Isacco figura del redentore
| Work data | |
|---|---|
| Title: | Isacco figura del redentore |
Title page of the libretto from 1749 |
|
| Shape: | Azione sacra |
| Original language: | Italian |
| Music: | First setting by Luca Antonio Predieri |
| Libretto : | Pietro Metastasio |
| Premiere: | February 12, 1740 |
| Place of premiere: | Vienna |
| Place and time of the action: | biblical time |
| people | |
Isacco figura del redentore (German: Isaak, a model of the Redeemer ) is a libretto for an azione sacra in two parts by Pietro Metastasio . It is the last of his seven oratorio librettos written in Vienna and has been set to music about 50 times. It was first performed in the setting by Luca Antonio Predieri on February 12, 1740 in the Hofburg Chapel in Vienna.
A German translation of the libretto was published in Augsburg in 1753 and 1766 as a spoken drama with the name Isaak, a model of the Redeemer in the clerical stage of the Augustinian Peter Obladen from Ulm.
The composer and music writer Johann Adam Hiller published another German version in 1786 in his book Ueber Metastasio und seine Werke: along with some pieces of the same translated into German under the title Isaac, a model of the Redeemer .
action
The libretto is about the sacrifice of Isaac in the 22nd chapter of Genesis . The role of Isaac is set in parallel with that of Jesus Christ in the passion story .
“The silence of the holy scriptures left us in doubt as to whether Abraham also informed Sarah to his wife of the divine command which he had to slaughter his son.
The interpreters of the Holy Scriptures go into different opinions; we agree with those who believe (a) that Sarah knew about the divine command; And this all the more because it is more useful to our project, then also to stir the impressions, and to the equality of the model, if we are eager to present it.
(a) August Serm. 73. de tempore. Greg. Nyss. Procop. Perer. Tyrin. Calmet. Comment. in Genes. c. 22nd v. 3. "
First part
Since Abraham taught his son Isaac late into the night and told him his life story, he is tired. Isaac, however, wants to hear more. He regards his father as a role model and wants to emulate him. Abraham tells him about the angel's prophecy of his birth and the prophecy of his numerous descendants. At the same time, he warns against the sin of complacency. Isaac believes he is free from it, but he gets scared. Abraham reassures him because it was only a warning, not an accusation. Isaac asks his father for help. He owes his life to him, and he would like to receive death from him one day.
After Isaac leaves, an angel appears and orders Abraham in the name of God to sacrifice his son in the mountains. Abraham ponders this terrible command. Although he does not understand how this can be used to fulfill the earlier promises, he is ready to obey. He asks God for help. Then he calls his servants and shepherds and asks Gamari to wake Isaac and prepare a pack animal without Sarah noticing anything.
Sarah woke up and asked Abraham why he got up so early. He replies that he has to bring a sacrifice and collect wood for it. When Sarah insists on being allowed to accompany him, he tells her about the divine command and asks for her consent. Obedience is more pleasing to God than any sacrifice, because whoever obeys God dedicates his free will to him.
Isaac says goodbye to his mother. Because Sarah is obviously having a hard time parting with him, he asks Gamari to take care of her. Gamari asks Sarah why she is in pain. She cannot name this, but assures that it is in God's way. Gamari urges the shepherds to use Sarah's virtue as an example. Their choir ends the first part with a praise for obedience, through which the will of men and God unite.
Second part
Sarah waits impatiently for the shepherds to return for news. Finally, Gamari appears. He left Isaac at the foot of Mount Moriah before the sacrifice began. Isaac carried the firewood up the mountain and almost collapsed under the load. At that moment they see Abraham return with bloody hands. So the sacrifice has evidently been made.
