Nitteti
| Work data | |
|---|---|
| Title: | Nitteti |
Second act, scene XI. |
|
| Shape: | Opera seria |
| Original language: | Italian |
| Music: | First setting by Nicola Conforto |
| Libretto : | Pietro Metastasio |
| Premiere: | September 23, 1756 |
| Place of premiere: | Madrid |
| Place and time of the action: | Canopus , 570 BC Chr. |
| people | |
Nitteti is an opera - libretto in three acts by Pietro Metastasio . It was first used in the setting by Nicola Conforto on September 23, 1756 on the birthday of Ferdinand VI. performed by Spain in Madrid. The castrato singer Farinelli was in charge . The tenor Anton Raaff sang the role of Amasi. In total, this libretto was set to music by more than 30 composers.
A German translation of the libretto by Johann Anton Koch appeared in 1774 under the name Nittetis in the sixth volume of his unfinished complete edition Des Herr Abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems.
action
Metastasio used an Egyptian subject in this libretto. Pharaoh Amasi ( Ahmose II. ) Succeeds the deposed Aprio ( Apries ) at the request of the people and tries to marry his son Sammete ( Psammetich III ) to his daughter Nitteti, although he loves the shepherdess Beroe.
"Amasi illustrre capitano, vassallo, amico e confidente d'Aprio re d'Egitto, mandato dal suo signore a reprimere l'insolenza delle ribellanti provincie, non solo non poté adempire il comando ma fu egli stesso proclamato re e da 'sollevati e da quei guerrieri medesimi che conduceva per debellargli, tanto era il credito e l'affetto che gli avevano acquistato il suo valore, la sua giustizia e le altre sue reali virtù. S'oppose; e non avrebbe Amasi ceduto all'inaspettata violenza; ma vel costrinse un segreto ordine del suo medesimo sovrano che, disperando di conservar con la forza il suo trono, lo full più tosto deposito in mano amica che conquista in quella d'un ribelle.
In queste infelici circostanze sorpreso Aprio dal fine de 'giorni suoi, chiamò nascostamente a sé l'amico Amasi; confirmò con lui la publica elezione col proprio voto; l'incaricò di far diligente richiesta dell'unica sua figliuola Nitteti, perduta fra le tumultuose sedizioni; gl'impose ritrovandola di darla in isposa al proprio suo figliuolo Sammete, onde succedendogli questi un giorno la riconducesse sul trono paterno. Ne full da lui giuramento; e gli spirò from le braccia. Questi in parte veri ed in parte verisimili sono i fundamenti sopra de 'quali è stato edificato il presente dramma; e ciò che vi è d'istorico è tratto da Erodoto e da Diodoro di Sicilia.
Il luogo della scena è Canopo.
The tempo is the giorno del trionfale ingresso del nuovo right.
L'azione è il ritrovamento di Nitteti. "
“Amasis, the famous captain, vassal, friend and confidante of the Egyptian king Aprio, was sent by his master to put down an uprising in the rebellious provinces. Not only was he unable to carry out the order, but was proclaimed king himself, both by the insurgents and by his own soldiers - such was the trust and affection which he built up through his worth, his justice and his other virtues had won. Amasis refused and would not have accepted the unexpected power; but he was persuaded by a secret order from his own ruler, who could not forcibly keep his throne and would rather hand it over to a friend than a rebel.
In these unfortunate circumstances, Aprio passed the end of his days, secretly regarding Amasis as his friend; he confirmed it in the public election with his own vote; he told him to look for his only daughter, Nitteti, who had been lost in the storm of riot; he ordered him to marry the recovered son to his own son Sammete, so that one day she could succeed him on the father's throne. He did not ask him to take an oath; and he died in his arms. These partly true and partly probable occurrences are the basis on which this play was built; and they are taken from the Histories of Herodotus and Diodorus of Sicily.
The scene is Canopus.
The time is the day of the triumphant entry of the new king.
The plot is to find Nittetis. "
The following table of contents is based on the libretto used by Nicola Conforto, which appeared in Milan in 1756.
first act
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Shaded area of the inner gardens in the Palace of Canopus on the banks of the Nile with access to various apartments
You can see the sun rise on the horizon.
