UNIVERSITY OF CALIFORNIA 
 AT LOS ANGELES 
 
 A 
 
 r^ 
 
 I3 
 0.52CXX-/
 
 ALBERT SCHATZ, 1839-1910.
 
 LIBRARY OF CONGRESS 
 
 CATALOGUE 
 
 OF 
 
 OPERA LIBRETTOS 
 
 PRINTED BEFORE 1800 
 
 PREPARED BY 
 
 OSCAR GEORGE THEODORE SONNECK 
 
 CHIEF OF THE DIVISION OF MUSIC 
 
 WASHINGTON 
 
 GOVERNMENT PRINTING OFFICE! 
 1014
 
 L. C. card, 1335009 
 
 This work in two volumes is for sale by the 
 
 SUPEKINTENDENT OP DOCUMENTS 
 
 Government Printing Office 
 Washington, D. C. 
 
 Price, $2.00 per set
 
 PREFACE 
 
 Applied fco musical dramas like Wagner's "Tristan und Isolde," 
 the term libretto sounds absurd, but it would be difficult to substitute 
 for the purely practical purpose of naming a catalogue an equally 
 convenient, an equally generic, and at the same time equally specific 
 term. By international consent libretto has come to mean a text 
 that is intended for musical composition, whether it be a text for 
 musical tragedy, comedy or farce, oratorio, sacred or secular cantata. 
 Exactly therein lies the value of this somewhat artificial traditional 
 term for purposes of modern phraseology that it circumscribes with- 
 out necessity of further definition one distinctive field of literature, 
 just as opera, a similarly artificial term, possesses an unmistakable 
 significance. Certainly the combination of the two "-opera-libretto 
 can not be surpassed in terseness of self-explanatory meaning. 
 
 At any rate, the term libretto has here been used without any of 
 the current aspersions on the esthetic value of texts for dramatic 
 music. The term opera-libretto is usually coupled with the idea of 
 a type of drama hardly to be dignified by the name of drama or even 
 literature. Unfortunately this contempt is justified in very many 
 individual cases; but a sweeping condemnation of opera-librettoa 
 would be just as unfair as a sweeping condemnation of "legitimate" 
 dramas, though most of these, too, suffer from artificiality, conven- 
 tionality, and insipidity of theme and treatment. The difference is 
 this, that the defects of the average opera-libretto are not hidden 
 from view so easily by the clever drapery of language. A libretto is 
 not an art work complete in itself and self-sufficient as literature. 
 It requires to be complemented by music. To use Mr. Forsyth's 
 witty phrase, it is but one-half of the scissors of opera. A libretto is 
 practically useless without the music, and vice versa. Thus, while 
 working with the tools of dramatic craft, the librettist molds some- 
 j thing with all the attributes of a play, yet not a play self-sufficient 
 
 on the stage or in the closet. He is handicapped from the beginning 
 by imperative consideration of the technical problems of the com- 
 poser, the limitations and possibilities of musical art. At his best 
 he delivers into the hands of his partner the perfect half of an art 
 work. The difficulty of his peculiar art, therefore, is to prepare and 
 to facilitate the amalgamation of two different arts, and this is a 
 
 72251 VOL 114 1 1
 
 2 PREFACE 
 
 difficulty not always fully appreciated by those who criticize librettos 
 from a literary standpoint and who, over the occasional absurdities 
 of an "Alfred Bunn, Esq.," forget the accomplishments of men like 
 Zeno, Metastasio, Goldoni, Quinault, Favart, Wagner, Boito, Gilbert, 
 Maeterlinck, and many others. 
 
 Whatever the place of librettos is in the history of literature, the 
 libretto has its distinct place in the history of music, more especially 
 in the history of opera. This has been recognized for centuries, and 
 none of the fairly numerous treatises on the dramaturgies of opera 
 omits a more or less convincing consideration of the function and art 
 of the librettist. For this very reason it is astonishing that so far 
 no serious attempt should have been made to give us a compre- 
 hensive history of libretto. It would be, of course, a difficult and a 
 very complicated task, one that could be undertaken only by a 
 scholar equally intimate with the history and technique of dramatic 
 music and of dramatic literature, not to forget an indispensible 
 intimacy with "Kulturgeschichte" and the economic as well as 
 purely commercial currents underflowing the development of both 
 arts; but it would be a fascinating task, indeed, fascinating to both 
 the author and the reader. There are signs I refer to the recent 
 book on Zeno's librettos by Mr. Fehr that the interest in the history 
 of librettos is being revived, and if this interest continues the history 
 of opera can not but profit by it. One result would be a clearer 
 understanding of the share progressive librettists had in the shaping 
 of the art form of opera. One hears much of the suggestions* offered 
 by composers to their librettists, one hears less of the outspoken or 
 latent suggestions offered to composers by their librettists. It was 
 Burney, I believe, who first made the observation that compo'sers and 
 librettists like to travel in pairs; that is, one composer preferably 
 setting librettos by one author to music. If that observation is cor- 
 rect, it stands to reason that under the circumstances the influence 
 of thoughtful librettists on the evolution of opera as an art form must 
 have been very considerable. To decide, for instance, whether Verdi's 
 "Falstaff," as a combined effort in the right direction, owes more to 
 Verdi than to Boito, would be difficult, indeed, just as it would be to 
 establish a perfect balance between our indebtedness to Wagner, the 
 dramatist, and to Wagner, the composer. Earlier periods were not 
 different in this respect. In the case of Calsabigi and Gluck, for in- 
 stance, we have known for some time that Calsabigi had at least an 
 equal share in certain reforms generally attributed to Gluck alone. 
 If we turn to Metastasio, his letters to Hasse and others prove that 
 he was by no means a willing tool in the hands of composers. He 
 submitted to certain traditional conventionalities perhaps because it 
 would have been useless in his time to offer stubborn resistance, but 
 he resented the idea that the librettist had no problems of his own
 
 PREFACE 3 
 
 and should be a mere servant to the composer. "The play is the 
 thing" was his maxim, too, and he plainly gave to the dramaturgies 
 of opera deep and continued thought. With something like a mild 
 monopoly on the art of writing "grand opera" librettos for eighty 
 years in the "eroicamente erotico" manner, as one reformer put it, 
 his influence on opera as an art form clearly must have been remark- 
 able. It is not lessened by the fact that he excelled where most of 
 the composers of his time failed because of fossilized conventionality, 
 namely, in the dialogue, which stamps him, from the purely literary 
 standpoint, too, a great playwright. What is true of Metastasio is 
 true also mutatis mutandis of Goldoni, of Zeno, and the earlier musical 
 playwrights that really count. Indeed, the very foundations of 
 opera were laid, I dare say, by Rinuccini as much as by Jacopo Corsi, 
 Peri, or Caccini. 
 
 If, therefore, the importance of librettos is clear for the history of musi- 
 cal dramaturgies and esthetics, in short of opera in general, still more so 
 is their importance for the history of individual operas. The truth of 
 this statement is perhaps not fully appreciated by those who use 
 only modern librettos with the object of preparing themselves by a 
 better acquaintance with the text for a better understanding of the 
 opera to be heard, a function of the libretto which our libraries should 
 begin to value more highly. Lexicographers and historians, espe- 
 cially local historians of opera, would have been greatly handicapped 
 in their compilations without the direct or indirect help of the libret- 
 tos which, in innumerable cases, furnish the only available clue as to 
 the composer and author of older operas, the casts, which means 
 biographical data on the singers, and the year-dates of perform- 
 ance, very often of first performance. Beyond such invaluable clues, 
 however, librettos furnish information of a very different and equally 
 important kind. Every student of Wagner's life, for instance, 
 knows that his "Tannhauser" was performed in the earliest days at 
 Dresden with several different endings, but in just what these differ- 
 ences consisted was not accurately known before Tappert carefully 
 compared the several editions of the "Tannhauser" librettos first 
 used at Dresden. If we go back to the eighteenth century the im- 
 portance of librettos for the solution of similar textual problems be- 
 comes even greater, indeed perplexingly so if we are interested in 
 early Italian operas. 
 
 This is primarily due to the well-known fact that an opera was 
 hardly ever performed exactly alike as to text and therewith as to music 
 in different cities. The original version of an opera only in rare cases 
 coincided with that of replicas . The pasticcio and rifacimento tendency 
 of the age, fostered by the demands of the singers for ' ' thankful" num- 
 bers and the commercial risks of the managers, undermined the respect 
 for the mental property of author and composer. The custom to sub-
 
 4 PREFACE 
 
 stitute at will arias in the opera to be performed by arias from other 
 operas by other composers and authors, or to replace them by such 
 composed for the occasion, and all this very often without the slightest 
 notice to the audience, grew into a chronic disease, into a system 
 before which authors and composers bowed resignedly and which 
 lasted until the latter part of the eighteenth century. There are 
 cases on record in which out of a total of about thirty arias only 
 about hah* a dozen had been retained from the original version of the 
 opera by the author and composer under whose names the opera 
 continued to sail. 
 
 Supposing, therefore, that a library possesses the score of an old 
 Italian opera and that the score bears the name of a certain com- 
 poser. The inexperienced would look up the date of first performance 
 of the opera in some standard reference work, would attach that 
 date to the score, would accredit the whole score, irrespective of 
 incongruity of style, to one author and one composer and would 
 hold them responsible for the merits or demerits of text and music 
 in detail without further misgivings. This conclusion would be un- 
 sound from the first to the last, as may be inferred from the manner 
 in which the expert would study the score. He would locate in the 
 first place a copy of the libretto as actually used at the first perform- 
 ance of the composer's opera. If the text in the score and the text 
 in the opera agree, with only irrelevant differences, he would conclude- 
 correctly that presumably this was a copy of the score as originally 
 composed by the composer. If the name of the composer had been 
 added by a later hand, he would also conclude that the score had 
 been correctly attributed to him. If, however, the text of the score 
 and of the libretto disagree, he would know immediately, first, that 
 the score in this form was not used for the original performance; 
 secondly, that the score contains ingredients for which the composer 
 named is not responsible. Only by finding an edition of the libretto 
 coinciding fully with the score under question would he be able to 
 date it correctly, and only by a comparison of the original edition of 
 the composer's opera with the edition of the established replica would 
 he be able to determine what belongs to the original author and 
 composer of the opera and what not. Other reconstructive possi- 
 bilities any reader may find for himself by applying, as it were, the 
 rules of permutation. 
 
 Cursory as these remarks are on the different uses to which librettos 
 may be put, they suffice to illustrate the importance of a libretto 
 collection in any well-equipped musical library. Its importance will 
 increase in the same ratio as the library's collection of opera scores 
 increases, and the need of an adequate libretto collection will become 
 imperative should a library attempt to develop its collection of opera 
 scores organically, to build up, as it were, a museum of operatic his-
 
 PREFACE 5 
 
 tory. At any rate, this was the standpoint of the Library of Con- 
 gress when the project of assembling a comprehensive, representa- 
 tive collection of operas began to assume definite shape. The ideal 
 solution of the problem would be to have every opera represented 
 also by its libretto. Whether such an ideal solution is possible of 
 attainment or not, it is clearly the course which every systematic 
 effort would have to take. That it would be futile to start such a 
 collection ab ovo by the painfully slow process of acquiring one 
 desirable libretto after the other was realized from the beginning. 
 Even the gradual purchase of small, though fine, collections like 
 that of Mr. James E. Matthew could hardly accomplish the desired 
 result. The Library of Congress, therefore, abided its tune until one 
 of the large collections known to be in private hands would be within 
 reach. The supreme opportunity came when in the fall of 1908 one 
 of the most famous of all libretto collections, that of Mr. Albert 
 Schatz, of Rostock, was offered us. The Library of Congress lost no 
 time in acquiring this collection, the formation of which had taken 
 Mr. Schatz not less than forty years. 
 
 As Mr. Schatz was in feeble health, and as the Library of Congress 
 quite naturally wished to possess for future use an authoritative state- 
 ment on the origin and history of his great collection before it might 
 be too late, he was requested to furnish such a statement himself. 
 With characteristic promptness he complied with our request and 
 wrote the following autobiographical sketch under date of Rostock, 
 March 17, 1909: 
 
 "Meine Sammlung von Operntexten, wie sie jetzt die Library of 
 Congress in Washington erworben hat, ist das Ergebnis eigener 
 Sammeltatigkeit von iiber 42 Jahren. Bereits in fruhster Jugend 
 entwickelte sich bei mir ein besonderes Interesse fur die Oper 
 und ihre Geschichte, das durch altere Freunde nicht bloss wach 
 gehalten, sondern lebhaft gefordert wurde. Als der kaufmannische 
 Beruf mich zunachst nach Hamburg und dann 7 Jahre nach San 
 Francisco fuhrte, ruhte zwar mem Sinn fur dies Gebiet. Kaum 
 war ich indessen im Herbst 1873 nach Rostock zuriickgekehrt und 
 Besitzer der noch jetzt hier bestehenden Musikalienhandlung Lud- 
 wig Trutschel Nachfolger geworden, als die alte Neigung von 
 neuem erwachte und zu dem Plan erstarkte, sglbst eine Geschichte 
 der Oper zu schreiben. Dieser Plan ist, trotz bis heute fortgesetz- 
 ter Arbeit daran, noch nicht zur Vollendung gekommen ; denn der 
 Stoff nahm bei der von mir angewandten Methode ungeahnte 
 Dimensionen an. Es stellte sich heraus, dass die bisherigen Darstel- 
 lungen der Operngeschichte als Quellen vollig unzureichend 
 und unzuverlassig waren, da sie hi der Hauptsache nicht 
 unmittelbar auf den Quellen aufgebaut, sondern ohne Kenntnis
 
 6 PREFACE 
 
 dieser, einander nachgeschrieben sind. So kam ich zu dem Schluss, 
 dass eine korrekte Darstellung ein unmittelbares Studium der 
 Grundquellen vernotwendige, und sah mich genotigt, da sammt- 
 liche grossen Bibliotheken dies Quellenmaterial nur unvollstandig 
 enthielten, selbst an das Aufspiiren und Sammeln derselben zu 
 gehen. So 1st im Laufe der Jahre meine Textsammlung und 
 meine Bibliothek entstanden, von denen in Sonderheit erstere von 
 kaum einer anderen Sammlung gleicher Art iibertroffen werden 
 diirfte und unter alien ernsten Arbeitern auf gleichem Gebiet weit 
 und breit bekannt geworden ist. Sie fiihrte mich mit einer Reihe 
 anderer Musikhistoriker zusammen, mit denen ich korrespond- 
 iert habe und zum Teil noch korrespondiere. Diese Sammlung, 
 sowie die Bestande der Bibliotheken Europas, forderten meine 
 Geschichte der Oper so weit, dass das statistische Material in circa 
 80,000 Zetteln ziemlich abgeschlossen vorliegt. Diese Zettel ent- 
 halten jeder den Titel einer Oper, Namen des Komponisten und 
 Dichters, Ort, Theater und Zeit, nicht bloss der ersten Auffuhrung, 
 ..sondern auch der erstmaligen Wiederholungen in andern Stadten 
 oder Theatern. Sie sind chronologisch und alphabetisch geordnet, 
 lassen sich ohne grosse Schwierigkeit, aber auch nach Komponis- 
 ten, Dichtern, Stadten und Theatern zusammen stellen und ergeben 
 den vollstandigen Stoif fur eine Bibliographic der Oper. Zu dem 
 fertigen Material gehort insbesondere das iiber die Komponistea 
 D. Cimarosa, B. Galuppi, C. W. von Gluck, K. H. Graun, P. 
 Guglielmi, G. F. Handel, J. A. Hasse, N. JommeUi, J. S. Mayr, 
 F. Paer, G. Paesiello, N. Piccini, A. M. G. Sacchini, und G. Sarti. 
 Es liegt vor in 36 Banden und bedarf zur Veroffentlichung nur 
 einer Schlussre vision. Das Werk im urspriinglichen Plan zur Aus- 
 fuhrung zu bringen, ist mir, da ich in wenigen Wochen das 70. 
 Lebensjahr erreiche, wohl nicht mehr beschieden. So weit ich selbst 
 nicht noch zu Einzeldarstellungen gelange oder eine andere Ver- 
 wertung sich mir anbietet, beabsichtige ich dieses Material mir 
 bekannten Fachgenossen zur Veroffentlichung oder Benutzung bei 
 anderen Arbeiten zu iibergeben. Das unfertige Material soil dage- 
 gen nach meinem Tode der Vernichtung anheim fallen." 
 
 [Translation.] 
 
 "My collection ef opera-librettos, now in possession of the Library 
 of Congress, is the result of more than forty-two years of collecting. 
 Since early youth I took a particular interest in opera and the 
 history of opera, and this interest was kept alive by older friends 
 and encouraged. When a commercial career took me first to Ham- 
 bourg and then for seven years to San Francisco, my mind was con- 
 centrated on other matters, but hardly had I returned in the fall 
 of 1873 to Rostock, to become the owner of the still existing firm
 
 PREFACE 7 
 
 'Musikalienhandlung Ludwig Trutschel Nachfolger,' when my 
 old passion awoke and I conceived the plan of writing a history of 
 opera. This project, though I have worked at it until now, has 
 not been completed, inasmuch as it reached unsuspected dimen- 
 sions, owing to the method of procedure employed by me. I found 
 that previous histories of operas were absolutely insufficient and 
 unreliable, since in the mam they are not based on primary sources, 
 but were copied one from the other without the knowledge of these 
 sources. I became convinced that a correct history would neces- 
 sitate the study of the primary sources, and since none of the large 
 libraries contained the material sufficiently complete, that I would 
 have to trace and collect it myself. 
 
 "In this manner my libretto collection and my library gradually 
 came into existence, of which especially the former is hardly sur- 
 passed by any other. At any rate, it became known everywhere 
 to scholars interested in the same subject, and through my collec- 
 tion I was brought into contact with quite a few other musical his- 
 torians with whom I corresponded and still correspond. My own 
 collection and librettos in other European collections furthered my 
 history of opera to the point that the statistical part may be con- 
 sidered fairly finished on about 80,000 cards. Each card contains 
 the title of an opera, name of composer and author, place, theatre, 
 and date of the first performance not only, but of the first repeti- 
 tions in other cities or theatres. The cards are arranged chrono- 
 logically, subarranged alphabetically, but without much difficulty 
 could be rearranged by composer or author or cities and theatres. 
 They represent the complete material for a bibliography of opera. 
 I mention especially the material on the composers D. Cimarosa, 
 B. Galuppi, C. W. von Gluck, K. H. Graun, P. Guglielmi, G. F. 
 Handel, J. A. Hasse, N. Jommelli, J. S. Mayr, F. Pae'r, G. Paesiello, 
 N. Piccini, A. M. G. Sacchini, and G. Sarti. These thirty-six vol- 
 umes need but a final revision for the purpose of publication. (To 
 write my history of opera, according to the original plan, is hardly 
 allotted to me, since in a few weeks I reach my seventieth year.) 
 If I am not able to at least write some monographs, or unless an 
 opportunity arises for disposing of it otherwise, I intend to entrust 
 this material to colleagues of my acquaintance to be published or 
 to be used by them for other works. The incomplete material, on 
 the other hand, shall be destroyed after my death." 
 
 Beyond the pride in the possession of the Albert Schatz collection, 
 
 *the Library of Congress takes a sentimental interest in it because, as 
 
 the reader will have noticed, Mr. Schatz spent some of the best years 
 
 of his life in America. After his return to Rostock he lived there 
 
 until his death, October 18, 1910 (he was born there May 19, 1839),
 
 8 PREFACE 
 
 active in the musical affairs of his city in several honorary positions, 
 quietly and with self-sacrifice and at great expense amassing his 
 libretto collection, industriously collecting and digesting material 
 for his colossal chronological statistics of operas, his opera-dictionary 
 and kindred works, and ever ready to spend liberally from his won- 
 derful store of knowledge to all and they were many who sought 
 his advice. 
 
 The total number of librettos in the Albert Schatz collection, 
 not counting duplicates, is in round figures 12,240. Of these 12,000 
 are opera librettos, the remainder librettos of oratorios and cantatas. 
 
 These appear to have come into his possession incidentally through 
 the purchase of miscellaneous lots of librettos, such as are offered 
 quite frequently by dealers, who only recently have shown a disposi- 
 tion to give to individual librettos that attention which they deserve 
 and for which collectors and librarians have been sighing. In the 
 same manner he appeals to have acquired many librettos of unim- 
 portant replicas, which he otherwise would hardly have cared to 
 add to his collection. Not that they are valueless at least they 
 have a decided value for local history but, as might be expected 
 from a connoisseur like Albert Schatz, his plan seems to have been 
 to collect first editions, i.e., librettos printed for the first performance 
 of an opera ; in other words, librettos in their original state in preference 
 to those used for replicas with the customary alterations, additions, 
 interpolations, etc. This accounts for the presence of such an ex- 
 traordinary number of first editions of seventeenth and eighteenth 
 century librettos, and exactly herein lies the great value of the Albert 
 Schatz collection for historical purposes. If in many cases even a 
 patient collector like Mr. Schatz had to content himself with more or 
 less important replica librettos, it merely serves to show how difficult, 
 not to say impossible, a task it was and still is to form a comprehensive, 
 representative collection of librettos by systematic and organic 
 development. At no time, of course, can Mr. Schatz have enter- 
 tained the notion to acquire every libretto of the more than 30,000 
 operas performed since 1597. Furthermore, it stands to reason that 
 he knew intimately the weak spots in his, as every expert will agree, 
 formidable collection. There are such weak spots the plenty, as in 
 every collection of books, pictures, coins, or what not. If Mr. Schatz, 
 for instance, turned to a master like Agostino Steffani, he must have 
 felt keen disappointment at his inability to make a better showing. 
 Presumably he consoled himself with the knowledge, born of long 
 experience, that the find of a particularly rare libretto is practically' 
 a matter of luck, and presumably he tendered his silent good wishes to 
 some competitor luckier or speedier than he. Moreover, though in 
 innumerable instances his showing may well excite the envy of some 
 specialist, some collector especially interested in the operas of a par-
 
 PBEFACE 9 
 
 ticular master or performed in a particular city, Mr. Shatz unmis- 
 takably was foiming a general collection. If he had concentrated his 
 efforts on particular masters to the neglect of others, probably the 
 result would sometimes have been more satisfactory for the purposes 
 of specialists with a limited sphere of interest, but it certainly would 
 have been less satisfactory for the purposes of a general library. 
 While weak spots, as conceded above, have their explanation in 
 peculiar obstacles over which a collector is not master, another aspect 
 of the Schatz collection is rather puzzling. Though cosmopolitan in 
 his tendencies, Mr. Schatz did not collect French librettos with the 
 same planf ul zeal as he did German and Italian. For reasons unknown 
 to us, he preferred at first German translations to the French originals, 
 and though he evidently in later years paid more attention to the 
 latter, he did not quite succeed in reversing the balance in then* favor. 
 In other words, the Schatz collection, relatively speaking, was not as 
 strong in French librettos as it might have been. A similar estimate 
 applies to Russian, Scandinavian, Bohemian, Hungarian, Spanish, 
 English, and American librettos in the original language. That it was 
 not a lack of linguistic ability which prompted Mr. Schatz to leave his 
 collection more or less underdeveloped in these fields is proven by the 
 curious (and sometimes embarrassing) fact that he invariably entered 
 librettos in his own catalogue in the language written, whether that 
 be Hungarian, Norwegian, Portuguese, or any other, and in case of 
 Russian librettos he even made his catalogue entries and notes in 
 Russian script. 
 
 After a study of Mr. Sohatz' "Hand-Katalog," which accompanied 
 the purchase, had established the character and relative strength and 
 weakness of his collection, the Library of Congress gradually entered 
 on a campaign of filling in gaps. Not, of course, recklessly and with- 
 out discrimination. The campaign was -based on the fundamental 
 idea of deepening and facilitating the study of opera scores in our 
 possession by putting at the student's disposal also the librettos of the 
 operas. For administrative reasons the want lists were based on our 
 collection of full scores, now more than 2,500, and not on the collection 
 of about 7,000 vocal scores. And in view of the fact that the publica- 
 tion of the catalogue of our seventeenth and eighteenth century 
 librettos was likely to precede that of nineteenth century librettos by 
 several years, emphasis was laid on the earlier period. This was the 
 theory, but for actual results we were subject to the caprices of the 
 market. Still, the Schatz collection was strengthened by many hun- 
 dreds of librettos, including very many French. It further happened 
 that the remarkable Longe collection of minor English dramatists, 
 acquired by the Library of Congress, included some four hundred 
 English librettos, mostly before 1800. As to American librettos, the 
 Library of Congress is practically in a status quo; this means that the
 
 10 PREFACE 
 
 eighteenth and the early nineteenth centuries are not yet represented 
 with that completeness which one would like to consider characteristic 
 of a national library. This deficiency is due to the exasperating 
 scarcity of early American librettos. On the other hand, by dint of 
 the broadening stream of copyright deposits, the Library of Congress 
 may point to a collection of later American librettos which it would 
 be extremely difficult to duplicate by other means. That these copy- 
 right deposits include many foreign librettos of recent date may be 
 mentioned in passing. It is a safe estimate that the total number of 
 librettos accrued to the Library of Congress by purchase, copyright, 
 gift, or otherwise now reaches, if it not surpasses, 17,000. That the 
 publication of a complete catalogue of this huge collection will stimu- 
 late assistance to fill in disagreeable gaps is confidently expected. 
 Perhaps in course of time even the so strangely scarce collected works 
 of certain early librettists like Morselli, and others may come our 
 way and we may be able to make a better showing of the Italian 
 librettos published at London in Handel's time, as also in certain 
 other fields now comparatively barren. 1 
 
 Immediately after purchase of the Albert Schatz collection the plan 
 was conceived of making access to our collections easier by publication 
 of a catalogue, thereby enhancing the practical value of the collec- 
 tions themselves immeasurably. Quite naturally we turned to Mr. 
 Schatz' own catalogue of his collection as a suitable basis for further 
 operations, but the plan of publishing his catalogue as it stood, merely 
 incorporating with it our own librettos, soon had to be abandoned. 
 Much to our regret this idea of a memorial to Mr. Schatz' patience, 
 energy, and enthusiasm was found to be impracticable. Some of the 
 chief obstacles will readily appear from a perusal of the facsimile of a 
 page or rather sheet from his catalogue. 
 
 Painstaking and valuable, indeed invaluable, as his entries are for 
 the names of composers and authors, date, and place of first perform- 
 ance, etc., they deal with a system of abbreviations, which, simple, 
 uniform, and understandable to a linguist though it be, would not be 
 quite convenient in an American publication. It will also be noticed 
 that the bibliographical description of the librettos is restricted to a 
 minimum, sufficient undoubtecQy for Mr. Schatz' own special purposes, 
 but not for ours. In addition, the alphabet under individual com- 
 posers was found to overlap, i. e., to start anew two, three, and more 
 times with annoying frequency an irregularity easily explained by 
 the gradual growth of Mr. Schatz' collection. Finally, his catalogue 
 is prepared throughout by entry under composers with neither author 
 nor title index, and without the latter his catalogue soon proved of 
 
 1 Occasion is here taken to inform those interested that it is the practice of the Library of Congress to 
 acquire librettos only, if they are not represented at all in our collections, or, if they antedate the editions 
 in our possession, preference being given to the original libretto of an opera.
 
 PBEFACE 11 
 
 too limited usefulness, as, for obvious reasons, will be any libretto 
 catalogue without a title index. The editorial and mere clerical labor 
 in dissecting, realphabeting, copying, standardizing Mr. Schatz' in 
 its way, of course, splendid catalogue for our purposes, would have 
 been very much greater than those uninitiated in library perplexities 
 and drudgery might expect, and too great for practical consideration. 
 In short, as a list his catalogue is too full, as a catalogue too meager. 
 Instead of reducing his catalogue after incorporation of our other 
 librettos to a mere list, the preparation and publication of which 
 would not have consumed more than one or two years, but the per- 
 manent value of which for reference and research would have been 
 doubtful and the cost not commensurate with its usefulness, a deci- 
 sion was reached to prepare a new and full-entry catalogue, which 
 would answer all purposes except perhaps those of bibliographical 
 anatomists. That for this new catalogue Mr. Schatz' own catalogue 
 would have to be utilized to the fullest possible extent was, of course, 
 understood, as was also our obligation to consider him, whom no 
 less a scholar than Friedrich Chrysander in his review of Taddeo 
 Wiel's " Catalogo delle opere in musica rapresentate nel secolo XVIII 
 hi Venezia" (Viertelj ahrschrif t fur Musikwissenschaft,. v. 10, 1894) 
 had called "mein Orakel in solchen Dingen" as prime authority in 
 all matters usually embodied in the best kind of opera dictionaries. 
 This obligation became all the more apparent after the Library of 
 Congress acquired, in 1911, from the heirs of Mr. Schatz all the manu- 
 scripts alluded to hi his autobiographical sketch. Now Mr. Schatz' 
 industry in keeping abreast of current literature is well illustrated by 
 the fact that the date for the same opera does not always tally in 
 his several compilations apparently made at different times. Conse- 
 quently I felt obliged to consult them all. Not because this entailed 
 much and tedious labor is the fact mentioned here, but because quite 
 likely now and then I overlooked discrepancies and thereby missed 
 the opportunity to profit by Mr. Schatz' final historical data. These 
 data frequently do not coincide with those in the published standard 
 reference works. In most such cases I felt methodically justified in 
 accepting without question his data instead of those of his predeces- 
 sors, because Mr. Schatz had worked his way through practically all 
 the available standard dictionaries, catalogues, bibliographies, etc., of 
 his time, such as those by Groppo, Allacci, Wotquenne, Wiel, Piovano, 
 von Weilen, Parke, Baker, Grove, Parfaict, Cle'ment and Larousse, 
 Fe"tis, Goedicke, Riemann, Salvioli, and possibly Eitner, besides many 
 biographies and purely historical works. Furthermore, his own exten- 
 sive researches and his libretto collection as primary source had en- 
 abled him to rectify many errors which had been inherited by one 
 lexicographer from the other, to add new and to suppress antiquated 
 data, or, at any rate, to throw the weight of his authority in favour
 
 12 PREFACE 
 
 of one date as against the other and the catalogue itself is the 
 best proof for this assertion. 
 
 Nevertheless, my respect for Mr. Schatz* accomplishments did not 
 render me immune against the necessity of spending off and on many 
 hours in consultation of books that had either escaped his attention 
 or which I interpreted differently or which have appeared during 
 the last few years. These remarks refer, of course, mainly to purely 
 historical data. That there is still ample room for improvement I 
 fully realize, and I realize it all the more because my experience has 
 taught me that the time for an absolutely comprehensive and accu- 
 rate opera-dictionary has passed forever. The task is altogether too 
 formidable and too complicated. Even the most conscientious effort 
 in this direction will suffer from the breed of ingrown, inherited errors 
 in books otherwise full of new information, but growing too numerous 
 for critical perusal by any one man or set of men. After all, this is 
 a catalogue, not an opera-dictionary (in concept and purpose two dis- 
 tinctly different types of works). All purely historical data that 
 ordinarily come within the province of lexicographers, but not of the 
 cataloguer, are here intended and offered as an accidental, not as the 
 essential feature, though under the circumstances their value for 
 reasonably accurate reference can not be gainsaid. 
 
 Originally the plan had been to enter our entire libretto collection 
 alphabetically by composer in one catalogue, undivided by periods. 
 By the time about 2,500 librettos of the Schatz collection had 
 been catalogued on this plan, its feasibility had become question- 
 able. Not only did the question of expense assume grave aspects, 
 but the entry by composer of early librettos proved to have very 
 considerable disadvantages. Almost invariably modern librettos 
 mention both composer of the music and author of the text and 
 therewith leave nothing to be desired for main entry under either, 
 though main entry of opera-librettos under author is undesirable 
 for obvious reasons. The chief reason is that in ninety-nine out 
 of a hundred cases the inquirer neither knows nor takes interest 
 in the author, but almost invariably he will know the composer. 
 Library economy, therefore, would seem to suggest a compromise be- 
 tween cataloguing maxims and actual conditions and that in libretto 
 entries the author be subordinated to the composer. It is quite 
 different with the earlier librettos, especially Italian. Often only 
 the author is mentioned, often only the composer, and in many 
 hundreds of cases neither. In these cases the composer either re- 
 mains unknown, or the opera is attributed to a certain composer on 
 the strength of direct or circumstantial historical evidence, in most 
 cases simply on the strength of Allacci's authority. If it is the func- 
 tion of a sensible catalogue to let the books (in this case, librettos) 
 speak as much as possible for themselves and to avoid a confusion
 
 PREFACE 13 
 
 in the mind of the user of the catalogue between facts contained in 
 the book and facts furnished by the cataloguer, then the entry of 
 anonymous librettos under composer will inevitably lead to endless 
 explanations, complications, contradictions, or worse. No such 
 drawbacks attach to main entry of early librettos under title. The 
 cataloguer occupies neutral ground, and whether anonymous or not, 
 the librettos fall in line readily. Therefore, it was decided to continue 
 to catalogue modern librettos under composer, but earlier librettos 
 under title. The year 1800 was selected somewhat arbitrarily for 
 the parting of the ways, so that the complete catalogue of our libretto 
 collection will consist of two independent parts, the first, here pre- 
 sented, of librettos printed before 1800, the second of librettos printed 
 after 1800, perhaps with supplemental volumes treated in the same 
 manner. 1 
 
 To my knowledge Alfred Wotquenne's splendidly gotten up and 
 lavishly illustrated catalogue of seventeenth century Italian librettos 
 (inclusive of oratorios) in the Royal Conservatory Library of Brussels 
 has been the only libretto catalogue available in print, with exception 
 of catalogues and lists of limited importance, such as those by Scheur- 
 leer, Bergmans, Walter, von Weilen, Carvalhaes. Since Wotquenne's 
 catalogue, too, is arranged by title, the question arose in how far it 
 might otherwise be followed as a model. One feature of his book is the 
 publication of casts. Their value, of course, lies mainly hi the direc- 
 tion of biographical data on the lives of opera singers of the seven- 
 teenth century. Commendable as is Mr. Wotquenne's idea, his task 
 was not very irksome. Burney was, of course, mistaken if he dated 
 the origin of the custom to print the cast in librettos about 1680, 
 since a cast may be found at least as early as 1654 in the libretto 
 (Lucca) of Cesti's and Bigongiari's "Alessandro il vincitor di se 
 stesso," but generally speaking, casts were printed very seldom during 
 the seventeenth century and they occur with anything like frequency 
 only toward its very end. Consequently, it would have been easy and 
 comparatively inexpensive to imitate Mr. Wotquenne in our catalogue 
 so far as seventeenth century librettos are concerned. On the other 
 hand, it would have been too expensive and too laborious to apply 
 the same principle to the eighteenth century when casts became the 
 rule. One need but turn to Wiel's volume on eighteenth century 
 operas performed at Venice, in which conscientiously every cast is 
 given with the indispensable index to the names in these casts at the 
 end of the volume, to realize the labor, cost of printing, consumption 
 of space that would have been involved by a similar scheme covering 
 several thousand eighteenth century librettos with casts. Conse- 
 
 The change from composer's entry to title entry obliged me to reconsider hundreds of early librettos 
 among the 2,500 already catalogued by composer. More likely than not, this change of front has sometimes 
 led to inconsistencies in treatment, or inconsistencies wore not detected by me, but it is hoped that they are 
 in no case of a serious nature.
 
 14 PREFACE 
 
 quently, as there is no valid reason for discriminating against the 
 eighteenth century in favor of the seventeenth in an otherwise uni- 
 form catalogue, no casts have been copied from the librettos, but 
 every entry states whether the libretto contains a cast or not. No 
 such note has been attempted for the presence of the list of charac- 
 ters, because there exists practically no libretto without the dramatis 
 personae. The so-called and often ludicrous "protesta" in old Italian 
 librettos I have disregarded as unnecessary. Maybe it was also 
 unnecessary to note the presence of what I have called, for want of a 
 better term, the scenario, I mean the "mutazioni, " or other such 
 indications of the scenery, but I preferred to be on the safe side hi 
 this respect, in order to make identification of a libretto through 
 enumeration of contents as easy as possible. For this reason the 
 arguments, prefatory notes, dedicatory remarks, and the absence or 
 presence of the name of the author or composer have always been 
 noted, just as was done by Mr. Wotquenne. His plan was also 
 adopted to quote from the preliminary contents of the libretto what- 
 ever threw light on the history of the libretto, resp. the opera, on the 
 esthetic and dramaturgic creed of either author or composer, on their 
 technique, or on special customs of the time. Sometimes such a 
 quotation has been limited by me to a mere repetition of statement 
 that the opera was the second of the season, but often enough the 
 quotations consume quite a bit of printer's ink, and in some instances 
 the user of this catalogue is practically treated to full or partial 
 reprints of interesting essays. On the whole, I have been inclined 
 to liberality in the space devoted to such quotations, just as now 
 and then, particularly in the case of "La Dafne" and "II giocatore", 
 my "notes" were allowed to grow into "articles." Of course, the 
 catalogue would be complete in itself without them, but there can 
 be no hard and fast rule as to what a cataogue should contain. 
 This depends entirely on the subject matter, and the fact that early 
 librettos are scarce and not accessible in many libraries, justified 
 the inclusion of nonbibliographical matter in a form that would sug- 
 gest further study of the libretto at least to the specialist. 
 
 On these grounds he might expect to find an exhaustive index to 
 the arias contained in the librettos, something that might have been 
 called an "Aria-Repertorium." Unquestionably, whoever has done 
 work hi early operatic history has felt handicapped by the want of 
 such a compilation which would help to trace the migration of arias 
 from one opera to the other, to reduce the innumerable librettos (and 
 scores ! ! ) of the pasticcio type into their, as it were, chemical elements 
 and to reconstruct the opera as originally written and composed. 
 For this Bertillon method of analysis, again Mr. Wotquenne has pointed 
 the way by the publication of his so useful "Zeno, Metastasio 
 and Goldoni, Alphabetisches Verzeichnis, " but it would have been a 
 rather quixotic attempt to treat five or six thousand librettos in the
 
 PREFACE 15 
 
 same manner. At the low average of twenty arias to a libretto this 
 would have meant an ' ' appendix" to the catalogue with more than one 
 hundred thousand first-line ("incipit"') entries. It is one thing to 
 devote a lifetime to the compilation of such an "Aria-Repertorium," 
 quite another to expect a public library to embark on its publication. 
 Yet the mere rscital that the Library possesses the Rome 1740 and the 
 Parma 1745 edition of a libretto means little and conveys no definite 
 suggestion along lines which would interest the historian, and it is he, 
 no less than the librarian, bibliographer, collector, to whom a catalogue 
 of librettos of early operas should appeal. His interest centers more 
 in the textual than in the purely bibliographical differences between 
 two librettos of the same opera. I therefore made it a point to set 
 forth in the briefest manner possible textual distinctions between 
 at least the original edition, if we had it, and editions used for rep- 
 licas. As a rule, such an attempt to call the historian's attention to 
 telling textual differences between replica librettos only, was not 
 made, since the relationship between replica editions without the origi- 
 nal edition as a basis for textual comparison will not permit of sound 
 deductions for reconstructive or analytical purposes. Furthermore, 
 these comparative hints, as a rule, do not go beyond the year 1780, 
 because toward the end of the eighteenth century it came to be more 
 and more the custom to follow the original text for replicas, excepting, 
 of course, cuts and similar unimportant alterations that are custom- 
 ary and perhaps locally necessary even in present-day operatic life. 
 No guarantee is offered that the plan outlined above has been carried 
 out in every single case, as there is a limit to human endurance, 
 and as a musical librarian in a great public library has other duties 
 to perform besides preparing unconventional catalogues. This 
 means that the absence of comparative comment in any given case 
 does not imply textual identity. On the contrary, for the period of 
 about 1700 to 1770 it should be taken for granted without special 
 danger signals of mine that almost invariably replica editions show 
 considerable differences from the original. (If the specialist requires 
 further information, the Library of Congress will feel only too glad 
 to furnish it promptly.) 
 
 Careful attention was paid to ballets, pantomimes, etc., mentioned 
 in the librettos (principally Italian of the later eighteenth century) 
 either by characteristic title or more or less fully described in a 
 separate synopsis of plot and often with cast, argument, scenario, 
 etc., and even separate imprint and invariably with the name of the 
 ballet master as author who "composed" the ballet, as the then 
 technical term was, very much less frequently with the name of the 
 actual composer of the music. In the case of Gaspero Angiolini and 
 others the identity of "composer" and composer often is probable, 
 but it is never certain, unless attested to by some such phrase as
 
 16 PREFACE 
 
 "Musics composta da." This distinction has been lost sight of 
 occasionally by recent writers with the result that ballet-masters 
 have sometimes but erroneously been credited with the music of 
 ballets merely "composed" or "invented" by them. Care was 
 taken not to add to the confusion in this catalogue and a composer 
 of the music has not been entered unless so recorded in the libretto. 
 But even at that, the activity of certain composers now assumes a 
 different aspect from that in Eitner and elsewhere, and certain men like 
 Canavasso, Le Messier, and Trento appear to have been astonishingly 
 prolific as ballet composers, though of slight importance as opera 
 composers. It would have been simple enough to suppress all data 
 pertaining to ballets, pantomimes, etc., and thereby to have saved 
 much space, but the history of this once so flourishing form of musical 
 dramatic art is still in its infancy, and the data made accessible 
 through this catalogue for such a history will be welcome. It is no 
 secret that the modern dramatic ballet and pantomime, whether alle- 
 gorical, symbolical, mythological, historical, realistic, and with desig- 
 nations running from tragic to burlesque through the whole gamut of 
 possible shadings, are at least contemporary in their origin with opera, 
 and that opera from the beginning borrowed from the art of dancing 
 for the support of interest, but of course a catalogue can not very well 
 be expected to reflect the evolution as long as the dances be it even 
 characteristic dances with or without relationship to the opera 
 continued to be incidental without titles specific enough to afford a 
 grip on them for catalogue entry. Toward the middle of the eight- 
 eenth century, however, the ballets ceased to be incidental, or rather 
 incidental dancing receded in favor of a juxtaposition of generally 
 in theme not connected operas and ballets for the same evening, a 
 kind of double-headed entertainment, often with first the act of an 
 opera, then a ballet followed by the second act of the opera, which 
 in turn was followed by another ballet, and so forth. In other words, 
 the ballet was no longer considered an inferior but an equal dramatic 
 art, since in the hands of thoughtful and imaginative ballet "com- 
 posers," it had received a highly developed technique and offered 
 esthetic and dramatic possibilities which soon a genius like Noverre 
 was to gather into a dramaturgic system. Most of the ballets of this 
 period until the end of the century, when the genre fast deteriorated, 
 necessarily had characteristic and specific titles, and it is with these 
 and these only that this catalogue deals. 1 
 
 1 Perhaps certain specialists will regret that no attention, as a rule, has been paid to the architect, artists, 
 and engineers who devised the ingenious machines, designed or painted the gorgeous scenery, or acted as 
 stage directors. I appreciate the fact that the history of stage management in all its ramifications is very 
 interesting and instructive, and that at the end of the seventeenth and the beginning of the eighteenth 
 century often the spectacular features of an opera interested the public more than the musical. Indeed, 
 the art of a Balbi or Bibiena was often considered so much more important than that of the composer 
 that the public was not even taken into the impresario's or publisher's confidence as to his name. How- 
 ever, the line had to be drawn somewhere if the catalogue was to be kept within reasonable limits.
 
 PBEFACE 17 
 
 As to the year and place of publication of undated librettos (marked 
 in the collation for reasons of convenience, though somewhat at variance 
 with the regular practice of the Library of Congress, n. d. (no date), 
 n. pi. (no place), or n. i. (no imprint) if neither place nor publisher are 
 given, and n. publ. if the name of the publisher is absent), the date 
 and place of performance given in the title should be assumed to coin- 
 cide with the actual date and place of publication. Attention of the 
 uninitiated, however, may be called to a fine point of distinction. Many 
 undated librettos were scheduled for the beginning of the carnival sea- 
 son, and since carnival in certain cities began at the end of December 
 we often have the choice between two years for the year of publication. 
 For instance, if an undated libretto was to have been performed at 
 Turin during carnival of 1800, the libretto may have been published in 
 December, 1799, or early in 1800. In every case the place and year 
 given in the title or in the imprint should be assumed to be the place 
 and year of first performance, unless otherwise stated in a note, and 
 such notes, to repeat it, are generally based on Schatz. If a libretto 
 contained a dated dedication, Mr. Schatz, unless previous performances 
 in the same city or elsewhere were known to him, took the date of 
 dedication to be the date of first performance. Mr. Piovano has 
 questioned the absolute correctness of this procedure on the grounds 
 that often the date of dedication must have preceded the actual date 
 of performance, and I agree with him, but at any rate the date of dedi- 
 cation may be considered the most approximate available in absence 
 of further information. That certain earlier librettos lead to chrono- 
 logical perplexities from local preference of either the Julian or the 
 Gregorian calendar I mention here, without going into detail. 
 
 The librettos have been entered, as a rule, first by the original title, 
 and then by the title of the replicas and translations. In every case 
 reference is made from the alternative title (abbreviated A. T.), which 
 often became the better known title, from the later (L. T.) and the 
 translated title (Tr. T. or Tr.) to the original title (O. T.). Librettos 
 of the same title by unknown composers precede those by known 
 composers and are in turn preceded by neutral librettos. By this I 
 mean librettos entered from the collected works, for instance, of 
 Metastasio, with or without the name of any particular composer 
 (usually the first to set the text) as the composer of the libretto in 
 the version of the text in that particular edition. If, for instance, the 
 Paris, 1780-82, edition of Metastasio works mentions in the title of each 
 libretto the name of the original composer, it by no means follows that 
 he used the text as then published. On the contrary, it can often easily 
 be proven that he did not. It would therefore be methodologically 
 incorrect to assign the text as given in that particular edition exclu- 
 sively to the composer mentioned, and still more incorrect, if no 
 
 72251 VOL 114 2
 
 18 PREFACE 
 
 composer is mentioned, to assign it to any one of several composers 
 who are known to have set it to music. Generally speaking, therefore, 
 the "Artaserse" text as published at Paris, 1780-82, would belong 
 with equal right to any of the more than fifty composers who composed 
 it, and for this reason should precede all individual "Artaserse'' 
 librettos with or without composer's name. The text of the titles, 
 with elision of irrelevant matter, has been copied as printed in the 
 libretto with retention of the original orthography, but without 
 imitation of the typographical picture. In this respect there has been 
 a certain amount of modernization which, at times, looks odd if 
 coupled with the original orthography. In the use of capital letters, 
 the rules of the Library of Congress have been followed, now and then 
 for practical reasons with slight inconsistencies and generally regard- 
 less of my personal likes and dislikes in the matter. Furthermore, the 
 remark appears necessary that the catalogue deals only with librettos 
 which are either in the custody of the Music Division or are not in its 
 custody for purely administrative reasons, such as the librettos in 
 special collections like the Goethe, or miscellaneous collections like the 
 Longe collection. The inclusion of librettos contained in the collected 
 writings (published before 1800) of all authors who happened to write 
 a few librettos has not been attempted, because this would have led 
 entirely too far into literature in general, and because the idea itself 
 from the very nature of things is altogether too pedantic for serious 
 consideration. Exceptions to this rule were of course deemed 
 desirable, but they have been restricted to authors like Goldoni, 
 Quinault, Piron, Panard, whose importance for the history of libretto 
 writing is so obvious as to have rendered their exclusion in the present 
 state of our libretto collection just as pedantic as would have been 
 the inclusion of many others. 
 
 For the addition of the brief-entry lists by composers and authors 
 and of the index to arias incidentally mentioned no lengthy explana- 
 tion is needed, since they obviously are necessary to complete the 
 circle of possible inquiry. That no attempt was made to furnish year 
 of birth and death of authors may perhaps be regretted by those who 
 wish to consult the author list for purposes of literary bibliography. 
 My principal reason for this omission was the knowledge that with 
 all possible diligence the result would not have been in keeping with 
 the labor of research involved. 
 
 Finally, a word of explanation as to the method of dealing with 
 author and composer names. Somewhere in this catalogue the full 
 names of authors and composers had to be given if repetition ad 
 nauseam in the title catalogue was to be dispensed with. The proper 
 places, it seemed to me, were the composer and author lists; and 
 these lists should be consulted in case of doubt. In whatever form 
 author and composer names appear in the titles themselves the rule
 
 PREFACE 19 
 
 has been not to repeat them in full in the editorial matter except to 
 avoid confusion and to facilitate identification. If they appear 
 elsewhere in the libretto, usually in some once current, condensed form 
 (for instance, Ferdinando Bertoni instead of Ferdinando Giuseppe) , 
 the editorial matter of the title catalogue records them, as a rule, in 
 full, and in some more or less generally accepted form without com- 
 ment, and with disregard of harmless differences of spelling. But no 
 display has been made of full names in the title catalogue. A per- 
 son with a modicum of culture need not be told every time in a title- 
 catalogue that Goethe is Johann Wolfgang von Goethe, and even 
 the most "punctilious adherent of uniformity and consistency will 
 admit that Cherubini was too much of a master and still is too well 
 known as such to be put down every time religiously as Maria Luigi 
 Zenobio Carlo Salvatore Cherubini. 
 
 O. G. SONNECK 
 Chief of the Division of Music 
 HERBERT PUTNAM 
 
 Librarian of Congress, Washington, D. C. 
 November 1, 1913.
 
 
 
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 FACSIMILE OF ENTRY SHEET IN MR. SCHATZ' CATALOGUE OF HIS COLLECTION.
 
 21
 
 TITLE CATALOGUE 
 
 L'abate Collarone. O. T. of Trinchera's text Le chiajese cantarine. 
 Abduramel, ballet. See Nasolini's Melinda. 
 
 Der abend im walde, eine operette in zween aufzuegen. Die 
 musik ist vom hrn. capellmeister Wolf. 
 
 Weimar, Carl Ludolf Hoffmann, 1774. 124 P- 15%. 
 
 Two acts. By Gottlob Ephraim Heermann, who is not mentioned. Composed by 
 Ernst Wilhelm Wolf. 
 
 First performed at Weimar, Schlosstheater, Wilhelmsburg, December 10, 1773. 
 
 SCHATZ 11075 
 Die abenteurer. Tr. of Paisiello's Gli awenturieri. 
 
 Die abgeredete zauberey. Tr. of Gre"try's La fausse magie. 
 
 Das abgeschafte herkommen. Ein westphaelisches schauspiel 
 mit gesang in drey aufzuegen dem herrn justiz-rath Moeser gewidmet. 
 
 Ossnabrueck, n. publ, 1783. 92 p. 16%. 
 
 Not recorded in Deutschee Anonymen Lexikon. ML 50.2.A19 
 
 Abraham, auf Moria, ein religioses drama fuer die musik, von 
 A. H. Niemeyer. 
 
 n. i., 1779. 32 p. 16. 
 
 Two acts. The composer, Johann Heinrich Rolle, is not mentioned. 
 
 First performed 1777. SCHATZ 11392 
 
 Abroad and at home. A comic opera in three acts. Now per- 
 forming at the Theatre-Royal, Covent-Garden. By J. G. Holman. 
 
 London, George Cawfhom, 1796. 92 p. 21%. 
 
 Cast. The composer, William Shield, is not mentioned. Originally "The King 1 a 
 bench" (Tufts.) 
 
 First performed November 19, 1796. (Genest.) LONOE 237 
 
 L'academie bourgeoise, opera-comique en mi acte; repre'sente' 
 pour la premiere fois sur le Tne'atre de la Foire, en 1735. 
 
 Charles Francois Pannard, Theatre, Paris, Duchesne, 176S, v. 2, 
 [445]-504 p. 17 cm . 
 
 In prose and vaudevilles. Composer not mentioned and not recorded by Par- 
 faict, etc. 
 
 First performed as indicated, February 3, 1735. PQ 2019. P3 
 
 Acajou, opera comique, par Monsieur Favart. Repre'sente' pour la 
 premiere fois sur le Tne'atre du Fauxbourg Saint-Germain, le 18. mars 
 1744. . 
 
 Paris, Praultfils, 1744, 52 p. 18. 
 
 Three acts. No music printed with the text. In prose and couplets. (Comp. 
 next entry.) ML 50.2.A23 
 
 23
 
 24 LJBRABY OF CONGRESS 
 
 Acaj ou Continued . 
 
 Acajou, opera comique en trois actes, en vaudevilles. Par le S r 
 
 Favart. 
 
 Paris, Prault fils, 1753. 72 p. 19. (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. vii.) 
 
 No music printed at the end or in the text. On p. [21 the following note: 
 
 "Cette piece eat tir6e du conte d' Acajou, de Mr. Duclos, elle fut jpu6e d'abord en 
 prose & couplets a Paris le 18 mars 1744 eur le Theatre de la Foire St. Germain. Apres 
 la defense faite a 1'Opera comique de parler, on la represent* toute en vaudevilles a 
 la Foire St. Laurent suivante, & sur le Theatre de 1' Academic royale de musique au 
 mois d'Octobre de la m6me annee." 
 
 Font does not mention Favart's musical collaborator. ML 49.A2F1 
 
 L'accademia di musica e La conversazione. Divertimento 
 teatrali per musica da rappresentarsi nel Real Teatro di Salvaterra 
 nel carnovale 1775. 
 
 [Lisbona], Stamperia reale, n. d. 37 p. l^- 
 
 One act each. The second divertimento on p. 2&-S7. Cast and name of NiccoU) 
 Jommelli as composer of both. Authors not mentioned and unknown to Schatz, 
 who says that the text of ' ' La conversazione " is the same as of " II giuoco di picchetto, ' ' 
 which see for further details. SCHATZ 4887 
 
 Accampamento o sia La lotteria militare, ballet. See Anfossi's 
 Armida. 
 
 Accampamento di Micheletti, ballet. See Bosi's La figlia 
 obbediente. 
 
 Gli accident! della villa. Cantata di Saverio Zini da rappresen- 
 tarsi nel Teatro de' Fiorentini nel carnevale di quest' anno 1797. 
 
 Napoli, n. putt., 1797. 31 p. 15. 
 
 Cast. Pierre Dutillieu is mentioned as the composer. 
 
 First performed at Vienna, Hoftheater n. d. Burg, Sept. 19, 1794. SCHATZ 2877 
 
 The accomplished maid. Tr. of Piccinni's La buona figliuola. 
 
 L'accorta cameriera. L. T. of Martin y Soler's In amor ci vuol 
 destrezza. 
 
 Achille et Deidamie, tragedie repre'sente'e par 1' Academic royale 
 de musique 1'an 1735. Paroles de M. Danchet. Musique de M. 
 Campra. CXXI. opera. 
 
 n. i., n. d. front., J+Sl-JfiS p. Uf. (Recueil general des opera, 
 Paris, 1739, t. xv.) 
 
 Detached copy. Five acts with prologue. 
 
 First performed, as indicated, February 24, 1735. SCHATZ 1539 
 
 Second copy. ML 48. R4 
 
 Achille et Deidamie, tragedie. 
 
 [359]-412 p. 17 % cm . (Antoine Danchet, Theatre, Paris, 1751, 
 t. Hi.) 
 
 Prologue and five acts. The composer, Andr6 Campra, is not mentioned. 
 
 PQ 1972.D2 
 
 Achille et Polixene, tragedie en musique, represented par 1'Acade- 
 mie royale de musique. Suivant la copie imprime'e a Paris. 
 
 [Amsterdam, Antoine Schelte], 1687. 57 p. (ind.fr ont.) 13\ cm . 
 
 Prologue and five acts. Author and composer not mentioned. ML 49.A2L9
 
 OPERA LIBRETTOS 25 
 
 Achille et Polixene Continued. 
 
 Achille et Polixene, tragedie en musique, represented par 
 1'Academie royale de musique. 
 
 Amsterdam, Henry Schelte, 1701. 57 p. (incl. front.) IJf. 
 Reprint of the 1687 edition. ML 50.2.A25L9 
 
 Achille et Polixene, tragedie represented par 1'Academie 
 royale de musique, 1'an 1688. Les paroles de M. Capistron, & la 
 musique de M. Collasse. XXII. opera. 
 
 n. i., n. d. 14 cm . front., 223-280 p. (Recueil general des opera, 
 t. Hi, Paris, 1708.) 
 
 Detached copy. Five acts and prologue. The score, Amsterdam, 1688, informs 
 us that the first act was composed by Jean Baptiste de Lully. 
 
 First performed, as indicated, November 7, 1687. SCHATZ 5781 
 
 Second copy. ML 48. R4 
 
 Achille in Aulide. Dramma per musica da rappresentarsi nel car- 
 nevale dell' anno 1739. Nel Teatro a Torre Argentina . . . 
 Roma, Antonio de' Rossi, n. d. 67 p. 15 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Dedication by Gius. 
 Polvini Faliconti, argument, cast, name of Geminiano Giacomelli as composer and 
 scenario. The libretto mentions also the cast of intermezzi with the characters 
 "Golpone " and "Birina." It would seem as if these intermezzi were also composed 
 by Giacomelli. Their text does not appear in the libretto. ML 50.2.A26G3 
 
 Achille in Sciro. Commedia drammatica per musica fedelmente, 
 ed eroicamente tradotta, e ridotta dall' antico stato allo stato pre- 
 sente da Public Quintiliano Settimio da Sarmacanda. 
 HispJidhan, I'anno passato. 59 p. 15. 
 
 Three acts. Printer's dedication "al suo caro M. Timocrato," sonnet by "Clonico 
 Nasposi" to the reader and "dicharamento." The character of this carnivalesque 
 effort may be judged from the fact that Achilles figures in the list of characters as 
 "Ermafrddito vulgo detto femminella spassatiempo di Deidamia." ML50.2.A27 
 
 Achille in Sciro. 
 
 64 p- 19 cm . (Pietro Metastasio, Opere drammatiche, Venezia, Giiir 
 seppe BettineUi, 1733-37, v. 4.) 
 
 Three acts. Argument. No composer mentioned. ML 49.A2M4 
 
 Achille in Sciro. 
 
 [87}-185 p. (Metastasio, Poesie, Parigi, vedova QuiUau, 1755, t. iv) 
 16 cm . 
 
 Three acts. Argument. ML 49.A2M42 
 
 Achille in Sciro. Dramma immaginato,e disteso dall' autorenel 
 prescritto termine di giorni diciotto, e rappresentato con musica del 
 Caldara in Vienna la prima volta, nell interno gran teatro della 
 Cesarea corte, . . . il di 13 febbrajo 1736, per festeggiare le felicis- 
 sime nozze delle AA. RR. di Maria Teresa . . . e di Stefano Fran- 
 cesco, duca di Lorena . . . 
 
 pi., [3]-110 p. 26 cm . (Metastasio, Opere, t. v, Parigi, vedova 
 Herissant, 1780.) 
 
 Three acts. Argument. ML 49.A2M44
 
 26 LIBRARY OF CONGRESS 
 
 Achilla in Sciro. Dramma per musica e festa teatrale da rap- 
 presentarsi nel Regio Teatro di Berlino per le nozze delle Altezze Loro 
 reali il prencipe 01 Prussia, nipote di S. M. il Rd con la principessa 
 Elisabetta Christina Ulrica di Brunswico, per commando di Sua Ma- 
 esta il re . . . 
 
 Berlino, Haude e Spener, 1765, 2 p. 1., 113, [3] p. 16 cm . 
 
 Three acts. By Pietro Metastasio. Argument, scenario, and name of the composer, 
 Johann Friedrich Agricola. German title "Achilles in Scirus" and text face Italian. 
 
 First performed, as indicated, July 16, 1765. SCHATZ 66 
 
 Achille in Sciro. Dramma per musica da rappresentarsi nel 
 nobilissimo Teatro la Fenice 1' autunno dell' anno 1794. 
 
 Venezia, Modesto Fenzo, 1794. 62 p. 18 cm . 
 
 Three acts. Argument, cast, scenario, and name of (Marcello di Capua) Bernardini 
 as composer, but not of the author Metastasio. On p. 27-33 argument, cast, and 
 detailed description of "Andromeda e Perseo, ballo eroico pantomime d' invenzione 
 e composizione del Signor Onorato Viganb." The composer of the music is not 
 mentioned. SCHATZ 829 
 
 Achille in Sciro. Dramma per musica da rappresentarsi nel 
 nuovo Teatro Iron in S. Cassiano il carnovale dell' anno 
 MDCCLXIV . . . 
 
 Venezia, Paolo Colombani, 1764- 54 P- 16%. 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and name of 
 Ferdinando Giuseppe Bertoni as composer, but not of the author Metastaeio. The 
 "primo ballo" (p. 27) is described in form of a sonnet. At the end of the libretto the 
 words of "Porto in sen libero" and "Vanne dal caro bene," two arias which were % to 
 be interpolated "dopo brevi sere" for the primadonnas "che resteranno pienamente 
 contente. ' ' SCHATZ 903 
 
 Achille in Sciro. Dramma per musica, da rappresentarsi nel 
 Gran Teatro dell' imperial corte ... in occasione aelle felicissime 
 nozze de' serenissimi principi Maria Teresa, arciduchessa d' Austria 
 e Francesco III, duca di Lorena. L' anno MDCCXXXVI. La 
 poesia e del Sig. abbate Pietro Metastasio ... La musica e del Sig. 
 Antonio Caldara . . . 
 
 Vienna d' Austria, Gio. Pietro Van Ghelen, n. d. 2 p. 1., 76 p. 
 
 Three acts. Argument and scenario. The ballet music at the end of the acts was 
 composed by Niccola Matteis. 
 
 First performed at Vienna, February 12, 1736. SCHATZ 1476 
 
 - Achilles in Scyro . . . Bey gelegenheit der hoechstbegluek- 
 ten vermaehlung der durchleuchtigsten ertz-hertzogin Mariae 
 Theresiae mit Francisco dem dritten, nertzogen in Lothringen. In 
 dem grossen Theatro der kaiserlichen burg in einer welschen opera 
 vorgestellet anno 1736. Poesi des herrn abbate Pietro Metastasio . . . 
 Von herrn Antonio Caldara ... in die music verfasset. In das 
 teutsche versetzet von herrn Antonio Prokoff . . . 
 
 Wien, Johann Peter Ghelen, 1735. 2 p. I, 75 p. 15 cm . 
 
 Imprint on preliminary title-page. SCHATZ 1477 
 
 Achille in Sciro. Dramma per musica da rappresentarsi nel 
 Teatro di S. Angelo nel carnovale del 1739 . . . 
 
 Venezia, Marino Rossetti, 1739. 4 P- 15% cm . 
 
 Three acts. By Metastasio. Impresario's dedication, argument, cast, scenario, 
 and name of the composer, Pietro Chiarini. SCHATZ 1852
 
 OPERA LIBRETTOS 27 
 
 Achille in Sciro. Dramma per musica del celebre Sig. abate 
 Pietro Metastasio, Poeta Cesareo. Da rappresentarsi nel Teatro 
 Grimani in S. Gio. Grisostomo per la fiera delr Ascensione dell' anno 
 1766 . . . 
 
 Venezia, Modesto Fenzo, 1766, 54 p. 17\ cm . 
 
 Three acts. Dedication, argument, cast, scenario, and name of the composer, 
 Florian Leopold Gassmann. SCHATZ 3607 
 
 L'Achille in Sciro. Favola dramatica da rappresentarsi in 
 musica nel Teatro a S. Stefano in Ferrara 1' anno 1663 ... 
 
 Venetia, n. pull., 1663. 104, [#] P- 14 cm - 
 
 Three acts and prologue. Dedication signed by Michiel Colombo mentioning 
 Giovanni Legrenzi as the composer, publishers' notice to the reader, argument. The 
 author, marchese Ippolito Bentivoglio, is not mentioned. The text is followed by a 
 fly leaf with two inside pages of errata. SCHATZ 5532 
 
 L'Achille in Sciro. Favola dramatica da rappresentarsi in 
 musica nel Teatro a S. Salvatore per 1' anno 1664 . . . 
 
 Venetia, Steffano Curti, 1664. 96 p. 14 cm . 
 
 Prologue and three acts. Publisher's dedication dated Venice, January 29, 1664, 
 argument, and notice to the reader with apologies for typographical errors as "!' autpre 
 non ha permesso, che si legga il suo nome in questi fogli, ne meno ha voluto pigliarsi la 
 briga di rivedere queste minutie." 
 
 Neither the composer, Giovanni Legrenzi, ia mentioned nor the author, marchese 
 Ippolito Bentivoglio. SCHATZ 11720 
 
 Achille in Sciro. Dramma per musica da rappresentarsi nel 
 Regio Teatro di Torino nel carnovale del 1785 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 54, [1], 15 p. 17\ cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, 
 and names of Gaetano Pugnani as composer of the opera, of Vittorio Amedeo Cana- 
 vasso as composer of the music for Paolino Franchi's three ballets, a description of two 
 of which is printed on the last 15 p. with separate imprint, argument, and cast. The 
 titles were "La Galzeuca ossia Golconda liberata dalla tirannide di Scour-Malou, 
 ballo eroico, tragico pantomime in quattro atti, " and "II matrimonio per concorso." 
 
 SCHATZ 8505 
 
 Achille in Sciro. Drama per musica da rappresentarsi nel 
 Teatro Grimani a S. Samuele per la fiera dell' Ascens ne P anno 1747. 
 
 n. i. n. d. 48 p. 15 cn . 
 
 Three acts. By Metastasio, who is not mentioned. Dedication, argument, sce- 
 nario, cast, and name of Giovanni Battista Rancher as the composer. SCHATZ 9151 
 
 Achille in Sciro. Drama per musica da rappresentarsi sul 
 famosissimo Theatre di Braunsviga nella fiera d estate P anno 
 MDCCXXXXVL Achilles in Sciro . . . 
 
 Woljfenbuttel, C. Bartsch, wittwe, n. d. Unpaged. 18% cm . 
 
 Three acts. By Metastasio, who is not mentioned. German text faces Italian. 
 Argument, scenario, and name of Giovanni Verocai as composer. 
 
 First performed in August, 1746, as indicated. SCHATZ 10717 
 
 Achille placato. Tragedia per musica da rappresentarsi nel 
 Teatro Tron di S. Cassano P anno 1707. Impressione seconda. 
 
 Venezia, Marino Rossetti, 1707. 72 p. 15. 
 
 Five acts with "intramezzi ridicoli." By Urbano Rizzi, who is not mentioned. 
 Argument, cast, scenario, notice about the intermezzi, and name of Antonio Lotti 
 as composer. SCHATZ 5713
 
 28 LIBRARY OF CONGRESS 
 
 Achilla riconosciuto. Introdutione di un balletto fatto dalla 
 Ser" 1 *- Arcid*- Marianne d'Austria: per il giorno natal - della Ser- 
 Arcid*- Leonora d'Austria. Attione dramatica di Teofilo messa in 
 musica dal Sig. Antonio Draghi . . . 
 
 Vienna, Joan. Jacobo Kilmer, 1668. 1 p. 1., 55 p. 12 cm . 
 
 One act. Dedication by the author (real name unknown to Wotquenne), notice to 
 the reader mentioning the archduchess Marianne as "il pereonaggio principale," and 
 on p. 52-65 cast (Marianne having the principal part) of the ballet and remark: 
 
 All' armonia del canto segul il rimbombp degli Btrumenti, che diedero segno all 
 ballo il quale fu per 1' aria composta dall Signore Smelzer FJohann Heinrich Schmelzer, 
 1630-1TOO], e per i passi inventati dal Sign. Santo . . . 
 
 Was to be performed on May 21, 1668, but performance was canceled . (von Weilen). 
 
 ML50.2.A29D7 
 
 Achilles. An opera. As it is perform'd at the Theatre-Royal in 
 Covent-Garden . . . Written by the late Mr. Gay. With the 
 musick prefix 'd to each song. 
 
 London, J. Watts, 1733. 4 p. I, 68,[3] p. 20 cm . [Bound with his 
 Beggar's opera. London, 1728] 
 
 Three acts with prologue. Ballad opera. Cast and table of the 54 songs. The airs 
 are given in the text with their titles. The text is followed by a [3] p. publisher's 
 list, first page of which is dated February 28, 1733. 
 
 First performed, as indicated, February 10, 1733. ML50.5.B3 
 
 ... Achilles. An opera. As written by John Gay. Dis- 
 tinguishing also the variations of the theatre, as performed, hi two 
 acts, at the Theatre Royal in Covent-Garden. Regulated from the 
 prompt-book, by permission of the managers, by Mr. Wild, prompter. 
 London, John BeU, 1777. 60 p. 17. 
 
 Prologue, cast, and at end table of the 58 songs, of which only three are marked as 
 having been introduced for these performances. The text is printed in three acts, 
 but according to a note on p. 38 act III became act II, the two others apparently 
 being performed in one. At head of title: "Bell's edition." SCHATZ 11469 
 
 Achilles. See Keiser's Das zerstoerte Troja. 
 
 Achilles in petticoats. An opera. As it is performed at the 
 Theatre Royal, in Coyent-Garden . . . Written by Mr. Gay, with 
 alterations. The music entirely new by Dr. Arne. 
 London, W. Strahan, T. Lowndes [etc.], 1774. 4 P- l>, 3$ P- cm - 
 Two acts. Table of the 25 songs, cast, and Advertisement according to which this 
 is Gay's "Achilles" "now revived with no very essential changes from the original 
 piece; the chief alterations consisting of abridgement and transposition ..." They 
 were made by George Colman. 
 
 First performed at London, Covent Garden, December 16, 1773. LONGE 26 
 
 Achilles in Sciro. Tr. of Verocai's Achille in Sciro.. 
 Achilles in Scirus. Tr. of Agricola's Achille in Sciro. 
 Achilles in Scyro. Tr. of Caldara's Achille in Sciro. 
 
 Achilles und Ulysses auf der insel Scyros, ballet. See Bach's 
 Lucius Silla. 
 
 Achills zuernender schatten, ein tragisches singspiel in fuenf 
 aufzuegen von Traugott Benjamin Berger, alien musicalischen 
 schauspielern gewidmet. 
 Leipzig, Christian Gottlob Hilscher, 1777. 74, [6] p. 15\. 
 
 The last [6] p. contain a sale's list of the publisher. No composer or performance 
 recorded by Schatz. SCHATZ 11595
 
 OPBEA LIBBETTOS 29 
 
 Achmet et Almanzine. Piece en trois actes. Par Mrs le S * * e 
 d'Or * * Les couplets des divertissemens sont de M. F * * * 
 Represented k la Foire Saint Laurent 1728. 
 Le Theatre de lafoire, Paris, 1728, t. vi, pi., [873]-493 p. 17. 
 
 By Le Sage, d'Orneval, and Fuzelier. Largely en vaudevilles. The airs, selected 
 or composed and arranged by Jean Claude Gillier, the "compoeiteur " of the company, 
 are printed at the end of the volume in the "Table des airs." 
 
 First performed June 30, 1728. ML48.L2 VI 
 
 Achmet und Almanzine. Ein singspiel in zwei aufzuegen. 
 Nach dem franzoesischen der herrn le Sage und d'Ormeville [!]. 
 Aufgefuehrt auf den K. K. Hof-Theatern in Wien. 
 
 [Wien], mit von Kurtzbekischen schriften, 1795. 100 p. 15% cm . 
 
 Johann Baptist Schenck is mentioned as the composer. In the preface the 
 unknown author says of his "gaenzliche umarbeitung" of the French original: 
 
 ' ' Hier musete man freylich den gang der handlung haeufig veraendern, und noch 
 haeufiger die nicht selten, muthwillige laune der verfasser dem anstande, und der 
 eittlichkeit aufopfern, so, dass von dem franzoesischen originale wenig mehr, als der 
 hauptumriss uebrig geblieben ist." 
 
 First performed, as indicated, July 17, 1795. SCHATZ 9591 
 
 Aci, e Galatea. Dramma per musica da rappresentarsi nel 
 nobilissimo Teatro Venier in San Benedetto 1'autunno dell' anno 
 1792. 
 
 Venezia, Modesto Fenzo, 1792. 48 p. 17. 
 
 Two acts. Impresario's dedication, cast, scenario, and name<3 of the composer, 
 Francesco Bianchi, and Giuseppe Foppa, the author. 
 
 First performed October 13, 1792, as indicated. SCHATZ 993 
 
 Aci e Galatea, ballet. See Cimarosa's II fanatico burlato. 
 Aci e Galatea, ballet. See Curcio's Solimano. 
 
 Aci e Galatea, ballet. See Tarchi's II matrimonio per con- 
 trattempo. 
 
 Aci e Galatea, ballet. See Traetta's Le feste d'Imeneo. 
 
 Acis et Galatee, pastorale heroique en musique, represented pour 
 la premiere fois dans le Chateau d'Anet devant Monseigneur le 
 Dauphin. Par 1'Academie royale de musique. Suivant la copie 
 imprime'e & Paris. 
 
 [Amsterdam, Antoine Schelte], 1686. 4$ P- (incl. front.) 18$. 
 
 Prologue and three acts, without name of composer or author. ML49.A2L9 
 
 Acis et Galatee, pastorale heroique represente'e par 1'Academie 
 royale de musique Fan 1686. Les paroles de M. Capistron & la 
 musique de M. de Lully. XXI. opera. 
 
 n. i., n. d. 14 cm - front., 179-222 p. (Recueil general des opera, 
 t. Hi, Paris, 1703.) 
 
 Detached copy. Three acts and prologue. 
 
 First performed, as indicated, September 17, 1686; at Anet, at the palace of the 
 Duke of Venddme, September 6, 1686. SCHATZ 5756 
 
 Second copy. ML48.R4
 
 30 LIBRARY OF CONGRESS 
 
 Acis et Galatee Continued. 
 
 Tircis et Doristee, pastorale; parodie d'Acis et Galat6e; repr6- 
 sente'e pour la premiere fois par les ComSdiens italiens ordinaires du 
 roi, le 4 septembre 1752. Nouvelle Edition. 
 
 Paris, N. B. Duchesne, 1759. 60, [4] p. 19 cm . (Theatre de M. 
 Favart, Paris, Duchesne, 1763-77, t. ii.) 
 
 One act. Cast. En vaudevilles, many of the airs being printed in the text. The 
 [4] p. contain a catalogue of plays and a " Catalogue de musiques nouvelles relatives 
 aux pieces de theatres de M. Favart, & autres. The arranger of the music is not 
 mentioned by Font. ML49.A2F1 
 
 Acis und Galatee. In einem hochteutschen sing-spiel auf 
 dem hoch-fuerstl. Wuertemb. Schauplatz aufgefuehret. 
 Stuttgart, Paul Treuen, 1698. 48 p. 15 cm . 
 
 Three acts aud prologue (located at Stuttgart!) Argument. On p. 41-43 seven 
 additional arias. Neither the author is mentioned, nor the translator, nor Lully. 
 First performed 1698, as indicated. SCHATZ 5757 
 
 Acis och Galatea. Heroisk-ballet i tre acter upf6rd pa den 
 Kongl. Svenska theatren. F6rsta gangen den 10 maji 1773. 
 
 Stockholm, Anders Jacoosson Nordstrdm, 1773. 6 p. 1., 30 p. 20 cm . 
 
 Dedication, argument, cast, notice to the reader, and statement that the poetry is 
 by Lars Samuel Lalin (translated from John Gay's "Acis and Galatea"?) and that the 
 music of the ballet-opera is "dels ny, dels af Hendels opera Acis och Galatea samt 
 andre beroemde maetares arbeten uts&kt och i ordning eatt afven" by the author. 
 The prefatory note gives further information on the history of this curious pasticcio 
 product, especially that the recitatives and some of the choruses were composed or 
 adjusted by Henrick Filip Johnson, the court conductor. SCHATZ 4494 
 
 Acis und Galatea, ballet by Toeschi. See Bach's Lucius Silla. 
 
 [L'Acomate] 
 
 3-38 p. 16\ cm . 
 
 Two acts. Argument, cast, scenario. Title-page wanting, but impresario's dedi- 
 cation to the nobility and "Popolo Pisano" says "Fa la sua prima comparsa su queste 
 scene I'ACOMATE." Giuseppe Giordani is mentioned as the composer, and on p. 38 
 the date of first performance is given as April 21. Consequently this is an imperfect 
 copy of the original Pisa edition by unknown author of Giordani 's opera performed at 
 Pisa, Teatro Nuovo, 1783. ML 48.A5 v.7 
 
 L'Acomate. Dramma per musica da rappresentarsi in Firenze 
 la primavera dell' anno 1784 nel nuovo Regio Teatro degl' Intrepedi 
 detto La Palla a Corda . . . 
 
 Firenze, Stamperia Bonducciana, 1784. 34 p. 16\ cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Argument, cast, 
 scenario, and name of Giuseppe Giordani as the composer. ("La musica 6 tutta 
 miova.") SCHATZ 3832 
 
 Elpinice. Dramma serio per musica da rappresentarsi in Bo- 
 logna nel Teatro Zagnoni 1'autunno dell' anno 1783 . . . 
 
 Bologna, Sassi, n. d. 62, [1] p. 17 cm . 
 
 Though in three acts, and in part radically different, plainly based on "L'Aco- 
 mate " Impresario's dedication, argument, cast, scenario, and name of Giuseppe 
 Giordani as the composer. On p. 27-37 argument, cast, and description of fratelli 
 Ricciardi's ballo eroitragico pantomimo in five acts "La morte di Arrigo Sesto, re 
 d 'Inghilterra. " music by Mattia Stabingher. SCHATZ 3843
 
 OPERA LIBRETTOS 31 
 
 L'acteur dans son menage, tableau anecdotique, me"le de vau- 
 devilles, par M in . J h . Boullault. Represent^, pour la premiere fois, 
 sur le Theatre de 1'Ambigu-comique, le 6 e jour complementaire, 
 an 7. [Sept. 22, 1799] 
 
 Paris, chez le libraire, au Theatre du VaudeviUe, an viii e [1799-1800] 
 55 p. 20 C 
 
 )cm 
 
 Cast. Prefatory note. On p. 53-54 the unaccompanied "Air nouveau du C. St.- 
 Amans, membre du Conservatoire: Je quitte & regret." Not recorded by f!l. & L. or 
 Schatz. ML 48.M2L 
 
 L'Adalinda. A. T. of Gl' inganni innocenti. 
 
 L'Adaloaldo furioso. Drama per musica da rappresentarsi nel 
 Teatro Giustiniano di S. Moise nel carnovale 1727. 
 
 Venezia, Carlo Buonarrigo, n. d. J^5 p. 
 
 Three acts. By Antonio Maria Lucchini, who is not mentioned. Argument, 
 scenario, and name of Giacomo Macari as composer. 
 
 First performed, as indicated, December 26, 1726. SCHATZ 5807 
 
 Adela of Ponthieu. A tragy-pantomime ballet. 
 
 Noverre, Jean George, Works. Tr. from the French, London, 1783, 
 v. S, p. [53}-91. 21% cm . 
 
 Five acts. Noverre's dedication and dedicatory poem, "preliminary discourse," 
 argument, detailed scene by scene description, and note to the effect that this ballet 
 was first represented at the King's Theatre, London, in 1782. GV 1787.N8 
 
 Adelaide. Drama per musica da recitarsi nel Teatro delle Dame 
 pe'l carnevale dell' anno 1743 . . . 
 
 Roma, Bernabb e Luzzarini, 1743. 71 p. 
 
 Three acts. By Antonio Salvi (not mentioned). Dedication, argument, scenario, 
 cast, and name of the composer, Gioacchino Cocchi. SCHATZ 2052 
 
 Adelaide, dramma per musica. Adelheid, ein musicalisches 
 schauspiel. 
 
 Hamburg, gedruckt mit Spieringischen schrifften, n. d. 2 p. I., 
 75 p. 18 cm . 
 
 Three acts. Cast, scenario, and argument. German text faces Italian. Neither 
 the author, Antonio Salvi, nor the composers, Finazzi, Filippo, Scalabrini, Paolo, 
 etc., are mentioned. 
 
 First performed at Hamburg, Opernhaus b. Gansemarkt, July 23, 1744. 
 
 SCHATZ 3101 
 
 Adelaide. Dramma per musica da rappresentarsi nel Teatro 
 Tron di S. Cassano nel carnevale 1729 . . . 
 Venezia, Marino Rossetti, 1729. 59 p. 15\ cm . 
 
 Three acts. By Antonio Salvi, who is not mentioned. Impresario's dedication 
 dated Venice, February 6, 1729, argument, cast, scenario, and name of Giuseppe 
 Maria Orlandini as the composer. SCHATZ 7326 
 
 Adelaide. Drama per musica, da rappresentarsi nell' Arciducale 
 Teatro di Mantova nel carnovale dell' anno MDCCXXXI . . . 
 Mantova, Alberto Pazzoni, n. d. 60 p. 16*. 
 
 Three acts. Dedication dated Mantova, December 26, 1730, argument, castj 
 scenario and note: "La musica e del Signor Giuseppe Orlandini . . . e d'altn 
 autori." Salvi is not mentioned. The differences between the text of Venice, 
 1729, and this ed. are considerable. For instance, "Ricordati, cor mio" (I, 7) has 
 become "Conservati fedele" and "La tua fortuna, o bella" (I, 9) has become "Se
 
 32 LIBRARY OF CONGRESS 
 
 Adelaide Continued. 
 
 brami mia bella." "La pieta del core augusto" has been added to I, 10, as also 
 "Va superba, ed ostinata to I, 15, whereas "Prendi uno sposo" has been dropped 
 from I, 14. Scene I, 16, now consists of "Ma pur da te dipende (Rec.) Ciel jnii 
 tranquillo Palido il Sole," including the original recitative "Quanto piu sien tenaci," 
 but excluding the original aria "Scherza in mar la navicella." It is reasonable to 
 conjecture that the differences in the texts give a clue to the music "d'altri autori." 
 
 ML 50.2.A31O7 
 
 Adelaide, ballet. See Paisiello's II Sismano nel Mogol. 
 
 Adelaide. Drama per musica da recitarsi nel Teatro Alibert pe'l 
 carnevale dell' anno 1723. Presentato alia Maesta di Clementina, 
 regina della Gran Bretagna, etc. 
 Roma Bernabb, 1723. 72 p. 15. 
 
 Three acts. By Antonio Salvi, who is not mentioned. Dedication, argument, 
 cast, scenario, and name of Nicola Antonio Porpora as the composer. 
 First performed, as indicated, January 23, 1723. SCHATZ 8376 
 
 Adelaide. Dramma per musica. 
 Roma, Pietro Ferri, 1723. 72 p. Ufi. 
 
 Three acts. Neither Salvi is mentioned, nor Porpora. Argument. The arias in 
 this edition differ noticeably from those in the Bernab6 edition. For instance, in 
 the latter I, 1, has no aria, whereas the Ferri edition has "Contro 1'idolo adorato." 
 In the Ferri ed. I, 5, has "Orn6 la mia diletta," in the Bernab6 ed. "Per salvarti, 
 idolo mio," etc., etc. ML 50.2.A31P6 
 
 Adelaide, ballet. See Portugal's Fernando nel Messico. 
 
 L' Adelaide. Drama per musica da rappresentarsi nel Teatro 
 Vendramino a San Salvatore. L'anno MDCLXXII . . . 
 
 Venetia, Francesco Nicolini, 1672. 72 p. 
 
 Three acts. By Pietro Dolfino, who is not mentioned. Publisher's dedication, 
 with the name of Antonio Sartorio as the composer, and dated Venice, February 19, 
 1672. Argument and scenario. SCHATZ 9488 
 
 Adelaide di Ghesclino, ballo eroico. See V. Fabrizj's opera 
 L'amore per interesse. 
 
 Adelaide di Guesclin, ballet. See Cafaro's II natal d'Apollo. 
 
 L' Adelaide, regia principessa di Susa. Dramma musicale da 
 Gio. Batista Rodoteo, Veneto. 
 
 Venetia, n. pull., 1670. 48 p. 14 cm . 
 
 Three acts. Argument, and notice to the reader alluding to the first performances 
 of the opera at Munich, Hoftheater, 1669. Giulio Biva, the composer, is not 
 mentioned. SCHATZ 8833 
 
 Adelasia, ballet. See Zingarelli's II mercato di Monfregoso. 
 
 Adelasia riconosciuta, ballet. See Cherubini's Mesenzio re" d'E- 
 truria. 
 
 Adelasia riconosciuta, ballet. See Mayr's Che originali. 
 Adele di Ponthieu, ballet. See Borghi's Artaserse. 
 Adelheid. Tr. of Finazzi and Scalabrini's Adelaide.
 
 OPEEA LIBRETTOS 33 
 
 Adelheid, in einem sing-spiele auf dem Hamburgischen Schau- 
 platze vorgestellet im jahr 1727. 
 
 [Hamburg], Gedruckt mit Stromerschen Schriffien, n. d. Unpaged. 
 
 Three acts. Author not mentioned and unknown to Schatz. Georg Philipp 
 Telemann is mentioned as the composer. 
 
 First performed at Bayreuth, Hochfuerstl. Theater, 1724, as "Adelheid, oder Die 
 ungezwungene liebe." SCHATZ 10254 
 
 Adelheit von Veltheim. Ein schauspiel mit gesang in vier akten. 
 Leipzig, DyJdscTie luchhandlung , 1781. 6 p. 1., 130, [2} p. 17 cm . 
 
 Dedication signed by the author Gustav Friedrich Wilhelm Grossmann and the 
 composer Christian Gottlob Neefe. This is followed by prefatory remarks of Gross- 
 mann's addressed "An herrn magister Dyk" and dated September 10, 1780. To the 
 same is addressed Neefe's preface dated "Frankfurt am Mayn, den 10. Sept. 1780." 
 In this preface we are told: 
 
 "Ich hatte diese arbeit schon laengst geendiget, wenn mein lieber Grossmann 
 nicht bisweilen einen anfall von traegheit bekommen und mich gehemmt hatte. 
 Pfui ! was ich da fur verleumdungen geschrieben habe! Nicht traegheit, sondern 
 veraenderung der umstaende, die viele andre geschaefte von ihm erheischten, sezten 
 ihn ausser stand, an seiner oper fortzuarbeiten. Ich muss ihnen das sagen, um gewis- 
 ser kritischer spione willen, die einige gesaenge darinne finden werden, die sie 
 irgendwo schon gelesen haben, und die sich weidlich lustig machen moechten, etwas 
 ausgespaeht zu haben, das sie berechtige, ihn eines plagiats zu beschuldigen. Aber 
 die herren wuerden sich nur umsonst freuen: denn eben diese gesaenge hatte er 
 vom anfange her fuer Adelheit von Veltheim gefertigt! Umstande . . . machten 
 es unwahrscheinlich, dass diese oper je zu stande kommen wuerde. Ich nahm 
 daher einige gesaenge in eine fremde operette auf . . . Mein freund ging aufs neue 
 an seine oper, und die ausgelehnten gesaenge wurden wieder eingeloest. Das Vos- 
 sische lied: Bey meinern lieben topf voll Reiss u. s. w. gefiel meinem freunde Gross- 
 mann so sehr und passte so gut fuer einen seiner sklaven, dass er es fast unveraendert 
 beybehielt ..." 
 
 First performed at Frankfurt a. M., Theater am Junghof, September 23, 1780. 
 
 SCHATZ 7068 
 
 - Adelheit von Veltheim. In vier akten. Komponirt vom herrn 
 hoforganist Neefe zu Bonn. 
 
 n. i., n. d. 1 p. 1., 136 p. 17 cm . 
 
 The author, Grossmann, is not mentioned. SCHATZ 11734 
 
 Adelia e Roberto. A. T. of La selvaggia. 
 
 Adelina Senese o sia L'amore secreto. Dramma giocoso per musica 
 da rappresentarsi nel Teatro in S. Samuele per la prima opera d'au- 
 tunno 1797. 
 
 Venezia, Stamperia Valvasense, n. d. 71 p. 17 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Prefatory note, cast, 
 and name ot Gaspare Spontini as composer. ("La musica del tutto nuova"). On 
 p. [37J-44 argument, cast and description without name of the composer of the music 
 of Antonio Berti's "Duglas ed Ernestina, ballo di mezzo carattere. SCHATZ 9991 
 
 Arien und gesaenge zum trauerspiel Adelstan und Roeschen von 
 Schink. Die musik von herrn Hiller. 
 n. i., n. d. [8] p. 16\ cm . 
 
 Two acts. Composed by Friedrich Adam Hiller. 
 
 First performed at Gustrow, Theater im Rathhause, September-6, 1792. 
 
 SCHATZ 4714 
 72251 VOL 114 - 3
 
 34 LIBRARY OF CONGRESS 
 
 Ademira. Dramma per musica da rappresentarsi nel Real Teatro 
 di S. Carlo nel di 30 di maggio 1789 festeggiandosi il glorioso nome 
 di Ferdinando IV ... 
 
 Napoli, Vinzenzo Flauto, 1789. 56 p. 15\ cm . 
 
 Three acts. By Ferdinando Moretti who is not mentioned. Impresario's dedica- 
 tion, dated Naples, May 30, 1789, argument, scenario and name of Pietro Guglielmi 
 as the composer. A footnote states that for brevity's sake the "recita" in the third 
 act would be omitted and its music transferred to I, 7. On p. 9-20 cast and descrip- 
 tion of Sebastiano Gallet's "Amor pu6 tutto, oesia II trionfo del valore, ballo panto- 
 mime in tre atti," music by "diversi autori." SCHATZ 4231 
 
 Ademira. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto per la fiera dell' Ascensione dell' anno 1784. 
 
 Venezia, Modesto Fenzo, 1784. 56 P- 17 cm - 
 
 Three acte. Author not mentioned and unknown to Schatz. Argument, cast, 
 scenario and name of Andrea Luchesi, as composer. On p. 21-34 description, argu- 
 ment, cast, but not name of the composer of the music of Paolino Franchi's "Hurtado 
 e Miranda, ballo tragico-pantomimo. 
 
 First performed May 2, 1784, as indicated. SCHATZ 5739 
 
 Ademira. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro Venier in San Benedetto 1'autunno dell' anno 1787. 
 Venezia, Modesto Fenzo, 1787. 59 p. 17$ cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Argument, cast, 
 scenario and note "La musica e del Sig. Angelo Tarchi, e d'altri rinomati autori." 
 On p. [471-59 prefatory note, argument, cast without name of the composer of the 
 music and description of Domenico Ballon'e "La conquista del Peru ossia Amazili e 
 Telesco, ballo eroico tragico tratto dalP Incas del Sig. Marmontel." His second 
 ballet is called " La. vedova ingegnosa ossiano Le bizzarie del bel sesso." 
 
 First performed at Milan, Teatro alia Scala, December 27, 1783. SCHATZ 10211 
 
 Admeto. Dramma per musica di Giuseppe Palomba. Da rappre- 
 sentarsi nel Real Teatro del Fondo di Separazione per second opera 
 di quest' anno 1794 . . . 
 
 Napoli, Vincenzo Flauto, 1794. 43 p. 15 cm . 
 
 Two acts. Impresario's dedication dated Naples, October 5, 1794, cast and name 
 of Pietro Guglielmi as the composer. On p. 6-13 argument, cast and description of 
 Giovanni Battista Giannini's, "La fata benefica, ballo pereiano favoloso," music by 
 Giuseppe Ercolani. SCHATZ 4286 
 
 Admeto. 
 
 Three act opera by Georg Friedrich Handel. Text an altered version of Aurelio 
 Aureli's "L'Antigona delusa da Alceste." 
 
 First performed at London, Haymarket, January 31, 1727. 
 Not in L. of C. 
 
 - Admetus, koenig in Thessalien. In einer opera auf dem 
 Hamburgischen Schau-Platze vorgestellet. Im jahr 1730. 
 
 [Hamburg], Gedruckt mit Stromerschen schriften, n. d. Unpaged. 
 18 cm . 
 
 Three acts. Argument and scenario. Neither C. G. Wendt, the translator of 
 "Admeto," nor Georg Friedrich Handel, the composer is mentioned. 
 
 First performed at Hamburg, Theater beim Gansemarkt, January 23, 1730. 
 
 SCHATZ 4470 
 
 - Admetus, koenig in Thessalien, in einer opera auf dem Ham- 
 burgischen Schau-Platze vorgestellet. Im jahr 1731. 
 
 Hamburg, mit Piscators schrifften, n. d. Unpaged. 18 cm . 
 
 Three acts. Scenario and " Historischer bericht" (argument) with names of Wend 
 as translator, and Georg Friedrich Handel as composer. The Italian text of the arias 
 is added to the German. SCHATZ 11713
 
 OPERA LIBRETTOS 35 
 
 Admeto ed Alceste. A. T. of the ballet La maggior impresa 
 d'Ercole. 
 
 Admeto ed Alceste, ballet. See Jommelli's L'Olimpiade. 
 
 Admeto re di Tessaglia. Melodrama da recitarsi nel Regio 
 Teatro di Milano . . . 
 
 Milano, Marc 1 Antonio Pandolfo Malatesta, 1702. 67 p. 15 cm . 
 
 Three acts. Dedication by the author Pietro d'Averara, argument, scenario, and 
 notice to the reader with name of Paolo Magni as the composer, compliment to the 
 impresarios Piantanida for their generosity in staging the opera and remark: 
 
 Mi son ristretto ne' recitativi, e nelle agnizioni tediose, massime nel fine ... In 
 somma ho cercato il tuo diletto, che e la regola principale della Drammatica, e 1'oggetto 
 della mia attezione ..." SCHATZ 5839 
 
 Admetus, koenig in Thessalien. Tr. of Handel's Admeto. 
 
 Adolphe et Clara, ou Les deux prisonniers, comedie en un acte et 
 en prose, melee d'ariettes. Paroles de B. J. Marsollier. Musique 
 du cito} T en d'Aleyrac. Represented, pour la premiere fois, a Paris, 
 sur le Theatre de rOpera-comique-national, rue Favart, le 22 pluvidse, 
 an 7 [February 10, 17991. 
 
 Paris, Cailleau, An septieme [1799]. 46 p. 19% cm 
 Cast. ML 50.2.A33D2 
 
 L'Adone, tragedia musicale del clarissimo Signer Paolo Vendra- 
 mino. Rappresentata in Venezia 1' anno 1639. All' illustrissimo 
 Sig. Antonio Grimani fu dell' illustrissimo Signer Vettor. 
 
 Venetia, Sarzina, 1640. 71 p. 13% cm . 
 
 Five acts with prologue. The dedication is signed by Francesco Manelli and 
 dated Venice, December 21, 1639. It is followed by a "Lettera del Signer Ven- 
 dramino al Manelli," dated Bologna, December 16, 1639, in which the author says: 
 
 "Intendo, che V. S. vuol porre alle stampe 1'Adone. Me ne rincresce altretanto, 
 quanto m'ha gia doluto la sua risoluzione di farlo recitare, non ostante la mia louta- 
 nanza, ch' e a dire, senza i lumi piu necessarii dell' apparenze, co'quali doveva illus- 
 trarsi 1'azione . . ." 
 
 The letter is followed by the argument. Monteverdi, the composer, is not 
 mentioned. SCHATZ 6594 
 
 Adone e Venese, ballet. See Pugnani's Demofoonte. 
 
 i/ Adone in Cipro. Drama per musica da rappresentarsi nel famosis- 
 simo Teatro Vendramino di S. Salvatore. L'anno MDCLXXVI. 
 Inventato dal dottor Giannini . . . 
 
 Venetia, Francesco Nicolini, 1676. 60 p. llf m . 
 
 Three acts. Publisher's dedication, dated Venice, December 18, 1675, argument, 
 and note that all the "versi appuntati sono dell' inventore di questo drama," which 
 implies that the others were not. According to Schatz, Tebaldo Fattorino retouched 
 Giannini's original text. The composer, Giovanni Legrenzi, is not mentioned. 
 
 SCHATZ 5540 
 
 Adone re di Cipro. Drama per musica di Filippo Vanstryp 
 rornano, da rappresentarsi nella sala degl' illustrissimi Signori Cap- 
 ranica nel carnevale dell' anno 1731 . . . 
 
 Roma, Rossi, n. d. 64 p. 16 cm . 
 
 Three acts. Impresario's dedication, argument, scenario, cast, and name of the 
 composer, Michele Caballone. SCHATZ 1446
 
 36 LIBRARY OF CONGRESS 
 
 The adopted child, a musical drama, in two acts. As it is per- 
 formed at the Theatre Royal, Drury-Lane. By Samuel Birch. 
 London, C. Ditty, 1795.* 2 p. I, 4! p. 20 cm . 
 
 Cast and prefatory note. The composer, Thomas Attwood, is not mentioned. In 
 Longman & Broderip's vocal score Woman is curious" is headed as "Selected 
 by Mrs. Bland " and added in pencil is the name of the air "Boded no good." 
 ' First performed May 1, 1795. LONGE 230 
 
 Adrast und Isidore, oder Die nachtmusik. Eine komische oper in 
 zween aufzuegen. Nach Moliere. Aufgefuehrt im K. K. National- 
 Theater. 
 
 Wien, beym Logenmeister, 1780. 52 p. 15 cm . 
 
 By Christoph Friedrich Bretzner. Neither he nor the composer, Franz Adam, ritter 
 vonMitscha, is mentioned. 
 
 First performed at Vienna, Nationaltheater n. d. Burg, April 26, 1781. 
 
 SCHATZ 6535 
 
 Arien aus Adrast und Isidore. Eine komische oper, in zween 
 akten. Nach Moliere. 
 
 n. i., 1787. 16 p. 15% cm . 
 
 Neither the author, Christoph Friedrich Bretzner, is mentioned, nor the composer, 
 von Kospoth. 
 
 First performed at Berlin, Dobbelinsches Theater, October 16, 1779; at Dresden, 
 Hoftheater, February 22, 1779. SCHATZ 5217 
 
 Adrast und Isidore, oder Die serenate. Eine komische oper in 
 zween akten. Nach Moliere. [silhouette] Componirt vom herrn 
 Preu in Leipzig. 
 
 [198] -254 p. (C. F. Bretzner, Operetten, Id. I, Leipzig, 1 779.) 16 cm . 
 
 The silhouette is a portrait of M. Bauser. In the Vorbericht Bretzner says of this 
 play: 
 
 "Das dritte stueck ist posse, und als solche betrachtet, schluepft es vielleicht mit 
 durch. In Wien erhielt es eine premie, und wird vermutlich von dort aus, unter dem 
 titel: die Nachtmusik, gedruckt erscheinen. Ich habe seitdem vershiedne ver- 
 aenderungen darinn gemacht, und haette gern in den liedern noch mehrere gemacht, 
 wenn es nicht bereits componirt gewesen waere . . ." 
 
 First.performed at Dresden, Hoftheater, February 22, 1779. SCHATZ 11680 
 
 Second copy. SCHATZ 8462 
 
 Adrasto re d'Egitto. Dramma per musica da rappresentarsi nel 
 Teatro alia Scala il carnevale dell' anno 1792 . . . 
 Milano, Gio. Batista Bianchi, n. d. 96 p. 16 cm . 
 
 Three acts. Impresario's dedication dated Milan, February 4, 1792, author's 
 notice to the reader, argument, cast, scenario and names of Giovanni de Gamerra as 
 author, of Angelo Tarchi as composer. SCHATZ 10233 
 
 Second copy. ML 50. A5 v. 8 
 
 Adrasto re degli Argivi. Dramma per musica da cantarsi nella 
 Real villa di Queluz per celebrare il relicissimo giorno natalizio di 
 S. M. . . . D. Pietro III ... li 5. luglio, 1784. 
 [Lisboa], Netta stamperia reale, n. d. 30 p. 15 cm . 
 
 One act. By Gaetano Martinelli. Argument, cast, and names of the composer, 
 Joao de Sousa CarvaLho, and the author. SCHATZ 1670 
 
 Adrian in Syrien. Tr. of Bernasconi's Adriano in Siria.
 
 OPERA LIBRETTOS 37 
 
 L'Adriano. Dramma per music a da rappresentarsi nel Teatro Tron 
 di S. Cassiano il carnovale dell' anno MDCCXLVIII. 
 
 n. i. 66 p. 15 cm . 
 
 Three acts. By Metastasio ("Adriano in Siria"). Argument, cast, scenario and 
 name of the composer Vincenzo Legrenzio Ciampi. 
 
 First performed at Venice as indicated. SCHATZ 1875 
 
 Adriano en Syria.. Tr. of Conforto's Adriano in Siria. 
 
 L'Adriano in Siria. 
 
 \75\-l 47 P- 19 cm . (Pietro Metastasio, Opere drammatiche, Venezia, 
 Giuseppe Bettinelli, 1733-37, v. 1.) 
 
 Three acts and Licenza. Argument. No composer is mentioned. 
 
 This belongs to those texts which exist in different versions by Metastasio him- 
 self. Some of the telling differences are as follows: 
 
 The original version (as here represented) has in I, 8, the aria "E vero che op- 
 presso." Its scene 1, 13,.begins "E nessunosadirmi," its scene 1, 14, begins "Misera, 
 dove fuggo? " and has the aria "Se non ti moro allato." 
 
 The later versions (as below 1755, t. I and 1780, t. I) do not have the aria in I, 8. 
 Their I, 13, begins "Se quel folle si perde" and their I, 14, begins "Senti. Come 
 mi lascia " and has no aria. ML 49.A2M4 
 
 - Adriano in Siria. 
 
 Metastasio, Poesie, Parigi, vedova Quittau, 1755, t. I, [111] -204 P- 
 16 cm , 
 
 Three acts and licenza. Argument. 
 
 "Nella forma in cui sono stati ridotti dall' autore." (See note on p. 169 of v. vi.) 
 
 - Same, t. VI, [171}-280 p. 16. 
 "Come . . . nell' altre edizioni." ML 49.A2M42 
 
 Adriano in Siria. Rappresentato con musica del Caldara la 
 prima volta in Vienna nell' interno gran Teatro della Corte Cesarea alia 
 presenza degli augustissimi sovrani, il di 4 novembre 1731, per festeg- 
 giare il nome dell' imperator Carlo VI ... 
 
 p. 1., [113]-212 p. 26 cm . (Pietro Metastasio, Opere, Parigi, vedova 
 Herissant, t. I, 1780. 
 
 Three acts and licenza. Argument. ML 49.A2M44 
 
 - Adrien. 
 
 Metastasio, Tragedies-opera, Vienne, 1751, t. ii, 123 p. 14 cm . 
 Three acts. Richelet's translation of Adriano in Siria. ML49.A2M47 
 
 Adriano in Siria. Dramma per musica da rappresentarsi nel nobilis- 
 simo Teatro di S. Benedetto il carnovale dell' anno 1780. 
 Venezia, Modesto Fenzo, 1780. 56 p. 16% cm . 
 
 Three acts. By Pietro Metastasio. Argument, cast, scenario, and name of Felice 
 Alessandri as composer. SCHATZ 153 
 
 Adriano in Siria, ballet. See Bertoni's Eumene. 
 
 Adriano in Siria. Dramma per musica da rappresentarsi nel Nuovo 
 Teatro di corte . . . nel carnevale dell' anno 1755. La poesia e del 
 Sig. abbate Pietro Metastasio ... La musica e del Sig. Andrea de 
 Bernasconi . . . 
 
 Monaco, Giov. Giac. Votter, n. d. 151 p. 19 cm . 
 
 Three acts. Argument, cast and scenario. German title-page "Adrian in Syrien " 
 and text face Italian. SCHATZ 854 
 
 355972
 
 38 LIBRARY OF CONGRESS 
 
 Adriano in Siria, rappresentato e recitato nel nuovo Teatro Ducale 
 in Stuggarda, 1737. 
 
 n. i., n. d. 237 p., 1 I 16 cm . . 
 
 Three acts. By Metastasio, followed by the licenza, p. 190-195 and the three act 
 intermezzo "Pollastrella & Parpagnocco" (text by Panati), p. 196-237. Argument, 
 cast and scenario. German title-page "Der in Syrien triumpnirende Kayser Hadri- 
 anus" and text face Italian. Riccardo Broschi's name is not mentioned but, as he 
 was then the first conductor at the Stuttgart court, it stands to reason that he com- 
 posed this opera. SCHATZ 1338 
 
 Adriano in Siria. Dramma per musica da rappresentarsi nel nuovo 
 Teatro Grimani di S. Benedetto il carnovale dell' anno MDCCLVII. 
 
 Venezia, Modesto Fenzo, 1757. 58 p. 
 Three acts. By Metastasio. Argument, cast, and scenario but without name of 
 the composer, Francesco Brusa. SCHATZ 1376 
 
 Adriano in Siria. Drama per musica da rappresentarsi nella 
 Cesarea corte per il nome gloriosissimo della Sac. a Ces. a e Catt. Real 
 Maesta di Carlo VI ... L'anno MDCCXXXII. La poesia & del 
 Sig. abbate Pietro Metastasio ... La musica e del oig. Antonio 
 Caldara . . . 
 
 Vienna d 1 Austria, Gio. Pietro Van Ghelen, n. d. 4 P- ?-, 78 p. 
 
 Three acts and licenza. Argument and scenario. The ballet music at the end of 
 the acts was composed by Niccola Matteis. 
 
 First performed as indicated, November 9, 1732. SCHATZ 1478 
 
 Adriano in Siria. Opera drammatica da rappresentarsi nel Regio 
 Teatro del Buon-Ritiro. Festeggiandosi il gloriosissimo giorno natalizio 
 di sua Maesta Cattolica il re nostro Signore D. Ferdinando VI ... 
 anno MDCCLVII. 
 
 (At end) Madrid, Michele Scrivano. n. d. 13 p. 1., 157 p. 20% cm . 
 
 Three acts. By Metastasio and somewhat reduced by him as a note informs the 
 reader. With dedication signed by Carlo Broschi Farinelli and dated "Madrid, 20. 
 settembre 1757," argument, cast, scenario and name of the composer Niccolb Con- 
 forto. Spanish title "Adriano en Syria" and text face the Italian. SCHATZ 2121 
 
 Adriano in Siria. Dramma per musica da rappresentarsi nel Teatro 
 Vendramin di S. Salvatore nella fiera dell' Ascensione dell' anno 1760. 
 Venezia, Modesto Fenzo, 1760. 56 p. 
 
 Three acts. By Metastasio who is not mentioned. Argument, cast, scenario and 
 name of Baldassare Galuppi as composer. "La musica tutta nuova," consequently 
 his second setting of the text. SCHATZ 3473 
 
 Adriano in Siria. Dramma per musica di Pietro Metastasio tra gli 
 Arcadi Artino Corasio, da rappresentarsi nel famosissimo Teatro Gri- 
 mani di S. Gio. Grisostomo. II carnovale dell' anno 1733 . . . 
 Venezia, Carlo Buonarrigo, 1733. 72 p. 14% cm . 
 
 Three acts. By Metastasio with alterations indicated in the libretto. Impresario's 
 dedication, argument, cast, scenario and name of Geminiano Giacomelli as the com- 
 poser. SCHATZ 3805 
 
 Adriano in Siria. Dramma per musica da rappresentarsi nel famo- 
 sissimo Teatro Grimani di S. Gio. Grisostomo il carnovale dell' anno 
 1740 . . . 
 
 Venezia, Marino Rossetti, 1740. 60 p. 15 cm . 
 
 Three acts. By Metastasio who is not mentioned. Impresario's dedication, argu- 
 ment, cast, scenario and name of Giovanni Antonio Giai as the composer. 
 
 SCHATZ 38 19
 
 OPERA LIBRETTOS 39 
 
 Adriano in Siria. Dramma per musica da rappresentarsi nel Teatro 
 nobile di S. Benedetto il carnovale dell' anno MDCCLXVI. 
 
 Venezia, Giorgio Fossati, n. d. 55 p. 17 cm . 
 
 Three acts. By Metastasio who is not mentioned. Argument, cast, scenario and 
 name of Pietro Guglielmi as the composer. The last page contains the additional 
 aria for II, 6 "Alia tua bella face." 
 
 First performed, as indicated, December 26, 1765. SCHATZ 4232 
 
 Adriano in Siria, dramma per musica, da rappresentarsi nel Teatro 
 della Regia elettoral corte di Dresda, nel carnevale dell' anno 
 MDCCLIL 
 
 Dresda, la vedova Stb'ssel, n. d. 4 P- ^., 89 p. 19\ cm . 
 Three acts. Argument, scenario, cast and names of Metastasio as author, of Johann 
 Adolph Hasse as composer. 
 
 First performed, as indicated, Jan. 17, 1752. SCHATZ 4503 
 
 - Adriano in Siria, dramma per musica, da rappresentarsi nel 
 Teatro della Regia elettoral corte di Dresda, nel carnovale dell' 
 anno MDCCLII 
 
 Dresda, la vedova Stb'ssel, n. d. 7 p. 1., 89, 89 p. 19 cm . 
 
 Three acts. The same as Schatz 4503, except that German title "Adrianus in 
 Syrien" and text face Italian. SCHATZ 4504 
 
 Adriano in Siria. Dramma per musica da rappresentarsi alia corte 
 elettorale palatina in occasione delle felicissime nozze di Sua Altezza- 
 Serenissima Federigo Augusto elettore di Sassonia etc. etc. e di Sua 
 Altezza Serenissima Amalia Augusta contessa palatina de' Due Ponti 
 1'anno MDCCLXIX. 
 
 Mannheim, Stamperia elettorale, n. d. 100, [7] p. 15\ cm . 
 
 Three acts. Argument, cast, scenario, and names of Metastasio as author, of Ignaz 
 Holzbauer as the composer. The 7 additional pages contain Mattia Verazi's Licenza. 
 Performed, as indicated, at Mannheim, Hoftheater, January 1769; first performed 
 there November 4, 1768. SCHATZ 4778 
 
 - Hadrian in Syrien. Ein musicalisches trauerspiel, welches an 
 dem hoechsten namensfeste Ihro Churfuerstlichen Durchlaucht zu 
 Pfalz . . . bey Hof aufgefuehret worden. 
 
 Mannheim, mit Academischen schriften, 1768. 1 p. 1., Ill, 20 p. 
 18 cm . 
 
 German translation for the above performance. Argument, cast, scenario, and 
 names of Metastasio and Holzbauer. The 20 additional pages contain casts and 
 descriptions of Bouqueton's ballets "Cephal und Procris" and "Reinald und Armide," 
 music by "Cannabich und Toeschi." SCHATZ 4779 
 
 Adriano in Siria. Dramma per musica da rappresentarsi nel Teatro 
 Grimani di S. Samuel nella fiera dell' Ascensione dell' anno 1760. 
 Venezia, Modesto Fenzo, 1760. 56 p. U& cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of the composer Antonio Maria Mazzoni (" La musica sara nuova.") 
 
 First performed May 14, 1760. SCHATZ 6225 
 
 Adriano in Siria. Dramma per musica da rappresentarsi nel Nuovo 
 Teatro in proprieta de' quattro cavalieri patrizi della Regio-inclita 
 citta di Pa via nella primavera dell' anno 1777 . . . 
 
 Pavia, Porro e Bianchi, n. d. 52 p. 14 m - 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, 
 and name of Joseph Misliweczek as the composer. SCHATZ 6533
 
 40 LIBRARY OF CONGRESS 
 
 L 'Adriano in Siria. Dramma per musica da rappresentarsi nel 
 Ducal Teatro di corte il carnovale dell' anno 1775 . . . 
 
 Modena, gli eredi di Bartolomeo Soliani, n. d. 48 p. 18 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, scenario, cast, 
 and name of Gaetano Monti as the composer. On p. 48 the reader is informed that 
 after publication of the libretto scenes 8 and 10, act II were cancelled, Sabina's aria 
 "Non ha ragione ingrato" transferred from II, 8, to I, 111, etc. 
 
 First performed, as indicated, January 31, 1775. SCHATZ 6605 
 
 Adriano in Siria. Dramma per musica da rappresentarsi nel Teatro 
 alia Scala il carnevale 1790 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 58, [10] p. 16% cm . 
 
 Three acts. By Metastasio, who is not mentioned. Impressario's dedication, 
 dated Milan, December 26, 1789, argument, cast, scenario, and name of Sebastiano 
 Nasolini, maestro della Capella, e della Direzione Teatrale di Trieste, as the com- 
 poser. 
 
 With the opera were performed Francesco Clerico's ballets "La morte d'Ercole" 
 and "La superba innamorata a suo dispetto" (argument on the 10 unnumbered p.). 
 The composer of the music is not mentioned. SCHATZ 6998 
 
 Second copy. ML 48.A5 v. 9 
 
 Adriano in Siria. Dramma per musica da rappresentarsi nel nobil 
 Teatro di Torre Argentina il carnovale dell' anno 1758. 
 
 Roma, Fausto Amidei, n. d. 72 p. 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, 
 and name of Rinaldo di Capua as composer. 
 
 First performed at Rome, Teatro Argentina, January 2, 1758. ML 50.2.A36R4 
 
 Adriano in Siria. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1782 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 64 p. 15\ cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Giacomo Rust as the composer. With the opera were performed, music by 
 Vittorio Amedeo Canavasso, Sebastiano Gallet's ballets "Lauso e Lidia," "II manes- 
 calco," and "Popoli della Siria." 
 
 First performed December 26, 1781. SCHATZ 9166 
 
 Adriano in Siria. Dramma per musica da rappresentarsi nel 
 nobilissimo Teatro di San Benedetto la fiera dell' Ascensione dell' 
 anno 1771. 
 
 Venezia, Modesto Fenio, 1771. 61 p. 17+ 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Antonio Sacchini as the composer SCHATZ 9204 
 
 Adriano in Siria. Dramma per musica da rappresentarsi nel 
 nobil Teatro a Torre Argentina nel carnevale dell' anno 1779 . . . 
 
 Roma, LuigiBendio, 1779. 48 p. 16 cm . 
 
 Three acts. By Metastasio, to whom this typical note refers: 
 
 "Tuttocib, chi si e tolto, aggiunto, o sconnesso nel presente dramma, si e fatto per 
 adattarsi alle circostanze del moderno teatro, e non mai per correggere il celeber- 
 rimo Poeta Cesareo, alle opere di cui si protesta tutta la stima e la venerazione." 
 
 Argument, cast, scenario, and name of Giuseppe Sarti as the composer. On p. 7 
 argument without name of the composer of the music of Paolino Franchi's ballet 
 "Gustavo Vaza." Second ballet called "La cappricciosa." 
 
 First performed, as indicated, December 28, 1778. SCHATZ 9470 
 
 L'Adriano in Siria. Drama per musica da rappresentarsi nel 
 Teatro Tron di S. Cassiano nel carnovale dell' anno MDCCLII. 
 
 [Venezia], n. pull. 1 p. 1., 60 p. 15\ cm . 
 
 Three acts. By Metastasio (not mentioned), with acknowledged alterations "per 
 comodo del teatro, e per le convenienze degl' attori." Argument, cast, scenario, and 
 name of Giuseppe Scarlatti as the composer. SCHATZ 9540
 
 OPERA LIBRETTOS 41 
 
 Adriano in Siria. Dramma per musica da rappresentarsi nel 
 Teatro di S. Samuelle il carnevale dell' anno MDCCLIV. 
 Venezia, Angiolo Geremia, n. d, 58, [1] p. 16 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Giuseppe Scolari as the composer. SCHATZ 9802 
 
 Adrianus in Syrian. Tr. of Basse's Adriano in Siria. 
 Adrien. Tr. oOletastasio's text Adriano in Siria. 
 
 Adrien, opera en trois actes, represent e pour la premiere fois, sur 
 le Theatre de la Republique et des Arts, le 16 Prairial, an VIT. 
 
 Paris, Bollard, An vii de la Republique, [1799]. 1 p. 1., 79 p. 26 cm . 
 
 "Paroles du citoyen Hoffmann. Musique du citoyen Mehul." Cast. 
 
 First performed June 4, 1799. SCHATZ 6276 
 
 An adventure at Margate. A. T. of Arnold's Summer amusement. 
 Adventures of twelve hours. A. T. of Love in the East. 
 Aeneas in Latium. Tr. of Righini's Enea nel Lazio. 
 Der aepfeldieb. A. T. of Gaertner's Ich heisse Theiss. 
 
 Der aepfeldieb. Ein originalsingspiel in einem aufzuge. Vom 
 herrn Bretzner. Aufgefuehrt auf dem k. k. Hof-Nationaltheater von 
 der in der schauspielkunst sich uebenden jugend. Die musik dazu 
 ist neu, vom herrn Jast. 
 
 Wien, beym logenmeister, 1781. J^5 p. 16 cm . 
 
 At end imprint of Joseph, edler von Kurzbeck. Composer F. Jast, also known 
 as Jost. SCHATZ 4979 
 
 Der aepfeldieb, oder Der schatzgraeber. Eine operette in einem 
 akte. [silhouette] Componirt vom herrn Kaffka, Schaiispieler 
 beym Churfuerstl. Saechs. Theater. 
 
 16 cm . [255}-298 p. (C. F. Bretzner, per etten, Id. I, Leipzig, 
 1779.} 
 
 The silhouette is that of the composer, J. C. Kaffka. Of this piece Bretzner says, 
 in his Vorbericht: 
 
 "Der aepfeldieb war als lustspiel bereits in meinen ersten Beytraegen ['Neue 
 theatralische beytraege,' 1771] gedruckt; hier habe ich nichts davon als den plan 
 beybehalten; den dialog aber gaenzlich umgearbeitet." 
 
 First performed at Berlin, Dobbelin'sches Theater, June 26, 1780. 
 
 SCHATZ 11680 
 Second copy, detached. SCHATZ 4982 
 
 Der aerndtekranz. Eine komische oper, in drey aufzuegen. 
 
 Leipzig, in der DycTdschen buchhandlung, 1771. 214 P- 15 cm . 
 
 Neither the author, Christian Felix Weisse, nor the composer, Johann Adam 
 Hiller, is mentioned. 
 
 First performed at Leipzig, Theater am Rannstaedter Thore, 1771. 
 
 SCHATZ 4718 
 
 - Der aerntekranz. Eine komische oper in drey aufzuegen. 
 
 C. F. Weisse, Komische opern, Carlsruhe, 1778, th. Hi, p. [135]-264 
 p. 18$ cm . 
 
 The composer, Johann Adam Hiller, is not mentioned. ML 49.A2W2
 
 42 LIBRARY OF CONGRESS 
 
 Aesopus bey hofe, in einem singspiele auf dem Hamburgischen 
 Schau-platze vorgestellet im jahr 1729. 
 
 [Hamburg], Gedruckt rn.it Stromerischen schrifften, n. d. Unpaged. 
 
 Five acts. Argument and scenario. Neither Johann Mattheson, the author, 
 (reap, translator), nor Georg Philipp Telemann, the composer, is mentioned. 
 First performed, as indicated, February 28, 1729. . SCHATZ 10255 
 
 Aetius. Tr. of Metastasio's text Ezio. 
 
 Aetius. Tr. of Graun's Ezio. 
 
 Aetius. Tr. of Jommelli's Ezio. 
 
 Gli aflfetti generosi. A. T. of Metastasio's text L'Atenaide. 
 
 Gli affetti piu grandi, vinti dal piu giusto. Drama per musica 
 nel felicissimo giorno natalizio della S. R. M tt di Giuseppe I. r& de' 
 Romani . . . 1 anno MDCCI. Posto in musica dal Sig r Giovanni 
 Bononcini . . . con Parie per li balletti del Sig r Gio. Gioseffo Hoffer 
 
 Vienna d 1 Austria, Susanna Cristina, vedova di Matteo Cosmerovio, 
 n. d. 77 p. 14$ cm - 
 
 Three acts and lictnza. Dedication, signed and dated by the author, Donato 
 Cupeda, Vienna, July 26, 1701, argument, and scenario. SCHATZ 1 199 
 
 Aftenen. Et syngespil i een akt. Ved Frederik H0egh Guldberg. 
 Sat i musik af hr. koncertmester Schall. 
 
 Kj0benhavn, Niels CTiristensen, 1795. 78 p. 16 cm . 
 
 Dedicatory poem and preface. 
 
 First performed at Copenhagen, Royal Theatre, April 23, 1795. SCHATZ 9581 
 
 Agamemnon venge. Ballet tragique en cinq actes par M. Noverre. 
 Execute" sur les theatres ae Vienne 1771. 
 
 [Vienne], de Ghelen, n. d. 42 p. 17 cm . 
 
 Scene by scene description preceded by Noverre's highly interesting "Reflexions 
 justificatives, sur le choix et rordonnance du sujet" on p. 3-13, in which Noverre 
 outlines his entire bold system of ballet of which the leading thought is: 
 
 "Un balet n'est pas un drame . . . une production de ce genre ne peut se sub- 
 ordonner aux regies etroites d'Aristote . . . c'est toujours en grand que la pantomime 
 doit peindre ..." 
 
 No composer mentioned. ML 52.2.A2 
 
 Agamemnon revenged. A tragic ballet in five acts. 
 
 Noverre, Jean George, Works. Tr. from the French, London, 1783, 
 v.S,p.[183}-262. 211. 
 
 "Remarks in justification of the author's choice and management of the subject" 
 and detailed scene by scene description. GV 1787. N8 
 
 Agaton und Psiche, ein drama mit gesang, vor. Friedrich Christian 
 Schlenkert. 
 
 Leipzig, Paul Gotthelf Kummer, 1780. 86 p. 15 cm . 
 
 No composer or performance recorded by Schatz. SCHATZ 11598 
 
 L'age viril ou L'amour coquet. Entree in Campra's Les ages, 
 ballet.
 
 OPERA LIBRETTOS 43 
 
 Les ages, ballet, represente par 1'Academie royale de musique, Tan 
 1718. Paroles de M. Fusilier. Musique de M. Campra. XCV. 
 opera. 
 
 n. i., n. d, pi., 317-376 p. 14 cm - (Recueil general des opera. 
 Paris,' 1734, t. xii, no. 6.) 
 
 Detached copy. Prologue and three entrees called "La jeunesse ou L'amour 
 ingenu," "L'age viril ou L'amour coquet," "La vieillesse ou L'amour enjoueV' In 
 his Avertissement the author says: 
 
 "Je n'ai pretendu donner qu'un tissu de maximes enjouees, liees par une intrigue 
 legere, qui put occasionner des airs gracieux & des danses variees. C'est ce me 
 semble, ce qui doit constituer le fonds d'un ballet." 
 
 First performed, as indicated, October 9, 1718. SCHATZ 1540 
 
 Second copy. ML 48. R4 
 
 Agesilao. Dramma per musica da rappresentarsi Del nobilissimo 
 Teatro Venier in San Benedetto il carnovale dell' anno 1788. 
 Venezia, Modesto Fenzo, 1787. 64 p. 17 cm . 
 
 Three acts. Cast, argument, scenario, and name of Gaetano Andreozzi as com- 
 poser but not of librettist, who is unknown to Schatz. On p. 47-64 the argomento 
 and detailed description of " Sardanopalo, re degli Assirj ballo eroico tragico, tratto 
 dall' Istoria del regno assiro, d'invenzione, e composizione di Monsieur Domenico 
 Ballon." The composer of the music is not mentioned. SCHATZ 221 
 
 - L'Agesilao. Dramma per musica da rappresentarsi nel magni- 
 fico Teatro dell' Accademia Filarmonica di Verona il carnevale dell' 
 anno 1792. 
 
 Verona, Dionigi Ramanzini, n. d. 37 p. 17% cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Impresario's dedica- 
 tion, argument, cast, scenario and name of Andreozzi as composer. ML 50.2.A38A5 
 
 Agesilao. O. T. of Francesco Ballani's text Lisandro. 
 
 Agide re di Sparta. Dramma per musica di Luisa Bergalli da rap- 
 presentarsi nel Teatro Giustiniano di San Moise 1'anno MDCCXXv 
 
 Venezia, Marino Rossetti, n. d. front., 57 p. 15 cm . 
 Three acts. Argument, cast, scenario, name of Giovanni Porta as the composer, 
 and author's dedication, in which she calls this "mio debole primo componimento." 
 
 SCHATZ 8387 
 
 Aglae eller St0tten. Comedie i een act af hr. de Sivry . . . 
 oversat af det franske og for0get med arier hvortil musiquen er sat 
 af hr. Sarti. 
 
 n. i., n. d. 50 p. 
 
 By Claus Fasting and A. G. Caretens, who are not mentioned. 
 
 First performed at Copenhagen, Hoftheater, February 16, 1774. SCHATZ 9423 
 
 Songs, chorusses, etc., in the new musical farce called the Agreeable 
 surprise, as it is performed at the Theatre Royal in the Hay- 
 Market. 
 
 London, T. Cadell, 1781. 24 p. 20. 
 
 Two acts. By John O'Keefe, who is not mentioned. The overture and all the 
 airs in the libretto are indicated as by Samuel Arnold, except airs IV, VI, XI, XII, 
 XIII, for which popular tunes (mostly Irish) were used. According to Biog. Dr. the 
 opera was originally produced at Dublin as "The secret enlarged, in 1776, but Law- 
 rence found no trace of this." 
 
 First performed at London, Haymarket, September 3, 1781. ML 50.2. A4A7
 
 44 LIBRARY OF CONGRESS 
 
 Agreeable surprise Continued. 
 
 - Songs, chorusses etc. in the new musical farce called the Agree- 
 able surprise. As it is performed at the Theatre Royal in the 
 Hay-Market. Fourth edition. 
 
 London, T. Cadett, 1782. 24 p. 21 cm . 
 
 Two acts. Cast. The author, John O'Keefe, is not mentioned. The overture 
 and most of the songs are headed as composed by Arnold. LONGE 91 
 
 - The agreeable surprise. A comic opera, in two acts. By Mr. 
 O'Keefe. The music composed by Dr. Arnold. 
 
 Dublin, W. Wilson, 1786. 48 p. 17$ cm . 
 
 Cast. LONGE 149 
 
 The agreeable surprise. A comic opera. 
 
 [1 1 7]-l 48 p. 16 cm . (A volume of plays Dublin, Printed for the 
 booksellers, 1791.) 
 
 Without name of author or composer. PR 1269. V6 
 
 Agrippina. Drama per musica. Da rappresentarsi nel famosissimo 
 Teatro Grimani di S. Gio. Grisostomo 1'anno MDCCIX. 
 Venezia, Marino Rossetti, 1709. 
 
 Three acts. Argument, cast, scenario. Neither the author, Vincenzo Grimani, nor 
 Georg Friedrich Handel, the composer, is mentioned. 
 
 First performed, as indicated, December 26, 1709. SCHATZ 4471 
 
 Agrippina. Drama per musica da rappresentarsi nel Teatro 
 d'Hamburgo 1'anno 1718. Agrippina in einer opera vorgestellet . . . 
 
 Hamburg, Caspar Jdkhel, n. d. Unpaged. 18\ cm . 
 
 Three acts. German text faces Italian. Neither Grimani nor Handel is men- 
 tioned. The Italian text follows the original closely, though with some differences. 
 For instance, I, 3 "A cenni tuoi sovrani" has become "Ah Pallante, Pallante," and 
 I, 4 "Or che Pallante 6 vinto" has become "Di occulto arcano." SCHATZ 4472 
 
 L' Agrippina, moglie di Tiberio. Dramma per musica di Guido 
 Riviera Piacentino da rappresentarsi nel Regio-Ducal Teatro di 
 
 Milano nel carnovale dell' anno 1743 . 
 
 
 
 Milano, Giuseppe Richino Malatesta, 1743. 6 p. 1., 70 p. 15 cm . 
 
 Three acts. Dedication, argument, scenario, cast, and name of Giovanni Battista 
 San Martino (Sammartini) as composer. It is said on 5th p. 1. that the character of 
 Emilio was added for these performances. 
 
 First performed in January, 1743, as indicated. ML 48. A5 v.18 
 
 Ahtor ed Erma, ballet. See G. Nicolini's Artaserse. 
 Ahtor ed Erma, ballet. See Prota's I studenti. 
 Aigle. See Lagarde's Egle. 
 
 L'Ajace. Dramma per musica del Signer A. D. Averara [!]. 
 
 Napoli, Dom. Ant. Parrino e Michele Luigi Mutio, 1697. 76 p. 
 
 Three acts. Dedication by Nicola Serino as impresario, argument, cast, scenario, 
 and notice to the reader: 
 
 "Eccoti un drama, ch' havendo alcuni anni sono riportato nel Teatro di Milano un 
 sommo applauso, & in quello delli Signori Capranica in Roma [1697] estremo gradi- 
 mento, uscendo per la terza volta alia luce in questa fedelissima citta di Napoli aspira 
 al tuo gradimento . . . Hora ti si aggiunge, che secondo la prima impressione, il
 
 OPERA LIBRETTOS 45 
 
 L' Ajace Continued. 
 
 riconoscimento, che Idraspe sia figlio del re, e fratello di Ajace si faceva per mezzo di 
 Zelta vecchia nutrice di corte, ed essendosi dovuta sostituire una damigella gioyanetta 
 e convenuto per salvar parte dell' improprieta supporre, che questa Bia figlia della 
 medesima nutrice informata di tutto. L'opera troverai mutata quasi in tutte 1'ariette 
 con 1'aggiunta di alcune scene ridicole, e ci6 si e fatto per piii compiacerti ..." 
 
 Schatz records as composers Carlo Ambrogio Lonati and Paolo Magni. He also 
 records, in accordance with the title page, A. D. Averara as author, but the title page 
 of the Rome, 1697 ed. (Brussels Conservatory) has "signer A. d'Averara," which 
 Wotquenne reads to mean "1'abbe Pietro d'Averara," who is of some note as librettist, 
 whereas an A. D. Averara has not otherwise come to my notice. Probably Wot- 
 quenne's conjecture is correct. 
 
 First performed at Milan, Teatro al Ducale Palazzo, 1694. SCHATZ 5682 
 
 Ajace e Cassandra, ballet. See Borghi's Ricimero. 
 
 Ajax, tragedie, represented pour la premiere fois par PAcademie 
 royale de musique, le lundi 20. avril 1716. Les paroles de M. Men- 
 nesson & la musique de M. Bertin. LXXXIX opera. 
 
 n.i.,n.d. pl.,[419]-472,[4\p. 14 cm - (Recueil general des opera, t. 
 xi, Paris, 1720.} 
 
 Detached copy. Prologue and five acts. SCHATZ 878 
 
 Second copy. ML 48.R4 
 
 Ajax, tragedie represent ee pour la premiere fois, par L' Academic 
 royale de musique, de Lyon en 1'annee 1742. 
 Lyon, Aime Delaroche, 1742. 67 p. 23 cm . 
 
 Five acts. Cast. Neither the author, Mennesson, is mentioned, nor the com- 
 poser, T. Bertin de la Dou6. SCHATZ 11668 
 
 Al fatto ci vuol pazienza. Intermezzi per musica a quattro voci 
 da rappresentarsi nell' antico Teatro di Tordinona, nel carnevale dell' 
 anno 1753 . . . 
 
 Roma, Giuseppe Agazzi, 1753. 22 p. 15. 
 
 Two parts. Publisher's dedication and cast. The characters are Polimante, 
 Dorilla, Fumantino, and Scrulletta. Neither author nor composer mentioned and 
 both unknown to me. ML 50.2.A42 
 
 Alarbas. A dramatick opera. Written by a gentleman of qual- 
 ity . . . 
 
 London, Printed by M. J.for J. MorpTiew, 1709. 3 p. 1., 51, [1] p. 
 
 21 Y m - 
 
 Three acts with prologue and epilogue. In his preface the unknown author says: 
 "... The poem being some time since drawn according to the model of our 
 English dramatick opera's, any person that is the least acquainted with the late 
 performances, will easily account for its appearing in this manner before it had pass'd 
 the stage, if they will be pleas'd to observe, that the nature of the play will not 
 admit of its representation in either house. The opera-theatre being wholly taken 
 up with Italian airs, and the other totally excluding the musical part." LONGE 132 
 
 L'Alaiico. Drama per musica da rappresentarsi nel Teatro For- 
 magliari Testate dell' anno 1716 . . . 
 
 Bologna, Giampietro Barbiroli, n. d. 59 p. 13 cm . 
 
 Three acts. Dedication signed by Francesco Antonio Novi and dated Bologna, 
 June 5, 1716, argument, scenario, cast, and notice to the reader. Neither the author, 
 Borso Buonacossa, is mentioned, nor the composer, Giov. Battista Bassani. 
 
 First performed, as indicated, June 7, 1716; at Ferrara, Teatro del conte Pinamonte 
 Buonacossi in 1685. SCHATZ 633
 
 46 LIBBARY OF CONGRESS 
 
 Alarico il Baltha, cioe 1'Audace, re de Gothi. Drama per musica 
 comandato dall' Altezza Serenissima di Massimiliano Emanuele duca 
 dell' una e 1'altra Baviera . . . per celebrare il dl natal zio dell' 
 Augustissima consorte . . . Maria Antonia . . . 1'anno 1687. Com- 
 posto da Luigi Orlandi . . . e posto in musica dal S. Agostino Steffani 
 . . . con 1'arie per i balletti del S. Melchior d'Ardespin maestro di 
 concerti e ajutante di camera di S. A. E. 
 
 Monaco, Giovanni Jecklino, n. d. 4 P- ^> ?4 P- 19% cm - 
 Three acts. Author's dedication dated Munich, January 14, 1687, argument, 
 scenario, and names of the "cavalieri " who danced Francisco Rodier's three incidental 
 ballets on this occasion, January 18, 1687, at the Hoftheater. SCHATZ 10036 
 
 Alba Cornelia, musicalische opera, welche auf dem Teatro zu 
 Bresslau anno 1726 in der fastnacht vorgestellet . . . wie auch . . . 
 zu den heurigen fuersten-tag dediciret wird . . . 
 n. i., n. d. Unpaged. 18 cm . 
 
 Three acts. By Pietro Pariati. Impresario's dedication, argument, scenario, and 
 names of the author and the composer, Francesco Bartolomeo Conti. German text 
 faces Italian, which Schatz attributes to Silvio Stampiglia! 
 
 According to Schatz the opera was first performed at Milan, Regio Ducal Teatro, 
 carnival 1704 and at Vienna, February, 1714. SCHATZ 2203 
 
 L'Albagia in fumo, ballet. See Tarchi's La congiura Pisoniana. 
 
 L'albergatrice vivace. Dramma giocoso per musica da rappre- 
 sentarsi in Parma nel R. D. Teatro di Corte il carnevale dell' anno 
 MDCCLXXXI . . . 
 
 Parma, Filippo Carmignani, n. d. 3 p. 1., 62 p. 17% cm . 
 
 Two acts. Author unknown to Schatz. Impresario's dedication, cast, and name 
 of the composer, Luigi Caruso. 
 
 First performed at Venice, Teatro di S. Samuele, carnival 1780. SCHATZ 1655 
 
 L'Albergia smascherata o sia II cittadino rinnobilito. Dramma 
 giocoso per musica da rappresentarsi ne' Teatri privilegiati di Vienna 
 nel carnovale dell' anno 1767. 
 
 Vienna, Ghelen, n. d. 95 p. 17 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Prefatory poem by 
 the publisher, cast, and name of Giuseppe Pasqua (Pasque) as the composer. 
 First performed, as indicated, February 23, 1767. SCHATZ 7782 
 
 Albert der Dritte von Bayern. Im originale. Ein singspiel in 
 fuenf aufzuegen. Mit musik von Georg Vogler . . . 
 n. i., 1781. 88 p. 16 cm . 
 
 " Vorerinnerung " signed "Th. T***r." (Karl Theodor von Traiteur). 
 First performed at Stuttgart, National schaubuhne im kleinem theater, Decem- 
 ber, 1781. SCHATZ 10791 
 
 Albion and Albanius : an opera. Perform'd at the Queens theatre, 
 in Dorset Garden. Written by Mr. Dryden . . . 
 London, J. Tonson, 1685. 6 p. 1., 30 p. 28 cm . 
 
 Three acts. Prologue, Epilogue, description of "the frontispiece," and Dryden's 
 extraordinary, esthetical, historical, polemical preface, with postscript. The opera 
 was first performed at the Theatre Royal, in Dorset Garden, June 6, 1685 (Grove). 
 As specimens of Dryden's opinions, may be quoted from the preface: 
 "... An opera is a poetical tate, or fiction, represented by vocal and instrumental 
 mus'ick, adorn d with scenes, machines, and dancing. The suppos'd persons of this 
 musical drama, are generally supernatural, as Gods and Goddesses, and Heroes, which 
 at least are descended from them, and are in due time, to be adopted into their number.
 
 OPEEA LIBRETTOS 47 
 
 Albion and Albanius Continued. 
 
 The subject therefore being extended beyond the limits of humane nature, admits 
 of that sort of marvellous and surprizing conduct, which is rejected in other plays. 
 Humane impossibilities are to be receiv'd, as they are in Faith; because where Gods 
 are introduc'd, a Supreme Power is to be understood, and second Causes are out of 
 doors: Yet propriety is to be observ'd even here . . . 
 
 "The recitative part of the Opera requires a more masculine beauty of expression 
 and sound : the other, which (for want of a proper English word) I must call the Songish 
 Part, must abound in the softness and variety of numbers; its principal intention, 
 being to please the hearing, rather than to gratifie the understanding ... I have 
 probable reasons, which induce me to believe, that some Italians having curiously 
 observ'd the gallantries of the Spanish Moors at the Zambra's, or royal feasts, where 
 musick, songs and dancing were in perfection; together with their machines . . . 
 may possibly have refin'd upon those Moresque divertisements, and produc'd this 
 delightful entertainment, by leaving out the warlike part of the carousels, and forming 
 a poetical design for the use of the machines, the songs, and dances . . . 
 
 "... The Italian . . . seems indeed to have been invented for the sake of poetry 
 and musick . . . their very speaking has more of musick in it than Dutch poetry and 
 song . . . the French, who now cast a longing eye to their country, are not less ambi- 
 tious to possess their elegance in poetry and musick; in both of which they labour at 
 impossibilities . . . The English has yet more natural disadvantages than the French; 
 our original Teutonick consisting most in monosyllables, and those incumbred with 
 consonants, cannot possibly be freed from those inconveniences. The rest of our 
 words, which are deriv'd from the Latin chiefly, and the French, with some small 
 sprinklings of Greek, Italian and Spanish, are some relief in poetry and help us to 
 soften our uncouth numbers ;which together with our English genius, incomparably 
 beyond the trifling of the French, in all the nobler parts of verse, will justly give us 
 the preheminence. But, on the other hand, the effeminacy of our pronunciation, (a 
 defect common to us, and to the Danes,) and our scarcity of female rhimes, have left 
 the advantage of musical composition for songs, though not for recitative, to our 
 neighbours. 
 
 "Through, these difficulties, I have made a shift to struggle, in my part of the per- 
 formance of this opera; which, as mean as it is, deserves ai least a pardon, because it 
 has attempted a discovery beyond any former undertaker of our nation . . . Yet I 
 have no great reason to despair; for I may with out vanity, own some advantages, 
 which are not common to every writer; such as are the knowledge of the Italian and 
 French language, and the being conversant with some of their best performances in 
 this kind; which have furnish'd me with such variety of measures, as have given the 
 composer Monsieur [Louis] Grabut what occasions he cou'd wish, to shew his extraor- 
 dinary talent . . . And let me have the liberty to add one thing; that he has so 
 exactly express'd my sense, in all places, where I intended to move the passions, that 
 he seems to have enter'd into my thoughts, and to have been the poet as well as the 
 composer. This I say, not to flatter him, but to do him right; because amongst some 
 English musicians and their scholars, (who are sure to judge after them) the imputa- 
 tion of being a Frenchman, is enough to make a party, .who maliciously endeavour to 
 decry him. But the knowledge of Latin and Italian poets, both which he possesses, 
 besides his skill in musick, and his being acquainted with all the performances of the 
 French opera's, adding to these the good sense to which he is born, having rais'd him 
 to a degree above any man, who shall pretend to be his rival on our stage. When any 
 of our Country-men excell him, I shall be glad, for the sake of old England, to be 
 shewn my errour; in the mean time, let vertue be commended, though in the person 
 of a stranger . . . 
 
 "The same reasons which depress thought in an opera, have a stronger effect upon 
 the words; especially in our language: for there is no maintaining the purity of 
 English in short measures, where the rnirne returns so quick, and is so often female, or 
 double rhime, which is not natural to our tongue, because it consists too much of 
 monosyllables, and those too, most commonly clogg'd with consonants; for which 
 reason I am often forc'd to coin new words, revive some that are antiquated, and 
 botch others; as if I had not serv'd out my time in poetry, but was bound 'prentice 
 to some doggrel rhimer, who makes songs to tunes, and sings them for a livelihood. 
 'Tis true, I have not been often put to this drudgery; but where I have, the words will 
 sufficiently shew, that I was then a slave to the composition, which I will never be 
 again: 'Tis my part to invent, and the musician's to humour that invention. I may 
 be counsell'd, and will always follow my friend's advice, where I find it reasonable; 
 but will never part with the power of the militia . . . 
 
 "It [this opera] was originally intended only for a prologue to a play, of the nature 
 of the Tempest; which is a tragedy mix'd with opera; or a drama written in blank
 
 48 LIBRARY OF CONGRESS 
 
 Albion and Albanius Continued. 
 
 verse adorn'd with scenes, machines, songs and dances: so that the fable of it is all 
 spoken and acted by the best of the comedians; the other part of the entertainment 
 to be penorm'd by the same singers and dancers who are introduc'd in this present 
 opera . . . But some intervening accidents having hitherto deferr'd the performance 
 or the main design, I propos'd to the actors, to turn the intended prologue into an 
 entertainment by itself, as you now see it, by adding two acts more to what I had 
 already written. The subject of it is wholly allegorical . . . The descriptions of 
 the scenes and other decorations of the stage, I had from Mr. Betterton, who has spar'd 
 neither for industry, nor cost, to make this entertainment perfect, nor for invention 
 of the ornaments to beautifie it . . ." 
 
 In the "Post-Script" Dryden says that though the whole preface was written 
 before the death of Charles II., he found himself so satisfied with it even after the 
 King's death, that he saw no reason for alterations except "for the addition of twenty 
 or thirty lines in the Apotheosis of Albion" to "save" the piece "from a botch'd 
 ending. He also says that by the late King's command the opera, especially the 
 first and third acte of it, had been "practis'd before him" to his entire satisfaction 
 with opera. He died just before the first performance. ML 50.2.A43 
 
 Albion and Albanius : an opera. Perform'd at the Queens 
 Theatre in Dorset-Garden. Written by Mr. Dryden . . . 
 London, Jacob Tonson, 1691. .7 p. I, 84 p. 21 c<n . 
 
 P. 32-33 incorrectly numbered 24-25. 
 
 Three acts. Text and contents as in the 1685 edition. SCHATZ 4060 
 
 Albion restored, or Time turned oculist: a masque. 
 London, J. Seymour, 1758. 22 p. 20 cm . 
 
 One act. Dedicated "To the Grand President ... of the Laudable Order of 
 Anti-Gallicans . . . by the author, a true Anti-Gallican." No further data in 
 Clarence's "The Stage," except that the masque was produced in 1757. "Not acted 
 and probably never set tt? music " (Squire). ML52.2.A3 
 
 L'Alboino in Italia. Drama per music a da rappresentarsi nel famo- 
 sissimo Teatro Grimano di SS. Gio. e Paolo 1'anno 1691 . . . 
 
 Venetia, Nicolini, 1691. 57 p. 14 cm - 
 
 Three acts. Dedication signed with the initials of Giulio Cesare Corradi, argu- 
 ment, scenario, and notice to the reader, speaking of this as: "due miracoli di musica, 
 prodotti da due gran maestri, e publicati da sette voci canore tutte ammirabili nel 
 loro essere." These two composers were Giuseppe Felice Tosi and Carlo Francesco 
 Pollaroli. SCHATZ 10382 
 
 Albumazar. Drama per musica da rappresentarsi nel Teatro Ven- 
 dramini a S. Salvatore la primavera dell anno MDCCXXVII. 
 Venezia, Marino Rossetti, 1727. 48 p. lJ& cm . 
 
 Three acts. By the composer, Giuseppe Maria Buini (Schatz). Argument. 
 First performed at Bologna, Teatro Formagliari, carnival 1727. SCHATZ 1387 
 
 L'Alcate. Drama di Marc' Antonio Tirabosco. Rappresentato in 
 musica nel Teatro novissimo di Venetia 1'anno 1642 . . . 
 
 Venetia, Gio. Battista Suriano, 1642. 96 p. Uf m . 
 
 Prologue and three acts. Author's dedication dated Venice, February 13, 1642, 
 with name of Francesco Manelli as composer, his notice to the reader and argument. 
 
 SCHATZ 5890 
 
 L'Alcatrasso geloso. Drama per musica di D. Carlo Antonio Mar- 
 chesini Mantovano . . . 
 
 Vicenza, Giacomo Amadio, 1672. 72 p. 14 cm . 
 
 Three acts. Impresario's dedication, notice to the reader, scenario, and argument. 
 The composer, Alessandro Spinazzari, is not mentioned. 
 
 First performed at Vicenza, Teatro di Piazza, 1672. SCHATZ 9975
 
 OPERA LIBRETTOS 49 
 
 Alceste. Tragedia per musica. 
 
 Vienna, GJielen, 1767. 54 p. 16 cm . 
 
 Three acts. By Ranieri de 'Calsabigi, who signed the dedication. Argument 
 and scenario, but no cast, and Gluck, the composer, is not mentioned. 
 
 First performed at Vienna, December 26, 1767. (Wotquenne incorrectly sub- 
 stitutes December 16 in his Thematic catalogue without giving his reasons.) 
 
 SCHATZ 3885 
 
 Alceste. Tragedia per musica da rappresentarsi in Bologna nel 
 Nuovo Pubblico Teatro nella pJmavera dell' anno MDCCLXXVIII. 
 
 Bologna, Sassi, n. d. 60, [2] p. 19% cm . 
 
 Three acts. Argument, cast, and names of Calsabigi as author, of Gluck ("Sig. 
 cavaliere Gluk fra gli Arcadi Armonide Terpsicoreo") as composer. 
 
 First performed, as indicated, May 9, 1778. ML48.A5 v. 29 
 
 Alceste, tragedie-opera, en trois actes, representee pour la pre- 
 miere fois par 1'Academie-royale de musique, le mardi 16 avril 1776. 
 Et rimise au theatre le vendredi 22 octobre 1779. 
 
 Paris, aux depens de I'Academie. de I'imprimerie de P. de Lormel, 
 1779. 52 p. 24\ cm . 
 
 Three acts. Cast. By Du Roullet, who in the unsigned Avertissement comments 
 on the liberties which he took with Calsabigi's text. Gluck is mentioned as the 
 composer. 
 
 Originally performed at Paris, Acade'mie royale de musique, April 23, 1776 (de- 
 ferred from April 16, the date of the original libretto), and not on April 30, as the 
 printed score has it. (Comp. Wotquenne.) SCHATZ 3888 
 
 - Alceste, tragedie-opera en trois actes; representee devant Leurs 
 Majestes, a Fontainebleau, le 13 octobre 1785, et remise a Paris, sur 
 le Theatre de I'Academie royale de musique, le vendredi 24 fevrier 
 1786. 
 Paris, P. de Lormel, 1786. 47 p. 24% cm . 
 
 Three acts. By Du Roullet, who is not mentioned. Cast and name of Gluck as 
 the composer. SCHATZ 3940 
 
 Second copy. ML48.M2B 
 
 Alceste. Eine ernsthafte oper in drey akten von Schmieder. Die 
 musik ist von Hitter Gluck. 
 
 n. i., 1792. 48 p. 13 cm . 
 
 First performed at Mayence, National theater, April 9, 1791. SCHATZ 3889 
 
 La bonne femme, ou Le Phenix, parodie d'Alceste, en deux 
 actes, en vers, me'les de vaudevilles et de danses; representee pour 
 la premiere fois par les Comediens italiens ordinaires du Hoi, le 
 dimanche 7 juillet 1776. 
 
 Paris, Chardon, 1776. 47 p. 19. 
 
 Neither author nor composer recorded by Schatz. SCHATZ 11484 
 
 Alceste. Dramma tragico da rappresentarsi nel Regio-Ducal Teatro 
 di Milano nel carnovale dell' anno 1769 . . . 
 
 Milano, Giuseppe Richino Malatesta, 1768. 6 p. 1., 46, [1] p. 14%""- 
 Three acts. By Ranieri de' Calsabigi, who is not mentioned. Dedication, argu- 
 ment, cast, scenario, and name of Pietro Gug-lielmi as the composer. Pasted on the 
 p. following the (unnumb.) p. 46 the aria " Veggo la sposa, oh Dio" as substitute for 
 So, che morir dovrei," III, 2. 
 First performed, as indicated, December 26, 1768. SCHATZ 4233 
 
 72251 VOL 114 4
 
 50 LIBRARY OF CONGRESS 
 
 Alceste. Tragedia per musica del Signer Antonio Simon Sografi 
 A. V. Poeta del nobilissimo Teatro La Fenice. Composta per il 
 teatro stesso pel carnovale 1799. 
 
 Venezia, Stamperia Valvasense, n. d. 64 p- 17 cm . 
 
 Three acts. Cast, scenario, and name of Marcos Portugal as the composer ("La 
 musica tutta nuoya"). On p. 63 a substitute scene for III, 1. On p. [53J-62 Argu- 
 ment, cast, description, and name of Luigi Gianella as composer of la musica tutta 
 nuova" of Onorato Viganb's "La morte di Geta, ballo eroico tragico pantomimo" in 
 five acts. 
 
 First performed, as indicated, December 26, 1798. SCHATZ 8396 
 
 Alceste. Ein singspiel in fuenf aufzuegen. 
 n. i., 1773. 48 p. 18$. 
 
 Cast. Neither Wieland, the author, is mentioned nor Anton Schweitzer, the 
 composer. 
 
 First performed at Weimar, Kleines Schlosstheater, May 28, 1773. SCHATZ 9768 
 
 - Alceste. Ein singspiel in fiinf aufzuegen. In musik gesetzt von 
 dem kapellmeister Anton Schweitzer, und in den jahren 1773 und 74 
 auf dem damahligen Weimarischen Hoftheater aufgefiihrt. 
 
 7i. i. 58 p. 26 cm . (Wielands Sammtl. werke, xxvi. bd.) 
 
 Before 1800? SCHATZ 9768a 
 
 Alceste ou Le triomphe d'Alcide, tragedie. Represented devant Sa 
 Majeste a Fontainebleau. Suivant la copie imprimee a Paris. 
 [Amsterdam, Antoine Schelte], 1688. 68 p. (ind. front.} 13% cm . 
 
 Prologue and five acts. Cast and dedicatory poem to the king. Neither author 
 nor composer mentioned. ML 50.2.A49L9 
 
 Alceste, ou Le triomphe d'Alcide, tragedie representee par 
 1'Academie royale de musique Fan 1674. Les paroles sont de M. 
 Quinault e la musique de M. de Lully. V. opera. 
 
 n. i., n. d. 14 cm - front., 205-272 p. (Recueil general des opera, 
 t. i, Paris, 1703.) 
 
 Detached copy. Dedicatory poem, prologue, and five acts. 
 First performed, as indicated, January 19, 1674. SCHATZ 5758 
 
 Second copy. ML 48. R4 
 
 Alceste, ou Le triomphe d'Alcide, tragedie. Representee par 
 1'Academie royale de musique, en 1674. 
 
 Quinault, Theatre, t. iv, Paris, 1739. pi, p. [143]-189. 17 cm . 
 Prologue and five acts. Lully is not mentioned. PQ1881.A1739 
 
 - Alceste, parodie. Par les Srs. Dominique & Romagnesi . . . 
 Representee pour la premiere fois, par les Comediens italiens ordi- 
 naires du roi, le 28 juin 1728. 
 
 Les parodies du Nouveau theatre italien, Nouv. ed., Paris, Briasson, 
 1738, t. iv, [121}-182 p. 16\. 
 
 One act. The aira and vaudeville used are printed at end of the volume in the 
 "Table des airs" (92 p.). ML 48.P3 
 
 - La noce interrompue, parodie d'Alceste, representee pour la 
 premiere fois; par les Comediens italiens, ordinaires du roi, le jeudi 
 26 Janvier 1758. 
 
 Paris, la veuve Delormel cfc fils, 1 758. 2 p. I., 64 p. 1 9 cm . ( Theatre 
 de M. Favart, Paris, Duchesne, 1763-77, t. iv.) 
 
 Three acts. Cast. No music printed in the text! Composer, resp. arranger, not 
 known to Font. ML 49.A2F1
 
 OPEEA LIBRETTOS 51 
 
 Alceste ; or, The triumph of conjugal love. A tragic ballet. 
 
 Noverre, Jean George, Works. Tr. from the French, London, 1783, 
 v. 3, p. [301]-330. 21$ cm . 
 
 Detailed description of the nine scenes. GV 1787. N8 
 
 Alceste e Admeto, ballet. See Monza's Cleopatra. 
 
 Alceste ed Admeto. A. T. of the ballet La discesa d' Ercole all' 
 inferno. 
 
 Alcesti, o sia L'amor sincere. Tragedia musicale, nelle seconde 
 nozze della Reale Altezza di Savoia. L'anno 1665. 
 
 Torino, Bartolomeo Zavatta, 1665. 76, [1] p. 17\ cm . 
 
 Prologue antt five acts. Argument. Not recorded by Schatz. ML 50.2.A5 
 
 Der alchymist. See Meissner's text Der liebesteufel oder Der 
 alchymist. 
 
 L'Alciade overo L? violenza d'amore, opera tragicomica da rappre- 
 sentarsi in Bergamo nella partenza . . . dell' illustriss., e eccel- 
 lentiss. Sig r Francesco Donaldo . . . 
 
 Milano, Giuseppe Pandolfo Malatesta, 1709. 52 p. 14 cm . 
 
 Three acts. By Marc' Antonio Gasparini, who is not mentioned, and whose 
 original alternative title was " L'eroico amore." The one quoted above is pasted over 
 the original. Argument, scenario, cast, and names of the composers, Carlo Francesco 
 Gasparini, act I; Carlo Francesco Polaroli, act II; Francesco Ballarotti, act III. 
 
 SCHATZ 3597 
 
 L'amante impazzito. Drama per musica, da rappresentarsi 
 nel Teatro di S. Fantino 1'autunno deli' anno 1714 . . . 
 
 Venetia, Girolamo Albrizzi, n. d. Ifi p. 14 cm > 
 
 Three acts. Merely a later version of "L'Alciade overo La violenza d'amore." The 
 dialogue not so different in the two versions as the arias. For instance, the opening 
 aria of third act "Sento che a poco a poco" has been dropped, "Qui la vipera sog- 
 giorna" (III, 5) has become "Sul mio crin di sdegno armato," "Come sento in un 
 momento" (III, 7) has become "T' intendo si mio cor," etc. Neither author nor the 
 composers are mentioned. Dedication, notice to the reader, and scenario. 
 
 SCHATZ 3598 
 
 L'Alciade. Drama decimo quarto di Giovanni Faustini. Da rap- 
 presentarsi in musica nel famoso Theatre Grimano di SS. Gio. e 
 Paolo 1'anno MDCLXVII . . . 
 
 Venetia, Francesco Nicolini e Steffano Curti, 1667. 83 p. 15 cm . 
 
 Prologue and three acts. Nicolini's dedication, argument, scenario, and this notice 
 to the reader: 
 
 "II Signer Giouanni Faustini nelF eta sua piu giouenile per diletto proprio applied 
 1'ingegno alle compositioni Dramatiche Musical!, nelle quali riuscl ammirabile nell' 
 invetione in particolare; Onde nel corso di soli anni nove (essendo state troppo pre- 
 maturemente rapito dalla morte 1'anno 1651., nel trigesimo secondo dell' eta sua) si 
 viddero rappresentare nei Theatri di questa Citta con gli applausi maggiori la Virtu 
 de Strali d'Amore, L'Egisto, L'Ormindo, il Titone, La Doriclea, L'Ersilda, L'Euripo, 
 L'Oristeo, La Rosinda, La Calisto, L'Eritrea, & doppo la di lui morte ancora 1'Eupa- 
 tra, poi L Elena rapita da Teseo, vestita col man to di Poesia da sublime virtuoso, 
 tutte poste in Musica, 6 dalla virtu singolare del Signer Francesco Cavalli dignissimo 
 Organista della Serenisslma Republica, 6 dal Signer Don Pietro Andrea Zianni hora 
 Maestro di Capella della Maesta dell' Imperatrice, incontrarono non solo nel genio, 
 & nella sodisfattione di questa Citta tanto delicata nell' vdire simili rappresentationi, 
 ma di molte altre principal! dell' Italia, nelle quali, piu, e piu volte sono state rap- 
 preeentate con ogni pienezza d'applauso; anzi che con PInuentioni multiplici, &
 
 52 LIBRARY OF CONQRESS 
 
 L'Alciade Continued. 
 
 varie d' ease quasi come di cose obliate si sono addobbate, & arrichite altre com- 
 position!. Restano ancora tre fatiche di questo virtuoso: La Medea placata, L'Al- 
 ciade, & il Meraspe, overo il Tiranno humiliato d'Amore: L'anno presente com- 
 parianno nel Nobilissimo Theatro Grimano prima 1'Alciade, & poi il Meraspe, pro- 
 messi dall' Auttore nolle sue stampe 1'anno 1651., che passb ad altra vita; L'inyen- 
 tioni saranno nuove, curiose, & dilettevoli, havendo procurato d'allontanarsi da 
 introdurvi in esse femine in habito virile datesi & credere per huomeni, & altre cose 
 ancora, piu, & piu volte vedute, rappresentate; Onde si puo credere, che anco queste 
 eiano per incontrare nella sodisfattione della Citta. Nell' Alciade si sono aggionte 
 alcune cose, composte da virtuoso soggetto per favorire, & a richiesta di chi fa rap- 
 
 eresentare il DRAMA. La compositione della Musica d'Esso 6 del Signer Zianni 
 Pietro Andrea Ziani], che conforme al suo solito ha fatto cose mirabi'li; Viui in 
 tantolieto, & tatendi alia fa vela." SCHATZ 11211 
 
 Alcibiade. Dramma per musica da rappresentarsi nel Teatro Tron 
 di S. Cassano 1'autunuo dell' anno MDCCXLVI. 
 
 < in 
 
 n. i., n. d, 72 p. 15 
 
 Three acts. By Gaetano Roccaforte. With argument, cast, scenario, and name 
 of the composer, Giuseppe Carcano, but not of librettist. 
 
 First performed at Venice, as indicated. SCHATZ 1621 
 
 ,' L'Alcibiade. Drama per musica nel famosissimo Teatro Grimano a 
 SS. Gio. e Paolo. Di Aurelio Aurelii. Opera XX. . . . 
 
 Venetia, Francesco Nicolini, 1680. 72 p. (incl. front.) 14 cm - 
 
 Three acts. Author's dedication, argument, scenario, and notice to the reader, 
 with name of Marc' Antonio Ziani as the composer. 
 
 First performed, as indicated, carnival 1680. SCHATZ 11177 
 
 Second copy. ML 48. M2 
 
 Alcide, tragedie represented par 1'Academie royale de musique Fan 
 1693. Les paroles de M. Capistron, & la musique de M r Louis de 
 Lully, & de M r Marais. XXIX. opera. 
 
 n. i., n. d. 14 cm - front., 229-280 p. (Recueil general des opera, t. 
 iv, Paris, 1703.} 
 
 Detached copy. Five acts and prologue. 
 
 First performed, as indicated, February 3, 1693. SCHATZ 5785 
 
 Second copy. ML 48. R4 
 
 La mort d'Hercule, tragedie, represented pour la premiere fois 
 par 1'Academie royale de musique, sous le titre d'Alcide, le [blank] 
 d'avril 1693. Remise au theatre le 23 juin 1705. 
 
 Paris, CfiristopTie Bollard, 1705. 6 p. 1., 48, [1] p. 23 p. 
 
 Prologue and five acts. Cast. Neither Campistron nor the composers, Louis de 
 Lully and Marin Marais, are mentioned. ML 50.2.A51L9 
 
 Alcide al Bivio. Questa festa teatrale, tutta allusiva ai sicuri segni 
 d'indole generosa dati fin dalla prima sua adolescenza dal gran prin- 
 cipe per cui 5 scritta, fu d'ordine sovrano composta in Vienna, e rap- 
 presentata con musica dell' Hasse nella Cesarea corte . . . per le 
 nozze delle AA. RR. di Giuseppe II ... e della principessa Isabella 
 di Borbone, 1'anno 1760. 
 
 pi., [207}-248 p. 26 cm . (Metastasio,0pere, t. viii, Parigi, vedova 
 Herissant. 1781.} 
 
 One act. Argument. ML 49.A2M44
 
 OPERA LIBRETTOS 53 
 
 Alcide al bivio. Festa teatrale da rappresentarsi in musica per le 
 felicissime nozze delle LL. AA. RR. 1'arciduca Giuseppe d'Austria e 
 la principessa Isabella di Borbone ... In Vienna 1'anno MDCCLX. 
 
 n.i.,n.d. Unpaged. 21\ cm . 
 
 The ornamental engraved title page is preceded by a frontispiece engraved by 
 Ant. Tischler and followed by exquisite head and tail pieces by the same artist. 
 
 One act. Argument, cast, and name of Johann Adolph Hasse as the composer. 
 The author, Metastasio, is not mentioned. 
 
 First performed at Vienna, Grosser Redontensaal, October 8, 1760. SCHATZ 4505 
 
 - Alcides an der doppel-strasse. Ein theatralisch-musicalisch.es 
 schauspiel, so bey dem glorreich begangenen vermaehlungs-feste 
 Ihrer Koenigl. Hoheiten des Durchleuchtigsten erz-herzogens Joseph 
 von Oesterreich, und der Durchleuchtigsten prinzessin Isabella von 
 Bourbon ... in Wien aufgefuehret worden, im jahr 1760. Ver- 
 fasset von herrn abbate Metastasio . . . und in das teutsche ueber- 
 setzt von J. A. E. v. G. 
 
 [TFien], Gedruckt mil von Ghelischen schriften, n. d. Unpaged* 
 
 One act. Translated by Johann Anton, edler van Ghelen. Argument, cast, and 
 name of Johann Adolph Hasse as composer. SCHATZ 4506 
 
 Alcide al bivio. Dramma per musica, da rappresentarsi nel 
 Regio Teatro. Alcides ved te to veie . . . 
 
 Ktiberikavn, H. J. Graae, 1774. 79, [3] p. 17 cm . 
 
 One act and licenza. Argument, cast, and name of Johann Adolph Hasse as the 
 composer. Danish text faces Italian. 
 
 First performed, as indicated, February 2, 1774. SCHATZ 4507 
 
 Alcide negli orti Esperidi, ballet. See P. Guglielrni's TomirL 
 Alcides an der doppel-strasse. Tr. of Hasse's Alcide al bivio. 
 Alcides ved te to veie. Tr. of Hasse's Alcide al bivio. 
 
 Alcimena principessa dell' Isole Fortunate o sia L'amore fortu- 
 nato ne' suoi disprezzi. Dramma per musica da rappresentarsi nel 
 Teatro Tron di San Cassiano il carnovale dell' anno 1750. 
 Venezia, Modesto Fenzo, 1750. 39 p. 16% cm - 
 
 Modern transcript. By Pietro Chiari, who is not mentioned. Argument, cast, and 
 name of Galuppi as composer. 
 
 First performed, as indicated, December 26, 1749 (Pavan). SCHATZ 3479 
 
 Alcina. An opera: as it is performed at the Theatre Royal in 
 Covent-Garden. The third edition. 
 
 London, T. Wood, 1736. 48 p. 17 cm . 
 
 Three acts. Argument and cast. Neither the author, Antonio Marchi, nor the 
 composer, Georg Friedrich Handel, is mentioned. An English translation faces 
 Italian, which is an altered version of Marchi's "Alcina delusa da Ruggiero." 
 
 First performed, as indicated, April 16, 1735. SCHATZ 4496 
 
 Alcina delusa da Rugero. Drama per musica da rappresentarsi 
 nel Teatro Tron di S. Cassan 1'autunno dell' anno MDCCXXV. Di 
 Antonio Marchi. 
 
 Venezia, Marino Rosetti, 1726. 58 p. 14\ cm . 
 
 Three acts. Notice to the reader, cast, scenario, and name of Tommaso Albinoni 
 as composer. SCHATZ 113
 
 54 LIBRARY OF CONGRESS 
 
 Alcina delusa da Rugero Continued. 
 
 - Gl' evenimenti di Rugero. Drama per musica da rappresen- 
 tarsi nel Teatro Giustiniano di S. Mois6 il carnevale dell anno 
 MDCCXXXIL Di Antonio Marchi . . . 
 
 Venezia, Stefano Valvasense, 1732. 46 p. 13$ cm . 
 
 Three acts. Cast, scenario, and notice to the reader. Merely a somewhat altered 
 version of Albinoni's "Alcina delusa da Rugero." For instance, the opening four 
 lines of the first scene "Care spiaggie, amato hdo," were dropped. SCHATZ 93 
 
 Alcina e Leone, ballet. See Rust's Alessandro nell' Indie. 
 
 Alcina e Ruggero. Dramma per musica da rappresentarsi nel 
 Regio Teatro di Torino nel carnovale del 1775 alia presenza delle 
 Maesta Loro. 
 
 Torino, Onorato Derossi, n. d. viii, 68 p. 15\ cm - 
 
 Three acts. Notice to the reader, scenario, cast, and names of Vittorio Amedeo 
 Cigna-Santi as author, Felice Alessandri as composer. The ballet music was com- 
 posed by "Paolo Ghebart," of Vienna. SCHATZ 141 
 
 Alcina ed Astolfo, ballet. See Zingarelli's Annibale in Torino. 
 
 Alcine, tragedie. Representee par 1'Academie royale de musique 
 Tan 1705. Les paroles de M. Danchet & la musique de M. Campra. 
 LXIII. Opera. 
 
 n. i., n. d. front., 333-392 p. 14 cm . (Recueil general des opera, 
 Paris, 1706, t. viii, no. 7.) 
 
 Detached copy. Five acts, with prologue. SCHATZ 154 
 
 Second copy. ML 48. R4 
 
 - Alcine, tragedie, representee par 1'Academie royale de musique le 
 quinzieme jour de Janvier 1705. 
 
 Amsterdam, Henri Schelte, 1707. 69 (incl. front.), [3] p. llf. 
 Five acts with prologue. Cast. Neither Campra nor Danchet mentioned. On 
 the [3] p. a "Catalogue de tous les opera" published by Schelte. ML 50.2.A512C2 
 
 - Alcine, tragedie. Representee parl'Acade'mie royale de musique, 
 1'an 1705. 
 
 [335]-398 p. 17$ cm . (Antoine Danchet, Theatre, t. ii, Paris, 1751) 
 
 Prologue and five acts. The composer, Andr< Campra, is not mentioned. 
 
 PQ 1972.D2 
 
 Alcines oe. Tr. of Gazzaniga's L'isola d' Alcina. 
 
 Alcione. Dramma per musica per celebrare il felicissimo giorno 
 natalizio della serenissima Signora Donna Maria Francesca Benedetta 
 principessa del Brasile li 25 luglio 1787. 
 
 [Lisbona], Nella stamperia reale, n. d. 98 p. 15 cm . 
 
 One act. By Gaetano Martinelli. Argument, cast and names of the author and 
 the composer, Joao de Sousa Carvalho. SCHATZ 1674 
 
 Alcione, tragedie, representee par 1'Academie royale de musique 
 le jeudy dix-huitieme revrier 1706. 
 
 Amsterdam, Henri Schelte, 1707. 57 (incl. front f ), [3] p. 14 cm . 
 
 Five acts with prologue. Cast. Neither the author, La Motte, nor the composer, 
 Marais, mentioned. On the [3] p. "Catalogue de tous les opera" published by 
 Schelte. ML 50.2.A513M2
 
 OPERA LIBEETTOS 55 
 
 Alcione Continu ed . 
 
 Alcione, tragedie represent ee par 1' Academic rpyale de musique 
 Tan 1706. Les paroles de M. de la Mothe & la musique de M. Marais. 
 LXVI. Opera, 
 
 n. i., n. d. pi., p. 65-114 (Recueil general des opera, Paris, 1710, 
 t. ix) 14 cm . 
 
 Detached copy. Five acts and prologue. SCHATZ 5919 
 
 Second copy. ML 48. R4 
 
 A Aldeana em corte. Tr. of Rust's La contadina in corte. 
 
 Aldiso. Drama per musica da rappresentarsi nel famosissimo Teatro 
 Grimani a S. Gio. Grisostomo. Nel carnovale dell' anno 1726. 
 Venezia, Marino Rossetti, 1726. 59 p. 14% cm . 
 
 Three acts. By conte Claudio Nicola Stampa, who is not mentioned. Argument, 
 cast, scenario and name of Giovanni Porta as the composer. SCHATZ 8383 
 
 Alessandro. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t. iv, 85 p. 16 cm . 
 
 Three acts. Argument. Same as his "Alessandro nell' Indie." 
 "Nella forma in cui sono stati ridotti dall' autore." (See note on p. 169 of v. VI.) 
 This revised version is easily identified from the first scene, which has no aria 
 and has the lines in Poro's monologue "Delia spoglia piu grande / II trionfo a costui 
 . . . Ma la mia sposa." Also its III, 1 begins " Ma lasciami, Erissena" and has 
 the aria "Se troppo crede al ciglio." 
 
 - Same, t. vii, 117 p. 16 cm . 
 
 ["Come . . ,. nelP altre edizioni." (Note, VI, 169.) This original version has in 
 I, 1 the aria " E prezzo leggierp " and the lines in Pore's monologue " Delia spoglia 
 piu grande / II trionfo a costui. Gia visse assai; " also its III, 1 begins " Erissena / 
 Che miro " and has the aria " Risveglia lo sdegno." ML 49.A2M42 
 
 Alessandro. 
 
 [221\-258 p. 17 cm . (Rotti, Componimenti poetici, Nuova edizione, 
 Verona, G. Tumermani, 1744-} 
 
 Three acts. Argument. The composer, Handel, is not mentioned. 
 
 First performed at London, Haymarket, May 5, 1726. ML 49.A2R7 
 
 - Der hpchmuethige Alexander, in einem sing-spiele auf dem 
 Hamburgischen schau-Platze vorgestellet im jahr 1726. 
 Hamburg, Gedruckt mit Stromerschen schrijften, n. d. Unpaged. 18 cm . 
 
 Three acts. German version by C. G. Wendt of "Alessandro" by Rolli, neither 
 of whom mentioned. Argument, scenario and name of Hendel (Georg Friedrich 
 Handel) as the composer. Italian text of the arias added to the German. 
 
 SCHATZ 4473 
 
 Alessandro. Dramma per musica in due atti, con balli analoghi. 
 Da rappresentarsi nei Teatri di S. M. I. nel 1799. 
 
 S. Pietroburgo, Stamperia imperiale, 1799. 35 p. 19 cm . 
 
 Author not mentioned and unknown to Schatz. Argument (in Italian and French), 
 cast and name of Friedrich Heinrich Himmel as the composer. SCHATZ 4741 
 
 / L' Alessandro amante. Drama per musica da rappresentarsi nel 
 
 Teatro di San Moise 1'anno MDCLXVII . . . 
 
 Venetia, Francesco Nicolini & Steffano Curti, 1667. 5 p. 1., 69 p. 14 cm > 
 Three acts with prologue. Impresario's dedication, dated January 28, 1667, 
 
 notice to the reader, and scenario. 
 
 According to the preface, in which Giovanni Antonio Boretti is mentioned as 
 
 composer, the libretto was finished after the death of the author, Giacinto Andrea
 
 56 LIBRARY OF CONGRESS 
 
 L/ Alessandro amante Continued. 
 
 Cicognini, "da altro virtuoso soggetto." For these performances at Venice in 1667 
 the libretto was considerably altered by an (anonymous) "virtuoso ingegno" to con- 
 form to the tastes of the time. Cicognini's libretto was originally called "Gli amori 
 di Alessandro e di Rossane" and as such was performed at Venice in 1651 with Fr. 
 Luzzo's music. With music by Benedetto Ferrari the libretto was performed at 
 Bologna in 1656 and in 1663 Lupardi published a new edition at Rome under the 
 title "La Rosane, con gli Amori di Alessandro Magno." Both of these editions are 
 preserved at Brussels and described by Wotquenne. SCHATZ 1215 
 
 Alessandro e Campaspe, ballet. See Mayr's Un pazzo ne fa cento. 
 
 Alessandro e Poro. Dramma per rnusica da rappresentarsi nel 
 Regio Teatro di Berlino per ordine di Sua Maesta. 
 Berlino, A. Hande, 1744. 187, [3] 
 
 Three acts. Metastasio (original title: "Alessandro nell' Indie") is mentioned as 
 author and Carl Heinrich Graun as the composer. Argument and scenario. Ger- 
 man title page "Alexander und Porus" and text face Italian. 
 
 First performed as indicated, December 21, 1744. SCHATZ 4087 
 
 Alessandro e Timoteo. Dramma per musica da rappresentarsi nel 
 R. D. Teatro di corte nella primavera dell' anno MDCCLXXXII. 
 
 cm 
 
 Parma, Stamperia reale, n. d. 8 p. 1., 37 p. 28 
 
 One act. Dedicatory poem signed by the author, cpnte Gastone della Torre di 
 Rezzonico. Argument, cast, scenario and name of Giuseppe Sarti as the com- 
 poser. ("La musica sara.") 
 
 First performed as indicated, April 6, 1782. SCHATZ 9424 
 
 Alessandro fra' le Amazon!. Drama per musica da rappresentarsi 
 nel Teatro di S. Angelo Panno 1715 . . . 
 
 Venezia, Marino Rossetti, 1715. 60 p. 15 cm . 
 
 Three acts. By Grazio Braccioli. Author's dedication, notice to the reader, cast, 
 scenario and name of the composer, Fortunato Chelleri. SCHATZ 1812 
 
 Alessandro il vincitor di se stesso. Tragicomedia musicale. 
 Di Francesco Sbarra in questa terza impressione ridotta all' intera 
 sua forma . . . 
 
 Lucca,, Francesco Marescandoli, 1654. 177, [1] p. 13$ cm . 
 
 Three acts, with two prologues, author's dedication dated Lucca, Feb. 1, 1654, 
 notice to the reader, argument, and at end (p. 170-177) source of plot, allegoria, cast, 
 and names of the two composers. ("La musica f u per la maggior parte del Sig. Antonio 
 Cesti . . . et il resto del Sig. Marco Bigongiari . . .") The one additional page 
 contains a sonnet by Dalli to Sbarra. The one prologue is that "recitato in Venetia," 
 1651, with Cavalli's music, the other that "rappresentato in Lucca." The author's 
 notice to the reader is in substance similar to that in the Venice, 1651, ed. of the text 
 (see infra), but special emphasis is laid on the fact that the original version "precipitato 
 dalla mia penna, si port6 a Venetia per le poste, ove per accomodarsi alia brevita, che 
 in simili funtioni si desidera, fu ridotto in forma molto minore di quella, che port6 
 dalla sua nascita, ricoperto in gran parte questo defetto dalla magnificenza delle scene, 
 e machine, dalla vaghezza, e bizzarria delle comparse, e de balli, e sopra tutto dall' 
 eccellenza della musica, e dall' esquisitezza de gl' attori; hoggi per6 che s'espuone 
 sopra il nostro teatro non potendo farsi vedere con quegl' addobbi, de i quali fu 
 arricchito in Venetia, comparisce se non vagho, almeno intero, e con tutte le sue 
 parti . . ." 
 
 The differences between the two editions are quite noticeable. For instance, 
 I, 9 of the Venice ed., "Piii celar non si pu6," is I, 11 in the Lucca ed.; I, 9 of the 
 Lucca ed., "Alessandrp, che pensi," is I, 10 in the Venice ed.; I, 14 in the Lucca 
 ed., "Ohime, dov'e,"us I, 12 m the Venice ed. SCHATZ 1786
 
 OPERA LIBRETTOS 57 
 
 Alessandro in Armenia. Dramma per musica da rappresentarsi 
 nel nobilissimo Teatro di S. Benedetto rautunno dell' anno 1768. 
 Venezia, Modesto Fenzo, 1768. 48 p. 17 cm . 
 
 Three acts. Dedicatory sonnet addressed by "Dolenio, P. A." to the author, argu- 
 ment, cast, and names of the composer Giovanni Battista Borghi, and the librettist, 
 "Cleofonto Doriano P. A. Accademico Quirino, Infecondo ec. ec. ec." Wotquenne 
 does not mention this Arcadian name in his "Essai d'un dictionnaire des noms 
 academiques . . ." (Brussels Catalogue, Annexe I.), but Schatz identifies him with 
 conte Antonio Papi. 
 
 First performed, as indicated, November 26, 1768. SCHATZ 1226 
 
 Alessandro in Sidone. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, t- i%> P- \29S\- 
 416 p. 19 cm . 
 
 Five acts. Argument. Written in collaboration with Pietro Pariati. No com- 
 poser is mentioned. In the "Catalogo" at end of t. x, date and place of first ed. are 
 given as Vienna, 1721. ML 49.A2Z3 
 
 - Alessandro in Sidone. Pubblicato per la prima volta in 
 Vienna 1721. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. xi, p. 223- 
 347. 21 cm . 
 
 Five acts. Argument. No composer is mentioned. Written in collaboration 
 with Pietro Pariati. ML 49.A2Z4 
 
 Alessandro in Sidone. Tragicommedia per musica, da rappre- 
 sentarsi nella Cesarea corte . . . nel carnevale dell' anno MDCCXXI. 
 La musica e del Sig. Francesco Conti . . . 
 
 Vienna d' 'Austria, Gio. Van Ghelen, n. d. 4 P- ^., ## P- 14% cm - 
 
 Five acts. By Apostolo Zeno and Pietro Pariati, who are not mentioned. Argu- 
 ment and scenario. Niccola Matteis is mentioned as the composer of the ballet 
 music. 
 
 First performed at Vienna, Hoftheater, February, 1721. SCHATZ 2192 
 
 Alessandro in Sidone. Tragicomedia per musica da rappre- 
 sentarsi sul famosissimo Teatro di Braunsviga nella fier? d'estate 
 1'anno 1726. Alexander in Sidon . . . 
 
 Wolffenouttel, Christian Bartsch, n. d. Unpaged. 18 cm . 
 
 Three acts. Scenario and name of Francesco Conti as composer. The argument 
 is in German. Text in Italian and German. The first act exactly like the first act 
 in the Vienna, 1721, five-act ed. The first nine scenes of the second also identical, 
 but then the differences begin, owing to the contraction of the text into three acts. 
 For instance, the scene "Tu, Addolonimo, sei " (II, 11) has been dropped, also "Come 
 pensi schernirle" (III, 1) and "Due soli di nostr' alma" (III, 2) has become II, 12. 
 
 SCHATZ 219^ 
 
 Alessandro in Susa. Tragicomedia da rappresentarsi in musica 
 nel famosissimo Teatro Gnmano di S. Gio. Grisostomo 1'anno 
 
 1708 . . . 
 
 Venezia, Marino Rosetti, 1708. 60 p. 14% cm - 
 
 Five acts. By conte Girolamo Frigimelica Roberti, who is not mentioned. Print- 
 er's notice to the reader, dedication in form of argument, "fondamento istorico, e 
 poetico," cast, scenario. Luigi Manza, the composer, is not mentioned. (Schatz 
 records a Carlo Manza as composer, Eitner, perhaps more correctly, the above.) 
 
 SCHATZ 5916
 
 58 LIBRAE Y OF CONGRESS 
 
 ' Alessandro Magno in Sidone. Drama per musica. Da rappre- 
 sentarsi nel famoso Teatro Grimano a SS. Gio. Paolo di Aurelio 
 Aureli. Opera XIX . . . 
 
 Venetia, Francesco Nicolini, 1679. 70, [1] p. 14 cm . 
 
 Three acts. Dedication, argument, scenario, and author's notice to the reader, 
 in which he mentions the "giovinetto Signer Marc' Antonio Ziani," and says: 
 
 "Amico, sbche ti sembrera stravagante successo il veder la mia Musa, che dopo 
 haver nel corso di due lustri esule pellegrina dal famoso Teatro Grimano, ora 
 conosciuta, ora mascherata, ed occulta passeggiato sovra altri teatri, ritorni in quest' 
 anno a calcar quella scena dove tra pomposi e dorati coturni campeggi6 fortunata ne 
 la rappresertatione di undici continuati miei drami ..." 
 
 First performed, as indicated, carnival, 1679. SCHATZ 11178 
 
 - Alessandro Magno in Sidone. Drama in musica, rappresen- 
 tato in Venetia nel famosissimo Teatro Grimano di S. S. Giovanni e 
 Paolo. Hora da rappresentarsi con alcune aggionte in Vicenza . . . 
 Vicenza, gl'H. di Gia-como Amadio, 1681. 68 p. lJf m . 
 Three acts. Dedication, argument, scenario. Neither Aureli, nor Ziani men- 
 tioned. ML 50.2.A515Z3 
 
 La virtu sublimata dal grande, owero II Macedone conti- 
 nente. Drama per musica. Da rappresentarsi nel Teatro di Canal 
 regio 1'anno MDCLXXXIII. 
 
 Venetia, Francesco Nicolini, 1683. 60 p. IJfif. 
 
 Three acts. Argument, scenario, and prefatory notice to the reader with apolo- 
 gies for this replica of "Alessandro Magno in Sidone" in a small theatre with an 
 inferior cast. Neither the author, Aurelio Aureli, nor the composer, Marc' Antonio 
 Ziani, is mentioned. 
 
 First performed under the new title, as indicated, carnival 1683. SCHATZ 11209 
 
 L' Alessandro nelT Indie. 
 
 [243}-322 p. 19 cm . (Pietro Metastasio, Opere drammatiche, Vene- 
 zia, Giuseppe BettineUi, 1733-37, v. 2.} 
 
 Three acts. Argument. No composer mentioned. (Camp, next entry.) 
 
 ML49.A2M40 
 
 Alessandro nelT Indie. Rappresentato con musica del Vinci la 
 prima volta in Roma nel Teatro detto delle Dame, il 26 decembre 
 dell' anno 1729. 
 
 pi., [263}-356 p. 26 cm . (Pietro Metastasio, Opere, t. 4, Parigi, 
 vedova Herissant, 1780.) 
 
 Three acts. Argument. The revised version of his "Alessandro," which see for 
 telling differences between the versions. ML 49.A2M44 
 
 Alessandro nelT Indie. Drama per musica da rappresentarsi nel 
 teatro di Torre Argentina nel carnevale dell' anno 1772 . . . 
 
 Roma, Archangelo Casaletti, n. d. 71 p. 15 cm . 
 
 Three acts. Impresario's dedication with indication of Metastasio as author, 
 argument, cast, scenario,' and name of Pasquale Anfossi as composer. 
 
 First performed January 7, 1772, as indicated. SCHATZ 282 
 
 Alessandro nell' Indie. Dramma per musica da rappresentarsi in 
 Oranienbaum ... La poesia & del celebre Signer abbate Pietro 
 Metastasio ... La musica e del Signor Francesco Araja . . . 
 
 St. Pietroburgo, nella Stamperia dell' Accademia imperiale delle 
 scienze, 1759. 125 p. 18 cm . 
 
 Three acts. Cast and scenario. French text faces Italian. 
 
 First performed at St. Petersburg, Court opera, Dec. 8 (19), 1743. SCHATZ 304
 
 OPERA LIBRETTOS 59 
 
 Alessand.ro nell' Indie. Dramma serio per musica da rappresen- 
 tarsi in Bologna nel Teatro Zagnoni 1'autunno dell' anno 1787 . . . 
 
 Bologna, Sassi, n. d. 51, [2] p. 17% cm . 
 
 Imprimatur dated October 8, 1787. Impresario's dedication, argument, cast, 
 scenario and name of Francesco Bianchi as composer. Metastasio is not mentioned. 
 
 ML 50.2.A517B25 
 
 Alessandro nell' Indie. Dramma per musica da rappresentarsi 
 nel miovo e nobilissimo Teatro detto La Fenice 1'autunno dell' anno 
 1792. 
 
 Venezia, Modesto Fenzo, 1792. 64 p. 16\ cm . 
 
 Three acts. Argument, cast, scenario, and name of Francesco Bianchi as com- 
 poser, but not of the librettist, Pietro Metastasio. On p. 29-32 argument and cast of 
 the "Ballo primo. Giulio Sabino . . . composto e diretto dal Signor Onorato Vi- 
 gan6." Neither of this nor of his second ballet "Lafolliaelasaggiezza" is the com- 
 poser of the music mentioned. 
 
 First performed at Venice, Teatro di S. Benedetto, January 28, 1785 
 
 SCHATZ 974 
 
 Alessandro nell' Indie, ballet. See Cimarosa's Circe. 
 
 [Alessandro nell' Indie] Alexander in Indien, ein musicalisches 
 schauspiel aufzufuehren auf dem grossen hochfuerstl. Braunschw. 
 Theatre im Opern-hause in der Winter-Messe 1752. 
 
 Braunschweig, Keitel, n. d. Unpaged. 18 cm . 
 
 Three acts. By Metastasio. German text faces Italian. Argument, scenario, 
 cast, and name of the composer "Ignazio Fiorillo, maestro di capella di corte." 
 ("di nuova compqsizione") 
 
 Accordingly "E prezzo leggero " was added to 1, 1, and "Se vuol mirarti esangue" 
 to II, 8." The latter is not by Metastasio. 
 
 Second setting, first performed at Stuttgart, Hochfiirstl. Theatre, in February, 1752. 
 The first setting was first performed at Mantova, Nuovo Arciducale Teatro, carnival 
 1738 (Piovano). SCHATZ 3198 
 
 Alessandro nell' Indie. Dramma per musica da rappresentarsi 
 nel Teatro di San Samuelle per la fiera dell' Ascensione dell' anno 
 MDCCLV. 
 
 Venezia, Angiolo Geremia, n. d. 60 p. 15\ cm . 
 
 Three acts. By Metastasio. Argument, scenario, cast, and name of Baldassare 
 Galuppi as composer. Between p. 6-7 one page of "Arie aggiunte e mutate." 
 
 SCHATZ 3430 
 
 - Alessandro nell' Indie. Dramma per musica da rappresentarsi 
 nel nuovo Teatro di corte per comando di S. A. S. E. Massimiliano 
 Gioseppe . . . nel giorno glorioso di suo nome li 12. ottobre 1755. 
 La poesia e del Sig. abbate Pietro Metastasio ... La musica e del 
 Signor Baldassare Galuppi . . . 
 
 Monaco, Gio. Giac. Votter, n. d. 131, [1] p. 19 cm . 
 Three acts. Argument, scenario, and cast. German title "Alexander in Indien" 
 and text face Italian. At end, one page of Errata. SCHATZ 3431 
 
 Alessandro nell' Indie. Dramma per musica da rappresentarsi 
 nel Real Teatro di S. Carlo nel di 4 di novembre 1789 per festeggiarsi 
 il glorioso nome di Sua Maesta la regina . . . 
 
 Napoli, Vincenzo Flauto, 178.9. 70 p. 14\ cm . 
 
 Two acts. By Metastasio, who is not mentioned. Impresario's dedication dated, 
 Naples, November 4, 1789, cast, argument, scenario, and name of Pietro Guglielrui 
 as the composer. On p. 9-28 cast and description of Sebastiano Gallet'e "Telemaco 
 nell' isola cii Calipso, ballo eroico pantomimo in cinque atti," music by Pietro Dutil- 
 lieu. On p. 29-31 synopsis of the ballet " Di rado I'uom sa giudicar se stesso," also 
 by Gallet. SCHATZ 4234
 
 60 LIBRAEY OF CONGRESS 
 
 Alessandro nell' Indie, ballet. See P. Guglielmi's Enea e Lavinia. 
 
 L' Alessandro nell' Indie. Dramma per musica da rappresentarsi 
 nel famosissimo Teatro Grimani di S. Gio. Grisostomo nel carnovale 
 dell' anno 1736 ... 
 
 Venezia, Marino Rossctti, 1736. 72 p. 15\ cm . 
 
 Three acts. By Metastasio. Dedication by Domcnico Lalli, argument, cast, 
 scenario, and name of Johann Adolph Hasse as the composer. Mennicke lists this 
 as a second version, numbering the "Cleofide" of 1731, whose text was based on 
 "Alessandro nelle Indie" as the first version. SCHATZ 4508 
 
 Alessandro nell' Indie. Dramma per musica, da rappre- 
 sentarsi nel Nuovo Teatro di Prespurgo nell' estate del' anno 1741 . . . 
 
 Presburgo, Eredi Royeriani, n. d. 103 p. 18% cm . 
 
 Three acts. Dedication by Pietro Mingotti, argument, cast, scenario, and name of 
 Franz Joseph Pirker as the translator of the German text, which faces the Italian. 
 Neither the author, Metastasio, nor the composer, Johann Adolph Hasse, is men- 
 tioned. The text is somewhat different from that in the original Venice edition of 
 1736. For instance, I, 5 has now the aria "Scherza il nocchier tal' ora" instead of 
 "O su gli estivi ardori," and the scene, I, 12, "Non condannarmi, amico," has be- 
 come I, 9. SCHATZ 4509 
 
 - Alessandro nell' Indie. Dramma per musica da rappresen- 
 tarsi nel famosissimo Teatro Grimani di S n . Gio. Grisostomo net carne- 
 vale 1743 ... 
 
 n.i.,n.d. 1 p. I, 67 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, and name of Joh. Ad. Hasse as the com- 
 poser. The text is somewhat different from the Dresden ed of 1741 and the Venice ed. 
 of 1736. For instance, their aria at end of I, 2, "Vedrai con tuo periglio," has been 
 dropped, and their aria, " Vil trofeo d'un' almaimbelle," in 1, 3, has become " Vadan li 
 rei felloni." In this Venice, 1743 ed., the original aria, "O su gli estivi ardori," for 1, 5, 
 has been restituted, as also the scene "Non condannarmi, amico," as I, 12. Indeed, 
 the Venice, 1743, ed., as might be expected, is more like the Venice, 1736, ed. than 
 like the Dresden, 1741, ed. SCHATZ 4593 
 
 L'Alessandro nell' Indie. Dramma per musica da rappresen- 
 tarsi nel Teatro ducale di Stutgart festeggiandosi il felicissimo 
 giorno natalizio di Sua Altezza Serenissima Carlo, Duca regnante di 
 Wirtemberg e Teck, etc., etc. La poesia e del Signer abbate Pietro 
 Metastasio ... La musica nuovamente composta dal Signer 
 Nicolo Jommelli . . . 
 
 Stutgart, Cristqfero Frederico Cotta, 1760. 201 p. 19 cm . 
 
 Three acts. Argument, scenario, cast. German title page "Alexander in Indien" 
 and text face Italian. The ballets have no specific titles. 
 
 First performed at Stuttgart, as indicated, February 11, 1760. SCHATZ 4841 
 
 - Prologo da recitarsi avanti 1'opera Alessandro nell' Indie nel 
 Teatro ducale di Stutgart nel solenne giorno natalizio di Sua Altezza 
 Serenissima Carlo, duca regnante di Wirtemberg e Teck, etc etc. 
 
 Stutgart, Cristofero Frederico Cotta, 1760. 15 p. 18^ cm . 
 
 Cast. German title, "Prologus," and text face Italian. SCHATZ 11754 
 
 Alessandro nell' Indie. Dramma per musica da rappresen- 
 tarsi nel Real Teatro dell' Ajuda nel felicissimo giorno natalizio del 
 fedelissimo monarca D. Giuseppe I ... nel di 6 giugno 1776. 
 
 [Lisbona], Stamperia reale, n. d. 79 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, and names of Metastasio as author, of 
 Niccol6 Jommelli as composer. The text is somewhat different from that of 1760, 
 as it, for instance, jumps from the aria "Se mai turbo il tuo riposo" (I, 7) to the former 
 I, 10 "Principessa adorata" as I, 9, interpolating as I, 8 the scene "Dei, che tormento 
 equesto." SCHATZ 4899
 
 OPERA LIBRETTOS 61 
 
 Alessandro nell' Indie. Dramjna per musica da rappresentarsi 
 nel Teatro Tron di San Cassiano. II carnovale dell' anno 1753 . . . 
 Venezia, Modesto Fenzo, 1753. 60 p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Dedication by "Li virtuosi," 
 who had assumed the management of the theatre, argument, cast, scenario, and note 
 that the music was "in gran parte" by Gaetano Latilla, the rest by "altri bravi 
 autori." . SCHATZ 5455 
 
 L' Alessandro nell' Indie. Dramma per musica da rappresentarsi 
 nel nobilissimo Teatro di S. Benedetto la fiera dell' Ascensione dell' 
 anno 1778. 
 
 Venezia, Modesto Fenzo, 1778. 64 p. 17\ cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Luigi Marescalchi as the composer ("La musica e tutta nuova"). 
 
 On p. 27-40 cast, argument, and description of Onorato Viganb's "II Rinaldo, ballo 
 tragico eroico pantomimo di lieto fine. " in six parts. The composer of the music is 
 not mentioned. 
 
 First performed as indicated, May 27, 1788. SCHATZ 5946 
 
 Alessandro nell' Indie. Dramma per musica del Signore abate 
 Pietro Metastasio, Poeta Cesareo da rappresentarsi nel pubblico 
 Teatro di Lucca nell' autunno dell' anno MDCCLXXXIII. 
 Lucca, Francesco Bonsignore, n. d. 68 p. 14% cm - 
 Three acts. Argument, cast, scenario, and name of Michele Mortellari as the 
 composer. 
 
 First performed at Siena, Teatro degl' Intronati, July 22, 1778; at Lucca, August 9, 
 1783. SCHATZ 6683 
 
 Alessandro nell' Indie, dramma per musica da rappresentarsi nel 
 gran teatro nuovamente eretto alia real corte di Lisbona, nella 
 primavera dell' anno MDCCLY. Per festeggiare il felicissimo 
 giorno natalizio di Sua Maesta fedelissima D. Maria Anna Vit- 
 toria . . . La poesia del dramma e del . . . Pietro Metastasio . . . 
 La licenza e del Sig r Giuseppe Bonechy ... La musica e del Sig r 
 David Perez .' . . 
 
 Lisbona, Regia stamperia Sylviana, 1755. front., 4 P- 1-, 53, [2] p., 
 9 folded pi. 19 cm . 
 
 Three acts. Argument, cast, and scenario. The plates are by I. Berardi, Le 
 Bouteux, J. B. Dourneau. The front, by S. Manelli. 
 
 First performed, as indicated, March 31, 1755; at Geneva, Teatro di Sant' Agostino, 
 December 26, 1745. SCHATZ 7882 
 
 Alessandro nell' Indie. Dramma per musica di Pietro Metastasio 
 fra gli Arcadi Artino Corasio. Da rappresentarsi nel Teatro di 
 S. Angelo nel carnovale dell' anno 1732. 
 
 Venetia., Carlo Buonarrigo, n. d. 70 p. 14\ cm - 
 
 Three acts. Argument, cast, scenario, and name of Giovanni Battista Pescetti 
 as the composer. SCHATZ 7960 
 
 Alessandro nell' Indie. Dramma per musica da rappresentarsi 
 nel Teatro di via della Pergola nel carnevale del MDCCLXXVII . 
 
 cm 
 
 Firenze, Gio. Risaliti, n. d. 39 p. 15\ 
 
 Three acts. By Metastasio, who is not mentioned. Argument, scenario, cast, 
 and name of Niccolb Piccinni as the composer. Schatz calls this his second setting 
 of the text. 
 
 First performed at Naples, Teatro di S. Carlo, January 12, 1774. SCHATZ 8137
 
 62 LIBRARY OF CONGRESS 
 
 Alessandro nelT Indie. Dramma per musica del Sig. abate Pietro 
 Metastasio . . . Da rappresentarsi nel nobil Teatro di S. Samuel la 
 fiera dell' Ascensione 1'anno 1775 . . . 
 
 Venezia, Gio. Battista Casaii, 1775. 36 p. 17 cm . 
 
 Three acts. Dedication by Giacomo Bust, who is mentioned as the composer, 
 cast, and scenario. 
 
 With the opera was performed Antonio Pi trot's ballet "Alcina e Leone," music 
 by Piombanti, a description of which is said to have been published separately. 
 
 SCHATZ 9175 
 
 Alessandro nelT Indie. Dramma per musica da rappresentarsi 
 nel Teatro Vendramino di San Salvatore nella fiera dell Ascensione 
 dell' anno 1763. 
 
 Venezia, Francesco Valvasense, 1763. Jfi p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentoined. Cast, scenario, and name of 
 Antonio Sacchini as the composer. ("La musica sara tutta nuova.") 
 
 SCHATZ 9243 
 
 Alessandro nelT Indie. Dramma per musica da rappresentarsi 
 nel Regio Teatro di Torino nel carnovale del 1766 . . . 
 
 Torino, Stamperia reale, n. d. viii, 62 p., [2] I. 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, 
 and name of Antonio Sacchini as composer. Giuseppe Antonio Le Messier com- 
 posed the ballet music. The [2] 1. contain the aria "Se vedi il caro bene" substi- 
 tuted for "Tu, che il tenor gia sai" (II, 8), and the imprimatur. SCHATZ 11746 
 
 Alessandro nell' Indie. Dramma per musica del celebre Sig. abate 
 Pietro Metastasio . . . Da rappresentarsi nel Nuovo Pubblico 
 Teatro di Bologna la primavera dell' anno 1764 . . . 
 Bologna, Lassi, n. d. 68, [2] p. 16 cm . 
 
 Three acts. By Metastasio, who is not mentioned. On the last page the addi- 
 tional aria "Se possono tanto" (I, 9). Impresario's dedication, argument, cast, 
 scenario, and name of Gregorio Sciroli as the composer. ( " La musica e tutta nuova. ' ' ) 
 
 First performed May 31, 1764, as indicated. SCHATZ 9781 
 
 Alessandro nell' Indie. Dramma per musica da rappresentarsi 
 nel famoso Teatro Vendramin di S. Salvatore per la solita fiera dell' 
 Ascensione dell' anno 1759 . 
 
 Venezia, Modesto Fenzo, 1759. 56 p. 15\ 
 
 cm 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication, 
 scenario, cast, and name of Giuseppe Scolari as composer. SCHATZ 9786 
 
 Alessandro nell' Indie. Dramma serio per musica da rappresen- 
 tarsi nel Regio Teatro dell' Accademia degli Awalorati in Livorno 
 1'autunno dell' anno 1791 . . . 
 
 [Livorno], Tommaso Masi e comp., n. d. Ifi p. 18 cm . 
 
 Two acts. By Metastasio, who is not mentioned. Impresario's dedication, cast, 
 scenario, and name of Angelo Tarchi as the composer. On p. [26J-34 argument and 
 description without name of the composer of the music of Francesco Clerico's "Am- 
 leto, ballo tragico pantomime, in quattro atti." His second, a "ballo comico," was 
 called "I due vedovi." 
 
 Schatz distinguishes this opera, first performed at London, Haymarket, spring of 
 1789, as first setting of the text, from the opera of the same title, first performed at 
 Torino, Regio Teatro, carnival 1798, which he, without giving his reasons, calls the 
 second setting. SCHATZ 10228
 
 63 
 
 Alessandro nell' Indie. Dramma per musica da rappresentarsi 
 nel rinovato Teatro di Piazza di Vicenza il carnevale dell' anno 
 MDCCL . . . 
 
 Vicenza, Pierantonio Berno, 1750. 52 p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication, 
 argument, cast. Note: "La musica sara diretta dal Sig. Antonio Tiraboschi, maestro 
 di cappella," whom Schatz calls the composer of this opera. SCHATZ 10355 
 
 Alessandro nell' Indie. Drama per musica di Pietro Metastasio 
 fra gli Arcadi Artino Corasio. Da rappresentarsi nel Teatro detto 
 delle Dame nel carnevale dell' anno 1730 . . . 
 
 Roma, Zempel e il de Mey, n. d. 83 p. 15 cm . 
 
 Three acts. Impresario's dedication, argument, scenario, cast, and name of 
 Leonardo Vinci as composer. 
 
 First performed, as indicated, December 26, 1729. SCHATZ 10742 
 
 Alessandro nell' Indie. Drama per musica da rappresentarsi 
 nel Teatro di S. A. S. E. di Baviera net carnevale dell' anno 1735. 
 
 Monaco, Giovanni Giacomo Vdtter, n. d. 82, [1] p. 15 cm . 
 
 Three acts. Argument and cast. By Metastasio, who is not mentioned. The 
 composer unknown to Schatz, but the name of [Leonardo] Vinci is written in pencil 
 on the title page. SCHATZ 11297 
 
 Alessandro Severe. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, I- vi, P- [271]- 
 355. 19 cm . 
 
 Three acts. Argument. No composer is mentioned. In the "Catalogo" at end 
 of t. x, date and place of first ed. are given as Venice, 1717. (See below.) ML 49.AZ3 
 
 Alessandro Severo. Pubblicato per la prima volta in Venezia 
 1717. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. iv, p. 353- 
 430. 21 cm . 
 
 Three acts. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Alessandro Severo. Dramma per musica da rappresentarsi nel 
 famoso Teatro Grimani di S. Gio. Grisostomo nel carnovale del 
 1739 . . . 
 
 Venezia, Marino Rossetti, 1738. 58 p. 15 c - m . 
 
 Three acts. By Apostplo Zeno. Dedication by Dom. Lalli. Argument, scenario, 
 cast, and name of librettist, but not of composer, Andrea Bernasconi. 
 
 First performed at Venice, as indicated, December 27, 1738. SCHATZ 867 
 
 - Salustla. Dramma per musica da rappresentarsi nel Teatro 
 Vendramin di San Salvatore per 1'occasione della fiera dell' Ascen- 
 sione dell' anno MDCCLIII . . . 
 
 Venezia, Modesto Fenzo, n. d. 58 p. Iffi. 
 
 Three acts. Impresario's dedication, cast, scenario, and name of Andrea Bernas- 
 coni as composer, but not of author of libretto, which is a condensation and otherwise 
 altered version of Zeno's "Alessandro Severo." In this the three acts have 15, 15, 11 
 scenes, in "Salustia" 12, 12, 11. SCHATZ 866 
 
 Alessandro Severo. Drama per musica, da rappresentarsi nel 
 famosissimo Teatro Grimani di S. Giovanni Grisostomo . . . 
 
 Venezia,, Marino Rossetti, 1717. 60 p. 15 cm . 
 
 Three acts. Dedication signed by the author, Apostolo Zeno, with his initials, 
 argument, cast, scenario, and name of Antonio Lotti as composer. 
 
 First performed, as indicated, December 26, 1716. SCHATZ 5714
 
 64 LIBRARY OF CONGRESS 
 
 Alessandro Severe. Dramma per musica da rappresentarsi nel 
 Teatro Grimani di S. Benedetto il carnovale dell' anno 1763. 
 
 Venezia, Paolo Colombani, 1763. 48 p. 
 
 Three acts. Argument, cast, scenario, and name of Antonio Sacchini as the com- 
 poser. Text by Apostolo Zeno, who is not mentioned. 
 First performed, as indicated, December 26, 1762. SCHATZ 9241 
 
 Alessandro Severo. Drama per musica da rappresentarsi nel 
 Teatro di S. Bartolomeo nel maggio del 1719 . . . 
 Napoli, MicheleLuigi Muzio, 1719. 60 p. 16 cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Dedication dated Naples, 
 May 14, 1719, argument, scenario, cast, and name of Domenico Sarro as composer. 
 
 SCHATZ 9412 
 
 Alessandro trionfante nelT Indie, ballet. See Salieri's La scuola 
 de' gelosi. 
 
 Alessandro vincitor di se stesso. Dramma musicale del Signor 
 Francesco Sbarra, gentilhuomo Lucchese. Dedicate all' Altezza 
 Sereniss. di Leopoldo Guglielmo da Gio. Battista Balbi, inventore 
 degli apparati di scena, machine, e balli. Rappresentato in Venezia 
 nel Theatre di S. Gio. e Paolo. 
 
 Venetia, Giacomo Batti, 1651. 11 p. 1., 72 p. 15 cm . 
 
 Three acts, with prologue. Dedication dated Venice, January 20, 1651, a "Lettera 
 dell' autore al Signor Michel' Angelo Torcigliani " dated Lucca, December 29, 1650, 
 and argument. 
 
 In his "Lettera" Sbarra says: 
 
 "II Padre Cesti, miracolo della musica, con altri virtuosi rappresentb nel passato 
 autunno un gentilissimo dramma nella cittk nostra; io se bene all' hora relegato in 
 letto da una lunga, e pericolosa indispositione, a dispetto del male, che voleva tr 
 1'altre miserie, che seco adduce, privarmi ancora della vista dr questa virtuosa attione, 
 mi portai a vederla: il gusto, ch'io ne retrassi, fii riconosciuto da me per 1'unico mio 
 rimedio . . . Per sodisfare all' istanze di questi virtuosi, da' quali riconosceva la 
 ricuperata salute, intrapresi, e ultimai un dramma, in quei pochi giorni, che d'otio 
 mi concesse la mia convalescenza, tempo maggiore, e piu opportune non venendomi 
 perrnesso dalla necessita, che tenevano di rappresentarlo prontamente in Venetia. 
 I parti, che sono concepiti in stato simile di non intera sanita, sono sepre imperfetti: 
 ma questi e piu d'ogni altro, non havendo havuto ben minimo tempo di rivederlo, 
 necessitate dall' angustia del tempo a lasciarlo metter sotto le note nella stessa forma, 
 che alia giornata 1'andava abbozzado. S'aggiunge, che per esser riuscito troppo 
 lungo per la musica, e convenuto a i medesimi d'accorciarlo, si che e impossibile, che 
 qualche storpiatura non apparisca, & in questa maniera mi avvisano, che sono neces- 
 sitati a stamparlo ..." 
 
 He further calls this "quest'opera, prima che si stampi, che in questa conformity 
 scrivo." In his notice to the "spettatori del dramma" Sbarra remarks: 
 
 "S6 che 1'ariette cantate da Alessandro, & Aristotile, si stimerano cotro il decoro 
 di personaggi si gradi; ma s6 ancora, ch'e improprio il recitarsi in musica, non imitan- 
 dosi in questa maniera il discorso naturale, e togliendosi 1'anima al coponimeto dra- 
 matico, che no deve esser altro, che un' imitatione dell' attioni humane, e pur questo 
 difetto non solo e tolerato dal secolo corrente; ma ricevuto con applause; questa 
 specie di ppesia hoggi non h& altro fine che il dilettare, onde conviene accpmmodarsi 
 all' uso de i tempi; se lo stile recitative non venisse intermezzato con simili scherzi, 
 porterebbe piu fastidio, che diletto . . . se in questo spettacolo ritroyerai con che 
 appagare il tuo gusto, il tutto riconosci dall' esquisitissime inventioni del mirabile 
 Sig. Gio. Battista Balbi, autore non meno de' balli, e delle machine, che d'ogni altro 
 scenico apparato." 
 
 It will be noticed that the composer, in this case no less a master than Francesco 
 Cavalli, is mentioned nowhere. 
 
 First performed carnival 1651, as indicated. 
 
 (For further data, see Cesti's Alessandro il vincitor di se stesso, Lucca, 1654.) 
 
 SCHATZ 1715
 
 OPERA LIBRETTOS ' 65 
 
 Alessandro vincitor di se stesso Continued. 
 
 Alessandro vincitor di se stesso. Dramma musicale del 
 
 signer Francesco Sbarra, gentiluomo lucchese . . . 
 
 Bologna, Giacomo Monti, 1655. front., 92 p. 13 cm . 
 
 Prologue and three acts. Dedication by Pietro Antonio Cerva, notice to the reader, 
 argument. The composer, Francesco Cavalli, is not mentioned. 
 
 First performed at Bologna, Teatro Guastavillani, 1655. SCHATZ 11681 
 
 Alessio ed Eloisa o sia II disertore, ballet. See Astaritta's Iper- 
 mestra. 
 
 Alexander in Indien. Tr. of Fiorillo's Alessandro nell' Indie. 
 Alexander in Indien. Tr. of Galuppi's Alessandro nell' Indie. 
 Alexander in Indien. Tr. of Jommelli's Alessandro nell' Indie. 
 Alexander in Sidon. Tr. of Fr. Conti's Alessandro in Sidone. 
 Alexander und Porus. Tr. of Graun's Alessandro e Poro. 
 
 Alexandre aux Indes, opera en trois actes, represent e", pour la 
 premiere fois, sur le Theatre de I'Academie-royale de musique, le 
 mardi 26 aout 1783. 
 
 Paris, P. de Lormel, 1783. vi, 43 p. 24 cm . 
 
 By Etienne Morel de Chefdeville, who is not mentioned. On p. ii Jean Nicolas 
 Le Froid de Mereaux is mentioned as the composer. Cast. SCHATZ 6310 
 
 Alexandre et Thalestris, ballet-heroique en trois actes. 
 
 Venard de La Jonchere, Theatre lyrique, Paris, 1772, t. i, p. [289]- 
 343. 
 
 "Avant-propos" (p. 291-302). No composer mentioned, and none recorded by 
 Cl. & L. ML 49.A2L2 
 
 Alexis, on L'erreur d'un bon pere. Comedie,. en un acte, et en prose, 
 melee d'ariettes. Paroles du citoyen Marsollier, musique du citoyen 
 Daleyrac. Represente sur le theatre Feydeau, le 5 pluviose, an 6 de 
 la Republique [January 24, 1798]. 
 
 Paris, Barba, (1798). An vi. 40 p. 19\ cm . 
 
 Cast. ML 50.2.A52D2 
 
 Alexis et Justine, comedie-lyrique, en deux actes et en prose, mele'e 
 d'ariettes; representee pour la premiere fois, a Versailles, devant 
 Leurs Majestes, le vendredi 14 Janvier 1785; & a Paris, sur le Theatre 
 de la Comedie italienne, le lundi 17. Paroles de M. de Monvel, 
 musique de M. De Zede. 
 
 Toulouse, Broulhiet, 1785. 40 p. 22 cm . 
 
 Cast. ML 50.2.A53D3 
 
 Alfonso di Castiglia, ballet. See Paer's Tegene e Laodicea. 
 
 72251 VOL 114 - 5
 
 66 LIBRARY OF CONGRESS 
 
 Alfea reverente. Rappresentata nella seconda venuta della Serenis- 
 sima Vittoria della Rovere gran duchessa di Toscana in essa citta 
 1'anno 1639. 
 
 [Atend] In Pisa, appresso Francesco deUe Dote, 1639. 20 p. 20 cm . 
 
 Historical-allegorical "funzipne," "sovra pomposo carro, tirato da sei bianchi 
 e generoei dsstien" fully described on p. 3-12 preceding the text. On p. 20: 
 
 "Li none gentiV huomini a cauallo furono . . . [follow the names, as ninth that 
 of] II Sig. cav. Pietro Cascina. Del quale sono 1'inventioni, e le compositioni. 
 
 II carro fti disegno del Sig. Alfiere Giovanni Navarretti, la direzione del quale 
 opero molto in questa funzione. 
 
 Le musiche furono del Sig. Antonio Pisani organista della Chiesa de Ca\alieridi 
 S. Stefano di Pisa. 
 
 II musico che rappresento Alfea fu il Sig. Luca Angeletti, musico di S. A. S. 
 
 Quello che fece la prima ninfa del coro, e doppo rappresent6 la Fama, fu il Sig. 
 Chrietofano Bastini, musico dell' eccell. Repub. di Lucca, condotto per questa fun- 
 zionze dalli suddetti nove gentil' huomini, li quali fecero anche it rimanente di 
 tutta la spesa. 
 
 Le ninfe dell' Arno erano musici delle due Cappelle della Chiesa Primatiale, e di 
 S. Stefano, con I'assistenza del Sig. Lorenzo Brunelli maestro di capella della mede- 
 eima Chiesa di S. Stefano, in assenza del medeeimo Sig. Pisani." SCHATZ 8191 
 
 Alfonso, dramma per musica rappresentato per regio comandq in 
 Dresda in occasione delle auguste nozze di Carlo re delle Due Sicilie, 
 e Amalia, principessa reale di Polonia, duchessa di Sassonia, 
 MDCCXXXVIII. 
 
 n. i., n. d. 4 p. I, 68, 22 p. 18\ cm . 
 
 At end of opera the imprint of "la vedova Stossel." 
 
 Five acts. Dedication by the author Stefano Benedetto Pallavicini, argument, 
 cast, and name of Johann Adolph Hasse aa the composer. 
 
 The 22 additional pages contain text (by unknown author) and cast of Hasse's 
 "II tutore. Intermezzi ... In Dresda, 1'anno 1738," first performed at Naples, 
 Teatro di S. Bartolomeo, 1730. 
 
 "Alfonso" was first performed as indicated, May 11, 1738. SCHATZ 4510 
 
 Alfonso, dramma per musica rappresentato per regio comando 
 in Dresda . . . MDCCXXXVIII. 
 
 Dresden, verwittibte Hof-buchdr. Stoessel, n. d. 185 p. 16% cm . 
 
 Five acts. Argument, cast, scenario, names of Pallavicini as author, of Hasse 
 as the composer. The same as Schatz 4510, except that German title "Alfonso" 
 and text face Italian and that the intermezzi do not appear in this edition, issued in 
 honor of the same nuptial festivities. SCHATZ 4511 
 
 Alfonso Primo. Drama per musica. Da recitarsi nel Teatro Ven- 
 dramino di S. Salvatore. L'anno 1694. Di Matteo Noris . . . 
 Venetia, Nicolini, 1694. 84 p. 14 cm . 
 
 Three acts. Author's dedication, brief argument, and scenario. The composer, 
 Carlo Francesco Pollaroli, is not mentioned. SCHATZ 8268 
 
 Alfred: a masque. Represented before Their Royal Highnesses the 
 prince and princess of Wales, at Cliffden, on the first of August, 1740. 
 London, Printed for A. Millar, 1740. 44 p. 19\ cm . 
 
 Two acts. Cast. Neither authors nor composer mentioned. (See next entry.) 
 On p. 42-43 "An ode. When Britain, first, at heaven's command." AC 901.M5v.506 
 
 - Alfred, a masque. As it is now revived at the Theatre-Royal, in 
 Drury Lane, by His Majesty's servants. 
 London, T. CadeU and T. Becket [etc.], 1 773. 4 p. 1., 72, [2] p. 19\ cm . 
 
 Three acts and "Prologue, by a friend. Spoken by Mr. Gamck, when it was first 
 acted." Cast, argument, and this prefatory note: 
 
 "Alfred, a masque, was written by Mr. [James] Thompson, in conjunction with 
 Mr. [David] Mallet, at the request of his Royal Highness Frederick Prince of Wales,
 
 OPERA LIBRETTOS 67 
 
 Alfred Continued. 
 
 before their Royal Highnesses, on the first of August, 1740. Ten years after it was 
 adapted for the stage by Mr. Mallet and was received with great applause. Mr. 
 Mallet, in his advertisement (after giving an account of his joining with Mr. Thompson 
 in the performance) goes on 
 
 " 'But to fit it for the stage, I found it would be necessary to new plan the whole, 
 as well as write the particular scenes over again; to enlarge the design, and make 
 Alfred what he should have been at first, the principal figure in his own masque. 
 This I have done; but, according to the present arrangement of the fable, I was 
 obliged to reject a great deal of what I had written in the other, neither could I retain 
 of my friend's part, more than three or four single speeches, and a part of one song, 
 I mention this expressly, that whatever faults are found in the present performance, 
 they may be charged, as they ought to be, entirely to my account. 
 
 " <D. Mallet:' 
 
 The note then goes on to sy: 
 
 "It is now revived with some few alterations, and with some new music; the 
 favourite airs of Dr. Arne, a.s they stood in the masque altered by Mallet, are reserved; 
 there are some few alterations, which are now published." 
 
 David Garrick is supposed to have been responsible for this second revision. 
 The last [2] p. contain "When Britain first, at heav'n's command," with first refrain 
 line "Rule, Britannia, rule the waves" and headed by note: "The following song 
 was altered by the author, and is now printed as it is sung." 
 
 First performed at Cliefden, August 1, 1740; at Dublin, Theatre Royal in Smock 
 Alley, March 10, 1744; at London, Drury Lane, March 20, 1745, in an altered version 
 and further altered at London, Drury Lane, February 23, 1751. The above version 
 was first performed, as indicated, October 9, 1773. LONGE 36 
 
 Alfredo il grande, re degli Anglo-Sassoni, ballet by Trento. See 
 Bianchi's Seleuco. 
 
 Alfsol. Plan eines singspieles von fimf acten, in einem briefe an 
 
 den herausgeber. 
 
 16 cm . p. 205-229. (Cramer's Musik, Copenhagen, 1789.) 
 
 Signed by Sander. ML 4.M3 
 
 Aline, dronning i Golconda, en opera i tre acter. Oversat af det 
 franske til hr. capellmester Schulzes musik ved Thomas Thaarup . . . 
 Andet oplag. 
 
 Ki0beriham, Johan Frederick Schultz, 1789. Ifi p. 16 cm . 
 
 Prefatory note by the translator, "Udtog af den franske fortaelling," and cast. 
 Johann Abraham Peter Schulz' "Aline, reine de Golconde," text by Sedaine, was 
 first performed before Prince Henry of Prussia at Rheinsberg in 1787, and in this 
 Danish version at the Royal Theatre, Copenhagen, January 30, 1789. SCHATZ 9717 
 
 - Aline, koniginn von Golconda. Eine oper in drey acten. 
 16 cm . p. [298]-346. (Cramer's Musik, Copenhagen, 1789.) 
 
 Carl Friedrich Cramer's own translation, with "vorbericht" of Sedaine's text, aa 
 composed by Schulz. ML 4.M3 
 
 Aline, reine de Golconde. 
 
 Three acts, text by Sedaine, music by Monsigny. 
 First performed at Paris, Academic royale de musique, April 15, 1766. 
 Not in L. of C. 
 
 This title appears on the original score as published by He'rissant and appears to 
 be the O. T. or the following: 
 
 - La reine de Golconde, opera en trois actes, represent^, pour la 
 premiere fois, par I'Academie-royale de musique, en 1766. Et remis 
 au Theatre le mardi 26 mai 1772. 
 
 Paris, de Lonnel, 1772. 59 p. 25 cm . 
 
 Sedaine is mentioned as author, but Monsigny not aj composer. Argument and 
 cast. SCHATZ 6587
 
 68 LIBRARY OF CONGRESS 
 
 Aline, reine de Golconde. O. T. of Schulz's Aline, dronning i 
 Golconda and Aline, koniginn von Golconda. 
 
 Alisbelle, ou Les crimes de la feodalite, opera en trois actes, en vers, 
 par le citoyen Desforges, musique du citoyen Louis Jadin. 
 Paris, Prault Value, ventose Van II. [1794]. 48 p. 20^ cm . 
 
 First performed at Paris, ThVitrc National, rue de la Loi, February 27, 1794. 
 
 SCHATZ 4949 
 
 Le allegrezze per le vittorie di Scipione, ballet. See Galuppi's 
 Sofonisba. 
 
 L'allegria della campagna. Commedia per musica da rappresen- 
 tarsi nel Teatro Nuovo sopra Toledo per'prim' opera di questo 
 corrente anno 1791. 
 
 Napoli, Vincenzo Flauto, n. d. J+l p. 15\ cm . 
 
 Two acts. Cast and name of Marcello di Capua as composer. Librettist not 
 mentioned, and unknown to Schatz. SCHATZ 839 
 
 Alles aus liebe. Tr. of Naumann's Tutto per amore. 
 
 L'alliance de Romulus et de Tatius. Der fried zwischen Romulo 
 und Tatzio, ballet. See Sacchini's Scipione in Cartagena. 
 
 L'allure. Piece en un acte. Representee a la Foire Saint Laurent. 
 1732. 
 
 Le Theatre de la foire, Paris, 1737, t. ix, 2, pi., [169}-215 p. 17 cm . 
 
 By Carolet. The airs, probably selected or composed and arranged by Jean Claude 
 Gillier, are printed at the end of the volume in the "Table des airs." 
 
 First performed September 27, 1732. ML 48.L2 
 
 L'Almadero. Drama per musica, da rappresentarsi nel Teatro di 
 Castello; composto . . . dal marchese Annibale Lanzoni . . . 
 Mantova, gli Osanna, 1667. 86 p. 15 cm . 
 
 Three acts. Author's dedication, dated Mantova, April 30, 1667, argument. The 
 composer is not mentioned, and is unknown to Schatz. SCHATZ 11298 
 
 Almansore o sia II pregindizio che nasce dal mancare di Darola. 
 O. T. of Pollaroli's Almansore in Alimena. 
 
 L'Almansore in Alimena. Drama per musica. Da recitarsi nel 
 Teatro di Sant' Angelo 1'anno 1703 . . . 
 
 Venetia, Girolamo Albrizzi, n. d. 60 p. 15 cm . 
 
 Three acts. By Giov. Matteo Giannini, who is not mentioned. Impresario's 
 dedication, argument, scenario, and notice to the reader, with the name of Carlo 
 [Francesco] Pollaroli as the composer. If the impresario, Giovanni Orsato, says that 
 "questo drama . . . nel Teatro di Reggio di Modona ha saputo riportarne i primi 
 applausi," he refers to the performances there of the opera in 1696, under the title 
 of Almansore o sia II pregiudizio che nasce dal mancare di parola." 
 
 First performed at Bologna, Teatro Pubblico della Sala, carnival, 1690. 
 
 SCHATZ 8269 
 
 Almena: an English opera. As it is performed at the Theatre- 
 Royal in Drury-Lane. Written bv Mr. Rolt . . . The music com-* 
 posed by Mr. Arne and Mr. Battisnill. 
 London, T. Becket and P. A. de Hondt, 1764. 4 p. I, 32 p. 19% cm . 
 
 Three acts. Cast and argument. The last p. 1. a publishers' book-list. The Arne 
 mentioned is Michael, not Thomas Augustine. Thompson's vocal score mentions 
 only Battishill as composer. 
 
 First performed November 2, 1764, as indicated. LONGE 37
 
 OPERA LIBRETTOS 69 
 
 L'Almeria. Nuovo dramma per musica da rappresentarsi in 
 Livorno nel Teatro da S. Sebastiano la primavera delr anno 1761. 
 Livomo, Gio. Paolo Fantechi, 1761. port., xvi, 88 p. 17 cm . 
 
 Three acte. By Marco Coltellini, whose port, adorns the book. Coltellini's dedi- 
 catory poem to Metastasio, cast, scenario, name of Giovanni Francesco de Majo as 
 composer, and notice to the reader, containing argument, statement that certain 
 indicated lines, for brevity's sake, were not composed, and this remark: 
 
 "II pubblico, che e il giudice piu competente delle opere di teatro, quando mi 
 metta in conto anche le angustie, in cui e ndotta la tragedia dalle leggi della musica, 
 non potra a meno di accordarmi un cortese compatimento per un primo parto ..." 
 
 ML 50.2.A54M3 
 
 ^L'Almerico in Cipro. Drama per musica di Girolamo Castelli. 
 Da recitarsi nel Teatro di S. Moise 1'anno 1675 . . . 
 Venetia, Francesco Nicolini, 1675. 66, [1] p. 14 cm . 
 
 Three acts. Author's dedication dated Venice, November 30, 1674, notice to the 
 reader with name of Antonio dal (del) Gaudio as the composer, argument and scenario. 
 
 SCHATZ 3635 
 
 L'Almerinda. Drama per musica da rappresentarsi nel Teatro di 
 San Casciano 1'anno 1691 . . . 
 
 Venetia, Girolamo Albrizzi, 1691 . 68 p. 13% cm . 
 
 Three acts. Impresario's dedication dated Venezia, January 20, 1690, author's 
 notice, argument, scenario, and name of the composer, Giuseppe Boniventi. The 
 author, Giulio Pancieri, who is not mentioned by name, informs the reader that this 
 is the totally changed version of a previous libretto which he does not mention by 
 title. SCHATZ 1187 
 
 L'Almira. Drama per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S. Giovanni e Paolo 1'anno 1691 . 
 
 i cm 
 
 Venetia, Girolamo Albrizzi, 1691. front., 68 p. 14 C 
 Three acte. Impresario's dedication, dated Venice, November 22, 1691, author's 
 notice, argument, scenario, and name of the composer, Giuseppe Boniventi, but not 
 of the librettist, Giulio Pancieri. SCHATZ 1188 
 
 Almira, koenigin in Castilien. A. T. of Reiser's Der durch- 
 lauchtige secretarius. 
 
 Almira, koenigin von Castilien. A. T. of Handel's Der in 
 krohnen erlangte glueckswechsel. 
 
 Alonso e Cora. Dramma per musica da rappresentarsi nel nobilis- 
 simo Teatro di S. Benedetto il carnovale dell' anno 1786. 
 
 Venezia, Modesto Fenzo, 1786. 55 p. 
 
 Two acte. Notice to'the reader, argument, cast, scenario, and name of composer, 
 Francesco Bianchi, but not of the librettist, Giuseppe Foppa. On p. [25]-34 argument 
 and full description of "Gli amori di Clodio e Pompea, ballo eroico pantomime," in 
 five acts by Antonio Muzarelli, "esposto per la prima volta," music ("tutta nuova") 
 by Vittorio Trento. 
 
 First performed February 7, 1786, as indicated. SCHATZ 994 
 
 Alonso e Cora, ballet. See Bianchi's Piramo e Tisbe. 
 Alonzo e Cora. A. T. of the ballet La vergine del Sole. 
 Alonzo e Cora, ballet. See Bianchi's Aspard. 
 
 Die als magd geworderxe frau. Tr. of Pergolesi's La serva pa- 
 drona.
 
 70 LIBRARY OF CONGRESS 
 
 ALsinda. Dramma per musica da rappresentarsi nel Teatro alia 
 Scala il carnevale dell anno 1785 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 72 p. 16 cm . 
 
 Three acts. By Ferdinando Moretti, who is not mentioned. Dedication, argu- 
 ment, cast, scenano, and name of Nicola Antonio Zingarelli as the composer. With 
 the opera were performed, composers of the music not mentioned, Sebastiano Gallet's 
 ballets "II signore benefico," II maniscalco francese" and "Mascherata." Descrip- 
 tions of these are remarked to have been published separately. 
 
 First performed, as indicated, February 22, 1785. SCHATZ 11264 
 
 Der alte freyer, eine komische oper in einem aufzuge. Verfertigt 
 und in musik getzt von Johann Andre". 
 
 Frankfurt am Mayn, Johann Christian Gebhard, 1775. 72 p. 15^ cm . 
 
 Andr6 characterizes in a prefatory note as "dumme Beschuldigungen " the report: 
 "ich hatte meine musick zum Topfer aus franzoeischen operetten genommen." 
 First performed at Berlin, Dobbelinsches Theater, October 2, 1775. 
 
 SCHATZ 178 
 
 Der alte ueberall und nirgends. Erster theil. Ein schauspiel 
 mit gesang in fiinf aufziigen, nach der geistergeschichte des herrn 
 Spiess bearbeitet von Karl Friedrich Hensler. Die musik ist von 
 herrn Wenzel Midler . . . 
 
 Wien, Joh. Bapt. Wallishausser, 1796. 96 p. 16 cm . 
 
 "Aufgefuehrt zum erstenmale auf der k. k. priv. Marinellischen Schaubuhne in 
 Wien," June 10, 1795. SCHATZ 6906 
 
 - Der alte ueberall und nirgends. Zweyter theil . . . 
 Wien, Joh. Bapt. WaUishauser, 1796. 102 p. 16 cm . 
 
 "Aufgefuehrt zum erstenmale auf der k. k. priv. Marinellischen schaubuhne in 
 Wien," December 16, 1795 (Schatz), December 10 (Krone). SCHATZ 6907 
 
 Arien und gesange aus der komischen oper: Alter schiitzt fiir 
 thorheit nicht. In einem aufzuge. 
 
 Hamburg, J. M. Michaelsen, 1781. 16 p. 17 cm . 
 
 By Friedrich Ludwig \Tilhelm Meyer. Neither he nor the composer, Johann 
 Andre, mentioned. 
 
 First performed at Hamburg, Theater beim Gansemarkt, June 14, 1781; at Mann- 
 heim, Churf. deutsche Schaubuhne, June 20, 1779. SCHATZ 179 
 
 L'Alvilda. Dramma per musica. Da rappresentarsi nel nobilissimo 
 Teatro Grimani di S. Samuele in tempo della fiera dell' Ascensione 
 1'anno 1737. 
 
 Venezia, Marino Eossetti, 1737. 48 p. 16 cm . 
 
 Three acts. " L'amor generoso" by Apostolo Zeno, retouched by Dom. Lalli, 
 neither mentioned. Lalli's dedication, argument, cast, and name of Galuppi as 
 composer. 
 
 First performed, as indicated, May 29, 1737. SCHATZ 3480 
 
 L'Alvilda, regina de Goti. A. T. of Pallavicino's L'Amazone 
 corsara. 
 
 Alzira. Dramma per musica da rappresentarsi nel Teatro da S. 
 Agostino il carnovale dell' anno 1797 . . . 
 
 Genova, Stamperia Gesiniana, n. d. 55, [1] p. lJ+\ cm . 
 
 Two acts. The author is not mentioned, and is unknown to Schatz. Cast, scenario, 
 and names of Giuseppe Nicolini as composer of the opera ("affatto nuova"), and of 
 Santi Trento, of the ballet music. SCHATZ 7153
 
 OPERA LIBRETTOS 71 
 
 Aina chi t'ama. Dramma per musica fatto recitare da' SS. Con- 
 siglieri nel Teatro di Siena, 1'anno 1682. 
 
 Siena, Stamparia del pubblico, n. d. J+5 p. 13\ cm . 
 
 Prologue and three acts. Dedication of this "operetta," dated Siena, February 6, 
 1682. Unknown to Schatz. ML 50.2.A57 
 
 Ama piu chi men si crede. Melodrama pastorale da rappresen- 
 tarsi nel famosissimo Teatro Grimani di S. Gio. Grisostomo nell' 
 autunno MDCCLX . . . 
 
 Venezia, Marino Rossetti, 1709. 71,[1] p. 14$ cm . 
 
 The add. p. contains a list of "Opere musicali sin' ora stampate in Venezia da 
 Antonio Bortoli." 
 
 Three acts. Dedication signed by the author, Francesco Silvani, and dated 
 Venice, November 20, 1709, argument, notice to the reader, cast, scenario, and name 
 of Antonio Lotti as the composer. SCHATZ 5715 
 
 Amadi. Tragedia per musica di Filippo Quinault. Traduzione 
 dell' abate Gaetano Sertor. 
 
 Venezia, Nuova Stamperia, 1793. xi, 72 p. 12$ cm . 
 
 Five acts. Argument, "Giudizi ed aneddoti sopra 1' Amadi" (p. vii-xi), without 
 even hinting at a composer. SCHATZ 11666 
 
 Amadigl di Gaula. 
 
 Three-act opera by Georg Friedrich Handel. Text supposedly by John Jamea 
 Heidegger. 
 
 First performed at London, Haymarket, May 25, 1715. 
 
 Not in L. of C. 
 
 - Oriana. [vignette. 1 Wurde in einem singe-spiel auf dem Ham- 
 burgischen Schau-Platz vorgestellet im monatn September 1717. 
 
 Hamburg, gedruckt mit sel. Friedrich Conrad Greflingers schrijften, 
 n. d. Unpaged. 18 cm . 
 
 Three acts. German version by Joachim Beckau of Heidegger's "Amadigi di 
 Gaula." Neither they nor the composer, Georg Friedrich Handel, are mentioned. 
 The Italian text of the arias is added to the German. SCHATZ 4474 
 
 Amadis, tragedie en musique, represented par FAcademie royale de 
 musique. Suivant la copie imprime'e a Pans. 
 
 [Amsterdam, Antoine Schelte], 1687. 60 p. .(incl. front.) llf m . 
 
 Prologue and five acts. Neither Quinault nor Lully mentioned. 
 
 ML 50.2.A59L9 
 
 Amadis, tragedie represented par TAcademie royale de musique 
 1'an 1684. Les paroles de M. Quinault, e la musique de M. de 
 Lully. XVI. opera. 
 
 n.i.,n.d. 14 cm - front., Ifil-Jfil p. (Recueil general des opera, 
 t. ii, Paris, 1703.) 
 
 Detached copy. Five acts and prologue. 
 
 First performed, as indicated, January 18, 1684. SCHATZ 5759 
 
 Second copy. ML 48. R4 
 
 Amadis, tragedie en musique. Represented par 1'Academie 
 royale de musique, le 15. Janvier 1684. 
 
 Philippe Quinault, Theatre, Paris, 1739, t. v, pi, p. [249]-Sll. 
 17 cm . 
 
 Prologue and five acts. Lully is not mentioned. PQ 1881. Al 1739
 
 72 LIBRARY OF CONGRESS 
 
 Amadis de Grece, tragedie represented par 1'Academie royale de 
 musique. 
 
 Amsterdam, les Tieritiers d'Antoine Schelte, 1699. 60 p. (incl. 
 front.) 15. 
 
 Prologue and five acts, with Houdarf!] De La Motte's dedicatory poem to, the King. 
 Destouches is not mentioned. ML 50.2.A595D2 
 
 - Amadis de Grece. Tragedie represented par 1'Academie royale 
 de musique Pan 1699. Les paroles de M. de la Mothe, e la musique 
 de M. Destouches. XL VII. opera. 
 
 7i. i., n. d. front., p. 355-41- (Recueil general des opera, t. vi, Paris, 
 1703.) 14 cm . 
 
 Detached copy. Prologue and five acts, with laudatory poem to the King. 
 First performed, as indicated, March 26, 1699. SCHATZ 2543 
 
 Second copy. ML 48. R4 
 
 - Amadis de Grece. Tragedie represented par 1'Academie royale 
 de musique de Paris, les vingt-six mars 1699, trois novembre 1711 & 
 deux mars 1724. Et par L' Academic royale de musique de Lyon 
 en 1742. 
 
 Lyon, Aime Delaroche, 1742. 60 p. 23%. 
 
 Cast. SCHATZ 2543A 
 
 Amadis le cadet. Parodie d'Amadis de Grece. Represented 
 pour la premiere fois par les Comediens italiens ordinaires du roi, le 
 24. mars 1724. 
 
 Les parodies du Nouveau theatre italien, Nouv. ed., Paris, 1738, 
 t.ii, [279] -328 p. 16\ cm - 
 
 One act. By Fuzelier (see 1. 1). The airs and vaudeville used are printed at the 
 end of the volume in the "Table des Airs" (60 p.). ML 48.P3 
 
 Amage, regina de' Sarmati. Dramma per musica da rappresen- 
 tarsi nel Teatro di S. Angelo. L'anno 1694. Di Giulio Cesare 
 Corradi . . . 
 
 Venetia, Nicolini, 169 4. 60 p. 14 cm - 
 
 Three acts. Author's dedication, argument, and scenario. The composer, Carlo 
 Francesco Pollaroli, is not mentioned. 
 
 This libretto would seem to contradict Allacci, Wotquenne, Schatz, etc., who give 
 the date of first performance as fall of 1693, at the same theatre. SCHATZ 8270 
 
 Amalasunta. Drama per musica da rappresentarsi nel Teatro di 
 S. Angelo nel Carnevale dell' anno 1719 . . . 
 Venezia, Marino Rossetti, 1719. 60 p. 15 cm . 
 
 Three acts. By G[iacomol Gfabrieli]. Author's dedication dated Venice, Decem- 
 ber 24, 1718, argument, cast, scenario, and name of the composer, Fortunate Chelleri. 
 
 SCHATZ 1811 
 
 L'amalato per amore. A. T. of Astaritta's II medico parigino. 
 
 Les amans brouilles, come'die en un acte, et en vers, mel^e d'ari- 
 ettes. Par M. D. L. * * *. Mise en musique par M. D. . . . 
 
 Paris, veuve Duchesne, 1776. 30, [1] p. 19 cm . 
 
 Author, composer and date of first performance unknown to me. ML 50.2.A62 
 
 Les amans inquiets. Parody of Colasse's Thetis et Pelee.
 
 OPERA LIBRETTOS 73 
 
 Les amans reunis Die wieder vereinigten freier, ballet. See 
 Sacchini's Scipione in Cartagena. 
 
 Les amans trompes, piece en un acte mele"e d'ariettes, par Mrs. 
 Anseaume & de Marcouville. Represented pour la premiere fois & 
 TOpera-comique, sur le Theatre du Fauxbourg St. Laurent le lundi 
 26. juillet 1756. 
 Paris, Duchesne, 1756. 86 p. 19% cm . 
 
 Cast. On p. 64-86 the same airs as in next entry. The arranger and composer of 
 the music is not recorded by Schatz, whereas Towers attributes the music to Laruette. 
 
 ML 50.2.A63 
 
 - Les amants trompes, piece en un acte, melee d'ariettes, repre"- 
 sentee pour la premiere fois a I'Opera-comique, sur le Theatre du 
 Fauxbourg Saint Laurent, le lundi 26 juillet 1756. Par Mr. An- 
 seaume. 
 
 Paris, veuve Duchesne, 1756. 84 p. 19 cm . 
 
 On p. 62-84 the "Airs des Amanta trompes": "Revenez cher amant," "Pour 
 1'objet qui regne," "Lorsque deux coeurs," "Dans I'exces de sa tendresse," "Quelle 
 cruaute ! Si 1 'inconstant," "L'amant delicat," "Ma vive tendresse," " Vous ne devez 
 rien menager," "C'est pour jamais," "Loin d'imiter son inconstance," "Ne me parle 
 plus d'Emilie," "N'est-il. n'est-il done." 
 
 SCHATZ 11478 
 
 L'amant deguise ou I>e jardinier suppose, comedie en un acte, 
 melee d'ariettes; representee pour la premiere fois par les Comediens 
 italiens ordinaires du roi, le samedi 2 septembre 1769. La musique 
 est de M. Philidor. 
 
 Paris, la veuve Duchesne, 1769. iv, 1$ p. 19 cm . (Theatre de M. 
 Favart, Paris, Duchesne, 1768-77, t. x.) 
 
 Cast. On p. 46-47 the air of the final vaudeville "Pour les amans & les belles." 
 The authors, Favart and Voisenon, are not mentioned. Text preceded by this 
 A vertissement : 
 
 "Cette bagatelle fut represented au Theatre italien au mois de Juin 1756, sous le 
 titre de la Ptaisanterie de campagne: elle fut recue avec plaisir; son succes fut inter- 
 rompu par la maladie & la mort de Mademoiselle Silvia. On a cru pouvoir remettre 
 cette piece au theatre, en y ajoutant des ariettes pour se conformer au gout dominant. 
 M. Philidor a bien voulu se preter & cette tentative, & nous esperons que le public 
 aura assez de bont6 pour nous savoir gr6 des efforts que nous avous faits pour con- 
 tribuer & son amusement." ML 49.A2F1 
 
 - L'amant deguise, ou Le jardinier suppose, comedie en un acte, 
 me'le'e d'ariettes, representee pour la premiere fois par les Comediens 
 italiens ordinaires au roi, le 2 septembre 1769. La musique est de 
 M. Philidore.[1] 
 
 Paris, La veuve Duchesne, 1772. 35 p. 18 cm . 
 
 By Charles Simon Favart and Claude Henri Fusee de Voisinon, who are not men- 
 tioned. Cast and air (on p. 34-35) of the vaudeville "Pour les amants & les belles." 
 
 SCHATZ 8005 
 Second copy. Yudin PQ 
 
 - L'amant deguise, ou Le jardinier suppose", comedie en un acte, 
 me'lee d'ariettes. Representee pour la premiere fois par les Come- 
 diens italiens ordinaires du roi, le 2 septembre 1769. La musique 
 est de M. Philidor. 
 
 Paris, la veuve Duchesne, 1785. 36 p. 19 cm . 
 
 Cast. On p. 11-14 the ariette "Que la campagne est un sejour" and on p. 36-37 
 the vaudeville "Pour les amans & les belles." The authors, Favart and Voisenon, 
 are not mentioned. SCHATZ 11735
 
 74 LIBRARY OF CONGRESS 
 
 - Dei verkleidete liebhaber oder Der verstellte gaertner, ein sing- 
 spiel in einem aufzuge aus dem franzoesischen uebersetzt mit musik. 
 
 Frankfurt am Mayn, mit Andreaeischen schriften, 1774' 55 p., 16 p. 
 (folded music) 17 cm . 
 
 Translated by Johann Heinrich Faber. Neither he nor the composer, Philidor, 
 is mentioned. The music (voice and bass) consists of: "Ein gartner ist" (I, 2) ["Un 
 jardinier est un grand homme"J, "Nurinderstadt" (I, 3) ["J'aimela ville ], "Lustig 
 eeyn die Schwobemaidle " (I, 5) ["Toute fille en Provence"]. Cast of Theob. Mar- 
 chand's company. SCHATZ 8006 
 
 L'amant jalouz. A. T. Gr6try's Les fausses apparences. 
 
 L'arnant statue, com6die en un acte et en prose, melee d'ariettes. 
 Represented, pour la premiere fois, par les Come'diens italiens ordi- 
 naires du roi, le jeudi 4 aout 1785. 
 Paris, Brunei, 1786. 52 p. 19\. 
 
 Neither the author, Desfontaines, nor the composer, Dalayrac, is mentioned. 
 
 ML 50.2.A64 D2 
 
 De minnaer standbeeld : zangspel. Gevolgd naar het fransch, 
 door W. van Ollefen [vignette]. 
 
 Amsterdam, J. Helders en A. Mars, 1794- 40 p- 19% cm . 
 
 Vignettes. Translator's "Opdragt aan den heere B. Ruloffs," dated Amsterdam, 
 March 15, 1794, and privilege notice, dated Amsterdam, March 20, 1794. 
 
 SCHATZ 2388 
 
 L'amante cabala. Intermezzo. 
 
 (Carlo Goldoni, Opere drammatiche giocose, t. iv, Torino, 1757.) 
 [110]-152 p. 16\. 
 
 Three parts. Original composer unknown to Schatz, who dates first performance 
 Venice, Teatro di S. Samuele, fall 1736. ML 49.A2G6 
 
 - L'amante cabala. Intermezzo di tre parti per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, t. 85, 
 [95}-140p. 18$ cm . PQ 
 
 L'amante che spende. O. T. of Tassi's libretto II cavalier mag- 
 nifico. 
 
 L'amante che spende. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro Giustiniani di S. Moise 1'autunno dell' anno 1770. 
 Venezia, Antonio Graziosi, 1770. 54 p. 18$ cm . 
 
 Three acts. Dedication, cast, scenario, and names of Niccold Tassi as author, of 
 Pietro Guglielmi as composer. SCHATZ 4309 
 
 L'amante combattuto dalle donne di punto. Commedia per 
 musica di Giuseppe Palomba da rappresentarsi nel Nuovo Teatro de' 
 Fiorentini per prima opera di quest' anno 1781. 
 Napoli, n. publ, 1781. 71 p. 15 cm . 
 
 Three acts. Cast and name of the composer, Domenico Nicola Cimarosa. 
 
 SCHATZ 1994 
 
 L'amante confuso. Commedia per musica di Saverio Zini. Da 
 rappresentarsi nel Teatro de' Fiorentini nell' autunno de corrente 
 anno 1772. 
 
 Napoli, Raffaele Lanciano, 1772. 3 p. I, 68 p. 15 cm . 
 
 Three acts. Argument, scenario, cast, and name of Pasquale Anfossi as com- 
 poser. SCHATZ 258
 
 OPERA LIBRETTOS 75 
 
 L'amante contrastata. Dramma giocoso del Signer D. Giacomo 
 Lendenesi da rappresentarsi nel Teatro Giustiniani di S. Moise 1'au- 
 tunno dell' anno 1768. 
 
 Venezia, Modesto Fenzo, 1768. 60 p. 15%. 
 
 Three acts. Cast, scenario, and name of the composer, Alessandro Felici. 
 
 SCHATZ 3053 
 
 L'amante del cielo. Dramma sacro per musica da rappresentarsi 
 nel Collegio Nazzareno per le vacanze dell' anno 1699 . . . 
 
 Roma, Gioseppe Vannacd, 1699. 71 p. 13 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Dedication signed 
 by Erasino de Silvestris and dated Rome, February 13, 1699, argument, and scenario. 
 The composer, Francesco Minissari, is not mentioned. 
 
 On p. 68-69 ''Drammi stampati da Carlo Giannini," on p. 70 "Drammi che si 
 vendono dall' istesso," and on p. 71 "Opere in prose, che si vendono dal medesimo." 
 
 SCHATZ 6520 
 
 L'amante del studio, ballet. See Bianchi's L'orfano cinese. 
 
 L'amante democratico. Dramma giocoso da rappresentarsi nel 
 Teatro Carignano nella primavera dell' anno 7? Rep? [17991. 
 
 Torino, Giacomo Fea, n. d. 4 P- l-> $4 P- 15% cm . 
 
 Two acts. By Gian. Domenico Boggio. Cast. Names of the author and the 
 composer, Stefano Cristiani. With the opera were performed two ballets, one of 
 which was called "L'ltalia rigenerata, " by Luigi Dupen. The composer of the 
 music is not mentioned. SCHATZ 2293 
 
 L'amante di tutte. Drama giocoso per musica di Ageo Liteo 
 Da rappresentarsi nel Teatro delta Fama de' nobili Signori di Gubbio 
 ne' mesi di maggio, e giugno 1761 . . . 
 
 Urbino, Netta stamperia camerale, 1761. 61 p. 15 cm . 
 
 Three acts. By Antonio Galuppi . Impresario's dedication, cast, and name of 
 Baldassare Galuppi as composer. 
 
 First performed at Venice, Teatro di S. Moise, fall of 1760. SCHATZ 3432 
 
 - L'amante di tutte. Dramma giocoso per musica da rappre- 
 sentarsi in Firenze nel Teatro di via del Cocomero, nella primavera 
 dell' anno 1764 ... 
 
 Firenze, Anton Giuseppe Pagani, 1764- 58 p. 15 cm . 
 
 Three acts. By Antonio Galuppi, who is not mentioned. Cast and name of Bal- 
 dassare Galuppi as composer. With the opera were performed (composers of the 
 music not mentioned) Vincenzio Monari's ballets "II giardiniere convinto da Amore" 
 and "II quadro movibile." ML 48. A5 v. 20 
 
 - L'amante di tutte. Dramma giocoso per musica. Di Ageo 
 Liteo. Da rappresentarsi nel Piccolo Teatro di S. A. E. di Sassonia. 
 Dresda, 1'anno 1770. 
 
 n. i., n. d. 139 p. 15% cm . 
 
 Three acts. Scenario and name of the composer, Galuppi. German title: "Der 
 liebhaber von alien," and text face Italian. SCHATZ 3433 
 
 - La moglie bizzarra. Operetta comica, da rappresentarsi sul 
 Regio Teatro Danese, nelT autunno dell' anno 1763. Den flanevurne 
 kone. . . . Oversadt paa dansk, af R, Soelberg . . . 
 
 Ki^benhavn, Lars Nielsen Svare, n. d. 71 p. 
 
 Two acts. Cast and names of Galuppi, as composer, and of Pietro Chiari, as author, 
 but comparison proves that this is only a very much altered version in two acts of 
 "L'amante di tutte," leaving most of the arias intact. SCHATZ 3434
 
 76 LIBRARY OF CONGRESS 
 
 L'amante di tutte Continued. 
 
 II vecchip geloso, dramma giocoso per musica da rappresentarsi 
 ne' Teatri privilegiati di Vienna Tanno 1767. 
 
 [Vienna], GTielen, n. d. 66 p. 16 cm . 
 
 Three acts. By Antonio Galuppi, who is not mentioned. Cast, scenario and name 
 of Galuppi as composer. Slightly altered version of his "L'amante di tutte." For 
 instance, the latter does not contain the aria (I, 2) "Quando vedi il Damerino," but 
 "Qualora un galantuomo." SCHATZ 3510 
 
 Der liebhaber von alien, ein singspiel aus dem italiaenischen 
 welches an dem churpfaelzischen hof in dem carneval des jahres 1770 
 aufgefuehret worden. 
 
 Mannheim, AkademiscJie buchdruckerei, n. d. 58 p. 15% cm . 
 Three acts. Scenario and cast. Galuppi is not mentioned. SCHATZ 3435 
 
 L'amante eroe. Drama per musica di Domenico David, da rappre- 
 sentarsi nel Teatro Vendramino di San Salvatore 1'anno 1691 . . . 
 
 Venetia, Nicolini, 1691. front., 71 p. 
 
 Three acts. Author's dedication, argument, scenario, and notice to the reUder, 
 with the name of Marc' Antonio Ziani ("che nel giorno d'oggi & la delizia dei teatri 
 di Venezia") and remark: 
 
 "II poco tempo, che nell' uso d'oggidi si permette alle scene di Venezia, ed il 
 Boverchio numero delle canzoni, desiderate anche fuori dalle loro nicchie non ini ha 
 lasciato in liberta 1'ingegno di amplificar nei recitativi, e di fedelmente eseguire i 
 buoni precetti della Poetica." 
 
 First performed, as indicated, carnival 1691. SCHATZ 11198 
 
 L'amante fortunate per forza. Dramma per musica; da recitarsi 
 nel Teatro di Sant' Angiolo, 1'anno MDCLXXXIV . . . 
 
 Venetia, Francesco Nicolini, 1684- 60 p. 14 cm - 
 
 Three acts. By Pietro d'Averara, who is not mentioned. Dedication dated 
 Venice, November 30, 1684, argument, scenario, and notice to the reader: 
 
 "... per addattarmi all' uso di questo paese [the text was based on 'un' his- 
 torietta, scritta in francese 'J, (nel quale li signori musici vogliono havere piii canzoni, 
 che parole, e dove a chi scnve viene prescritta, non solo la quantity m& anco la qualit 
 de' personaggi), h6 convenuto alterare 1'inventione, 1'intreccio, e quasi tutti gl' epis- 
 vodii; e percio, se vi trovi qualche cosa d' aggrade vole, (che pur sar^, puoco) e d'altri: 
 tutto rimperfetto 6 mio. E questo basti, perche tu sappia, ch'io non yado a caccia 
 di lode. Se per6 sar6 compatito, I'havr6 & caro. Quanto al verso havrei forse potuto 
 tenerlo piu sollevato, m^ anche in questo mi son accommodato al genio universale, & 
 al soggetto, ch'6 piu tosto comico. Viyi felice. 
 
 "La musica e compositione del Signor Giovanni Varischini, le di cui note ti 
 riuscirono tanto gradite nel famoso Odoacre." SCHATZ 10594 
 
 L'amante generosa, ballet. See Bertoni's Telemaco ed Eurice. 
 
 L'amante impazzito. L. T. of Gasparini, Polaroli, and Ballarotti's 
 L'Alciade overo La violenza d'amore. 
 
 L'amante imprudente. A. T. of Caruso's La sposa volubile. 
 
 L'amante in cimento, ballet. See Fioravanti's L'amor per 
 interesse. 
 
 
 
 L'amante in cimento, ballet. See Portugal's Non irritare le 
 donne. 
 
 L'amante in statua. A. T. of La scuola olandese, ballet.
 
 OPEKA LIBRETTOS 77 
 
 L'amante per bisogno. Dramma giocoso per musica accomodato 
 e riscritto da Egisippo Argolide P. A. della Colonia Arfea da rappre- 
 sentarsi nel nobile Teatro di San Samuele nel carnovale dell' anno 
 1781. La musica e d'un nobile Accademico filarmonico Veronese. 
 Venezia, Modesto Fenzo, 1781. 
 
 Two acts. By Carlo Giuseppe Lanfranchi Rossi, music by Giuseppe Gazzaniga. 
 Cast and scenario. SCHATZ 3689 
 
 L'amante ridicolo deluso. Farsetta per musica a quattro yoci dell' 
 abate Alessandro Pioli da rappresentarsi nella real villa di Queluz 
 del serenissimo Signore infante Don Pietro. L'anno MDCCLXIII. 
 
 Lislona, Stamperia Ameniana, n. d. 2 p. I., 4% P- 17 cm . 
 
 Two acts. Niccolo Piccirmi is mentioned as the composer. 
 
 First performed at Rome, Capranica, January, 1762, according to Schatz; at 
 Naples, 1757, under the title of "L'amante ridicolo" according to Cametti, who refers 
 to Florimo II, 260, but Florimo enters this there on mere second-hand information and 
 has no such entry in his fourth volume. SCHATZ 8063 
 
 L'amante seryitore. Commedia per musica del Signer S^grafi, 
 poeta del nobilissimo Teatro La Fenice e del Teatro Comico Sant' 
 Angelo. Composta per il nobilissimo Teatro Giustiniani in San Moise 
 il carnovale dell' anno 1797. 
 
 Venezia, Modesto Fenzo, 1796. 64 p. 18\ cm . 
 
 Two acts. Argument, cast, scenario, and name of Ferdinando Per (Ferdinando 
 Francesco Paer) as the composer. 
 
 First performed December 26, 1796, as indicated. SCHATZ 7478 
 
 L'amante statua. Farsa da rappresentarsi nel nobile Teatro Vero- 
 nese in San Cassano il carnovale dell' anno 1794. Poesia del tenente 
 Antonio Valli, posto in musica dal. celebre Signer maestro Luigi 
 Piccini. 
 
 Venezia, Casali, 1794. ^8 p. 18 cm . 
 
 One act. With the opera were performed the ballets "I Veneziani a Costantino- 
 poli " and "II Chinese." SCHATZ 8062 
 
 L'amante travestita, ballet. See G. M. Rutini's Sicotencal. 
 Gli amanti alia prova. O. T. of Caruso's Gli amanti dispettosi. 
 
 Gli amanti alia prova. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, 1784, n. pull. 103 p. 
 
 Two acts. By Giovanni Bertati, who is not mentioned. Francesco Piticchio is 
 mentioned as the composer. German title "Die liebhaber auf der probe" and text 
 face Italian. 
 
 First performed January 4, 1785, as indicated. SCHATZ 8201 
 
 Gli amanti canuti. Dramma giocoso per musica del nobile Signore 
 Carlo Lanfranchi Rossi gentiluomo tpscano fra gli Arcadi Egisippo 
 Argolide. Da rappresentarsi nel nobile Teatro di San Samuele 1 au- 
 tunno dell' anno 1781. 
 
 Venezia, Modesto Fenzo, 1781. 68 p. 17 cm . 
 
 Two acts. Cast, scenario, and name of Pasquale Anfossi as composer. After the 
 first act, on p. 38-43, argomento, cast, and description of Onorato Viganb's new "Ni- 
 nias tranno di Babilonia punito da Zoroastro o sia Piramo e Tisbe. Ballo eroico 
 tragico pantqmimo." The composer of this is not mentioned, but of the "secondo 
 ballo Li sposi ridicoli burlati " it was Luigi Marescalchi. SCHATZ 223
 
 78 LIBRARY OF CONGRESS 
 
 Gli amanti canuti Continued. 
 
 Gli amanti canuti. Dramma giocoso per musica da rappresen- 
 
 tarsi nel Piccolo Teatro Elettorale. 
 
 Dresda, n. publ. 1783. 131 p. 16 cm . 
 
 Two acte. Anfossi is mentioned as composer. German title-page " Die liebenden 
 preise" and text face Italian. The text differs only slightly from that of the original 
 libretto. For instance, I, 9 has now the aria "Dice benissimo " instead of "State 
 zitte, non parlate." 
 
 The second act appears also in the libretto of Anfossi's "II disprezzo." 
 
 SCHATZ 22 I 
 
 Li amanti comici o sia La famiglia in scompiglio. Dramma giocoso 
 per musica da rappresentarsi nel Teatro di S. A. S. il Signer principe 
 di Carignano nella primavera dell' anno 1797. 
 
 Torino, Onorato Derossi, n. d. 59 p. 14b cm > 
 
 Two acts. By Giuseppe Petrosellini (not mentioned), with cast, scenario, and 
 name of the composer, Domenico Nicola Cimarosa. On p. 57-69 [recte 59] sub- 
 stitute scene with aria "No, figlia, con piii forza cio va dettx> Orso, bifolco, ingrato" 
 for II, 5. The ballets were entitled "II marito umiliato ossia La moglie di spirito" 
 and "Carlo e Carolina." They were by Urbano Garzia. The composer of the music 
 is not mentioned. 
 
 First performed at Naples, Teatro de' Fiorentini, 1778. SCHATZ 2003 
 
 Gli amanti comici o sia D. Anchise Campanone. Commedia per 
 musica di G. B. L. P. A. Da rappresentarsi nel Teatro Nuovo sopra 
 Toledo per quarta commedia del corrente anno 1794. 
 
 ~ t cm 
 
 Napoli, n. publ., 1794. 60 p. Id 1 
 
 Three acts in Napolitan dialect. By Giambattista Lorenzi, whose title originally 
 was "Fra i due litiganti il terzo gode.". Cast and name of Giovanni Paisiello as the 
 composer. 
 
 First performed at Naples, Teatro Nuovo, fall of 1772. SCHATZ 7588 
 
 - Don Anchise Campanone. Dramma giocoso per musica da 
 
 rappresentarsi ne' Teatri privilegiati di Vienna nell' anno 1775. 
 [Fie/ma], Giuseppe Kurzbock, n. d. 89, [1] p. 16$ cm . 
 
 Three acts. Name of Giovanni Paisiello as the composer. 
 
 The text is in Italian, but so little of it can be traced in the text by Lorenzi that 
 we have practically two operas, so far as the text is concerned, and it stands to reason 
 that the music can not have been the same. 
 
 First performed at Vienna, December 12, 1775, as indicated, and with the same 
 title at Venice, Teatro di S. Samuele, fall 1774. SCHATZ 75S<) 
 
 Gli 'amanti della dote: See Bernardini's L'ultima che si perde e 
 la speranza. 
 
 Gli amanti della dote : Farsa seconda per musica da rappresentarsi 
 nel Reggio Teatro di S. Carlo della Principessa nel carnovale dell' 
 anno 1794 . . . 
 
 Lisbon, Simone Taddeo Ferreira, 1794- 87 p. 14\ cm - 
 
 One act. Author not mentioned and unknown to Schatz. Impresario's dedica- 
 tion, cast, and name of Pietro Guglielmi as the composer. Portugxiese text faces 
 Italian. With the opera were performed, composers of the music not mentioned, 
 Pietro Angiolini's balleta "Giro in Timbraja" and "Gli find filosofi." The original 
 title of Zini's text was "L'ultima che si perde e la speranza." SCHATZ 4293
 
 OPERA LIBRETTOS 79 
 
 Gli amanti della dote. Dramma giocoso per musica da rappre- 
 sentarsi per la second' opera in Cremona nel Teatro della Nob. Asso- 
 ciazione il carnovale delr anno 1794. 
 
 Cremona, Giuseppe Feraboli, n. d. 4? P- 15 m > 
 
 Two acts. By Saverio Zini, who is not mentioned. Impresario's dedication, 
 cast, scenario, and name of Silvestro di Palma as the composer. ("La musica e tutta 
 nuova.") With the opera was performed Antonio Maraffi's ballet, "II principe di 
 Lago Nero ossia La contadina in corte." The composer of the music is not mentioned. 
 
 First performed at Florence, Teatro dei Risoluti, summer, 1791. SCHATZ 7747 
 
 Gl'amanti delusi, ballet. See Sarti's Cleomene. 
 
 Gli amanti dispettosi. Commedia per musica da rappresentarsi 
 nel Real Teatro del Fondo di Separazione per terz' opera di quest' 
 anno 1787 . . . 
 
 Napoli, n. publ, 1787. 52 p. 1J&. 
 
 Two acts. By Bertati, who is not mentioned. Impresario's dedication, cast, and 
 name of the composer, Luigi Caruso. The two ballets by Giambattista Giannini, 
 "Le reclute villane" and "II quacquero burlato," were performed with the opera. 
 The composer of the ballet music is not mentioned. 
 
 First performed as "Gli amanti alia prova" at Venice, S. Moise, December 26, 
 1783. SCHATZ 1653 
 
 Gli amanti folletti. Dramma giocoso per musica, da rappresen- 
 tarsi nel Teatro Elettorale. 
 
 Dresda, n. publ, 1794. 14$ P- 15\ cm - 
 
 Two acts. German title page, "Die verliebten poltergeister," and text face 
 Italian. Mozart is mentioned as the composer, but it is not mentioned who selected 
 the music from his operas, "II dissoluto punito," "Le nozze di Figaro," and "La 
 clemenza di Tito," nor who wrote the libretto. 
 
 The pasticcio was first performed, as indicated, 1794. SCHATZ 6748 
 
 Gli amanti generosi. Drama per musica da rappresentarsi nel 
 Teatro di Sant' Angelo Tanno 1703 . . . 
 
 Venetia, Marino Rossetti, n. d. 69 p. 14\ cm > 
 
 Three acts. Scenario, argument, dedication by the author, Giovanni Pietro Caudi, 
 and his notice to the reader, in which he says: 
 
 "Comparisce novello quest' anno il mio nome sii i Veneti teatri. Queeto drama, gia 
 diversi anno, a solo motivo di divertimento da me composto, e etato lavorato sul serio, 
 & sopra il gusto della tragedia. Ora non s6 come habbia havuto la sorte di doversi 
 esser rappresentato in questo teatro; nel quale non ricercandosi tanta gravita, e 
 richiedendo piu tosto lusinga d'orecchio col gaio di qualche scena comica, & col brio 
 delle ariete, che solletico al cuore con la mozione degli affetti; sono stato costretto ad 
 accomodarmi a questa necessita, & a togliergli molto di quel grave, e patetico, che il 
 tragico accompagna, levando, aggiungendo molte cose, & situando delle ariete in loco 
 non totalmente prpprio, & fuori del loro nicchio . . . Restano pure levate molte 
 apparenze all quali non puo accomodarsi la ristrezza della scena . . . Rimane solo, 
 che la tua bell' anima . . . tolleri con generosita anco le mieimperfezioni; 1' avvan- 
 taggio delle quali sari il non comparire cosi difformi, perche mascherate, & a"bbellite 
 dalle virtuose, e spiritose note del Sig. maestro il Sig. cavalier Vinacese, come pure 
 dalla eingolare ability de virtuosi soggeti, che lo rappresantano. 
 
 "Protestando il sig. maestro medesimo haver mtrapresa la composizione musicale 
 di questo drama a solo mottivo d'obbedire ad' un commando de cavalieri a quali non 
 ha potuto negarlo, mentre era fuori d'ogni sua intenzione il far piu musiche per 
 dra mi; esprimendosi in oltre d' aver in molte arie secondato piu il gusto commune, 
 che il proprio genio." SCHATZ 10739
 
 80 LIBRARY OF CONGRESS 
 
 Gli amanti in puntiglio. Commedia per musica di G. M. D. da 
 rappresentarsi nel Teatro Nuovo sopra Toledo per terza commedia 
 del corrente anno 1794. 
 
 Napoli, n. publ, 1794. 40 p. 15 cm . 
 
 Two acts. By Giuseppe Maria Diodati. Cast and name of Giacomo Tritto as the 
 composer. SCHATZ 10465 
 
 Gli amanti in Tempe. Azione pastorale con cori e balli analoghi 
 da rappresentarsi in Firenze nel Regio Teatro degli Intrepidi detto 
 della Palla a Corda . . . 
 
 Firenze, Ant. Gius. Pagani e comp., 1792. 23 p. 17$ cm . 
 
 Two acts. By Giovanni de Gamerra. Cast and names of composer, Gaetano 
 Andreozzi, and librettist. 
 
 First performed at Florence, as indicated, summer. 1792. SCHATZ 216 
 
 Gli amanti protetti da Amore, ballet. See Traetta's Cavaliere 
 errante. 
 
 Gli amanti protetti dalF Amore, ballet. See Borghi's Siroe. 
 
 Gli amanti ridicoli. Commedia per musica da rappresentarsi nel 
 Teatro de' Fiorentini per terz' opera del corrente anno 1797. 
 Napoli, n. pull, 1797. 67 p. 15 cm . 
 
 Two acts. By Ginmbattista Lorenzi, who is not mentioned. Cast and name of 
 Silvestro di Palma as the composer. SCHATZ 7746 
 
 Gli amanti ridicoli ossia- La capricciosa umiliata, ballet. See 
 Tritto 's Le av venture galanti. 
 
 Gli amanti riuniti. A. T. of Tritto 's La donna sensibile. 
 
 I /amanti schiavi, ballet. See Piccinni's Ercole al Termedonte. 
 
 Les amants inquiets. Parody of Colasse's Thetis et Pelee. 
 
 Les amants trompes. See Les amans trompe"s. 
 
 Amar per vendetta. L. T. of Ruggeri's La Clotilde. 
 
 L'amar per virtu. Drama per musica da rappresentarsi, nel Teatro 
 Vendramino di S. Salvatore. L' autunno dell' anno MDCIC . . . 
 
 Venezia, Nicolini, 1699. jront., 60 p. 14$ cm - 
 
 Three acts. By Donato Cupeda, but retouched. Neither he nor Antonio Draghi, 
 the principal composer of this pasticcio, is mentioned. Dedication, argument, notice 
 to the "Saggio lettore," cast and scenario. 
 
 First performed, in its original form, Vienna, June 9, 1697. SCHATZ 2806 
 
 L'amar per virtu. A. T. of Graupner's Berenice e Lucilla. 
 Amarillis. See Campra's ballet Les Muses. 
 
 L'ama^eur de musique, comedie en prose et en un acte, me'lee 
 d'ariettes. Paroles & musique de M. B. L. Raymond. Represented 
 pour la premiere fois sur le Theatre des Petits Comediens de Monseig- 
 neur le comte de Beaujolois, au Palais-Royal, le 3 juillet 1785. 
 Paris, Cailleau, 1785. 40 p. 19 cm . 
 
 Dedicatory poem, cast and long preface (p. 3-7) which begins: 
 "Cette petite piece fut primitivement faite pour tre iouee par lea Bamborhes. 
 Le caractere de Monsieur Piano etait beaucoup plus deVeioppe\ Certaines scenes
 
 OPERA LIBRETTOS 81 
 
 L'amateur de musique Continued. 
 
 plus filers. J'y avals place" des vaudevilles, ou plutot dee Pont-Neufs, comme je 
 f'avais vu pratiquer par les autres auteurs. MM. les entrepreneurs de ce spectacle, 
 ayant substitue des petite enfans plein d'intelligence & des figures de bois inanim^es, 
 j'elaguai le dialogxie autant qu'il me fut possible, parce qu'en prose surtout, il est 
 trds difficile a rendre par le pantomime. J'6tai tons mes vaudevilles, & 1'exception 
 d'un seul, qui finit en trio, & qui a produit de 1'effet. Je regrette de ce que j'ai 
 coup, les phrases qui caracterisaient mes premiers personnages, & motivaient leur 
 conduite." 
 
 He then, with quotations from the original version, defends himself against criti- 
 cism leveled at his character of Monsieur Piano and makes this confession : 
 
 "C'est moi qui me suis peint dans Monsieur Piano & Monsieur Crescendo. C'eat 
 moi qui brulais du desir de me produire au grand jour dans la Capitale." 
 
 SCHATZ 8617 
 
 Amazili e Telesco. A. T. of the ballet La conquista del Peril. 
 
 L'Amazone corsara, overo L'Alvilda regina de Goti, drama da rap- 
 presentarsi in musica nel famoso Teatro Grimano di SS. Gio. e Paolo, 
 1'anno 1686. Di Giulio Cesare Corradi . . . 
 
 Venetia, Francesco Nicolini, 1686. 72 p. 14 cm - 
 
 Three acts. Author's dedication, notice to the reader with Carlo Pallavicini's 
 name as the composer, argument and scenario. 
 
 The imprimatur is dated February 1, 1686. SCHATZ 7716 
 
 Le Amazon! nelT Isole Fortunate. Drama per musica del dottor 
 Piccioli da rappresentarsi in Piazzola, nel nobilissimo Teatro dell' ill. 
 et eccell. Sig. Marco Contarini . . . Panno MDCLXXIX. 
 
 Padova, Pietro Mar. Frambotto, n. d. 14- 
 
 Incomplete, ending with p. 48. Prologue and three acts. Dedication by Fran- 
 cesco Maria Picciolij dated Piazzola, November 11, 1679, argument, notice to the 
 reader and scenario. The composer, Carlo Pallavicino, is not mentioned. 
 
 SCHATZ 7717 
 
 Le Amazzoni, ballet. See Zingarelli's II conte di Saldagna. 
 
 L'ambigu de la folie ou Le ballet des dindons. O. T. of Favart's 
 Les Indes dansantes. 
 
 L'ambizione castigata. Comi-drama da rappresentarsi in musica 
 nel Teatro di San Fantino. II carnovale 1717. 
 Venezia, Antonio Bortoli, 1717. 43 p. 14%?. 
 
 Pages 3-6 wanting, containing presumably argument, cast, and perhaps name of the 
 composer, though he is unknown to Wiel. Schatz considers this a pasticcio which 
 was known also as "Umor di principessa, o sia L'ambizione castigata, text by Fran- 
 cesco Mazzari. SCHATZ 11299 
 
 L'ambizione delusa. See La commedia in commedia. 
 
 L'ambizione delusa. O. T. of Barlocci's text II vecchio amante, 
 not to be confused with the L. T. of his Madama Ciana. 
 
 L'ambizione delusa. L. T. of Latilla's Madama Ciana. 
 
 L'ambizione delusa. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro di S. A. Serenissima il Signer principe di Carignano 
 nella primavera dell' anno 1780. 
 
 Torino, Onorato Derossi, n. d. 4 P- 15 cm . 
 
 Two acts. Author unknown to Schatz. Cast, scenario, and name of Giuseppe 
 Sarti as the composer. 
 
 First performed at Rome, Teatro Capranica, February, 1779. SCHATZ 9471 
 
 72251 VOL 114 6
 
 82 LIBRARY OF CONGRESS 
 
 L'ambizione depressa. Dramrna per musica da rappresen tarsi 
 nel Teatro di Sant Angelo nella fiera dell' Ascensione 1' anno 1733 . . . 
 
 Venezia, Marino Rossetti, n. d. 60 p. 15 cm . 
 
 Three acts. Dedication, signed by Giuseppe Grandini, probably as impresario, 
 argument, scenario, cast, and name of Baldassare Galuppi as composer. The text ia 
 attributed by Schatz and others to Grandini, but according to Piovano it is by Giuseppe 
 Papis, and was originally composed by A. Scarlatti for Naples, 1714, under the title 
 of "L'amor generoso." For the Venice version the character of Dtspinn was 
 suppressed. SCHATZ 3477 
 
 Amble to. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744r * i x > P- 100- 
 19 cm . 
 
 Three acts. Argument. Written in collaboration with Pietro Pariati. No com- 
 poser is mentioned. In the "Catalogo" at end of t. x, date and place of first ed. are 
 given as Venezia, 1706. ML 49.A2Z3 
 
 - Ambleto. Pubblicato per la prima volta in Venezia 1706. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. ix, p. 185- 
 278. 21 cm . 
 
 Three acts. Argument. No composer is mentioned. Written in collaboration 
 with Pietro Pariati. ML 49.A2Z4 
 
 Ambleto. Drama per musica da rappresentarsi nel Teatro di Sant' 
 Angelo il carnovale dell' anno MDCCXLII . . . 
 
 Venezia, Gasparo Girardi, 174^. 55 p. 15\ cm . 
 
 Three acts. By Zeno and Pariati (not mentioned), with alterations. Impresario's 
 dedication, argument, scenario, cast, and name of the composer, Giuseppe Carcano. 
 
 SCHATZ 1620 
 
 Ambleto. Drama per musica da raporesentarsi nel Teatro Tron di 
 S. Cassano il carnovale dell' anno MDCCV . . . 
 
 Venezia, Marino Rossetti, 1705. 72 p. lJ+\ cm . 
 
 Three acts. By Apostolo Zeno and Pariati. Neither they nor Carlo Francesco 
 Gasparini, the composer, are mentioned. Impresario's dedication, argument, cast, 
 and scenario. SCHATZ 3556 
 
 Ambroise, ou Voila ma journee, comedie en un acte et en prose, 
 melee d'ariettes. Par le citoyen Monvel. 
 
 Paris, Barba, An septieme [1798-99]. 36 p. 19 cm . 
 
 Cast. The composer, Nicolas Dalayrac, is not mentioned. 
 
 First performed at Paris, Ope"ra-comique, January 12, 1793. SCHATZ 2328 
 
 Amelia. A musical entertainment of two acts . . . 
 London, T. BecJcet, 1771. 2 p. 1., 32 p. 20\ cm . 
 
 Cast and note that "the songs composed by Mr. [Charles] Dibdin, are new." The 
 other composers figuring in the headings of the songs of this pasticcio are Piccinni, 
 Potenza, Cocchi, [Jon. Chr.] Bach, Stanley, Arnold, Richter. Comparison 
 proved clearly that "Amelia"- is taken from Richard Cumberland's three-act "The 
 summer's tale," some scenes having been lifted verbatim (dialogue and songs) into 
 "Amelia," which was first performed under this title at London, Drury Lane, Decem- 
 ber 14, 1771. Not to be confused, it appears, with another alteration called Amelia 
 and first performed at Covent Garden April 12, 1768. LONGE 105
 
 OPERA LIBRETTOS 83 
 
 Amelia. A new English opera, as it is perform 'd at the New Theatre 
 in the Hay-Market, after the Italian manner. Set to musick by Mr. 
 John Frederick Lampe. 
 London, J. Watts, 1732. 4 p. I, 29, [3] p. 19\. 
 
 The [3] p. contain a book-list by the publisher. 
 
 Three acts. Cast and argument. By Henry Carey, who is not mentioned. 
 
 First performed March 13, 1732, as indicated. LONGE 105 
 
 - Amelia: an opera. Set to musick by Mr. John Frederick Lampe. 
 2 p. 1., 46 p. 22 cm . (Henry Carey, Dramatick works, London, 1743. 
 Three acts. Argument. ML 49.A2C2 
 
 Amelia ed Ottiero. Dramma per musica da rappresentarsi nel 
 Ces. Reg. Teatro di Trieste nelP autunno 1797. 
 
 [Trieste], Cesarea regia privilegiata stamperia governale n. d. 40 p> 
 18 cm . 
 
 Two acts by Carlo Sernicola, who is not mentioned. Impresario's dedication dated 
 Trieste, November 7, 1797, argument, scenario, cast, and name of Gaetano Andreozzi 
 as composer. With the opera was performed (composer of the music not mentioned) 
 Nccol6 Ferlotti's ballet "Nina pazza per amore." SCHATZ 201 
 
 The American adventurers. A. T. of The coup de main. 
 
 The American Indian; or, Virtues of nature. A play. In three 
 acts. With notes. Founded on an Indian tale. By James Bacon . . . 
 London, Printed for the author, 1795. xvi, [8], 44 P- 21% cm - 
 List of subscribers, dedication, dated Lincoln's Inn, October 12, 1795, preface 
 stating that this play (which was rejected by Drury-Lane) is based on Mrs. Morton's 
 "Ouabi, or, the virtues of nature," and note that "The Death Song" ("Rear'd midst 
 the war-empurpled plain ") was literally copied from her poem. LONGE 270 
 
 L' Americana in Europa, ballet. See Gazzaniga's La disfatta 
 de' Mori. 
 
 L' Americana in Olanda. Dramma giocoso per musica in due atti 
 di Nunzio Porta da rappresentarsi nel nobil Teatro di San Samuele 
 Tautunno dell' anno 1778. 
 
 Venezia, Modesto Fenzo, 1778. 17 cm . 
 
 Cast and name of Pasquale Anfossi as composer. SCHATZ 264 
 
 L' Americana in Scozia, ballet. See jSTasolini's Eugenia. 
 
 L' Americano. Intermezzo per musica da rappresentarsi nel Teatro 
 di S. Gio. Grisostomo dell' eccellentissima casa Grimani F autunno 
 dell' anno 1779. 
 
 Venezia, Pietro Sola, 1779. 48 p. 17$. 
 
 Two acts. The author not mentioned and unknown to Schatz. Cast, scenario, 
 and name of Niccolo Piccinni as the composer. 
 
 First performed at Rome, Teatro Capranica, February 22, 1772. SCHATZ 8064 
 
 - Der Amerikaner, ein yierstimmiges singspiel. In musik gesetzt 
 von herrn Nikolaus Piccini . . . 
 
 Bamberg, n. pull., 1791. 80 p. 15 cm . 
 
 Two acte. The translator is not mentioned and is unknown to Schatz. 
 
 SCHATZ 8065
 
 84 LIBRARY OF CONGRESS 
 
 [/ami de la maison. coraedie en trois actes et en vers, mSles d'ari- 
 ettes; represented devant Sa Majeste a Fontainebleau le 26 octobre 
 1771, & sur le Theatre de la Come'die italienne, le 2 decembre suivant. 
 Par Mr. Marmontel ... La musique de M. Gretry. 
 
 Paris, Vente, 1772. 52 p. 18% cm . 
 
 Cast. On p. 46-52 the music of the "Airs" "Je suie de yous tres m^contente" 
 and "Ah! dans ces fetes." The full score gives the first Parisian performance cor- 
 rectly as on May 14, 1772. So does evidently a libretto printed by Vente, 1772, as 
 reprinted by Wotquenne in Grtry'a Oeuvres. The odd feature is that our libretto, 
 too, was printed by Vente in 1772. SCHATZ 4132 
 
 Second copy. Yudin PQ. 
 
 L ami de la maison, comedie en trois actes et en vers, me'le'e 
 d'ariettes; representee devant Sa Majeste*, h, Fontainebleau, le 26 
 Octobre 1771. Les oaroles sont de M. Marmontel . ... & la musique 
 est de M. Gretry. 
 
 Paris, Ruault, 1776. 36 p. 19\ cm . ML48M2M 
 
 - Der hausfreund, ein singspiel in drey aufzuegen aus dem fran- 
 zoesischen uebersetzt, mit musiK. 
 
 Frankfurt am Mayn, mit Andreaeischen scJiriften, 1774- 88 p., 11 
 p. (folded music, dated 1775). 
 
 Translation by Johann Heinrich Faber, who is not mentioned. The music (voice 
 and bass) consists of "Mit Ihnen bin ich unzufrieden" ("Je suis de vous tres m^con- 
 tente" and "Neigt sich ein hitziger Tag" ("Dans la brdlante saison"). 
 
 SCHATZ 4133 
 
 Gli amici. Pastorale per musica nel Teatro Malvezzi Testate dell' 
 anno MDCIC. 
 
 (At end) Bologna, per Verede del Benacci, n. d. front., 70, [1] p. 
 
 Three acts. By Pietro Jacopo Martelli, who is not mentioned. Cast, argument, 
 and name of conte Pirro Albergati as composer. 
 
 First performed, as indicated, August 16. 1699. SCHATZ 77 
 
 Gl' amici rivali. L. T. of C. F. Pollaroli's L' enigma disciolto. 
 
 Aminta. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744} I- w<, p. [357]-44? 
 p. 19 cm . 
 
 Three acts. Argument. No composer is mentioned. First composed by Tommaso 
 Albinoni, according to Schatz. In the "Catalogo" at end of t. x, date and place 
 of first ed. are given as Florence, 1703. ML 49.A2Z3 
 
 - Aminta. Pubblicato per la prima volta in Firenze 1703. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. ii, p. 305- 
 384. 21 cm . 
 
 Three acts. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Amintas. L. T. of Rush's The royal shepherd.
 
 OPERA LIBRETTOS 85 
 
 L'amitie a 1'epreuve, comedie en deux actes et en vers, meslee 
 d'ariettes; representee, devant Sa Majesty, a Fontainebleau, le 13 
 novembre 1770. Les paroles sort de MM. ***, & Favart ... La 
 musique est de M. Gretry. 
 
 Paris, la veuve Simon & fils, 1771. 46, [1] p. 18 cm . 
 
 Cast. Favart's collaborator is not known. The additional page contains a descrip- 
 tion of the "Divertissement" and p. 45-46 the air of the "Romance, A quels maux 
 il me livre." 
 
 First performed at Paris, Comedie italienne, January 24, 1771 (Schatz); January 
 17, 1771 (Wotquenne, also the date given in the score). 
 
 In 1786 revised, with an additional third act. SCHATZ 4134 
 
 - L'amitie a 1'epreuve, comedie en un acte et en vers, me'lie 
 d'ariettes; tiree des Contes moraux de M. de Marmontel . . . Les 
 paroles sout de MM * * *, & Favart. La musique est de M. 
 Gretry. 
 
 Paris, la veuve Duchesne, 1776. 2 p. I, 45 p. 19 cm . (Theatre 
 de M. Favart, Paris, Duchesne, 1763-77, t. x.} 
 
 Font claims that this one-act reduction was by "Favart eeul," i. e., did not contain 
 matter by Vpisenon. It should be noted that a three-act version "par Favart seul" 
 was printed in 1786. 
 
 Cast. No music printed in the text. Dedication to "Madame la Dauphine," and 
 the prefatory note: 
 
 "Cette piece fut represented en deux actes [by Voisenon and Favart] sur le Theatre 
 de la cour & Fontainebleau, le 13 novembre 1770, & a Paris, le 24 Janvier 1771. 
 
 "M. Favart 1'ayant reduite en un acte, elle fut jouee devant Leurs Majeste's, a 
 Versailles, le 29 de'cembre 1775 ; & a Paris, le premier Janvier 1776." 
 
 ML 49.A2F1 
 
 - L'amitie a 1'epreuve, comedie en deux actes et en vers. Melee 
 d'ariettes. Representee, devant Sa Majeste, a Fontainebleau le 13 
 Novembre 1770. Les paroles sont de MM. *** & Favart ... La 
 musique est de M. Gretry. 
 
 Paris, Didot, 1777. 35 p. 19% cm . ML48M2M 
 
 - Die freundschaft auf der probe, ein singspiel in zween aufzuegen 
 aus dem franzoesischen ueb'ersetzt, mit musik. 
 
 Frankfurt am Mayn, mit Andreaeischen schriften, 1772. 84 p., 8 p. 
 (folded music.) 16\ cm . 
 
 Translation by Joh. Heiur. Faber, who is not mentioned. Cast. The music 
 (voice and bass) consists of "Denken hast Du mich gelehret" (I, 4, "Si je pense, 
 c'est votre ouvrage"), "Nelson flieht, mich zu verlaesen" ("Nelson part, Nelson me 
 laisse," II, 1), and "Siehst Du, wie ich mich quale" (II, 3, "A quels maux il me 
 livre"). SCHATZ 4135 
 
 - Die freundschaft auf der probe. Eine operette in zween auf- 
 zuegen. Aufgefuehrt in k. k. Nationaltheater. 
 
 Wien, zujinden beym Logenmeister, 1780. 64 p- 16\ cm . 
 
 The translator is not mentioned and unknown to Schatz. 
 
 First performed, as indicated, January 22, 1781. SCHATZ 4136 
 
 Amleto. Drarnma per musica da rappresentarsi nel nobilissimo 
 Nuovo Teatro di Padova nella fiera del Santo 1'anno 1792 . . . 
 Padova, Conzatti A. S. Lorenzo n. d. 51 p. 17\ cm - 
 
 Two acte. By Giuseppe Foppa. Dedication, prefatory note, cast, scenario, and 
 name of Gaetano Andreozzi as composer but not of librettist. The libretto was 
 baeed on the tragedy Amleto by Ducis. With the opera these ballets were per-
 
 86 LIBRARY OF CONGRESS 
 
 Amleto Continued . 
 
 formed: "La distruzione di Cartagine, ballo eroico-tragico-pantomimo " by Domenico 
 Ballou, music composed for the occasion by Vittorio Trento and II eonambolo. 
 Argomento, cast, and detailed description of the former on p. 26-36. SCHATZ 212 
 
 Amleto, ballet. See Tarchi's Alessandro nell' Indie. 
 Amleto, ballet. See Zingarelli's Apelle e Campaspe. . 
 
 L am mala to immaginario. Intermezzi musicali da rappresen- 
 tarsi in Perugia nel Teatro de' Nobili nel carnevale dell' anno 1727. 
 
 Perugia, Costantini, n. d. 16 p. 14% cm ' 
 
 Three intermezzi. The composer, Francesco Bartolomeo Conti, is not mentioned. 
 The author is unknown to Schatz. 
 
 First performed at Vienna, Teatro di Corte, February, 1713. SCHATZ 2204 
 
 L'amor artigianp. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Giustiniani di San Mois& 1' autunno dell' anno 1776. 
 
 n. i., n. d. 68, xiv p. 18 cm . 
 
 Three acts. By Carlo Goldoni, who is not mentioned. Cast, scenario, and name 
 of Joseph Schuster as the composer. ("La musica e nuovamente composta.") The 
 xiv p. (after p. 32) contain prefatory note, argument, cast, and description, but not 
 name of the composer of the music of Antonio Terrades' "Apelle e Campaspe, ballo 
 eroico-pantomimo." SCHATZ 9759 
 
 L'amor bizzaro o sia La gelosa di se stessa. Dramma giocoso per 
 musica di Giovanni Bertati * da rappresentarsi nel Teatro Gius- 
 tiniani di San Moise nel carnovale dell anno 1775. 
 Venezia, Antonio Graziosi, 1775. 54 p. 17 cm . 
 
 Three acts. Cast, scenario, and name of Giacomo Rust as the composer. ("La 
 musica sara.") SCHATZ 9167 
 
 O amor conjugal. Dramma para ser representado no Theatro do 
 Salitre, no felicissimo dia no nascimento da Senhora D. Maria Fran- 
 cisca Benedicta . . . 
 Lisboa, Jose de Aquino Bulhoens, 1789. 27 p. 15$ cm . 
 
 Oast and names of Jose Procopio Monteiro as author, of Marcos Portugal as 
 composer. 
 
 First performed July 25, 1789, as indicated (Schatz), July 27, 1784 (Carvalhaes). 
 
 SCHATZ 8434 
 
 Amor contadino. Dramma giocoso per musica di Polisseno 
 Fegejo P. A. Da rappresentarsi nel Teatro di Sant' Angelo 1' autunno 
 dell' anno 1760. 
 
 Venezia, Modesto Fenzo, 1760. 69 p. 15 cm . 
 
 Three acts. By Goldoni. Cast, scenario, and name of Giovanni Battista Lam- 
 pugnani as the composer. 
 
 First performed, as indicated, November 12, 1760. SGHATZ 5386 
 
 L'amor contadino. Operetta comica, da rappresentarsi sul 
 Teatro Reale danese, nell' autunno dell' anno 1763. B(/>nderfolks 
 elskov . . . Oversadt paa dansk, af R. Soelberg. 
 
 Ki(f)benhavn, Lars Nielsen Svare, n. d. 71 p, 15 cm . 
 
 Three acts. Cast and names of Goldoni as author, of Lampugnani as composer. 
 
 SCHATZ 5387
 
 OPERA LIBRETTOS 87 
 
 L'amor contrastato. Cpmmedia per musica di Giuseppe Palomba 
 da rappresentarsi nel nobile Teatro Giustiniani in San Moise il car- 
 no vale dell' anno 1789. 
 
 Venezia, Modesto Fenzo, 1788. 72 p. 17 cm . 
 
 Three acts. Cast, scenario, and name of Giovanni Paisiello as the composer. The 
 third act of this version consists of three scenes not to be found in our other librettos. 
 
 First performed at Naples, Teatro dei Fiorentini, summer, 1788. SCHATZ 7590a 
 
 L'amor contrastato. Dramma giocoso per musica, da rappre- 
 sentarsi nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. pull., 1790. 143 p. 15\ cm . 
 
 Two acts. Paisiello is mentioned as the composer. German title page " Die 
 etreitig gemachte liebschaft" and text face Italian. SCHATZ 7591 
 
 La molinara o sia L'amor contrastato. Drama giocoso . . . 
 Berlino, Haude e Spener, n. d. 125 p. lo\ cm . 
 
 Two acts. Paisiello is mentioned as the composer. German title page " Die 
 mullerin oder Die streitig gemachte liebe'' and text face Italian. SCHATZ 7593 
 
 Arien und gesaenge aus dem komischen singspiel : Die schoene 
 muellerim. In zwey aufzuegen. Mit musik von Paesiello. 
 
 Berlin, n. publ., n. d. Jfi p. 16 cm . 
 
 Cast. Published before 1800? German version by Christoph Friedrich Bretzner. 
 First performed at Berlin, Kgl. Nationaltheater, Oct. 16, 1793. SCHATZ 7594 
 
 Gesaenge aus dem singspiele : Die muellerin, nach dem italie- 
 nischen, in zwey akten. Die musik ist von Paisiello. 
 
 Hamburg, Friedrich Hermann Nestler, n. d. 89 p. 15\ cm . 
 
 Two acts. Published before 1800? 
 
 First performed at Hamburg, Theater C. Gansemarkt, April 26, 1793. 
 
 SCHATZ 7595 
 Amor corsaro, ballet. See Monza's Oreste. 
 
 L'amor costante. Dramma giocoso per musica da rappresentarsi 
 nel Real Teatro di Salvaterra nel carnovale dell' anno 1785. 
 [Lisboa] Stamperia reale, n. d. 67 p. 15 cm . 
 
 Two acts. Scenario, cast, and name of composer, Domenico Nicola Cimaroaa. 
 Author unknown to Schatz. 
 
 First performed at Rome, Teatro Valle, carnival, 1782.. SCHATZ 1927 
 
 Giulietta ed Armidoro. Dramma giocoso in due atti da rap- 
 presentarsi nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. publ., 1790. 99 p. 15%. 
 
 Two acts, with name of the composer, Cimarosa. German title, "Julie und 
 Armidor," and text face Italian. The same as "L'amor costante," but with modifi- 
 cations, for instance, "Laura" has become "Giulia," and the second act begins with 
 what was the second scene, "Si, Giulia saril mia." 
 
 First performed at Dresden March 13, 1790. SCHATZ 1928 
 
 Amor d'un ombra, e gelosia d'un aura. Dramma per musica 
 da rappresentarsi nel nuovo teatro eretto di sotto Monte Calvario, in 
 questa primavera del corrente anno 1725 . . . 
 
 Napoli, Angela Vocola, 1725. 56 p. 14l cm . 
 
 Three acts by Carlo Sigismondo Capeci, with alterations by Carlo de Palma. 
 
 Dedicatory preface by the impresario Angelo Carasale, notice to the reader, names 
 of the authors and the composer, Giuseppe Sellitti, argument, cast, scenario. The 
 new arias are marked by an asterisk, for instance: "Ne bell' occhi le Grazie ed 
 Ainore" (I, 14). From the dedication it appears that the libretto was originally 
 given at Rome "nel Teatro dpmestico della Maest& di Maria Casimira, regina di 
 Polonia," but it is not stated with whose music. SCHATZ 9829
 
 88 LIBRARY OF CONGRESS 
 
 Pequeno dramma intitulado o Amor da patria, para se representar 
 no Theatro do Salitre, em aplauso das felicissimas melhorias do 
 serenissimo Senhor D. Joa6 princepe do Brazil. 
 
 Lisboa, Jose de Aquino Bulhoens, 1789. 15 p. 15% cm . 
 
 One prose scene with two choruses, an aria and a duet. Neither author nor com- 
 poser mentioned. Not recorded by Schatz. ML 50.2.A65 
 
 ./ L'amor della patria, superiore ad ogn'altro. Dramma musicale 
 del Signer Francesco Sbarra. 
 
 Venetia, Nicolo Pezzana, 1668. 104 P- 1 4 cm - 
 
 Three acts. Printer's dedication, argument, and scenario. Composer not men- 
 tioned and unknown to Schatz. 
 
 First performed, according to Schatz, at Munich, Hoftheater, April, 1665. 
 
 SCHATZ 11301 
 
 L'amor di Curzio per la patria. Drama da rappresentarsi in 
 musica nel famosissimo Teatro Grimano di SS. Gio. e Paolo 1' anno 
 1690 di Giulio Cesare Corradi . . . 
 
 Venetia, Nicolini, 1690. 68 p. 15\ cm . 
 
 Three acts. Argomento, author's dedication, scenario, and notice to the reader 
 with name of [Francesco] Paris Algisi as composer. SCHATZ 160 
 
 L'amor di figlia. Drama per musica da recitarsi nel Teatro di S. 
 Angelo nelF autimno dell' anno 1718 . . . 
 
 Venezia, Marino Rossetti, 1718. 60 p. 15% cm - 
 
 Three acte. Argument, cast, scenario, name of Giovanni Pprta as the composer, 
 dedication signed by Domenico Lalli, who says in a prefatory notice to the reader: 
 
 "Questo presente drama fu composto dal Signer Gio. Andrea Moniglia . . . (come 
 appare in stampa. nelle sue dramatiche poesie Parte seconda) con il titolo della Piet& 
 di Sabina. To 1 ho ridotto nella miglior forma che h6 potuto all' uso odierno de Teatri 
 Dramatici, avendovi lasciato buona parte de' versi dell' autore, a' quali h6 procurato 
 di far consimili i miei, per quanto mi e stato possibile." SCHATZ 8395 
 
 L'amor di figlio non conosciuto. Dramma per musica da rap- 
 presentarsi nel Teatro di Sant' Angelo nel carnovale dell' anno 1715. 
 Di Domenico Lalli . . , 
 
 Venezia, Carlo Buonarigo, 1715. 5 p. 1., [1S]-70 p. 15 cm . 
 