Sarah doesn't want to hear the news of her son's death and tries to withdraw. When Isaac appears and stops her, she faints with relief. Isaac is amazed that Sarah, otherwise so imperturbable, was so overwhelmed with joy. Abraham explains to him that joy and sorrow reside in people like two strange guests. You get used to suffering quickly because it happens so often. Joy, on the other hand, is rare and unusual. After Sarah wakes up again, Abraham tells how he prepared the sacrifice. He told Isaac that God would provide for the sacrifice in time. Then he tied him to the altar. Isaac fell silent like an innocent lamb and offered no resistance. When Abraham then raised the sword, a voice rang out from heaven: God had tested his obedience and the death of Isaac was no longer necessary. Emotions overwhelmed Abraham, so Isaac continues with the story. A ram has got its horns caught in the thorns of a hedge. This was now sacrificed in his place. Isaac envied him the honor of such a glorious death. But since God intended it that way, he wanted to live for him instead of dying for him. Sarah believes that God wanted Abraham to see his strength. The world should have in him an eternal model of faith, loyalty and persistence.
The angel reappears and renews God's promises about the offspring of Abraham.
Abraham recapitulates the events of the day: a father sacrificed his only son; the son accepted the punishment voluntarily; he carried the tools of his death on his back; the victim's head was caught in thorns. Obviously it is a prophecy of future events, the salvation of humanity through the death of the Redeemer: "la morte è questa, / Che aprirà della vita all 'uom le porte". The final chorus agrees with the comparison and hopes not to lose the fruit of this sacrifice of God.
history
Metastasio had on behalf of Emperor Charles VI. between 1730 and 1735 a new oratorio was published annually in Vienna, but this series was subsequently interrupted for a few years. One reason for this was probably his opera project Attilio Regolo , on which he had already worked for nine years. With this opera he tried to portray the life of Karl in the context of a poetic-political synthesis and to depict his state actions as an ideal of ethical-religious inspiration. It thus follows on from his operas La clemenza di Tito (1734) and Temistocle (1736), in which he portrayed the emperor's fatherly concern for the well-being of his subjects, the subordination of his own private happiness and his love for the country as Roman virtues . It was not until 1739 that Metastasio returned to writing an oratorio text: Isacco figura del redentore. It was his last work of this genre, because after the death of the emperor on October 20, 1740, Metastasio wrote no more oratorios.
layout
The seven Viennese oratorios Metastasios follow those of his predecessor Apostolo Zeno . Simplicity and clarity in the structure are predominant. Metastasio dispensed with divine and allegorical persons within the plot and stuck to the three Aristotelian units of space, time and action. Therefore, many passages are only told in retrospect. His theological interpretations adhere strictly to the exegetical guidelines of the church. In many places he gave evidence in the form of biblical passages and quotations from writings by church teachers. As in his opera libretti, the action is presented in recitatives that lead to da capo arias. Ensemble pieces and choirs are only used sparingly.
Metastasio places the Old Testament story in direct connection with the passion and sacrificial death of Jesus Christ. On the one hand, this is already clear in the title. On the other hand, there are many direct allusions in the text up to and including Abraham's vision at the end of the oratorio. Accordingly, the Isacco also contains most of the New Testament references among the oratorio libretti Metastasios. The references given in the preface ("August Serm. 73. de tempore. Greg. Nyss. Procop. Perer. Tyrin. Calmet. Comment. In Genes. C. 22nd v. 3rd") refer to writings by Augustinus , Gregor by Nyssa , Prokopios of Gaza , Augustin Calmet, and others who emphasize Sarah's importance in biblical history, even if it does not appear in the text itself.
In the biblical template in the 22nd chapter of Genesis, only the people Abraham, Isaac and the angel appear. Metastasio added the roles of Sarah and Gamari. Sarah serves as the equivalent of the suffering of the mother of Jesus in the passion story. Their performance increases the emotional and psychological tension in the audience. In addition, Metastasio thus accommodated the cult of Mary at the Habsburg imperial court. Gamari, a friend of Isaac, acts as a mediator and messenger. He reports the sacrifice to Sarah and is portrayed as the forerunner of the Apostle John . The role of the angel has also been expanded. Since God could not appear personally as an oratorio role, Abraham gives the order to sacrifice his son. The direct dialogue between Abraham and God described in the Bible is therefore omitted in the oratorio. In comparison with the Passion story, Abraham serves as a symbol for God himself.
