Li zite 'ngalera
| Opera dates | |
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| Title: | Li zite 'ngalera |
Title page of the libretto, Naples 1722 |
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| Shape: | Commedia per musica in three acts |
| Original language: | Neapolitan, Italian |
| Music: | Leonardo Vinci |
| Libretto : | Bernardo Saddumene |
| Premiere: | January 3, 1722 |
| Place of premiere: | Teatro dei Fiorentini, Naples |
| Playing time: | approx. 2 ½ hours |
| Place and time of the action: | Vietri near Naples, early 18th century |
| persons | |
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Li zite 'ngalera (German about:' The girls on the galley 'or' The betrothed on the galley ') is a commedia per musica (comic opera , Neapolitan original name: “Commeddeja”) in three acts by Leonardo Vinci (music) with a libretto by Bernardo Saddumene. It was premiered on January 3, 1722 at the Teatro dei Fiorentini in Naples.
plot
The following table of contents is essentially based on the abbreviated version of the libretto in the supplement to the CD by Antonio Florio . The scene numbers refer to the printed Neapolitan libretto from 1722. The different numbers used in the CD insert are given in square brackets. For the sake of completeness, the missing scenes are listed with the characters from the original libretto.
prehistory
The action takes place on a street in Vietri , a small port town near Naples. The nobleman Carlo Celmino moved here from Sorrento twelve years ago after ditching his lover Belluccia. He has now fallen in love with Ciommetella (Ciomma) Palummo. Belluccia, however, has not given up on him. She fled from home and disguised as a man under the name Peppariello also arrived in Vietri. There she lives in the house of the barber Col'Agnolo.
short version
First act. Both Ciomma and old Meneca love Peppariello, Belluccia in disguise. Meneca's son Titta fell in love with Ciomma just like Carlo. Since Carlo once saved his life, Titta has to let him go first. Ciomma rejects Carlo when she learns of his previous relationship with Belluccia. The barber assistant Ciccariello plays a prank on his master and Meneca's old servant Rapisto and cuts the latter's cheek while he is shaving.
Second act. Ciomma also rejects Titta. Ciccariello gives Meneca a ring with which she can supposedly win Peppariello over. At the same time he tells his master that Meneca is in love with him and wants to give him a ring. Ciomma realizes that she has a third unloved admirer in Col'Agnolo (next to Carlo and Titta). However, she still only loves Peppariello. Belluccia / Peppariello tries in vain to get Carlo to make a positive statement about his former lover. Because of the intrigue set up by Ciccariello, a dispute between Meneca and Col'Agnolo breaks out.
Act III. To win Carlo back, Belluccia plans to appear in a comedy. In it she wants to play his lover even in woman's clothes and to reveal herself to him. A galley with supposedly Turkish slaves arrives in the harbor. In order to get rid of her admirers, Ciomma declares her love for each one of them. You realize the truth shortly afterwards. In the comedy performance (not shown on stage), Carlo and Belluccia are reconciled and Carlo promises her marriage. Titta hopes Ciomma can now return his love. When it turns out that the slaves are actually kidnapped Italians, the galley captain Federico Mariano releases them. Shortly afterwards, he recognizes Belluccia as his own runaway daughter. At first he wants to severely punish her and her apostate admirer, but forgives them when he learns of the reconciliation.
first act
Scene 1. Col'Agnolo is sharpening his razor in front of his shop. His servant Ciccariello meanwhile sweeps the floor singing (Ciccariello: “Vorria addeventare sorecillo”), and Ciomma is embroidering in front of her door. Col'Agnolo is irritable because of Ciccariello's steadfast singing. Carlo paced restlessly back and forth in the background, wondering how he could win Ciomma for himself. However, she has no interest in him since she fell in love with Peppariello (Belluccia in disguise). She asks Col'Agnolo for coupler services (Ciomma: "Va ', dille ch'è' no sgrato ...").
Scene 2. When Col'Agnolo Belluccia brings Ciomma's message, she replies that she is fundamentally incapable of love (Belluccia: “So 'sciore senz'addore”).