 The supplementary leaf contains the aria "Dirai per me" in full with four stanzas, 
 instead of only two stanzas as on p. 38. Two of the unnumbered pages preceding 
 p. 13 lacking. They contained probably cast, scenario, and name of Tommaso 
 Albinoni as composer. Three acts. Argument and dedication. SCHATZ 102 
 
 > Amor, e dover. Drama per musica di Domenico David. Da reci- 
 tarsi nel Teatro Grimani di S. Gio. Grisostomo ... 
 
 Venezia, Nicolini, 1697. 72 p. 
 
 Three acts. Author's dedication, argument, notice to the reader, and scenario. 
 Carlo Francesco Pollaroli, the composer, is not mentioned. 
 
 First performed carnival 1697, as indicated. SCHAT/ 8271 
 
 Amor fa Fuomo cieco. Intermezzo di due parti per musica. 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, v. 35, 
 [141]-157 p. 18\ cm . PQ 
 
 In his " Verzeichnis " Wotquenne dates this 1731. As a matter of fact, intermezzi 
 of this title were performed at Naples, Teatro di S. Bartolomeo, winter 1731 with 
 Pergolesi's "La Salustia." According to Radiciotti there is in the libretto at end 
 of the first intermezzo the remark "Tutto il recitativo di quest' intermezzo 6 di 
 Domenico Carcajus." Goldoni does not seem to be mentioned; at least Radiciotti 
 is silent on his authorship. The music is attributed by him and Schatz to Per-
 
 OPERA LIBRETTOS 89 
 
 Amor fa I'uomo cieco Continued. 
 
 golesi, whose score has not been located. Radiciotti gives in the second part of hie 
 book an outline of the plot mentioning as characters Nerina and Nibbio. Neither 
 plot nor characters are those of the intermezzi in Goldpni's Opere teatrali, which fact 
 complicates matters! Goldoni's characters are "Livietta," "Cardone euo amante" 
 and "Mingone servo che non parla." One is instantly reminded, upon reading the 
 text, of Mariani's "Livietta e Tracollo," composed by Pergolesi and first performed 
 at the same theatre on October 25, 1734. Indeed, "both librettos contain the arias 
 "Vi sto ben? Vi comparisco" and "Non si move, non rifiata." Here, then, is a 
 puzzle, which does not as yet seem to have aroused the attention of biographers and 
 opera-historians. If the text published in Goldoni's works really dates from 1731, 
 the natural explanation would be that Mariani in 1734 incorporated Pergolesi's two 
 arias of 1731 in "Livietta e Traaollo." And yet how is it possible that Pergolesi 
 composed in 1731 this "Amor fa 1'uomo cieco text, if it does not agree with the 
 text which, according to Radiciotti, is that of the libretto printed in 1731? Yet 
 these two texts appear to have at least one aria in common: "La carozza ci sara," 
 and this aria was listed in Breitkopf's catalogue of 1770. 
 
 It will simplify further research, if the anas in Goldoni's text follow here: 
 
 (Int. I)- 
 
 Vi std ben? Vi compariscof 
 
 Per pieta, chi mai m'insegna. 
 
 La carozza ci sara. 
 
 Gioja mia, devo partire. 
 
 Porto dunque, o mia diletta (duet). 
 
 (Int. II) 
 
 Quanta mi vien da ridere. 
 
 Non si move, non rifiata. 
 
 Oh come sei bello. 
 
 Oh che sorte, oh che piacere (duet). 
 
 L'amor fra gl' impossibili. Dramma per musica da recitarsi nel 
 Teatro della Fenice d'Ancona nell' anno 1727. 
 Ancona, Belelli, 1727. 62 p. 14 cm . 
 
 Three acts. Girolamo Gigli is mentioned as author, Giovanni Battista Mastini 
 as the composer. Argument and scenario. SCHATZ 6095 
 
 L'amor geloso. Azione teatrale comica per musica da rappresen- 
 tarsi nel Real Teatro del Fondo di Separazione per seconda opera di 
 questo corrente anno 1782. 
 
 Napoli, n. publ, 1782. 43 p. lo% cm . 
 
 Two acts . The author is not mentioned and is unknown to Schatz. Cast and name 
 of "Vincentio Martinez" (Martin y Soler) as the composer. SCHATZ 6026 
 
 L'amor geloso. Azione teatrale comica per musica in due parti. 
 
 Vienna, di Ghelen, 1770. Unpaged. 19 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Giuseppe Scarlatti 
 is mentioned as the composer. 
 
 First performed at Vienna, Burgtheater, 1770. SCHATZ 9560 
 
 L'amor generoso. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, t- vi> P- [105]-182. 
 19 cm . 
 
 Three acts. Argument. No composer is mentioned . In the "Catalogo" at end of 
 t. x, date and place of first ed. are given as Venice, 1707. (See below). ML 49.A2Z3 
 
 - L'amor generoso. Pubblicato per la prima volta in Venezia 
 1707. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. Hi, p. 277- 
 348. 21 cn . 
 
 Three acts. Argument. No composer is mentioned. ML 49.A2Z4
 
 90 LIBRARY OF CONGRESS 
 
 I /amor generoso. Drama per musica da rappresentarsi nel Teatro 
 degl' illustrissimi signori Capranica Fanno 1727 . . . 
 Roma, Rossi, n. d. 62 p. 15 cm . 
 
 Three acts. By Apoetolo Zeno, who is not mentioned. Argument, cast, scenario, 
 and name of the composer, Giovanni Costanzi. SCHATZ 2276 
 
 L'amor generoso. Drama da rappresentarsi per musica nel Teatro 
 Tron di S. Cassano, 1'autunno deir anno MDCCVII . . . 
 Venezia,' Marino Rossetti, n. d. 59, [1] p. 15 cm . 
 
 Three acts. By Apostolo Zeno, who signs the dedication with his initials. Argu- 
 ment, cast, scenario, and name of (Carlo) Francesco asparini as the composer. On 
 the additional page a list of Antonio Bortoli's musical publications. SCHATZ 3557 
 
 - La fede in cimento. Drama per musica da rappresentarsi nel 
 Teatro Tron di S. Cassiano. II carnovale dell' anno 1730 . . . 
 Venezia, Carlo Buonarrigo, 1730. 48 p. 15 cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Impresario's dedication, 
 argument, cast, scenario. The composers Carlo Francesco Gasparini and Santo 
 Lapis are not mentioned. In reality this is a later version of Gasparini's "L'amor 
 generoso," Venice, 1707. The dialogue follows fairly closely that of the original, 
 but many arias are different, and it was for these that Lapis wrote the music. For 
 instance, "Anche da te lontano" (I, 2) has supplanted "II mio cor non si spaventa," 
 "Son amante, e non son figlia" (I, 3) the aria Sparger non vo piu lagrime, etc. etc. 
 
 SCHATZ 3596 
 
 L'amor guerriero. Drama per musica, rappresentato nel famosis- 
 simo Teatro Grimano. L'anno 1663 . . . 
 
 Venetia, Francesco Nicolini, 1663. 92 p. (incl. front.) 15 cm . 
 
 Pages 1-24, 73-92 not numbered. 
 
 Prologue and three acts. Argument, scenario, dedication by the author, Cristoforo 
 Ivanovich, and his notice to the reader, in which he says: 
 
 "Ecco il mio primo drama . . . Troverai inserita qualche machina, non attaccata 
 dal capriccio, ma introdotta dall' arte. Queste sono le primitie del mio ingegno, che 
 nato di diverse* linguaggip, a pena si e innestato & piu bassi rami della Tosana Facondia 
 ... La musica e del Signor Don Pietro Ziani ... Le voci saranno de i cigni piu 
 famose, che volano per 1' italico cielo ..." 
 
 First performed, as indicated, carnival, 1663. SCHATZ 11220 
 
 Amor indoyino, favola pastorale in musica da rappresentarsi nel 
 Teatro Giustinian a S. Moise. Nel mese di ottobre, 1' anno 1726 . . . 
 
 Venezia, Marin Rossetti, 1726. 36 p. 14$ cm . 
 
 Three acts. By Giov. Battista Neri. Impresario's dedication dated October 26, 
 1726, argument, and cast. Neither the composer, Antonio Cortona, is mentioned, 
 nor the author. SCHATZ 2263 
 
 Amor 1'astuzia insegna. Dramma giocoso per musica di Gio- 
 vanni Bertati, poeta al servizio di S. M. I. R. A. etc., da rappre- 
 sentarsi nel nobilissimo Teatro Giustiniani in San Moise" il carnovale 
 dell' anno 1797. 
 
 Venezia, Modesto Fenzo, 1797. Jfi p. 17 cm . 
 
 Two acts. Cast, scenario, and name of Francesco Gardi as composer. 
 
 First performed, as indicated, February 18, 1797. SCHATZ 3536 
 
 Amor lunatico. Dramma giocoso per musica da rappresentarsi nel 
 Teatro Giustiniani di San Moise il carnovale dell' anno 1770. Dell' 
 abbate Pietro Chiari . . . 
 
 Venezia, Modesto Fenzo, 1770. 54 p. 16\ cm . 
 
 Three acts. Dedicatory poem by the impresario, cast, scenario, and name of Bal- 
 dassare Galuppi as the composer. SCHATZ 3436
 
 OPERA LIBRETTOS 91 
 
 L'amor marinaro. Dramma giocoso per music a in due atti da 
 rappresentarsi nel Teatro elettorale dKSassonia. 
 Dresda, n. pull., 1798. 183 p. 15\ cm . 
 
 Three acts. By Giovanni di Gamerra, who is not mentioned. German title-page 
 "Die liebe im matrosenkleide," and text face Italian. Joseph Weigl is mentioned 
 as the composer. 
 
 First performed at Vienna, Hoftheater, October 15, 1797; at Dresden, July 18, 
 1798, as indicated. SCHATZ 10926 
 
 L'amor nelT inganno. Intermezzi per musica tra Merlina e Fal- 
 chetto. Da rappresentarsi per la prima volta nel Teatro de' Con- 
 vittori del Seminario di Mantova nel carnovale dell' anno 1745. 
 
 n. i., n. d. 22 p. 
 
 Four intermezzi. Both author and composer unknown to Schatz. SCHATZ 11300 
 
 Amor non ha riguardi e Le convulsioni. Farse in musica di 
 Giuseppe Palomba da rappresentarsi nel Teatro de' Fiorentini per 
 quart opera dell' anno 1787. 
 Napoli, n. publ., 1787. 48 p. 
 
 One act. (The second farce, music by Gius. Curcio, on p. 26-48.) Cast and name 
 of Luigi Platone as the composer. SCHATZ 8218 
 
 L'amor per interesse. Commedia per musica di Gaetano Gas- 
 barri, P. A. da rappresentarsi nel Real Teatro del Fondo di Separa- 
 zione per second' opera del corrente anno 1797 . . . 
 Napoli, n. publ., 1797. 52 p. 15\ cm . 
 
 Two acts. Impresario's dedication dated Nov. 15, 1797, cast, and name of Valen- 
 tino Fioravanti as composer. On p. [46]y-52 cast, argument, and description of 
 "Berilowitz in Tartaria, ballo eroico pantomime, diviso in cinque atti d'invenzione, 
 ed esecuzione di Giuseppe Cajani," who also is mentioned aa the composer of the 
 music. The second ballet, also by Cajani, was called "L'amante in cimento." The 
 composer of the music is not mentioned. SCHATZ 3112 
 
 Amor per oro. Dramma giocoso per musica di Cerilo Orcomeno 
 P. A. da rappresentarsi nel nobile Teatro in San Samuele 1'autunno 
 dell' anno 1782 ... 
 
 Venezia, Modesto Fenzo, 1782. 72 p. 17 cm . 
 
 Two acts. Impresario's dedication, cast, scenario, and name of Giuseppe Gaz- 
 zaniga as the composer. With the opera were performed Onorato Vigan6 s ballets, 
 "Diana al bagno" and "La capanna incantata." The composers of the music are 
 not mentioned. SCHATZ 3690 
 
 Amor per oro. Dramma giocoso, da rappresentarsi nel Teatro di 
 S. A. E. di Sassonia. 
 
 Dresda, n. pull, 1790. 143 p. 15 cm . 
 
 Two acts. By Cerilo Orcomeno, P. A., who is not mentioned. Franz Seydel- 
 
 mann is mentioned as the composer. German title-page "Liebe aus haabsucht," 
 and text face Italian. 
 
 First performed April 7, 1790. as indicated. SCHATZ 9840 
 
 L'amor per rigiro. Intermezzo in musica a cinque voci da rap- 
 presentarsi nel nobil Teatro Tron di San Cassiano nel carnevale dell' 
 anno MDCCLXXXI. 
 
 Venezia, Pietro Sola, n. d. 44 P- 17% cm . 
 
 Two acts. Nicol6 Tassi is mentioned as author, Angiolo Gagni as the composer. 
 Cast, scenario, and titles of Alberto Cavos's ballets, "II matrimonio per gratitudine," 
 and "II eargente burlato. ' ' The composers of the music are not mentioned . 
 
 SCHATZ 341 1
 
 92 LIBRARY OF CONGRESS 
 
 L'amor perfetto. A. T. of Piccinni's II servo padrone. 
 L'amor perfetto. A. T. of Schuster's II servo padrone. 
 
 Amor piaga ogni core. Comedia per musica d'Agostino Donati da 
 rappresentarsi nella Sala dell' illustrissimo, & eccellentissimo Sig. 
 marchese Bentivoglio*. 
 
 Ferrara, Bernardino Pomatelli, 1691. 64 p. 15%. 
 
 Three acts. Argument and notice to the reader with name of " Sabaatiano Chierici, 
 Maetro di cappella dell' illustriss. Accademia dello Spirito Santo " as composer. Not 
 recorded by Allacci or Schatz. ML 50.2.A66C3 
 
 L'Amor prigioniero. 
 
 Metostasio, Poesie, Perigi, vedova Quillau, 1755, t. vii, [S77]-S89 p. 
 16 cm . 
 
 One act. ML 49.A2M42 
 
 - L'amor prigioniero. Questo componimento drammatico fu scritto 
 d'ordine sovrano dall' autore in Vienna, e cantato con musica del 
 Reiitter in corte privatamente 1'anno 1741. 
 
 [417}-428 p. 26 cm . (Pietro Metastasio, Opere, t. ii, Parigi, vedova 
 Herissant, 1780.} 
 
 One act. ML 49.A2M44 
 
 L'amor puo tutto. Da cantarsi nel Teatro privilegiato da S. M. C. 
 e Cat. in Vienna. Nell' anno MDCCXXXVI. nel mese di febbraio. 
 Die lieb kan alles . . . 
 
 Wien, Johann Peter v. Ghelen, n. d. 64 p- 16 cm . 
 
 Three acts. Argument. Author and composer not mentioned and unknown to 
 Schat/. Not recorded by von Weilen. SCHATZ 11302 
 
 Amor puo tutto, ossia II trionfo del valore, ballet. See P. Gugli- 
 elmi's Ademira. 
 
 L'amor sincere. A. T. of Alcesti. 
 
 L'amor tirannico. Drama per musica di Domenico Lalli da rap- 
 presentarsi nel Teatro Grimani di S. SamueLe nel maggio dell' anno 
 1722. E per la prima volta rappresentato nel Teatro Tron di S. 
 Cassano I'autunno dell' anno 1710 . . . 
 
 Venezia, Marino Rossetti, 1722. 48 p. 16 cm . 
 
 Three acts. Author's dedication, argument, cast, scenario, and names of the 
 composers, Fortunate Chelleri and Giovanni Porta (for the third act). 
 
 SCHATZ 1819 
 
 L'amor tirannico. Drama per musica da rappresentarsi nel Teatro 
 Tron di S. Cassano I'autunno dell' anno 1710. Di Domenico Lalli . . . 
 
 Venezia, Marino Rossetti, 1710. 71 p. 14\ cm . 
 
 Five acts. Author's dedication, argument, and scenario. Carlo Francesco Gas- 
 parini, the composer, is not mentioned. SCHATZ 3558 
 
 Amor tiranno. Accademia fatta in casa dell' illustrissimo Sig. 
 Senator Fantuzzi. Composta in musica da Domenico Pellegrini 
 Accad. Filomuso all' illustrissima Signora Sulpizia Orsi Grimaldi. 
 
 Bologna, Per gli Eh. del Dozza, 1649. 36 p. 19 cm . 
 
 By Domenico Gisberti, who is not mentioned. Dedication signed by the com- 
 poser and dated "Bologna li 6. febraro 1649." On p. 25-33: 
 
 "II Sig. Pietro Mengoli col eeguente discorso provo, che 1'armonia della musica, non 
 e dissimile dell' armonia che unite formano le parfi, che constituiscono un bel sem- 
 biante." SCHATZ 7859
 
 OPERA LIBRETTOS 93 
 
 Amor tra le vendemmie. Commedia per musica di Giuseppe 
 Palomba da rappresentarsi nel Teatro Nuovo sopra Toledo per terz' 
 opera di questo corrente anno 1792. 
 
 Napoli, Vincenzo Flauto, 1792. 52 p. 15 cm . 
 
 Two acts. Cast and name of Pietro Guglielmi as the composer. SCHATZ 4287 
 
 Amor und Psyche. Tr. of the ballet Amore e Psiche. 
 
 L'amor vendicativo. Intermezzo per musiea a quattro voci da 
 rappresentarsi nel Teatro Nuovo nel carnevale del corrente anno 
 1783 . . . 
 
 Napoli, n. publ., n. d. 32 p. 
 
 Two acts. Dedication by "La Comica Societa napolitana," dated February 14, 
 1783, cast, and name of the composer, Giuseppe Coppola. The author is unknown 
 to Schatz. 
 
 First performed at Rome, Teatro di Tor di Nona, carnival, 1780. SCHATZ 2212 
 
 
 
 L'Amor vince Fortuna. Dramma per musica dedicate all' Altezza 
 Serenissima Elettorale Massimiliano Emanuele duca di Baviera, etc. 
 ... in occasione delle di lui augustissime nozze con la Serenissima 
 Maria Antonia arciduchessa d'Austria. Composto da Carlo Sigis- 
 mondo Capece, e rappresentato in casa del medesimo. 
 
 Roma, Gio. Battista Bussotti, 1686. 62 p. 16 cm . 
 
 Prologue and three acts. Dedication by the author, name spelled Capeci. The 
 composer is not mentioned and is unknown to Schatz. ML 50.2. A67 
 
 Amor vince tutto, ballet. See P. Guglielmi's La Morte di Cleopatra. 
 
 L'amor vincitor ossia Dianna ed Endimione, ballet. See P. Gug- 
 lielmi's L'impostore punito. 
 
 L'amor vincitore ossia Diana ed Endimione, ballet. See Bianchi's 
 La villa nella rapita. 
 
 L'amor vincitore, ballet. See Salieri and Kust's II talismano. 
 L'amor volubile e tiranno. A. T. of A. Scarlatti's La Dorisbe. 
 
 Amor vuol sofferenza. O. T. Federico's libretto Li matti per 
 amore. 
 
 Amore aguzza Fingegno. Commedia per musica da rappresen- 
 tarsi nel Real Teatro del Fondo di Separazione nel carnevale di 
 questo corrente anno 1792. 
 
 Napoli , n. publ, 1792. 48 p. 15\. 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Gaetano Marinelli as the composer. With the opera were performed Giov. Battista 
 Giannini's ballet "II moro di corpp bianco o sia Lo schiavo ael proprio onore." The 
 composer of the music is not mentioned. SCHATZ 5958 
 
 L'amore ammalato. Die kranckende liebe. Oder: Antiochus und 
 Stratonica. Musicalisches schau-spiel, auf dem grossen Hamburgi- 
 schen theatre vorgestellet. Im jahr 1708. 
 
 n. i., n. d. Unpaged. 18% cm . 
 
 Three-acts. Neither the author, Barthold Feinci, nor the composer, Christopb 
 Graupner, is mentioned in the " Vorbericht. " Some arias have Italian text in addi- 
 tion to the German. SCHATZ 4120
 
 94 LIBRARY OF CONGRESS 
 
 L'amore ammalato Continued. 
 
 - L'amore ammalato. Die kranckende Hebe. Oder: Antiochus 
 und Stratonica. Musicalisches schau-spiel. 
 
 Barfh. Feind's Deutsche gedichte, Stade, 1 708, p. [393]~454. 1 7 cm . 
 
 Three acts, with "Vorbericht." The composer, Christoph Graupner, is not 
 mentioned. ML49.A2F2 
 
 Ainore artigiano. Dramma di tre atti per musica. Rappresen- 
 tato per la prima volta in Venezia il carnovale dell' anno MDCCLXI 
 con musica del Lattilo [!]. 
 
 Carlo Goldoni, Opere teatrali, Zatta e figli, 1788-95, v. 37, [137]- 
 204 p. 18\ cm . PQ 
 
 L'amore artigiano. Intermezzo per musica a quattro voci da rap- 
 presentarsi nel Teatro di Tordinona nel carnevale dell' anno 1778. 
 Roma, Ottavio Puccinelli, 1788. 28 p. 15\ cm . 
 
 Two acts. By Goldoni, who is not mentioned. Cast, scenario, and name of 
 Agostino Accorimboni as composer. SCHATZ 16 
 
 L'amore artigiano. Dramma giocoso per musica da rappresentarsi 
 in Firenze nel Teatro di via del Coromero, nell' autunno dell anno 
 1770 . . . 
 [Firenze}, Si vende da Ant. Giuseppe Pagani, n. d. 80 p. 
 
 By Goldoni, who is not mentioned. Scenario and name of Florian Leopold Gass- 
 mann as the composer. 
 
 First performed at Vienna, Burgtheater, April 26, 1767. SCHATZ 3608* 
 
 L'amore artigiano. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro grande alia Scala di Milano, la primavera dell' anno 
 1782 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 82 p. 16 cm . 
 
 Three acts. By Goldoni, who is not mentioned. Dedication and name of the 
 composer, Florian Leopold Gassmann. With the opera were performed Gaspero 
 Angiolini's (also the music by him) ballets, "I geni riuniti," "II Solimano secondo," 
 "II diavolo a quattro, ossia La doppia metamorfosi," and "La Lauretta." 
 
 SCHATZ 3608 
 
 - L'amore artigiano. Drama giocoso da rappresentarsi nel Teatro 
 di Ratisbona . . . Die liebe bey den handwerkern . . . 
 
 Regensburg, gedruckt mit Zunkelischen scJiuften, n. d. 199 p. 15\ cm . 
 Three acts. By Goldoni, who is not mentioned. Cast, scenario, and name of 
 Florian Leopold Gassmann as the composer. 
 
 Date of performance unknown to Schatz. SCHATZ 3610 
 
 Die liebe unter den handwerksleuten. Ein lustiges singe- 
 spiel, von dem herrn advocat, Carl Goldoni, aufgefuehret, auf dem 
 kleinen Churfl. Saechs. Schauplatze, Dresden, im ]ahre 1770. 
 
 n. i., n. d. 182 p. 16 cm . 
 
 Three acts. Slightly altered German version, with Italian text facing the German, 
 of "L'amore artigiano," by Gassmann, whose name as composer is given. 
 
 SCHATZ 3609 
 
 - Die liebe unter den handwerksleuten. Ein singspiel, aus 
 dem italienischen des hrn. Goldoni, in drey aufzuegen. Aurgefuehrt 
 auf dem K. K. Nationaltheater. 
 
 Wien, beym Logenmeister, 1779. 116 p. 16\ cm . 
 
 Three acts. German translation totally different from the above. Gassmann is 
 mentioned as the composer. 
 
 First performed as indicated, September 29, 1779. SCHATZ 3611
 
 OPERA LIBRETTOS 95 
 
 L'amore artigiano Continued. 
 
 Arien und gesaenge aus der oper: Die liebe unter den hand- 
 werksleuten. In drey aufzuegen. Die musik ist von Florian 
 Gassmann. 
 
 Hamburg, J. M. Michaelsen, 1782. 36 p. 17 cm . 
 
 Three acts. German version by Christian Gottlob Neefe, and totally different 
 from the other translations. 
 
 First performed at Hamburg, Theater C. Gansemarkt, August 28, 1782. 
 
 SCHATZ 3612 
 
 - Die liebe unter den handwerksleuten, eine operette, aus dem 
 italiaenischen des herrn Goldoni, aufgefuehret am Churpfaelzischen 
 hof in jahr 1772. 
 
 Mannheim, Hof- und Akademie-Buchdruckerei, n. d. 96 p. 15% cm . 
 
 Three acts. This German version again different from the others. Cast and name 
 of Gassmann as the composer. 
 
 First performed, as indicated, at Schwetzingen, Augiist, 1772. SCHATZ 3620 
 
 L'amore artigiano. Dramma giocoso per musica di Polisseno 
 Fegejo Pastor Arcade, da rappresentarsi nel Teatro di S. Angelo il 
 came vale dell' anno 1761. 
 
 Venezia, Modesto Fenzo, 1761. 70 p. 15 cm . 
 
 Three acts. By Goldoni . Cast, scenario, and name of Gaeteno Latilla as composer. 
 
 SCHATZ 5442 
 
 L'amore artigiano. Operetta comica, da rappresentarsi sul 
 Regio Teatro Danese, il carnovale dell' anno 1762. De forelskte 
 haandverksfolk . . . 
 
 Kifibenhavn, Lars Nielsen Svare, n. d. 115 p. lJ t \ cm . 
 Three acts. Cast and names of Goldoni and Latilla. Danish text faces Italian. 
 
 SCHATZ 5443 
 
 Amore contadino. Dramma di tre atti per musica. Rappresen- 
 tato per la prima volta in Venezia Fautunno dell' anno MDCCLX con 
 musica del Lampugnani. 
 
 Carlo Goldoni, Opere teatrali. Venezia, Zatta efigli, 1788-95, v. 37, 
 [205\-267 p. 18\ cm . PQ 
 
 L'amore costante. Commedia per musica in quattro atti di Gio- 
 vanni Bertati da rappresentarsi nel nobilissimo Teatro Giustiniani di 
 San Moise per la prima opera il carnovale dell' anno 1787. 
 Venezia, Antonio Casali, n. d. 64 p. 18\ cm - 
 Four acts. Cast and name of Giuseppe Gazzaniga as the composer. 
 First performed as indicated, December 26, 1786. SCHATZ 3683 
 
 - La costanza in amor, rende felice. Commedia per musica in 
 quattro atti da rappresentarsi nel Ces. Reg. Teatro della citta e 
 porto-franco di Trieste il carnovale 1787. 
 ' Trieste, Stamperia dell' eccelso governo, n. d. 56 p. 17\ cm . 
 
 Four acts. Cast and name of Giuseppe Gazzaniga as the composer. Slightly dif- 
 ferent text from the original of Bertati, who is not mentioned. For instance, I, 5' now 
 begins "Pandolfino mio ben!" with the aria "La donna che e amante," instead of 
 "Con questo maledetto can da guardia," with the aria "Oh quanto e mai felice." 
 
 SCHATZ 3686 
 
 Amore custode del giardino di Armida, ballet. See Anfossi's 
 Armida.
 
 96 LIBRARY OF CONGRESS 
 
 L'amore della patria. See M. Curzio. 
 
 Amore di sangue. L. T. of Porta's Amore e fortuna. 
 
 Amore dottorato, con le Conclusion! difese da lui nel Tempio della 
 Virtu . . . Invenzione drammatica intrecciata alia commedia dell' 
 Amor virtuoso nel nobil collegio Tolomei per il came vale di quest' 
 anno 1691. 
 
 Siena, Stamperia del Pulblico, n. d. 3 p. I., 22 p. 13\ cm . 
 
 Prologue and two intermezzi. Dedication signed by "L' Economico Intronato," 
 Arcadian name of Girolamo Gigli, as author. Argument and note: 
 
 "Cose, non per aggiungnere ornamento all' opera, che n' ha sortito a bastanza dalla 
 penna ingegnosa dell' autore, ma per empire tutto quel tempo, che 6 destinato al 
 trattenime'to dell' otio d'una sera virtuosa, si sono fraposte quest' invgzioni musicali; 
 dove per alludere all' Amor virtuoso dell' azione, si mostra 1'Amore in cattedra, che 
 difende i suoi principij. Le Conclusion! sono de' piu accreditati autori inpoesia 
 italiana e premettedosene una avati ciascheduno atto della commedia, si mostrano 
 nelle difese di quelle 1'azioni virtuose de i primi personaggi dell' opera." 
 
 Not listed by Schatz. Composer unknown to me. ML, 48. A5 v. 46 
 
 Amore e fortuna. Drama da rappresentarsi in musica nel Teatro 
 Giustinian di San Moise il carnovale dell' anno 1727. 
 Venezia, Steffano Valvasense, 1727. 45 p. 15 cm . 
 
 Three acts. By Francesco Passarini, who is not mentioned. Argument, scenario, 
 and reader's notice with name of Giovanni Porta as the composer and the remark 
 that this is a replica. 
 
 First performed at Rovigo, Teatro Campagnella, fall of 1712. SCHATZ 8385 
 
 - Amore di sangue. Drama per musica da rappresentarsi in 
 Bergamo il carnevale dell' anno 1729 . . . 
 Venezia, Andrea Pippari, n. d. J+8 p. 15 cm . 
 
 Three acts. Dedication, notice to the reader with Giovanni Porta's name as the 
 composer, argument, cast, and scenario. This is Francesco Paesarini's "Amore e 
 fortuna " text with the customary modifications-. SCHATZ 8386 
 
 L' amore e 1' azzardo, ballet. See Rust's Gli antiquari in Palmira. 
 Amore e maesta o sia L'Arsace. O. T. of Salvi's Arsace. 
 
 Amore e maesta. Drama per musica da rappresentarsi in Bologna 
 nel Teatro Marsiglj Rossi il carnovale dell' anno MDCCXXII. 
 Bologna, Costantino Pisarri, 1721. 59 p. 12. 
 
 Three acts. By Antonio Salvi. Notice to the reader, scenario, and cast, but 
 without the names of the librettist and the composer. 
 
 First performed, as indicated, December 26, 1721. SCHATZ 3384 
 
 Amore e magia, ballet. See Portugal's Fernando nel Messico. 
 
 Amore e musica. Intermezzi da rappresentarsi nel Teatro alia 
 Valle degl' illustrissimi Sig. Capranica nel carnevale dell' anno 1773. 
 
 Roma, Lorenzo Corradi, n. d. 60 p. 16 cm . 
 
 Two parts. Author not mentioned and unknown to Schatz. Dedication by Ang. 
 Lungi, cast and name of Marcello di Capua (Bernardino) as composer. 
 
 ML 50.2.A68B3 
 
 Amore e Psiche, ballet by Le Messier. See Bertoni's Tancredi. 
 Amore e Psiche, ballet. See Bianchi's Nitteti.
 
 OPERA LIBRETTOS 97 
 
 Amore e Psiche, ballo eroico. See Fischietti's La molinara. 
 
 Amore e Psiche. Opera rappresentata nell' Imperial Regio Teatro 
 festeggiandosi i felicissimi sponsali di Ferdinando IIII di Borbone 
 . . . e di Maria Giuseppa d'Austria 1' anno MDCCLXVII. 
 Vienna, Ghelen, 1767. Unpaged. 23 cm . 
 
 Three acts. Argument, cast, and name of Marco Coltellini as author, of Florian 
 Leopold Gassmann as the composer. 
 
 First performed, as indicated, October 5, 1767. SCHATZ 3626 
 
 Amore e Psiche Amor und Psyche, ballet. See Jommelli's Semi- 
 ramide. 
 
 Amore e Psiche, ballet. See Robuschi's Briseide. 
 
 Amore e sdegno. Drama per musica da rappresentarsi nel Teatro 
 Tron di S. Cassano nel carnevale dell' anno MDCCXXVI . . . 
 
 Venezia, Marino Rossetti, 1726. 4 8 P- 14% cm - 
 
 Three acts. Argument, cast, notice to the reader, and dedication signed by cav. 
 Michiel Angelo Boccardi di Mazzera, who altered Francesco Silvani's (not men- 
 tioned) "La moglie nemica" under the above title. The composer, Luigi Tavelli, 
 is not mentione'd. SCHATZ 10253 
 
 Amore ed innocenza. A. T. of the ballet La fata Alcione. 
 
 L' amore eroico. Drama per musica da rappresentarsi nel Teatro' 
 Grimani di S. Samuele per la fiera delF Ascensione 1' anno 1725 . . . 
 
 Venezia, Marino Rossetti, 1725. Jtf p. 14 cm * 
 
 Three acts. According to Schatz a later version of "Zenobia in Palmira" by 
 Apostolo Zeno and Pietro Pariati, but I find no such text in their works. Publish- 
 er e dedication, who speaks repeatedly of "il mio drama," argument, scenario, cast, 
 and name of Giovanni Francesco Brusa as composer. SCHATZ 1373 
 
 L'amore figlio del merito. Drama per musica da recitarsi nel 
 Teatro di Sant' Angelo 1'anno 1694. Di Matteo Noris . . . 
 Venetia, Nicolini, 1694. 69 p. 14 cm . 
 
 Three acts. Publishers dedication, argument, scenario. Marc' Antonio Ziani, 
 the composer, is not mentioned. 
 
 First performed, as indicated, carnival 1694. SCHATZ 11179 
 
 Amore figlio della gratitudine. A. T. of Badia's La Rosaura. 
 
 L'amore fprtunato ne' suoi disprezzi. A. T. of Galuppi's 
 Alcimena principessa dell' Isole Fortunate. 
 
 Amore fra gP Impossibili. Dramma per musica, di Amaranto 
 Sciaditico, pastore Arcade. 
 Roma & Siena, Bonetti, 1693. 82 p. 13%. 
 
 Three acts. By Girolamo Gigli. Argument and scenario. The composer, Carlo 
 Campelli, is not mentioned. 
 
 This ed. differs distinctly from the one at the Brussels Conservatoire, which has on 
 the t.-p. "dedicato all' illustriss. Signora duchessa di Zagarolo e da lei fatto rappre- 
 eentare nel euo teatro," has 4 p. L, with a dedication dated Rome. January 2, 1693, 
 and signed by the poet Girolamo Gigli, and the text on only 76 p. SCHATZ 1532 
 
 Amore gastigato. Dramma musicale. 
 
 Girolamo Bartolommei Smeducci, Drammi musicali morali, Firenze, 
 1656, v. I, p. [183}-231. 23 cm . 
 
 Prologue and three acts. Argument and allegoria. No composer recorded by 
 Schatz. ML 49.A2B3 
 
 72251 VOL 114 7
 
 98 LIBRAEY OF CONGRESS 
 
 Amore giustificato. Festa teatrale in occasions delle felicissime 
 nozze di S. A* S. il principe Massimiliano, duca di Sassonia etc. e di 
 S. A. R. La principessa Carolina di Parma etc. 
 Dresda, Stamperia elettorale, 1792. 53 p. 21 cm . 
 
 One act. Caterino Mazzol is mentioned as the author, Johann Gottlieb Naumann 
 as the composer. German title page, ''Die gerechtfertigte liebe," and text face 
 Italian. 
 
 First performed, as indicated, May 12, 1792. SCHATZ 7037 
 
 Amore guerriero per la Rocca incantata. See Trattenimento 
 musicale d'Apollo con il Reno. 
 
 L'amore immaginario. Commedia per musica da rappresen- 
 tarsi nel Teatro Nuovo sopra Toledo per seconda commedia del 
 corrente anno 1794. 
 
 Napoli, n. publ., 1794. 48 p. 15 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast, and name of the 
 composer, Valentino Fioravanti. SCHATZ 3114 
 
 L'amore in ballo. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro Giustiniani di San Mois& il carnovale dell' anno 1765. 
 Venezia, Modesto Fenzo, 1765. 60, [1] p. 
 
 The additional p. contains the substitute aria I, 10, "Infelice meschinella." 
 Three acts. Antonio Bianchi, the author, is not mentioned. Cast, scenario, and 
 name of Giovanni Paisiello as the composer. SCHATZ 7587 
 
 L'amore in campagne. O. T. of Borghi's Le villanelle innamorate. 
 
 Amore in caricatura. Dramma di tre atti per musica. Rappre- 
 sentato per la prima volta in Venezia il carnovale dell' anno MDCCLXI 
 con musica del Ciampi. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 37, 
 [268}-313 p. 18\ cm . PQ 
 
 Amore in caricatura. Dramma per musica di Polisseno Fegejo 
 Pastor Arcade, da rappresentarsi nel Teatro di S. Angelo il carnovale 
 dell' anno 1761 . . . 
 
 Venezia, Modesto Fenzo, 1761. 48 p. Ufa. 
 
 Three acts. By Goldoni. Impresario's dedication, cast, scenario, and name of 
 the composer, Vincenzo Legrenzio Ciampi. SCHATZ 1888 
 
 L'amore in contrasto, ballet. See Anfossi's Zemira. 
 
 L'amore in maschera. Commedia per musica di Antonio Palomba 
 
 da rappresentarsi nel Teatro de' Fiorentini nel carnevale di quest' 
 
 anno 1748 . . . 
 
 Napoli, Domenico Langiano, 1748. 4 P- Z-, 70 P- 14\ cm - 
 
 Three acts. Impresario's dedication, cast, and name of Niccolo Jominelli as 
 
 composer. SCHATZ 4875 
 
 L'amore in musica. Dramma giocoso da rappresentarsi nel 
 Teatro Giustiniani di S. Mois& il presente autunno MDCCLXIII. 
 Veneziaj Francesco Valvasense, n. d. 71 p. 15 cm . 
 
 Three acts. By Carlo Goldoni, according to Schatz, but not to be found in his 
 works. Cast, scenario, and name of composer, Antonio Boroni. SCHATZ 1244
 
 OPERA LIBRETTOS 99 
 
 L'amore in musica Continued. 
 
 L' amore in musica, opera comica da rappresentarsi nel Teatro 
 della Solitudine per ordine di Sua Altezza Serenissima il regnante 
 duca di TV irtemberg et Teck etc. La musica e del Signer Antonio 
 Boroni . . . 
 
 [Stuttgart], Netta stamperia di Cotta, 1770. 207 p. 16 cm . 
 
 Cast. French title, "L'amour en musique," and text face Italian. 
 
 First performed, as indicated, at Ludwigsburg in 1770. SCHATZ 1245 
 
 L'amore in musica. 
 89 p. 15 cm . 
 
 Title page wanting; has half-title only. Three acts. Cast, scenario, and name of 
 Antonio Boroni as composer. Goldoni is not mentioned. ML 50.2.A69B6 
 
 Amore in puntiglio. Farsa per musica da rappresentarsi nel Teatro 
 di S. Cassiano 1'anno 1773. 
 
 Venezia, n. publ, 1773. 52 p. 15. 
 
 Three acts. Author not mentioned and unknown to Schatz. Michiel Pfeiffer 
 di Franconia (Jean Michel Pfeiffer) is mentioned as the composer. SCHATZ 8001 
 
 Amore in tarantola. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro Giustiniani di S. Moise nelT autunno del? anno 
 MDCCL. 
 
 Venezia, Modesto Fenzo, 1750. 60 p. 14 cm . ' 
 
 Three acts. By Vaccina who is not mentioned. Argument, cast, scenario, ar.d 
 name of Gaetano Latilla as composer. SCHATZ 5444 
 
 Amore in trappola. Dramma giocoso per musica del Sig. ab. 
 Pietro Chiari da rappresentarsi nel Teatro Giustiniani di S. Moise 
 il carnovale dell' anno 1768. 
 
 Venezia, Modesto Fenzo, 1768. 72 p. 15% cm . 
 
 Three acts. Cast, scenario, and name of composer, Tommaso Traetta. 
 
 SCHATZ 10405 
 
 L'amore in villa. Componimento per musica a cinque voci da 
 rappresentarsi nel Teatro domestico del cittadino Sforza Cesarini 
 dagli Accademici Intrepidi. 
 Roma, Salomoni, anno VI. dett' era repubbticana, [1797}. J+7 p. 
 
 17 cm . 
 
 Two acts. Cast and names of Giuseppe Petrosellini as author, and of Pietro Gug- 
 lielmi as composer. SCHATZ 4308 
 
 v Amore inamorato. Drama per musica nel famoso Teatro Grimani 
 di S. Gio. Grisostomo. L'anno MDCLXXXVI. Di MatteoNoris . . . 
 Venetia, Francesco Nicolini, 1686. 70, [1] p. 
 
 Three acts. Publisher's dedication, argument, scenario, and list of machines. 
 The composer, Carlo Pallavicino, is not mentioned. The imprimatur is dated 
 January 10, 1686. SCHATZ 7718 
 
 L'amore industrioso. Dramma giocoso per musica del celebre 
 Signore Casori. Da rappresentarsi nel Piccolo Teatro di S. A. E. di 
 Sassonia. 
 
 Dresda, n. publ, 1769. 151 p. 15\ cm . 
 
 Three acts. Bernardino (Bernardo) Ottani is mentioned as the composer. Ger- 
 man title page "Die scharfsinnige liebe" and text face Italian. 
 
 First performed Nov. 21, 1769, as indicated. SCHATZ 7357
 
 100 LIBRAE Y OF CONGBESS 
 
 L'amore industrioso. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro Tron di S. Cassano nell' autunno dell' anno 1765. 
 Del Signer abbate Casori. 
 
 Venezia, Modesto Fenzo, 1765. 62 p. 17$. 
 
 Three acts. Cast, scenario, and name of Gio. Marco Butini as the composer. 
 
 SCHATZ 9186 
 
 Aniore ingegnoso, o sia La giovane scaltra. Dramma giocoso per 
 musica da rappresentarsi nel Teatro Obbizzi il carnovale dell' anno 
 1775 . . . 
 Padova, Stamperia Penada n. d.. 32 p. 19 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Music by Paisiello, 
 who is not mentioned. Impresario's dedication and cast. Originally known as "La 
 cantata e disfida di Don Trastullo " and as such composed by Jommelh for Rome, 1746. 
 
 SCHATZ 7694 * 
 
 L'amore ingegnoso. Intermezzo in musica a cinque voci da 
 rappresentarsi nel Teatro Valle degl' illustriss. Sigg. Capranica nel 
 carnevale dell' anno 1785 ... 
 
 Roma, Agostino Palombini, n. d. 50 p. 15 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Paisiello as composer. ML 50.2.A693P2 
 
 - L'amore ingegnoso. Dramma per musica da rappresentarsi 
 nel Real Teatro di Salvaterra nel carnovale dell' anno 1790. 
 
 [Lisbona], Stamperia reale, n. d. 74 P- 15 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast, scenario, and 
 name of Giovanni Paisiello as the composer. SCHATZ 7596 
 
 - L'amore ingegnoso. Intermezzo in musica da rappresentarsi 
 nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. publ., 1786. 14! p. 15\. 
 
 Two acts. Paisiello is mentioned as the composer. German title page "Die 
 erfinderische liebe" and text face Italian. 
 
 First performed, as indicated, November 18, 1786. SCHATZ 7597 
 
 Amore innamorato. Favola da rappresentarsi in musica nel Teatro 
 di S. Moise 1'anno 1642 . . . 
 
 Venetia, Battista Surian, 1642. SI p. 13\ cm . 
 
 Five acts with prologue. Dedication signed by the author Giovanni Battista 
 Fusconi and dated January 1, 1642* argument, scenario, and name of "Francesco 
 Cavalli . . . creduto I'Anfione de' nostri giorni " as composer in the notice to the 
 reader. SCHATZ 1734 
 
 Amore innamorato. A. T. of Scarlatti's La Psiche. 
 L'amore maestro di scuola, ballet. See Rispoli's Ipermestra. 
 Amore per amore. L. T. of M. A. Bononcini's II trionfo di Camilla. 
 
 L'amore per forza. Drama per musica da rappresentarsi nel Teatro 
 Giustiniano di S. Moise Pautunno dell' anno 1721. 
 
 .cm 
 
 Venezia, Marino Rossetti, 1721. 4$ P- 1W 
 
 Three acts. By Bartolomeo Pavieri, who is not mentioned. Notice to the reader 
 with argument, cast, scenario, and names of Girolamo Bassani as composer of the 
 first act, of Matteo Lucchini of second and third. SCHATZ 636
 
 OPEBA LIBRETTOS 101 
 
 Amore per incanto. Commedia per musica da rappresentarsi nel 
 Real Teatro del Fondo di Separazione per quart' opera di questo 
 corrente anno 1791. 
 
 Napoli, Vincenzo Flauto, n. d. 52 p. 15\ cm . 
 
 Two acts. Cast and name of Marcello di Capua as composer. Librettist not 
 mentioned and unknown to Schatz. On p. 5-^9 cast and description of "II trionfo 
 de' Spagnoli, o sia La disfatta de' Marrocchini. Ballo composto, e diretto dal Sig. 
 Gio. Battista Giannini." Pietro Dutilieu is mentioned as composer of the music. 
 
 SCHATZ 838 
 
 L'amore per interesse. Drama giocoso per musica da rappre- 
 sentarsi in Parma nel R. D. Teatro di corte il carnevale dell' anno 
 MDCCLXXXVIII . . . 
 
 Parma, Carmignani, n. d. viii, 68, [1] p. 17 cm . 
 
 Two acts. A later version of ' ' Mirandolina " by Bertati, who is not mentioned. 
 
 Imprimatur dated Dec. 19, 1786. Dedication by the impresario, Angelo Ben- 
 tivogho, cast, scenario, and name of the composer, Vincenzo Fabrizj. ("La musica & 
 tutta nuova espressamente composta.") In two acts by Giovanni Bertati. 
 
 On p. 51-63 pref., cast, and description of the five-act "Adelaide di Ghesclino. 
 Ballo eroico, composto e diretto dal Signer Giuseppe Banti . . . La musica . . . edel 
 Signpr Domenico Rava, Napoletano. ' ' The second ballet was called ' ' La Ghinghetta. ' ' 
 
 First performed December 26, 1786, as indicated. 
 
 SCHATZ 2971 
 
 L'amore politico. A. T. of the ballet La donna bizzarra. 
 Amore premiato, ballet. See Paisiello's II tamburo notturno. 
 
 L'amore rammingo. Dramma giocoso per musica in due atti 
 d' Antonio Piazza Veneziano da rappresentarsi nel nobilissimo 
 Teatro di S. Samuele nel carnovale dell' anno 1777. 
 
 Venezia, Gio. Battista Casali, 1777. 78 p. 17 cm . 
 
 Two acts. Cast, scenario, and name of Francesco Salari as the composer. On p. 
 [33]-44 dedication, scenario, cast, description, and name of Baldassare Filippo Mattei 
 as the composer of the music of Innocenzo Gambuzzi's "Medonte, ballo eroico;" on 
 p. [69J-78 the same without name of the composer of his ballet, "II seguito tra 1'armi 
 o sia La donna militare." SCHATZ 9266 
 
 L'amore secreto. A. T. of Spontini's Adelina Senese. 
 
 L'amore senza malizia. Dramma giocoso per musica del Sig. ab. 
 Pietro Chiari da rappresentarsi nel Teatpo Giustiniani di S. Moise il 
 carnovale dell' anno 1768. 
 
 Venezia, Modesto Fenzo, 1768. 72 p. 16 cm . 
 
 Three acts. Cast, scenario, and name of Bernardo Ottani as the composer. 
 
 SCHATZ 7358 
 
 - L'amore senza malizia. Dramma giocoso per musica del 
 Signore abb. Pietro Chiari da rappresentarsi nel Piccolo Teatro di 
 S. A. E. di Sassonia. 
 
 Dresda, n. publ, 1768. 157 p. 15\ cm . 
 
 Three acts. Cast, scenario, and name of Bernard(in)o Ottani as the composer. 
 German title page, "Die liebe ohne bossheit," and text face Italian, which seems to 
 follow the original closely. 
 
 SCHATZ 7359
 
 102 LIBRAEY OF CONGRESS 
 
 L'amore senza malizia Continued. 
 
 - L'amore senza malizia. Dramma giocoso per musica da rap- 
 presentarsi in Lisbona nel Teatro della Rua dos Condes nell' estate 
 delP anno 1774. 
 
 [Lisbona], Stamperia reale, n. d. 87 p. 15 cm , 
 
 Three acts. Cast, scenario, and name of Bernardino Ottani as composer. Chiari 
 is not mentioned. ML 48. CGI 
 
 L'Amore soldato. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Giustiniani di S. MoisS I'autunno dell' anno 1769. 
 
 Venezia, Modesto Fenzo, 1769. 48 p. 17 cm . 
 
 Three acts. Cast, scenario, names of the author, Niccol6 Tassi, and of the composer, 
 Alessandro Felici. SCHATZ 3054 
 
 L'amore soldato ou L'amour soldat. Opera-comique italien. En 
 trois actes; musique, del Signor Sacchim. Represent^ par 1'Aca- 
 d^mie-royale de musique, le jeudi 8 juillet 1779. 
 
 Paris, P. de Lormel, 1779. 85 p. 21. 
 
 Cast. Italian text (by Nicola Tassi, not mentioned) and French text on opposite 
 
 First performed at London, Haymarket, 1777. ML 50.2.A697S2 
 
 Amore spesso inganna. A. T. of Sartorio's (?) Orfeo a torto 
 geloso. 
 
 Amore trionfator della magia, ballet. See Marescalchi's II tutore 
 ingannato. 
 
 L'amore trionfante della vendetta. A. T. of Francesco Rossi's 
 La Corilda. 
 
 Amore vendicato, ballet. See Caruso's Antigono. 
 
 i 
 
 L'amore verso la patria. Die liebe gegen das vaterland oder Der 
 sterbende Cato. [vignette.] Musicaliscnes schau-spiel, auf dem 
 grossen Hamburgischen Schau-platz aufgefuehret im jahr 1715. 
 Hamburg, Friedrich Conrad Grejlinger, n. d. Unpaged. 19 cm . 
 
 Three acts. In the " Vor-bericht " with argument it is stated that this is a transla- 
 tion from Matteo Noris [his "Catone Uticense"]. Neither Barthold Feind, the trans- 
 lator, nor Reinhard Keiser, the composer, is mentioned. Some arias have the 
 Italian text added to the German. SCHATZ 5075 
 
 L'amore vince 1'inganno, drama pastorale d'ordine disua Altezza 
 Ser 11 ^ il SigFduca regnante di Sassonia-Gotha ed Altenburgo, etc., 
 rappresentato nel Theatro di Friedenstein. Ai [blank] d'Aprile 1736. 
 n. i., n. d. 34 p. 18 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Gottfried Heinrich 
 Stoelzel is mentioned as the composer. SCHATZ 10076 
 
 Amore vincitore dell' indifferenza, ballet. See Jommelli's L'isola 
 disabitata. 
 
 L'amore vinto dalT amicizia, ballet. See G. F. de Majo's Catone 
 in Utica.
 
 OPERA LIBRETTOS 103 
 
 L'amore volubile. Dramma giocoso per musica. Opera nuova 
 del Signer abbate Serafino Bellini, poeta romano da rappresentarsi 
 nel Teatro Zagnoni il carnevale dell' anno 1779 . . . 
 Bologna, Sassi, n. d. 70, [1] p. 15 cm . 
 
 Two acts. Imprimatur dated December 22, 1778. On p. 70 a list of errata, on the 
 additional page a substitute aria for act II, sc. 10. With impresario's dedication, 
 cast, scenario, and name of the composer, Luigi Caruso ("musica tutta nuova"). 
 
 SCHATZ 1666 
 
 Os amores de Sisbe e Selene. A. T. of Calimedonte, rei do Epiro. 
 
 Gli amori d'Apollo e di Dafne di Gio. Francesco Busenello. Rap- 
 presentati in musica nel Teatro di S. Casciano, in Venetia nell' anno 
 1640. 
 
 Venetia, Andrea Giuliani, MDCLVI [I]. 4 P- ^ (incl. front.), 64 p. 
 15 cm . ("Delle hore ociose di Gio. Francesco Busenello. Parte prima," 
 Venetia, Andrea Giuliani, 1656.) 
 
 Three acts with prologue. Author's dedication dated Venice, September 10, 1656, 
 argument. The composer, Francesco Cavalli, is not mentioned. SCHATZ 1716 
 
 Gl' amori d'Apollo e di Leucotoe. Drama per musica di Aurelio 
 Aureli, favola undecima. Rappresentato in Venetia nel famoso 
 Teatro Grimano 1'anno 1663 . . . 
 
 Venetia, Francesco Nicolini, 1663. 6 p. I. (incl. front.), 57 p. 13\ cm . 
 
 Three acts. Author's dedication dated Venice, January 8, 1663, argument and 
 notice to the reader with the name of Bovettino as composer. SCHATZ 9107 
 
 Gli amori d'lgor primo Czar di Moscovia, ballet: See Cimarosa's 
 L'impresario in angustie, (Milano, 1789). 
 
 Gli amori d'lgor, primo Zar di Moscovia, ballet. See Tarchi's 
 Ifigenia in Tauride. 
 
 GF amori di Alessandro Magno e di Rossane. Dramma musi- 
 cale posthumo del dottor Hiacint' Andrea Cicognini Academico 
 Instancabile . . . 
 
 Venetia, Gio. Pietro Pinelli, 1651. 108 p. 
 
 Three acts and prologue. Dedication by Giovanni Burnacini, dated Venice, 
 January 24, 1651, and notice to the reader stating: "La famosa penna del dottor 
 Hiacint' Andrea Cicognini, ordl quasi come qu\ vedi 1'argomento, e tessutone il 
 prologo; il primo atto, & due scene del secondo, cede alia vita, & alia opera" and 
 that the wort was finished by an author who forbade to mention his name. Burnacini 
 continues by saying that to him "che per i diletti dell' architettura, e di macchine 
 posso con verita dirmi il primo, quanto al tempo, c'habbia ornate scene 6 fatte mac- 
 chine in questa citta . . . e toccato di porre sul mio, benche picciolo theatre, un 
 Alessandro grande; sproportione la conosco; e per il sito, e per P opera, e per le mie 
 forze ..." 
 
 Composed by Francesco Luccio according to Schatz. It should be noted that 
 
 S:omp. Wotquenne Catalogue) the same text in the Bologna 1656 ed. mentions Bene- 
 etto Ferrari as composer. SCHATZ 5745 
 
 Gli amori di Alessandro e di Rossane. O. T. of Cicognini's text 
 L' Alessandro amante. 
 
 Gli .amori di Angelica e Medoro, ballet. See Paer's La Rossana.
 
 104 LIBRARY OF CONGRESS 
 
 Gli amori di Circe con Ulisse. Opera italiana rappresentata sopra 
 il Teatro di Dresda . . . composta m Italiano per il Sig. Gio. Batta. 
 Ancioni & tradotta in francese . . . per il Sig. Angelo de Constantini 
 Veron . . . Dresda gli 22 maggio 1709. 
 
 [Dresden], Stampata per Giacomo Harpeter, n. d. 6 p. Z., 87, [1] p. 
 19 cm . 
 
 In twenty-two scenes. Cast, translator's dedication, and name of Carlo Agostino 
 Badia as composer. Entirely different from "La costanza d'Ulisse," attributed by 
 Schatz to Ancioni (1700). The French title "Les amours d'Ulisse & de Circe" and 
 text face Italian. The argument at the end of the libretto. SCHATZ 543 
 
 Gli amori di Clodio e Pompea, ballet. See Bianchi's Alonso e 
 Cora. 
 
 Gli amori di Clodio e Pompea. A. T. of Draghi's Chi pid sa manco. 
 
 Gli amori di Giasone, e d' Isifile. Festa teat/rale di Oratio Per- 
 siani posta in musica dal Sign. Marco Marazzoli . . . 
 
 Venetia, Antonio Bariletti, 1642. 80 p. 13% cm . 
 
 Three acts and prologue. Author's dedication dated Venice, February 22, 1642, 
 and argument. 
 
 First performed at Venice, Teatro Grimani a S. S. Gio. e Paolo, February 22, 1642. 
 
 SCHATZ 5923 
 
 Gli amori di Mirtillo con Silvanzia, ballet. See Antonelli's Catone 
 in Utica. 
 
 Gli amori di Mirtillo e con Silvanzia, ballet. See Giordani's 
 Osmane. 
 
 Gli amori di Rinaldo con Armida. 
 
 Three acts. Text by Girolamo Colatelli, music by Teofilo Orgiani. 
 First performed at Brescia, Teatro dell' Accademia degl' Erranti, 1697. 
 Not in L. of C. 
 
 - L'honor al cimento. Opera musicale. Da rappresentarsi nel 
 Teatro di S. Faiutino 1'anno 1703 ... 
 
 Venezia, Gio. Francesco Valvasense, 1703. 4$ P- 14 m - 
 
 Three acts. Dedication signed by the author Girolamo Colatelli, scenario, and 
 notice to the reader with Teofilo Organi's (Orgiani) name as the composer, and 
 remark: 
 
 "Si avvertisce, che si sono accorciate alcune scene, & aggionti alcuni versi, onde 
 non & il drama in quel primo essere, in cui fit posto dall' autore." 
 
 In fact, it was a retouched version of "Gli amori di Rinaldo con Armida" as was 
 also: SCHATZ 7295 
 
 - Armida regina di Damasco. Drama per musica da rappre- 
 sentarsi nel Teatro di Verona in questo autimnale 1711 . . . 
 
 Verona, n. publ., 1711. 4$ P- 14 cm - 
 
 Three acts. Impresario's dedication, practically the same notice to the reader as 
 in Schatz 7295, but referring to Orgiani as "maestro della catedrale di Udine" and 
 alluding to the addition of some verses "a causa della staggione autunale." 
 
 SCHATZ 7296 
 
 Li amori di Tirsi ed Eurilla interrotti dalla maga Falsirena, 
 ballet. See Galuppi's Cajo Mario.
 
 OPERA LIBRETTOS 195 
 
 Gl' amori fa tali. L. T. of PistocchFs II Leandro. 
 
 GF amori infruttosi di Pirro. Drama per musica di Aurelio 
 Aureli, favola ottava. Nel Teatro Ass. Gio. e Paulo. Per Fanno 
 1661 . . . 
 
 Venetia, Francesco Nicolini, 1661. 72 p. 14 cm . 
 
 Three acts. Ajithor's dedication dated Venice, January 4, 1661, argument, and 
 notice to the reader: 
 
 "Averti, che la Bcena nona v& doppo la ecena quinta nel terzo atto . . . Sappi 
 di piu, che per essere il Signor Clemente arrivato in tempo, ch'eranogia dispensate le 
 parti del drama, m' e convenuto inserirlo nell' uno, e nell' altro al meglio, che ha 
 potuto permettere la brevita del tempo; havendo havuto un solo riguardo, di non 
 privarti del godimento della voce di un virtuoso si insigne nel rimanente compatisci, 
 e sta sano." 
 
 Antonio Sartorio, the composer, is not mentioned. SCHATZ 9480 
 
 Gl' amori ministri della fortuna. Drama per musica da rappre- 
 sentarsi nel Regio Teatro di Milano F anno MDLXCIV. Del Signor 
 abbate Francesco Silvani . . . 
 
 Milano, Marc' Antonio Pandolfo Malatesta, n. d. 6 p. 1., 88 p. 
 
 Three acts. Impresario's dedication dated Milan, January 9, 1694, argument, cast, 
 scenario, and notice to the reader with name of Marc' Antonio Ziani as composer. A 
 contemporary ms. note on 2d p. 1. saye: "Mai fatta a Venezia sotto alcun altro 
 titolo." SCHATZ 11208 
 
 GFamori politici della liberta raminga. See ^ Curzio. 
 
 GF amori tra' gl' odii, o sia II Ramiro in Norvegia. Drama per 
 musica da rappresentarsi nel Teatro Tron di S. Cassiano Fanno 1699. 
 Venetia, Nicolini, 1699. 68 p. 15 cm . 
 
 Three acts. Argument, "supposti," scenario, and notice to the reader with the 
 name of Marc' Antonio Remena as author, and of Marc' Antonio Ziani as the com- 
 poser. 
 
 First performed, as indicated, carnival 1699. SCHATZ 11199 
 
 L'amorosa liberta. Dramma musicale del Signor Carlo Barbetta 
 . . . e recitata nella citta di Senegaglia F anno 1647. 
 
 Macerata, Filippo Camacci, 1647. 12 p. 1., 137 p. 13 cm . 
 
 Five acts with prologue. Author's dedication dated "Senegaglia, 10. Febraro 
 1647," notice to the reader, Imprimatur, poem, sonett by "L'autore dell' opera al 
 Signor Francesco Ferrari, maestro di cappella, & musico di camera dell' eminentis- 
 eimo Fachinetti. Per la compositione musicale dell' Amorosa liberta," argument, 
 and characters without cast. SCHATZ 3076 
 
 Amors gukkasten. Eine operette in einem aufzuge, von J. B. 
 Michaelis. 
 
 Leipzig, Dyckische buchhandlung, 1772. 54 p. 17 cm . 
 
 Christian Gottlob Neefe, the composer, is not mentioned. 
 
 First performed at Konigsberg, Ackermann'sches Schauspielhaus, August 1772. 
 
 SCHATZ 7069 
 
 L'amour au village, opera-comique en un acte, et en vaudevilles, 
 represent e pour la premiere fois sur le Theatre du Fauxbourg S. 
 Germain, le 3 fevrier 1745. Nouvelle edition. 
 
 Paris, Duchesne, 1762. 48 p. 19 cm . (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. vii.) 
 
 Many of the airs printed in the text. Favart's musical collaborator not mentioned 
 by Font. ML 49.A2F1
 
 106 LIBRARY OF CONGRESS 
 
 L'amour clairvoyant Der sehende Cupido, ballet. See Bernas- 
 coni's La Clemenza di Tito. 
 
 L'amour conjugal. A. T. of Gaveaux's LSonore. 
 L'amour conjugal. A. T. of Gre"try's Ce"phale et Procris. 
 L'amour coquet. A. T. of Campra's L'age viril. 
 
 L'amour desoeuvre, ou Les vacances de Cyth&re. Pie"ce en un acte. 
 Compos 6e pour e"tre represented a la Foire S. Laurent 1734 sur le 
 Theatre de l'Op6ra conuque. 
 
 Le Theatre de lafoire, Paris, 1737, t. ix, 2, [489}-534 p. 17 cm . 
 
 By Carolet. Largely en Vaudevilles. The airs are printed at the end of the vol- 
 ume in the "Table des airs." A prefatory note on p. [90] informs the reader that 
 this piece which was commenced in August, 1734, and was scheduled for performance 
 in the same month, was not performed at the Ope>a-comique. ML 48L2X 
 
 L'amour en musique. Tr. of Boroni's L'amore in musica. 
 L'amour enjoue. A. T. of Campra's La vieillesse. 
 L'amour enjoue. See Fragments, composes . . . de 1'acte de . . . 
 L' Amour et Psyche. See Mondonville's Les festes de Paphps. 
 
 L'amour filial, o^ra en un acte. Par C. A. Demoustier. 
 
 Paris, Huet [etc.], L'an second [1793-94]. port., 48 p. 20. 
 
 The colored port, is that of Juliet who played Germon in the opera, according to 
 the cast. The composer, Pierre Gayeaux, is not mentioned. An Avertissement 
 with compliments to the actors reads in part: 
 
 "Au moment ou Ton imprime cet ouvrage, il est a sa cent-quatrieme repr&enta- 
 tion ..." 
 
 The title had been originally "Les deux Suisses," but the political events neces- 
 sitated a change. 
 
 First performed at Paris, Theatre Feydeau, March 7, 1792. ML 50.2.A7G2 
 
 Arien und gesaenge aus dem singspiel: Kindliche liebe, in einem 
 akt, aus dem rranzoesischen. Die musick ist von Gavaux. 
 Frankfurt am Main, n. publ., 1798. 19 p. 16 cm . 
 
 German version by Carl Alexander Herklots. 
 
 First performed at Frankfurt a. M., National theater, 1798; at Berlin, Kgl. National- 
 theater, October 16, 1796. SCHATZ 3637 
 
 L'amour impromptu. Parody of an entree in Rameau's Les fe"tes 
 d'Hebe\ 
 
 L'amour ingenu. A. T. of Campra's La jeunesse. 
 
 [L 'Amour malade]. Vers du Ballet du roy. 
 n.i.,n.d. 15 p. 2l\ cm . 
 
 Half title, title page evidently wanting. Ten entries, with names of the dancers. 
 This is clearly the same as the entry by De La Valliere: "AMOUR MALADE, ballet du 
 loi a dix entries, dans6 par Sa Majest6 le 17 Janvier 1675 [! instead of 1657]. Lea 
 paroles sont de Benserade. Paris, Robert Ballard, 1657." 
 
 From the words in the fifth entree, "Baptiste, compositeur de la musique du 
 ballet, reprsentant Scaramouche," it follows that the music was composed by Jean 
 Baptiste de Lully. ML 52.2.B15
 
 OPERA LIBRETTOS 107 
 
 L'amour marin. See L'indifference. 
 L'amour maternel. A. T. of Gre"try's Elisca. 
 
 L'amour peintre, ou Le jaloux dupe". Ope"ra comique en deux 
 actes, tire de Moliere. 
 
 Cassel, Griesbach, 1794. 52 p. 20 cm . 
 
 Two acts. Text and music by David Philipp von Apell, according to Schatz, 
 who does not record a performance. SCHATZ 292 
 
 Intermedes d'Amour pour amour, comedie en trois actes et en 
 vers, represent ee devant Leurs Majestes a Versailles le 23 Janvier 
 1765. 
 
 [Paris], Cliristophe Bollard, 1765. 15 p. 20\ cm . (Journal des 
 spectacles, t. i, 1766.) 
 
 Three intermedes. Cast and name of Francois Rebel as responsible for "1'arrange- 
 ment de la musique," but on p. 7 of the Journal he is also said to have selected the 
 words. ML 48 J7 
 
 L'amour queteur, comedie en deux actes et en vers, melee d'ariettes 
 et de vaudevilles. Par Mr. Maille de Merencour. Represent^ pour 
 la premiere fois par la troupe des Petits comeMiens de Sa Majeste", le 
 14 octobre 1777. Nouvelle edition. 
 
 Paris, Delalain, 1782. 32 p. 20% cm . 
 
 Cast. Arranger of the music not mentioned. Not recorded by Schatz. 
 
 ML 50.2.A702 
 
 L'amour saltinbanque. Entre"e in Campra's Les festes ve"ni- 
 tiennes. 
 
 L'amour soldat. Tr. of Sacchini's L'amore soldatp. 
 
 L'amoureux de quinze ans, ou La double f6te, comedie en trois 
 actes et en prose, melee d'ariettes. Les paroles sont de M. Laujon; 
 la musique de M. Martiny. Represented pour la premiere fois par 
 les Comediens italiens ordinaires du roi, le 18 avril 1771. 
 Paris, la veuve Duchesne, 1771. 68 p. 21 cm . 
 
 Cast. On p. 65-68 the "Ariettes" "Que j'avions d'impatience" (II, 7), "Ah! Ah! 
 Ah! v'la tous nos bouquets" (II, 8), and the " Vaudeville. Note d'moiselle a dit. 
 (Divertissement.) " SCHATZ 6034 
 
 - L'amoureux de quinze aus, ou La double fte, comedie en trois 
 actes et en. prose, mesle'e d'ariettes . . . Represented pour la 
 premiere fois par les Comediens italiens ordinaires du roi, le jeudi 
 18 avril 1771. Les paroles sont de M. Laujon. La musique de 
 M. Martiny. 
 
 Paris, la veuve Duchesne, 1771. 64 p. 17\ cm . 
 
 Cast. On p. 63-61 the airs of "Que j'avions d'impatience" and "Ah! ah! v'la 
 ous nos bouquets." YUDLN PQ 
 
 t 
 
 - Der liebhaber von funfzehn jahren, ein singspiel in drey auf- 
 zuegen nach dem franzoesischen. Die musik ist vom herrn Martiny. 
 Au^gefuehrt auf dem k. k. "Nationaltheater. 
 
 Wien, beym logenmeister, 1778. 77 p. 17 cm . 
 
 By Gottlieb Stephanie d. j 
 
 First performed, as indicated, December 29, 1778. SCHATZ 6035
 
 108 LIBRARY OF CONGRESS 
 
 Les amours champetres, pastorale, par Monsieur F . . . Repre"- 
 sente'e pour la premiere fois par les Come'diens italiens ordinaires du 
 roi, le jeudi 2 septembre 1751. Troisieme Edition. 
 
 Paris, N. B. DucJiesne, 1759. 47 [/] p. 19 cm . (Theatre de 
 Favart, Paris, Duchesne, 1768-77, t. i.) 
 
 One act. Cast. Several airs are printed in the text. The arranger of the music 
 is not mentioned. The unnumb. p. contains a "Catalogue de parodies & opera 
 comiques." ML 49.A2F1 
 
 Les amours d'Arion & de Leucosie Die lieb des Arion gegen die 
 Leucosie, ballet. See Beraasconi's Demofoonte. 
 
 Les amours d'ete, divertissement en un acte & en vaudevilles, par 
 MM. de Piis & Barre; reprejsente pour la premiere fois, a la Muette, 
 devant Leurs Majestes, le jeudi 20 septembre 1781; & a Paiis, le 
 mardi 25 du m^me mois, par les Come'diens italiens ordinaires du 
 roi. 
 Paris, Vente, 1784. 32 p. 19 cm . 
 
 Printed in the text is the air "Avec les yeux, dans le village," scene 1. The 
 arranger of the vaudevilles not recorded by Schatz. SCHATZ 11480 
 
 Les amours d'Ulisse. & de Circe. Tr. of Badia's Gli amori di 
 Circe con Ulisse. 
 
 Les amours de Bastien et Bastienne. Parody of Rousseau's Le 
 devin du village. 
 
 Les amours de Gonesse. A. T. of de La Borde's Le Mitron et la 
 Mitronne. 
 
 Les amours de Mars et de Venus, ballet represents par FAcademie 
 royale de musique Fan 1712. Les paroles de M. Danchet & La 
 musique de M. Campra. LXXIX. opera. 
 
 n. i., n. d. pi., 447-480 P- 14 cm - (Recueil general des opera, Paris, 
 1714, t. x, 7.) 
 
 Detached copy. Three entrees with prologue. 
 
 First performed, as indicated, Sept. 6, 1712. SCHATZ 1543 
 
 Second copy. ML 48. R4 
 
 Les amours de Venus, ballet. 
 
 [183}-216 p. 17\ cm . (Antoine Danchet, Theatre, Paris, 1751 , t. Hi.) 
 
 Prologue and three entrees. Campra, the composer, is not mentioned. 
 
 PQ 1972.D2 
 
 Ballet des Amours de Momus, en musique, danse par FAcademie 
 royale de musique. Suivant la copie imprimee a Paris. 
 
 Amsterdam, Antoine Schelte, 1696. 4 P- (incl. front.) 14 cm - 
 Prologue and three acts. Neither the author, Joseph Francois Duche", nor Henri 
 Desmarets is mentioned. 
 
 First performed, as indicated, May 25, 1695. ML 52.2. A4D2 
 
 Les amours de Momus, ballet represente par 1'Academie royale 
 de musique Fan 1695. Les paroles sont de M. Duche, & la musique 
 de M. Desmarets. XXXV. opera. 
 
 n. i., n. d. front., p. 135-184. (Recueil general des opera, t. v, Paris, 
 1703. 14 cm . 
 
 Detached copy. Prologue and three acts. 
 
 First performed, as indicated, May 25, 1695. SCHATZ 2529 
 
 Second copy. ML 48. R4
 
 OPERA LIBRETTOS 109 
 
 Les amours de Nanterre. Piece d'un acte. Par Mrs. le S**. & 
 D'Or**. Represente a la Foire de Saint Laurent 1718. Et pendant 
 le cours de la m6me foire, sur le Theatre de 1'Opera, par ordre de 
 S. A. Royale Ma'dame. 
 
 Le Theatre de la foire, Paris, 1737, t. Hi, pi., [269}-329 p. 17 cm . 
 
 By Le Sage and d'Orneval. Largely en vaudevilles. The airs, selected or com- 
 posed and arranged by Jean Claude GUlier, the "compositeur" of the theatre, are 
 printed at the end of the volume in the "Table des airs." Parfaict's Dictionnaire 
 gives as authors "Autreau en socie'te avec messieurs Le Sage & d'Orneval." 
 
 ML48.L2 III 
 
 Les amours de Pro tee, ballet, represent e par 1' Academic royale de 
 musique, Fan 1720. Paroles de M. Lafonds. Musique de M. Ger- 
 vais. XCIX. opera. 
 
 n. i., n. d. pi., p. 65-116. (Recueil general des opera, t. xiii, Paris, 
 1734.) 14 cm . 
 
 Detached copy. Three acts and prologue. Avertissement. 
 
 First performed, as indicated, May 16, 1720. SCHATZ 3790a 
 
 Second copy. ML 48. R4 
 
 - Les amours de Protee, ballet. En trois actes. Represente par 
 1'Academie royale de musique, de Lyon. En TannSe 1742. 
 
 Lyon, Aime Delaroche, 1742. 58 p. 23% cm . 
 
 Three acts and prologue. By Joseph de Lafont, who is not mentioned. Aver- 
 tissement and cast. Composed by Charles Hubert Gervais, who is not mentioned. 
 
 SCHATZ 3790b 
 
 - Les amours de Protee. Parodie de 1'opera. Par M re - le S** 
 & d'Or** Represent ee a la Foire Saint Laurent 1728. 
 
 Le Theatre de la foire, Paris, 1731, t. vii, pi., [85}-120 p. 17 cm . 
 
 By Le Sage and d'Orneval. Largely en vaudevilles. The airs, selected or com- 
 posed and arranged by Jean Claude Gillier, the "compositeur" of the company, are 
 printed at the end of the volume in the "Table des airs." 
 
 First performed, as indicated, September 24, 1728. ML 48. L2 v. 11 
 
 Les amours de Ragonde, comedie en musique, en trois actes. 
 n. i., n. d. 1 p.l., 30 p. 23 cm . 
 
 Neither the author, Philippe Nricault Destouches, nor the composer, Jean Joseph 
 Mouret, is mentioned. Cast and at end the "Permission," dated Lyon, March 15, 
 1739, as given to the Acade'mie Royale de musique de Lyon. 
 
 First performed there 1742; previously at Sceaux, at the palace of the duke du 
 Maine under the title "Le manage de Ragonde" as also at Paris, Acade'mie royale 
 de musique, January 30, 1742. The score was published as "Ragonde ou La soiree 
 de village." SCHATZ 6738 
 
 Les amours de Venus. L. T. of Campra's Les amours .de Mars et 
 Venus. 
 
 Les amours deguisez. See Les comediens corsaires. 
 
 Les amours deguisez, ballet represent^ par l'Acade*mie royale de 
 musique 1'an 1713. Les paroles de M. Fuselier et la musique de M. 
 Bourgeois. LXXXII. opera. 
 
 n. i., n. d. Jfi p., pi. (Recueil general des opera, Paris, 1720, t. xi) 
 14 cm . 
 
 Detached copy. Three acts with prologue. Avertissement. 
 
 First performed, as indicated, August 22, 1713. SCHATZ 1272 
 
 Second copy. ML 48.R4
 
 110 LIBRARY OF CONGRESS 
 
 Les amours des deesses, ballet heroique, represent^ par 1'Acade- 
 mie royale de musique, Fan 1729. Paroles de M. Fuselier. Musique 
 de M. Quinault. CXII. opera. 
 
 n. i., n. d. pi., p. [345}-396. 14 cm . (Recueil general des opera. 
 Paris, 1734, t. XIV.) 
 
 Detached copy. Prologue and three acts, to which was added as quatrieme entree, 
 text also by Louis Fuzelier (p. 387-396), "L'Aurore et CSphale," on August 25, 1729. 
 The other entries have titles "Venus et Adonis," "Diane et Endimion" and "Mel- 
 pomene et Linus." The introduction of the latter subject the author defends in 
 the avertissement (p. 347-348). 
 
 First performed^ as indicated, August 9, 1729. SCHATZ 8530 
 
 Second copy. ML 48. R4 
 
 Les amours des dieux, ballet heroique, represent^ par 1'Academie 
 royale de musique, 1'an 1727. Paroles de M. Fuselier. Musique de 
 M. Mouret. C VIII. opera. 
 
 n. i., n. d. p. 123-188, pi. (Recueil general des opera, t. xiv, Paris, 
 1734.} 14 cm . 
 
 Detached copy. Prologue and four entries, called "Neptune et Amymone," 
 "Jupiter et Niobe," "Apollon et Coronis," and "Bacchus et Anane." SCHATZ 6739 
 
 Second copy. ML 48. R4 
 
 Les amours des dieux, ballet-heroique, represent^ par 1'Acade- 
 mie-royale de musique, pour la premiere fois, le dimancne quatorze 
 septembre 1727. Remis au Theatre le mardi 18 juin 1737, le jeudi 
 12 may 1746, et le mardi 16 aout 1757. 
 
 Paris, Aux depens de VAcademie, chez la v. Delormel <& fils, 1757. 
 51 p. 22% cm . 
 
 Prologue and three entries, with titles "Neptune et Amymone," "Apollon et 
 Coronis, "Ariane et Bacchus." Casts, avertissement and names of Fuzelier as 
 author and of Mouret as composer. ML 52.2.A5 
 
 Amours des dieux. See also Fragments, composes du prologue 
 des . . . 
 
 Les amours grivois, opera comique-ballet. Divertissement flamand, 
 en un acte. Par M. Favart. Derniere edition, augmentee des 
 couplets nouveaux. 
 
 n.i.,1751. 56 p. 19 cm . (Theatre de M. Favart, Paris, Duchesne, 
 1763-77, t. vii.) 
 
 En vaudevilles. On p. 41-56 seventeen airs headed "L'ecole des amours grivois," 
 which title appears to have been the original title. Font mentions Lagarde and 
 Lesueur as Favart's collaborators, and says that he composed one of the airs. He does 
 not mention Favart's musical collaborator. 
 
 First performed at Paris, Foire St. Laurent, July 16, 1744. ML 9.A2F1 
 
 The amours of the great. A. T. of Vanelia. 
 
 The amours of Venus ; or Vulcan's revenge. An episodical ballet. 
 
 Noverre, Jean George, Works. Tr. from the French, London, 1783, 
 v. 3, p. [285}-299. 21\ cm . 
 
 Argument and detailed description of the four scenes. GV 787. N8 
 
 Amphion. Entree in Grenet's Le triomphe de 1'harmonie.
 
 OPERA LIBRETTOS 111 
 
 Amphion. Eine oper, in musik gesetzt vom herrn oberkapellmeister 
 fraumann. 
 
 Leipzig, Breikopf, n. d. 24 p. 18 cm . 
 
 Three acts. The author, Johann Leopold Neumann, is not mentioned. Not the 
 original German edition as used for the first performance at Schwedt (Brunswick) 
 Hoftheater, 1788. Previously performed with Swedish text in one act by Gudmund 
 Goran Adlerbeth at Stockholm, January 26, 1778 (Schatz), January 1, 1778 (Norlind). 
 
 SCHATZ 7038 
 
 Amphitryon: or, the two Sosia's. A comedy. As it is acted at the 
 Theatre Royal. Written by Mr. Dryden. To which is added, the 
 musick of the songs. Compos'd by Mr. Henry Purcell. 
 London, J. Tonson and M. Tonson, 1691. 4 p. 1., 57, [3] p. 21\ cm . 
 
 - The songs in Amphitryon. The musick. Composed by Mr. 
 Henry Purcell. 
 
 London, Jacob Tonson, 1690. 1 p. 1., 13 p. 2l\. 
 
 The comedy was advertised early in November 1690 as published. The first 
 edition had in the title the misprint "Socia's" instead of "Sosia's." Our copy of 
 the text belongs to the corrected, second edition, in which the misprint has disap- 
 peared from the title page, but was retained in the caption title on p. 1. This second 
 edition, as follows from Dryden's "epistle dedicatory" to Sir William Levison Gower, 
 Bar, of date October 24, 1690, must liave been printed after the "third day," which 
 fixes the date of performance approximately. 
 
 First edition of the music (voice and partly figured bass) including "Celia, that 
 I once was blest," "For Iris I sigh," "Fair Iris and her swain" (dialogue) and chorus 
 "Thus at the height we love." 
 
 Five acts, prologue and epilogue, followed by a catalogue of John Dryden's works. 
 Cast and Dryden's dedication dated October 24, 1690, in which he acknowledges 
 his indebtedness to Plautus and Moliere and says: 
 
 "But what has been wanting on my part, has been abundantly supplyed by the 
 excellent composition of Mr. Purcell, in whose person we have at length found an 
 English-man, equal with the best abroad. At least my opinion of him has been 
 such, since his happy and judicious performances in the late opera; and the experi- 
 ence I have had of him, in the setting my three songs for this Amphitryon: To all 
 which, and particularly to the composition of the Pastoral dialogue, the numerous 
 quire of fair ladies gave so just an applause on the third day ..." 
 
 ML 50.2.A705P9 
 
 Amphitryon: or, The two Sosias. A comedy, alter'd from 
 Dryden. As it is performed at the Theatre-Royal in Drury-Lane. 
 With a new interlude of music, an occasional prologue, and some 
 account of the alterations. 
 
 London, Printed and sold by J. Payne, 1756. 4 P- 1-, 5 P- 29 m > 
 Five acts. Cast. In his preface, John Hawkesworth (not mentioned) gives as 
 his main reason for the alterations "the profaneness and immodesty" of the original 
 which would have made its revival impossible. He has dropped all the songs which 
 gave Purcell his inning. Consequently Purcell's music can not have been used in 
 this revival. All the music has been relegated to the end of the fourth act and con- 
 sists of Mercury's song "Away with the fables philosophers hold," a song by a nymph 
 "in the character of wit" and a duet by the two. The composer of this is not men- 
 tioned. PR 3415.A5 1756 
 
 Amphitryon, ballet heioi-comique, en trois actes. 
 
 Venard de La Jonchere, Theatre lyrique, Paris, Barbou, 1772, t. I, 
 p. [1 79}-228 p. 18$ cm . 
 
 In the interesting "Avant-propos" (p. 181-190) the author calls this his "coup 
 d'essai." No composer mentioned and none recorded by Cl. & L. ML 49.A2L2 
 
 Amphytrion. Tr. with additions of Gasparini's Anfitrione.
 
 112 . LIBRARY OF CONGRESS 
 
 f 
 
 Amulio e Numitore. Drama per musica da recitarsi nel famoso 
 Teatro Grimano di S. Gio. Grisostomo 1'anno 1689 . . . 
 
 Venetia, Nicolini, 1689. front., 72 p. 15 cm . 
 
 Three acts. Dedication signed with the initials of the author Adriano Morselli, 
 brief notice to the reader with name of [Giuseppe Felice] Tosi as the composer, 
 argument and scenario. SCHATZ 10375 
 
 Anacreon. Entree in Les fe~tes liriques. 
 
 Anacreon chez Polycrate, ope"ra en trois actes, represents pour la 
 premiere fois, a Paris, sur le Tneatre des arts, le 28 nivose, an cinqui- 
 eme. Seconde edition. Paroles de J. H. Guy. Musique de Gretry. 
 
 Paris, Tiger, an vii de la Republique [1798-99] 74, [1] p. 19$ cm . 
 
 Cast. First performed, as indicated, January 17, 1797. SCHATZ 4137 
 
 Anacreonte tiranno. Drama per musica nel famoso Teatro Ven- 
 
 dramino di San Salvatore. L'anno MDCLXXVIII. Del Bus- 
 
 sani . . . 
 
 Venetia, Francesco Nicolini, 1678. 72 p. Iffi. 
 Three acts. Author's dedication, argument, scenario and notice to the reader: 
 "Eccoti 1'Anacreonte. In questo drama tu godrai il diletto de recitanti animato 
 
 dalla musica sempre piu maravigliosa e singolare del Signor Antonio Sartorio . . . 
 
 SCHATZ 9490 
 
 Anagilda. Dramma per musica da rappresentarsi nel Teatro 
 Giustinian di S. Moise\ Nel carnovale dell' anno 1749. 
 
 Venezia, Modesto Fenzo, 1749. 15 cm . 36 cm . 
 
 Three acts. Argument, cast, scenario. Author (Girolamo Gigli) and composer 
 not mentioned, and the latter unknown to Schatz. SCHATZ 11302 
 
 L'Anagilda. Dramma per musica da rappresentarsi nel Teatro 
 domestico dell' illustrissimo ed eccellentissimo Signor principe di 
 Cerveteri pel carnovale del 1711. 
 
 Roma, Antonio de' Rossi, n. d. 86 p. 15 cm . 
 
 Three acts. By Girolamo Gigli, who is not mentioned. Cast, scenario, name of 
 Antonio Caldara as composer, and argument, which reads, in part: 
 
 "Quest" opera, che tante volte e comparsa in diversi teatn d'ltalia, si fa vedere 
 adesso in Roma con qualche piccola mutazione, e giunta di ariette colle quali ha 
 etimato di ravvivarla, e meglio addattarla all' uso d'oggidl il suo medesimo primp 
 autore. Egli, per commandamento del generoso personaggio che la fa rappresentare, 
 ed a cui si fa pregio di servire attualmente, ci ha tramezzate due parti ridicole affatto 
 sciolte dal nodo del dramma (siccome oggi si pratica nelle scene di Venezia, ed altrove) 
 colle quali s'intrecciano gli stessi intermedj, di piacevoli invenzioni di danze, e corn- 
 
 parse, al maggior divertimento composti." 
 The two intermezzi are called "Dc 
 
 )orina e Grullo," but were also known as "Grullo 
 e Dorina." SCHATZ 1491 
 
 L'Anagilda. Drama per musica da rappresentarsi nel famoso 
 Teatro Tron di San Cassiano nel carnovale dell' anno 1735 . . . 
 
 Venezia, Marino Rossetti, 1735. 44 P- 15$ cm - 
 
 Three acts. By conte Antonio Zaniboni, who figures only as "un pastore d' Ar- 
 cadia." Impresario's dedication, cast, argument, and name of [Gaetano] Antonio 
 Pampino [Pampani?] as the composer. SCHATZ 7756 
 
 Anagilda, azione drammatica, da rappresentarsi nel Regio Teatro 
 Danese. Anagilda, et synge-spil . . . 
 
 Ki0berihavn, E. J. Graae, 1772. 63 p. 17 cm . 
 
 One act. Author not mentioned and unknown to Schatz. Cast and name of Paolo 
 Scalabrini as the composer. ("La musica e tutta nuova.") Italian and Danish 
 texts. 
 
 First performed December 18, 1772, as indicated. SCHATZ 9514
 
 OPERA LIBRETTOS 113 
 
 L'anarchia dell' imperio. Drama per musica da rappresentarsi 
 nel famosissimo Teatro Vendramino a San Salvatore. Jj'anno 
 MDCLXXXIV. Di Tomaso Stanzani. Seconda impressione con 
 nove aggiunte . . . 
 
 Venetia, Francesco Nicolini, 1684- 60 p. 14% cm - 
 Three acts. Stanzani's dedication, dated Venice, January 1, 1684, argument, and 
 scenario. Giovanni Legrenzi, the composer, is not mentioned. 
 
 First performed, according to Schatz, fall of 1683. SCHATZ 5541 
 
 L' Andromaca. Drama per musica da rappresentarsi in Firenze nel 
 Teatro di via della Pergola nel prossimo carnevale dell' anno 
 1728 . . . 
 
 Firenze, Domenico Ambrogio Verdi, n. d. 70 p. 15 cm . 
 
 Three acts. Argument, cast, scenario. Author and composer not mentioned and 
 unknown to Schatz. Text based on Racine's "Andromaque." SCHATZ 11305 
 
 Audromaca. Drama* per musica da rappresentarsi nel Regio 
 Teatro di Milano . . . 
 
 Milano, Marc' Antonio Pandolfo Malatesta, 1701. 6 p. 1., 60 p. 
 
 15 cm . 
 
 Three acts and prologue. Dedication signed by the author Pietro d'Averara, ar- 
 gument and scenario. Composer not mentioned and unknown to Schatz. 
 First performed 1701 as indicated. SCHATZ 11304 
 
 Andromaca. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744> ? H, 85 P- 
 19 cm . 
 
 Five acts and licenza. Argument. No composer is mentioned. In the "Cata- 
 logo" at end of t. x., date and place of first ed. are given as Vienna, 1724 (first performed 
 August 28 with music by Caldara). ML 49.A2Z3 
 
 - Andromaca. Pubblicata per la prima volta in Vienna, 1724. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. vi, p. 78. 
 2l cm . 
 
 Five acts and licenza. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Andromaca. Dramma per musica da rappresentarsi nel nobilis- 
 simo Teatro di S. Benedetto nelT carnovale dell' anno MDCCLXXII. 
 
 Venezia, Modesto Fenzo, n. d. 54 p. 17% cm . 
 
 Three acts. Argument, cast, scenario, and name of Ferd. Gius. Bertoni as com- 
 er, but not of librettist, Antonio Salvi. On p. 24-26, cast and description of the 
 
 ballet, "Inca il tiranno," by Giovanni Antonio Sacco (composer not mentioned), and, 
 by the same ballet master, on p. 42^13, description of the ballet, "La pieta inas- 
 pettata." 
 
 First performed at Venice, as indicated, December 26, 1771. SCHATZ 904 
 
 Andromaca, drama per musica da rappresentarsi nel Nuovo Teatro 
 del Signer Domenico Valle nel carnevale dell' anno 1730 . . . 
 
 Roma, Zempel e de Mey, n. d. 59 p. 
 
 Three acts. By Apostolo Zeno, who is not mentioned, but "Ridotta oggi all' uso 
 delle Romane scene" (p. 4). Impresario's dedication, argument, cast, scenario, and 
 name of Francesco Feo as the composer. 
 
 First performed as indicated, February 5, 1730. SCHATZ 3062 
 
 72251 VOL 114 - 8
 
 114 LIBRAKY OF CONGRESS 
 
 L'Andromaca. Dramma per musica da rappresentarsi nel Real 
 Teatro di S. Carlo nel dl 4. novembre di quest' anno 1742. Per 
 festeggiare il glorioso nome di Sua Maesta. 
 
 Napoli, Francesco e Cristoforo Ricciardo, n. d. 2 p. 1., 60 p. llf m . 
 
 Three acts. By Antonio Salvi, who is not mentioned. Dedication, argument, 
 cast, scenario, and name of Leonardo Leo as composer. According to the dedication 
 by barone di Liveri, "L'Andromaca, . . . altra volta col titolo di Astianatte videsi in 
 questa citta ..." which leaves it open whether this applies to the text only or also 
 to Leo's music. SCHATZ 5556 
 
 Andromaca. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1781. Alia presenza delle Maesta 
 Loro. 
 
 Torino, Onorato Derossi, n. d. viii, 63 p. 16 cm . 
 
 Three acts. By Antonio Salvi, who is not mentioned. Argument, cast, scenario, 
 and names of Vincenzo Martin (Martin y Soler) as the composer of the opera, of 
 Vittorio Amedeo Canavasso as composer of Filippo Beretti s ballets, "La bella 
 Arsene," "II teatro italiano alia China," and "Marinari di nazioni diverse." 
 
 First performed, as indicated, December 26, 1780. SCHATZ 6027 
 
 Andromaca. Dramma per musica da rappresentarsi nel nobilissineo 
 Teatro di San Samuele il carnovale dell' anno 1790. 
 Venezia, Modesto Fenzo, 1790. 46 p. 17 cm . 
 
 Three acts. Antonio Salvi, the author, not mentioned. Argument, cast, and 
 name of Sebastiano Nasolini as the composer. SCHATZ 6999 
 
 L'Andromaca. Drarnma per musica da rappresentarsi nel Teatro 
 La Fenice per il solito tempo dell' Ascensione dell' anno 1798. 
 
 Venezia, Stamperia Valvasense, n. d. 55 p. 17 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Argument, cast, 
 scenario, and -name of the composer, Giovanni Paisiello. 
 
 First performed at Naples, Teatro S. Carlo, fall 1797. SCHATZ 7598 
 
 L'Andromaca. Dramma per musica da rappresentarsi nel Teatro 
 dell' illustrissima citta di Lodi nel carnovale dell' anno 1757 . . . 
 
 Milano, Carlo GTiiolandi, n. d. 6 p. I., Jfi p. 15 cm . 
 
 Three acts. Dedication signed by the author Giuseppe Maria Viganb and dated 
 Lodi, January 20, 1757. Argument, scenario, cast, and name of Giuseppe Scolari as 
 the composer. SCHATZ 9803 
 
 Andromaca in Epiro, ballet. See Gazzaniga's Tullo Ostilio. 
 Andromaca in Epiro, ballet. See Sarti's Farnace. 
 
 Andromaque, trage"die-lyrique, en trois actes, representee pour la 
 premiere fois, par FAcademie-royale de musique le mardi 6 juin 1780. 
 Paris, P. de Lormel, 1780. 66 p. 22\ cm . 
 
 Based by Louis Guillaume Pitra (who is not mentioned) on Racine's tragedy. As 
 the "Avertissement" says on p. 7: 
 
 "On a cpnserv^ les vers de ce grand homme, autant que la coupe des scenes, la 
 forme des airs & du re"citatif, 1'ont permis. II a fallu malheureusement meler souvent 
 d'autres vers avec les siens pour former la contexture de 1'action." 
 
 Cast and name of GrStry as the composer. SCHATZ 4138 
 
 Andromeda. Poemetto drammatico nel giprno del gloriosissimo 
 nome della Sac. Ces. R. Maesta dell' imperadrice Amalia Willelmina. 
 
 Bernardoni, Pietro Antonio, Poemi drammatici, parte terza, Vienna, 
 van Ghelen, 1707, p. 137-147. 16$ cm . 
 
 The composer is not mentioned by von Weilen. 
 
 First performed at Vienna, as indicated, July 10, 1702. ML 49.A2B4
 
 OPERA LIBEETTOS 115 
 
 Andromeda. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnevale del 1755 . . . 
 
 Torino, Zappata ed Avondo, n. d. xi, [1], 55 p. 15\ cm . 
 
 Three acts. By Vittorio Amadeo Cigna-Santi (not mentioned). Argument, cast, 
 scenario, and name of the composer, Gioacchino Cocchi. Rocco Gioannetti is men- 
 tioned as the composer of the ballet music. SCHATZ 2051 
 
 Andromeda. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1772 alia presenza di S. S. R. M. 
 
 Torino, Onorato Derossi, n. d. viii, 54, [1] p- 16\ cm . 
 
 Three acts. By Vittorio Amadeo Cigna-Santi, who is not mentioned. Argument, 
 cast, scenario, and name of the composer, Giuseppe Colla. On p. 52-54 description 
 of the allegorical ballets "II ritorno della primavera," "Le nozze americane and 
 "Feste in onore di Bacco." The ballets were by Giacomo Favier, their music by 
 Giuseppe Antonio Le Messier. 
 
 First performed as indicated, December 26, 1771. SCHATZ 2106 
 
 L'Andromeda del Signor Benedetto Ferrari. Rappresentata in 
 musica in Venetia 1'anno 1637 . . . 
 
 Venetia, Antonio Bariletti, 1637. 70, [2] p. 13\ cm . 
 
 Three acts. Publisher's dedication dated Venice, May 6, 1637, sonnet by Alfonso 
 Pucinelli "all' autore, poeta, musico, e senator di tiorbaeccellentissimo," sonnets by 
 Bartolameo Angarani and Gio. Francesco Busenello to the author, on p. 5-12 a very 
 interesting preface by the publisher with name of Francesco Manelli as composer 
 and describing in detail the scenes, costumes, machines, etc., giving the names of 
 the singers. Following the text of the opera on p. 61-68 "Sonetti del Signor Bene- 
 detto Ferrari in lode de signori musici piu celebri, ch' intervennero nelF Andromeda," 
 a sonnet by Carlo Federici to Ferrari, one by Donato Milcetti, "per 1'Andromeda," 
 latin ode by Bartolameo Angarani to Ferrari, and on last page the errata. From the 
 publisher's preface and from the sonnets it appears that Annibale Graselli da Citta 
 di Castello represented Mercuric, Perseo and Ascala, Francesco Angeletti da Assisi 
 represented Giunone, Giovanni Battista Bisucci Bolognese represented Protheo and 
 Giove, Anselmo Marconi Romano represented Venere, Madelena Manelli Romana 
 represented Andromeda and Francesco Manelli da Tivoli, the composer, Nettuno 
 and Astarco Mago and Girolamo Medici Romano represented Astrea. Enthusiastic 
 praise is also bestowed on Gio. Battista Balbi Venetiano, ballarino celebre, and on 
 Ferrari's several tiorba accompaniments. From the dedication the date of per- 
 formance may be fixed since Bariletti says: 
 
 "Andromeda che su le scene rinacque gia son due mesi; su le glorie de' suoi natali, 
 eece ad acrescersi negl' applausi dell' uni verso." SCHATZ 5887 
 
 Andromeda. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Berlino il carnovale dell' anno 1788. Composto con li 
 balli analoghi da Antonio Filistri de' Caramondani . . . e messo in 
 musica dal Sigr. Giov. Feder. Reichardt . . . 
 
 Berlino, Haude e Spener, n. d. 167, [1] p. 15% cm . 
 
 One act. Argument and cast. German title and text face Italian, and it is stated 
 on p. 19 that the translation is not by the translator "der mehresten vorhergehenden 
 opern." On p. 160-167 "die umstaendliche anzeige von dem urspruenglichen ent- 
 wurf dea Schlussballets bey dessen ausfuehrung jedoch ein theil der details vielleicht 
 wegbleiben duerfte." 
 
 First performed January 11, 1788, as indicated. SCHATZ 8634 
 
 L'Andromeda. Dramma del cavalier Carlo Bassi posto in musica 
 
 dal Sig. Isidore Tortona, e rappresentato nel Teatro Ducale di Pia- 
 
 cenza 1'anno 1662 . . . 
 
 Piacenza, Giovanni Bazachi, n. d. 8 p. 1., 72 p. 14 cm - 
 Prologue and three acts. Author's dedication dated May 17, 1662. Argument, 
 
 cast and somewhat stilted notice to the reader in which Bassi says: 
 
 "a simil genere di componimgto, questa & la prima volta, ch'io ci h6 lasciata 
 
 incorrere la penna." SCHATZ 10374
 
 116 LIBRARY OF CONGRESS 
 
 Andromeda. Melodramma in due atti a tre personaggi. Rappre- 
 sentato nell' anno 1796 nel Teatro di S. E. il Signer conte Carlo di 
 Breunner ambasciatore Cesareo regio presso la serenissima repubblica 
 di Venezia, ec. ec. ec. 
 
 n. i., n. d. 18 p. 20 cm . 
 
 Argument, cast (aristocratic amateurs), names of Giovanni Bertati as author, of 
 Nicola Antonio Zingarelli as composer. SCHATZ 11265 
 
 Andromeda e Perseo, ballet. See Bernardini's Achille in Sciro. 
 Andromeda e Perseo, ballet. See Mortellari's Le astuzie amorose. 
 
 Andromeda und Perseus. Ein schauspiel mit musik. Aufge- 
 fuehrt im Kais. Koenigl. National theater. 
 
 Wien, beym Logenmeister, 1780. 32 p. I7 cm . 
 
 One act. Neither the author, Kempel, nor the composer, Anton Zimmermann, 
 is mentioned. 
 
 First performed, as indicated, April 23, 1781. SCHATZ 11234 
 
 Andronico e Ramira, ballet. See Borghi's Egilina. 
 
 Andronico e Ramira, ballet. See Nasolini and Trento's Gli 
 innamorati. 
 
 Andronico e Ramira, ballet. See Sarti's I pretendenti delusi. 
 Andronico e Ramira, ballet. See Winter's I fratelli rivali. 
 
 L'ane d'or d'Apulee, opera-comique en deux actes, m&le de prose & 
 de vaudevilles. Joue sur le Theatre du Fauxbourg Saint-Laurent 
 en 1725. 
 
 Alexis Piron, Oeuvres complettes, Liege, 1776, v. 3, [285]-346 p. 
 
 2 TO . 
 
 In a foot-note on p. 287 the editor says: "Cette piece eut 40 representations con- 
 e^cutives pendant 40 jours." Composer not recorded. PQ 2019.P6 
 
 L'anello incantato. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro della rua dos Condes in Lisbona nell' estate dell' 
 anno 1772. 
 
 [Lisbona], nella Stamperia reale, n. d. S3 p. 17 cm . 
 
 Three acts. Cast, scenario, and names of Ferdinando Giuseppe Bertoni as com- 
 poser and of the author, Giovanni Bertati. The first ballet, "Diana e Endimione," 
 was by Vinceslao de Rossi. The composer is not mentioned. 
 
 First performed at Venice, Teatro di S. Moise, fall of 1771. SCHATZ 929 
 
 Anfitrione. Tragicommedia per musica da rappresentarsi nel 
 Teatro Tron di S. Cassano, 1'autunno dell' anno MDCCVII . . . 
 
 Venezia, Marino Rossetti, 1707. 70 p. 14% cm - 
 
 Five acts with prologue. Dedication, signed by Pietro Pariati, the author, argument, 
 cast, scenario and name of Carlo Francesco Gasparini as the composer. Fehr 
 attributes the text jointly to Zeno and Pariati, but the text does not appear so in 
 Zeno's works. SCHATZ 3559
 
 OPERA LIBRETTOS 117 
 
 Anfitrione Continued . 
 
 - Amphytrion, in einem sing-spiele, auf dem Hamburgischen 
 Schauplatze im jahr 1725 vorgestellet. 
 
 [Hamburg], Gedruckt mit Stromerischen schrifften, n. d. Unpaged. 
 
 Three acte and prologue. The "Vorbericht an den leser" informs us wherein the 
 condensation of Pariati's original text consists. The end of this curious preface reads: 
 
 "An der musique hat der beruehmte Francesco Gasparini keinen geringen antheil, 
 doch sind die meisten arien wohlgerathene kinder einer illustren persohn [Johann 
 von Wich, according to Schatz], welche die von ihren hohen vemchtungen abge- 
 muessigte stunden emem so edlen zeit-vertreibe zu widmen kein bedencken traeget. 
 Da nun das Recitativ auch von einem beruehmten manne verfertiget word en, so mag 
 die echqenheit der musique, der unvollkommenen uebersetsung zu statten kommen. 
 Es ist dieselbe ein poetisches kinder-werck von J. P. Praetorius." 
 
 Scenario and cast. German text faces Italian, but not throughout. Some scenes 
 and arias have German text only. SCHATZ 3560 
 
 L'Angelica, serenata. 
 
 [379}-424 P- 19 cm . (Pietro Metastasio, Opere drammatiche, Vene- 
 
 zia, Giuseppe BettineUi, 1733-37, v. 3.) 
 
 Two parts. No composer mentioned. ML 49.A2M4 
 
 First performed with' music by Porpora at Vienna, November 19, 1720. 
 
 L' Angelica. Serenata. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t. ix, [181]-238 p- 
 16 cm . 
 
 Two parte with licenza. ML 49.A2M42 
 
 L'Angelica. Serenata. 
 
 pi., [199]-250 p. 26 cm . (Metastasio, Opere, t. x, Parigi, vedova 
 Herissant, 1182.} 
 
 Two parts with licenza. ML 49.A2M44 
 
 La Angelica. Serenata da rappresentarsi sopra il Teatrino della 
 ducal corte in Wolfenbuttell, per festeggiare il giorno natalizio della 
 Altezza Serenissima di Antonetta Amalia, duchessa di Bronsevigo et 
 Luneburgo etc li 22. aprile MDCCLI. 
 
 n. i., n. d. Unpaged. 19 cm . 
 
 Two parts. Author (Metastasio) and composer (unknown to Schatz) not mentioned. 
 
 SCHATZ 11306 
 
 L'Angelica. Serenata per musica da cantarsi nella Real villa di 
 Queluz . . . per celebrare il felicissimo giorno natalizio della Serenis- 
 sima Signora D. Maria Francesca Benedetta, principessa del Brasile, 
 li 25. lug. 1778. 
 
 [Lisbona], Stamperia reale, n. d. 28 p. 16 cm . 
 
 Two parts. Cast and names of Metastasio as author, of Giovanni de Sousa Cara- 
 valho (Carvallio) as composer. ML 50.2.A71C2 
 
 Angelica. Dramma per musica da rappresentarsi nel Teatro Gri- 
 mani di S. Samuele nella fiera dell' Ascensione dell' anno 1738 . . . 
 
 Venezia, Marino Rossetti, 1738. 47 p. 14\ cm . 
 
 Three acts. Dedication signed by Domenico Lalli, cast, scenario, argument, name 
 of Giovanni Battista Lampugnani as the composer and statement, that this is the 
 first drama of the author (Carlo Vedoa, not mentioned by name) and that it was written 
 in eight days. 
 
 First performed May 11, 1738, as indicated. SCHATZ 5391
 
 118 LIBRARY OF CONGRESS 
 
 Angelica e Medoro. Dramma per musica da rappresentarsi in 
 Firenze nel Regio Teatro degli Intrepid! detto della Palla a Corda nella 
 primavera dell anno 1792 . . . 
 
 Firenze, Ant. Gius. Pagani e comp., 1792. 36 p. 18 cm . 
 
 Two acts. By Gaetano Sertor, based on Metastasio's "Serenata 1' Angelica e 
 Medoro." Cast, argomento, and name of Gaetano Andreozzi, as composer, but not of 
 librettist. At Florence the opera was followed by "La turca in cimento. Ballo- 
 eroi-comico pantomimo diviso in due atti composto dal Sig. Luigi Dupen" and the 
 libretto contains on p. 7-10 the plot of this ballet. Composer of the music not men- 
 tioned. 
 
 First performed at Venice, Teatro di S. Benedetto, carnival 1791. SCHATZ 194 
 
 [Angelica e Medoro] Angelica und Medorus, ein singspiel 
 welches auf Sr. Koenigl. Maiestaet in Preussen allergnaedigsten 
 befehl an dem hoechsterfreulicnen geburts-feste Ihro Majestaet der 
 koenigl. frau mutter frauen Sophien Dorotheen koeniginn in Preussen 
 etc etc etc auf dem Berlinischen schauplatze soil aufgefuehret werden. 
 
 Berlin, Haude und Spener, 1749. 128 p. 15% cm . 
 
 Three acts. Leopoldo de Villati is mentioned as author and Carl Heinrich Gratin 
 aa the composer. Argument and scenario. German text faces Italian. 
 
 First performed at Berlin, Kgl. Operntheater, March 27, 1749. SCHATZ 4088 
 
 Angelica e Wilton, ballet. See Isola's La conquista del vello d'oro. 
 
 Angelica in India. Istoria favoleggiata con drama musicale dal 
 co. Pietro Paolo Bissari. K. . 
 
 Vicenza, gli Jieredi Amadii, 1656. 82 p. 14 cm > 
 
 Three acts and prologue. Author's dedication, argument. On p. 79-82 "Registro 
 delle istorie figurate nel drama" and "Auttorita della lingua in Antello." Com- 
 poser not mentioned and unknown to Schatz. SCHATZ 11307 
 
 Angelica und Medorus. Tr. of Graun's Angelica e Medoro. 
 Die Angelsachsen. A. T. of Schulz's Minona. 
 
 Der angenehme betrug, oder Der carneval von Venedig, in einem 
 sing-spiele auf den grossen Hamburgischen schau-platze vorgestellet 
 im jahr 1707. 
 
 n. i., n. d. Unpaged. 18% cm . 
 
 The last leaf contains "Was im druck ausgelassen worden." 
 
 Three acts. The "Vorbericht" by the author, resp. translator, Barthold Feind 
 (not mentioned) says in part: 
 
 "Unterschiedliches ist aus den frantzosischen und anderen authoren genommen 
 und vor hiesigen zustand accommodiret . . . Was die music betrifft, moegen die- 
 jenigen kenner rahten, welche von dem herrn capell-meister Keiser sey, die in 
 die 12. jahr dessen arbeit bereits gehoeret." 
 
 To some arias the Italian text has been added. 
 
 First performed, as indicated, February, 1707. SCHATZ 5076 
 
 - Der angenehme betrug oder Der carneval von Venedig. In 
 einem sing-spiele auf dem Grossen Hamburgischen Schau-platze vor- 
 gestellet. 
 
 Hamburg, FridericJi Conrad Grejlinger, 1716. Unpaged. 19 cm . 
 
 Three acts. Scenario and " vpr-bericht " with name of Reinhard Keiser as the 
 composer and statement that this is a " veraenderung " of the opera as performed 
 there years ago. The author, Barthold Feind, is not mentioned. Some of the arias 
 have the Italian text added to the German. The text is practically the same as in 
 the version of 1707, except that the burlesque scene III, 10, has been doubled in 
 length, everything after trie words "So kann ich bym olden een jungen erwarven" 
 being added. 
 
 First performed, as indicated, 1716. SCHATZ 5118
 
 OPERA LIBRETTOS 119 
 
 Der angenehme betrug Continued. 
 
 Der angenehme betrug, oder Der carneval von Venedig. Auf 
 dem Hamburgischen Schau-platze in einer opera vorgestellet, im 
 jahr 1723. 
 
 Hamburg, Caspar Jakhel, n. d. Unpaged. 18 cm . 
 
 Three acts. Third version of this opera. Neither Feind is mentioned nor Keiser. 
 The Italian text is added to many of the arias. The text is somewhat different from 
 the 1716 version. For instance, I, 1, now begins "Lungi da me vagha belta Schoen- 
 heit entferne dich von mir" instead of "Liebste freyheit, du allein," I, 1-1, 5 are 
 .the same, also dialogue of I, 6, but the aria " Unsre Hebe bleibt bestaendig " has become 
 "Mio tesoro. Mio diletto Mein Schatz! Mein ergoetzen," the seventh scene now 
 begins "Quanto e dolce, quanto piace Wie angenehm und vergnuegt ist es" instead 
 of Amor, te'l giorno a fe O Liebe! ich schwoere dir," etc., etc. SCHATZ 5119 
 
 Les animaux raisonnables. Piece d'un acte. Par messieurs F** 
 & Le G**. Represented a la Foire de S. Germain 1718. 
 Le theatre de lafoire, Paris, 1737, t. HI, pi, 35 p. 17 cm . 
 
 By Louis Fuzelier and Alexandre Le Grand. The airs, selected or composed and 
 arranged by Jean Claude Gillier, are printed at the end of the volume in the "Table 
 des airs." 
 
 First performed, according to Parfaict, end of February, 1720. ML48.L2in 
 
 L'anneau perdu et retrouve, opera comique en deux actes, melee 
 de morceaux de musique. Par M. Sedame. La musique de M. 
 B. * * * Represent e pour la premiere fois par les Comediens italiens 
 ordinaires du roi, le lundi 20 aout 1764. 
 
 Paris, Claude Herissant, 1764. [vi], [2}, 56 p. 20 cm . 
 
 Page 1 is preceded by two pages (numbered 75, 58) with list of Sedaine's works, the 
 contents of the "Theatre de la Foire & des Boulevards," etc. Cast and "avertisse- 
 ment," in which Sedame says: * 
 
 "Le 5 mars 1761 on a donne a 1'Opera Comique de la Foire S. Germain, une piece 
 intitulee: les Bons comperes, ou Les bons amis, qui, comme dit le Dictionnaire des 
 Theatres, n'eut pas de succes. L'auteur de la musique qui m'honore de son amitie 
 [Jean Benjamin de La Borde], me pria de vouloir y faire des changemens, je les fis du 
 jour au lendemain. Je retranchai les scenes, & j'en fis des neuves pour joindre les 
 scenes divis^es, mais tous mes efforts ne purent retarder la chute de la piece: la 
 musique cependent avoit fait plaisir, & sur-tout une des ariettes. Seduit par elle, 
 je me mis en tete de mettre cette piece en etat d'etre rejoue . . . il s'est trouve a la 
 fin que j'avois fait une maison neuve: cela a oblige le musicien de faire toute musique 
 nouvelle, a 1'exception d'un morceau qui, par le plus grand hazard, s'est rencontre" 
 ajust6 sur mes paroles, & de cette ariette en question que j'a vois parodiee. Mais le 
 musicien a exig6 de moi que je laissasse les anciennes paroles; & de fait elles sont plus 
 conformes a la musique qui avoit e"t6 faite pour elles. Je les ai done conserves, du 
 consentement du propri^taire de 1'ancienne piece "... 
 
 He then points out some differences between the new and the old piece, and saya 
 that he used two verses by La Fontaine. SCHATZ 5350 
 
 Annetta e Fierillo, ballet. See Millico's La Zelinda. 
 
 Annette and Lubin, pantomime. See The fable of the pantomime 
 dances. 
 
 Annette and Lubin: A comic opera in one act. As it is performed 
 at the Theatre-Royal in Covent-Garden. 
 
 Lvndon, G. Kearsley, 1778. 24 p. 21 cm . 
 
 Cast and the author-composer, Charles Dibdin's, "Advertisement," which he pub- 
 lished with all of his imitations of one act French comic operae. 
 
 First performed October 2, 1778, as indicated. LONQE 102
 
 120 LIBRARY OP CONGRESS 
 
 Annette et Lubin, com&lie en un acte en vers; m&le'e d'ariettes & 
 de vaudevilles. Par Madame Favart & Mr. * * *. Represent ee 
 pour la premiere fois par les Come'diens italiens ordinaires du roi, le 
 15 fe"vrier 1762. 
 
 Paris, Duchesne, 1763. 78, [2] p. 19 cm . (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. v.) 
 
 One act. Cast. At the time of its appearance the play was attributed to Voisenon, 
 but Font argues that he had nothing to do with it, and that the text was written by 
 Mad. Favart in collaboration with her husband and Lourdet de Santerre for the 
 wedding festivities of M. de Mailly and M 1 ! 8 de Peiigord. It was first privately 
 performed in January, 1762, according to Favart's Corresp. Font incorrectly attrib- 
 utes the music to Martini, but the music was arranged and partly composed by Blaise. 
 Many of his ariettes appear printed in the text (the duo "Lorsqu' Annette est avec 
 Lubin" expressly bears his name), whereas no vaudeville air is so printed. "Mes 
 trois femmes 6toient veuves" was to be sung to "Air: de M. Sodi." ML 49.A2F1 
 
 Annette et Lubin. Comedie en un acte en vers ; m16e d'ariettes 
 & de vaudevilles. Par Madame Favart, & Mr. * * * Represented 
 pour la premiere fois par les Come'diens italiens ordinaires du roi, le 15 
 feVrier 1762. 
 
 Paris, Duchesne, 1763. 78 p. 18$ cm . 
 
 The composer, Adolphe Blaise, is not mentioned. Most of the airs are printed 
 in the text. SCHATZ 1063 
 
 Annette et Lubin, comedie en un acte, en vers, mdlee d'ariettes 
 & de vaudevilles; par madame Favart, & Mr. * * *. Represented 
 pour la premiere fois par les Come'diens italiens ordinaires du roi, le 
 15 fevrier 1762. 
 
 Paris, la veuve Duchesne, 1770. 48 p. 19 cm . 
 
 On p. 15 the air of "II toit une fille, une fille d'honneur," on p. 45-46 the vaude- 
 ville "Que tout le hameau s'apprete," and on p. 47 the ronde "Lubin aime sa bergere." 
 Blaise, the composer, is not mentioned. SCHATZ 11675 
 
 - Annette et Lubin, comedie en un acte et en vers libres, m61ee 
 d'ariettes & de vaudevilles par Madame Favart, & M * * * Repre- 
 sentee pour la premiere fois par le Come'diens italiens ordinaires du 
 roi, le 15 Fevrier 1762. 
 
 Avignon, Louis Chambeau, 1774- 4 P- 19% cm . 
 
 Blaise, the composer, is not mentioned. ML 48.M2M 
 
 Annette et Lubin, Come'die. 
 p. 5-55. 16 cm . 
 
 Title page, etc., missing. SCHATZ 11676 
 
 Annibale. Dramma per musica da rappresentarsi nel Teatro di 
 S. Angelo nell' autunno. 
 
 Venezia, Carlo Buonarrigo, 1731. 1 p. 1., 60 p. 15 cm . 
 
 Three acts. By Filippo Vanstryp, who is not mentioned. Argument, cast, 
 scenario, and name of Nicola Antonio Porpora as the composer. SCHATZ 8368 
 
 L'Annibale in Capua. Melodrama rappresentato in Venetia nel 
 famoso Teatro Grimano 1'anno MDCLXI . . . 
 
 Venetia, Giacomo Batti, 1661. 2 p. 1. (incl. front.} , 94 p. 15 cm . 
 
 Prologue and three acts. By conte Nicolo Beregani, who is not mentioned by 
 name. Publisher's dedication, argument, scenario, and notice to the reader, inform- 
 ing him that this drama was prepared for performance in twenty days, and that the 
 music was composed by Pietro [Andrea] Ziani. 
 
 First performed, as indicated, carnival, 1661. SCHATZ 11225
 
 OPEKA LIBRETTOS 121 
 
 Annibale in Torino. Dramma per musica da rappresentarsi nel 
 Regio Teatro di Torino nel carnovale del 1771 . . . 
 
 Torino, Onorato Derossi, n. d. xi, 52 p. 16 cm . 
 
 Three acts. By Jacopo Durandi, who is not mentioned. Argument, cast, scenario, 
 and names of Paisiello as the composer of the opera, of Giuseppe Antonio Le Messier 
 of the ballet music. SCHATZ 7692 
 
 Annibale in Torino, ballet. See Tarchi's Bacco ed Arianna. 
 
 Annibale in Torino. Dramma per musica da rappresentarsi nel 
 Regio Teatro di Torino nel carnovale del 1792 . . . 
 
 D 
 
 Torino, Onorato Derossi, n. d. viii, 55, [1] p. 15 cm . 
 
 Three acts. By Jacopo Durandi, who is not mentioned. Argument, cast, scenario, 
 and name of Nicola Antonio Zingarelli as the composer. With the opera were per- 
 formed Domenico Le Fevre's ballets "II finto giardiniere," "Alcina ed Astolfo," 
 and "La cuccagna," the music selected by Le Fevre from "diversi celebri autori." 
 
 SCHATZ 11239 
 
 The anniversary of St. Patrick. A. T. of The shamrock. 
 
 L'annore resarciuto. Commedeja napoletana de lo dottore Nicola 
 Gianni da rappresentarese a lo Tiatro de li Shiorentine nchist' anno 
 1727 . . . 
 
 Napole, Pe lo soleto [mutilated], 1727. 48 p. lltf m . 
 
 Three acts. Dedication, cast and name of Antonio Arefice (Oreflce) as composer. 
 
 ML 50.2.A715O7 
 
 Antigona. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro La Fenice per seconda dell' autunno 1799. 
 
 Venezia, Valvasense, 1799. 39 p. 17\ cm . 
 
 Two acts, based on an English drama with additions by Gaetano Rossi. Cast and 
 names of librettist and Francesco Basil! as composer. SCHATZ 630 
 
 Antigona. Tragedia per musica da rappresentarsi nel Teatro grande 
 alia Scala il carnevale dell' anno 1789 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 6 p. 1., 13-56 p. 16% cm . 
 
 Three acts, based on a libretto by Marco Coltellini written for St. Petersburg in 
 1772, as is stated in the argomento. This is preceded by a dedication and followed 
 by cast, scenario, and name of Vincenzo Campobasso d'Alessandro as composer. 
 With the opera were performed Gaspero Angiolini's ballets (also the music) "Fedra" 
 and "Lorezzo." 
 
 First performed, as indicated, December 26, 1788. SCHATZ 1538 
 
 Antigona. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1752 . . . 
 
 Torino, Pietro Giuseppe Zappata efigliuolo, 1752. 69 p. 15% cm . 
 
 Three acts. By Gaetano Roccaforte (not mentioned). Argument, scenario, cast, 
 and name of the composer, Giovanni Battista Casali. With the opera were per- 
 formed Pietro Alovar's ballets, composer of the music not mentioned, Armida" and 
 "Le nozze di Perseo e d'Andromada." SCHATZ 1678 
 
 Antigona. Drama per musica da rappresentarsi in Roma nel Teatro 
 delle Dame nel carnevale dell' anno MDCCLI . . . 
 
 Roma, Fausto Amidei, n. d. 66 p. 14\ cm > 
 
 Three acts. Dedication, argument, scenario, cast and names of Gaetano Rocca- 
 forte as author, of Baldassare Galuppi as composer. 
 
 First performed as indicated, January 9, 1751 (Piovano). ML 50.2.A718G3
 
 122 LIBRARY OF CONGRESS 
 
 Antigona Continued . 
 
 - Antigona. Dramma per musica da rappresentarsi nel Teatro Gius- 
 tinian di S. Moise 1'autunno dell' anno 1754. 
 Venezia, Modesto Fenzo, 1754- 58 p. 15\ cm . 
 
 Three acts. By Gaetano Roccaforte, who is not mentioned. Argument, scenario, 
 cast, and name of Baldassare Galuppi as composer. 
 
 First performed at Rome, Teatro delle Dame, Jan. 9, 1751 (Piovano). 
 
 SCHATZ 3437 
 
 Antigona. Ein musicalisches schauspiel so an dem churfuerstl 
 pfaeltzischen hof auf den erfreulichen noechsten geburts-tag der 
 durchlaeuchtigssten frauen churfuerstin den 17 Januarii 1752 . . . 
 aufgefuehret worden. 
 
 Mannheim, Nicolaus Pierron, n. d. 86 p. 
 
 Three acte. Argument, scenario, cast, and names of the author, Gaetano Rocca- 
 forte, and the composer, Bald. Galuppi. Text in German only. SCHATZ 3438 
 
 Antigona. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro delle Dame il carnevale dell' anno 1768. Dedicate a Sua 
 Eccellenza la Signora D. Matilde Bentivoglio Erizzo, ambasciatore di 
 Venezia. 
 Roma, Ottavio Puccinelli, n. d. 58 p. 15\ cm . 
 
 Three acts. Dedication, argument, scenario, cast, and names of Gaetano Rocca- 
 forte as author, of Giovanni Francesco de Ma jo as composer. SCHATZ 5862 
 
 Antigona. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di San Benedetto per la fiera dell Ascensione dell' anno 1776. 
 Venezia, Modesto Fenzo, 1776. 70 p. 11 \. 
 
 Three acts. Gaetano Roccaforte is mentioned as the author, Michele Mortellari 
 as the composer. Argument, cast, and scenario. On p. [25]-39 argument and descrip- 
 tion of Giuseppe Canziani's "Linceo, ballo tragico in cinque atti. The composer of 
 the music is not mentioned. 
 
 First performed as indicated, May 11, 1776. SCHATZ 6679 
 
 Antigona. Tragedia da cantarsi nel Teatro Tron nel carnovale dell' 
 anno MDCCXVIII offerita a G. A. G. da Merindo Fesanio Past. Arc. 
 
 Venezia, Marino Rossetti, 1718. front., 1 p. 1., 71 p. 16 cm . 
 
 Five acts. Author's real name, Benedetto Pasqualigo. Dedicatory poems, argu- 
 ment, cast, scenario, and name of Giuseppe Maria Orlandini as the composer. 
 
 SCHATZ 7327 
 
 La fedelta coronata. Drama per musica da rappresentarsi in 
 Bologna nel Teatro Malvezzi la state dell' anno MDCCXXVII. 
 
 (At end) Bologna, Clemente Maria Sassi, 1727. 59 p. 16\ cm . 
 
 Three acts. Imprimatur dated May 19, 1727, scenario, cast, name of Giuseppe 
 Maria Orlandini as composer and notice to the reader with argument and apologies 
 for the alterations in the "presente Libretto" by Benedetto Pasqualigo, who is not 
 mentioned. It is remarked: "Questa e la sorte, che incontrano i drami fatti per 
 musica, primieramente di doversi agli altrui vari, e discordi giudicj, piu che a quello 
 del poeta accomodare; e poi di essere in nuove maniere riordinati, e rivestiti." 
 
 In this rifacimento, for instance, the aria "Se vaporetto in nuvoletto" has been 
 dropped from I, 1, and moved to I, 3; "Fu di re comando allora" in I, 2, has been 
 replaced by "II padre amante contro un' ingrato"; scene V, 6, "Ti vendichi, e ti 
 salvi," has become III, 11, and indeed this three act version is so different from 
 the original five act version as to be almost a different opera. 
 
 "La fedeltk coronata" was first performed as indicated, June 14, 1727. 
 
 ML 50.2.A71807
 
 OPERA LIBRETTOS 123 
 
 L'Antigona delusa da Alceste. Drama per musica di Aurelio 
 Aureli. Favola settima . . . 
 
 Milano, Stampa archiepiscopale, 1662. 84 p. 13 cm . 
 
 Three acts. Dedication dated Milan, April 15, 1662, argument, scenario, and 
 notice to the reader with name of Pietro Andrea Ziani as the composer: 
 
 ". . . La mia debolezza costretta a obedire a i commandi di quella autorita, che 
 non e awezza a ricever negative da chi conosce di poter restare servita, quando '1 
 desidera, ei e veduta questa volta necessitata a produrti nel corso d'un mese non 
 diro un parto, ma un' abhorto d'ingegno, ed ad amareggierti la soavita di quel gusto, 
 che haveresti provato fino al fine del carnevale corrente dalle contuate recite del 
 virtuosissimo drama dell' illustrissimp Signer Pietro Angelo Zaguri, mio riverito 
 eignore e padrone . . . Avverti di piu, che per la strettezza del tempo mi e con- 
 venuto aggiustare il drama sopra le scene (trattane sol una) sopra i medesimi balli, 
 e su parte delle machina inventate dall' illustrissimo Signore Zaguri, onde se tu credi, 
 che da questa mia fatica io sia per acquistare alcuna portione di gloria, io tutta volun- 
 tariamente la cedo all' illustrissimo Signer Zaguri, eudetto, come a quello, che mi 
 ha prestato la base per fondamentare la machina di questo mio drama. 
 
 First performed at Milan, Teatro del Palazzo Ducale, April 15, 1662; at Venice, 
 Teatro di S. Gio. e Paolo, carnival 1660. SCHATZ 11212 
 
 Antigono. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t. v, [173]-263 p. 
 16 cm . 
 
 Three acts and licenza. Argument. ML 49.A2M42 
 
 Antigono. Dramma scritto dall' autore in Vienna 1'anno 1744 per 
 la reale, ed elettoral corte di Dresda: dove nel carnevale fu rappre- 
 sentato la prima volta con musica dell' Hasse. 
 
 pi., [181]-274 p. 26 cm . (Metastasio, Opere, t. vi, Parigi, vedova 
 Eerissant, 1780.) 
 
 Three acts, with licenza. Argument. ML49.A2M44 
 
 Antigono. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto nella fiera dell' Ascenzione dell' anno 
 MDCCLXXIIL 
 
 Venezia, Modesto Fenzo, 1773. 48 p. 17 cm . 
 
 Three acts. By Pietro Metastasio. Cast, scenario, argomento, and name of Pas- 
 quale Anfossi as composer, but not of librettist. The libretto of the opera is followed 
 by the "Programma delli due balli" (on 30 p.). The first is called " Semiramide, 
 ballo tragico pantomimo . . . inventato e composto dal Signor Gasparo Angiolini," 
 who is also mentioned in the cast as the composer of the music. He was also the 
 inventor, author, and composer of the other ballo pantomimo "II disertore francese." 
 
 SCHATZ 225 
 
 Antigono. Dramma per musica da rappresentarsi nel Teatro 
 grande alia Scala di Milano nel carnevale dell anno 1781. 
 
 Milano, Gio. Batista Bianchi, n. d. 62, [1] p. 16 cm . 
 
 Three acts. The added page contains the additional aria for II, 7, "Scherno degli 
 astri, e gioco." By Metastasio, who is not mentioned. Argument, scenario, cast, and 
 note, "musica nuova in parte del Sig. maestro Pasquale Anfossi, e nella maggior parte 
 del Sig. maestro abate Luigi Gatti. ' With the opera were performed Gasparo Angio- 
 lini's ballets (also the music), "Attila," "II castigo de' bonzi," and a Divertimento. 
 
 First performed, as indicated, February 3, 1781. SCHATZ 283 
 
 Antigono. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro La Fenice la fiera dell' Ascensione dell' anno 1794. 
 
 ?cm 
 
 Venezia, Modesto Fenzo, 1794. 6 P- 18c 
 
 Three acts. By Metastasio. Argument, cast, scenario, and name of the composer, 
 
 Luigi Caruso. On p. 21-33, argument, cast, and detailed description of the first
 
 124 LIBRARY OF CONGRESS 
 
 Antigono Continued. 
 
 ballet, music by Luigi Marescalchi, "La morte d'Egisto ossia Le furie d'Oreste, ballo 
 tragico pantomimo d invenzione e direzione del Sig. Onorato Vigano." The second 
 ballet was called "Amore vendicato." 
 
 First performed at Rome, Teatro Alibert, carnival, 1788. SCHATZ 1659 
 
 Antigono. Dramma per musica da rappresentarsi nel Teatro Gri- 
 mani di S. Benedetto il carnovale dell' anno 1762. 
 Venezia, Paulo Colombani, 1762. 58 p. 14 cm . 
 
 Three acts. By Metastasio. Argument, cast, scenario, and name of Baldassare 
 Galuppi as composer. 
 
 First performed at London, Haymarket, 13/24 May, 1746. SCHATZ 3439 
 
 Antigono. Drama per musica da rappresentarsi in Roma nel Teatro 
 di Torre Argentina nel carnevale dell anno 1756 . . . 
 
 Roma, Fausto Amidei, n. d. 59 p. 14% cm - 
 
 Three acts. Dedication ("la prima volta sil questo teatro"), argument, scenario, 
 cast and names of Metastasio as author, of Gluck as composer. 
 
 First performed as indicated, February 9, 1756. ML 50.2.A72G5 
 
 Antigono, dramma per musica da rappresentarsi nel Regio elettoral 
 Teatro alia corte di Dresda nel carnovale dell' anno MDCCXLIV. 
 n. i., n. d. 70, [1] p. 15\ cm . 
 
 Three acts and licenza. Argument, cast, scenario, and names of Metastasio as 
 author, of Johann Adolph Hasse as composer. 
 
 First performed at Hubertusburg, October 10, 1743; at Dresden, January 20, 1744. 
 
 ML50.2.A72H2 
 
 Antigono. Dramma per musica rapjpresentata nel Regio elettoral 
 Teatro alia corte di Desdra [ ! ] Fanno JVflDCCXLI V del Signer abbate 
 Pietro Metastasio. 
 Lucca, Domenico Ciuffetti, e Filippo Maria Benedini, 1744- 60 p. 
 
 Three acts. Composed by Hasse, who is not mentioned. Argument and scenario. 
 The text is the same as in the Dresden edition, except that the licenza has not been 
 reprinted. ML 48.M2M7 
 
 Antigono. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto il carnovale dell' anno 1768 . . . 
 
 Venezia, Modesto Fenzo, 1768. 62 p. 16\. 
 
 Three acts. By Metastasio, who is not mentioned. Prefatory poem by Michele 
 dall' Agata, argument, cast, scenario, and name of Francesco de Majo as composer 
 First performed as indicated, December 26, 1767. SCHATZ 5854 
 
 Antigono. Drama per musica da rappresentarsi nel Teatro di 
 Torre Argentina nel carnevale delP anno 1772 . . . 
 
 Roma, Arcangelo Casaletti, n. d. 60 p. 15 cm . 
 
 Three acts. By Metastasio. Argument, scenario, cast, name of Carlo Monza ag 
 the composer, and impresario's dedication, in which he says: 
 
 "Si rappresenta per la terza volta su le scene romane L'Antigono, opera dell' 
 insigne poeta Cesareo." 
 
 On p. 10 the note: 
 
 "Tuttocio, che si trova cangiato nel dramma si e dovuto fare per adattarsi alle 
 circostanze presenti del Teatro; si e procurato per altro di servirsi dei sentimenti 
 medesimi del primo autore sparsi nell' altre opere da lui composte." 
 
 Consequently, this version was a pasticcio from Metastasio s works. SCHATZ 6620
 
 OPERA LIBRETTOS 125 
 
 Antigono. Dramma per musica da rappresentarsi nel Nuovo Teatro 
 di corte . . . nel carnevale dell' anno MDCCLXIX. La poesia 
 dell' abbate Pietro Metastasio ... La musica e del Sig. Pietro 
 Pompeo Sales . . . 
 
 [Monaco, Maria Maddalena Mayrin], n. d. 205, [3] p. 14% cm - 
 Three acts. Argument, cast, and scenario. German title, "Antigonus," and text 
 face Italian. The 3 unnumb. p. contain the argument of the ballet, "Antoine & 
 Cleopatre." SCHATZ 9269 
 
 Antigono. Dramma per musica da rappresentarsi nel Nuovo 
 Teatro in Padova per la solita fiera di giugno 1764 . . . 
 Padova, n. pull., 1764. 56 p. 17 cm . 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and name of com- 
 poser, Tomaso Traetta, but not of librettist, Pietro Metastasio. The music is called 
 ' ' tutta nuova. ' ' SCHATZ 10406 
 
 L' Antigono. Dramma per musica dell' incomparabile Signer abate 
 Pietro Metastasio Poeta Cesareo da rappresentarsi in questo Regio- 
 Ducal Teatro Nuovo la primavera dell' anno 1786 . . . 
 
 Mantova, I'erede di Alberto Pazzoni, n. d. Jfi, 20 p. 17%. 
 
 Two acts! Dedication dated April 13, 1786 (when the stagione began), argument, 
 cast, scenario and name of Niccola Zingarelli as composer. On the 20 additional p., 
 argument, cast, scenario and detailed description without name of composer of music 
 of Antonio Muzzarelli's five-act "Ines de Castro, ballo tragico pantomimo." 
 
 ML 50.2.A72Z4 
 
 Antigono tutore di Pilippo re della Macedonia. Tragedia da 
 cantarsi nel Teatro Giustiniano in S. Moise". II carnovale dell' anno 
 1724. 
 
 Venezia, Carlo Buonarrigo, 1724- 48 p. 14% cm - 
 
 Five acts. Argument, scenario, cast. Neither the author, Giovanni Piazzon, ia 
 mentioned, nor the composers Tommaso Albinoni and Giovanni Porta. 
 
 SCHATZ 133 
 Antigonus. Tr. of Sales' Antigono. 
 
 Antiochus und Stratonica. A. T. of Graupner's Die kr^nckende 
 liebe. 
 
 Antioco. O. T. of Zeno and Pariati's Seleuco. 
 
 Antioco. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, t- x > P- [289]-382. 
 19 cm . 
 
 Three acts. Argument. Written in collaboration with Pietro Pariati. No com- 
 poser is mentioned. In the "Catalogo" at end of vol. x date and place of first edition 
 are given as Venice, 1705. ML 49.A2Z3 
 
 - Antioco. Pubblicato per la prima volta in Venezia 1705. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. ix, p. 95- 
 184. 21 cm . 
 
 Three acts. Argument. No composer is mentioned. Written in collaboration 
 with Pietro Pariati. ML 49.A2Z4 
 
 Antioco. Drama per musica nel Teatro a San Cassano per 1'anno 
 1658 . . . 
 
 Venetia, Andrea Giuliani, 1658. 5 p. 1., 72 p. 13% cm . 
 
 Three acts with prologue. By conte Niccolo Minato. Author's dedication dated 
 Venice, January 21, 1658, notice to the reader, and argument, but without name of 
 the composer, Pietro Francesco Cavalli. SCHATZ 1717
 
 126 LIBRARY OF CONGRESS 
 
 Antioco. Drama per musica da rappresentarsi nel Teatro Tron di 
 S. Cassano 1'autunno dell' anno MDCCV . . . 
 
 Venezda, Marino Rossetti, 1705. 72 p. 16 cm . 
 
 Three acta. By Apostolo Zeno and Pietro Pariati, who are not mentioned. Im- 
 presario's dedication, dated Venice, October 30, 1705, argument, cast, and scenario. 
 Carlo Francesco Gasparini, the composer, is not mentioned. SCHATZ 3561 
 
 Antioco. Dramma per musica da rappresentarsi nel Teatro alia 
 Scala il carnevale dell anno 1788 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 64 p. 17 cm . 
 
 Three acts. By Ferdinando Moretti, who is not mentioned. Dedication, argu- 
 ment, cast, scenario, and name of Angelo Tarchi as the composer. With the opera 
 were performed, composers of the music not mentioned, Filippo Beretti's "ballo 
 pantomimo eroico-tragico Giulietta e Romeo," "ballo eroico-comico.Lilla e Lubino, 
 ossia Una cosa rara." Of these, a note informs us, special librettos were published. 
 
 First performed December 26, 1787, as indicated. SCHATZ 10234 
 
 v' Antioco il Grande. Drama per musica da rappresentarsi 1'anno 
 MDCLXXXI nel famoso Teatro Grimano di S. Gio. Grisostomo . . . 
 Venetia, Francesco Nicolini, 1681 . 72 p. 14 cm - 
 
 Three acts. Dedication dated Venice, December 17, 1681, and signed by the 
 author, Girolamo Frisari, argument, scenario, and name of the composer, Giovanni 
 Legrenzi, "che a nostri tempi e la vera norma della musica; & il vivo oracolo dell' 
 armonia." 
 
 The libretto contains a list of errata, due to the sickness of the author while it waa 
 being printed, and for which he apologizes in the dedication. SCHATZ 5533 
 
 Antioco principe della Siria, dramma per musica da recitarsi nel 
 Teatro del Falcone 1'anno 1690 . . . 
 Genova, Gio. Battista & Antonio Sdonici, n. d. 79 p. 13 cm . 
 
 Three acts. Dedication by the scenery painter, Tomaso Aldrovandini, argument, 
 cast. The composer, Carlo Ambrogio Lonati, who also wrote the text, is not men- 
 tioned. SCHATZ 5681 
 
 Antiope. Ballet heroique en trois actes, avec un prologue. 
 
 Venard de La Jonchere, Theatre lyrique, Paris, 1772, t. I, p. [229]- 
 288. 18% cm . 
 
 "Avant-propos" (p. 231-244). No composer mentioned, and none recorded by 
 Cl. & L. ML 49.A2L2 
 
 Gli antiquari in Palmira. Commedia per musica da rappresen- 
 tarsi nel Teatro grande alia Scala 1'autunno dell' anno 1780 . . . 
 Milano, Gio. Batista Bianchi, n. d. 86 p. 16 cm . 
 
 Three acts. By Giuseppe Carpani, who is not mentioned. Dedication, cast, 
 scenario, and name of Giacomo Rust as the composer ("musica nuova"). With the. 
 
 opera were performed Gaspero Angiolini's ballets, "La morte di Cleopatra" and 
 'L'amore e 1 azzardo," for which he also composed the 
 
 music. SCHATZ 9176 
 
 L'Antiquario fanatico. A. T. of Bernardini's La finta Galatea, 
 the O. T. of his Le donne bisbetiche o sia L'antiquario fanatico. 
 
 Antoine e Cleopatre, ballet. See Sales' Antigono. 
 Antoine Masson. O. T. of Philidor's Le bon fils. 
 
 Anton der dumme gartner oder Der name thut nichts sur sache. 
 O. T. of Schack's Die beiden Antone and Der dumme gartner.
 
 OPERA LIBRETTOS 127 
 
 Anton und Antonette. Tr. of Gossec's Toinon et Toinette. 
 
 Antonino e Pompeiano. Drama per musica nel famosissimo 
 Teatro Vendramino di S. Salvatore. L'anno MDCLXXVII. Del 
 Bussani . . . 
 
 Venetia, Francesco Nicolini, 1677. 68, [1] p. (ind. front.) 16. 
 
 Three acts. Author's dedication, argument, scenario, and notice to the reader, 
 with the name of Antonio Sartorio as the composer. SCHATZ 9491 
 
 Second copy. ML 48.M2O 
 
 Antonino e Pompejano. O. T. of Bussani's text La tirannide 
 punita. 
 
 Antonius und Cleopatra. Ein duodrama mit gesang, in zwey 
 aufzuegen, von d'Arien. In musik gesetzt von J. C. Kanka. (Zum 
 erstenmal vorgestellt auf der hiesigen schaubiihne den 15. dieses 
 monats.) 
 
 p. 753-761, 769-773. (LiUeratur und Theater Zeitung, Berlin, 1779, 
 & er jahrg., 4*** t.) 18% cm . SCHATZ 4772 
 
 L'antre de Trophonius, opera-comique en un acte. 1722. 
 
 Alexis Piron, Oeuvres complettes, Liege, 1776, v. 3, [47]-97 p. 17\ cm . 
 
 In his Ayertissement Piron says: 
 
 "Cette piece fut represented la derniere eemaine de Careme, sur le Theatre du 
 Sieur Francieque, apres Deucalion. Alors, tous les theatres e"tant fermes, & le 
 privilege des Com&liens n'ayant plus lieu, tous les acteurs parloient. Apres mon 
 premier eesai the"atral, dans un monologue, je voulus voir ce que je saurois faire en 
 dialogue, dans une piece d'intrigue telle quelle ..." 
 
 Composer not recorded by Parfaict, etc. PQ 2019. P6 
 
 L'ape. Componimento drammatico, scritto dalP autore in Vienna, 
 1'anno 1760, per uso della Real corte cattolica. 
 
 [149]-162 p. 26 cm . (Metastasio, Opere, t. xi, Parigi, vedova 
 Herissant, 1782.) 
 
 One act. ML 49.A2M44 
 
 L'ape musicale rinnuovata. Comedia per musica in tre atti. 
 Da rappresentarsi la quadragesima dell' anno MD(X)LXXXIXI. [Q 
 Lei [ !] Teatro di corte a benefizio di alcuni virtuosi. 
 Vienna, Giuseppe nob. de Kurzbek, n. d. 61 p. 16 cm . 
 
 Three acts. By Lorenzo da Ponte, who is not mentioned. Cast and notice to the 
 reader: 
 
 "Questo & una spezie di comediola, dove ora parodiandp, ora cangiando, ed ora 
 conservando le originarie parole, ei sono introdptti i migliori pezzi di musica, che si 
 sentiron fin' ora nelle nostre opere, e quelli particolarmente che piu sono stati amati e 
 favoriti dal pubblico questi due ultimi anni ..." 
 
 First performed, as indicated, Vienna, Burgtheater, March 23, 1791. 
 
 SCHATZ 11308 
 
 Apelle. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro della Fenice del Signer Antonio Simon Sografi ... in 
 Venezia 1'autunno 1793. 
 
 n. i., n. d. 64 p. 19% cm . 
 
 Three acts. Cast, scenario, name of Nicola Antonio Zingarelli aa composer, and 
 dedication, dated Venezia, November 18, 1793, in which Sografi says: 
 
 "Ho sempre creduto, che bello sia quello spettacolo in questo genere, dove le belle 
 arti per modo vi figurano, che non laeciano molto a desiderare. Nel caao mio la poesia
 
 128 LIBRARY OF CONGRESS 
 
 Apelle Continued . 
 
 si e adoperata per questo, invitando a concorrere nel lavoro la musica, 1'architettura, 
 la pittura, la declamazione, la danza, somminietrando ad ease i mezzi onde poteseero 
 efoggiare la loro piacevole attivit ..." 
 
 On p. [53J-64, cast and description, without name of the composer of the music of 
 Giacomo Onorati's "L'eroe castigliano o sia Rodrigo Ecimene, gran ballo eroico panto- 
 mimo," in five acts. SCHATZ 11266 
 
 - Apelle e Campaspe. Dramma serio per musica da rappresen- 
 tarsi in Bologna nel Nuovo Publico Teatro la primavera dell' anno 
 1795 . . . 
 
 Bologna, Sassi, n. d. 64 p. 17% cm . 
 
 Three acts. Impresario's dedication and prefatory note, cast, scenario, argument, 
 and name of Nicola Antonio Zingarelli as the composer. This is Sografi'a "Apelle" 
 text, but with numerous alterations. For instance, the third act now begins, Dove, 
 ahi dove mi trovo," instead of "Ministri, il sacrifizio," which now opens the second 
 scene in the act. On p. [55]-64, argument, cast, and description, without name of the 
 composer of the music of Francesco Clerico's "Amleto, ballo tragico pantomime." 
 
 First performed, as indicated, May 24, 1795. SCHATZ 11267 
 
 Apelle e Campaspe. A. T. of the ballet La generositk d'Alessandro. 
 Apelle e Campaspe, ballet. See Schuster's L'amor artigiano. 
 
 Apelle e Campaspe. Dramma per musica da rappresentarsi nel 
 Teatro alia Scala il carnevale dell' anno 1796 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 50, [6] p. 16 cm . 
 
 Three acts. By Simone Sografi, who is not mentioned. Impresario's dedication, 
 dated December 26, 1795, argument, cast, scenario, and name of Giacomo Tritto as 
 the composer. On the six unnumb. pages, casts and brief descriptions, without 
 names of the composers of the music of Gaspare Ronzi's "ballo eroico tragico panto- 
 mimo La Didone and "ballo comico pantomimo Le reclute d'amore." 
 
 SCHATZ 10452 
 
 Apelle e Campaspe. L. T. of Zingarelli 's Apelle. 
 
 Apelle et Campaspe, ope"ra en un acte, par le citoyen Demoustier, 
 musique du citoyen Eler; repre^ente pour la premiere fois sur le 
 Theatre de la Republique et des Arts, le 24 messidor, an 6. 
 Paris, Huet, an VI [1797-98]. 54 p. 20. 
 
 With cast. Correct date of first performance is 26 messidor, or July 14, 1798, 
 according to Schatz. Clement and Larousse give July 12. SCHATZ 2912 
 
 Apelles and Campaspe, or, The self -conquest of Alexander. An 
 heroic pantomimical ballet. 
 
 Noverre, Jean George, Works. Tr.from the French, London, 1783, 
 v. 3, p. 263-283. 21% cm . 
 
 Argument and detailed description of the five scenes. GV 1787. N8 
 
 Le api riverite. Azzione dramatica all' illustriss. e reverendiss. 
 Sig. Card. Francesco Barberini di Bernardino Mariscotti nell' Aca- 
 demia de' Gelati il Notturno. 
 
 Bologna, Clemente Ferroni, 1628. 51 p. 19 cm . 
 
 Five acts, preceded by a dedicatory "Canzone" by the author and his dedication, 
 dated Bologna, June 2, 1628. Mariscotti says that the Academia de' Gelati wished 
 to honor the cardinal after his return to Rome from a successful diplomatic mission 
 in France and Spain and decided for the purpose on 
 
 'qualche azzione academica, appropriata, quanto per noi si potesse il meglio, all 1 
 occorrenza, con machinare invenzione vistosa per vaneta confacevole per argomento,
 
 OPERA LIBEETTOS 129 
 
 Le api riverite Continued. 
 
 e significante per allegoria. Fu layorato di scrittura, e di pittura, e gia erano imparate 
 le musiche, e dato 1'intiero compimento alia scena, e afl' apparenze. Ma dipoi al 
 mancar della cagione, venae a mancar 1'effetto; non ci fu la persona, svanl 1'azzione, 
 rimase 1'invenzione . . ." 
 
 Placed in this embarrassing situation the Academy finally decided not to perform 
 the work in the cardinal's absence, but to have at least the text printed. The com- 
 poser of the music is not mentioned. The work is not recorded by Ricci. 
 
 ML 48.M2 1 
 
 " Apio Claudio. Drama per musica da rappresentarsi nel Teatro di 
 Sant' Angelo. L'anno MDCLXXXIII . . . 
 
 Venetia, Francesco Nicolini, 1683. front., 56 p. 14 cm . 
 
 Three acts. By Adriano Morselli, who is not mentioned. Impresario's dedica- 
 tion, argument, scenario, and notice to the reader, in which he complains: 
 
 "Hanno alcuni havuto la bonta di levar certe arie dell' auttore per mettervi le 
 proprie senza sua notitia." 
 
 These have been printed in quotation marks. The notice begins: "L'auttore del 
 Temistocle in bando ti preseta questo nuovo drama." 
 
 The composer, Giovanni Marco Martini, is not mentioned. SCHATZ 6033 
 
 Apollo delusp, drama per musica rappresentato nel giorno natale 
 dell' augustissimo e sempre invitto Leopoldo . . . Musica di Gio. 
 Felice Sances . . . Poesia di Antonio Draghi . . . 
 Vienna, Matteo Cosmerovio, 1669. Unpaged. 19% cm . 
 
 Three acts and licenza. Author's dedication of date Vienna, July 9, 1669, argu- 
 ment, and notice to the reader informing him that this drama 
 
 "nel suo nascimento egli non hebbe piu d'una settimana per comparire alia luce 
 . . . Sono concorsi a coprire la sua nudita con adobbi preziosi, il Signor Felice 
 Sances, maestro di capella di S. Maesta Ces: quale con la soavita della sua armonia 
 ha reso con mirabile artificio dolce 1'amarezza del verso." 
 
 Not a single hint will be found in the libretto that Leopold I composed part or all 
 of the score. This is the more noteworthy, because, according to Adler, the title 
 page of the second act of the score at the Hofbibliothek, Vienna, reads: "Atto 2* 
 Apollo deluso. Musica di Sua M ta Ces a Anno 1669 " and the binding of the first act 
 says "Di S. M. C." (this, however, probably meaning "property of" not "by"). In 
 view of this libretto, however, it would be unsafe to agree with Adler that "probably 
 the music of all three acts with exception of the licenza" is by Leopold I. Presum- 
 ably the libretto was published with Sances' name as composer, though Leopold I, 
 as he often did, had contributed more or less music to the score of his court con- 
 ductor. Adler published in his " Musikalische Werke der Kaiser" as by Leopold I 
 the arias "Aurimena, la tua pena" (II, 10), Recitativ "In oscura prigion" and aria 
 "Pensieri non v'atterrite" (II, 11), "Se non basta" (II, 11), and "Su, che fate" 
 (II, 11). ML 48.M2 D 
 
 Apollo e Dafne. A. T. of the ballet Cupido trionfatore. 
 Apollo e Dafne, ballet. See G. Giordani's Atalanta. 
 
 Apollo geloso. Pastorale per musica da rappresentarsi nel Teatro 
 di Lugo in occasione della Fiera d' Agosto dell anno 1720 . . . 
 
 Bologna, Costantino Pisarri, n. d. 4? P- lo\ cm . 
 
 Three acts. Argument and dedication dated Lugo, August 17, 1720, and signed 
 by Giuseppe Maria Buini, "compositore della musica," who says "PApollo geloso, 
 che sotto la mia debole direzzione dee rappresentarsi su queste scene." Not recorded 
 by Allacci, Schatz or Dent. Author unknown to me. ML 50.2.B727A9 
 
 Apollo in Tessaglia. Cantata a tre voci per festeggiar la solenne 
 apertura dell' Accademia degl' Ingegnosi nel Teatro del Corso de' 
 Tintori la sera de' 12 marzo 1769. 
 
 Firenze, Giuseppe AUegrini, e comp., 1769. 15 p. 19% cm . 
 
 Two parts. By Luigi Semplici. With argument, "Attori," and names of author 
 and composer, Alessandro Fefici ("musica nuova"). SCHATZ 3052 
 
 72251 VOL 114 9
 
 130 LIBRARY OF CONGRESS 
 
 Apollo in Tessaglia. Drama per musica da rappresentarsi nel 
 
 nuovo famoso Teatro Formagliari Fanno 1679 . . . 
 
 Bologna, per I'erede d\ Vittorio Benacd, n. d. 5 p. 1., 92, [1] p. 
 I4 cm . 
 
 Three acts and prologue. By Tommaso Stanzani, who dates his dedication 
 Bologna, May 27, 1679. Printer's notice to the reader with the name of Petronio 
 Franceschini as composer, and argument. SCHATZ 3316 
 
 Apollo placato, ballet. See Salieri's Europa riconosciuta. 
 
 Apollo turn'd stroller; or, Thereby hangs a tale. A musical pas- 
 ticcio. In two parts. As performed, with the most unbounded 
 applause, at the Royalty-Theatre. 
 
 London, S. Bladon, 1787. 2 p. I, 28 p. 21 cm . 
 
 Cast. Neither the author, Sir John Oldmixon, nor the composers, G. F. Handel 
 and others, are mentioned. 
 
 First performed December 3, 1787, as indicated. LONGE 102 
 
 Apollo unter den hirten. Ein yorspiel mit arien. An dem 
 geburtsfeste Ihro Majestaet des koenigs aufgefuehrt von der Han- 
 noeverischen Gesellschaft koeniglicher schauspieler den 4ten Juni 
 1770. 
 
 n. i., n. d. 31 p. 17 cm . 
 
 Neither Johann Georg Jacoby, the author, nor Anton Schweitzer, the composer, 
 is mentioned. SCHATZ 9769 
 
 Apollon et Coronis. See Mouret's Les amours des dieux. 
 
 Apollon et Daphne, divertissement mis en musique par Monsieur 
 de Lully . . . Chant e devant Sa Majeste, a Fontainebleau le 
 [blank] octobre 1698. 
 
 Amsterdam, les heritiers d'Antoine Schelte, 1699. 22 p. (incl. front.}. 
 14 cm . 
 
 Prologue and one act. By Danchet. Composed, probably, by Louis de Lully in 
 his capacity as "compositeur de la chambre du roi." Not recorded by Schatz or 
 Cl. & L. ML 50.2.A73L9 
 
 Apollon et Daphne, divertissement mis en musique par M. de 
 Lully, . . . chante devant Sa Majeste a Fontainebleau, le [blank] 
 octobre 1698. 
 
 [13]~26 p. 17\ cm . (Antoine Danchet, Theatre, t. ii, Paris, 1751.) 
 One act. PQ 1972.D2 
 
 Apollo's mask. See Stapylton's text Diana's mask. 
 
 L'apoteosi d'Ercole. Dramma per musica da rappresentarsi nel 
 nobilissimo Teatro Venier in San Benedetto il carnovale dell' anno 
 1791. 
 
 Venezia, Modesto Fenzo, 1790. 54 p. 17\ cm . 
 
 Three acts. By Mattia Butturini, who is not mentioned. Cast, scenario, and 
 name of Angelo Tarchi as the composer. On p. 49-54, scenario and prefatory note to 
 Gaspero Angiolini'e (who composed also the music) "Tito o La partenza di Berenice, 
 ballo eroico pantomimo in cinque atti." SCHATZ 10212 
 
 De Apothecar en de doctor. Tr. of Dittersdorf s Der apotheker 
 und der doktor.
 
 OPERA LIBRETTOS 131 
 
 Die apotheke, eine komisclie oper in zwey aufzuegen. [vignette] 
 
 Leipzig, Dyckische luchliandlung, 1772. xv, [1], 96 p. 17. 
 
 Preface addressed to J. F. Bause by the author [Jqhann Jakob Engel] and dated 
 Leipzig, November 10, 1771. The preface is interesting as containing Engel's views 
 of the esthetics of the "Possenspiel." On p. vii, this shrewd remark: 
 
 "Ich denke uebrigens, man wuerde gutthun, wenn man aus alien possenspielen 
 operetten machte. Unser publikum sieht diese possen gerne, und moechte doch gerne 
 das ansehen haben, als wenn es sie verachtete; es lacht von herzen ueber die Goldoni- 
 echen stuecke, und zuckt die achseln darueber, wenn sie aus sind." 
 
 On p. vi, this remark on the origin of this libretto: 
 
 "Ein tonkuenstler [Hiller] . . . bat mich um eine oper, worinn nicht der naive 
 ton, sondern zur abwechslung der eigentlich komische herrschte . . . Mein freund 
 wurde krank, und konnte lange zeit an keine komposition denken. Er hatte aber 
 die ersten arien, so wie eie fertig geworden waren, einem jungen tonkuenstler, von yiel 
 versprechendem genie [Neefe], uebergeben, der sie sogleich in musik setzte; und ich 
 schneb hernach weiter, damit dieser nicht moechte umsonst gearbeitet haben." 
 
 First performed at Berlin, Koch'sches Theater in der Behrenstrasse, December 13, 
 1771. SCHATZ 7070 
 
 Die apotheke. Ein originalsingsspiel in zween aufzuegen. Die 
 musik ist vom herrn Umlauf . Aufgefuehrt auf der K. K. National- 
 schaubuehne. 
 
 Wien, bey dem logenmeister, 1778. 35 p. 15\ cm . 
 
 By Johann Jakob Engel, who is not mentioned. 
 
 First performed, as indicated, June 20, 1778. SCHATZ 10523 
 
 Der apotheker. Tr. of Pallavicini's and Fischietti's Lo speziale. 
 
 Der apotheker und der doktor. Ein komisches singspiel in zwey 
 aufzuegen. Xach dem fra*nzoesischen des grafen von N . . . 
 1'Apoticaire de Murcie von Stephani dem juengern. Die musik ist 
 neu vom herrn Ditters v. Dittersdorf. 
 n. i., 1788. 128 p. 16. 
 
 First performed at Vienna, Nationaltheater n. d. Burg, July 11, 1786, as " Doctor 
 und apotheker. ' ' SCHATZ 2585 
 
 The doctor and the apothecary. A musical entertainment in 
 two acts. As performed at the Theatre-Royal, Drury-Lane. 
 London, C. DiUy, 1788. 1 p. L, 44 p. 20 cm . 
 
 Cast. The preliminary half-title is missing. By James Cobb, adapted to Ditters- 
 dorf's music with additions by Stephen Storace. In Longman & Broderip's vocal 
 score " This marriage article " is headed as composed by Paisiello. 
 
 First performed as indicated, October 25, 1788. (Genest). SCHATZ 2586 
 
 Second copy (2 pi., 44 p. 21 cm .) LONGE 164 
 
 - De apothecar en de doctor, zangspel. Gevolgd naar het hoog- 
 duitsch van Stephani door I. J. A. Gogel. 
 
 Amsteldam, J. Heiders, 1796. 108 p. 16\ cm . 
 
 First performed at Amsterdam, Stads Schouwburg, 1796. SCHATZ 2611 
 
 The apotheosis of Punch ; a satirical masque : With a monody on 
 the death of the late Master Punch. As now performing at the 
 Patagonian Theatre, Exeter-'Change, with universal applause . . . 
 
 London, J. Wenman, F. Newberg and W. Thompson, 1779. A2. 
 [2] p. 21. 
 
 Dedication by "Plunder" to Richard Brinsley Sheridan. The first unnumb. p. 
 contains advertisement of the opera "Retaliation. By the same author," therefore, 
 Leonard Mac Nally, whose idea was to ridicule Sheridan's monody on the death of 
 Garrick. The composer, if any, is not recorded by Clarence or Schatz. LONGE 102
 
 132 LIBRARY OF CONGRESS 
 
 L'apparenza inganna o sia La villeggiatura. Commedia in due 
 atti per musica di Giambattista Lorenzi P. A. da rappresentarsi nel 
 Teatro de' Fiorentini nella primavera del corrente anno 1784. 
 Napoli, n. publ, 1784. 58 p. 15 cm . 
 
 Two acts. Cast and name of the composer, Domenico Nicola Cimarosa. 
 
 SCHATZ 1980 
 
 The apparition! A musical dramatic romance, in two acts, as per- 
 formed with universal applause at the Theatre-Royal, Hay-Market. 
 By J. C. Cross . . . [vignette] 
 
 London, J. Barker, 1794. 35, [1] p. 21^ cm . 
 
 Cast, dedication dated Theatre-Royal, Hay-Market, Sept. 9, 1794, and prefatory 
 note. The composer, William Reeve, is not mentioned. 
 
 First performed Sept. 3, 1794. LONGE 239 
 
 The apparition of the cliffs. A. T. of Reeve's The Sicilian romance. 
 
 L'apprensivo raggirato. Commedia per musica di G. M. D. da 
 rappresentarsi nel Teatro de' Fiorentini per terz' opera del corrente 
 anno 1798. 
 
 Napoli, n. publ., 1798. 64 p. 15 cm . 
 
 Two acts. By Giuseppe Maria Diodati. Cast and name of the composer, Domenico 
 Nicola Cimarosa. On p. 58-59 cast, argument, and detailed description of Gioy. 
 Battista Giannini's ballet "La Ginevra degli Almieri." The composer of the music 
 is not mentioned. SCHATZ 1904 
 
 April-Day, a burletta, in three acts. Written by the author of 
 Midas. As it is performed at the Theatre Royal in the Hay-Market. 
 The music composed by Dr. Arnold. 
 
 London, G. Kearsly, 1777. mi, [1], 44 p. 20\. 
 
 Cast. In his prefatory "Extract of a letter ... to his friend in London "the 
 author, Kane O'Hara, says: 
 
 "The interlude of the Magic girdle which Mr. Barthelemon left in my hands for 
 correction, furnished me with the first hint of this drama. I send you the original, 
 that you may see my great reserve in borrowing from it; at the same time, humbly 
 begging pardon of the gentleman, unknown, with whose hasty sketch I have taken 
 so many liberties. This plot is here totally changed, and his personages thrown into 
 a different cast of character: I have availed myself but very sparingly of his words; 
 scarce at all of his poetry ... I adopt the laconic dialogue of Italian burletta, in 
 order to comprise my fable within the narrow limits of late prescribed by the taste 
 of your audiences . . . " 
 
 This letter is dated Dublin, January 12, 1775. 
 
 First performed at London, Hay-market, August 22, 1777. LONGE 126 
 
 L'Arabo cortese. Commedia per musica di Pasquale Mililotti da 
 rappresentarsi nel Teatro Nuovo sopra Toledo neh" autunno del cor- 
 rente anno 1776. 
 
 Napoli, n. publ., 1776. 59 p. 15% cm . 
 
 Three acts. Scenario, cast, and name of Paisiello as the composer, with excep- 
 tion of the following starred arias by Domenico Cimarosa: "Dint'a st'uocchie 
 appassionate " (I, 6), "Qual colomba innamorata," (III, 3). 
 
 First performed at Naples, Teatro Nuovo, winter 1769. SCHATZ 7665 
 
 Arato in Sparta. Drama per musica da rappresentarsi nel Teatro 
 di Sant' Angelo il carnovale dell' anno 1709 . . . 
 Venezia, Gio. Battista Zuccato, 1709. 72 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, and dedication in which this is called 
 "questa picciola operetta, parto di miei primi genii" over the signature of N. M., 
 which stands for Benedetto Marcello (Schatz). The composer, Giovanni Maria 
 Ruggeri, is not mentioned. SCHATZ 9130
 
 OPERA LIBRETTOS 133 
 
 L'Arbace. Dramma per musica da rappresentarsi in Firenze nel 
 nuovo Regio Teatro degF Intrepid! detto La Palla a Corda nella 
 primaver del 1785 . . . 
 
 Firenze, Stamperia Bonducciana, 1785. 32 p. 16\ cm . 
 
 Two acts. By Gaetano Sertor (not mentioned). Cast, argomento, scenario, and 
 name of Gaetano Andreozzi as composer. The music for the "ballo serio pantomime 
 Giasone e Medea " by Domenico Ricciardi was by Giuseppe Horban. 
 
 First performed at Livorno, Teatro di S. Sebastiano, 1781. SCHATZ 214 
 
 Arbace. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto il carnovale dell' anno 1782. 
 Venezia, Modesto Fenzo, 1782. 61 p. 17 cm . 
 
 Three acts. By Gaetano Sertor. Argument, cast, scenario, and names of the 
 librettist and the composer, Giovanni Battista Borghi. On p. 27-34 cast, argument, 
 and detailed description of Paolinp Franchi's "Tito e Berenice, ballo eroico panto- 
 mimo." The composer of the music is not mentioned. SCHATZ 1239 
 
 L'arbore di Diana. Dramma giocoso per musica da rappresentarsi 
 nel Teatro grande alia Scala Pautunno dell' anno 1788 . . . 
 Milano, Gio. Batista Bianchi, n. d. 72 p. 16 cm . 
 
 Two acts. Lorenzo da Ppnte is mentioned as author, Vincenzp Martini (Martin y 
 Soler) as composer. Dedication, argument, cast, and scenario. With the opera 
 were performed Domenico Le Fevre's ballets, "Giasone e Medea" and "Le feste 
 florali." The composers of the music are not mentioned. 
 
 First performed, as indicated, October 1, 1788; at Vienna, Nationaltheater nachst 
 der Burg, October 1, 1782. SCHATZ 5999 
 
 Der baum der Diana. Ein singspiel in zwey aufzuegen. Auf- 
 zufuehren bei der ankunft I. K. Hoheit Maria Theresia, erzherzoginn 
 von Oesterreich, braut des prinzen Anton von Sachsen. 
 Wien, n. publ, 1787. 67 p. 15 cm . 
 
 With names of Lorenzo da Ponte as author and Vincenz Martini (Martin y Soler) 
 as the composer. SCHATZ 6000 
 
 - Text der beliebtesten arien, einiger duetten, terzetten und quar- 
 tetten aus dem Baum der Diana samt den plan dieses singspiels, 
 nach der uebersetzung des herrn Eberls wie er auf dem Leopold- 
 staedtertheater aufgefuehrt worden. Den schoenen stimmen artiger 
 maedchen gewidmet vom berausgeber. 
 
 Wien, Hochldter, 1788. 37 p. 15$ cm . 
 
 Cast, "Vorrede," and "Nachrede." SCHATZ 6001 
 
 - Gesaenge aus dem singspiele : Der baum der Diana, in zwey 
 aufzuegen, nach dem italienischen des abbt da Ponte, von d'Arien. 
 In musik gesezt vom kapellmeister Vincenz Martin. 
 
 Hamburg, Joh. Matthias Michaelsen, 1792. Jfi p. 16 cm . 
 
 First performed at Hamburg, Opernhaus am Gansemarkt, November 10, 1788. 
 
 SCHATZ 6002 
 
 - Der baum der Diana. Eine komische pper in zwey aufzuegen. 
 Nach der musik des kapellmeisters Martini aus dem italieniscnen 
 ins deutsche ubersetzt von C. H. Necse [ ! Neefel. 
 
 Oels, Samuel Gottlieb Ludwig, n. d. 72 p. 17% cm . 
 
 First performed at Oels, Hoftheater, May 2, 1795. SCHATZ 6003
 
 134 LIBRARY OF CONGRESS 
 
 Arcadia; or, The shepherd's wedding. A dramatic pastoral. As 
 it is performed at the Theatre-Royal in Drury-Lane. The music 
 composed by Mr. Stanley . . . 
 
 London, J. and R. Tonson, 1761. 20 p. 19 >cm . 
 
 One act. By Robert Lloyd, who is not mentioned. 
 
 First performed October 26, 1761, as indicated (Genest). LONGE 52 
 
 Arcadia; or, The shepherd's wedding. A dramatic pastoral, as 
 it is performed at the Theatre-Royal in Drury-Lane. By Mr. Lloyd. 
 The music composed by Mr. Stanley . . . 
 
 London, Printed for J. and R. Tonson; Dublin, Re-printed for 
 R. Watts [etc.] 1761. 1 p. I, [5}-21 p. 17 cm . 
 
 Bound with: Thompson, James. Edward and Eleonora. [n. p., 17 ] 
 
 L'Arcadia in Brenta. 
 
 [117]-172 p. (Carlo Goldoni, Opere drammatiche giocose, t. ii, 
 Torino, 1757.) 16\. 
 
 . Three acts. Argument. ML 49.A2G6 
 
 First performed, with music by Vincenzo Legrenzio Ciampi at Bassano, fall 1747. 
 
 L'Arcadia in Brenta. Dramma di tre atti per musica. Rappre- 
 sentato per la prima volta in Bassano 1'anno MDCCLVIL 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, v. 4$, 
 [5}-61 p. 18$ cm . 
 
 PQ 
 
 L'Arcadia in Brenta. Dramma comico per musica da rappresen- 
 tarsi nel Regio-ducal Teatro di Milano neila primaviera dell' anno 
 1750 . . . 
 
 Milano, Giuseppe Richino Malatesta, 1750. 4 P- Z-, 52, [1] p. 14% cm - 
 
 Three acts. By Goldoni, who is not mentioned. Dedication, argument, cast. 
 Bald. Galuppi, the composer, is not mentioned. Following the argument is this note: 
 
 "Siccome quest' operetta fu tagliata la prima volta sul dosso degl' attori, che 
 1'hanno rappresentata a Venezia, cosi dovendosi ora rappresentare in cjuesto teatro 
 da personaggi diversi, e stata, dall' autore medesimo in qualche parte vanata per uni- 
 formarsi al preciso carattere de' nuovi attori." 
 
 The additional page contains the substitute aria (I, 9), "Fabrizio amabile, lo parto, 
 addip." 
 
 First performed at Venice, Teatro di S. Angelo, May 14, 1749. SCHATZ 3440 
 
 - L'Arcadia in Brenta. Dramma giocoso per musica da rappre- 
 sentarsi in Monaco di Baviera. 1'anno 1759. 
 
 [ Monaco], Gio. Giac. Votter, n. d. 51 p. 16%. 
 
 Condensation of Goldoni's libretto to two acts. Neither he nor the composer, 
 Galuppi, is mentioned. SCHATZ 3518 
 
 L'Arcadia in Brenta. Dramma giocoso per musica di Pplisseno 
 Fegejo Pastor Arcade. Da rappreseutarsi nel Real Teatro di Salva- 
 terra nel carnovale dell' anno 1764. 
 
 Lisbona, Stamperia Ameniana, n. d. 4 P- !"> 77 p. 16 cm . 
 
 Three acts. By Goldoni, who i not mentioned. Cast, scenario, and name of 
 "Giovanni Cordeiro " (Joao Cordeiro da Silva) as composer. SCHATZ 9885
 
 OPERA LIBRETTOS 135 
 
 Archelao. Dramma per musica da cantarsi nella Real Villa di 
 Queluz per celebrare il felicissimo giorno natalizio del serenissimo 
 Signore Don Giuseppe, principe del Brasile li 21 agosto 1785. 
 [Lisloa] Stamperia Reale, n. d. 32 p. 16% cm . 
 
 One act and licenza. Argument, cast, and names of Gaetano Martinelli as author, 
 Joao Cordeiro da Silva as composer. SCHATZ 9887 
 
 The Archers, or Mountaineers of Switzerland; an opera, in three 
 acts, as performed by the Old American Company, in New York; to 
 which is subjoined a brief historical account of Switzerland . . . 
 New York, T. & J. Swords, 1796. viii, [9]-94 p. 22%. 
 
 Prologue, cast, and preface by the author, William Dunlap, dated New York, 
 April 10, 1796, which reads, in part: 
 
 "In the summer of the year 1794, a dramatic performance, published in London, 
 was left with me, called Helvetic Liberty. I was requested to adapt it to our stage. 
 After several attempts, I gave it up, as incorrigible, but-, pleased with the subject, I 
 recurred to the history of Switzerland, and composed the piece now presented to the 
 public ..." 
 
 The composer, Benjamin Carr, is not mentioned. 
 
 First performed at New York, April 18, 1796. ML 50.6.A72 
 
 Second copy. PR 1241. D7 v. 14 
 
 L'Archetiello, commedia per musica da rappresentarsi nel carnovale 
 di quest' anno 1778 nel Real Conservatorio della Pieta de' Turchini. 
 Napoli, Vincenzo Mazzola-Vocola, 1778. 72 p. 15. 
 
 Three acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Angelo Tarchi as the composer. SCHATZ 10223 
 
 Archidamia. A. T. of Hasse's La Spartana generosa. 
 
 Archidamia. Festa teatrale per musica, da rappresentarsi nel- 
 T Imperial corte festeggiandosi il glorioso e felicissimo nome della 
 Sac. Ces. Catt. e Real Maesta di Ehsabetta Cristina . . . 1'anno 
 MDCCXXVII. La poesia e del Sig. abate Giovan Claudio Pas- 
 quini ... La musica del Sig. Giorgio Renter il giovine. 
 
 Vienna d' Austria, Gio. Pietro Van Ghelen, n. d. Unpaged. 18% cm - 
 
 One act. Argument. 
 
 First performed, as indicated, November 22, 1727. SCHATZ 8695 
 
 L' Arcifanfano. Dramma giocoso per musica da rappresentarsi nel 
 Teatro di rua Dos Condes . . . 
 Lisbona, Pietro Ferreira, n. d. 3 p. 1., 106, [1] p. lJ^.\ cm . 
 
 Three acts. By Goldoni, who is not mentioned. Dedication to David Perez 
 signed by the composer, Giuseppe Scolari. 
 ~ First performed 1768, as indicated. SCHATZ 9801 
 
 Arcifanfano, re de' matti. 
 
 [215]-260 p. 16% cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. i, Torino, 1757.) 
 
 Three acts. ML 49.A2G6 
 
 - Arcifanfano re dei matti. Dramma di tre atti per musica. 
 Rappresentato per la prima volta ha Roma 1'anno MDCCLVIII. [!] 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta <&figli, 1788-95, t. 40, 
 [171]-217 p. 18. PQ
 
 136 LIBRARY OF CONGRESS 
 
 Arcifanfano, re del matti. Dramma comico per musica di Polis- 
 seno Fegejo Pastor Arcade. Da rappresentarsi nel Teatro Giusti- 
 niani di S. Mois& nell' autunno dell' anno 1750. 
 
 Venezia, Modesto Fenzo, 1750. 46 p. 14$ cm - 
 
 Three acts. By Goldoni. The composer, Baldassare Galuppi, is not mentioned. 
 Scenario and cast. 
 
 First performed at Venice, same theatre, carnival 1750. SCHATZ 3442 
 
 - Arcifanfano, re del matti. Dramma giocoso per musica di 
 Polisseno Fegejo, Pastor Arcade da rappresentarsi nel Teatro di S. A. 
 serenissima il Signer Principe di Cangnano nell' autunno dell' anno 
 MDCCLIX. In quest' ultima impressione dalT autore ricorretta e 
 migliorata. 
 
 Torino, Giacomo Giuseppe Avondo, n. d. Ifo p. 14 cm - 
 
 Three acts. Cast, scenario, and remark: 
 
 "La musica e la maggipr parte del celebre maestro Sign. Baldassare Galuppi detto 
 Buranello, ed altri celebri autori." 
 
 The text of this version is conspicuously different from that of Venice, 1750. Not 
 even the first scene of the first act has been left untouched. Venice has "Con un 
 colpo di terza. e di quarta," Torino has "Non teme la spada"; Venice has "II mio 
 core poverino," Torino has "Sordidon, che cosa hai fatto, etc. SCEATZ 3497 
 
 L'Ardelinda. Drama da rappresentarsi nel Teatro di S. Angelo 
 I'autunno dell' anno 1732. Del Signer Bortolamio [!] Vitturi citta- 
 dino Veneto. 
 
 Venezia, Stamparia Nova a S. Moise, n. d. 57, [1] p. 12. 
 
 Three acts. Argument, notice to the reader, cast, scenario, and name of Tom- 
 maso Albinoni as composer. 
 
 The supplementary page contains the aria "Da piu affetti combattuta " as sub- 
 stitute for "V6 che cada trafitto" on p. 25. Pages 3-4 lacking in our copy. Pages 
 5-6 contain several substituted arias. SCHATZ 106 
 
 Arethuse, ballet represent^ par 1'Academie royale de musique Fan 
 1701. Les paroles de M. Danchet & la musique de M. Campra. 
 LIT. Opera. 
 
 n. i., n. d. front., 167-214 p- 14 cm - (Recueil general des opera, 
 Paris, 1703, t. vii.) 
 
 Detached copy. Three acts with prologue. 
 
 First performed, as indicated, July 14, 1701. SCHATZ 1544 
 
 Second copy. ML 48.R4 
 
 Arethuse, ballet. Represent^ par 1'Acade'mie royale de musique, 
 le 14 juillet 1701. 
 
 [8S]-124 p. 17$ cm . (Antoine Danchet, Theatre, t. ii, Paris, 1751.) 
 
 Prologue and three acte. The composer, Campra, is not mentioned. 
 
 PQ 1972. D2 
 
 L'Aretusa. Melo-drama da' recitarsi nel Teatro di S. Fantino 
 Tanno 1709 ... 
 
 Venezia, Gio. Battista Zuccato, 1709. Jfi p. 14% cm - 
 
 Three acts. By Pietro d'Averara, who is not mentioned. Publisher's dedication, 
 argument, scenario, and notice to the reader that this drama had been performed 
 on the famous stages of Italy, but that 
 
 "I'angustie del teatro non pennettono, che ti venga rappresentato con quel gran- 
 dioso apparato, con cui, & altre volte egli comparve." 
 
 Clemen te Monari, the composer, is not mentioned. 
 
 First performed at Milan, Eegio Ducal Teatro, 1703. SCHATZ 6549
 
 OPERA LIBRETTOS 137 
 
 Argea. Dramina per musica da rappresentarsi nel Teatro nazionale 
 di Torino nel carnovale del 1799 anno settimo della Repubblica 
 francese, primo della liberta piemontese. 
 
 Torino, Onorato Derossi, n. d. 64 P- 15% cm . 
 
 Three acts. Giandomenico Boggio is mentioned as author, Gaetano Andreozzi 
 as composer. Argument, cast, scenario. 
 
 The ballets by Gaetano Gioja, composer of music not mentioned, were entitled: 
 "La disfatta di Abdurahamel, tiranno di Trabacca, ballo eroico pantomimo," "Nina 
 pazza per amore," and "La volubile." The detailed description of the first ballet 
 on p. 65 et seq. missing in this copy. SCHATZ 215 
 
 ^L'Argene. Trattenimento per musica. Da rappresentarsi nell' 
 Academia a il Saloni 1' anno 1689. dell' abbate Paolo Emilio Badi . . . 
 
 Venetia, Gio. Maria Rossi, 1689. 40 p. 16 cm . 
 
 Three acts. Argument, scenario, Badi's dedication and prefatory note, in which 
 he says: 
 
 "Questa non 6 opera, non e drama, non e di quei parti, che richiede rAlcmene per 
 madri, 6 che s'impregnino i monti per concepirlo: & un trattenimento di delitia, un 
 passatempo disinteressato di gentilezza, una ricreatione ideata, per assicurare nell' 
 nore calde le matrone dell' Adria da gl' insulti di quel Sole, che sdegnoso di vederei 
 diviso ne' loro volti, imprime in quelle faccie serene, ma con rossore, i segni chiaris- 
 simi della sua fervida gelosia . . . Bene non s6, per che in tre mamattine, che eono 
 state assegnate a questo componimento, non puo il mio debole ingegno ritrovar di 
 perfetto altro, che il numero . . . Tutto 1'affanno, che possano ricevere gli occhi nel 
 leggere, sara contrapesato dall' udito, che ascoltera armoniose le meraviglie nella 
 musica del Sig. Antonio Caldara il quale dalle viscere piu amorose delle sua viola 
 loquace ha filate le dolcezze per allacciare gli applausi ..." SCHATZ 1492 
 
 Argenide. Dramma per musica da rappresentarsi nel Teatro di 
 S. Angelo nell' autunno dell' anno 1738 . . . 
 Venezia, Marino Rossetti, 1738. 60 p. 15. 
 
 Three acts. By Alvise Giusti (not mentioned). Argument, scenario, and cast. 
 The composer, Pietro Chiarini, is not mentioned. SCHATZ 1853 
 
 Argenide. Dramma per musica da rappresentarsi nel Teatro S. 
 Angelo nel carnovale dell' anno 1733 . . . 
 
 Venezia, Marino Rossetti, 1733. 60 p. 14\ cm . 
 
 Three acts. By Alvise Giusti, who is not mentioned. Dedication, argument 
 (p. 6. "S'aggiungono gl'infrascritti verissimili "), cast, scenario, and name of Galuppi 
 as composer. 
 
 First performed, as indicated, January 15, 1733 (Piovano). SCHATZ 3481 
 
 Argeno. Dramma per musica di Domenico Lalli tra gli Arcadi 
 Ortanio: Da rappresentarsi nel famosissimo Teatro Grimani di S. 
 Gio. Grisostomo il carnovale dell' anno 1728 . . . 
 Venezia, Marino Rossetti, 1728. 70 p. 15$. 
 
 Three acts. Lalli's dedication, dated Venice, January 17, 1728, argument, scenario, 
 cast, and name of Leonardo Leo as composer. SCHATZ 5552 
 
 L'Argia, dramma musicale, rappresentato a Insprugg alia Maesta 
 della serenissima Cristina, regina di Suezia, etc. 
 
 Insprugg, per Hieronymo Agricola, anno 1655. 6 p. I., 94 p* 19% cm . 
 
 Three acts, with prologue. , Argument, scenario, and list of machines, but neither 
 the composer, presumably Marc' Antonio Cesti, is mentioned, nor the author Apol- 
 lonio Apolloni. (For further data see Wotquenne's libretto catalogue.) 
 
 First performed at Innsbruck, at the Ducal Palace, November 4, 1655. 
 
 SCHATZ 1777
 
 138 LIBRARY OF CONGRESS 
 
 L'Argia Continued. 
 
 - L'Argia. Drama per musica da rappresentarsi eel Teatro a San 
 Salvatore Fanno 1669 . . . 
 
 Venetia, Francesco Nicolini, 1669. front., 81 p. 14 cm - 
 
 Three acts, without prologue. By Apollonio Apolloni, with considerable altera- 
 tions of the original libretto, as acknowledged in the notice to the reader: 
 
 "Quest' opera ha fatto stupire di ee stessa le scene piii famose, & hora si conduce a 
 farsi freggio del tuo eroico compiacimento. Vi dovrai ammirare la virtu di due penne 
 famose; una nella parte poetica, 1'altra nell' armonica. Basta che io ti dinoti esser 
 ella figlia di quei genitori de' quali applaudesti alia Dori [text by Aj>olloni, music by 
 Cesti]. Vi sentirai alcune anette udite in altra occasione: ma perche sia noto, che 
 furon prese da questo drama yi si hanno lasciate si per essere di poehissimo numero, 
 come anco di singolare esquisitezza. E stato ancora abbreviate, e fattavi qualche 
 alteratione, a solo ogetto d'accomodarsi alia brevita, & alle congionture delle parti ..." 
 
 Accordingly, for instance, the aria, "Vendetta, vendetta" (I, 15), was replaced by 
 "Amori fuggite" (I, 16, of the Venice ed.), the aria, "Ecco Alceo guerrier novello" 
 (II, 5), by "Io pensavo innamorarmi " (II, 5); and the original final scene (III, 18), 
 the quartet, "Alle gioie, a i diletti," was dropped. On the whole, the alterations, 
 were numerous, but not radical. The notice to the reader is followed by the argument 
 and the scenario. It is preceded by the publisher's dedication, dated Venice, January 
 13, 1669. SCHATZ 1777a 
 
 Argiope. Favola musicale di N. e di Gio. Battista Fusconi. Con- 
 sacrata al chiaro merito della Signora Anna Renzi. 
 
 Venetia, Gio. Pietro Pinelli, 1649. 96 p. 14 cm . 
 
 Three acts and prologue. G. B. Fusconi's dedication is dated Venice, December, 
 1645 [!]. Argument, cast, and important notice to the reader giving the odd history 
 of the libretto, which according to Schatz was written by Pietro Michieli and Giov. 
 Battista Fusconi. The notice reads: 
 
 "L'orditura di questa favola venne a preghiere d'amici piu tosto precipitata, che 
 tessuta in quatordici sere dalla penna di quel famosissimo Cigno dell' Adria, che 
 mantiene al nostro secolo in vita la poesia italiana: poiche essendo egli allhora di 
 partenza, e in aspettatione della discretione de' venti, che gli aprissero la strada per 
 un lungo viaggio maritimo non pot applicarvisi, che a momenti rubati al sonno. 
 Partitosi adunque nell sconciatura di quest' opera, me la Iasci6 con amplissima 
 licenza . . . Operai per tanto quello che seppi, e che potei rimettendola insieme 
 nella fretta, .che mi facevano gl'Interessati, che volevano recitarlo. Ma delusi da 
 van accidenti di fortuna che ne impedl la recita i loro desideri, si compiacque 1'in- 
 ventore dell' opera di rivederla, e di rimutarla; perche a me ancora tocasse questo 
 secondo fastidio, e mi reuscl la facenda in guisa, che non yi resto quasi piu yestigio 
 alcuno dell' effigie datale dal primo schizzo. Con qual mio rammarico 1 altri 1'ima- 
 gini mentre mi con venne ritoccar con rozzo pennello le linee eccellentissime d'un 
 Apelle . . . Spero nondimeno che la diversita pur troppo apparente dello stile 
 verra resa uniforme dalla musica impareggiabile (ancorche diversa) delli Signori Gio. 
 Rovetta, & Alessandro Leardini, prencipi de musici moderni, e che 1'eccellenza 
 delle piu famose yoci del secolo coprir^, i mancamenti della mia penna ..." 
 
 Accordingly this ia merely G. B. Fusconi's advance notice, and though Schatz, etc., 
 actually enter "Arjnope" under the two composers mentioned, the libretto itself 
 would seem to furnish evidence that their setting, if at all composed, was not per- 
 formed, and that an explanation of the remarkable discrepancy between the date of 
 performance (1649) on the title page and the date of the dedication (1645) may be 
 found in this notice, which follows the end of the text on p. 96: 
 
 "A chi haverb letto. Gli errori, che avvengono nella stampa, sono figli d'una 
 madre, che pur troppo ne sa esser feconda. Perci6 nel medesimo tempo, che quegli 
 doveano venire da te emendati saranno stati ancora compatiti. Gli accidenti, che 
 mutano Peesere alle cose in un istante, havendo private della seconda gloria il nostro 
 dramrna, la quale sarebbe stata la musica del Sig. Rovetta, unita a quella del Sig. 
 Leardini, ti lasceranno godere dell' armonia d'un solo_Orfeo, mentre 10 te ne havea 
 apparecchiata quella di due." SCHATZ 9106
 
 OPEKA LIBRETTOS 139 
 
 L'Argippo. Drama per musica da rappresentarsi nel Regip ducal 
 Teatro di Milano in occasione di^elebrarsi il giorno natalizio della 
 Cesarea Cattolica Maesta di Elisabetta Cristina imperatrice, regina 
 delle Spagne etc etc. 
 
 Milano, Giuseppe Richino Malatesta, 1722. 6 p. 1., 44 P- 14' 
 Three acts. Domenico Lalli's "II Gran Mogol," retouched by Claudio Nicola 
 Stampa, who signs the preface. Impresario's dedication, dated August 27, 1722, 
 cast, scenario, and name of the composer, Stefano Andrea Fiord. SCHATZ 3191 
 
 L'Argippo. Drama per musica da rappresentarsi nel Teatro di San 
 Cassiano 1'autunna dell' anno MDCCXMI. Di Domenico Lalli . . . 
 
 Venezia, Marino Rossetti, 1717. 60 p. 14\ cm . 
 
 Three acts. Dedication by Lalli, a later title of whose "II Gran Mogol " this is, 
 argument, cast, scenario, and name of Giovanni Porta as the composer. SCHATZ 8388 
 
 Gli argonaut! in Colco o sia La conquista del vello d'oro. Dramma 
 per musica del Signer A. S. Sografi da rappresentarsi nel nobilissimo 
 Teatro di San Samuele il carnovale dell' anno 1790. 
 
 Venezia, Modesto Fenzo, 1789. 62 p. 22 cm . 
 
 Three acts. Author's dedication, cast and name of the composer, Giuseppe 
 Gazzaniga. 
 
 First performed at Venice, December 26, 1789. SCHATZ 3657 
 
 Ariadne. See Reiser's Die betrogene und nachmals vergoetterte . . . 
 
 Ariadne auf Naxos. Ein duodrama mit musick. 
 Goiha, n. puU., 1775. 4 p. I, 12 p. 18$ cm . 
 
 One act. The "Vorbericht" by the author, Joseph Jacob Christian Brandes (not 
 mentioned) of date Gotha, January 3, 1775, contains the argument and the following 
 remarks, with name of Georg Benda as composer in a foot-note: 
 
 "Die bekannte cantate des herrn von Gerstenberg, Ariadne auf Naxos, ist zur 
 grundlage dieses duodrama genommen und vieles daraus woertlich beybehalten 
 word en. Der ausdruck so mannigfaltiger leidenschaften, die vortref lichen gemaehlde 
 dieses dichters sind ursache, dass der verfasser es gewagt hat, jene so wohl klingende 
 poesie in prosa aufzuloesen, sie mittelst einiger veraenderungen auch fuer die buehne 
 brauchbar zu machen und zugleich durch diesen weg einem unsrer besten meister 
 in der musik gelegenheit zu geben, an einem so reichhaltigen stoffe sein grosses talent 
 zu zeigen. Der umstand, dass dies duodrama zur musikbegleitung geschrieben ist, 
 wird dem leser leicht die ursache der oeftern absaetze im text erklaeren." 
 
 First performed at Gotha, Schlosstheater, January 27, 1775. SCHATZ 768 
 
 Ariadne auf Naxos. Ein duodrama von Joh. Christian Brandes. 
 Leipzig, DyHsche luchhandlung, 1790. 1 p. 1., 21 p. 18% cm . 
 
 One act. On p. [1] the note "Verfertigt in jahr 1774." The Vorbericht the same 
 as in the 1775 ed. ML 50.2.A737 
 
 Ariadne et Bachus. See Marais' Ariane et Bachus. 
 Ariadne und Theseus, ballet. See Piccinni's Cato in Utica. 
 
 Ariane, tragedie represented pour la premiere fois par 1'Acade'niie 
 royale de musique, le mardy 6. avril 1717. 
 
 Paris, Pierre Ribou, 1717. xiv, [50] p. %5\ cm . 
 
 Last 2 p. incorrectly numbered 7 and 5. 
 
 Prologue and five acts. Cast. Neither authors nor composer mentioned. (See 
 next entry.) ML 50.2.A739M6
 
 140 LIBRARY OF CONGRESS 
 
 Ariane Continued. 
 
 - Ariane, tragedie represented par PAcademie royale de musique, 
 1'an 1717. Paroles de Messieurs Hoy & de Lagrange. Musique de 
 M. Mouret. XCII. opera. 
 
 7i. i., n. d. p. 132-186, 1 pi. (Recueil general des opera, t. xii, 
 Paris, 1734.) 14 cm . 
 
 Detached copy. Five acts and prologue. SCHATZ 6694 
 
 Second copy. ML 48. R4 
 
 Ariane dans 1'isle de Naxos,drame lyrique, represente pour la pre- 
 mere fois, par 1'Academie royale de musique, le mardi 24 septembre 
 1782. 
 Paris, P. de Lormel, 1792. 12 p. 22 cm . 
 
 One act. Argument, cast, and names of [Pierre Louis] Moline as author, of [Johann 
 Friedrich] Edelmann as composer. ML 50.2.A74E3 
 
 Ariane et Bachus, tragedie. Represent ee par I 7 Academic royale 
 de musique. 
 
 Amsterdam, les heritiers d'Antoine Schelte, 1699. front., 52 p. 14 cm . 
 
 Prologue and five acts. Neither the author, Saint-Jean, nor the composer, Marin 
 Marais, is mentioned. 
 
 First performed, as indicated, March 8, 1696. ML 50.2.A742M2 
 
 Ariadne et Bachus, tragedie represented par 1' Academic royale 
 de musique Fan 1696. Les paroles sont de M. S. Jean. & La musique 
 de M. Marais. XXXVIII. opera. 
 
 n. i., n. d. front., p. 291-352 (Recueil general des opera, t. v, Paris, 
 1703}. 14 cm . 
 
 Detached copy. Five acte and prologue. SCHATZ 5920 
 
 Second copy. ML 48. R4 
 
 Ariane et Bacchus. See Mouret's Les amours des dieux. 
 Arianna, ballet. See Colla's Sicotencal. 
 
 Arianna. Drama per musica, da rappresentarsi nel Regio Teatro 
 di Torino, Tanno 1728. alia presenza delle Loro Sacre Reah Maesta, e 
 delle Loro Altezze Reali. 
 
 Torino, Gio. Battista Valetta, n. d. 50 p. 15\ cm . 
 
 Three acts. By Pietro Pariati, who is not mentioned. Argument, scenario, cast, 
 and name of the composer, "Leonardo Feo, mastro di cappella di Napoli." 
 
 SCHATZ 3061 
 
 L' Arianna. Tragedia del Sig. Ottavio Rinuccini, gentilomo della 
 camera del Re Cristianissimo. Rappresentata in musica nelle reali 
 npzze del sereniss. principe di Mantova, e della serenissima infanta 
 di Savoia. 
 
 Mantova, presso gli Jieredi di Francesco Osanna, 1608. 2 p. 1., 46 p. 
 16 cm . 
 
 Monteverdi, the composer, is not mentioned. 
 
 Wotquenne claims that the original edition was published at Florence in 1606. 
 This is evidently a misprint for 1608, when Giunti, of Florence, published Rinuc- 
 cini's text. The Brussels catalogue lists neither this edition nor ours, but one pub- 
 lished at Venice in the same year. Schatz claims our edition to be the original. 
 This opera (of which the music is lost, except the famous Lamen to) was first performed, 
 as indicated, on May 28, 1608. 
 
 Neither this edition is divided into acte, nor the following. SCHATZ 6595
 
 OPERA LIBRETTOS 141 
 
 L' Arianna Continued. 
 
 - L'Arianna del Sig. Ottavio Rinuccini. Posta in musica dal Sig. 
 Claudio Monteverdi. [!] Rappresentata in Venetia Fanno 1640. Al 
 molto illustre Signore il Sig. Bortolo Stacio. 
 
 Venetia, Bariletti, 1640. 64 p. 13$ cm . 
 
 This is apparently the text as used in the winter of 1639 at Venice for the opening 
 of the Teatro di San Moise. On p. 5 Antonio Bariletti says in his dedication: 
 
 "... Hora dunque che 1' Arianna, componimento, che fra' Drammatici ha riportati 
 i primi vanti da' theatri italiani, ritorna a veder le scene in Venetia, per opra del 
 Signor Claudio Monte Verdi [!] celeb ratissimo Apollo del secolo, e prima intelligenza 
 del cielo armonico, prendo occasione di non tenerle i miei piu lungamente celati; ma 
 con offerirla al nome di V. S. di manifestargli al mondo per mezzo della sua nuova 
 ristampa ..." 
 
 This dedication is followed, on p. 8-9, by the " Sonetto del Signor Benedetto Ferrari 
 dalla Tiorba: al Sig. Claudio Monteverdi oracolo della musica." 
 
 Since the dedication begins on p. 5, since the verso of the title-page is blank and 
 unnumbered, and since the signatures A3-A6 are in twos, it is clear that either p. 3-4 
 are missing or that the title-page was intended as p. 3, and was preceded, perhaps, 
 by a frontispiece. 
 
 A line-by-line comparison of the Venice (1640) and the Mantova (1608) edition 
 reveals exceedingly few differences. The verbal differences are indeed entirely neg- 
 ligible, except, perhaps, in Apollo's opening address, where, in the third stanza 
 Di strali armato, e non di face, o d'arco 
 Gran Re, c'hai sovra 1'alpi e scettro, e regno" 
 has become 
 
 " Di pace armato, e non di strali, o d'arco 
 
 A te, c'hai sovra 1'acque scettro, e regno." 
 
 Also, the "Odi Carlo immortal " has now become "Odi Duce immortal." It is further 
 noticeable that in the 1640 version "Uno del C." [oro] was often employed instead of 
 the chorus, so that, for instance, the last three lines of the chorus, "Miseri peregrin 
 quietar no ponno," were now sung only by "uno del c." 
 
 The Venetian version, finally, is, toward the end, slightly condensed, as on p. 42 
 the chorus lines, "Bell'e il tacer," etc. and on p. 62 (Amore) the lines "Spaveeaolce 
 mime," etc., before Arianna's "Gioite al gioir mio," and her lines, "Felice il martir 
 mio," before the chorus, have been dropped. The repeated spelling of the name as 
 Monteverdi, not Monteverde, is interesting, since it strengthens Emil Vogel's conten- 
 tion, based on the composer's manuscripts, that his name was Monteverdi, and not 
 Monteverde, as many Italian and other writers still insist on spelling it. 
 
 SCHATZ 6592 
 
 Arianna. Aziorie scenica per musica, rappresentata nella Regia 
 elettoral villa di Sant' Uberto per solennizzare il giorno natalizio 
 della Maesta di Augusto III ... Tanno MDCCXXXVL 
 
 Dresda, la vedova Stossel, n. d. Unpaged. 18\ cm . 
 
 One act. Argument. Neither the author, Stefano Benedetto Pallavicini, nor the 
 composer, Giovanni Alberto Ristori, is mentioned. 
 
 First performed, as indicated, October 7, 1736. SCHATZ 8816 
 
 Arianna abbandonata. Drama per musica da rappresentarsi nel 
 Teatro Giustiniano di San Mois6 Fautunno dell' anno MDCCXIX. 
 
 Venezia, Marino Rossetti, 1719. 48 p. 14 cm - 
 
 Three acts. Argument and scenario, but without names of the composer, Giuseppe 
 Boniventi, and the librettist, conte Angelo Schietti. SCHATZ 1189 
 
 Arianna abbandonata da Teseo, e soccorsa da Bacco. A. T. of 
 the ballet II triQnto d'Arianna. 
 
 Arianna abbandonata da Teseo e soccorsa da Bacco, ballet. See 
 Rust's L'idolo cinese.
 
 142 LIBRARY OF CONGRESS 
 
 Arianna e Teseo. Dramma per musica da rappresentarsi nel famo- 
 sissimo Teatro Grimani di S. Gio. Grisostomo nel carnovale dell' 
 anno MDCCLI [vignette] 
 
 Venezia, In merceria all' insegna deUa scienza, n. d. 52 p. 15l cm . 
 
 Three acts. Cast, scenario, name of Girolamo Ab(b)os as composer. Librettist 
 unknown to Schatz. 
 
 First performed at Rome, Teatro delle Dame, December 26, 1748. SCHATZ 9 
 
 Arianna e Teseo. Dramma per musica da rappresentarsi nel nobi- 
 lissimo Teatro di S. Benedetto il carnovale dell anno 1769. 
 Venezia, Modesto Fenzo, 1769. 54, [7] p. 17 cm . 
 
 Three acts. By Pietro Pariati, who is not mentioned. Argument, cast, scenario, 
 and name of Baldassare Galuppi as composer. The additional seven pages contain 
 a "Descrizione dei balli." 
 
 First performed at Padua, Teatro Nuovo, June 12, 1763. SCHATZ 3441 
 
 Arianna e Teseo. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1764 . . . 
 Torino, Gaspare Bayno, n. d. viii, 4$ P- 16 cm . 
 
 Three acts. By Pietro Pariati, who is not mentioned. Argument, cast, and name 
 of Giuseppe Pasque as the composer. On p. 45-48 description of Augusto HUBS' 
 ballets, "II giuoco dell' arco," "Le fontane incantate," and "Le donne Ateniesi, e i 
 loro compagni," music by Giuseppe Antonio Le Messier. 
 
 First performed, as indicated, December 26, 1763. SCHATZ 7781 
 
 Arianna e Teseo. Dramma per musica da rappresentarsi nel Teatro 
 Grimani di San Gio. Grisostomo nell' autunno MDCCXXVII. 
 Venezia, Marino Rossetti, 1727. 60 p. 15 cm . 
 
 Three acts. By Pietro Pariati, who is not mentioned. Argument, cast, scenario, 
 and name of Nicoli Antonio Porpora as the composer. 
 
 First performed at Vienna, Hoftheater, October 1, 1714. SCHATZ 8369 
 
 Arianna e Teseo. A. T. of P. v. Winter's I sacrifizi di Greta. 
 
 Arianna in Naxo. 
 
 [259}-293 p. 17 cm . (RoTli, Componimenti poetici, Nuova edizione, 
 Verona, G. Tumermani, 17 44-) 
 
 Three acts. Argument. The composer, Nicolo Porpora, is not mentioned. 
 
 First performed at London, Lincoln's Inn Fields, December 29, 1733. 
 
 ML 49.A2R7 
 
 Arianna neli' isola di Nasso, ballet. See Naumann's Armida. 
 
 Ariarate. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1789 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 67 p. 16 cm . 
 
 Three acts. By Ferdinando Moretti, who is not mentioned. Argument, scenario, 
 cast, and name of Giuseppe Giordan! as the composer. On p. 59-67 description of 
 Giuseppe Band's ballets, "II riconoscimento di Teseo ossia Teseo e Medea (4 acts) 
 and "II disertore francese," music for both by Vittorio Amedeo Canavasso. 
 
 First performed, as indicated, December 26, 1788. SCHATZ 3842 
 
 Ariarate. Dramma per musica in due atti da rappresentarsi nel R. 
 Teatro di S. Cecilia per la primavera dell' anno 1787 . . . 
 Palermo, SoUi, n. d. 48 p. 15l cm . 
 
 Three acts. By Ferdinando Moretti, who is not mentioned. Dedication, argu- 
 ment, cast, and name of Angelo Tarchi as the composer. 
 
 First performed at Milan, Teatro alia Scala, January, 1786. SCHATZ 10213
 
 OPERA LIBRETTOS 143 
 
 Ariberto e Flavio, regi de Longobardi. Drama per musica da 
 rappresentarsi nel ristaurato famoso Teatro Vendrammo di San Sal- 
 vatore 1'anno MDCLXXXV. Di D. Rinaldo Cialli . . . 
 
 Venetia, Francesco Nicolini, 1684 [/]. 69 (incl. front), [1] p. 14 cm . 
 
 Three acts.. Cialli's dedication, dated Venice, December 9, 1685, argument, 
 scenario, and notice to the reader, with name of Carlo Ambrogio Lonati as the com- 
 poser. SCHATZ 5680 
 
 Aricie, ballet represent^ par F Academic royale de musique Tan 1697. 
 Les paroles sont de M. Pic & la musique de M. la Coste. ALII, opera. 
 n. i., n. d. 14 cm - pi-, 63-120 p. (Recueil general des opera, L vi, 
 Paris, 1703.) 
 
 Detached copy. Five entries and prologue. 
 
 First performed at Paris, Academic royale de musique, June 9, 1697. 
 
 SCHATZ 5351 
 Second copy. ML 48. R4 
 
 Ariodante. Drama per musica. Del dottore Antonio Salvi, Fio- 
 rentino, da rappresentarsi nel famosissimo Teatro Grimani di San 
 Giovanni Grisostomo . . . 
 
 Venezia, Marino Rossetti, 1716. 58 p. 14% cm . 
 
 Three acts. Dedication by the impresario, argument, cast, scenario, name of Carlo 
 Francesco Pollaroli as the composer, and this notice to the reader: 
 
 "Nella ristampa, che io ho dovuto fare di questo drama, in occasione che egli si dee 
 rappresentare in questa citta di Venezia, mi corre 1'obbligo di avvertirti, che in esso 
 tu non ricerchi tutto quell' ordine, e tutti que' versi con cui 1'insigne autore 1'ha 
 composto e pubblicato. Si e dovuto troncarlo, e accrescerlo, e alterarlo in molte parti. 
 Diverso e'l numero degli attori, delle scene, delle mutazioni, e cosl dell' altre parti 
 coetitutive del drama. Ci6 tuttavolta non e stato fatto con animo di migliorarlo, ma 
 solo ad oggetto di adattarlo al bisogno. L'autore e pregato* a prendere questo cangia- 
 mento in buona parte, e ci6 con 1'esempio, o sia piu tosto con 1'abuso, che in oggi corre 
 per tutti i teatri d'ltalia in simili cpmponimenti, dove ognuno ha 1'autprita e'l privi- 
 legio di porci mano, e di cangiarne infino i titoli, come pure in questo si e fatto." 
 
 First performed fall of 1716, as indicated. SCHATZ 8272 
 
 Ariodante. Drama per musica da rappresentarsi nel famosissimo 
 Teatro Grimani a S. Gio. Grisostomo 1'autunno 1745 . . . 
 
 [Venezia]. n. i., n. d. 1 p. 1., 4$ P- 15 cm . 
 
 Three acts. Dedication, scenario, cast, name of Georg Christoph Wag-enseil as the 
 composer, and notice to the reader, who is informed that in this version of Antonio 
 Salvi's text (who is not mentioned): 
 
 "Si e dovuto troncarlo, accrescerlo, e alterarlo in molte parte, e particolarmente in 
 buona parte dell' arie introdotevi a maggior comodo della nuova musica. Diverso e 
 il numero delle scene, delle mutazioni, e cosi dell' altre parti costitutive del drama. 
 Ci6 tutta yolta non 6 stato fatto con animo di migliorarlo, ma solo ad' oggetto di adat- 
 tarlo al bisogno, e cip con 1'esempio, p sia piu tosto con 1'abuso, che in oggi corre per 
 tutti teatri d'ltalia in simili componimenti, dove ogn' uno a 1'autorita e'l privileggio 
 di porci mano e di cangiarne infino i titoli." (Comp. preceding entry.) 
 
 SCHATZ 10816 
 
 Arion. Tragedie represented pour la premiere fois par rAcademie 
 royale de musique, le mardy 10. avril 1714. Les paroles de M. 
 Fuzelier & la musique de M. Mattau. LXXXIII. opera. 
 
 n. i., n. d. pi., p. [50]-109. (Recueil general des opera, t. xi, Paris, 
 1720.) 14. 
 
 Detached copy. Five acts and prologue. Composed by Jean Baptiste Matho. 
 
 SCHATZ 6097 
 Second copy. ML 48.R4 
 
 Aristeo. Second act of Gluck's Le feste d' Apollo.
 
 144 ' LIBRARY OF CONGRESS 
 
 L'Aristeo. Drama per musica. Da rappresentarsi nel Teatro 
 Tnui di S. Cassiano 1'anno 1700 . . . 
 Venezia, Nicolini, 1700. 69 p. 14 cm . 
 
 Three acts. By Giulio Ceeare Corradi, who is not mentioned. Impresario's dedi- 
 cation, argument, cast, >, cnario, and notice to the reader, with the name of Antonio 
 Polaroli (Pollaroli) a* the composer. SCHATZ 8260 
 
 Aristide. 
 
 [285}-300 p. I6\ cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. in, Torino, 1757.) 
 
 Two parts. (See below.) ML 49.A2G6 
 
 - Aristide. Intermezzo di due parti per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, v. 35, 
 [271}-287 p. 18 cm . 
 
 PQ 
 
 Aristide. Drama eroi-comico per musica da rappresentarsi nel 
 Teatro Grimani di S. Samuel dafia Compagnia de Comici I'autunno 
 dell' anno 1735. Di Calindo Grolo . . . 
 
 Venezia, Alvise Valvasense, 1735. 30 p. 14%- 
 
 One act. By Carlo Goldoni. Dedicatory sonnet, argument, cast, scenario, and 
 name of Lotavio Vandini as composer. The latter would seem to be a fictitious name 
 for Giacomo Macari, since Schatz claims that all the names in the libretto are fictitious. 
 Wiel does not mention the opera at all. SCHATZ 5808 
 
 Aris to, e Temira e Orfeo, ed Euridice. Drammi per musica da 
 rappresentarsi nel nobilissimo Teatro di S. Benedetto il carnovale 
 deF anno MDCCLXXVI . . . 
 
 Venezia, Modesto Fenzo, 1776. 48 p. 17% cm . 
 
 Both in one act, with argument, cast, and name of Ferdinando Giuseppe Bertoni 
 as composer, but not of the librettists. "Aristo e Temira" was by conte de Salvioli, 
 "Orfeo ed Euridice" (p. 23-48) by Ranieri de' Calsabigi. Bertoni's "Orfeo ed 
 Euridice" was revived at the same theatre. (See libretto.) The impresario says in 
 his dedication that "Orfeo " had been first performed at Vienna, but this remark refers 
 to Calsabigi's text, as composed by Gluck, Vienna, 1762. SCHATZ 934-935 
 
 Aristo e Temira, text by 'conte De Salvioli, music by Carlo Monza. 
 See Gluck's Orfeo ed Euridice (Schatz 3934). 
 
 Aristomene Messenio. Drama per musica nel giorno natalitio 
 della Sac. R. M. 14 Mariana d'Austria . . . Fanno MDCLXX. Posto 
 in musica dal Sf Felice Sances . . . 
 
 Vienna d' Austria, Matteo Cosmerovio, n. d. 78 p. 15\ cm . 
 
 Three acts and licenza. Dedication by the author, conte Nicol6 Minato, dated 
 Vienna, December 20, 1670, notice to the reader, argument, and scenario. 
 
 First performed, not as indicated in the dedication, but December 22, 1670 
 (Schatz). SCHATZ 9367 
 
 Aristote amoureux; ou Le philosophe bride", ope'ra-comique, en 
 un acte & en vaudevilles: Repre'sente' pour la premiere fois par les 
 Comediens italiens ordinaires du roi, le vendredi 11 aout 1780. 
 Paris, Vente, 1780. 33, [1] p. 20. 
 
 Cast. The authors, de Piis and Barre 1 , are not mentioned. Arranger of the music- 
 unknown to Schatz. ML 50.2.A746 
 
 Arkadien. L. T. of Schmittbauer's Lindor und Ismene.
 
 OPERA LIBRETTOS 145 
 
 Arlequin Atys, parody. See Lully's Atys. 
 
 Arlequin Bellerophon, parody. See Lully's Bellerophon. 
 
 Arlequin Colombine. A. T. of Colombine Arlequin. 
 
 Arlequin defenseur d'Homere. Pidce d'un acte. Par Monsieur 
 F***. Represent ee a la Foire de ^. Laurent 1715 . . . 
 Le Theatre de lafoire, Paris, 1737, t. ii, pi, 48 p. 17 cm . 
 
 By Fuzelier. En vaudevilles, selected or composed by Jean Claude Gillier, the 
 "compositeur" of the theatre and printed in the "Table des airs" at the end of the 
 volume. A note on the title page reads: 
 
 "Cette piece a et6 composee & 1'occasion de la fameuee querelle qu'il y avoit dans 
 ce terns la entre les auteurs au sujet d'Homere." 
 
 First performed, as indicated, July 25, 1715. ML 48.L2 I 
 
 Arlequin -Deucalion, monologue en trois actej. Donne a 1'Opera- 
 comique en 1722. 
 
 Alexis Piron, Oeuvres complettes, Liege, 1776, v. 8, J+5 p. 17 ^ cm . 
 
 Composer not recorded by Parfaict, etc. 
 
 First performed, as indicated, February 25, 1723. PQ 2019.P6 
 
 Arlequin Endymion. See Prologue des deux pieces . . . 
 
 Arlequin Hulla, ou La femme repudiee. Piece d'un acte. Par 
 Messieurs le S***. & D'Or**. Represent ee a la Foire de S. Laurent 
 1716. 
 
 Le Theatre de lafoire, Paris, 1737, t. ii, pi, [353]-397 p. 17 cm . 
 
 By Le Sage & d'Orneval. Music comoosed b" Aubert. according to Parfaict. 
 
 ML 48.L2 II 
 
 Arlequin invisible. Pice en un acte. Par Monsieur le S**. 
 Represent ee a la Foire de S. Laurent 1713. 
 Le Theatre de lafoire, Paris, 1737, t. i, pi, [85]-104 p. 17 cm . 
 
 By Alain Ren6 Le Sage. A pilce, par ecriteaux, en vaudevilles. The melodies are 
 printed in the "Table des airs at the end of the volume. They were selected or 
 composed and arranged by the "compositeur" of the theatre, Jean Claude Gillier. 
 
 Parfaict gives as title "Arlequin invisible chez le roi de la Chine." ML 48. L2 I 
 
 Arlequin Mahomet, et Le tombeau de Nostradamus. Pieces 
 chantees par les acteurs, d'une acte chacune, liees par un prologue 
 intitule" : La foire de Guibray. Par M. le S**. Represent 6es a la 
 Foire de S. Laurent 1714. 
 Le Theatre de lafoire, Paris, 1737, t. i, 3 pi, [105]-199 p. 17 cm . 
 
 By Alain Ren 6 Le Sage. En vaudevilles. The melodies are printed in the "Table 
 des airs " at the end of the volume. They were selected or composed and arranged 
 by the "compositeur" of the theatre, Jean Claude Gillier. 
 
 First performed, as indicated, July 25, 1714. ML 48.L2 I 
 
 Arlequin Persee. Parody of Lully's Persee. 
 Arlequin Phaeton, parody. See Lully's Phaeton. 
 
 Arlequin, roi des Ogres, ou Les bottes de sept lieues. See Le 
 diable d'argent. 
 
 Arlequin Roland. Parody of Lully's Roland. 
 
 72251 VOL 114 10
 
 146 LIBRARY OF CONGRESS 
 
 Arlequin, roy de Serendib. Pifcce en trois actes. Par M. le S*** 
 represent^ & la Foire de Saint Germain 1713. 
 
 Le Thedtre de lafoire, Paris, 1737, t. i, pi, p. 17-68. 17 cm . 
 
 By Alain Ren Le Sage. A piece par ecriteaux, en vaudevilles. The melodies are 
 printed in the "Table des airs" at the end of the volume. They were selected or 
 composed and arranged by the "compoeiteur" of the theatre, Jean Claude Gillier. 
 
 ML 48.L2 I 
 
 Arlequin, sultane favorite. Piece en trois actes. Par Monsieur 
 le T**. Represent^ a la Foire de S. Germain 1715. 
 
 Le Theatre de lafoire, Paris, 1737, t. i, pi, [202}-285 p. 17 cm . 
 
 By Le Tellier. En vaudevilles. The melodies are printed in the "Table des airs" 
 at the end of the volume. They were selected or composed and arranged by the 
 "compoeiteur" of the theatre, Jean Claude Gillier. 
 
 First performed, as indicated, February 3, 1719 (Parfaict). ML 48. L2 I 
 
 Arlequin Thetis. Pierce en un acte. Par Monsieur le S**. Repre- 
 sents a la Foire de S. Laurent 1713. 
 Le Theatre de lafoire, Paris, 1737, t. i, pi, [65\-8S p. 17 cm . 
 
 By Alain Ren Le Sage. A piece par ecriteaux, en vaudevilles. The melodies are 
 printed in the "Table des airs at the end of the volume. They were selected or 
 composed and arranged by the "compositeur" of the theatre, Jean Claude Gillier. 
 
 ML 48.L2 I 
 
 Arlequin traitant. Pice en trois actes. Par M. D'or **. Rep- 
 resentee a la Foire de Saint Germain 1716 . . . 
 
 Le Theatre de lafoire, Paris, 1737, t. ii, pi, [133}-225 p. 17 cm . 
 
 By d'Oraeval. The airs, selected or composed and arranged by Jean Claude 
 Gillier, are printed at the end of the volume in the "Table des airs." A note on the 
 t.-p. reads: 
 
 "Cette piece fut faite a 1'occasion de la d4route des Traitans, causee par la Chambre 
 de justice qui fut 4tablie dans ce tems-la." 
 
 First performed, as indicated, March, 1716. ML 48. L2 II 
 
 L'Armida. Dramma per musica del tenente de Gamerra . . . 
 Aprile N. 4. 1771. 
 
 Milano, Giuseppe Galeazzi, n. d. J+8 p. 15 cm . 
 
 Three acte. Author's dedication, prefatory poem, argument. Composer not men- 
 tioned and unknown to Schatz. On p. 44-48, " Oseervazioni sull' opera in musica," 
 which are noteworthy, and which culminate in Gamerra's contention that, contrary 
 to current notions, "dovrebbe essere al poeta di precisa necessita la total nozion della 
 musica ..." SCHATZ 11309 
 
 Armida. Cantata a quattro voci per il benefizio di Gaetano Neri, 
 da rappresentarsi nel Regio Teatro di S. Carlo della Principessa, la 
 sera dei 16 novembre 1798. 
 
 Lisboa, Simone Taddeo Ferreira, 1798. 3d p. 14 cm - 
 One act. Portuguese text faces Italian. Cast and name of Angelo Talassi as 
 author. The composer is not mentioned. Under date of November 16, 1798, Schatz 
 records a performance of Talasei's text at Lissabon, with music by Sacchini, but 
 Sacchini's "Armida" (1772) had three acte. The text was by Giovanni de Gamerra, 
 and Sacchini died 1786. ML 50.2.A75 
 
 Second copy. SCHATZ 9247 
 
 Armida. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1770 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 72 p. 16\ cm . 
 
 Three acte. By Jacopo Durandi. Argument, cast, scenario, and name of Pasquale 
 Anfossi as composer, but not of librettist. 
 
 The ballete, invented by Augusto Huss, the music by Giuseppe Antonio Le Messier, 
 were entitled, "Amore custode del- Giardino di Armida," "Accampamento, o sia la 
 Lotteria militare," and "Di Furie." SCHATZ 226
 
 OPERA LIBEETTOS 147 
 
 Armida. Dramma per musica da rappresentarsi nel Teatro Gius- 
 tiniani di San Moise nella fiera dell' Ascensione delP anno 1777. 
 [Venezia], n. publ., n. d. 39 p. 17 cm . 
 
 Two acts. By Giannambrogio Migliavacca. Impresario's dedication, with name 
 of author, argument, scenario, cast, and name of Gennaro Astaritta as composer. 
 
 SCHATZ 3G7 
 
 Armida. Dramma per musica da rappresentarsi nel Teatro di S. 
 Angelo il carnovale dell' anno 1747. 
 
 Venezia, Modesto Fenzo, 1747. 48 p. 16 cm . 
 
 Three acts. Scenario, cast, and name of Ferdinando Giuseppe Bertoni as com- 
 poser, but not of librettist, Bartolomeo Vitturi. SCHATZ 925 
 
 Armida, ballet. See Casali's Antigona.* 
 
 L'Armida del Ferrari. 
 n. i., n. d. 75 p. 15 cm . 
 
 According to Schatz, lacks a front. Dedication signed by the author-composer, 
 Benedetto Ferrari, argument, "Prologo. La fortuna. Poesia d'Incerto.," charac- 
 ters, and three sonnets addressed to the author. 
 
 First performed at Venice, Teatro de' S. S. Gio. e Paolo, carnival, 1639. 
 
 SCHATZ 3065 
 
 L'Armida di Benedetto Ferrari dalla tiorba. Rappresentata in 
 musica in Venetia. Posta in musica dall' istesso autore. 
 
 n. i., n. d. 13 cm . [109]-163 p. (B. Ferrari, Poesie drammatiche, 
 Milano, 1644.} 
 
 Detached copy. Three acts and prologue. Three sonnets by conte Giuseppe 
 Theodoli, Michel Angelo Botti, Giuliano Bezzi to the author, argument. 
 
 SCHATZ 11699 
 
 Armida. Dramma per musica da rappresentarsi nel nobil Teatro 
 a Torre Argentina nel carnevale dell' anno 1773 . . . 
 
 Roma, Lorenzo Capponi e Gio. Bartolomicchi, n. d. 61, [1} p. 16 cm . 
 
 Three acts. Impresario's dedication, argument, scenario, cast, and name of 
 Giuseppe Gazzaniga as composer. The author (unknown to Schatz) is not mentioned. 
 
 ML 50.2.A75G2 
 
 Armida. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Berlino per il felicissimo giorno natalizio della Sacra Real Maesta 
 di Sofia Dorotea Regina maore . . . 
 
 Berlino, Haude e Spener, 1751. 89, [5] p. I6 cm . 
 
 Three acts. Leopoldo de Villati is mentioned as author, Carl Heinrich Graun as 
 the composer. Argument and scenario. German title page and text face Italian. 
 First performed, as indicated, March 27, 1751. SCHATZ 4089 
 
 Armida. Dramma per musica del Signor awocato Giacomo Duranti 
 Torinese da rappresentarsi in Verona nel Teatro dell' illustrissima 
 Accademia Filarmonica nel carnovale 1771. 
 
 Verona, Dionisio Ramanzini, n. d. 52, [5] p. 17^ cm . 
 
 Three acts. Dedication, argument, cast, scenario, and name of Vincenzo Man- 
 frediiii as composer. With the opera was performed, composer of the music not 
 mentioned, Jean Favier's ballet "Zefiro e Flora." 
 
 First performed at Bologna, Teatro Comunale, May 1770. SCHATZ 5893
 
 148 LIBRARY OF CONGRESS 
 
 Armida. Dramma per musica da rappresentarsi nel Teatro grande 
 alia Scala il carnovale dell' anno 1780 . . . 
 
 MUano, Gio. Batista Bianchi, n. d. 61 p. 16 cm . 
 
 Three acts. Dedication, cast, scenario, and name of Giuseppe Misliweczek as 
 composer ("La miuuca nuova"). A note on p. [11] says of the text by Giannambrogio 
 Mighavacca, who is not mentioned: 
 
 "La poesia e una versione dell' Armida di Qumault, di cui si sono esattamente 
 eeguite le tracce a differenza della semplice libera imitazione, che, per 1'angustia del 
 tempo, in Vienna, anni sono, ne fu gia prodotta dal traduttore. Per maggipr brevity 
 per6 sono stati ommessi alcuni versi del dramma francese, e sostituiti o aggiunti altri 
 colla scena, prima e terza dell' atto secondo, nell' italiano, per accomodarsi all' uso 
 nostro." 
 
 The ballet music was composed by Gaspero Angiolini. 
 
 First performed, as indicated, December 26, 1779. ML 48.A5 v. 9 
 
 Armida. Dramma per mftsica da rappresentarsi nel nobilissimo 
 Nuovo Teatro di Padova nella fiera delr anno MDCCLXXIIL 
 
 Venezia, Modesto Fenzo, 1773. 48 p. 17 cm . 
 
 Three acts. By Giovanni Bertati, who is not mentioned. Impresario's dedica- 
 tion, argument, cast, scenario, and note: " La musica tutta nuova del . . . Giovanni 
 Amadeo Neumann Sassone" (Johann Gottlieb Naumann). 
 
 With the opera was performed Gaspero Angiolini's ballet "Arianna nell' isola di 
 Nasso," the composer of the music not being mentioned. 
 
 First performed in June, 1773, as indicated. SCHATZ 7039 
 
 Armide. Ein singspiel in drey aufzuegen. Nach einem italie- 
 nischen Texte, aus Tasso's Goffredo entlehnt, von Bock. Die kom- 
 position ist von herrn kapellmeister Naumann. 
 
 n. i., n. d. p. [79]-146 (Komische opem der Italiener, th. ii, no. 2, 
 Leipzig, 1782}. 16$ cm . 
 
 Detached copy. First performed at Leipzig, Theater b. Rannstadter Thore, July 
 6, 1780. SCHATZ 7040 
 
 Armida. Dramma del Signer Coltellini da rappresentarsi nel Gran 
 Teatro Reale di Berlino nel febbraio 1797. Con musica del Signor 
 Vicenzo Righini . . . 
 Berlino, Haude e Spener, n. d. 71, [1] p. 16% cm . 
 
 Two acts. Argument and cast. German title "Armide" and text face Italian. 
 On last unnumb. p. title of "La figlia dell' aria o sia L'innalzamento di Semiramide, 
 ballo tragico-pantomimo in cinque atti composto dal Sign. Onprato Vigan6 e rimesso 
 sulle scene dal Sign. Salvatore Vigano. La musica & delli Sign. Giulio e Salvatore 
 Vigan6." 
 
 First performed at Berlin, Kgl. Opern-Theater, February 21, 1797; at Vienna, 
 private theatre of prince A. Auersperg, July 23, 1782, and at Aschaffenburg, Sep- 
 tember 1788. SCHATZ 8778 
 
 Armida. Dramma per musica da rappresentarsi nel Regio-ducal 
 Teatro di Milano nel carnovale dell' anno 1772 . . . 
 Milano, Gio. Battista Bianchi, n. d. 70 p. 15 cm . 
 
 Three acts. Dedication, argument, cast, name of Antonio Sacchini as the com- 
 poser, and this "Protesta": 
 
 "Nell" atto I. alia scena 3. 1'aria Rinaldo col recitative, che la precede, e tutta la 
 scena 12. col duetto, npn menp che nell' atto II. alia scena 4. il recitative avanti 
 1'aria cantabile, e 1'ultimo recitative della scena 9. quando Armida 6 svenuta con 
 tutta la scena 10. che segue col rondeau, come pure nell' atto III. alia scena 9. il 
 minuetto col suo recitative spno que' pochi, e soli cambiamenti, che in tutta 1'opera 
 il rispettoso ppeta ha fatti, cosi richiedendo le convenienze degli attori, e le circostanze 
 della scena, dichiarandosi per6 di professare la piu perfetta stima in riguardo al valente 
 autore di questo drammo. 
 
 The author was Giovanni de Gamerra, who is not mentioned. SCHATZ 9205
 
 OPERA LIBRETTOS 149 
 
 Armida Continued. 
 
 Armida. Dramma per musica da rappresentarsi nel R. Due. 
 Teatro nella citta dena Piacenza nellk primavera dell' anno 
 MDCCLXXXVL 
 
 Piacenza, Salvoni, n. d. 4? P- 17 cm . 
 
 Three acts. Argument, cast, and name of Antonio Sacchini as composer. The 
 author, Giovanni de Gamerra, is not mentioned. With the opera were performed, 
 composers of the music not mentioned, Domenico Rossi's ballets "La vittoria di 
 Tamerlano contro Bajazette ossia La Rossana" and "La contadina in corte." 
 
 First performed May 27, 1786, as indicated. SCHATZ 11745 
 
 Renaud . . Tragedie-lyrique en trois actes, representee, pour la 
 premiere fois, par I'Academie-royale de musique, le mardi 25 fe"vrier 
 
 1783. 
 
 Paris, P. de Lormel, 1783. 55 p. 22% cm . 
 
 Three acts. Cast, names of Jean Joseph Leboeuf as author and of Sacchini as the 
 composer and "avertissement," in which the author says that he based the text on 
 Pellegrin, but 
 
 " je n'ai ni pu, ni du suivre le plan trace par Pellegrin; mais j'avoue que je m'en 
 suis rapproche avec plaisir, autant qu'il m a ete possible. Je ne dissimulerai pas 
 me'me, que trouvant qu'il avoit heureusement traduit plusieurs morceaux du Tasse, 
 & d&esperant de les traduire mieux, je ne me suis point fait scrupule de me les appro- 
 prier, & de me servir quelquefois des vers de 1'auteur francais." 
 
 The published score has the same date as this libretto, but according to Cl. & L. 
 and Scnatz the first performance was on February 28. As the L. of C. does not possess 
 the score of Sacchini's "Armida," I do not know to what extent the score of 
 " Renaud " is based on that of "Armida." Leboeuf is said by Lajarte to have had 
 Framery's assistance in adapting the French version to the Italian score. 
 
 SCHATZ 9206 
 
 Renaud. Tragedie-lyrique, en trois actes: repre'sente'e pour la 
 premiere fois sur le Theatre de I'Op^ra, le 25 reVrier 1783. Le 
 poe'me est de M. Le Boeuf. La musique est de M. Sacchini. 
 
 Bruxelles, n. publ, 1783. 21 p. 21 cm . 
 
 ML 50.2.R38 S2 
 
 Renaud, tragedie lyrique en trois actes, representee, pour la 
 premiere fois, par F Academic royale de musique, le vendredi 28 
 revrier 1783. Le poeme est de M. Le Boeuf. La musique est de 
 M. Sacchini. 
 
 Paris, P. de Lormel, 1786. 34 p. 21 cm . 
 
 Text is the same as in the 1783 ed. ML 50.2. R38 S3 
 
 Armida. Eine oper, von Salieri. 
 n. i., n. d. [1]~40 p. 15\ cm . 
 
 Three acts. By Marco Coltellini, who is not mentioned. In this libretto the 
 German translation does not face the Italian, but follows it in segments, which must 
 have been very confusing for the reader. Comp. Cramer's Tr. in his ' ' Magazin der 
 Musik,"1783. (ML4.M2) 
 
 First performed at Vienna, Burgtheater, June 2, 1771. SCHATZ 9274 
 
 Armida. Eine tragische oper von Carlo [ !] Cotellini [ !] und 
 Antonio Salieri. Herausgegeben von C. S. Cramer. 
 
 Lueneburg, Joh. Fried. With. Lemke, 1786. 62 p. 16$ cm . 
 
 Three acts. " Vorrede " with the argument. SCHATZ 9275
 
 150 LIBRARY OF CONGRESS 
 
 Armicla. Azione teatrale per musica. [vignette.] 
 
 Vienna, Gltelen, 1760. Unpaged. Vignettes. 22\ cm . 
 
 One act. Awertimento that this is a modified Italian version of Quinault's 
 "Armide," and the author reap, translator's Giannambrogip Migliavacca's dedication 
 to conte Giacomo Durazzo, "supremo direttore della musica delle Maesta Loro I. I. 
 R. R.," in which he says: 
 
 "A Parigi vi nacque la voglia d'imitare in yersi toscani, e di far eseguire con musica 
 italiana 1'Armida ai Quinault. Ritornato in senp dell' inclita vostra patria, ne 
 cominciaste, fra le delizie di Pegli, voi medesimo il layoro, in compagnia d'illustre 
 amico . . . Portatovi in appresso a questa Augustissima Corte, vi degnaste ecci- 
 tarmi a proseguire, ed a condurre 1'opera al suo termine, e se nel restarmene il desi- 
 derio, non mi fosse allora il tempo mancato di secpndare i vostri impulsi, avrei, mercfe 
 voetra, io foree avuto il vantaggio, di essere il primo a produrre fra noi codesta nuova 
 specie di spettacolo, come a voi la gloria non pu6 negarsi, d'essere stato il primo a 
 proccurarlo. Finalmente, dopo tanti anni, yoi avete costantemente voluto, che la 
 sorte di mettere al giorno la da voi ideata imitazione, fosse a me riservata . . . acci6 
 lo stile riuscisse tutto uniforme, voi, con generositk senza pari, non vi siete primiera- 
 mente curato, di sacrificare la stessa egregia fatica, gia da voi fatta, e di permettermi, 
 che ad ordir la mia io incpminciassi da capo . . . essendo destinata quest' opera a 
 festeggiare il giorno natalizio di S. A. R. la serenissima arciduchessa sppsa, principessa 
 di Parma, sole poche settimane appena avanti tal giorno, per 1'angustia del tempo, e 
 convenuto, di mano in mano, che andavo scrivendo la poesia, passarla al compositore 
 della musica, il che fu ppi causa, che della gill seguita edizione di questo libro io non 
 rimanessi soddisfatto intieramente. Colla presente piu corretta ristampa," etc., etc. 
 
 This seems to be the libretto for Tommaso Traetta's "Armida," first performed at 
 Vienna, Saturday, January 3, 1761. SCHATZ 11382 
 
 Armida. Azione teatrale da rappresentarsi nel Teatro Vendramin 
 di S. Salvatore nell' occasione della fiera dell' Ascensione dell' anno 
 1767 . . . 
 
 Venezia, Modesto Fenzo, 1767. xlviii p. 
 
 One act. Unsigned dedicatory poem by the author, Giannambrogio Migliavacca, 
 argument, cast, and name of Tommaso Traetta as composer, but not of librettist, who 
 professes to have based his "Armida" on Quinault's Armide, though in the Italian 
 taste. Of the music it is said "sara tutta nuova;" consequently the identity with 
 Traetta's "Armida," first performed at Vienna, Jan. 3, 1761, becomes doubtful. 
 
 First performed at Venice May 27, 1767. SCHATZ 10407 
 
 Armida abbandonata. Dramma per musica da rappresentarsi nel 
 Teatro da S. Agostino il carnovale dell' anno 1786 . . . 
 
 Genova, Stamperia Gesiniana, n. d. 44 P- 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and name of Ferdi- 
 nando Giuseppe Bertoni as composer. The librettist is unknown to Schatz. 
 
 First performed at Venice, Teatro di S. Benedetto, December 26, 1780. 
 
 SCHATZ 931 
 
 Armida abbandonata. Dramma per musica da rappresentarsi per 
 seconda nell' autunno MDCCXXIII nel Teatro Giustiniano di San 
 Moise. 
 
 Venezia, Carlo Buonarrigo, n. d. Jfl p. 14% cm . 
 
 Three acts. By Francesco Silvani. Notice to the reader, cast, scenario, and 
 name of the composer, Giuseppe Maria Buini, but not of the librettist. 
 
 First performed at Bologna, Teatro Formagliari, Aug. 16, 1716. SCHATZ 1388 
 
 Armida abbandonata. Dramma per musica da rappresentarsi nel 
 Real Teatro dell' Ajuda in occasione di festeggiarsi il felicissimo 
 giorno natalizio di Sua Reale Maesta ... D. Marianna Vittoria 
 . . . nella primavera dell' anno 1773. 
 
 [Lislona], Stamperia reale, n. d. 78 p. 16 cm . 
 
 Three acts. By Francesco Saverio di Rogatis, who is not mentioned. Argument, 
 scenario, cast, and name of Niccol5 Jommelli as the composer. The text seems to be 
 practically the same as in the Naples ed. of 1780. 
 
 First performed , as indicated, March 31, 1773; at Naples, same theatre, May 30, 1770. 
 
 SCHATZ 4901
 
 OPERA LIBRETTOS 151 
 
 Arinida abbandonata Continued. 
 
 Armida abbandonata. Dramma per musica da rappresentarsi 
 nel Real Teatro di S. Carlo nel di 13. agosto 1780 per festeggiarsi la 
 nascita di S. M. la regina . . . 
 
 Napoli, Vincenzo Flauto, 1780. 71 p. 18. 
 
 Three acts. By Francesco Saverio de Rogatis, who is not mentioned. Dedication, 
 argument, cast, scenario, and name of Nicola Jommelli as the composer, and of 
 Giuseppe Gazzaniga as conductor, who was probably responsible for alterations, if any, 
 in the score, as first performed there May 30, 1770. On p. 9-17, description of Carlo 
 Lepicq's ballet, "La Semiramide." The second ballet was Domenico Rossi's "II 
 disertore francese." The composers of the ballet music are not mentioned. 
 
 SCHATZ 4842 
 
 Armida abbandonata. Opera seria da rappresentarsi nel Teatro 
 Nuovo di corte . . . nel carnavale. 
 n. i., 1785. 95 p. 16. 
 
 Two acts. Argument, cast, scenario, and names of Gaetano Sertor as author, of sig. 
 Hey as translator, and of Alessio Prati as the composer. German title-page, "Die ver- 
 lassene Armide," and text face Italian. 
 
 First performed 1785, at Munich, as indicated. SCHATZ 8450 
 
 Armida abbandonata. Drama per musica da rappresentarsi nel 
 Teatro di Sant' Angelo I'autunno dell' anno 1707 . . . 
 
 Venezia, Zuccato, 1707. 60 p. 14% cm . 
 
 Three acts. Dedication dated Venice, November 8, 1707, cast, scenario, and 
 notice to the reader by the author, Francesco Silvani (not mentioned), who names 
 Giovanni Maria Ruggeri as the composer, and defends himself for having used Tasso 
 for "un drama intieramente amoroso." SCHATZ 9133 
 
 Armida abbandonata. Dramma per musica da rappresentarsi 
 nel Teatro di Mantova il carnevale del MDCCXI . . . 
 
 Mantova, Alberto Pazzoni, n. d. 51 p. 15% cm . 
 
 Three acts. Impresario's dedication dated Mantova, January 3, 1711, and notice 
 to the reader, in which this is called a slightly altered version of Silvani's text, accom- 
 modated "alia contingenza del luogo, ed al genio de virtuosi cantanti." Ruggeri, 
 the composer, perhaps mentioned on p. 7-8, which are missing. ML 48.A5 v. 3 
 
 Armida al campo. Drama per musica da rappresentarsi nel 
 Teatro di Sant' Angelo il carnovale dell' anno 1707. M. V. . . . 
 Venezia, Zuccato, 1707. 70 [2} p. 14$ cm . 
 
 Three acts. Impresario's dedication, dated Venice, January 19, 1707, argument, 
 cast, and name of the composer, Giuseppe Boniventi, but not of the librettist, Fran- 
 cesco Silvani. At the end a list of the "opere musicali sin' ora stampate in Venezia 
 da Antonio Bortoli a S. Maria Formosa in Calle longa." SCHATZ 1184 
 
 Armida al campo. Drama per musica da rappresentarsi nel 
 Teatro di S. Bartolomeo nel carnevale dell' anno 1718 . . . 
 Napoli, MicheleLuigi Muzio, 1718. 67 p. 13% cm . 
 
 Three acts. By Francesco Silvani, who is not mentioned. Impresario's dedica- 
 tion, dated Naples, February 13, 1718, notice to the reader, scenario, cast, and name 
 of Domenico Sarro as the composer. SCHATZ 9413 
 
 Armida al campo d'Egitto. Drama per musica da rappresen- 
 tarsi nel Teatro Giustiniano di San Moise il carnovale dell' anno 
 MDCCXVIII . . . 
 
 Venetia, Marino Rossetti, 1718. 60 p. 15\ cm . 
 
 Three acts. By Giovanni Palazzi, who is not mentioned. Publisher's dedication, 
 argument, cast, scenario, and name of Antonio Vivaldi as the composer. , 
 
 SCHATZ 10759
 
 152 LIBRARY OF CONGRESS 
 
 Armida delusa. Drama per musica da rappresentarsi nel Teatro 
 di S. Angelo. H carnovale dell' anno 1720. 
 
 Venezia, Marino Rossetti, 1720. 58 p. 16 cm . 
 
 Three acts. Argument, notice to the reader, cast, scenario, and name of the 
 composer, Giuseppe Maria Buini, who also wrote the text (Schatz). SCHATZ 1389 
 
 Armida e Rinaldo, ballet. See Cimarosa's Giunio Bruto. 
 Armida e Rinaldo, ballet. See Cimarosa's II pittor parigiuo. 
 
 Armida in Damasco. Drama per musica da rappresentarsi nel 
 Teatro di S. Angelo I'autunno dell' anno 1711. Del dottor Grazio 
 Braccioli . . . 
 
 Venezia, Marino Rossetti, 1711. 64 p. 14 cm . 
 
 Three acts. Author's dedication dated Venice, October 17, 1711, cast, scenario, 
 name of Giacomo Rampini as the composer, and notice to the reader, in which Brac- 
 cioli as much as begs pardon for having had the temerity to select the same subject as 
 Francesco Silvani, "gentile poeta dramatico de nostri tempi" of "Armida abban- 
 donata" and "Armida al fampo." SCHATZ 8595 
 
 Armida regina di Damasco. L. T. of Orgiani's Gli amori di 
 Rinaldo con Armida. 
 
 Armida und Rinaldo. Ein nach Tasso frey bearbeitetes melo- 
 drama in vier aufzuegen, mit choeren und taenzen vermischt. Fuer 
 das K. K. Nationalhortheater. 
 
 Wien, Johann Baptist WaUisJiausser, 1793. 4 P- 16 cm . . 
 
 Neither Franz Joseph Marius von Babo, the author, is mentioned, nor Peter von 
 Winter, the composer. 
 
 First performed September 7, 1793, under this title, but as "Reinold und Armida," 
 at Munich, Altes Opernhaus, March 30, 1780. SCHATZ 11050 
 
 Armide, trage"die en cinq actes donne"e pour la premiere fois par 
 FAcade'mie royale de musique, en 1686, 1746, 1761, 1764; et remise 
 au Theatre, le mardi 23 septembre 1777. 
 
 Paris, Aux depens de I'Academie, ches P. de Lormel, 1777. 66 p. 
 \ cm . 
 
 Cast. Quinault is mentioned as the author, and Gluck as the composer. 
 
 SCHATZ 3893 
 
 - Armide. Ein heldengedicht, und singspiel in fiinf aufzuegen. 
 In musik gesetzt vom ritter Gluck. Aufgeniehrt unter der direktion 
 des herrn JBoehm. 
 
 Koeln am RJiein, Johan Godschalk Langen, 1786 39 p. 17 cm . 
 
 SCHATZ 3894 
 
 - L'opera de province, nouvelle parodie d'Armide, en deux actes 
 et en vers. Mel 6s de vaudeville; Represented pour la premiere fois, 
 a Paris, le mercredi 17 d^cembre 1777; & a Versailles, devant Leurs 
 Majest6s, le vendredi suivant, par les Comediens italiens ordinaires 
 du roi. 
 
 Paris, Didot Vaine, 1778. 34 p. 19\ cm . 
 
 Cast. The authors, Piis and Barre, are not mentioned. ML 50.2.A76G5
 
 OPERA LIBRETTOS 153 
 
 Armide, tragedie en musique. Represented par 1'Academie royale 
 
 de musique. Suivant la copie imprimee a Pans. 
 
 [Amsterdam, Antoine Schelte], 1686. 57 p. (incl. front.) 14 cm - 
 Prologue and five acts. Neither Quinault nor Lully mentioned. 
 
 ML 50.2.A76 L9 
 
 Armide, tragedie represent ee par 1' Academic royale de musique 
 Fan 1686. Les paroles sont de M. Quinault, & la musique de M. de 
 Lully, XX. opera. 
 
 n. i., n. d. 14 cm - front., 121-178 p. (Recueil general des opera, 
 t. Hi, Paris, 1703.} . 
 
 Detached copy. Five acts and prologue. 
 
 First performed, as indicated, February 15, 1686. SCHATZ 5760 
 
 Second copy. ML 48.R4 
 
 Armide, tragedie en musique. Represented par 1'Academie royale 
 de musique, le 15 fevrier 1686. 
 
 Quinault, Theatre, Paris, 1739, t. v. pi, p. [409]- 459. 17 cm . 
 Prologue and five acts. Lully is not mentioned. PQ 1881.A1 1739 
 
 Armide, tragedie. Mise au Theatre de 1'Academie royale de 
 musique de Lyon, en I'anne'e 1742. 
 
 Lyon, At/me Del/troche, 1742. 55 p. 23 cm . 
 
 Five acts. Cast. Neither Philippe Quinault, the author, is mentioned nor Jean 
 Baptiste de Lully, the composer. The text is the same as in the 1703 ed., except 
 that the fourth act has two scenes only, scenes third and fourth and half of the second 
 having been dropped. SCHATZ 5760a 
 
 Armida. Opera musicale tradotta dal francese, senza mutar le 
 note del famoso Gio. Battista Lulli. 
 
 Roma, Angelo Bernabb, 1690. 4 p. 1., 87 p. 16 cm . 
 
 Five acts and prologue. In a prefatory note the unknown translator first apologizes 
 for having, as a Frenchman, made this translation into Italian: 
 
 "Cantar in questa lingua alcune arie dell' opere francesi, & stato caso fortuito, e 
 bizarria d'un amatore della musica e della lingua italiana. La vaghezza del com- 
 ponimento musicale gli ha fatto poi tentare di tradurre opere intiere : ed ora il fame 
 cantare, e stampare una in Roma, & etato atto di compiacenza per queeti eignori 
 Francesi. La musica e parto d'un gran soggetto, nato in Italia, ma allevato da gio- 
 vanne in Parigi, ed e il famoso Giovanni Battista Lulli, ornamento di Toscana, e 
 ristauratore dell' armonia in Francia ..." 
 
 He then interestingly dwells on the great difficulties of making exact metric trans- 
 lations from French into Italian and concludes by saying: 
 
 "dalP opera di Fetonte [Phaeton] in qua, egli ha di man in mano tradutto per 
 diporto, e nell' ore di divertimento dagh studij piu serij, sei altre opere compoete 
 succesfivamente dal medesimo Lulli, sin alia sua morte." 
 
 In the libretto the original French text faces the Italian. 
 
 First performed at Rome, Teatro di Tor di Nona, 1690. SCHATZ 4779 
 
 Armide, parodie, par M. B*** Represented pour la premiere 
 fois par les Come'diens italiens ordinaires du roi, le 21 mars 1725. 
 
 Les parodies du Nouveau theatre italien, Nouv. ed., Paris, Briasson, 
 1738, t. Ill, 51 p. 16% cm . 
 
 One act. By Jacques Bailly (Parfaict). The airs and vaudeville used are printed 
 at the end of the volume in the "Table des airs" (84 p.) ML 48. P3 
 
 Armide. Tr. of Naumann's Armida. 
 Armide. Tr. of Righini's Armida.
 
 154 LIBRARY OF CONGRESS 
 
 Armide. Ein sin^spiel in drey aufzuegen. Nach einem italienischen 
 texte, [by Bertatij, aus Tasso's Gofl'redo entlehnt, von Bock. Die 
 composition ist von herrn Rudolph Zumsteeg. 
 
 Stuttgart, Druckerei der Jierzogl. Hohen Carlsschule, n. d. 62 p. 
 16 cn . 
 
 First performed at Stuttgart, Kleines Schauspielhaus auf der Planie, August 30, 
 1786. SCHATZ 11292 
 
 Arminio. Drama per musica da rappresentarsi in Firenze nel Teatro 
 di via della Pergola nel estate dell' anno MDCCXXV . . . [vignette] 
 
 Firenze, Fabio Benedetto Maria Verdi, 1725. 62 p. 14 cm . 
 
 Three acts. Notice to the reader, cast and scenario. Neither the author, Antonio 
 Salvi, is mentioned, nor the composer. According to Schatz this was a pasticcio by 
 unknown composers. ML 48.A5 v. 16 
 
 L'Arminio. Dramma per musica da rappresentarsi nel Teatro Tron 
 di S. Cassiano 1'autunno dell' anno MDCCXLVIL 
 
 n. i., n. d. 67 p. 15 cm . 
 
 Three acts. By Antonio Salvi, who is not mentioned. Argument, cast, scenario, 
 and name of Q-aluppi as composer. 
 
 First performed at Venice, as indicated, November 26, 1747 (fa van) . SCHATZ 3482 
 
 Arminio. Drama da rappresentarsi nel Regio ducal Teatro di 
 Milano in occasione di celebrarsi il giorno natalizio . . . di Elisabetta 
 Cristina, imperadrice, regina delle Spagne etc. 
 
 Milano, Giuseppe Richino Malatesta, 1730. 5 p. 1., 52 p. 14 cm - 
 
 Three acts. By Antonio Salvi, who is not mentioned. Impresario's dedication, 
 argument, cast, scenario, and name of Johann Adolph Hasse as the composer. 
 First performed, as indicated, August 28, 1730. SCHATZ 4575 
 
 Arminio. Dramma per musica da rappresentarsi in Dresda festig- 
 giandosi il felicissimo giorno natalizio di S. R. M. Augusto III . . . 
 La poesia e del Big 1 ? abf Gio. Claudio Pasquini, la musica d del Sig 1 ? 
 Gio Adolfo Hasse . . . 
 
 n. i., n. d. 8 p. I, 99, 99, [2] p. 17 cm . 
 
 Three acts and licenza. Argument and scenario. German title page "Arminio 
 . . . Dresden, gedruckt . . . bey der verw. . . . Stoesselin, 1745" and text face 
 Italian. Mennicke calls this Hasse's second version of "Arminio," though he cor- 
 rectly gives Salvi as the author of the one "text and Pasquini of the other. As a 
 matter of fact the two texts have nothing in common except the subject, and conse- 
 quently the two operas "Arminio" are two different operas, not the one an altered 
 version of the other. 
 
 First performed, as indicated, October 7, 1745. SCHATZ 4512 
 
 Arminio. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1781 . . . 
 
 Torino, Onorato Derossi, n. d. viii, Jfi p. 16\ cm . 
 
 Three acts. A later version of "Germanico in Germania " by Niccol6 Coluzzi, 
 who is not mentioned. Argument, cast, scenario, and name of Bernard(in)o Ottani 
 as the composer. With the opera were performed three ballets by Filippo Beretti, 
 music by Vittorio Amedeo Canavasso, the first of which was called "II volubile 
 assodato." SCHATZ 7363
 
 OPEKA LIBRETTOS 155 
 
 Arminio. Dramma per musica, da rappresentarsi sopra il Teatro 
 di S. M. B. 
 London, G. WoodfaU, 1760. 57, [1] p. 19 cm '. ' 
 
 Three acts. Argument, cast, and note, "La musica & di varj autori." English 
 translation faces Italian. The last (unnumb.) p. contains the aria, "Care luci, che 
 regnate," substituted for "Se al labbro mio" (II, 3). Burney (IV, 472) says: "All 
 the airs in Arminio that Mattei sung, were composed by Perez." This would apply 
 to "II fuggir, cara mia vita" (I, 1), "Ah, padre adorato" (I, 2), "Fuggi dagli occhj 
 miei" (I, 5), "Nel pensar al gran cimento (I, 6), "Padre, tiranno, barbaro" (II, 2), 
 "Caro sposo, amata speme" (II, 5), "Ah non piu gelar mi sento" (III, 4). In Walsh's 
 "Favourite songs," however, 1, 1, and II, 5, are printed without Perez' names, whereas 
 "Se 1'amor tuo" (III, 4), not sung by Mattei, but by Cornacchini, is there attributed 
 to Perez. The text is by Antonio Salvi, with interpolations from Metastasio. 
 
 First performed at London, Hay-Market, March, 1760. ML 50.2. A77 
 
 L'Arminio. Drama per musica da rappresentarsi nel Teatro di 
 Sant' Angelo nelP autunno 1722 . . . 
 
 Venezia, Marino Rossetti, 1722. 60 p. 
 
 Three acts. Impresario's dedication dated Venice, November 10, 1722, cast, 
 scenario, name of Carlo Francesco Pollaroli as the composer, and notice to the reader, 
 informing him that this is a somewhat altered version of the drama as originally per- 
 formed at Pratolino. The performances took place 1703 there in the Teatro di Villa 
 Medici. The author of the text, Antonio Salvi, is not mentioned. SCHATZ 8273 
 
 Arminio. Drama per musica da recitarsi nella Sala dell' illmo Sign. 
 Federico Capranica nel carnevale dell' anno 1722 . . . 
 
 Roma, Bernabb, 1722. 72 p. 15 cm . 
 
 Three acts. By Antonio Salvi, who is not mentioned. Dedication, cast, scenario, 
 name of Alessandro Scarlatti as composer, and notice to the reader, in which the 
 alterations in Salyi's text are acknowledged in this manner: 
 
 "Se poi colla licenza, che dal moderno uso si permette a chi di nuovo fa comparire 
 in teatro opere altre volte recitate, ei e mutato, o scemato in qualche parte per comodo 
 della musica, o per la brevita tanto in oggi desiderata, cio si e procurato di fare in 
 guisa tale, che non resta alterata parte alcuna essenziale del drama; onde sicome non 
 potra alcuno dolersi di non ritrovarvi tutta 1'antica sua bellezza, cosi si spera, che 
 ristesso riverito autore sia per condonare le piccole accidentali variazioni, cne per la 
 detta necessita vi si sono indotte." 
 
 First performed at Naples, Teatro San Bartolomeo, November 15, 1714. 
 
 ML 50.2.A77S2 
 
 L'Arminio. Dramma per musica da rappresentarsi in questo 
 Regio-ducal Teatro Nuovo la primavera dell' anno MDCCLXXXV . . . 
 
 Mantova, per I'erede di Alberto Pazzoni, n. d. 51 p. 17 cm . 
 
 Two acts. By Ferdinando Moretti, who is not mentioned. Dedication dated 
 Mantova, May 8, 1785, argument, cast, scenario, and name of Angelo Tarchi as the 
 composer. On p. 10, schedule of the season's performances. With the opera were 
 performed, the composers of the music not mentioned, Filippo Beretti a ballets, 
 "Giulietta e Romeo, fatto patrio Veronese" and "Una festa villereccia." 
 
 SCHATZ 10230 
 
 L'Arminio. Dramma per musica da rappresentarsi nel nobil 
 Teatro di Torre Argentina il carnevale dell' anno 1786. 
 
 Roma, Arcangelo Casaletti, 1786. 4@ P- 15 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Argument, cast, 
 scenario, and name of Giacomo Tritto as the composer. With the opera were per- 
 formed Onorato Vigan&'s ballets, "Cefalo e Procri, music by Salvatore Vigan6, and 
 "La donna di spirito," composer not mentioned. SCHATZ 10454
 
 156 LIBRARY OF CONGRESS 
 
 L'Armoire ou La piece a deux acteurs. See the A. T. 
 
 Arneris ou Les Isies. Entree in Rameau's Les ftes de 1'Himen et 
 de 1' Amour. 
 
 Arrenione. Drama per musica da rappresentarsi nel Teatro di 
 Sant' Angelo . . . 
 
 Venezia, Gio. Battista Zuccato, 1708. 58 p. 15 cm . 
 
 Three acts. Dedication dated Venice, November 8, 1708, and signed with the 
 initials of the author, Francesco Silvani, argument, cast, and scenario. The com- 
 poser, Giovanni Maria Ruggeri, is not mentioned. SCHATZ 9131 
 
 Arrenione. Dramma per musica da rappresentarsi nell' Imperial 
 Teatro di Mantova la primavera del MDCCXI . . . 
 Mantova, Alberto Pazzoni, n. d. 55 p. 15\ cm . 
 
 Three acts. By Silvani, who is not mentioned. Dedication by Christoforo Fri- 
 geri, dated Mantova, April 10, 1711, argument, cast, scenario. Ruggeri is not men- 
 tioned as the composer. The text is slightly different from that of the above ed. 
 For instance, the aria "Se par ch'io serbi in petto" (I, 12) replaced "Merope bella." 
 
 ML 50.2.A775R9 
 
 Der arrestant. Tr. of Delia Maria's Le prisonnier. 
 
 Les arrests de Famour. Piece d'un acte. Par. M. D'Or**. Rep- 
 resent 6e a la Foire de Saint Germain 1716. 
 
 Le Theatre de lafoire, Paris, 1737, t. ii, pi, [227}-258 p. 17 cm . 
 
 By d'Orneval. En vaudevilles, selected or composed and arranged by Jean Claude 
 Gillier, the "compositeur " of the theatre, and printed at the end of the volume in the 
 "Table des airs." According to Parfaict, composed by Aubert. 
 
 First performed February 3, 1716, as third act of "Arlequin gentilhomme malgre' 
 lui;" under its own title, in a revised form, July 17, 1726. ML 48. L2 I 
 
 Arrived at Portsmouth. An operatic drama, in two acts, per- 
 formed at the Theatre-Royal, Covent-Garden. Written by the 
 author of Hartford-Bridge . . 
 
 London, T. N. Longman, 1794. 2 p. 1., 43, [1] p. 20 cm . 
 
 Cast and dedication, dated November 22,* 1794, to Sir Alan Gardner, vice-admiral 
 of the Blue for his conduct in the naval engagement of June 1, 1794, to which victory 
 this "temporary drama . . . slightly relates." By William Pearce. William 
 Shield, the composer, is not mentioned. 
 
 First performed October 30, 1794. LONGE 228 
 
 L'arrivo d'Enea nel Lazio. Componimento drammatico in decora- 
 zione di una mostra di esercizi cavallereschi dall' Instuto de' Nobili 
 presentata alle Loro Altezze Reali . . . Pietro Leopoldo d' Austria 
 ... e ... Maria Louisa di Borbone ... nella faustissima occa- 
 sione della Loro venuta in Firenze ed eseguita nel Teatro dell' Acca- 
 demia degl' Immobili la sera de' 25 novembre MDCCLXV giorno del 
 gloriosissimo nome di S. A. R. il serenissimo Gran Duca. 
 Firenze, Moiicke, 1765. lix, [ii] p. 26 cm . 
 
 One act. By marchese Vincenzio Alamanni. Argument, lists of founders, mem- 
 bers, etc., of the Institute de' Nobili, note on the pictures exhibited, half-title with 
 author's name, list of characters without cast, text of the libretto with names of the 
 participants in the dances, the giuochi and abbattimenti, name of Baldassare Galuppi 
 as composer, colophon, list of errata, cast, and note that the terzetto was composed 
 by Pietro Bizzarri of Florence. SCHATZ 3443 
 
 L'arrivo d'Europa nell' isola di Greta, ballet. See Bertoni's 
 Ifigenia in Aulide.
 
 OPERA LIBRETTOS 157 
 
 L'arrivo del Burchello da Padova in Venezia. Farsa per musica 
 in due atti, a cinque voci di Gaetano Fiorio Comico da rappresen- 
 tarsi nel nobil Teatro Grimani di S. Gio. Grisostomo il carnovaie dell, 
 anno 1780 ... 
 
 Venezia, Pietro Sola, 1779. 40 p. 18 cm . 
 
 Two acts. Author's dedication, cast, scenario, and name of the composer, Luigi 
 Caruso ("musica nuova"). SCHATZ 1660 
 
 L'arrivo di Venere nelT isola di Cipro, ballet. See Radicchi's 
 Medonte re di Epiro. 
 
 L'arrivo opportune, ballet. See Zingarelli's II mercato di Mon- 
 fregoso. 
 
 Arsace. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto il carnovaie dell anno 1768. 
 Venezia, Modesto Fenzo, 1768. 54 p- 17\ cm . 
 
 Three acts. A later version of " Amore e maesta osia L' Arsace " by Antonio Salvi, 
 who is not mentioned. Notice to the reader, cast, scenario, and name of Carlo 
 Franchi as composer. SCHATZ 3326 
 
 Arsace. Drama per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di San Gio. Grisostomo il carnovaie dell' anno 
 MDCCXVIII. Del dottore Antonio Salvi, Fiorentino . . . 
 
 Venezia, Marino Rossetti, 1718. 71 p. 15 cm . 
 
 Three acts. A later version of ' ' Amore e maesta o sia L' Arsace ' ' by Antonio Salvi, 
 who is not mentioned. Publisher's dedication, notice to the reader informing him 
 that this is a retouched version of the text for local purposes, cast, scenario, and name 
 of Michel Angelo Gasparini as the composer. SCHATZ 3599 
 
 L' Arsace. Dramma per musica da rappresentarsi nel nobile Teatro 
 Tron di S. Cassiano nel carnovaie dell' anno 1737. 
 
 Venezia, Giuseppe Betinelli, n. d. 7 p. 1., 4.8 p. lo cm . 
 
 Three acts. By Antonio Salvi with alterations of his original text "Amore e 
 maesta osia L' Arsace," possibly by Domenico Lalli, who signs the dedication. Then 
 the notice to the reader, cast, scenario, and name of Geminiano Giacomelli as the 
 composer. 
 
 First performed at Prato, Teatro pubblico, 1736. SCHATZ 3810 
 
 Arsace. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro Venier in San Benedetto il carnovaie dell' anno 1789. 
 
 Venezia, Modesto Fenzo, 1788. 48 p. 16$ cm . 
 
 Three acts: By Giovanni de Gamerra, who is not mentioned. Argument, cast, 
 scenario, and name of Pietro Ouglielroi as the composer. On p. [22J-29 argument, 
 cast, and description of Francesco Clerico's "II ritorno d'Agamenone, ballo tragico 
 in cinque atti," composer of the music not mentioned. Gamerra's text was originally 
 called "Medonte r& di Epiro." 
 
 First performed, as indicated, December 26, 1788. SCHATZ 4297 
 
 Arsace. Dramma per musica da rappresentarsi nel nobilissimo 
 Nuovo Teatro di Padova la fiera dell' anno 1775. 
 
 Venezia, Modesto Fenzo, 1775. 61 p. 17\ cm . 
 
 Three acte. By Giovanni de Gamerra, who is not mentioned. The original title 
 of his text was "Medonte, r6 d'Epiro." Impresario's dedication, argument, cast, 
 scenario, and name of Michele Mortellari as the composer. ("La musica tutta 
 nuova.") 
 
 On p. [27]-35 cast, argument, and description of Giuseppe Canziani's "Pigmalione, 
 ballo eroico pantomime. " The composer of the music ia not mentioned. 
 
 SCHATZ 6685
 
 158 LIBRARY OF CONGRESS 
 
 Arsace. Drama per musica da rappresentarsi in Firenze nel Teatro 
 di Via della Pergola nel carnevale dell' anno 1732 . . . 
 
 Firenze, Domenico Ambrogio Verdi, n. d. 56 p. lJ+\ cm . 
 
 Three acts. A later version of ' ' Amore e maesta o sia L' Arsace ' ' by Antonio Salvi, 
 who is not mentioned. Impresario's dedication, argument, cast, scenario, and name 
 of Giuseppe Maria Orlandini as composer. 
 
 First performed at Turin, Teatro delle Feste, carnival 1726 (Schatz) but on Feb- 
 ruary 1, 1721, there was performed at the Haymarket, London, an "Arsace" by Or- 
 landini with added arias by Filippo Amadei. ML 48. A5. v 18 
 
 Arsace. Dramma per musica da rappresentarsi nel Real Teatro di 
 S. Carlo il di 30. maggio 1754. In cui ricorre il nome del gran monarca 
 delle Spagne, e del nostro real terzogenito . . . 
 
 Napoli, Domenico Landano, 1754- iv, 1ft p. 19\ cm . 
 
 Three acts. A later version of " Amore e maesta o sia L' Arsace by Antonio Salvi, 
 who is not mentioned. Impresario's dedication, argument, cast, scenario, and name 
 of Nicol6 Sabatini as the composer. SCHATZ 9201 
 
 Arsace. Dramma per musica da rappresentarsi nel Teatro di S. 
 Bartolomeo Finverno dell' anno 1718. Del dott. Antonio Salvi . . . 
 
 Napoli, MicJiele Luigi Muzio, 1718. 64 p. 16 cm . 
 
 Three acts. A later version of Salvi 's "Amore e maest& o sia L' Arsace." Impre- 
 sario's dedication, dated Naples, December 10, 1718, scenario, cast, name of Domenico 
 Sarro as the composer and notice to the reader which reads in part: 
 
 "Questo soggetto & lo stesso, che gia espose su le scene di Francia il famoso Tomaso 
 Cornelio, sotto il nome del Conte di Essex; ma dovendo questo servire alia musica, 
 ed al Teatro italiano, si e cambiata la scena in Persia . . . conservando per6 i caratteri 
 de' personaggi principal! . . . 
 
 "Il fine dell autore fu di formare una tragedia in musica col fine veramente tragico 
 (npvita non piu yeduta, almeno su le scene d'ltalia) e di avere il preggio d'essere il 
 primo a farti sortir dal teatro con le lagrime, fra le dolci armonie della mupica, lo che 6 
 facile, che ottenga se attendi alia forza del soggetto, e se riguardi alia periezione de' 
 rappresentanti . 
 
 " Vi e stato in altro teatro in qualche parte variato il fine, per non renderlo totalmente 
 funesto; come ancora in questo con non poca pena di ch6 1 ha diretto vi si sono variate 
 alcune arie, & accresciuti, 6 diminuiti alcuni recitativi, come altresl vi si sono dovute 
 ponere le parti buffe, ma in modo, che no interrompino il dramma, ma solo minorino 
 la mestizia con un poco di allegria." SCHATZ 9414 
 
 L'Arsacide. Drama per musica da rappresentarsi nel Teatro Gius- 
 tiniano di S. Moise il carnovale dell' anno 1721. Poesia d'Antonio 
 conte Zaniboni . . . 
 
 Venezia, Marin Rossetti, 1721. 48 p. 15 cm . 
 
 Three acts. Author's dedication dated Venice, December 28, 1720, argument, cast 
 and scenario. The composer Fortunate Chelleri is not mentioned. SCHATZ 1810 
 
 Arsene. Nach Favart. Singspiel von A. G. Meissner [vignette]. 
 
 Leipzig, Dykische luchhandlung, 1778. 3 p. 1., 73 p. 16\. 
 
 Four acts. In his " Vorbericht" Meissner says: 
 
 "Die schauspieldirektion der stadt, wo ich fuer jetzt lebe, ersuchte mich, die 
 gesaenge dieser operette zu verfertegen, da man die, so in der bereits 1778 erschienenen 
 uebersetzung der franzoesischen musik unterliegen, nicht nuetzen koenne. Diese 
 bitte . . . und der zusatz, dass ein wuerdiger tonkuenstler [Franz Seydelmann] 
 meine neuen gesaenge su setzen bereit sey, machten, dass ich versprach, alles zu thun, 
 was ich thun Koenne." 
 
 Instead of utilizing the dialogue in the "ueber alle maasen steife Frankfurter ueber- 
 eetzung" ["Die schoene Arsene," by J. H. Faber], he preferred to translate Favart's 
 "La belle Arsene" anew. He ends his remarks with this: 
 
 "Uebrigens ist diess das letzte singspiel, das ich nach dem franzoesischen bearbeite; 
 darauf geb' ich mein wort." 
 
 The Ms. score at Dresden has the title "Die schone Arsene " (Cahn-Speyer). 
 
 First performed at Dresden, Churfuerstl. Kleines Theater, March 3, 1779 (Schatz); 
 Leipzig, April 15, 1779, and Dresden, 1781 (Cahn-Speyer). SCHATZ 9841
 
 OPEKA LIBRETTOS 159 
 
 Arsene Continued. 
 
 - Arsene. In vier akten. Komponirt vom herrn Kapellmeister 
 Seydelmann zu Dresden. 
 
 n. i., n.d. 3 p. I, 73 p.. 17 cm . 
 
 The same as above. Schatz' entry "Txtb. m. Recitativen, anstatt des dialoges 
 fiir concert auffuhrungen" is incorrect, as the dialogue is the eame as in the Leipzig 
 1778 ed. SCHATZ 9842 
 
 Arsene. Ein singspiel in drey akten nach Favart, von A. G. 
 Meissner. In musik gesetzt von Franz Seydelmann . . . 
 
 n. i., n. d. 23 p. 16 cm . 
 
 The t.-p. contains also the list of characters. SCHATZ 11748 
 
 Arsene. In vier akten. Nach Favart. 
 
 A. G. Meissner, Operetten, Leipzig, 1778. 3 p. I, 73 p. 17 cm . 
 
 Forms the third libretto in the collection, and is the same as the other ed. of 1778. 
 
 ML49.A2M3 
 
 L'Arsiade. Drama per musica da rappresentarsi in Mantova 1'anno 
 1700 . . . 
 
 [Mantova], Gio. Edit. Grand, n. d. 84 p. 15% cm . 
 
 Three acts. By Pietro d'Averara, who is not mentioned. Dedication, argument, 
 cast, scenario. The composer, Antonio Francesco Martin engo, is not mentioned. 
 I, 2, has the aria "Fra tue ritorte" (duet); II, 2, has no aria. ML 50.2.A778M2 
 
 - Arsiade, drama per musica da rapresentarsi nel Regio Teatro di 
 Torino . 
 
 cm 
 
 Torino, Gio. Battista Zappata, 1703. 88 p. 
 
 Three acts. By Pietro d'Averara who is not mentioned. Impresario's dedication, 
 argument, scenario, and cast. Composed by Antonio Francesco Martinengo, who 
 is not mentioned. I, 2 has the aria "La luce del mio foco"; II, 2 has the aria 
 "Tacicrudel." 
 
 First performed at Milan, Regio ducal Teatro, carnival 1700. SCHATZ 6032 
 
 Arsilda, regina di Ponto. Drama per musica. Da rappresen- 
 tarsi nel Teatro di S. Angelo nell' autunno dell' anno 1716 . . . 
 
 Venezia, Marino Rossetti, 1716. 60 p. 14 cm - 
 
 Three acts. By Domenico Lalli who is not mentioned. Argument, cast, scenario, 
 name of the "celebre virtuoso di violino il signor D. Antonio Vivaldi" as composer, 
 and dedication in which the author says that just as a man who has built himself a 
 house, ia not satisfied with the marble exterior but seeks to adorn it with beautiful 
 tapestries, statuettes, etc., he, the author, needs the adornment of D. Giacomo Brivio, 
 conte di Brochles for his drama (to whom it is dedicated) "cosi per I'insumenza del 
 suo maestro che la compose, come per il gusto di coloro, li quali han voluto in essa, 
 non gia quello che ragionevole appariva, ma tutto ci6 che apertamente non si doveva, . 
 a tale che per mia non la riconosco, per che rossore n'averia in veggendola cosi affatto 
 cangiata dal mio primo disegno, e per 1'arie, e per la sua giusta sceneggiatura." 
 
 SCHATZ 10760 
 
 L'Arsinoe, drama da rappresentarsi nel Teatro del Seren. elettore di 
 Sassonia 1'anno MDCXCIlI Arsinoe ... 
 
 Dresden, Hoff-Buchdruckerey durch Immanuel Bergen, n. d. Un- 
 paged. 28\ cm . 
 
 Three acts. Argument. German text faces Italian, which is not that by Stan- 
 zani. Neither author nor composer mentioned and both unknown to Furstenau. 
 
 ML 50.2.A779
 
 160 LIBRARY OF CONGRESS 
 
 Arsinoe. Drama per musica di M. R. da rappresentarsi nel Real 
 Teatro di S. Carlo nel di 13. di Agosto 1795 festeggiandosi la nascita 
 di S. M. la Regina . . . 
 
 Napoli, Vincenzo Flauto, 1795. 47 p. 15$ cm . 
 
 Two acts. Author unknown to Schatz. Dedication signed by Andrea di Bene- 
 detto, and dated Naples, August 13, 1795, cast, scenario, notice to the reader and 
 name of Gaetano Andreozzi as composer. With the opera were performed the ballets, 
 "La costanza premiata o sia II genio tutelare, ballo eroicopantomimo composto, e 
 diretto dal Signer Gaetano Gioja' 7 (detailed description on p. 9-16) and "La semplice 
 burlata." The composers of the music are not mentioned. SCHATZ 20G 
 
 L' Arsinoe. Drama per musica da rappresentarsi nel Teatro For- 
 magliari 1'anno MDCLXXVII . . . 
 
 Bologna, per Verede del Benacci, n. d. 6 p. I., 69, [1] p. 13\ cm . 
 
 Three acts. By Tommaso Stanzani, who dates his dedication Bologna, December 
 26, 1676. Printer's notice to the reader naming Petronio Franceschini as com- 
 poser, argument and scenario. SCHATZ 3317 
 
 Arsinoe. Drama in musica recitata nel Theatre Grande d'ln- 
 sprugg, avanti la Maesta della regina di Polonia . . . li 12. gennaro, 
 Fanno MDCLXXXVI. 
 
 [Insprugg], Giacomo Christoforo Wagner, n. d. 59 p. 13\ cm . 
 
 Three acts. Argument and scenario. Neither author nor composer mentioned, 
 but the text is clearly an altered version of Tommaso Stanzani's "Arsinoe" as com- 
 posed for Bologna by Franceschini. For instance, Stanzani's first scene "0 regina 
 ael ombre" is now second and is preceded by the scene "Or che mi chiama al trono" 
 with the arias "Bella dea, che al sol nascente" and "Aurette cortesi." Whether 
 these and the other alterations were by Francesco Santurini, who modified Stanzani's 
 text for Venice, 1677, is unknown to me. ML 50.2.A779F7 
 
 Arsinoe. A. T. of Reiser's La grandezza d'animo. 
 
 Arsinoe e Breno. Altered version of Pietro Guglielmi's Debora e 
 Sisara. 
 
 Arsinoe, queen of Cyprus. An opera, after the Italian manner: 
 All sung. As it is perform'd at the Theatre Royal in Drury-Lane, 
 by Her Majesty's servants. 
 London, Jacob Tonson, 1705. 2 p. 1., 48 p. 22 cm . 
 
 Three acts. Cast and preface, signed by Thomas Clayton, who says: 
 
 "The design of this entertainment being to introduce the Italian manner of 
 musick on the English stage, which has not been before attempted; I was oblig'd to 
 have an Italian opera translated: In which the words, however mean in several 
 places, suited much better with that manner of musick, than others more poetical 
 would do. 
 
 "The stile of this musick is to express the passions, which is the soul of musick: 
 And though the voices are not equal to the Italian, yet I have engag'd the best that 
 were to be found in England, and I have not been wanting, to the utmost of my 
 diligence, in the instructing of them. 
 
 "The musick being recitative, may not, at first, meet with that general accepta- 
 tion, as is to be hop'd for from the audience's being better acquainted with it: But 
 if this attempt shall, by pleasing the nobility and gentry, be a means of bringing 
 this manner of musick to be us'd in my native country, I shall think all my study 
 and pains very well employ 'd." 
 
 According to Hawkins (IV, 136) "Clayton had brought with him a collection of 
 Italian airs . . . these he mangled and sophisticated, and adapting them to the 
 words of an English drama, entitled Arsinoe Queen of Cyprus, called it an opera, 
 composed by himself." Burney, on the other hand (IV, 199), quotes Clayton's 
 words from the preface of the printed book that he "was obliged to have an Italian 
 opera translated" and Burney names that written by Tomaso Stanzani in 1676 and
 
 OPERA LIBRETTOS 161 
 
 Arsinoe, queen of Cyprus Continued. 
 
 first performed at Bologna with Petronio Franceschini'a music. Mr. Husk in Grove's 
 Dictionary sides with Hawkins and claims that Clayton used "an English piece, 
 written by Peter Motteux, called "Arsinoe, Queen of Cyprus." The Diet, of National 
 Biography goes still further and attributes to Motteux an opera libretto of the same 
 title, printed in 1707 [!] As a matter of fact, a comparison between the English 
 libretto, printed in 1705 anonymously, the preface signed by Clayton, and Stanzani's 
 libretto (both in L. C.) proves that the English libretto is a free translation of the latter. 
 Motteux' name is not mentioned. Consequently, if he was connected at all with 
 "Arsinoe," it can have been only as translator, not as author. 
 
 The title page of the score published by Walsh reads: "Songs in the new opera, 
 call'd Arsinoe, Queen of Cyprus, compos'dby Mr. Tho. Clayton." 
 
 Until Hawkins' supposition (shared by Buraey) is proved that Clayton simply 
 utilized a collection of Italian airs which he brought with him from Italy, it will be 
 fairer to consider Clayton the actual composer. 
 
 First performed at London, Drury-Lane, Jan. 16, 1705. ML 50.2. A78 
 
 Arsinoe, queen of Cyprus. An opera, after the Italian manner. 
 As it is perform'd at the Theatre Royal in Drury-Lane, by Her 
 Majesty's servants. 
 London, Jacob Tonson, 1707. 2 p. I, 40 p. 21% cm . 
 
 Same cast, preface and text as in the 1705 edition. LONGK 106 
 
 Second copy. LONGB 177 
 
 Arsinoe vendicata. Drama per musica. Da rappresentarsi nel 
 Teatro di S. Angelo il carnevale del 1712. Del dottor Grazio Brac- 
 cioli . . . 
 
 Venezia, Marino Rossetti, 1712. 56 p. 13$ cm . 
 
 Three acts. Author's dedication dated Venice, February 1, 1712, argument, caat, 
 scenario and name of Gio. Maria Rugieri (Bugger!) as the composer. 
 
 SCHATZ 9134 
 
 Artabene re di Persia. L. T. of Vivaldi's La costanza trionfante 
 degl' amori e degl' odii. 
 
 Artamene. Dramma per musica di Bartolomeo Vitturi da rappre- 
 sentarsi nel Teatro di S. Angelo il carnovale dell' anno 1740 . . . 
 
 Venezia, Marino Rossetti, n. d. 60 p. Iffi* 
 
 Three acts. Dedication, argument, scenario, cast and notice to the reader in 
 which the author calls this "uno de miei drammi intieramente nuovo." The com- 
 poser, Tommaso Albinoni, is not mentioned. 
 
 First performed as indicated December 26, 1740. SCHATZ 87 
 
 Artanaga name none. Tragichissimissimo dramma per musica da 
 rappresentarsi nel Teatro Giustininan a San Moise. In occasione 
 deila fiera delF Ascensione. L'anno MDCCXXXI. 
 Venezia, Carlo Buonamgo n. d. 48 p. 14 cm - 
 
 Three acts. Attributed by Schatz and Wiel to the composer, Giuseppe Maria 
 Buini, who is not mentioned. Argument, scenario and notice to the reader. 
 
 First performed at Bologna, Teatro Marsigli Rossi, carnival 1728, as "Malmosor." 
 
 SCHATZ 1397 
 
 L'Artaserse. Tragedia drammatica j>er musica fedelmente, ed 
 eroicamente tradotta e ridotta dall' antico stato allo stato presente 
 da P. Quintiliano Settimio da Sarmacanda, dottore a due doppj. 
 
 Pekin, I'anno che corre. 4$ P- 16 cm . 
 
 Three acts. Argument and dedication, from which it appears that the initials of 
 the author's real name are G. B. G. The piece is a carnevalesque parody. 
 
 ML 50.2.A8 
 
 72251 VOL 114 11
 
 162 LIBRARY OF CONGRESS 
 
 L 1 Artaserse. 
 
 74 p. 19 cm . (Pietro Metastasio, Opere drammatiche, Venezia, Giu- 
 seppe BettineUi, 1733-37, v. 1.) 
 
 Three act*. Argument. No composer mentioned. ML 49.A2M4 
 
 Artaserse. 
 
 Metastasio, Poesie, Parigi, vedova QuiUau, 1755, v. I, 110 p. 16 cm . 
 Three acte. Argument. ML 49.A2M42 
 
 - Artaserse. Rappresentato con musica del Vinci la prima volta 
 in Roma, il carnevale dell' anno 1730, nel Teatro detto delle Dame. 
 
 pi., 112 p. 26 cm . (Pietro Metastasio, Opere, Parigi, vedova Heris- 
 sant, 1780, t. 7.) 
 
 Three acts. Argument. ML 49.A2M44 
 
 Artaserse. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, ' x > P- [107]- 
 204 p. 19 cm . 
 
 Three acte. Argument. Written in collaboration with Pietro Pariati. No com- 
 poser is mentioned. At the end of vol. X in the "Catalogo" date and place of first ed. 
 are given as Venice, 1705. ML 49.A2Z3 
 
 Artaserse. Publicato per la prima volta in Vienna 1705. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 178-5-86, t. ix, p. 94- 
 21. 
 
 Three acts. Argument. No composer is mentioned. Written in collaboration 
 with Pietro Pariati. ML 49.A2Z4 
 
 Artaserse. Drama per musica da rappresentarsi nel Teatro di 
 Livorno Fanno 1706 . . . 
 
 Livorno, Jacopo Valfisi, 1706. 4 P- 1-, @4 P- 14\ cm - 
 Three acts. Dedication, argument, scenario. Authors (Zeno and Pariati) and 
 composer not mentioned, and latter unknown to Schatz. SCHATZ 11383 
 
 Artaserse. Dramma per musica dell' abate Pietro Metastasio da 
 rappresentarsi nel Teatro di Cagliari festeggiandosi le reali nozze di 
 Vittorio Amadeo duca di Savoia, e di Maria Antonia, infante di 
 Spagna . . . 
 
 Cagliari, Bonaria, 1750. 59 p. 15 cm . 
 
 Three acts. Impresario's dedication, argument, scenario, cast. Composer not 
 mentioned and unknown to Schatz. SCHATZ 11310 
 
 Artaserse. Dramma per musica del sig. ab. Pietro Metastasio . . . 
 Da rappresentarsi in Pisa nel Teatro delPubblico la primavera dell' 
 anno 1770 . . . 
 Pisa, Pompeo Pollonj e comp., 1770. 56 p. 15 cm . 
 
 Three acte. Impresario's dedication, argument, cast, scenario, and note, "La 
 musica ^ di diversi eccellenti autori." ML 48. A5 v. 30 
 
 Artaserse. Drama per musica da rappresentarsi nel Regio Teatro di 
 
 Torino nel carnovale del 1741 . . . 
 
 Torino, Pietro Giuseppe Zappata efigliuolo, n. d. 74, [1] P- 14 cm - 
 Three acts. By Metastasio, who is not mentioned. Argument, scenario, cast, and 
 
 name of Giuseppe Arena as composer. Contemporary ms. note on t.-p.: "Opera 
 
 eeconda dopo 1 appertura del nuovo teatro." SCHATZ 308
 
 OPERA LIBRETTOS 163 
 
 Artaserse. Dramnia per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnevale del MDCCLXI . . . 
 
 Torino, Giacomo Giuseppe Avondo, n. d. viii, 72 p. 16 cm . 
 
 Three acts. By Metastasio. Argument, cast, scenario, and name of Johann Chris- 
 tian Bach as composer. The music of the ballets was composed by Giuseppe Antonio 
 Le Messier. The ballets were invented by Vincenzo Saunier, and the first was called 
 "La morte, ed il rinascimento del pastore Adone." 
 
 First performed, as indicated, December 26, 1760. SCHATZ 532 
 
 Artaserse. Dramma per musica da rappresentarsi nel Teatro 
 Interinale di Milano il carnovale dell' anno 1777 . . . 
 Milano, Gio. Batista BiancJii, n. d. 60 p. 14Y m ~ 
 Three acts. Impresario's dedication, argument, cast, scenario, and name of Ferd. 
 Gius. Bertoni as composer, but not of librettist, Metastasio. On a fly-leaf Megabise's 
 added aria (I, 6), "Sogna'l guerrier le schiere." This is Bertoni's first setting of the 
 text. 
 
 First performed at Forli, Teatro della Citta, spring of 1775. SCHATZ 905 
 
 Artaserse ; a new serious opera ; as performed at the King's 
 Theatre in the Hay-Market. The music entirely new, by Signer 
 Ferdinando Bertoni. The translation by Mistress Rigaud. 
 
 London, G. Bigg, 1779. 63 p. 19 cm . 
 
 Three acts. Argument, cast, Italian and English text. Schatz lists this with Ber- 
 toni's first setting of Metastasio's "Artaserse," but the librettos are so different from 
 each other in the third act, where Metastasio has been tampered with very consider- 
 ably, that the same music can hardly have been used throughout for both. Therefore, 
 at least part of the opera must have been newly composed, or it was "entirely new," 
 as the t.-p. states. In that case this would be the second setting of the text by 
 Bertoni. 
 
 First performed at London, as indicated, in 1779. SCHATZ 906 
 
 Artaserse. Dramma per musica da rappresentarsi hi Geneva 
 nel Teatro da S. Agostino il carnovale del 1788 . . . 
 
 Genova, Stamperia Gesiniana, n. d. 55 p. 13\ cm . 
 
 Three acts. Argument, cast, scenario, and name of composer, B ertoni. Practically 
 the same text as that of the Milan 1777 ed., therefore, especially in the third act, very 
 unlike the London 1779 ed. Schatz lists this 1788 Genoa ed. as Bertoni's second set- 
 ting of the text. This can be correct only if it was not a revival of the setting of 1775 
 and if the music for London, 1779 was not "entirely new." Unless Schatz had 
 evidence to the contrary, just as likely as not Bertoni composed the text only once, 
 but made additions and changes to suit the circumstances. SCHATZ 907 
 
 Artaserse. Drama per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto il carnovale dell' anno MDCCLXXVI. 
 Venezia, Modesto Fenzo, 1776. Ip.l, 80 p. 17% cm - 
 
 Three acts. By Metastasio. Argument, cast, scenario, and name of the composer, 
 Giovanni Battista Borghi, but not of the librettist. On p. 25-38, cast, argument, and 
 detailed description of "Adele di Ponthieu, ballo tragico in cinque atti di Mons. 
 Noverre dato in Venezia dal signer Franchi," p. 55-68 of "La prima eta dell' inno- 
 cenza o sia La Rosaja di Salency, ballo pantomime." The composers of these ballets 
 are not mentioned . 
 
 First performed December 26, 1775, as indicated. SCHATZ 1227 
 
 Artaserse. Dramma per musica del Sig. abate Pietro Metastasio 
 d-a rappresentarsi in Verona nel Teatro dell' illustrissima Accademia 
 Filarmonica nel carnovale dell' anno 1770. 
 
 Verona, Dionisio Ramanzini, n. d. 58 p. 17 cm . 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and name of the 
 composer, Antonio Boroni. "II Ratto della sposa," by Giuseppe Anelli, was one 
 of the ballets performed with the opera. The composer of the ballet is not men- 
 tioned. 
 
 First performed at Prague, Kgl. Theater i. d. Kotzen, 1767. SCHATZ 1250
 
 164 LIBRARY OF CONGRESS 
 
 Artaserse. Dramma per musica da rappresentarsi nel Teatro Obizzi 
 in Padova nella primavera dell' anno 1738 ... 
 
 Padova, Giovambatista Conzatti, 1738. 4 p. I, 64 p. 17 cm . 
 
 Three acts. By Metastasio. Dedication dated Padova, May 20, 1738, argument, 
 scenario, and name of the composer, Giuseppe Ferdinando Brivio. SCHATZ 1325 
 
 L'Artaserse. Dramma per musica da rappresentarsi in Firenze nella 
 primavera del 1780 nel nuovo Regio Teatro degl' Intrepidi detto della 
 Palla a corda . 
 
 n. pi., Ant. Giuseppe Pagani, n. d. 44 P- 
 
 Three acts. By Metastasio. Argument, cast, and name of the composer, Luigi 
 Caruso ("la musica e tutta nuova ). On p. 6-10 cast and detailed description of 
 Antonio Pitrot's four-act "Enea e Lavinia, ballo eroico-pantomimo," music by 
 Francesco Piombanti. SCHATZ 1656 
 
 Artaserse. Dramma per musica da cantarsi in Verona nel Teatro 
 dell' Accademia Filarmonica nel carnovale 1741 . . . 
 
 Verona, Dionigi Ramanzini, n. d. 54 p- 
 
 Three acts. By Metastasio. Dedication, argument, scenario, cast, and name of 
 the composer, Pietro Chiarini. SCHATZ 1854 
 
 Artaserse. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1785 . . . 
 
 Torino, Onorato Derossi, n. d. 64 p. 18% cm . 
 
 Three acts. By Metastasio. Argument, cast, scenario, and name of the com- 
 poser, Domenico Nicola Cimarosa. On p. 56-64 argument, cast, and description of 
 raolino Franchi's "La Tusnelda o sia La disfatta di Vario, ballo eroico in cinque 
 atti." His other two ballets were called "Gli Sposi delusi dalle astuzie di Crespino" 
 and "Gioconda." The music was composed by Vittorio Amedeo Canavasso. 
 
 First performed at Turin, as indicated, December 26, 1784. SCHATZ 1905 
 
 tserse. Dramma per musica, da rappresentarsi nel Nuovo pri- 
 to Imperial Teatro in Vienna nel carnevale 1'anno MDCCXLIX. 
 
 L'Artaserse. 
 vilegiat( 
 
 [ Vienna], Giov. Pietro v. Ghelen, n. d. 60 p. 16 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Baldassare Galuppi as composer. SCHATZ 3444 
 
 Artaserse. Dramma per musica da rappresentarsi nel Teatro Ducale 
 di Stutgart nel carnovale dell' anno 1751 ... La poesia e del Sig- 
 nore aobate Pietro Metastasio ... La musica e del Signore Graun 
 
 Stutgart, Giovanne Georgio Cotta, n. d. 83 p. 19. 
 
 Three acts. Argument and scenario. German title-page "Artaxerxes" and text 
 face Italian. 
 
 First performed, as indicated, in January, 1751, previously at Stuttgart, Lust- 
 haussaal, August 30, 1750; at Berlin, Kgl. Operntheater, December 2, 1743. 
 
 SCHATZ 4090 
 
 Artaserse. Dramma per musica da rappresentarsi in Bologna nel 
 Teatro Zagnoni il carnevale dell' anno 1789 . . . 
 
 Bologna, Sassi, n. d. 56 p. 17 cm . 
 
 Two acts! By Metastasio, who is not mentioned. Impresario's dedication, argu- 
 ment, cast, scenario, and name of Pietro Guglielmi as the composer. 
 First performed at Rome, Teatro di Torre Argentina, January 29, 1777. 
 
 SCHATZ 4298
 
 OPERA LIBRETTOS 165 
 
 Artaserse. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S. Gio. Grisostomo nell' carnevale dell' anno 
 MDCCXXX . . . 
 
 Venezia, Carlo Buonarigo, n. d, 1 p.l., 69, [1] p, 15 cm . 
 
 Three acts. Dedication in which this is called the "ultimo carnesalescho diver- 
 timento" of the season, argument, scenario, cast, names of Metastasio as the author 
 and of Job. Adolph Hasse as the composer, and note: 
 
 "Si awerte, che siccome per accpmmodarsi alle circostanze del teatro fii di bisogno, 
 abbreviare tu.tto quello, che con virgole segnato si vede cosi d'aliena penna & tutto 
 cio ch'e con stellette contrasegnato." 
 
 To the omitted parts "con virgole" belong about one-half of the first scene begin- 
 ning with "Cresceste insieme di fama e di virtu," "Tutto si versi," etc. (I, 3), "Inu- 
 tile accortezza," etc. (I, 9), "Mio ben, mia vita," etc. (I, 14), "Le tue richieste. Ah 
 voglia," etc. (II, 1). "Basta mostrarti," etc. (II, 2), "Perche tarda e mai la morte," 
 (opening of III, 1), and other parts of scenes to the end. To the starred parts, as of 
 "d'aliena penna" belong the arias "Lascia cadermi in volto" (II, 2), "Per questo 
 dolce amplesso (II, 11), the entire scene II, 15, "Eccomi al fine in liberta," 
 and the whole scene III, 2 "Ch'io parta? E in faccia al mondo, " also the aria "Pensa, 
 che 1'amor mio" (III, 1). SCHATZ 4576 
 
 Artaserse, dramma per musica rappresentato alia Regia elettorale 
 corte di Dresda, nell' anno MDCCXL. 
 
 n. i., n. d. (double) 95 p. 15\ cm . 
 
 Three acts. Argument, scenario, caet, and names of Metastasio as author, of 
 Johann Adolph Hasse as the composer. German title page "Artaxerxes . . . Dres- 
 den . . . bey der verwitt. . . . Stoesselin" and text face Italian, which follows the 
 Venetian ed. of 1730 closely, including the there starred parts, but excluding all 
 those con virgole, dropping the aria "Non conosco in tal momento" (II, 14) and adding 
 "Deh respirar lasciatemi" (I, 11 at end) which is by Metastasio and in fact forms 
 part of Artaserse" as published in the 1733 edition of his works. Schatz and 
 Mennicke call the 1740 Dresden "Artaserse" Basse's second version. 
 
 First performed, as indicated, Dresden, September 9, 1740. SCHATZ 4513 
 
 Artaserse. Dramma per musica da rappresentarsi in Ferrara nel 
 Teatro Bonacossi da S. Stefano il carnovale dell' anno 1765 . . . 
 
 Ferrara, Bernardino Pomatelli, n. d. 63 p. 15 cm . 
 
 Three acts. Dedication, argument, cast, scenario, and name of Johann Adolph 
 Hasse as the composer. The text differs both from Dresden, 1740, and from Venice, 
 1730. For instance, these two editions do not have at end of I, 3, the aria "Su le 
 sponde del torbido Lete" and their scene I, 7, "Voi della Persia, voi" with the aria 
 Bramar di perdere" has been dropped. However, since this "Artarserse" (Basse's 
 third version, according to Schatz, in which view Mennicke concurs with a reser- 
 vation) was first performed at Naples, Teatro di San Carlo, January 20, 1760 (accord- 
 ing to Schatz. At Warsaw, August 3, 1760, according to Mennicke), it is impossible 
 to tell from the Ferrara, 1765 ed. just what the Naples 1760 ed. contained. 
 
 SCHATZ 4590 
 
 
 
 .Artaserse. Dramma per musica da rappresentarsi nel Teatro Ducale 
 di Stugart festeggiandosi il felicissimo giorno natalizio di Sua Altezza 
 Serenissima Elisabetta Sofia Federica duchessa regnante di Wirtem- 
 berg e Tech ... La poesia e del Signore abbate Pietro Metastasio 
 ... La musica d del celebre Signore Nicolo Jommelli . . . 
 
 Stutgart, Cotta, 1756. 143 p. 18. 
 
 Three acts. Argument, cast, and scenario. German title page "Artaxerxes" 
 and text face Italian. 
 
 First performed, as indicated, August 30, 1756; at Rome, Teatro di Torre Argen- 
 tina, February 4, 1749. SCHATZ 4843
 
 166 LIBRARY OF CONGRESS 
 
 Artaserse. Dramma per musica da rappresentarsi nel Teatro Gri- 
 mani cli San Benedetto il carnovale dell' anno 1762. 
 Venezia, Paolo Colombani, 17.62. 59 p. 15 cm . 
 
 Three acts. By Metastasio. who is not mentioned. Argument, cast, scenario, and 
 name of Giovanni Francesco de Majo as composer. 
 
 First performed, as indicated, January 30, 1762. SCHATZ 5861 
 
 Artaserse. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto nel carnovale dell anno MDCCLXXII. 
 Venezia, Modesto Fenzo, n. d. J$ p. 17 cm . 
 
 Three acts. By Metasatsio, who is not mentioned. Argument, cast, scenario, and 
 name of Vincenzo Manfredini as composer. 
 
 First performed in January, 1772, as indicated. SCHATZ 589^ 
 
 Artaserse. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro della Fenice 1'autunno 'dell' anno 1795. 
 
 Venezia, Stamperia Valvasense, n. d. 72 p. 18 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Cast and name of Giuseppe 
 Nicolini as the composer. On p. [23]-36 preface, cast, argument, and description of 
 Lauchlin Duquesny s "Ah tor ed Erma, ballo eroico in cinque atti," music ("tutta 
 nuova ed espressamente scritta") by Vittorio Trento. 
 
 First performed, as indicated, November 17, 1795. SCHATZ 7140 
 
 Artaserse. Drama per musica da rappresentarsi nel Teatro di S. 
 Bartolomeo nell' esta dell' anno 1708 . . . 
 
 Napoli, MicheleLuigi Mutio, 1708. 5 p. I., 50 p. 14 cm . 
 
