Limpresario delle Canarie di Pietro Metastasio (Italian Edition)

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He promptly provides a live example of such an aria. Dorina hopes to get rid of Nibbio by listing preposterous demands for her contract always leading roles of Prima Donna , librettos written by friends, a permanent supply of ice cream , coffee , chocolate and at least two presents weekly. She is even more suspicious of Nibbio's intentions when he accepts all her demands readily.

L’impresario delle Canarie

The intermezzo ends without Nibbio having achieved his goal. L'impresario is Metastasio's single venture in this comic genre. Inspired possibly by Girolamo Gigli's La Dirindina and certainly by the composer Benedetto Marcello 's tirade against the failing standards of operatic art in his Teatro alla Moda , [4] [5] Metastasio takes the theme of opera performance one step further.

Niccolò Jommelli - Didone abbandonata 1_3

In his letters he always complained of the sloppy and unartistic habits of singers, musicians, theatre-impresarios and others involved with opera production. Dorina complains about awful 'modern' composers that are only interested in ornamentation; Nibbio utters his belief that texts are not important, because an audience 'has lots to catch up on' during the performance, and could not care less about meaning. The intermezzo was heard in different versions all over Europe.

Orlandini's version was performed in Copenhagen, Sarro's in London in Ranieri de' Calzabigi, who wrote the libretto to Gluck's Orfeo , wrote L'opera seria in Giovanni Bertati's L'opera nuova Giambattista Casti's Prima la musica poi le parole and Donizetti's Le convenienze ed inconvenienze teatrali followed in There are currently only two versions of this intermezzo that have survived to modern day as musical manuscripts: Sarro's version, which can be found in Naples, at the Conservatorio San Pietro a Majella , and Giambattista Martini's version, which is located in the library of the Conservatorio Giovanni Battista Martini in Bologna.

Pietro Antonio Domenico Trapassi , better known by his pseudonym of Pietro Metastasio , was an Italian poet and librettist, considered the most important writer of opera seria libretti. He was born in Aversa and died in Naples. Along with other composers mainly in the Holy Roman Empire and France, he was responsible for certain operatic reforms including reducing ornateness of style and the primacy of star singers somewhat. Giovanni Battista or Giambattista Martini , O. Didone abbandonata is an opera libretto in three acts by Pietro Metastasio.

It was his first original work and was set to music by Domenico Sarro in The opera was accompanied by the intermezzo L'impresario delle Isole Canarie , also by Metastasio. Didone abbandonata is an opera, or dramma per musica , by Giuseppe Sarti, set to a libretto by the renowned poet Metastasio. The opera was first performed in the winter of in Copenhagen, and was composed especially for the Danish court of the time. The opera consists of three acts, and the libretto is based upon the well-known story of Dido and Aeneas.

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Didone abbandonata was an opera in three acts composed by Tomaso Albinoni. Albinoni's music was set to Pietro Metastasio's libretto, Didone abbandonata , which was in turn based on the story of Dido and Aeneas from the fourth book of Virgil's Aeneid. The opera premiered on 26 December at the Teatro San Cassiano in Venice and was the first time that an opera based on a Metastasio libretto was performed in Venice. Dido, Queen of Carthage was an opera in three acts by Stephen Storace. Its English libretto by Prince Hoare was adapted from Metastasio's libretto, Didone abbandonata , which had been set by many composers.

Storace's opera premiered on 23 May at The King's Theatre in London combined with a performance of his masque, Neptune's Prophecy. The story is based on that of Dido and Aeneas in the fourth book of Virgil's Aeneid. The opera was not a success and was never revived after its original run of performances. Moved by an affection half maternal, half romantic, and by admiration for his talent, she adopted him more passionately even than Gravina had done. She took the whole Trapassi family — father, mother, brother, sisters — into her own house. She fostered the poet's genius and pampered his caprices.

Jarczyk, Michael [WorldCat Identities]

These dramas were set to music by the chief composers of the day, and performed in the chief towns of Italy. But meanwhile Bulgarelli was growing older; she had ceased to sing in public; and the poet increasingly felt his dependence upon her kindness irksome. He gained scudi for each opera; this pay, though good, was precarious and he longed for some fixed engagement. In September he received the offer of the post of court poet to the theatre at Vienna, succeeding Pietro Pariati , with a stipend of florins.

Category:L’impresario delle Canarie

This he at once accepted. Bulgarelli unselfishly sped him on his way to glory. She took charge of his family in Rome and he set off for Austria. In the early summer of , Metastasio settled at Vienna in an apartment in the so-called 'Michaelerhaus'. This date marks a new period in his artistic activity. Some of them had to be composed for special occasions, with almost incredible rapidity: Achille in eighteen days, Ipermestra in nine.

Poet, composer, musical copyist and singer did their work together in frantic haste. Metastasio understood the technique of his peculiar art in its minutest details.

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  8. The experience gained at Naples and Rome, quickened by the excitement of his new career at Vienna, enabled him almost instinctively, and as it were by inspiration, to hit the exact mark aimed at in the opera. In Vienna Metastasio met with no marked social success. His plebeian birth excluded him from aristocratic circles. To make up in some measure for this comparative failure, he enjoyed the intimacy of the Countess Althann it , sister-in-law of his old patroness the Princess Belmonte Pignatelli.

    She had lost her husband, and had some while occupied the post of chief favourite to the emperor. Metastasio's liaison with her became so close that it was believed they had been privately married.

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    Bulgarelli tired of his absence, and asked Metastasio to get her an engagement at the court theatre. He was ashamed of her and tired of her, and wrote dissuading her from the projected visit. The tone of his letters alarmed and irritated her. She seems to have set out from Rome, but died suddenly upon the road. All we know is that she left him her fortune after her husband's life interest in it had expired, and that Metastasio, overwhelmed with grief and remorse, immediately renounced the legacy.

    This disinterested act plunged the Bulgarelli-Metastasio household at Rome into confusion. Bulgarelli's widower married again.

    The Performance of Meta-Theatre and Self-Reflection

    Metastasio's brother, Leopoldo Trapassi, and his father and sister, were thrown upon their own resources. As time advanced, the life which Metastasio led at Vienna, together with the climate, told on his health and spirits. From about the year onward he wrote little, though the cantatas which belong to this period, and the canzonetta Ecco quel fiero istante , which he sent to his friend Farinelli, rank among the most popular of his productions. It was clear, as Vernon Lee has phrased it, that "what ailed him was mental and moral ennui ".

    In the Countess Althann died, and Metastasio was reduced to the society which gathered round him in the bourgeois house of the Martinez.


    He sank rapidly into the habits of old age; and, though he lived till the year , he was very inactive. He bequeathed his whole fortune of some , florins to the six children of his friend Nicolo Martines or von Martinez. He had survived all his Italian relatives. Throughout the forty years of his career in Vienna, in the course of which Metastasio eventually outlived his own originality and creative powers, his fame went on increasing.

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    5. In his library he counted as many as forty editions of his own works. They had been set to music over and over again by every composer of distinction. They had been sung by the best virtuosi in every capital, and there was not a literary academy of note which had not conferred on him the honour of membership.

      Strangers of distinction passing through Vienna made a point of paying their respects to the old poet at his lodgings in the Kohlmarkt Gasse. But his poetry was intended for a certain style of music — for the music of omnipotent vocalists, of exceedingly skilled sopranos and castrati. When the operas of Christoph Willibald Gluck and Wolfgang Amadeus Mozart —focusing more on psychology and less on virtuoso singing—came into vogue, a new style of libretto was needed.

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