L'olimpiade
| Work data | |
|---|---|
| Title: | L'olimpiade |
Second act, scene X. |
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| Shape: | Opera seria |
| Original language: | Italian |
| Music: | First setting by Antonio Caldara |
| Libretto : | Pietro Metastasio |
| Literary source: | 6. Book of the Histories of Herodotus |
| Premiere: | August 30, 1733 |
| Place of premiere: | Vienna |
| Place and time of the action: | The fields of Elis near Olympia , 6th century BC Chr. |
| people | |
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L'olimpiade is an opera - libretto in three acts by Pietro Metastasio . It was first set to music by Antonio Caldara on August 30, 1733 on the occasion of the birthday of Empress Elisabeth Christine , the wife of Charles VI. performed in Vienna. With over 70 settings (including Antonio Vivaldi and Johann Adolph Hasse ) from the 18th and early 19th centuries, it is one of his most popular works.
A German translation of the libretto by Johann Anton Koch appeared in 1769 under the name of the Olympic Year Festival in the first volume of his unfinished complete edition Des Herr Abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems.
action
The title of the opera refers to the ancient Olympic Games , which here serve as the framework for a love triangle. Licida asks his friend Megacle to take part in the competition under his name. At first he has no idea that the prize is his own lover Aristea. The action takes place in the fields of Elis near Olympia on the banks of the Alfios river . Metastasio gave the historical templates in the “Argomento” with “Herod. Break. Nat. Com. & c. “.
prehistory
Clistene, the king of Sicyon , has twin children, the son Filinto and the daughter Aristea. Since a saying by the Delphic Oracle prophesies that he might be murdered by his own son, he lets Filinto on the advice of the oracle to die and raise the daughter at court. The latter grows up into a beautiful young woman and falls in love with the posh and courageous Athenian Megacle, a multiple winner of the Olympic Games. However, because of her father's enmity against the Athenians, he has no prospect of getting her as a wife. Desperate, he travels to Crete, where he is attacked by a band of robbers on arrival. Licida, a supposed son of the king there, saves his life, and the two become close friends. Licida has loved the Cretan lady Argene for a long time and has already secretly promised her marriage. However, when the king learns of the improper connection, he has Argene persecuted and forces her to leave the country. She flees to the Elis area, where she begins a new life as a shepherdess under the name Licori. Desperate about her loss, Licida travels to the Olympic Games, which are held in Elis every four years, as a distraction. Megacle remains in Crete. Clistene was elected head of this year's games, who therefore also goes to Elis with his daughter Aristea and exposes her hand as a prize. When Licida sees Aristea, he falls in love with her and forgets about his unhappy love for Argene. However, since he is inexperienced in fencing, he lets his experienced friend Megacle come to compete under the name Licida and win the prize for him - he knows nothing about the love between Megacle and Aristea. Megacle gives in to his friend's insistence and travels to Elis, where he arrives almost too late.
short version
Act One. The Olympics are just around the corner. The Cretan Prince Licida persuades his friend Megacle to take part in the Olympic Games for him under his name. Only when Megacle returns from the registration does Licida explain the real reason: The Greek king Clistene has promised the winner his daughter Aristea as a wife. Megacle is shocked because Aristea is his lover, whom he had to part with because of his father's resistance. Since he is in Licida's debt, he still wants to keep his promise. Aristea is reluctant to get married to a complete stranger as a prize because she still loves Megacle. Licori / Argene tells her about her own fate: she and Licida were lovers. However, his father did not approve of the association and drove them out of the country. Since then she has lived incognito as the shepherdess Licori and has little hope of ever seeing Licida again. Shortly before the games, Aristea runs into Megacle by chance. She is surprised and delighted as she believes Megacle is entering the games to win her and take her as wife. Megacle does not tell her the real reason for his presence.
Act two. Megacle won the competition under Licida's name. When Aristea and Argene learn the name of the alleged winner Licida, Aristea is dismayed because she now has to marry him, even though she loves Megacle. For her part, Argene is furious that Licida no longer wastes any thought on her. Aristea's confusion is complete when she meets the winner and now Megacle stands before her. At first she believes in a future together with him. However, Megacle reveals to her that he has done this service for his friend and that she should actually marry Licida. Aristea passes out. Megacle sneaks away and Licida takes his place to comfort her. However, Aristea rejects him. Shortly thereafter, he received more bad news: Megacle drowned himself in the river and Clistene pronounced his banishment after the hoax became known.
Third act. Licida, on the verge of madness, carries out an attempted murder against Clistene, which is however foiled. He is arrested and sentenced to death. Aristea tries to get her father to revoke the death sentence. Megacle, rescued by fishermen after attempting suicide, continues to stand by his friend, and even Argene wants to save him. Before the sentence is to be carried out, Clistene Licida allows one last wish. Fatherly feelings arise in him that he cannot explain. The appearance of Argenes, who stands protectively in front of Licida, clears everything up. When Clistene asks her how the shepherdess Licori came to claim to be the bride of a Cretan prince, she reveals her true identity and presents a locket that she had received from Licida as an engagement gift. Clistene recognizes the piece of jewelery: it belonged to his son Filinto. He had put this to death as a child after he had been prophesied that his son would try to kill him. The people pardon Licida, because Clistenes presidency of the Games is over and he would have to suffer himself through the death of his son. The piece ends with the proclamation of a double wedding between Aristea and Megacle and Argene and Licida.
The following detailed table of contents is based on the original libretto Metastasios set to music by Caldara in 1733.
first act
Narrow wooded valley, shaded by large trees with intertwined branches
Scene 1. Licida tells his tutor Aminta that Megacle should compete in his place to win Aristea. However, he fears that it will not arrive on time.