Scene 3. Young Titta, unhappily in love with Ciomma, accuses Col'Agnolo of betraying him. Ciccariello ends the argument by taking his master away.
Scene 4. Titta and Carlo meet. The two are old friends, and Carlo once saved Titta's life. When he asks Titta to stand up for him at Ciomma, the latter cannot refuse (Carlo: “Mme sento allegrolillo”).
Scene 5. Titta is desperate about this turn of fate (Titta: “Ammore dimme tu”).
Scene 6a [-]. Rapisto, then Belluccia.
Scene 6b [6]. When Ciomma takes a seat on her balcony, Col'Agnolo advises her to forget about Peppariello and to turn to himself. He praises the virtues of mature men (Col'Agnolo: "N'ommo attempato").
Scene 7. Old Meneca sends Ciomma away under a pretext and asks Ciccariello why Peppariello does not return her love, because women of advanced age still want young men (Meneca: "Ll'ommo e commo").
Scene 9 [8]. Meneca's servant Rapisto wants to be shaved by Col'Agnolo. Ciccariello claims that his master is hard of hearing. Therefore, Rapisto had to scream loudly when he spoke to him (Ciccariello: “Sà comm'è no peccerillo”).
Scene 10 [9]. After Col'Agnolo arrives, Ciccariello claims the same of his client Rapisto.
Scene 11 [10]. Belluccia / Peppariello envies Ciomma for her love happiness (Belluccia: "T'aggio mmideja"). Ciomma wants to "give him everything he needs".
Scene 12 [11]. Belluccia faints at the sight of her unfaithful lover Carlo. Ciomma takes loving care of him / her until she wakes up. At Belluccia's / Peppariello's urging, Carlo admits that he once had a love affair. Without revealing her identity, Belluccia is extremely angry. She claims that it was a close friend of hers who has since spent her life in tears (Belluccia: “Passa da la matina na nsi à la sera”). After Belluccia has left, Ciomma doesn't want to have anything to do with Carlo either (Ciomma: “Da me che buò”).
Scene 13 [12]. The rejected Carlo desperately surrenders to his thoughts (Carlo: "Si ll'arme desperate").
Scene 14 [13]. Rapisto reappears to shave at Col'Agnolo. This time, Ciccariello informs him that the master is present and reminds Rapisto to speak to him aloud. Both enter the barber shop.
Scene 15 [14]. Ciccariello comes out of the shop with the shaving bowl and bumps into Meneca (Meneca: “Ora vide, che taluorno”). He makes fun of her.
Scene 16 [15]. Startled by the noise, Ciomma looks out of her window. Rapisto also comes out of the store soaped and half-shaved. Ciccariello is told to finish shaving him while Col'Agnolo tries to appease the nagging Meneca.
Scene 17 [16]. Rapisto comes out of the shop angry because Ciccariello has cut his cheek. All argue with each other (Ciccariello / Ciomma / Meneca / Rapisto / Col'Agnolo: "Jammoncenne").
Second act
Scene 1. Ciomma firmly rejects Titta's advertisement.
Scene 2. Carlo expects Titta to put in a good word for him at Ciomma, as agreed. However, since Titta only speaks for himself, Carlo realizes that he has a rival in him (Carlo: "Và che terrana! Che ngannatore!").
Scene 3 [-]. Rapisto and the same.
Scene 4 [3]. Col'Agnolo plans to beat up Ciccariello for his prank and Rapisto's injury. Ciccariello pleads for mercy (Ciccariello: "Si masto mio no mme vattite" - "Che v'aggio fatto"). At Rapisto's intercession, Col'Agnolo temporarily forgives him.
Scene 5 [4]. Meneca explains to Rapisto that Ciomma does not want to marry on principle. Rapisto doesn't believe her (Rapisto: "Quanno siente a na femmena dire").
Scene 6 [5]. Ciccariello plans a new prank to get revenge on his master. He gives Meneca a ring to hand over to Peppariello and claims that she will surely answer.
Scene 7 [6]. Meneca laments the behavior of men towards women (Meneca: "Negre chelle, che stanno soggette").