 Three acts. Impresario's dedication dated Naples, June 7, 1708, notice to the 
 reader, argument, cast, scenario, and note: 
 
 "La musica e del Sig. Gioseppe Maria Orlandini. Le scene buffe, e tuttle le 
 arie con il presente signo * sono del Sig. Francesco Mancini . . . come anche molte 
 altre accomodazioni. 
 
 The starred arias or parts of arias are: "Yinse Marte pugnando col brando" (I, 2), 
 "Basti a lei, che per suo vanto" (I, 6), "Grida vendetta Amor" (I, 17), "Un'alma 
 fedele ti chiama al rigore" (II, 4), "Scherza 1'ape su del fiore" (II, 10), "La smarrita 
 Tortorella" (II, 11), "II Dio d'amore" (II, 12), "Sento nel petto mio" (II, 15), 
 "Combattono a vicenda" (II, 20), "Spesso in un core" (III, 9), "La signorina mia" 
 (III, 16), "S6 che non h6 fortuna" (III, 18). 
 
 Schatz attributes the text to Zeno and Pariati, with alterations and additions by 
 Andrea del P6, but the notice to the reader says: 
 
 "L'Artaserse di Giulio Agosti Reggiano, dopo esser comparso sopra molt 3 scene 
 d'ltalia, viene avanti i lumi dell' erudita Partenope in qualche parte diverso dalla sua 
 prima impressione, essendo stato di bisogno toglierne il meno necessario per adattarsi 
 alia stagione, nella quale si rappresenta, ed aggiungervi il ridicolo per conformarsi 
 all' uso della citta, nella quale & recitato . . . 
 
 " Le scene buffe, e alcune arie col segno sono dell' A. P. . . ." 
 
 The arias or parte of arias with the sign are: 
 
 "Che del cor. son dolce amore" (II, 5), "Fugge, e vola ad altro fior" (II, 10), 
 "Sarai contento" (II, 13), "Tutta rigore" (II, 15), "Un avanzo di pieta" (II. 19), 
 "Sdegno, pietade, e amor" (II, 20). Comparison with Wotquenne's "Zeno, Metas- 
 tasio and Goldoni" list proves that many of the arias actually belong to Zeno and 
 Pariati's "Artaserse," but just as many do not, not to mention those with the sign . 
 
 It would seem, therefore, that this opera was a pasticcio both in text and music. 
 
 SCHATZ 7328 
 
 Artaserse. Dramma per musica da rappresentarsi nel famoso Teatro 
 di S. Salvatore la fiera dell' Ascensione dell' anno 1742 . . . 
 
 Venezia, Marino Rossetti, n. d. J+6 p. 14% cm - 
 
 Three acts. Metastasio is mentioned as the author and (by a contemporary hand) 
 Giuseppe Antonio Paganelli as the composer. Impresario's dedication, dated 
 Venice, May 1, 1742, argument, cast, and scenario. 
 
 First performed, as indicated, May 2, 1742; at Brunswick, in February, 1737. 
 
 SCHATZ 7572
 
 OPERA LIBRETTOS 167 
 
 Artaserse. Dramma per musica da rappresentarsi (nel famosissimo 
 Teatro Grimani di S. Gio. Grisostomo) nel carnevale dell' anno 1750. 
 Venezia, In Merceria, n. d. 60 p. 15 cm . 
 
 The words in parenthesis are printed on a mounted slip. Originally the title page 
 contained the name of the same theater. This was then crossed out and substituted 
 in ms. by Teatro di S. Benedetto before Teatro Grimani was printed again as above. 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Antonio Gaetano Pampani as the composer. SCHATZ 7754 
 
 Artaserse. Dramma per musica da rappresentarsi nel Teatro Nobile 
 di S. Benedeto il carnovale dell' anno MDCCLXVI. 
 Venezia, Giorgio Fossati, n. d. 63 p. 17% cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, 
 and name of Giuseppe Ponzo as the composer. SCHATZ 8355 
 
 Artaserse. Dramma per musica da rappresentarsi in Perugia nel 
 Nuovo Teatro Civico del Verzaro 1'autunno dell' anno MDCCLXXXI 
 
 Perugia, Mario Riginaldi, n. d. 64 p. 18 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast and name of 
 Giacomo Rust as composer. ("La musica e nuova.") ML 50.2.A8R8 
 
 Artaserse. Dramma per musica da rappresentarsi nel.Regio 
 Teatro di via della Pergola nel carnevale del MDCCLXXXIII . . . 
 Firenze, Giovanni Risaliti, 1783. 48 p. 17 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, and name 
 of Giacomo Rust as the composer. On p. 19-23 description of Antonio Muzzarelli's 
 ballet "La guerra del MDCLXXXIII fra i Turchi e gli Austriaci," on p. 39^1 of his 
 ballet "Assedio e liberazione di Vienna," the composers of the music not being 
 mentioned. SCHATZ 9165 
 
 Artaserse. Drama per musica da rappresentarsi nel nobil Teatro 
 a Torre Argentina il carnevale dell' anno 1768 . . . 
 Roma, Ottavio Puccinelli, n. d. 60 p. 15 cm . 
 
 Three acts. Impresario's dedication ("comparisce di nuovo su le nostre scene 
 1' Artaserse"), argument, scenario, cast and names of Metastasio as author, of Sacchini 
 as composer. In a note, Metastasio's text is called "in qualche parte . . . alterata" 
 because of the "dura necessita di averlo dovuto accomodare al teatro presente." 
 But it is not clear why it was necessary, for instance, to contract Metastasio's scenes 
 I, 5, and I, 6, into one dropping both arias "Per pieta, bell' idol mio" and "Sogna il 
 guerrier." 
 
 First performed in January, 1768, as indicated. ML 50.2.A8S2 
 
 Artaserse, drama da rappresentarsi in musica. 
 
 Copenhagen, Ernesto Enrico Berling, n. d. 95 p. 19% cm . 
 
 Three acts. By Metastasio, who is not mentioned. Cast, scenario, argument, and 
 name of Paolo Scalabrini as the composer "a risserva di alcune arie, di diversi aut- 
 tori." Italian and German texts. 
 
 First performed at Copenhagen, Theater paa Kongens Nytorv, November 28, 1752; 
 at Hamburg, Theater beim Gansemarkt, November 13, 1743. SCHATZ 9515 
 
 Artaserse. Dramma per musica da rappresentarsi nel Teatro di 
 Ratisbona . . . 
 
 [Ratisbona], Nella Stamperia Breitfeldiana, n. d. 2 p. 1., 143 p. 
 16 cm . 
 
 Three acts. By Metaatasio, with acknowledged alterations. Argument, names 
 of the author and of the composer, Theodor, freiherr von Schacht, and his dedication 
 (preceding the title page), in which he says: 
 
 "Encourag6 par I'acceuil gracieux qu'elle [Altesse Serenissime, the prince of 
 Thurn und Taxis] a daign6 faire aux dinerentes pieces de musique que j ai ajoute
 
 168 LIBRARY OF CONGRESS 
 
 Artaserse Continued . 
 
 aux operettas qu'on a represent^ ici pendant quatre annees et persuad^ du grand 
 effet que font eur Votre Altesse Serenissime les comedies et tragedies allemandes 
 qu'on represente ici avec toutes les regies du costume, ainsi qu'avec toute 1'exacti- 
 tude, j'ai os6 faire cet essai par cette magnifique tragedie du celebre Metastase." 
 
 German title "Artaxerxes" and text face Italian. 
 
 First performed at Ratisbon, carnival, 1785. SCHATZ 9562 
 
 Artaserse. Dramma per musica da rappresentarsi nel Teatro Ven- 
 dramin di S. Salvatore nella fiera dell' Ascensione dell' anno 1758. 
 
 Venezia, Modesto Fenzo, 1758. 87 p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, scenario, cast, 
 and name of Giuseppe Scolari as the composer. SCHATZ 9787 
 
 Artaserse. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S Gio. Grisostomo nel carnevale 1744 . . . 
 
 [Venezia], n. pull., n. d. 1 p. 1., 59 p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argu:: ;, cast, scenario, and 
 name of Domingo Terradellas as the composer. SCHATZ 10283 
 
 Artaserse. Drama per musica di Pietro Metastasio Romano fra gli 
 Arcadi Artino Corasio. Da rappresentarsi nel Teatro detto delle 
 Dame nel Carnevale dell' anno 1730 . . . 
 
 Roma, Zempel e de Mey, n. d. 79 p. 15 cm . 
 
 Three acts. Impresario's dedication, scenario, argument, cast, and name of 
 Leonardo Vinci as composer. 
 
 This fact obviously was unknown to Mr. Edward J. Dent when he wrote his "Notes 
 on Leonardo Vinci (Musical Antiquary, July 1913, p. 199). Otherwise this dis- 
 tinguished English scholar hardly would have written: 
 
 "From the Diario ordinario di Roma quoted by F. Piovano [Sammelbande d. 
 I. M. G. 1906/7, v. 8, p. 76] it would seem that Artaserse was not produced with Vinci's 
 music until after the composer's death. An Artaserse was produced at the Teatro 
 delle Dame (Teatro d'Alibert) in February, 1730, but it was possibly by another 
 composer. Vinci died suddenly on Sunday, May 28, 1730. His Artaserse was de- 
 scribed as new in June, 1731, when produced at the same theatre." 
 
 As a matter of fact, the Diario, as quoted by Piovano, says under date of June 16, 
 1731: 
 
 "1'altro dramma che deve andare in scena nel medesimo teatro [delle Dame] 
 intitolato Artaserse, composto dal Signer abbate Pietro Metastasio, e posto in musica 
 dal fu [!] Signer Maestro di Cappella Leonardo Vinci." 
 
 and under June 23, 1731, the Diario says, referring to this revival on June 19, 
 1731: "gia recitato nel medesimo teatro Vanno 1730." These words make it absolutely 
 clear that the Diario referred to Vinci's "Artaserse" as second opera of the season, 
 when on February 11, 1730, it wrote, without mentioning the composer: 
 
 "Sabbato sera [=February 4, 1730], nel Teatro detto delle Dame, ando in scena 
 il secondo dramma intitolato Artaserse." 
 
 These quotations, together with the fact that Vinci's name appears in the 1730 
 libretto, leave no doubt, I think, that Vinci's "Artaserse" was actually performed 
 for the first time at Rome, Teatro delle Dame, February 4, 1730. SCHATZ 10743 
 
 - Artaserse, dramma per musica, rappresentato nel Nuovo Real 
 Teatro privilegiato. L'anno MDCCXL VI. In Dresda. 
 
 n. i., n. d. 95, 95 p. 16 cn . 
 
 Three acts. Argument, scenario, cast, and names of Metastasio as author, of 
 Leonardo Vinci as composer. German title "Artaxerxes" and text face Italian, 
 which is practically the same as in the Rome, 1730 ed., though, for instance, "Per 
 pieta, bell' idol mio" has been dropped from I, 5. SCHATZ 10744
 
 OPERA LIBRETTOS 169 
 
 Artaserse. Drama per musica da rappresentarsi nel Teatro di Sant' 
 Angelo 1'anno MDCCV . . . 
 
 Venezia, Marino Rossetti, 1705. 72 p. 15% cm - 
 
 Three acts. By Apostolo Zeno and Pietro Pariati, who are not mentioned. Dedi- 
 cation dated Venice, January 8, 1705, argument, cast, scenario, name of Antonio 
 Giannettini (Zannettini) as composer, and notice to the reader informing him that 
 this is an operatic version of Giulio Agosti's L' Artaserse, 1700, which accounts for the 
 liberties taken with his drama. SCHATZ 11141 
 
 Artaserse. Dramma per musica da rappresentarsi nel Teatro alia 
 Scala il carnevale dell' anno 1794 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 68 p. 16 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication 
 dated Milan, December 26, 1793, argument, cast, scenario, and name of Nicola Antonio 
 Zingarelli as composer. The descriptions of the ballets "Elfrida, ballo eroico pan- 
 tomimo" and "II feudatorio pentito, ballo comico pantomimo" announced to be 
 "in fine" are not there. The ballets were by Gaetano Gioja, the composers of the 
 music not being mentioned. 
 
 First performed at Trieste, Teatro di S. Pietro, March 19, 1789. SCHATZ 11240 
 
 Artaserse Longimano. Dramma per musica da rappresentarsi nel 
 Teatro di S. Angelo. Nel carnovale dell' anno 1737 . . . 
 Venezia, Marino Rossetti, 1737. 68 p. 15 cm . 
 
 Three acts. Impresario's dedication, notice to the reader with apologies to Metas- 
 tasio for the liberties taken with his "Temistocle." Argument, scenario, cast, and 
 name of Antonio Gaetano Pampino (Pampani?) as the composer. SCHATZ 7753 
 
 Artaserse re di Persia. L. T. of Lotti's II tradimento traditore di 
 se stesso. 
 
 L'Artaxerse ovvero L'Ormonda costante. Drama per musica nel 
 famoso Teatro Grimano 1'anno MDCLXIX. Di Aurelio Aureli. 
 Opera decirnaquinta . . . 
 
 Venetia, Francesco Nicolini, 1669. front., 65, [1] p. llf. 
 
 Three acts. Author's dedication dated Venice, December 28, 1668, argument, 
 scenario. The composer, Carlo Grossi, is not mentioned. On the additional page 
 is a list of "Drammi per musica composti da Aurelio Aureli," and opposite, on a blank 
 page, Schatz has written the years of first performance and composers, as follows: 
 
 L'Erginda. 1652. Gaspare Sartorio. 
 
 L'Erismena. 1655. Francesco Cavalli. 
 
 La Rodope e Damira. 1657. P. A. Ziani. 
 
 II Medoro. 1658. Francesco Luzzo. 
 
 La costanza di Rosmonda. 1659. G. B. Rovettini. 
 
 La virtu guerriera rappresentata in Vienna. 1659. Without music. 
 
 L'Antigona delusa da Alceste. 1660. P. A. Ziani. 
 
 II Pirro. 1661. Antonio Sartorio. 
 
 Gli scherzi di Fortuna. 1662. P. A. Ziani. 
 
 Le fatiche d'Ercole per Deianira. 1662. P. A. Ziani. 
 
 Gl'amori d'Apollo e Leucotoe. 1663. G. B. Rovettini. 
 
 La Rosilena, 1664. G. B. Rovettini. 
 
 II Perseo. 1665. A. Mattioli. 
 
 L'Eliogabalo. 1668. T. Orgiani. 
 
 L'Artaeerse. 1668. Carlo Grossi. 
 
 In the dedication to the brothers Grimani, Aureli, referring to his "Eliogabalo," 
 performed during the previous carnival at their theatre, says it was his intention to 
 rest this year, but at the instance of the Grimani brothers he changed his mind, and 
 wrote "L'Artaxerse," "anco tra la perdita funesta del padre, e d un unico figlio." 
 He then continues: 
 
 "So, che questa inusitata stravaganza di due titoli, destera stupore non meno, che 
 curiosita ne' lettori di saperne la causa: Ma basta a me che VV. SS. Illustrissime la 
 sappino. Spero, che non si sdegneranno di recevere quello, ch'Elle medesime si sono 
 contentate di scegliere." SCHATZ 4216
 
 170 LIBRARY OF CONGRESS 
 
 Artaxerxes. An English opera. As it is performed at the Theatre- 
 Royal in Co vent-Garden. The music k composed by Tho. Aug. Arne, 
 Mus. Doc. 
 
 London, J. and R. Tonson, 1763. 47, [1] p. 20. 
 
 Three acts. Cast, argument, and same preface as in next entry. 
 
 First performed at Covent Garden, February 2, 1762. ML 50.2.A81A7 
 
 - Artaxerxes. An English opera. As it is performed at the 
 Theatres Royal in Drury Lane, and Covent Garden. The musick 
 composed by Tho. Aug. Arne, Mus. Doc. A new edition. 
 London, T. Lowndes and J. Condell, n. d. tf p. 20\ cm . 
 
 Three acts. Casts, argument, and preface, in which Arne (not mentioned) submits 
 his translation of Metastasio's "Artaserse " as "this first attempt of the kind." "As the 
 narrative part of this drama may seem too barren of forcible epithets, which in reading 
 or speaking dignify the style, he quotes Dryden's and Lord Lansdown's sentiments 
 on tne subject of opera librettos. He further quotes Metaatasio's own recipe for the 
 poetry of an opera, and finally comments on 
 
 the necessity of sometimes departing from the author, on account of the different 
 idioms of our language; and of leaving out many beauties in the narrative part of the 
 drama, for the sake of brevity." LONGE 308 
 
 Artaxerxes, an English opera. As it is performed at the Theatre 
 Royal, Covent-Garden. Corrected from the prompt-book, by James 
 Wild, prompter. 
 London, Scatcherd and WUtaker, 1792. 31, [1] p. 18 cm . 
 
 Last (unnumb.) page contains announcement of "The Miser." Three acts. Cast. 
 Arne is not mentioned. LONGE 218 
 
 Artaxerxes. Ein musicalisches schau-spiel, welches aus hoechstem 
 befehl . . . auf den churfuerstlichen neuen Theater in der carne- 
 valszeit anno 1763 ist aufgefuehret worden. Die poesie ist von . . . 
 Peter Metastasio . . . Die music ist von . . . Andreas von 
 Bernasconi . . . 
 
 Muenchen, Frantz Joseph Thuille, n. d. 15 p. p. (double), 70 p., 
 [8] p. 15 cm . 
 
 German translation faces Italian of Metastasio's "Artaserse." Cast, argument, and 
 scenario. SCHATZ 863 
 
 Artaxerxes. Tr. of Grann's Artaserse. 
 
 Artaxerxes. Tr. of Hasse's Artaserse (second setting). 
 
 Artaxerxes. Tr. of Jommelli's Artaserse. 
 
 Artaxerxes. Ein musicalisches schau-spiel, aufgefuehret auf der 
 hiesigen Hof-Schaubuehne naechst der Kaiserl. Burg, zur f assnachts- 
 zeit, im jahr 1763. In das teutsche gebracht von J. A. E. v. G. 
 Wien, mit von Ghelischen schriften, n. d. Unpaged. 16 cm . 
 
 Three acts. Joh. Anton edler van Ghelen's transl. of Metastasio's "Artaserse." 
 Argument, cast, and name of Giuseppe Scarlatti as the composer. On the last 2 
 p.: " Beschreibung der taenze," by Gaspero Angiolini; music by Joseph Starzer. 
 
 First performed at Lucca September, 1747. SCHATZ 9541 
 
 Artaxerxes. Tr. of Vinci's Artaserse. 
 
 L'arte in garra con 1'arte. Drama per musica da rappresentarsi 
 nel Teatro Tron di S. Cassiano. L'anno 1702. Poesia di Francesco 
 Silvani, servitore di S. A. Sereniss. di Mantoua. 
 Venezia, Marino Rossetti, n. d. 81 p. 14b cm > 
 
 Three acts. Argument, scenario, notice to the reader. The composer, Tommaso 
 Albinoni, is not mentioned. SCHATZ 88
 
 OPERA LIBRETTOS 171 
 
 Artemisia. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto PAscensione dell' anno 1782. 
 
 Venezia, Modesto Fenzo, 1782. 50 p. 17 cm . 
 
 Three acts. By "Sig. conte N. N." Argument, cast, scenario, and name of the 
 composer, Giuseppe Calegari. On p. 23-27 the argument of the ballets "II Suffi e 
 lo scniavo" and II diavolo a quatro, ossia La doppia metamorfosi " byGaspero Angio- 
 lini, who also composed the music. SCHATZ 1510 
 
 Artemisia. Drama per musica nel Teatro a SS. Gio. e Paolo per 
 Fanno MDCLVI . . . 
 
 Venetia, Andrea Giuliani, 1656. 6 p. L (incl. front.), 72 p. 14% cm . 
 
 Three acts, with prologue. Dedication, signed with Niccol6 Minato's initials as 
 author and dated January 10, 1656, argument, and scenario. The composer, Pietro 
 Francesco Cavalli, is not mentioned. The "Ariette aggionte" (8 p.) of the Brussels 
 copy not in ours. SCHATZ 1730 
 
 Artemisia. Dramma per musica, da rappresentarsi nel Teatro della 
 Regia elettoral corte di Dresda, nel carnevale dell' anno MDCCLV. 
 La poesia e del Sigr Giannambrogio Migliavacca ... La musica 
 del Sigr Gio. Adolf o Hasse . . . 
 
 Dresda, la vedova Stossel, e . . . Giov. Carlo Krame, n. d. 7 p. L, 
 (double} 80 p. 20 cm . 
 
 Three acts. Argument, cast, scenario. German title page "Artemisia" and text 
 face Italian. 
 
 First performed, as indicated, February 6, 1754. SCHATZ 4514 
 
 Artemisia, [vignette] In einem musicalischen schau-spiele auf 
 dem grossen Hamburgischen Theatre vorgestellet im jahr 1715. 
 
 Hamburg, Friderich Conrad Grejlinger, n. d. Unpaged. 19 cm . 
 
 Three acts. Scenario and Vorbericht (argument) at end of which this is called 
 the sixty-fourth opera by Reinhard Keiser. Author unknown to Schatz. 
 
 SCHATZ 5077 
 
 Artemisia regina di Caria. Dramma serio per musica dell' aw. 
 D. Marcello Marchesini da rappresentarsi nel. Real Teatro di S. Carlo 
 in occasione delle faustissime nozze . . . di Francesco Borbone . . . 
 e di Maria Clementina . . . 
 
 Napoli, Stamperia Flautina, 1797. 64 p. 15\ cm . 
 
 Two acts. Dedication dated June, 1797, argument, scenario, cast, and name of 
 the composer, Domenico Nicola Ciniarosa. On p. 56-64 argument, description, and 
 cast of Gaspare Ronzi's "Le nozze di Peleo e Teti, ballo pantomimo" in five acts. 
 As second ballet was performed his "Giannina, e Bernadone ossia II geloso sincerato, 
 ballo buffo in tre atti. The composers of the music are not mentioned. 
 
 This first setting of the text by Cimarosa, as Schatz calls it, was first performed on 
 June 25, 1797, as indicated. SCHATZ 1990 
 
 Artemisia regina di Caria. Dramma per musica da cahtarsi nel 
 Real Palazzo dell' Ajuda per celebrare il felicissimo giorno natalizio 
 di Sua Maesta fedelissima 1'augusta Donna Maria I. regina di Porto- 
 gallo . . . li 17. dec. 1787. 
 
 n. pi., n. d., Nella stamperia reale. 31 p. 15 cm . 
 
 One act. Gaetano Martinelli is mentioned as author, Antonio Leal Moreira, 
 "maestro del Real Seminario di Lisbona," as the composer. Argument and cast. 
 First performed at Lisbon, as indicated. SCHATZ 6629
 
 172 LIBRARY OF CONGRESS 
 
 L'Artenice. Dramma per musica da rappresentarsi nel Real Teatro 
 di S. Carlo nel di 13 agosto 1784 per festeggiarsi la nascita di S. M. 
 la regina . . . 
 
 Napoli, Vincenzo Flauto, 1784. 55 p. 15 cm . 
 
 Three acte. Author not mentioned and unknown to Schatz. Dedication, argu- 
 ment, cast, scenario, and name of Giacomo Tritto as the composer. On p. 9-18 cast 
 and description of Domenico Lefevre's "Colombo nell' Indie, ballo tragico pantomime 
 in cinque atti," music ("tutta nuova") by Antonio Rossetti, on p. 19-25 description 
 of Gasparo Angiolini's ballet "Lauretta," composer of the music not mentioned. 
 
 SCHATZ 10455 
 
 The artifice : a comic opera. In two acts. As it is performed at the 
 Theatre Royal Drury Lane. Written by William Augustus Miles. 
 
 London, T. CadeU, 1780. 4 p. I, 54 p. 21\. 
 
 Cast, dedication to Sheridan, dated London, April 14, 1780, and prefatory adver- 
 tisement in which Miles reproaches the dramatic writers for "having exhibited sea 
 officers on the stage in caricature." He says that the theatres "are not in possession 
 of one natural marine character" and trusts that his own sea characters "will be 
 found similar to those that are met with in real life." 
 
 The composer Michael Arne is not mentioned. 
 
 First performed April 14, 1780. LONGE 239 
 
 Die artige schaefer. Ballet. See Piccinni's Das gute maedgchen. 
 
 Die artigen zufaelle zwischen liebe und eifersucht. Tr. of 
 Galuppi's Li vaghi accidenti fra amore e gelosia. 
 
 Gli artigiani. Dramma giocoso per musica da rappresentarsi nel 
 Teatro alia Scala Fautunno dell' anno 1795 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 72 p. 17 cm . 
 
 Two acts. Attributed by Schatz to Carlo Goldoni, who is not mentioned. Dedi- 
 cation by the impresario, dated Milan, August 12, 1795 ("il primo spettacolo del 
 corrente autunno ), scenario, cast, and name of Pasquale Anfossi as composer. 
 With the opera were performed the ballets, invented by Gaspare Ronzi, (composer 
 of music not mentioned), entitled "II re pastore" and "La fanciulla mal custodita" 
 and described with cast on p. 69-72. 
 
 First performed at Venice, Teatro di S. Moise, carnival 1794. SCHATZ 227 
 
 L'artigiano gentiluomo. See also II bottegaro gentiluomo : Orlan- 
 dini (?) 
 
 L'artigiano gentiluomo. L. T. of Basse's Larinda e Vanesio. 
 
 Arvire et Evelina, trage'die-lyrique en trois actes; repre"sent4e, pour 
 la premiere fpis, sur le Theatre de 1'Academie-royale de musique, le 
 mardi 29 avril 1788. 
 Paris, P. de Lormel, 1788. viii, 62 p. 22 cm . 
 
 Cast, names of Nicolas Francois GuiUard as author, of Sacchini as the composer, 
 and " avertissement " which reads in part: 
 
 "M. William Mason a traite' a Londres ce sujet. II a e"te" jou<5 en 1776, sur le Theatre 
 de Covent Garden, sous le titre de Cai-actacus. [with music by Th. Aug. Arne]. Ceux 
 qui liront I'ouvrage anglais, seront peut 6tre surpris des changements considerables 
 que je me suis permis. La conduite de la pi6ce, le denouement, jusqu'aux noms 
 sont ici diffe'rents . . . 
 
 "Le poe'me ne faisant gueres que moitie" de la tache que nous avons a remplir, le 
 prix que celui ci a obtenu au concours me rassure moins que les talens du celebre 
 compositeur qui a cousacre" a cet ouvrage les derniers elans d'un g4nie fecond qui 
 e"toit encore dans toute sa force, lorsq'une mort aussi funeste qu'impreVue 1'a enleve" 
 aux plaisirs du public, & a porte le dsespoir dans 1'ame de ses amis." 
 
 Sacchini did not live to finish the score. The last act was completed by J. B. 
 Bey, who successfully selected pieces from Sacchini's works for the purpose. The 
 score was published with the title "Evelina." SCHATZ 9207
 
 OPERA LIBRETTOS 173 
 
 Arvire et Evelina Continued. 
 
 Arvire og Evelina. Oper i tre akter. Oversat af fransk og 
 underlagt Sacchinis musik, af Dr. Frankenau. 
 
 Ki0lenhavn, J. F. Morihorstes enke, n. d. 56 p. 17 cm . 
 
 First performed at Copenhagen, Kongl. Theater, January 30, 1799. 
 
 SCHATZ 9208 
 
 Arvire og Evelina. Tr. of Sacchini's Arvire et Avelina. 
 
 L'Ascanio, drama per musica da rappresentarsi nel carnovale del 
 1686 . . . Posto in musica dal S. D. Giuseppe Antonio Bernabei 
 . . . con Farie per i balletti del S. Melchior Dardespin . . . 
 
 Monaco, Giovanni Jecklino, n. d. 5 p. ?., 118 p. 
 
 Three acts and three ballets. Argument, scenario, and dedication signed by 
 Ventura Terzago. For this reason evidently Schatz attributes the libretto to him, 
 but Terzago says "toccando a me la sorte di presentare alle S. S. A. A. V. V. E. E. 
 1'Ascanio del S r . Barone Filippo Renato Sbarra gran maestro di cucina di sua M' 
 l'Imp ce Ved a . abbraccio quest 'onore con tanto maggior sodisfazione, quato considero 
 quella che sono per ricavare le S. S. E. E. A. A. V. V. dalla lettura di questo bel 
 poema, che valera a ristorar la noja reccata dal mio Servio Tullio, che a giorni a dietro 
 paeseggio queste scene ..." SCHATZ 824 
 
 Ascanio. Drama per musica da recitarsi nel Regio Teatro di 
 Milano . . . 
 
 Milano, Marc' Antonio Pandolfo Malatesta, 1702. 71, [1] p. 
 
 Three acts. Dedication by the author Pietro d'Averara, his preface to the reader 
 with the names of [Carlo Francesco] Pollaroli as composer of the opera, and of Monte- 
 clair as composer of the balli, argument, and scenario. 
 
 First performed 1702, as indicated. SCHATZ 8274 
 
 Ascanio in Alba. Dramma per musica da cantarsi nella Real 
 Villa di Queluz per celebrare il felicissimo giorno natalizio di S. M. 
 Fedelissima 1'augusto D. Pietro III. Rd di Portogallo . . . li 5 
 luglio 1785. 
 
 n. pi., n. d., Nella stamperia reale. 28 p. 14\ cm . 
 
 Two acts. Argument and cast. Claudio Niccolo Stampa is mentioned as author 
 of the text, altered by Gins. Parini. Antonio Leal Moreira as the composer. 
 
 SCHATZ 6633 
 
 L' Asiatic generoso, ballet. See Galuppi's L/Ipermestra 
 
 L'asilio d'amore. 
 
 [449]-4$0 P' 19 cm > (Pietro Metastasio, Opere drammatiche, Vene- 
 zia, Giuseppe Bettinelli, 1733-37, v. 2.) 
 
 One act. No composer mentioned. On p. 451 note: "La seguente festa teatrale 
 fu rappresentata in Lmtz il di 28. agosto dell' anno 1732 festeggiandosi il giorno nata- 
 lizio dell' augustissima imperadrice, alia presenza della medema." Performed 1765 
 in a revised version as " II trionfo d'amore." ML 49.A2M40 
 
 L'asilio d'amore. 
 
 Metastasio, Poesie, Parigi, vedova QuiUau, 1755, t. v, \27]-463 p. 
 16 cm . 
 
 One act. ML 49.A2M42
 
 174 LIBRARY OF CONGRESS 
 
 L'asilio d'amore Continued. 
 
 L'asilio d'amore. Festa teatrale scritta dall' autore in Vienna 
 1'anno 1732, ed eseguita alia presenza de' regnanti, con sontuosa 
 magnificenza, la prima volta con musica del Caldara nella gran 
 Piazza di Lintz, capitale dell' Austria Superiore; dove trovandosi 
 allora con tutta la Cesarea Corte 1'imperator Carlo VI per ricever 
 1'omaggio di quella provincia, si festeggi6 il 28 d'agosto, giorno di 
 nascita dell' imperatrice Elisabetta . . . 
 
 [336]-368 p. 26 cm . (Pietro Metastasio, Opere, t. Hi, Parigi, 
 vedova Herissant, 1780.) 
 
 One act. ML 49.A2M44 
 
 L'Asmiro re di Corinto. Dramma musicale da rappresentarsi nel 
 famosissimo Teatro di S. S. Gio. e Paolo 1'anno MDCXCVI . . . 
 Composto in musica dal Sig. D. Pietro Romolo abbate Pignatta. 
 
 Venetia, Nicolini, 1696. 4, 8-59 p. 14 cm . 
 
 . Three acts. Composer's dedication signed, Venice, February 15, 1696, his notice 
 to the reader, in which he appears as the author of the text, too, and scenario. 
 
 SCHATZ 81G8 
 
 Asmodeus der krumme teufel. Ein opera comique von zwey 
 aufzuegen. 
 
 Wien, Johann Thomas edl. von Trattnern, 1770. 44 P- 16\ cm . 
 
 Two acts. Neither the author, Johann Joseph Felix von Kurz (calhd Bernardon), 
 nor the composer, Franz Joseph Haydn, is mentioned. 
 
 First performed at Vienna, Theater naechst dem Karnthnerthore, November 24, 
 1770; previously there, ae "Der neue Krumme teufel," in 1752. SCHATZ 4609 
 
 Aspard. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro delle Dame il carnevale dell' anno 1784 . . . 
 
 Roma, Gioacchirio Puccinelli, n. d. J+5 p. 
 
 Three acts. Publisher's dedication dated "Dalla stamperia 31. [!] del 1784", 
 argument, scenario, names of Gaetano Sertor as author, of Francesco Bianchi as 
 composer. With the opera were performed two ballets, "Alonzo e Cora," musica 
 tutta nuova," by Antonio Capuzzi and "L'assedio di Belgrade. Fatto da Mao- 
 metto II, soccorso e liberate da Giovanni Unniade governatore dell' TJngheria," 
 music by Antonio Bisoni, "detto il Rossetto." ML 50.2.A82B3 
 
 Aspasia. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro Venier in San Benedetto il carnovale dell' anno 1790. 
 Venezia, Modesto Fenzo, 1790. 59 p. 17 cm . 
 
 Three acts. Gaetano Sertor, the author not mentioned. Argument, cast, scenario, 
 and name of Giuseppe Giordan! as the composer. On p. 47-59, cast and description 
 of "Giulio Villenvelt, osia L'aeeassino di Scozia, ballo pantomimo d'invenzione . . . 
 del signer Giuseppe Trafieri." The composer of the music is not mentioned. 
 
 SCHATZ 3833 
 
 L'assedio di Belgrade, ballet. See Bianchi's Aspard. 
 L'assassino di Scozia, ballet. See Giulio Villenvelt. 
 Assedio e liberazione di Vienna, ballet. See Rust's Artaserse. 
 L'assemblee. Entree in Bourgeois' Les plaisirs de la paix. 
 
 L'assemblee des dieux pour le mariage d'Alcide & d'Hebe, 
 ballet. See Bernasconi's Demofoonte.
 
 OPEEA LIBRETTOS 175 
 
 Astarbea, ballet. See Zingarelli's Giulietta e Romeo. 
 
 Astarbea ossia Pimmalione vendicato, ballet. See Anfossi's I matri- 
 moni per fanatisimo. 
 
 Astarto. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, t> x, p. 106. 19 cm . 
 
 Three acts. Argument. Written in collaboration with Pietro Pariati. No com- 
 poser is mentioned. In the "Catalogo" at end of vol. x, date and place of first ed. are 
 given as Venice, 1708. ML 49.A2Z3 
 
 Astarto. Pubblicato per la prima volt a in Venezia, 1708. 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. x, p. 97-198. 
 
 21 cm 
 
 Three acts. Argument. No composer is mentioned. Written in collaboration 
 with Pietro Pariati. ML 49.A2Z4 
 
 Astarto. Drama per music a da rappresentarsi nel Teatro Tron di 
 S. Cassano 1'autunno dell' anno MDCCVIII . . . 
 
 Venezia, Marino Rossetti, 1708. 6 p. L, 60 p. 15 cm . 
 
 Three acts. By Zeno and Pariati, who are not mentioned. Dedication, argument, 
 cast, scenario, and name of Tommaso Albinoni as composer. Bound with this is the 
 libretto of his intermezzi, "Pimpinone" (see under title), performed with the opera. 
 
 SCHATZ 110 
 
 L' Astarto. Dramma per musica da rappresentarsi nel Teatro 
 arciducale di Mantova nel carnovale dell' anno 1714 . . . 
 
 Mantova, Alberto Pazzoni, n. d. 58 p. 16 cm . 
 
 Three acts. By Zeno and Pariati, who are not mentioned. Dedication dated 
 Mantova, February 8, 1714, argument, cast, scenario, name of Tommaso Albinoni 
 as composer. ML 50.2.A83A4. 
 
 L' Astarto. Drama per musica, da rappresentarsi nel Teatro d'Ham- 
 burgo, I'anno MDCCXXL Astartus in einer opera, vorgestellet auf 
 dem hamburgischen Theatre im jahr 1721. 
 
 [Hamburg], Caspar Jdkhel, n. d. Unpaged. 18\ cm . 
 
 Three acts. Originally by Apostolo Zeno and Pietro Pariati, rewritten by Paolo 
 Antonio Rolli. German text faces Italian. Imperfect copy, lacking all preliminary 
 matter. The composer, Giovanni Battista Bononcini, is not mentioned. 
 
 SCHATZ 120 
 Astartus. Tr. of G. B. Bononcini's L' Astarto. 
 
 Asteria, favola pastorale per musica, rappresentata alia Real corte 
 di Dresda I'anno MDCCXXXVII nel giorno del nome della Maesta 
 del re ... 
 
 n. i., n. d. Unpaged. 18 cm . 
 
 Pagination possibly cut off by binder. At end: "Dresda . . . la vedova Stossel." 
 
 Three acts. Johann Adolph'Hasse is mentioned as the composer on an additional 
 leaf, with the chorus, "Rive d'Elba oggi piu liete." The author, Stefano Benedetto 
 Pallavicini, is not mentioned. 
 
 First performed, as indicated, August 3, 1737. SCHATZ 4516 
 
 ""Astiage. Drama per musica nel famoso Teatro Grimani di SS. Gio. 
 e Paolo I'anno MDCLXXVII . . . 
 
 Venetia, Frencesco Nicolini, 1677. 71 p. 14 m - 
 Three acts. Dedication by Matteo Noris, who informs the reader in a prefatory 
 note that he was engaged to modernize and partly rewrite Appllonip Apolloni's original 
 text; that the opera was composed by "Gio. Bonaventura Viviani, maestro di capella 
 di S. M. C. in Ispruch, and sung "da i primi e piu celebri canori cigni d'Europa," 
 which was the customary formula in absence of the cast. Argument and scenario. 
 
 SCHATZ 10783
 
 176 LIBRARY OF CONGRESS 
 
 Astianatte. Drama per musica da rappresentarsi in Monaco nel 
 Teatro della corte, nel verno dell' anno MDCCXVII . . . 
 
 [ Monaco], apud Mariam Susannam Jaecklinin, n. d. 67 p. 14$ cm - 
 Three acts. Argument (both in Italian and German) and scenario. Neither the 
 composer, Marc 'Antonio Bononcini, nor the librettist, Antonio Salvi, is mentioned. 
 First performed at Pratolino, Teatro della Villa Medici, 1701. SCHATZ 1204 
 
 Astianatte. (X T. of Leo's Andromaca. 
 
 Astianatte. Dramma per musica da rappresentarsi nel Teatro 
 Giustiniani di S. Moise. il carnovale dell' anno 1755. 
 Venezia, Modesto Fenzo, 1755. 48 p. 14$ cm . 
 
 Three acts. By Antonio Salvi, who is not mentioned. Argument, cast, scenario, 
 and name of Antonio Gaetano Pampani as the composer SCHATZ 7755 
 
 L'astratto pvvero II giocator fortunato. Dramma giocoso per 
 musica del Sig. abbate Giuseppe Petrosellini P. A. da rappresentarsi 
 nel Teatro di San Samuel il carnovale dell' anno 1772. 
 Venezia, Modesto Fenzo, 1772. 64 p. 18\ cm . 
 
 Three acts. Cast, scenario, and name of Nicolo Piccinni as the composer. 
 
 SCHATZ 8066 
 
 L'astratto ovvero II giuocatore fortunato. Dramma giocoso per 
 musica da rappresentarsi nel Nuovo Teatro della citta di Pisa il car- 
 nevale dell' anno 1773 . . . 
 
 Pisa, Francesco Picracdni, 1773. 78 p. 17 cm . 
 
 Three acts. Impresario's dedication, cast, and name of Piccinni as the composer. 
 Petrosellini is not mentioned. This Pisa version deviates noticeably from the Vene- 
 tian original. For instance, the latter has the arias, "Con Gemma ip ve lo dico " (1, 1), 
 "lo mi sento in mezzo al core" (I, 4), whereas Pisa has "Voglio un marito" and 
 "Nocchier che al porto in seno," resp. the substitute aria on p. 78, "Fra dubbiosi 
 affetti miei . " SCHATZ 8066a 
 
 Astrea placata. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t. vii, [307]-335 p. 
 16 cm . 
 
 One act. ML 49.A2M42 
 
 Astrea placata. C :>mponimento drammatico, scritto dall' autore 
 Panno 1739 . . . ed eseguito con musica del Predieri la prima volta 
 nella Galleria dell' Imperial Favorita . . . per festeggiare il di 28 
 d'Agosto, giorno di nascita dell' augustissima imperatrice Elisabetta. 
 
 [381]~404 p. 26 cm . (Metastasio, Opere, t. v., Parigi, vedova Heris- 
 sant, 1780.) ML49.A2M44 
 
 Astrea placata ; ovyero La felicita della terra. Festa teatrale . . . 
 all' occasione del guibileo in .cui compisce il secolo, che i fortunati 
 popoli di Danimarc felicemente deferirono la sovranita alia loro 
 augustissima casa regnante da rappresentarsi sul Regio Teatro 
 Danese. 
 
 Copenhagen, L. N. Svare, 1760. Unpaged. 16% cm . 
 
 One act. Impresario's dedication, cast, and name of Giuseppe Sarti as the com- 
 poser ("La musica e tutta nuova"), and of Erasmo Soelberg as the translator of (not 
 mentioned) Metastasio's text. Danish title, "Astrea tilfredsstillet; eller Jordens 
 lyksalighed," and text face the Italian. 
 
 First performed, as indicated, October 17, 1760. SCHATZ 9426
 
 OPERA LIBRETTOS 177 
 
 Astrea placata owerp La felicita della terra. Componimento 
 drammatico da cantarsi il di V. settembre MDCCLIII per festeggiare 
 il giorno natalizio di S. A. R. Federico Cristiano elettoral principe di 
 Sassonia. 
 
 Dresda, vedova Stossel, n. d. 1 p. L, 23 p. 23 cm . 
 
 One act. Neither Metastasio, the author, nor Johann Georg Schiirer, the composer, 
 is mentioned. 
 
 First performed at Dresden, Churfiirstl. Kleines Theater, October 7, 1746. 
 
 SCHATZ 9730 
 
 Astrea tilfredsstillet eller Jordens lyksalighed. Tr. of Sarti's 
 Astrea placata. 
 
 Astree. Tragedie par Monsieur de La Fontaine, represented par 
 
 1'Academie royale de musique. Suivant la copie imprimee a Pans. 
 
 [Amsterdam, Antoine Schelte], 1692. J+6 p. (incl. front.} 13% cm . 
 
 Prologue and three acts. The composer, Colasse, is not mentioned. 
 
 ML 50.2.A86 C6 
 
 Astree, tragedie represent ee par 1'Academie royale de musique 
 1'an 1691. Les paroles de M. de la Fontaine & la musique de M. 
 Collasse. XXVIII. opera. 
 
 n. i., n. d. front., p. 155-206. 14 cm - (Recueil general des opera, 
 Paris, 1703, t. 4.) 
 
 Detached copy. Three acts with prologue. 
 
 First performed, as indicated, Nov. 28, 1691. SCHATZ 2097 
 
 Second copy. ML 48. R4 
 
 L'astrologa. Commedia per musica da rappresentarsi nel Real 
 Teatro del Fondo di Separazione per terza opera del corrento anno 
 1782. 
 
 Napoli, n. publ, 1782. 66 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, and name of the composer, Francesco 
 Bianchi. The author is not mentioned and is unknown to Schatz. SCHATZ 988 
 
 L'astrologa. Dramma giocoso per musica dell' abate Pietro Chiari 
 da rappresentarsi nel Teatro di S. A. Serenissima il Signer principe di 
 Carignano nell' autunno dell' anno MDCCLXII. 
 Torino, Gaspare Bayno, n. d. 56 p. 15 cm . 
 
 Three acts. Cast, scenario, and name of Niccolo Piccinni as the composer. 
 First performed at Venice, Teatro di S. Moise, carnival 1762. SCHATZ 8147 
 
 Gli astrologi imaginari. O. T. of Paisiello's I filosofi imaginari. 
 L'astrologo. L. T. of Gasparini's Parpagnacco. 
 
 L'astuta in amore. Dramma giocoso per musica da rappresentarsi 
 nel Teatro grande alia Scala 1'autunno 1796 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 63, [1] p. 17 cm . 
 
 Three acts. Censor's date "Le I r fructidor an 4. mc " (Aug. 18, 1796). Cast, 
 scenario, and name of Valentino Fioravanti as composer. The author, Giuseppe 
 Palomba, is not mentioned. On p. 61-63 argument and dedication and on the 
 unnumb. p. cast of Filippo Beretti's ballet "Lucrezia ossia L'espulsione dei re da 
 Roma." His second ballet was called "La calzolaja." The composers of the music 
 are not mentioned. 
 
 First performed at Naples, Teatro Nuovo eopra Toledo, 1795. ML 48.A5 v. 2 
 
 72251 VOL 114 12
 
 178 LIBRARY OF CONGRESS 
 
 L'astuta in arnore Continued. 
 
 - II furbo malaccorto : Dramma per musiea in due atti da rappre- 
 sentarsinel Regio Teatro di S. Carlo della Principessa 1'autunno dell' 
 anno 1797. 
 
 Lisbona, Simone Taddeo Ferreira, 1797. 163 p. 1J&. 
 
 Cast and name of the composer. Portuguese text faces Italian. SCHATZ 3161 
 
 L'astuzia felice. Dramma di tre atti per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta ejigli, 1788 '95, t. 41, 
 [181}-237 p. 18 cm . 
 
 First performed, according to Schatz, with music by Gaetano Latilla and others at 
 Turin, Teatro Carignano, spring of 1750. PQ 
 
 L'astuzia felice. Dramma giocoso per .nusica del Signer dottore 
 Carlo Goldoni ridotta in sei personaggi, e addattata all'uso del Teatro 
 Giustiniani di S. MoisS 1'autunno del? anno 1767. 
 Venezia, Modesto Fenzo, 1767. 60 p. 14\ cm . 
 
 Three acts. Cast, scenario, and name of Filippo Gherardesca as the composer. 
 
 SCHATZ 3800 
 
 Le astuzie amorose. Drama giocoso per musica da rappresentarsi 
 nel nobile Teatro di San Samuele nelP autunno dell' anno 1775. 
 
 Venezia, Stamperia Carcani, n. d. 63 p. 18 cm . 
 
 Three acts. By Francesco Cerlone, who is not mentioned. Cast and name of 
 Michele Mortellari as the composer. On p. 30-35 argument and description of 
 Onorato Vigan6's "Andromeda e Perseo, ballo eroico pantomime." The composer 
 of the music is not mentioned nor of Vigan6's second ballet "II giocatore." 
 
 SCHATZ 6688 
 
 Le astuzie amorpse. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro di via della Pergola nella primavera del MDCCL- 
 XXVII . . . 
 
 Firenze, Gio. Risaliti, 1777. 55 p. 16\ cm . 
 
 Three acts. By Francesco Cerlone, who is not mentioned. Cast and name of 
 Paisiello as the composer. 
 
 First performed at Naples, Teatro Nuovo, spring, 1775. SCHATZ 7675 
 
 L'astuzie di Bettina. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro Giustiniani in San Moise per la seconda opera del 
 carnovale 1784. 
 
 Venezia, Modesto Fenzo, 1784. 63, [1] p. ll\ cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Dedication signed 
 by the impresario, Antonio Dian, cast, scenario, and name of Mattia Stabingher as 
 the composer. With the opera were performed Federico Terrades' ballets, com- 
 posers of the music not mentioned, "La forza delle donne" and "II vcglione." 
 
 First performed at Genoa, Teatro di S. Agostino, spring of 1780. SCHATZ 10019 
 
 Le astuzie in amore. Commedia per musica di G. M. D. Da 
 rappresentarsi nel Teatro Nuovo sopra Toledo per terz' opera di 
 quest' anno 1790. 
 
 Napoli, Vincenzo Flauto, 1790. 46 p. 15 cm . 
 
 Two acts. By Giuseppe Maria Diodati. Cast and name of Giacomo Tritto aa 
 the composer. SCHATZ 10460
 
 OPERA LIBRETTOS 179 
 
 L'astuzie villane. Commedia per musica di Giuseppe Palomba da 
 rappresentarsi nel Teatro de' Fiorentini per second' opera in quest' 
 anno 1786. 
 
 Napoli, n. publ., 1786. 60 p. 15 cm . 
 
 Three acts. Argument, cast, and name of Pietro Guglielmi as the composer. 
 
 SCHATZ 4235 
 
 Atalanta. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1792 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 52 p. 15% cm . 
 
 Three acts. By Cesare Olivieri. Argument, cast, scenario, and name of Giuseppe 
 Giordan! as the composer. On p. 47-52 cast and description of Domenico Le Fevre'a 
 ballets "II Pigmalione," "Le sultane," (4 acts) and "Apollo e Dafne." The com- 
 posers of the music are not mentioned. 
 
 First performed, as indicated, December 26, 1791. SCHATZ 3834 
 
 Atalanta e Meleagro. Festa teatrale che introduce ad un ballo 
 allegorico scritta da Antonio de' Filistri ... da rappresentarsi con 
 musica del Sign. Vicenzo Righini . . . nel Gran Teatro Reale di 
 Berlino il giorno 15 febbraio 1797 in occasione delle felicissime nozze 
 dell' Altezza Reale di Federica Cristina Augusta principessa di Prussia 
 con 1'Altezza Serenissima di Guglielmo principe ereditario di Assia- 
 Cassel. 
 Berlino, Haude e Spener, n. d. 68 p. 16 cm . 
 
 One act, with ballets. Argument and cast. German title-page, "Athalante 
 und Meleager," and text face Italian. SCHATZ 8779 
 
 Atalanta e Meleagro. Festa teatrale scritta con balli analoghi 
 da Antonio de' Filistri ... da rappresentarsi con musica del Sign. 
 Vicenzo Righini . . . nel gran Teatro Reale di Berlino il carnevale 
 dell' anno 1799. 
 Berlino, Haude e Spener, n. d. 71 p. 16 cm . 
 
 One act. Argument and cast. German title-page, "Athalante und Meleager," and 
 text face Italian. 
 
 First performed, as indicated, January 14, 1799. SCHATZ 8780 
 
 Atalanta ed Ippomene Atalante et Hippomene, ballet. See 
 Jommelli's Demofoonte. 
 
 Atalo. Dramma per musica da rappresentarsi nel famoso Teatro 
 Tron a S. Cassiano il carnovale dell' anno 1742. 
 
 Venezia, Bonifacio Viezzeri, 1742. 4$ P- 14 m - 
 
 Three acts. By Francesco Silvani, altered from the first edition, published in 1713 
 under the title of "La verita nell' inganno," to which fact the argument alludes. 
 Scenario, cast, and name of the composer, Chinzer, "Giovanni Chintzer di Firenze." 
 
 SCHATZ 1866 
 
 A tamo huomo vecchio e Palandra giovine, intermezzo. See Cal- 
 dara's L'inganno tradito dall' amore. 
 
 L'Atanagilda, regina di Gottia. A. T. of M. A. Ziani's L'inganno 
 regnante. 
 
 Ataulfo re de' Goti, ovvero La forza della virtu. Dramma da 
 recitarsi nella Sala de' Sig? Capranica nel carnevale dell' anno 
 1712 ,. . . 
 
 Roma, Bernabb, 1712. 71 p. 15%. 
 
 Three acts. Author not mentioned and unknown to Schatz. Impresario's dedi- 
 cation, argument, cast, scenario, and name of Giuseppe Maria Orlandini as the 
 composer. SCHATZ 7349
 
 180 LIBRARY OF CONGRESS 
 
 Atenaide. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, t. i, P- [357]- 
 
 448 19. 
 
 Three acts and licenza. Argument. No composer is mentioned. In the "Cata- 
 logo" at the end of t. x, date and place of first ed. are given as Vienna, 1714, but, 
 according to Schatz, first performed at the court, Vienna, 1709, music of the first act 
 by Andrea Fiorfc, of the second by Ant. Caldara, and of the third by C. F. 
 Gasparini. According to Fehr first performed in 1709 at Barcelona. Both agree 
 that in 1714 the first act was composed by M. A. Ziani, the second by Ant. Negri, 
 and the third by Caldara. ML 49.A2Z3 
 
 Atenaide. Pubblicata per la prima volta in Vienna 1714. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. iv, p. 267- 
 S52. 21. 
 
 Three acts and licenza. Argument. No composer is mentioned. ML 49.A2Z4 
 
 L'Atenaide o vero Gli affetti generosi. Azione teatrale, scritta dall' 
 autore in Vienna Tanno 1762 . . . e posta in musica dal Bonno, per 
 doversi rappresentare privatamente negl' interni appartamenti del 
 palazzo cesarea dalle Altezze Reali di cinque arciducnesse d'Austria 
 . . . Ma non ne permise la gia disposta esecuzione Finaspettata 
 ultima infermita della soprannominata arciduchessa Isabella di 
 Borbone. 
 
 pi., [5] -56 p. 26 cm . (Metastasio, Opere, t. xi, Parigi, vedova Heris- 
 sant, 1782.) 
 
 Two parts. . ML 49.A2M44 
 
 Athalanta und Meleager. Tr. of Righini's Atalanta e Meleagro. 
 
 Athalia. Bin trauerspiel mit choren. Nach Racine von Carl 
 Friedrich Cramer. Die musik vom herrn capellmeister Schulz. 
 
 Kiel, bey dem verfasser, n. d. [xxviii], 179, [1] p. 15 cm . 
 
 On p. 141-179, Cramer's "Anmerkungen," some of which are equally interesting, 
 as his Vorrede," in which he first (and charmingly) gives the history of Racine s 
 "Athalie" in France; then the history of Schulz' setting and this translation; then 
 his reasons for taking some liberties with Racine his ambition was "mem 
 original nicht allein zu erreichen, sondern auch, wo moglich zu iibertreffen," and with 
 this in view, he busied himself with the " Flecken im originale, die abgewischt werden 
 konnten und-mussten" and, finally, Racine's preface. As to Schulz' setting, 
 Cramer says: 
 
 ' "Se. Konigliche Hoheit, der Prinz Heinrich, der seinem grossen b ruder wie an 
 heldeneigenscnaften, so auch an Hebe zu den dichtern Frankreichs gleicht, true seit 
 verschiedenen jahren dem componisten, seinem capellmeister [1780-17871, aur, fur 
 eein Privat-Theater, das wahrend seines sommeraufenthalts in Reinsberg seine 
 liebste erholung ausmacht, die chore dieser tragodie in musik zu setzen. Schulz 
 erfiillte diesen befehl, und Athalia (ein vorzug, dessen sich die glanzende hauptstadt 
 Frankreichs selber nicht ruhmen kann), ward in Deutschland, auf dieser zwar 
 kleinen, aber ihres geschmacks wegen merkwiirdigen buhne, zum erstenmal vollstan- 
 dig, wie es ihre wiirde erforderte, aufgefuhrt. Die beschaffeuheit der composition, 
 ihr genauer musicalischer vortrag durch eine zureichende und gewahlte capelle, so 
 wie ihr dramatischer, in der die hauptrollen von einem manne, welcher, ob's sein 
 bemf gleich nicht ist, dennoch desto ruhmlicher die dreyfachen talente eines ein- 
 eichtsvollen componisten, sangers und schauspiilers in sich vereinigt, und von einer 
 braven actrize, Madame d'Orceville, gemacht wurden, erwarben sich bey mehrmaligen 
 vorstellungen den beyfall des prinzen und aller kenner, die es auffuhren sahen. 
 Durch das geriicht davon gereizt, suchte ich, da ich die Athalie immer sehr geliebt, 
 und schon fruher mit Madame Seyler von ihrer verpflanzung auf die deutsche buhne 
 geredet hatte, die schulzische composition naher kenner su lernen ..." 
 
 Cramer's German translation, first performed at Berlin, Concertsaal des Corsi- 
 caischen llausea, 1786, and at Hamburg, Theater beim Gansemarkt, March 30, 1789. 
 
 SCHATZ 9719
 
 OPERA LIBRETTOS 181 
 
 Athalia Continued. 
 
 Athalia. Tragedie af Racine i fern akter, med mellemsange com- 
 
 ponerede af hr. capelmester Schultz. 
 
 Ki0benhavn, Johan Frederik Schultz, 1790. 100 p. 17$ cm . 
 
 First performed at Copenhagen, Royal Theatre, March 24, 1790. SCHATZ 9720 
 
 Athaliah. Tr. of Racine's Athalie. 
 
 Athaliah. A tragedy. Translated from the French of Monsieur 
 Racine. By Mr. Duncombe. The third edition, revised and cor- 
 rected. 
 London, J. Watts, 1746. 8 p. I (ind. front.}, 64 p. 16% cm . 
 
 Five acts. William Buncombe's dedication dated November, 1722, his prefatory 
 note, and Racine's preface. This transl. was first published in 1724. LONGE 70 
 
 Athalie. O. T. of Schulz' Athalia. 
 
 Ati e Sangaride. Serenata per musica da cantafsi nella Real Villa 
 di Queluz . . . per celebrare il felicissimo giorno natalizio della 
 serenissima Signora D. Maria Francesca Benedetta, principessa del 
 Brasile li 25 luglio 1779. 
 
 [Lisboa], Stamperia Reale, n. d. 30 p. 16 cm . 
 
 One act. Gaetano Martinelli is mentioned as author, Luciano Xavier dos Santos, 
 as composer. Argument and cast. SCHATZ 9398 
 
 Atide. Drama per musica da rappresentarsi nel nuovo famoso 
 Teatro Formagliari 1'anno 1679 Di Tomaso Stanzani . . . 
 
 Bologna, per I'herede di Vittorio Benacci, n. d. 6 p. 1., 71, [1] p. 
 14 cm . 
 
 Three acts. Author's dedication dated, Bologna, June 23, 1679, cast, scenario, 
 and argument with the names of the composers, Giuseppe Felice Tosi (act I), Pietro 
 degli Antoni (act II), and Giacomo Antonio Perti (act III) in this "garra virtuosa." 
 
 SCHATZ 10381 
 Atis. Parody of Lully's Atys. 
 
 Attalo re di Bitinia. Dramrna per musica da rappresentarsi nel 
 nobil Teatro di Torre Argentina il carnovale dell' anno 1790. 
 
 Roma, Gioacchino Puccinelli, n. d. 4$ P- 15 m - 
 
 Two acts. By Antonio Salvi (not mentioned). Publisher's dedication, argu- 
 ment, scenario, cast, and name of the composer, Luigi Caruso. Vittorio Trento is 
 mentioned as the composer of the second ballet, which is not named by title. 
 
 SCHATZ 1661 
 
 Attalo re di Bitinia. Dramma per musica da rappresentarsi nel 
 Regal Teatro di S. Carlo a dl 20. gennajo 1752 . . . 
 
 Napoli, Domdnico Lanciano, 1 752. 4$ P> 14 cm - 
 
 Three acts. By Francesco Silvani (not mentioned), originally with the title "La 
 verita nell' inganno." Impresario's dedication dated Naples, January 20, 1751 
 (=1752), argument, cast, and name of Giuseppe Conti as composer. SCHATZ 2206 
 
 Attalo re di Bitinia. Dramma per musica da rappresentarsi in 
 Ferrara nel Teatro Bonacossi da S. Stefano il carnevale dell' anno 
 1739 . . . 
 
 Ferrara, Giuseppe Barbieri, n. d. 52 p. 15*. 
 
 Three acts. Impresario's dedicatory sonnet, argument, cast and name of Johann 
 Adolph Hasse as the composer. The text is Francesco Silvani's "La verita nell' 
 inganno." 
 
 First performed at Naples, Teatro di San Bartolomeo, spring of 1728. 
 
 SCHATZ 4517
 
 182 LIBRARY OF CONGRESS 
 
 Attalo re di Bitinia. Dramma per musica da rappresentarsi nel 
 Real Teatro dell' Ajuda nel felicissimo giorno natalizio di Sua Maesta 
 Fedelissima I'angusta Donna Maria I regina di Portogallo . . . li 17 
 decembre 1791. 
 
 [Lisboa], Stamperia redle, n. d. 60 p. 16\ cm . 
 
 Two acts. By Antonio Salvi, who ia not mentioned. Argument, cast, scenario, 
 and name of Ferdinando Robuschi as the composer. 
 
 First performed at Padua, Teatro Nuovo, June, 1788. SCHATZ 8842 
 
 Attalo re di Bitinia. Dramma per musica da rappresentarsi nel 
 nobilissimo Teatro in S. Benedetto il carnovale dell' anno 1783. 
 Venezia, Modesto Fenzo, 1788. 56 p. 17 cm . 
 
 Three acts. By Antonio Salvi, who is not mentioned. Argument, cast, scenario, 
 and name of Giuseppe Sarti as composer. ("La musica e nuovamente composta") 
 On p. [23]-31 argument, cast, name of Vincenzo Martini as composer of the music 
 ("tutta nuova") and description of Domenico Ricciardi's "Cristiano II., re di Dani- 
 marca, ballo eroico in quattr' atti." 
 
 First performed, as indicated, December 26, 1782. SCHATZ 9472 
 
 Attila, ballet. See Anfossi's Antigono, 1781. 
 
 Attila. Drama per musica, da rappresentarsi nel Teatro Grimano a 
 SS. Gio. e Paolo. L'anno MDCLXXII. Di Matteo Noris . . . 
 Venetia, Francesco Nicolini, 1672. 6 p. I. (incl. front.), 67, [1] p. 
 
 Three acts. Author's dedication, dated Venice, February 12, 1672, argument, 
 scenario, and notice to the reader in which Noris says: 
 
 "Spero, che eia per dilettarti, comparendoti nel Grimano Teatro, Reggia, della 
 Bcenica maesta; ed' io non ribellandomi al genio, h6 praticato nel comporlo gli soliti 
 sforzi d'equivoco & forze di scena, usate da pochi. H6 scritto per obligo, Tu vieni, 
 e compatisci per gentilezza." 
 
 The composer, Pietro Andrea Ziani, is not mentioned. SCHATZ 11213 
 
 Attilio Regolo. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t. vi, [77]~168 p. 
 16 cm . 
 'Three acts. Argument. ML 49.A2M42 
 
 - Attilio Regolo. Dramma scritto dalF autore in Vienna . . . per 
 doversi produrre in occasione di festeggiare il prossimo giorno di 
 nome dell' augustissimo . . . Carlo VI, il di 4 novembre 1740. Ma, 
 avendo egli cessato di vivere prima della preparata splennita, rimase 
 occulto il dramma per lo spazio di anni dieci: dopo i quali mandate 
 dall' autore a richiesta di Augusto III re di Poloma, fu nella corte di 
 Dresda ... la prima volta rappresentato con musica dell' Hasse 
 . . . nel carnevale dell' anno 1750. 
 
 pi., [3]~1 04 p. 26 cm . (Metastasio, Opere, t. viii, Parigi, vedova 
 Eerissant, 1781.) 
 
 Three acts. Argument. ML 49.A2M44 
 
 Regulus . . . 
 
 Metastasio, Tragedies-opera, Vienne, 1751, t. v, p. [105}-213. 14 cm . 
 Three acts. Richelet's translation. Below the title the note: 
 "Get ope'ra est le dernier qu'a compose" 1'abbe Metastasio. II a e"te represent^ 
 cette annee (1750) a la Cour de Naples, & a celle de Dresde." ML 49.A2M47
 
 OPERA LIBRETTOS 183 
 
 Attilio Regolo. Dramma per musica rappresentato nel Teatro della 
 Regia elettoral corte di Dresda nel carnovale dell' anno MDCCL. 
 La poesia e del Sig. abbate Pietro Metastasio ... la musica e del 
 Sig. Gio. Adolfo Hasse . . . 
 
 Friedrichstadt, la vedova Harpeter, n. d. 4 P- l-> 8% P- 19 cm . 
 
 Three acts. Argument, cast, scenario. 
 
 First performed, as indicated, January 12, 1750. SCHATZ 4518 
 
 Attilio Regolo. Dramma per musica rappresentato nel Teatro 
 della Regia elettoral corte di Dresda, nel carnovale dell' anno 
 MDCCL . . . 
 
 Friedrichstadt, la vedova Harpeter, n. d. 5 p. 1., (double) 82 p. 
 
 Same as Schatz 4518, except that German title page "Attilius Regulus" and text 
 have been added. SCHATZ 4519 
 
 Attilio Regolo. Drama per musica da rappresentarsi in Roma nel 
 Teatro delle Dame nel corrente carnevale defl' anno MDCCLIII . . . 
 
 Roma, Marcello Silvestri, n. d. 69 p. 14% cm > 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and names of 
 Metastasio as author ("in qualche piccola parte diversa dalla prima impressione") 
 and of Niccol6 Jommelli as the composer. 
 
 First performed, as indicated, January 8, 1753. Abert says, on p. 3 of his Jom- 
 melli biograghy, 1751, but on p. 54 he says 1752, both dates apparently incorrect. 
 
 SCHATZ 4844 
 Attilius Regulus. Tr. of Hasse's Attilio Regolo. 
 
 Atys, tragedie en musique. Ornee d'entrees de ballet, de machines, 
 & de changements de theatre. Representee devant Sa Majeste" a 
 Saint Germain en Laye, le dixieme jour de Janvier 1676. 
 
 Paris, CJiristophe Bollard, 1676. 6 p. I., 70 p. 22 cm . 
 
 Prologue and five acts. Cast. Neither Quinault nor Lully mentioned. 
 
 First performed at Saint-Germain en Laye before the king, as indicated, at Paris 
 August, 1676 (Schatz), April, 1677 (Prunieres). ML 50.2.A9L8 
 
 Atys. Tragedie en musique ornee d'entrees de ballet, de machines, 
 & de changemens de theatre. Suivant la copie imprimee a Paris. 
 
 [Amsterdam, Antoine Schelte], 1687. 79 p. (incl. front.} 13\ cm . 
 
 Prologue and five acts. Cast. Neither Quinault nor Lully mentioned. 
 
 ML 50.2.A9L9 
 
 Atys, tragedie representee par 1'Academie royale de musique 1'an 
 1676. Les paroles de M. Quinault, & la musique de M. de Lully, 
 VIII. opera. 
 
 n. i., n. d. 14 cm - front., 871-444 P- (Recueil general ties opera, 
 t. i, Paris, 1708.) 
 
 Detached copy. Five acts and prologue. SCHATZ 5761 
 
 Second copy. ML 48.R4 
 
 Atys, tragedie representee devant Sa Majeste, a Saint-Germain- 
 en Laye, es annees 1676 & 1682 et depuis par L'Academie royale de 
 musique, en 1679, en 1690, en 1699, en 1709, en 1725. Remise au 
 theatre le mardy 7. Janvier 1738. 
 
 [Paris], Jean Baptiste CJiristophe Bollard, 1738. xii, 67, [1] p. 
 %4 cm . 
 
 Prologue and five acts. Cast. Neither Quinault nor Lully mentioned. 
 
 ML 50.2.A9L93
 
 184 LIBRARY OF CONGRESS 
 
 Atys Continued. 
 
 Atys, tragedie en musique. Orn6e d'entrees de ballet, de ma- 
 chines & de cnangemens de theatre. Repre"sent6 devant Sa Majeste" 
 a Saint Germain en Laye, le 10 fe'vrier 1676. 
 
 Quinault, Theatre, Paris, 1789, t. iv, pi, p. [267}-335. 17 cm . 
 Prologue and five acts. Lully is not mentioned. PQ 1881. Al 1739 
 
 Atys, tragedie represented devant Sa Majeste, a Saint-Germain- 
 en-Laye, es anne"es 1676 & 1682. Et depuis par FAcademie royale 
 de musique de Paris, en 1679, en 1690, en 1699, en 1709, en 1725, & 
 en 1738. Et par 1'Academie royale de musique de Lyon en decembre 
 1742. 
 
 Lyon, Aime DelarocJie, 1743. 79 p. 23. 
 
 Five acts. Cast. Neither the author, Quinault, is mentioned nor the composer, 
 Lully. The text is practically the same as that of 1703, except that the last scene 
 has been cut down to consist only of "Que cet arbre sacre"," etc. SCHATZ 5761a 
 
 - Arlequin Atys, representee pour la premiere fois, par les Come"- 
 diens italiens ordinaires du roi, le 22. Janvier, 1726. 
 
 Les parodies du Nouveau theatre italien, Nouv. ed., Paris, 1738, 
 t. Hi, [163}-218 p. 16%. 
 
 One act. Parody of "Atys" by Pontau (see t. I). The airs and vaudeville used 
 are printed at the end of the volume in the "Table des airs" (84 p.). ML 48. P3 
 
 Atis, parodie en un acte; pre'ce'de'e d'un prologue; represented 
 sur le Theatre de POpe'ra-comique, en fevrier 1726. 
 Alexis Piron, Oeuvres complettes, Liege, 1776, v. 5, [257]-319 p. 
 
 Prose and vaudevilles. Composer not recorded. Parody of Lully 's opera, attrib- 
 uted by Parfaict to Fuzelier. 
 
 First performed, as indicated, Feb. 19, 1720. PQ 2019. P6 
 
 La grand -mere amoureuse. Parodie d'Atys. En trois actes. 
 Par M re F***. & D'Or***. Represented a la Foire de S. Germain 
 1726. 
 
 Le Theatre de lafoire, Paris, 1731, t. viii, pi., 1 p. I, 65 p. 17 cm . 
 
 By Fuzelier and d'Orneval. Largely en vaudevilles. The airs, selected or com- 
 posed and arranged by Jean Claude Gillier, the "compositeur" of the company, are 
 printed at the end of the volume in the "Table des airs." 
 
 First performed, as indicated, March 18, 1726. ML 48. L2 VIII 
 
 Atys, tragedie-lyrique, en trois actes, represented, pour la premiere 
 fois, par 1'Academie-royale de musique, le mardi 22 fevrier 1780. 
 
 [Paris], Aux depens de I' Academic de I'imprimerie de P. de Lormel, 
 1780. 60 p. 23. 
 
 Cast. Quinault is mentioned as the author, Niccold Piccinni as the composer, but 
 the text is really more or less by Marmontel. SCHATZ 8067 
 
 Atys, tragedie-lyrique en trois actes, repre"sentee, pour la pre- 
 miere fois, par PAcad&nie royale de musique, le mardi 22 fe'vrier 
 1780. Et remise au Theatre, le mardi 14 Janvier 1783. 
 Paris, P. de Lormel, 1783. 60 p. 23 cm . 
 Cast and name of Quinault as author, of Piccinni as composer. SCHATZ 11743
 
 OPERA LIBRETTOS 185 
 
 Aucassin et Nicolette, ou Les moeurs du bon vieux terns, comedie 
 remise en trois actes et en vers, dont une partie est en musique; 
 represented, pour la premiere fois, devant Leurs Majestes a Ver- 
 sailles, le 30 decembre 1779, par les Comediens italiens ordinaires 
 du roi, & a Paris, le 3 janv. 1780, & reprise le 7 janv. 1782. Le 
 drame est de M. Sedaine. La musique de M. Gretry. 
 
 Paris, Brunei, 1782. 63, [1] p. 19. 
 
 Cast. ML 50.2.A92G7 
 
 Aucassin et Nicolette, ou Les moeurs du bon vieux temps, comedie 
 en trois actes, en vers, dont une partie est en musique: Representee 
 pour la premiere fois par les Comediens italiens ordinaires du roi, 
 le 7 Janvier 1782. Le drame est de M. Sedaine. La musique de 
 M. Gretry. 
 
 Paris, Brunei, 1784. 48 p. 18% cm . 
 Cast. On p. 39-42, the air of the "Ariette. Que de pieces d'or." 
 The date of performance on the title page refers only to the three-act version. The 
 original four-act version was first performed at Versailles December 30, 1779, and at 
 Paris, Comedie italienne, January 3, 1780. SCHATZ 4139 
 
 Gesaenge aus dem singspiele: Ferdinand und Nicolette, oder 
 Liebe erhaelt den sieg, in drey aufzuegen. Aus dem franzoesischen 
 uebersetzt von Andre. In musik gesetzt von Gretry. 
 
 Hamburg, J. M. Michaelsen, 1787. 24 p. 16\ cm . 
 
 First performed at Hamburg, Theater am Gaensemarkt, April 17, 1787. 
 
 SCHATZ 4140 
 
 L'audacia fortunata. Commedia per musica da rappresentarsi nel 
 Real Teatro del Fondo di Separazione per terza commedia del cor- 
 rente anno 1793. 
 
 Napoli, n. publ, 1793. 48 p. 15. 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and name of the 
 composer, Valentino Fioravanti. SCHATZ 3117 
 
 L'audacia fortunata : Dramma giocoso per musica per celebrare 
 Faugusto nome di Sua Altezza Reale la serenissima Signora D. 
 Carlotta Gioacchina . . . per eseguirsi nel Regio Teatro di S. Carlo, 
 I'autunno delFanno 1796. 
 
 Lisbona, Simone Taddeo Ferreira, 1796. 173 p. 14% cm - 
 Two acts. Cast and name of the composer Fioravanti, but not of the author. 
 Portuguese text faces Italian. SCHATZ 3173 
 
 Les audiences de Thalie. Piece en un acte. Representee sur le 
 Theatre de I'Op^ra comique a la Foire S. Germain, le 7 avril 1734. 
 Le Theatre de lafoire, Paris, 1737, t. ix, 2 pi., [88ff]-427 p. 17 cm . 
 
 By Carlolet, who has this to say in a prefatory note: 
 
 "Ce petit acte est moins une piece qu une description fidelle de 1'etat ou se trouvoit 
 alors le Theatre de 1'Opera comique. L'entrepreneur conseil!6 par des associes, 
 ausquels la tete ne tournoit pas moins qu' a lui, se livroit, comme eux, a 1'ignorance & 
 a la prevention. Les bons acteurs murmuroient hautement de se voir forces de repre- 
 eenter sans cesse de mauvaises pieces, & de contribuer ayec des acteurs aussi pitoyables 
 aue neufs, a ecarter le public d un spectacle qui 8ut toujoure sous d'autres chefs & soue 
 a'autres auteurs, charmer eon attente & ses plus chers loisirs." 
 
 Largely en vaudevilles. The airs, a few of which with name of Corrette as com- 
 poser, are printed at the end of the volume in the "Table des airs." ML 48. L2X 
 
 Auf dem land kennt man die rache nicht. A. T. of Kauer's 
 Der unschuldige betrug.
 
 186 LIBRARY OF CONGRESS 
 
 Das aufgeboth. A. T. of Wenzcl Miiller's Die getreuen Oester- 
 reicher. 
 
 Augusta's triumph. A. T. of Daniel Pur-cell's Brutus of Alba. 
 
 Les Augustales, divertissement, represented par 1' Academic royale 
 
 de musique le \blarik} novembre 1744. 
 
 Paris, Jean Baptiste Christophe Bollard, 1744. 15 P- 4 cm > 
 One act. Cast and name of Pierre Charles Roy as author, of Francois Rebel and 
 
 Francois Francoeur as the composers. 
 
 First performed on November 15, 1744, as indicated. .SCHATZ 8621 
 
 Auguste et Theodore, ou Les deux pages. Comedie en deux actes, 
 en prose et m^lSe de chant. Par MM. Dezede & B. D. M. Repre- 
 sented, pour la premiere fois, a Paris par les Comediens francais 
 ordinaires du roi, le 6 mars 1789, & k Versailles, devant Leurs 
 MajestSs, le 12 du mme mois. 
 Paris, Brunei, 1790. vi, 7-48 p. 19 cm . 
 
 Incomplete copy. 
 
 Dezede's collaborator was Ernest, baron de Mantauffeld. With cast and "Cos- 
 tumes" (p. iii-vi). SCHATZ 2525 
 
 Auld Robin Gray: a pastoral entertainment, in two acts. As per- 
 formed at the Theatre-Koyal, Hay-Market. Written by S. Arnold, 
 jun. The music by Dr. Arnold. 
 London, Geo. Goulding,'l794. 55 p. 21\ cm . 
 
 Cast and prefatory note. The vocal score published by Preston & Son says: "The 
 music (with a Scotish overture) selected & composed."" The ballad airs utilized by 
 Arnold are indicated in the vocal score. " The shipwreck " is there headed as by 
 "Dr. Haydn." 
 
 First performed July 29, 1794. LONGB 239 
 
 L'Aureliano. Drama per musica di Giacomo dalP Angelo da rap- 
 presentarsi nel Teatro di S. Moise Fanno 1666 . . . - 
 
 Venetia, Francesco Nicolini, 1666. 7 p. 1. (incl. front.) , 72 p. 14 m - 
 Prologue and three acts. Author's dedication dated Venice, February 25, 1666, 
 argument, "fintioni," and scenario. The composer, Carlo Pallavicino, is not 
 mentioned. SCHATZ 7719 
 
 Aurelio and Miranda: a drama. In five acts. With music. 
 First acted at the Theatre Royal, Drury-Lane, on Saturday, Decem- 
 ber 29, 1798. Written by James Boaclen. Third edition I . . 
 
 London, J. Bell, 1799. 2 p. 1., 67 p. 21% cm . 
 
 Cast. The composer is not mentioned. LONGE 266 
 
 Auretta e Masullo ossia II contratempo. Dramma giocoso per 
 musica da rappresentarsi nel Teatro da S. Agostino la pnmayera del 
 1792 . . . 
 
 Genova, Stamperia Gesiniana, n. d. 60 p. 14 cm . 
 
 Two acts. Impresario's dedication speaking of the composer as "un talente 
 nascente," cast, scenario, and name of Francesco Gnecco ("La musica sara tutta 
 nuova "). Schatz also attributes the text to him. SCHATZ 3958 
 
 Aurora. A. T. of Reiser's Der morgen des europaeischen glueckes.
 
 OPERA LIBRETTOS 187 
 
 L'Aurora in Atene. Drama per musica nel Teatro Grimani di . S. 
 Gio. e Paolo. L'anno 1678. Del dottor Frisari . . . 
 
 Venetia, Francesco Nicolini, 1678. 56 p. 14 cm . 
 
 Three acts. Author's dedication, dated Venice, February 10, 1678, argument, 
 scenario, and notice to the reader who is informed th^it Antonio Zannettini com- 
 posed the music and that the text is based on conte Berni's "II ratio di Cefalo." 
 This copy does not contain the frontispiece and woodcut in the Brussels copy. (See 
 Wotquenne.) SCHATZ 11146 
 
 L'Aurora ingannata. 
 
 Prologue and four intermedii. Forms part (p. 6-10, 38-41, 77-79, 97-99, 147-150) 
 of "FiLAKMiNDO. Favola pastoraledel Sig. Co. Ridolfo Campeggi. In questa quinta 
 impressione arricchita con L'Aurora ingannata. Favoletta per gl'intennedij in 
 musica ... In Venetia, MDCXXVIII. Apresso Gio. Battista Cioti." (178 p. 
 I3 cm .) 
 
 Date slightly mutilated. Allacci, without mentioning a composer, says: "In 
 alcune delle suddette edizioni si vede I' Aurora ingannata dello stesso autore . . . 
 udita in musica la prima volta nell' anno 1615." Schatz says under "Filarmindo" 
 (not under "Aurora ingannata," which he does not seem to know): "Musik von 
 Girolamo Giacobbi. Bologna, Sala Zoppia, 1605," but "Filarmondo" was merely 
 &favola pastorale with no music, except perhaps by the choro. Corradi says that the 
 intermezzi of "L'Aurora ingannata" were added in 1615. PQ 
 
 L'Aurora vendicata, ballet. See P. Guglielmi's La pastorella 
 nobile. 
 
 L'Aurore et Cephale, fourth entree in Quinault's Les amours des 
 Deesses. 
 
 Einem hoch-edlen und hochweisen Rath der Stadt Hamburg, wurde 
 mit gehorsamsten respect und schuldigster danckbarkeit wegen 
 erzeigter gnade in einer action Der eiserne Koenig, nebst vorher- 
 gehender musicalischen serenata. Betitult: Die aus Bellonens 
 reich vertriebene und an dem Elbe-strande frohlockende ver- 
 gnuegung. Dedicirt und unterthaenig vorgestellet von denen 
 anwesenden Koenigl. pohlnischen und cnurfuerstl. saechsischen pri- 
 vilegierten hof-comoedianten. 
 
 Hamburg, Philip Ludwig Stromer, 1719. Unpaged. l$ cm . 
 
 One act. Dedication, avertissement, and at end "Summarischer iunhalt der 
 action an sich selbst," note that this "haupt-action" would be followed by "eine 
 lustige nachcomoedie " and note: "Der schau-platz ist in der Neustadt in der Fuhlen 
 Twiet ueber dem Bremer-Schluessel." Author and composer not mentioned and 
 unknown to Schatz. SCHATZ 11448 
 
 Die aus der einsamkeit in die welt zurueckgekehrte opera, 
 ward bey neuer eroeffnung des Hamburgischen Schau-Platzes hi 
 einem vor-spiele aufgefuehret im monath octobris, anno 1729. 
 
 [Hamburg], Gedruckt mit Stromerschen schrijften, n. d. Unpaged. 
 18 cm . 
 
 Cast. Neither the author, Christ. Gottl. Wendt, is mentioned, nor the composer, 
 Georg Philipp Telemann. 
 
 First performed as indicated, October 10, 1729. SCHATZ 10269 
 
 Die aus-schweifenden. Tr. of Piccinni's La schiava riconosciuta- 
 
 L'auteur dans son menage, comedie en un acte, en prose; m&e'e 
 d'ariettes. Paroles du C. Gosse; musique du C. Bruni: ^epr6sent6e 
 pour la premiere fois sur le theatre Feydeau, le 8 germinal an sept 
 [March 28, 17991 de la Re*publique: 
 Paris, Huet [etc.], an mi. 44 P- 21 cm . ML 50.2.A93B8
 
 188 LIBRARY OF CONGRESS 
 
 Arien und gesange der operette : Der authomat . In einem auf zuge. 
 Nach dem franzosischen des Cuinet Dorbeil. Die musik 1st vom 
 herrn Job. Andre". 
 
 Hamburg, J. M. Michaelsen, 1788. 16 p. 16. 
 
 Text by the composer. 
 
 First performed at Hamburg, Theater beim Gansemarkt, 1783. SCHATZ 180 
 
 Arien und gesange der operette: Das automat. In einem auf- 
 zuge. Nach dem franzoesischen des Cuinet Dorbeil. Die musik ist 
 vom herrn Joh. Andre. 
 
 Liibeck, Gedruckt mil Greenischen schriften, 1784. 16 p. 16 cm . 
 First performed at Liibeck, Theater in der Backergrube, 1784. SCHATZ 181 
 
 The author's farce; and the pleasures of the town. As acted at the 
 Theatre in the Hay-Market. Written by Scriblerus Secundus. The 
 second edition. 
 London, J. Watts, 1730. 4 p. I, 59, [4] p. 19 cm . 
 
 Prologue, three acts, and epilogue. * Cast. The first and second acts contain only 
 one song each, but the third act, a puppet-show in form of a ballad opera, contains 
 twenty -five, the airs of which are indicated. The text is by Henry Fielding. 
 
 First performed at the "little" Haymarket Theatre, March 1730. ML 50.5.A82 
 
 Das automat. L. T. of Andrews Der authomat. 
 Gli avantaggi della concordia. See M. Curzio. 
 
 Gli avari in trappola. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro di S. A. E. di Sassonia, composto da Caterino Maz-' 
 zola . . . 
 
 Dresda, n. pull., 1787. 135 p. 15%. 
 
 Two acts. Joseph Schuster is mentioned as the composer. German title "Die 
 geizigen in der falle" and text face Italian. 
 
 First performed, as indicated, January, 1787. SCHATZ 9743 
 
 L'ayaro. Dramma giocoso per musica da rappresentarsi nel Teatro 
 di via S. Maria nel carnevale dell' anno 1777 . . . 
 
 Firenze, nella Stamperia in borgo de' Greti, n. d. 56 p. 16% cm . 
 
 Three acts. By Giovanni Bertati. Cast and name of Pagquale Anfossi as com- 
 poser, but not of librettist. 
 
 First performed at Venice, Teatro di S. Moise, fall of 1775. SCHATZ 228 
 
 L'avaro, dramma giocoso per musica; da rappresentarsi nel Regio 
 Teatro. Den Giaerrige, et lystigt -synge-spil ; til at opfores paa den 
 kongelige skueplads. Oversadt paa dansk af R. Soelberg. 
 
 Kiobenhavn, E. J. Graae, 1776. 109 p. 16\ cm . 
 
 Three acts. Bertati is not mentioned. Cast and name of Anfossi as composer. 
 Italian and Danish text on opposite pages. 
 
 First performed at Copenhagen, as indicated, January 31, 1777. SCHATZ 229 
 
 L'avaro. Dramma giocoso per musica da rappresentarsi nel 
 piccolo Teatro elettorale in Dresaa, 1780. Der Geizige. Ein scherz- 
 haftes singspiel . . . 
 
 n. i., n. d. 147 p. 16 cm . 
 
 Three acts. Italian and German text on opposite pages. Anfossi mentioned as 
 composer. SCHATZ 230
 
 OPERA LIBRETTOS 189 
 
 L'avaro. Dramma giocoso per musica da rappresentarsi in Ferrara 
 nel Teatro Bonacossi il carnovale dell' anno 1776 . . . 
 Ferrara, Bernadino Pomatelli, n. d, 60 p. 14\ cm - 
 
 Three acts. By Giovanni Bertati . Oast, scenario, and name of Gennaro Astaritta 
 ("musica tutta nuova ") as composer, but not of librettist. SCHATZ 381 
 
 L'avaro, ballet. See Curcio's Emira e Zopiro. 
 
 L'avaro. Intermezzi per musica da rappresentarsi nel Teatro di S. 
 Angelo Fautunno dell' anno 1720. 
 
 Venezia, Marin Rossetti, 1720. 20 p. 14%. 
 
 Three intermezzi. Neither the author, Antonio Salvi, nor the composer, Carlo 
 Francesco Gasparini, is mentioned. 
 
 First performed at Florence in the same year; at Venice, between the acts of 
 Vivaldi's "La verita in cimento." SCHATZ 3594 
 
 L'avaro burlato. Operetta comica, da rappresentarsi sul Regio 
 Teatro Danese, 1'autunno dell' anno 1762 Den beskaemmede 
 guier . . . 
 
 Ki0benhavn, Lars Nielsen Svare, n. d. 103 p. 16 cm . 
 
 Three acts. Schatz enters the text under Bartolomeo Vitturi's ' ' Chi tutta abbraccia 
 nulla etringe, " music by Scolari, but, as a matter of fact, from the third scene of the 
 first act on the texts become so different as to have very little in common. 
 
 Cast and note: "La musica e la piu parte del signor Scolari." SCHATZ 9792 
 
 L'avaro burlato, ballet. See Zingarelli's Carolina e Mexicow. 
 L'avaro deluso. L. T. of Paisiello's La discordia fortunata. 
 
 L'avaro deluso, a new comic opera; as performed at the King's 
 Theatre in the Haymarket. The poetry by Signor Bertati, with 
 alterations and additions by Signor Antonio Andrei; the music 
 entirely new by Signor Antonio Sacchini; the translation by Mrs. 
 Rigaud. 
 London, G. Bigg, 1778. 87 p. 19 cm . 
 
 Thifee acts. Cast. Bertati's text originally had the title, "Calandrano." 
 First performed 1778, as indicated. SCHATZ 9209 
 
 II Don Calandrano. Dramma giocoso per musica da rappre- 
 sentarsi in Firenze nelP autunno dell' anno 1781. Nel Regio Teatro 
 degl' Intrepidi detto della Palla a Corda . . . 
 
 Firenze, Anton Giuseppe Pagani e comp., 1781. 44 P- 16 cm . 
 
 Two acts. By Giovanni Bertati, with alterations by Antonio Andrei, neither of 
 whom is mentioned. Antonio Sacchini's name is given as that of the composer. 
 
 SCHATZ 9245 
 
 L'aveugle de Palmyre, comedie-pastorale, en deux actes, en vers, 
 me"lee d'ariettes. Representee pour la premiere fois par les Com^- 
 diens italiens ordinaires du roi, le jeudi 5 mars 1767. Par M. Desfon- 
 taines. La musique de M. Rodolphe . . . 
 Paris, la veuve Duchesne, 1767. Ip.l., 54 p- 21. 
 
 Cast. On p. 50-51, the air of the vaudeville, "La lumiere la plus pure." On 
 p. 53-54, the air of "L'espoir qui t'enflamme" (I, 3). The text is the same as in the 
 other 1767 edition. SCHATZ 11752
 
 190 LIBRARY OF CONGRESS 
 
 L'aveugle dc Palmyre Continued. 
 
 - L'aveugle de Palmyre, comedie-pastorale, en deiix actes, en 
 vers, m16e d'ariettes. Re"pr6sentee pour la premiere fois par les 
 Comediens italiens ordinaires du roi, le jeudi 5 mars 1767. Par M. 
 Desfontaines. La musique de M. Rodolphe . . . 
 
 Paris, la veuve Duchesne, 1767. 39 p. 19 cm . 
 
 Cast. SCHATZ 8851 
 
 L'aveugle de Palmyre, come'die pastorale en deux actes et en 
 vers; me'le'e d'ariettes. Par Monsieur Desfontaines. Nouvelle 
 Edition. 
 Paris, N. B. Duchesne, 1776. 32 p. 19\. 
 
 Rodolphe is not mentioned. ML 48M2M 
 
 Les aveux indiscrets, opera comique m^le" d'arietes; par M. de la 
 Ribardiere; represents pour la premiere fois a la Foire Saint-Germain, 
 le mercredi 7 fevrier 1759. 
 Paris, Michel Lambert, 1759. 36, 4 p. 19 cm . 
 
 The 4 p. at end contain six "Airs des Aveux indiecrets," unaccompanied. An 
 Avertissement on p. [3] reads: 
 
 "Get ouvrage a 6t6 fait en vers, & mis en musique il y a quatre ans; on a e"t6 
 oblig6, pour le dormer au public, de substituer de la prose a la place du rcitatif. 
 L'auteur de la musique a cru devoir le faire graver en grande partition, & laisser sub- 
 sister les recitatifs tels qu'ils ayoient 616 faite. II paroitra vers le 25 de ce moia ..." 
 
 The composer, Monsigny, is not mentioned. ML 50.2.A95M7 
 
 Aviso aos casados. Tr. of Isouard's L'awiso ai maritati. 
 Gl'awanzi fortunati del mondo naufragente. See M. Curzio. 
 
 Gli awenimenti d'Erminia e di Clorinda sopra il Tasso. Drama 
 per musica da rappresentarsi nel famosissimo Teatro Grimano di Sr. 
 Giovanni e Paulo I' anno MDCXCIII. Di Giulio Cesare Corradi . . . 
 
 Venetia, Nicolini, 1693. 67 p. ll& cm . 
 
 Three acts. Author's dedication, scenario, and notice to the reader which reads 
 in part: 
 
 T'invito solo ad udire la musica del Sig. Carlo Francesco Polarolo [Pollarpli], 
 che per essere 1' ultima faticha delle cinque opere, vestite quest' anno, nel giro di tre 
 mesi, delle sue spiritosissime, & impareggiabili note, ti far& certamente stupire ..." 
 
 SCHATZ 8275 
 
 Gl' awenimenti d'Orinda. Drama per musica per il Teatro Gri- 
 mani a SS. Gio. e Paolo, rappresentato 1'anno 1659 di Pietr' Angelo 
 Zaguri . . . 
 
 Venetia, Giacomo Batti, 1659. front., 6 p. 1., 64 p. 14\ cm - 
 Three acts. Impresario's dedication, dated Jan. 3, 1659, notice to the reader, argu- 
 ment, but without name of the composer, Daniele Castrovillari. SCHATZ 1690 
 
 Le awenture d'Ircana, ballet. See Salieri's La fiera di Venezia. 
 Le awenture del carnovale, ballet. See Rispoli's Idalide. 
 
 Le awenture di Cleomede. Dramma serio-comico per musica da 
 rappresentarsi nel Real Teatro dell'Ajuda nel felicissimo giorno 
 natalizio del fedelissimo monarca D. Giuseppe I ... nel di 6. giugno 
 1772. 
 Lisbona, Stamperia reale, n. d. 100 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, and names of Gaetano Martinelli as author, 
 of Niccol6 Jommelli as composer ("nuova composizione"). This work seems to 
 have escaped Abert. SCHATZ 4889
 
 OPERA LIBRETTOS 191 
 
 Le avventure di Milord Wilver e di Miledi sua sposa, ballet. 
 See Giordani's Ines de Castro. 
 
 Le avventure galanti. L. T. of Tritto's Le vicende amorose. 
 
 Gli awenturieri. Dramma giocoso per musica, da rappresentarsi 
 nel Teatro elettorale, di Caterino Mazzola, poeta dell' elettore di 
 Sassonia. 
 
 Dresda, n. publ, 1791. 14! p. 15\ cm . 
 
 Two acts. German title page "Die abenteurer" and text face Italian. Paisiello 
 is mentioned as the composer. 
 
 Schatz enters this opera as a replica of Paisiello's "II re Teodoro" with a new 
 text by Mazzola. It is a fact that both operas have a few arias in common, as for 
 instance, "Figlia, il cielo ti destina" (I, 7 resp. I, 11); "Dov' e Dorina" (I, 19) resp. 
 "Ov' e Lisetta" (I, 14), and "Voi semplici amanti" (II, 5), but most of the arias 
 are not identical and the characters and the dialogue are absolutely different. 
 
 SCHATZ 7654 
 
 L'avviso ai maritati. Dramma giocoso per musica, da rappresen- 
 tarsi nel Teatro elettorale. 
 
 Dresda, n. publ., 1795. 119 p. 15% cm . 
 
 Three acts. Niccol6 Isouard is mentioned as composer. German title page 
 "Die schule der ehemaenner" and text face Italian, which is by Francesco Gonella, 
 who is not mentioned. 
 
 First performed at Florence, Teatro di via della Pergola, spring of 1794. 
 
 SCHATZ 4908 
 
 Aviso aos casados. Drama jocoso em musica em hum s6 acto 
 para se representar no Real Theatre de S. Carlos, offerecido ao respec- 
 tavel publico de Lisboa por Domingos Caporalmi no dia do seu 
 beneficio. 
 Lisboa, Simao Thaddeo Ferreira, 1796. 93 p. 16\ cm . 
 
 Notice to the reader and name of Niccolo Isouard as composer. Italian text faces 
 Portuguese. SCHATZ 4944 
 
 Second copy. ML 48. C6 II 
 
 Awiso ai maritati. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro in S. Samuele il carnavale 1798. 
 Venezia, Stamperia Valvasense, n. d. 70 p. 18 cm . 
 
 Two acts. Francesco Gonella, the author, is not mentioned. Cast and name of 
 Joh. Simon Mayr as the composer. On p. [35]-44 argument, cast, and description of 
 Antonio Berti's five act "La fata Alcinoe ossia Amore ed innocenza." The com- 
 poser of the music is not mentioned. SCHATZ 6188 
 
 Axur, koenig von Ormus. Tr. of Salieri's Axur, re d'Ormus. 
 Axur, re d'Ormus. Italian version of Salieri's Tarare. 
 
 Azakia. Ein singspiel in drei aufzuegen von C. F. Schwan. Die 
 musik ist von hrn. direktor Cannabich. 
 
 Mannheim, C. F. Schwan, 1778. 56 p. 17 cm . 
 
 First performed at Mannheim, Churfurstl. deutsche Schaubuhne, 1778. 
 
 SCHATZ 1573 
 
 Azemia, ou Les sauvages, come'die, en trois actes, en prose, 
 d'ariettes. Represented a Fontainebleau, devant Leurs Majesty's, le 
 17 octobre 1786, & a Paris, le 3 mai 1787. 
 Paris, Brunei, 1787. 1 p.l., viii, 72 p. 20.
 
 192 LIBRARY' OF CONGRESS 
 
 Azemia Continued. 
 
 Cast. The viii p. contain an "Epitre dedicatoire a Monsieur Dalayrac" as com- 
 poser, by the author, de la Chabeaussi^re (not mentioned by name), and his Avertisse- 
 ment, which is directed against the criticism of his work in the Mercure by le Vacher 
 de Chamois. He says: 
 
 "C'&oit apr&e de mures & profondes reflexions sur 1'art dramatique, & ses differentes 
 branches, que je regardois comme permis & peut-dtre ne^easaire, d'^tendre les res- 
 sources du genre born de 1'op^ra-comique, en admettant, de preference, les situa- 
 tions romanesques, lors-qu'elles pouvoient ee concilier avec la vraisemblance . . ." 
 
 ML 50.2.A98D2 
 
 Azemia, ou Les sauvages, come'die en trois actes, en prose, m&e'e 
 d'ariettes; represented a T^ontainebleau, devant Leurs Majeste"s, le 
 17 octobre 1786, & a Paris, le 3 mai 1787. Les paroles sont de M. 
 de la Chabeaussi&re, la musique de M. le chevalier d'Alayrac. 
 Toulouse, J. B. Broulhiet, 1787. 43 p. 22. 
 Cast. Without the dedication and Avertissement. ML 50.2.A98D22 
 
 Azemia, ou Les sauvages, come'die en trois actes, en prose, me'le'e 
 d'ariettes; representee a Fontainebleau . . . le 17 octobre 1786, & 
 a Paris, le 3 mai 1787. Les paroles sont de M. de la Chabeaussiere, la 
 musique de M. le chevalier d'Alayrac. 
 
 Paris, Brunei, 1788. 48 p. 20 cm . ML48.M2L 
 
 Die Wilden. Singspiel in drei akten, nach dem franzosischen von 
 Dr. Schmieder. Die musik ist von d'Alayrac. Zuerst aufgefuehrt 
 auf dem Mainzer Nationaltheater. 
 
 Frankfurt am Main, bei Johann Gottlob Pech, 1 791 . 96, [1] p. 14\ cm - 
 
 Dedication, cast, and prefatory note: 
 
 "Schon durch die oefteren vorstellungen im manuscript, ist dies eingspiel in 
 Deutschland bekannt. Fuer den druck hab'ich noch bei einigen stellen naiver 
 unschuldiger liebe im dialog Shakespeare Sturm benutzt, bei den gesaengen ist die 
 fessel der musik zu beschraenkend . . ." 
 
 First performed, as indicated, May 26, 1789. SCHATZ 2371 
 
 Azor, re di Kibinga. Dramma giocoso per musica di Giovanni 
 Bertati da rappresentarsi nel Teatro Giustiniani in S. Moise Fautunno 
 dell' anno 1779. 
 
 Venezia, n. publ., n. d. 62, [2] p. 18% cm . 
 
 Two acts. Cast and name of Pasquale Anfossi as composer. On p. 31-34 "pro- 
 gramma del ballo primo," without title of the ballet, invented by Antonio Marliani. 
 The second ballet was entitled, "II tutore in gannato." SCHATZ 265 
 
 L'Azzardo. Commedia per musica da rappresentarsi nel Real 
 Teatro del Fondo di Separazione per terz' opera di questo corrente 
 anno 1790. 
 
 Napoli, Vincenzo Flauto, n. d. 54 p. 15 cm . 
 
 Three acts. Argument, cast, and name of Pietro Guglielmi as the composer. 
 Author not mentioned and unknown to Schatz. On p. 7-9, cast and synopsis of 
 Giovanni Battista Giannini's "Magia contro magia, ballo eroico favoloso," music 
 ("tutta nuova") by Pietro Dutillieu. 
 
 First performed, as indicated, October 9, 1790. SCHATZ 4236 
 
 I baccanali, ballet. See Bianchi's II disertore. 
 
 Les bacchanales. Entree in Colin de Blamont's Les festes grecques 
 et romaines.
 
 OPERA LIBRETTOS 193 
 
 I bacchanal!, ballet. See Farinelli's Seldano. 
 
 Bacchus. Intermede in Bourgeois' Les plaisirs de la paix. 
 
 Bacchus et Ariane. See Les amours des dieux. 
 
 Bacchus et Ariane, ballet heroique par M. Gallet; musique de M. 
 Rochefort, second maitre de musique de FOrchestre, represent e pour 
 la premiere fois sur le Theatre de FAcademie royale de musique, le 
 dimanche 11 de'cemhre 1791. 
 
 Paris, L'imprimerie civique, n. d. 24 p. 19\ cm . 
 
 One act. Detailed argument, cast, and prefatory note, in which Gallet says: 
 
 "L'administration de 1' Opera, jalouse sans doute de menager la sant6 d'un sujet 
 qui lui est aussi recpmmandable a titre de premier danseur, que comme compositeur, 
 etoit occupee du soin de se procurer une personne pour partager la fatigue des ballets 
 avec celles qui en sont chargees. Ramene a cette epoque dans le sein de ma patrie, 
 je me suis offert. 
 
 " Charge, depuis que j'ai quitte 1'Opera, de cet emploi dans les premiers theatres de 
 1'Europe, je n'ai cess6 de m'occuper d'un art qui s'est ouvert la plus vaste carriere, en 
 remontant a son origine, et joignant la pantomime a la danse ..." 
 
 He continues by saying that he was obliged to select a simple subject, like ' ' Bacchus 
 & Ariane," because the repertoire of new works did not permit the selection of one of 
 his "grands ballets." ML 52.2.B1R6 
 
 Second copy. ML 48.B2 
 
 Bacchus et firigone. See Mondonville's Les festes de Paphos. 
 Bacco ed Arianna, ballet. See Insanguine's Motezuma. 
 
 Bacco ed Arianna. Festa teatrale per musica da rappresentarsi 
 nel Regio teatro di Torino nella primavera del 1784 . . . 
 Torino, Onorato Derossi, n. d. viii, Jfi p. 20 cm . 
 
 Two acts. Argument, cast, scenario, and names of Cesare Oliveri as the author 
 and Angelo Tarchi as the composer. On p. [41]-47 argument, cast, and description 
 of Sebastiano Gallet's ballet, music by Vittorio Amedeo Canavasso, "Annibale in 
 Torino, ballo eroico pantomimo." SCHATZ 10226 
 
 Bacco e Arianna, ballet. See Sard's I due litiganti. 
 
 Die baeurinn bey hofe. Tr. of Sacchini's La contadina in corte. 
 
 I bagni d'Abano. 
 
 [161]-216 p. 16^. (Carlo Goldoni, Opere drammatiche giocose, 
 t. Hi, Torino, 1757.) 
 
 Three acts. ML 49.A2G6 
 
 I bagni d'Abano. Dramma di tre atti per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 44) 
 [339}-394 p. 18$ cm . PQ 
 
 I bagni d'Abano. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Nuovo di S. Samuele il carnovale dell' anno 1753 . . . 
 
 Venezia, Modesto Fenzo, 1753. 56 p. 17 cm . 
 
 Three acts. By Goldoni. Neither he nor the composers, Baldassare Galuppi 
 and Ferdinando Giuseppe Bertoni, are mentioned. Impresario's dedication, dated 
 Venice, February 10, 1753, cast, and scenario. Schatz, Wotquenne, and Piovano 
 attribute the music to the above, whereas Wiel merely says under no. 556: "Musica: 
 Baldassare Galuppi? " SCHATZ 3519 
 
 72251 VOL 114 13
 
 194 LIBRARY OF CONGRESS 
 
 I bagni d'Abano o sia La forza delle prime impression!. Commedia 
 del Sig. Antonio S. Sografi . . . posta in musica dal Signer maestro 
 Antonio Capuzzi per il nobilissimo Teatro Venier in San Benedetto il 
 carnovale dell' anno 1794. 
 
 Venezia, Casali, 1793. 87 p. 18 cm . 
 
 Two acts. Author's dedication, dated December 26, 1793, and scenario. 
 
 SCHATZ 1597 
 
 Baiazet. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S? Gi6. Grisostomo 1 autuno 1742 . . . 
 n. i., n. d. 1 p. 1., 54 p. 15% cm . 
 
 Three acts. Argument, cast, scenario, and name of Andrea Bernasconi as com- 
 poser but not of author of libretto, conte Agostino Piovene. Originally it was called 
 f ' Tamerlano." 
 
 First performed as Baiazet at Venice, as indicated. SCHATZ 868 
 
 Baiocco et Serpilla. L. T. and parody of II marito giogatore. 
 
 Le baiser donne et rendu, come'die en un acte et en prose, melee 
 d'ariettes. Representee a Paris, sur le Theatre des Amis de la patrie, 
 le 27 pluvidse. Tan 4! [Feb. 16, 1796]. Par J. H. Guy. Musique du 
 citoyen Gresnich. 
 
 Paris, Barba, 1796, Van IV. ix, 2-31, [1] p. 21. 
 The ix p. contain list of errata, preface, in which Guy takes issue with his critics, and 
 a "Programme du role de Nicolas." ML 50.2. B2G7 
 
 II Bajazet. L. T. of Gasparini's Tamerlano. 
 
 Bajazet. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1754 . . . 
 
 Torino, Zappata ed Avondo, n. d. 4 P- 1-, 51 P-> Ul 1 16% cm . 
 
 Three acts. The same as "Tamerlano" by conte Agostino Piovene, who is not 
 mentioned. Argument, cast, scenario, and names of Niccol6 Jommelli as the com- 
 poser of the opera, of Rocco Gioanetti of the three ballets "Le feste di Flora," etc. 
 On the additional leaf the aria "Va dal crudel tiranna, " which replaced "Digli, che 
 peni, e frema" in I, 6. 
 
 First performed, as indicated, December 26, 1753. SCHATZ 4878 
 
 Bajazet. Dramma per musica da rappresentarsi in Verona nel 
 Nuovo Teatro dell' Accademia Filarmonica il carnovale dell' anno 
 1765 . . . 
 
 Verona, Dionisio Ramanzini, n. d. 1+5 p. 17 cm . 
 
 Three acts. Text is the "Tamerlano," by conte Agostino Piovene, who is not 
 mentioned. Impresario's dedicatory poem, argument, cast, scenario, and name of 
 Giuseppe Scarlatti as the composer. ("La musica sara.") SCHATZ 9558 
 
 II Bajazette. Dramma per musica da rappresentarsi nel Regio- 
 ducal Teatro di Parma la primavera del MDCCLXV. 
 Parma, Monti, n. d. 56 p. 20 cm . 
 
 Three acts. Dedicatory poem by the author conte Jacopo Antonio San-Vitale, 
 argument, scenario, cast, and name of the composer, Ferdinandp Giuseppe Bertoni. 
 
 With the opera were performed the ballets "Telemaco nell' isola di Calipso" and 
 "I Tartari generosi," described on p. 26-27, 44 without name of the composer of the 
 music. SCHATZ 936 
 
 Le Bal. Entree in Campra's Les festes venitiennes.
 
 OPERA LIBEETTOS 195 
 
 Le bal bourgeois, opera-comique, en un acte, mesle d'ariettes, par 
 M. Favart: represente pour la premiere fois sur le Theatre de 1'Opera- 
 comique de la Foire St. Laurent, le 13 mars 1738. Imprime en 1762. 
 
 Paris, Duchesne, 1762. 76, [4] p. 19 cm . (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. viii.) 
 
 One act. Cast. Prose, vaudevilles and ariettes. Some of the airs printed in the 
 text. According to Favart's Correspondence, he composed several of them. His 
 musical collaborator is not mentioned by Font. 
 
 First performed as indicated, end of August, 1761, for the opening of the Foire St. 
 Laurent. ML 49.A2F1 
 
 Le bal champetre. Entree in Duplessis' Les festes nouvelles. 
 
 Le bal de Strasbourg, divertissement allemand, au sujet de la con- 
 valescence du roy. Opera comique ballet. Par Mrs. F . . . D. L. G . . . 
 & L. S . . . 
 
 Paris, Praultjils, 1744- 32, 4, 4, 4 p. 18 cm . 
 
 The one-act opera is toute en vaudevilles, i. e., the dialogue is sung to popular airs. 
 The 12 p. following the text contain the "Airs du Bal de Strasbourg : "Reviens 
 amour," "Je vous aimois," "Je me mets It peine," "Notre bonheur nous fait," and 
 separately the " P? vaudeville ": "Tout ici partage" and "II? vaudeville": "Notre 
 bonheur nous fait." The authors of this piece were, as indicated, Charles Simon 
 Favart, de La Garde, and Lesueur. Their musical collaborator is not mentioned by 
 Font. 
 
 First performed at Paris, Foire Saint-Laurent, September 13, 1744. ML 48. P2 
 
 Le bal de Strasbourg, divertissement allemand, au sujet de la 
 convalescence du roi, opera comique ballet. Par Mrs. F . . . D. L. 
 G . . . & L. S . . . 
 
 Paris, Praultjils, 1744. S2, 4 p. 19 cm . (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. vii.) 
 
 Exactly like the original edition, except that the two vaudevilles are not at end. 
 
 ML 49.A2F1 
 
 Le bal interrompu. See Campra's Trois nouvelles entrees. 
 Le bal interrompu. Entree in Fragments de Monsieur Lully. 
 
 Le bal masque, ope'ra-comique en un acte et en prose. Me"le d'ari- 
 ettes; mises en musique par M. d'Arcis, ag6 de 12. ans, eleve de M. 
 Gretry. Nouvelle Edition. 
 
 Paris, Didot I'aine, 1773. 24 p. 19 cm . 
 
 Author unknown to me. 
 
 First performed at Paris, Com^die italienne, April 1, 1772. ML 50.2.B21G7 
 
 Baldassarre punito. Dramma sacro per musica da rappresentarsi 
 nel Regio Teatro di via della Pergola la quadragesima del 1796 . . . 
 Firenze, Stamperia Albizziniana, 1796. 39 p. 16% cm . 
 
 Two parts. Cast and name of Gaetano Marinelli as composer. Author unknown 
 to Schatz. 
 
 First performed at Naples, Teatro del Fondo di Separazione, quadrageeima 1792. 
 
 ML 48.A5 v. 14 
 
 Balders d0d. Et heroisk syngespil i tre handlinger af Johan Evald. 
 
 n. i., n. d. 104 P- 15Y m - 
 
 On p. 100-104 "Forklaring" of the mythological names in the piece. The com- 
 poser, Johann Ernst Hartmann, is not mentioned. 
 
 First performed at Copenhagen, Royal Theater, February 7, 1778. SCHATZ 4463
 
 196 LIBRARY OF CONGRESS 
 
 Balders d0d Continued. 
 
 - Balders tod. Ein trauerspiel mit gesang von J. Ewald. Aus 
 dem daenischen. Nach der musik des herrn concertmeister Hart- 
 mann. Zweyte aufl. mit 3 kupf. v. Chodowieki. 
 
 Kopenhagen, Christ. Gottlol Proft, 1785, 112 p. Ifa. 
 
 The plates are missing. SCHATZ 4464 
 
 La ballerina amante. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. publ, 1786. 14! p. 15%. 
 
 Two acts. By Giuseppe Palomba (not mentioned.) Cast and name of the composer 
 Domenico Nicola Cimarosa. German title "Die verliebte taenzerin" and text face 
 Italian. 
 
 First performed at Dresden in 1786; at Naples, Teatro de' Fiorentini in 1782. 
 
 SCHATZ 1912 
 
 Ballet auf das erfreulichste vermaehlungs-fest in des Durchlauchtigen 
 fuersten imd herrn Friedrich Ferdinands hertzogen zu Wuertemberg 
 undTeck . . . und . . . princessin Elisabeth . . . welches . . . den 
 19. monats-tag septembr. des 1689tzigsten jahres celebriret wurde. 
 
 Oelss, Heinrich BocksJiammer, n. d. Unpaged. 32 cm . 
 
 Twenty-one entrees with arias. Cast. On last page a ' ' Beschluss-Sonnet. ' ' Neither 
 author nor composer mentioned in the libretto. Not recorded by Sittard. 
 
 ML 52.2.B107 
 
 Ballet danse a Ville-Neuve-Saint-George devant Monseigneur le 
 premier septembre 1692. Par PAcademie royale de musique et remjs 
 au Theatre de ladite Academie avec le Carnaval, mascarade. Les 
 paroles sont de M. Banzy, & la musique de M. Colasse. 
 
 n. i., n. d. 206-228 p. 13\ cm . (Recueil general des opera, Paris, 
 1703, t. iv.) 
 
 Detached copy. A note on p. 208 reads: 
 
 "Ce ballet n'est pas compte au nombre des opera, parce qu'il ne peut former une 
 representation complete & ordinaire. On 1'a neanmoins place" dans ce volume ainsi 
 qu'il est annonce" au Prologue du Carnaval, mascarade [by Lully], afin de ne rien 
 omettre de tout ce qui s'est represent^ sur le Theatre de 1'Academie royalle de 
 musique." SCHATZ 2104 
 
 Second copy. ML 48. R4 
 
 Le ballet de Flore. See Campra's Les festes venitiennes. 
 
 Ballet de la jeunesse, divertissement mesle" de comedie & de 
 musique. Represent 6 devant La Majeste a Versailles le [blank] 
 Janvier 1686 . . . Suivant la copie imprime'e a Paris. 
 
 [Amsterdam Antoine Schelte], 1686. 24 p. (incl. front.) 13% cm . 
 
 Prologue and the three intermedes for the comedy. The names of the performers 
 in the text. Neither the author, Dancourt, nor the composer, Michel Richard de 
 La Lande, is mentioned. 
 
 First performed January 28, 1686, as indicated. ML 49.A2L9 
 
 Ballet des ages. See Campra's Les ages. 
 
 Ballet des Parnasses. See Bontempi's II Paride. 
 
 Ballet des saisons. Represente par 1'Academie royale de musique. 
 Suivant la copie imprimee a Paris. 
 
 Amsterdam, Antoine Schelte, 1696. 40 p. 14% cm . 
 
 Four entrees and prologue. Neither author nor composer mentioned. Comp. 
 next entry. ML 52.2. B115
 
 OPERA LIBRETTOS 197 
 
 Ballet des saisons Continued. 
 
 - Ballet des saisons, represent^ par 1'Academie royale de musique 
 Fan 1695. Les paroles sont de M. Picque, & la musique de M. Col- 
 lasse. XXXVI. opera. 
 
 n. i., n. d. 14 cm . front., 185-232 p. (Recueil general des opera, 
 t. v, Paris, 1703.} 
 
 Detached copy. Four entries and prologue. Text by the abbe" Pic. The second 
 edition (1700} of Colasse's score bears this statement on the title page: "augmentee de 
 toute la musique de feu Monsieur de Lully qui manquoit dans la premiere." Which 
 Lully did he mean? Louis de Lully and Jean Baptiste de Lully, the younger, cer- 
 tainly not, because they were both still alive. To be considered, therefore, is oniy 
 Jean Louis de Lully, who died 1688, about one year after his great father Jean Baptists. 
 Now, the son is not known to have collaborated with Colasse, whereas it is known that 
 Colasse, as amanuensis of the elder Lully, saved and utilized in his own scores airs 
 that had been discarded by Lully, who, moreover, on July 23, 1661, performed his 
 own "Ballet des Saisons." SCHATZ 5782 
 
 Second copy. ML 48. R4 
 
 Le ballet des sens, represents par FAcademie royale de musique, 
 Fan 1732. Paroles de M. Roy. Musique de M. Mouret. CXVI. 
 opera. Tom. xv. 
 
 n. i., n. d. front., p. 121-204- (Recueil general des opera, Paris, 
 1739.} 14 cm . 
 
 Detached copy. Prologue and five entrees entitled: "L'odorat," "Le toucher," 
 "La vue," "L'ouie," and "Le gout." At the first performance, May 29, 1732 (so the 
 score. Schatz gives June 5, 1732), the ballet consisted only of the prologue and the 
 first three entrees. On July 8, 1732, "L'ouie" replaced "Le toucher," and August 14, 
 1732, "Le gout" replaced "La vue" before the ballet assumed its final form. As "Le 
 trioinphe des sens " the score was published by Mouret's widow. 
 
 SCHATZ 6744-6746 
 Second copy. ML 48. R4 
 
 Le ballet des XXIV heures, ambigu comique represent^ devant 
 Sa Majest6 a Chantilly, le 5 nov. 1722. Par FAcademie royale de 
 musique, les comediens francois & italiens. 
 
 Paris, Jean Pepingue & la veuve Guillaume, 1723. 2 p. I., 123, [3] 
 p. 16\. 
 
 Prologue and four parts, called "La nuit," "La matinee," "L'apresdinee" and 
 "La eoire." On p. 6 "Monsieur D. L. F *" [de la Font?] is mentioned as 
 author of the prologue, "Le Grand, Comedien du roy " as author of "1'idee du ballet, 
 les paroles qui se chantent, & les diverses petites comedies & scenes detachees " and 
 [Jacques] Aubert as composer of the music, which was practically restricted to the 
 ballet entries. Casts and preface: 
 
 "Ce ballet a t6 ordonne', invente, compose, apris & repre'sente' en moins de trois 
 semaines, & quoique 1'execution d^pendit de plus de deux cens personnes de differens 
 talens, ella 6t6 des plus regulieres. Cette espece d'ambigu-comique a fort rejoui le 
 roy & toute la cour: & c'est sur-tout ce qu'avoit recommand a 1'auteur le prince 
 magnifique qui a donn6 ce divertissement a Sa Majeste." 
 
 The [3] p. at end contain the imprimatur, dated November 22, 1722, and Le Grand's 
 privilege. ML 52.2.B11 
 
 Ballet du Dereiglement des passions. De FInterest, de FAmour, 
 & de la Gloire. 
 n. i., n. d. 19 p. 22\ cm . 
 
 Title page missing? 
 
 Three parts, with 10, 9, and 10 entries, each briefly described, with names of the 
 dancers. Each part opens with a "recit," and the whole is preceded by "Le ballet au 
 epectateur. Sonnet, and argument. Text by Berthaud, who is not mentioned. 
 According to de La Valliere, the ballet was danced before the King and Queen of 
 France on January 23, 1648, and the text was printed in the same year. Music by 
 Michel Lambert? ML 52.2.B17
 
 198 LIBRARY OF CONGRESS 
 
 Ballet du Temps. Danse par le roy le dernier jour de novembre 
 1654. [printer's mark]. 
 
 Paris, Robert Bollard, 1654. 1 P- 1-, 1, 4~U I 1 } P- W" 1 . 
 
 Perfect copy. Error in pagination. 
 
 Two parts of 12, reap. 11 entries. The names of the dancers are given. Neither the 
 author of the text, Isaac de Benserade, is mentioned, nor Jean Baptiste de Lully, who 
 composed some of the music. The air " Bien que nous courrions " was composed by 
 Jean de Cambefort. ML 52.2.B17 
 
 Componimento drammatico che introduce ad un Ballo cinese rap- 
 presentato in musica nelP imperial corte nel carnevale del 1735. 
 
 [25}-36 p. 19 cn . (Pietro Metastasio, Opere drammatiche, Venezia, 
 Giuseppe Bettinetti, 1733-37, v. 4.) 
 
 One act. No composer mentioned for whom see better known L. T. "Le Cinesi." 
 
 ML 49.A2M4 
 
 II ballo de' segni celesti. 
 
 p. 317-326. 15% cm . (Ottavio TronsareUi, Drammi musicali, Roma, 
 Francesco Corbelletti, 1632.} 
 
 One act. Argument. No composer mentioned. ML 49.A2T7 
 
 Songs, duetts, trios, chorusses, etc etc in the comic opera of the 
 Banditti; or, Love's labyrinth. As it is performed at the Theatre 
 Royal in Covent 7 Garden. The music by Dr. Arnold. 
 
 London, T. Cadell, 1781. 27 p. 20. 
 
 Two acts. Cast. John O'Keefe, the author, is not mentioned. 
 
 First performed November 28, 1781. 
 
 Better known in the altered version as: ML 50.2.B23A7 
 
 Songs, duets, trios, etc. in the comic opera of the Castle of 
 Andalusia. As performed at the Theatre-Royal, in Co vent-Garden. 
 The ninth edition. 
 
 London, T. Cadell, 1783. 27 p. 21 cm . 
 
 Three acts. Neither the author, John O'Keefe, is mentioned, nor the composer 
 and compiler of the music, Samuel Arnold. Bland's vocal score says: " The selected 
 airs by Handel, Vento, Giordani, Bertoni, Giardini, Dr. Arne, and Carolan, 
 the Insh bard. The overture, choruses, new airs, etc., composed by Doctor Arnold." 
 
 First performed under the above title November 2, 1782. LONGE 91 
 
 - The castle of Andalusia, a comic opera. In three acts. As it 
 is performed at the theatres in London and Dublin. By John 
 O'Keefe, Esq. With additional songs by Sig. Tenducci. 
 
 Dublin, Sold by the booksellers, 1783. 72 p. 16\ cm . 
 
 Cast. LONGE 148 
 
 Banniaii day, a musical entertainment, in two acts, performed at 
 the Theatre Royal, Hay-market. Written by George Brewer. 
 
 London, T. N. Longman, 1796. 4 p. I, 35 p. 21 cm . 
 
 Cast, preface, and note that "The words (with a very few alterations) and the 
 music of the duet at the end of the first act were borrowed from the musical piece, 
 called The apparition; written by Mr. Cross." 
 
 The composer, Samuel Arnold, is not mentioned. 
 
 First performed June 11, 1796. LONGE 234 
 
 The banquet. Tr. of Bertoni's II convito. 
 
 The banquet-gallery. A. T. of Kelly's Feudal times.
 
 OPERA LIBRETTOS 199 
 
 I barbari sacrifizi distrutti, ballet. See Rispoli's Idalide. 
 
 La barbarie del caso. Tragedia di Domenico Gisberti . . . dall' 
 Academia delli Sigg. Angustiati rappresentata in Murano nel 
 MDCLXIV. 
 
 [At end] Venetia, Francesco Valvasense, 1664- 166, [1] p. 13\ cm . 
 Three acts and prologue. Dedication and argument in verse. Pietro Molinari 
 is mentioned as the composer. SCHATZ 6548 
 
 The barber duellist. A. T. of Modern honour. 
 
 The barber of Seville, or The useless precaution; a comedy in four 
 acts. With songs, etc. By the author of Eugenie, or the School for 
 rakes. Addressed to R. B. Sheridan, Esq. 
 
 London, Printed for the author, 1776. 1 p. I, iv, [2], 70 p. 21 cm . 
 
 In his dedication the publisher calls this a translation of Beaumarchais' "Le barbier 
 de Seville," and he mentions his reasons for publishing, "contrary to usual custom, 
 a piece before it has been acted in London." Necessary corrections he leaves to be 
 made by the author of the Duenna, "as being most fit to correct its faults." Clarence 
 records Mrs. Griffiths as the translator. 
 
 Not performed. LONGE 318 
 
 Le barbier de Seville. Parody of Paisiello's II barbiere di Seviglia. 
 
 II barbier di Siviglia, ballet. See II Demetrio, Livorno, 1785. 
 
 Der barbier von Sevilla oder Die unnutze vorsicht. TV. of Paisiello's 
 II barbiere di Seviglia. 
 
 Der barbier von Seville, oder Die vergebliche vorsicht. Ein lust- 
 spiel des herrn von Beaumarchais, in vier akten: mit untennischten 
 gesaengen. Aus dem franzoesischen. 
 
 Leipzig, Dykische Buchhandlung , 1784- 8 p. 1., [81}-216 p. 15% 
 
 The "Vorberiqht" reads in part: 
 
 " Urspriinglich kommen in diesem stiicke wohl einige gesaenge vor; aber der plan 
 desselben ist gar nicht zu einer komischen operette angelegt. Warum es auf den 
 meisten deutschen theatern aber als operette aufgefuehrt wird, ruehrt daher, weil 
 Herr Seller, fuer dessen theater herr [Gustav Friedrich Wilhelm] Grossmann das 
 etueck zuerst uebersetzte, gern eine operette daraus wollte gemacht haben . . . Die 
 von herrn Grossmann eingeschobenen gesaenge, welche herr [Friedrich Ludwig] 
 Benda in musik gesezt hat, moegen hier ihren platz einnehmen; desto bequemer 
 kann man sie bey der vorstellung uebersehen." 
 
 They are printed on the 8 p. 1. 
 
 First performed at Dresden, Neues Theater vor dem Schwarzen Thore, August, 
 1776; at Leipzig, September, 1776; at Gotha, Hoftheater, October 18, 1776. 
 
 SCHATZ 764 
 
 II barbiere di Siviglia, ballet. See Bianchi's La villanella rapita. 
 
 II barbiere di Siviglia, oyvero La precauzione inutile, dramma gio- 
 coso per musica tradotto liberamente dal francese, da rappresentarsi 
 nel Teatro Imperiale di corte, 1'anno 1782. La musica e del Signer 
 Giovanni Paisiello . . . 
 
 Pietroburgo, Breitkopf, n. d. 5 p. 1., 75 p. 20 cm . 
 
 Four acts. Cast, scenario, "protesta del traduttore" [Giuseppe Petrosellini, not 
 mentioned] and Paisiello's dedication to Catherine II in which he says: 
 
 "Le barbier de Seville [by Beaumarchais] ayant t6 gout6 par Votre Majest6 
 Imperiale, j'ai pens6 que cette mdme piece en opera italien pourroit ne pas Lui 
 de"plaire; en consequence j'en ai fait faire un extrait, que je me suis applique" a rendre 
 aussi court que possible, en conservant (autant que le g6nie de la poesie italienne 
 peut le permettre) les expressions de la piece originale sans y rien ajouter . . ." 
 
 M 50.2.B25P2
 
 200 LIBRARY OF CONGRESS 
 
 II barbiere di Siviglia Continued. 
 
 - Le barbier de Seville, opera comique, en quatre actes; mis en 
 musique sur la traduction italienne par le celebre Seigneur Paisiello. 
 Et remis en francais, d'apres la piece de Mr. de Beaumarchais, et 
 parodie" sur la musicjue, par Mr. Framery . . . Represente" devant 
 Leurs Majeste"s a Trianon, sur le Theatre de la reine, le 14 septembre, 
 et a Versailles le 28 octobre, 1784 . . . 
 
 Amsterdam, Cesar Noel Guerin, 1786. front, (a portrait of Beaumar- 
 chais), 111 p. 16 Y m - 
 
 Dedication to the queen and "Avis: Sans avoir 6gard a la verification, on a copie" 
 les paroles, comme elies sont placets sous la musique, pour la commodite des per- 
 eonnes qui aiment a suivre le cnanteur." SCHATZ 7600 
 
 - Der barbier von Sevilla oder Die unniitze vorsicht. Ein sing- 
 spiel in vier akten nach dem franzoesischen des herrn von Beaumar- 
 cnais von G. F. W. Grossmann. Die komposition der musik ist von 
 herrn Paisiello. 
 
 Koeln am Rhein, JoJi. Godschalk Langen, 1786. 104 P' 15% cm . 
 First performed at Mannheim, Nationaltheater, Nov. 20, 1785. SCHATZ 7601 
 
 L'inutile preeauzione. Dramma giocoso per musica da rap- 
 presentarsi nel nobile Teatro di San Samuele il carnovale dell' anno 
 MDCCLXXXVIL 
 
 Venezia, Modesto Fenzo, 1787. 56 p. 18 cm . 
 
 Cast, name of Paisiello as the composer, scenario, and notice to the effect that, 
 though printed in four acts, the opera was really performed in two parts, first and 
 second, resp. third and fourth acts together. The author, Giuseppe retrosellini, is 
 not mentioned. SCHATZ 7602 
 
 - Figaro als barbier zu Sevilla, ein lustspiel mit gesang in 4 
 akten. Text nach Beaumarchais, musik von Johann Paisiello. 
 
 Passau, Ambrosi, 1796. 108 p. 16 cm . 
 
 At end [32] p. "Buecher Anzeiger." SCHATZ 7603 
 
 Der barbier von Sevilien, oder Die unniitze vorsicht; ein lustspiel 
 in vier akten. Aus dem franzosischen des herrn von Beaumarchais, 
 und mit neuer musik von Johann Andre. 
 
 Offenbach am Mayn, Ulrich Weiss, 1776. 136 p. 17 cm . 
 
 First performed at Berlin, Dobbelinsches Theater, October 2, 1776. SCHATZ 182 
 
 Barillotto. Intermezzi da rappresentarsi nel Teatro di Sant' Angelo 
 Pautunno dell' anno 1712. Poesia del Sig. dott. Francesco Salvi di 
 Firenze. Musica del Sig. Domenico Saro [ !] . . . 
 
 Venezia, Marino Rossetti, 1712. 12 p. 15 cm . 
 
 Three parts. Cast. SCHATZ 942 
 
 Barilotto e Slapina, intermezzi. L. T. of Salvi's text Barillotto. 
 Le Barnevelt franois. A. T. of Duni's L'e"cole de la jeunesse. 
 
 II baron di Lago Nero. Dramma giocoso per musica da rappresen- 
 tarsi nel nobile Teatro Tron di San Cassiano nell' autunno delr anno 
 1776. 
 
 Venezia, Gio. Battista Casali, 1776. 54 p. 17\ cm . 
 
 Three acts. The author is not mentioned and is unknown to Schatz. Cast, scenario, 
 and names of Michele Morteliari as the composer of the opera and of "Santo Trento" 
 of the ballet music ("tutta nuova ") SCHATZ 6689
 
 OPERA LIBEETTOS 201 
 
 II baron di Terra Asciuta. Dramma giocoso per musica da rap- 
 presentarsi nel Nobile Teatro di San Samuele il carnovale dell' anno 
 1776. 
 
 Venezia, Gio. Battista Casali, 1776. 40 p. 17 cm . 
 
 One act. Author not mentioned and unknown to Schatz. Cast, name of Giacomo 
 Bust as the composer, and this avviso: 
 
 "... s'6 pensato in luogod'un' opera buffa di far rappresentare due operette, come 
 costumano i Francesi. Una delle quali, per la ristrettezza del tempo, npn ha potuto 
 esser pronta, ma lo sara dopo i tre primi dl dell' anno. Intanto si supplira col primo 
 atto dell' opera passata." 
 
 On p. [29]-40, argument and description of Onorato Vigano's "Oreste o sia La morte 
 di Clitennestra, ballo tragico pantomimo," without name of the composer of the 
 music. 
 
 First performed at Venice, December 26, 1775, as indicated. SCHATZ 9168 
 
 The baron Kinkvervankotsdorsprakingatchdern. A new musi- 
 cal comedy. As performed at the Theatre Royal in the Hay-market. 
 By Miles Peter Andrews, Esq. 
 
 London, T. Cadell, 1781. xi, [5], 71, [1] p. 20. 
 
 Three acts, prologue, and epilogue. Cast and preface, in which the author protests 
 against the charges of "many low and gross indecencies" resulting in the removal of 
 his successful play from the stage after three performances. The composer of the 
 music is not mentioned. The music, perhaps partly compiled, has been ascribed to 
 Dr. Arnold. LONGE 196 
 
 First performed as indicated, July 9, 1781. 
 
 Der baron vom Vesten thurme. Ein singspiel in zween aufzuegen. 
 Ein freye uebersetzung aus dem italienischen von C.[arl] J. F.[6rg] 
 Aufgefiiehrt auf dem Cnurfuerstl. deutschen Theater in Muenchen. 
 [Muenchen], Gedruckt ley Franz Joseph TTiuiUe, 1777. Unpaged. 
 
 Joseph Michl is mentioned as the composer. The original Italian title was, "II 
 barone di Torre Forte." 
 
 First performed at Munich, Opernhaus b. St. Salvator, March 23, 1772. 
 
 SCHATZ 6488 
 
 Der baron von Alten Felss. Tr. of Franchi and Anfossi's II barone 
 di Rocca Antica. 
 
 Der baron von Starckenthurm. Tr. of Piccinni's II barone di 
 Torreforte. 
 
 II barone a forza, o sia II trionfo di Bacco. Farsetta per musica da 
 rappresentarsi nel Teatro Pallacorda [ !] di Firenze nel carnevale dell' 
 anno 1786. 
 
 Roma, Michele Puccinelli, n. d. 68 p. 15\ cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Marcello di Capua as composer. ML 50.2.B29B2 
 
 - II barone a forza o sia II trionfo di Bacco. Dramma giocoso per 
 musica da rappresentarsi in Bologna nel Nuovo publico teatro il 
 carnevale dell' anno 1788 . . . 
 
 Bologna, Sassi, n. d. 79 p. 17 cm . 
 
 Two acts. Dedication, cast, scenario, and name of Marcello di Capua as com- 
 poser. Librettist not mentioned and unknown to Schatz. The imprimatur dated 
 December 16, 1787. 
 
 First performed at Bologna, December 26, 1787. SCHATZ 845 
 
 II barone burlato. L. T. of Cimarosa's II pittor parigino.
 
 202 LIBRARY OF CONGRESS 
 
 II barone di Moscabianca. A. T. of Caruso's Oro non compra 
 amore. 
 
 II barone di Rocca Antica. Intermezzo per musica a quattro voci 
 da rappresentarsi in Lisbona nel Teatro della rua dos Condes nell' 
 estate dell' anno 1773. 
 
 [Lisbona], Nella Stamperia reale, n. d. 71 p. 16\ cm . 
 
 Two parts. By Giuseppe Petrosellini, who is not mentioned. Cast, scenario, and 
 name of the composer, Carlo Franchi. 
 
 First performed at Rome, Teatro delle Dame, February 4, 1771. SCHATZ 3327 
 
 - II barone di Rocca Antica. Azzione comica per musica da 
 rappresentarsi nel Piccolo Teatro di S. A. E. di Sassoma. 
 Dresda., 1772, n. jmbl. 143 p. 16$ cm . 
 
 Two acts. German title-page, "Der baron von Alten Felss. Eine lustige musical- 
 ische handlung," and text face Italian. Carlo Franchi is named as the composer 
 of the first and rasquale Anfossi of the second act in this version. SCHATZ 3330 
 
 II barone di Torre Forte. O. T. of Michl's Der baron vom Vesten 
 thurme. 
 
 II barone di Torreforte. Azzione comica in musica, da rappresen- 
 tarsi nel Piccolo Theatre di S. A. E. di Sassonia. 
 
 Dresda, n. pull, V estate del 1766. 93 p. 16 cm . 
 
 Two acts. The author is not mentioned and unknown to Schatz. Cast and name 
 of Niccol6 Piccinni as the composer. German title-page, "Der baron von Starcken- 
 thurm," and text face Italian. 
 
 First performed at Rome, Teatro Capranica, January 10, 1765. SCHATZ 8068 
 
 II barone di Torreforte. Dramma giocoso per musica da rap- 
 presentarsi nel Teatro di via S. Maria nell' estate aell' anno 1768 . . . 
 Firenze, Stamperia in Borgo de' Greci, n. d. Unpaged. 17 cm . 
 
 Two acts. Dedicatory poem by the impresario, Antonio Fabbrini, cast, and name 
 of Niccol6 Piccinni as composer. 
 
 Previously performed at Florence, Teatro via del Cocomero, spring of 1766. 
 
 ML 48.A5 v. 24 
 
 II barone in angustie. Commedia per musica di Giuseppe 
 Palomba da rappresentarsi nel Real Teatro del Fondo di Separazione 
 per quart' opera del corrente anno 1797 . . . 
 
 Napoli, n. publ., 1797. 43 p. 15 cm . 
 
 Two acts. Impresario's dedication dated Naples, February 1, 1797, cast, and 
 name of Giacomo Tritto as the composer. With the opera was performed (composer 
 of the music not mentioned) Lauchlin Dusquesney's ballet, "L'inutile precauzione." 
 
 SCHATZ 10459 
 
 II barone Spazzacamino. L. T. of Portugal's Spazzacamino 
 principe. 
 
 La baronessa Stramba. See Cimarosa's II credulo. 
 
 Barsina. Dramma per musica da rappresentarsi nel famoso Teatro 
 Tron a S. Cassiano. L'autunno dell' anno MDCCXLII. 
 Venezia, Milosco, 1742. 48 p. 15\ cm . 
 
 Three acts. By Francesco Silvani, who is not mentioned. Argument, scenario, 
 cast, and name of Giuseppe Antonio Paganelli as the composer. SCHATZ 7573 
 
 Le baruffe chiozzote, ballet. See Robuschi's Castrini, padre e 
 figlio.
 
 OPERA LIBRETTOS 203 
 
 Basilio re Doriente [ !]. Dramma per musica da recitarsi nel Teatro 
 a S. Cassano, novamente riaperto a uso d'opere 1'anno 1696 . . . 
 
 Venetia, Nicolini, 1696. 66 p. lo cm . 
 
 Three acts. Dedication signed by the author, Giovanni Battista Neri, and dated 
 Venice, December 31, 1695, argument and "A chi legge discretamente " with name 
 of Francesco Navara as the composer, source of the story, the usual complaint about 
 brevity of time, and the remark: 
 
 "Sarebbeben stato di bisogno il poter da dovero con arte magica ingrandir la 
 capacita del Teatro, che non sarei io stato costretto a restringere, e quasi annichilare 
 le operazioni della mia scena: oltre il comando inviolabile della brevita, che con piu 
 tirannia di quella ho sofferto dall' angustia del sito, mi ha violentato a levar molte 
 scene di quelle che sono chiamate di forza, e cangiar la piu parte de frutti in pochi 
 fiori di nulla fragranza . . ." SCHATZ 7065 
 
 Basilio und Quiteria, ein singgedicht. 
 n. i., n. d. p. [365}-386. 18 cm . 
 
 Detached copy. One act. Neither Daniel Schiebeler, the author, is mentioned 
 nor Georg Philipp Telemann, the composer. 
 
 First performed at Hamburg, 1735. SCHATZ 10256 
 
 II bassa generoso. Intermezzo per musica a cinque voci da rap- 
 presentarsi nel Piccolo Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. publ, 1782. 19 p. 15% cm . 
 
 Two acts, with name of composer, Marcello di Capua, but not of librettist, who 
 is unknown to Schatz. German title-page "Der grossmuethige bassa" and text face 
 Italian. 
 
 First performed, as indicated, February 9, 1782; at Rome, Teatro Capranica, 
 carnival 1780. SCHATZ 830 
 
 Der bassa von Tunis, eine komische operette in einem aufzuge, von 
 K. F. H. Die musik ist von herrn Holly in Prag. 
 
 Berlin und Leipzig, n. publ., 1774- 56 p. 15 cm . 
 
 By Carl Franz Henisch. 
 
 First performed at Berlin, Koch'sches Theater in ,der Behrenstrasse, January 6, 
 1774. SCHATZ 4768 
 
 ' Bassiano, overo II maggior impossibile. Drama per musica da rap- 
 presentarsi nel famoso Teatro Grimano in SS. Giovanni e Paolo. 
 L'anno MDCLXXXIL Di Matteo Noris . . . 
 Venetia, Francesco Nicolini, 1682. 62 p. 13% cm . 
 
 Three acts. Author's dedication, argument, and scenario. The composer, Carlo 
 Pallavicino, is not mentioned. SCHATZ 7720 
 
 Bassiano overo II maggior impossibile. Melodrama da rappresen- 
 tarsi nel Teatro di S. Bartolomeo di Matteo Noris . . . 
 
 Napoli, Perrino e Mutii, 1694. 6 P- ]> 6 P- 
 
 Three acts. Impresario's dedication, argument, scenario, and notice to the reader 
 which begins: 
 
 "Viddero altrove i teatri rappresentar questo drama [with music by Carlo Palla- 
 vicino] da qualche tempo con applausi; hora viene eu questo di Partenope. II 
 tempo breve, la etaggione, e 1'uso Than fatto variare in qualche parte non essentiale, 
 ti BI dice accio, se a caso vedessi impresso quello, che prima rappresentossi, non 
 giudichi, che si e fatto il correttore all' autore, che tanto celebre e nel mondo. E 
 etato poi posto in musica dal . . . Sig. Alessandro Scarlatti in cosi breve tempo che 
 e parso un miracolo . . ." 
 
 This notice followed by the restituted arias, etc., "Voi che tanto ne vedete" (II, 
 10), "El io piu no appare" (III, 6), and "Questo di logore" (III, 11). 
 
 Mentioned by Dent? 
 
 First performed, as indicated, in the spring of 1694. SCHATZ 9533
 
 204 LIBRARY OF CONGRESS 
 
 The Bastille: a musical entertainment of one act: As performed at 
 the Royal Circus, in Saint George's Fields. Written by John Dent 
 . . . The second edition. 
 London, W. Lowndes, 1790. 8 p. 1. (incl. pi.}, viii, 24 p. 21 cm . 
 
 The plate (a scene from the opera) is dated December 15, 1789. Author's dedica- 
 tion dated November 31, 1789, and Address narrating the difficulties in the way of 
 the production of this piece which ran for seventy-nine nights consecutively after 
 having been "actually got up and represented within seven days after it had been 
 first conceived, and determined on." Composer not recorded by Clarence or Schatz. 
 
 LONGE 318 
 
 Les bateliers de Saint Cloud, opera comique de m. F * * *. 
 
 BruxeUes, n. publ., 1744- 44 P- 19 cm - (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. vi.) 
 
 One act. Prose and vaudevilles. No music printed in text or added. 
 
 First performed as "La fete de Saint Cloud" at Paris, Ope>a comique, Foire Saint 
 Laurent, August, 1741, revived under the above title and with alterations, August, 
 1744. ML 49.A2F1 
 
 - Les bateliers de Saint Cloud, opera-comique en un acte. 
 Paris, la veuve Duchesne, 1766. 72 p. 19 cm . 
 
 On p. 43-74 twenty-three "Airs des Basteliers de S. Cloud," unaccompanied. 
 Neither the author, Favart, is mentioned, nor the arranger of the popular airs. 
 
 SCHATZ 11483 
 
 Bathile. See Floquet's L'union de 1'amour et des arts. 
 
 The battle of Hexham. A comedy. In three acts, as performed 
 at the Theatre-Royal, Crow-street. 
 
 Dublin, P. Byrne, 1790. 58 p. 17\ cm . 
 
 London and Dublin casts. Considerably interspersed with songs, etc. Neither the 
 author, George Colman, the younger, is mentioned, nor Samuel Arnold, the composer. 
 
 In Longman and Broderip's vocal score the glee ".When Arthur first" is headed 
 as composed by Calcott and the catch "Lurk, lurk, o'er the greeh sword " as by Dr. 
 Arne. 
 
 First performed August 11, 1789. LONGE 233 
 
 The battle of the poets ; or, The contention of the laurel. As it is 
 now acting at the New Theatre in the Hay-market ; introduced as an 
 entire new act to the comical tragedy of Tom Thumb. Written by 
 Scriblerus Tertius . . . 
 London, W. Trott and T. Astley, 1731. 24 p. 17 \. 
 
 Cast and prologue. Interspersed with songs, the airs of which are indicated by 
 title. By some attributed to Thomas Cooke. LONGE 321 
 
 First performed, as indicated, January 1, 1731 (Genest) 
 
 Bauce e Palemone. Dramma per musica per celebrare il felicis- 
 simo giorno natalizio della serenissima Signora Donna Carlotta 
 Gioaccnina . . . li 25 aprile 1789. 
 
 [Lisboa], Stamperia reale, n. d. 23 p. 15 cm . 
 
 One act. Argument, cast, and names of Joao Cordeiro da Silva as composer, of 
 Gaetano Martinelli as author. SCHATZ 9883 
 
 Bauci e Filemone. First act of Gluck's Le feste d' Apollo. 
 Das bauern-maegdchen am hofe. A. T. of Killer's Lottchen. 
 Der baum der Diana. Tr. of Martin y Soler's L'arbore di Diana.
 
 OPERA LIBRETTOS 205 
 
 Das bauren-maedgen. Tr. of Sacchini's La contadina in corte. 
 II Bayram de' Turchi, ballet. See Salieri and Rust's II talismano. 
 Bayes no poetaster. A. T. of The two queens of Brentford. 
 Bays in petticoats. A. T. of The rehearsal. 
 
 Bays's opera. As it is acted at the Theatre-Royal, by His Majesty's 
 servants. Written by Mr. Odingsells . . . 
 
 London, printed: and sold by J. Roberts, 1730. 4 P> 1-, ?0 P- 20 cm . 
 
 Lacks the "Epilogue," [2] p. after p. 70. 
 
 Three acts. Ballad opera. The tunes (49) not printed merely indicated. Cast 
 and preface, which reads, in part: 
 
 ''When the town thought fit to pass sentence on this trifling piece, corrected by 
 their judgment, I determm'd to finish the execution, and bury it in oblivion; lest 
 by setting it in open light, I shou'd be thought presumptuous enough to think of con- 
 fronting and expostulating with their resentment. But my too partial friends, who 
 first seduc'd me by their approbation to exhibit it to the publick, over-rul'd my 
 resolution; and thought it incumbent on me to publish it, in order to clear up some 
 disadvantages it labour'd under in the representations, which made it obscure, and 
 perhaps unintelligible, and to confute some insinuations scatter'd about, injurious to 
 my private character . . . 
 
 ' ' The only view of this performance was to expose the folly and absurdities of a 
 prevailing (and, as I thought, vitiated) taste; which seem'd to prefer farce and 
 buffoonery, as well as the unprofitable, immoral and unnatural representations of 
 poetical fiction, to the more polite and instructive entertainments of dramatick 
 poetry and musick. 
 
 "As the design is carried on in one continu'd allegory, all persons of taste (and to 
 such only I make my humble appeal,) well know that an allegory, to be rightly 
 understood in all its parts, requires an exact attention from the beginning to the 
 end . . . 
 
 "For the judicious this piece was, tho' unhappily, calculated; and therefore not 
 intended to entertain by ballad-singing; which was only accidental to the design; 
 or rather a means to enliven the burlesque scheme. It was my view to alarm men of 
 sense to a care of the liberal arts, which seem to languish, and, at their last gasp, 
 invoke their assistance to raise them . . . 
 
 "I cou'd take notice of some invidious reflections industriously spread by a certain 
 author, who has claim'd to himself the invention of this scheme; (tho' I doubt 
 neither of us have any great reason to boast of it;) but as it is not the turn of my ambi- 
 tion to aspire at, much less to rival any man in the character of author, I shall readily 
 give him up any thing but truth, I shall therefore only observe, that it was impossible 
 for me to steal any hints from him, because this was wrote, and known to many gentle- 
 men above a year before he dates the theft . . . 
 
 "It has been urg'd, in a place where I cou'd wish scandal and defamation might 
 never enter, that this performance was aim'd to expose the celebrated author of the 
 Beggar's Opera and his works; but to clear me from this abhorr'd aspersion, I shall 
 want no other vindication than what I am sure to find from the candid judgment of 
 that ingenious gentleman ..." 
 
 First performed at Drury Lane, March 30, 1730. ML 50.5.B19 
 
 Second copy, complete with the "Epilogue," [2] p. after p. 70. LONGE 78 
 
 Beau in the sudds. A. T. of The female parson. 
 
 The beau metamorphos'd. A. T. of The happy lovers. 
 
 Den bedragne formynder eller De under masken sluttede gifter- 
 maale. Tr. of G. M. Rutini's I matrimoni in maschera. 
 
 Die befreyte sklavinn. Tr. of Schuster's La schiava liberata.
 
 206 LIBRARY OF CONGRESS 
 
 The beggar's opera. As it is acted at the Theatre-Royal in Lin- 
 colns-Inn-Fields. Written by Mr. Gay ... To which is added, the 
 musick engrav'd on copper-plates. 
 London, J. Watts, 1728. 58, [2] p., 16 p. (music). 20 cm . 
 
 Three acts with introduction. Cast. At end of text [2] p. of a list of "Books 
 lately publish'd," the heading of the second page reading "Books printed for J. 
 Tonson and J. Watts. Feb. 10, 1727." In third act there are by error two "Scene 
 X," one on p. 50, the other on p. 51. The airs are numbered consecutively for each 
 act: 18, 22, 28, total 68 not 69. The airs, by no means only ballad-airs, are printed 
 separately following the text, but without titles, merely with number corresponding 
 to that in the text, where the tunes are indicated by title. John Christopher 
 Pepusch, who composed the overture and arranged the music, is not mentioned. 
 First edition. 
 
 First performed, as indicated, January 29, 1728. ML 50.5. B3 
 
 The beggar's opera. As it is acted at the Theatre-Royal in 
 Lincolns-Inn Fields. Written by Mr. Gay ... 3d ed.: with the 
 ouverture in score, the songs, and the basses, (the ouverture and 
 basses compos'd by Dr. Pepusch) Curiously engrav'd on copper 
 plates. 
 
 London, J. Watts, 1729. 4 p. I, 60 p., 46 p. (music). 23 cm . 
 
 Three acts and introduction. Ballad opera. Cast and table of the sixty-nine [!] 
 songs numbered consecutively. The corresponding airs are printed in the text with 
 their titles. ML 50.5.B33 
 
 - The beggar's opera. Written by Mr. Gay. The fifth edition: 
 to which is prefix'd the ouverture in score and the musick to each 
 song. 
 
 London, John Watts, 1742. 4 p. 1., 8, 76 p. 20\ cm . 
 
 Three acts. The 4 p. 1. contain a table of the 69 songs, advertisements, cast and 
 first page of the "Introduction" followed on the 8 p. by the "Ouverture in score. 
 Composed by Dr. Pepusch." AC 901.M5v.519 
 
 The beggar's opera. Written by Mr. Gay. To which is pre- 
 fixed the overture in score : and the musick to each song. 
 
 London, J. and R. Tonson, 1765. 94 p. (incl. front.) 21% cm . 
 
 Title vignette: port. 
 
 Three acts and introduction. Cast and table of the songs. On p. 11-18 the "Over- 
 ture in score. Composed by Dr. Pepusch." The airs (69) are printed in the text, 
 numbered consecutively. ML 50.5. B35 
 
 Second copy. LONGE 46 
 
 The beggar's opera. As written by John Gay. Distinguishing 
 also the variations of the theatre, as performed at the Theatre-Royal 
 in Drury-Lane. Regulated from the prompt-book, by permission of 
 the managers, by Mr. Hopkins, prompter. 
 
 London, John Bell, 1777. 65 p. 17 '\. 
 
 At head of title: "Bell's edition." On p. 63-65: "A Table of the songs." Pepusch 
 is not mentioned. Following the text 2 unnumb. p. of "Books published by J. Bell." 
 On p. 3 the Drury-Lane and Coyent-Garden casts. 
 
 The Drury Lane cast in this libretto is not the same as given by Genest for 
 November 8, 1777. SCHATZ 7864 
 
 The beggar's opera. A comic opera. By John Gay. Adapted 
 for theatrical representation, as performed at the Theatre-Royal, 
 Drury-Lane. Regulated from the prompt-book, by permission of 
 the managers. 
 
 London, John Bell, 1791. 2 pi., ix, [4], 14-99, [3] p. 15. (J.BeU, 
 British theatre, London, 1791-1797, t. 2.)
 
 OPEEA LIBEETTOS 207 
 
 The beggar's opera Continued. 
 
 The first pi. represents Mrs. Crouch as Polly and is dated February 2, 1791. The 
 second pi. is an added pictorial title page and is dated January 20, 1791. Biographical 
 sketch of John Gay, editorial note on the "Beggar's Opera." A table of the songs 
 on the [3] p. at end". PR 1241.B4 
 
 - The beggar's opera. A comic opera. By John Gay. Adapted 
 for theatrical representation, as performed at the Theatres-Royal, 
 Drury-Lane & Covent-Garden. Regulated from the prompt-book, 
 by permission of the managers . . . Cooke's edition. Embellished 
 with superb engravings. 
 
 London, C. Cooke, n. d. 2 pi. x, [11-13], 14-72 p. 14% cm . 
 
 Plates and contents the same as in preceding entry, except that there is no table 
 of the songs. Published before 1800? PR 3473.B4C6 
 
 The beggar's wedding. A new ballad opera. As it is acted at the 
 theatre in Dublin, with great applause; and at the theatre in the 
 Haymarket. To which are added the new prologue and epilogue. 
 By Mr. Char. Coffey ... 5th ed. 
 London, Printed ~by J. D., 1733. 58 p. 16 cm . 
 
 Three acts. The airs are not printed, merely indicated. They are numbered 
 consecutively in each act: 20, 15, 19, total 54. 
 
 Under the above title (prose and songs, in three acts) "The beggar's wedding" 
 was first published with music at London in 1729. This and the second edition, 
 1729 (without music) and a third edition, 1729 (with music) are at the British 
 Museum, as well as the fourth edition, 1731. Genest says under Haymarket 1729 
 of the "Beggar's wedding": "it seems to have come out at Dublin and then to have 
 been acted at this theatre." Under Drury Lane, July 4, 1729 he then enters the 
 first performance of the reduced version as "Phebe or Beggar's wedding." 
 
 ML 50.5.B4 
 
 First performed at Dublin, Smock Alley, March 24, 1729. (Lawrence). 
 
 - The beggar's wedding. An opera. As it is acting with great 
 applause at the Theatre-Royal, in Drury-Lane. With the prologue 
 and epilogue. By Mr. Char. Coffey . . . 
 
 London, R. Horsjield and T. Lownds, 1763. 64 p. 21 cm . 
 
 Cast. The 56 (20, 15, 21) airs are indicated in the text by title. LONGE 102 
 
 Phebe ; or, The beggar's wedding. An opera. 
 
 47 p. 19 cm . . 
 
 Title page wanting. The British Museum lists an edition of London, 1729. One 
 act. By Charles Coney who is not mentioned. Cast. Ballad opera, the 32 airs of 
 the songs being indicated by title. LONGE 151 
 
 II Begliar-Bey di Caramania. Dramma in musica da rappresen- 
 tarsi nel Piccolo Teatro Elettorale 1'anno 1780. 
 
 Dresden, Stamperia elettorale, n. d. 119 p. 15\ cm . 
 
 German title ("Der Begjlerbey in Caramanien") and text face Italian. Two 
 acts. With name of Giuseppe Amendola as composer, but not that of the librettist, 
 Girolamo Tonioli. 
 
 First performed at Dresden, Churf. sachs. Kleines Theater, November 22, 1780. 
 
 SCHATZ 173 
 
 Der Begjlerbey in Caramanien. Tr. of Amendola's II Begliar- 
 Bey di Caramania.
 
 208 LIBRARY OF CONGRESS 
 
 Der beglueckte Florindo. In einem singe-spiel auf dem Ham- 
 burgischen Theatre vorgestellet. 
 
 [Hamburg], n. publ., 1708. Unpaged. 18% cm . 
 
 Three acts. German version by Hinsch of unknown Italian work. Neither he 
 nor the composer, Georg Friedrich Handel, are mentioned. The "Vorrede" con- 
 tains the argument and statement that because "die vortrefliche music, womit diese 
 opera gezieret, etwas gar zu lang ausgefallen," the work would be divided in two 
 parts, the first as above, the second as "Die verwandelte Daphne." Italian text of 
 the arias added to the Italian. 
 
 First performed, as indicated, January, 1708. SCHATZ 4476 
 
 Die verwandelte Daphne. In einem singe-spiel auff dem Ham- 
 burgischen Theatre vorgestellet. Im jahr 1708. 
 
 n. i., n. d. Unpaged. 18\ cm . 
 
 Three acts. Some arias have Italian, others German, text only. To some the 
 Italian text has been added. 
 
 First performed in January, 1708, as indicated. SCHATZ 4493 
 
 Die beiden angefuehrten thoren. A. T. of Portugal's Die schlaue 
 wittwe. 
 
 Die beiden Antone oder Der name thut nichts zur sache. Eine 
 komische oper in zwei akten. Nach dem ungedruckten Schikaneder- 
 schen originate, mit beibehaltung der musik von Schack, neu 
 bearbeitet. 
 
 Leipzig, Friedrich August Leo, 1797. 88 p. 15 cm . 
 
 The prefatory note, signed, "Geschrieben in der Leipziger Michaelmesse, 1796, 
 Z.," reads, in part: 
 
 ' ' Gegenwaertiges singspiel gefiel seit zehn jahren auf den oesterreichischen buehnen 
 und in der dortigen nachbarschaft so sehr, dass es noch immer mit neuem beifall wie- 
 derholt wird ... In dessen war sein provinzieller anstrich wohl auch immer ein 
 hinderniss, dass man es ausser seinem vaterlande nicht auch auffuehrte . . . Hier ist 
 ein versuch, worinn die originalitat dieses stuecks, so weit es nur thunlich war, 
 beibehalten wurde, und der schon in Sachsen, bei der J. Secondaschen Gesellschaft, 
 schmeichelhaften beifall erhielt ..." 
 
 First performed at Leipzig, Theater am Rannstadter Thore, 1797; at Vienna, 
 Theater a. d. Wieden, 1789, as "Anton der dumme gartner oder Der name thut nichts 
 sur sache." SCHATZ 9566 
 
 Arien aus den [!] Dummen gaertner. Ein komisches singspiel 
 in zwey aufzuegen, von Emanuel Schickaneder. Aufgefuehrt von 
 der Mihuleschen Gesellschaft. 
 
 Augsburg, n. publ, 1793. 23 p. 16 cm . 
 
 The same as "Die beiden Antone." 
 
 First performed at Augsburg, National Theater, 1793. SCHATZ 9567 
 
 Die beiden geizigen. Tr. of Gretry's Les deux avares. 
 
 Die beiden militzen. Tr. of Fridzeri's Les deux miliciens. 
 
 II Beiram o sia II carnovale turco, ballet. See Curcio's Solimano, 
 
 Belisa ossia La fedelta riconosciuta. Dramma in due atti da rappre- 
 
 sentarsi nel Teatro di Monza 1'autunno 1795 . . . 
 
 Milano, Gaetano Motta, n. d. 4.P- Z-, 56 } [1] p. 16\ cm . 
 
 Two acts. By conte Alessandro Pepoli, who is not mentioned. Impresario's dedi- 
 cation, cast, scenario, and name of reter von Winter as the composer. With the 
 opera were performed Paolino Franchi's ballet, "Raol de Crequi" (music by Winter 
 and Wenzeslaus Pichl), and Carlo Biancardi's ballet, "Le preziose umiliate"; com- 
 poser not mentioned. 
 
 First performed at Venice, Teatro di S. Benedetto, carnival, 1794. 
 
 SCHATZ 11020
 
 OPERA LIBRETTOS 209 
 
 La bella Arsena. Tr. of Monsigny's La belle Arsene. 
 
 La bella Arsene, ballet. See Martin v Soler's Andromaca. 
 
 La bella Girometta. Dramma giocoso per nmsica da rappresen- 
 tarsi nel Teatro Giustiniani di S. Moisd Fautunno dell' anno 
 MDCCLXI dell' abate Pietro Chiari . . . 
 
 Venezia, Modesto Fenzo, 1761. 58 p. 15. 
 
 Three acts. Cast, scenario, and name of composer, Ferdinando Giuseppe Bertoni. 
 
 SCHATZ 937 
 
 La bella. incognita e La maga Circe. Farsette per musica di una 
 sola parte a 5. voci da rappresentarsi nel Teatro Valle degl' illustris- 
 gimi Signori Capranica il carnevale dell' anno 1788. 
 Roma, Gioacchino Puccinelli, n. d. 55, [1] p: 15 cm . 
 
 Casts and names of Francesco Basil! as composer of the first farce, of Pasquale 
 Anfossi of the second. Authors unknown to Schatz. The second farce stands on 
 p. 28-55. ML 50.2.B28B2 
 
 La bella Lauretta. Dramma giocoso per musica di Giovanni Ber- 
 tati, poeta pensionato di S. M. I. R. A. etc. etc. da rappresentarsi nel 
 nobihssimo Teatro Giustiniani in S. Moise per la seconda opera del 
 carnovale 1795. 
 
 Venezia, Valvaseuse, 1795. 62 p. 18% cm . 
 
 With name of Francesco Gardi as the composer. SCHATZ 3537 
 
 La bella pescatrice. Commedia per musica di Saverio Zini. Da 
 rappresentarsi nel Teatro Nuovo sopra Toledo per second' opera di 
 quest' anno 1789. 
 
 Napoli, n. publ, 1789. 48 p. 15% cm . 
 
 Two acts. Cast and name of Pietro Guglielmi as the composer. SCHATZ 4237 
 
 La bella pescatrice. Dramma giocoso per musica, da rappre- 
 sentarsi nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. publ., 1791. 127 p. 16 cm . 
 
 Two acts. Zini's text, with alterations. For instance, the aria, "Sposina pifc 
 vezzosa," has been dropped from I, 3. Pietro Guglielmi is mentioned as the com- 
 poser. German title-page, "Das schoene fischermaedchen," and text face Italian. 
 
 First performed, as indicated, November 5, 1791. SCHATZ 4238 
 
 La pescatrice. Commedia per musica di Saverio Zini da rappre- 
 sentarsi nel Real Teatro del Fondo di Separazione per prim' opera di 
 questo corrente anno 1790. 
 
 Napoli, n. publ., 1790. 46 p. 15. 
 
 Two acts. Pages 3-6, 19-22 missing, containing, probably, also Pietro Guglielmi's 
 name as composer. Cast. The text seems to follow that of 1789. SCHATZ 4281 
 
 Arien und gesaenge aus Dem fischermaedchen. Eine operette 
 in zwey aufzuegen. Die musick ist von Guglielmi . . . 
 
 Frankfurt am Main, n. publ., 1794- 24 p. 16 cm . 
 
 The translator is not mentioned. 
 
 First performed at Frankfurt a/M, Nationaltheater, 1794. SCHATZ 4239 
 
 72251 VOL 114 14
 
 210 LIBRARY OF CONGRESS 
 
 Bella und Fernando, oder Die satire, in einem aufzuge. In musik 
 gesezt von herrn Preu. 
 
 n. i., n. d. p. [111]-176. Itf. (C. A. Vulpius,0peretten. Id. I. 
 Baireuth, 1790.) 
 
 Detached copy. 
 
 First performed at Bayreuth, Privattheater Gesellschaft, May 20, 1789. 
 
 SCHATZ 8463 
 
 La bella verita. Dramma di tre atti per musica. Rappresentato 
 per la prima volta in Bologna Testate dell' anno MDCCLXII con 
 musica del Piccini. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, t. 39., 
 [67]- 126 p. 18. PQ 
 
 First performed as indicated, at the Teatro Marsigli Rossi, June 12, 1762. 
 
 Second, detached copy. SCHATZ 8069 
 
 La belle Arsene, come'die-feerie, en quatre actes, melee d'ariettes. 
 Les paroles de M. Favart; la musique de M. de Monsigny. Repre- 
 sentee devant Sa Majeste 1 , a Fontamebleau, le 6 novembre 1773, & 
 a Paris, le 14 aout 1775. 
 Paris, la veuve Duchesne, 1775. ix, 10-61 p. 18 cm . 
 
 Cast. On p. [iii]-ix Voltaire's poem "La b^gueule" and prefatory note saying 
 that this poem had furnished the sujet for the opera, that the verses in guillemots 
 (quotation marks) have been borrowed more or less literally from the poem and that 
 the opera as performed originally at Fontainebleau had only three acts. SCHATZ 6562 
 
 - La belle Arsene, comexiie-feerie, en quatre actes. M616e 
 d'ariettes. 
 
 n. i., n. d. xv, [1], 77, [1] p. 19 cm . (Theatre de M. Favart, Paris, 
 Duchesne, 1763-77, tx.). 
 
 At end: "De 1'imprimerie de C. Simon . . . 1775." 
 
 Cast, Favart's dedication to the due de Richelieu and Voltaire's poem "La 
 be"gueule" on which the opera is founded, precede the text. No music printed in 
 the text. The composer, Monsigny, is not mentioned. ML 49.A2F1 
 
 Die schoene Arsene, ein singspiel in vier aufzuegen aus dem 
 franzoesischen uebersetzt mit musik. 
 
 Frankfurt am Mayn, mit Andredischen schriften, 1776. 100 p. 
 17. 
 
 No music. Neither Johann Heinrich Faber, the translator, nor Monsigny is men- 
 tioned. This version, according to Schatz, was used by Th. Marchand's Churpfalz. 
 deuteche Hofschauspielgesellschaft. SCHATZ 6563 
 
 - Gesaenge aus der romantischen oper: Die schoene Arsene. In 
 vier aufzuegen. Die musick ist von Monsigny. 
 
 Hamburg, J. M. Michaelsen, 1780. 16 p. 17 cm . 
 
 Johann Andre's version, who is not mentioned. 
 
 First performed at Hamburg, Theater b. Gansemarkt, Oct. 27, 1780. 
 
 SCHATZ 6564 
 
 - La bella Arsena. Ein singspiel in vier aufzuegen. 
 
 [At end] Augsburg, mit Brinhausserischen schriften, 1781. 84 p. 
 16 cm . 
 
 Version of Johann Heinrich Faber. SCHATZ 6565
 
 OPERA LIBRETTOS 211 
 
 La belle Arsene Continued. 
 
 Den ski0nne Arsene ; et syngestykke i fire handlinger af Favart, 
 med musik af M * * *, til samme musik oversat af Adam Gottlob 
 Thoroup. 
 
 n. i., n. d. 76 p. 16\ cm . 
 
 First performed at Copenhagen, Kongel. Theater paa Kongens Nytorv, Decem- 
 ber 10, 1781. SCHATZ 6566 
 
 De schoone Arsene, zangspel met balletten. Naar het fransch 
 gevolgd van Favart, door Bartholomeus Ruloffs. 
 
 Amsteldam, J. Eelders en A. Mars, 1789. 4 P- ]> 71 > [1] P- 
 
 Dedicatory poem by the translator dated 1789. 
 
 First performed at Amsterdam, Stads Schouwburg, October, 1788. SCHATZ 6586 
 
 La belle esclave, ou Valcour et Zeila, comedie en un acte et en 
 prose, me'le'e d'ariettes. Par M. Dumaniant. Musique de M. Phili- 
 dor. Joue"e a Paris, sur le Theatre des Petits comediens de Mgr. le 
 comte de Beaujolais, le 18 septembre 1787, & publie"e au profit du 
 Sieur Morel. 
 Paris, Prault, 1787. 2 p. I, 38, [3] p. 21. 
 
 On first p. 1. the note: 
 
 "Le Sieur Morel est le jeune acteur qui a eu la main blessee par 1'explosion d'un 
 pistolet qui devpit lui servir dans un de ses roles, & au profit duquel on a deja donn6 
 .une representation." The [3] p. contain: "Couplets de la scene iv, mis en musique." 
 ("Riches de la terre.") ML 50.2. B3P3 
 
 Belle et Bonne, on Les deux soeurs, comedie en un acte, en prose 
 et vaudevilles. Reprfeentee, pour la premidre fois, a Paris, sur le 
 Theatre du Vaudeville, le 5 rrimaire, an 6, samedi 25 novembre 
 1797 (v. st.) par F. P. A. Leger. 
 
 Paris, Au Theatre du Vaudeville, an VI s . 1798 (v. st.) 54 p. 20 cm . 
 
 Cast. Many of the airs are printed in the text and some of them are marked as 
 new by Leger. A new air was also contributed bv Bruni. Not recorded by Cl. & 
 L. or Schatz. ML 48.M2L 
 
 La belle fermiere. A. T. of Candeille's Catherine. 
 La belle-mere. A. T. of Fay's Clementine. 
 
 Bellerofon, ein ernsthaftes singspiel in drei aufzuegen, aufgefuehrt 
 bei der ankunft Sr. Durchlaucht des herrn kurfuersten zu Pfalz- 
 baiern auf der Kurfuerstl. Nationalschaubuehne. Verfasst von 
 Johann Friedrich, des H. R. R. frei und pannerherrn Binder von 
 Krieglstein. In musik gesezt von herrn Peter Winter . . . 
 
 Muenchen, n. publ., 1785. 64 p. 16 cm . 
 
 Cast, argument. 
 
 First performed at Munich, July 29, 1785. SCHATZ 11022 
 
 II Bellerofonte. Dramma per musica da rappresentarsi nel Teatro 
 dell' Accademia degl' Intronati nella primavera dell' anno 1767 in 
 occasione del felice arrive in Siena delle Altezze Loro reali Pietro 
 Leopoldo, arciduca d'Austria . . . e Maria Luisa, infanta di Spagna . . . 
 n. i., n. d. 8 p. I., 48 p. 20 cm . i 
 
 Three acts. The author is not mentioned and is unknown to Schatz. Impresa- 
 rio's dedication, dated Siena, May 6, 1767, argument, scenario, cast, poem of welcome, 
 name of Giuseppe Misliweczek as the composer and "avvertimento":
 
 212 LIBRARY OF CONGRESS 
 
 II Bellerofonte Continued. 
 
 "Tronco, ed alteratp in gran parte troverassi 1'originale, ch'e parto di non ignota 
 penna; ma tal'e, quasi sempre,, if destine de i drammi musical!, qualora nuova rappre- 
 eentazione se ne intraprende." 
 
 The first ballet, by Francesco Turchi, was called "Orfeo ed Euridice." The com- 
 plbser of the music is not mentioned. 
 
 First performed at Naples, Teatro di San Carlo, January 20, 1767. SCHATZ 6532 
 
 II Bellerofonte. Drama musicale del Signer Vincenzo Nolfi da rap- 
 presentarsi nel Teatro Novissimo di Venetia Fanno 1642 . . . 
 
 Venetia, Gio. Battista Surian, 161)2. 
 
 Three acts with prologue. Author's notice to the reader, with Francesco Sacrati's 
 name as the composer, argument. "Ode" to Nolfi on his "Bellerofonte," sonnet by 
 him, "Per le due sublimi cantatraci del Teatro Novissimo nel Bellerofonte " (not men- 
 tioned by name) and "Sonetto in lode del Signer Francesco Sacrati, compositore 
 della musica," by conte Paolo Feretti d'Ancona. SCHATZ 9252 
 
 Bellerophon. Theatralisches singspiel, so zu Oranienbaum auf bef ehl 
 Sr. Kayserl. Hoheit des gross-fuersten etc aufgefuehret worden. 
 Die poesie is vom hrn. doctor J. Bonechi . . . die musick vom hrn. 
 Fr. Araya . . . 
 
 St. Petersburg, Kayserl. Academic der wissenschaften, 1757. 11 p. 
 26 cm . 
 
 Two parts. Argument, cast and synopsis of the plot without the text. "Bellero- 
 fonte" was first performed at St. Petersburg, Court Theater, April 10/21, 1741. 
 
 ML50.2.B35A7 
 
 Bellerophon. Tragedie reresente"e [!] par FAcademie royale de 
 
 musique. 
 
 Paris, Christophe Bollard, 1679. front:, 54, [4] p. 23 cm ^ 
 The [4] p. contain Lully's "Permission pour tenir Academie royale de musique." 
 Prologue and five acts. The prefatory note contains argument and same note as 
 
 below. Corneille, the author, is not mentioned. 
 
 First performed, as indicated, January 31, 1679. ML 50.2.B35L7 
 
 Bellerophon. Tragedie, represented par FAcademie royale de 
 musique. Suivant la copie imprimee, a Paris. 
 
 [Amsterdam, Antoine Schelte], 1679. 56 (incl. front.}, 4 P- 13 cm . 
 
 Contents as in next entry. ML 50.2.B35L8 
 
 Bellerophon. Tragedie, representee par FAcademie royale de 
 musique. Suivant la copie imprimee. a Paris. 
 
 [Amsterdam, Antoine Schelte}, 1682. 56 (incl. front.) , [4] p. lS\ cm . 
 The [4] p. contain Lully's "Permission pour tenir Academie royale de musique." 
 Prologue and five acts. The prefatory note contains argument and remark: 
 "Le roy ayant donne" la paix a PEurppe, I'Academie royale de musique a creu 
 devoir marquer la part qu'elle prend a la joye publique par un spectacle, ou elle pust 
 faire entrer les te'moignages de son zele pour la gloire de cet auguste monarque." 
 Without name of Corneille or Lully. ML 49.A2L9 
 
 - Bellerophon, tragedie represented par I'Academie royale de 
 musique Fan 1679. Les paroles sont de M. Corneille & la musique 
 de M. de Lully, XI. opera. 
 
 n. i., n. d. 14 cm - pi-, 135-196 p. (Recueil general des opera, t. II, 
 Paris, 1703). 
 
 Detached copy. Five acts and prologue. The text is said to have been a col- 
 laboration of Thomas Corneille, Fontenelle (and Boileau?) (For a digest of the con- 
 trversy see Clement and Larousse.) The prologue is preceded by the same note as 
 above. SCHATZ 5762 
 
 Second copy. ML48.R4
 
 OPERA LIBRETTOS 213 
 
 Bellerophon Continued . 
 
 - Arlequin Bellerophon. Parodie. Par Messieurs Dominique & 
 Romagnesi . . . Represent ee pour la premiere fois par les Come- 
 diens italiens ordinaires du roi, le 7. May 1728. 
 
 Les parodies du Nouveau theatre italien, Nouv. ed., Paris, Briasson y 
 1738, t. iv, 36 p. 16\ cm . 
 
 One act. The airs and vaudeville printed at end in the "Table des airs" (92 p.). 
 
 ML 48.P3 
 
 Bellerophon, oder : Das in die preussische krone verwandelte \vagen- 
 gestirn, an dem frohen vermaehlungsfeste Sr. Koeniglichen Majestaet 
 von Preussen Friderici I . . . zu unterthaenigster freuden-bezeugung 
 in einer operetta, auf dem Grossen Hamburgischen Schau-platz aufge- 
 fuehret. Im jahr 1708. den 28. Novembr. 
 
 n. i., n. d. Unpaged. 18% cm . 
 
 Three acts with prologue and epilogue. Neither Barthold Feind, the author who 
 based his text on Corneille, nor Christoph Graupner, the composer, is mentioned in 
 the "Vorbericht." Some of the arias and the choruses have both Italian and German 
 text. SCHATZ 4118 
 
 Bellezza ed onesta. A. T. of Martin y Soler's Una cosa rara. 
 La bellezza sopra d'un carro. See Scipione Affricano. 
 
 La Bellinda. Commedia per musica di Francesco Cerlone da rap- 
 presentarsi nel Teatro Nuovo sopra Toledo nel carnevale di quest' 
 anno 1781. 
 
 Napoli, n. publ, 1781. 68 p. 15 cm . 
 . Three acts. Cast and name of Giacomo Tritto as the composer. SCHATZ 10461 
 
 Belmira in Creta. Drama per musica da rappresentarsi nel Teatro 
 Giustiniano di S. Mose 1'autuno corrente MDCCXXIX . . . 
 
 Venezia, Alvise Valvaseuse, 1729. J+l p. 15 cm . 
 
 Three acts. By Girolamo Giusti, who is not mentioned. Dedication, notice to the 
 reader, argument, scenario, cast, and name of the composer, Antonio Galeazzi. 
 
 SCHATZ 3419 
 
 Belmont und Constanze, oder: Die entfuehrung aus dem serail. 
 Eine operette in drey akten von C. F. Bretzner. Componirt vom 
 herrn kapellmeister Andre in Berlin. 
 
 Leipzig, Carl Friedrich Schneider, 1781. 72 p. 15% cm . 
 
 First performed at Berlin, Dobbelinssches Theater, May 25, 1781. SCHATZ 183 
 
 Belmont und Constanze oder Die entfuehrung aus dem serail. 
 Eine operette in drey akten von C. F. Bretzner. Componirt vom 
 herrn. hofmusikus Dieter in Stuttgart. 
 
 Stuttgart, Druckerey der Jierzoglichen Hohen Karls-Schule, 1784. 
 72 p. 16 cn . 
 
 First performed at Stuttgart, herzogl. Kl. Theater, 1784. SCHATZ 2574 
 
 Belmonte und Konstanze. L. T. of Mozart's Die entfiihrung aus 
 dem serail.
 
 214 LIBRARY OF CONGRESS 
 
 . . . Die belohnte rechtschaffenheit, ein schauspiel mit gesang in 
 einem akt. Verfasst und in musik gesezt von herrn Wagenseil. 
 
 n. i., n. d. [6] p. 16 cm . 
 
 At head of title: "Von der Kleinen Liebhaber gesellschaft wird den 23 und 26 
 maymonats 1785 aufgefuehrt," at Kaufbeuren. It was followed by the two act 
 "Das wunsch huetchen. Ein luatspiel." SCHATZ 10814 
 
 Belphegor; or, The wishes. A comic opera: as it was acted at the 
 
 Theatre Royal, Smoke-Alley. 
 
 [Dublin], Printed for the booksellers, 1788. 29 p. 15\ cm - 
 
 Neither the author, Miles Peter Andrews, is mentioned nor the composer Francois 
 
 Hippolyte Barth616mon. 
 
 First performed at London, Drury Lane, March 17, 1778. LONOE 223 
 
 Belsazer. A. T. of Telemann's Das ende der Babylonischen mo- 
 narchie. 
 
 The benevolent planters. A dramatic piece, as performed at the 
 Theatre Royal, Haymarket. Written by Thomas Bellamy, [vig- 
 nette] 
 
 London, J. Debrett, 1789. 3 p. I, 14, [2] p. 20 cm . 
 
 One act and prologue. Cast. A slavery abolition play in which there are a few 
 songs, one to the tune of "Rule Britannia." The [2] p. contain publisher's book- 
 lists. 
 
 First performed August, 1789, as "The friends, or, the benevolent planters." 
 
 LONGE 195 
 Benevolent tar. A. T. of Reeve's The purse. 
 
 Berengario re d'ltalia. Drama per musica. Da rappresentarsi 
 nel Teatro di Sant' Angelo il carnovale dell' anno 1709. Di Matteo 
 Noris . . . 
 
 Venezia, Marino Rossetti, 1709. 69, [1] p. 15 cm . 
 
 The additional p. contains a list of "Opere musicali" publ. by Antonio Bortoli. 
 
 Three acts. Dedication, argument, author's prefatory remarks, and scenario. 
 Girolamo Polani, the composer, is not mentioned. SCHATZ 8248 
 
 Berenice. O. T. of Antonio Salvi's text "Le gare di politica e 
 
 d'amore." 
 
 Berenice. Dramma per musica da rappresentarsi nel famosissimo 
 
 Teatro Grimani di S. Gio. Grisostomo. Nel carnovale dell' anno 
 
 MDCCXXXIV . . . 
 
 Venezia, Marino Rossetti, 1734- 
 
 Three acts. By Antonio Salvi who is not mentioned. Dedication by Domenico 
 Lalli, cast, argument, scenario, and name of Francesco Araya as composer. 
 
 First performed at Pratolino Teatro della Villa Medici, 1730. SCHATZ 305 
 
 Berenice, in einem singenden schau-spiele auff dem Hamburgischen 
 
 Schau-platze vorgestellet. 
 
 [Hamburg}, Conrad Neumann, 1702. Unpaged. 18\ cm - 
 
 Three acts. Neither Hinsch, the author, is mentioned nor Georg Bronner, the 
 
 composer. Text based on Zeno's "Lucio Vero." SCHATZ 1332 
 
 Berenice. Dramma per musica da rappresentarsi nel Teatro di S. 
 Angelo il carnovale dell' anno 1741 . . . 
 
 Venezia, Marino Rossetti, n. d. 58 p. 15% om . 
 
 Three acts. Author not mentioned and unknown to Schatz. Impresario's dedi- 
 cation, argument, scenario, cast, and name of Galuppi as composer. On a fly leaf 
 preceding the title page the substitute aria (I, 12) "II fiero mi tormenta." 
 
 First performed, as indicated, January 27, 1741 (Piovano). SCHATZ 3483
 
 OPERA LIBRETTOS 215 
 
 Berenice. Dramma da cantarsi nel Teatro celebre Grimani in S. 
 Gio. Grisostomo il carnovale MDCCXXV. 
 
 Venezia, Marino Rossetti, n. d. 66 p. I5\ cm . 
 
 Three acts. By Benedetto Pasqualigo, who is not mentioned. Argument, cast, 
 scenario, and name of Giuseppe Maria Orlandini as the composer. SCHATZ 7329 
 
 La Berenice. Drama per musica da rappresentarsi in Verona nel 
 Nuovo Teatro dell' Accademia Filarmonica nel carnovale dell' anno 
 1762 . . . 
 
 Verona, Dionisio Ramanzini, 1762. Ifi p. 17 cm . 
 
 Three acts. Dedication with name of Apostolo Zeno as the author (an alteration 
 of whose "Lucio Vero" this is), argument, cast, scenario, and name of David Perez 
 as the composer. SCHATZ 7879 
 
 Berenice. Dramma per musica da rappresentarsi nel Teatro d. S. 
 Angelo per la solita fiera dell' Ascensione dell' anno 1759 . . . 
 
 Venezia, Modesto Fenzo, 1759. 48 p. 15 cm . 
 
 Three acts. By Bartolomeo Vitturi, who is not mentioned. Impresario's dedi- 
 cation, argument, cast, scenario, and name of Salvatore Perillo as the composer. 
 ("La musica tutta nuova.") 
 
 First performed, as indicated, May 23, 1759. SCHATZ 7925 
 
 Berenice. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1771 . . . 
 
 Torino, Mairesse, n. d. viii, 60 p. 17 cm . 
 
 Three acts. By Jacopo Durandi, who is not mentioned. Argument, cast, scenario, 
 and names of Ignazio Platania as the composer of the opera, of Giuseppe Antonio 
 Le Messier of the ballet music. 
 
 First performed, as indicated, December 26, 1770. SCHATZ 8214 
 
 Berenice e Lucilla overo L'amar per virtu. Berenice und Lucilla, 
 oder Das tugendhaffte lieben, meistens aus dem italianischen genom- 
 men, und zu Darmstadt in einem sing-spiel vorgestellet den [blank] 
 Februarii im jahr 1710. 
 
 Darmstadt, Hoff-Buch-druckerey , n. d. 83 p. 18% cm . 
 
 Three acts. Argument. Neither Osiander, the author, nor Christoph Graupner, 
 the composer, is mentioned. SCHATZ 4119 
 
 Berenice und Lucilla oder Das tugendhaffte lieben. See Graup- 
 ner's Berenice e Lucilla. 
 
 La bergere des Alpes. Pastorale en trois actes, et en vers, 
 me!4e de chants. Par M. Marmontel, de 1'Academie francoise. 
 Avignon, Louis Chambeau, 1766. 82 p. 19 cm . 
 
 The composer, Joseph Kohault, is not mentioned. 
 
 First performed at Paris, Com^die italienne, February 19, 1766. ML 48.M2 I 
 
 - La bergere des Alpes, pastorale en trois actes, et en vers, me'le'e 
 de chant. Par M. Marmontel . . . 
 
 Bruxelles, J. J. Boucherie & compagnie, 1770. 44 P- 18 cm . 
 The composer, Joseph Kohault, is not mentioned. On p. 39-44: "Airs de la 
 Bergere des Alpes;" "C'est dans le bois" (I, 1); "Oui, la nature est la mere" (I, 9); 
 "Si les talents & les grades" (?); "Sous ces gazons depuis deux ans" (III, 4). 
 
 SCHATZ 5204 
 
 La bergerie. Entree in Niel's Les romans.
 
 216 LIBRARY OF CONGRESS 
 
 Die bergknappen, ein originalsingspiel in einem aufzug. Aufge- 
 fuehrt auf der hochfuerstl. ThurnundTaxischen Schaubuehne. Die 
 musik ist vom hrn. Paul Kuerzinger. 
 
 Regensburg, mit Breitfeldischen schriften, 1773. 24 p. 15 cm . 
 
 Text by Paul Weidmann, who is not mentioned. 
 
 First performed 1773, as indicated. SCHATZ 5337 
 
 Die bergknappen, ein qriginalsingspiel von einem aufzuge. Aufge- 
 ftihrt auf der K. K. Nationalschaubiihne. Die musik ist vom herrn 
 Umlauf. 
 
 Wien, bey dem Logenmeister, 1778. 26 p. 16 cm . 
 
 By Paul Weidmann, who is not mentioned. 
 
 First performed, as indicated: privately, for Joseph II, on January 16, 1778; pub- 
 licly, on February 17, 1778. (Haas has this date on p. xii of his ed. of the opera, 1911; 
 on p. x he has February 18) SCHATZ 10524 
 
 Berilowitz in Tartaria, ballo eroico pantomime. See Fioravanti's 
 L'amor per interesse. 
 
 II Bertarido, re de Longobardi. Drama per music a da rappresen- 
 tarsi in Venezia nel Teatro Tron di S. Cassiano 1'autuno dell' anno 
 MDCCXXVII. 
 
 Venezia, Marino Rossetti, 1727. 59 p. 14 cm . 
 
 Three acts. Argument, preface, cast, and names of the composer of the opera, 
 Giuseppe Boniventi, and of the ballet airs, Giacomo Mioto Antonio Salvi. The 
 unmentioned author is Antonio Salvi, whose altered "Rodelinda, regina de' Longo- 
 bardi " this is. SCHATZ 1185 
 
 Bertholde a la ville. Parody of Ciampi's Bertoldo, Bertoldino e 
 Cacasenno. 
 
 Bertoldo. Drama tragicomic da rappresentarsi nel Teatro di San 
 Fantino il carnovale dell' anno 1717. 
 
 Venezia, CJiristoforo Bortoli, 1717. 48 p. 
 Three acts. Prefatory note and scenario. Neither the librettist, Francesco Pas- 
 sarini, is mentioned, nor the composer, Girolamo Bassani. SCHATZ 635 
 
 II Bertoldo. Dramma giocoso per musica da rappresen- 
 tarsi nel Regio Teatro di via delta Pergola nel carnevale del 
 MDCCLXXXVIII . . . 
 
 Firenze, Stamperia gia Albizziniana, n. d. 64 p- I6\ cm . 
 
 Two acts. By Lorenzo da Ponte, with his name and that of the composer, Antonio 
 Brunetti. ("La musica e tutta nuova.") With the opera were performed Le 
 Feyre's ballets, "II Cristoforo Colombo nell' Indie, ballo eroico tragico" and "Le 
 figlie astute." The composers of the music are not mentioned. SCHATZ 1363 
 
 - Bertoldo e Bertoldino. Dramma giocoso per musica da rappre- 
 sentarsi in Geneva nel Teatro da S. Agostino Testate del 1791 . . . 
 Genova, Stamperia Gesiniana, n. d. 68 p. 13% cm . 
 
 Two acts. A much-condensed version of " II Bertoldo. ' ' The first act, for instance, 
 has only 25 scenes, instead of 28, the opening chorus, "Di re si possente," the fifth 
 scene, "Ah me la pagnerai," the tenth, "Quanti diversi affetti," etc., being sup- 
 pressed. Impresario's dedication, cast, scenario, and name -of Antonio Brunetti as 
 composer. SCHATZ 1364 
 
 Bertoldo. See Ciampi's Bertoldo, Bertoldino e Cacasseno.
 
 OPERA LIBRETTOS 217 
 
 Bertoldo, ein lustiges singspiel in zwey aufzuegen. Aufgefuehrt im 
 K. K. Hoftheater. 
 
 Wien, n. pull, 1787. 79 p. 16 cm . 
 
 Two acts. German text only. Lorenzo da Ponte is mentioned as the author, 
 Francesco Piticchio as the composer. The translator is not mentioned. 
 
 First performed, as indicated, June 22, 1787. SCHATZ 8202 
 
 Bertoldo, Bertoldino e Cacasenno. 
 
 [155}-214 p- 16$ cm . (Carlo Goldoni, Opere drammatiche giocose, t. i, 
 Torino, 1757.) 
 
 Three acts. In his humorous prefatory note on the text Goldoni says: 
 "A proposito del poeta, fa egli la sua protesta . . . e che, se ha fatto un cattivo 
 libro in dieci giorni, non 1'ha saputo far meglio. Circa le arie, alcune sono figlie 
 legittime, e naturali del libro, alcune adattate, altre spurie, ed altre adulterine per 
 comodo, e compiacimento de' virtuosi, onde ec." ML 49.A2G6 
 
 Bertoldo, Bertoldino e Cacasenno. Dramma di tre atti per 
 musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, t. 39, 
 [189}-248 p. 18 cm . PQ 
 
 Bertoldo, Bertoldino, e Cacasenno, dramma comico per musica 
 da rappresentarsi nel Teatro Giusttniano di S. Moise il carnovale dell' 
 anno 1749. 
 
 Venezia, Modesto Fenzo, 1749. 60 p. 14\ cm . 
 
 Three acts. Neither the author, Carlo Goldoni, is mentioned, nor Vincenzo Legren- 
 zio Ciampi, the composer. Goldoni's witty notice to the reader ends: 
 
 "Circa le arie, alcune sono figlie legitime, e naturali del libro, alcune addotate, 
 altre spurie, ed altre adulterine per commodo, e compiacimento de virtuosi, onde, ec." 
 
 This is the real and original title of Goldoni's famous libretto. All statements that 
 Ciampi composed another opera called "Bertoldo in (or alia) corte," first performed 
 at Parma are incorrect, because a comparison of the librettos (all in three acts) in the 
 L. C. proves that "Bertoldo in corte is practically identical with "Bertoldo, Ber- 
 toldino e Cacasseno." The opera became known also simply as "Bertoldo," but 
 "Bertoldo in (or alia) corte" appears to have become the most popular title, and as 
 such Ciampi's opera was first performed at Paris on November 22, or November 9, 1753, 
 as a pasticcio. For instance (compare De La Laurencie's essay mentioned below) 
 " Grandi, e ver son " was from Leo's " Olimpiade " and " Quando sento spirarmi " 
 was parodied from his "Semaisenti spirarti " in his " Clemenza di Tito. " "La 
 donna onorata" does not appear in the original Venice, 1749 libretto of Ciampi's 
 opera, though in the Brunswick and Strassburg librettos analized by me. "Cosi 
 fugge e spaventosa" is not in Goldoni's text. For a detailed comparison of these 
 different editions see the author's study on Ciampi's opera and Favart'a " Ninette a 
 la cour" in the Sammelbande d. I. M. G. 1910/11, p. 525-564. 
 
 To this essay I wish to add here that there exist two collections of "Favourite 
 Songs . . . Bertoldo," not only one, as I presumed. The Royal College of Music in 
 London possess both, with this ms. note on the title page, as Mr. Squire informed 
 me: "Published originally in 1749 and republished with no. 1 in 1762." The L. of 
 C. copy is identical with No. 2. The contents of No. 1 are: 
 
 1. Sive Bertoldo mio garbato. Ciampi 
 
 (Text not by Goldoni.) 
 
 2. Sono allegra[, son contenta]. Ciampi 
 
 (Text from Goldoni's La buona figliuola maritata.) 
 
 3. Ciascun mi dice. Ciampi 
 
 (Text not in the original Venice, 1749, libretto, but in the 
 Brunswick and Ferrara eds.) 
 
 4. Se nessuno ora non c'e. anonymous 
 
 (Text from Goldoni's II mercato di Malmantile.) 
 
 5. Ah poi che pietb. Galuppi 
 
 (Text not by Goldoni.) SCHATZ 1882
 
 218 LIBRARY OF CONGRESS 
 
 Bertoldo, Bertoldino, e Cacasenno Continued. 
 
 - Bertoldo, Bertoldino e Cacasenno. Dramma giocosa [!] per 
 musica da rappresentarsi nel Nuovo Teatro dell' Opera-pantomima 
 di Bronsevico. 
 
 n. i., [1750?] 147 p. 18\. 
 
 Three acts. Scenario and name of the composer, Vincenzo Ciampi, German title 
 page "Bertoldus, Bertoldinus und Cacasennus and text face the Italian. 
 
 SCHATZ 1879 
 
 - Bertoldo. Dramma comico per musica da rappresentarsi nel 
 Teatro Nuovo di Argentina. 
 
 Argentina, Giovanni Henrico Heitz, 1751. 4@ P- 15 cm . 
 Three acts. Notice to the reader, cast, and name of the composer, Vincenzo 
 Ciampi. 
 First performed at Strassburg (Argentina) in 1751, as indicated. SCHATZ 1876 
 
 Bertoldo in corte. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro Bonacossi da S. Stefano il carnevale delP anno 
 1755 . . . 
 
 Ferrara, Giuseppe Rinaldi, n. d. 4 8 P- lW m - 
 
 Three acts. Impresario's dedication, Goldoni's original "Bertoldo, Bertoldino e 
 Cacasenno" preface (with exception of the last paragraph), cast, and name of the, 
 composer, Vincenzo Ciampi. The parts of "Aurelia, sorella del re" and "Lisaura, 
 figlia del re, e della regina," have oeen dropped and the whole libretto has been 
 considerably condensed and modified. For purposes of identification may be men- 
 tioned that the opening chorus "Amor discenda" has been dropped and that the 
 opera now begins with the words "Amico, in questa alpestre," that its third act has 
 only eight scenes instead of eleven, the second fifteen instead of eighteen, etc. 
 
 SCHATZ 1887 
 
 Bertholde a la ville, opera-comique, en un acte. Represent^ 
 pour la premiere fois sur le Theatre [!] de la Foire S. Germain le 9 
 mars 1754. 
 
 Paris, Duchesne, 1754. 55, [1] p. 19\ cm . 
 
 Cast. On p. 31-55 the same airs as in the 1766 ed., which compare for authors 
 and composer. On last p. is a list of "Opera-comiques nouveaux." 
 
 ML 50.2.B37C31 
 
 - Bertholde a la ville, opera-comique en un acte. Represent e 
 pour la premiere fois sur le Theatre de la Foire S. Germain, le 9 mars 
 1754. 
 
 La Haye, Jean Neaulme, 1755. 28 p. 19 cm . 
 
 Neither authors nor composer mentioned. (See next entry.) ML 48. A4 
 
 Bertholde a la ville. Opera-comique, en un acte. Represente 
 pour la premiere fois sur le Theatre de la Foire S. Germain le 9 mars 
 1754. 
 
 Paris, la veuve Duchesne, 1766. 55 p. 18% cm . 
 
 Cast. On p. 31-55 the "Airs de Bertholde," "Quand le hasard ensemble," "Tel 
 qu'un petit oiseau," "Votre coeur en vain," "A tant de charmes," "Dieu! quel 
 paix," "Le Ciel va rendre." As authors of this parody en vaudevilles of Ciampi's 
 opera are mentioned by different authorities Anseaume alone, or de Lattaignan and 
 Anseaume, or Vad6, Anseaume and Hautemer. All mention Lasalle d'Offemont 
 as composer, resp. arranger of the music, which was selected from French vaudevilles 
 and the six ariettes from Ciampi's opera and Cocchi'a "La mascherata." 
 
 SCHATZ 1883 
 
 - Le caprice amoureux, ou Ninette a la cour. Come'die en trois 
 actes, melSe d'ariettes, parodies de Bertolde a la court. Par
 
 OPERA LIBRETTOS 219 
 
 Bertoldo, Bertoldino, e Cacasenno Continued. 
 
 Favart. Repre"sent<3 pour la premiere fois par les Comediens fran- 
 
 cois ordinaires du roi le 12 fevrier 1757 [!] 
 
 Paris, N. B. Duchesne, 1758. 48 p. 19% cm . 
 
 The date of performance should be 1755. (See next entry.) ML 50.2.B37C33 
 
 Le caprice amoureux ou Ninette a la cour, comedie en deux 
 actes, melee d'ariettes, parodiees de Bertolde a la cour par Monsieur 
 Favart. Represented pour la premiere fois par les Comediens ita- 
 liens ordinaires du Roi, le mercredi 12 mars 1756 et ci-devant en 
 trois actes le 12 f evrier 1755. Nouvelle Edition corrige'e & conforme 
 a la representation. 
 
 Paris, N. B. Duchesne, 1759. 86 p. 18 cm . 
 
 Cast. On p. 81-82 "Table dea ariettes de Ninette a la cour, gravees en quatre 
 parties" with the foot-note "Les ariettes marquees dans la table par une S, ne se 
 chantent point a la Representation; mais se trouvent gravees dans la musique." 
 These are in partie I, no. 9, "En tourbillon, un papillon," in partie II, no. 18, "Au 
 sein des alarmes," and no. 21, "Qu'il a de gentillesse," in partie III, no. 23, "Je 
 veux tirer vengeance," no. 24, "Assise sur le bord d'une onde," no. 25 "Non, non, 
 je n'ai peur," and no. 27 "Quatuor." On p. 83-86 "Catalogue des pieces des come- 
 dies francoise & italienne, & opera comiques qui se vendent detaches." The text 
 is a close parody of Goldoni's "Bertoldo," but the music is a pasticcio from Ciampi'a 
 opera, and operas by Latilla, Cocchi, Selitti, Jommelli, Vinci, etc. Duni is said by 
 some authorities to have arranged the score for Favart, but this is not certain. The 
 whole complicated matter of text and music has been investigated by the author in 
 the study mentioned above. Compare also De La Laurencie's article on "Les 
 bouffons," S. I. M., 1912, nos. 6-8. The music of the " O dell' Egitto," final chorus 
 in Rinaldo di Capua's La Zingara " and his " Toute mon ame " is, as I since learned, 
 borrowed from Basse's " Leucippo." SCHATZ 1877 
 
 Le caprice amoureux, ou Ninette a la cour, come'die en deux 
 actes, meslee d'ariettes, parodiees de Bertolde a la cour; par M. 
 Favart: Representee pour la premiere fois par les Come'diens italiens 
 ordinaires du roi, le mercredi 12 mars 1756. 
 
 n. i., n. d. 120 p. 19 cm . (Theatre de M. Favart, Paris, Duchesne, 
 1763-77, t. Hi.) 
 
 No cast. No composer mentioned. No music printed in the text, but the text 
 is followed on p. [81J-98 by twenty-seven "Ariettes de Ninette a la cour, parodie . . . 
 Nouvelle Edition corrige, et conforme aux representations" and on p. [97J-120 by 
 six "Ariettes, pour servir de supplement ... with foot-note: "Ces anettes ne se 
 chantent point a la representation; mais elles ont toujours 6t6 gravies dans la 
 musique. They are "En tourbillon, un papillon," "Au sein des alarmes," "Qu'il 
 a de zentillesse, "Je veux tirer vengeance, "Assise sur les bords," "Non, non, je 
 n'ai point peur." Of these only the words of "Qu'il a de zentillesse" appear in the 
 present text (II, 10) and the same air is printed as no. 21 of the "Ariettes." The 
 others are remnants of the three-act version. ML 49.A2F1 
 
 Der verliebte eigensinn, oder Nannerl bei hofe, eine komische 
 oper in zween aufzuegen. Aus dem franzoesischen des herrn Favart 
 tiebersetzt [vignettel. 
 
 Pressburg, Anton Loewe, 1778. 1 p. 1., 70 p. 16% cm . 
 
 German version by Carl Ludwig Reuling, with cast. 
 
 First performed at Pressburg, Neues Theater, in 1778. SCHATZ 1878 
 
 Bondepigen ved hoffet. En lyrisck comedie i to handlinger, af 
 Favart. Musiken af Duny; til samme musik oversat af Niels Krog 
 Bredal. 
 
 n.i.,n.d. 112 p. 16 cm . 
 
 Duni did not compose the music, but possibly arranged the score for Favart. 
 First performed at Copenhagen, Hoftheater i Christiansborg Slot, March 12, 1776. 
 
 SCHATZ 2852
 
 220 LIBRARY OF CONGRESS 
 
 Bertoldo in corte. See Ciampi's Bertoldo, Bertoldino e Cacasseno. 
 Die besaenftigte mitbuhlerinnen. Tr. of Le rival! placate. 
 
 Gesaenge in clem nachspiel Der beschaemte geizhals. Verfertigt 
 und in musik gesezt von herrn Wagenseil. 
 
 Kaufbeuren, Dorn, 1787. [12] p. 16 cm . 
 
 One act. A contemporary hand has written on the title page: "Aufgefuert d. 30 
 oct. l ten und 6 ten nov. 1787 ; on p. [2] the cast and the receipts. The performances 
 were given at the Theater der burgerlichen Agenten Gesellschaft AC. 
 
 SCHATZ 10815 
 
 Der beschluss des carnevals. Opera comiaue auf dem Ham- 
 burgischen Schau-platze vorgestellet im monat feoruarii anno 1724. 
 [Hamburg], Caspar Jalchel, n. d. Unpaged. 18 cm . 
 
 A pasticcio in three acts, of which the first two have French text, and the last 
 German. In the anonymous German avertissement we are informed that the first act 
 is based on "L'Europe galante," composed by Campra. 
 
 "Weil darinnen ein turckischer aufzug vorkommt, der bey einer ansehnlichen 
 menge von personen so viel fremdes als laecherliches in sich haelt." 
 
 The third act consists "aus einer neu-verfertigten operette comiaue," which Schatz 
 attributes to Telemann (text by Schwemschu), under the title "II capitano." The 
 second act is Montfleury's comedy "La fille capitaine," and is spoken (in French!) 
 throughout. Surely, one of the oddest mixtures imaginable! SCHATZ 1564 
 
 Der besiegte zauber. Tr. of Siissmayer's L'incanto superato. 
 Den beskaemmede gnier. Tr. of Scolari's L'avaro burlato. 
 Den besnaerede Cadi. Tr. of Monsigny's Le cadi dupe". 
 
 Die bestaendigkeit besieget den betrug. German title of 
 Graupner's La costanza vince Finganno. 
 
 Die bestandigkeit in der liebe. A. T. of Anfossi's Isabella und 
 Rodrigo. 
 
 Das beste komt zulezt. A. T. of Kaffka's Der guckkasten. 
 Die bestrafte eifersucht. Tr. of Cimarosa's II marito disperato. 
 
 Gesaenge aus dem singspiele: Der bestrafte hochmuth, oder: 
 Liebe macht alle staende gleich, in drey aufzuegen. Die musik ist 
 von Gerl. 
 
 Hamburg, Robe und Freystatzky wittwe, 1798. Ifi p. 16% cm . 
 
 Text by Franz Joseph Fransky after Coltellini's "La contessina." 
 First performed at Hamburg, Theater beim Gansemarkt, September 10, 1798; pre- 
 viously as " Graf Balbarone oder Die maskerade " at Briinn, National-theater, May, 
 28, 1796. 
 
 SCHATZ 3785 
 
 Der bestuerzte und wieder erhoehte Nebucadnezar, koenig zu 
 Babylon, unter dem grossen propheten Daniel, in einem singespiel 
 auf dem grossen Hamburgiscnen Schau-platze vorgestellet im jahr 
 1704. 
 
 [Hamburg], mit Greftingischen schrijften, n. d. Unpaged. 
 Three acts. Neither the author, Christian Friedrich Hunold (Menantes) is men- 
 tioned, nor the composer, Reinhard Keiser. Scenario and " Vorrede " with argument. 
 
 SCHATZ 5092
 
 OPERA LIBRETTOS 221 
 
 Die betrogene arglist. See WeigPs Das unniitze bestreben. 
 Der betrogene geizhals. Tr. of Paisiello's L'avaro deluso. 
 
 Der betrogene geizige, oder Wer das glueck hat. Tr. of Paisiello's 
 La discordia fortunata. 
 
 Die betrogene staats-liebe, oder Die unglueckselige Cleopatra, 
 koenigin von Egypten, in einem singespiel auf dem Hamburgischen 
 Schau-PJatz vorgestellet. 
 
 Hamburg, Nicolaus Spieringks wittwe, 1704- Unpaged. 19 cm . 
 
 Three acts. The "Historische einleitung" is not signed by the author, Friedrich 
 Christian Feustking, nor is the composer, Johann Mattheson, mentioned. 
 
 First performed, as indicated, October 20, 1704. SCHATZ 6101 
 
 Die betrogene und nachmals vergoetterte Ariadne, in einem 
 singe-spiele auff dem Hamburgischen Schau-platze im jahr 1722 vor- 
 gestellet. 
 
 [Hamburg], Casper Jakhel, n. d. Unpaged. 18$ cm . 
 
 Three acts and prologue. Cast, scenario, and name of Reinhard Keiser as the 
 composer. The last page contains two substitute arias. Many arias have Italian 
 text added to the German. The author, resp. translator, Christian Heinrich Postel, 
 is not mentioned. According to Schatz the title of the text originally was "Die 
 echone und getreue Ariadne." SCHATZ 5079 
 
 Der betrogene vormund oder Das einfaeltige maedgen. Tr. of von 
 Schacht's II tutore deluso o La semplice. 
 
 Die betrogenen kastellane. Tr. of Fabrizj's Li castellani burlati. 
 
 Der betrug aus liebe, oder Der schuss von Gaensewiz. Ein ko- 
 misches singspiel in drey aufzuegen. Durch den eleve Rudolph 
 Zumsteeg im musik gesezt. 
 
 Stuttgart, Christoph Gottfried Maentler, 1780. 63 p. 14\ cm . 
 
 Author not mentioned and unknown to Schatz. 
 
 First performed at Stuttgart, Hoftheater, 1780. SCHATZ 11293 
 
 Betrug durch aberglauben. Ein komisches singspiel in zwey 
 aufzuegen vom F. Eberl. Die musik dazu ist ganz neu von herrn 
 Karl Ditters, edlen von Dittersdorf. Aufgefuhrt im K. K. National- 
 Hoftheater. 
 
 [Vienna}, Zufinden beym logenmeister, n. d. 93 p. 15 cm . 
 Bound in with this "Arien aus . . . Una cosa rara . . . von Vinzenz Martini, 
 Wien, 1787." 
 
 First performed, as indicated, October 3, 1786. SCHATZ 2587 
 
 Der bettelstudent, oder Das donnerwetter. Ein originallustspiel 
 in zwey aufzuegen mit gesaengen. Die musik ist von herrn Peter 
 Whiter . . . 
 
 n. i., 1789. [405]-4-58 p. 17 cm . 
 
 Detached copy. By Paul Weidmann, who is not mentioned. 
 
 First performed at Munich, National Schaubuehne, February 2, 1785. 
 
 SCHATZ 11023 
 
 II Beverlei o sia II giouocatore inglese, ballet. See Gardi's II 
 nuovo convitato di pietra.
 
 222 LIBRARY OF CONGRESS 
 
 II bevitore, intermezzi per musica, da rappresentarsi nel Regio Teatro 
 alia corte di Dresda. L'anno 1747. 
 
 n. i., n. d. 79 p. 16 cm . 
 
 Three parts. Cast. Neither the author (unknown to Schatz) nor the composer, 
 Joh. Ad. Hasse, is mentioned. German title page, "Der saeuffer," and text face 
 Italian. 
 
 First performed, as indicated, January, 1747. SCHATZ 4520 
 
 Der bey dem allgemeinen welt-friede von dem grossen Augus- 
 tus geschlossene tempel des Janus auf dem lang-gewuenschten 
 fnedenfeste welches im jahr 1698 in Hamburg gefeiret ward in einem 
 singespiel vorgestellet. [vignette.] 
 
 Hamburg, Nicolaus Spieringk, n. d. Unpaged. 1S% C . 
 
 Three acts. Lengthy historical preface, delving even into numismatics, by the 
 author Christian Heinrich Postel. Neither he is mentioned, nor the composer, 
 Beinhard Keiser. The text of the opera is followed by 4 p. of text with title: "Nach 
 geendigter opera faehret Fama in einer wolcke herab und singet dem grossen kayser 
 Leopold zu ehren nachfolgendes. Auff dessen beschluss folget das feuer-werck. 
 Hamburg, Gedrucktbey Nicolaus Spieringk, 1698." 
 
 First performed at Hamburg Opernhaus beim Gansemarkt, June 9, 1698. 
 
 SCHATZ 5120 
 
 - Der bey dem. allgemeinen welt-frieden von dem grossen 
 Augustus geschlossene tempel des Janus, in einer opera auf 
 dem Hamburgischen Schau-platze aufs neue aufgefuehret im monath 
 octobris anno 1729. 
 
 [Hamburg], mit Stromerschen schrifften, n. d. Unpaged. 18\ cm . 
 
 Three acts. Neither the author, Christian Heinrich Postel, nor the composer, 
 Reinhard Keiser, is mentioned. The text is the same as in the edition of 1698 
 except that the dialogue of the scene III, 13, was suppressed, the final aria "Edler 
 friede sey willkommen " now forming part of III, 12. SCHATZ 5078 
 
 Die beyden barons von Rocca Azura. Tr. of Cimarosa's I due 
 baroni di Rocca Azurra. 
 
 Die beyden eifersuechtigen. Tr. of Martin y Soler's Li sposi in 
 contrasto. 
 
 Die beyden fluechtlinge. Tr. of Paisiello's Le gare generose. 
 
 Die beyden kleinen Savoyarden. Tr. of Dalayrac's Les deux 
 petits Savoyards. 
 
 Die bezauberte insel. A. T. of P. Ritter's Der sturm. 
 
 Der bezauberte kranz, ballet. See Piccinni's Das gute maegdchen. 
 
 Die bezauberten. Eine komische oper in einem aufzuge. Nach 
 dem franzosischen der Madame Favart. Verfertigt und in musik 
 gesetzt von Johann Andre". 
 
 Berlin, Christian Friedrich Himburg, 1777. 70 p. 15 cm . 
 
 Based on "Les ensorceles ou Jeannot et Jeannette," parody of "Les surprises de 
 1'ampur" by de Marivaux. 
 
 First performed at Berlin, Dobbelinssches Theater, October 18, 1777. 
 
 SCHATZ 184 
 
 Bezestan o Mercato di schavi, ballet. See M. A. Valentini's 
 Solimano.
 
 OPERA LIBRETTOS 223 
 
 Bianca de' Rossi, ballet. See P. Guglielmi's La pupilla scaltra. 
 Bianca de' Rossi, ballet. See Tarchi's Dorval e Virginia. 
 
 Bianca de' Rossi. Dramma nuovo per musica da rappresentarsi 
 nel nobilissimo Teatro Venier in San Benedetto il carnovale dell' 
 anno 1797. 
 
 Venezia, Modesto Fenzo, 1797. 43 p. 'IS. 
 
 Three acts. By Mattia Botturini, who is not mentioned. He makes this curious 
 remark in a prefatory note : 
 
 " L'unico avvisp, ch' egli [1'autpre] avanza al pubblico, e ch' esiste su questo soggetto 
 una tragedia del Signor abbate Pier Antonio Meneghelli, intitolata anch' essal?wmca 
 de' Rossi, uscita in Padova dalla etamperia di Gio. Antonio Gonzati, e rappresentata in 
 questa Dpminante e in altre citta d' Italia, nonche un ballo pantomimo composto dal 
 Signor Giuseppe Trafieri ed eseguito nel nobilissimo Teatro di San Benedetto il car- 
 novale dell' anno 1793." 
 
 Cast, scenario and name of Vittorio Trento as the composer. Whether or not he 
 used the music of the 1793 ballet which he composed is not mentioned. On p. 21-25 
 cast and description of Maria de' Carp's "Oscar e Malvina, ballo eroico pantomimo," 
 "musica tutta nuova . . . del Sig. Giuseppe Nucci;" and on p. 39^0, brief descrip- 
 tion, without name of the composer, of the music of Giuseppe Domenico de Rossy's 
 ballet, "Mysis ed Eufrasia ossia I due gemelli." 
 
 First performed, as indicated, January 14, 1797. SCHATZ 10418 
 
 Biblis, tragedie, representee par 1'Acade'mie royale de musique, Fan 
 1732. Paroles de M. Fleury. Musique de M. La Coste. CXVII. 
 opera. 
 
 n. i., n. d. 14 cm - pi-, 205-264 P- (Recueil general des opera, t. xv, 
 Paris, 1739.) 
 
 Detached copy. Five acts and prologue. 
 
 First performed, as indicated, November 6, 1732. SCHATZ 5352 
 
 Second copy. ML 48. R4 
 
 Bickerstaff's TJnburied dead. A moral drama. As acted at the 
 Theatre-Royal in Lincoln 's-Inn-Fields . . . 
 
 London, J. Watts, 1748. 4 p. I, 80, [2} p. 21 m . 
 Two acts and epilogue. Cast and preface. Interspersed with songs', the composer 
 of which is not mentioned. Author unknown to Clarence. LONQE 271 
 
 First performed as indicated, January 14, 1743 (Genest). 
 
 Gesaenge aus dem schauspiele: Biondetta. 
 n. i., n. d. [8] p. W\. 
 
 Four acts. Neither the author, Karl Christian Engel, nor the composer, Friedrich 
 Adam Hiller, is mentioned. 
 
 First performed at Schwerin, Theater im Ballhause, July 14, 1790. SCHATZ 4715 
 
 La birba. Intermezzo. 
 
 [210\-230 p. 16\ cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. iv, Torino, 1757.) 
 
 Two parts. Original composer unknown to Schatz. ML 49.A2G6 
 
 - La birba. Intermezzo di due parti per musica. Rappresentato per 
 la prima volta in Venezia il carnovale dell' anno MDOCKXXIV. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, t. 35, 
 [71}-93 p. 18% cm . PQ 
 
 Li birbi. Intermezzi da rappresentarsi in musica nel Teatro di S. 
 Angelo nel carnevale 1732. 
 
 Venezia, Carlo Buonarrigo, 1732. 12 p. 15 cm . 
 
 Two intermezzi . By Antonio Zanetti, who is not mentioned. Michele Fini is men- 
 tioned aa the composer. Cast. SCHATZ 3105
 
 224 LIBRARY OF CONGRESS 
 
 Li birbi. Intermezzo da rappresentarsi in musica nel Theatre nuovo 
 delF Opera pantomima, de piccoli Hollandesi di Nicolini. Die schel- 
 men, em musicalisches zwischenspiel. Vorgestellet auf deni neuen 
 Theater in der Opera pantomima von denen hollaendischen kindern 
 des herrn Nicolini. 
 
 Braunschweig, Keitel, n. d. Unpaged. 19\ cm . 
 
 Two parts. By Antonio Zanetti, who is not mentioned. German text facea 
 Italian. Cast and name of the composer, "Ignatio Fiorillo Napoletano." 
 
 First performed as indicated, 1749; at Hamburg. Neumarkt by the same company, 
 December 2, 1748; at Prague, by the same company in the same year. SCHATZ 3199 
 
 The birth-day, or, The prince of Arragon. A dramatick piece, 
 with songs. In two acts. As performed at the Theatre-Royal, Hay- 
 Market. Written by J. O'Keefe. 
 
 London, T. Cadell, 1783. 2 p. I, iv, [4], 38 p. 21 p. 
 
 Prologue, cast, and O'Keefe's dedication to the Prince of Wales, dated London, 
 August 26, 1783. Of the nine songs, etc., the music of six is indicated as being by 
 Samuel Arnold, of two as by Piccinni. The finale-chorus of the second act is with- 
 out composer's name. 
 
 First performed August 12, 1783,as indicated. LONGE 164 
 
 The birth of the Prince of Wales. A. T. of Attwood's Caernarvon 
 Castle. 
 
 Die biss in und nach dem todt unerhoerte treue des Orpheus. 
 L. T. of Reiser's Orpheus. 
 
 Bitten und erhoerung. Ein singspiel womit das geburtstagsfest 
 des koenigs am 24sten januar dieses jahres von der Waeserschen 
 gesellschaft zu Breslau gefeiert worden. 
 
 p. 273-281. 18\ cm . (LiUeratur und Theater Zeitung, Berlin, 1783}. 
 
 Footnote by the editor: "Hat den herrn kammer-referendarius Berger in Breslau 
 zum verfasser, und die musik ist vom herrn [Johann Christian] Kaffka dazu ver- 
 fertigt worden . ' ' SCHATZ 4772 
 
 La bizarra contadina. Commedia per musica di Giuseppe Palomba 
 da rappresentarsi nel Teatro Nuovo sopra Toledo per second' opera 
 di quest' anno 1790. 
 
 Napoli, n. putt., 1790. 47 p. 15\ cm . 
 
 Two acts. Cast and name of Gaetano Marinelli as the composer. SCHATZ 5959 
 
 La bizzarria degli umori. Farsetta per musica a cinque voci da 
 rappresentarsi nel Teatro Capranica nel carnevale dell' anno 1777 . . . 
 
 Roma, Ottavio PuccineUi, 1777. 47 p. 15 cm . 
 
 Two acts. Author is not mentioned and is unknown to Schatz. Impresario's dedi- 
 cation, cast, and name of Giuseppe Gazzaniga as the composer. SCHATZ 3684 
 
 Le bizzarie del bel sesso. A. T. of the ballet La vedova ingegnosa. 
 
 Blaise et Babet pu La suite des Trois fermiers. Comedie en deux 
 actes, mSlee d'ariettes, par M. Monvel; repre"sentee pour la pre- 
 miere fois par les Comediens italiens ordinaires du roi, devant Leurs 
 Majeste"s, a Versailles, le 4 avril, & a Paris le 30 juin 1783. 
 
 Paris, Brunei, 1784. 56 p. 18% cm . 
 
 Cast. Dezdde, the composer, is not mentioned. The melodies of the "Chanson. 
 Lise chantoit dans la prairie" (I, 5) and of the "Romance. Entends ma voix" 
 (II, 5) are printed in the text SCHATZ 2514
 
 OPERA LIBRETTOS 225 
 
 Blaise et Babet Continued. 
 
 Gesaenge aus dem singspiele : Toeffel nnd Dortchen, in zwey 
 aufzuegen, nach Monvell. In musik gesetzt von Desaides. 
 Hamburg, J. M. Michaelsen, 1788. 20 p. 16% cm . 
 
 The translator is not mentioned. 
 
 First performed at Hamburg, Theater b. Gansemarkt, Oct. 13, 1788; at Mannheim, 
 Nationaltheater, Aug. 10, 1788. SCHATZ 2515 
 
 Blaise le savetier, opera comique, suivi de La n6ce de Nicaise, 
 intermede m61e de chants & de danses; par Monsieur S. . . . La 
 musique de M. Phillidor. Repre'sente' pour la premiere fois sur le 
 Theatre de 1'Opera comique de la Foire Saint Germain, le 9 mars 1759. 
 
 Paris, N. B. Duchesne, 1759. 31 p. 19\. 
 
 Imprimatur of date, June 27, 1759, cast and Avertissement by Sedaine, the author. 
 (See next entry.) ML 50.2.B39P4 
 
 Blaise le savetier, ope"ra comique, suivi de La noce de Nicaise; 
 intermede mele de chants & de danses: par M. S. . . . La musique 
 de M. Philidor. Represente pour la premiere fois sur le Theatre de 
 1'Opera-comique de la Foire Saint-Germain, le neuf mars mil sept 
 cent cinquante-neuf. 
 
 Paris, la veuve Duchesne, 1769. 38 p. 19*. 
 
 By Michel Jean Sedaine (not mentioned), who says in his avertissement: 
 "Si quelqu' un me reproche 1'attention avec la quelle j'ai 6crit la pantomime de 
 cette farce, qu'il fasse reflexion que le grand defaut de la plupart des ariettes au 
 theatre, est de se voir denuees d'action: soit que ce defaut vienne des paroles & de 
 la situation theatrale; soit que 1'acteur, seulement musicien, ne scacne point lea 
 revetir des geetes & du sentiment vrais." SCHATZ 8007 
 
 Blaise le savetier, opera comique, m61e d'ariettes, par Monsieur 
 S. . . . La musique de M. Philidor. 
 
 Paris, Duchesne, 1771. 29 p. 19 cm . 
 
 Sedaine's Avertissement not in this ed. SCHATZ 11736 
 
 Hanns der schuhflicker, ein shigspiel in einem aufzuge aus dem 
 franzoesischen uebersetzt mit musik. 
 
 Frankfurt am Mayn, mit Andrealischen schriften, 1772. 61 p, 9 
 p. (music) 16 cm . 
 
 Cast. Neither Joh. Heinr. Faber, the translator, nor Philidor, the composer, is 
 mentioned. Version used by Theob. Marchand's company. The music (voice and 
 bass) consists of: "Um vergniigt zu leben" (I, 4. "Tiens, tu me faia pitie"), "Nur 
 das geld kann" (I, 5. "L'argent seul fixe le caprice"). SCHATZ 8008 
 
 Blanche et vermeille, come'die pastorale, en deux actes et en prose, 
 melee de musique. Represented pour la premiere fois par les Come- 
 diens italiens ordinaires du roi, le mndi 5 mars 1781. 
 Paris, Thomas Brunei, 1781. 28 p. 21 cm . 
 
 Neither Jean Pierre Claris de Florian, the author, ia mentioned, nor Henri Joseph 
 Bigel, the composer. ML 50.2.B4R3 
 
 Der blaue schmetterling, oder Der sieg der natur ueber die 
 schwaermerey. Ein komisches singspiel in drey aufzuegen. Nach 
 Wieland. Sowohl die worte, als die musik, sind vom hrn. Maximihan 
 Ulbrich. Aufgefuehrt im K. K. Nationalhoftheater. 
 
 Wien, beym Logenmeister, 1782. 70 p. 15% cm . 
 
 First performed, as indicated, April 2, 1782. SCHATZ 10522 
 
 72251 VOL 114 15
 
 226 LIBRARY OF CONGRESS 
 
 Das'blendwerk. Tr. of Gre"try's La fausse magie. 
 
 The blind beggar of Bethnal Green. By R. Dodsley [vignette]. 
 
 )cm 
 
 London, Printed for /?. Dodsley, 1741. 44 p. 20' 
 On p. [5], advertisement of Dodsley 's "Publick register." 
 One act. Cast. The composer, Thomas Augustine Arne, is not mentioned. 
 First performed at London, Drury-Lane, April 3, 1741 (Genest). LONOE 124 
 
 Second copy. AC901 M5 v. 596 
 
 Blue-beard; or, Female curiosity! A dramatick romance; first 
 represented at the Theatre Royal Drury-Lane, on Tuesday, January 
 16, 1798. Written by George Colman, the younger . . . 
 
 London, Cadett and Davies, 1798. vi, [1], 54, [1] p. 21 cm . 
 
 Two acts. Cast and preface, with name of Michael Kelly as composer and com- 
 piler of the music, and statement that the piece is not a translation from the French 
 or any other language. In Corri, Dussek & co's vocal score "And silence reigns 
 within the walls " is headed as by Paesiello. LONGE 246 
 
 The airs, glees, choruses, etc. in the new pantomime of Blue Beard; 
 or, The flight of Harlequin. As performed at the Theatre-Royal, 
 Covent-Garden. Third edition. 
 London, T. Cadell, 1791. 20 p. 18 cm . 
 
 Two acts. Cast. The airs, "That all ride their hobbies" and "My name's Tippy 
 Bob," are headed as composed by William Reeve. LONGE 218 
 
 Blunders at Brighton. A. T. of Shield's The Irish mimic. 
 
 Die blut-durstige rache, oder Heliates und Olympia, in einem 
 singspiel auf den Hamburgischen Schau-platze vorzustellen. 
 
 [Hamburg], Spiering, 1709. Unpaged. 18\ cm . 
 
 Three acts . Text and music by Reinhard Keiser, who is not mentioned . Scenario 
 and argument. A few arias have Italian text added to the German. SCHATZ 5080 
 
 The boarding-school: or, The sham captain. An opera. As it is 
 perform'd at the Theatre Royal" in Drury-Lane, by His Majesty's 
 servants. Written by the author of the Beggar's wedding and The 
 Devil to pay. With the musick prefix'd to each song. 
 
 London, J. Watts, 1733. 44 p. 19. 
 
 One-act ballad opera. Cast, dedication signed by the author, Charles Coffey, and 
 table of the 23 songs, the airs of which are printed in the text with their titles, except 
 airs 1, 2, 12, which are headed, "set by Mr. Seedo." 
 
 First performed January 29, 1733, as indicated. LONGE 50 
 
 The boarding school: or, The sham captain. An opera. By 
 C. Coffey, Esq. 
 
 [185]-215 p. 19 cm . (Collection of the most esteemed farces and en- 
 tertainments, t. v., Edinburgh, 1792.} 
 
 Drury-Lane cast. Ballad opera, with the airs "set by Mr. Seedo." 
 
 SCHATZ 11753E 
 
 Die boese frau. Komisches original-singspiel in zwey aufzuegen. 
 1791. 
 
 n. i., n. d. [297}-392 p. 16 cm . (Herklots' Operetten, iv, Berlin, 
 1792.} 
 
 Detached copy. The composer, Ignatz Walter, is not mentioned. 
 First performed at Bremen, Theater an der Bastion beim Osterthore, November 3, 
 1794. SCHATZ 10858
 
 OPERA LIBRETTOS 227 
 
 La Bohemienne. See La Zingara, by Rinaldo cli Capua. 
 La boite de Pandore. See La faussefoire. 
 
 Le bon fils, opera en un acte. Paroles de Louis Hennequin, mu- 
 sique de L. S. Lebrun . . . Represent e, pour la premiere fois, sur 
 le Theatre de la rue Feydeau, le premier jour compl&nentaire de la 
 troisieme annee republicaine (17 septembre 1795, vieux style). 
 
 Paris, Huet, an guatrieme de la Republique, [1795-96}. 23 p. 20 cm . 
 
 Cast. Between p. 22-23 in contemporary ms. the added couplet for Lise's "Vous 
 jugerez de mon ivreese." ML 50.2. B7L3 
 
 Le bon fils, com6die, en un acte et en prose, melee d'ariettes; par 
 M. de Vaux. La musique, de M. Philidor. Represented, pour la 
 premiere fois, par les Comediens italiens ordinaires du roi, le lundi, 
 11 Janvier 1773. 
 
 Paris, la veuve Duchesne, 1773. iv, [6]-80, p. 4 p. (music) 17 cm . 
 
 The music consists of the vaudeville: ' ' Enfans voila votre. ' ' In his avertissement the 
 author repudiates the charge of plagiarism because of the great similarity of a scene 
 with one in Gr&ry's "Silvain." His own piece, he says, 
 
 "faite dans son origine pour un theatre desociete, avoit ete lue a ceux qui devoient 
 la jouer & a quelques gens de lettres plus d'un an avant la representation de Silvain. 
 C'est done le hasard qui a fait naltre la meme idee a deux poetes qui ne se connois- 
 soient pas." Nevertheless, he says, he has done all in his power to weaken the 
 resemblance. Further on he states, that the piece was at first called "Antoine Masson," 
 but "le public, apres la seconde representation, pr^vint 1'acteur qui 1'annoncoit & 
 prononca le bon fils." SCHATZ 8009 
 
 II bon ton. Dramma giocoso per musica da rappresentarsi nel 
 Teatro Giustiniani in S. Moise il carnovale dell' anno 1780. 
 Venezia, n. publ., n. d. 78 p. 18 cm . 
 
 Two acte. Author not mentioned and unknown to Schatz. Cast and name of 
 Joseph Schuster as the composer. ("La musica sara.") SCHATZ 9761 
 
 Le bon vivant, oder Die Leipziger messe, in einem singe- und lust- 
 spiel auff dem Hamburgischen Schau-Platz vorgestellet. Im jahr 
 1710. 
 
 Hamburg, Johan Niclas Gennagel, n. d. Unpaged. 19 cm . 
 
 Three acts. Preface in form of a commentary on his own piece by Weidemann, the 
 author. Neither he nor the composer, Reinhard Reiser, is mentioned . 
 
 SCHATZ 5121 
 
 Bondehovmod eller Ki0bmanden som adelsmand, og bondepigen 
 som fr0ken. Tr. of Picinni's II fumo villano. 
 
 Bondepigen ved hoffet. Tr. of Ciampi's Le caprice amoureux, ou 
 Ninette a la cour. 
 
 B0nderfolks elskov. Tr. of Lampugnani's L'amor contadino. 
 
 Bonduca: or. The British heroine. A tragedy. Acted at the 
 Theatre Royal. By His Majesty's servants. With a new enter- 
 tainment or musick, vocal and instrumental. Never printed or 
 acted before. 
 London, Printed for Richard BenOey, 1696. 4 p. L, 53, [3] p. 
 
 Three acte, prologue, and epilogue. Last (unnumb.) page contains Bentley's 
 book list. Cast, dedication by Geo. Powell, and his notice to the reader. Powell
 
 228 LIBRAE Y OF CONGRESS 
 
 Bonduca Continued . 
 
 says that a friend of his, name not given, is responsible for this revision and moderni- 
 zation of (Beaumont ? and) Fletcher's "Bonduca," that 
 
 "the whole play was revised quite through, and likewise studied up in one fort- 
 night." 
 
 In the dedication he says: 
 
 "'Tis a fabrickof antiquity; a foundation of that celebrated poetical architect, the 
 famous Fletcher; but with several alterations, besides the two first acts new writ. . . . 
 it has this further advantage, as being an English story; that the glory of worthies 
 and heroes sounds sweetest, where the musick is tuned at home ..." 
 
 This last is, of course, an allusion to Henry Purcell. 
 
 First performed 1695 (Squire). LONGE 208 
 
 Le bonheur de 1'illussion. A. T. of Piron's text Ijes chimeres. 
 
 La bonne aniie. A. T. of Desbrosses' Les deux cousines. 
 
 La bonne femme. Parody of Gervais' Hipermnestre. 
 
 La bonne femme ou Le Phe"nix. Parody of Gluck's Alceste. 
 
 Le bonne homme misere. A. T. of Gaveaux Le diable couleur de 
 rose. 
 
 Les bons et les medians, ou Philemon et Baucis, pantomime, en 
 deux actes; par M. Audinot. Represented, pour la premiere fois, 
 sur le Theatre de rAmbigu-comique, le premier Janvier 1783. 
 Paris, Cailleau, 1783. 18 p. 18% cm . 
 
 Two acts. Scene by scene description of the action. The composer of the music 
 is not mentioned. In an Avertissement the publisher says: 
 
 "... Grand peintre & grand machiniste, le chevalier Servandoni porta a sa 
 perfection la Pantomime a Machines. Personne ne poussa plus loin que ce fameux 
 artiste, 1'art de faire jouer les decorations, d'en multiplier les effets, de les varier, 
 de les opposer avec autant de rapidite". 
 
 "Ne pouvant employer aucun de ces grands moyens, le directeur de PAmbigu- 
 Comique puisa dans la nature meme un nouveau genre de pantomime. Une action 
 simple & suivi, des situations inte'ressaiates, agreables, des tableaux pittoresques, 
 vanes & multiplies, qui tiennent toujours au sujet, voila la tache que cet entre- 
 preneur s'est impos6e. 
 
 "La Belle au bois dormant, fut le premier & 1'un des plus agreables ouvrages 
 qu'il ait offert au public, & le succ<s constant que cette pantomime a eu toutes les 
 fois qu'on 1'a remise au theatre, dispense d'entrer, a cet egard, dans de plus grands 
 details. 
 
 "Bientot les quatre Fils Aymon & Pierre de Provence,, qui succ^derent a la Belle 
 au bois dormant, obtinrent les applaudissemens les plus encourageans. 
 
 "Enfin, le Prince Noir & Blanc & Dorothee, semblent avoir reunis tous les suffrages 
 d'un public, qui donne toujours une nouyelle preuve d'indulgence & d'inte>et a 
 chaque effort nouveau que Ton fait pour lui plaire. . . . 
 
 "L'effet de ces sortes d 'ouvrages, est de parler d'abord aux yeux, & de n'arriver 
 au coeur ou a 1'esprit, que par le secours de cet organe, & d'une musique destinee a 
 remplacer le dialogue. On pense que leurs programmes n'en doivent e~tre que la 
 description ..." ML48.B2 
 
 Both sides of the water. A. T. of Reeve's The raft. 
 
 II bottanico novellista. Dramma giocoso per musica da rappre- 
 sentarsi la primavera dell' anno 1770 nel Teatro Dolfino in Treviso . . . 
 Venezia, Giambattista Casali, 1770. Ifi p. 15$ cm . 
 
 Three acts. By Goldoni, originally called "Lo speziale." Impresario's dedica- 
 tion, cast, and name of the composer, Domenico Fischietti. SCHATZ 3241 
 
 II bottaro, ballet. See P. Guglielmi's Arsinoe e Breno.
 
 OPEEA LIBEETTOS 229 
 
 II bottaro di Svezia, ballet. See Paisiello's Le gare generose. 
 
 La bottega da caffe, commedia. 
 
 [5]~44 P- 16% cm . (Carlo Goldoni, Opere drammatiche giocose, t. iv, 
 Torino, 1757.} 
 
 Three parts. Original composer unknown to me. MJL 49.A2G6 
 
 - La bottega del caffe. Intermezzo di tre parti per musica. 
 Rappresentato per la prima volta in Venezia 1'anno MDCCXXXV. 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 35, 
 [289]-331 p. 18$ cm . PQ 
 
 II bottegaro gen.tilu.omo. Intermezzo a' due voci. 
 
 Venezia, Domenico Lovisa, 1739. 12 p. IJfy. 
 
 Two parts. By Antonio Salvi, who is not mentioned. In the brief entry catalogue 
 of his libretto collection Schatz attributed the music to Giuseppe Maria Oilandini, 
 but in the manuscript of his Opera-dictionary he attributes it to Joh. Adolf Hasse, 
 remarking that the intermezzo is also known as "Larinda e Vanesio," and originally, 
 for the first performances at Naples, Teatro di San Bartolomeo, December, 1726, was 
 called "L'artigiano gentiluomo." Florimo makes no mention of such a performance. 
 Mennicke (p. 511) says that the Royal Library at Dresden possesses Basse's "Cajo 
 Fabricio," Dresden, 1734, with his intermezzi, "L'artigiano gentiluomo (=Larinda 
 e Vanesio), and that a German edition of the text of these is in the Schatz collection. 
 On p. 495 of his book he enters under ' ' Intermezzi " : "1726. L'artigiano gentiluomo, 
 Neapel, Datum der Auffuhrung: ?, Exemplar: Dresden, Librettist: ?" 
 
 It is quite clear that this information was partly derived from Schatz himself, whose 
 libretto collection, indeed, contains "Der handwerksmann als edelmann," Dresden, 
 1734. 
 
 To add to the confusion, Schatz, in his ms. work (in L. of C.), " Chronologische 
 folge der von Johann Adolph Hasse in musik gesetzten dramatischen werke," enters 
 as no. 6: 
 
 "Larinda. e Vanesio. Intermezzi per musica in 2 parti. Text urspriingl. m. d. 
 titel "L'artigiano gentiluomo," von Antonio Salvi, verandert von [blank], Neapel, 
 Teatro di S. Bartolomeo. xii, 1726." 
 
 "Besetzung 
 
 "Larinda Sig a Celeste Reste 
 
 "Vanesio Sig. Gioacchino Corrado 
 
 "NB. Dieses werk wurde als zwischenspiel z. d. dramma per musica "L'As- 
 tarto" aufgefuhrt." 
 
 He then quotes from the libretto (which is not in his collection) : 
 
 "Se 1 'intermezzi li vedrai tutti diversi dal loro primp essere, e da quella forma, 
 che si sono rappresentati in Torino, Fiorenza, ed altn capitoli, sappi, che si e fatto per 
 adattarli al costume di questa citta." 
 
 As 6a. Schatz enters 
 
 " L'artigiano gentiluomo (Larinda e Vanesio) . . . Dresden, 8/vii, 1734 . . . 
 Textbuch in deutscher prosa, am textbuch der oper ' ' Cajus Fabritius " angeheftet . . . 
 
 "NB. Dieses werk wurde als zwischenspiel z. d. dramma per musica "Cajo 
 Fabrizio" aufgefuhrt." 
 
 Schatz means, of course, that both the opera and the intermezzi were performed 
 in Italian. 
 
 As 6 b he enters: 
 
 "II bottegaro gentiluomo (Larinda e Vanesio) . . . Venedig, Teatro di S. Angelo, 
 carnevale 1739 . . . Aufgefuhrt als zwischenspiel zu dem Dr. p. m. "Achille in 
 Sciro" v. P. Chiarini." 
 
 "II bottegaro gentiluomo" was indeed performed at Venice, 1739, with Chiarini 's 
 opera, "Achille in Sciro," and Wiel adds this note: 
 
 "Con questa opera furono rappresentati gli intermezzi: Un bottegaro gentiluomo, 
 in due parti; e: Pandolfo (musica di G. A. Hasse)." 
 
 It will be noticed that Wiel attributes only the music of "Pandolfo" to Hasse, not 
 of "Un bottegaro gentiluomo," whose composer he did not know. This point Schatz 
 overlooked, and he {incorrectly), on Wiel s authority, attributed "II bottegaro gen- 
 tiluomo," Venice, 1739, to Hasse, after first having attributed it to Orlandini. 
 
 To sum up, while Hasse apparently composed Salvi's altered text under the title of 
 "L'artigiano gentiluomo" or "Larinda e Vaneeio," for Naples, 1726, used also later
 
 230 LIBRARY OF CONGRESS 
 
 II bottegaro gentiluomo Continued. 
 
 on in 1734, at Dresden, there is nothing to show that his music was also used at Venice, 
 1739, for another version of Salvi's text under the title of "II bottegaro gentiluomo." 
 I therefore prefer Orlandini as composer, though his connection with the work is 
 made doubtful by the following entry: SCHATZ 7350 
 
 - Le bourgeois gentilhomme ; or, Vanesio and Larinda. An 
 interlude. Performed by Sig. Anna Maria Faini, and Signer Antonio 
 Lottini, at the King's Theatre in the Haymarket. The music is 
 composed by Signor Orlandini. 
 London, J. Chrichley, 1737. 15 p. 17 cm . 
 Two parts. This is not Salvi's text, as Schatz would have found on comparison. 
 
 First performed, as indicated, 1737. SCHATZ 7353 
 
 Les bottes de sept lieues. A. T. of Arlequin, roi des Ogres. 
 
 Le bouquet du roi, opera comique, en un acte, represent ee sur le 
 Theatre de 1'Opera comique, le 24 aout 1752 [!] 
 
 La Haye, Pierre Gosse, 1760. 32 p. 16 cm . (Vade, Oeuvres, La 
 Haye, 1760, t. i.) 
 
 One act, en vaudevilles. Cast. From footnotes it would appear that only scenes 
 4 and 6 were by Vad. The musical arranger of the vaudevilles, etc., is not men- 
 tioned. ML 49.A2V2 
 
 - Le bouquet du roi, opera-comique, en un acte, represents sur 
 le Theatre de 1'Opera-comique, le 24 aout 1753. 
 Paris, la veuve Duchesne, 1766. 32 p. 18% cm . 
 
 Cast. On p. 30-32 the "Airs": "De tes pleurs, tendre Aurore," "Les jolis, les 
 petits marquis." Neither Vad6 nor the arranger of the music is mentioned. 
 
 1753 appears to be the correct date. (Camp. Parfaict.) SCHATZ 11485 
 
 Le bourgeois gentil-homme. Tr. of Orlandini 's II bottegaro gen- 
 tiluomo. 
 
 The Bow- street opera, in three acts. Written on the plan of the 
 Beggar's opera ; all the most celebrated songs of which are parodied ; 
 and the whole piece adapted to modern times, manners and charac- 
 ters . . . The fourth edition. 
 
 London, Printed for the author, 1776. iv, 44 P- 21 cm . 
 
 An everything-but-complimentary dedication to David Garrick, whose refusal 
 "to suppress the exhibition of the Beggar's opera, at the requisition of the Bowstreet 
 magistrates " gave rise to this anonymous "whim," which is in three acts and utilizes 
 32 ballad airs, indicated by title. First edition published in 1773. LONGE 251 
 
 La Bradamante del Co. Pietro Paolo Bissari. Drama per musica 
 nel Teatro Grimano. 
 
 Venetia, Valvasense, 1650. 84 p. 13% cm . 
 
 Last page incorrectly paged 82. Our copy lacks the front, which should form 
 p. [1-2]. Three acts, with prologue. Author's dedication, argument, and scenario. 
 The composer, Pietro Francesco Cavalli, is not mentioned. 
 
 First performed, as indicated, carnival 1650. SCHATZ 1731
 
 OPEEA LIBRETTOS 231 
 
 Bradamante, tragedie representee par TAcademie royale de musique 
 
 Fan 1707. Les paroles de M. Roy, & la musique de M. La Coste. 
 
 LXIX. opera. 
 
 n. i., n. d. 14 cm . pi., 227-278 p. (Eecueil general des opera, t. ix, 
 
 Paris, 1710.) 
 
 Detached copy. Five acts with prologue. "Avertissement." 
 First performed, as indicated, May 2, 1707. SCHATZ 5353 
 
 Second copy. ML 48. R4 
 
 Bradamante e Ruggero, ballet. See Monza's Oreste. 
 
 Bradamante nell' isola d'Alcina. Drama da rappresentarsi in 
 Parma nel novo Teatro di S. A. S. il carnovale dell' anno 1729 . . . 
 Panna, Eredi di Paolo Monti, 1729. xii, 46, [1] p. 15 cm . 
 
 Three acts. By Antonio Fanzaglia (Schatz). Author's dedication, argument, 
 cast, scenario, and name of the composer, Riccardo Broschi. It appears from the 
 dedication that the opera had previously been performed at Rome in 1728. The 
 title originally was "L isola d'Alcina." SCHATZ 1342 
 
 Der braeutigam ohne braut. A. T. of Cimarosa's Die vorgebliehen 
 grafen. 
 
 II bravo burlato. Intermezzo per musica da rappresentarsi nel 
 Teatro de' Nobili di Gubbio il carnevale del MDCCL VII. 
 
 Gubbio, gli eredi del Mattioli, n. d. [16] p. 
 Two acts. By Antonio Pavoni. Neither he nor the composer, Rinaldo di Capua, 
 is mentioned. 
 
 First performed at Rome, Teatro di Palla a Corda, carnival 1746. SCHATZ 8801 
 
 Brenno. O. T. of Reichardt's Brennus. 
 
 Brenno, dramma per musica composto con cori, e balli analoghi da 
 Ant. Filistri de 'Caramondani . . . e messo in musica da Giov. 
 Federico Reichardt ... da rappresentarsi nel Regio Teatro di Ber- 
 lino . . . 
 
 Berlino, Haude e Spener, 1789. 155 p. 16 cm . 
 
 Three acts. Cast. Argument. German t.-p. "Brennus" and text face Italian. 
 
 Comp. below. ML 50.2.B8R3 
 
 - Brennus. Ein musikalisches drama, nach der italiaenischen poesie 
 des herrn Filistri de' Caraniondani fuer das Koenigl. Opern theater 
 zu Berlin zum carneval des jahres 1789 in musik gesetzt von Johann 
 Friederich Reichardt. Am 24 Januar 1798 im Konigl. Opernhause 
 von den Koenigl. saengern und saengerinnen und dem Koenigl. 
 orchester mit deutscher poesie concertmaessig aufgefuehrt. Den 
 beschluss macht eine neue composition nach Ramlers poesie, zur 
 gedaechtnissfeier des grossen koenigs Friedrichs des Zweiten. 
 
 Berlin, Johann Friedrich Unger, 1798. 3 p. 1., 84 p. 15 cm . 
 
 Three acts. Cast and prefatory note according to which only so much of the 
 opera (as first performed on October 16, 1789) was retained 
 
 "als zum verstaendniss der haupthandlung und fuer den effekt der arien und 
 mehrstimmigen singesatze nothwendig war." SCHATZ 8637 
 
 Brenno in Efeso. Drama per musica da rappresentarsi nel famoso 
 Teatro Vendramino di S. Salvatore 1'anno 1690 ... 
 
 Venetia, Nicolini, 1690. 60 p. 14 cm . 
 
 Three acts. Dedication signed by the author, Antonio Arcoleo, notice to the 
 reader with name of Giacomo Antonio Perti as the composer, argument, and scenario. 
 
 SCHATZ 7947
 
 232 LIBRARY OF CONGRESS 
 
 Bretislaus oder Die siegende bestaendigkeit auf die hoechst-glueck- 
 liche verbindung Seiner Koenigl. Hpheit . . . Carl Friedrich, erben 
 zu Norwegen, hertzogen zu Schlesswig-Holstein etc etc. mit der . . . 
 prinzessin Anna Petrowna an deroselben hohen gebuhrts-feste den 
 7 febr:/27 Jan. anno 1725 in einem sing-spiele, nebst einer illumina- 
 tion und emem feuer-wercke auf dem Hamburgischen Schauplatze 
 vorgestellet. 
 
 Hamburg, Caspar Jdkhel, n. d. Unpaged. 20 cm . 
 
 Three acts and prologue. Cast, scenario, and statement that the music "ausser 
 einigen eingerueckten italiaenischen arien is by Reinhard Keiser. The author, 
 Johann Philipp Praetorius, is not mentioned. SCHATZ 5133 
 
 Briseide. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1784 alia presenza delle Maesta Loro. 
 Torino, Onorato Derossi, n. d. viii, 62 p. 8. 
 
 Three acts. Argument, cast, scenario, and names of the composer, Francesco 
 Bianchi, and the librettist, Francesco Sebastiano Gambino. The three ballets by 
 Sebastiano Gallet, music by Vittorio Amedeo Canayasso, were called ' ' Enea e Turno, 
 "La yiaggiatrice osia Le circostanze imbarazzanti," and "Di Greci festeggianti la 
 riconciliazione d'Achille e d'Agamennone," and separate librettos are said to have 
 been printed. 
 
 First performed, as indicated, December 26, 1783. SCHATZ 1002 
 
 Briseide. Dramma per musica da rappresentarsi nel Real Teatro 
 di S. Carlo nel di 13. di agosto 1791. Festeggiandosi la nascita di 
 S. M. la regina . . . 
 
 Napoli, Vincenzo Flauto, 1791. 44 p. 16 cm . 
 
 Two acts. Impresario's dedication, with same date as in the title, argument, cast, 
 scenario, and names of Angelo Pocobelli as the author, of Ferdinando B-obuschi as 
 composer of the opera, of Giuseppe Maria Curcio aa composer ("musica tutta 
 nuova") of Michele Fabiani's "Amore e Psiche, ballo eroico pantomimo in cinque 
 atti," described on p. 10-14. SCHATZ 8839 
 
 Britain's glory; or, A trip to Portsmouth. A musical entertain- 
 ment, in one act, as performed at the Theatre Royal, in the Hay- 
 Market, with universal applause. By the late Mr. Benson . . . 
 
 London, J. Wallis, n. d. 1 p.l., 32 p. 21 cm . 
 
 Cast and dedication. The composer, Samuel Arnold, is not mentioned. 
 
 First performed, August 20, 1794. LONGE 246 
 
 Britannia and Batavia: a masque. Written on the marriage of 
 the princess royal with His Highness the prince of Orange. By the 
 late Mr. Lillo. 
 London, J. Gray, 1740. 1 p. 1., 5-15 p. 20 cm . 
 
 One act. Of the 12 "airs" (songs), two were to be sung to popular airs, indicated 
 by title. The composer (and author?) of these songs, Henry Carey, is not mentioned. 
 Perhaps identical with " Britannia or the royal lovers," Covent Garden, February 
 11, 1734. ML 52.2. B86 
 
 Britannico. Tragedia per musica da rappresentarsi nel Regio 
 Teatro di Berlino . . . Fanno 1751. 
 
 Berlino, Eaude e Spener, n. d. 91, [4] p. 16 cm . 
 
 Three acts. Cad Heinrich Graun is mentioned as the composer, and Leopoldo 
 de Villati as the author. ("La presente tragedia e stata tirata dal francese [Racine's 
 ' Britannicus '] e composta ad uso di musica.") Argument and scenario. German 
 title-page, "Britannicus," and text face Italian. 
 
 First performed, as indicated, February 17, 1751. SCHATZ 4091
 
 OPEEA LIBRETTOS 233 
 
 Britannicus. Tr. of Graun's Britannico. 
 
 The British enchanters; or, No magick like love. A dramatick 
 poem. [port, vignette.] 
 London, J. Tonson, 1732. 71 p. 16 cm . 
 
 Five acts and prologue. Cast and notice to the reader: 
 
 "Upon the separation of the houses, when musical performances were confin'd to 
 one theatre, and dramatick to the other [this regulation went in force about January, 
 1708!], it became necessary to lengthen the representation of the ensuing poem with 
 several alterations and additions, and some entire new scenes, to fill up the spaces 
 occasion'd by the necessity of leaving out the mixture of musical entertainment. 
 Which additions are herewith printed, having never been publish'd before." 
 
 The text is by George Granville (Lord Lansdowne), and was written as an attempt 
 to improve on opera librettos. It was first performed, evidently with "musical 
 entertainments," at the Haymarket Theatre, February 21, 1706, and again with 
 alterations on March 22, 1707 (Genest). The composer not recorded by Schatz or 
 Clarence. LONGE 75 
 
 British fortitude, and Hibernian friendship; or, An escape 
 from France. A musical drama in one act by J. C. Cross. As per- 
 formed with universal applause at the Theatre Royal Covent Garden. 
 [vignette] 
 London, Printed by & for J. Roach, Sept. 3, 1794. 1 P- 1, 31, [1] 
 
 Cast, dedication, and author's prefatory note, according to which the piece was 
 originally written for Mr. Johnstone's benefit (as Capt. O'Leary), who introduced 
 "songs . . . the production of gentleman well known in the literary world, and . . . 
 sung by him . . . previous to their introduction in British fortitude . . ." 
 
 The composer, William Reeve, is not mentioned. 
 
 First performed, March 29, 1794. LONGE 308 
 
 The British heroine. A. T. of PurcelFs Bonduca. 
 British heroism. A. T. of The death of captain Faulknor. 
 The British recruit. A. T. of To arms! 
 
 The British stage; or, The exploits of Harlequin: a farce. As it 
 is performed by a company of wonderful comedians at both theatres, 
 with wonderful applause; with all its original songs, scenes, and 
 machines. Design' d as an after-entertainment for the audiences of 
 Harlequin Doctor Faustus, and The Necromancer . . . 
 
 London, T. Warner, 1724. 1 p. I, v-vii, [1], 24 p. 19 cm . 
 
 One act. Preface. Obviously a satire by unknown author. LONGE 152 
 
 The British worthy. A. T. of H. Purcell's King Arthur. 
 
 Britons, strike home: or, The sailor's rehearsal. A farce. As it 
 is acted at the Theatre-Royal, by His Majesty's servants. Written 
 by Mr. Edward Phillips. With the musick prefix'd to each song. 
 
 London, J. Watts, 1739. 3 p. I, 30, [2} p. 17 m . 
 
 Cast. One act, prologue, epilogue. Though the fact that the eight airs are printed 
 in the text without titles would permit the inference that they were composed for 
 the occasion, the piece* is nevertheless a ballad-opera, as Mr. Squire has proven. 
 
 First performed at Drury Lane, December 31, 1739. LONGE 321 
 
 - Britons strike home : or, The sailors rehearsal. A farce. As it 
 is acted at the Theatre-Royal by his Majesty's servants. B} r Mr. 
 Edward Phillips. 
 
 Glasgow, n. pull., 1761. 25, [3] p. 17 cm . 
 
 One act, prologue and epilogue. Cast and on last (unnumb.) page table of the 
 eight songs, the airs of which are not indicated. LONGE 118
 
 234 LIBRARY OF CONGRESS 
 
 Die brueder als nebenbuhler. Tr. of P. v. Winter's I fratelli 
 rivali. 
 
 Bruto. See M. Curzio. 
 
 Bruto costante. See M. Curzio. 
 
 II Bruto milanese ossia La congiura contro Galeazzo Maria Sforza 
 Visconti, ballet. See Nasolini's II trionfo di Clelia. 
 
 A new opera; called, Brutus of Alba: or, Augusta's triumph. As 
 it is acted at the Theatre, in Dorset-Garden, by His Majesty's servants. 
 
 London, Printed by W. Olney,for S. Briscoe, 1697. 2 p. I., 63, [1] 
 p. 21% cm . 
 
 No. 6 and 7 repeated in paging, making an actual total of 61 p. 
 
 Imperfect, wanting p. 3^-48. 
 
 Five acts. The "epistle dedicatory" of date "Monday, Octob. 16, 1699" [!] is 
 signed by the authors George Powell and John Verbruggen. Daniel Purcell, the 
 composer, is not mentioned. ML 50.2. B85 
 
 Le bucheron, ou Les trois souhaits, comedie en un acte, melee d'a- 
 riettes. Represented pour la premiere fois par les Come'diens italiens 
 ordinaires au roi, le lundi 28 fevrier 1763. La musique par M. 
 Philidor. 
 Paris, Claude Herissant, 1763. 56 p. 19. 
 
 By Jean Francois Guichard and Castet, who are not mentioned. Perrault's 
 "Conte " on which the play is based, precedes the text. SCHATZ 8010 
 
 Le bucheron, ou Les trois souhaits. Comedie en un acte, melee 
 d'ariettes; par Mr. Guichard. La musique de Mr. Philidor. Repre- 
 sentee sur le Theatre de la cour par les Comediens francois ordinaires 
 du roi, le [Uank] 1767. 
 
 Copenhague, Cl. Philibert, 1767: 64 p. 19 cm . 
 
 Cast. YUDIN PQ 
 
 Le bucheron, ou Les trois souhaits comedie en un acte, meslee 
 d'ariettes. Represented pour la premiere fois par les Comediens 
 italiens ordinaires du roi, lo lundi 28 fevrier 1763. La musique par 
 M. Philidor. 
 
 Paris, la veuve Duchesne, 1771. 50 [3] p. 19 cm . 
 
 Cast. The [3] p. contains "Conte de feu Mr. Perrault, qui a donne" lieua la piece." 
 The authors, Jean Francois Guichard and Castet, are not mentioned. 
 
 SCHATZ 11736 
 
 - Le bucheron, ou Les trois souhaits comedie en un acte, melee 
 d'ariettes; represented pour la premiere fois par les Come'diens 
 italiens ordinaires du roi, le lundi 28 fevrier 1763. La musique par 
 M. Philidor. 
 
 Paris, la veuve Duchesne, 1782. 55 p. 19 cm . , 
 
 Cast. In this ed. Perrault's "Conte" on p. 3-6. Authors not mentioned. 
 
 SCHATZ 11737A 
 
 - Der holzhauer oder Die drey wuen=che, ein singspiel in einem 
 aufzuge aus dem franzoesischen uebersetzt mit musik. 
 
 Frankfurt am Mayn, mit Andreaeischen schriften, 1773. 88 p., 8 p. 
 (folded music]
 
 OPERA LIBRETTOS 235 
 
 Le bucheron Continued. 
 
 Cast. Version for Theob. Marchand's company by Johann Heinrich Faber. 
 Neither he is mentioned nor Philidor, the composer. The music (voice and bass) 
 incorrectly bound in with this copy belongs to Fridzeri's "Die beiden militzen," 
 whereas the 8 p. of music belonging to the " Holzhauer " are incorrectly bound in 
 with ' ' Die beiden mili tzen . " It consists of ' ' Sieh doch den schmerz "(1,1" Annette 
 au bois") "Colins augen sind sehr echon (1, 10 "Colin a des yeux charmants"), "Ihr 
 manner, die ihr immer schmalet" (last scene. "Maris, qui querrellez sans 
 cesse.") SCHATZ 8011 
 
 - Skovhuggeren eller De tre 0nsker. Et syngespil i een act af 
 Guichard hvortil musiken er componeret af Philidor. Oversat af 
 Lars Knudsen. 
 
 n. i., n. d. 78 p. 15% cm . 
 
 First performed at Copenhagen, December 3, 1782. SCHATZ 8013 
 
 Die buckeligen. A. T. of Portugal's Die taeuschende aehnlichkeit. 
 
 Buergerfreuden ! Ein oesterreichisches buergergemaehlde mit choe- 
 ren in einem aufzug. Von Karl Friedrich Hensler. Aufgefuehrt by 
 der gluecklichen zurueckkunft unsers tapfern erzherzogs Karl. Am 
 2. maerz 1797. Die musik ist von Wenzel Miiller . . . 
 
 Wien, gedruckt mit Schmidtischen schriften, n. d. 56 p. 17 cm . 
 
 First performed as indicated on the Marinelli'sche Schaubuehne. 
 
 SCHATZ 6914 
 
 Le bugie hanno le gambe corte. A. T. of Moneta's II conte 
 Policronio. 
 
 Bund ueber eck. A. T. of Ruprecht's Die dorfhaendel. 
 
 La buona figliuola. Dramma di.tre atti per musica. Rappresen- 
 tato per la prim a volta in Parma il carnovale dell' anno MDCCLVL 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta ejigli, 1788-95, v. 38, 
 [165}-217 p. 18$. PQ 
 
 La buona figliuola. Dramma giocoso per musica di Polisseno 
 Fegejo, Pastor Arcade. Da rappresentarsi nel Teatro di S. A. 
 Serenissima il Signor principe di Carignano nell' autunno dell' anno 
 MDCCLVIII. 
 
 Torino, Gaspare Bayno e Giuseppe Avondo, n. d. 52, [1] p. 14 cm - 
 
 Three acts. By Goldoni. The unnumbered page contains "Arie cangiate . . ." 
 Se del fiume altera 1'onda [1, 14] "Alia selva, al prato, al rio " [II, 9] "Miserarondinella " 
 [III, 4]. 
 
 Cast and name of the composer, "Egidio Duni Napolit. Maestro di capella di 
 S. A. R. di Parma." 
 
 First performed at Parma, Teatro Ducale, carnival, 1757 not 1756. SCHATZ 2834 
 
 La buona figliuola. Dramma giocoso per musica di Polisseno 
 Fegejo Pastor Arcade recitato nel Teatro Giustinian di S. Moise il 
 carnovale dell' anno 1760. Seconda edizione. 
 
 Venezia, n. publ., 1760. 48 p. 15 cm . 
 
 Three acts, p. 45-48, incorrectly headed "atto quarto." By Goldoni. Salvatore 
 Perillo is mentioned as the composer. SCHATZ 7921
 
 236 LIBRARY OF CONGRESS 
 
 La buona figliuola. Dramma giocoso per musica di Polisseno 
 Fegejo, Pastore Arcade. 
 
 Roma, n. publ, 1760. 52 p. 16 cm . 
 
 Three acts. By Carlo Goldoni. Niccol6 Piccinni is mentioned as the composer. 
 
 First performed at Rome, Teatro delle Dame, February 6, 1760, and again sum- 
 mer, 1768 (Schatz). ML 50.2. B9P4 
 
 - La buona figliuola. Dramma giocoso f>er musica del ... Carlo 
 Goldoni ... da rappresentarsi ne' Teatri privilegiati di Vienna 
 1'estate dell' anno 1768. 
 
 Vienna, Ghelen, n. d. 63, [1] p. 17 cm . 
 
 Three acts. Niccol6 Piccinni is mentioned as the composer. On the last p. the 
 substitute aria for "Son tradita" (II, 9), "In tanti affanni miei," which does not 
 appear to have been written by Goldoni. 
 
 First performed at Vienna, 1764. SCHATZ 8070 
 
 - La buona figliuola, dramma giocoso per musica del celebre Sign. 
 Carlo Goldoni, da rappresentarsi nel Regio Teatro Danese Den 
 fromme pige . . . 
 
 Ki&benhavn, L. N. Svare, 1770. 115 p. 17 cm . 
 
 Three acts. Italian and Danish texts. Cast and name of Piccinni as the composer. 
 
 First performed 1769, as indicated. SCHATZ 8071 
 
 La buona figliuola. Commedia per musica da rappresentarsi 
 nel Teatro Nuovo per second' opera del corrente anno 1778. 
 
 Napoli, n. publ., 1778. 64 p. 15 cn . 
 
 Three acts. By Goldoni. Cast and name of Niccol6 Piccinni as the composer. 
 
 SCHATZ 8131 
 
 La buona figliuola. Dramma giocoso per musica, di Polisseno 
 Fegejo, P. A. da rappresentarsi nel Piccolo Teatro di S. A. E. di 
 Sassonia. 
 
 Dresda, n. publ., 1781. 127 p. 15% cm . 
 
 Three acts. German title, "Das gute maedel," and text face Italian. Piccinni is 
 mentioned as the composer. SCHATZ 8074 
 
 First performed at Dresden, November 16, 1765. 
 
 - The accomplish' d maid: A comic opera. As it is performed at 
 the Theatre-Royal in Co vent-Garden. The music by oig n . r Niccolo 
 Piccini . . . 
 
 London, W. Griffin [etc.], 1767. 1 p. 1., ii, 59, [1] p. 19\. 
 
 Three acts. Cast and preface by the translator, Edward Toms (not mentioned), 
 who says, in part: 
 
 "... This translation is attempted, so as to be sung to the original music, as per- 
 formed in Italy ... As the music of this opera, has always been esteemed the most 
 capital work of that great composer Piccini, the translator thought it more just, to give 
 up the claim to poetical harmony, rather than make the least infringement on the 
 musical accent. He likewise flatters himself, that it will not be less acceptable to an 
 English audience, by the dialogue's being without the incumbrance or recitative. 
 All other alterations, are made only to adapt it to the English stage . . . Should this 
 first attempt of bringing an entire Italian musical composition on the English stage, 
 by applying our language to the harmony of their most eminent composer, prove 
 acceptable to the public, the translator's intention is fully answered, as it may be the 
 means of exciting some abler genius to tread the same path." 
 
 The last (unnumb.) p. contains the "Table of the songs," with note that "Bring, ye 
 tedious hours," "Some men with artful praise," and "Thus the sun at morn" "were 
 not originally" in La Buona figliuola, "but are the composition of the same master." 
 In Randall & Abel's, vocal score the air " Oh! (Off), my lord, pray forbear " is headed 
 as by "Sig' Pirillo, Napolitano." (Salvatore Perillo.)
 
 OPERA LIBRET10S 237 
 
 La buona figliuola Continued. 
 
 First performed, as indicated, December 3, 1766; in Italian at the Haymarket, 
 December 9, 1766 (Burney). LONGE 32 
 
 The accomplish'd maid. A new comic opera. As it is per- 
 formed at the Theatre-Royal in Covent-Garden. The music by 
 Signior Niccolo Piccini . . . 
 
 Philadelphia, Printed and sold by Robert Bell, 1 777. 61, [1] p. 20% cm . 
 
 Three acts. London cast. 
 
 Not performed in America. ML 50.6.A2 
 
 -La buona figliuola, ope"ra comique, en trois actes; parodiee en 
 francais sur la musique du celebre Piccini. Representee pour la 
 premiere fois par les Comediens italiens ordinaires du roi, le 17 juin 
 1771. 
 
 Paris, Didot I'aine, 1771. 48 p. 19 cm . 
 
 Cast and anonymous preface, with Goldoni's name, and that of Domenico Baccelli 
 as the musician either responsible for the musical side of the parody or indeed partly 
 for the parody itself, since the author says: "Baccelli . . . me proposa de la faire 
 connoltre en France, en parodiant les paroles italiennes sur la quelle elle 6toit com- 
 posee." The preface contains also some observations on the difficulty of making 
 parodies. The text is attributed to Jean Francois Cailhava d'Estandoux. On p. 46, 
 a note to the effect that the piece was already half printed when the Come'diens 
 italiens substituted the following ariettes, "Dans ces floeurs je vois 1'image " (1, 1) and 
 "La tendresse et la sagesse" (III, 5), for "Quel plaisir, quelle volupte" and "Dans 
 mon coeur." Both substituted airs were by Piccinni, but not from "La buona 
 figliuola. On p. 47-48, the air of the ariette, "Pauvre Annette, quelle pitie" (I, 4). 
 
 SCHATZ 8073 
 
 La buona figliuola, opera comique, en trois actes; parodiee en 
 Francois sur la musique du celebre Piccini. Representee pour la 
 premiere fois par les Come'diens italiens du roi le 17 juin 1771. 
 
 Paris, Didot Mne, 1771. 48 p. 
 
 Cast. Cailhava d'Estandoux is not mentioned. On p. 47-48 the text of the sub- 
 stituted arias. This ed. of 1771 contains no music. ML 48.M2M 
 
 La buona figliuola, opera comique en trois actes, parodiee en 
 francois sur la musique du celebre Piccini, represent^ pour la pre- 
 miere fois par les Comediens italiens ordinaires du roi le 17 juin 1771. 
 
 Paris, la veuve Duchesne, 1772. 56 p. 17\ cm . 
 
 Cast. On p. 47-56 the two "Airs de la Buona Figliuola" "Par le trou de la serrure " 
 and "Je suis d'une bonne pate." YUDIN PQ 
 
 Das gute maegdchen, ein scherzhaftes musicalisches schauspiel 
 aus dem italiaenischen, welches an dem Churpfaelzischen Hof bei 
 gelegenheit des hoechst beglueckten namensfestes Sr. Chtirfuerstl. 
 Durchlaucht . . . aufgefuehret worden. Im jahr 1769. 
 
 Mannheim, Akademische buchdruckerei, n. d. 55 p. 16\ cm . 
 
 Cast, scenario, and name of Piccinni as the composer. On p. 51-53 the titles of 
 Legrand's ballets "Die artige schaefer" and "Die eifersuechtige Faunen" and a 
 description of Fabiani's ballet "Der bezauberte kranz." The composers of the 
 music are not mentioned. 
 
 First performed November 4, 1769, as indicated. SCHATZ 8072 
 
 Das gute maedchen. Eine operette in drey akten. Nach der 
 musik der Buona figliuola von Nic. Piccini. 
 
 Leipzig, Carl Friedrich Schneider, 1783. 56 p. 16 cm . 
 
 Transl. by Johann Joachim Eschenburg, who is not mentioned. 
 
 First performed at Berlin, Dobbelinsches Theater, Sept. 8, 1777. SCHATZ 8075
 
 238 LIBRARY OF CONGRESS 
 
 La buona figliuola Continued. 
 
 Gesaenge aus dem singspiele : Das gute maedchen, in zwey auf- 
 zuegen, nach der Buona ngliuola von Piccini. 
 
 Hamburg, J oh. Matthias Michaelsen, 1791. 24 p. 17 cm . 
 
 Eschenburg's translation. 
 
 First performed at Hamburg, Theater b. Gansemarkt, January 14, 1779. 
 
 SCHATZ 8076 
 
 La buona figliuola maritata. Dramma di tre atti per musica. 
 Rappresentato per la prima volta in Venezia Fautunno dell' anno 
 MDOCLXII. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta ejigli, 1788-95, v. 38, 
 [219]-269 p. 18%- 
 
 First performed at Bologna, 1761. (See below.) PQ 
 
 La buona figliuola maritata. Dramma giocoso per musica da 
 rappresentarsi 1'anno. 1764. 
 
 Vienna, Ghelen, n. d. 56 p. 16 cm . 
 
 Three acts. By Goldoni (who is not mentioned) as sequal to his "La buona ngli- 
 uola." Cast, scenario, and name of Niccolb Piccinni as the composer. 
 
 First performed at Bologna, Teatro Formagliari, May, 1761. SCHATZ 8135 
 
 La buona figliola maritata. Farzetta a sei voci, ridotta dalla 
 burletta in musica di Polisseno Fegejo, P. A. da rappresentarsi nel 
 Teatro degli Accerbi de' nobili d'Urbania nel carnevale dell' anno 
 1769 . . . 
 Roma ed in Fano, Andrea Donati, n. d. 39 p. 39 cm . 
 
 Two acts. Dedication and name of Niccol6 Piccinni as the composer. 
 
 SCHATZ 8136 
 
 Buovo d'Antona. Dramma di tre atti per musica. Rappresen- 
 tato per la prima volta in Firenze 1'anno MDCCL. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta ejigli, 1788-95, v. 41, 
 [5]-59 p. 18 cm . 
 
 See next entry. PQ 
 
 Buovo d'Antona. Dramma giocoso per musica di Polisseno Fegejo, 
 Pastor Arcade, da rappresentarsi nel Teatro Giustinian di S. Mois& 
 il carnovale dell' anno 1759. 
 
 Venezia, Modesto Fenzo, 1759. 58 p. 14\ cm . 
 
 Three acts. By Carlo Goldoni. Cast, scenario, and name of Tommaso Traetta 
 as composer. 
 
 First performed, as indicated, December 27, 1758, unless previously at Florence, 
 1750. SCHATZ 10388 
 
 II burbero di buon cuore. Dramma giocoso per musica da rappre- 
 sentarsi nel nobile Teatro Giustiniani in San Moise nelP autunno dell' 
 anno 1789. 
 
 Venezia, Modesto Fenzo, 1789. 68 p. 16 cm . 
 
 Two acts. By Lorenzo da Ponte, who is not mentioned. Cast and name of Vin- 
 cenzo Martini (Martin y Soler) as the composer. 
 
 First performed at Vienna, Burptheater, Jan. 4, 1786. SCHATZ 6005
 
 OPERA LIBRETTOS 239 
 
 II burbero di buon cuore Continued. 
 
 II burberp di buon cuore. Dramma giocoso per musica da 
 
 rappresentarsi nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. putt., 1789. 157 p. 15\ cm . 
 
 Two acts. By Lorenzo da Ponte with few if any changes. German title page 
 "Der gutherzige polterer" and text face Italian. Vincenz Martini (Martin y Soler) 
 is mentioned as composer. 
 
 First performed at Dresden, Churf. Theater, October 3, 1789. SCHATZ 6006 
 
 Die burg Hymens. Tr. of Naumann's La reggia d'Imeneo. 
 
 La burla di D. Pacconio a Parigi, ballet. See Anfossi's La maga 
 Circe. 
 
 Le burle per amore. Dramma giocoso per musica da rappresen- 
 tarsi nel nobile Teatro di San Samuele il carnovale dell' anno 1784. 
 Venezia, Giov. Battista Casali, n. d. 62 p. 17% cm . 
 
 Two acts. Bv Marcello Bernardini, who is not mentioned. Cast and name of 
 Vincenzo Martini (Martin y Soler) as the composer. With the opera was performed 
 Francisco Clerico's "II convalescente innamorato, ballo comico pantomimo." The 
 composer of the music is not mentioned. SCHATZ 6007 
 
 II cabalista ne sa' men del caso. A. T. of Auletta's II marchese 
 di Spartivento. 
 
 La caccia d'Enrico Quarto, ballet. See Anfossi's Demofoonte. 
 La caccia d'Enrico IV, ballet. See P. Guglielmi's Le due gemelle. 
 
 La caccia d'Enrico IV. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro Giustiniani in San Moisel'autunnodell'anno 1783 . . . 
 Venezia, Modesto Fenzo, 1783. 76 p. 17 cm . 
 
 Three acts. Cast, scenario, name of Giacomo Rust as the composer, and dedication 
 by Antonio Dian, which reads, in part: 
 
 "A prima vista potrebbe forse sembrar quello [drama] stesso, che a tempi addietro 
 venne in altre scene di questa Dominante rappresentato; ma, toltone un aria sola 
 della prima buffa nell' atto secondo, che sie desiderato di conservare, egli e tutto nuoyo. 
 La dotta pena, che quello scrisse, yalendosi d'arbitrio non conteso ai poeti, immaginb 
 cpmbinazioni di personaggi, di nazione, di caratteri, e di episode diverse da quelle che 
 ci somministra il Teatro comico francese, e ci6 forse per addattarsi allo stile delle 
 drammatiche rappresentazioni musicali di quei di, assai diverse dall' odierno. lo ho 
 bramato che si concilino possibilmente uniformita colla commedia francese e condotta 
 di dramma musicale, il che si e fatto, per quanto disparita di circostanze fra questo, e 
 quella, e massime per la distribuzion delle arie, e per la combinazion de' finali, non 
 1'abbia impedito." 
 
 With the opera were performed Antonio Mauro's ballets "Dove entr6 cervo, esce 
 donna, o eia II curioso accidente della caccia" #nd "La serieta in conflitto," the com- 
 posers of the music not being mentioned. SCHATZ 9177 
 
 La caccia d'Isabella, regina di Spagna, ballet. ISee Tarchi's Ezio^ 
 Caccia di Diana, ballet. See Gius. Scarlatti's Partenope. 
 
 La caccia in Etolia. O. T. of Valeriani's libretto Gl'inganni 
 fortunati. 
 
 La caccia in Etolia, pastorale per musica da recitarsi nel Teatro 
 Bonacossi a S. Stefano ranno 1715 . . . 
 
 Ferrara, Eredi di Bernardino PomateUi, 1715. 62 p. 16% cm . 
 
 Three acts. By Belisaro Valeriani. Author's dedication, notice to the reader, 
 argument, cast, name of Fortunate Chelleri as composer, and imprimatur dated May 
 28, 1715. SCHATZ 1817
 
 240 LIBRARY OF CONGRESS 
 
 II cacciatore deluso. Dramma serio-comico per musica da rappre- 
 sentarsi nel Real Teatro di Salvaterra nel carnovale dell' anno 1771. 
 Lisbona, Stamperia reale, n. d. 86 p. 16 cm . 
 
 Three acts. Argument, cast, scenario, and name of Gaetano Martinelli as author, 
 of Niccol6 Jommelli as composer. Known also as ' ' Semiramide in bernesco." 
 First performed at Tubingen, Neues theater, November 11, 1767. SCHATZ 4897 
 
 I cacciatori burlati, ballet. See Hasse's L'Olimpiade. 
 
 Le cadi dupe, opera-comique en un acte, m^le" d'ariettes, de la com- 
 position de M. le chevalier Gluck. 
 
 Vienne, GJielen, 1768. 32 p. 16 cm . 
 
 By Pierre R4n6 Lemonnier, who is not mentioned. 
 
 First performed at Vienna, Burg theater, 1761, and again at Laxenburg, Favorita, 
 May 28, 1764. SCHATZ 3924 
 
 Le cadi dupe, opera-comique en un acte; par 1'auteur du Maitre en 
 droit: represente pour la premiere fois sur le Theatre de 1'Opera- 
 comique de la Foire S. Germain, le 4 feVrier 1761. 
 Paris, Duchesne, 1761. 50, [6] p. 19 cm . 
 
 Cast. By Pierre Ren Lemonnier. Monsigny, the composer, is not mentioned. 
 On the [6] p. catalogues of plays, operas, etc. On 43-50 the same ariettes as in the 
 1782 ed., with exception of the sixth, which is not in this ed. ML 50.2.C2M7 
 
 Le cadi dupe, opera-comique, en un acte, par 1'auteur du Maitre en 
 droit. Represente, pour la premiere fois, sur le Theatre de 1'Opera- 
 comique de la Foire Saint Germain. 
 Paris, la veuve Duchesne, 1766. 32 p. 19 cm . 
 
 Neither the author, Pierre Rn6 Lemonnier, is mentioned, nor the composer 
 Pierre Alexandre Monsigny. SCHATZ 11725 
 
 Le cadi dupe, opera comique en un acte, par 1'auteur du Maitre 
 en droit; represente pour la premiere fois sur le Theatre de 1'Opera 
 comique de la Foire Saint-Germain, le 4 fevrier 1761. 
 
 Paris, la veuve Duchesne, 1782. 40 P- 19 m . 
 
 Cast. On p. 33-40, "Ariettes du Cadi dupe. No. 1. Vous, qu'amour brule. 2. S* 
 votre flamme est trahie. 3. Amant fidelle & sensible. 4. Toi, que mon coeur adore. 
 5. Non, ma reine, sois certaine. 6. Ah! que le sort d'une femnie." Monsigny is 
 not mentioned. SCHATZ 6567 
 
 Den besnaerede Cadi. Et syngespil i en act af Monnier. 
 Hvortil musikken er componeret af Monsigny. Oversat af Lars 
 Knudsen. 
 
 n. i., n. d. 4@ P- 16 cm . SCHATZ 6568 
 
 Cadmo. Dramma per musica da cantarsi nella Real villa di Queluz 
 per celebrare il felicissimo giorno natalizio del serenissimo Signore Don 
 Giuseppe principe del Brasile li 21 agosto 1784. 
 
 [Lisboa], Stamperia reale, n. d. 31 p. 15 cm . 
 
 One act and licenza. Cast and names of Gaetano Martinelli as author, of Antonio 
 da Silva as composer. SCHATZ 9881 
 
 Cadmo ed Ino, ballet. See Piccinni's Tigrane.
 
 OPERA LIBRETTOS 241 
 
 Cadmus, in einem musicalischen schaii-spiele, auf dem Hamburg- 
 ischen Sch&u-platze vorgestellet im jahr MDCCXXV. 
 Hamburg, Caspar Jakhel, n. d. Unpaged. 19 cm . 
 
 Three acts. Cast, scenario, and " vorbericht " with names of Johann Ulrich Koenig 
 as author, of Johann Paul Kunz (Kuntze) as composer, and remark that the aria 
 "Kan dem mein hertze widerstehen " and "zwo andere, welche bey den originalien 
 in italiaenisch gedruckt worden, gewisser ursachen willen in selbiger sprache gesun- 
 gen werden." 
 
 First performed at Brunswick, Fuerstl. Opernhaus, February, 1720. SCHATZ 5314 
 
 Cadmvs et Hermione. Tragedie. Represented par 1'Academie 
 royale de musique. 
 
 Paris, Imprimee aux depens de ladite Academie, par R. Baudry, 1674- 
 front., 4p.t, 68 p. 23 cm . 
 
 Prologue ("Le serpent Python") and five acts. Neither the author, Philippe 
 Quinault, nor the composer, Jean Baptiste Lully, is mentioned, but the latter's 
 "Permission pour tenir Academie royale de musique" and "Privilege" follows the 
 text. ML 50.2.C22L9 
 
 Cadmus et Hermione, tragedie. En musique. Suivant la 
 copie imprimee a Paris. 
 
 [Amsterdam, Antoine Schelte], 1687. 64 p. (ind. front.} 13% cm . 
 
 Prologue and five acts. Cast. Neither Quinault is mentioned, nor Lully. 
 
 ML 50.2.C22L92 
 
 Cadmus et Hermione, tragedie represented par 1'Academie 
 royale de musique 1'an 1674. Les paroles sont de M. Quinault & la 
 musique de M. de Lully. IV. opera. 
 
 n. i., n. d. front., 143-204 p. 14 cm - (Recueil general des opera, t. i, 
 Paris, 1703.} 
 
 Detached copy. Laudatory poem, prologue, and five acts. 
 
 First performed, as indicated, April 27, 1673 (Schatz), February, 1673 (Pranieres). 
 
 SCHATZ 5763 
 Second copy. ML 48. R4 
 
 Cadmus et Hermione, tragedie represented par 1'Academie 
 royale de musique, pour la premiere fois sur le Theatre de Bel- Air, 
 & ensuite sur celui du Palais Royal, au mois d'Avril 1672. 
 
 Quinault, Theatre, Paris, 1739, t. iv, pi., p. [53}-118. 17 cm . 
 Prologue and five acts. Lully is not mentioned. PQ 1881. Al 1739 
 
 La caduta d'Amulio. Dramma per musica del dr. Carlo Gandini 
 da rappresentarsi nel Teatro di S. Angelo il carnovale dell' anno 1747. 
 Venezia, Modesto Fenzo, 1747. 59 p. 15 cm . 
 
 Three acte. Cast, argument, scenario, and name of Antonio Gaetano Pampani 
 as the composer. SCHATZ 7757 
 
 La caduta de decemviri. Drama per musica da rappresentarsi nel 
 Regio Ducal Teatro di Milano Panno 1723 . . . 
 
 Milano, Giuseppe Richino Malatesta, 1723. 5 p. I., 58 p. 14 cm - 
 Three acts. By Silvio Stampiglia, who is not mentioned. Impressario's dedica- 
 tion dated Milan, December 26, 1723, argument, cast, scenario, and name of Giovanni 
 Porta as the composer. SCHATZ 8389 
 
 72251 VOL 114 16
 
 242 LIBRARY OF CONGRESS 
 
 La caduta de' decemviri. Drama per musica di Silvio Stampiglia 
 tra gl'Arcadi Palemone Licurio . . . 
 
 Napoli, Dom. Ant. Parrino e Michele Luigi Mwtio, 1697. 5 p. I., 
 72 p. 14 cm . 
 
 Three acts. Dedications by the author and the impressario, argument, cast, and 
 scenario. The composer, Alessandro Scarlatti, is not mentioned. 
 
 First performed at Naples, Teatrodi S. Bartolomeo, November, 1697. ScHATz9523 
 
 La caduta de' decemviri. Drama per musica da rappresentarsi 
 nel Teatro di S. Bartolomeo il di primo ottobre di questo corrente 
 anno 1727. Festeggiandpsi il felicissimo giorno natalizio della Sac. 
 Ces. Catt. Real Maestk di Carlo Sesto imperador regnante . . . 
 
 Napoli, Francesco Ricdardi, 1727. 60 p. 14\ cm . 
 
 Three acts. By Silvio Stampiglia, who is not mentioned. Impresario's dedica- 
 tion, argument, scenario, cast and name of Leonardi Vinci as composer. 
 
 First performed as indicated, October 1, 1727. ML 50.2.C23V4 
 
 La caduta di Elio Seiano. Drama per musica nel Teatro a S. Salva- 
 tore 1'anno MDCLXVII . . . 
 
 Venetia, per gli eredi Leni, 1667. front., 70 p. 14 cm - 
 
 Three acts. Dedication by the author, conte Niccol6 Minato, and dated, Venice, 
 February 3, 1667, argument, scenario, and notice to the reader, with name of Antonio 
 Sartorio as the composer. The opera was a sequel to his "La prosperita di Elio 
 Seiano." SCHATZ 9492 
 
 La caduta di Gelone. Drama per musica da rappresentarsi nel 
 Teatro di S. Angelo l'autunno dell' anno 1719. 
 Venezia, Marino Rossetti, 1719. 57 p. 15 cm . 
 
 Three acts. By Francesco Rossi. Notice to the reader signed by the author, cast, 
 scenario, and name of the composer, Giuseppe Maria Buini. SCHATZ 1390 
 
 La caduta di Leone, imperator d'Oriente. Drama per musica 
 da recitarsi nel Teatro di Sant' Angelo l'autunno MDCCXKXII . . . 
 Venezia, Alvise Valvasense, n. d. Ifl p. 14 cm - 
 
 Three acts. By Carlo Paganicesa, who is not mentioned. Impresario's dedication, 
 dated Venice, December 3, 1732, argument, cast, and name of Giuseppe Antonio 
 Paganelli as the composer. SCHATZ 7571 
 
 La caduta di Troia, ballet. See Monza's Erifile. 
 La caduta di Troja, ballet. See Pio's Medonte. 
 
 Caernarvon castle; or, The birth of the Prince of Wales: an opera 
 in two acts. First performed at the Theatre-Royal, Hay-Market, 
 August 12th, 1793 . . . 
 London, William Lane, 1793. 3 p. 1., 39 p. 21\ cm . 
 
 Cast and dedication. Neither the author, John Rose, is mentioned, nor the com- 
 poset, Thomas Attwood. LONGE 239 
 
 II caffe di campagna. Dramma gipcoso per musica da rappresen- 
 tarsi nel Teatro di S. A. serenissima il Signer principe di Carignano 
 nell' autunno dell' anno MDCCLXII. 
 
 Torino, Gaspare Boyno, n. d. 52 p. 15\ cm . 
 
 Three acts. By Pietro Chiari (not mentioned). Cast, scenario, and name of the 
 composer, Ignazio Celoniat. SCHATZ 1772
 
 OPERA LIBRETTOS 243 
 
 II caffe di campagna. Dramma giocoso da rappresentarsi in 
 musica nel Teatro Giustiniani di San Moise 1'autunno dell' anno 
 MDGX3LXI. Dell' abate Pietro Chiari . . . 
 
 Venezia, n. pull, 1761, 57 p. 15% cm . 
 
 Three acts. Cast, scenario, and name of Galuppi as composer. 
 
 First performed, as indicated, Nov. 18, 1761. SCHATZ 3501 
 
 La caffettiera bizzarra. Dramma giocoso in tre atti. Da rappre- 
 sentarsi nel Teatro Elettorale. 
 
 Dresda, n. putt., 1796. 21 p. 1. 65 p. 16 cm . 
 
 Two acts. By Lorenzo da Ponte who is not mentioned. German title "Die 
 launige kaffeeschenkinn" faces Italian. A scene by scene synopsis in German pre- 
 cedes the Italian text. Joseph Weigl is mentioned as the composer. 
 
 First performed 1796 as indicated, at Vienna, Burgtheater, September 15, 1790. 
 
 SCHATZ 10930 
 
 Le cahos. See Destouches and Lalande's ballet Les elemens. 
 
 Caio Gracco. Dramma per musica rappresentato alle Sac. Ces. 
 Reali Maesta nel carnevale dell' anno MDCCX. Poesia del Sig. Silvio 
 Stampiglia, tra gli Arcadi Palemone Licurio . . . musica del Sig. Gio. 
 Bononcini . . . 
 
 Vienna d' Austria, gli lieredi Cosmeroviani, n. d. 88 p. 14\ cm - 
 
 Three acts. Argument and scenario. 
 
 First performed as indicated, in February, 1710. SCHATZ 1203 
 
 Caio Marzio Coriolano. Dramma per musica da rappresentarsi 
 nel Teatro Tron di San Cassiano il carnovale dell' anno MDCCXLVII. 
 
 Venezia, n. publ., n. d. 5 p. I. (incl. port.}, 78 p. 
 The port., by Raf. Bachi, represents Maria Teresa Cibo d'Este. 
 Three acts. By Zaccaria Seriman, who is not mentioned. Argument, cast, 
 scenario, and name of Pietro Pulli as the composer. 
 
 First performed at Reggio, Teatro del Pubblico, 1741. SCHATZ 8513 
 
 Caio Ostilio. Dramma per musica da rappresentarsi nel Regio 
 Teatro di via della Pergola il carnevale del MDCCXCV . . . 
 
 Firenze, Pietro Fantosini, 1794- 35 p. 17 cm . 
 
 Two acts. By Eustacchio Manfredi. Neither he nor the composer Giuseppe 
 Giordan! is mentioned. Cast. On p. 5-9 the description of Giacomo Ricciardi'e 
 four-act "Dorcis e Cleobisa, ballo eroico pantomime," whose ballet "Gli sposi per 
 inganno" was also performed. The composers of the music are not mentioned. 
 
 First performed as indicated, December 27; 1794; at Faenza, Nuovo Teatro Com- 
 unale, for its opening May 12, 1788. SCHATZ 3850 
 
 II Cajetto. Dramma per musica da rappresentarsi nel nuovo 
 famosissimo Teatro di S. Girolamo nel carnovale dell' anno 1746. 
 Dedicata a Madama Gpamatica. 
 
 Venezia, Luigi Pavini, 1746. 80 p. 11 cm . 
 
 Three acts. With whimsical dedication, argument, cast, scenario and name of 
 composer, Ferdinando Bertoni, but not of author, Antonio Rigo (calkdGori). 
 
 SCHATZ 908 
 
 C. Fabbrizio. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, t. i, p. [173}-270. 
 19 cm . 
 
 Three acts with licenza. Argument. No composer is mentioned. In the "Cata- 
 logo" at end of t. x, date and place of first ed. are given as "in Vienna. 1729 [No- 
 vember 4, music by Caldara] 1730." ML 49.A223
 
 244 LIBRARY OF CONGRESS 
 
 C. Fabbrizio Continued. 
 
 - C. Fabbrizio. Pubblicato per la prima volta in Vienna 1729. 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. mi, p. 249- 
 
 842. 21 cm . 
 
 Three acts and licenza. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Cajo Fabricio. Dramma per musica di Apostolo Zeno da rappre- 
 sentarsi nel Teatro di corte . . . Musica del Sig. Giovanni Adolfo 
 Hasse ... 
 
 Salisburgo, Giovanni Gioseppe Mayr, 1787. 71, [1] p. lo cm . 
 Three acts. Argument. 
 
 First performed at Salzburg, Hoftheater, 1737; at Rome, Teatro Capranica, Jan- 
 uary 12, 1732. SCHATZ 4522 
 
 Cajo Fabricio. Drama per musica da- rappresentarsi nel Teatro 
 di S. Angelo il carnovale dell anno 1735 . . . 
 Venezia, Marino Rossetti, 1735. 60 p. 14 cm . 
 
 Three acts. Impreesario's dedication, argument, cast, scenario, and name of 
 'Adolfo Asse detto il Sassone" (Joh. Ad. Hasse) as composer. On p. 8 the sub- 
 stitute aria "No, n6 non ti lagnar" (III, 2) instead of "Misera tortorela." In the 
 Salzburg 1737 ed. the corresponding aria is " Volgi a me gli affetti tuoi " and numerous 
 other differences are noticeable, as for instance III, 1 having the aria "Sara vezzosa, 
 e bella" instead of as Venice "Richezza non chiede," which ia not by Zeno at all. 
 
 SCHATZ 4522a 
 
 - Cajus Fabritius, ein sing und trauer spiel, vorgestellt aufn 
 Koenigl. pohln. und churfuerstl. saechss. Schauplatz zu Dresden. 
 Ins deutsche aus dem italienischen uebersetzt. 
 
 Dresden, bey Gotilob Christian Hilschern, 1734- 88 p. 16^ cm . 
 
 Three acts in prose. In his dedication addressed to the "Annehmliches frauen- 
 zimmer " the translator gives as raison d'etre of his translation : 
 
 "Das sinnliche vergnuegen, so Sie bei vorstellung dieses stueckes durch die ohren, 
 und augen geniessen, suche ich vollkommener zu machen, wenn ich auch Ihrem 
 verstande was dabei zu thun gebe." 
 and in his " Vorbericht" he expresses the same idea: 
 
 ' ' Der uebersetzer hat auf ni exits dabei geseben , als dieses trauerspiel in rein deutsch 
 zu bringen, um es einigen zuschauern verstaendlich zu machen." 
 
 He does not mention Hasse, the composer, whose "Cajo Fabricio" was first per- 
 formed at Dresden, July 8, 1734, Mennicke adding "2 Faasg.?" (2d version?). 
 Two intermezzi have been added on p. 81-88 under the title " Der handwercks-mann 
 ein edelmann." This is a translation of "L'artigiano gentiluomp," under which title 
 the intermezzi were performed at Dresden simultaneously with "Cajo Fabricio." 
 It is the title of Antonio Salvi's original text, but when it was first performed in an 
 altered version with Basse's music, at Naples, Teatro di S. Bartolomeo, December 
 1726, it was called "Larinda e Vanesio." SCHATZ 4523 
 
 - Cajo Fabricio. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Berlino per ordine di Sua Maesta . . . 
 
 Berlino, Haude et Spener, 1766. Ill, [3] p. 16 cm . 
 
 Three acts. Argument, scenario, and names of Joh. Ad. Hasse as the composer 
 and Apostolo Zeno as the original author, which note refers to the numerous altera- 
 tions of his text. German title page "Cajus Fabricius" and text face Italian. 
 
 First performed, as indicated, September 1766. SCHATZ 4524 
 
 Cajo Fabricio. Dramma per musica da rappresentarsi nell Sala 
 degl' illmi Signori Capranica nel carnevale dell' anno MDCCLV . . . 
 Roma, Fausto Amidei, n. d. 66 p. 15 cm . 
 
 Three acts with intermezzi. By Apostolo Zeno, who is not mentioned. Impresa- 
 rio's dedication, argument, cast, scenario, and name of Giuseppe Scolari as the 
 composer. SCHATZ 9804
 
 OPEEA LIBRETTOS 245 
 
 II Cajo Mario. Dramma per musica da rappresentarsi nel Nuovo 
 Teatro de nobili Sig. fratelli Prini della citta di Pisa la primavera 
 dell' anno 1779. 
 Pisa, Francesco Pieraccini, 1779. 48 p. 17 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Cast, scenario, 
 argument, and note: "La musica e di van celebri autori." SCHATZ 11311 
 
 Cajo Mario. Dramma per musica da rappresentarsi nel Teatro di 
 S. Benedetto nell' autuno dell' anno MDCCLXX. 
 
 Venezia, Modesto Fenzo, n. d, 54 p- 18 cm . 
 
 Three acts. By Gaetano Roccaforte. Argument, cast, name of composer, Pasquale 
 Anfossi, but not of librettist. SCHATZ 231 
 
 II Cajo Mario. Dramma per musica da rappresentarsi nel nobilis- 
 simo Teatro di S. Benedetto nella fiera delr Ascensione dell' anno 
 1781. 
 
 Venezia, Modesto Fenzo, 1781. 55 p. 16\ cm . 
 
 Three acts. Argument, cast, scenario, and name of composer, Ferdinando Bertoni, 
 but not of librettist, Gaetano Roccaforte. On p. 21-30, 43-49, cast and ristretto (synopsis) 
 of "L'orfano della China, ballo tragico in cinque atti," and "Lauretia, ballo eroicomico 
 in tre atti, inventati e composti dal Signer Gaspero Angiolini." The composers are 
 not mentioned. SCHATZ 909 
 
 Cajo Mario. Dramma per musica da rappresentarsi nel real Teatro 
 di S. Carlo nel di 30 maggio 1784, festeggiandosi il glorioso nome di 
 Ferdinando IV ... 
 
 Napoli, Vincenzo Flauto, 1784. 24, 35 p. 15 cm . 
 
 Three acts. Dedication, dated May, 30, 1784, argument, scenario, cast, and name 
 of the composer, Francesco Bianchi, but not of the librettist, Gaetano Roccaforte. 
 On p. 12-22, argument, cast, and full description of " II ritorno di Rinaldo presso Armida, 
 o sia, La vendetta di Armida vinta dall' amore, ballo eroico in tre atti, by Domenico 
 Le Fevre, music ("tutta nuova") by Antonio Rossetti. SCHATZ 995 
 
 Cajo Mario. Dramma per musica da rappresentarsi nel Teatro da 
 S. Agostino il carnovale ctell' anno 1782 . . . 
 Genova, Stamperia Gesiniana, n. d. 59 p. [1 1.] 13$ cm . 
 
 Three acts. By Gaetano Roccaforte (not mentioned). Dedicatory poem, argu- 
 ment, cast, and name of the composer, Cimarosa. 
 