Scene 2. Licida's worries are unfounded: Megacle appears and easily declares himself ready to fulfill his friend's wish (Aria Megacle: “Superbo di me stesso”).
Scene 3. Licida looks forward to his future happiness (Aria Licida: “Quel destrier che all'albergo è vicino”).
Wide land at the foot of a mountain with shepherds' huts; rustic wooden bridges over the Alfios river; in the distance the city of Olympia
Scene 4. Together with nymphs and shepherds, Argene, dressed as a shepherdess, sings about the joys of country life (choir / Argene: "O care selve").
Scene 5. Aristea and her father join them. Clistene proudly tells her the famous names of the competitors, including the Cretan Prince Licida. Argene learns that her former lover has given up on her. When Aristea asks for a delay, Clistene refuses: women shouldn't complain about having to serve men, since their beauty ultimately triumphs over male strength (Arie Clistene: “Del destin non vi lagnate”).
Scene 6. Aristea asks Argene to find her lover Megacle. He should learn of her unbreakable loyalty to him (Aria Aristea: "Tu di saper procura").
Scene 7. Argene suffers from Licida's betrayal (Aria Argene: “Più non si trovano”).
Scene 8. Megacle informs Licida that he has signed up for the games under the name Licidas. Only now does Licida tell him the reason for the action and give him the name Aristeas. Megacle is holding back his feelings for the time being because he wants to save his strength for the competition. While he is resting, Licida sings a soothing song (Aria Licida: "Mentre dormi amor fomenti").
Scene 9. After Licida leaves, Megacle realizes the importance of his task: he must lead his own lover to a rival.
Scene 10. Aristea meets the still inwardly troubled Megacle. She is happy to see him and assumes that he will fight for her. Megacle confirms this and confirms his unwavering love and loyalty. However, he does not dare to tell her the full truth (duet Megacle / Aristea: "Ne 'giorni tuoi felici").
Ballet of the nymphs, satyrs and shepherds
Second act
Scene 1. Aristea and Argene are impatiently waiting for the competition to end, as women are not allowed in the audience.
Scene 2. Alcandro tells the two women about Licida's victory. The king is already waiting for Aristea in the temple. He is very disappointed that she takes this news with no joy and sends him harshly away.
Scene 3. Aristea and Argene suffer deeply from their grief (Aria Aristea: “Grandi, è ver, son le tue pene”).
Scene 4. After Aristea leaves, Argene thinks about revenge. Aminta is surprised to find her in shepherd's clothing in Elis. Argene laments Lidida's infidelity (Arie Argene: "Che non mi disse un dì").
Scene 5. Aminta realizes that love is folly. He compares people with ships that are plagued by their feelings like storms (Aria Aminta: “Siam navi all'onde algenti”).
Scene 6. Clistene presents the alleged Licida (actually Megacle) to the people as the winner of the competitions (chorus: “Del forte Licida”). Megacle wants to avoid meeting Aristea. So he declares that he would like to convey the message of his victory to his father himself. His friend Egisto (the real Licida) will take care of Aristea for so long and bring her to him later.
Scene 7. Megacle's attempt fails because Aristea is already coming. She is happily surprised when her father introduces her Megacle as the winner and fiancé (Arie Clistene: “So ch'è fanciullo Amore”).
Scene 8. Megacle asks Licida to leave him alone with Aristea for a while.
Scene 9. Megacle finally tells Aristea the truth: Since Licida had once saved his life, he cannot refuse his wish. He is therefore determined to do without them. Aristea faints from horror. Megacle calls Licida back.
Scene 10. Megacle asks Licida to take care of Aristea when she wakes up. He should only inform her that "the unhappy friend" left crying (Arie Megacle: "Se cerca se dice").
Scene 11. When Aristea comes to, she makes serious accusations to Licida (Aria Aristea: “Tu me da me dividi”).
Scene 12. While Licida tries to understand Aristea's anger, Argene comes and accuses him of having betrayed her love (Aria Argene: “No, la speranza”).
Scene 13. Licida is desperate. He fears that Argene will expose the fraud. To make matters worse, Aminta appears with the news that Megacle drowned herself in the river.
Scene 14. Alcandro tells Licida that the king has banned him from the country as punishment for his fraud.
Scene 15. Licida just wants to die. He feels as if he has a thousand furies in his chest (Aria Licida: "Gemo in un punto, e Fremdo").
Ballet of the hunters
Third act
Scene divided into two by the overgrown ruins of an old hippodrome
Scene 1. Megacle was rescued by fishermen but still wants to die. Aminta tries to stop him. Unbeknownst to them, Argene on the other side of the stage holds Aristea back from the same goal. The two couples meet in surprise.
Scene 2. Alcandro tells the others that Licida was arrested after an attempt to kill Clistene. Although he faces the death penalty, Licida does not try to defend himself, but only calls out for his friend Megacle. Megacle wants to hurry to him immediately, shaken. Aristea, however, points out to him the danger that threatens him from the king. For Megacle's sake, she wants to try to appease her father herself (Aria Aristea: "Caro son tua così").
Scene 3. Although Argene advises him to leave Licida to his fate, Megacle wants to continue to support him as a true friend (Arie Megacle: “Lo seguitai felice”).
Scene 4. Argene and Aminta also feel sorry for Licida now. Argene would even be ready to give her life for him despite his betrayal (Aria Argene: “Fiamma ignota nell'alma mi scende”).
Scene 5. Aminta is torn. As Licida's tutor, he himself is in danger. But he doesn't want to leave him alone (Aria Aminta: “Son qual per mare ignoto”).