Scene 8 [7]. Ciccariello informs Col'Agnolo that Meneca pines for him and wants to give him a ring.
Scene 9 [-]. Rapisto tries to read to Col'Agnolo the chapter of Erminia from Torquato Tasso's epic The Liberated Jerusalem . He fails to such an extent that Belluccia / Peppariello intervenes and shows him how to do it (Belluccia: “Qual doppo lunga e faticosa caccia”).
Scene 10 [-]. Titta, Rapisto asleep, Ciccariello (Titta: "Oh Dio pecce, pecce?").
Scene 11 [8]. Col'Agnolo declares his love for the reluctant Ciomma (Col'Agnolo: "Nenna mia non saje, ca il'ommo").
Scene 12 [9]. Ciomma is desperate: Peppariello continues to reject her, and now she has to defend herself against this old man (Ciomma: “Negramene sà ncappata”).
Scene 13 [10]. Belluccia / Peppariello advises Carlo to give up his ambitions on Ciomma (Belluccia: "Ncoccia lo Cacciatore").
Scene 14 [-]. Titta, then Carlo.
Scene 15 [11]. Belluccia / Peppariello tries to get Carlo to make a positive statement about his former lover. However, he insists that he no longer wants to have anything to do with this. Even if she stood before him, he would send her away. Belluccia furiously draws her dagger. Carlo defends himself and slightly injures the supposed Peppariello.
Scene 16 [12]. Ciomma steps between the arguing and tries lovingly to wound Peppariello. Although he rejects Ciomma, Carlos is jealous (Belluccia / Carlo / Ciomma: "Fortura, cana, o Dio!").
Scene 17a [13]. Meneca turns to Col'Agnolo to help her conquer Peppariello. She gives him the ring she received from Ciccariello. Since Col'Agnolo believes the ugly old woman is trying to mess with himself, he rudely rejects her. She withdraws to her house under angry abuse.
Scene 17b [14]. To annoy Meneca, Col'Agnolo wants to steal her make-up box. He climbs onto the balcony of her house with a ladder. The ladder gets stuck and he has to call Rapisto for help. Meneca also appears on the balcony. Meneca and Col'Agnolo quarrel with their servants (Meneca / Col'Agnolo / Rapisto / Ciccariello: "Che barviero arroinato")
Third act
Scene 1. Belluccia and Col'Agnolo pass the time playing cards.
Scene 2 [-]. Ciomma and Carlo join them.
Scene 3 [-]. Titta joins the others.
Scene 4 [2]. Meneca steps out onto her balcony (Meneca: "Hoje co sti sbarvate"). The arguments from the end of the second act continue unchanged.
Scene 5 [3]. Belluccia / Peppariello promises Carlo that his love torments will soon be over (Carlo / Belluccia: “Che buò che spera”). She wants to appear "disguised" as a woman in a comedy in which Carlo plays her lover. She hopes that this will induce him to react.
Scene 6 [4]. A galley arrives in the harbor and is moored by two slaves. Then the captain Federico Mariano disembarked, followed by a group of slaves who had been arrested on a Turkish ship (captain: "Or più non mi fa guerra").
Scene 7 [5]. Meneca fears that the Turks have come to kidnap the local women in their seraglio. Col'Agnolo reassures her that she is old and ugly. When Mariano's slave Assan asks for accommodation for the captain, Ciomma takes the opportunity to ask him for a Turkish dance. Everyone is enthusiastic about his performance.
Scene 8 [6]. Ciccariello also put on women's clothes for the performance. He wants to ask Ciomma to help him with his hair (Ciccariello: “Na femmena ch'è bella”).
Scene 9 [7]. Ciomma and Rapisto praise Ciccariello's costume. At Ciomma's request, the other two play her a short scene from the comedy (Ciccariello / Rapisto: “Core mio carillo” - “Lazzarone, briccone, pezzente”).
Scene 10 [8]. To avoid Col'Agnolo's stalkings and to make Titta jealous, Ciomma pretends to reciprocate the barber's love. After he left happily, she explains to Titta that she was just joking.
