Semiramide riconosciuta
| Work data | |
|---|---|
| Title: | Semiramide riconosciuta |
Third act, last scene. |
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| Shape: | Opera seria |
| Original language: | Italian |
| Music: | First setting by Leonardo Vinci |
| Libretto : | Pietro Metastasio |
| Premiere: | February 6, 1729 |
| Place of premiere: | Rome |
| Place and time of the action: | Babylon , in mythical times |
| people | |
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Semiramide riconosciuta is an opera - libretto in three acts by Pietro Metastasio . It was first performed in the setting by Leonardo Vinci on February 6, 1729 in the Teatro delle Dame in Rome. With less than forty settings, it achieved an average popularity among his works.
A German translation of the libretto by Johann Anton Koch appeared in 1771 under the name Die recognized Semiramis in the third volume of his unfinished complete edition Des Herr Abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems. He published the translation of another libretto version in 1776 under the name Semiramis, modified in the eighth volume.
action
The libretto is about Semiramis , the legendary Queen of Assyria and founder of the city of Babylon , who appears here disguised as a man under the name of her son Nino. The choice of the groom for the Bactrian princess Tamiri takes place at her court, for which three applicants have come. There are several characters appearing under false names in the complex plot, and the history also plays an important role.
“It is known from history that Semiramis of Ascalon , whose mother was a Brunn-Nimphe, but her breadwinners were pigeons, was chosen by Nino the king of Assiria to be his wife, so that after his death she ruled in male clothes With the help of the resemblance of their two-sided figure, and while the woman is seen very little in Asia , made a statement for her young son Ninum, and that, since she was recognized to be a woman, her subjects because of their already honored cleverness, and For the sake of chastity, they have confirmed on the throne.
The main idea of this show game is the recognition of the Semiramis for the sake of opportunity, and at the same time, in order to emphasize the improbability of their fabulous origin, that she was a daughter of the king in Egypt Vesoris, and a sister of that from childhood on Court of the Bactrian king Zoroaster , Mirteus at the same time would be in love with Scitalces a prince from a part of India, who arrived at the court of Vesoris under the disguised name Hidreni, since she, not receiving such from her father, fled with him; that the same night, when they escaped with each other, they threw them into the Nile river out of a violent eye addiction (which his disguised friend, and unbelieved fellow Buhler Sibaris, aroused in him through betrayal); that so then she escaped this danger anyway and after she had traveled around with her as unknown, the above-mentioned story had happened.
The scene of the performance is Babylon, where various princes come together to propose the Tamiris, a heir-princess of the Bactrian throne, who is subject to the Semiramis, as the bride, but this Semiramis introduces the Ninum.
The time is the day determined by Tamiris for the naming of her husband, which (while many foreign princes are there on the same day, partly to preserve them, partly to see the splendor, come there) gives the probable opportunity that Semiramis, too, on thought Orth, and day with her brother Mirteus, meet her beloved Scitalces and the traitor Sibaris, and that it is precisely from the Sothan meeting that the necessity of their discovery arises. "
The following table of contents is based on the version of the libretto set to music by Antonio Salieri in 1782 .
prehistory
The Egyptian princess Semiramide ( Semiramis ) had a love affair with an Indian prince whom she had met under the name Idreno. When her father tried to force her to marry the Numidian king, she fled with her lover. However, they were persecuted and surrounded. At that moment, Idreno unexpectedly turned on her, stabbed her with the dagger, and threw her into the Nile. However, she survived and finally came to Assyria after an adventurous escape . There King Nino fell in love with her and took her as his wife. They had a son, whom they also named Nino. When the king died, Semiramid pretended to be this son Nino himself and since then has ruled the Assyrians in Babylon disguised as a man under his name.
first act
Great vestibule of the royal palace on the banks of the Euphrates
On one side there is a throne, on the left near it a slightly lower seat for Tamiri. Opposite the throne are three other chairs. In the middle there is an altar with a statue of the Chaldean god Belus; In the background a large walkable bridge with statues can be seen, on the other bank a soldiers' tent camp.