In front of the great temple of Olympian Zeus
A long and magnificent staircase leads down from the temple, which is divided into several intermediate levels. In front of it a place with a burning altar in the middle. All around a forest with the sacred olive trees, from whose branches the wreaths for the victorious athletes are made.
Scene 6. After the crowd, his guards, Licida, dressed and crowned in white, and the priests with sacrificial objects, Clistene also descends the temple steps. He allows the condemned one more wish. Licida asks to be able to hug his friend Megacle one last time. Clistene feels an inexplicable feeling of pity for him (Aria Clistene: "Non so donde viene").
Scene 7. After Megacle is brought in by the guards, Licida asks him to travel to Crete to help his father in his grief. The two say goodbye to each other and Clistene begins the sacrificial ceremony (chorus: “I tuoi strali terror de 'mortali” - Accompagnato Clistene: “O' degl'uomini padre e degli Dei”).
Scene 8. Argene enters (still disguised as Licori shepherdess) and interrupts the ceremony by offering that she would voluntarily accept the punishment instead of Licida. Although she reveals herself to those present as Licida's fiancée Argene, Clistene refuses to hear her.
Scene 9. Only after Aristea intervenes in favor of Argenes does Clistene let her finish speaking. As proof of her words, Argene shows him a pearl necklace that Licida once gave her. Clistene and Alcandro recognize this necklace: Clistene's son Filinto was wearing it when he was abandoned. Licida confirms Argenes statement and adds that he had received the necklace from his companion Aminta. Clistene has Aminta fetched.
Scene 10. Aminta says that he received the jewelry from an unknown person near Corinth. Thereupon Alcandro, who had received the order to expose Filinto to the sea, confesses to have given the child to a stranger, Aminta, out of pity. Aminta explains that this child was Licida. He handed it over to the Cretan king, who raised it in his place as heir to the throne after the death of his son. Thus Licida is in truth Clistene's son and Aristea's brother. Clistene now wants a double wedding: Filinto should marry Argene and Megacle Aristea. But he cannot release Filinto from his sentence just because he is his son. Megacle thinks of a way out: Clistene is not King of Olympia, but of Sikyon, and his presidency of the Olympic Games is over. Therefore, not he should pass judgment, but the people. Licida / Filinto acquits this, because his innocent father would also be punished by his death (chorus: “Viva il figlio delinquente”).
Ballet of the Greek ladies from Aristea's entourage and the Olympic athletes.
Work history
A historical and philosophical description of the ancient Olympic Games available at the time of Metastasio can be found in the fifth book of the Mythologia by Natale Conti from 1551 and in the description of Greece by the Greek travel writer Pausanias , who lived in the second century. The plot itself is based on a story from the sixth book of the Histories of Herodotus .
Metastasio used Apostolo Zenos Gl'inganni felici as a template for the plot , which was first performed in November 1695 in a setting by Carlo Francesco Pollarolo at the Teatro Sant'Angelo . Even here, a princess is being offered as a prize at the Olympic Games. The Arcadian setting and the love entanglements and disguises of the three main characters have already been created. Metastasio eliminated the role of a servant and a villain and increased the feelings, the "inner music" (Strohm) of the characters, thereby lowering the barriers between music and text as much as possible.
Antonio Vivaldi's version (Venice 1734) is particularly noteworthy because of its use of obbligato instruments - here a horn. The libretto itself was later mainly associated with the name Giovanni Battista Pergolesi , although legend has it that the first performance of its setting in Rome in 1735 failed as a failure. The settings by Baldassare Galuppi (Milan 1747) and Josef Mysliveček are each considered to be their best stage works. The version by Antonio Sacchini (Padua 1763) was also very popular. In his setting for Vicenza from 1784, Domenico Cimarosa used a final ensemble for the first time in an opera seria . In 1820 Carl Maria von Weber praised Johann Nepomuk von Poissl's setting, composed in 1815, on the occasion of a re-performance in Dresden.
interpretation
In the “Argomento” of the libretto, the main theme of the opera is the discovery of Licida's identity. The four young main characters are driven by their passions and inherent goodness until the plot not only ends well in the end, but also brings truths about them to light. In addition to this philosophical motif, the text also has a socially critical one. Ultimately, the mistakes of the parents' generation turn out to be the real obstacle to happiness. All protagonists are subjected to severe tests. The hardest hit is Clistene, who has to accept his son with all his mistakes and marry both children off to strangers. It is not a tragic drama, but a moral one. The attempted murder and suicide described seem rather implausible and happen without bloodshed.
The great literary and historical significance of the Olimpiade consists, among other things, in the numerous intertextual references to the political theories of the 18th century : in particular through the striking thematization of the legitimacy of rule in the final scene, but also through the figure drawing of the monarch Clistene, the antihero Licida and the dropout, Argene, the Olimpiade proves to be a media staging of Hobbes ', Locke's , and Montesquieu's theories of power as well as an examination of contemporary princely mirrors . Furthermore, Metastasio’s opera presents itself as an implementation of the aesthetic and social postulates of the Accademia dell'Arcadia .