Scene 11 [9]. When Carlo arrives, Ciomma has the same joke with Titta. Then she declares her love for Carlo (Ciomma: “Nuje femmene simmo”).
Scene 12 [10]. Carlo, Col'Agnolo and Titta each boast that Ciomma heard them. Finally they realize that they have been kidnapped (Col'Agnolo: "Comme quanno è notte scura").
Scene 13 [11]. Despite the sly women, Carlo cannot leave them (Carlo: “Lo faccio ch'e pazza”).
Scene 14 [12]. Belluccia / Peppariello shows Titta and Ciomma in women's clothes. Titta in particular is surprised by the credibility of this alleged disguise. When she asks the two of them which of them would like to spend the night with her, he definitely refuses, while Ciomma would be delighted. Belluccia thinks it's funny (Belluccia: "Si canoscissevo").
Scene 15 [13]. The galley captain urges them to leave. Assan notices old Meneca. He wants to persuade her to enter the sultan's harem because the latter does not yet have such an ugly wife (Assan: "Seniura mia, venir con nuia").
Scene 16 [14]. Titta tells Ciomma and Meneca that the comedy performance was canceled after Peppariello revealed his true identity as a woman in it. She comes from Sorrento, where Carlo promised her marriage twelve years ago. Since the two have now reconciled, Titta hopes that Ciomma will now choose him (Titta: "Mo è tiempo Ciomma mia").
Scene 17 [15]. One of the slaves on the galley begs Mariano to finally let her go. They are of noble birth and have been in the hands of the "Moors" for a year. The captain orders her chains to be loosened (slave: “Che piacer che sente l'alma”).
Final scene. Mariano recognizes Belluccia as his own daughter, who once fled home to look for her renegade lover. He wants to punish both of them severely. Carlo is ready to die for his guilt (Carlo: "Si dateme la morte"). Since he has meanwhile promised to marry Belluccia and the others beg for him, the captain finally forgives him. The bride and groom will travel home with him. Everyone cheers ("Dapò tanta, e tanta pene")
layout
orchestra
The orchestral line-up for the opera consists of two oboes , two trumpets , strings and basso continuo .
Music numbers
In the printed libretto of 1722 the following musical numbers are given:
first act
- Ciccariello: "Vorria addeventare sorecillo" (scene 1)
- Ciomma: "Va ', dille ch'è' no sgrato ..." (scene 1)
- Belluccia: "So 'sciore senz'addore" (scene 2)
- Carlo: "Mme sento allegrolillo" (scene 4)
- Titta: "Ammore dimme tu" (scene 5)
- Rapisto: "A lo tiempo, che simm'oie" (scene 6a)
- Col'Agnolo: "N'ommo attempato" (scene 6b)
- Meneca: "Ll'ommo e commo" (scene 7)
- Ciccariello: "Sà comm'è no peccerillo" (scene 9)
- Belluccia: "T'aggio mmideja" (scene 10)
- Belluccia: "Passa da la matina na nsi à la sera" (scene 12)
- Ciomma: "Da me che buò" (scene 12)
- Carlo: "Si ll'arme desperate" (scene 13)
- Meneca: "Ora vide, che taluorno" (scene 15)
- Ciccariello / Ciomma / Meneca / Rapisto / Col'Agnolo: "Jammoncenne" (scene 17)
Second act
- Carlo: “Và che terrana! che ngannatore! "(Scene 2)
- Ciccariello: "Si masto mio no mme vattite" (scene 4)
- Ciccariello: "Che v'aggio fatto" (scene 4)
- Rapisto: "Quanno siente a na femmena dire" (scene 5)
- Meneca: "Negre chelle, che stanno soggette" (scene 7)
- Belluccia: "Qual doppo lunga e faticosa caccia" (scene 9)
- Titta: "Oh Dio pecce, pecce?" (Scene 10)
- Col'Agnolo: "Nenna mia non saje, ca il'ommo" (scene 11)
- Ciomma: "Negramene sà ncappata" (scene 12)
- Belluccia: "Ncoccia lo Cacciatore" (scene 13)
- Belluccia / Carlo / Ciomma: "Fortura, cana, o Dio!" (Scene 16)
- Meneca / Col'Agnolo / Rapisto / Ciccariello: "Che barviero arroinato" (scene 17b)
Third act
- Meneca: "Hoje co sti sbarvate" (scene 4)
- Carlo / Belluccia: "Che buò che spera" (scene 5)
- Captain: "Or più non mi fa guerra" (scene 6)
