Tamerlano (Piovene)
| Work data | |
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| Title: | Tamerlano |
Title page of the libretto from 1711 |
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| Shape: | Tragedia per musica in three acts |
| Original language: | Italian |
| Music: | First setting by Francesco Gasparini |
| Libretto : | Agostino Piovene |
| Literary source: | Jacques Pradon : Tamerlan, ou la mort de Bajazet |
| Premiere: | January 24, 1711 |
| Place of premiere: | Teatro San Cassiano , Venice |
| people | |
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Tamerlano or Bajazet is a libretto for an opera seria (original name: "Tragedia per musica") in three acts by Agostino Piovene . The work was first performed in the setting by Francesco Gasparini on January 24, 1711 in the Teatro San Cassiano in Venice. Almost 40 settings had been made by 1810.
action
The Turkish sultan Bajazet ( Bayezid I ) was defeated by the Tartar ruler Tamerlano ( Timur ) and captured together with his daughter Asteria. The latter loves the Greek prince Andronico, an ally of Tamerlanos. But Tamerlano also desires Asteria and it is because of her that he breaks his engagement to Irene, the princess of Trebizond . In order to compensate Irene, he decides to marry Andronico and to let them rule over the conquered Byzantium . Bajazet is deeply outraged by this behavior. Under no circumstances does he want his daughter married to his enemy. Asteria, in turn, feels betrayed by Andronico, believing that he is okay with the plan. Under pressure from Bajazet, she finally agrees to the wedding - but only in appearance, because she intends to murder Tamerlano beforehand. She gives up her first attempt when she is struck by an outburst of anger from her father. Irene thwarted a second attempted murder. In view of the threatening humiliation of his convicted daughter, Bajazet kills himself. When Irene and Andronico ask Tamerlano for mercy, Asteria gives in and ensures a happy ending: Andronico and Asteria are allowed to marry and receive the throne of Byzantium. He confesses to Irene again.
The following table of contents is based on the original version of the libretto from 1711 set to music by Francesco Gasparini .
first act
Pleasure garden in the royal palace of Bursa, the capital of Bithynia, occupied by Tamerlano after the defeat by the Turks
Scene 1. Tamerlano's ally Andronico allows the captured Bajazet a moment of freedom. Bajazet doesn't appreciate this - he prefers death to life in captivity. He knows of Andronico's love for his daughter Asteria and supports this connection (Arie Bajazet: “Custodite per mia filia”).
Scene 2. Andronico fears that Bajazet might harm himself. Therefore he asks his confidante Leone not to let the sultan out of sight. Leone points out to Andronico that after Bajazet's death he has prospects of the Crown of Byzantium and that Asteria will then appear even more worthy. But Andronico is more important to Asteria's well-being than his own power.
Scene 3. Tamerlano names Andronico emperor of Greece. Instead of leaving for Byzantium, Andronico prefers to stay with Tamerlano in order to learn the craft of war from him. Tamerlano agrees. He tells Andronico to try to get Bajazet to get him to cooperate. Tamerlano also loves his daughter Asteria. He wants to break up his engagement to Irene and leave this to Andronico (Aria Tamerlano: "Svenerò con l'odio antico").
Scene 4. Andronico gets into a conflict of conscience between his own love for Asteria and his obligations to Tamerlano (Aria Andronico: "Bella Asteria, il tuo Cor mi difenda").
The apartments for Bajazet and Asteria in the Palace of Tamerlanos
Scene 5. Asteria complains to her confidante Zaida about her fate as a prisoner of Tamerlanos. Even her lover Andronico only seems to think of his own lust for power (Aria Asteria: “Se non mi vuol amar”).
Scene 6. Tamerlano declares his love for Asteria and promises her and Bajazet freedom, provided she agrees to marry him. However, if she refuses, his anger will hit her and her father. Andronico is already negotiating it with Bajazet. Horrified Asteria cannot believe that her father and lover are okay with this. She wants to speak to Andronico before giving her consent. Tamerlano gives her time to think about it (Aria Tamerlano: "Dammi pace, volto amato").
