Valse des esprits Cendrillon: Chantez Chansons des bois d'Amaranthe: Qui parle dans la nuit confuse? Cid Acte 4 Il a fait noblement Cid: Aubade, Le Cid - Ballet Music: Fragmento Grace Bumbry , Le Cid. Plus de tourments et plus de peine Cid. Ronde des cigales Cigale. Solitaire sur ma terrasse Cleopatre: Lent et calme Deux impromptus: Acte IV Don Quichote: C'est vous qui lanciez" Don Quichotte: Voir un corps long" Don Quichotte: Ne pensons qu'au plaisir d'aimer" Don Quichotte: Je fus le chef" Don Quichotte: Death Scene Don Quichotte: Lorsque le temps d'amour a fui Don Quichotte.

Mort de Don Quichotte Don Quichotte: Danse grecque, Les Erinnyes: Comme ce nom me trouble" Esclarmonde: Act IV, Scene Selections Introduction by Milton J. Cross Io son sol Adieu, notre petite table: Acte I, Le jongleur de Notre-Dame: Pour la Vierge Jour de noces Jules Massenet: John Eliot Gardiner Koncert. A dispar vision Manon: Act 1 'Allez a l'auberge voisine Act 1 'Et je sais votre nom Act 1 'Hotelier de malheur Act 1 'J'ai marque l'heure du depart Act 1 'Je suis encore tout etourdie Act 1 'Nous vivrons a Paris tous les deux Act 1 'Regardez moi bien dans les yeux Act 1 'Revenez Guillot, revenez Act 1 'Voyons, Manon, plus de chimeres Act 2 'Adieu, notre petite table Act 2 'Enfin, leas amoureux, je vous tiens Act 2 'Je venais d'ecrire a mon pere Act 2 'On l'appelle Manon Act 2, Prelude Manon: Act 3 'A quoi bon l'economie Act 3 Ballet Manon: Act 3 'Bonjour Javotte, Bonjour Poussette Act 3 'C'est la fete au cours La Reine Act 3 'Et maintenant Oui, dans les bois Manon: Act 3 'Je suis seul!

Act 3 'La charmante promenade Act 3 'Les grands mots que voila Act 3 'N'est-ce plus ma main Act 3 'Pardon, mais j'etais la Act 3 'Pardonnez mi, Dieu de toute puissance Act 3 Prelude Manon: Act 3 'Profitons bien de la jeunesse Act 3 'Quelle eloquence! Act 3 'Repondez moi,Guillot Act 3 'Suis-je gentille ainsi Act 4 'A nous les amours et les roses Act 4 'Jeux, Messieurs Act 4 'Le joueur sans prudence Act 4 'Manon, sphinx etonnant Act 4 'Oui, je viens t'arracher a la honte Act 5 'Tu pleures En ferment les yeux" Manon: Ah, fuyez, douce image" Manon: Adieu notre petite table" Manon Manon: On ne peut mieux dire" Manon acte II: Avez-vous peur que non visage" des Grieux, Manon Manon: Air "Je suis seul!

Dig et dig et don! Pardommez-moi, Dieu de toute puissance" Manon Manon: Ah, fuyez, douce image" des Grieux Manon: Les belles indolentes" Manon: Permettez-moi de jouer sur parole" Manon: Fuez douce image" Des Grieux Manon Ah! Ah fuyez, douce image Manon Entree de Des Grieux et duo de la rencontre: Je ne suis que faiblesse… Adieu, notre petite table Manon: Je ne suis qui faiblesse Adieu, notre petite table Manon: O dolce incanto Manon.

Heureux ceux qui vivent dans l'amour Marie-Magdeleine. Les vieux compagnons", La Navarraise: Werther oiselets, Les On dit!

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Selections Ouvre tes yeux bleus Panurge. Marylene Dosse Piano Concerto: Marylene Dosse Piano Concerto in E-flat major: Andante moderato - Allegro non troppo Piano Concerto in E-flat major: Largo Piano Concerto in E-flat major: Son tua Sposa, ad Ach. Non resisto al rio dolor. None of the characters can prevent Eriphyle from ending her life herself by jumping into the sea.

