La Partenope (Stampiglia)
| Work data | |
|---|---|
| Title: | Partenope |
Title page of the libretto from 1699 |
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| Shape: | Opera seria in three acts |
| Original language: | Italian |
| Music: | First setting by Luigi Mancia |
| Libretto : | Silvio Stampiglia |
| Premiere: | Carnival 1699 |
| Place of premiere: | Teatro San Bartolomeo , Naples |
| people | |
La Partenope is a libretto for an opera seria in three acts by Silvio Stampiglia, which has been set to music many times . The work was performed for the first time in the setting by Luigi Mancia in the Carnival season of 1699 in the Teatro San Bartolomeo in Naples. Later versions are by Leonardo Vinci , Georg Friedrich Händel and Antonio Vivaldi , among others .
action
The following table of contents refers to the first version of the libretto (Naples 1699) set to music by Luigi Mancia .
"Argomento"
“Fu Partenope figlia d'Eumelo Rè di Fera in Tessaglia, la quale partissi da Calcide dell'Isola d'Euboa oggi Negroponte sequendo l'augurio d'una bianca Colomba, e fece edificare una Città presso le sponde del Mar Tirreno, che fù detta Partenope, e poi fù chiamata Napoli. Ciò troverai nel cap. II. Del Primo Libro dell'Istoria della Città, e Regno di Napoli di Gio. Antonio Summonte. Il resto si finge. "
“It was Partenope, the daughter of King Eumelo of Fera in Thessaly , who, following the oracle of a white dove, left Chalkis on the island of Euboa , now called Negroponte , and built a city near the coast of the Tyrrhenian Sea , Partenope and later Naples was called. This can be found in Chapter II of the first book of the history of the city and kingdom of Naples by Gio. Antonio Summonte. The rest is invented. "
short version
First act. Several princes court the hand of Queen Partenope. Her favorite is Arsace from Corinth . However, she does not know that it was because of her that he left his former fiancée Rosmira. Armindo from Rhodes, however, hardly dares to confess his love to Partenope. In addition, the Armenian Eurimene arrives - in reality, the disguised Rosmira who wants revenge on Arsace and makes him swear not to reveal her identity. Eurimene / Rosmira also pretends to love Partenope. Emilio from Cumae threatens war if Partenope does not accept his advertisement. Since she refuses, a battle is inevitable. Partenope himself takes command of their troops.
Act II. During the fight, Armindo saves them from the enemy. Arsace in turn saves Eurimene and takes Emilio prisoner. At the victory celebration, Eurimene / Rosmira claims victory for themselves and defames Arsace, who is unable to defend himself because of his oath. The angry Partenope has Eurimene arrested. Arsace stands up for him and obtains his release. His attempts to reconcile Rosmira are unsuccessful. The others are confused about the strange relationship between Arsace and Eurimene.
Act III . Eurimene reveals Arsace's past to the queen and the others and explains that he himself was sent by Rosmira to challenge Arsace to a duel. Partenope agrees. Eurimene is supported by Armindo, while Emilio is on Arsace's side. Before the fight, Arsace insists that both parties fight shirtless. So he forces Rosmira to reveal her identity without breaking his oath. This clears the way for a happy ending: Partenope accepts Armindo's advertising, Rosmira and Arsace are reconciled, and Emilio is given freedom.
first act
Festively decorated district by the sea with twelve statues of the constellations; in the middle an Apollo altar with his statue
Scene 1. In a public ceremony, Queen Partenope asks the god Apollo to protect the city she founded (now Naples). The people cheer her (chorus: "Viva viva Partenope viva").
Scene 2. Partenope has two admirers, the princes Arsace of Corinth and Armindo of Rhodes. Arsace left his fiancée Rosmira, the princess of Cyprus , because of her. He is surprised when a foreign Armenian appears who looks astonishingly similar to him. The Armenian claims his name is Eurimene and that he was shipwrecked in a storm. He asks Partenope for help because he lost all of his property in the accident.
Scene 3. Partenopes Captain Ormonte reports that parts of the country have been occupied by the troops of neighboring Cumae. Their leader Ormente had sent a messenger and wanted to speak to Partenope. She asks Arsace to come with her. Arsace's thoughts, however, still apply to the strange resemblance of Eurimenes to Rosmira (Aria Arsace: “O Eurimene ha l'idea di Rosmira”).
