this study presents for the first time a complete list of comic operas with choir in the eighteenth century. The analysis focuses on the scores and the librettos, highlighting problems of comic dramaturgy linked to that of serious opera. The composers examined are various, in particular Paisiello and Cimarosa

This study analyzes Jommelli's Vologeso, focusing on the link between music and gesture in arias and recitatives with instruments. The Vologeso score will be compared with those of other works written for the Stuttgart court to observe a stylistic uniformity.

This study examines the works of Luigi Giuseppe Capotorti to focalize the dramaturgy of the Neapolitan melodramma in the Napoleonic era. The analysis of librettos and scores confirms the link between Italian dramaturgy and French one, and the stylistic mixture between dramma per musica and tragèdie en musique.

This listening guide deals with Tchaikovsky's piano writing and the tradition of piano concert in late Romanticism. The second part is dedicated to Mozart's Jupiter symphony and its reception during the Nineteenth and Twentieth Centuries

This study focuses on the myth of abandoned heroines and focuses on the way music makes the moment of abandonment. The study gave an opportunity to deepen the problem of the happy ending on the operatic scenes of the mid-Eighteenth Century, musically treated with similar solutions by the composers of the Neapolitan area.

this encyclopedic voice is the first that offers new sources and new data on Sacchini's biography.

This listening guide focuses on the relationship between classicism and romanticism in the music of Mozart, Beethoven and Mendelssohn. In particular it deals with the form variations and the use of the choir in the symphonic genre

The critical edition of Jommelli's Didone Abbandonata is based on the complete analysis of the musical and textual sources and offers a first detailed study of the autograph writing of Jommelli. The introduction to the edition outlines a complete overview of the circulation of Jommelli's works and focuses on Carl Eugen's patronage in Wurttemberg

This study investigates Jommelli's poetics and topics. In particular, it focuses on the drammi per musica at Stuttgart court, showing how the actor component influences the musical composition. The musical gesture was part of a comic tradition that Jommelli inserts in the context of serious court drammi per musica. It is no coincidence that the first experiments in semi-serious work are hosted in Stuttgart court.

Egidio Romualdo Duni, like other famous composers déraciné, was observed by musicologists according to a 'bifocal' perspective that favored the production after his arrive to Paris, neglecting the Italian period (1735-57) - because many musical sources are missed - or considering it prodromal compared to the Parisian works. Here it is proposed to highlight, with no teleologism, the style of Italian Duni through the examination of Giuseppe Riconosciuto, oratorio dated 1757 but probably written close to the appointment as master of chapel in San Nicola di Bari (1743) and therefore conceived as test bench to give a display of compositional expertise. To better outline the salient features of Duni's writing, it was decided to compare this oratorio with two others, homonyms, intoned by contemporary composers, Adolph Hasse and Paolo Scalabrini, distinguished for the European dimension of their theatrical career. The aim of the analysis will be to verify the relationship between innovation and conventions in the application of the compositional schemes by Duni and to hypothesize whether the elusive debut in the comic genre has influenced its way of relating the poetic content and dramatic to music.

The iconographic sources offered by terracottas from ancient Apulia allow to formulate reconstructive hypothesis of the practice of Greek ancient music. The value of those images it also involves an anthropological dimension which connects mythological imagination to music practiced and listened to. The myth, a fantasy social renewal in the creation of new connections and new senses can be declined in the imagination melodramatic and suggest for centuries the world of melodrama. This book, combining an iconographic and anthropological perspective on the history of the Opera, it is proposed to trace the many red threads that bind the European culture to that of Greek classicism. For the first time a synthesis is proposed on the operas that have as their subject the myth of Orpheus from 1600 to 2006.

This study is a complete synthesis on Paisiello's biography, based on new sources from archives of Taranto.

This encyclopedic voice is the first that offers new sources and new data on Petrosellini's biography. Too long it was believed that Petrosellini wrote the libretto of Paisiello's Barbiere di Siviglia. New documents ascertain that he was not the librettist of that fortunate work.

During nineteenth century operatic chorus was a powerful vehicle for the diffusion of national feelings. An acclamation or an hymn was able to suffer political readings since the chorus could be outside the action as a voice-off. Choral mass could represent nation’s identity when was elevated from its largely passive and decorative role into a dynamic embodiment of ‘the people’. The origin of this change is datable during the ultimate decade of eighteenth century, particularly in the repertory of Fenice theatre in Venice (years 1792-1804). Here the finality is not only to collocate in the eighteenth century an idea of chorus that traditionally is ascribable to romanticism, but also to explain the consequences on compositive strategy examining how the composers skillfully unite musical and dramatic elements to make the chorus an integral character.