Scene 7. Asteria feels betrayed by Andronico.
Scene 8. Bajazet is literally glowing with anger at Tamerlano's suggestion. He tells his daughter that he has rejected it on her behalf. Asteria misses an equally resolute refusal by Andronicos, whom she accuses of treason. She does not realize that Andronico only wants to protect her and her father from the anger of Tamerlano. Bajazet, however, prefers to die than hand over his daughter to the enemy (Arie Bajazet: "Cielo e terra armi di sdegno").
Scene 9. The violently out of tune Asteria forbids Andronico to inform Tamerlano of her decision (Aria Asteria: “Deh lasciatemi il Nemico”).
Scene 10. Leone reports the arrival of Irene to Andronico. Tamerlano had ordered that he should greet her since he was now her bridegroom. Leone advises him to treat her kindly, even if he does not want to marry her.
Scene 11. Irene is outraged to be received by Andronico and Leone instead of her fiancé Tamerlano. The two tell her about Tamerlano's plans. Leone tries to reassure her by saying that Andronico's empire, together with hers, will put that of Tamerlano in the shade. Since Irene is not so easily appeased, Andronico advises her to pretend to be her own ambassador in order to fight incognito with Tamerlano for her rights. Irene decides to follow this plan (Aria Irene: "Vengo di quel crudele").
Scene 12. Asteria doubts Andronico's loyalty. She sends Zaida to Tamerlano to ask for an interview (Aria Asteria: “Padre amato, vò perdono”).
Second act
Gallery adjoining Tamerlano's room
Scene 1. Tamerlano thanks Andronico for his supposedly successful mediation with Asteria. Her confidante Zaida had confirmed that she had consented to the marriage. He is certain that Bajazet will also change his mind as soon as he sees Asteria ascend the throne (Arie Tamerlano: "Bella gara, che faranno").
Scene 2. Andronico assures Leone that he still loves Asteria. He believes she has betrayed him and wants to confront her with her father.
Scene 3. Asteria and Andronico reproach each other. Both try to explain their motives to each other. Andronico promises to publicly oppose her wedding to Tamerlano, even if it costs him his life. Asteria does not believe him (Aria Asteria: "Non è più tempo nò").
Scene 4. Andronico complains about the loss of Asteria. His last hope is the determination of Bajazet (Aria Andronico: "Non vi spero placate").
The tent opens and you can see Tamerlano and Asteria sitting on cushions on one side in the middle
Scene 5. Irene enters Tamerlano's tent disguised as her own ambassador. The fact that he only wants to hear her in the presence of Asteria makes her indignant. When Asteria gives her consent to marry Tamerlano, Irene exclaims that his hand has already been promised. Tamerlano apologizes for his decision by assigning Irene a no less valuable throne. He explains that he will only marry Irene if he no longer likes Asteria (Aria Tamerlano: "Colpa non è").
Scene 6. Asteria assures Irene's alleged envoy that she has no intention of marrying Tamerlano. She will know how to displease him (Aria Asteria: “Vado al foglio dell'indegno”).
Scene 7. The eunuch captain Tamur promises Irene to keep an eye on Asteria. Irene still loves Tamerlano (Aria Irene: “Par che mi nasca in seno”).
Scene 8. To his dismay, Bajazet learns from Andronico that his daughter has accepted the offer made by his enemy Tamerlano (Arie Bajazet: “A suoi piedi Padre esangue”).
Hall with two thrones
Scene 9. Tamerlano and Asteria have taken their seats on the throne for the wedding ceremony. The angry Bajazet makes one last attempt to prevent the marriage. Even in captivity, he is still in control of his daughter. Tamerlano is not intimidated. For the sake of Asteria, he waives the death penalty, but demands the submission of Bajazets. Asteria asks her father for forgiveness, but cannot yet reveal her real plan to him. Bajazet renounces her. Andronico is silent.
