Giasone
| Opera dates | |
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| Title: | Jason |
| Original title: | Giasone |
Image from the libretto, Venice 1649 |
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| Shape: | Drama musicale in a prologue and three acts |
| Original language: | Italian |
| Music: | Francesco Cavalli |
| Libretto : | Giacinto Andrea Cicognini |
| Literary source: | Apollonios of Rhodes : Argonautica |
| Premiere: | January 5, 1649 |
| Place of premiere: | Teatro San Cassiano , Venice |
| Playing time: | approx. 4 hours |
| Place and time of the action: | Colchis and Iberia, mythical times |
| people | |
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prolog action
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Giasone (also Il Giasone , German: Jason ) is an opera (original name: "Drama musicale") in a prologue and three acts by Francesco Cavalli (music) with a libretto by Giacinto Andrea Cicognini . The first performance took place on January 5, 1649 in the Teatro San Cassiano in Venice.
action
The plot of the opera is based on the saga of the Argonauts in Greek mythology. Giasone ( Jason ) is sent to Colchis on the Black Sea by his uncle Pelias , King of Thessaly , to get the Golden Fleece . Together with Ercole ( Heracles ) and other men, the "Argonauts", he sets out in his ship Argo . On the way they spend some time on the island of Lemnos , where Giasone enters into a relationship with Queen Isifile and promises her marriage. Although they have twins, Giasone leaves them to continue his journey. Isifile is overthrown by her people and has to flee Lemnos. In Colchis, Queen Medea also falls in love with Giasone and separates from her previous lover Egeo ( Aigeus ), King of Athens. Without revealing her identity to Giasone, she seduces Giasone and also receives twins from him. He is so absorbed in the love affair with the stranger that he neglects his actual mission. When Isifile learns of Giasone's arrival in Colchis, she instructs her confidante Oreste to find out more about his fate.
In the course of the opera, Giasone defeats the monsters that guard the Golden Fleece with the help of a magic ring received from Medea. The two flee from Colchis, but are pursued by Egeo and his servant Demo. A storm summoned by angry gods stranded everyone on the coast where Isifile had sought refuge. Since Isifile Giasone does not want to give up, Giasone, at Medea's insistence, orders his captain Besso to kill her. But the mandate is unclear, and Besso throws Medea into the sea instead. Since she is saved by the faithful Egeo, she decides to return to him and asks Giasone to reunite with Isifile.
The plot is repeatedly interrupted by subplots and comical scenes in which, in addition to Besso and the stuttering servant Demo, the lovable nurse Delfa and Isifile's confidante Alinda have their say. There is also a framework story with the sun god Sole and the love god Amore.
prolog
Beach with a view of the island of Colchis
The sun god Sole celebrates a triumph, because today the Thessalian hero Giasone will rob the golden fleece and take his niece Medea as his wife. But the love god Amore contradicts. He has privileges in love affairs, and he has already planned the love between Giasone and Isifile on Lemnos. The two do not agree. Sole seeks support in heaven, while Amore goes to earth to achieve his goal there.
first act
Lovely garden with a small palace that merges into the royal palace
Scene 1. Ercole and Besso complain that Giasone is not pursuing his mission any further. He seems to think only of women who are all addicted to his beauty, his youth and his wealth.
Scene 2. Ercole reminds his leader, who dreams of the pleasures of love (Giasone: “Delizie, contenti”) of his uncle's assignment. Not enough that he had twins from Isifile in Lemnos - now he also falls in love with a stranger. Instead of becoming completely effeminate, he should fight the monsters that guard the Golden Fleece today. Giasone feels torn between duty and love.
Scene 3. The gardener Rosmina also longs for love ("Per saziar quest'appetito")
King's Hall of Colchis
Scene 4. Medea praises her love for Giasone. She only has contempt for her former admirer Egeo.
Scene 5. When Egeo declares his love for her again, she abruptly rejects him. The scorned Egeo just wants to die and begs Medea to stab him. Medea declares him crazy.
Scene 6. On the orders of his queen Isifile, Oreste appears in Colchis to look for Giasone. He was reluctant to take on this task because the country and the people here are strangers.
Scene 7. Oreste meets the hunchbacked and stuttering servant Demo, whom he laboriously tries to ask about Giasone (demo: “Son gobbo, son Demo”).