 First performed at Rome, Teatro delle Dame, carnival, 1780. SCHATZ 1991 
 
 Cajo Mario. Dramma per musica del Signor abate Gaetano Rocca- 
 forte Romano. Da rappresentarsi nel Teatro Grimani in S. Gio. 
 Grisostomo la fiera dell Ascensione dell' anno 1764. 
 
 Venezia, Modesto Fenzo, 1764. $4 P- 17% cm . 
 
 Three acts. Argument, cast, and name of Galuppi as composer. ("La musica 
 tutta nuova. "} With the opera were performed the ballets, "II giudizio di Paride" 
 and "Li amori di Tirsi ed Eurilla interrotti dalla maga Falsirena," both by Gaetano 
 Cesari, the composers of the music not being mentioned. 
 
 First performed, as indicated, May 31, 1764. (Piovano) SCHATZ 3502 
 
 Cajo Mario. Dramma per musica da rappresentarsi nel Teatro 
 alia Canobiana Testate dell' anno 1791 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. J$ p. 
 
 Two acts. By Gaetano Roccaforte, who is not mentioned. Impresario's dedica- 
 tion, argument, cast, scenario, and name of Giuseppe Giordan! as the composer. With 
 the opera was performed Urbano Garzia's ballet, "La villeggiatura in scompiglio 
 oseis, II falso amico." The composer of the music is not mentioned. 
 
 First performed at Lodi, Nuovo Teatro, August, 1789. SCHATZ 3835
 
 246 LIBRARY OF CONGRESS 
 
 Cajo Mario. Drama per musica da rappresentarsi in Verona nel 
 Nuovo Teatro dell' Accademia Filarmonica nel carnovale dell' anno 
 1762 . . . 
 
 Verona, Dionisio Ramanzini, 1761. 54 p. 16% cm . 
 
 Three acts. Argument, cast, scenario, name of Niccolo Jomnielli as composer, 
 and dedication, with remark that this is the first performance of Gaetano Roccaforte's 
 drama at Verona. 
 
 First performed at Rome, Teatro di Torre Argentina, February 6, 1746. 
 
 SCHATZ 4896 
 
 Cajo Mario. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto nella fiera dell' Ascensione dell' anno 
 MDCCLXXVII. 
 
 Venezia, Modesto Fenzo, 1777. 62 p. 17 cm . 
 
 Three acts. By Gaetano Roccaforte. Argument, cast, scenario, and name of 
 Carlo Monza. as the composer. ("La musica tutta nuova.") On p. [23J-32, cast 
 and description of Paolo Pranchi's ballet, "Lauso e Lidia, ballo eroico pantomime in 
 cinque atti." The composer of the music is not mentioned. SCHATZ 6617 
 
 Cajo Mario. Dramma per musica da rappresentarsi nel Regio-Ducal 
 Teatro di Milano nel carnovale dell' anno 1765 . . . 
 
 Milano, Giuseppe Richino Malatesta, 1765. 6 p. 1., 48 p. 14 cm > 
 Three acts. Dedication, argument, scenario, cast, and names of Gaetano Rocca- 
 forte as the author, of Giuseppe Scolari as the composer. SCHATZ 9788 
 
 Cajus Fabricius. Tr. of Hasse's Cajo Fabricio. 
 
 Cajus Fabricius. Ein musicalisches schau-spiel welches an dem 
 glorreichen hoechsten nahmens-tag Ihro Churfuerstl. Durchleucht zu 
 rfaltz . . . aufgefuehret worden im jahr 1760. Die poesie ist yon 
 dem herrn Mathias Verazj . . . Die music ist eine neue composition 
 von dem beruehmten herrn Nicolaus Jommelli . . . ausser denen 
 mit einem sternlein, in dem italiaenischen buechlein bezeich T ieten 
 arien, so von dem herrn Joseph Colla Parmesanischen capell-meister 
 neu componiret worden. 
 
 Mannheim, Hof-buchdruckerey , n. d. 7 p. 1., 117 p. 15 cm . 
 
 The translator is not mentioned. Argument, cast, scenario. 
 
 "Cajo Fabricio" was first performed at Mannheim, Hoftheater, November 4, 1760. 
 
 SCHATZ 4846 
 
 Cajus Fabritius. Tr. of Hasse's Cajo Fabricio. 
 
 La calamita de' cuori. 
 
 [103}-153 p. 16% cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. i, Torino, 1757}. 
 
 Three acts . ML 49 . A2G6 
 
 - La calamita de' cuori. Dramma di tre atti per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta ejigli, 1788-95, v. 43, 
 [241}-293 p. 18. PQ 
 
 See next entry. 
 
 La calamita de' cuori. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro Nuovo di S. Samuele il carnovale dell' anno 
 1753 . . . 
 
 Venezia, Modesto Fenzo, 1758. 56 p. 16%. 
 
 Three acte. By Goldoni, who is not mentioned. Impresario's dedication dated 
 Venice, December 26, 1752, cast, but without the name of the composer, Baldassare 
 Galuppi. (Read: calamita, not calamita.) SCHATZ 3476
 
 OPERA LIBRETTOS 247 
 
 La calamita de cuori. Dramma giocoso. Da rappresentarsi ne' 
 Teatri privilegiati di Vienna nelF anno 1774. 
 
 [Vienna], Giuseppe Kurzbok, n. d. 70 p. 15% cm . 
 
 Three acts. By Giovanni de Gamerra, who is not mentioned. Scenario, name of 
 Antonio Salieri as the composer and cast added in red pencil to the list of characters. 
 First performed, as indicated, January 1, 1774. SCHATZ 9276 
 
 La calamita de cuori. Dramma giocoso per musica da rappre- 
 sentarsi nel Piccolo Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. publ., 1776. 135 p. 16% cm . 
 
 Three acts. Giov. de Gamerra, the author, is not mentioned. Scenario and name 
 of Antonio Salieri as the composer. German title page ' ' Der magnetstein der herzen' ' 
 and text face the Italian, which is with very few differences the same as that in the 
 Vienna, 1774, edition. For instance, "Questa del sesso nostro" (I, 2) has become 
 "Contro di quell' audace." SCHATZ 9277 
 
 Calandrano. Dramma giocoso per musica di Giovanni Bertati da 
 rappresentarsi nel Teatro di San Samuel 1'autunno delF anno 1771. 
 Venezia, Modesto Fenzo, n. d. 61 p. 18 cm . 
 
 Three acts. Cast, scenario, and name of Giuseppe Gazzaniga as the composer. 
 
 SCHATZ 3658 
 
 La Calciope. Drama per la musica di me Ercole Bonacossi. 
 Author's autograph, 16 . [53] 1. 19 cm . 
 Prologue and three acts. Argument. Not recorded by Schatz or Allacci. 
 
 ML 95.B6 
 
 Caleb Quotem and his wife. See Throw physick to the dogs! 
 
 Calfurnia. Drama per musica. Da rappresentarsi nel Teatro di 
 Sant' Angelo il carnovale dell' anno 1713 . . . 
 Venezia, Marino Rossetti, 1713. 59 p. IJfy. 
 
 Three acts. Dedication by the author, Grazio Braccioli, dated Venice, January 
 26, 1713, argument, cast, scenario, and name of "Giovanni Heyninghen di Sassonia 
 (Johann David Heinichen) as composer. SCHATZ 4701 
 
 Die roemische grossmuht, oder Calpurnia. In einem musica- 
 lischen schau-spiele im monath februar. 1716 auf dem Hamburgischen 
 Theatro aufgefuehret. 
 
 Hamburg, Friedrich Conrad Greiflinger, n. d. Unpaged. 16\ cm . 
 
 Scenario and "Vorbericht" by the translator, Johann Ulrich Konig, in which he 
 mentions Heinichen as the composer, and remarks that the translation was made from 
 the score, because he does not know the name of the Italian author and never saw a 
 printed copy of the Venetian libretto of 1713. He also states that he has done 
 nothing 
 
 "als nebst der uebersetzung hin und wieder einige stellen den hiesigen liebhabern 
 zu gefallen, geaendert und hin und wieder etliche taentze, arien, decorationen oder 
 auftritte eingerueckt ..." 
 
 Such arias appear with German text only, and their composer is not mentioned. 
 The other arias have the Italian text added to the German. SCHATZ 4702 
 
 II Caligola. L. T. of Pagliardi's Caligula delirante. 
 
 Caligula delirante. Melodrama da rappresentarsi in musica, nel 
 Teatro famoso Grimano di SS. Giovanni e Paolo, 1'anno MDCLXXII 
 
 Venetia, Francesco Nicolini, 1672. front., 84, [1] p> 14% cm > 
 Three acts. By Domenico Gisberti, who is not mentioned, and whose title origi- 
 nally was "La pazzia in trono ovvero Caligola delirante." Publisher's dedication,
 
 248 LIBRARY OF CONGRESS 
 
 Caligula delirante Continued. 
 
 dated Venice, December 18, 1672, argument, notice to the reader, scenario, and name 
 of "Giovanni Maria Pagliardi, maetro di capella del sereniss. Gran Duca di Toscana," 
 as the composer. SCHATZ 7582 
 
 - II Caligola. Dramma per musica, rappresentato in Roma nel 
 nuovo Teatro di Tor di Nona nel presente anno 1674 . . . 
 
 Roma, Stamparia della Rev. C. A., 167 '4. 63 p. 13\ cm . 
 
 Three acts. Gisberti's text, with noticeable differences from the version of Venice, 
 1672. For instance, I, 2 now begins, "O Di quanto il Sol vede," instead of "Su ! mia 
 figlia corraggio;" I, 6, "Nesbo di regal ceppo," has been dropped and I, 7, "De la 
 vaga Teosena," has become I, 6, etc., etc. SCHATZ 7586 
 
 Calimedonte, rei do Epiro, ou Os amores de Sisbe e Selene: baile 
 heroico-pantomimo em quatro actos para se executar no Real 
 Theatro de S. Carlos em beneficio de Theresa Mellazzi em 9 de Janeiro 
 de 1796. 
 
 Lisboa, Simao Thaddeo Ferreira, 1796. 21 p. 15 cm . 
 
 Argument and detailed description of the single acts. Neither the composer of the 
 music is mentioned nor the "composer" of the oallet. Not recorded by Schatz. 
 
 ML 52.2.C2 
 
 Calipso. Dramma per musica. Da rappresentarsi nel Real Teatro 
 di S. Carlo nel di 30 maggio 1782 festeggiandosi il glorioso nome di 
 Ferdinando IV ... 
 
 Napoli, Vicenzo Flauto, 1782. 56 p. 16 cm . 
 
 Three acts. Author not mentioned, and unknown to Schatz. According to a foot- 
 note on p. 20, the text had been greatly changed to adapt it to this theatre. Dedi- 
 cation dated May 30, 1782, argument, scenario, and name of Giacomo Insanguine, 
 called Monopoli, as composer. On p. 10-18, argument, cast, and description of 
 Paolo Franchi's "La principessa di Tingi, ballo eroico pantomimo in cinque atti." 
 The second ballet was Giuseppe Trafieri's comic ballet, "La vendemia ossia La conta- 
 dina impertinente." Giuseppe Giordani is mentioned as composer of both ballets. 
 
 SCHATZ 4839 
 
 Calipso. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1777 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 58 p. 16\ cm . 
 
 Three acts. By Donzel (who is not mentioned), with a few alterations. Argument, 
 cast, scenario, and name of Bernard(in)o Ottani as the composer. Vittorio Amedeo 
 Canavasso is mentioned as the composer of the music for the ballets, a description of 
 which was to follow on p. 59. 
 
 First performed December 26, 1776, as indicated. SCHATZ 7360 
 
 Calipso abbandonata, ballet. See Mortellari's Troja distrutta. 
 
 Calista. An opera. As it was designed to have been perform'd at 
 one of the theatres . . . 
 London, C. Dames, 1731. 6 p. 1., 60 p. 18\ cm . 
 
 Three acts and introduction. Anonymous dedication and table of the 39 tunes 
 used in this ballad-opera. Author not recorded. LONGE 322 
 
 La Calisto. Drama per musica di Giovanni Faustini. Favola 
 decima. 
 
 Venetia, Giuliani, 1651. 82 p. 
 Three acts with prologue. Author's preface and argument. The composer, 
 Pietro Francesco Cavalli, is not mentioned. 
 
 First performed at Venice, Teatro di S. Apollinare, fall of 1651. SCHATZ 1744
 
 OPERA LIBRETTOS 249 
 
 La Calisto. Intermezzi printed with Sarro's Candaule re di Lidia. 
 
 Calisto : or, The chaste nimph. The late masque at court, as it was 
 frequently presented there, by several persons of great quality. 
 With the prologue, and the songs betwixt the acts. All written by 
 J. Crowne. 
 
 London, Printed by TJio. Newcomb, for James Magnes and Richard 
 Bentley, 1675. 12 p. I., 81, [1] p. 21%. 
 
 Five acts, prologue and epilogue (last, unnumb. p.). Cast of "The persons of the 
 play," not of the singers. John Crowne 's dedication and his preface in which he states 
 that he was 
 
 "invaded, on the sudden, by a Powerful Command, to prepare an entertainment 
 for the court, which was to be written, learnt, practised, and performed, in less time 
 than was necessary for the writing alone. True, it was not performed, till some 
 months after the time first decreed, but that hapned from the discretion of those on 
 whom the dancing and musical parts depended, who found it required time to do 
 any thing in perfection; but I not knowing it would be so deferred, finished my 
 part within time first alotted me, which was scarce a month; not only for the play, 
 but the prologue, and songs, the nature of which I was wholly a stranger to, having 
 never seen any thing of the kind; and by these means, I was forced upon a brisk 
 dullness, writing quick, but flat. I was also confined in the number 6f the persons; 
 I had but seven allow'd me, neither more nor less: those seven to be all ladies, and 
 of those ladies, two pnely were to appear in men's habits. Next, for my subject, it 
 was not, I confess, imposed upon me by command, but it was for want of time to 
 find a better: For I had but some few hours allow'd me to choose one . . . 
 
 "Having made this little vidication of my self, I were now bound in gratitude, 
 (before I conclude) to record the due praises of those whose admirable performances 
 in their several kinds, lent this entertainment much of the praise it had; namely, 
 the singers, and the composer of all the musick both vocal and instrumental Mr. 
 [Nicholas] Staggins ... if the judgments of others, and those the most skilful too, 
 be not mistaken, Mr. Staggins has not only delighted us with his excellent com- 
 position, but with the hopes of seeing in a very short time a master of musick in 
 England, equal to any France or Italy have produced ..." 
 
 The singers evidently were professionals in the king's service; their names are not 
 mentioned. 
 
 Performed 1675, as indicated. LONGE 106 
 
 Callias, ou Nature et patrie, drame heroique en un acte et en vers, 
 mle de musique. Represente, pour la premiere fois, sur le Theatre 
 de FOpera comique national, le deuxieme jour complementaire, Fan 
 second de la Republique [September 18, 1794]. Paroles du citoyen 
 Hoffman, musique du cit. Gretry. 
 Paris, Maradan, Troisieme annee de la Republique, 1794-95. 2 p. I., 
 
 31 p. 21\ cm . SCHATZ4202 
 
 Callirhoe, tragedie represented par FAcademie royale de musique Tan 
 1712. Les paroles sont de M. Roy. & La musique de M. Destouches. 
 LXXX. opera. Tome x. 
 
 n. i., n. d. pi., p. 481-544 (Recueil general des opera, Paris, 1714)- 
 14 cm . 
 
 Detached copy. With argument. Five acts with prologue. 
 First performed, as indicated, December 27, 1712. ScHATz'2544 
 
 Second copy. ML 48. R4 
 
 Calliroe. Dramma per musica da rappresentarsi nel nuovo Regio 
 Ducal Teatro di Milano il carnovale dell anno 1779 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 62 p. (incl. Ji.-t.}, [1] p. (errata'). 
 
 Three acts. Dedication, scenario, cast, names of Mattia Verazi as author (on h.-t.), 
 of Felice Alessandri as composer, and argument, at end of which this is called a com-
 
 250 LIBRARY OF CONGRESS 
 
 Calliroe Continued. 
 
 pletely remodeled and adapted version of "quest' opera steesa . . . gia . . . la 
 prima yolta esposta eul Ducal Teatro di Wirtemberg." This evidently refers to 
 Sacchini's setting of Verazi 's "Calliroe," first performed at Stuttgart January 10, 1779. 
 With Alessandri s opera was performed the ballet, "Porzia," by either Giuseppe 
 Canziani or Sebastiano Gallet. 
 
 First performed, as indicated, December 26, 1778. SCHATZ 142 
 
 La Calliroe. Dramma per musica da rappresentarsi nel Regio 
 Teatro di via della Pergola il carnevale del MDCCXCII . . . 
 
 Firenze, Stamperia Albizziniana, 1792. 44 P- 16% cm . 
 
 Two acts. Argument, cast, and name of Sebastiano Nasolini as composer. The 
 author, Mattia Verazi, is not mentioned. On p. 5-12, argument, cast, and description, 
 without name of the composer of the music of Domenico Ballon's "Ino e Temisto, 
 ballo eroico tragico pantomimo." The second ballet was by Carlo Taglioni, and was 
 called "La pazza per amore." ML 48.A5 v. 22 
 
 La Calliroe. Dramma per musica da rappresentarsi nel nobile 
 Teatro di Padova la fiera di giugno dell' anno 1776 . . . 
 
 Venezia, n. publ., n. d. 56p. 17. 
 
 Three acts. By Mattia Verazi, who is not mentioned. Onorato Vigano's dedica- 
 tion as impresario, argument, cast, scenario, and name of Giacomo Rust as the com- 
 poser. ("La musica sara tutta nuova.") SCHATZ 9173 
 
 Calliroe. Dramma per musica da rappresentarsi nel Gran Teatro 
 Ducale di Louisbourg festeggiandosi il felicissimo giorno natalizio di 
 Sua Altezza Serenissima Carlo duca regnante di Wirtemberg et Teck 
 etc etc. La musica e nuovamente composta dal Signer Antonio 
 Sacchini . . . 
 
 [Stuttgart], Cotta, 1770. 167 p. 18 cm . 
 
 On half-title Mattia Verazi is mentioned as the author. Argument, scenario, cast. 
 French t.-p. "Calliroe," and text face Italian. On p. 162-167. cast and description 
 of a "ballo allegorico " for this February 11, 1770, the duke's birthday. SCHATZ 9210 
 
 Calpurnia. A. T. of Heinichen's Die roemische grossmuht. 
 
 Calto. Dramma per musica da rappresentarsi nel nobilissimo Teatro 
 Venier in San Benedetto il carnovale dell' anno 1788. 
 Venezia, Modesto Fenzo, 1788. 40 p. 17% cm . 
 
 Two acts. Preface by the author, Giuseppe Foppa, who calls this his second 
 drama written for this theatre, argument, cast, scenario, and name of the composer, 
 Francesco Biajnchi. The first ballet was called "Le ninfe di Diana, ballo anacre- 
 pntico." It was by Domenico Ballon. The composer is not mentioned. The music 
 is called "tutta nuova." SCHATZ 996 
 
 Calypso; a masque: In three acts. As it is performed at the 
 Theatre-Royal in Covent-Garden. Written by Richard Cumber- 
 land, Esq. The music composed by T. Butler . . . 
 
 London, T. Evans, 1779. v, [1], 48, [2] p. 21 cm . 
 
 The [2] p. contain publisher's book-list. 
 Cast and dedication. 
 First performed March 20, 1779. LONGE 102
 
 OPERA LIBRETTOS 251 
 
 Calypso oder Sieg der weissheit ueber die liebe. In einem sing- 
 spiele auf dem Hamburgischen Schau-Platze im jahr 1727 vorgestellet. 
 
 [Hamburg], Gedruckt mit Stromerschen schrifften, n. d. Unpaged. 
 19 cm . 
 
 Cast, names of Johann Philipp Praetorius as author, of Georg Philipp Telemann 
 as composer, and noteworthy "Vorbericht" (incl. argument), which reads, in part: 
 
 " Nachfolgendes sing-spiel ist einigermassen ein versuch zur verbesserung der 
 theatralischen musick in teutscher sprache, nach dem model der Italiaener . . . 
 Unser schau-platz hat von einigen jahren her einen grossen theil der musick von 
 ihnen entlehnet; verschiedene Threr beruehmtest'en opern sind bey uns nicht allein 
 aufgefuehret worden, sondern es haben auch "bestaendig einige ihrer geschickten 
 landes-leute in selbigen gesungen . . . 
 
 "Nimmermehr ist der yorsatz derjenigen, welche die italiaenische opern erstlich 
 bey uns eingefuehrt, dahin gerichtet gewesen, dass selbige den gaentzlichen besitz 
 unsers theatri, mit ausschliessung aller ahrten, so wir eelbst hervorbringen moechten, 
 einnehmen eolten. Ich weiss auch nicht wie einige unter uns neulicher zeit zu den 
 gedancken gekommen, dass die teutschen worte zur musick untauglich seyn: Dass die 
 teutsche sprache nicht so weibisch, und mit vocalen angefuellet sey, als die italiaen- 
 ische, solches gestehe ich gern; aber damit ist es noch lange nicht ausgemacht, dass 
 sie zur harmonic untuechtig sey . . . 
 
 "Es est gewiss von viel groesserer folge bey schau-spielen, dass sie in einer dem 
 auditorio verstaendlichen sprache aufgefuehret werden. Dieser satz, deucht mich, 
 braucht eben nicht viel beweises. Das groesste vergnuegen, so man bey der vocal- 
 music hat, entstehet aus der vereinigung der ideen, welche zu gleicher zeit von den 
 worten und dem klange herruehren ..." SCHATZ 10257 
 
 II calzettaro ossia Tanto va la gatta al lardo chi si lascia lo zampino, 
 ballet. See Paisiello's Gli schiavi per amore. 
 
 La calzolaja tedesca, ballet. See Fioravanti's Le cantatrici villane. 
 II calzolajo, ballet. See Cristiani's La citta nuova. 
 
 Camaide, imperatore della China o vero Li figliuoli rivali del 
 padre. Dramma per musica, da rappresentarsi nel Teatro di corte 
 . . . Poesia del Sig. Domenico Lalli. Musica del Sig. Antonio 
 Caldara . . . 
 
 Salisburgo, Giovanni Gioseppe Mayr, n. d. 4p-l>-> 100, \\ P- 16 cm . 
 
 Three acts and licenza. Argument and scenario. On pages 23-29, 59-65 Domen- 
 ico Lalli's intermezzo in two parts, "LA MARCHESINA DI NANCHIN ED IL CONTE DI 
 PELUSIO," which were performed together with "Camaide" at Salzburg, Hoftheater, 
 May 9, 1722. SCHATZ 1479 
 
 II cambio felice o sia Pulcinella sposo deluso, ballet. See Curcio's 
 La Nitteti. 
 
 Cambise. Dramma per musica di Domenico Lalli. Da rappresen- 
 tarsi nel Teatro di S. Bartolomeo nel carnevale dell' anno 1719 . . . 
 Napoli, MicheleLuigi Muzio, 1719. 72 p. 13% cm . 
 
 Three acts. Impresario's dedication dated Naples, February 4, 1719, argument, 
 cast, scenario, and name of Alessandro Scarlatti as the composer. SCHATZ 9526 
 
 Cambro-Britons, an historical play, in three acts. First performed 
 at the Theatre Royal, Haymarket, on Saturday, July 21, 1798. 
 With a preface. Written by James Boaden . . . 
 
 London, G. G. and J. Robinson, 1798. vi, [2], 88 p. 21. 
 
 Cast. The preface, inter alia, repudiates the charge of plagiarism of Lewis' 
 "Castle Spectre" and says that of the songs two are by George Colman, the younger. 
 The composer, Samuel Arnold, is not mentioned. LONOE 248 
 
 Second copy. LONGE 266
 
 252 LIBRARY OF CONGRESS 
 
 La cameriera astuta. A new comic opera in two acts. As per- 
 formed at the King's Theatre in the Hay-Market. The music en- 
 tirely new by Mr. Storace. 
 London, D. Stuart, 1788. 1 p.L, 91 p. 18 cm . 
 
 Cast. English prose translation faces Italian by author, who is not mentioned. 
 First performed March 4, 1788, as indicated. SCHATZ 10078 
 
 La cameriera per amore. Dramma giocoso per musica da rap- 
 presentarsi nel Real Teatro di Salvaterra nel carnovale dell' anno 1776. 
 [Lisbona], netta, Stamperia reale, n. d. 88 .p. incl. Ti.-t. 14h cm - 
 Three acts. By Filippo Livigni, who is not mentioned. Cast, scenario, and 
 name of Felice Alessandri as composer. 
 
 First performed at Turin, Teatro Carignano, fall of 1774. SCHATZ 152 
 
 Camilla. Tr. of M. A. Bononcini's II trionfo di Camilla. 
 
 Camilla ossia La sepolta viva. Tr. of Dalayrac's Camille ou Le 
 souterrain. 
 
 Camilla, regina de' Volsci. Dramma per musica da rappresentarsi 
 nel Teatro Tron di Cassiano. II carnovale dell' anno 1749. 
 Venezia, Modesto Fenzo, 1749. 36 p. 15 cm . 
 
 Three acts. By Silvio Stampiglia, who is not mentioned. Argument, cast, 
 scenario. Composers not mentioned and unknown to Schatz, who records this as a 
 pasticcio. SCHATZ 11312 
 
 Camilla, regina de' Volsci. L. T. of M. A. Bononcini's II trionfo 
 di Camilla, regina de' Volsci. 
 
 Camille, reine des Volsques, tragedie represent e*e pour la pre- 
 miere fois par P Academic royale de musique le mardi neuf novembre 
 1717. 
 
 Paris, Pierre Ribou, 1717. xviii, 60 p. 25 cm . 
 
 Five acts with prologue and author's Avertissement. Neither Danchet nor Campra 
 mentioned. Cast. ML 50.2.C253C2 
 
 Camille, reine des Volsques, tragedie, repre"sentee par 1'Academie 
 royalede musique, 1'an 1717. Paroles de Monsieur Danchet. Musique 
 de M. Campra. XCIII. Opera. 
 
 n. i., n. d. 187-258p. 14 cm . (Recueil general des opera, Paris, 
 1734, t. xii.} 
 
 Detached copy. Five acts with prologue and author's Avertissement. 
 
 First performed as indicated, November 9, 1717. SCHATZ 1546 
 
 Second copy. ML 48. R4 
 
 Camille, reine des Volsques, tragedie. 
 
 [281 }-350 p. 1 7\ cm . (Antoine Danchet, Theatre, Paris, 1751,t. Hi. ) 
 Prologue and five acts. Preface. The composer, Andre Campra, is not men- 
 tioned. PQ 1972.D2 
 
 Camille ou Le souterrain, comedie en trois actes, en prose, me'lee de 
 musique, par M. Marsollier, represented par les Comediens italiens, le 
 19 mars 1791. 
 Paris, Brunei, 1791. 60 p. 19 cm . 
 
 Label of Vente pasted over imprint. 
 
 Cast. The composer, Dalayrac, is not mentioned. ML 50.2.C25D2
 
 OPERA LIBRETTOS 253 
 
 Camille Continued. 
 
 - Camille, ou Le souterrain, comedie en trois actes et en prose, 
 melee de musique. Par M. Marsollier. Represented par les Come- 
 diens italiens, le 19 mars 1791. 
 
 Paris, Delalain, 1793. 37 p. 22 cm . 
 
 Cast. Dalayrac is not mentioned. ML 50.2.C25D22 
 
 - Camille, of Het onderaardsch gewelf. Zangspel. Geyolgd naar 
 het fransch. Door N. C. Brinkman, wed C. Van Streek [vignette] 
 
 Ajnsterdam^J. Helders en A. Mars, 1796. 87 p. 17 cm . 
 
 Two acts. Neither Marsollier nor Dalayrac mentioned. 
 
 First performed at Amsterdam, Stads Schouwburg, 1796. SCHATZ 2392 
 
 Camilla ossia La sepolta viva. Commedia tradotta dal francese 
 con musica da rappresentarsi nel Regio Teatro di S. Carlo . . . nel 
 giorno 29 novembre dell' anno 1799. 
 
 Lisbona, Simone Taddeo Ferreira, 1799. 151 p. 15 cm . 
 
 Translated from Marsollier by Giuseppe Carpani. Three acts. Cast, names of the 
 author, and the composer, Dalayrac. Portuguese and Italian text. SCHATZ 2332 
 
 Camillo generoso, drama per il Teatro del Serenissimo elettore di 
 Sassonia Fanno MDCXCIII Camillus der Gross-nmethige . . . 
 
 Dresden, Hoff-buchdruckerey, gedruckt durch Immanuel Bergen, n. d. 
 Unpaged. 29 cm . 
 
 Three acts. Argument, scenario. German text faces Italian. Neither author nor 
 composer mentioned and both unknown to Fiirstenau. The " Dekorationsbilder " 
 mentioned by him are not in this copy, which does not appear to lack any. 
 
 ML 50.2.C256 
 
 The camp, a musical entertainment, as performed at the Theatre 
 Royal, Drury Lane. By R. B. Sheridan, Esq. 
 
 London, n. publ, 1795. 28 p. 17% cm . 
 
 Two acts. Cast. The composer, Thomas Linley, is not mentioned. 
 
 In S. and A. Thompson's vocal score of the opera Linley printed a note to the 
 effect that many of the airs, trios, etc., in the The Camp were taken from his comic 
 opera of "The Royal merchant," "some of the musick of which was found particu- 
 larly applicable to the subject of this piece." Also we know from the vocal score 
 that the "March spiritoso" in the opera was not by Linley but by Parke. 
 
 First performed October 15, 1778. LONGE 233 
 
 I campi Elisi ossia Le spose ricuperate. Dramma giocoso per 
 musica da rappresentarsi nel Teatro alia Scala la primavera dell' 
 anno 1788 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 72 p. 16 cm . 
 
 Two acts. By Giovanni Bertati. Impresario's dedication, cast, scenario, and 
 name of the composer, Luigi Caruso, but not of the author. 
 
 First performed at Venice, Teatro di San Samuele, fall of 1785. SCHATZ 1662 
 
 Candace. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S. Gio. Grisostomo 1'autunno dell' anno 1740 . . . 
 Venezia, Marino Rossetti, n. d. 59 p. ll t \ cm . 
 
 Three acts. Dedication signed by Domenico Lalli, who, according to Schatz, 
 altered "I veri amici," by Francesco Silvani (not mentioned), argument, cast, 
 scenario, and name of Giovanni Battista Lanipugnani as composer. SCHATZ 5392
 
 254 . LIBRARY OF CONGRESS 
 
 La Candace o'siano Li veri amici. Drama per musica da rappre- 
 sentarsi nel Teatro Arciducale di Mantova nel carnovale dell' anno 
 MDCCXX . . . 
 
 Mantova, Alberto Pazzoni, n. d. 60 p. 16 cm . 
 
 Three acts. Lalli's version of Francesco Silvani's "I veri amici" (neither of 
 whom mentioned). Argument, cast, scenario and name of Antonio Vivaldi as com- 
 poser. ML 50.2.C26V3 
 
 Caiidalide. Dramma per musica di Bartolomeo Vitturi da rappre- 
 sentarsi nel Teatro di Sant' Angelo. Nel carnovale dell' anno 
 MDCCXXXIV. 
 
 Venezia, Marino Rossetti, 1734- 59 p. 15. cm . 
 
 Three acts. Argomento, cast, and name of Tommaso Albinoni as composer, whose 
 eightieth opera this is called. SCHATZ 174 
 
 Candaspe, regina de Sciti. Dramma per musica da rappresen- 
 tarsi nel Teatro di San Angelo il carnovale dell' anno 1740. 
 
 Venezia, Marino Rossetti, 1740. 4$ P- 14 cm - 
 
 Three acts. By Bartolomeo Vitturi (not mentioned). Argument, scenario, cast, 
 and name of the composer, Giovanni Battista Casali. SCHATZ 1677 
 
 v/ Candaule. Drama per musica da rappresentarsi nel Teatro di S. 
 
 Casciano 1'anno 1680 . . . 
 
 Venetia, Francesco Nicolini, 1680. 64 p. 14\ cm - 
 Three acts. Dedication, argument, and scenario. Neither the author, Adriano 
 
 Morselli, nor the composer, Pietro Andrea Ziani, is mentioned. 
 
 First performed, as indicated, fall of 1679. SCHATZ 11219 
 
 Candaule re di Lidia. Drama per musica da rappresentarsi nel 
 Nuovo Teatro di S. Giovanni de' Fiorentini . . . 
 
 Napoli, MicheleLuigi Mutio, 1706. 5 p. I., 50 p. 13% cm . 
 
 Three acts. By Adriano Morselli, who is not mentioned. At end of second act, on 
 p. 28-35, apparently as intermezzo, is printed the text of the one act "La CALISTO 
 Scherzo dramatico." 
 
 Impresario's dedication, argument of "Candaule" and of "La Calisto," cast, 
 scenario, and name of Domenico Sarro as composer of "Candaule," list of characters, 
 without cast and without name of composer of "La Calisto," and after the dedication 
 a notice to the reader, which says, in part: 
 
 "L'autore del presente drama e incerto, fii per6 rappresentato in questa medesima 
 citta nell' anno 1679, mi, con qualche diyersita da quel ch'oggi si rappresenta solamente 
 intorno alia locuzione, essendo rimasto in tutto 1'intrico deli' antica favola. 
 
 "Lo scherzo dramatico e nuova poesia, ma se conoscerai, che il personaggio del 
 Pastor Napoletano sia fuor di costume, compatisci con la tua bonta il mio desiderio di 
 rendere il drama piu allegro." 
 
 Neither the author nor the composer of this is mentioned; but Schatz attributes the 
 music to Sarro. The point is not of much consequence, in view of this note, printed at 
 end of the third act : 
 
 "Lo scherzo dramatico intitolato La Calisto, che dovea rappresentarsi nella fine 
 dell' atto secondo non si rappresenta per render piu breve il drama, ed invece di detto 
 echerzo si vedra altro trattenimento curioso." SCHATZ 9417 
 
 Canente, tragedie representee par 1'Academie royale de musique 
 1'an 1700. Les paroles de M. de la Mothe, & la musique de M. Col- 
 lasse. L. opera. 
 
 n. i., n. d. p. Jfi-lOS. 14 cm . (Recueil general des opera, Paris, 
 1703, t. 7.) 
 
 Detached copy. Five acts, with prologue. 
 
 First performed, as indicated, Nov. 4, 1700. SCHATZ 2098 
 
 Second copy. ML 48. R4
 
 OPERA LIBRETTOS 255 
 
 Canope. Entree in Rameau's Les ftes de 1'Himen et de 1'Amour. 
 
 La cantarina. Commeddea pe mmuseca da rappresentarese a lo 
 Tiatro de li Sciorentine nchisto carnevale de lo 1728. 
 
 Napole, n. pull., 1728. 59 p. 14% cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Notice to the reader, 
 cast and names of Mechele Caballone as composer of act I, of Costantino Ruberto 
 (Roberto) of acts II-III. ML 50.2.C265C2 
 
 La cantata e disfida di D. Trastullo. Intermezzi per musica a 
 tre voci da rappresentarsi nel Teatro di Tordinona nel carnevale dell' 
 anno 1756 . . . 
 
 Roma, Ottavio Puccinelli, 1756. 24 p. 15 cm . 
 
 Two parts. Author not mentioned and unknown to Schatz. Dedication by 
 Angelo Lungi, cast and name of Niccolo Jommelli as composer. 
 
 Performed with same title in the same year at Bologna, Teatro Marsigli Rossi; first 
 performed, perhaps with same title, at Rome, Teatro della Pace, carnival 1746. 
 
 ML 50.2.C266J6 
 
 II Don Trastullo. Intermezzi per musica a tre voci da rappresen- 
 tarsi nel Pubblico Teatro di Lucca nel carnevale dell' anno 1762. In 
 occasione delle recite in prosa da farsi dall' Accademia de' dilettanti 
 della Comica . . . 
 
 Lucca, Filippo Maria Benedini, 1762. 24 p. 14% cm - 
 Two parts. Cast and name of Niccol6 Jommelli as composer. Author not men- 
 tioned, and unknown to Schatz. Text the same as in the Rome, 1756 ed. 
 
 SCHATZ 4882 
 
 Le cantatrici vtllane. Commedia per musica di Giuseppe Palomba 
 da rappresentarsi nel Teatro de' Fiorentini per quart' opera del cor- 
 rente anno 1798. 
 
 Napoli, n. pull., 1798. 47 p. 15 cm . 
 
 Two acts. Cast and name of the composer Valentino Fioravanti. With the 
 opera was performed "La calzolaja tedesca, ballo comico, compoeto . . . dal Sig. 
 Gio. Battista Giannini." The composer of the music is not mentioned. 
 
 SCHATZ 3122 
 
 La capanna incantata, ballet. See Gazzaniga's Amor per oro. 
 
 II capitan Galoppo. Intermezzi comici musicali da rappresentarsi 
 nel Teatro di Sant' Angelo Fautunno dell' anno MDCCXLI. 
 
 Venezia, Marino RosseUi, 1741. 21 p. 16 cm . 
 
 Two parts. Cast. Neither the author, Bernardo Saddumene, is mentioned, nor 
 the composer, Johann Adolph Hasse. Originally performed as "La Fantesca" at 
 Naples, Teatro di S. Bartolomeo, January 29, 1729. SCHATZ 4588 
 
 II capitan Tenaglia, o sia La muta per amore. Dramma giocoso 
 per musica da rappresentarsi in Firenze 1'autunno dell' anno 1784 
 nel nuovo Regio Teatro degl' Intrepidi detto La Palla a Corda . . . 
 
 Firenze, Stamperia Bonducciana, 1784- 68 p. 16% cm . 
 
 Two acts. By Cerilo Orcomeno, P. A., who is not mentioned and whose real 
 name is unknown to Schatz. (Wotquenne does not mention this P. A. at all.) Cast 
 and name of Giuseppe Moneta as the composer. According to Schatz the O. T. of 
 the libretto was"the present A. T. SCHATZ 6556 
 
 II capitano. Operette comique aus dem beschluss des carnevals auf 
 dem Hamburgischen Schau-rlatze abermahl vorgestellet. ,Im mo- 
 naht Mertz, anno 1726. 
 
 [Hamburg],Gedruckt mit Stromerschen schrifften, n. d. Unpaged. 18 cm . 
 
 Cast. Neither the author, Schwemschu, nor the composer, Georg Philipp Tele- 
 mann, is mentioned. 
 
 First performed, as indicated, February, 1724. SCHATZ 10270
 
 256 LIBRARY OF CONGRESS 
 
 II capitano Cook all' isola Ottaiti, ballet. See Cimarosa's L'im- 
 presario in angustio, (Milano, 1789). 
 
 Capocchio and Dorina. See The happy captive and The temple 
 of dullness. 
 
 II cappellaro, ballet. See Tarchi's La Virginia. 
 
 La cappricciosa, ballet. See Sarti's Adriano in Siria. 
 
 La cappricciosa raweduta. Dramma giocoso per musica da rap- 
 presentarsi nel nobilissimo Teatro Giustiniani in San Moise" 1'autunno 
 dell' anno 1794. 
 
 Venezia, Modesto Fenzo, 1794. 59 p. 17\ cm . 
 
 Two acts. Scenario and name of composer, Francesco Bianchi. 
 
 Schatz eays that the text is a later version of Caterino Mazzola's "II Turco in 
 Italia." On p. 31-34 description of the three act ballet "I riti della Baja Duchy, 
 composta dal Sig. Lorenzo Panzieri." The composer of the music is not mentioned. 
 
 SCHATZ 976 
 
 La cappricciosa umiliata. A. T. of the ballet Gli amanti ridicoli. 
 La cappriciosa umiliata, ballet. See Anfossi's Le gelosie fortunate. 
 
 I capricci. Farsa per musica di Giuseppe Foppa da rappresentarsi 
 nel nobilissimo Teatro Venier in San Benedetto il carnovale dell' 
 anno 1795. 
 
 [Venezia}, n. publ., n. d. 30 p. 18 cm . 
 
 One act. Prefatory note by the author, cast, and name of Vittorip Trento as the 
 composer. Schatz says that this libretto was published together with the farce "I 
 raggiri fortunati," Venice, 1795. SCHATZ 10442 
 
 I capricci di Galatea, ballet. See Jommelli's L'Olimpiade. 
 
 I capricci in amore. Dramma giocoso per musica da rappresen- 
 tarsi nel nobilissimo Teatro della nobil Donna Tron Veronese in San 
 Cassiano 1'autunno dell' anno 1791. 
 
 Venezia, Modesto Fenzo, 1791. 55 p. 17 cm . 
 
 Two acts. Cast, scenario, and name of Gennaro Astaritta as composer. Libret- 
 tist unknown to Schatz, who says that the title of the libretto originally was "La 
 contadina semplice." SCHATZ 384 
 
 II capriccio corretto. Dramma per musica da rappresentarsi nel 
 Piccolo Teatro Elettorale, composto da Caterino Mazzola . . . 
 
 Dresda, n. publ, 1783. 125 p. 15% cm . 
 
 Two acts. Franz Seydelmann is mentioned as the composer. German title page 
 "Der eigensinn der liebe" and text face Italian. 
 
 First performed 1783, as indicated. SCHATZ 9843 
 
 II capriccio drammatico. Rappresentazione per musica di 
 Giovanni Bertati per la seconda opera da rappresentarsi nel Teatro 
 Giustiniani di S. Moise il carnovale dell' anno 1787. 
 Venezia, Antonio Casali, n. d. 71 p. 17\ cm . 
 
 Two plays in one of one act each. The second is (on p. 31-71) Bertati's "Don 
 Giovanni o sia II convitato di pietra." No cast is given of this, nor is Giuseppe G-az- 
 zaniga, the composer of the music, mentioned, whereas of the first act the cast is given, 
 and a note reads: "La mueica e tutta nuova di yarj signori maestri." Schatz, follow- 
 ing Wiel, attributes, nevertheless, the "Capriccio dramatico" to Giovanni Valentin!. 
 
 SCHATZ 10580
 
 OPERA LIBRETTOS 257 
 
 La capricciosa. Drama giocoso per musica da rappresentarsi nel 
 Teatro delle Dame nel carnevale dell' anno 1776 . . . 
 Roma, Giovanni Bartolomicchi, 1776. 67 p. 15\ cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Cast, scenario and 
 name of Nicola Piccimri as composer. 
 
 First performed as indicated, February 8, 1776. ML 50.2.C267P4 
 
 - La capricciosa. Dramma giocoso per musica da rappresentarsi 
 nel Piccolo Teatro di S. A. S. E. di Sassonia 1'anno 1777. 
 Dresda, Stamperia elettorale, n. d. 133 p. 16 cm . 
 
 Three acts. German title page ' ' Die eigensinnige, ' ' and text face Italian . N . Pic- 
 cinni is mentioned as the composer. The author is not mentioned, and is unknown 
 to Schatz. SCHATZ 8077 
 
 La capricciosa corretta. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro di S. A. E. di Sassonia. 
 Dresda, n. publ, 1796. 20 p. I, 64 p. 16 cm . 
 
 Two acts. By Lorenzo da Ponte, who is not mentioned. German title-page, "So 
 bessert eie sich," faces Italian. The p. 1. contain also a detailed description of the 
 "Inhalt," which precedes the Italian text. Vincenz Martini (Martin y Soler) is 
 mentioned as the composer. 
 
 First performed at London, Haymarket, May 17, 1794. SCHATZ 6008 
 
 La capricciosa e il credulo, intermezzi. Die geliebte eigensinnige 
 und der leicht-glaeubige liebhaber, in einem zwischen-spiele, auf dem 
 Hamburgischen-Platze fuergestellet anno 1725. 
 
 [Hamburg], Gedruckt mit Stromerschen schrifften, n. d. Unpaged. 
 
 18 cm . 
 
 Three parts. Cast, names of the author, resp. translator, Johann Philip Praetorius, 
 and of the composer, Georg Philipp Telemann, and notice to the reader, in which 
 Praetorius protests that his frequent use of "auslaendische woerter " ("gegen meine bis 
 herige gewohnheit") is not to be construed as an admission of the German language's 
 poverty for operatic purposes. On the contrary: "Ich bin der unvorgrein lichen 
 meinung, die sprach-vermengung sey unserer mund-arth eben so anstaendig, als ein 
 buntes pickel-haerings-kleid einem ehrbaren und ansehnlichen manne," but the use 
 of foreign technical terms, as in this libretto, he considers quite proper. 
 
 The author of the Italian original is not mentioned, and is unknown to Schatz. 
 The Italian words of the arias are added to the German. SCHATZ 10271 
 
 Le caprice. L. T. of Piron's text Le mariage du caprice. 
 
 Le caprice amoureux ou Ninette & la cour. Parody of Ciampi's 
 Bertoldo, Bertoldino e Cacasenno. 
 
 The capricious lovers. O. T. of Phillis at court. 
 
 The capricious lovers: A musical entertainment: Taken from the 
 opera of that name. Written by the late Mr. R. Lloyd. The music 
 composed by Mr. Rush. 
 London, R. Withy, W. Griffin [etc.], 1765. 2 p. I., 27 p. 20 cm . 
 
 Two acts. Cast. After Favart's " Le caprice amoureux ou Ninette a la cour." 
 First performed at London, Drury Lane, November 28, 1764. LONOE 26 
 
 The captive, a comic opera; as it is perform'd at the Theatre-Royal 
 in the Hay-Market. 
 London, W. Griffin, 1769. vi, [2}, 23 p. 19\ cm . 
 
 Two acts. Cast and prefatory note, with remark: 
 
 "The dialogue of this trifle is taken [by Isaac Bickerstaffe?], with some alterations, 
 from a play of Dryden's [Don Sebastian] . . . The songs . . . have been selected 
 with great care ..." 
 
 72251 VOL 114 17
 
 258 LIBRARY OF CONGRESS 
 
 The captive Continued. 
 
 This is followed by a "Table of the songs, with the composers' names:" Ciampi, 
 Cocchi, Duni, Galuppi, Perez, Vento, Vinci, and Charles Dibdin, who composed 
 for the piece the songs, "Ah, how sweet the rural scene," "Poor panting heart, "In 
 emblem I am like a cat," "But pr'ythee spare me," and "Now, now, my fairest, let 
 us go." 
 
 First performed 1769, as indicated. LONOE 37 
 
 The captive of Spilburg. In two acts, as performed at the Theatre 
 Royal, Drury Lane, altered from the favourite French drama called 
 Le Souterram. with a preface by the translator. The music by 
 
 Tk 1 J 
 
 Dussek . . . 
 London, MacheTl Stace and J. HatcJiard, 1799. x, 46 p. 21 cm . 
 
 Last page numbered 47 by mistake. Cast, dedication, and preface, with sensible 
 remarks on the difficulties of a librettist, as, for instance: 
 
 "The principal alteration consists in the airs, which, when new music is to be com- 
 posed, it is seldom of any advantage to translate." 
 
 This translation of Marsollier's Camille, ou, Le souterrain " is generally attributed 
 to Prince Hoare. 
 
 First performed November 14, 1798. LONGE 249 
 
 Caractacus, a dramatic poem: written on the model of the ancient 
 Greek tragedy. By the author of Elfrida . . . The scond edition. 
 
 London, J. Knapton and R. and J. Dodsley, 1759. vii, [1], 96 p. 
 19 cm . 
 
 Dedication by the author, William Mason, dated March 20, 1759. Not this, but 
 the following dramatized version was composed by Thomas Augustine Arne and 
 first performed at Covent Garden, December 6 (not December 1) 1776. (The anony- 
 mous "Caractacus" music generally attributed to Arne, is certainly not his work.) 
 
 LONGE 42 
 
 - Caractacus. A dramatic poem. Written on the model of the 
 ancient Greek tragedy. First published in the year 1759, and now 
 altered for theatrical representation. By W. Mason . . . 
 
 York, Printed by A. Ward, and sold by R. Horsfidd and J. Dodsley, 
 in London, 1777. 4 p. I, 76 p. 19$ cm . 
 
 Five acts. Cast, author's dedicatory poem dated Aston, Nov. 12, 1776, and "Let- 
 ter to Thomas Harris, Esq.," the manager, dated September 10, 1776, in which Mason 
 appreciates Harris' "very fair and candid behaviour towards me, in not only asking 
 my permission to bring Caractacus upon the stage, but in thinking me capable of 
 making the alterations in it." 
 
 (This is a rebuke between the lines directed at George Colman for his unauthor- 
 ized dramatization of Mason's " Elfrida.") 
 
 Mason continues: 
 
 "As I have endeavoured, in fitting it for the stage, not to leave it totally unfit for 
 the closet, I suspect it may still be too long for representation. If, therefore, upon 
 rehearsal with the music, you should find this to be the case, I will send you a second 
 copy, in which several other lines and passages shall be mark'd with inverted com- 
 mas, which you may either omit, or retain, as shall then seem expedient. But, if I 
 print the tragedy, these passages will not be so marked, for the above reason . . ." 
 
 It should be noted, that this York edition of the text appeared later than the 
 libretto printed for the performances. Arne is not mentioned by Mason. 
 
 PR 3548.M2A65 
 
 - Caractacus. A dramatic poem. By W. Mason . . . Adapted 
 for theatrical representation, as performed at the Theatre-Royal, 
 Covent-Garden. Written on the model of the ancient Greek trag- 
 edy ... 
 
 London, George Cawikom, 1796. front., 1 p. 1., 9, [2], 12-106 p. 
 15 cm . (J. Bell, British Theatre, London, 1791-1797, v. 84.)
 
 OPEKA LIBRETTOS 259 
 
 C arac tacu s Continued . 
 
 The front, represents Mr. Caulfield as Arviragus and is dated October 29, 1796. 
 The p. 1. (with same date) is an added engraved title page with a ecene from the play. 
 
 Five acts. "Life of William Mason" with editorial comments on hia works. Hie 
 elegy to Rev. Hurd, March 20, 1759, and cast. PR 1241.B4 
 
 La caravana del Cairo. Tr. of Gre"try's La caravane du Caire. 
 
 La caravane du Caire, opera en trois actes, repre"sentee devant Leurs 
 Majestes a Fontainebleau. 
 
 [Paris], P. R. C. Ballard, 1783. 5 p. I, 46 p. 19 cm . 
 
 Cast and "Avertissement." Gretry is mentioned as the composer. Schatz 
 attributes the text to the comte de Provence (Louis XVIII) and Etienne Morel de 
 Chefdeville. 
 
 First performed, as indicated, Oct. 30, 1783; at Paris, January, 1784. 
 
 SCHATZ 4141 
 
 - La caravana del Cairo. Grand' opera in tre atti e per musica, 
 tolta dal francese. Da rappresentarsi nel Teatro di Monza Fautunno 
 1795 . . . 
 
 Milano, Gaetano Motta, n. d. 4 P- l-> 4 P- 16$ cm ' 
 Three acts. Italian version by Giuseppe Carpani, who is not mentioned. Dedi- 
 cation, short notice to the public, cast, scenario, and names of Gretry as composer 
 and of Wenceslao Pichel as composer of the added numbers. SCHATZ 4200 
 
 Cariselli. See Lully's Fragments. 
 
 Carlo e Carolina, ballet. See Cimarosa's Li amanti comici. 
 
 Carlo il Grande. Drama per musica da rappresentarsi nel famo- 
 sissimo Teatro Grimano di S. Gio. Grisostomo Tanno 1688 . . . 
 
 Venetia, Francesco Nicolini, 1688. 72 p. 14 cm - 
 
 Three acte. By Adriano Moreelli, who is not mentioned. Publisher's dedication, 
 author's notice to the reader with Domenico Gabrieli's name as composer, argument, 
 and scenario. SCHATZ 3397 
 
 Carlo Magno, festa teatrale in occasione della nascita del Delfino 
 offerta alle Sacre Reali Maesta Cristianissiine del Re, e Regina di 
 Francia dal cardinale Ottoboni, Protettore degF affari della corona. 
 Roma, Antonio de' Rossi, 1729. front., 11 p. 1., 64 p., Ixii pi. 
 
 Three acts. By cardinal Pietro Ottoboni himself, with "notizia istorica," reep. 
 "avertissement historique," scenario, and name of the composer, Giovanni Costanzi. 
 The sixty-two plates were designed by cav. Nicol6 Michetti and engraved by different 
 artists. They represent the scenes of the opera as arranged by Michetti. The engr. 
 front., not numb, as a pi., also by Michetti, is interesting as it contains a picture of 
 the opera orchestra of the time with two cembalists and ten other players. On p. 
 61-64 the text of the "Machina che termina il dramma," a kind of licenza. 
 
 First performed at Rome, Palazzo Ottoboni, October, 1729. SCHATZ 2277 
 
 ' Carlo re d'ltalia. Drama per musica da rappresentarsi nel famosis- 
 simo Teatro Grimano in S. Gio. Grisostomo. L'anno MDCLXXXIL 
 Di Matteo Noris . . . 
 
 Venetia, Francesco Nicolini, 1682. 82 p. 14 cm . 
 
 Three acte. Author's dedication and preface, argument, and scenario. The com- 
 poser, Carlo Pallavicino, is not mentioned. SCHATZ 7733
 
 260 LIBRARY OF CONGRESS 
 
 Le carnaval, mascarade represent ee par 1'Academie royale de 
 musique Tan 1675. Les paroles de differents auteurs, & la musique 
 de M. de Lully. VII. opera. 
 
 n. i., n. d. 14 cm > pi-, 347-370 p. (Recueil general de# opera, t. I, 
 1703.) 
 
 Detached copy. Nine entries. On p. 348 the note: 
 
 " Loreque cette maecarade a t repre'sente'e sur le Theatre de 1'Opera, elle a toujours 
 et6 precede de quelque autre divertissement; le plus souvent de Veglogue de Ver- 
 sailles, & une fois eeulement du ballet de Ville-Neuve Saint-Georges. Ce dernier 
 divertissement occupera ea place dans le iv. tome de ce recueil, eous 1'annee 1692. 
 Pour I'eglogue de Versailles, elle euivra immediatement V Ydille de la Paix, dans le 
 iii. volume: Car c'est dans cet ordre qu'en 1685 Monsieur de Lully 1'a fait imprimer 
 en musique." 
 
 As authors are mentioned by Schatz: Moliere, Quinault, and Lully. 
 
 First performed at Saint-Germain en Laye, before the King, 1675, and at Paris, as 
 indicated, October 17, 1675. SCHATZ 5765 
 
 Second copy. ML 48. R4 
 
 Le carnaval de Venise, ballet represente par 1' Academic royale de 
 musique. 
 
 Amsterdam, chez les Jieritiers d'Antoine Schelte, 1699. 72 p. 15 cm . 
 
 Contents same as below. Neither Renard nor Campra mentioned. 
 
 First performed, as indicated, February 28, 1699. ML 52.2.C23C3 
 
 Le carnaval de Venise, ballet. Represent e par 1'Academie royale 
 de musique Fan 1699. Les paroles sont de M. Renard & la musique 
 de M. Campra. XL VI. opera. 
 
 n. i., n. d. 291-354 P- 14 cm - (Recueil general des opera, Paris, 
 1703, t. vi.) 
 
 Detached copy. Three acts, with prologue and an interpolated miniature opera 
 in one act of eight scenes, called "Orfeo ne'll inferi," aril. "Orphee aux enfers," 
 French title and text facing Italian. SCHATZ 1547 
 
 Second copy. ML 48. R4 
 
 Le carnaval et la folie, comedie-ballet, representee par 1'Academie 
 royale de musique 1'an 1704. Les paroles de M. de la Mothe & La 
 musique de M. Destouches. LX. opera. 
 
 n. i., n. d. front., p. 181-232. (Recueil general des opera, t. viii, 
 Paris, 1706.) 14 cm . 
 
 Detached copy. Prologue and four acts. The "Avertissement " ends: 
 
 "La premiere impression de cette piece est dattee du 27. decembre 1703, neanmoins 
 
 elle n'a te represented que le 3. Janvier 1704." 
 
 This date refers to the first performance at Paris; at Fontainebleau, in the King's 
 
 private theatre, it was performed October 14, 1703. SCHATZ 2545 
 
 Second copy. ML 48.R4 
 
 La rupture du carnaval et de la folie. Parodie du ballet des 
 Amours du carnaval, & de la folie. Repr&entee pour la premiere 
 fois par les Comediens italiens ordinaires du roi, le 6. juillet 1719. 
 
 Les Parodies du Nouveau theatre italien, Now. ed., Paris, Briasson, 
 1738, t. ii, 40 p. 16$ cm . 
 
 One act. The airs used are printed at the end of the volume in the "Table des 
 airs" (melodies only. 60 p.). By Fuzelier, who is not mentioned. 
 
 - L'enfant gate, ou Folette et Roger-Bontems, parodie du Car- 
 naval et de la folie. M61ee d'ariettes, represented sur le Theatre de 
 1'Opera-comique, le 6. septembre 1755. Nouvelle edition. 
 
 Paris, Aux depens de la Communanie des imprimeurs-libraires, 1758. 
 38, [1] p. 19< 
 
 icm
 
 OPERA LIBRETTOS 261 
 
 Le Carnaval et la folie Continued. 
 
 On the [1] p. the approbation of 1755. On cover of our copy the music is attributed 
 to "F. Krafft" (Francois Krafft, b. 1733?). The note is probably based on Fetis, 
 whose data are corroborated by this libretto of an opera, which was unknown to Fetis. 
 (See next entry.) ML 50.2.E45 
 
 Folette ou L'enfant gate, parodie du Carnaval & la folie. Par 
 M. Vade. Represente pour la premiere fois, sur le Theatre de 
 FOpe'ra-comique de la Foire S. Laurent, le 6 septembre 1755. 
 
 La Hay e, Pierre Gosse junior, 1759. 62 p. 16 cm . (Vade, Oeuvres, 
 La Haye, 1759, t. Hi.) 
 
 One act, en vaudevilles. Cast. On p. 58-62 the ariette notee, "Une jeune dan- 
 eeuse." ML 49.A2V2 
 
 Der carneval von Venedig. A. T. of Reiser's Der angenehme 
 betrug. 
 
 Carolina e Mexicow, ballet. See Sard's Giulio Sabino. 
 
 Carolina e Mexicow. Tragedia per musica di Gaetano Rossi da 
 rappresentarsi nel Teatro La Fenice il carnovale dell' anno 1798. 
 Venezia, Stamperia Valvaseuse, n. d. 94 P- 18 cm . 
 
 Three acts. Cast and name of Nicola Antonio Zingarelli as the composer. On 
 
 S. [33^46, argument, cast, and description of Lauchlin Duqueeney's "Orlina ossia La 
 imiglia riumta, ballo pantomimo in cinque atti," music (''tutta nuova") by Erco- 
 lani. On p. 79-88 cast and description, without name of the composer of the music of 
 the comic ballet "L'avaro burlato." SCHATZ 11268 
 
 Carolus V. A. T. of Reiser's Die oesterreichische grossmuht. 
 
 Carrousel des quatre elemens. Tr. of Li quattro elementi, with 
 music by Lotti. 
 
 II Cartesiano fantastico. Commedia per niusica di G. M. D. Da 
 rappresentarsi nel Teatro Nuovo sopra Toledo per prima opera di 
 quest' anno 1790. 
 
 Napoli, n. publ, 1790. 48 p. 15 cm . 
 
 Two acts. By Giuseppe Maria Diodati. Cast and name of Giacomo Tritto as the 
 composer. SCHATZ 10467 
 
 O casamento inesperado. A. T. of Paisiello's O marquez de 
 Tulipano. 
 
 La Cascina. Dramma di tre atti per musica. Rappresentato per 
 la prima volta hi Venezia il carnovale dell' anno MDCCLVI con 
 musica dello Scolari. 
 
 Carlo GoMoni, Opere teatrali, Venezia, Zatta ejlgli, 1788-95, t. 4^1 
 [299}-358 p. 18 cm . 
 
 La cascina. Drarnma giocoso per musica di Polisseno Fegeio P. A. 
 Da rappresentarsi nel 'ftatro di S. Samuele il carnevale dell' anno 
 MDCCL7VI. 
 
 Venezia, Angiolo Geremia, n. d. 52 p. 15 cm . 
 
 Three acts. By Goldoni. Cast, scenario and name of Giuseppe Scolari as the 
 composer. SCHATZ 9789
 
 262 LIBRARY OF CONGRESS 
 
 La cascina Continued. 
 
 - La cascina. Dramma giocoso per musica da rappresentarsi nel 
 Regie Teatro di Berlino . . . 
 
 Berlino, Haude e Spener, 1763. 85, [3] p. 18 cm . 
 
 Three acts. Scenario and name of Giuseppe Scolari as the composer. German 
 title-page " Der meyerhof " and text face Italian, which is strikingly different from the 
 Venetian original, in which the first act has eleven scenes and the third nine whereas 
 the Berlin ed. has only five in either act. SCHATZ 9790* 
 
 First performed 1763 as indicated. 
 
 La cascina. Dramma giocoso per musica di Polisseno Fegejo, 
 Pastore Arcade. Da rappresentarsi nel Real Teatro di Salvaterra nel 
 carnovale dell' anno 1766. 
 
 Lisbona, Michele Manescal da Costa, n. d. 78 p. 16 cm . 
 
 Three acts. By Goldoni. Cast, scenario and name of Giuseppe Scolari as the 
 composer. ML 50.2.C27S2 
 
 Cassandra : or, The virgin prophetess. An opera, as it is now per- 
 form'd at the Theatre Royal by His Majesty's servants. The musical 
 entertainments being inserted in their proper places. 
 London, A. Roper and R.[1] 2 p. 1., J$ p. 2l\ cm . 
 
 Imprint mutilated in binding. Five acte. Cast. A play interspersed with some 
 songs, etc., the composers not being mentioned. Clarence dates the work 1692 and 
 mentions Lagrange as author of the text. Is this an English version of Lagrange- 
 Chancel's "Cassandre"? LONOE 180 
 
 La Cassandra indovina. Drama per musica da rappresentarsi nel 
 nuovo Teatro de Fiorentini . . . Poesia di Nicola Gmvo fra Pastori 
 di Arcadia detto Eupidio. 
 
 Napoli, Michele Luigi Muzio, 1713. 5 p. 1., 68 p. 13% cm . 
 
 Three acts. Author's dedication, argument, cast, scenario, and name of com- 
 poser "Nicolb Fago detto il Tarantino." SCHATZ 2980 
 
 Cassandre, tragedie. Represent ee pour la premiere fois par 1'Aca- 
 demie royale de musique le vingtdeuxieme jour.de juin 1706. 
 Amsterdam, Henri Schelte, 1707. 60 p. (incl. front.) 14 cm * 
 Five acts and prologue. Cast. Neither author, La Grange nor composers, Bou- 
 vard and Bertin de la Doue, mentioned. ML 50.2.C28B6 
 
 Cassandre, tragedie representee par 1'Academie royale de musi- 
 que Tan 1706. Les paroles de M. de la Grange, la musique de Mrs. 
 Bouvard Bertin. LXVII. opera. 
 
 n. i., n. d. p. 115-168. Iff. (Recueil general des opera, Paris, 
 1710, t. ix.) 
 
 Detached copy. Prologue and five acts. SCHATZ 1275 
 
 Second copy. ML 48. R4 
 
 Li castellani burlati. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro di S. A. E. di Sassonia. 
 Dresda, n. pull., 1788. 141 p. 16 cm . 
 
 Two acts. By Filippo Livigni, who is not mentioned. Vincenzo Fabrizj is men- 
 tioned as the composer. German text and title-page: "Die betrogenen kastellane" 
 face Italian. 
 
 First performed at Bologna, Teatro Marsigli, Rossi, fall of 1785 under the following 
 title: SCHATZ 2967
 
 OPEKA LIBRETTOS 263 
 
 Li castellan! burlati Continued. 
 
 Li due castellan! burlati. Dramma giocoso per musica in u.n 
 solo atto da rappresentarsi nel Regio Teatro di S. Carlo della Princi- 
 pessa Testate dell' anno 1797. 
 Lisbona, Simone Taddeo Ferreira, 1797. 95 p. 15 cm . 
 
 Cabt, scenario, and name of Vincenzo FabrizL as composer. The author, Filippo 
 Livigni, is not mentioned. Portuguese text faces Italian. ML 50.2.D7F2 
 
 I castellan! burlati. Dramma giocoso per musica di Filippo 
 Livigni da rappresentarsi nel nobile Teatro Giustiniani in S. MoisS il 
 carnevale dell' anno 1785 . . . 
 
 Venezia, Antonio Casali, n. d. 71 p. 17% cm . 
 
 Two acts. Dedication, cast, scenario, and name of Giovanni Valentin! as the 
 composer. SCHATZ 10581 
 
 II castello d'Atlante. Dramma giocoso per musica da rappresen- 
 tarsi da' signori dilettanti di Desenzano per il secondo nel carnovale 
 1791. 
 
 Brescia, Pasini, n. d. 59 p. 16% cm . 
 
 Two acts. By Angelo Anelli, who is not mentioned. Dedication, notice to the 
 spectators, cast, and remark on p. 5: 
 
 "La musica e novissima del celebre Sig. Martini d'Asturies autor della Cosa ram, 
 [Martin y Soler] eccetto alcuni pezzi aggiunti, che sono del Sig. Paisiello, ed altn 
 piii celebri maestri." SCHATZ 6029 
 
 II castigo de' bonzi, ballet. See Anfossi's Antigono, 1781. 
 The castle of Andalusia. L. T. of Arnold's The banditti. 
 
 The castle of Sorrento. A comick opera in two acts. First rep- 
 resented at the Theatre Royal Haymarket, on Saturday July 13tn, 
 1799. Altered from the French, and adapted to the English stage, 
 by Henry Heartwell, Esq. 
 London, Cadett and Davies, 1799. iv, [2], 66 p. 21 cm . 
 
 Cast, dedication, and prefatory note, stating that the piece is based on the one-act 
 French opera "Le prisonnier, ou La resemblance" (text by Duval, music by Delia 
 Maria, Paris, 1798). He alludes to his own translation, which was published in one 
 act as "The prisoner, or, The resemblance," 1799, by the same publishers (see title), 
 if he says : 
 
 "The translation was too simple for an English stage, and to produce effect, numer- 
 ous changes appeared indispensable." 
 
 He mentions George Colman as responsible "for many happy alterations," but not 
 Thomas Attwood, who composed (and adapted) the music. LoNGi?256 
 
 Castor et Pollux, tragedie represented pour la premiere fois, par 
 I'Academie royale de musique; le vingt-quatrime jour d'octobre 
 1737. 
 [Paris], Jean Baptiste CJiristopne Bollard, 1737. xii, 4$> Ul P- 
 
 Prologue and five acts. Cast. Neither the author, Pierre Joseph Justin Bernard 
 (called Gentil-Bernard) is mentioned, nor the composer, Jean Philippe Rameau. 
 
 ML 50.2.C29R2 
 
 - Castor et Pollux, tragedie, represented par rAcademie royale 
 de musique 1'an 1737. Paroles de M r Bernard. Musique de M r 
 Rameau. CXXIX. opera. 
 
 n.i.,n.d. 479-538 p. 14% cm . (Recueil generaldes opera, Paris, 1745, 
 t. xvi.) 
 
 Detached copy. Five acts and prologue. Cast. ML 48. R4
 
 264 LIBRARY OF CONGRESS 
 
 Castor et Pollux Continued. 
 
 - Castor et Pollux, trage"die represent 6e sur le The'atre de la Cour 
 a Parme le six decembre MDCCL VTII. 
 
 [Parma], Borsi, n. d. 103 p. 24 cm . 
 
 Five acts. Bernard is not mentioned. Argument, cast, and name of Rameau as 
 the composer. Italian title-page, "Caetoree Polluce," and text face French. The 
 translation is said to be literal : 
 
 "Le traducteur . . . s'est attach^ a rendre, presque vers pour vere le sens de 
 1 'original. On sent ce qu'il y a d'pineux dans cet engagement. On voudra bien 
 paeeer eur quelques legeres changemens, que Ton a tach6 de ne point rendre Strangers 
 au eujet: On scait que chacque langue a un tour, ou un caractere, qui lui est propre." 
 
 SCHATZ 8589 
 
 Castor et Pollux, tragedie representee, pour la premiere fois, 
 par 1' Academic royale de musique le 24 octobre 1737. Reprise le 8 
 janvier 1754 et remise au Theatre le mardi 24 Janvier 1764. 
 
 Paris, De Lormel, 1764. 48 p. %4 cm . 
 
 Five acts. Cast and names of Bernard as author, of Rameau as the composer. 
 
 The approbation at end is dated Dec. 19, 1763. SCHATZ 8590 
 
 - Castor et Pollux, tragedie. Nouvelle edition. 
 Bordeaux, Pierre PMllippot, 1782. Sip. 20 cm . 
 
 Five acts. Neither Gentil-Bernard is mentioned, nor Rameau. ML 48.M2L 
 
 - Castor et Pollux, tragedie-lyrique, en cinq actes, representee sur 
 le Theatre de la Re"publique et des Arts. Le poe'me est de Bernard. 
 La musique est de Rameau. 
 
 Paris, Roullet, An V de la Republique francoise, [1796-97.] 31 p. 
 18\ cm . 
 
 Cast. SCHATZ 8586 
 
 - Castor et Pollux, trag&lie-lyrique, en cinq actes, representee sur 
 le Theatre de la Republique et des Arts. Le poe'me est de Bernard. 
 La musique est de Rameau. 
 
 Paris, RouUet, An V de la Republique franf. [!] [1796-97]. 29 p. 
 19 cm . 
 
 Cast. The text ie the same as in the edition with "Republique francoise" in the 
 imprint. SCHATZ 11751 
 
 - Castor et Pollux, parodie nouvelle, representee sur le The'atre 
 de * * *, le lundi 14 Janvier 1754. rremiere et derniere edition. 
 
 BruxeUes, n. publ., 1754. 47, 4 p. 18\ cm . 
 
 Three acts, en vaudevilles. The 4 p. contain seven airs notes. The author and 
 musical arranger are not mentioned, and are unknown to Wotquenne. ML 48. P2 
 
 Castore e Polluce. Tragedia lirica in tre atti da rappresentarsi in 
 Monaco nel Nuovo Teatro di Corte . . . nel carnovaie dell' anno 
 MDCCLXXXVIII. 
 
 n. i., 1788. 85 p. 15 cm . 
 
 Argument, cast, scenario, and name of Georg Joseph Vogler as the composer. 
 
 A note on p. [8] says: 
 
 "Questa tragedia lirica per comodo del Teatro, e servizio della mueica da cinque, 
 che era prima a Parigi e stata ridotta in tre atti." 
 
 The explanation of this somewhat misleading note is that Carlo Innocente Frugoni 
 translated Pierre Joseph Justin Bernard's five-act" Castor et Pollux/' as composed, for 
 instance, by Rameau, into Italian. Georg Joseph Vogler, who is mentioned as the 
 composer, then reduced Frugoni's five-act Italian version to three acts, in which 
 form the opera was first performed at Munich on January 12, 1787. 
 
 SCHATZ 10800
 
 OPERA LIBRETTOS 265 
 
 Castrini padre e figlio. Dramma giocoso per musica di Florimondo 
 Ermioneo P. A. da rappresentarsi nel nobile Teatro di San Samuele 
 il carnevale dell' anno MDCCLXXXVII. 
 
 Venezia, Modesto Fenzo, 1787. 83 p. 17 cm . 
 
 Two acts. By Giovanni Greppi. Cast, scenario, and name of Ferdinando 
 Robuschi as the composer. On p. 47-49, argument and name of Antonio Capuzzi as 
 composer of the music of Antonio Muzzarelli's "L'impoetore punito, ballo tragico 
 pantomimo." The other ballet, music by Santi, was called "Le baruffe chiozzote, 
 ballo comico." 
 
 First performed December 26, 1786, as indicated. SCHATZ 8840 
 
 Li raggiri fortunati. Dramma giocoso per musica da rappre- 
 sentarsi in Bologna nel nobile Teatro Marsigli Kossi la primavera dell' 
 anno 1792 ... 
 Bologna, Sassi, n. d. 4 P- l-> 6 P- 17 cm . 
 
 The imprimatur is dated April 18, 1792. Two acts. Impresario's dedication, cast, 
 scenario and name of Ferdinando Rpbuschi as the composer. Giovanni Greppi 
 whose "Castrini padre e figlio" this is, is not mentioned. With the opera were per- 
 formed Carlo Fiorillo's ballets "L'equivoco ricompensato " and "Gl'uccellatori." 
 The composers of the music are not mentioned. SCHATZ 8846 
 
 II Castruccio. See M. Curzio. 
 
 Les catastrophes liri-tragi-comiques. 
 
 Paris, Louis Denis Delatour, 1732. ' 12 p. 22\ cm . 
 
 One act. It is really the third act of Biccoboni fils and Romagnesi's comedy "Le, 
 amusemens a la mode," first performed at the Theatre italien, Paris, April 21, 1732 
 and is said to be a kind of parody of "Jephte" and "Eriphile." ML 52.2.C25 
 
 La catena d'Adone. Favola boschereccia d'Ottavio Tronsarelli. 
 [Roma], Francesco CorbeUeUi, 1626. 81 p. 14 cm . 
 
 The curious ornamental t.-p. showing the title of the opera on a chain across the 
 chest of Adonia is defective, but only in this that the place of publication has been 
 torn off. On p. 3^-4 the author's dedication, dated Rome, March 30, 1626, to Gio. 
 Giorgio Aldobrandino, prince of Rossano, on p. 7 an awertimento and the imprimatur, 
 on p. 8 the characters, on p. 9-10 the argument, on p. 11-78 the prologue and five 
 acts, on p. 79-81 the "Allegoria della favola," and on p. 5-6 this publisher's notice 
 to the readers: 
 
 "Questa favola descritta nel poema del cavalier Marino a voi s'appresenta sparsa 
 di pensieri, e ripiena d'affetti; alterato pero con invention! dal Signer Ottavio Tron- 
 sarelli e ristretta nel termine d'un giro di Sole; tra lo spatio di brevissimi giorni com- 
 posta, e con non minore velocita di tempo d'alcune machine abbellita, e mirabil- 
 mente rappresentata nel palazzo dell' Illustriesimo Sig. Marchese Euandro Cootij 
 non riempita da importuna lunghezza di vani intermedii, che, alienando le menti 
 de gli uditori, non adornano, ma adombrano le attioni, ordinata con singolare accor- 
 tezza dal Sig. Francesco de Cuppis, dalle note esquisite del Signer Domenico Maz- 
 zochi raddolcita, e da rare vpci di famoeissimi canton eommamente honorata. Testi- 
 monio d'ogni pio detto sono i principi, e le principesee di Roma, che con lo splendore 
 della loro presenza illustrarono il theatro di quella nobil favola, ove comparve 1'In- 
 vidia & al favorevol suono dell' amico Plauso [?] se cadde, e tacque." SCHATZ 6222 
 
 Caterina e Blech, ballet. See Bernardini's Furberia e puntiglio. 
 
 Catherine, ou La belle fermiere, com^die en trois actes et en prose, 
 melee de chant. Paroles et musique de Julie Candeille. Represent e"e 
 sur le Theatre de la R6publique, le 27 novembre 1792, sous le titre de 
 la Belle fermiere. 
 
 Paris, Maraden, 1793. 92 p. 19$ cm . 
 
 Caet. According to a prefatory note the original title was ' ' La fermiere de qualiteV' 
 
 ML 50.2.C31C2
 
 266 LIBRARY OF CONGRESS 
 
 Cato in Utica. Tr. of Graun's Catone in Utica. 
 Der Cato in Utica. Tr. of Jommelli's Catone in Utica. 
 Cato in Utica. Tr. of Piccinni's Catone in Utica. 
 Cato in Utika. Tr. of Bach's II Catone in Utica. 
 II Catone. See M. Curzio. 
 
 II Catone in Utica. 
 
 [149]-241 p. 19 cm . (Pietro Metastasio, Opere drammatiche, Vene- 
 zia, Giuseppe Bettinelli, 1733-37, v. 2.} 
 
 Three acts. Argument. No composer mentioned. On p. 229-241 "Mutazione 
 delP atto terzo" with Awiso: 
 
 "Conoscendo I'autore molto pericoloso 1'awenturare in iscena il personaggio di 
 Catone ferito: Cosi a riguardo del genio delicato del moderno teatro-poco tollerante 
 di quell' orrore, che facea 1'ornamento dell' antico: come per la dimcolta d'incon- 
 trarsi in attore, che degnamente lo rappresenti: cambi6 in gran parte 1'atto terzo di 
 questa tragedia ..." 
 
 The two versions may be identified from the lines preceding the three last lines 
 which are the same in both versions. In the original tragic version these lines are 
 preceded by the dying Cato's words: "Spirar . . . con me ... la liberta . . . 
 latina": in the later version by Fulvio's words: "Quando trionfi / Ogni perdita e 
 lieve." ML 49.A2M4 
 
 - Catone in Utica. 
 
 Metastasio, Poesie, Parigi, vedova Quittau, 1755, t. Hi, [217]-356 p. 
 16 cm . 
 
 Three acts. Argument. On p. [3371-356 the later version of the third act. 
 
 ML 49.A2M42 
 
 Catone in Utica. Rappresentato, con musica del Vinci, la prima 
 volta in Roma nel Teatro detto delle Dame, il carnevale dell' anno 
 1727. 
 
 pi., [3]-150 p. 26 cm . (Pietro Metastasio, Opere, t. 4, Parigi, vedova 
 Herissant, 1780} 
 
 Three acts. On p. 129-150 the later version of the third act added. Argument. 
 
 ML 49.A2M44 
 
 Catone in Utica. Dramma per musica da rappresentarsi nel 
 Teatro di Livorno detto degli Armeni F autunno dell anno 1789 . . . 
 Livorno, Antonio Land e comp., n. d. 56 p. 14\ cm - 
 Two acts. By Metastasio. Argomento, cast, scenario, and name of composer, 
 Gaetano Andreozzi ("musica tutta nuova"), but not of librettist. 
 
 First performed at Cremona, Teatro della Societa, 1786. SCHATZ 195 
 
 Catone in Utica. Dramma per musica da rappresentarsi nel Real 
 Teatro di S. Carlo nel di 4 novembre 1784 per festeggiarsi i gloriosi 
 nomi di Sua Maesta Cattolica . . . 
 
 Napoli, Vincenzo Flauto, 1784. 4$ P- 15 cm . 
 
 Three acts. By Metastasio. Dedication dated Naples, November 4, 1784, argu- 
 ment, cast, scenario, name of Francesco Antonelli Torre as composer, and note: 
 
 "I cambiamenti, che si veggono in questo dramma, sono gli stessi, che vi furono 
 fatti nell' anno 1777 per uso di questo Regal Teatro." 
 
 With the opera were performed Domenico Lefevre'a ballets, "La discesa d'Ercole 
 all' inferno o sia Alceste ed Admetp. Ballo eroico in cinque atti " and "Gli amori di 
 Mirtillo con Silvanzia." The music of the first was by Carlo Canobio. SCHATZ 289
 
 OPERA LIBRETTOS 267 
 
 II Catone in Utica. Dramma per musica da rappresentarsi nel 
 Teatro Omodeo in Pa via nel carnovale dell' anno 1763 . . . 
 
 Pavia, Eredi Ghidini, n. d. 56 p. 15 cm . 
 
 Three acts. By Pietro Metastasio. Impresario's dedication, cast, scenario, and 
 name of composer, Johann Christian Bach. 
 
 First performed at Milan, Regio Ducal Teatro, summer, 1762; at Naples, San Carlo, 
 November 4, 1761. SCHATZ 526 
 
 II Catone in Utica. Drama per musica da rappresentarsi nel 
 Gran ducal Teatro di Bronsevigo per festeggiare il glorioso giorno 
 natalizio dell' Altezza Serenissima di Carlo, duca regnante di 
 Bronsevigo-Luneburgo etc etc. il primo d' agosto MDCCLXVIII. 
 n. i., n. d. 130 p. 
 
 Scenario, argument, cast, and name of Johann Christian Bach as composer. Ger- 
 man title-page, "Cato in Utika," and text face Italian. SCHATZ 527 
 
 Catone in Utica. Dramma per musica da rappresentarsi nel nuovo 
 Teatro Grimani di S. Benedetto il carnovale dell anno MDCCL VII. 
 
 Venezia, Modesto Fenzo, 1757. 60 p. 
 Three acts. By Metastasio. Argument, cast, scenario, and name of the composer, 
 Vincenzo Ciampi. 
 
 First performed, as indicated, December 26, 1756. SCHATZ 1884 
 
 II Catone in Utica del Signer abate Pietro Metastasio. Dramma 
 per musica ra rappresentarsi nel Teatro di Lucca nell' autunno dell' 
 anno MDCCXLIX. 
 
 Lucca, Filippo Maria Benedini, 1749. 88 p. 16\ cm . 
 
 Three acts. Argument, cast, scenario, and name of the composer, "Sig. Egidio 
 Duni." 
 
 First performed at Florence, Teatro via della Pergola, carnival, 1740. 
 
 SCHATZ 2835 
 
 Catone in Utica. Dramma per musica da rappresentarsi nel Teatro 
 Grimani di S. Samuele per la solita fiera dell' Ascensione dell' anno 
 MDCCLXI . . . 
 
 Venezia, Modesto Fenzo, 1761. 58 p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication, 
 dated Venice, April 29, 1761, argument, cast, scenarid, and name of Florian Leopold 
 Gassmann as the composer. . SCHATZ 3625 
 
 Catone in Utica. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Berlino . . . 
 
 Berlino,'Ambrogio Haude, 1743. 159, [4] p. 16 cm . 
 
 Three acts. Metastasio is mentioned as the author, Carl Heinrich Graun as the 
 composer. Argument and scenario. German title-page, "Cato in Utica," and text 
 face Italian. 
 
 First performed, as indicated, January 24, 1744. SCHATZ 4092 
 
 Catone in Utica. Drama per musica, da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1732 . 
 
 Torino, Gio. Battista Valetta, 1731. 4 p. 1., 72 p. 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Johann Adolph Hasse as composer. 
 
 First performed, as indicated, December 26, 1731. SCHATZ 4586 
 
 II Catone in Utica. Dramma per musica da rappresentarsi nel 
 Teatro Ducale di Stutgart festeggiandosi il felicissimo giorno natalizio 
 di Sua Altezza Serenissima Eusabetta Sofia Federica duchessa di
 
 268 LIBRARY OF CONGRESS 
 
 II Catone in Utica Continued. 
 
 Wirtemberg e Tech . . . La poesia e del . . . Pietro Metastasio, 
 ... la musica e del celebre Sig. Nicold Jommelli . . . 
 
 Stutgart, Giovanne Georgia Cotta, 1754- 99 p. 19 cm . 
 
 Three acts. Argument, cast, scenario. German title-page, "Der Cato in Utica," 
 and text face Italian. 
 
 Whether or not Jommelli used for his "Catone in Utica" of 1749 any of the music 
 which he contributed to Leonardo Vinci's "II Catone in Utica," Venice, 1747 (see 
 Schatz 10754), I am unable to tell. Abert is siler\t on this Venice, 1747, opera by 
 Vinci, Jommelli, and others. 
 
 First performed, as indicated, August 30, 1754; at Vienna, Burgtheater, 1749. 
 
 SCHATZ 4847 
 
 Catone in Utica. Drainma per musica da rappresentarsi nel carno- 
 vale dell' anno 1747 nel Teatro Capranica . . . 
 
 Roma, Genoroso Salomone, 1747. 72 p. 15\ cm . 
 
 Three acts. Dedication with Metastasio's name as author, argument, scenario, 
 cast, name of Gaetano Latilla as composer, and apologies "A'critici discreti " for the 
 liberties taken with the text of the "di^nissimo autore": 
 
 "Duo eono state le necessarie ragiom, che 1'anno portato a ci6 fare, la prima & la 
 brevita, premendo a chi la fa rappresentare, che sia osservata; la seconda e la musica, 
 la quale credendo non trovare il suo conto in alcune arie, benche bellissime, ne & 
 richiesta la mutazione. E cosa chiara, che e stata fatta in peggio; ma non v'era 
 modo di evitarlo. 
 
 "II terzetto aggiunto e forzato, e puo dirsi, come di colui, che dipinse il Cipresso 
 nel Mare, che non era quello il luogo, ma anche di ci6 e cagione la musica, e la volontsi 
 altrui, come altresi d ogn' altra cosa, che si trovera aggiunta ... Si aggiunge a 
 tuttocio il consentimento di persona a cui per lo stretto vincolo del sangue appartiene 
 piu che ad ogn' altro, in assenza dell' autore, aver cura de 'riguardi che si devono al 
 medesimo." SCHATZ 5456 
 
 Catone in Utica. Tragedia per musica di Artinp Corasio Past. 
 Arcade da rappresentarsi nel famosissimo Teatro Grimani di S. Gio. 
 Grisostomo nel' carnevale del 1729. Seconda editione. 
 
 fin 
 
 Venezia, Carlo Buonarigo, n. d. front., 60 p. 15 
 
 Three acts. By Metastasio, but with many alterations marked in <he libretto. 
 Dedication signed by Domenico Lalli, argument, scenario, cast and name of Leo- 
 nardo Leo as the composer. According to Leo, Ricci dates the first performance, 
 Rome, 1728, but Schatz records 1729 as above and Piovano more explicitly December 
 26, 1728 and shows at the same time that the Rome, 1728 opera was by Vinci. 
 
 SCHATZ 5557 
 
 Catone in Utica. Drainma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnevale del 1763 . . . 
 
 Torino, Gaspare Bayno, n. d. 78, [1] p. 16 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario 
 and name of Giovanni Francesco de Majo as composer. On p. 73-77 brief descrip- 
 tions of Augueto Huas' ballets "L'amore vinto dall amicizia," and "II rapimento di 
 Proserpina," music by Giuseppe Antonio Le-Messier. 
 
 First performed at Turin, December 26, 1762. SCHATZ 5860 
 
 Catone in Utica. Dramma per musica da rappresentarsi alia corte 
 elettorale Palatina in occasione del felicissimo giorno del nome del 
 Serenissimo Elettore . . . il di iv. novembre dell' anno MDCCLXX. 
 
 Mannheim, Stamperia deW Accademia, n. d. 88 p. 16\ cm . 
 
 Three acts. Argument, cast, scenario, and names of Metastasio as the author and 
 of Niccolo Piccinni as the composer ("La musica e nuova composizione . . .") 
 
 According to Schatz this was the first performance of the opera. Cametti, follow- 
 ing Florimo (second vol. not fourth) mentions "Napoli, San Carlo, 1770" which might, 
 if correct, be later or earlier than the Mannheim performance. SCHATZ 8078
 
 OPERA LIBRETTOS 269 
 
 II Catone in Utica Continued. 
 
 - Cato in Utica, ein musicalisches schauspiel, velches am chur- 
 pfaelzischen Hof bei gelegenheit des hoechstoeglueckten nahmens- 
 festes des durchlauchtigsten Churfuersten am 4. November 1770, 
 aufgefuehrt worden. 
 
 Mannheim, Akademische buchdruckerey , n. d, 72 p. 15 cm . 
 
 Argument, cast, scenario and names of Metastasio and Piccinni. 
 On p. 67-72 the description of Fabiani's ballets "Ariadne und Theseus" and "Die 
 liebe und Psiche." The composers of the music are not mentioned. SCHATZ 8079 
 
 Catone in Utica. Tragedia per musica di Artino Corasio Pastore 
 Arcade da rappresentarsi nel Teatro detto delle Dame nel carnovale 
 dell' anno 1728 ... 
 
 Roma, Bernard, 1728. 84 p. 15% cm . 
 
 Three acts. By Metastasio. Dedication, argument, cast, scenario and name of 
 Leonardo Vinci as the composer. 
 
 First performed December 27, 1727, as indicated. SCHATZ 10746 
 
 - II Catone in Utica. Dramma per musica da rappresentarsi nel 
 Teatro Tron di S. Cassiano il carnovale delP anno MDCCXLVII. 
 
 n. i., n. d. 75 p. 16 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario and 
 note: 
 
 "La musica e del celebre fu Lunardo Vinci, eccettuate le arie segnate. Quelle 
 che sono distinte con una stelletta sola sono del Signor Niccol6 Jomelli, maestro del 
 Pio Ospitale de Mendicanti." 
 
 The arias, not by Vinci and retaining an asterisk for those by Jommelli are : ' ' Sperai 
 vicino il lido" (I, 4. From Metastasio's Demofoonte), *"Sol mi basta, che talora" 
 (I, 7), *"0 nel sen di qualche stella" (I, 8), " Credi mi nel suo petto " (I, 13), *"Ritorna 
 al tuo sovrano" (II, 2), *"In che ti offende" (II, 6), *"Grata eono al tuo bel core," 
 *"Se sciogliere non vuoi" (II, 15), "Chi mai prov6 in amore" (II, 16), *"Per mancar 
 a te di fede" (III, 1), "M'involi il mio tesoro" (III, 3), *"Per il mio bene" (III, 4), 
 *"Deh placati al fine," *"Figlia, amico, io vado a morte" (III, 12). 
 
 The text of the arias in italics is from "Catone in LTtica;" that of the other arias 
 is not by Metastasio. SCHATZ 10754 
 
 Catone in Utica. Dramma per musica da rappresentarsi nel nobi- 
 lissimo Teatro Venier in San Benedetto la fiera dell' Ascensione dell' 
 anno 1791. 
 
 Venetia, Modesto Fenzo, 1791. 51 p. 18. 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario 
 and name of Peter von Winter as the composer. On p. 20-30 argument and descrip- 
 tion without name of the composer of the music of Francesco Clerico's "Olimpia, 
 ballo tragico in cinque atti." The title of the second ballet was "La donna bizzarra 
 ossia L'amore politico." . SCHATZ 11027 
 
 Catone Uticense. Drama per musica da recitarsi nel Teatro Gri- 
 mani in S. Gio. Grisostomo, di Matteo Noris 1'anno MDCCI . . . 
 
 Venetia, Niccolini, 1701. 54 p. (incl. front.) I If. 
 
 Three acts. Author's dedication, notice to the reader, and scenario. Carlo Fran- 
 cesco Pollaroli, the composer, is not mentioned. SCHATZ 8276 
 
 Catterina di Coluga. A. T. of the ballet II sotteraneo. 
 
 Der cavalier durch die liebe. Tr. of Piccinni 's II cavaliere per 
 amore.
 
 270 LIBRARY OF CONGRESS 
 
 II cavalier magnifico. Dramma giocoso per music a da rappresen- 
 tarsi nel Nuovo e nobilissimo Teatro dell' eccellentissima casa Balbi 
 in Mestre nella presente primavera dell' anno 1779 . . . 
 
 Venezia, Modesto Fenzo, 1789 [!] 56 p. 16\. 
 
 Two acts. By Niccolo Tasei (not mentioned), whose text originally had the title 
 "L'amante che epende." Impresario's dedication, cast, scenario and name of Carlo 
 Caruso (recte Luigi Caruso) as the composer. On p. 31-37 detailed description of 
 the "pnmp ballo. II disertore francese by Aleseandro Guglielmi. The composer 
 of the music is not mentioned. 
 
 First performed at Bologna, Teatro Formagliari, carnival 1777. SCHATZ 1657 
 
 II cavalier Mignatta. Intermezzi per musica a tre voci da rappre- 
 sentarsi nel Pubblico Teatro di Lucca nel carnevale dell' anno 
 MDCCLXIII. In occasione delle recite in prosa da farsi dall' Acca- 
 demia de' Dilettanti della Comica. 
 
 Lucca, Francesco Antonio Berchietti, 1763. 22 p. 15 cm . 
 
 Two acts. Author unknown to Schatz. Cast and name of the composer, Rinaldo 
 di Capua. 
 
 First performed at Rome, Teatro Capranica, carnival 1751. SCHATZ 8800 
 
 II cavalier parigino. L. T. of Monza's II finto cavaliere parigino. 
 
 II cavalier per amore e la contadina dama. A. T. of Piccinni's II 
 fumo villano. 
 
 II cavaliere errante. Drama giocoso per musica da rappresentarsi 
 nel Regio-ducal Teatro di Parma il carnovale dell' anno MDCCLXXX. 
 
 Parma, Reale stamperia, n. d. 54 P- 20 cm . 
 
 Two acts. Cast and name of Tommaso Trajetta as composer, but not of librettist, 
 Giovanni Bertati. Two ballets were performed with the opera, "Gli amanti protetti 
 da Amore" and "La festa da ballo disturbata dalla famiglia dei Covielli," both by 
 Antonio Marliani, the composer of the music not being mentioned. 
 
 First performed, as indicated, December 26, 1779; at Venice, Teatro di San Moise, 
 spring, 1778. SCHATZ 10389 
 
 - II cavaliero errante. Dramma erpicomico per musica da rappre- 
 sentarsi nel Piccolo Teatro Elettorale in Dresda Fanno 1780. 
 
 n. pi., Nella stamperia elettorale, n. d. 1J+1 p. 
 
 Two acts. German title-page, "Der irrende ritter," and text face Italian. 
 Tommaso Trajetta is mentioned as composer. SCHATZ 10390 
 
 II cavaliere per amore. Azione comica da rappresentarsi ne' 
 Teatri privilegiati di Vienna Fanno 1766. 
 Vienna, Ghelen, n. d. 44 p. 16 cm . 
 
 Two parts. Cast and names of "Pietro Sellini" (Giuseppe Petrosellini) as the 
 author and of Niccol6 Piccinni as the composer. 
 
 First performed at Rome, Teatro Valle, carnival, 1763 (Schatz); at Naples, Teatro 
 Nuovo, winter, 1762 (Cametti, resp. Florimo). SCHATZ 8080 
 
 II cavaliere per amore. Azzione comica per musica, da rappre- 
 sentarsi nel Piccolo Teatro di S. A. ,E. di Sassonia. 
 
 Dresda, nel carnevale dell' anno 1766, n. publ. 107 p. 15 cm . 
 
 Two acts. Cast and names of Piccinni and of H. A. Busius, the translator. His 
 German title-page, "Der cavalier durch die Hebe," and text face Italian. 
 
 First performed, as indicated, February 22, 1766. SCHATZ 8081
 
 OPERA LIBRETTOS 271 
 
 II cavaliere per amore Continued. 
 
 II fumo yillano. Dramma giocoso da rappresentarsi nel Teatro 
 Giustiniani di S. Moise Fautunno dell' anno 1766. 
 Venezia, Modesto Fenzo, 1766. 60 p. 16 cm . 
 
 Three acts. Cast, scenario, and note, "La musica e del Sig. maestro Niccolo 
 Piccinni, ed alcune arie, ed il duetto ["Se da vpi non poeeo,' III, 4.] del Sig. maestro 
 Bernardino Ottani, Accademico Filarmonico di Bologna." 
 
 The text is that of Giuseppe Petrosellini's "II cavaliere per amore" expanded to 
 three acts, and many alterations in the arias. For instance, the aria, "Una damina 
 nobile" (I, 1), does not appear in this scene in "II fumo villano." SCHATZ 8156 
 
 II fumo villano o sia II cavalier per amore, e la contadina dama. 
 Dramma giocoso per musica, da rappresentarsi nel Regie Teatro 
 Danese. Bondehovmod eller Ki0bmanden som Adelsmand, og 
 bondepigen som fr0ken. 
 
 Ki0benhavn, Lars Nielsen Svare, 1769. 167 p. 17 cm . 
 
 Cast and name of Piccinni as the composer. Danish text faces Italian. 
 
 SCHATZ 8082 
 
 Li cavalieri lunatici, farsa per musica da rappresentarsi nel Teatro 
 Tron di San Cassiano nelP autunno dell' anno 1774. 
 
 Venezia, n. pull, 1774. 52 P- I? - 
 
 Three acts. Author not mentioned, and unknown to Schatz. Scenario and name 
 of Giacomo Rust as the composer. SCHATZ 9169 
 
 La caverne, drame lyrique en trojs actes, represent e pour la premiere 
 fois sur le Theatre de la rue Feideau, le 16 fevrier 1793, (v. st.) 1'an 
 ler de la R6publique; paroles de Dercis musique de Le Sueur; re- 
 presente a Liege par la Troupe d'artistes dramatiques, le 16 fructidor, 
 an 3me. de la Republique Francaise, ou 27 bre 1795, (v. st.) 
 
 Liege, BoUen, Van guatrieme de la Republique [1795-96}. 44 P- 
 
 \. 
 
 Cast. Dercy's original title seems to have been "La caverne ou Les voleure." 
 
 ML 50.2.C34L2 
 
 Cecile, come'die en trois actes, en prose, mdlee d'ariettes; par M. 
 M * * *, mise en musique par M. Dezedes. Corrigee & imprimee 
 suivant la representation, au Theatre les Come'diens Italiens ordi- 
 naires du roi, le jeudi 4 Janvier 1781. 
 Paris, Vente, 1781. 56 p. 19$ cm . 
 
 By Mabille. The melody of the "Barcarole. Par un beau jour" (II, 3) is printed 
 in the text. 
 
 Originally performed at Versailles, Theatre de la cour, February 24, 1780; at Paris, 
 Com&Iie italienne, February 26, 1780. SCHATZ 2516 
 
 Cefalo e Procri, ballet. See Sard's Scipione. 
 Cefalo e Procri, ballet. See Tritto's L'Arminio. 
 
 La ceinturede Venus. Piece en deux actes. ParM. leS * * *. 
 Represented a la Foire de S. Germain 1715. 
 
 Le Theatre de lafoire, Paris, 1737, t. I, pi., [28T[-349 p. 17. 
 
 By Alain Rene" Le Sage. En -vaudevilles. The melodies are printed in the " Table 
 des airs, " at the end of the volume. They were selected or composed and arranged by 
 Jean Claude Gillier, the " compositeur" of the theatre. ML 48.L2I
 
 272 LIBRARY OF CONGRESS 
 
 Celio. Drama musicale del dottor Giacinto Andrea Cicognini 
 Fiorentino . . . 
 
 Roma, Jacomo DragondeUo, 1664. ^ } 4> (4\ P- I 4 cm - 
 Three acts and Prologue. Scenario and dedication by the bookseller, Bartolomeo 
 Lupardi, according to whom this is a new edition of " II Celio." He does not mention 
 the composers, nor does Schatz know them, though he records performances of Cico- 
 gnini's text at Florence, 1646, and at Rome, Teatro di Tordinona. The [4] p. of the 
 libretto contain the Protesta and a list of the "Comedie del Cicognini che ri ritrova 
 nella sua botega Bartolomeo Lupardi . . ." ML 50.2.C34 
 
 Cendrillon, opera comique de Mr. Anseaume; represente pour la 
 premiere fois sur le Theatre de la foire S. Germain, le 20 fe"vrier 1759. 
 
 Paris, N. B. Duchesne, 1759. 63, [1] p. 20. 
 
 One act. Cast. Composed, resp. arranged by Jean Louis LaRuette who is not 
 mentioned. On p. 54 the air " Des rigueurs d'un cruel destin " and r^citatif by "de la 
 Ruette," "J'ai joui cette nuit" (I, 1), on p. 55-58 "Ah! dans quel tat je vous voi" 
 (I, 2), on p. 5&-59 "Je le scais bien" "air de M. La Ruette" (I, 2), on p. 59-61 "Lea 
 yeux vers moi tourneV (I, 2) by the same, as also on p. 61-63 "Amour, dont je 
 ressens la flamme" (I, 7). SCHATZ 5436 
 
 Cephal und Procris, ballet. See Holzbauer's Hadrian in Syrien. 
 
 Cephale, et Procris, ou L'amour conjugal, tragedie-lyrique, en trois 
 actes, represented, devant Sa MajestS, It Versailles, le 30 de"cembre 
 1773. 
 Paris, Pierre Robert CJiristophe Bollard, 1773. 1 p. I., 4, [6\ 76 p. 
 
 Argument, cast, and names of Marmontel aa the author, of Gretry as the com- 
 poser. 
 
 First performed at Paris, May 2, 1775. SCHATZ 4198 
 
 Cephale et Procris, tragedie represented par I'Academie royale de 
 musique Fan 1694. Les paroles sont de M. Duche, & la musique de 
 M Ile de la Guerre. XXXJI. Opera. 
 
 n. i., n. d. front., Ifll-JfiS p. (Recueil general des opera, t. iv, 
 Paris, 1703.) 14. 
 
 Detached copy. Five acts and prologue. 
 
 First performed, as indicated, March 15, 1694. SCHATZ 5376 
 
 Second copy. ML 48. R4 
 
 Cephalus und Prokris. Ein melodrama von herrn professor 
 Rammler. Die musik vom koenigl. preussischen kapellmeister herrn 
 Reichardt. 
 
 p. 16-27. 18. (Theater- Journal fuer Deutschland, fuenftes stueck 
 Goiha, 1778.) 
 
 First performed at Hamburg, Theater b. Gansemarkt, July 7, 1777. SCHATZ 11754 
 
 Procris et Cephale. Melodrame pour e"tre represente deyant 
 S. A. R. Monsieur le prince Henri de Prusse frere du roi. La musique 
 du prologue e du melo-drame est compos ee par Mr. Reichard . . . 
 Berlin, G. J. Decker, 1777. 26 p. 19$ cm . 
 
 One act. A french translation of -Carl Wilhelm Ramler's text for Reichardt 'a 
 "Cephalus und Prokris." 
 
 The French version was first performed at Rheinsberg in 1777, as indicated. 
 
 SCHATZ 8639 
 
 Ce qui plait aux dames. A. T. of Duni's La fe"e Urg&le.
 
 OPERA LIBRETTOS 273 
 
 Le cercle ou La soiree a la mode, comedie lyrique en un acte & en 
 prose. Par M. Poinsinet de F Academic des Arcades de Rome. 
 Representee pour la premiere fois par les Comediens francais ordi- 
 naires du roi le 7 septembre 1764. 
 
 Paris, Duchesne, 1764. 71 p. 19 cm . 
 
 Dedication and cast. The title "comedie lyrique" is misleading, since the play 
 contains but one piece of music, the vaudeville "Serait-il vrai, jeune berg&re," the 
 air of which ie printed on p. 70. Not recorded by Cl. & L. or Schatz. 
 
 ML 48.M2 
 
 La Cerere. Componimento per musica da cantarsi nel giorno nata- 
 lizio della Sagra Real Maesta di Carlo Borbone re delle due Sicilie 
 & ... Musica del Signor Domenico Terradellas detto lo Spagnolo 
 [vignette] 
 
 Roma, Komarek, 1740. 16 p. 25 cm . 
 
 Two parts. Author not mentioned and unknown to me. Work not recorded by 
 Schatz or Carreras i Bulbena. ML 50.2.C36T2 
 
 Cerere e Trittolemo, ballet. See Calderara's Ricimero. 
 
 Cerere placata. Festa teatrale data in occasione di celebrarsi la 
 solenne funzione, in cui in nome di S. M. C. Carlo Terzo si tiene al 
 sagro fonte la real principessa Maria Teresa Carolina . . . da S. E. 
 il Signor duca d'Arcos . . . e rappresentata in Napoli il giorno 14 
 settembre 1772 in casa di detto eccmo Sig. duca. 
 n. i., n. d. 5 p. L, 54 p. 25 cm . 
 
 On vereo of second p. 1.: "Edizione fatta in Napoli nella Stamperia Simoniana." 
 Two acts with ballets. Cast, argument, and names of Michele Sarcone as author, 
 of Niccola Jommelli as composer. SCHATZ 4876 
 
 Cerere racconsolata. Dramma musicale. 
 
 Girolamo Bartolommei Smeducci, Drammi musicali morali, Firenze, 
 1656, v. i, p. [l}-58. 2S cm . 
 
 Prologue and five acts. Dedication, argument, allegoria. ML 49.A2B3 
 
 Ceres. Ein musikalisches vorspiel. Aufgefuehrt in Hannover, am 
 geburtsfeste des koenigs, den 4 junius, 1773. 
 n. L, n. d. 31 p. 18 cm . 
 
 Prologue and one act. Neither the author, Friedrich Hildebrand von Eineiedel, 
 nor the composer, Ernst Wilhelm Wolf, is mentioned. SCHATZ 11076 
 
 Cesare al Rubicone. Melodramma per musica . . . cantato in 
 Cesena in casa Loccatelli in occasione di aver Sua Eminenza levato al 
 sacro fonte il Sig. conte Giuseppe. Li 20 agosto 1725. Operetta del 
 Sig. Co. Vincenzio Masini. 
 
 Faenza, Gioseffantonio Archi, 1725. 82 p. 18 cm . 
 
 Dedication, dated Cesena, August, 1725, and signed Fabio Loccatelli, to whom 
 Schatz attributes the libretto, argument and author's notice to the reader. 
 
 SCHATZ 6063 
 
 II Cesare amante. Drama per musica di Ardio Rivarota [ana- 
 gram] Accademico fra' Delfici II Volonteroso. Da rappresentarsi nel 
 Theatre Grimano. 
 
 Venetia, Giuliani, 1651. 99 p. 13\ cm . 
 
 Three acts with prologue. By Dario Varotari. Dedicatory ode, notice to the 
 reader (p. 9-10 missing but supplied in ms.) with name of Marc' Antonio Ceati as 
 
 72251 VOL 114 18
 
 274 LIBRARY OF CONGRESS 
 
 II Cesare amante Continued. 
 
 composer. The reader is informed that the "soggettp" and "il modo di sceneggiare" 
 
 of this "operetta" are by the conte Maiolino Bisaccioni with convenient alterations. 
 
 First performed, as indicated, fall of 1651. SCHATZ 1783 
 
 Cesare in Egitto. Dramma per musica da rappresentarsi nel Teatro 
 Grimani a S. Samuelle per la fiera dell' Ascensione 1'anno 1744 . . . 
 n. i., n. d. 1 p.l., 48 p. 15 cm . 
 
 Three acts. By Giacomo Francesco Bussani (not mentioned). Dedicatory sonnet, 
 argument, scenario, cast, and name of the composer, Antonio Colombo. 
 
 First performed, as indicated, May 13, 1744. SCHATZ 2115 
 
 Cesare in Egitto. Drama da rappresentarsi nel Regio-Ducal Teatro 
 di Milano . . . nel carnevale dell anno 1735. 
 
 Milano, Giuseppe RichinoMalatesta, n. d. 52, [1] p. 
 
 Three acts. By Giacomo Francesco Bussani, who is not mentioned. Cast, argu- 
 ment, scenario, and name of Geminiano Giacomelli as the composer. On the addi- 
 tional page, the substitute aria (II, 9) "Barbaro non pensar." SCHATZ 3806 
 
 Cesare in Egitto. Dramma per musica da rappresentarsi in Argen- 
 tina Fanno 1751 . . . 
 
 Argentina, Giovanni Henrico Heitz, 1751. 55 p. 15 cm . 
 
 Three acts. By Giacomo Francesco Bussani, who is not mentioned. Argument, 
 cast, and name of Niccolo Jommelli as composer. (This opera mentioned by Abert?) 
 
 First performed .at Strassburg, as indicated. SCHATZ 4848 
 
 - Cesar en Egipte. Opera- tragique italien represent 6 a Stras- 
 bourg Fan 1751. Sous les auspices de Son Excellence Monsieur le 
 preteur roial. Traduit, par Mr. Adam, ancien senateur de la ville de 
 Strasbourg. 
 
 Strasbourg, Jean Henri Heitz, 1751. 48, [2] p. 16 cm . 
 
 Three acts. Argument, cast, scenario, name of Niccol6 Jommelli as composer, 
 and "avis" that contrary to "la politesse de la langue francoise" the "Tu, Toi" has 
 been retained partly to make the translation more literal, partly "parceque c'e'toit 
 assez le stile de s'enoncer des anciens." SCHATZ 4902 
 
 Cesare in Egitto, dramma per musica da rappresentarsi nel Regio 
 Ducal Teatro di Milano nel carnovale dell' anno 1770 . . . 
 Milano, Giovanni Montani, 1770. 5 p. 1., 43 p. 14 cm - 
 Three acts. Dedication, argument, scenario, cast, and name of Niccolo Piccinni 
 as the composer. The text is by Giacomo Francesco Bussani, retouched by Carlo 
 Goldoni, neither of whom is mentioned. SCHATZ 8083 
 
 Cesare in Egitto. Dramma per musica, da rappresentarsi sul Regio 
 Teatro Danese, 1'autunno dell anno 1763. Julius Caesar i Aegypten 
 . . . oversadt paa dansk af R. Soelberg . . . 
 
 Kifibenhavn, Lars Nielsen Svare, n. d. 93 p. 16 cm . 
 
 Three acts. By Giacomo Francesco Bussani, who is not mentioned. Argument, 
 cast, and name of Giuseppe Sarti as the composer. ("La musica e tutta nuova.") 
 
 SCHATZ 9427 
 
 Cesare nella Brettagna. See M. Curzio. 
 
 Cesare trionfante. See Freschi's Giulio Cesare trionfante. 
 
 Cha-Gian in Dely, ballet. See Cimarosa's Gli Orazi e i Curiazi.
 
 OPEEA LIBEETTOS 275 
 
 The chamber- maid. A ballad opera of one act. As it is per- 
 form'd at the Theatre-Royal, by His Majesty's servants . . . 
 
 London, J. Watts, 1730. 2 p. 1., 84 p. 21 cm . 
 
 By Edward Phillips, who is not mentioned. Cast and table of the 28 songs. The 
 corresponding airs are printed in the text, with their titles. 
 
 First performed at Drury Lane February 10, 1730. ML 50.5.C3 
 
 The changelings. A. T. of Court and country. 
 
 The chaplet. A musical entertainment. As it is perform' d by His 
 Majesty's company of comedians at the Theatre-Royal in Drury- 
 Lane. The music compos'd by Dr. Boyce. 
 London, M. Cowper, 1750. 22 p. 20% cm . 
 
 Two acts. By Moees Mendez, who is not mentioned. Cast. 
 
 First performed December 2, 1749, as indicated (Genest). AC 901.M5 v. 519 
 
 - The chaplet. A musical entertainment. As it is perform'd by 
 His Majesty's company of comedians, at the Theatre-Royal in 
 Covent-Garden. The music compos'd by Dr. Boyce. 
 
 London, T. Lowndes, T. Caslon [etc], 1767. front., 35, [1] p. 16 cm . 
 
 Two acts. By Moses Mendez, who is not mentioned. Covent-Garden cast of 1767. 
 
 LONGE 73 
 
 - The chaplet. A musical entertainment. In two parts. By 
 Moses Mendez, Esq. 
 
 Edinburgh, Silvester Doig and William Anderson, 1792. (A collec- 
 tion of the most esteemed farces and entertainments, v. i, p. [329]-339.} 
 19 cm . 
 
 Boyce is not mentioned. SCHATZ 11753 
 
 La chasse du cerf , divertissement. 
 
 Jean Baptiete Morin's score, Paris, Christophe Ballard, 1709", contains also the 
 libretto (on p. 3-7), the author of which I have not found. M 1520. M8C4 
 
 The chaste nimph. A. T. of Butler's Calisto. 
 
 Le chateau de Montenero. A. T. of Dalayrac's Leon. 
 
 Che fingendo si prova un vero affetto. A. T. of Moratelli's I giochi 
 olimpici. 
 
 The Chelsea pensioner: A comic opera. In two acts. As it is 
 performed at the Theatre-Royal, Covent-Garden. 
 London, G. Kearsley, 1779. 2 p. 1., 40 p. 21 cm . 
 
 Cast. The author-composer, Charles Dibdin, is not mentioned. 
 Tufts, quoting E. R. Dibdin, eays: "Overture and six other items appeared in 
 the Monthly Lyrist, etc., 1781." 
 
 First performed May 6, 1779, as indicated. LONGE 164 
 
 La chercheuse d'esprit, opera comique de Monsieur Favart. Sui- 
 vant la copie imprimSe a Paris, MDCCXLIV. 
 n. i., n. d. 48 p. 16 cm . 
 
 One act. Text is in prose and vaudevilles. No mueic printed with the text. 
 Comp. next entry. ML 50.2. ('4
 
 276 LIBRARY OF CONGRESS 
 
 La chercheuse d'esprit Continued. 
 
 - La chercheuse d'esprit, opera comique. De Monsieur Favart. 
 Paris, PrauUfils, 1756. 1 p. I., 59, 4 p. 19 cm . (Theatre de M. 
 Favart, Paris, Duchesne, 1763-77, t. vi.) 
 
 One act. Text is in prose and vaudevilles. The 4 p. contain 13 engraved aire 
 only (with "Fin"), whereas Font says "suivi de tous les airs grave's (70 num6ros)." 
 This can apply only to a reissue of Veuve Allouel's ed. of 1741, not to the ed. of Prault 
 fils. Font does not mention Favart's musical collaborator. F6tis attributes the music 
 to Duni (before his arrival at Paris in 1757), but Duni can only have arranged the 
 music anew. Eitner lists a ms. score by Duni of this title as in the Brussels Conserva- 
 tory library, but Wotquenne's catalogue shows no such score. 
 
 First performed at Paris, Foire St. Germain, February 20, 1741. ML 49.A2F1 
 
 La chercheuse d'esprit, ope"ra-comique, en un acte, de Monsieur 
 Favart. 
 
 Paris, Prault, 1772. 47, [1] p. 19. ML48.M2N 
 
 La chercheuse d'esprit, ballet-pantomime, par M. Gardel Taine". 
 Represent^ a Choisy pour la premiere fois et a Fontainebleau, en 
 1777. 
 
 Paris, les Marchands de pieces de Theatre, 1777. 1 p.l.,8 p. 19 cm . 
 
 One act. Cast and detailed synopsis of plot, which is clearly based on Favart. 
 Composer not mentioned in libretto or by Lajarte who dates the first performance at 
 Paris, Academic royale de musique as March 1, 1778. ML 52.2. C28 
 
 The Cherokee, an opera, as performed at the Theatre-Royal, Drury- 
 Lane. By the author of the Haunted tower. 
 London, n. pull, 1795. 47, [1] p. 17% cm . 
 
 Three acts. Cast. Neither the author, James Cobb, is mentioned, nor the com- 
 poser, Stephen Storace. Revived in 1802 with alterations and new music by 
 Michael Kelly as "Algonah." 
 
 First performed December 20, 1794, as indicated. LONGE 233 
 
 La chevalerie. Entree in Michel's Les romans. 
 
 Chi dell' altrui si veste, presto si sppglia. Commedia per musica 
 di Giuseppe Palomba da rappresentarsi nel Teatro de' Fiorentini per 
 terza opera di quest' anno 1783. 
 
 Napoli, n. publ., 1783. 55 p. 15 cm . 
 
 Three acts. Argument, cast, and name of Domenico Cimarosa as composer. 
 
 ML 50.2.C42C3 
 
 Chi dell' altrui si veste, presto si spoglia. Commedia per 
 musica di Giuseppe Palomba da rappresentarsi nel Teatro de' Fioren- 
 tini per seconda opera del corrente anno 1787. 
 
 Napoli, n. pull, 1787. 52 p. 15. 
 
 Three acts. Argument, cast, name of the composer, Cimarosa, and this note by 
 the author: 
 
 "Ritorna sulle scene questa mia commedia non di versa da quella rappresentata 
 nel 1783 [at Naples, same theatre], se non se nelle sole parti di Martuffo, e Gabba- 
 mondo, con traeportale dal dialetto Toscano in Napolitano. Se si fe fatta mutazione 
 in qualche aria, e finale e stata per maggionnente adattarla all' abilitk di alcuni 
 novelli attori, ma non si e uscito da musica, e parole tanto mie, quanto del rinomato 
 maestro di capella, da cui fu scritta ..." SCHATZ 1913
 
 OPEBA LIBRETTOS 277 
 
 Chi e cagion del suo xnal, pianga se stesso. Dramma giocoso 
 
 Eer musica da rappresentarsi nel Regio Teatro di via della Pergola 
 i primavera del MDCCLXXXV . . . 
 Firenze, Giovanni Risaliti, 1785. 48 p. 16%. 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and note: "La 
 mueica e di Dalindo Stinfalido Accademico Filarmonico." Real name unknown to 
 Schatz and this academic name not recorded by Wotquenne. With the opera, was 
 performed, composer of the music not mentioned, Federigo Terradee' ballet "Gli 
 eposi riuniti da Bacco." SCHATZ 11313 
 
 Chi e cagion del suo mal pianga se stesso. Dramma burlesco, 
 poesia d'Ovidio, e musica d'Orfeo, rappresentato in Roma 1'anno 1682. 
 
 Roma, (Francesco Tizzoni), 1682. 64, [1] p. 15. 
 
 Three acts. Text and music, according to Schatz, by Filippo Acciajoli. 
 
 First performed at the Palazzo Colonna, as indicated. ML 50.2.C43A2 
 
 Chi la dura la vince ossia La finta cantatrice. L. T. of P. Gug- 
 lielmi's La virtuosa in Mergellina. 
 
 Chi la dura, la yince. Commedia per musica di Domenico Piccinni 
 da rappresentarsi nel Teatro Nuovo sopra Toledo per second' opera 
 di quest' anno 1798. 
 
 Napoli, n. publ., 1798. 48 p. 15 cm . 
 
 Two acts. Cast and name of Pietro Carlo Guglielmi as the composer. 
 
 SCHATZ 4337 
 
 Chi la fa 1'aspetta, ballet. See Astaritta's II curioso accidente. 
 
 Chi la fa, 1'aspetta. Dramma giocoso per musica da rappresentarsi 
 nel Teatro alia Scala la primavera dell' anno 1788 ... 
 Milano, Gio. Batista BiancTii, n. d. 60 p. 16% cm . 
 
 Two acts. By Filippo Livigni, who is not mentioned. Impresario's dedication, 
 cast, scenario, and name of the composer, Vincenzo Fabrizj. The first ballet was 
 called "II convitato di pietra," the second "II finto giardiniere Chinese." Both 
 were by Luigi Dupen. The composer of the music is not mentioned. 
 
 First performed at Bologna, Teatro Zagnoni, fall of 1786. SCHATZ 2968 
 
 Chi la fa, 1'aspetta. Drama-comico da rappresentarsi in musica 
 nel Teatro di San Fantino. II carnovale dell' anno 1717. 
 
 Venezia, Antonio Bortoli, 1717. 36 p. 15 cm . 
 
 Three acts. Neither the author, Francesco Passarini, nor the composer, Girolamo 
 Polani, is mentioned. SCHATZ 8249 
 
 Chi la fa 1'aspetta, ballet. See Tarchi's Ifigenia in Aulide. 
 
 Chi la fa 1'aspetta, ballet. See Zingarelli's La morte di Mitridate. 
 
 Chi la fa 1'aspetti. A. T. of G. Giordani's L'impegno. 
 
 Chi la fa se 1'aspetti, favola pastorale, per musica. 
 Viterbo, Girolamo Diotattevi, n. d. 1 p. 1., 60 p. 14 cm - 
 Three acts. Publisher's dedication dated Viterbo, November 26, 1659. Neither 
 author nor composer mentioned and both unknown to Allacci. Not recorded by 
 Schatz, Wotquenne. ML 50.2.C44
 
 278 LIBRARY OF CONGRESS 
 
 Chi mal fa mal aspetti owero Lo scroccatore smascherato. 
 Dramma tragicomico in musica da rappresentarsi nel nobilissimo 
 Teatro Giustiniani in San Moisfc 1'autunno dell' anno 1792. 
 Venezia, Modesto Fenzo, 1792. 62 p. 17 m . 
 
 Two acts. Author not mentioned, and unknown to Schatz. Cast and name of 
 Silveetro di Palma as the composer. SCHATZ 7748 
 
 Chi ne fa ne aspetta, ballet. See Cimarosa's Volodomiro. 
 
 Chi non fa, non falla. Divertimento comico, per musica. Da 
 rappresentarsi nel Teatro di Sant' Angelo per 1'Assensa dell' anno 
 1732. 
 
 Venezia, Carlo Buonarrigo, n. d. Jfi p. 15% cm . 
 
 Three acts. By the composer, Giuseppe Maria Buini (Schatz). Notice to the 
 reader, without names of the librettist and the composer. 
 
 First performed at Bologna, Teatro Marsigli Rossi, carnival, 1729. SCHATZ 1391 
 
 Chi piu sa manco 1'intende, overo Gli amori di Clodio e Pompea. 
 Dramma messo in musica da Antonio Draghi, vice maestro di cap- 
 pella della Sac. Ces. Real Maest.k dell' imperatrice Eleonora. 
 
 Vienna d' Austria, Matteo Cosmerovio, 1669. 8 p. 1., 72 p. 15 cm . 
 
 Three acts. By Cav. Ximenez, who does not sign the lengthy preface, "Ser. m * 
 Muse," a notice to the ''Amico lettore," argument, and scenario. ' The author men- 
 tions Lodovico Brunacina [recte Burnacini] as the designer of the scenery, etc., and 
 says that most of the ballet airs were composed by Santo Ventura, but some by Giov. 
 Enrico Schmelzer. 
 
 First performed at Vienna, Theater der Kaiserl. Burg, 1669, with arias by emperor 
 Leopold I. SCHATZ 2805 
 
 Argomento et allegoria della comedia musicale intitolata Chi soffre 
 speri. 
 Roma, Stamperia della Rev. Camera Apostolica, 1639. 16 p. 20 cm . 
 
 Three acts, with prologue. Neither the author, cardinal Giulio Rospigliosi, nor the 
 composers, Virgilio Mazzocchi and Marco Marazzoli, are mentioned, nor the date of 
 performance, Rome, Palazzo Barberini, February 27, 1639. SCHATZ 6223 
 
 Chi sta ben non si muova. Dramma giocoso per musica da rap- 
 presentarsi nel Regio Teatro di via della Pergola la primavera del 
 MDCCLXXXVII . . . 
 
 Fienze, Stamperia gia Albizziniana, 1787. 36 p. 16% cm . 
 
 Two acts. By Giovanni Bertati, who is not mentioned. Cast and name of Ferdi- 
 nando Robuschj. as the composer. SCHATZ 8843 
 
 Chi tutto abbraccia nulla stringe. Dramma giocoso per musica 
 da rappresentarsi nel Teatro Giustiniani di San Moise 1'autunno dell' 
 anno 1573 [!]. 
 
 Venezia, Modesto Fenzo, 1753. 47 p. 15 cm . 
 
 Three acts. By Bartolomeo Vitturi, who is not mentioned. Argument, scenario, 
 cast, and name of Giuseppe Scolari as the composer. SCHATZ 9791 
 
 Chi vuol non puole. Dramma giocoso per musica da rappresen- 
 tarsi nel nuovo Teatro di Vicenza restate dell' anno 1795 . . . 
 
 Vicenza, Vendramini Mosca, n. d. 54 p. 17% cm . 
 
 Two acts. Impresario's dedication, cast, scenario, and name of Domenico Delia 
 Maria as composer. Author unknown to Schatz, who claims that the libretto origi- 
 nally was called "II vecchio burlato." With the opera were performed the ballets, 
 "La presa de Marochini " and "Le reclute per inganno," both by Innocenzo Parrodi, 
 and a third ballet, the title of which is not given. The composers of the music are 
 not mentioned. SCHATZ 2493
 
 OPERA LIBRETTOS 279 
 
 Le chiajese cantarine. Pazzia pe mmuseca de nota Pietro Trin- 
 chiera. Da rappresentarese a lo Teatro Nuovo a Monte Cravario 
 nchisto carnevale venture de chisto corrente anno 1754. 
 
 Nnapole, Se venneno a la porta de lo teatro, n. d. 2 p. 1., 72 p. 
 
 Three acts. Cast and note that the arias "Doje note solamente" (I, 2), "Mo e no 
 tiempo de campare" (I, 10), "lo vorria, bellezza cara" (II, 4), etc., (the majority) 
 were composed by Nicola Logroscino, "Bene mio, ca gia mme pare" (I, 1), "Si la 
 tempesta vide scetata" (I, 4), "Oh che gusto, che sente sto core" (I, 9), etc., by 
 Domenico Fischietti, "Su le piume de' soapiri" (I, 5), "lo tradirti! e con qual 
 cuore?" (II, 2), etc., by Giacomo Maraucci. According to Schatz the title of the 
 text originally was "L'abate Collarone." ML 50.2.C45 
 
 II chiamantesi filosofo. A. T. of Portugal's Non irritare le donne. 
 
 La Chiarina. Intermezzi in musica a tre voci da rappresentarsi nel 
 Teatro della Pace il carnevale dell' anno 1754 . . . 
 
 Roma, nella libraria di 8. Michele a Ripa Grande, 1754- 23 p. 
 15% cm . 
 
 Two parts. Author not mentioned and unknown to Schatz. Impresarios' dedi- 
 cation, cast and name of Binaldo di Capua as composer. ML 50.2.C46R3 
 
 The children in the wood, an opera, in two acts, as performed at 
 the Royal Theatres of Drury-Lane and the Hay-market. 
 
 London, Printed for the curious and not sold by the booksellers in 
 general, 1794. $6 P- 18 cm . 
 
 Cast. Neither the author, Thomas Morton, is mentioned, nor the composer, 
 Samuel Arnold. 
 
 First performed at the Haymarket, October 1, 1793. LONGE 233 
 
 The children in the wood. A musical piece, in two acts. With 
 the additions and alterations, as performed by the Old American 
 Company. 
 
 New York, Printed at the Columbian Press for Benjamin Gomez, 
 1795. front., 57 p. 17 cm . 
 
 The front, represents Mr. Hodgkinson as Walter, and Mr. Lee as Oliver. 
 Two acts. Cast. Neither the author is mentioned, nor the composer. 
 First performed at New York December 26, 1794; at Philadelphia, South wark 
 Theatre, November 24, 1794, with the additional music by Benjamin Carr. 
 
 PR 1241.D7 v. 4 
 
 Chilonida. Dramma per musica da rappresentarsi il carnevale dell' 
 anno MDCCX. Posto in musica dal Sig. Marc' Antonio Ziani . . . 
 
 Vienna d' Austria, gli Heredi Cosmeroviani, n. d. 88 p. 
 
 Three acts. Argument, scenario, and notice to the reader: 
 
 ' ' Per un sovrano comando e stata forza il mutare diverse ariete nel presente dramma, 
 che fu composto molti anni sono dal conte Nicolo Minato. Volendo percio chi h^ 
 avuto la commissione di cambiarle, far conoscere di non aver posto mano nelle ppere 
 degli altri, che per motive d'ubbidienza, ha segnato con due virgolette al capo di ogni 
 verso le composte da lui, perche non siano attribuiti all' autore del drama gli altrui 
 difetti. Sappi dunque, che toltene le ariette sopraccennate, e qualche piccola muta- 
 zione, fattasi necessariamente nella scena X dell' atto eecpndo, tutto il restante ei e 
 ristampato fedelmente secondo la prima Impressione, e vivi felice." 
 
 First performed at Vienna, Burgtheater, April 21, 1709. SCHATZ 11204 
 
 Chimene ou Le Cid. French version of Sacchini's II Cidde.
 
 280 LIBRARY OF CONGRESS 
 
 Les chimeres, ope'ra-comique, en deux actes. Pre'ce'de' d'un pro- 
 logue, & suivi d'un divertissement. Joue" a la Foire Saint-Germain 
 en 1726. 
 
 Alexis Piron, Oeuvres complettes, Liege, 1776, v. 4, [115}-253 p. 
 
 En vaudevilles. Parfaict, without mentioning the composer, enters this as "Les 
 chimeres ou Le bonheur de 1'illusion . . . represented le Samedi, 3 fevrier 1725. 
 non imp." PQ 2019. P6 
 
 II chimico. Commedia in musica da rappresentarsi nel Teatro 
 Grimani di S. Samuele nel carnovale 1757. 
 
 Venezia, Modesto Fenzo, 1757. 59 p. 14$ cm . 
 
 Three acts. Cast, scenario, and name of the composer, Legrenzio Vincenzo Ciampi. 
 The author is unknown to Schatz. The text is not that by Antonio Palomba. 
 
 SCHATZ 1885 
 
 II chimico. Commedia per musica di Antonio Palomba Napolitano 
 da rappresentarsi nel Teatro Nuovo sopra Toledo nell' inverno di 
 quest anno 1742 . . . 
 
 Napoli, Nicolo de Biaso, 1742. 66 p. 15 cm . 
 
 Three acts. Impresario's dedication, argument, cast, and name of Antonio Palella 
 as the composer. SCHATZ 7711 
 
 Chinafarerne. Syngestykke i to acter, med en mellem-act. 
 n. I, n. d. p. 287-374. 17\ cm . 
 
 Detached copy. Neither the author, Peter Andreas Heiberg, nor the composer, 
 Claus Schall, is mentioned. 
 
 First performed at Copenhagen, Royal Theater, March 2, 1792. SCHATZ 9583 
 
 II Chinese, ballet. See Luigi Piccinni's L'amante statua. 
 II Chinese, ballet. See Trento's La finta amalata. 
 
 II Chinese in Italia. Dramma giocoso per musica di Alessandro 
 Pepoli da rappresentarsi nel nobile Teatro Giustiniani di San Moisd 
 1'autunno dell anno 1793. 
 
 Venezia, Modesto Fenzo, 1793. 60 p. 8. 
 
 Two acts. Cast, scenario, and name of Francesco Bianchl as composer. The 
 two ballets, by Urbano Garzia, composer not mentioned, were called "Giulia e 
 Blinval " and "II matrimonio per astuzia." SCHATZ 977 
 
 The Chinese orphan : An historical tragedy. Alter'd from a speci- 
 men of the Chinese tragedy in Du Halde s History of China. Inter- 
 sper'd with songs, after the Chinese manner . . . 
 London, Charles Corbett, 1741. mi, [1], 75, [1] p. 20 cm . 
 
 Five acts. Dedication signed by the author, William Hatchett. 
 
 Performance not recorded. LONGE 125 
 
 Die Chineser. Ein musicalisches sing-gedicht. so auf dem Chur- 
 fuerstl. Theatre aufgefuehret in Mannheim an 1756. 
 
 [Mannheim}, Churfuersfl. buchdruckerey, n. d. 1 p. 1., 53 p. 16 cm . 
 
 One act. Dedicatory sonnet, cast, and name of Ignaz Holtzbauer as the com- 
 poser ("eine neue composition"). Apparently the translation of Metastasio's "Le 
 Cinesi." SCHATZ 4780
 
 OPERA LIBRETTOS 281 
 
 Der chinesische held, ein musicalisches schauspiel des herrn abt 
 Peter Metastasio . . . welches an dem kaiserlichen hof von damen 
 und cavaliers im jahre 1752. Waelsch gesungener vorgestellt, anjetzo 
 aber in das teutsche uebersetzt worden von L. L. von C. 
 
 Wienn, zufinden in Krausens buchladen, 1755. 64 p. 17 cm . 
 
 Three acts. Argument. A translation of Metastasio's "L'Eroe cinese," which 
 was first performed with music by Giuseppe Baptista (Joeephus Johannes Bonno), 
 who is not mentioned in the translation, at Schonbrunn, May 13, 1752. SCHATZ 1197 
 
 Der chinesische held. Tr. of Hasse's L'eroe cinese. 
 Der chinesische held. Tr. of Sacchini's L'eroe cinese. 
 Den chinesiske helt. Tr. of Sacchini's L'eroe cinese. 
 Les Chinois. See II Cinese rimpatriato. 
 Le Chinois poli en France. See II Cinese rimpatriato. 
 
 The choice of Harlequin ; or, The Indian chief. A pantomimical 
 entertainment; in two parts; as it is acted with the highest applause, 
 at the Theatre Royal, Covent Garden. 
 
 London, Sold at No. 88, Clerkenwell Close, and by Mr. G. Riley, 1782. 
 82 p. 21 cm . 
 
 Cast, "Order of the procession," and editor's dedication to Thomas Harris, in which 
 he claims: 
 
 "That the Choice of Harlequin has succeeded beyond any modern pantomime is 
 not to be wondered at, when we consider the pomp of the scenes, and the marked 
 originality with which they are displayed." 
 
 The composer, Michael Arne, is not mentioned. Biog. Dram, attributes the text 
 to Messink. 
 
 First performed, as indicated, December 26, 1781. LONGE 102 
 
 - Songs, etc in the new pantomime called The choice of Harlequin. 
 
 n. i., n. d. 16 p. 20 cm . 
 
 Two parts. ML 52.2.C3 
 
 The choleric fathers. A comic opera. Performed at the Theatre- 
 Royal in Covent-Garden. By Thomas Holcroft. 
 London, G. G. J. and J. Robinson, 1785. 2 p. 1., 70, [1] p. 21 cm . 
 
 Three acts. Cast, and on the last (unnumb.) p. the note that "the third song in 
 the third act ('Cupid, sure, of cunning knaves') is written by a friend of the author's, 
 and two others have before appeared in print." The composer, William Shield, is 
 not mentioned. 
 
 First performed November 10, 1785, as indicated. LONGE 96 
 
 Les chouans de vitre, fait historique, en un acte, en prose, par F. G. 
 Desfontaines. Represente pour la premiere fois sur le Theatre du 
 Vaudeville, le 24 rrairial de 1'an second de la Republique une et 
 indivisible. [June 12, 1794] 
 
 Paris, Au Theatredu Vaudeville, an deuxieme [1793-94]. 47 P- 20 cm . 
 
 Cast. Interspersed with vaudevilles and airs, some of which are printed in the text. 
 Not recorded by Cl. & L. or Schatz. ML 48.M2L 
 
 Gesaenge aus der christlichen Judenbraut. Eine komische oper 
 in zwey aufzuegen. Die musik dazu ist von herrn Panek. Aufge- 
 fuehrt von der Mihuleschen gesellschaft. 
 Augsburg, n. pull, 1793. 48 p. 16 cm . 
 
 By Franz Xavier Girzik, who is not mentioned. 
 
 First performed at Augsburg, Stadtschauspielhaus; at Pressburg, Private theater 
 of Count Erdody, 1788. SCHATZ 7762
 
 282 LIBRARY OF CONGRESS 
 
 A new dramatic entertainment, called A Christmas tale. In five 
 parts. As it is performed at the Theatre Royal in Drury-Lane. 
 Embellished with an etching, by Mr. Loutherbourg. 
 London, T. Becket, 1774. 5 p. 1., (incl front.) , 76 p. 20 cm . 
 
 Cast, prologue, prefatory note, and name of Charles Dibdin as composer. The text 
 was imitated from "La f6e Urgele," by David Garrick, who is not mentioned. 
 First performed at London, Drury Lane, October 27, 1773. LONQE 16 
 
 Chrononhotonthologos. See The tragedy of ... 
 Ciana. L. T. of Latilla's Madama Cianu. 
 
 II ciarlatanp. Dramma per musica da rappresentarsi nel Teatro 
 Giustiniani di S. Moisfc nell autunno dell' anno MDCCLIX. 
 Venezia, Modesto Fenzo, 1759. 70 p. I5\ cm . 
 
 Three acts. By Carlo Goldoni, who is not mentioned. Cast, scenario, and name 
 of Giuseppe Scolari as composer. SCHATZ 9793 
 
 II ciarlone. L. T. of d'Avossa's La pupilla ed il ciarlone. 
 
 II Ciclope. 
 
 Metastasio, Poesie, Parigi, vedova Quittau, 1755. t. vii, [391]- 
 898 p. 16 cm . 
 
 One act. ML 49C.A2M42 
 
 H Ciclope. Breve cantata a due, scritta dall' autore in Vienna, ed 
 eseguita privatamente in corte 1'anno 1754, d'ordine dell' imperator 
 Francesco I, desiderosp di far prova della distinta voce di basso d'un 
 suo confidente domestico. 
 
 [4%9]-434 P- 26 cm . (Pietro Metastasio, Opere, t. ii, Parigi, vedova 
 Herissant, 1780.) 
 
 HL 49.82M44 
 
 II Cid. L. T. of Sacchini's II Cidde. 
 Le Cid. A. T. of Sacchini's Chimene. 
 
 II Cidde. Dramma per musica da rappresentarsi in Lisbona nel 
 Teatro della rua dos Condes nell' inverno dell' anno 1773. 
 [Lisbona], Stamperia redle, n. d. 76 p. 15\ cm . 
 
 Three acts. Argument, cast and names of Giovacchini Pizzi as the author, of 
 Antonio Sacchini as the composer. 
 
 First performed at Rome, Teatro di Torre Argentina, carnival 1769. Wotquenne 
 (Brussels catalogue) speaks of a "Chimena," first performed at Rome in 1762 but 
 such a work is not recorded by Schatz. SCHATZ 9223 
 
 II Cid, an opera; as performed at the King's Theatre in the Hay- 
 market. The music by Signor Antonio Sacchini, a Neapolitan com- 
 poser. The poetry by Giovan Gualberto Bottarelli. The translation 
 by Botarelli, jun. . . . 
 
 Lond(m, W. Griffin, 1773. VIII, 47, [1] p. 19. 
 
 Three acts. The VIII p. contain a dedication by the author, to the count de 
 Lauraguais, dated London, January 14, 1773, just as nattering to the recipient as to 
 Sacchini and the danseuse Heinel. This is followed by a rather self-adulatory letter 
 sent by the count de Lauraguais to Bottarelli in response to one from this gentleman. 
 It is dated Brompton, January 15, 1773, and in it the count says: 
 
 "car lorsque Shakespear etoit barbare et sublime, tout le reste 1'^toit barbare et 
 ridicule. J'ai bati le theatre que les gens de gout desiroient depuis long-terns. Si 
 c'est le motif du tribut que voua me rendez, il est raisonnable."
 
 OPERA LIBRETTOS 283 
 
 II Cidde Continued. 
 
 In his notice to the reader Bottarelli says "that no longer than five weeks were 
 employed in the composing of this piece," meaning of course, his "composing" not 
 the composition of Sacchini in which part of the original 1769 score was used. Not 
 the same as Pizzi's text. 
 
 First performed as indicated in January 1773. SCHATZ 9246 
 
 - Chimene, ou Le Cid, trage"die en trois actes, represented devant 
 Leurs Majestes a Fontaine bleau. 
 Paris, P. E. C. Bollard, 1788. 3 p. I, 47 p. 18. 
 
 Cast and names of Guillard as the author, of Sacchini as the composer. Several 
 numbers of Sacchini 's Italian version are known to have been retained. 
 
 First performed as indicated November 18, 1783, at the Academic royale de 
 musique, February 9, 1784. SCHATZ 9224 
 
 ^Cidippe. Drama per musica da rappresentarsi nel Teatro di Cana- 
 reggio. L'anno MDCLXXXIII. 
 
 Venetia, Francesco Nicolini, 1683. 57 p. 14 cm . 
 
 Three acts. By conte Niccolb Minato, but with the addition of "alcune canzonette " 
 printed with quotation marks, as for instance the very first "Giri pure la Fortuna." 
 Argument, notice to the reader and scenario. Neither the author, nor the com- 
 poser Antonio Draghi is mentioned. 
 
 In its original form first performed at Vienna, Hoftheater, November 18, 1671 
 with one aria by the emperor Leopold I. SCHATZ 2807 
 
 II cieco d'acuta vista. A. T. of C. F. Pollaroli's II Licurgo. 
 
 La Cifra. Dramma giocoso per musica da rappresentarsi nel Teatro 
 Grande alia Scala 1'autunno dell' anno 1790 . . . 
 Milano, Gio. Batista Bianchi, n. d. 76 p. 15\ cm . 
 
 Two acts. Impresario's dedication dated Milan, October 16, 1790, cast, scenario 
 and name of Antonio Salieri as the composer. The text was by Giuseppe Petrosellini, 
 with alterations by Lorenzo da Ponte, neither of whom is mentioned. With the 
 opera was performed Pietro Angiolini's ballo eroico "Rinaldo e Armida," the com- 
 poser of the music not being mentioned. 
 
 First performed at Vienna, Hoftheater, December 11, 1789, as "La dama pasto- 
 rella", at Rome, Teatro Valle, carnival 1780. SCHATZ 9281 
 
 La cifra. Dramma giocoso per musica da rappresentarsi nel Reg- 
 gio Teatro di S. Carlo, della Principessa la primavera dell' anno 1796. 
 
 Lisbona, Simone Taddeo Ferreira, 1796. 183 p. 15 cm . 
 
 Two acts. Lorenzo Da Ponte is mentioned as author, Antonio Salieri as com- 
 poser. Portuguese translation faces Italian. With the opera was performed, com- 
 poser of the music not mentioned, Pietro Angiolini's ballet "Gli studi interotti." 
 
 ML 48.C6II 
 
 Arien und gesaenge aus der komischen oper in zwey aufzuegen 
 Das kaestchen mit der duffer. Die composition ist von herrn 
 capellmeister Salieri. 
 
 Berlin, n. putt., 1793. 55 p. 15 cm . 
 
 Cast. The translator, Christian August Vulpius, is not mentioned. 
 
 First performed at Berlin, kgl. Nationaltheater, February 25, 1793. SCHATZ 9282 
 
 Die entzifferung, eine komische oper in zwey aufzuegen. Die 
 musik ist vom kapellmeister Salieri. 
 
 n. i., 1795. 55 p. 15\. 
 
 The translator, Heinrich Gottlieb Schmieder, is not mentioned. 
 
 First performed at Hannover, Schlosstheater, June 5, 1792. SCHATZ 9283
 
 284 LIBRARY OF CONGRESS 
 
 Cimene. Tragedia da cantarsi nel Teatro in S. Angelo nelle notte 
 autunnali 1'anno MDCCXXI. 
 
 Venezia, Marino Rossetti, 1721. 4 8 P- 15 cm - 
 
 Five acts. By Benedetto Paequaligo. Argument, cast, scenario, but without 
 names of composers Girolamo Bassani, and Marco Zucchini, or librettist. 
 
 SCHATZ 637 
 
 II Cinese rimpatriato. 
 
 Intermezzo by Giuseppe Sellitti, first performed at Paris, June 19, 1753. 
 
 Libretto not in L. of C. 
 
 According to de La Laurencie in S. I. M. 1912, nos. 7/8, p. 14 "II Cinese rimpa- 
 triato " was given with an overture by Jommelli and contained among others the arias 
 "Mi sta d'incanto," "Gia colmo di piacere," "lo sono una donzelLa" and "Zerbi- 
 notti d'oggidi." 
 
 -r- Le chinois poll en France, parodie du Chinois de retour, inter- 
 mede italien. En un acte. Represented pour la premiere fois sur 
 le Theatre de la Foire S. Laurent, le samedi 20 juillet 1754. Par M. 
 Anseaume. 
 
 Paris, Duchesne, 1754. 48 p. 21. 
 
 Parodied from Sellitti 's "II Cinese rimpatriato." 
 
 On p. 33^18, the melodies of the three "Ariettes" and the Duo, "L'amour d'un 
 trait vainqueur." Of these " Petits maitres saiis cervelle" was the same as Sellitti's 
 "Zerbinetti d'oggidi." The "Airs" are indicated by title or first words. SCHATZ 9828 
 
 Les Chinois, comedie en un act, en vers, meslee d'ariettes ; 
 parodie del Cinese: represented pour la premiere fois par les Come- 
 diens italiens ordinaires du roi, le 18 marc 1756. Nouvelle edition. 
 
 Paris, N. B. Duchesne, 1759. 80 p. 19 cm . (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. Hi.) 
 
 Cast. On p. [40], a "Catalogue de musiques nouvelles relatives aux pieces de 
 theatres, & autres." On p. 41-80, eleven "Ariettes du Chinois, intermede. 
 
 The text was not wholly by Favart. He wrote it "ayec M. Naigeon, 1756," as 
 appears from p. xix of the preface of the first volume of his "Theatre." As the text 
 gives the source of most of the ariettes, we know that the music of " Je vais, g^race a ma 
 fille" was the same as of "Gia colmo di piacer," in Sellitti's "Cinese," likewise of 
 "Que je baise cette main" (="Zerbinetti d'oggidi"), and of "Avec adresse, a ta 
 maitresse" (="Mi sta d'accanto") and that "Qu'une fete pour ce soir" (="Questo 
 foglio"), and "Qu'il tombe qu'il meure" (="Lo voglio scannare") are from Pergo- 
 lesi's Tracollo. "Ma fille, ma chere fille" has been identified by Wotquenne as 
 "Ricerca il caro bene" in Cocchi's "La scaltra governatrice," and "Sous votre 
 empire" as "Non son piccina" in the same opera. "II m'a d^mis 1'alouette" is a 
 vaudeville. The final chorus "Epouse aimante" and the air " Son coeur d'abord 
 palpite" (=Mh'a detto la mia mama) have not been identified by Wotquenne. 
 
 ML 49.A2F1 
 
 Les Chinois, comedie en un acte, en vers, mele'e d'ariettes, 
 parodie del Cinese, par Mr. Naigeon. 
 
 Amsterdam, la veuve de J. F. Jolly, 1760. 45, [3] p. 16 cm . 
 
 Cast, which is the same as in the preceding entry. The three additional pages con- 
 tain "Divers pieces de theatre separeV' 
 
 On p. [33H15, the melodies of three "Airs choisis des Chinois." 
 First performed at Amsterdam, 1760. 
 
 SCHATZ 9825 
 
 Le Cinesi. Componimento drammatico che introduce ad un ballo. 
 Metastasio, Poesie, Parigi, vedova Quillau. 1755, t. iv, [441}~4^ P- 
 18**. 
 
 One act. See also Un ballo cinese. ML 49.A2M42
 
 OPERA LIBRETTOS 285 
 
 Le Cinesi Continued. 
 
 - Le Cinesi. Questa azione teatrale fu scritta in Vienna dall' autore 
 per tre soli personaggi, 1'anno 1735 . . . per servir d'introduzione ad 
 un ballo cinese: e venue rappresentato con musica del Reiitter, fra 
 i trattenimenti del carneyale negF interni appartamenti imperiali, 
 dalle AA. RR. delle arciduchesse Maria Teresa (poi Imperatrice 
 regina) e Marianna di lei sorella, e da una dama della corte Cesarea. 
 Fu poi replicata da musici, e cantatrici, Fanno 1753, col quarto per- 
 sonaggio aggiuntovi dall' autore ad altrui istanza, in una signorile 
 abitazione di campagna di S. A. S. il principe Giuseppe di Saxen- 
 Hildburghausen, fra gli altri magnifici divertimenti dati dal mede- 
 simo alle Maesta imperiali di Francesco I e Maria Teresa, ne' giorni 
 in cui piacque loro di far ivi dimora. 
 
 [379]~404 p- 26 cm . (Pietro Metastasio, Opere, t. ii, Parigi, vedova 
 Herissant, 1780.} 
 
 One act. I have seen it stated that Caldara was the composer. ML 49.A2M44 
 
 Cinna. Dramma per musica da rappresentarsi nel Teatro alia 
 Scaia il carnevale dell' anno 1793 . . . 
 
 Milano Gio. Batista Bianchi, n. d. 54 p. 8. 
 
 Three acts. By Angelo Anelli, who is not mentioned. Impresario's dedication, 
 dated Milan, December 26, 1792, argument, cast, scenario, and name of Bonifazio 
 Asioli as composer. The libretto of the opera is followed (1 p. 1., 8 unnumb. p.) by 
 argument, cast, and detailed description of "Gli Sciti, ballo tragico pantomimo in 
 cinque atti inventato, e diretto dal Sig. Filippo Beretti da eseguirsi nel Teatro alia 
 Scala di Milano il carnevale dell' anno 1793." Composer of the music not mentioned 
 
 SCHATZ 348 
 
 II Cinna. Dramma per musica da rappresentarsi nel nobilissimo 
 Nuovo Teatro di Padova la fiera di Giugno an. 1795 . . . 
 Padova, li Fratelli Conzatti, n. d. 4^, 15 p. 8 
 
 Two acts. By Angelo Anelli, who is not mentioned. Dedication, argument, 
 scenario, cast, and name of Ferdinando Per (Paer) ae the composer. With the opera 
 were performed Gaspare Ronzi's ballets, "La morte di Calisto and "L'equivoco," of 
 which the 15 additional p. contain argument, cast, description of the five acts, name of 
 Vittorio Trento as composer of the music ("tutta nuova"), and Ronzi's dedication, 
 dated Padova, June 13, 1795. SCHATZ 7560 
 
 Li cinque pretendenti. L. T. of Bernardini's La donna di spirito. 
 
 A new opera, calFd Cinthia and Endimion: or, The loves of the 
 deities. As it was designed to be acted at court, before the late 
 queen; and now acted at the Theatre Royal, by His Majesty's ser- 
 vants. Written by Mr. D'Urfey. 
 
 London, Sam. Briscoe and R. Wellington, 1697. 4 P- Z-> 4$ P> 21^ cm . 
 
 Errors in paging between p. 10 and 17. 
 
 Five acts. Prologue, epilogue, dedication. The composer, Daniel Purcell, ia 
 not mentioned. LONGE 224 
 
 Circe. A tragedy. As it is acted at His Royal Highness the duke of 
 York's Theatre. By Charles D'Avenant . . . The third edition. 
 London, Jacob Touson, 1703. 2 p. I, 55, [1] p. 22 cm . 
 
 Five acts. Entered because of the more than customary space given to songs and 
 incidental music. The composer, John Banister, is not mentioned. 
 
 First performed 1677, as indicated. LONGE 128
 
 286 LIBRARY OF CONGRESS 
 
 La Circe. Dramma per musica da rappresentarsi nel Teatro Grande 
 alia Scala di Milano il carnevale dell' anno 1783 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 64 p. 16 cm . 
 
 Three acts. By Domenico Perelli, duca di Moneetarace (not mentioned). Dedica- 
 tion, argument, cast, scenario, and name of the composer, Cimarosa. With the opera 
 were performed Domenico Rossi's ballets: "Alessandro nelP Indie," "II giardino delle 
 Tuillerie in Parigi," and "Ciacona." The composer of the music is not mentioned. 
 
 First performed, as indicated, December 26, 1782. SCHATZ 2005 
 
 Second copy. ML 48. A5 v. 8 
 
 Circe. Tragedie en musique. Represented p>ar F Academic ro} r alle 
 
 de musique. Suivant la copie imprime'e a Paris. 
 Amsterdam, Antoine Schelte, 1695. 59 p. (incl. front.). 14 cm ' 
 Prologue and five acts. Neither the author, M me de Saintonge, nor the composer, 
 
 Desmarets, is mentioned. 
 
 First performed, as indicated, October 1, 1694. ML 50.2.C5D2 
 
 - 
 
 Circe, tragedie representee par FAcademie royale de musique Fan 
 1694. Les paroles de Mad. Aaintonge, & la musique de M. Des- 
 marets. XXXIII. opera. Tome V. 
 
 n. i., n. d. v. front., p. 1-66 (Recueil general des opera, Paris, 1703). 
 14 cm . 
 
 Detached copy. Prologue and five acts. SCHATZ 2530 
 
 ML 48. R4 Second copy. 
 
 La Circe. Drama per musica da rappresentarsi nel Teatro di Sant' 
 Angelo Fanno MDCLXXIX . . . 
 
 Venetia, Francesco Nicolini, 1679. 6 p. I., 46, [1] P- 14- 
 Three acts. By Cristoforo Ivanovich, who dates his dedication, Venice, January 
 23, 1679. Argument, scenario, and printer's notice to the reader, in which he says: 
 "... per farti piu delitioso il periodo carnovalesco, & Sant' Angelo, fk rappre- 
 sentar questo scherzo di penna il Signer Francesco Santurini. La riforma datali dal 
 euo autore per conformarlo all' uso corrente, e stata causa di vestirlo di nuova musica, 
 fatta dal Signer Freschi . . ." SCHATZ 3347 
 
 Circe. Dramma per musica da rappresentarsi nel nobilissimo Teatro 
 di S. Benedetto la fiera dell' Ascensione delF anno 1786. 
 Venezia, Modesto Fenzo, 1786. 52 p. 17 cm . 
 
 Two acts. By Domenico Perelli, duca di Monestarace, who is not mentioned. 
 Cast, argument, scenario, and name of the composer, Giuseppe Gazzaniga. On 
 p. 23-40 cast, preface, and minute description of Sebastiano Gallet's "II vologeso, 
 ballo eroico pantomime in cinque atti." The composer of the music is not mentioned. 
 
 First performed, as indicated, May 20, 1786. SCHATZ 3659 
 
 Circe oder des Ulisses erster theil, in einem singe-spiel vorgestellet, 
 auf dem Hamburgischen Schau-platz. 
 
 Hamburg, Nicolaus Spieringk, 1702. Unpaged. 18% cm . 
 
 Three acts. Neither the author, Friedrich Christian Bressand, is mentioned, nor 
 the composer, Reinhard Keiser. 
 
 First performed at Brunswick, February, 1696. SCHATZ 5082 
 
 Circe, in einem sing-spiele auf dem Hamburgischen Schau-platze 
 fuergestellet. 
 
 [Hamburg], mit Spieringischen schrifften, 1734- Unpaged. 19 cm . 
 
 Five acte. The "Vorbericht" reads in part: 
 
 "Man hat in gegenwaertiger neuen opera Circe . . . welche mit der vor yielen 
 jahren allhier ebenmaessig aufgefuehrten, keine verwandtschafft hat, sich gewisslich 
 recht beflissen, den en zuschauern eine lust und vergnuegung zu verschaffen. Eine
 
 OPERA LIBRETTOS 287 
 
 Circe Continued. 
 
 auslaendische Btandes-pereon, (mehr von Ihm zu ruehmen verbeut uns seine beschei- 
 denheit) [the Dutch minister Johann Mauricius] hat eich die muehe genommen, das 
 gantze stueck von anfang biss zum ende, halb in frantzosischer, halb in einer andern 
 frembden sprache, zu heffern, und verschiedene echoene stellen aus den besten 
 spanischen, frantzoesischen und hollaendischen schau-spielen, wetehe allesammt in 
 ihrem lande beyfall gefunden, auszusuchen. Die uebersetzung ist yon einem der 
 besten dichter hiesiger gegenden [Johann Philipp Praetorius] . . . Die italiaenische 
 arien eind auf unsrer echaubuehne noch alle neu, und von den besten meistern in 
 Europa . . . Die anderen arien, choere und recitative eind die arbeit des ruhm- 
 bekannten herrn capellmeistere Keisers . . . Uebrigena hat man sein bestee 
 gethan, dutch und durch dasjenige, was dem zuschauer lange weile machen duerffte, 
 eorgfaeltig zu venneyden, und zu dem ende alle lange recitative eingezogen ..." 
 First performed, as indicated, March 1, 1734. SCHATZ 5081 
 
 Circe. Dramma per musica da rappresentarsi nel nobilissimo Teatro 
 di San Samuele il carnovale dell' anno 1792. 
 Venezia, Modesto Fenzo, 1792. 45 p. 17\ cm . 
 
 Three acts. By Domenico Perelli, duca di Monestarace, who is not mentioned. 
 Argument, cast, scenario, and name of Ferdinando Per (Paer) as the composer. 
 ("La musica tutta nuova.") SCHATZ 7487 
 
 . Circe abbandonata da Ulisse. Drama per musica di Aurelio 
 Aureli da rappresentarsi nel famoso Teatro Grimano a SS. Gio. Paolo. 
 Posto in musica dal Signer Carlo Francesco Polarolo . . . 
 Venetia, Nicolini, 1697. 48 p. 14\ cm . 
 
 Three acts. Author's dedication dated Venice, November 12, 1697, argument, 
 and scenario. 
 
 First performed at Piacenza, Nuovo Teatro Ducale della Cittadella, 1692. 
 
 SCHATZ 8324 
 
 Circe delusa. Drama per musica da rappresentarsi nel Teatro di 
 Sant' Angelo nel carnovale dell' anno 1711 . . . 
 Venetia, Gio. Battista Tuccato, 1711. 48 p. 14 cm . 
 
 Three acts. Dedication, "notizie, che si hanno in proposito di Circe," and 
 scenario. Neither the composer, Giuseppe Boniventi, nor the librettist, Giorgio 
 Antonio Falier, is mentioned. SCHATZ 1186 
 
 Cirene. Dramma per musica da rappresentarsi nel Teatro di S. 
 Angelo il carnovale 1742 . . . 
 
 Venezia, Marino Rossetti, n. d. 4$ P- 15 cm . 
 
 Three acts. By Silvio Stampiglia, who is not mentioned. Impresario's dedica- 
 tion dated Venice, January 30, 1742, argument, cast, scenario, and name of Pietro 
 Pellegrini as the composer. SCHATZ 7860 
 
 Giro. Drama per musica da rappresentarsi nel Teatro Tron di San 
 Cassano nel carnovale dell' anno 1709 . . . 
 Venezia, Marino Rossetti, n. d. 62 p. 15 cm . 
 
 Three acts. Dedication signed by the author, P[ietro] P[ariati], argument, scena- 
 rio, cast, and name of Tommaso Albinoni as composer. SCHATZ 115 
 
 II Ciro. Drama per musica del Signor Giulio Cesare Sorentino 
 napoletano. Con prologo, aggiunte, mutationi & aggiustamenti all' 
 uso di questa citta fatte da altro soggetto con permissione dell' 
 autore. Arrichite poi dalla sempre ammirabile musica del Sig. Fran- 
 cesco Cavalli. Dedicata ... da Gio. Battista Balbi, direttore delle 
 scene, machine, e balli. 
 
 Venetia, Gio. Pietro Pinelli, 1654. 96 p. 15 cm . 
 
 Three acts, with prologue. Balbi's dedication, dated January 30, 1653 (i. (. 1654), 
 argument, preface, and scenario.
 
 288 LIBRARY OF CONGRESS 
 
 II Giro Continued. 
 
 The reader is told : 
 
 "Questo drama ha eortito i supi natal i in Napoli, sotto felice influsso di eervire alle 
 scene di Venetia: ma quando egli s'e ritrovato di qul s'avvide, che non haveva adobbi 
 all' nso di questa citta. La differenza del costume 1'haveva, si nelle parole, come nel 
 soggetto, allevato. con maniere different! dal genio Veneto delicatissimo in ogni senti- 
 mento: 1'ha preveduto la virtu, e la prudenza dell' auttore, che gli fu padre, onde ha 
 concessa facolta di regolarlo, accrescerlo, e eminuirlo ... Le mutationi, che egli ha 
 fatte nel soggetto poco rileva, che ei sappiano; basta che sono etate approvate, e conos- 
 ciute necessarie per seguire lo stile delle nostre scene. Molti eono h versi mutati, ma 
 ritenuto il concetto, che vi era prima, e questi non importa il conoscerli. Li altri, che 
 vedrai segnati nel margine con questo segno ,, sono quelli che intieramente sono stati 
 ajjgionti, si come anco il prologo 6 d'inventione di questo eogetto gia qualche tempo 
 discorsa anco da lui a qualche suo confidente: e hora gli ha fatta la poesia . . . Per 
 ispiegarti la fretta, con che egli ha composio, basta che 10 ti giuri, che in due soli giorni 
 ha aggiiustato il terzo atto, e fattivi li versi, che in quello vedi segnati ,, come ti h6 gia 
 detto; havendo variato anco 1'ordine del sogetto, ch'fe molto differente da quello cne 
 era prima. Egli per6 protesta, e si dichiara, che queste mutazioni, si come le ha fatte 
 con permissione dell' auttore del drama, cpsi ha mutato non per migliorare, m& per 
 accommodarsi al costume. A tutti li versi aggiunti, 6 mutati ha fatta la musica il 
 Signor Francesco Cavalli Apollo dell' armoma: ti direi i luochi particolari dove la 
 sentirai, m^ baeta, che 1'ascolti, che senza altra notitia la riconoscerai, per 1'esperienza 
 della sua isquisitezza . . ." 
 
 This would imply that only the new text was composed by Cavalli. The original 
 composer is not mentioned, and is unknown to Schatz. 
 
 First performed at Venice, Teatro Grimani a SS. Gio. e Paolo, carnival, 1654. 
 
 SCHATZ 1736 
 
 - Giro. Drama per musica nel Teatro a SS. Gio. e Paolo 1'anno 
 1665 . . . 
 
 Venetia, Giuliani, 1665. 84 p. 14 cm . 
 
 Three acts, with prologue. Scenario, argument, publisher's note to the reader, and 
 his dedication, dated Venice, February 4, 1665. 
 
 The reader is informed : 
 
 "Torna di nuovo questo drama a ricalcar le scene del famosissimo Theatro Grimani, 
 dove prima fece pompa de suoi splendor! . . . lo troverai fecondatp di nuove ariette, 
 per meglio compiacerti. A queete ha fatta la musica il virtuosissimo Signor Andrea 
 Mattioli maetro di capella dell' A. Sereniss. di Mantoa, che gia famoso per molte cpm- 
 positioni arrichite in altre citta col freggio delle sue note, doppo 1'haverti fatta ammirar 
 nel Perseo la eua virtu, e etato anco pregato ad illustrar con queste gioie il presente 
 drama per fartelo con nuove gemme comparir piii pomposo ..." 
 
 As the text is practically the same as in the 1654 ed., this can mean only that music 
 by Mattioli was substituted for some of Cavalli's arias. SCHATZ 1753 
 
 Giro, musicalisches schau-spiel umb wegen der hohen gegenwarth 
 S? churfuerstl. Durchl. Clemens Augusts, hertzog in Bayern . . . im 
 jahr 1733 vorgestellet zu werden. Aus dem welschen uebersetzet. 
 
 Muenchen, gedruckt bey Maria Magdalena Riedlin, wittib. 4 P- 1"> 
 95 p. 16 cm . 
 
 Three acts. Italian original by Leppoldo de Villati. Neither he nor the com- 
 poser, Giovanni Ferrandini, is mentioned. With "Innhalt" and cast. The dia- 
 logue is in German. The arias are in Italian with added German prose translation. 
 
 First performed at Munich, as indicated. SCHATZ 3064 
 
 Giro in Armenia, dramma per musica da rappresentarsi nel Regio- 
 Ducal Teatro di Milano, nell carnovale delP anno 1754 . . . 
 
 Milano, Giuseppe Richino Malatesta, 1753. 5 p. I., 59 p. 14% cm . 
 
 Three acts. Dedication, argument, scenario, and cast. The composer, Maria 
 Teresia Agnesi, is not mentioned, and the author is unknown to Schatz. 
 
 First performed, as indicated, Dec. 26, 1753. SCHATZ 61 
 
 Giro in Timbraja, ballet. See Guglielmi's Gli amanti della dote.
 
 OPERA LIBRETTOS 289 
 
 Giro in Timbraja, ballet. See Guglielmi's Lo sciocco 4 poeta di 
 campagna. 
 
 II Giro riconosciuto. 
 
 72 p. 19 cm . (Pietro Metastasio, Opere drammatiche , Venezia, Giu- 
 seppe Bettinelli, 1733-37, v. 4.) 
 
 Three acts and licenza. Argument. No composer mentioned . ML 49.A2M4 
 
 - Giro riconosciuto. 
 
 Metastasio, Poesie, Parigi, vedova Quittau, 1755, t. iv, [187]-300 p. 
 16 cm . 
 
 Three acts and licenza. Argument. ML 49.A2M42 
 
 - Giro riconoscinto. Rappresentato con musica del Caldara la 
 prima volta nel giardinp dell' Imperial Favorita . . . il di 28 agosto 
 1736, per festeggiare il giorno dinascita dell' imperatrice Elisabetta . . . 
 
 pi, [lll}-234 p. 26 cm . (Pietro Metastasio, Opere, t. v, Parigi, 
 vedova Herissant, 1780.} 
 
 Three acte, with licenza. Argument. ML 49.A2M44 
 
 - Cyrus. 
 
 Metastasio, Tragedies-opera, Vienne, 1751, v. I, 185 p. 14 cm . 
 
 Three acts. Richelet's translation of "II Giro riconoeciuto." ML 49.A2M47 
 
 Giro riconosciuto. Del Signer Pietro Metastasio. Dramma per 
 musica da rappresentarsi nel Teatro di S. Angelo il carnovale dell' 
 anno 1737 . . . Seconda impressione. 
 
 Venezia, Marino Rossetti, 1737. 72 p. 16 cm . 
 
 Three acts. Impresario's dedication, cast, scenario, and notice to the reader in 
 which is said : 
 
 ' ' Come e indispensabile la brevita per il buon ordine di cotesto Teatro, cosi con- 
 venne, anche doppo che fu composto in musica cotesto dramma, per fatale necessita 
 abbreviarlo di moltp. Vero e, che restano stampati tutti li recitativi, e postilati 
 quelli, che non si dicono ... Si sono pur mutate le parole di molte arie, ma nell' 
 incontro presente non si e potuto far a meno . . ." 
 
 The composer is not mentioned. Wiel and Schatz attribute the music to Galuppi, 
 Allacci and Groppo have "Musica da diversi." 
 
 Therefore Wotquenne and with him Piovano believes that at least part of the 
 music was interpolated from Caldara's opera of the same title, Vienna, August 28, 1736. 
 
 First performed at Venice, January 5, 1737. SCHATZ 3517 
 
 - Giro riconosciuto. Dramma per musica da rappresentarsi nel 
 Regio-Ducal Teatro di Milano nel carnovale dell' anno 1746 ... in 
 occasione del compimento degli anni di Sua Maesta Cattolica che 
 Dio guardi. 
 
 Milano, Giuseppe Richino Malatesta, n. d. 4 P-l-> 6 P- 14' 
 Three acts. Argument, scenario, cast, and name of Galuppi as composer. 
 First performed, as indicated, December 26, 1745. ML 50.2.C53G3 
 
 - Giro riconosciuto. Dramma per musica da rappresentarsi nel 
 carnovale dell' anno 1759. Nel nobil Teatro di Torre Argentina . . . 
 
 Roma, Gio. Zempel, n. d. 69 p. 15 cm . 
 
 Three acts. By Metastasio with alterations "per accomodarsi al genio presente." 
 Dedication, argument, proteste, scenario, cast, name of the author and the composer, 
 Baldassare Galuppi. SCHATZ 3445 
 
 72251 VOL 114 19
 
 290 LIBRARY OF CONGRESS 
 
 . II Giro riconosciuto. Dramma per musica da rappresentarsi nel 
 Teatro Ducale di Stutgart nel carnovale dell' anno 1752 ... La 
 poesia & del Signer abbate Pietro Metastasio ... la musica & del 
 Signer Gio. Adolf o Hasse . . . 
 
 Stutgart, Giovanne Georgia Cotta, n. d. 185 p. 18\ cm . 
 
 Three acte. Argument, cast, scenario, German title page "Der erkennte Cyruo" 
 and text face Italian. 
 
 First performed at Stuttgart, February 11, 1752; at Dresden, Hoftheater, January 
 20, 1751. SCHATZ 4525 
 
 Giro riconosciuto. Dramma per musica da rappresentarsi nel 
 Teatro Formagliari la primavera dell' anno MDCCXLIV. 
 
 (At end} Bologna, Maria Sassi, 1744. 1 P- l>, 70, [2\ p. 15 cm . 
 
 Three acte. Impresario's dedication, dated Bologna, May 4, 1744, argument, cast, 
 scenario, and names of Metastasio as author (with apologies for the cute in his text) 
 and of Nicol6 Jommelli as composer. SCHATZ 4879 
 
 Giro riconosciuto. Dramma per musica da rappresentarsi nell' 
 antico Teatro di Tordinona nel carnevale dell' anno 1737 . . . 
 Roma, Giovanni Zempel, 1737. 88 p. 15 cm . 
 
 Three acts, with licenza. Dedicatory preface by the impresario Giuseppe Polvino 
 Falliconti, argument, cast, scenario, names of Metastasio, the author, and of the com- 
 poser, Rinaldo di Capua. 
 
 First performed at Rome, Teatro Tordinona, January 19, 1737. SCHATZ 8795 
 
 II Giro riconosciuto. Drama per musica da rappresentarsi sul 
 famosissimo Teatro di Brunsviga nella fiera d' inverno I' anno 1746. 
 Der wiedererkannte Cyrus . . . 
 
 Braunschweig, Friedrich Wilhelm Meyer, n. d. Unpaged. 18 cm . 
 
 Three acte. By Metastasio, who is not mentioned. German text faces Italian. 
 Note: 
 
 "Die sinfonie und arien dieser opera sind componirt von Sign. Giovanni Verocai, 
 hochfuerstl. Braunschweig.-Lueneburgischen Concert-meister zu Wolff enbiittel." 
 
 The composer of the recitatives not known to Schatz. 
 
 First performed February, 1746, as indicated. SCHATZ 10718 
 
 La citta felice. See M. Curzio. 
 
 La citta nuova. Commedia per musica da rappresentarsi nel Teatro 
 alia Scala 1' autunno dell' anno 1798, v. s. entrando 1' anno VII. 
 repubblicano. 
 
 Milano, Gio. Batista Bianchi, n. d. 1ft p. 16% cm . 
 
 Two acts. Cast and name of the composer, Stefano Cristiani ("musica tutta 
 nuova"). The author is unknown to Schatz. "Dopo alcune recite" were to be 
 performed with the opera Filippo Beretti's ballets "La moglie virtuosa" and "II 
 calzolajo." The composer of the music is not mentioned. 
 
 First performed, as indicated, September, 1798. SCHATZ 2292 
 
 Cittadini di Sinope festeggianti le nozze di Mitridate, ballet. 
 See Piccinni's Tigrane. 
 
 II cittadino rinnobilito. A. T. of Pasque's L' albergia smascherata. 
 Der civilisirte bauer. Tr. of Anfossi's II zotico incivilito. 
 
 Le Claperman, opera-comique, en deux actes, en prose & en vaude- 
 villes, precede d'un prologue, & suivi d'un divertissement. 
 
 Alexis Piron, Oeuvres complettes, Liege, 1776, v. 3, [149}-222 p. 
 
 First performed, according to Parfaict, who does not record the composer, February 
 3, 1724. PQ 2019.P6
 
 OPEBA LIBRETTOS 291 
 
 Clarisse, oder Das unbekannte dienstmaedgen. Eine komische 
 operette in drey aufzuegen. 
 
 Leipzig, Christian Gotilvb Hilschern, 1772. 136 p. 16 cm . 
 
 Neither the author, Johann Chrietoph Bock, nor the composer, Carl Leopold 
 Roellig, is mentioned. 
 
 Firet performed at Hamburg, Theater beim Gaensemarkt, October 10, 1771. 
 
 SCHATZ 8856 
 
 Claudine on Le petit commissionnaire, comedie en un acte, et en 
 prose melee d'ariettes, par le C. Jacques Marie Deschamps. Musique 
 du C. Bruni. 
 Paris, Huet, an deuxieme, [1793-94]. 36 p. 21. 
 
 Cast. 
 
 Firet performed at Paris, Theatre Feydeau, March 6, 1794. ML 50.2.C57B7 
 
 Claudine von Villa Bella. Ein singspiel. Von Goethe. Achte 
 ausgabe. 
 Leipzig, Georg Joachim Goschen, 1788. 1 p. 1., 126 p. 17% cm . 
 
 Three acte. Edition without "Goechen's Schriften," and with "Pedro von 
 Rovero" in the list of characters instead of "Sebastian von Rovero." 
 
 PT 1915.C2 1788 
 
 Claudine von Villa Bella. Ein schauspiel mit gesang von J. W. 
 Goethe. Aufgefuehrt im K. K. Nationaltneater. 
 
 Wien, zufinden beym Logenmeister, 1780. 71 p. ld% cm . 
 
 The composer, Ignaz von Be(e)cke, is not mentioned. 
 
 First performed, as indicated, on June 13, 1780. SCHATZ 677 
 
 Claudine af Villa Bella, et syngestykke i tre handlinger, af J. W. 
 Goethe. Til brug for den Kongl. danske Skueplads, oversat af 
 N. H. Weinwich. Musikkeu er af hr. C. Schall . . . Opf0rt f0rste 
 gang paa Hs. Majestaet Kongens f0dselsdag, d. 29 Jan. 1787. 
 
 Ki0berihavn, Trykt paa S. S0nnichsens bekostning, n. d. 1 p. I., 
 125 p. 16 cm . SCHATZ 9584 
 
 Arien und gesaenge aus dem singspiel Claudine von Villa Bella. 
 Berlin, n. pull., 1789. 40 p. 15 cm . 
 
 Three acts. Neither the author, Goethe, nor the composer, Johann Friedrich 
 Reichardt, is mentioned. 
 
 First performed at Charlottenburg, Schlosstheater, July 29, 1789; at Berlin, Kgl. 
 Nationaltheater, August 3, 1789. SCHATZ 8640 
 
 Claudio Cesare. Dramma per musica. Nel Teatro Vendramino a 
 San Salvatore. L'anno MDCLXXII di Aurelio Aureli, opera decima 
 sesta ristampata . . . 
 
 Venezia, Francesco Nicolini, 1672. front., 69, [1] p. 13 cm . 
 
 Three acts. Author's dedication, dated Venice, December 27, 1672, and notice to 
 the reader, mentioning Claudio Cesare Boretti as composer of this text, and also of 
 Aureli's "Eliogabalo" and "Ercole in Tebe." Argument and scenario. 
 
 SCHATZ 1216 
 
 Claudius. See Reiser's Die verdamrnte staat-sucht. 
 
 Claudius, roemiscber Kaeyser. L. T. of Reiser's Die verdammte 
 staat-sucht.
 
 292 LIBRARY OF CONGRESS 
 
 Cleante. Dramma per musica da rappresentarsi in Roma nel nobil 
 Teatro di Torre Argentina nel corrente carnevale dell' anno 
 MDCCLII . . . 
 
 Roma, Fausto Amidei, n. d. 64 p- 15^ cm . 
 
 Three acts. Author not mentioned, and unknown to Schatz. Dedication, argu- 
 ment, cast, scenario, and name of Niccolo Sabatini as the composer. SCHATZ 9200 
 
 i/Clearco in Negroponte. Drama per musica da rappresentarsi nel 
 Teatro Zane a San Moise\ L'anno 1685 . . . 
 Venetia, Francesco Nicolini, 1685. 69 p. 13% cm . 
 
 Three acts. By Antonio Arcoleo, who signs the dedication with his initials. Argu- 
 ment, scenario, and notice to the reader, with name of Domenico Gabriel! as composer. 
 
 SCHATZ 3402 
 
 The clemency of Titus. An opera as perform'd at the Theatre 
 Royal in the Hay-Market. Composed by Frances Veracini . . . 
 London, J. CJirichley, 1737. 63 p. 17 cm . 
 
 Three acts. Metastasio's "La clemenza di Tito," with an English translation, per- 
 haps by Angelo t'ori, who signs the dedication. Argument and cast. 
 
 First performed 1737, as indicated. SCHATZ 10618 
 
 Clementine, ou La belle-mere, com&lie en un acte et en prose, 
 m&lee d'ariettes: paroles de J. B. C. Vial; musique de Fay. Kepr6- 
 sentee, pour la premiere fois, au Theatre Feydeau, le 2 e jour comple"- 
 mentaire, an Vll de la Republique francaise. 
 Paris, Huet, Charon, an VIII [1799-1800]. 56 p. 18. 
 
 Cast. 
 
 First performed, aa indicated, September 18, 1799. SCHATZ 3037 
 
 La clemenza di Scipione; a new serious opera: as performed at 
 the King's Theatre, in the Haymarket. The music composed by Mr. 
 Bach. The translation by F. Bottarelli, A. M. 
 London, T. Cadell, 1778. 53, [1] p. 18$ cm . 
 
 Three acte. Argument and cast. Librettist unknown to Schatz. English text 
 faces Italian. 
 
 First performed, as indicated, in 1778; but previously in 1775 (Pohl). 
 
 SCHATZ 528 
 
 La clemenza di Tito. 
 
 72 p. 19 cm . (Pietro Metastasio, Opere drammatiche , Venezia, Giu- 
 seppe BettineUi, 1733-37, v. 4.) 
 
 Three acts and licenza. Argument. No composer mentioned . ML 49.A2M4 
 
 - La clemenza di Tito. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t. Hi, 109 p. 16 cm . 
 Three acts and licenza. Argument. ML 49.A2M42 
 
 - La clemenza di Tito. Dramma rappresentato con musica del 
 Caldara la prima volta in Vienna nell' interno gran Teatro della Corte 
 Cesarea, alia presenza degli augustissimi sovrani, il dl 4 novembre 
 1734, per festeggiare il nome dell' imperator Carlo VI ... 
 
 pi., [109]-222 p. 26 cm . (Pietro Metastasio, Opere, t. Hi, Parigi, 
 vedova Herissant, 1780.) 
 
 Three acts and licenza. Argument. ML 49.A2M44
 
 OPERA LIBRETTOS 293 
 
 La clemenza di Tito Continued. 
 - Titus. 
 
 Metasiasio, Tragedies opera, Vienne, 1751, v. ii, p. [125]-237. 
 
 I4 cm . 
 
 Three acts. Richelet's translation of "La clemenza di Tito." ML 49.A2M47 
 
 La clemenza di Tito. Dramma per musica, da rappresentarsi nel 
 Real Teatro di S. Carlo, nel di 30. di maggio 1772 ... 
 Napoli, Francesco Morelli, 17^.- 51 p. 16 cm . 
 
 Three aote. By Metastasio. Impresario's dedication, with same date, argument, 
 scenario, cast, and name of composer, Pasquale Anfossi, but not of librettist. 
 
 SCHATZ 273 
 
 La clemenza di Tito. Drama per musica da rappresentarsi nel 
 Regio Teatro di Torino nel carnovale del 1739 . . . 
 
 Torino, Pietro Giuseppe Zappata e figliuolo, n. d. 4 P- !>> 71 > U] P- 
 
 Three acts. By Metastasio. Argument, scenario, cast, and name of the composen 
 Giuseppe Arena, but not of librettist. Aleesio Rasetti is mentioned as composer of 
 the ballet music. 
 
 First performed, as indicated, December 26, 1738. SCHATZ 309 
 
 La clemenza di Tito. Dramma per musica da rappresentarsi nel 
 Nuovo Teatro di Corte . . . nel carnevale dell' anno MDCCLXVIII. 
 La poesia 6 dell' Sig. abbate Pietro Metastasio ... La musica e 
 del sig. Andrea de Bernasconi . . . 
 
 Monaco, Mar. Magdal. Mayrin, n. d. 231, [21] p. 15% cm . 
 
 Three acte. Argument, cast, scenario. German title-page "Die guetigkeit des 
 Titus " and text face Italian. The unnumb. p. contain scenario, cast, and description 
 in French and German of the two ballets "L'amour clairvoyant" ("Der sehende 
 Cupido") and "La reconciliation geneieuse." Neither authors nor composers are 
 mentioned. 
 
 First performed at Munich, January, 1768. SCHATZ 856 
 
 La clemenza di Tito. Dramma per musica, da rappresentarsi nella 
 cesarea corte per il nome gloriosissimo della Sac. Ces. e Catt. Real 
 Maesta di Carlo VI ... L'anno MDCCXXXIIII. La poesia e del 
 Sig. abbate Pietro Metastasio ... La musica e del Sig. Antonio 
 Caldara . . . 
 
 Vienna d' Austria, Gio. Pietro Van Ghelen, n. d. 4 P- Z-, 72, [1] p. 
 16 cm . 
 
 Three acte and licenza. Argument and scenario. Niccola Matteis is mentioned 
 as composer of the ballet music. 
 
 First performed, as indicated, November 4, 1734. SCHATZ 1498 
 
 La clemenza di Tito. Dramma per musica da rappresentarsi per le 
 felice nozze dell' Altezza Serenissima Elettorale di Massimiliano Giu- 
 seppe . . . con P Altezza Serenissima Elettorale Maria Anna ... La 
 poesia e del Sig. abbate Pietro Metastasio ... La musica e del Sig. 
 Giuseppe Camerlocher . . . 
 
 [ Monaco}, Giov. Giac. Votter, n. d. 6 p. 1., 132 p. 20. 
 
 Three acts. Argument, cast, and scenario. German title page "Die guetigkeit 
 des Titue" and text face Italian. The anonymous German translator has added an 
 "Unumgaengliche vorrede " about the difficulties of translation of Italian librettos into 
 German and he says: 
 
 " Entschuldige, dass ich mich wenig oder garnicht an die worte der welschen feder 
 gebunden, allein weil es fast eine unmoeglichkeit scheinen, solcher satzung mit aller
 
 294 LIBRARY OF CONGRESS 
 
 La clemenza di Tito Continued. 
 
 eckaerffe nachzukommen, indem einem jeden sprach-kuendigen nicht unbewust, wie 
 class mancher unzuverbesseren seyender gedancken dutch die ubersetzung (wenn 
 seiche von wort zu worte zueammen gekuenstlet) eeinen gantzen worth verliehre: 
 Jedoch suchte ich (wo es ohne zergliederung der wohlredenheit seyn koennen) meinen 
 woerter-echatz der welschen schreib-arth knapp an die eeithe zu setzen ..." 
 First performed at Munich, Hoftheater, July, 1747. SCHATZ 1523 
 
 La clemenza di Tito. Dramrna per musica da rappresentarsi nel 
 Teatro dell' illustrissimo pubblico di Reggio per la nera dell' anno 
 1759 . . . 
 
 Reggio, Giuseppe Davolio, n. d. 4 P-l", 70, [2] p. 17\ cm . 
 
 Three acts. By Metaetaeio. Impresario's dedication dated Reggio, April 28, 1759, 
 argument, cast, scenario, and name of the composer, Legrenzio Vincenzo Ciampi. 
 The first additional p. contains the substitute arias (1,5) "Si spande al Sole in fact'ia " 
 and (I, 7) "Di queeto core amante." The words of the first are from Metastasio's 
 "II re paetoro," whereas those of the second are not listed by Wotquenne as from 
 Metaetaeio. 
 
 First performed at Venice, Teatro di S. Moise, carnival 1757. SCHATZ 1880 
 
 La clemenza di Tito. Drama per musica del Sig. abbate Pietro 
 Metastasio da recitarsi nel Teatro del Falcone in Genova . . . 
 Genova, FrancheUi, 1736. 4 p. I, 72 p. 14$ cm . 
 
 Three acts. By Metastasio. Impresario's dedication, argument, cast, scenario, 
 and name of the composer, Pietro Vincenzo Ciochetti. The imprimatur is dated 
 January 14, 1736. SCHATZ 2011 
 
 La clemenza di Tito. Dramma per musica da rappresentarsi nel 
 Teatro di Camerino pel carnovale del 1757 . . . 
 
 Camerino, Gabrielli, n. d. 71 p. 16\ cm . 
 
 Three acts. By Metastasio. Impresario's dedication, argument, caet, and name 
 of the composer, Carlo Antonio Cristiani. SCHATZ 2291 
 
 La clemenza di Tito. Dramma per musica da rappresentarsi nel 
 Regio Teatro di Torino nel carnevale del 1760 alia presenza di S. S. 
 R.M. 
 
 Torino, Giacomo Giuseppe Avondo, n. d. 79, [1] p. 16 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, 
 and name of Galuppi as composer. With the opera wero performed three ballets, 
 the first of which called "Orfeo e Euridice." The plot was by Giuseppe Salomoni, 
 detto di Portugallo," the music by Giuseppe Antonio Le Messier. 
 
 First performed as indicated, as second opera of the season. SCHATZ 3498 
 
 La clemenza di Tito. Drama per musica da cantarsi in Verona nel 
 Teatro dell' Accademia Filarmonica nella fiera d'Aprile dell' anno 
 1738 . . . 
 
 Verona, Dionigi Ramanzini, n. d. front., 59, [1] p. 18 cm . 
 
 Three acte. By Metastasio, who is not mentioned. Dedication, argument, cast, 
 scenario, and name of Johann Adolph Hasse as composer. On the additional page 
 the aria "Da quelle luci amate" substituted for "lo sen to, ch'in petto" for I, 3. 
 
 First performed at Dresden, Hoftheater, January 17, 1738, but previously at 
 Pesaro, Teatro Pubblico, September 24, 1735, as "Tito Vespasiano owero La clemenza 
 di Tito." SCHATZ 452K 
 
 - Die guetigkeit des Titus Vespasianus in einer opera yorgestellet 
 auf dem grossen Braunschweigischen Theatre in der Winter-messe 
 1744. 
 
 Wolfenbuettel, Christian Bartsch, n. d. Unpaged. 18% cm .
 
 OPERA LIBRETTOS 295 
 
 La clemenza di Tito Continued. 
 
 Three acts. Argument, scenario, and name of Hasse as the composer. Italian 
 text of the arias added to the German translation. 
 
 First performed February 3, 1744, as indicated, but previously August, 1743. 
 
 SCHATZ 4527 
 
 - La clemenza di Tito, dramma da rappresentarsi in musica. 
 Die gnade des Titus . . . 
 
 Hamburg, Spiering, 1748. 87 p. 18 cm . 
 
 Three acts. Argument, scenario, cast, and names of Metastasio as author, of 
 Johann Adolph Hasse as composer. German text faces Italian. 
 
 Performed at Hamburg, Theater beim Gansemarkt, October, 1748; previously 
 there December 8, 1745. SCHATZ 4528 
 
 La clemenza di Tito. Dramma per musica da rappresentarsi nel 
 Teatro Ducale di Stutgart, festeggiandosi il felicissimo giorno nata- 
 lizio di Sua Altezza Serenissima Ehsabetta Sofia Federica duchessa di 
 Wirtemberg e Teck ... La poesia e del . . . Metastasio ... La 
 musica e del . . . Nicolo Jommelli . . . 
 
 Stutgart, Giovanne Georgia Cotta, 1753. 117 p. 19 cm . 
 
 Three acts. Argument, cast, scenario. German title page, "Die mildigkeit dea 
 Titues," and text face Italian. 
 
 First performed, as indicated, August 30, 1753. SCHATZ 4849 
 
 La clemenza di Tito. Dramma per musica da rappresentarsi 
 nel Real Teatro dell' Ajuda nel felicissimo giorno natalizio del 
 fedelissimo monarca D. Giuseppe T . . . nel di 6 giugno 1771. 
 Lisbona , Stamperia reale, n. d. 75 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, and names of Metastasio as author, of 
 Niccolo Jommelli as composer. Text seems to follow that of 1753 closely. 
 
 SCHATZ 4884 
 
 La clemenza di Tito. Dramma per music di Artimio Corasio, 
 Pastore Arcade, da rappresentarsi nel famosissimo Teatro Grimani 
 di S. Gio. Grisostomo il carnovale dell' anno 1735 ... 
 Venezia, Marino, Rossetti, 1735. 72 p. lffi m . 
 
 Three acts. Dedication by Domenico Lalli, argument, scenario, cast, name of Leo- 
 nardo Leo as composer, and note that part of the text is not by Metaetasio (by 
 Lalli?),. It applies to such arias as "Tremola qual la fronda" (I, 3), "Quando amore 
 a servo un core" (I, 8), "Perfido amico ingrato" (II, 11). 
 
 First performed as above (Schatz); at Naples, 1735, Teatro S. Bartolomeo (Leo). 
 Piovano fixed the date as Venice, January 29, 1735. SCHATZ 5553 
 
 La clemenza di Tito. Drama per musica da rappresentarsi nel 
 
 Regio-Ducal Teatro di Milano nel carnovale dell' anno 1738 . . . 
 Milano, Giuseppe Richino Halatesta, 1738. 4 P- ^ 60 P- 15% cm > 
 Three acts. By Metastasio, who is not mentioned. Dedication signed by the 
 
 impresario, Gaetano Marizoli, argument, cast, scenario. Even the tailor is mentioned, 
 
 but not the composer, Giovanni Maria Marchi. 
 
 First performed, as indicated, December 26, 1737. SCHATZ S5937 
 
 La clemenza di Tito, dramma per musica da rappresentarsi nell' 
 estate dell' anno MDCCLV. Sul gran Teatro nuovamente eretto alia 
 Real Corte di Lisbona, per festeggiare il felicissimo giorno natalizio 
 di Sua Maestk Fedelissima D. Giuseppe Primo ... La poesia del 
 dramma del celebre Sigr. ab e Pietro Metastasio ... La licenza d
 
 296 LIBRARY OF CONGRESS 
 
 La clemenza di Tito Continued. 
 
 del Sigr. Giuseppe Bonechy, Florentine, poeta di Sua Maesta Fedelis- 
 
 simn ... La musica & del Sigr. Antonio Mazzoni, Bolognese. 
 
 Lisbona, Stamperia Sylviana, 1755. front., 4 P- Z., 52, [2] p. 21 cm . 
 
 Argument, cast, and scenario. 
 
 First performed, as indicated, June 6, 1755. SCHATZ <>22!) 
 
 La clemenza di Tito. Dramma per musica da rappresentarsi m-l 
 Teatro Tron di S. Cassiano il carnovale dell' anno MJDCCXLY III. 
 n. i., n. d. 69 p. 17 cm . 
 
 Three acts. By Metaatasio, who is not mentioned. Argument, cast, scenario, and 
 name of Antonio Gaetano Pampani as the composer. SCHATZ 7758 
 
 La clemenza di Tito. Dramma per musica da rappresentarsi nel 
 famoso Teatro Grimani di S. Benedetto, il carnovale dell' anno 
 MDCCLX. 
 
 Venezia, Antonio Comin, 1760. Ifi p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Cast, scenario, and name of 
 Giuseppe Scarlatti as the composer. SCHATZ 9542 
 
 La clemenza di Tito. 
 
 Four acte. Metastasio's text, altered by Caterino Mazzola, music by Mozart. 
 First performed at Prague, Nationaltheater, September 6, 1791. 
 No 18th cent. ed. in L. of C. 
 
 Titus. Eine ernsthaftc oper in zwey aufzuegen; nach dem ita- 
 lienischen der Clemenza di Tito des Metastasio frey bearbeitet, und 
 in musik gesetzt von W. A. Mozart. Zum erstenmal aufgefuehrt auf 
 dem fuerstl. Operntheater zu Cassel im Maerz 1797. 
 
 Cosset, Hampesche Buchdruckerey , n. d. 71 p. 16 cm . 
 
 Cast. ML 50.2.C58M77 
 
 La clemenza di Tito. See Veracini's The clemency of Titus. 
 
 Cleoflda, koenigin von Indien. A. T. of Handel's Triumph der 
 grossmuth und treue. 
 
 Cleofide. Drama per musica da rappresentarsi nel Regio Teatro di 
 Berlino per ordine ai Sua Maesta nel carnovale dell' anno 1754. 
 Berlino, Haude e Spener, n. d. 115, [3] p. 17 cm . 
 
 Three acts. Same as Metastasio's "Alessandro nell' Indie." Argument, scenario, 
 and name of the composer, Johann Friedrich Agricola. German title-page and text 
 face Italian. Notes (in French) on the ballets follow the text- 
 First performed, as indicated, Berlin, January, 1754. SCHATZ 67 
 
 Cleofide, dramma per musica da rappresentarsi nel Regio Teatro di 
 Berlino per ordine di Sua Maesta nelcarnevale dell' anno 1777. 
 Berlino, Haude e Spener, n. d. 125, [3] p. 15\ cm . 
 
 Three acts. Argument, cast, scenario, name of Johann Adolph Hasse as composer, 
 and note to the effect that this is Metastasio's "L* Alessandro nell' Indie," but with 
 "grandi cangiamenti gia fatti da lungo tempo si nello sceneggiamento che nella poesia 
 in un teatro forestiero, ' by Michel Angelo Boccardi, according to Schatz and Mennicke. 
 German title page, "Cleofide," and text face Italian. 
 
 First performed, as indicated, January, 1777; at Dresden, Hoftheater, September 
 13, 1731. SCHATZ 4573
 
 OPERA LIBRETTOS 297 
 
 Cleofile. Drama per musics d'Aiitonio Conte Zaniboni da rappre- 
 sentarsi nel Teatro Giustiniano di S. Moise il carnovale dell' anno 
 1721. 
 
 Venezia, Marino Rosetti, 1721. 44 P- 15 cm . 
 
 Three acts. Argument, cast, scenario, and name of the composer, Giuseppe Maria 
 Buini. SCHATZ 1381 
 
 Cleomene. Drama per musica da rappresentarsi nel Teatro di 
 Sant' Angelo il carnovale dell' anno MDCCXVIII . . . 
 Venezia, Marino Rossetti, 1718. 58 p. I4% cm . 
 
 Three acts. Dedication signed by the author, Vincenzo Cassani , argument, notice to 
 the reader, cast, scenario. The composer, Tommaso Albinoni, is not mentioned. 
 
 SCHATZ 128 
 
 II Cleomene. Drama per musica da recitarsi nel Teatro delle Dame 
 nella primavera dell' anno MDCCXXXI . . . 
 Roma, Pasquino, n. d. 65 p. 16" m . 
 
 Three acts. Dedication by the impresario Francesco Cavanna, argument, scenario, 
 cast, and name of Francesco Ayara as the composer. 
 
 Not recorded by Schatz. ML 50.2C59 A7 
 
 Cleomene. Dramma per musica da rappresentarsi in Bologna nel 
 Teatro Zagnoni il came vale dell' anno 1789 . . . 
 Bologna, Sassi, n. d. Jfi p. 17 cm . 
 
 Imprimatur dated December 9, 1788. 
 
 Three acts. By Giovanni de Gamerra, who is not mentioned. Impresario's dedi- 
 cation, argument, cast, and name of Giuseppe "Sarti as the composer. With the 
 opera were performed Urbano Garzia's ballets "Le Amazoni moderne, o sia II ribello 
 per amore" and "II tuttor medico deluso," the composers of the music not being 
 mentioned. 
 
 First performed, as indicated, December 27, 1788. SCHATZ 9428 
 
 - Cleomene. Dramma per musica da rappresentarsi in Perugia 
 nel Teatro de' Signori nobili Accademici del Casino nel carnevale del 
 anno 1791 . . . 
 Perugia, Oonstantini, "1191. Jfi p. 16\ cm . 
 
 Three acts. Impresario's dedication dated Perugia, January, 1791, argument, 
 scenario, and name of Giuseppe Sarti as composer. Giovanni de Gamerra is not 
 mentioned. With the opera were performed, composers of the music not mentioned, 
 Giacomo Gentili's ballets "Esione liberata" and "Gl'amanti delusi." 
 
 ML 48.A5 v.7 
 
 Cleonice. Dramma per musica da rappresentarsi nel Teatro di 
 Sant' Angelo il carnovale dell' anno 1740 ... 
 
 Venezia, Marino Rossetti, 1740. 4$ P- 25 cm . 
 
 A neat 19th cent, page for page transcript. 
 
 Three acts. Dedication signed by Bartolomeo Vitturi, argument, cast, scenario, 
 name of Hasse aa the composer, and notice to the reader: 
 
 "La presente dramaticha composizione e del celebre Sig. abate Pietro Metastasio 
 . . . ma poi ridotta all' uso de nostri teatri. Ora nuovamente ei riproduce sovra le 
 pubbliche scene, ma abbreviata di molto per adattarla, quanto fosse possibile, a chi 
 la deve rappresentare; o se qualch' una delle arie non corrisponde totalmente alle 
 scene, ci6 nasce per esser stato in arbitrio dei musici di [?1 a piacere, a cagione della 
 ristrettezza del tempo ..." 
 
 The alterations presumably were made by the librettist Vitturi. According to 
 Schatz "Cleonice" is but a replica of Basse's "Demetrio" of 1732 and was first per- 
 formed at Vienna, Hoftheater, February, 1734. Mennicke says (p. 510): 
 
 "Diese erste fassung [of "Demetrio"] wurde auch unter dem titel "Cleonice" 1733 
 in Wien gegeben; dagegen wurde 1739 in Wien Hasses komposition mit eingelegten 
 arien anderer komponisten wieder als II Demetrio gegeben ; auch Metastasios Text- 
 buch dieeer neuen gestalt des musikalischen teils hat "varianti." Diese neuere 
 fassung gab man auch 1739 in Neapel."
 
 298 LIBRARY OF CONGRESS 
 
 Cleonice -Continued. 
 
 I prefer to let this Cleonice of Venice, 1740, stand under its own title, because the 
 connection of the "Cleonice" text with that of "Demetrio" is so very slight. True, 
 scenes 1, 10, 1, 11, 1, 12, start out like 1, 13, 1, 14, and 1 15, in Metastasio's "Demetrio," 
 but they remain alike only for a few lines, and this is also true of a few other such 
 scenes. Furthermore, the arias in such scenes have become different, " Amo te sola" 
 (I, 11) having taken the place, for instance, of "Dal suo gentil sembiante" (I, 14). 
 And this aria, "Amo te sola," ig from Metastasio's "Clemenza di Tito," just as "E 
 vero che oppresso" (III, 2) is not from his "Demetrio" but from his "Adriano in 
 Siria." The fact is, that very little of the dialogue and very few more arias except 
 " Ogni procella infida," will be found in "Demetrio." Most of the arias, indeed, are 
 not by Metastasio at all, and the very few, that are, have been selected from his different 
 works. Since it is known that Hasse was in Venice during the carnival of 1740, it 
 stands to reason that he superintended the performance of the opera and composed 
 anew whatever had to be composed for this decimated version of "Demetrio." 
 
 SCHATZ 4578 
 
 Cleonice regina di Siria. Drama. Da rappresentarsi sopra il 
 Teatro di S. M. B. -Cleonice, queen of Syria. An opera. As it is 
 represented at the King's Theatre in the Hay-Market. 
 
 London, G. Woodfall, 1763. 81 p. 20 cm . 
 
 Three acts. Text a pasticcio by author-compiler unknown to Schatz. English 
 translation faces Italian. Argument, cast and note "The music by several cele- 
 brated masters." From Bremner's "Favourite songs" we know tha't the aria "Se 
 piii il mio core" (I, 10) was composed by Felice Giardini as also "Non so dir se pena 
 sia" (II 9 words from Metastasio's "Isola disabitata") and "Quel labbro adorato" 
 (III, 9, words from Metastasio's "Demetrio") was composed by Galuppi. "lo so 
 
 aual peua" (words from Metastasio's "Demetrio") composed by Giardini and the 
 uet "Tu parti mio," composed by Bertoni, do not figure in the libretto! 
 First performed as indicated, November 26, 1763. ML 50.2.C6 
 
 Cleopatra. Dramma per musica da rappresentarsi nel nuovo Regio 
 Ducal Teatro di Milano il carnovale delr anno 1779 . . . 
 Milano, Gio. Batista BiancJii, n. d. 56 p. 16\ cm . 
 
 Three acts. By Mattia Verazj. Dedication, preface, argument, scenario, cast, 
 and names of composer, Pasquale Anfossi, and librettist. 
 
 In the pref. Verazj speaks of his theories of libretto writing ("mi proposi pel mio 
 
 gimo drama un sistema") and criticizes prevailing methods at considerable length, 
 e begins by stating that to have written in this one year [17781 four librettos for 
 the same theatre and for the same actors was an unprecedented task. 
 
 First performed in January, 1779, as indicated. SCHATZ 278 
 
 Second copy. ML 48.A5 v.7 
 
 Cleopatra, ballet. See Borghi's Eumene. 
 
 La Cleopatra. Drama per musica di Giacomo dall' Angelo da rap- 
 presentarsi nel noviss. Theatre di S. Salvatore . . . 
 
 Venetia, Giacomo Batti, 1662. 77 p. 14 cm . 
 
 Three acts with prologue. Author's dedication and argument. The composer, 
 Daniele Castrovillari, is not mentioned. 
 
 First performed, as indicated, carnival, 1662. SCHATZ 1691 
 
 Cleopatra. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1776 . . . 
 
 Torino, Onorato Derossi, n. d. 64 p. 16% cm . 
 
 Three acts. Cesare Oliveri is mentioned as the author, Carlo Monza as the com- 
 poser of the opera, and Giuseppe Antonio Le Messier as the composer of the music for 
 Giuseppe Canziani's ballets, "La disgrazia opportuna," "Alceste & Admeto" (de- 
 scribed on p. 62-64), and "II trionto di Cesare in Egitto." 
 
 Argument, cast, scenario. On p. viii the note: "Si sono variate alcune arie dall' 
 originale." 
 
 First performed, as indicated, December 26, 1775. SCHATZ 6613
 
 OPERA LIBRETTOS 299 
 
 Cleopatra, regina d'Egitto. Dramma per musica da rappresen- 
 tarsi nel Teatro da S. Agostino il carnovale del 1795 . . . 
 
 Genova, Stamperia Gesiniana, n. d. 4 P* 14 cm > 
 
 Two acts. By Antonio Simone Sografi, who is not mentioned. Cast, scenario, and 
 name of Sebaetiano Nasolini as the composer. 
 
 First performed under the original title "La morte di Cleopatra," at Verona, Teatro 
 Nuovo, summer, 1791. SCHATZ 7023 
 
 La clochette, cornedie en un acte et en vers, melee d'ariettes; repre- 
 sente"e j>our la premiere fois, par les Comediens italiens ordinaires du 
 roi, le jeudi 24 juiilet 17%. Par M. Anseaume. La musique de 
 M. Duny. 
 
 Paris, la veuve Duchesne, 1766. 38 p. 19 cm . 
 
 Schatz and some opera dictionaries give the incorrect date of July 14. 
 
 SCHATZ 2836 
 
 - La clochette, comedie en un acte et en yers. Melee d'ariettes, par 
 M. Anseaume. Represented pour la premiere fois par les Comediens 
 italiens ordinaires du roi, le 24 juiilet 1766. La musique de M. Duny. 
 
 Paris, Duchesne, 1771. 40 p. 19 cm . 
 
 Cast. On p. 11-14, the ariette "Du printemps qui vient de renaitre;" 15-16, "Vous 
 n'me connoissez pas." SCHATZ 11692 
 
 - La clochette, comedie en un acte et en vers, melee d'ariettes, par 
 M. Anseaume. Represented pour la premiere fois par les Comediens 
 italiens ordinaires du roi, le 24 juiilet 1766. La musique de M. Dunv. 
 
 Paris, la veuve Duchesne, 1782. Jfi p. 19 cm . 
 
 Cast. Text the same as in the 1771 ed. SCHATZ 11693 
 
 Cloris und Tirsis in einem sing- und schaeffer-spiel fuergestellet 
 aus dem Hamburgischen Schau-Platz im jahr 1719. 
 
 [Hamburg], Gedruckt ~bey Caspar Jakhel, n. d. Unpaged. 19 cm . 
 
 German version, by D. Gazalof "Clori e Tirsi." The composer, Francesco Bartolo- 
 meo Conti, is not mentioned in the libretto, which contains German text throughout , 
 the -arias also being printed with Italian text. Argument. 
 
 First performed as "I satiri in Arcadia" (text by Pariati) at Vienna, Hoftheater, 
 August 28, 1714. SCHATZ 2196 
 
 Clo tilde. Dramma per musica da rappresentarsi nel Teatro Tron di 
 San Cassiano 1'autunno dell' anno 1748. 
 
 Venezia, Modesto Fenzo, 1748. 36 p. 14\ cm . 
 
 Three acts. Argument, cast, and scenario. Neither the author, Francesco Pasesa- 
 rini, nor the composer, Baldassare Galuppi, is mentioned. Possibly not all of the 
 music was by him. 
 
 First performed, aa indicated, November, 1748 (Pa van). SCHATZ 351(5 
 
 vLa Clo tilde. Drama per musica da recitarsi nel Teatro Tron a San 
 Cassano. Nouamente riaperto a uso d'opere 1'anno 1696 . . . 
 Venetia, Nicolini, 1696. 67 p. 15 cm . 
 
 Three acts. Dedication by the author, Giovanni Battista Neri, notice to the reader, 
 calling this "un parto di tre settimane," and giving the argument, scenario, and name 
 of Giovanni Mana Ruggeri as the composer. SCHATZ 9135
 
 300 LIBRARY OF CONGRESS 
 
 La Clotilde Continued. 
 
 Amar per vendetta. Drama per musica da recitarsi nel Teatro 
 
 di S. Moise. Nuouamente riaperto a uso d'opere 1'autunno dell' anno 
 
 1702. 
 
 Venezia, Marino Rossetti, 1702. 59 p. 15\ cm . 
 
 Three acts. Argument, scenario, and notice to the reader, informing him that for 
 want of time it was necessary to fall back on a work previously performed. This is. in 
 fact, Neri's La Clotilde text (music by Ruggeri, neither of whom is mentioned), but 
 with innumerable alterations, especially in the arias. SCHATZ 9136 
 
 Le club des bons-gens, ou, La reconciliation, comedie en vers et en 
 deux actes, melee de vaudevilles et d'airs nouveaux; repre"sentee 
 pour la premiere fois a Paris, au Theatre de Monsieur, aujourd' hui de 
 la rue Feydeau, les 24, 25 et 26 septembre 1791, interrompue en mars 
 1792- apres 46 representations; reprise au meTne theatre le quintidi 
 25 messidor, 1'an troisieme de la republique (lundi, 13 juillet 1795) 
 avec les corrections et additions ; pour la huitieme fois le 1 7 thermidor, 
 an 4. Paroles et airs du Cousin-Jacques. 
 
 Marseille , Mossy, cinquieme annee de la republique, [1796-97}. 
 56 p. 21% cm - SCHATZ 704 
 
 The coach drivers, a political comic-opera. Adapted to the music 
 of several eminent composers . . . 
 London, W. Flexney, 1766. 2 p. 1., 26 p. 2 fold. pi. 20\ cm . 
 
 Two acts. Ballad opera, the airs used in which are indicated by title. Author not 
 recorded. LONGE 298 
 
 The cobler: or, A wife of ten thousand. A ballad opera. In two 
 acts. As it is performed at the Theatre-Royal, Drury Lane. 
 
 London, T. Becket, 1774. % P- 1-, 36 p. 19\ cm . 
 
 Two acts. Cast and prefatory note by the author and composer, Charles Dibdin 
 who says: 
 
 "The hint of the subsequent trifle is taken from the Blaise le savetier of Sedan 
 [Sedaine], as is the hint of the club-scene from an essay of Dr. Goldsmith . . . The 
 pictures of low life I have in a manner considered myself obliged to draw as the proper 
 subjects for ballads, which, unless they are familiar, and have something like char- 
 acter and contrast, 'tis next to impossibility but they muet be dull and insipid." 
 
 The airs used by Dibdin are not indicated in the text. 
 
 First performed, as indicated, December 9, 1774. LONGE 32 
 
 The cobler of Castlebury. A musical entertainment, in two acts. 
 As it is performed at the Theatre Royal, Co vent-Garden. 
 London, G. Kearsley, n. d. 4 p. I., 35 p. 20 cm . 
 
 Cast and dedication in which the author, Charles Stuart (not mentioned) calls 
 this "my first dramatic essay." From the headings of the songs it appears that 
 William Shield contributed the overture and all of the music except "Air I. There's 
 nought can surpass," "Air VIII. A soldier is free from every care," both marked as 
 by [Jean] Gehot, and "Air XIII. Tune, I'll never leave thee. My Nancy, I love you 
 dear." "Air II. The blush of Aurora," words by Hartley, is marked as taken from 
 Shield's collection of songs, and "Air IV. Duet. Farewell, my Lapstone" as by 
 Shield and introduced at Dublin in "Love in a village." 
 
 First performed April 27, 1779, as indicated. LONGE 125 
 
 Le cocq de village, opera comique, par Monsieur Favart, represente 
 pour la premiere fois sur le Theatre du Fauxbourg Saint Germain, 
 le 31. Mars 1743. Nouvelle edition. 
 Paris, Praultjils, 1752. 44 p. 19\ cm . 
 
 One act. No airs printed in the text, but all indicated by timbres. The text is 
 the same as of the nouv. 6d. below. ML 50.2.C605
 
 OPEKA LIBRETTOS 301 
 
 Le cocq de village Continued. 
 
 Le cocq de village, opera-comique, en un acte; par M. Favart: 
 represent e pour la premiere fois sur le Theatre du fauxbourg S. Ger- 
 main, le 31 mars 1743. Nouvelle edition, augment 6e de la musique. 
 n. i., n. d. 80 p. 19 cm . (Theatre de M. Favart, Paris, Duchesne, 
 1763-77, t. vi.) 
 
 One act. Prose, vaudevilles, and airs, many of the latter printed in the text. Font 
 does not mention the composer. ML 49.A2F1 
 
 The coffee-house. A dramatick piece. As it is perform'd at the 
 Theatre-Royal in Drury-Lane. By His Majesty's servants . . . 
 
 London, J. Watts, 1737. 6 p. 1. (incl. front.) , 38, [2] p. 19 cm . 
 
 One act. By James Miller, who is not mentioned. The [2] p. contain publisher's 
 book-list, the p. 1. contain prologue, cast, book list and preface, in which the author 
 says that he has "printed the whole which was spoke in the representation," and 
 that a comparison with Rousseau's "Le caffe" would prove that this was his source 
 and would disprove the correctness of the general impression "that he hath repre- 
 sented the characters of a particular family who keep a considerable coffee-house in 
 this town, and of several persons who frequent it." 
 
 In the text are printed the airs of the "Song. Set by Mr. Henry Burgess, jun " : 
 "What dire misfortune hath befel," "Song" [without name of composer]: "Love 
 and drink, merry mortal," "Song. Set by Mr. Carey": "Yes, marriage sure must 
 be divine," "Song. Set by Mr. Carey"; "How brimful of nothing," "Song. Set 
 by Mr. Henry Burgess, Esq.: "Learn all from me," "Song. Set by Mr. Carey": 
 "What pleasures a coffee- house." 
 
 According to Genest, the piece was first performed January 26, 1738, which is 
 obviously too late. LONGE 59 
 
 Second copy, but lacking the [2] p. at end. LONGE 190 
 
 Le cognate in contesa. Dramma giocoso per musica di Egesippo 
 Argolide P. A. della Colonia Alfea. Da rappresentarsi nel Teatro 
 Gmstiniani in S. Moise 1 Pautunno dell' anno 1780. 
 
 Venezia, n. publ., n. d. 56 p. 17 cm . 
 
 Two acts. By Carlo Lanfranchi-Rossi. Cast, name of Francesco Zanetti as the 
 composer. With tho opera were performed Vincenzo Monari's ballets "II Tartaro 
 generoso" and "II Svizzero ingannato," the composers of the music not being men- 
 tioned. SCHATZ 11137 
 
 Colinette a la cour. A. T. of Gr6try's La double e"preuve. 
 
 Colombine Arlequin, ou Arlequin Colombine. Piece d'un acte. 
 Par M. le S * * *. Represented k la Foire de Saint Laurent 1715. 
 Le Theatre de lafoire, Paris, 1737, t. ii, pi, U5\-79 p. 17. 
 
 By Alain Rene" Le Sage. En vaudevilles, selected or composed and arranged by 
 Jean Claude Gillier, the "compositeur" of the theatre and printed at the end of the 
 volume in the "Table des airs. ML 48.L2 II 
 
 Colombine courtezan. A. T. of Cupid and Psyche. 
 
 Colombine-Nitetis. Parodie en un acte; melee de prose & de 
 vaudevilles. Repre'sente'e par les marionnettes de la troupe de Fran- 
 cisque, a la Foire Saint-Laurant en 1722. 
 
 Alexis Piron, Oeuvres complettes, Liege, 1776, v. 5, [51]-98 p. 17$ cm . 
 
 A parody of Danchet's tragedy of this title, according to Parfaict, who does not 
 record the composer and dates the parody March 7, 1723. PQ 2019. P6
 
 302 LIBRARY OF CONGRESS 
 
 II Colombo, overo L'India scoperta. Dramma per musica . . . 
 Da rappresentarsi nel Teatro di Tor di Nona 1'anno MDCXCL 
 
 Roma, Gio: Francesco Buagni, 1690. 97 (incl. 8 pi.}, [3] p. 13 cm . 
 
 Three acts. Text and music by Cardinal Pietro Ottoboni, who signs the dedica- 
 tion to the princess Maria Otthoboni [! on t.-p.] with the Arcadian name "Crateo 
 Pradelini." Argument and scenario, but not the cast. For further details see Wot- 
 quenne's catalogue or his source Ademollo. 
 
 The three additional, unnumbered pages contain aggiunta. Accordingly in I, 12, 
 was added the aria "Quel povero core," in II, 3, dialogue and the aria Madre non 
 piu languir," in II, 6, dialogue and the arias "Se t'invioli 6 mia tiranna," "Quei 
 lumi, quel labro," in II, 16, the duet "Se voi ch'io t'ami," and II, 12, was to be sung 
 after II, 13. SCHATZ 7371 
 
 Colombo nell' Indie, ballet. See Tritto's L'Artenice. 
 
 La colonia. Dramma giocoso per musica . . . 
 Parma, Stamperia reale, 1775. 56 p. 21 cm . 
 
 Three acts. Dedication by the author, Gian-Antonio Riva, dated Colorno, October 
 9, 1775, where and when this "operetta." was first performed. Composer not men- 
 tioned and unknown to Schatz. SCHATZ 11314 
 
 La colonie. French version of Sacchini's L'isola d'amore. 
 Die colonie. Tr. of Sacchini's La colonie. 
 
 II colonnello. Drama giocoso per musica da rappresentarsi nel 
 Teatro delle Dame nel carnevale dell' anno MDCCLXAVII . . . 
 Roma, Giovanni Bartolomicchi, n. d. 56 p. 15$ cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Argument, scena- 
 rio, cast and name of Giuseppe Heiberger as composer. ML 50.2.C61H3 
 
 II colore fa la regina. Drama per musica da rappresentarsi nel 
 Teatro Grimani di San Gio. Grisostomo Fanno MDCC. Di Matteo 
 Noris . . . 
 
 Venetia, Nicolini, 1700. folded front., 72 p. 14^ cm . 
 
 The title not on the t.-p., but on the frontispiece. 
 
 Three acts. Author's dedication, notice to the reader, and scenario. Carlo Fran- 
 cesco Pollaroli, the composer, is not mentioned. SCHATZ 8277 
 
 Columbus: or, A world discovered. An historical play. As it is 
 performed at the Theatre Royal, Covent-Garden. By Thomas Mor- 
 ton . . . The second edition. 
 
 London, W. Miller, 1792. 4 p. I, 66, [3] p. 21 cm . 
 
 Five acts, prologue, and epilogue. Prefatory note and cast. E 120. M88 
 
 Columbus : or The discovery of America. An historical play as 
 performed at the Theatre-Royal, Covent-Garden, London. By 
 Thomas Morton . . . 
 
 Boston, William Spotswood, 1794. 2 p. 1., 52, [3] p. 16\ cm . 
 
 Five acts, prologue, and epilogue. London cast. Last page contains Spotswood's 
 sales-list of "Plays, American editions." 
 
 First performed at London, as indicated, December 1, 1792. Entered here because 
 performed with incidental music by Alexander Beinagle, Philadelphia, New Thea- 
 tre, January 21. 1797. E 120.M885
 
 OPERA LIBRETTOS 303 
 
 II comando non inteso, et ubbidito. Drama per musica da rap- 
 presentarsi nel famosissimo Teatro Grimani di S. Gio. Grisostomo di 
 Francesco Silvani . . . 
 
 Venezia, Marino Rossetti, 1709. 72 p. 14% cm . 
 
 Three acts. Author's dedication dated Venice, February 6, 1709, argument, 
 notice to the reader, cast, scenario, and name of Antonio Lotti as composer. 
 
 SCHATZ 5716 
 
 Le combat nocturne, ou Les morts vivans. Opera bouffon en un 
 acte. Les paroles de M. Dancourt & la musique de M. Le Petit. 
 
 La Haye, Frederic Staatman, 1770. 40 p. 18 cm . 
 
 Cast. SCHATZ 5489 
 
 La comedie. Entree in Campra's Les Muses. 
 
 Les comediens ambulans, ope"ra comique en deux actes et en 
 prose; paroles de L. B. Picard; musique de F. Devienne; represente 
 pour la premiere fois sur le Theatre de la rue Feydeau, le 8 nivose 
 an 7. 
 
 Paris, Huet, an VII [1798-99]. 40 p. 20 cm . 
 
 First performed December 28, 1798. ML 50.2.C62D2 
 
 Les comediens corsaires. Prologue des deux pieces suivantes. 
 Represente a la Foire S. Laurent 1726. & ensuite sur le Theatre du 
 Palais royal. 
 
 Below the title this Advertissement: ' ' Ce prologue fut fait peu de temps apres lee 
 Comediens esclaves, come'die du theatre italien, & a 1'occasion du gout qui regne 
 depuis quelques annees dans les pieces tant francoises qu'italiennes, dans la plupart 
 desquelles on voit le fond & la forme des divertissements forains." 
 
 - L' obstacle favorable. Piece d'un acte. Represent ee a la 
 Foire S. Laurent 1726. & ensuite sur le Theatre du Palais royal. 
 
 Les amours deguisez. Piece d'un acte represent ee a la Foire 
 S. Laurent 1726 & ensuite sur le Theatre du Palais royal. 
 
 Le Theatre de lafoire, Paris, 1728, t. vi, 3 pi., [231}-372 p. 17 cm . 
 
 By Le Sage, Fuzelier and d'Orneval. Largely en vaudevilles, a few of which indi- 
 cated as composed by "M. 1'AbbeV' The airs, selected or composed and arranged by 
 Jean Claude Gillier, the " compositeur " of the company, are printed at the end of the 
 volume in the "Table des airs." 
 
 First performed September 20, 1726, as indicated. ML 48.L2V1 
 
 The comical history of Don Quixote. As it was acted at the 
 Queen's Theatre in Dorset Garden, bv Their Majesties servants. 
 Part I. Written by Mr. D'Urfey. 
 
 London, Printed for J. Darby. A. Betteswortk [etc}, 1729. iv, 5-91 p. 
 17 cm . 
 
 - The comical history of Don Quixote. As it is acted at both 
 theatres, bv Their Majesties servants. Part II. Written by Mr. 
 D'Urfey. 
 
 London, Printed for Jacob Tonson and for John Darby [etc.], 1729. 
 93}-194 p. 17 cm .
 
 304 LIBRARY OF CONGRESS 
 
 The comical history of Don Quixote Continued. 
 
 - The comical history of Don Quixote. With the Marriage of 
 Mary the Buxome. Part III . . . Written by Mr. D'Urfey. 
 
 London, Printed for John Darby, Arthur Bettesworth [etc], 1729. 
 [195}-295, [5] p. 17 cm . 
 
 The [5] p. contain booklists by J. Tonson and J. Darby. 
 The three parts are paged consecutively. 
 First part: Five acts. Dedication, prologue, epilogue, cast. 
 
 Second part: Five acts. Dedication, preface, prologue, epilogue, and cast. In 
 his preface Thomas Durfey takes issue with his critics, praises certain performers, and 
 
 "The rest of the characters in both the parts were likewise extremely well per- 
 formed, in which I had as much justice done me as I could expect; nor was the 
 musical part less commendable, the words everywhere being the best of mine in that 
 kind: and if in the whole, they could draw such audiences for so long time, in such 
 violent hot weather, I shall not despair, that when the season is more- temperate, to 
 see at their next representation, a great deal of good company. I have printed some 
 scenes both in the first and second parts, which were left out in the acting the play 
 and the musick being too long; and I doubt not but they will divert in the reading, 
 because very proper for the connexion . . ." 
 
 Third part: Dedication, prologue, epilogue, cast, and preface, in which Durfey 
 defends himself against the critics of some little distant obscenities and double 
 entendres" in his piece, etc., tries to explain its "miscarriage" by the "accidents 
 happening in the presentment," and says: 
 
 The songish part which I used to succeed eo well in, by the indifferent performance 
 the first day, and the hurrying it on BO soon, being straitned in time thro ill manage- 
 ment (tho extremely well set to musick, and I'm sure the just critick will not say ill 
 writ) yet being imperfectly performed, was consequently not pleasing, and the dances 
 too, for want of some good performers, also disliked: all which, tho impossible for me 
 to avoid, and not unreasonably to be attributed any way to a fault in me, yet the 
 noisy party endeavoured to use me as ill as if it were, till the generous opposition of 
 my friends gave me as much reason to thank them for their justice, as to despise the 
 others malice ..." 
 
 Whereas the score printed simultaneously with the performances in 1694 and 1696 
 (third part) says, "sett by the most eminent masters of the age" (parts I-II), and 
 (part III) "being the last piece set to musick by the late famous Mr. Henry Purcell: 
 and by Mr. Courtiville [Raphael Courteville], Mr. [Samuel] Akeroyd, and other 
 eminent masters of the age [John Eccles, colonel Pack, Morgan]," the libretto does 
 not even mention Purcell. LONGE 68 
 
 I comici Italian! alia China, ballet. See Cimarosa's I due supposti 
 conti. 
 
 La commedia in commedia. O. T. of Barlocci's libretto II vecchio 
 amante. 
 
 La commedia in commedia. Dramma giocoso per musica da 
 rappresentarsi nel Teatro Bonacossi da S. Stefano in Ferrara nell' 
 anno MDCCXLVII . . . 
 
 Ferrara, Bernardino Pomatelli, n. d. 72 p. 16 cm . 
 
 Three acts. Dedication by Eustacchio Bambini, who calls this his "secondo 
 dramma musicale giocoso," cast, and name of Gaetano Latilla as composer. The 
 text was really by Giovanni Barlocci. SCHATZ 5457 
 
 La commedia in commedia. Dramma giocoso per musica da rap- 
 presentarsi nel Teatro Tron di S. Cassiano. Nel carnovale dell' anno 
 1749. 
 
 Venezia, Modesto Fenzo, 1749. 48 p. 14$ cm . 
 
 Three acts. By Giovanni Barlocci. With cast and name of Rinaldo di Capua 
 as composer. 
 
 First performed at Rome, Teatro Valle, January 8, 1738. SCHATZ 8803
 
 OPERA LIBRETTOS 305 
 
 La commedia in commedia Continued. 
 
 - L'ambizione delusa. Drama giocoso per musica da rappresen- 
 tarsi nel Teatro Tron di S. Cassano il carnoyale dell' anno 1744. 
 Venezia, n. publ., n. d. 82 p. 17 cm . 
 
 A. much altered version of Giovanni Barlocci's "La commedia in commedia" aa 
 composed by Rinaldo di Capua, who is mentioned as composer in the 1744 version. 
 This plays in Livorno, the original in Florence, and in the cast of the 1744 version 
 appears "Fiorlindo, Parigino affettato amante di Lucinda," who is not in the original. 
 
 SCHATZ 8802 
 
 Conimedianti fortunati. Commedia per musica di Pasquale 
 Mililotti da rappresentarsi nel Teatro nuovo sopra Toledo per terza 
 opera di quest anno 1779. 
 
 Napoli, n. putt., 1779. 64 p. 15%. 
 
 Three acfs. Cast and name of Antonio Amicone as composer. SCHATZ 174 
 
 Comment faire?, ou, Les epreuves de misanthropic <*t repentir, 
 comedie en un acte, m61ee de vaudevilles, represented pour la 
 premiere fpis sur le Theatre du Vaudeville le 26 vent6se, an 7. par 
 les CC. Dejouy et Longchamps. 
 
 Paris, Le Libraire au Theatre du Vaudeville, an VII [1798-99], 
 48 p. 20 cm . 
 
 Cast. A few airs printed in the text, for instance, "No. 14. Air nouveau du C. 
 Jadin: Dans nos bals" and "No. 38. Air nouveau du C. Longchamps: A tout le 
 monde." Not recorded by either Cl. & L. or Schatz. 
 
 First performed, as indicated, March 16, 1799. ML 48.M2L 
 
 The "commodity excis'd: or, The women in an uproar. A new 
 ballad opera. As it will be privately acted, in the secret apartments 
 of vintners and tobacconists . . . By Timothy Smoke. 
 
 London, Printed for the author, and sold by T. Bancks, 1733. 1 p.L, 
 32 p. 19 cm . 
 
 Three acts and introduction. The airs are not even indicated by title. 
 
 LONOE 191 
 
 La compagnia d' opera a Nanchino. Drama giocoso da rappre- 
 sentarsi nell' interne Piccolo Teatro dsl Palazzo reale di S. M. u rd 
 di Prussia, il giorno 16. ottobre 1790. Composto da Antonio Filistri 
 de' Caramondani poeta della Real corte, e messo in musica dal Sign. 
 Felice Alessandri . . . 
 
 Berlino, Haude e Spener, 1790. 145 p. 15%. 
 
 German title-page "Die operisten in Nanking" and text face Italian. 
 
 Two acte. Cast. SCHATZ 143 
 
 II compimento di quattro desideri, ballet. See Anfossi's Ezio. 
 
 Compliment de la cloture de la Foire S. Laurent. See Jerosme 
 et Fanchonette. 
 
 Le comte d'Albert, drame en deux actes, en prose et en vers. Repre- 
 sent6 a Fontainebleau, le 13 novembre 1786, & a Paris, le 8 fevrier 
 1787, par les Comediens italiens ordinaires du roi. Les paroles, par 
 Mr. Sedaine ; la musique, par Mr. Gre'try. 
 
 Paris, et se trouve a Bruxelles, cliez Emmanuel Flon, 1787. 63 p. 
 22 cm . 
 
 Cast and Avertissement, in which Sedaine narrates how he came to dramatize de 
 la Fontaine's fable of the lion and the rat under the above title, and that he added 
 
 72251 VOL 114 20
 
 306 LIBRARY OP CONGRESS 
 
 Le comte d' Albert Continued. 
 
 a third act to the original two under the title of "suite" and, in fact, on p. 35-63 this 
 third act is printed as: 
 
 "Suite du Comte d' Albert, ope"ra-comique en un acte, en prose et en vere, mis en 
 musique. Compose" par les mdmes auteurs, & repr&ente" sur les memes theatres en 
 me"me-tems que le Comte d'Albert." ML 50.2.C64G7 
 
 - Le comte d'Albert, drame en deux actes, et en prose m61e" 
 d'ariettes. Repre'sente' a Fontainebleau, le 13 novembre 1786, & a 
 Paris, le 8 feVrier 1787, par les Come'diens italiens ordinaires du roi. 
 Les paroles par Mr. Sedaine, la musique, par Mr. Gretry. 
 
 Amsterdam, Cesar Noel Guerin, 1788. iv, [5]-52 p. 20\. 
 
 No cast, otherwise the same contents as above. ML 50.2.C64G8 
 
 - Arien und gesaenge aus dem singspiele Graf Albert, in drey 
 akten. Musik von Gretry. 
 
 Berlin, n. putt., 1798. 37 p. 15\ cm . 
 
 Cast. Tr. by Heinrich Gottlieb Schmieder, who is not mentioned. 
 First performed at Berlin, Kgl. Xationaltheater, January 2, 1799; at Mayence, 
 Nationaltheater, June 20, 1789. SCHATZ 4142 
 
 Comus, a mask: (Now adapted to the stage) as alter'd from Milton's 
 mask at Ludlow-Castle, wliich was never represented but on Michael- 
 mas-Day, 1634; before the Right Hon b ' e - the earl of Bridgewater, 
 Lord President of Wales. The principal performers were the Lord 
 Brackly, Mr. Tho. Egerton, the lady Alice Egerton. The musick was 
 composed by Mr. Henry Lawes, who also represented the Attendant 
 spirit . . . The second edition. 
 London, K. Dodsleij, 1738. 61, [2] p. 21 cm . 
 
 Three acta, prologue, and epilogue. Cast. The alterations of the text were by 
 John Dalton. The composer of this version, Thomas Augustine Arne, is not 
 mentioned. 
 
 First performed at London, Drury Lane, March 4, 1738. ML 48.M2E 
 
 - Comus, a mask: . . . [same as in 2d ed.] The third edition. 
 London, R. Dodsleij, 1738. 61, [2} p. 19. 
 
 Contents same as of the 2d ed. LCNOE 40 
 
 - Comus. A mask. By John Milton. Adapted for theatrical 
 representation, as performed first at the Theatre-Royal, Covent- 
 Garden, in the year 1744. Regulated from the prompt-book . . . 
 
 London, John Bell, 1791. front., 1 p.l., xii, [3], 16-66, [2] p. 15 cm . 
 (J. Bell, British Theatre, London, 1791-97, v. 2.} 
 
 The front, represents Miss Storace as Euphrosine in the opera, and is dated January 
 31, 1791. The 1 p. 1. is an added engraved title page, with a scene from the opera, and 
 is dated September 20, 1790. 
 
 Three acts, prologue, and epilogue. Biographical sketch of Milton, preface, edi- 
 torial comment, reading, in part: 
 
 "Comus, as it is here given, is an adaptation to the modern stage by the retrench- 
 ment of much dialogue, and the addition of many airs. That the poetry of this beau- 
 tiful piece suffers by a modern hand can be little doubted. Veneration for the author 
 might wish it in the original state; but a dramatic exhibition must please to be 
 repeated the aim should be to venture as little innovation as possible. The music 
 of Arne, in the modern Comus, is well known; it is as intelligent as modern music 
 can be . . ." 
 
 In the preface we read : 
 
 "In the year 1774 [? 1772] it was abridged, and has ever since been performed as an 
 afterpiece at the Theater-Royal in Covent-Garden ..." 
 
 Though in parts a trifle shorter than in the 1738 ed., the text is not George Colman's 
 abridged two-act version, but that of Dalton. PR 1241. B4
 
 OPERA LIBRETTOS 307 
 
 C omus Continu ed . 
 
 - Comus : a masque. Altered from Milton. In two acts. 
 [216]-230 p. 19 cm . (Collection of the most esteemed farces and 
 
 entertainments, t. iv, Edinburgh, 1792.} 
 
 Covent-Garden and Edinburgh (1782) casts. George Oolman's abridged version. 
 
 SCHATZ 11753 D 
 
 II conclave del MDCCLXXIV. Dramma per musica. Da reci- 
 tarsi nel Teatro delle Dame nel carnevale del MDCCLXXV . . . 
 
 Roma, Per il Cracas. AW insegna del silenzio. Con licenza ed 
 approvazione, n. d. 155 p. 18 cm , 
 
 Three acts. This satirical drama is attributed by Schatz to abbate Sertori, though 
 on p. 6 we read: "La poesia e in gran parte del celebre Sig. abate Pietro Metastasio." 
 Below this: "La musica del Sig. Niccolo Piccini," though, of course, the satire was 
 never composed or performed. Sertori simply used the two names then most in vogue. 
 German title-page "Das conclave von MDCCLXXIV," argument and text face 
 Italian. SCHATZ 8084 
 
 - Das conclave von MDCCLXXIV. Ein drama fuer die inusik. 
 Welches im carneval des 1775 sten jahres auf dem Theater delle 
 Dame aufgefuehret werden soil . . . 
 
 Rom. Bey Cracas. Im zeichen der verschwiegenheit, n. d. 78 p. 
 18 cm . 
 
 Merely a separate issue of the German translation in Schatz 8084. SCHATZ 8085 
 
 - II conclave del 1774. Dramma giocoso per musica. 1797. 
 Venezia, Anno primo della Liberia italiana, n. publ. 72 p. 16\ cm . 
 
 Three acts. A later issue of the above, again with Metastasio's and Piccinni's 
 names. SCHATZ 8132 
 
 La concordia della virtu, e della fortuna, poemetto drammatico 
 nel felicissimo giorno natalizio della Sac. Real Maesta di Amalia 
 Willehnina regina de' Romani. 
 
 Pietro Antonio Bernardoni, Poemi drammatici, parte terza, Vienna, 
 van Ghelen, 1707, p. 35~44. 16\. 
 
 Argument. The composer, Carlo Agostino Badia, is not mentioned. 
 
 First performed, as indicated, April 21, 1702. ML 49.A2B4 
 
 La concordia fra il tempo e la gloria. Componimento dramma- 
 tico da cantarsi in occasione che Sua Altezza Reale 1'arciduca Massi- 
 miliano di Austria onora della sua reale presenza la villa del cardi- 
 nale Alessandro Albani. 
 
 Roma, Salomoni, 1775. xix p. 27 cm . 
 
 Two parts. Neither author nor composer mentioned and both unknown to me. 
 
 ML50.2.C645 
 
 O conde de bello humor. Tr. of Bernardini's 11 conte di l^ell' 
 umore. 
 
 La confederazione de i Sabini con Roma. $<e M. Curzio. 
 
 Le confident heureux, opera-comique en un acte. Par M. Vade". 
 Represente, pour la premiere fois, sur le Theatre de TOpera-Comique 
 le 31 juillet 1755. 
 
 La Haye, Pierre Gosse junior, 1759. 78 p. 16 cm . (Vade, Oeuvres, 
 La Haye, 1759, t. ///.)
 
 308 LIBRARY OF CONGRESS 
 
 Lc confident heureux Continued. 
 
 En vaudeville. Cast. On p. 72-78, the "Airs choisis du Confident heureux:" 
 "Qu'importe & quel prix," "A 1'amour tout est possible," "Loin de 1'objet aim6," 
 "Un bon Gaillard joyeux." The arranger of the music not mentioned by Schatz. 
 
 ML 49.A2V2 
 
 - Le confident heureux, ope'ra-comique, en un acte, repre'sente', 
 pour la premiere fois, sur le Theatre de 1 Ope'ra-comique, le 31 juillet 
 1755. 
 Paris, la veuve Duchesne, 1766. 60 p. 19 cm . 
 
 On p. 53-60, the "Airs:" "Qu'importe a quel prix," "A 1'amour tout eet possible," 
 "Lore d'ici, et vous aussi," "Loin de 1'objet aim*'." SCHATZ 11486 
 
 La confusione della somiglianza ossiano I due gobbi. O. T. of 
 Portugal's La somiglianza ossiano I gobbi. 
 
 Le confusion! per la somiglianza. Dramma cornice > da rappre- 
 sentarsi in inusica nel Teatro di Monza 1'autunno dell' anno 1792 . 
 
 Milano, Gaetano Motta, n. d. 4 P- 1-i ?1> [#1 P- 
 
 The two add. p. contain the substitute duettino "Se piu il matto non farete" 
 (II, 1) and errata. Two acts, by Francesco Marconi, with impresario'sde dedication 
 dated November 7, 1792, scenario, cast, names of the composer, Luigi Crippa ("musica 
 tutta nuova ") and of the author and author's preface. In this Marconi states that he 
 has used with "pochissime variazioni" "una comedia in prosa di un ridicolo singo- 
 lare, che ha per titolo I due gobbi, parto felice del Sig. Luigi Del-Buono Fiorentino." 
 
 With the opera were performed Gherardo Cavazza'a ballets "La scoperta d'un 
 isola nell' America del capitano Durson Inglese" and "L'uomo effeminato." The 
 composer of the music is not mentioned. SCHATZ 2290 
 
 La congiura contro Galeazzo Maria Sforza Visconti. A. T. of 
 
 the ballet II Bruto milanese. 
 
 La congiura Pisoniana. Dramma per musica da rappresentarsi nel 
 Teatro Grande alia Scala il carnevale 1797 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 44 P- 
 
 Three acts. Dedication by the author Francesco Salfi, cast, scenario, and name 
 of Angelo Tarchi as the composer. With the opera were performed, the composers 
 of the music not mentioned, Paolino Franchi's ballets "Lucio Giunio Bruto and 
 " L'Albagia in fumo." SCHATZ 10215 
 
 Le congiure del duca di Guisa, ballet. See Bianchi's Demetrio. 
 The conquest of Mexico. Tr. of Vento's La conquista del Messico. 
 La conquista del Messico. A. T. of the ballet Guatimozin. 
 
 La conquista del Messico, drama per musica. Da rappresentarsi 
 sopra il Teatro di S. M. B. Travagliato sopra un nuovo piano da 
 Giovan Gualberto Bottarelli. La musica e' mtieramente nuova del 
 Signer Mattia Vento, maestro Napoletano . . .. The conquest of 
 Mexico . . . 
 London, W. Griffin, 1767. 39, [1] p. 19 cm . 
 
 Three acts. Argument, cast. Italian and English text. 
 
 First performed at London, Haymarket, 1767. ML 50.2.C65V2 
 
 La conquista del Peru. A. T. of the ballet II Pizarro nell' America. 
 
 La conquista del Peru ossia Amazile e Telesco, ballet. See Tarchi's 
 Aldemira.
 
 OPEKA LIBEETTOS 309 
 
 La conquista del vello d'oro. Drama per musica da rappresen- 
 tarsi nel Teatro dell' illustrissimo pubblico di Reggio in occasione 
 della fiera 1'anno MDCCXVII. 
 Reggio, Ippolito Vedrotti, 1717. 74 p., [1] p. 16 cm . 
 
 Three acts. Dedication dated Reggio, April 29, 1717, argument, cast, scenario, 
 and name of the composer, Marc Antonio Bononcini, but not of the librettist, conte 
 Niccol6 Minato. SCHATZ 1207 
 
 La conquista del vello d'oro. A. T. of Gazzaniga's Gli Argonauti 
 in Colco. 
 
 La conquista del vello d'oro. Dramma per musica da rappresen- 
 tarsi nel Regio Teatro di Torino nel carnovale del 1791 . . . 
 Torino, Onorato Derossi, n. d. mil, 60 p. 15\ cm . 
 
 Three acts. Argument, cast, scenario, and names of Giandomenico Boggio as 
 author, of Gaetano Isola as composer. On p. 54-60 description of Dpmenico Ballon's 
 ballets "L'incoronazione di Uladislao re di Polonia in re d'Ungheria," "Angelica e 
 Wilton," and "I due cacciatori e la venditrice di latte," music of all three by Giu- 
 eeppe Nucci. 
 
 First performed as indicated, December 26, 1790. SCHATZ 4905 
 
 La conquista del vello d'oro, ballet. See Nasolini's Tito e Berenice. 
 
 La conquista del vello d'oro. Drama per musica da rappresen- 
 
 tarsi nel Regio Teatro di Torino nel carnovale del 1745 . . . 
 
 Torino, Pietro Giuseppe Zappata ejiglio, n. d. 4 P- 1"> 56 P- 15 cm > 
 Three acts. Author not mentioned and unknown to Schatz. Perhaps Angelo 
 
 Can's text, as previously (1738) composed by Pescetti? 
 
 Argument, scenario, cast and names of Giuseppe Sordella as composer of the 
 
 opera, of Alessio Rasetti as composer of the three incidental ballets. SCHATZ 9961 
 
 La conquista di Granata. L. T. Curcio's La presa di Granata. 
 II consiglio fedele. See M. Curzio. 
 
 II consiglio di Giove, ballet. See Cimarosa's Le donne rivali. 
 Un consiglio per li vecchj, ballet. See Marinelli's Issipile. 
 
 The conspirators. A tragi-comic opera. As it was acted in Eng- 
 land and Ireland, without applause . . . 
 Carrickfergus, n. puU., 1749. 59 p. 19\ cm . 
 
 Neither author, composer, nor performance recorded by Clarence. LONGE 216 
 
 The constant lady. A. T. of The generous free-mason. 
 
 The constant maid; or, Poll of Plympton. A musical entertain- 
 ment in two parts. As performed at the Royalty Theatre, Well- 
 Close-Square. By the author of The Birth-day. 
 
 London, J. Jarvis, 1787. 2 p. 1., 36 p. 21 cm . 
 
 Cast. By O'Keeffe. The composer, Thomas Carter, is not mentioned. 
 
 Schatz, though incorrectly, it would seem, dates first performance Jan. 16, 1788. 
 
 LONGE 102 
 
 La contadina. O. T. of Hasse's Don Tabarrano. 
 
 La contadina astuta, ballet. See Paer's L'oro fa tutto.
 
 310 LIBRARY OF CONGRESS 
 
 La contadina astuta. A. T. and L. T. of Pergolesi's Livietta e 
 TracoUo. 
 
 La contadina filosofa, ballet. See, Alessandri's II vecchio geloso. 
 La contadina impertinente. A. T. of the ballet La vindemmia. 
 La contadina in corte. A. T. of the ballet II principe di Lago Nero. 
 
 La contadina in corte. Drama giocoso per musica da rappresen- 
 tarsi nel Teatro chiamato da rua dos Condes 1'anno 1765 . . . 
 
 Lislona, Pietro Ferreira, n. d. 7 p. 1., 133 p., [2] I. 16 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Dedication, argu- 
 ment, and scenario. Portuguese title, "A Aldeana em corte," and text face Italian. 
 On recto, of first P- 1- and on first additional leaf, the aria, "Con la mia villanella," 
 resp. "Com a minha Aldeana," transferred from II, 4 to II, 5. The composer, Gia- 
 como Rust, is not mentioned. 
 
 First performed at Venice, Teatro di San Mois<\ carnival, 1763. SCHATZ 9180 
 
 La contadina in corte. Operetta giocosa per musica da rappresen- 
 tarsi nei Teatri privilegiati di Vienna Fanno 1770. 
 
 Vienna, Giovanni Tomaso di Trattnem, n. d. Ifi P> 16% cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Sacchini is men- 
 tioned as the composer. 
 
 First performed at Rome, Teatro Yalle, carnival, 1765; and at Vienna for the first 
 time in 1767. SCHATZ 9211 
 
 - La contadina in corte. Dramma giocoso per musica da rappre- 
 sentarsi nel Ducal Teatro di Louisbourg . . . 
 
 Stuttgard, Erhard, 1771. 159 p. 16% cm . 
 
 Three acts. Cast, scenario, and name of Sacchini aa the composer. ("La musica 
 sara tutta nupva" [sic!]) German title-page, "Das bauren-maedgen am hofe," and 
 text face Italian. Neither the translator nor the person who expanded the text from 
 two to three acts is mentioned. 
 
 First performed, as indicated, in 1771. SCHATZ 9213 
 
 - Die baeurinn bey hofe, em kleines lustiges singspiel, aufge- 
 fuehret auf den privilegierten schaubuehnen in Wienn im Jahre 1767 
 und in das deutsche uebersetzet von J. A. E. v. G. 
 
 Wienn, gedruckt mit von Ghelischen schriften, n. d. Unpaged. 
 
 Two acts. Translated by J. A. edler v. Ghelen. Scenario, cast, and name of 
 Sacchini as the composer. Schatz calls this a "Separat-abdruck" of the German 
 translation in the 1767 Italian libretto. SCHATZ 9214 
 
 - Die geadelte baeuerinn. Ein komisches singspiel. Aufge- 
 fuehrt auf der Koenigl. Schaubuehne zu Prag in der fassnachtszeit 
 1774 unter der aufsicht des hr. Joseph Bustelli. 
 
 Prag, Johann Ferdinand Edl. v. Schoenfeld, n. d. 91 p. 15 cm . 
 
 Two acts. Scenario and name of Sacchini as the composer. Italian text faces 
 German. 
 
 First performed at Prague in 1767. SCHATZ 9212 
 
 La contadina in corte, ballet. See Sacchini's Armida.
 
 OPERA LIBRETTOS 311 
 
 La contadina incivilita. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro di San Samuele nel carnovale dell' anno 1775. 
 
 Venezia, Antonio Graziosi, 1775. 63 p. 17 cm . 
 
 Three acts. Cast, scenario, and name of composer, Pasquale Anfossi, but not of 
 librettist, who is unknown to Schatz. The first ballet, "Venere e Adone," was by 
 Giacomo Romoli. The composer of the music is not mentioned. A synopsis on 
 p. 5-6. SCHATZ 266 
 
 La contadina nel palazzo signorile. A. T. of the ballet Ninetta. 
 La contadina semplice. O. T. of I capricci in amore. 
 
 La contadina semplice. Commedia per musica da rappresentarsi 
 nel Real Teatro del Fondo di Separazione nel carnovale dell' anno 
 1790. 
 
 Napoli, n. publ., 1790. 4$ p. 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Gaetano Marinelli as the composer. SCHATZ 5954 
 
 La contadina spiritosa, ballet. See Zingarelli's Quinto Fabio. 
 
 La contadina superba owero II giocatore burlato. Farsa per 
 musica da rappresentarsi nel Real Teatro di Salvaterra nel carnovale 
 dell' anno 1776. 
 
 [Lisbona}, Stamperia reale, n. d. 75'p. lJ+\ cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Scenario, cast, and 
 name of Pietro Guglielmi as the composer. 
 
 First performed at Rome, Teatro Valle, carnival 1774. SCHATZ 4295 
 
 Le contadine bizzarre. Dramma giocoso per musica da rappre- 
 sentarsi ne' Teatri privilegiati di Vienna il carnovale dell' anno 1767. 
 Vienna, Ghelen, n. d. 80 p. 16 cm . 
 
 Three acts. By Guiseppe Petrosellini, who is not mentioned. Cast, scenario, 
 and name of Niccold Piccinni as the composer. 
 
 First performed at Venice, Teatro di S. Samuele, fall 1763. SCHATZ 8086 
 
 - La sciocchezza in amore. Dramma giocoso per musica di 
 Ensildo Prosindio P. A. da rappresentarsi nel Teatro dell' Accademia 
 vecchia [Verona] nell' autunno dell' anno MDCCLXIV ... 
 Venezia, Modesto Fenzo, 1764. 70 p. 14$ cm . 
 
 Three acts. Dedication, cast, and name of Niccol6 Piccinni as the composer. 
 This is Petrosellini 's "Le contadine bizarre" with many differences at least from 
 the Vienna, 1767, edition. For instance, though the dialogue of the first four scenes 
 is largely the same, the arias are different and Venezia, 1764, has in the first scene 
 "Ah d'ascoltar gi& parmi " instead of "Destrier, che all' armi usato," etc. On p. 5-8 
 are enumerated seven "mutazioni di arie." SCHATZ 8087 
 
 Le contadine furlane. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro Giustiniani di S. Moisd il carnovale dell' anno 1771 
 dell' abbate Pietro Chiari. 
 
 Venezia, Antonio Grazioli, 1771. 64 p. 18. 
 
 Three acts. Cast, scenario, and name of the composer, Antonio Boroni. Pages 
 3-4, presumably containing dedication and argument, wanting. SCHATZ 1252 
 
 II conte Baccelone. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Giustiniani di San MOIS& nell autunno dell' anno 1774. 
 Venezia, Antonio Graziosi, 1774- @4 P- 17 cm .
 
 312 LIBRARY OF CONGRESS 
 
 II conte Baccellone Continued. 
 
 Three acts. "La Contessina," by Marco Coltellini (not mentioned) with altera- 
 tions. Cast, scenario, and name of Giacomo Bust as the composer. On p. 31-32 
 description without name of the composer of the music of Francesco Caselli s "Ver- 
 tunno e Pomona." The other ballet, by Francesco Martini, was called "Diogene 
 tentato, ma non vinto dall' amore." SCHATZ 918 
 
 II conte Caramella. 
 
 [52}-106 p. 16% cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. Hi, Torino, 1757.) 
 
 Three acts. ML 49.H2G6 
 
 - II conte Caramella. Dramma di tre attiper musica. Rappre- 
 sentato per la prima volta in Verona 1'anno MDCCXLLX. 
 
 Carlo Goldoni, Opere-teatrali, Venezia, Zatta e figli, 1788-95, t. 4, 
 [219}-274 p. 18 cm . PQ 
 
 II conte Caramella. Opera. Dramma giocosa [!] in musica di 
 Pplesenno Tecio, Pastor Arcade. Da rapp resent arsi nel Teatro di 
 Piazza nella nobbile citta di Vicenza nella nera presente 1759 . . . 
 
 Vicenza, n. pub., 1759. 50 p. lJ& cm . 
 
 Three acts. By Goldoni. Dedication, cast, scenario, and name of Baldassare 
 Galuppi as composer. 
 
 First performed at Verona, Dec. 18j 1749. SCHATZ 3446 
 
 - II conte Caramella, dramma giocoso per musica, da rappresen- 
 tarsi nel Nuovo Teatro in Dresda T'anno MDCCLV. Der graf Cara- 
 mella . . . 
 
 [Dresden], Gedruckt ~bei der . . . Stoesselin und . . . Johann Carl 
 Krausen, n. d. 143 p. 17 cm . 
 
 Three acts. Cast, scenario, and name of Galuppi as composer. German text 
 faces Italian. The differences between this Dresden, 1755, and the Vicenza, 1759, 
 libretti are few. For instance, in the latter the aria of I, 5, reads "Speranza e il piu 
 bel dono," at Dresden it was "Scherza il nocchier tallora." This was taken from 
 Metastasio's Demetrio." SCHATZ 3447 
 
 Lo co. de Scrignano. Commeddeja redicola pe mmuseca, de Tom- 
 maso Mariani, Romano. Da rappresentarese a lo Triato nuovo 
 ncoppa Toleto nchisto carnevale de st'anno 1729 . . . 
 
 Napoli, Agnolo Vocola, n. d. 76 p. 14% cm > 
 
 Three acts. Impresario's dedication, argument, cast, and name of Costantino 
 Roberto as composer of the second act only. The composers of the two other acts are 
 not mentioned. SCHATZ 8837 
 
 II conte di Belfiore. Intermezzo per musica a tre voci da rappre- 
 sentarsi nel Teatro Tron di S. Cassiano. Nel carnovale dell' anno 
 1749. 
 
 Venezia, Modesto Fenzo, 1749. 17 p. 14% cm . 
 
 Two parts. Cast. Author and composer not mentioned, and unknown to Schatz. 
 
 SCHATZ 11315 
 
 II conte di bell' umore. Intermezzi per musica a cinque voci da 
 rappresentarsi nel Teatro della Palla Corda di Firenze [ !] nel carne- 
 vale dell' anno 1783. 
 
 Roma, Puccinelli, n. d. 56 p. 15\ cm . 
 
 Two acts. Cast and name of Bernardini (Marcello di Capua) as composer, who 
 also wrote the libretto (Schatz). SCHATZ 844
 
 OPERA LIBRETTOS 313 
 
 II conte di bell' umore Continued. 
 
 - II conte di bell' umore. Azione comica per musica da rappre- 
 sentarsi nel Teatro in parte piccola della Reggia citta di Praga nella 
 casa del conte Thun. Nell' autunno dell' anno 1783. 
 
 n. i., n. d. 167 p. W\. 
 
 German title-page "Der graf bey guter Laune," and text face Italian. Marcello 
 di Capua (Bernardini) is mentioned as composer. SCHATZ 831 
 
 - II conte di bell' umore : Dramma giocoso per musica, da rappre- 
 sentarsi nel Teatro della rua Dos Condes, nella primavera dell' anno 
 1791. 
 
 Lisbona, Antonio Rodrigo GaThardo, 1791. 161 p. 14% cm - 
 Two acts. Cast. Portuguese title, "O conde de bello humor," and text face 
 Italian. Bernardini (Marcello di Capua) is mentioned as composer. SCHATZ 843 
 
 II conte di Cutro. Drama civile fatto rappresentare da' Signori 
 Accademici del Casino sotto la protezione del sereniss. principe 
 Francesco Maria di Toscana. 
 
 n. i., n. d. p. [509}-616. 15\. 
 
 - Three acts. By Giovanni Andrea Moniglia, and evidently detached from his 
 " Poesie drammatiche," third part (1690) which is not in our set. Author's unsigned 
 preface, argument, name of the composer; Lorenzo Cattani, and on p. 606-616 a 
 " Dichiarazione de i proverbi e vocaboli propri degli abitatori del contado, e quella 
 plebe Fiorentina adoprati nel presente drama. 
 
 First performed, as indicated, November 12, 1683, the birthday of Francesco Maria 
 di Toscana, which the opera was to celebrate. SCHATZ 1712 
 
 II conte di Saldagna. Tragedia per musica da rappresentarsi nel 
 Teatro Grande alia Scala la primavera dell' anno 1787 . . . 
 Milano, Gio. Batista Bianchi, n. d. 68 p. 16\ cm . 
 
 Three acts. By Ferdinando Moretti, who is not mentioned. Dedication, argu- 
 ment, cast, scenario, and name of Angelo Tarchi as the composer. 
 
 First performed, as indicated, June 10, 1787. SCHATZ 10216 
 
 Second copy. ML 48.A5 v. 7 
 
 II cpnte di Saldagna. Tragedia per musica da rappresentarsi nel 
 nobilissimo Teatro La Fenice il carnovale dell' anno 1795. 
 Venezia, Modesto Fenzo, 1795. 62 p. 18 cm . 
 
 Three acts. By Ferdinando Moretti, who is not mentioned. Argument, cast, 
 scenario, and name of Nicola Antonio Zingarelli as the composer. On p. [49]-62, 
 argument, cast, and description of Onorato Vigan6's "Le Amazzoni, ballo eroico panto- 
 mimo favoloso," music ("tutta nuova") by Antonio Holler. SCHATZ 11242 
 
 II conte immaginario. Intermezzo per musica da rappresentarsi 
 nel Teatro Tron di S. Cassiano, nelT autunno dell' anno 1748. 
 Venezia, Modesto Fenzo, 1748. 21 p. 14\ cm . 
 
 Two acts. Cast and name of composer, Pietro Auletta, but not of librettist, who 
 is unknown to Schatz. SCHATZ 501 
 
 II conte Nespola, intermezzo. See Galuppi's Scipione nelle Spagne. 
 
 II conte Policronio ovvero Le bugie hanno le gambe corte. Farsa 
 in prosa con musica che si rappresenta per la prima volta nel Teatro 
 della Real villa del Poggio a Cajano . . . dalla comica compagnia di 
 Pietro Andolfati nell' autunno del 1791. 
 
 Firenze, Ant'Gius. Pagani e comp., 1791. 4 8 P- 16 cm - 
 Two acts. "II libretto e del sig. G. S. [Gaetano Sertor?] -La musica e tutta nuova 
 del Sig. Giuseppe Moneta." Impresario's dedication and cast. SCHATZ 6551
 
 314 LIBRARY OP CONGRESS 
 
 The contention of the laurel. A. T. of The battle of the poets. 
 
 La contesa de' Numi. 
 
 [429}-44& P- 19 cm . (Pietro Metastasio, Opere drammatiche, Vene- 
 zia, Giuseppe Bettinetti, 1733-37, v. 2.) 
 
 One act. No composer mentioned. Note on p. 431: "La seguente feata teatrale 
 fu rappresentata in Roma in occasione della nascita del Real Delfino." 
 
 ML 49.A2M4 
 
 - La contesa de' Numi. 
 
 Metastasio, Poesie, Parigi, vedova QuiUau, 1755, t. vi, [433]~459 p. 
 16 cm . 
 
 One act. ML 49.A2M42 
 
 - La contesa de' Numi. Festa teatrale scritta dell' autore in Roma 
 1'anno 1729, ad istanza del cardinale di Polignac . . . e sontuosa- 
 mente rappresentata la prima volta con musica del Vinci nelF orna- 
 tissimo cortile del palazzo di Sua Eminenza, per festeggiare la nascita 
 del Real Delfino di Francia. 
 
 [395}-416 p. 26 cm . (Pietro Metastasio, Opere, t. 4, Parigi, vedow 
 Herissant, 1780.) 
 
 Two parts. ML 49.A2M44 
 
 Le contese di Pallade e Venere sopra il bando d'Amore. In- 
 
 trodutione accademica rappresentata sti la sala dell' Ercole nel Palazzo 
 publico. Poesia del Sig. aottor Bianchini. 
 Bologna, per gl'HH. d' Evangelista Dozza, n. d. [23 p.} 19\ cm . 
 
 In a prefatory note we are told that certain noblemen wished to honor ""Cardinal 
 Caraffa, dignissimo Legato di questa citta " with an 
 
 "Accademia di belle lettere, accompagnandola con 1'armonia della musica. E 
 perche fu mai sempre opinione, che non possa darsiim vero seguace della virtu, che 
 non habbia prima dal petto essigliato Amore, venne giudicato proporre ci6 per pro- 
 blemma. Cosi BU la sera delli 29 del corrente doppo essersi radunati nella eala dell' 
 Ercole del Palazzo publico li SS. Accademici Gelati, ed altri virtuosi, come ancora 
 quantita di cavaglieri, e di dame, comparve I'Eminentissimo e Reverendissimo Sig. 
 Cardinal Legato . . . ciascuno de quali dopo essersi posti ne proprii luoghi a sedere, 
 al suorto d'una bellissima sinfonia di varij stromenti musicali, si diede pnncipio . . ." 
 
 This is followed by another note in which "Gio. Paolo Colonna organista in S. 
 Petronio " is mentioned as the composer. As Colonna was appointed to this position 
 in 1659 and became the choirmaster on Nov. 1, 1674, the date of this scenic "pro- 
 blemma " is at least approximately fixed. The imprimatur at end is not dated. 
 
 ML 50.2.C66C6 
 
 Le contese domestiche. Farza per musica a tre voci da cantarsi in 
 Asinahmga nell' autunno dell' anno 1769 in occasione, che gli Accade- 
 mici Smantellati recitano nel loro teatro la tragedia intitolata II 
 Temistocle . . . 
 
 Siena, Francesco Rossi, n. d. 24 p- 16$ cm . 
 
 Two parts. Author unknown to Schatz. Dedication dated Asinalunga, October 
 10, 1769, cast, and name of "Baldassare Galuppi, Napolitano," as composer. 
 
 SCHATZ 3448 
 
 Le contese per amore. O. T. of Deller's Eigensinn und launen der 
 liebe. 
 
 La contessa di Amalfi. Dramma giocoso per musica, da rappre- 
 sentarsi nel Teatro Elettorale. 
 
 Dresda, n. pull., 1794. 141 p. 15\ cm .
 
 OPERA LIBRETTOS 315 
 
 La contessa di Amalfi Continued. 
 
 Two acts. By Giovanni Bertati, who is not mentioned. German title-page "Die 
 graefinn von Amain" and text face Italien. Joseph Weigl is mentioned as the 
 composer. 
 
 First performed at Dresden, December 13, 1794; at Vienna as "La principessa di 
 Amalfi " at the Burgtheater, January 10, 1794. SCHATZ 10945 
 
 La principessa di Amalfi. Drainma giocoso in due atti. 
 Berlino, Haude e Spener, n. d. 127 p. 15 cm . 
 
 Oast and names of Giovanni Bertati as author, of Joseph Weigl as the composer. 
 First performed at Charlottenburg, Schlosstheater, June 19, 1796. SCHATZ 10946 
 
 La contessa di Bimbinpoli. Dramma giocoso per musica da rap- 
 presentarsi nel Teatro della rua dos Condes in Lisbona nell' carnevale 
 dell' anno 1773. 
 
 [Lisbona}, nella stamperia reale, n. d. 83 p. 17 cm . 
 
 Three acts. By Giovanni Bertati. Cast, scenario, and names of composer, Gen- 
 naro Astaritta, and librettist. 
 
 First performed at Venice, carnival 1772. SCHATZ 368 
 
 - II divertimento in campagna. Dramma giocoso per musica 
 da rappresentarsi nel Teatro di S. A. E. di Sassoma. 
 
 Dresda, n. pull, 1783. 109 p. 15% cm . 
 
 Two acts. Name of Astaritta as composer. German t. p. "Der zeitvertreib auf 
 dem lande, ein scherzhaffes singspiel " and text face Italian, which is that of Bertati's 
 "La contessa di Bimbinpoli." SCHATZ 369 
 
 La contessa di Novaluna. Dramma giocoso per musica di Gio- 
 vanni Bertati da rappresentarsi nel nobilissimo Teatro Giustiniani di 
 S. Moise per la seconda opera dell' autunno 1786. 
 Venezia, Gio. Battista Casali, n. d. 68 p. 17 cm . 
 
 Two acts. Composed by Vincenzo Fabrizj who is not mentioned. Impresario's 
 dedication, cast and scenario. SCHATZ 2975 
 
 La contessina. 
 
 [4$]-78 p. 16\ cm . (Carlo Goldini, Opere drammaticJie giocose, t. iv, 
 Torino, 1757.) 
 
 Three acts. 
 
 It is sometimes stated that Coltellini's "La contessina" is based on Goldoni's text. 
 True, the characters are practically the same and so is the dialogue of II, 2 "La 
 voglio far" (at least in Schatz 3613) but otherwise most, if not all, the recitatives and 
 arias seem to be different. ML 49.A2G6 
 
 - La contessina. Dramma di tre atti per musica. Rappresentato 
 per la prima volta in Venezia nell' anno MDCCXXXVI. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta ejigli, 1788-95, v. 38, 
 [127}-163 p. 18\. 
 
 The earliest performance I find recorded is that in 1743 with Macari's music. PQ 
 
 La contessina. Dramma giocoso per musica da rappresentarsi nel 
 Teatro delle Dame il carnevale dell' anno 1773 . . . 
 
 Roma, Lorenzo Corradi, n. d. 76 p. 15^ cm . 
 
 Three acts. By Marco Coltellini, who is not mentioned. Impresario's dedica- 
 tion, scenario, cast and name of Marcello di Capua (Bernardini) as composer. 
 
 First performed as indicated, February 1773. ML 50.2.C665B3
 
 316 LIBRARY OF CONGRESS 
 
 La contessina. Dramma giocoso per musica da rappresentarsi nel 
 magnifico Teatro della Nobile Accademia degli Erranti in Brescia per 
 la nera d'Agosto 1774 . . . 
 
 Brescia, Fratelli Pasini, n. d. 75 p. 15\ cm . 
 
 Three acts. By Marco Coltellini. Impresario's dedication and remark: "La 
 musica parte e del Sig. Floriano Gusman [Gassmann], parte d'altri celebri maestri." 
 Consequently a pasticcio. 
 
 First performed with Gassmann 's music at Vienna, 1771. SCHATZ 3613 
 
 La contessina. Drama giocoso per musica da rappresentarsi nel 
 Regio Teatro. Den unge grevinde. Et lystigt synge-spil . . . 
 
 Kiobenhavn, H. J. Grane, 1778. 133 p. 16\ cm . 
 
 Three acts. By Marco Coltellini, who is not mentioned. Cast and name of Gass- 
 xnann as the composer. Danish text faces Italian. 
 
 First performed, as indicated, March 26, 1778. SCHATZ 3614 
 
 II superbo deluso. Dramma giocoso per musica da rappresen- 
 tarsi nel Real Teatro di Salvaterra nel carno vale dell' anno 1774. 
 
 [Lisboa], Nella stamperia reale, n. d. 75 p. 14 cm - 
 Three acts. A somewhat condensed and altered version of Coltellini's "La con- 
 tessina." Scenario, cast, and name of Florian Leopold Gassmann as the composer. 
 First performed under this later title at Turin, Teatro Carignano, fall, 1772. 
 
 SCHATZ 3621 
 
 La contessina. Comedia per musica da rappresentarsi nel Teatro 
 Grimani di S. Samuele dalla Compagnia de' Comici il carnovale dell' 
 anno 1743. 
 
 Venezia, Modesto Fenzo, n. d. 36 p. 15\ cm . 
 
 Three acts. Neither the author, Carlo Goldini, is mentioned nor the composer 
 Giacomo Macari, to whom a contemporary hand contributes the music. 
 
 SCHATZ 5809 
 
 La contessina. Dramma giocoso per musica da rappresentarsi nel 
 magnif. Teatro Filarmonico di Verona 1'autunno dell' anno 1775 . . . 
 Verona, Dionisio Ramanzani, 1775. 64 p- 16% cm . 
 
 Three acts. Impresario's dedication, cast, scenario and names of Marco Coltel- 
 lini as the author, of Niccol6 Piccinni as the composer. SCHATZ 8149 
 
 Les contrastes. A. T. of Beffroy de Reigny's Les deux charbon- 
 niers. 
 
 II contrasto de fiumi Serchio di Lucca; Tebro di Roma; Ronco 
 di Ravenna. Dramma musicale decantata alle glorie dell' illustriss. 
 e Reyerendiss. Monsig. Fabio Guinigi arcivescovo di Ravenna, in 
 occasione delle Theologiche conclusioni dedicateli dal P. lettore 
 Lorenzo Mario Bonatti Florentine Carmelitano, sotto 1'assistenza del 
 Rev. P. maestro Gio. Antonio Fioriti Lucchese . . . 
 Bologna, Giosefo Longhi, 1674. *% P- % cm - 
 
 Four parts. Hardly a "dramma musicale." ML 48.A5 v.5 
 
 II contra tempo. A. T. of Gnecco's Auretta e Masulto. 
 
 I contrattempi. Commedia per musica da rappresentarsi nel 
 Teatro di Monza 1'autunno dell' anno 1781 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 72 p. 15 cm . 
 
 Three acts. By Nunziato Porta, who is not mentioned. Dedication, cast, scenario, 
 and name of Giuseppe Sarti as the composer. On p. 8, the note:
 
 OPERA LIBRETTOS 317 
 
 I contratempo Continued. 
 
 "A compimento dell' azione, e del libro si e stampato il terzo atto, benche per 
 brevita non si reciti." 
 
 First performed at Venice, Teatro di S. Samuele, November, 1778. SCHATZ 9429 
 
 - I contratempi. Dramnia giocoso per musica da rappresentarsi 
 nel Piccolo Teatro di S. A. E. di Sassoma. 
 
 Dresda, n. publ, 1781. 131 p. 16 cm . 
 
 Two acts, Porta's third act having been dropped. Other differences between the 
 Milano ed. and this are noticeable. For instance, I, 4 opens with the aria, "Non 6 
 sempre la femmina un male," instead of, as at Dresden, with "La mia Bella m'ha 
 detto di n6. " German title-page, ' ' Die zwischenfaelle, ' ' and text face Italian . Sarti 
 is mentioned as the composer. 
 
 First performed, as indicated, January 10, 1782. SCHATZ 9430 
 
 - Gli equivoci svelati. Dramnia giocoso per musica da rappresan- 
 tarsi nel Nuovo Teatro in Vicenza . . . 
 
 Padova, Gio. Antonio Conzatti, 1786. 47 p. 17 cm . 
 
 Two acts. This is Porta's "I contratempi" text, with the usual alterations. For 
 instance, Padova ed. has I, 6 "Cerco invano in questoistante"; Milano has "Tortorelia 
 abbandonata," like Dresden. Impresario's dedication, cast, and name of Giuseppe 
 Sarti as the composer. 
 
 First performed, as indicated, December 26, 1786. SCHATZ 9431 
 
 II contra weleno. A. T. of Andreozzi's La principessa filosofa. 
 
 II contra weleno. Farsa giocosa per musica. Poesia di Giuseppe 
 Foppa da rappresentarsi nel nobilissimo Teatro Venier in San Bene- 
 detto Pautunno dell' anno 1799. 
 Venezia, Fenzo, 1799. 40 p. 18 cm . 
 
 One act. Cast, scenario, and name of Francesco Gardi as the composer. After the 
 farce, Giovanni Monticini's ballet, "La pescatrice in Jassa," music by Vittorio Trento, 
 was performed. 
 
 First performed November 7, 1799, as indicated. SCHATZ 3547 
 
 La contribuzione sforzata, ballet. See Galuppi's Sofonisba. 
 
 The contrivances: a ballad opera. 
 
 [183}-212 p. 22 cn . (Henry Carey,. Dramatick works, London, 
 1743.} 
 
 One act. The words of the air "Without affectation, gay, youthful and pretty" 
 were "by another hand." On p. 212 the statement: "All the songs in this opera 
 were set to music by the author." Consequently this is not a ballad opera in the 
 usual sense. ML 49.A2C2 
 
 First performed at London, Drury Lane, August 9, 1715. 
 
 - The contrivances : a ballad opera ; full of curious songs, by the 
 facetious and witty Harry Carey. As it is now acting at the Theatre- 
 Royal in Covent-Garden, and at Dublin, with great applause . . . 
 The seventh edition. 
 
 London, T. Lownds, 1 765. 35 p. (incl. front.) 16%. 
 
 One act. According to Tufts, the play was called a farce in the 1715 ed., in that 
 of 1731. a comifarcical opera, and in that of 1743 ballad opera. LONGE 69 
 
 - The contrivances. By Mr. Henry Carey. 
 
 [282]-300 p. 19 cm . (Collection of the most esteemed farces and 
 ( ntertainments , t. ir, Edinburgh, 1792.) 
 
 Covent-Garden cat. SCHATZ 11753
 
 318 LIBRARY OF CONGRESS 
 
 II convalescents innamorato, ballet. See Martin y Soler's Le 
 burle per amore. 
 
 II convalescente innamorato, ballet. See Pio's Medonte. 
 
 La conversazione. Dramma di tre atti per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, v. 4, 
 [5}-46 p. 18 cm . PQ 
 
 For first performance see entry below under Scolari. 
 
 La conversazione. By Jommelli. See his L'accademia. 
 
 La conversazione. Drama giocoso per musica di Polisseno Fegejo, 
 Pastor Arcade. Da rappresentarsi nel Teatro Grimani di S. Samuele 
 il carnovale dell' anno 1758. 
 
 Venezia, Modesto Fenzo, 1758. J$ p. 15 cm . 
 
 Three acts. By Goldoni. Cast, scenario, and name of Giuseppe Scolari as the 
 composer. SCHATZ 9794 
 
 O convidado de pedra. A. T. of Gazzaniga's Dom Joao. 
 II convitato, ballet: Gluck. See Calvi's Ezio. 
 
 II convitato di pietra. See also Bernardini's L'ultima che si perde 
 la speranza. 
 
 II convitato di pietra, ballet. See Bertoni's Tancredi. 
 
 II convitato di pietra. Dramma giocoso per musica da rappresen- 
 tarsi nel nobile Teatro Tron di San Cassiano nel carnovale dell' anno 
 1777. 
 
 Venezia, Gio. Battista Casali, 1777. 62 p. 18^ cm . 
 Two acts. Author unknown to Schatz. Cast, scenario, and name of Giuseppe 
 Callegari as composer. SCHATZ 1511 
 
 II convitato di pietra. A. T. of Fabrizj's opera "Don Giovanni 
 Tenorio." 
 
 II convitato di pietra. A. T. of Gazzaniga's II Don Giovanni. 
 II convitato di pietra, ballet. See Gazzaniga's Tullo Ostilio. 
 
 II convitato di pietra, o sia II dissolute. Dramma tragicomico. 
 Da rappresentarsi ne' Teatri privilegiati di Vienna 1'anno 1777. 
 Vienna, Giuseppe nobile de Kurzbeck, n. d. 52 p. 1 7 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Scenario and name 
 of Vincenzo Bighini as the composer. 
 
 First performed at the Kaernthnerthor Theatre, as indicated, August 21, 1777. 
 
 SCHATZ 8789 
 
 - II convitato di pietra, o sia II dissoluto. Dramma tragicomico. 
 Praga, n. pull, 1777. Ill p. 15% cm . 
 
 Three acts. Without names of the author and the composer, Vincenzo Bighini. 
 
 German t.-p. "Das eteinerne gastmahl, oder Der ruchlose" and text face Italian, 
 which is not exactly the same as in the Vienna, 1777, version. For instance, the 
 latter does not have before the final scene with the "coro di lurie" the farcical scene 
 between "Coralline ed Arlechino." The text is. of course, neither that by Da Ponte 
 nor that by Bertati. SCHATZ 8781 
 
 First performed at Prague, Kgl. Theater i. d. Kotzen, 177-7-;"-
 
 OPERA LIBRETTOS 319 
 
 II cpnvitato di pietra, ballet. See Ferd. Rutini's II matrimonio 
 per industria. 
 
 II convito; or, The banquet: a new comic opera. As performed at 
 the King's Theatre in the Hay Market with alterations and additions, 
 by Signer A. Andrei, the music entirely new, by Signer Bertoni. 
 
 London, H. Reynell, 1782. 77 p. 20 cm . 
 
 Two acts. Cast. English translation faces Italian text, which is an altered ver- 
 sion of Filippo Li vigni's libretto. SCHATZ 910 
 
 II convito. Dramma giocoso per musica da rapprespentarsi nel 
 Piccolo Teatro di S. A. E. di Sassonia. 
 Dresda, n. putt., 1783. 131 p. 15\ cm . 
 
 Two acts. By Filippo Livigne (not mentioned). Cimarosa is mentioned as 
 the composer. German title-page "Das gastmahl " and text face Italian. 
 
 First performed at Dresden, as indicated, in 1783; at Venice, Teatro di S. Samuele, 
 carnival, 1782. SCHATZ 1915 
 
 II convito. Dramma giocoso per musica da rappresentarsi nel 
 Regio Teatro di S. Carlo della Principessa Pautunno dell' anno 1796. 
 Lisbona, Sim. Taddeo Ferreira, 1796. 151 p. 15 cm . 
 
 Two acts. By Filippo Livigni (not mentioned). Cast and name of the composer, 
 Cimarosa. T.-p. and p. 149-151 supplied in ms. Portuguese text faces Italian. 
 With the opera was performed Pietro Angiolini'g "II Bohtario reso sociabile per 
 amore, ballo d'invenzione." The composer of the music is not mentioned. 
 
 SCHATZ 1914 
 
 II convito di Cesare, ballet. See Bianchi's Morte di Cesare. 
 
 Le convulsion!. Seconda farsa. 
 26-48 p. 15 cm . 
 
 See ' ' Amor* non ha riguardi e Le convulsion! Farse in musica di Giuseppe Palomba 
 da rappresentarsi nel Teatro de' Fiorentini per quart' opera dell' anno 1787," Napoli, 
 n. publ., 1787. One act. Cast and name of Giuseppe Curcio as composer. 
 
 SCHATZ 2299 
 
 Cook, ossia Gl' Inglesi in Othaiti, ballet. See Mayr's Lodoiska. 
 
 The cooper. A musical entertainment. In two acts. By Dr. Arne. 
 [217}-237 p. 19 cm . (Collection of the most esteemed farces and 
 entertainments, t. vi, Edinburgh, 1792.} 
 
 Hay-market cast, where the opera was first performed, June 12, 1772. Arne is 
 also the reputed author of the text. SCHATZ 11753F 
 
 La coquette de village, ballet. See Bernasconi's Didone abbando- 
 nata. 
 
 La coquette sans le scjavoir, opera comique en un acte. 
 
 Paris, Prault fils, 1750. 44 p. 19 cm . (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. vii.) 
 
 Cast. "M. Rousseau de Toulouse" is mentioned in the pref. of the first volume 
 as Favart'e collaborator. The piece is en vaudevilles. 
 
 First performed at Paris, Foire St. Germain, February 23, 1744. ML 49.A2F1 
 
 - La coquette sans le savoir, opera-comique, en un acte, de MM. 
 Favart & Rousseau. Nouvelle Edition. 
 
 Paris et se vend a Toulon, chez J. L. R. Mallard, 1772. J^O p. 
 
 \ cm . 
 
 One act. En vaudevilles. ML 48.M2M
 
 320 LIBRARY OF CONGRESS 
 
 La coquette trompee, come'die lyrique; pur M. Favart; representee 
 pour la premiere fois a Fontainebfeau, sur le Theatre de la cour, par 
 ordre de Sa Majeste, le 13 nov. 1753. Et & Paris, par 1'Acade'mie 
 royale de musique, le mardi 8 aout 1758. 
 
 ?.. i., n. d. 40 P- 19 cm . (Theatre de M. Favart, Paris, Duchesne, 
 1763-77, t. i.) 
 
 Cast. The composer, Dauvergne. is not mentioned. Many of his airs are printed 
 in the text. "La coquette trompee was the third act in a ballet called "Lea fetes 
 d'Euterpe," the first of which, "La sibylle" (see "La sibille"), was written by Mon- 
 crif, the second, "Alphee et Areihuse, by Danchet, music of both by Dauvergne. 
 
 ML 49.A2F1 
 
 Cora. Ein singspiel [vignette]. 
 
 Leipzig, Dykische bucTihandlung, 1781. 5 p. 1., 75 p. [1] p. errata. 
 19 cm . 
 
 On last p. 1.: 
 
 "Nach schwedischem text: Der musik, welche herr Naumann, churfurstl. sach- 
 sischer wirklischer kapellmeister zu Dresden, in Schweden fur das konigliche Theater 
 komppnirt hat, untergelegt." 
 
 This note refers to Gudmund Goran Adlerbeth'stext, "Coraoch Alonzo" (based on 
 Marmontel's "Les Incas ou La destruction de 1'empire du Perou"), and its setting by 
 Naumann for the inauguration of the Royal Operahouse, Stockholm, September 30, 
 1782. 
 
 The p. 1. contain a preface signed by the author of the German text [Johann Leopold] 
 N[eu]m[an]n and dated "Bl -[aselwitz, den 26 sten august 1780." It is addressed 
 to the composer, and is about as adulatory as possible. Neumann says, for instance: 
 
 "Ueberall, wo sanfte herzen schlagen, segne man Ihren namen: wo die tonkunst 
 tempel hat, stehe Ihr denkmal bey Handel und Marcello!" 
 
 The only remark historically important is this: 
 
 "Sie wissen, mein theurester freund, wie fest ich's beschlossen hatte, meinen 
 deutschen text au Ihrer Cora schlechterdings nie von Ihren noten su trenneu, und 
 offenlich einzeln abdrucken zu lassen, weil ich vollkommen uberzuegt bin, dass 
 dieser text alles, was er seyn kann, lediglich durch Ihre komposition, ohne Ihre musik 
 aber, als ein auch zum lesen bestimmtes poetieches produkt, dem publikum nie interes- 
 sant seyn konnte. Die vorstellungen einiger freunde Ihrer Cora, dass der einzeln 
 gedruckte text das singen aus dem klavierausuge, wenn zumal bey den choren mehrere 
 pereonen aus einem exemplare singen sollten, nicht nur erleichtem, sondern auch 
 sogar dabey unentbehrlicn seyn wurde, haben mich endlich iiberredet, meinen 
 vorsatz su andern ..." 
 
 The German version was first performed at Schwedt (Brunswick), Hoftheater, 
 Sept. 20, 1786; previously at a concert, Dresden, Hotel de Pologne, March 15, 1780. 
 
 SCHATZ 7042 
 
 - Cora. Ein singspiel in drey akten. Abdruck fur die subscriben- 
 ten zur auffuhrung dieser oper, im jahr 1781 zu Dresden, im Hessi- 
 schen saal. 
 
 tern 
 
 n.i.,n.d. 6 p. I. ,72 p. 16 C 
 
 The preface is identical with that in Schatz 7042, except that it is now signed 
 "Neumann." On the last p. 1. an "Anmerkune:" 
 
 "Das im dritten akt aur der 65 seite befindliche Chor der priester und des volks 
 
 ["Wie? heilig ^raues recht"], und die letzte arie der Cora, in eben diesem akte, 
 "Trube tage stiller klage,"] stehen im schwedischen originate nicht. Beyde stucke 
 hat der verfasser des deutschen textes neu geschrieben, und herr Naumann com- 
 ponirt." SCHATZ 7042a 
 
 - Cora. Eine grosse herolsche oper von Naumann. 
 Danzig, gedruckt in der MueUerschen officin, n. d. 32 p. 15 cm . 
 
 SCHATZ 7042b 
 
 Cora o La vergine del sole, ballet. See Tarchi's Le Danaidi.
 
 OPERA LIBRETTOS 321 
 
 La cordonniere allemande. A. T. of Fridzeri's Les souliers 
 morsdore's. 
 
 - La Corilda overo L'amore trionfante della vendetta. Drama per 
 musica da rappresentarsi nel Teatro Zane di S. Moise 1'anno 
 MDCLXXXVIII . . . 
 
 Venetia, Francesco Nicolini, 1688. 52 p. 14\ cm . 
 
 Three acts. Dedication, argument, scenario, and printer's notice to the reader, 
 referring to the unknown author as follows: 
 
 "Questo drama e parto d'un ingegno peregrine, che gode di essere conoeciuto piu 
 dai versi, che dal nome." 
 
 For this reason alone Alacci's "Poesia di di versi" is incorrect, apart from the fact 
 pointed out by Wotquenne that the anonymous dedication is signed "Humiliss . . . 
 servo." Wotquenne remarks that in the Brussels copy a contemporary hand has 
 added, as author's name, that of Paolo Emilio Badi. SCHATZ 8887 
 
 II Corindo. Favola boschereccia rappresentata in musica, nella 
 villa di Pratolino. 
 
 Frenze, Vincenzio Vangelisti, 1680. 4$ [1] p. 15- 
 Three acts. Neither the author, Giuseppe Giacomini, is mentioned, nor the com- 
 poser, who is unknown to Schatz. 
 
 First performed, as indicated, September, 1680. SCHATZ 11316 
 
 II Coriolano. Dramma musicale fatto cantare da' signori convittori 
 delle camere maggiori del nobil collegio Tolomei di Siena nel carnevale 
 dell' anno MDCCVI. 
 
 Siena, Bonetti, 1706. 40 p. 14 cm . 
 
 Three acts. Argument. Not recorded by Allacci or Schatz. Perhaps composed 
 by Giuseppe Fabbrini, if still music-master at the college in 1706. 
 
 ML 48. A5 v. 46 
 
 Coriolano. Tragedia per musica da rappresentarsi nel Regio Teatro 
 di Berlino . . . 
 
 Berlino, Haude e Spener, 1782. 75, [3] p. 17 cm . 
 
 Three acts. Based on a prose sketch of Frederick the Great, by Leopoldo de 
 Villati. He is mentioned as the author, and Carl Heinrich Graun aa the composer. 
 Cast, argument, and scenario. German title-page, "Coriolanus," and text face 
 Italian. 
 
 Performed, as indicated, in January, 1782; first performed there December 3, 1749 
 (Schatz), December 19, 1749 (Mennicke). SCHATZ 4093 
 
 Coriolanus. Tr. of Graun's Coriolano. 
 Corisca e Satire, intermezzi. See Spand's Elisa. 
 
 La corona. Azione teatrale, scritta dall' autore in Vienna Fanno 
 1765 . . . e posta in musica dal Gluck; da rappreseutarsi nell' 
 interne dell' Imperial corte dalle Altezze Reali di quattro arciduchesse 
 d'Austria . . . per festeggiare il giorno di nome dell' augustissimo 
 loro genitore, del quale Fimprovvisa perdita non permise la rappre- 
 sentazione. 
 
 [119}-148 p. 26 cm . ( Metastasio, Opere, t. xi, Parigi, vedova Heris- 
 sant, 1782.} 
 
 One act. ML 49.A2M44 
 
 72251 VOL 114 21
 
 322 LIBRARY OF CONGRESS 
 
 La corona d'lmeneo. Serenada cantata per le felicissime nozze di 
 Sua Eccellenza Maxim. Clemente Giuseppe Maria Francesco de' conti 
 del S. R. I. de Seinsheim . . . colF illustrissima Signora Maria Anna, 
 baronessa di Franckenstein etc. La musica & del Signer Guglielmo 
 Kiiffner . . . 
 
 Wirzburgo, vedova di Gioseppo Antonio Nitribitt, 1772. 21 p. 
 
 %. 
 
 The author is not mentioned, and is unknown to Schatz. SCHATZ 5283 
 
 La cpronatipne d'Apollo per Dafne conversa in Lauro, inter- 
 mezzi in musica del Sig. Silvestro Branchi, Academico Ravvivato, 
 detto il Costante, per la sua opera intitolata, FAmorosa innocenza, 
 recitata nel Salone. A' gFillustriss. Signori li Signori Fabio Gozadini 
 confaloniero [etc, etc] dignissimi Antiani per il primo bimestre dell' 
 anno 1623. II compositore della musica e il Signor Ottavio Vernizzi. 
 Bologna, per gli eredi di Gio. Paolo Moscatelli, 1623. Unpaged. 
 
 Four intermezzi, preceded by the author's dedication to the gentlemen mentioned 
 in the title, evidently his patrons. It is dated February 1, 1623. 
 
 In it Branchi calls his pastoral comedy "L'amorosa innocenza" and the present 
 intermezzi: 
 
 "opere d'un vostro sudditto, e divoto servidore, le quali per la stanchezza de' 
 miei pensieri sepolte nell' oblio, non potevano piu risorgere, se non col vostro benigno 
 e potete favore, comparendo, come fanno, con tanta splendidezza sopra il Teatro 
 soHto del Salone ... 
 
 This somewhat mysterious statement is easily explained, since comparison proved 
 the present text to be practically identical with that of his "Coronatione d'Apollo. 
 Per Dafne convertita in Lauro. Balletto in musica," which formed part of his " Tral- 
 tenimento rmisicale d'Apollo con il Reno," Bologna. Moscatelli, 1621 (ML 52.2.T7), 
 performed "nelle nozze sonttuose" of count Federico Rossi di S. Secondo and Donna 
 Orsina Pepoli. The text was then simply in six scenes ("Uscita" 1-6) and in the 
 sixth Apollo addressed about two pages to the bride and groom beginning with the 
 line "Da te mi parto, o generoso heroe." In the 1623 edition the text is divided 
 into four "intermizzi" with nine scenes, the first "uscita" of each intermezzo being 
 preceded by a "sinfonia" as also the second "uscita" of the third and the third 
 "uscita" of the fourth intermezzo. The text calls this last "Settima sinfonia. In 
 cielo," but actually allusion is made only to six sinfonies. Apollo's compliments 
 to the count and countess Rossi have been dropped (the line "Ogni parte miglior de 
 la mia vita" being followed immediately by "Belle Naiadivezzose") but the 1623 
 version did not end with the line "E del bel lauro il preg^io ogn'hor s'awiva." In- 
 stead, "La fama. Volando per aria in diversa maniera" sings after that "Felsina, tu 
 vedesti," etc. SCHATZ 10715 
 
 Coronazione d'Apollo e Dafne, ballet. See Bertoni's Sesostri. 
 
 Coronis, pastorale heroique. Representee par F Academic royale 
 de musique. Suivant la copie imprim^e a Paris. 
 
 [Amsterdam, Antoine Schelte], 1692. 36 p. (incl. front.) 13%.^ 
 
 Prologue and three acts. Neither the author, Chappuzeau de Beauge", nor the 
 composer, Teobaldo di Gatti (called Theobald) is mentioned. 
 
 First performed, as indicated, March 23, 1691. ML 50.2.C 67 G2 
 
 - Coronis, pastorale heroique representee par FAcademie royale de 
 musique Fan 1691. Les paroles sont de M. Bauge & la musique de 
 M. Theobal. XXVII. opera. 
 
 n. i., n. d. front., p. 113-154- (Recueil general des opera, v. iv, 
 Paris, 1703.) 14% cm . 
 
 Detached copy. Three acts with prologue. 
 
 SCHATZ 3632. 
 Second copy. ML 48. R4
 
 OPERA LIBRETTOS 323 
 
 II Corrivo. Commedia per musica di G. M. D.[iodati] da rappresen- 
 tarsi nel Teatro Nuovo sopra Toledo per prim' opera nella primavera 
 di quest' anno 1787. 
 
 Napoli, n. publ., 1787. 52 p. 15 cm . 
 
 Two acts. Cast and name of Giuseppe Giordan! as the composer. SCHATZ 3839 
 
 Le corsaire de Sale. Piece d'un acte. Par M re . le S * * & 
 j>Or * *. Represent e a la Foire Saint Laurent 1729. 
 Le Theatre de lafoire, Paris, 1731, t. vii, pi, [241}-294 p. 17 cm . 
 
 By Le Sage and d'Orneval. Largely en vaudevilles. The airs, selected or com- 
 posed and arranged by Jean Claude Gillier, the "compositeur" of the company, are 
 printed at the end of the volume in the "Table des airs." 
 
 First performed August 20, 1729, as indicated. ML 48.L2VII 
 
 La Corsala. Commedia per musica di Giambatista Lorenzi, P. A. 
 da rappresentarsi nel Teatro de' Fiorentini nell' autunno del corrente 
 anno 1771. 
 
 Napoli, Vincenzo Flauto, 1771. 84 p. 15 cm . 
 
 Three acts. Argument, scenario, cast and name of Niccolo Piccinni as composer. 
 
 SCHATZ 8121 
 
 II corsaro algerino. Comedia per musica da rappresentarsi nel 
 Teatro de' Fiorentini nell' autunno di quest' anno 1765. 
 
 Napoli, Bernardo Lanciano, 1765. 4 P- ^., 60 p. 14? cm - 
 
 Three acts. Argument, cast, name of Gennaro Astaritta as composer, and notice 
 by the printer: 
 
 'La presente comedia, si rappresento nel Teatro Nuovo nell' anno 1726, ora corn- 
 parisce per seconda volta su questo de' Fiorentini. ... La troverai per altro vario 
 dalla prima edizione ma ci6 & addivenuto per moderarlo al buon gusto moderno; 
 che per ci6 si e dovuto cambiare 1'idioma napoletano in toscano ... 11 tutto si e 
 fatto accomodare dal Signer D. Giuseppe Palomba . . . 
 
 Florimo does not mention the 1726 performance, nor the original author, who is 
 also unknown to Schatz. SCHATZ 377 
 
 La corte. Dramma morale di Francesco Sbarra, rappresentato in 
 musica per intermezzi in Lucca nel Teatro de Borghi 1 anno 1657. 
 n.i.,n.d. [162]-192 p. 
 
 Detached copy. Four intermezzi, with argument, but without name of the com- 
 poser, Marco Bigongiari. SCHATZ 1036 
 
 Una cosa rara. A. T. of the ballet Lilla e Lubino. 
 
 Una cosa rara o sia: Bellezza ed onesta. Dramma giocoso in due 
 atti. Da rappresentarsi nei Teatri di Praga 1'autunno dell' anno 1787. 
 Vienna, n. publ., n. d. 86 p. 15\ cm . 
 
 Two acts. Lorenzo da Ponte is mentioned as the author, Vincenzio Martin (Mar- 
 tin y Soler) as the composer. 
 
 First performed at Vienna, November 17, 1786. SCHATZ 6015 
 
 - Una cosa rara o sia Bellezza ed onesta. Dramma giocoso per 
 musica da rappresentarsi nel Teatro di S. A. E. di Sassoma. 
 
 Dresda, n. publ, 1787. 163 p. 16 cm . 
 
 Two acts. Martin y Soler is mentioned, Da Ponte not. German title page 
 "Die seltenheit, oder Schoenheit und tugend" and text face Italian. 
 
 First performed at Dresden, Churf. theater, April 12, 1788. SCHATZ 6017
 
 324 LIBRARY OF CONGRESS 
 
 Una cosa rara Continued. 
 
 Bellezza ed onesta. Dramma gipcoso per musica da rappresen- 
 tarsi nel nobilissimo Teatro Giustiniani in S. Mois6 per la prima opera 
 del carnovale dell' anno 1788. 
 
 Venezia, Gio. Battista Casali, n. d. 64 p. 18 cm . 
 
 Two acts. Martin y Soler is mentioned, but Da Ponte not. Cast added in 
 pencil. SCHATZ 6030 
 
 - La cosa rara ; a new comic opera, in two acts, as performed at the 
 King's Theatre, in the Hay-Market, the music entirely new by Signor 
 Martini; under the direction of Mr. Mazzinghi. 
 
 London, C. Eiherington, 1789. 2 p. I, 106 p. 19\ cm . 
 Cast. English translation faces Italian text. Added to the libretto, a [4] p. "List 
 of the subscribers to the boxes at the King's Theatre, 1789." ML 48.M2M 
 
 - Una cosa rara o sia Bellezza ed onesta. Dramma giocoso per 
 musica da rappresentarsi nel Regio Teatro di via della Pergola la 
 prima vera del MDCCXCI . . . 
 
 Firenze, Stamperia Albizzinina, 1791. 67 p. 16% cm . 
 
 Two acts. Cast and names of " Vincenzo Martin " (Martin y Soler) and Da Ponte. 
 With the opera was performed (composer of the music not mentioned) the ballet, "II 
 trionfo d'Ercole in Troia o sia Esione liberata." ML 48. A5 v. 16 
 
 Gesaenge aus dem singspiele: Cosa rara, oder Der seltne fall, in 
 zwey aufzuegen. Aus dem italienischen. In musik getzt von herrn 
 Martini. 
 
 n i., 1797. 40 p. 15\ cm . 
 
 German version by Ferdinand Eberl, who is not mentioned. SCHATZ 6019 
 
 Etwas seltsames oder Schoenheit und ehrbarkeit. Ein lustiges 
 singspiel in zwey aufzuegen fuer das Kais. Koen. Hoftheater. 
 
 Wien, Joseph Edler von Kurzek, 1787. 86 p. 16 cm . 
 Translator not mentioned, and unknown to Schatz. Da Ponte and Martin y Soler 
 are mentioned. SCHATZ 6016 
 
 - Arien aus der so grossen und beruehmten opera Una cosa rara osia 
 Bellezza ed onesta. Die seltne sac he oder bchoenheit und tugend 
 aus dem italiaenischen in zwey aufzuegen von abbate da Ponte. Die 
 musik ist von hr. Vinzenz Martini . . . Zum erstenmale in deutscher 
 sprache von der Wilhelmischen gesellschaft in Baaden aufgefuehret. 
 
 Wien, mit Hraschanzkyschen schriften, 1787. 35 p. 15 cm . 
 Cast. (Bound with Dittersdorf's "Betr\ig durch aberglauben," Schatz 2587.) 
 
 The siege of Belgrade. See Title. 
 
 La cosa rara, ballet. See Tarchi's Lo spazzacamino principe. 
 
 Cosi fan tutte o sia La scuola degli amanti. Dramma giocoso in 
 due atti da rappresentarsi nel Teatro di corte 1'anno 1790. 
 
 Vienna, La societa tipografica, n. d. 84 p- 16 cm . 
 
 Two acts. Lorenzo da Ponte is mentioned as the author, "Wolfgango Mozzart" 
 (Mozart) as the composer. 
 
 First performed, as indicated, January 26, 1790. SCHATZ 6762
 
 OPERA LIBRETTOS 325 
 
 Cosi fan tutte o Continued. 
 
 . Cosi fan tutte o sia La scuola degli amanti. Dramma giocoso 
 
 per musica, da rappresentarsi nel Teatro di S. A. E. di Sassoma. 
 
 Dresda, n. puU., 1791. 147 p. 15% cm . 
 
 Two acts. Da Ponte is not mentioned; Mozart is. German title page, "Eine wie 
 die andere oder Die echule der liebhaber," and text face Italian. 
 
