Eliogabalo
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| Title: | Eliogabalo |
Beginning of the first act in the 1667 manuscript |
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| Shape: | Opera in three acts |
| Original language: | Italian |
| Music: | Francesco Cavalli |
| Libretto : | Anonymous, edited by Aurelio Aureli |
| Literary source: | "Aelius Lampridius": Vita Heliogabali of the Historia Augusta |
| Premiere: | November 27, 1999 |
| Place of premiere: | Teatro San Domenico, Crema |
| Playing time: | approx. 3 ¼ hours |
| Place and time of the action: | Rome, around 222 |
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Eliogabalo is an opera in three acts by Francesco Cavalli (music) with a libretto by an unknown author, revised by Aurelio Aureli . It was written in 1667, but was not premiered until November 27, 1999 at the Teatro San Domenico in Crema.
action
The opera takes place in Rome around the year 222 at the end of the reign of the Emperor Elagabal, here called "Eliogabalo" . He considers himself a God who is above all laws. He lives solely for his pleasure, without caring about the feelings of those around him. His servants Zotico and Lenia help him with his atrocities. Eliogabalo's cousin Alessandro is his designated successor as Caesar . Although he too suffers from the emperor's deeds, he remains loyal. Alessandro loves (Flavia) Gemmira, the sister of the Praetorian prefect Giuliano (Gordio), who in turn is engaged to the noble Roman (Anicia) Eritea. The emperor desires both women. He has already raped Eritea and then appeased it with a promise of marriage, which he does not intend to keep. Further complications arise from the fact that the young Roman woman Atilia (Macrina) is in love with Alessandro and tries again and again to win him over. The servant Nerbulone causes funny situations on several occasions.
first act
Small place
Scene 1. After Alessandro has put down a revolt by the Praetorian Guard, the soldiers and their Prefect Giuliano beg the emperor for mercy. Eliogabalo is gracious. His thoughts are currently only on Giuliano's fiancé Eritea, whom he tries to calm down with flattering words after the rape. Eritea reminds him of his promise, because only a marriage can restore her honor. Giuliano hears to his horror that the emperor confirms his word and then orders him to lead Eritea into his apartments.
Scene 2. As soon as Eliogabalo is alone with his confidants Zotico and Lenia, he reveals that promises are of no importance to him. He orders Lenia to provide him with further amusements and to bring him either Atilia or Gemmira, of their own choice, of whose beauty he has already heard.
Square in Rome with a temple
Scene 3. Lenia confesses her love to Nerbulone. But since money is more important to him than anything else, she promises him great riches and gives him a valuable ring.
Scene 4. Nerbulone triumphs. He prefers a generous old woman to a young beauty who is difficult to conquer.
Scene 5. In front of the temple, Gemmira complains to the gods about her feelings of jealousy, which torment them despite her loyalty to Alessandro.
Scene 6. Alessandro, on the other hand, is overjoyed about his love for Gemmira. Gemmira doesn't trust Eliogabalo. She fears that he wants to get Alessandro out of the way because of his popularity with the people and the Senate. Alessandro reassures her about it. After all, he has only just put down the riot. He wants to announce their wedding to the emperor today.
Scene 7. When Alessandro wants to talk to Eliogabalo about Gemmira, he becomes aware. He lets Zotico and Lenia confirm the beauty of Gemmira and then decides to win her over for himself. He pretends to give his consent to her wedding to Alessandros and asks Alessandro to fetch her. When Alessandro is gone, the servants make fun of his gullibility.
Scene 8. Because Eliogabalo wants to get Gemmira to bed at all costs, he and Zotico and Lenia come up with an insidious plan: he wants to convene them and the most beautiful women to a senate and shower them with honors. There will be an opportunity to rape her. In order to dispel any concerns of her fiancé Alessandro, he should lead another lady, Atilia Macrina, there.
Scene 9. After Giuliano saw Eritea at Eliogabalo's, he doubts her loyalty more and more. Nerbulone comments on this with a remark about the unfortunate lovers.
Scene 10. Atilia swears her love to Alessandro with passionate words. He carefully rejects her and reminds her of his engagement to Gemmira. As ordered by the emperor, they make their way to the women's senate together.
Scene 11. Gemmira sees Alessandro with Atilia and immediately becomes jealous. Lenia reinforces this by claiming that Alessandro is in love with Atilia, because men are changeable. Gemmira could comfort herself, however, because she was loved by the emperor and could even become empress herself. In any case, she should behave dismissively towards Alessandro.