Scene 8. Medea's nurse Delfa complains of her advanced age. But she doesn't want to let that keep her from love (Delfa: “Voli il tempo, se sà”). When she sees Giasone approaching, she rushes off to inform Medea.
Scene 9. When Medea learns of Giasone's arrival, she asks Delfa to take care that no one disturbs or overhears their meeting.
Scene 10. Giasone wants to ask Medea, whom he does not recognize as his lover, for support for the imminent robbery of the Golden Fleece. But she accuses him of having seduced one of the ladies-in-waiting. She has already given him twins. Giasone must immediately declare that he will take the dishonored noblewoman as his wife. Otherwise he would have to die. He should wait a moment for her to fetch the bride.
Scene 11. Giasone impatiently awaits the return of Medea and his lover, whose identity is finally about to be revealed to him.
Scene 12. Medea returns with Delfa, who she introduces Giasone as his bride. Since he immediately recognizes her joke, Medea reveals herself to him. Giasone promises her marriage and they both swear their love.
Scene 13. After the couple withdraws, Delfa envies their love. She wonders about the new custom of girls to get married only after they have found out what it means to have children (Delfa: “Troppo soavi i gusti”).
Landscape with huts at the mouth of the Ebro with a view of the Caspian Sea
Scene 14. In a dream, Isifile complains about Giasone's betrayal. When she wakes up, she realizes her situation in exile on the banks of the Ebro was shaken. She waits longingly for the return of her scout Oreste.
Medea's magic chamber
Scene 15. Medea conjures up spirits from Hell, who are supposed to assist Giasone in the fight against the monsters (Medea: "Dell'antro magico"). The Spirit Volano informs her that Pluto has heard her prayer and hands her a magic ring that will give Giasone the necessary strength.
The first act ends with a dance of the spirits.
Second act
Landscape with huts
Scene 1. Isifile complains to her confidante Alinda that Orestes is missing. Alinda tries in vain to comfort her. In this situation she would get herself another lover (Alinda: “Per prova sò”). Isifile sends her to the port to look for Oreste and goes to sleep.
Scene 2. On his return home, Oreste looks at the sleeping Isifile. She is gradually waking up, but still half in her dream thinks Oreste is Giasone. Oreste, who is secretly in love with Isifile, tries to take advantage of the situation for a kiss (Oreste: "Vaghi labbri scoloriti"). Isifile wakes up just in time. Oreste informs her about Giasone's liaison with Medea. As soon as Giasone had won the Golden Fleece, he would leave with the Argo and pass this coast, where Isifile could see him again. Isifile decides to kill Giasone.
Interior of the castle in which the Golden Fleece is guarded
Scene 3. Medea gives Giasone the magic ring received from Pluto and withdraws with Delfa.
Scene 4. Giasone gathers his courage for the upcoming battle with the monsters.
Scene 5. Medea fears that Giasone will not return to her after the fight is over. Delfa can't calm her down.
Scene 6. Giasone has won the Golden Fleece. Since Ercole warns him of a popular riot, he wants to leave for Corinth with the Argonauts as soon as possible. He advises Medea against going with him. Still, she decides to come and leave the children behind. The demo servant overhears the conversation.
Scene 7. Demo notifies Egeo of Giasone and Medea's imminent escape. Egeo wants to pursue them with a demo in a small boat.
The Eolo caves
Scene 8. The gods Giove and Amore, who are on Isifile's side, order the wind god Eolo to prevent Giasone's escape through a storm.
Derelict port at the mouth of the Ebro with a view of the sea
Scene 9. Because of the storm, Oreste tries in vain to find ships and sailors for Isifile. He meets Alinda who is worried about her mistress. Oreste and Alinda declare their love for each other.
Scene 10. After Egeos and Demos' boat capsized, Demo washes ashore. Oreste rushes to his aid. Demo tells of their pursuit of the Argonauts. He thinks Egeo drowned. Oreste wants to immediately inform Isifile of what has happened. He invites Demo to come with him to relax.
Scene 11. The Argo survived the storm unscathed. Giasone, Media, Besso, Ercole and the Argonauts come ashore relieved and start looking for accommodation.
Scene 12. Besso celebrates Giasone's success with women. He meets Alinda, who is delighted that so many magnificent soldiers have arrived because of the storm. The two get closer. Besso assures that although he had no war injuries, he was a soldier. When Alinda asks if he can sing, he claims to be a soprano but not a castrato. Both sing about love together.