- Turkish dance (scene 7)
- Ciccariello: "Na femmena ch'è bella" (scene 8)
- Ciccariello / Rapisto: "Core mio carillo" (scene 9)
- Ciccariello / Rapisto: "Lazzarone, briccone, pezzente" (scene 9)
- Ciomma: "Nuje femmene simmo" (scene 11)
- Col'Agnolo: "Comme quanno è notte scura" (scene 12)
- Carlo: "Lo faccio ch'e pazza" (scene 13)
- Belluccia: "Si canoscissevo" (scene 14)
- Assan: "Seniura mia, venir con nuia"
- Titta: "Mo è tiempo Ciomma mia" (scene 16)
- Slave: "Che piacer che sente l'alma" (scene 17)
- Carlo: "Si dateme la morte" (final scene)
- All: "Dapò tanta, e tanta pene" (final scene)
The Neapolitan "Commeddeja pe mmuseca"
The Neapolitan composer Leonardo Vinci created a total of eleven or twelve works of the genre Commedia per musica or Neapolitan “Commeddeja pe mmuseca”. This is a typical Neapolitan form of opera from the early 18th century. The action usually takes place in the (then) present in the vicinity of Naples. The scene is rigid and depicts a street between two country houses. The characters are either based on those of the Commedia dell'arte or are in love. Usually there is a foundling who grew up unrecognized and is loved by several other people at the same time. Towards the end, the true identity of this person turns out to be a close relative of most of the suitors, so that only one applicant remains. In addition to burlesque elements, there are allusions to the opera seria and social life. A frequently used form of music is the simple "canzona", which is often in stanzas. The opera usually begins with such a “canzona” in Sicilian rhythm. The use of the Neapolitan dialect is also typical, but was gradually pushed back from 1720 and restricted to the buffo parts. Li zite 'ngalera is one of the first works to show this tendency. It concerns here the role of the Tuscan singing galley captain Federico Mariano. Other related innovations are the romantic motif, the contemporary Turkish motif, the approach to Spanish cloak and sword literature (Commedia “de coppa e spata”) and the noble code of honor. The latter replaces the lack of knowledge of the real family relationships as the cause of the conflict. The librettist Bernardo Saddumene explained the meaning of these innovations in the foreword of his Commedeja La noce de Veneviento from 1722.
Vinci's other works of this genre have only survived in fragments. Examples of other composers that have survived are Pergolesi's Lo frate 'nnamorato (1732) and Il Flaminio (1735), as well as Leonardo Leo's opera L'Alidoro from 1740, which was rediscovered at the beginning of the 21st century .
music
The different people are assigned different musical style levels according to their respective social rank. The ranking is essentially determined by the nature of your arias. The opening canzone “Vorria addeventare sorecillo” (I.1), for example, is sung by the barber's assistant Ciccariello, the lowest-ranking figure in the opera. It exemplifies the influence of the Neapolitan folk song on the commedia per musica. Here Vinci imitates the sound of a Colascione in the lower strings . Music and lyrics are deliberately kept primitive. The string ensemble plays in unison, and the eight-line text consists of a single stanza in the rhyme form “abababab” with eleven syllables each. The “ab” pairs each have the same music and are ended by a three-line coda .
In contrast to those of the Opera seria, the arias are kept simple. Many arias use a declamatory style while others are more dance-like. Coloratura is mostly missing, and the instrumental accompaniment is also very simple. The only exception is the heroic coloratura aria of the highest figure Federico (“Or più non mi fa guerra”, III.6), which is accompanied by trumpets and oboes.