All stay meekly behind and watch the gruesome spectacle, with the exception of Ajax, who does not want to recognize his defeat and leaves. To be sure, the composer held dear to the ideals of the galant style, providing his singers with a preponderance of cantabile 5. Nonetheless, several numbers 5. First, there were the technical limitations of eighteenth-century wind instruments which dictated a substantial number of choices. Telling from this respect is the consistency with which D Major appears together with trumpet nos.

Ob, trp, hrn 83 Eur. Ob, trp, hrn Ifi. In addition, there are the relationships between key and other parameters like tempo and meter, testifying to compound parametric units. Both C Major arias nos. Three out of four E flat Major pieces, finally, involve Larghetto and binary meters nos. Third and last, there is the correspondence between musical and semantic-affective registers. From the very beginning, Agamemnon vacillates between his paternal self and his public role as commander-in-chief to the Greeks.

On the other hand, Euripides has him dispute the legitimacy of the Trojan War and try his utmost to rescue his daughter. From a father determined to save his daughter to a leader persuaded that the sacrifice is inevitable, and that he is in no position to avert it? Is he a realist or a fatalist? Ah, mi vedessi il cor. Moreover, Agamemnon is incapable of performing a full Allegro: His inner self is in a continuous state of agitation, as made clear through lacking introductory ritornelli, declamatory vocal lines and wide intervals.

Quite naturally, these traits may also be seen as portrayals of the original performer, Letterio or Litterio Ferrari, 91 still they leave the image of a man who lacks power and self-control. In Act I scene 7, Iphigenia appears as an ill-fated virgin, chaperoned by damsels and living within intimate galleries and apartments. Being isolated from the rest of the cast, she lacks the protection and comfort of a mother, and instead represents a mature noblelady who teaches Achilles lessons in love no. Her musical role is equally versatile, to say the least.

It explores both the sharp nos. Racine upgraded the character to a galant knight whose blind passion gives way to ruthless fureur and a murderous plan.


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Such variation overcame the tedium latent among most spectators. Ma poi, che fo? Ha da togliermi la vita Chi vuol togliermi il mio ben. Da Lesbo a queste Sponde volai per prevenirti: Alfine Ti riveggo mio ben. Chiamarti mia Posso pure una volta. I tuoi bei lumi Sfuggono i miei! Congiuri Col Genitore a tormentarmi? Oh Dei, Forse cangiasti affetto? Mi svela Di tal freddezza la cagion qual sia.

Non so partire, Non so restar, non so formar parole. Altrove i lumi Tu rivolgi inquieta e sfuggi i miei? A qual eccesso Mi trasse il mio furore? Ovunque io miro, Mi vien la morte e lo spavento in faccia; Trema la reggia e di cader minaccia. Arda la reggia; e sia Il cenere di lei la tomba mia. As mentioned in Chapter One, classicist tragedians like Corneille and Racine took care not to shock the audience with horrid spectacles and instead entrusted these incidents to vivid narrations.

Ah, nel sol pensarlo, il sangue Mi si gela intorno al Cor! Gelido in ogni vena Scorrer mi sento il sangue. Like representations can be encountered in earlier scores of Neapolitan breed.

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Pergolesi La morte di San Giuseppe? In his second version of Eumene Naples, , for instance, there is the same key, flowery violin parts, pedal notes in the bass, sustained chords in the winds, and harmony in an accompagnato for Artemisia: We will restrict ourselves to a last example: Cajo Mario Rome, Offering a striking illustration of the way in which opera seria borrowed, curtailed and restructured the gross constituent units engendered by mythological tradition, it represents, in equal fashion as epic stories and classical tragedies, a set of structural units from which bundles of relations emerge in both horizontal-synchronic as vertical-diachronic direction.

Through his skillful manipulations Jommelli managed to convince his spectators and please the impresarios. Letter from Voltaire to Frederic II, March 1 One of the decisive events in eighteenth-century history was the rise to power of Frederick the Great, on 31 May More than any other absolutist ruler, Frederick II reformed his state along the lines of enlightened thought. Still, it was responsible for proclamations of religious equality and such provocative projects as the construction of the Catholic Hedwigskirche in the heart of protestant Berlin.

What it also brought forth was a mythological revival in the arts. On 7 April , Frederick wrote: The present chapter will unveil a number of aspects of this remarkable, but underestimated phenomenon.