Scene 13. In the presence of Medea and the Argonauts, Oreste tells Giasone that Isifile wants to speak to him. Giasone tries to get rid of him quickly. Medea, wondering about his rudeness, tells Oreste that Giasone Isifile will be waiting for him here. After Oreste left, she asked Giasone to explain his behavior. Giasone claims Isifile is a madwoman whom he met in Lemnos. She observes all the women who come to the coast and believes that all the events in these women's lives happened to her.
Scene 14. Isifile confronts Giasone and reminds him of her love and his marriage vows. Medea, who believes it is a fantasy, asks her with amusement to tell how far this love went. She learns from the twins that Isifile is queen, has left her home and wants to win Giasone back at all costs. Medea goes away with Giasone laughing. Isifile swears vengeance.
The second act ends with a sailors dance.
Third act
Blooming forest at the mouth of the Ebro
Scene 1. Oreste and Delfa talk about their respective mistresses and discover that there are great similarities between Medea and Isifile: Both are queens by birth, are considered Giasone's wife and have children by him.
Scene 2. Giasone and Medea enjoy their love in nature and go to sleep (duet: “Dormi, scanco Giasone” - “Dormi ch'io dormo, o bella”).
Scene 3. Oreste envies the sleeping couple (Oreste: “Non è più bel piacer”), because he is plagued by longing for love himself. He withdraws again.
Scene 4. Isifile roughly wakes Giasone and insults him as a traitor and a liar. Giasone tries to calm her down. He promises to return to her. Medea, who has now woken up, realizes the situation. She plays Isifile to recognize her priority - but then wrests Giasone from the promise to kill Isifile after the wedding, but before the wedding night. Besso is supposed to carry out the murder in the Orseno Valley. Giasone asks Isifile to go there that evening and ask Besso whether he has done his job. Then she should return to him and they can get married. Isifile takes off happily.
Scene 5. Giasone orders Besso to throw the person into the sea in the Orseno valley who will ask him there if he has carried out his assignment.
Landscape with huts
Scene 6. Egeo also survived the shipwreck. He meets Demo, who initially thinks he is a ghost. Both go off together.
Scene 7. Isifile is delighted that she has won Giasone back. She realizes it's time for her meeting in the valley.
Scene 8. Oreste delays Isifile's departure by reminding her that their children are waiting for dinner.
Deserted valley at the mouth of the Ebro with a view of the sea
Scene 9. Medea has gone herself into the valley to watch the execution of her vengeance. She waits longingly for Besso's arrival.
Scene 10. Delfa hears Medea's impatient sigh, which she thinks is lovesick. She herself wouldn't mind if one of her lovers had another friend. She would like to have many lovers at the same time.
Scene 11. Finally Besso arrives with his men, and Medea impatiently asks him if he has carried out Giasone's assignment. Besso has them thrown into the sea.
Scene 12. Isifile also appears late in the valley. When she gives Besso the cue, he lets Giasone tell her that he only kills one person a day ("Torna a Giason e di / Ch'io solo uccido una persona al dì"). Isifile is confused.
Scene 13. Egeo hears Medea's cries for help and saves her.
Scene 14. Besso reports to Giasone that he carried out the order and killed a queen. He does not give their names.
Scene 15. Medea feels betrayed by Giasone and at the same time realizes that Egeo has kept his love for her. She is ready to marry him but demands that he kill Giasone. Egeo promises her.
Uninhabited palace with ruins
Scene 16. Giasone is plagued by remorse. He sees two ghosts before him: the vengeful Medea and the ghost of the murdered Isifile. Finally he falls asleep.
Scene 17. Egeo tries to take the opportunity to stab Giasone in his sleep.
Scene 18. Isifile hugs Egeo and prevents the murder. Egeo flees and Giasone calls for his people.
Scene 19. When Besso and the warriors arrive, Giasone has Isifile arrested because he thinks she is the assassin. He accuses Besso of treason because the Isifile he murdered is still alive. But Besso explains the facts and assures him that Medea is dead.
Scene 20. Now Medea joins in and everything clears up. She tells the others that she has decided to live with Egeo again. Giasone should return to Isifile. Giasone only wonders who carried out the murder attempt on him.