The libretto is in the tradition of the Counter Reformation. The virtuous character of Abraham is with Emperor Charles VI. equated and described as a friend of God. Karl is therefore superior to Luther and the one who, as God promised, would fight Protestantism. The explicit use of verse 17 ("[...] and your seed shall possess the gates of his enemies" in the angel's aria in the second part: "Ne 'dì felici / Quel germe altero / De' suoi nemici / Terrà l'impero" - “In those days this seed will rule over its enemies”) led to the oratorio being set to music exclusively by Catholic composers.
Settings
The following composers set this libretto to music:
| year | composer | premiere | Performance location | Remarks | |
|---|---|---|---|---|---|
| 1739 | Luca Antonio Predieri | February 12, 1740, Hofburg Chapel | Vienna | also in Munich in 1749 |
|
| 1741 | Agostino Bonaventura Coletti | January 1, 1741, Oratorio Filippino di Santa Maria della Fava | Venice | ||
| 1741 | Nicola Conti | 1741 | |||
| 1741 | Giovanni Nicola Ranieri Redi | 1741 | |||
| 1741 | Johann Heinrich role | probably 1741–46 | Berlin | as The Sacrifice of Isaac ; the score was published in 1996 by the renaissance music publisher Embühren |
|
| 1742 | Pietro Chiarini | 1742, Congregazione dell'Oratorio di San Filippo Neri | Genoa | ||
| 1742 | Niccolò Jommelli | 1742, Congregazione dell'Oratorio di San Filippo Neri | Venice | as Il sacrificio di Abramo ; revised on March 19, 1760 in the Arciconfraternita di San Girolamo della Carità in Rome; 1762 in Hamburg; 1764 in the oratorio di S. Filippo Neri in Venice; many more performances |
|
| 1742 | Giovanni Bonaventura Matucci | 1742, Compagnia di S. Marco | Florence | ||
| 1743 | Pizzolo | 1743 | |||
| 1747 | Bartolomeo Felici | 1747, Compagnia della Purificazione della Gloriosa Vergine Maria, e di San Zanobi, detta di San Marco | Florence | "Oratorio a cinque voci" |
|
| 1747-1762 | Francesco Antonio Dondi dall'Orologio | 1747-1762 | |||
| 1748 | Johann Georg Schürer | 1748, court chapel | Dresden |
|
|
| 1752 | Giuseppe Maria Orlandini | 1752 | Florence | ||
| 1753 | Pietro Bizzarri | 1753 | Florence | "Oratorio" | |
| 1754 | Domenico Fischietti | 1754, Congregazione di S. Marco | Florence | ||
| 1754 | Francesco Zoppis | 1754 | Hamburg | as Il sacrificio d'Abramo | |
| 1756 | Vici | 1756 | |||
| 1757 | Ignaz Holzbauer | April 8, 1757, Cappella elettorale Palatina | Mannheim | ||
| 1759 | Giuseppe Bonno | March 18, 1759, Palais Rofrano | Vienna | ||
| 1762 | Pietro Maria Crispi | February 28, 1762, Collegio Germanico Ungarico | Rome | ||
| 1762 | Francesco Pasquale Ricci | 1762 | "Azione sagra" | ||
| 1763 | Pasquale Cafaro | 1763 | |||
| 1763 | Luciano Xavier Santos | 1763 | |||
| 1764 | Giovanni Battista Borghi | 1764, Pubblico teatro | Camerino | “Componimento sacro”; also in Osimo in 1781 ; 1790 in the cathedral in Macerata |
|
| 1764 | Thank God Harrer | 1764 | than enough, my son, enough, most of the night | ||
| 1765 | Vincenzo Tobia Nicola Bellini | 1765, Conservatorio di Sant 'Onofrio a Capuana | Naples | ||
| 1766 | Carl Ditters von Dittersdorf | December 1766 | Oradein | Libretto edited by Adam Patachich ; composed for the private circle of the bishop of Großwardein and staged | |
| 1766 | Angelo Gabriele Santacroce | 1766 | |||
| 1767 | Tommaso Giordani | March 1767, Fishamble Street Music Hall | Dublin | as Isaac, a Type of the Messiah | |
