Where is the black stone of Emesa?
Mozart's first opera seria. Don't judge the genre by this!
Five countertenors and a tenor in an opera seria masterpiece!
Intermezzo in 2 partsComposer: Giovanni Battista PergolesiLibretto: Gennarantonio FedericoFirst performed: Teatro San Bartolomeo, Naples, 28 August 1733 For a comic interlude of 45 minutes, La serva padrona carries a lot of weight on her slim shoulders. She’s the ancestrix of both the Italian opera buffa and the French opéra comique. The wily maidservant Serpina (little … Continue reading 128. La serva padrona (Pergolesi)
Dramma per musica in 3 actsComposer: Nicola PorporaLibretto: Nicola ColuzziFirst performed: Teatro Capricana, Rome, 11 February 1732 Nicola Porpora was a master of writing for the human voice. In his day, he was one of Italy’s foremost singing teachers; his pupils at the Conservatorio di Sant’Onofrio, Naples, included the castrati Farinelli and Caffarelli (who studied … Continue reading 127. Germanico in Germania (Porpora)
Opera seria in 3 actsComposer: Leonardo VinciLibretto: Pietro MetastasioFirst performed: Teatro Alibert, Rome, 19 January 1728 A Roman triumph! Decca’s 2015 recording (conductor Riccardo Minasi, with Il Pomo d’Oro) of this Caesarian opera seria has some of the most extraordinary singing I’ve ever heard. Veni, audivi, Vinci, one might say. Catone in Utica was Leonardo … Continue reading 126. Catone in Utica (Vinci)
The 18th century has been called the age of Metastasio. The Roman poet's 27 libretti were set more than 800 times, and used as late as the 19th century, including by Meyerbeer (Semiramide riconosciuta, 1819) and Mercadante (Didone abbandonata, 1823). The most famous Metastasian opera today is Mozart’s Clemenza di Tito. Born Pietro Trapassi, 1698–1782; … Continue reading A note on Metastasio