The Bactrian princess and heir to the throne Tamiri is looking for a suitable spouse. She invited the applicants to the court of Semiramides in Babylon to make their choice. The Egyptian Sibari has also arrived in Babylon. Because he knew Semiramide from her time in Egypt, her identity with King Nino is not hidden from him. However, he promises her to keep the secret. He had already secretly fallen in love with her in Egypt, and his feelings have not changed.
The three princes wooing Tamiri now appear one after the other. First, the Egyptian introduces himself to Mirteo. He is Semiramid's brother - but because he grew up in Bactria, the two do not recognize each other. He names sighs, tears, awe and loyalty as his greatest merits. Tamiri is unimpressed by his tearfulness. His speech is interrupted several times by the impatient second applicant, the Scythian Prince Ircano, who is reprimanded for this by Nino / Semiramide. He advertises with the opposite properties, his hardening and various fights against humans and wild animals. Tamiri accordingly considers him to be cruel and strange. The third applicant, Prince Scitalce of India, is actually Semiramide's former lover Idreno, who now appears under a different name. Both recognize each other immediately, but maintain their respective camouflage. Nino / Semiramide cautiously warns Tamiri that she thinks Scitalce is a fraud, but Tamiri still likes him. Before Tamiri announces her decision, the applicants swear to peacefully recognize the verdict. Scitalce and Mirteo swear by the altar; only Ircano refuses and swears by his saber. Although Tamiri has already made up her mind, Nino / Semiramide is postponing the announcement to the evening.
After this unexpected encounter with his former lover Semiramide, Scitalce is lost in thought. Tamiri notices this and therefore asks him whether he is really serious about his application. However, he does not give her a clear answer and moves away. Ircano then praises her beauty with such clumsy words that she thinks he is making fun of her. After she leaves, Ircano brags to Mirteo that she has already won over Tamiri. However, Mirteo believes that love and patience can achieve more than pride and rudeness.
Scitalce tells Sibari that he knows Nino's true identity. He tells him about their flight from Egypt: their pursuers, including his rival at Semiramide (in reality Sibari himself), had caught up with and surrounded them. Angry about Semiramid's infidelity, he stabbed her to death and then saved himself. As proof of her infidelity, he still has the letter he received from Sibari at the time. The two promise to keep their secrets.
Scitalce confronts his supposedly unfaithful former lover Semiramide. To show her how little he thinks of her, he asks her to help him recruit Tamiri. She makes a pretense and sends him away because Tamiri is coming. Scitalce only steps aside a little to hear the conversation. Nino / Semiramide tells Tamiri that she tried in vain to awaken Scitalce's love for her. He is faithless and not worthy of love. Scitalce comes out and when Tamiri asks him why he is wooing her, he declares his love for her with exuberant words. Tamiri doesn't quite know what to think of it. She can't believe he's as cruel as Nino / Semiramide claims.
Nino / Semiramide reveals to Ircano and Mirteo that Tamiri has already chosen Scitalce and asks them to do more for her. Ircano now plans to assassinate Scitalce. He tries to win Mirteo as an accomplice, but Mirteo wants nothing to do with such an act.
Second act
Royal hall illuminated at night
A large table in the middle with four chairs on the sides and one in the front. Various sideboards with gold and silver vessels stand on either side.
Sibari also intends to kill Scitalce. According to local custom, Tamiri will hand the selected applicant the first drink. That's why he poisoned the corresponding cup. When Ircano rushes in with his sword drawn in search of Scitalce, Sibari explains his plan and pulls him to his side. Nino / Semiramide, Tamiri, Mirteo and Scitalce now come with their entourage, and Tamiri hands Scitalce the glass as a token of her choice. Scitalce is now undecided again. After some hesitation, he refuses and asks Tamiri to choose a more worthy bridegroom. Ircano accuses him of insulting Tamiri and urges him to drink. Tamiri, however, does not feel offended, but chooses Ircano as her husband and hands him the cup. Knowing about the poison, he throws the cup on the ground. Now Tamiri is actually offended and demands revenge. Scitalce dishonored her by his refusal and must therefore die. Whoever wants to take her as a bride must kill him. She leaves the hall. Now Ircano and Mirteo are fighting for the privilege of fighting with Scitalce and conquering Tamiri. Nino / Semiramide intervenes. She has Scitalce captured and hands him over to Sibari. Nino / Semiramide and Mirteo are amazed at Ircanos behavior, who first rejected Tamiri's election and now wants to fight for her again. He explains that he just liked it so much and likes to watch the suffering of others. After he leaves, Mirteo complains to Nino / Semiramide that Tamiri preferred someone like that to him. Semiramide comforts him and promises him her support. She herself has regained hope through Scitalce / Idreno's rejection that he loves her despite everything.