| 1769 | Wilhelm Küffner | 1769 | as Isaac as an example of the Savior | ||
| 1769 | Francesco Zannetti | 1769, cathedral | Perugia | also in 1771 in Città di Castello ; 1778 in the church of San Michele Arcangelo in Lucignano |
|
| 1772 | Johann Gottlieb Naumann | April 18, 1772, court chapel | Dresden | ||
| 1775 | Giuseppe Brunetti | 1775 | |||
| 1776 | Josef Mysliveček | March 10, 1776 | Florence | also as Abramo ed Isacco ; The score was discovered in 1928 and initially erroneously assigned to Wolfgang Amadeus Mozart (KV Anh. 241a or KV C.3.11) |
|
| 1776 | Giuliano Lusini | March 9, 1776, Oratorio dei Filippini di Santa Maria in Vallicella | Rome | ||
| 1778 | Pietro Pompeo Sales | 1778, court chapel of the elector | Ehrenbreitstein | ||
| 1780 | Pedro Avondano | around 1780 | as The Sacrifice of Isaac | ||
| 1781 | Fortunato Luciani | 1781, Collegio Germanico Ungarico | Rome | ||
| 1781 | Marianna from Martines | 1782, Tonkünstler Society | Vienna | the score was edited in 2001 by Conrad Misch | |
| 1785 | Gaetano Andreozzi | September 1785, Chiesa di S. Patrizio | Jesi | ||
| 1786 | Giuseppe Narducci Bocaccio | 1786 | Macerata | ||
| 1786 | Domenico Cimarosa | 1786, Fondo di separazione | Naples | as Il sacrificio d'Abramo ; also contains music by other composers; also on February 22, 1811 at the Teatro Valle in Rome |
|
| 1788 | Federico Torelli | 1788, Accademia nel Nobile Casino | Bologna | “Componimento sacro”; also on March 29, 1791 in Modena | |
| 1792 | Friedrich Heinrich Himmel | March 14, 1792 | Berlin |
|
|
| 1794 | Giuseppe Giordani | May 18, 1794, Teatro Pubblico | Camerino | ||
| 1796 | Adamo Marcori | June 24, 1796 | Fabriano | ||
| 1796 | Angelo Tarchi | 1796, Teatro Scientifico | Mantua | heavily modified libretto |
|
| 1812 | János Fusz | August 21, 1812, Theater in the Leopoldstadt | Vienna | as Isaac , Op. 17; Libretto edited by Joachim Perinet | |
| 1815 | Niccolò Antonio Zingarelli | around 1815 | as Il sacrificio d'Abramo | ||
| 1817 | Francesco Morlacchi | April 1817, court orchestra | Dresden | "Oratorio"; also in Dresden in 1825 |
|
| unknown | Giuseppe Cappelli | unknown | may not be listed; Published in 1904 by G. Ricordi |
|
|
| unknown | Domenico Capranica | unknown | |||
| unknown | Ignazio Fiorillo | unknown | |||
| unknown | Giovanni Battista Martini | unknown | as Il sagrificio d'Abramo | ||
| unknown | Gaetano Maria Schiassi | unknown | Lisbon | as Il sacrificio d'Isaac |
Recordings and performances in recent times
-
Nicola Conti :
- 2011: Performance in the Papyruszaal in Maastricht with Les Muffatti under the direction of Peter Van Heyghen. Singers: Zsuzsi Tóth (Isacco), Isabelle Everaerts de Velp (Angelo), Luciana Mancini (Sara), David Erler (Gamari), Fernando Guimaraes (Abramo).
-
Niccolò Jommelli
- 2013: Performance at the Salzburg Whitsun Festival with I Barocchisti and the Coro della Radiotelevisione Svizzera , Lugano under the direction of Diego Fasolis . Singers: Franco Fagioli (Isacco), Javier Camarena (Abramo), Roberta Invernizzi (Sara), Nuria Rial (Angelo), Carlo Lepore (Gamari).
-
Josef Mysliveček :
- 1971: Record (studio recording) with the Prague Chamber Orchestra and the Prague Philharmonic Choir under the direction of Peter Maag . Singers: Shoichiro Tahara (Abramo), Jana Jonásová (Angelo), Gianni Maffeo (Gamari), Gianfranca Ortini (Isacco), Anna Viganoni (Sara).