 First performed, as indicated, October 5, 1791. SCHATZ 6763 
 
 - Cosi fan tutte. Eine machts wie die andere oder Die schule 
 der liebhaber. Ein komisches singspiel in zwey aufzuegen. Aus 
 dem italienischen des abbate de la Ponte. Die music ist von Mozart. 
 
 Breslau, Grassische stadt-buchdruckerey , n. d. 4? P- I4\ cm - 
 Two acts. German text only. 
 
 First performed at Breslau, Waser'sches Theater, January 16, 1795; at Berlin, 
 National-theater, August 3, 1792. SCHATZ 6764 
 
 - Gesaenge aus der Schule der liebhaber oder Eine ist "wie die 
 andere. Eine komische oper aus dem italienischen von abate da 
 Ponte, ins deutsche frei uebersetzt. Die musik dazu ist von Mozart. 
 Aufgefuehrt von der Mihuleschen Gesellschaft. 
 
 Augsburg, n. publ., 1794- Unpaged. 15\ cm . SCHATZ 6765 
 
 - Weibertreue, oder Die maedchen sind von Flandern. Ein 
 komisches singspiel in zwey akten, mit musik von Mozart. Nach 
 Cosi fan tutte frey bearbeitet, von C. F. Bretzner. 
 
 Leipsig, FriedricJi GottJiold Jacobaer, 1794. 4 p. 1., 88 p. 15 cm . 
 
 In his "Vorbericht," Bretzner says: 
 
 "Bey der bearbeitung habe ich mir einige abweichungen und abkuerzungen 
 erlaubt, die ich im deutschen gewande fiir nothwendig hielt 
 and, 
 
 "Zwar erinnre ich mich gelesen su haben, dass sie [die oper] bereits an einigen 
 orten deutsch, ohne grossen effekt gegeben worden: allein entweder war die ueber- 
 setzung gar zu elend, oder es lag die schuld an der ausfuehrung. Man lasse sich nicht 
 abschrecken, wenn der effekt bey der ersten auffuehrung nicht ganz der erwartung 
 entspraeche, die man sich da von gemacht hatte; man hoere sie nur mehreremal, und 
 ich bin gewiss, man wird . . . sich nicht satt daran hoeren koennen." 
 
 First performed at Leipzig, Theater am Rannstadter Thore, 1794. SCHATZ 6766 
 
 Gesaenge aus der oper: Die wette, oder Maedchenlist und lie be, 
 in vier acten. Nach Cosi fan tutte, von C. F. Brezner. Die musik ist 
 von Mozart. 
 
 Hamburg, Friedrich Hermann Nestler, n. d. 55 p. 16 cm . 
 
 First performed at Hamburg, Theater beim Gansemarkt, July 6, 1796. 
 
 SCHATZ 6767 
 
 - Veddemaalet eller Elskernes skole. Et syngestykke af abbe" da 
 Ponte. Efter befaling forandret og oversat til Wolfgang Mozarts 
 musik af Adam Gottloo Thoroup. 
 
 Kifibenhavn, J. F. Morihorstes Enke, 1798. 96 p. 15 cm . 
 
 First performed at Copenhagen, October 19, 1798. SCHATZ 6768 
 
 Cosroe. Drama per musica da recitarsi nel Teatro Alibert pe'l car- 
 nevale dell' anno 1723. Presentato alia Maesta di Giacomo III. 
 Re della Gran Brettagna. [!!] 
 
 Roma, Bernabb, 1723. 72 p. 16 cm . 
 
 Three acts. Dedication, argument, scenario, cast, name of Antonio Pollaroli'ae 
 the composer, and notice to the reader, which reads, in part:
 
 326 LIBRARY OF CONGRESS 
 
 Cosroe Continued. 
 
 "Codesto componimento drammatico; uscito dalla famosa penna d'uno de' piu 
 eruditi poeti de nostri tempi. E ben per6 giusto, che a tua cognizione pervenga non 
 esserei in conto arcuno mutato il presente libro, ma essere tale, quale 6 stato recitato 
 altre voltre, a riserva di pochi verei, e di alcune ariette, cssendo convenuto il farlo per 
 accomodarsi alia presente occasione." 
 
 This notice refers to Apostolo Zeno's "Ormisda." 
 
 "Cosroe" was first performed at Rome, as indicated, December 28, 1722. 
 
 SCHATZ 8267 
 
 Costantino. 
 
 Apostolo Zeno,Poesiedrammatiche, Venezia, 1744, t- i x , P- [101]-199. 
 19 cm . 
 
 Five acts. Argument. Written in collaboration with Pietro Pariati. No com- 
 poser is mentioned. In the "Catalogo " at end of t. x, date and place of first ed. are 
 given as Venice, 1711. ML 49.A2Z3 
 
 - Costantino. Pubblicato per la prima volta in Venezia 1711. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. xi, p. 100. 
 21 cm . 
 
 Five acts. Argument. No composer is mentioned. Written in collaboration 
 with Pietro Pariati. ML 49.A2Z4 
 
 Costantino. Drama da rappresentarsi per musica nel Teatro Tron 
 di S. Cassano Fautunno dell' anno 1711 . . . 
 Venezia, Marino Rossetti, 1711. 72 p. 15 cm . 
 
 Five acts. By Apostolo Zeno and Pietro Pariati, who are not mentioned as authors, 
 but Pariati signed the dedication. Argument, cast, scenario, and name of Carlo 
 Francesco Gasparini as the composer. SCHATZ 3589 
 
 II Costantino Pio. Dramma posto in musica dal Signer Carlo 
 Francesco Pollaroli, e rappresentato in Roma 1'anno MDCCX. 
 Roma, Antonio de' Rossi, 1710. 90 p. 14 cm . 
 
 Three acts. Argument and scenario. The author not mentioned, and unknown 
 to Schatz. 
 
 First performed, as indicated, at the Sala de' Signori Capranica. SCHATZ 8278 
 
 La costanza affricana soccorsa dalT arte magica, ballet. See 
 Galuppi's Sofonisba. 
 
 La costanza combattuta in amore. Drama per musica da rap- 
 presentarsi nel Teatro Giustiniano a S. Moise Fautunno delF anno 
 1716 . . . 
 
 Venezia, Giacomo Valvasense, 1716. 60 p. 15$ cm . 
 
 Three acts. By Francesco Silvani, who is not mentioned. Dedication dated 
 Venice, October 17, 1716, notice to the reader, with the name of Giovanni Porta as 
 the composer, argument, scenario, and cast. SCHATZ 8390 
 
 La costanza coniugale, ballet. See Andreozzi's Teodelinda. 
 
 La costanza d'Ulisse. Drama per musica nel felicissimo dl nata- 
 lizio della S. C. R. M^ delF imperatore Leopoldo I ... Fanno 
 MDCC. posto in musica dal Sig- Carlo Agostmo Badia . . . con 
 Farie per li balletti del Sig? Gio. Gioseffo Honer, violinista di S. M. C. 
 Vienna d' Austria, appresso Susanna Christina, vedova di Matteo 
 Cosmerovio, n. d. [64] p. 17\ cm . 
 
 One act. The author, Giovanni Battista Ancioni, is not mentioned. Argument 
 and description of Lodovico Burnacini's "Apparato nella peschiera del Cesareo giar- 
 <lino della Favorita " at Laxemburg, where the opera was first performed on June 9, 
 1700. Entirely different from "Gli amori di Circe." SCHATZ 5442 
 
 Second copy, with two folded plates, lacking in the first copy. ML 50.2.C69B2
 
 OPERA LIBRETTOS 327 
 
 % 
 
 La costanza di Rosmonda. Drama per musica di Aurelio Aureli, 
 favola quinta. Rappresentata in Venetia nel Teatro Grimano Fanno 
 1659 . . . 
 
 Venetia, Valvasense, 1659. 92 p. 14 cm . 
 
 Prologue and three acts. Author's dedication dated Venice, January 15, 1659, 
 arguments, and scenario. The composer, Bovettino, is not mentioned. On p. 91-92, 
 indication of the cuts, etc. SCHATZ 9108 
 
 La costanza di Rosmonda. Drama in musica di Aurelio Aureli. 
 Rappresentata nel Regio Teatro di Milano Fanno 1675 . . . 
 
 Milano, Marc' Antonio Pandolfo Malatesta, n. d. 7 p. 1., 98 p. 
 14 cm . 
 
 Prologue and three acts. Dedication by Antonio Lonati, argument, scenario. The 
 composer, Rovettino, is not mentioned. SCHATZ 11744 
 
 Costanza e fortezza. Festa teatrale per musica, da rappresentarsi 
 nel Reale castello di Praga per il felicissimo giorno natalizio della 
 Sac.-Ces. e Catt. Reale Maestk di Elisabetta Cristina . . . Fanno 
 MDCCXXIII. La poesia e del Sig. Pietro Pariati ... La musica 
 e del Sig. Gio. Gioseno Fux . . . con le arie per li balli del Sig. Nicola 
 Matheis . . . 
 
 Vienna d' Austria, Gio. Pietro Van Ghelen, n. d. 7 fold, pi., 4 P- I; 
 52 p. 23% cm - 
 
 The gorgeous plates, all designed by the court architect, Giuseppe Galli Bibiena, 
 and engraved by different engravers, represent scenes from the opera, with exception 
 of the second and last of the seven, which give an idea of the theatre erected for the 
 occasion. The plates vary somewhat in size, pi. 2-6 being 63 x 48i cm , pi. 1 being 
 somewhat larger, pi. 7 somewhat smaller. 
 
 Three acts. Argument, and mutazioni. 
 
 First performed, as indicated, August 28, 1723. SCHATZ 3391 
 
 La costanza fortunata in amore. Drama per musica da rappre- 
 sentarsi nel Teatro di San Fantino Fanno 1710. M. V. . . . 
 Venezia, Antonio Bortoli, 1710. Jfl p. 15 cm . 
 
 Three acts. By Francesco Maria Piccioli, who is not mentioned. Impresario's 
 dedication, argument, scenario. Composer not mentioned and unknown to Schatz. 
 
 SCHATZ 11317 
 
 La costanza guerriera, ballet. See Ottani's Fatima. 
 
 La costanza in amor rende felice. L. T. of Gazzaniga's L'amore 
 costante. 
 
 La costanza in amore. A. T. of Anfossi's Isabella e Rodrigo. 
 
 La costanza in cimento con la crudelta. Dramma per musica da 
 rappresentarsi nel Teatro di Sant' Angelo il carnevale del 1712 . . . 
 Venetia, Marino Rosetti, 1712. 60 p. 15 cm . 
 
 Three acts. By Grazio Braccioli, cast, scenario, argument, and name of Floriano 
 Aresti as composer. The dedication dated by the author December 26, 1711. 
 
 SCHATZ 313 
 
 La costanza in trionfo. Drama per musica di Francesco Silvani. 
 Da rappresentarsi nel Teatro di S. Angelo. Ristampato con nuove 
 aggiunta . . . 
 
 Venezia, Nicolini, 1697. 63 p. 15 cm .
 
 328 LIBBAKY OF CONGBESS 
 
 La costanza in trionfo Continued. 
 
 Three acts. Author's dedication, dated Venice, November 3, 16 6, argument, 
 scenario, and notice to the reader with Marc' Antonio Ziani's name as composer, 
 and statement: 
 
 "Eccomi ancor quest' anno in iscena con la quinta delle mie fatiche." 
 
 SCHATZ 11180 
 
 La costanza negl' amori fra' pastori. A. T. of Delia Porta's 
 L'Eurillo. 
 
 La costanza nelT honore. O. T. of Girolamo Polani's La ven- 
 detta disarmata dah" amore. 
 
 La costanza premiata o sia II genio tutelare, ballet. See Andre- 
 ozzi's Arsinoe. 
 
 La costanza sforzata. Die gezwungene bestaendigkeit oder Die 
 listige rache des Sueno. An dem frohen geburths-tage des . . . Fri- 
 derici IV. koenigs zu Dennemarck und Norwegen . . . auf dem 
 Hamburgischen Schau-platz in einem sing-spiel aufgefuehret den 11. 
 octobr. 1706. 
 
 n. d., n. i. Unpaged. 19 cm . 
 
 Three acts. The "Vorbericht" contains the argument and some curious remarks 
 on the use of German in operas, including this: ". . . habe gemerckt, dass das 
 dactylische und anacreontische metrum zu den musicalischen rejouissancen am 
 geschicktesten und weil der musicus Reinhard Kaeyser [Keiser] sie zu reconxman- 
 diren pfleget, so habe einige hineingeruecket, ob man sie wol bey den Italiaenem 
 sehr sparsam antrifft." The author, resp. translator, Barthold Feind, is not men- 
 tioned. Some arias have Italian text added to the German. SCHATZ 5084 
 
 - La costanza sforzata. Die bezwungene bestaendigkeit. Oder: 
 Die listige rache des Sueno. An dem frohen gebuhrts-tage des . . . 
 Friderici IV. koenigs zu Dennemarck und Norwegen . . . auf dem 
 Hamburgischen Schau-platz in einem sing-spiel aufgefuehret den 11 
 octobr. 1706. 
 
 Earth. Feind 's Deutsche gedichte, Stade, 1708, pi, [321}-392 p. 
 17 cm . 
 
 Three acts. Contents as above. ML 49.A2F2 
 
 i/ La costanza trionfante. Drama per musica . . . 
 Venetia, li Bertani, 1673. 6 p. I., 59, [1] p. 14 cm . 
 
 Three acts. By Cristoforo Iwanovich, who is not mentioned. Dedication, argu- 
 ment "aggiustato alia presente riforma," cast name of Giovanni Domenico Par- 
 tenio as the composer, scenario, and "awiso," which reads in part: 
 
 "Questo drammatico componimento fece la sua prima comparsa; ma con altra 
 divisa in corte de' gran prencipi; h6ra ch'e scelto per delicioso trattenimento de' geni 
 virtuosi, che lo fanuo rappresentare generosamente nel Teatro Zane, e stato ritocato 
 a momenti a compiacimeto de cavalieri protettori da una penna egualmente discreta, 
 ed erudita, che ha saputo portare i suoi voli a teatri piu famosi dell' Europa . . . 
 
 "Ritiene 1'intreccio puro, e naturale; ma per6 con la riforma del titolo, dello scene- 
 giare, e di piu breve recitative; viene, adorno di frequenti ariette, a farsi, vedere con 
 qualche diferenza in ordine, all' uso corrente di Venetia, avvezza alia brevitk & al 
 diletto. Dagl' episodii si e cavata la sola inventione, d'salvar Hipermestra dal pre- 
 cipitio della torre sul volo d'un aquila, in che si scusi la necessita, che introduce il 
 prodigio." SCHATZ 7777 
 
 La costanza trionfante degl' amori, e degl' odii. Drama per 
 musica da rappresentarsi nel Teatro Giustiniano di S. Moise. II car- 
 no val dell' anno 1716 ... Di Antonio Marchi. 
 Venezia, Carlo Bonarigo, 1716. 60 p.
 
 OPEEA LIBRETTOS 329 
 
 La costanza trionfante degl'amori, e degl'odii Continued. 
 
 Three acts. Author's dedication dated January 18, 1715, M. V., notice to the 
 reader with Antonio Vivaldi's name as composer, argument, cast, scenario. 
 
 SCHATZ 10761 
 
 Artabano re de Parti. Drama per musica da rappresentarsi nel 
 Teatro Giustiniano di San Moise il carnovale dell' anno MDCCXVIII. 
 Di Antonio March! . . . 
 
 Venezia, Marino Rossettl, 1718. 60 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, author's dedication, and notice to the 
 reader, with name of Antonio Vivaldi as the composer, in both of which this is called 
 the second appearance of the opera at S. Moise. Comparison proves that this is the 
 same as "La Costanza trionfante degP amori e degP odii," but with some alterations. 
 For instance, the 1716 version has "Qual Pino errante" in I, 8, and "Tall' or il cac- 
 ciator" in I, 10, whereas the 1718 ed.-has "Tall' or il cacciator" in I, 8, and "Deh 
 lasciami in pace" in I, 10. SCHATZ 10762 
 
 L'odio vinto dalla costanza. Dramma per musica da rappresen- 
 tarsi nel Teatro di Sant' Angelo il carnovale dell' anno MDCCXXXI. 
 Di Antonio Marchi. 
 
 Venezia, Carlo Buonarrigo, 1731. 48 p. 14% cm . 
 
 Three acts. Argument, cast, scenario. The same as the above, but partly rewrit- 
 ten by Bartolotneo Vitturi, with new music by Antonio Galeazzi, neither of whom is 
 mentioned. In this version "Chi t'ama comprendi " is the aria in I, 8, and "Fremi, e 
 pensa, o rio tiranno" in I, 10. SCHATZ 10763 
 
 La costanza vince il destino. Dramma musicale da rappresentarsi 
 nel famosissimo Teatro di SS. Gio. e Paolo, nell anno MDCLXXXXV 
 . . . Composto in musica dal Sign. D. Pietro Romolo abbate 
 Pignatta. 
 
 Venetia, Paulo Antonio Sanzonio, 1695. 72 p. 15 cm . 
 
 Three acts. Composer's dedication as author of the text, dated Venice, October 
 15, 1695, argument, and scenario. SCHATZ 8169 
 
 La costanza vince 1'inganno. Drama pastorale da representarsi 
 nel Theatre di Sua Altezza Serenissima del landgravio di Hassia a 
 Darmstadio. 
 
 n. i., n. d. Ill p. 19 cm . 
 
 Three acts. Author not mentioned, and unknown to Schatz, nor is Christoph 
 Grraupner, the composer, mentioned. German title-page, "Die bestaendigkeit 
 besieget den betrug," and text face Italian. 
 
 First performed, as indicated, 1719. SCHATZ 4121 
 
 The cottage. An operatic farce. In two acts. By James Smith. 
 
 Tewkesbury, Printed by W. Dyde, n. d. 3 p. 1., [1], 10-34 P- 21\ cm . 
 
 Prologue and dedication "to the inhabitants of Tewkesbury." Dated 1796 by 
 Biog. Dram. LONGE 237 
 
 The cottagers, a musical entertainment: As it is performed at the 
 Theatre Royal in Covent-Garden. 
 London, WiUiam Griffin, 1768. 2 p. 1., 47 p. 21 cm . 
 
 Two acts. Cast. Neither the author, Richard Joceline Goodenough, is mentioned, 
 nor the composer. The opera was revived as : LONGE 119 
 
 William and Nanny; or, The cottagers, a musical entertain- 
 ment : as it is performed at the Theatre-Royal in Covent-Garden. 
 
 London, W. Griffin, 1779. 2 p. I., 47 p. 20. 
 
 Two acts. Cast. 
 
 First performed under this title November 12, 1779. LONGE 214
 
 330 LIBRARY OF CONGRESS 
 
 The cottagers, an opera, in three acts. By George Saville Carey. 
 
 Printed (on p. 47-75) together with his "The inoculator," published at London, 
 1766. (Our copy lacks title page.) 
 
 No performance recorded. LONGE 151 
 
 The cottagers; a comic opera. In two acts. By Miss A. Ross. 
 (Aged fifteen years.) Daughter of Mrs. Brown, of the Theatre Royal, 
 Covent-Garden . . . The second edition. 
 London, Printed for the author, 1788. 1 p. I., mi, [1], 61 p. 21 cm . 
 
 A long list of subscribers, and a preface, signed by Anna Ross, and dated London, 
 April 17, 1788, which, after apologies for "a crippled, puny, little bantling," ends: 
 
 "little can be dreaded from critical attacks, when fighting beneath the banners of a 
 BILLINGTON, and well guarded by a British SHIELD. " 
 
 This seems to point to William Shield as the composer. 
 
 Not performed. LONGE 119 
 
 The country burial. A. T. of the ballad opera Silvia. 
 
 The country wedding. L. T. of Essex Hawker's The wedding. 
 
 The coup de main, or, The American adventurers ; a musical enter- 
 tainment. As it was acted at the new theatre in Dundee, by His 
 Majesty's servants, from the Theatre-Royal, Edinburgh. Written 
 by A. M'Laren . . . 
 
 Perth, Printed for the author, and sold by Mess. More, Nicol, and 
 Miln, Dundee [etc.] 1784. 36 p. 17\ cm . 
 
 One act. By Archibald Maclaren. Of the seventeen airs, nearly all were to be 
 sung to popular ballad tunes. ML 50.2.C74 
 
 Les couplets en proces. Prologue par M re . le S * * & d'Or * * 
 Represente a la Foire Saint Laurent 1730. 
 
 Le Theatre de lafoire, Paris, 1731, t. vii, pi., [323}-349 p. 17. 
 
 By Le Sage and d'Orneval. Largely en vaudevilles. The airs, selected or com- 
 posed and arranged by Jean Claude Gillier, are printed at the end of the volume in 
 the "Table dee airs." 
 
 First performed February 18, 1730, as indicated. ML 48.L2V11 
 
 La cour. Entree in Boismortier's Les voyages de 1'amour. 
 
 La cour d'amour. See Floquet's L'union de 1'amour et des arts. 
 
 La couronne de roses, ou La fte de Salency, comedie en deux 
 actes, melee d'ariettes, suivie d'un vaudeville. Par M. D. L. D. E. 
 M. D. A. D. P. E. L. R. Et verbis & exemplis. 
 Paris, Merigot jeune, 1770. 36 p. 19 cm . 
 
 On p. 29-36 the "Airs": "Se peut-il que 1'on propose" (I, 1), "Je suis un officier 
 nouveau" (I, 3), "La reine des fleurs" (I, 3), L'autre jour & coups de pomme" 
 (I, 6), and the vaudeville "Je suis le seigneur du village" (II, 4). 
 
 The text is preceded by an "Explication du sujet" with this remark: 
 "II y a plus de trois ans que les paroles & la musique de la piece suivante sont 
 faites. Trop eloigne de la Capitalepour en demander la reception au Theatre Italien, 
 je me suis trouv6 preVenu par M. Favart, qui a saisi ce sujet sous le meme point de 
 vue que moi, lorsque j'ai ete a meme de le faire; je scais a combien de titres il merite 
 la preference; mais comme les personnes memes qui la lui ont accord 6e m'ont dit 
 que ma piece, a bien des 6gards, n'etoit pas inferieure a la eienne, j'ai cru pouvoir la 
 mettre sous les yeux du public, non pour entrer en concurrence avec M. Favart, 
 mais pour tendre davantage, s'il est possible, la renomm^e d'une institution qu'on 
 ne ecauroit trop faire connoitre. SCHATZ 11488
 
 OPERA LIBRETTOS 331 
 
 Court and country : or, The changelings. A new ballad opera. As 
 it was lately performed. 
 London, W. Webb, 1743. 2 p. 1., 63 p. 19. 
 
 Three acts and prologue. The 42 airs are merely indicated by title. The author 
 is not recorded. Title contradicted by Geneet's "not acted." LONGB 52 
 
 The court legacy. A new ballad opera. As it is acted at the 
 Eutopean Palace. By the author of the New Atalantis . . . 
 London, J. Dormer, 1733. 55 p. 18% cm . 
 
 Three acts and introduction. By Mary de la Riviere Manley. In the dedication 
 "Atalia" calls this "a satire on the court of Eutopia." The 43 airs used (1, 10, 18, 
 14) are indicated by title. LONQE 275 
 
 The court medley : or, Marriage by proxy. An [ !] new ballad opera. 
 Of three acts. 
 London, J. Dickinson, 1733. 2 p, 1., 59, [1] p. 19 cm . 
 
 Table of the 30 songs, the airs of which are indicated by title in the text. Neither 
 author recorded nor performance. LONGE 49 
 
 The fortunate prince : or Marriage at last. A new ballad opera. 
 In three acts. 
 London, T. Webb, 1734. 2 p. 1., 60 p. 19 cm . 
 
 On 2d p. 1. "A table of airs in the opera," verso "Dramatis personae" printed by 
 mistake between p. 2 and 3. This is identical with "The court medley," as com- 
 parison proved, except for the addition of three scenes after the words "with your 
 Highness's kind offer" the rest of the sentence and song to air xxx, "My time, O 
 ye Muses," being dropped. The additional scenes contain four songs to airs 30, 
 "Since all the world's turn'd," 31 to 33 (airs not indicated). The "table of airs" 
 however, lists the 30 airs as in "the Court medley" table! LONGE 49 
 
 Second copy (21cm.). LONGE 318. 
 
 The court of Alexander. An opera in two acts. As it is performed 
 at the Theatre Royal in Covent-Garden . . . ' 
 London, T. Waller, n. d. mi, [8]-38 p. 19$ cm . 
 
 Two acts. By Alexander Stevens, who is not mentioned. Cast and argument. 
 The composer, John Abraham Fisher (Squire) is not mentioned. 
 
 First performed January 5, 1770, as indicated. LONGE 37 
 
 La creatione del mondo. 
 
 p. 171-204- 15\ cm . (Ottavio TronsareUi, Drammi musicali, Roma, 
 Francesco Corbelletti, 1632.} 
 
 Five acts. Argument. No composer mentioned. ML 49.A2T7 
 
 Credit est mort, op6ra-comique, en un acte, mAle de prose & de 
 vaudevilles. Donne en 1726. 
 
 Alexis Piron, Oeuvres complettes, Liege, 177Q, v. 5, [99}-146 p. 
 
 \ cm . 
 
 Parfaict, etc., do not record the composer. PQ 2019. P6 
 
 II credulo con farsa La baronessa Stramba da rappresentarsi nel 
 Teatro Nuovo sopra Toledo per quart' opera in musica nel carnevale 
 di quest' anno 1786. 
 
 Napoli, n. publ, 1786. 58 p. 15 cm . 
 
 Two acts. By Gius. Maria Diodati (not mentioned). Cast and name of the com- 
 poser, Cimarosa. The second act consists of only one scene. Then follows with 
 cast on p. 35-58 "La BARONESSA STRAMBA" in one act of IGscenes. A prefatory note 
 to this reads:
 
 332 LIBRAEY OF CONGRESS 
 
 H credulo Continued. 
 
 "Si avverte, che la seguente farea non e dell' autore del Credulo, ma di altro sog- 
 getto, altra volta rappresentata con generale applause, per cui ei e dovuto risolvere 
 F'argomento con una sola scena nell' atto II. per dar luogo alia farsa medesima. La 
 musica e del medesimo egregio maestro Cimarosa con averci fatti de' nuovi pezzi, 
 che sono distinti da questo segno * ... Si 6 dovuto benanche trasportare litteral- 
 mente il dialetto di D. Gironda e di D. Settimio in Toscano per i virtuosi, che ora 
 ne rappresentano i caratteri ..." 
 
 The new pieces begin: 
 
 "Fuggi . . . che f6 . . . s'arresta," "Orsu sentimi bene," "II punto tuo finale," 
 "Comme! chisso che dice," "Crudel tiranno ingrato," "Vo girando qual Colomba," 
 etc. 
 
 "La baronessa Stramba" is simply a somewhat altered version of Pasquale Mili- 
 lotti's libretto "I matrimoni in ballo," first performed with Oimarosa's music at 
 Naples, Teatro Nuovo sopra Toledo, carnival, 1776. 
 
 See the notes for next entry. SCHATZ 1977 and 1985 
 
 - 11 credulo con farsa L'impresario in angustie di G. M. D. da 
 rappresentarsi nel Teatro Nuovo sopra Toledo per terz' opera in 
 musica di quest' anno 1786. 
 
 Napoli, n. publ., 1786. 59, [3] p. 15 cm . 
 
 Two acts. By Giuseppe Maria Diodati. Cast and this notice by the author: 
 
 "La presente commedia era stata destinata per il venturo carnevale, per cui non 
 ei e proseguito 1'argomento della medesima, e si e scritta la farsa; ma una indispensa- 
 bile necessita del teatro ha fatto si, che questa siegua per terza rappresentazione 
 appresso all' altra mia Le trame deluse. Niente dissimile e il Credulo da quello dell' 
 anno scorso, ch'il ragguardevole pubblico compati generosamente, a riserba di una 
 Bola scena aggiunta, e due arie dell' ietesso maestro Cimarosa, in grazia delle vir- 
 tuose, che sono nuove per la recita del medesimo." 
 
 The three additional pages contain a substitute scene for scene XII of " II credulo, ' ' 
 which is practically, however, the same, except for the aria, "Voi vedrete in una 
 sala." 
 
 The libretto (one act in thirteen scenes) of "L'impresario in angustie," with cast 
 and name of composer, and designated as "atto II," begins on p. [37], after the first 
 and only scene of act II of "II credulo." 
 
 The "II Credulo" libretto., with "La baronessa Stramba," must be earlier than the 
 one with "L'impresario in angustie," because this (Schatz 1916) contains (as scene 
 XIII) "Ora provate chiuso," in addition to the sixteen scenes common to both librettos. 
 Furthermore, the remark about "due arie ... in grazia delle virtuose, che eono 
 nuove" applies to Marianna Santoro Limperani and Caterina Fiorentini, mentioned 
 in the cast of Schatz 1916. But how should the librettos be xlated, and when were 
 they performed? Schatz 1916 is called "terz' opera ... di ... 1786," Schatz 1977 
 "quart' opera . . . nel carnevale di . . . 1786," and yet, as was seen, Schatz 1916 
 must be later. Now, the author in Schatz 19t6 informs the public that this libretto, 
 though intended for the coming carnival, which would be that of 1786/87, was, by 
 some unavoidable necessity, made to follow his "Le trame deluse" as third opera of 
 the season. Since we know (see Florimo) that Cimarosa's "Le trame deluse" was 
 performed as second opera of the carnival season 1785/1786, it would again follow that 
 II credulo" was the third opera of 1786, and also the fourth! Yet that might have 
 been possible, except for the fact that Santorp-Limperani and Fiorentini and a few 
 more singers in the cast of Schatz 1916 are not listed by Florimo as having appeared at 
 Naples at the Teatro Nuovo before 1787! The situation is still more puzzling in view 
 of the statement in the preface of Schatz 1916, that it is "not different from II credulo 
 of last year." But Schatz 1916 is written in the Napolitan dialect, and Schatz 1977, 
 as the pref. note expressly states, had been translated from the Napolitan into Tuscan. 
 Consequently, the latter version (Schatz 1977) would be later than Schatz 1916, which 
 can not be, as was shown above. And, to make things still worse, the "last year" in 
 the preface of a libretto dated 1786 surely can only mean 1785. No such performance 
 of "II credulo" has been traced by Florimo, and yet, here the author's own preface 
 points to one. "II credulo" was performed at Naples in the Napolitan dialect in 
 1785. This much may now be conceded, but beyond this the case of "II credulo" is 
 not clear. SCHATZ 1916 and 1929
 
 OPERA LIBRETTOS 333 
 
 II credulo deluso. Commedia per musica da rappresentarsi nel 
 Teatro della citta di Foggia nella primavera di quest' anno 1776 . . . 
 Napoli, n. publ., 1776. 70 p. 15% cm . 
 
 Three acts. Cast, name of Paisiello as the composer, and impresario's dedication, 
 dated Foggia, May 8, 1776. This is an altered version of "II mondo della luna," by 
 Goldoni, who is not mentioned. 
 
 First performed at Naples, Teatro Nuovo, fall of 1774. SCHATZ 7666 
 
 - II mondo della luna. Commedia per musica da rappresentarsi 
 nel Teatro di S. Ferdinando a Ponte Nuovo. Per prima commedia 
 di quest' anno 1792. 
 
 Napoli, Domenico Sangiacomo, n. d. 4& p. 16 cm . 
 
 Three acts. Is "II credulo deluso," with alterations. Cast and name of Paisiello 
 as the composer. 
 
 First perfo med at St. Petersburg, Teatro di corte, Nov. 3-14, 1783. SCHATZ 7667 
 
 La creduta infedele. Commedia per musica da rappresentarsi nel 
 Teatro de' Fiorentini per prim' opera in quest' anno 1783. 
 Napoli, n. publ., 1783. 58, [1] p. 15 cm . 
 
 Three acts. Author not mentioned, and unknown to Schatz. Cast, scenario and 
 name of Giuseppe Gazzaniga as the composer. SCHATZ 3677 
 
 La creduta selvaggia. Farsetta per musica da rappresentarsi nel 
 Teatro alia Valle degP illmi Sigg. Capranica. Nel carnevale dell' 
 anno 1792 . . . 
 
 Roma, Pucdnelli, n. d. 59 p. 16\ cm . 
 
 Two acts. Author not mentioned and unknown to me. Cast and name of Gia- 
 como Tritto as composer. ML 50.2.C76T7 
 
 La creduta vedova o sia La sposa costante. Farsetta per musica a 
 cinque voci da rappresentarsi nel Teatro Valle degl' illustriss. Sigg. 
 Capranica nelP estate dell' anno 1786 . . . 
 
 Roma, Michele Pucdnelli, n. d. 62 p. 16 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Salvatore Vigand as composer. ML 50.2.C763V3 
 
 Li creduti spiriti. Dramma giocoso per musica da rappresentarsi 
 nel nuovo Teatro Tron di S. Cassano il carnovale dell' anno 1764. 
 Venezia, Paolo Colombani, 1764- 58 p. 14$ cm - 
 
 Three acts. "La musica de' Signori N. N.," of whom Johann Gottlieb Naumann 
 is said by Schatz to have been one. Cast and notice to the reader, in which the 
 impresario, Joseph Felix von Kurtz, is called 
 
 autore dell' intreccio, de' sentimenti, della condotta, e di tutta la macchina." 
 
 SCHATZ 7064 
 
 Creonte. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto nelP autunno dell' anno 1776. 
 Venezia, Modesto Fenzo, 1776. Jfi p. 17 cr ". 
 
 Three acts. By unknown author. Argument, cast, scenario, and name of the 
 composer, Dimitrij Stefanovitch Bortniansky. 
 
 First performed November 26, 1776, as indicated. SCHATZ 1255 
 
 Creonte. Drama per musica da rappresentarsi nel Teatro di S. 
 Angelol'anno 1691. Di Rinaldo Cialli. Nuovamente riformato . . . 
 
 Venetia, Nicolini, 1691. 64 p. 14% cm - 
 
 Three acts. Author's dedication, argument, scenario, and notice to the reader, 
 with name of Marc' Antonio Ziani as the composer, and the usual apologies for the
 
 334 LIBRARY OF CONGRESS 
 
 Creonte Continued. 
 
 defects of the text, forced, as he was, to "nej giro di pochi giorni . . . comporlo per 
 gli accidenti della compagnia de signori musici" and to finish it "tra I'angustie d un 
 letto." SCHATZ 11181 
 
 Creonte tiranno di Tebe. L. T. of Pollaroli's La forza della virtu. 
 Cresfonte, re di Scizia, ballet. See Bianchi's Pizzarro. 
 
 Creso. Dramma per musica da rappresentarsi nel Regio Teatro di 
 Torino nel carnovale del 1768 . . . 
 
 Torino, Stamperia reale, n. d. viii, 43 p. 15% cm . 
 
 Three acts. By Giuseppe Giovacchino Pizzi (not mentioned). With argument, 
 cast, scenario, and name 01 the composer, Pasquale Cafaro. Giuseppe Antonio Le 
 Messier is mentioned as the composer of the ballet music. SCHATZ 1452 
 
 Creso. Drama per musica, nel felicissimo di natalizio della S. C. R. 
 Maesta dell' Imperatrice Eleonora Maddalena Teresa . . . Faiino 
 MDCLXXVIII . . . 
 
 Vienna d' Austria, Gio. Christoforo Cosmerovio, n. d. 7 p. I., 134 P- 
 15 cm . 
 
 On p. 131-134 " Introduttione ad un balletto delli sette pianeti celesti. Per la 
 licenza . . ." Three acts. Dedication by the author, conte Nicol6 Minato, dated 
 Vienna, January 6, 1678, argument, scenario, list of machines. The composer, 
 Antonio Draghi, is not mentioned. ML 50.2.C8D7 
 
 /II Creso. Drama da rappresentarsi nel famosissimo Teatro Grimano 
 di S. Gio. Grisostomo 1 anno MDCLXXXI. Di Giulio Cesare Cor- 
 radi . . . 
 
 Venetia, Francesco Nicolini, 1681. 80 p. 13 cm . 
 
 Three acts. Corradi's dedication, argument, scenario, and notice to the reader 
 with name of Giovanni Legrenzi as the composer of the music "la quale, ancorche 
 nata nel maggior torbido dell' agitata sua mente e riuscita con tanta perfettione, che 
 la confessarai un miracolo dell' arte." 
 
 Further above it is said : 
 
 "Eccoti il Creso, parto che non credeva quest' anno d'uscire alia luce . . . Sappi 
 che pochi giorni furono destinati per fartelo comparire su la scena . . .' 
 
 SCHATZ 5542 
 
 Creso. Dramma per musica da rappresentarsi nel nobilissimo Teatro 
 di S. Benedetto il carnovale dell' anno 1770. 
 Venezia, Modesto Fenzo, 1770. 46 p. 17 cm . 
 
 Three acts. By Giovacchino Pizzi, who is not mentioned. Argument, cast, 
 scenario, and name of Antonio Sacchini as the composer. On p. 9-10 brief descrip- 
 tion of Jean Baptiste Martin's ballet "La rete di Vulcano" without name of the com- 
 poser of the music. 
 
 First performed at Naples, Teatro di San Carlo, November 4, 1765. SCHATZ 9215 
 
 - Creso ; a new serious opera: as performed at the King's Theatre in 
 the Hay-Market. The music entirely new, by Signer Antonio Sac- 
 chini. The translation by F. Bottarelli, A. M. 
 
 London, T. Cadell, 1767. 55, [1] p. 19 cm . 
 
 Three acts. Argument, cast. Italian and English text. More than the customary 
 liberties have been taken with Pizzi 's text. They begin in the second scene of the 
 first act, where the aria is "Se un' alma amante" instead of "Del mio tradito core." 
 The number of scenes, too, has become different. The third act has now twelve 
 instead of ten scenes. 
 
 The last (unnumbered) page contains a list of "New music published in the course 
 of last winter, by R. Bremner." SCHATZ 9216
 
 OPERA LIBRETTOS 335 
 
 Creso. Dramma per musica da rappresentarsi nel nobilissimo Teatro 
 di San Samuele la fiera dell' Ascensione dell' anno 1788. 
 Venezia, Modesto Fenzo, 1788. 46 p. 17 cm . 
 
 Three acts. By Giuseppe Giovacchino Pizzi, who is not mentioned. Argument, 
 cast, scenario, and name of Pietro Terziani as the composer. 
 
 On p. 36-46 dedication, argument, and description of Onorato Vigan6'e "Orizia e 
 Borea, ballo tragico pantomimo," music by Salvatore Vigano. The eame were 
 responsible for the second ballet "La donna incostante o sia II festino de' teatri di 
 Roma." SCHATZ 10289 
 
 Creso in Media. Dramma in musica da rappresentarsi nel Pubblico 
 Teatro da S. Sebastiano in Livorno la primavera dell' anno 1780 . . . 
 [Livomo], Gio. V. Falorni, n. d. 48 p. 15\ cm . 
 
 Three acts. By Giuseppe Pagliuca, who is not mentioned. Impresario's dedi- 
 cation, argument, cast, scenario, and name of Joseph Schuster as composer. 
 
 First performed at Naples, Teatro di San Carlo, November 4, 1779. SCHATZ 9744 
 
 Creso re di Lidia. Dramma per musica da rappresentarsi nel Teatro 
 di via della Pergola nelT autunno del MDCCLXXVII . . . 
 Firenze, Gio. Risaliti, 1777. 37 p. 16 cm . 
 
 Three acts. By Giovacchino Pizzi. Argument, cast, scenario, and name of the 
 composer, Giovanni Battista Borghl ("musica tutta nuova"), but not of the librettist. 
 Paolo Franchi's ballets, "II re pastore, ballo eroico pastorale" and "La tranquillita 
 disturbata," were performed with the opera. The composers of the music are not 
 mentioned. SCHATZ 1228 
 
 Creso tolto a le fiamme. Drama per musica. Da rappresentarsi 
 nel Teatro a Sant Angelo. L'anno 1705. Di Aurelio Aureli. 
 Venezia, Marino Rossetti, 1705. 60 p. 15 cm . 
 
 Three acts. Argument and scenario. The composer, Girolamo Polani, is not 
 mentioned. SCHATZ 8250 
 
 Creusa. Dramma per musica da rappresentarsi nel Teatro Grimani 
 di San Samuele nella fiera dell' Ascensione 1'anno 1739 . . . 
 Venezia, Marino Rossetti, 1739. 60 p. 15 cm . 
 
 Three acts. By Urbano Rizzi (Wiel and Schatz). The dedication is signed by 
 Domenico Lalli. On p. 8 the foot-note: "le arie segnate colla etella sono di altro 
 autore cangiate per commodo della musica, per la qual cagione si e anche cangiato 
 il nome di Jone in quello di Gelone." Consequently, the libretto in its present form 
 must have been the work of two authors. Argument, cast, scenario, and name of 
 the composer, Pietro Lione Cardena. 
 
 First performed, as indicated, May, 1739. SCHATZ 1622 
 
 Creusa in Delfo. Dramma per musica in due atti misto di cori e 
 danze da rappresentarsi nel Real Teatro di Salvaterra nel carnovale 
 dell' anno 1774. 
 
 [Lisbona], Nella Stamperia reale, n. d. 69 p. 15 cm . 
 
 Three acts. Argument, scenario, cast, and names of Gaetano Martinelli as the 
 author, of David Perez as the composer. SCHATZ 7880 
 
 Creuse 1'Athenienne, tragedie represented par 1'Academie royale 
 
 de musique 1'an 1712. Les paroles de M. Roy & la musique de M. 
 
 la Coste. LXXVIII. opera. 
 
 n. i., n. d. 14 cm - pl- y 389-446 P- (Recueil general des opera, t. x, 
 
 Paris, 1714.) 
 
 Detached copy. Five acts and prologue. "Avertiseement." 
 First performed, as indicated, April 5, 1712. SCHATZ 5354 
 
 Second copy. ML 48. R4
 
 336 LIBRARY OF CONGRESS 
 
 Les crimes de la feodalite. A. T. of Jadin's Alisbelle. 
 
 Crisippo. Drama per musica del dottor Grazio Braccioli Ferrarese 
 da ra^presentarsi in Ferrara nel Teatro a S. Stefano degl' illustris, 
 simi Signori Co. Antonio Maria Paolo e fratelli Bonacossi, con 1'occa- 
 sione della solita Fiera di Maggio dell' anno MDCCX . . . 
 
 Ferrara, Bernardino BarUeri, n. d. 64 P- 15\ cm . 
 
 Three acts. Author's dedication dated Ferrara, May 10, 1710, argument, cast, 
 scenario and name of Floriano Aresti as composer. ML 50.2.C85A7 
 
 Crispo. Drama rappresentato nella sala dell' illustrissimo Sig. 
 Federico Capranica nel carnevale dell' anno MDCCXXI. 
 Roma, Antonio de Hossi, 1721. 60 p. 15\ cm . 
 
 Three acts. Dedication by the author, Paolo Antonio Rolli (who is not mentioned), 
 argument, cast, and name of the composer, Giov. Battista Bononcini. SCHATZ 1200 
 
 II Cristoforo Colombo nelT Indie, ballet. See Brunetti's Ber- 
 toldo. 
 
 Critic upon critic; a dramatic medley, in three acts; as it is per- 
 formed at the Theatre-Roval in Covent-Garden. By Leonard 
 Mac Nally, Esq. Second edition. 
 London, J. Almon, 1792. 2 p. I, [1], 10-71 p. 20 cm . 
 
 Cast. In form of a ballad opera. Genest (v. 10, p. 197) claims that the play was 
 printed in 1788, and that "from the plays and farces alluded to, or mentioned, it is 
 almost certain that this piece was wntten in 1780^-most or all of the characters are 
 real persons under fictitious names . . . In 1792 critic upon Ccri tic was reprinted . . . 
 I am of the opinion that it was never acted . . from the nature of the piece it seems 
 clear that it was never meant for representation ... it seems not impossible that 
 some bookseller in 1792 might affix a new title page and a cast of the play to the old 
 copies of 1788, in order to sell them." LONGE 232 
 
 La critica, opera by Jommelli. See II giuoco de picchetto. 
 
 La critica teatrale. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro Tron di San Cassiano nel carnovale dell' anno 1775. 
 Venezia, Gio. Battista Casali, 1775. 16\. 55 p. 
 
 Three acts. Caet, scenario, and name of Gennaro Astaritta as composer, but not 
 of librettist. According to Schatz, this is a later version of Raniero de' Calsabigi'a 
 "L'opera seria" libretto. 
 
 First performed at Turin, Teatro Carignano, fall of 1771. SCHATZ 378 
 
 La critique a 1' Opera -comique; petite piece en un acte: pour 
 1'ouverture du Theatre de la Foire Saint Germain, en 1742. 
 
 Charles Francois J*annard, Theatre, Paris, Duchesne, 1763, v. 3, 
 [259}-298p. 17 cm . 
 
 In prose and vaudevilles. Composer not recorded by Parfaict, etc. PQ 2019. P3 
 
 La critique des festes de Thalie. See Mouret's Les festes de 
 Th&lie. 
 
 Die critische nacht. Tr. of Boroni's La notte critica. 
 
 Croesus See Reiser's Der hochmuethige. . . . 
 
 La cuccagna, ballet. See Zingarelli's Annibale in Torino.
 
 OPERA LIBRETTOS 337 
 
 Cunegonda. Drama per musica da rappresentarsi nel Teatro di 
 Sant' Angelo per il carnevale dell' anno MDCCXXVI. 
 Venezia, Marino Rossetti, 1726. 56 p. 15 cm . 
 
 Three acts. Neither the author, conte Agostino Piovene, is mentioned, nor Antonio 
 Vivaldi, the composer. Argument, notice to the reader, cast, and scenario. 
 
 SCHATZ 10764 
 
 The cunning man. Tr. of Rousseau's Le devin du village. 
 
 Cupid and Psyche : or, Colombine-Courtezan. A dramatic panto- 
 mime entertainment. Interspers'd with ballad tunes. As it is per- 
 form'd at the Theatre-Royal in Drury-Lane, by His Majesty's 
 servants. 
 London, J. Watts, 1734. 2 p. I, 18 p. 19^ cm . 
 
 One act. Author not recorded. Without music, and the titles of the ballad-tunee 
 are not indicated. 
 
 First performed, as indicated, February 4, 1734. LONGE 33 
 
 Cupid's revenge: an Arcadian pastoral. As it is performed at the 
 Theatre-Royal, Hay-Market. The music by Mr. Hook. 
 London, J. Bell, 1772. 3 p. I, 39, [1] p. 21. 
 
 Two acts. Cast and dedication dated London, July, 1772. By Francis Gentleman. 
 First performed June 12, 1772. LONGE 244 
 
 Cupido. See Reiser's Der sich raechende . . . 
 
 Cupido trionfatore o sia Apollo e Dafne, ballet. See Pio's Nettuno 
 ed Egle. 
 
 A cure for a scold. A ballad farce of two acts. (Founded upon 
 Shakespear's Taming of a shrew) As it is acted by his Majesty's 
 Company of comedians at the Theatre Royal in Drury-Lane. By 
 J. Worsdale, portrait-painter. 
 London, L. Gittiver, n. d. 5 p. I, 59, [1] p. 18\ cm . 
 
 Epilogue, cast, preface, in which this is called the author's first attempt, and 
 James Worsdale's dedication. The 23 (8, 15) airs used are indicated by title. 
 First performed at Drury-Lane, February 25, 1735. LONGE 275 
 
 A cure for dotage. A musical entertainment ; sung at Mary bone- 
 Gardens. 
 
 London, C. D. Piguenit, 1771. 1 p. 1., 20 p. 21 cm . 
 
 Two parts. Neither author nor composer mentioned or recorded by Biog. Dram, 
 and Genest. LONGE 204 
 
 II curioso accidente della caccia. A. T. of the ballet Dove entrd 
 cervo esce donna. 
 
 II curioso accidente. Dramma giocoso per musica di Giovanni 
 Bertati da rappresentarsi nel nobile Teatro Giustiniani hi San Mois& 
 per la prima opera dell' autunno 1789. 
 
 Venezia, Modesto Fenzo, 1789. 68 p. 18% cm . 
 
 Three acts. Cast and name of Gennaro Astaritta as composer. On p. 65-66 text 
 of the arias "Sento in gabbia innargentata " and "Quella fiamma, che v'accende," 
 which were substituted for Signora Maria Caracci Caravoglia, who took the part of 
 Gentilina instead of Signora Irene Tomeoni Dutillieu. On p. 67-68 "argomento del 
 hallo primo intitolato Nina pazza per amore" and title of the second "Chi la fa 
 raspetta," both invented by Eusebio Luzzi, the composer of the music not being 
 mentioned. SCPATZ 385 
 
 72251 VOL 114 22
 
 338 LIBRARY OF CONGRESS 
 
 II curioso del suo proprio danno. Commedia per musica. Da 
 rappresentarsi nel Teatro Nuovo sopra Toledo nel carnovale di quest' 
 anno 1756. 
 
 Napoli, Girolamo Flauto, 1756. 72 p. 15 cm . 
 
 Three acts. By Antonio Palomba, who is not mentioned. Cast and name of 
 Niccol6 Piccinni as the composer. SCHATZ 814 
 
 II curioso jndiscreto. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro delle Dame il carnevale dell' anno 1777 . . . [vig- 
 nette] 
 
 Roma, Si vendono da Giovanni Bartolomicchi, n. d. 67 p. 15\ cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Impresario's dedi- 
 cation, argument, scenario, cast and name of Pasquale Anfossi as composer. 
 
 ML 50.2.C9A6 
 
 II curioso indiscrete. Dramma giocoso per musica da rappresen- 
 tarsi in Firenze nel Teatro di via del Cocomero nelF autunno dell' 
 anno 1777 . . . 
 
 Firenze, Anton Giuseppe Pagani, 1777. 62 p. W\ cm . 
 
 Three acts. Cast and name of composer, Pasquale Anfossi, but not of librettist, 
 who is unknown to Schatz. The'ballets, by Onorato Vigan6, composer of the music 
 not mentioned, were called "La pastorella impertinente and II Giocatore." 
 
 SCHATZ 232 
 
 II curioso indiscrete. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro di Lucca 1'autunno dell' anno 1779. 
 
 Lucca, Gio. delta Voile, n. d. 87 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, and name of Pasquale Anfossi as the 
 composer. The author is unknown to Schatz. With the opera were performed 
 Francesco Ricci's ballet "La sposa persiana" and Giuseppe Trafieri's "La vendem- 
 mia, ossia La contadina impertinente." The composers of the music are not men- 
 tioned. 
 
 The date of first performance is given as August 7, 1779. SCHATZ 11670 
 
 Les Cyclopes. Intermede in Bourgeois' Les plaisirs de la paix. 
 
 Cymon. A dramatic romance. As it is performed at the Theatre- 
 Royal, in Drury-Lane. The music by Mr. Arne . . . The third 
 edition. 
 
 London, T. Becket and P. A. De Eondt, 1767. vi, [2], 86, [2] p. 
 
 19 cm . 
 
 Five acts, prologue and epilogue. Cast. By David Garrick, who is not men- 
 tioned. The composer was Michael Arne, not Thomas Aug. In the vocal scores the 
 additional song " Be sure you regard "is headed as composed by Dibdin. 
 
 First performed January 2, 1767, as indicated. LONGE 46 
 
 Cymon, altered from David Garrick, Esq. In two acts. 
 [358]~403 p. 19 cm . (Collection of the most esteemed farces and enter- 
 tainments, t. Ill, Edinburgh, 1792.} 
 
 Drury-Lane and Edinburgh (1783) casts. SCHATZ 11753 
 
 - Cymon. A dramatick romance. The music by Mr. Arne. 
 Adapted for theatrical representation, as performed at the Theatre- 
 Royal, Covent-Garden. Regulated from the prompt-book, by per- 
 mission of the manager . . . 
 
 London, John BeU, 1795. front., 1 p. 1., iv, [2\, 7-78 p. 15. 
 (J. Bell, British theatre, London, 1791-1797, v. 29.}
 
 OPERA LIBRETTOS 339 
 
 Cymon Continued. 
 
 The front, represents Mr. Kelly as Cymon and is dated August 15, 1795. The p. 1. 
 is an added engraved title page with a scene from the play and is dated, July 30, 
 1795. Prologue and five acts. Covent-Garden cast. PR 1241 .B4 
 
 Cyrillus der Kappadozier, ein j linger martyrer, ein singspiel in 
 zween aufzuegen, aufgefuehrt von der studirenden jugend des Katho- 
 lischen schulhauses zu Augsburg bey St. Salvator den 2. 5. und 6. 
 Herbstmondes [Sept.] 1785. 
 
 [Augsburg], Joseph Simon Hueber, n. d. 16 p. 20 cm . 
 
 Author unknown to Schatz. Johann Evangelist Drexel is mentioned as the 
 composer. With cast and "Vorbericht." At head of title: "Paulinus v. Holla . . . 
 ein trauerspiel . . . und. " SCHATZ 2816 
 
 Cyrus. Tr. of Metastasio's text II Giro riconosciuto. 
 
 Cythere assiegee, opera-comique en un acte ; represente a Bruxelles, 
 pour la premiere fois, le 7 juillet 1748. Et a rOpera-comique le 
 limdi 12 aout 1754. Nouvelle edition. 
 Paris, Duchesne, 1760. 48 p. 21 cm . 
 
 Cast and note : 
 
 "Cette piece fut d'abord faite en prose & couplets par M. Favart, en 8oci4t6 avec 
 M. Fagan, & represented a Paris & 1'ouverture de la Foire St. Laurent 1738 [as "Le 
 pouvoir de 1'amour, ou Le siege de Cythere"]; depuis entierement refondue par M. 
 Favart, pour la Troupe des Comediens de Bruxelles; & donne a Paris sur le Theatre 
 de 1'Opera-cpmique, selon 1'ordre qui suit." 
 
 The text is best known as a vehicle for Gluck, whose "La Cythere assiege"e" was 
 first performed at Schwetzingen in 1759. A second version was performed at Paris, 
 Academic royale de musique, August 11, 1775. ML 50.2.C95 
 
 Second copy (Theatre de M. Favart, Paris, Duchesne, 1763-77, t. vii). 
 
 ML 49.A2F1 
 
 Airs, duets, trios, chorusses, etc in the Czar: a comic opera, in three 
 acts. Performed at the Theatre-Royal, Covent-Garden. 
 London, T. CadeU, 1790. 30 p. 21. 
 
 Cast. The air, "The prince, unable to conceal his pain," according to a footnote, 
 is not by the author, John O.'Keefe (not mentioned). The opera was first called "The 
 czar Peter," and finally, after being reduced to a farce, was called "The fugitive." 
 The composer, William Shield, is not mentioned. 
 
 First performed, as indicated, March 8, 1790 LONGE 204 
 
 Da gratitudine amore. A. T. of Seydelmann's II mostro. 
 
 Da 1st nicht gut zu rathen, eine comische oper in zwey aufzuegen 
 von Stephanie dem juengeren. Die musik dazu ist vom herrn 
 Bartta. Aufgefuehrt im Kaiserl. Koengl. National theater. 
 Wien, n. publ, 1778. 60 p. 16 cm . 
 
 Dedication, "An die kritik," in which author says, "Ich betrete heute eine neue 
 laufbahn," and lengthy Vorrede, in which he denies having based this libretto on an 
 older opera, called Hulla." 
 
 First performed, as indicated, August 8, 1778. SCHATZ 615 
 
 La Dafne d'Ottavio Rlnuccini rappresentata alia Sereniss. Gran 
 Duchessa di Toscana dal Signer Jacopo Corsi [coat of arms]. 
 
 Firenze, Giorgio Marescotti, MDC. 12 unnumb. I. 21 cm . 
 
 SCHATZ 7918
 
 340 LIBRARY OF CONGRESS 
 
 La Dafne Continued. 
 
 Printer's sign on recto of last leaf. No dedication, no preface. The two leaves 
 preceding last 1. contain a laudatory poem of eight Btanzas, to Corsi, beginning: 
 
 "DclS. Jacopo Corsi. 
 
 Qual novo altero canto 
 
 O Musa, 6 Dea mi detta, ond' io risuoni 
 
 Corei tuo nobil vanto. 
 
 Corei, che tutti sproni ; 
 
 E tutti accendi alle virtu celesti, 
 
 Mentre primier le belle vie calpesti." 
 
 Strange to say, the chronological history of "Dafne" is still open to conjecture. 
 At least, it has never been told in a manner as to silence criticism and I doubt very 
 much that this can be done at present. Everything depends on a satisfactory inter- 
 pretation of the strictly contemporary sources, which alone can establish the chron- 
 ology of this, the first opera. 
 
 Before these sources are quoted for analysis, attention may well be called to the 
 customary statement that Rinuccini's "Dafne" is based on his " Combattimento di 
 Apollo col serpente Pitone," an intermedio performed in 1589 at Florence with Luca 
 Marenzio's music. As a matter of fact, Rmuccini used only one number of this, 
 the madrigal "Ebra di sangue in questo oscuro bpsco" for his Dafne" text. 
 
 The earliest document that calls for consideration is Rinuccini's dedicatory preface 
 to his "L'Euridice" text, published in October 1600. In this he says, so far as the 
 chronological history of ' ' Dafne " is involved : 
 
 "E stata opinione di molti . . . che gli antichi Greci e Romani cantassero sulle 
 scene le trageaie intere; ma si nobil maniera di recitare nonche rinnovata, ma ne 
 pur, che io sappia, fin qui era stata tentata da alcuno, e ci6 mi credev'io per difetto 
 della musica moderna, di gran lunga all'antica inferiore. Ma pensiero si fattp mi 
 tolse interamente dall' animo M. Jacopo Peri: quando, udito 1'intenzione del Signor 
 Jacopo Corsi e mia, mise con tanta grazia sotto le note la favola di Dafne (composta 
 da me, solo per fare una semplice prova di quello che potesse il canto dell' eta nostra) 
 che incredibilmente piacque a quei pochi che 1'udirono. 
 
 "Onde, preso animo, e dato miglior forma alia stessa favola, e di nuovo rappresen- 
 tandola in casa il Sig. Jacopo, fu ella, non solo dalla nobilta di tutta questa patria 
 favorita, ma dalla sereniseima Gran Duchessa e gli illustrissimi Cardinal! Dal Monte 
 e Montaldo udita e commendata. 
 
 "Ma molto maggior favore e fortuna ha sortito VEuridice, messa in musica dal 
 medesimo Peri con arte mirabile e da altri non piu usata . . ." 
 
 It will be noticed that Rinuccini does not mention Giulio Caccini at all, either in 
 connection with "Euridice" or "Dafne." Caccini, in turn, neither in the dedica- 
 tory preface (dated December 20, 1600) of his "Euridice score" (dated 1600 but 
 hardly published before our year 1601) nor in the dedication and preface of his "Le 
 nuove musiche" (published at the earliest in July 1602, since the imprimatur is 
 dated July 1, 1602. The title page is dated 1601 and the dedication February 1, 
 1601, both times 1601 being the same as 1602, new style) mentions his rival Peri. 
 More singular still, he does not mention "Dafne," yet in his "Nuove Musiche e nuova 
 maniera di scriverle" of 1614 he says: 
 
 "Molti anni avanti che io mettessi alcuna delle mie opere di musica per una voce 
 sola alia stampa, se ne eran vedute fuora molte altre mie, fatte in diversi tempi et 
 occasion!, delle quali furono piu note la musica che io feci nella favola della Dafne 
 del Sig. Ottavio Rinuccini, rappresentata in casa del Sig. Jacopo Corsi d'onorata 
 memoria, a quest' Altezze Serenissime et altri Principi; ma le prime che io stam- 
 passi furon le musiche fatte 1'anno 1600 nella favola dell' Euridice, opera del mede- 
 simo autore: e furon le prime che si vedesser date in luce in Italia da qualunque 
 compositore di tale stile a una voce sola; diedi appresso fupre 1'anno 1601 {!] quelle 
 che 10 intitolai Le nuove musiche ..." [for Peri's priority in the use of this famous 
 term see Euridice]. 
 
 In the preface of his ' ' Euridice " score (dated 1600, but as the dedication is dated 
 February 6, 1600, which is the same as February 6, 1601, new style, the score was 
 published in 1601, new style) Jacopo Peri has this to say: 
 
 "Benche dal Signor Emilio del Cavaliere, prima che da ogni altro ch'io sappia, 
 con maravigliosa invenzione ci fusse fatta udire la nostra musica sulle scene; piacque 
 nondimeno a' Signori Jacopo Corsi ed Ottavio Rinuccini (fin 1'anno 1594), che ip, 
 adoperandola in altra guisa, mettessi sotto le note la favola di Dafne, dal Signor Ottavio 
 composta, per fare una semplice pruova di quello che potesse il canto dell' eta nos- 
 tra .
 
 OPERA LIBRETTOS 341 
 
 La Dafne Continued. 
 
 "Onde fatta udire a quei Signori la mia openione, dimostrai loro questo nuovo 
 modp di cantare, e piacque sommamente, non pure al Signer Jacopo, il quale aveva 
 di gi& composte ane bellissime per quella favola, ma al Signer Pietro Strozzi, al 
 Signer Francesco Cini, et ad altri molti intendentissimi gentiluonuni (che nella 
 nobilta fiorisce oggi la muica), come anco a quella iamosa, che ei pu6 chiamare Euterpe 
 dell' eta npstra, la Signora Vittoria Archilei . . . e per tre anni continui che nel 
 carnovale si rappresento, fu udita con sommo diletto e con applauso universale rice- 
 vuta da chiunque vi si ritrov6. Ma ebbe miglior ventura la presente Euridice ..." 
 
 Finally, Marco da Gagliano in the preface of his "Dafne" of 1608 writes: 
 
 " Ritrovandomi il carnoval passato in Mantova [carnival 1607-8] . . . voile [Vin- 
 cenzo Gonzaga, duke of Mantova] fra 1'altre che si rappresentasse la Dafne del Signor 
 Ottavio Rinuccini da lui con tale occasione accresciuta e abbellita, fui impiegato a 
 metterla in musica: il che io feci nella maniera che ora vi presento . . . 
 
 "... credo che non sant disutile, n lontano dal nostro proposito il ridurvi in 
 memoria come e quando ebbero origine si fatti spettacoli ... 
 
 "Dopo 1'avere piu e piu volte discoreo intornp alia maniera usata dagli antichi in 
 rappresentare le lor tragedie . . . il Sig. Ottavio Rinuccini si diede a compor la 
 favola di Dafne, il Sig. Jacopo (Torsi, d'pnorata memoria . . . compose alcune arie 
 sopra parte di essa, delle quali invaghitpsi, risoluto di vedere che effetto facessero su 
 la scena, confer! insieme col Sig. Ottavio il suo pensiero al Sig. Jacopo Peri, peritis- 
 simo nel contrapunto e cantore d'estrema esquisitezza : il quale, udita la loro inten- 
 zione e approvato parte dell' arie gia composte, si diede a comporre 1'altre, che 
 piacquero oltre modo al Sig. Corsi, e con 1'occasione d'una veglia il carnovale dell' 
 anno 1597 la fece rappresentare alia presenza dell' eccellentissimo Sig. Don Giovanni 
 Medici e d'alcuni de' principal! gentiluomini de la citta nostra. II piacere e lo 
 stuppre che partorl negli animi degl' uditori questo nuovo spettacolo non si pu6 
 esprimere, basta solo che per molte volte ch'ella s'e recitata, na generate la stessa 
 ammirazione e lo stesso diletto. Per si fatta prova venuto in cognizione il Sig. Rinuc- 
 cini quanto fusse atto il canto a esprimere ogni sorta d'affetti, e che non solo (come 
 per avventura per molti si sarebbe creduto) non recava tedio, ma diletto incredibile, 
 compose VEundice, allargandosi alquanto piu ne'ragionamenti. TJditala poi il Sig. 
 Corsi, e piaciutole la favola e lo stile, stabill di far la comparire in scena nelle nozze 
 della Regina Cristianissima. [Florence, October 6, 16001 Allora ritrov6 il Sig. 
 Jacopo Peri quella artifiziosa maniera di recitare cantando, che tutta Italia am- 
 mira . . ." 
 
 Not a word about Caccini's "Euridice," much less about his "Dafne," as if Marco 
 da Gagliano, so liberal in his praise of Peri and Monteverdi, wished to rebuke Caccini 
 for his undeniable tendency to appropriate the priority in all matters bearing on this 
 new art of opera. To quote the later accounts of Vitali, Giustiniani, Bonini, Bardi, 
 della Valle, Doni, would serve no useful purpose. They add either nothing new or 
 by combining hear-say with deductions from earlier printed accounts, they partake 
 of the character of secondary sources and merely help to confuse matters. 
 
 All these accounts have been made conveniently accessible by Solerti in his book 
 "Le origini del melodramma." My arguments are based on this and on data in 
 Solerti's more historical book "Gli albori del melodramma." Also his book "Musica, 
 ballo e drammatica alia corte Medicea dal 1600 al 1640" was helpful, but I regret 
 that Solerti was not always at his best in dissecting for reconstructive purposes the 
 mass of contemporary data so patiently unearthed by him, since he utilized them 
 for some rather loose and contradictory statements in his second work mentioned 
 above. 
 
 The only definite date of performance is given by Marco da Gagliano. He says 
 that Jacopo Corsi during carnival of 1597 had Peri's Dame" performed in the pres- 
 ence of Giovanni Medici and some of the principal gentlemen of Florence. He does 
 not specifically state that the performance took place at Corsi's palace nor that it was 
 the first performance but it is only reasonable to interpret his remarks to that effect. 
 Marco da Gagliano does not say, as one sometimes find stated, that he was present. 
 Being in Florence at the time as a rising student of composition under Bati, he either 
 based his account on personal experience or on contemporary local reports. At any 
 rate, his account carries with it considerable weight. 
 
 Rinuccini does not mention a date of performance. He merely says that Peri's 
 "Dafne" was performed before a few enthusiastic listeners and later in an improved 
 form of the text at Corsi's palace before a large audience of Florentine noblemen, the 
 Grand Duchess and the cardinals Del Monte and Montalto. 
 
 The presence of both these cardinals furnishes the pivotal clue. We know from 
 the "Storia d'Etichetta" (a record of events at court by the master of ceremonies) 
 that they actually attended on January 21, 1599, a performance of "Daf thoughne,'
 
 342 LIBRARY OF CONGRESS 
 
 La Dafne Continued. 
 
 not at Corel's palace but at court, at the Palazzo Pitti "nella sala dclle statue," the 
 Kime hall in which "Euridice" was first produced one year later, on October 6, 1600. 
 This apparent contradiction between Rinuccini and the "Storia d'Etichotta " would 
 be a barrier to further deductions, but fortunately the household accounts of Corsi's 
 wife are preserved and therein we find under date of January 18, 1599, the entry of a 
 certain sum "a Romolo [spcnditore] per ispese fatte nei giomi che s'e fatto la come- 
 dia" and under April 23 a similar entry. This last entry may refer to expenditures 
 of the Corsis for the Palazzo Pitti performance of "Dafne" but this inference is not 
 at all obligatory. Also Signora Corsi may have made her entry for January 18 several 
 days later but," in the absence of proof, we are justified in folfowing the lines of least 
 resistance and in assuming that she made her entry of January 18 for expenses incurred 
 by a performance of "Dafne" at the latest on January 18, 1599. Since such a per- 
 formance is not recorded in the "Storia d'Etichetta'' it would follow that it took 
 place at Corsi's palace, if at all, and not at court. Therewith we have a loophole for 
 reading into Rinuccini's account that "Dafne" was performed at Corsi's palace not 
 later than January 18, 1599, in the presence of the two cardinals who were in the 
 city as early as January 5, 1599.* 
 
 Peri's account, at first reading, appears to be clear and definite, but, on the con- 
 trary, it is misleading. In first place, he either meant that Corei and Rinuccini "fin 
 1'anno 1594" requested him to compose "Dafne" or that at the request of these two 
 gentlemen he composed "Dafne" "fin 1'anno 1594." At any rate, he docs not say, 
 though that is now commonly taught, that "Dafne" was performed in 1594. Even if the 
 second interpretation of his ambiguous statement is accepted, it is clear that after 
 "Dafne" was composed "fin 1'anno 1594," it must have consumed time to prepare 
 and rehearse the work for performance. This necessarily narrows the margin of the 
 year 1594 still more. Now, according to modern Gregorian chronology, the last 
 months of the old Julian Florentine year 1594 coincide with the first months of our 
 year 1595. Consequently we are practically obliged to look to the first months of our 
 year 1595 as the earliest possible date of performance of "Dafne," even if Peri with 
 his words "fin 1'anno 1594" intended a reference to the first performance of hia 
 "Dafne." 
 
 Peri does not say where "Dafne" was performed. On the other hand his words, 
 too, leave no doubt that the first performance was witnessed by only comparatively 
 few music lovers. He then explicitly states that the work delighted the hearers "per 
 tre anni continui che nel carnovale si rappresento." By what turn of reasoning 
 Solerti could interpret this clear-cut statement to mean that "Dafne" was first per- 
 formed during carnival of 1594/5 and then during the three successive carnivals 1595/6, 
 1596/7, 1597/8, I am utterly unable to understand. It seems to me that Peri's words 
 bind us to the interpretation that "Dafne" was performed during three successive 
 carnivals inclusive of the first (apparently more or less tentative) performance. 
 
 Pietro Bardi, conte di Vermo, who was an eye and ear witness, said in 1634 of 
 this performance: 
 
 * The question suggests itself: Were perhaps these cardinals in each other's com- 
 pany in Florence at some earlier date, which would help to establish the correct 
 chronology of "Dafne"? Alessandro Guidotti says in his dedication of the score of 
 Emilio de' Cavalieri's " Rappresentatione di anima et di corpo" (Roma, t Nicolo 
 Mutii MDO): "... nel 1595 il Giuoco della cieca alia presenza de gl'illustrissiinicar- 
 dinali Monte, e Mont' Alto, e del Sereniss. arciduca Ferdinando." 
 
 This is corroborated by a letter written on November 14, 1595, from Florence by 
 Piermaria Cecchini to Giov. Battista Laderchi, secretary of the duke of Ferrarra. 
 These two documents offset any argument that may be derived from the fact that 
 neither the "Storia d'Etichetta " nor Settimani in his diary mention the presence of the 
 cardinal del Monte when speaking of the performance of Cavalieri's "II Giuoco della 
 cieca" at the Palazzo Pitti on October 29, 1595. On the other hand, in none of the 
 various sources is any allusion whatsoever made to a performance of "Dafne" in 
 October 1595 at the Corsi palace in the presence of these two cardinals. Nor is this 
 surprising, since the first performance of "Dafne," according to both Peri and Marco 
 da Gagliano, took place during carnival, whatever the year of first performance may 
 have been. There appears to be no record of both cardinals mentioned being in 
 Florence at the same time except in October 1595 and during carnival 1599. 
 
 Of course, there always remains the possibility of a misprint in either Peri's 1594 
 or Marco da Gagliano's 1597. However, we are not justified in assuming a misprint 
 which, by the way, so far as I can see, would not simplify matters until circum- 
 stantial or direct evidence obliges us to do so.
 
 OPERA LIBRETTOS 343 
 
 La Dafne Continued. 
 
 "La prima poesia, che in istile representative fosse cantata in palco, fu la Favola 
 di Dafne del Signer Ottavio Rinuccini, messa in musica dal Peri con poco numero 
 di suoni, con brevita di scene, e in piccola stanza recitata, e privatamente cantata, e 
 io restai stupido per la meraviglia." 
 
 Of a "Dafne" by Caccini not a word is said, though Bardi's hereditary interest in 
 Caccini was pronounced . 
 
 Carnival began in Florence like in other Italian cities end of December. This 
 would imply that Peri's "Dafne " was first performed in 1595 during carnival, repeated 
 during carnival 1595/6 and again repeated during carnival 1596/7 or, if we adhere to 
 Marco da Gagliano's date of carnival 1597 as that of the first performance, that "Dafne " 
 was first performed during carnival 1597, repeated during carnival 1597/8 and again 
 repeated during carnival 1598/99. 
 
 If we accept the first alternative, then neither Solerti's nor my interpretation of 
 the meaning of ' ' tre anni continui " could possibly carry us down to the performance 
 or performances in January, i. e. carnival, 1599, at which the two cardinals undoubt- 
 edly were present. It would imply that Peri observed silence on the most con- 
 spicuous performance of his "Dafne" recorded. That is hardly credible. 
 
 If we accept Marco da Gagliano's carnival 1597 as the date of the first performance 
 and further accept my conjecture that the Palazzo Pitti performance of January 21, 
 1599, was preceded by a performance at Corsi's palace not later than January 18, 
 1599, before the Bame two cardinals, then the contradictions between the contem- 
 porary reports would seem to vanish. 
 
 This theory that "Dafne" was first performed in carnival 1597 seems to be weak- 
 ened by the long interval between "fin 1'anno 1594" the earliest possible date of 
 composition and carnival 1597, the deducted date of first performance. True, but we 
 have seen that it is not at all necessary to argue that Peri composed "Dafne" "fin 
 1'anno 1594" (which may mean January, February, even March of our 1595). If 
 "fin 1'anno 1594" he merely was requested by Corsi and Rinuccini to try his hand 
 at an operatic setting of "Dafne," then it stands to reason, as this was a venture into 
 a virgin field of composition, that Peri did not go about his task in a hurry. Indeed 
 his words "onde fatta udire a quei Signori la mia openione" would seem to imply 
 preliminary deliberation and testa before he demonstrated to them "questo nuovo 
 modo di can tare" and the actual composition of such "nuoye musiche," as Peri 
 prior to Caccini called them in the dedication of his "Euridice" score, with such a 
 raffinement of careful attention to the setting of the verses as Riemann has revealed 
 to us lately, presumably at that statge of the operatic game was not a matter of just 
 a few days. Furthermore, if the work was first performed during carnival 1597, 
 rehearsals, etc., must have preceded the performance so that after all the interval 
 between "fin 1'anno 1594" and carnival 1597 is narrowed perceptibly. 
 
 Finally, the acceptance of carnival 1597 as the date of first performance would 
 explain readily why Peri, who certainly was not a seeker after priority, while 
 insisting on his own different manner of procedure, in his "Euridice" preface, should 
 so unreservedly have credited Emilio de' Cavalieri with the priority of making 
 heard "la nostra musica sulle scene." If Peri's "Dafne" had been composed "fin 
 1'anno 1594 " and performed early in 1595, this tribute to Emilio de' Cavalieri would 
 be just a trifle too liberal. On the other hand, if Peri's "Dafne" was not performed 
 until carnival 1597, then Peri's tribute would be entirely plausible and justified, 
 since Emilio de' Cavalieri created somewhat of a sensation with his scenic musical 
 pastoral "II Giuoco della cieca," performed on October 29, 1595, at the Palazzo 
 Pitti in continuation of his pastoral experiments "II satiro" and " Disperazione di 
 Fileno," both of the year 1590 and the texts of all three by Laura Guidiccioni. 
 
 Without claiming to have unravelled the knotty problem, I believe the chrono- 
 logical history of "Dafne " to be about about as follows: 
 
 Not later than "fin 1'anno 1594" Rinuccini's "Dafne" text was ready in its original 
 form for a composer. Not earlier than "fin 1'anno 1594" Peri began to compose it. 
 The first performance took place before a small audience of connoisseurs at Corsi's 
 palace during carnival 1597. The work was repeated during carnival 1597/8 at 
 Corsi's palace in the original or in the improved version of which Rinuccini speaks. 
 The work was again repeated, this time surely in the improved version, at Corsi's 
 palace before the two cardinals Del Monte and Mpntalto not later than January 18 
 (carnival) 1599 and again, but at the Palazzo Pitti before the same cardinals and a 
 large audience of Florentine nobility, on January 21, 1599. 
 
 From the household accounts of Signora Corsi we further know that "Dafne" 
 must again have been performed at the Corsi palace late in August, 1600, and it ia 
 perhaps for this performance that the libretto (of course the improved version; the
 
 344 LIBRARY OF CONGRESS 
 
 La Dafne Continued. 
 
 original version is not extant) was printed. It should be noted that Signora Cored 
 does not mention Peri. 
 
 Again "Dafne" was revived on October 26j 1604, at the Palazzo Pitti (not at the 
 Corsi palace, as Gandolfi incorrectly stated) in honor of the duke of Parma. The 
 libretto for this performance (a reissue of the 1600 ed. with new title page and negligible 
 differences. For the differences between the texts of 1600, 1604 and 1608 see 2d vol. 
 of Solerti's "Gli albori del melodrama") exists, whereas no copy of the libretto used 
 for the performance at Mantova in 1608 of Marco da Gagliano's Dafne " in a further 
 revision of the text by Rinuccinj, has been traced. Possibly no such Jibretto was 
 published. The performance of 1(504 is recorded in Tinghi's diary, which forms the 
 substance of Solerti's fascinating book "Musica, ballo e drammatica alia corte Medi- 
 cea dal 1600 al 1640." It should be noted that Tinghi does not mention a composer. 
 
 Whose score was used for these performances of August 1600 and October 26, 1604? 
 Giulio Caccini started on his voyage to France in September 1604. Consequently 
 this fact together with his own statement that his "Dafne" music was performed at 
 Corsi 's palace, whereas the 1604 performance occurred at the Palazzo Pitti, excludes 
 Caccini. The probabilities are that Peri's score was used. 
 
 That Caccini's "Dafne" music was not used for performance during Peri's "tre 
 anni continui," I think, is a fairly safe hypothesis, especially as Peri does not men- 
 tion interpolations from a score by Caccini, whereas he did not hesitate to state that 
 some of Caccini's "Euridice" music was used in the first performance of his own 
 "Euridice" on October 6, 1600. That Caccini's "Dafne" music was not drawn 
 upon for the performance on January 21, 1599, is certain, since it did not take place 
 at the Corsi palace but at the Palazzo Pitti. 
 
 There remains the performance late in August 1600. To this Peri laid no claim 
 and as no composer is mentioned by Signora Corsi, it is permissible to argue that at 
 least for this performance music by Caccini was used. Permissible but not obliga- 
 tory, because Caccini's words "la musica che io feci nella favola della Dafne del Sig. 
 Ottavio Rinuccini, rappresentata in casa del Sig. Jacopo Corsi " do not necessarily 
 imply either that he composed the whole text or even that the music composed by 
 him was used in a stage performance of Rinuccini's "Dafne" favola. What makes 
 the use of music by Caccini even in August 1600 doubtful is, that Caccini forgot 
 and he was not given to forgetting such things to mention his share in the history 
 of "Dafne" in his "Euridice" preface, though he had ample time to incorporate 
 pertinent remarks therein! For the same psychological reason it is doubtful that 
 Dafne " music by Caccini was performed at all up to the time that he sent his " Nuove 
 musiche " to the press in 1602, since they, too, fail to mention any music composed 
 by him for Rinuccini's "Dafne"! 
 
 On purpose so far nothing has been said about Corsi's "Dafne" music. This much 
 Peri makes perfectly clear, that Jacopo Corsi was the first to compose "Dafne" music 
 and that Corsi had already composed "arie bellissime per quella favola" before he, 
 Peri, undertook to set the "Dafne" text according to his own ideas. Peri's account 
 does not permit us to argue that these arias by Corsi were interpolated for the per- 
 formances of Peri's score. In view of Peri's silence on this point, the correctness of 
 Marco da Gagliano's statement that Peri "approyato parte dell' arie gia composte, 
 si diede a comporre Valtre " which would seem to imply that in carnival 1597 a score 
 was used, largely by Peri, but partly by Corsi, becomes rather doubtful. 
 
 A disturbing element is thrown into the chronology of "Dafne" as outlined above 
 by the entry of the "Storia d'Etichetta" for the performance of "Dafne" on January 
 21, 1599. The "Storia d'etichetta" does not mention Peri, but says "si fece nella 
 sala delle statue la pastorella in musica del Sig. Jacopo Corsi." It is of course pos- 
 sible that Corsi had composed the entire "Dafne" text in the meantime and a literal 
 interpretation of the entry in the "Storia d'etichetta" would therefore mean that a 
 "Dafne" score by Corsi was performed on January 21, 1599. While conceding this 
 possibility, something else must be taken into consideration which weakens this 
 possibility very much. 
 
 The courtier diarists do not seem to have taken the trouble to inform themselves 
 about the composers who furnished the music for these court entertainments. Thus 
 the ambassador of Parma wrote to his duke about "Euridice": "si rappresent6 in 
 casa del Granduca da un gentiluomo della citta la favola di Orfeo et Euridice in 
 versi e sempre in musica, che dur6 un ora e mezza." Furthermore Tinghi attributed 
 the score 01 "Euridice" to Emilio de' Cavalieri and just as hazy were Giovanni del 
 Maestro' 8 notions about the composer of "Euridice" when he said in his "Memorie": 
 "dopo desinare si fece una commedia nel Palazzo de' Pitti sul salone di sopra, tutta 
 in musica opera del Signor Jacomo Corsi e materia del Signor Ottavio Rinuccini." 
 The correct state of affaire was, however, recorded by Michelangnolo Buonarotti in
 
 OPEEA LIBRETTOS 345 
 
 La Dafne Continued. 
 
 his official " Descrizione " (1600) of the festivities. Without mentioning Peri or 
 Caccini, he wrote: "la onde avendo il Signer Jacppp Corsi, fatta messere in musica 
 con grande studio la Euridice, affettuosa e gentilissima favola del Signer Ottavio 
 Rinuccini." 
 
 Thus, quite in keeping with the ideas of the time, Jacopo Corsi, Maecenas and 
 "Padre" of music (as Marco da Gagliano calls him), was considered to have had a 
 kind of proprietary right as auther in the entertainments planned and financed by 
 him for court. It was of no particular interest to courtiers to know the names of 
 professionals engaged to provide the music for entertainments under the auspices of 
 a gentleman like Corsi. Other librettos of the time have come to my notice which 
 bear out this impression. In such cases, as in the case of "Dafne," words like "la 
 pastorella in musica del Sig. Jacopo Corsi" would therefore by no means always 
 signify composed by Corsi, but the "pastorella in musica" which Corsi engaged some 
 musician to compose for entertainments planned by him. 
 
 Notwithstanding the plain historical fact of priority Rinuccini 's " primier le belle 
 vie calpesti" is more than a mere poet's compliment very little interest was taken 
 in Corsi's share in the first opera until, quite accidentally, Mies Hortense Panum, 
 while collecting material for her and Mr. Behrend'e history of music, discovered, at 
 the Brussels Conservatory library in 1888, two excerpts from "Dafne" in a collection 
 of (late 16th and early 17th century) monodies, and these excerpts bore the heading, 
 "del S? Jacopo Corsi." Miss Panum then published these two excerpts (the one 
 Apollo's "Non curi la mia pianta," the other the final chorus, "Bella ninfa fugi- 
 tiva") in the Musikalisches Wochenblatt, 1888 (y. 19, p. 346-347). This fact was 
 not mentioned by Mr. Wotquenne when he, in 1901, with not quite correct histor- 
 ical notes, published the two Corsi torsi in photographic facsimile on two fly-leaves 
 between p. 46-47 of his "Annexe I" of the "Catalogue de la Bibliotheque du Con- 
 servatoire Royal de musique. "Bella ninfa" was also published by Hortense Panum 
 and W. Behrend in their "Illustreret Musikhistorie, " 1905 (p. 218-219), and both 
 pieces by Solerti in his "Gli albori del melodramma" (I, Suppl.). 
 
 It is one of the caprices of fate, indeed, that the " Dafne scores of both Peri and 
 Caccini should have been lost, but that music by Jacopo Corsi, who was the first to 
 compose at least parts of Rinuccini's text of this, the first opera, should have been 
 preserved ! 
 
 Dafni. Favola boschereccia per musica. Da rappresentarsi nel 
 Teatro Malvezzi Fanno MDCXCVI . . . 
 
 Bologna, gli eredi del Sarti, n. d. 72 p. 13 cm . 
 
 Prologue and three acts. Dedication by "Gli Uniti" and notice by the anon- 
 ymous author, Eustacchio Manfredi, to the reader, beginning: 
 
 "Tu leggi in questo piccol volume il drama stesso, che vedrai rappresetare sil 
 queste scene; ne per altrp si dato alle starnpe, che per aiutare il tuo orecchio mentre 
 1'udirai a cantare. Voglio dire, che egli non e fatto per leggerlo fuori di queeta occa- 
 sione, e che quando quest' opera sia udita con diletto ha attenuto il suo intento. 
 Siasi ella tragedia, p pastorale, o tragicomedia, o qualsivoglia altro poema, che 
 importa? ella 6 un divertimento per musica addattato al gusto presente, ed al genio 
 della maggior parte, e per6 dispensato dalle leggi rigorose della Poetica ..." 
 
 The composer, Giuseppe Antonio Vincenzo Aldrovandini, is not mentioned. 
 
 First performed, as indicated, August 18, 1696. ML 50.2. D2 
 
 II Dafni. Tragedia satirica. Da rappresentarsi in musica nel famo- 
 sissimo Teatro Grimano di S. Gio- Grisostomo 1'anno 1705. 
 
 Venezia, Marino Rossetti, 1705. 82 p. 14\ cm . 
 
 Five acts. By conte Girolamo Frigimelica Roberti, who does not sign his lengthy 
 "Proemio" (p. 3-11) giving his theories of a proper "tragedia satirica." Argument 
 and scenario. Carlo Francesco Pollaroli, the composer, is not mentioned. 
 
 SCHATZ 8279 
 
 Dal finto il vero. Commedia per musica di Saverio Zini da rappre- 
 sentarsi nel Teatro Nuovo nella primavera di quest' anno 1776 . . . 
 
 Napoli, n. publ., 1776. 60 p. 15 cm . 
 
 Three acts. Cast, scenario, and name of Paisiello as the composer. SCHATZ 7604
 
 346 LIBRARY OF CONGRESS 
 
 Dal fiiito il vero Continued. 
 
 Dal fmto il vero. Dramma giocoso per musica da rappresentarsi 
 nel Piccolo Teatro di S. A. E. di Sassonia. 
 Dresda, n. pull, 1782. 119 p. 15\ cm . 
 
 Two acts. Without Zini's name, but with that of Paisiello. German title page 
 "Das ist er ia selbst" and text face Italian. 
 
 First performed, as indicated, 1782. SCHATZ 7605 
 
 Dalisa. Dramma per musica da rappresentarsi nel Teatro Grimani 
 di S. Samuele nella fiera dell' Ascensione dell' anno MDCCXXX. 
 
 Venezia, Carlo Biwnarigo, n. d. 4$j U] P- 15 cm . 
 
 Three acts. By conte Niccol6 Minatp, with alterations by Domenico Lalli, who 
 signs the dedication. Argument, scenario, cast, and name of Johann Adolph Hasse 
 as the composer. SCHATZ 4577 
 
 Daliso e Delxnita. Dramma per musica da rappresentarsi nel nobi- 
 lissimo nuovo Teatro di Padova nella fiera del Santo 1 'anno 1789 . . . 
 Padova, ConzaMi, n. d. 52 p. 17\ cm . 
 
 Two acts. Dedication, argument, cast, scenario, and name of the composer, 
 Francesco Bianchi. The text is, according to Schatz, a later version of Giovanni di 
 Gamerra's "Delmita e Daliso." On p. 46-52 argument, cast, and full description of 
 "Ercole e Dejanira, ballo tragico in cinque atti," by Francesco Clerico, the com- 
 poser not being mentioned. SCHATZ 997 
 
 Daliso, e Delmita. Dramma per musica rappresentato nell' Impe- 
 rial Teatro di Vienna per Tarrivo de' Reali Sovrani di Toscana nell' 
 estate dell' anno 1776. 
 n. i., n. d. 40 p. 19\ cm . 
 
 Two acts. Argument and on p. 4 "II tenente De Gamerra poeta dell' Imperial 
 Teatro al pubblico di Vienna" with the opening remark: 
 
 "I primi passi che avanzo sull' orme gloriose del mio immortal maestro dovrebbero 
 farmi temere una caduta, se non mi vedessi da lui incoraggito e eoetenuto." 
 
 First performed on July 29, 1776, with music by Antiono Salieri (not mentioned) 
 as indicated, but with title "Delmita e Daliso." ML 48.A5 v.45 
 
 La dama awenturiera. Commedia per musica di Giuseppe 
 Palomba da rappresentarsi nel Nuovo Teatro de' Fiorentini per 
 prim' opera di quest' anno 1780. 
 
 Napoli, n. putt., 1780. 67 p. 15 cm . 
 
 Three acts. Cast and name of Pietro G-uglielmi as the composer. SCHATZ 4240 
 
 La dama immaginaria. Azione teatrale da rappresentarsi nel 
 Teatro Giustiniani di San Moise il carnovale dell' anno 1777. 
 
 [Venezia], n. publ., n. d. 54 p- 17\ cm . 
 
 Two parts. Cast and name of Gennaro Astaritta as composer. The author, 
 Pietro Antonio Bagliacca, is not mentioned. SCHATZ 370 
 
 La dama pastorella. O. T. of Salieri's La cifra. 
 
 La dama soldato. Dramma giocoso per musica da rappresentarsi 
 nel nobilissimo Teatro Giustiniani in San MoisS Fautunno dell' anno 
 1792. 
 
 Venezia, Modesto Fenzo, 1792. 17\ cm . 
 
 Incomplete after p. 54. Two acts. By Caterino Mazzola, who is not mentioned. 
 Cast, scenario, and name of Giuseppe Gazzaniga as the composer. SCHATZ 3660
 
 OPERA LIBRETTOS 347 
 
 La dama soldato. Dramma giocoso per musica, da rappresentarsi 
 nel Teatro elcttorale, di Caterino Mazzola . . . 
 Dresda, n. pull, 1791. 147 p. 15\ cm . 
 
 Two acts. Johann Gottlieb Naumann is mentioned. German title page "Die 
 dame als soldat" and text face Italian. 
 
 First performed, as indicated, May 7, 1791. SCHATZ 7043 
 
 Was thut die liebe nicht! Eine nach der oper: La dama sol- 
 dato des Signore Mazzola frei bearbeitete operette in zwei aufzuegen. 
 Die musik 1st von herrn kapellmeister Naumann. 
 
 Leipzig, Wilhelm Heinsius derjuengere, 1793. 87 p. 16 cm . 
 
 Translator not mentioned and unknown to Schatz, but comparison shows that the 
 text is practically the same as in our Hamburg, 1804, libretto, attributed by Schatz 
 to Christian August Vulpius. 
 
 First performed at Konigsberg, Ackermannsches theater, January 31, 1796. 
 
 SCHATZ 7044 
 
 Die dame als soldat. Tr. of Naumann's La dama soldato. 
 
 Damira placata. Drama da rappresentarsi nel loco ov' era il 
 Teatro Zane a S. Moise. Posto in musica dal Signer Marc' Antonio 
 Ziani. Consacrato al genio de' curiosi. 
 
 Venetia, Francesco Nicolini, 1680. 48 p. 14 cm . 
 
 Three acts. By Filippo Acciajuoli, who is not mentioned. Prefatory poem to the 
 "signori curioei," argument, and scenario. 
 
 First performed, ag indicated, carnival, 1680. SCHATZ 11200 
 
 Damon and Phillida. A ballad opera in one act. As it is per- 
 form'd at the Theatre-Royal, Drury-Lane, by His Majesty's servants. 
 With the musick prefix'd to each song. 
 
 London, Printed for J. and R. Tonson, in the Strand, 1765. 81 p. 
 
 Lacks front. On p. [5], a publisher's list. 
 
 The 15 airs are mostly printed with their titles. 
 
 Schatz says, under "Damon and Phillida:" "Words by Colley Cibber, altered from 
 hie pastoral, 'Love in a riddle.' The music partly composed, partly selected out of 
 various ballads and dance tunes, and adapted to the words of the songs by Henry 
 Carey. First acted at the Theatre Royal in Drury Lane, London, 1729." The date 
 of performance and Carey's connection with "Damon and Phillida" may be open to 
 discussion, but it is a fact, as comparison proved, that "Damon and Phillida," both as 
 to characters, words, and the airs used, is kin to Cibber's "Love in a riddle." If Clar- 
 ence says "entirely taken " therefrom, he seems to be mistaken, but certain parts have 
 been lilted verbatim from "Love in a riddle, " for instance, from the air III, "Tell 
 me, Philly, tell me roundly," to air VII, "I'll range around the shady bow'rs." The 
 modus operandi seems to have been to lift the desired scenes out of "Love in a riddle," 
 and to connect them with new dialogue. Whether this condensed version under a 
 new title is due to Cibber himself, I am unable to tell. 
 
 Genest says, under Drury Lane, January 7, 1729, when writing of the first per- 
 formance of Cibber's "new pastoral," "Love in a riddle," on that day: 
 
 "not long after, formed tne best scenes of 'Love. in a riddle' into a musical enter- 
 tainment they have been frequently acted as 'Damon and Phillida. '" 
 
 The British Museum has the work in the London 1729 edition. 
 
 ML 50.5.D17 
 Second copy (perfect, with front.). LONOE 26 
 
 - Damon and Phillida. A ballad opera. In one act. By Colley 
 Cibber, Esq. 
 
 [241}-256 p. 19. (Collection of the most esteemed farces and enter- 
 tainments, t. v, Edinburgh, 1792.} 
 
 Drury-Lane cast. SCHATZ 11753E
 
 348 LIBRARY OF CONGRESS 
 
 Damon and Phillida. Altered from Gibber into a comic opera. 
 With the addition of new songs and chorusses. As it is performed at 
 the Theatre Royal in Drury-Lane. 
 London, T. Lowndes, T. Caslon [etc] 1768. 1 p. I., 84 p. 18% cm . 
 
 One act. Cast, in which Cymon was played by Charles Dibdin, who is not men- 
 tioned as the author resp. composer responsible for this new version of "Damon and 
 Phillida." Genest's date of firet performance, February 23, 1769, is contradicted by 
 the title page, it would seem. LONGE 322 
 
 The Danaides; or, The daughters of Danaus. A tragi-pantomime 
 ballet. 
 
 Noverre, Jean George, Works, Tr. from the French, London, 1783, 
 v. 3, p. 1-28. 21\ cm . 
 
 Argument and detailed description of the nine scenes. GV 1787. N8 
 
 Les Danaides, tragedie-lyrique, en cinq actes, representee pour la 
 premiere fois, sur le Theatre de I'Academie-royaie de musique, le 
 lundi 19 avril 1784 . . . 
 Paris, P. de Lormel, 1784. viii, 56 p. 23. 
 
 Five acts. By Du Roullet and baron von Tschudi, who are not mentioned. On 
 p. iv, the note: La musique est de MM. le chevalier Gluck & Salieri." Cast and 
 avertissement, which reads, in part: 
 
 "On nous a communique un manuscrit de M. de Calzabiggi, auteur de 1'Orphee & 
 de 1'Alceste italiens, dont nous nous sommes beaucoup aides. Nous avons emprunte 
 quelques idees du ballet des Danaides du celebre M. Noverre, ce moderne rival des 
 Batilles & des Pilades; nons y avons joint les n6tres, & du tout nous avons compost 
 notre plan. 
 
 "Un de nos amis, que sa famille nous a defendu de nommer, a bien voulu, pour 
 acceldrer 1'ouvrage, mettre en vers une partie de notre composition, & ce n'est pas 
 certainement celle dont le style paraitra le plus neglig6. La mort vient de nous 
 enlever cet excellent homme connu par plusieurs ou\Tages en prose & en vers, egale- 
 ment estimes." 
 
 The work by Calsabigi alluded to is supposed to have been his "Ipermnestra o Le 
 Danaidi." Gluck's name as joint-composer was merely used to help the opera to a 
 success. After twelve performances Gluck notified the public that his collaboration 
 had consisted merely in giving his former pupil, Salieri, expert advice. 
 
 Clement and Larousse give April 26, 1784, as the date of first performance. So does 
 Schatz, stating that the date of April 19 in the libretto and in the score is an error. 
 
 SCHATZ 9285 
 
 Le Danaidi. A. T. of the ballet L'Ipermestra. 
 
 Le Danaidi, ballet. See Borghi's La morte di Semiramide. 
 
 Le Danaidi. Dramma per musica da rappresentarsi nel Teatro alia 
 Scala il came vale dell' anno 1795 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 56 p. 16 cm . 
 
 Three acts. By Gaetano Sertor, who is not mentioned. Impresario's dedication, 
 dated Milan, December 26, 1794, argument, cast, scenario, and name of Angelo Tarchi 
 as the composer. On p. [47}-56, prefatory note, cast, description, but not name of the 
 composer of the music of Gaetano Gioja s "Cora, o La vergine del sole, ballo eroico 
 pantomimo diviso in cinque atti." His other (comic) ballet was "La vindemmia o La 
 contadina impertinente. SCHATZ 10217 
 
 Die dankbare tochter. A. T. of Kuerzinger's Julie. 
 
 La danse. See Fragments, composes . . . de 1'acte . . . de La 
 danse.
 
 OPERA LIBRETTOS 349 
 
 II Danubio consolato. Poemetto drammatico nel giorno del glo- 
 riosissimo nome della Sac. Ces. R. Maesta di Giuseppe 1. augustissimo 
 imperador de' Romani. 
 
 Pietro Antonio Bernardoni, Poemi drammatici, parte terza, Vienna, 
 van Ghelen, 1707, p. 123-136. 16\ cm . 
 
 The composer, Attilio Ariosti, is not mentioned . 
 
 First performed, as indicated, March 19, 1707. ML 49.A2B4 
 
 La danza. 
 
 Metastasio, Poesie, Parigi, vedova QuiTlau, 1755, t. ii, [455}~464 P- 
 16 cm . 
 
 One act. ML 49.A2M42 
 
 La danza. Cantata a due voci, eseguita la prima volte alia presenza 
 de' sovrani da una dama, e da un cavaliere I'anno 1744, con musica 
 del Bonno. 
 
 [385}-392 p. 26. (Pietro Metastasio, Opere, t. i, Parigi, vedova 
 Herissant, 1780.} 
 
 ML 49.A2M44 
 
 La danza di Diana. 
 
 p. 105-141- 15% cm . (Ottavio TronsareUi, Drammi musicali, Roma, 
 Francesco CorbeUetti, 1632.} 
 
 Ballet. One act. No composer mentioned. ML 49.A2T7 
 
 Daphne oder Die fruhlingsfeier in Arkadien. See HenseFs Die 
 geisterbeschwoerung. 
 
 Daphne and Amintor. A comic opera, as it is performed at the 
 Theatre Royal in Drury-Lane. A new edition. 
 
 London, J. Newbery, W. Griffin [etc.], 1766. front., 1 p. 1., iii, 
 [4\-SO p. 19$ cm . 
 
 One act with prologue. Cast and preface, in which the author,. Isaac Bickerstaff 
 (not mentioned), says that instead of utilizing the two existing English translations 
 of St. Foix' "Oracle," he thought it "juster to give a more faulty paraphrase of my 
 own. 
 
 "With regard to the music, I apprehend it must please; as it has been selected 
 with the greatest attention, both to the beauty of the airs, and its effect upon the 
 theatre. There are, indeed, some people, who may possibly be of opinion, that I 
 ought to have chosen old English and Scotch ballads; or got music composed in the 
 game taste. But, in fact, euch sort of compositions scarce deserve the name of music 
 at all; at least they can have little or no merit on the stage, where everything ought 
 to be supported by a degree of action and character." 
 
 A pasticcio made up from music by Shalon, Vento, Cocchi, Piccinni, Mon- 
 signy. Tuft's statement that James Hook "wrote some of the music" is not borne 
 out by Squire's Brit. Mus. catalogue, which merely shows that later on interpola- 
 tions by Hook were used. 
 
 First performed, as indicated, October 8, 1765. LONGE 26 
 
 - Daphne and Amintor. A comic opera. Altered from the 
 Oracle of Monsieur St. Foix and Mrs. Gibber. By Isaac Bickerstaff, 
 Esq. 
 
 [367]-380 p. 19 cm . (Collection of Hhe most esteemed farces and 
 entertainments, t. v, Edinburgh, 1792.) 
 
 Drury-Lane cast. SCHATZ 11753E
 
 350 LIBRARY OF CONGRESS 
 
 Daphnis and Amaryllis: a pastoral. The music by Mr. Handel, 
 and other eminent masters ... 
 
 Exon, Printed by Andrew Brice, 1766. 16 p. 19 cm . 
 
 Two acts. The text is the same as of James Hams' "The spring." LONGE 293 
 
 Daphnis et Alcimaduro, pastouralo toulouzeno de M. de Mondon- 
 villo, accoumoudadou k noste patois de Mountpellie", per estre execu- 
 tado dins nostro Academic de musiquo lou 25 dou m&s d'Aous 
 d'aquesto annado. Nouvelle Edition. 
 Paris, Didot, 1778. 27, [1] p. 20. 
 
 Dedicatory poem and Avis, in which it is eaid that in order to render the per- 
 formance at the "Concert de cette Ville" easier it became necessary to alter the text 
 somewhat on account of the great difficulty of translating the patois of Toulouse into 
 that of Montpellier. Where the translation was impossible without interfering with 
 Mondonville s music, it was deemed best to retain the words in the patois of Toulouse. 
 Text and music by Mondonville. 
 
 First performed at Fontainebleau, October 29, 1754. ML 50.2.D25M6 
 
 Daphnis et Chloe. 
 
 Libretto of first act and outline of second of this unfinished opera by Jean Jaques 
 Rousseau, text by Olivier de Corancez, precedes on 2 p. 1. the score of the "Frag- 
 mens de Daphnis et Chloe"," Paris, Espru, 1779. The text of the duo "Dans un 
 nouveau parentage " was by Rousseau, who has told us that he composed these frag- 
 ments 1775. M 1500.R89 
 
 Plan, for the first act of Daraxes. An opera: of two acts only. 
 
 [186}-198 p. 21. (Aaron Hill, Dramatic works, London, T. 
 Lownds, 1760, vol. ii.) 
 
 The plan for both acts is followed by the complete text of first act of "Daraxes, a 
 pastoral opera." LONGE 326 
 
 Darby's return. A comic sketch. As performed at the theatre in 
 this city, with universal applause (Written in 1789, by Mr. William 
 Dunlap). Characters [follows cast]. 
 
 For this one-act libretto see the New York magazine, January, 1790, p. 47-51. 
 Dunlap prescribes that as an introduction "some airs from the Pcor Soldier" be 
 played. I do not know who arranged the music for this potpourris overture and of 
 the few ballad airs used in the sketch. 
 
 First performed, as indicated, November 24, 1789. AP 2.A2N5 
 
 Dardanus, trage"die de M r Rameau, represented par PAcade'mie 
 royale de musique, avec les changemens faits par Fauteur en 1760. 
 Paris, Aux depens de VAcademie, 1761. 27 p. 21 cm . 
 
 The author, Charles Antoine Le Clerc de La Bruere, is not mentioned. 
 First performed at Paris, Acade'mie royale de musique, November 19, 1739. 
 
 ML 50.2.D27R2 
 
 Dardanus, tragedie en quatre actes; represented pour la premiere 
 fois, par I'Academie royale de musique, le mardi 30 novembre 1784. 
 Paris, P. de Lormel, 1784. x, 46 p. 23 cm . 
 
 Four acts. Cast, name of Sacchini as the composer and long "avertissement" 
 (p. iii-vi) in which Guillard gives a^ length his reasons for the changes he made in de 
 La Bruyere'a "Dardanus" of 1739 resp. of 1744. The verses which he added are 
 printed throughout with quotation marks. This preface is decidedly of interest from 
 a dramaturgic standpoint. 
 
 First performed at Trianon, before the King on September 18, 1784. 
 
 SCHATZ 9217
 
 OPEKA LIBRETTOS 351 
 
 Dardanus Continued. 
 
 Dardanus, tragedie en trois actes, representee devant Leurs 
 Majesty's a Fontainebleau, le 20 octobre 1785; et a Paris, sur le 
 Theatre de I'Academie royale de musique, le vendredi 13 Janvier 
 1786. 
 Paris, P. de Lormel, 1786. 40 p. 24 cm . 
 
 Cast. On p. [2] the note: "Le poe'me est de la Bruere remis au theatre avec lea 
 changemens, par M. Guillard. La musique est de M. Sacchini." 
 
 In his 3-act version, too, Guillard's added verses are printed in quotation. The 
 reduction resulted from a condensation of the second and third acts into one act. 
 
 SCHATZ 9248 
 
 II Dario, dramma per musica da rappresentarsi nel Nuovo Teatro 
 alia Cavallerizza nella fiera di Pascha dell' anno MDCCLIII in Lipsia. 
 n. i., 1753. 115 p. 17 cm . 
 
 Three acts. Author not mentioned and unknown to me. German text faces 
 Italian. Argument, cast, scenario and note: "La musica e di diversi celebri com- 
 positori." . ML 50.2.D29 
 
 Dario. Dramma da rappresentarsi nel Regio Teatro di Berlino con 
 musica del Sign. Felice Alessandri . . . il carnovale dell' anno 1791. 
 Composto con balli, pantomimi e insieme analoghi da Antonio de' 
 Filistri. 
 
 Berlino, Haude e Spener, n. d. 167 p. 15\ cm . 
 
 German title-page "Darius" and text face Italian. Three acts. Argument, cast, 
 and scenario. SCHATZ 144 
 
 Dario. L. T. of Freschi's L'incoronazione di Dario. 
 
 Dario in Babilonia. Dramma per musica di Francesco Beverini, 
 da rappresentarsi nel Teatro Vendramino a S. Salvatore 1'anno 
 1671 . . . 
 
 Venetia, Francesco Nicolini, 1671. 76 p. 14 cm - 
 
 Three acts. Author's dedication dated Venice, January 24, 1671, argument, notice 
 to reader, and scenario, but without the name of the composer, Giovanni Antonio 
 Boretti. SCHATZ 1217 
 
 v II Dario ravivato. Drama del Sonnolento Tassista. Da rappresen- 
 tarsi in musica ... 
 
 Venetia, Francesco Batti, 1675. front., 72 p. 13% cm > 
 Three acts. By Giovanni Antonio Bonis. Author's dedication dated Venice, 
 January 6, 1675, notice to the reader, argument, scenario. Composers not mentioned, 
 and unknown to Schatz, who records this as a pasticcio. SCHATZ 11318 
 
 Darius. Tr. of Alessandri's Dario. 
 
 Das ist er ja selbst. Tr. of Paisiello's Dal finto il vero. 
 
 Dasius ein junger blutzeug Jesu Christi. Ein singspiel in zween 
 choeren [!] Die musikalischen toene zum singspiele hat verfertigt 
 herr Michael Demler, componist und claviermeister in Augsburg. 
 
 On p. [3-12] of " Trebelliua koenig der Bulgarer . . . ein trauerspiel . . . 
 aufgefuehrt von der studirenden jugend des katholischen schulhauses zu Augsburg 
 bei St. Salvatorden 2. 3. und 6 ten herbstmondes [Sept.] 1774. Gedruckt . . . bey 
 Joseph Simon Hueber . . . " 
 
 With cast. On p. [5] "in zween aufzuegen." The author is not mentioned and 
 is unknown to Schatz. SCHATZ 2504
 
 352 LIBRARY OF CONGRESS 
 
 The daughters of Danaus. A. T. of Noverre's ballet The Danaides. 
 
 A day at Rome: a musical entertainment, in two acts. As it was 
 damned at the Theatre Royal, Covent-Garden, on Thursday, October 
 11, 1798. 
 
 London, H. D. Symonds and G. Cawihorne, 1798. mi, [1], 82 p. 
 21. 
 
 Cast and preface by the author, Charles Smith, of date James Street, Adelphi, Octo- 
 ber 20, 1798, in which he denies that Caleb Whitefoord wrote any of the text, and 
 asserts that the text is correctly printed from the prompter's book, except the first song 
 in the second act, 
 
 "Where the original is restored, in lieu of a substitute written at the request of one 
 of the performers, on such short notice, that she had not sufficient time to commit it 
 to her memory." 
 
 He continues by saying: 
 
 "It was not till towards the middle of the piece that the aukward dress, and a 
 deficiency in the recitation of one of the actors, occasioned marks of disapprobation; 
 which increased so as to preclude the possibility of hearing even the elegant and 
 scientific music of [Thomas] Attwood." LONGE 254 
 
 De gustibus non est disputandum. Dramma di tre atti per 
 musica. Rappresentato in Venezia il carnovale dell' anno MDCCLIV. 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 88, 
 [67}-125 p. 18%. 
 
 PQ 
 
 De gustibus non est disputandum. Dramma giocoso per musiea. 
 Da rappresentarsi nel Teatro Tron di S. Cassiano il carnovale dell' 
 anno 1754. 
 
 Venezia, -Modesto Fenzo, 1754. 59 p. 15% cm . 
 
 Three acts. Cast, scenario, and one of Carlo Goldoni's (not mentioned) charming 
 prefaces, which reads in part: 
 
 "Letter carissimo, se uno tu sei di quegli, a' quali abbia io protestatp di non volere 
 quest' anno, e fprse mai piu comporre de' simili drammi buffi, yoglio anche com- 
 municarti la ragione, che ad astenermene mi obbligava, ed i motivi, che mi hanno 
 fatto dal mio proponimento discendere. II dramma serio per musica, come tu saprai, 
 e un genere di teatrale componimento di sua natura imperfetto, non potendosi osser- 
 vare in essp veruna di quelle regole, che sono alia tragedia prescritte. Molto piu 
 imperfetto il dramma buffo esser dee perche cercandosi dagli scrittori di tai barzellette 
 servire piu alia musica, che a se medesimi e fondando, o nel ridicolo o nello spettacolo 
 la eperanza della riuscita, non badano seriamente alia condotta, ai caratteri, all' 
 intreccio, alia verita, come in una commedia buona dovrebbe farsi. Questa e poi 
 la ragione per cui cotai libretti, che si dicono buffi, rarissime volte incontrano. Io 
 ne ho fatti parecchi, che il Tevernini librajo in Merceria alia Providenza ha potuto 
 stamparne quattro tometti in 12. Di questi alcuni hanno ayuto fortuna grande, 
 altri mediocre, ed alcuni altri 1' hanno sofferta pessima, e questi forse saranno i men 
 cattivi, e piii regolati de' primi. L' esito dipende tal' ora dalla musica, per Io piu 
 dagli attori, e eovente ancora dalle decorazioni. II popolo decide a seconda dell' 
 esito, se 1' opera e a terra, il libro e pessimo. Se e un poco serio, e cattivo perche 
 non fa ridere; se e troppo ridicolo e cattivo perche non vi e nobilta ..." 
 
 Goldoni does not mention Giuseppe Scarlatti as the composer of this "operetta" 
 as he calls it. SCHATZ 9543 
 
 The dead alive: A comic opera. In two acts. As it is performed 
 at the theatres in London and Dublin. By John O'Keefe, Esq. 
 Dublin, Sold ly the looksellers, 1783. 45 p. 16\ cm . 
 
 Cast. The composer, Samuel Arnold, is not mentioned. 
 
 First performed June 16, 1781, as indicated. LONGE 148 
 
 The dead alive : or, The double funeral. A comic opera. In 
 two acts. With additions and alterations. As performed by the
 
 OPERA LIBRETTOS 353 
 
 The dead alive Continued. 
 
 Old American company in New- York: with universal applause. By 
 
 John O'Keefe . . . with an account of the author. 
 
 New-York, Printed by Hodge, Allen, and Campbell, 1789. 1 p. L, 
 iv,[7]-46p. 18% cm . 
 
 Cast. Composed by Samuel Arnold, who is not mentioned. 
 First performed June 16, 1781, at the Haymarket, London; in America, as indi- 
 cated, September 24, 1789. ML 50.6.D3 
 
 The death of captain Faulknor; or, British heroism. An opera' 
 (in one act.) As performed at the theatre Royal, Co vent-Garden. 
 London, Glindon and co., 1795. 19 p. 20\ cm . 
 
 Cast. According to the prefatory note of date London, May 6, 1795: 
 "The dialogue of this little production, first brought forward at Mrs. Martyr'a 
 benefit, was purposely written to introduce songs, for the most part selected on the 
 occasion. And as the words of such selected sorigs have not long been published in 
 the operas to which they immediately belong, the writer of the present trifle does 
 not think himself at liberty here to insert them. The words of the new songs, there- 
 fore, are only introduced." 
 
 Author not known to Biog. Dram., which says "not printed "! Composer unknown 
 to me. First performed May 6, 1795 (Genest). ML 50'.2.D31 
 
 Debora e Sisara. Azione sacra per musica di Carlo Sernicola, P. A. 
 Da rappresentarsi nel Real Teatro di S. Carlo nella quaresima dell' 
 anno 1788 . . . 
 
 Napoli, Vincenzo Flauto, 1788. 48 p. 19 cm . 
 
 Two acts. Impresario's dedication dated Naples, February 10, 1788, argument, 
 scenario, cast, and name of Pietro Guglielmi as the composer." SCHATZ 5241 
 
 Arsinoe e Breno. Dramma serio per musica da rappresentarsi 
 nel Nuovo Teatro della nobiliss. Accademia Intronata di Siena 1' 
 estate dell' anno 1790. 
 
 Siena, Pazzini Carli, n. d. 4 P- . 17% cm . 
 
 Two acts. Argument and cast. Comparison proves that Sernicola's text of 
 "Debora e Sisara, azione sacra" was simply, more or less, secularized into a "dramma 
 eerio " by an unknown author. For instance, whereas the words of the finale quartett 
 of the first act "Rabbia, furor, dispetto" were retained, the original finale tutti of 
 the second act "Tolse il ciel le nostre pene" has become "Con noi cantino le sfere." 
 Both operas begin "Ah! qual viltade e questa," but after that their texts disagree 
 very much oftener than not. The composer, Pietro Guglielmi, is not mentioned. 
 
 A footnote on p. 6 says that the title of the first ballet by Giacomo Gentili would 
 be "La felicita nata dalle eventure" and of the second "II bottaro." The com- 
 posers of the music are not mentioned. SCHATZ 4315 
 
 Decio sacrificato alia patria. See M. Curzio. 
 
 Decius and Paulina, masque. See The lady's triumph. 
 
 La Deidamia. Poema drammatico di Scipione Herrico. Da rap- 
 presentarsi nel Teatro Novissimo nell' anno 1644 . . . 
 
 Venetia, Matteo Leni e Giovanni Vecellio, 1644- 106 p. 14 cm ' 
 
 Three acts with prologue. The author's dedication is dated January 5, 1644. The 
 composer, Pietro Francesco Cavalli, is not mentioned. SCHATZ 1745 
 
 La Delia o sia La sera sposa del sole. Poema dramatico di Giulio 
 Strozzi. 
 
 Venetia, Gio. Pietro Pinelli, 1639. 80 p. 13 cm . 
 
 Three acts. Author's dedication dated Venice, January 20, 1639, argument, 
 allegoria, and notice to the reader which reads in part : 
 
 722.T1 vor. 114 23
 
 354 LIBRARY OF CONGRESS 
 
 La Delia Continued. 
 
 "La musica e sorella di quella poeeia, che vuole assorellarsi seco, ma, quando non 
 s' intendono bene tra di loro, non sono ne attenenti, ne amiche. 
 
 "II canto, che raddolcisce gli animi, riesce in due maniere un' abborita cantilena, 
 6 quado s' ha da gir dietro alle chimere del poeta, 6 quando dileguandosi la parola, 6 
 la finale d' al cuna voce nelP ampiezza de' teatri, emarriscono gli uditori il filo de gli 
 ammaeeati concetti. . . . Per questo io son ricorso alia etampa, acci6 ch' ella sia la 
 contracifra di que' musici, che cantano talhora piu volontieri a loro medeeimi, ch' agli 
 ascoltanti ... 
 
 At the end of the libretto a note informs us that more than three hundred verses 
 were dropped in the performances of the opera. The composer, Francesco Paolo 
 Sacrati, is not mentioned. SCHATZ 9256 
 
 Le delire pu Les suites d'une erreur, comedie en un acte, en prose 
 mdl^e d'ariettes, representSe pour la premiere fois le 16 frimaire, sur 
 le Theatre de FOp&ra comique national, an 8. Paroles du citoyen 
 R. St.-Cir, musique du citoyeji Berton. 
 Paris, Du Pont, an VII. [1 798-99} 1 p.l, 45 p. (incl front.) 20. 
 
 Text followed by 4 unnumb. pages of a book-list by Martinet, which originally can 
 not have been issued in this form with the libretto, since one of the books is dated 1806. 
 First performed December 6, 1799, as indicated. ML 50.2.D35B2 
 
 II delirio comune, per la incostanza de' genii. Drama per 
 musica da recitarsi nel Teatro Grimani in S. Gio. Grisostomo, di 
 Matteo Noris Fanno MDCCI . . . 
 
 Venezia, Xiccolini, 1701. 70, [1] p. (incl. front.) 14 cm . 
 
 The additional p. contains lines omitted by the printer in II, 10. Three acts. 
 Notice to the reader and scenario. Carlo Francesco Pollaroli, the composer, is not 
 mentioned. 
 
 First performed fall of 1700, at the theatre mentioned, according to Schatz. 
 
 SCHATZ 8280 
 
 Delmita e Daliso. O. T. of Salieri's Daliso e Delmita. 
 
 II Demetrio. 
 
 [149}-225 p. 19 cm . (Pietro Metastasio, Opere drammaticTie, Ven&- 
 zia, Giuseppe Bettinelli, 1783-37, t. i.) 
 
 Three acts and licenza. Argument. No composer is mentioned. ML 49.A2M4 
 
 - Demetrio. 
 
 Metastasio, Poesie, Parigi, vedova QuiMau, 1755, t. T, [205]-319 p. 
 16 cm . 
 
 Three acts and licenza. Argument. ML 49.A2M42 
 
 - Demetrio. Rappresentato con musica del Caldara la prima volta 
 in Vienna, nelF interno gran teatro della Cesarea corte alia presenza 
 de' sovrani, il dl 4 novembre 1731, per festeggiare il nome delF 
 imperator Carlo VI ... 
 
 pi, [213}-334. 26. (Pietro Metastasio, Opere, t. 1, Parigi 
 vedova Herissant, 1780.) 
 
 Three acts and licenza. Argument. ML 49.A2M44 
 
 II Demetrio. Dramma per musica del Sig. Pietro Metastasio da 
 rappresentarsi in Livorno nel Nuovo Teatro dagli Armeni. L'au- 
 tunno dell' anno 1785 . . . 
 Livorno, Antonio Lami e cornp., n. d. 62 p. lJ+\ cm .
 
 OPERA LIBRETTOS 355 
 
 II Demetrio Continued. 
 
 Two acts. Argument, cast, scenario, and impresario's prefatory note, in which he 
 says: 
 
 "si e dovuto mutilare forse troppo quest' opera, e defraudarla di gran parte delle 
 eue bellezze. II togliere tutti a un tratto gl'inconvenienti, e gli abusi introdotti nelli 
 spettacoli teatrali sarebbe cosa troppo pericolosa ad un impresario. Dal canto mio 
 vorrei veder tornare quei tempi in cm il buon senso, il buon gusto, e la proprieta preva- 
 levano al gran spettacolo: vorrei che un drama di celebre autore facesse gustare tutt' i 
 meriti suoi, e che una rappresentazione non ei riducesse ad una Accademia di canto, 
 come pare che ammano ammano vada a ridursi: vorrei che la dansa si limitasse nella 
 dansa medesima. Ma spetta ad un pubblico, non a me, a correggere gli abusi, col dar 
 moto ad una riforma degna d'un secolo illuminato." 
 
 Composer not mentioned, and unknown to Schatz. As third ballet was given, 
 composer of the music not mentioned, Domenico Ricciardi's "II barbier di Siviglia." 
 
 SCHATZ 11319 
 
 Demetrio. Dramma per musica da rappresentarsi nel Nuovo 
 Teatro di Corte . . . nel carnevale dell' anno MDCCLXXII. La 
 
 Eoesia e dell' Sig. abbate Pietro Metastasio ... La musica e dell' 
 ig. Andrea de Bernasconi . . . 
 Monaco, Francesco Gioseppe ThuiUe, n. d. 147, [39] p. 15' 
 
 Three acts. Argument, cast, and scenario. German title-page "Demetrio," and 
 text face Italian. The unnumb. p. contain cast and description of the ballets, "Medee 
 et Jason, ballet tragique . . . par le Sieur Trancart " ("Medea und Jason ") and "Les 
 fetes ou Jalousies du serial, ballet tragi-comique . . . par le Sieur. Trancart ..." 
 ("Daa Feetin, oder Die eifersucht der frauenzimmer des tuerkischen kaisers "). The 
 composer of the music is not mentioned. 
 
 First performed at Munich in January, 1772. SCHATZ 857 
 
 II Demetrio, dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto fl carnovale dell' anno 1780. 
 Venezia, Modesto Fenzo, 1780. 45 p. 17 cm . 
 
 Two acts. By Metastasio. Argument, cast, scenario, and name of the composer, 
 Francesco Bianchi. On p. [21J-30, cast and full description of "Le congiure del duca 
 di Guisa, ballo eroi-tragico in quattro atti," by Domenico Ricciardi, the composer of 
 the music not being mentioned. 
 
 First performed in January, 1780, as indicated. SCHATZ 1008 
 
 Demetrio. Drama per musica di Pietro Metastasio . . . Da 
 rappresentarsi neL Teatro delle Dame nel carnevale dell' anno 
 MDCCXXXII . . . 
 
 [Roma], Pasquino, n-. a. 81 p. 15. 
 
 Three acts. Impresario's dedication, argument, scenario, cast, and name of Gio- 
 vanni Antonio Giai as the composer. SCHATZ 3816 
 
 Demetrio. Dramma per musica da rappresentarsi nel Teatro Gri- 
 mani di San Samuele per la fiera dell' Ascensione dell' anno 1742 . . . 
 
 Venezia, Marino Rossetti, n. d. 1+8 p. 14% cm ' 
 
 Three acts. By Metastasio, who is not mentioned. Dedication dated May 1, 
 1742, argument, cast, scenario, and name of Gluck as the composer. 
 
 First performed, as indicated, May, 1742. SCHATZ 3929 
 
 II Demetrio. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto nella fiera dell' Ascensione dell' anno 
 MDCCLXXV. 
 
 Venezia, Modesto Fenzo, n. d. 66 p. J7 cm . 
 
 Three acte. By Metastasio, who is not mentioned. Argument, cast, scenario 
 and name of Pietro Guglielmi as the composer. On p. F25J-42 cast, argument and 
 description of Giuseppe Canziani's "Ines di Castro, ballo tragico in cinque atti." 
 The composer of the music is not mentioned. 
 
 First performed, as indicated, May 24, 1775. SCHATZ 4310
 
 356 LIBRARY OF CONGRESS 
 
 II De me trio. Dramma per musica da rappresentarsi nel famosis- 
 simo Teatro Grimani di S. Gio. Grisostomo nel carnevale dell' anno 
 MDCCXXXII . . . 
 
 Venezia, Marino Rossetti, 1732. 72 p. 14 cm - 
 
 Attached to this copy are 5 p. of arias in ms. which possibly were intended as 
 substitutes. Three acts. By Metastasio. Dedication, argument, cast, scenario, 
 and name of Johann Adolph Hasse as the composer. SCHATZ 4532 
 
 - 11 Demetrio, dramma per musica rappresentato alia regia elet- 
 toral corte di Dresda il carnovale dell' anno MDCCXL. 
 
 n. i., n. d. (double) 111 p. 16 cm . 
 
 Three acts. Argument, cast and names of Metastasio as author, of Joh. Ad. Hasse 
 as composer. German title page, "Demetrius . . . Dresden, gedruckt . . . bey der 
 verw. . . . Stoesselin " and text face the Italian, which is not quite the same as in 
 the Venice, 1732, edition. For instance, in I, 7, the chorus, "Ogni Nume, ed ogni 
 Diva" precedes the dialogue, "Dal tuo labbro o Regina," with which the 1732 ed. 
 begins, and the aria in I, 8, is now "Se libera non sono" instead of "Se non posao 
 su quel trono." Schatz and Mennicke call this Basse's second version. 
 
 First performed, as indicated, February 8, 1740. SCHATZ 4533 
 
 Demetrio. Drama per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1748 . . . 
 
 Torino, Pietro Giuseppe Zappata e figliuolo, n. d. 4 P- l-> 66 P- 
 16 cm . 
 
 Three acts. Argument, scenario, cast and names of Jon. Ad. Hasse as composer 
 of the opera, of Alessio Rasetti as composer of the ballets. The text is not quite the 
 same as in the original Dresden, 1740, edition for Basse's second "Demetrio" ver- 
 sion. For instance, the aria, "Fra tanti pensieri Di regno, e d'amore" (I, 3) has 
 become "Fra il tumulto de' pensieri Dell' impero e del mio affetto;" "Ogm procella 
 infida" (I, 5) has been replaced by "Chi non sa, che gran conforto," and the aria, 
 "Pensa, che sei crudele" has been dropped from III, 2, and "Quel labbro adorato" 
 from III, 4. SCHATZ 4585 
 
 II Demetrio. Dramma per musica da rappresentarsi alia Corte 
 elettorale Palatina il giorno del nome del Serenissimo elettore . . . 
 Tanno MDCCLIII. 
 
 Mannheim, Niccolo Pierron, n. d. 8 p. L, 103 p. 15% cm . 
 
 Three acts. Argument, cast and names of Metastasio as author, of Niccol6 Joxn- 
 melli as composer. 
 
 First performed, as indicated, November 4, 1753; at Parma, Teatro Ducale, car- 
 nival, 1750, as "Demetrio, re di Siria." SCHATZ 4850 
 
 - Demetrius. Ein musicalisches schau-spiel welches an dem glor- 
 reichen nahmens-tag Ilirp Churfuerstl. Durclileucht zu Pfaltz . . . 
 aufgefuehret worden, im jahr 1753. 
 
 Mannheim, Nicolaus Pierron, n. d. 3 p. 1., Ill p. 16 cm . 
 
 Three acts. Argument, cast, and names of Metastasio and Jommelli. German 
 translation for the above performances. SCHATZ 4851 
 
 II Demetrio. Drama per musica. Di Giacomo dall' Angelo. Da 
 rappresentarsi nel Teatro di S. Moise 1'anno 1666 . . . 
 
 Venetia, Francesco Nicolini, 1666. 7 p. 1. (incl. front.) , 94 p. 14 m - 
 Three acts. Author's dedication dated. Venice, January 1, 1666, notice to the 
 reader with name of Carlo Pallavicino as the composer, argument and scenario. 
 
 SCHATZ 7735
 
 OPERA LIBRETTOS 357 
 
 II Demetrio. Dramma per musiea da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto nella Fiera dell' Aseensione dell' anno 1768. 
 Venezia, Modesto Fenzo, 1768. 46 p. 17 cm . 
 
 Three acts. By Metastasio, who ia not mentioned. Argument, caet, scenario 
 and name of Antonio Gaetano Pampani as the composer. SCHATZ 7761 
 
 Demetrio. Dramma per musica da rappresentarsi nel Teatro di 
 S. Samuelle per la fiera dell' Ascensione dell' anno MDCCLL 
 
 Venezia, In Merceria, 1751. 48, [1] p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario 
 and name of David Perez as the composer. On the additional p. the additional 
 arias: "Gia della morte il gelo" and "Crude stelle piu serene." SCHATZ 7876 
 
 Demetrio. See Pescetti's Demetrius. 
 
 Demetrio. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnevale del 1762 . . . 
 
 Torino, Gaspare Bayno, n. d. viii, 67 p. 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario 
 and names of Giuseppe Ponzo (on a printed slip) as composer of the opera, of Giuseppe 
 Antonio Le-Meesier of the three ballets which have only general titles like "Di 
 pastori, giardinieri e pastorelle." 
 
 First performed December 26, 1761, as indicated. SCHATZ 8354 
 
 Demetrio. Drama per musica. Demetrius . . . 
 Hamburg, Spiering, 1744. Ill p. 19 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Scenario, cast, argument, and 
 name of Paolo Scalabrini as composer "a risserva di alcune arie di diversi autori." 
 German text faces Italian. 
 
 First performed at Hamburg, Theater b. Gansemarkt, November 4. 1744. 
 
 SCHATZ 9516 
 
 Demetrio. Dramma per musica da rappresentarsi nel Nuovo Teatro 
 in Padova per la solita fiera di giugno 1752 . . . 
 Padova, Stamperia Conzatti, 1752. 69 p. 17% cm . 
 
 Three acts. By Metastasio, who is not mentioned. Dedication, argument, cast, 
 scenario, and name of Giuseppe Scarlatti as the composer. SCHATZ 9544 
 
 Demetrio. Drama per musica, del Signer abb. Pietro Metastasio 
 ... da rappresentarsi in Lisbona nel Teatro Novo alia rua dos Condes 
 1'anno 1739 ... 
 
 Bologna, Giuseppe le Longi, 1789. 4 P- !> 151 P- 16% cm . 
 
 Three acts. Portuguese t.-p. and text face Italian. Argument, cast, scenario. 
 Gaetano Maria Schiassi, the composer is not mentioned . 
 
 First performed at Milan, Regio Ducal Teatro, August 28, 1732. ML 50.2.D37S3 
 
 II Demetrio. Dramma per musica del Sig? abbate Metastasio. Da 
 rappresentarsi nel Teatro dell' illustrissima citta di Lodi il carnevale 
 delF anno 1764 ... 
 Lodi, Gli eredi di Nicola Trdbatti, n. d. 6 p. 1., 48 p. 15 cm . 
 
 Three acts. Dedication, cast, scenario, and name of "maestro Vagenzail, " Georg 
 Christoph Wagenseil, as composer. 
 
 First performed, according to Schat/, at Florence, Teatro via della Pergola, Decem- 
 ber 26, 1746. ML 48.A5 v. 10
 
 358 LIBRARY OF CONGRESS 
 
 Demetrio a Rodi. Festa per musica da rappresentarsi nel Regio 
 Teatro di Torino per le nozze delle LL. AA. RR. Vittorio Emanuele 
 . . . e Maria Teresa . . . I'anno MDCCLXXXIX. 
 
 Torino, Onorato Derossi, n. d. viii, 48 p. 16 cm . 
 
 Two acts. Argument, cast, and names of Giandomenico Boggio as the author, of 
 Gaetano Pugnani as the composer of the opera, and of Vittorio Amedeo Cauavasso as 
 the composer of the music of Giuseppe Banti's four act <: I1 trionfo improvviso, ballo 
 pantomimo," which is described, with cast, on p. 44-48. SCHATZ 8503 
 
 Demetrio e Tolomeo. Drama per musica. Da rappresentarsi nel 
 Teatro di S. Angelo 1'autunno dell' anno 1702 . . . 
 Venezia, Marino Rossetti, 1 702. 60 p. 15 cm . 
 
 Three acts. Dedication dated Venice, November 16, 1702, and signed by the 
 author, Antonio Marchi, argument, scenario, and notice to the reader, with name of 
 Antonio Polaroli (Pollaroli) as the composer. SCHATZ 8258 
 
 Demetrio in Athene. A. T. of Wilderer's II giorno di salute. 
 
 II Demetrio re della Siria. Drama per musica . . . Demetrius, 
 Koenig in Syrien in einer opera vorgestellet auf dem grossen Braun- 
 schweigigen Theatro in der winter-messe anno 1734. 
 Wolfenbuettel C. Bartsch, n. d. Unpaged. 18. 
 
 By Metastasio (not mentioned). Three acts. Argument, scenario, and name of 
 the composer, Antonio Caldara. German text faces Italian. 
 
 First performed at Vienna, Hoftheater, November 4, 1731. SCHATZ 1480 
 
 Demetrio, re di Siria. O. T. of Jommelli's Demetrio. 
 
 Demetrio tiranno. Drama rappresentato nel nuovo Teatro di 
 Piacenza . . . Poesia d'Aurelio Aureli . . . e musica di D. Ber- 
 nardo Sabadini . . . 
 
 Parma, Stampa di corte, 1694. 71 p. 15% cm . 
 
 Three acts. Dedication, argument, cast, scenario. SCHATZ 9193 
 
 Demetrius. Tr. of Bernasconi's Demetrio. 
 Demetrius. Tr. of Hasse's Demetrio. 
 
 Demetrius. An opera. As perform'd at the Theatre Royal in the 
 Hay-Market. Composed by John Baptist Pescetti. 
 London, J. CTirichley^ST. 61 p. 17 cm . 
 
 Three acts. English text faces Italian. By Metastasio, who is not mentioned. 
 Dedication signed by Angelo Cori, argument, and cast. 
 
 First performed, as indicated, February 12/23, 1737. SCHATZ 7964 
 
 Demetrius. Tr. of Scalabrini's Demetrio. 
 
 Demetrius in Athen. A. T. of Wilderer's Der tag des heyls. 
 
 Democrit der zweyte. Tr. of Dittersdorf's Democrito corretto. 
 
 Democrito. Drama per musica da rappresentarsi nel Teatro di 
 S. A. S. di Carignano. 
 
 Torino, Francesco Antonio Gattinara, 1718. 2 p. 1., 75 p. 14% CT *> 
 
 Three acts. Author not mentioned, and unknown to Schatz. Argument, scenario, 
 and name of Carlo Francesco Gasparini as the composer. SCHATZ 3563
 
 OPERA LIBRETTOS 359 
 
 Democrito corretto. Opera giocosa in due atti. 
 
 Composed by Dittersdorf, and first performed at Vienna Jan. 27, 1787. 
 Not in L. of C. 
 
 - Gesaenge aus dem singspiele: Democrit der zweyte, in zwey 
 aufzuegen, nach dem italienischen. Die musik ist von Ditters von 
 Dittersdorf. 
 
 Hamburg, Johann Matthias Michaelsen, 1791. Ifi p. 17 cm . 
 Translator unknown to Schatz; not identical with Schmieder's version. 
 First performed at Hamburg, Theater beim Gaensemarkt, July 27, 1791. 
 
 SCHATZ 2588 
 
 II Demofonte. Drama per musica di Francesco Beverini Luc- 
 chese . . . 
 
 Roma, Moneta, 1669. 5 p. I, 96 p. 13 cm . 
 
 Three acts. Author's dedication, dated Rome, June 23. 1669, and Antefatto. Com- 
 poser not mentioned. ML 50.2.D38 
 
 Demofonte. Dramma per musica da rappresentarsi nel Teatro 
 Vendramin di San Salvatore la prossima fiera dell' Ascensione dell' 
 anno 1754. 
 
 Venezia, Modesto Fenzo, 17 5 4. 47 p. 15 cm . 
 
 Three acts. By Metastasio. Cast, scenario, and name of the composer, Giovachino 
 Cocchi. SCHATZ 2042 
 
 II Demofoonte. 
 
 [323}-392 p. 19 cm . (Pietro Metastasio, Opere drammatiche, Vene- 
 zia, Giuseppe BettineUi, 1733-37, v. 2.} 
 
 Three acts and licenza. Argument. No composer mentioned. ML 49.A2M4 
 
 Demofoonte. 
 
 Metastasio, Poesie, Parigi, vedova Quittau, 1755, t. in, [857}-468 p. 
 16 cm . 
 
 Tnree acts and licenza. Argument. ML 49.A2M42 
 
 Demofoonte. Rappresentato con musica del Caldara la prima 
 yolta in Vienna nell' interno gran Teatro della Cesarea Corte, . . . 
 il di 4 novembre 1733, per festeggiare il Home delF imperator Carlo 
 
 pi., [151]-262 p. 26 cm . (Pietro Metastasio, Opere, t. 4, Parigi, 
 vedova Herissant, 1780.) 
 
 Three acts and licenza. Argument. ML 49.A2M44 
 
 - Demophon. 
 
 Metastasio, Tragedies-opera, Vienne, 1751, t. iv, p. [21]-144> 14- 
 Three acts. Richelet's translation of "Demofoonte." ML 49.A2M47 
 
 Demofoonte. Dramma per musica da rappresentarsi nel Teatro da 
 S. Agostino la prima vera dell' anno 1774 . . . 
 Genova, Stamperia Gesiniana, n. d. 6 p. 1., 56 p. 14% cm ' 
 Three acts. By Metastasio. Impresario's dedication, argument, cast, and sce- 
 nario. "La musica e in parte del celebre maestro Sig. Pasquale Anfossi, e parte di 
 varj. altri celebri autori. 
 
 The ballets, by Vincenzo Galleotti, composer of the music not mentioned, were 
 entitled: "La dolce vendetta" and "La caccia d'Enrico Quarto." SCHATZ 274
 
 360 LIBRARY OF CONGRESS 
 
 Demofoonte. Dramma per musica da rappresentarsi nel Nuovo 
 teatro di corte . . . nel carnevale dell' anno MDCCLXVI. La poesia 
 d dell' Sig. abbate Pietro Metastasio ... La musica & del Sig. 
 Andrea de Bernasconi . . . 
 
 Monaco, Francesco Gioseppe Thuitte, n. d. 12 p. Z., 167, [19] p. 
 14 cm . 
 
 Three acts. Argument, cast, and scenario. German title-page ' ' Demophoon, " and 
 text face Italian. The unnumb. p. contain cast and description of the anonymous 
 ballets "Les amours d'Arion & de Le"ucosie" ("Die lieb dee Arion gegen die Leu- 
 cosie") and "l/assemblee" des dieux pour le mariage d'Alcide & d'Hebe." 
 
 SCHATZ 864 
 
 Demofoonte, a serious opera; as performed at the King's Theatre, 
 in the Hay-Market. The poetry by Metastasio, the most part of the 
 music by Signor Ferdinando Bertoni. 
 
 London, G. Bigg, 1778. 51 p. 20\ cm . 
 
 Three acts. Argument, cast, Italian and English text. SCHATZ 911 
 
 Demofoonte. See Duni's Demophontes, king of Thrace. 
 
 Demofoonte, dramma per musica da rappresentarsi nel Regio Ducal 
 Teatro di Milano, nel carnovale dell' anno 1759 . . . 
 
 Milano, Giuseppe Richino Malatesto, n. d. 1+5 p. 14^ cm > 
 Three acts. By Metastasio. Dedication, argument, scenario, cast, and name of 
 the composer, Antonio Ferradini. 
 
 First performed, as indicated, December 26, 1758. SCHATZ 3063 
 
 II Demofoonte. Dramma per musica da rappresentarsi nel Nuovo 
 Teatro in Padova per la solita fiera di giugno 1758 . . . 
 Padova, Conzatti, 1758. 62 p. 18 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication, 
 argument, cast, scenario, and name of Galuppi as composer. 
 
 First performed at Madrid, R. Colisco del Buen Retiro, December 18, 1749. 
 
 SCHATZ 3484 
 
 Demofoonte. See Graun's Demofoonte, re di Tracia. 
 
 Demofoonte. Dramma per musica, da rappresentarsi nel Regio 
 Teatro alia corte di Dresda nel carnevale dell' anno MDCCXLVIII. 
 La poesia & del celebre Sigr. abbate Pietro Metastasio . . . Fu posto 
 in musica dal Sigr. Gio. Adolf o Hasse . . . 
 n. i., n. d. 7 p. I., 203 p. 16\. 
 
 Three acts. Argument, scenario, cast. German title page, "Demophoon," and 
 text face Italian. 
 
 First performed, as indicated, February 9, 1748. SCHATZ 4534 
 
 Demofoonte. Dramma per musica da rappresentarsi nel famo- 
 sissimo Teatro di Grimani di S. Gio. Grisostomo, il carnovale dell' 
 anno 1749 . . . 
 
 Venezia, AW insegna delta scienza, 1749. 60 p. 16 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, 
 and name of Johann Adolph Hasse as the composer. A leaf inserted between p. 8-9 
 contains the aria (I, 12) "Padre perdona, oh pene, " changed from "Deh perdona, o 
 padre amatp." The text is not quite the same as in the original Dresden, 1748, edi- 
 tion. For instance, the aria "Del cielo sdegnato" (I, 4) has replaced "Sperai vicino 
 il lido" and "Ah che ne mal verace" (III, 3) has been replaced by "Non si d& fra 
 1'umane vicende." "T'intendo ingrata" (I, 5) has been retained. SCHATZ 4582
 
 OPERA LIBRETTOS 361 
 
 Demofoonte Continued. 
 
 II Demofoonte. Dramrna per musica del Signer abbate Pietro 
 Metastasio ... da rappresentarsi nel Teatro della citta Valletta in 
 Malta nelT autunno di quest' anno MDCCLXV. 
 
 Malta, Capaci, n. d. 48 p. 14% cm - 
 
 Three acts. Impresario's dedication dated Malta, July 15, 1765, and name of 
 Johann Adolph Hasse as the composer. The text is somewhat different from the 
 Dresda, 1748, edition. For instance, the aria "T'intendo, ingrata " has been dropped 
 from I, 5, and "Ah che nel mal verace" from III, 3. This second version 01 the 
 opera (Schatz and Mennicke) was first performed at Naples, Teatro di San Carlo, 
 November 4, 1758. SCHATZ 4574 
 
 Demofoonte. Dramma per musica da rappresentarsi nel Teatro 
 Obizzi in Padova in occasione della Fiera [Junel dell' anno 
 MDCCXLIII. 
 
 Padova, Giovambatista Conzatti, n. d. 72 p. 17$ cm . 
 
 Three acts. Argument, scenario, cast, name of Niccolo Jommelli as composer 
 ("La musica sara") and notice to the reader which begins: 
 
 "Questo e il quinto anno che s'apre di primavera, con qualche grido, questo teatro, 
 ed altretanti sono i drammi in musica che vi si sono fatti rappresentare del celebre 
 Sig. abate Metastasio con solo dispiacere di doverli per comodo della stagione abbre- 
 viare, che per6 in questo, come negl' altri, nel dichiararsi chi vi ha mesto mano che 
 
 10 ha fatto senza pregiudizio alia somma stima che nutre per un tan to virtuoso, rimette 
 
 11 lettore a leggerne, e ammirarne il vero originale nelle opere stampate del mede- 
 simo . . ." 
 
 This was done, and it was found that indeed Metastasio's text was slightly short- 
 ened. For instance, in the dialogue of I, 5 (with aria "T'intendo ingrata") in 
 Creusa's monologue the lines "Dove and6 quel sereno," etc., were dropped, as were 
 the arias "Tu sai chi son" (II, 1), "E'soccorso d'incognita mano" (II, 4), "Ah che 
 ne mal verace" (III, 3) and the entire scene III, 9 "Dove, crudel, dove mi guidi." 
 
 Otherwise Metastasio was not tampered with, since only the aria in I, 13 "Se 
 ardire, e speranza" was replaced by Temo in un punto." ML 50.2.D39J5 
 
 - Demofoonte, dramma per musica da rappresentarsi nel Regio- 
 Ducal Teatro di Milano, nel carnovale dell' anno 1753 . . . 
 
 Milano, Giuseppe Richino Malatesta, n. d. 6 p. I., 51, [1] p. 14 m - 
 Three acts. By Metastasio, who is not mentioned. Dedication ("il secondo 
 dramma") dated Milan, January 27, 1753, argument, cast, scenario and name of 
 Niccol6 Jommelli as composer. The unnumb. p. contains the aria "Solo effetto era 
 d'amore" substituted for "II suo leggiadro viso in I, 8. The text in this libretto 
 does not coincide fully with that in the Padova, 1743, edition. For instance, I, 5 
 of the Milan ed. has become much different in the dialogue and has no aria. Scene 
 I, 13 has now the aria "Di pena si forte" (from Metastasio's "Ipermestra)" instead 
 of "Temo in un punto" and II, 3 has now the aria "Benche innocente sia" instead 
 of " Se tronca in ramo." ML 50.2.D39J6 
 
 Demofoonte. Dramma per musica da rappresentarsi nel Teatro 
 Ducale di Stutgart festeggiandosi il felicissimo giorno natalizio di Sua 
 Altezza Serenissima Carlo, duca regnante di mrtemberg e Teck . . . 
 La poesia e del . . . Pietro Metastasio ... La musica e nuova- 
 mente composta dal Signer Nicolo Jommelli ... I balli sono inven- 
 tati dal Signer Giovanni Giorgio Noverre . . . 
 Stutgart, Cotta, 1764. 231, [2} p. 21$ cm . 
 
 Three acts. Argument, cast, scenario. German title page, "Demophon," and 
 text, by Caj. Neusinger (Abert), face Italian. Schatz and Abert call this Jommelli's 
 second version. 
 
 The text of the Stuttgart version differs somewhat from that of the Padova version. 
 For instance, Stuttgart starts out with an added scene "Adrasto! Ah dunque" with 
 aria "Per lei fra 1'armi" which originally belonged to I, 4. The original I, 1 scene 
 "Credimi, o padre" has now become I, 2. In I, 5 the dialogue is again different 
 (also from Milan, 1753) and there is no aria. The scene I, 13, "Consigliatemi, o Dei"
 
 362 LIBRARY OF CONGRESS 
 
 Demofoonte Continued. 
 
 has been dropped entirely. Instead, the former I, 12 "O la ministri" in a much 
 longer form is used as last scene of the first act and now with a duet instead of with 
 a solo aria. 
 
 On p. 82-109 cast and description of the ballet "La morte di Licomede La mort 
 de Licomede ... La musica di nuova composizione del Signor Teller" [Florian 
 Deller], on p. 160-187 cast and description of the ballet "Ipermestra-Hipermenestre," 
 "musica . . . " no vamente composta dal Signor Rodolfo." [Rudolph. This settles 
 Abert's query on p. 80 of his Jommelli biography]. The third ballet, without name 
 of the composer, was called "Atalanta ed Ippomene Atalante et Hippomene." 
 
 First performed, as indicated, February 11, 1764. SCHATZ 4852 
 
 - Demofoonte. Dramrna per musica da rappresentarsi nel Real 
 Teatro dell' Ajuda nel felicissimo giorno natalizio del fedelissimo 
 monarca D. Giuseppe I ... nel di 6. giugno 1775. 
 Lisbona, Stamperia reale, n. d. 88 p. 15 cm . 
 
 Three acts. Argument, cast, scenario and names of Metastasio as author, of Niccol6 
 Jommelli as composer. Text only very slightly different from the Stuttgart ed. 
 For instance, the whole first act is the same, also the third, except that III, 7 (which 
 is in the other librettos) with aria "Che mai risponderti " has been dropped. 
 
 SCHATZ 4853 
 
 Demofoonte. Dramrna per musica da rappresentarsi nel famosis- 
 simo Teatri Grimani di S. Gio. Grisostomo nel carnevale dell' anno 
 1738. 
 
 Venezia, Marino Rossetti, n. d. 72 p. 15 cm . 
 
 Three acts. By Metastasio who is not mentioned. Argument, cast, scenario and 
 name of Gaetano Latilla as composer. SCHATZ 5458 
 
 Demofoonte. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1754 . . . 
 
 Torino, Zappata ed Avondo, n. d. 5 p. 1., 63 p. 15\ cm . 
 
 Three acts. By Metastasio who is not mentioned. Argument, scenario, cast and 
 names of Gennaro Manna as composer of the opera, of Rocco Gioanetti as composer 
 of the dances. SCHATZ 5903 
 
 II Demofoonte. Dramma per musica da rappresentarsi nel nobilis- 
 simo Teatro di S. Benedetto il carnovale dell anno 1769 . . . 
 Venezia, Modesto Fenzo, 1769. 56 p. 17 cm . 
 
 Three acts. By Metastasio who is not mentioned. Impresario's dedicatory 
 sonnet, argument, cast, scenario and name of the composer, Joseph Misliweczek. 
 First performed in January, 1769, as indicated. SCHATZ 6529 
 
 II Demofoonte. Drama per musica da rappresentarsi nel nobilis- 
 simo Teatro di S. Benedetto il carnovale dell anno MDCCLXXV. 
 Venezia, Modesto Fenzo, 1775. 1 p.l, 56 p. 17 cm . 
 
 Three acts. By Metastasio who is not mentioned. Argument, cast, scenario and 
 name of Paisiello as the composer. 
 
 On p. 23-32 cast and description of Jean Favier's "Iffigenia in Tauride, ballo 
 eroico pantomimo." The composer of the music is not mentioned. SCHATZ 7698 
 
 Demofoonte. Dramma per musica da rappresentarsi nel nuovo 
 Teatro Tron in S. Cassano il carnovale dell' anno 1764. 
 Venezia, Paolo Colomlani, 1764. 62 p. 17 cm . 
 
 Three acts. By Metastasio who is not mentioned. Argument, cast, scenario an 
 name of Gaetano Pampani as the composer. 
 
 With the opera were performed Giuseppe Salamoni's ballets, "La isola incantata di 
 Circe la maga and "II matematico." The composers of the music are not mentioned. 
 
 First performed at Rome, Teatro Alibert, 1757. SCHATZ 7752
 
 OPERA LIBRETTOS 363 
 
 Demofoonte. Drainma per musica da rappresentarsi nel Teatro 
 Rangone il carnevale dell' anno 1783 . . . 
 
 Modena, Eredi di Bartolomeo Solani, n. d. Jfi p. 18 cm . 
 
 Three acts. By Metastasio who is not mentioned. Impresario's dedication, argu- 
 ment, cast and name of Antonio Pio as composer ("La musica e tutta nuova"). 
 First performed as indicated, Dec. 26, 1782. ML 48.A5 v. 30 
 
 Demofoonte. Drainma per musica da rappresentarsi nel Teatro 
 alia Scala il carnevale dell' anno 1794 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 58, [6] p. 16. 
 
 Three acts. By Metastasio who is not mentioned. Impresario's dedication dated 
 Milan, February 8, 1794, argument, cast, scenario and name of "Marco Portogalli di 
 Portogallo" as the composer. The unnumb. p. contain argument and description 
 of a four-act ballet by Gaetano Gioja, the composer of the music not being mentioned. 
 
 SCHATZ 8403 
 
 Demofoonte. Dramma per musica da rappresentarsi nel nobilis- 
 simo Teatro di S. Benedetto il carnovale dell anno MDCCLXXXVII. 
 Venezia, Modesto Fenzo, 1787. 56 p. 17 cm . 
 
 Three acts. By Metastasio who is not mentioned. Argument, cast, scenario and 
 name of Alessio Prati as the composer. On p. 53-56, argument, cast, scenario, but 
 not the name of the composer of the music of Filippo Beretti's "Li due sposi sfortu- 
 nati, tallo tragico pantomimo." 
 
 First performed December 26, 1786, as indicated. SCHATZ 8454 
 
 Demofoonte. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1788 ... 
 
 Torino, Onorato Derossi, n. d. viii, 72 p. 15\ cm . 
 
 Three acts. By Metastasio who is not mentioned. Argument, cast, scenario and 
 names of Gaetano Pugnani as composer of the opera, and of Vittorio Amedeo Cana- 
 vasso as composer of Giuseppe Trafieri's ballets "Adone e Venere," "I viaggiatori 
 areostatici" and "Di popoh di Frigia," of which the first is described with cast on 
 p. 65-71. 
 
 First performed as indicated, December 26, 1787. SCHATZ 8504 
 
 Demofoonte. Drama per musica di Artimio Corasio Pastore 
 Arcade. Da representarsi nel famosissimo Teatro Grimani di S. Gio 
 Grisostomo il carnovale dell' anno 1735 . . . 
 
 Venezia, Marine [!] Rossetti, n. d. 72 p. 15\ cm . 
 
 Three acts. By Metastasio. Dedication by Domenico Lalli, argument, scenario, 
 cast, and name of Gaetano Maria Schiassi as the composer. SCHATZ i>600 
 
 Demofoonte. Dramma per musica da rappresentarsi nel Nuoyo 
 Teatro delli quattro Signon associati cavalieri, e patrizj de la Regio- 
 inclita cittk di Pa via il carnevale dell' anno 1777 . . . 
 
 Pavia, Giuseppe Bolzani, n. d. 65 p., 1 1. 15 cm . 
 
 Three acts. By Metastasio who is not mentioned. Impresario's dedication, argu- 
 ment, cast, scenario and name of Joseph Schuster as the composer. 
 
 First performed at Forli, Nuovo Teatro della Citta, spring of 1776. SCHATZ 9760 
 
 Demofoonte. Dramma per musica da rappresentarsi nel Nuovo 
 Teatro dell' ill ma citt& di Crema in occasione del solenne suo primo 
 aprimento il giorno 24 settembre dell' anno 1786 . . . 
 Milano, Gio. Batista Bianchi, n. d. 68 p. 16\ cm . 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication, 
 argument, cast, scenario, and name of Angelo Tarchi as the composer. With the 
 opera was performed, composer of the music not mentioned, Sebastiano Gallet's 
 "ballo serio II Pizarro nell' America, ossia La conquista del Peril." SCHATZ 10218
 
 364 LIBRARY OF CONGRESS 
 
 Demofoonte. Dramma per musica del Signer abate Pietro Metasta- 
 sio, Poeta Cesareo. Da rappresentarsi nel Regio Ducal Teatro Vecchio 
 di Mantova il carnovale dell' anno 1770 . . . 
 
 Mantova, L'erede di Alberto Pazzoni, n. d. 61 p. 17 cm . 
 
 Three acts. Dedication, dated Feb. 3, 1770, argument, cast, scenario, and name 
 of Tommaso Trajetta as composer. SCHATZ 10408 
 
 Demofoonte. Drama per musica da rappresentarsi sul famosissimo 
 Teatro di Brunsviga nella fiera d' inverno 1'anno 1742. Demo- 
 phoon . . . 
 
 Woljfenbuttel, Christian Bartsck, n. d. Unpaged. ll\ cm . 
 
 Three acts. By Metastasio, who is not mentioned. German text faces Italian. 
 Argument, scenario, and name of Giovanni Verocai as the composer. 
 
 First performed, as indicated, February, 1742. SCHATZ 10719 
 
 Demofoonte, dramma per musica del Signore abatt. Pietro Metasta- 
 sio da rappresentarsi nel Teatro di Lucca nel carnovale dell' anno 
 MDCCXLI. 
 
 Lucca, Francesco Marescandoli, n. d. 80 p. 14 cm - 
 
 Three acts. Argument, cast, scenario and name of Leonardo Vinci as the com- 
 poser. SCHATZ 10745 
 
 Demofoonte e Fillide. Cantata a due voci da rappresentarsi in 
 beneficio di Irene Tomeoni e di Vicenzo Maffoli nel Teatro presso la 
 Corte. 
 
 Vienna, Antonio Patzowsky, 1794. 24 p. 17 Y m - 
 
 Two parts. Argument and ' ' protests, " : 
 
 "Con idea ben di versa da quella di rappresentarla in teatro fu composta, eenza 
 apparato d'intreccio, e di epettacolo, la seguente cantata, che dipinge semplicemente 
 il contrasto di due amanti nell' atto di una violenta separazione . . . L'introdu- 
 zione di alcuni pezzi di musica, e il cambiamento di qualche verso debbonsi attri- 
 buire alia necessita." 
 
 Author and composer unknown to Schatz. 
 
 First performed 1794, as indicated. SCHATZ 11320 
 
 Demofoonte, re di Tracia. Dramma per musica da rappresentarsi 
 nel Regio Teatro di Berlino . . . 
 
 Berlino, A. Haude, 1745. 141, [3] p. 16 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, scenario, and 
 name of Carl Heinrich Graun as the composer. German title-page "Demophontes, 
 koenig in Thracien," and text face Italian. Frederick the Great composed two or 
 three arias for the opera. 
 
 First performed at Berlin, Kgl. Operntheater, January 17, 1746. SCHATZ 4113 
 
 Demofoonte, opera per musica da rappresentarsi nel Regio Teatro 
 di Berlino . . . nel carnovale del MDCCLXXIV. 
 Berlino, Haude e Spener, 177 4. 97, [3] p. 18 cm . 
 
 Three acts. Argument, cast, scenario, and names of Metastasio as author of the 
 text ("Si 6 dovuto abbreviarla e faryi qualche cangiamento") and of Carl Heinrich 
 Graun as composer of the music (" Vi sono molti cangiamenti "). German title page, 
 "Demophontes," and text face Italian. SCHATZ 4094 
 
 Demokrit. Eine komische oper in drei akten vom verfasser der 
 Grossen toilette. In musik gesetzt von C. Kalkbrenner, kapellmeister 
 Sr. K. H. des prinzen Heinrich von Preussen . . . 
 Berlin, Friedrich Maurer, 1791. 72 p. 17 cm . 
 
 Author unknown to Schatz. 
 
 First performed at Rheinsberg, Theatre of Prince Henry of Prussia. SCHATZ 4997
 
 OPEEA LIBRETTOS 365 
 
 11 demone amante, oyero Giugurta. Drama per musica da rap- 
 presentarsi nel Teatro di Sant' Angelo, Fanno 1686 . . . 
 Venetia, Francesco Nicolini, 1686. 84 p. 14 cm - 
 
 Three acts. Publisher's dedication, notice to the reader (calling this "un' allegro 
 capriccio della dramatica fantasia "), and scenario. Neither the author, Matteo Noris, 
 nor the composer, Carlo Francesco Pollaroli, is mentioned. SCHATZ 8281 
 
 Demophon. Tr. of Metastasio's text Demofoonte. 
 Demophon. Tr. of Jommelli's Demofoonte. 
 
 Demophon, opera lyrique en trois actes, represent e pour la premiere 
 fois, par PAcademie royale de musique le mardi 15 septembre 1789. 
 Paris, P. de Lormel, 1789. vi, 7-54 p. 23 cm . 
 
 Cast and names of Desriaux as author, of [Johann Christoph] Vogel as composer. 
 Cl. & L. and Schatz give Sept. 22 as the date, the printed score as above. 
 
 ML 50.2.D4V6 
 
 Demophon, opera lyriciue en trois actes. Represent^ pour la 
 premiere fois, par Vacade'mie[!]-royale de musique, le mardy 15 sep- 
 tembre 1789. Les paroles sont de M. Deriaux. Musique de Vogel. 
 Paris, Ruault, 1 789. 26 p. 22 cm . 
 
 ML 50.2.D4V62 
 
 Demophontes. Tr. of Graun's Demofoonte. 
 
 Demophontes, king of Thrace. An opera. As perform'd at the 
 Theatre Royal in the Hay-Market. Composed by Egidio Duni Napo- 
 lilano. 
 London, J. ChricMey, 1737. 68, [/] p. 17 cm . 
 
 Three acts. Metastasio's "Demofoonte" with English translation facing the 
 Italian. Dedication by Angelo Con, argument, cast. On the add. p. the aria, 
 "Mi fai gioire" (II, 1), substituted for "Nel tuo dono." 
 
 First performed, as indicated, May 24, 1737. * SCHA.TZ 2837 
 
 Demophontes, koenig in Thracien. Tr. of Graun's Demofoonte, 
 re di Tracia. 
 
 Demophoon. Tr. of Bernasconi's Demofoonte. 
 Demophoon. Tr. of Hasse's Demofoonte. 
 Demophoon. Tr. of Verocai's Demofoonte. 
 
 Le depart de F opera -comique; compliment, en un acte. Repre- 
 sente a la c!6ture de la Foire S. Laurent 1759. 
 
 Paris, Duchesne, 1759. 22, [2] p. 19 cm . (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. viii.) 
 
 Cast. Prose and vaudevilles. No airs printed in the text, nor following the text. 
 The [2] p. contain catalogues of plays. Font does not mention Favart's musical 
 collaborator. 
 
 First performed on October 9, 1759. ML 49.A2F1 
 
 - Le depart de T Opera comique, compliment en un acte. Repre"- 
 sente 1 a la cldture de la Foire St. Laurent 1759. 
 
 C'.'l 
 
 Paris, la veuve Duchesne, 1766. 28 p. 19 
 
 On p. 22-28, "Airs:" "Aux epectateurs indulgens," "J'avois un petit oiseau," 
 " Viens calmer ma douleur." Favart is not mentioned. SCHATZ 11489
 
 366 LIBRARY OF CONGRESS 
 
 Le dereiglement des passions, etc. See Ballet du dereiglement. 
 
 Descrizione dell' apparato della comedia et intermedii d'essa reci- 
 tata in Firenze il giorno di S. Stefano 1'anno 1565. nella gran Sala 
 del palazzo di sua Ecc. illust. nelle reali nozze. Dell illustriss. & 
 eccell. S. il S. Don Francesco Medici principe di Fiorenza. & di 
 Siena, & della regina Giouanna d'Austria sua consorte. Ristam- 
 pata, con nuoua aggiunta. 
 
 Fiorenza, i Giunti, 1566. 26, [2} p. 16\ cm . 
 
 The last [2] p. contain colophon and printer's mark. 
 
 On p. [3}-10 a most minute and fascinating description of the apparatus (i. e. audi- 
 torium, seating arrangements, etc.) with name of Giovanni Battista Cini as author of 
 the intermedii "Peiche ed Amore" performed with Francesco d'Ambra's comedy 
 "La Cofanaria." From II Lasca's edition of the "Descrizione" (see below) we know 
 that it was originally written by Cini. 
 
 On p. 10-23 description and text of the six intermedia. The text of these is exactly 
 the same as in the edition below, but the description is shorter. Also this difference 
 appears that the musical data (substantially the same as in the edition below) follow 
 each intermedio, instead of being grouped together at the end. Alessandro Striggio 
 is mentioned as the composer o? the first, second, fifth intermedio, Francesco Cor- 
 teccia of the third, fourth and sixth. 
 
 On p. 24-26 description of the banquet, etc., following the performance. 
 
 ML 52.2.D3 
 
 Descrizione de gl'intermedii rappresentati con la cpmmedia nelle 
 nozze dell' illustrissimo, ed eccellentissimo Signor principe di Firenze 
 e di Siena. 
 
 Jem 
 
 Firenze, Filippo Giunti, 1593. 22 p. 15 C 
 
 Forms part of "La COFANARIA. Cpmmedia di Francesco d'Ambra. Con gl'inter- 
 medii di Giovambattista Cini. Recitata nelle nozze del . . . Don Francesco de 
 Medici, & della Sereniss. regina Giovanna d'Austria. Di nuovo ristampata," same 
 publisher, same date. 
 
 The description of the six "intermedii . . . tratti dal la novella di Pstcta, ed' Amore 
 descritta molto piacevolmente da Apuleio nel suo Asin d'oro " is preceded by a dedica- 
 tion signed "II Lasca ".(psewrf. of the poet, Antonio Francesco Grazzini). It is un- 
 dated, but is obviously of about the same date as the dedication of the comedy by the 
 editor, Alessandro Ceccherelli, "Firenze il di 15. di gennaio 1565." II Lasca says: 
 
 "Essendo da altri con fretta & per ci6 con ppca cura stati mandati in luce gl'inter- 
 medij che con la commedia si fecero nelle Lor Realissime Nozzecavatidaunasemplice 
 descrittione fatta dall' autor loro innanzi a la loro rappresentatione ad instanzia di 
 Sua Altezza accioche ella potesse piii agevolmente intenderli, mosso di lui, & di loro a 
 compassione che pareva che poca cura se ne prendesse mi son messo ad allargargli 
 alquanto, e ridurh nella forma che le vedranno ..." 
 
 With these remarks, II Lasca refers to the publication of the "Descrizione dell' 
 apparato della commedia ed intermedia d'essa, fatta in Firenze il giorno di S. Stefano 
 1'anno 1565." 
 
 The description of the intermedii proper II Lasca follows up, "a soddisfazione de' 
 curiosi musici," with a description of the orchestra employed and other musical 
 features, and then says: 
 
 "L'invenzione, & le parole de gl'intermedij furonodi M. Gio. Battista Cini, & sotto 
 la sua cura furno condotti si come la commedia, e tutto il restante ad essa apparte- 
 mente . . . 
 
 "Messer Alessandro Strigfgjio fece le musiche del primo del secondo, & del quinto, 
 intermedio. Quelle del terzo, del quarto, & dell' ultimo furno fatte dal Maestro della 
 cappella di Lor Eccellenze illustrissime: Messer Francesco Corteccia." 
 
 The music is generally considered lost, but a remark on p. 18 of II Lasca's descrip- 
 tion makes it clear that it was in the press in 1565 ( ' ' stampandosi la musica ") . II Lasca 
 issued an edition of his "Descrizione de gl'intermedii " in 1566, with a "rather 
 better" text and a different dedication, as Mr. G. E. P. Arkwright, the editor of the 
 Musical Antiquary, added to a footnote of mine in my reprint (with introductory 
 remarks) of the 1593 "Descrizione " in his journal, October, 1911. The "Descrizione 
 had previously been reprinted in the fifth volume of the "Teatro Comico Florentine," 
 Firenze, 1750 (copy in L. of C.).
 
 OPERA LIBBETTOS 367 
 
 The deserter. Tr. of Pietro Guglielmi's II disertore. 
 The deserter. Tr. of Monsigny's Le deserteur. 
 
 Songs, etc in the Deserter of Naples; or, Royal clemency: To which 
 is added, An ode to friendship . . . and other favorite pieces per- 
 formed at the Royalty Theatre. 
 
 [London], Printed for A. Cleugh, C. Stalker, [etc.], n. d. 16 p. 21 cm . 
 
 The text of "The Deserter of Naples," on p. [l]-8. Of the last song, "Anacreon" 
 ("To banish life's troubles") [Richard John Samuel] Stevens is mentioned as the 
 composer. A note on p, [3] says: 
 
 "This beautiful and by far most interesting piece ever performed on the boards of 
 the Royalty Theatre, is the production of Mr. Delphim, and executed under hie 
 direction." 
 
 He undoubtedly utilized Dibdin's "The deserter," but does not seem to have used 
 any of the songs in Dibdin's version of Monsigny's "Le deserteur." 
 
 Performed 1788, as indicated. LONGE 102 4 
 
 Le deserteur, drame en trois actes, en prose, melee de musique; par 
 M. Sedaine. La musique par M. * * Represented pour la 
 
 premiere fois per les Comediens italiens ordinaires du Roi, le lundi 
 6 mars 1769. 
 
 Paris, Claude Herissant, 1769. 68 p. 19 cm . 
 
 Composed by Monsigny, who is not mentioned. SCHATZ 6569 
 
 Le deserteur. Drame en trois actes, en prose, m61e de musique. 
 Par M. Sedaine. La musique par M. * * * Repre"sent6 a Paris, 
 pour la premiere fois, par les Com^diens italiens ordinaires du roi, le 
 lundi 6 mars 1769. Et a Fontainebleau, le 8 octobre 1769, en pre- 
 sence* de Sa Majest6. Seconde edition, revue par 1'auteur. 
 
 Paris, Claude Herissant, 1770. viii, 84, [4] p. 18% cm . 
 
 Cast and preface, in which Sedaine comments on the troubles of a librettist in 
 general and on his in particular. He says in part : 
 
 "Dans ce genre d'ouvrage, 1'interet doit eoutenir la musique pendant les pre- 
 mieres representations, dut-elle y nuire; mais lorsqu'en suite la piece est scue, 
 lorsqu'on peut 1'entendre sans 1'inquietude de ce qui doit arriver, la musique fait 
 ecouter le poeme sans degout, cinquante representations dans la meme ann^e, avan- 
 tage qlie n'ont pas des ouvrages de litterature beaucoup plus estimables ..." 
 
 The text is the same as in the 1769 edition. ML 50.2.D45 
 
 - The deserter; a new musical drama, 'as it is performed at the 
 Theatre-Royal in Drury Lane. 
 London, T. Becket, 1773. vi, [2], 36 p. 20. 
 
 Two acts. Cast and preface signed by Charles Dibdin, who says: 
 
 ' 'Le Deserteur [text by Sedaine, music by Monsigny], is well known to have been 
 these five years the most favourite musical piece on the French stage : . . . 
 
 "It was thought, therefore, that if the unnecessary incidents were expunged, and 
 those retained were rendered more probable; if, by making an uniform partition, 
 between the dialogue and the songs, it could be brought more to wear the complexion 
 of an Opera, The Deserter might be entitled to a favourable reception on the English 
 stage: how far these suggestions were reasonable, the public (who are the best judges, 
 and by whose arbitration I shall always be proud to abide) will determine. 
 
 "With regard to the music, as I found it a work of great invention, I should have 
 kept it in its original state, had it been possible; but, besides the excessive length of 
 the songs, the continual breaks into recitative, the frequent suddep alterations of the 
 stile, and above all, that sameness which so particularly characterizes the French 
 music, I found it much too grave to stand the lea^t chance of success in an after- 
 piece: I, therefore, selected what I thought the beauties, and what I could not effect 
 by having recourse to the original, I have endeavoured to supply myself. 
 
 "In justice to the French composer, I think it absolutely necessary to declare, 
 that the songs, beginning 'One conduct's for both love and war,' 'The nymph who in
 
 368 LIBRARY OF CONGRESS 
 
 Le deserteur Continued. 
 
 my bosom reigns,' and 'The whims of folks in love'; are wholly my own; and that 
 the first air in the piece [" I can't for my life "], and that beginning, 'My life's three 
 parts diminish'd ' are by Philidor, a name of no inconsiderable note in the musical 
 world." 
 
 In Broderip & Wilkinson's vocal score also "I'd have you to know" and "I'll 
 fly these groves " are headed as composed by Dibdin. 
 
 First performed, as indicated, November 2, 1773. LONGE 13 
 
 - The deserter, in two acts. By C. Dibdin. 
 
 [22}~48 p. 19 cm . (Collection of the most esteemed farces and enter- 
 tainments, t. iv, Edinburgh, 1792.) 
 
 Drury-Lane and Edinburgh (1782) casts. SCHATZ 11753D 
 
 - The deserter, a comic-opera ; in two acts, as performed at the 
 theatre, New- York, with universal applause. By Mr. C. Dibdin. 
 
 New-York, Samuel Campbell, 1787. 81,[1] pi 17 cm . 
 
 New York cast. 
 
 First performed in America, as indicated, June 8, 1787. ML 50.6. D36 
 
 Der deserteur, ein singspiel in drey aufzuegen aus dem franzoe- 
 sischen uebersetzt mit musik. 
 
 Frankfurt am Mayn, mit Andredischen schriften, n. d. 103 p., 11 
 p. (folded music, dated 1773) 
 
 Cast. Johann Joachim Eschenburg's version, who is not mentioned. The music 
 contains (voice and bass) "Ein eolches herz zu kranken," "Mein schiiferstab war 
 fort, ' ' ' ' Aller Welt blut, " " Ach! vergesset alle schmerzen . ' ' Sen ATZ 6570 
 
 t 
 Les desesperes, prologue des deux pieces suivantes. Par M re . Le 
 
 5 * *, & d'Or * * *. Represented a la Foire S. Laurent. 
 1732. 
 
 - Sophie et Sigismond. Piece d'un acte. Par M rs . Le S * *. 
 
 6 d'Or * * *. Representee a la Foire S. Laurent. 1732. 
 
 - La sauvagesse. Piece d'un acte. Par M. Le S * *. & 
 d'Or * * * Representee k la Foire S. Laurent. 1732. 
 
 Le Theatre de lafoire, Paris, 1737, t. ix, [117]-274 P- 17 cm > 
 By Le Sage and d'Orneval. Largely en vaudevilles. The airs, selected or com- 
 posed and arranged by Jean Claude Gillier, are printed at the end of the volume in 
 the "Table des airs." 
 
 First performed July 7, 1732. ML 48.L2IX 
 
 Desiderius, koenig der Longobarden, musicalisches schaiispiel, 
 an dem frohen gebuhrts-tage des Allerdurchlauchtigsten . . . Joseph 
 I, erwehlten roemischen kaeysers . . . zu allerunterthaenigster freu- 
 denbezeugung auf dem Hamburgischen Schau-platz vorgestellet, im 
 Jahr 1709, den 26 Julii. 
 
 n. i., n. d. Unpaged. 19 cm . 
 
 Five acts. Towards the end of his astrological, historical, and what not "Vor- 
 bericht" the author, Barthold Feind (not mentioned), says that the part of Flori- 
 ana is: 
 
 " einigermassen eine imitation des Silvani, in seinem Duello d'amore e di vendetta, 
 die ich bloss darum erwehlt, weil sie gelegenheit zu allerhand actiones auf dem 
 theatro giebt, und ich nicht gerne schauspiele verfertige, worinnen die acteurs viel 
 zeit zu traeumen haben . . .' 
 
 The composer, Reinhard Keiser, is not mentioned. To some arias the Italian 
 text has been added. Sen ATZ 5085
 
 OPERA LIBKETTOS 369 
 
 Despina e Niso. Intermezzi da rappresentarsi nel Teatro Tron di 
 San Cassano 1'anno 1724. 
 
 Venezia, Marino Rossetti, n. d. 10 p. 15 cm . 
 
 Two parts. Neither the author (unknown to Schatz) nor the composer, Alessandro 
 Scarlatti, is mentioned. Mentioned by Dent? According to Schatz, the intermezzi 
 were performed 1724, with Orlandini's "L'Antigona," but originally with Scarlatti's 
 own " L'amor generoso " at Naples, Teatro del R. Palazzo, October 1, 1714. 
 
 SCHATZ 9534 
 
 The destruction of the world. A. T. of Noah's flood. 
 
 Les dettes, comedie en deux actes et en prose, melee d'ariettes, 
 paroles de M. Forgeot, musique de M. Champein. Represente, pour 
 la premiere fois, a Paris, par les Come'diens Italiens ordinaires du 
 Roi, le 8 Janvier 1787; & a Versailles, devant Leurs Majestes, le 23 
 fevrier suivant. 
 
 Paris, Prault, 1787. 46 p. 21%. 
 
 Cast. SCHATZ 1794 
 
 - De schulden, zangspel gevolgd naar het fransche. Door Hen- 
 drik Ogelwight, junior. 
 
 Amsterdam, J. Helders en A. Mars, 1791. 53 p. 16\ cm . 
 
 First performed at Amsterdam, Stads Schouwburg, July, 1791. SCHATZ 1795 
 
 Deukalion und Pyrrha. Ein musikalisches drama mit gesaengen. 
 
 Breslauund Leipzig, Christian FriedrichGutscJi, 1779. 4 P- 15 cm . 
 
 Neither the author, Karl Emil Schubert, nor the composer, Franz Andreas Holly, 
 is mentioned. 
 
 First performed at Breslau, Schuch'sches Theater, December 18, 1780. 
 
 SCHATZ 4769 
 
 Les deux avares, comedie en deux actes en prose, melee d'ariettes; 
 
 repre"sentee pour la premiere fois & Fontainebleau, devant Sa Majeste", 
 
 le samedi 27 octobre 1770. Les paroles sont de M. Fenouillot de 
 
 Falbaire. La musique est de M. Gretry. 
 
 [Paris], Pierre Robert CTiristophe Bollard, 1770. 2 p. 1., 58 p. 
 
 19% cm . 
 
 Cast and "Description du lieu de la sce^ie." ML 50.2.D48G7 
 
 First performed, as indicated, at Paris, Come'die italienne, December 6, 1770. 
 
 Les deux avares, comedie en deux actes en prose, melee d'ariettes; 
 represented pour la premiere fois a Fontainebleau, devant Sa 
 Majeste, le samedi 27 octobre 1770. Les paroles sont de M. Fenouillot 
 de Falbaire. La musique est de M. Gretry. 
 Paris, Pierre Robert CJiristophe Bollard, 1771. 64 p. 18 cm . 
 Cast, "Description du lieu de la scene" and on p. 31-34 (1, 15), the air of the "Duo. 
 La garde passe, il est minuit." 
 
 SCHATZ 4143 
 
 - Les deux avares, Come'die en deux actes en prose, meslee d'ariettes; 
 repre"sentee pour la premiere & la secojide fois a Fontainebleau, 
 devant Sa Majeste", le 27 octobre & le 7 novembre 1770. Et pour la 
 premiere fois, a la Comedie italienne, le 6 dicembre de la mme 
 anne"e. Par Monsieur de Falbaire. La musique est de M. Gr6tri. 
 
 Paris, Delalain, 1771. 47, [4] p. 18 cm . 
 
 Cast, prefatory note, and description of the place of action. The last 4 p. contain 
 the air of the vaudeville, "De tous noa projets " (II, 6). SCHATZ 11704 
 
 72251 VOL 114 24
 
 370 LIBRARY OF CONGRESS 
 
 Les deux avares Continued. 
 
 - Das grab des Mufti oder Die zwey geitzigen. eine komische oper 
 in zwey akten nach dem franzoesischen des nerrn Feuvillet de Fel- 
 baire und Gretris composition, (zum erstenmal aufgefuehrt auf des 
 Markgrafen Heinrichs Koenigl. Hoheit Hoftheater zu Schwedt. 
 Stettin, Johann Franz Struck, 1778. 103 p. 15\. 
 
 SCHATZ 4144 
 
 Die beiden geizigen, ein singspiel in zween aufzuegen aus dem 
 franzoesischen uebersetzt, mit musiK. 
 
 Frankfurt am Mayn, mit Andreaeischen schrifften, 1772. 80 p., 12 
 p. (folded music) 17 cm . 
 
 German version, by Johann Heinrich Faber. The music (voice and bass) consists 
 of "Nur meinem schatze bin ich hold" ("Sans cesee aupres de mon tre"sor"), I, 4; 
 "Lass Dich nicht mehr vom kummer plagen" ("Plus de de"pit, plus de trietesse"), 
 1,7; and " Die Wache ziehet schon vorbey " ("La garde passe, il estminuit"), I, XV. 
 
 SCHATZ 4146 
 
 Les deux baillis. A. T. of Les vendangeurs. 
 
 Les deux charbonniers, ou, Les contrastes, come'die en prose et 
 en deux actes. M16e d'ariettes. Represented, pour les premieres 
 fois, les 7, 9, 13, 15, 17, 19, 21, 23, 27 et 30 fructidor an VII, par les 
 Come'diens du Theatre du palais Egalite", dit Montansier. Paroles et 
 musique du Cousin-Jacques. 
 
 Paris, Moutardier, an VIII [1799-1800] 74 p. 21\ cm - 
 Cast and Avant-propos according to which Cousin Jacques (Beffroy de Reigny) first 
 offered his piece to the Theatre Faydeau, Nov. 16, 1798. He then practically rewrote 
 it in accordance with suggestions of the actor Juliet. Then the Theatre Faydeau was 
 closed for five months, and the author decided to transfer his work to the Theatre Mon- 
 tansier. He concludes his remarks with observations on the cast. 
 First performed, as indicated, August 24, 1799. SCHATZ 705 
 
 Les deux chasseurs, et la laitiere, comedie en un acte, mesle'e 
 d'ariettes; represent6e pour la premiere fois sur le Theatre des 
 Comediens italiens ordinaires du Roi, le 21 juillet 1763. 
 
 Paris, la veuve Duchesne, 1771. 82 p. 18 cm . 
 
 By Anseaume. Neither he nor the composer, Duni mentioned. With the melo- 
 dies of the ariettes, " Je suis perce jusq'aux os," "Le briquet frape la pierre," " Voila 
 la petite laitiere," "Helas, j'ai re"pandu mon lait," and the vaudeville "J'e"tois 
 gissant a cette place." Schatz, Clement & Larousse, and others give, incorrectly, 
 July 23 as the date. SCHATZ 2838 
 
 Les deux chasseurs et la laitiere, come'die en un acte, melee 
 d'ariettes, representee pour la premiere fois sur le Theatre des Com6- 
 diens italiens ordinaires du roi, le 21 juillet 1763. 
 
 Paris, la veuve Duchesne, 1780. 32 p. 19 cm . 
 
 On p. 3-5 the air of "Je suis perce" jusqu'aux os," 12-13 "Le briquet frappe la 
 pierre," 25-27 "Helas! h^las! j'ai r^pandu mon lait," and on p. 30-31 the vaudeville 
 J'e'tois gissant a cette place." Neither Anseaume is mentioned, nor Duni. 
 
 SCHATZ 11694 
 
 Das milch maedchen und die beiden jaeger, ein singspiel in 
 einem aufzuge aus dem franzoesischen uebersetzt. Mit musik. 
 
 Frankfurt am Mayn, mit Andreaeischen schriften, 1772. Ifi p., 11 p. 
 (folded dated music}. 17 C 
 
 'cm
 
 OPERA LIBRETTOS 371 
 
 Les deux chasseurs, et la laitiere Continued. 
 
 German version by Christian Friedrich Schwan. With cast. The musical sup- 
 plement (voice and bass) contains: "Wenn der stein den stahl beruhrt" ["Le briquet 
 frappe la pierre]", p. 1-4; "Hier ist das kleine milchmadchen " ["Voila la petite 
 laitiere"], p. 4-5; "Sag, wie dir das gefallt " ["Voici tout monprojet"], p. 6-10; "Ich 
 lag in lauter anget und beben" ["J'etois gissant a cette place"], p. 10-11. 
 
 First performed at Mannheim, Theater a. d. Fruchtmarkt, 1771. SCHATZ 2839 
 
 Das milchmaedgen und die zween jaeger. Eine operette, aus 
 dem franzoesischen des herrn Anseaume. 1773. 
 
 n.i.,n.d. 15 p. 17 cm . 
 
 Lyrics only. The composer is not mentioned. Not Schwan's version. 
 
 First performed at Berlin, Theater i. d. Behrenstrasse, August 5, 1772. 
 
 SCHATZ 2840 
 
 Leg deux coffrets. A. T. of the pasticcio Le genie Asouf. 
 
 Les deux cousines, ou La bonne amie ; comedie en un acte, mesle"e 
 d'ariettes; par M. Delaribadiere ; la musique, de M. Desbrosses: 
 Represented pour la premiere fois far les Come'diens italiens ordi- 
 naires du roi, le 21 may 1763. 
 
 Bruxelles, Jean Joseph Boucherie, 1764. 38, [2} p. 16 cm . 
 
 With author's dedication and cast. The two additional pages contain the "Appro- 
 bation " of Mai 1, 1763, and the "Extrait du privilege." SCHATZ 2528 
 
 Les deux miliciens, ou L'Orpheline villageoise, come'die en un acte 
 et en prose, meslee d'ariettes; par M. d'Azemar ... La musique 
 est de M. Fridzeri. Repr6sentee pour la premiere fois par les Com6- 
 diens italiens ordinaires du roi, le 24 aout 1771 . . . 
 Paris, la veuve DucJiesne, 1772. 40 p. 18 cm . 
 
 Cast. On p. 36-40 the melody of the ''Pastorale. Colin un jour sur la fougere." 
 
 SCHATZ 3370 
 Second copy. YUIN PQ 
 
 Die beiden militzen, ein singspiel in einem aufzuge aus dem 
 franzoesischen uebersetzt, mit musik. 
 
 Frankfurt am Mayn, mit Andreaeischen schriften, 1778. 67 p., 16 p. 
 (obi. folded music). 16% cm . 
 
 Cast. By Johann Heinrich Faber. The 8 p. of music incorrectly bound in with 
 this copy belong to "Der Holzhauer," by Philidor, whereas the 16 p. that belong 
 with ' ' Die beiden militzen " are incorrectly bound in with Philidor 's "Der holzhauer . 
 They consist of "O! wie qualet doch die liebe" (I, 1), "Sobald es tagt" (I, 5), 
 "Letzthin erzahlte auf den wiesen" (I, 6). SCHATZ 3371 
 
 Les deux morts, ou La ruse de carnaval, ope'ra-comique. Par J. 
 Patrat. Represent^ sur le Theatre des Comeaiens italiens ordinaires 
 du roi, le mardi 27 fe"vrier 1781. 
 
 Paris, Vente, 1781. 43 p. 20 cm . 
 
 One act. En vaudevilles. Cast. Arranger of the music not mentioned and 
 unknown to me. ML 50.2. D487 
 
 Les deux pages. See Dezede's Auguste et Theodore. 
 
 Les deux petits Savoyards, comedie en un acte, m16e d'ariettes 
 par M. Mars. . . . des V ... Musique de M. Dal . . . Repre"- 
 sente"e, pour la premiere fois, par les Come'diens italiens ordinaires du
 
 372 LIBRARY OF CONGRESS 
 
 Les deux petits Savoyards - Continued. 
 
 roi, le mercredi, 14 Janvier 1789 et a Versailles, devant Ijeurs Majest&3 ; 
 le vendredi suivant. 
 Paris, Brunei, 1789. 70 p. 18 cm . 
 
 Cast. By Marsollier. Music by Dalayrac. SCHATZ 2336 
 
 Second copy. ML 48.061 
 
 Les deux petits Savoyards, opera en un acte. Musique de Mr. 
 d'Alayrac. 
 
 Hambourg, P. F. Fauche, 1795. 15 p. 14$ cm . 
 
 The author, Marsollier, is not mentioned. ML 50.2.D49D2 
 
 Les deux petits Savoyards, opera en un acte, musique de Mr. 
 d'Alayrac. 
 
 Hamburg, Mees pere et comp., n. d. 
 The author, Marsollier, is not mentioned. 
 
 First performed at Hamburg, Theatre de la Societ6 francaise dramatique et lyrique, 
 March 4, 1795. SCHATZ 11688 
 
 Die beyden kleinen Savoyarden, ein singspiel in einem aufzuge. 
 Nach dem franzosischen. 
 
 Leipzig, C. G. Martini, 1795. 4! p. 16 cm . 
 
 Translation revised by Heinrich Gottlieb Schmieder according to Schatz. 
 Dalayrac is not mentioned as composer. SCHATZ 2338 
 
 Die zween Savoyarden, ein singspiel in einem aufzuge. Aus dem 
 franzoesischen auf die musik des herrn Dallayrac uebersetzt. Von 
 J. Perinet. Aufgefuehrt auf dem k. k. privilegierten Marinellischen 
 theater in der Leopoldstadt. 
 
 Wien, Matthias Andreas Schmidt, 1792. 47 p. 16\ cm . 
 
 SCHATZ 2340 
 
 Os dois rapazes Saboyanos: Comedia com musica em hum so' 
 acto, para se representar no Real Theatro de S. Carlos, no dia 1 1 de 
 Janeiro de 1796 em beneficio de Miguel Cavana. 
 
 Lisboa, Simao Thaddeo Ferreira, 1796. 142 p. 14 cm . 
 
 Dalayrac is mentioned as composer. Portuguese text faces Italian, by Giuseppe 
 Carpani (Schatz), first used at Monza, Teatro Arciducale, fall of 1791. SCHATZ 2339 
 
 Les deux prisonniers. A. T. of Dalayrac's Adolphe et Clara. 
 Les deux soeurs. A. T. of Belle et bonne. 
 
 Les deux soeurs rivales, comedie en un acte; mesl^e d'ariettes. 
 Represented pour la premiere fois par les Comediens italiens ordi- 
 naires du roi le jeudj 22 juillet 1762. Les paroles sont de M. de 
 Laribadiere. La musique de M. Desbrosses. 
 
 Paris, Bollard, 1762. 48 p. 19 cm . 
 
 Author's dedication and cast. The text interspersed throughout with the airs of 
 the ariettea. ML 50.2.D495D2 
 
 Les deux Suisses. O. T. of Gaveaux' L'amour filial.
 
 OPERA LIBRETTOS 373 
 
 Les deux suivantes, opera-comique en trois actes; represents pour 
 la premiere fois sur le Theatre de la Foire S. Laurent en 1730. 
 
 Charles Francois Pannard, Theatre. Paris, Duchesne, 1763, v. 2, 
 128 p. 17 cm . 
 
 Prose and vaudevilles. According to Parfaict, the text was written jointly by 
 Pannard and Pontau, composed by Gilliers, and first performed July 20, 1730. 
 
 PQ 2019.P3 
 
 Les deux sylphes, comedie en un acte et en vers, m61ee d'ariettes, 
 par M. Imbert. Repre"sentee pour la premiere fois par les Comediens 
 italiens ordinaires du roi le 18 octobre 1781. 
 Paris, Jean Francois Bastien, 1781. 46, [1] p. 22 cm . 
 
 Cast. The composer, Desaugiers, is not mentioned. ML 50.2.D5D2 
 
 Les deux tuteurs, come"die en deux actes, en prose, melee d'ariettes. 
 Representee, pour la premiere fois, a Fontainebleau, devant Leurs 
 Majeste"s, le 11 octobre 1783, & a Paris, au Theatre italien, le 8 mai 
 1784. 
 
 Paris, Brunei, 1784. 2 p. 1., 56 p. 20 cm . 
 
 Cast. ML 50.2.D51D2 
 
 Les deux tuteurs, comedie en deux actes, en prose, mglee 
 d'ariettes. Represented pour la premiere fois k Fontainebleau 
 devant Leurs Majestes le 11 octobre 1783 & a Paris, au Theatre 
 italien, le 8 mai 1784. Par M. de la Chabeaussiere. Musique de M. 
 le chevalier d'Aleyrac. 
 
 Toulouse, J. B. Broulhiet, 1785. 39 p. 19 cm . 
 
 Cast. ML 50.2.D51D22 
 
 Gesaenge aus dem singspiele : Die zwey yormuender, in zwey 
 aufzuegen, nach dem franzoesischen von d'Arien. In Musik gesetzt 
 von Dalayrac. 
 
 Hamburg, J. M. Michaelsen, 1788. 24 p. 16% cm . 
 
 First performed at Hamburg, Theater beim Gansemarkt, August 4, 1788. 
 
 SCHATZ 2341 
 
 The devil of a duke : or, Trapolin's vagaries. A (farcical ballad) 
 opera, as it is acted at the Theatre-Royal in Drury-Lane. To which 
 is prefix'd the musick to each song, set for the spinnet, harpsichord, 
 German flute, violin, and hautboy, with the thorough base to each 
 tune. The second edition. 
 
 London, Charles Corbett and John Torbuck, 1732. Ip.l., 43, [1] p. 
 19 cm . 
 
 One act. Cast, and on last (unnumb. page) the table of the 21 songs, the airs of 
 which are indicated in the text by title. The musick is not prefixed to any of the 
 eongs in this edition of Rpbert Drury'e text, nor is Mr. Seedo mentioned as the com- 
 poser of any of them, his airs in the first ed. (1732) having been engraved separately. 
 (Squire). In this second ed.: 
 
 " the first ["Seguacci Do not ask me if I love you "] and eighteenth ["Fly, Cupid, 
 fly, and give. " Title of air not mentioned] were wrote by another hand and inserted 
 at the desire of the performers." 
 
 First performed Sept. 23, 1732, as indicated. LONOE 120
 
 374 LIBRARY OF CONGRESS 
 
 The devil to pay; or, The wives metamorphos'd. An opera. As it 
 is performed at the Theatre-Royal in Drury-Lane, by His Majesty's 
 servants. Written by the author of The beggars wedding. With 
 the musick prefix'd to each song. 
 
 London, J. Watts, 1732. 4 p. I, 31 p. 19 cm . 
 
 One act. Cast, table of the 16 songs, prologue, and dedication, signed by the 
 author, Cha. Coffey, though John Mottley is said by some to have collaborated and 
 Theophilus Gibber to have been responsible for this reduction of the original three 
 acta to one. Ballad opera, in which air IV, "Ye Gods! you gave to me a wife," is 
 marked as "set by Mr. Seedo." The airs are printed in the text with their titles. 
 
 First performed August 6, 1731, (in three acts according to Squire, reduced to one 
 act in 1732). ML 50.5.D37 
 
 The devil to pay : or, The wives metamorphos'd. An opera. As 
 it is perform'd at the Theatre-Royal in Drury-Lane, by His Majesty's 
 servants . . . With the musick prefix'd to each song. 
 
 London, J. Watts, 1748. front., 4 p. I, 30 p. 21tf m . 
 
 One act. Same dedication, prologue, table of songs, but a different cast. 
 
 ML 50.5. D39 
 
 
 
 The devil to pay : or The wives metamorphos'd. An opera. As 
 it is performed at the Theatres-Royal, by His Majesty's servants . . . 
 
 London, T. Lowndes, 1771. 37 p. (incl front.) , 10 p. 
 The 10 p. contain catalogue of "Books printed for T. Lowndes." 
 One act. Dedication, prologue, cast, table of the 16 songs, their airs being indi- 
 cated in the text by title. LONGE 69 
 
 The devil to pay : or, The wives metamorphos'd. By Charles 
 Coffey, Esq. 
 
 [64\-88 p. 19 cm . (Collection of the most esteemed farces and enter- 
 tainments, t. 11, Edinburgh, 1792.) 
 
 Drury-Lane and Edinburgh (1782) casts. Ballad opera. The air IV, "Ye Gods! 
 you gave to me a wife," was "set by Mr. Seedo." SCHATZ 11753B 
 
 Le devin du village, intermede; par J. J. Rousseau; represent e pour 
 la premiere fois a Fontainebleau, sur le Theatre de la Cour, devant 
 Leurs Majestes, les 18 & 24 oct. 1752. Et a Paris, par 1' Academic 
 royale de musique le 1 mars, 1753. 
 Geneve, Pierre Gosse, 1760. 59 p. 
 
 One act. Text by Rousseau, with exception of that of the ariette "Avec 1'objet 
 de mes amours," which was by Cahusac. Cast, Rousseau's "premiere & unique 
 d&licace" to Duclos, his "Avertissement" and (printed in the text) the airs as in 
 the score published by M de Boivin, Le Clerc, etc. The Avertissement reads: 
 "Quoique j'aie approuve" les changemens que mes amis jugerent a propos-de faire u 
 cet intermede, quand il fut joue" a la cour et que son succes leur soit du en grande 
 partie, ie n'ai pas juge a propos de les adopter aujourd'hui, & cela par plusieurs rai- 
 sons. La premiere est, que puisque cet ouvrage porte mon nom if faut que ce soit 
 le mien, dut-il en etre plus mauvais. La seconde, que ces changemens pouvoient 
 etre fort bien en eux memes, & 6ter pourtant a la piece cette unit6 si peu connue, 
 qui seroit le chef-d'oeuvre de 1'art, si Ton pouvoit laconserver sans r6 petitions & sans 
 monotonie. Ma troisieme raison est, que n ayant fait cet ouvrage que pour mon amuse- 
 ment, son vrai succes est de me plaire; or personne ne sait mieux que moi comment 
 il doit etre pour me plaire le plus." 
 
 First performed at Fontainebleau October 18, 1752, with recitatives by Yeliotte 
 and Francoeur instead of those by Rousseau and with an overture and a final Diver- 
 tissement made up from music by Rameau, Dauvergne and others. First performed 
 at Paris, Acade'mie royale de musique together with Michel Blavet's one act opera- 
 bouffon "Le jaloux corrig6" on March 1, 1753, with an overture and a final Diver-
 
 OPERA LIBRETTOS 375 
 
 Le devin du village Continued. 
 
 tisaement-Pantomime composed by Rousseau in the meantime. Either at this or 
 
 the second Paris performance Rousseau's own recitatives were restored. 
 
 ML 50.2.D515R6 
 
 Le devin du village, intermede; represent e, a Fontainebleau, le 
 mercredi 14 novembre 1770. Les paroles et la musique sont de J. J. 
 Rousseau. Les ballets sont de la composition de Laval. 
 
 Geneve, n. publ., 1796. 13 p. 21 cm . 
 
 Cast. One act. Of the first seven scenes the text in this edition is practically the 
 same as in the score published by M me - Boivin (175-) and Le Clerc (176-) but that 
 of the eighth (last) scene differs considerably. Nor I do not find it in the Le Due 
 (178-) or Dufant et Dubois scores (181-). The most striking difference is this that 
 the Choeuravec le Devin "Colin revient a sa bergere" does not appear in this Geneva 
 edition of the text and that Colin's Romance "Dans ma cabane obscure" is preceded 
 by the chorus "Chan tons, chantons le dieu qui regne en nos hameaux." 
 
 ML 50.2.D5515R7 
 
 - The cunning-man, a musical entertainment, in two acts. As it 
 is performed at the Theatre Royal in Drury-Lane. Originally writ- 
 ten and composed by M. J. J. Rousseau. Imitated, and adapted to 
 his original music, by Charles Burney . . . 
 
 London, T. Becket and P. A. de Eondt, 1 766. 4'p. 1., 30, [1] p. 20 cm . 
 
 Two acts. Cast and preface, in which Burney apologizes for defects in his trans- 
 lation: 
 
 "The native simplicity and beauty of the original poetry, he could not flatter him- 
 self with the hopes of preserving in the translation . . . However, the airs have been 
 scrupulously preserved from change or mutilation ..." 
 
 In a foot-note he adds: 
 
 "Upon rehearsing the music, it has been thought necessary to retrench the second 
 act, for fear of satiety." 
 
 These cuts are printed in the text with inverted commas. 
 
 First performed, as indicated, November 21, 1766. LONGE 257 
 
 The cunning-man . . . The second edition. 
 
 Same title, imprint, date, text, cast, and preface. LONGE 26 
 
 The cunning man. A musical entertainment. In two acts. 
 From the Devin du village of Rousseau. By Dr. Charles Burney. 
 
 p. [196]-207. 19 cm . (Collection of the, most esteemed farces, per- 
 formed on the British stage, Edinburgh, 1792, vol. ii.) 
 
 Cast. SCHATZ 11753B 
 
 Les amours de Bastien et Bastienne, parodie du Devin de 
 village. Par Madame Favart, & Monsieur Harny. Representee 
 pour la premiere fois, par les Come'diens italiens ordmaires du roi, le 
 samedi 4 aout 1753. 
 
 La Haye, Jean Neaulme, 1755. 32 p. 19 cm . ML48.A4 
 
 Les amours de Bastien et Bastienne, parodie du Devin de 
 village, par Madame Favart, & Monsieur Harny; represented pour 
 la premiere fois par les Come'diens italiens ordinaires du roi, le mer- 
 credi 26 septembre 1753. Nouvelle Edition. 
 
 Paris, N. B. Duchesne, 1759. 47, [1] p. 19. (Theatre de M. 
 Favart, Paris, Duchesne, 1763-77, t. v.) 
 
 One act. En vaudevilles. Cast. Written in collaboration with Favart, who is 
 not mentioned. The arranger of the music not known to Font. ML 49.A2F1
 
 376 LIBBARY OF CONGBESS 
 
 
 
 Le devin du village Continued. 
 
 - Les amours de Bastien et Bastiene parodie 1 du Devin du Vil- 
 lage par Madame Favart et Mr. Harny. Represent ee pour la pre- 
 mi&re fois par les Come'diens ordinaires du roi le mercredi 26 Sep- 
 tembre 1753 & augmented depuis d'une Ronde qui se trouve apres 
 la Parodie. 
 A vignon, Jacques Garrigan, J 768. 24 p. 19\ cm . ML48.M2M 
 
 Les amours de Bastien et Bastienne, parodie du Devin de 
 village, par Madame Favart & monsieur Harny; represent6e pour la 
 premiere fois par les Comediens italiens ordinaires du roi, le mer- 
 credi 26 septembre 1753. Nouvelle Edition. 
 
 Paris, la veuve Duchesne, 1770. 48 p. 18\ cm . 
 
 One act. Printed in the text are the airs of "J'ons pardumonami," "Hulas'! Tu 
 t'en vas!" "Plus matin que 1'aurore," "Quand un tendron viant," "Autrefois a sa 
 maltreese," "De ce volage Colas r6pond," "La voici . . . t6t d^campons," "On n'a 
 dans I'mariage," "Ma peine vous rend fiere," "Non, infidele, cours a ta Belle," 
 "Va, je te rena la pareille," "Mes enfants, apres la pluie," "A present J'nons pus 
 rian," "Autrefois la jeune The'rese." SCHATZ 11481 
 
 Les devins de la Place Saint-Marc. Entree in Campra's Les festes 
 venitiennes. 
 
 Di rado 1'uom sa giudicar se stesso, ballet. See P. Guglielmi'a 
 Alessandro nell' Indie. 
 
 Le diable a quatre, ou La double metamorphose, opera-comique 
 en trois actes. Par M. S. . . . Repr6sente pour la premiere fois 
 sur le Theatre de la Foire S. Laurent, le 19 aout 1756. Et repris le 
 12 feVrier 1757, a fa Foire S. Germain. 
 
 La Haye, Jean Neaulme, 1757. 56 p. 19\ cm . 
 
 See next entry. ML 50.2.D52P4 
 
 Le diable a quatre, on La double metamorphose, opera-comique 
 en trois actes, par M. S 
 
 Paris, Duchesne, 1762. ol p. 19 cm . 
 
 By Sedaine. The music consisted of popular airs. It is therefore a mistake if 
 sometimes Philidor is recorded as the composer instead of as the arranger of the score. 
 
 SCHATZ 11490 
 
 Le diable a quatre, ou La double metamorphose, opera comique, 
 en trois actes, represent^ pour la premiere fois sur le Theatre de la 
 Foire Saint Laurent, le 19 aout 1756; & repris le 12 feVrier 1757 a la 
 Foire Saint Germain. Par M. S . . . . 
 
 Pans, Duchesne, 1770. 60 p. 19 cm . 
 
 Cast. On p. 4-6 the ariette "Oui, oui, je veux en sortir" (I, 3), 22-24 "En grand 
 silence, avec prudence" (II, 1), 37-40 "An! quel plaisir hors de moi" (III, 1). 
 
 SCHATZ 11691 
 
 Le diable d'argent. Prologue. Represente par la Troupe du Sieur 
 Francisque a la Foire S. Germain 1720. Pendant laquelle le chant 
 ayant 6t6 d^fendu, ou. joiia par tolerance ce prologue & les deux 
 pieces suivantes en prose. 
 
 Arlequin, roi des Ogres, ou Les bottes de sept lieues. Piece 
 d'un acte. Representee par la troupe du Sieur Francisque a la Foire 
 de S. Germain 1720.
 
 OPERA LIBRETTOS 377 
 
 Le diable d' argent Continued. 
 
 La queue de verite. Piece d'un acte. Represented par la 
 troupe du Sieur Francisque a la Foire de Saint Germain. 1720. 
 Le Theatre de lafoire, Paris, 1724, t. iv, 3 pi, [95\-211 p. 17 cm . 
 
 According to a note on 2d p. 1. the plays in t. iv were by Le Sage, Fuzelier, and 
 D'Orneval. The title-page of "Le diable d'argent" explains the absence of operatic 
 features in these three plays. ML 48.L2IV 
 
 Diana. See Reiser's Die entdeckte verstellung. 
 
 Diana al bagno, ballet. See Gazzaniga's Amor per oro. 
 
 Diana e Endimione, ballet. See Bertoni's L'anello incantato. 
 Diana ed Endimione. A. T. of the ballet L'amor vincitore. 
 
 Diana ed Endimione, ballet. See P. Guglielmi's II disertore. 
 Diana sorpresa, ballet. See Marescalchi's II tutore ingannato. 
 
 Diana su 1'Elba, introduzione musicale alia gran caccia fatta "sull' 
 acqua nelle vicinanze di Dresda per ordine di S. M. in occasione delle 
 nozze di L.L. A.A. R.R. Diane sur 1'Elbe . . . 
 Dresde, J. C. Stossel, n. d. Upaged. 18$ em . 
 
 Author not mentioned, and unknown to Schatz. Italian and French (prose) text. 
 Johann David Heinichen is mentioned as composer. 
 
 First performed, as indicated, September 18, 1719. SCHATZ 4704 
 
 Diana und Endymion. Ein singspiel von Friedrich Karl von 
 Strombeck. Nach Metastasio. 
 
 Braunschweig, Joh. Christoph Meyer, 1795. Jfl p. 18 cm . 
 
 Two acts. No composer or performance recorded by Schatz. SCHATZ 11604 
 
 Diana's mask. 
 
 See p. 59-62 (4th act) of Sir Robert Stapylton's tragi-comedy, "The stepmother 
 . . . acted with great applause at the Theatre in Little Lincolns-Inn -fields," Lon- 
 don, J. Straeter, 1664. 
 
 - Apollo's mask. 
 
 Ibidem, p. 42-44 (3d act). LONGE 122 
 
 Diane, divertissement pour le roi. 
 
 [361]-358 p. ll\ cm . (Antoine Danchet, Theatre, Paris, 1761, 
 t. Hi.) 
 
 One act. Apparently identical with the entree, "Diane & Endimion," in the con- 
 densed version of Quinault-Lully's ballet, "Le triomphe de 1'amour," which Danchet 
 and Campra edited for its revival on Sept. 11, 1705. PQ 1972.D2 
 
 Diane et Endimion. Entree in Quinault's Les amours des Deesses. 
 Diane et Endimion. A. T. of de Bury's La vengeance de Famour. 
 Diane sur 1'Elbe. Tr. of Heinichen's Diana su PElba. 
 
 La diavolessa. Dramma di tre atti per musiea. Rappresentato 
 per la prima volta in Venezia 1'autunno dell' anno MDCCLV con 
 musiea del Buranello. 
 
 Carlo Goldoni, Opere Teatrali, Venezia, Zatta ejigli, 1788-95, v. 4$, 
 [179]-239 p. 18 cm . PQ
 
 378 
 
 LIBRARY OF CONGRESS 
 
 La diavolessa. Dramma giocoso per musica di Polisseno Fegejo, 
 P. A. Da rappresentarsi nel Teatro di S. Samuele Tautunno dell' 
 anno MDCCL V. 
 
 Venezia, Angiolo Geremia, n. d. 52 p. 16 cm . 
 
 Three acts. By Goldoni. Cast and name of Baldassare Galuppi as composer. 
 
 SCHATZ 3449 
 
 Li vaghi accident! fra atnore, e gelosia. Dramma giocoso per 
 musica, da rappresentarsi nel Nuovo Teatro alia Cavallerizza nella 
 fiera di Giubilate dell' anno MDCCL VI. In Lipsia. - Die artigen 
 zufaelle zwischen liebe und eifersucht . . . Auf dem neuerrichteten 
 Theater im allhiesigen Reuthause ... in Leipzig aufgefuehret . . . 
 n. i., n. d. 159 p. 16% cm . 
 
 Three acts. By Goldoni. Scenario and name of Galuppi as composer. German 
 text faces Italian text, which is practically identical with that of "La Diavolessa." 
 
 SCHATZ 3450 
 
 II diavolo a quattro, ballet. See Calvi's Ezio. 
 
 II diavolo a quattro ossia La doppia metamorfosi, ballet. See 
 Calegari's Artemisia. 
 
 II diavolo a quattro ossia La doppia metamorfosi, ballet. See 
 Caruso's II matrimonio in commedia. 
 
 II diavolo a quattro ossia La doppia metamorfosi, ballet. 
 Gassmann's L'amore artigiano. 
 
 See 
 
 Didio Giuliano. Drama rappresentato nel nuovo Teatro Ducale in 
 Piacenza . . . Poesia del dottor Lotto Lotti, e musica di Don Ber- 
 nardo Sabadini . . . 
 
 Parma, Stamparia Ducale, 1687. 20 p. 14 cm - 
 
 Three acts. Impresario's dedication, argument, scenario, and curioua not : ce to 
 the reader which reads in part : 
 
 "ci6 che si rende oscuro nel verso, non riesce poi chiaro a gl'idioti, massime fra 
 le consonanze della musica; essendo hoggidl un gran precetto il sodisfare 1'udito 
 commune; abbenche per6 se ne servissero anche i primi maestri; di questa verity 
 te ne f& fede Tacito parlando di Seneca a cui bisognava esse auribus saeculi accomo- 
 datus. Legilo dunque solo in teatro, contemplando, chi lo rappresenta unito all' 
 ingegnosa armonia del Sig. D. Bernardo Sabadini eroico cpmpositore de nostri tempi; 
 mS non applicare a trascorrerlo con occhio curiosq fuori di teatro, perche non ne 
 caverai alcuna allettazione, cosa che pure da sudetti antichi era considerata . . ." 
 
 SCHATZ 9199 
 
 Dido ; a comic opera. As it is performed at the Theatre Royal in the 
 Hay-Market. 
 
 London, T. Davies, 1771. 2 p. I., 34 p. 19\ cm . 
 
 Two acts with prologue. Neither Thomas Bridges, the author, nor the composer 
 is mentioned. Towers is presumably mistaken, if he attributes the music to Dr. 
 Arne. He probably confused this with Arne's masque with harlequinade "Dido 
 and Aeneas, composed 1733. (See Cummings.) 
 
 First performed, as indicated, July 24, 1771. LONGE 32 
 
 Dido. Tr. of Albinoni's Didone abbandonata. 
 Dido. Tr. of Piccinni's Didon.
 
 OPEKA LIBKETTOS 379 
 
 Dido, koenigin von Carthago in einem singe-spiel auf dem Ham- 
 burgischen Theatre vorgestellet. 
 
 [Hamburg], Gedruckt im jahr 1707. Unpaged, 
 
 Three acts. Neither the author, Hinsch, nor the composer, Christoph Graupner, 
 is mentioned in the " Vorrede." SCHATZ 4122 
 
 Didon, tragedie represented par 1'Academie royale de musique 1'an 
 1693. Les paroles de Mad. Xaintonge, & La musique de M. Des- 
 marets. XXX opera. 
 
 n. i., n. d. front , p. 281-344 (Recueil general des opera, t. iv, Paris, 
 1703}.' 14 cm . 
 
 Detached copy. Prologue and five acts. 
 
 First performed, as indicated, September 11, 1693. SCHATZ 2531 
 
 Second copy. ML 48. R4 
 
 Didon, tragedie lyrique en trois actes; repre'sentee a Fontainebleau 
 devant Leurs Majestes, le 16 octobre 1783 et pour la premiere fois 
 sur le Theatre de I'Academie-royale de musique le lundi l er decembre 
 1783. 
 
 Paris, P. de Lormel, 1783. viii, 51,[1] p. 23 cm . 
 
 Three acts. Cast and names of Marmontel as author, of Niccol6 Piccinni as com- 
 poser. SCHATZ 8088 
 
 - Dido, heroische oper in drey akten; zur.musik von Piccini, nach 
 dem franzoesischen von C. Herklots. 
 Berlin, n. publ., 1799. 48 p. 15 cm . 
 
 Three acts. Cast. 
 
 First performed at Berlin, Kgl. Nationaltheater, March 18." 1799. SCHATZ 8089 
 
 Didon abandonnee. Tr. of Jommelli's Didone abbandonata. 
 
 La Didone di Gio. Francesco Busenello. Opera rappresentata in 
 musica nel Teatro di San Casciano nelP anno 1641. 
 
 Venetia, Andrea Giuliani, 1656. 80 p. 15 cm . 
 
 Three acts with prologue. Argument. Without name of the composer, Pietro 
 Francesco Cavalli. SCHATZ 1718 
 
 Didone. Dramma per musica da rappresentarsi nel Regio Teatro di 
 Torino nel carnovale del 1773 alia presenza di S. S. R. M. 
 Torino, Onorato Derossi, n. d. viii, 64 p. 15% cm . 
 
 Three acts. By Metastasio. Argument, cast, scenario, and name of the com- 
 poser, Giuseppe Colla. One of Bartolommeo Lany's ballets performed with the 
 opera was called "Piramo e Tisbe" and is described on p. vii-viii; the music was by 
 Paolo Ghebard. SCHATZ 2107 
 
 Didone. Dramma per musica da rappresentarsi nel Regio Teatro 
 di S. Carlo. In benefizio di Marianna Albani la sera dei 16 ottobre 
 1799. 
 
 Lisbona, Simone Taddeo Ferreira, 1799. 99 p. 15 cm . 
 
 Incorrectly dated: MDCCLXXXXVIX. Three acts. By Metastasio (who is not 
 mentioned) with alterations by the theatre poet Giuseppe Caravita. Argument, cast, 
 scenario and name of Settiminio Marino as the composer. Portuguese text faces 
 Italian. SCHATZ 5968
 
 380 LIBRARY OF CONGRESS 
 
 La Didone. Dramma di Paolo Moscardini colla musiea del Sig. D. 
 Andrea Mattioli mastro di capella del' Altezza Sereniss. di Mantoua. 
 Bologna, Giacomo Monti, 1656. 119 p. 13% cm . 
 
 Three acts with prologue. Author's dedication dated Bologna, April 25, 1656, 
 brief scenario, and notice to the reader in which the author pays his compliments to 
 Mattioli, to the "nuoua, e bizzarra inuentione delle machine del Sig. Gio. Battista 
 Barbieri Ferrarese" and the "nobilissima maestria e magnificenza delle scene de' 
 Sig. Angelo Michele Colonna, Agostino Metelli, e Domenico Santi." SCHATZ 6102 
 
 La Didone. Dramma in musiea da rappresentarsi nel pubblico 
 Teatro di Forli nella primavera dell' anno 1779 . . . 
 
 Fork, AchiUe Marozzi, n. d. 66 p. 17$ cm . 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication, dated 
 Forli, May 8, 1779, cast, scenario, and name of Bernard(in)o Ottani as the composer. 
 
 SCHATZ 7364 
 
 La Didone. Dramma serio in musiea. Da rappresentarsi in 
 Firenze nel R. Teatro dei Risoluti posto in via S. Maria nell' estate 
 dell' anno 1795 ... 
 
 Firenze, Anton Giuseppe Pagani e comp., 1795. 39 p. 16$ cm . 
 
 Three acts. Cast and names of Metastasio as the author, of Paisiello as the com- 
 poser. 
 
 Firet performed as indicated, August 1, 1795; as "Didone abbandonata," at 
 Naples, Teatro di S. Carlo, November 4, 1794. SCHATZ 7699 
 
 Didone. Drama per musiea da rappresentarsi nel Regio Teatro di 
 Torino nel carnovale del 1750 . . . 
 
 Torino, Pietro Giuseppe Zappata ejigliuolo, n. d. 4p-l-> 6 P- 16 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Domingo Terradellas as composer. SCHATZ 10285 
 
 Second copy. ML 48. A5 v. 4 
 
 La Didone, ballet. See Tritto's Apelle e Campaspe. 
 
 La Didone abbandonata. 
 
 [435]-506 p. 19 cm . (Pietro Metastasio, Opere drammatiche, Vene- 
 zia, Giuseppe Betinelli, 1733-37, t. i.) 
 
 Three acts. Argument. No composer is mentioned. This is one of his texts 
 which Metastasio later on revised. Here are a few telling differences between the 
 original and the later version: The original version has in I, 11 the aria "Ogni ama- 
 tor suppone; the later version has no aria. In the original version I, 14 begins "Lo 
 so, quel cor feroce" and has the aria "Infelice e sventurato." This scene was sup- 
 pressed in the later version, so that the later I, 14 is the same as the original I, 15 
 "Come! Da' labbri tuoi." In the original version II, 1 begins "Signer ove te'n 
 vai," in the later version "Chi fu che all inumano." ML 49.A2M4 
 
 - Didone abbandonata. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t. ii, [S07]~40S p. 
 16 cm . 
 
 Three acts and licenza. Argument. "Nella forma in cui sono stati ridotti dall' 
 autore." (See note on p. 169 oft. vi.) 
 
 Same, t. m, [281}-390 p. 16. 
 
 "Come . . . nell' altre edizioni." ML 49.A2M42 
 
 - Didone abbandonata. Primo drama dell' autore, rappresentato 
 la prima volta con musiea del Sarro in Napoli, nel carnevale dell' 
 anno 1724. 
 
 pi., [3]-108 p. 26 cm . (Pietro Metastasio, Opere, t. Hi, Parigi, 
 vedova Herissant, 1780.} 
 
 Three acts and licenza. Argument. ML 49.A2M44
 
 OPERA LIBRETTOS 381 
 
 Didone abbandonata. Tragedia di Pietro Metastasio ... Da 
 rappresentarsi in musica nel Teatro delle Dame nel carnevale dell' 
 anno MDCCXXXII ... 
 
 [Roma], Pasquino, n. d. 83, [1] p. 15 cm . 
 
 Three acts. Last unnumb. p. contains the aria, "M'offendi; epur conviene," aa 
 substitute for "Tacero se tu lo brami" (II, 12). Impresario's dedication, argument, 
 scenario, cast. Composer not mentioned, and unknown to Schatz. SCHATZ 11380 
 
 Didone abbandonata. Tragedia per musica ridotta ad uso del 
 nuovo famosissimo Teatro di S. Girolamo. Da rappresentarsi nel 
 carnovale dell' anno 1747. 
 
 f cm 
 
 Venezia, Luigi Pavini, 1747. 69 p. 11' 
 Three acts. Cast, scenario, and name of composer, Andrea Adolf ati. Based on 
 Metastasio's libretto of the eame title. SCHATZ 57 
 
 Didone abbandonata. Tragedia di Artino Corasio, pastpre Arcade, 
 da rappresentarsi in musica nel Teatro Tron di S. Cassano il carnevale 
 dell' anno MDCCXXV . . . 
 
 Venezia, Marino Rossetti, n. d. 67 p. 15\ cm . 
 
 Three acts. By Metastasio. Dedicatory sonnet, argument, scenario, east, and 
 name of Tommaso Albinoni as composer. SCHATZ 89 
 
 - Dido, musiclische [!] opera, welche auff dem Theatro zu Bresslau 
 in Novembr. anno 1726 vorgestellet . . . 
 
 n, i. } n. d. -Unpaged. 8 cm . 
 
 Three acts, with Italian and German text, name of Albinoni as composer, and argu- 
 ment. Closely-trimmed copy. Pagination possibly cut off in trimming. 
 
 SCHATZ 90 
 
 Didone abbandonata. Dramma per musica del Signore abate 
 Pietro Metastasio Poeta Cesareo da rappresentarsi nel Teatro di 
 Lucca nelP autunno dell' anno 1775. 
 Lucca, Filippo Maria Benedini, 1775. 60 p. lJf m . 
 
 Three acts. Argument, cast, scenario, and name of Pasquale Anfossi as composer. 
 First performed at Venice, Teatro di S. Moise, in May, 1775; at Lucca on August 23, 
 1775. SCHATZ 233 
 
 La Didone abbandonata. Da rappresentarsi in musica nel Teatro 
 nuovo di corte . . . nel carnovale 1760. La poesia del Signor 
 abbate Pietro Metastasio ... La musica del Sig. Andrea di 
 Bernasconi . . . 
 
 Monaco, Giov. Giac. Votter, n. d. 89, [8] p. 15 cm . 
 
 Three acts. Argument, cast, and scenario. The unnumb. p. contain description 
 in French, of the ballets, "Le prie del' oiseau ou du Papegai, ballet pantomime de 
 demi-caractere " and "La coquette de village, pantomime comique. The ballets 
 were invented by Du Buisson de Chalandray. The composer of the music ia not 
 mentioned. 
 
 Previously performed at Munich, carnival of 1756, and at Venice, Teatro di S. Giov. 
 Grisostomo, carnival, 1741. SCHATZ 858 
 
 Didone abbandonata, ballet. See Cherubini's Ifigenia in Aulide. 
 
 La Didone abbandonata. Dramma per musica da rappresentarsi 
 sopra il famoso Ducal Teatro di Bronsevigo nella fiera d'lnverno dell 
 anno 1751. 
 
 Bronsevigo, gli Jieredi Keitel, n. d. 181 p. 18% cm . 
 
 Three acts. By Metastasio. German text and title-page, "Die verlassene 
 Didone," face Italian. Argument, scenario, and names of the author and the com- 
 poser, "Ignatio Fiorillo, maestro di cupel la di corte." 
 
 First performed, as indicated, February, 1751. SCHATZ 3200
 
 382 LIBRARY OF CONGRESS 
 
 La Didone abbandonata, dramma per musica da rappresentarsi nel 
 Regio-ducal Teatro di Milano, nel carnovale dell' anno 1755 . . . 
 
 Milano, Giuseppe Richino Malatesta, 1755, 5 p. 1., 60 p. lJ! t \ cm . 
 
 Three acts. By Metastasio. Dedication, argument, scenario, cast, and name of the 
 composer, Giovanni Andrea Fioroni. SCHATZ 3206 
 
 Didone abbandonata. Dramma per musica da rappresentarsi nel 
 Teatro di S. Benedetto il carnevale dell' anno MDCCLXIV. 
 
 Venezia, Giorgio Fossati, n. d. 71 p. 17 cm . 
 
 Three acts. By Metastasio. Reprint of the author's sennet from the first edition 
 of his drama, now used as a dedication to the most excellent ladies of Venice, argu- 
 ment, scenario, cast, and name of Galuppi as composer. 
 
 First performed at Modena, Teatro Molzo, carnival, 1741 (Piovano). SCHATZ 3503 
 
 [La Didone abbandonata]. Die verlassene Dido, ein musicalisches 
 drama, welches auf dem koeniglichen schlosse zu Hubertusburg an 
 dem hoechstbeglueckten geburthstage Ihro Majestaet Augusti III 
 . . . aufgefuehret worden. 
 
 Dresden, ley der verw. Stoesselin, 1742. (double) 102, [2] p. 16 cm . 
 
 The Italian title-page apparently missing. 
 
 Three acts and licenza. By Metastasio, who is not mentioned. Argument and 
 name of Johann Adolph Hasse as composer. 
 
 First performed, as indicated, October 7, 1742. SCHATZ 4535 
 
 Didone abbandonata. Tragedia da rappresentarsi nel Regio 
 Teatro di Berlino per ordine di Sua Maesta. 
 Berlino, Haude e Spenez, 1769. 131, [8] p. 15\ cm . 
 
 Three acts. Argument, scenario, and names of Metastasio as author, of Johann 
 Adolph Hasse as the composer. German title-page, "Die verlassene Dido," and 
 text face Italian, which is not quite the same as in the Dresden version. For instance, 
 the eleventh scene, "Non partir6 se pria," has been dropped and "Non e piu tempo, 
 Araspe," originally the twelfth, has become the eleventh scene. 
 
 Performed December, 1769, as indicated; previously, December 29, 1752. 
 
 SCHATZ 4536 
 
 La Didone abbandonata. Dramma per musica da rappresentarsi 
 nel Teatro Ducale di Stutgart festeggiandosi il felicissimo giorno 
 natalizio di Sua Altezza Serenissima Elisabetta Sofia Federica 
 duchessa di Wurtemberg et Teck ... La poesia e del . . . Pietro 
 Metastasio ... La musica & del Sig. Nicolo Jommelli . . . 
 
 Stutgart, Giovanne Georgia Cotta, 1751. 117 p. 18 cm . 
 
 Three acts. Argument, cast, scenario. German title page, "Die verlassene 
 Dido," and text face Italian. Schatz calls this Jommelli's second version. 
 
 First performed, as indicated, August 30, 1751. At Vienna this "Neuschopfung" 
 (Abert) was first performed on December 8, 1749. According to Abert, the first 
 version of the opera was first performed at Rome, Teatro di Torre Argentina in 1746, 
 according to Schatz on Saturday, January 28, 1747. SCHATZ 4854 
 
 La Didone abbandonata. Dramma per musica da rappresentarsi 
 nel Teatro Ducale di Stuttgart festeggiandosi il felicissimo giorno 
 natalizio di Sua Altezza Serenissima Carlo, duca regnante di Wirtem- 
 berg e Teck etc. La poesia e del Signer abbate Pietro Metastasio . . . 
 La musica & nuovamente composta dal Signer Nicolo Jommelli . . . 
 I balli sono inventati dal Signor Giovanni Giorgio Noverre . . . 
 Stuttgart, Cotta, 1763. 207 p. 21. 
 
 Three acts. Argument, scenario, cast. French title-page, "Didon abandonne'e," 
 and text face Italian. On p. [74J-89 cast and description of the ballet "Medea e 
 Giasone-Medee et Jason," music by Rudolph (Abert); on p. [138J-157 of "Orfeo ed
 
 OPERA LIBRETTOS 383 
 
 La Didone abbandonata Continued. 
 
 Euridice, ballo eroico-Orphee & Euridice," music by Deller (Abert). Schatz and 
 Abert call this Jommelli's third setting. The text is strikingly different from that 
 of the 1751 edition. For instance, Adrasto has been dropped from the list of charac- 
 ters, the opera begins ' ' No principessa, amico " instead of ' ' Non piu. Fedel Adrasto. ' ' 
 The aria "D'aversa sorte" has been dropped from the first scene, in fact the text of 
 the three first scenes has been condensed into one, so that the aria "Dir6 che fida 
 eei" in I, 5, now comes in I, 3, the aria "Fra lo splendor nel trono" has been dropped 
 from I, 9 (resp. I, 7), the scene (I, 10) "De gli nomini ornamento" with the aria 
 "Vorrei pria esanime" has been replaced by (I, 8) "Empio! L'orror, che porta" with 
 the aria "Se dalle stelle tu noil sei guida," etc., etc. 
 
 First performed, as indicated, February 11, 1763. SCHATZ 4855 
 
 Didone abbandonata. Dramma per musica da rappresentarsi nel 
 nobilissimo Teatro di S. Benedetto il carnovale dell' anno 1770. 
 Venezia, Modesto Fenzo, 1770. 61 p. 17 cm . 
 
 Three acts. By Metastasip, who is not mentioned. "Sonetto dell' autore, pre- 
 messo alia prima edizione di questo suo dramma," argument, cast, scenario, and 
 name of Francesco de Ma jo as composer. 
 
 First performed December 26, 1769, as indicated. SCHATZ 5855 
 
 Didone abbandonata, drainma per musica da rappresentarsi nel 
 famosissimo Teatro Grimani di S. Gio. Grisostomo nel carnovale dell' 
 anno MDCCLL 
 
 Venezia, In merceria all' insegna della scienza, n. d. 68 p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, scenario, cast, and 
 name of Gennaro Manna as composer. SCHATZ 5901 
 
 Didone abbandonata. A serious opera. Written by Metastasip. 
 As performed at the King's Theatre m the Hay-Market. The music 
 by the most celebrated composers under the direction of Signer 
 Sacchini. 
 
 London, T. CadeU, n. d. 55, [1] p. 18 cm . 
 
 Three acts. Cast. English translation faces Metastasio's much altered text- 
 The unnumb. page contains a list of R. Bremner's "New music." Probably a libretto 
 for the performances at London, 1775-76, of which Burney (IV, 504) saya "chiefly 
 by Sacchini." SCHATZ 11321 
 
 Didone abandonata. Drama per musica da rappresentarsi nel 
 Teatro di S. Bartolomeo nel carnevale dell' anno 1724 . . . 
 
 Napoli, Francesco Ricciard, 1724- 72 p. 15 cm . 
 
 Three acts. By Metastasio who is not mentioned. Impresario's dedication, argu- 
 ment, scenario, cast and name of Domenico Sarro as the composer. ML 50.2.D55S2 
 
 - Didone abbandonata. Tragedia di Artino Corasio, pastore 
 Arcade da rappresentarsi nel famosissimo Teatro di S. Gio. Grisostomo 
 nell' autunno dell' anno 1730 . . . 
 
 Venetia, Carlo Buonarigo, n. d. 1 p. 1., 72 p. 15 cm . 
 
 Three acts. By Metastasio. Domenico Lalli's dedication, argument, cast, 
 scenario, and name of Domenico Sarro as the composer. SCHATZ 9422 
 
 Didone abbandonata. Dramma per musica da rappresentarsi sul 
 Regio Teatro Danese, 1'inverno dell' anno 1762. Den forladte 
 Dido . . . 
 
 Ki0benhavn, Lars Nielsen Svare, n. d. 127 p. 15% cm . 
 
 Three acts. Argument, cast, and names of Metastasio as author, of Giuseppe 
 Sarti as composer. ("La musica e tutta nuova.") SCHATZ 9432
 
 384 LJBBABY OF CONGBESS 
 
 La Didone abbandonata. Dramma per musica da rappresentarsi 
 in Ferrara nel Teatro Bonacossa da San StefFano il carnevale dell' 
 anno 1763 ... 
 
 Ferrara, Fornari, n. d. 59 p. 15 cm . 
 
 Three acts. By Metastasio. Impresario's dedication, argument, cast, scenario, 
 and name of Giuseppe Scolari as composer. ( " La mueica tutta nova sara composta . " ) 
 
 SCHATZ 9806 
 
 Didone abbandonata, dramma per musica del Sig. abate Pietro 
 Metastasio da rappresentarsi nel Teatro Giustiniani di S. Moise\ 
 L'autunno dell' anno 1757. 
 
 Venezia, Modesto Fenzo, 1757. 58 p. 15 cm . 
 
 Three acts. Cast, argument, scenario, and name of Tommaso Trajetta as composer. 
 
 SCHATZ 10402 
 
 Didone abbandonata. Drama di Artino Corasio Pastore Arcade. 
 Da rappresentarsi in musica nel Teatro delle Dame nel carnevale dell' 
 anno 1726 ... 
 
 Roma, Berndbb, n. d. 78 p. 14 m - 
 
 Three acts. By Metastasio. Dedication, argument, scenario, cast and name of 
 Leonardo Vinci as composer. ML 50.2.D55V4 
 
 La Didone abbandonata. Dramma per musica da rappresentarsi 
 in Perugia nell' apertura del Nuovo Teatro Civico del Verzaro 1'au- 
 tunno dell' anno MDCCLXXXI . . . 
 Perugia, Mario Riginaldi, n. d. xii, 68 p. 18$ cm . 
 
 Three acts. By Metastasio. Cast, argument, scenario, name of Francesco Zajietti 
 as composer, and (on xii p.) description and historical sketch of the new theatre, the 
 erection of which was begun on June 12, 1778, and which was to be opened in Septem- 
 ber, 1781. 
 
 On p. [25J-31, argument and description of "II trionfo di Aleesandro o sia La 
 prigipma di Dario, ballo eroico in quattro atti, composto e diretto dal signor Domenico 
 Kicciardi." Music ("tutta nuova ") by Mattia Stabingher. 
 
 First performed at Livorno, Teatro di San Sebastiano, carnival, 1766. 
 
 ML 48.A5 v. 5. 
 
 Didone delirante. Drama da rappresentarsi in musica nel 
 famoso Teatro Grimano di SS. Gio. e Paolo Tanno MDCLXXXVI. 
 Di Antonio Franceschi . . . 
 
 Venetia, Francesco Nicolini, 1686. 72 p. 14% cm . 
 
 Three acts. Author's dedication, notice to the reader, in which the author calls 
 this "primo parto del mio debole ingegno," and names Carlo Pallavicino as the com- 
 poser, argument, and scenario. SCHATZ 7736 
 
 Diesmal hat der mann den willen! Ein originalsingspiel in 
 einem aufzuge. Aufgefiihrt auf der K. K. Nationalschaubuhne. 
 Die musik ist vom herrn Ordonez. 
 
 Wien, bey dem logen meister, 1778. 28 p. 16\ cm . 
 
 By Johann Friedrich Schmidt, who is not mentioned. 
 
 First performed, as indicated, April 22, 1778. SCHATZ 7291 
 
 Les Dieux acteurs. Entre"e in Brassac's L'empire de 1'amour. 
 Les dieux d'flgipte. A. T. of the ballet Les f^tes de 1'Himen. 
 
 II difficile per inganno facile, ballet. See Andreozzi's II dis- 
 prezzo vinto.
 
 OPEKA LIBEETTOS 385 
 
 II dilettante. A petit burletta, in two parts. As performed at 
 Marybone-Gardens. The music composed by Mr. Hook. 
 London, W. Woodfall, 1772. 19 p. 23 cm . 
 
 Author not recorded. Cast and author's dedication, dated August 1772: 
 
 "This piece being merely thrown together for the purpose of giving excellent 
 
 talents an opportunity of exertion, is inscribed to that delicate composer, Mr. Hook; 
 
 and those able, very approved performers . . ." ML 50.2.D56H6 
 
 Dioclesian. See H. Purcell's The prophetess or The history of 
 Dioclesian. 
 
 v II Diode te. Drama per musica da rappresentarsi nel Teatro di S. 
 Angelo 1'anno MDCLXXXVII . . . 
 
 Venetia, Francesco Nicolini, 1687. 70, [1] p. lift. 
 
 Three acts. By Andrea Rossini, who is not mentioned. Impresario's dedication, 
 argument, scenario, and notice to the reader, in which the author calls this "la mia 
 terza fatica," and Teofilo Orgiani the composer of the opera. The imprimatur at the 
 end is dated January 15, 1687. 
 
 First performed, as indicated, January 18, 1687. SCHATZ 7297 
 
 Diocletiano. Drama per musica da rappresentarsi nel sempre 
 
 famoso Teatro Grimano a SS. Gio. e Paoio. L'anno MDCLXXV. 
 Di Matteo Noris . . . 
 
 Venetia, Francesco Nicolini, 1685. front., 72 p. 13% cm . 
 
 Three acts. Author's dedication, dated Venice, December 10, 1674, argument, and 
 scenario. The composer, Carlo Pallavicino, is not mentioned. SCHATZ 7721 
 
 Diogene tentato ma non vinto dalT amore, ballet. See Rust's U 
 conte Baccelone. 
 
 Diomede, tragedie representee par 1' Academic royale de musique 
 Tan 1710. Les paroles de M. de la Serre. La musique de M. Bertin. 
 LXXIV. opera. 
 
 n. i., n. d. pi., 63-128 p. llf m . (Recueil general des opera, 
 Paris, 1714, *. x.) 
 
 Detached copy. Prologue and five acts. 
 
 First perlormed, as indicated, April 28, 1710. SCHATZ 879 
 
 Second copy. ML 48. R4 
 
 Diomede punito da Alcide. Drama di Aurelio Aureli posto in 
 musica dal Signor Tomaso Albinoni da rappresentarsi nel Teatro a 
 Sant' Angelo . . . 
 
 Venezia, Nicolini, 1701. 48 p. 14 cm . 
 
 Three acts. Author's dedication, argument, scenario, and cast. SCHATZ 107 
 
 Diomede punito da Alcide. Drama rappresentato nel nuovo 
 Teatro Ducale di Piacenza . . . Poesia <r Aurelio Aureli . . . e 
 musica singolare di D. Bernardo Sabadini . . . 
 Parma, Stampa ducale, 1691. 80 p. 15 cm . 
 
 Three acts. Dedication, argument, cast, scenario, and brief description of the 
 ballets. SCHATZ 9194 
 
 ' Dionisio overo La virtu trionfante del vizio. Drama per musica da 
 rappresentarsi nel sempre famoso Teatro Grimano di S. Gio. e Paolo 
 1'anno MDCLXXXI . . . 
 
 Venetia, Francesco Nicolini, 1681. 67 p. 13% cm . 
 72251 VOL 114 25
 
 386 LIBRARY OF CONGRESS 
 
 Dionisio Continu ed . 
 
 Three acts. By Matteo Noris, who dates his dedication, Venice, January 12, 
 1681. Argument, scenario, and notice to the reader informing him that Petronio 
 Franceschini having died after the composition of the first act, the other two acts 
 and the overture were composed by [Giovanni Domenico] "Dottor Partenio." 
 
 SCHATZ 3319 
 
 Dionisio re di Portogallo. Drama per musica rappresentato nella 
 Villa di Pratolino. 
 
 Firenze, Anton Maria Albizzini, 1707. 4 P- 1-) 61 P- 17 cm . 
 
 Three acts. Argument and scenario. Neither the author, Antonio Salvi, is men- 
 tioned, nor the composer, Giacomo Antonio Perti. 
 
 First performed, as indicated, September, 1707. ML 50.2.D57P3 
 
 Dionisio Siracusano. Drama per musica da rappresentarsi nel 
 nuovo Teatro Ducale di Parma il carnevale dell' anno 1689 . . . 
 Parma, Stamperia ducale, n. d. 88 p. 15 cm . 
 
 Three acts. By Antonio Salvi, who is not mentioned. Impresario's dedication, 
 argument, cast, scenario, and notice to the reader which reads in part: 
 
 "Se . . . yedrai il suddetto drama cangiato, diminuito, 6 accresciuto, sappi che 
 essendo trabalzati simili componimenti da un teatro a 1'altro, cangiando rappresen- 
 tanti, e necessariojil dar nuova forma alle parti secondo le abilita appoiche un' abito 
 fabbricato per la vita d'un' uomo di rado s acconcia a quella d'un altro." 
 
 Bibiena, the scene painter, is mentioned, also Torelh, the "inventore degli abiti," 
 but not the composer, Giacomo Antonio Perti. SCHATZ 7955 
 
 Le directeur dans 1'embarras. Tr. of Cimarosa's L'impresario in 
 angustie. 
 
 La direttrice prudente. Commedia per musica da rappresentarsi 
 nel Teatro de' Fiorentini nell' autunno di quest 'anno 1767. 
 Napoli, Vincenzo Flauto, 1767. 72 p. 15 cm . 
 
 Three acts. Pages 3-4, presumably containing the cast and name of Niccold Pic- 
 cinni as composer and possibly the name of the author are wanting. SCHATZ 8122 
 
 The disappointed virgin. A. T. of The marriage promise. 
 
 The disappointment : or, The force of credulity. A new American 
 comic-opsra, of two acts. By Andrew Barton, esq. . . . 
 New-York, Printed in the year, 1767. v, [7}-58 p. 16\ cm . 
 
 Epilogue and prologue which begins: 
 
 " Tho' distant far, from fam'd Britania's isle. 
 Where comic-scenes, call cynics forth to smile; 
 Our artless muse, hath made her first essay 
 T'instruct and please you with a modern play " 
 and preface, signed by Andrew Barton, which reads in part: 
 
 "The following local piece, intitled, (The Disappointment, or the Force of Credul- 
 ity) was originally wrote for my own, and the amusement of a few particular friends, 
 who (unknown to me) were pleased to signify their approbation of it, in such a man- 
 ner, that it soon engrossed tne chief part of the conversation of all ranks of people; 
 who expressed their desire to hear it, and have it published. Under these circum- 
 stances, I was greatly at a loss how to proceed, I did not choose (as I saw no merit in 
 it) to expose it to the criticisms of cri ticks, to put it in the power of gentlemen skill'd 
 in scholastick knowledge, to ridicule my ignorance, or condescend to the intreaties 
 of those, who I thought had no more sense than myself, and who might (perhaps) 
 have made it better than it really is. Conscious therefore of my own inability, I 
 determined to excuse myself to all; and in this determination I persisted for some 
 time, but at last, for my own safety, was obliged to capitulate and surrender on the 
 following stipulations; First, the infrequency of dramatic compositions in America: 
 Secondly, the torrent of solicitations from all quarters: Thirdly, the necessity of con- 
 tributing to the entertainment of the city: Fourthly and lastly, to put a stop (if
 
 OPERA LIBRETTOS 387 
 
 The disappointment Continued. 
 
 possible) to the foolish and pernicious practice of searching after supposed hidden 
 treasure. These terms, hard as they are, I have with reluctance been forced to sub- 
 mit to, I am therefore obliged in vindication of my conduct, to assure the public 
 that the story is founded on matter of fact, transacted near this city, not long since, 
 and recent in memory of thousands; for the truth of which assertion I appeal to 
 numbers of my fellow citizens." 
 
 This first American ballad opera (with 18 airs indicated by title. "Air IV. Yankee 
 
 Doodle") was to have been first performed by the American Company at Philadel- 
 
 phia on April 20, 1767, but it was withdrawn, "personal reflections" rendering it 
 
 unfit for the stage." "The disappointment" is sometimes attributed to Thomas 
 
 Forrest or to John Leacock, but the evidence is not sound (Sonneck). 
 
 ML 50.6.D52 
 
 The disappointment ; or, The force of credulity. A new comic- 
 opera, in three acts. By Andrew Barton, esq. Second edition, 
 revised and corrected with large additions by the author ... 
 
 Philadelphia, Francis Shallus, 1796. iv, [5}-94 p., 11. 18% cm . 
 The piece now has 20 songs, none of which with indication of the air. The preface 
 is the same, but prologue and epilogue are different. Not performed. ML 50.6.D54 
 
 La discesa d'Ercole all' inferno o sia Alceste ed Admeto, ballet. 
 See Antonelli's Catone in Utica. 
 
 La discesa d'Ercole all' inferno, ballet. See Cherubini's Hgenia in 
 Aulide. 
 
 La discordia fortunata. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro di S. Samuele nel carnovale dell' anno 1775. 
 Venezia, Antonio Graziosi, 1775. 71 p. 17 cm . 
 
 Three acts. Cast, scenario, and name of Paisiello as the composer. The author 
 not mentioned, and unknown to Schatz. SCHATZ 7607 
 
 L'avaro deluso. Dramma giocoso per musica da rappresentarsi 
 nel Piccolo Theatro di S. A. S. E. di Sassonia. 
 
 Dresda, n. putt., 1776. 151 p. 
 
 Three acts. Is "La discordia fortunata," with alterations, for instance I, 3, 
 "Oh! Oh!" and I, 5 "Se state alia sua cura" having been dropped. German title 
 page, "Der verspottete geitzige," and text face the Italien. Paisiello is mentioned 
 as the composer. 
 
 First performed November 20, 1776, as indicated. SCHATZ 7608 
 
 L'avaro deluso. Dramma giocoso per musica da rappresentarsi 
 nel Theatro in Parte Piccola della regia citta di Praga, nella casa del 
 Signer conte di Thun. 
 
 [Praga], n. publ., nelV autunno deW anno 1784' 14? P- 16 cm . 
 Three acts. Paisiello is mentioned as the composer. German title page "Der 
 betrogene geizhalz," and text face Italian. 
 
 First performed as indicated. SCHATZ 7609 
 
 Der betrogene geizige; pder: Wer das glueck hat, fuehrt die 
 braut heim! Eine nach dem italienischen freibearbeitetete komische 
 oper in drei aufzuegen von C. A. Vulpius. Die musik ist von 
 Paisiello. 
 
 Leipzig, Johann Samuel Heinsius, 1794- 15 cm . 
 
 First performed at Weimar, Herzogl. Theater, April 26, 1786. SCHATZ 7610 
 
 The discovery of America. A. T. of Columbus.
 
 388 LIBRARY OF CONGRESS 
 
 II disertor francese: Dramma giocoso per musica da rappresen- 
 
 tarsi nel Reggio Teatro di S. Carlo, della Principessa la pmnavera 
 
 doll' anno 1796. 
 
 Lisbona, Simone Taddeo Ferreira, 1796. 157 p. 14h cm - 
 
 Two acts. The author not mentioned, and unknown to Schatz. Cast, scenario, 
 
 and name of Giuseppe Gazzaniga as the composer. Portuguese text faces Italian. 
 
 With the opera was performed "II disprezzo yendicato dal disprezzo. Ballo di 
 
 caratere russo d'invenzione edirezione del Sig. Pietro Angiolini." The composer of 
 
 the music is not mentioned. 
 
 First performed at Bologna, Teatro Lagnoni, fall of 1789. SCHATZ 3681 
 
 Second copy. ML 48.C6II 
 
 II disertore. A. T. of the ballet Alessio ed Eloisa. 
 
 II disertore. Drama serio per musica da rappresentarsi nel nobilis- 
 simo Teatro di S. Benedetto il carnovale dell anno 1785. 
 
 Venezia, Modesto Fenzo, 1784- front., 79 p. 18 cm . 
 
 Three acts. Cast, scenario, name of composer, Francesco Bianchi, and that of the 
 librettist, Bartolomeo Beriincasa, who (p. 3-11) addresses an interesting esthetic 
 preface, "Agli amatori del melodrama italiano," in which he explains at length his 
 reasons for attempting "un nuovo genere di dramma" indeed, a kind of reform of 
 libretto writing. One of his reasons is that Metastasio and his predecessors "non 
 hanno mai scritto, che drammi eroicamente erotici," and that avendo egli quel 
 sommo uomo esaurito il euo genere " he had become somewhat tedious to the Italian 
 nation. Benincasa pleads for "un dramma in musica, che sia tra la grand' opera 
 eroica e la comica operetta." He finally remarks that the present opera was sketched, 
 put in verses, composed, and staged in 35 days. 
 
 On p. [37]-44, argument, cast, scenario, and detailed description of the five-act 
 "I baccanali, ballo tragico pantomimo d'Innocenzio Gambuzzi." Neither of this nor 
 the second ballet, "Le vendemmie fiamminghe" is the composer mentioned. 
 
 First performed, as indicated, December 26, 1784. SCHATZ 978 
 
 II disertore ; a new comic opera ; as acted at the King's Theatre in 
 the Hay- Market. Written by Mr. Badini. The music entirely new, 
 by Signor Guglielmi. 
 
 London, T. Baldwin, 1770. viii, [2], 95 p. 17$ cm . 
 
 Three acts. Author's dedication, dated May 10, 1770, cast, and author's preface, 
 in which he says: 
 
 "... I shall be blamed in having written it [the drama] rather for singers than for 
 actors . . . This piece was written merely to replace another, the representation of 
 which had been forbidden. The spectacle exhibited at present by France in the 
 island of Corsica, appearing to me well calculated for the stage, I wrote an opera 
 intitled I Francesi in Corsica the business and the characters of which were a 
 striking portraiture of the odd manners of our age. Political cautions however 
 quashed my design, and I was then obliged to take "The Deserter" in hand. Though 
 the ground of this drama be taken from the French, yet a comparison of the two pieces 
 will shew, that the French dramatist only furnished me with the block for making 
 the work ... In writing the songs, as on them generally depends the success of our 
 operas, I have carefully endeavoured to suit them to the capital object of vocal music : 
 which is, to heighten the energy of sentiments inspired by the accents of tenderness, 
 pity, joy and love in general. Every accompaniment deficient in this view, fails of 
 its proper effect: and a good reason of so few operas taking is, that when the music 
 has no affinity with the words, it becomes purely a futile clutter of instruments; an 
 unmeaning harmony, which, not affecting the heart, soon tirea the ear, and causes the 
 spectator to repeat that ban mot of Fontenelle: Sonate que me veux-tuf" 
 
 On an inserted leaf he adds that, "rather than to jar with any body, and chiefly 
 with musicians," he has replaced Lovatini's "Se quel ciglio ancor ti miro " (II, 6) by 
 "Tergi'l bel ciglio, o cara." English translation, with caption title, "The deserter, 
 faces the Italian text. SCHATZ 4242
 
 OPERA LIBRETTOS 389 
 
 II disertore Continued. 
 
 - II disertore. Dramma giocoso per musica da rappresentarsi nel 
 Teatro della rua dos Condes in Lisbona nell' estate dell' anno 1772. 
 [Lisbona], NeUa stamperia reale, n. d. 4 P- l-> 5% P- 17 cm - 
 Three acts. Cast, scenario, and name of Pietro Guglielmi as composer. Badini's 
 text is considerably altered. For instance, the aria "Se quel ciglio ancor rimiro" is 
 now at the end of II, 4, instead of II, 6, and the very first aria, "Ogni amante che si 
 sposa," has been replaced by "All' amoroso ardore." With the opera was per- 
 formed, composer of the music not mentioned, Vinceslao de Rossi's "Diana ed Endi- 
 mione, picciolo ballo." SCHATZ 4243 
 
 II disertore, ballet. See P. Guglielmi's L'impostore punito. 
 
 II disertore. Dramma serio per musica da rappresentarsi nel Teatro 
 da S. Agostino il carnovale dell' anno 1799. Dedicate ai cittadini 
 liberi. 
 
 Genova, Stamperia della Liberia, Anno II. della Repubblica Liguria. 
 45 p. 13\ cm . 
 
 Two acts. By Bartolomeo Benincasa, who is not mentioned. Cast and name of 
 Angelo Tarchi as the composer. 
 
 First performed at London, Haymarket, spring of 1789. SCHATZ 10235 
 
 II disertore francese, ballet. See Anfossi's Antigono. 
 
 II disertore francese, ballet. See Caruso's II cavalier magnifico. 
 
 II disertore francese, ballet. See G. Giordani's Ariarate. 
 
 II disertore francese, ballet. See Jommelli's Armida abbandonata. 
 
 La diserzione per equivoco, ballet. See Curcio's La conquista di 
 Granata. 
 
 La disfatta de' Mori. Dramma per musica da rappresentarsi nel 
 Regio Teatro di Torino nel carnovale del 1791 alia presenza di S. S. 
 R.M. 
 
 Torino, Onorato Derossi, n. d. viii, 54 p. 16 cm . 
 
 Three acts. Cast, argument, scenario, and names of the author, Giandomenico 
 Boggio, and of the composer, Giuseppe Gazzaniga. On p. 49-53 a description of 
 ballets designed by Domenico Ballon, "L" Americana in ~ 
 
 the ballets designed by Domenico Ballon, "L' Americana in Europa" and "Orfeo 
 ed Euridice." According to a footnote Gluck's music was used for this ballet. The 
 necessary alterations and the additional music were composed by Gaetano Pugnani. 
 
 SCHATZ 3662 
 
 La disfatta di Abdurahamel, tiranno di Trabacca, ballet. See 
 Andreozzi's Argea. 
 
 La disfatta di Dario. A. T. of the ballet II trionfo di Alessandro. 
 
 La disfatta di Dario. Dramma per musica da -rappresentarsi nel 
 Teatro della citta d'Alessandria in occasione della solita fiera d'Ot- 
 tobre MDCCLXXIX sotto la protezione di S. R. M. 
 Alessandria, Ignazio Vimercati, n. d. 59, xx p. 18 cm . 
 
 Three acts. Argument, cast, scenario, and notice: 
 
 "II presente dramma composto molti anni sono in diversa forma dal duca Mpr- 
 belli [S. Angelo Morbilli] Napoletano, e ridotto poi ad uso teatrale dall' abate Giu- 
 seppe Caeali Romano, si e ora variato, anche notabilmente, per adattarlo al maggior 
 comodo della musica e alle circostanze di questo Teatro. E la musica di nuova 
 compoeizione del Sig. maestro Giuseppe Ferrero."
 
 390 LIBRARY OF CONGRESS 
 
 La disfatta di Dario Continued. 
 
 On p. i-xvi, "Proemio per il primo ballo," cast, argument, and Felice Ales- 
 sandri's name as composer of the music of " L'enlevement des Sabines. Ballet 
 heroique du eieur Sebastien Gallet, execute" pour la premiere fois ..." The second 
 ballet, "II feudatario ingannato," by Daniele Curtz; the third, "La festa Stras- 
 burghese," by Gallet. The composers are not mentioned. On p. xvii-xx, a list ot 
 the box-holders. SCHATZ 3081 
 
 La disfatta di Dario. Dramma-per musica da rappresentarsi nel 
 Teatro Grande alia Scala il carnevale dell' anno 1789 . . . 
 Milano, Gio. Batista Bianchi, n. d. 56 p. 16 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz, though this may be 
 called a barely recognizable version of Morbilli's text of the same title. Dedication, 
 argument, cast, scenario, and name of Giuseppe Giordan! as the composer. With 
 the opera were performed the ballets "Le nozze de' Sanniti" and "Donna, e 1'uomo 
 selvatico," by Gaspero Angiolini, who also composed the music.- 
 
 First performed at Milan, as indicated, February 7, 1789. SCHATZ 3836 
 
 Second copy. ML 48. A5 v.8 
 
 La disfatta di Dario. Dramma per musica da rappresentarsi nel 
 Regio Teatro di Torino nel carnovale del 1774 . . . 
 Torino, Onorato Derossi, n. d. viii, 52 p. 19 cm . 
 
 Three acts. By the duca Sant' Angelo Morbilli, who is not mentioned. Argument, 
 cast, scenario, and name of Giovanni Mas! as the composer of the opera, of the dance 
 music, Paolo Ghebard. SCHATZ 6062 
 
 La disfatta di Dario. Dramma per musica da rappresentarsi in 
 Firenze nel Teatro di via del Cocomero nelF autunno dell' anno 
 1776 . . . 
 
 Firenze, Anton-Giuseppe Pagani, 1776. 50 p. 16\ cm . 
 
 Three acts. By the duca Sant' Angelo Morbilli, who is not mentioned. Argument, 
 cast, and name of Paisiello as the composer. 
 
 First performed at Rome, Teatro Argentina, carnival, 1776. SCHATZ 7664 
 
 La disfatta di Dario. Dramma per musica da rappresentarsi 
 nel Teatro da S. Agostino il carnovale dell' anno 1782 . . . 
 
 Genova, Stamperia Gesiniana, n. d. 62, [1] p. 18% cm . 
 
 Three acts. The author is not mentioned. Argument, cast, and name of Paisiello 
 as the composer. On p. [55J-62, cast and description of Domenico Ricciardi's "Orieo 
 ballo ... in cinque atti," music by "maestro Suster" (Josef Schuster, 1748-1812). 
 
 SCHATZ 7664a 
 
 La disfatta di Dario. Dramma per musica da rappresentarsi nel 
 nobilissimo Teatro di S. Benedetto il carnovale dell' anno 1778. 
 
 Venezia, Modesto Fenzo, 1778. 48 p. 16\. 
 
 Three acts. Argument, cast, scenario, name of Tommaso Trajetta as composer, 
 but not of librettist, duca Sant' Angelo Morbilli. SCHATZ 10409 
 
 La disfatta di Vario. A. T. of the ballet La Tusneida. 
 La disgrazia opportuna, ballet. See Monza's Cleopatra. 
 II disinganno. See La verita raminga. 
 
 La disperata speranza rawivata ne' successi di Giacopo Quinto di 
 Scozia e Maddalena di Francia. See Bazzani's L'inganno trionfato.
 
 OPEEA LIBRETTOS 391 
 
 Li disprezzatori delle donne, osia Le vicende amorose. Dramma 
 giocoso per musica, da rappresentarsi nel Teatro Elettorale. 
 Dresda, n. puU., 1793. 137 p. 15\ cm . 
 
 Two acts. Author not mentioned, and unknown to Schatz. Giacomo Tritto is 
 mentioned as the composer. German title-page "Die veraechter der schoenen oder 
 Der wechsel in der Hebe," and text face Italian. 
 
 First performed, as indicated, November 6, 1793; at Rome, Teatro Capranica, April, 
 1787, as "Le vicende amorose." SCHATZ 10458 
 
 - Le awenture galanti. Dramma per musica da rappresentarsi 
 in Geneva nel Teatro da S. Agostino la primavera del 1789 . . . 
 Genova, Stamperia Gesiniana, n. d. 88 p. 14 cm - 
 
 Two acts. The same text as "Le vicende amorose." Cast, scenario, and name of 
 Giacomo Tritto as the composer. 
 
 On p. 81-88, cast, argument, and description, without name of the composer of the 
 music of Urbano Garzia's "Emirena e Sigismondo, ballo eroico pantomime." His 
 other ballet was called "Gli amanti ridicoli ossia La capricciosa umiliata." 
 
 SCHATZ 10482 
 
 I raggiri d'amore. Dramma giocoso per musica da rappresen- 
 tarsi nel Ces. Reg. Teatro di Trieste nell' estate dell' anno 1793. 
 
 Trieste, Stamperia govemiale, n. d. 59 p. 18 cm . 
 
 Two acts. Author not mentioned, and unknown to Schatz. Impresario's dedica- 
 tion, dated Trieste, August 13, 1793, cast, scenario, and name of Giacomo Tritta 
 (Tritto) as composer. 
 
 First performed at Padova, Teatro Obizzi, June, 1792, with the above title. 
 
 SCHATZ 10480 
 
 Le vicende amorose. Dramma giocoso per musica da rappre- 
 sentarsi nel Regio Teatro di S. Carlo, della Principessa il carnevale 
 dell' anno 1797. 
 
 Lisbona, Simone Taddeo Ferreira, n. d. Ill p. 14% cm - 
 One act. Cast and name of Giacomo Tritto as the composer. Portuguese text 
 faces Italian. SCHATZ 10483 
 
 II disprezzo. Azione drammatica giocosa per musica da rappresen- 
 tarsi nel nobile Teatro di San Samuele il carnovale dell' anno 1782. 
 Venezia, Modesto Fenzo, 1782. 82 p. 16 cm . 
 
 One act only, followed by second act of Anfossi's "Amanti canuti," both with 
 cast, scenario, and name of composer, Pasquale Anfossi, but not of librettist of "II 
 disprezzo," who is unknown to Schatz. On p. 36 the impresario gives his reasons for 
 substituting the second act of ' ' Gli Amanti canuti " for the second act of " II disprezzo." 
 Even this substitution was an afterthought, because at first the sketched second act 
 was to be dropped for the first act of Anfossi's "La forza delle donne. SCHATZ 279 
 
 II disprezzo vendicato dal disprezzo, ballet. See Gazzaniga's 
 II disertor francese. 
 
 II disprezzo vinto dal disprezzo. Commedia per musica da rap- 
 presentarsi nel Real Teatro del Fondo di Separazione per second' 
 opera del corrente anno 1795 . . . 
 Napoli, n. publ. 1795. 42 p. 15\. 
 
 Two acts. Author not identified by Schatz. Cast, argument, and name of com- 
 poser, Gaetano Andreozzi. Contains also the plot of "II difficile per inganno facile, 
 ballq favoloso composto e diretto dal Sig. Gio. Battista Giannini," p. 5-7. 
 
 First performed, as indicated in the impresario's dedication, dated August 2, 1795, 
 as "seconda opera." SCHATZ 207
 
 392 LIBRARY OF CONGRESS 
 
 Le dissension! d'amore nel eampo, ballet. See G. M. Rutini's 
 Sicotencal. 
 
 II dissolute. A. T. of Righini's II convitato di pietra. 
 
 II dissoluto punito o sia II D. Giovanni. Dramma giocoso in due 
 atti. Da rappresentarsi nel Teatro di Praga 1'anno 1787. 
 
 Praga, Schoenfeld, n. d. 85 p. 16 cm . 
 
 Two acts. Da Ponte is mentioned as the author, Wolfgango Mozzart (Mozart) as 
 the composer. 
 
 First performed at Prague, Altetaedtisches Theater des grafen F. A. von Noetitz, 
 October 29, 1787. SCHATZ 6788 
 
 - Alien und gesaenge aus der oper: Don Juan. In zwei aufzuegen, 
 aus dem italiaenischen. Die musik ist von Mozart. 
 
 Frankfurt, n. puU., 1789. 31 p. 15 cm . 
 
 Two acts. German version by Heinrich Gottlieb Schmieder. 
 First performed at Mayence, Churfurstl. Nationaltheater, May 23, 1789 (first perf. 
 in German of Mozart's opera). SCHATZ 6789 
 
 Don Juan oder Die redende statue. Ein singspiel in vier auf- 
 zuegen nach dem italiaenischen II Don Giovanni. Die musik ist von 
 herrn Wolfgang Mozart, kayserl. koenigl. kapellmeister. 
 n.i.,1793. 30 p. 15% cm . 
 
 Lyrics only. SCHATZ 6859 
 
 - Gesaenge zu der oper: Don Juan, oder Der steineme gast. In 
 zwey aufzuegen, nach dem italiaenischen. Die musik ist von Mozart. 
 
 n. i., 1795. 39 p. 17 cm . SCHATZ 6790 
 
 La distruzione d'Aquileja fatta da Attila r& degli Unni, ballet. 
 See Guglielmi's Enea e Lavinia. 
 
 La distruzione del Peru. A. T. of G. Giordani's Pizzarro nelF 
 Indie. 
 
 La distruzione di Cartagine, ballet. See Andreozzi's Amleto. 
 
 I divertimenti dei Calabresi, ballet. See Gagni's I matti gloriosi. 
 
 II divertimento de' Quaqueri nella China, ballet. See Gagni's I 
 matti gloriosi. 
 
 II divertimento in campagna. L. T. of Astaritta's La contessa 
 Bimbinpoli. 
 
 La divisione del mondo. Drama per musica nel famosp Teatro 
 Vendramino di S. Salvatore, di Giulio Cesare Corradi 1'anno 
 MDCLXXV . . . 
 
 Venetia, Francesco Nicolini, 1675. front., 72 p. 14 cm - 
 Three acts. Author's dedication, dated Venice, February 4, 1675, argument, 
 scenario, and notice to the reader, with name of Giovanni Legrenzi as the composer. 
 
 SCHATZ 5534 
 
 The divorce. A musical entertainment. As sung at Mary bone- 
 Gardens. The music composed by Mr. Hook. 
 London, J. WheUe, 1771. 1 p. I, 18 p. 21. 
 
 Two parts. Cast. By Lady Dorothea Dubois, who is not mentioned. 
 Not to be confused, as does Grove's Diet., with Jackman's farce of 1781. 
 
 LONGE 184
 
 OPEEA LIBEETTOS 393 
 
 Le docteur Sangrado. Opera-comique en un acte par Mrs. An- 
 seaume & * * * Represent e pour la premiere fois sur le Theatre 
 de la Foire S. Germain, le 13 fevrier 1758. 
 Pom, N. B. Duchesne, 1758. 64 p. 20\. 
 
 With cast. Duni is named as the composer of the "ariettes" "Pour gu^rir toute 
 maladie," "Au fond d'ma poitreine," "Si tant de mes confreres;" Jean Louis La 
 Buette of the chorus "Honneur, au docteur Sangrado," the trio "Rentrez chez 
 nous." On p. 47-64, "Airs, du Docteur Sangrado." No. 1, "Avec moi viens, 
 mignone;" No. 2 (duet), "Le vin est un mortel venin On ne peut trop cherir;" 
 No. 3, "Fille a mon age;" No. 4, "A ma soeur, en douceur" (this with basse-con- 
 tinue); No. 5, "Oui je crois cela;" No. 6, "Avec soin j'ai ecu." SCHATZ 2859. 
 
 Der docktor, eine komische oper in drey aufzuegen, nach dem 
 italiaenischen. Die musik ist von Joseph Chudy ganz neu dazu 
 verfertigt worden. Aufgefuehrt in dem neuerbauten Schauspiel- 
 hause von der Schmalloggerischen gesellschaft. 
 
 Pressburg, Johann Michael Landerer, n. d. [4 p. 1., 52 p.} 16 cm . 
 
 Pagination cut off by binder. Chudy's dedication and cast. Evidently based on 
 Goldoni's "II signor dottore." 
 
 First performed, as indicated, in 1779. SCHATZ 1872 
 
 The doctor and the apothecary. By Dittersdorf, with additions 
 
 bv Storace. See Der apotheker und der doctor. 
 
 
 
 Doctor und apotheker. O. T. of Dittersdorf s Der apotheker und 
 der doktor. 
 
 Os dois rapazes Saboyanos. Tr. of Dalayrac's Les deux petits 
 Savoyards. 
 
 Doktor Faust : ein komisches duodrama, von Schink. 
 
 18-43 p. 18 cm . (Theater journal fuer Deutschland, Sechstes 
 stueck, Gotha, 1778.} 
 
 Excerpts only from the two acts. SCHATZ 11754 
 
 Doktor Faust. Eine original-oper in vier aufzuegen von D. 
 Schmieder. In musik gesezt von Ignatz Walter. 
 
 Bremen, Friedrich Meiers erben, n. d. 38 p. 16\ cm . 
 
 On a fly leaf, the cast in ms., also the date of first performance, Bremen, December 
 28, 1797. SCHATZ 10859 
 
 La dolce vendetta, ballet. See Anfossi's Demofoonte. 
 La dolce vendetta, ballet. See Cherubim's Quinto Fabio. 
 
 Dom Joao, ou O convidado de pedra. Tr. of Gazzaniga's II Don 
 Giovanni. 
 
 Domitiano. Drama da rappresentarsi nel famoso Teatro Grimano 
 a S. Gio. Paolo . . . 
 
 Venecia, Francesco Nicolini, 1673. front, 72 p. 
 
 Three acts. Dedication by the author, Matteo Noris, dated Venice, December 27, 
 1672, "historia," and scenario. The composer, Giovanni Antonio Boretti, is not 
 mentioned. ML 48.M20
 
 394 LIBRARY OF CONGRESS 
 
 Domitiano Continued. 
 
 v/ Domitiano. Drama da rappresentarsi nel famoso Teatro Gri- 
 mano a SS. Gio. Paolo Panno MDCLXXIII. Seconda impressione . . . 
 Venetia, Francesco Nicolini, 1673. front., 70 p. 13% cm . 
 
 Three acts. Matteo Noris' dedication, dated Venice, December 27, 1672, notice to 
 the reader, argument, and scenario. Giovanni Antonio Boretti, the composer, is 
 not mentioned. SCHATZ 1218 
 
 * II Domizio. Drama per musica da rappresentarsi nel Teatro di 
 Sant' Angelo. L'anno MDCXCVI. Di Giulio Cesare Corradi . . . 
 Venetia, Nicolini, 1696. 70 p. 14 cm . 
 
 Three acts. Author's dedication, argument, scenario, and name of Marc" Antonio 
 Ziani as the composer. SCHATZ 11182 
 
 Don Anchise Campanone. A. T. of Paisiello's Gli amanti comici. 
 
 II Don Calandrano. L. T. of Sacchini's L'avaro deluso. 
 
 Don Chisciotte, ballet. See Zingarelli's II mercato di Monfregoso. 
 
 Don Chisciotte alle nozze di Gamace. Divertimento teatrale. 
 Da rappresentarsi ne' Teatri privilegiati di Vienna. 
 
 tyenna, Giovanni Tomaso di Trattnern, 1770. 28 p. 16 cm . 
 
 One act. Giovanni [Antonio] Gastone Boccherini is mentioned as the author, 
 Antonio Salieri as the composer. SCHATZ 9286 
 
 D. Chisciotte della Mancia. Commedia per musica di Giani- 
 battista Lorenzi, P. A. Da rappresentarsi nel Teatro de' Fiorentini 
 nelF esta di quest' anno 1769. 
 
 Napoli, Stamperia Avelliniana, 1769. 82 p. I5% cm . 
 
 Three acts. Notice to the reader, cast, and name of Paisiello as the composer. 
 
 SCHATZ 7611 
 
 Don Quischott von Mancia. Ein lustiges singspiel aufee- 
 fuehret auf den kaiserl. koenigl. schaubuehnen in Wien im janre 
 1771. 
 
 Wien, v. Ghelen, n. d. 74 p. 16\ cm . 
 
 Three acts. Paisiello is mentioned as the composer of acts I-II, Florian Gass- 
 mann of act III and of the arias, etc., "Spring nur, spring du Lumpenhund" (I, 4), 
 "Mein bester Sancio" (I, 5), "So lang die jugend" (II, 4), "Sie schlaeft die schoene" 
 (II, 9), "Ihr herren, ihr verlangt" (II, 10), "Hoert, wenn ihr wollt" (II, 11). 
 
 SCHATZ 7612 
 
 Don Chisciotte in corte della duchessa. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744) t- i*> P- [417]-538. 
 
 c in 
 
 19 
 
 Five acts. Argument. Written in collaboration with Pietro Pariati. No com- 
 poser is mentioned. In the "Catalogo" at end of vol. x, date and place of first ed. 
 are given as Vienna, 1719. Fehr does not know why Gozzi, the editor, changed the 
 original title "Don Chisciotte in Sierra Morena." ML 49.A2Z3 
 
 - Don Chisciotte in corte della duchessa. Pubblicato per la 
 prima volta in Vienna 1719. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 178586, t. xi, p. 101- 
 
 Five acts. Argument. No composer is mentioned. Written in collaboration 
 with Pietro Pariati. ML 49.A2Z4
 
 OPERA LIBRETTOS 395 
 
 Don Chisciotte in corte della duchessa. Opera serioridicola per 
 musica da rappresentarsi nella Cesarea Corte . . . nel carne vale dell' 
 anno MDCCXXVII. La poesia e del Sig. abate Giovan Claudio 
 Pasquini ... La musica e del Sig. Antonio Caidara . . . 
 
 Vienna d' Austria, Gio. Pietro Van GTielen, n. d. 4 P- l-t &$ P' 17 cm . 
 
 Five acts. Argument and scenario. Nicola Matteis is mentioned as the com- 
 poser of the ballet music. 
 
 First performed at Vienna, as indicated, February 6, 1727. SCHATZ 1502 
 
 Don Chisciotte in corte della duchessa. Opera serioridicola 
 per musica del Signore abate Gio. Claudio Pasquini. 
 n. i., n. d. front., p. [317]-421. 19 cm . 
 
 Detached copy. Five acts. Argument and scenario, but without name of the 
 composer. Pages 422^124 contain "Argomento della farsa intitolata, PEpouse sui- 
 vante o sia la Sposa cameriera del Signor Chevrier per farsi abraccio," Indice and 
 errata. SCHATZ 1481 
 
 Don Chisciotte in Sierra Morena. Tragicommedia per musica, 
 da rappresentarsi nella Cesarea Corte . . . nel carnevale dell' anno 
 MDCCXIX. La musica e del Sig. Francesco Conti. 
 Vienna d' Austria, Gio. Van GJielen, n. d. 8, 92 p. 
 
 Five acts. By Apostolo Zeno and Pietro Pariati (not mentioned). O. T of 'the 
 above. Scenario. Niccola Matteis is mentioned as the composer of the ballet music. 
 First performed, as indicated, February 11, 1719. SCHATZ 2194 
 
 - Don Quixotte in dem Mphrengebuerge, auf dem beruehmten 
 Hamburgischen Schau-Platze in einer opera vorgestellet. 
 Hamburg, Caspar Jakhel, 1722. Unpaged. 18$ CTn . 
 
 Five acts. Translated by Johann Samuel Mtiller (not mentioned). Cast, scenario, 
 and "Vorbericht," in which appears this characteristic information: 
 
 "Die historic vom Don Quixott ist der welt so bekannt, dass es sehr ueberfluessig 
 seyn wuerde, etwas da von zu beruehren. Wer aber ein meister-stueck von possir- 
 licher und doch dabey in ihrer art haupt-schoener music zu hoeren verlanget, der 
 mag die von dem hochberuehmten kaiserl. vice-capellmeister Conti auf gegen- 
 waertige opera verfertigte composition nur gewisslich dafuer halten. Er hat darin 
 po kuensthch zu echerzen und eo scherzhaft zu kuensteln gewust, dass sich auch ein 
 kenner bloss bey dem anblick gewisser saetze des lachens kaum enthalten und doch 
 dabey nicht umhin kann, die grosse geschicklichkeit des verfassers an ende ganz 
 ernsthaft zu bewundern. Von den arien werden einige italianisch andere aber 
 teutsch gesungen, damit ein jeder etwas nach seinem sinne finde; doch stehet bey 
 dem italiaenischen auch das teutsche und bei dem teutschen das italiaenische in 
 einerley reim-gebaende um beydes gebrauchen zu konnen. Der Recitativ hingegen 
 ist ganz teutsch gelassen so wie man ihn samt dem iibrigen von Braunschweig bekom- 
 men hat: ausgenommen, dass der Cardenio, als dessen partie allhier ein Italiaener 
 [Signore Valentini] macht, in der vorstellung, alles italiaenisch recitiren wird, ob es 
 gleich im buche teutsch stehet." SCHATZ 2195 
 
 II Don Chissiot della Mancia. Dramma per musica da rappre- 
 sentarsi nel Teatro di Canal Regio. L'anno MDCLXXX . . . 
 Venetia, Francesco Nicolini, 1680. 56 p. 13% cm . 
 
 Three acts. Publisher's dedication, argument, scenario, and notice to the reader, 
 which reads: 
 
 "Perche giornalmente ti vengono a presentate opere mascherate, e perche s'avvi- 
 cina anco il tempo delle maschere mascherato col nome di Chissiot t'apresento anch'io 
 questo drama, che di Chissiot non contiene altro che la pretesa bravura, ricevilo per 
 opera, per comedia, per quello che ti piace ch'io in ogni forma m'aqueto alle tue 
 eodisfationi, sappi che & stato composto nel ristretto termine di soli giorni quattro." 
 
 By Marco Moroeini, music by Carlo Sajon, neither of whom is mentioned. 
 
 SCHATZ 9264 
 
 Don Colascione. L. T. of Latilla's La finta cameriera.
 
 396 LIBRARY OF CONGRESS 
 
 II D. Gastone overo La piil costante tra le maritate. Opera tragi- 
 comica. Di Giacinto Andrea Cicognini . . . 
 
 Roma, Giuseppe Corvo e Bartolomeo Lupardi, 1675. 136 p. 13$ cm . 
 
 Three acts and prologue. Publisher's dedication, in which Lupardi says that the 
 general applause given to Cicognini 's dramas induced him to publish anew this one. 
 The composer unknown to Schatz. ML 50.2. D59 
 
 Don Giovanni o sia II convitato di pietra. 
 
 Composed by Giuseppe Gazzaniga. Forms second act of II capriccio dramma- 
 tico, Venezia (1787). SCHATZ 10580 
 
 - II Don Giovanni, ossia II convitato di pietra. Dramma per 
 musica in un sol' atto da rappresentarsi nel Teatro della rua dos 
 Condes nel carnovale dell' anno 1792 . . . 
 
 Lisbonna, Simone Taddeo Ferreira, 1792. 117 p. lo cm . 
 
 Impresario's dedication, scenario, and name of Giuseppe Gazzaniga as the com- 
 poser. Portuguese title page "Dom Joao, ou O convidado de pedra and text face 
 the Italien by Bertati, who is not mentioned. SCHATZ 3682 
 
 II Don Giovanni. A. T. of Mozart's II dissolute punito. 
 
 Don Giovanni Tenorio ossia II convitato di pietra. Melodramma 
 pef musica da rappresentarsi in Bologna nel nooile Teatro Zagnoni il 
 carnevale dell' anno 1791. 
 
 Bologna, Sassi, n. d. 48 p. 17 cm . 
 
 Imprimatur dated Feb. 8, 1790. Cast and scenario. Neither the author, Giam- 
 battista Lorenzi, nor the composer, Vincenzo Fabrizj, is mentioned. Under the 
 title "II convitato di pietra," Fabrizi's opera was performed, 1796, at Lisbon, together 
 with Cimarosa's "La finta amalata." (See this--ML 48. C6 III.) SCHATZ 2973 
 
 Don Juan. Tr. of Mozart's II dissoluto punito. 
 
 Don Juan oder Die redende statue. Tr. of Mozart's II dissoluto 
 punito. 
 
 Don Micco e Lesbina. Intermede. Par les Srs. Dominique & 
 Romagnesi . . . Represented a la suite du Joiieur, le 17 aout 1729. 
 Les parodies du Nouveau Theatre italien, Nouv. ed., Paris, 1738, 
 t. iv, [203}-220 p. 16\ cm . 
 
 One act. The airs and vaudeville used are printed at the end of the volume in the 
 "Table des airs " (see Le Joueur). This is a parody of the intermezzo of the same title 
 which had been imported from Italy via Brussels (1728). ML 48. P3 
 
 Don Mirtillo contrastato. Dramma giocoso per musica da rap- 
 presentarsi nel nobilissimo Teatro della nobil Donna Tron Veronese 
 in San Cassiano 1'autunno dell' anno 1791 . . . 
 
 Venezia, Modesto Fenzo, 1791. 56 p. 
 
 Two acts. Author not mentioned, and unknown to Schatz. Impresario's dedica- 
 tion, cast, scenario, and name of Giuseppe Giordan! as the composer. ("La musica 6 
 tutta nuova.") With the opera was performed Antonio Terrades's ballet, "L'ospedale 
 de' pazzi." The composer of the music is not mentioned. SCHATZ 3837 
 
 Don Paduano. Mmenzeone pe' museca de nota' Pietro Trinchera. 
 Da rappresentarese a lo Tiatro de la Pace nchesta nvernata prence- 
 peata a lo 1745 . . . 
 
 Napoli, Dommineco Ascione, 1745. 2 p. 1., 52 p. 15 cm . 
 
 Three acts. Dedication, cast, and name of Nicola Logroscino as composer. 
 
 SCHATZ 5672
 
 OPERA LIBRETTOS 397 
 
 D. Pedro, infante di Portogallo, ballet. See Sacchini's Lucio 
 Vero. 
 
 Don Pietro, re di Castiglia, ballet. See Anfossi's Zemira. 
 
 D. Procopio in corte del Pretejanni. Commedia per musica da 
 rappresentarsi nel Teatro Nuovo sopra Toledo per second' opera di 
 quest' anno 1782. 
 
 Napoli, n. pull, 1782. 66 p. 15% cm . 
 
 Three acts. Author not mentioned, and unknown to Schatz. Argument, cast, 
 and name of Giacomo Tritto as the composer. SCHATZ 10468 
 
 Don Quichote chez la duchesse, ballet comique en trois actes; 
 represent e pour la premiere fois par 1' Academic royale de musique, 
 le 12 fevrier 1743. Nouvelle edition. 
 
 Paris, N. B. Duchesne, 1760. 47, [1] p. 19 cm . (Theatre de M. 
 Favart, Paris, DucJiesne, 1763-77, t. vi.) 
 
 Prose and ariettes, composed by Boismortier (not mentioned) and printed in the 
 text. ML 49.A2F1 
 
 Don Quischott von Mancia. Tr. of Paisiello's D. Chisciotte della 
 Mancia, with third act, etc by Gassmann. 
 
 Don Quixote. An entertainment for music, sung at Marybone- 
 Gardens. The music composed by Dr. Arnold. 
 
 London, C. D. Piguenit, 1774. P- 1-, 33 p. 18 cm . 
 
 Two parts. Prefatory note, in which the author "is well aware of the dangerous 
 ground on which he stands" with his attempt at bringing Don Quixote and Sancho 
 before the public, and particularly at Marybone Gardens. Attributed to D. J. 
 Piguenit by Biog. Dram, but with Covent Garden as place of performance. "This 
 was acted only one night for the benefit of Mr. Reinhold." LONGE 291 
 
 Don Quixote in England. A comedy. As it is acted at the New 
 Theatre in the Hay-Market. By Henry Fielding, Esq. . . . 
 London, J. Watts, 1754 [/]. 8 p. I, 64 p. 19 cm . 
 
 Three acts, with introduction. Cast, table of the 15 songs, the airs of which (ballad 
 airs) are printed in the text, and mostly with their titles, author's dedication, and 
 preface, in which Fielding says that 
 
 "this comedy was begun at Leyden in the year 1728, and after it had been sketched 
 out into a few loose scenes, was thrown by, and for a long while no more thought of. 
 It was originally writ for my private amusement . . . Mr. Booth and Mr. Cibber . . . 
 upon seeing the aforesaid sketch, both dissuaded me from suffering it to be represented 
 on the stage; and accordingly it was remanded back to my shelf, where, probably, it 
 would have perished in oblivion, had not the solicitations of the distrest actors in 
 Drury-Lane prevail'd on me to revise it, at the same time that it came into my head to 
 add those scenes concerning our elections. Being thus altered, it was often rehearsed 
 on that theatre, and a particular day appointed for its action; but the Giant Cajanus, 
 of a race who were always enemies to our poor Don, deferred his appearance so long, 
 that the intervention of the actor's benefits would have put it off till the next season, 
 had I not brought it on where now it appears ..." 
 
 The date on title-page is 1754, not 1734, yet the cast is exactly the same as that given 
 by Genest under Haymarket, 1734, "about April." LONGE 53 
 
 Don Quixote. For Purcell's opera, see The comical history of Don 
 Quixote. 
 
 Don Quixotte. Operette in drey akten. 
 
 7i. i., n. d. [101}-156 p. ("Schauspiele von J. von Soden," Berlin, 
 1788, v. 1, no. 2.} 16 cm . 
 
 Detached copy. Presumably not performed. The composer, Ignaz von Becke, 
 is not mentioned. SCHATZ 678
 
 398 LIBRARY OF CONGRESS 
 
 Don Quixotte der zweite. Em kornisches singspiel ans dem ita- 
 lienischen, in zwey aufzuegen. Die musik ist vom nerrn von Ditters- 
 dorf. 
 Oels, Samuel Gottlieb Ludwig, n. d. 80 p. 16 cm . 
 
 By the composer. 
 
 First performed at Oels, Hoftheater, February 4, 1795. SCHATZ 2589 
 
 Don Quixotte in dem Mohrengebuerge. Tr. of Conti's Don 
 Chisciotte in Sierra Morena. 
 
 Don Salterio Civetta. Dramma giocoso per musica da rappresen- 
 tarsi nel nobile Teatro di San Samuele il carnovale dell' anno 1776. 
 Venezia, Gio. Battista Casali, 1776. 62 p. 17 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Michele Mortellari as the composer. SCHATZ 6690 
 
 Don Sancho: or, The students whim. 
 5 p. 1., 20 p. 19 cm . 
 
 Title page wanting of this farce, printed 1739. Two acts with epilogue, prologue, 
 and a masque, "MINERVA'S TRIUMPH." Clarence lists this as a "ballad opera," though 
 no airs are indicated in the text to which the 12 songs of the piece were to be sung. 
 Still, the second player's words in the prologue, "meer ballad farce," may mean that 
 the piece was intended as such. The dedication is signed by Elizabeth Boyd as 
 author, as also a prefatory note in which she says that Mr. Chetwood, the prompter 
 of Drury-Lane, secured a hearing for "Don Sancho" in the Green-room, that the 
 piece was "acknowledged worthy of the town's applause," but that the latentss of 
 the season, etc., prevented a performance." LONGE 59 
 
 Don Saverio. A musical drama. As it is perform'd at the Theater- 
 Royal in Drury-Lane. The musick by Mr. Arne. 
 London, J. Watts, 1750. 2 p. 1., 16 p. 21 cm . 
 
 Two acts. Cast, argument, and footnote: 
 
 "The intention of this piece is to display different kinds of expression in music; 
 florid epithets or forc'd conceits are avoided, and the songs and recitative are en- 
 deavour'd to be written (as near as possible) in such a dialect as the character con- 
 cern'd would naturally make use of on such an occasion, it being a standing rule in 
 musical productions, that, where the meaning of the poet is in the least intricate, 
 the song is unattended to, and the music lost. 
 
 Text presumably by the composer. 
 
 First performed 1749, as indicated. LONGE 241 
 
 Don Saverio. Comedia per musica da rappresentarsi nel Teatro di 
 S. MOIS& 1'autunno dell' anno 1744. 
 
 Venezia. Valvassense, 1744. 4$ P- 15 m - 
 
 Three acts. By Antonio Palomba, with argument, cast, and name of composer, 
 Giuseppe d'Avossa ("d'Anossa"), but not of librettist. Original title of Palomba's 
 text was "La Violante." SCHATZ 513 
 
 Don Sylvio von Eosalva oder Der sieg der natur ueber die schwaer- 
 merey. 
 
 n. i., n. d. 164 P- l? cm - 
 
 Five acts. Neither the author, Samuel Gottlieb Biirde, nor the composer, Phanty, 
 ie mentioned. 
 
 First performed at Schleswig, Herzogl. Hoftheater, March 7, 1796. SCHATZ 8004 
 
 Don Sylvio von Rosalva oder Der sieg der natur ueber die schwaer- 
 merey. Eine komische oper in fuenf aufzuegen von S. G. Buerde. 
 
 Koenigsberg, Friedrich Nicolovius, 1795. 164 P- 17 cm . 
 
 Five acts. The composer, F. Sigismund Sander, is not mentioned. 
 
 First performed at Oels, Hoftheater, June 17, 1797. SCHATZ 9371
 
 OPERA LIBEETTOS 399 
 
 Don Tabarrano. 
 
 n.i.,n.d. [22 p.] 17 cm . 
 
 Probably belongs to the text of eome opera. The two intermezzi, text by Andrea 
 Belmuro, music by Johann Adolph Hasse, were first performed at Dresden, Hof- 
 theater, July 26, 1737, as intermezzi to Hasse's "Atalante." 
 
 First performed as "La Contadina" in the fall of 1728 at Naples, Teatro di San 
 Bartolomeo, as intermezzi to the opera "Clitarco." SCHATZ 4529 
 
 - Don Tabarrano, intermezzi. Da rappresentarsi nel nuovo Real 
 Teatro Privilegiato in Dresda. L'anno MDCCXLVII. 
 
 n. i., n. d. (double) 24 p. 15 cm . 
 
 Two parts. Cast. Neither Belmuro, the author, nor Hasse, the composer, is 
 mentioned. German text and title page, "Don Tabarranp," face Italian. The text 
 is not quite the same as in Schatz 4529. For instance, in the first intermezzo the 
 aria "Colla sul praticello" has been added, and in the second the aria "Se non credi 
 alle parole" replaces "Strappami il core, o barbaro," and the final duet is "O che 
 gioja, o che contento" instead of "Pace si, si, dolce mia vita." 
 
 First performed, as indicated, February 13, 1747. SCHATZ 4530 
 
 - II Tabarano. Intermezzo in musica da rappresentarsi sopra il 
 Xuovo Teatro dell' opera pantomima del Nicolini in Bronseviga. 
 Der Tabaran . . . 
 
 Braunsweig, Keitel, n. d. Unpaged. lS cm . 
 
 Two parts. German text faces Italian. Neither Belmuro nor Hasse is men- 
 tioned. The text follows Schatz 4529 fairly closely except toward the end, and the 
 final duet now begins "Deh ti plachi" ! 
 
 First performed, as indicated, 1749. SCHATZ 4531 
 
 D. Taddeo in Barcellona. Commedia di un atto per musica di 
 Giambattista Lorenzi P. A. da rappresentarsi nel Teatro Nuovo sopra 
 Toledo nella primavera del corrente anno 1774. 
 
 Napoli, n. publ., 1774- 38 p. 14% cm - 
 
 Notice to the reader, cast, and name of Antonio Pio as the composer. 
 
 SCHATZ 8185 
 
 II D. Tifone. Farsetta per musica a tre' voci del Signor abate F. P. 
 P. A. Da rappresentarsi nel Teatro alia Pallacorda di Firenze nel 
 carnevale dell' anno 1752 . . . 
 
 Roma, Ottavio Puccinelli, 1751. 24 p. lo% cm . 
 
 Two parts. Impresario's dedication, cast and name of Giacinto Quagliattini as 
 composer. F. P. does not seem to apply to any of the Arcadian names listed by 
 Wotquenne. Not recorded by Schatz or Allacci. ML 50.2.D595Q2 
 
 II Don Trastullo. L. T. of Jommelli's La cantata e disfida di 
 D. Trastullo. 
 
 La donna amante di tutti, e fedele a nessuno. Commedia per 
 musica di Giuseppe Palomba da rappresentarsi nel Real Teatro del 
 Fondo di Separazione per terza opera di quest' anno 1783. 
 Napoli, n. publ, 1783. 60 p. 
 
 Three acts. Argument, cast, and name of Pietro Guglielmi as the composer. 
 
 SCHATZ 4288 
 
 La donna ancora e fedele. Dramma per musica, rappresentato in 
 Roma nel MDCLXXVI . . . 
 
 Roma, il success, del Mascardi, 1676. 72 p. 13 cm . 
 
 Prologue and three acts. By Domenico Filippo Oontini, who is not mentioned. In 
 his dedication the publisher, Francesco Leone, speaks of this drama as " rapresentato 
 in Roma il presente anno," and mentions Bernardo Pasquini as the composer. 
 
 ML 50.2.D6P2
 
 400 LIBRARY OF CONGRESS 
 
 La donna astuta. Dramma giocoso per musica da rappresentarsi 
 nel nobilissimo Teatro Giustiiuani in Sail MoisS il carnovale dell' 
 anno 1793. 
 
 Venezia, Modesto Fenzo, 1793. 46 p. 17\. 
 
 Twoacts. The author is not mentioned, and is unknown to Schatz. Cast, scenario, 
 and name of Giuseppe Gazzaniga as the composer, except for a few designated sub- 
 stitute arias. SCHATZ 3691 
 
 La donna bizarra. L. T. of Bernardini's La donna di spirito. 
 
 La donna bizzarra ossia L'amore politico, ballet. See Winter's 
 Catone in Utica. 
 
 La donna di genio volubile. Dramma giocoso per musica di 
 Giovanni Bertati ... da rappresentarsi nel nobilissimo Teatro 
 Giustiniani in San Moise Fautunno dell' anno 1796. 
 Venezia, Modesto Fenzo, 1796. 64 p. 18 cm . 
 
 Two acts. Cast, scenario, and name of Marco Portugal as the composer. On 
 p. 31-38, argument and description of Carlo Taglioni's four-act "La sposa rapita, ballo 
 tragicomico." His second ballet was called La scuola olandese ossia L'amante in 
 etatua." The composers of the music are not mentioned. 
 
 First performed, as indicated, October 5, 1796 (Carvalhaes). SCHATZ 8404 
 
 La donna di genio volubile. Dramma giocoso per musica in 
 due atti da rappresentarsi nel Teatro Elettorale di Sassonia. 
 
 Dresda, n. pull., 1798. Ill p. 15 cm . 
 
 Two acts. Cast (in pencil) and name of Marcos Portugal as the composer. Ger- 
 man title-page "Die wankelmuethige," and text face Italian. 
 
 First performed, as indicated, December 8, 1798. SCHATZ 8405 
 
 La donna di genio volubile : dramma giocoso per musica di 
 Giovanni Bertati ... da rappresentarsi nel Regio Teatro di S. Carlo 
 della Principessa in benefizio di Domenico Caporalini. Ai 23 di 
 gennaio dell anno 1799. 
 
 Lisbona, Simone Taddeo Ferreira, 1798. 163 p. 15 cm . 
 
 Two acts. Prefatory note, scenario, and name of Marco Portogallo as composer. 
 Portuguese translation faces Italian. On p. [127J-163, Italian text, with Portuguese 
 translation, argument, cast of the pasticcio ("La musica di diversi auttori i piu cele- 
 bri"): "L'ESILIO D'APOLLO. Cantata per musica a quatri voci di Giuseppe Cara- 
 vita . . ." [as in title of the opera]. ML 48. C6 iv 
 
 La donna di governo. Dramma di tre atti per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 44, 
 [63}-122 p. 18 cm . 
 
 According to Schatz, first performed at Prague, Theater in der Kotzen, with music 
 by Domenico Fischietti. PQ 
 
 La donna di governo. Dramma giocoso per musica di Polisseno 
 Fegejo da rappresentarsi nel Teatro Giustiniani di San Moise. Nel 
 presente autuno 1764. 
 
 Venezia, Modesto Fenzo, 1764. 70 p. 14% cm . 
 
 Three acts. By Goldoni. Cast, scenario, and name of Baldassare Galuppi as 
 composer. SCHATZ 3451
 
 OPERA LIBRETTOS 401 
 
 La donna di spirito. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro alia Scala I'autunno dell' anno 1791 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 4 P- ^-, 61 p. 16% cm . 
 
 Two acts. Impresario's dedication, dated Milan, September 20, 1791, cast, scena- 
 rio ; and name of Marcello di Capua (Bernardini) as composer. The libretto was 
 written by the composer (Schatz), and it was based on Goldoni's comedy, "La vedova 
 scaltra." The first ballet, performed in 1791, together with the opera, was called "Lo 
 spazzacamino principe," and was by Antonio Muzzarelli, the composer of the music 
 not being mentioned. 
 
 First performed at Rome, Teatro Valle, in the spring of 1787. SCHATZ 842 
 
 Le quattro nazioni. Dramma giocoso per musica da rappresen- 
 tarsi in Firenze nel Regio Teatro di via Santa Maria nell' estate dell' 
 anno MDCCXCIII . . . 
 
 Firenze, Stamp. Albizziniana, 1793. 60 p. 16% cm . 
 
 Two acts. Cast, name of Marcello di Capua (Bernardini) as composer and note 
 that the text has "per suo originate " Goldoni'a "La vedova scaltra. Schatz lists 
 1 ' Le quattro nazioni " as a later version of " La donna bizarra " (see below) but, though 
 a few lines are the same in both, they are really two entirely different librettos. Not 
 even the number of scenes is the same and the characters are named differently. 
 For instance, whereas "Armellina, locandiera" and "Monsieur Tremo'" appear in 
 both, " Donna Aurora, donna di spirito " does not appear at all in "La donna bizarra," 
 where "D. Elvira, donna epiritosa e bizarra" is a combination of both "Donna 
 Aurora" and "Donna Elvira, eorella di Donna Aurora" of the other libretto. As a 
 matter of comparison, the text and the characters of "Le quattro nazioni" are iden- 
 tical with those of "La donna di spirito," the four nations being represented in both 
 by "Don Mauro, Spagnuolo," "Monsieur Tremo', Francese," "Baron Zuffre', Te- 
 desco," "M. Birif, Olandese," and "Don Ruggiero, cavaliere italiano." Conse- 
 quently, "Le quattro nazioni" is simply a later title of "La donna di spirito," and 
 the text of both, to repeat it, has very little in common with that of "La donna 
 bizarra," though possibly the same music was used as for "La donna di spirito." 
 Much more related is the text of: SCHATZ 833 
 
 * 
 
 Li cinque pretendenti. Dramm'a giocoso per musica da rap- 
 presentarsi nel Ces. Reg. Teatro di Trieste il carnovale dell' anno 1794 
 
 Trieste, Stamperia governiale, n. d. 58 p. 16 cm . 
 
 Two acts. Cast and name of Marcello di Capua (Bernardini) as composer. The 
 characters in this libretto are the same as of " La donna di spirito." The first act has 
 seventeen scenes, and of these fourteen appear in the first act of "La donna di spi- 
 rito." The alterations in the second act are more pronounced and only a few scenes 
 have been retained, yet unmistakably "La donna di spirito" is the original. 
 
 SCHATZ 849 
 
 La donna bizarra. Commedia per musica da rappresentarsi nel 
 Real Teatro del Fondo di Separazione nel carnevale di questo cor- 
 rente anno 1791. 
 
 Napoli, Vincenzo Flauto, n. d. J^5 p. 15\ cm . 
 
 Two acts. Cast and name of Marcello di Capua (Marcello Be.rnardini) as com- 
 poser. Schatz considers this a later version of La donna di spirito," but see above 
 the note under " Le quattro nazioni." Onp. 5-9 argument, cast, and detailed descrip- 
 tion of "II trionfo de' Spagnoli, o sia La disfatta de' Marrocchini. Ballo composto e 
 diretto dal Sig. Gio. Battista Giannini." Pietro Dutilieu is mentioned as the com- 
 poser of the music. SCHATZ 832 
 
 La donna di spirito, ballet. See Tritto's L'Anninio. 
 