Scene 10. Irene, who has arrived with Leone and is still disguised, insists that her mistress should be entitled to the throne. Tamerlano explains that he will only marry Irene if Asteria resigns. Irene accuses Bajazet, Andronico and Tamerlano of abandoning Asteria. Bajazet delivers a fiery speech against his daughter, whom he will haunt in her dreams after his death in order to punish her for her betrayal. Shaken by these words, Asteria descends from the throne and reveals to those present her now failed plan: She had only pretended to consent to the wedding in order to get an opportunity to murder Tamerlano. Irene, Bajazet and Andronico praise her for her steadfastness. Tamerlano condemns her and her father to death (Terzett Asteria / Tamerlano / Bajazet: "Sì crudel! Questo è l'amore").
Scene 11. After Tamerlano has withdrawn, Asteria asks her father if he still despises her. Bajazet assures her that she convinced him otherwise. But he hated Tamerlano all the more (Aria Bajazet: "Nò. Il tuo sdegno mi placò").
Scene 12. Andronico is now also convinced of Asteria's loyalty (Aria Andronico: “Nò, che del tuo gran cor”)
Scene 13. Irene confirms to Asteria that she has a generous soul (Aria Irene: "Nò, che à un alma generosa").
Scene 14. Zaida asks Asteria why she gave up on her plan of revenge. Asteria explains that she could no longer bear her father's suffering. Oh, if she didn't kill Tamerlano, she felt vengeance because she had injured his heart (Arie Asteria: “Cor di Padre, e cor d'Amante”).
Third act
Seraglio courtyard, where Bajazet and Asteria are guarded
Scene 1. Bajazet gives his daughter poison with which she wants to kill herself if Tamerlano should get too close to her. He himself wants to precede or follow her at the first unfortunate omen in death (Aria Bajazet: “Sù la sponda del pigro Lete”).
Scene 2. Asteria tells Zaida that she is determined to kill herself to avoid the tyrant.
Scene 3. Tamerlano tells Andronico that he still loves Asteria despite everything. Andronico is to tell her that he will forgive her and that she will continue to marry. Andronico refuses. He takes all his courage and reveals to Tamerlano his own love for Asteria. He will no longer support Tamerlano's request. Asteria, who overheard the conversation unnoticed, steps out and confesses to Andronico. Tamerlano, humiliated in this way, decides to hasten the execution of Bajazets and to marry off Asteria to his lowest slave. Asteria begs him on his knees not to let her father atone for her own guilt.
Scene 4. Bajazet tells his daughter to get up. She must not humble herself in front of her enemy. Tamerlano's anger now knows no bounds. He orders Bajazet and Asteria to be brought to his dining room, where Andronico is to witness their humiliation (Arie Tamerlano: “Nella Figlia, e nell 'Amata”).
Scene 5. Bajazet is disappointed that Asteria humiliated herself in front of Tamerlano and Andronico did nothing about it. He assures that he will act more courageously himself.
Scene 6. Asteria says goodbye to Andronico in pain (Aria Asteria: “Se sentite al morir mio”).
Scene 7. Leone advises Andronico to give up his love for Asteria, otherwise he will lose both her and his crown. For Andronico, however, Asteria is far more important than power (Aria Andronico: “È troppo bella la bella mia”).
A hall prepared for the Tamerlanos table with the entire guard
Scene 8. Tamur advises Irene to take the opportunity to win Tamerlano back for himself (Aria Irene: “Crudel poi non son io”).
Scene 9. Tamerlano tells Bajazet that he will shortly announce the verdict on him and Asteria.
Scene 10. Tamerlano orders Asteria, who had recently sat on the throne herself, to serve him at the table. He has her given a goblet into which Asteria secretly pours the poison received from her father.
Scene 11. Irene, who had been watching Asteria, warns Tamerlano about the poisoned potion and reveals herself to him. Asteria asks Tamerlano to drink from the goblet despite Irene's suspicions, but Tamerlano demands that she or her father have to taste first. Asteria decides to drink the poison herself. Andronico knocks the mug out of her hand. Tamerlano has her arrested so that she can be handed over to the slaves in front of her father. Bajazet moves away indignantly (Aria Bajazet: “Empio, per farti guerra”).