- 1991: CD (studio recording) with the Sinfonietta Prague and the Kühn Choir Prague under the direction of Ivan Parík . Singers: Vladimir Dolezal (Abramo), Victoria Lukianetz (Angelo), Ivana Czaková (Gamari), Ivan Kusnjer (Gamari), Tatjana Korovina (Isacco), Hye Jin Kim (Sara).
- 2008 performance at the “Oper im Knopfloch” in Illnau under the direction of Denette Whitter and Charl de Villiers and directed by Serge Honegger. Singers: Meike de Villiers, Valentin Johannes Gloor, Rebekka Maeder, Rosina Zoppi.
-
Angelo Tarchi :
- 2008: Performance at the Teatro Scientifico in Mantua.
literature
- Siobhan Dowling Long: Metastasio's Old Testament Dramas: Biblical Stories in Eighteenth Century Oratorio ( Online )
Web links
Digital copies
- ^ Libretto (Italian) as digitized version at the Munich Digitization Center . In: Opere del signor abate Pietro Metastasio , Volume 7, Herissant, Paris 1780, p. 379 ff.
- ↑ a b Peter Obladen: Isaak, a model of the redeemer (German translation of the libretto). In: Geistliche Schaubühne. Second improved edition. Matthäus Rieger and Sons, Augsburg and Leipzig 1766. Digitization at the Munich Digitization Center , p. 37.
- ^ Johann Adam Hiller: Ueber Metastasio und seine Werke , Leipzig 1786, as digitized version at the Munich digitization center .
- ^ Libretto (Italian) of the oratorio by Luca Antonio Predieri, Munich 1749 as digitized version at the Munich Digitization Center .
- ^ Libretto (Italian / German) of the oratorio by Niccolò Jommelli, Hamburg 1762 as a digitized version at the Berlin State Library .
- ^ Libretto (Italian) of the oratorio by Niccolò Jommelli, Venice 1764 as a digitized version in the Internet Archive .
- ^ Libretto (Italian) of the oratorio by Bartolomeo Felici, Florence 1747 as digitized version at the Munich Digitization Center .
- ^ Libretto (Italian) of the oratorio by Johann Georg Schürer, Dresden 1748 as digitized version at the Berlin State Library .
- ^ Libretto (Italian) of the oratorio by Francesco Zannetti, Città di Castello 1771 as digitized version at the Munich Digitization Center .
- ^ Libretto (Italian) of the oratorio by Francesco Zannetti, Lucignano 1778 as a digitized version in the Internet Archive .
- ↑ The score of the oratorio by Marianna von Martines as digitized version at the Berlin State Library .
- ↑ Score of the oratorio by Domenico Cimarosa as digital version at Europeana .
- ^ Libretto (Italian / German) of the oratorio by Friedrich Heinrich Himmel, Berlin 1792 as digitized version at the Berlin State Library .
- ↑ Score of the oratorio by Friedrich Heinrich Himmel as digitized version in the International Music Score Library Project .
- ^ Libretto (Italian / German) of the oratorio by Francesco Morlacchi, Dresden 1825 as digitized version at the Munich Digitization Center .
- ↑ Piano reduction of the oratorio by Giuseppe Cappelli as a digitized version of the HaithiTrust Digital Library (only available from the USA).
Individual evidence
- ↑ a b c d e f g h i j k l m n o p q r s t u v Don Neville: Metastasio [Trapassi], Pietro (Antonio Domenico Bonaventura). In: Grove Music Online (English; subscription required).
- ↑ 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).
- ↑ a b c d Mario Valente: Presentazione di Isacco figura del Redentore on pietrometastasio.com (Italian) , accessed on June 12, 2015.
- ↑ Elizabeth Birnbaum: The Juditbuch in Vienna of the 17th and 18th centuries. Peter Lang, 2009, p. 186 ( online at Google Books ).
- ↑ a b Review of the 2013 performance of the oratorio by Niccolò Jommelli in Online Musik Magazin , accessed on June 12, 2015.