Ground floor room with views of the royal gardens
Ircano tries to force Sibari to tell Tamiri the truth about the poison attack to explain why he threw the cup away. Sibari has a different proposal, however. He wants to kidnap Tamiri from the Euphrates and hand over Ircano. To do this, however, he needs the help of Ircanos sailors. Ircano promises him his support.
Mirteo tells Tamiri about Scitalce's arrest by Nino and confirms his love for her. However, she does not like such a gloomy lover and rejects him.
Semiramide tries to reconcile with Scitalce / Idreno. However, he still believes she was unfaithful to him then. He only regrets that his attempted murder failed.
Third act
Field on the banks of the Euphrates
On one side you can see the royal gardens with the gates open. Ships are standing in the river and then catch fire.
The Assyrian guards are fighting Scythian soldiers who are ultimately defeated. Ircano fights with Mirteo. Mirteo succeeds in overpowering and disarming him. Ircano is led away by the Assyrian guards. Sibari reports that Ircanos people were put to flight. In order to turn Mirteo against Scitalce, he reveals his true identity as Idreno, who kidnapped his sister Semiramide in Egypt. He secretly hopes to clear the way to Semiramides' throne for himself.
A gallery adjoining the royal rooms
Semiramide decides to banish Ircano. However, she also worries about Mirteo and fears that he might have recognized her and Scitalce / Idreno. She informs Scitalce of this suspicion and proposes that he marry her. As a result, he would no longer be Mirteo's rival at Tamiri, and Tamiri would be immobilized. An alliance with Egypt would also secure her own throne, even if her true identity were revealed. However, Scitalice is still firmly convinced of her infidelity and refuses. Despite her disappointment, Semiramide releases him. Scitalce's belief in her infidelity is gradually waning.
Scitalce asks Tamiri for forgiveness for his previous refusal and assures her of his love. Mirteo arrives and urges him to the agreed duel for Tamiri. Although she is no longer interested in the fight, Scitalce continues to insist. He goes to wait outside for Mirteo. Mirteo now accuses Tamiri of ignoring him. She explains to him that although she appreciates his services, she has chosen Scitalce.
A magnificent amphitheater full of spectators
In the background you can see the city of Babylon. On one side is a magnificent throne.
In the presence of Sibari, Ircano tells Nino / Semiramide about Sibari's misdeeds, the poisoned drink and the attempted kidnapping. When Sibari denies, Ircano attacks him with the saber, but is held back by Nino / Semiramide. She gives the signal for the start of the duel. The opponents Mirteo and Scitalce enter the scene to the sound of a trumpet. Before the fight can begin, however, Tamiri appears and interrupts her because she has given up her desire for revenge. Mirteo declares, however, not to fight because of her, but to want to avenge himself. Scitalce kidnapped his sister from Egypt under the name Idreno. Sibari is his witness. Scitalce now admits to being Idreno and to having attacked his sister after escaping together. In his defense, he pulls out the sheet that he had received from Sibari at the time. In it, he explains that Semiramide has another lover and that he has ambushed him on the Nile. They merely persuaded him to flee in order to murder him. Mirteo wonders how Sibari could be Scitalce's friend and enemy at the same time, but Sibari cannot give a plausible answer for his behavior. Semiramide has him arrested so that he can be questioned in secret. However, Sibari insists on justifying himself on the spot immediately. He declares that he was secretly in love with Semiramide and that he wrote the letter to get rid of his rival Idreno. He himself then organized the ambush. However, he is not the only one who has deceived, because the king himself is really a woman. Now Semiramide can no longer keep her secret and tells her own story. In the event that the people insist on her resignation, she is ready to hand over power to her son. However, the people confirm their claim. Mirteo and Semiramide recognize each other as siblings. Scitalce asks Semiramide for forgiveness for his actions and Tamiri for forgiveness for his promise of love, which he only made in anger about Semiramide. Both forgive him. Tamiri now offers Mirteo her hand. Ircano would still like to murder Sibari, but Semiramide insists on universal forgiveness. At the end of the opera, the choir praises Queen Semiramide.