Scene 4. Eurimene / Rosmira hears Armindo about the conditions at Partenope's court. She learns that Armindo loves the queen, but that she prefers his rival Arsace. She asks Armindo to reveal his love to Partenope (Aria Rosmira: "Se non ti sai spiegar"). Armindo decides to follow Eurimenes advice (Aria Armindo: "Voglio dire al mio tesoro").
space
Scene 5. Rosmira's servant Beltramme meets Partenopes wet nurse Anfrisa (Beltramme: "E pur gusto a l'altrui spese"). After some misunderstandings (Anfrisa: "Nò, fatti avanti") they get closer and rave about the beauty of each other's eyes (Beltramme / Anfrisa: "Alma - Core - Gioja - Vita").
Scene 6. Arsace returns and confronts the supposed Eurimene. Rosmira does not deny that she was his former bride. Although Arsace claims that he still loves her, she doesn't believe him (Rosmira: “Un'altra volta ancor”). She is even ready to award him his solicitation for the throne of Naples, but he has to swear to keep her identity a secret under all circumstances (Rosmira: "Chi tanto t'ama"). Arsace notes that he still has feelings for Rosmira (Arsace: "Semper il più dolce strale").
Loggias that lead to the royal apartments
Scene 7. Partenope makes sure at Ormonte that her troops are ready to fight (Ormonte: “Se nemico à tè sen viene”).
Scene 8. Reluctantly, Armindo Partenope declares his love (Armindo: “Sono amante, mà chi sia”). She rejects him, as her heart already belongs to Arsace, but shows compassion (Partenope: "Amar io ti vorrei").
Scene 9. Partenope tells Arsace about the feelings of Armindo, whose loyalty she owes much.
Scene 10. When Eurimene / Rosmira arrives, Partenope tells him that Arsace is her favorite. Eurimene pretends to be shocked that he has fallen in love with Partenope himself. Partenope cannot give him hope, but instead declares her love for Arsace (Arie Partenope: “Solo per tè ben mio”). Rosmira accuses Arsace of his infidelity and swears revenge (Aria Rosmira: "Impara infido impara"). Arsace cannot decide between the two women (Arie Arsace: "Dimmi pietoso Ciel").
Scene 11. Beltramme and Anfrisa skirmish with each other again (Anfrisa: “Per mantenervi bello” - Beltramme: “Se tu vuoi, che la femina goda”).
Royal apartment
Scene 12. Ormonte leads Emilio to an audience with Partenope, in which Eurimene, Arsace and Armindo also take part. Emilio assures Partenope that he did not come as an enemy, but wanted to ask for her hand because he loved her. But if she refuses, he will resort to gun violence. Since Partenope rejects him with disgust, Emilio prepares for the war with confidence (Aria Emilio: “Anch'io pugnar saprò”).
Scene 13. Since Arsace, Armindo and Eurimene cannot agree which of them may lead the Neapolitan troops, Partenope decides to take over the command as an Amazon (Arie Partenope: "Io ti levo l'Impero de l'armi") .
Scene 14. Eurimene / Rosmira also wants to take part in the fight. Arsace tries to talk her out of it because he worries about her safety (Aria Arsace: "E figlio il mio timore").
Scene 15. Armindo feels betrayed by Eurimene, to whom he has confided his feelings and who then woos his lover himself (Rosmira: “Di me ti fida” - Armindo: “Cieco amore”).
Second act
Field covered with tents where Emilio's army is stationed
Scene 1. The battle begins. Armindo saves Partenope from an attack by enemy soldiers. Emilio overpowers Eurimene / Rosmira in a duel, but Arsace is able to free them and in return take Emilio prisoner. So the victory is certain. Ormonte brings more prisoners and spoils of war, and everyone praises the victorious Queen Partenope (chorus: "Ti circondi la gloria di allori").
Street of the city that leads to a gate of the city
Scene 2. Beltramme and Anfrisa talk about the battle they won. Beltramme declares his love for Anfrisa. He has no money, but wants to serve her (Beltramme: “Amore à tempo antico” - Anfrisa: “Con la Donna haver conviene” - duet: “Io son discreta”).