- ↑ a b c d Dowling Long, p. 63 f.
- ↑ a b c Clemens Romijn: Isacco, een vergeten oratorium. Program for the performance of Nicola Conti's oratorio 2011 in Maastricht.
- ^ Dowling Long, p. 70.
- ↑ Isacco figura del Redentore (Luca Antonio Predieri) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Isacco figura del Redentore (Agostino Bonaventura Coletti) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Isacco (Nicola Conti) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ The Sacrifice of Isaac (Johann Heinrich Rolle) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 29, 2015.
- ^ Library dataset of the oratorio by Johann Heinrich Rolle in the catalog of the German National Library , accessed on June 12, 2015.
- ↑ Waldemar Kawerau: Chulturbilder from the Age of Enlightenment. First volume. Max Niemeyer, Halle 1886, p. 228 f ( online in the Internet archive ).
- ↑ Isacco figura del Redentore (Pietro Chiarini) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Isacco figura del Redentore (Niccolò Jommelli) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Library dataset of the oratorio by Niccolò Jommelli at polovea.sebina.it , accessed on June 12, 2015.
- ↑ Data set of the oratorio by Niccolò Jommelli (1764) at librettodopera.it , accessed on April 8, 2018.
- ^ Library record of the oratorio by Giovanni Bonaventura Matucci in the Servizio Bibliotecario Nazionale , accessed on June 12, 2015.
- ↑ Isacco figura del Redentore (Bartolomeo Felici) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Information on the work of the oratorio by Francesco Antonio Dondi dall'Orologio in the Répertoire International des Sources Musicales , accessed on June 12, 2015.
- ↑ Isacco figura del Redentore (Johann Georg Schürer) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Record of the oratorio by Johann Georg Schürer in the Répertoire International des Sources Musicales .
- ↑ Isacco figura del Redentore (Giuseppe Maria Orlandini) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Isacco (Pietro Bizarri) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Reiner Zimmermann (ed.): Pietro Bizzarri: Cantata "Che te dirò Regina". In: Monuments of Tonkunst in Dresden. No. 4, 2011, p. 5 ( PDF ).
- ↑ Isacco figura del Redentore (Domenico Fischietti) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Library dataset of the oratorio by Domenico Fischietti in the Servizio Bibliotecario Nazionale , accessed on June 12, 2015.
- ↑ Il sacrificio d'Abramo (Francesco Zopis) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 29, 2015.
- ↑ Isacco (Ignaz Holzbauer) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Isacco figura del Redentore (Giuseppe Bonno) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Isacco figura del Redentore (Pietro Maria Crispi) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Ricci, Francesco Pasquale on publish.uwo.ca
- ^ Library record of Francesco Ricci's oratorio at WorldCat , accessed June 12, 2015.
- ↑ Isacco figura del Redentore (Luciano Xavier Santos) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Isacco figura del Redentore (Giovanni Battista Borghi) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Record of the oratorio by Giovanni Battista Borghi (1764) at librettodopera.it , accessed on April 8, 2018.
- ^ Record of the oratorio by Giovanni Battista Borghi (1781) at librettodopera.it , accessed on April 8, 2018.
- ^ Record of the oratorio by Giovanni Battista Borghi (1790) at librettodopera.it , accessed on April 8, 2018.
- ↑ Enough, my son, enough, most of the night (Isacco, figura del Redentore) (Gottlob Harrer) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Isacco figura del Redentore (Vincenzo Tobia Nicola Bellini) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Isacco figura del Redentore (Carl Ditters von Dittersdorf) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Arnold Schering: History of the oratorio. Georg Olms Verlag, 1966, p. 249 ( online at Google Books ).
- ↑ Isacco (Angelo Gabriele Santacroce) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Isaac (Tommaso Giordani) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Libretto record of the oratorio by Tommaso Giordani on Google Books .
- ↑ Isacco figura del Redentore (Francesco Zannetti) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Library record of the oratorio by Francesco Zannetti in the Servizio Bibliotecario Nazionale , accessed on June 12, 2015.