Settings
The following composers used this libretto for an opera:
| year | composer | premiere | Performance location | Remarks | |
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| 1733 | Antonio Caldara | August 30, 1733, Favorita | Vienna |
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| 1733 | Pietro Giuseppe Sandoni ( pasticcio ) | December 18 (?) 1733, Teatro Sant'Agostino | Genoa | ||
| 1734 |
Antonio Vivaldi → L'olimpiade (Vivaldi) |
February 17, 1734, Teatro Sant'Angelo | Venice | RV 725; German premiere on December 7, 2007 in Schwetzingen |
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| 1735 |
Giovanni Battista Pergolesi → L'olimpiade (Pergolesi) |
January 1735, Teatro Tordinona | Rome | also in January 1738 at the Teatro de 'Nobili in Perugia; revised on November 22, 1738 in the Teatro San Giovanni Crisostomo in Venice; on June 30, 1741 at the Teatro Grande in Siena. |
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| 1735 | Anonymous | Spring 1735, Teatro della Città Piccola | Prague | ||
| 1737 | Giuseppe Ferdinando Brivio | March 5, 1737, Teatro Regio | Turin | also Carnival 1744 in the Teatro dell'Accademia degli Erranti in Brescia | |
| 1737 | Leonardo Leo | December 19, 1737, Teatro San Carlo | Naples | ||
| 1737 | Giuseppe Maria Orlandini | Summer 1737, Teatro della Pergola | Florence | ||
| 1737 | Anonymous | 1737, hall of the Academia alla Piazza della Trinità | Lisbon | ||
| 1738 | Anonymous | February 2, 1738, Teatro della Pergola | Florence | ||
| 1738 | Anonymous | Autumn 1738, Teatro de 'Signori Accademici | Cortona | ||
| 1740 | Anonymous | Carnival 1740, Teatro dell'Università de 'Studi | Catania | ||
| 1741 | Giovanni Pescetti | 1741 | Padua | ||
| 1743 | Anonymous | January 12th 1743, Teatro Formagliari | Bologna | ||
| 1743 | Anonymous (pasticcio) | 1743 | Vienna | ||
| 1745 | Francesco Corradini | 11th August 1745, Teatro de los Caños del Peral | Madrid | Libretto arranged in two acts by Manuel Vicente Guerrero as La más heroica amistad y el amor más verdadero | |
| 1745 | Ignazio Fiorillo | May 22nd 1745, Teatro San Samuele | Venice | Revised in the winter of 1750 as The Olympic Games in the Court Theater in Braunschweig |
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| 1745 | Giuseppe Scarlatti | Autumn 1745, Teatro Pubblico | Lucca | ||
| 1747 | Giuseppe Scolari | around January 15, 1747, Teatro San Moisè | Venice |
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| 1747 | Baldassare Galuppi | December 26th 1747, Teatro Regio Ducale | Milan | also in 1749 at the Mannheim Court Theater; in the spring of 1750 in the Nuovo Teatro in Prague and in the summer of 1763 in the Accademia degli Intronati in Siena | |
| 1747 | Giovanni Battista Lampugnani | December 26th 1747, Teatro della Pergola | Florence | ||
| 1749 | Georg Christoph Wagenseil | May 14, 1749, Burgtheater | Vienna | ||
| 1750 | Rinaldo di Capua | 1750 | Rome | ||
| 1751 | Pietro sweater | 17th January 1751, Teatro di Corte | Modena | ||
| 1752 | Gaetano Latilla | November 18, 1752, Teatro San Cassiano | Venice | ||
| 1753 | Nicola Bonifacio Logroscino | around February 20, 1753, Teatro Argentina | Rome | ||
| 1753 | Davide Perez | April 1753, Teatro di Corte | Lisbon |
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| 1753 | Francesco Antonio Uttini | Carnival 1754, Det Kongelige Teater | Copenhagen | in two acts | |
| 1755 | Egidio Romualdo Duni | Carnival 1755, Teatro Ducale | Parma | ||
| 1755 | Anonymous (pasticcio) | May 10, 1755, Marsigli-Rossi Theater | Bologna | "Pasticcio di diversi autori" | |
| 1756 | Johann Adolph Hasse | February 16, 1756, court theater | Dresden | first version; individual arias were already composed for a pasticcio performed in Venice in autumn 1738 ; revised in 1761 (Carnival 1762) in the Royal Polish Opera House in Warsaw; second version on December 26th 1764 in the Teatro Regio in Turin |
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| 1756 | Anonymous | 1756, Corte Elettorale Palatina | Mannheim | ||
| 1756 | Anonymous (pasticcio) | 1756 | London | ||
| 1757 | Giuseppe Carcani | Carnival 1757, Teatro Regio Ducale Vecchio | Mantua | ||
| 1758 | Anonymous | January 15, 1758, Teatro della Pergola | Florence | ||
| 1758 | Carlo Monza | Spring 1758, Teatro Regio Ducale | Milan | ||
| 1758 | Tommaso Traetta | Autumn 1758, Teatro Filarmonico | Verona | also on December 19, 1758 in the Teatro Lodi ; Carnival 1759 in the Teatro del Sole in Pesaro ; on October 15, 1767 in the Teatro della Pergola in Florence; on April 21, 1769 in Saint Petersburg |
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| 1760 | Gregorio Sciroli | Autumn 1760, Teatro San Benedetto | Venice | ||
| 1761 | Niccolò Piccinni | Carnival 1761, Teatro delle Dame | Rome | first version | |
| 1761 | Niccolò Jommelli | February 11, 1761, Ducal Theater | Stuttgart | also revised on March 31, 1774 by João Cordeiro da Silva in the Palazzo Ajuda in Lisbon |
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| 1762 | Vincenzo Manfredini | November 24, 1762 | Moscow | ||
| 1763 | Domenico Fischietti | Carnival 1763, Nuovo Teatro | Prague | ||
| 1763 | Antonio Sacchini | July 9, 1763, Teatro Nuovo | Padua | revised on April 27, 1766 in the Teatro Regio Ducale in Milan; French version in two acts as L'olympiade ou Le triomphe de l'amitié on October 2, 1777 at the Comédie Italienne in Paris; in autumn 1786 at the Teatro San Benedetto in Venice |
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| 1763 | Pietro Alessandro Guglielmi | November 4, 1763, Teatro San Carlo | Naples | see also the performance on December 26, 1766 in Venice (there only the first act) | |