Scene 12. When Alessandro arrives, Gemmira follows Lenia's advice and tells him about the emperor's invitation. She explains that Eliogabalo wants to see her alone and forbids Alessandro to follow her.
Scene 13. Alessandro feels betrayed by Gemmira.
Senate Chamber
Scene 14. As chairman of the women's senate, Eliogabalo also wears women's clothes. Zotico, Lenia and Atilia and the other women have already arrived.
Scene 15. When Gemmira enters, Eliogabalo sings praise for the beauty of women. Lenia suggests a game in which the blindfolded ladies have to guess who is hugging them. The emperor is enthusiastic and uses the opportunity to approach Gemmira immorally.
Scene 16. At this moment Eritea appears and sees the emperor embracing Gemmira. She is outraged - after all, he promised her marriage. Lenia defused the situation by persuading Eliogabalo to confirm his promise to make Eritea empress once more.
Scene 17. Nerbulone finds the women's senate outrageous, but Lenia says he could benefit from it.
Second act
court
Scene 1. Again Alessandro rejects Atilia's declarations of love.
Scene 2. After this disappointment, Atilia swears revenge, but quickly changes her mind. She doesn't want to give up hope yet.
Scene 3. Giuliano meets Eritea in tears. She tells him about her rape by the emperor and assures him that she has always loved only him, Giuliano. They are reconciled but do not dare to hug because they fear Eliogabalo's wrath.
Scene 4. Since Eliogabalo still hasn't gotten a chance with Gemmira, he thinks about a new plan with Zotico and Lenia: Gemmira and Alessandro are invited to a banquet, at which Lenia will give Gemmira a sleeping drink with opium. At the same time, Zotico should finally get Alessandro out of the way with poison.
Scene 5. Gemmira wants to say goodbye to Eliogabalo to return home. However, he orders her to stay until dinner. Since Gemmira is still brittle, Eliogabalo vows to make her empress if she wants to return his love. But even that does not cause a change of heart. All that remains for him is the sleeping pill.
Scene 6. Gemmira longs for her lover Alessandro and at the same time suffers from her jealousy.
Scene 7. Watched by the amused Nerbulone, Alessandro and Gemmira accuse each other of infidelity. Eventually they realize the truth and make up again. They find that they cannot trust the emperor, who has invited them both to the feast.
Scene 8. Alessandro decides to go to the banquet disguised as a mute Ethiopian to protect Gemmira if necessary. Nerbulone wants to smuggle him in. He looks forward to a good meal and wine.
Scene 9. Giuliano and Eritea affirm their mutual love in spite of their suffering.
Scene 10. Eliogabalo watches the couple unnoticed and decides to use their love to his advantage. At first he is indignant about Eritea's infidelity, but then shows himself gracious and promises to release her if Giuliano leaves his sister Gemmira to him.
Scene 11. Giuliano has a choice between plague and cholera: he has to sacrifice either his lover or his sister. He'd rather die than betray either of them.
Garden with laid tables
Scene 12. Zotico and Lenia prepare the banquet. Zotico makes fun of people's aberrations in love. Lenia has a remorse. Although she has no concerns about the sleep-drink, the murder of the imperial cousin and designated heir to the throne appears to her as a shameful crime. Zotico reassures them that the order comes from the emperor and is therefore legitimate.
Scene 13. Gemmira comes to dinner as agreed. She apologizes to Alessandro for not staying. Meanwhile, Nerbulone drinks the wine intended for her with the opium. Eliogabalo doesn't want to wait any longer and begin the meal. But then Lenia shows him Nerbulone, who has meanwhile fallen asleep. Suddenly owls appear in the garden and attack the food - a bad omen. Zotico convinces the emperor that the plan has failed in every respect. Eliogabalo wants to try again the next day.
Third act
room
Scene 1. Gemmira and Eritea have finally had enough of the emperor's misdeeds. When Lenia shows up, they accuse her of complicity and chase her out.
Scene 2. The two women ask Giuliano to murder the emperor in order to restore their wounded honor. Giuliano hesitates at first because he does not want to become a traitor. Eventually, he realizes that he cannot respect the honor of whoever has tarnished the honor of his loved one. The emperor is to die. He informs the two of them that the emperor wanted to persuade him to leave him Gemmira as a playmate.
Scene 3. Alessandro blames Nerbulone for the failure of their plan. He refers to the wine and tells Alessandro that Eliogabalo wants to repeat the banquet the following day.