Scene 3. Partenope appears in a large carriage to the victory celebration (Aria Partenope: “Care mura in sì bel giorno”). Bacchants dance and the captives and booty are presented to the people. Partenope generously lets Emilio loosen the chains. This points out to her the heroism of Armindo. Eurimene / Rosmira agrees and adds that, on the other hand, Arsace would not have distinguished himself in any way after overpowering Emilio himself. Although Emilio contradicts this lie, Arsace does not show himself offended, but even leaves some of the glory to Eurimene. The others don't understand his behavior. Partenope has Eurimene arrested for his continued provocations against her lover (Aria Partenope: "Voglio amare in fin").
Scene 4. Arsace tries in vain to induce Rosmira to reconcile. Armindo and Emilio are amazed at his supposed cowardice and the aggressiveness with which Eurimene reacts to him.
Scene 5. When Armindo and Emilio ask Eurimene / Rosmira about it, to their amazement he defends the attacked person and compares his courage with that of a lion (duet Armindo / Emilio: “Sai qual lampo”).
Scene 6. Beltramme doesn't understand why Rosmira treats the still beloved Arsace that way. Rosmira replies that her heart has two enemies: love and jealousy (Aria Rosmira: "Due nemici del mio core"). Beltramme finds the behavior of women contradicting itself (Arie Beltramme: "Se volesse il mio destino").
Royal hall
Scene 7. Arsace asks Partenope to forgive Eurimene. Although he gives no reasons for this other than an "inexplicable impulse", the Queen shows herself graciously for his sake. Eurimene is banned from court, but released. Ormonte should expressly point out Arsace's intercession. Arsace is still unhappy (Aria Arsace: "Dir l'affanno il cor non vuole").
Scene 8. Armindo reassures Partenope of his love (Aria Armindo: “Non chiedo ò luci vaghe”). She acknowledges his loyalty, but still prefers Arsace (Arie Partenope: "Il genio con amare" - Arie Armindo: "Quante volte il matrimonio").
Scene 9. When Ormonte releases Eurimene / Rosmira and points out the banishment, the latter declares that he will never leave Arsace alone. Ormonte advises him to suppress his feelings (Aria Ormonte: “La pena tua qual sia”).
Scene 10. Eurimene / Rosmira promises Armindo his help. He should tell the queen that he wanted to reveal a secret to her. This will turn Partenopes heart away from Arsace and to him. Armindo begins to hope (Aria Armindo: “La speranza lusinghiera”).
Scene 11. Although Arsace declares his love for Rosmira again, she finds that her revenge is not yet complete (Rosmira: “Torni à giurarmi fè”). Arsace realizes his guilt (Aria Arsace: "Amanti voi, che andate").
Third act
Great gallery
Scene 1. Arsace is still pondering the cruelty of Rosmira (Aria Arsace: “Non è satio, e non si stanca”) when Partenope, Armindo and Emilio arrive. Armindo asks Partenope to receive Eurimene again to find out his secret. The queen agrees. Armindo and Emilio envy Arsace despite his current depression (Quartet Armindo / Emilio / Arsace / Partenope: “Non è incauto il mio consiglio”).
Scene 2. In the presence of the other princes, Eurimene / Rosmira reveals that Arsace once promised marriage to the Cypriot princess Rosmira and then left her in favor of Partenopes (Rosmira: "Arsace, oh Dio, so"). She sent him (Eurimene) to Naples to challenge Arsace to a duel. Deeply disappointed by the behavior of her lover, Partenope now declares her love to Armindo (Aria Partenope: "Non semper porta amor").
Scene 3. Eurimene / Rosmira asks Armindo to second him in the duel. Emilio, however, encourages Arsace (Arie Armindo: “Mi dispiaccion le tue pene”).
Scene 4. Rosmira rejects another attempt at reconciliation by Arsace (Aria Rosmira: "Dimmi, ingrato mi credi infedele?" - Aria Arsace: "Mi schernisci, e questa è fede?").
garden
Scene 5. Partenope appoints Ormonte to referee the duel. Then she gives Armindo hope that her feelings could turn to him (Arie Partenope: "Chi soffre, e serba fè"). Armindo is confident that he will finally see his wishes fulfilled (Aria Armindo: “Al doce mio contento”).