Operatic performances remained wholly absent from the Prussian calendar between and , and such not only on account of economical considerations. Most of all, it were Pietists who kept opera away. On the one hand, he paid lip service to Bayle and Fontenelle see Chapter One , summoning up repulsive visions of priestly impostors who indoctrinated the masses through ridiculous fables. Opera thereby provided them with an efficient medium of propaganda. In addition, 17 Ibid. The latter chafes at Serapis and his priests while soldiers wreck religious paraphernalia: Tu secondi un Roman?

I Soldati gettano a Terra e riducono in pezzi la statua del Nume, rovinano la pira, roversciano i vasi, spengono il fuoco; e tutto pongono in confusione, e fuori lo trasportano. Stuolo di gente vil, fuori cacciate. The second option for Frederick and his allies consisted in rehabilitating pagan religion from the deist point of view, that is, from the idea that it too could be regarded as a natural religion. On providing Francesco Algarotti with the scenario of the opera, in October , Frederick made no secret about his intentions: Carl Heinrich Graun Montezuma Berlin, In the mentality of absolute monarchy the king was the country.

Only in this light did his claim make sense. He himself, not his courtiers or citizens, eagerly seeked to blemish their reputation simply because they had blemished his youth, both mentally as physically. Apollo stood thereby central as an icon of his artistic fervor and talent. Already in , he had Georg Wenceslaus Knobelsdorff re-arrange the gardens around his residential houses at Neuruppin, a secluded garrison town eighty kilometers north of Berlin.

Curiously Wilhelmine would conceive the scenario for an opera entitled Amaltea — it was versified in Italian by Luigi Stampiglia and premiered as a pasticcio in Bayreuth on 10 May A Perspective View of the Theater at Berlin c. Anonymous engraving after a drawing by G. Zwischen den Pfeilern sind vier Basreliefe, die Geschichte des Orpheus vorstellend. Deities and satyrs bore the ceiling of the foyer, which was aptly nicknamed Apollosaal, like caryatids. Antoine Pesne Apollo and the Muses c. Les artistes vont voir Knobelsdorff.

Frederick to Algarotti, undated letter 46 Frederick eagerly anticipated the return of opera to Prussia. Already on 27 October , the Vossische Zeitung announced the construction of an improvised stage at the Berliner Stadtschloss. In those years of trial and error, Frederick made continuous bows to Dresden, the orchestra and opera ensemble of which had enraptured his heart ever since the winter of , when he visited the Saxon Court with his father.

Vying to outdo the Saxon-Polish Elector by all means, Frederick acquired copies of the scores of il caro Sassone, Johann Adolf Hasse, and had several of them revived at Berlin. Thus La Clemenza di Tito and Arminio were mounted complete with the original music, while Caio Fabrizio and Lucio Papirio dittatore were presented with new music by Graun see table 6. The influence of Dresden even sparked a number of slightly embarrassing anecdotes. In , its last remnants were torn down together with the Stadtschloss. Friderician opera between and Typically, the only pieces in which deities appeared were the two encomiastic prologues that were added for princely weddings.

Neither of these cantatas, however, made a significant contribution to the evening, the former being comprised of a mere two arias and a duet, the latter of two arias one each for Venus and Cupido and a chorus. La travaille du Martout, con spirito; 4. Etonnement de la perfection de son ouvrage, Andante; 5.

Surprise de la statue; 9. Affectuoso pour privoise la statue qui est timide, Adagio; Dance en tambourin; The ballet must have scored a brilliant triumph, for Frederick ordered Pesne to reproduce one of its key moments on the wall of his music room at Sanssouci. January saw the replacement of Bottarelli by Leopoldo de Villati, a former court poet from Vienna and Munich. That very month, a prima donna of international calibre arrived in the guise of Giovanna Astrua. Giacomo Fabris was discharged as scenographer and substituted by Innocente Bellavita. The combined presence of these forces appear to have provided the conditions congenial for far-reaching experiments.

In terms of subject matter, libretti now came to be drawn from a much wider array of sources. All libretti were written by Leopoldo Villati. Of all the voices ever created by nature, none like this one has ever before existed. Mehr als einmal haben seine Maschinen den Operisten fast das Leben gekostet. It staged the festivities organized by three princes on conquering the hand of a Neapolitan queen. Both works, and especially the latter, were far ahead of their time. The first such work, Angelica e Medoro , was based on Roland , an Ariostan folly dealing with the capture of Medoro by Alcina and the pursuit of Angelica by mad Orlando.