Vinci's art is particularly evident in his melodies, which are carefully based on the intonation of the text and, with their diatonic based on the triad, appear fresh and lively. In detail, irregular rhythmic structures can often be seen. The harmony is used cautiously. Minor keys are rare. They usually appear alienated by the Neapolitan sixth .
The vocal cast is based on the model of the Opera seria. As with this one, high voices predominate. assigned to the four young lovers. With Carlo, Ciccariello and Meneca there are three travesty roles. Belluccia, Ciomma, Carlo (which corresponds to the “primo uomo” of the Seria) and Ciccariello are sopranos sung by women, the young Titta a male alto and the barber Col'Angolo a tenor. Like similar characters in the older Seria operas, old Meneca is sung by a tenor, while her old servant Rapisto is sung by a bass. The many travesty roles and the disguises within the plot result in a sexual ambiguity that is reminiscent of the Venetian operas of the 17th century.
In the second act, Belluccia recites an excerpt from Torquato Tasso's epic The Liberated Jerusalem (“Qual doppo lunga e faticosa caccia”, II.9). This passage is designed as an Accompagnato recitative - however, not musically free like the Accompagnati in Vinci's Seria operas, but in the form of two punches, each with similar music. It is possible that Vinci adapted the style in which the contemporary bards Tasso's texts usually recited.
The final movements of the first two acts, the quintet “Jammoncenne” (I.17) and the quartet “Che barviero arroinato” (II.17b), are considered to be the earliest forerunners of the comic finale of the opera buffa . Here the people rant and shout wildly to different rhythms, while the fast instrumental accompaniment remains constant. Reinhard Strohm compared this combination of irregular polyphonic voices with the older madrigal comedies Vecchis and Banchieris . Strohm pointed out that the situations leading to the scenic chaos are not yet musically integrated into the finale, as in the opera buffa, but take place beforehand in the recitatives. So they are not entirely comparable with the later finals, but "undeveloped" preliminary stages, which, however, already implement the same idea.
In the duet “Che buò che spera” (III.5) and in the trio “Fortura, cana, o Dio!” (II.16), the characters each have different texts that are performed in a dialogue-like manner to the same melody and only appear in the final cadenzas unite. The comic second duet (“Core mio carillo”, II.9) is sung by the two servants Ciccariello and Rapisto in disguise as an exemplary theater scene.
Work history
Li zite 'ngalera is the oldest Neapolitan “Commeddeja pe mmuseca” preserved almost completely as a score and at the same time the oldest surviving opera by Vinci. The libretto is by Bernardo Saddumene. The printed edition does not contain any reference to the composer, although his participation was highlighted in a praiseworthy review in the Avvisi di Napoli of January 6, 1722. The work is dedicated to Maria Livia Spinola, husband of the new Viceroy of Naples, Marcantonio Borghese , Prince of Sulmona .
The preserved manuscript is signed and dated November 20, 1720. It contains various changes and strokes, especially in the third act. From this it can be seen that the story arc with the galley and its captain Mariano was probably only added shortly before the performance. An introductory sinfonia is missing. Reinhard Strohm suspects that, as is customary in contemporary opera seria, it was notated separately so that it could also be used for other pieces. In addition, the last page of the first act is missing. The figured bass is not numbered in this score. Because of this, and because of the many changes, it was assumed that it is a composition autograph and not a director's score. Kurt Markstrom, on the other hand, pointed out that the majority of the changes concern the recitatives or minor corrections and cuts in the arias. He therefore considers the manuscript to be a final draft of the opera.
The first performance took place on January 3, 1722 in the Teatro dei Fiorentini in Naples. The cast list in the printed libretto is incomplete. The singers included Giacoma Ferrari (Carlo), Ippolita Costa (Belluccia), Rosa Cirilli (Ciomma), Simone De Falco (Meneca), Filippo Calandra (Titta), Giovanni Romaniello (Rapisto) and Laura Monti (slave girl).
On November 29, 1724, a revised version of the opera was played in the Neapolitan Teatro della Pace. His impresario pointed out that the opera had "made Naples crazy" in the previous production.