The Cyrenian prince Amenofi waits impatiently for his friend Sammete, the son of the new king Amasis. Although his coronation is imminent, Sammete is still with his lover, the shepherdess Beroe, to whom he has passed himself off as shepherd Dalmiro. Finally he comes and reports that Beroe was kidnapped by Egyptian soldiers along with another girl. With a heavy heart, he makes his way to the coronation ceremony. The soldiers now bring the captured women. The other is Nitteti, daughter of the previous king Aprio. She had hidden in the forest for fear of the new king. Amenofi, who is secretly in love with her, assures her that Amasi will not do her any violence. Bubaste, the leader of the soldiers, is already on his way to the king. Amenofi follows him. Beroe is concerned that Dalmiro will now look for her in vain in the forest, but Nitteti calms her down. Nitteti relies on Sammete, although he has not yet returned her love. Bubaste now reports the arrival of the king and sends Nitteti to him.
Sammete comes to Beroe in his own clothes. She realizes that her lover Dalmiro is really the prince himself and feels abused. She asks for forgiveness from Sammete. He only disguised himself to make sure that she loved him as a person and not as a prince. He will never leave her. The two make up again. However, Beroe realizes that she has a rival in her friend Nitteti.
Large square on the city walls of Kanopis, which is solemnly decorated for the entry and the coronation of the new king
On the right a magnificent high throne, on the side of which priests with holy gold insignia. In the background you can see a majestic triumphal arch, as well as some large huts with musicians and an audience. In the distance the victorious Egyptian army is posted. The new king enters a triumphal chariot drawn by horses and adorned with military symbols of victory. He is followed by speakers from the vassal states with their respective tribute offerings, a large group of Egyptian nobles and slaves from Ethiopia and other countries, pages with umbrellas and colored feathers, people dressed in festive clothes and finally the royal guard and soldiers with the surviving enemy prisoners.
Pharaoh Amasi, accompanied by Sammete and Amenofi, appears to the sound of harmony music, timpani, zithers and other instruments and ascends the throne. The choir praises the deposition of the tyrant. Bubaste congratulates Amasi and presents him with Nitteti, the only child of the previous king, as spoils of war. Amasi is horrified to see a princess treated like this. He immediately releases her and hands her over to his son Sammete so that he can find a more dignified place to stay for her. She goes in the company of Sammete, Bubaste and part of the court. Amenofi also wants to follow her, but is stopped by Amasi. Amasi thanks him for his loyalty and gives him the previously conquered Cyrene as a reward . Then he shows him a letter from Aprios, according to which he has voluntarily handed over the throne to him so that it does not fall into the hands of someone else as a robbery. On his deathbed, Aprio made him promise to marry his daughter Nitteti to Sammete. Amasi now fears that he will not be able to fulfill his oath because his son is not interested in her and prefers to spend his time in the forest or on the hunt. He therefore asks Amenofi to take care of Nitteti so that she becomes more attractive to Velvet. Amasi is leaving.
Amenofi advises Beroe to return to her home country because Dalmiro must now marry Nitteti. Beroe bursts into tears, and Amenofi has similar feelings about his love for Nitteti. After he leaves, Sammete comes and apologizes to Beroe for being late. At his father's request, he had to take care of Nitteti. Beroe is offended and wants to leave him to die in solitude. But Sammete assures her that he only loves her.