Owing to its overwhelming reliance on le merveilleux, most critics responded ambiguously to attempts at transposing this action to Italian norms. As a matter of fact, it was he himself who advanced the scenario and supervised its versification. The libretto of this work is worth mentioning for the inclusion of a fifteen-page Discourse on operas by John Lockman. Si sente gran strepito nel tempio, e si vedono le porte del medesimo a chiudersi da se stesse. The spectacular incident is followed up in a blink by an extended divertissement of Seasons and Hours, dancing their way into the third act.

In the finale, everything is covered in flames as Phaethon falls from heaven. One can easily imagine what Frederick William I must have thought of the expenses involved in staging this costly frivolity. The dancers were Mr. The extra characters thereby fill in the plot like pieces of a puzzle. Thus Aspasia is directly responsible for the deaths of Euridice and Orpheus since it is she who puts the fatal serpent in the grass and leads the murderous Bacchants.

In February , furthermore, he remarked: Carl Heinrich Graun Orfeo Berlin, On account of such astonishing features, Orfeo garnered considerable success, enjoying various reprises in Berlin, Mainz and Hamburg. On 9 July , Leopoldo de Villati passed away. His legacy would live on, be it elsewhere in Europe.

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In January , the Dresden court — of all places — produced Zoroastro, a tragedy adapted by the young Giacomo Casanova from a libretto by Louis de Cahusac Zoroastre, Paris, The result, however, was a total fiasco. A new sensibility for myth Which Berliner was responsible for trail-blazing that sudden and unlikely rapprochement between Italian and French opera? To be sure, Villati authored all of the fourteen libretti performed between and ; yet, the evidence surrounding his literary career prevents us from regarding him as the mastermind behind Friderician reform.

Before his tenure at Berlin, Villati composed a handful of oratorios for the Habsburg court and two drammi for Munich, Berenice and Ciro , none of which was particularly innovative. Although the King never set foot outside the German area, his taste was oriented toward France when it came to ballet, drama, literature and painting, toward Italy when singers were concerned, and toward Germany for matters regarding composition and instrumental music. What kind of opera was most dear to such a person? In , Frederick forwarded this question to his Directeur des Spectacles in an epistle entitled Sur les plaisirs: It heralds a current of thought that would eventually come to denounce neo-Aristotelian precepts in favor of more empirical criteria such as sensual delight.

Verisimilitude thereby ceased to be seen as an a priori rule whereby the intrinsic quality of the dramatic poem could be judged. Instead, verisimilitude became an ad hoc standard for measuring the instant effect of the spectacle. What is of capital importance is that this aesthetic transition contributed to the reappraisal of mythology in opera. In so weird a concoction the poet wearies himself in vain to fiddle with the interest [action], and if he has a brain, he is the first to laugh about such monstruous creations. One of them, Charles Batteux, questioned the criteria whereby verisimilitude was generally applied.

While tragedy and opera staged larger-than-life actions, the former pertained to the heroic and human, the latter to the marvelous: Vi si veggono celebri nomi, avvenimenti istorici, azioni conosciute o con gran parsimonia di cambiamenti al gusto del teatro accommodate. Ich bitte die Quinaultischen Opern ohne Vorurtheil zu lesen, und als ein Aestheticus zu betrachten. Krause was well informed by the productions at the Opernhaus. His major contribution to operatic poetics, the treatise Von der musikalischen Poesie , was dedicated to none other than court Kapellmeister Carl Heinrich Graun.

In a paragraph on recitative-writing, he for instance commented that Man [who? Diejenigen aber, die die Regeln der letztern [spoken plays] wissen oder wissen wollen, wollen selbige durchgehends auf alle Schauspiele ziehen, und sind mit den Singspielen gar nicht zufrieden. In Absicht auf die Wahrscheinlichkeit [ Es ist schon zur Gewohnheit worden [in Berlin! Man verletze also die Wahrscheinlichkeit ein wenig: But all its scintillating and meticulous observations in spite, it would exert little or no influence on operatic reform elsewhere in Europe.