In 1979 the work was performed in a facility by Roberto De Simone (also director) under the direction of the conductor Massimo de Bernart at the Maggio Musicale Fiorentino . It was the first recent production of an opera by Leonardo Vinci. A production by Christophe Galland was performed from 1999 under the direction of Antonio Florio in the Paris Cité de la musique , in Bari, Vienna, Barcelona, Barcelona, Montpellier and Ferrara. A studio recording was also released on CD.
Recordings
- February 1999 - Antonio Florio (conductor), Cappella della Pieta de'Turchini.
Maria Ercolano (Carlo), Emanuela Galli (Belluccia), Roberta Invernizzi (Ciomma), Pietro Naviglio (Federico), Giuseppe de Vittorio (Meneca), Daniela del Monaco (Titta), Rosario Totario (Col'Agnolo), Roberto Andalo (Ciccariello) ), Giuseppe Naviglio (Rapisto and Assan), Maria Collina (slave).
Studio shot, shortened.
Opus 111 30-212-13 (2 CDs). - July 24, 2001 - Cast as in the 1999 studio recording.
Live from Montpellier.
literature
- Nina Treadwell: Female Operatic Cross-Dressing: Bernardo Saddumene's Libretto for Leonardo Vinci's "Li zite 'n galera" (1722). In: Cambridge Opera Journal. Vol. 10, No. Jul 2, 1998, pp. 131-156 ( JSTOR 823671 ).
Web links
- Le Zite 'n galera : Sheet music and audio files in the International Music Score Library Project
- Libretto (Neapolitan / Italian), Naples 1722. Digitized version of the Museo internazionale e biblioteca della musica di Bologna
- Libretto (Neapolitan / Italian), Naples 1722. Full text on operabuffaturchini.it.
- Libretto (Neapolitan / Italian), Naples 1724. Full text on operabuffaturchini.it.
- Li zite 'ngalera (Leonardo Vinci) in the Corago information system of the University of Bologna
Remarks
- ↑ The printed libretto from 1722 contains two scenes with the number 6 in the first act.
- ↑ Scene 8 of the first act is missing from the printed libretto from 1722.
- ↑ The printed libretto from 1722 contains two scenes with the number 17 in the second act.
- ↑ a b c d e f g h i Missing from the CD recording.
Individual evidence
- ↑ a b c d e f g h i j k l Reinhard Strohm : Li zite 'ngalera. In: Piper's Encyclopedia of Music Theater . Volume 6: Works. Spontini - Zumsteeg. Piper, Munich / Zurich 1997, ISBN 3-492-02421-1 , pp. 505-507.
- ↑ a b c d Kurt Markstrom: Zite 'ngalera, Li. In: Grove Music Online (English; subscription required).
- ↑ Helmut Hucke: Lo frate 'nnamorato. In: Piper's Encyclopedia of Music Theater. Vol. 4. Works. Massine - Piccinni. Piper, Munich and Zurich 1991, ISBN 3-492-02414-9 .
- ↑ a b c From Patrò Calienno de la costa to Li zite 'ngalera and Amor vuol sofferenza: The independence of musical comedy. In: Herbert Schneider , Reinhard Wiesend (ed.): The opera in the 18th century (= handbook of musical genres. Volume 12). Laaber, 2001, ISBN 3-89007-135-X , pp. 101-106.
- ↑ a b c d Reinhard Strohm : The Italian opera in the 18th century. Heinrichshofen, Wilhelmshaven 1979, ISBN 3-7959-0110-3 , pp. 142-159.
- ↑ a b c d e f g h i j Kurt Sven Markstrom: The Operas of Leonardo Vinci, Napoletano. Pendragon Press, Hillsdale, New York 2007, ISBN 978-1-57647-094-7 , pp. 27-37.
- ^ Record of the first performance on January 3, 1722 in the Corago information system of the University of Bologna .
- ↑ Parcours C. Galland on canalblog.com, November 13, 2008, accessed June 6, 2019.
- ↑ a b Leonardo Vinci. In: Andreas Ommer : Directory of all opera complete recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.