Second act
Row of rooms in the palace
Beroe fears losing velvet because his love cannot stand against the power of his royal father. Nitteti, now dressed as a princess, tells her that her father has meanwhile offered her hand to Sammete. But he refused. She suspects that he is in love with someone else and would like to know who. Beroe confesses to her that it is herself and that Dalmiro and Sammete are one and the same person. Nitteti feels betrayed by her friend. King Amasi comes to them. Angry at Sammete's rejection, Nitteti tells him about his relationship with Beroe. After she leaves, Amasi wants to get to know Beroe better and talks to her in detail about her relationship with Sammete. She tells him that she only found out today that her lover was really velvet. Her love is real, but she is not hoping for a royal wedding and is ready to forego velvet. Amasi is impressed by her speech and asks where her upbringing came from. She replies that her father was a shepherd, but that he previously lived at the court of Aprios. Amasi then promises to support her financially and to find a worthy husband for her among his friends. However, Bereo considers this to be a betrayal of their love. She wants to dedicate her life to the goddess Isis to spend her days as a holy virgin. Amasi now calls his son and asks him to listen to Beroe. Sammete is amazed that his father took his relationship with Beroe so well. However, Beroe explains to him that he must leave her for the sake of peace. Bubaste comes to accompany her to the temple.
Sammete is beside himself. When Nitteti comes and asks his forgiveness for telling his father about Beroe, he cannot give her any clear answers. Amenofi calls him to his father and leaves the room. Nitteti fears that Sammete has gone mad and asks Amenofi to take care of him. After he leaves, Bubaste comes back. He tells Nitteti that he brought Beroe to the Temple of Isis, but then Sammete joined them and acted like a madman.
The great port of Canopus with ships and sailors
Sammete tries to force Beroe to flee. They are accompanied by armed men. Beroe begs him to let her go to the temple, but Sammete wants to take her across the sea despite an impending storm. Beroe calls for help and a fight ensues between Sammete's people and the royal soldiers. Meanwhile the storm has also broken out, and lightning and thunder and the roar of the sea mix with the noise of the battle. The royal guards eventually gain the upper hand, and towards the end of the fight the storm subsides too.
Beroe tries to get back to the temple. On the left, Sammete is still defending himself against two soldiers, but Amasi is already approaching from the right with reinforcements. Beroe asks Sammete to finally give in and no longer oppose the stars. Finally he can be disarmed. He assures his father that he shows respect and love for him, but that Beroe cannot give up. Despite Beroe's requests, Amasi has Sammete imprisoned.
Third act
Flat land overlooking the loggias leading to the royal gardens
Amasi sentenced his own son to death. Only after Nitteti has pleaded with him for mercy does he give in and promise to release him if he is now ready to marry Nitteti. Bubaste is sent to fetch velvet. He now has to choose between death and marriage to Nitteti. While they wait, Amenofi reports that the priest of Isis wants a meeting with Amasi. Bubaste comes back and reports that Sammete has decided not to marry Nitteti. Amasi angrily forbids Amenofi and Bubaste any further intercession for Sammete. Beroe, however, promises to continue to try everything to change Sammete's mind. She sets off with a jewel as a sign of royal approval. Amasi also leaves to speak to the Isis priest. Bubaste is surprised that the priest has left his temple, which he normally never does without the express will of the gods.
Dark floor of an old tower surrounded by rusty gates on several sides
In the distance you can see a wide, ruined staircase.
Beroe implores Sammete to give up and marry Nitteti. Only when she draws a dagger and threatens suicide does he give in. Beroe hurries off to tell the king. Nitteti is not yet aware of this result. She comes to Sammete with armed followers to persuade him to flee - which is no longer necessary. Finally, velvet is picked up by Bubaste and brought to the king. Nitteti is left alone.
The richly decorated palace of Canopus
A magnificently furnished and illuminated staircase for the celebration of the arrival of the new king.
Amasis enters with a sheet of paper in hand. Also present are Amenofi, the Egyptian princes and nobles, Ethiopians, envoys from the provinces, pages, royal guards and foreign guests. Beroe, Sammete with Bubaste and finally Nitteti also join. Amenofi is amazed at the satisfied expression on the king's face. When Sammete throws himself at his feet, Amasi asks him to get up and leads him to Beroe as his bride. It turns out that this is actually Nitteti. Nitteti, on the other hand, is Amasi's own lost daughter, Amestri. Their mother had died in childbed. When there was later an uprising against the then King Aprio, he had to flee quickly and leave her under the supervision of his bride. She then also fled and took her and her future husband with them, who from then on took on the job of a shepherd and raised her under the name Beroe. After Aprio's victory over the rebels, they could no longer be found. The story was written down by her foster mother and the sheet was entrusted to the Isis priest, who has given it to Amasi now that he felt his death was near. So now a double wedding can take place. Sammete marries Beroe, the real Nitteti, and Ametofi can marry Princess Amestri.