Scene 6. Beltramme and Anfrisa comment on the event from their point of view (Beltramme: "In amore il mancar di parola" - Beltramme: "Tu sei vecchia cucca" - Anfrisa: "Di mala qualità").
Hanging loggias that lead from the palace garden to the forest
Scene 7. Arsace falls asleep exhausted (Arsace: “Ma quai note di mesti lamenti”).
Scene 8. Rosmira still doesn't trust him. But if he should manage to keep her secret, that would be a good sign. She allows him to rest (Aria Rosmira: "Dorman gl'occhi al sonno in braccio").
Scene 9. Partenope observes how Eurimene does not insidiously stab her helpless enemy, but wakes him up. When Arsace accidentally mentions Rosmira's name, this intensifies Partenope's anger (Terzett Partenope / Arsace / Rosmira: "Un core infedele"). Arsace is desperate (“Imparate ò cori amanti”).
Scene 10. Ormonte, Armindo and Emilio look forward to the duel (Arie Ormonte: "Degna gloria, vi guidi al'impresa" - Arie Emilio: "Hò nemico amore, e l'armi" - Arie Armindo: "Destommi amore") .
Scene 11. Beltramme and Anfrisa talk about the music of the other characters (duet: “Tutta son giubilo”).
The fenced place provided for the duel
Scene 12 (ultima). After Ormonte reads Eurimene's challenge, Partenope gives her consent to the fight. However, Arsace is reluctant to fight Rosmira. When the others accuse him of cowardice, he explains that they insist on a bare-chested fight. Rosmira cannot allow that. She publicly identifies herself as Rosmira. This resolves the conflict. Partenope announces that she wants to marry Armindo, and Rosmira and Arsace get together again. Emilio is released. Although he does not become Partenope's husband, he maintains their friendship. Everyone cheers the queen (chorus: “Viva viva Partenope bella”).
Work history
Partenope is one of the first five libretti Silvio Stampiglias wrote in Naples when he was working for the Duke of Medinaceli (then Viceroy of Naples). These texts combine comical and serious scenes, with the serious characters often appearing more ridiculous than their servants.
This opera is the first work to refer to the founding myth of the city of Naples. Accordingly, Partenope was one of the three singing sirens that Odysseus overcame during his wanderings. Partenope's body was then washed ashore, whereupon the city there renamed itself "Partenope" in her honor. Later a Greek princess of the same name reached this place of worship and founded a new city of Partenope , which first had to assert itself in the fight against the neighboring Cumae.
In the opera, Queen Partenope is courted by several princes. With this Stampiglia alluded to the political situation in Naples immediately before the War of the Spanish Succession . At that time, Naples was only surpassed in prestige and probably also in importance by Spain itself, which aroused the desires of the Habsburgs, the Bourbons and the Wittelsbachers. Stampiglia also used the same motif in his follow-up opera Eraclea (1700, first setting by Alessandro Scarlatti ). Since the Wittelsbach candidate had already died at this point, he reduced the number of applicants to two.
The first setting is by Luigi Mancia . It was premiered in the Carnival season of 1699 at the Teatro San Bartolomeo in Naples.
Partenope came up with at least 36 productions in the first half of the 18th century and even reached Mexico with the setting of Manuel de Sumaya . It is the first Italian opera to be shown in America.