Luckily, another intellectual had witnessed — and contributed to — the very productions Krause commented upon. Six dialogues later, the reader is acquainted with all the details about the dispersion of light, without having endured the slightest moment of boredom. Thus, at one point in the third dialogue, the Cavaliere compares the excitation of colors on the optic nerve to an imagined harpsichord that generates colors, rather than musical styles: Upon moving the Keys of this Instrument, instead of hearing Sounds, you will see Colours and Mezzo Tintos appear, which will produce the same Harmony as Sounds do.

This surprizing Instrument is now making beyond the Mountains, and you may for the future expect your Silks and Ribbons in Music. The transient Pleasures of the Ear will be fixed in the Eye; you may continually enjoy the fine Airs of Farinelli wove[n] in a piece of Tapestry. Back in Venice, he was confronted with an operatic industry that stood in stark contrast to the courtly discipline imposed by Frederick. The cantate mentioned in the letter must be presumed lost.

On 3 June , four days after his ascension, Frederick begged him again to come to Berlin, writing: Je vous attends avec impatience; ne me faites point languir. Algarotti finally arrived in Berlin on 28 June After his return to Berlin, Algarotti would keep in touch with the Dresden court poet Claudio Pasquini. Who was this man? An Eloge by Berlin academician Formey learns that Sveerts was a deputy of Flemish descent who originally worked in the service of Austria he was married to the daughter of an Austrian minister until Frederick annexed him along with the Silesian province, in autumn As regards the latter function, Lessing in effect reported that Sveerts took responsibility for the distribution of tickets and on so doing decided who entered the theater.

Who will more than you be able to decide whether in these thoughts of mine I have shown understanding about the true form of opera? At least two Racinian pieces included in the repertoire of , Mithridate and Britannicus, would resurface in adapted form at the Opernhaus. Gifted with a superior mind which not only informs the more vital parts of the state, but also blends it [superior mind] with the whole body, it spurs and animates everything. In fact, the Italians can today witness their own arts perfectioned under a sky so different from theirs [Prussia], just like the ancient Romans could witness examples of their own virtues revived over there [in Italy].

The fabulous subjects, on account of the great number of machines, and magnificent apparatus, which they require, often distress the poet into limits too narrow ALGAROTTI , This impleaded error may be observed every day upon the Italian stage. Moreover, historical subjects do not furnish so striking a variety, as those that are fabulous; they are apt to be too austere and monotonous. He therefore advocated a return to the roots of opera, and thus to mythological subjects: At the first institution of Operas, the poets imagined the heathen mythology to be the best source from which they could derive subjects for their dramas.

And that such splendid pageantry might appear to be the genuine right of tragedy, the poets had recourse for their subjects to the heroic ages, and heathen mythology. From that fountain, the bard, according to his inventive pleasure, introduced on the theatre all the deities of paganism […] And thus by the intervention of superiour beings, he gave an air of probability to most surprizing and wonderful events. Every circumstance being thus elevated above the sphere of mortal existence, it necessarily followed, that the singing of actors in an Opera, appeared a true imitation of the language made use of by the deities they represented.

This then was the original cause, why in the first dramas that had been exhibited in the courts of sovereigns, or the palaces of princes, in order to celebrate their nuptials, such expensive machinery was employed; not an article was omitted that could excite an idea of whatever is most wonderful to be seen either on earth, or in the heavens.

To superadd a greater diversity, and thereby give a new animation to the whole, a crowded chorus of singers were admitted, as well as dances of various contrivance, with a special attention that the execution of the ballet should coincide, and be combined with the choral song: Thence forward prevailed a general renunciation of all subjects to be found in the fabulous accounts of the heathen deities, and none were made choice of, but those derived from the histories of humble mankind, because less magnificent in their nature, and therefore less liable to large disbursements for their exhibition.


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Through such saving, the Opera may be said to have fallen from heaven upon the earth, and being divorced from an intercourse with gods, to have humbly resigned itself to that of mortals. Algarotti did not fundamentally object to pagan mythology and perhaps he too — like the Berlin academicians — adopted a Voltairian stance that swum with the tide. At the time of writing the Saggio sopra la pittura , for instance, he praised the fecundity of ancient painting, ascribing it to the unbridled imagination of the heathens: The history of the times they [ancient painters] lived in, fraught with great and glorious events, was to them a rich mine of the most noble subjects, which, besides, often derived no small sublimity and pathos from the Mythology, upon which their Religion was founded.