 72251 VOL 114 26
 
 402 LIBRARY OF CONGRESS 
 
 La donna di tutti i caratteri. Commedia per musica di Antonio 
 Palomba Napolitano da rappresentarsi nel Teatro de' Fiorentini nell' 
 inverno di quest' anno 1763. 
 
 Napoli, Vincenzio Mazzola-Vocola, 1763. 64 p- 15 cm . 
 
 Pages 39-62 missing. 
 
 Three acts. Cast and name of Pietro Guglielmi as the composer. 
 
 First performed at the same theatre, fall of 1762. SCHATZ 4289 
 
 La donna difficile, ballet. See Rust's L'idolo cinese. 
 
 La donna dottoressa. Intermezzo. 
 Cremona, Ferrari, 1754. 24 p. 18\. 
 
 Three parts, with name of the composer, Pietro Chiarini. The author is unknown 
 to Schatz. SCHATZ 1855 
 
 La donna Girandola. Farsa giocosa in due atti per musica dell' 
 ab. Pietro Chiari Bresciano ... da rappresentarsi nel Teatro Gri- 
 mani di S. Samuele nel carnovale dell' anno 1763. 
 
 Venezia, Modesto Fenzo, 1763. 34 p. 15\ cm . 
 
 Two acts. Cast and name of Salvatore Perillo as the composer. SCHATZ 7924 
 
 La donna giudice, e parte. Intermezzo a due voci da rappresen- 
 tarsi nel Teatro di S. Angelo 1'autunno dell' anno 1746. 
 
 Venezia, Modesto Fenzo, 1746. 16 p. lJ& cm . 
 
 Two parte. Cast and name of Giovanni Cingoni as composer. Author unknown 
 to Schatz. SCHATZ 2009 
 
 La donna giudice e parte, intermezzo. See Galuppi's Scipione 
 nelle Spagne. 
 
 La donna innamorata. Dramma giocoso per musica di Giovanni 
 Bertati ... da rappresentarsi nel nobilissimo Teatro Giustiniani in 
 San Moise il carnovale dell' anno 1796. 
 
 Venezia, Modesto Fenzo, 1796. 56 p. 17\ cm . 
 
 Two acts. Cast, scenario, and name of Giuseppe Nicolini as the composer. 
 First performed, as indicated, January 28, 1796. SCHATZ 7142 
 
 La donna instabile. Dramma giocoso per musica di Giovanni 
 Bertati da rappresentarsi nel Teatro Giustiniani in S. Moisd il carno- 
 vale dell anno 1776. 
 
 Venezia, Gio. Battista Casali, n. d. 62 p. 16\ cm . 
 
 Three acts. Cast, scenario, and name-of the composer, Giovanni Battista Borghi. 
 Pages 3-4, presumably containing the argument, are wanting. Pages 61-62 contain 
 an additional scene for act II, which begins (Signer Valerio), "Ma signore, vi prego." 
 Pages 31-32 contain the argument of "II naufragio felice, ballo eroico pantomime," 
 by Giov. Battista Marten. The title of the second ballet, by Francesco Pvasetti, 
 was " L'incostanza del militare in amore." The composers of the music are not 
 mentioned. 
 
 First performed in January, 1776. SCHATZ 1229 
 
 Letra de la tonadilla a siete, intitulada: Dona Maria la tarbernera. 
 Barcelona, Pablo Campins, n. d. 16 p. 16 cm . 
 Imprimatur at end dated : Barcelona, July 23, 1774. 
 Not recorded by Schatz. ML 50.2. D607 
 
 Donna Marzia. O. T. of Barlocci's libretto Madama Ciana.
 
 OPERA LIBRETTOS 403 
 
 La donna militaire. A. T. of the ballet II seguito tra Tarmi. 
 
 La donna ne sa piu del diavolo owero II matrimonio non per i 
 vecchi. Dramma giocoso per musica in, un solo atto da rappresen- 
 tarsi nel Regio Teatro di S. Carlo della Principessa Testate dell' anno 
 1797. 
 
 Lisbona, Simone Taddeo Ferreira, 1797. 95 p. 14 cm . 
 
 Cast and name of Giovanni Battista Longarini as composer. The text appears to 
 be an altered version of Gaetano Sertor's "II divorzio eepra matrimonio ossia La donna 
 che non parla." Portuguese translation faces Italian. SCHATZ 5683 
 
 La donna nobile. Intermezzi in musica da rappresentarsi il car- 
 novale del 1730. nel Teatro Tron a S. Cassano. 
 Venezia. Carlo Buonarrigo, 1730. 21 p. 15 cm . 
 
 At end, one p. advertising matter, by the publisher. 
 
 Three parts. The author not mentioned, and unknown to Schatz. Cast and name 
 of Giuseppe Maria Orlandini as the composer. 
 
 First performed under the title of "Melinda e Tiburzio" at Venice, Teatro di San 
 Angelo, carnival, 1721. SCHATZ 7340 
 
 La donna sempre al suo peggior s'appiglia. Commedia per 
 musica di Giuseppe Palomba da rappresentarsi nel Teatro Nuovo 
 per terz' opera in quest' anno 1785. 
 Napoli, n. pull., 1785. 60 p. 15. 
 
 Three acts. Cast and name of the composer, Cimarosa. SCHATZ 1981 
 
 La donna sensibile o sia Gli amanti riuniti. Commedia per 
 musica di Domenico Piccinni da rappresentarsi nel Teatro del Real 
 Fondo di Separazione per second' opera del corrente anno 1798. 
 Napoli, n. pull., 1798. 52 p. 15 cm . 
 
 Two acts. Argument, cast, and name of Giacomo Tritto as the composer. 
 
 SCHATZ 10469 
 
 La donna vana. Commedia da rappresentarsi in musica nel Teatro 
 de' Fiorentini nell' inverno dell' anno 1764 . . . 
 
 Napoli, Vincenzo Mazzola-Vocola, 1764- 72 p. 14% cm - 
 Three acts. By Antonio Palomba, who is not mentioned. Impresario's dedica- 
 tion, dated November, 1764, cast, and name of Niccol6 Piccinni as the composer. 
 
 SCHATZ 8123 
 
 Le donne Ateniesi e i loro compagni, ballet. See Pasque's 
 Arianna e Teseo. 
 
 Ije donne bisbetiche o sia L'antiquario fanatico. L. T. of Ber- 
 nardini's La finta Galatea o sia L'antiquario fanatico. 
 
 Le donne cambiate. Dramma giocoso per musica in due atti da 
 rappresentarsi nel Teatro Elettorale di Sassonia. 
 Dresda, n. pull, 1799. 115 p. 15\ cm . 
 
 Two acts. By Giuseppe Foppa, who is not mentioned. German title-pa^e, "Die 
 verwandelten weiber," and text face Italian. Marcos Portugal is mentioned as 
 the composer. 
 
 First performed, as indicated, October 2, 1799; at Venice, San Moise, October 22, 
 1797 (Carvalhaes). SCHATZ 8406 
 
 Le donne che comandono. A. T. of Goldoni's text 11 mondo al 
 rovescio.
 
 404 LIBRARY OF CONGRESS 
 
 Le donne che comandono. A. T. of Galuppi's II mondo alia 
 ro versa. 
 
 Le donne dispettose. Commedia per musica di notar' Antonio 
 Palomba da rappresentarsi nel Teatro de' Fiorentini nell' autunno di 
 quest' anno 1754. 
 
 Napoli, Ricciardi, 1754. 96 p. 15 cm . 
 
 Three acte. Cast and name of Niccol6 Piccinni aa the composer. SCHATZ 8124 
 
 Le donne dispettose. Commedia per musica di Giuseppe Palomba 
 da rappresentarsi nel Real Teatro del Fondo di Separazione per prim' 
 opera in questo corrente anno 1793 . . . 
 Napoli, n. pull, 1793. 43, [1] p. 15 cm . 
 
 Two acts. Dedication, cast, and name of Gabriele Prota as the composer. On 
 the unnumb. p., the substitute aria "Anna di gloria il core " (II, 4). SCHATZ 8473 
 
 Le donne invidiose ossia L'onesta trionfante, ballet. See Bianchi's 
 La sposa in equivoco. 
 
 Le donne letterate. Commedia per musica di Gio. Gastone Boc- 
 cherini ... da rappresentarsi ne' Teatri privilegiati di Vienna. 
 [Vienna], GJielen, 1770. Unpaged. 16 cm . 
 
 Three acts. Scenario and name of Antonio Salieri as the composer. 
 
 First performed at Vienna, Burgtheater, January, 1770. SCHATZ 9335 
 
 Le donne rivali. Intermezzo in musica a cinque voci da rappresen- 
 tarsi nel Teatro Valle dell' illmi Signori Capranica. Nel carnevale 
 dell' anno 1780 ... 
 
 Roma, Agostino Palomb'ini, 1780. 1+8 p. 16 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Cimarosa as composer. ML 50.2.D616C3 
 
 Le donne rivali. Intermezzo in musica da rappresentarsi nel nobil 
 Teatro Tron di San Cassiano nell' autunno dell' anno MDCCLXXX. 
 Venezia, Pietro Sola, n. d. 54 p- 17 cm . 
 
 Two acts. Cast, scenario, and name of the composer, Cimarosa. The author is 
 unknown to Schatz. With the intermezzo were performed the ballets, "II consiglio 
 di Giove " and ' ' II sargente burlato . ' ' The composer of the music is not mentioned. 
 
 SCHATZ 2004 
 
 Le donne sempre donne. Dramma giocoso per musica del Signer 
 abate Pietro Chiari da rappresentarsi nel Teatro Giustiniani di S. 
 Moise 1'autunno dell' anno 1767. 
 
 Venezia, Modesto Fenzo, 1767. 82 p. 16. 
 
 Three acts. Cast, scenario, and name of Andrea Luchesi as the composer. 
 
 SCHATZ 5741 
 
 Le donne vendicate. 
 
 [53]-102 p. 16% cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. i, Torino, 1757.) 
 
 Three acts. ML 49.A2G6 
 
 - Le donne vendicate. Dramma di tre atti per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta ejigli, 1788-95, v. 4$, 
 [341}-393 p. 18 cm . 
 
 First performed with Cocchi's music, as in next entry. PQ
 
 OPERA LIBRETTOS 405 
 
 Le donne vendicate. Dramma giocoso per musica di Polisseno 
 Fegejo, Pastor Arcade. Da rappresentarsi nel Teatro Tron di S. 
 Cassiano. II came vale dell' anno 1751. 
 
 Venezia, Modesto Fenzo, 17 5 L 58 p. 15% cm - 
 
 Three acts. By Goldoni. Cast. The composer, Gioacchino Cocchi, is not men- 
 tioned. SCHATZ 2043 
 
 Le donne vendicate. Commedia per musica di Giuseppe Palomba 
 da rappresentarsi nel Teatro Nuovo sopra Toledo per prim' opera nel 
 corrente anno 1796. 
 
 Napoli, n. putt., 1796. 43 p. 15 cm . 
 
 Two acts. Cast. Gaetano Monti is mentioned as the composer except for the 
 arias marked with an asterisk. It is not said by whom these were composed. 
 
 First performed at Naples, Teatro Nuovo sopra Toledo, October 17, 1781. 
 
 SCHATZ 6601 
 
 Le donne vendicate. Intermezzi per musica a quattro voci da 
 rappresentarsi nel Teatro alia Valle nel carnevale delP anno 1763 . . 
 
 Roma, S. Michele a Ripa, 1763. 36 p. 15 cm . 
 
 Three acts. The author, Goldoni, is not mentioned. Dedication by the impre; 
 Bario, Angolfino Palombini, cast, and name of Niccolo Piccinni as "maestro di 
 capella." SCHATZ 8090 
 
 Le donne vendicate. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro Grimani di S. Samuele il carnovale dell' anno 1764. 
 
 Venezia, Modesto Fenzo, 1764. 48 p. 15\ cm . 
 
 Three arts. Cast, scenario, and name of Niccolo Piccinni as the composer. The 
 text is somewhat different from the Rome, 1763, edition. For instance, act I, scenes 
 4 and 5, "T'h6 pur trovato alfine" and "Non mi conosce! A me corpo di Bacco," 
 have been added. SCHATZ 8091 
 
 Das donnerwetter. A. T. of Winter's Der bettelstudent. 
 
 Die doppelte verwandlung, eine freye nachahmung von der bekann- 
 ten und beliebten komischen oper: Le diable a quatre; Aufgefuehret 
 auf der kaiserl. koenigl. privil. deutschen Schaubuehne. 
 
 Wien, im Krausischen Buchladen, 1767. 80 p. 16 cm . 
 
 Three acts. On p. 2 the note: "Die worte der arien sind nach den melodeyen 
 lauter lustiger, und meistens bekannter liedchen und taenze verfasset." 
 
 Unlike in French librettos, the tunes are not indicated. Author unknown to 
 Schatz. SCHATZ 11450 
 
 II doppio equivoco. Dramma giocoso per musica da rappresentarsi 
 in Parma nel R. D. Teatro di corte il carnevale dell' anno MDCCXCIV 
 
 Parma, Stamperia Carmignani, n. d. viii, 60 p. 18 cm . 
 
 Two acts. Scenario, name of Gaspare Rugali as the composer and impresario's 
 dedication which begins: 
 
 "II dramma . . . non yanta altro merito che quello della novita. II compositore 
 della musica si espone al giudizio del pubblico con questa prima sua produzione." 
 
 The author is unknown to Schatz. With the opera was performed Giovanni Mon- 
 ticini's ballet (composer of the music not mentioned) "II trionfp di Gustavo re di 
 Svezia." SCHATZ 9128 
 
 La Doralba. Dramma civile del Signer dpttore Bernardino Mosche- 
 ni. Da recitarsi in musica nel Teatro di Pescia da gl'Accademici 
 Cheti . . . 
 
 Lucca, li Marescandoli, 1683. 4 P- !> (incl. front.}, 76 p. 16 cm . 
 
 Three acts. Scenario and dedication ("la prima volta in publico sul nostro tea- 
 tro"). Apparently not recorded by Nerici. ( omposer unknown to Wotquenne. 
 
 ML 50.2.D618
 
 406 LIBRARY OF CONGRESS 
 
 Dorcis e Cleobisa, ballet. See G. Giorclani's Caio Ostilio. 
 
 Das dorf im gebuerge. Ein schauspiel mit gesang in zwey akten 
 von August von Kotzebue. Zum erstenmale aufgefuehrt auf dem 
 k. k. National-Theater, am jahresfest der braven Wiener-Freywilligen, 
 den 17. april 1798. Die musik ist vom hrn. kapellmeister Weigl dem 
 aeltern. 
 
 W ien, Carl Schaumburg und compagnie, n. d. 2 p. 1., 84 p- 16% cm . 
 
 Cast and dedicatory poem to Maria Theresa. SCHATZ 10932 
 
 Der dorfbader. Von H. B. 
 
 Muenchen, Johann Nepomuck Fritz, 1783. 56 p. 16. 
 Last p. incorrectly numbered 24. By Heinrich Braun. Composer unknown to 
 Schatz. SCHATZ 11605 
 
 Der dorfbalbier. Eine komische oper in zwey aufzuegen. 
 
 Leipzig, in der Dijckischen buchhandlung, 1772. 88 p. 15 cm . 
 
 Note on p. [4]: "Das stueck ist eine nachahmung des Blaise le savetier von Mr. 
 Sedaine " and prefatory note on p. [2] by the author, Christian Felix Weisee, who is 
 not mentioned : 
 
 "Diese kleine komische oper war eine von den ersten versuchen des verfassers in 
 dieser gattung. Ein beduerfniss auf dem Kochischen Theater an etwas neuem, zu 
 einer zeit, wo man dergleichen zu haben wuenschte, hat sie erst vor kurzem dem 
 etaube entrissen, worinnen sie seit vielen jahrcn gelegen und immerdar haette liegen 
 sollen. Herr [Johann Adam] Hiller, dieser vortremiche tonkuenstler, beschenkte 
 die kleinen lieder, so wie die uebrigen komischen opern, mit einer artigen musik, 
 die ebenfalls im drucke erscheinen wird. Der verfasser sieht nach diesen umstaen- 
 den vorher, dass sie mit den vorhergehenden stuecken dieses zweyten bandes ein 
 gleiches schicksal haben wuerde: man wuerde bald auf anderen theatern zu der 
 musik text machen, den er noch weniger, als den gegenwaertigen, auf seine rech- 
 nung moechte geschrieben haben . . ." 
 
 First performed at Leipzig, Theater am Rannstaedter Thore, 1771. SCHATZ 4719 
 
 Der dorfbalbier. Eine komische oper in zwey aufzuegen. 
 
 C. F. Weisse, Komische opern, Carlsruhe, 1778, t. ii. [195}-252. 
 
 On p. [196], the note: "Das stueck ist eine nachahmung des Blaise le savetier von 
 M. Sedaine." The composer, Johann Adam Hiller, is not mentioned. 
 
 ML 49.A2W2 
 
 Gesaenge aus der oper Der dorfbarbier, in zwey aufzuegen. Die 
 musik ist von Schenk. 
 
 cm 
 
 Hamburg, Peter Christian Heinrich Babe, 1799. 23 p. 15 c 
 
 By Joseph and Paul Weidmann, who are not mentioned. 
 
 First performed at Hamburg, Theater beim Gaensemarkt, January 4, 1799; at 
 Vienna, Burgtheater, October 30, 1796. SCHATZ 9592 
 
 Arien und gesaenge aus dem komischen singspiele in drei aufzuegen: 
 Die dorfdeputirten. Musik von Schuhbauer. 
 
 Berlin, n. pull., 1796. 38 p. 16 cm . 
 
 By Gottlob Ephraim Heermann, who is not mentioned. Cast. 
 First performed at Berlin, Nationaltheater, September 23, 1796; at Munich, 
 Churfuerstl. Schaubuhne bei St. Salvator, May 8, 1783. SCHATZ 9710 
 
 Die dorfdeputierten, eine komische oper in drey aufzuegen. Die 
 musik dazu ist neu von hrn. Teuber [Teyber] verfertiget. 
 n. i., 1792. p. [225}-312, xii. bd. 16%. 
 
 Apparently detached from a collection containing works of the author, Gottlob 
 Ephraim Heermann. 
 
 First performed at Vienna, Karntnerthor Theater. January 8, 1785. SCHATZ 10295
 
 OPERA LIBRETTOS 407 
 
 Die dorfdeputirten, eine komische oper in drey aufzuegen aus dem 
 italiaenischen nach dem lustspiele des hr. Goldoni il Feudatorio, der 
 Lehnserbe. von H. 
 
 Weimar, Carl Ludolf Hoffmann, 1773. 180 p. 16 cm . 
 
 By Gottlob Ephraim Heermann. Composed by Ernst Wilhelm Wolf, who is not 
 mentioned. 
 
 First performed at Weimar, Schlosstheater in der Wilhelmsburg, July 21, 1772; at 
 Berlin, Theater in der Behrenstr., Juni 15, 1772. SCHATZ 11077 
 
 Arien und gesaenge aus den Dorfdeputirten, einer komischen 
 oper in drey aufzuegen, aus dem italiaenischen nach dem lustspiele 
 des hrn. Goldoni il Feudatorio, der Lehnserbe. von H. 
 
 Riga, Gottlob Christian Froelich, n. d. 19 p. 16%. 
 
 By Gottlob Ephraim Heermann. The composer, Ernst Wilhelm Wolf, is not 
 mentioned. SCHATZ 11077a 
 
 Die dorffeyer. Ein sehauspiel mit gesang in einem akte. Zum pro- 
 log auf das hoechste geburtsfest unsers gnaedigsten landesvaters. 
 Von der Secondaischen Schauspieler gesellschaft aufgefuehrt in 
 Leipzig, den 22. und 23. december, 1790. 
 n. i., n. d. 42 p: 16. 
 
 Neither the author, Heinrich Blumner, is mentioned, nor the composer (unknown 
 to Schatz). SCHATZ 11451 
 
 Die dorfgala. Ein lustspiel in drey aufzuegen mit arien und 
 
 gesaengen. Fuer das Hoftheater zu Weimar. Die musik ist von 
 errn Schweitzer. 
 
 Gotha, Carl Wilhelm Ettinger, 1774. 136 p. 15% cm . 
 Dedicatory poem signed by the author, Friedrich Wilhelm Gotter. 
 First performed at Weimar, Kleines Schlosstheater, June 30, 1772. SCHATZ 9770 
 
 Arien und gesaenge aus der komischen oper: Die dorfgalla. In 
 zwey aufzuegen. Von Gotter und Schweizer. 
 
 Hamburg, J. M. Michaelsen, 1778. 16 p. 18 cm . 
 
 First performed at Hamburg, Theater beim Gansemarkt, January 21, 1779. 
 
 SCHATZ 9771 
 
 Die dprfhaendel, oder Bund ueber eck. Ein komisches original- 
 singspiel in zwey aufzuegen. In musik gesetzt von herrn Ruprecht, 
 mitglied des K. K. Nat. Hof-Theaters. Aufgefuehrt im K. K. Hof- 
 theater naechst dem Kaerntnerthor. 
 
 Wien, beym logenmeister, 1785. 55 p. 17\ cm . 
 
 Author not mentioned, and unknown to Schatz. 
 
 First performed, as indicated, November 15, 1785. SCHATZ 9163 
 
 Der dorfjahrmarkt. See G. Benda's Der jahrmarkt. 
 
 Die dorfschule. Von H. B. 
 
 n. i., 1783. 56 p. 16$ cm . 
 
 By Heinrich Braun. Composer not recorded by Schatz. SCHATZ 11606 
 
 La Dori. Drama per musica da rappresentarsi nel Teatro novissimo 
 di S. Salvatore . . . 
 
 Venetia, Si vende in Frezzaria e Spadaria, 1663. 5 p. I., 72 p. llf. 
 
 Three acts and prologue. Dedication signed A. B. and dated ^Venice, January 1, 
 1663, argument, scenario. Neither the author, Apollonio Apolloni, is mentioned, nor 
 the composer, Mi.rc' Antonio Cesti.
 
 408 LIBRARY OF CONGRESS 
 
 La Dori Continued. 
 
 The date of first performance is generally given as indicated by this edition of the 
 libretto, but Schatz dates it Florence, Teatro dei Sorgenti, carnival, 1661, with the title, 
 "La Dori owero La schiava fedele." SCHATZ 1778 
 
 - La Don. Drama per musica da rappresentarsi nel Teatro novis- 
 simo di S. Salvatore . . . 
 
 Venetia, Francesco Mcolini, 1666. 6 p. I, 72 p. 13 cm . 
 
 Prologue and three acts. Dedication signed F. N. and dated Venice, January 1, 
 1663, argument, scenario. The composer, Marc' Antonio Cesti, and the author, 
 Apollonio Apolloni, are not mentioned SCHATZ 11683 
 
 - La Dori overo Lp schiavo reggip. Drama per musica da rappre- 
 sentarsi nel nobilissimo Teatro Grimano di SS. Gio. e Paolo 1 anno 
 1667 -. . . 
 
 Venetia, Francesco Nicolini <& Steffano Curti, 1667. 7 p. I. (incl. 
 front.), 64 p. 13\ cm . 
 
 Three acts, with prologue, publisher's dedication, dated January 16, 1667, argu- 
 ment, scenario, and preface, with Cesti's name as composer, and this remark: 
 
 "Si e incontrato molte difficolta, cosi nel ritrovare 1'originale della musica, come 
 nell' agguistarlo, & nel trasportare le parti ... si sono aggionte alcune ariette per 
 maggiormente adornare il drama." 
 
 The modifications were very slight; for instance, in Act I the third scene, "Astro 
 d'Amore gradito, " with the aria "E gran felicitagoder," was dropped and the second 
 scene, "Viver6, viver6, Ma s'il Fato," added. In Act II the ana in scene 9, "Chi 
 non prova d'Amor ignudo," was added, but the scene 14, "Ahi qual fiero timore," 
 dropped. In the third act, scene 12 ; "De I'insigne reali, " was dropped; also the 
 final quartet, "Amori volate," for which was substituted "Pur cangia i suoi rigori." 
 
 SCHATZ 1785 
 
 La Dori. Drama per musica ristampato, e rappresentato . . . 
 agli augusti sponsali della Reale Altezza ai Mariana Christina, delfina 
 di Francia, nata principessa elettorale di Baviera. Alia med. ma R. A. 
 consecrate con Paggiunta di nuovo prologo posto in musica dal S. D. 
 Giuseppe Antonio Bernabei . . 
 
 Monaco, Giovanni Jeclino, 1680. 7 p. 1., 104 P- 15 cm . 
 
 Three acts. Argument. The dedication is signed by Ventura Terzago, who wrote 
 the poetry of the new prologue and probably was also responsible for considerable 
 modifications of the original libretto. For instance, it may be noted for purposes of 
 identification that in the second act the fourteenth scene, "Ahi qual fiero timore," 
 and the third scene, "O destine, destino," have been dropped; that the scene "Sotto 
 vario altro pianetta" has been added, and the second scene, "Erasto, Erasto," con- 
 siderably enlarged beyond the original seventeen lines. 
 
 First performed, as indicated, at Munich, Churfiirstl. Hoftheater, in March, 1680. 
 
 SCHATZ 1779 
 
 II regio schiavo, o sia La Dori: Drama per musica da recitarsi 
 da diversi cavalieri nel Teatro di castello: che serve per introdut- 
 tione ad un' essercitio d'arme rappresentato da otto altri cavalieri. 
 
 Mantova, gli Osanna, 1672. 91 p. 15 cm . 
 
 Three acts. Argument. Neither Apolloni nor Cesti mentioned. On p. 87-91 
 introductory remarks and text of march ese Annibale Lanzoni's " Introduttione al 
 ballo di otto guerrieri. Bellona in macchina." ML 50.2.D62C3 
 
 La Doriclea. Dramma musicale di Giovanni Faustini. 
 Venetia, Francesco Miloco, 1645. 89, [5] p. 13\ cm . 
 
 Three acts, with prologue, author's dedication, and argument. Pietro Francesco 
 Cavalli, the composer, is not mentioned. The five additional pages contain what 
 appears from this notice to the reader:
 
 OPERA LIBRETTOS 409 
 
 La Doriclea Continued. 
 
 "Queeta scena [Sfortunata quella hora] cantata dopo la terza dell' atto primo di 
 queeta favola, & le due seguenti, ["Povere innamorate," after Act \I, ec. 6, and "Cit- 
 tadina de' monti," after Act III, ec. 4] poete in quella del Titone, eono state composte 
 per dilettare gl'uditori, & per aggradire a rappresentanti." 
 
 First performed at Venice, Teatro di S. Cassiano, carnival, 1645. SCHATZ 1737 
 
 Doriclea ripudiata da Creso. Drama per musica di G. B. C. Da 
 rappresentarsi nel Teatro Giustiniano di S. Mose il carnovale dell' 
 anno 1729 . . . 
 
 Venezia, Alvise Valvasense, 1729. 2 p. I., J$ p. 14% cm . 
 
 Three acts. By Giovanni Battista Corte, who dates his dedication of "un mio 
 drama, primo parto della mia debolissima penna, " Venice, December 29, 1728. Argu- 
 ment, notice to the reader, scenario, and cast. The name of the composer, Giovanni 
 Porta, is not mentioned. SCHATZ 8378 
 
 Dorilla e Nesso. Intermezzi by N. A. Porpora. See his Eumene. 
 
 SCHATZ 8366 
 
 Dorilla in Tempe. Melodramma eroico pastorale da rappresentarsi 
 nel Teatro di Sant' Angelo nell' autunno 1726 . . . 
 Venezia, Marino Rossetti, 1726. 48 p. 15\ cm . 
 
 Three acts. Dedication by the author, Antonio Maria Luchini, dated Venice, 
 November 9, 1726, notice to the reader, cast, scenario, and name of Antonio Vivaldi 
 as composer. SCHATZ 10765 
 
 Dorina e Grullo, intermezzi. See Caldara's L'Anagilda. 
 
 Dorina e 1'uomo selvatico, ballet. See G. Giordani's La disfatta 
 di Dario. 
 
 La Dorinda. Favola pastorale . . 
 
 Roma, Antonio de' Rossi, 1723. 47 p. U\. 
 
 Three acts. Author not mentioned and unknown to Schatz. Dedication, signed 
 by the composer, Carlo Francesco Gasparini, and notice to the reader. Possibly 
 the text is the same as that "by many attributed to Benedetto Marcello " (Allacci). 
 
 SCHATZ 3592 
 
 Dorinda. Pastorale da rappresentarsi per musica nel Teatro Gri- 
 mani di S. Samuel. Nella fiera dell' Ascensione 1'anno 1729 . . . 
 Venezia, Carlo Buonarrigo, n. d. 2^ p. 15 cm . 
 
 Three acts. Domenico Lalli says in his dedication "da ignoto autore composta, 
 ed accomodata per il presente divertimento." If the text had been by Benedetto 
 Marcello or by Benedetto Pasqualigo, as some authorities contend, Lalli surely would 
 have known the author. Argument, cast, and names of Giovanni Battista Pescetti 
 and Bajdassare Galuppi as composers. SCHATZ 7967 
 
 Doris, ein musikalisches schaeferspiel, welches auf dem neuen 
 Koeniglichen Theater, im Zwinger, in Dresden aufgefuehret worden. 
 Im jahr 1747. 
 
 n. i., n. d. 59 p. 15% cm . 
 
 Two acts. Cast and name of Johann Georg Schiirer as the composer. Author not 
 mentioned and unknown to Schatz. 
 
 First performed, as indicated, February 13, 1747. SCHATZ 9731
 
 410 LIBRARY OF CONGRESS 
 
 La Dorisbe overo L'amor volubile e tiranno, drama per musica di 
 Gio. Domenico Pioli da recitarsi nella Sala de' Sig. Capranica nel car- 
 nevale dell' anno 1711 . . . 
 
 'cm 
 
 Roma, Rocco Bernabd, 1711. front., 81 p. 14 l 
 
 Three acts. Dedication, argument, cast. The composer, Alessandro Scarlatti, 
 is not mentioned. 
 
 Dent does not mention the opera under this title, only under the alternative title, 
 which would. seem to have been, according to Dent, the original title. If he men- 
 tions (p. 117) a libretto with date 1707, this is probably an error for 1709, when the 
 opera was first performed, in May, at the Teatro di S. Bartolomeo, Schatz giving the 
 exact date of May 25. SCHATZ 9531 
 
 Dorothee, pantomime a spectacle; precedee des Preux chevaliers, 
 prologue-pantomime. Par M. Audinpt. Kepresentee, pour la pre- 
 miere fois, sur le Theatre de 1'Ambigu-comique, a la Foire Saint- 
 Germain, en Fannee 1782. 
 Paris, Cailleau, 1782. 16 p. 
 
 The prologue is in one act, ' ' Dorothee " in three. Synopsis of the plot. The com- 
 poser of the music is not mentioned. The approbation is dated January 26, 1782. 
 
 Probably not identical with the " Dorothee," music by Jean Baptiste de Roche- 
 fort, mentioned by F6tis. ML 48.B2 
 
 Dorval e Virginia, dramma per prosa, e musica da rappresentarsi 
 nel Reggio Teatro di S. Carlo, aella Principessa per celebrare il 
 felicissimo giorno natalizio di Sua Altezza Reale il serenissimo Signore 
 D. Giovanni principe del Brasile . . . li 13 di maggio, 1795. 
 Lisbona, Simone Taddeo Ferreira, 1795. 151 p. 14 m - 
 Four acts. By Giuseppe Foppa, who is not mentioned. Cast, scenario, and name 
 of Pietro [Carlo] Gugliehni as the composer. Portuguese text faces Italian. With 
 the opera was performed (composer of the music not mentioned) Pietro Angiolini's 
 "ballo di carattere pollacco, Zeboschi ed Esing, ossia II vero amico." SCHATZ 4344 
 
 Dorval e Virginia. Dramma prosa, e musica di Giuseppe Foppa 
 da rappresentarsi nel nobilissimo Teatro Venier in San Benedetto il 
 carnovale dell' anno 1793. 
 
 Venezia, Modesto Fenzo, 1792. 72 p. 17\ cm . 
 
 Three acts. Prefatory note, cast, scenario, and name of Angelo Tarchi as the com- 
 poser. On p. 63-72, argument, cast, description, and name of Vittorio Trento as com- 
 poser ("La musica e tutta nuova") of Giuseppe Traffieri's "Bianca de' Rossi, ballo 
 tragico pantomime." His second ballet was called "Le nemiche degli nomini." 
 
 SCHATZ 10219 
 
 La dot, comedie en trois actes et en prose, melee d'ariettes; repre- 
 sent ee, pour la premiere fois, par les Comediens italiens ordinaires du 
 roi, devant Leurs Majestes, a Fontaine bleau, le 8 novembre 1785; & 
 a Paris le lundi 21 du meme mois. 
 
 Paris, Brunei, 1784. 62, [1] p. 19 cm . 
 
 Cast. Neither author nor composer mentioned. ML 50.2.D63D2 
 
 La dot, comedie en trois actes et en prose, m61e"e d'ariettes, 
 paroles deM. Desfontaines, musique de M. d'Alairac, represent ee . . . 
 [same dates as in 1784 ed.] Edition conforme a la partition gravee. 
 
 Paris, Brunei, 1786. 64 p. 22 cm . 
 
 Cast. Text practically the same as in the 1784 ed. ML 50.2.D63D22
 
 OPERA LIBRETTOS 411 
 
 La dot de Suzette, comedie en un acte et en prose, melee de 
 musique; representee pour la premiere fois sur le Theatre de rOpera- 
 comique-national, rue Favart, le 19 fructidor, an 6 de la Repubfique. 
 Par le C e . n Dejaure, musique du C e . n Boieldieu. 
 Paris, Vente, an VI. [1797-98] 31 p. 21. 
 
 Cast. 
 
 First performed, as indicated, Sept. 5, 1798. ML 50.2.D64B6 
 
 The double disappointment; a farce. As it is acted at the 
 Theatre Royal in Co vent-Garden. By the late Moses Mendez, esq. 
 London, F. Noble [etc.] 1760. 40 p. 19% cm . 
 
 One act. The songs, partly to be sung to indicated popular airs, are so few that the 
 piece can hardly be considered an operatic entertainment. 
 
 First performed at Covent Garden, 1747 (Biog. Dram.), but not performed there 
 until March 22, 1759, says Genest, who dates first performance, Drury Lane, March 18, 
 1746. ML 50.5.D79 
 
 Second copy. LONGE 17 
 
 The double disguise, a comic opera in two acts: As performed at 
 the Theatre-Royal in Drury-Lane. The songs set to music by Mr. 
 Hook. 
 
 London, J. Bell, 1784. 28 p. (incl. port.) 21. 
 
 The port, is that of Miss Phillips in the character of Emily. 
 
 Cast. Probably by Mrs. James [Harriet Horncastle] Hook. 
 
 First performed March 8, 1784, as indicated. LONGE 95 
 
 The double elopement. A. T. of Linley's The duenna. 
 
 La double epreuve, ou Colinette a la cotir, comedie lyrique en trois 
 actes, representee pour la premiere fois par I'Academie royale de 
 musique, le mardi l er Janvier 1782. Les paroles de M * * *. La 
 musique de M. Gretry. 
 
 Paris, P. de Lormel, 1784. 62 p. 19 cm . 
 
 Cast. By Jean Baptiste Lourdet de Santerre, who based the text on Favart's 
 " Ninette a la cour." In the avertissement he says: 
 
 "Ha cm trouver tout ce qu'il desiroit dans le sujet tres connu de Ninette a la cour; 
 & peu jalouxde la gloire de 1'invention, il ne s'est fait aucun ecrupule de s'en emparer: 
 les theatres Strangers, comme les theatres anciens, spnt un fonds commun oil il est 
 permis a tout le mondede pinser. Et pourquoi plusieurs poetesn'auroient-ils pas la 
 liberty de faire d'un opera bouffon itahen ce qu on fait des tragedies de Sophocle & 
 d'Euripide?" 
 
 On p. 39-40, the air of "On trouve un objet charmant" (II, 11), and on p. 60-61, 
 "L'amitiS vive & pure" (III, 10). SCHATZ 4147 
 
 La doublefete. A. T. of Martini's L'amoureux de quinze ans. 
 The double funeral. A. T. of Arnold's The dead alive. 
 La double metamorphose. A. T. of Le diable a quatre. 
 
 Dove entro cervo, esce donna, o sia II curioso accidente della 
 caccia, ballet. See Rust's La caccia d'Enrico IV. 
 
 The downfall of bribery : or, The honest men of Taunton. A new 
 ballad-opera of three acts. As it was lately perform 'd by a com- 
 pany of players at a certain noted inn at Taunton in Somersetshire.
 
 412 LIBRARY OF CONGRESS 
 
 The downfall of bribery Continued. 
 
 By Mark Freeman, of the said town, freeholder and grocer. ... To 
 which is added, A new ballad by way of epilogue. Spoken by the 
 person who acted in the character of Freeman. 
 London, Sam. Pike, n. d. 3 p. I, 36 p. 19 cm . 
 
 Three acts. Table of the 16 airs, the titles of which are indicated in the text. 
 This quotation of a quotation from the Craftsman, No. 385, Nov. 24, 1733, on the 
 title page gives a clue to the origin of the piece: 
 
 "A few persons at Taunton, who had it in their power to turn the election of a 
 mayor, lately refused a sum of two thousand pounds for their votes upon that occa- 
 sion." LONGE 168 
 
 The dragon of Wantley. A burlesque opera. The musick by Mr. 
 John Frederick Lampe, and performed at the Theatre-Royal in 
 Covent-Garden. Moderniz'd from the old ballad after the Italian 
 manner, by Sig. Carini [pseud.] The 12th ed., with additions. To 
 which is prefix d, the original ballad (cum notis variorum) by way of 
 argument, &c. &c. &c. . . . 
 London, J. Shuckburgh, 1738. 32 p. 19\ tm . 
 
 Title vignette. 
 
 Three acts. By Henry Carey. Cast. The text is preceded on p. 13 by "Puff" 
 signed "P. Anderson. Westminster, Jan. 1, 1738"; p. 7-13, "An excellent ballad"; 
 p. 6, "A critical remark on the old ballad, call'd The Dragon of Wantley . . ."; and 
 p. [iii]-v, Carey's dedication of date Pall-mall, Jan. 3, 1738, to the composer, in 
 which he says: 
 
 "Many joyous hours have we shared during its composition, chopping and chang- 
 ing, looping, eking out, and coining of words, syllables, and jingle, to display in 
 English the beauty of nonsense, so prevailing in the Italian operas. . . . Lowness 
 (figuratively speaking) is the sublimity of burlesque: if so, this opera is, consequently, 
 the tip-top sublime of its kind. Your musick, on the other hand, is as grand and 
 pompous as possible, by which means the contrast is the stronger, and has succeeded 
 accordingly. 
 
 After complimentary remarks about the performers, Carey says: 
 
 "in a more singular sense we stand indebted to Mr. Rich, who received our poor 
 disconsolate Dragon with pleasure, after it had lain several years dormant in the 
 repository, and under the inspection, of the most wise, most learned, and judicious, 
 'Squire Whct-d'ye-call-him, Master of Drury-Lane play-house." 
 
 First performed at London, Covent Garden, October 26, 1737. ML 50.2.D67L2 
 
 - The dragon of Wantley, a burlesque opera. Set to musick by 
 Mr. John Frederick Lampe. 
 
 [89]-114 p. 22 cm . (Henry Carey, Dramatick works, London, 1743.) 
 Three acts. Argument. ML 49.A2C2 
 
 - The dragon of Wantley, a burlesque opera. Set to musick by 
 Mr. John Frederick Lampe. 
 
 London, T. Lowndes, T. Caslon, W. NicoU, and S. Bladon, 1770. 
 front., 36 p. 17 cm . 
 
 Three acts. Same dedication. ML 50.2.D67L3 
 
 - The dragon of Wantley. A burlesque opera. As perform'd at 
 the theatres with universal applause. Set to musick by Mr. John 
 Frederick Lampe. To which is added the old ballad, from whence 
 this opera was taken. 
 
 London, Printed for the proprietors, n. d. 24 p. 16\ cm . 
 
 Three acts. LONGE 69 
 
 The dragoness. L. T. of Lampe's Margery.
 
 OPERA LIBRETTOS 413 
 
 Drei heirathen an einem tage. A. T. of Muhle's Die singschule. 
 
 Arien und gesaenge aus der komischen oper: Die drei pucklichen. 
 In zwey aurzuegen. 
 
 Hamburg, J. M. Michaelsen, 1780. 16 p. 18. 
 
 First performed at Hamburg, Theater b. Gansemarkt, Juni 7, 1779, previously at 
 Liibeck, December 11, 1772. 
 
 Schatz attributes this to Paisiello, as a German version of his ' ' I tre gobbi " (Gol- 
 doni). However, he lists no such opera in his " Chronologisches Verzeichnis" of 
 Paisiello's works. Possibly it is a German version of Paisiello's "La somiglianza dei 
 nomi," first performed at Naples, Teatro Nuovo sopra Toledo, spring, 1771. 
 
 SCHATZ 7663 
 
 Die drei sultaninnen. A. T. of Siissmayer's Soliman der Zweite. 
 Die drey liebhaber. Tr. of Cimarosa's I tre amanti. 
 Die drey paechter. See Dezede's Les trois fermiers. 
 
 Die drey ringe, oder Kaspar der mundkoch. Eine komische oper 
 in drey aufzuegen. Von Emanuel Schikaneder. Die musik dazu 1st 
 von herrn Schak, deutscher saenger. 
 n. i., 1796. 23 p. 15\ cm . 
 
 First performed at Regensburg, Thurn u. Taxische Schaubuhne im Ball-Hause, 
 March 25, 1788. SCHATZ 9568 
 
 Die drey wuensche. A. T. of Der kluge mann. 
 
 Die drey wiinsche. A. T. of Georg Benda's Der holzhauer. 
 
 Die drey wuensche. A. T. of Philidor's Der holzhauer. 
 
 Le droit du seigneur, comedie en trois actes, en prose, melee 
 d'ariettes; par M. Desfontaines: repre"sentee devant Leurs Majestes 
 a Fontainebleau, le 17 octobre 1783, et a Paris, par le [!] Comediens 
 italiens ordinaires du Hoi, le 29 decembre de la m6me annee. 
 
 Amsterdam, Cesar Noel Guerin, 1784- 48 P- 18 cm . 
 
 SCHATZ 6036 
 
 Gesaenge aus dem singspiele : Das herrnrecht, in drey aufzuegen 
 nach dem franzoesischen, von D'Arien. In musick gesetzt von 
 Martini. 
 
 Hamburg, J. M. Michaelsen, 1789. 38 p. 15 cm . 
 
 By Bernhard Christian d'Arien. 
 
 First performed at Hamburg, Theater b. Gansemarkt, March 13, 1789. 
 
 SCHATZ 6037 
 
 - Das recht des lehnsherrn. Ein singspiel in 3 aufzuegen, nach 
 dem franzoesischen, frey bearbeitet zu einer musik von Martini. 
 Oels, Ludwig, n. d. 84 p. 16. 
 
 Translator not mentioned and unknown to Schatz. 
 
 First performed at Oels, Hoftheater, February 13, 1796. SCHATZ 6038 
 
 Le drole de corps. A. T. of Le mauvais plaisant.
 
 414 LIBRARY OF CONGRESS 
 
 Airs, duets, chorusses, etc., in the new masque called The Druids. 
 As performed at the Theatre Royal, Covent-Garden. The words 
 chiefly taken from Ben Johnson ; the music composed by Mr. Fisher. 
 The second edition. 
 London, T. Evans, 1775. 19, [1] p. 19 cm . 
 
 Cast. Text by Woodward (Clarence: "The Stage"). The first ed. was published 
 1774. Composed by John Abraham Fisher. Not recorded by Genest. 
 
 ML 52.2.D72 
 
 Drusilla, vedoya ingegnosa e D Strabone, dottore in medicina. 
 O. T. of Mariani's text La vedova ingegnosa. 
 
 II duca d'Atene, a AW comic opera, as performed at the King's 
 Theatre in the Hay Market. Written by C. F. Badini. The music 
 entirety new by Signer Bertoni. 
 
 London, E. Cox, 1780: 1 p. I, 97 p. 19$ cm . 
 
 Prefatory note and cast. English translation faces Italian text. ML 48.M2K 
 
 Li due amanti in inganno. Dramma giocoso per musica da rap- 
 presentarsi nel Teatro Tron di San Cassiano nel carnovale dell' anno 
 1775. 
 
 Venezia, Gio. Battista Casali, 1775. 70 p. 17% cm . 
 
 Three acts. Author not mentioned, and unknown to Schatz. Cast, scenario, and 
 names of Giacomo Rust as the composer of acts I and III, of Matteo Rauzzini as 
 composer of act II. SCHATZ 9181 
 
 Li due amanti rivali. L. T. of Caruso's La virtuosa alia moda. 
 
 Li due avari, ballet. See Anfossi's Gengis-Kan. 
 
 I due avari, ballet. See Zingarelli's Ifigenia in Aulide. 
 
 I due baroni. L. T. of Cimarosa's I due baroni di Rocca Azura. 
 
 I due baroni di Rocca Azzurra. Farsetta da rappresentarsi nel 
 Teatro della Vittoria di Montalboddo 1'autunno dell' anno 1787. 
 
 Sinigaglia, Domenico Lazzarini, 1 787. 4$ P- 16% cm . 
 
 Two acts. By Giuseppe Palomba, who is not mentioned. Cast and name of 
 Cimarosa as composer. 
 
 First performed at Rome, Teatro Valle, February, 1783. ML 50.2.D75C3 
 
 Li due baroni di Rocca Azurra. Dramma giocoso per musica da 
 rappresentarsi nel Real Teatro di Salvaterra neiearnovale dell' anno 
 1791. 
 
 [Lisboa], Stamperia reale, n. d. 77 p. 16% cm . 
 
 Two acts. By Giuseppe Palomba (not mentioned). Scenario, cast and name of 
 the composer, Cimarosa. SCHATZ 1918 
 
 I due baroni di Rocca Azura. Dramma giocoso per musica da 
 rappresentarsi nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. puU., 1790. Ill p. 15 cm . 
 
 Two acts. With name of the composer, Cimarosa. German title, "Die beyden 
 barons von Rocca Azura" and text face Italian. 
 
 First performed at Dresden as indicated in 1790. SCHATZ 1919
 
 OPERA LIBRETTOS 415 
 
 I due baroni di Rocca Azzurra Continued. 
 
 - I due baroni. Commedia per musica di Giuseppe Palomba da 
 rappresentarsi nel Real Teatro del Fondo di Separazione per second' 
 opera del corrente anno 1793. 
 
 Napoli, n. publ., 1793. 48 p. 15 cm . 
 
 Two acts. Cast, name of Cimarosa as composer, and author's pref., in which he 
 says: 
 
 "Eccoti ridotti in commedia grintermezzi de Due Baroni da me composti, son gia 
 piu anni per il Teatro di Roma. Mi e convenuto adornarla di alcune nuove scene per 
 adattare al buffo napoletano il carattere del Baroncino; come ancora mi & stato neces- 
 sario di variare alcune arie per comodo dei presenti attori . . . senza partirmi dall . . . 
 Cimarosa ..." SCHATZ 1978 
 
 I due cacciatori e la venditrice di latte, ballet. See Isola's La 
 conquista del vello d'oro. 
 
 Li due castellan! burlati. L. T. of Fabrizi's I castellani burlati. 
 
 S 
 
 I due Cesari. Drama per musica da rappresentarsi nel Teatro Ven- 
 dramino di S. Salvatore. L'anno MDCLXXXIII. Di Giulio Cesare 
 Corradi . . . 
 
 Venetia, Francesco Nicolini, 1683. 72 p. 14 m - 
 
 Three acts. Corradi's dedication, argument, scenario, cast, and name of Giovanni 
 Legrenzi as the composer. SCHATZ 5543 
 
 Le due contesse. Intermezzi per musica a cinque voci da rappre- 
 sentarsi nel Teatro Valle nel carnevale dell' anno 1776 . . . [wood- 
 cut] 
 
 Roma, Ottavio PuccineUi, 1776. 62 p. lo\ cm . 
 
 Two parts. By Giuseppe Petrosellini, who is not mentioned. Publisher's dedi- 
 catory poem, cast and name of Giuseppe Paisiello as composer. ML 50.2.D76P2 
 
 Le due contesse, intermezzo per musica a cinque voci da rappresen- 
 tarsi nel Real Teatro di Colorno rautunno dell' anno MDCCLXXVII. 
 
 Parma, Stamperia reale, n. d. 67 p. 20% cm . 
 
 Two parts. By Giuseppe Petrosellini, who is not mentioned. Cast and name of 
 Paisiello as the composer. SCHATZ 7613 
 
 - Le due contesse. Azzione comica per musica da rappresentarsi 
 nel Piccolo Teatro di S. A. S. E. di Sassonia. 
 Dresda, n. publ, 1781. 147 p. 15\ cm . 
 
 Two acts. Without name of Petrosellini, but with name of Paisiello. German 
 title page, "Die zwey comtessinnen," and text face Italian. 
 
 First performed 1781, as indicated. SCHATZ 7614 
 
 I due dittatori. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744> ^ **> 87-182 p. 
 19 cm . 
 
 Three acts and licenza. Argument. No composer is mentioned. In the "Cata- 
 logo " at the end of t. x, date and place of first ed. are given as Vienna. 1726. (First 
 performed November 4, music by Caldara.) ML 49.A2Z3 
 
 I due dittatori. Pubblicati per la prima volta in Vienna 1726. 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. vi, p. 311- 
 
 398. 21 cm . 
 
 Five acts and licenza. Argument. No composer is mentioned. ML 49.A2Z4
 
 416 LIBRARY OF CONGRESS 
 
 Le due flnte gemelle. L. T. of Piccinni's Le finte gemelle. 
 
 Li due fratelli ridicoli. A. T. of Alessandri's La finta baronessa. 
 
 Le due gemelle. L. T. of P. Guglielmi's L'inganno amoroso, and 
 A. T. of his L'equivoco amoroso, another L. T. of the same opera. 
 
 I due gemelli. A. T. of the ballet Mysis ed Eufrasia. 
 
 Li due gemelli e La scuffiara. Drammi giocosi per musica ciascun 
 di un atto di Giambattista Lorenzi P. A. da rappresentarli [!] nel 
 Nuovo Teatro de' Fiorentini nel carnevale del corrente anno 1784. 
 
 Napoli, n. pull, 1784. 78 p. 15 cm . 
 
 Cast, name of Giacomo Tritto as the composer, and notice to the public: 
 
 "La prima di queste due farse e I'istessa, che nel carnevale dell anno scorso fu 
 rappresentata in questo medesimo teatro. II carattere di Ortensio, che allora si 
 sosteneva da un tenore, adesso viene disimpegnato dalla Sig. Caterina Fiorentini, 
 avendo impreso a far tal parte per esseryi riavuta dalla sua mfermita, per la quale 
 con reciproco consenso si euo che dell' impresario fu scritturata altra cantante col 
 carattere di secpnda Buff a. Allora quando fu data la parte di Ortensio alia prefata 
 Sig. Caterina Fiorentini, era di gia scritta si la poesia, che la musica della seconda 
 farsa denominata LA SCUFFIARA, per la quale a sua istanza si e aggiunto un personaggio 
 di piu col nome di Giulietta, e 1'aria, che canta ["Fin a tan to che userete 1 non e del 
 maestro Tritto per essere il medesimo assente. Si e ben' anche aggiunto il carattere 
 di Cecchino per concatenare meglio le idee, e la sua aria ["Parce per carita"] e del 
 maestro [Gaetano] Monti, come anche quella di Pippa, ["Or che ballar degg'io"]. 
 
 On p. [43]-78 "La scuffiara. " SCHATZ 10456 
 
 I due gobbi. A. T. and L. T. of Portugal's Le confusioni della 
 somiglianza. 
 
 Li due gobbi rivali. Farsetta per musica a tre yoci che serve per 
 intermezzo nel Teatro della Pallacorda di Firenze in Roma, nel car- 
 nevale delP anno 1752 . . . 
 
 Roma, Ottawa Puccinelli, 1752. 24 p. 15\ cm . 
 
 Two parts. Author not mentioned and unknown to me. Dedication by the 
 impresario Alessandro Abinante, cast and name of "Engelberto Rendeut Liegere" 
 (Engelbert Rendeux) as composer. ML 50.2.D77R2 
 
 I due litigant!. L. T. of Sarti's Fra i due litiganti il terzo gode. 
 
 Le due orfane e i due tutori innamorati. Dramma giocoso per 
 musica da rappresentarsi in Firenze nel R. Teatro de' Risoluti posto 
 in via Santa Maria nella estate dell' anno 1792 . . . 
 
 Firenze, Ant. Gius. Pagani e comp., 1792. 63, [1] p. 16\. 
 
 Two acts. The author is not mentioned and unknown to Schatz. Cast and name 
 of the composer: "La musica tutta nuova del Sig. Giuseppe Moneta maestro ono- 
 rario, e compositore della R. Corte di Toscana." 
 
 First performed at Rome, Teatro Valle, fall of 1790. SCHATZ 6552 
 
 Le due pastorelle smarrite, ballet. See Baini's II finto Parigino. 
 
 Le due rivali in ampre. Dramma per musica da rappresentarsi nel 
 Teatro Giustiniano di S. Moise nell' autuno dell' anno 1728. 
 
 Venezia, Carlo Buonarigo, n. d. 4$ P- 14 cm - 
 
 Three acts. By Aurelio Aureli, who is not mentioned. Argument, scenario, cast, 
 and name of Tommaso Albinoni as composer. SCHATZ 108 
 
 Le due rivali o sia La prova del vero amore, ballet. See Astaritta's 
 Ipermestra.
 
 OPERA LIBRETTOS 417 
 
 I due sciocchi delusi. A. T. of Portugal's La vedova raggiratrice. 
 I due sindaci. A. T. of Rutini's I yendemmiatori. 
 
 Li due sindaci ossia La vendemmia, ballet. See P. Guglielmi's Le 
 due gemelle. 
 
 I due sordi. L. A. T. of Pae'r's II matrimonio improvise. 
 
 Le due sorelle incognite. Dramma giocoso per musica da rap- 
 presentarsi nel nobile Teatro dell' eccell. ma casa Giustiniani in S. 
 Moise il carnevale 1783. 
 
 Venezia, n. publ., n. d. 56 p. 17 cm . 
 
 Two acts. Author unknown to Schatz. Cast, name of the composer, Antonio 
 Calegari, and scenario. On p. 5-6, the argument of "L'ircana in Julfa ballo panto- 
 mimo regolato e diretto da Gasparo Ronzi . . ." The composer of the music is not 
 mentioned. . SCHATZ 1509 
 
 Li due sposi sfortunati, ballet. See Prati's Demofoonte. 
 
 Le due sultane rivali, ballet. See Sarti's La giardiniera brillahte. 
 
 I due supposti conti ossia Lo sposo seuza moglie. Draimna 
 giocoso per musica da rappresentarsi nel Teatro Grande alia Scala 
 rautunno delF anno 1784 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 72 p. 16 cm . 
 
 Two acts. By Angelo Anelli (not mentioned), with dedication, scenario, cast, and 
 name of the composer, Cimarosa ("La musica e nuova"). With the opera were per- 
 formed Filippo Beretti's ballets, "I comici Italiani alia China" and "L'innocenza 
 Bcoperta." The composer of the ballet music is not mentioned. 
 
 First performed at Milan, La Scala, October 10, 1784. SCHATZ 1920 
 
 I due supposti conti ossia Lo sposo senza moglie. Dramma 
 
 fiocoso per musica da rappresentarsi nel Teatro di S. A. E. di 
 assonia. 
 Dresda, n. publ., 1787. 135 p. 15 cm . 
 
 Two acts, with name of the composer, Cimarosa. German t.-p. "Die vorge- 
 blichen grafen oder Der braeutigam ohne braut, ' ' and text face Italian . SCHATZ 1921 
 
 Lo sposo senza moglie. Dramma giocoso per musica da rap- 
 presentarsi nel nobilissimo Teatro Onigo in Treviso la fiera dell' anno 
 1792 . . . 
 
 Treviso, Giulio Trento, 1792. 36 p. 18. 
 
 Two acts. By Angelo Anelli (not mentioned). Impresario's dedication, cast, 
 scenario, and name of the composer, Cimarosa. A later version of his "I due sup- 
 posti conti." With the opera were performed Giuseppe Bartolomei'e ballets, "II 
 generoso perdono" and "La scuola di scultura." SCHATZ 2006 
 
 I due vedovi, ballet. See Tarchi's Alessandro nell' Indie. 
 
 I due vedovi. Commedia per musica da rappresentarsi nel Teatro 
 Elettorale di Sassonia. 
 
 Dresda, n. publ., 1798. 159 p. 15 cn . 
 
 Three acts. By Giovanni de Gamerra, who is not mentioned. German title-page 
 "Der wittwer und die wittwe," and text face Italian. Peter von Winter is mentioned 
 as the composer. 
 
 First performed, as indicated, January 13, 1798; at Vienna, Burgtheater, January 
 12, 1796. SCHATZ 11029 
 
 72251 VOL 114 27
 
 418 LIBRARY OF CONGRESS 
 
 I due vergognesi da nozze, ballet. See Galuppi's L'Ipermestra. 
 Le duel comique. Tr. of Paisiello's II duello. 
 
 II duello. Commedia di un atto per musica di Giambatista Lorenzi 
 P. A. (& rappresentarsi nel Teatro Nuovo sopra Toledo nella prima- 
 vera del correcte anno 1774. 
 
 Napoli, n. pull, 1774. 7 P- 14 m - 
 
 Cast and name of Paisiello as the composer. SCHATZ 7676 
 
 Le duel comique, opera bouffon, en deux actes. Imit6 de Pita- 
 lien, sur la musique du Signor Paesiello, par M. Moline. Repre'sente' 
 pour la premiere fois, par les Come'diens italiens, ordinaires du roi, 
 le lundi 16 septembre, 1776. 
 
 Paris, la veuve Duchesne, 1776. 2 p. 1., 67 p. 20 cm . 
 
 Mereaux is not mentioned. (See next entry.) ML 50.2.D8P19 
 
 - Le duel comique, opera bouffon. En deux actes, et en prose; 
 m61e d'ariettes. Represent^ devant Leurs Majest6s, a Fontaine- 
 bleau, le 10 octobre 1777. 
 
 [Paris], P. Robert Christophe BaUard, 1777. 2 p. 1., 56 p. 20% cm . 
 Cast and note: "Les paroles sont de M. Moline. La musique du Si eur Paesiello, 
 redige"e & augmente'e par M. [Jean Nicolas Le Froid] de Mereaux." 
 
 ML 50.2.D8P2 
 
 II duello d'amore e di vendetta. O. T. of Silvani's text Li sdegni 
 cangiati in amore. 
 
 II duello d'amore e di vendetta. Drama per musica. Da reci- 
 tarsi nel famoso Teatro Vendramino di S. Salvatore. L'anno 1700. 
 Poesia di Francesco Silvani . . . Ristampato . . . 
 Venezia, Nicolini, 1700. 68 p. 14\ cm . 
 
 Three acts. Author's dedication, dated Venice, December 26, 1699, argument, 
 cast, and scenario. The composer, Marc' Antonio Ziani, is not mentioned. 
 
 SCHATZ 11183 
 
 II duello per coxnplimento. A. T. and L. T. of Cimarosa's I 
 nemici generosi. 
 
 Songs, duets, trios, &c. in The duenna; or, The double elopement. 
 As performed at the Theatre-Royal in Covent-Garden. 
 London, J. WiTkie [etc.] 1775. 2 p. I., 20 p. 19$ cm . 
 
 Three acts. By Richard Brinsley Sheridan, who is not mentioned. Cast. The 
 music was composed and compiled by Thomas Linley in conjunction with his son 
 Thomas. See also "The governess." 
 
 First performed, as indicated, October 21, 1775 (Schatz); November 21, 1775 
 (Genest). ML 50.2.D85 
 
 The duenna; or, The double elopement. A comic opera. 
 [79}-115 p. 16 cm . (A volume of plays, Dublin, 1791.} 
 
 Without name of author or composer. PR 1269.v6 
 
 - The duenna: a comic opera, in three acts: as it is performed, by 
 His Majesty's servants . . . 
 
 London, E. Johnson, 1776. 1 p.l., ii, 48 p. 20% cm . 
 
 Three-act parody by Israel Pottinger (not mentioned) of Sheridan's "Duenna." 
 The ironical dedication to David Garnck is dated June 18, 1776. The tunes are indi' 
 cated by quoting first lines from the original piece. The Linleys are not mentioned. 
 
 LONGE 310
 
 OPEBA LIBRETTOS 419 
 
 The duenna Continued. 
 
 - The duenna, a comic opera, in three acts : as it is performed by 
 His Majesty's servants ... A new edition, [vignette] 
 
 London, E. Johnson, n. d. 1 p. 1., ii, 4$ P- 20\ cm . 
 
 Same parody. ML 50.2. D852 
 
 Duglas ed Ernestina, ballet. See Spontini's Adelina Senese. 
 The dumb lady cur'd. A. T. of The mock doctor. 
 
 Der dumme gaertner. L. T. of Schack's Anton der dumme gaert- 
 ner. 
 
 I duo [!] tiranni al soglio. Drama per musiea. 'Nel Teatro 
 Vendramino di San Salvatore. L'anno 1679. Di Matteo Noris . . . 
 
 Venetia, Francesco Nicolini, 1679. 80 p. 13\ cm . 
 
 Three acts. Author's dedication dated January 15, 1679, argument, scenario. 
 The composer, Antonio Sartorio, is not mentioned. SCHATZ 9481 
 
 Die durch blut und mord erlangete liebe, oder Nero. In einem 
 sing-spiel auf dem Hamburgischen Schau-Platz vorgestellet anno 
 1705. 
 
 n. i., n. d. Unpaged. 19 cm . 
 
 Three acts. Neither the author, Friedrich Christian Feustking, nor the composer, 
 Georg Friedrich Handel, is mentioned. Argument and scenario. 
 
 First performed, as indicated, Theater beim Gansemarkt, February 25, 1705. 
 
 SCHATZ 4475 
 
 Der durch den fall des grossen Pompejus erhoehete Julius 
 Caesar. In einem sing-spiel auf dem grossen Hamburgischen Schau- 
 platz aufgefuehret. Im jahr 1710 im monaht novembr. 
 
 [Hamburg], mit Spieringischen schrijften, n. d. Unpaged. 19 cm . 
 
 Five acts. "Historischer vorbericht." Neither the author, /esp. translator, 
 Barthold Feind, nor the composer, Reinhard Keiser, is mentioned. The Italian 
 text is added to some of the anas. SCHATZ 5086 
 
 Der durch den tod Helenen versoehnte Achilles. A. T. of 
 Reiser's Das zerstoerte Troja. 
 
 Die durch die tugend gestuerzte wueterey. Tr. T. of Draghi's 
 La tirannide abbattuta dalla virtu. 
 
 Die durch verstellung und grossmuth uber die grausamkeit 
 siegende liebe oder Julia [vignette], wurde in einem sing-spiel auf 
 dem Hamburgischen Schau-platz vorgestellet im monath rebruar. 
 1717. 
 Hamburg, Friderich Conrad Greflinger, n. d. Unpaged. 18^ cm . 
 
 Five acts. Historical "Vorbericht," scenario, and note that this is the sixty- 
 seventh opera by Reinhard Keiser. The author, resp. translator, Johann Joachim 
 Hoe, is not mentioned. The Italian text is added to some of the arias. Based on 
 Giacomo Francesco Bussani's text, "Antonio e Pompeiano." SCHATZ 5087
 
 420 LIBRARY OF CONGRESS 
 
 Der durchlauchtige secretarius, oder Almira, Koenigin in Cas- 
 tilien, in einem sing-spiel auf dem grossen Hamburgischen Schau- 
 platz auffgefuehret und in die music gesetzt durch Reinhard Keisern 
 . . . im jalir 1706. 
 
 [Hamburg], n. pull., Gedruckt in obgemeldten jdhr. Unpaged. 
 
 Three acts. Scenario and argument. The author, resp. translator. Barthold 
 Feind, is not mentioned. To some of the arias the Italian text has been added. The 
 text is a revision by Feind of Friedrich Christian Feustking's text, which, in turn, 
 was taken from Giiilio Pancieri's "L'Almira." SCHATZ 5122 
 
 The Dutchman, a musical entertainment, as performed at the 
 Theatre-Royal in the Hay-Market. By Thomas Bridges, Esq. . . . 
 London, T. Lowndes, 1775. 35 p. 20 cm . 
 
 Two acts. Cast. The composer not recorded by Clarence or Schatz. 
 First performed, September 8, 1775 (Genest), August 21, 1775 (Schatz). 
 
 LONGE 116 
 
 Les eaux de Merlin. Piece d'un acte, precedee d'un prologue. 
 
 Par M. le S * * *. Represented a la Foire de Saint Laurent 1715. 
 
 Le Theatre de lafoire, Paris, 1737, t. ii, 2 p. 1., [81]-131 p. 17 cm . 
 
 By Alain Rene Le Sage. En vaudevilles, selected or composed and arranged by 
 Jean Claude Gillier, the cqmpositeur of the theatre, and printed at the end of the 
 volume in the ''Table des airs." 
 
 First performed July 25, 1715. ML 48. L2 II 
 
 Gl'eccessi della gelosia. Drama per musica di Domenico Lalli da 
 rappresentarsi nel Teatro di S. Angiolo nel carnevale dell' anno 
 1722 . . . 
 
 Venezia, Marino Eossetti, 1722. 56 [1] p. 15 cm . 
 
 Three acts. Author's dedication, argument, cast, scenario, and name of Tommaso 
 Albinoni as composer. The supplementary page contains the aria, ' ' Chiama 1'amante 
 fido," as substitute for "II mio core ingelosito" (III, 13). SCHATZ 116 
 
 - La Mariane. Dramina per musica di Domenico Lalli da rappre- 
 sentarsi nel Teatro di S. Angelo 1'autunno dell' anno MDCCXXIV . . . 
 
 Venezia, Marino Rossetti, n. d. 59, [1] p. 14? cm . 
 
 Three acts. Argument, scenario, cast, and Lalli's dedication, dated November 15, 
 1724. The supplementary page contains the arias "Al cader di ria tempesta," as sub- 
 stitute for "Aun sleale un traditore" (Act II, sc. 1), and "S'ha pietadelle miepene" 
 for "Un certo non s6 che" (Act III, sc. 3). The same page contains this note: "La 
 musica delle arie e del Signer Giovanni Porta, a riserva di quelle signate con stelletta, 
 che sono del primo lor compositore." Accordingly, only four arias were retained from 
 "Gl'eccessi della gelosia." These are: "Quanto e grave il mio dolore" (I, 1), "Lieto 
 parto amato bene" (I, 11), "Escimi tutto in lagrime" (II, 12), "Basta dir che la mia 
 pena" (III, 9). The dialogue is largely the same as in Albinoni's opera. 
 
 SCHATZ 117 
 
 - La Mariane. Drama per musica da rappresentarsi in Firenze 
 nel Teatro di via del Cocomero. Nel carnevale dell* anno 
 MDCCXXVI . . . 
 
 Firenze, Domenico Ambrogio Verdi, n. d. 60, [1] p. 15 cm . 
 
 The additional page contains the substitute aria "Maggior pena di tutte le pene," 
 for I, 12. 
 
 Three acts. Antefatto, cast, scenario. No author or composer is mentioned, but 
 comparison proved most of the dialogue to be the same as in Domenico Lalli's libretto,
 
 OPERA LIBRETTOS 421 
 
 Gl'eccessi della gelosia Continued. 
 
 "GFeccessi della gelosia," Venice, 1722, as composed by Albinoni, and in 1724 
 repeated there as "La Mariane," with a few arias retained from Albinoni's opera, but 
 most of them composed by Giov. Pprta. As to the arias in this 1726 ed., most of 
 them are not contained in the Venetian librettos. The few that are, either belong to 
 those expressly in the 1724 ed., stated to be by Albinoni, as, for instance, "Lieto 
 parto amato bene," or by Porta, as "Faro (voglio) vendetta si." ML 48. A5 v. 18 
 
 Echo und Narcissus in einem singe-spiel vorgestellet im jahr 1694. 
 n, i., n. d. [60] p. 18 cm . 
 
 Three acts. By Friedrich Christian Bressand. Neither he is mentioned, nor the 
 composer, Georg Bronner. 
 
 First performed at Hamburg, as indicated; at Brunswick, Hochfurstl. grosses 
 Theater, in 1693. SCHATZ 1334 
 
 L'eclipse totale, comedie en un acte et en vers, melee d'ariettes; 
 representee, pour la premiere fois, par les Comediens italiens ordi- 
 naires du Roi, le jeudi 7 mars 1782. Les paroles sont de M. de la 
 Chabeaussiere. La musique de M. Dalayrac. 
 
 Paris, Brunei, 1782. 24 p. 19\ cm . 
 
 Cast. SCHATZ 2342 
 
 L'ecole de la jeunesse, ou Le Barnevelt francois; comeclie, en trois 
 actes et en vers; meslee d'ariettes: par M. Anseaume. La musique 
 est de M. Dunj T . Representee pour la premiere fois par les Come'- 
 diens italiens ordinaires du roi, le 24 Janvier 1765. 
 
 Paris, Duchesne, 1765. 96 p. 19% cm . 
 
 Cast. On p. 93-96 the same music as below. ML 50.2.E2D9 
 
 - L'ecole de la jeunesse, ou Le Barnevelt francois, comedie en 
 trois actes et en vers, mes!4e d'ariettes, par M. Anseaume. La 
 musique est de M. Duny. Represent^ pour la premiere fois par 
 Les Come'diens italiens ordinaires du Roi, le 24 Janvier 1765. 
 
 Paris, la veuve Duchesne, 1770. 79 p. 18 cm . 
 
 On p. 74-75, the melody of the Vaudeville. "Le grand philosophe Panglose," 
 p. 77-79 of the "Ariette. On scait bien qu'il faut qu'un marchand." SCHATZ 2841 
 
 - Die schule der jugend, ein sing-spiel in drey aufzuegen aus dem 
 franzoesischen uebersetzt, mit musiK. 
 
 Frankfurt am Mayn, mit Andredischen schriften, 1774- 112 p., 10 
 p. (folded music). 16 cm . 
 
 German version by Johann Heinrich Faber. Duni is not mentioned . The musical 
 
 supplement contains: "Wenn des wilden krieges plagen" ["Quand le feu de la 
 
 guerre"! (p. 1-5), "Stets geliebt und verfolgt [ Adore 1 , poursuivi des belles"] 
 (p. 5-10). 
 
 First performed at Frankfurt a/M., Theater im Junghofe, 1774. SCHATZ 2842 
 
 L'ecole des amans. Piece d'un acte. Par Messieurs le S * * * 
 e Y * * *. Represented a la Foire de Saint Germain 1716. 
 
 Le Theatre de lafoire, Paris, 1737, t. ii, pi [317}-3ol p. 17 cm . 
 
 By Alain Rene Le Sage and Fuzelier. The airs, selected or composed and arranged 
 by Jean Claude Gillier. are printed at the end of the volume in the "Table des airs." 
 
 ML48.L2II 
 
 L'ecole des amours grivois. (). T. of Favart's Les amours grivois.
 
 422 LIBRARV OF CONGRESS 
 
 L'ecole des tuteurs. Opera-comique. Par M. Rochon de la Va- 
 lette. Represent^ le 4. fevrier 1754 sur le Theatre de 1'Opera- 
 comique. 
 
 Paris, Duchesne, 1754. 44, [1], [3] p. 18\ cm . 
 
 One act. Largely En vaudevilks. Cast. On the [3] p. the airs of "Ah lisons de 
 tant d'allarmes," "Mais ce deguisement " and "Tuteurs insenses." Composer, res;>. 
 arranger, of the music unknown to me. ML 50.2.E23 
 
 Ecuba. Dramma per musica da rappresen ars nel Regio Teatro di 
 Torino nel carnovale del 1769 alia presenza di S. S. R. M. 
 
 Torino, Stamperia Mairesse, a spese di Onorato Derossi, n. d. viii, 
 59, [1] p. 16 cm . 
 
 Three acts. By Jacopo Durandi, who is not mentioned. Cast, argument, scenario, 
 and names of Ignazio Celoniat as composer of the opera, of Giuseppe Antonio Le 
 Messier and Paolo Ghebart of the ballet music. SCHATZ 1771 
 
 Edalide e Cambise. Dramma per musica per celebrare il felicis- 
 simo giorno natalizio di Sua Maesta . . . Donna Maria I ... li 17 
 dec. 1780. 
 
 [Lisbon], Stamperia Reale, n. d. 37 p. 16 cm . 
 
 One act. Argument, cast, and names of Gaetano Martinelli as author, of Joao 
 Cordeiro da Silva as composer. SCHATZ 9886 
 
 Das edelgestein. Ceraunia von Ulissipone jetzo Lisbona. Tr. of 
 La gemma Ceraunia . . . 
 
 Die edelmuethige Octavia. A. T. of Reiser's Die roemische unruhe. 
 
 Edgar and Emmeline. In two acts. By Dr. Hawkesworth. 
 
 [97]-129 p. 19 cm . (Collection of the most esteemed farces and enter- 
 tainments, t. iv, Edinburgh, 1792.) 
 
 Drury-Lane, Edinburgh (1790) and Glasgow (1782) casts. Music by Michael Arne 
 (Squire). 
 
 First performed, as indicated, January 31, 1761. SCHATZ 11753 
 
 Edipo, ballet. See Zingarelli's La morte di Cesare. 
 
 Gesaenge zu der oper: Die edle rache in zwei aufzuegen von Franz 
 Xaver Huber. Die musik hierzu ist von herrn Franz Xaver Suess- 
 mayer . . . 
 
 n. i., n. d. 48 p. 16\ cm . 
 
 First performed at Vienna, Karntnerthor Theater, August 27, 1795. 
 
 SCHATZ 10177 
 
 Der edle wettstreit. Tr. of Paisiello's Le gare generose. 
 
 Egilina. Dramma per musica da rappresentarsi nel Teatro alia 
 Scala il came vale delr anno 1793 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 60 p. 16 cm . 
 
 Three acts. Impresario's dedication dated Milan, January 26, 1793, argument, 
 cast, scenario, and name of the composer, Giovanni Battista Borghi, but not of 
 Angelp Anelli, the librettist. Pages 49^-60 contain argument, cast, and detailed de- 
 scription of Filippo Beretti's "Andronico e Ramira, ballo eroico pantomime " and 
 of his ballet, "II giudice, e padre." The composers of the music are not mentoined. 
 
 SCHATZ 1231
 
 OPERA LIBRETTOS 423 
 
 Egeria. Festa teatrale, scritta . . . dall' autore in Vienna, e rap- 
 presentata la prima volt a con musica dell' Hasse nella Cesarea corte 
 . . . per 1'incoronazione della S. R. M. di Giuseppe II ... 1'anno 
 1764. 
 
 323-344 P- 26 cm . ( Metastasio, Opere, t. viii, Parigi, vedova Heris- 
 sant, 1781.) ML 49 . A2M44 
 
 Egeria. Del Sig. ab. Metastasio P. Ces. 
 
 n. i., n. d. Unpaged. 21 cm . 
 
 On p. [7] : " In Vienna, Nella stamperia di Ghelen. ' ' Vignettes by Anton Tischler. 
 
 One act. Cast and name of Johann Adolph Hasse as the composer. 
 First performed at Vienna, Burgtheater, April 24, 1764. SCHATZ 4537 
 
 L'Egeste. Melodrama da rappresentarsi nel Teatro Giustiniano di 
 San Moise nel fine del carnovale, dell' anno, MDCCXXVII. 
 Venezia, Marin Rossetti, n. d. 60 p. 15% cm - 
 
 Three acts. By Carlo Paganicesa. Argument. Neither the author is mentioned 
 nor the composer, Antonio Cortona. In a notice "Fingesi" it is said: 
 
 "Le convenienze del teatro, e del tempo anno ricercata alcuna alterazione del 
 drama. S' e studiato d' intrecciar all' eroico dell' azione qualche tratto comico per 
 renderla piii vivace, onde possa meglio adattarsi anche agl' occhi de epettatori." 
 
 SCHATZ 2265 
 
 L'Egisto. Favola dramatica musicale di Giovanni Faustini. 
 Venetia, Pietro Miloco, 1643. 93, [1] p. 13% cm . 
 
 The additional p. contains list of errata. Prologue and three acts, notice to the 
 reader without name of the composer, Pietro Francesco Cavalli. 
 
 First performed at Venice, Teatro S. Caseano, fall of 1643. According to von 
 Weilen an opera "L'Egisto r di Cipro," text by Faustini, music by Cavalli, wae 
 performed at Vienna, "1642 oder 1643." SCHATZ 1719 
 
 L'Egisto. Favola dramatica musicale di Giovanni Faustini. 
 Firenze, Franceschini e Logi, 1646. 84 p. 13 cm . 
 
 Prologue and three acts. Dedication by Curtio Mannari dated Florence, May 27, 
 1646, brief notice to the reader. Cavalli is not mentioned. The text seems to be 
 the same as in the Venice, 1643, edition. SCHATZ 1719a 
 
 L'Egisto re di Cipro. Drama per musica da rappresentarsi nel 
 Teatro di San Casciano. L'anno 1698. Di Giulio Cesare Corradi . . . 
 Venetia, Nicolini, 1698. 68 p. 14 cm . 
 
 Three acts. Author's dedication, argument, scenario. The composer, Marc' 
 Antonio Ziani, is not mentioned. SCHATZ 11184 
 
 L'Egiziana. Dramma comico per musica da r&ppresentarsi nel 
 Teatro Giustiniani di S. Moise il presente carnovale MDCCLXIII. 
 Venezia, Francesco Valvasense, n. d. 60 p. 15 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Argument, cast, 
 scenario, and name of Mattia Vento as the composer. SCHATZ 10610 
 
 - L'Egiziana. Dramma giocoso per musica da rappresentarsi nel 
 Regio Ducal Teatro di Milano I'autunno dell' anno 1763 . . . 
 Milano, Giovanni Montana, n. d. 60 p. 14$*- 
 
 Three acts. Impresario's dedication, argument, cast, and name of Mattia Vento 
 as composer. The author is unknown to Schatz. ML 48. A5 v.3
 
 424 LIBRARY OF CONGRESS 
 
 L'Egiziana Continued. 
 
 La Zingara. Dnunma giocoso per musica da rappresentarsi ne' 
 Teatri privilegiati di Vienna Testate dell' anno MDCCLXIX. 
 Vienna, Gio. Tom. de Trattnern, n. d. 67 p. 15\ cm . 
 
 Three acte. Scenario and note: "La musica e del Signor Mattia Vento . . . ma 
 molta parte ancora del Signer Floriano Gassmann ..." The text has been changed 
 in many scenes. For instance, 11,8 has now the aria ' ' Quando il cuor non si contenta " 
 instead of "Di galanti cicisbei," and act III begins "Favorisca, padrone, e poi mi 
 dica," instead.o? " I ladri scellerati." SCHATZ 10611 
 
 - La Zingara. Dramma giocoso per musica da rappresentarsi in 
 Firenze nel Teatro di via del Cocomero, nella primavera dell' anno 
 1771 . . . 
 [Firenze], Ant. Giuseppe Pagani, n. d. front., 56 p. 16% cm . 
 
 The portrait is that of "Pietro Leopoldo I., arciduca d'Austria, Gran duca di 
 Toscana," under whose protection the opera was performed. The engraved title page 
 has an exquisite design. 
 
 Three acte. Cast, scenario, arguments of the incidental ballets, and same* note of 
 authorship (Vento and Gassmann) as in the Vienna (1769) ed. This means, of 
 course, that the Vienna version was used; but, again, differences in the text are 
 noticeable. For instance, II, 8 now has the aria, ' ' Noi sole semplicette " instead of, as 
 at Vienna, "Quando il cuor non si contenta." SCHATZ 10612 
 
 Programme du ballet d'figle, comedie en vers, de M. Vallier . . . 
 repre"sentee devant Leurs Majeste"s, a Fontainebleau, le 29 October 
 1765. 
 
 [Paris], Christophe Bollard, 1765. 35 p. 20\ cm . (Journal des 
 spectacles, t. ii, Paris, 1766.} 
 
 Cast, program, text of the few incidental eongs, and names of Antoine d'Auvergne 
 as composer of the music, of Laval, pere et fils, as "composers " of the ballets. Accord- 
 ing to the Journal (t. I, p. 15), this ballet preceded the comedy as a prologue. After 
 the comedy came another one-act ballet, the text of which, with a prefatory note and 
 names of the same authors, is printed on p. [11J-35 of the present publication as: 
 
 ML 48 .37 
 
 Le triomphe de Flore, ballet, represent e devant Leurs 
 Majestes, a Fontainebleau, le 29 octobre 1765. 
 [Paris], Christophe Bollard, 1765. 
 
 One-act ballet, by Laujon. Music by Lagarde. The published score has the 
 title as "Aigle"." 
 
 First performed at Versailles, January 13, 1748. Revived on February 25, 1750, 
 and first performed at the Academic royale de musique on February 18, 1751. 
 
 Not in L. of C. 
 
 La fortune au village, parodie de 1'acte d'figle"; par Madame 
 Favart & M. B. Repre'sente'e pour la premiere fois par les Comediens 
 italiens ordinaires du roi, le 8 octobre 1760 ... La musique de M. 
 Gibert. 
 
 Paris, Duchesne, 1761. 56 p. 19 cm . (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. v.) 
 
 One act. Without vaudevilles. Cast. Paul Cesar Gilbert's ariettes printed in 
 the text, which Font attributes to Favart, his wife, and Bertrand. The parody fol- 
 lowed the revival of "Eg46," on June 24, 1760. ML 49.A2F1 
 
 Egle. See Traetta's Le feste d'Imeneo.
 
 OPERA LIBRETTOS 425 
 
 Egle e Cloco, o siano I satiri puniti, ballet. See Tritto's La fedelta 
 tra le selve. 
 
 Egle e Dafni, ballet. See Misliweczek's II trionfo di Clelia. 
 L'eglogue de Versailles. See Lully's L'idylle sur la paix. 
 
 Die eheverbindung in der maske. Tr. of G. M. Rutini's II matri 
 monio in maschera. 
 
 Der ehrliche raeuber. Ein schauspiel mit gesang in 2 aufzuegen 
 von C. G. Korb. In musik gesetzt von dem herzogl. Meckl. Strel. 
 kapelldirektor herrn Zeller. 
 
 Neubranderiburg, gedruckt in der officin des verfassers, 1785. 84 p. 
 16 cm . 
 
 Dedication and author's "Vorbericht," dated Neubrandenburg, June, 1785, in 
 which he says: 
 
 "Eine anekdote aus der zeit der groesen theuerung im eaechsischen Erzgebirge, im 
 jahre 1772, welche in den oeffentlichen zeitungen damaliger zeit als wahr benchtet 
 wurde, hat mir den stoff zu gegenwaertigem etuecke geliefert. Sie ist meines wissens 
 noch nicht fuers Theater benutzt worden . . . Mein ereter dramatischer versuch, 
 "Johanna oder Unschuld und liebe" in drey aufzuegen, den ich ohne namen und 
 druckort unter der jahrzahl 1781 herauegab, ward auf hiesigem herzoglichem Hof- 
 theater dreymal kurz hintereinander vorgestellt, und in einigen gelehrten zeitungen 
 eehr guetig beurtheilt ..." 
 
 The rest is taken up with his defense of the "zu hohe Schwung " of the language of 
 hie miners, but "bey operetten aber, glaubt' ich, wuerde diese freyheit zu entschul- 
 digen eeyn." 
 
 Firet performed at Neubrandenburg, Herzogl. Schauspielhaue, July 2, 1787. 
 
 SCHATZ 11164 
 
 Ehrlichkeit und liebe. Ein laendlicb.es schauspiel mit gesang. 
 Von herrn Wagenseil. Die musik dazu ist von . . . herrn Wolf. 
 Hierauf f olgt : Ertappt! ertappt! Ein lustspiel in einem aufzug 
 von herrn Wezel. 
 
 Kaufoeuren, Neth, 1781. Unpaged. lo\ cm . 
 
 By Christian Jacob Wagenseil. Music by Ernst Wilhelm Wolf. At head of title: 
 "Von der buergerlichen Agenten Gesellschaft A. C. wird den 16 april und ersten 
 may 1781 auf dem gewoehnlichen Theater aufgefuehrt." 
 
 Cast and "Poetische vorerimerung " and prose prefatory note. 
 
 Firet performed at Gotha, Hoftheater, July 21, 1779. 
 
 Der ehrsuechtige Arsaces. In einer opera auf dem Hamburgischen 
 Schau-platz vorgestellet im jahr MDCCXXII. 
 n. pi., n. d., Gedruckt bey Caspar Jdkhel. 
 
 Three acts. Based, according to Schatz, by Johann Mattheson on Antonio Salvi'e 
 "Amore e maesta." The Italian text of the arias is added to the German. The 
 "Vorbericht" states that by Statira is meant Queen Elizabeth of England and by 
 Arsaces the Count of Essex. Cast, scenario, and note: 
 
 "Die arien hat theils Orlandini [Giuseppe Maria], theils Amadei [Filippo] 
 geeetzet." SCHATZ 7354 
 
 Eifersucht auf dem lande. Tr. of Sard's Le gelosie vilane. 
 
 Die eifersucht auf der probe. Tr. of Anfossi's II geloso in cimento. 
 
 Die eifersuechtige faunen, ballet. See Piccinni's Das gute 
 maegdchen.
 
 426 LIBRARY OF CONGRESS 
 
 Der eifersuechtige liebhaber. Tr. of Gretry's Les fausses appa- 
 rences. 
 
 Der eifersuechtige inann. Eine haeusliche scene, als zwischenspiel 
 in zwey auftritten, nach einem italiaenischen text, und Piccini's 
 komposition, von Bock. 
 
 n. i., n. d. p. [78]-110. 16. 
 
 Detached from his "Komische opern der Italiener." Leipzig, 1782. 
 
 Schatz does not give the title of the Italian original, perhaps "Gelosia per gelosia." 
 
 First performed at Leipzig, Koch'sches Theater, October 12, 1779. SCHATZ 8119 
 
 Der eigensinn der liebe. Tr. of Seydelmann's II capriccio corretto. 
 
 Eigensinn und launen der liebe. Ein komisches singspiel in drey 
 aufzuegen. Aus dem italienischen frei uebersetzt von G. F. W. 
 Grossmann. 
 
 Frankfurt und Leipzig, Herrmannische luchhandlung , 1783. 112 p. 
 16- 
 
 Florian Deller, the composer, is not mentioned. 
 
 First performed at Bonn, Churf. Koln. Hoftheater, April 28, 1782, in this German 
 version, but according to Schatz first performed at Ludwigsburg about 1770 as "Le 
 contese per amore." SCHATZ 2495 
 
 Die eigensinnige. Tr. of Piccinni's La capricciosa. 
 
 Die eigensinnige ehefrau. Tr. of Gazzaniga's La moglie capricci- 
 osa. 
 
 Eine ist wie die andere. Tr. of Mozart's Cosi fan tutte. 
 Eine machts wie die andere. Tr. of Mozart's Cosi fan tutte. 
 
 Eine wie die andere oder Die schule der liebhaber. Tr. of Mozart's 
 Cosi fan tutte o sia La scuola degli amanti. 
 
 Das einfaeltige maedgen. A. T. of von Schacht's Der betrogene 
 vormund. 
 
 Der eingebildete Sokrates. Tr. of Paisiello's Socrate immaginario. 
 
 Die eingebildeten philosophen. Tr. of Paisiello's I filosofi imma- 
 ginari. 
 
 Der einsiedler. Ein schauspiel mit gesang von L. 
 Leipzig, Christian Gotilob HilscJier, 1780. Jfi p. 15. 
 
 Neither author nor composer nor performance recorded by Schatz. Not found 
 in "Deuteches-Anonymen Lexikon." SCHATZ 11452 
 
 Der einspruch. Eine operette in einem aufzuge von J. B. Michaelis. 
 Leipzig, Dyckische bucJihandlung, 1772. 1 p. 1., 108 p. I6\ cm . 
 
 The composer, Christian Gottlob Neefe, is not mentioned in the author's "Vor- 
 rede," which is dated Halberstadt, May 10, 1772, and appears to be intended for a 
 collection of his librettos. The Vorrede reads in part: 
 
 "Mich dauchte immer, wenn wir nun ja operetten haben sollen und muessen; so. 
 waeren solche kleine etuecke von einem akte noch d#8 beste mittel, die liebhaberey 
 der menge mit dem geschmacke des ernsten kenners zu vereinigen . . . Amors 
 Gukkasten .. . . Ich verfertigte diese operette meisten vor laenger als jahr und tag
 
 OPERA LIBRETTOS 427 
 
 Der einspruch^ Continued. 
 
 in Osnabrueck, waehrend meines aufenthalts bey dem hannoeverischen theater. 
 Wegen meiner Psyche muss ich um verzeihung bitten. Sie iet nicht die Psyche der 
 fabel; sondern ein laendliches, naives ding . . . 
 
 ' ' Den Einspruch fieng ich bereits 1770 in Leipzig an : als ich zum Theater kam, 
 euchte ich ihn wieder hervor; und hier in Halberstadt legte ich die letzte hand 
 daran . . . 
 
 "Einige freunde wuenschten meinen Herkules auf dem Oeta dieser sammlung 
 beygefuegt. Er ward voriges jahr in Hannover fuer den geburtstag dee koenigs in 
 England, binnen weniger als acht tagen verfertigt, komponirfc und aufgefuehrt . . . 
 Er steht bereits, durchgaengig verbessert, in dem diesjaerigen Leipziger Musen- 
 almanach. In diesem gegenwaertigen Abdrucke sind noch einige kleine veraen- 
 derungen dazu gekommen." 
 
 First performed at Berlin, Koch'sches Theater in der Behrenstrasse, October 16, 
 1773. SCHATZ 7071 
 
 Der Eiserne mann. A. T. of Dittersdorf s Gott Mars. 
 
 Elektra, cine musikalische declamation. Von. hrn. direktor Canna- 
 bich in musik gesetzt. 
 
 Mannheim, C. F. ScJiwan, 1780. 14 p. 19\ cm . 
 
 One act. By Wolfgang Heribert, freiherr von Dalberg. 
 
 First performed at Mannheim, Nationaltheater, September 4. 1781. SCHATZ 1574 
 
 Les elemens, troisieme ballet danse par le roy dans son Palais des 
 Tuilleries, Fan 1721. Re-presente par 1'Academie royale de musique, 
 Tan 1725. Musique de Messieurs Lalande & Destouches. Paroles de 
 M. Roy. CIV. opera. 
 
 n. i., n. d. pi., 393-452 p. 14 cm - (Recueil general des opera, t. xiii, 
 Paris, 1734^) 
 
 Detached copy. Four entrees and prologue. Dedicatory poem and "avertisse- 
 ment." 
 
 The four entrees are called "L'air," "L'eau," "Le feu," and "La terre." 
 
 First performed at the Academie royale de musique, May 29, 1725, and at court 
 on December 22, 1721. Revised 1725, 1754, etc. SCHATZ 5379 
 
 Second copy. ML 48. R4 
 
 Les elemens, ballet, par Roy, danse par Louis Xy, dans son 
 palais des Tuileries, Fan 1721; et represente a 1'Academie royale de 
 musique en 1725. 
 
 n. i., n. d. [243}-285 p. 18 cm . 
 
 Detached copy. The composers, Lalande and Destouches, are not mentioned. 
 
 ML 52.2.E4 
 
 - Momus exile. Critique du Ballet des elemens. Par M. Fusillier. 
 Representee pour la premiere fois, par les Comediens italiens ordi- 
 naires du roi, le 25 jum 1725. 
 
 Les parodies du Nouveau theatre italien, Nouv. ed., Paris, Briasson, 
 1738, t. Hi, [53}-98 p. 16$. 
 
 One act. By Fuzelier. Airs and vaudeville printed at the end of the volume in 
 the "Table des airs " (84 p.). ML 48. P3 
 
 - Le cahos, ambigu comique. Represent e" pour la premiere fois 
 par les Comediens italiens ordinaires du roi, le 27 juillet 1725. 
 
 Les parodies du Nouveau theatre italien, Nouv. ed., Paris, 1738, t. Hi, 
 [99}-162 p. 16$ cm . 
 
 Prologue and four acts, representing the four elements, L'air, L'eau, etc. Parody 
 by Le Grand (see t. I) of the "Ballet des e'le'mens." The airs and vaudeville used 
 are printed at the end of the volume in the "Table des airs" (84 p.). ML 48. P3
 
 428 LIBRARY OF CONGRESS 
 
 Les elemens Continued. 
 
 - II etoit terns, parodie de 1'acte d'lxion dans le ballet des Elemens. 
 Represent ee pour la premiere fois sur le Theatre de la Foire St. 
 Laurens, le 28 juin 1754. Par Mr. Vade". 
 
 La Hay <e, Pierre Gosse, 1760. 30 p. 16. (Vade, Oeuvres, t. ii, 
 La Haye, 1760.) 
 
 One act, en vaudevilles. On p. 25-30 the airs. notes "Mans qui croyez," "Au 
 milieu du cours trainant," "Eh Madame qu'attendez-vous," "Un amant doit-il se 
 taire." " Ixion " is the same as the entree " L'air." ML 49.A2V2 
 
 Elena. Drama per musica nel Teatro a S. Cassano, per 1'anno 
 1659 . . . 
 
 Venetia, Andrea Giuliani, 1659. 9 p. I. (incl. front.), 63; [1] p 
 
 Three acte. By conte Niccol6 Minato. Prologue, author's dedication dated 
 Venice December 26, 1659, argument, scenario, and notice to the reader, in which 
 Minato informs us that "il soggetto di questo drama usci dal feliciesimo ingegno del 
 gia Sign. Giovanni Faustini di famosa memoria." SCHATZ 1746 
 
 Elena e Paride. Dramma per musica da rappresentarsi nel Regio 
 Teatro di via della Pergola 1'autunno del MDCCXCV . . . 
 Firenze, Stamperia Albizziniana, 1795. 31 p. 16$ cm . 
 
 Three acts. Cast, note on p. 3, "Poesia tutta nuova con musica di varj autori," 
 and on p. 2 this Avviso: 
 
 "Per render meno vistosa la seduzione di Elena, si finto, sull' esempio ancora di 
 altri drammatici, che Elena sia promessa sposa, ma non gia consorte ; di Menelao. 
 
 "La ristrettezza del tempo, e la necessita di adattare le arie ed i pezzi concertati 
 alia musica, gia fatta, pu6 servire di qualche scusa ai molti difetti del dramma e 
 della poeeia." 
 
 With the opera were performed (composer of the music not mentioned) Giuseppe 
 Trafieri's ballet, "La vendetta di Nino. 
 
 First performed, as indicated, October, 1795. ML 48.A5 v.14 
 
 Elena rapita da Paride. See also Freschi's Helena rapita da Paride. 
 
 L'Elenia. Dramma per musica da recitarsi nel Teatro di S. Angelo 
 1'anno 1730 ... 
 
 Venezia, Valvasense, 1730. Jfi P- 15 cm . 
 
 Three acts. By Luisa Bergalli, who is not mentioned. Dedication, argument, 
 scenario, cast and name of Tommaso Albinoni as composer. SCHATZ 105 
 
 L'eleve de I'amour. A. T. of Dalayrac's Sargines. 
 
 Elfrida, a dramatic poem. Written on the model of the ancient 
 Greek tragedy. By Air. Mason. The second edition. 
 London, J. and P. Knapton, 1752. 1 p. I, xix, [1], 80 p. 19 cm . 
 
 The xix p. contain five "Letters concerning the following drama, dated 'Pemb. 
 Hall, 1751.' Not this but a dramatized version by Colman was used with Thomas 
 Aug. Arne'e music at Covent Garden, November 21, 1772. LONGE 44 
 
 Elfrida, a dramatic poem. Written on the model of the ancient 
 Greek tragedy. By William Mason . . . Adapted for theatrical 
 representation, as performed at the Theatre-Royal, Co vent-Garden, 
 in the year 1773 . . . 
 
 London, George Cawfhorn, 1796. front., 1 p. I., 68 p. 15 cm . (J. 
 Bell, British Theatre, London, 1791-1797, v. 35.} 
 
 The front represents Mrs. Hartley as Elfrida. and is dated November 12, 1796. The 
 p. 1. is an added engraved title page of same date.
 
 OPERA LIBRETTOS 429 
 
 Elfrida Continued. 
 
 Five acts. Argument, cast and prefatory note. The date 1773 in the title 
 would indicate that this is George Colman's dramatization (first performed November 
 21, 1772) of the dramatic poem "Elfrida" (1752) and not William Mason's own, per- 
 formed February 22, 1779. Thomas Augustine Arne, the composer of the incidental 
 music, is not mentioned. . PR 1441. B4 
 
 L'Elfrida. Dramma tragico per musica da rappresentarsi in. 
 Firenze nel R. Teatro dei Risoluti posto in via S. Maria nell' estate 
 dell' anno 1795 . . . 
 
 Firenze, Anton Giuseppe Pagani e comp., 1795. Ifi p. 16\ cm . 
 
 Three acts. Argument, cast and name of Giovanni Paisiello as composer. The 
 author, Ranieri de' Calsabigi, is not mentioned. 
 
 First performed at Naples, Teatro di S. Carlo, Nov. 4, 1792. ML 48.A5 v. 14 
 
 Elfrida. Tragedia per musica da rappresentarsi nel nobilissimo 
 Teatro La Fenice per la fiera dell' Ascensione dell' anno 1796. 
 
 Venezia, Stamperia Valvasense, n. d. 54, [1] p. 18% cm . 
 
 Two acts. By Ranieri de' Calsabigi, who is not mentioned. Argument, cast, 
 scenario and name of Paisiello as the composer. On p. [29J-37 cast and description 
 of Michiele Fabiani's "II trionfo di Alessandro ossia La prigionia di Dario, ballo eroico 
 in quattro atti . . . La musica tutta nuova del Sign. Valentino Bertoja." 
 
 First performed at Naples, Teatro di S. Carlo, November 4, 1792. SCHATZ 7615 
 
 L'Elfrida. Dramma serio per musica da rappresentarsi in Parma 
 nel R. D. Teatro di Corte Fautunno dell' anno MDCCXCVIII . . . 
 
 Parma, Stamperia Carmignani, n. d. 4 P- 
 
 Two acts. By Ranieri de' Calsabigi who is not mentioned and whose text has 
 been considerably altered. The chief alteration consists in a joyful instead of a 
 tragic end of the drama. Schatz says that Paisiello set the text totally anew which 
 does not appear quite probable. At any rate, however, he is mentioned as the com- 
 poser. Argument, cast and scenario. SCHATZ 7703 
 
 Elfrida, ballet. See Zingarelli's Artaserse. 
 
 /Eliogabalo. Drama per musica nel famoso Teatro Grimano Fanno 
 MDCLXVIII di Aurelio. Aureli. Opera decimaquarta. Seconds. 
 edittione . . . 
 
 Venetia, Francesco Nicolini, 1668. 76 p. 14 cm - 
 
 Three acts. Author's dedication, dated Venice, January 10, 1667, notice to the 
 reader mentioning Giovanni Antonio Boretti as the composer, argument and 
 scenario. SCHATZ 1219 
 
 L'Elisa. Commedia per musica di Antonio Palomba Napoletano da 
 rappresentarsi nel Teatro de' Fiorentini nell' autunno di quest' anno 
 1744 . . . 
 
 Napoli, Domenico Langiano e Domenico Vivenzio, n. d. 80 p. 
 
 Three acts. Impresario's dedication, cast and name of the composer, Gioacchino 
 Cocchi. SCHATZ 2038 
 
 Elisa, ou Le voyage au Mont-Bernard, opera en deux actes. Paroles 
 du citoyen R. S. C! Musique du citoyen Ch6rubini. 
 
 Paris, Huet, n. d. 44 P- 19 cm . 
 
 By baron, J. A., ReVeioni Saint-Cyr. 
 
 First performed at the Theatre Feydeau, December 13, 1794. ML 50.2.E3C3
 
 430 LIBRARY OP CONGRESS 
 
 Elisa. Dramma per musica da rappresentarsi nel Piccolo Teatro 
 Elettorale. Composto da Caterino Mazzola ... 
 
 Dresda, Stamperia elettorale, 1781. 133 p. 15\ cm . 
 
 Two acts. Johann Gottlieb Neumann is mentioned as the composer. German 
 title-page "Elise" and text face Italian. 
 
 First performed as indicated, April 21, 1781. SCHATZ 7047 
 
 Elisa. Comedia da rappresentarsi per musica nel Teatro di Sant' 
 Angelo Fautuno dell' anno 1711 . . . 
 
 Venetia, Marino Rossetti, 1711. 58 p. 15\ cm . 
 
 Three acts. Dedication by Domenico Lalli as the author, who in a somewhat 
 lengthy notice to the reader comments on his conception of a musical comedy, argu- 
 ment and scenario. The composer, Giovanni Maria Ruggeri, is not mentioned. 
 
 SCHATZ 9129 
 
 Elisa. Drama pastorale per musica da recitarsi nell' antico Teatro 
 della Pace nel carnevale delF anno 1738 . . . 
 
 Roma, Giovanni Zempel, n. d. 64 p- 16 cm . 
 
 Three acts. Author not mentioned and unknown to me (not Palomba's text). 
 Dedication by the impresario Giuseppe Polvini Faliconti ("Lo scarso tempo, nel 
 quale e stato questo drama seel to a 'comici adattato, e di musica rivestito . . ."), 
 argument, cast, scenario and name of "Gasparo Spano, maestro di capella Napoli- 
 tano" as composer. On p. 25-27, 44-46 the text of two intermezzi with characters 
 Corisca e Satiro (not recorded by Schatz or Allacci). Music composed perhaps by 
 Spand. ML 50.2.E3S7 
 
 Elisa regina di Tiro. Dramma per musica da rappresentarsi nel 
 Teatro di S. Angelo nel carnovale dell' anno 1736 . . . 
 
 Venezia, Domenico Tobacco, 1736. 59 p. 14\ cm - 
 
 Three acts. Altered version of "L'Astarto" by Apostolo Zeno and Pietro Pariati 
 who are not mentioned. Impresario's dedication, argument, cast, scenario and 
 name of Galuppi as composer. 
 
 First performed as indicated, January 27, 1736 (Pavan). SCHATZ 3485 
 
 Elisabetta e Blech, ballet. See Curzio's Le nozze a dispetto. 
 
 Elisca ou L'amour maternel, drame lyrique en trois actes en prose, 
 mele d'ariettes. Paroles d'Ed. Favieres. Musique de Gretri. Rep- 
 resente pour la premiere fois, sur le Theatre" de FOpera-comique 
 national le 12, nivose de Fan 7 de la Republique. 
 
 Paris, Au bureau general du mercure de France, chez Cailleau, an 
 VII. [1798-99}. 88 p. 21 cm . 
 
 On p. [1], Cailleau's (signed) warning against reprints of the piece; on p. [2], a 
 
 dedicatory poem by Favieres. 
 First perfo 
 
 formed January 1, 1799, as indicated. ML 50.2.E33G7 
 
 Elise. Tr. of Naumann's Elisa. 
 
 Elisinde. Eine original-operette in drei aufzuegen von C. A. 
 Vulpius. 
 [1 77}-272 p. 15 cm . ( Vulpius, Operetten, Bd. I, Baireuth <& Leipzig, 
 
 I I i/U. ) 
 
 Detached copy. Composed by Christian Ludwig Dieter, who is not mentioned. 
 First performed at Stuttgart, Kleinee Theater a. d. Planie, 1794. SCHATZ 2577
 
 OPERA LIBRETTOS 431 
 
 Eliza; a new musical entertainment; as performed at the New 
 Theatre in the Hay-Market. Written by Mr. Holt. The music 
 composed by Mr. Arne. 
 
 [London], To be had at the theatre, 1754. 2 p. 1., 35 p. 20 cm . 
 
 Three acts. Cast. On p. 35, note stating that "some parts " of the piece had been 
 altered on account of the music. 
 
 First performed at Dublin,, Theatre Royal, 1743 (Grove); but, according to Cum- 
 mings, Dublin, November 29, 1756; at London, Drury Lane, January 20, 1757 
 (Genest). LONGE 116 
 
 Eliza; an English opera, as perform'd at the Theatre Royal in 
 Drury-Lane. The music composed by Mr. Arne. 
 [London}, R. Francklin, 1757. 2 p. 1., 28 p. 20 cm . 
 Three acts. Cast. LONGE 183 
 
 Elmine, ein schauspiel mit gesang in drey aufziigen von dem frey- 
 herrn von Drais in Carlsruh. [vignette] 
 
 Numberg, George Peter Monath, 1781. 78 p. (incl. engr. front.) 
 15 cm . 
 
 The composer, Johann Andre, is not mentioned. 
 
 First performe,d at Berlin, Dobbelinssches Theater, February 14, 1782. 
 
 SCHATZ 185 
 
 L'Elmira generosa. Commeddea pe musica de nota' Pietro Trin- 
 chera da rappresentarese a lo Teatro Nuovo a Mmonte Cravario 
 nchisto carnevale dell' anno 1753. 
 
 Napoli, Stamperia de' Muzj, 1753. 75 p. 15. 
 
 Three acts. Cast and prefatory note, naming as composers ' ' Don Nicola loscroscino 
 [Logroscino] tutte 1'arie, finale, e duetto segnate co lo signo e lo riesto da lo Sio 
 Don Manuele Barbella celebre vertoluso de violino." To Logroscino's music, 
 therefore, belonged, for instance, "M'ha sturbata Ciommetella" (I, 5), "Frabuttiello 
 fortantiello " (I, 7), "Al mon do qul conto" (I, 9), and other arias. SCHATZ 5675 
 
 VElmiro, re di Corinto. Melodrama da rappresentarsi in musica nel 
 . . . Teatro Grimani di S. Gio. Grisostomo 1'anno MDCLXXXVII . . . 
 Venetia, Antonio Bosio, 1686. 60 p. 14 cm . 
 
 Three acts. Publisher's dedication, dated Venice, December 26, 1686, argument 
 and scenario. Neither Vincenzo Grimani, the author, nor Carlo Pallavicino, the 
 composer, is mentioned. SCHATZ 7722 
 
 Elpinice. L. T. of G. Giordani's L'Acomate. 
 Elkernes skole. A. T. of Mozart's Veddemaalet. 
 Elskoos magt. Tr. of Naumann's Tutto per amore. 
 
 [Elvira. Dramma per musica in tre atti.] 
 68 p. 
 
 Lacks title page and p. 7-18, which apparently included the description of a ballet. 
 
 Three acts. By Raniero de' Calsabigi, who is not mentioned. Impresario's dedi- 
 cation, dated Naples, January 12. 1794, argument, cast, and name of Paisiello as the 
 composer. SCHATZ 7695 
 
 Elysium, ein vorspiel mit arien, an dem geburtsfeste Ihro Maiestat 
 der koniginn aufgefiihrt von der Gesellschaft Koeniglicher schau- 
 spieler zu Hannover den 18ten Januar 1770. 
 
 n. i., n. d. 44 P- 14 m - 
 
 Neither Johann Georg Jacoby, the author, nor Anton Schweitzer, the composer, 
 is mentioned. 
 
 Firet performed at Hanover, Schlosstheater, January 18, 1770. SCHATZ 9772
 
 432 LIBRARY OF CONGRESS 
 
 L'embarras des richesses, come'die-lyrique en trois actes, repre"- 
 sente'e pour la premiere fois, par l'Acad6mie-royale de musique, le 
 mardi 26 novembre 1782. 
 Paris, P. de Lormel, 1782. 95 p. 23 C 
 
 icm 
 
 Cast. Gr6try ia mentioned as the composer, but not the author, Jean Baptiste 
 Lourdet de Santerre. SCHATZ 4148 
 
 L'Emilio. See Title catalogue. 
 
 Emira. Opera bernesca da rappresentarsi nel Teatro di S. Moise il 
 carnovale dell' anno MDCCXL V. 
 
 Venezia, Domenico Lovisa, n. d. 44 P- 15 cm . 
 
 Three acts. Notice to the reader, cast, and note: "La musica e d'autori diversi." 
 Author not mentioned, and unknown to Schatz. SCHATZ 11322 
 
 Emira. Dramma per musica da rappresentarsi nel Teatro Ven- 
 dramin di S. Salvatore nella prossima fiera dell' Ascensione 1'anno 
 1756. 
 
 Venezia, Modesto Fenzo, 1756. 36 p. 14 cm . 
 
 Three acts. Dedication, cast, scenario, and name of the composer Gioacchino 
 Cocchi. The author is unknown to Schatz . 
 
 First performed at Milan, Regio Ducal Teatro, January, 1756. SCHATZ 2032 
 
 Emira e Zopirp. Dramma tragico per musica da rappresentarsi nel 
 Regio Teatro di via della Pergola I'autunno del MDCCXCV . . . 
 Firenze, Stamperia Albizziniana, 1795. 32, [2] p. 17 cm . 
 
 The [2] p. contain "Variazioni occorse per comodo della musica." Three acts. 
 Argument, cast, and name of Giuseppe Maria Curcio as composer ("La musica 6 
 tutta nuova"). The author is unknown to Schatz. With the opera was performed 
 Giuseppe Trafieri's "La vendetta di Nino (argument on p. 4), ballo eroico tragico 
 pantomimo" and his "L'avaro, ballo comico pantomimo." The composers of the 
 music are not mentioned. 
 
 First performed, as indicated, September 8, 1795. SCHATZ 2308 
 
 Second copy. ML 48.A5 v.14 
 
 Emirena e Sigisrnondo, ballet. See Tritto's Le avventure galanti. 
 
 Emma und Edgar, ein duodrama. Von Ignaz Reichert . . . Die 
 musik ist von herrn Joseph Lacher ... 
 
 Menmmingen [!] Andreas Seyler, 1788. 15 p. 16\ cm . 
 
 Schatz records no performance. SCHATZ 5362 
 
 Emma und Eginhard. A. T. of Telemann's Die last-tragende liebe. 
 
 L'empire de I'amour, ballet heroique, represent^ par 1'Academie 
 royale de musique, Fan 1733. Paroles de M. de Montcrif. Musique 
 de M. Le ch. de Br. CXVIII. opera. 
 
 n. i., n. d. front., p. 265-310. 14 cm - (Recueil general des opera, 
 Paris, 1739, t. xv.) 
 
 Detached copy. Prologue and three entries called "Les mortels," "Les Dieux 
 acteurs," "Les genies du feu." Music by the Marquis de Brassac. 
 First performed at Paris, Academic royale de musique, April 14, 1733. 
 
 SCHAT/ 1308 
 Second copy. ML 48. R4 
 
 L'emulation parmy les divinitez. Tr. of Heinichen's La gara 
 degli dei.
 
 OPERA LIBRETTOS 433 
 
 The enchanted castle. A. T. of the mock- tempest. 
 
 The enchanted wood, a legendary drama, in three acts, as per- 
 formed at the Theatre Royal, Hay-Market. 
 
 London, J. Debrett, 1792. 2 p. I, 56, [4] p. 20\. 
 
 The [4] p. contain last page of the text and publisher's book lists. Cast and pro- 
 
 poser of the dozen songs is mentioned. 
 
 First performed, as indicated, July 25, 1792. LONGE 220 
 
 The enchanter; or, Love and magic. A musical drama. As it is 
 performed at the Theatre-Royal in Drury-Lane. The music com- 
 posed by Mr. Smith. 
 London, J. and R. Tonson, 1760. 18 p. 19 cm . 
 
 . Two acts. Cast and advertisement: 
 
 "As the recitative commonly appears the most tedious part of a musical enter- 
 tainment, the writer of the following little piece has avoided it as much as possible; 
 and has endeavour'd to carry on what fable there is, chiefly by the songs." 
 
 By David Garrick, who is not mentioned. 
 
 First performed December 13, 1760. LONGE 306 
 
 L'enchanteur Mirliton. Prologue represente a la Foire de S. 
 Laurent 1725. 
 
 Le Theatre de lafoire, Paris, 1728, t. vi, pi., 18 p. 17 cm . 
 
 One act. The plays in t. vi. were written by Le Sage, Fuzelier, and d'Orneval, 
 according to a note on 3d p. 1. Largely en 'vaudevilles. The airs, selected or com- 
 posed and arranged by Jean Claude Gillier, the "compositeur" of the theatre, are 
 printed at the end of the volume in the "Table des airs." 
 
 First performed July 21, 1725, followed by "Le temple du Me'moire" and "Les 
 enragez.* ML 48.L2VI 
 
 Das ende der babylonischen monarchie, oder Belsazer, in einem 
 singe-spiele auf dem Hamburgischen Schau-platze aufgefuehret 1723. 
 Erster theil. 
 
 Hamburg, Caspar Jakhel, n. d. Unpaged. ll\ cm . 
 
 Three acts. Neither the author, Joachim Beckau, nor Georg Philipp Telemann, 
 the composer, is mentioned. The reader is informed in a prefatory note: 
 
 "Da der poetische verfasser der opera, Belsazer, so viel materie gefunden, dieselbe 
 weitlaeuftiger auszufuehren, als hat man fuer gut gehalten solche in zweyen beson- 
 deren theilen vorzustellen, wovon gegenwaertiger den ersten ausmachet und der 
 zweyte diesen in kurzem begleitenwird. Die 5te scene im ersten act ist aua gewissen 
 absichten hinein geruecket, aber auch bezeichnet, dass sie nicht hauptsaechlich 
 zum wercke gehoere und also bey fuerfallendem umstande weggelassen werden 
 koenne." 
 
 This scene is put in quotation marks and to the German text of the aria "Ja, meine 
 Schoene und geliebte" is added the Italian "Si mia bella, si mia cara." 
 
 SCHATZ 10258 
 
 - Das ende der babylonischen monarchie, oder Belsazer, in 
 einem singe- vorspiele auf dem Hamburgischen Schau-platze aufge- 
 fuehret 1723. Zweyter theil. 
 
 Hamburg, Caspar Jakhel, n. d. Unpaged. 18 cm . 
 
 Three acts. SCHATZ 10259 
 
 72231 VOL 114 28
 
 434 LIBRARY OF CONGRESS 
 
 Endimion, musicalische pastoral: welche auf dem Theatre zu 
 Breslau in der fassnacht anno 1727 vorgestellet . . . 
 
 n. i., n. d. Unpaged. 17\ cm . 
 
 "Endimione." Three acts. Dedicatory poem by Ludwig Wussin, dated Breelau, 
 January 7, 1727, and name of composer, Antonio Bioni, but not of the librettist, Fran- 
 cesco Mazzari. German text faces Italian. SCHATZ 1043 
 
 Endimion, the man in the moon, masque. See Imposture 
 defeated. 
 
 L'Endimione. Serenata. 
 
 [277-317] p. 19 cm . (Pietro Metastasio, Opere drammatiche, Vene- 
 zw, Giuseppe BettineUi, 1733-37, v. 3.} 
 
 Two parts. No composer mentioned. ML 49.A2M4 
 
 L Endimione. 
 
 Metastasio, Poesie, Parigi, vedova QuiUau, 1755, t. ix, [4&\~99 p. 
 16 cm . 
 
 Two parts. ML 49.A2M42 
 
 - L'Endimione. 
 
 pi., [111]-158 p. 26 cm . (Metastasio, Opere, t. x, Parigi, vedova 
 Herissant, 1782.} 
 
 Written for the marriage of D. Antonio Pignatelli, principe di Belmonte and D. 
 Anna Francesco Pinelli di Sangro, Naples, 1720. Composer not known to Schatz. 
 
 ML 49.A2M44 
 
 Endimione. Serenata a quattro voci, musica del Signer Andrea 
 Bernasconi, dilettante. Da rappresentarsi nel famosissimo Teatro 
 Grimani di San Gio. Crisostomo I'ultima sera di carnovale dell' anno 
 MDCCXLII. 
 
 Venezia, n. pull., n. d. 30 p. 17 cm . 
 
 Two parts. By Metastasio. Cast. 
 
 First performed at Venice, as indicated, February 6, 1742. SCHATZ 869 
 
 L'Endimione tragicomedia da rappresentarsi in musica nel Teatro 
 di S. Angelo 1'autunno dell' anno 1709 . . . 
 
 Venetia, Gio. Battista Zuccato, 1709. 57 p. 15 cm . 
 
 Three acts. Author's dedication, with his initials, preface, argument, and scenario. 
 The composer, Giuseppe Boniventi, is not mentioned. The author was Francesco 
 Mazzari. SCHATZ 1190 
 
 L'Endimione ovvero II trionfo d'amore. Pastorale per musica 
 ornata di balli, transformation!, e machine: da rappresentarsi . . . 
 nel Ducal Teatro di Stutgart la primavera dell' anno 1759. Con la 
 musica tutta nuova, espressamente composta dal Signor Nicold 
 Jommelli . . . 
 
 Stutgart, Cristofero Frederico Cotta, n. d. 71 p. 18\ cm . 
 
 Two acts. By Metastasio (not mentioned), with alterations. German title-page, 
 "Endymion oder Der triumph des Amors," and text face Italian. 
 
 First performed without the alternative title at Genua, Teatro del Falcone, spring 
 of 1756. SCHATZ 4856
 
 OPEBA LIBRETTOS 435 
 
 L'Endimione Continued. 
 
 L'Endimione. Serenata per nmsica da cantarsi nella Real Villa 
 di Queluz per celebrare 1'augusto nome di Sua Maesta Fedelissima 
 D. Pietro III. . . . li 29 giugno 1780. 
 
 [Lisbona], Stamperia Eeale, n. d. 32 p. 14. 
 
 Two acts. Cast and names of Metastaeio as author, of Niccolo Jommelli as com- 
 poser. Text seems to be practically the same as that of 1759. SCHATZ 4895 
 
 Endlich fand er sie. A. T. of Dieter's Der imvisch. 
 Endlich fand er sie. A. T. of von Kospoth's Der irrwisch. 
 Endlich fand er sie. A. T. of Preu's Der irrwisch. 
 
 Endlich fand er sie. A. T. of Umlauf's Das irrlicht, also of the 
 L. T. of this, Der irrwisch. 
 
 L'Endriague, opera-comique, en trois actes. M61e de danses, de 
 
 divertissemens, & de grands airs de musique du celebre Rameau. 
 
 Repre"sente par la troupe de Dolet, a la Foire Saint-Germain, en 1723. 
 
 Alexis Piron, Oeuvres complettes, Liege, 1776, t. 3, [99]-148 p. 17\ cm . 
 
 Composer not mentioned by Parfaict, who dates the first performance February 3, 
 1723. PQ 2019.P6 
 
 Endymion, pastorale heroi'que; represented par 1'Academie royale 
 de musique, Fan. 1731. Paroles de M. de Fontenelle. Musique de 
 M. Collin de Blamont. CXIV. opera. 
 
 n. i., n. d. front., 50 p. 14 cm . (Recueil general des opera, Paris, 
 1739, t. xv.) 
 
 Detached copy. Five acts. The "avertissement" (p. 2) informs the reader that 
 considerable differences were necessitated in the interest of the music between the 
 piece as here printed and as it appears in de Fontenelle's works. 
 
 First performed at Paris, as indicated in the score, on June 15, 1731, but according 
 to Schatz, May 17, 1731. SCHATZ 1066 
 
 Second copy. ML 48. R4 
 
 Endymion oder Der triumph des Amors. Tr. of Jommelli's L'En- 
 dimione owero II trionfo d'amore. 
 
 Enea e Lavinia, ballet. See Caruso's L'Artaserse. 
 
 Enea e Lavinia, ballet. See P. Guglielmi's La morte di Cleopatra. 
 
 Enea e Lavinia. Dramma per musica da rappresentarsi nel Real 
 Teatro di S. Carlo nel di 4 novembre 1785 per resteggiarsi i gloriosi 
 nomi . . . di Ferdinando IV ... 
 
 Napoli, Vincenzo Flauto, 1785. 58 p. 15 cm . 
 
 Three acts. By Gaetano Sertor or Vincenzo de Stefano (not mentioned). Dedi- 
 cation, cast, scenario, and name of Pietro Guglielmi as the composer. On p. 9-22 
 argument, cast, and description of Domenico Lefevre's "Alessandro nell' Indie, 
 ballo eroico in tre atti," music principally by Mathias Stabingher. On p. 23 argu- 
 ment of Lefevre's comic ballet ' Le figlie astute." SCHATZ 4285 
 
 - Enea e Lavinia. Dramma per musica da rappresentarsi nel 
 Teatro da S. Agostino il carnovale dell' anno 1796 . . . 
 Geneva, Stamperia Gesiniana, n. d. 4& P- 14 cm ' 
 Two acts. Argument, cast, scenario, and name of Pietro Quglielmi as composer. 
 The author, Gaetano Sertor (or Vincenzo de Stefano) is not mentioned. With the 
 opera were performed, munic by Giovanni Scannavino, Luigi Dupen's ballets ''La 
 dietruzione a'Aquileja, fatta da Attilare degli Unni "and "La Nina pazza peramorea." 
 
 SCHATZ 11711
 
 436 LIBRARY OF COXCKESS 
 
 Enea e Lavinia, a new serious opera; as performed at the King's 
 Theatre, in the Hay-market. The music entirely new by Signer 
 Antonio Sacchini. 
 London, G. Bigg, 1779. 1 p. 1., 57 p. 19 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz (G. G. Bottarelli?). 
 Argument and cast. English translation faces the Italian. The ballets "Hippom- 
 enes and Atalanta" and "The forge of Vulcan" were performed with the opera. 
 
 SCHATZ 9218 
 
 Enea e Lavinia. Dramma per musica da rappresentarsi in Firenze 
 nel Teatro di via della Pergola, nel carnevale dell' anno 1768 . . . 
 n. i., n. d. Unpaged. 21 cm . 
 
 Title within engraved ornamental border, text in ornamental borders, and vig- 
 nettes at the head of each of the three acts. Impresario's dedication, argument, 
 cast, scenario, and name of Tommaso Traietta as the composer. The dedication 
 informs the reader that the libretto is an Italian translation by conte Jacopo Antonio 
 San-Vitale of Bernard Le Bouvier de Fontenelle's drama. The impresario, Giuseppe 
 Compstoff, has also this to say: 
 
 "Nuda ella yiene, e priva di quegli aiuti teatrali, che alia illuminata meute di 
 V. A. R. ed agli occhi d un pubbhco giustamente critico potrebbero renderla e lumi- 
 nosa, e bizzarra. Un solo uomo priyato giugner non pu6 a quel segno, a cui tender 
 possono le mire di personaggi illustri, che si fan gloria di istradare i dipendenti loro 
 per la via d'un onesto lusinghiero piacere alle vere massime d'una piu soda, e per- 
 fetta morale. ~L'Ifigenia in Tauride, e rOlimpiade sul nostro teatro tra innumerabili 
 eyviva poco. fa rappresentate, rendono abbastanza testimonianza del vero. Vide il 
 Fiorentino teatro sotto gli augusti auspici felicissimi della R. A. V. ci6, che a lui 
 sembrava quasi impossibile; lo vide, e grandemente* lo applaudi . . ." 
 
 First performed at Parma, Teatro Ducale, April 1761. SCHATZ 10399 
 
 Enea e Turno, ballet. See Bianchi's Briseide. 
 
 Enea in Cartagine, dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1770 alia presenza di S. S. R. M. 
 Torino, Onorato Derossi, n. d. xii, 56 p.' 16. 
 
 Three acts. By Giuseppe Maria d'Orengo. Argument, cast, scenario, and names 
 of the composer, Giuseppe Colla, and of the author. The ballets were designed by 
 Augusto Huss, their music composed by Giuseppe Antonio Le Messier. 
 
 First performed, as indicated, December 26, 1769. SCHATZ 2109 
 
 Enea in Cartagine. Dramma per musica da rappresentarsi nel 
 Teatro della Citta d' Alessandria in occasione della solita fiera d'ot- 
 tobre 1784 ... 
 
 Alessandria, Ignazio Vimercati, n. d. 47, xv i P- 16 cm . 
 
 Two acts. By G. M. d'Orengo, who is not mentioned. Argument, cast, scenario, 
 and name of Carlo Monsa (Monza) as the composer. With the opera were performed 
 Paolino Franchi's ballets, "II finto giardiniere" and "Padmani e Mirda," the latter 
 (in 5 acts) described with argument, cast, and scenario on the xvi p. at end of the 
 libretto. The composers of the music are not mentioned. SCHATZ 6618 
 
 Enea in Italia. Drama per musica presentato li 26. luglio 1678 all' 
 Altezza Serenissima Elettorale di Ferdinando Maria, duca dell' una, 
 e 1'altra Baviera ... da Ventura Terzago . . . posto in musica da 
 D. Giuseppe Antonio Bernabei . . . recitato a Gennaro 1679. 
 Monaco, Giovanni Jecklino, n. d. 7 p. 1.. 118 p. 14$ cm - 
 Author's dedication, argument, and scenario. SCHATZ 825
 
 OPERA LIBRETTOS 437 
 
 Enea in Italia. Drama musicale rappresentato in Pisa nel palazzo 
 del granduca di Toscana per festeggiare il giorno natalizio della sere- 
 nissima granduchessa Vittoria. 
 
 G. A. Moniglia, Poesie drammatiche, parte prima, Firenze, Vincen- 
 zio Vangelisti, 1689, p. [595]-628. 24 cm . 
 
 Three acts. Argument with remarks: 
 
 "Questo piccolo drama fu composto dall' autore in Pisa nel tempo, che vi dimo- 
 rava la corte serenissima; ove fu ancora rappresentato colla piu vaga e ricca pompa 
 . . . Fu 1'intento primiero il dare con questo componimento una leggiadra, e non 
 mendicata Introduzione a sontuosissimi balletti tra dame, e cavalieri della medesima 
 corte. La pose in musica il famoso Jacopo Melani, e lo cantarono i piu celebri pro- 
 fessori di Toscana." 
 
 First performed at Pisa as indicated in 1670. ML 49.A2M7 
 
 Enea in Italia. Drama per musica nel famoso Teatro Grimani. 
 Del Bussani ... 
 
 Venetia, Nicolini, 1675. 6 p. I. (incl. front.), 69 p. 14 cm . 
 
 Three acts. Author's dedication, argument, and scenario. The composer, Carlo 
 Pallavicino, is not mentioned. SCHATZ 7723 
 
 Second copy without the front, and list of characters. ML 48. A5 v.10 
 
 Enea ne gli Elisi. Poemetto drammatico nel felicissimo giorno 
 natalizio della Sac. Ces. Real Maesta di Leopoldo I. augustissimo 
 imperador de' Romani. 
 
 Pietro Antonio Bernardoni, Poemi drammatici, parte terza, Vienna, 
 van Ghelen, 1707, p. 65-78. 16$. 
 
 Argument. The composer is not mentioned. Von Weilen lists a work of the 
 same title, music by Badia (overture by Fux) under July 26, 1702 (instead of June 9, 
 the correct date of the birthday of Joseph I) as from Bernardoni's Poemi drammatici, 
 vol.1. ML49.A2B4 
 
 L'Enea negli Elisi owero II tempio dell' eternita. 
 
 [393}-427 p. 19 cm . (Pietro Metastasio, Opere drammatiche, Vene- 
 zia, Giuseppe BettineUi, 1733-37, v. 2.) 
 
 One act. Argument. No composer mentioned, but composed by Fux and first 
 performed under this title at Vienna, August 28, 1731. In subsequent editions of 
 Metastasio's works published under the A. T., which see. ML 49.A2M4 
 
 Enea nel Lazio, ballet. See Giordani's Tito Manlio. 
 
 Enea nel Lazio. Dramma per musica da rappresentarsi nel Real 
 Teatro di Salvaterra nel carnevale dell' anno 1767. 
 Lisbona, Michele Manescal da Costa, n. d. 57 p. 16 cm . 
 
 Three acts. Argument, scenario, cast, and name of Niccolo Jommelli as the com- 
 poser. The author, Mattia Verazi, is not mentioned. 
 
 First performed at Stuttgart, Schauplatz im Lusthause, Aug. 30, 1755. 
 
 SCHATZ 4893 
 
 Enea nel Lazio. 
 
 [335]-362p. 17 cm . (RoUi, Componimenti poetici, Nuova edizione, 
 Verona, G. Tumermani, 1744- 
 
 Three acts. Argument. The composer, Nicolo Porpora, is not mentioned. 
 First performed at London, Lincoln's Inn Fields, June 1734. ML 49.A2R7
 
 438 LIBRARY OF CONGRESS 
 
 Enea nel Lazio. Dranima eroitragico composto con cori, e balli 
 analoghi da Antonio de' Filistri . . . Da rappresentarsi con musica 
 del Signer Vincenzo Righini ... nel gran Teatro Reale di Berlino 
 il carnovale dell' anno 1793. 
 
 Lew 
 
 Berlino, Haude & Spener, n. d. 127 p. 15Y 
 
 Three acts. Argument and cast. German title-page, "Aeneas in Latium," and 
 text face Italian. 
 
 First performed at Berlin, January, 1793, as indicated. SCHATZ 8782 
 
 Enea nel Lazio, ballet. See Sarti's II trionfo della pace. 
 
 Enea nel Lazio. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnevale del 1760 alia presenza di S. S. R. M. 
 Torino, Giacomo Giuseppe Avondo, n. d. mil, 56 p. 16 cm . 
 
 Three acts. Argument, cast, scenario, and names of composer, Tommaso Trajetta, 
 and librettist, Vittorio Amedeo Cigna [-Santi]. The ballet-airs were composed by 
 Giuseppe Antonio Le Messier. SCHATZ 10391 
 
 Enee et Lavinie, tragedie en musicjue, representee par 1'Academie 
 royalle de musique. Suivant la copie impnmee a Paris. 
 
 [Amsterdam, Antoine Schelte], 1696. 57 p. (ind. front.) 13$ cm . 
 
 Five acts and prologue. Neither the author, De Fontenelle, is mentioned, nor the 
 composer, Pascal Colasse. 
 
 First performed, as indicated, December 16, 1690. ML 50.2.E4C6 
 
 - Enee et Lavinie, tragedie represent e"e par 1' Academic royale de 
 musique Fan 1691. Les paroles de M. de Fontenelle & la musique de 
 M. Collasse. XXVI. opera. 
 
 n. i., n. d. front., 51-112 p. 14 cm . (Recueil general des opera, 
 Paris, 1703, t. 4.) 
 
 Detached copy. Five acts, with prologue. 
 
 First performed, as indicated, Dec. 16, 1690. SCHITZ 2099 
 
 Second copy. ML 48. R4 
 
 Enee et Lavinie, tragedie representee pour la premiere fois par 
 1'Academie royale de musique, le mardi 14 fevrier 1758. 
 
 Paris, Aux depens de 1'Academie, chez la V.,Delormel c fils, 1758. 
 48 p. 22% cm - 
 
 Five acts. Cast. De Fontenelle is mentioned as the author, Dauvergne as the 
 composer. ML 50.2.E4D2 
 
 L'enfance de Jean Jacques Rousseau, comedie en un acte, me'lee 
 de musique, represented, pour la premiere fois, sur le Theatre de 
 rOpera-comique national, le 4 prairial Fan second de la Republique 
 [May 23, 1794]. Les paroles sont d'Andrieux, la musique est de 
 D'Alayrac. 
 
 Paris, Maradan, Seconde annee de la Republique [1793-94]- 4? P- 
 17$. 
 
 Cast. . SCHATZ 2343 
 
 L'enfant gate ou Folette et Roger-Bontems. See Le carnaval et la 
 folie. 
 
 L'enfant trouve. A. T. of Monsigny's Felix.
 
 OPERA LIBRETTOS 439 
 
 Engelberta. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744> $ iv> P> 1^]- 
 280. 19 cm . 
 
 Five acts. Argument. No composer is mentioned. In the "Catalogo" at end of 
 t. x, date and place of first ed. are given as: "in Milano. 1708. E in Ven. 1709. 
 ma tronco." Fehr says: " Benche lavoro scritto in comune, questo dramma si trova 
 fra quegli scriti dal solo Zeno (Ediz. Gozzi. vol. lv)." ML 49.A2Z3 
 
 Engelberta. Pubblicata per la prima volta in Milano 1708. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. Hi, p. 349- 
 435. 21 cm . 
 
 Three acts. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Engelberta. Drama per musica da rappresentarsi nel Teatro Tron 
 di San Cassano il carnovale dell' anno MDCCVIII . . . 
 Venezia, Marino Rossetti, 1708. 58 p. 15 cm . 
 
 Five acts. By Apostolo Zeno (see above), who is not mentioned. Dedication, 
 argument, cast, and scenario. The composer, Carlo Francesco Gasparini, is not men- 
 tioned. 
 
 SCHATZ 3564 
 
 Engelberta. Dramma per musica da rappresentarsi nel famoso 
 Teatro Tron a S. Cassiano il carnovale dell' anno 1742. M. V. 
 
 Venezia, Giovanni Milli, 1743. 4$ P- 15 cm . 
 
 Three acts. Zeno (see above) is mentioned as the author, Giuseppe Antonio Pag- 
 anelli as the composer. Argument, scenario, and cast. SCHATZ 7354 
 
 Engelberta o sia La forza dell' innocenza. Drama per musica da 
 rappresentarsi in Bologna nel Teatro Malvezzi 1'anno MDCCIX . . . 
 
 Bologna, Costantino Pisarri, n. d. 16 cm . 
 
 Incomplete, p. 79, etc., missing. Five acts. By Apostolo Zeno (see above), who is 
 not mentioned. Dedication, argument, cast, scenario. Composer not mentioned, and 
 unknown to Schatz, who records this as a pasticcio. 
 
 First performed, as indicated, June 8, 1709. SCHATZ 11323 
 
 L'Engelberta, o sia La forza dell' innocenza, drama per musica da 
 rappresentarsi nel Regio Palazzo, in occasione di festeggiare il glorioso 
 nome di Carlo III, monarca delle Spagne, etc . . . 
 
 Napoli, Ant. Parrino e Michele Luigi Mutio, n. d. 72 p. 16% cm . 
 
 Three acts. By Zeno (see above), who is not mentioned. Publisher's dedication 
 dated Naples, October 30, 1709, argument, scenario, cast, and note: 
 
 "La musica edel Sig. Antonio Orefici fino al segno *. II rimanente e del Signer 
 Francesco Mancini vice-maestro della Real Cappella." 
 
 The sign appears at the end of act II, scene 11. Between the acts and after the 
 third act was performed "MELISSA SCHERNITA. Intermezzo. Primo [ Terzo]. It 
 is printed on p. 61-72, but it is not said by whom it was composed, possibly by Orefici, 
 since at the end of the first act the reader is referred to the intermezzo as printed at 
 the end. Schatz, however, attributes all three to Francesco Mancini. 
 
 First performed, as indicated, November 4, 1709. SCHATZ 7294 
 
 The Englishman out of Paris. A. T. of The reapers. 
 
 L'enigma del fato, sciolto da Giove. Scherzo musicale, nel giorno 
 del gloriosissimo nome della Sac. Real Maesta di Giuseppe I. re de' 
 Romani. 
 
 Pietro Antonio Bernardoni, Poemi drammatici, parte terza, Vienna, 
 van GJielen, 1707, p. 17-33. 
 
 Argument. The composer is not mentioned by von Weilen. 
 
 First performed at Vienna, March 19, 1707, as indicated. ML 49.A2B4
 
 440 LIBRARY OF CONGRESS 
 
 L'enigma disciolto. Favola pastorale in musica da rappresentarsi 
 nel Teatro dell' illustrissima Accademia degli Erranti di Brescia 
 1'anno 1708. 
 Brescia, Gio. Maria, Rizzardi, n. d. 36 p. 15 cm . 
 
 Three acts. Argument and brief notice to the reader. Neither the author, Gio- 
 vanni Battista Nen, nor the composer, Carlo Francesco Pollaroli, is mentioned. 
 First performed at Reggio Teatro della Comunita, 1698. SCHATZ 8282 
 
 Gl'amici rivali. Favola pastorale in musica. Da rappresentarsi 
 nel Teatro di S. Fantin. Questo carnevale 1714 . . . 
 
 Venezia, n. publ., n. d. 58 p. 14$ cm - 
 
 Three acts. Impresario's dedication dated December, 1714, argument, cast. 
 
 This "operetta musicale" as the impresario calls it, is but a somewhat altered 
 version of "L'enigma disciolto," text by Giovanni Battista Neri, music by Carlo 
 Francesco Pollaroli, neither of whom is mentioned in the libretto. In the original 
 version, for instance, the first act ends with the aria, "Amor vien su gli occhi," 
 whereas "Gli amici rivali" has "Orinda mia crudel." SCHATZ 8283 
 
 L'enjouee. Entree in Mouret's Les Graces. 
 
 L'enleyement des Sabines, ballet heroique. See Ferrero's La dis- 
 fatta di Dario. 
 
 Enone. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 17 44, t- Hi> P- [169]-247 
 p. 19 cm . 
 
 Five acts and licenza. Argument. No composer is mentioned, but first com- 
 posed by Caldara. In the "Catalogo" at end or t. x, date and place of first ed. are 
 given as Vienna, 1734. (First performed August 28.) 
 
 ML 49.A2Z3 
 
 Enone. Pubblicata per la prima volta in Vienna 1734. 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. vii, p. 
 
 343-415. 21 cm . 
 
 Five acts and licenza. Argument. No composer is mentioned (but see above). 
 
 ML 49.A2Z4 
 
 Les enragez. Piece d'un acte, represent ee a la Foire Saint Laurent 
 1725. 
 Le Theatre de lafoire, Paris, 1728, t. vi, pi, [71]-122 p. 17 cm . 
 
 Le Sage, Fuzelier, and d'Orneval are mentioned as the authors. Largely en 
 vaudevilles. The airs, selected or composed and arranged by Jean Claude Gillier, 
 the "compositeur" of the company, are printed at the end of the volume in the 
 "Table des airs." 
 
 First performed July 21, 1725, preceded by "L'enchanteur Mirliton" and "Le 
 temple du Memoire." ML 48.L2VI 
 
 Enrichetta, ballet. See Bianchi's La sposa in equivoco. 
 
 L'Enrico. Dramma per musica da rappresentarsi in Firenze nel 
 Teatro di via del Cocomero, nel carnevale dell' anno 1732 . . . 
 
 Firenze, Giuseppe Pagani e Melchiorre Alberighi, 1732. 78 p. 
 15 cm . 
 
 Three acts. By Francesco Vanneschi. Impresario's dedication, argument, case, 
 scenario, and name of the author. Composer not recorded by Allacci or Schatz. 
 
 ML48.A5 v.18 
 
 Enrico IV, ballet. See Mugnes' Fernandez Cortes.
 
 OPEEA LIBRETTOS 441 
 
 L'enrolement d'Arlequin, opera-comique en un acte. Mele de 
 prose & de vaudevilles. Joue en 1726. 
 
 Alexis Piron, Oeuvres complettes, Liege, 1776, v. 5, [147]-202 p. 
 
 17 m - 
 
 Composer not recorded by Parfaict, etc. PQ 2019. P6 
 
 Les ensorceles ou Jeannot et Jeannette. Parody of Rameau's Les 
 surprises de 1'amour. 
 
 Die entdeckte Semiramis. Tr. of Hasse's La Semiramide riconos- 
 ciuta. 
 
 Die entdeckte verstellung, oder Die geheime liebe der Diana 
 [vignette]. In einem pastoral auf dem Hamburgischen Schau-platz, 
 vorgestellt im april des 1712 ten jahrs. 
 
 Hamburg, Friedrich Conrad Greflinger, n. d. Unpaged. 19 cm . 
 
 Three acts. By Johann Ulrich Koenig, who says in his "Vorbericht" that he 
 selected this sujet, though of the more than 130 operas performed at Hamburg during 
 the last 40 years, more than 30 had been taken from the "Historia fabulosa, oder 
 Mythologie der Alten." He further says: 
 
 "In der hauptverwirrung folgte einem Italiaener, von welchem auch die hin und 
 wieder eingemengte italiaenischen arien, den liebhaber zu gefallen, beybehalten." 
 
 He means Francesco de Lemene's "Endimione." The composer, Reinhard 
 TKeiser, is not mentioned. SCHATZ 5088 
 
 Der sich raechende Cupido, [vignette] in einem musicalischen 
 schau-spiele auf dem Hamburgischen Theatro aufgefuehret im jahr 
 1724. 
 
 Hamburg, Caspar Jdkhel, n. d. Unpaged. 18 cm . 
 
 Three acts. Cast and "vorbericht," according to which this is an altered, partly 
 condensed, partly augmented version of "Diana." It is further stated that all the 
 music was composed by Reinhard Keiser, except the Italian arias, "Giove vieni," 
 "Lontan da tuoi bei rai," "Bendato arcier," "Qual solinga tortorella," "Cantan 
 lieti," "Piu cori, piu yite," and "Pensa che fost' e sei," which were interpolated. 
 The author, Johann Ulrich Konig, is not mentioned. SCHATZ 5129 
 
 Das entfuehrte bauernmaedchen. Tr. of Bianchi's La villanella 
 rapita. 
 
 Die entfuehrung aus dem serail. A. T. of Andre's Belmont und 
 Constanze. 
 
 Die entfuehrung aus dem serail. A. T. of Dieter's Belmont und 
 Constanze. 
 
 Arien und gesaenge zum singspiel: Die entfuehrung aus dem 
 serail. In musik gesezt von herrn musikdirektor Knecht, in 
 Biberach. 
 
 Kaufbeuren, Dorn, n. d. Unpaged. 16 cm . 
 
 Three acts. By Christoph Friedrich Bretzner, who is not mentioned. Cast added 
 in contemporary hand. 
 
 First performed at Kaufbeuren, Theater der biirgerlichen Agenten Gesellschaft 
 A. C., September, 1790; at Biberach, Theater der evangelischen Meister-Saenger 
 Geeellschaft im Schlachthause, February 2, 1787. SCHATZ 5197
 
 442 LIBRARY OF CONGRESS 
 
 Die entfuehrung aus dem serail. Ein singspiel in drey aufzuegen, 
 nach Bretznern frey bearbeitet, und fuer das K. K. National theater 
 eingerichtet. In musik gesetzt vom herrn Mozart. Aufgefuehrt im 
 K/K. Nationalhoftheater. 
 
 Wien, beym logenmeister, 1782. 67 p. 16. 
 
 Text retouched by Gottlieb Stephanie d. Jung. 
 
 First performed, as indicated, July 16, 1782. SCHATZ 6811 
 
 Die entfiihrung aus dem serail. Ein singspiel in drey aufzu- 
 gen, nach Bretznern frey bearbeitet. In musik gesetzt vom herrn 
 Mozart. Zum erstenmale gegeben bey abermahger erofnung der 
 Deutschen Schaubiihne unter der general-untemehmung Sr. Durch- 
 laucht fiirst Georg Martin Lubomirski etc etc. den 8 may 1783. 
 
 WarscJiau, GedrucJct in der Koniglichen und der Republik privil. 
 Grollischen buchdruckerey, n. d. 70 p. 16\ cm . 
 
 Cast and dedication. Stephanie's version of Bretzner's text. SCHATZ 6856 
 
 - Arien und gesaenge aus dem singspiel: Belmonte und Kon- 
 stanze in drei aufzuegen. Frei bearbeitet nach Bretzner. Die 
 musik ist vom herrn Mozart. 
 
 Berlin, n. publ, 1788. 32 p. 16 cm . 
 
 First performed at Berlin, Nationaltheater, October 16, 1788. ML 50.2. E5M8 
 
 Arien und gesaenge aus dem singspiel: Belmonte und Kon- 
 stanze in drei aufzuegen. Die musik ist vom herrn Mozart. 
 Berlin, n. pull., 1798. 26 p. 16 cn . 
 The same version as above. SCHATZ 6812 
 
 Entrepreneuren i Knibe. Tr. of Cimarosa's L'impresario hi 
 angustie. 
 
 Die entzifferung. Tr. of Salieri's La cifra. 
 
 Epaminonda. Dramma per musica da rappresentarsi nel famosis- 
 simo Teatro Grimani di S. Gio. Grisostomo nel carnovale dell' anno 
 1732 . . . 
 
 Venezia, Carlo Buonarigo, n. d. 1 p.l., 72 p. 15 cm . 
 
 Three acts. Author not mentioned ; but text by Domenico Lalli, according to 
 Schatz. Dedication, argument, scenario, cast, and name of Geminiano Giacomelli 
 as the composer. SCHATZ 3811 
 
 The Ephesian matron. A comic serenata, after the manner of the 
 Italian. As it is performed at Ranelagh House. The music by Mr. 
 Dibdin. 
 London, W. Griffin, 1769. 6, \2]-24 p. 19 cm . 
 
 One act. Cast and advertisement, according to which this piece, "at a short 
 warning ... in great haste put together," was a deliberate experiment of the man- 
 agers o? Ranelagh House in "improvement upon the detached songs and ballads 
 usually sung in their orchestra " by attempting to imitate the Italian intermezzi, such 
 as La serva padrona, Baiocco e Serpilla, etc. The author, Isaac Bickerstaffe, is not 
 mentioned. LONGE 306 
 
 - The Ephesian matron, a comic serenata, after the manner of the 
 Italian. By Isaac Bickerstaffe, Esq. The music by Mr. Dibdin. 
 
 [45\-55 p. 19 cm . (Collection of the most esteemed farces and enter- 
 tainments, t. vi, Edinburgh, 1792.} 
 
 Ranelagh House cast, where the work was first performed, 1769. SCHATZ 11753F
 
 OPERA LIBRETTOS 443 
 
 Les epoux reunis, opera-comique en deux actes; represehte pour la 
 premiere fois sur le Theatre de la Foire, en 1736. 
 
 Charles Francois Pannard, Theatre, Paris, Duchesne, 1763, v. 3, 68 
 p. 17 cm . 
 
 Prose and vaudevilles. Composer not recorded by Parfaict, etc., who dates the 
 first performance Feb. 3, 1736. PQ 2019.P3 
 
 Epponina. O. T. of Giovannini's text Giulio Sabino. 
 
 < 
 
 L'epreuve. A. T. of La ruse d'amour. 
 
 L'epreuve villageoise, opera bouffon en deux actes et en vers, 
 represent^ pour la premiere fois par les Comediens italiens ordinaires 
 duroi, le jeudi 24 jum!784, apres avoir etejoue devant Leurs Majestes 
 a Versailles sous le titre de Theodore & Paulin, le yendredi 5 mars, 
 & sur le Theatre italien, le jeudi 18 du me'me mois. Par D. Des- 
 forges. Musique de M. Gretry. 
 
 Paris, Prault, 1784* 70 p. 19\ cm . 
 
 Cast. Same dedication and "Lettre" as below. ML 50.2.E55G7 
 
 L'epreuve villageoise, opera bouffon, en deux actes, en vers, rep- 
 resent 6 pour la premiere fois par les Comediens italiens ordinaires du 
 roi, le jeudi 24 juin 1784, apres avoir ete joue" devant Leurs Majestes 
 a Versailles, sous le titre de Theodore & Paulin, le vendredi 5 mars, 
 & sur le Theatre italien, le jeudi 18 du me"me mois. Par Mr Des- 
 forges. Musique de M. Gretry. 
 Paris, Prault, 1785. 53 p. 18 cm . 
 
 Cast, author's dedication, and a "Lettre a Monsieur de Corance" dated June 23, 
 1784, in which Desforges says: 
 
 "Malgre" 1'indulgence qui dicta le jugement porte sur Theodore & Paulin dans le 
 Journal de Paris, je sentis que 1'ouvrage, trop se'rieux peut-dtre, & cons^quemment 
 peu susceptible d'un vrai succes sur un theatre consacre a la gaite\ devoit subir une 
 me"tamorpnose; je m'en occupai. M. Gretry me donna des idees qui fixerent & 
 ^gayerent les miennee." SCHATZ 4149 
 
 Les epreuves de misanthropic et repentir. A. T. of Comment 
 faire. 
 
 L'Epulone. Opera melo-dramatica esposta, con le prose morali- 
 critiche, dal P. Francesco Fulvio Frugoni . . . 
 
 Venetia, Combi <& La Nou, 1675. 16 p. 1. (incl. front, and port.), 
 652, [54} p. 22%. 
 
 The text of the allegorical, didactic, morality play "L'Epulone" (five acts and 
 prologue) on p. 1-160 of this most curious volume. No composer or performance 
 recorded. PQ 
 
 Gli equivoci. Dramma buffo in due atti. Ad imitazione della 
 comedia inglese di Shakespeare, che ha per titolo : Les meprises. Da 
 rappresentarsi nel Teatro di Corte 1'anno 1787. 
 
 Vienna, Giuseppe nob. de Kurzbek, n. d. 84 p- 16% cm . 
 
 Lorenzo da Ponte is mentioned as the author, Stephen Storace as the composer. 
 
 First performed December 27, 1786, as indicated. SCHATZ 10079
 
 444 LIBRARY OF CONGRESS 
 
 Gli equivdci Continued. 
 
 - Gli eq-uivoci. Dramma buffo in due atti. Da rappresentarsi nel 
 Teatro Elettorale di Sassonia. 
 
 Dresda, n. publ., 1797, 178 p. 15. 
 
 Stephen Storace is mentioned as the composer. German title-page, "Die 
 irrthuemer," and text face Italian, which follows the original Vienna ed. with very 
 few differences' the "Ah il flebil suono" (I, 11) for instance, having become "La 
 meechina nel mio seno" (I, 10). 
 
 First performed at Dresden, l^jvember 18, 1797. SCHATZ 10080 
 
 Gl'equivoci d'amore, e d'innocenza. Dramma per musica da 
 rappresentarsi nel famosissimo Teatro Grimani di San Gno. Grisostomo. 
 Nell' autunno 1723 ... 
 
 Venezia, Marino Rossetti, 1728. 48 p. 15 cm . 
 
 Three acts. By Antonio Salvi, who is not mentioned. Printer's dedication, 
 argument, cast, scenario, and name of Carlo Francesco Gasparini as the composer. 
 
 SCHATZ 3565 
 
 Gli equivoci del sembiante. Drama per musica da rappresentarsi 
 nel Teatro novo di Casale 1'anno 1703. 
 
 Milano, Carlo Giuseppe Quinto, n. d. 83, [1] p. 14\ cm - 
 
 Three acts. Scenario and argument with name of Antonio Caldara as composer 
 and this clue as to the author: 
 
 "Ti sara comparso, o lettore, sotto de gli occhi un' altro drama intitolato la Statira 
 layorato su questo stesso argomento; ma perche fii questo fatica di brevissimo tempo, 
 mi venne capriccio di riformarlo a mio comodo; cominciata 1'idea, mi e convenuto 
 novamente rmovarla per 1'aggionta di due personaggi, e terminar 1'opera con tutta 
 celerita ..." 
 
 Schatz attributes the text to Domenico Filippo Contini, at the same time attribut- 
 ing the music to Alessandro Scarlatti, which is obviously incorrect. ML 48.A5 v.12 
 
 Gli equivoci in amore oyero La Rosaura, drama per musica. Da 
 rappresentarsi nelle felicissime nozze dell' eccellentissima Signora la 
 Signora Donna Tarquinia Colonna, conl'eccellentissimo Sig. D. Marco 
 Ottoboni, duca di Fiano . . . e dell' eccellentissima Signora donna 
 Cornelia Ottoboni, con 1'eccellentissimo Signor D. Urbano Barberini 
 
 Roma, Gio. Francesco Buagni, 1690. 57, [1] p. 14$ cm . 
 Three acts. By Giovanni Battista Lucini, who is not mentioned. Dedication 
 with name of Alessandro Scarlatti as the composer, argument, and cast. 
 
 First performed December, 1690, in Rome, at the French Embassy. SCHATZ 9535 
 
 Gl'equivoci nel sembiante. Dramma per musica . . . 
 Roma, Francesco Tizzoni, 1679. front., 52 p. 13 cm . 
 
 Three acte. Dedication by the impresario Pietro Giov. Leone, which begins: 
 
 "Comparisce nel Theatre del Hondo il presente dramma spogliato di quella vaga 
 melodia [by Alessandro Scarlatti, who is not mentioned] di cui si leggiadramente 
 vestito passeggio non ha molto pe Theatri di Roma non per altro che per isvelare ad 
 ogni uno Gl'equivoci nel sembiante." 
 
 The " discrete lettore" is informed 
 
 "Questi e parto di quella penna, dalla quale gia nacque il dramma famoso intito- 
 lato 'La donna ancora e fedele' . . ." [by Domenico Filippo Contini]. 
 
 First performed at Rome,. Teatro Capranica, carnival 1679. Dent gives the alter- 
 native title "L'errore innocente," but this must have been added later on. 
 
 SCHATZ 9527 
 
 Gli equivoci svelati. L. T. of Sarti's I contratempi. 
 L'equivoco, ballet. See Paer's Cinna.
 
 OPERA LIBRETTOS 445 
 
 L'equivoco. Commedia per musica di Liviano Lantino da rappre- 
 sentarsi nel Teatro de' Fiorentini nell' esta di quest' anno 1764. 
 
 Napoli, Vincenzo Mazzola-Vocola, 1764- 52 p. 15 cm . 
 
 Three acts. Cast and name of Niccol6 Piccinni as the composer. Text by Antonio 
 Villano, called as above. SCHATZ 8125 
 
 L'equivoco. Commedia per musica da rappresentarsi nel Real 
 Teatro del Fondo di Separazione per prim' opera di questo corrente 
 anno 1791. 
 
 Napoli, Vincenzo Flauto, n. d. 4? p. 15% cm . 
 
 Two acts. Author not mentioned, and unknown to Schatz. Cast and name of 
 Giacomo Tritto as the composer. With the opera was performed Giovanni Battista 
 Giannini's "La morte di Meleagro, ballo tragico in cinque atti," of which argument, 
 cast, and name of Giuseppe Ercolano as composer of tne music ("tutta nuova") on 
 p. 5-7. SCHATZ 10462 
 
 L'equivoco curioso. Commedia per musica di Giuseppe Palomba 
 da rappresentarsi nel Teatro de' Fiorentini per quart' opera di quest' 
 anno 1790. 
 
 Napoli, n. putt., 1790. 43 p. 15 cm . 
 
 Two acts. Cast and name of Domenico Cercia as composer. SCHATZ 1774 
 
 L'equivoco dei due molinari, ballet. See Paer's Tegene e 
 Laodicea. 
 
 L'equivoco delli due amanti molinari, ballet. See Nasolmi'a 
 GPlndiani. 
 
 L'equivoco fortunate, ballet. See Gnecco's L'indolente. 
 
 L'equivoco ricompensato, ballet. See Robuschi's Li raggiri 
 fortunati. 
 
 Er soil und muss ein narr seyn. Tr. of Schuster's II pazzo per 
 forza. 
 
 Er war nicht ganz barbar. A. T. of Ebers' opera Inkle und 
 Yariko. 
 
 ^ Eraclea. Tragicomedia per musica da rappresentarsi nel Teatro 
 Vendramino di San Salvatore. L'anno MDCXCVI . . . 
 Venetia, Nicolini, 1696. front., 60 p. 14 cm . 
 
 Five acts. Dedication by the author, Giovanni Cesare Godi, dated Venice, Feb- 
 ruary 5, 1696, notice to the reader, argument, and scenario. The composer, Bernardo 
 Sabadini, is not mentioned. SCHATZ 9195 
 
 Eraclito e Democrito. Commedia per musica. Da rappresentarsi 
 nei Piccoli Teatri di S. M. il re di Prussia. 
 Berlino, Haude e Spener, n. d. 99 p: 17 cm . 
 
 Two acts. Cast. Neither the author, Giovanni de Gamerra, nor the composer, 
 Antonio Salieri, ia mentioned. German title-page, "Heraclit und Democrit, and 
 text face Italian. 
 
 First performed at Charlottenburg, Schlosstheater, July 3, 1796; at Vienna, Hof- 
 theater, n. d. Burg, August 13, 1795. SCHATZ 9287
 
 446 LIBRARY OF CONGRESS 
 
 Erano. Ein schauspiel mit gesaengen aus den zeiteh der kreuzzuege. 
 Drey akte von A. J. G. C. Batsch. 
 
 n.i.,1779. 66 p. 16$ cm . 
 
 One ac*t. No composer mentioned. Not recorded by Schatz. ML 50.2.E58 
 
 Erast und Lucinde. Tr. of GrStry's Silvain. 
 
 Ercole al Termedonte. Dramma per musica da rappresentarsi nel 
 Real Teatro di S. Carlo nel dl 12 di gennaio 1793. Festeggiandosi la 
 nascita di Ferdinando IV . . . 
 
 Napoli, Vincenzo Flauto, 1793. 20, 24 p. 15\ cm . 
 
 Two acts. The author is not mentioned, and not known to Schatz. Impresario's 
 dedication, cast, scenario, and name of Niccol6 Piccinni as the composer. 
 
 On the first p. 11-19, argument and cast of Giambattista Giannini's ballet in five 
 acts, "L'amantischiavi," and argument of his other ballet, "GliEuropeinelP isolade' 
 canibali." The composers of the music are not mentioned. SCHATZ 8126 
 
 Ercole e Dejanira, ballet. See Bianchi's Daliso e Delmita. 
 Ercole e Dejanira, ballet. See Pae'r's La virtu al cimento. 
 
 y Ercole in cielo. Tragedia per musica da rappresentarsi nel Teatro 
 Grimani di San Gio. Grisostomo. L'anno MDCXCVI . . . 
 Venetia, Nicolini, 1696. 82 p. 16 cm . 
 
 Four acts. Dedication signed by the author, conte Girolamo Frigimelica Roberti, 
 long dramaturgic notice to the reader, argument, and scenario. The composer, Carlo 
 Francesco Pollaroli, is not mentioned. SCHATZ 8284 
 
 Ercole in Lidia. Dramma del Signer conte Maiolino Bisaccioni, 
 gentiT huomo della camera del re Christianissimo. Rappresentato 
 nel Teatro Novissimo nelP anno 1645. 
 
 Venetia, Giovanni Vecellio e Matteo Leni, 1645. 144 P- 14 cm - 
 Three acts and prologue. Giovanni Bovetta is mentioned as the composer. 
 
 SCHATZ 9105 
 
 L'Ercole in Tebe. Drama per musica del dottor Gio. Andrea 
 Moniglia fiorentino riformato all' uso di Venetia da Aurelio Aureli 
 per il Teatro Vendramino a S. Salvatore. L'anno MDCLXXI . . . 
 
 Venetia, Curti and Nicolini, 1671. front., 72 p. 15 cm . 
 
 Three acts. Author's dedication dated Venice, December 12, 1670, argument, 
 and scenario. No composer is mentioned, but Aureli, in his libretto of "Claudio 
 Cesare," distinctly mentions Giovanni Antonio Boretti as composer of his "L'Ercole 
 in Tebe." SCHATZ 1222 
 
 Ercole in Tebe. Festa teatrale rappresentata in Firenze per le 
 reali nozze de' Serenissimi sposi Cosimo Terzo, principe di Toscana, 
 e Margherita Luisa, principessa d'Orleans. 
 
 Fiorenza, NeUa nuova Stamperia aW insegna della stella, 1661. 4 
 p. 1., 152 p. 23 cm . 
 
 The thirteen magnificent plates engraved by Valerio Spada, which were pub- 
 lished with the volume, are wanting in our copy. (Compare Wotquenne and below.) 
 
 Prologue and five acts. Dedication by the author, Giovanni Andrea Moneglia 
 (Moniglia), dated Florence, June 25, 1661, and argument. On p. [109}-152 a minute 
 and very interesting "Descrizione dell' Ercole in Tebe. Festa Teatrale," by Ales- 
 sandro Segni (see below), which mentions the participants in the ballets and in the 
 abbattimento, and on p. 150 reads: 
 
 "il tutto condotto a fine sotto 1'accorta direzione del Sig. Lionardo Martellini, che 
 alle machine, ed al Teatro era sopr' intendente. Si come i cori che sopra vi s'udi- 
 vano ineieme con tutte le musiche della presente festa, fur regelate dalh SS. Filippo
 
 OPERA LIBRETTOS 447 
 
 Ercole in Tebe Continued. 
 
 Franceschi, e Pietro Strozzi, avendole compoete il Sig. Jacopo Melani, soggetto coei 
 esquisito in tal professione, che ben ha mostrato in questo, ed altri eimili componi- 
 menti non dovere la presente eta invidiare nella perfezione dell' armonia a' piu 
 antichi eecoli tanto millitanti dai Greci, e ferono spiccare maggiormente la squisitezza 
 di tal composizione le perfettisime voci, e acconcie maniere de' professori che nella 
 festa ebber parte i quali tutti essendo de' migliori che oggi vivan nell' Europa, eran 
 pur o per nascita, o per altra cagione dependent! da questa corte . . . 
 
 For further details consult Ademollp's "I primi fasti del Teatro di Via della Pergola 
 in Firenze," who, however, is conspicuously silent about the date of performance, 
 July 8, 1661, according to Schatz. ML 50.2.E6M2 
 
 Ercole in Tebe. Festa teatrale represent ata in Firenze per le 
 reali nozzi de' serenissimi sposi Cosimo Terzo principe di Toscana e 
 Margherita Aloisa principessa d'Orleans. 
 
 Fiorenza, nuova Stamperia dW insegna della stella, 1661. 120 p. 
 
 Five acts and prologue. Dedication signed by the author, Giovanni Andrea 
 Moneglia (Moniglia), and dated "Firenze 25. giug. 1661," and argument. Jacopo 
 Melani, the composer, is not mentioned. In this edition the "Descrizione" was 
 omitted. SCHATZ 6290 
 
 Ercole in Tebe. Festa teatrale rappresentata in Firenze per le 
 reali nozze de' serenissimi sposi Cosimo Terzo principe di Toscana, e 
 Margherita Luisa principessa d'Orleans. 
 
 G. A. Moniglia, Poesie drammatiche, parte prima, Firenze, Vin- 
 cenzio Vangelisti, 1689, v. 1, [119}-256 p., 13 pi. 24 cm . 
 
 Five acts and prologue, each preceded by a "Descrizione," written, so Moniglia 
 informs us in the preface of the volume, by Alessandro Segni. He does not mention 
 the composer, Jacopo Melani, until the last. Argument. ML 49.A2M7 
 
 Ercole sul Tago. Dramma per musica da cantarsi nella Real Villa 
 di Queluz per celebrare il felicissimo giorno natalizio della Serenis- 
 sima Signora Donna Maria Francesca Benedetta principessa del 
 Brasile li 25 luglio 1785. L'autore della poesia Vittorio Amadeo 
 Cigna Torinese, della musica Luciano Xavier di Santi . . . 
 [Lisbond], Stamperia Reale, n. d. 2S p. 14$ cm > 
 One act. Cast and argument. SCHATZ 9395 
 
 ' Ercole su'l Termodonte. Drama per musica nel famoso Teatro 
 Vendramino di S. Salvatore 1'anno 1678. Del Bussani . . . 
 Venetia, Francesco Nicolini, 1678. front., 72 p. 15 cm . 
 
 Three acts. Author's dedication, argument, and scenario. Antonio Sartorio, 
 the composer, is not mentioned. SCHATZ 9493 
 
 Ercole sul Termodonte. Dramma per musica, da rappresentarsi 
 nel Teatro Reale Privilegiato di Dresda 1'anno 1747. 
 
 n. i., n. d. (double) 86 p. lo\. 
 
 Three acts. Argument, cast, and scenario. Neither Giacomo Francesco Bussani, 
 the author, nor Johann Georg Schiirer, the composer, is mentioned. German title- 
 page, "Hercules am Thermodon," and text face Italian. 
 
 First performed, as indicated, July 19, 1747. SCHATZ 9732 
 
 Ercole su'l Termodonte. Drama per musica da recitarsi nella 
 Sala dell' illmo Sig. Federico Capranica 1'anno 1723. 
 
 Roma, Stamperia del Bernabb, 1728. 71 p. 14$ cm . 
 
 Three acts. By Giacomo Francesco Bussani, who is not mentioned. Argument, 
 scenario, raft and name of Antonio Vivaldi as composer. ML 50.2.E61V4
 
 448 LIBRARY OF CONGRESS 
 
 L'Ercole trionfante. Drama rappresentato nel nuovo Teatro 
 Ducale di Piacenza . . . Riformato all' uso corrente da Aurelio 
 Aureli . . . 
 Parma, Stamperia ducale, 1688. 87 p. 15% cm . 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and prefatory note 
 by Aureli, which reads, in part: 
 
 "Nel 1661 fii questo drama c5 titolo d'Ercole in Tebe [music by Jacopo Melani] 
 composto dalla penna erudita del Sig. dottor Gio. Andrea Moneglia di Firenze per le 
 nozze reali degli Serenissimi sposi Coeimo Terzo preucipe di Toscana e Margnerita 
 Luisa prencipessa d'Orleans. Nel 1671 per comando di soggetto auttprevole mio 
 gran patrone in Venetia fui costretto & riformarlo in molte parti, e nelle ariette all' uso 
 di quella citta, dove rappresgtato nel Teatro Vendramino a S. Salvatore con la muoica 
 del gia Sig. Antonio Boretti V. Mastro all' ora di capella di questa A. S. incontr6 non 
 ordinario aggradimento, & applauso. Ora non s6 per qual forza di stella venga & com- 
 parirti nel Teatro Ducale tamosissimo di Piacenza con quella magnificenza, ch'e 
 propria di chi lo fa rappresentare. Averti per6 che lo vedrai in moltissime scene 
 riformato dall' altro che feci, e con la maggior parte dell' arie per non dir quasitutte 
 rinoyate quali poste in musica dalla \-irtti ammirabile del Sig. D. Bernardo Sabadini 
 servi tore attuale di questa A. S. . . ." SCHATZ 9196 
 
 Die erdichtete luft-geister. A. T. of Blaise's Isabella und Ger- 
 traude. 
 
 Die erdichteten lehnserben. Tr. of Sarti's I finti eredi. 
 
 L'erede riconosciuta. A. T. and L. T. of Piccinni's La pescatrice. 
 
 Der eremit auf Formentara. Eiu schauspiel mit gesang in zwey 
 aufzuegen von Kozebue. 
 . i., 1790. 76 p. 17 cm . 
 
 Peter Bitter, the composer, is not mentioned. 
 
 First performed at Mannheim, Nationaltheater, December 14, 1788. SCHATZ 8822 
 
 Alien zum Eremit auf Formentara. Eine oper in zween aufzuegen. 
 Die musik ist von hrn. Wolf, kapellmeister zu Weimar . . . Aufge- 
 fuehrt von der Rechenmacheriscnen gesellschaft. 1790. 
 n. i., n. d. Unpaged. 16 cm . 
 
 By August von Kotzebue, who is not mentioned. 
 
 First performed, as indicated, at Regensburg, Theater im Ballhause, 1790; at 
 Weimar, Hoftheater, November 26, 1789. SCHATZ 11081 
 
 - Eremiten paa Formentara. Et skuespil med sang i to acter af 
 August v. Kotzebue. Til kapelmester Wolfs musik. Oversat af 
 P. D. Faber. 
 
 Ki^benhavn, Nicolaus Hotter og sfin, 1791. 94 p. 15 cm . 
 
 Preface signed by the translator, giving details concerning his engagement for the 
 work of translating Kotzebue's text. SCHATZ 11082 
 
 Die erfinderische lie be. Tr. of Paisiello's L'amore ingegnoso. 
 Ergasto ed Eurilla, vinti dall' amore, ballet. See Mayr's Lodoiska. 
 
 Ergilda. Dramma per musica di Bartolomeo Vitturi da rappresen- 
 tarsi nel Teatro di S. Angelo Fautunno dell' anno 1736 . . . 
 
 Venezia, Marino Rossetti, 1736. 48 p. 15% cm . 
 
 Three acts. Impresario's dedication, argument, scenario, cast, and name of 
 Galuppi as composer. 
 
 First performed, as indicated, November 12, 1736. SCHATZ 3486
 
 OPERA LIBRETTOS 449 
 
 L'Erginda. Favola per musica di Aurelio Aurelii. Accademico fra 
 gl'Imperfetti L'indifferente. 
 
 Venetia, Giuliani, 1652. 75 p. (incl.fr ont.}. 15 cm . 
 
 Prologue and three acts. Author's dedication, notice to the reader, and scenario. 
 The composer, Gasparo Sartorio, is not mentioned. 
 
 First performed at Venice, Teatro de' S. S. Apostoli, carnival, 1652. SCHATZ 9496 
 
 L'Erginia imascherata. Dramma da rappresentarsi in musica. 
 Nel Teatro di S. Fantino 1'anno 1710. 
 
 Venezia, Andrea Mercurio, 1710. 1+5 p. 14\ cm - 
 
 Three acts. Cast and scenario. Author (Antonio Marchi) and composer (un- 
 known to Schatz) not mentioned. SCHATZ 11324 
 
 Erifile. Drama per musica da rappresentarsi in Roma nel Tratro 
 delle Dame nel corrente carnevale dell' anno MDCCLII . 
 
 \cm 
 
 Roma, Fausto Amidei, n. d. 63 p. 15 C 
 
 Three acts. Author not mentioned and unknown to Schatz. Dedicatory poem, 
 argument, scenario, cast and name of Girolamo Abos as composer. ML 50.2.E63A2 
 
 L'Erifile. Drama per musica da rappresentarsi nel famoso Teatro 
 Vendramino a S. Salvatore, 1'anno 1697 . . . 
 Venezia, Nicolini, 1697. 60 p. 14% cm . 
 
 Three acts. Dedication signed by the author, Giovanni Battista Neri, argument, 
 scenario, notice to the reader, with name of Attilio Arioati as composer. 
 
 SCHATZ 319 
 
 Erifile. Dramma per musica da rappresentarsi nel Ducale Teatro il 
 carnovale dell' anno 1781 . . . 
 
 Modena, per gli eredi di Bartolomeo Soliani, n. d. 45 p. 16 cm . 
 
 Three acts. Impresario's dedication, argument, scenario, cast, and name of the 
 composer, Francesco Bianchi, but not of the author, Giovanni di Gamerra. 
 
 First performed, as indicated, February 3, 1781; at Florence, Teatro della Pergola, 
 January. 1779. SCHATZ 989 
 
 Erifile. Dramma per musica da rappresentarsi nel Teatro da S. 
 Agostino il carnovale dell' anno 1783 . . . 
 
 Genova, Stamperia Gesiniana, n. d. 54, [1] p. 13\ cm . 
 
 Three acts. By Giovanni di Gamerra, who is not mentioned. Argument, cast, 
 scenario, and name of Giuseppe Giordan! as the composer. On p. 49-54, cast and 
 description of "Zorei e Ozai ballo pan tomimo in quattro atti composto . . . da Fran- 
 cesco Clerico," who was also responsible for the music. SCHATZ 3844 
 
 Erifile. Dramma per musica da rappresentarsi nel Regio Teatro di 
 Torino nel carnovale del 1786 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 4% P- 15% cm . 
 
 Three acts. By Giovanni de Gamerra (with alterations), who is not mentioned. 
 Argument, cast, scenario, and the names of. Carlo Monza as composer of the opera, 
 of vittorio Amedeo Canavasso as composer of the music for Francesco Clerico's bal- 
 lets, of which the two first had the titles "La vanita corretta dal disprezzo" and 
 "La caduta di Troia." Cast, argument, scenario. 
 
 First performed at Turin, as indicated, December 26, 1785. SCHATZ 6614 
 
 Erifile regina di Lacinto. Dramma per musica del Sig. de Gamerra. 
 Rappresentato per la prima volta nel Regio Teatro di Londra 1'anno 
 MDCCLXXVIIL 
 
 [Sassari, Giuseppe Piattoli, 1784\. 6 p. 1., 64 p. 19 cm . 
 
 The imprint on the first p. 1., bearing the engraved coat of arms of and inscription 
 to cavaliere Rovero di Piea. The other p. 1. contain a lengthy dedication by the 
 
 72251 VOL 114 29
 
 450 LIBRARY OF CONGRESS 
 
 Eriflle regina di Lacinto Continued. 
 
 publisher and a prefatory note dated Sassari, July 11, 1784, and addressed by him 
 to the author. According to this the agreement was that several of Gamerra's works, 
 including such that were not yet published, were to be published. Nothing came 
 of it because "un ragguardevole pereonaggio di questa cittk," to whose care they 
 had been entrusted, kept them and they were not found again until after his death. 
 On the basis of his privilege of 1778 Piattoli now first publishes "Erifile" and, as he 
 justly remarks, in view of the paper, press work, and a few exquisite vignettes, in a 
 better make up than was customary. He finally wishes to know the author's pleasure 
 with respect to the other dramas. 
 
 The opera was first performed at London, Haymarket, February, 1778. 
 
 SCHATZ 9244 
 
 Erigone. O. T. of Mondonville's Bacchus et Erigone. 
 
 Erik Eiegod. Eine oper af J. Baggesen. 
 
 Ki0benhavn, J. F. Morihorstes erike, 1798. 64 p- 16\ cm . 
 
 Three acts. The composer, Friedrich Ludwig Aemilius Kunzen, is not mentioned. 
 
 First performed at Copenhagen, Royal Theatre, January 30, 1798. SCHATZ 5316 
 
 L'Erinto, drama regio musicals comparso tra le festive accoglienze 
 fatte dalla Serenissima casa elettorale alia venuta del reverendissimOj 
 et eminentissimo principe Massimiliano Gandolfo, arcivescovo di 
 Saltzburgo .... 
 
 Monaco, Giovanni Jecklino, 1671. 8 p. 1., 99 p. 18\ cm - 
 Three acts and prologue. Argument and dedicatory sonnet signed: 
 "II Gisberti consacrando le fatichede due grandi autori, dell illmo Signer conte 
 Bissari poeta, e del S. Gio. Gaspare Kerl M. di capella elet." 
 
 Performed, as indicated, at Munich, Hoftheater, 1671; previously there, 1661. 
 
 SCHATZ 5141 
 
 L'Erismena. Drama per musica di Aurelio Aureli, favola seconda 
 dedicata all' illustriss. Signer Giacomo Cavalli. 
 
 Venetia, Andrea Giuliani, 1655. 89, 23 p. 13% cm . 
 
 Three acta with prologue, followed by the 23 p. of the "Scenario dell' Erismena 
 di Aurelio Aureli." Author's dedication, preface mentioning Pietro Francesco 
 Cavalli as the composer, and argument. 
 
 First performed at Venice, Teatro di S. Apollinare, carnival 1655. SCHATZ 1720 
 
 L'Eritrea; Drama undecima posthumo di Giovanni Faustini. Da 
 rappresentarsi nel noviss. Teatro di S. Apponale Fanno 1652. Posta 
 in musica dal Sig. Francesco Cavalli dignissimo organista di San 
 Marco . 
 
 cm 
 
 Venetia, Giuliani, 1652. 84 p. 14 
 Three acts with prologue. Dedication by Giacomo Batti and Delucidatione della 
 favola. SCHATZ 1721 
 
 Der erkennte Cyrus. Tr. of Basse's U Giro riconosciuto. 
 
 " L'Ermelinda. Drama per musica da rappresentarsi nel Teatro di 
 Canaregio 1'anno 1679 del nobil huomo Sier Marco Morosini . . . 
 Venetia, Francesco Nicolini, 1679. 57 p., 1 1. 14 cm - 
 
 Three acts. Publisher's dedication, argument, scenario, list of errata (1 fly leaf) 
 and notice to the reader, in which the author eays: 
 
 "dopo haver composte dieci opere comiche, che non poco t'hanno eodisfatto, ti 
 presento in drama per musica una regina, giovinetta, semplice e nuda; coprila tu 
 col manto del tuo compatimento, ch'io m'accingo alia fatica. Vivi felice." 
 
 The composer, Carlo Sajon, is not mentioned. SCHATZ 9263
 
 OPERA LIBRETTOS 451 
 
 L'Ermengarda. Dramma per musica da rappresentarsi nell' au- 
 tunno MDCCXXIII. Nel Teatro Giustiniano di San Moise. 
 
 Venezia, Carlo Buonarrigo, n. d. 1+8 p. 14% cm - 
 
 Three acts. Argument and scenario. Neither the author Antonio Maria Luchini, 
 is mentioned, nor the composer, Tommaso Albinoni. SCHATZ 91 
 
 L'Ermengarda regina de' Longobardi. Drama per musica da. 
 rappresentarsi nel famoso Teatro Grimano a S. S. Giovanni, e Paolo, 
 1'anno 1670 . . . 
 
 Venetia, Francesco Nicolini, 1670. front., 81 p. 14 cm - 
 
 Three acts. Publisher's notice, in which he says: 
 
 "... Ermengarda, (che doveva esser rappresentata per seconda, ma, che per la 
 perdita del Sig. cav. Cesti e stato necessatiamente alterato dall' ordine .... 
 
 "Spera [1'autore] perci6 se non in altro di sodisfarti nella quantita dell' ariette 
 quanto nemiche delle buone regole del filo del drama, e della brevita, altretanto 
 per6 grate al moderno secolo per 1'harmonia della musica (composta dalla virtu 
 impareggiabile del Sig. Antonio Sartorio, mastro di capella del Sereniss. duca di 
 Bronsuich ..." 
 
 The author, Pietro Dolfino, is not mentioned. Argument and scenario. 
 
 SCHATZ 9482 
 
 L'Ermione. Drama per musica nel giorno natalizio, e primo di 
 maggiorita dell' Altezza Serenissima Elettorale di Massimiliano 
 Emanuele, duca dell' una, e 1'altra Baviera . . . 1'anno M.DCLXXX. 
 Posto in musica dal S. D. Giuseppe Antonio Bernabei . . . 
 Monaco, Giovanni Jecklino, n. d. 7 p. 1., 80, [1] p. 
 
 Argument, scenario, and dedication signed by the author, Ventura Terzago, and 
 dated "Monaco 11. Luglio 1680." Both in acts first and second ballets were intro- 
 duced, and at the end of the opera one was performed, called "Ganimede." The 
 ballets were invented by Mons. Rodier. The composer of the music is not mentioned. 
 
 SCHATZ 826 
 
 Das erndte-fest. Tr. of Schulz' H0st-gildet. 
 
 Ernelinda. Dramma per musica da rappresentarsi nel Teatro Tron 
 di S. Cassiano. II carnovale dell' anno 1750. 
 Venezia, Modesto Fenzo, 1750. 36 p. 14% cm . 
 
 Three acts. Cast, scenario, and notice to the reader, who is told : 
 "La prima volta, che fu dato alia luce il presente dramma parto di celeb re autore 
 [Francesco Silvani] ei recitb in questo teatro col titolo la Fede tradita, e vendicata, e ne 
 trasee un sommo universale applauso. In altri teatri con diversi titoli ma sempre 
 fortunamente replicossi, ed ora eu queste scene comparisce di bel nuovo, benche 
 abbreviate di molto quando non volessimo -dire stroppiato ..." 
 
 According to Wiel, "La fede tradita, e vendicata was performed at Venice, 1704 
 and 1715, with music by Francesco Gasparini, and 1726, with music by Antonio 
 Vivaldi. Now, one of the later titles of the libretto was, "Ricimero," and an opera of 
 this title (music by Galuppi) was first performed at Milan, Regio Ducal Teatro, 
 December 26, 1744 (Pioyano). Neither Galuppi nor any other composer is mentioned 
 in the Ernelinda (Venice, 1750) libretto, wnich points to a pasticcio, and indeed, 
 Allacci says, "musica da diversi." Wiel simply has, "Musica;? " Schatz attributes 
 the music to "Galuppi & andere componLsten, evidently on the strength of Galuppi's 
 "Ricimero," of Milan, 1744. Piovano does not commit himself, but says that if Erne- 
 linda was by Galuppi, it could have been but a replica of his "Ricimero." The quo- 
 tation from the notice to the reader does not permit suth an interpretation. The 
 probabilities are that "Ernelinda" was a pasticcio, with ingredients from Gasparini, 
 Vivaldi, and Galuppi. SCHATZ 3522
 
 452 LIBRARY OF CONGRESS 
 
 Ernelinde, princesse de Noryege, tragedie lyrique en trois actes, 
 represented, pour la premiere fois, par 1'Academie-royale de musique, 
 le mardi 24 novembre 1767. 
 Paris, Aux depens de I' Academic, chez de Lormel, 1767. 75 p. 
 
 Three acts. Dedication signed by the author, Poinsinet, argument, cast, name of 
 Philidor as composer, and this prefatory note: 
 
 "J'ai imit6 de 1'italien ce poeme, compose" par Mathieu Noris, V6nitien, & repre"- 
 sent6, pour la premiere fois, a Venise en 1684, sur le theatre de saint Ohrisostome, qui 
 e"toit alors un aes plus fameux de 1'Europe. Cet auteur a joui long-terns, meme apres 
 sa mort, d'une grande reputation; nous avons de lui 40 opera, mais celui-ci est le 
 seul qui se soit conserve" eur les theatres d'ltalie, malgr^ la vicissitude des gouts & des 
 terns. Je 1'ai vu representer a Parme, mis en musique par le sieur Ferardini, pro- 
 fesseur a Naples. Le grand intoret qui me parut r6sulter de ce drame, me dtermina 
 d'abord & le traduire, & de retour en France, cherchant & tenter un nouveau genre 
 sur le theatre de notre Acade"mie-Royale, j'ai cru ne pouvoir mieux faire que de 
 1'imiter. Le fameux abbe" Metastasio m'avoit preVenu; il en a copi6 des scenes 
 entieres, & notament la septieme du second acte, dans son Adrien : il ne m'en falloit 
 pas davantage pour me convaincre du m6rite rel de ce poeme. Mais quels change- 
 mens n'ai-je pas e"te contraint d'y faire? Un opera dure cinq heures en Italie, il n'en 
 doit pas durer trois en France, encore est-il ne'cessaire d'y insurer au moins un Ballet 
 par acte, chose absolument inconnue dans I'opera Italien. A Paris toutse chante; a 
 Rome, a Londres, a Vienne, les scenes se debitent. A ces corrections, que la duree 
 horaire & le gout national m'ont rendu indispensables, j'en ai joint, que mon gout 
 particulier ma dictees. Le troisieme acte n'a aucune ressemblance avec 1'original." 
 
 ML 50.2.E65P3 
 
 Ernesto ed Elisa, ballet. See Prota's I student!. 
 
 Ero e Leandro. Dramma per musica da rappresentarsi nel Real 
 Teatro di S. Carlo nel di 13. di agosto 1794. Per festeggiarsi la 
 nascita di S. M. la regina . . . 
 
 Napoli, Vincenzo Flauto, 1794. 4? P- 14 m - 
 
 Two acts. Author not mentioned, and unknown to Schatz. Impresario's dedica- 
 tion dated Naples, August 13, 1794, argument, scenario, cast, and name of Ferdinando 
 Pe> (Paer) as the composer. On p. 9-15, cast and description of Domenico Le Fevre's 
 "Venere con Adone ossia Le gelosie di Diana e di Marte, ballo allusivo al dramma di 
 Ero e Leandro." The composer of the music is not mentioned. SCHATZ 7551 
 
 Die eroberung des gueldenen finesses. A. T. of Reiser's Jason. 
 L'eroe castigliano, ballet. See Zingarelli's Apelle. 
 
 L'eroe cinese. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t. vi, 76 p. 16 cm . 
 Three acts. Argument. ML 49.A2M42 
 
 - L'eroe cinese. Dramma scritto dalP autore in Vienna . . . rap- 
 presentato la prima volta con musica del Bonno da giovani distinte 
 dame, e cavaneri nel Teatro dell' Imperial giardino di Schonbrunn 
 . . . nclla prima vera dell' anno 1752. 
 
 pi., [181}-258 p. 26 cm . (Metastasio, Opere, t. mi, Parigi, vedova 
 Herissant, 1780.) 
 
 Three acts. Argument. ML 49.A2M44 
 
 L'eroe cinese del Sig. abate Pietro Metastasio. Dramma per musica 
 da rappresentarsi nel Teatro Giustinian di San Moise. Nella pros- 
 sima fiera dell' Ascensione 1'anno MDCCLIII. 
 
 Venezia, Modesto Fenzo, n. a. Jfl p. 14\ cm - 
 
 Three acts. Argument, cast, scenario. Composer not mentioned and unknown 
 to Schatz. SCHATZ 11325
 
 OPERA LIBRETTOS 453 
 
 L'eroe cinese, dramma per musica da rappresentarsi nel Reggio 
 Teatro di Sans-Souci . . . 
 
 Berlino, Haude e Spener, 1773. 4 p. 1., 109 p. 17 cm . 
 
 Three acts. Argument, cast, scenario, and names of Metastasio as author, of 
 Johann Adolph Hasse as composer. German title page, "Der chinesigche held," 
 and text face Italian. 
 
 First performed, as indicated, at Potsdam, July 18, 1773; at Hubertusburg, Neues 
 Hofopernhaus, October 7, 1753. SCHATZ 4538 
 
 L'eroe cinese. Dramma per musica da rappresentarsi nel nuovo 
 Teatro di Corte . . . nel carnovale dell' anno MDCCLXXI. 
 Monaco, Francesco Gioseppe ThuiUe, n. d. 145, [1] p. 16 cm . 
 
 Three acts. Argument, cast, scenario, and names of Metastasio as the author, of 
 Sacchini as the composer. German title-page, "Der chinesische held," and text 
 face Italian. 
 
 First performed at Munich, April 27, 1770. SCHATZ 9219 
 
 L'eroe cinese, azione drammatica, da rappresentarsi nel Regio 
 Teatro Danese Den chinesiske belt . . . 
 
 Ki0benhavn, H. J. Graae, 1773. 51 p. 17 cm . 
 
 Metaetasio's three acts reduced to one! Argument, cast, and name of Sacchini 
 as the composer. Danish text faces Italian. 
 
 First performed, as indicated, February 5, 1773. SCHATZ 9220 
 
 L'eroe corona to. Serenata per musica da cantarsi in occasione delle 
 publiche feste per la inaugurazione della statua equestre di S. M. 
 Fedelissima D. Giuseppe I ... celebrate dal senate della Camera di 
 Lisbona il di vii. giugno MDCCLXXV. 
 
 [Lisbona], NeUa Stamperia reale, n. d. 22 p. 19. 
 
 Gaetano Martinelli is mentioned as the author, but David Perez, the composer, 
 is not mentioned. SCHATZ 7881 
 
 Gli eroi spartani. Dramma per musica per celebrare il felicissimo 
 
 g'orno natalizio del serenissimo Signore Don Giuseppe principe del 
 rasile li 21 agosto 1788. 
 
 [Lisbona], n. d., Nella stamperia reale. 31 p. 16$ cm . 
 One act. Gaetano Martinelli is mentioned as the author, Antonio Leal Moreira 
 as the composer. Argument and cast. 
 
 First performed at Lisbon, as indicated. SCHATZ 6630 
 
 L'eroica gratitudine. A. T. of Hasse's II Ruggiero. 
 
 L'eroica gratitudine. A. T. of Metastasio's drama II Ruggiero. 
 
 L'eroico amore. A. T. of Gasparini, Polaroli and Ballarotti's 
 L'Alciade. 
 
 L'Eroina lusitana. Dramma per musica da rappresentarsi nel 
 Regio Teatro di S. Carlo dettp della Principessa alia presenza di Sue 
 Altezze Reali li serenissimi principi del Brasile nostri signori la prima 
 volta, che onorano il teatro meaesimo in occasione delle pubbliche 
 feste per lo felicissimo nascimento di . . . D. Antonio principe della 
 Beira . . . Tautunno del 1'anno 1795. 
 Lisbona, Simoni Taddeo Ferreira, 1795. 143 p. 14 cm - 
 
 Two acts. Gaetano Martinelli is mentioned as the author, Antonio Leal Moreira 
 as the composer. ("La musica e tutta nuova.") Argument and cast. Portuguese 
 text faces Italian. Moreira is called "compositore di musica della Real camera di 
 S. M. F. e maestro del Real Seminario di Lisbona." SCHATZ 6635
 
 454 LIBRARY OF CONGRESS 
 
 Erosine, pastorale heroique; represent^ devant Leurs Majest6s, a 
 Fontainebleau, le 9 novembre 1765. 
 
 [Paris], CJiristophe BaUard, 1765. 24 p. 20\ cm . (Journal des 
 spectacles, t. ii, Paris, 1766.) 
 
 One act. ('apt and names of de Moncrif as author of the text, of Pierre Montan 
 Berton ae composer of the music, and of Laval, pere et filg as "composers" of the 
 ballet. Printed also as entree in " Les fetes liriques." ML 48.J7 
 
 Die errettete unschuld, oder Germanicus, roemischer general. In 
 einem singe-spiel auff dem Grossen Hamburgischen schau-platz vor- 
 gestellet. Im jahr 1706. 
 
 n. i., n. d. Unpaged. 18% cm . 
 
 Three acts. Argument and scenario. Neither the author (unknown to Schatz) 
 nor the composer, Carl Heinrich Griinewald, is mentioned. SCHATZ 4226 
 
 L'erreur d'un bon pere. A. T. of Dalayrac's Alexis. 
 
 L'erreur d'un moment, ou La suite de Julie; come'die m&e'e 
 d'ariettes et en un acte, par M. Monvel; represented pour la premiere 
 fois le 14 juin 1773. La musique est de M. Des Aides. 
 Paris, veuve Duchesne, 1773. viii, [9]-33 p. 19 cm . 
 
 Monvel's dedication and cast. On p. 62-63, the "Air: Guillot un jour" (I, 7). 
 
 YTJDIN PQ 
 
 - L'erreur d'un moment, ou La suite de Julie; come'die, melee 
 d'ariettes, et en un acte. Par M. Monvel; represented pour la pre- 
 miere fois le 14 juin 1773. La musique est de M. Des Aides. 
 Paris, veuve Duchesne, 1773. 39 p. 18% cm . 
 
 Cast. On p. 38-39, the "Air. Guillot un jour" (I, 7). SCHATZ 2517 
 
 Arien und gesaenge aus dem singspiel in einem aufzuge : Der 
 kurze irrthum nacn dem franzoesiscnen des herrn Monvel von 
 Grossmann, aufgefuehrt von der Tillyschen gessellschaft. 
 
 n. i., 1790. 8 p. 16\ cm . 
 
 First performed at Rostock, Stadt-theater, 1790. SCHATZ 2518 
 
 Die reue vor der that. Ein singspiel in einem aufzuge von 
 Monvell. Aus dem franzoesischen uebersetzt von G. F. W. Gross- 
 mann. 
 
 Frankfurt und Leipzig, Hermannische ouchhandlung, 1783. 52 <p. 
 
 14$ cm - 
 
 First performed at Frankfurt a. M., Neues Schauspielhaus im Junghofe, 1783. 
 
 SCHATZ 2519 
 
 L'errore innocente. A. T. of A. Scarlatti's Gl'equivoci nel sem 
 biante. 
 
 L'Ersilla. Drama per musica di Giovanni Faustini. Favola sesta. 
 Venetia, Francesco Valvasense, 1648. 83 p. 13\ cm . 
 
 Three acts and prologue. Argument. Composer not mentioned, and unknown to 
 Schatz. 
 
 First performed at Venice, Teatro di San Moise, carnival, 1648. SCHATZ 11326
 
 OPEEA LIBEETTOS 455 
 
 Erwin und Elmire, ein schauspiel mit gesang [verses] 
 Frankfurt und Leipsig, 1775. 64 p. 16 cm . 
 
 One act. By Johann Wolfgang von Goethe, who is not mentioned. First edition 
 in book-form, originally published in " Iris," 1775. 
 
 First performed with music by Johann Andre at Berlin, Dobbelinscb.es Theater, 
 July 17, 1775. SCHATZ 186 
 
 Erwin und Elmire. Ein singspiel. Von Goethe. Achte ausgabe. 
 Leipzig, Georg Joachim Goschen, 1788. 1 p. Z., 64 p. 17% cm . 
 Two acts. In verse. PT 1915. E8 1788 
 
 Erwin und Elmire, ein schauspiel mit gesang hi zwey aufzuegen, 
 von J. W. Goethe [verses]. Aufgefuehrt auf der hochfuerstlich. 
 Thurn und Taxischen Hof-schaubuehne. 
 
 Regensburg, mit Breitfeldischen schriften, n. d. 47 P- 17. 
 
 Nothing further recorded by Schatz. SCHATZ 11453 
 
 Die erzwungene ehe. Tr. of II matrimonio per forza. 
 
 An escape from France. A. T. of Reeve's British fortitude. 
 
 Eschila e Timoleone ossia La caduta di Timofane, tiranno di 
 Corinto, ballet. See Cimarosa's Traci amanti. 
 
 L'esclave ou Le marin genereux. Tr. of Piccinni's Gli stravaganti. 
 A escola dos ciosos. Tr. of Salieri's La scola de gelosi. 
 
 L'esiglio d'Amore. Drama del Signor Francesco Berni. Cantato 
 in Ferrara, nel Teatro di Cortile, con machine ordinate dal Signor 
 Carlo Pasetti. E musica de' Signori D. Andrea Mattioli, e Filiberto 
 Laurenzi . . . 
 
 Ferrara, Gioseppe Gironi, 1651. 4 P- l-> 7$> Ul P- 15 cm . 
 
 Three acts, with prologue. Dedication dated Ferrara, February 20, 1651, and 
 notice to the reader, informing him of the more than customary haste in writing and 
 preparing the libretto. SCHATZ 6106 
 
 L'esilio d' Apollo, pasticcio. See Portugal's La donna di genio 
 volubile, Lisbona, 1798. 
 
 L'esilio di M. T. Cicerone. See M. Curzio. 
 
 L'esilio di Tarquinio il Superbo, VII. r di Roma, ballet. See 
 Zingarelli's La morte di Mitridata. 
 
 Esione. Drama per musica da recitarsi nel Regio Teatro a la pre- 
 senza de le Loro A. A. R. R. 1'anno 1699 . . . 
 
 Torino, Gio. Battista Fontana, n. d. 4 p. 1., 88 p. 16 cm . 
 
 Three acts. Cast, argument, and name of composer, Francesco Ballarotti. The 
 librettist, Pietro d'Averara, is indicated by initial in the dedication. SCHATZ 592 
 
 Esione liberata, ballet. See Sarti's Cleomene. 
 
 L'Esopo. Tragicomedia per musica da rappresentarsi alle Sac. 
 Cesaree e Reali Maesta nel carnovale dell' anno MDCCIII. Posta in 
 musica dal Sig? Marc 'Antonio Ziani . . . con 1'arie perli balletti del 
 Sig? Gio. Gioseffo Hoffer . . .
 
 456 LIBRARY OF CONGRESS 
 
 L'Esopo Continued. 
 
 Vienna d' Austria, gli Jieredi Cosmeroviani deUa Stamperia di 
 8. M. C., n. d. 80 p. 1J&. 
 
 Three acts. Author not mentioned, and unknown to Schatz. In the notice to the 
 reader the anonymous author calls his text a "drama burlesco, ti dir6, che b.6 voluto 
 conformarlo alia piacevole stagione del carnevale, in cui deve rappresen tarsi." 
 
 SCHATZ 11185 
 
 L'Espagnol genereux Der grossmuethige Spanier, ballet. See 
 Tozzi's Zenobia. 
 
 L'es'perance. See L'indifference. 
 
 L'eta deU' oro. 
 
 p. 259-286. 15\ cm . (Ottavio Tronsarelli, Drammi musicali, Roma, 
 Francesco CorbeUetti, 1632.} 
 
 Three acts. Argument. No composer mentioned. ML 49.A2T7 
 
 Eteocle e Polinice. Drama per musica da rappresentarsi nel Teatro 
 
 a S. Salvatore, Fanno MDCLXXV . . . 
 
 Venetia, Francesco Nicolini, 1675. front., 72 p. 14 cm > 
 Three acts. By Tebaldo Fattorini who is not mentioned. Dedication, argument, 
 
 scenario and notice to the reader with name of Giovanni Legrenzi as composer. 
 
 SCHATZ 5535 
 
 Etio. A. T. of P. A. Ziani's L'innocenza risorta. 
 
 II etoit temps. See Destouches and Lalande's ballet Les Clemens. 
 
 Les etrennes de I'amour, comedie-ballet ; en un acte. Repre"- 
 sentee, pour la premiere fois par les Comediens francois ordinaires 
 du roi, le 1 Janvier 1769. Les paroles sont de M. Cailhava. La 
 musique de M. Boyer. 
 
 Paris, Le Jay, 1769. 39, [1] p. 19$ cm . 
 
 Printed in the text the airs "Qui mieux que moi," "Que votre dessein," "Un 
 militaire semillant," "De Phaeton la fin," "De tes froideurs," "Tendres amants si 
 vous voulez" (vaudeville). ML 50.2.E75 
 
 Etwas seltsames oder Schoenheit und ehrbarkeit. Tr. of Martin y 
 Soler's Una cosa rara. 
 
 L'Eudamia. Drama pastorale per musica ... da rappresentarsi 
 in essa citta [Parma] nel nuovo Ducal Teatro nel carnovale del 1718. 
 Roma & in Parma, Paolo Monti, 1718. 4 p. I, 48 p. 17\ cm . 
 
 Three acts. By conte Vincenzo Piazza di S. Stefano. In the impresario's dedi- 
 cation we are told that the present "drama" had been previously heard and pub- 
 lished in Rome. This dedication is dated Parma, February 6, 1718, and the reim- 
 primatur February 3, 1718. On p. 47^18 it is stated that Giovanni Maria Capello 
 was the composer and that ' ' per secondare le singolari idee delle di lui incomparabili 
 modulazioni si sono variati alcuni versi, e epecialmente si e posta qualche ana nella 
 forma eeguente." These are "Quel core altero" (I, 6), "Ahi che non son sicuri" 
 (II, 4), <7 Su quest' Olmo" (III, 8), "La tua nemica e mia" (III, 9), "Or son tutto 
 contento" (III, 12), "Che siate maledette" (III, 12). SCHATZ 1589 
 
 L'Eudossia. Dramma per musica recitato per le vacanze del car- 
 nevale dell' anno 1696. Nel nobile collegio Tolomei di Siena. 
 
 Siena, Stamp. delPubl., n. d. 64 p- 14 cm - 
 
 Three acts and prologue. Argument. Not recorded by Allacci, Wotquenne or 
 Schatz. Presumably composed by Giuseppe Fabbrini, if he still was in charge of 
 the music at the college in 1696. ' ML 48.A5 v.46
 
 OPERA LIBRETTOS 457 
 
 Eufrosine. Tr. of Me"hul's Euphrosine et le tyran corrige". 
 
 Eugenia. Dramma del Signer Beaumarchais ridotto a prosa, e 
 musica da Giuseppe Foppa per rappresentarsi nel nobilissimo Teatro 
 Venier in San Benedetto 1'autunno dell' anno 1792. 
 Venezia, Modesto Fenzo, 1792. 63 p. 17% cm . 
 
 Three acts. Cast and name of Sebastiano Nasolini as the composer. With the 
 opera was performed Giuseppe Traffieri's ballet "L'Americana in Scozia." The 
 composer of the music is not mentioned. SCHATZ 7000 
 
 - Eugenia. Dramma per musica, da rappresentarsi nel Teatro 
 Elettorale. 
 
 {cm 
 
 Dresda, n. pull., 1794. 151 p. 16 C 
 
 Three acts. Nasolini, the composer, is mentioned, but not Foppa, the author. 
 German title page, "Eugenie," and text face Italian, which has been versified and 
 otherwise shows differences from the original. 
 
 First performed 1794, as indicated. SCHATZ 7001 
 
 Eugenie. Tr. of Nasolini's Eugenia. 
 
 Eumene. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1 744, * v , P- [353]-447 
 p. 19 cm . 
 
 Three act?. Prefatory note and argument. No composer is mentioned. In the 
 "Catalogo" at end of t. x, date and place of first ed. are given as Venice, 1698. (See 
 below.) ML 49.A2Z3 
 
 - Eumene, pubblicato per la prima volta in Venezia 1698. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. i, p. 236-318. 
 21 cm . 
 
 Three acts. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Eumene. Drama per musica da rappresentarsi nel famosis- 
 simo Teatro Grimani di San Gio. Grisstomo 1'autunno dell' anno 
 MDCCXVII . . . 
 
 Venezia, Marino Rosetti, 1 71 7, n. d. 72 p. 15 cm . 
 
 Three acts. Publisher's dedication, argument, scenario, cast, name of Tpmmaso 
 Albinoni as composer, and notice to the reader. The libretto is by Antonio Salvi 
 (not mentioned), but in an altered version as appears from the notice to the reader: 
 
 "In questa nuova edizione si e, per degni nspetti, cambiato il luogo, e in con- 
 eequenza alcuno de' nomi degli atton . . . SCHATZ 92 
 
 Eumene. Drama per musica da rappresentarsi nel Teatro Gius- 
 tiniano di S. Mose il carnovale dell' anno MDCCXXIII. 
 Venezia, Carlo Buonarrigo, 1723. 1$ p. 15 cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned, and whose text is not to be 
 confused with Safvi's. Argument, notice to the reader, cast, scenario, and name of 
 Tommaso Albinoni as composer. SCHATZ 118 
 
 Eumene. Dramma per musica da rappresentarsi in Roma nel nobil 
 Teatro di Torre Argentina nel corrente carnevale dell' anno 
 MDCCLIV . . . 
 
 Roma, Fausto Amidei, n. d. 59 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, name of Antonio Aurisicchio as composer, 
 and dedicatory poem of the librettist, "Gioacchino Pizzi fra gli Arcadi Nivildo 
 Amarinzio." SCHATZ 503
 
 458 LIBRARY OF CONGRESS 
 
 Euniene. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto il carnovale dell' anno 1784. 
 
 Venezia, Modesto Fenzo, 1784. 53 p. 
 
 Three acts. Argument, cast, scenario, and name of composer, Ferdinando Giuseppe 
 Bertoni, but not of librettist, Apostolo Zeno. On p. 23-30, description, with cast, of the 
 first ballet, "Adriano in Siria, ballo eroico," by Domenico Leflevre [! Le Fevre]. The 
 composer of the music is not mentioned. 
 
 First performed, as indicated, December 26, 1783. SCHATZ 938. 
 
 Euinene. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto il carnovalle dell anno 1778. 
 Venezia, Modesto Fenzo, 1778. 55 p. 17 cm . 
 
 Three acts. By Apostolo Zeno. Argument, cast, scenario, and name of the com- 
 poser, Giovanni Battista Borghi. On p. 21-28, cast, preface, and detailed description 
 of "Cleopatra, ballo tragico pantomimo . . . del Giuseppe Canziani." The com- 
 poser is not mentioned. 
 
 First performed, as indicated, December 26, 1777. SCHATZ 1233 
 
 Eumene. Dramma per musica da rappresentarsi nel Real Teatro 
 delF Ajuda nel felicissimo.giorno natalizio del fedelissimo monarca 
 D. Giuseppe I ... 
 
 [Lisboa], NeUa stamperia reale, n. d. 72 p. 16 cm . 
 
 Three acts. By Apostolo Zeno. Argument, scenario, cast, and names of the com- 
 poser, Joao de Sousa Carvalho, and the librettist. 
 
 First performed, as indicated, June 6, 1773. SCHATZ 1668 
 
 Eumene. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino, nel carnovale del 1778 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 52 p. 16% cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Argument, cast, scenario, 
 and name of Giacomo Insanguine as composer. Vittorio Amedeo Canavasso com- 
 posed the music for the ballets, which had titles not specific enough to be quoted. 
 
 SCHATZ 4838 
 
 Eumene. Drama per musica da rappresentarsi nella Sala dell' 
 illustriss. Sig. conte d'Alibert nel carnevale dell' anno 1721 . . . 
 Roma, Tinassi, 1721. 81 p. 15 cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Antonio d'Alibert's dedi- 
 cation, argument, cast, name of Nicola Antonio Porpora as the composer. On 
 p. 71-81, the text of the two intermezzi, "Dorilla e Nesso." Schatz gives Porpora as 
 the composer of these, too, but it should be noted that Porpora's name appears at the 
 end of the opera text on p. 69, with no reference to these intermezzi. The author of 
 their text is not mentioned , and is unknown to Schatz . On p . 81 , the substitute aria for 
 III, 15, "Resta superbo cor." SCHATZ 8366 
 
 Eumene. Drama per musica da rappresentarsi nel nobil Teatro a 
 Torre Argentina il carnevale dell' anno 1765 . . . 
 Roma, Ottavio Puccinelli, n. d. 56 p. 15 cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Dedicatory sonnet, argu- 
 ment, scenario, cast and name of Antonio Sacchini as composer. 
 
 First performed in January 1765, as indicated. ML 50.2.E85S2 
 
 Eumene. Drama per musica da rappresentarsi nel giorno natalizio 
 delF Altezza Serenissima Elettorale Massimisliano Emanuele ... in 
 Monaco il dl 11 luglio dell' anno 1720. 
 
 Monaco, Enrigo Teodoro di Gotten, n. d. 3 p. 1., 70, [20] p. 15 cm . 
 
 Three acts. By Antonio Salvi, who is not mentioned. Cast, scenario, and notice 
 to the reader. The composer, Pietro Torri, is not mentioned. The unnumb. 20 p. 
 contain a scene-by-scene synopsis of the text in German. SCHATZ 10364
 
 OPERA LIBRETTOS 459 
 
 Eumene. Drama per musica da rappresentarsi nel Teatro di S. 
 Angelo 1'autunno dell' anno MDCXCVII. Di A. Z. 
 Venezia, Girolamo Albrizzi, 1697. 6 p. 1., 58 p. 15 cm . 
 
 Three acts. By Apostolo Zeno. Argument, dramaturgic prefatory note, and 
 scenario. The composer, Marc' Antonio Ziani, is not mentioned SCHATZ 11201 
 
 Second copy. ML 48. A5 v.10 
 
 L'Eupatra. Drama per musica. Di Giovanni Faustini. Favola 
 duodecima. 
 
 Venetia, U Ginammi, 1655. 118 p. 14 cm - 
 
 Prologue and three acts. Argument, scenario, publisher's dedication and notice 
 to the reader, in which he says: 
 
 "Ecco finalmente 1'Eupatra gia anni quattro promessa. Duodecima fatica dram- 
 matica del Sig. Gio. Faustini di felice memoria. Se le sue opere hanno in questa citta, 
 & nell' Italia tutta, dove frequentemente vengono rappresentate ottenuti gl'applausi 
 universal!, non si deve temere, che anco questa Principessa non habbia a coseguire i 
 dovuti li allori . . . L'autore quasi presago di sua intempestiva morte lascio di suo 
 pugno ne' fogli alcune notarelle, onde andavano poste certe canzonette, che sono poi 
 state fatte da virtuosissimo soggetto. A gl'idioti paiono oscure quelle favole, che solo 
 si svelano nell' ultime scene, ma gl'intendenti, e studiosi 1'amirano, poiche in simili 
 compositioni devono tenersi sospesi anco gl'ingegni piu curiosi, che cosi ha sempre 
 professato 1'autore, non solo nelle dodeci opere sin' hora stampate, ma in altre ancora, 
 che si riserbano gl'anni venturi, havendo egli sempre applicato tutto 1'animo all' 
 inventione, da che, per la continua, & incessante applicatione, ne deriv6 1'origine di 
 eua infermita, che troppo acerbamente in eta di trentadue anni gli Iev6 la vita . . . 
 Alcune cose per capo di brevita, tutto che stampate, non si cantano; si potranno per6 
 scorrere, essendo li versi segnati nel marline con due virgole." 
 
 The composer, Pietro Andrea Ziani, is not mentioned. 
 
 First performed at Venice, Teatro di Sant' Apolinare, carnival, 1655. 
 
 SCHATZ 11214 
 
 Euphrosine et Le tyran corrige, ou Le pouvoir de 1'amour; come- 
 die en trois actes & en vers, par F. Hoffman, mise en musique par 
 E. Mehul, represent ee pour la premiere fois par les Comediens italiens 
 ordinaires du Hoi, le samedi 4 sept. 1790, avec 1'ancien & nouveau 
 troisieme acte, pour 1'agrement des lecteurs & la facilite de 1'execu- 
 tion theatrale. 
 
 Liege, Bollen, Troisieme annee republicaine, [1794-95]. 88 p. 
 19\ cm . SCHATZ 6242 
 
 Eufrosine, zangspel, met balletten. Door P. C. Witsen Geys- 
 beek. 
 
 Amsteldam, Abraham Mars, 1798. [x], 123 p. 16\ cm . 
 
 Five acts. Dedicatory poem by Geysbeek dated November 1, 1798, and "voor- 
 bericht." SCHATZ 6274 
 
 Eurene. Drama per musica da rappresentarsi nel Regio Ducal 
 Teatro di Milano nel carnovale dell' anno 1729 . . . 
 
 Milano, Giuseppe Richino Malatesta, 1729. 5 p. 1., 59 p. 14\ cm - 
 Three acts. Impresario's dedication, argument, cast, scenario, and name of Luca 
 Antonio Predieri as composer. The author, Claudio Nicola Stampa, is not men- 
 tioned. 
 
 First performed in January, 1729, as indicated ML 48. A5 v.3 
 
 L'Euridamente. Drama regio di Giacpmo dall' Angelo, L'Assicu- 
 rato fra gl'Imperfetti. Da rappresentarsi nel Teatro di S. Moise . . . 
 
 Venetia, Gio. Pietro Pinelli, 1654. 8 4 P- 14 cm - 
 
 Three acts and prologue. Author's dedication dated Venice, January 20, 1654; 
 and his notice to tne reader with the name of Francesco Luccio as composer and 
 with apologies for the defects of his drama, due partly to his inexperience as libret- 
 tist and due also "perche nell' istesso tempo, che io componevo era posto alle note 
 musicali." SCHATZ 5746
 
 460 LIBRARY OF CONGRESS 
 
 L'Euridice d'Ottavio Rinuccini, ranresentata nello sponsalitio della 
 Christianiss. regina cli Francia, e di Navarra. [coat of arms] 
 Fiorenza, Cosimo Giunti, 1600. 4 p. 1., 16 I. 20\ cm . 
 
 On verso of last leaf printer's mark, a wood-cut. 
 
 The preliminary matter consists of the title page (verso blank), Ottavio Rinuccini'a 
 dedication to Maria Medici dated "Di Firenze il dl [blank] d'Ottobre 1600" (p. 1. 
 2-3, verso of 3 blank) and the list of Interlocutor! (p. 1. 4, verso blank). Though 
 easily accessible by quotation elsewhere, the famous dedication follows here in full: 
 
 "E etata openione di molti, Christianiss. Regina, che gl'antichi Greci, e Romani 
 cantassero eu le scene le tragedie intere, ma si nobil maniera di reoitare non che 
 rinnouata, ma ne pur che io sappia fin qul era state tentata da alcuno, & ci6 mi cre- 
 deu'io per difetto della musica moderna di gran lunga all' antica inferiore, ma pensiero 
 si fatto mi tolse interamente dtll' animo M. lacopo Peri, quando vdito 1'intentione 
 del Sig. lacopo Corsi, e mia mise con tanta gratia eotto le note la fauola di Dafne 
 composta da me solo per far vna semplice proua di quello, che potesse il canto dell' 
 eta noetra che incredibilmente piacque a que pochi, che 1'vdirono, onde preso animo, 
 e dato miglior forma alia stessa fauola, e di nuovo rappresentandola in casa il Sig. 
 lacopo, fu ella non solo dalla nobilta di tutta questa Patria fauorita, ma dalla Sere- 
 nissima Gran Duchessa, e gl'illustrissimi Cardinali Dal Monte, & Montalto vdita, e 
 commendata, ma molto maggior faupre, e fortuna ha sortito 1'Euridice messa in 
 musica dal medesimo Peri, con arte mirabils, e da altri non piu vsata hauendo meritato 
 dalla benignita, e magnificenza del Sereniss. Gran Duca d'essere rappresentata in 
 nobilissima seena alia presenza di V. M. del Cardinale Legato, e di tanti principi, e 
 eignori d'ltalia, e di Francia, la onde cominciando io a conoscere, quanto simili 
 rappresentatipni in musica siano gradite, ho voluto recar in luce queste due, perche 
 altn di me piu intendenti si ingegnino di accrescere, e migliorare si fatte poesie, di 
 maniera, che non habbiano inuidia a quelle antiche tan to celebrate da i nobili scrit- 
 tori. Potra parere ad alcuno, che troppo ardire sia stato il mio in alterare il fine della 
 fauola d'Oneo, ma cosi mi e parso conueneuole in tempo di tanta allegrezza, hauendo 
 per mia giustificatione esempio di poeti Greci , in altre fauole, & il nostro Dante ardl 
 di affermare essersi sommereo Vlisse nella sua nauigitione, tutto che Omero, e gl'altri 
 poeti hauessero cantato il contrario. Cosi parimente ho seguito 1'autorita di Sofocle 
 nel L'Aiace in far riuolger la scena non potendosi rappresentar altrimenti le preghiere, 
 & i lamenti d'Orfeo. Riconoeca V. M. in queste mie ben che piccole fatiche 1'humil 
 deuotione dell' animo verso di lei, & viua lungamente felice per riceuer da Iddio 
 ogni giorno maggior grazie, e maggior fauori." 
 
 It will be noticed that Rinuccini mentions only Jacopo Peri as composer of his 
 "L'Euridice," yet we know from Peri himself, that part of the music used on October 
 6, 1600, the date of first performance of "L'Euridice" was by Giulio Caccini. He 
 informed the public in his score of "L'Euridice," dated 1600, but actually published 
 in February, 1601, at the earliest, since the dedication 1 is dated February 6, 1600 
 (old style; new sty le= February G, 1601): 
 
 "E benche fin allora 1'avessi fatta nel modo appunto che ora viene in luce, nondi- 
 meno Giulio Caccini (detto Romano) il cui sommo valore e noto al mondo, fece 1'arie 
 d'Euridice et alcune del Pastore e Ninfe del coro; e de' cori "Al canto, al ballo," 
 "Sospirate" e "Poi che gli eterni imperi " : c questo perche dovevano essere cantate 
 da persone dependent! da lui, le quail arie si leggono nella sua, composta e stampata 
 pur dopo che questa mia fu rappresentata a S. M. Cristianissima ..." 
 
 In other words, Peri would give us to understand that the interpolation of music 
 by his rival, Caccini, was wholly unnecessary; that it was forced on him; that Caccini 
 had composed, by October 6, 1600, only a small part of Rinuccini's text; and that he 
 completed the score not until after the performances. Convinced of his own priority, 
 Peri seems to have felt especially disappointed because Caccini succeeded in getting 
 his own, later score sooner published than he, Peri. 
 
 If Peri's statements are correct, then Caccini must have composed the larger part 
 of his score in a hurry, since he dates the dedication of his score December 20, 1600, 
 which permits the inference that the score was not on the market until early in 1 601 , i. e. , 
 dated by the publisher, Giorgio Marescoti 1600, but published during that part of the 
 old-style year 1600, which according to the new would be 1601. Peri's statements 
 are indirectly corroborated by the fact that Caccini is singularly silent on the whole 
 question of priority, and has nothing whatsoever to say about the history of his score 
 in the performances of 1600. He simply writes: 
 
 1 In this dedication Peri speaks of his "Euridice" as "le nuove musiche [!!] fatte da me nello sponsalizio 
 della Maesta Vostra." In other words, Peri used this famous term, at least in print, prior to Caccini, 
 whose " Le Nuove musiche " have as date of dedication February 1, 1601, id est 1602, and as date of the 
 Licenza July 1, 1602. The old-style date of the title page (1601) is misleading. The modem date, of 
 course, is 1602.
 
 OPEEA LIBRETTOS 461 
 
 L' Euridice Continu ed . 
 
 "Avendo io composto in musica in stile rappresentativo la favola d'Euridice e 
 fatta la stampare." 
 
 Caccini did not have the satisfaction of seeing his entire score performed at Florence 
 until December 5, 1602, when his "L'Euridice " was given in honor of cardinals Mont- 
 alto and Del Monte and marchese Peretti. The performance lasted two hours, and it 
 would seem that Caccini had at least this satisfaction, that no interpolations from 
 Peri's "L'Euridice" were forced upon him. 
 
 Solerti, who discovered this performance of 1602, describes the 1600 libretto in his 
 "Albori " (vol. 2) exactly &s above, i. e., with a blank date in Rinuccini's dedication, 
 but in his "Gli origini del melodramma " he reprints the dedication, with the date of 
 October 4, and so did Guidi in his reprint of Peri's "Euridice" score. It seems that 
 two issues of the libretto exist differing from each other in that particular only. 
 
 SCHATZ 7919 
 
 Euridice di Tessaglia. Pastorale regia di recita musicale del. Co 
 Pietro Paolo Bissari K. 
 
 Vicenza, gl'heredi Amadij, 1658. 78, [2] p. lS\ cm . 
 
 Prologue and three acts. Argument. The two p. at end contain a notice to the 
 reader. Composer not mentioned, and unknown to Schatz. SCHATZ 11327 
 
 L'Eurillo overo La costanza negl' amori fra' pastori. Dramma pas- 
 torale da recitarsi nel carnevale del presente anno 1697 in casa del 
 Signer conte Centini. Posto in musica dal Signer Gioseppe della 
 Porta. 
 
 Roma, Gioseppe Vannacci, 1697. 4$ P- 13% cm . 
 
 Three acts. Author unknown to Schatz. The notice to the reader says : 
 "L'Eurillo dramma pastorale altre volte si e visto ne' teatri, e si fa vedere il pre- 
 eente anno in Roma, mutato per6 nella maggior parte per 1'arie aggiunte, e per alcune 
 scene, e parte de' recitativi levati, ed accresciuti da Pintace de Trosis: Cio si e fatto 
 per conformarsi al gusto moderno; ee ritroverai qualche errore, compatiscilo, attri- 
 buendo alia fretta si e havuta, essendo in meno d'un mese mutata, posta in musica, 
 ed imparata da recitanti." SCHATZ 2477 
 
 Eurimedonte e Timocleone, owero I rivali delusi. Drama per 
 musica da rappresentarsi nel nuovo famosissimo Teatro di S. Girolamo 
 per la fiera delle Bagatelle 1'anno 1746 . . . 
 
 Venezia, Luigi Pavini, 1746. 60 p. ll cm . 
 
 Three acts. By Girolamo Zanetti, who is not mentioned. Impresario's dedica- 
 tion, argument, cast, scenario, and name of Johann Ad. Hasse as the composer. 
 Schatz says that the performance took place in the house of Sig. Angelo Maria Labia, 
 with wax figures on the stage and the singers behind the scenes, (as was done so fre- 
 quently at Venice in the latter part of the 17th cent.). Also, Schatz says, the names 
 in the cast were all fictitious. SCHATZ 4579 
 
 Eurione. Dramma per musica da rappresentarsi nel Nuovo Teatro 
 delli quattro signori Asspciati Cavalien e patrizj della Regio-inclita 
 citta di Pavia. Nella primavera dell' anno 1775 . . . 
 
 Pavia, Porro, Bianchi e compagni, n. d. 48 p. 16 cm . 
 
 Three acts. Dedication, argument, cast, scenario, and names of Francesco Bianchi 
 as composer; of "Cleofante Doriano P. A.," (conte Antonio Papi) as author. The 
 imprimatur is dated May 25, 1775. With the opera were performed (composers of the 
 music not mentioned) Gaspare Angiolini's ballets, "L'orfano nella China" and 
 4 Sidney e Silly." ML 48.A5 v. 12 
 
 Eurione. Dramma per musica da rappresentarsi nel Nuovo Teatro 
 di Padova per la solita fiera di giugno dell' anno 1754 . . . 
 
 Venezia, Modesto Fenzo, 1754. 46 p. 17 cm . 
 
 Three acts. Impresario's dedication, argument, cast, scenario, name of Antonio 
 Gaetano Pampani as the composer. The author, Cleofonte Doriano, P. A. (=conte 
 Antonio Papi), is not mentioned. 
 
 First performed at Rome, Sala dei Sig rl Capranica, carnival, 1754. SCHATZ 7760
 
 462 LIBKARY OF CONGRESS 
 
 L'Euripo. Drama per musica di Giovanni Faustini, favola set- 
 tima . . . 
 
 Venetia, Francesco Miloco, 1649. 90 p. 14 cm - 
 
 Three acts, with prologue. Argument. The composer, Pietro Francesco Cavalli, 
 is not mentioned. 
 
 First performed at Venice, Teatro di S. Moise, carnival, 1649. SCHATZ 1738 
 
 Euristeo. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744> t- v > P- [197]-265. 
 19 cm . 
 
 Three acts and licenza. Argument. No composer is mentioned. In the "Cata- 
 logo " at end of t. x, date and place of first ed. are given as Vienna, 1724. (First per- 
 formed May 17, music by Caldara.) ML 49.A2Z3 
 
 Euristeo. Pubblicato per la prima volta in Vienna 1724. 
 
 Apostoto Zeno, Poesie drammatiche, Orleans, 1785-86, t. vi, p. 169 
 
 &1cm 
 
 & L . 
 
 Three acts and Licenza. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Euristeo. Dramma per musica da rappresentarsi nel Teatro 
 Grimani di S. Samuele nella fiera dell' Ascensione dell' anno 
 MDCCXXXII. 
 
 Venezia, Carlo Buonarigo, 1732. 1 p. 1., 48 p. 14 cm . 
 
 Three acts. By Apostolo Zeno, modernized by Domenico Lalli, neither of whom 
 is mentioned. Dedication, argument, scenario, cast, and name of Johann Adolph 
 Hasse as composer. On p. 48, the aria, "Non mi chiamar crudele," substituted for 
 "Torna al padre " (I, 7). SCHATZ 4580 
 
 L'Europa galante. Festa teatrale per musica da rappresentarsi nel 
 Regio Teatro di Berlino per il felicissimo giorno natalizio clella Sacra 
 Real Maesta di Sofia Dorotea, regina madre . . . 
 Berlino, A. Haude e J. C. Spener, 1748. 77, [3] p. 16%. 
 
 Three acts. Based on Houdart de la Motte's "L'Europe galante" by Leopoldo de 
 Villati, who is not mentioned. Carl Heinrich Graun is mentioned as the composer. 
 German title-page, "Das galante Europa," and text face Italian. 
 
 First performed, as indicated, March 27, 1748. SCHATZ 4'095 
 
 Europa riconosciuta. Dramma per musica da rappresentarsi nel 
 nuovo Regio Ducal Teatro di Milano nella solenne occasione del suo 
 primo aprimento nel mese d'Agosto dell' anno 1778 . . . 
 Milano, Gio. Batista Bianchi, n. d. 80 p. 16 cm . 
 
 Two acts. Mattia Verazi's name as author (in half-title preceding the title page), 
 that of Antonio Salieri ("La musica e nuova composizione ") as the composer. Dedi- 
 cation, argument, scenario, and cast. This opera was followed by Verazi's "Apollo 
 placato, azione teatrale pantomimica," of which is printed on p. [69]-80 cast, argu- 
 ment, and description with the name of Luigi de Baillou as the composer of the ballet 
 music and of Antonio Salieri of "la musica del recitative istrumentato, dell' aria e 
 del coro, con cu termina il ballo." 
 
 First performed at La Scala, as indicated, August 3, 3778. SCHATZ 9288 
 
 Second copy. ML 48. A5 v.12 
 
 L'Europe galante, ballet. Represente par 1'Academie royale de 
 musique, Fan 1697. Les paroles de M. de la Mothe & la musique de 
 M. Campra. XLIII. opera. 
 
 n. i., n. d. front., 123-270 p. 14 cm - (Recueil general des opera, 
 Paris, 1703. t. vi.) 
 
 Detached copy. Five entrees. 
 
 First performed, as indicated, October 24, 1697. SCHATZ 1548 
 
 Second copy. ML 48. R4
 
 OPEEA LIBRETTOS 463 
 
 Gli Europe! nelT isola de'canibali, ballet. See Piccinni's Ercole 
 al Termedonte. 
 
 Evelina. Score title of Sacchini's Arvire et Evelina. 
 
 Les evenements imprevus, comedie en trois actes, melee d'ariettes; 
 represented devant Leurs Majestes, a Versailles, le 11 novembre 1779, 
 et a Paris, par les Comediens italiens ordinaires du roi, le samedi 13 
 du me'me mois. Les paroles sont de M. d'Hele. La musique de M. 
 Gretry. 
 
 Paris, la veuve Duchesne, 1780. 4 8 P- 19 > 
 
 Cast. On p. 3-5 the air of "Qu'il est cruel d'aimer" (I, 1) and on p. 19-21 of 
 "Ah! dans le eiecle " (II, 1). SCHATZ 4151 
 
 " 
 
 Die unvermutheten zufaelle. Ein singspiel in drey aufzuegen. 
 Aus dem franzoesischen auf die musik des herrn Gretry iibersetzt von 
 herrn Stephanie dem juengern. Aufgefiihrt auf dem k. k. National- 
 hoftheater. 
 
 Wien, zufinden beym logenmeister, 1781. 61 p. 16\ cm . 
 
 First performed, as indicated, September 1, 1781. SCHATZ 4152 
 
 Grevenimenti di Rugero. L. T. of Albinoni's Alcina delusa da 
 Rugero. 
 
 Evergete. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S. Gio. Grisostomo, 1'autunno dell' anno 1748. 
 
 Venezia, AW insegna delta Scienza, 1748. 58 p. 15% cm . 
 
 Three acts. By Francesco Silvani and Domenico Lalli, who are not mentioned. 
 Argument, scenario, cast, and name of Lorenzo Gibelli as the composer. 
 
 SCHATZ 3828. 
 
 The exploits of Harlequin. A. T. of the British stage. 
 
 Die eyfersucht der bauern. Tr. of Sarti's Le gelosie villane. 
 
 Der eyfersuechtige bauer. Tr. of Naumann's II villano geloso. 
 L'Ezio. 
 
 [359}-434 p- 19 cm . (Pietro Metastasio, Opere drammatiche, Vene- 
 zia, Giuseppe Bettinelli, 1733-37, t. 1.) 
 
 Three acts. Argument. No composer is mentioned. ML 49.A2M4 
 
 - Ezio. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, t. ii, 1755, [193]-306 p. 
 16 cm . 
 
 Three acts. Argument. ML 49.A2M42 
 
 Ezio. Rappresentato la prima volta in Roma con musica dell' 
 Auleta, nel Teatro detto delle Dame, il di 26 decembre 1728. 
 
 pi, [%19]-S40 p. 26 cm . (Pietro Metastasio, Opere, t. ii, Parigi, 
 vedova Herissant, 1780.} 
 
 Three acts.- Argument. ML 49.A2M44 
 
 Aetius. 
 
 Metastasio, Tragedies-opera, Vienne, 1751, t. Hi, p. [129-261 ] ltf m . 
 Three acts. Richelet's translation of "Ezio."
 
 464 LIBRARY OF CONGRESS 
 
 Ezio. Opera del Signer abbate Metastasio. Dramma per musica da 
 rappresentarsi nelTeatrodi Brescia ilcarno vale 1743 . . . 
 
 Brescia, Giuseppe Pasini, 174%- 70 p. 17 cm . 
 
 Three acts. Cast, dedication, argument, and note, "La mueica e di diverei 
 autori." ML 50.2. E9 
 
 Ezio. Dramma per musica del Signore abate Pietro Metastasio . . . 
 da rappresentarsi nel Pubblico teatro di Lucca nell' autunno dell' 
 anno MDCCLXXXII. 
 Lucca, Francesco Bonsignori n. d. 64 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, and name of Felice Alessandri aa com- 
 poser. 
 
 First performed at Verona in 1767 at the Teatro Filarmonico. SCHATZ 145 
 
 Ezio. Dramma per musica da rappresentarsi nel Teatro Gius- 
 tiniani di San MOIS& nella prossima nera dell' Ascensione dell' anno 
 1778 . . . 
 
 Venezia, n. publ., n. d. 17% cm . 56 p. 
 
 Three acts. By Metastasio. Impresario's dedication, cast, scenario, argument, 
 and names of composer, Pasquale Anfossi ("La musica sara tutta nuova " ), and libret- 
 tist. On p. 21-24, description, with cast, signed by Marc Antonio Missoli as author 
 of "L'origine degli amori di Marc Antonio nell' arrivo di Cleopatra in Tareo." As 
 second ballet, by the same author, was performed "II compimento di quattro 
 desiderj." Composers of the music not mentioned. SCHATZ 275 
 
 Ezio. Drama per musica di Pietro Metastasio fra gli Arcadi Artino 
 Corasio. Da rappresentarsi nel Teatro detto delle Dame nel carno- 
 vale dell' anno 1729 ... 
 
 Roma, Zempel, e de Meij, n. d. 80 p. 15% cm . 
 
 Three acts. Dedication, argument, cast, scenario, and name of Pietro Auletta as 
 composer. 
 
 First performed, as indicated, on December 26, 1728. SCHATZ 498 
 
 Ezio : drama musica. Da rappresentarsi sopra il Teatro di S. M. B. 
 Seconda edizione. Ezio, an opera. Set to music. As it is repre- 
 sented at the King's Theatre in the Hay-Market . . . 
 London, G. Woodfall, 1764-5. 47 p. 19 cm . 
 
 Cast and argument. English translation faces the considerably altered Italian by 
 Metastasio. Neither he is mentioned nor the composer. Burney (IV, 485) calls this a 
 pasticcio, mentioning the arias, " Recagli quell' arciero," "Caro mio bene addio," and 
 Mi dona, mi renda," as composed by Giovanni Battista Pescetti. Other com- 
 posers were J. Chr. Bach, Galuppi, G. F. de Majo, and Vento. 
 
 First performed, as indicated, November 24, 1764. . ML 48.M2N 
 
 Ezio. Dramma per musica da rappresentarsi nel nobilissimo Teatro 
 di S. Benedetto il carnovale dell' anno MDCCLXVII . . . 
 
 Venezia, Modesto Fenzo, 1767. 72 p. 17% cm . 
 
 Three acts. Impresario's dedication, argument, cast, and name of composer, Fer- 
 nando Giuseppe Bertoni, but not of Metastasio. 
 
 First performed January, 1767. SCHATZ 912 
 
 Ezio. Drama per musica, da rappresentarsi nel Regio Teatro di 
 Torino nel carnovale del 1731. Alia presenza delle Reali Maesta del 
 re, e della regina di Sardegna, etc. 
 
 Torino, Gio. Battista Valetta, n. d. 4 p. 1., 64 p. 15\ cm . 
 
 Three acts. By Metastasio. Argument, scenario, cast, and name of the composer, 
 Riccardo Broschi. 
 
 First performed, as indicated, December 26, 1730. SCHATZ 1340
 
 OPERA LIBRETTOS 465 
 
 Ezio. Dramma per musica da rappresentarsi nel Nuovo Teatro delli 
 quattro Signori Associati Cavalieri e patrizj della Regio inclita citta 
 di Pavia nel carnovale dell' anno 1784 . . . 
 
 Pavia, Pietro Galeazzi, n. d. 1 p. 1., 50 p. 
 
 Three acts. By Metastasio. Dedication, argument, scenario, cast, and name of 
 the composer, Giovanni Battista Calvi. Of the three ballets by Eusebio Luzzi, the 
 first was called "II diavolo a quattro" (music by Gaspare Angiolini), and the second 
 "II convitato, " music by "Sig. cavaliere Gluch" [!J. No such ballet is mentioned 
 by Wotquenne or Liebeskind. Probably the music of Gluck's ballet Don Juan 
 (Vienna, 1761) was used. SCHATZ 1518 
 
 Ezio. Drama per musica da rappresentarsi in Verona nel Teatro 
 delF Accademia Filarmonica nel carnovale 1740 . . . 
 Verona, Dionigi Ramanzini, n. d. 70 p. 18\ cm . 
 
 Pages 49-50 (act II, sc. XIV) have been supplied in ms., so a note informs at end, 
 from the Padova 1765 ed. of Trajetta's "Ezio. ' Pages 20-21 also in ms. 
 
 Three acts. By Metastasio. Argument, cast, scenario, and statement: "La 
 musica del Sign. Antonio Cortona e di altri." SCHATZ 2264 
 
 Ezio, dramma per musica da rappresentarsi nel nobilissimo Teatro 
 di S. Benedetto nel carnovale dell' anno MDCCLXXII. 
 Venezia, Modesto Fenzo, 1772. 48 p. 18 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Cast, argument, scenario, and 
 name of Giuseppe Gazzaniga as the composer. 
 
 First performed in February, 1772. SCHATZ 3687 
 
 Ezio. Drama per musica da rappresentarsi nel Regio Teatro di 
 Berlino per il felicissimo giorno natalazio della Sacra Real Maesta di 
 Sofia Dorotea regina madre . . . 
 
 Berlino, Eaude e Spener, 1755. 16\ cm . 
 
 Imperfect; ends with p. 152. 
 
 Three acts. Altered from Metastasio by Giampietro Tagliazucchi, who is not 
 mentioned. Argument, scenario, and name of Carl Heinrich Graun as the com- 
 poser. German title page, "Aetius," and text face Italian. 
 
 First performed, as indicated, April 1, 1755. SCHATZ 4096 
 
 Ezio. Dramma per musica, da rappresentarsi nel Teatro della Regia 
 Elettoral corte di Dresda, nel carnevale dell' anno MDCCLV. La 
 musica & del Sig- Gio. Adolfo Hasse . . . 
 
 Dresda, la vedova Stossel e Giovanni Carlo Krause, n. d. 4 P- ^., 
 72 p. 21\ cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario. 
 Schatz and Mennicke call this Basse's second version. 
 
 First performed, as indicated, January 20, 1755. The so-called first version was 
 first performed at Naples, carnival, 1730 (Mennicke); Naples, fall of 1730 (Schatz, who 
 gives the cast). SCHATZ 4539 
 
 Ezio. Dramma per musica da rappresentarsi nel Teatro Malvezzi la 
 primavera dell' anno MDCCXLI. 
 Bologna, Bartolomeo Borghi, n. d. 76, [1] p. 17\ cm . 
 
 Three acts. Argument, cast, scenario, and names of Metaetaeio as author, of 
 Nicol6 Jommelli as composer. 
 
 First performed, aa indicated, April 29, 1741. SCHATZ 4857 
 
 72251 VOL 114 - 30
 
 466 LIBRARY OF CONGRESS 
 
 Ezio Continued. 
 
 Ezio. Dramrna per musica da rappresentarsi nel Teatro Ducale 
 di Stutgart festeggiandosi il felicissimo giorno natalizio di Sua Altezza 
 Serenissima Carlo due a regnante di Wirtemberg e Teck, etc. La 
 poesia & del Signer abbate rietro Metastasio ... La musica & nuo- 
 vamente composta dal Signor Nicolo Jommelli . . . 
 
 Stutgart, Cristofero Frederico Cotta, 1758. 135 p. 18 cm . 
 
 Three acts. Argument, cast, scenario. German title page, "Aetiue," and text 
 face Italian, which IB not quite the same as in the first version of 1741. For instance, 
 scene I, 6, has been much condensed and lacks the aria ; "Se un bell' ardire," as 
 also in the much altered scene I, 8, the aria, "Se povero il ruscello," and II, 3, the 
 aria, "Cara, se un core amante." The last two scenes of the first act are totally 
 different, etc., etc. The Stuttgart version, unless a fourth version exists, would then 
 belong to the third version (Vienna, October 4, 1749) and was first performed, as 
 indicated, February 11, 1758. The second version was first performed at Naples, 
 Teatro di San Carlo, November 4, 1748. SCHATZ 4858 
 
 Ezio. Dramma per musica da rappresentarsi nel Real Teatro 
 dell' Ajuda in occasione di festeggiarsi fl felicissimo giorno natalizio 
 di Sua Reale Maesta 1'augustissima Signora D. Marianna Vittoria . . . 
 nella primavera dell' anno 1772. 
 
 Lisbona, Stamperia reale, n. d. 74 P- 16 cm . 
 
 Three acts. Argument, cast, scenario, and names of Metastasio as author, of 
 Niccol6 Jommelli as composer ("nuova composizione"). The text is somewhat 
 different from that of the third (resp. fourth) version of 1758. For instance, the scene 
 I, 8, "Ezio sappia, ch'io bramo," has a different dialogue; I, 9, "Vedrem, se ardisce 
 ancora," has become I, 10; the scene, "Eccomi al cenno tuo, " with the aria. "So 
 chi t'accese," has been added as I, 9, and the two last scenes in act I are again dif- 
 ferent, the act closing with -the line, "Quando si sa morir," instead of "lo qui torno 
 a palpitar." Schatz calls this the third setting of "Ezio" by Jommelli. 
 
 First performed, as indicated, March 31, 1772. SCHATZ 4894 
 
 Ezio. Dramma per musica da rappresentarsi nel Teatro di S. Angelo 
 1'autunno dell' anno 1737 . . . 
 
 Venezia, Marino Rossetti, n. d. 70 p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication, 
 argument, cast, scenario, and name of Giovanni Battista Lampugnani as composer. 
 
 SCHATZ 5388 
 
 Ezio. Dramma per musica da rappresentarsi nel Teatro Grimani a 
 San Samuele per la fiera dell' Ascensione 1'anno 1743. 
 
 Venetia, Steffano Monti, n. d. Ip.l., 54 P- 15\ cm . 
 
 Three acts. Argument, cast, scenario, and name of Giovanni Battista Lampug- 
 nani as the composer. Metastasio is not mentioned. 
 
 First performed at Venice, Teatro di S. Angelo, fall of 1737. SCHATZ 11719 
 
 Ezio. Drama per musica da rappresentarsi nel famosissimo Teatro 
 Grimani di S. Gio. Grisostomo nel carnevale MDCCXLVII. 
 [Venezia], n. publ., n. d. 2 p. I., 50 p. 15 cm . 
 
 Three acts. By Metastaeio, who is not mentioned. Impresario's dedication ; 
 argument, cast, scenario, and name of Giovanni Battista Pescetti as the composer. 
 
 SCHATZ 7965 
 
 Ezio. Dramma per musica di Artino Corasio, Pastor Arcade, da 
 rappresentarsi nel famosissimo Teatro Grimani di S. Gio. Grisostomo 
 neir autunno dell' MDCCXXVIII . . . 
 
 Venezia, Carlo Buonarigo, n. d. 1 p. 1., 72 p. 14\ cm - 
 Three acts. By Metastasio, who is not mentioned. Dedication dated Venice, 
 Nov. 20, 1728, and signed by Domenico Lalli as impresario, argument, cast, scenario, 
 and name of Nicola Antonio Porpora as the composer. SCHATZ 8370
 
 OPERA LIBRETTOS 467 
 
 Ezio. Dramma per music a da rappresentarsi nel Teatro di San 
 Samuelle per la fiera dell' Ascensione ranno MDQCLIV. 
 Venezia, Angiolo Geremia, n. d. 4$ p. 15\ cm . 
 
 Three acts. By Metaetasio, who is not mentioned. Argument, cast, scenario, and 
 name of Giuseppe Scarlatti as the composer. SCHATZ 9545 
 
 Ezio. Dramma serio per musica da rappresentarsi nel Nuovo Teatro 
 di Vicenza la state dell' anno 1792 . . . 
 Vicenza, Giusto, n. d. 55 p. 17 cm . 
 
 Two acts. Dedication by the impresario, Angelo Recaldinij cast, and names of 
 Metastasio as author, of Angelo Tarchi as composer ("La musica e tutta nuova"). 
 With the opera was performed, composer of the music not mentioned, Filippo Beretti's 
 ballet, "La caccia d'Isabella regina di Spagna." SCHATZ 10239 
 
 Ezio. Dramma per musica da rappresentarsi nel Nuovo Teatro in 
 Padova Ja fiera dell' anno 1765 . . . 
 Padova, Fratelli Conzatti, n. d. 66 p. (incl. port.) 18 cm . 
 
 The engraved port . is that of ' ' Petrus Metaetasius ex numismate anni 1750. ' ' Three 
 acts. Impressano's dedication, argument, cast, scenario, and names of composer, 
 Tomasso Trajetta, and author, Metastasio. 
 
 First performed at Padova in June, 1765; at Rome, Teatro delle Dame, carnival, 
 1757. SCHATZ 10410 
 
 Ezio, ballet. See Zingarelli's Quinto Fabio. 
 Pabio vincitor di se stesso. See M. Curzio. 
 
 The fable of the pantomime dances explained. 
 n. i., n. d. 16 p. 20% cm . 
 
 Casts. Contains short explanation of the three dances, "Annette and Lubin," 
 "The Dutch wedding," and "The nymphs of Diana: or Cupid turned Faun." The 
 first is preceded by an introductory note to the effect that this is Noverre's pantomime 
 version of Adolphe Blaiee's opera, "Annette et Lubin" (1762). ML 52.2. F2 
 
 La facendiera. Dramma giocoso per musica da rappresentarsi in 
 Torino nel Teatro di S. A. S. il Signor principe di Carignano nell' 
 autunno dell' anno 1751. 
 
 Torino, Ignazio Cafasso, n. d. 48 p- 14 m - 
 
 Three acts. Cast. Author and composer not mentioned, and unknown to Schatz, 
 who calls this a pasticcio. 
 
 First performed at Venice, Teatro di S. Moise, 1746. SCHATZ 11328 
 
 Le facheux veuvage, opera-comique, en trois actes. Donne" a la 
 Foire Saint-Laurent en 1725. 
 
 Alexis Piron, Oeuvres complettes, Liege, 1776, v. 4, H$ P- 17\ cm . 
 
 En vaudevilles. Composer not recorded by Parfaict, etc. PQ 2019. P6 
 
 Der fagottist, oder Die zauberzither. Ein singspiel in drey aufzue- 
 gen von Joachim Perinet. Die musik ist von hrn. vVenzel Mueller . . . 
 Wien, Mathias Andreas Schmidt, 1791. 70 p. 16% cm . 
 
 Cast. 
 
 First performed at Vienna, Marinellische schaubiihne in der Leopoldstadt, June 8, 
 1791. Krone gives the title as, "Kaspar der Fagottist oder die Zauberzitter." 
 
 SCHATZ 6920
 
 468 LIBRARY OF CONGRESS 
 
 Der fagottist Continued. 
 
 - Die zauberzither. Eine komische oner in drey aufzuegen. 
 Neubearbeitet. Die musik ist von herrn Wenzel Miiller in men. 
 Aufgefuehrt auf dem kurfuerstl. Hoftheater in Muenchen. 
 
 [TP^en], Franz Seraph Huebschmann, 1795. 4 P- I- 88 p. 15\ cm . 
 
 The second and third p. 1. contain a preface signed C., which reads, in part: 
 
 "Herr Perinet in Wien, bey dem Marinellischen Theater, nahm die fabel zu dieser 
 komischen oper aus dem vierten band des von Wieland herausgegebenen vortreflichen 
 Dschinnistan, die aber dort Lulu, oder die Zauberfioete ueberechrieben ist und gab ihr 
 den titel : Die zauberzither und der Fagottist. Man geizt jetzt nach spektakelstuecken, 
 (ich will nicht untersuchen, ob die gute sache der Komischen oper dadurch gewinnen 
 wird) und so wurde denn die Zauberzither in Wien, in Prag aufgenommen, und sehr 
 oft gegeben. Auch wuenschte man eie auf andern theatern zu echen; allein, der 
 dialog und die verse, eins wie das andere, wimmelte von abgeschmacktheiten, wonl 
 sogar von unanstandigen zweydeutigkeiten , dass man bedenken tragen musste, diese 
 oper in ihrer originalgestalt zu geben. Die oekonomie des stueckes musste bleiben, 
 well sie zu genau mit der musik vereinigt war; eelbst in einigen gesaengen durften 
 gewisee ungereimtheiten nur gedaempft und geschwaecht werden, weil man sonst 
 verse ohne musik gehabt haben wuerde . . . Wenigstens habe ich alles versucht, 
 herrn Muellers musik keinen eintrag zu thun ..." 
 
 First performed at Munich, churfuerstl. National Schaubiihne, February 27, 1795. 
 
 SCHATZ 6921 
 
 - Gesaenge aus dem singspiele : Die zauberzither, pder Der fagot- 
 tist in drey aufzuegen von Joachim Perinet. Musik von Wenzel 
 Mueller in Wien. 
 
 Rostock, n. publ, 1796. 16 p. 16 cm . 
 
 First performed at Rostock, Stadttheater, 1796. SCHATZ 6922 
 
 - Die zauberzither. Eine komische oper in drey aufzuegen. 
 Neubearbeitet. Die musik ist von herrn Wenzel Mueller in Wien. 
 Zweyte auflage. 
 
 Prag, Calve, 1796. front., vi, [2], 124 p. 15 cm . 
 
 Contains the same preface as the Vienna ed. of 1795. SCHATZ 11714 
 
 The fair American : a comic opera, in three acts; as it is performed, 
 with universal applause, at the Theatre-Royal, Drury-Lane. Written 
 by F. Pilon . . . 
 London, J. Almon, 1785. 2 p. 1., 9-68 p. 20 cm . 
 
 The music was composed by Thomas Carter, who is not mentioned. Cast and 
 author's dedication. 
 
 First performed, as indicated, May 18, 1782. ML 50.2.F13C2 
 
 Second copy. LONQE 95 
 
 The fair Caledonian. A. T. of Love and money. 
 The fair foundling. A. T. of Patie and Peggy. 
 The fair maid of Kent. A. T. of Windsor castle. 
 
 The fairies. An opera. Taken from A midsummer night's dream, 
 written by Shakespear. As it is perform'd at the Theatre-Royal in 
 Drury-Lane. The songs from Shakespear, Milton, Waller, Dryden, 
 Lansdown, Hammond, etc. The music composed by Mr. Smith. 
 London, J. and R. Tonson and S. Draper, 1755. 48 p. 18 cm . 
 
 Three acts and prologue. Cast and argument. "Generally attributed to Garrick, 
 but is repudiated by him," says the Diet, of Nat. biog. The Advertisement on p. [6] 
 would seem to imply that John Christopher Smith himself wrote, i. e. compiled, the 
 text:
 
 OPEBA LIBRETTOS 469 
 
 The fairies Continued. 
 
 "Many passages of the first merit, and some whole scenes in the Midsummer Night's 
 Dream, are necessarily omitted in this opera, to reduce the performance to a proper 
 length; it was feared that even the best poetry would appear tedious when only 
 supported by recitative. Where Shakespear has not supplied the composer with 
 eongs, he has taken them from Milton, Waller, Dryden, Lansdown, Hammond, etc., 
 and it is hoped they will not seem to be unnaturally introduced." 
 
 On the other hand, these two lines in the "Prologue, written and spoken by Mr. 
 Garrick" (which, by the way, is a plea for English opera), would lead us to suspect 
 Garrick's authorship, after all: 
 
 " I dare not say, who wrote it I could tell ye, 
 
 To soften matters Signer Shakespearelli." 
 
 First performed, as indicated, February 3, 1755. ML 50.2.F14 
 
 Second copy. LONGE 50 
 Third copy. LONGE 298 
 
 - The fairies. An opera. Taken from A midsummer night's 
 dream, written by Shakespear. As it is perform'd at the Theatre- 
 Royal in Drury-Lane. The songs from Shakespear, Milton, Waller, 
 Dryden, Lansdown, Hammond, &c. The music composed by Mr. 
 Smith. The second edition. 
 London, J. and R. Tonson and S. Draper, 1755. 1+8 p. 
 
 Three acts and prologue. Cast and argument. Same as the first edition. 
 
 ML 50.2.F142 
 
 The fairy Favour. A masque . . . 
 
 London, Joseph Cooper, 1766. 4 p. 1., 19 p. 20 cm . 
 
 One act. By Thomas Hull. The composer not recorded by Clarence. 
 Performed at Covent Garden, 1766. LONGE 109 
 
 The songs and description, of the pantomime; called, The fairy 
 Favour: or, Harlequin animated. First performed at the Theatre 
 Royal, Drury Lane. Monday, December 27, 1790. 
 London, J. Wrighten, n. d. 11 p. 20 cm . 
 
 One act. Cast. By the publisher? No composer recorded by Clarence. 
 
 LONGE 207 
 
 The fairy prince: a masque. As it is performed at the Theatre- 
 Royal in Covent-Garden. 
 London, T. Becket, 1771. 4 p. 1., 25 p. 19 cm . 
 
 Two parts. Cast and Advertisement in which the author, George Colman (not 
 mentioned), says: 
 
 "The greater part of this masque is borrowed, with some variation, from Ben 
 Jonson. The same liberty has been taken with a few passages of Shakespeare, and a 
 chorus of the late Gilbert West, Esq. The final chorus is from Dryden ..." 
 
 Thomas Aug. Arne is mentioned as the composer. 
 
 First performed November 12, 1771. LONGE 52 
 
 The fairy-queen: an opera. Represented at the Queen's theatre 
 by Their Majesties servants. 
 London, Jacob Tonson, 1692. 3 p. 1., 52 p. 
 
 Five acts. Prologue and preface. According to Barclay Squire "an anonymous 
 adaptation of Shakespeare's "Midsummer night's dream," in which, curiously 
 enough, not a single line by Shakespeare appears with [Henry] Purcell's music. 
 It was produced at the Dorset Garden Theatre in the spring of 1692." 
 
 The curious preface reads in part: "And many of the English gentry are sensible 
 what advantage Paris receives, by the great number of strangers which frequent the 
 opera's three days in a week, throughout the year. If therefore an opera were estab- 
 lished here, by the favour of the nobility and gentry of England; I may modestly 
 conclude it would be some advantage to London, considering what a sum we must 
 yearly lay out among tradesmen for the fitting out so great a work. That Sir William
 
 470 LIBRARY OF CONGRESS 
 
 The fairy-queen Continued. 
 
 Davenant's Siege of Rhodes was the first opera we ever had in England, no man can 
 deny . . . 'Tis true, the Siege of Rhodes wanted the ornament of machines, which 
 they value themselves so much upon in Italy. And the dancing which they have in 
 such perfection in France. . . . That a few private persons should venture on BO 
 expensive a work as an opera, when none but princes or states exhibit 'em abroad, 
 I hope is no dishonour^*) our nation. And I dare affirm, if we had half the encourage- 
 ment in England, that they have in other countries, you might in a short time have 
 as good dancers in England as they have in France, though I despair of ever having 
 as good voices among us, as they have in Italy. These are the two great things which 
 travellers say we are most deficient in . . ." ML 50.2.F145 
 
 A fairy tale. In two acts. Taken from Shakespeare. As it is 
 performed at the Theatre-Royal in the Hay-Market. 
 London, G. Kearsly, 1 777. 24 p. 21 cm . 
 
 Two acts. Cast. In the text are mentioned as composers (principally) Michael 
 Arne and Dibdin, Burney, Hook, Smith. Text adapted by George Colman (not 
 mentioned) from "A midsummer night's dream." 
 
 First performed at Drury Lane, November 26, 1763 (Genest). LONGE 243 
 
 The faithful country maid. A. T. of The village wedding. 
 
 Falaride, tiranno d'Agrigento. Drama per musica da rappresen- 
 tarsi nel Teatro cli Sant' Anelo 1'anno MDCLXXXIV . . . 
 
 Venetia, Francesco Nicolini, 1684- 57 p. 
 
 Three acts. By Adriano Morselli. Dedication, argument, and name of Giovanni 
 Battista Bassani as composer, but not of librettist. 
 
 First performed at same theatre, fall of 1683. SCHATZ 634 
 
 II falegname. Commedia per musica da rappresentarsi nel Regio- 
 Ducal Teatro di Mantova la primavera dell' anno 1782 . . . 
 Mantova, Alberto Pazzoni, n. d. 72 p. 17% cm . 
 
 Three acts. By Giuseppe Palomba, who is not mentioned. Dedication dated 
 Mantova, May 8, 1782 (the opening of the operatic season), cast, scenario and name 
 of Domenico Cimarosa as composer. 
 
 First performed at Naples, Teatro de' Fiorentini, 1780. ML 50.2.F147C4 
 
 II falegname. Dramma giocoso per musica da rappresentarsi nel 
 Teatro Giustiniani in San Moise per prima opera delP autunno 1784. 
 
 Venezia, Modesto Fenzo, 1784. 52 p. 16% cm . 
 
 Two acts. By Giuseppe Palomba. Cast, name of the composer, Cimarosa, 
 scenario, and prefatory note, in which appears this statement: 
 
 "Quest' opera certamente non e delle piu regelate, ne delle piu adattate al gusto 
 d'un publico intelligente com' e quello di questa citta, essendo il presente dramma 
 di un poeta Napolitano, e scritto per il Teatro di Napoli dove non viene osservata ne 
 aggiustatezza di caratteri, ne condotta di rappresentazione." 
 
 SCHATZ 1922 
 
 II falegname. Dramma giocoso per musica da rappresentarsi nel 
 Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. publ, 1787. 135 p. 15\ cm . 
 
 Two acts, with name of the composer, Cimarosa, and cast added in ms. German 
 title-page, "Der tischler" and text face Italian. 
 
 First performed at Dresden in 1787. SCHATZ 1923 
 
 Der fall ist noch viel seltener oder Die geplagten ehemaenner. 
 O. T. of Schack's Die geplagten ehemaenner.
 
 OPERA LIBRETTOS 471 
 
 The fall of Phaeton. As it is perform'd at the Theatre-Royal in 
 Drury-Lane. Invented by Mr. Pritchard. The musick compos'd 
 by Mr. Arne. And the scenes painted by Mr. Hayman. 
 London, R. Turbut, 1736. 23 p. 19 cm . 
 
 Argument and cast. "The fall of Phaeton" on p. [5]-15 is followed on p. [17J-23 
 by "the songs in HARLEQUIN RESTOR'D, or Taste alamode." 
 
 First performed 1736, as indicated. ML 50.2.F15A7 
 
 Le fallaci apparenze. Dramma giocoso per musica in due atti. 
 Poesia di Gio. Battista Lorenzi, accomodata dal tenente Antonio 
 Valli da recitarsi nell' autunno 1793 nel nobilissimo Teatro di San 
 Samuele. 
 
 Venezia, Modesto Fenzo, 1793. 62 p. 18\ cm . 
 
 Scenario and name of Gennaro Astaritta as composer. Lorenzi's text originally 
 was called "Gelosia per gelosia." SCHATZ 386 
 
 Fallaride, tiranno d'Agricento, ballet. See Andreozzi's La prin- 
 cipessa filosofa. 
 
 Die falschen verdachte. Ein singspiel in zween aufzuegen. Dem 
 publikum der stadt Botzen von den niesigen tonkuenstlern gewiedmet. 
 Aufgefuehrt im fasching des jahrs 1796. 
 
 n. pi., Karl Jos. Weiss, n. d. 88 p. 15% cm . 
 
 With name of the composer, Franz Peter Gregorius Bihler, but not of the librettist, 
 who is unknown to Schatz . 
 
 First performed, as indicated, February 5, 1796. SCHATZ 1037 
 
 False and true, a play in three acts, now performing at the Theatre 
 Royal, Hay-market. 
 London, J. Bell, 1798. 2 p. I., 57, 5 p. 201. 
 
 Cast. Interspersed with songs, etc. By Rev. Moultrie. Neither he nor the 
 composer, Samuel Arnold, is mentioned. 
 
 First performed August 11, 1798. LONGE 249 
 
 Le false apparenze. Commedia per musica di Giuseppe Palomba 
 da rappresentarsi nel Teatro de' Fiorentini per prim' opera del cor- 
 rente anno 1791. 
 
 Napoli, n. publ., 1791. 42 p. 15 cm . 
 
 Two acts. Cast and name of Pietro Guglielmi as the composer. SCHATZ 4244 
 
 Le false magie per amore. Commedia per musica di Giuseppe 
 Palomba da rappresentarsi nel Teatro Nuovo sopra Toledo per 
 quart' opera di quest' anno 1791. 
 
 Napoli, Vincenzo Flauto, 1791. 46 p. 15$ cm . 
 
 Two acts. Cast and name of the composer, Domenico Cercia. SCHATZ 1775 
 
 La Falsirena. Drama per musica. Da rappresentarsi nel Teatro 
 di S. Angelo 1'anno 1690. Di D. Rinaldo Cialfi . . . 
 Venetia, Nicolini, 1690. 72 p. 14 cm . 
 
 Three acts. Argument, scenario, notice to the reader, with name of Marc' Antonio 
 Ziani as composer, and Tomaso Bezzi for the "sceniche rappresentanze," who also 
 signed the dedication. 
 
 First performed, as indicated, carnival, 1690. SCHATZ 11196
 
 472 LIBRARY OF CONGRESS 
 
 La Falsirena Continued. 
 
 - Marte deluso. Drama per musica da rappresentarsi nel Teatro 
 di S. Angelo 1'anno 1691. Di D. Rinaldo Cialh . . . 
 Venetia, Nicolini, 1691. 58 p. 14 cm . 
 
 Three acts. Author's dedication, "motivi del drama," scenario, and notice to the 
 reader, with Marc' Antonio Ziani's name as composer, beginning: "Eccoti un poetico 
 innesto tronco vecchio, gambo nuovo." This refers to the fact that this is "La Falsi- 
 rena," with a new title and considerably altered. For instance, I, 1 has now the 
 aria, "Speranze gradite," instead of "Speranza dolce e cara"; the second scene begins 
 with the aria, "Si, ei rapide correte," instead of "Perche mai luci adorate"; and the 
 aria, "II dardo di Cupido," has been dropped from the third scene. 
 
 First performed, as indicated, carnival, 1691. SCHATZ 11197 
 
 
 
 II falso amico, ballet. See La villeggiatura in scompiglio. 
 
 
 
 II falso Tiberino. Drama per musica da rappresentarsi nel Teatro 
 Tron di San Cassano il carnovale dell' anno MDCCVIII . . . 
 Venezia, Marino Rossetti, 1708. 7 p. 1., 58 p. 15 cm . 
 
 Three acts. Attributed by Allacci and Schatz to Zeno (and Pariati), but no such 
 text appears in his collected works. Impresario's dedication, argument, cast, and 
 name of Carlo Francesco Pollaroli as the composer. SCHATZ 8285 
 
 Falstaff osia Le tre burle. Dramma giocoso per musica in due atti 
 da rappresentarsi nel Teatro Ellettorale di Sassonia. 
 Dresda, n. pull., 1799. 183 p. 15\ cm . 
 
 Two acts. By Carlo Prospero Defranceschi, who is not mentioned. Antonio 
 Salieri is mentioned as the composer. German title-page, "Falstaff oder Dreymahl 
 angefuehrt," and text face Italian. 
 
 First performed at Dresden, as indicated, October 26, 1799; at Vienna, Burgtheater, 
 January 6, 1799; Karnthnerthortheater, January 3, 1799. SCHATZ 9289 
 
 Arien und gesaenge zu dem komischen singspiel : Falstaff in zwey 
 aufzuegen. Nach dem italiaenischen von C. Herklots. Die musik 
 von Salieri. 
 
 Berlin, n. publ., 1799. 70 p. 16 cm . 
 
 First performed at Berlin, Kgl. Nationaltheater, December 16, 1799. 
 
 SCHATZ 9290 
 
 La fama dell' onore, della virtu, dell' innocenza in carro trion- 
 fante. Dramma per musica da rappresentarsi nel Teatro Grimani di 
 S. Samuele nel carnovale dell' anno 1727 . . . 
 
 Venezia, Alvise Valvasense, n. d. 22 p. 14 m - 
 
 Three acts. Dedication by Montebaldo Vovi, apparently as author, prefatory note, 
 cast, and name of Salvatore Apolloni as composer. Schatz attributes the text incor- 
 rectly to several authors, since the author speaks of himself in the prefatory note in 
 the first person and says, of course exaggerating, that the text "fu composta in tre 
 minuti e mezzo d'ora. . SCHATZ 300 
 
 La famiglia in scompiglio. A. T. of Cimarosa's Li amanti comici. 
 
 La famiglia in scompiglio. Dramma giocoso per musica, da rap- 
 presentarsi nel Piccolo Teatro di S. A. E. di Sassonia. Dresda, il 
 carnevale 1766. 
 
 n. i., n. d. 141 p. 15\ cm . 
 
 Three acts. Author not mentioned, and unknown to Schatz. Cast, scenario, and 
 na'mes of Giuseppe Scolari as the composer, of H. A. Bussius as translator. His Ger- 
 man title, "Die in verwirrung lebende familie," and text face Italian. 
 
 First performed at Dresden, January 16, 1766, as indicated; at Parma, Teatro 
 Ducale, October 26, 1762. SCHATZ 9795
 
 OPERA LIBRETTOS 473 
 
 La famiglia riunita. A. T. of the ballet Orlina. 
 
 La famiglia riunita. A. T. of the ballo pantomimo Zulima. 
 
 La famiglia stravagante. Dramma giocoso per musica da rappre- 
 sentarsi in Parma nel R. D. Teatro di Corte il came vale dell' anno 
 MDCCXCIII . . . 
 
 Parma, Stamperia Carmignani, n. d. viii, 56 p. 17% cm . 
 
 Two acts. The author is not mentioned, and is unknown to Schatz. Impresario's 
 dedicatory poem, cast, and name of Giuseppe Nicolini as the composer. 
 
 First performed, as indicated, January, 1793; at Piacenza, Teatro della Cittadella, 
 carnival, 1793. SCHATZ 7151 
 
 Die familien-heirath, oder Der rekruten-aushub. Eine operette 
 in zwey aufzuegen. 
 
 Weimar, Hoffmanische buchhandlung, 1780. 135 p. 14\ cm - 
 
 Composed by Christian Ludwig Dieter, who is not mentioned. Author unknown 
 to Schatz, and also date of first performance at Stuttgart. SCHATZ 2578 
 
 La famille americaine, come"die en un acte et en prose melee de 
 chants. Paroles du citoyen Bouilly. Musique du citoyen Dalayrac. 
 Represented pour la premiere fois sur le Theatre de 1'Opera-comique 
 national, le l er vent6se de 1'an 4 me de la Republique francaise. 
 
 Blois, Jean Francois BiHault, an IV e de la Republique [1795-96]. 
 63 p. 21\ cm . 
 
 Cast and dedicatory poem "A la citoy enne Dugazon , ' ' who played ' ' Madame Daran- 
 ville, veuve americaine." 
 
 First performed, as indicated, February 20, 1796. ML 50.2.F17D2 
 
 La famille indigente, fait historique en un acte, mele" de chant. 
 Represente pour la premiere fois, a Paris, sur le Theatre de la rue 
 Feydeau, le 4 germinal, an 2 e de la Republique, 24 mars 1795. 
 Paroles du C. Planterre, musique du C. Gavaux. 
 Paris, Huet, 1797, an V. 31 p. 21\. 
 
 Cast. 
 
 Schatz and Cl. & L. give March 24, 1794, as date of first performance. 
 
 ML 50.2.F172G2 
 
 La famille reunie, comedie en deux actes, en prose, mSlSe d'ariettes, 
 represented pour la premiere fois par les Comediens italiens ordinaires 
 du roi, le [blank] novembre 1790. Les paroles sont de M. Favart; la 
 musique de M. Chapelle. 
 
 Paris, Brunei, 1790. 1 p.l., 43 p. 21 cm . 
 
 Cast and dedicatory poem by "Favart fils." 
 
 First performed Nov. 30, 1790. ML 50.2.F174C3 
 
 La famille suisse, opera en un acte. Represent 6 sur le Theatre de 
 la rue Feydeau, le 23 pluvi6se de Fan cinquieme. Paroles de C. 
 Saint-Just. Musique de A. Boieldieu. 
 
 Paris, FauveUe et Sagnier, n. d. 51 p. 21 cm . 
 
 Cast and prefatory note by the author thanking for the "1'accueil favorable" of 
 his piece. 
 
 First performed, as indicated, Feb. 11, 1797. ML 50.2.F176B6
 
 474 LIBRARY OF CONGRESS 
 
 II fanatico burlato. Commedia per musica di Saverio Zini da rap- 
 presentarsi nel Real Teatro del Fondo di Separazione per prim' opera 
 ai quest' anno 1787 . . . 
 
 Napoli, n. publ, 1787. 48 p. 15 cm . 
 
 Two acts. Impresario's dedication, prefatory note, and name of the composer, 
 Cimarosa. The dedication by the impresario, Giuseppe Lucchesi, reads in part: 
 
 "Di di versa natura saranno, S. R. M., li spettacoh che in quest' anno si rappre- 
 senteranno nel vostro Real Teatro del Fondo di quelli dell' anno scoreo. Non vi si 
 reciteranno delle tragedie in musica, ma saranno delle commediolo toscane con bal- 
 leti, avendo procurato di conservar tutta quella decenza tan to necessaria nei teatri. 
 Par che questo genere di rappresentazione incontri piu il genio del paese, e la M. V. 
 che con tanto calore promove gli onesti divertimenti, spero che voglia proteggere 
 questo mio spettacolo per potere in tal guisa meritare il pubblico compatimento ..." 
 
 With the opera were performed Giambattista Giannini's "Aci e Galatea, ballo 
 pastorale" and "II maestro di cappella, o sia II tutore deluso, ballo di mezzo carat- 
 tere." The composer of the music is not mentioned. SCHATZ 1924 
 
 II fanatico in-berlina. L. T. of Paisiello's La locanda. 
 
 II fanatico per gli antichi Romani. Commedia per musica di 
 Giuseppe Palomba da rappresentarsi nel Teatro de' Fiorentini nella 
 primavera di quest' anno 1777. 
 
 Napoli, n. publ, 1777. 60 p. 15 cm . 
 
 Three acts. Cast and name of the composer, Domenico Cimarosa. 
 
 SCHATZ 1982 
 
 II fanatico per la musica. Dramma giocoso in musica da rappre- 
 sentarsi nel Teatro Zagnoni in Bologna la primavera dell' anno 
 1782 . . . 
 
 Bologna, Sassi, n. d. 51 p. 15 cm . 
 
 Two acts. Author unknown to Schatz. Impresario's dedication, cast, scenario, 
 and names of the composers, Luigi Caruso and Carlo Spontoni. 
 
 First performed at Reggio, Teatro Pubblico, carnival, 1782; at Rome, Teatro delle 
 Dame, February 10, 1781. SCHATZ 1667 
 
 La fanciulla mal custodita, ballet. See Anfossi's Gli artigiani. 
 
 La fanciulla mal custodita, ballet. See Sarti's Fra i due litiganti 
 il terzo gode, Milano, (1795). 
 
 The fancy'd queen. An opera. As it is acted at the Theatre- 
 Royal in Covent-Garden. 
 London, Charles Corbett, 1783. 2 p. 1., 43, [1] p. 19 cm . 
 
 One act and prologue. Cast. Ballad opera, the airs of the 25 songs of which are 
 indicated by title. By Robert Drury, who is not mentioned. 
 
 First performed during the summer of 1733. LONGE 189 
 
 Fanfale. Parody of Destouches' Omphale. 
 
 II fantastico, commedia per musica. 
 
 Three acts. By Gennaro Antonio Federico, music by Leonardo Leo, first per- 
 formed at Naples, Teatro Nuovo sopra Toledo, carnival 1743. 
 
 Not in L. of C. 
 
 - II nuovo D. Chisciotte. Commedia per musica ra rappresentarsi 
 nel Teatro de' Fiorentini nell' autunno di quest' anno 1748 . . . 
 Napoli, Domenico Langiano, 11J^8. 4 P- l-> 5 P- 15 cm . 
 Three acts. Dedication by the impresario Tomaso Garzia ("nella stagion presente 
 nel mio teatro comparir deve"), cast, prefatory note and remark:
 
 OPERA LIBRETTOS 475 
 
 Fanfale Continued. 
 
 "La musica di tutte 1'arie segnate col segno e del fu maestro di cappella D. Leo- 
 nardo Leo, e quella della sinfonia, recitativi, finali, duetto, e dell' altre arie senza 
 alcun segno, e del Signor D. Pietro Gomens (Gomes), maestro di capella dell' Ecc. 
 Sig. duca di Castropignano." 
 
 Accordingly, only the arias "Quanto Amore e tristarello" (I, 3) "Aure amene, 
 che spirate" (I, 7), "A me tu chiami beetia" (I, 11), "Si signore, io lo far6" (I, 12), 
 "Cor mio inzuccherato " (I, 14), "Capace di piii amarti" (I, 17) were by Leo. In 
 other words, only the first act seems to have contained arias by him. The prefatory 
 note sheds further light on this curious replica: 
 
 ' ' Essendoci stato addossato il carico di dirigere la presente commedia, ultimo parto 
 del lepidissimo ingegno del fu Gennaro Antonio Federici, assai rinomato in si fatti 
 cornponimenti teatrali, e che col nome del Fantastico [music by Leo] fu rappresentata 
 sul Teatro Nuovo nel carnovale del 43.; noi, per mancanza del dilei autore, abbiamo 
 accettato I'impegno; avendo avuto pero il riguardo di non alterarla pun to, se non se 
 in quello, a cui siamo stati astretti dalla pura necessity. Quindi e, che se la trovi 
 abbrcviata di molto, e varia ancora in qualche parte di essa, come nel principle, ne' 
 finali, ed in molte arie, ci6 non e seguito, perche forse siasi stimato superfluo, o non 
 
 Sroprio quello ch'e stato tolto, o variato, ne per inferir alcun biasmo alia memoria 
 ell' autore, il quale come quello, ch'era molto apposto [mutilated] tiche composi- 
 zioni, non fu mai capace di simili mende. Ma ci6 si e dovuto fare per incontrare il 
 genio del publico, cui tanto alletta nelle sceniche rappresentazioni non meno la 
 novita degli awenimenti, che la brevita dell' azzione: ed anco per esserci stato 
 d'uopo adattarla all' abilita de' presenti cantanti totalmente diversi da quelli, che 
 la prima volta la rappresentarono, a qual effetto dove per necessita seguirne il divi- 
 eato cambiamento . . ." ML 50.2.F178L3 
 
 La fantesca. O. T. of Hasse's II capitano Galoppo. 
 
 Faramondo. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, t- vi, 104 P- 19 cm . 
 
 Three acte. Argument. No composer is mentioned. In the "Catalogo" at end 
 of t. x., date and place of first ed. are given as Venice, 1699. (See below.) 
 
 ML 49.A2Z3 
 
 - Faramondo, pubblicato per la prima volta in Venezia, 1699. 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. i, p. 319-413. 
 Three acts. Argument. No composer is mentioned. ML 49.A2Z4 
 
 II Faramondo. Drama per musica da rappresentarsi nella Sala 
 dell' illmo Sig. conte d'Alibert nel carnovale dell' anno 1720 . . . 
 Roma, Stamperia del Bernard, 1720. 72 p. 15 cm . 
 
 Three acts. So unlike Zeno's "Faramondo" as to be practically a new text by 
 unknown author. Dedication by conte d'Alibert ("nel mio nuovo teatro . . . questo 
 secondo drama"), argument, scenario, cast and name of Francesco Gasperini (Gas- 
 parini) as composer. ' ML 50.2.F2G3 
 
 Faramondo. Drama per musica da rappresentarsi nel Teatro Gri- 
 mani di San Gio. Grisostomo 1'anno MDCACIX . . . 
 Venetia, Nicolini, 1699. 72 p. (ind.fr out.} 15 cm . 
 
 Three acts. Dedication signed with Apostolo Zeno's initials, argument, scenario 
 The composer, Carlo Francesco Pollaroli, is not mentioned. 
 
 First performed, carnival, 1699, as indicated. SCHATZ 8286 
 
 - Faramondo. Drama per musica rappresentato nella Villa di 
 Pratolino. 
 
 Firenze, Gio. Filippo Cecchi, 1699. 4 p. 1., 70 p. 17 cm . 
 
 Three acts. Neither Zeno, the author, nor Carlo Francesco Pollaroli, the com- 
 poser, is mentioned. Scenario and argument, which reads in part: 
 
 "il drama, parto in principle d'una famosa penna; ma cui e convenuto patire 
 qualche alterazione, per essersi voluto adattare alia brevitA del tempo, e alia como- 
 ditil del Teatro."
 
 476 LIBRARY OF CONGRESS 
 
 Faramondo Continued. 
 
 The alterations are very much more numerous than these words would permit to 
 infer. The Florence replica, for instance, begins, " Piii che mai fiere, oh Dio " instead 
 of "Sveno, Germano; O Dio!" and the scenes VII, "Del Tasso infausto, " VIII, 
 "Mio re, pronta qui veggo, " have been replaced by "Tardi giungemmo, amici" and 
 "Signore, a tanta pompa." SCHATZ 8325 
 
 The farmer : A comic opera. In two acts. As it is performed at the 
 Theatres Royal in Ixmdon and Dublin. By John O Keefe, Esq. 
 Dublin, T. McDonnell, 1788. 55 p. 17 l cm . 
 
 London and Dublin casts. The composer, William Shield, is not mentioned. 
 First performed at Covent Garden, October 31, 1787. LONGE 149 
 
 - The songs, duets, choruses, etc in the musical entertainment of 
 the Farmer. Performed at the Theatre-Royal, Co vent-Garden. The 
 musick composed and selected by Mr. Shield. Seventh edition. 
 
 London, T. Cadell, 1789. 23 p. 21 cm . 
 
 Cast. John O'Keefe, the author, is not mentioned. ML 50.2. F18 S3 
 
 - The songs, duets, choruses, etc in the musical entertainment of 
 the Farmer. Performed at the Theatre-Royal, Co vent-Garden. 
 The musick composed and selected by Mr. Shield. Eighth edition. 
 
 London, T. Cadell, 1791. 19 p. 19 cm . 
 
 Two acts. By John O'Keefe, who is not mentioned. (Bound in at the end of the 
 libretto of Paisiello's "La locanda," London, 1792.) SCHATZ 7672 
 
 - The farmer : A comic opera in two acts as it is performed at the 
 Theatres Royal in London and Dublin. By John O Keefe, Esq. 
 
 Dublin, T. McDonnell, 1792. 36 p. 17 cm . 
 
 London and Dublin (1792) casts. William Shield, the composer, is not mentioned. 
 
 SCHATZ 9866 
 
 Farnace. Dramma per musica da rappresen tarsi sopra il famoso 
 Ducal Teatro di Bronsevico nella fiera estiva dell' anno 1754. 
 [Bronsevico], Keitel, n. d. Ill p. 15 cm . 
 
 Three acts. German title page, "Farnaces," and text face Italian. Argument, 
 cast, scenario. Author (Antonio Maria Lucchini) and composer (unknown to Schatz) 
 not mentioned. 
 
 First performed August, 1754, as indicated. SCHATZ 11329 
 
 Farnace. Drama per musica da rappresentarsi nel Teatro di Sant' 
 Angelo 1'autunno dell' anno 1703 . . . 
 
 Venezia, Marino Rossetti, 1703. 71 p. 15 cm . 
 
 Three acts. By Lorenzo Morani (not mentioned). Publisher's dedication, dated 
 Venice, November 15, argument, notice to the reader, cast, scenario, and name of 
 Antonio Caldara as composer. SCHATZ 1493 
 
 Farnace. Dramma per musica da rappresentarsi nel Teatro di 
 Bmsselles nel carnovale dell' anno 1729 . . . 
 
 Brusselle, n. pull., n. d. 4 p. 1., 53, [11] p. 18% cm . 
 
 Dedication by the impresario Gio. Sebastiano Brillandi ("dovendo esser 1'ultimo 
 [drama] della presente stagione"), scenario, argument, cast and name of Antonio 
 Cortona as the composer. This preliminary matter (except the dedication) and the 
 text both in Italian and French. 
 
 A curious libretto. It is clearly by Luchini (not mentioned) but with noticeable, 
 even if not very numerous differences. For instance, the scene I, 8 in the Venice 
 1726 version (see Vivaldi) "A sorprendermi il cor" is not in the Brussels version and 
 the former scene I, 9 "Qual sembianza improvisa" is now I, 8 but with the aria
 
 OPERA LIBRETTOS 477 
 
 Farnace Continued. 
 
 "Fia quel semplice augelletto" instead of "Al vezzeggiar d'un volto." The second 
 act begins with the former scene II, C> "Di Farnace e del figlio" and III, 12 (with 
 which the unpaged matter begins) is the same (though much condensed) as the former 
 scene III, 13 and last "Berenice morra, morra Pompeo." Now, the text of acts I and 
 II is given complete with added French prose translation, whereas of the third act 
 only the Italian text of the just mentioned (last) scene was printed, but to this was 
 added the complete French prose translation of the fhird act. ML 50.2.F21C6 
 
 Farnace. Drama per musica da rappresentarsi nel Regio Teatro di 
 Torino nel carnevale del 1751 . . . 
 
 Torino, Pietro Giuseppe Zappata e figliuoli, n. d. 4 P- l-> $6, [1] P> 
 
 Three acts. Author not mentioned, and unknown to Schatz. Argument, cast, 
 scenario, and name of David Perez as the composer. On the add. p., the substitute 
 aria, "Quell" alma feroce" (I, 9). Comparison with Ant. M. Lucchini's "Farnace" 
 text, as, for instance, set by Rinaldo da Capua (1739), proves that these two texts, 
 notwithstanding the many differences, are identical. Rinaldo da Capua's opera 
 begins: "Benche vinto, e sconfitto;" that of Perez: "Del nemico Farnace," which 
 are the opening words of scene 3, act I, in Rinaldo da Capua's "Farnace." 
 
 SCHATZ 7878 
 
 Farnace. Dramma per musica da rappresentarsi in Firenze nel 
 Teatro di via della Pergola nel carnevale dell' anno 1749 . . . 
 Firenze, Cosimo Maria, Pier, n. d. 55 p. 15 cm . 
 
 Three acts. Author not mentioned, and unknown to Schatz, but unmistakably, 
 and notwithstanding many differences, the text is identical with Lucchini's "Far- 
 nace" text, as comparison proves. Lucchini's text, at least in Rinaldo da Capua's 
 setting (1739), begins: "Benche A'into, e sconfitto;" in the Pescetti setting: ''Del 
 nemico Farnace," which are the opening words of scene 3, act I, in Rinaldo da Capua's 
 opera. 
 
 Argument, cast, scenario, and name of Giovanni Battista Pescetti as the composer. 
 
 SCHATZ 7966 
 
 Farnace. Drama per musica da rappresentarsi nel Teatro Tron di 
 San Cassiano il carnovale dell' anno MDOCXVIII. Di Domenico 
 Lalli . . . 
 
 Venezia, Marino Rossetti, 1718. 60 p. 15 cm . 
 
 Three acts. Author's dedication, argument, cast, scenario, and name of Carlo 
 Francesco Pollaroli as the composer. SCHATZ 8287 
 
 Farnace. Dramma per musica da rappresentarsi nel Teatro di 
 S. A. S. E. di Baviera nel carnevale deF anno 1740. 
 Monaco, Giv. Giac. Votter, n. d. 61 p. 15 cm . 
 
 Three acts. By Antonio Maria Lucchini, who is not mentioned. Argument, cast, 
 scenario, and name of Giovanni Porta as the composer. At the end of the argument 
 we read : 
 
 "II dramma non comparisce come nuovo . . . Ognun sa quanta sempre, benche 
 in varie guise mutato, incontrasse lode, e applause. Pur questa volta ancora diverse 
 dalle passate in alcune parti apparisce, ma tanto solo, quanto e convenuto adattarlo 
 agli egregi attori, che il rappresentano, e cantano, a cui per comodo della musica e 
 costretti la poesia a servire, piti che a se stessa." 
 
 First performed at Bologna, Teatro Malvezzi, spring of 1731. SCHATZ 8379 
 
 Farnace. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S. Gio. Grisostomo 1'autunno dell' anno 1739 . . . 
 
 Venezia, Marino Rossetti, 1739. 47 p. 14\ cm . 
 
 Three acts. By Ant. M. Lucchini. Composed by Rinaldo di Capua. Dedica- 
 tory preface by the impresario, Domenico Lalli, argument, cast, scenario, and name of 
 the composer. SCHATZ 8796
 
 478 LIBRARY OF CONGRESS 
 
 Farnace. Dramma per musica da rappresentarsi nel nobile Teatro 
 di San Samuele la fiera dell' Ascensione dell' anno 1776. 
 Venezia, Gio. Battista Casali, 1776. 56 p. 17 cm . 
 
 Three acts. By Antonio Maria Lucchini, who is not mentioned. Argument, cast, 
 scenario, and name of Giuseppe Sarti aa the composer (" La mueica sara tutta nuova "). 
 On p. [23J-34, argument, name of Carlo Canobbio as composer of the music, and 
 description of Onorato Vigan6'e "Andromaca in Epiro, ballo eroico, tragico panto- 
 mimo." ScHATz9473 
 
 Farnace. Drama per musica da rappresentarsi nel Teatro di Sant' 
 Angelo nel carnovale dell' anno 1726. 
 
 Venezia, Marino Rossetti, 1726. 57 p. 14\ cm . 
 
 Three acts. By Antonio Maria Luchini, who is not mentioned. Argument, cast, 
 scenario, and name of Antonio Vivaldi as the composer. SCHATZ 10766 
 
 Farsa per musica nelle nozze de' nobili sposi Niccold Panciatichi e 
 marchesa Vittoria Ximenes d'Aragona. 
 
 Firenze, Stamperia Mouckiana, 1762. xxiii p. 20 cm . 
 
 Vignettes, etc. Dedicatory poem by "L'autore G. S. G." Carl' Ambrogio Meli 
 is mentioned as the composer. The piece has no title, but may be called "Imene 
 ed Armonia" from the only two characters in the play. ML 48.M2F 
 
 Farsetta per musica da rappresentarsi nel Teatro alia Valle nel 
 carnevale dell' anno 1751 . . . 
 
 Roma, Ottavio PucdneUi, 1751. 27 p. lo\. 
 
 Two parts. Author not mentioned. Dedication by the publisher and Angelo 
 Lungi, cast and note "La musica e del Sig. Gioacchino Cocchi diretta dal Sig. An- 
 tonio Colli." The four characters of the farsetta are S. Niccold Tagliaciocchi, Agno- 
 lella, Calandra, Trappola. ML 50.2.F22C7 
 
 Farsetta in musica da rappresentarsi nel Teatro della citta di 
 Spolti nel carnevale dell' anno 1758 . . . 
 
 Spoleti, Domenico Giannini, n. d. 30, [1] p. 16% cm . 
 
 Two parts. Dedication, cast with same characters as above and name of Gioacchino 
 Cocchi as the composer. ML 50.2.F22C72 
 
 Der faschingsschmaus, ein singspiel in zween aufzuegen, von der 
 studierenden jugend des katholischen schulhauses in Augsburg bey 
 St. Salvator aufgefuehrt den 20. 21. und 22ten Hornunge [Feb.] 1797. 
 
 [Augsburg], Joseph Anton Hueber, n. d. [15] p. 18% cm . 
 
 Cast and "Vorbericht," in which "Matthaus Fischer, regulierter chorherr des 
 heiligen Augustus zum heiligen Kreuze in Augsburg" as composer. At head of title: 
 "Strafe der ungerechten rachbegierde, ein burgerliches trauerspiel . . . und" 
 
 SCHATZ 3220 
 
 The fashionable lady; or, Harlequin's opera. In the manner of a 
 rehearsal. As it is perform'd at the Theatre in Goodman's-Fields. 
 Written by Mr. Ralph. 
 London, J. Watts, 1730. 4 p. I, 94, [2] p. 18\ cm . 
 
 The [2] p. contain advertisement by Watts. 
 
 Ballad opera. Three acts. Cast. James Ralph's dedication and table of the 68 
 songs, the airs for which are printed in the text with their titles. 
 
 First performed April 2, 1730. LONOE 276 
 
 Der fassbinder. Tr. of Audinot and Gossec's Le tonnelier. 
 
 La fata Alcione ossia Amore ed innocenza, ballet. See Mayr's 
 Awiso ai maritati.
 
 OPERA LIBRETTOS 479 
 
 La fata benefica, ballet. See Cimarosa's I nemici generosi. 
 La fata benefica, ballet. See P. Guglielmi's Admeto. 
 
 La fata benefica. Dramma giocoso per musica da rappresentarsi 
 nel nobile Teatro dell' eccell ma casa Giustiniani in S. Moise il carne- 
 vale 1783. 
 
 Venezia, n. publ., n. d. 55 p. 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Michele Mortellari as the composer. SCHATZ 6680 
 
 La fata capricciosa. Dramma giocoso per musica di Giovanni 
 Bertati da rappresentarsi nel nobile Teatro Giustiniani in San Moise" 
 il carnovale dell' anno 1789. 
 
 Venezia, Modesto Fenzo, 1789. 58 p. 18. 
 
 Two acts. Scenario and name of Francesco Gardi as the composer. SCHATZ 3548 
 
 La fata meravigliosa. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro di S. Cassano nel carnevale 1745 . . . 
 Venezia, Modesto Fenzo, 1746 [!]. 59 p. 15\. 
 
 Three acts. Author not mentioned and unknown to Schatz. Impresario's dedi- 
 cation, cast, scenario, and name of Giuseppe Scolari as the composer. 
 
 SCHATZ 9796 
 
 La fata Urgella, ballet. See Gnecco's Lo sposo di tre. 
 
 Le fate. Dramma per musica. 
 
 Dresda, la vedova Stossel, n. d. Unpaged. 18%*. * 
 
 One act. Argument. Neither the author, Stefano Benedetto Pallavicini, is men- 
 tioned nor the composer, Giovanni Alberto Ristori. 
 
 First performed August 10, 1736, at Dresden, Hoftheater. SCHATZ 8817 
 
 The father and the son rivals. Tr. of T. Giordani's II padre e il 
 figlio rivali. 
 
 Le fatiche d'Ercole per Deianira. Drama per musica di Aurelio 
 Aureli, favola decima. Rappresentata nel ramosiss. Teatro Gri- 
 mani . . . 
 
 Venetia, Francesco Nicolini, 1662. front., 82 p. 14 cm . 
 
 Prologue and three acts. Author's dedication, argument, and notice to the reader, 
 in which he says: 
 
 "Sono hoggidi le persone della citt& di Venetia divenute cosi suogliate ne i gusti 
 de i drami, che non sanno piu, che desiderar di vedere, ne 1'intelletto di chi compone 
 ea piu, che inventare per acquistarsi gl'applausi de' epettatori, 6 per incontrare la 
 eodisfattione della maggior parte (che di tutti e impossible) . . . Confesso d'essermi 
 in queste affaticato piu che negl' altri miei drami per incontrar il tuo genio." 
 
 The composer, Pietro Andrea Ziani, is not mentioned. 
 
 First performed, as indicated, carnival, 1662. SCHATZ 11221 
 
 Fatima. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1779 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 54 p- 17 cm . 
 
 Three acts. Author not mentioned, and not known to Schatz. Argument, cast, 
 scenario, and name of Bernard(in)o Ottani as the composer. On p. 55 was to follow 
 a description of Alessandro Guglielmi's ballet "La coetanza guerriera," music by 
 Vittorio Amedeo Canavaeso. SCHATZ 7361
 
 480 LIBRARY OF CONGRESS 
 
 Le faucon, ope"ra comique, en un acte, en prose, ro^le" d'ariettes par 
 M. Sedaine, la musique de M * * * Represent^ devant Sa 
 Majest6 a Fontainebleau, le 2 novembre 1771, et a Paris, par les 
 Come'diens italiens, ordinaires du roi, le 19 mars 1772. 
 
 Paris, Claude Herissant, 1772. 47, [1] p. 21^ cm . 
 
 Composed by Monsigny. Prettily illustrated by Huault. SCHATZ 6573 
 
 Le faucon, opera-comique, en un acte, en prose me'le'e d'ariettes' 
 par M. Sedaine. La musique de M . . . Represente devant Sa 
 Majest6, a Fontainebleau, le 2 noyembre 1771; & a Paris par les 
 Come'diens italiens ordinaires du roi, le 19 mars 1772. 
 
 Paris, Claude Herissant, 1772. 32 p. 19 cm . 
 
 Cast. No music printed in the text. SCHATZ 11726 
 
 Second copy. YUDIN PQ 
 
 La fausse aventuriere, opera-comique, en deux actes, me'le' 
 d'ariettes. Par Mrs. Anseaume & de Marcouville. Repr^sente" 
 pour la premiere fois sur le Theatre de la Foire Saint Germain, le 
 mardi 22 mars 1757. 
 
 Paris, Duchesne, 1757. 64 p. 20 cm . 
 
 Cast. Composed resp. arranged by Jean Louis Laruette. On p. 56-^64, the airs, 
 "Cours a ta belle " (1, 1), "Sexe dangereux, trompeur " (I, 6), "Queue folie extrdme " 
 (I, 8). SCHATZ 5437 
 
 La fausse-foire. Prologue des deux pieces suivantes. Repre"- 
 sente par la troupe du Sieur Francisque a la Foire de Saint Laurent 
 1721 . . . 
 
 Below the title, this Avertissement: 
 
 Le privilege de I'Ope'ra comique ayant e"te accord 6 a d'autresqu'au Sieur Hamoche 
 & a la Dlle de Lisle, (les deux aresboutans de ce spectacle, sous les noms de Pierrot & 
 d'Olivette) ces de%x acteurs se joignirent a la troupe du Sr. Francisque, & jouerent ce 
 
 Rrologue avec les deux pieces qui le suivent. Comme lea Com&liena italiens s'6tab- 
 rent a la Foire, le secret d6pit qu'en eurent les Co'm&liens franfois, fut favorable a la 
 troupe de Francisque. Us la laisserent paisiblement repr^senter des pieces en prose; 
 mais les privilegiez ses voisins lui firent interdire par I'Ope'ra, non seulement le chant 
 & la danse, mais jusqu'aux machines & changemens de decoration." 
 
 - La boite de Pandore. PiSce d'un acte. Represent^ par la 
 troupe du sieur Francisque a la Foire de Saint Laurent. 1721. 
 
 - La tete-noire. Piece d'un acte representee par la troupe du 
 S r Francisque a la Foire de Saint Laurent 1721. 
 
 Le Theatre de la foire, Paris, 1724, t. iv, 3 pi., [353}-502 p. 17 cm . 
 
 According to a note on 2d p. 1., the plays in t. iv were written by Le Sage, Fuzelier, 
 and d'Orneval. These three are practically without music. Below the title of the 
 last play, this Avertissement: 
 
 "Cette piece fut faite a I'occasion d'un faux-bruit qui cpurut a Paris, qu'il y avoit 
 dans certaine communaut< une jeune demoiselle, dont le visage ressembloit a une tete 
 de mort. On offroit, disoit-on, une somme considerable au premier garcon qui vou- 
 droit r^pouser. II se pr6senta effectivement, pour la voir, un grand nombre de 
 jeunes-gens, qui 6toient assez cr^dules pour ajouter foi a cette fable, & qui vouloient 
 meme entrer par force dans cette communautl. On fut oblige^ pour les repousser, de 
 mettre pendant plusieurs jours des gardes a la porte." . 
 
 First performed July 31, 1721. ML 48.L2IV 
 
 La fausse magie. Comedie en vers, et en deux actes m^lee de 
 chant, representee pour la premiere fois sur le Theatre de la Comedie 
 italienne, le mercredi premier fevrier 1775. Par M. Marmontel . . . 
 
 Paris, la veuve Duchesne, 1775. 72 p. 18 cm . 
 
 Cast. The composer, Gretry, is not mentioned. On p. 72 the couplet air of 
 "Veut-on que la bonne a venture." ML 50.2.F23G7
 
 OPERA LIBRETTOS 481 
 
 La fausse magie Continued. 
 
 La fausse magie, come'die en vers et en deux actes, me'le'e de 
 chant, represent ee pour la premiere fois sur le Theatre de la Come'die 
 italienne, le mercredi I 61 " fe"vrier 1775. Par M. Marmontel ... La 
 musique est de M. Gretry. 
 Paris, la veuve Duchesne, 1775. J+8 p. IS 01 ". 
 
 Cast. On p. 47-48, the couplet air of "Veut-on-que la bonne a venture." 
 
 SCHATZ 4153 
 
 - Die abgeredete zauberey. Eine komische oper in ehiem aufzuge, 
 aus dem franzoesischen des herrn Marmontel uebersetzt von Stephanie 
 dem juengern. Die musik dazu ist vom herrn Gretry. aufgefuehrt 
 auf dem K. K. Nationaltheater. 
 
 Wien, zufinden beym logen meister, 1778. 50 p. 16 cm . 
 
 First performed, as indicated, October 27, 1778. SCHATZ 4154 
 
 - Das blend werk. Eine komische oper in einem aufzuge. Nach 
 dem franzoesischen des Marmontel und beybehaltener Gretryscher 
 musik . . . 
 
 Gofha, Carl Wilhelm Ettinger, 1781. 64 p. 15\ cn . 
 
 By Wilhelm Christian Dietrich Meyer, who is not mentioned, and who, oddly 
 enough, selected this motto for his title page: 
 
 "Was nicht der muehe verlohnt gesprochen zu werden, das laesst man heutzutage 
 singen. Beaumarchais." 
 