Scene 4. Eliogabalo compares himself to a god whose desires are above all. He hardly listens when Lenia tells him that Gemmira no longer trusts her. From outside there are calls from the Praetorians demanding the death of the emperor because they have still not received their pay. Lenia convinces him to appease her with gold. The soldiers withdraw, but Eliogabalo fears further uprisings, which may be due to the soldiers' love for Alessandro. So he has to remove it as quickly as possible. Zotico suggests holding a gladiatorial match to which Alessandro must appear. There will be a suitable opportunity there. Lenia thinks that Eliogabalo can have fun with Gemmira in his apartments.
Scene 5. While the emperor indulges in anticipation of the pleasures of love with Gemmira, which he wants to force through if necessary, Giuliano prepares to murder him.
Scene 6. Alessandro prevents the assassination attempt at the last second without the emperor noticing anything. But he immediately releases his lover's brother again. He apologizes to Eliogabalo for staying away from the feast. The emperor orders him to come to the gladiatorial fight in any case and sends him away because he wants to speak to Giuliano alone. Alessandro hides to listen. Giuliano promises Eliogabalo his sister's hand - but wants to kill him first.
Scene 7. As agreed with Giuliano, Gemmira pretends to accept the emperor's marriage wishes. This passionately declares his love for her. Gemmira is still cautious because she noticed the hidden Alessandro. The disappointed Eliogabalo swears revenge. Giuliano fears that her plan will now fail.
Scene 8. Alessandro thinks he has lost Gemmira forever.
Scene 9. Atilia declares her love to Alessandro for the third time, and he still wants to remain loyal to Gemmira. However, if he were forced to marry someone else, it would be Atilia.
Scene 10. Gemmira only hears his last words and thinks he can agree with Atilia. Again the two reproach each other and reconcile after the necessary explanations. Giuliano arrives and informs them of his plan to kill the emperor. Alessandro doesn't want anything to do with it. Even when Gemmira explains to him that they can only get married if Eliogabalo falls, he remains steadfast.
Scene 11. Zotico and Lenia go over the plan for the evening again. When Lenia praises herself for her ingenuity, Zotico says the young girls could learn from her. Lenia advises not to underestimate love.
Circus Maximus
Scene 12. The games begin without the emperor having arrived. Alessandro fears that he could harm Gemmira. Giuliano reassures him: Gemmira is under the protection of his soldiers in his rooms. Next up in the circus is the so far undefeated gladiator Tiferne against a wild beast. When Giuliano asked what kind of animal it was, Tiferne replied that it was the one that Eliogabalo despised most. He draws the sword to attack Alessandro, but is immediately overwhelmed by the others. He then admits that he had received the order from Zotico, who in turn was acting on behalf of the emperor. This convinced those present of Eliogabalo's nefariousness. Everyone demands his death.
Scene 13. Gemmira appears with her hair loosened and reports that the emperor had entered her apartment and tried to rape her. The guards rushed to their calls for help and killed Eliogabalo. Despite the clear circumstances, Alessandro wants to punish the guards for the murder of the emperor.
Scene 14. Eritea violently contradicts: Eliogabalo had found an end corresponding to his deeds. Just as his life offended the purity, so his death restored the purity of the Tiber. Gemmira and Giuliano agree and again enumerate Eliogabalo's misdeeds. Finally, Alessandro also realizes that he can do nothing against Heaven's will. It is a collective guilt and everyone is as innocent as they are guilty.
Scene 15. Atilia reports that Zotico and Lenia were killed by the angry people. In the name of the people, two consuls crown Alessandro as the new emperor. He introduces those present to Gemmira, whom he has long loved, as his wife and empress. Eritea and Giuliano can also marry. Atilia realizes that she has to give up her hope in Alessandro and find another husband. All praise the imperial couple.
layout
The original line-up only requires five musicians.
Cavalli did not adhere to the usual procedure from 1650 of composing all strophic texts as arias, but instead chose several recitatives or variations. This style was already considered out of date at the time. One example is Eritea's “Deh manda quei singulti” (II.3), which he composed as a recitative with strophic variations and a four-part string accompaniment.
In the first act (Scene 13), there is a moving lament of Alessandro ( "Misero cosi và"). It consists of two stanzas over an ostinato bass line and is accompanied by strings throughout. In the middle section, the ostinato figure changes key.