history
The historical sources for this libretto include first of all the first book of the non-preserved Persiká by Ktesias of Knidos , which contained some stories about the legendary figure of Queen Semiramis . Three hundred years later, these were included by Diodorus in the second book of his Bibliotheca historica . Other important sources are the second and sixteenth books of the Geographica by Strabo , Justin's excerpt from the first book of Pompeius Trogus ' Historiae Philippicae and the first book of the Histories of Herodotus . The places and personal names in the libretto can largely be traced back to Diodorus. At Metastasio, however, Semiramis does not come from Syria, but from Egypt. He expressly mentions this difference in the preface quoted above.
The life time of the Semiramis is stated differently in the sources. According to Ktesias, she lived at the beginning of the third millennium BC. Herodotus, on the other hand, states that they were five generations before the sixth century BC. BC Nitokris ruling Babylon lived. This fits in with the life dates of the historical Assyrian Queen Šammuramat , who is occasionally identified with Semiramis. This was the mother of Adad-nīrārī III. (810–782 BC) and ruled after the death of her husband Šamši-Adad V (824–810 BC) possibly instead of their underage son.
The figure of the Semiramis was very popular with poets, playwrights and painters. The thesis that she ruled disguised as her son can be found in Justin. In addition to Metastasio, it was also taken up by other poets, for example in the Spanish plays La gran Semíramis by Cristóbal de Virués (1609) and La hija del aire by Pedro Calderón de la Barca (around 1653) and in the French Sémiramis dramas by Gabriel Gilbert (1646), Nicolas Desfontaines (1647), Madeleine-Angélique de Gomez (1716), Prosper Jolyot Crébillon (1717) and Voltaire (1748). There were also several other Italian libretti such as Semiramis by Pierre-Charles Roy (1718), La Semiramide by Giovanni Andrea Moniglia (1667), Semiramide by Francesco Silvani (1713) and Semiramide in Ascalona by Apostolo Zeno (1725). In particular, the works by Silvani and Voltaire (in the arrangements La Vendetta di nino by Pietro Giovannini and Semiramide by Gaetano Rossi ) were popular as models for operas , which partly explains the only average distribution of Metastasio's libretto.
Gluck's setting from 1748 was his first work for Vienna. It was premiered on the occasion of the reopening of the Burgtheater on the birthday of Empress Maria Theresa . In 1752 Metastasio revised the text for Farinelli , who was then theater director in Madrid. The setting by Antonio Sacchini was received with great acclaim in Rome in 1764.
The libretti for the Semiramide operas by Leonardo Leo and Giovanni Porta are sometimes incorrectly ascribed to Metastasio . Both operas use a libretto by Francesco Silvani .