| 1763 | Anonymous (pasticcio) | December 26th 1763, Teatro Pubblico | Pisa | ||
| 1764 | Andrea Bernasconi | January 20, 1764, court theater | Munich |
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| 1764 | Florian Leopold Gassmann | October 18, 1764, Theater am Kärntnertor | Vienna | German translation of the libretto as The Olympic Annual Festival by Jakob Anton Edler von Ghelen |
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| 1765 | Ferdinando Bertoni | Carnival 1765, Teatro San Cassiano | Venice | also Carnival 1773 in the Teatro Formagliari in Bologna and in the Teatro Regio Ducale Vecchio in Mantua; Carnival 1774 at the Teatro Nuovo in Pavia | |
| 1765 | Thomas Arne | April 27, 1765, King's Theater on Haymarket | London | Libretto edited by Giovan Gualberto Bottarelli | |
| 1766 | Pietro Alessandro Guglielmi , Francesco Brusa and Antonio Gaetano Pampani | December 26th 1766, Teatro San Benedetto | Venice | first act by Guglielmi, second act by Brusa, third act by Pampani | |
| 1767 | Giovanni Andrea Calisto Zanotti | Carnival 1767, Rangoni Theater | Modena | ||
| 1768 | Niccolò Piccinni | January 20, 1768, Teatro Argentina | Rome | second version; also on November 4, 1769 in the Teatro de la Santa Cruz in Barcelona; on May 30, 1774 at the Teatro San Carlo in Naples |
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| 1769 | Pasquale Cafaro | January 12th 1769, Teatro San Carlo | Naples | Resumed in December 1772 |
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| 1769 | Anonymous (pasticcio) | November 11th 1769, King's Theater on Haymarket | London | Music by Johann Christian Bach , Giuseppe Sarti , Niccolò Piccinni and Tommaso Traetta | |
| 1770 | Anonymous (pasticcio) | Summer 1770, Teatro di Santa Cecilia | Palermo | by "vari bravi maestri" | |
| 1772 | Anonymous (pasticcio) | Autumn 1772, Teatro di Santa Cecilia | Palermo | by "vari autori" | |
| 1772 | Anonymous (pasticcio) | Autumn 1772, Onigo Theater | Treviso | by "autori moderni" | |
| 1774 | Anonymous (pasticcio) | 3rd June 1774, King's Theater on Haymarket | London | "Serious opera" by "several masters" | |
| 1774 | Pasquale Anfossi | December 26th 1774, Teatro San Benedetto | Venice | also Carnival 1776 and summer 1778 in the Teatro de 'Nobili in Perugia; on January 7, 1778 at the Teatro Argentina in Rome; Autumn 1778 at the Teatro Onigo in Treviso |
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| 1775 | Luigi Gatti | September 30, 1775, court theater | Salzburg | also in 1786 in the court theater in Vienna; Summer 1786 in the Teatro Regio Ducale Nuovo in Mantua | |
| 1777 | Antonio Rossetti (1744–1785) | December 27th 1777, Teatro Interinale | Milan | ||
| 1778 | Giuseppe Sarti | February 8, 1778, Teatro della Pergola | Florence | first version | |
| 1778 | Josef Mysliveček | November 4, 1778, Teatro San Carlo | Naples | ||
| 1780 | Anonymous | 15./27. January 1780, Teatro Sant'Agostino | Genoa | ||
| 1781 | Francesco Bianchi | December 26th 1781, Teatro alla Scala | Milan |
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| 1781 | Antonio Gatti | Spring 1781, Teatro Regio Ducale Nuovo | Mantua | also Carnival 1783 in the Teatro Nazari in Cremona | |
| 1782 | Gaetano Andreozzi | Spring 1782, Teatro dei Nobili | Pisa | ||
| 1782 | Johann Gottfried Schwanenberger | Summer 1782, court theater | Braunschweig | ||
| 1783 | Anonymous (pasticcio) | March 6th 1783, King's Theater on Haymarket | London | "Serious opera" by "several eminent composers" | |
| 1783 | Luigi Cherubini | unfinished | |||
| 1784 | Giuseppe Sarti | Carnival 1784, Teatro delle Dame | Rome | second version | |
| 1784 | Domenico Cimarosa | July 10, 1784, Teatro Eretenio | Vicenza | also in many other Italian cities; 1788 at the King's Theater on Haymarket , London; Summer 1798 in Lisbon |
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| 1784 | Giovanni Battista Borghi | December 26th 1784, Rangoni Theater | Modena | also on March 28, 1785 in the Teatro degli Intrepidi in Florence; 1787 in the Teatro Condominiale in Senigallia | |
| 1784 | Anonymous | 1784 | Lucca | ||
| 1786 | Giovanni Paisiello | January 20, 1786, Teatro San Carlo | Naples | Resumed May 30, 1793 | |
| 1787 | Anonymous | 1787 | Senigallia | ||
| 1788 | Ambrogio Minoja | January 24th 1788, Teatro Argentina | Rome | ||
| 1789 | Vincenzo Federici | January 26th 1789, Teatro Regio | Turin | ||
| 1791 | Johann Friedrich Reichardt | October 2, 1791, Royal Theater | Berlin |
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| 1791 | Angelo Tarchi | January 2, 1792, Teatro Argentina | Rome | ||
| 1792 | Anonymous | 23rd January 1792, Teatro della Pergola | Florence | ||
| 1815 | Johann Nepomuk of Poissl | April 21, 1815, Residenztheater | Munich | Libretto edited by Poißl as Der Wettkampf zu Olympia, or Die Freunde ; also in Dresden in 1820 | |
| 1817 | Gaetano Donizetti | unfinished fragment | |||
| Domenico Alberti (around 1710–1746) | without place and year | ||||
| Giuseppe Antonio Paganelli (1710–1764) | without place and year | ||||
| Michele Arditi (1746-1838) | without place and year | ||||
| Marcello Perrino (around 1750 - after 1816) | without place and year | ||||
| Ferdinando Robuschi (1765-1860) | without place and year |
Recordings and performances in recent times
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Baldassare Galuppi :
- 2006: DVD. Performance at the Teatro Malibran in Venice. Venice Baroque Orchestra, conductor: Andrea Marcon . Singers: Mark Tucker (Clistene), Ruth Rosique (Aristea), Roberta Invernizzi (Argene), Franziska Gottwald (Licida), Romina Basso (Megacle), Filippo Adami (Aminta), Furio Zanasi (Alcandro).
