. ↑ Didone abbandonata (Leonardo Vinci) in the Corago information system of the University of Bologna , accessed on October 25, 2014.
  11. ↑ List of the stage works by Leonardo Vinci based on the MGG at Operone, accessed on September 29, 2014.
  12. ↑ Didone abbandonata (Leonardo Vinci) at operabaroque.fr , accessed on February 1, 2015.
  13. ↑ Didone abbandonata (Gaetano Maria Schiassi) in the Corago information system of the University of Bologna , accessed on October 25, 2014.
  14. ↑ Didone abbandonata (Giuseppe Ferdinando Brivio) at opening night! Opera & Oratorio Premieres , Stanford University, accessed October 25, 2014.
  15. ^ Didone abbandonata (Egidio Romualdo Duni) in the Corago information system of the University of Bologna , accessed on October 25, 2014.
  16. ↑ La Didone abbandonata (Giovanni Battista Lampugnani) in the Corago information system of the University of Bologna , accessed on October 25, 2014.
  17. ^ List of stage works by Giovanni Battista Lampugnani based on the MGG at Operone, accessed on October 6, 2014.
  18. ↑ Didone abbandonata (Ant. Paulo Pavensi) in the Corago information system of the University of Bologna , accessed on October 25, 2014.
  19. ↑ a b Didone abbandonata (Baldassare Galuppi) in the Corago information system of the University of Bologna , accessed on October 25, 2014.
  20. ↑ a b Didone abbandonata (Baldassare Galuppi) at operabaroque.fr , accessed on February 1, 2015.
  21. ↑ Didone abbandonata (Rinaldo di Capua) in the Corago information system of the University of Bologna , accessed on October 25, 2014.
  22. ↑ Didone abbandonata (Andrea Bernasconi) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  23. ↑ Didone abbandonata (Andrea Bernasconi) at operabaroque.fr , accessed on February 1, 2015.
  24. ↑ Didone abbandonata (Johann Adolph Hasse) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  25. ↑ a b Didone abbandonata (Johann Adolf Hasse) at operabaroque.fr , accessed on February 1, 2015.
  26. ↑ Didone (Paolo Scalabrini) in the Corago information system of the University of Bologna , accessed on August 24, 2016.
  27. ↑ Didone abbandonata [1a ver.] (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  28. ↑ a b Didone abbandonata (Niccolo Jommelli) at operabaroque.fr , accessed on February 1, 2015.
  29. ↑ Didone abbandonata (Andrea Adolfati) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  30. ^ A b Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , Stanford 2007, ISBN 978-0-8047-4437-9 , p. 625 ( online at Google Books).
  31. ↑ La Didone abbandonata (Pietro Chiarini) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  32. ↑ Didone abbandonata (Ferdinando Bertoni) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  33. ↑ Didone abbandonata [2a ver.] (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  34. ↑ La Didone abbandonata (Domenico Terradellas) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  35. ↑ Didone abbandonata (David Perez) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  36. ↑ Didone abbandonata (Gennaro Manna) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  37. ↑ La Didone abbandonata (Ignazio Fiorillo) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  38. ^ Don Neville:  Metastasio [Trapassi], Pietro (Antonio Domenico Bonaventura). In: Grove Music Online (English; subscription required).
  39. ↑ La Didone abbandonata (Francesco Poncini Zilioli) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  40. ↑ Didone abbandonata (Giuseppe Scolari) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  41. ↑ La Didone abbandonata (Antonio Mazzoni) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  42. ^ Didone abbandonata (anonymous) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  43. ↑ Didone abbandonata (Vincenzo Ciampi) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed October 29, 2014.
  44. ^ La Didone abbandonata (Giovanni Andrea Fioroni) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  45. ↑ Didone abbandonata (Tommaso Traetta) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  46. ↑ Didone abbandonata (Francesco Zoppis) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  47. ↑ Didone abbandonata (Antonio Brunetti) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  48. ↑ Didone abbandonata (Pietro Auletta) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  49. ↑ Didone abbandonata (Antonio Ferradini) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed October 29, 2014.
  50. ↑ Didone abbandonata [1a ver.] (Giuseppe Sarti) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  51. ↑ Didone abbandonata [3a ver.] (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  52. ↑ Didone abbandonata (Johann Gottfried Schwanenberger) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed October 29, 2014.