Scene 12. Tamerlano reverts to his engagement to Irene.
Scene 13. Leone reports that Bajazet has taken poison and is dying in Asteria's presence. In view of the death of his enemy, Tamerlano Andronico forgives. But he still insists on Asteria being punished.
Scene 14. Asteria announces the death of her father. She desperately asks Tamerlano to kill her too (Aria Asteria: "Svena, uccidi, abbatti, atterra").
Scene 15. Irene and Andronico ask Tamerlano for mercy for Asteria. This was already mildly tempered by Bajazet's death and the suffering of Asteria. He allows her and Andronico to marry and gives them the throne of Byzantium. Everyone celebrates the restored peace (final chorus: “Coronata di gigli e di rose”).
layout
The libretto deals with the defeat of the Ottoman sultan Bayezid I against the Mongol ruler Timur . This topic was of great interest in Europe at the time. It was not until 1699 that the Great Turkish War ended in the Peace of Karlowitz with the defeat of the Ottoman Empire. Even before Piovene there had been other operas with this subject. Antonio Salvi's libretto Il gran Tamerlano (also based on Pradon) was published in Florence in 1706 with music by Alessandro Scarlatti and was then set to music several times (including by Gasparini).
Despite the external conflict between Bajazet and Tamerlano, the text deals mainly with allegorical and philosophical themes and the different personal connections of the characters. The relationship between Tamerlano and Bajazet is shaped by tyranny and hatred, that of Asteria and Andronico by self-sacrificing and jealous love, that of Asteria and Tamerlano and Tamerlano and Irene by spurned love. The father-daughter relationship between Bajazet and Asteria, which leads to a suicide pact, is most vividly depicted. Despite the conciliatory ending, the opera ends tragically with the death of Bajazet.
In many settings, an alto castrato or a female alto was provided for the role of the tyrant Tamerlano. The role of bajazet was usually played by a tenor. The lovers Asteria, Andronico and Irene were usually sopranos. In the different versions of the libretto, the number and names of the secondary characters or confidants varied.
Work history
In the spirit of the Enlightenment , the librettists turned away from the previously very popular mythological themes at the beginning of the 18th century. They also did without personified allegories and a deus ex machina . Many influences came from France, both from opera and spoken theater. The Italian “dramma per musica” was now understood as a “spoken tragedy dressed in music”. Agostino Piovene also admired the French tragedians.
Piovene's second opera libretto Il Tamerlano deals with a subject from the Historia Byzantina by the Byzantine historian Dukas (around 1492), which was published in 1649 in French in Paris. His direct model was Jacques Pradon's drama Tamerlan, ou la mort de Bajazet (1675), which in turn refers to Jean Racine's tragedy Bajazet (1672).
In 1719 Ippolito Zanelli, court poet in Parma, revised the text. Inspired by the portrayal of the tenor Francesco Borosini in the role of Bajazet, he placed greater emphasis on the drama of his suicide and death scene. This tragic ending probably formed the model for the final scenes of Metastasios Didone abbandonata (1724) and Catone in Utica (1728).
The first setting is by Francesco Gasparini . It premiered on January 24, 1711 at the Teatro San Cassiano in Venice. By 1810 almost 40 settings were made, of which those of Georg Friedrich Händel ( Tamerlano , 1724), Antonio Vivaldis ( Tamerlano , 1735, Pasticcio ) and Josef Mysliveček ( Il gran Tamerlano , 1772) have also been played more recently. Gasparini himself set the text to music a second time in 1719, now in the revised version by Zanelli. A CD recording is available.