Scene 21. Some of the soldiers who followed the fleeing Egeo come back with him. Egeo admits the attempted murder, and Medea declares to have given the order. Giasone's alleged betrayal of her has since cleared up. Isifile is ready to forgive Giasone and take him back, even if she will suffer from it (Isifile: "Infelice, che ascolto"). Giasone gives in, moved. Alinda, Oreste, Delfa and Demo are added one after the other. The latter blames himself for all the entanglements for getting Oreste to pursue Giasone. But the two couples are happy with the outcome. They sing about their love in a series of duets and a final quartet.
Scene 22 (not set to music). Giove, Zeffiro and other gods congratulate Amore on his victory.
layout
Instrumentation
The cast of the opera only provides for a three-part ensemble of two violins and basso continuo , which is expanded in the prologue by two violas to form five-part.
music
In Cavallis Giasone there is for the first time a complete separation of the arias from the recitatives from a dramatic point of view. Earlier operas were dominated by emotionally charged ariosi . Now recitatives describe the action and contain comments from the people involved. Arias, on the other hand, are reserved for reflective moments.
The love aria Giasones (“Delizie, contenti”, first act, scene 2) with its ostinati emphasizing the meter is one of the prime examples of Cavalli's art of characterization.
With the humpbacked servant Demo, Cavalli brought a stutterer to the opera stage for the first time. With his performance piece “Son gobbo, son Demo” (first act, scene 7), one of the opera's musical highlights is dedicated to him.
In Delfa's comic aria “Troppo soavi i gusti” (first act, scene 13), syllabic sections alternate with extended melisms . The pauses between the individual phrases were probably intended for short dance scenes.
Medea's incantation scene (“Dell'antro magico”, first act, scene 15) in stile concitato (“excited style”) is one of the opera's most famous numbers. It consists of repetitive sdrucciolo rhythms (emphasized on the third to last syllable) and bare string figures made up of four chords, often with empty fifths.
One of the funniest scenes is the love scene Alindas and Bessos (second act, scene 12), which is peppered with allusions to music and war.
Also noteworthy is Besso's angry response to Isifile's question whether he had carried out Giasone's assignment (third act, scene 12). Cavalli set this text (“Torna a Giason e di” - “Tell Giasone that I only kill one person a day”) in the form of a lively aria.
Isifile's lament “Infelice, che ascolto” (third act, scene 21) combines recitative and aria with a descending tetrachord motif in bass ostinato.
libretto
In Giasone, the librettist Cicognini placed more emphasis on the characters' involvement in love than on the correct processing of the mythological basis. In contrast to Euripides ' tragic Medea , there is a happy ending here.
The text is particularly striking because of the balanced mix of different topics and components. High and low-ranking characters, people and gods, comedy and tragedy, love and duty and much more stand side by side in a classically balanced way. Due to his great fame, the Giasone soon became a preferred target of the Accademia dell'Arcadia , which declared him to be a symbol of the “Venetian decadence”. The Italian poet and historian Giovanni Mario Crescimbeni wrote about this around 1700:
«Questo guazzabuglio di Personaggi fu cagione del total guastamento delle regole Poetiche, le quali andarono di tal maniera in disuso, che né meno si riguardò più alla locuzione, la quale, costretta a servire alla musica, perdè la sua purità, e si riempiè 'idiotismi. "
“This confusion of people was the reason for the total devastation of the rules of poetics, which fell into such disuse that one no longer even paid attention to language, which, forced to serve music, lost its purity and itself filled with idiotisms. "
He criticized the mixture of genres, the abandonment of the linguistic elegance and purity and, due to the arias contained, the destruction of plausibility. Nevertheless, the same author described the text immediately before it as “the first and most perfect drama that one could find” (“il quale per vero dire è il primo, e il più perfetto dramma, che si truovi”).
Work history
The libretto for the opera is by Giacinto Andrea Cicognini . It is the only one of his texts that was set to music by Cavalli. He was also the librettist of another very popular opera of the period, the Orontea of 1656 , set to music by Antonio Cesti .
According to the contract, Cavalli received 100 silver scudi (150 ducats) for the composition, which, unusually, he was supposed to receive in three parts when he received the three acts of the libretto.
The first performance took place on January 5, 1649 in the Teatro San Cassiano in Venice. Some sources also mention the year 1648 as an alternative. The foreword of the Venetian libretto is dated January 5, 1648, while the title page is dated January 5, 1649. This inconsistency can be explained by the fact that the New Year in Florence at that time was only on January 25th March ( Annunciation ) began.