 First performed at Mannheim, Churf . deutsche Schaubuhne, February 25, 1779. 
 
 SCHATZ 4155 
 
 - Der zauberspiegel. Eine komische oper, in zwei aufzuegen. 
 Nach dem franzoesischen. Mit beibehaltung der Gretryschen musik 
 von Ch. F. v. B -n. 
 
 n. i., n. d. 54 p. W\. 
 
 By Christian Friedrich, freiherr v. Bonin. 
 
 First performed at Berlin, Dobbelinsches Theater, January 18, 1781. . 
 
 SCHATZ 4156 
 
 La fausse peur, come'die en un acte, me'le'e d'ariettes, representSe 
 pour la premiere fois par les Comediens italiens, le lundi 18 juillet 
 1774. Par M. N * *. La musique est de M. d'Arcis, eleve de 
 M. Gretry, age" de 14 ans & demi. 
 
 Paris, Valade, 1775. 48 p. 17%. 
 
 Cast. The prodigy's dedication to his mother is followed by an Avant-propoe, in 
 which the anonymous author eays: 
 
 "En donnant cette bagatelle, je n'ai pas pr6tendu a voir fait une bonne piece: je 
 me suis trouve" tres-heureux de n'en a voir pas fait une detestable. Mon but 6toit 
 de procurer a un enfant interessant 1'occasion de faire briller son g^nie naissant . . . 
 
 "On a trouv6 que les scenes 6toient d^cousues: je le crois bien. On en a retranch6 
 plusieurs: on a 6te" deux duo presque a 1'instant de repr^senter. Cependant, j'ose 
 esp^rer qu'a la lecture on reviendra de ce pr6jug6 d6favorable . . ." 
 
 He thanks the public for the kind reception of his "enfant." This might lead to 
 the inference that the composer's father was the author, but we know from the revised 
 edition of the text, composed by Dalayrac as "La lecon," that it was written by 
 Marsollier. On p. 43-48 the airs of "II faut cesser d'etre seVere," "Quel ^clat brille 
 dans sesyeux " and the vaudeville " Allons, cette heureuse journ^e." SCHATZ 2411 
 
 Second copy. SCHATZ 11671 
 
 72251 VOL 114 31
 
 482 LIBRARY OF CONGRESS 
 
 Les fausses apparences ou L'amant jaloux, come'die, en trois actes, 
 mdle'e d'ariettes; represented devant Leurs Majcstes, a Versailles en 
 novembre [Nov. 20] 1778. 
 Paris, la veuve Duchesne, 1779. 2 p. I., 80 p. 20 cm . 
 
 Cast. Gr6try is mentioned as composer, d'Hele as author. No music printed 
 with the text. ML 50.2.F235G6 
 
 Les fausses apparences, ou L'amant jaloux, en trois actes, me'le'e 
 d'ariettes. Les paroles sont de M. d'Hele. La musique de M. 
 Gr&try. Represented devant Leurs Ma jest 6s, a Versailles, en 
 novembre [Nov. 20] 1778. 
 
 Paris, la veuve Duchesne, 1780. 64 p- 19 cm . 
 
 Cast. On p. 35-37 the voice and bass of the ariette "Le manage est une envie" 
 (II, 3) and on p. 52-64 of "Tandis que tout sommeille" (II, 14). 
 
 First performed at Paris, Com6die-italienne, Dec. 23, 1778. SCHATZ 4157 
 
 L'amant jaloux, ou Les fausses apparences, come'die en trois 
 actes, melSe d'ariettes; represented devant Leurs Majest^s, a Ver- 
 sailles en Novembre 1778. Les paroles sont de M. d'Hele. La 
 musique de M. Gretry. 
 
 Toulouse, Broulhiet, 1780. 46 p. 18% cm . 
 
 Cast. ML 50.2.F235G7 
 
 Der eifersuechtige liebhaber. Ein singspiel in drey aufzuegen. 
 Aus dem franzoesischen ; auf die musik des nerrn Gretry uebersetzt, 
 von hrn. Stephanie dem juengern. Aufgefuehrt im k. k. National 
 Theater. 
 
 Wien, zufinden beijm logenmeister, 1780. 60, [1] p. 17 cm . 
 
 First performed, as indicated, October 12, 1780. SCHATZ 4158 
 
 Les fausses infidelites. A. T. of Philidor's Ze'mire et Melide. 
 
 Fausta restituita all' impero. Dramma per musica da rappre- 
 sentarsi nel nuovo Teatro di Tor di Nona dell' illustriss. Signer conte 
 d'Alibert Fanno 1697 ... 
 Roma, Domenico Ant. Ercole, 1697. 59 p. 13\ cm . 
 
 Three acts. Dedication by Pietro Leone, the book dealer, who hardly was respon- 
 sible for the alterations of Novello de Bonis "Odoacro" text. Neither he is men- 
 tioned, nor Giacomo Antonio Perti, the composer. Argument and scenario. 
 
 SCHATZ 7959 
 
 Das faustrecht in Thueringen. Erster theil. Ein schauspiel mit 
 
 fesang in vier aufzugen nach Halper a Spada fiir die schaubuhne 
 earbeitet von Karl Friedrich Hensler. Die musik von Ferdinand 
 Kauer . . . 
 
 Wien, Schmidt, 1797. 94 p. 17 cm . 
 
 First performed at Vienna, Marinellische Schaubuhne in der Leopoldstadt, April 
 7, 1796. SCHATZ 5027 
 
 - Das faustrecht in Thueringen. Zweyter theil . . . [same as 
 above]. 
 
 Wien, Schmidt, 1797. 96 p. 17 cm . 
 
 First performed at the same theatre, January 17, 1797, or already in 1796. 
 
 SCHATZ 5028
 
 OPERA LIBRETTOS 483 
 
 Das faustrecht in Thueringen Continued. 
 
 - Das faustrecht in Thueringen. Dritter und letzter theil . . . 
 [same as above] 
 
 Wien, Schmidt, 1797. 100 p. 17 cm . 
 
 On p. [2]: " Aufgefuehrt auf der k. k. privil. Marinellischen Schaubuhne in Wien." 
 Schatz does not record the date. SCHATZ 5029 
 
 Le faux lord, comedie en deux actes, en prose, melee d'ariettes, 
 represented devant Leurs Majestes, et a Paris, par les Come'diens 
 italiens ordinaires du Roi, le 6 de'cembre 1783. 
 Paris, Brunei, 1783. 4 p. I, 86 p. 19 cm . 
 
 The dedication is addressed to "A mon pere" and signed "Votre tendre fils, Pic- 
 cinni PalneV' In it he calls this piece "mon premier essai." Cast and names of 
 [Giuseppe Maria] "Piccinni file" as author, of Niccolo "Piccinni pere" as composer. 
 
 SCHATZ 8092 
 
 Les faux monnoyeurs, ou La vengeance, drame en trois actes, 
 meles de chants. Paroles de J. G. A. Cuvelier; musique de Gresnich; 
 decorations de Moench. Repr&sente pour la premiere fois le 12 
 flore"al, an 5, [May 1, 1797] sur le Theatre Montansier au Palais-Egalite. 
 Paris, Barba, an cinquieme de la Republique, [1797-98]. !$ p. 20 cm . 
 Cast. SCHATZ 4131 
 
 Le faux-prodige. A. T. of Piron's text La robe de dissention. 
 La favola d' Apollo e Dafne, ballet. See Rispoli's Nitteti. 
 
 La favola de' tre gobbi. Intermezzo. 
 
 \153]-175 p. 16\ cm . Carlo Goldoni, Opere drammatiche giocose, 
 t. iv, Torino, 1757. 
 
 Two parts. First performed with music by Vincenzo Legrenzio Ciampi at Venice, 
 Teatro di San Moise, carnival 1749. ML 49.A2G6 
 
 - La favola de' tre gobbi. Intermezzo di due parti per musica. 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 35, 
 
 [181}-205 p. 18% cm . PQ 
 
 II favore de gli Dei. Drama fantastico musicale fatto rappresen- 
 tare dal Serenissimo Sig. duca di Parma nel suo Gran Teatro per le 
 felicissime nozze del Serenissimo Sig. principe Odoardo suo primo 
 genito con la Serenissima Signora principessa Dorotea Sofia di 
 Neoburgo . . . Poesia d'Aurelio Aurelj . . . e musica di D. Ber- 
 nardo Sabadini . . . 
 
 Parma, Stampa ducale, 1690. xvi, 88 p. 
 
 Three acts. Aureli's dedication, "Dilucidatione," cast, scenario, list 'of the 
 "Machine in aria e in terra" and Aureli's interesting and instructive prefatory note 
 which reads: 
 
 "Non persuaderti di leggere in questo drama altezza di fraee. La mia penna 
 avuezza a radere il suolo non s^, spiegare voli di Dedalo. Scrissi piu per la musica, 
 che per la lettura. Dove fu dalla magnanimita di questa A. S. fatta una scielta dei 
 piu canori Cigni, e delle piu dolci sirened'Italia, m' auria parso commettere un grand' 
 errore a non procurar di ponere ogni studio nella facilita dei versi, e nei metn dell' 
 arie per dar materia al compositore della musica di farti godere delle lor soavissime 
 voci a quel segno maggiore, ch'ha potuto per mettermi con adeguata misura il gran 
 numero d'essi. Ne credere di compassarela recita di questo drama col solito spazio 
 di tempo, che si pratica ne gl' altri ordinarj. Perche si come il Gran Teatro di Parma 
 e il piu maestoso di quanti n'abbia PEuropa, anzi il mondo tutto, uulla cedeudo in
 
 484 LIBKARV OK CONGRESS 
 
 II favore de gli Dei Continued. 
 
 pregio a gl' antichi piu faraosi di Roma giadal tempo distrutti, ne questi s'apre giamai, 
 che solo in occasione di nozze di serenissimi principi Farnetri; Cosl in esao rappresen- 
 tandosi qualche drama non mai scompagnato da moltiplicitA di musici, da varieta di 
 scene, e da quantita di machine, fii, e sari seiupre cni ha scritto, e scrivera per il 
 medesimo in simile occorrenze costretto a passar la misura dell' ore liniitate all altre 
 dramatiche comppsitioui. Due cose in questo drama h6 etudiate. Inventioue parte 
 necessaria ad ogni poeta, e dispositione delle cose inventate. Nella prima h6 procu- 
 rato con la varieta dell' apparenze di recar diletto, e non tedio alia grandezza, e nobilta 
 de' spettatori nel coreo di sett'ore, che puo forae durare la recita dell' opera, in cui mi 
 dichiaro d'essermi scapricciato & mia voglia merce alia generosita senza pan di S. A. S. 
 mio clementissimo patrone, che mi ha concesso ampio campo di poter farlo. Nell* 
 altra h6 impiegato ogni studio per trovare quella facilita piu propna al drameggiare. 
 L'onore (di cni me ne dichiaro incapace) del pregiato commando di S. A., che 
 m'oblig6 in breve tempo due si gloriose fatiche, 1'una per il Giardino, 1'altra per il 
 Gran Teatro, animo e invigeri la mia debolezza a una pronta obedienza.. Se avro in 
 qualche parte mancato a quanto si richiederebbe ad un pondo si grave; Spero che 
 1 armonia della musica del virtuosissimo Sig. D. Bemado Sabadini mantro di capella 
 di S. A. S. sia per rapirti a tal segno la niente, che 6 non vedrai, 6 vedendole non 
 sdegnerai di leggere, e compatire le mie debolezze. Vivi f elice. ' ' 
 
 Our copy lacks the unnumb. page after p. 88 with reference to "Girolamo Pajani, 
 suonatore d'arpa" as also the fifteen magnificent plates in the Brussels Conservatory 
 copy, partly reproduced in fac-simile by Wotquenne in his catalogue. 
 
 First performed, as indicated, May 25, 1690. ML 50.2.F237S2 
 
 Favourite songs, written and composed by Mr. Dibdin. As they 
 are performed in a divertissement, prepared purposely for their intro- 
 duction at the Theatre-Royal Covent-Garden. 
 London, Printed for the author, n. d. xxx, [2] p. 20 cm . 
 
 Two acts. Cast. A prefatory note says: 
 
 "From the popularity of the'following songs, it was conceived that they might be 
 brought on the stage with effect. Mr. Harris adopted the suggestion, and procured 
 a vehicle to be prepared for their introduction : not however before he had consulted 
 their author and composer . . ." 
 
 The [2] contain "songs. and other publications," to be had at "Mr. Dibdin's ware- 
 house-," "songs in the Oddities," etc. 
 
 Must have been published 1789 or later. LONGE 214 
 
 La fede in cimento. L. T. of M. A. Bononcini's II trionfo di 
 Camilla, regina de' Volsci. 
 
 La fede in cimento. L. T. of Gasparini's L'amor generoso. 
 
 La fede ne' tradimenti. Drama per musica che si rappresenta nel 
 Teatro dell' Illma Accademia de' Remoti in Faenza Testate dell' aflo 
 1723 . . . 
 
 Faenza, Stamperia dett' archi impressor camerale, n. d. 61, [1] p. 
 
 Three acts. Impresario's dedication, dated Faenza, June 10, 1723, scenario, argu- 
 ment, protesta, with name of Girolamo Gigli as author, cast, and name of Giuseppe 
 Maria Buini as composer. ML 48. A5 v. 4 
 
 La fede ne' tradimenti. Dramma per musica . . . fatto cantare 
 da SS. convittori del nobil collegio Tolomei di Siena. Per il carno- 
 vale di quest' anno. 
 
 Siena, nella Stamper, del publ., 1689. 5 p. 1., 49 P- l^ cm - 
 Three acts. The dedication to prince Domenico Rospigliosi is dated "Siena li 12. 
 febbraio 1889 " and signed by Girolamo Gigli as author. Then comes notice, ' ' Lettore 
 amico," "Ristretto dell' opera," characters, scenario, cast of the dances (mostly 
 noblemen), and name of the composer, Giuseppe Fabbrini, "maestro di capella della 
 Metropolitana e del Collegio." SCHATZ 2962 
 
 Second copy. ML 48.A5 v. 46
 
 OPERA LIBRETTOS 485 
 
 La fede ne' tradimenti Continued. 
 
 - La fede ne' tradimenti. Dramma per inusica fatto cantare da' 
 SS. Convittori del nobil Collegio Tolomei di Siena. Per il carnivale 
 di quest' anno 1689. 
 
 Siena, Stamper, del Publ, 1689. 3 p. I, 48 p. 14 cm . 
 
 Three acts. The same text as in the preceding entry. Neither Gigli nor Fab- 
 brini mentioned . Argument and note : 
 
 "Quest' operetta medesima si trova con 1'aggionta di due ridicoli fatta dal Sig. 
 Franco de Lemene." ML 50.2.F24F2 
 
 La fede ne' tradimenti. Drama per musica da recitarsi nel Tentro 
 di S. Angelo Fautunno dell' anno 1721 . . . 
 
 Venezia, Marino Rossetti, 1721. 48 p. 14%. 
 
 Three acts. Argument, cast, and dedication, with name of Girolamo Gigli, the 
 author. Carlo Luigi Pietragrua, the composer, is not mentioned. SCHATZ 81G5 
 
 La fede ne tradimenti. Drama per musica da recitarsi nel Teatro 
 di San Fantino Fanno 1705 '. . . 
 
 Venezia, Marino Rossetti, 1705. 60 p. 15 cm . 
 
 Three acts. By Girolamo Gigli, with alterations by Giuseppe Beretta. Neither 
 they nor the composer, Carlo Francesco Pollaroli, are mentioned. Impresario's 
 dedication, dated Venice, October 30, 1705, and argument. SCHATZ 8288 
 
 La fede ne' tradimenti. Drama per musica da rappresentarsi nel 
 Teatro di S. Bartolomeo nella state dell' anno 1718 . 
 
 Napoli, Michele Luigi Muzio, 1718. 58 p. 
 
 Three acts. By Girolamo Gigli, who is not mentioned. Impresario's dedication, 
 dated Naples, May 15, 1718, argument, scenario, cast, and name of Domenico Sarro 
 as the composer. . SCHATZ 9415 
 
 La fede tra gl'inganni. Drama per musica. Da rappresentarsi 
 nel Teatro di Sant' Angelo. II carnovale MDCCVII . . . 
 Venezia, Marino Rossetti, 1707. 48 p. 14$ cm . 
 
 Three acts. Publisher's dedication, argument, scenario, and Rossetti's notice to 
 the reader, in which he says that this text was written by the author ''ne' prirni anni 
 della eua applicazione al teatro,"' and that "tr& anni sono lo concesse a chi desiderd 
 esporlo eovra le scene in Rovigo." Neither the author, Francesco Silvani, is men- 
 tioned, nor the composer, Tommaso Albinoni. SCHATZ 119 
 
 La fede tradita e vendicata. O. T. of Silvani's text Ricimero. 
 La fede tradita e vendicata. See Galuppi's Ernelinda. 
 
 La fede tradita e vendicata. Drama per musica da rappresen- 
 tarsi nel Teatro Tron di S. Casciano Fanno 1704. Poesia di Francesco 
 Silvani .... 
 
 Venezia, Gio. Battista Zuccato, 1704. 72 p. 14% cm . 
 
 Three acts. Author's dedication, dated Venice, January 5, 1704, argument, notice 
 to the reader, in which the author calls this hie second drama, cast, and name of Carlo 
 Francesco Grasparini as the composer. SCHATZ 3566 
 
 La fede tradita e vendicata. Drama per musica da rappresen- 
 tarsi nel famoso Teatro di S. Bartolomeo in questo presente anno . . . 
 
 Napoli, Salvatore Votto, 1707. 70 p. 14 cm . 
 
 Three acts. Dedication, notice to the reader, argument, cast, and scenario. The 
 "amico lettore" is informed by Carlo de Pretis that the drama being "sempre Ion tan o 
 dal costume Napoletauo; stato e d'uopo a me Carlo de Petris di ridurlo all' uso di 
 questa cit& ... La musica e dell' ammirabilissimo Signer Francesco Gasparini,
 
 486 LIBRARY OF CONGRESS 
 
 La fede tradita e vendicata Continued. 
 
 con qualche cosa di piii de Signor Gioseppe Vignola . . .'' The alterations are con- 
 siderable, but more in the arias than in the dialogue. For instance, the very first 
 aria is now "Sovyengati che sei," instead of "Se 1'amor mio t'e caro;" scene sixth, 
 act III, now begins, "Ah che disgratia, udite," instead of "L'infelice Ernelinda, o 
 principessa," etc., etc. SCHATZ 3567 
 
 La fede tradita e vendicata. Dramma per musica da rappresen- 
 tarsi nel Teatro di Sant' Angelo il carnovale dell' anno 1726 . . . 
 
 Venezia, Marino Rossetti, 1726. 48 p. 14% cm . 
 
 Three acts. By Francesco Silvani, who is not mentioned. Impresario's dedica- 
 tion, argument, cast, scenario, and name of Antonio Vivaldi as the composer. 
 
 SCHATZ 10767 
 
 La fedelta coronata, oder Die gekroente treue, in einem singspiel 
 auff dem grossen Hamburgischen Schau-platz vorgestellet. Im jahr 
 1706. 
 
 n. i., n. d. Unpaged. 18% cm . 
 
 Three acts. Argument by the author, Hinsch (not mentioned), and "avertisse- 
 ment " signed by the composer, Reinhard Keiser , in which he says in part : 
 
 "Soweit erstrecket sich der inhalt, so der herr autor zum vorbencht gesetzet: 
 wobey ich dieses hinzu zu fuegen, dass mein wunsch dahin ziele, dieser opera mit 
 so lustigem humeur zuzusehen, ale mein gemueht bisher verdruss bey meinem 
 zustande empfunden. Da nun dieses meine drey und dreissigste composition der 
 schauspiele, so moechten vielleicht die inventiones zu vielen 100. arien einem con- 
 nosseur einiges nachsinnen erwecken. Jedoch kan ich nicht in abrede seyn, dass zu 
 deren verfertigung mich nichts als die liebe zu diesem theatro, furnemlich aber die 
 hoefligkeit eines vornehmen hauses encouragirt . . . Und da die meisten widrige 
 raisonnements von denen gefaellet worden, welche etwass ihre passiones yerleitet, 
 oder sich flattiren, dass sie unter die zahl der musickenner gehoeren, wenn sie etwan 
 ein meuuet auff der hautbois oder violine spielen, so kann ich gegentheils versichern, 
 dass ich niemals auff dergleichen jugements reflectirt, noch um den mauvait gout du 
 par-terre mich bekuemmert, well ich weiss, wie weit der menschen urtheil, so oefftera 
 so unzeitig als irraisonnabel zu aestimiren. Einige arien aus meiner Almira habe 
 desswegen hinein geruecket, weil dieselbe vereits vor 2. jahren, ehe allhier Almira 
 auffgefuehrt, componirt, und damit sie nicht eben gar versteckt blieben, so habe 
 darinnen einigen liebhabern leicht favorisiren koennen, obgleich dieselbe meistens 
 gedruckt, und mit naechsten zusammt der Octavia zum yorschein kommen werden. 
 Die italiaenische, so mit cumv-lettern gezeichnet, sind mir von einem autore, dessen 
 poesie mir bissher viel plaisir gemacht, communicirt . . ." SCHATZ 5089 
 
 La fedelta coronata. L. T. of Orlandini's Antigona. 
 
 La fedelta nelle selve. Dramma giocoso per musica dell' ab. 
 Michelangelo Prunetti, romano, Accademico Quirino. Da rappre- 
 sentarsi nel nobilissimo Teatro Giustiniani in San Moise il carnovale 
 delP anno 1793 ... 
 
 Venetia, Modesto Fenzo, 1792. 56 p. 17% cm . 
 
 Two acts. Cast and name of Giacomo Tritto as the composer. SCH*ATZ 10484 
 
 La fedelta tra le selve. Commeclia per musica da rappresen- 
 tarsi nel Real Teatro del Fondo di Separazione per second' opera del 
 corrente anno 1796 . . . 
 
 Napoli, n. putt., 1796. 48 p. 15 cm . 
 
 Two acts. By Michelangelo Prunetti, who is not mentioned. Impresario's dedi- 
 cation dated Naples, August 2, 1796, cast, and name of Giacomo Tritta (Tritto) as 
 the composer. With the opera was performed Lauchelin Duquesney's "Egle, e 
 Cloco o siano I satiri puniti, ballo favoloso pantomimo ... La musica e tutta 
 nuoya scritta dal sig. Hayden." Cast and description of the ballet on p. 7-11. 
 
 First performed a t Venice, Teatro di San Moise, carnival 1793 as "La fedelta nelle 
 selve." SCHATZ 10470
 
 OPERA. LIBRETTOS 487 
 
 La fedelta riconosciuta. Dramma giocoso posto in musica da Sua 
 Eccellenza nobil uomo Francesco Moro Lin da cantarsi nel suo casino. 
 
 Venezia, Modesto Fenzo, 1798. 48 p. ll\ cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. who says that the text 
 is a later version of "La finta giardiniera." * SCHATZ 6674 
 
 La fedelta riconosciuta. A. T. of P. v. Winter's Belisa. 
 La fedelta tra le selve. L. T. of Bianchi's La villanella rapita. 
 Federico n re di Prussia, ballet. See Salieri's Axur re d'Ormus. 
 Fedra, ballet. See Campobasso's Antigona. 
 
 Fedra. Dramma per musica da rappresentarsi nel Real Teatro di 
 S. Carlo nel di I. gennaro 1788 . . . 
 
 Napoli, Vincenzo Flauto, 1788. 54 p. 15\ cm . 
 
 Two acts. Impresario's dedication, cast, name of Paisiello as the composer, and 
 author's preface with this footnote by the impresario: 
 
 "Non s'intende per qual ragione il Sig. abate Salvioni autore di questo dramma r 
 da noi in qualche parte cangiato per comodo delle nostre scene, abbia tralasciato di 
 rammentare fra loro, che trattarono questo argomento, l'immortale [Carlo Innocente] 
 Frugoni." 
 
 As a matter of fact, Salvioni did not write a new libretto, but simply modified 
 Frugoni's "Ippolito ed Aricia." SCHATZ 7668 
 
 La fee Urgele. Comedie en quatre actes, meslee d'ariettes, repre- 
 sentee devant Leurs Majestes, a Fontainebleau, le 26 octobre 1765. 
 
 [Paris], CJiristophe BaUard, 1765. 52 p. 20\ cm . (Journal des 
 spectacles, t. ii, Paris, 1766.) 
 
 Cast and name of Egidio Romualdo Duni as composer. The Journal on p. 14, t. I, 
 attributes the text to Charles Simon "Favart & compagnie." Font says: "Voisenon 
 a retouch^ des details." ML 48.J7 
 
 La fee Urgele, ou Ce qui plait aux dames, come'die en quatre 
 actes, meslee d'ariettes; representee devant Leurs Majestes, par les 
 Com^diens italiens ordinaires du roi, a Fontainebleau, le 26 octobre 
 1765. Et a Paris le 4 decembre suivant. 
 
 Paris, la veuve Duchesne, 1765. 68, 8 p. 19 cm . (Theatre de M. 
 Favart, Paris, Duchesne, 1763-77, t. ix.) 
 
 The 8 p. contain three "Airs de la Fee Urgele ": "C'est une misere" (II, 4), "Nous 
 allons ici" (IV, 2), "L'avez-vous vu mon bien aim6" (III, 5). Cast. "Epitre aux 
 dames, ' ' name of Duni as composer, and remark : ' ' Les paroles sont de MM . * * * " 
 
 ML 49.A2F1 
 
 - La fee Urgele, ou Ce qui plait aux dames, come'die en quatre 
 actes melee d'ariettes. La musique est de M. Duni . . . 
 
 Paris, Par la compagnie des libraires, 1768. 4$ P- 19 cm . 
 Without "Epitre" or music. SCHATZ 2843 
 
 - La fee Urgele, ou Ce qui plait aux dames, comedie en quatres 
 actes, mSle'e d'ariettes; represented sur le Theatre de la cour, par les 
 Com^diens francois ordinaires du roi, le [blank] 1770. 
 
 Copenhague, Cl. PUlibert, 1770. 68 p. 19 cm . 
 
 "Epitre aux dames," cast, and name of Duni. The .authors are not mentioned. 
 
 YUDIN PQ
 
 488 LIBRARY OF CONGRESS 
 
 La fee Urgele Continued. 
 
 La fee Urgele, on Ce qui plait aiix dames, come'die en quatre 
 actes, m16e d'ariettes; repre'sente'e devant Leurs Majest6s, par les 
 ComSdiens italiens ordinaires du roi, a Fontainebleau, le 26 octobre 
 1765 & a Paris le 4 d^cembre suivant. 
 
 Paris, la veuve Duchesne, 1781. 56 p. 19 cm . 
 
 Cast. On p. 29-31, the ariette, "C'est une misere" (II, 4); 41-43, the romancej 
 "L'avez-vous vu, mon bien aim&" (III, 6); 46-48, the ariette, "Nous aliens ici 
 eouper" (IV, 2). SCHATZ 11695 
 
 - Die fee Urgele oder Was den damen gefaellt, ein singspiel in vier 
 aufzuegen aus dem franzoesischen uebersetzt mit musik. 
 
 Frankfurt am Mayn, mit Andreaischen schrijten, [1776]. 84 p>, 14 
 p. (folded dated music). 16\ cm . 
 
 German version by Johann Heinrich Faber. Cast. The musical supplement con- 
 tains the arias (voice and bass) : ' ' Recht schone blumen verkauf ich " [" Je vends des 
 bouquets"], p. 1-5; "Wenn man liebt, ist man vergniiget" ["Ahf que 1'amour Est 
 chose jolie''], p. 5-9; "Unsern jungen leuten fehlt" ["C'est une misere Que nos 
 jeunesgens"], p. 10-14. 
 
 First performed at Mannheim, Theater auf dem Fruchtmarkt, 1772. 
 
 SCHATZ 2844 
 La feerie. Entr6e in Niel's Les romans. 
 
 Het feest der Brahminen. Tr. T. of Wenzel Mueller's Das sonnen- 
 fest der Braminen. 
 
 Les feintes infidelites. A. T. of Philidor's Les femmes vengees. 
 La felicita della terra. A. T. of Sarti's Astrea placata. 
 La felicita della terra. A. T. of Schurer's Astrea placata. 
 
 La felicita di Partenope. Componimento drammatico da cantarsi 
 in Roma per festeggiare la nascita di S. A. R. il Serenissimo principe 
 delle Due Sicilie D. Filippo di Borbone . . . 
 
 Roma, Ottavio PuccineTli, 1747. 20 p. 23\ cm . 
 
 Two parts. Dedication signed by Gaetano Pescatori, and note: "La poesia e di 
 N. N. Pastore Arcade. La musica e del Sig. Giovanni Cordicelli." Not recorded 
 by Schatz. ML 48.M2A 
 
 La felicita nata dalle sventure, ballet. See P. Guglielmi's Arsinoe 
 e Breno. 
 
 Felix, ou L'enfant trouve, come'die en trois actes; en prose & en vers 
 mis en musique. Repr^sent^e devant Leurs Majesty's a Fontaine- 
 bleau le 10 novembre, & par les Come'diens italiens ordinaires du roi, 
 le 24 novembre 1777. 
 Paris, la veuve Bollard & fils, 1777. 2 p. I., 90 p. 20. 
 
 Cast. Sedaine, the author, is mentioned, but not the composer, Monsigny. On 
 p. 85-90 the ariettes "Courir les bois" and "Ah! qu'une fillette est a plaindre." 
 
 ML 50.2.F25M7 
 
 Felix, ou L'enfant trouve", com4die en trois actes, en prose et en 
 vers mis en musique. Represented devant Leurs Majestes, ^ Fon- 
 tainebleau, le 10 novembre & par les Comediens italiens ordinaires 
 du roi, le 24 novembre 1777. Le drame est de M. Sedaine. La 
 musique est de M * * * 
 
 Paris, la veuve Bollard &f,ls, 1784. 62 p. 18 cm . 
 
 Cast. SCHATZ 6574
 
 OPEKA LIBRETTOS 489 
 
 Felix Continu ed . 
 
 - Gesaenge aus Felix, oder Der findling, ein schauspiel mit gesang, 
 in drey aufzuegen. Aus dem franzoesischen yon Sedaine, uebersetzt 
 von Johann Andre". Die musik ist von Monsigni. 
 Riga, Julius Conrad Daniel Mutter, 1790. 23 p. 17 cm . 
 First performed at Riga, Theater i. d. groesen Koenigstrasse, 3/14 May, 1790. 
 
 SCHATZ 6575 
 Female curiosity. A. T. Kelly's Blue-beard. 
 
 The female duellist: an after piece. With songs set to music by 
 Mr. Suett. As it was performed at the King's Theatre, in the Hay- 
 market, by His Majesty's company from the Theatre Royal, Drury 
 Lane. 
 London, J. Owen, 1793. 2 p. 1., 52 p. 20 cm . 
 
 Two acts. Cast, and note that the piece was based partly on Beaumont and 
 
 etcher's "Love's cure." The author is not recorded by Genest. 
 
 Genest dates the first performance, Drury Lane, May 22, 1793. LONGE 225 
 
 The female parson: or, Beau in the sudds. An opera. As it is 
 
 acted at the New theatre in the Hay-Market . . . By Mr. Charles 
 Coffey . . . 
 
 London, Lawton GfiUiver and Fran. Cogan, 1730. 4p- l-> 53 p. 19 cm . 
 
 Three acts with prologue. Dedication. Ballad opera. The 27 airs (8, 8, 11) are 
 printed in the text with their titles. 
 
 First performed 1730, as indicated. LONGE 47 
 
 The female rake : or, Modern fine lady. A ballad comedy. As it is 
 acted at the New theatre in the Hay-Market .... 
 London, J. Dormer, 1736. 51 p. (incl. front.) 18% cm . 
 
 Two acts. Two prologues, epilogue, and cast. The airs of the 16 songs (8, 8) are 
 indicated by title. Author not recorded by Clarence, but Tufts gives Joseph Dorman. 
 
 LONGE 150 
 La femme. Entre'e in Mouret's Les festes de Thalie. 
 
 La femme repudiee. A. T. of Arlequin Hulla. 
 
 Les femmes et le secret; comSdie en un acte, mele'e d'ariettes. 
 Par Monsieur Que"tant. Representee pour la premiere fois par les 
 Come'diens italiens ordinaires du roi. le 9 novembre 1767. 
 
 Avignon, Louis Chambeau, 1768. 39 p. 19\ cm . 
 
 The composer, Pierre Vachon, is not mentioned. ML 50.2.F25V22 
 
 - Les femmes et le secret, come'die en un acte, meslee d'ariettes, 
 represent ee pour la premiere fois par les Come'diens italiens ordinaires 
 du roi, le 9 novembre 1767. Par M. Que"tant. 
 Paris, CaiUeau, 1770. 51 p. 
 
 Ariettes printed in the text: "Quand je reviene du cabaret" (scene 1), "Je voie 
 Lucae toue les jours" (scene 11), "Cher Lubin, si tu m'aimee bien (scene 24). The 
 composer, Pierre Vachon, not mentioned. SCHATZ 10570 
 
 - Les femmes et le secret, come'die en un acte, melee d'ariettes. 
 Representee pour la premiere fois par les Come'diens italiens ordi- 
 naires du roi, le 9 novembre 1767. Par M. Quetant. 
 
 Paris, Cailleau, 1779. 48 p. 18 cm . 
 
 On p. 3-5 the ariette en vaudeville, "Quand je reviens du cabaret," on p. 4&-A7 
 the vaudeville, "Cher Lubin, PI tu m'aimefi." The composer, Pierre Vachon, is 
 not mentioned. SCHATZ 11750
 
 490 LIBRARY OF CONGRESS 
 
 Les femmes vengees, ou Les feintes infidelites, opera-comique en 
 un acte et en vers; par M. Sedaine. La musique de M. Philidor. 
 Repr&ente" pour la premiere fois, le lundi 20 mars, par les Comediens 
 italiens ordinaires du roi. 
 Paris, Musier, 1775. 56 p. 18 cm . 
 
 Cast. On p. 50-56 the airs of the vaudeville, "Ne donnons jamais a nos femmes," 
 the ariettf, "Quand Paris, sur le mont Ida," and the romance, "Si jamais je fais un 
 ami." ScHATz8014 
 
 - Les femmes vengees, ou Les feintes infidelites, ope"ra-comique 
 en un acte et en vers; par M. Sedaine. La musique de M. Philidor. 
 Repre'sente' pour la premiere fois, le lundi 20 mare [17751 par les 
 Comediens italiens ordinaires du roi. 
 Paris, Musierfils, 1782. 56 p. 19 cm . 
 
 Cast. On p. 50-51 the vaudeville, "Ne donnons jamais," on p. 53-55 the ariette, 
 "Quand Paris sur le mont Ida," and p. 55-56 the romance, "Si jamais je fais." 
 
 SCHATZ 11738 
 
 Le fenzeune abbentorate. Commeddea pe mmuseca de nota' 
 Pietro Trinchera da rappresentarese a lo Teatro de la Pace nchesta 
 corrente nnvernata de lo 1745 . . . 
 
 Napoli, Domenico Langiano e Domenico Vivenzio compagni, n. d. 
 60 p. 15 cm . 
 
 Three acte. Impresario's dedication, cast and name of Pietro Gomes as com- 
 poser. ML 50.2.F26G6 
 
 Feraspe. Dramma per musica da rappresentarsi nel Teatro di S. 
 Angelo 1'autunno dell anno 1739 . . . 
 
 Venezia, Marino Rossetti, 1739. 48 p. 15 cm . 
 
 Three acte. By Francesco Silvani, partly rewritten by Bartolomeo Vitturi, neither 
 of whom is mentioned. Impresario's dedication, argument, cast, scenario, and name 
 of Antonio Vivaldi as the composer. SCHATZ 10768 
 
 Ferdinand und Nicolette, oder Liebe erhaelt den sieg. Tr. of 
 Gretry's Aucassin et Nicolette. 
 
 La fermiere de qualite. O. T. of Candeille's Catherine. 
 La fermiere ecossaise. A. T. of Vachoh's Sara. 
 
 Fernando Cortes conquistator del Messico. Dramma per mu- 
 sica da rappresentarsi nel Regio Teatro di via della Pergola il carne- 
 vale del MDCCLXXXIX . . . 
 
 Firenze, Stamp. Albizziniana, 1789. 82, [1] p. 17 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Giuseppe Mugn.es as the composer. On p. 4-9 introductory remarks, cast, and 
 detailed scenario of Onorato Viganft's "Enrico IV. Ballp semi-comico pantomimo, 
 tratto dalla commedia intitolata; La partita a caccia d'Enrico IV. di Monsieur Colle." 
 The composer of the music is not mentioned. SCHATZ 6864 
 
 Fernando nel Messico. Dramma per musica da rappresentarsi 
 nel nobil Teatro di Torre Argentina nel carnevale dell' anno 1787 . . . 
 
 Roma, Arcangelo Casaletti, 1787. 60 p. 16 cm . 
 
 Three acts. By Filippo Tarducci with the interpolation of 
 
 "versi di Metastasio cne caduti opportunamente sotto la penna dell' autore, si fa 
 egli un pregio di servirsene." 
 
 This in naive contrast with his dedication in which he deplores the stagnation of 
 dramatic poetry and the uniformity of ideas for which the music "sembra gia stanca."
 
 OPERA LIBRETTOS 491 
 
 Fernando nel Messico Continued. 
 
 Hence his present experiment as librettist, etc. Argument, scenario, cast, and name 
 of Giuseppe Giordan! as the composer. With the opera were performed Onorato 
 Vigano's ballets, "Oreste o sia La morte di Clitennestra " and "Gelosia per gelosia," 
 music by Luigi Marascalchi. SCHATZ 3838 
 
 Fernando nel Messico. Dramma per musica da rappresentarsi nel 
 Teatro Venier in San Benedetto il carnovale dell' anno 1798. 
 
 Venezia, Modesto Fenzo, 1798. 45 p. 17 cm . 
 
 Three acts. By Filippo Tarducci (not mentioned), with alterations. Argument, 
 cast, scenario, and" name of Marco Portogallo as the composer. With the opera were 
 performed Onorato Vigano's ballets, ''Adelaide" and "Amore e magia." The com- 
 posers of the music are not mentioned. 
 
 Firet performed, as indicated, January 16, 1798. SCHATZ 8409 
 
 Fernando und Yariko, ein singspiel in drey aufzuegen von dem 
 hofrath v. Eckhartshausen. 
 
 Muench-en, Joseph von Cratz, Iff 84- 95 p. 15% cm . 
 
 The composer, Franz Christian Neubauer, is not mentioned. SCHATZ 7092 
 
 Das fest der freundschaft. A. T. of P. v. Winter's Das lindenfest. 
 
 Arien aus dem vorspiele: Das fest der Thalie, bev eroeffnung des 
 Herzoglich Gothaischen Hof-Theaters den 2ten October, 1775. 
 
 n. i., n. d. 7 p. 17 cm . 
 
 Neither Heinrich August Ottokar Reichard, the author, is mentioned, nor Anton 
 Schweitzer, the composer. SCHATZ 9773 
 
 - Das fest der Thalie, ein vorspiel von R * * *, die musik 
 vom herrn Schweizer. Bev eroffnung des ehemaligen Gothaischen 
 Hoftheaters 1776. 
 
 p. 353-359. 18$ em . (Litteratur wnd Theater Zeitung, Berlin, 
 
 1783.) 
 
 Cast. SCHATZ 4772 
 
 Das fest der weiblichen tugend. A. T. of Blaise, Duni, and 
 Philidor's Das rosenmaedchen. 
 
 Das fest der winzer. L. T. of Kunzen's Die weinlese. 
 
 Das fest Germaniens. Vorspiel mit gesang und tanz zur feier des 
 hohen beilagers der Durchlauchtigsten prinzessin von Mecklenburg- 
 Strelitz Therese Mathilde Amalia mit des erbprinzen von Thurn und 
 Taxis Karl Alexander, Durchlaucht. Die musik ist von dem herzogl. 
 kapell-director herrn Zeller . . . 
 
 Neustrelitz, Hofluchhandlung, 1789. 12 p. 16. 
 
 One act. Cast. By Christian Friedrich von Bonin, who is not mentioned. 
 
 Firet performed at Neustrelitz, Hoftheater, May 27, 1789. SCHATZ 11165 
 
 La festa di ballo disturbata dalla famiglia dei Covielli, ballet. See 
 Traetta's Cavaliere errante. 
 
 La festa di Flora, ballet. See Sacchini's Lucio Vero.
 
 492 LIBRARY OF CONGRESS 
 
 La festa interotta, o sia II trionfo del la virtu, composizione serio 
 comica da rappresentarsi nel Teatro di Ratisbona . . . 
 
 Regensburg, Gedruckt mit Zunkelischen schrijten, n. d. 97 p. 16 cm . 
 
 ' ' Prologo contadineeco " (p. 1441) and one act. Cast, names of Domenico Friggieri 
 as author and of Theodor freiherr von Schacht as composer, with exception of some 
 arias by others in the prologue, and "avvertimento," by the author: 
 
 "avendo io acconsentito a vedere di nupvo compatir sulla scena quest' operetta da 
 me composta in occasione di un giomo di vera allegrezza . . . mi & convenuto per 
 rendore la rapresentazione di questa conyenevole ad ogni tempo (lasciando tuttavia 
 intatta la prima musica) cambiare in molti luoghi il senso, le parole, i versi, e sostituire 
 al venerato nome di veri personaggi, enti e nomi immaginati . . ." 
 
 To fill out the evening, the prologue was added by him. German title-pa<j;e, "Das 
 unterbrochene fest oder Der triumph der tugend," and text face Italian. 
 
 Must have been performed after 1780. SCHATZ 9563 
 
 Una festa villereccia, ballet. See Tarchi's L'Arminio. 
 
 
 
 Le feste o Le gelosie del seraglio, ballet. See Borghi's Ricimero. 
 
 Le feste d'Apollo, celebrate sul Teatro di Corte nell' augosto del 
 MDCCLXIX. Per le auguste seguite nozze tra il reale infante Don 
 Ferdinando e la R. arciduchessa infanta Maria Amalia. 
 
 Parma, NeUa Stamperia reale, n. d. Id, 20, 27, 28 p., and 5 pi. 
 (incl. front.). %4\ cm . 
 
 The plates are by P. A. Martini, and therfrst (dated "Parigiis 1769") and the fifth 
 were also engraved by him. The others were engraved by Helman and C. Bagnoy. 
 The artist of the exquisite vignettes, etc., is not mentioned. 
 
 Prologue and three acts, respectively entitled "Bauci e Filemone," "Aristeo," 
 and "Orfeo." Each is preceded by the argument and cast, Avvertimento, scenario, 
 and name of Gluck as the composer ("Tutta la musica"). The avvertimento reads, 
 in part: 
 
 Al prologo succedono pertanto tre atti diversi, due de' quali nuovamente composti. 
 Altri ne erano gi& in pronto, che, alternati coi primi, potevano contribuire alia desid- 
 erata varieta. Si seppe appena che 1'atto d'Orfeo, applaudito, anni sono eul Teatro 
 Imperiale di Vienna, avrebbe incontrato sul nostro 1'aggradimento dell' Augusta 
 Persona, a cui queste feste sono sacre in gran parte, che si deterrnin6 di preferirlo." 
 
 "Orfeo" was Ranieri de' Calsabigi's complete text compressed into one act of seven 
 scenes; the two others, and probably the prologue, by Carlo Innocente Frugoni, 
 though neither of them is mentioned. 
 
 Performed, as indicated, August 24, 1769. SCHATZ 3897 
 
 Second copy. ML 48.M2B 
 
 Le feste d'Imeneo nell' augustissimo sposalizio delle Altezze Reali 
 di Giuseppe, arciduca d'Austria, ec. ec. ec. e della Reale infanta Donna 
 Isabella di Borbone, ec. ec. ec. celebrate sul Reale Teatro di Parma nel 
 settembre dell' anno MDCCLX. Composizione del Signor abate 
 Frugoni. 
 
 n. i., n. d. jront., p. [99}-176. 16\ cm . 
 
 Evidently a detached copy. In his esthetic preface, "Ai leggitori," Carlo Inno- 
 cente Frugoni says: 
 
 "Questo spettacolo teatrale e compoeto di tre Biiggetti disgiunti, ciascun de' quali 
 si rinchiude in un' attoj ed e preceduto da un prologo." 
 
 The prologue is entitled "II trionfo d'amore," the single acts "Atto d'Iride," 
 "Atto di Saffo," and "Atto di Egle." Each act is preceded by the characters (not 
 the cast) and by the argument. The opera is followed by "Aci e Galatea, balletto 
 pantomime," with argument and description of the twelve scenes. Tommaeo Tra- 
 etta is not mentioned in the libretto either as composer of the ballet or of the opera. 
 The ballet, according to the preface, was already "conosciuto sulle' nostre ecene, ma 
 universalmente desiderato" and the act "Egle" was " espresamente addottato" for 
 its introduction. SCHATZ 10392
 
 OPERA LIBRETTOS 493 
 
 Le feste d'Iside. Dramma per musica da rappresentarsi nel nobi- 
 lissimo Teatro La Fenice 1'autunno 1799. 
 
 Venezia, Stamperia Valvasense, 1799. 61 p. 16% cm . 
 
 Two acts. Gaetano Rossi's retouched version of Zeno and Pariati'e "Seeostri re 
 d'Egitto," who are not mentioned. Argument, cast, and name of Sebaetiano Naso- 
 lini also as composer of the "pezzi postillati . . . di nuqva poesia del Sig. Gaetano 
 Roesi." On p. [31J-37 preface, argument, cast, and description of Lorenzo Panzieri's 
 "II sotteraneo ossia Catterina di Coluga, ballo eroicomico, in quattro atti," music by 
 Catterino Cavos. 
 
 First performed at Florence, Teatro di via della Pergola, carnival, 1794. 
 
 SCHATZ 7002 
 
 Feste de buveurs. Entree in Bourgeois' Les plaisirs de la paix. 
 
 La feste des barqueroles. Entree in Campra's Les festes veni- 
 tiennes. 
 
 La feste des Druides. A. T. of Laruette's Le Guy de Chesne. 
 Le feste di Flora, ballet. See Cherubim's Ifigenia in Aulide. 
 Le feste di Flora, ballet. See Jommelli's Bajazet. 
 
 Le feste galanti. Festa teatrale per musica da rappresentarsi nel 
 Regio Teatro di Berlino per il giorno natalizio della Sacra Real Maesta 
 di Sofia Dorotea, regina madre . . . 
 
 Berlino, A. Haude, 1747. 77, [8] p. 20 cm . 
 
 Three acts. Leopoldo de Villati is mentioned as the author ("L'invenzione . . . 
 & trata dal francese [Duchess "Les festes galantes"] e compoeta ad uso di musica") 
 and Carl Heinrich Graun as the composer. Argument and scenario. German title- 
 page, "Die galanten feste," and text face Italian. 
 
 First performed at Berlin, Kgl. Operntheater, March 27, 1747 (Schatz); April 6, 
 1747 (Mennicke). SCHATZ 4114 
 
 - Le feste galanti. Festa teatrale per musica da rappresentarsi 
 nel Regio Teatro di Berlino . . . 
 
 Berlino, Haude et Spener, 1767. 67, [4] p. 16 cn . 
 
 Three acts. Leopoldo de Villati is mentioned as author and Carl Heinrich Graun 
 as the composer. German title-page, "Die galanten feste," and text face Italian. 
 Performed, as indicated, April 6, 1767. SCHATZ 4097 
 
 La feste marine. Entree in Campra's Les festes venitiennes. 
 Le feste persiane, ballet. See Jommelli's Semiramide. 
 
 Les festes de 1'Amour et de Bacchus. Pastorale represented par 
 1'Academie royale de musique. Suivant la copie imprimee a Pans. 
 
 [Amsterdam, Antoine Schelte], 1686. Jfi p. (incl. front.) 13^ cm . 
 
 Prologue and three acts. Neither the author, Quinault (see next entry), is men- 
 tioned nor Lully, the composer. ML50.2.F3L9 
 
 - Les festes de 1'Amour et de Bacchus, pastorale represented 
 par 1' Academic royale de musique 1'an 1672. Les paroles sont de 
 M. Quinault, & la musique de M. de Lully. III. opera. 
 
 n. i., n. d. pi., 101-11$ p. 14 cm - (Recueil general des opera, t. I, 
 170S.) ' 
 
 Detached copy. Three acts and prologue. The text is said to have been really 
 a joint-product of Moliere, Benserade, and Quinault. 
 
 First performed, as indicated, November 15, 1672 (Schatz); December, 1672 (Pru- 
 nieree). SCHATZ 5766 
 
 Second copy. ML 48. R4
 
 494 LIBRARY OF CONGRESS 
 
 Les festes de 1'Amour et de Bacchus Continued. 
 - Les festes de 1'Amour et de Bacchus. Pastorale represented 
 par 1'Academie royale de musique, au Jeu de Paulme del Bel- Air, en 
 1672. 
 
 Quinault, Theatre, Paris, 1739, t. iv, pi, 51 p. 17 cm . 
 Prologue and three acts. Lullyie not mentioned. PQ 1881. Al 1739 
 
 Les festes de 1'ete, ballet, repr&sente" par 1'Academie royale ae 
 musique, 1'an 1716. Paroles ae M. Pellegrin. Musique de M. 
 Monteclair. XC. opera. 
 
 n. i., n. d. pi., p. 1-75. 14 cm - (Recueil general des opera, Paris, 
 1734, t. xii.) 
 
 Detached copy. Prologue and four entries. By Simon Joseph de Pellegrin and 
 Marie Anne Barbier. 
 
 First performed, as indicated, June 12, 1716. SCHATZ 6589 
 
 Second copy. ML 48. R4 
 
 Les festes de PHymen. A. T. of La roze. 
 
 Les festes de Paphos. Ballet heroique mis en musique par Mon- 
 sieur Mondonville . . . Represent^ pour I'Acade'mie royale de mu- 
 sique le 9 e may 1758. 
 
 This is the title of the full score published "chez Pauteur," etc. It consists of 
 an overture and three acts, called: ''Venus et Adonis," "Bacchus et Erigone" and 
 "L' Amour et Psych <.' ' 
 
 This work, of which the L. of C. does not possess the libretto, was but the com- 
 bination of three one act ballets of the above titles into one. "Venus et Adonis," 
 text by Colle", had first been performed at Verseilles, Theatre des Petit-Cabinets, 
 April 27, 1752, and "Bacchus et Erigone" was first performed Schatz claims under 
 the title of "Erigone" as after-piece to Dancourt's comedy "Les trois cousines" 
 at Versailles, March 13, 1747. As to "L' Amour et Psyche," Hellouin does not know 
 the circumstances under which it was written and performed, but "Je sais seule- 
 ment" he says "que le sempiternel abb6 de Voisenon en avait fait les paroles, 
 que son collaborates pr^tendit toujours etre de lui . . . En 1769, il servit de ren- 
 tre"e a Sophie Arnould qui fut recue avec transport." 
 
 Chouquet and Schatz date this performance December 1, 1769, and enter it under 
 "Psyche," under which title this ballet had already figured separately in 1762 and 
 1766, it would seem. Lajarte says: "Mondonville et Voisenon reprirent le sujet de 
 la 3 e entre"e [exactly this "L' Amour et Psyche'"], pour en faire un acte se'pare'" and 
 Chouquet says under "Psyche " (1769): "C'est le sujet du 3 e acte des Files de Paphos 
 remanie"." The impression seems to be that the text and incidentally the music of 
 "L' Amour et Psyche"" were changed after 1758. I doubt this, since the text of the 
 score and the text in the following publication agree absolutely. 
 
 - Bacchus et Erigone, ballet-heroique en un acte. Le poeme est 
 de de la Bruere. La musique est de M. de Mondonville. 
 n. i., n. d. 14 p. 22\ cm . 
 This is followed on p. [15-33] by: 
 
 L' Amour et Psyche, ballet-he'roique en un acte. Le poeme & 
 la musique sont de M. de Mondonville. 
 
 Casts. On p. 33 the Approbation of date: Paris, September 26, 1769! In the cast 
 of "L' Amour et Psyche" " M lle Arnould appears as "Psyche"." Hence, if Chouquet's 
 date of December 1, 1769, for the reappearance of Sophie Arnould in a revival of 
 Mondonville's act is correct, the actual publication of the two librettos in this edition 
 probably occurred about that time. As was stated above, the text of "L' Amour et 
 Psyche" agrees absolutely with that of the third act in the score of "Les festes de 
 Paphos" (1758). That of "Bacchus et Erigone" is only slightly different, Comus' 
 air "Cher Bacchus, c'est assez" (I, 3) and Bacchus' air "Mon sort rendoit" (I, 5) 
 not being in the libretto of 1769. ML 52.2.B105M6
 
 OPEBA LIBRETTOS 495 
 
 Des festes de la paix, divertissement en un acte; a 1'occasion de 
 1'inauguration de la statue du roi, & de la publication de la paix; 
 repr&ente pour la premiere fois par les Come'diens italiens ordinaires 
 du roi le 4 juillet 1763. Nouvelle Edition, augmented de plusieurs 
 scenes nouvelles. 
 
 Paris, Duchesne, 1 768. 72 p. 19 cm . ( Theatre de M. Favart, Paris , 
 Duchesne, 1763-77, t. ix.) 
 
 Cast and names of Favart as author and of Philidor as composer. Many of his 
 ariettes printed in the text. ML 49.A2F1 
 
 Les festes de Thalie, balet represent^ pour la premiere fois, par 
 1'Acade'mie royale de musique, le dimanche 19 aout 1714. Les 
 paroles de M. de la Font & la musique de M. Mouret. LXXXV. 
 opera. 
 
 n. i., n. d. pi., p. [177]-232. (Recueil general des opera, t. xi, Paris, 
 1720.} 14 cm . 
 
 Detached copy. Three acts, with prologue. The single acts are called "La fille," 
 "La veuve," "La femme." This was followed by a kind of epilogue, called "La 
 critique des Festes de Thalie," by the same author and composer. The "Avertisse- 
 ment " is so interesting as to deserve a quotation in full : 
 
 " Voila je croi, le premier opera oil Ton ait via des femmes habill^es a la franchise, & 
 des confidentes du ton des soubrettes de la comedie; c'est aussi la premiere fois que 
 Ton a hazard^ de'certaines expressions conyenables au comique, mais nouvelles jus- 
 qu'alors & meme inconniies sur la scene lyrique; le public en fut d'abord allarm6, ce- 
 pendant le theatre qui regne du commencement jusqu'a la fin de ce Balet ee trouva ei 
 amusant & si enjoue, qu'on y yenoit en foule presque a contre-coeur. Je me fis con- 
 science de divertir ainsi le public malgr lui, & pour rendre son plaisir pur & tranquile 
 je me d^pechai de faire moi-meme la Critique de mon ouvrage ou je donnai tout le 
 merite du succes a la musique & a la danse. Le public me scut si bon gr6 d'avoir eu 
 cette attention pour lui, & devint si fort de mes amis que pendant quatre-vingt repre- 
 sentations il ne pouvoit se resoudre a me quitter, & mdme encore aujourd' hui il parle 
 de ce Balet avec plaisir." 
 
 The score of 1714 has the title, "Les festes ou Le triomphe de Thalie." "La 
 critique des Festes de Thalie" was first performed on October 9, 1714, and the score 
 was published in the same year. The entree, "La veuve," was replaced on March 
 12,, 1715, by "La veuve coquette," and the entree, "La Provencale," was added on 
 September 17, 1722. This was parodied by Duni at the Theatre-Italien on March 4, 
 1758, as "La fille mal gardee;" La veuve coquette," at the Opeia-comique a la Foire 
 Saint-Laurent, on September 22, 1759, as "La veuve indecise;" and Laujon and 
 Parvi gave a parody of "Les festes de Thalie" at the Theatre-Italien on August 21, 
 1745, as "La fille, la femme et la veuve." SCHATZ 6741-6742 
 
 Second copy. ML 48. R4 
 
 La Provengale, entree, remise au Theatre le mardi 31 Janvier 1758. 
 n. i., n. d. 16 p. 22\ cm . 
 
 In the "Approbation" at end (dated January 29, 1755 [!]) this is called, "Acte 
 detach 6 du Ballet des Fetes de Thalie." Cast and names of De Lafonds as author, of 
 "feu M. Mouret "as composer. ML 52.2. F3 
 
 Second copy. ML 48. R4 
 
 La fllle mal gardee, ou Le pedant amoureux, parodie de la Pro- 
 vencale. Representee pour la premiere fois par les Come'diens 
 italiens ordinaires du roi le 4 mars 1758. 
 
 Paris, N. B. Duchesne, 1758. 44, [45-48], 49-80 p. 19 cm . 
 (Theatre de M. Favart, Paris, Duchesne, 1763-77, t. v.) 
 
 One act. Cast. The [45-48] p. contain catalogues of plays; p. 49-80, twelve 
 "Ariettes du Pedant amoureux, ou La fille mal gardee. Par M. Duny." None of 
 the vaudeville airs printed in the text, which was written by Madame Favart in col- 
 laboration with her husband and Lourdet de Santerre. ML 49.A2F1
 
 496 LIBRARY OF CONGRESS 
 
 Les festes de Thalie Continued. 
 
 - La fille mal gardee, ou Le p&lant amoureux, parodie de La 
 Provencale, representee, pour la premiere fois, par les Come'diens 
 italiens ordinaires du roi, le 4 mars 1758. 
 
 Paris, N. B. Duchesne, 1759. 28 p. 19 cm . 
 
 No music in the text. SCHATZ 2845 
 
 La veuve indecise, op6ra-comique, parodie de La veuve coquette. 
 Repr6sente"e pour la premiere fois sur le Theatre de FOpe'ra-comique, 
 & la Foire S. Laurent, le lundi 24 septembre 1759. 
 
 Paris, la veuve Duchesne, 1767. Jfi p. 19 cm . 
 
 Neither Vade", the author, nor Duni, the composer, mentioned in the libretto. On 
 
 &. 31-40, the melodies of the "Airs de la Veuve indecise." No. 1, "Dans le manage;" 
 o. 2, "Eh! pour-quoi tantattendre;" No. 3, "Un aveu me'rite';" No. 4, "Non pas, 
 ma Mie" and the " Vaudeville," "Une fille a dix-huit." "La veuve coquette" is the 
 title of the "nouvelle entreV' of 1715 for Mouret's ballet, "Les festes de Thalie." 
 
 SCHATZ 2858 
 
 La veuve indecise, ope"ra comique; parodie de La veuve coquette; 
 represent e"e pour la premiere fois, sur le Theatre de FOpe"ra comique, 
 a la Foire Saint Laurent, le 24 septembre 1759. 
 
 [105]-136p. 15\ cm . (Jean Joseph Vade, Oeuvres complettes, t. iv, 
 Nouv. ed., Troyes, an VI, [1798]) 
 
 One act. Duni is not mentioned. PQ 2068.V2 
 
 Les festes galantes, ballet. Represente par F Academic royale de 
 musique Fan 1698. Les paroles sont de M. Duche, & la musique de 
 M. Desmarets. XLV. opera. 
 
 n. i., n. d. front., p. 229-290 (Recueil general des opera, t. vi, 
 Paris, 1708). 14. 
 
 Detached copy. Prologue and three acts with "Avis," in which we read: 
 "J'ay balance long-temps, si je laisserois ce ballet, le titre, que Ton scait qu'il 
 avoit deux ans, avant que Von eut pense" a faire 1'Europe Galante." 
 
 First performed, as indicated, May 10, 1698. SCHATZ 2532 
 
 Second copy. ML 48. R4 
 
 Les festes greques et romaines, ballet heroique, represente par 
 FAcademie royale de musique, Fan 1723. Paroles de M. Fuseher. 
 Musique de M. Colin de Blamont. CII. opera. 
 
 n. i., n. d. pi., 26S-318 p. 14 cm - (Recueil general des opera, 
 Paris, 1734, t. xiii.) 
 
 Detached copy. Prologue and three entries called "Les jeux olympiques," "Les 
 bacchanales," "Les Baturnales." The long preface (p. 265-270) reads in part: 
 
 "Les Festes grecques et romaines forment un ballet d'une espece toute nouvelle. 
 La Muse lyrique n'avoit jusqu'a present tir6 ees poe'mes que de la chroniquea des 
 Amadis, de 1'Ariosto, des Metamorphoses d'Ovide, du Tasse & d'autres eemblables 
 auteurs. La France n'a encore soumis que la fable a la musique; 1'Italie plus hazar- 
 deuse a plac^ dans eea opera les ev^nemens de 1'histoire. Les Scarlatti & les Buonon- 
 cini ont fait chanter des Heros que Corneille & Racine auroient fait parler. Enhardy 
 par ces examples, on s'est dispense de glaner dans les champs trop souvent moissonnez 
 de la mythologie & du romain : Heureux si on est aprouve en ouvrant aux poetes du 
 theatre chantant, une carriere digne d'occuper les Genies amateurs du vray-semblable. 
 
 "On a rassembl^ dans ce ballet, les fetes de 1'antiquit^ les plus connues, & qui ont 
 semb!6 les plus favorables au theatre & a la musique. On les confond toutes sous le 
 nom de Festes grecques & romainee, parce qu'effectivement Rome adopta tous les 
 Dieux d'Athenes. On a pris soin d'assortir a ces Ffetes celebres des avantures & des 
 noms illustres ..." 
 
 First performed, as indicated, July 13, 1723. SCHATZ 1067 
 
 Second copy. ML 48. R4
 
 OPERA LIBRETTOS 497 
 
 Les festes nouvelles, ballet. Represent e par 1' Academic royale de 
 musique, Tan 1734. Paroles de M. Massip. Musique de M. Plessis-C. 
 CXX. opera. 
 
 n. i.j n. d. front., p. 381-430 (Recueil general des opera, Paris, 1739, 
 t. aw). 14 cm 
 
 Detached copy. Prologue and three entrees, composed by Duplessis, Le jeune, 
 and called "Ulysee et Circe," "Le bal champetre," "Le triomphe de 1'Amour sur 
 Bacchus." 
 
 First performed, as indicated, July 22, 1734. SCHATZ 2861 
 
 Second copy. ML 48. R4 
 
 Les festes venitiennes, ballet, representee par TAcademie royale 
 de musique Fan 1710. Les paroles de M. Danchet & la musique de 
 M. Campra. LXXV. opera. 
 
 n. i., n. d. front., 129-180 p. 14 cm . (Recueil general des opera, 
 Paris, 1714, t. x.) 
 
 Detached copy. Three entrees with prologue and avertissement with statement 
 that the libretto is printed according to the original version of June 17, 1710, not 
 with the additions introduced later on. On p. 131 then follows this: 
 
 "ORDRE DES FESTES VENITIENNES. Premiere representation le 17 Juin 1710. 
 Prologue, sous le titre du Triomphe de la folie sur la raison, dans le temps du carnaval. 
 Premiere entree. La feste des barqueroles. Deuxieme entree. Les serenades & lea 
 joiieurs. Troisieme entree. L'amour saltinbanque. 
 
 "Dixieme representation le 8. juillet. Premiere entree, substitute a celle des 
 Barqueroles, La feste marine. 
 
 XXIII 1 ? 6 representation le 8. aoust. Le prologue a 6t6 supprime & Ton a ajoute 
 le Bal, nouvelle entree, que Ton a placee entre la premiere & la deuxieme. 
 
 "XXXIV 1 ? 6 representation le 5 septembre. L'on a substitu^ & la place de la 
 Serenade, une nouvelle entree sous le titre des Devins de la Place Saint Marc. 
 
 "LI 1 ? 6 representation le 14. octobre. L'on a supprim La feste marine, & Ton a 
 donn6 une iiouvelle entree sous le titre de I'Opera. En meme temps on a donn6 un 
 nouvel ordre aux Entrees, en remettant le Prologue. Les Devins pour premiere 
 entree. L'amour saltinbanque, secpnde. L'Opera, troisieme. Le bal, quatrieme. 
 On a depuis ajout^e La Comedie, qui se trouve a la suite de toutes ces entrees." 
 
 SCHATZ 1549 
 
 These additions, etc., follow: Second copy. ML 48. R4 
 
 Premiere entree ajout6e. Feste marine. (181-192 p.] 
 
 SCHATZ 1550 
 
 Deuxieme entree ajoutee. Le Bal. (193-208 p.) 
 
 SCHATZ 1551 
 
 Troisieme entree ajoutee Les Devins de la place Saint Marc. (209-220 p.) 
 
 SCHATZ 1552 
 
 Quatrieme entree ajoutee L'OpSra (221-236 p.) 
 
 SCHATZ 1553 
 
 Cinquieine entree ajoutee Le triomphe de la folie, comedie (2S7-25Z p.") 
 
 SCHATZ 1554 
 
 - Les fetes venitiennes : Le triomphe de la folie sur la raison La 
 f 6te des barqueroles Les serenades et les joueurs Les saltinbanques 
 de la place Saint Marc. 
 
 50 p. 17$ cm . (Antoine Danchet, TJiedtre, Paris, 1751, t. in.) 
 "Les saltinbanques" ("la troisieme et derniere entree") is called in caption 
 "L'amour ealtinbanque." These entries are followed by: PQ 1972.D2 
 
 Fete marine Les devins de la Place Saint Marc L'opera 
 [incl. " Le ballet de Flore "]. 
 [ol]-90 p. ibidem. 
 These three are called Premiere-troisieme entree. They are followed by: 
 
 72251 VOL 114 32
 
 498 LIBRARY OF CONGRESS 
 
 Les festes venitiennes Continued. 
 
 - Le triomphe de la folie, comedie Le bal. 
 [91}-120 p. ibidem. 
 
 At the end oi "Le bal": "Fin des Festes venitiennes"! For an explanation of 
 this otherwise unintelligible matter, see main entry for "Les festes v&iitiennes." 
 
 Das festin oder Die eifersucht der frauenzimmer des tuerkischen 
 kaisers. Tr. T. of the ballet Les f&tes ou Jalousies du se'rail. 
 
 II festino. Dramma di tre atti per musica. Rappresentato per la 
 prima volta in Parma nel Teatro Kegio-ducale il carnovale dell anno 
 MDCCLVII [Dec. 26, 1756] con musica del Ferradini. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, v. 38, 
 [5}-66 p. 18% cm . 
 
 PQ 
 The festival! of light. A. T. of the masque Luminalia. 
 
 La fete d'amour, ou Lucas et Colonette, piece en vers et en un acte. 
 Par Madame Favart. Represent6e pour la premiere fois par les 
 Come'diens italiens ordinaires du roi, le 5 de'cembre 1754. Nouvelle 
 Edition, augmented de la musique. 
 
 n. i., n. d. 64 p. (Theatre de M. Favart, Paris, Duchesne, 1763-77, 
 t.v.) 
 
 Prologue (with cast) and one act (without cast). The ariettes are printed in the 
 text. Their composer is unknown to Font, who mentions as authors of the text, 
 besides Mad. Favart, her husband and Chevalier. ML 49.A2F1 
 
 La fete de 1'egalite. ComeUie en un acte, par J. B. Radet et F. G. 
 Desfontaines ; represented pour la premiere fois a Paris sur le Theatre 
 du Vaudeville, le 7 ventose de 1'an deux de la Re"publique francaise. 
 Nouvelle edition. 
 
 Paris, Au Theatre du Vaudeville, Prairial, an 777? [May- June 1795\. 
 44 p. 20 cm . 
 
 Cast. Interspersed with airs and vaudevilles, a few of which are printed in the 
 text. Not recorded by Cl. & L. or Schatz. 
 
 First performed, as indicated, February 25, 1794. ML 48.M2L 
 
 La fete de La cinquantaine, ope"ra en deux actes. Paroles du 
 C. Faur, musique du C. De"zede. 
 Paris, Huet, 1796. 61 p. 20 cm . 
 
 With caet and "Ayertissement de Pauteur." In this he says that "cette bagatelle 
 y [at the 'Theatre ci-devant Italien'] fut recue en 1781. Lue une seconde fois en 
 1784," but not performed. After fifteen years of waiting, further promises of per- 
 formance, which does not materialize. At end , compliments to the ' ' artistes du Theatre 
 de la rue de Louvois," who first performed the opera January 9, 1796. SCHATZ 2527 
 
 La fete de Saint Cloud. O. T. of Les bateliers de Saint Cloud. 
 La fete de Salency. A. T. of La couronne de roses. 
 
 La fete du chateau, divertissement me'le' de vaudevilles & de petits 
 airs; par M. * * * Represent^ pour la premiere fois par les 
 Comeaiens italiens ordinaires du roi, le 25 septembre 1766. 
 Paris, la veuve Duchesne, 1766. 76, [3] p. 19 cm . 
 
 One act. By Charles Simon Favart, who is not mentioned. On p. 74-76, the airs, 
 ' ' Belle rose, que j 'arrose " and ' ' Pour Colette, que j 'adore. ' ' The first of the coupleta, 
 "Oui, je 1'ai dit," was to be eung to "Air de Rameau: Dans ce convent." Favart'e
 
 499 
 La fete du chateau Continued. 
 
 musical collaborator unknown to Schatz and Font, who says that the play was "d'abord 
 joue chez la marquise de Mauconseil." The [3] p. contain the approbation and 
 priviledge du roi. Towers has an opera of the above title under Duni, but Fetis, 
 Eitner, .Schatz have not. Eitner and Towers also have an opera of the same title 
 under de Saint-Pierre. ML 50.2. F33. 
 
 Second copy (forms part of "Theatre de M. Favart," Parip, Duchesne, 1763-77, 
 t. ix.) ML 49.A2.F1 
 
 - La fete du chateau, divertissement mele de vaudevilles & de 
 pet its airs, par M * * *. Represente pour la premiere fois par 
 les Comediens italiens ordinaires du roi, le 25 septembre 1766. 
 Paris, la veuve Duchesne, 1766. 52 p. 19 cm . 
 Text the same (incl. music of the two airs) as in the 76 p. ed. of 1766. 
 
 ML 50.2.F331 
 
 La fete du chateau, divertissement mele de vaudevilles & de 
 petits airs; par M. * * Represents pour la premiere fois par 
 
 les Comediens italiens ordinaires du roi, le 25 septembre, 1766. 
 
 Paris, la veuve Duchesne, 1767. 60 p. 19 cm . 
 
 SCHATZ 11491 
 
 La fete du serail, pantomime-ballet; donne au Pantheon, pour la 
 premiere fois, le dimanche 9 mars 1788. 
 Pans, P. de Lormel, 1788. 14 p. 18^ cm . 
 
 One act. Cast and scene by scene description of the action. The imprimatur ia 
 dated March 8, 1788. Neither the author nor the composer is known to Schatz. 
 
 ML 48. B2 
 
 Les fetes ou Jalousies du serail Das festin oder Die eifersucht der 
 frauenzimmer des tuerkischen kaisers, ballet. See Bernasconi's De- 
 metrio. 
 
 Les fetes d'Hebe, ou Les talens lyriques. Ballet represente pour 
 la premiere fois, par 1'Academie royale de musique, le jeudy vingt-un 
 may 1739. 
 
 [Paris], Jean Baptiste Christophe Bollard, 1739. 57, [1] p. 24 cm . 
 
 Prologue and three entrees: "La poesie," "La musique," "La danse." Cast, 
 and on p. [3]: "Extrait d'une lettre, ecrite a M. Rameau," the composer, by the 
 author, Gaultier de Mondorge, who is not mentioned. He says: 
 
 "Vous me faches beaucoup, monsieur, quoi? il faut absolument que le poome 
 d'un ballet soit imprim6 avant la representation; je me flattois qu'on pourroit se 
 -oustraire a 1'usage, & qu'il nous suffirpit d'exposer simplement le sujet de chaque 
 ontn'e. Song^s done que je n'ai jamais compte vous envoyer qu'un enchainement 
 de scenes qui pretassent & la musique & au spectacle; & en verite, des scenes ainsi 
 ne pretendent point si la lecture." ML 52.2.F4H1 
 
 - Les fetes d'Hebe, ou Les talens lyriques, ballet, represente pour 
 la premiere fois par 1' Academic royale de musique, le jeudi 21 may 
 1739. Repris le mardi 25 juillet 1747. Et remis au Theatre le 
 nuirdi 18 may 1756. 
 
 Paris, Aux depens de VAcademie, chez ~Ui V. Delormel cfe Jils, 1756. 
 52 p. 23 cm . 
 
 Prologue and three entrees called: "La po^sie," "La musique," "La tlanso." 
 Cast and namo of Jean Philippe Rameau ;i. <-'.inj)<f-cr. Th<- inithnr. (Jaultier de 
 i- not mentioned. Ml -VJ. !'.!' I R2
 
 500 LIBRARY OF CONGRESS 
 
 Les fetes d'Hebe Continued. 
 
 L'amour impromptu, parodie de 1'acte d'Egle" dans les Talens 
 lyriques. Represented sur le Theatre de 1'Opera-comique, le 10. 
 juillet 1756. 
 
 Paris, Duchesne, 1756. 31, [1] p. 19 cm . (Theatre de M. Farart, 
 Paris, Duchesne, 1763-77, t. viii.) 
 
 Cast. One act. En vaudevilles. On p. 26-31 four of the airs. Compare next 
 entry. ML 49.A2F1 
 
 - L'amour impromptu, parodie de 1'acte d'Egle dans les Talens 
 lyriques. Represent ee sur le Theatre de FOpera-comique le 10 juillet 
 1756. 
 
 Paris, Veuve Duchesne, 1767. 32 p. 18\ cm . 
 
 One act. On p. 23-32 the "Airs de L'amour impromptu": "0 Dieux! qu'elle 
 est belle," "Quitte la plaine," "Repondez, Je respire," "Chantez, eautez, jeunes 
 beautez," "Prenez au village une maitresse." The "acte d'Eg!6" is the same as the 
 third entree, "La danse," though none of the entrees of Rameau's "Les fe"tea d'He'be 
 ou Les talene lyriques " are called "Egle." ("Egl6, bergere" is one of the characters 
 in "La danse.) The text of the parody was by Favart. According to Font it is the 
 same as his unpublished parody, "Sansonnet et Tonton" of 1739, which had been 
 forbidden by the police. This, however, he mentions (p. 339) as a parody of the 
 second entree, "La musique"! Malherbe's preface to the reprint of Rameau's "Les 
 fetes d'H6b6 " score does not face this contradiction and his remarks on the parody 
 are not felicitous. SCHATZ 11479 
 
 Les fetes de Fautomne. See Floquet's Le seigneur bienfaisant. 
 
 Les fetes de 1'Himen et de F Amour; on Les dieux d'Egipte, ballet- 
 heroique, donne a Versailles le quinze mars 1747, represent^, pour 
 la premiere fois, par 1'Aeademie-royale de musique, le mardi 5 novem- 
 bre 1748, remis an theatre en juillet 1754, & le mardi 4 juin 1765. 
 Paris, Aux depens de I 1 Academic, ches de Lormel, 1765. 4& P- 
 
 Three entrees called "Osiris," "Canope," "Arneris ou Les Isies," and each pre- 
 ceded by prefatory remarks. Cast and names of de Cahusac as author, of Jean 
 Philippe Rameau as composer. ML 52.2.F42R2 
 
 - Les fetes de 1'Hymen et de 1'Amour, ballet heroique, en trois 
 actes et en vers. Represente par 1'Academie royale de musique de 
 Bordeaux. Nouvelle Edition. 
 Paris, Ruault, 1778. 16 p. 21 cm . 
 
 Cast. Neither Cahusac nor Rameau is mentioned. The prologue has been 
 dropped. ML 52.2.F42R3 
 
 Les fetes liriques. Nouveau ballet-he'roique, en trois entries, de 
 diflerents auteurs: representees, par 1'Acade'inie-royale de musique, 
 le vendredi 29 aout 1766. 
 Paris, Aux depens de 1'Academie, dies de Lormel, 1766. 56 p. 23 cm . 
 
 Cast. Written by different authors, the three entrees were also set to music by 
 different composers." The libretto mentions "Francoeur neveu" (Louis Joseph) as 
 composer of the first "Lindor et Ismene;" Jean Philippe Rameau as composer of 
 the second "Anacreon;" de Moncrif as author and Pierre Berton as composer of 
 the third "Erosine, pastorale-hero'ique, en un acte, repre'sentee, devant Leurs 
 Majest^s, & Fontainebleau, le 9 novembre 1765." (See also Erosine.) "Lindor et 
 Ismene" was written by Michel de Bonneval and, according to Schatz, the text ia 
 the same as that of "Le Roman merveilleux," fourth entree in his ballet "Les 
 Romans "(1736). The text of "Anacr^on" was by Louis de Cahusac, and this one- 
 act opera-ballet had first been performed on October 23, 1754. It is not to be con- 
 fused with Rameau's Anacron, text bv Gentil-Bernard, first performed May 31, 1757, 
 as third act in his "Les surprisea de l f amour." ML 52.2.F46
 
 OPERA LIBEETTOS 501 
 
 Les fetes venitiennes. See Campra's Les festes venitiennes. 
 II Fetonte. See M. Curzio. 
 
 Fetonte. 
 
 p. 71-103. 15% cm . (Ottavio Tronsaretii, Drammi musicali, Roma, 
 Francesco Corbelletti, 1632.) 
 
 Five acts. Argument. No composer mentioned. ML49.A2T7 
 
 Fetonte. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Berlino . . . 
 Berlino, Haude e Spener, 1770. 83, [3] p. 16% cm . 
 
 Three acts. Leopoldo de Villati is mentioned as the author ("La poesia tratta 
 dall' originate francese" [Quinault's Phaeton] . . . Vi Bono stati fatti diversi can- 
 giamenti) and Carl Heinrich Graun as composer. Count Algarotti is known to 
 have assisted Villati and possibly Frederick the Great collaborated. Argument and 
 scenario. German title-page, "Phaeton, " and text face Italian. 
 
 Performed, as indicated, January, 1770; originally March 29, 1750. SCHATZ 4098 
 
 Fetonte. Dramma per musica da rappresentarsi nel Gran Teatro 
 Ducale di Luisburgo resteggiand osi il felicissimo giorno natalizio di 
 Sua Altezza Serenissima Carlo duca regnante di Wirtemberg et Teck, 
 etc. La musica e nuova composizione del Signor Nicold Jommelli . . . 
 I balli nascon tutti dal tronco del soggetto e sono stati immaginati 
 dall' autore del drama <. . . 
 
 [Stutgart], Cotta, 1768. 159 p. 17 cm . 
 
 Three acts. By Mattia Verazi, who is not mentioned. Scenario and cast. French 
 title-page, "Phaeton,'! and text face Italian. 
 
 First performed, ae indicated, February 11, 1768. Not to be confused with his 
 "Fetonte," text by Leopoldo de Villati, with alterations and interpolations, first per- 
 formed at Stuttgart, Schauplatz im Lusthause, February 11, 1753. SCHATZ 4860 
 
 - Fetonte. Dramma per musica da rappresentarsi nel Real Teatro 
 dell' Ajuda nel felicissimo giorno natalizio del fedelissimo monarca D. 
 Giuseppe I ... nel di 6 giugno 1769. 
 
 Lisbona, Stamperia reale, n. d. 72 p. 16 cm . 
 
 Three acts. Scenario, cast, and names of Mattia Verazi as author, of Niccold Jom- 
 melli ae composer ("nuova composizione "). The text seems to follow the 1768 edition 
 closely, though, for instance, the chorus "Delia gran 'buccina," at end of I, 5 hae 
 been dropped. SCHATZ 4859 
 
 Fetonte sulle rive del Po. Componimento drammatico per le 
 nozze delle A. A. R. R. di Vittorio Amedeo duca di Savoja, e di 
 Maria Antonia Ferdinanda infanta di Spagna, da cantarsi nel palazzo 
 di Sua Eccellenza Fra' D. Emanuello De Sada e Antillon . . . 
 
 [.At end] Torino, Pietro Gimeppe Zappata, e Jiglio, 1750. 4 P- l-> 
 27 p. 23 cm . 
 
 One act. Argument, cast, and names of Giuseppe Baretti ae author, and of Giovanni 
 Antonio Giai as the composer. 
 
 First performed, as indicated, June, 1750. SCHATZ 3818 
 
 Feudal times; or, The banquet-gallery: a drama, in two acts. 
 First represented at the Theatre-Royal, Drury-Lane, on Saturday, 
 Jan. 19tn, 1799. Written by George Colman, the younger . . . 
 
 London, Cadell and Davies, n. d. vi, [2], 55 p. 21 cm . 
 
 Cast, preface dated Piccadilly, February 13, 1799, and name of Michael Kelly an 
 composer. In Com, Dussek & co's vocal score the overture is headed as comjxisc't 
 by Dussek. LONGE iMn
 
 502 LIBRARY OF CONGKK>.- 
 
 II feudatorio, ballet. See Monza's Ifigenia in Tauride. 
 
 II feudatorio ingannato, bullet. See Ferrero's La disfatta di 
 Dario. 
 
 1 1 feudatorio pentito, ballet. See Zingarelli's Artaserse. 
 
 La Fiammetta. Opera bernesca in musica da rappresentarsi in 
 Venezia nel Teatro Giustiniano di San MoisS nel came vale nell' anno 
 1743. M. V. 
 
 Venezia, Girolamo Bortoli, 1744- 58 p. 15 cm . 
 
 Three ac s. Cast and scenario. Author and composer not mentioned, and unknown 
 to Schatz. SCKATZ 11330 
 
 La flda ninfa. Draiuma per musica da rappresentarsi in Verdna 
 nella dedicazione del miovo Teatro Filarmonico. [vignette] 
 n. i., n. d. [191}-256 p. 18 cm . 
 
 Evidently detached copy. Three acts. The text is preceded by Giulio Cesare 
 Becelli's very interesting preface on p. [193J-202, in which he says that the text 
 was written by the author [marchese Scipione Maffei] when eighteen years of age. 
 Later on he altered and used the text for a special musical purpose and forgot all about 
 it, until the refusal of "alcuni valenti poeti to furnish a new drama for the opening 
 festivities of the new Teatro Filarmonico in Verona, in 1730 induced him to use his 
 own text instead. Becelli then tells us how Giuseppe Maria Orlandini, the com- 
 poser, came from Bologna to Verona to confer with Maffei on further changes in the 
 text and how he came as Maffei's guest "per levar arie, o aggiungere, e per adattarle 
 al di lui piacere nel modo, e nel sito, e in altre circpstanze della ecena, secondando 
 anche il genio dei cantanti: anzi in alcuni luoghi vi erano due arie invece di una, 
 perche il maestro prendesse la piii geniale, di qualcuna ancpra essendosi eervito, che 
 ayea con applauso usata in cantate ..." Hence Maffei's hostile views on this 
 kind of cooperation between dramatist and composer. Finally, Becelli makes some 
 noteworthy remarks on the same subject. Schatz records, but evidently incorrectly, 
 Antonio Vivaldi as the composer. ML50.2.F4O7 
 
 La fida ninfa. Drama per musica. 
 
 [241]-293 p. 17% cm . (Marchese Scipione Maffei, Poesie, Verona, 
 1752, t. ii). 
 
 Three acts. Orlandini is not mentioned. PQ 
 
 Fidarsi e bene, ma non fidarsi e meglio. Divertimento comico 
 per musica da rappresentarsi nel Teatro Giustiniam a San Moise'. In 
 occasione della fiera dell' Ascensione. L'anno MDOCXXXI. 
 
 Venezia, Carlo Buonarrigo, n. d. 4? '> t^l P- 15 cm . 
 
 Three acts. Attributed by Schatz and Wiel to the composer Giuseppe Maria 
 Buini, who is not mentioned. SCHATZ 1396 
 
 II fido amante, ballet. See Sarti's Medonte. 
 
 II fido amico, oder: Der getreue freund Hercules und Theseus. 
 Auf dem grossen Hamburgischen Schau-platz in einem singe-spiel 
 auffgefuehret im jahr 1708. 
 
 n. i., n. d. Unpaged. 18$ cm . 
 
 Three acts. Neither the author, Breymann (who based his text on Moniglia's 
 "Ercole in Tebe "), nor the composer, Christoph Graupner, is mentioned in the notice 
 to the " Geehrter leser." Some arias have Italian and German text, which is on the 
 whole German. SCHATZ 4123 
 
 La fiera di Batavia, ballet. See Ourcio's Solimano.
 
 OPERA LIBRETTOS 503 
 
 La fiera di Sinigaglia, ballet. See Andreozzi's Teodelinda. 
 
 La fiera di Sinigaglia. Dramma di tre atti per musica. Rappre- 
 
 sentato per la prirna volta in Bologna Testate dell' anno MDCCUKI. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli. 1788^95, t. LI. 
 [115}-180 p. 18. 
 
 For correct date of first performance see next entry. PQ 
 
 La fiera di Sinigaglia. Dramma giocoso per musica di Polisseno 
 Fegejo Pastore Arcade [Goldoni] Da rappresentarsi nel Teatro delle 
 Dame per le prime recite del carnevale 1760 . . . 
 Roma, Giuseppe e Nicolb Grossi, 1760. 72 p. 15. 
 
 Three acts. Impresario's dedication, cast, scenario, and name of the composer, 
 Domenico Fischietti. SCHATZ 3239 
 
 La fiera di Venezia. Dramma giocoso per musica di Gioy. Gas tone 
 Bocherini da rappresentarsi nel Piccolo Teatro di S. A. E. di Sassonia. 
 Dresda, n. putt., 1775. 167 p. 16 cm . 
 
 Three acts. Antonio Salieri is mentioned as the composer. German title-page, 
 "Der markt von Venedig," and text face Italian. 
 
 First performed at Dresden, 1775, as indicated; at Vienna, Burgtjieater, January 
 29, 1772. SCHATZ 9293 
 
 La fiera di Venezia, comedia per musica in tre atti, di Gio. 
 Gastone Boccherini, Lucchese, poeta Arcade; da rappresentarsi nel 
 Regio Teatro. Markedet i Venedig . . . Oversat paa dansk af R. 
 Soelberg. 
 
 Ki0berihavn, H. J. Graae, n. d. 127 p. 16\. 
 
 Cast and name of Antonio Salieri as the composer. 
 
 First performed, as indicated, April 10, 1777. SCHATZ 9295 
 
 La fiera di Venezia. Commedia per musica da rappresentarsi in 
 Milano per la solenne occasione della sua prima apertura in agosto 
 delP anno 1779 ... 
 
 Milano, Gio. Batista Bianchi, n. d. 84 p. 16 cm . 
 
 Three acts. Dedication, cast, scenario, and names of Boccherini as the author, 
 of Antonio Salieri as the composer. ^With the opera were performed, music by 
 Mattia Staubingher, Antonio Muzzarelli's ballets "La sconfitla delle Amazon! " and 
 "Le avventure d'Ircana." 
 
 First performed August 21, 1779, as indicated. SCHATZ 9291 
 
 - Die messe zu Venedig, eine operette aufgefuehret am Churpfael- 
 zischen hofe 1772. 
 
 Mannheim, Hof u. Akademie buchdruckerei, n. d. 82 p. 16 cm . 
 
 Three acts. Cast and name of Antonio Salieri as the composer. A separate edi- 
 tion of the German translation for the Italian performances at Mannheim, Hoftheater, 
 November 22, 1772. On p. 7&^-82, cast and description of Lauchery's ballet "Der 
 tod des Hercules," "die musick bestehet aus verschiedenen schoenen stuecken 
 mehrern beruehmten meistern." SCHATZ 9292 
 
 Arien und gesaenge aus dem singspiele Der jahrmarkt zu Vene- 
 dig, in drey akten. Die musik ist vom herrn Salieri. 
 Berlin, n. putt., 1799. 5L p. 16 cm . 
 
 Three acts. The translator, Heinrich Christian Pleissner, is not mentioned. Cast. 
 First performed at Berlin, Kgl. National Theater, February 25, 1799. 
 
 SCHATZ 9294 
 
 A fig for invasion. A. T. of The times.
 
 504 LIBRARY OF CONGRESS 
 
 Figaro als barbier zu Se villa. Tr. of Paisiello's II barbiere di 
 Seviglia. 
 
 Figaro's heyrath. Tr. of Mozart's Le nozze di Figaro. 
 Figaros hochzeit. Tr. of Mozart's Le nozze di Figaro. 
 
 Figaros hochzeit oder List iiber list. Tr. of Mozart's Le nozze di 
 Figaro. 
 
 Figaro's hochzeit oder Der tolle tag. Tr. of Mozart's Le nozze di 
 Figaro. 
 
 La figlia dell' aria o sia L'innalzamento di Semiramide, ballet. See 
 Righini's Armida. 
 
 La figlia obbediente. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro di Monza 1'autunno dell' anno 1780 . . . 
 Milano, Giovanni Battista BiancTii, n. d. 60 p. 16 cm . 
 
 Two acts. By unknown author. Dedication, cast, scenario, and name of the 
 composer, Carlo Bosi. With the opera were performed Innocente Parodi's ballets 
 "Le gelosie d'Annetta e Fiorillo" and "Accampamento di Micheletti." The com- 
 posers of the music are not mentioned. SCHATZ 1256 
 
 Le figlie astute, ballet. See Brunetti's Bertoldo. 
 
 Le figlie astute, ballet. See P. Guglielmi's Enea e Lavinia. 
 
 II figlio delle selve. Dramma per musica da rappresentarsi nel 
 Teatro Fontanelli in Modona [!] 1'anno MDCCI . . . 
 
 Modona [!], Antonio Capponi, n. d. 1 p. 1., 60 p. 13% cm . 
 
 Three acts. Impresario's dedication ("La prima opera, ch'io pongo eu'l mio 
 teatro "), argument, and cast. Neither the composer, Gaetano Boni, nor the librettist, 
 Carlo Sigismondo Capece, is mentioned. 
 
 First performed, as indicated, December 27, 1700. SCHATZ 1181 
 
 II figlio delle selve. Favola pastorale per musica da rappresen- 
 tarsi per comando del Serenisstmo Elettore Palatino. L'anno 
 MDCCLIII. 
 
 Mannheim, Nicola Pierron, n. d. 8 p. 1., 77 p. 16 cm . 
 
 Three acts. By Carlo Sigismondo Capece, and partly rewritten by Francesco 
 Bardella, who are not mentioned. Argument, cast, and name of Ignaz Holzbauer 
 as tb e composer-. 
 
 First performed at Schwetzingen, Neues Churfuerstl. Theater, 1753. 
 
 SCHATZ 4781 
 
 II figlio delle selve. Dramma pastorale per musica da rappresen- 
 tarsi nel Teatro del Falcone la prunavera dell' anno 1755 . . . 
 
 Genova, Franchelli, n. d. 5 p. 1., Ifi p. 14% cm - 
 
 Three acts. Dedication signed by Francesco Bardella (who, according to Schatz, 
 based this text on that of Carlo Sigismondo Capece), argument, and remark: 
 
 "La musica de' recitativi, e dell' arie segnate con una stella e del Signer Felice 
 Mazzinghi, & 1'altre arie sono di vari autori. SCHATZ 6217
 
 OPERA LIBRETTOS 505 
 
 tl figlio delle selve. Dramma per musica da recitarsi nel Reggio 
 Teatro di Torino . . . 
 
 Torino, Gio. Battista Fontana, 1699. 94 p. 14$ cm . 
 
 Three acts. On p. 91-92, "Scena aggiunta. O Frulla ee m'ami;" on p. 93-94, 
 additions for I, 11, "Col nome di Sergesto Mentre mi fingo amante" and, at end of 
 I, 11, "Doppo rigide tempeste." Neither Carlo Sigismondo Capece, the author, ia 
 mentioned, nor Alessandro Scarlatti, the composer. 
 
 First performed, as indicated, 1699; at Rome, at the poet's home, 1687, the dedi- 
 cation of the original ed. of the libretto being dated January 18, 1687. SCHATZ 9530 
 
 Li figliuoli rival! del padre. A. T of Caldara's Camaide, impera- 
 tore della China. 
 
 Filandro. L. T. of Albinoni's L'incostanza schernita. 
 
 Filandro, dramma comico pastorale per musica rappresentato alia 
 corte di Dresda, il giorno natalizio di Sua Altezza Reale ed Elettorale 
 la principessa Maria Antonia Valpurga . . . il di 18. luglio 1747. 
 n. i., n. d. 143 p. 16% cm . 
 
 Three acts. By Vincenzo Cassani, who is not mentioned. Argument, cast, 
 scenario, and name of NicoR Antonio Porpora as the composer. German title-page, 
 "Philander," and text face Italian. The text is the same as Cassani's "L'incostanza 
 echernita." SCHATZ 8357 
 
 La fileuse ; Parody of Destouches' Omphale. 
 
 II Filindo. Pastorale eroica per musica da rappresentarsi nel Teatro 
 Giustiniano di S. Mois&. L'autunno dell' anno MDCCXX . . . 
 
 Venezia, Marino Rossetti, 1720. 48 p. 14$ cm . 
 
 Three acts. By Pietro d'Averara. Impresario's dedication, notice to the reader, 
 cast, scenario, and name of the composer, Giuseppe Maria Buini, but not of the 
 author. SCHATZ 1382 
 
 Pilippo re della Grecia. Drama per musica da recitarsi nell' 
 impareggiabile Teatro Grimani di S. Gio. Grisostomo Tanno 
 MDCCVI ... 
 
 Venezia, Marino Rossetti, 1706. 76 p. 'l5 cm . 
 
 Five acts. Impresario's dedication, argument, notice to the reader, with name 
 of Carlo Francesco Pollaroli as the composer, cast, and scenario. The author, conte 
 Pietro Giorgio Barziza, is not mentioned. SCHATZ 8289 
 
 Filippo re di Macedonia. Drama per musica di Domenico Lalli. 
 Da recitarsi nel Teatro di S. Angelo il carnevale dell' anno 1721 . . . 
 
 Venezia, Marino Rossetti, 1721. 4$ P- H cm - 
 
 Three acts. Dedication by Lalli, argument, cast, scenario, and names of Giuseppe 
 Boniventi as composer of the first and second acts, of Antonio Vivaldi of the third. 
 
 SCHATZ 1196 
 
 La fille. Entree in Mouret's Les festes de Thalie. 
 
 La fille mal gardee. See Mouret's Les festes de Thalie. 
 
 La filli di Tracia. Drama da rappresentarsi in musica nel Teatro 
 a S. Stefano in Ferrara 1'anno 1664. Con la musica del Sig. D. Andrea 
 Matioli mastro di capella del Sereniss. di Mantoua . . . 
 
 Ferrara, gVlieredi dei Suzzi, n. d. 134 P-, [#1 I- 13 cm . 
 
 Three acts with prologue. Conte Ercole Pinamonte Bonacossi is mentioned aa 
 author in the impresario s dedication, which is dated Ferrara, February 17, 1664. . 
 Argument. The three additional leaves contain a list of errata and the imprimatur. 
 
 SCHATZ 6105
 
 506 LIBRARY OF CONGRESS 
 
 La Filo overo Giunone repacificata con Ercple per le nozze de' Sere- 
 nissimi Ranuccio II duca di Parma, e Margarita, principessa di Savoia: 
 da cantarsi nel Teatro maggiore di S. A. col motivo act un torneo, che 
 dovra seguire un' altra sera. Drama del conte Francesco Berni. 
 
 Parma, Erasmo Viotti, n. d. 4 P- ^., 169, [1] p. 14 cm . 
 
 On last page repetition of the imprint with date 1660. 
 
 Three acts, prologue, three intramezzi and congratulatory epilogue. In a pre- 
 fatory note Francesco Manelli is mentioned as composer. 
 
 First performed 1660, as indicated. SCHATZ 5889 
 
 - I sei gigli. Torneo per le nozze de' Serenissimi Ranuccio II, duca 
 di Parma, e Margarita, principessa di Savoia: intimato nella Filo, e 
 da combattersi nel Teatro maggiore di S. A. Componimento del 
 conte Francesco Berni. 
 
 Parma, Marco Vigna, 1660. 31 p. 14\ cm . 
 
 Prologue and five comparse. Francesco Manelli is mentioned as the composer. 
 
 SCHATZ 5891 
 
 La filosofa olandese, ballet. See Anfossi's La maga Circe. 
 I filosofi immaginarj . L. T. of Astaritta's I visionari. 
 
 I filosofi immaginari. Dramma per musica cja rappresentarsi n^l 
 nuovo Teatro de' Fiorentini. 
 
 Napoli, n. pull., 1784. 34 p. 15 cm . 
 
 Two acts. By Giovanni Bertati, who is not mentioned. Cast and name of Paisi- 
 ello as the composer. 
 
 First performed at St. Petersburg, Eremitage, February 7/18, 1779, as "Gli astro- 
 logi imaginarj," and this in turn was an alteration of Bertati's original title, "I visio- 
 narj." SCHATZ 7616 
 
 - I filosofi immaginarii. Dramma giocioso per musica da rappre- 
 sentarsi nel Teatro de la rua dos Condes nel anno de 1790. -Os 
 filosofos imaginarios . . . Traduzido do idioma italiano para o 
 portuguez. 
 
 Lisboa, Simao TJiaddeo Ferreira, 1790. 95 p. 15 cm . 
 
 Two acts. Dedication, cast, and name of Giov. Paisiello as composer. Bertati 
 is not mentioned. ML 48.C6II 
 
 - I visionari. Dramma giocoso per musica, da rappresentarsi nel 
 Teatro Elettorale. 
 
 Dresda, n. puU., 1793. 93 p. 15\ cm . 
 
 Two acts. Paisiello is mentioned as the composer. German title-page, "Die 
 phantasten," and text face Italian. 
 
 First performed 1793, as indicated. SCHATZ 7619 
 
 - Die eingebildeten philosophen. Ein singspiel in zwey auf- 
 zuegen, aus dem italiaenischen auf die musik cles herrn Paesello 
 uebersetzt. Von Stephanie dem juengern. Aufgefuehrt auf dem 
 kais. kon. Nat. Hoftheater. 
 
 [TFien], Zufinden leym logenmeister, 1781. 44 P- 16 cm . 
 
 First performed, as indicated, May 22, 1781. SCHATZ 7617 
 
 Arien aus den Philosophen. Ein singspiel in zwey aufzuegen. 
 n. i., n. d. 24 p. I6\ cm . 
 Same version as the foregoing. 
 First performed at Pressburg, private theater of Graf Erdody , 1788 . SCHATZ 7618
 
 OPERA LIBRETTOS 507 
 
 Filosofia ed amore. Dramma di tre atti per musica. Rappresen- 
 tato per la prima volta in Venezia il carnovale dell' anno MDCCLX. 
 Carlo Goldoni, Opere teatrali, Venezia. Zatta e figli, 1788-96. v. 88, 
 [271}-334 p. 18% cm . 
 
 PQ 
 
 Filosofia ed amore, dramma giocoso per musica di Polisseno Fegejo, 
 P. A. Da rappresentarsi nel Teatro Giustinian di S. Moise. il carno- 
 vale dell' anno MDCCLX. 
 
 Venezia, Modesto Fenzo, 1760. 68 p. 15 cm . 
 
 Three acts. By Goldoni. Cast, scenario, and name of Florian Leopold Gass- 
 mann as the composer. SCHATZ 3615 
 
 II filosofo. Intermezzo. 
 
 [19S\-209 p. 16% cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. iv, Torino, 1757.} 
 
 Two parts. First composer unknown to Schatz. ML 49.A2G6 
 
 II filosofo. Intermezzo di due parti per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, v. 35, 
 [251}-270 p. 18\ cm . 
 
 PQ 
 
 II filosofo amante. Farsa per musica da rappresentarsi nel real 
 Teatro di Salva terra nel carnovale dell' anno 1776. 
 [Lisbona}, Nella Stamperia reale, n. d. 77 p. 16% cm . 
 
 Two acts. By unknown author. Cast, scenario, and name of the composer, 
 Giovanni Battista Borghi. SCHATZ 1232 
 
 II filosofo deriso, ballet. See P. Guglielmi's Rinaldo. 
 
 II filosofo di campagna. Dramma di tre atti per musica. Rap- 
 presentato a Madrid 1'anno MDCCLX. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, v. 43, 
 [63}-122 p. 18 cm . 
 
 For first performance see next entry. PQ 
 
 II filosofo di campagna. Dramma giocoso per musica di Polisseno 
 Fegejo, Pastor Arcade. Da rappresentarsi nel Teatro Grimani di S. 
 Samuel 1'autunno dell' anno 1754 . . . 
 
 Venezia, Modesto Fenzo, 1754- 60 p. 15\ cm . 
 
 Three acts. By Goldoni. Impresario's dedication, cast, scenario, and name of 
 Baldassare Galuppi as composer. 
 
 First performed at Milan, Regio-Ducal Teatro, summer 1750. SCHATZ 3452 
 
 - II filosofo di campagna. Dramma giocoso per musica, da rap- 
 presentarsi in Dresda 1'anno MDCCLV. Der land-mann ein philo- 
 soph . . . 
 
 Dres&en, gedruckt bey der verwitt. . . . Stoesselin, und . . . Johann 
 Carl Krausen, n. d. 158 p. 17 cm . 
 
 Three acts. Cast, scenario, and name of Galuppi as composer. German text 
 faces the Italian, which follows closely that of the original ed. of 1754, though some 
 differences are noticeable. For instance (I, 4), "Taci, amor, nel seno mio" has been 
 replaced by "Agitato gelo, e tremo," words which do not appear to be by Goldoni 
 at all. SCHATZ 3453
 
 508 LIBRARY OF CONGRESS 
 
 II filosofo di campagna Continued. 
 
 - La serva astuta o sia II filosofo in campagna, intermezzo in due 
 parti a cinque voci da rappresentarsi nel Teatro di Sant' Angelo 
 rautunno dell' anno MDCCLXI. 
 
 Venezia, Vdlvasense, n. d. 24 p. 15% cm . 
 
 Cast. Goldoni ie mentioned as the author, and Galuppi as the composer. A 
 thoroughly-altered condensation in two acts. The characters of Eugenia and Rinaldo 
 have been dropped, Lena has become Fiorillo, and the intermezzo begins, "Povera 
 padroncina," instead of "Candidetto Gelsomino." SCHATZ 3513 
 
 II filosofo di campagna. Dramma giocoso per musica da rappre- 
 sentarsi alia Corte elettorale Palatina . . . 1'anno 1756. 
 
 Mannheim, Stamperia elettorale, n. d. 178 p. 16 cm . 
 
 Three acts. Neither Goldoni, the author, nor Ignaz Holzbauer, the composer, is 
 mentioned. SCHATZ 4782 
 
 II filosofo in campagna. A. T. of Galuppi's La serva astuta. 
 
 Os filosofos imaginarios. Tr. of Paisiello's I filosofi immaginarii. 
 
 Der findling. A. T. of Monsigny's Felix. 
 
 La finta amalata: Farsa per musica in un solo atto. Da rappre- 
 sentarsi nel Regio Teatro di S. Carlo, della Principessa. 
 Lisbona, Simone Taddeo Ferreira, 1796. 167 p. 15\ cm . 
 
 Cast. Portuguese translation faces Italian. Neither the author (unknown to 
 Schatz) is mentioned, nor Domenico Cimarosa, the composer. The text is a con- 
 densation (with alterations) of the two-act text of the same title composed, for instance, 
 by Vittorio Trento for Florence, 1793. 
 
 First performed 1796, as indicated. 
 
 On p. [69]-167: 
 
 - II convitato di Pietra. 
 
 One act ("farea II " of the evening). Cast, scenario, and name of Vincenzo Fabrizi 
 as composer. The author, Giambattista Lorenzi, is not mentioned. The above is 
 the A. T. of their "Don Giovanni Tenorio," Bologna, 1791. ML 48.C6 III 
 
 La finta amalata. Dramma giocoso per musica da rappresentarsi 
 nel nobile Teatro Veronese in San Cassano il carnovale dell' anno 
 1794. Posto in musica dal Signer maestro Vittorio Trento. 
 Venezia, Casali, 1794. 55 p. 18 cm . 
 
 Two acts. Author not mentioned, and unknown to Schatz. With the opera were 
 performed the ballets, "I Veneziani a Costantinopoli " and "II Chinese." 
 First performed at Florence, Teatro La Palla a Corda, spring of 1793. 
 
 SCHATZ 10432 
 
 La finta amante. Opera comica di due atti per musica da rappre- 
 sentarsi nel Teatro de' Fiorentini. 
 Napoli, n. pull., 1788. 34 p. 15 cm . 
 
 Two acts. Author not mentioned, and unknown to Schatz. Cast and name of 
 Paisiello as the composer. 
 
 First performed at St. Petersburg, Teatro di corte, 1780, and previously, in June, 
 1780, for the meeting of Catherine II with Joseph II of Austria SCHATZ 7669 
 
 La finta Astrea. Farsetta in musica a tre voci da recitarsi nel 
 Teatro alia Valle il carnevale dell' anno 1755 . . . 
 
 Roma, Ottavio Puccinetti, 1754. 24 p. 15% cm - 
 
 Two parts. Author unknown to me. Dedication by Angelo Lungi, cast and 
 name of Giacinto Quagliattini as composer. ML 50.2.F43Q2
 
 OPERA LIBRETTOS 509 
 
 La finta baronessa o Li due fratelli ridicoli. L. T. of Alessandri's 
 La finta principessa. 
 
 La finta cameriera. Drama giocoso da rappresentarsi sopra il 
 Nuovo Teatro dell' Opera pantomima del Nicolmi in Bronseviga. 
 Bronseviga, Jieredi Keitel, n. d. "Unpaged. 19. 
 
 Three acts. By Giovanni Barlocci, who is not mentioned. Argument, scenario, 
 and name of Bald. Galuppi as composer. German title page, "Das veretellte Kam- 
 mermaedgen," and text face the Italian. 
 
 First performed, as indicated, 1751. 
 
 "La finta cameriera " is generally attributed to Latilla. Piovano suspects that this 
 Brunswick version, though bearing Galuppi's name, either was by Latilla or else that 
 it was a pasticcio, partly from Galuppi. SCHATZ 3454 
 
 La finta cameriera. Divertimento giocoso per musica da rappre- 
 sentarsi nel Teatro di Sant' Angelo la primavera dell' anno 1743. 
 Nella fiera dell' Ascensione. 
 
 Venezia, Modesto Fenzo, 1743. 60 p. (incl. front.) . 13%. 
 
 Three acts. By Giovanni Barlocci, who is not mentioned. Cast and name of 
 Gaetano Latilla as composer. Became known also as " La giardiniera contessa" and 
 "Don Colascione." 
 
 First performed at Rome, Teatro Yalle, spring of 1738. SCHATZ 5445 
 
 La finta cantatrice. A. T. of P. Guglielmi's Chi la dura la vince. 
 
 La finta cecita di Antioco il Grande. Drama per musica nel feli- 
 cissimo di natalizio . . . Leopoldo I ... Panno MDCXC V. Posto 
 in musica dal Sr. Antonio Draghi maestro di Cap. di S. M. C. con 
 1'arie per li balletti del Sr. Gio. Gioseffo Hoffer, violinista di S. M. C. 
 Vienna d 1 Austria, Susanna Cristina, vedova di Matteo Cosmerovio, 
 n. d. 106 p. 15 cm . 
 
 Three acts, with ballets and Licenza by Donato Cupeda, by whom the dedication 
 is signed and dated "Vienna, 9. di Giugno, 1695." Followed by "Benigno lettore" 
 and argument and scenario. 
 
 First performed at Vienna, Hoftheater, June 9, 1695. SCHATZ 2797 
 
 La finta Cingara per amore. Farsa per musica in due atti, a 
 cinque voci da rappresentarsi " nel ndbil Teatro Grimani di S. Gio. 
 Grisostomo il carnovale dell' anno 1780 . . . 
 Venezia, Pietro Sola, 1780. 51 p. 17 cm . 
 
 Impresario's dedication, cast, scenario, name of Carlo Franchi as composer of the 
 first and of Pasquale Anfossi of the second act. The author is unknown to Schatz. 
 First performed at Rome, Teatro di Tor di Nona, carnival, 1774. SCHATZ 3331 
 
 La finta contessina. Farsetta per musica da rappresentarsi nel 
 Teatro alia Valle nel carnevale delr anno 1751 . . . 
 
 Roma, Ottavio Pucdnelli, 1751. 26 p. 15% cm . 
 
 Two parts. Author not mentioned and unknown to me. Dedication by the 
 publisher and Angelo Lungi ("ponendosi guile scene il terzo scherzo musicale"), 
 cast and name of Antonio Colli as composer. ML 50.2.F433C7 
 
 La finta Galatea o sia L'antiquario fanatico. 
 
 Two acts. Text and mus*ic by Marcello di Capua (Bernardini*. First performed 
 at Rome, Teatro della Pace, carnival J785. 
 
 L. of C. has no 18th cent. ed. under this, the original title
 
 510 LIBRARY OF CONGRESS 
 
 La finta Galatea Continued. 
 
 - Le donne bisbetiche o sia L'antiquario fanatico. Farsetta in 
 musica a cinque voci da rappresentarsi ncl Pubblico Teatro dclla 
 nobil citta di Orvieto nel carnevale dell' anno 1791 . . . 
 
 Orvieto, Luigi Carlucci, n. d. 4? P- 16% cm . 
 
 Two acts. Cast, name of Marcello di Capua (Bernardini) as author and com- 
 poser and impresario's dedication to the ladies of Orvieto, in which he saye: 
 
 "Non v' apiudubbio, che il Teatro fuinstituito per la riformade' costumi. Questo 
 deve sempre essere 1'uirico suo fine, cioe dilettare, e nell' istesso tempo dolcemente 
 ammaestrare lo spettatore con ispirargli orrpre al vizio, che nolle sceniche rappresen- 
 tazioni o si riprende, o si dile^gia, ed animarlo alia virtu, che ei commenda, e di 
 cui se ne presentano dei modelh . . . 
 
 " Consequiamo alia vostra protezione la presente farsetta, che serve per interrorn- 
 pere colla musica le altre teatriche rappresentanze . . ." ML 50.2.D61B2 
 
 La finta giardiniera. Dramma giocoso per musica da rappresen- 
 tarsi in Prato nel carnevale dell' anno 1775 nel Teatro pubblieo dei 
 Nobili Accademici Semplici . . . 
 
 Firenze, Gio. Bat. SteccJii e Anton Giuseppe Pagani, 1776. 74 p. 
 16 cm . 
 
 Three acts. Impresario's dedication, cast, and name of the composer, Pasquale 
 Anfpssi, but not of librettist, who is unknown to Schatz. 
 
 First performed at Rome, Teatro delle Dame, carnival, 1774. SCHATZ 234 
 
 - La finta giardiniera. Dramma giocoso per musica da rappre- 
 sentarsi nel Piccolo teatro di S. A. S. E. di Sassonia. 
 
 Dresda, n. pull, 1775. 175 p. 16% cm . 
 
 Three acts. Scenario and name of Anfossi as composer. German title-page "Die 
 veretellte gaertnerin," and text face Italian. 
 
 First performed, as indicated, February 7, 1775. SCHATZ 235 
 
 La finta matta. Commedia per musica di Domenico Piccinni da 
 rappresentarsi nel Teatro de' Fiorentini per terz' opera di quest' 
 anno 1789. 
 
 Napoli, n. publ, 1789. 59 p. lo\; 
 
 Two acts. Cast and name of Silvestro di Palma as the composer. SCHATZ 7741 
 
 La finta pazza. Dramma giocoso per musica da rappresentarsi nel 
 Teatro Giustiniano di S. MoisS. Nella fiera della Ascensione dell' 
 anno 1747. 
 
 Venezia, Modesto Fenzo, 1747. front., 48 p. 15 cm . 
 
 Three acts. Cast and scenario. Author and composer not mentioned and unknown 
 to Schatz. SCHATZ 11331 
 
 La finta pazza. Drama di Giulio Strozzi. Seconda impressione. 
 
 Venetia, Gio. Battista Surian, 1641. 96 p. lS\ cm . 
 
 Three acts with prologue. Author's dedication dated Venice, January 14, 1641, 
 and his notice to the reader, which begins: 
 
 "Queeta e 1'ottava fatica rapresentativa, che mi trovo haver fatta; cinque delle 
 quali hanno di gia piu volte paeseggiate le scene, e'in queeta m'e riuscito assai feli- 
 cemente lo sciorre piu d'un nodo di lei senza magia, e senza ricorrere a gli aiuti 
 eopranaturali, e divini." 
 
 At the end he mentions Francesco Sacrati as the composer. Then follows ' ' Sonetti 
 del Sig. Francesco Melosi alia Signora Anna Renzi, celebre cantatrice di Roma, rap- 
 presentante in Venetia La finta pazza" and "Pianto di Deidamia nella Finta pazza. 
 Espresso mirabilmente in musica dalla Sig. Anna Renzi Romana." At end this note 
 by "Gio. Battieta Surian libraio al frequente cpmpratore": 
 
 "Sono etato sforzato dall' avidita de' lettori di quest' opera a metterla due volte 
 in un mese sotto il torchio; tanto applause ha ricevuto dalle lingue universal! La 
 finta pazza nel Teatro Npvissimo della citta di Venetia, ov' ella con regale apparato 
 e stata in 17 giorni dodici volte rappresentata." SCHATZ 9253
 
 OPERA LIBRETTOS 511 
 
 La finta pazzia d'Ulisse. Drama per musica da recitarsi nel Teatro 
 Vendramino di S. Salvatore 1'anno 1696. Di Matteo Noris . . . 
 Venetia, Francesco Nicolini, 1696, 83 p. 14 cm . 
 
 Three acts. Author's dedication, notice to the reader with scenario and name of 
 Marc Antonio Ziani as the composer and scenario. 
 
 First performed, as indicated, carnival, 1696. SCHATZ 11186 
 
 La finta pazzia di Diana. Pastorale giocosa per musica da rappre- 
 sentarsi nel Teatro Giustinian di S. Moise nel carnovale dell' anno 
 1748. 
 
 Venezia, Modesto Fenzo, 1748. 36 p. (incl. front.) . 15 cm . 
 
 Three acts. Cast. Author and composer not mentioned and unknown to Schatz. 
 
 SCHATZ 11332 
 
 La finta Polacca. L. T. of Pergolesi's Livietta e Tracollo o sia La 
 contadina astuta. 
 
 La finta principessa. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro del Falcone Fautunno dell' anno 1783 . . . 
 Genova, Giovanni Franchelli, n. d. 68 p. 14 m - 
 
 Two acts. By Filippo Livigni, who is not mentioned. Cast and name of Felice 
 Alessandxi as composer. 
 
 First performed at Venice, Teatro di S. Moise, 1782. SCHATZ 146 
 
 La finta baronessa, o Li due fratelli ridicoli, dramma giocoso 
 per musica da rappresentarsi nel Reggio teatro di S. Carlo, della 
 Principessa, Testate dell' anno 1795. 
 Lisbona, Simone Taddeo Ferpeira, 1795. 195 p. lJ& cm . 
 
 Two acts. By Filippo Livigni. With cast, scenario, and name of Felice Ales- 
 sandri as composer. The Portuguese faces the Italian text, which is practically the 
 same as that of "La finta principessa." SCHATZ 150 
 
 La finta principessa. Dramma giocoso per musica da rappresen- 
 tarsi nel nobile Teatro di San Samuele il carnovale dell' anno 1796. 
 Venezia, Casali, 1796. 69 p. 18 cm . 
 
 Two acts. By Filippo Livigni, who is not mentioned. Scenario, cast, and name 
 of Gaetano Marinelli as the composer. ("La musica del tutto nuova.") 
 
 SCHATZ 5967 
 
 La finta Savia. Drama di Giulio Strozzi. [vignette] 
 
 Venetia., Matteo Leni e Giovanni VeceUio, 1643. 190, 1 (errata) p. 
 
 Three acts, with prologue and two "canzonetta cantata per intermezzo." Strozzi's 
 dedication, dated Venice, January 1, 1643, "argumento historico," argument pre- 
 ceding each scene, and this note after the list of characters: 
 
 i% \folti versi si tralascieranno per la lunghezza dell' opera fabricata dall' autore per 
 poterla anco rappresentare senza canto)." 
 
 Following the text of the opera: (p. 182-183) "breve ristretto dell' argomento;" 
 (p. 186-190) "Osservationi;" and this statement on p. 184-185: 
 
 "La musica di questo drama & per la maggior parte compositione esquisita del 
 Signer Filibertp Laurenzi da Bertinoro, il cjuale con la sua virtu ha saputo dalla 
 buona scuola di Roma, e dalla degna di Venetia far un misto ottimo, e molto adeguato 
 cosi al recitative, come all' arioso per questa opera. 
 
 "II Signer [Arcangelo] CriveUi ha maestrevolmente favorite alcune delle mie 
 scene, ed alcun' altre sono state honorate dal Signer [Tarquinio] Merula, ed altre 
 finalmente nqbilitate dal Signer Benedetto Ferrari: e perche I'operatione lodi i 
 farifuri, habbiamo ad ogni ecena posto il nome dell' autor della musica.
 
 512 LIBRARY OF CONGRESS 
 
 La finta savia Continued. 
 
 "Le macchine, e le scene con numerose mutationi sono state inventate dal vivacie- 
 eimo Sig. Gio. Burnacini da Jesena, il quale fii gli anni adietro il primo, che rawiv6 
 i teatri di Venetia con queste maeetrose apparenze . . . 
 
 "La Big. Anna Renzi romana stupor de teatri, che illuetr6 la mia Finta pazza, hora 
 si compiacera con 1'armonica sua maravigliosa espressione di far apparire la Finta 
 eavia molto migliore di quello, ch'io I'habbia composta. Lo stesso operanno con la 
 dolcezza della lor yoce, e con la gentilissima maniera di rappresentare tanti altri 
 illustri mueici, e principalmente la Signora Anna di Valerio romana eimilmente, che 
 col celeste suo canto sa condire tutte le terrene amarezze, non potendo in lei 1'occhio, 
 e I'orecchio desiderar di vantaggio, ond' ella sara quest' anno il sigillo di tutte le 
 musicali meraviglie." 
 
 First performed January 1, 1643, at Venice, Teatro di S. S. Gio. e Paolo. 
 
 SCHATZ 5474 
 
 La finta schiava. Intermezzi in musica a tre voci da rappresen- 
 tarsi nel Teatro della Pace il carnevale dell' anno 1754 . . . 
 
 Roma, Si vendono nella libraria di S. Michele Ripa Grande, 1754. 
 24 p. 15 cm . 
 
 Two parts. Neither author nor composer mentioned and both unknown to me. 
 Cast and dedication by Angelo Lungi and Gioacchino PuccineHi, the publisher. 
 
 ML 50.2.F438 
 
 La finta semplice. Dramma di tre atti per musica. Rappresen- 
 tato per la prima volta in Venezia il carnovale dell' anno MDCCLXI V 
 con musica del Perillo. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-05, t. 41, 
 [239]-298 p. 18. 
 
 PQ 
 
 La finta semplice. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Giustiniani di S. Moise" il carnovale dell' anno 1764. 
 
 Venezia, Modesto Fenzo, 1764. 60 p. 15 cm . 
 
 Three acts. By Goldoni, who is not mentioned. Schatz attributes the text 
 incorrectly to Luigi Coltellini. Cast, scenario, and name of Salvatore Perillo as the 
 composer. 
 
 SCHATZ 7926 
 
 La finta semplice o sia II tutore burlato. Dramma giocoso da rap- 
 presentarsi in Lisbona nel Teatro della rua dos Condes nella prima- 
 vera dell' anno 1773. 
 
 [Lisbona], Stamperia reale, n. d. 78 p. 15\ cm . 
 
 Three acts. By Pasqualp Mililotti, who is not mentioned. Cast, scenario, and 
 name of "Giacomo Monopoli detto Insanguine." 
 
 First performed at Naples, Teatro Nuovo sopra Toledo, 1769. SCHATZ 4837 
 
 La finta sposa olandese. Farsetta in musica a cinque voci da rap- 
 presentarsi nel Teatro Capranica nel carnevale dell' anno 1777 . . . 
 
 Roma, Ottavio Pucdnelli, 1776. 60 p. 15 cm . 
 
 Two acts. Impresario's dedication of this "fareetta," cast, and name of Marcello 
 di Capua (Marcello Bernardini) as composer. Author not mentioned, and unknown 
 ^o Schatz. SCHATZ 846 
 
 La finta Tedesca. Intermezzi per musica a quattro voci da rappre- 
 sentarsi nel Teatro di Tordinona, nel carnivale dell' anno 1753 . . . 
 Roma, Giuseppe Agazzi, 1753. 22, [1] p. 15\ cm . 
 
 Two parts. Cast, publisher's dedication, and name of Giovanni Battista Casale 
 (Casali) as composer. The author is unknown to Schatz. ML 50.2.F44C2
 
 OPERA LIBRETTOS 513 
 
 La finta Tedesca. Intermezzo per musica, da rappresentarsi nel 
 Nuovo Real Teatro di Potsdam . . . 
 
 Potsdam, C. F. Voss, 1749. 45 p. 
 
 Three parts. Author not mentioned, and unknown to Schatz. Cast. The com- 
 poser, Johann Adolph Hasse, is not mentioned. German title page, "Die verstellte 
 Teutsche," and text face Italian. 
 
 First performed, as indicated, summer of 1749; previously at Hamburg, Theater 
 beim Gimsemarkt, November 16, 1746; and originally, as "Pantaleone e Carlotta," as 
 intermezzi in his "Attalo, r& di Bitinia," at Naples, Teatro di San Bartolomeo, spring 
 of 1728. SCHATZ 4540 
 
 La finta zingana ossia II solachianello. L. T. of Pietro Guglielmi's 
 La finta zingara. 
 
 La finta zingara. Farsa per musica di Giambattista Lorenzi, P. A. 
 da rappresentarsi nel Teatro de' Fiorentini nel carnevale di quest' 
 anno 1785. 
 
 One act. Cast and name of Pietro Guglielmi as composer. Forms p. 33-71 of 
 his "Le sventurate fortunate, Napoli, 1785. 
 
 First performed, as indicated, Jan. 10, 1785. SCHATZ 4274 
 
 La finta zingana ossia II solachianello. Commedia in musica 
 da rappresentarsi per terz' opera nel Teatro di questa citta di Salerno 
 nelF inverno del 1791 . . . 
 
 Napoli, Vincenzo Mazzola-Vocola, 1791. 34 p. 15 cm . 
 
 One act, with running title "attosecondo"! Impresario's dedication dated Salerno, 
 December 1791, with name of Pietro Guglielmi as the composer, and cast. Lorenzi's 
 text has been noticeably altered. For instance, the second scene, "E ben? se astretti 
 siamo," has become the third and "Dico avete finite di gracchiare?" hae been added 
 as the second. The differences become more numerous towards the end. 
 
 SCHATZ 4245 
 
 Le finte gemelle. Farsa per musica a quattro voci. 
 Firenze, Stecchi e Pagani, 1771. 1 p. 1., 56 p. 16 cm . 
 
 Two acts. At end: "Farsa in musica fatta rappresentare nell' estate del 
 MDCCLXXI nella villa Palmieri de Tre-Visi da S. E. Milord Co. di Cowper." Nic- 
 colb Piccinni is mentioned as the composer. Giuseppe Petrosellini, the author, is 
 not mentioned. 
 
 First performed at Rome, Teatro alia Valle, January 2, 1771, but Cametti claims 
 under the title of "Le due finte gemelle." SCHATZ 8094 
 
 Le finte gemelle. Dramma giocoso per musica da rappresen- 
 tarsi in Lisbona nel Teatro della rua dos Condes nelP estate dell' 
 anno 1773. 
 
 [Lisbona], Stamperia reale, n. d. 94 p. 17 cm . 
 
 Three acts. Cast, scenario, and names of Giuseppe Petrosellini as author, of 
 Niccolo Piccinni as composer. Obviously an expansion of the two-act version. The 
 dialogue is otherwise fairly the same (with the customary changes of arias, of course) 
 up to and including II, 12. Then the Florence two-act version ends with the ' ' ultima : 
 Dice bene il proverbio," which closes with the final tutti of the three-act version, 
 "Deh ecendi Amore dal carro adorno." SCHATZ 8093 
 
 - Le due finte gemelle. Intermezzo in musica a quattro voci da 
 rappresentarsi nel Nobil Teatro Tron di San Cassiano il carnovale 
 dell' anno MDCCLXXXIII . . . 
 
 Venezia, Modesto Fenzo, 1783. 51 p. ll\ cm . 
 
 Two acts. Impresario's dedication, cast, scenario, and name of Niccol6 Piccinni 
 as the composer. Though the impresario, Giuseppe Pratini speaks of this as "questo 
 nuovo intermezzo" and though we read "La musica sara," the text I' with the custom- 
 ary alterations) is that of Giuseppe Petroeellini's ' ' Le finte gemelle. SCHATZ 8157 
 
 72251 VOL 114 - 33
 
 514 LIBRARY OF CONGRESS 
 
 I finti amori. Commedia per musica da rappresentarsi nel Teatro 
 de' Fiorentini nell' esta del corrente anno 1784. 
 
 Napoli, n. publ, 1784. 74 p. 15 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Pietro Guglielmi as the composer. SCHATZ 4246 
 
 - I finti amori. Dramma giocoso per musica da rappresentarsi nel 
 Teatro di S. A. E. di Sassionia. 
 
 Dresda, n. publ., 1790. 151 p. 15 cm . 
 
 Two acts! Pietro Guglielmi is mentioned as the composer. German title-page 
 ' Liebe zum schein," and text face Italian. 
 
 First performed, as indicated, January 9, 1790. SCHATZ 4247 
 
 - L'impostore punito. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro alia Scala Fautunno dell' anno 1785 . . . 
 
 MiUno, Gio. Batista Bianchi, n. d. 70, 22, 19 p. 16 cm . 
 
 Two acts. Dedication, cast, scenario, and name of Pietro Guglielmi as the cooi- 
 
 fser. The text is that of "I finti amori," but with many alterations. For instance, 
 , 4, "Caro sposo, sposo amato," has become I, 5, and II, 1, has the aria, "Sa lei 
 Signer marchese," instead of "Sta in quell' abito celata." The additional pages 
 contain argument and description of Sebastiano Gallet's "Le rapt des Sabines, ballet 
 heroique " in five acts and of his ' ' Le marechal. ' ' This is followed by the descriptions 
 of his "II disertpre, ballo tragi : comico " and "Le pazzie amorose." The title of 
 "II disertore" has the date of performance of 1785, whereas the two French ballets 
 have not. On p. 7 of the libretto the titles of the two ballets to be performed are 
 "L'amor vincitore ossia Diana ed Endimione" and "Le pazzie amorose." Appar- 
 ently there was either confusion in the plans of the management or confusion in 
 binding. 
 
 First performed, as indicated, October 22, 1785. SCHATZ 4300 
 
 I finti eredi, opera comica, da rappresentarsi nel Teatro Imperiale 
 di Pietroburgo, Fanno 1785, composta nuovamente dal Sigr. Giuseppe 
 Sarti . . . 
 
 Pietroburgo, Breitkopf, n. d. 7 p. 1., 197 p. 18\ cm . 
 
 Two acts. By Giovanni Bertati, who is not mentioned and whose "II villano 
 geloso" this is. Scenario, cast, and dedication by Sarti which reads in part: 
 
 "C'est le premier fruit de mes travaux, qui paroit au jour, depuis que j'ai le bon- 
 heur, tant desire, de me trouyer au service de Votre Majet>t6 Imperiale." 
 
 French title-page "Les heritiers supposes," and text face Italian. SCHATZ 9433 
 
 - I finti eredi. Dramma giocoso per musica da rappresentarsi nel 
 Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. publ., 1787. 147 p. 15. 
 
 Two acts. Cast added in pencil and name of Sarti as the composer. This ed. of 
 Bertati's text shows differences from the St. Petersburg ed. For instance, "Se la 
 bella per via trovero" of the latter (I, 4) has become "La mia cara, la mia bella" and 
 "Staremo allegramente " (II, 10) has become "Nel mirar la bella dama." German 
 title-page "Die erdichteten lehnserben," and text face Italian. SCHATZ 9434 
 
 - I finti eredi: Dramma giocoso per musica da rappresentarsi nel 
 Regio Teatro di S. Carlo, defla Principessa, Testate dell' anno 1794. 
 
 Lisbona, Simone Taddeo Ferreira, 1794- 171 p. 15 cm . 
 
 Two acts. Cast, scenario, and name of Giuseppe Sarti as the composer. Portu- 
 guese text faces Italian. SCHATZ 9467 
 
 I finti filosofi, ballet. See Curcio's Le nozze a dispetto. 
 
 Gli finti filosofi, ballet. See P. Guglielmi's Gli amanti della dote.
 
 OPERA LIBRETTOS 515 
 
 Li finti filosofi, ballet. See Guglielmi's Lo sciocco poeta di cain- 
 pagna. 
 
 II finto astrologo. Drainma giocoso per musica da rappresentarsi 
 nel Real Teatro di Salvaterra nel carnovale dell' anno 1792. 
 [Lisbona], Nella stamperia, reale, n. d. 70 p. 16\ cm . 
 
 Two acts. Cast, scenario, and name of the composer, Francesco Bianchi. The 
 librettist is not mentioned, and is unknown to Schatz. 
 
 First performed at Rome, Teatro Valle, carnival, 1790. SCHATZ 998 
 
 II finto cavaliere. O. T. of Accorimboni's Das herbstabentheuer 
 oder Wer wagt, gewinnt. 
 
 II finto cavaliere parigino. 
 
 Two acts. Author unknown to Schatz. Music by Carlo Monza. 
 First performed at Rome, Teatro Capranica, carnival, 1770. 
 Not in L. of C. 
 
 - II cavalier parigino. Operetta per musica da rappresentarsi 
 nel Regio Ducal Teatro di Milano 1'autunno dell' anno 1774 . . . 
 Milano, Giovanni Montani, n. d. 4$ P- 15\ cm . 
 
 Two acts. The author is not mentioned. Dedication, scenario, and name of 
 Carlo Monza as the composer. SCHATZ 6619 
 
 II finto chimico. Drama per la musica rappresentato nella Villa 
 di Pratolino. 
 
 Firenze, Vincenzo Vangelisti, 1686. 52 p. 15\ cm . 
 
 Three acts. Author and composer unknown to Wotquenne and Schatz. 
 
 ML 48.A5 v. 30 
 
 II finto Esau, overo Gli odii fraterni. Drama da recitarsi nel 
 presente carnevale 1698. Da scolari di D. Giuseppe Fianello, alunno 
 di Santi Apostoli . . . 
 
 Venetia, Domenico Lovisa, 1698. 79 (incl. front.} , [1] p. 14 cm . 
 
 Three acts. Dedication signed by the author, Giuseppe Fianello, notice to the 
 reader, including the argument, scenario, and name of Antonio Pacelli as the com- 
 poser. The opera was performed "in una casa privata in contrada di Santa Marina," 
 as Schatz says. SCHATZ 7377 
 
 II finto giardiniere, ballet. See Monza's Enea in Cartagine. 
 II finto giardiniere, ballet. See Zingarelli's Annibale in Torino. 
 
 II finto Parigino. Intermezzo in musica da rappresentarsi nel 
 nobil Teatro Tron di S. Cassiano 1'autunno dell' anno 1784 . . . 
 
 Venezia, n. publ., n. d. J^5 p. 17% cm . 
 
 Two acts. Impresario's dedication, argument, cast, and name of Lorenzo Baini as 
 the composer. Author unknown to Schatz. The ballet, by Giovanni Graziolli, detto 
 Schizza (composer of the music not mentioned), was called, "Le due pastorelle 
 smarrite, o sia La generosita." The intermezzo not to be confused with Baini's "II 
 Parigino in Italia. " SCHATZ 552 
 
 II finto pazzo. L. T. of Pergolesi's Livietta e Tracollo o sia La con- 
 tadina astuta.
 
 516 LIBRARY OF CONGRESS 
 
 II finto pazzo per amore. Opera buffa a sette voci da rappresen- 
 tarsi nel Teatro dell' eccellentissima casa Grimani a S. Gio. Grisos- 
 tomo il carnevale dell' anno 1779. 
 
 Venezia, Modesto Fenzo, 1779. 63 p. 17 cm . 
 
 Two acts. Author not mentioned, and unknown to Schatz. Cast, scenario, and 
 name of Michele Mortellari as the composer. SCHATZ 6681 
 
 II finto pazzo per amore. O. T. of Sacchini's II soldato per forza 
 impazzito per amore. 
 
 Lo finto Perziano. O. T. of Trinchera's text Li nnamorate 
 correvate. 
 
 II finto Poiicare. Tragicommedia per musica, da rappresentarsi 
 
 nella Cesarea Corte . . . nel carnevale dell' anno MDCCXVI. 
 Vienna d' Austria, Gio Van GJielen, n. d. 72 p. 14\ cm - 
 Three acts. By Pietro Pariati. Argument, scenario, and names of the composer, 
 
 Francesco Bartolomeo Conti, and the author. Nicola Matteis is named as the composer 
 
 of the ballet music. 
 
 First performed in February, 1716. SCHATZ 2200 
 
 - Der verstellte Poiicare, musicalische opera, welche auff dem 
 Theatro zu Bresslau in Aprili 1726 vorgestellet . . . 
 
 n. i., n. d. Unpaged. 18 cm . 
 
 Three acts. Impresario's dedication, argument, scenario, and name of the com- 
 poser, Francesco Conti. German text faces Italian. SCHATZ 2201 
 
 II finto principe. 
 
 16\ cm . [63]-116 p. (Carlo Goldoni, Opere drammatiche giocose, 
 t. Hi, Torino, 1757.} 
 
 Three acts. Below the list of characters, the note: 
 
 "Le arie marcate con questo segno * sono messe dagli attorialoro piacimento; 1'altre 
 sono del libro." 
 
 Consequently, such arias as "Se col labbro vi dicon gl'amanti " (I, 3), "Pien d'ardir, 
 costante, e forte" (I, 5), "La speranza di quest' alma" (I, 6), and others were 
 interpolated. 
 
 According to Schatz, this pasticcio by unknown composers was performed as early 
 as fall 1749 at Venice, Teatro Tron di San Cassiano. ML 49.A2G6 
 
 - II finto principe. Dramma di tre atti per musica. Rappresen- 
 tato per la prima volta in Venezia Fanno MDCCLV. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, t. 39, 
 [249}-302 p. 18 cm . 
 
 PQ 
 
 II finto Stregone. Farsa giocosa per musica di un atto solo di 
 Giuseppe Foppa da rappresentarsi nel Teatro Giustiniani in San 
 Moise 1'autunno dell' anno 1798. 
 
 Venezia, Modesto Fenzo, 1798. 40 p. 18 cm . 
 
 Cast, scenario, and name of Francesco Gardi as the composer. After the farce, was 
 performed Giuseppe Cajani's ballet, "Nicola e Cirilla," the composer of the music not 
 being mentioned. SCHATZ 3549 
 
 Fire and water! A comic opera: In two acts. Performed at the 
 Theatre-Royal in the Hay-Market. By Miles Peter Andrews. 
 London, T. Cadell, 1780. 4 p. I., 40 p. 20. 
 
 Cast and prefatory note that the piece was in the hands of the manager "long before 
 any of the late disturbances." The composer, Samuel Arnold, is not mentioned. 
 First performed July 8, 1780, as indicated. LONGE 135
 
 OPERA LIBRETTOS ' 517 
 
 The first of August. A. T. of Dibdin's The waterman. 
 
 Der fischer im trueben. Tr. of Sarti's Fra i due litigant! il terzo 
 gode. 
 
 Die fischerinn, ein singspiel. Auf dem natuerlichen schauplatz zu 
 Tiefurth vorgestellt. 
 
 n. i., 1782. Unpaged. 16 cm . 
 
 One act. Neither the author, Goethe, nor the composer, Corona Elisabeth Wil- 
 helmine Schroter, is mentioned. The singspiel begins with the Erlkonig ballad. 
 
 First performed, as indicated, July 22, 1782. SCHATZ 9696 
 
 Das fischermaedchen. Tr. of Pietro Guglielmi's La bella pescatrice. 
 Das fischermaedchen. Tr. of Piccinni's La pescatrice. 
 
 Fiskerne. Et syngespil i tre handlinger af Johannes Ewald. 
 n. i., n. d. 128 p. 19 cm . 
 
 On p. [3-5], the story of the event on which the plot is based. The composer, 
 Johann Ernet Hartmann, is not mentioned . 
 
 First performed at Copenhagen, Royal Theater, January 31, 1780. SCHATZ 4465 
 
 Den flanevurne kone. Tr. of Galuppi's La moglie bizzarra. 
 II flauto magico. Tr. of Mozart's Die zauberflote. 
 
 Flavio Anicio Olibrio. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, t- x > P- [883]- 
 476. 19 cm . 
 
 Three acts. Argument. Written in collaboration with Pietro Pariati. No com- 
 poser is mentioned. In the "Catalogo" at end of the volume the date and place of 
 first ed. is given as Venice, 1708 (but see below). ML 49.A2Z3 
 
 Flavio Anicio Olibrio. Pubblicato per la prima volta in 
 Venezia 1708. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1786-86, t. x, p. 96. 
 21 cm . 
 
 Three acts. Argument. No composer is mentioned. Written in collaboration 
 with Pietro Pariati. ML 49.A2Z4 
 
 Flavio Anicio Olibrio. For later version see La Tirannide debellata 
 
 Flavio Anicio Olibrio. Drama per musica da rappresentarsi nel. 
 Teatro di via della Pergola nella presente estate dell anno 1723 . . . 
 Firenze, Domen. Ambrogio Verdi, n. d. 70 p. 14$ cm - 
 Three acts. Neither the authors, Zeno and Pariati, nor the composer, Carlo Fran- 
 cesco Gasparini, are mentioned. Dedication, cast, scenario, and argument. 
 First performed at Venice, Teatro Tron di San Cassiano, carnival 1707. 
 
 SCHATZ 3568 
 Second copy. ML 48. A5 v. 18 
 
 Flavio Bertarido re de Longobardi. Drama per musica di Stefano 
 Ghisi [Ghigi], patritio veneto. Da rapresentarsi nell' impareggiabile 
 Teatro Grimani di S. Gio. Grisostomo 1'anno MDCCVI . . . 
 
 Venezia, Francesco Pongini, 1706. 84 p- 14 cm - 
 
 Three acts. Author's dedication in which he calls this "una primitia del mio 
 debole talento ; " notice to the reader in which he says "questa e la prima composi- 
 tione, che in simil genere, eia uscita dalla mia penna," argument, cast, and scenario. 
 The composer, Carlo Francesco Pollaroli, is not mentioned. SCHATZ 8290
 
 518 LIBRARY OF CONGRESS 
 
 Flavio Cuniberto. Drama per musica da rappresentarsi nel famo- 
 sissimo Teatro Grimano in S. Gio. Grisostomo. L'anno MDCLXXXII 
 di Matteo Noris .... 
 
 Venetia, Francesco Nicolini, 1682. 84 p. 18 cm . 
 
 Three acts. Author's dedication, argument, and scenario. Giovanni Domenico 
 Partenio, the composer, is not mentioned. SCHATZ 7778 
 
 - Flavio Cuniberto. Drama per musica rappresentato nella villa 
 di Pratolino. 
 
 Firenze, Pietro Antonio Brigonci, 1702. 4 P- Z-, 4 P- 16% cm . 
 
 Three acts. Scenario and argument with this remark: 
 
 "e parto della gia nota penna del Signor Matteo Noris, che avr& la discretezza di 
 soffrire la mutazione fattasi quivi nell' arie, le quali non si sono rinnovate per ripro- 
 vare in conto alcuno quelle, che si gentilmente vi stavano, ma per recare qualche 
 sorte di' variety ad un' opera, che viene in iscena dopo essere stata gia veduta com- 
 parire su piu famosi teatri." 
 
 The alterations are quite numerous. For instance in I, 14 the aria "Amor, tu 
 reggimi " has replaced ' ' Perch'io veggo se son tradito, ' ' " Su, miei spirti che s'aspetta " 
 in I, 18 "Spirti fieri a la vendetta," "Parlar potesse il cuore" in I, 20 "Deggio 
 credesti o gelosia." Neither Partenio is mentioned, nor the composer of the inter- 
 polations. ML 50.2.F6P2 
 
 Flavius Bertaridus, koenig der Longobarden, in einer opera auf 
 dem Hamburgischen Schau-platze vorgestellet. Im jahr 1729. 
 [Hamburg], Gedruckt mit Stromerschen schriften, n. d. Unpaged. 
 
 Three acts. Neither the author, Stefano Ghigi ("Flavio Bertarido, re de' Longo- 
 bardi ") nor the translators, Christoph Gottlieb Wendt and Georg Philipp Telemann, 
 are mentioned. Argument, cast, scenario, and note: 
 
 "Annoch ist zu gedenken, dass mit der uebersetzung dieses schauspieles zwo 
 federn beschaefftiget gewesen sind, deren die eine im zweyten actu, nach dem 
 duetto: Care pene etc anfaenget; die music aber ist vom herrn capellmeister Tele- 
 m.ann.'" 
 
 To some of the arias the original text has been added. 
 
 First performed November 23, 1729. SCHATZ 10260 
 
 Fleur d'epine, comedie. En deux actes et en prose, melee d'ari- 
 ettes; tiree d'Hamilton, par Monsieur de V * * *. Represented 
 pour la premiere fois par les Comediens italiens ordinaires du roi, le 
 22 aout 1776. 
 
 Paris, Ruault, 1776. 28 p. 19 cm . 
 
 The composer, Mme. Louis, nee Bajon, is not mentioned. ML 50.2.F65L7 
 
 Fleur d'epine, comedie en deux actes, me"lee d'ariettes, tiree 
 d'Hamilton, par M. de V * * *. Represented pour la premiere 
 fois par les Comediens italiens ordinaires du roi le 22 aout 1776. 
 Paris, la veuve Duchesne, 1777. 40 P- 18 cm . 
 
 Cast. On p. 37-40 the air of "Quand on est tendre." By de Voisenon. The 
 composer, Mme. Louis, n6e Bajon, is not mentioned. SCHATZ 11721 
 
 Les fleurs. Entree in Rameau's Les Indes galantes. 
 A flight from Lapland. A. T. of Lord Mayor's day. 
 The flight of Harlequin. A. T. of Reeve's Blue Beard.
 
 OPERA LIBRETTOS 519 
 
 The flitch of bacon; a comic opera, in two acts: As it is performed 
 at the Theatre-Royal in the Hay-Market. By the Rev. Hen. Bate . . . 
 
 Dublin, Printed for the Company of booksellers, 1779. 2 p. 1., 32 p. 
 
 17 cm . 
 
 Cast and dedication dated Buckingham-street, June 1, 1779. The compiler- 
 composer, William Shield, is not mentioned. 
 
 First performed August 19, 1778 (Scnatz), August 17, 1778 (Genest), as indicated. 
 
 LONOE 118 
 
 '/ La Flora. Melodrama da rappresentarsi nel Theatre di Sant' Angelo 
 1'anno 1681. Di Novello Bonis . . . 
 
 Venetia, Francesco Nicolini, 1681. 60 p. 14 cm - 
 
 Three acts. Author's dedication, argument, scenario, and notice to the reader 
 with the names of Antonio Sartorio and Marc' Antonio Ziani as the composers and 
 the statement "Questa e la mia terza fatica." SCHATZ 9495 
 
 Flora: or, Hob in the well. An opera. Being Mr. Dogget's farce 
 of the Country wake, alter'd after the manner or the Beggar's opera. 
 
 [77]-109 p. 18 cm . (Colley Gibber, Dramatic works, London, J. 
 Rivington and sons [etc.], 1777.) 
 
 Two acts. 1768 cast! As will be seen from a comparison of this entry with the 
 following, there is a contradiction of authorship, on which confused data will be found 
 in the reference books. As a matter of fact, the text in all the following entries is 
 identical! Consequently "Flora" (later on called Flora, or, Hob in the well) is 
 either by Hippisley or by Gibber. If some authorities seek a way out of the diffi- 
 culty by saying that Hippeeley altered a farce by Cibber, "Hob, or, The country 
 wake" (1715) into a ballad opera (1729), Gibber's farce itself being an alteration of 
 Thomas Dogget's farce "The coun try -wake " (1696), they forget that Cibber never 
 wrote a farce of the title, "Hob, or, The country wake." The probabilities are that 
 "Flora" has been attributed incorrectly to Hippisley and that Cibber was indeed 
 its author. PR 3347. Al 
 
 Flora; an opera. As it is now acting at the Theatre Royal hi 
 Lincoln's-inn-Fields. Being Mr. Dogget's farce of the Country-wake, 
 alter'd after the manner of the Beggar's opera. To which is added, 
 the musick engrav'd on copper-plates. Written by a gentleman . . . 
 The third edition. 
 
 London, Printed by T. Wood, 1729. 32 p, 8 p. (music) 20. 
 
 Two acts. Ballad-opera. John Hippisley appears in the cast as Sir Thomas 
 Testy. The airs of the 24 songs are indicated by title in the text. They are engraved 
 without their titles in the musical supplement. 
 
 First performed, as indicated, 1729. LONQE 197 
 
 Flora; or Hob in the well. An opera. As it is now acting at the 
 Theatre Royal in Drury-Lane. Being Mr. Dogget's farce of the 
 Country wake, alter'd after the manner of the Beggar's opera. By 
 Mr. Hippisley . . . The seventh edition. 
 
 London, T. Lowndes, 1768. 36 p. (incl. front.} 16 cm . 
 
 Two acts. Cast. Ballad opera, most of the airs of the 24 songs being indicated by 
 title. William Bates, who is not mentioned, is the reputed arranger of the music, 
 but Longman, Lukey & Go's vocal score says: "as now performed at Covent Garden 
 the overture, duet, and principal songs composed by Mr. Bates. LONQE 73 
 
 Flora; or, Hob in the well. In two acts. By Colley Cibber [!J 
 Esq. 
 
 [301]-328 p. 19 cm . (Collection of the most esteemed farces and 
 
 entertainments, t. iv, Edinburgh, 1792.} 
 
 SCHATZ 11753D
 
 520 LIBRARY OF CONGRESS 
 
 Floridante. 
 
 [101}-141 P- 17 cm . (RoUi, Componimenti poetici, Nuova edizione, 
 Verona, G. Tumermani, 1744-} 
 
 Three acts. Argument and dedication. The composer, Handel, is not men- 
 tioned. 
 First performed at London, Haymarket, December 9, 1721. ML 49.A2R7 
 
 - Der thrazische printz Floridantes in einem singe-spiele auf 
 dem Hamburgischen Schau-Platze vorgestellet. 
 Hamburg, Caspar Jakhel, 1723. Unpaged. 18 cm . 
 
 Three acts. German version by Joachim Beckau of Rolli's "Floridante." Neither 
 they nor the composer, Georg Friedrich Handel, are mentioned. Italian text of 
 the arias added to the German. Argument and scenario. 
 
 First performed at the Theater beim Gansemarkt, as indicated, 1723. 
 
 SCHATZ 4477 
 
 . Floridea. Dramjna per musica da recitarsi in Venetia Panno 
 MDCLXXXVIII . . . 
 
 Venetia, Francesco Nicolini, 1688. 52 p. 14 cm . 
 
 Three acts. Dedication by the impresario Luigio Rincepa, dated Venice, Novem- 
 ber 22, 1687, notice to the reader, with apologies for the additional "canzonette," 
 the alterations and the cuts in the "recitativi troppo lunghi." Author (Giulio 
 Pancieri) and composer (unknown to Schatz) not mentioned. Argument, scenario. 
 
 SCHATZ 11333 
 
 Florizel and Perdita. See Artie's The sheep-shearing. 
 
 Die flucht des Aeneas nach Latien. A. T. of Porpora-Telemann's 
 Der streit der kindlichen pflicht und der liebe. 
 
 The flying lovers. A. T. of The rape of Colombine. 
 
 Foca Superbo. Drama per musica di A. Luchini da rappresentarsi 
 nel famoso Teatro Grimani di S. Gio. Grisostomo. II carnoval dell' 
 anno 1716 . . . 
 
 Venezia, Marino Rossetti, 1716. 60 p. 15 cm . f 
 
 Three acts. Argument, notice to the reader, cast, scenario, and author's dedication 
 dated Venice, December, 1716, in which he says: 
 
 "Che una primizia della mia debole penna si faccia vedere per la prima volta in 
 uno de piu famosi teatri pu6 non esser considerabile ..." 
 
 The composer, Antonio Lotti, is not mentioned. SCHATZ 5717 
 
 La foire de Quibray. See Arlequin Mahomet. 
 
 Folette ou L'erifant gate". Parody of Destouches' Carnaval & la 
 folie. 
 
 Folette et Roger-Bontems. A. T. of L' enfant gate". 
 
 La folle giornata. L. A. T. of Mozart's Le nozze di Figaro. 
 
 La folle par amour. A. T. of Dalayrac's Nina. 
 
 La follia e la saggiezza, ballet. See Bianchi's Alessandro nell' 
 Indie. 
 
 La fondation de Marseille. A. T. of Massilie.
 
 OPERA LIBRETTOS 521 
 
 La fondazion di Venezia. 
 
 [265}-284 p. 16% cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. Hi, Torino, 1757,) 
 
 Divertimento in seven actions. Argument. ML 49.A2G6 
 
 La fondazione di Venezia. Dramma di un atto solo per musica. 
 Rappresentato per la prima volta in Venezia 1'autunno dell' anno 
 MDCCXXXIV. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli 1788-95, v. 36, 
 [13}-25 p. 18 m - 
 
 According to Schatz, Macari's setting of 1736 was the first. PQ 
 
 La fondazion di Venezia. Divertimento per musica da cantarsi 
 dalla Compagnia de Comici nel Teatro Grimani a S. Samuele la prima 
 sera delle recite autunnali in Venezia in quest' anno 1736. 
 Venezia, Alvise Valvasense, n. d. 23 p. lJ 1 \ cm . 
 
 Prologue and seven azioni. Prefatory note. Neither the author, Carlo Goldoni, 
 is mentioned, nor Giacomo Macari, the composer. SCHATZ 5810 
 
 La fontaine de Jouvence. See La nouvelle Bastienne. 
 
 Fontainebleau ; or, Our way in France. A comic opera in three 
 acts. As performed at the Theatres-Royal in Covent-Garden, and 
 Smock- Alley. Written by J. O'Keefe, Esq. The music selected and 
 composed by William Shield [ 
 
 Dublin, G. Perrin, 1787. 75, [1] p. 16$ cm . 
 
 Cast. In Longman & Broderip's vocal score "Love does so run" is headed aa 
 composed by Dr. Arne, "How sweet! how fresh!" as by Stephen Paxton and 
 "Brooks to your sources " as by Domenico Corri. 
 
 First performed at London, Covent-Garden, November 16, 1784. LONGE 148 
 
 Le fontane incantate, ballet. See Gluck's II trionfo di Clelia. 
 Le fontane incantate, ballet. See Pasque's Arianna e Teseo. 
 
 II fonte d'acqua gialla, o sia II trionfo della pazzia. Farsetta per 
 musica da rappresentarsi nel Teatro Valle degl' illustriss. Sigg. Capra- 
 nica. Nell' autunno dell' anno 1786 . . . 
 
 Roma, Michele Puccinelli, n. d. 75 p. 16 cm . 
 
 Two acts. Cast, name of Marcello di Capua (Bernardini) as author and com- 
 poser and his dedication. ML 50.2.F7B2 
 
 The fool turn'd critick: A comedy: As it was acted at the Theatre 
 Royall. By His Majesties servants. By T. D. Gent. 
 
 London, James Magnes and Richard Bentley, 1678. 2 p. 1., 59, [1] p. 
 2l\ cm . 
 
 In this five-act play by Thomas Durfey there is a fair amount of singing, but, what 
 is quite unusual, three of the airs (presumably by Durfey) are printed in the text, with 
 their words. They are : " The age is refin'd, " ' ' I found my Caelia one night undrest, ' ' 
 " To ramble from taverns." LONGE 112 
 
 Second copy. LONGE 160
 
 522 LIBRARY OF CONGRESS 
 
 The fool's opera; or, The taste of the age. Written by Mat. 
 Medley. And performed by his company in Oxford ... To which 
 is prefix'd A sketch of the author's life, written by himself. 
 
 London, T. Payne [ca. 1730]. 4 p. I. (incl. front.) , 22, [2} p. 18 cm . 
 
 The front., a scene from the play, shows, in upper left hand corner, what appears to 
 be the portrait of the author, whose real name was Anthony Aston, for the title of the 
 biograpnical sketch (p. 15-22) is: "A sketch of the life, etc. of Mr. Anthony Aston, 
 commonly call'd Tony Aston. Written by himself: Now all alive." (The impor- 
 tance of this autobiographical sketch for the history of the American theatre was 
 pointed out by me in the New Music Review, June, 1907.) The sketch is preceded, 
 on p. 12-14, by "A ballad, call'd A dissertation on the Beggar's opera." The 17 airs 
 used are indicated by title. Text preceded by cast (Aston, sen., playing the poet) 
 and prefatory note to the reader. The [2] p. at end contain book advertisements by 
 J. Applebee and T. Payne. LONGE 291 
 
 A fool's preferment, or, The three dukes of Dunstable. A comedy. 
 As it was acted at the Queens Theatre in Dorset-Garden, by Their 
 Majesties servants. Written by Mr. D'urfey. Together, with all 
 the songs and notes to 'em, excellently compos'd by Mr. Henry 
 Purcell. 1688. Licensed, May 21. 1688 . . . 
 
 [London} Printed for Jos. Knight and Fra. Saunders, 1688. A p. I.. 
 85, [3 p.], 16 p. (music). 21\ cm . 
 
 Five acts, prologue, and epilogue. Durfey's dedication, cast. After the epilogue, 
 a list of "plays printed for Henry Herringman." The songs, voice and bass, have a 
 special title page : 
 
 NEW SONGS sung in The fool's preferment, or, The three dukes of Dunstable. 
 
 In the Savoy. Printed by E. Jones, for Jos. Knight and Fran. Saunders, 1688. 
 
 Of the eight songs, all but two have the name of Henry Purcell as composer at end. 
 The two are: "I'le sail upon the dog-star'' and "A Scotch song ... A dialogue by 
 Jockey and Jenny." Mr. Squire has pointed out that neither the words of these nor 
 of "Fled is my love; 'Tis Death alone" and "If thou wilt give me back" appear in 
 the play, and that, on the other hand, the play contains two songs "In yonder 
 cowslip " and "I'll lay me down " for which no music is given. 
 
 First performed before May, 1688, as indicated. M 3.3. P9 11.11 
 
 Second copy, without the music. LONGE 132 
 
 The footman: an opera. As it is acted at the New-Theatre hi 
 Goodman 's-Fields. 
 London, Henry Lintot, 1732. iv, [A], 76 p. 19 cm . 
 
 Three acts, introduction, and epilogue. Cast and dedication. Ballad opera, 
 most of the 68 airs being indicated by title. Author not recorded by Clarence. 
 First performed March 7, 1732, as indicated. LONGE 52 
 
 The force of credulity. A. T. of The disappointment, ballad 
 opera. 
 
 De forelskte haandverksfolk. Tr. of Latilla's L'amore artigiano. 
 
 La forest enchantee, representation tir.ee du poeme italien de la 
 Jerusalem delivre"e Spectacle orn6 de machines, amine" d'acteurs 
 pantomimes & accompagne d'une musique (de la composition de 
 M. Geminiani) qui en exprime les differentes actions; execute" sur le 
 grand Theatre du palais des Thuilleries pour la premiere fois le 
 dimanche 31 mars 1754. 
 
 [Paris], BaMard, 1754. 16 p. 18% cm . 
 
 Five acts. Description of "ce spectacle . . . de 1'invention du Sieur Servan- 
 doni" and this interesting prefatory note: 
 
 "La decoration theatrale est un des genres de la peinture qui produit le plus ces 
 illusions agreables qui font appeller cet art le rival de la nature. Ce genre de peindre
 
 OPEEA LIBRETTOS 523 
 
 La forest enchantee Continued. 
 
 exige des connoissances approfondies de Farchitecture, et de la perspective; et elles 
 doivent etre jointes a toutes les parties de la peinture qui sont communes aux autres 
 genres. La mechanique doit aussi fournir au decorateur des moyens ingenieux de 
 faire valoir, par des changemens et des oppositions, ses differents tableaux. II seroit 
 a souhaiter, sans doute, que le genre de spectacle auquel 1'art des decorations thea- 
 trales est particulierement adapte dans toute 1'Europe, et qui iut^resse a ses jeux 
 trois Muses qui gagnent a etre bien unies, put toujours rassembler tous les secours 
 
 3ue chacune d' elles doit lui offrir; mais si cette reunion difficile ee voit rarement, 
 es beautes particulieres suppleent au moins tres-souvent a cette perfection generale. 
 Un poeme rempli d'action et d'interet semble en effet avoir moins besoin du channe 
 de la musique et de Pillusion de la peinture. Une musique saillante et pleine de 
 genie parolt aussi quelquefois distraire entierement de 1'attention qu'on croiroit 
 necessaire aux poemes. rourquoi la peinture ne s'efforceroit-elle pas d'avpir 1'avan- 
 tage d'occuper seule toute 1'attention des spectateurs? Pourquoi n'aspireroit-elle 
 pas a la gloire de faire oublier quelques instans ses soeurs, et de recueillir, sans les 
 partager, les applaudissemens flateurs d'une nation eclairee sur les arts qui contri- 
 buent tous a sa gloire et a ses plaisirs? C'est le but qu'ose se proposer le Sieur Ser- 
 vandoni." ML 52.2.F6G3 
 
 La foret de Dordone. See Prologue des deux pieces . . . 
 The forge of Vulcan, ballet. See Sacchini's Enea e Lavinia. 
 Den forladte Dido. Tr. of Sarti's Didone abbandonata. 
 De forsonede medbeylere. Tr. of P. Guglielmi's I rivali placati. 
 Den forstilte tvistighed. Tr. of Monsigny's Rose et Colas. 
 
 / La fortezza al cimento. Drama per musica di Francesco Silvani 
 da rappresentarsi nel famoso Teatro Vendramino di S. Salvatore . . . 
 MDCIC. 
 
 (At end) In Venetia 1699. Per il Nicolini. 2 p. 1. (incl. front.), 
 66, [1] p. 13$ cm . 
 
 Three acts. Author's dedication dated Venice, February 14, 1699, scenario, 
 notice to the reader with argument, name of Giuseppe [Antonio Vincenzo] Aldrovan- 
 Hini as composer and remark that this is the author's "seconda fatica" during the 
 present carnival season. SCHATZ 134 
 
 Den fortraengte ubekiendte. A. T. of Anfossi's Jeannette. 
 La fortuna incatenata. See M. Curzio. 
 
 La fortuna per dote. Tragicomedia da rappresentarsi in musica, 
 nel famosissimo Teatro Grimano di S. Gio. Grisostomo. L'anno 1704. 
 
 Venezia, Marino Rossetti, 1704. 83, [1] p. 14$ cm . 
 
 The unnumb. p. contains "errori." Five. acts. Neither the composer, Carlo 
 Francesco Pollaroli, nor the author, conte Girolamp Frigimelica Roberti is men- 
 tioned. The latter, as was his custom (on p. 2-8), gives a "Notizia poetica," with 
 his views of what constitutes a tragicomedia. He says in part: 
 
 "Propone alia fantasia un' immagine di poema mescolato di tragedia e di comedia " 
 but "da tutto questo si comprende quanto sia diversa la tragicomedia, dalla tragedia 
 di lieto fine." 
 
 i cori d'intermezzo." SCHATZ 8291
 
 524 LIBRARY OF CONGRESS 
 
 fortuna tra le disgratie. Dramma per musica da rappresen- 
 tarsi nel Teatro di Sant' Angelo, Panno 1688. Di D. Rinaldo 
 Ciali [!]... 
 
 Venetia, Francesco Nicolini, 1688. 59 p. 14 cm - 
 
 Three acts. Publisher's dedication, scenario, and notice to the reader with name 
 of Paolo Biego as composer. SCHATZ 1014 
 
 The fortunate prince, or, Marriage at last. L. T. of The court 
 medley. 
 
 La fortune au village. Parody of Lagarde's Egle". 
 
 Le fortune di Rodope e Damira. Drama per musica di Aurelio 
 Aureli, favola terza. 
 
 Bologna, Giacomo Monti, 1658. 96 p. 14 cm . 
 
 Prologue and three acts. Argument and notice to the reader with cast [!!] and 
 name of the composer as follows: 
 
 "Agradisci le mie debolezze, honorate di musica dalla somma virtu del Signer 
 padre Ziani . . . Per sodisfare in parte a la tua curiosita, sono etati qui sotto stam- 
 pati li nomi di quelli virtuosi, che rappreeentano le parti del drama ..." 
 
 First performed at Bologna, Teatro Guastavillani, carnival 1658; at Venezia, 
 Teatro di Sant' Apolinare, carnivale, 1657. SCHATZ 11215 
 
 The fortune hunter. A. T. of Barthelemon's The noble pedlar. 
 
 La forza d'amore. Dramma per musica. 
 
 Siena, Stamparia delPubblico, n. d. 4 P- 1-, 4 P- 14 cm - 
 
 Prologue and three acts. Unsigned dedication. Written ca. 1690, perhaps by 
 
 Girolamo Gigli and composed by Giuseppe Fabbrini, both of Siena. 
 
 ML 48.A5 v.46 
 
 La forza d'amore. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Tron di S. Cassiano il carnovale dell' anno 1745. 
 Venezia, n. publ., n. d. 79 p. 17 cm . 
 
 Three acts. By Panicelli, who is not mentioned. Cast, scenario, name of com- 
 poser, Galuppi, and note that for briefness' sake scene 8, act II, scenes 10-12, act III 
 and other verses are omitted in performance. Also that the following substitute 
 arias are not by the author of the libretto: "Figlia presto monta in barca" (I, 4), 
 "Voi la spada, o mia signora" (II, 4), "In mezzo a mine straggi" (II, 7), "Bel visino 
 graziosino" (III, 8), "Se per dispetto io piango" (III, 9), "II cor mi sento" (III, 13), 
 "Son etordita via tacete" (III, last scene). 
 
 First performed, as indicated, January 30, 1745. SCHATZ 3478. 
 
 La forza d'amore. Drama per musica da rappresentarsi nel Teatro 
 di SS. Gio. e Paulo 1'anno 1697 . . . 
 
 Venetia, Nicolini, 1697. 55, [1] p. 14$ cm . 
 
 The unnumb. p. contains "errori di stampa." 
 
 Three acts. Neither Lorenzo Burlini, the author, nor Carlo Francesco Pollaroli, 
 the composer, is mentioned. Dedication, argument, scenario, and notice to the 
 reader, in which we read : 
 
 "II drama poi per malignita d'alcune stelle contrarie, prima che comparirti eu la 
 ecena ha incontrato tali, e tante opposizioni, che ee non s'fe trattenuto, s'6 per6 si can- 
 giato di forma, che appena lo potrebbe riconoscere chi nel suo primo stato conosciuto 
 1'haveese." SCHATZ 8292 
 
 La forza del sanguine. O. T. of Silvani's libretto Zoe.
 
 OPERA LIBEETT03 525 
 
 La forza del sangue. Drama per musica da rappresentarsi nel 
 famoso Teatro Grimani dj San Gio. Grisostomo 1'autunno dell' anno 
 1711 . . . 
 
 Venezia, Marino Rossetti, 1711. 82 p. 14? cm - 
 
 Three acts. Dedication signed by the author, Francesco Silvani, and dated Venice, 
 November 14, 1711, argument, cast, scenario. The composer, Antonio Lotti, is not 
 mentioned. SCHATZ 5718 
 
 La forza del sangue, e della pieta. Drama per musica . . . Can- 
 tato per le vacanze del carnevale 1'anno 1686 da' Signori convittori 
 del nobil collegio Tolomei di Siena. 
 
 Siena, nella stamp, del pull. 1686. 6 p. 1., 71, [1] p. 18^ cm . 
 
 The dedication is dated, "Siena li 15 febbraio 1686," and signed by Girolamo Gigli 
 ae author. Then, "L'autore al cortese lettore." from which it apneare that this was 
 Gigli's second libretto, and that it was composed by Giuseppe Fabrini (Fabbrini). 
 This followed by "Argomento istorico," scenario, casts of opera and balliand note 
 calling attention to the unnumb, 1. between p. 20-21. From the dedication it ap- 
 pears that Gigli's Geneviefa is to be dated 1685. SCHATZ 2963 
 
 La forza dell' amicizia. Dramma per musica da rappresentarsi in 
 Mantova Fanno 1700 . . . 
 
 [Mantova], Gio. Bait. Grana, n. d. 81 p. 15\ cm . 
 
 Three acts. Dedication, argument, cast, scenario. Author (Adriano Morselli, 
 whose "Pirro e Demetrio" this is) and composer (unknown to Schatz) not mentioned. 
 
 SCHATZ 11334 
 
 La forza dell' amore, Die macht der liebe oder Die von Paris 
 entfuehrte Helena, in einem singe-spiel, auf den grossen Ham- 
 burgischen Schau-platze fuergestellet und in die music gebracht 
 durch Reinhard Keisem . . . 
 
 Hamburg, n. publ., 1709. Unpaged. 18% cm . 
 
 Three acts. Scenario and "vorbericht," which reads, in part: 
 "Den anlass zu gegenwaertigem schau-spiele, hat eine italiaenische opera, dieses 
 . nahmens gegeben, welche ehemahls von Sigr. [Pietro Antonio] Fiocco [text by Gio- 
 vanni Filippo Appoloni?] in Amsterdam, hernach auf den beruehmten Braunschwei- 
 gischen Theatro [as Helena rapita da Paride], nicht ohne geringe approbation, auf- 
 gefuehret word en. Wie weit man aber eelbigem sujetgefolget, wird der geneigte leser 
 am besten beurtheilen koennen, wenn er beyde erfindungen gegen einander haelt . . . 
 = Von der musique ist nur dieses zu erinnern : Dass die meisten arien nach dem goust, 
 theils fuerstlicher, theils anderer vornehme standee-persohnen lange vorher, ehe man 
 die Helena gefangen, eingerichtet gewesen . . . Die italiaenische aria "Sta in quel 
 vago," etc im 5 tca auftritt der 3 ten handlung ist von der ausarbeitung und invention 
 eines jungen cavalliers ..." 
 
 To many of the arias the Italian text has been added to the German . SCHATZ 5090 
 
 La forza dell' amore e dell' amicizia, ballet. See P. Guglielmi's 
 Tamerlane. 
 
 La forza dell' innocenza. A. T. of Zeno and Pariati's text 
 Engelberta. 
 
 La forza dell' innocenza. A. T. of Orefici and Mancini's 
 L'Engelberta. 
 
 La forza della pace. Intermezzi per musica a tr& voci da rappre- 
 sentarsi nell' antico Teatro della Pace nel carnevale dell' anno 
 1752 . . . 
 
 Roma, Ottavio Puccinelli, 1751. 24 p. 15\ cm . 
 
 On p. 23-24 a poem "La pace." Two parts. Author not mentioned and un- 
 known to Schatz. Possibly Girolamo Aureli wrote the text. Publisher's dedication, 
 cast and name of Rinaldo di Capua as composer. ML 50.2.F75R3
 
 526 LIBRARY OF CONGRESS 
 
 La forza della virtu. A. T. of Orlandini's Ataulfo re de' Goti. 
 
 La forza della virtu. Drama per musica da rappresentarsi nel 
 Teatro Malvezzi 1'anno MDCXCI V. Di Domenico David . . . 
 Bologna,, gl'Eredi d' Antonio Pisarri, 1694. 82 p. 19 cm . 
 
 Three acts. Dedication dated Bologna, May 23, 1694, argument, cast, scenario, 
 and notice to the reader, which reads, in part : 
 
 "Ecoti ricomparire in Teatro la Forza della virtu Se la troverai in parte mutata 
 dal BUO primo originate, resta accertato, che la sola necessiti di portarla alle nostre 
 scene, il desiderio di compiacere a'signori musici, & il genio di sodisfare a noi stessi, 
 e stata la cagione di tale alterazione ..." 
 
 The composer, Giacomo Antonio Perti, is not mentioned. SCHATZ 7948 
 
 La forza della virtu. Drama per musica da rappresentarsi nel 
 Teatro di S. Gio. Grisostomo. L'anno MDCXCIII. Di Domenico 
 David. Seconda impressione . . . 
 
 Venetia, Nicolini, 1693. 72 p. (incl. front.) . 14 cm . 
 
 Three acts. Author's dedication, argument, "allegoria del drama," notice to the 
 reader, and scenario. Carlo Francesco Pollaroli, the composer, is not mentioned. 
 
 SCHATZ 8293 
 
 - Creonte tiranno di Tebe. Drama per musica da rappresen- 
 tarsi nel Theatre di S. Bartolomeo di Napoli in quest' anno 1699 . . . 
 Napoli, Dom. Ant. Parrino e Michele Luigi Mutio, 1699. 57 p. 
 
 Three acts. Scenario, cast, and publisher's dedication, according to which "questo 
 drama . . . fu veduto con sommo piacimento ne' primi teatri d' Italia intitolato la 
 Forza dflla virtu . . ." This refers to Domenico David's text, composed by Carlo 
 Francesco Pollaroli, but at Naples the text was somewhat altered, and music by 
 Aleeeandro Scarlatti and others was interpolated. ML 50.2.C78P7 
 
 La forza delle donne. O. T. of Bertati's text Ogus o sia II trionfo 
 del bel sesso. 
 
 La forza delle donne. Dramma gipcoso per musica di Giovanni 
 Bertati da rappresentarsi nel Teatro Giustiniani in S. Moise 1'autunno 
 dell' anno 1778. 
 
 n. i., n. d. [3]-62 p. 17\ cm . 
 
 Two acts. Cast and name of composer, Pasquale Anfossi. Interpolated between 
 p. 32-33 are 4 p. describing "Vertunno e Pomona, ballo pastorale," invented by 
 Filippo Beretti. The composer of the music is not mentioned. SCHATZ 267 
 
 La forza delle donne, ballet. See Stabinger's L'astuzie di Bettina. 
 
 La forza delle prime impressioni. A. T. of Capuzzi's I bagni 
 d'Abano. 
 
 La forza vinta dalT onore. Drama musicale da rappresentarsi nel 
 Teatro di S. Moise in Venezia 1'anno 1703 . . . 
 Venezia, Zuccato, 1703. 48 p. 16 cm . 
 
 Three acts. Dedication, with the initials of the author, Andrea Minelli, argument, 
 scenario. The composer, Niccolo lie Mixte, is not mentioned SCHATZ 5486 
 
 Le fosse du scrupule, opera-comique en un acte; avec un prologue, 
 un epilogue & un divertissement; represents pour la premiere fois 
 sur le Theatre de la Foire, en 1738. 
 
 Charles Francois Pannard, Theatre, Paris, Duchesne, 1763, v. 8, 
 [69]-138 p. 17 cm . 
 
 In prose and vaudevilles. Composer not recorded by Parfaict, who dates first 
 performance July 26, 1738. PQ2019.P3
 
 OPERA LIBRETTOS 527 
 
 The four seasons or Love in every age. Interlude in The island 
 princess. 
 
 The fox trap't. A. T. of The raree show. 
 
 Fra i due litigant! il terzo gode. O. T. of Sarti's I pretendenti 
 delusi. 
 
 The original Milan, 1782 libretto of Sarti's opera not in L. of C. 
 
 I pretendenti delusi. Dramma giocoso per musica da rappresen- 
 tarsi nel nobile Teatro dell' Eccell. ma casa Giustiniani in S. Mois 
 F autunno 1782. 
 
 Venezia, n. publ., n. d. 58 p. 17 cm . 
 
 Two acts. Cast, scenario, and name of Giuseppe Sarti as composer. Text by 
 Goldoni (not mentioned), originally with the title, "Le nozze." 
 
 Sarti's opera was first performed at Milan, Teatro alia Scala, September 14, 1782, as 
 ' ' Fra i due litiganti il terzo gode, ' ' its best known title. SCHATZ 9453 
 
 - Fra i due litiganti il terzo gode. Dramma giocoso per musica 
 in tre atti, da rappresentarsi nel Teatro Elettorale. 
 
 Dresda, n. publ., 1784. 117 p. 16 cm . 
 
 Sarti is mentioned as the composer. German title-page "Unter zwey strei ten- 
 den siegtderdritte," and text face the Italian, which is the same as "I pretendenti de- 
 lusi," but with some differences. For instance, the aria, "E destin troppo infelice," 
 has been dropped at the beginning of 1, 11, and of course the original two acts have 
 become three. SCHATZ 9457 
 
 - Fra i due litiganti il terzo gode : Dramma giocoso per musica 
 da rappresentarsi nel Reggio Teatro di S. Carlo, della Principessa 
 F autunno dell' anno 1793. 
 
 Lisbona, Simone Taddeo Ferreira, 1793. 151 p. 15 cm . 
 
 Two acts. Cast, scenario, and name of Giuseppe Sarti as the composer. Portu- 
 guese text faces Italian. With the opera was performed (composer of the music not 
 mentioned) Gaetano Ghelardini's ballet, "Le vendemmie, o sia La villanella rapita." 
 
 SCHATZ 9468 
 
 - Fra i due litiganti il terzo gode. Dramma giocoso per musica 
 da rappresentarsi nel Teatro alia Scala F autunno dell' anno 1795 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 60 p. 15\ cm . 
 
 Two acts. Impresario's dedication, cast, scenario, and name of Giuseppe Sarti as 
 the composer. The text is the same as " I pretendenti delusi," but with many altera- 
 tions. With the opera were performed Gaspare Ronzi's ballets, "II rfe pastore" and 
 "La fanciulla mal custodita," the composer of the music not being mentioned. 
 
 SCHATZ 9454 
 
 I due litiganti. Dramma giocoso per musica da rappresentarsi 
 nel nobilissimo Nuovo Teatro di Padova il carnovale dell' anno 
 1792 . . . 
 
 Padova, peril Conzatti, n. d. 52 p. 17 cm . 
 
 Two acts. Impresario's dedication, cast, scenario, and name of Giuseppe Sarti as 
 the composer. Trie text is the same as "I pretendenti delusi," but with considerable 
 alterations. On p. 29, argument, without name of the composer of the music of 
 Giuseppe Bartolomei's ballet, "Bacco e Arianna." SCHATZ 9456
 
 528 LIBRARY OF CONGRESS 
 
 Fra i due litigant! il terzo gode Continued. 
 
 - Le nozze di Dorina, a new comic opera, in two acts, as performed 
 at the King's Theatre in the Haymarket. The music by the cele- 
 brated Signer Sarti, under the direction of Mr. Storace. 
 
 London, J. Hammond, n. d. 55 p. 20 cm . 
 
 Cast. English translation faces the Italian, which takes the usual unlimited libe r - 
 ties with Goldoni's text. 
 
 First performed at London, same theatre, January 6, 1784, as "I rivali delusi;" 
 under the above title, it would seem, shortly after Storace s return to England, in 1787. 
 
 ML 48.M2K 
 
 Le nozze di Dorina. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro di S. A. S. il Signor principe di Carignano nel car- 
 novale dell' anno 1796. 
 
 Torino, Onorato Derossi, n. d. 2 p. 1., 60 p. 14 m - 
 Two acts. Cast, scenario, and name of Giuseppe Sarti as the composer. The text 
 
 is the same as "I pretendenti delusi," but, of course, with many alterations. On p. 
 
 [53J-60, cast, argument, and description (without name of the composer of the 
 
 music) of Filippo Beretti's "Andronico e Ramira, ballo eroico pantomime. " 
 
 First performed under this title at Naples, Reale Teatro del Fondo, December 10, 
 
 1784. SCHATZ 9455 
 
 Der fischer im trueben. Ein singspiel. Die musik ist von 
 herrn Joseph Sarti . . . 
 
 Stuttgardt, Drukkerey der Jierzoglichen Hohen Karls-Schule, 1785- 
 139 p. 16 cm . 
 
 Three acts. German text and Italian text, with running title, "Fra due litiganti 
 il terzo gode." The version retains the "E destin troppo infelice," at 1, 11, but snows 
 other differences. For instance, "Vu6 soffrire a un certo segno" (I, 1) has become 
 "La donna 6 sempre istabile." SCHATZ 9458 
 
 - Gesaenge aus dem singspiele: Im trueben ist gut fischen, in 
 zwey abtheilungen. Neu bearbeitet von Schink. In musik gesetzt 
 von Sarti. 
 
 Hamburg, Friedrich Hermann Nestter, n. d. 1+8 p. 15 cm . 
 
 First performed at Hamburg, Theater beim Gansemarkt, September 21, 1785. 
 
 SCHATZ 9459 
 
 - Im trueben ist gut fischen. Ein singspiel in drey aufzuegen. 
 Nach dem italiaenischen frey bearbeitet von Johann Andre. Die 
 musik ist vom herrn Joseph Sarti. 
 
 Eoeln am Rhein, Joh. GodschaTk Langen, 1786. 64 p- 16 cm . 
 
 First performed at Mannheim, National Theater, December 29, 1785. 
 
 SCHATZ 9460 
 
 - Unter zwey streitenden zieht der dritte den nutzen. Ein 
 singspiel in drey aufzuegen. Aufgefuehrt auf dem hochfuerstlichen 
 Hoftheater in Salzburg. 
 
 Salzburg, Waisenhaus buchdruckerei, 1787. 79 p. 15 cm . 
 
 Cast and name of Giuseppe Sarti as the composer. Translated by Ludwig Zehn- 
 mark. 
 
 First performed 1787, as indicated. SCHATZ 9461 
 
 I opr0rt vand er godt at fiske. Et syngespil i tre acter, hvortil 
 musiken er komponeret af Sarti. Oversat af Lars Knudsen. 
 Ki0berihavn, S. Poulsens forlag, 1795. 88 p. 16 
 
 ;cm 
 
 First performed at Copenhagen, Theater paa Kongens Nytorv, April 7, 1795. 
 
 SCHATZ 9462
 
 OPEBA LIBRETTOS 529 
 
 Die frage und die antwort. A. T. of Killer's Lisuart und Dariolette. 
 
 Fragments, composes du Prologue des Amours des dieux, de 
 1'acte de L'amour enjoue" et de celui de La danse; representes 
 devant Leurs Majestes a Versailles le mercredi 6 mars 1765. 
 
 [Paris], Christophe Bollard, 1765. 8 v. in 1. 11, 1 p. I, 16, 2 p. I, 
 20 p. 20\ cm . 
 
 Casts and names of Louis Fuzelier as the author, and of Jean Joseph Mouret as the 
 composer of the Prologue, of Antoine Dauvergne as composer of "L'amour enjoue, 
 ballet en un acte," of Jean Philippe Rameau as composer of "La danse, trpieieme 
 entree du ballet des Talents lyriques." Laval, pere et file, are mentioned in each 
 case as the "composers " of the ballets. ML 48. J7 
 
 Fragments de M r de Lully, ballet, mis au theatre par M re - Dan- 
 chet & Campra. Represent e par FAcademie royale de musique Tan 
 
 1702. LVI. opera. 
 
 n. i., n. d. 14 cm . front., 39 1-437 p. (Recueil general des opera, 
 t. vii, Paris, 1703.) 
 
 Detached copy. Prologue and the entrees, "Feste marine," "Les guerriers," "La 
 bergerie," "Les Boh&niens," and the additional "divertissementcomique Cariselli." 
 The words were selected and partly translated from different sources by Danchet, and 
 the music was arranged by Campra. An "avertissement" (p. 392) reads: 
 
 "Comme ce ballet a ete varie dans 1'espace de huit mois, qu'il a et represente; on 
 a cru devoir y joindre les trois nouvelles entries qui y oni 6t4 ajotitees successivement. 
 On y a encore ajoute les noms des acteurs & actrices, pour faire connoltre ceux qui 
 occupent presentement le theatre." 
 
 First performed, as indicated, September 10, 1702. SCHATZ 5767 
 
 Second copy. ML 48. R4 
 
 
 
 Trois nouvelles entrees ajoutees aux Fragments en differents 
 temps. Les paroles de M. Danchet & la musique de M. Campra. 
 
 n. i., n. d. 439-486 p. 14 cm - (Recueil general des opera, Paris, 
 
 1703, t. vii.) 
 
 Detached copy. Casts. The individual titles are: "Le triomphe de V6nus," "La 
 serenade venitienne," and "Le bal interrompu." SCHATZ 1563 
 
 Le bal interrompu. Cette entree & la suivante ont ete ajoutees 
 aux Fragments de Lulli; & represented en 1703, dans la reprise qui 
 se fit de ces Fragmens. 
 
 - Le jaloux trompe. Divertissement. Represent 6 pour la 
 
 Eremiere fois en 1703. sous le titre de la Serenade venitienne, dans le 
 allet des Fragmens de M. de Lully. Remis au Theatre a la suite 
 du Carnaval & La folie. Le jeudi 18 Janvier 1731. 
 
 [265}-290 p. 17 m . (Antoine Danchet, Theatre, t. ii, Paris, 1761.) 
 
 PQ 1972.D2 
 
 Le Franc Breton, ou Le negociant de Nantes, come'die en un acte 
 et en vers libres, par M. de Jaure. Represented pour la premiere 
 fois a Paris, par les Comediens italiens ordinaires du roi, le 15 feVrier 
 1791. 
 Paris, CaiUeau &fils, 1791. 35 p. 21 cm . 
 
 Cast. The composers, Rodolphe Kreutzer and Solid, are not mentioned. 
 
 ML50.2.F8K7 
 
 72251 VOL 114 34
 
 530 LIBRARY OF CONGRESS 
 
 La Francese a Malghera. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro Tron di S. Cassano nelF autunno dell' anno 1764. 
 DelP abbate Pietro Chiari, Bresciano. 
 
 Venezia, Modesto Fenzo, 1764. 72 p. 16\ cm . 
 
 Three acte. Cast, scenario, and name of composer, Tommaso Trajetta ("La 
 musica tutta nuova"). SCHATZ 10411 
 
 II Francese bizarro. Opera buff a a sette voci da rappresentarsi 
 nel Teatro dell' eccellentisima casa Grimani S. Gio. Grisostomo il 
 carnevaie dell' anno 1779. 
 
 Venezia, Modesto Fenzo, 1779. 62 p. 16\. 
 
 Two acts. Cast, scenario, and name of composer, Gennaro Astaritta, but not of 
 librettist, who is unknown to Schatz. SCHATZ 371 
 
 II Francese bizzarre. Opera buff a da rappresentarsi nel Teatro 
 di S. A. E. di Sassonia. 
 
 Dresda, n. putt., 1786. 131 p. 15\ cm . 
 
 Two acts. Name of Astaritta as composer. German title-page, "Derwunder- 
 liche Franzos. Ein komisches singstiick," and text face Italian. 
 
 First performed at Dresden in 1786. SCHATZ 372 
 
 La Francese brillante. Dramma giocoso per musica da rappre- 
 sentarsi nel Pubblico Teatro di Lucca 1' autunno' dell' anno 1767. 
 
 Lucca, Giuseppe Simoni, 1767. 84, [1] p. 14 m - 
 
 Three acts. By Pasquale Mililotti, who is not mentioned. Cast and name of 
 Pietro Guglielmi as the composer. 
 
 First performed, as indicated, August 22, 1767; at Naples, Teatro de' Fiorentini, 
 Bummer of 1763. SCHATZ 4284 
 
 La Francese di spirito. Commedia per musica di Giuseppe Maria 
 Mililotti da rappresentarsi nel Teatro Nuovo sopra Toledo per prima 
 opera di quest anno 1781. 
 
 Napoli, n. pull., 1781. 55 p. 15 cn . 
 
 Two acts. Cast and name of Giacomo Tritto as the composer. At end this char- 
 acteristic foot-note: 
 
 "Si e doyuto togliere dalla commedia il personaggio di Smeraldina, che stando 
 indisposta, si e licenziata da se medesima dal teatro per tutto 1'anno. Ed eesendoei 
 dovuto in parte ristampare il libretto, in quello, che e rimasto, ee mai si trova il 
 nome di Smeraldina, il savio lettore non ne faccia caso." SCHATZ 10471 
 
 II Francese in Londra, ballet. See Anfossi's Le gelosie villane. 
 
 I Francesi brillanti. Dramma giocoso per musica da rappresen- 
 tarsi nel Real Teatro dell' Ajuda nell' autunno dell' anno 1765. 
 Lisbona, Michele Maneschal da Costa, n. d. 78 p. 16 cm . 
 
 Three acts. Pasquale Mililotti, the author, not mentioned. Cast, scenario, and 
 name of Paisiello as the composer. Mililotti 's title originally was "La Francese 
 brillante." 
 
 First performed at Bologna, Teatro Marsigli Rossi, June, 1764. SCHATZ 7687 
 
 La Frascatana. Dramma giocoso per musica da rappresentarsi nel 
 Teatro Grande della nobilissima Accademia Intronata di Siena, nel 
 carnevaie dell' anno bisestile 1776 . . . 
 
 Siena, Vincenzo Pazzini Carli ejigli, n. d. 76 p. 16^ cm . 
 
 Three acts. By Filippo Livigni who is not mentioned. Impresario's dedication, 
 cast, and name of Paisiello as the composer. 
 
 First performed at Venice, Teatro S. Samuele, 1774. SCHATZ 7620
 
 OPERA LIBEETTOS 531 
 
 La Frascatana Continued. 
 
 - La Frascatana. Dramma giocoso per musica del Signore Filippo 
 Livigni da rappresentarsi nel Piccolo Teatro di S. A. S. E. di Sas- 
 sonia. 
 
 Dresda, n. pull, 1776. 181 p. 16 cm . 
 
 Three acts. Paisiello is mentioned as the composer. German title page, "Die 
 Frascatanerin," and text face Italian. 
 
 First performed, as indicated, 1776. SCHATZ 7621 
 
 - La Fraschetana; a new comic opera: as performed at the King's 
 Theatre in the Hay-Market. The music by Signer Paisiello, under 
 the direction of Mr. Giardini. 
 
 London, T. CadeU, 1776. 75 p. 18 cm . 
 
 On verso of last p. a catalogue of Bremner'e latest publications. Three acts. 
 Livigni's text with numerous alterations and interpolations. English translation 
 faces Italian. 
 
 First performed 1776 as indicated. SCHATZ 7622 
 
 - La Frascatana. Dramma giocoso per musica, da rappresentars 1 
 nel Regio Teatro. Landsbye-pigen fra Frascati . . . Oversadt paa 
 dansk af R. Soelberg. 
 
 Ki0benhavn, H. J. Graae, 1776. 143 p. 16% cm . 
 
 Three acts. Text by Livigni, who is not mentioned. Cast and name of Paisiello 
 as the composer. 
 
 First performed at Copenhagen, October 31, 1776. SCHATZ 7623 
 
 - La Frascatana oder Das maedchen von Fraskati, ein singspiel in 
 drey aufzuegen. Die musik von Paisello. 
 
 n. i., 1782. 102 p. 17$. 
 
 German version by Johann Friedrich Schmidt. SCHATZ 7624 
 
 La Frascatana. Ein singspiel in drey aufzuegen. Die musick 
 von Paisello. 
 
 n. i., 1782. 128 p. 16$. 
 
 The translator is not mentioned, but it is practically the same version as Schatz 
 7624, as comparison proves. ML 50.2.F84P2 
 
 Arien und Gesaenge aus der grossen komischen oper: Das maed- 
 chen von Fraskati, in drey aufzuegen. So wie sie auf der Tilly- 
 schen schaubuehne aufgefuehret wird. Die musik ist von Paisiello. 
 Luebeck, n. publ., 1785. 24 p. 16$ cm . 
 
 Schmidt's version. 
 
 First performed at Lvibeck, Theater i. d. Backergrube, 1785; at Weimar, Herzogl. 
 Comodienhaus, January 15, 1784. SCHATZ 7625 
 
 - L'infante de Zamora, com^die en trois actes, melees d'ariettes, 
 parodiees sur la musique de la Frascatana, del Signer Paesielo, par 
 M. Framery. Cette edition est la seule qui soit conforme a la parti- 
 tion gravee, a laquelle on a fait beaucoup de changemens. 
 
 La Haye, les Libraires associes, 1783. 55, [1] p. 19\ tm . 
 First performed at Versailles, 1781; at Paris, Theatre de Monsieur, not until June 
 22, 1789 ML 50.2.F84P22 
 
 La Frascatana nobile. Commedia per musica di Pasquale Mililotti 
 da rappresentarsi nel Teatro Nuovo sopra Toledo nell inverno del 
 corrente anno 1776. 
 
 Napoli, n. pull, 1776. 60 p. 15 cm . 
 
 Three acts. Cast and name of the composer, Domenico Cimarosa. SCHATZ 1995
 
 532 LIBRARY OF CONGRESS 
 
 Die Frascatanerin. Tr. of Paisiello's La Frascatana. 
 La Praschetana. L. T. of Paisiello's La Frascatana. 
 
 Lo frate nnammorato. Commeddeja pe mmusica de Jennaran- 
 tonio Federico Napolitano da rappresentarese a lo Triato de li 
 Shiorentine lo carnevale de chist' anno 1734 . . . 
 
 Napqle, Nicola de Bejase, n. d. 80 p. 14\ cm - 
 
 Three acts. Impresario's dedication, cast, name of Giammattista Pergolese (Per- 
 golesi) as the composer, and notice to the reader, which reads, in part: 
 
 " Sta commedeja se rappresentaje ll'anno 1732. [September] nne k> stisso triato . . . 
 Te s'avisa, ca non se ll'e cagnato autro, ee non che cierte poch' arie, che bedarraje 
 segnate con cchisto signo , co 1'accaseone, che 1'e parzo de buono a lo masto de cap- 
 pella de cagnarence la museca, secunno 1'abbeleta de chi 1'ha da can tare; & ppe 
 narela non poco cchiu breve, e'4 accortata no poco all' atto terzo." SCHATZ 7903 
 
 I fratelli nemici. Tragedia per music a da rappresentarsi nel 
 Regio Teatro di Berlino . . . MDCCLVI. 
 
 Berlino, Haude e Spener, n. d. 115, [4] p. 16\ cm - 
 Three acts. By G. P. de Tagliazucchi, who begins his prefatory note: 
 "La traduzione italiana di una eccellente tragedia franceee, che 6 1'onore di pre- 
 eentare al publico m'obbliga a prejjarlo del suo compatimento, e'ei trovera, che f'or- 
 servanza di un metro regolare, la nma detenminatamente obbligata, e la scelta delle 
 parole alia musica confacenti m'anno forzato nelle arie a prendermi qualche liberti 
 eenza per6 gran torto al sentimento. Sia in una, sia in altra maniera decentemente 
 vestita leggiadra giovane sari sempre leggiadra. Ne' recitativi, dove il metro non mi 
 legava, e la rima, servendo di solo ornamento alia poesia, e'fe venuta naturalmente a 
 intromettere dove luogo a trovato, mi lusingo, che il lettore m'incontrera fedele, ed 
 esatto ; non senza aver avuto per6 tutto il riguardo di conf ormarmi al genio particolare 
 di nostra favella da quello della Francese cos& diferente ..." 
 
 Tagliazucchi herewith alludes to the fact that his text was merely the Italian ver- 
 sion of an "excellent French tragedy," written by Frederick the Great and based on 
 Racine's "Les freres ennemis." Scenario and name of Carl Heinrich Graun as 
 composer. German text (by Francesco Grugnanelli, according to Mennicke) and 
 title-page, "Die uneinigen brueder," face Italian. 
 
 First performed, as indicated, January 9, 1756. SCHATZ 4100 
 
 I fratelli nemici. Tragedia per musica da rappresentarsi nel 
 Regio Teatro di Berlino . . . MDCCLVI. 
 
 Berlino, Haude & Spener, n. d. 115, [4] p. 16\ cm . 
 
 Exactly like Schatz 4100, except that instead of the German translation a French 
 version, Les freres ennemis, opera tragique," faces the Italian SCHATZ 4101 
 
 Li fratelli Pappamosca. L. T. of F. Guglielmi's La villanella 
 ingentilita. 
 
 I fratelli riconosciuti. Dramma per musica da rappresentarsi in 
 Parma nella primavera dell' anno 1726 . . . 
 
 Parma, Eredi di Paolo Monti, 1726. xii,46, [1] p. 15\. 
 
 Three acts. By Francesco Silvani, whose original title was "La verita nell' 
 inganno." The Protesta reads, in part: 
 
 "Se quest' opera, che nell' anno 1717 fu rappresentata in Vienna, ora viene notabil- 
 mente variata, ci6 si 6 per aderire in parte al genio de signori interessati, in parte per 
 incontrare la soddisfazione del compositore della musica, ed in parte ancora per uni- 
 formarsi al gusto de cantanti." 
 
 Giovanni Maria Capello is mentioned as the composer of the music ("di nuova, 
 studiosa composizione"). The alterations of the text were by Carlo Innocenzio 
 Frugoni (Schatz). Dedication, argument, cast, scenario. SCHATZ 1590
 
 OPERA LIBRETTOS 533 
 
 I fratelli rivali. Dramma per musica da rappresentarsi nel nobilis- 
 simo Teatro Venier di San Benedetto 1'autunno 1793. 
 
 Venezia, Casali, 1793. 78 p. 18% cm . 
 
 Two acts. Author not mentioned, and unknown to Schatz. Cast and name of 
 Peter von Winter as the composer. On p. [33]-43, argument, cast, description, with- 
 out name of the composer of the music of Filippo Beretti'e "Andronico e Ramira, ballo 
 eroico pantomimo." SCHATZ 11032 
 
 I fratelli rivali. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Elettorale. 
 
 Dresda, n. putt., 1795. 127 p. 16 cm . 
 
 Two acts. Cast added in pencil. Peter von Winter is mentioned as the composer. 
 German title-page, "Die brueder als nebenbuhler," and text face Italian. 
 
 First performed, as indicated, October, 1795. SCHATZ 11033 
 
 Arien und gesaenge aus der oper Die brueder als nebenbuhler, 
 in zwey aufzuagen. Die musik ist von Winter. 
 
 Frankfurt am Main, n. putt., 1798. 24 p. 17 cn . 
 
 Translated by Matthaus Stegmayer, who is not mentioned. 
 
 First performed at Frankfurt a/M., National theater, 1798. SCHATZ 11034 
 
 II fratricida innocente. Drama eroico per musica da rappresen- 
 tarsi in Bologna nel Teatro Malvezzi Fanno MDCCVIII. 
 
 Bologna, Costantino Pisarri, n. d. 71, [1] p. 16 cm . 
 
 Three acts. By Apostola Zeno (not mentioned) . Earlier and better-known title of 
 the text is " Venceslao." Argumentj scenario, cast. The composer, Giacomo Antonio 
 Perti, is not mentioned. Fehr attributes the music to Predieri, by whom Schatz 
 records no such opera. 
 
 First performed, as indicated, May 19, 1708. SCHATZ 7949 
 
 La Fredegonda. Drama per musica da rappresentarsi nel Teatro 
 TroninS. Casciano 1'anno 1705 . . . Poesia di Francesco Silvani ... 
 Venezia, Marino Rossetti, 1705. 72 p. 14% cm . 
 
 Three acts. Author's dedication dated Venezia, December 26, 1704, notice to the 
 reader as argument, cast, scenario, and name of Carlo Francesco Gasparini as the 
 composer. SCHATZ 3569 
 
 Fredegunda. [vignette] In einem musicalischen schau-spiele auf 
 dem Hamburgischen Schau-platze vorgestellt im mertz monath 1715. 
 Hamburg, Fridrich Conrad Greflinger, 1716. Unpaged. 18 cm . 
 
 Five acts. In his "vorbericht" the author, Johann Ulrich Konig, says: 
 "Die generale approbation, mit welcher meine letzte opera: L'inganno fedele 
 angenommen worden, hat mich aufgemuntert, abermahl ein solches schau-spiel aus- 
 zuarbeiten, welches um so viel weniger fuerchten darf zu miesfallen, weil es schon 
 in italiaeniecher Bprache, worinn es zueret geschrieben worden, bereits den beyfall 
 aller veretaendigen erworben. Wer inzwischen glaubt, dass gegenwaertige bogen 
 nichts als eine blosse ubersetzung, wird sich yielleicht zu meinem vortheil betrogen 
 finden, wann er die muehe nehmen will, das italiaenische nachzusehen ..." 
 
 To some of the arias the Italian text has been added. Reinhard Keiser, the 
 composer, is not mentioned. Koenig took his text from Francesco Silvani's "La 
 Freaegonda." SCHATZ 5123 
 
 - Fredegunda, in einem musicalischen schau-spiele auf dem Ham- 
 burgischen Schau-platze vorgestellt im jahr 1736. 
 
 Hamburg, Georg Diedrich Spieringks wittwe, n. d. Unpaged. 18^ cm . 
 
 Five acts. Neither the author, Johann Ulrich Koenig, nor the composer, Rein- 
 hard Keiser, is mentioned. The Italian text has been added to some of the arias. 
 The text seems to the same as in the edition of 1715. SCHATZ 5091
 
 534 LIBRARY OF CONGRESS 
 
 Fremore und Melime. Ein schauspiel mit gesang in drey akten 
 von einem jungen kavalier, die musik von dem kurbayerschen kam- 
 merkompositeur Michl. 
 
 Frankfurt am Mayn, mit Andreaeischen schriften, 1778. 77 p. 
 \. 
 
 Text by H., graf von Spaur. 
 
 First performed at Mayence, Theater a. d. gr. Bleiche, January, 1778. 
 
 SCHATZ 6484 
 
 Le frenesie d'amore. L. T. of Buini's II Savio delirante. 
 Les freres ennemis. Tr. of Graun's I fratelli nemici. 
 
 Freud- und liebes-streitt in einer operette vorgestellt auf dem 
 Oettingischen Schau-Platz. 
 
 Oettingen, Stephan Rolck, 1699. 4 p. I, 35 p. 19 cm . 
 
 Three acts with prologue. By the composer, Conradi, who signs his dedication 
 "Johann Melchior Counradi." He informs the reader: 
 
 ' ' Dieses ist das erste mahl das auf dem allhiesigen Schau-Platz etwas aufgef uehret 
 wird so den nahmen einer operette verdienen moechte. Zwar ist dieses unser absehen 
 nimmer mehr gewesen dass diese geringe arbeit noch auf eine solche weise sollte an 
 das licht gegeben Averden: Allein ein gnaediger befehl hat verursachet, dass dieses 
 werck'gen noch den schein einer operette bekommen. Du darfst dir aber, geneigter 
 leser, nicht einbilden dass du viel galantes hierinnen antreffen werdest, sondern 
 man ueberreicht dir nichts als ein pastoral, da zu vor die Musen sich ueber die ab- 
 wesenheit unserer Durchleuchtigsten fuerstin hoechstens betrueben; welche aber von 
 dem Apollo getroestet und endlich benachrichtiget werden, dass dieses theure fuersten- 
 haupt wieder gesund und gluecklich angekommen, vorueber sich die Musen, schaeffer 
 und schaeffennnen, sehr erfreuen. Sonsten, wann unsere verse dir auch nicht das 
 geringste contentement geben koennen: So wisse, das selbige, wie auch die musique 
 nimmermehr vor einen oeffentlichen schau-platz, sondern nur die muessige etunden 
 durch ein anmuthiges exercitium zu vertreiben, seyn verfertigct worden. Im 
 uebrigen wirst du, geneigter leser, dich selbsten erinnern, dass wir alle, und also 
 auch du den fehlern unterworffen." SCHATZ 2181 
 
 Die freundschaft auf der probe. Tr. of Gre"try's L'amitie a 1'e- 
 preuve. 
 
 Der freybrief. Eine posse mit gesang in einem akt. 
 Berlin, n. publ., 1788. 55 p. 16\ cm . 
 
 By Georg Ernst Liiderwald, who is not mentioned. 
 
 1) The music was partly selected from Joseph Haydn's "La fedelta premiata," 
 partly from Mozart, with additional music by the arranger, Frido. Stephan Johann 
 Maria Andreas freiherr von Weber, none of whom mentioned in the libretto. 
 
 First performed in a two-act version at Niirnberg, Nationaltheater, December 22, 
 1796; in its original one-act version at Meiningen, 1789. 
 
 2) With music composed by the author under the pseudonym Georg Ernst Lange 
 in one act at Riga, 2/13 July, 1792. 
 
 3) With music composed by Julius Miller, in one act at Flensburg, 1802. 
 
 SCHATZ 4610a 
 
 - Der freybrief. Ein singspiel in zwey aufzuegen. Die musik ist 
 von Haiden. 
 
 n. i., [Nuernberg?] 1797. 14 p. 16 cm . 
 
 SCHATZ 4610 
 
 Das freyschiessen oder Das gluekliche bauernmaedchen, eine 
 operette in zween aufzuegen von J. A. W. 
 
 Goettingen, F. A. Rosenbusch, 1786. 86 p. 15 cm . 
 
 By Johann August Weppen. The composer, Christian Ludwig Dieter, is not 
 mentioned . 
 
 First performed at Stuttgart, Herzogl. Kl. Theater, August 31, 1787. SCHATZ 2575
 
 OPEEA LIBRETTOS 535 
 
 Der fried zwischen Romulo und Tatzio. Tr. of the ballet 
 L'alliance de Romulus et de Tatius. 
 
 Prigga, opera i en act. I deras kongl. majestaters och det konql. 
 husets narvero forsta gangen upford af Konql. musicaliska academien 
 i Stockholm, den 31 Maji 1787. 
 
 Stockholm, Konql. Tryckeriet, 1787. 4 p. I., 31 p. 28 cm . 
 
 Cast, scenario, and names of the author, Carl Gustav af Leopold, and the Composer, 
 Olof Ahlstrom. SCHATZ 69 
 
 The frolics of fancy. A. T. of A match for a widow. 
 Den fromme pige. Tr. of Piccinni's La buona figluola. 
 
 Die fruehlingsfeier in Arkadien. A. T. of HenseFs Die geisterbe- 
 schwoerung. 
 
 Die fruehlingsnacht, eine operette in einem akte. Von J. W. A. 
 Schoepfel. 
 
 Frankfurt und Leipzig, Christian Gottlieb Hertel, 1773. 86 p. 17. 
 
 Inthe"Vorrede," dated Leipzig, June 15, 1773, the author calls this the "erstling 
 meiner Muse," hopes for a favorable reception of it, and savs: 
 
 "Die operetten machen seit einigen jahren, wie in Italien und Frankreich, also 
 auch in Deutschland, den hauptgegenstand des theaters aus, und der geschmack an 
 komoedien und trauerspielen ist dadurch um ein merkliches gefallen. Das weiche 
 gefuehl, welches die mit gesaengen untermischte musik der oper in uns hervorbringt, 
 gab vermuthlich zu dieser yeraenderung anlass .... Weise [!] und Hiller sind solche 
 namen [as against the foreigners] die das teutsche publicum, wenigstens das feinere 
 und gesittete publicum, nie ohne achtung ausprechen wird . . ." SCHATZ 11612 
 
 Das fruehstueck auf der jagd, oder Der neue richter, ein laend- 
 liches lustspiel mit gesang in zween aufzuegen. Hauptsaechlich 
 fuers Schultneater von C. W. 
 
 Sorau und Leipzig, Erdmann Gotthelf Deinzer, 1785. 63 p. 16 cm . 
 
 By Christian Gotthilf Weissflog, who also composed the music and who says, in his 
 ' ' Vorerri nerung : ' ' 
 
 ' ' Gegenwaertige kleine komische operette ist urspruenglich nur fuer schultheater 
 bestimmt gewesen. Ich muss indessen gestehen, dass mir seit etlichen jahren zwar 
 viele echauspiele bekannt geworden, die sich noch weit besser fuer schultheater 
 schicken, als dieses; aber sehr wenig komische opern, die der Kleinen aehrenleserin 
 und der Friedensfeier des herrn Weiss gleich kaeme. Aber auch in diesen fallen die 
 gesaenge zu unvermutend ein; ein fehler, der fast in alien komischen opern bemerkt 
 wird. 
 
 " Es laesst allerdings sehr sonderbar, und ist oft wider alle erwartung des zuschauers, 
 wenn der akteur oder die aktrise ganz unvermuthet zu singen anfaengt, und noch 
 dazu das singt, was eigentlich haette sollen gesprochen werden. Ich habe dieeen fast 
 allgemeinen fehler in dieser operette zu yermeiden gesucht, und die .vesaenge niemals 
 so unvermuthet anheben, sondern gleichsam vorheV erst ankuendigen lassen. So 
 verlangt es die natur, und so haben es sachverstaendige auch eehr lange gewuenscht 
 . . . Sollte sie beifall finden, so ist der verleger gesonnen, auch die musik dazu in 
 einem vollkommenen clavierauszug auf praenumeration herauszugeben . . ." 
 
 SCHATZ 10983 
 
 Puenf und zwanzig tausend gulden. A. T. of Walter's Im 
 dunkeln ist nicht gut munkeln. 
 
 Der fuerst und sein hofnarr. A. T. of von Seyfried's Orion. 

 
 536 LIBRARY OF CONGRESS 
 
 Der fuerst und sein volk. Ein teutsches nationaldrama mit 
 gesaengen in einem aufzuge. Nach einer wahren begebenheit. Auf- 
 gefuehrt auf der Joseph Secondaischen Schaubuehne in Leipzig. 
 Leipzig, Kindel, n. d. 56 p. 14 cm . 
 
 One act. Cast and notice to the reader, which is dated Leipzig, March 5, 1791, 
 and reads in part: 
 
 "Die musick 1st zu den arien und choeren vom herrn von Dittersdorf und Ber- 
 toni. Die texte Bind zwar untergelegt; man glaubt aber, daes wahre kenner diese 
 wahl nicht misbilligen, und oefters angemessener, als die worte des originals selbst, 
 finden werden. Das duett aber in der vierten scene, und das sextett nebst dem 
 chor in der neunten scene ist vom herrn Pitterlin, Musickdirecktor der Jos. Secondai- 
 schen Schaubuehne, wie wenigstens dem verfasser duenkt, eehr brav gearbeitet 
 worden." 
 
 For author see next entry. SCHATZ 8204 
 
 Der fuerst und sein volk. Ein deutsches nationaldrama mit 
 gesaengen in einem aufzuge. Nach einer wahren begebenheit. 
 
 n. L, 1794. 48 p. 16 cm . 
 
 Neither the author, Georg Carl Claudius, called Franz Ehrenberg, is mentioned, 
 nor the composers, Friedrich August Pi trerlin, Dittersdorf, and Bertoni. 
 First performed at Leipzig, Theater am Rannstaedter Thore, March 5, 1791. . 
 
 SCHATZ 11613 
 
 Der fuerst von Taranto. Tr. of Paer's II principe di Taranto. 
 
 La fuga. Commedia per musica di Giambatista Lorenzi P. A. Da 
 rappresentarsi nel Teatro Nuovo sopra Toledo nella esta del 1777. 
 Napoli, Vincenzo Mazzola-Vocola, 1777. 82 p. 15 cm . 
 
 Three acts. Scenario, cast, name of Gaetano Monti as the composer, and notice 
 to the reader, who is informed that Lorenzi had written the text in two acts only, but 
 that ' ' al rispettabile comando di personnagio assai lumino " he rewrote it in three acts. 
 
 SCHATZ 6603 
 
 La fuga dell' invidia. Poemetto dramatico nel giorno del gloriosis- 
 simo nome . . . dell' imperatore Leopoldo I . . . L'anno MDCCI. 
 Posto in musica dal Sigr Marc' Antonio Ziani . . . 
 
 [Vienna], Susanna Cristina, vedova di Matteo Cosmerovio, n. d. 
 Unpaged. 16\ cm . 
 
 One act. Author not mentioned and unknown to Schatz. Argument. 
 
 First performed, as indicated, Nov. 15, 1701. SCHATZ 11187 
 
 The fugitive. L. T. of Shield's The czar. 
 
 The fugitive; or, Happy recess. A dramatic pastoral, in two acts, 
 as written for the Royalty Theatre : By Thomas Shapter . . . 
 
 London, Printed for the author, &?/ John Abraham, n. d. 4> $0 P- 
 %0 cn . 
 
 In his preface the author tells us that the piece was hastily written for the Royalty 
 Theatre in the spring of 1790, accepted and turned over to "Mr. [John] Moulds, 
 composer, to adapt to music," but owing to illness the latter did not finish the muic 
 until about the close of the season. He then "repossessed " the music, by permission 
 of the managers for private purposes. The score "fell into some other hands which 
 rendered a fresh copy of the scores necessary to be taken." The piece was to reopen 
 the new season, but the copyist was exasperatingly slow: "the whole was finally 
 delivered about the beginning of September, just before the theatre opened anew, 
 and was getting forward for rehearsal, when, suddenly, the second season came to a 
 close . LONGE 207
 
 OPERA LIBEETTOS 537 
 
 II fumo villano. L. T. of Piccinni's II cavaliere per amore. 
 
 Les funerailles de la Foire. Piece d'un acte. Par Mrs. le S * *. 
 & D'Or * *. Representee sur le Theatre du Palais Royal, par 
 ordre de S. A. Royale Madame, le jeudy 6. octobre 1718. 
 Le Theatre de lafoire, Paris, 1737, t. Hi, pi, [377]-410 p. 17 cm . 
 
 By Le Sage and d'Orneval. Largely en vaudevilles. The aire, selected or com- 
 posed and arranged by Jean Claude Gillier, " compositeur " of the theatre, are printed 
 at the end of the volume in the "Table des airs." A note on the title page reads: 
 
 "Cette pi.ece fut faite Bur le bruit qui courut a la fin de la Foire de S. Laurent 
 1718, qu'il n'y auroit plus d'Opera comique. Et comme S. A. R. Madame la voulut 
 voir representer, ou la fit jouer devant Elle au Palais royal." ML 48. L2 III 
 
 II fuoco eterno custodito dalle Vestali. Drama musicale per la 
 felicissima nascita della sereniss. arciduchessa Anna Maria, Figlia. 
 Delle S.S. C.C. R.R. M.M. dell' imperatore Leopoldo, e della impera- 
 trice Claudia Felice. Et alle medesime M. M. consacrato. Posto in 
 musica dal S? Antonio Draghi . . . Con Parie per li balletti del 
 S' Gio. Erico Smelzer . . . 
 
 Vienna d' Austria, Gio. Christoforo Cosmerovio, 1674' H P- ^ (incl. 
 front.), 83 p., 12 fold. pi. 34 cm . 
 
 The extraordinary pi. (size of the vol., except the first, which is 78 x 51 cm .) were 
 designed by Lodovico Burnacini, the court-theatre engineer, and engraved by 
 Matthaeus Kiisel. 
 
 Three acts. Dedication by the author, conte Nicold Minato, dated Vienna, October 
 23, 1674, argument, allegoria, scenario, list of the "machine" and "attioni et appa- 
 renze," etc., and notice to the reader in which Minato commenting on his difficulties 
 says "& stato un impossibile eolo possibile a Cesare." 
 
 First performed at Vienna, Hoftheater, as indicated, September 1674. 
 
 ML 50.2.F89D7 
 
 La furba burlata. Commedia per musica da rappresentarsi nel 
 Teatro Nuovo nelF esta dell' anno 1762. 
 
 Napoli, Vincenzo Mazzola-Vocola, 1762. 68 p. 14% cm * 
 
 Three acts. By Pietro di Napoli, according to a me. note on the title page. Cast 
 and notice.: 
 
 "La musica per la maggior parte e del Signer D. Niccola Piccinni . . . L'aria di 
 Cannetella ed il terzetto nel primo atto, sono del Signor D. Niccola Logroscino; e 
 tutte 1'arie segnate con questo segno * sono del Signor D. Giacomo In Sanguine 
 detto Monopoh ..." 
 
 These starred arias, or parts of arias or dialogue are: "Birbante c6 creanza" (I, 1) 2 
 "Ma chesto soccede" (I, 1), "Che sia cortese e placido" (I, 3), "Mme sapisse a ddi 
 perche" (I, 9), "Ch'v'a schiaffato ncanna" (II, 3), "Sospira, si lamenta" (II, 4), 
 "E tu malantrino" (II, 7), "L'esempio de chesta vede" (II, 8), "E se dippiu ti 
 chiede" (II, 9), "Te fa i buono ogne designo" (II, 11), No Don Framinio non 
 truovecchiu" (III, 1), ''locchiiinesciuno" (111,2), " Perche esicuropegno" (111,4), 
 "Ave trovato sto bello coref " (III, 7). 
 
 First performed at Naples, Teatro de' Fiorentini, fall of 1760. SCHATZ 8159 
 
 Furberia e puntiglio. Farsa giocoso per musica di Giuseppe Foppa 
 da rappresentarsi nel Teatro Giustiniam in San Moise Fautunno delF 
 anno 1798. 
 
 Venezia, Modesto Fenzo, 1798. 48 p. 18 cm . 
 
 One act. Cast, scenario, and name of Marcello di Capua (Marcellp Bernardini) as 
 composer. On p. 43-48, argument of "Caterina e Blech. Ballo eroico pantomimo in 
 quattro atti d'invenzione ed esecuzione di Giuseppe Cajani da rappresentarei nel 
 Teatro Giustiniani in San Mois6 1'anno 1798." Cajani also composed the music. 
 
 First performed at Venice, as indicated, September 18, 1798. SCHATZ 834
 
 538 LIBRARY OF CONGRESS 
 
 Le furberie deluse. Commedia per musica di Giuseppe Palomba. 
 Da rappresentarsi nel Teatro Nuovo sopra Toledo, per quart' opera 
 di questo corrente anno 1793. 
 
 Napoli, Vincenzo Flauto, 1793. 48 p. 15 cm . 
 
 Two acts. Cast and name of Gabriele Prota as the composer. SCHATZ 8474 
 
 I furbi burlati. Commedia per musica da rappresentarsi nel 
 Teatro de' Fiorentini la primavera di quest' anno 1773. 
 
 Napoli, 1773, n. pull. 70 p. 15\. 
 
 Three acts. Author not mentioned. Cast and name of Niccol6 Piccirtni as the 
 composer. The text is but a revamped version of Pietro di Napoli's "La furba bur- 
 lata," composed by Niccol6 Piccinm, with exception of two pieces in the first act, by 
 Nicola Logroscino, and several arias by Giacomo Insanguine, and first performed at 
 Naples, Teatro de' Fiorentini, fall of 1760. According to Schatz, and at least the 
 libretto with Piccinni's name as only composer would appear to corroborate his claim, 
 the music of "I furbi burlati" was entirely by Piccinm, though perhaps Schatz goes 
 too far if he says "vollstandig neu bearbeitet." Cametti is of no assistance in this 
 matter. SCHATZ 8127 
 
 II furbo contro al furbo. Commedia per musica da rappresen- 
 tarsi nel nobilissimo Teatro in S. Samuele il carnovale dell' anno 
 1797. 
 
 Venezia, Stamperia Valvasense, n. d. 79 p. 17 cm . 
 
 Two acts. Cast and name of the composer, Valentino Fioravanti ("musica del 
 tutta nuova"), to whom Schatz also attributes the text, though the libretto simply 
 says: "La poesia del tutto nuova del Sig. N. N." Schatz based his information ; 
 probably, on a somewhat altered version of the libretto "Chi la fa, chi la disfa, e chi 
 I'imbroglia," Trieste, 1802, in which Fiorayanti figures both as author and composer. 
 
 SCHATZ 3131 
 
 II furbo malaccorto. L. T. of Fioravanti's L'astuta in amore. 
 
 II furbo malaccorto. Opera in musica da rappresentarsi nel Teatro 
 della citta di Cosenza . . . 
 
 Napoli, Amati Cons., 1782. 72 p. 15 cm . 
 
 Three acts. Impresario's dedication (dated 1782) and cast. Neither the author, 
 Giambattista Lorenzi, nor the composer, Paisiello, is mentioned. 
 
 First performed at Naples, Teatro Nuovo, winter, 1767. SCHATZ 7677 
 
 Furcht und hoffnung, vorspiel mit gesang. In musik gesezt von 
 C. D. Stegmann. 
 
 Hamburg, Robe und Freystatzky wittwe, 1798. 16 p. 16 cm . 
 
 Author not mentioned, and unknown to Schatz. 
 
 First performed at Hamburg, Theater beim Garisemarkt, April 11, 1798. 
 
 SCHATZ 10038 
 
 Le furie d'Oreste. A. T. of Marescalchi's ballet La morte d'Egisto. 
 
 II furio Camillo. Drama del Sig. Matteo Noris da recitarsi nel 
 Teatro Malvezzi 1'anno 1693. 
 
 Bologna, Giulio BorzagU, 1698. 83 p. 14 cm . 
 
 Three acts. Argument, scenario ? and notice to the reader, referring to the first 
 pertormance at Venice and mentioning Giacomo Antonio Perti as the composer. 
 
 First performed, as indicated, January 17, 1693; at Venice, Teatro di San Salvatore, 
 carnival, 1692. SCHATZ 7950
 
 OPERA LIBRETTOS 539 
 
 II furio Camillo Continued. 
 
 II furio Camillo. Dramma per music di Mateo Noris, da rap- 
 presentarsi in Mantova 1'anno MDCC . . . 
 
 Mantova, Alberto Pazzoni, n. d. 6 p. 1., 60 p. 15 cm . 
 Three acts. Dedication by Giacomo Sironi, argument, cast, scenario and substi- 
 tute aria "Trionfi Giuliva" in II, 1, for "De con, e del' alme." Perti is not men- 
 tioned. ML 50.2.F9P3 
 
 I furori di Orlando. Dramma semi-giocoso per musica, da rappre- 
 sentarsi nel Teatro di Ratisbona per ordine di Sua Altezza Serenis- 
 sima il principe regnante della Torre e Tassis . . . 
 
 [Ratisbona], Stamperia Zunckeliana, n. d. 8 p. 1., 167 p. 15 cm . 
 
 Three acts. German title-page, "Die rasereyen des Rolands," and text face Italian. 
 "Touchemolin, primo yiolino e direttore de concert! di S a A sa S ma il principe della 
 Torre e Tassis," is mentioned as the composer. A long, pretentious, but noteworthy, 
 "Avertissement aux amateurs du spectacle," by the author, Domenico Friggieri, 
 
 S-ecedes the text, which is a scathing arraignment of the average Italian opera libretto, 
 e says: 
 
 "Je n'ignore point ce que les Gene d'Esprit et de bon sens pensent du me'rite 
 pretendu des Operas Comiques Italiens. Je conviens sincerement avec eux, qu'on 
 n'y trouve ni conduite, ni int^ret, ni sens commun &c. 
 
 "Cependant on ne doit point supposer, comme a fait quel q'un, que ce genre de 
 Composition soit 1'ouvrage des Poetes. L'ltalie, qui a toujours produit des Hommes 
 savants en toutes sciences, abonde encore aujourd'hui en grands Poetes capables par 
 leur genie de donner a cette partie de I' Art drammatique la perfection, dont elle 
 seroit susceptible. Mais ceux ci n'oseroient employer leurs talents a composer des 
 Operas Comiques, par des raisons aseez solides, qu'on trouvera dans mon Histoire du 
 Theatre de Musique Italien que je donnerai d'ici a quelque terns au Public. Histoire, 
 qui ne sera pas peu divertissante, ni peu instructive pour bien des Gens. 
 
 "II est sur que ces Farces, qu'on represente en Musique, depuis un certain nom- 
 bre d'ann^es, et eurtout apres le depart de Mr. Goldoni pour la France, sont des pro- 
 ductions de certains Rimailleurs mercenaires, qui n'pnt presque aucune connoissance 
 ni de la Poesie, ni du Theatre, ni du Monde. II arrive cependant a quelques ims de 
 ces pauvres Vereificateurs a gages, d'enfanter quelque fois, ou de choisir un sujet 
 assez bon et d'imaginer un Plan, sur le quel ils pourroient travailler de facon, a ne 
 point meriter tout a fait le me'pris des Gens de Esprit; Mais, malheureusement g^n^s 
 dans leur travail, et contraints par des Entrepreneurs presque tous ignorants, avares, 
 et souvent paillards a contenter le gout des Acteurs, et des charmantes Actrices, qui 
 doivent jouer pour la premiere fois leur piece, (gout, qui comme on peut aisement ee 
 le persuader n'est jamais des plus fins, et delicats) ils defigurent le sujet heureuse- 
 ment trouve, et le Plan bien concu, surchargeant 1'un, et 1'autre d'un amas de plattes 
 bouffoneries, de Scenes pastiches, de Dialogues impertinents, et mille autres sottises; 
 de facon, qu'ils produisent un monstre, qui Bortant ensuit improprement pare de tous 
 les charmes possibles d'une exllente Musique, n'en est que plus meprisable, et cents 
 fois plus hideux, et extravagant, que celui, imaging par Horace dans son Epitre sur 
 1'Art Poetique. 
 
 "Une preuve de ce que je dis ici, c'est que ce meme Dramme lyrique, que je 
 presente au Public, sous le titre des Fureurs de Holland, a 6t6 donn6 il y a quelques 
 ann^es par un de ces Compositeurs, dont je viens de parler, farci de mille dfaute, 
 comme on peut le voir dans un Exemplaire, que je conserve. On ne pouvoit pour- 
 tant pas appeller sa piece tout a fait mauvaise, ni mme mediocre; et la parcourant 
 plus d'une iois pour voir si on pourroit la produire sur ce Theatre, elle m'a fait naitre 
 la resolution de la refaire, plus tot que de la rejetter, cpnservant les me'mes Person- 
 nages, une grande partie du Plan imaging par son premier Auteur, beaucoup des ses 
 id^es, et de ses Vers tres bons, jusqu' au nombre de 235 a peu pr^s. 
 
 "J'ai ajout^ de mon invention tout le Spectacle, comme aussi tout le 3me Acte, 
 et la Catastrophe, et plusieurs Scenes. J'ai corrig^, et refait les Caracteres des Per- 
 sonnages. J'ai rejett6 avec d6dain une mauvaise plaisanterie, qui devenoit une 
 Satire peu honette cpntre la Musique Franchise: de telles sottises n'etant propres, 
 qii'a fomenter, et maintenir cette ha'ine d^raisonable, et ce m^pris r^ciproque d'une 
 Nation a une autre; Effet d<5t6stable des prejug^s enfant^s par la vanit6, et la belise. 
 Enfin j'ai tant refondu cette piece, qu'il seroit bien difficile a son ancien Compopiteur 
 d'y reconnoitre une partie de son Plan, et des see ide"es. Je me tlatte hardiment de
 
 540 LIBRARY OF CONGRESS 
 
 I furori di Orlando Continued. 
 
 la'voir rendue beaucoup meilleure. Du moins on y verm Rolland,, pas seulement 
 Fou, mais furieux: et Ton n'y rencontrera point mille bouffoneries mdecentes, et 
 outrees, qui ne peuvent que faire rire lee sots. II est vrai que, juetement par cette 
 raison ma piece sera trouvee mauvaise par les soidisants Acteure Italiens; mais je me 
 eoucie fort peu des leure suffrages, auesi bien que de la critique de quelques uns de 
 leurs partisans." 
 
 First performed as indicated, carnival, 1777. SCHATZ 10383 
 
 Gabriella di Vergy, ballet. See Anfossi's La Nitteti. 
 
 Das gaertner-maedchen. Eine komische oper, in drey aufzuegen, 
 herausgegeben von dem verfasser. 
 
 Weimar, Karl Rudolf Hoffmann, 1771. 6 p. I, 124 P- 16 cm - 
 
 Three acts. Neither the composer, Ernst Wilhelm Wolf, is mentioned, nor the 
 author, Johann Carl August Musaeus, whose long preface occupies the p. 1. and which 
 reads, in part: 
 
 "Ein eigenniitziger Akteur von der Kochischen Gesellschaft und ein vorlauter 
 Kunstrichter, vertreten bey dieser kleinen thearalischen Arbeit die Stelle drin- 
 gender Freunde und Conner, denen man nichts abschlagen kann: sie nothigen mir 
 beyde, durch ihren Eifer dieses Stuck der Vergessenheit zu entreissen, die offent- 
 licne Bekanntmachung deseelben ab, so wenig dieses jemals meine Absicht war. 
 Der erste, der aller Vermuthung nach entweder dem Herrn Koch das Manuskript 
 des Gartnermadchens unter irgend einem Vorwand abzuschwatzen gemusst, oder aus 
 den ausgeschriebenen Rolen das Stuck zusammen gestoppelt haben mag, wie dieses 
 einige abgeschmackte Zusiitze und Abanderungen wahrscheinlich machen, ist so 
 unverschamt, um einen kleinen Gewinnet zu erhaschen, diese Operette an einen 
 Buchdrucker in Berlin zu vertrodeln, der sie ohne mein Vorwissen, mit alien Fehlern 
 der unkorrekten Abschrift abgedruckt hat. Der andere versucht seit drey Jahren 
 an mir bey aller Gelegenheit seine kritischen Krafte, ohne dass er mich bisher aus 
 meinem Ruhepunkte hatte bewegen konnen, und ohne den unbefugten Herausgeber 
 dieser Operette, hatte er noch drey Jahr schwatzen mogen, ich hatte kein Wort 
 dariiber verlohren. Ich war versichert, dass das Publikum bey der Menge parthei- 
 ischer Richter in ein unbescheidenes Urtheil eines einzigen zu viel Misstrauen setzt, 
 als dass es sich, ehe es selbst meine Arbeit mit der Kritik dariiber vergleichen konnte, 
 von ihm sollte iibertauben lassen. Aber nun da durch die Gewinnsucht eines Nieder- 
 trachtigen, den ich in der Kochischen Gesellschaft nicht vermuthet hatte, diese 
 Operette in der nachtheiligsten Gestalt 6'ffentlich erscheinet, diirfen die Fehler des 
 Berliner Drucks leicht auf meine Rechnung kommen, und dadurch wiirde das Urtheil 
 des Kunstrichters allerdings einiges Gericht erhalten. Es bleibt mir daher kein 
 andrer Weg lib rig, als solche selbst abdrucken zu lassen, und sie dem Publico vor- 
 zulegen. Ich habe nichts hauptsachliches daran veriindert, und nur dem Dialog an 
 einigen Stellen wo er mir zu weitschichtig und geschwiitzig schien, etwas abge- 
 nommen. Eigentlich hatte ich diese Stellen schon nach der ersten Auffuhrung 
 weggestrichen, eie sind aber, wie ich sehe all beybehalten worden, vermuthlich um 
 den Druck mehr anzuschwellen. Andere Veriinderungen habe ich um deswillen 
 nicht unternommen, weil das Ganze dadurch leicht eine neue Gestalt wurde bekom- 
 men haben, und die Leser auseer Stande seyn wiirden, das Stiick mit den dariiber 
 gefallten Kritiken zusammen zuhalten, und uber beydes selbst zu urtheilen. In 
 Ansehung dieser leztern ist fiir die Leser eine Erlauterung nothig. Es scheinet, als 
 wenn ganz verschiedene Kunstrichter ihr Urtheil wider mich vereinigt hiitten, in 
 der That ist es aber nur der einzige Christian Heinrich Schmid, der sein holzernes 
 Schwerdt gegen mich geziickt hat. Alles was er in der Nachricht von den theatra- 
 lischen Vorstellungen auf der Leipziger Biihne, in der Klotzischen Bibliothek wider 
 das Gartnermadchen deklamiret, das hat er in den Zusiitzen zur Theorie der Poesie, 
 in seinem Almanach der deutschen Musen und in dem Parterre wiedergekiiuet. 
 
 "Ueber eine solche theatralische Kleinigkeit als eine Operette ist, wurde es 
 unschicklich seyn, sich weitliiuftig vertheidigen zu wollen; indessen glaube ich, dass 
 einige Anmerkung uber die voreiligen Urtheile des Herrn Schmid hier nicht ganz 
 uberflussig sind. Was er eigentlich bisher gegen das Gartnermadchen erinnert hat, 
 ist dieses, dass das Sujet aus einem schlechten franzoeischen Roman genommen, dass 
 das ganze Stiick Weissische Nachahmung sey, dass dem Herrn Weisse viele Verse 
 abgestohlen warem, und dass ich keine Situation zu nutzen verstunde. Alles iibrige 
 ist Petulanz in dem Modeton der Klotzischen Schule.
 
 OPERA LIBRETTOS 541 
 
 Das gaertner-maed.ch.en Continued. 
 
 "Es 1st wahr, die Idee zum Gartnermadchen ist aus dem Franzosischen Roman 
 La Jardiniere de Vincennes, aber mag doch dieser gut oder schlecht seyn, was liegt 
 daran? 
 
 "... Die Weissische Nachahmung bezieht sich hauptsachlich auf die Person des 
 Martins, dieeer soil bis auf die kleinsten Einfalle von dem Schoeser in der Liebe auf 
 dem Lande kopirt seyn. Wer sollte denken, dass eine Perucke einen Kunstrichter 
 tauschen und zu einem falschen Urtheile verfiihren konnte? . . . 
 
 "Worinne iibrigens die Weissische Nachahmimg liegen eoll, das weiss ich nicht, 
 so viel weiss ich, dass ich bey der Ausarbeitung des Gartnermadchens kein besonderes 
 Muster vor Augen gehabt habe, und nur der Idee iiberhaupt gefolgt bin, zwischen 
 dem Grotesken der Opera Buffa und dem leeren der franzoeischen Operette das 
 Mittel zu halten, welches dem deutschen Geschmack angemessen echeint. Dasa 
 mich aber die komischen Opern des Herrn Weise auf diese Idee gebracht haben, das 
 raume ich ganz gerne ein . . . 
 
 "Weil ich aber doch iiberhaupt Herr Weisen soil geplundert habcn, so versteht 
 eich, dass ihm auch viele Verse im Gartnermadchen ganz zugehoren, dieser Vorwurf 
 ist in der That fur mich ein Kompliment. Herr Schmid halt also viel von meinen 
 Yersen fur Weisische? Sie mussen doch so schlecht nicht seyn als er sie ausschreyet." 
 
 First performed at Weimar, Schlosstheater in der Wilhelmsburg, 1769. 
 
 SCHATZ 11079 
 
 Der gaertner von Sidon. Tr. of Philidor's Le jardinier de Sidon. 
 Das galante Europa. Tr. of Graun's L'Europa galante. 
 Die galanten feste. Tr. of Graun's Le feste galanti. 
 
 La Galatea. 
 
 [241]-275 p. 19 cm . (Pietro Metastasio, Opere drammatiche, Ven- 
 ezia, Giuseppe Bettinelli, 1733-37, v. 3.) 
 
 Two parts. No composer mentioned. Text written 1722 at Naples for the Duke 
 of Monteleone. First composer unknown to Schatz. ML 49.A2M4 
 
 La Galatea. 
 
 Metastasio, Poesie, Parigi, vedova Quittau, 1755, t. ix, 4$ P- 16 cm . 
 
 Two parts. ML 49.A2M42 
 
 La Galatea. 
 
 pi., [9]~46 p. 26 cm . (Metastasio, Opere, t. x, Parigi, vedova Heris- 
 sant, 1782.} 
 
 Two parts. ML 49.A2M44 
 
 Galatea ed Acide. Pastorale, da rappresentarsi nel Nuovo Real 
 Teatro di Potsdam . . . 
 
 Posdamo, C. F. Voss, 1748. 31 p. 16$. 
 
 Three acts. By Leopoldo di Villati, who ie not mentioned. The music is known 
 to have been selected principally from Joh. Ad. Hasse's works. The Argomento sim- 
 ply says: 
 
 ". . . Le altre parti della presente pastorale sono episodiche, & ordite solo ad 
 effetto di potervi applicare, come si ha fatto per comando sovrano, 1'arie de' migliori 
 compositori di musica." 
 
 It is not certain whether or not music by Graun, Quantz, Nichelmaun, and Fred- 
 erick the Great was used. German title page, "Galathee und Alcides," and text face 
 Italian. 
 
 First performed, as indicated, July 11, 1748. SCHATZ 4541 
 
 Galathee und Alcides. Tr. of Hasse's Galatea ed Acide.
 
 542 LIBRARY OF CONGRESS 
 
 Galieno. Drama da rappresentarsi ncl famosissimo Teatro Grimano 
 di SS. Gio. e Paolo. L'anno MDCLXXVI. Di Matteo Noris . . . 
 Vcnetia, Francesco Nicolini, 1676. front., 72 p. 14 cm . 
 
 Three acts. Author's dedication, dated Venice, December 23, 1675, argument, 
 and scenario. The composer, Carlo Pallavicino, is not mentioned. SCHATZ 7724 
 
 An English musical entertainment, called Galligantus. 
 
 London, n. publ., 1758. iv, 5-24 P- %l cm - 
 
 Preface "From the author of Jack and the giant." Supposed to be taken from 
 Henry Brooke's "Jack the giant queller." Composer not recorded by Schatz. 
 
 First performed at London, Hay-market, 1758 or 1759 and at Drury-Lane, April 14, 
 1760, according to Genest. LONOB 318 
 
 La Galzeuco ossia Golconda liberata dalla tirannide di Scour-Malou, 
 ballet. See Pugnani's Achille in Sciro. 
 
 The gamester. Tr. of II marito giocatore e la moglie bacchettona. 
 Ganimede, ballet. See Bernabei's L'Ermione. 
 
 Ganymed. in Vulkans schmiede, ein singspiel in zwey aufzuegen, 
 vom sel. herren Demler in musik gesetzt, aufgefuehrt von den schiilern 
 der dritten klasse am Katholischen schulhause bey St. Salvator den 
 30 May, 1 und 2 Brachmonat 1797. 
 
 Augsburg, Joseph Anton Hueber, n. d. [9] p. 18% cm . 
 
 At head of this title: "Myrtil oder Der gedemuetigte etolz, ein lustspiel in drey 
 aufzuegen. Und." Cast and "Vorbericht," in which we read: 
 
 "Die fabel yon Ganymed soil zum beweise dienen, wie schaendlich sich die jugend 
 verirrt, wenn sie sich dem heiligen joche des gehorsams entzieht, sich ihrem leichtsinne 
 ueberlaesst und ihren blinden trieben folget ..." 
 
 The author is not mentioned, and is unknown to Schatz. SCHATZ 2505 
 
 La gara. Opera dramatica rappresentata in musica, per introdut- 
 tione di tomeo fatto in Vienna per la nascita della Serenissima 
 infanta di Spagna Donna Margarita Maria d'Austria, dedicata a ... 
 marchese di Castel Rodri ... da Alberto Vimina. 
 
 Vienna d'Austria, Matteo Riccio, 1652. 4 pi. (folded, 52 by 38 cm ), 
 61 p. 30% cm . 
 
 The plates bear the legend " Joa-" Burnacinus pichtor et architectus. Invenchtor. 
 SebW lenet. Sculpt." Prologue and three acts, with an "intermedio" before act 
 second, an intermedio and the Torneo before act third. Brief descriptions precede 
 each act, etc., and to that of the Torneo the names of the participating nobility are 
 added. From the tone of the descriptions, which record also the impression of the 
 spectacle made, it appears that this volume was issued after the performances. The 
 text is preceded by the argument and Alberto Vimina's dedication as author, dated 
 Vienna, January 7, 1652. The composer is not mentioned by von Weilen. The work 
 is not recorded oy Schatz. ML 50.2.G2 
 
 La gara. Componimento drammatico, scritto dall' autore in 
 Vienna, e ppsto in musica dal Reutter, 1'anno 1755 . . . ed eseguito 
 negl' interni appartamenti della Regia imperial corte ... in occa- 
 sione del felicissimo parto dell' imperatrice regina, in cui diede alia 
 luce 1'Altezza Reale dell' arciduchessa Maria-Antonia, poi Delfina, 
 indi regina di Francia. 
 
 [179}-188 p. 26 cm . (Metastasio, Opere, t. xi, Parigi, vedova 
 Eerissant, 1782.) 
 
 ML 49.A2M44 
 
 La gara degli atleti. See Cafaro's II natal d'Apollo.
 
 OPERA LIBRETTOS 543 
 
 La gara degli del, festa musicale rappresentata in uno de' Reali 
 
 fiardini di Dresda per servire d'introduzione agli spettacoli destinati 
 a S. M. a solennizare le nozze de' Serenissune principi Federigo 
 Augusto . . . e Maria, Gioseffa, arciduchessa d'Austria. Musica del 
 Sig. Gio. Da wide Heinichen . . . 
 
 Dresda, G. C. Stossel, n. d. Unpaged. 18% om . 
 
 Author unknown to Schatz. French title page, "L' emulation panny lee divinitez," 
 and text (in prose) face Italian. 
 
 First performed, as indicated, September 10, 1719. SCHATZ 4705 
 
 La gara de gli element!, per riverir le nozze de' serenissirni Ranuccio 
 II. duca di Parma e Margarita, principessa di Savoia. Introduzione 
 al combattimento a cavallo in Piazza intimatosi nello Scherzo del 
 Giardino. Componimento del conte Francesco Berni. 
 Parma, Mario Vigna, 1660. 23 p. 15 cm . 
 
 On p. 4, "II Signor Carlo Pasetti inventb la struttura del monte, e de cam, e'l 
 Signer Benedetto Ferrari compose la musica." SCHATZ 3070 
 
 La gara per la gloria. Divertimento teatrale per musica da rap- 
 presentarsi nel Teatro di S. Mose gl'ultimi giorni del carnovale 1744. 
 
 Venezia, n. puU., 1744. 23 P- 15 m - 
 
 Three parts. Neither the author, Bartolomeo Vitturi, is mentioned, nor the com- 
 poser, Gaetano Latilla 
 
 First performed in February, 1744, as indicated. SCHATZ 5459 
 
 La gara tra la commedia e la musica. Introduzione. 
 
 Carlo Goldini, Opere teatrali, Venezia, Zatta efigli, 1788-95, [5]- lip. 
 
 % cm . 
 
 Not recorded by Schatz. PQ 
 
 Le gare degli amanti. Dramma giocoso per musica ad uso del 
 Real Teatro di Colorno nelF autunno dell' anno MDCCLXXIII. 
 Parma, Dalla Reale Stamperia, n. d. 58 p. 21 cm . 
 
 Three acts. Luigi Bernardo Salvoni is mentioned as author, and Gian-Francesco 
 Fortunati as composer. ("La musica tutta nuova.") 
 
 First performed at Parma, Teatro Ducale, Dec. 26, 1772. SCHATZ 3310 
 
 Le gare dell' inganno e dell' amore, drama da recitarsi nel nobilis- 
 simo Theatro Zane di S. Mois^, 1'anno 1689 . . . 
 Venetia, Zamaria Rossi, 1689. 5 p. 1., Ifi p. 15 cm . 
 
 Three acts. By Paolo Emilip Badi, who is not mentioned. Scenario, argument, 
 impresario's dedication, and notice to the reader, which evidently refers to some local 
 event involving the Teatro di S. Moise and the reputation of Venice's fair treatment of 
 strangers. He says that it fell to his lot to sustain this theatre "sbattuto non dalla 
 disgratia, ma dalla malignita," and that he selected this "operina," "composta in due 
 giri di sole e posta in musica in tre notti," by Teofilo Orgiani, who has united "la 
 maestria romana con le bizzarie teatrali di Venetia." SCHATZ 7298 
 
 Le gare di politica e d' amore. Drama per musica da rappresen- 
 tarsi nel nuovo famoso Teatro Grimani a San Samuele 1'anno 
 MDCCXI . . . 
 
 Venezia, Marino Rossetti, 1711. 60 p. 14^ cm . 
 
 Three acts. Publisher's dedication, dated Venice, January 28, 1711, argument, 
 scenario, and notice to the reader, in which we read: 
 
 "H6 ecelto il drama presente, che per esser stato, sol 1'anno scoreo, degno diverti- 
 mento d'un gran principe d'ltalia, giova crederlo eguale anche esposto al tuo benigno 
 aggradimento sii le Venete scene." 
 
 While this refers to the text by Antonio Salvi (not mentioned), with its original 
 title, "Berenice," it does not mean that the music of Giovanni Maria Ruggeri (not 
 mentioned) had been previously performed. SCHATZ 9137
 
 544 LIBRARY OF CONGRESS 
 
 Le gare generose. Drama per musica. Da rappresentarsi nel 
 Teatro Tron di S. Cassiano. L autunno dell' anno 1712 . . . 
 Venezia, Marino Rossetti, 1702 [!]. 60 p. 15. 
 
 Three acte. Dedication, argument, name of the composer, Tommaso Albinoni, 
 and cast. In the dedication count Antonio Zaniboni calls this "la mia prima poetica 
 fatica." 
 
 The date of publication is a misprint for 1712. SCHATZ 94 
 
 Le gare generose. Commedia per musica da rappresentarsi nel 
 Teatro de' Fiorentini per prim' opera in quest' anno 1786. 
 Napoli, n. puU., 1786. 58 p. 15. 
 
 Two acts. By Giuseppe Palomba, who is not mentioned. Cast, argument, and 
 name of Paisiello as the composer. SCHATZ 7679 
 
 - Gli schiavi per amore. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro di S. A. S. il Signer principe di Carignano nelT 
 autunno delP anno 1791. 
 
 Torino, Onorato Derossi, n. d. iv, 73 p. 15 cm . 
 
 Two acts. Palomba's "Le gare generose," text with modifications. Cast, 
 scenario, and name of Paisiello as the composer. On p. 70-73, incorrectly num- 
 bered as 60-63, cast and argument of Paohno Franchi's "Inkle e lariko, ballo 
 tragico-pantomimo in tre atti." Neither of this nor of hia "II calzettaro ossia Tanto 
 va la gatta al lardo che ci lascia lo zampino, ballo comico pantomimo " is the composer 
 of the music mentioned. SCHATZ. 7700 
 
 Le gare generose ossia Gli schiavi per amore. Dramma giocoso 
 per musica da rappresentarsi in Parma nel R. D. Teatro di Corte il 
 carnevale dell' anno MDCCXCVI . . . 
 
 Parma, Stamperia Carmignani, n. d. [viii\, J$ p. U\ cm . 
 
 Two acts. By Giuseppe Palomba, who is not mentioned . Impresario's dedication, 
 cast, scenario, and name of Paisiello as the composer. With the opera were per- 
 formed Paolino Franchi's ballets, "II bottaro di Svezia" and "La pianella perduta." 
 
 SCHATZ 7626 
 
 Le gare generose. Dramma giocoso per musica, da rappresen- 
 tarsi nel Teatro Elettorale. 
 
 Dresda, n. pull., 1792. 141 p. 15\ cm . 
 
 Two acts. Text by Palomba, who is not mentioned. German title page, "Der 
 edle wettstreit," and text face Italian. Paisiello is mentioned as the composer. 
 First performed, as indicated, Octobers, 1793. SCHATZ 7627 
 
 Gesaenge aus dem singspiele: Die bey den fluechtlinge, in zwey 
 aufzuegen, nach dem itahaenischen. Die musik von Paisiello. 
 
 Hamburg, Johann Matthias Michaelsen, 1791. 86 p. 16 cm . 
 By Heinrich Gottlieb Schmieder. 
 
 First performed at Hamburg. Theater b. Gansemarkt, June 30, 1791; at Mayence; 
 Nationalt heater, 1789. SCHATZ 7628 
 
 II Gastaldo burlato, ballet. See Andreozzi's Teodelinda. 
 
 Gastfreiheit und armut. A. T. of Kaffka's Philemon und Baucis. 
 
 Das gastmahl. Tr. of Cimarosa's II convito. 
 
 Die gastwirthinn. Tr. of Salieri's La locandiera. 
 
 Das gaukelspiel. A. T. of Dittersdorf's Hokus Pokus. 
 
 Die geadelte baeuerinn. Tr. of Sacchini's La contadina in corte.
 
 OPERA LIBRETTOS 545 
 
 Der geadelte landmann. A. T. of Paisiello's Das witzige land- 
 maedchen. 
 
 Die gecroente tapferkeit des Heraclius. A. T. of Keiser's Die 
 wiederhergestellte ruh. 
 
 Der gedemiithigte Phaeton. O. T. of Keiser's Der siegende 
 Phaeton. 
 
 Der gedemuethigte stolz. A. T. of Ditterdorf's Terno secco. 
 
 Der gedultige Socrates, in einem musicalischen lust-spiele auf dem 
 Hamburgischen Schau-platze vorgestellet, 1721. 
 
 Hamburg, Caspar JakJiel, n. d. Unpaged. 18 cm . 
 
 Three acts. Neither the author of the Italian original, nor the translator, Joh. 
 Ulrich Koenig, nor the composer, Georg Philipp Telemann, is mentioned. To 
 many of the arias the Italian text has been added to the German, which is based on 
 Christian Flemmer's comedy "Die zwei weiber oder Die geduld des Socrates," per- 
 formed 1680 at Brunswick, after conte Niccol6 Minato's "La patienza di Socrate con 
 due mogli." SCHATZ 10261 
 
 Die gefangene. Tr. of Piccinni's La schiava. 
 
 
 
 Der gefoppte braeutigam, eine komische oper in zwey aufzuegen. 
 Die musik ist vom herrn Ditters, edlen von Dittersdorf. 
 
 Hall am KocTier, Schmeisser, n. d. 16 p. 16$ cm . 
 
 Originally in Italian as "Lo sposo burlato." At least the German version by the 
 composer himself. 
 
 First performed in Italian at the castle Johannesberg in Silesia, 1773; in German; 
 at Vienna, Karnthnerthor Theater, September, 1783, or at Breelau, Wiiserschee 
 Theater, in the same year. SCHATZ 2590 
 
 Gesaenge aus dem Gefoppten braeutigam, komischen sing- 
 spiele in zwey aufzuegen von Ditterodorf [!] 
 
 n. i., n. d. 23 p. 16 cm . 
 
 SCHATZ 2590A 
 
 Die geheime liebe der Diana. A. T. of Keiser's Die entdeckte 
 verstellung. 
 
 Die geheimen begebenheiten Henrico IV, koenigs von Casti- 
 lien und Leon, oder: Die getheilte liebe. In einer opera auff dem 
 grossen Hamburgischen Schau-platz vorgestellet im ]ahr 1711. im 
 monath Februarius. 
 
 Hamburg, Friderich Conrad Greflinger, n. d. Unpaged. 18\ cm . 
 
 Five acts by Johann Joachim Hoe, who is not mentioned. " Vor-Bericht " and 
 dedication, the latter signed by Johann Mattheson, who composed the opera. 
 Many of the arias have both Italian and German text. SCHATZ 6100 
 
 Der geist des widerspruchs. Tr. of Schuster's Lo spirito di con- 
 tradizione. 
 
 . . . Die geisterbeschwoerung, eine operette. Daphne oder Die 
 fruehlingsfeier hi Arkadien, eine oper. 
 
 Hirschberg, Wolfgang PittschiUer und komp., 1799. (Singspiele von 
 Johann Daniel Hensel, Erstes baendchen) 76, 77-116 p. 17 cm . 
 
 Both are in three acts. Hensel says in prefatory note dated Hirechberg, February, 
 1799: 
 
 "Die haeufigen, und nach meiner ueberzeugung gegruendeten klagen, daee 
 meistens an den texten unsrer neuern operetten gar nichts eey, bewogen mich, einen 
 
 72251 VOL 114 35
 
 546 LIBRARY OF CONGRESS 
 
 Die geisterbeschwoerung Continued. 
 
 vereuch zu machen, ob ich nicht eine operetta verfertigen koennte, die, ohne fade 
 zu seyn, scherzhaft unterhielte, einen moralischen zweck ausfuehrte, und, wenn 
 gleich keine meisterstuecke von poesien, (die in der pperette in der regel zu wenig 
 geschaetzt werden) doch verse enthielte, die sich musikalisch gut bearbeiten liessen. 
 
 ' ' Dies geschah zu einer zeit, da das geisterzitiren in einer gewissen gegend mode 
 war, und ich verfertigte die Geisterbeschwoerung, wo jenes unwesen hier persiflirt 
 werden sollte. Da sich aber bis jetzt die zeiten geaendert haben: so aenderte ich 
 auch mein stueck. Die anepielungen fielen weg, und es blieb bios die posse . . . 
 Die kpmposition dazu, auch von mir selbst, giebt den saengern hinlaenglicn gelegen- 
 heit sich zu zeigen . . . 
 
 "Daphne entstand auf folgende weise schon fruher. Herr steuerrath Weisse hatte 
 am ende seines Kinderfreundes den hauptgegenstand des gegenwaertigen stuecks, als 
 operette fuer die heranwachsende jugend ausgefuehrt. Ich fand nun, dass derselbe 
 gegenstand, mit einiger abaenderung und den noethigen zusaetzen, zu einem groesen 
 singspiele (oper) anzuwenden sev, wenn man nur nicht praechtige operndekorationen 
 forderte, sondern sich einmal wieder in die laendlich griechische schaeferwelt ver- 
 setzen wollte. Ich yersuchte also die umaenderung, und da ich laengst schon den 
 dichter und komponisten, die sich so selten recht in die haende arbeiten, einmal in 
 einer person zu vereinigen gewuenscht hatte, setzte ich es auch in musik. Das 
 stueck ward als konzert aufgefuehrt und hatte das glueck in beider ruecksicht von 
 kennern und liebhabern alien beifall zu erhalten. Ich feilte nachher gelegentlich 
 an text und musik ..." 
 
 Schatz records no stage performances. SCHATZ 4635 
 
 Second copy. ML 49.A2H3 
 
 Die geister-burg. Ein singspiel in 2 aufzuegen von F. Hochkirch. 
 Die musik ist von Hitter. 
 
 n. i., 1799. 24 p. 16 cm . 
 
 First performed at Aurich, 1799. SCHATZ 8823 
 
 Die geisterinsel. Ein singspiel in vier handlungen, nach Shake- 
 spear, Gotter und J. W. D. [Job. Wilh. Doring], umgearbeitet von 
 Johann Daniel Hensel. 
 
 HirscJiberg, Wolfgang PittscWler und Komp., 1799. 6 p. 1., 135 p. 
 
 If cm 
 
 In his intelligent preface, dated Hirschberg, January, 1799, Hensel gives his reasons 
 for having made an effort to improve on Gotter's "Geisterinsel." After character- 
 izing Getter's talents, characteristics, and methods, he makes this remark: 
 
 ' ' Ueberhaupt scheint Gotter so wenig als die meisten singdichter gehoerige kennt- 
 niss der musik und komposition gehabt zu haben; wenn er auch vielleicht ein guter 
 musikus geheissen haben mag. Es fehlt auch noch ein eignes werk ueber die musi- 
 kalische dichtkunst, welches aber niemand als ein dichter und komponist zugleich 
 schreiben koennte, in welchem dann unsere dichter so manches paradoxon nnden 
 moechten." 
 
 After a few more remarks on this subject and on his version of the Geisterinsel in 
 particular, he says: 
 
 "Sobald ich musse haben werde, denke ich diese oper auch zu komponiren, und 
 villeicht ist schon ein theil davon fertig wenn der text gedruckt erscheint. Was ich 
 machen werde, kann ich freilich nicht im voraus sagen; aber die erfahrung hat mich 
 gelehrt, dass eine edle simplicitaet mit etwas arbeit, in gehoeriger abwechslung mit 
 harmonischer fuelle, so viel und eigentlich mehr wirkt, als alle kuensteleien und 
 jetzt so sehr gesuchten ueberladungen, zu denen das publikum durch Mozart und 
 dessen nachahmer so sehr verwoehnt ist, dass es nur immer die ohren voll haben 
 will . . ." 
 
 Schatz records no performances. SCHATZ 4637 
 
 Second copy. ML 49.A2H3 
 
 Arien und gesaenge aus dem singspiele Die geisterinsel in drey 
 akten. Komponirt vom herrn kapellmeister Keichardt. 
 
 Berlin, n. putt., 1798. 64 p. 15% cm . 
 
 Three acts. By Friedrich Wilhelm Gotter, who is not mentioned. Cast. 
 
 First performed at Berlin, Kgl. Nationaltheater, July 6, 1798. SCHATZ 8641
 
 OPERA LIBEETTOS 547 
 
 Gesaenge aus der oper: Die geisterinsel in drei aufzuegen von 
 Gotter. In musik gesetzt von J. R. Zuhisteeg. 
 Altona, Eckstorff junior, n. d. 32 p. 15\ cm . 
 First performed at Stuttgart, Hoftheate r, November 7, 1798. SCHATZ 11294 
 
 Der geizige. Tr. of Anfossi's L'avaro. 
 
 Die geizigen in der falle. Tr. of Schuster's Gli avari in trappola. 
 
 Die gekroente treue. A. T. of Reiser's La fedelta coronata. 
 
 Das gelaechter des Democritus. Tr. of Pistocchi's Le risa di 
 Democrito. 
 
 Geld 1st die loosung. Tr. of Paer's L'oro fa tutto. 
 
 La Gelidaura. Drama per musica da rappresentarsi nel famosis- 
 simo Teatro Grimani di S. Giovanni e Paolo, I'anno 1692 . . . 
 Venetia, Girolamo Albizzi, 1692. 67 p. 15\ cm . 
 
 Three acts. Dedication by Lovigi Carenpi, dated Venice, January 12, 1692, argu- 
 ment, scenario, and notice to the reader, in which "Francesco Quesnda, maestro 
 della Capella Reale di Sicilia " is mentioned as the composer, and the text attributed 
 to the pen "di un cavalier" since deceased, but reduced "all' uso di questa citta." 
 The name of the author is unknown to Schatz. SCHATZ 8525 
 
 La gelosa di se stessa. A. T. of Rust's L'amor bizzaro. 
 
 La gelosia. Dram ma giocoso per musica da rappresentarsi nel 
 Teatro Grimani di S. Samuele 1'autunno dell' anno 1765. 
 Venezia, Giorgio Fossati, n. d. Jfi p. 17 cm . 
 
 Three acts. Impresario's dedication, cast, name of Nicola Logroscino as com- 
 poser ("musica nuova"), and note, "La poesia & nuova di un' autore bolognese," 
 whose name is not known to Schatz. SCHATZ 5671 
 
 La gelosia, ballet. See Mortellari's Troja distrutta. 
 
 Gelosia e pazzia sono sorelle. Dramma giocoso per musica da 
 rappresentarsi in Firenze 1'autunno dell' anno 1784. Nel Nuovo 
 Regio Teatro degl' Intrepidi detto La Palla a Corda . . . 
 Firenze, Stamperia Bonducdana, 1784- 56 p. 16 cm . 
 
 Two acts. Cast and note: "La musica & di diversi celebri autori." Author not 
 mentioned, and unknown to Schatz. With the opera was performed the ballet, "Le 
 tuteur trompe o sia II maestro di musica." SCHATZ 11335 
 
 Gelosia per gelosia, ballet. See Giordani's Fernando nel Messico. 
 Gelosia per gelosia. O. T. of Lorenzi's text Le fallaci apparenze. 
 Gelosia per gelosia, ballet. See Paisiello's II re Teodoro in Venezia. 
 
 Le gelosie d'Annetta e Fiorillo, ballet. See Bosi's La figlia 
 obbediente. 
 
 Le gelosie di Diana e di Marte. A. T. of Venere con Adone. 
 Le gelosie di Pippo. L. A. T. of Bianchi's La villanella rapita.
 
 548 LIBRARY OF CONGRESS 
 
 Le gelosie fortunate. Dramma giocoso per musica di Filippo 
 Livigni da rappresentarsi nel-nobile Teatro di San Samuele 1'autunno 
 dell' anno 1786. 
 
 Venezia, Modesto Fenzo, 1786. 80 p. 18. 
 
 Two acts. Cast, scenario, and name of PasqualeAnf ossi, as composer. On p. 45 
 the argument of the "ballo primo II Gonzalvo, ballo tragico pantomimo . . . [by] 
 Antonio Mu/zarelli," who was also responsible for the second ballet, "La cappriciosa 
 umiliata." The composers of the music are not mentioned. SCHATZ 269 
 
 Le gelosie villane. Dramma giocoso per musica da rappresentarsi in 
 Casale nel Teatro Sacchi nell' autunno dell' anno 1779 . . . 
 
 Casale, Giovanni Meardi, n. d. 4 P- Z-, 61 p. 
 
 Two acts. By Tommaso Grandi. Impresario's dedication dated Casale, Oct. 10, 
 1779, cast, scenario, and name of composer, Pasquale Anfossi, but not of librettist. 
 The titles of the ballets were " 11 Francese in Londra " and " Le serenate noturne," 
 both by Regina. Composer of the music not mentioned. SCHATZ 280 
 
 Le gelosie villane. Dramma giocoso per musica del Signore Tom- 
 maso Grandi da rappresentarsi nel Piccolo Teatro di S. A. E. di 
 Sassonia 1'anno 1778. 
 
 Dresda, Stamperia elettorale, n. d. 133 p. 16 cm . 
 
 Three acts. Scenario and name of Giuseppe Sarti as the composer. The text is 
 somewhat different from the Naples version, where I, 3, opens with "A chi tocca di 
 noi? " instead of "Tardi e pur, ne ho ancor trovato." German title-page, "Die eyfer- 
 sucht der bauern," and text face Italian. 
 
 First performed, as indicated, January 14, 1778; at Venice, Teatro di S. Samuele, 
 November, 1776. SCHATZ 9436 
 
 - Le gelosie villane. Cantata da rappresentarsi nel Teatro Nuovo 
 in quest' anno 1784. 
 
 Napoli, n. publ., 1784. 52 p. 15 cm . 
 
 Three acts. By Tommaso Grandi, who is not mentioned. Cast and name of Giu- 
 seppe Sarti as the composer. SCHATZ 9435 
 
 - Le gelosie vilane. Dramma giocoso per musica da rappresen- 
 tarsi ne' Piccoli Teatri di S. M. il re di Prussia. Messo in musica dal 
 Sign. Sarti. 
 
 Berlino, Haude e Spener, 1791. 103 p. 15 cm . 
 
 Three acts. Noticeably different from both Naples and Dresden, I, 3, beginning, 
 for instance, in Berlin, "Misera condizion del nostro sesso." German title-page, 
 " Eifersucht auf dem lande," and text face Italian. 
 
 First performed, as indicated, October 5, 1791; at Potsdam, Schloss theater, March 
 29, 1783. SCHATZ 9437 
 
 Le gelosie villane in Montefosco, ballet. See Martin y Soler's 
 Vologeso. 
 
 II geloso. Dramma giocoso per musica da rappresentarsi in Lisbona 
 nel Teatro della rua dos Condes il carnovale dell' anno 1775. 
 
 [Lisbona], Stamperia reale, n. d. 94 p- 16 cm . 
 
 Three acts. Dedicatory sonnet, cast, scenario, and names of Girolamo Tonioli as 
 author, of Alberto Giuseppe Gomes da Silva as composer. SCHATZ 9880 
 
 II geloso in cimento. Dramma giocoso per musica di Giovanni 
 Bertati da rappresentarsi nel Teatro di San Samuele nell' autunno 
 dell anno 1774. [vignette] 
 
 Venezia, Antonio Graziosi, 1774- 64 P- 17 cm . 
 
 Three acts. Cast, scenario, and name of Pasquale Anfossi as composer. 
 
 First performed at Vienna, Burgtheater, May 25, 1774. SCHATZ 236
 
 OPERA LIBRETTOS 549 
 
 H geloso in cimento Continued. 
 
 - Die eifersucht auf der probe. Eine operette in drey aufziigen. 
 Nach dem Geloso in cipiento von Pasqual Anfossi. 
 Gem, Heinrich Gottlieb Rothe, 1791. 80 p. 16% cm . 
 
 Three acts. By Johann Joachim Eschenburg, who is not mentioned. 
 First performed at Hamburg, Theater beim Gansemarkt, January 12, 1781. 
 
 SCHATZ 237 
 
 II geloso in cimento, ballet. See Bianchi's Le villanelle astute. 
 
 II geloso in cimento, ballet. See Ferd. Rutini's II matrimonio per 
 industria. 
 
 II geloso schernito. Intermezzo per music a da rappresentarsi nel 
 Teatro Giustinian di S. Moise. L'autunno delP anno 1746. 
 
 Venezia, Modesto Fenzo, 1746. 16 p. 15 cm . 
 
 Three parts. Neither Pergolesi, the composer, nor the author is mentioned . The 
 latter is unknown to Schatz. 
 
 First performed at Naples, Teatro di S. Bartolomeo, 1731 (Schatz). SCHATZ 7905 
 
 U geloso senza rivale, ballet. See P. Guglielmi's L'impresa d'opera. 
 
 La gemma Ceraunia d'Ulissipone hora Lisbona. Drama 
 musicale per li felicissimi sponsali della S. R. Maesta di D. Pietro re 
 di Portogallo, con la Serenissima Maria Sophia prencipessa elettorale 
 palatina. Eshibito, per commando del Serenissimo Filippo Guglielmo 
 elettore palatine. Nella sua elettorale residenza di Heidelberga . . . 
 Heydelberga, MicJiaele Franz, 1687. 9 p. 1., 161 p. 30 cm . 
 
 Three acts. Dedication by the author, conte Nicol6 Minato, argument^ scenario. 
 The composer, Sebastiano Moratelli, is not mentioned. German half-title, "Das 
 edelgestem Ceraunia von Ulissipone jetzo Lisbona," title-page, "Das kleinod Ceraunia 
 von Ulissipone jetzo genannt Lisbona ..." and text face Italian. 
 
 First performed, as indicated, July 1, 1687. ML 50.2.G25 . 
 
 generose gare tra Cesare e Pompeo. Drama per musica da 
 rappresentarsi nel famoso rinovato Teatro Vendramino di S. Salva- 
 tore 1'anno 1686 ... 
 
 Venetia, Francesco Nicolini, 1686. 71, [1] p. 13\ cm . 
 Three acts. By Rinaldo Cialli, who signs the dedication. Notice to the reader, 
 with name of Domenico G-abrieli as the composer, argument, and scenario. 
 
 SCHATZ 3403 
 
 La generosita d'Alessandro ossia Apelle e Campaspe, ballet. See 
 Zingarelli's II Pirro. 
 
 La generosita di Tiberio. Dramma per musica da rappresentarsi 
 nel Teatro Tron di S. Cassiano Fautuno dell' anno 1729 . . . 
 
 Venezia, Carlo Buonarrigo, 1729. 58, [1] p. 15 cm . 
 
 Three acts. By conte Niccol6 Minato, who is not mentioned. Publisher's dedica- 
 tion, argument, cast, scenario, and names of Santo Lapis as composer of acts I-II, of 
 Bortolo Cordans of act III. Minato 's text was originally called "La prosperita di 
 Elio Sejano." SCHATZ 5431 
 
 La generosita politica. Dramma per musica da rappresentarsi nel 
 Teatro Grimani di San Samuelo nella fiera dell' Ascensione dell' 
 anno 1736 ... 
 
 Venezia, Marino Rossetti, 1736. 46 p. 15 cm . 
 
 Three acts. By Domenico Lalli & Carlo Goldoni, according to Schatz, but by Gol- 
 doni alone according to Wiel. The text is the same as that of Goldoni's "Pisistrato"
 
 550 LIBRARY OF CONGRESS 
 
 La generosita politica Continued. 
 
 but with arias like the substitute for I, 9 "Chi mai saper desia" which are not by 
 Goldini. Domenico Lalli'a dedication, argument, cast, scenario, and name of Gio- 
 vanni Maria March! as the composer. SCHATZ 5936 
 
 II generoso perdono, ballet. See Anfossi's La maga Circe. 
 
 II generoso perdono, ballet. See Cimarosa's I due supposti conti. 
 
 The generous Free-mason: or, The constant lady. With the 
 humours of Squire Noodle, and his man Doodle. A tragi-comi- 
 farcical ballad opera. In three acts. With the musick prefix'd to 
 each song. By the author of the Lover's opera. 
 London, J. Roberts, 1731. 2 p. 1., 51, [1] p. 19\. 
 
 Three acts. Dedication signed by "the author A Free Mason." He is known to 
 have been William Rufus Chetwood. Largely a ballad opera, but some of the 25 airs 
 have indication of their composer. Thus, airs 9 ("Tho' danger's allarm me"), 12 
 ("Oh! come to my arms"), and 25 ("By Masons art") are marked as composed, 
 resp. set by Henry Caxey; 14 ("Great Amurath all hearts obey") as by Mr. Charke; 
 and 23 ("Be still, you monsters") and 24 ("Neptune from all ills") as by J. Sheeles. 
 The last (unnumb.) p. contains publisher's proposals. 
 
 "Said to have been acted at Bartholomew Fair, 1731" (Squire); "acted for the 
 third time at the Haymarket, January 1, 1731" (Genest). ML 50.5.C4 
 
 Second copy. LONGE 49 
 
 The generous Portuguese. A. T. of The island princess. 
 
 La Geneviefa. Drama per musica cantato nelle vacanze del car- 
 nevale 1'anno 1685. Da' Signori Convittori del Nobil Collegio Tolo- 
 mei di Siena nelT aprimento del loro nuovo teatro . . . 
 Siena, Stap. del Publ., n. d. 5 p. I., 62 p. Uf. 
 
 Three acts. Dedication by the convittori, dated Siena, February 1, 1685, argu" 
 ment, cast and note by "Gli attori del drama a chi legge" in which they say: 
 
 "Fu composto adattato alia musica perche dovendosi quest' anno la prima volta 
 aprire il teatro di questo Nobil Convitto, ebbemo genio di onorarlo con qualche cosa 
 di singolare, & ambimmo la gloria, che il Collegio Tplomei di Siena fosse il primo fra 
 tanti che ne se conta 1' Italia a dar trattenimento di musica su le scene. Percib fra 
 gli attori, niuno ammettemmo che non fosse del numero de' convittori. L'aver 
 potuto eseguire pensier si nobile e un debito che ci corre col Sig. Girolamo Gigli che 
 alle nostre richieste copose il drama ... II Sigr. Giuseppe Fabrini (Fabbrini), che 
 ha data 1'anima al verso con 1'armonia della musica, e da cui apprldiamo questo 
 nobile divertimento vi dira, che solamente poche ore delle nostre ricreazioni abbiamo 
 impiegata in esercitarci nel canto . . ." ML 50.2.G29 
 
 Gengis-Kan. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1777 . . . 
 Torino, Onorato Derossi, n. d. viii, 56 p. 19. 
 
 Three acts. Argument, cast, scenario, and name of Pasquale Anfossi as composer, 
 but not of librettist, who is unknown to Schatz. On p. 49-55, description, with cast 
 and argument, of the ballet, "II r& pastore;" on p. 56, titles of the two other ballets, 
 "Li due avari " and "II matrimonio cinese." These ballets were (see p. vi) by Paolo 
 Franchi, and the music was composed by Vittorio Amedeo Canavasso. SCHATZ 260 
 
 I geni riuniti, ballet. See Caruso's II matrimonio in commedia. 
 I geni riuniti, ballet. See Gassmann's L'amore artigiano.
 
 OPERA LIBRETTOS 551 
 
 Le genie Asouf, ou Les deux c off rets, f eerie melo-dramatique, en 
 prose et en deux actes, melee de pantomime, chants et danses; par 
 le c en Cuvelier; represent ee, pour la premiere fois, a Paris, le 4 niv6se 
 an 4, sur le Theatre de la Cite; et remise en vend6miaire an 8, sur 
 celui de FAmbigu-comique. Deuxieme edition. 
 Paris, A I'imprimerie a prix-Jixe, an VIII. [1799-1800]. 23 p. 20 cm . 
 
 Cast and dedication. A pasticcio, made up as indicated in the libretto from 
 Pleyel, Cherubini, Othon Joseph Vanderbroeck, Paisiello, Grfitry, Monsigny, 
 Kreutzer, Le Sueur. 
 
 First performed, as indicated, December 25, 1795. SCHATZ 10591 
 
 Les "genies, ballet represente pour la premiere fois, par F Academic 
 royale de musique; le jeudy dix-huit octobre 1736. 
 
 [Paris], Jean Baptiste CJiristophe Bollard, 1736. xii, 38, [1] p. 24 cm . 
 
 Prologue and four entries: "Les nymphes," "Les gnomes," "Lee ealamandres," 
 "Les sylphes." Cast and Avis in which the author, Fleury (not mentioned), says: 
 
 "Pour mieux meriter la curiosit6 du public, je fais paroitre sur la scene une nou- 
 velle Muse qui a mis cet opera en musique." 
 
 He means Mile Duval. ML 52.2.G3 
 
 Les genies, ballet represente par FAcademie royale de musique 
 Fan 1736. Paroles de M r Fleuri, musique de M elle Duval. CXXVII 
 opera. 
 
 n. i., n. d. 371-428 p. 14\ cm > (Recueil general des opera, Paris, 
 1745, t. xvi.} 
 
 Detached copy. Prologue and entries "Lee nymphes," "Les gnomes ou L'amour 
 ambitieux," "Les salamandrea ou L'amour violent," "Lee sylphes ou L'amour 
 leger." Text preceded by same Avis. ML 48.R4 
 
 I^es genies du feu. Entree in Brassac's L'empire de Famour. 
 II genio tutelare. A. T. of the ballet La costanza premiata. 
 
 II Genserico. Melodrama da rappresentarsi nel famoso Theatre 
 Grimano a SS. Gio. e Paolo, Fanno 1669 . . . 
 
 Venetia, Francesco Nicolini, 1669. front., 80 p. 14 cm . 
 
 Three acts. By conte Niccol6 Beregani, with publisher's dedication dated Venice, 
 January 31, 1669, argument, and scenario. Neither the author nor the composer, 
 Marc' Antonio Cesti, is mentioned. SCHATZ 1780 
 
 Gensericus. See Conradi's Der grosse koenig der afrikanischen 
 Wenden . . . 
 
 Le gentilhomme de campagne, bouffonnerie danse"e durant les 
 Vendanges. 
 
 n. i., n. d. 7 p. 21\ cm . 
 
 Eight entries, preceded by recit. Title page apparently wanting. Possibly 
 danced in "Les Vendanges, comedy by Dancourt, September 30, 1694. Not 
 recorded by Parfaict or De La Valliere. ML 52.2.G33 
 
 The gentle shepherd, a Scots pastoral comedy. By Allan Ram- 
 say . . . 
 
 London, A. Miller, 1763. iv, 63, [5] p. 17. 
 
 The [51 p. contain a glossary. Five acts. Dedication dated Edinburgh, June, 
 1725. Ballad comedy, the airs of the 21 songs being indicated by title. 
 
 First performed 1729 at Edinburgh. LONGE 69
 
 552 LIBRARY OF CONGRESS 
 
 The gentle shepherd Continued. 
 
 - The gentle shepherd. A Scots pastoral comedy, As written by 
 Allan Ramsay. To which is added, a complete glossary . . . 
 
 London, George Cawfhom, 1796. front., 1 p. 1., xi, [2], 14-120 p. 
 15. (J. BeU, British Theatre, London, 1791-1797, v. 25'.} 
 
 At end the note: "This play was originally published June, 1725." The front. 
 represents Miss Leaks as Peggy and the 1 p. 1. is an added engraved title page with a 
 scene from the play. It is dated January 9, 1795. 
 
 Ramsay's dedication of this ballad comedy to Susanna, countess of Eglinton, 
 dedicatory poem to her. signed H. W., Ramsay's poem to Josiah Burchet. 
 
 PR 1241. B4 
 
 * 
 
 The genuine Grub-street opera. See The Welsh opera. 
 
 Georget et Georgette, ope"ra-comique en un acte. Represent e" pour 
 la premiere fois sur le Theatre de 1 Ope"ra comique de la foire Saint 
 Laurent, le 28 juillet 1761. 
 Avignon, Louis CJiambeau, 1768. 28 p. 19 cm . 
 
 Neither the author, Harney de Guerville, is mentioned, nor the composer, Charles 
 Guillaume Alexandra. YUDIN PQ 
 
 Gesaenge aus dem singspiele : Die geplagten ehemaenner, in zwey 
 aufzuegen, eine f ortsetzung des singspiels Lilla. In musik gesezt von 
 Schak. 
 
 Hamburg, Joh. Matthias Michaelsen, 1792. 4.8 p. 15^ cm . 
 
 By Schikaneder. 
 
 First performed at Hamburg, Theater beim Gansemarkt, October 1, 1792; at 
 Vienna, Theater auf der Wieden, 1789, as "Der fall ist noch viel seltener oder Die 
 geplagten ehemanner." SCHATZ 9569 
 
 Der geraubte eimer. Tr. of Zingarelli's La secchia rapita. 
 
 Der geraubte eymer. Tr. of Salieri's La secchia rapita. 
 
 Die gerechtfertigte liebe. Tr. of Naumann's Amore giustificato. 
 
 Das gerettete Troja. A. T. of Joh. Ad. Hiller's Poltis. 
 
 Germanico. Drama per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1744 alia presenza di Sua Maesta. 
 
 Torino, Pietro Giuseppe Zappata e figliuolo, n. d. 4 P- l-> 6$ P- 
 
 Three acts. By Niccol6 Coluzzi. Argument, cast, scenario and name of com- 
 poser, Andrea Bernasconi, but not of librettist. Alessio Rasetti is mentioned as 
 composer of the ballet music. SCHATZ 865 
 
 Germanico. Dramma per musica da rappresentarsi nel nobilis- 
 simo Teatro Venier in San Benedetto il carnovale dell' anno 1797. 
 
 Venezia, Modesto Fenzo, 1797. 45 p. 17% cm . 
 
 Two acts. Author not mentioned, and unknown to Schatz. Argument, cast, 
 scenario, and name of Gaetano Marinelli as the composer. 
 
 First performed on February 4, 1797, as indicated. SCHATZ 3955
 
 OPERA LIBRETTOS 553 
 
 II Germanico. Drama per musica da rappresentarsi nel famosimo 
 Teatro Grimani di S. Gio. Grisostomo. Nel carnevale dell' anno 
 MDCCXVI . . . 
 
 Venezia, Marino Rossetti, MDCCXI. [!] 2 front., 60 p. 15 cm . 
 
 The title is not on the title page, but on the second front. Three acts. By conte 
 Pietro Giorgio Barziza, who is not mentioned. Impresario's dedication dated Venice, 
 January 24, 1716, argument, notice to the reader, with name of Carlo Francesco Pol- 
 laroli as the composer, cast, and scenario. SCHATZ 8294 
 
 II Germanico al Reno. Festa teatrale. 
 
 G. A. Moniglia, Poesie drammatiche, seconda parte, Firenze, Cesare 
 e Francesco Bindi, 1690, p. [217}-298. 24 cm . 
 
 Three acts. Scenario, argument. No composer or performance mentioned. Not 
 recorded by Schatz. ML 49.A2M7 
 
 Germanico in Germania. O. T. of Coluzzi's text Arminio. 
 
 Germanico in Germania. Dramma per musica da rappresen- 
 tarsi nel nobilissimo Teatro delle Dame il carnevale dell anno 
 1770 . . . 
 Roma, Lorenzo Corradi, 1770. 60 p. 16 cm . 
 
 Three acts. By Nicola Coluzzi, who is not mentioned. Dedication, argument, 
 scenario, cast, and name of Carlo Monza as the composer. According to the argu- 
 ment, this is a retouched version of the text written originally for Rome, 1732. 
 
 SCHATZ 6609 
 
 Germanico in Germania. Drama per musica di Niccolo Coluzzi. 
 Da rappresentarsi nella Sala degl' illustrissimi Signori Capranica nel 
 carnevale dell' anno 1732 . . . 
 
 Roma, Antonio de' Rossi, n. d. 64, [1] p. 15\ cm . 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and name of 
 Nicola Antonio Porpora as composer. At end, the substitute scene, II, 11, "O del 
 mio caro ben voci gradite." SCHA.TZ 8358 
 
 Germanico in Germania, ballet. See Rossetti's Olimpiade. 
 
 II Germanico Marte. Drama per musica, da rappresentarsi nel 
 Teatro di corte . . . Per ordine di S. A. R. Monsignor Francesco 
 Antonio, arcivescovo e prencipe di Salisburgo . . . Musica del Sig. 
 Antonio Caldara . . . 
 
 Salisburgo, Giovanni Gioseppe Mayr, n. d. 100, [3] p. 15 cm . 
 
 Three acts and licenza. By unknown author (Schatz). Argument and scenario. 
 On p. 38-43, 69-72, the intermezzo, in two parts, of "Grespilla e Fanfarone," by 
 unknown author. SCHATZ 1482 
 
 Germanico sul Reno. Drama per musica da rappresentarsi 
 nel famosissimo Teatro Vendrammo di San Salvatore 1'anno 
 MDCLXXVI. Di Giulio Cesare Corradi . . . 
 
 Venetia, Francesco Nicolini, 1676. front., 68 p. 15$ cm . 
 Three acts. Author's dedication, dated Venice, January 27, 1676, argument, 
 scenario, and name of Giovanni Legrenzi as the composer. SCHATZ 5536 
 
 Second copy. ML 48.M2 O 
 
 Germanicus, roemischer general. A. T. of Griinewald's Die 
 errettete unschuld.
 
 554 LIBRARY OF CONGRESS 
 
 Germondo. Dramma di tre atti per musica. Rappresentato per 
 la prima volta in Venezia il carnovale dell' anno MDCCXXXIX. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 36, 
 [67}-101 p. 18 m * 
 
 Not recorded by Schatz, Wiel, or Allacci. Traetta's opera was later. PQ 
 
 Gerone tiranno di Siracusa. Drama per musica da rappresen- 
 tarsi nel Teatro del Falcone di Geneva nelP autunno 1700 . . . 
 Genova, Gio. Batt. Sdonico, n. d. 4 P- ^> 88 p. 14k cm - 
 Three acts. By Aurelio Aurelj, who is not mentioned. Publisher's dedication, 
 dated Genova, November 3, 1700, argument, cast, scenario, and name of Carlo Fran- 
 cesco Gasparini as the "maestro di capella," or composer. SCHATZ 3588 
 
 Gerone tiranno di Siracusa. Drama per musica da rappresen- 
 tarsi nel Teatro di S. Bartolomeo il di 19. novembre di questo cor- 
 rente anno 1727. Festeggiandosi il nome glorioso di S. M. C., e C. 
 Elisabetta Cristina imperatrice regnante . . . 
 
 Napoli, Francesco Ricciardo, 1727. 60 p. 14\ cm . 
 
 Three acts. According to Schatz an altered version of Aurelio Aureli's "Hierone, 
 tiranno di Siracusa." Dedication, argument, scenario, casts of the opera and of the 
 three intermezzi "Porsugnacco e Grilletta (p. 22-26, 41-45, 54-58) and name of 
 Joh. Ad. Hasse as composer of operand intermezzi. ML 50.2.G3H2 
 
 Gerusalemme distrutta. Dramma sacro per musica da rappre- 
 sentarsi nel Regio Teatro di via della Pergola la quadragesima del 
 MDCCXCIV . . . 
 
 Firenze, Stamperia Albizziniana, 1794- 39 p. 16 cm . 
 
 Two acts. Brief argument, cast, and names of Antonio Simone Sografi as author, 
 of Nicola Antonio Zingarelli as composer. SCHATZ 11244 
 
 Das gespenst, eine operette in zwey aufzuegen von Ludwig Ysenburg 
 von Buri. 
 
 Neuwied, Gehra und Haupt, 1789. 56 p. 17 cm . 
 
 Dedicatory poem. Text and music by the above. 
 
 First performed at Neuwied, Hoftheater, 1789. SCHATZ 1421 
 
 Das gespenst mit der trommel. Ein deutsches komisches sing- 
 spiel in zwey aufzuegen, nach Goldoni's Conte Caramella frey bearbei- 
 tet. Die musik ist vom herrn von Dittersdorf. 
 
 Oels, Samuel Gottlieb Ludwig, n. d. 79 p. 15\ cm - 
 
 Author unknown to Schatz. 
 
 First performed at Oels, Hoftheater, August 16, 1794. SCHATZ 2591 
 
 Der gestuerzte und wieder erhoehte Nebucadnezar, koenig zu 
 Babylon, unter dem grossen propheten Daniel in einem singe-spiel 
 auf dem grossen Hamburgischen Schau-platze vorgestellet im jahr 
 1704. 
 
 Theatralische, galante und geistliche gedichte von Menantes [Christ. 
 Fr. Hunold], Hamburg, 1706, p. [137]-196. 16\. 
 
 Three acts. In prefatory remarks Menantes says (on p. 136): 
 
 Zwar gestehe gern, dass die music des herrn capell-meisteis Mons. Kaeysers [Rein- 
 hard Keiser] ein ungemeines zu ihrer approbation gethan; allein ohne der compo- 
 sition eines eolchen vortreflichen virtuosen wuerde auch schwerlich eine zeile yon 
 meiner arbeit auf dem hiesigen theatre habe absingen lassen. In dem es zuweilen 
 ein guter verfasser mit einem ungeschichten compomsten, wie ein geschickter musicus 
 mit einem unverstaendigen verss-macher entgelten muss." ML49.A2H9
 
 OPERA LIBRETTOS 555 
 
 Die getheilte liebe. A. T. of Mattheson's Die geheimen begeben- 
 heiten Henrico IV, Koenigs von Castilien und Leon. 
 
 Die getreue braut. Tr. of P. Guglielmi's La sposa fedele. 
 
 Der getreue freund Hercules und Theseus. A. T. of Graupner's 
 II fido amico. 
 
 Die getreuen Oesterreicher, oder Das aufgeboth. Ein vplks- 
 stueck mit gesang in drey aufzuegen, fuer die K. K. priv. Marinellische 
 schaubtihne bearbeitet von Karl Friedrich Hensler. Nebst einem 
 mit dem stueck verbundenen militaerischen kontratanz von Johann 
 Sartory. Die musik ist von Wenzel Mueller, kapellmeister. 
 
 Wien, Joseph Kamesina, 1797. 92 p. 16 cm . 
 
 Dedication by the author to Prince Ferdinand, herzog zu Wuertemberg und Teck. 
 
 First performed, as indicated, October 4, 1797. SCHATZ 6929 
 
 Die gezwungene bestaendigkeit oder Die listige rache des Sueno. 
 See Reiser's La costanza sforzata. 
 
 La ghinghetta, ballet. See Fabrizj's opera L'amore per interesse. 
 La ghinghetta, ballet. See Tarchi's L'impostura poco dura. 
 Giaccona, ballet. See Rossetti's Olimpiade. 
 Den giaerrige. Tr. of Anfossi's L'avaro. 
 
 Gianguir. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744) ^ w> P- [188]- 
 280. 19 cm . 
 
 Five acts and licenza. Argument. No composer is mentioned. In the "Cata- 
 logo," at end of t. x, date and place of first ed. are given as Vienna, 1724. (First per- 
 formed November 4, music by Caldara.} ML49.A2Z3 
 
 Gianguir. Pubblicato per la prima volta in Vienna 1724. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. vi, p. 79-168. 
 21. 
 
 Five acts and licenza. Argument. No composer is mentioned. ML49.A2Z4 
 
 Gianguir. Dramma per musica da rappresentarsi in Copenhagen 
 il carnevale dell' anno 1755. Janguir . . . 
 
 Ki(j>berihavn, Andreas Hartvig Godiche, n. d. 129 p. 15\ cm . 
 
 Three acts. Cast, argument, name of Apostolo Zeno as author, and note: "La 
 musica e di diversi autori." Danish text faces Italian. SCHATZ 11337 
 
 Gianguir. O. T. of Caldara's Pharao und Joseph. 
 
 Gianguir. Dramma per musica da rappresentarsi nel famoso Teatro 
 di Grimani di S. Benedetto, il carnovale dell' anno MDCCLX. 
 
 Venezia, Antonio Comino, 1760. 57 p. 14 m - 
 
 Five acts. By Apostolo Zeno (not mentioned). Argument, caet, scenario, and 
 name of the composer, Vincenzo Legrenzio Ciampi. 
 
 First performed Dec. 26, 1759, as indicated. SCHATZ 1881
 
 556 LIBRARY OF CONGRESS 
 
 Gianguir. Dranuna per musica da rappresentarsi nel Teatro Tron 
 di S. Cassano 1'anno MDCCXXIX . . . 
 
 Venezia, Marino Rossetti, n. d. 59 p. 14$ cm > 
 
 Three acts.. By Apostolo Zeno, who is not mentioned. Impresario's dedication, 
 dated Venice, September 26, 1728, argument, scenario, cast, and name of the composer, 
 Geminiano Giacomelli. SCHATZ 3812 
 
 Gianguir. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani in San Gio. Grisostomo nel carnovale dell' anno 
 1738 . . . 
 
 Venezia, Marino Rossetti, n. d. 60 p. !4% cm - 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Impresario's dedication, 
 argument, cast, scenario, and name of Giovanni Antonio Giai as the composer. 
 
 SCHATZ 3814 
 
 La Giannetta o sia L'incognita perseguitata. L. T. of Anfossi's 
 L'incognita perseguitata. 
 
 Giannina e Bernadone. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. publ, 1785. 135 p. 
 
 Two acts, with name of the composer, Domenico Cimarosa. German title-page 
 "Hannchen und Bernardon," and text face Italian. The author, Filippo Livigni, is 
 not mentioned . 
 
 First performed at Dresden, January 4, 1785; at Venice, Teatro di S. Samuele, 
 fall of 1781. SCHATZ 1926 
 
 Giannina, e Bernadone. Commedia per musica da rappresen- 
 tarsi nel Teatro de' Fiorentini in quest' anno 1795. 
 Napoli, n. publ., 1795. 48 p. 15 cm . 
 
 Two acts. By Filippo Livigni, who is nofmentioned . Cast and name of Domenico 
 Cimarosa as the composer. ML 50.2.G33C3 
 
 Giannina e Bernadone ossia II geloso sincerato, ballet. See Cima- 
 rosa's Artemisia. 
 
 The giant's causeway. A. T. of Arnold's Harlequin Teague. 
 
 La giardiniera brillante. Intermezzo per musica a quattro voci. 
 Da rappresentarsi in Lisbona nel Teatro della rua dos Condes nell' 
 estate dell' anno 1773. 
 
 [Lisbona], Stamperia reale, n. d. 72 p. 16 cm . 
 
 Two parts. Author not mentioned, and unknown to Schatz. Cast, scenario, and 
 name of Giuseppe Sarti as the composer. With the opera were performed (composers 
 of the music not mentioned) Vincislao de Rossi's ballet, "Le due sultane rivali" and 
 Alessandro Guglielmi's "Li pescatori." 
 
 First performed at Rome, January 3, 1768, Teatro Valle. SCHATZ 9469 
 
 La giardiniera contessa. L. T. of Latilla's La finta cameriera 
 
 II giardiniere convinto da Amore, ballet. See Galuppi's 
 L'amante di tutte. 
 
 II giardino delle Tuillerie in Parigi, ballet. See Cimarosa's Circe.
 
 OPERA LIBRETTOS 557 
 
 Giasone. Drama musicale, del D. Hiacinto Andrea Cicognini, 
 Academico Instancabile. Da rappresentarsi in Venetia nel Theatro 
 di.San Cassano nell' anno 1649. . . . 
 
 Venetia, Giacomo Batti, 1649. 118 p. (ind. front.}. 14% cm - 
 Three acts, with prologue. Scenario, a notice to the reader, the argument, an 
 ''Applause poetico . . . Ode di Aurelio Aureli, Ac. Ins.," a "Sonetto" by Bort. 
 Castore, and the author's dedication, dated January 5, 1648 1649 n. St.). Pietro 
 Francesco Cavalli, the composer, is not mentioned. II, 4 begins, "Per qual nuovo 
 vigore." SCHATZ 1751 
 
 - II Giasone. Dramma musicale del dottor Giacinto Andrea 
 Cicognini Fiorentino. 
 
 Venetia, Niccolb Pezzana, 1664. 108 p. 14 cm . 
 
 Three acts, with prologue. Argument, notice to the reader, and scenario, but 
 without name of the composer, Cavalli. The text seems to be the same as in the 
 1649 ed. 
 
 Replica first performed at Venice, Teatro di S. Cassiano, February 23, 1666. 
 
 SCHATZ 1722 
 
 - II Giasone. Drama per musica di D. Hiacinto Andrea Cicognini 
 ... da rappresentarsi nel Teatro di San Cassano Panno 1666 . . . 
 
 Venetia, Camilla Bortoli, 1666. 90 p. 14 cm . 
 
 Prologue and three acts. Publisher's dedication, dated Venice, February 23, 1666, 
 argument, scenario, and notice to the reader, from which it appears that "II Giasone" 
 was revived and substituted in a hurry for an opera called "La Semiramide," text by 
 Moniglia, and which was actually in preparation. Cavalli is not mentioned. II, 4 
 begins, ' ' Per qual nuovo vigore, ' ' and the third act has only nineteen scenes. ' ' Sotto 
 il tremulo ciel" is III, 1, as in the "Novello Giasone," instead of III, 2, and, as in 
 that version, the character of "Rosmira giardiniera" is absent. ML 50.2.G36 Cl 
 
 - II Giasone. Drama musicale di D. Giacinto Andrea Cicognini 
 Academico Instancabile. Di nuovo riveduto, e con aggiunte ristam- 
 pato . . . 
 
 Milano, Giosefo MareTli, n. d. 96 p. 14 cm . 
 
 Prologue and three acts. Text preceded by the Argument; a sonnet, "In lode 
 del Sig. dottor Giacinto Andrea Cicognini. Nuovo auttore del bellissimo Giasone 
 1'anno 1650," by Giulio Strozzi; and dedication, by Emanuel di Meschita, in which 
 he says: 
 
 ' ' Se mai alcuna dramma ha havuto credito, ed applauso pel suo utilizzante costume, 
 uno n'6 il Giasone del Sig. Cicognini, il quale, dovendo di nuovo, uscir dalle stampe, 
 e scena fare di ee stesso . . ." 
 
 The composer, Cavalli, is not mentioned. II, 4 begins, "Effetti singolari," and 
 there are other striking differences between this ed. and that of 1649. For instance, 
 the last act now has twenty scenes instead of twenty-two . ' ' Sotto il tremulo ciel, ' ' as 
 in the "Novello Giasone," is III, 1 instead of III, 2, and, ap there, the character of 
 "Rosmira giardiniera" has been dropped. I conjecture that this Milan edition is 
 even later than the Rome "II novello Giasone." ML 50.2.G36C2 
 
 - II novello Giasone. Dramma per musica recitato nel Teatro 
 Novo di Roma in Tordinona 1'anno 1671 . . . 
 
 Roma, il success, al Mascardi, 1671. 6 p. 1., 80 p. 13\ cm . 
 
 According to Schatz, the opera was actually revived at Rome during the carnival 
 of 1671; but Wotquenne, in the Brussels catalogue, says that, according to Ademollo, 
 the revival did not take place. A later issue (in three acts, with prologue and argu- 
 ment) of Cicognini 's "Giasone," published by Bartolomeo Lupardi, who says in 
 his dedicatio'n, dated January 17, 1671, of this libretto: 
 
 "Esre preeentemente da miei torchi, e ch'havra recitarsi ne' giorni correnti nel 
 nuovo theatre." 
 
 The Rome version is considerably altered from the original. For purposes of 
 identification, it may be noted that the character of "Rosmina giardiniera " does not 
 appear in the "Novello Giasone." Its third act has nineteen instead of twenty-two 
 scenes, the first of which beginning, "Sotto'l tremulo ciel," which had been 111,2. 
 II, 4 begins, "Qual 'ardir, qual valore." On p. 53-54 of the Rome version there is an 
 "Intermedio. SATIRO & AMORE." SCHATZ 1750
 
 558 LIBRARY OF CONGRESS 
 
 Giasone e Medea, ballet. See Andreozzi's L'Arbace. 
 
 Giasone e Medea, ballet. See Borghi's L'Olimpiade". 
 
 Giasone e Medea, ballet. See Giordani's Osmane. 
 
 Giasone e Medea, ballet. See Martin y Soler's L'arbore di Diana. 
 
 La Gierusalemme liberata. Drama da rappresentarsi in musica 
 
 nel famosissimo Teatro Grimano di SS. Gio. e raulo 1'anno 1687. Di 
 
 Giulio Cesare Corradi . . . 
 
 Venetia, Francesco Nicolini, 1687. 71, [1] p. 14 cm - 
 Three acts. Author's dedication, notice to the reader with name of Carlo Palla- 
 
 vicino as the composer, and scenario. 
 
 First performed in January, 1687, as indicated. SCHATZ 7725 
 
 1 giganti abbattuti. See M. Curzio. 
 
 La gigantomachie. A. T. of Piron's text Le mariage de Momus. 
 
 II Gige in Lidia. Drama per musica del dottore Giovambattista 
 Neri da recitarsi nel Teatro Formagliari 1'anno 1683 . . . 
 Bologna, per Verede del Barlieri, n. d. 60 p. 13 cm . 
 
 Three acts. Author's dedication and notice to the reader with the name of 
 Domenico Gabriel! as composer, imprimatur, argument, and scenario. SCHATZ 3398 
 
 Gilles, gargon peintre z'amoureux-t-et rival. Parade, repre"- 
 sente'e pour la premiere fois sur le Theatre de la Foire S. Germain, le 
 
 2 mars 1758. 
 