history
As mentioned in the preface to the libretto, it is based on historical sources. The deposition of Pharaoh Apries by his follower Amasis is reported in the second book of the Histories of Herodotus and in the first book of the Bibliotheca historica by Diodorus . The third book of Herodotus' Histories also tells of Amasis' unnamed daughter, his son Psammetus and Apries' daughter Nitetis at the time of the Egyptian campaign of the ancient Persian king Cambyses II.
Some contemporary works that deal with the same subject may have served as inspiration for Metastasio. These include the pseudo-historical novel Artamène ou le Grand Cyrus (1649–53) by Madeleine de Scudéry , the drama Nitétis (1663) by Marie Desjardins , and the tragedies Amasis (1701) by François Joseph de Lagrange-Chancel and Nitétis (1723) by Antoine Danchet .
Nitteti is a counterpart to Metastasio's L'olimpiade, written twenty years earlier . Both works are about a love triangle: at L'olimpiade two men who are friends are competing for a woman, at Nitteti it is the other way around. In both cases, the resolution is based on an unexpectedly discovered consanguinity.
The sheet music for the setting by Nicola Conforto is available in an edition by the baroque specialist Alan Curtis .
Settings
The following composers used this libretto for an opera:
| year | composer | premiere | Performance location | Remarks | |
|---|---|---|---|---|---|
| 1756 | Nicola Conforto | 23 September 1756, Real Teatro del Buen Retiro | Madrid |
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| 1757 | Tommaso Traetta | April 29, 1757, Teatro Pubblico | Reggio nell'Emilia | also in the autumn of 1759 in Lucca | |
| 1757 | Niccolò Piccinni | November 4, 1757, Teatro San Carlo | Naples | ||
| 1758 | Ignazio Fiorillo | 1758, court theater | Braunschweig | revised in 1770 in Kassel |
|
| 1758 | Ignaz Holzbauer | Carnival 1758, Teatro Regio | Turin | also on November 5, 1758 at the Mannheim Court Theater | |
| 1758 | Johann Adolph Hasse | 4th January 1758, Teatro San Benedetto | Venice | first version; also on September 1, 1758 in the Teatro della Pergola in Florence | |
| 1759 | Niccolò Jommelli | February 11, 1759, Ducal Theater | Stuttgart | Revised in 1770 by João Cordeiro da Silva in the Palazzo Ajuda in Lisbon | |
| 1759 | Johann Adolph Hasse | August 3, 1759, Royal Polish Opera House | Warsaw | second version | |
| 1761 | Giuseppe Sarti | October 12, 1761, Det Kongelige Teater | Copenhagen | revised Ascension 1765 in the Teatro San Benedetto in Venice |
|
| 1764 | Antonio Maria Mazzoni | May 30, 1764, Teatro San Carlo | Naples | ||
| 1765 | Domenico Fischietti | 1765, Royal Theater | Prague | Revised on November 4, 1775 in the Teatro San Carlo in Naples | |
| 1766 | João de Sousa Carvalho | Carnival 1766, Teatro delle Dame | Rome | ||
| 1766 | Brizio Petrucci | Carnival 1766, Teatro Regio Ducale Vecchio | Mantua | ||
| 1766 | Anton Cajetan Adlgasser | April 6, 1766, court theater | Salzburg | ||
| 1768 | Giovanni Czeyka | 1768 | Libretto printed in Prague | ||
| 1770 | Giovanni Marco Rutini | Carnival 1770, Teatro Ducale | Modena |
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|
| 1770 | Josef Mysliveček | April 29, 1770, Nuovo pubblico Teatro | Bologna |
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| 1771 | Carlo Monza | 21st January 1771, Teatro Regio Ducale | Milan | also on December 26, 1776 in the Teatro San Benedetto in Venice; 1781 in Alessandria; Carnival 1782 at the Teatro Rangoni in Modena |
|
| 1771 | Pasquale Anfossi | August 13th 1771, Teatro San Carlo | Naples | also Ascension 1780 in the Teatro San Benedetto in Venice and 1785 in London | |
| 1773 | Luigi Gatti | Spring 1773, Teatro Regio Ducale Vecchio | Mantua | Resumption in spring 1779; also in autumn 1779 at the Teatro Onigo in Treviso |