The woods swarmed with Fauns and Nymphs, who, in these obscure retreats, sought an asylum for their stolen embraces. The most potent empires, the most noble families, the most celebrated heroes, all derived their pedigree from the greater Divinities. No longer feeling the need to enshrine itself as a descendant of spoken tragedy, Friderician opera crossed the borders of pseudo- historicism and entered the enchanting realm of the marvelous, exploring topoi which had formerly been locked up behind the bars of Reason. And even within fairly traditional subjects, it re-inserted feats that had not been staged for decades.

The following example will illustrate this. Extreme cold had made it necessary for Bellavita to execute his set designs at the Berliner Stadtschloss, rather than at the Opernhaus. It ran for thirteen performances and was revived in and He concluded the opera in Euripidean fashion see Chapter Five , including a surprise act for the goddess Diana who snatches Iphigenia from the sacrifice and addresses the Greeks. Quite untypically, His prime instrument of deception makes an astounding appearance in the opera: Classicist tragedians and seria librettists had generally brushed away oracles in order to save room for the distress of those who fell victim to their pronouncements.

Aricia, and Castor and Pollux as I Tindaridi, Apart from symptomizing new aesthetic trends, the revival of pagan myth in Berlin may also seem to herald a renewed interest in ancient culture. To be sure, Frederick was a fervent collector of antiquities. First, Frederick lacked a composer of supreme calibre. Although Graun could — and did — compose pieces of exceptional quality, think of the trio in Orfeo and the oracle in Ifigenia in Aulide, his craftsmanship stood as a whole below that of reformers like Gluck, Jommelli and Traetta. Somewhat the same can be said about Leopoldo de Villati, whose libretti offer agreeable reading matter — his recitatives are always concise and his versification correct — but little scenes that hold comparison with the art of reformers like Coltellini, Calzabigi or Verazi.

Perhaps Frederick could have brought in greater masters to supply the plaisirs for his Opernhaus. Unfortunately, his personality was so obnoxious and totalitarian that he repelled even the greatest geniuses from his court. His artistic haven was a doll-house in which every artistic expression, from the ceiling to the snuff-box, was painstakingly controlled and judged by himself.

A great strategian and an uncompromised commander, he preferred to spend his fortune on real battles rather than on staged ones. As Alan Yorke-Long observed: In the first sixteen years of his reign, from until , Frederick was in the prime of his life, sanguine, vigorous, rather set in his ways and in his opinions but still flexible, and above all lively in mind. After the great war in which he so narrowly escaped destruction, he became disillusioned, cynical, tetchy and despotic in his personal relations, ossified and bigoted in his tastes and opinions.

After a period of Athenian liberty, his Berlin turned again into Sparta. A SURVEY Besides serving as a companion to this dissertation, the present database aims to facilitate future explorations of the vast operatic repertoire produced between and The organization of this database is quite obviously determined by the legacy of Greco-Roman mythology. The debatable criteria applied on subdividing this gigantic field are in large measure derived from Van Achilleus tot Zeus. Moormann and Wilfried Uitterhoeve. Thus many characters have their proper entry, while others are cross-referenced.

Each lemma gives a chronological list of all operas dealing with the character in question. The listing should be interpreted as follows: Given the user-friendliness and proven potential of electronic databases, a hypertext interface has been generated for this survey. Updates will be made available in hypertext only on the following URL: Achille in Sciro Prague, 11 F.

Cantata a tre voci: Cyclopes, Galatea Actaeon see: Artemis Admetus see also: Aphrodite, Ares, Artemis C. V47 L 67 A-Wn Mus. Alcestis, Dido, Turnus C. Genoa, 85 C. Naples, 86 A. Enea in Cuma Rome, ? La Lavinia Paris, c. Enea in Sicilia Palermo, V.

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Enea in Cartagine Potsdam? Alt Mag L 11 Agamemnon see: Clytemnestra, Electra, Iphigenia, Orestes Aglaia see: Graces Ajax see also: Alceste, Cerere, Enea Naples, 75 P. La morte di Alceste? V Se 92 I-Bc Lo. Sammelbd 6 6 L A-Wn B. Eros Amphion see also: Aeneas Andromache see also: La promessa serbata al primo Venice, ? Genoa, 23 V. Alcestis, Creon, Eteocles M.