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Johann Adolph Hasse :
- 1971: Performance at Clarion Opera in New York. Direction: Newell Jenkins. Singers: Richard Conrad (Clistene), Helen Vanni (Aristea), Morella Munoz (Argene), Rita Shane (Licida), Joan Caplan (Magacle), Daniel Collins (Alcandro, Aminta).
- 1992: Performance in Dresden. Capella Fidicinia, Kammerchor Stuttgart , conductor: Frieder Bernius . Singers: Christoph Prégardien (Clistene), Catherine Robbin (Aristea), Dorothea Röschmann (Argene), Randall K. Wong (Lycida), David Cordier (Megacle), Steven Richards (Aminta).
-
Josef Mysliveček :
- 2012: CD. Choir and orchestra of the Teatro Comunale di Bologna , conductor: Oliver von Dohnányi . Singers: Yasushi Watanabe (Clistene), Erika Tanaka (Aristea), Maria Teresa Leva (Argene), Carlo Vistoli (Licida), Pervin Çakar (Megacle), Pasquale Scircoli (Aminta), Saltanat Akhmetova (Alcandro).
- 2013: Performances in Prague, Caen, Dijon and Luxembourg as well as radio recording. Collegium 1704 , directed by Václav Luks . Singers: Johannes Chum (Clistene), Simona Houda-Šaturová (Aristea), Sophie Harmsen (Argene), Tehila Nini Goldstein (Licida), Raffaella Milanesi (Megacle), Krystian Adam (Aminta), Helena Kaupová (Alcandro).
-
Giovanni Battista Pergolesi :
→ L'olimpiade (Pergolesi) -
Antonio Vivaldi :
→ L'olimpiade (Vivaldi)
literature
- Pinuccia Carrer: L'altra Olimpiade. Pietro Metastasio e Antonio Vivaldi. Milan / Turin 2006.
- Francesco Guintini: Throne and Altar Ceremonies in Metastasio's Dramas. In: Melania Bucciarelli, Norbert Dubowy, Reinhard Strohm (eds.): Italian Opera in Central Europe. Volume 1. Institutions and Ceremonies. Berlin 2006, ISBN 978-3-8305-0381-1 , pp. 221-233.
- Costantino Maeder, Metastasio: L '"Olimpiade" e l'opera del Settecento. Bologna 1993, ISBN 978-88-15-04221-7 .
- Alfred Noyer-Weidner : The Enlightenment in Italy . Munich 1957.
- Thorsten Philipp: Politics in the game: media staging of social norms and goals in Pietro Metastasio's Olimpiade. In: Maria Imhof, Anke Grutschus (ed.): Of devils, dancers and castrati: The opera as a transmedia spectacle. Bielefeld 2015, ISBN 978-3-8376-3001-5 , pp. 83-104.
Web links
- Several different versions of the libretto as full text (Italian) on progettometastasio.it.
Digital copies
- ^ Johann Anton Koch: The abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems, translated from Italian. First volume. Krauss, Frankfurt and Leipzig 1769. Digitization of the Munich digitization center .
- ^ Libretto (Italian) of the opera by Antonio Caldara, Vienna 1733. Digitized version of the Munich digitization center .
- ^ Libretto (Italian) of the opera by Pietro Giuseppe Sandoni, Genoa 1733. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Antonio Vivaldi, Venice 1734. Digitized in the Corago information system of the University of Bologna .
- ↑ Score of the opera by Antonio Vivaldi, Venice 1734. Digitized in the International Music Score Library Project .
- ^ Libretto (Italian) of the opera by Giovanni Battista Pergolesi, Rome 1735. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Giovanni Battista Pergolesi, Venice 1738. Digitized in the Corago information system of the University of Bologna .
- ^ Score of the opera by Giovanni Battista Pergolesi, Rome 1734. Digitized in the International Music Score Library Project .
- ^ Libretto (Italian) of the opera by Giuseppe Ferdinando Brivio, Turin 1737. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Leonardo Leo, Naples 1737. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ↑ Score (only arias) of the opera by Leonardo Leo, 1743. Digitized in the International Music Score Library Project .
- ^ Libretto (Italian) of the opera by Ignazio Fiorillo, Venice 1745. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Giuseppe Scolari, Venice 1747. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Baldassare Galuppi, Milan 1747. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Giovanni Battista Lampugnani, Florence 1748. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Pietro Pulli, Modena 1751. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Davide Perez, Lisbon 1753. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Egidio Romualdo Duni, Parma 1755. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Johann Adolph Hasse, Dresden 1756. Digital copy from the Berlin State Library .