During the performance on February 13, 1649 (Florentine year 1648), violence almost broke out when 25 or 30 noblemen drew their arms in a dispute. In another performance, an assassin shot the Veronese Marquis Canossa several times from his box and wounded his shoulder.
Francesco Cavalli's Giasone was the most frequently performed opera in the 17th century. Like the operas Egisto , Erismena and Xerse, also by Cavalli, and the aforementioned Orontea by Antonio Cesti, it belonged to the repertoire of traveling opera companies who made these works known throughout Italy. There are printed libretti by Giasone , for example, from performances in Milan (1660), Florence (1650 and 1652), Bologna (1651 and 1673), Piacenza (1655), Vicenza (1658), Ferrara (1659), Viterbo (1659), Velletri (1660), Naples (1661, 1667 and 1672), Perugia (1663), Ancona (1665), Brescia (1666 and under the title Medea in Colco 1690), Rome (1671 and 1676 in an arrangement by Alessandro Stradella as Il novello Giasone ), Reggio (1678) and Genoa (1685 as Il trionfo d'Amor delle vendette ). It was also probably played in Milan in 1649 and 1650 and in Lucca in 1650. Scores of many of these productions have also been preserved. The opera was reworked for almost every performance.
In 1969 there was a first revival through a concert performance by Radiotelevisione Italiana Naples. It was an edited version by Marcello Panni , who was also the musical director. In 1974 this version was also played in Karlsruhe under the title Jason und Medea (translation by Bruno Vondenhoff ). In 1984 the first British performance took place at the Buxton Opera House.
Recordings
- 1988 - René Jacobs (conductor), Concerto Vocale.
Guy de Mey (Sole and Egeo), Agnès Mellon (Amore and Alinda), Michael Chance (Giasone), Harry van der Kamp (Ercole and Giove), Michael Schopper (Besso and Volano), Catherine Dubosc (Isifile), Bernard Deletré ( Oreste), Gloria Banditelli (Medea), Giampaolo Fagotto (Demo), Dominique Visse (Eolo).
Studio recording, HIP recording, minor changes to the instrumentation, shortened.
Harmonia Mundi CD: HMC 901282.84 (3 CD). - May 2010 - Federico Maria Sardelli (conductor), Symphony Orchestra of Vlaamse Opera Antwerp / Ghent.
Emilio Pons (Sole and Egeo), Angélique Noldus (Amore and Alinda), Christophe Dumaux (Giasone), Andrew Ashwin (Ercole and Oreste), Josef Wagner (Besso and Giove), Robin Johannsen (Isifile), Katarina Bradić (Medea), Yaniv D'Or (Delfa and Eolo), Filippo Adami (demo).
Also as a video; live from the Vlaamse Opera Antwerp.
Dynamic CDS 663 / 1-3 (3 CD), Dynamic 33663 (2 DVD), Dynamic 55663 (BR). - July 2011 - Antonio Greco (conductor), Juliette Deschamps (director), Benito Leonori (scene), Vanessa Sannino (costumes), OIDI – Festival Baroque Ensemble.
Maria Luisa Casali (Sole), Giuseppina Bridelli (Amore and Poesia), Borja Quiza (Giasone), Masashi Mori (Ercole), Luigi De Donato (Besso), Roberta Mameli (Isifile), Luca Tittoto (Oreste), Pittura Gaia Petrone ( Alinda), Aurora Tirotta (Medea), Paolo Lopez (Delfa), Mirko Guadagnini (Egeo), Krystian Adam (Demo and Architettura), Pavol Kuban (Volano), Gabriella Costa (Musica), Pavol Kubanoidi (Satiro).
Il novello Giasone, arrangement by Alessandro Stradella based on the critical edition by Nicola Usula and Marco Beghelli; live from the Festival della Valle d'Itria from Martina Franca.
Bongiovanni BG 2464 / 66-2 (3 CD). - December 2013 - Erin Helyard (conductor), Orchestra of the Antipodes.
David Hansen (Giasone), Nicholas Dinopoulos (Ercole / Besso), Miriam Allan (Isifile), David Greco (Oreste), Alexandra Oomens (Alinda), Celeste Lazarenko (Medea), Adrian McEniery (Delfa), Andrew Goodwin (Egeo), Christopher Saunders (demo).