Polinice Madrid, 46 B. London, 68 V. Venere ed Amore Naples, c. Venus und Mars Hamburg, ? La nuova contesa delle tre dee Palermo, ? La nuova contesa delle tre dive, Naples, C. Venere, Marte, Aurora Rome, C. Venere ed Amore Stuttgart? Azione drammatica per musica: Venere sul Tamigi Brunswick, ? BA9 L 2 28? Gli amori infelici felici, Mantua, 16 A.


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Bonn, 20 G. Apollo in Tempe Venice, 22 ; Darmstadt, C. Apollo in Delfo Naples, 25? Coronide Heidelberg, 28? Apollo festeggiante il felicissimo ritorno delle altezze serenissime di Ludovico Rudolfo duca regnante di Braunsviga e Luneburgo etc. Apollo pastore Milan, 42? Apollo, Euterpe in Nitteti, Stuttgart, 54 G. Martis exilium, e pacis reditus Vienna, ? Mars und Irene Hamburg, ? Ariadne Leipzig, F.

Prague, 37 B. Sammelbd 13 5 L , A-Wn Mus. A L 68 D-W Textb. Il ritorno di Arione in Corinto Milan, 85 Artemis see also: Fileno, Cintia, Sonno Ferrara, 86? Diana ed Amore Palermo, Ascanius see also: Ascanio, Venere, Marte Naples, Asclepius see: Apollo Astrea see also: Andromache Atalanta see also: Siculo, Atlante, Giunone Naples, Atreus see: Philemon Bellerophon see also: The L 15 D-W Textb.

Calisto in orsa Venice, 31 Calypso see also: Calipso, Ausone, Proteo Naples, 35? Ferrara, 70 G. Livorno, 71 G. Turin, 72 G. Genoa, 80 A. Bononcini ristampa L 67 I-Mb Racc. Bononcini ristampa L 70 I-Bc Lo. Bononcini ristampa L , I-Rsc G. Dioscuri Cephalus see also: Sammelbd 6 7 L , D-W Textb.

Procride Copenhagen, ? Daphnis Circe see also: Padua, F. Sammelbd 6 8 L A-Wn B. Circe and Ulysses London? Muses Clytemnestra see also: Eros Cyclopes see also: Il Polifemo Naples, Cynthia see: R4 L I-Bc Lo. Viterbo, 15 G. Prague, 34 ; Munich, 35 ; Leipzig, ? Casale Monferrato, 45 V. Venice, 47 B. Parma, 59 G. B Se 70 I-Vnm Cod. Danaids Daphne see also: Apolo y Dafne Madrid, 81 L. Gli amori delusi Prague, 94 G. Deucalion und Pyrrha Augsburg, A. Artemis Dido see also: Lucca, B. V 77d S , A-Wn Mus. Cesena, V. Fano, V. Florence, J.

Bergamo, ; Bergamo, V. Didon heureuse Paris, N. Le seconde nozze di Didone Venice, Diomedes see also: Diomede Udine, Dionysus see also: Il satiro deluso Venice, F. Le nozze di Bacco Madrid, ? P2 L I-Bc Lo. Narcissus, Pan Egeria see also: Diana, Egeria, Irene Rome, 1 G. Mantua, 10 G. Diana amante Naples, 31? Naples, 41 I. Koblenz, 50 J. Iphigenia, Orestes, Orpheus Eros see also: Discordia, Amore, Costanza in Le rivali generosi, Rome, ? Introduzione alla festa di ballo: De la Virtude ha la Bellezza onore Venice, A.

Amore, Pace, Providenza Naples, ? Amore vince il tutto Salzburg, F. Amore, Arbia, Arno Siena, F. Amore, Genio Florence, N. Bellezza, Imeneo, Merito, Amore Venice, ? AmazonGlobal Ship Orders Internationally. Amazon Inspire Digital Educational Resources. Amazon Rapids Fun stories for kids on the go. Amazon Restaurants Food delivery from local restaurants. ComiXology Thousands of Digital Comics. East Dane Designer Men's Fashion. Shopbop Designer Fashion Brands.

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