Work history
Eliogabalo is Francesco Cavalli's last surviving opera. He composed it on behalf of the impresario Marco Faustini for the Teatro Santi Giovanni e Paolo in Venice. According to the contract signed on June 29, 1667, he received a sum of 400 or 450 ducats. As a libretto he received a text by an unknown author, revised by Aurelio Aureli . The historical template can be found in the Vita Heliogabali of the Historia Augusta, which was supposedly written by Aelius Lampridius . Aureli specifically used Lodovico Dolce's Italian translation, published in 1558 and reprinted several times in Venice, of a work derived from it, the Historia imperial y Cesarea by the Catalan Pedro Mexía (1545).
The planned performance was canceled at short notice. Instead, an opera of the same name by the young composer Giovanni Antonio Boretti with a new libretto Aurelis was played in 1668 . He wrote in the preface that it was a "hasty" replacement for the text set by Cavalli. He was “ordered” to give up the Cavalli version for “unexpected” reasons. The new piece deals with the same material, but is "completely different in style and plot". Reasons included differences between Faustini, who left the theater shortly before the beginning of the carnival season in 1668, and the owners of the theater, the brothers Giovanni Carlo and Vincenzo Grimani . In addition, musical tastes had changed, and Cavalli's style was considered out of date. His strength lay in the musical intensification of the drama inherent in the text through the close connection between the plot and the music. Instead, arias were in demand as show pieces for the singer stars of the time, which were only linked to one another by the story-bearing recitatives. Cavalli was unable to adapt to this new, essentially undramatic aesthetic. Mauro Calcagno, editor of the new edition of Cavallis Eliogabalo, meticulously compared the libretti of the two operas and demonstrated that certain political aspects of the libretto must have been problematic for the Grimanis. The main difference is the outcome of the two operas. At Cavalli the emperor is brutally killed, whereby Alessandro comes to power. With Boretti, however, he survived, experienced a change of heart and then continued to rule with Alessandro's support. The extensive scenes of the women's senate were reduced to just seven lines. Calcagno assumes that the references in this and other scenes to prostitution among the Venetian public could be understood as allusions to the subversive literature circulating in Venice at the time. In pamphlets, the noble families of Venetian politicians were compared with prostitutes, since political posts were given for money. The illustrated title page of the libretto of Boretti's opera still contains relevant information through the illustration of Venus and Cupid . It apparently refers to the Senate scene from Cavalli's opera, which has already been defused in the new libretto.
The manuscript of Cavalli's score is preserved in the Contarini Collection of the Biblioteca Marciana in Venice.
The world premiere took place on November 27, 1999 in the Teatro San Domenico in Crema on the occasion of the opening of this theater. The baroque orchestra "I Concertanti" played under the direction of Roberto Solci. The staging and equipment were by Secondo Pozzali and the costumes by Chiara Muti. The singers were Antonio Giovannini (Eliogabalo), Anna Simboli (Alessandro), Giovanna Cavaraggio (Giuliano), Paola Cigna (Flavia Gemmira), Marina Morelli (Eritea), Barbara Lavarian (Atilia), Andrea Arrivabene (Zotico), Alessandro Carmignani (Lenia ) and Alessandro Calamai (Nerbulone and Tiferne). A live recording was released on CD.
The opera received greater attention in 2004 with a series of performances at the Théâtre de la Monnaie in Brussels , at the Tiroler Landestheater Innsbruck and at the Wiener Festwochen with the Concerto Vocale under the musical direction of René Jacobs and directed by Vincent Boussard . In this production, Silvia Tro Santafé (Eliogabalo), Giorgio Milanesi (Alessandro), Lawrence Zazzo and Christophe Dumaux (Giuliano), Annette Dasch (Flavia Gemmira), Sophie Karthäuser and Nuria Rial (Eritea), Céline Scheen (Atilia), Jeffrey Thompson (Zotico), Mario Zeffiri (Lenia), Sergio Foresti (Nerbulone) and João Fernandes (Tiferne). The production was recognized as “Rediscovery of the Year” in Opernwelt magazine's critics' survey in 2003/2004. A CD recording of the Brussels performance on April 27 has been released.