Live from Sydney, production by Pinchgut Opera. - 2017 - Leonardo García Alarcón (conductor), Serena Sinigaglia (production), Ezio Toffolutti stage and costumes, Cappella Mediterranea.
Kristina Mkhitaryan (Sole and Isifile), Mary Feminear (Amore), Valer Sabadus (Giasone), Alexander Milev (Ercole), Günes Gürle (Besso), Willard White (Oreste and Giove), Mariana Flores (Alinda), Kristina Hammarström (Medea ), Dominique Visse (Delfa and Eolo), Raúl Giménez (Egeo), Migran Agadzhanyan (Demo and Volano).
Video; live from the Grand Théâtre de Genève , instrumentation greatly expanded, shortened by a quarter.
Internet stream on Arte Concert .
Web links
- Il Giasone : Sheet Music and Audio Files in the International Music Score Library Project
- Libretto (Italian), Venice 1649. Digitized version of the Munich digitization center
- Critical edition of the libretto as full text at academia.edu
- Program of the Pinchgut Opera with excerpt from the libretto in Italian and English (PDF)
- Work information and libretto (Italian) as full text on librettidopera.it librettidopera.it
- Giasone (Francesco Cavalli) in the Corago information system of the University of Bologna
Individual evidence
- ↑ a b c d e f g Giasone. In: Amanda Holden (Ed.): The Viking Opera Guide. Viking, London / New York 1993, ISBN 0-670-81292-7 , pp. 191-192.
- ↑ a b c d e Wolfgang Osthoff : Giasone. In: Piper's Encyclopedia of Musical Theater . Volume 1: Works. Abbatini - Donizetti. Piper, Munich / Zurich 1986, ISBN 3-492-02411-4 , pp. 518-519.
- ↑ a b Eckhardt van den Hoogen: ABC of the opera. The great musical dramas and their composers. Eichborn, Frankfurt am Main 2003, ISBN 3-8218-5568-1 , p. 154.
- ↑ a b c d e f g h i j Ellen Rosand: Giasone. In: Grove Music Online (English; subscription required).
- ↑ a b c Il Giasone. In: Reclams Opernlexikon (= digital library . Volume 52). Philipp Reclam jun. Directmedia, Stuttgart / Berlin 2001, pp. 1026-1029.
- ^ Ulrich Schreiber : Opera guide for advanced learners. From the beginning to the French Revolution. 2nd edition, Bärenreiter, Kassel 2000, ISBN 3-7618-0899-2 , p. 261.
- ^ Silke Leopold : The opera in the 17th century (= manual of musical genres. Volume 11). Laaber-Verlag, Laaber 2004, ISBN 3-89007-134-1 , pp. 154-156.
- ^ Giovanni Mario Crescimbeni : La bellezza della volgar poesia. Buagni, Rom 1700, p. 140 ( online in the Google book search). Translation after Silke Leopold : The opera in the 17th century (= manual of musical genres. Volume 11). Laaber-Verlag, Laaber 2004, ISBN 3-89007-134-1 , p. 154.
- ^ Giovanni Mario Crescimbeni : La bellezza della volgar poesia. Buagni, Rom 1700, p. 140 ( online in the Google book search).
- ↑ a b c Jonathan Glixon, Beth Glixon: Inventing the Business of Opera: The Impresario and His World in Seventeenth-Century Venice. Oxford University Press, Oxford 2006, ISBN 978-0-19-515416-0 , doi : 10.1093 / acprof: oso / 9780195154160.001.0001 .
- ^ Pier Francesco Cavalli. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005, p. 2621.
- ↑ Richard Wigmore: DVD review by Federico Maria Sardelli on Gramophone , accessed April 3, 2017.
- ↑ Francesco Cavalli (1602-1676) / Alessandro Stradella (1639-1682): Il Novello Giasone (1671) on tp4.rub.de , accessed on April 8, 2017.
- ↑ Martina Franca, Festival della Valle d'Itria 2011: “Il novello Giasone” in GBOpera magazine , accessed on April 8, 2017.
- ^ Giasone - Pinchgut Opera , accessed April 8, 2017.
- ↑ Francesco Cavalli's Il Giasone in the Grand Théâtre de Genève on Arte Concert , accessed on April 3, 2017.
- ^ Anselm Gerhard : Mezzofortissimo - Cavalli: Il Giasone. In: Opernwelt from March 2017, p. 50.