|
| 1774 | anonymous | January 22nd 1774, Teatro della Pergola | Florence | also on December 26, 1779 | |
| 1774 | Antonio Sacchini | April 19, 1774, King's Theater on Haymarket | London | Libretto edited by Giovan Gualberto Bottarelli | |
| 1777 | Giovanni Paisiello | January 17 or 28, 1777, court theater | St. Petersburg | also on December 26, 1787 in the Teatro della Pergola in Florence | |
| 1777 | Agostino Accorimboni | Summer 1777, Teatro detto della Pallacorda di Firenze | Rome | ||
| 1782 | Salvatore Rispoli | December 26th 1782, Teatro Regio | Turin |
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| 1783 | Paolo Francesco Parenti | Carnival 1783, Teatro della Pergola | Florence | ||
| 1783 | Giuseppe Curcio | January 20, 1783, Teatro San Carlo | Naples |
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| 1784 | Giuseppe Giordani | 1784, Teatro Nuovo | Padua | ||
| 1788 | Sebastiano Nasolini | April 5, 1788, Teatro di San Pietro | Trieste | ||
| 1789 | Ferdinando Bertoni | February 6, 1789, Teatro San Samuele | Venice | ||
| 1789 | Francesco Bianchi | April 20, 1789, Teatro alla Scala | Milan | ||
| 1800 | Angelo Maria Benincori | 1800, Theater am Kärntnertor | Vienna | ||
| 1811 | Stefano Pavesi | December 26th 1811, Teatro Imperiale | Turin |
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|
| 1817 | Johann Nepomuk of Poissl | June 29, 1817, Grand Ducal Court Theater | Darmstadt | Libretto freely edited by Poißl as Nittetis | |
| 1905/07 | Charles Tournemire | 1907 | Tragédie lyrique Op. 30; two versions for soloists, choir and orchestra or for piano and a reduced number of singers |
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. Sixth volume. Krauss, Frankfurt and Leipzig in 1774 as digitization at the Munich digitization center .
- ↑ a b c Libretto (Italian) of the opera by Nicola Conforto, Milan 1756 as digitized version on Google Books .
- ^ Libretto (Italian / Spanish) of the opera by Nicola Conforto, Madrid 1756 as a digitized version on Google Books .
- ^ Score of the opera by Nicola Conforto, 1756 as digitized version with the International Music Score Library Project .
- ^ Libretto (Italian) of the opera by Tommaso Traetta, Reggio nell'Emilia 1757. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Niccolò Piccinni, Naples 1757 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian / French) of the opera by Ignazio Fiorillo, Kassel 1770 as a digitized version at the Berlin State Library .
- ^ Libretto (Italian) of the opera by Ignaz Holzbauer, Turin 1758 as a digitized version in the Internet Archive .
- ^ Libretto (Italian) of the opera by Johann Adolph Hasse, Venice 1758. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Giuseppe Sarti, Venice 1765. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Domenico Fischietti, Naples 1775 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by João de Sousa Carvalho, Rome 1766 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Giovanni Marco Rutini, Modena 1770 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Josef Mysliveček, Bologna 1770 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Carlo Monza, Milan 1771 as digitized version in the Internet Archive .
- ^ Libretto (Italian) of the opera by Carlo Monza, Alessandria 1781 as a digitized version in the Internet Archive .
- ^ Libretto (Italian) of the opera by Pasquale Anfossi, Venice 1780. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Luigi Gatti, Mantua 1773 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Giovanni Paisiello, Florence 1788 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Agostino Accorimboni, Rome 1777 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Salvatore Rispoli, Turin 1782 as digitized version at the Munich Digitization Center .