In August 2008, Eliogabalo was played as a North American premiere at the Aspen Music Festival at the Wheeler Opera House Aspen. The conductor of the Chicago Baroque Ensemble, Jane Glover , arranged the performance material from the original manuscript for the instruments common in Cavalli's time. The production was by Edward Berkeley. The singers were Cecelia Hall (Eliogabalo), Christin Wismann (Alessandro), Ellen Putney Moore (Giuliano), Ariana Wyatt (Flavia Gemmira), Hannah Celeste Nelson (Eritea), Carin Gilfrey (Atilia), Sarah Larsen (Zotico), Alex Mansoori (Lenia) and David Keck (bass).
In June and July 2009 the English Grange Park Opera played the work in Northington in a production by David Fielding with stage and costumes by David Fielding. The conductor was Christian Curnyn . Renata Pokupic (Eliogabalo), Anna Stephany (Alessandro), James Laing (Giuliano), Sinéad Campbell (Flavia Gemmira), Claire Booth (Eritea), Yvette Bonner (Atilia), Ashley Catling (Zotico), Tom Walker (Lenia) sang and João Fernandes (Nerbulone).
In October 2011, the Dortmund Theater took the Eliogabalo into its program. A version based on a new edition by Mauro Calcagno was played, which is to be published by Bärenreiter-Verlag as part of the Cavalli Edition . Fausto Nardi led the Dortmund Philharmonic and the singers Christoph Strehl (Eliogabalo), John Zuckerman (Alessandro), Ileana Mateescu (Giuliano), Eleonore Marguerre (Flavia Gemmira), Tamara Weimerich (Eritea), Anke Briegel (Atilia), Hannes Brock (Zotico) ), Elzbieta Ardam (Lenia) and Christian Sist (Nerbulone and Tiferne). The production came from Katharina Thoma, the stage from Stefan Hageneier and the costumes from Irina Bartels.
A special feature was the production of the Gotham Chamber Opera, which was staged in March 2013 in a production by James Marvel with costumes by Mattie Ullrich in the New York nightclub "The Box". Christopher Ainslie (Eliogabalo), Emily Grace Righter (Alessandro), Randall Scotting (Giuliano), Micaëla Oeste (Flavia Gemmira), Susannah Biller (Eritea), Maeve Hoglund (Atilia), Daryl Freedman (Zotico), John Easterlin (Lenia) sang here ) and Brandon Cedel (Nerbulone).
In April 2016, the opera company “Lyric & Co” performed the work in the Grand Théâtre de Calais. The baroque ensemble Hemiolia played under the musical direction of Claire Lamquet and François Grenier. The singers were Alice Habellion (Eliogabalo), Xavier de Lignerolles (Alessandro), Nicolas Zielinski (Giuliano), Marie Cubaynes (Flavia Gemmira), Ekaterina Levental ("Une spéciale"), Stephanie Gouilly (Atilia), Yves Vandenbussche (Zotico), Christophe Crapez (Lenia) and Cyril Costanzo (Nerbulone and Tiferne).
The Paris Opera played Eliogabalo in September and October 2016 in a musical facility of the conductor Leonardo García Alarcón , who greatly expanded the instrumentation for his Capella Mediterranea. The production was done by Thomas Jolly, the decoration by Thibaut Fack, the costumes by Gareth Pugh and the lighting design by Antoine Travert. It sang Franco Fagioli (Eliogabalo), Paul Groves (Alessandro), Valer Sabadus (Giuliano), Nadine Sierra (Flavia Gemmira), Elin Rombo (Eritea) Mariana Flores (Atilia), Matthew Newlin (Zotico), Emiliano Gonzalez Toro (Lenia ) and Scott Conner (Nerbulone and Tiferne). A video recording was made available on the Culturebox Internet platform. It was a co-production with De Nationale Opera Amsterdam, where the work was performed in November 2017.
Recordings
- November 1999 - Roberto Solci (conductor), Orchestra barocca "I Concertanti", Coro Accademia del Canto, Coro Pregarcantando.
Antonio Giovannini (Eliogabalo), Anna Simboli (Alessandro), Giovanna Cavaraggio (Giuliano), Paola Cigna (Flavia Gemmira), Marina Morelli (Eritea), Barbara Lavarian (Atilia), Andrea Arrivabene (Zotico), Alessandro Carmignani (Lenia), Alessandro Calamai (Nerbulone and Tiferne).
Live recording.
Ducale Music 7001 (2 CDs). - April 27, 2004 - René Jacobs (conductor), Concerto Vocale, Chœur du Conservatoire Royal de Musique.