Settings
The following composers used this libretto for an opera:
| year | composer | premiere | Performance location | Remarks | |
|---|---|---|---|---|---|
| 1729 | Leonardo Vinci | February 6th 1729, Teatro delle Dame | Rome |
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| 1729 | Nicola Antonio Porpora | February 12, 1729, Teatro San Giovanni Crisostomo | Venice | first version |
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| 1730 | Geminiano Giacomelli | 19th January 1730, Teatro Regio Ducale | Milan | also in the summer of 1732 at the Teatro Arcadico in Rimini |
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| 1731 | Francesco Araja | October 1731, Teatro San Bartolomeo | Naples | Revised on January 29, 1737 in the New Imperial Theater in Saint Petersburg | |
| 1733 | anonymous | Summer 1733, Teatro degli Accademici Risvegliati | Pistoia | many other performances by anonymous composers and pasticci between 1735 and 1782 in various cities | |
| 1733 |
George Frideric Handel ( pasticcio ) → Semiramide riconosciuta (Handel) |
October 30, 1733, King's Theater on Haymarket | London | based mainly on the version by Leonardo Vinci (1729) |
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| 1739 | Nicola Antonio Porpora | January 20, 1739, Teatro San Carlo | Naples | second version; also on February 2, 1743 in the Teatro Regio Ducale in Mantua |
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| 1740 | Bernardo Aliprandi | Carnival 1740, Teatro di SASE di Baviera | Munich | ||
| 1741 | Giovanni Battista Lampugnani | Carnival 1741, Teatro delle Dame | Rome | also in the summer of 1753 at the Teatro delle Vigne in Genoa; Carnival 1762 at the Teatro Regio Ducale in Milan | |
| 1742 | Niccolò Jommelli | January 20, 1742, Teatro Regio | Turin | first version | |
| 1743 | Paolo Scalabrini | Carnival 1743, Theater am Tummelplatz | Graz | also on February 9, 1745 in the opera on Gänsemarkt in Hamburg; some arias are from other composers |
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| 1744 | Johann Adolph Hasse | November 4, 1744, Teatro San Carlo | Naples | first version; also on December 26, 1744 in the Teatro San Giovanni Crisostomo in Venice; in September 1745 in the Teatro de 'signori Accademici Candidi Uniti in San Giovanni in Persiceto |
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| 1746 | Domènech Terradellas | 2nd January 1746, Teatro della Pergola | Florence |
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| 1747 | Johann Adolph Hasse | January 11, 1747, court theater | Dresden | second version; also in 1748 at the Teatro dell'Accademia degli Erranti in Brescia |
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| 1748 | Christoph Willibald Gluck | May 14, 1748, Burgtheater | Vienna | ||
| 1749 | Baldassare Galuppi | January 27th 1749, Teatro Regio Ducale | Milan | also on October 30, 1751 in the Teatro Formagliari in Bologna; Carnival 1753 in the Nuovo Teatro of a nobleman in Cremona; 1770 in the Teatro Italiano in Jerez de la Frontera |
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| 1749 | Davide Perez | 3rd February 1749, Teatro delle Dame | Rome | ||
| 1751 | Giuseppe Scarlatti | Carnival 1751, Teatro San Sebastiano | Livorno | ||
| 1751 | Giuseppe de Majo | January 20, 1751, Teatro San Carlo | Naples | ||
| 1752 | Michele Fini | January 24th 1752, Teatro della Pergola | Florence | ||
| 1752 | Giovanni Marco Rutini | Autumn 1752, Nuovo Teatro | Prague | first version | |
| 1753 | Gioacchino Cocchi | 3rd February 1753, Teatro San Cassiano | Venice | Revised in 1771 at King's Theater on Haymarket , London | |
| 1753 | Niccolò Jommelli | April fair 1753, Teatro Ducale | Piacenza | second version; also on September 23, 1753 in the Real Teatro del Buen Retiro in Madrid |
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| 1756 | Francesco Brusa | February 14th 1756, Teatro San Benedetto | Venice | ||
| 1759 | Domenico Fischietti | June Mass 1759, Teatro Nuovo | Padua |
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| 1760 | Vincenzo Manfredini | Summer, Novissimo Teatro | Oranienbaum | ||
| 1760 | Johann Adolph Hasse | October 7, 1760, Royal Polish Opera House | Warsaw | third version | |
| 1762 | Niccolò Jommelli | February 11, 1762, Ducal Theater | Stuttgart | third version; also Carnival 1771 in the Teatro de Salvaterra in Lisbon |
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| 1762 | Giuseppe Sarti | Autumn 1762, Det Kongelige Teater | Copenhagen | revised for the Ascension Mass in 1768 in the Teatro San Salvatore in Venice; Carnival 1773 in the Royal Theater in Prague | |