- ↑ Isacco figura del Redentore (Johann Gottlieb Naumann) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Isacco figura del Redentore (Josef Myslivecek) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Josef Mysliveček [1737-1781 - Abraham and Isaac. Table of contents on musirony.de.tl ], accessed on June 13, 2015.
- ↑ Josef Mysliveček (1737–1781): Abramo ed Isacco on klassika.info , accessed on February 22, 2016.
- ↑ Information on the work of Josef Mysliveček's oratorio in the Répertoire International des Sources Musicales , accessed on June 12, 2015.
- ↑ Isacco figura del Redentore (Giuliano Lusini) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Isacco figura del Redentore (Pietro Pompeo Sales) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Isacco (Pietro Avondano) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Library record of the oratorio by Fortunato Luciani in the Servizio Bibliotecario Nazionale , accessed on June 13, 2015.
- ^ Notes del mondo, Volume 13, 1781, p. 152 ( online at Google Books ).
- ↑ Isacco figura del Redentore (Marianne Martínez) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Hermann Abert, Stewart Spencer: WA Mozart. Yale University Press, 2007, p. 786 ( online at Google Books ).
- ^ Library record of Marianne Martínez's oratorio at WorldCat , accessed June 13, 2015.
- ↑ Isacco figura del Redentore (Gaetano Andreozzi) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Library data set of the oratorio by Gaetano Andreozzi in the Servizio Bibliotecario Nazionale , accessed on June 13, 2015.
- ^ Library record of Giuseppe Narducci Bocaccio's oratorio at WorldCat , accessed on June 13, 2015.
- ↑ Record of the oratorio by Domenico Cimarosa (1786) at librettodopera.it , accessed on April 8, 2018.
- ↑ Record of the oratorio by Domenico Cimarosa (1811) at librettodopera.it , accessed on April 8, 2018.
- ↑ Isacco (Federico Torelli) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Library record of the Oratorio by Federico Torelli in the Servizio Bibliotecario Nazionale , accessed on June 13, 2015.
- ^ Library record of Federico Torelli's oratorio at WorldCat , accessed on June 13, 2015.
- ↑ Isacco figura del Redentore (Friedrich Heinrich Himmel) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Isacco figura del Redentore (Giuseppe Giordani) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Isacco figura del Redentore (Adamo Marcori) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Library dataset of the oratorio by Adamo Marcori in the Servizio Bibliotecario Nazionale , accessed on June 13, 2015.
- ↑ Isacco figura del Redentore (Angelo Tarchi) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Alfred Orel: Foot, Johann Evangelist. In: Music in the past and present. Bärenreiter-Verlag 1986 ( digital library volume 60), p. 25280 ff (cf. MGG vol. 4, p. 1158).
- ^ Il sacrificio d'Abramo (Niccolò Antonio Zingarelli) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed June 13, 2015.
- ↑ Isacco figura del Redentore (Francesco Morlacchi) at the opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ About: Morlacchi's oratorio "Isacco". In: Max Maria von Weber: Carl Maria von Weber. A picture of life. Volume 3, Ernst Keil, Leipzig 1866, pp. 138–141 ( online at Zeno.org ).
- ↑ Isacco (Giuseppe Cappelli) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Record of the oratorio by Giuseppe Cappelli at librettodopera.it , accessed on April 8, 2018.
- ↑ Isacco (Domenico Capranica) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Library dataset of the oratorio by Domenico Capranica in the Servizio Bibliotecario Nazionale , accessed on June 13, 2015.
- ↑ Il sacrificio d'Isaac (Gaetano Maria Schiassi) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 29, 2015.
- ^ Les Muffatti: Conti - Isacco figura del Redentore. Performance announcement on festivaljong.nl , accessed June 12, 2015.
- ↑ Performance data of the oratorio by Niccolò Jommelli at the Salzburg Whitsun Festival 2013 , accessed on June 12, 2015.
- ^ Josef Myslivecek. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , Volume 20, p. 11893.
- ^ Josef Myslivecek. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , Volume 20, p. 11894.
- ↑ Abramo ed Isacco on operimknopfloch.ch , accessed on June 13, 2015.