Silvia Tro Santafé (Eliogabalo), Giorgio Milanesi (Alessandro), Lawrence Zazzo (Giuliano), Annette Dasch (Flavia Gemmira), Nuria Rial (Eritea), Céline Scheen (Atilia), Jeffrey Thompson (Zotico), Mario Zeffiri (Lenia), Sergio Foresti (Nerbulone), João Fernandes (Tiferne).
Live from Brussels. - October 7, 2016 - Leonardo García Alarcón (conductor), Thibaut Fack (decoration), Thomas Jolly (production), Gareth Pugh (costumes), Antoine Travert (lighting design), Cappella Mediterranea, Chœur de Chambre de Namur.
Franco Fagioli (Eliogabalo), Paul Groves (Alessandro), Valer Sabadus (Giuliano), Nadine Sierra (Flavia Gemmira), Elin Rombo (Eritea), Mariana Flores (Atilia), Matthew Newlin (Zotico), Emiliano Gonzalez Toro (Lenia), Scott Conner (Nerbulone and Tiferne).
Video; live from the Paris Opera .
Video stream on Culturebox.
literature
- Mauro Calcagno: Censoring Eliogabalo in Seventeenth-Century Venice. In: The Journal of Interdisciplinary History. Vol. 36, No. 3. Opera and Society: Part I (Winter, 2006), JSTOR 3656470 , pp. 355-377.
Web links
- Manuscript of the score, 1667. Digitized in the Internet Culturale portal
- Eliogabalo (Francesco Cavalli) in the Corago information system of the University of Bologna
Individual evidence
- ↑ a b c "Eliogabalo" de Cavalli mis en scène par Thomas Jolly à l'Opéra de Paris on Culturebox, video no longer available, accessed on July 10, 2018.
- ^ Voices according to Heinz Wagner: The great handbook of the opera - supplementary volume 2009 for the 4th edition. Noetzel, Wilhelmshaven 2009, ISBN 978-3-7959-0914-7 , pp. 30-31.
- ↑ Franziska Stürz: Shining like the sun. Review of the performance in Paris 2016. In: Deutschlandfunk Kultur , September 16, 2016, accessed on July 13, 2018.
- ^ A b Ellen Rosand: Opera in Seventeenth-Century Venice - The Creation of a Genre. University of California Press, Berkeley 1991/2007, ISBN 978-0-520-25426-8 .
- ↑ a b Thomas Walker, Irene Alm: Cavalli [Caletti, Caletto, Bruni, Caletti-Bruni, Caletto Bruni], (Pietro) [Pier] Francesco. In: Grove Music Online (English; subscription required).
- ↑ a b c d e Jane Glover : Cavalli. BT Batsford Ltd, London 1978, ISBN 0-7134-1007-8 .
- ↑ a b Jonathan Glixon, Beth Glixon: Inventing the Business of Opera: The Impresario and His World in Seventeenth-Century Venice. Oxford University Press, 2006, ISBN 978-0-19-515416-0 , doi : 10.1093 / acprof: oso / 9780195154160.001.0001 .
- ↑ a b c d e f Mauro Calcagno: Censoring Eliogabalo in Seventeenth-Century Venice. In: The Journal of Interdisciplinary History. Vol. 36, No. 3. Opera and Society: Part I (Winter, 2006), JSTOR 3656470 , pp. 355-377.
- ↑ a b c d e Eliogabalo. In: Le magazine de l'opéra baroque, accessed on July 10, 2018.
- ↑ a b Eliogabalo. Performance information from De Nationale Opera , accessed on July 13, 2018.
- ↑ a b Karsten Steiger: Opera discography. Directory of all audio and video recordings. 2nd, fully updated and expanded task. KG Sauer, Munich 2008/2011, ISBN 978-3-598-11784-8 , p. 91.
- ↑ a b Stephan Mösch : Beautiful appearance. Review of the performance in Paris 2016. In: Opernwelt November 2016, p. 56.
- ↑ Information on production from 2004 on aml-cfwb.be, accessed on July 13, 2018.
- ↑ a b Pier Francesco Cavalli. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005, p. 2619.
- ↑ Harvey Steiman: Review of the performance in Aspen 2007 on musicweb-international.com, accessed on July 13, 2018.
- ^ Program booklet for the Dortmund performance. Theater Dortmund, season 2011/2012.
- ^ Anthony Tommasini: An Emperor in Drag and Other Decadencies. In: The New York Times , March 18, 2013, accessed July 13, 2018.
- ↑ Information about the performance in Calais 2016 on the website of the opera company “Lyric & Co”, accessed on July 13, 2018.