| 1764 | Antonio Sacchini | January 7th 1764, Teatro Argentina | Rome | ||
| 1765 | Tommaso Traetta | Carnival 1765, Teatro San Cassiano | Venice | also Carnival 1771 in the Teatro di Corte in Modena |
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| 1765 | Andrea Bernasconi | January 7, 1765, New Court Theater | Munich |
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| 1766 | Josef Mysliveček | 1766, Teatro di Fiera | Bergamo | ||
| 1767 | Ferdinando Bertoni | May 3, 1767, Teatro San Carlo | Naples | ||
| 1776 | Pietro Alessandro Guglielmi | 13th August 1776, Teatro San Carlo | Naples | ||
| 1780 | Giovanni Marco Rutini | 1780, court theater | Dresden | second version | |
| 1782 | Antonio Salieri | Carnival 1782, court theater | Munich |
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| 1819 | Giacomo Meyerbeer | Carnival 1819, Teatro Regio | Turin | Libretto revised in two acts by Gaetano Rossi ; also in April 1820 at the Teatro Comunale in Bologna with sets by Antonio Basoli |
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Recordings and performances in recent times
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Georg Friedrich Handel / Leonardo Vinci :
- In September and October 2013 there were several performances in the chamber opera of the Theater an der Wien with the Bach Consort Vienna and the Junge Ensemble des Theaters an der Wien under the direction of Alan Curtis and the direction of Francesco Micheli . The singers were Çiğdem Soyarslan (Semiramide), Gan-ya Ben-gur Akselrod (Tamiri), Andrew Owens (Scitalce), Rupert Enticknap (Mirteo), Igor Bakan (Ircano) and Gaia Petrone (Sibari).
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Johann Adolph Hasse :
- In April and May 2014, two staged performances took place in the House for Music and Music Theater of the Art University Graz with the baroque orchestra of the Early Music Department of the University of Music and Theater Leipzig and students of the Art University. Susanne Scholz was the musical director . The singers were Joowon Chung (Semiramide), Robert McFarlane (Ircano), Senem Demircioglu (Scitalce), Clarissa Thiem (Mirteo), Elsa Dreisig (Tamiri) and Hannah Berensen (Sibari).
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Giacomo Meyerbeer :
- On July 9, 2005, a recording was made at the Rossini Music Festival in Wildbad with the Rossini Choir Altensteig and the Württemberg Philharmonic Reutlingen under the direction of Richard Bonynge . Deborah Riedel (Semiramide), Philippo Adami (Arcano), Fiona Janes (Scitalce), Wojtek Gierlach (Mirteo), Olga Peretyatko (Tamiri) and Leonardo Silva (Sibari) sang . The recording was broadcast on Deutschlandradio Kultur on October 8, 2005 and was released on CD in 2006.
- In 2007 a CD was released with the Orchestra Internazionale d'Italia and the Slovak Choir of Bratislava under the direction of Rani Calderon . It sang Clara Polito , Eufemia Tufano , Aldo Caputo , Federico Sacchi , Stefania Grasso and Roberto de Biasia .
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Nicola Porpora :
- In May 2003 there was a series of performances at the Teatro Dovizi in Bibbiena under the direction of Massimiliano Carraro . The set and costumes were by Massimo Gasparon . Giacinta Nicotra (Semiramide), Stefania Donzelli (Mirteo), Simone Polacchi (Ircano), Sara Allegretta (Scitalce), Daniele Tonini (Sibari) and Alexandra Zabala (Tamiri) sang . A video recording can be found on YouTube . MP3 files are also available for download.
- On July 8, 2011, a performance took place in the Cour des Hospices in Beaune with the Accademia Bizantina under the direction of Stefano Montanari . It sang Delphine Galou (Semiramide), Teodora Gheorghiu (Mirteo), Juan Sancho (Ircano), Blandine Staskiewicz (Scitalce), Mary-Ellen Nesi (Sibari) and Maria Grazia Schiavo (Tamiri).
literature
- Helga Lühning: Metastasios Semiramide riconosciuta. The disguised opera seria or: The discovery of a genre. In: Klaus Hortschansky (Ed.): Opernheld and Opernheldin in the 18th century. Aspects of Libretto Research - A Conference Report. KD Wagner, Hamburg 1991, ISBN 3-88979-053-4 , pp. 131-138.
Web links
- Several different versions of the libretto as full text (Italian) on progettometastasio.it.
- Review of a performance of the opera by Christoph Willibald Gluck in 2008 at the Staatstheater Mainz in the Operapoint blog, accessed on December 11, 2014.