Settings
The following composers set this libretto to music:
| year | composer | premiere | Performance location | Remarks | |
|---|---|---|---|---|---|
| 1711 | Francesco Gasparini | January 24th 1711, Teatro San Cassiano | Venice | as Tamerlano ; in May 1715 in Verona; on December 26th, 1716 at the Teatro Cocomero in Florence; New version on January 10, 1719 in Teatro La Fenice in Ancona; New version on April 29, 1719 in the Teatro Pubblico in Reggio nell'Emilia as Il Bajazet ; New version on May 5, 1723 in the Teatro San Samuele in Venice as Bajazette . The first version is only partially preserved, while the version from 1719 is complete. |
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| 1720 | Fortunato Chelleri | Mass 1721, Teatro Dolfin | Treviso | as Tamerlano | |
| 1722 | Leonardo Leo | August 28, 1722, Teatro di Palazzo Reale | Naples | as Bajazete imperador de 'turchi ; Libretto arranged by Bernardo Saddùmene |
|
| 1724 |
George Frideric Handel → Tamerlano |
October 31, 1724, King's Theater on Haymarket | London | as Tamerlano ; Libretto edited by Ippolito Zannelli and Nicola Francesco Haym ; on September 17, 1725 in the opera on Gänsemarkt in Hamburg; Revised on May 4th 1731 at King's Theater on Haymarket, London |
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| 1727 | Giovanni Antonio Giay | 28th August 1727, Teatro Regio Ducale | Milan | as Il Tamerlano |
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| 1729 | Anonymous, pasticcio | 1729 | Lübeck | As Tamerlano | |
| 1730 | Anonymous | 1730, Teatro Privilegiato | Vienna | as Intermezzi musicali tratti dal Bajazet in one act |
|
| 1730 | Nicola Antonio Porpora | Carnival 1730, Teatro Regio | Turin | as Tamerlano | |
| 1730 | Giovanni Porta | January 25th 1730, Teatro della Pergola | Florence | as Il gran Tamerlano |
|
| 1732 | Giuseppe Clemente de Bonomi | 1732, Palazzo del Vice Dominato | Ljubljana | as Il Tamerlano | |
| 1735 |
Antonio Vivaldi , Pasticcio → Tamerlano |
Carnival 1735, Teatro Filarmonico | Verona | as Il Tamerlano |
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| 1738 | Anonymous | 1738, Teatro di Piazza | Vicenza | as Il Bajazette |
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| 1738 | Anonymous | December 27th 1738, Teatro Molza | Modena | as Il Bajazette |
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| 1740 | Giovanni Colombi | October 1740, Teatro Solerio | Alessandria | as Il Bajazet |
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| 1740 | Giovanni Battista Casali | December 26th 1740, Teatro Pubblico | Rimini | Il Bajazette |
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| 1740 | Anonymous | December 26th 1740, Teatro Formagliari | Bologna | as Il Bajazette |
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| 1742 | Andrea Bernasconi | October 15, 1742, Teatro San Giovanni Crisostomo | Venice | as baiacet; New version on October 12, 1754 in the new court theater in Munich; New version in 1762 in the theater in Prague |
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| 1743 | Egidio Duni | September 8, 1743, Teatro della Pergola | Florence | as Baiazette, o Tamerlano | |
| 1746 | Gioacchino Cocchi | January 8th 1746, Teatro delle Dame | Rome | as a Bajazette |
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| 1748 | Giovanni Battista Lampugnani | 20th January 1748, Teatro Regio Ducale | Milan | as Il gran Tamerlano; on February 4, 1748 at the Teatro della Pergola in Florence; for Mass 1748 in the Nuovo Teatro dell'illustrissimo pubblico in Reggio |
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| 1748 | Anonymous | October 30, 1748, Opera am Gänsemarkt | Hamburg | as Bajazet |
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| 1753 | Niccolò Jommelli | December 26th 1753, Teatro Regio | Turin | as Bajazet |
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| 1754 | Gioacchino Cocchi and Giovanni Pescetti | Carnival 1754, Teatro San Samuele | Venice | as Tamerlano |