This study examines the myth of Pergolesi in the Europe of Enlightenment, focusing on the writings of the theorists of melodrama (from Bianchi 1750 to Bonifazio Asioli 1832). Abstract aesthetic categories and live impressions come together to create a mythology that spans the entire century from generation to generation.

this listening guide examines Handel's Roman patronage and relations with Cardinal Ruspoli. The libretto of Il Trionfo del Tempo e del Disinganno puts Handel himself among the characters celebrating his fame. In this study take place a new tipe of analysis based on Mattheson's aesthetics categories.

Musicological studies have examined the metaoperistic repertoire, privileging its informative potential on the coeval production and reception habits, thus elevating them to precious testimonies for investigations of musical lexicography. This approach placed the examination of the Librettos in the foreground, neglecting the scores, and thus excluding the possibility of understanding how the operas were able to make comedy through music only (both in the 'metateatrical' insertions, both in other parts of the drama). In this study will examine some metaoperistic titles set up between the eighteenth and nineteenth centuries to identify the passages in which the score became the main source of rice among the audience.

The examination of Giuseppe Nicolini's Il Geloso sincerato confirms the difficulty in attributing a clear collocation to the comic opera during the period of 'transition' (en attendant Rossini), but at the same time reveals interesting attempts to conquer a new gesture musical, substitutive of that which was rooted in Pergolesi & C. In this complex change of course it is difficult to understand if Nicolini acted as the main character or if instead he was one of the many dignified masters that the genius from Pesaro will wipe out in a shot. Rather than to the composers, attention should be focused on the wishes of the performers and on the production mechanisms of the individual theatrical places.

This essay focuses on the problems of Paisiello's works put on stage in modern theaters. It is a study on musical dramaturgy applied to the needs of contemporary directors and theaters, and examines the scores while observing their gestural potential

This study examines the opera production of Jommelli in Stuttgart with particular reference to the Didone Abandonata (1763). The autograph of this score allows analyzing the care of Jommelli for the instrumentation that accompanies the gestures of the singers. In this case the music is strictly linked to the action and it develops an innovative language (especially in concertati)

This study focuses on the Giordani's Opere Serie, in particular on Ines de Castro which in many respects anticipates the sensitivity of Romanticism. The innovative musical style, the use of choirs and complex multi-sectional arias are typical elements of a new way of writing drammi per musica. The study examines autograph sources.

This encyclopedic voice offers a study on the Piccinni's biography that sheds new light on the Italian period of its beginnings.

This review focuses on some problematic aspects of Del Donna's book, focusing on the complex relationship between music and society in Naples at the end of the Eighteenth Century

This study examines the operatic production of 1770 in Europe and compares it with the works that Mozart composed in that year. It is clear that some works by Jommelli and Cafaro are in line with the innovations that the young Mozart exhibited in his works series written for Milan; it follows that the opera production in Naples on Metastasio's librettos offered substantial morphological innovations.

This listener guide introduce to Paisiello's Semiramide in villa, focusing on the musical style of the metateatral librettos and on the virtuosity shown by the singers.

Edizioni critiche dei libretti di Metastasio musicati da Jommelli condotta attraverso un innovativo porgramma informatico che permette interrogazioni complesse e confronti sinottici. Presente online in libera consultazione.

This study focuses on the relationship between Piccinni and the theaters of Rome. The intermezzo le donne vendicate (1763) is only partly inspired by the Goldoni's libretto and shows to adapt to the production context of the Roman theaters of the Eighteenth Century

This study focuses death on stage in the early eighteenth century melodrama, observing musical strategies that realize the death of the character on the scene. In particular, it focuses on the double version of Handel's Tamerlano.

A listening guide to understand the use of popular and national themes in the symphonic works of Brahms Dvorak and Caikovskij, in relation to the political context of the late nineteenth century

This study focuses on the songs of "popular" music contained in Eighteenth-century opere buffe and comedies and tries to verify how the composers knew to recreate the effect of "street music" with mandolino, calascione and other popular instruments. From Leonardo Vinci to Giovanni Paisiello.

This listening guide examines the tradition of violin concerts during romanticism and the relationship with the symphonic production. The Schumann concerto for violin becomes an indicative example for understanding the compositional style after Beethoven.