Digital copies
- ^ Johann Anton Koch: The abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems, translated from Italian. Third volume. Krauss, Frankfurt and Leipzig in 1771 as digitization at the Munich digitization center .
- ^ Johann Anton Koch: The abbot Peter Metastasio Kayserl. Royal Court Poet's Dramatic Poems, translated from Italian. Eighth volume. Krauss, Frankfurt and Leipzig in 1776 as digitization at the Munich digitization center .
- ↑ a b libretto (Italian / German) of the opera by Andrea Bernasconi, Munich 1765 as digitized version at the Munich digitization center .
- ↑ a b Libretto (Italian / German) of the opera by Antonio Salieri, Munich 1782 as digitized version at the Munich Digitization Center .
- ^ Libretto (Italian) of the opera by Leonardo Vinci, Rome 1729. Digitized in the Corago information system of the University of Bologna .
- ↑ Score of the opera by Leonardo Vinco as digitized version with the International Music Score Library Project .
- ^ Libretto (Italian) of the opera by Nicola Porpora, Venice 1729. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Geminiano Giacomelli, Milan 1730. Digitized in the Corago information system of the University of Bologna .
- ^ Score of the opera by Nicola Antonio Porpora, 1739 as digitized version with the International Music Score Library Project .
- ^ Libretto (Italian) of the opera by Bernardo Aliprandi, Munich 1740. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Giovanni Battista Lampugnani, Milan 1761. Digitized in the Corago information system of the University of Bologna .
- ↑ Score of the opera by Giovanni Battista Lampugnani as digitized version with the International Music Score Library Project .
- ↑ a b Score of the opera by Niccolò Jommelli, 1743 and 1753 as digitized version for the International Music Score Library Project .
- ^ Libretto (Italian / German) of the opera by Paolo Scalabrini, Graz 1743 as a digitized version on Google Books .
- ^ Libretto (Italian) of the opera by Johann Adolph Hasse, Venice 1745. Digitized in the Corago information system of the University of Bologna .
- ↑ Score of the opera by Johann Adolph Hasse, 1747 as digitized version with the International Music Score Library Project .
- ^ Libretto (Italian) of the opera by Domènech Terradellas, Florence 1746 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Baldassare Galuppi, Milan 1749. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Baldassare Galuppi, Bologna 1751. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by David Perez, Rome 1749. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Niccolò Jommelli, Piacenza 1753. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian / Spanish) of the opera by Niccolò Jommelli, Madrid 1753 as a digitized version in the Internet Archive .
- ^ Libretto (Italian) of the opera by Gian Francesco Brusa, Venice 1756 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Domenico Fischietti, Padua 1759 as a digitized version on Google Books .
- ^ Libretto (Italian) of the opera by Niccolò Jommelli, Lisbon 1771. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Giuseppe Sarti, Venice 1768. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Antonio Sacchini, Rome 1764 as digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Tommaso Traetta, Venice 1765. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Tommaso Traetta, Modena 1771. Digitized in the Corago information system of the University of Bologna .
- ^ Libretto (Italian) of the opera by Pietro Alessandro Guglielmi, Naples 1776 as a digitized version in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the opera by Giacomo Meyerbeer, Turin 1819 as digitized version at the Munich Digitization Center .
Individual evidence
- ↑ a b c d e Don Neville: Semiramide riconosciuta [Semiramide]. 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).
- ↑ Semiramide (Leonardo Leo) in the Corago information system of the University of Bologna , accessed on December 17, 2014.
- ^ Semiramide (Giovanni Porta) in the Corago information system of the University of Bologna , accessed on December 17, 2014.
- ↑ Semiramide riconosciuta (Leonardo Vinci) in the Corago information system of the University of Bologna , accessed on December 11, 2014.
- ↑ a b Semiramide riconosciuta (Nicola Porpora) in the Corago information system of the University of Bologna , accessed on December 11, 2014.
- ↑ Semiramide riconosciuta (Geminiano Giacomelli) in the Corago information system of the University of Bologna , accessed on December 11, 2014.
- ↑ Semiramide riconosciuta (Francesco Araja) in the Corago information system of the University of Bologna , accessed on December 11, 2014.