  53. ↑ List of stage works by Johann Gottfried Schwanberger based on the MGG at Operone, accessed on October 2, 2014.
  54. ↑ La Didone abbandonata (Francesco Zannetti) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  55. ↑ Didone abbandonata (Antonio Boroni) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed October 29, 2014.
  56. ^ Didone abbandonata (Ignazio Celoniati) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  57. ↑ Didone abbandonata (Gian Francesco de Majo) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  58. ↑ Didone abbandonata (Niccolò Piccinni) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  59. ↑ La Didone abbandonata (Giacomo Insanguine) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  60. ↑ Didone abbandonata (Michele Mortellari) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  61. ^ Didone (Giuseppe Colla) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  62. ↑ Didone abbandonata (Domenico Mombelli) at opening night! Opera & Oratorio Premieres , Stanford University, accessed October 29, 2014.
  63. ↑ Didone abbandonata (Pasquale Anfossi) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  64. ↑ Didone abbandonata (Venanzio Rauzzini) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  65. ↑ La Didone abbandonata (Joseph Schuster) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  66. ↑ Didone (Bernardo Ottani) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  67. ↑ La morte di Didone (Ignaz Holzbauer) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  68. ^ List of the stage works by Ignaz Holzbauer based on the MGG at Operone, accessed on September 29, 2014.
  69. ↑ La Didone abbandonata (Gennaro Astarita) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  70. ↑ Didone abbandonata (Francesco Piticchio) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  71. ↑ Didone abbandonata (Giuseppe Sarti) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  72. ↑ List of stage works by Giuseppe Sarti based on the MGG at Operone, accessed on September 29, 2014.
  73. ↑ Didone abbandonata (Gaetano Andreozzi) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  74. ↑ La Didone (Giuseppe Gazzaniga) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  75. ^ Dido, Queen of Carthage (1792) , data set at APGRD , accessed on November 6, 2014.
  76. ^ Stephen Storace, Part II , biography in So Faithful a Heart , accessed November 6, 2014.
  77. ^ Didone abbandonata (Giovanni Paisiello) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  78. ↑ Didone abbandonata (Leopold Kozeluch) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed October 29, 2014.
  79. ↑ Didone abbandonata (Settimo Marino) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed October 29, 2014.
  80. ^ La Didone (Ferdinando Paër) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  81. ↑ Didone (Valentino Fioravanti) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  82. ↑ Dido (Bernhard Klein) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed October 29, 2014.
  83. ↑ Didone abbandonata (Saverio Mercadante) in the Corago information system of the University of Bologna , accessed on October 29, 2014.
  84. ↑ a b Thomas Schacher: The abandoned Dido mourns and sings in the highest notes. In: Neue Zürcher Zeitung from August 15, 2018, accessed on August 15, 2018.
  85. ↑ Didone abbandonata (Carl Gottlieb Reissiger) at opening night! Opera & Oratorio Premieres , Stanford University, accessed October 29, 2014.
  86. ↑ Bruno Coli. Biography at the Teatro Necessario , accessed on August 9, 2016.
  87. ↑ La Didone abbandonata . Description of the work on the website of the composer Michael Hirsch, accessed on November 6, 2011.
  88. ^ Baldassarre Galuppi: Didone Abbandonata - Franco Piva. CD information from Allmusic , accessed February 1, 2015.
  89. ↑ Information on the radio broadcast of Handel / Vincis Oper on WDR 3, accessed on January 8, 2018.
  90. ↑ Performance information on Handel / Vinci's opera on the Lautten Compagney website, accessed on January 8, 2018.
  91. ^ Didone Abbandonata - Frieder Bernius. CD information from Allmusic , accessed February 1, 2015.
  92. ↑ Peter Hagmann: In a new light. Review of the performance of the setting by Niccolò Jommelli in Basel 2019. In: Opernwelt , August 2019, p. 35.
  93. ^ Review of the performance of the setting by Niccolò Piccinni in Paris 2003 at Forum Opéra (French), accessed on November 6, 2014.
  94. ^ Gerhard Persché: Fatal love affairs. DVD review. In: Opernwelt from December 2017, p. 24.