Settings
The following composers set this libretto to music:
| year | composer | premiere | Performance location | Remarks | |
|---|---|---|---|---|---|
| 1699 | Luigi Mancia | Carnival 1699, Teatro San Bartolomeo | Naples | 1710 in Brescia; on January 5, 1715 in Rimini |
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| 1701 | Antonio Caldara | May 12, 1701, theater | Mantua | 1704 in the Teatro Sant'Agostino in Genoa; on December 26, 1707 at the Teatro San Giovanni Crisostomo in Venice |
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| 1701 | Anonymous | Autumn 1701, Teatro Cocomero | Florence | as partenope |
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| 1709 | Giuseppe Boniventi with Antonio Caldara | May Mass 1709, Teatro Bonacossi | Ferrara |
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| 1710 | Luca Antonio Predieri | 28 October 1710, Marsigli-Rossi Theater | Bologna | revised for Mass 1715 as Il trionfo di Partenope in the Teatro Obizzi in Padua; on December 26th, 1718 as Partenope in the Teatro Cocomero in Florence; Revised in autumn 1720 in the Teatro Molza in Modena |
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| 1711 | Manuel de Sumaya | May 1, 1711, Real Palacio | Mexico city | ||
| 1712 | Anonymous | December 26th 1712, Teatro Regio Ducale | Milan |
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| 1713 | Anonymous | Carnival 1713, theater | Livorno |
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| 1713 | Antonio Quintavalle | 1713, Teatro Gaudenti | Trento |
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| 1718 | Anonymous | December 26th 1718, Teatro Formagliari | Bologna |
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| 1719 | Anonymous | January 6th 1719, Teatro Nuovo | Recanati |
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| 1722 | Domenico Sarro | December 16, 1722, Teatro San Bartolomeo | Naples | as partenope ; with Faustina Bordoni as Rosmira, Antonia Margherita Merighi as Arsace and Annibale Pio Fabbri as Armindo; revised on January 21, 1723 in the same theater; Carnival 1724 in the Teatro della Pace in Rome; on January 15, 1729 at the Teatro Pubblico in Foligno; in September 1729 in Pesaro; revised on February 13, 1734 in the Teatro Tordinona in Rome; New version on November 4, 1739 in the Teatro San Carlo in Naples |
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| 1725 |
Leonardo Vinci → La Rosmira fedele |
January 31, 1725, Teatro San Giovanni Crisostomo | Venice | as La Rosmira fedele ; with Faustina Bordoni as Rosmira and Antonia Margherita Merighi as Partenope; as Pasticcio Rosmira on February 8, 1738 in Klagenfurt; as Pasticcio Rosmira in autumn 1739 in the Theater am Tummelplatz in Graz |
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| 1725 | Anonymous | July 7th 1725, Teatro de 'Nobili | Perugia | as La Rosmira |
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| 1726 | Pietro Vincenzo Chiocchetti | Carnival 1726, Teatro Sant'Agostino | Genoa | as partenope ; Resumed in January 1742 |
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| 1730 |
George Frideric Handel → Partenope |
February 24, 1730, King's Theater on Haymarket | London | as parthenope / parthenope ; Resumed December 12, 1730; on September 12, 1731 in the Teatro Ducal in Saltzthal; Winter fair 1732 in the Braunschweig Theater; 1736 in the opera on the Gänsemarkt in Hamburg; on January 29, 1737 at Covent Garden , London |
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| 1733 | Eustachio Bambini with Orseler and Saitl | July 1733, theater | Holešov | as partenope | |
| 1738 |
Antonio Vivaldi → Rosmira |
January 27, 1738, Teatro Sant'Angelo | Venice | as pasticcio Rosmira ; Carnival 1740 in the Palazzo Provinciale in Ljubljana |
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| 1745 | Pietro Pellegrini | Summer 1745, Teatro Regio Ducale | Milan | as Rosmira |
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| 1746 | Anonymous | Carnival 1746, Teatro Cocomero | Florence | as Rosmira |
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| 1746 | Anonymous | October 10, 1746, theater | Hamburg |
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| 1749 | Giuseppe Scarlatti | January 25th 1749, Teatro Regio | Turin | as partenope |
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| 1753 | Gioacchino Cocchi | May 30, 1753, Teatro San Samuele | Venice | as La Rosmira fedele |
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| 1757 | Felice Giardini | April 30, 1757, King's Theater on Haymarket | London | as Rosmira |
Web links
Digital copies
- ↑ Luigi Mancia: Partenope. Libretto (Italian), Naples 1699. Digitized in the Museo internazionale e biblioteca della musica di Bologna.
- ^ Antonio Caldara: La Partenope. Libretto (Italian), Mantua 1701. Digitized in the Museo internazionale e biblioteca della musica di Bologna.
- ↑ Anonymous: Partenope. Libretto (Italian), Florence 1701. Digitized in the Museo internazionale e biblioteca della musica di Bologna.
- ^ Giuseppe Boniventi: La Partenope. Libretto (Italian), Ferrara 1709. Digitized in the Museo internazionale e biblioteca della musica di Bologna.