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| 1755 | Anonymous, pasticcio | 1755 | Lübeck | as Tamerlano |
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| 1755 | Anonymous | January 22nd 1755, Teatro della Pergola | Florence | as Bajazet |
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| 1763 | Giuseppe Scolari | December 26th 1763, Teatro Regio Ducale | Milan | as Il Tamerlano | |
| 1764 | Giuseppe Sarti | Carnival 1764, Det Kongelige Teater | Copenhagen | as Il gran Tamerlano |
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| 1765 | Giuseppe Scarlatti | Carnival 1765, Teatro Filarmonico | Verona | as Bajazet | |
| 1765 | Pietro Alessandro Guglielmi | Ascension Mass 1765, Teatro San Salvatore | Venice | as Il Tamerlano; Carnival 1767 in the Royal Theater Prague |
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| 1765 | Ferdinando Bertoni | May 3, 1765, Teatro Ducale | Parma | as Il Bajazetto | |
| 1766 | Giacomo Insanguine | Autumn 1766, Teatro di Santa Cecilia | Palermo | as a Bajazette | |
| 1772 |
Josef Mysliveček → Il gran Tamerlano |
December 26th 1772, Teatro Regio Ducale | Milan | as Il gran Tamerlano |
|
| 1773 | Antonio Sacchini | May 6th 1773, King's Theater on Haymarket | London | as Tamerlano |
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| 1783 | Gaetano Andreozzi | February 7th 1783, Teatro della Pergola | Florence | as Bajazet | |
| 1789 | Anonymous, pasticcio | April 13, 1789, Teatro degli Intrepidi | Florence | as Il Bajazet |
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| 1799 | Gaetano Marinelli | Spring 1799, Teatro San Benedetto | Venice | as a Bajazette | |
| 1810 | Giovanni Battista De Luca | January 13, 1810, Teatro San Carlo | Naples | as Bajazet |
|
Web links
Digital copies
- ^ Francesco Gasparini : Tamerlano. Libretto (Italian), Venice 1711. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ↑ Leonardo Leo : Bajazete imperador de 'turchi. Libretto (Italian), Naples 1722. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ↑ Georg Friedrich Handel : Tamerlano. Libretto (Italian), Hamburg 1725. Digitalisat the Berlin State Library .
- ^ Giovanni Antonio Giay : Il Tamerlano. Libretto (Italian), Milan 1727. Digital copy from the Biblioteca Nazionale Braidense .
- ↑ Anonymous: Intermezzi musicali tratti dal Bajazet. Libretto (Italian), Vienna 1730. Digital copy from the Biblioteca Nazionale Braidense .
- ^ Giovanni Porta : Il gran Tamerlano. Libretto (Italian), Florence 1730. Digitized by the Fondazione Giorgio Cini .
- ^ Antonio Vivaldi : Il Tamerlano. Libretto (Italian), Verona 1735. Digital copy from the Biblioteca Nazionale Braidense .
- ↑ Anonymous: Il Bajazette. Libretto (Italian), Vicenza 1738. Digitized version of the Biblioteca Nazionale Braidense .
- ↑ Anonymous: Il Bajazette. Libretto (Italian), Modena 1738. Digitized version of the Biblioteca Nazionale Braidense .
- ^ Giovanni Colombi : Il Bajazet. Libretto (Italian), Alessandria 1740. Digitized from the Biblioteca Nazionale Braidense .
- ^ Giovanni Battista Casali : Bajazette. Libretto (Italian), Rimini 1740. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ↑ Anonymous: Il Bajazette. Libretto (Italian), Bologna 1740. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ↑ Andrea Bernasconi : Baiazet. Libretto (Italian), Venice 1742. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Gioacchino Cocchi : Bajazette. Libretto (Italian), Rome 1746. Digitized version of the Munich digitization center .
- ^ Giovanni Battista Lampugnani : Il gran Tamerlano. Libretto (Italian), Milan 1746. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ↑ Anonymous: Bajazet. Libretto (Italian), Hamburg 1748. Digitalisat the Berlin State Library .
- ^ Niccolò Jommelli : Bajazet. Libretto (Italian), Turin 1754. Digitized version of the Munich digitization center .
- ^ Gioacchino Cocchi , Giovanni Pescetti : Tamerlano. Libretto (Italian), Venice 1754. Digitized from the Biblioteca Nazionale Braidense .