- ^ Libretto (Italian) of the opera by Johann Adolph Hasse, Turin 1765. Digitized version of the Munich digitization center .
- ↑ Score of the opera by Johann Adolph Hasse, Dresden 1756. Digitized in the International Music Score Library Project .
- ^ Libretto (Italian) of the opera by Tommaso Traetta, Florence 1767. Digitized in the Internet Archive .
- ^ Libretto (Italian) of the opera by Niccolò Jommelli, Lisbon 1774. Digitized in the Corago information system of the University of Bologna .
- ^ Score of the opera by Niccolò Jommelli, Stuttgart 1783. Digitized in the International Music Score Library Project .
- ^ Libretto (Italian) of the opera by Antonio Sacchini, Padua 1763. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian / German) of the opera by Andrea Bernasconi, Munich 1764. Digitized version of the Munich digitization center .
- ^ Libretto (Italian) of the opera by Florian Leopold Gassmann, Vienna 1765. Digitized in the Internet Archive .
- ↑ Libretto of the opera by Florian Leopold Gassmann, German translation The Olympic annual festival by Jakob Anton Edler von Ghelen, Vienna 1764. Digitized version of the Munich digitization center .
- ^ Libretto (Italian) of the opera by Ferdinando Bertoni, Bologna 1773. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Niccolò Piccinni, Barcelona 1769. Digitized at Google Books .
- ^ Libretto (Italian) of the opera by Pasquale Cafaro, Naples 1769. Digitized version of the Munich digitization center .
- ^ Libretto (Italian) of the opera by Pasquale Anfossi, Venice 1774. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Antonio Rossetti, Milan 1778. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ↑ Score of the opera by Josef Mysliveček, Naples 1778. Digitized in the International Music Score Library Project .
- ^ Libretto (Italian) of the opera by Francesco Bianchi, Milan 1781. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Antonio Gatti, Cremona 1783. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Domenico Cimarosa, Milan 1788. Digitized in the Internet Archive .
- ↑ Score of the opera by Domenico Cimarosa, approx. 1784. Digitized in the International Music Score Library Project .
- ^ Libretto (Italian) of the opera by Giovanni Battista Borghi, Modena 1784. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Giovanni Paisiello, Naples 1786. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ↑ Score of the opera by Giovanni Paisiello, around 1786. Digitized in the International Music Score Library Project .
- ^ Libretto (Italian) of the opera by Ambrogio Minoja, Rome 1788. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Vincenzo Federici, Turin 1790. Digitized in the Internet Archive .
- ^ Libretto (Italian / German) of the opera by Johann Friedrich Reichardt, Berlin 1791. Digitized version of the Berlin State Library .
- ^ Libretto (Italian) of the opera by Angelo Tarchi, Rome 1792. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (German) of the opera by Johann Nepomuk Poissl, Munich 1821. Digitized version of the Munich digitization center .
- ↑ Score of the opera by Johann Nepomuk Poissl. Digitized in the International Music Score Library Project .
Remarks
- ↑ Strohm erroneously mentions the year 1696. See also Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660–1770 , pp. 213 f.
Individual evidence
- ↑ a b c d Don Neville: Olimpiade, L '. 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 e f g h i j k l m n o p q r s t Pinuccia Carrer: L'altra Olimpiade - Pietro Metastasio & Antonio Vivaldi. Paola e Bruno Foà, Milan / Turin 2006, pp. 22-23.
- ^ Free translation of "Argomento" from the printed libretto of 1733.
- ↑ Gl'inganni felici (Carlo Francesco Pollarolo) in Corago information system of the University of Bologna .
- ↑ a b Reinhard Strohm : The Operas of Antonio Vivaldi. Leo S. Olschki, Florence 2008, ISBN 978-88-222-5682-9 , Volume II, pp. 529-545.
- ^ Reinhard Strohm: The Italian Opera in the 18th Century . 2nd Edition. Wilhelmshaven 2006, p. 214.
- ↑ a b Thorsten Philipp: Politics in the game: Media staging of social norms and goals in Pietro Metastasio's Olimpiade. In: Maria Imhof, Anke Grutschus (ed.): From devils, dances and castrati: the opera as a transmedial spectacle. Bielefeld 2015, ISBN 978-3-8376-3001-5 , pp. 83-104.
- ^ L'olimpiade (Antonio Caldara) in the Corago information system of the University of Bologna , accessed on November 27, 2014.
- ↑ L'olimpiade (Antonio Caldara) at operabaroque.fr (French), accessed on February 2, 2015.
- ↑ Olimpiade (Pietro Giuseppe Sandoni) in the Corago information system of the University of Bologna , accessed on November 27, 2014.
- ^ L'olimpiade (Antonio Vivaldi) in the Corago information system of the University of Bologna , accessed on November 27, 2014.
- ↑ L'Olimpiade (Antonio Vivaldi) at operabaroque.fr (French), accessed on November 29, 2014.
- ↑ L'olimpiade (Giovanni Battista Pergolesi) in the Corago information system of the University of Bologna , accessed on November 27, 2014.
- ^ L'Olimpiade (Giovanni Battista Pergolesi) at operabaroque.fr (French), accessed on November 29, 2014.
- ↑ a b c d e f g h i j k l m n o p q r Olimpiade (anonymous) in the Corago information system of the University of Bologna , accessed on November 20, 2018.
- ↑ L'olimpiade (Giuseppe Ferdinando Brivio) in the Corago information system of the University of Bologna , accessed on November 27, 2014.
- ↑ L'olimpiade (Leonardo Leo) in the Corago information system of the University of Bologna , accessed on November 27, 2014.