- ↑ Semiramide riconosciuta [PT 1733] (anonymous) in the Corago information system of the University of Bologna , accessed on December 11, 2014.
- ^ Semiramide riconosciuta (anonymous) in the Corago information system of the University of Bologna , accessed on December 11, 2014.
- ^ Semiramide riconosciuta (anonymous) in the Corago information system of the University of Bologna , accessed on December 11, 2014.
- ↑ Semiramide [LU 1751] (anonymous) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ La Semiramide [FE 1753] (anonymous) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ La Semiramide riconosciuta [FI 1760] (anonymous) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Composizioni Handeliane on haendel.it , accessed on December 11, 2014.
- ↑ Semiramide riconosciuta (Bernardo Aliprandi) in the Corago information system of the University of Bologna , accessed on December 11, 2014.
- ↑ Semiramide riconosciuta (Giovanni Battista Lampugnani) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Semiramide riconosciuta [1a ver.] (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Semiramide riconosciuta (Paolo Scalabrini) in the Corago information system of the University of Bologna , accessed on August 24, 2016.
- ↑ a b c Semiramide riconosciuta (Johann Adolph Hasse) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ La Semiramide riconosciuta (Domenico Terradellas) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ La Semiramide riconosciuta (Christoph Willibald Gluck) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Semiramide riconosciuta (Baldassare Galuppi) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ La Semiramide riconosciuta (David Perez) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ La Semiramide riconosciuta (Giuseppe Scarlatti) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ La Semiramide riconosciuta (Giuseppe di Majo) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ La Semiramide riconosciuta (Michele Fini) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ La Semiramide riconosciuta (Giovanni Marco Rutini) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ a b List of the stage works by Giovanni Marco Rutini based on the MGG at Operone, accessed on December 12, 2014.
- ↑ Semiramide riconosciuta (Gioacchino Cocchi) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Semiramide riconosciuta [2a ver.] (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Semiramide riconosciuta (Francesco Brusa) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Semiramide (Domenico Fischietti) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ La Semiramide riconosciuta (Vincenzo Manfredini) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Semiramide riconosciuta [3a ver.] (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Semiramide (Giuseppe Sarti) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Semiramide riconosciuta (Antonio Sacchini) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Semiramide (Tommaso Traetta) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Semiramide (Andrea Bernasconi) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Semiramide (Josef Mysliveček) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Semiramide riconosciuta (Ferdinando Bertoni) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Semiramide riconosciuta (Pietro Alessandro Guglielmi) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ^ Semiramide (Antonio Salieri) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ↑ Semiramide riconosciuta (Giacomo Meyerbeer) in the Corago information system of the University of Bologna , accessed on December 12, 2014.
- ^ Robert Ignatius Letellier: The Operas of Giacomo Meyerbeer. Rosemont Publishing & Printing Corp, 2006, ISBN 0-8386-4093-1 , p. 271. ( online at Google Books)
- ↑ Renate Wagner: Review of the performance in Vienna 2013. In: Online Merker. September 23, 2013, accessed September 27, 2018.
- ↑ Semiramide riconosciuta. Work details and performance dates of the opera by Leonardo Vinci on operabaroque.fr (French), accessed on December 19, 2014.
- ↑ YES HATE: SEMIRAMID. Announcement of the performance of the opera by Johann Adolph Hasse at the Kunstuniversität Graz, accessed on December 19, 2014.
- ↑ La Semiramide Riconosciuta. Review of the performance of Johann Adolph Hasse's opera in Graz on June 27, 2014 at crossover-agm.de , accessed on December 19, 2014.
- ^ The other Semiramide - Meyerbeer's opera in Wildbad. Article from October 8, 2005 in the archive of Deutschlandradio Kultur , accessed on December 18, 2014.
- ^ Meyerbeer: Semiramide - Richard Bonynge. CD information from Allmusic , accessed December 18, 2014.
- ^ Meyerbeer: Semiramide - Rani Calderon. CD information from Allmusic , accessed December 18, 2014.
- ↑ a b La Semiramide riconosciuta. Work details and performance dates of the opera by Nicola Porpora on operabaroque.fr (French), accessed on December 19, 2014.