- ^ Libretto (Italian) of the opera by Giuseppe Maria Curcio, Naples 1783 as a digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Ferdinando Bertoni, Venice 1789. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Francesco Bianchi, Milan 1789 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Stefano Pavesi, Turin 1812 as digitized version at the Munich Digitization Center .
- ^ Arias and songs from the libretto (German) from the opera by Johann Nepomuk Poissl, Berlin 1819 as digitized version at the Munich Digitization Center .
Individual evidence
- ↑ a b c d Don Neville: Nitteti. 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).
- ↑ Complesso Barocco Edition - Nitteti - Opera , work edition of the score from Boosey & Hawkes , accessed on November 26, 2014.
- ^ La Nitteti (Nicola Conforto) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ↑ Nitteti (Nicola Conforto) at operabaroque.fr , accessed on February 2, 2015.
- ↑ La Nitteti (Tommaso Traetta) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ Nitteti (Niccolò Piccinni) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ Nitteti (Ignazio Fiorillo) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ Nitteti (Ignaz Holzbauer) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ↑ a b Nitteti (Johann Adolph Hasse) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ Nitteti (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ List of the stage works by Niccolò Jommelli based on the MGG at Operone, accessed on September 29, 2014.
- ^ List of stage works by Johann Adolf Hasse based on MGG at Operone, accessed on September 29, 2014.
- ^ Nitteti (Giuseppe Sarti) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ La Nitteti (Antonio Mazzoni) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ↑ La Nitteti (Domenico Fischietti) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ↑ La Nitteti (João de Sousa Carvalho) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ La Nitteti (Brizio Petrucci) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ↑ La Nitteti (Anton Cajetan Adlgasser) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed November 22, 2014.
- ^ The life of Anton Cajetan Adlgasser in the Traunsteiner Tagblatt , accessed on November 27, 2014.
- ^ Don Neville: Metastasio [Trapassi], Pietro (Antonio Domenico Bonaventura). In: Grove Music Online (English; subscription required).
- ↑ library data set for the opera libretto by Giovanni Czeyka in Haithi Trust Digital Library , accessed November 22, 2014.
- ^ Nitteti (Giovanni Marco Rutini) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ↑ La Nitteti (Josef Mysliveček) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ Nitteti (Carlo Monza) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ Nitteti (Pasquale Anfossi) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ Nitteti (Luigi Gatti) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ↑ La Nitteti (anonymous) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ Nitteti (Antonio Sacchini) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ List of the stage works by Antonio Sacchini based on the MGG at Operone, accessed on September 29, 2014.
- ^ Nitteti (Giovanni Paisiello) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ↑ Nitteti (Agostino Accorimboni) in Corago information system of the University of Bologna , accessed November 22, 2014.
- ^ Nitteti (Salvatore Rispoli) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ↑ La Nitteti (Paolo Francesco Parenti) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed November 22, 2014.
- ↑ List of stage works by Parenti, Francesco Paolo based on MGG at Operone, accessed on October 7, 2014.
- ↑ La Nitteti (Giuseppe Maria Curcio) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ Nitteti (Giuseppe Giordani) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ Nitteti (Sebastiano Nasolini) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ Nitteti (Ferdinando Bertoni) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ^ Nitteti (Francesco Bianchi) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ↑ Nitteti (Angelo Maria Benincori) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed November 22, 2014.
- ^ Nitteti (Stefano Pavesi) in the Corago information system of the University of Bologna , accessed on November 22, 2014.
- ↑ Nittetis (Johann Nepomuk Poissl) at opening night! Opera & Oratorio Premieres , Stanford University, accessed November 22, 2014.
- ↑ List of stage works by Johann Nepomuk Poißl based on the MGG at Operone, accessed on September 30, 2014.
- ^ List of stage works by Charles Tournemire based on the MGG from Operone, accessed on November 22, 2014.
- ↑ List of works by Charles Tournemire ( memento of April 10, 2016 in the Internet Archive ) on pseudo-poseidonios.net, accessed on November 27, 2014.