- ↑ L'Olimpiade (Giuseppe Maria Orlandini) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed November 27, 2014.
- ^ List of stage works by Giuseppe Maria Orlandini based on the MGG at Operone, accessed on November 27, 2014.
- ↑ La más heroica amistad y el amor más verdadero (Francesco Corradini) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed November 27, 2014.
- ^ List of the stage works by Francesco Corradini based on the MGG at Operone, accessed on October 5, 2014.
- ^ L'olimpiade (Ignazio Fiorillo) in the Corago information system of the University of Bologna , accessed on November 27, 2014.
- ^ List of the stage works by Ignazio Fiorillo based on the MGG at Operone, accessed on September 29, 2014.
- ↑ L'olimpiade (Giuseppe Scarlatti) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ List of stage works by Giuseppe Scarlatti based on MGG at Operone, accessed on September 29, 2014.
- ↑ L'olimpiade (Giuseppe Scolari) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ L'olimpiade (Baldassare Galuppi) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ a b L'Olimpiade (Baldassare Galuppi) at operabaroque.fr (French), accessed on November 29, 2014.
- ↑ L'olimpiade (Giovanni Battista Lampugnani) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ L'Olimpiade (Georg Christoph Wagenseil) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed November 28, 2014.
- ↑ List of stage works by Georg Christoph Wagenseil based on the MGG at Operone, accessed on September 29, 2014.
- ^ L'olimpiade (Pietro Pulli) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Gaetano Latilla) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ L'olimpiade (Nicola Bonifacio Logroscino) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (David Perez) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ Olimpiade (Francesco Antonio Baldassare Uttini) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ List of the stage works by Francesco Antonio Uttini based on the MGG at Operone, accessed on September 29, 2014.
- ^ L'olimpiade (Egidio Romualdo Duni) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ L'olimpiade (Johann Adolph Hasse) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ List of stage works by Johann Adolf Hasse based on MGG at Operone, accessed on September 29, 2014.
- ↑ a b c L'Olimpiade (Johann Adolf Hasse) at operabaroque.fr (French), accessed on November 29, 2014.
- ↑ Olimpiade (Giuseppe Carcani) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Carlo Monza) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ Olimpiade (Tommaso Traetta) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Gregorio Sciroli) in Corago information system of the University of Bologna , accessed November 28, 2014.
- ↑ L'olimpiade [1a ver.] (Niccolò Piccinni) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ L'olimpiade (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ List of the stage works by Niccolò Jommelli based on the MGG at Operone, accessed on September 29, 2014.
- ↑ L'olimpiade (Vincenzo Manfredini) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ L'olimpiade (Domenico Fischietti) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Antonio Sacchini) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ List of the stage works by Antonio Sacchini based on the MGG at Operone, accessed on September 29, 2014.
- ↑ L'olimpiade (Pietro Alessandro Guglielmi) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ List of the stage works by Pietro Alessandro Guglielmi based on the MGG at Operone, accessed on September 30, 2014.
- ^ L'olimpiade (Andrea Bernasconi) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Florian Leopold Gassmann) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Ferdinando Bertoni) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ L'olimpiade (Thomas Augustine Arne) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Pietro Alessandro Guglielmi) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ List of stage works by Antonio Gaetano Pampani based on MGG at Operone, accessed on September 29, 2014.
- ^ L'olimpiade (Giovanni Andrea Calisto Zanotti) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade [2a ver.] (Niccolò Piccinni) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Pasquale Cafaro) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Pasquale Anfossi) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ Olimpiade (Luigi Gatti) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ Olimpiade (Antonio Rossetti) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ Olimpiade [1a ver.] (Giuseppe Sarti) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Josef Mysliveček) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Francesco Bianchi) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ L'olimpiade (Antonio Gatti) in the Corago information system of the University of Bologna , accessed on November 27, 2014.
- ↑ L'olimpiade (Gaetano Andreozzi) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Johann Gottfried Schwanenberger) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ Olimpiade (Luigi Cherubini) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ Cherubini, Luigi Carlo Zanobi Salvadore Maria in The Music in Past and Present , p. 13120 (cf. MGG Vol. 2, p. 1179.) Bärenreiter-Verlag 1986 ( digital library volume 60).
- ↑ Olimpiade [2a ver.] (Giuseppe Sarti) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Domenico Cimarosa) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ L'olimpiade (Giovanni Battista Borghi) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ^ Olimpiade (Giovanni Paisiello) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ Olimpiade (Ambrogio Minoja) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Vincenzo Federici) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Johann Friedrich Reichardt) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ L'olimpiade (Angelo Tarchi) in the Corago information system of the University of Bologna , accessed on November 28, 2014.
- ↑ The competition for Olympia, or The Friends (Johann Nepomuk Poissl) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed November 28, 2014.
- ↑ List of stage works by Johann Nepomuk Poißl based on the MGG at Operone, accessed on September 30, 2014.
- ↑ Oeuvre de Gaetano Donizetti - n ° 1 on forumopera.com (French), accessed on December 1, 2014.
- ^ Josef Mysliveček: L'Olimpiade - Oliver von Dohnanyi . CD information from Allmusic , accessed November 28, 2014.
- ↑ CD REVIEW: Josef Mysliveček - L'OLIMPIADE. Reviewed on November 26, 2014 on voix-des-arts.com , accessed on February 2, 2015.
- ↑ Josef MYSLIVEČEK - L'Olimpiade on the website of the Collegium 1704, accessed on November 29, 2014.
- ^ Josef Mysliveček: Olimpiade. Audio streams and synopsis (English) on the Czech Radio website , accessed on February 2, 2015.