- ↑ Anonymous: Tamerlano. Libretto (Italian), Lübeck 1755. Digitized version of the Lower Saxony State and University Library Göttingen .
- ↑ Anonymous: Bajazet. Libretto (Italian), Florence 1755. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Giuseppe Sarti : Il gran Tamerlano. Libretto (Italian / Danish), Copenhagen 1764. Digitized from the Library of Congress .
- ^ Pietro Alessandro Guglielmi : Il Tamerlano. Libretto (Italian), Venice 1765. Digital copy from the Biblioteca Nazionale Braidense .
- ^ Josef Mysliveček : Il gran Tamerlano. Libretto (Italian), Turin 1772. Digitized in the Internet Archive .
- ^ Antonio Sacchini : Tamerlano. Libretto (Italian), London 1773. Digitized by ECCO (Eighteenth Century Collections Online, accessible via German national license).
- ↑ Anonymous: Il Bajazet. Libretto (Italian), Florez 1789. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Giovanni Battista De Luca : Bajazet. Libretto (Italian), Naples 1810. Digitized version of the Munich digitization center .
Individual evidence
- ↑ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah Kurt Markstrom: Tamerlano. In: Grove Music Online (English; subscription required).
- ^ A b c Reinhard Strohm : The Operas of Antonio Vivaldi. Leo S. Olschki, Florence 2008, ISBN 978-88-222-5682-9 , Volume 2, pp. 550-551.
- ↑ a b c Reinhard Strohm : The Italian Opera in the 18th Century. Heinrichshofen, Wilhelmshaven 1979, ISBN 3-7959-0110-3 .
- ↑ Francesco Gasparini - Il Bajazet - 1719. CD information on glossamusic.com, accessed on March 25, 2019.
- ^ Tamerlano (Francesco Gasparini) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ^ Ulrich Schreiber : Opera guide for advanced learners. From the beginning to the French Revolution. 2nd Edition. Bärenreiter, Kassel 2000, ISBN 3-7618-0899-2 , p. 206.
- ^ Tamerlano (Fortunato Chelleri) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Bajazete imperador de 'turchi (Leonardo Leo) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ^ Tamerlano (Georg Friedrich Händel) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ^ Il Tamerlano (Giovanni Antonio Giay) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ a b Tamerlano (anonymous) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Intermezzi musicali tratti dal Bajazet (Anonymous) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ^ Tamerlano (Nicola Antonio Porpora) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ^ Il gran Tamerlano (Giovanni Porta) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Il Tamerlano (Giuseppe Clemente de Bonomi) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ^ Il Tamerlano (Antonio Vivaldi) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ a b c d Il Baiazette [MO 1738] (anonymous) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Il Bajazet (Giovanni Colombi) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Il Baiazette (Giovanni Battista Casali) in Corago information system of the University of Bologna , accessed on 5 June 2017th
- ↑ Baiazet (Andrea Bernasconi) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Baiazette, o Tamerlano (Egidio Duni) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Bajazet (Gioacchino Cocchi) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Il gran Tamerlano (Giovanni Battista Lampugnani) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Bajazet (anonymous) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Bajazette (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ^ Tamerlano (Gioacchino Cocchi and Giovanni Pescetti) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Il Tamerlano (Giuseppe Scolari) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Il gran Tamerlano (Giuseppe Sarti) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Bajazet (Giuseppe Scarlatti) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ^ Il Tamerlano (Pietro Alessandro Guglielmi) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Il Bajazetto (Ferdinando Bertoni) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Bajazette (Giacomo Insanguine) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Il gran Tamerlano (Josef Mysliveček) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ^ Tamerlano (Antonio Sacchini) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Bajazet (Gaetano Andreozzi) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Il Bajazet (anonymous) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Bajazette (Gaetano Marinelli) in the Corago information system of the University of Bologna , accessed on June 5, 2017.
- ↑ Bajazet (Giovanni Battista De Luca) in the Corago information system of the University of Bologna , accessed on June 5, 2017.