- ↑ Luca Antonio Predieri: Partenope. Libretto (Italian), Bologna 1710. Digitized at Google Books .
- ↑ Anonymous: La Partenope. Libretto (Italian), Milan 1713. Digitized in the historical archive of the Teatro La Fenice .
- ↑ Anonymous: La Partenope. Libretto (Italian), Livorno 1712. Digitized in the Corago information system of the University of Bologna .
- ^ Antonio Quintavalle: La Partenope. Libretto (Italian), Trento 1713. Digitized in the Museo internazionale e biblioteca della musica di Bologna.
- ↑ Anonymous: La Partenope. Libretto (Italian), Bologna 1719. Digitized in the Museo internazionale e biblioteca della musica di Bologna.
- ↑ Anonymous: La Partenope. Libretto (Italian), Macerata 1719. Digitized in the Museo internazionale e biblioteca della musica di Bologna.
- ^ Domenico Sarro: Partenope. Libretto (Italian), Rome 1724. Digitized in the Internet Archive .
- ↑ Leonardo Vinci: Rosmira. Libretto (Italian), Venice 1725. Digitized by the Fondazione Giorgio Cini .
- ↑ Anonymous: La Rosmira. Libretto (Italian), Perugia 1725. Digitized in the Museo internazionale e biblioteca della musica di Bologna.
- ^ Georg Friedrich Handel: Partenope. Libretto (Italian / English), London 1730. Digitized in the Internet Archive .
- ↑ Vivaldi: Rosmira. Libretto (Italian), Venice 1738. Digitized from the Library of Congress .
- ^ Pietro Pellegrini: Rosmira. Libretto (Italian), Milan 1745. Digital copy from the Biblioteca Nazionale Braidense .
- ↑ Anonymous: Rosmira. Libretto (Italian), Florence 1746. Digitized in the Museo internazionale e biblioteca della musica di Bologna.
- ↑ Anonymous: La Partenope. Libretto (Italian / German), Hamburg 1746. Digitalisat the Berlin State Library .
- ^ Giuseppe Scarlatti: Partenope. Libretto (Italian), Turin 1749. Digitized version of the Munich digitization center .
- ↑ Gioacchino Cocchi: La Rosmira fedele. Libretto (Italian), Venice 1753. Digitized from the Library of Congress .
Individual evidence
- ^ A b Lowell Lindgren: Stampiglia, Silvio (opera). In: Grove Music Online (English; subscription required).
- ^ Dinko Fabris, Eva Pleus (trans.): Naples' musical myth: Partenope from the siren to the queen. In: Supplement to CD Dynamic CDS 686 / 1-2, pp. 11–14.
- ↑ Kurt Sven Mark current: The Operas of Leonardo da Vinci, Napoletano. Pendragon Press, Hillsdale, New York 2007, ISBN 978-1-57647-094-7 , p. 106.
- ↑ Partenope (Luigi Mancia) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ La Partenope (Antonio Caldara) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ a b c d e f g h Partenope (Anonimo) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ La Partenope (Giuseppe Boniventi) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ Partenope (Luca Antonio Predieri) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ La Partenope (Manuel de Zumaya) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ La Partenope (Antonio Quintavalle) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ Partenope (Domenico Sarro) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ^ Record of the performance by Domenico Sarros Partenope on December 16, 1722 in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ^ Record of the libretto by Domenico Sarros Partenope, Naples 1722 in the catalog of the Italian National Libraries , accessed on August 8, 2020.
- ↑ La Rosmira fedele (Leonardo Vinci) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ Data record of the performance of Leonardo Vinci's La Rosmira fedele on January 31, 1725 in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ Partenope (Pietro Vincenzo Chiocchetti) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ Partenope (Georg Friedrich Händel) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ Partenope (Eustachio Bambini) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ Rosmira (Vivaldi) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ Rosmira (Pietro Pellegrini) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ Partenope (Giuseppe Scarlatti) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ La Rosmira fedele (Gioacchino Cocchi) in the Corago information system of the University of Bologna , accessed on August 8, 2020.
- ↑ Rosmira (Felice Giardini) in the Corago information system of the University of Bologna , accessed on August 8, 2020.