 Paris, N. B. DucJiesne, 1758. 48 p. 16 m - 
 
 One act. Cast and dedicatory poem by the author, Poinsinet le jeune. The com- 
 poser, Jean Benjamin de La Borde, is not mentioned. SCHATZ 5348 
 
 Ginevra. Dramma per musica da rappresentarsi nel Teatro di San 
 Samuelle [!] 1'autunno dell' anno MDCCLIII. 
 
 Venezia, Angiolo Geremia, n. d. 4$ P- 15 cm . 
 
 Three acts. Argument, cast, scenario, and name of composer, Ferdinando Giu- 
 seppe Bertoni, but not of librettist, Antonio Salvi. SCHATZ 913 
 
 Ginevra. Dramma per musica da rappresentarsi nel Teatro di San 
 Samuele nella Fiera dell' Ascensione 1'anno 1733 . . . 
 Venezia, Marino Rossetti, n. d. 59 p. 15% cm . 
 
 Three acts by Antonio Salvi with modifications (marked with an asterisk), 
 dedicatory preface by the impresario, Domenico Lalli, notice to the reader, cast, 
 name of the composer, Giuseppe SeUitti, and scenario. 
 
 First performed on May 13, 1733, as indicated. SCHATZ 9826 
 
 La Ginevra degli Almieri, ballet. See Cimarosa's L'apprensivo 
 raggirato. 
 
 Ginevra di Scozia, ballet. See Gnecco's L'indolente. 
 Ginevra di Scozia, ballet. See Mayr's Lodoiska. 
 
 La Ginevra infanta di Scozia. Dramma per musica da rappre- 
 sentarsi in Ferrara 1'anno 1690 nel Teatro del Sig. Co. Pinamonte 
 Bonacossi . . . 
 
 Ferrara, Bernardino Pomatelli, n. d. 72 p. 14 cm . 
 
 Three acts. Dedication signed by the author, Giulio Cesare Grazzini, argument, 
 scenario, and notice to the reader about ' ' questo nuovo dramma, ' ' and with name of 
 Giovanni Battista Bassani as composer. SCHATZ 632
 
 OPERA LIBRETTOS 559 
 
 La Giocasta. Drama musicale. 
 
 G. A. Moniglia, Poesie drammatiche, seconda parte, Firenze, Cesare 
 e Francesco Bindi, 1690, p. [81]-148. %4 cm . 
 
 Three acts. Argument with remark: 
 
 "Questo componimentp fu chiesto dal Sig. cavaliere Antonio [Marc* Antonio] 
 Cesti al serenissimo principe Mattias di Toscana, e 1'A. S. mostr6 all' autore desiderio 
 di gratificare il Sig. cavaliere Cesti, laonde ne venne servita; ma partendosi poi il 
 Sig. cavaliere dal servizio di S. M. C. e trattenendosi in Firenze alia corte di Toscana, 
 si stmarrl 1'occasione di farlo comparire su le scene, la quale (mancando la vita del 
 Sig. Cesti) non s'e mai ritrovata, riserbatasegli non di meno tra le sue disavventure la 
 gran fortuna di comparire presentemente alle stampe ..." 
 
 Accordingly, Cesti cannot have composed this opera, which is not mentioned as 
 extant by Eitner, after 1669, nor before 1666, the years of his activity at Vienna. 
 
 ML 49.A2M7 
 
 Giocasta. Drama musicale da rappresentarsi nel Nuovo Teatro del 
 serenissimo elettor Palatine nel carnovale dell' anno MDCXCVI. 
 
 Dusseldorf, Gio. CJiristiano Schleuter, n. d. Unpaged. 18$ cm . 
 
 Threeacts. Argumentand scenario. German title-page, "Giocasta," and textface 
 Italian. At the end of the libretto is a notice to the reader, in which he is informed 
 that the text is by Gio. Andrea Moniglia with alterations and substitute verses, that 
 it was composed "mit kuenstlich einstimmender music des hr. Joh. Ugo Vilderer 
 [Johann Hugo Wilderer], geistreichen ubereinstimungen ["epiritose sinfonie"!] des 
 hr. Georgio Krafft," and that the text "damit auch ermelte Giocasta denen so in 
 der italianischen sprache nicht erfahren ihre anmuth nicht gaentzlich vorenthalten 
 moege" was translated by the "raht und referendarius Godfrid Rulant . . . ins 
 teutsche." SCHATZ 11014 
 
 Giocasta, regina d' Armenia. Drama per musica del Signor dottor 
 Gio. Andrea Moniglia Fiorentino riformata all' uso di Venetia per il 
 Teatro Zane a S. Moise Fanno MDCLXXVII . . . 
 
 Venetia, Frencesco Nicolini, 1677. 60 p. 13$ cm . 
 
 Three acts. Publisher's dedication dated Venice, December 16, 1676, argument, 
 scenario, and notice to the effect that after Moniglia's death the text 
 
 "pervenne in mano ad amico suo parzialissimo, che lo destind a far pompa di se 
 medesimo in loco piii riguardevole, col fine di non renderlo disuguale agr altri parti 
 
 meno che alia ristrettezza del loco, e stato necessario abbreviarlo in modo, che si 
 eono tralaeciati non solo molti versi, e forse de piii belli, ma le scene intiere, & le 
 parti istesse, col riguardp per6 dovuto fatto osser\ r are a tutto potere dall' amico suo 
 sudetto di sempre valersi di versi dello etesso autore, oltre alcuni poche per la neces- 
 sita d'unirne il sentimento aggiustato ne luochi concisi. Alcune arie per6 che vi 
 restano aggiute per maggiore abbellimento come parti per se stesse disgiunte dall' 
 essenza del drama si sono fatte scrivere dalla pena non men vaga che erudita del Sig. 
 Giacomo Castoreo . . . e le vedrai nella etampa contrasegnate con li versi ancora 
 con questo segno ,,." 
 
 Accordingly, for instance, the entire sixth scene, first act, "Ogni bravo / Sen 
 vadi alle mura," was added by Castoreo. The composer, Carlo Grossi, is not men- 
 tioned. SCHATZ 4217 
 
 II giocator fortunate. A. T. of Piccinni's L'astratto. 
 
 II giocatore. L. T. of II marito giogatore e la moglie bacchettona. 
 
 II giocatore, ballet. See Anfossi's II curioso indiscrete. 
 
 II giocatore, ballet. See Mortellari's Le astuzie amorose. 
 
 II giocatore burlato. A. T. of Pietro Guglielmi's La contadina 
 superba.
 
 560 LIBRARY OF CONGRESS 
 
 I giochi olimpici overo Che fingendo si prova un vero affetto. 
 Drama destinato per lo giorno del nome della serenissima Anna 
 elettrice Palatina . . . rosto in music a dal Sig. D. Sebastiano 
 Moratelli . . . Dusseldorf li 26. luglio 1694. 
 
 n. pi., Per Gio. Christiana Schleuter, stampatore, n. d. Unpaged. 
 19 cm . 
 
 Three acts with an "Intermedio alhisivo al giorno del nome . . ." between second 
 and third act. Dedication signed by the author, Giorgio Maria Raparini. 
 
 SCHATZ 6628 
 
 II gioco del pichetto. See II giuoco di picchetto. 
 Gioconda, ballet. See Cimarosa's Artaserse. 
 
 Giorgio principe della Servia, ballet. See Portugal's Gli Orazi e I 
 Curiazi. 
 
 II giorno di notte. Drama per musica. Da rappresentarsi nel 
 famosissimo Teatro Grimani in S. Gio. Grisostomo 1 anno 1704. Di 
 Matteo Noris. 
 
 Venezia, Marino Rossetti, 1704. 70 p. 14 cm . 
 
 Three acts. Notice to the reader and scenario. The composer, Carlo Francesco 
 Pollaroli, is not mentioned. SCHATZ 8295 
 
 II giorno di salute owero Demetrio in Athene. Dramma per 
 musica da rappresentarsi nei giorni del carnovale dell' anno 1697. 
 Per cornando del serenissimo elettore Palatino. 
 
 Dusseldorf, Gio. Christiano Schleuter, n. d. Unpaged. 18% cm . 
 
 Threeacts. German title-page, " Der tag des heyls oder Demetriusin Athen," and 
 text face Italian. Argument, scenario, and notice to the reader, which reads: 
 
 "Fu questo componimento poetico destinato dalla Regia Magnificenza del serenis- 
 eimo elettor Palatino mio signore per solennizzare il g_iqrno natale della serenissima 
 elettrice consorte . . . Ma perch6 cade questo felicissimo giorno nei giorni piu 
 caldi d'Agostq, tempo mal a proposito per i chiusi teatri, fu perci6 stimato molto piu 
 proprio di aprirne, 6 per dir meglio, fame nascere uno in campagna su le rive del Reno, 
 e nel Reno medesimo, con tanta prestezza fii fabbricato; dove comparve a meraviglia 
 bene la grandezza del animo di chi 1'ordino, e 1'arte meravigliosa di chi 1'esegul, 
 riuscendo sopra d'ogni credenza la festa vaga, e magnifica. Fu egli per cio riserbato 
 a comparir su la scena in questo tempo del carnevale. Dove se fC pompa di qualche 
 vaghezza, sappi o lettore, che tutta la gloria si deve all' indefessa applicazione, e buon 
 gusto dell' ulustriss. Signore baron di Demanstein, cameriere e gran falconiere de 
 S. A. E. P. ... Parte ancqr, ee ne deveal Sign. Gio. Hugo Wilderer organista di 
 questo Serenissimo Elettore, il quale se ben di lingua e di nazione tedescha possiede 
 non di meno tutta 1'arte di far comparir su le scene con tutta la loro forza, e gentilezza 
 le nostre muse toscane. L'ariette per i balli furono invenzione del Signore Giorgio 
 Crafft [Krafft] : e fu studio di Mons. Rodier 1'intreccio, e la vaghezza di essi; che anno 
 tanto di parte nell' adornamento dell' opera. E la bella, e capricciosa disposizione 
 tlelle scene e tutta gloria del pennello del Sign. Antonio Bernardi ..." 
 
 It follows from this preface that Schatz is entirely mistaken if he attributes the text 
 to baron Demanstein, who was merely the manager. SCHATZ 11015 
 
 La giovane scaltra. A. T. of Paisiello's Amore ingegnoso. 
 
 Giovanna d'Arco o sia La pulcella d'Orleans. Dramma serio per 
 musica del cittadino Sografi da rappresentarsi nel Teatro La Fenice 
 Testate dell' anno 1797. 
 
 Venezia, Stamperia Valvaseniz, n. d. Ifi p. 17 cm . 
 
 Three acts. Cast and name of the composer, Gaetano Andreozzi. The opera was 
 followed by Zemira e Azor, ballo pantomime in quattro. atti, composto dal cittadino 
 Francesco Clerico. La musica sarii del sudetto autore" (p. 43-46 of libretto, with 
 argument). 
 
 First performed at Vicenza, Teatro Eretenio, summer of 1789. SCHATZ 196
 
 OPEEA LIBEETTOS 561 
 
 II Giove di Greta. Dramma giocoso per musica da rappresentarsi 
 nel nobile Teatro Tron di San Cassiano nelF autunno dell' anno 
 1776 . . . 
 
 Venezia, Gio. Battista Casali, 1776. 62 p. 17% cm . 
 
 Three acts. Author not mentioned, and unknown to Schatz. Dedication, cast, 
 scenario, and name of Giacomo Rust as the composer. SCHATZ 9171 
 
 Gioye in Argo. Melodrama pastorale ... da representarsi in 
 musica nella Sala del Ridotto in Dresda, 1'autunno del 1717. 
 Dresda, Giovan Riedel, n. d. Unpaged. 19 cm . 
 
 Three acts. Dedication signed by the author, Antonio Maria Luchini, and dated 
 Dresda, novembre, 1717, argument, cast (with changes after libretto had been printed 
 on slip pasted over the original cast), and name of Antonio Lotti as composer. French 
 title page, "Jupiter en Argos," and text face Italian. The text of the opera ia fol- 
 lowed, also in Italian and French, by the text of " VESPETTA E MILO," the three "In- 
 termedi cantati . . . Dresde, che'z Jean Riedel, 1717," and this notice to the reader: 
 
 ' ' La musica del primo e del secondo intermezzo e composizione del Signore cayaliere 
 Alessandro Scarlati. La musica del terzo intermezzo e composizione del Signore 
 Francesco Conti o Contino, maestro di capella di Sua Maesta Cesarea. 
 
 "Li versi del primo e secondo intermezzo sono fatti intieramente dall' illustre 
 penna del Signore Silvio Stampiglia, poeta di Sua Maestk Cesarea, tutte le opere di 
 c}uesto celeb re poeta sono come li quadri di Tiziano, e di Vandec [!] II terzo 
 intermezzo e composizione del Signore baron Francesco Ballerini ... Le arie che 
 eono tradote in francese, di Vespetta e di Milo, si possono cantare come le italiane. 
 Adio." 
 
 These intermezzi do not seem to be mentioned in Dent's Scarlatti biography. For 
 a separate ed. of the libretto, see under title (Schatz 9522). The date of first per- 
 formance is given by Schatz for these intermezzi and the opera as October 25, 1717. 
 This would seem to contradict the inference from the date 01 the dedication. 
 
 SCHATZ 5719 
 
 The gipsies. A comick opera, in two acts. As it is performed at 
 the Theatre-Royal in the Hay-Market. 
 London, T. Cadett, 1778. 2 p. I, 30, [2] p. 21 cm . 
 
 The [2] p. contain book-lists of the publisher. 
 
 Cast. Neither the author, Charles Dibdin, is mentioned, nor Samuel Arnold, the 
 composer. The piece is based on Fayart's "La Bohe'mienne." 
 
 First performed August 3, 1778, as indicated. LONGE 102 
 
 II giramondo. Intermezzi da rappresentarsi in Venezia nel carno- 
 vale 1749 nel Teatro di S. Cassiano. 
 
 Venezia, Modesto Fenzo, 1749. front., 18 p. 15 cm . 
 
 Two parts. Cast. Neither the author (unknown to Schatz) is mentioned, nor 
 Leonardo Leo, the composer. (Leo does not list this opera.) SCHATZ 5561 
 
 II Girello. Drama per musica da rappresentarsi nel loco ove era il 
 Theatre a San Moise 1'anno MDCLXXXII. 
 
 Venetia, Gio. Francesco Valvasense, 1682. 59 p. 14 cm - 
 
 Pages 3-4, with the dedication are missing. 
 
 Three acts. Argument, scenario, and notice to the reader, which reads in part: 
 
 "Hora ti presento una bizzaria dramatica, dico una bizzaria, perche, efl'e una 
 terza entita partecipante del Comico e de Drammatico. Quest' e il Girello parto 
 d'ingegnosissima penna, altre volte veduto campeggiare con indicibile applause sti 
 le scene d'ltalia. Vi troverai in esso qualche alteratione nella nova tessitura del 
 verso, ma non per6 variera il suo essere sostantiale. II tutto h& fatto per cpnformarmi 
 allo stile corrente, che sempre inclina alia novita. S6, che il gemo di Venetia e 
 tutto capricio; ama assaissimo le bizzarie ..." 
 
 Neither the original author : Filippo Acciajuoli, is mentioned, nor Francesco 
 Antonio Pistocchi, who according to Schatz was the composer. The opera was per- 
 formed by wax figures on the stage with the singers behind the scenes. SCHATZ 8198 
 
 72251 VOL 114 36
 
 562 LIBRARY OF CONGRESS 
 
 La Gismonda. Commediaper musica di Antonio Palomba Napole- 
 tano da rappresentarsi nel Teatro de' Fiorentini nella primavera di 
 quest' anno 1750. 
 
 Napoli, Domenico Langiano, 1 750. 72 p. 15 cm . 
 
 Three acts. Cast and name of the composer, Gioacchino Cocchi. SCHATZ 2039 
 
 Gismondo re di Polonia. Dramma per musica da rappresentarsi 
 nel Teatro detto delle Dame nel carnevale dell' anno 1727 . . . 
 Roma, Bernabo, n. d. 76 p. 15 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Argument, cast, 
 scenario, and name of Leonardo Vinci as the composer. SCHATZ 10747 
 
 II giudice, e padre, ballet. See Borghi's Egilina. 
 
 II giudicio di Paride. Pastorale per musica in un atto da rappre- 
 sentarsi . . . per le felicissime nozze di Sua Altezza Reale Federico 
 Enrico, principe di Prussia ... e ... la principessa Wilhelmina di 
 Hassia Cassel . . . 
 
 Berlino, Haude e Spener, n. d. 89 p. 17 cm . 
 
 One act. Carl Heinrich Graun is mentioned as the composer and Leopoldo di 
 Villati as the author, though it is known that Frederick the Great and count Algarptti 
 collaborated with him. Argument. German title page, "Das urtheil des Paris," 
 and text face Italian. 
 
 First performed at Charlottenburg, Theater der Orangerie, June 25, 1752. 
 
 SCHATZ 4099 
 
 Giudizio di Paride, ballet. See Calderara's Ricimero. 
 II giudizio di Paride, ballet. See Galuppi's Cajo Mario. 
 II giudizio di Paride, ballet. See Monza's Sesostri. 
 Giugurta. A. T. of C. F. Pollaroli's II demone amante. 
 
 Giuletta e Romeo, fatto patrio Veronese ballet. See Tarchi's 
 L'Arminio. 
 
 Giulia e Blinval, ballet. See Bianchi's II Chinese in Italia. 
 
 Giulietta e Pierotto. Dramma giocoso per musica. Da rappre- 
 sentarsi negl' Imperial! Regj Teatri di Corte. L'anno 1794. 
 Vienna, Mattia Andrea Schmidt, n. d. 135 p. 16 cm . 
 
 Two acts. Giovanni de Gamerra is mentioned as author, Giuseppe Weigl as 
 composer in the "protesta." German title-page, "Giulietta e Pierotto," and text 
 face Italian. 
 
 First performed October 16, 1794, as indicated. SCHATZ 10934 
 
 Giulietta e Pierotto. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro di S. A. E. di Sassonia. 
 Dresda, n. putt., 1796. 151 p. 15% cm . 
 
 Two acts. Joseph Weigl is mentioned as the composer. German title-page, "Jul- 
 ohen und Peter," and text face Italian, which seems to follow de Gamerra's original 
 Vienna version closely. 
 
 First performed, as indicated, October 8, 1796. SCHATZ 10955 
 
 Giulietta e Romeo, ballet. See Bianchi's Le villanelle astute. 
 Giulietta e Romeo, ballet. See Tarchi's Antioco.
 
 OPERA LIBRETTOS 
 
 Giulietta e Romeo, ballet. See Tritto's Nicaboro in Jucatan. 
 
 Giulietta e Romeo. Tragedia per musica da rappresentarsi nel 
 Teatro alia Scala il carnevale dell' anno 1796 . . . 
 Milano, Batista, Bianchi, n. d. 68 p. 15\ cm . 
 
 Three acts. By Giuseppe Foppa, who is not mentioned. Impresario's dedication 
 dated Milan, January 30, 1796, argument, cast, scenario, and name of Nicola Antonio 
 Zingarelli as the composer. On p. [55]-68 prefatory note, argument, description of 
 Gaspare Ronzi's "Astarbea, ballo eroico-tragico-pantomimo, the composer of the 
 music not being mentioned. SCHATZ 11247 
 
 Second copy. ML 48 .A5 v.9 
 
 Giulietta, e Romeo. Tragedia per musica da rappresentarsi 
 nel Regio Teatro di S. Carlo della Principessa Testate dell anno 1798. 
 
 Lisboa, Simone Taddeo Ferreira, 1798. Ill p. 15 cm . 
 
 Three acts. By Giuseppe Foppa, who is not mentioned. Cast, scenario, and 
 name of Nicola Zingarelli as the composer. Portuguese text faces Italian. 
 
 ML 50.2.G43Z3 
 
 Julie und Romeo. Ein singspiel in drey aufzuegen. Dem 
 geehrtesten publikum der stadt Botzen von den hierortigen ton- 
 kuenstlern gewiedmet im fasching des jahres 1798 . . . 
 
 Botzen, Zu Jiaben bey dem eingange des saals, n. d. 50 p. 16 cm . 
 
 With name of Zingarelli as the composer. The translator is not mentioned. 
 
 SCHATZ 11248 
 
 Giulietta ed Armidoro. L. T. of Cimarosa's L'amor costante. 
 Giulio Cesare. L. T. of Bianchi's La morte di Cesare. 
 Giulio Cesare in Egitto. 
 
 Opera in three acts. Text by Nicola Francesco Haym, music by Georg Friedrich 
 Handel. 
 
 First performed at London, Haymarket, February 20, 1724. 
 Not in L. of C. 
 
 - Julius Caesar in Aegypten. In einem sing-spiele auf dem 
 Hamburgischen Schau-Platze vorgestellet im jahr 1725. 
 
 [Hamburg], Gedruckt mit Stromerschen schrifften, n. d. Unpaged. 
 
 Three acts. Dedication, dated Hamburg, November 12, 1725, by the translator, 
 Thomas Lediard, cast, scenario, and "Vorbericht," which reads, in part: 
 
 "Endlich kommt die so lang versprochene praechtige opera, "Julius Caesar in 
 Aegypten," zum vorschein . . . Diese opera ist anfaenglich von dem beruehmten 
 italiaenischen poeten Haym, zum behuef des Koeuigl. theatri auf dem Hay-Market in 
 London, in italiaenischer sprache geschrieben, und daselbst gegen ende des 1724, 
 jahres . . . aufgefuehrt worden . . . Der hiesige uebersetzer, der sowohl das 
 italiaenische oriqinel, als the englische translation davon, vor sich gehabt, hat sich 
 weder an das eine, noch an die andere, sclavisch gebunden . . . auch vielleicht 
 zuweilen von alien beyden abgewichen; jedoch hat er allezeit das hauptwesen und 
 den verstand dieses geschickten autoris zum grund geleget. Die von dem welt- 
 beruehmten . . . George Friedrich Hendel (Handel) componirte music ist in alien 
 arien und italiaenischen accompagnements unveraendert geblieben. Die compo- 
 sition des teutschen recitativ, und der teutschen accompagnements, wie auch der 
 simphonien, ist von dem hertzogl. Weissenfelschen concert-meister hr. J. G. Linike 
 . . . die uebersetzung . . . ist (ausser dem teutschen chor, so von einerweit geschick- 
 terer hand hergegeben und an einen dazu bequemen ort eingerneckt worden) ein 
 versuch von T. Lediard." 
 
 The Italian text of the arias is added to the German 
 
 First performed, as indicated, Theater beim Gaensemarkt, November, 1725. 
 
 SCHATZ 4478
 
 564 LIBRARY OF CONGRESS 
 
 Giulio Cesare in Egitto Continued. 
 
 Julius Caesar in Aegypten, in einera Sing-spiele auf dem Ham- 
 burgischen Schau-platze vorgestellet im jahr 1733. 
 
 [Hamburg], mit Spieringischen schriften, n. d. Unpaged. 18 cm . 
 Three acts. Cast, scenario. The Italian text added to many of the arias. A later 
 edition of the above. SCHATZ 11690 
 
 Giulio Cesare in Egitto. Drama per musica nel famoso Teatro 
 Vendramino di S. Salvatore. L'anno MDCLXXVII. Del Bus- 
 sani . . . 
 
 Venetia, Francesco Nicolini, 1677. 69 p. (incl. front.) 13% cm . 
 Three acts. Author's dedication, argument, scenario, and notice to the reader, 
 with the name of Antonio Sartorio as the composer. SCHATZ 9489 
 
 ' Giulio Cesare trionfante. Drama per musica da rappresentarsi 
 nel Teatro di S. Angelo Fanno MDCLXJOQI . . . 
 
 Venetia, Francesco Nicolini, 1682. front., 60 p. 14 cm . 
 Three acts. By Luigi Orlandi, who dates his dedication Venice, January 10, 1682. 
 Scenario and notice to the reader, mentioning Giovanni Domenico Freschi as com- 
 poser. SCHATZ 3349 
 
 Cesare trionfante. Dramma per musica da rappresentarsi in 
 Bologna nel Teatro Malvezzi 1'anno 1694. 
 
 Bologna, Giulio Borzaghi, n. d. 65 p. 13 cm . 
 
 Three acts. Scenario and notice to the reader: 
 
 "Eccoti il Giulio Cesare Trionfante, che duoi lustri, e piu fu rapresentato in 
 Venetia con quel applauso che sino al giorno d'oggi di lui risuona. Non ti spiaccia 
 vederlo cangiato in molti luoghi dal suo primiero intreccio, poiche fu necessario 
 runiformarsi al costume di dove ora si rapresenta, come ancora la diversita delle voci 
 de' virtuosi can tan ti obligb chi lo diregge a variarne molte ariette per vietarne gl' in- 
 comodi, che nella musica sariano insorti, e maggiormente f u fatto ci6 col pensiere di 
 renderlo piu dilettevole con la novita di quelle ..." 
 
 Author and composer unknown to Schatz, but the note quoted above furnished a 
 clue. Comparison showed that this is merely a somewhat altered version of Luigi 
 Orlandi's text. For instance, I, 6 is now "Che d'impudica fiamma Nobil fiamma 
 del mio Sole" instead of "Sicuro di mia fede E gran pena amar" and to I, 9 an aria 
 "Sveglia in sen" has been added. Presumably in 1694 Freschi's music was largely 
 used. ML 50.2 C 37 
 
 Giul. Flavio Crispo. Tragedia da cantarsi nel celebre Teatro Gri- 
 mani in S. Gio. Grisostomo nelle notti carnovalesche MDCCXXII . . . 
 Venezia, Marino Rossetti, 1722. 5 p. 1., 62 p. 17 cm . 
 
 Five acts. By Benedetto Pasqualigo, who signs the dedicatory sonnet with his 
 Arcadian name Merindo Fesanio. Argument, cast, scenario, and name of the com- 
 poser, Giovanni Maria Capello. SCHATZ 1591 
 
 Giulio Sabino, ballet. See Bianchi's Alessandro nelT Indie. 
 
 Giulio Sabino. Dramma per musica da rappresentarsi nel nobilis- 
 simo Teatro di San Benedetto il carnovale dell' anno 1781. 
 Venezia, Modesto Fenzo, 1781. 56 p. 17 cm . 
 
 Three acts. Pietro Giovannini, the author, is not mentioned. The title of his 
 text originally was "Epponina." Argument, cast, scenario, and name of Giuseppe 
 Sarti as the composer. On p. [21J-36, argument, cast, description, without name of 
 the composer of the music of Sebastiano Gallet's "II re pastore, ballo eroico panto- 
 mimo in cinque atti." His second ballet was called "II trionfo dell' Amore fra i 
 dastori." SCHATZ 9438
 
 OPERA LIBRETTOS 565 
 
 Giulio Sabino Continued. 
 
 Giulio Sabino. Dramma per musica in tre atti da rappresen- 
 tarsi nel Teatro Imp. presso la porta d'ltalia. 
 
 Vienna, Giuseppe nob. de KurzbeTc, 1785. 58 p. 16% cm . 
 
 Three acts. Argument and name of Giuseppe Sarti as the composer. German 
 title-page, "Julius Sabrinus," and text face Italian, which is not quite the same as 
 in the original Venice 1781 edition. For instance, "Un dolce contento" (I, 10) has 
 become "Frema pur avverso il fato." SCHATZ 9439 
 
 - Giulio Sabino. Dramma per musica da rappresentarsi nel 
 Teatro da S. Agostino la primavera dell' anno 1781 . . . 
 
 Geneva, Stamperia Gesiniana, n. d. 68 p. 14 cm . 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and name, of 
 Giuseppe Sarti as the composer. The text is practically the same as in the original 
 Venice, 1781 edition, but Pensieri funesti" has been dropped from I, 1. On p. 
 [55]-68 cast, prefatory note, and description without name of the composer of the 
 music of Luigi Bardotti's ballet, "Carolina e Mexicow." SCHATZ 9440 
 
 Giulio Sabino. Dramma per musica da rappresentarsi nel 
 Regio Teatro di via della Pergola la primavera del MDCCLXXXV . . . 
 
 Firenze, Stamperia gia Albizziniana, 1785. 28 p. 16 cm . 
 
 Two acts. -Argument, cast, and name of Giuseppe Sarti as the composer. With 
 the opera was performed, composer of the music not mentioned, Fedengo Terrades' 
 ballet, "II trionfo di Rodrigo. SCHATZ 11747 
 
 Giulio Sabino. A new serious opera, in two acts. As per- 
 formed at the King's Theatre in the Hay-Market. The music entirely 
 new, by the celebrated Signer Giuseppe Sarti, under the direction of 
 Mr. Mazzinghi. 
 
 London, J. Stevenson, 1788. 1 p. I., 51, [6} p. 20 cm . 
 
 The 6 p. at the end contain "A list of the subscribers to the boxes at the King's 
 Theatre, 1788." Argument, cast, and English prose translation. Though "Pen- 
 sieri funesti" has been dropped from I, 1, and "Lungi del caro bene" has been added 
 to the first scene, the text of the first act is practically the same as in the original 
 Venice edition, of which the second and third act with omissions make up the second 
 act of the London version. 
 
 First performed, as indicated, April 5, 1788. SCHATZ 9441 
 
 - Giulio Sabino. Dramma per musica da rappresentarsi nel Regio 
 Teatro di S. Carlo della Principessa in occasione di solennizzare il 
 felicissimo giorno natalizio di Sua Altezza Reale il Serenissimo Signore 
 Don Giovanni, principe del Brasile, etc. li 13 maggio dell' anno 1798. 
 
 Lisbona, Simone Taddeo Ferreira, 1798. 103, [2] p. 15 cm . 
 
 Two acts and licenza. The author, Pietro Gioyannini is not mentioned. Prefatory 
 note, argument, cast, scenario, and name of Giuseppe Sarti as composer. Portu- 
 guese translation faces Italian. ML 48.C6xxn 
 
 - Julius Sabinus. Eine ernsthafte oper in drei aufziigen. Nebst 
 einem anhange das hochgraefl. Erdoedische Operntheater betreffend; 
 fuer welches diese oper uebersetzt, und zum drucke befoerdert ist von 
 Johann Nepomuck Schueller, mitglied der graeflichen Operngesell- 
 schaft in Pressburg. 
 
 Pressburg, gedruckt mit WeberiscJien schriften, 1785. 52 p. 17 cm . 
 
 The "Anhang" does not appear in this copy. 
 
 Three acts. Cast, name of Giuseppe Sarti as the composer and "Vorrede," in 
 which the opera is promised "unter der fuhrung des herrn Kumpf den zweiten Janner, 
 ale anfangsoper der 1786sten jahres." SCHATZ 9442
 
 566 LIBRABY OF CONGRESS 
 
 Giulio Sabino Continued. 
 
 - Julius Sabinus. Ein ernsthaftes singspiel in drey akten. Nach 
 dem italienischen frey bearbeitet. 
 
 Nuernberg, im Verlag der aeltern Christoph Weigel'schen Tcunst und 
 buchhandlung, 1791. xii, 68 p. 15\ cm . 
 
 The "Vorrede" is dated Nuernberg, February 1, 1791, and initialed N[ikolaus] 
 Afdam] H[eiden]. Heiden first comments on the success of Sarti's "Meisterwerk, 
 then on the typically Italian make-up of the original text showing "wenig aufmerk- 
 samkeit fuer die poesie, aondern ganz allein fuer composition," on the impossibil- 
 ity of remedying certain defects without altering the music, adds an argument, 
 and then makes these interesting remarks: 
 
 "nach einem Neumann, Eschenburg und Cramer die produkte der auslaendischen 
 dichtkunst und musik fuer unsere landsleute, durch zweckmaesige bearbeitung 
 geniessbar zu machen, heisst in der that nicht wenig gewagt. Wem die hartnaecki- 
 gen schwierigkeiten, die sich einem uebereetzer itahenischer opern; die nicht im 
 geschmacke eines Pleissners oder anderer aehnlicher uebersetzer arboiten will, 
 haufenweise entgegen stellen, nur einigermassen bekannt sind, der wird mir sehr 
 gerne zugestehen, dass es nicht leicht ein muehsameres und nicht selten undank- 
 bareres geschaefte giebt, als die unterlegung des deutschen textes unter fremde, 
 besonders italienische musik." SCHATZ 9479 
 
 Giulio Sabino. Dramrna per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1790 . 
 
 Torino, Onorato Derossi, n. d. viii, 4.8 p. 
 
 Three acts. By Pietro Giovannini, who is not mentioned and whose title originally 
 was "Epponina. Argument, cast, scenario, and name of Angelo Tarchi as the 
 composer. On p. 44-48 brief descriptions of Gaspare Angiolini's (who also composed 
 the music) ballets, "L'orfano," "II r6 alia caccia." and "II tutore sorpreso." 
 
 SCHATZ 10220 
 
 Giulio Villenvelt, o sia L'assassino di Scozia, ballet. See G. Gior- 
 dani's Aspasia. 
 
 Giunio Bruto. Dramma per musica da rappresentarsi nel Teatro 
 da S. Agostino Testate dell' anno 1782 . . . 
 
 Geneva, Stamperia Gesiniana, n. d. 60 p. 13% cm . 
 
 Two acts. Argument, cast, scenario, and name of composer, Cimarosa. The 
 author is unknown to Schatz. On p. [61}-60, description of Onorato Vigan6's "Ar- 
 mida e Rinaldo, ballo eroico pantomimo." Neither of this nor of Vigan6's other 
 ballet, "II misantropo o sia II poter delle donne," is the composer of the music men- 
 tioned. SCHATZ 1992 
 
 Giunone placata. Componimento dramatico da cantarsi per le 
 felicissime nozze dell' Eccellenze Loro il Sign or D. Filippo Bernualdo 
 Orsini ... e la Signora D. Teresa Caracciolo . . . [vignette] 
 
 Roma, Generoso Salomoni, 1762. 28 p. 27 cm . 
 
 Vignettes. Two parts. "Nidastio Pegeate, P. A." [real name not given by 
 Wotquenne] is mentioned as the author, Antonio Aurisicchio as the composer. 
 
 ML 50.2.G44A8 
 
 Giunone repacificata. A. T. of Manelli's La Filo. 
 
 II giuocatore fortunate. A. T. of Piccinni's L'astratto. 
 
 I giuochi d'Agrigento. Dramma per musica del conte Alessandro 
 Pepoli da rappresentarsi nell' apertura del nuovo Teatro detto La 
 Fenice. 
 
 Venezia, Curti, 1792. 1 p. 1., 86 p., front, and 4 ports. 18\ cm . 
 
 The front, represents the facade of La Fenice; the portrait (between p. [6]-7), 
 Giovanni Paisiello, who is mentioned as composer. The other ports, represent 
 Brigida Banti (at p. 19), Giacomo David (at p. 54), and Gasparo Pachiarotti (at p. 68). 
 Prefatory note, argument, scenario, and cast. 
 
 First performed at Venice, as indicated, May 16, 1792. SCHATZ 7629 
 
 Second copy. Lacks the ports, of Paisiello and Banti. ML 48.M2N
 
 OPERA LIBRETTOS 567 
 
 I giuochi d'Agrigento Continued. 
 
 Giuochi d'Agrigento. Dramma per musica da rappresentarsi 
 nel Regio Teatro di S. Carlo della Principessa nel 4 novembre 1799. 
 Lisbona, Simone Taddeo Ferreira, MDCCLXXXX VIX [!] 109 p. 
 
 Three acts. By conte Alessandro Pepoli, who is not mentioned. Argument, cast, 
 scenario, and name of Giovanni Paisiello as composer Portuguese text faces Italian. 
 
 ML 50.2.G45P2 
 Second copy. ML 48. C6 III 
 
 II giuoco de' matti. Dramma scherzoso per musica. Da rappre- 
 sentarsi nel Teatro di Malta nelT autunno di quest' anno 1755 . . . 
 Napoli, Domenico Lanciano, 1755. 4P-1-, 65 p. 15% cm . 
 
 Three acts. Impresario's dedication and cast. Neither the author, Antonio 
 Palomba, is mentioned, nor Gaetano Latilla, the composer. 
 
 First performed at Naples, Teatro Nuovo, summer of 1754. SCHATZ 5453 
 
 II giuoco dell' arco, ballet. See Pasque's Arianna e Teseo. 
 
 II giuoco di picchetto. Divertimento per musica da rappresentarsi 
 alia Corte Elettorale palatina. 
 
 Mannheim, Stamperia elettorale ed accademica, n. d. 23 p. 15^ cm . 
 
 Our copy is interleaved, contains ms. corrections and other indications that it was 
 used for preparation of a performance. The pagination is faulty, as 13-14 are repeated. 
 The real p. 13 begins with a repetition of the first four lines of the aria " Heureuse paix, 
 tranquille indifference " ('from Destouches' "Iss" of 1708, 1, 3) and p. 14 contains the 
 aria "Del destin non vi lagnate " (from Metastasio's " Olimpiade " text). The second 
 p. 13, which should have been p. 15, begins with the aria "Lorsque 1'amour dans ses 
 noeuds," and the second p. 14 contains the aria "D'uninfeliceamante." Other arias 
 are: "No: non dicsti il vero," "Ah Teseo! Ah del mio cor," "Gi fucina 6 questo 
 petto," " lo sono stata in Ascoli." A German lied, " Ich bin ein musikant," is not in 
 this 1 ibretto . The charac ters are , ' ' Gioconda , " " Placido , " " Se verino . ' ' Neither the 
 author is mentioned, nor the composer. 
 
 As " II gioco del pichetto, scherzo giocoso per musica," this one-act opera was per- 
 formed at Coblenz, Hoftheater, 1772, and an Italian-French libretto, without com- 
 poser's or author's name, was published at Confluenza, 1772. In May, 1773, the opera 
 was then performed at Schwetzingen, Hoftheater. It is apparently for this perform- 
 ance that our libretto was printed. Pichler attributed, without stating his reasons, 
 the music to Pietro Guglielmi but Schatz, and later Piovano, ascribe the music to 
 Jpmmelli on the ground that the text is the same as that of Jommelli's "La conversa- 
 zione," Lisbona 1775. Furthermore, Schatz refers to a score of the opera (advertised 
 by Bertling in his catalogue no. 28), in which there is a note to the effect that Jommelli 
 composed the music. 
 
 In his Jommelli biography (p. 426-428) Abert deals with a score by Jommelli called 
 " La critica," which, he says, was performed at Stuttgart in 1766 and which has been 
 preserved at the Conservatory, Naples, as a "Cantata." In his analysis of the plot 
 Abert mentions as charac ters: Placido, Severino, Lesbia, Gioconda, Siface, Acamante, 
 Palmira. In his ms., " Chronologische Folge der . . . Jommelli .. . Werke," 
 Schatz has an entry, while referring to the score at Naples, under "La critica. Anfang 
 des Jahres 1767 " (first he had the date 1766), with this cast: 
 
 Placido ...................... Arcangelo Cortoni. 
 
 Severino ..................... Francesco Guerrieri. 
 
 Lesbia ...................... Maria Masi-Giura delta la Morsarina. 
 
 Gioconda ..................... Monaca Buonani. 
 
 Siface ....................... Giuseppe Aprile. 
 
 Acamante ..................... Giovanni Maria Rubinelli. 
 
 Palmira ..................... Anna Cesari-Seemann. 
 
 In other words, Schatz adds a sixth character, yet he plainly gives the cast of the 
 Stuttgart production of "La critica," since the artists mentioned (comp. Sittard) 
 belonged to the Stuttgart opera " Etat " of 1767. 
 
 The text of "La critica f> Abert is inclined to ascribe to Gaetano Martinelh, who 
 supplied Jommelli at Stuttgart with other texts. It is plainly to a large extent the 
 same as that of Jommelli's " La conversazione "and of " II giuoco di picchetto." Under 
 all these circumstances it is fairly safe to assume that " II giuoco di picchetto," as per- 
 formed at Coblenz and Schwetzingen, was Jommelli's "La critica ' reduced to three 
 characters. ML 50.2G47
 
 568 LIBRARY OF CONGRESS 
 
 II giuramento alia vendetta. Dramma per musica da rappresen- 
 tarsi nel tempo della fiera in Treviso 1'anno 1744 nel Teatro ai S. E. 
 Dolfino . . . 
 
 Venezia, Modesto Fenzo, 1744- 44 P- 15 cm . 
 
 Three acts. Dedication, argument, cast, and name of Girolamo Micheli as the 
 composer. Text by conte Angelo Schietti (who is not mentioned), originally under 
 the title "La pace per amore. SCHATZ 6482 
 
 II Qiustino. Tragedia. 
 
 [449\-520 p. 19 cm . (Pietro Metastasio, Opere drammatiche, Ven- 
 ezia, Giuseppe Bettinelli, 1733-37, v. 3.) 
 
 Five acts. Argument. No composer mentioned and none recorded by Schatz. 
 
 ML 49.A2M4 
 
 Giustino. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t. ix, [289\-419 p. 
 16 cm . 
 
 Five acts. Argument. ML 49.A2M42 
 
 Giustino. 
 
 [251}-360 p. 26 cm , (Metastasio, Opere, t. x, Parigi, vedova Heris- 
 sant, 1782.') 
 
 Five acts. ML 49.A2M44 
 
 II Giustino. Drama per musica da recitarsi nel Teatro Formagliari 
 la primavera dell' anno MDCCXI . . . 
 Bologna, Costantino Pisarri, n. d. 76, [1] p. 16% cm . 
 
 Five acts. By conte Nicol6 Beregani, who is not mentioned. Dedication by 
 Giuseppe Filippo Calderini, dated Bologna, April 19, 1711, argument, cast, scenario, 
 name of Tommaso Albinoni as composer, and notice to the reader to the effect that 
 this is a version of Beregani's text, as modernized by Pietro Pariati SCHATZ 129 
 
 v Giustino. Melodrama da rappresentarsi nel celebre Teatro Ven- 
 dramino di San Salvatore. L'anno MDCLXXXIII . . . 
 Venetia, Francesco Nicolini, 1683. front., 69, [2} p. 14 cm . 
 Three acts. Publisher's dedication, alluding to conte Nicol6 Beregani as the 
 author, argument, brief notice to the reader, and scenario. The composer, Giovanni 
 Legrenzi, is not mentioned. SCHATZ 5544 
 
 Giustino. Dramma per musica da recitarsi nel Teatro dell' illmo 
 Sig. Federico Capranica nel carnevale dell'- anno 1724 . . . 
 Roma, Bernabb, 1724. 68 p. 14$ cm . 
 
 Three acts. By Nicolo Beregani (not mentioned), with alterations. Federico 
 Capranica's dedication, argument, cast, scenario, and name of Antonio Vivaldi as 
 the composer. SCHATZ 10769 
 
 Der gleichgueltige ehemann. Tr. of Schuster's II marito indolente. 
 
 La gloria d' Amore. Spettacolo festive fatto rappresentare dal 
 serenissimo Sig. duca di Parma sopra 1'acque dell gran peschiera 
 novamente fatta nel suo giardino per gl'acclamati sponsali del sere- 
 nissimo Sig. principe Odoardo suo primo genito con la serenissima
 
 OPERA LIBRETTOS 569 
 
 La gloria d'Amore Continued. 
 
 Signora principessa Dorotea Sofia di Neoburgo . . . Poesia d'Aurelio 
 Aureli . . . e musica di D. Bernardo Sabadini, mastro di capella 
 della medesima A. S. 
 Parma, Stampa ducale, 1690. viii, 30 p. 20 cm . 
 
 Three acts. Dedication by the author, his prefatory note, cast, and scenario. 
 This copy lacks the 15 plates which accompany the copy in the Royal Conservatory 
 Library at Brussels showing "les appareils theatraux, d'une hardiesse et d'une mag- 
 nificence incroyables " (Wotquenne) as invented by the brothers Gasparo, Pietro, and 
 Domenico Mauro, of Venice, whose merits are extolled in the notice to the reader 
 mentioned above. 
 
 First performed May 24, 1690, as indicated. SCHATZ 9198 
 
 La gloria d'Orfeo. Dramma musicale. 
 
 Girolamo Bartolommei Smeducci, Drammi musicali morali, Firenze, 
 1656, v. i, p. [233}-288. 23 cm . 
 
 Prologue and three acts. Argument, allegoria and dedication to Francesco d'Este, 
 duca di Modona e Reggio, in which Bartolomei says: 
 
 "Ritorna il mio Orfeo dalla stampa riformato a rinnovare a V. A. S. la divota 
 offerta, nella quale Egli per prima s'affrett6 per giungere ppportuno nel tempo delle 
 felicissime nozze di V. A. con auguri di desiderata proeperita . . ." ML 49.A2B3 
 
 La gloria trionfante d'amore. Drama per musica. Da rappre- 
 sentarsi nel Teatro di Sant' Angelo Fautunno dell' anno 1712. Del 
 dottor Grazio Braccioli . . . 
 
 Venezia, Marino Rossetti, 1712. front., 60 p. 15 cm . 
 
 Three acts. Author's dedication dated Venice, November 16, 1712, argument 
 cast, scenario, and name of Giacomo Rampini as the composer. SCHATZ 8596 
 
 The glorious first of August. A. T. of Attwood's The mouth of 
 the Nile. 
 
 Der glueckliche betrug. A. T. of Reiser's Der Hamburger jahr- 
 marckt. 
 
 Der glueckliche schatzgraeber, ein komisches singspiel von einem 
 aufzuge. 
 
 Wien, Joh. Thorn, edler v. Trattnern, 1773. 20 p. 16\ cm . 
 
 Neither the author, Paul Weidmann, mentioned, nof the composer (unknown to 
 Schatz). SCHATZ 11455 
 
 Die glueckliche unschuldige. Tr. of Paisiello's L'innocente for- 
 tunata. 
 
 Der glueckliche zufall. A. T. of Lange's List und ungefaehr. 
 
 Die gluecklichen jaeger. Ein singspiel in drey aufzuegen. In 
 musik gesetzt von hrn. Umlauf. 
 
 n. i., n. d. p. [69}-132. 16\ cm . (Gottlieb Stephanie d.jung., Sing- 
 spiele, Liegnitz, 1792, no. 2.) 
 
 Detached copy. First performed at Vienna, Karnthnerthor Theater, February 
 17, 1786 (Schatz); February 17, 1785 (Haas). SCHATZ 10525 
 
 Die gluecklichen reisenden. Tr. of Anfossi's I viaggiatori felici. 
 
 Der gluecks wechsel oder Mutter Natur in ihren kindern. Tr. of 
 Piccinni's Le vicende della sorte.
 
 570 LIBRARY OF CONGRESS 
 
 Das gluekliche bauern maedchen. A. T. of Dieter's Das frey- 
 schiessen. 
 
 Die gnade des Titus. Tr. of Hasse's La clemenza di Tito. 
 
 Gneo Marzio Coriolano. Drama musicale fatto rappresentare da' 
 Signori Accademici del Casino sotto la protezione del sereniss. prin- 
 cipe cardinale Francesco Maria di Toscana. 
 
 G. A. Moniglia, Poesie drammatiche, parte prima, Firenze, Vincen- 
 zio Vangelisti, 1689, p. [299]-378. 24. 
 
 Three acts. Argument and prefatory note, which reads in part: 
 "Fu questo drama composto dall' autore per eervirne la sereniss. granduchessa 
 Vittoria sua signora, la quale dopo un' anno ne fece regalo al serenissimo principe 
 Francesco Maria oggi cardinale de' Medici, e 1'A. S. sotto 1'autorevole sua protezione 
 
 10 espose alle scene de' Sig. Accademici del Casino, posto in musica dal padre Lorenzo 
 Cattani Agostiniano, maestro di cappella dell' illustriss. e sacra religione de' cava- 
 lieridi S. Stefanoin Pisa . . . Ben dodici volte fu recitata, e I'istesso numerosissimo 
 concorso v'intervenne la prima, che 1'ultima volta, adoprando ciascheduno industria 
 nel ritrovar mezzi per essere ammesso all' udienza ..." 
 
 Firet performed as indicated, summer 1686. ML 49.A2M7 
 
 Les gnomes ou L'amour ambitieux. Entree in Duval's Les genies. 
 I gobbi. A. T. of Portugal's La somiglianza. 
 
 Golconda liberata dalla tirannide di Scour-Malou. A. T. of 
 
 the ballet La Galzeuca. 
 
 < 
 
 The golden pippin : an English burletta, in three acts. As it is per- 
 formed at the Theatre Royal, Covent Garden. By the author of 
 Midas. 
 
 London, T. Becket, 1773. 2 p. 1., 51 p. 20 cm . 
 
 By Kane O'Hara. The music is a pasticcio made up partly of ballad airs, partly 
 from Francesco [di Majo?], Galuppi, Giordani, Duni, Philidor, Fischietti, 
 Fisher, Monsigny, Hsendel, Bryan, Bates, Vivaldi, and especially Thomas 
 Augustin Arne, who selected and arranged the music. 
 
 First performed, as indicated, February 6, 1773. LONOE 26 
 
 The golden pippin. In two acts. By Kane O'Hara, Esq. 
 
 19 cm . [57]-79 p. (Collection of the most esteemed farces and enter- 
 tainments, t. Hi, Edinburgh, 1792.) 
 
 Covent-Garden and Edinburgh (1776) casts. Names of the composers. 
 
 SCHATZ 11753C 
 
 Das goldene gefaess. A. T. of Kauer's Hitter Willibald. 
 Golpone e Birina, intermezzi. See Ciacomelli's Achille in Aulide. 
 
 11 gondoliere ossia Gli sdegni amorpsi. Intermezzo di due parti per 
 musica. Rappresentato per la prima volta in Milano nelP anno 
 MDCCXXXIL 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 35, 
 [39]-50 p. 18\. 
 
 Two parts. 
 
 First performed at Milan in January, 1733, according to Schatz, who does not 
 know the composer. PQ
 
 OPERA LIBRETTOS 571 
 
 II gondoliere Continued. 
 
 Gli sdegni amorosi. Intermezzo. 
 
 [247}-256 p. 16% cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. iv, Torino, 1757.} 
 
 Two parts. 
 
 II Gonzalvo, ballet. See Anfossi's Le gelosie fortunate. 
 Gonzalvo in America, ballet. See Nicolini's Gli Sciti. 
 
 ' y II Gordiano. Drama per musica da rappresentarsi nel famoso Teatro 
 Vendramino di San Salvatore Fanno 1688 . . . 
 Venetia, Francesco Nicolini, 1688. 60 p. 14\ cm - 
 
 Three acts. By Adriano Morselli, who is not mentioned. Publisher's dedication, 
 notice to the reader with name of Domenico Gabrieli as composer, argument, and 
 scenario. SCHATZ 3404 
 
 II Gordiano Pio. Drama per musica nel felicissimo giorno nata- 
 lizio della S. R. M 4 . 4 di Giuseppe I. re de' Romani . . . Rappresen- 
 tata nella citta di Neustatt 1 anno MDCC. Posto in musica dal Sig. 
 Marc' Antonio Ziani . . . conFarie perli ballettidelSig^Gio. Gioseffo 
 Hoffer . . . 
 
 Vienna d' Austria, Susanna Cristina, vedova di Matteo Cosmerovio, 
 n. d. 6 p. I, 101 p. 14\ cm . 
 
 Three acts and licenza. Dedication by the author, Donate Cupeda, dated Vienna, 
 July 26, 1700, argument, scenario, and notice to the reader, in which Cupeda says: 
 
 ' ' Questo drama composto nella convalenza da una lunga infirmita, no poteva riuscire 
 che un' aggregato di debolezze ... La sua lunghezza, che nella rappresentazione 
 avrebbe portato assai piu di tempo, che'l prescritto da sovrano comando, m'ha obbli- 
 gato a seguire il costume, che corre ne' teatri d'ltalia, cioe d'abbreyiarlo per la 
 musica, con lasciarlo intero alia stampa. I versi che in quella si tralascieranno, sono 
 eegnati con le due virgolette "; m& perche tal volta accade, ch'alcuno no si toglia 
 interamente, si e aggiunto up picciolo asterismo *, che dinotera quella parte di eseo, 
 che rester^, ancora nella musica ..." 
 
 Accordingly, for instance, the whole scene I, 6, "Se di Roma per 1'impero," was 
 dropped and in I, 12, the aria, "Per le svele erra, e si lagna," was followed by the 
 words "Amata Oronta," etc. SCHATZ 11188 
 
 Gott Mars oder Der eiserne mann. Ein komisches singspiel in zwey 
 aufzuegen. Text und musik ist vom herrn von Dittersdorf. 
 Oels, Ludwig, n. d. 96 p. 16 cm . 
 
 First performed at Oels, Hoftheater, May 30, 1795. SCHATZ 2592 
 
 Der gouverneur der canarischen inseln. Tr. of Ghinassi's H 
 governatore dell' isole canarie. 
 
 II governadore. Commedia per musica di Domenico Canica. Da 
 rappresentarsi nel Teatro Nuovo sopra Toledo, nel carnevale di quest' 
 annp 1747. 
 
 Napoli, Domenico Langiano, e Domenico Vivenzio, 1747. 80 p. 
 15. 
 
 Three acts. Cast, name of "Niccol6 Croscino" (Nicola Logroscino) as composer, 
 and "protesta" reading in part: 
 
 "Comparisce in istampa, e sulle scene la presente commedia molto di versa da 
 quella. cne gia da prima 1'autore ideata, e scritta 1'avea." SCHATZ 5673
 
 572 LIBRARY OF CONGRESS 
 
 La governance. Intermezzo in musica a cinque voci da rappresen- 
 tarsi nel Teatro Valle dell' illmi Signori Capranica nel carnevale dell* 
 anno 1777 . . . 
 
 Roma, Arcangelo Casaletti, 1777. 55 p. 15 cm . 
 
 Two parts. Author not mentioned and unknown to Schatz. Dedication, impri- 
 matur, cast, and name of Michele Mortellari as the composer. SCHATZ 6686 
 
 II gpvernatore dell' isole Canarie. Intermezzo in musica a cinque 
 voci da rappresentarsi nel Teatro Valle degl' illustriss. Sigg. Capra- 
 nica nel carnevale dell' anno 1785 . . . 
 
 Roma, Agostino Palombini, n. d. 54 p. 15 cm . 
 
 Two acts. By Catterino Mazzola, who is not mentioned. Cast and name of 
 Agostino Accorimboni as composer. ML 50.2.G6A2 
 
 II governatore dell' isole Canarie. Intermezzo in musica da rap- 
 presentarsi nel Teatro di S. A. E. di Sassonia. 
 Dresda, n. publ., 1785, n. d. 143 p. 16 cm . 
 
 Two acts. By Caterino Mazzola, who is not mentioned. Stefano Ghinassi is 
 named as the composer. German title page, "Der gouverneur der canarischen 
 inseln," and text face Italian. SCHATZ 3802 
 
 The governess, a comic opera: As it is performed at the Theatre- 
 Royal in Crow-street. 
 
 Dublin, n. publ., 1777. 2 p. 1., 40 p. 16$ cm . 
 
 Three acts. Cast. A pirated version by Ryder who took the part of Enoch Issachar 
 of "The duenna," text by Sheridan, music by Thomas Ldnley, father, and Thomas 
 Linley, son. According to Tufts, a 1793 Dublin ed. calls Sheridan the author. 
 
 LONGE 148 
 Second copy. LONGE 323 
 
 Das grab des Mufti oder Die zwey (zwei) geizigen. Tr. of Gretry's 
 Les deux avares. 
 
 Das grab des Mufti, oder Die zwey geizigen. Eine komische oper 
 in zwey akten von A. G. Meissner. 
 
 Leipzig, Dyfcische buchhandlung, 1776. 4 P- 1-, 95, [1] p. 16 cm . 
 
 Dedication by the author, dated Leipzig, March 8, 1776, and his " Vorbericht," in 
 which he concedes the impossibility of avoiding all the defects of the French original 
 ["Les deux avares"] by Falbaire, and says: 
 
 "Ob es mir im gegentheil gelungen sey, durch ganz neue gesaenge, durch ein 
 drittheil neuer scenen, durch mehrern dialog, anstatt des bey nan immer fortdauern- 
 den singens, und durch gaenzliche umarbeitung von Karls und Wilhelminens charak- 
 ter das stueck eelbst zu yerbessern, das mag das urtheil der kenner entscheiden; 
 wenn sie anders diese kleinigkeit der muehe werth schaetzen, sie mit dem urbilde, 
 oder wenigstens mit der woertlichen uebersetzung des herrn Andre zu vergleichen. 
 Der beyfall einiger meiner freunde .... und beynahe noch mehr als dies, das ver- 
 sprechen eines unsrer grossten tonkuenstler, des herrn [Johann Adam] Hiller, der 
 diese arbeit in der handschrift sah, und ihr naechstens durch seine komposition 
 vorzuege zu geben versprach, die sie jetzt noch nicht besitzt, haben mich zu diesen [!] 
 echritt ermuntert ..." 
 
 First performed at Leipzig, Theater am Rannstadter Thore, January 17, 1779. 
 
 SCHATZ 4720 
 
 Das grab des Mufti, oder Die zwey geizigen. In zwey akten. 
 Nach Falbaire. 
 
 A. G. Meissner, Operetten, Leipzig, 1778. 5 p. 1., 95, [1] p. 17 cm . 
 
 Same as the 1776 edition, the first p. 1., with the title page for the collection, having 
 been added. ML 49.A2M3 
 
 I
 
 OPERA LIBRETTOS 573 
 
 Ein grab in Arkadien. L. T. of Schmittbauer's Lindor und 
 Ismene. 
 
 Les Graces, ballet en action, tire de la piece de M. de Sainte-Foix; 
 de la composition de M. Gardel Tame . . . Represents devan 
 Leurs Majestes a Versailles le 4 fevrier 1779. 
 
 [Paris], P. R. C. Bollard, 1779. 16 p. 20. 
 
 One act. Cast. Not recorded by Lajarte. Composer of the music unknown 
 to me. ML 52.2.G7 
 
 The Graces: an Anacreontic ballet. 
 
 Jean George Noverre Works. Tr. from the French, London, 1783, 
 v. 3, p. [93]-144. 21\. 
 
 One act. Preface, argument, and detailed description of the eleven scenes. 
 
 GV 1787.N8 
 
 The Graces. An intermezzo ; in one act. As it is performed at the 
 Royal Circus in St. George's Fields. 
 London, G. Kearsly, 1782. 24 p. 21 cm . 
 
 One act. Text and music by Charles Dibdin, who is not mentioned. 
 
 LONGE 256 
 
 Les Graces, ballet-heroique, represente par 1'Academie royale de 
 musique, Tan 1735. Paroles de M r . Roy. Musique de M r Mouret. 
 CXXII. opera. 
 
 n. i., n. d. 75 p. 14\ cm - (Recueil general des opera, Paris, t. xvi, 
 1745). 
 
 Prologue and the entrees, "L'ingenue," "La melancholique," "L'enjoue." 
 A vertissement . 
 
 First performed, as indicated, May 5, 1735. ML 48. R4 
 
 Les Graces vengees. Tr. of Metastasio's libretto Le Grazie 
 vendicate. 
 
 Die graefinn von Amalfi. Tr. of Weigl's La contessa di Amalfi. 
 Graf Albert. Tr. of Gretry's Le comte d'Albert. 
 
 Graf Balbarone oder Die maskerade. O. T. of Gerl's Der bestrafte 
 hochmuth. 
 
 Der graf bey guterlaune. Tr. of Bernardini's II conte di bell' 
 umore. 
 
 Der graf Caramella. Tr. of Galuppi's II conte Caramella. 
 
 Gesaenge aus dem singspiele : Graf von Waltron oder Die subordi- 
 nation, in vier aufzuegen. In musik gesezt von Ignaz Walter. 
 Hamburg, Joh. Matthias Michaelsen, 1792. SI p. 16 cm . 
 
 The author, Johann Baptist Bergobzoomer, is not mentioned. 
 
 First performed at Riga, Vietinghoff'sches Theater, Dec. 31/Jan. 11, 1785/1786. 
 
 SCHATZ 10860 
 
 II gran Cidde. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1769 alia presenza di S. S. R. M. 
 
 Torino, Onorato Derossi, n. d. xii, 50 p. 16 cm . 
 
 Three acts. Argument, cast, scenario, name of the author, Giovacchino Pizzi, and 
 of the composer, '"Carlo Defranchi" (Franchi). The ballet airs were composed by 
 Giuseppe Antonio Le Messier and "Paolo Ghebart." 
 
 First performed, as indicated, December 26, 1768. SCHATZ 3328
 
 574 LIBRARY OF CONGRESS 
 
 II gran conte di Cordanova. Farsetta in musicaatre vocida rap- 
 presentarsi nel Teatro a' Saponari nel carnevale dell' anno 1754 . . . 
 Roma, Puctinelli, 1754. 24 p. 15^ cm . 
 
 Two parts. Author not mentioned and unknown to me. Possibly Girolamo 
 Aureli wrote the text. Cast, name of Giovanni Masai as composer and impresario's 
 dedication which begins: 
 
 "La mira principale di quest' intermezzi, che vi offeriamo, e stata, come bene 
 apparisce di notare e pungere la ridicola ambizione di taluni; che quantunque da 
 bassi natali traggan 1'origin loro, vogliono tuttavia spacciarsi par nobili e generosi." 
 
 ML 50.2.G68M2 
 
 II Gran Costanzo ... da rappresentarsi nel Teatro di Mantova. 
 Mantova, Gio. Batt. Grana, 1706. 72 p. 15 cm . 
 
 Three acts. Dedication and argument. Neither author nor composer mentioned. 
 Work unknown to Schatz, Allacci, etc. ML 50.2.G7 
 
 II gran Macedone. Drama per musica da rappresentarsi nel Teatro 
 di San Casciano 1'anno 1690 . . . 
 
 Venetia, Girolamo Albrizzi, 1690. 69 p. 12. 
 
 Three acts. Impresario's dedication, dated "[blank] November, 1690, scenario, 
 argument, notice to the reader, with name of the composer, Giuseppe Boniventi, but 
 not of the librettist, Giulio Pancieri. On p. 69, this notice to the reader: 
 
 "Se nell' opera scorgerai, che in una medesima scena, come quella delle Loggie 
 dirupate vengono personaggi piu d'una volta, compatisci, perche non vi e stato com- 
 mode di raddoppiar le mutazioni di scene." SCHATZ 1191 
 
 II gran Mogol. O. T. of Lalli's text L'Argippo. 
 
 II gran Mogol. Drama per musica di Domenico Lalli. Da rappre- 
 sentarsi nel Teatro di S. Bartolomeo nel giorno 26. di decembre 
 1713 . . . 
 
 Napoli, Michele Luigi Muzio, 1713. 6 p. 1., 56 p. 14 cm . 
 
 Three acts. Dedication by the impresario, Nicola Serino, argument, scenario, 
 cast, names of Francesco Mancini as composer and of Angiolo Birini as author of the 
 buffo scenes and of certain designated arias. SCHATZ 5879 
 
 II gran Tamerlano. Dramma per musica da rappresentarsi nel 
 Regio-Ducal Teatro di Milano nel carnovale dell' anno 1772 . . . 
 Milano, Gio. Batista Bianchi, n. d. 76 p. 14% cm - 
 
 Three acts. By conte Agostino Piovene, who is not mentioned. Dedication, argu- 
 ment, cast, name of Joseph Misliweczck as the composer, and avvertimento: 
 
 "Le scene, le arie ec. contrassegnate col seguente asterisco (*) sono aggiunte, o 
 cambiate. Un tale arbitrio non rechera maraviglia a chi sa, che il Tamerlano, o sia 
 il Bajazet stato sformato tante volte, quante e comparsp sopra le scene. Qualunque 
 per6 egli eiasi al presente, non si togliera da esso il merito della buona volonta a chi 
 ha stimati necessari simili cambiamenti." 
 
 First performed, as indicated, December 26, 1771. SCHATZ 6530 
 
 II gran Tamerlano. Tragedia per musica, da rappresentarsi sul 
 Regio Teatro Danese, nel principio dell' anno 1764. Den store 
 Tamerlan . . . oversadt paa dansk, af R. Soelberg . . . 
 Kifflenhavn, Lars Nielsen Svare, n. d. 103 p. 16 cm . 
 
 Three acts. By conte Agostino Piovene, who is not mentioned. Argument, cast, 
 and name of Giuseppe Sarti as the composer. ("La musica e tutta nuova.") 
 
 SCHATZ 9445
 
 OPERA LIBRETTOS 575 
 
 II gran Tamerlano. Drama per musica da rappresentarsi nel 
 famosissimo Teatro Grimano di SS. Gio. e Paulo ranno 1689 di 
 Giulio Cesare Gorradi . . . 
 
 Venetia, Nicolini, 1689. 80 p. lJ& cm . 
 
 Three acts. Author's dedication, scenario, and argument, with name of Marc' 
 Antonio Ziani as the composer. 
 
 First performed, as indicated, carnival, 1689. SCHATZ 11189 
 
 II gran Tamerlano vincitore di Bajazet. Da rappresentarsi nel 
 Teatro Vendramin a San Salvatore. L'autunno del 1746. 
 
 Venezia, Alvise Valvasense, 1746. 15 p. 17% cm . 
 
 One act. By "Sig. Verdacchio Predamosche, fra Disperati il Satirico." Cast, 
 argument, and name of Daniel Barba as composer. SCHATZ 598 
 
 La grand-mere amoureuse, parody. See Lully's Atys. 
 
 La grandezza d'animo oder Arsinoe [vignette]. In einem singe- 
 spiel auf dem grossen Hamburgischen Schau-platze vorgestellet. Im 
 jahr 1710. 
 
 n. i., n. d. Unpaged. 19 cm . 
 
 Five acts. Scenario and "vorbericht," with name of Reinhard Keiser as the 
 composer. The author, resp. translator, Breymann, is not mentioned. The Italian 
 text has been added to some of the arias. SCHATZ 5093 
 
 Le Grazie vendicate. Componimento drammatico rappresentato 
 in musica nelF Imperial Fayorita il di 28. agosto 1735 per resteggiare 
 il felicissimo giorno natalizio della augustissima imperadrice. 
 
 11 p. 19 cm . (Pietro Metastasio, Opere drammatiche, Venezia, 
 Giuseppe Bettinelli, 1733-37, v. 4.) 
 
 One act. No composer mentioned. ML 49.A2M4 
 
 Le Grazie vendicate. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t. mi, [241]-257 p. 
 16 cm . 
 
 One act. ML 49.A2M42 
 
 - Le Grazie vendicate. Azione teatrale, scritta dall' autore in 
 Vienna, 1'anno 1735, . . . rappresentata la prima volta con musica 
 del Caldara negl' interni privati appartamenti dell' Imperial Favorita 
 dalle reali arciduchesse Maria Teresa (poi imperatrice regina) e 
 Marianna di lei sorella, e da una dama della Cesare corte, per festeg- 
 giare il di 28 agosto, giorno di nascita dell' imperatrice Elisabetta. 
 
 [393]~406 p. 26 cm . (Pietro Metastasio, Opere, t. Hi, Parigi, vedova 
 Herissant, 1780.} 
 
 One act. ML 49.A2M44 
 
 - Les Graces vengees. Drame en musique, execute" au Palais do 
 la Favorite, pour cele'brer le jour de la naissance de Pimpe'ratrice, 
 epouse de Charles VI. 
 
 Metastasio, Tragedies-opera, Vienne, 1751, t. iv, 19 p. 14 cm - 
 One act. Richelet's translation. ML 49.A2M47
 
 576 LIBRARY OF CONGRESS 
 
 Die Grazien, ein prolog. Zur hoechsten geburtsfeyer des prinzen 
 Heinrichs Koeniglicher Hoheit, von C. L. Hempeln, geb. Karschin. 
 
 9-18 p. 18 cm . (Theater Journal fuer Deutschland, Sechstes stueck, 
 Goiha, 1778.) 
 
 The composer, Johann Andr6, is not mentioned. 
 
 First performed at Berlin, Dobbelinsches Theater, January 18, 1778. SCHATZ 187 
 
 Second copy. SCHATZ 11754 
 
 Di Greci festeggianti la riconciliazione d'Achille e d'Agamenjnone, 
 ballet. See Bianchi's Briseide. 
 
 I Greci in Tauride, dramma per musica in tre atti da rappresentarsi 
 nel Regio Teatro di Berlino per ordine di Sua Maesta nel carnovale del 
 MDCCLXXIII. 
 
 Berlino, Haude e Spener, 1772. 91 p. 16 cm . 
 
 By Antonio Landi, who is not mentioned. Argument, scenario, and name of the 
 composer, Johann Friedrich Agricola. German title-page, "Die Griechen in 
 Taurica," and text face Italian. A footnote on p. [8] informs the reader that certain 
 arias were taken from the same composer and author's ' ' Oreste e Pilade " of the pre- 
 vious season. The facts are these, according to Schneider's history of opera in Berlin: 
 The second opera of the carniveval season of 1772 was this "Oreste e Pylade," which 
 displeased Frederick the Great so much that he ordered a revision of the work. 
 This revision was first performed on March 24, 1772, under the title of "I Greci in 
 Tauride," at Potsdam. SCHATZ 68 
 
 II Greco in Troia. Festa teatrale rappresentata in Firenze per le 
 nozze de' serenissimi sppsi Ferdinando Terzo, principe di Toscana, e 
 Violante Beatrice, principessa di Baviera. 
 
 Firenze, Stamperia di S. A. S., 1688. 7 p. 1., 96 p. 16 cm . 
 
 Three acts. Dedication by the author, Matteo Noris, dated December, 1688, 
 scenario, and notice to the reader. Composer not mentioned, and unknown to Schatz. 
 
 SCHATZ 11339 
 The green-room controversy. A. T. of The rivals. 
 
 The Greshamite. A. T. of Harlequin-Hydaspes. 
 
 Grespilla e Fanfarone, intermezzi. See Caldara's II Germanico 
 Marte. 
 
 Gretna Green, a comic opera, in two acts. As performed at the 
 Theatre Royal, Smoke- Alley. 
 
 [Dublin], Printed for the booksellers, n. d. 22 p. 17\ cm . 
 
 Neither the author, Charles Stuart, is mentioned, nor the composer, Samuel Arnold. 
 
 No ballad airs indicated in the text, though the opera consisted mostly of "Italian, 
 French, Irish, English & Scotch music" as the title page of Preston's vocal score 
 tell us The airs used are indicated in the vocal score, which contains two numbers 
 headed as by Giordan! and only one number "September the thirteenth" besides 
 the overture as composed by Arnold. 
 
 First performed at London, Haymarket, August 28, 1783. LONGE 233 
 
 The grey mare the better horse. A. T. of The Welsh opera. 
 Die Griechen in Taurica. Tr. of Agricola's I Greci in Tauride. 
 
 Grille tta e Pimpinone. Intermezzi by Conti in his opera Sesostri 
 re di Egitto, Vienna, 1717. 
 
 SCHATZ 2198
 
 OPEEA LIBRETTOS 577 
 
 Griselda. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744> t- wi> P' 86. 19 cm . 
 
 Three acts. Prefatory note and argument. No composer is mentioned. In the 
 "Catalogo," at end of t. x, date and place of first ed. are given as "in Venezia 1701. 
 E in Vienna 1725 . " ML 49 . A2Z3 
 
 - Griselda. Pubblicata per la prima volta in Venezia 1701. 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. II, p. 137- 
 
 216. 21 cm . 
 
 Three acts. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Griselda. Drama per musica da rappresentarsi nel Teatro Tron 
 di S. Cassiano nel carnovale 1728 . . . 
 
 Venezia, Andrea Rumieri, 1708 [!] 55 p. l^\ cm . 
 
 Three acts. Publisher's dedication dated Venice, January 26, 1728, argument, 
 scenario, cast, name of Tommaso Albinoni as composer, and notice to the reader, in 
 which this is called an altered version of Zeno's "Griselda." SCHATZ 120 
 
 Griselda. 
 
 [142}-1 86 p. 17 cm . (Rolli, Componimenti poetici, Nuova edizione, 
 Verona, G. Tumermani, 17 44-) 
 
 Three acts, based on Zeno. Argument and dedication. The composer, Giov. 
 Batt. Bononcini, is not mentioned. 
 
 First performed at London, Haymarket, February 22, 1722. ML 49.A2R7 
 
 Griselda. Drama per musica da rappresentarsi nel Teatro Tron di 
 S. Cassiano 1'autunno dell' anno MDCCLI. 
 
 n. i., n. d. 66 p. 
 
 Three acts. Argument, scenario, cast, name of Gaetano Latilla as the composer, 
 and note that this drama by Apostolo Zeno has been kept intact "a scena per scena," 
 except "di qualche arietta, e di qualche parola, per maggior comodo della musica." 
 
 First performed at Venice, 1751, as indicated. SCHATZ 5460 
 
 Griselda, ballet. See Martin y Soler's Ifigenia in Aulide. 
 
 Griselda. Drama per musica da rappresentarsi nel Teatro Grimani 
 di S. Samuele nel mese di maggio deU anno 1720 . . . 
 Venezia, Marin Rossetti, 1720. 60 p. 14% cm . 
 
 Three acts. Impresario's dedication, argument, cast, scenario, name of Gioseppe 
 Maria Orlandini as the composer, and notice to the reader, which is characteristic: 
 
 "II presente dramma rappresentato in Venezia nel 1701 nel Teatro Tron di S. 
 Cassano . . . composto dall' incomparable penna del celeberrimo letterato, Sig. 
 Apcstolo Zeno . . . questo adunque se in qualche parte adulterate si vede, per il 
 cambiamento dell' arie, nomi di personaggi, ed altre picciole mutazioni, ad altro 
 attribuir non si deve, che alia pura necessita di averlo dovuto stampare, come per 
 1'apunto e stato ultimamente recitato in Mantova nel 1718 dopo 1'applauso, che per 
 quasi tutti li teatri d'ltalia ha riportato ..." 
 
 First performed with Orlandini's music at Brescia, Teatro dell' Accademia degli 
 Erranti, 1716? SCHATZ 7330 
 
 La virtu nel cimento. Dramma per musica da rappresentarsi 
 nel Teatro arciducale di Mantova nel carnovale dell' anno MDCCXVII 
 
 Mantova, Alberto Pazzoni, n. d. 63 p. 15 cm . 
 
 Three acts. By Apostolo Zeno who is not mentioned. Impresario's dedication 
 dated Mantova, January 16, 1717, argument, cast z scenario, and name of Giuseppe 
 Maria Orlandini as the composer. Most of the dialogue and a number of arias are 
 identical with Schatz 7330, but many arias are different. For instance, that of I, 5, 
 in the Mantova version reads "Nella crudel mia eorte," in the Venice version, "Non 
 e colpa del cor." SCHATZ 7331 
 
 72251 VOL 114 - 37
 
 578 LIBRARY OF CONGRESS 
 
 La Griselda. Dramma eroicomico per musica da rappresentarsi nel 
 nobilissimo Teatro di San Samuele per la prima opera dell' autunno 
 1793 . . . 
 
 Venezia, Modesto Fenzo, 1793. 2 pi., 83 p. 20 cm . 
 
 The plates are designed by F. Galimberti, engraved by G. Zatta. Two acts. 
 Dedication by the author, Angelo Anelli, who is not mentioned, argument, cast, 
 scenario, and name of Niccolo Piccinni as the composer. With the opera were per- 
 formed Guiseppe Canciani's ballets, "Piramo e Tisbe" and "II tra/iimento punito." 
 The composers of the music are not mentioned. 
 
 First performed, as indicated, October 8, 1793. SCHATZ 8095 
 
 La Griselda. Dramma eroicomico per musica da rappresentarsi 
 negl' Imperiali fegi teatri di corte. Vienna 1794. 
 
 [Vienna], Mattia Andrea Schmidt, n. d. 119 p. 16\ cm . 
 
 Two acts. Niccol6 Piccinni is mentioned as composer. German title-page, 
 "Griselda," and text face Italian. 
 
 First performed, as indicated, August 30, 1794. SCHATZ 8096 
 
 Griselda. Drama per musica, da rappresentarsi nel Teatro di S. 
 Casciano. L'anno MDCCI ... 
 
 Venezia, Niccolini, 1701. 72 p. 15 cm . 
 
 Three acts. Dedication by A[postolo] Zfeno] as the author ("questo mio drama "), 
 argument, scenario, and notice to the reader, in which Zeno points out the differ- 
 ences between his plot and the sources. The composer, Antonio Pollaroli, is not 
 mentioned. SCHATZ 8266 
 
 Griselda. Dramma per musica da rappresentarsi nel Teatro di 
 S. A. S. E. di Baviera. Nel carnevale dell anno 1735. 
 Monaco, Giovanni Giacomo V'otter, n. d. 85 p. 15 cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Argument, scenario, cast. 
 Pietro Torri, the composer, is not mentioned. 
 
 First performed at the same theater, October 12, 1723. SCHATZ 10365 
 
 Griselda. Drama per musica da rappresentarsi nel Teatro Grimani 
 di S. Samuel nella fiera dell' Ascenssione 1'anno 1735 . . . 
 Venezia, Marino Rossetti, 1735. 47 p. 15\ cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Dedication, argument, 
 cast, scenario, and name of Antonio Vivaldi as the composer. SCHATZ 10770 
 
 Der grosse konig der afrikanischen Wenden Gensericus als 
 Roms und Karthagos ueberwinder. O. T. of Conradi's Sieg der 
 schoenheit. 
 
 Das grosse loos. Eine komische oper in zwey aufzuegen. Fuer das 
 herzogl. Weimarische Hof-Theater. Die musik ist vom herrn capell- 
 meister Wolf. 
 
 Weimar, Carl Ludolf Hofmann, 1774- 112 p. 15 cm . 
 
 By Friedrich Just Bertuch (not mentioned) after Favart's Le cocq de village. 
 
 First performed at Gotha, Schloss-Theater im Ballhause, September 2, 1774. 
 
 SCHATZ 11080 
 
 Der grossmuethige bassa. Tr. of Bernardini's II bassa generoso.
 
 OPERA LIBRETTOS 579 
 
 Der grossmuethige Roland in einem singe-spiel auff dem Ham- 
 burgischen Theatre vorgestellet. Im jahr 1695. 
 
 n. i., n. d. Unpaged. 18 cm . 
 
 Three acts. Gottlieb Fiedler (not mentioned or Ludwig Postel, according to 
 Neieser), the translator says in the prefatory note, which contains also the argument: 
 
 "Dieses schau-spiel, wie imgleichen La superbia <T Alessandro sind vormahls auff 
 den praechtigen theatro zu Hannover mit so grossen vergnuegen der Durchlauch- 
 tigsten Herrschaft als auch aller hohen anwesenden auffgefuehret worden, dass man 
 sich endlich erkuehnet sie nunmehr in teutscher sprache vorzustellen. Es hat aber 
 die unyergleichliche musique, die zu beyden von einem der beruehmtesten virtu- 
 osen dieser zeit gesetzt worden, verursacht, dass die gantze version durchgehends 
 nach selbiger eingerichtet und so viel moeglich auch nicht die geringste expression 
 uebergangen ist." 
 
 These remarks refer to Agostino Steffani, whose "Orlando generoso," text by 
 Ortensio Mauro, had first been performed at Hanover, 1691, in December. 
 
 First performed at Hamburg, Opernhaus beim Gansemarkt, January, 1696. 
 
 SCHATZ 10034 
 
 Der grossmuethige Scipio Africanus, in einem singe-spiel auf 
 dem Hamburgischen schau-platz vorgestellet 1694. 
 
 n. i., n. d. Unpaged. 18 cm . 
 
 Three acts. Argument. Neither Gottlieb Fiedler, the author, is mentioned, nor 
 Johann Sigismund Kusser, the composer. Text based, according to Schatz, on 
 conte Niccol6 Minato's "Scipione Affncano." SCHATZ 2285 
 
 Der grossmuethige seefahrer. Tr. of Piccinni's Gli stravaganti. 
 
 Der grossmuethige Spanier. Tr. T. of the ballet L'Espagnol 
 g6nereux. 
 
 Die grossmuethige Spartanerin oder Archidamia. Tr. of Hasse's 
 La Spartana generosa. 
 
 Die grossmuethige Tomyris. [vignette] In einem sing-spiel auf 
 dem Hamburgischen schau-platz fuergestellet in monath Julius, 1717. 
 Hamburg, FriedricJi Conrad Greflinger, n. d. Unpaged. 19 crA . 
 
 Three acts. Scenario, dedication signed with the initials of the author, Johann 
 Joachim Hoe, historical "vorbericht" with statement that the text is based on one 
 by Domenico Lalli ["L'amor di figlio non conosciuto"], and note that this is the 
 sixty-eighth opera by Reinhard Keiser. To some of the arias the Italian text has 
 been added. SCHATZ 5094 
 
 Die grossmuethigen feinde. Tr. of Cimarosa's I nemici generosi. 
 
 La grotta del mago Merlino. Farsetta per musica a cinque vpci 
 da rappresentarsi nel Teatro Valle dell' illustrissimi Signori Capranica 
 nel carnevale dell' anno 1786 . . . 
 
 Roma, Gioacchino PuccineUi, 1786. 51 p. 15\ cm . 
 
 Two acts. Cast and name of Antonio Amiconi (Amicone) as composer. Author 
 unknown to Schatz. SCHATZ 175 
 
 La grotta di Trofonio. Commedia per musica da rappresentarsi 
 nel Teatro de' Fiorentini per terza opera del corrente anno 1785. 
 Napoli, n. publ, 1785. 57 p. 15 cm . 
 
 Two acts. Argument, cast, name of Paisiello as the composer, and notice by the 
 author Giuseppe Palomba, in which he admits his indebtedness to Casti's libretto of 
 the Bame title (music by Salieri), though protesting that, on the whole, his text is a 
 different treatment of the subject. The <r eruditi versi " of Casti, with which he has 
 enriched hie own "debole vereeggiatura," are designated by asterisks, and are: "Oreii
 
 580 LIBRARY OF CONGRESS 
 
 La grotta di Trofonio Continued. 
 
 gia compresi il vostro desio " (1, 1), " Spirti invisibili " (1, 5), ' ' Ma non avreete appetito 
 di noi" (II, 12), "Trofonio, Trofonio, filosofo Greco" (II, 17), "In questo minuto" 
 (II, 18), "L'umore e il cervello" (II, 18). SCHATZ 7680 
 
 - Die Trofonius-hoehle. Ein kpmisches singspiel in zwey aufzuo- 
 gen. Aus dem italianischen auf die musik des herrn Paesello iiber- 
 setzt, von Stephanie dem juengem. 
 
 [Wien, n. d.], bey dem logenmeister. 109 p. 17 cm . 
 
 First performed, with Palomba's Italian text, at Vienna, Burgtheater, July 15, 
 1787. SCHATZ 7704 
 
 La grotta di Trofonio. Opera comica da rappresentarsi nel Teatro 
 di S. A. E. di Sassonia. 
 
 Dresda, n. publ, 1786. 157 p. 15 cm . 
 
 Two acts. The author, Giambattista Casti, is not mentioned. The composer, 
 Antonio Salieri, is mentioned. German title-page, "Die hoehle des Trophonius," 
 and text face Italian. 
 
 First performed at Vienna, Burgtheater, October 12, 1785; at Dresden in 1786, aa 
 indicated. SCHATZ 9297 
 
 - La grotta di Trofonio. Dramma giocoso per musica da rappre- 
 sentarsi in Parma nel R. D. Teatro di corte il carnevale dell' anno 
 MDCCXCI . . . 
 
 Parma, Stamperia Carmignani, n. d. viii, 60 p. 18 cm . 
 
 Two acts. By Giambattista Casti, who is not mentioned. Scenario and name of 
 Antonio Salieri as the composer. SCHATZ 9296 
 
 Die zauberhoele des Trofonius, eine komische oper in zwei 
 akten nach der italienischen oper La grotta di Trofonio. Die musik 
 ist von herrn Salieri . . . Frei uebersetzt von Johann August 
 Halbe, schauspieler. Aufgefuehrt auf der 1C. K. priv. Leopoldstadter 
 Schaubuehne. 
 
 [Wien}, Maihias Andreas Schmidt, 1789. 79 p. 17$ cm . 
 
 First performed 1789, as indicated. SCHATZ 9298 
 
 Arien und gesaenge aus Trofons zauberhoele. Ein komisches 
 singspiel in zwey aufzuegen. Aus dem italienischen uebersetzt. 
 Die musik ist von Salieri. 
 
 Riga, Julius Conrad Daniel Mueller, 1794. 20 p. 17 cm . 
 Two acts. The translator, Christian Gottlob Neefe, is not mentioned. 
 First performed at Riga, Theater i. d. Konigsstrasse (Sept. 22) October 3, 1794. 
 
 SCHATZ 9299 
 
 La grotte de Versailles. See Lully's L'eglogue de Versailles. 
 Qrotte di Vulcano. See Scipione Affricano. 
 
 The grove, or Love's paradice. An opera, represented at the Theatre 
 Royal in Drury-Lane ... By Mr. Oldmixon. 
 
 London, Richard Parker, 1700. 4 p. 1., 46, [2} p. 21tf m . 
 
 Five acts, with prologue and epilogue. Cast, dedication, and preface, in which 
 the author says: 
 
 "As for those persons who . . . thought the catastrophe was not enough prepar'd, 
 and that the discovery in the last act was huddled and in confusion, they will now see 
 if what he had writ had been spoken, every thing wou'd have appear 'd clear and 
 natural, which, to shorten the entertainment, had been before broken and disor-
 
 OPEBA LIBRETTOS 581 
 
 The grove Continued. 
 
 der'd . . . 't was at first intended for a pastoral, tho in the three last acts, the dignity 
 of the characters rais'd it into the form of a tragedy ... As to what relates to the 
 composition, no man ever consulted the meaning of words more than Mr. [Daniel! 
 Pure el has done . . ." 
 
 First performed 1700, as indicated. LONGE 79 
 
 Second copy. LONGE 178 
 Grub-street opera. See The Welsh opera. 
 
 Grullo e Dorina, intermezzi. See Caldara's L'Anagilda. 
 
 Grullo, e Moschetta. Intermezzi in inusica da rappresentarsi nel 
 Teatro di S. Angelo nel carnovale 1732. 
 
 Venezia, Carlo Buonarigo, n. d. 16 p. 15% cm . 
 
 Three parts. Author not mentioned, and unknown to Schatz. The composer 
 Giuseppe Maria Orlandini, is not mentioned. SCHATZ 7332 
 
 - Grullo and Moschetta. An interlude. Performed by Sig. 
 Anna Maria Faini, and Signor Antonio Lottini, at the King's Theatre 
 in the Hay-Market. The musick is composed by Sig. Giuseppe 
 Maria Orlandini, chapel master to his Royal Highness the Great 
 Duke of Tuscany. 
 London, J. Chrichley, 1737. 15 p. 16$ cm . 
 
 Not only condensed to two instead of three parts, but so altered as to be largely a 
 different text. The English translation is added. 
 
 First performed 1737, as indicated. SCHATZ 7333 
 
 The guardian out-witted. A comic opera. As it is performed at 
 the Theatre Royal in Covent Garden. The musick composed by 
 Tho. Aug. Arne . . . 
 London, J. and R. Touson and T. Lownds, 1764- vii, [1], 66 p. 
 
 Three acts. Cast and preface, in which Arne, who is also known as the author, 
 though he, "with all possible caution, endeavoured to conceal" his name, calls this, 
 "the fifth dramatic piece I have written," but "the first I ever presumed to offer 
 as a candidate for public approbation," and continues by saying: 
 
 ' ' Should I have failed in the execution, let no unjust imputation fall on the system, 
 which (if properly treated) is, by a mutual display of the sister arts, more various and 
 entertaining than mere speech, unrelieved and unassisted by the power of harmony; 
 for, in this species of drama, the dillettanti in music are drawn to coincide with the 
 lovers of plays, having every charm of an opera, except the recitative, which (though 
 it raises the dignity of the tragic Muse) is not so proper in common conversation ..." 
 
 He then gives his ideas on "recitative in serious operas." 
 
 First performed, as indicated, December 12, 1764. LONGE 36 
 
 Guatimozin ossia La conquista del Messico, ballet. See Zingarelli's 
 Ifigenia in Aulide. 
 
 Der guck kasten, oder Das beste komt zulezt. Eine komische 
 operette in zwei aufzuegen, nach einem italienischen text. 
 
 n. i., n. d. p. [73}-126. (J. C. Kaffka, Sammlung auserlesener 
 iheaterstucke, Breslau, 1784-) 
 
 Detached copy. Composed by the author. 
 
 Firet performed at Breslau, Neues Wasereches Theater, 1782. S.CHATZ 4984
 
 582 LJBBAKV OF CONGBESS 
 
 Gunther von Schwarzburg, ein singspiel in drei aufziigen fiir die 
 kurpfalzische Hofsingbiihne. 
 
 Mannheim, Kuhrfuerstl. Hofbuchdruckerei, n. d. 6 p. I. (incl. port.), 
 83, [1] p. 16 cm . 
 
 The portrait is that of Gunther von Schwarzburg. 
 
 Three acts. Cast, names of Anton Klein as the author, of Ignaz Holzbauer as 
 the composer of the opera, of Cannabich as composer of Lauchery's ballet and bio- 
 graphical sketch of the hero of the opera, which begins with these remarks, revealing 
 the tendency of the author and composer: 
 
 "Deutsche helden, die verdienten, dass ihr bild mitten unter dem menschlichen 
 geschlechte aufgestellet wiirde, sollten die in ihrem vaterlande vergessen werden? 
 1st nur die asche Roms und Athens allein kostbar und verehrungswurdig? Und 
 eind dies auch noch Romer und Griechen; die auf unseren schaubiihnen erscheinen, 
 oder horen wir nur ihren namen nennen? Wir werfen unsere augen auf fremde 
 tugendmuster, die vielleicht niemals gewesen.sind, und sehen nicht, was in unserm 
 Hchose ist. 1st vielleicht liebe zum fremden der hang unserer nation? Nein; ich 
 bemerke, dass es vielmehr eine unruhmliche, ich konte sagen, eine sklavische 
 gewohnheit vieler deutschen schriftsteller ist, die, indem sie alle zeiten und alle 
 volker kennen ? ihre eigenen schatze zu ubersehen scheinen. Wie fruchtbar ist unser 
 boden! wie reich ist das gebiet unserer geschichte! Ich habe mir aus derselben 
 einen der vornehmsten helden gewahlet." 
 
 First performed at Mannheim Churfuerstl. Hoftheater, January 5, 1777. 
 
 SCHATZ 4783 
 
 La guerra aperta. A. T. of Delia Maria's II matrimonio per 
 scomessa. 
 
 La guerra aperta. Commedia per musica da rappresentarsi nel 
 Real Teatro del Fondo di Separazione per quart' opera del corrente 
 anno 1796 . . . 
 
 Napoli, n. puU., 1795. 47 p. 15. 
 
 Two acts. Author not mentioned and unknown to Schatz. Impresario's dedica- 
 tion dated Naples, January 18, 1796, cast, and name of Francesco Buggi as the com- 
 poser. With the opera was performed (composer of the music not mentioned) Gio- 
 vanni Battista Giannini's "Inganno ed amor van sempre insieme, ballo di mezzo 
 carattere." SCHATZ 9144 
 
 La guerra del MDCLXXXIII fra i Turchi e gli Austriaci, ballet. 
 See Rust's Artaserse. 
 
 II guerrier generoso, ballet. See Insanguine's Motezuma. 
 
 La guerriera Spartana. Drama di Giacomp Castoreo. Per rap- 
 presentarsi in musica nel Theatre Novissimo di Sant' Apolinare . . . 
 
 Venetia, Giacomo Batti, 1654- 95 p. (incl. front.) 14 cm . 
 
 Prologue and three acts. Author's dedication dated Venice, January 6, 1654, 
 argument, and notice to the reader with name of Pietro [Andrea] Ziani as composer, 
 and this remark : 
 
 "La mia povera Guerriera e stata accusata in giuditio come rea di non haver a 
 bastanza lussingato il tuo genio; e per castigo (oltre 1'haverli in piu d'un loco amu- 
 tilato le membra) si trattava di disperderli il proprio nome. Vi fu anco chi 1'accusava 
 di furto . . . M& di questo non se ne ^arli, perche potr6 io bene difenderla quando 
 occorresse." SCHATZ 11216 
 
 Die guetigkeit des Titus. Tr. of Bernasconi's La clemenza di 
 Tito. 
 
 Die guetigkeit des Titus. Tr. of Camerlocher's La clemenza di 
 Tito.
 
 OPERA LIBRETTOS 583 
 
 Die guetigkeit des Titus. Tr. of Basse's La clemenza di Tito. 
 Guilt makes a coward. A. T. of Lord Blunder's confession. 
 The Guinea outfit. A. T. of The sailor's farewell. 
 
 La guirlande. Opera-comi^ue, represents pour la premiere fois sur 
 le Theatre de Rouen, le jeudi 24 mars 1757. 
 
 Rouen, De I'imprimerie de Machuel, 1757. 82 p. 19%. 
 
 One act. Cast added by contemporary hand. This is a comedie en vaudevilles 
 and should not be confused with Rameau's one act op6ra-ballet, with which it haa 
 nothing to do. Unknown to the lexicographers. ML 50.2.G9 
 
 Gustaf Adolph och Ebba Brahe, lyrisk drame i tre acter. F6rsta 
 
 gangen upf6rd den 24 januarii 1788. 
 
 n. i., n. d. [81}-159 p. 17 cm . Eellgrens Saml. Skrift. Band. I.) 
 Detached copy. Dedication signed by the author, Johan Henric Kellgren. The 
 
 composer, Georg Joseph Vogler, is not mentioned. SCHATZ 10795 
 
 Gustavo Primo, re di Svezia. Dramma per musica da rappresen- 
 tarsi nel Teatro Grimani di S. Samuele in tempo della Ascensione 
 nelT anno 1740 . . . 
 
 Venezia, Marino Rossetti, n. d. 48 p. IJfif. 
 
 Three acts. Impresario's dedication, cast, scenario, and names of "il Sig. dottor 
 Carlo Goldoni Veneto" as author, and of Baldassare Galuppi as composer. O. T. of 
 the following. 
 
 First performed May 25, 1740, as indicated. SCHATZ 3474 
 
 Gustavo Vasa. Dramma di tre atti per musica. Rappresentato 
 per la prima volta in Venezia in tempo dell' Ascensione 1'anno 
 MDCCXL. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 36, 
 [103}-144 p. 18$. 
 
 Same as "Gustavo Primo, re di Svezia." PQ 
 
 Gustavo Vasa, ballet. See Rust's L'isola capricciosa. 
 Gustavo Vasa, ballet. See Sarti's Adriano in Siria. 
 Das gute maedchen. Tr. of Piccinni's La buona figliuola. 
 Das gute maedel. Tr. of Piccinni's La buona figliuola. 
 Das gute maegdchen. Tr. of Piccinni's La buona figliuola. 
 
 Gute menschen lieben ihren fuersten, oder Die Jakobiner in 
 Deutschland. Eui zeitstueck hi drey aufzuegen, fuer die Marinellische 
 schaubuehne bearbeitet yon Karl Friednch Hensler. Die mili- 
 tarische symphonic und die musik zwischen den akten ist ganz neu 
 verfasst, von herrn Ferdinand Kauer . . . 
 
 Wien, Maihias Andreas Schmidt, 1799. 84 p. 17 cm . 
 
 First performed, as indicated, July 18, 1799. SCHATZ 5032
 
 584 LIBRARY OF CONGRESS 
 
 Die gute mutter. Eine comische oper in zwey aufzuegen . . . 
 aufgefuehrt auf den K. K. Hof-theatern in Wien. 
 [Wieri], Kurtzbek, 1795. 2 p. 1., 100 p. 15$ cm . 
 
 By Johann Baptist yon Alzinger, who is not mentioned. Name of Paul Wranitzky 
 as composer, ana dedication to Maria Thereeia, which reads, in part: 
 
 "Euro Majestaet geben bey alien gelegenheiten huldreichst zu erkennen, wie 
 sehr Allerhoechst Dieselbe deutechen fleiss, deuteche kunst, deutsche verdienste 
 hervorgezogen, ermuntert, belohnt wiseen wollen. Auch das deutsche singspiel 
 verdankt dempatriotischen winke Eurer Majestaet eein dasqyn; denn dieser wink 
 war fuer die Hofdirection ein befehl_ ... BO wagt es die Hofdirection . . . diesee 
 erste opernbuch . . . zu den fueseen ihrer monarchinn zu legen." 
 
 First performed at Vienna, Hof theater naechst dem Kaernthnerthore, May 11, 1795. 
 
 SCHATZ 11110 
 
 Ein gutes herz ziert jeden stand. A. T. of Weigl's Der lumpen- 
 sammler. 
 
 Der gutherzige polterer. Tr. of Martin y Soler's n burbero di 
 buon cuore. 
 
 Der gutsherr. A. T. of Dittersdorf s Der schiffspatron. 
 
 Le Guy de Chesne, ou La feste des Druides, comedie en un acte et 
 en vers libres, mes!6e d'ariettes. Represented pour la premiere fois 
 par les Comediens italiens ordinaires du roi, le mercredi 26 Janvier 
 1763. Avec la musique. 
 Paris, Duchesne, 1763. 37, [1] p. 17. 
 
 Neither the author, Jean Baptiste de Janquieres, is mentioned, nor the composer, 
 reep. arranger, Jean Louis Laruette. On p. 34, the vaudeville, "Avant d'obtenir 
 ma bergere," and on p. 36-37, the air, "Amour, entends ma voix" (I, 8). 
 
 SCHATZ 5439 
 
 Hadrian in Syrien. Tr. of Holzbauer's Adriano in Siria. 
 Die haeuslichen zwistigkeiten. A T. of Salieri's Die mode. 
 
 La haine vaincue par la force du sang. Tr. of Lotti's Gl'odj 
 delusi dal sangue. 
 
 The hall of Fingal. A. T. of Oscar and Malvina. 
 
 Das Hallorenfest. Ein singeschauspiel in drei akten. Von F. G. 
 Schlicht. 
 
 Magdeburg, ScheidJiauerscher verlag, 1783. xvi, 124 P- 16% cm . 
 
 The text is preceded by a "Vorerrinnerung," in which the author describes the 
 "Halloren" of Halle a/S, their habits, customs, organisation, etc., and their festivals 
 called "Hallorenstechen" and "Pfingstbier." No conmoser recorded. 
 
 ML50.2.H16 
 
 Der Hamburger jahr-marckt oder Der glueckliche betrug. In 
 einem schertzhaflften sing-spiele auf dem Hamburgischen Schau- 
 platze vorgestellet im jahr 1725. 
 
 [Hamburg], mit StromeriscTien schrifften, n. d. Unpaged. 19 cm . 
 
 Five acts. Cast and prefatory note stating that his text had to be written in a 
 hurry; that it is not meant to cast reflections on any particular persons: 
 
 "Das gantze werck gruendet sich auf einen erlaubten schertz, der doch allemahl 
 die laster, durch vorstellung ihrer hesslichkeit, stillschweigend bestrafet. Der ver- 
 fasser ; eo zwar ein Nieder-Sachse, aber der Hamburgischen mund-arth nicht recht 
 kundig ist [Johann Philipp Praetorius], verepricht sich ein geneigtes nachsehen derer
 
 OPERA LIBRETTOS 585 
 
 Der Hamburger jahr-marckt Continued. 
 
 in dem niederteutschen und eonst mit eingeschlichenen fehler; den dritten auftritt 
 der vierten handlung hat eine fremde hand verfertiget und mit eingeruecket. Die 
 . . . music haben wir dem . . . herrn capellmeister Keiser zu dancken." 
 
 Italian text has been added to some of the arias. SCHATZ 5095 
 
 Der handwercks-mann ein edel-mann. Tr. of Basse's " L'ar- 
 tigiano gentiluomo." 
 
 Hannchen Robert, eine operette in drey auf zuegen von M * * * s. 
 Goiha, Carl Wilhelm Ettinger, 1779. 102 p. 15 cm . 
 By Jacob Mattheeius. No composer mentioned by Schatz. SCHATZ 11615 
 
 Hannchen und Bernardon. Tr. of Cimarosa's Giannina e 
 Bernardone. 
 
 Hannibal in Capua, in einem sing-spiele, auf dem Hamburgischen 
 Schau-platze vorgestellet. 
 
 [Hamburg], Gedruckt mit Spieringischen schrifften, 1735. 1 v. 
 Unpaged. 19 cm . 
 
 Three acts. Autho'r unknown to Schatz. Some Italian arias were interpolated 
 with addition of German translations and changes in the recitative. The composer, 
 Johann Wolfgang Franck, is not mentioned. ' ' V orbericht " (argument) and scenario. 
 
 First performed at Hamburg, Opernhaus am Ganeemarkt, February 21, 1735, and 
 in the original version 1681. SCHATZ 3335 
 
 Haims der schuhflicker. Tr. of Philidor's Blaise le savetier. 
 
 Hanns Klachl, oder Das rendezvous in der neuen alee. Ein 
 komisches singspiel in zwei auf zuegen. Die musik ist vom hrn. 
 Tuczek. 
 n. i., 1797. 88 p. 15\ cm . 
 
 By F. G. Quolfinger, ritter von Steinsberg, who is not mentioned. 
 
 First performed at Teplitz, Schlosstheater, 1797. SCHATZ 10500 
 
 Hanns Klachls zweyter theil. Eine komische oper in zwey 
 auf zuegen. 
 n. i., 1797. 91 p. 15%. 
 
 Composed by Tuczek. Neither he nor the author (Quolfinger?) is mentioned. 
 
 SCHATZ 10501 
 
 Happiness at last. A. T. of The rover. 
 
 The happy captive, an English opera. With an interlude, in two 
 comick scenes, betwixt Signer Capoccio, a director from the Canary 
 Islands; and Signora Dormna, a virtuosa. 
 
 London, printed for the author and sold &y J. Brindley, 1741- vi, [2], 
 40 p. 19. 
 
 Three acts. Dedication by the author, Lewis Theobald, and Advertisement 
 stating that the subject of the opera is "shadow'd out from a novel in Cervantes's Don 
 Quixote, (book IV, of the first part) call'd, The history of the slave . . . The interlude, 
 which is added in two comick scenes, is entirely new to pur climate: and the success 
 of it is submitted to experiment, and the taste of an audience." 
 
 The interlude (intermezzo). "CAPOCCHIO AND DORINA," is ascribed by Clarence to 
 Colley Cibber, who is said to have abridged it from "The temple of dulness." (See 
 this.) The composer is not mentioned, and no performance is recorded. 
 
 LONQE 191
 
 586 LIBRARY OF CONGRESS 
 
 The happy lovers : or, The beau metamorphos'd. A ballad farce. 
 2 p. I (incl. front.), 28 p. 18$ cm . 
 
 Lacks title page. Published 1736. One act. Cast. By Henry Ward, who is not 
 mentioned. Ballad opera, the 16 airs of which are indicated by title. 
 
 According to the t.-p., acted at Lincoln's Inn-Fields in 1736 and Genest does not 
 deny it in his vol. X. LONOB 159 
 
 Happy recess. A. T. of The fugitive. 
 
 Die harfe. Operette von Wilhelm Schreiber. 
 Offenbach, Weiss und Brede, 1793. 62 p. 16\ cm . 
 
 Two acts. Prefatory poem and "Vorrede'' dated "Baaden, im Dezember 1792," 
 in which Aloys Wilhelm Schreiber mentions Ignatz Walter as the composer, and says: 
 
 "Ich entwarf die gegenwaertige operette, weil mir das sujet gefiel, und weil wir 
 so wenige ertraegliche deutsche singspiele besizzen, ohngeachtet diese gattung immer 
 mehr einheimisch auf unsern buehnen wird. Man deute mir diese aeusserung nicht 
 als eigenliebig, denn es gehoert in der that wenig dazu, etwaa besseres in diesem fache 
 zu liefern, als die herren Eberl und konsorten. 
 
 Schatz records no performance. SCHATZ 10861 
 
 Die zauberharfe. Ein singspiel nach August La Fontaine bear- 
 beitet, vom verfasser des Waldbruders im Eicnthale. 
 
 Offenbach, C. L. Brede, 1798. 62 p. 15 cm . 
 
 Same as "Die harfe," as comparison showed. SCHATZ 11664 
 
 Harlequin animated. A. T. of The fairy Favour. 
 Harlequin everywhere. A. T. of Dibdin's The mirror. 
 Harlequin forrester. A. T. of Reeve's Merry Sherwood. 
 
 Harlequin-Hydaspes: or, The Greshamite. A mock-opera. As it 
 is perform'd at the Theatre in Lincoln's-Inn-Fields. 
 London, J. Roberts, 1719. vii, [1], 55 p. 18. 
 
 Three acts. Cast and preface in which the reader is informed that the piece is 
 
 "principally intended as a burlesque upon the famous opera of Hydaspes: and 
 whoever shall think it worth his while to compare 'em, will find it work'd up accord- 
 ingly. But the inventor being a foreigner, and not having English enougn to put 
 his plan in execution himself, he was forc'd to call in another gentleman to his assist- 
 ance; who having in his eye the present humorous dispute between some members 
 of the faculty, could not but think it an excellent incident to enliven and diversify 
 the design. And hence it is that the performance is of such a mixt nature, as 'tis 
 hard to give it a name, being half opera and half comedy . . ." 
 
 Most of the arias are simply parodies of such in Francesco Mancini's "L'Idaspe 
 fedele" (London, Hay-market, May 23, 1710) and in every such case the Italian 
 text, mostly by Giovanni Pietro Candi, is added in a footnote. The parody is 
 ascribed to a Mrs. Aubert, whose musical assistant (perhaps Pepusch?) is not recorded. 
 
 First performed May 22, 1719, as indicated. LONGE 200 
 
 Harlequin Mungo ; or, A peep into the tower: A new pantomimical 
 entertainment, hi two acts: as performing at the Royalty Theatre, 
 Well-street, Goodman's-Fields. The pantomime by Mr. Bates. The 
 music composed by Mr. Reeve ... 
 
 London, Printed by J. Skirvenfor J. Griffith, n. d. 1 p. 1., 6-32 p. 
 21 cm . 
 
 Cast. 
 
 First performed 1789, as indicated. LONGE 102 
 
 Harlequin restor'd, or Taste a la mode. See Arne's The fall of 
 Phaeton.
 
 OPERA LIBRETTOS 587 
 
 Songs, airs, etc. in the entertainment of Harlequin Teague; or, The 
 
 S' ant's causeway. As it is now performing at the Theatre-Royal, 
 ay-Market. 
 
 London, T. CadeU, 1782. 21, [1] p. 20 cm . 
 
 One act. Cast and name of Samuel Arnold as the composer. The author, George 
 Colman, is not mentioned. 
 
 First performed August 18, 1782. . ML 52.2.H2A7 
 
 Harlequin traveller. A. T. of Dibdin's The touchstone. 
 
 Songs, chorusses, etc. As they are performed in the new entertain- 
 ment of Harlequin's Jubilee, at the Theatre Royal in Co vent- 
 Garden. 
 
 London, W. Griffin, 1770. 3 p. I, 13 p. 19% cm . 
 
 Pantomime. The singers mentioned at head of the songs. The Advertisement 
 dated Clement's Inn, January 29, 1770, begins: 
 
 "Mr. Woodward claims no merit in this trifling production, but the thought, 
 which arose from the prologue to the Jubilee " 
 
 of which this a burlesque parody. The composer is not mentioned (Dibdin com- 
 posed the Jubilee). LONGE 32 
 
 Harlequin's opera. A. T. of The fashionable lady. 
 Harlequin's wedding. A. T. of Linley's The triumph of mirth. 
 
 Hartford -Bridge: or, The skirts of the camp. An operatic farce in 
 two acts. Performed at the Theatre-Royal, Covent-Garden. Writ- 
 ten by Mr. Pearce. 
 London, T. N. Longman, 1793. 3 p. 1., 4! p. 20% cm . 
 
 Cast, William Pearce's dedication, dated April 18, 1793, and his prefatory note 
 with name of William Shield, who partly compiled, partly composed the music. 
 Of his ' ' Heaving of the lead " he says : 
 
 "The ballad in question was written on ship-board a few years since, and given 
 to Mr. Shield previous to his late visit to Italy . . ." 
 
 First performed November 3, 1792. LONGE 222 
 
 Harvest-home. A comic opera, in two acts. As performed, with 
 universal applause, at the Theatre-Royal, in the Hay-Market. By 
 Mr. Dibdin. 
 
 London, Harrison & co., 1787. 27 p. 20\ cm . 
 
 Cast. Text and music by Charles Dibdin. 
 
 First performed May 16, 1787, as indicated. LONGE 99 
 
 Hass und aussoehmmg, oder Die verfolgte und triumphirende 
 liebe. Ein schauspiel mit gesang in vier aufzuegen. 
 
 Glatz, Ernst Ferdinand Rordorf, 1797. 139, [1] p. 16. 
 
 Dedicatory poem, "vorbericht" by the publisher, who was also the author. The 
 composer, Joseph Grueger, is not mentioned. The clavierauszug was published 
 according to advertisements on the last page. SCHATZ 4223 
 
 Songs, duets, trios and chorusses, in The haunted tower. A comic 
 opera, in three acts, as performed at the Theatre-Royal, Drury-Lane. 
 
 London, J. Jarvis, 1789. 2 p. I., 24 p. 21. 
 
 Cast. Neither the author, James Cobb, nor Stephen Storace is mentioned, 
 who, according to Longman and Broderip's vocal score "selected, adapted and com- 
 posed " the music. "Tho' pity I cannot deny" is there headed as by Pleyel. 
 "Whither my love" as by Paisiello, "What blest hours" as by Linley, "Love
 
 588 LIBRARY OF CONGRESS 
 
 The haunted tower Continued. 
 
 from the heart" as by Martini, "Dangers unknown impending" and "Dread 
 parent of despair" as by Sarti. 
 
 First performed November 24, 1789, as indicated. LONGE 203 
 
 Second copy. LONGE 223 
 
 Songs, duets, trios and chorusses, in The haunted tower. A 
 comic opera in three acts, as performed at the Theatre royal, Druiy- 
 Lane. 
 
 London, J. Jarvis, 1791. 24 p. 20% cm . 
 
 Cast. Without names of Cobb or Storace. ML 50.2.M2S8 
 
 Second (closely trimmed) copy. LONGE 218 
 
 - The haunted tower, a comic opera in three acts. As performed 
 at the Theatre-Royal, Drury Lane. Written by Mr. Cobb. 
 Dublin, P. Burne and J. Jones, n. d. 56 p. 17 cm . 
 Cast. Stephen Storace, the composer, is not mentioned. SCHATZ 10081 
 
 Der hausfreund. Tr. of GrStry's L'ami de la maison. 
 
 Der haushahn, ein faschingsstueck in zween aufzuegen. Aufge- 
 fuehrt im K. K. Schauspielhause am Kaerntnerthore. Die musik zu 
 den gesaengen ist von herrn kapellmeister Hofmeister. 
 Wien, ~beym Logenmeister, 1788. Jfi p. 16 cm . 
 
 In his "Vorrede" the author, Johann Rautenstrauch (not mentioned) says: 
 "Das publikum wird ersucht, dieses stueck fuer nichts anderes anzusehen, als 
 was es ist fuer eine kinderey ..." 
 
 Composed by Franz Anton Hoffmeister, and first performed 1783, as indicated. 
 
 SCHATZ 4749 
 
 He wpu'd if he cou'd; or, An old fool worse than any: a burletta. 
 As it is performed at the Theatre Royal in Drury-Lane. The music 
 by Mr. Dibdin. 
 London, W. Griffin, 1771. 2 p. I, 27 p. 21. 
 
 Cast. By Isaac Bickerstaffe, who is not mentioned. 
 
 First performed as indicated, April 12, 1771. LONGE 251 
 
 - He would if he cou'd: or, AJI old fool worse than any. A bur- 
 letta. In two acts. By Isaac Bickerstaff, Esq. 
 
 \289]-306 p. 19 cm . (Collection of 'the most esteemed farces and enter- 
 tainments, t. v, Edinburgh, 1792.} 
 
 Drury-Lane cast. SCHATZ 11753E 
 
 Die heimlich geschlossene ehe. Tr. of Cimarosa's II matrimonio 
 segreto. 
 
 Heinrich der Loewe, herzog von Braunschweig. Ein historisches 
 schauspiel mit gesang in fuenf aufzuegen, fuer die buehne bearbeitet 
 von B. H. C. Reinhard, Schauspieler. 
 
 Braunschweig, Carl August Schroeder, 1793. 183 p. 15% cm . 
 
 2 unnumb. p. of advertisements bound with the text. No composer recorded by 
 Schatz. SCHATZ 11618 
 
 Heinrich der Lowe. Ein allegorisches singspiel in zwei aufzuegen 
 von D. Schmieder. Nach einer geschichte Heinrich des Lowen. Die
 
 OPERA LIBRETTOS 589 
 
 Heinrich der Lowe Continued. 
 
 musik von C. D. Stegmann, Operndirektor des kurfuerstl. Mainzischen 
 Nationaltheaters. 
 n. i., 1792. 2 p. I, 74 p. 13 cm . 
 
 "Der kroenungsfeier Sr. Majestaet des deutschen kaisers Franz dea Zweiten 
 geweiht." 
 
 First performed at Frankfurt a/M, Nationaltheater, July 15, 1792. SCHATZ 10039 
 
 Heinrich und Lyda, eine scene aus dem menschlichen leben. 
 Leipzig, Christian Gottlob HilscJier, 1776. 32 p. 15 cm . 
 
 Neither the author, Bernhard Christian d'Arien, nor the composer, Christian 
 Gottlob Neefe, is mentioned. 
 
 First performed at Berlin, Dobbelin'sches Theater, March 26, 1776. SCHATZ 7073 
 
 Die helden-muethige schaefer Romulus und Remus auf dem 
 Hamburgischen Schau-platze in einer opera vorgestellet im jahr 
 MDCCXXIV. 
 
 [Hamburg], Gedruckt bey Casper Jdkhel, n. d. Unpaged. 18% cm . 
 
 Three acts. Cast, scenario, and "Vorbericht," which reads, in part: 
 
 "Diese geschichte auf unserm Hamburgischen theatro in einem sing-spiel anitzo 
 aufzufuehren, ist man durch die vortrefl. music dieser von dem sehr beruehmten 
 componisten Sign. Giovanni Porta hierueber in Italien verfertigten und nachgehends 
 in London und Braunschweig unter dem nahmen Rhea Silvia, mit dem groesten 
 applausu aufgefuehrten opera, veranlasst. . . . So hat man bey diesem stuecke nicht 
 allein einen gantzen recitativ, sondern auch eine neue lustige partie des Coridons 
 nebst vielen andern embellissements der angenehmen music des Sign. Porta beylegen 
 wollen. 
 
 "Die mit einem etemchen bezeichneten italiaenischen arien, sind vom erstbenann- 
 ten Signore Porta, die uebrige, so wohl teutsch als italiaenische arien aber, wie auch 
 der gantze Recitativ, die choere, simphonien und entre"en, der composition des hrn. 
 Johann Paul Kuntz wie die auffuehrung dieser opera gaentzlich anvertrauet worden." 
 
 All the Italian arias, by far the most of them starred (and therefore by Porta), have 
 added German text. The original text is by Paolo Antonio Rolli. 
 
 The opera was first performed as "Numitore" at London, Haymarket, on April 13, 
 (Schatz), April 2 (Fassini) 1720, and then, as "Rhea Sylvia," at Brunswick in 1723. 
 
 SCHATZ 8381 
 Helena. See Reiser's La forza dell' amore. 
 
 ^Helena rapita da Paride. Dramaper musica nel Teatro Novis- 
 simo di S. Angelo. L'anno MDCLXXVII . . . 
 Venetia, Francesco Nicolini, 1677. 64 p. 14\ cm - 
 Three acts and prologue. By Aurelio Aureli, who is not mentioned. Publisher's 
 dedication, argument, scenario and notice to the reader with name of Domenico 
 Freschi as composer. This original edition has in act I nineteen scenes, in act II 
 twenty-six and in act III seventeen, whereas the second ed. of 1677 (see below) has 
 twenty, twenty-eight and twenty. In this 1, 14 has aria " Voglio, che moraj" whereas 
 the first ed. has "Con la scorta de la vendetta." In this the prologue begins "Da le 
 rotanti sfere," in the second ed. "Nubi mie tempestose." I, 20 of this second ed. 
 begins "Ho vinto Amori " and has aria " Arcieri alati / Sti brillate." ML 50.2.H3F7 
 
 - Helena rapita da Paride. Drama per musica nel Teatro Npvis- 
 simo di S. Angelo. L'anno MDCLXXVII. Seconda impressione. 
 Con nove aggionte . . . 
 
 Venetia, Francesco Nicolini, 1677. 68 p. Uf. 
 
 Three acts, with prologue. By Aurelio Aureli, who is not mentioned. Pub- 
 lisher's dedication, author's notice to the reader, with name of Giovanni Domenico 
 Freschi as composer, and scenario. SCHATZ 3351
 
 590 LIBRARY OF CONGRESS 
 
 Helena rapita da Paride Continued. 
 
 - Elena rapita da Paride. Drama per musica nel Teatro Zane a 
 S. Moise di Aurelio Aureli. Seconda impressione . . . 
 
 Venetia, Francesco Nicolini, 1687. 71 p. 14 cm . 
 
 Three acts. Author's dedication, dated Venice, January 18, 1687, argument, 
 scenario, notice to the reader, who is informed that Francesco Navarra not only 
 composed several additional arias for this revival of Freschi's opera, but also changed 
 some of the latter's arias "per aggiustarei all' abilit& de mueioi cne le cantano." This 
 is putting it very mildly, as the new version differs considerably from the old. For 
 instance, the prologue has been dropped entirely, and not many scenes have been 
 left intact. Thus in I, 4 (in the original ed. incorrectly numbered as fifth scene), 
 Enone sang, 1677, "Gelosia, non tormentarmi / Non ti voglio nel mio core," but, 1687, 
 "Gelosia, non posso piu. / Tu mi laceri quest' alma." SCHATZ 3358 
 
 L'Helena rapita da Theseo. Dramma musicale da recitarsi nel 
 Teatro di S. Gio. e Paolo. 
 
 Venetia, Michiel Miloco, 1653. 94 p. 13 em . 
 
 By Giacomo Badoaro after suggestions of Giovanni Faustini. Three acts with 
 prologue. Argument and minute Scenario" on p. [77]^94. The composer, Pietro 
 Francesco Cavalli, is not mentioned. 
 
 First performed, as indicated, carnival 1653. SCHATZ 1735 
 
 Helena und Paris, ein musikalisch.es schauspijl in drei aufzuegen, 
 nach dem italienischen frei bearbeitet. Die musik ist von herrn 
 Winter. Aufgefuehrt zu Muenchen, 1782. 
 
 n. i., n. d. 64 p. 15 cm . 
 
 Three acts. By Carl J. Forg, who signs the "Vorerrinerung" (argument) with his 
 initials. Scenario, cast, and prefatory dedication by Winter, dated Munich, 1782, in 
 which he says: 
 
 "Schon verschiedene meiner deutschen landsleute, und kunstverwandten unter- 
 namen es, auch in dem erhabnen fache von theatermusik ihre faehigkeiten zu zeigen, 
 und sich zu dem verdienste der in dieser gattung beruehmt gewordenen auslaender 
 hinauzuschwingen. Ich will hier nicht untersuchen, in weit sie hierinn ihren ent- 
 zweck erreichet, oder nicht erreichet haben. Soviel kann ich aber zur ehre der 
 Deutschen bezeugen, dass herr Holzbauer einer der ersten diese bahn mit ruhme 
 betrat. Ich fuehlte ebenfalls den trieb in mir, dem beispiele dieser maenner zu 
 folgen. Ich war anfangs misstrauisch auf mich selbst, und wollte diese neigung in 
 mir ohne weiters unterdruecken. Allein ich war zu schwach, und so enstund unter 
 schwankender unentechlossenheit gegenwaertiges werk ..." 
 
 First performed at Munich, National Schaubuehne, February 5, 1782. 
 
 SCHATZ 11035 
 
 - Helena und Paris. Ein heroisches singspiel in drei aufzuegen. 
 Die musik ist vom herrn Kapellmeister Winter. 
 
 Berlin, n. publ, 1797. 23 p. 16 cm . 
 
 First performed at Berlin, Nationaltheater, February 6, 1797. SCHATZ 11036 
 
 Heliates und Olympia. A. T. of Reiser's Die blut-durstige rache. 
 
 Helvetic liberty; or, The lass of the lakes. An opera. In three 
 acts. Dedicated to all the archers of Great Britain. By a Kentish 
 bowman . . . 
 London, L. Wayland, 1792. 1 p. 1., vii, [2], 4-64 p. 18$ cm . 
 
 The text is preceded by the unknown author's dedication (in form of an address), 
 "To the toxophilites for Kent." No composer or performance recorded by Clarence. 
 
 LONGE 276
 
 OPERA LIBRETTOS 591 
 
 Hemmeligheden, et comisk syngestykke i en handling, efter Mr 
 Quetant's original. Omarbeidet til det Kongelige Theaters Burg af 
 Adam Gottlob Thoroup, sadt i musik af hr. Kuntzen. 
 
 Ki0benhavn, P. M. Liunges vorlag, 1796. 79 p. 16$. 
 
 First performed, as indicated, November 22, 1796. SCHATZ 5320 
 
 Henri IV, drame lyrique, en trois actes et en prose. Par M. de 
 Rozoy, citoyen de Toulouse, etc., etc. Represente pour la premiere 
 fois sur le Theatre des Comediens italiens ordinaires du roi, le 14 
 novembre 1774. 
 
 Paris, Vente, 1775. 54, [1] p. 18$ cm . 
 
 On p. [3], "Vers au Roi, en lui presentant le premier exemplaire imprime de 
 Henn IV, drame lynque." SCHATZ 6039 
 
 L'Heraclio. Melodrama da rappresentarsi nel Theatro Grimano di 
 SS. Gio. e Paolo 1'anno 1671 . . . 
 
 Venetia, Francesco Nicolini, 1671. front., 66, [1] p. Up. 
 
 Three acts. By conte Nicol6 Beregani, who is not mentioned. Publisher's dedi- 
 cation, dated Venice, January 17, 1671, argument, scenario. The composer, Pietro 
 Andrea Ziani, is not mentioned. SCHATZ 11217 
 
 Heraclit und Democrit. Tr. of Salieri's Eraclito e Democrito. 
 
 Texte von den arien und gesaengen aus dem Herbstabentheuer, 
 oder: Wer ^sagt, gewinnt. Ein komisches singspiel in zwey auf- 
 zuegen. 
 
 n.i.,1790. 24 p. 16. SCHATZ 11678 
 
 - Das herbstabendtheuer. Oder: Wer wagt, gewinnt. Ein 
 komisches singspiel. in zwei aufzugen, nach der ersten idee des 
 Finto cavaliere und Ackorimboni s komposition, von [Johann 
 Christoph] Bock. 
 
 147-219 p. (Komische Opern der Italiener, Tk. II, no. 3.) 
 Detached copy. 
 
 First performed at Dresden, Hoftheater, 1779. "II Finto cavaliere" was first 
 performed at Rome, Teatro della Pace, 1777. SCHATZ 15 
 
 Hercole perseguitato. See M. Curzio. 
 Hercule filant, parody. See Omphale. 
 
 Hercules. A masque. Set to musick by Mr. John Eccles. 
 
 Forms (with cast) the third act (j>. 26-^30) of "THE NOVELTY. Every act a play. 
 As it is acted at the New-Theatre in Little Lincolns Inn-fields, by His Majesty's 
 servants. Written by Mr. Motteux, and other hands," London, Richard Parker and 
 Peter Buck, 1697. From Peter Motteaux's interesting preface it appears that the 
 masque was finished by him and Eccles first and the other "acts were later on 
 built around it, as it were. He also says: 
 
 "The foregoing lines were published as a preface to that masque, some few copies 
 of which were printed for the use of the audience, the first day of the novelty's being 
 acted. I have nothing to add, but that altogether it has met with better success 
 than I cou'd expect, since (thanks to my friends]) it was not only beneficial to me on 
 the third, but also on the sixth day, and that in a season when the town is most 
 empty ..." LONOB 127
 
 592 LIBRARY OF CONGRESS 
 
 Hercules. A musical drama. As it is perform'd at the Kings' 
 Theatre in the Hay-Market. The musick by Mr. Handel. 
 
 London, J. and R. Tonson and S. Draper, 1745. 40 p- 19 cm . 
 
 Three acts. This is, of course, Handel's secular "oratorio" "Hercules," text by 
 Thomas Broughton. 
 
 First performed January 5, 1745. LONGE 306 
 
 Hercules. See Reiser's Die verbindung des grossen . . . 
 
 Hercules am Thermodon. Tr. of Schurer's Ercole sul Tenno- 
 donte. 
 
 Hercules unter denen Amazonen, in einer opera vorgestellt, im 
 jahr 1694. 
 
 Hamburg, Conrad Neumann, n. d. 2 p. I., 44 P- 18%. 
 
 Three acts. Argument and scenario. SCHATZ 5272 
 
 Hercules. Anderer theil. 
 
 Hamburg, Conrad Neumann, n. d. 1 p. I., 45-90 p. 18$. 
 
 Three acts. 
 
 This opera, text by Friedrich Christian Bressand, music by Johann Philipp Krie- 
 ger (neither of whom mentioned), was first performed, as above, on two evenings at 
 Hamburg, Opemhaus beim Gansemarkt; as one opera of five acts; at Brunswick, 
 Courttheatre, 1693. SCHATZ 5273 
 
 Les heritiers supposes. Tr. of Sarti's I finti eredi. 
 
 Herkules auf dem Oeta. In einem aufzuge. Komponirt vom 
 herrn musikdirektor Graefe zu Hannover. 
 n. i., n. d. 22 p. 16 cm . 
 
 By Johann Benjamin Michaelis, who is not mentioned. 
 
 No performance recorded by Schatz. SCHATZ 4061 
 
 Herkules auf dem Oeta. Eine operette in einem aufzuge, von 
 J. B. Michaelis. 
 
 Leipzig, in der Dyckischen Buctihandlung , 1772. 22, [1] p. 15. 
 
 The composer, Joseph Aloysius Schmittbauer, is not mentioned. 
 
 First performed at Hanover, Schlosstheater, June 4, 1771. SCHATZ 9656 
 
 Hero et Leandre, ballet pantomime, en un acte, represente, pour la 
 premiere fois, a Paris, sur le Theatre de la Re'publique et des Arts, le 
 6 frimaire an 8 [November 27, 1799]; par L. J. Mflon, artiste de ce 
 theatre. 
 
 Paris, A VImprimerie a prix-fixe, an VIII. [1799-1800.] 28 p. 
 20 cm . 
 
 One act. Cast, detailed description and "Avertissement," in which the author 
 defends himself principally against the charge of a plagiarism on Gardel's "Ballet 
 de Paris." The composer is not mentioned. ML 52.2.H3 
 
 Second copy. ML 48. B2 
 
 Der herr als bedienter. Tr. of Schuster's II servo padrone. 
 Der herr doctor. Tr. of Fischietti's II signer dottore. 
 Das herrnrecht. Tr. of Martini's Le droit du seigneur.
 
 OPERA LIBRETTOS 593 
 
 Hesione, tragedie representee par 1' Academic royale de musique 
 1'an 1700. Les paroles de M. Danchet & la musique de M. Campra. 
 LI. opera. 
 
 n. i., n. d. front., 109-166 p. 14 cm . (Recueil general des opera, 
 Paris, 1703, t. mi.) 
 
 Detached copy. Five acts, with prologue. 
 
 First performed, as indicated, Dec. 21, 1700. SCHATZ 1555 
 
 Second copy. ML 48. R4 
 
 Hesione, tragedie, representee par PAcade'mie royale de musique, 
 pour la premiere fois le 21 decembre 1700. 
 
 [27}-82 p. 17% cm . (Antoine Danchet, Theatre, t. ii, Paris, 1751. ) 
 Prologue and five acts. The composer, Andre Campra, is not mentioned. 
 
 PQ 1972. D2 
 
 - Hesione, pai'odie. Representee pour la premiere fois par les 
 Comediens italiens ordinaires du roi, le 28 octobre 1729. 
 
 Les parodies du Nouveau Theatre italien, Nouv. ed., Paris, 1738, 
 t. iv, [221}-269 p. 16% cm . 
 
 One act. By Dominique and Romagnesi (see t. I). The airs and vaudeville used 
 are printed at end of the volume in the "Table dee airs " (92 p.). ML 48. P3 
 
 L'heureuse nouvelle, comSdie en un acte, mdlee de vaudevilles, 
 representee sur le Theatre de Lidge, a 1'occasion des f6tes donnees 
 pour la naissance de M*r le Dauphin . . . Par M. de * * * 
 Valbray. 
 Liege, F. J. Desoer, 1782. 38 p. 19 cm . 
 
 .Cast and dedication by Valbray, the author. The arranger of the music not 
 recorded by Schatz. 
 
 First performed, as indicated, January 2, 1782. SCHATZ 11494 
 
 Heyrath aus liebe. Ein nachspiel mit arien und gesaengen. 
 Goiha, Carl Wilhelm Ettinger, 1781. 80 p. 16\. 
 
 Two acts. Neither the author, Schack Hermann Ewald, nor the composer, Johann 
 Friedrich Honicke, is mentioned. 
 
 First performed at Gotha, Hoftheater, July 9, 1777. SCHATZ 4787 
 
 Die heyrath durch betrug. Tr. of Anfossi's II matrimonio per 
 inganno. 
 
 Hier gehen die maedchen auf die freierei aus. A. T. of Spin- 
 dler's Die liebe in der Ukrane. 
 
 Hierone tiranno di Siracusa. Drama rappresentato nel nuovo 
 Teatro Ducale in Piacenza . . . Poesia di Aurelio Aureli, e musica 
 singolare di D. Bernardo Sabadini, organista della sudetta A. S. 
 
 Parma, Stamperia Ducale, 1688. 92 p. 15% cm . 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and notice to the 
 reader ? in which Aureli speaks of 
 
 "gli applausi, che benignamente donasti questo carnevale passato in Parma alia 
 mia Olimpia, ed al Teseo in Atene." SCHATZ 9197 
 
 Gesaenge aus dem singspiele: Hieronimus Knicker, hi zwey auf- 
 zuegen. In musik gesezt von Dittersdorf. 
 
 Hamburg, JoJi. Matthias Michaelsen, 1792. 32 p. 17. 
 
 The text differs from Vulpius' version and may be approximately the original 
 text as written by Dittersdorf. For instance, Vulpius has (as No. 5) "Herr! Sie 
 
 72251 VOL 114 38
 
 594 LIBRARY OF CONGRESS 
 
 Hieronimus Knicker Continued. 
 
 werden iibel fahren," the Hamburg text "Ey, Sie miissen sich ja schaemen"; Vul- 
 pius has (as no. 6) "Liebe fraegt nach keinem stande," Hamburg "Bin ich gleich 
 vom Bauernstande"; Vulpius has (as no. 7) "Mein Onkel ist ein halber narr," Ham- 
 burg "Mein onkel ist ein harter mann." 
 
 First performed at Vienna, Marinellische schaubuchne in der Leopoldstadt, July 
 1789. ML 50.2.H35D4 
 
 Hieronymus Kniker [ !]. Eine komische operet*s in 2. aufzuegen. 
 Nach Dittersdorfs musik neubearbeitet. 
 
 Passau, NiJclas Ambrosi, 179S. 72 p. 
 
 Originally by the composer, altered by Vulpius. SCHATZ 2593 
 
 Hieronimu's Knicker. Eine komische operette in zwey aufzue- 
 gen. Nach Ditterdorfs musik neubearbeitet. 
 
 TO. i., 1793. 78 p. 16$ cm . 
 
 Practically the same version as Schatz 2593. SCHATZ 2594 
 
 The Highland fair; or, Union of the clans. An opera. As it is 
 perform'd at the Theatre-Royal, in Drury Lane, by His Majesty's 
 servants. Written by Mr. Mitchell. With the musick, which wholly 
 consists of select Scots tunes, prefixed to each song. 
 
 London J. Watts, 1781. 7 p. I, 78 p. 19$ cm . 
 
 Lacks the front., designed by W. Hogarth, "A Scots opera." Three acts and intro- 
 duction. On p. [yii-x], "Books printed for J. Watts, preceded by a table of the 
 tunes and dedication and followed by the cast. The 51 tunes are printed in the text 
 with their titles. 
 
 First performed, as indicated, March 20, 1731. ML 50.5.H43 
 
 Second copy, with Hogarth's front., making 8 p. 1. LONGE 50 
 
 Songs, duetts, etc in the Highland reel. Comic romance. In 
 three acts; performed at the Theatre-Royal, Co vent-Garden. The 
 musick composed and compiled by Mr. Shields [!} Fifth edition. 
 London, T. CadeU, 1789. 23 p. 21. 
 
 Cast. John O'Keefe, the author, is not mentioned. 
 
 Firet performed, as indicated, November 6, 1788; at Dublin, Theatre, Smock 
 Alley, 1786. PR 1241.D7 
 
 The highland reel, a comic opera. In three acts. As it is per- 
 formed at the Theatres-Royal in London and Dublin. By John 
 O'Keefe, Esq. 
 
 Dublin, Sold ly the booksellers, 1790. 72 p. 17. 
 
 London and Dublin (1790) caste. William Shield, the composer is not mentioned. 
 
 SCHATZ 9869 
 Second copy. LONGE 205 
 
 Hilft's nicht, so schadt's nicht. A. T. of Dittersdorfs Das rote 
 kaeppchen. 
 
 L'Himen et I'Amour. See Mondonville's Les projets de PAmour. 
 Hipermenestre. Tr. of the ballet Ipermestra.
 
 OPERA LIBEETTOS 595 
 
 L'Hipermestra. Festa teatrale rappresentata dal Sereniss. principe 
 cardin ale Gio. Carlo di Toscana per celebrare il giorno natalizio del 
 real principe di Spagna. 
 
 Firenze, Stamperia di S. A. 8., 1658. 9 p. 1. (incl. front.) 78 p. 
 21 cm . ISjold. pi. (50 to 58 ly 38.). 
 
 The plates are unsigned in our copy. Wotquenne Bays "gravees par Silvio degli 
 Alii." Twelve represent scenes from the opera, the thirteenth represents an interior 
 view of the Teatro de la Pergola, seen from the stage. 
 
 Three acts and prologue, preceded by the Antefatto and the author Monigha's 
 dedication of date Florence, June 12, 1658. The text is followed by: DESCBIZIONE 
 
 DELLA PRESA D'ARGO E DE GLI AMORI DI LlNCEO CON HlPERMESTRA; festa teatrale 
 
 . . . per celebrare il natale del Sereniss. principe di Spagna. In Firenze, Nella stam- 
 periadi S. A. S. MDCLVIII" (32 p. 21cm.). According to Moniglia's preface to his 
 "Poesie drammatiche" this description of "Hipermestra" was written by Orazio 
 Ricasoli Rucellai. He gives a minute synopsis of the action, mentions the noblemen 
 who participated iu the ballets and in the Abbattimento, narrates the preparations 
 for performance, the beginning of which he dates June 18, 1658 "verso le 24 ore" [!], 
 with a display of extraordinary hospitality towards his guests by the cardinal, gives 
 a brief description of the new "Teatro dell' Accademia de gl'Immobili" (Teatro 
 de la Pergola) and says: 
 
 "Terminata che fu la composizione di questo dramma, speditamente si trasmise 
 al Sig. Francesco Cavallo (Cavalli) a Venezia, accio _che con 1'artifizio di suo armo- 
 nioso contrappunto traesse altrui di mezo al cuore i piu teneri, e compassionenoli 
 affetti, che all' espressione delle parole, e de gli avvenimenti poetici fussero piu 
 confacevoli, ed egh che viene oggi reputato il primo compositore d'ltalia, particolar- 
 mente sopra lo stile drammatico, con prestezza incredibile ne rimandd il componi- 
 mento di tanta dolcezza, e soavita di stile, che avendo a detta d'ognumo nell' altre 
 sue opere acquistata la palma sopra i maestri piu esimij, in questa puo dirsi che abbia 
 superato s^ stesso. II pensiero poi di fare la scelta de' musici, e delle voci piu adattate 
 alle parti degl' interlocutori, & assister loro con ogni maggiore studio, e diligenza, 
 fu dato da S. A. alii SS. marchese Filippo Niccolini suo Maestro di camera, e march. 
 Gio: batista del Monte suo Cavellerizzo maggiore, ed alii SS. Pietro Strozzi, e Filippo 
 Franceschi, che hanno eomma diletazione nella musica, & ottimo gusto alpan de 
 professori medesimi . . ." ML 50.2.H38C2 
 
 - L'lpermestra. Festa teatrale rappresentata dal sereniss. prin- 
 cipe cardinale Gio. Carlo di Toscana per celebrare il giorno natalizio 
 del Real principe di Spagna. 
 
 Firenze, Vincenzio Vangelisti, 1689 (Giovanni Andrea Mpniglia, 
 Poesie drammatiche, parte prima, Firenze, Vincenzio Vangelisti, 1689, 
 v. 1, 1 p. I, 118 p., 12 pi. 24 cm . 
 
 The plates are the same as in the 1658 ed. but on a smaller scale (34 x 24cm.) of 
 poorer workmanship and less ornate. The thirteenth pi. (inside view of the Teatro 
 della Pergola) is not in this ed. 
 
 Three acts and prologue. Antefatto and after the list of Interlocutori the first, 
 introductory, part of Rucellai'a " Descrizione, " with name of Cavalli, date of first 
 performance, etc., and the description of the prologue. That of the single acts pre- 
 cedes them. ML 49.A2M7 
 
 Hippodamie, tragedie repre'sentee par 1'Academie royale de 
 musique 1'an 1708. Les paroles de M. Roy & la musique de M. 
 Campra. LXX. opera. 
 
 n. i., n. d. 279-382 p. 14. (Recueil general des opera, Paris, 
 1710, t. ix.) 
 
 Detached copy. Five acts, with prologue and Avortiwement. 
 
 First performed, as indicated, March 6, 1708. SCHATZ 1556 
 
 Second copy. ML48.R4
 
 596 LIBRARY OF CONGRESS 
 
 Hippolyte et Aricie, tragedie, represented pour la premiere fois, 
 par I'Academia royale de musique; le jeudy premier octobre 1733. 
 
 [Paris], Jean Baptiste Christophe Bollard, 1733. xx, 56 p. 23 cn . 
 
 Prologue and five acts. Cast. Neither the composer Jean Philippe Rameau, is 
 mentioned, nor the author, Pellegrin, who, in a preface, defends himself against his 
 critics. ML 50.2.H4R2 
 
 Hipolyte et Aricie, tragedie representee par 1'Academie royale 
 de musique, 1'an 1733. Paroles de M. Pellegrin. Musique de M. 
 Rameau. CXIX. Opera. 
 
 n. i., n. d. pi., 311-380 p. 14 cm - (Recueil general des opera, t. xv, 
 Paris, 1739.) 
 
 Detached copy. Five acts and prologue. Preface (p. 313-318), giving the his- 
 torical basis of the plot, etc. SCHATZ 8587 
 
 Second copy. ML 48. R4 
 
 Hippolyte et Aricie, tragedie, representee par l'Acad6mie royale 
 de musique de Paris, en octobre 1733. en septembre 1742. Et par 
 1' Academic royale de musique de Lyon, en fevrier 1743. 
 
 Lyon, Aime DelarocJie, 1743. iv, 54 p. 23. 
 
 Five acts and prologue. Cast. SCHATZ 8587a 
 
 - Hippolite et Aricie, parodie; representee pour la premiere fois 
 par les Comediens italiens ordinaires du roi, le 11 octobre 1742. 
 Nouvelle edition. 
 
 Paris, N. B. Duchesne, 1759. 56 p. 19 cm . (Theatre de M. Favart, 
 Paris, 1763-77, t. i.) 
 
 One act. En vaudevilles. Cast. Several of the airs are printed in the text. On 
 p. 51-56, "Ariette chant^e par Mile Victoire" with remark, "A la reprise de cette 
 parodie en 1757, Mile. Victoire chantoit cette ariette ["Dans mon coeur e'eleve"! & 
 la scene IV aprea le couplet: Enfin j'ai d6couvert leur feu." The arranger of the 
 music is not mentioned by Font. ML 49.A2F1 
 
 Hippomenes and Atalanta, ballet. See Sacchini's Enea e Lavinia. 
 
 Das hirten maegdchen. Ein sing-spiel in neun komischen idyllen. 
 Die musik ist von herrn Winter. 
 
 Muenchen, Joseph von Craetz, 1784- 46, [#] P- 16 cm . 
 
 By Heinrich Braun, who is not mentioned. Cast. 
 
 First performed at Munich, National Schaubuehne, March 26, 1784. 
 
 SCHATZ 11037 
 
 The history of Dioclesian. A. T. of H Purcell's The prophetess. 
 
 The history of S r Francis Drake. Exprest by. instrumental! and 
 vocall musick, and by art of perspective in scenes, etc. The first 
 part. Represented daily at trie Cockpit in Drury-Lane at three 
 afternoon punctually. 
 
 London, Henry Herringman, 1659. 1 p. 1., 37 p. 20% cm . 
 
 "The description of the frontispiece" (on p. 1) ends with this allusion to "the 
 Cruelty of the Spaniards in Peru," performed 1658 and by the same author, Sir 
 William Davenant, who is not mentioned : 
 
 "This frontispiece was the same which belong'd to the late representation; and it 
 was convenient to continue it, our argument being in the same country." 
 
 While the scenery of the first to sixth "entry" is lovingly described and while 
 there are such remarks as "the curtain rises [in the first entry] by degrees to an 
 ascending ayre," the libretto is silent on the question of who composed the music,
 
 OPERA LIBRETTOS 597 
 
 The history of S r Francis Drake Continued. 
 
 but presumably one or more of Davenant's previous collaborators were responsible for 
 it: Dr. Charles Coleman, Captain Henry Cook, Henry Lawes, and George Hudson. 
 
 On May 5, 1659, Evelyn wrote in his diary with rather unfavorable (and also 
 unfair) comment of "a new opera after the Italian way in recitative, music and 
 sceanes." For chronological reasons it stands to argue that he had "the history of 
 Sr Francis Drake" in mind rather than (as is usually claimed) "The cruelty of the 
 Spaniards in Peru. ' ' It is also noteworthy that Davenant incorporated ' ' The History, 
 etc." as the third and "The cruelty, etc." aa the fourth act of his medley, "The 
 
 playhouse to be let," 1673. ML 50.2.H5 
 
 i 
 
 Hob in the well. L. A. T. of Flora. 
 
 Der hochmuethige Alexander. Tr. of Handel's Alessandro. 
 
 Der hochmuethige, gestuerzte und wieder erhabne Croesus, 
 [vignette] In einem singe-spiele vor vielen jahren auff dem grossen 
 Hamburger schau-platze vorgestellet, jetzo von neuem wieder auf- 
 gefuehret im jahr 1711. 
 
 Hamburg, Friedrich Conrad Greflinger, n. d. Unpaged. 19 cm . 
 
 Three acts. The "Inhalt und Vorbericht" reads, in part: 
 
 "... ein italiaenischer poet [he refers to conte Nicolo Minato's "Creso"] . . . 
 hat aus diesen theils wahrnafftigen, theils wahrscheinlichen begebenheiten, mit 
 einmischung sinnreicher zufaelle und verwirrungen, ein auf zwo repraesentationes 
 eingetheiltes sing-spiel in seiner sprache verfertigt, woraus vor vielen jahren ein 
 hiesiger liebhaber der music und poesie, auff ansuchen vornehmer freunde, bey 
 eel^enen muessigen stunden, dieses gegenwaertige sing-spiel in die teutsche sprache 
 gebracht, und theils nach der aus der erfahrung verspuehrten neigung hiesiger 
 zuschauer, mit untermischung einiger lustbarkeiten, noch mehr auff den endzweck 
 eingerichtet, dass nebst schicklichen staats- und sitten-lehren, die tugend zur liebe 
 und nachfolge, die laster zur vermeidung vorgestellet, am allermeisten aber aus dem 
 verlauff der an sich im hauptwercke warhafftigen geschichte die unbestaendigkeit 
 weltlicher ehre und reichthums anerkanndt werde; wodurch, weil es der zeit einigen 
 applausum gefunden, und nur, dass es in der auffuehrung etwas zu weitlaeufftig und 
 langwaehrend waere, bemerckt worden, man es jetzo mit einiger mehrern einschraen- 
 kung und verkuertzung von neuem aufflegen lassen, und wieder auf hiesige schau- 
 buehne bringen wollen." 
 
 Neither the author, Lucas von Bostel, is mentioned, nor the composer, Reinhard 
 Reiser. 
 
 Originally performed at Hamburg in 1684. SCHATZ 5124 
 
 Der hochmuethige, gestuerzte und wie,der erhabene Croe- 
 sus, in einem musicalischen schau-spiele auf dem Hamburgischen 
 Schau-platze vorgestellet im jahr 1730. 
 
 [Hamburg], mit Stromerischen schrifften, n. d. Unpaged. 19 cm . 
 
 Three acts. " Vorbericht " and name of Reinhard Keiser as the composer. The 
 author, Lucas von Bostel, is not mentioned. The text is slightly different from that 
 in the edition of 1711. For instance, the opening aria of I, 2, J 'Ungluecks-triebe," 
 has been replaced by "Hoffe noch, gekraencktes herz" and the aria in I, 13, "Ge- 
 neigtes geschicke," has been dropped. 
 
 First performed, as indicated, December 4 or 6, 1730. SCHATZ 5096 
 
 Die hochzeit des Figaro. Ein komisches singspiel in zwey auf- 
 zuegen. Aus dem franzoesischen frei bearbeitet. 
 
 Bruenn, Johann Sylv. Siedler, 1789. 130 p. 16$. 
 
 Author unknown to Schatz. Composed by Dittersdorf, who is mentioned as 
 composer. 
 
 First performed at Briinn, Kgl. Staedtischee Theater, 1789; atGraz, Stand. Theater, 
 June 15, 1801. SCHATZ 2596 
 
 Die hochzeit des Figaro. Tr. of Mozart's Le nozze di Figaro.
 
 598 LIBRARY OF CONGRESS 
 
 Das hochzeitfest des Amors und der Norizia. Theatralisches 
 singgedicht beyderhoechstbegluecktenvermaehlungSr. Koeniglichen 
 Majestaet Joseph, roemischen koenigs etc etc etc und der Kaiserlich 
 Koeniglichen Hohheit Josepha Antonia . . . im jahr 1765. 
 
 Muenchen, Johann Friedrich Ott, n. d. Unpaged. 20 p. 
 
 Two acte. Cast and names of Eugenio Giunti as author, of Pietro Pompeo Sales 
 as composer. Italian text faces German, which was by Antonio Giunti. The Italian 
 title was "Le nozze di Amore e di Norizia." 
 
 First performed January 12, 1765, as indicated. SCHATZ 9268 
 
 Die hoeflichen bauern, A. T. of Der neue heir. 
 
 Die hoehle des Trophonius. Tr. of Salieri's La grotta di Trofonio. 
 
 Hokus. Pokus ! Eine komische oper in zwei aufzuegen von C. A. 
 Vulpius. Die musik ist von Dittersdorf. 
 
 Leipzig, Johann Samuel Heinsius, 1794- 88 p. 15 cm . 
 
 According to Schatz, Vulpius's version is not the original one. 
 
 First performed at Leipzig, Theater b. Rannstadter Thore, October 25, 1793; at 
 Breslau, Wasersches Theater, November 4, 1791. SCHATZ 2597 
 
 - Hokus Pokus oder Das gaukelspiel. Eine komische oper in 
 zwey aufzuegen. Mit der musik des edlen v. Dittersdorf. 
 n. i., 1795. 56 p. 15% cm . 
 
 Lyrics only, slightly different from Schatz 2597. For instance (I, 8), the aria, 
 "Was thut man nicht urn's liebe geld?" has become "Bey meiner schwarzen Seelei 
 Ha ! das ding ist ja zum lachen . ' ' The list of characters is also different . For instance 
 "Arnolph, ein pferdehiindler," has become "Graf Goldbraun, ein pferdehaendler," 
 and "Zachaeus Mantelbret" is now called Mathes. SCHATZ 2598 
 
 Holger Danske, eine oper in drey acten. 
 
 p. 7-110. 16 cm . (Cramer's Musik, Copenhagen, 1789}. 
 
 German translation by Carl Friedrich Cramer of Jens Emanuel Baggesen's Danish 
 original as composed by Friedrich Ludwig Aemilius Kunzen. Cramer's interesting 
 and important preface (p. 7-31), addressed to Wieland, under date of December 19, 
 1788, comments on Baggesen's use of Wieland's "Oberon" for his "Holger Danske" 
 text, on the Danish language as a vehicle for musical expression and on Kunzen's set- 
 ting of Baggesen's text. 
 
 First performed at Copenhagen, Royal Theatre, March 31, 1789. 
 
 ML 4.M3 and SCHATZ 5321 
 
 Die Hollandgaenger. A. T. of Wilhelm und Roeschen. 
 
 Der holzhauer, oder Die drey wuensche. Eine komische oper in 
 einem aufzuge. Eine freye uebersetzung. 
 
 Berlin, Christian Friedrich Himburg, 1772. 78 p. 14 cm . 
 
 Based on the libretto by de Guichard and Castet for Philidor's opera, "Le bucheron, 
 ou Les trois eouhaits," Paris, 1763. This, in turn, was based on Perrault's tale, "Les 
 souhaite ridicules." As the lyrics in this translation are practically identical with 
 those in the "Gesaenge" of the next entry, with exception of the "Schlusschor," it 
 stands to reason that the librettist of the "Geeaenge'' was also responsible for the 
 "free translation" of 1772. This he then merely modified for Benda's singspiel 
 purposes. SCHATZ 770a 
 
 Gesaenge aus dem Holzhauer, einer komischen operette in einem 
 akt. Die musik von herrn Georg Benda. 
 
 Riga, Gottlob Christian Froelich, n. d. 13 p. 15 cm . 
 
 The author, Friedrich Wilhelm Gotter, not mentioned. 
 
 First performed at Riga on June 27 (July 8), 1785; at Gotha, Hof theater, January 
 2, 1778. SCHATZ 770b
 
 OPERA LIBRETTOS 599 
 
 Der holzhauer oder Die drey wuensche. Tr. of Philidor's Le 
 bucheron. 
 
 L'homme a deux femmes. A. T. of Deshayes' Zelia. 
 
 The honest men of Taunton. A. T. of the downfall of bribery. 
 
 The honest Yorkshire-man. A ballad farce. Refus'd to be acted 
 at Drury-lane playhouse: but now perform'd at the New theatre in 
 Goodman's Fields, with great applause. Written by Mr. Carey . . . 
 London, L. Gilliver, 1736. 6 p. 1., 3-32 p. 20\ cm . 
 
 Title-page mutilated. One act with prologue and two epilogues, one spoken by 
 Mrs. Cantrell the three first nights," the other "spoken after the third night, in the 
 Bummer season, at the Haymarket." Haymarket and Goodman's Fields caste and 
 preface. 
 
 The 20 numbered airs are not printed in the text, but their tunes are indicated by 
 
 by this ye batchelors ) as "set by the author," consequently composed by Carey 
 himself. In the Musical Antiquary, Mr. Tufts, under 1736, says, "Ten airs by Carey, 
 two by Dr. Green, one by Handel, one by Signer Porpora, six named." In our edi- 
 tion ten numbered airs are named and Dr. Greene is not mentioned. Our edition 
 furthermore has an unnumbered song, "Tune, When the bright God of Day Whoe'er 
 to a wife," which was interpolated from the ballad opera, "Cure for a scold." The 
 airs in our copy not mentioned so far are: Air 2 "In varn, dear Cloe," 3 "Hark! away, 
 'tis the merry ton'd horn," 4^'The charms of J^lorimel," 5 "To the same tune" 
 
 'London is a fine 
 tenant of my 
 18 "A beggar 
 got a beadle." ( Note the differences in the next entry!). 
 
 The preface reads, in part: 
 
 "The very generous Reception this FARCE has met with from the Pub lick during 
 its Representation in the Haymarket last Summer, and Goodman's Fields this Winter, 
 is a Manifestation of the bad Taste and monstrous Partiality of the Great Mogul of 
 the Hundreds of Drury, who, after having had the Copy Nine Months in his Hands, 
 continually feeding me with fresh Promises of bringing it on the Stage, retum'd it at 
 last in a very ungenerous Manner, at the End of the Season, when it was too late to 
 carry it to any other House; but the Young Actors having, as usual, formed them- 
 selves into a Summer Company, Mr. Gibber, Jun. sent to me in a very respectful 
 Manner, requesting the Farce, which accordingly was put in Rehearsal; but to our 
 great Disappointment and Surprize, the Company, after one Night's Acting, was 
 suddenly interdicted, and the House shut up ... 
 
 "My next and last Complaint is against Pyrate Printers . . . 
 
 "The Produce of a Man s Brain is as much his Property as the Grain or Produce of 
 his Field, or any other Part of his real or Personal Estate, and it is equally criminal 
 to rob him of one as of the other. . . 
 
 "We have Laws in Force against Street-Robbers, House-breakers, &c. and yet at 
 the same Time Pyrate-Printers daringly and openly rob Authors and Proprietors of 
 Copies of their just Rights; and though the Labour of the Brain supports so many and 
 such great Branches of Trade, such as Paper-makers, Stationers, Letter-founders, 
 Printers, Booksellers, Bookbinders, &c. &c. &c. to the Maintenance of above 100,000 
 Families, and tho' Books pay so many and such large Duties, to wit, on Paper, Paste- 
 board, Leather, Stamps, Advertisements and Entries, to very near, if not more than 
 One Fourth of the Net Produce, yet Authors and their Assigns are the_ only Persons 
 unshelter'd by the Government from the Robberies and Pyraciea of Printers, who to 
 the Shame and Scandal of our most excellent Constitution, commit such Ravages as 
 are tolerated in no other Country. 
 
 "I hope to be excus'd in speaking thus warmly, having, for my own Part, suffer'd 
 very largely in this Particular- nor dp I live a Week, but I see myself injur'd of 
 more than would support me a Month in a handsome Affluence. But of all Pyracies, 
 that of this FARCE was the most flagrant and impudent, for impatient to stay till I 
 had publiah'd my own Copy, they villainously and surreptitiously anticipated me,
 
 600 LIBRARY OF CONGRESS 
 
 The honest Yorkshire -man Continued. 
 
 thereby robbing me of a considerable Sum, and imposing on the Publick, not only a 
 false and spurious Edition, but at double the Price I ever intended it." 
 
 First performed at Lincoln Inn's Fields (not at Covent Garden) July 11, 1735, as 
 "The Wonder! An honest Yorkshireman;" at The Haymarket August 1, 1735 ("last 
 time" Genest); at Goodman's Fields November 12, 1735. (Genest v. 3 contradicts 
 the data in his index in v. 1). ML 50.5. H65 
 
 The honest Yorkshire -man. A ballad opera. 
 
 [213}-244 P- 22 cm . (Henry Carey, Dramatick works, London, 
 1743.} 
 
 One act. Same preface. Of the 21 airs, ten are indicated as by Carey;, one by 
 Porpora, one by Haendel, two by Dr. Green, and six as ballad airs with their 
 titles, but note the striking difference between this ed. and that of the Dramatick 
 works. In the latter the arrangement is as follows. Airs: 1 by Porpora; 2 and 3 by 
 Carey; 4 by Dr. Green, but with same text ' ' My charming Arabell " ; 5 is the same (the 
 unnumb. song of 1736 having disappeared^); 6 there is no air numbered 6; 7, 8, 9, 10, 
 11, 12, 13 are the same; 14 is "0 London is a fine town" with the same text as the 
 former 6 "O London is a dainty place"; 15 is "London-Bridge is broken down"; 16 is 
 the same as the former 15; 17 is by Dr. Green but with same text "Let prudes and 
 coquets" as of former 16; 18, 19, 20, 21 are the same as the former 17, 18, 19, 20. 
 
 ML 49.A2C2 
 
 - The honest Yorkshire-man, a ballet farce, acted with great 
 applause at the Theatres Royal in Drury-Lane and Covent Garden. 
 Written by Mr. Harry Carey . . . 
 
 London, T. Lownds, 1763. 36 p. (ind. front.} 16 cm . 
 
 One act. Preface, prologue, epilogues, casts (Drury-Lane and Co vent-Garden). 
 
 LONGE 73 
 
 L'honor al cimento. L. T. of Orgiani's Gli amori di Rinaldo con 
 Armida. 
 
 Les Horaces, tragedie-iyrique, en trois actes, melee d'intermedes. 
 Represente devant Leurs Majeste"s, a Fontainebleau, le 2 novembre 
 1786. 
 [Paris], P. R. C. BalUrd, 1786. 4 p. I., 53 p. 19\ cm . 
 
 Cast. Guillard is mentioned as the author, Antonio Salieri as the composer. 
 First performed at Paris, Academic royale de musique, December 7, 1786. 
 
 ML 50.2.H6S2 
 
 Les Horaces et les Curiaces, ballet. See P. Guglielmi's Vologeso. 
 
 The Horatii and Curiatii. A tragic ballet. 
 
 Noverre, Jean George, Works, Tr. from the French,, London, 1783, 
 v. 3, p. 145-181. 21\ cm . 
 
 Five parts. Detailed scene by scene description. GV 1787. N8 
 
 Horatio. See M. Curzio. 
 
 Horatius Cocles, acte lyrique, represents pour la premiere fois sur 
 le Theatre national de 1'Opera, le de"cadi 30 pluviose, 1'an deuxieme 
 [February 18, 1794]. Paroles du C. Arnault. Musique du C. Meliul. 
 n. i., n. d. [51}-66 p. 19% cm . 
 
 Before 1800? Not detached from his Oeuvres, 1818 (3 v.) or 1824-27 (8 v.)? . 
 
 ML50.2.H63M2
 
 OPERA LIBRETTOS 601 
 
 An hospital for fools. A dramatic fable. As it is acted at the 
 Theatre : Royal, by His Majesty's servants. To which is added the 
 songs with their basses and symphonies, and transposed for the flute. 
 The musick by Mr. Arne. Sung by Mrs. Clive . . . 
 
 London, J. Watts, 1739. 6 p. I., [5]-28, [1] p., [7] p. (music} 20 cm . 
 
 One act and introduction. By James Miller, who is not mentioned. The first 
 p. 1. contains publisher's advertisement dated November 19, 1739, the p. 1. 4-6 con- 
 tain "An additional eong. The mueick by Mr. [Thomas Augustine] Arne. Sung by 
 Mrs. Cliye: "How smoothly glides the fool," air and bass. The [7] p. contain "Songs 
 with their basses and symphonies, and transpos'd for the flute. The musick by Mr. 
 Arne. Sung by Mrs. Clive": "A fool enjoys the sweets of life," "Our folly is our 
 neighbour's gains," and "If life can yield." 
 
 First performed, as indicated, November 15, 1739. ML 50.2.H7 
 
 Second copy, lacking first p. 1. (half-title). LONGE 40 
 
 H0st-gildet. Et syngespil i een act, ved Thomas Thaarup. 
 Ki0lenhaim, P. M. H0p/ner, 1790. 48 p. 19 cm . 
 
 Cast. The composer, Johann Abraham Peter Schulz, is not mentioned. 
 First performed at Copenhagen, Royal Theatre, September 16, 1790. 
 
 SCHATZ 9721 
 
 Das erndte-fest. Ein singspiel in einem aufzuge vom herrn 
 Thaarup. In musik gesetzt vom herrn kapellmeister Schulz. Aus 
 dem daenischen nach der dritten veraenderten auflage. 
 Altona, J. F. HammericJi, 1795. 68 p. 16 cm . 
 
 The "Vorrede des uebersetzers " is signed by F. H. W. Froelich and dated "Rund- 
 hoff, bey Schleswig, im Juny 1794." In it he says: 
 
 "Dass die arien der uebersetzung mit der musik in der yollkommensten ueberein- 
 stimmung stehen, ist allein das werk des herrn kapellmeisters Schulz, dessen guete 
 meine arbeit einer wiederhohlten durchsicht wuerdigte." SCHATZ 9722 
 
 Der hufschmied. Tr. of Philidor's Le marechal ferrant. 
 
 Les huit Mariannes, parodie en un acte. Represent^, pour la 
 premiere fois, a THdtel de Bourgogne, par les Come'diens itahens, en 
 Mai 1725. 
 
 Alexis Piron, Oeuvres complettes, Liege, 1776, v. 5, [203]-255 p. 
 
 In prose and vaudevilles. A parody of the tragedy, "Herode & Mariamne" 
 according to Parfaict, who dates it, without mentioning the composer, April 28, 1725. 
 
 PQ 2019.P6 
 
 L'huitre et les plaideurs, ou Le tribunal de la chicane. Opera- 
 comique, en un acte, en prose, me'le' de morceaux de musique & 
 vaudeville, represent^ sur le Theatre de la Foire Saint-Laurent en 
 1759 & 1761. Par M. Sedaine. La musique de M. Philidor. La 
 musique, les ariettes & le vaudeville s'y trouvent graves. 
 
 Paris, Claude Herissant, 1761. 84, [1] p. 20%. 
 
 No music. Cast. In his avertissement the author says: 
 
 "Cette petite piece, ou plut6t cette farce a 6t6 represented pour la premiere fois a 
 la Foire Saint-Laurent de I'annSe 1760 [ ! comp. title] ; propose'e, faite, mise en musigue, 
 apprise & represented en moins de dix-sept jours. Elle avoit tous les d^fauts d'un 
 ouvrage indigeste & precipit6e; cependant le reprpche le plus unanime fut son peu 
 de dur6e. C est ce qui nva excit6 a 1'etendre en y joignant des couplete, des scenes & 
 des morceaux de musique qui couvrissent du moins I'irr6gularite' de I'ouvrage. Et de 
 fait, un opera-comique qui n'est point compose' de scenes a tiroirs, & qui n'a ni amour, 
 ni intrigue, ni mariage, ne peut gue>es tenir son succea que des charmes de la musique 
 & du meiite de 1'execution." 
 
 First performed, as indicated, (but without music ?\ September 17, 1759. 
 
 SCHATZ 8036
 
 602 LIBRARY OF CONGRESS 
 
 L'humanita nelle fere, overo II Lucullo. Drama per musica da 
 rappresentarsi nel famoso Teatro di S. Bartolomeo in quest' anno 
 1708 . . . 
 
 Napoli, Salvatore Votto, n. d. 5 p. I., 62 p. 14 cm . 
 
 Three acts. Dedication by the impresario, Andrea del P6, argument, cast, 
 scenario, and printer's notice, which reads, in part: 
 
 "Se nelle commedie gi rappresentate, per cagione della lunghezza, e del nuovo 
 costume c'hoggi corre, piu volte ti supplicai di compatire il Sign. Carlo de Petria, che 
 fu Boverchiamente ardito in togliere, ed aggiungere qualche cosa di piu alle scene 
 degli altri; questa volta te ne priego d'avvantaggio, e se in luogo di Prezia Dama, 
 dalla quale par che nasca la mossa di Lucullo contro Mitridate in questa commedia vi 
 troverai Tilla, Prezia etimela in tutto supposta, e Tilla un eemplice personaggio intro- 
 dotto per ornamento della commedia, e non necessario, non usandosi piu simile 
 pereonaggio. 
 
 "La musica del Signor Aleesandro Scarlatti, con qualche cosa di piu del Signer 
 Giuseppe Vignola." 
 
 Dent says, "Probably produced before elsewhere, since the libretto mentions 
 additions by Vignola," whereas Schatz calls this the original ed. of the libretto. 
 
 SCHATZ 9538 
 
 The humours of Covent- Garden. A. T. of The rival milliners. 
 
 The humours of John Bull : an operatical farce, in two acts. 
 
 n. i.,n. d. [75}-130p. 17 cm . 
 
 Detached copy. A short prefatory note tells us that 
 
 "several political allusions to events of the period at which it was written, would 
 have effectually prevented the appearance of this performance on our chaste stage, 
 even if the author's stomach had not been too squeamish to digest the various disgusts 
 of theatric solicitation." 
 
 By Sylvester Otway (pseud, of James Oswald), and first printed 1789 in his volume 
 of poems. LONGE 323 
 
 The humours of Punch's resignation. A. T. of Politicks in 
 miniature. 
 
 The humours of the court: or, Modern gallantry. A new ballad 
 opera. As it was intended to have been perform'd at one of the 
 theatres. 
 
 London, W. James, 1732. mi, [1], 9-72 p. 20\. 
 
 Three acts and introduction. Neither author nor performance recorded by Clar- 
 ence. The 24 airs used are indicated by title. The text is preceded by a short 
 preface, in which the author trusts that his piece will meet with as much success as 
 many others not any better than his. ML 50.5.H9 
 
 Second copy LONGE 49 
 
 The humours of the times; or, What news now? A comic opera, 
 in two acts, written by Archibald M'Laren ... To which is annexed 
 a copy of a letter from the manager of the Dublin Theatre to the 
 author, containing his approbation of the piece. 
 London, Printed for the author, 1799. 24 p. 17 cm . 
 
 The "letter" is not in this copy. List of subscribers, and note that, owing to "Mr. 
 Daly's resignation of the theatre, and the insurrection that followed," the play was 
 not brought out. Of the eight songs, two were to be sung to the tunes, "This is no 
 me " and ' ' Duncan Davison. ' ' God save the King " evidently furnished the melody 
 for the finale. The other songs have no indication of air. LONGE 323
 
 OPERA LIBRETTOS 60$ 
 
 The musical farce of Hunt the slipper. In two acts. As per- 
 formed at the Theatre-Royal, Smoke-Alley. 
 
 [Dublin], Printed for the booksellers, 1792. 34 p. 15% cm . 
 
 Cast. Only the air, "For fortune's like a tight or slip-shoe," is headed as com- 
 posed by Samuel Arnold, though he is recorded as having composed all the music. 
 The author, Henry Knapp, is not mentioned. 
 
 First performed July 21 (Schatz), August 21 (Geneet), 1784, at London, Haymarket. 
 
 LONGE 223 
 
 Le Huron, comedie en deux actes et en vers, mele'e d'ariettes; re- 
 pr6sent6e pour la premiere fois par les Com6diens italiens ordinaires 
 du roi, le 20 aout 1768. 
 
 Paris, Merlin, 1768. 47 p. 19%. 
 
 Neither Marmontel, the author, is mentioned, nor Gre'try, the composer. 
 
 ML 50.2.H8G6 
 
 - Le Huron, comedie en deux actes et en vers, mes!6e d'ariettes' 
 represented pour la premiere fois par les Comecliens italiens ordi- 
 naires du Roi, le 20 aout 1768. 
 
 Paris, Merlin, 1770. 48 p. 18 cm . 
 
 Neither Marmontel, the author, nor Gre'try, the composer, is mentioned. On 
 p. 13-16 the air of "Vous me charmez " (I, 4); on p. 23-26, of "L'amour naissant n'a 
 pas encore" (I, 7). SCHATZ 4159 
 
 - Le Huron, comedie en deux actes et en vers, mdlee d'ariettes. 
 Representee, pour la premiere fois, par les Comecliens italiens ordi- 
 naires du roi, le 20 aout 1768. 
 
 Paris, Merlin, 1772. 48 p. 19 cm . 
 
 On p. 45-48, "Air du Huron" ("Vous me charmez"). Neither Gretry is men- 
 tioned, nor Marmontel. ML 50.2.H8G7 
 
 - Le Huron, comedie en deux actes et en vers, melee d'ariettes; 
 repr6sentee pour la premiere fois par Iss Come'diens italiens ordinaires 
 du roi, le 20 aoiit 1768. 
 
 Paris, Merlin, 1779. 48 p. 19 cm . 
 
 On p. 13-16 the air of "Vous me charmez, vous enflammez " (I, 4), 23-26 "L'amour 
 naissant n'a pas encore " (I, 7). Neither Marmontel is mentioned, nor Gre'try. 
 
 SCHATZ 11705 
 
 Hurtado e Miranda, ballet. See Luchesi's Ademira. 
 Hurtado e Miranda, ballet. See Monza's Ifigenia in Tauride 
 Hylas. Entree in Grenet's Le triomphe de 1'harmonie. 
 Hypermenestra. Tr. of Fiorillo's Ipermestra. 
 Hypermenestra. Tr. of Basse's Ipermestra. 
 
 Hypermnestre, tragedie, represented par 1'Academie royale de 
 musique, Van 1716. Paroles de M. De Lafonds. Musique de M. 
 Gervais. XLI. opera. 
 
 n. i., n. d. pi., p. 77-129 (Recueil general des opera, t. xii, Paris, 
 1734). 14 cm - 
 
 Detached copy. Five acts and prologue. 
 
 First performed, as indicated, November 3, 1716. SCHATZ 3791a 
 
 Second copy. ML 48. R4
 
 604 LIBRARY OF CONGRESS 
 
 Hypermnestre Continued. 
 
 - Hypermnestre, tragedie, mise an Theatre de PAcademie royale 
 de musique de Lyon, pour la pre"mi6re fois en 1742. 
 
 Lyon, Aime Delaroche, 1742. 63 p. 23\ cm - 
 
 Five acts and prologue. Cast. Neither the author, Joseph de Lafont, nor the 
 composer, Charles Hubert Gervais, is mentioned. SCHAT 3791b 
 
 - La bonne femme, parodie de I'opgra d'Hipermnestre. Par les 
 Srs. Dominique & Romaenesi . . . ^Represented pour la premiere 
 fois, par les Come'diens italiens ordinaires du roi, le 28 juin 1728. 
 
 Les parodies du Nouveau Theatre italien, Nouv. ed., Paris, Briasson, 
 1738, t. iv, [37}-72 p. 16$ cm . 
 
 One act. The airs and vaudeville printed at end in the "Table des airs" (92 p.). 
 
 ML 48. P3 
 
 Der hypochondria te. Tr. of Naumann's L'ipocondriaco. 
 Hypsipile. Tr. of Metastasio's text Issipile. 
 
 Hysipile. Ein musicalisches schauspiel, welches an dem glorreichen 
 nahmens-tag Ihro Churfuerstl. Durchleucht zu Pfaltz . . . aufge- 
 fuehret worden im jahr 1754. 
 
 Mannheim, Nicolaus von Pierron, n. d. 6 p. 1., 131 p. 15% cm . 
 
 Three acts. Argument, cast, scenario, and name of Ignaz Holzbauer as the 
 composer ("eine neue composition"). Apparently a translation of Metastasio'a 
 "Issipile." 
 
 First performed at Mannheim, Hoftheater, November 4, 1754. SCHATZ 4785 
 
 L'Ibraim sultano. Drama postumo del Sig. dottor Adriano Mor- 
 selli. Da rappresentarsi in musica nel famoso Teatro Grimano di 
 San Gio. Grisostomo 1'anno 1692 . . . 
 
 Venetia, Nicolini, 1692. front., 46, [2] p. 14 cm . 
 
 Three acts. Publisher's dedication, argument, and scenario. The composer, 
 Carlo Francesco Pollaroli, is not mentioned. The 2 unnumb. p. contain the sub- 
 stitute arias: "Fortunati miei pensieri" (I, 2), "Ti lascierd se vuoi" (I, 11), "Non 
 nieghi la sorte" (III, 8), and "O guerriero" (III, 15). SCHATZ 8296 
 
 Ich heisse Theiss, oder Der aepfeldieb. Eine operette in einem 
 aufzuge. Verfasst von Ludwig Erdmann. 
 Regensburg, im Montagischen verlag, 1778. 30 p. 17 cm . 
 
 The composer, Johann Gaertner, is not mentioned. 
 
 First performed at Fulda, Liebhabertheater, ca. 1781. SCHATZ 3553 
 
 Idalide. Dramma per musica da rappresentarsi nel Regio Teatro di 
 Torino nel carnovale del 1786 ... 
 
 Torino, Onorato Derossi, n. d. viii, 64 p- 16 cm . 
 
 Three acts. By Ferdinando Moretti, who is not mentioned. Argument, cast, and 
 names of Salvatore Bispoli as composer of the opera, of Vittorio Amedeo Canavasso 
 of Francesco Clerico's ballets, "I barbari sacrifizi distrutti, ballo serio pantomimo in 
 cinque atti," "Le awenture del carnovale, ballo comico," and "Li montanari nel 
 Peru," the first two of which are described on p. 59-64. SCHATZ 8814
 
 OPERA LIBRETTOS 605 
 
 L'Idalide o sia La vergine del sole. Dramma per musica da rappre- 
 sentarsi in Firenze nel Regio Teatro degl' Intrepid! detto della Palla 
 a Corda . . . 
 
 Firenze, Ant. Gius. Pagani e comp., 1788. 34 p. 16% em . 
 
 Two acts. By Ferdinando Moretti, who is not mentioned. Argument, cast, and 
 name of Giuseppe Sarti as the composer. With the opera was performed the ballet 
 "Ilnottambulo." 
 
 First performed at Milan, Teatro alia Scala, January 8, 1783. SCHATZ 9444 
 
 Idaspe. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S. Gio. Grisostomo nell carnevale dell' anno 
 MCCXXX . . . 
 
 Venezia, Carlo Buonarigo, n. d. 1 p. L, Jfit p. 15% cm . 
 
 Three acts. By Giovanni Pietro Candi (not mentioned). Dedication by Dom. 
 Lalli, argument, cast, scenario, and name of the composer, Riccardo Broschi. 
 
 SCHATZ 1339 
 
 L'idea del comando nel cuore di Germanico invincibile. See 
 
 M. Curzio. 
 
 L'idea di tutte le perfezioni. Introduzione al balletto de' serenis- 
 simi principi Francesco & Antonio Farnesi, fatto rappresentare dal 
 seremss. Sig. duca di Parma nel sup Nuovo Teatrino, in occasione 
 de' felicissimi sponsali del serenissimo Sig. principe Odoardo suo 
 primogenito, con la serenissima Signora principessa Dorotea Sofia di 
 Neoburgo. Poesia del dottore Lotto Lotti . . . e musica di Giuseppe 
 Tosi. 
 Piacenza, Bazachi, 1690. 32 p. 19 cm . 
 
 Caets for both the introduzione and the ballet, the latter danced by twelve princes 
 and cavaliers. 
 
 First performed, as indicated, May 5, 1690. L. of C. does not have the five plates 
 mentioned by Wotquenne. SCHATZ 10379 
 
 L'idolo cinese. Commedia per musica di Giambattista Lorenzi 
 P. A. da rappresentarsi nel Real Teatro del Fondo di Separazione per 
 seconda opera del corrente anno 1783. 
 
 Napoli, n. pull., 1783. 64 p. 15 cm . 
 
 Three acts. Argument, cast, name of Paisiello as the composer, and note that 
 "per brevita ei tralasciano molte scene dell' atto terzo," also that "per comodo delle 
 cantanti," the aria, "Da tanti affanni oppressa," would be substituted in I, 9 for 
 "Sapessi almen se barbaro," and "Agitato dallo sdegno," in II, 13, for "L'ussignol 
 col meeto canto." 
 
 First performed at Naples, Teatro Nuovo, spring, 1767. SCHATZ 7670 
 
 L'idolo cinese. Dramma giocoso per musica da rappresentarsi nel 
 Teatro di San Samuelle il carnovale dell' anno 1774. 
 
 Venezia, Modesto Fenzo, 1773. 61 p. 17 cm . 
 
 Three acts. By Giambattista Lorenzi, who is not mentioned. Cast, scenario, and 
 name of Giacomo Bust as the composer. On p. 29-32, description, without name of 
 the composer of the music of Onorato Vigan6's, "Arianna abbandonata da Teseo e 
 soccorsa da Bacco, ballo eroico pantomime." His second ballet was called "La 
 donna difficile." SCHATZ 9179
 
 606 LIBRARY OF CONGRESS 
 
 Idomenee, tragedie represented par 1'Academie royale de musique 
 1'an 1712. Les paroles de M. Danchet & la musique de M. Campra. 
 LXXVII. opera. 
 
 n. i., n. d, 815-388 p. 14 cm - (Recueil general des opera, Paris, 
 1714, t. x.) 
 
 Detached copy. Five acts, with prologue. 
 
 First performed, as indicated, January 12, 1712. SCHATZ 1557 
 
 Second copy. ML 48. R4 
 
 Idomenee, tragedie. 
 
 \121}-182 p. 17% cm . (Antoine Danchet, Theatre, Paris, 1751; 
 t. Hi.) 
 
 Prologue and five acts. The composer, Andr6 Campra, is not mentioned. 
 
 PQ 1972.D2 
 
 Idomeneo. Drama per musica da rappresentarsi in Roma nel 
 Teatro di Torre Argentina nel carnevale dell' anno 1756 . . . 
 
 Roma, Fausto Amidei, n. d. 63 p. 15 cm . 
 
 Three acts. Author not mentioned and not known to Schatz. Dedication, argu- 
 ment, scenario, cast and name of Baldassare Galuppi as composer. 
 
 First performed as indicated, January 7, 1756. ML 50.2. 13G2 
 
 Idomeneo. Dramma per musica da rappresentarsi nel Teatro 
 Nuovo di Corte per comando di S. A. S. E. Carlo Teodoro . . . nel 
 carnovale 1781. La poesia e del Signer abate Gianbattista Yaresco 
 . ... La musica e del Signer maestro WolfgangoAmadeo Mozart . . . 
 La traduzione e del Signer Andrea Schachtner . . . 
 
 Monaco, Francesco Giuseppe ThuiUe, n. d. 121 p. 15\ cm . 
 
 Argument, scenario, and cast. German title page, "Idomeneus," and text face 
 Italian. 
 
 First performed, as indicated, January 29, 1781. SCHATZ 6818 
 
 Idomeneus. Tr. of Mozart's Idomeneo. 
 
 L'idylle sur la paix, et L'Eglogue de Versailles. Divertissements 
 representez en differents temps par 1'Academie royalle de musique. 
 Les paroles de differents auteurs, & la musique de M. de Lullv. 
 XVIII. opera. 
 
 n. i., n. d. front., 73-80, 81-90 p. 14 cm . (Recueil general des 
 opera, t. Hi, Paris, 1703.) 
 
 Detached copy. One act. A note on p. 74 says of the "Idylle:" 
 "Ce divertissement a quelques fois pre"ced6 & 1'Opera celuy des Fetes de 1' Amour 
 <fe de Bachus. II est icy imprim6 comme il 1'a e"te en musique dans 1'ann^e 1685. 
 Lee paroles de 1'Idyle sont de M r Racine." 
 
 First performed at Sceaux, Orangerie of the marquis de Seigneley, 1685. (The 
 plate has the title, "L'idile de Sceaux," and shows the chateau in the background.) 
 
 SCHATZ 5776 
 Second copy. ML 48. R4 
 
 L'eglogue de Versailles. 
 
 On p. 89-90, the "Augmentation tire6 du dernier intermede de la comedie de 
 Porceugnac, dont on s'est servi pour preceder 1'Eglogue lorsqu' elle a et6 jpuee ensuite 
 de la Mascarade " [scil. ' ' Le carnaval "1. Moliere is named as author of this augmenta- 
 tion. As author of the "Eglogue de Versailles" ["Grotte de Versailles," according 
 to Prunieres] proper, Philippe Quinault is mentioned on p. 80. 
 
 First performed at Versailles, 1668, and at Paris, Academie royale de musique, 
 1685. SCHATZ 5775a 
 
 Second copy. ML 48.R4
 
 OPERA LIBRETTOS 607 
 
 L'Iffide greca. Drama per musica da rappresentarsi nel Teatro 
 Giustiano di S. Moise\ Nel carnovale dell' anno 1722. 
 Venezia, Marino Rossetti, 1722. 48 p. 15 cm . 
 
 Three acte. By conte Niccol6 Minato, who is not mentioned. Argument, cast, 
 scenario. The composer, Pietro Scarpari, is not mentioned. SCHATZ 9561 
 
 Iffigenia in Tauride, ballet. See Paisiello's II Demofoonte. 
 
 Ifianassa, e Melampo. Drama musicale rappresentato nella Villa 
 di Pratolino. 
 
 G. A. Moniglia, Poesie drammatiche, parte prima, Firenze, Vincen- 
 zio Vangelisti, 1689, p. [379]-433 p. 24 cm . 
 
 Three acts. Argument with name of Giovanni Legrenzi as composer. 
 
 First performed as indicated, fall of 1685. ML 49.A2M7 
 
 L' Ifigenia. Dramma per musica da rappresentarsi nel Teatro di 
 Sant' Angelo il carnevale dell' anno 1707. 
 
 Venezia, Marino Rossetti, 1707. 59 p. 14^. 
 
 Three acts. Argument, scenario, and notice to the reader signed with the initials 
 of Aurelio Aureli : 
 
 "Quest' opera da molto tempo sepolta con le ceneri del poeta [Pietro Riva] ha 
 havuto quest' anno 1'onore di passare in mano de Cavalieri prottetori del Teatro, e 
 d'esser poeta eii le scene. II Sig. Agostino Bona ventura Colletti, che ha fatto spiccare 
 la virtu eua nelle arie nuove del rarida gia recitato, 1'ha adornata colla musica,; ed 
 a me doppo d'avermi intrecciato qualche mio verso & rimasta la fortuna di presentarla 
 al vostro aggradimente ..." SCHATZ 2112 
 
 Ifigenia. Drama per musica da rappresentarsi nel nobil Teatro a 
 Torre Argentina il carnevale dell' anno 1766 . . . 
 Roma, Ottavio Puccinelli, n. d. 56 p. 15% cm . 
 
 Three acts. Argument, scenario, cast, name of Carlo Franchi as composer and 
 dedication with this allusion to the author: "opera d'insigne letterato viyente, 
 celebre ancora per altre sue f elici produzioni . ' ' Comparison proved this to be Vittorio 
 Amedeo Cigna-Santi's "Ifigenia in Aulide." ML 50.2.I4F7 
 
 L' Ifigenia. O. T. of Jommelli's Ifigenia in Aulide. 
 
 Ifigenia in Aulide. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744) ^ I> 80 p. 19 en . 
 
 Three acte and licenza. Argument and publisher's prefatory note for the entire 
 collection. 
 
 No composer is mentioned. 
 
 In the "Catalogo," at end of t. x, date and place of first ed. of "Ifigenia in Aulide " 
 are given as Vienna, 1714. (November 4, music by Caldara.) ML 49.A2Z3 
 
 - Ifigenia in Aulide. Pubblicata per la prima volta in Vienna 
 1714. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. iv, p. 185- 
 266. 21 cm . 
 
 Three acts. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Ifigenia in Aulide. Dramma per musica da rappresentarsi nel regio 
 Teatro di Torino nel carnevale del 1762 alia presenza di S. S. R. M. 
 
 Torino, Gaspare Bayno, n. d. viii, 63 p. 15\ cm . 
 
 Three acte. Argument, cast, scenario, and names of composer, Ferdinando Giu- 
 ertoni, and librettist, Vittorio Amedeo Cigna [-Santi]. The second of the 
 
 eeppe Bertoni, 
 
 ballets, all three by Eligio Devisee and compoeed by Giuseppe Antonio Le Messier, 
 
 wae called "L'arrivo d'Europa nelP isola di Creta." SCHATZ 914
 
 608 LIBRARY OF CONGRESS 
 
 Ifigenia in Aulide. Dramma per inusica, da rappresentarsi nella 
 Cesarea corte per il noine gloriossimo della Sac, Ces, e Catt. Maesta 
 Carlo VI ... L'anno MDCCXVIII. La poesia 6 del Sig. Apostolo 
 Zeno . . . La muaica del Sig. Antonio (Jaldara . . . 
 Venezia, Domenico Lovisa, n. d. 60 p. 15*. 
 
 Three acts and licenza. Argument and scenario. The ballet music was com- 
 posed by Niccola Matteis. 
 
 First performed at Vienna, Hoftheater, November 4, 1718. SCHATZ 1484 
 
 Iflgenia in Aulide. Dramma per musica da rappresentarsi nel 
 Regio Teatro di Torino nel carnovale del 1788 alia presenza di S. S. 
 R.M. 
 
 Torino, Onorato Derossi, n. d. 68 p. 16 cm . 
 
 Three acts. By Ferdinando Moretti. Argument, cast, scenario, and names of 
 the author and the composer, Cherubini. On p. 62-67 description with cast of 
 
 Giuseppe Traffieri's ballets, music by Vittorio Amedeo Canavasso, "Mercato fiam- 
 mengo, "Didone abbandonata," and "La nuova della pace." SCHATZ 1838 
 
 - Ifigenia in Aulide. Dramma per musica da rappresentarsi nel 
 Teatro Grande alia Scala Pautunno dell' anno 1788 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 4 P- 1, 60 p. 16% cm . 
 
 Three acts. Dedication, argument, cast, scenario, and name of Luigi Cherubini 
 as composer. The author, Ferdinando Moretti, is not mentioned. The text of the 
 opera is preceded by prefatory note, argument, and cast, without name of the com- 
 poser of the music, of Domemco Le Fevre's "La discesa d'Ercole all' inferno, ballo 
 eroico in cinque atti." His second ballet was called "Le feste di Flora." 
 
 SCHATZ 11684 
 
 Ifigenia in Aulide. Dramma per musica da rappresentarsi nel 
 Regio Teatro di Berlino . . . 
 
 Berlino, Haude e Spener, 1768. 93 p. 16 cm . 
 
 Three acts. Carl Heinrich Graun is mentioned as the composer and Leopoldo di 
 Villati as the author, though Frederick the Great probably was a joint author. A 
 note on p. [4] says: 
 
 "Questa e un' imitazione dell' Ifigenia di Racine; il fine per6 ne e diverse, essen- 
 dosi qui seguito Euripide ..." 
 
 Argument and scenario. German title page, "Iphigenia in Aulis," and text face 
 Italian. 
 
 Performed in January, 1768, as indicated; originally December 13, 1748. 
 
 SCHATZ 4102 
 
 Ifigenia in Aulide. Drama per musica da rappresentarsi nel Real 
 Teatro di S. Carlo a di 18 decembre 1753 in cui si commemora 
 1'augusto nome della regina regnante . . . 
 
 Napoli, Domenico Lanciano, n. d. 5 p. 1., 48 p. 14 cm - 
 Three acts. Mattia Verazi, the author, is not mentioned. Dedication stating 
 that this is the first performance of the opera at San Carlo, argument, cast, scenario, 
 and note that the music is by Niccol6 Jommelli, except certain indicated arias by 
 Tommaso Traetta. These arias were: "La tua diletta figlia" (I, 1), "Fra i dolci 
 affetti miei " (1, 3), "M'ama il bell' idol mio " (II, 10), "Gte la vittima fatale " (II, 13). 
 First performed at Rome, Teatro di Torre Argentina, February 9, 1751, ae 
 'L'Ifigema." SCHATZ 4861 
 
 L'Ifigenia, dramma per musica da rappresentarsi nel Teatro in 
 Cassel. 
 Cassel, D. Estienne, 1766. 153 p. 16 cm . 
 
 Three acts. Neither Verazi nor Jommelli mentioned. Argument, scenario, cast. 
 German title, "Iphigenia," and text face Italian, which is noticeably different from 
 the Naples edition of 1753. For instance, the opera now begins, "Sorgi Euribate:
 
 OPERA LIBRETTOS 609 
 
 Ifigenia in Aulide Continued. 
 
 Ola." instead of "Signer, perche si meeto?" the arias, "La tua diletta figlia" (I, I) 
 and "Fra i dolci affetti miei " (I, 2), are not in the Cassel version, which has "Sperai 
 vicino il Lido" in I, 2, etc., etc. 
 
 SCHATZ 4862 
 
 Ifigenia in Aulide. Dramma per musica di Luigi Serio poeta di 
 corte. Da rappresentarsi nel Real Teatro di S. Carlo nel di 12 
 gennaio 1779 . . . 
 
 Napoli, Vincenzo Flauto, 1779. 61 p. 15\ cm . 
 
 Three acts. Impresario's dedication, dated January 12, 1779, argument, scenario, 
 cast, and name of Vincenzo Martin (Martin y Soler) as the composer. With the 
 opera was performed Lepicq's ballet, "Griselda," of which argument and description 
 appears on p. [7J-16, and Domenico Rossi's ballet, "II servo di due padroni." fhe 
 composers of the music are not mentioned. SCHATZ 6028 
 
 Ifigenia in Aulide. Drama per musica da rappresentarsi in Firenze 
 nel Teatro di via della Pergola nel came vale dell' anno 1732 . . . 
 
 Firenze, Verdi, n. d. 67 p. 14 m - 
 
 Three acts, with licenza. By Apostolo Zeno, who is not mentioned. Impresario's 
 dedication, argument, cast, scenario, and name of Giuseppe Maria Orlandini as the 
 composer. SCHATZ 7334 
 
 Ifigenia in Aulide. 
 
 [395\-4%3p. 17 cm . (RoUi, Componimenti poetid, Nuova edizione, 
 Verona, G. Tumermani, 1744-} 
 
 Three acts. Argument. The composer, Niccol6 Porpora, is not mentioned. 
 First performed at London, Haymarket, June 7 (Burney), May 3 (Schatz), 1735. 
 
 ML 49.A2R7 
 
 Ifigenia in Aulide. Dramma per musica, da rappresentarsi nel 
 Teatro di S. A. S. E. di Baviera nel carnevale del' anno 1738. La 
 musica e del Sig. Giovanni Porta . . . 
 
 Monaco, Giov. Giac. Votter, n. d. 86 p. 15 cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Argument, cast, and 
 scenario. 
 
 First performed in January, 1738, as indicated. SCHATZ 8380 
 
 L'Ifigenia in Aulide. Dramma per musica da rappresentarsi nel 
 Kegio Teatro di via della Pergola 1'autunno del MDCCLXXXIV . . . 
 
 Firenze, Giovanni Risaliti, 1784- 39 p. 16 cm . 
 
 Three acts. By Luigi Serio, who is not mentioned. Argument, cast, and name of 
 Alessio Pra ti as the composer ("La musica etuttanuova"). On p. 5, argument, ca-st, 
 description, and name of Antonio Capuzzi as the composer of the music of Domenico 
 Ricciardi's ballet, "La Vergine del sole o sia Alonzo e Cora, ballo eroico." 
 
 SCHATZ 8451 
 
 Ifigenia in Aulide. Dramma per musica da rappresentarsi nel 
 Teatro da S. Agostino il carnovale dell' anno 1784 . . . 
 Genova, Stamperia Gesiniana, n. d. 59 p. 14% cm > 
 Three acts. By Luigi Serio, who is not mentioned, but with alterations. Argu- 
 ment, cast, scenario, and name of Lorenzo Rossi as the composer. SCHATZ 8918 
 
 Ifigenia in Aulide. Dramma serio per musica da rappresentarsi 
 nel nobiliss. Nuovo Teatro di Padova per la fiera del Santo 1785 . . . 
 
 Padova, Penada, n. d. 36 p. 17 cm . 
 
 Two acts. Author not mentioned, and unknown to Schatz. Antonio Zardon's 
 dedication as impresario, argument, cast, scenario, and name of Angelo Tarchi as the 
 
 72251 VOL 114 39
 
 610 LIBRARY OF CONGRESS 
 
 Ifigenia in Aulide Continued. 
 
 composer. With the opera were performed Domenico Rossi's ballets, "II primo 
 giorno dell' anno nella China " (music by Luigi Marescalchi) and "Chi la fa 1'aspetta." 
 
 SCHATZ 10231 
 
 Ifigenia in Aulide. Dramma per musica da rappresentarsi ml 
 Teatro Grande alia Scala il carnevale dell' anno 1787 . . . 
 Milano, Gio. Batista BiancM, n. d. 70 p. 16$ cm . 
 
 Three acts. Dedication ("cotestosecondospettacolo . . . della corrente stagione "), 
 argument, cast, scenario, and names of Nicola Zingarelli as composer, of Ferdinando 
 Moretti as author ("II dramma composizione nuova"}. With the opera were per- 
 formed (composers of the music perhaps mentioned in the separate libretto pub- 
 lished) Paolino Franchi's ballets, "Guatimozin ossia La conquista del Messico," 
 "I Jue avari," and "II matrimonio per concorso." 
 
 First performed, as indicated, January 27, 1787. SCHATZ 11250 
 
 Second copy. ML 48.A5 v. 8 
 Third copy. ML 48.A5 v. 7 
 
 Ifigenia in Aulide. Dramma per musica da rappresentarsi nel 
 Teatro della molto He. citta di Barcellona, 1'anno 1799. 
 
 Barcellona, Francesco Generas, n. d. 54 p- 15 cm . 
 Three acts. Argument, cast, and name of Nicola Zingarelli as composer. The 
 author, Ferdinando Moretti, is not mentioned. ML 48. A5 v. 16 
 
 L'lfigenia in Tauride. Tr. of Gluck's Iphig6nie en Tauride. 
 
 Ifigenia in Tauride. Dramma per musica da rappresentarsi nel 
 Real Teatro di Salvaterra nel carnovale dell' anno 1776. 
 [Lisbond], Stamperia reale, n, d. 67 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, and names of Mattia Verazi as author, of 
 Niccol6 Jommelli as composer. 
 
 First performed at Naples, Teatro di San Carlo, May 30, 1771. SCHATZ 4890 
 
 Ifigenia in Tauride. Dramma per musica da rappresentarsi alia 
 Corte elettorale Palatina in occasione del felicissimo giorno del nome 
 del serenissimo elettore . . . Fanno MDCCLXIV. 
 
 Mannheim, Stamperia elettorale, n. d. 1 p. 1., 184 P- 15 cm . 
 
 Three acts. Argument, cast, scenario, name of Mattia Verazi as author (on p. 1.) 
 and of Giovanni Francesco de Majo as composer. ("La musica e nuova composi- 
 zione.") 
 
 First performed, as indicated, November 4, 1764. SCHATZ 5856 
 
 Iphigenia in Tauris. Ein musikalisches schauspiel welches auf 
 hoechst begluecktem hohen nahmens-tag Ihro Churfuerstl. Durch- 
 leucht zu Pfaltz ... an dem Chur-Pfaeltzischen hoffe aufgefuehret 
 worden, im jahr 1764. 
 
 Mannheim, Churfuerstl. Buchdruckerey, n. d. 208 p. 15\ cm . 
 
 Three acts. Argument, cast, scenario, and names of Mattia Verazi as author and 
 of Giovanni Francesco de Maio as composer. German translation issued for the per- 
 formances under Schatz 5856. SCHATZ 5857 
 
 Ifigenia in Tauride. Dramma per musica da rappresentarsi nel 
 Teatro alia Scala il carnevale dell' anno 1784 . . . 
 Milano, Gio. Batista BiancM, n. d. 59 p. 16% cm . 
 Three acts. By Benedetto Pasqualigo, who is not mentioned. Dedication, argu- 
 ment, cast, and name of Carlo Monza as the composer. With the opera were per- 
 formed Paolino Franchi's ballets, "Hurtado e Miranda," "II feudatono," and "Pul- 
 cinella, cavaliere d'industria." The composer of the music is not mentioned. 
 
 SCHATZ 6610 
 Second copy. ML 48.A5 v.8
 
 OPERA LIBRETTQS 611 
 
 Ifigenia in Tauride. Tragedia da cantarsi nel celebre Teatro Gri- 
 mani nella via di San Gio. Grisosostomo nelle notti carnevalesche 
 dell' anno MDCCXIX. Offerita ... da Merindo Fesanio Past. Arc. 
 della colonia de SS. Animosi di Venezia. 
 
 Venezia, Marino Rossetti, 1719. front., 80 p. 18% cm . 
 
 Five acts. By Benedetto Paequaligo. Dedicatory poem by the author under his 
 Arcadian name, notice to the reader by way of argument, Italian translation of Ovide's 
 third elegy, cast, scenario, and name of Giuseppe Maria Orlandini as the composer. 
 Paequaligo eays in the notice to the reader: 
 
 "L'argomento in Tauride fu ridottocon novita di ritmo nel di lui teatro, dal Sig. 
 Pier Jacopo Martelli, & io per la prima volta, ho osato di maneggiarlo in poche gior- 
 nate degli ozj autunnali, in gratia del canto, sulle Venete scene, con invenzione di 
 dpppia peripezia, e riconoscimento per discorsp, e per eegni, e con qualche disperata 
 difficolta avvenutami nel framischiare la dignita della mitologia, la puntualita della 
 poetica, e 1'eccellenza dell' esemplare, con la delicatezza dell' armonia, con le ripug- 
 nanze del teatro, dell' ueo, e del carnovale senza una mostruosa deformita." 
 
 SCHATZ 7335 
 
 Ifigenia in Tauride. Dramma per musica da rappresentarsi nel 
 nobilissimo Teatro di S. Benedetto il carnovale dell' anno 1786. 
 Venezia, Modesto Tenzo, 1786. 56 p. 17 cm . 
 
 Three acts. By Benedetto Pasqualigo. Argument, cast, scenario, and name of 
 Angelo Tarchi as the composer. On p. [23J-34 argument and description of Antonio 
 Muzzarelli's "Gli amori d'Igor, primo Zar di Moscovia, ballo eroico pantomime," 
 music ( i tutta nuova ") by Vittorio Trento. SCHATZ 10221 
 
 Ifigenia in Tauride. Dramma per musica da rappresentarsi in 
 Schonbrunn festeggiandosi li felicissimi nomi delle loro maesta impe- 
 riali e reali 1'anno 1763. 
 
 Vienna, Stamperia di GJielen, n. d. Unpaged. 16 cm . 
 
 Three acts. Argument, cast, scenario, and name of Tommaso Traetta as com- 
 poser, but not of librettist, Marco Coltellini. 
 
 According to Schatz, this opera was performed at Schonbrunn on October 4, 1763, 
 but previously at Vienna, Burgtheater, carnival of 1758. This conflicts with the 
 note on the last page of the libretto: 
 
 "Sebbene il presente dramma sia stato composto espressamente dall' autore per 
 questa occasione; pure e convenuto farvi alcuni cambiamenti, che potranno vedersi 
 dalla nuova ristampa che se ne fara in appresso. ' ' SCHATZ 10393 
 
 - Ifigenia in Tauride di Marco Coltellini. Dramma per musica 
 rappresentato nel Teatro di Vienna Fautunno dell' anno 1763. 
 
 Livorno, Marco Coltellini, 1763. 69 p. 18 cm . 
 
 Three acts. Traetta, the composer, is not mentioned. From the dedication to 
 the English consul at Livorno, Giovanni (John) Dick, it appears that this gentleman 
 
 Eractically started Coltellini on his public career as a poet and incidentally, that this 
 ivorno edition was published after the performances at Vwuma. As it is decidedly 
 different, not only verbally but in the number of scenes, etc., beginning, for instance, 
 with a chorus not in the Vienna edition, presumably we have in this Livorno edition 
 the corrected one, promised by Coltellini in the footnote at the end of the Vienna 
 edition. SCHATZ 10393a 
 
 Second copy. ML 48. A5 v.32 
 
 - Ifigenia in Tauride. Dramma per musica da rappresentarsi nel 
 Regio-Ducal Teatro Vecchio di Mantova il carnovale dell' anno 
 1777 . . . 
 
 Mantova, L'erede di Alberto Pazzoni, n. d. 48 p. 17\ cm . 
 
 Three acts. Dedication dated Mantova, December 26, 1776, argument, cast, 
 name of the composer, Tommaso Traetta, and scenario. The author, Marco Coltel- 
 lini, is not mentioned. 
 
 First performed, as indicated in the dedication, "nel coreo dell prossimo carno- 
 vale" between December 26, 1776, and February 10, 1777, the dates given in the 
 calendar of performances on p. 9. ^1L 48.A5 v.24
 
 612 LIBRARY OF CONGRESS 
 
 Ifigenia in Tauride. Tragedia di Merindo Fesanio Past. Arc. 
 Variata ad uso di cantarsi la seconda volta nel Teatro celebre Grirnani 
 in S. Gio. Grisostomo nel carnovale MDCCXXV. 
 
 Venezia, Marino Rossetti, n. d. front., 59 p. 16% cm . 
 
 Five acts. By Benedetto Pasqualigo. Argument, caet, scenario, and name of 
 Leonardo Vinci as composer. SCHATZ 10750 
 
 Die illumination. Ein komisches original-singspiel in zwey auf- 
 zuegen. Fuer das K. K. National Hoftheater. 
 
 [Wien],beimLogen-meister, 1787. 104 p. 16 cm - 
 
 Neither the author (unknown to Schatz; J. Gross, according to Haas) is mentioned, 
 nor the composer, Paul Ignaz Kiirzinger. 
 
 First performed at Vienna, Karnthuerthor Theater, November 25, 1787. 
 
 SCHATZ 5338 
 
 Die im betruge vertheidigte unschuld. Tr. of L'innocenza 
 difesa nelT inganno. 
 
 Im dunkeln ist nicht gut munkeln, oder Fuenf und zwanzig 
 tausend gulden. Ein singspiel in drei aufzuegen. Musik von 
 Walter. 
 
 n. i., n. d. Unpaged. 16 cm . 
 
 By Christian Heinrich Spiess, who is not mentioned. 
 
 First performed at Dresden, Theater b. d. schwarzen Thore, August 15, 1792; at 
 Prague, Graefl. Nostiz'sches Theater i. d. Altstadt, January 16, 1783. SCHATZ 10862 
 
 Im finstern ist nicht gut tappen. Erne posse zum singen in 
 zween aufzuegen. Von Hiesberger. In musik gesetzt von Schenk. 
 Aufgefuehrt auf dem K. K. Theater am Kaerntnerthor. 
 
 [Wien], 1787, Ist beim logenmeister zu haben. 72 p. 15 cm . 
 
 First performed, as indicated, October 9, 1787. SCHATZ 9596 
 
 Der im schaefer verborgene koenig. Tr. of Basse's II re pastore. 
 
 Im trueben ist gut fischen. Tr. of his Fra i due litiganti il terzo 
 gode. 
 
 [Imene ed Armonia]. See Farsa per musica. 
 
 L'imenei di Delfo. Serenata per musica da cantarsi nel Real 
 Palazzo dell' Ajuda per celebrare gli a'ugustissimi sposalizi de' 
 serenissimi Signori infanti di PortogaUo, e di Spagna Don Giovanni 
 con Donna Carlotta Giovacchina, e Donna Marianna Victoria con 
 Don Gabriele Antonio li 28. marzo, 1785. 
 
 [Lisbona], n. publ., n. d., Netta stamperia reale. 31 p. 15 cm . 
 
 Argument and cast. Gaetano Martinelli is mentioned as the author, Antonio Leal 
 Moreira as the composer. SCHATZ 6631 
 
 Gli imenei stabiliti dal caso. Drama per musica da rappresen- 
 tarsi nell' antichissimo Teatro Tron di S. Casciano. L' anno 1703 . . . 
 Venezia, li beredi Nicolini, '1703. front., 72 p. 14% cm . 
 
 Three acts. By Francesco Silvani, who is not mentioned. Dedication dated 
 Venezia, December 23, 1702, argument, notice to the reader, scenario, and name of 
 Carlo Francesco Gasparini as the composer. SCHATZ 3570
 
 OPERA LIBRETTOS 613 
 
 Ixneneo. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744> t- iv, p. [281]- 
 354. 19 cm . 
 
 Three acts and licenza. Argument. No composer is mentioned. In the "Cata- 
 logo " at end of t. x, date and place of first ed. are given as Vienna, 1727. (First per- 
 formed August 28 at Laxenburg, music by Caldara.) ML 49.A2Z3 
 
 Imeneo. Pubblicato per la prima volta in Vienna 1727. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. vii, p. 83- 
 152. 21. 
 
 Three acts and licenza. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Imeneo in Atene. Componimento dramatico di Silvio Stampiglia 
 da rappresentarsi in musica nel Teatro Grimani a San Samuel. 
 Venezia, Marino Rossetti, 1726. 1+5 p. 15 cm . 
 
 Three acts. Argument, cast, and name of Nicola Antonio Porpora as the composer. 
 
 SCHATZ 8359 
 
 Imeneo in Atene, componimento drammatico di Silvio Stampiglia, 
 da rappresentarsi in musica nel Teatro di S. Samuele nella Fiera dell' 
 Ascensione dell' anno MDCCL. 
 
 Venezia, AW insegna della Stienza, n. d. 34 p- 15\ cm . 
 
 Three acts. Argument, scenario, cast, and name of Domingo Terradellas as the 
 composer. SCHATZ 10284 
 
 L'impazzito. Intermezzi a tre voci da recitarsi nel Teatro alia 
 Valle il carnevale dell' anno 1748 . . . 
 
 Roma, Giuseppe Vaccari, 1748. 23 p. 15. 
 
 Two parts. Cast, names of "Girolamo Aureli Romano Accademico Occulto" as 
 author, of Giovanni Battista Casali as composer and dedication by the impresario 
 Angelo Lungi in which he says "li present! intermezzi delle commedie che si reci- 
 tano al pubblico ogni sera different! and later on calls them "operette." 
 
 ML 50.2.I45C2 
 
 L'impegno. Commedia per musica di Saverio Zini da rappresen- 
 tarsi nel Teatro Nuovo per prim' opera di quest' anno 1783; 
 Napoli, n. publ., 1783. 48 p. 
 
 Two acts. Cast and name of the composer, Giovanni Furno. SCHATZ 3389 
 
 t 
 
 L'impegno o sia Chi la fa 1'aspetti. Farsetta per musica a cinque 
 voci da rapprasentarsi nel Teatro Capranica nel carnevale dell' anno 
 1786 . . . 
 
 Roma, Gioacchino PuccineUi, 1786. Jfi p. 15 cm . 
 
 Two parts. Author not mentioned, and unknown to Schatz. Cast and name of 
 Giuseppe Giordan! as the composer. SCHATZ 3845 
 
 L'impegno superato. Commedia per musica di G. M. D. da rap- 
 presentarsi nel Real Teatro del Fondo di Separazione per terz' opera 
 del corrente anno 1795 . . . 
 
 Napoli, n. pull, 1795. 64 p. lo\. 
 
 Two acts. By Giuseppe Maria Diodati. Dedication dated Naples, November 21, 
 1795, scenario, cast, and name of the composer, Domenico Cimarosa. On p. 7-15. 
 argument, cast, and description of Gio. Battista Giannini's "Zorilan. ballo chinese'' 
 in five acts. "La musica del ballo, la sua maggior parte e preea dalle composizioni 
 del celebre Signer D. Giovanni Paesiello." SCHATZ 1996 
 
 Les importuns. A. T. of Ziste et Zeste.
 
 614 LIBRARY OF CONGRESS 
 
 Les importuns. A. T. of Bacelli's Le nouveau marie". 
 L'impossibile fatto possibile. A. T. of Castrovillari's La Pasife. 
 L'impostore punito. L. T. of P. Guglielmi's I finti amori. 
 L'impostore punito, ballet. See Robuschi's Castrini, padre e figlio. 
 L'impostore scoverto. A. T. of Ruggi's L'ombra di Nino. 
 
 L'impostore smascherato. Commedia per musica di G. M. D. 
 Da rappresentarsi nel Teatro Nuovo sopra Toledo per prima corn- 
 media ael corrente anno 1794. 
 
 Napoli, n. publ, 1794. 42 p. 15. 
 
 Two acts. By Giuseppe Maria Diodati. Cast and name of Giacomo Tritto as 
 the composer. SCFATZ 10472 
 
 Gl'impostori. Drama per musica da rappresentarsi nel Teatro 
 Giustiniani di San Moise rautunno 1751. 
 
 Venezia, n. publ., n. d. 81 p. 14$ cm - 
 
 Three acts. Scenario and cast. Neither the author (not Goldoni) ia mentioned, 
 nor the composer, Gaetano Latilla. On p. 81 the added aira, "II polso non batte" 
 (II, 3). SCHATZ 5446 
 
 L'impostura. Commedia per musica da rappresentarsi nel Teatro 
 de' Fiorentini per quart' opera del corrente anno 1796. 
 Napoli, n. pull., 1796. 46 p. 15 cn . 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and name of 
 "Giuseppe Mugnes, maestro d'i capella Napoletano" as the composer. 
 
 SCHATZ 6863 
 
 L'impostura poco dura. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro alia Scala, 1'autunno dell' anno 1795 . . . 
 Milano, Gio. Batista Bianchi, n. d. 59, [1] p. 16\ cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Gaetano Maldonati, 
 the impresario's dedication dated Milan, October 10, 1795, cast, scenario, and name 
 of Angelo Tarchi as the composer. According to Schatz this libretto with seven 
 characters was an altered version of "Le vicende d'amore" with five characters. 
 With the opera were performed, composers of the music not mentioned, Gaspare 
 Ronzi's ballets, "Lauso e Lidia" and "La ghinghetta." SCHATZ 10236 
 
 Imposture defeated: or, A trick to cheat the devil. A comedy as 
 it was acted by His Majetsies [!] servants, at the Theatre in Drury- 
 lane. 
 
 London, Richard Wellington, 1698. 4 p. 1., 47, [1] p. 20 cm . 
 
 Five acts with prologue and epilogue. In the fifth act, "Endimion, the man in 
 the moon. A masque." The other acts, too, contain -more than the customary 
 number of songs, etc. On verso of title page and on last (unnumb.) page publisher's 
 booklists. Cast and notice to the reader, in which the author (not mentioned), 
 George Powell, denies the charge of a partial plagiarism and says: 
 
 "... This triffle of a comedy, was only a slight piece of scribble, purely design'd 
 for the introduction of a little musick, being no more than a short weeks work, to 
 serve the wants of a thin play-house and long vacation ..." 
 
 The composer is not mentioned. 
 
 First performed 1698, as indicated. LONOB 195
 
 OPERA LIBRETTOS 615 
 
 L'impresa d'opera. Dramma giocoso da rappresentarsi nel Teatro 
 Giustiniani di S. MoisS il carnovale dell' anno MDCCLXIX. Di Bor- 
 tolomio Cavalieri. A. F. 
 
 Venezia, Modesto Fenzo, 1769. 72, [2] p. 14 cm . 
 
 Three acts. Cast, scenario, and name of Pietro Gruglielmi as the composer. With 
 the opera were performed, composers of the music not mentioned, Giuseppe Anelli's 
 ballets, "II geloso senza rivale " and "II matrimonio per concorso . ' ' SCH ATZ 4282 
 
 L'impresario. Intermezzo da rappresentarsi dalla Signora Anna 
 Faini et il Sig. Antonio Lottini nel Regio Teatro d'Hay-Market. 
 Musica del Sig. Domenico Sam. 
 
 Londra, J. CJirichley, 1737. 1 p.l., 29 p. 17 cm . 
 
 Two acts. By Metastasio, who is not mentioned . English title-page, ' ' The master 
 of the opera," and text face Italian, which formed originally (though with certain 
 differences) the intermezzi in Metstasio's "Didone abbandonata." 
 
 First performed, as indicated, 1737; at Naples, Teatro di San Bartolomeo, carnival 
 1724. SCH ATZ 9411 
 
 L'impresario burlato. Dramma giocoso per musica di Frances- 
 cantonio Signoretti da rappresentarsi nel Teatro Nuovo sopra Toledo 
 per prim' opera in questo corrente anno 1797. 
 
 Napoli, Stamperia Flautina, 1797. 42 p. 15 cm . 
 
 Two acts. Cast and name of Luigi Mosca as composer. ML 50.2.I49M6 
 
 L'impresario dell' Isole Canarie. Intermezzo per musica da rap- 
 presentarsi nel Teatro dell' opera pantomima de Piccoli Hollandesi 
 sopra la Piazza de Cappuccini. A Vienna, la primavera dell' anno 
 MDCCXLVII. 
 
 n. i., n. d. Unpaged. 22 cm . 
 
 Two parts. Cast and name of Metastasio as author. The composer, Leonardo 
 Leo, is not mentioned. 
 
 First performed at Venice, Teatro di S. Angelo, 1741 (Schatz), 1742 (Wiel). 
 
 SCHATZ 5558 
 
 L'impresario dell' Isole Canarie. Intermezzo per musica, da 
 rappresentarsi nel Nuovo Real Teatro di Potsdam . . . 
 Potsdam, C. F. Voss, 1748. 31 p. 18. 
 
 Two parts. Cast. Neither Metastasio nor Leo is mentioned. German title page 
 "Der impressarius, oder Opern verwalter von den Canarischen Inseln," face Italian, 
 which is, especially in the second intermezzo, different from the Vienna text of 1747. 
 
 SCHATZ 5559 
 
 L'impresario di Smirne. Dramma giocoso per musica da rappre- 
 sentarsi nel Ces. Reg. Teatro di Trieste nel carnovale 1798. 
 
 [Trieste}, Stamperia govemiale, n. d. 63 p. 17^. 
 
 Two acts. Cast and impresario's dedication, dated February 3, 1798, and beginning: 
 "Tin lepidissimo drama di nuova ed espressamente composta poesia, yestita da una 
 brillante ed adattata musica del Signer maestro Domenico Rampini, sorte per la 
 prima volta su queste illustri scene ..." 
 
 The author was Giuseppe Foppa. SCHATZ 8592 
 
 L'impresario in angustie. 
 
 One act. By Giuseppe Maria Diodati; music by Domenico Cimarosa. For the 
 original edition see his "II credulo deluso," Napoli, 1786. (Schatz 1929) 
 First performed at Naples, Teatro sopra Toledo, carnival, 1786.
 
 616 LIBRARY OF CONGRESS 
 
 L' impresario in angustie Continued. 
 
 - L'impresario in angustie ed II convitato di pietra. Farse per 
 musica da rappresentarsi nel Teatro alia Scala 1'autunno 1789 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 8, 28 p. 16 cm . 
 
 One act, containing "L'impresario in angustie" only. Dedication, in which this 
 is called the second opera of the season, cast, name of Domenico Cimarosa as com- 
 poser. With the opera were performed Antonio Muzzarelli's ballets (composers of the 
 music not mentioned), "Gli amori d ' Igor primo Czar di Moscovia," (alternately per- 
 formed with) "II Capitano Cook all' isola Ottaiti," and "La letteraria fanatica." 
 
 SCHATZ 11755 
 
 L'impresario in angustie. Farsa per musica da rappresen- 
 tarsi nel Teatro della rua dos Condes nel carnovale dell anno 
 1792 . . . 
 
 Lisbona, Simone Taddeo Ferreira, 1792. 99 p. 15 cm . 
 
 One act. Impresario's dedication, scenario, cast, and name of Domenico Cimarosa 
 as composer. The author, Diodati, is not mentioned. Portuguese title page, "O 
 impresario em angustia," and text face Italian. ML 48. C6 n 
 
 - L'impresario in angustie, ou Le directeur dans 1'embarras, ope"ra 
 bouffon, en deux actes, represente sur le Theatre de Monsieur. 
 Musique del Signer Cimarosa, paroles franpaises de M. Du Buisson. 
 
 Paris, et se trouve a BruxeUes, chez J. L. de Boubers, 1792. 35 p. 
 28 cm . 
 
 First performed, as indicated, May 6 or 7, 1789. ML 50.2. 15C3 
 
 L'impresario in angustie con farsa II convitato di pietra. Da 
 
 rappresentarsi nel Teatro di Capua per ultima opera in musica in 
 questo carnevale . . . 
 
 Napoli, n. publ., 1793. 60 p. 14$ cm . 
 
 Each in one act. The second farce on p. [32J-60. Impresario's dedication dated 
 Capua, January 6, 1793, casts, and names of Domenico Cimarosa as composer of the 
 first, and of Giacomo Tritto of the second farce, which was written by Giambattista 
 Lorenzi and was first performed, together with Tritto's "Li due gemelli," at Naples, 
 Teatro de' Fiorentini, carnival, 1783. SCHATZ 10466 
 
 L'impresario in angustie. Dramma giocoso per musica, da 
 rappresentarsi nel Teatro elettorale. 
 
 Dresda,-n. publ., 1794. 87 p. 16\. 
 
 One act, with name of the composer, Cimarosa. German title-page, "Der 
 Bchauspiel direktor in der klemme," and text face Italian. 
 
 First performed at Dresden in 1794. SCHATZ 1930 
 
 Entrepreneuren i knibe. Et syngestykke i to acter. Oversat 
 af det italienske. Musiken af Domenico Cimarosa. 
 
 Kj0lenhavn, Johan Frederik Schultz, 1795. 46, [1] p. 16\ cm . 
 
 With pref. by the translator, Frederik Gottlob Sporon. 
 
 First performed at Copenhagen December 15, 1795. SCHATZ 1933 
 
 Der impresarius oder Opernverwalter von den Canarischen inseln. 
 Tr. of Leo's L'impresario dell' Isole Canarie.
 
 OPERA LIBRETTOS 617 
 
 L'impromptu du coeur, opera-comique. De M. Vade. Repr6- 
 sente pour la premiere fois sur le Theatre de la Foire Saint Germain, 
 le mardi 8 fevrier 1757. 
 
 La Haye, Pierre Gosse junior, 1759. 45 p. 16 cm . (Vade, 
 Oeuvres, La Haye, 1759, t. iv.) 
 
 One act. Largely en vaudevilles. Cast. On p. 42-45, the airs notes, "Par un 
 beau eoir m'y promenant," "Louie que le del," '^Qu'on eet heureux de faire." 
 
 ML 49.A2V2 
 
 L'impromptu du Pont-Neuf. Piece d'un acte. Faite par Mon- 
 sieur P * * pour la naissance de Monseigneur Is Dauphin. Rep- 
 resente"e pour la premiere fois gratis par I'Opera-comique, a la Foire 
 Saint Laurent le 9. septembre 1729. 
 
 Le Theatre de lafoire, Paris, 1731, t. mi, pi., [295}-322 p. 17 cm . 
 
 By Panard. Largely en vaudevilles. The airs, selected or composed and arranged 
 by Jean Claude Gillier, are printed at the end of the volume in the "Table des airs." 
 
 First performed September 9, 1729, preceded by "Le coreaire de Sale" and "Lee 
 spectacles malades " and the ballet-pantomime, "Landceangloise." ML 48.L2VII 
 
 An improved edition of ... Midas. See Midas. 
 
 In amor ci vuol destrezza. Opera buff a del nobile Signer Carlo 
 Lanfranchi Rossi . . . fra gli Arcadi Egesippo Argolide. Da rap- 
 presentarsi nel nobile Teatro in San Samuele 1'autunno dell' anno 
 
 1782. 
 
 Venezia, Modesto Fenzo, 1782. 58 p. 18. 
 
 Two acte. Cast, scenario, and name of Vincenzo Martini (Martin y Soler) as the 
 composer. On p. [35J-38, "Deecrizione del ballp, Minosse re di Creta o sia La fuga 
 d'Arianna e di Fedra," with cast, by Onorato Vigan6; music by Luigi Marescalchi. 
 
 SCHATZ 6010 
 
 L'accorta cameriera. Dramma giocoso per musica da rappre- 
 sentarsi nel Regio Teatro di Torino nell' autunno dell' anno 1783. 
 Torino, Onorato Derossi, n. d. 51, [1] p. 15 cm . 
 
 Two acts. By Carlo Giuseppe Lanfranchi Rossi, who is not mentioned. Cast 
 and name of Vincenzo Martini (Martin y Soler) as the composer. Giuseppe Herd- 
 litzka's ballets, "II ritorno opportune" and "Le reclute del villaggio," were per- 
 formed with the opera. The composers of the music are not mentioned. 
 
 SCHATZ 6031 
 
 Das in die preussische krone verwandelte wagengestirn. A. T. 
 of Graupner's Bellerophon. 
 
 Der in krohnen erlangte glueckswechsel oder Ahnira, koenigin 
 von Castilien. In einem sing-spiel auff dem grossen Hamburgischen 
 Schau-Plat0 vorgestellet mi jahr 1704. 
 
 [Hamburg], Gedruckt im selben jahr, n. d. Unpaged. 18% cm . 
 
 Three acts. Argument and scenario. Neither Friedrich Christian Feustking, the 
 author resp. translator of Giulio Pancieri's "L'Almira," nor Georg Friedrich Handel, 
 the composer, is mentioned. Some arias have Italian text added to the German. 
 
 First performed, as indicated, Theater beim Gansemarkt, January 8, 1705. 
 
 SCHATZ 4479 
 
 - Der in cronen erlangte glueckswechsel, oder Almira, koenigin 
 von Castilien, in einem singe-spiel auf dem Hamburgischen Schau- 
 platz vorgestellet. 
 
 [Hamburg], Philip Ludwig Stromer, 1732. Unpaged. 18 cm . 
 Three acte. Scenario and cast. Neither Feustking, the author, nor Handel, the 
 composer, is mentioned. This version is considerably different from the edition of
 
 618 LIBRARY OF CONGRESS 
 
 Der in krohnen erlangte glueckswechsel Continued. 
 
 1704. For instance, I, 4, has now the aria, "Se lento ancora un fulmine," instead of 
 "Proverai di che fiere saette," and the aria, "Zuerne was hin," has been dropped 
 altogether from this scene. SCHATZ 4500 
 
 Der in Syrien triumphirende kayser Hadrianus. Tr of Bro- 
 schi's Adriano in Siria. 
 
 Die in verwirrung lebende familie. Tr. of Scolari's La famiglia 
 in scompiglio. 
 
 L'inaspettata consolazione nelle sventure, ballet. See Bianchi's 
 Trionfo della pace. 
 
 Gl'Inca del Peru. Tr. of part of Rameau's Les Indes Galantes. 
 Inca il tiranno, ballet. See Bertoni's Andromaca. 
 
 L'incanti per a more. Comedia per musica di Terentio Chirrap 
 Napoletano [Pietro Trinchera]. Da rappresentarsi nel Teatro Nuovo 
 nelr autunno di quest' anno 1741 . . . 
 
 Napoli, Nicola di Blase, 1741. 60 p. 14$ cm . 
 
 Three acts. Impresario's dedication dated October 2, 1741, cast, and name of the 
 composer, Antonio PaJella. SCHATZ 7712 
 
 L'incanto superato. Favola romanzesca per musica, da rappre- 
 sentarsi nel Teatro Elettorale. 
 
 Dresda, n. pull., 1795. 95 p. 16 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Franz Xaver Siiss- 
 mayer is mentioned as the composer. German title-page, "Der besiegte zauber," 
 and text face Italian. 
 
 First performed at Dresden, 1795, as indicated; at Vienna, Burgtheater, July 8, 
 1793. SCHATZ 10179 
 
 Les Incas du Perou. Entree in Rameau's Les Indes galantes. 
 L'incendie. See Floquet's Le seigneur bienfaisant. 
 Les incidents, ballet. See P. Guglielmi's Vologeso. 
 
 L'incognita fortunata. Farsa per musica di Epitide Corebio, P. A. 
 da rappresentarsi nel Real Teatro del Fondo di Separazione nell' esta 
 del presente anno 1782. 
 
 Napoli, n. puU., 1782. 86 p. 15 cm . 
 
 One act. By Gaetano Ciliberti. Cast and name of Giacomo Bust as the com- 
 poser. SCHATZ 9172 
 
 L'incognita perseguitata. O. T. of Petrosellini's text La nuova 
 Giannetta. 
 
 L'incognita perseguitata. Dramma giocoso da rappresentarsi nel 
 Regio-ducal Teatro di Milano Testate dell' anno 1773 . . . 
 Milano, Gio. Batista Bianchi, n. d. 80 p. 14% cm - 
 Three acts. By Giuseppe Petrosellini. Cast, scenario, and name of composer, 
 Pasquale Anfossi, but not of librettist. 
 
 First performed at Rome, Teatro delle Dame, 1773. SCHATZ 238
 
 OPERA LIBRETTOS 619 
 
 L'incognita perseguitata Continued. 
 
 Metilda ritrovata. Drainma giocoso per musica da rappresen- 
 tarsi ne' Teatri privilegiati di Vienna. 
 
 Vienna, Giuseppe Kurtzboeck, 1773. 71 p. 16 cm : 
 
 Three acts. Scenario and name of composer. Somewhat altered version of 
 Anfossi's "L'incognita perseguitata." The cast is added in ink in this copy. 
 First performed as indicated in the title on August 31, 1773. SCHATZ 239 
 
 - La Giannetta o sia L'incognita perseguitata ; dramma giocoso 
 per musica, da rappresentarsi nel Regio Teatro. Jeannette, eller Den 
 rortraengte ubekiendte; et lystigt synge-spil . . . Oversadt paa 
 dansk af R. Soelberg. 
 
 Ki0benhavn, H. J. Graae, 1775. 128 p. 17 cm . 
 
 Three acts. Cast and name of Anfossi as composer. 
 
 First performed, as indicated, on November 1, 1775. SCHATZ 240 
 
 L'inconnue persecutee. Comedie en deux actes et en prose, 
 me'lee d'ariettes, imitees de 1'italien, sur la musique du Sieur Anfossi. 
 Par M. Moline. Represente devant Sa Majeste, a Fontainebleau, le 
 25 octobre 1776. 
 
 Paris, Pierre Robert Cliristophe Bollard, 1776. 2 p. 1., 63 p. 20\. 
 
 Cast. Jean Baptiste Bochefort, who arranged the score and inserted music of his 
 own, is not mentioned. 
 
 First performed as above at Paris, Come'die italienne, November 12, 1776. Not to 
 be confused with de Rosoy's version of Petrosellini's text, first performed, with 
 Anfossi's music, at Paris, Academic royale de musique, September 21, 1781. 
 
 ML 50.2.I55A6 
 
 L'incognita perseguitata. Dramma giocoso per musica d'Ensildo 
 Prosindio, P. A. da rappresentarsi nel Teatro Grimani di S. Samuele 
 il carnovale dell' anno MDCCLXIV. 
 
 Venezia, Modesto Fenzo, 1764- 55 p. 16 cm . 
 
 Three acts. By Giuseppe Petrosellini. Cast, scenario, and name of Niccol6 
 Piccinni as the composer. SCHATZ 8097 
 
 L'incognita perseguitata. Dramma giocoso per musica d'En- 
 sildo Prosindio P. A. Da rappresentarsi net Real Teatro dell' Ajuda 
 in occasione di festeggiarsi il felicissimo giorho natalizio di Sua Reale 
 Maesta L'augustissima Signora D. Marianna Vittoria . . . nella 
 primavera dell' anno MDCCLXVI. 
 
 Lisbona, Michele Manescal da Costa, n. d. 69 p. 15 cm . 
 
 Three acts. Cast, scenario, and name of Niccol6 Piccinni as composer. Text by 
 Giuseppe Petrosellini. 
 
 First performed at Lisbon, as indicated, March 31, 1766. ML 48. C6 I 
 
 - L'incognita perseguitata. Dramma giocoso per musica da 
 rappresentarsi nel Piccolo Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. publ., 1768. 117 p. 15\ cm . 
 
 Three acts. Cast, scenario, and name of Niccol6 Piccinni as the composer. Petro- 
 sellini's text, with only very few alterations. German title-page, "Die verfolgte 
 unbekannte," and text face Italian. 
 
 First performed December 3, 1768, as indicated. SCHATZ 8098
 
 620 LIBRARY OF CONGRESS 
 
 Gl'incontri stravaganti. Commedia per musiea da rappresentarsi 
 nel Teatro Nuovo sopra Toledo nel carnevale di questo corrente anno 
 1790. 
 
 Napoli, n. pull, 1790. 52 p. 15 cm . 
 
 Two acts. Cast and name of Bernardini( Marcello di Capua) as composer. Libret- 
 tist not mentioned, and unknown to Schatz. SCHATZ 840 
 
 L'incoronatione di Dario. Drama per musica da rappresentarsi 
 nel Teatro di S. Angelo, 1'anno MDCLXXXIV . . . 
 Venetia, Francesco Nicolini, 1684- front., 60 p. 14 cm - 
 
 Three acts. Dedication, argument, and scenario. Neither the author, Adriano 
 Morselli, nor the composer, Giovanni Domenico Freschi, is mentioned. Act first has 
 sixteen scenes only, though the libretto counts seventeen. SCHATZ 3350 
 
 Dario. Drama per musica da recitarsi nel Teatro di Sant' 
 Angelo 1'anno MDCLXXXV . . . 
 
 Venetia, Francesco Nicolini, 1685. 56 p. 14 cm - 
 
 Three acts. Publisher's dedication, argument, and scenario. Nicolini calls this 
 a reprint in his dedication, but it really is not, being a considerably-altered version. 
 
 For instance, the character of "Niceno" has been dropped, whereas that of 
 "Dalisa" has been added. Accordingly, for instance, Niceno's aria (1, 13), "Torbida 
 notte, e fosca," does not appear in the 1685 version and all the arias for Dalisa in 
 this do not appear in the original version . SCHATZ 3357 
 
 L'incoronatione di Poppea di Gio. Francesco Busenello. Opera 
 musicale rappresentata net Teatro Grimano 1'anno 1642. 
 Venetia, Andrea Giuliani, 1656. 61 p. 15 cm . 
 
 The title page (verso blank) is followed immediately in this copy by the "argo- 
 mento" on p. 5, the first of the signature A 3, the signatures being in twos. Monte- 
 verdi, the composer, is not mentioned. Three acts and prologue. SCHATZ 6593 
 
 L'incoronazione di Dario. Drama per musica, da rappresentarsi 
 nel Teatro di S. Angelo per opera terzo nel carnevale dell' anno 
 1716 . . . 
 
 Venezia, Marino Rossetti, 1717. 57 p. 15 cm . 
 
 Three acts. Dedication, argument, cast, scenario, name of Antonio Vivaldi as the 
 composer, and note : 
 
 "Eccoti I'lncoronazione di Dario, opera del Sig. Adriano Morselli gi& da mold anni 
 defonto. Se la retrovi in qualche parte mutata, e per le arie, e per gli caratteri de rap- 
 presentanti, non si e fatto ad altro fine, che per accomodarla all' uso inoderno del 
 teatro, & alia compagnia che deve rappresentarla ..." SCHATZ 10771 
 
 L'incoronazione di Serse. Drama per musica da rappresentarsi 
 nel famoso Teatro Grimano di San Gio. Grisostomo 1'anno 1691 . . . 
 Venetia, Nicolini, 1691. front., 60 p. 15 cm . 
 
 Three acts. Dedication dated Venice, December 26, 1690, and signed with the 
 initials of the author, Adriano Morselli, argument, scenario, and notice to the reader, 
 with name of Giuseppe Felice Tosi as the composer. SCHATZ 10376 
 
 Second copy. ML 48.M2O 
 
 L'incoronazione di Siroe, ballet. See Sard's Siroe. 
 
 L'incoronazione di Uladislao re di Polonia in r d'Ungheria, 
 ballet. See Isola's La conquista del vello d'oro.
 
 OPERA LIBRETTOS 621 
 
 L'incostante. Intermezzo per musica da rappresente,rsi nel Real 
 Teatro di Salvaterra nel carnovale dell' anno 1775. 
 
 [Lisbona], Stamperia reale, n. d. Ifi p. 14 cm - 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast, scenario, and 
 name of Niccolo Piccinni as the composer. 
 
 First performed at Rome, Teatro Capranica, February, 1766. SCHATZ 8138 
 
 II volubile. Intermezzi per musica a quattro voci da rappresen- 
 tarsi nelT antico rinovato Teatro della Pace nel corrente carnevale 
 1769 . . . 
 
 Roma, Angelo Maria AnsiUioni, 1768. 35 p. 16 cm . 
 
 Two parts. Text identical with that of his "L'incostante," Lisbon, 1775, con- 
 taining arias like: "Signorina mia carina" (I, 1), "Tutta ricci, tutta nei" (I, 3), 
 "Poverina, innocentina" (II. 4), "II Signer conte, che venga presto" (II, 5), etc. 
 
 ML 50.2.V75P3 
 
 L'incostanza degli amanti, ballet. See Insanguine's Medonte. 
 
 L'incostanza del militare in amore, ballet. See Borghi's La 
 donna instabile. 
 
 L'incostanza schernita. O. T. of Cassani's libretto Filandro. 
 
 L'incostanza schernita, Dramma comico-pastorale di Vincenzo 
 Cassani, da rappresentarsi nel Teatro Grimani a S. Samuele nell fiera 
 dell' Ascensione . . . 
 
 Venezio, Marino RosseUi, 1727. 48 p. U& cm . 
 
 Three acts. Author's dedication, argument, notice to the reader, cast, scenario, 
 and name of Tommaso Albinpni as composer. 
 
 First performed at Venice in 1727, as indicated above. SCHATZ 95 
 
 Filandro. Dramma comico-pastorale da rappresentarsi nel 
 Teatro Giustiniano di San Moise I'anno MDCCXXDL Di Vicenzo 
 Cassani. Edizione seconda. 
 
 Venezia, Marino Rossetti, n. d. 4% P- 14% cm - 
 
 Three acts. Arguments, name of Albinoni as composer, and cast. "Filandro "is 
 merely a slightly modified version of "L'incostanza schernita," as a comparison 
 proves. Hence, "Edizione seconda." In the later version the part of "Ergasto" 
 has been added, of which the author says "e aggiuntp solo per accomodarsi al numero 
 de' personaggi di gia obbligati, conoscendo benissimp essere una parte inutile, e 
 superflua, senza per6, che guasti 1'ordine, e Porditura del dramma." SCHATZ 109 
 
 L'incostanza trionfante overo II Theseo. Drama per musica nel 
 Teatro di San Cassano . . . 
 
 Venetia, Andrea Giuliani, 1658. 14 P- I- (incl. front.} , 66 p. 14 cm . 
 
 Prologue and three acts. Publisher's dedication dated Venice, January 16, 1658, 
 argument, quotations from Plutarch, cast [!], scenario, and notice to the reader: 
 
 "Trionfa in questo drama 1'Incostanza di The?eo, e molto piu 1'incostanza dell' 
 auttore di essa, mentre che altri 1'ha inventato, altri 1'ha regulato, uno 1'ha disposto, 
 e mold 1'hanno ordinato; che diro poi di coloro, che Fhanno illustrate & abbellito 
 con la poesia? L'inventore, che allo splendor della nascita ha sposato la vivacita 
 dell' ingegno, penso di confidare questo suo eruditissimo parto, per esser ben vestito, 
 alia penna dovitiosa del Signer Francesco Piccoli . . . Ma su'l meglio del lavoro gli 
 convenne da Venetia far passaggio a' paesi lontani; onde non potendo egli assistere 
 alia perfettione dell' opera, ne alle alterationi, anzi diversificationi necessitate dalla 
 prattica della scena, accioche questo drappo facesse un vago vedere, come sotto la 
 virtu eingolare del M. R. P Ziani fara un bel sentire; si e fatto ricorso a penna sub- 
 lime, che hoggi per suo solo diporto vola per questo nostro cielo italiano." 
 
 Piccoli, he continues, to distinguish his own verses from those of the other collabo- 
 rators, adopted the expedient of putting his own in quotation marks, but in the hurry 
 of publication many were not so printed, and so Piccoli's caution was largely in vain. 
 
 SCHATZ 11222
 
 622 LIBRARY OF CONGRESS 
 
 Les Indes dansantes. Parody of Rameau's Les Indes galantes. 
 
 Les Indes galantes, ballet heroique, repr^sente" par L'Acade"mie 
 royale de musique, pour la premiere fois, le mardi 23 aout 1735; 
 repris avec la nouvelle entree des Sauvages, le samedi dixi^me mars 
 1736. Remis au theatre le mardi 28 mai 1743. 
 
 [Paris], Jean Baptiste Christophe Bollard, 1743. viii, 60 p. 24 cm . 
 
 Prologue and four entries: "Le turc ge'n&'eux," "Les Incas du Perou," "Les 
 fleure," "Les sauvages." " Avertissement " (p. iii-vii). Neither the author, Louis 
 Fuzelier, is mentioned, nor the composer, Jean Philippe Rameau. ML 52.2.I4R2 
 
 Prologue des Indes galantes. Repr^sente" devant Leurs 
 Majesty's a Versailles le samedi 16 feVrier 1765. 
 
 [Paris], Christophe Bollard, 1765. 12 p. 20% cm . (Journal des 
 spectacles, t. 1, Paris, 1766.) 
 
 Cast and names of Louis Fuzelier as author of the text, of Jean Philippe Raineau. 
 as composer, and of Laval pere et fils as "composers" of the ballets. ML 48.J7 
 
 Les Incas du Perou, acte de ballet. Represent^ devant Leurs 
 Majestes a Versailles le mercredi 30 Janvier 1765. 
 
 [Paris], Christophe Bollard, 1765. 23 p. 21 cm . 
 
 Cast and names of Louis Fuzelier as author, of Jean Philippe Raineau as com- 
 poser, and "Laval, pere & fils" as "composers" of the ballets. ML 52.2 15 
 Second copy (Journal des spectacles, t. I, Paris, 1766). ML 48.J7 
 
 Les sauvages, entree ajoutee aux Indes galantes. Represented 
 devant Leurs Ma jest 6s a Versailles le samedi 16 feVrier 1765. 
 
 [Paris], Christophe Bollard, 1765. 23 p. 20\ cm . (Journal des 
 spectacles, t. 1, Paris, 1766.) 
 
 Cast and names of Louis Fuzelier as author of the text, of Jean Philippe Raineau 
 as composer of the music, and of Laval, pere et fils as "composers" of the ballets. 
 
 ML 48.J7 
 
 Les Indes galantes, ballet-heroique, represente par TAcademie 
 royale de musique, Fan 1735. Paroles de Mr Fuselier. Musique de 
 Mr Rameau. CXXIII. opera. 
 
 n. i., n. d. 77-144 P- 14% cm - (Recueil general des opera, Paris, 
 1745, t. xvi.) 
 
 Prologue and the entries "Les Incas du Perou," "Le Turc ge'ne'reux," "Les 
 fleurs," "Les sauvages, nouvelle entree ajoutee." Text preceded by an Avertisse- 
 ment and followed by this note: 
 
 "On avertit encore, que Les Incas du Perou, eont devenus la seconde entree, et 
 Le Turc ge'ne'reux la premiere, PAcad6mie les ayant rangers ainsi, dans la Remise 
 du 28 mai, 1743." ML 48. R4 
 
 GFInca del Peru. Seconda entrata dell' opera delle Indie 
 galanti rappresentata in Parma sul Teatro della Corte nel giorno 
 XVIII di dicembre 1'anno MDCCLVII. Tradotta dal franzese dal 
 Signor abate Frugoni . . . 
 
 Parma, Monti, n. d. 23 p. 19 cm . 
 
 Neither Louis Fuzelier, the author of ' ' Les Indes Galantes, ' ' nor Raineau, the com- 
 poser, is mentioned. SCHATZ 8588
 
 OPEEA LIBRETTOS 623 
 
 Les Indes galantes Continued. 
 
 - Les Indes dansantes, parodie des Indes galantes. Representee 
 pour la premiere fois, par les Comediens italiens ordinaires du roi, 
 le lundi 26 juillet, 1751. 
 Paris, La V. Delormel & fits, [etc.], 1751. 67, [1], 6 p. 18% cm . 
 
 Caste. On the 6 p. twelve "Airs de la parodie des Indes galantes." Comp. next 
 entry. ML 50.2.156 
 
 Les Indes dansantes, parodie des Indes galantes. Representee 
 pour la premiere fois, par les Comediens italiens ordinaire [!] du roi, 
 le lundi 26 juillet 1751. Troisieme edition. 
 Paris, la veuve Delormel cfc fls et Praitlt fils, 1752. 71, [1], 8 p. 
 
 Casts. Three entrees called "Le Turc g&iereux," "Les Incas du Perou," "Les 
 fleurs" after which "La feste desfleurs." On the[8] p. nineteen "Airs de la parodie 
 des Indes galantes." (See next entry.) ML 50.2.157 
 
 Les Indes dansantes, parodie des Indes galantes ; representee 
 pour la premiere fois par les Comediens italiens ordinaires du roi, le 
 lundi 26 juillet 1751. Quatrieme edition. 
 
 Paris, N. B. Duchesne, 1759. 86 p. 19 cm . (Theatre de M. 
 Favart, Paris, 1763-77, t. 7.) 
 
 Cast. Three entries, called "Le turc gene>eux," "Les Incas du Peiou," and "Les 
 fleurs," after which, "La fete de fleurs. En vaudevilles. Quite a few of the airs 
 are printed in the text, and on p. 73-86 are printed seven "Airs et vaudevilles, des 
 Divertissements de la parodie des Indes dansantes avec le duo et le trio." The 
 arranger of the music is not mentioned by Font. This text is not that of the parody 
 in its original form. Originally it had four entries, and as "L'ambigue de la folie, ou 
 Le ballet des dindons " it was first performed in 1743, after Rameau's ballet-opera had 
 been revived on August 31, 1743. ML 49.A2F1 
 
 L'India scoperta. A. T. of Ottoboni's II Colombo. 
 The Indian chief. A. T. of The choice of Harlequin. 
 L'Indiana a Londra, ballet. See Santi's II marito indolente. 
 
 Gl'Indiani. Dramma nuoyo per musica da rappresentarsi nel 
 nobilissimo Teatro Venier in San Benedetto Fautunno dell' anno 
 1796. 
 
 Venezia, Modesto Fenzo, 1796. 41, [1] p. 18 cm . 
 
 Two acts. By Mattia Botturini who is not mentioned. Argument, cast, scenario, 
 and name of Sebastiano Nasolini as the composer. With the opera was performed 
 Onorato Vigano's ballet, "Lamorte d'Ettore" music, ("tuttanuova,") byAlessandro 
 La Motte) and Giuseppe Domenico de Rossy's ballet, "L'equivoco delli due amanti 
 molinari" (composer not mentioned). 
 
 First performed December 9, 1796. SCHATZ 7004 
 
 L'Indienne, comedie en un acte, melee d'ariettes, representee pour 
 la premiere fois par les Comediens Italiens ordinaires du roi, le 
 mercredi 31 octobre 1770. La musique est de M. Cifolelli, maitre de 
 chant & de mandoline. 
 
 Paris, la veuve Duchesne, 1771. 28, [2} p. 19 cm . 
 
 The 2 unnumb. p. contain a "Catalogue des pieces de theatre gui se vendent 
 s^parement chez F. J. Desoer . . . a Liege." The author, Nicolas Etienne Framery, 
 is not mentioned. SCHATZ 1897 
 
 Second copy. SCHATZ 11685
 
 624 LIBRABY OF CONGRESS 
 
 L'indifference. Prologue des deux pieces suivantes. Par M le 
 
 5 * *. F * *. & d'Or * *. Represent^ a la Foire de S. 
 Laurent 1730. 
 
 - L'amour marin. Piece d'un acte. Par M le S * *. 
 F * *. & d'Or * *. Represent^ a la Foire de S. Laurent. 
 1730. 
 
 - L'esperance. Piece d'un acte. ParM re leS * *. F * *. 
 
 6 d'Or * *. Represented a la Foire de S. Laurent. 1730. 
 
 Le Theatre de lafoire, Paris, 1731, t. mil, 3 pi., [239}-367 p. 17 cm . 
 
 By Le Sage, Fuzelier, and d'Orneval. Largely en vaudevilles. The air?, selected 
 or composed and arranged by Jean Claude Gillier, are printed at the end of the volume 
 in the "Table des airs." 
 
 First performed September 5, 1730. ML 48.L2VIII 
 
 L'indolente. Dramma giocoso per musica da rappresentarsi in Parma 
 nel R. D. Teatro di Corte il carnevale dell' anno MDCCXC VII . . . 
 Parma, Stamperia Carmignani, n. d. viii, 54, [10] p. 17\ cm . 
 
 Two acts. By Giuseppe Palomba, who is not mentioned. Impresario's dedica- 
 tion, scenario, and name of Francesco Gnecco as the composer. ("La musica e tutta 
 nuova espressamente composta.") The additional pages contain the title of the 
 second ballet, "L'equivoco fortunate, " and preface, cast, and description of Lftbano 
 Garzia's "Ginevra di Scozia, ballo tragico-pantomimico in cinque atti." The com- 
 posers of the music are not mentioned. SCHATZ 3962 
 
 Indtoget. Syngestykke i to akter. Musiken af kapelmester 
 Schultz. F0rstegang opfort paa den Kongelige Danske Skueplads 
 den 26 februar, 1793. 
 
 n. i., n. d. 17 cm . p. [111}-208, (Peter Andreas Heiberg, Slcuespil. 
 3 bind.} 
 
 On p. [1131-131, "Fortale til det f0rste oplag" and "Fortale til denne an den 
 udgave," the latter dated, " Ki0benhavn d. 16 Julii 1794," and both of considerable 
 historical importance. SCHATZ 9723 
 
 L'industrie. Prologue des deux pieces suivantes. Par M r ? le 
 g * * F * * & d'Or * * Representee a la Foire Saint 
 Laurent 1730. 
 
 - Zemine et Almanzor. Piece d'un acte. Par Mrs. le S * * 
 F * * & d'Or * Representee a la Foire Saint Laurent 1730. 
 
 - Les routes du monde. Piece d'un acte. Par M r ? le S * * 
 F * * & d'Or * * Representee a la Foire Saint Laurent 1730. 
 
 Le Theatre de lafoire, Paris, 1731, t. viii, 3 pi., [67]-183 p. 17 cm . 
 
 By Le Sage, Fuzelier, and d'Orneval. Largely en vaudevilles. The airs, selected 
 or composed and arranged by Jean Claude Gillier, are printed at the end of the volume 
 in the "Table des airs." 
 
 First performed March 27, 1730. ML 48. L2 VI 1 1 
 
 Le Industrie amorose. O. T. of Bertati's text II matrimonio per 
 inganno. 
 
 Le Industrie amorose. Dramma giocoso per musica di Giovanni 
 Bertati da rappresentarsi nel Teatro Giustiniani in S. Moise 1'autunno 
 dell' anno 1778. 
 
 n. i., n. d. 2 p. 1., 64 p. 17% cm . 
 
 Two acts. Impresario's dedication, cast, and name of Bernard(in)o Ottani as the 
 composer. On p. 33 is printed the argument of a ballet by Filippo Beretti, but neither 
 the title nor the composer of the music is mentioned. SCHATZ 7365
 
 OPERA LIBRETTOS 625 
 
 Ines de Castro. Dramma per musica da rappresentarsi nel Regio 
 Teatro di via della Pergola Fautunno del 1793 . . . 
 Firenze, Pietro Pantosini, 1793. 46 p. 16% cm . 
 
 Two acts. By Cosimo Giotti. Argument, cast, and names of composer, Gaetano 
 Andreozzi, and librettist. The text of the opera preceded, on p. 6-12, by Argomento, 
 cast, and detailed description of "La morte d'Agamemnone, ballo tragico in cinque 
 atti," by Francesco Clerico (composer of music not mentioned). 
 
 First performed, as indicated, September 8, 1793. SCHATZ 213 
 
 Ines de Castro. Dramma per musica da rappresentarsi nel nobi- 
 lissimo Teatro Venier in San Benedetto Fautunno delF anno 1795. 
 Venezia, Modesto Fenzo, 1795. 53 p. 18 cm . 
 
 Three acts. Cast, argument, scenario, and names of Francesco Blanche, Sebasti- 
 ano Nasolini, Ignazio Gerace, Giuseppe Cervellini as composers. The author, 
 Luigi De Sanctis, is not mentioned. On p. [23]-31 argument, cast, and full descrip- 
 tion of "Mario e Felice, ballo tragico pantomimo" by Eusebio Luzzi, music ("tutta 
 nuova") by Vittorio Trento. The second ballet, "Lo spazza camino," was also by 
 Luzzi, but the composer is not mentioned. 
 
 Bianchi's "Ines de Castro" first performed at Naples, May 30, 1794, Teatro di San 
 Carlo. SCHATZ 1012 
 
 Ines de Castro. Dramma per musica da rappresentarsi nel nuovo 
 e nobilissimo Teatro detto La Fenice il carnovale delF anno 1793. 
 
 Venezia, Modesto Fenzo, 1793. 61 p. 17%. 
 
 Three acts. Author not mentioned and unknown to Schatz. Argument, cast, 
 scenario, and name of Giuseppe Giordan! as the composer. With the opera were 
 performed Onorato Vigano's ballets "Le avventure di Milord Wilver e di Miledi sua 
 sposa" and "La fiera d'Amsterdam." The composers of the music are not mentioned. 
 
 SCHATZ 3846 
 
 Ines de Castro, ballet. See P. Guglielmi's II Demetrio. 
 Ines de Castro, ballet. See Zingarelli's Antigono. 
 L'infante de Zamora. See Paisiello's La Frascatana. 
 L'infausto matrimonio, ballet. See Portugal's La pazzagiornata. 
 
 L'infedelta fedele. Commedia per musica di Giambattista Lorenzi 
 P. A. Da rappresentarsi nelF apertura del Real Teatro del Fondo 
 di Separazione. Nella esta del corrente anno 1779. 
 Napoli, n. puU., 1779. 71 p. 15. 
 
 Three acts. Scenario, cast, name of the composer, Domenico Cimarosa, and 
 notice to the reader, in which Lorenzi says: 
 
 "Eccoti un libro per 1'apertura di questo nuovo Real Teatro. In esso ho studiata 
 la maniera di slontanarmi da quelle solite buffonerie popolesche e volgari, che ne' 
 nostri piccoli teatri si costumano, contentandomi di usar nella favola moderati eali, 
 che bastassero a dare un convenevole risalto a quel tragico, che in essa ho introdotto, 
 e che finora non fu nelle farse musicali praticato. Fu mio pensiero, che tra quel 
 
 tutto serio de Real Teatro di San Carlo, 
 
 servisse questo di un mezzano spettacolo, 
 
 uno, che dell' altro fare, onde ciascuno avesse nella Capitale un teatro corrispondente 
 
 al suo genio." 
 
 First performed, as indicated, July 20, 1779. SCHATZ 1936 
 
 - L'infedelta fedele. Operetta per musica da rappresentarsi nel 
 Piccolo Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. publ, 1782. 125 p. 16. 
 
 Three acts, with name of the composer, Cimarosa. German title-page, "Treuin 
 der Untreue," and text face Italian. 
 
 First performed, as indicated, October 5, 1782. SCHATZ 1937 
 
 72251 VOL 114 40
 
 626 LIBRARY OF CONGRESS 
 
 L'infedelta punita. Drama per musica. Da rappresentarsi nel 
 famoso Teatro Grimani di S. Gio. Grisostomo. L'autunno dell' anno 
 1712 . . . 
 
 Venezia, Marino Rossetti, 1712. 72 p. 15. 
 
 Three acts. Dedication dated Venice, November 12, 1712, and signed with the 
 initials of Francesco Silvani, the author, argument, cast, ana scenario. The com- 
 posers, Carlo Francesco Pollaroli and Antonio Lotti, are not mentioned. 
 
 SCHATZ 8326 
 
 L'infedelta sorpresa, ballet. See Tritto's La vergine del sole. 
 
 Gl'ingannati. Commedia per musica di Gennarantonio Federico, 
 Napoletano. Da rappresentarsi nel Teatro de' Fiorentini nell' au- 
 tunno di questo anno 1734 . . . 
 
 Napoli, Nicola di Biase, 1734. 78 p. 14. 
 
 Three acts. Impresario's dedication, cast, and name of Gaetano Latilla as the 
 composer. SCHATZ 5454 
 
 L'ingannator ingannato. Drama per musica, da rappresentarsi 
 nel Teatro Grimani di S. Samuel 1'autunno dell' anno 1710. 
 
 Venezia, Marino Rossetti, 1710. 60 p. 14% cm - 
 
 Three acts. By Antonio Marchi, who is not mentioned. Argument, notice to the 
 reader, and scenario. The composer, Giovanni Maria Ruggeri, is not mentioned. 
 Pages 3-6, presumably with the dedication, are wanting. SCHATZ 9138 
 
 L'ingannatore ingannato. Dramma giocoso per musica da rap- 
 presentarsi nel Teatro di S. Cassano nell' autunno dell' anno 1764 dell' 
 abb ate Pietro Chiari . . . 
 
 Venezia, Modesto Fenzo, 1764. 56 p. 16% cm . 
 
 Three acts. Cast, scenario, and name of composer, Ferdinando Giuseppe Bertoni. 
 (Music called "tutta nuova.") SCHATZ 939 
 
 GFinganni amorosi scoperti in villa, scherzo giocoso di Lelio 
 Maria Landi, da rappresentarsi nel Teatro Formagliari 1'anno 
 MDCXCVI. Musica del Signer Giuseppe Aldrovandini . . . 
 
 Bologna, gli eredi del Sarti, n. d. 95 p. 13 cm . 
 
 Three acts. Author's dedication dated Bologna, January 28, 1695 [=1696, new 
 style], notice to the reader, scenario. The composer, Giuseppe Antonio Vincenzo 
 Aldrovandini, is not mentioned. SCHATZ 135 
 
 Gl'inganni delusi. Commedia per musica di Giuseppe Palomba. 
 Da rappresentarsi nel Real Teatro del Fondo di Separazione per prim' 
 opera di quest' anno 1789 . . . 
 
 Napoli, n. pull., 1789. 48 p. 15. 
 
 Two acts. Impresario's dedication dated Napoli, June 13, 1789, cast, and name of 
 Pietro Guglielmi as the composer. SCHATZ 4290 
 
 Gl'mganni delusi, ballet. See Zingarelli's II ratto delle Sabine. 
 
 Gl'inganni felici. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744) t- vw> ^2 p. 19 cm . 
 Three acts. Argument. No composer is mentioned. In the "Catalogo" at end of 
 t. x, date and place of first ed. are given as Venice, 1695. 
 (First composed by Pollaroh.) 
 
 ML 49.A2Z3
 
 OPERA LIBRETTOS 627 
 
 Gl'inganni felici Continued. 
 
 Gringanni felici, pubblicati per la prima volta in Venezia 1695. 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. I, 102 p. 
 
 21 cm . 
 
 Three acts. Argument. No composer is mentioned. ML49.A2Z4 
 
 Gl'inganni felici. Drama per musica da rappresentarsi nel nuovo 
 Teatro Giustiniano in San Moise 1'autunno dell' anno 1722. 
 Venezia, Marino Rossetti, 1722. 60 p. 14% cm . 
 
 Three acts. By Appstolo Zeno. Argument, cast, scenario, and name of the com- 
 poser ("Gioseppe Boini") Giuseppe Maria Buini. SCHATZ 1392 
 
 Gl'inganni felici. Drama per musica. Da recitarsi nel Teatro di 
 S. Angelo. L'anno MDCXCVI . . . 
 
 Venezia, Nicolini, 1696. 68 p. 14 cm . . 
 
 Three acts. Dedication, with the initials of the author, Apostolo Zeno, argument, 
 and scenario. The composer, Carlo Francesco Pollaroli, is not mentioned 
 
 Schatz claims that the opera was first performed as above during fall of 1695. 
 
 SCHATZ 8297 
 
 Gl'inganni fortunati. Pastorale per musica da recitarsi in Venezia 
 nel Teatro Giustiniano a S. Moise nel mese di Maggio dell' anno 
 1720 . . . 
 
 Venezia, Marin [!] Rossetti, 1720. 42 p. 15 cm . 
 
 Three acts. By Belisario Valeriani. Impresario's dedication, argument, scenario. 
 Neither the author (whose "La caccia in Etolia" this is) is mentioned, nor the com- 
 poser, Giuseppe Maria Buini. SCHATZ 1393 
 
 Gl'inganni fortunati. Commedia per musica da rappresentarsi 
 nel Real Teatro del Fondo di Separazione per quart' opera di quest' 
 anno 1788 . . . 
 
 Napoli, n. putt., 1788. 45 p. 15\ cm . 
 
 Two acts. Author not mentioned, and unknown to Schatz. Dedication signed 
 "Giuseppe Lucchesi," cast, and name of the composer, Valentino Flora vanti* On 
 p. 42-45, cast, and argument of "Orbecch, ballo eroico favploso comppsto, e diretto del 
 Sig. Giambattista Giannini, ' ' music ( ' ' tutta nuova " ) by Pietro Dutillieu . The second 
 ballet, also by Giannini (composer not mentioned), was merely a "mascherata pan- 
 tomima." SCHATZ 3157 
 
 Gl'inganni innocenti overo L'Adalinda, favola drammatica musi- 
 cale comppsta, e fatta rappresentare da gl'Accademici Sfaccendati 
 nelP Ariccia per la villeggiatura dell' autunno 1'anno 1673 . . . 
 Ronciglione, n. putt., 1673. 6 pi., 96 p. 13 cm . 
 
 Three acts. Dedication, argument, scenario. Author and composer not men- 
 tioned, and unknown to Schatz. Eitner dates Agostini's opera of the above title as 
 Milan, 1679. SCHATZ 11340 
 
 L'inganno. Commedia per musica di Gaetano Ciliberti tra gli 
 Arcadi Epitide Corebio da rappresentarsi nel Real Teatro del Fondo 
 di Separazione per prima opera di quest anno 1782. 
 
 Napoli, n. putt., 1782. 66 p. 15 cm . 
 
 Three acte. Cast and name of the composer, Luigi Caruso. SCHATZ 1652
 
 628 LIBRAE Y OF CONGRESS 
 
 L'inganno amoroso. Commedia per musica da rappresentarsi nel 
 Teatro Nuovo sopra Toledo per prima opera del corrente anno 1786. 
 
 Napoli, ri. puU., 1786. 64 p. 15 cm . 
 
 Two acts. By Giuseppe Palomba, who is not mentioned. Cast and name of Pietro 
 Guglielmi as the composer. 
 
 First performed, as indicated, June 12, 1786. SCHATZ 4248 
 
 Le due gemelle. Dramma giocoso per musica da rappresentarsi 
 nel Pubblico Teatro di Lucca nell' estate dell' anno MDCCXC. 
 
 Lucca, Francesco Bonsignori, 1790. 67 p. 15 cm . 
 
 Two acts. Cast and name of Pietro Guglielmi as the composer. This is his 
 "L'inganno amoroso" (text by Palomba), but with many alterations. For instance, 
 the ana, "Non dubiti, signora" has been dropped from I, 1; I 2 begins, "Sei un 
 ridicolo, sei un villano," instead of "Costei, per quanto scorgo," which now opens I, 3. 
 With the opera were performed ("composers of the music not mentioned) Pietro 
 Giudice's "La caccia d Enrico IV, Carlo Taglioni's "Li due sindaci, oseia La ven- 
 demmia," and Gaetano Ghelardini's "L'inverno ossia La pianella perduta." 
 
 First performed, as indicated, July 17, 1790; at Monza, Teatro Arciducale, fall of 
 1788. SCHATZ 4249 
 
 - L'equivoco amoroso ossia Le due gemelle. Dramma giocoso 
 per musica da rappresentarsi in Parma nel R. D. Teatro di Corte il 
 carnevale dell' anno MDCCXCII ... 
 
 Parma, Carmignani, n. d. 4 p. L, 52, [2], 13 p. 17 cm . 
 
 Two acts. Impresario's dedication, with remark that this drama "& oramai conos- 
 ciuto in tutta 1' Italia," cast, scenario, and name of Pietro Guglielmi as the composer. 
 The text is Giuseppe Palomba's "L'inganno amoroso," but with many differences. 
 For instance, I, 8 has become "Voi qui, bella tiranna," instead of "Cari ochietti 
 vezzpsetti." 
 
 First performed, as indicated, December 24, 1791. SCHATZ 4311 
 
 L'inganno d'amore. Drama di Benedetto Ferrari dedicate alia 
 S. C. M. dell' imperatore Ferdinando III. Rappresentato in musica 
 nell' anno dell' imperiale dieta 1653 in Ratispona. 
 
 n.i.,n.d. 4% unnumb. p., 7 folded pi. 31 cm . 
 
 The t.-p. and plates were designed by "Joan? Burnacinius" and engraved by 
 "Jacobo Sandrart. The t.-p. is followed by a dedication, signed and dated by the 
 author, "Ratispona, 20 febraro 1653," by the argument, the description of the theatre, 
 etc., Antonio Bertali's name as composer of the music, prologue, and three acts. 
 The Italian libretto is followed by: "Innhalt und verfassung der comoedi von Liebs 
 betrug, ersinnet von Benedicto Ferrari . . . auff den Kays: Reichs Tag zu Regens- 
 purg in music vorzuhalten in dem jahre 1653. Von hoechstgedachter roem. Kays, 
 may. capelmaieter Antonio Bertali in die music gesetzt. Gezieret mit denen scenen 
 und verstellungen des theatri durch Johan Burnaccini Roem. Kays. Mayest. ingenier. 
 Gedruckt in der Kays, freyen Reichs Statt Regenspurg bey Christoff Fischer im 1653. 
 jahr." SCHATZ 874 
 
 L'inganno del ritratto. Dramma giocoso per musica da rappre- 
 sentarsi in Firenze nel R. Teatro dei Risoluti posto in via S. Maria 
 nella estate dell' anno 1791 . . . 
 
 Firenze, Anton Giuseppe Pagani e comp., 1791. 52 p. 16\ cm . 
 
 Two acts. By author unknown to Schatz. ast and name of Gennaro Astaritta 
 as composer. ML 48.A5v.15 
 
 Inganno ed amor van sempre insieme, ballet. See Ruggi's La 
 guerra aperta.
 
 OPERA LIBRETTOS 629 
 
 L'inganno felice. Pastorale da rappresentarsi in musica nel Teatro 
 di Santa Margerita Pautunno 1730. 
 
 Venezia, Carlo Buonarrigo, 1730. Jfi p. 15. 
 
 Three acts. Argument, scenario, and notice to the reader: 
 
 "Ecco un famosissimo parto di celebre penna [Francesco de Lemene's "La Ninfa 
 Apollo" (Schatz)] ma non gia lo stesso, quale usci dalle mani del suo proprio autore. 
 '1 cangiamento del titolo, 1'aggiunta d'un personaggio, la mutazione delle ariette, e 
 la vanazione, e traspozione di qualche ecena lo rendono in buona parte da quello 
 di verso. Sappia per6 chi legge, che un tale cambiamento non e gia effetto di poca 
 stima verso un co?l illustre poeta, ne presunzione di migliorar la poesia, ma pura 
 necessita di accomodarla al numero, ed alia abilita di chi deve rappresentarla, ed all' 
 uso, e gusto della musica del moderno teatro." 
 
 Composer not mentioned and unknown to Schatz, who lists Logroscino's " L' in- 
 ganno felice," text by Tommaso Mariani (originally " Fingere per godere ") as first 
 performed at Naples, Teatro Nuovo sopra Toledo, winter of 1739. SCHATZ 11341 
 
 L'inganno fortunate. Drama da rappresentarsi in musica nel 
 Teatro Giustiniano di S. Moise nelP autunno dell' anno 1721. 
 
 Venezia, Marino Rossetti, 1721. 4$ P- 
 
 Three acts. Author's dedication, argument, cast, and scenario. According to the 
 dedication signed by Bortolamio Pavieri, the libretto was originally by Sig. Gio. 
 Battista Sara, "who then consigned it to Pavieri's pen "per ridurlo nello stato pre- 
 serite." The composer, Giuseppe Boniventi, is not mentioned. SCHATZ 1192 
 
 L'inganno innocente. Drama per musica da rappresentarsi nel 
 Teatro di Sant' Angelo 1'anno 1701. Poesia di Francesco Silvani, 
 servitore di S. A. Sereniss. di Mantoua . . . 
 Venezia, Per il Nicolini, 1701. 60 p. 14$. 
 
 Three acts. Author's dedication dated Venice, January 16, 1701, argument, 
 scenario, and notice to the reader to the effect that this text, now performed for the 
 first time, was written six years previously. The composer, Tommaso Albinoni, is 
 not mentioned. SCHATZ 121 
 
 L'inganno poco dura. Commedia per musica di Saverio Zini da 
 rappresentarsi nel Teatro de' Fiorentini per second' opera del corrente 
 anno 1796. 
 
 Napoli, n. publ., 1796. 46 p. 15 cm . 
 
 Two acts. Cast and name of Marco Portugal as composer. SCHATZ 8426 
 
 . L'inganno regnante overo L'Atanagilda .regina di Gpttia, drama 
 per musica da rappresentarsi nel famosissimo Teatro Grimano di SS. 
 Gio. e Paulo 1'anno 1688. Di Giulio Cesare Corradi . . . 
 Venetia, Francesco Nicolini, 1688. 72 p. 14 cm . 
 
 Three acts. Argument, scenario, notice to the reader with the name of Marc' 
 Antonio Ziani as composer, and dedication, in which Corradi says: 
 
 "La maggior fortuna, che possano havere quest' anno le dramatiche mie rime, ei 
 e 1'acquisto del Signer Nicola Paris, cigno fampso di V. A. S. [Ernst August, duke of 
 Brunswick] per bocca di cui devono esser publicate sulle scene dell' Adria." 
 
 First performed, as indicated, carnival, 1688. SCHATZ 11205 
 
 L'inganno scoperto per vendetta. Drama per musica da rappre- 
 sentarsi nel Teatro Vendramino di S. Salvatore 1'anno 1691. Di 
 Francesco Silvani . . . 
 
 Venetia, Nicolini, 1691. 60 p. llf. 
 
 Three acts. Author's dedication, argument, scenario, notice to the reader with 
 name of Giacomo Antonio Perti as the composer, and remark, "eccoti il primo parto 
 dramatico della mia penna smascherato." 
 
 Consequently, this can not have been the original version of Silvani's text, the less 
 so as in 1683 he called "Martio Coriolano" his second drama. SCHATZ 7956
 
 630 LIBRARY OF CONGRESS 
 
 L'inganno tradito dalT amore. Drama per musica, da rappre- 
 sentarsi nel Teatro di corte . . . di Salisburgo . . . Poesia del Sig. 
 Antonio Maria Luchini. Musica del Sig. Antonio Caldara . . . 
 
 Salisburgo, Giovanni Gioseppe Mayr, n. d. 68 p. 15\ cm . 
 
 Three acts and licenza. Argument and scenario. Pages 26-29, 54-57 contain 
 the intermezzo in two parts Atamo huomo vecchio e ralancha giovine" by an 
 unknown author. 
 
 First performed at Vienna, Hoftheater, October 1, 1721. SCHATZ 1485 
 
 L'inganno trionfante in amore. Drama per musica da rappre- 
 sentarsi nel Teatro di S. Anelo 1'autunno dell anno MDCCXX V . . . 
 
 Venezia, Marino Rossetti, 1725. 60 p. 
 
 Three acts. Dedication, argumenfcj^ast, scenario, and note to the effect that this 
 is the modernized version of a text heard many years ago. Neither the original 
 author, Matteo Noris, nor Giovanni Maria Ruggeri, who modernized the text, nor 
 Antonio Vivaldi, the composer, is mentioned. SCHATZ 10772 
 
 L'inganno trionfato, overo La disperata speranza rawivata ne' 
 successi di Giacopo Quinto di Scozia, e Maddalena di Francia. Drama 
 del dottor Oratio Francesco Ruberti parmiggiano . . . recitato nella 
 rocca del Signer conte di Sissa in un suo teatrino per le nozze del Sig. 
 Mario Terzi, suo figlio, e Signora contessa Lucretia Scoffona 1'anno 
 M.DC.LXXIII e posto in musica dal Sig. Franc. Maria Bazzani. 
 
 Parma, Pietro del Frate e Galeazzo Rosati, n. d. 5 p. I., 131, [1] p. 
 15 un . 
 
 Three acts with prologue and licenza. Cast, argument, dedication, and scenario. 
 On p. 116-131 a description of the theatre. The author calls this his "primo scenico 
 intreccio." SCHATZ 670 
 
 L'inganno vinto dalla ragione. See Lotti's Teuzzone. 
 L'ingenue. Entree in Mouret's Les Graces. 
 
 L'Inglese in Italia. Drarnma giocoso per musica da rappresentarsi 
 in Bologna nel Teatro Formagliari il carnevale dell' anno 1769. 
 
 Bologna, Sassi, n. d. 54 p- 15 cm . 
 
 Cast, scenario, and name of Antonio [Maria] Mazzoni as the composer. Author 
 not mentioned and unknown to Schatz. 
 
 First performed, as indicated, January, 1769. SCHATZ 6230 
 
 Gl'Inglesi in America, ballet. See Bianchi's II ritratto. 
 Gl'Inglesi in Othaiti. A. T. of the ballet Cook. 
 
 L'ingratitudine gastigata. Drama per musica da rappresentarsi 
 nel Teatro Tron di San Casciano 1'anno 1698. Di Francesco Sil- 
 vani . . . 
 
 Venezia, Per il Nicolini, 1698. 59 p. 14 cm . 
 
 Three acts. Dedication signed by the author and dated "Venetia li 17 genaro 
 1697. M. V." (=Jan. 17, 1698), argument, notice to the reader, scenario. The com- 
 poser, Tommaso Albinoni, is not mentioned. SCHATZ 96 
 
 L'inimico delle donne. Drarnma giocoso per musica di Giovanni 
 Bertati da rappresentarsi nel Teatro di San Samuel 1'autunno d3ll' 
 anno 1771. 
 
 Venezia, Modesto Fenzo, n. d. 54 p* 17\ cn 
 
 Three acts. Cast, scenario, and name of Galuppi as composer. SCHATZ 3455
 
 OPERA LIBRETTOS 631 
 
 L'inimico delle donne Continued. 
 
 II nemico delle donne. Dramma giocoso per musica. Da 
 representarsi ne' Teatri privilegiati di Vienna 1'anno 1775. 
 [Vienna], Giuseppe Kurzbok, n. d. 69 p. 16 cm . 
 
 Three acts. Scenario and names of Giovanni Bertati as author and of Galuppi as 
 composer. While the first act follows closely the original ed. of "L'inimico delle 
 donne," beginning with the second act the two librettos become somewhat different. 
 That of Vienna drops several scenes and, for instance, substitutes the aria (II, 3) 
 "Qui non si dice: cara" for "Se fossi in Italia." Also, the second act now begins 
 "Quanto siete sollecita" instead of "Cugina mia, vitrovo." 
 
 First performed, as indicated, January 17, 1775. SCHATZ 3456 
 
 Inkle and Jarico: An opera, in three acts. As performed at the 
 Theatre-Royal in the Hay-Market, on Saturday, August llth, 1787. 
 Written by George Colman, junior. 
 London, G. G. J. and J. Robinson, n. d. 75 p. %0\ cm . 
 
 Cast. The composer, Samuel Arnold, is not mentioned. H*e utilized, as Long- 
 man & Brod erip's vocal score shows, some ballad airs. 
 
 Genest gives August 4, 1787, as date of first performance. LONGE 99 
 
 Inkle e lariko, ballet. See Paisiello's Gli schiavi per amore. 
 Inkle e Jariko, balht. See Prati's La morte di Semiramide. 
 
 Inkle und Jariko, oder Er war nicht ganz Barbar. Ein singspiel 
 in einem aufzuge, von J. W. D.[6ring]. 
 
 Cassel, Griesbach, 1798. 56 p. 15 cm . 
 
 The composer, Carl Friedrich Ebers, is not mentioned. 
 
 First performed at Rostock, Stadttheater, December 28, 1801. SCHATZ 2890 
 
 Das inkognito. Singspiel in einem aufzuge, nach Saintfoix. 
 
 n. I., n. d. 56 p. 15 cm . (Herklots operetten. No. 1, Berlin, 1793.} 
 Detached copy. The name of the composer, Joseph Augustin Giirrlich, is not 
 
 mentioned. 
 
 First performed at Berlin, Kgl. Nationaltheater, November 9, 1797. 
 
 SCHATZ 4372a 
 
 L'innalzamento.di Semiramide. A. T". of the ballet La figlia 
 dell' aria. 
 
 Gli innamorati. Dramma per musica di Giuseppe Foppa da rap- 
 presentarsi nel nobilissimo Teatro Venier di San Benedetto 1'autunno 
 delP anno 1793. 
 
 Venezia, Casali, 1798. 64 p. 17% cm . 
 
 Two acts. According to note on p. 3, based on Goldoni's "Gli innamorati," and 
 "riprodotto in quest' anno con alcuni cangiamenti proprj della circostanza." Cast 
 and name of Sebaetiano Nasolini as composer of the first and Vittorio Trento of the 
 second act. On p. [331-43, argument, cast, and description of Filippo Beretti's 
 "Andrpnico e Ramira, ballo eroico pantomimo," in five acts. The composer of the 
 music is not mentioned. 
 
 First performed at the same theatre, February 4, 1793. SCHATZ 7031 
 
 Innocence seduced. A. T. of The wanton Jesuit. 
 
 L'innocente fortunata. Dramma per musica da rappresentarsi 
 nel Teatro di Siena la prossima estate dell' anno 1774. 
 Firenze, Anton Giuseppe Pagani, 1774. 55 p. 16\ cm . 
 
 Three acts. By Filippo Livigni, who is not mentioned. Cast and name of Pai- 
 siello as the composer. 
 
 First performed at Venice, Teatro di S. Moise, carnival, 1773. SCHATZ 7631
 
 632 LIBRARY OF CONGRESS 
 
 L'innocente fortunata Continued. 
 
 La semplice fortunata. Commedia per musica da rappresen- 
 
 tarsi nel Teatro Nuovo nell' esta di questo anno 1773. 
 
 Napoli, Vincenzo Flauto, 1773. 72 p. 15% cm . 
 
 Three acts. Of Livigni's "L'innocente fortunata" very little of the dialogue, but 
 a number of arias, have been retained, as, for instance, "Donna son, ma non m'in- 
 ganno," but instead of being sung in I, 2, it now stands in I, 13. Scenario, cast, and 
 name of Paisiello as the composer. SCHATZ 7632 
 
 - L'innocente fortunata. Dramma giocoso per musica, da rap- 
 presentarsi nel Piccolo Teatro Elettorale. L'anno 1780. 
 Dresda, Stamperia elettorale, n. d. 151 p. 16 cm . 
 
 Three acts. Livigni's text. German title page, "Die glueckliche unschuldige," 
 and text face Italian. Paisiello is mentioned as the composer. SCHATZ 7633 
 
 L'innocenza difesa. Drama per musica da rappresentarsi nel 
 Teatro di S. Angelo nel carnovale dell' anno 1722 . . . 
 Venezia, Marino Rossetti, 1722. 57 p. 15 cm . 
 
 Three acts. By Francesco Silvani (not mentioned). Publisher's dedication, 
 argument, east, scenario, and name of Fortunate Chelleri as composer. 
 
 First performed, as "L'innocenza giustificata," at Milan, Regio Ducal Teatro, 1711. 
 
 SCHATZ 1814 
 
 L'innocenza difesa. Drama per musica da rappresentarsi nell' 
 antico Teatro della Pace nel carnevale dell' anno 1720 . . . 
 
 Roma, Antonio de* Rossi, 1720. 67 p. 14\ cm . 
 
 Three acts. Neither Francesco Silvani (a later version of whose "L'innocenza 
 giustificata" this is) nor Giuseppe Maria Orlandini, the composer, is mentioned. 
 Argument, cast, and scenario. 
 
 First performed at Verona, Teatro della Citta, fall, 1714. SCHATZ 7336 
 
 L'innocenza difesa nell' inganno. Dramma da rappresentarsi in 
 musica. Die im betruge vertheidigte unschuld . . . 
 
 Copenhagen, Andreas Hartwig Godiche, 1753. 79 p. 15 cm . 
 
 Three acts. Scenario, argument, cast. Author (Domenico Lalli, whose altered 
 "II gran Mogol" this is) and composer (unknown to Schatz) not mentioned. 
 
 SCHATZ 11342 
 
 L'innocenza giustificata. O. T. of Chelleri's L'innocenza difesa. 
 
 L'innocenza giustificata. Drama per musica di Francesco Silvani. 
 Da rappresentarsi nel famoso Teatro Vendramino di S. Salvatore . . . 
 
 Venezia, Nicolini, 1699. front., 72 p. 14% cm . 
 
 Three acts. Argument, scenario, Silvani's dedication, dated Venice, December 
 24, 1698, and his important notice tothe reader: 
 
 "H6 io ancora a tacere doppo gl'attentati, contro la mia riputazione, ad pgni parto 
 dramatico, che mi esca dalla penna? II generoso compatimento con cui ricevesti 
 1'anno passato nel Teatro Tron di S. Casciano 1'opera mia intitolata 1'Ingratitudine 
 gastigata, sveglio nel cuore non s6 di chi, un bef pensiero di rapirmi quel poco di 
 fama, che mi risultava dalla tua eola bota, col publicare essere quella, fatica d'altro 
 ingegno, yariando per6 nel nominare 1'auttore, e portando 1'inyidia a ricercarlo sino 
 dentro a i sepolori. Quest' anno su la medesima buona opinione della tua somma 
 generosita, si ha voluto prevenirne 1'evento, ed all' uscire di questo dramma, si e fatta 
 precorrere una voce egualmente impropria, che questo pure sia frutto d'un' altra 
 mente . . . 
 
 ". . .'questa volta per eempre io deyo aseicurare la mia riputazione, con una 
 publica protesta solennizata dall' auttorit& della stampa, che tutte le dramatiche 
 composizioni, & altre, che siano uscite, o siano per uscire da torchi col mio nome in 
 fronte, sono, e saranno tutte fatiche del mio povero, e debolissimo ingegno . . . e cosl
 
 OPERA LIBRETTOS 633 
 
 L'innocenza giustificata Continued. 
 
 interamente mie, che nel comporle, ne le ho communicate con chi ei eia, ne da chi 
 si eia h6 ricevuto un minimo consiglio, se non nel comporre il drama intitolato il 
 Principe Selvaggio recitatosi nel Teatro di S. Angelo 1'anno 1695, il quale fu da me 
 comppeto co 1'altrui assistenza e consiglio, e che perci6 corre senza nome, cosi grade 
 e la giustizia della mia gelosia di non farmi auttore d'un' opera, di cui io non habbia 
 tutto ildebito alia miafattica, come deve fare ogni uomod'onore . . . ti prego onorare 
 del tuo benigno compatimento queste povere mie rime, che ritroverai animate dalla 
 virtu eingolare del Sig. K. e Benedetto Vinacese, che in questa sua prima uscita Bovra 
 le Venete scene con le sue note, ti da un gran eaggio del suo profondo intendimento, e 
 della fertile bizarria delle sue idee ..." 
 
 This preface gives the key to the frontispiece, which shows a shepherd pointing out 
 to his dog a house with the inscription, "Modica sed mea." SCHATZ 10740 
 
 - L'innocenza giustificata. Drama per musica di Francesco 
 Silvani, da rappresentarsi in Mantova 1'anno MDCC . . . 
 Mantova, Alberto Pazzoni, n. d. 6 p. I., 52 p. 15 cm . 
 Three acts. Dedication by Giacomo Sironi, argument, cast, scenario. Benedetto 
 Vinacese is not mentioned as the composer. The text shows slight differences from 
 the original edition. For instance, in I, 5 the aria "Se si potesse amar" has been 
 replaced by "Se non scocasse Amor." ML 50.2.158 
 
 L'innocenza protetta. A. T. of Valentini's Rosina consolata. 
 
 L'innocenza protetta dal Cielo, o siano Li portentosi effetti della 
 gran madre Natura, intermezzo in tre atti da rappresentarsi nel 
 Teatro di Sant' Angelo il carnovale dell' anno 1762. 
 
 Venezia, Valva-sense, n. d. 44 P- 15\ cm . 
 
 Cast, scenario, name of Carlo Goldoni (see A. T. of the above) as author and note: 
 "Musica del sig. N. N. dilettante." His name unknown to Wiel. SCHATZ 11358 
 
 L'innocenza riconosciuta. Drama per musica da rappresentarsi 
 nel Teatro di Sant' Angelo 1'autunno dell' anno MDCCXVII. 
 
 Venezia, Marino Rossetti, 1717. 48, [1] p. 14$ cm . 
 
 Three acts. By Francesco Malipiero, who is not mentioned. "Quello si ha dall' 
 istoria," cast, and scenario. The composer, Carlo Francesco Pollaroli, is not men- 
 tioned. SCHATZ 8298 
 
 L'innocenza risorta, overo Etio. Drama per musica da rappre- 
 sentarsi nel famoso Teatro di S. Casciano. L'anno MDCLXXXIIl . . . 
 
 Venetia, Francesco Nicolini, 1683. 58 p. 13% cm . 
 
 Three acts. By Adriano Morselli, who is not mentioned. Dedication, scenario, 
 argument, and notice to the reader with name of Pietro Andrea Ziani as the com- 
 poser. 
 
 First performed, as indicated, carnival, 1683. SCHATZ 11224 
 
 L'innocenza scoperta, ballet. See Cimarosa's I due supposti conti. 
 
 L'innocenza vendicata, overo La Santa Eugenia. Dramma per la 
 musica da rapresentarsi nella solenne celebratione della festa della 
 Gloriosa Santa Rosa di Viterbo nel Teatro della medesima citta nel 
 corrente anno 1686. 
 
 Viterbo, Pietro MartineUi, n. d. 67 p. 13% cm . 
 
 Notitia istorica, avertimenti. Author and composer not mentione'd and unknown 
 to Schatz. SCHATZ 11343 
 
 L'innocenza vendicata. A. T. of Tozzi's La morte di Dimone.
 
 634 LIBRARY OF CONGRESS 
 
 Ino. Ein melodrama in einem aufzuge von Joh. Christian Brandes. 
 
 Leipzig, DyJcische 'buchhandlung , 1790. 1 p. 1., 22 p. 18$ cm . 
 
 Note on p. [1]: "Verfertigt im jahr 1777." 
 
 First performed with music by Johann Friedrich Reichardt, who is not men- 
 tioned, at Leipzig, Theater am Rannstaedter Thore, October 7, 1779. ML 52.2.15 
 
 - Ino. Ein melodrama von herrn Brandes. Die musik ist von 
 herrn Reichard . . . 
 
 n.i.,n.d. p.[75}-107. 14%*' (" Melodramen" no.iv,Pilsen,1791.} 
 One act. Argument. SCHATZ 8643 
 
 Ino e Temisto, ballet. See Nasolini's La Calliroe. 
 
 Arien und gesaenge aus dem singspiel Die insel der Alcina in zwey 
 aufzuegen, aus dem italianischen uebersetzt von C. Herklots. Die 
 musik ist von dem saenger des koenigl. Nationaltheaters, Herrn 
 Bianchi. 
 
 Berlin, n. publ., 1794. 32 p. 16 cm . 
 
 Cast. Translation of Bertati's libretto, "L'isola d'Alcina," composed by Antonio 
 Bianchi. 
 
 First performed at Berlin, Nationaltheater, February 16, 1794. SCHATZ 972 
 
 Die insel der Alcina. Tr. of Gazzaniga's L'isola di Alcina. 
 Die insel der liebe. Tr. of Sacchini's L'isola d'amore. 
 
 L'interesse gabba tutti. Dramma giocoso per musica da rappre- 
 sentarsi nel Regio Teatro di via della Pergola la primavera del 
 MDCCXCV . . . 
 
 Firenze, Pietro Fantosini, 1795. 39, [1] p. 16\ em . 
 
 Two acts. By Coeimo Mazzini, who is not mentioned. Cast and name of Gaetano 
 Marinelli as the composer. ("La musica e nuova.") With the opera was performed 
 Charles Auguste Favier's ballet, "II matrimonio per gratitudine. The composer of 
 the music is not mentioned. SCHATZ 5961 
 
 Intermezzi in derisione della setta Maomettana, coll' espres- 
 sione d'alcuni riti de' Turchi nel porgere preghiere al falso loro pro- 
 feta. Da recitarsi in Seminario Romano nella commeclia de' Signori 
 Convittori delle Camere Piccole per le vacanze del carnevale del 1717. 
 La musica e del Sig. Francesco Gasparini . . . 
 
 Napoli, Felice Mosca, n. d. 16 p. 20\ cm . 
 
 Three parts. Author not mentioned and unknown to me. The characters are 
 Ali, Balocco, Despino, Osmino. Cast and brief prefatory note. ML 50.2.I59G2 
 
 Intramezzi da rappresentarsi nella Filli di Sciro in Ancona quest' 
 anno 1639. Stampati per facilitarne 1'intelligenza a gli spettatori . . . 
 Ancona, Marco Salvioni, 1639. 15 p. 19 cm . 
 
 Prologue and four intermedii. Salvioni's dedication, dated Ancona, February 23, 
 1639, contains this information: 
 
 "Dovendosi per6 tr& pochi giorni rappresentare da questa nobilt& la Filli di Sciro, 
 pastorale della felice memoria del Sig. conte Guid' Ubaldo Bonarelli onore, e gloria 
 di questa patria, & havendole aggiunti alcuni intramezzi il Sig. conte Prospero fra- 
 tello di lui, h6 risoluto per cpmmodo degl' ascoltanti, stamparli ..." 
 
 The composer is not mentioned. ML 50.2.16
 
 OPERA LIBRETTOS 635 
 
 Gl'intrichi di Don Facilone. Dramma giocoso per musica da rap- 
 presentarsi nel Real Teatro di Salvaterra nel carnovale dell' anno 1786. 
 
 [Lisbona], Stamperia reale, n. d. 67 p. 16 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Scenario, cast, and 
 name of Pietro Guglielmi as the composer. 
 
 First performed as "Gl'intrighi di D. Facilone," at Rome, Teatro Valle, carnival, 
 1776. SCHATZ 4296 
 
 Gl'intrighi amorosi. Dramma giocoso per musica del Sig. abbate 
 Giuseppe Petrosellini P. A. Da rappresentarsi nel Teatro di San 
 Samuel il carnovale dell' anno 1772. 
 
 Venezia, Modesto Fenzo, 1772. 69 p. 18 cm . 
 
 Three acts. Cast, scenario, and name of Galuppi as composer. SCHATZ 3504 
 
 
 
 L'intrigo amoroso. Dramma giocoso per musica di Giovanni Ber- 
 tati . . . Da rappresentarsi nel nobilissimo Teatro Giustiniani in 
 San Moise 1'autunno dell' anno 1795. 
 
 Venezia, Modesto Fenzo, 1795. 62 p. 18% cm . 
 
 Two acts. Cast, scenario, and name of Francesco Ferdinando Paer as the com- 
 poser. On p. 57-62 cast, prefatory note, and argument of Pasquale Brunetti's "La 
 eelvagg^ia ovvero Adelia e Roberto, ballo di mezzo carattere." The composer of the 
 music is not mentioned. 
 
 First performed, as indicated, December 26, 1795 (Schatz), "autunno" (Wiel). 
 
 SCHATZ 7505 
 
 L'intrigo amoroso. Dramma giocoso per musica da rappresen- 
 tarsi nel Regio Teatro di S. Carlo della Principessa Testate den' anno 
 1798. 
 
 Lisboa, Simone Taddeo Ferreira, 1798. 142 p. Iffi. 
 
 Two acts. Cast and name of Ferdinando Per (Paer) as the composer. Bertati is 
 not mentioned. Portuguese text faces the Italian. SCHATZ 7559 
 
 - L'intrigo amoroso. Dramma giocoso per musica in due atti da 
 rappresentarsi nel Teatro elettorale di Sassonia. 
 
 Dresda, n. puU., 1799. 127 p. 15\. 
 
 Two acts. By Bertati, who is not mentioned. Ferdinando Par (Paer) is men- 
 tioned as composer. German title page, "Die liebesintrigue," and text face Italian. 
 First performed April 17, 1799, as indicated. SCHATZ 7506 
 
 - Saed ossia II serraglio. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro di S. A. S. il Signer principe di Carignano nella 
 primavera dell' anno 1798. 
 
 Torino, Onorato Derossi, n. d. 54 p. 
 
 Two acts. Cast, scenario, and name of Ferdinando Per (Paer) as the composer. 
 Follows closely the original text by Bertati, who is not mentioned. SCHATZ 7507 
 
 L'intrigo della lettera. Farsa giocosa per musica d'un atto solo 
 da rappresentarsi nel Teatro Giustiniani in San Moise del cittadino 
 Giuseppe Foppa. 
 
 Venezia, Modesto Fenzo, Anno primo delta Liberia italiana [1797}. 
 38 p. 18 cm . 
 
 Cast, scenario, and name of Simon Mayr as the composer. SCHATZ 6154 
 
 L'intrigo della lettera, farsa giocosa per musica d'un atto solo 
 da rappresentarsi nel Regio Teatro di S. Carlo della Principessa. 
 Lisboa, Simone Taddeo Ferreira, 1798. 91 p. 14 cm - 
 Tho author, Giuseppe Foppa, is not mentioned. Caet and name of Simon Mayr 
 as composer. Portuguese text faces Italian. ML 50.2.I65M2
 
 636 LIBRARY OF CONGRESS 
 
 L'intrigo delle mogli. Commedia per musica di Giuseppe Palomba 
 da rappresentarsi nel Real Teatro del Fondo di Separazione per quart' 
 opera del corrente anno 1783. 
 
 Napoli, n. pull, 1783. 57 p. 15 cm . 
 
 Three acts. Cast and name of Giuseppe Gazzaniga as the composer. 
 
 SCHATZ 3679 
 
 L'intrigue portugaise. A. T. of Gaveaux' Sophie et Moncars 
 
 The intriguing chambermaid. A comedy of two acts. As it is 
 acted at the Theatre-Royal in Drury-Lane, by His Majesty's servants. 
 Taken from the French of Regnard, by Henry Fielding, Esq. . . 
 London, J, Watts, 1750. 6 p. 1., 40 p. 20 cm . 
 
 Ballad opera. Cast, poem "sent to the author by an unknown hand," prologue, 
 epilogue and a very complimentary "Epistle to Mrs. Clive," who played "Lettice" 
 in this ballad farce. Fielding says, among other things: 
 
 "It is your misfortune to bring the greatest genius for acting on the stage, at a 
 time when the factions and divisions among the players have conspired with the 
 folly, injustice, and barbarity of the town, to finish the ruin of the stage, and sacri- 
 fice our native entertainments to a wanton affected fondness for foreign musick; and 
 when our nobility seem eagerly to rival each other, in distinguishing themselves in 
 favour of Italian theatres, and in neglect of our own ..." 
 
 On last p. 1. a "table of the songs" (12), the airs of which are printed in the text. 
 
 First performed at London, Drury Lane, January 15, 1734. ML 50.5.15 
 
 The intriguing chambermaid. In two acts. By Henry Field- 
 ing, Esq. 
 
 [138]-168 p. 19 cm . (Collection of the most esteemed farces and 
 entertainments, t. Hi, Edinburgh, 1792.} 
 
 Drury-Lane and Edinburgh (1781) casts. Ballad opera. SCHATZ 11753C 
 
 The intriguing courtiers; or, The modish gallants. A comedy, 
 (after the manner of Shakespear). Wherein the secret histories of 
 several persons are faithfully represented. In which is introduced, 
 An interlude, (after the manner of a rehearsal). Call'd, The mar- 
 riage promise; or, The disappointed virgin. Consisting of variety of 
 new songs, set to several English, Irish, and Scots ballad-tunes and 
 country-dances. 
 London, W. James, 1732. 60 p. 20 cm . 
 
 The interlude (four characters) is introduced in the final, sixth scene of the fifth act. 
 The tunes are indicated in the headings of the eight songs. The comedy otherwise con- 
 tained no music. Neither author nor performance recorded by Clarence. LONQE 197 
 
 L'inutile precauzione, ballet. See Mayr's Lauso e Lidia. 
 L'inutile precauzione. L. T. of Paisiello's II barbiere di Seviglia. 
 L'inutile precauzione, ballet. See Tritto's II barone in angustie. 
 
 Der invalide. Ein militaerisch.es original-lustspiel in drey aufzuegen. 
 Von C. F. Hensler. Die mit dem stueck verbundene musik ist vom 
 hrn. Wenzel Mueller, kapellmeister der Marinellischen schaubuehne. 
 
 n. i., n. d. p. [121}-224. 17 cm . 
 
 Detached copy. First performed, as indicated, June 22, 1786. SCHATZ 6934 
 
 L'inverno ossia La pianella perduta, ballet. See Guglielmi's Le due 
 gemelle.
 
 OPERA LIBRETTOS 637 
 
 L'inverno o sia La pianella persa, Farsa in prosa con musica alia 
 francese che si rappresenta dalla Compagnia accademica toscana di 
 Pietro Andolfati addetta al Regio Teatro degli Infuocati di Firenze . . . 
 
 Firenze, Stamperia Albizziniana, 1790. 30 p. 16\ cm . 
 
 Two parts. Author and composer not mentioned, and unknown to Schatz. 
 
 SCHATZ 11344 
 
 lole, regina di Napoli. Drama per musica da rappresentarsi nel 
 famosissimo Teatro Grimani di Ss. Gio. e Paolo, 1'anno MDCXCII. 
 Di Giulio Cesare Corradi . . . 
 
 Venetia, Nicolini, 1692. 58 p. 14$ cm . 
 
 Three acts. Author's dedication, argument, scenario, and notice to the reader, in 
 which Corradi says: "la virtu del Sign. Carlo Polarolo [PollaroliJ h& questa volta 
 oltrepassato il credibile." SCHATZ 8323 
 
 Ipermestra. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t. v, [95] 171 p. 
 16 cm . 
 
 Three acts and licenza. Argument. ML 49.A2M42 
 
 - Ipermestra. Dramma, scritto in gran fretta dall' autore in 
 Vienna d'ordine sovrano, per essere eseguito nell' interne della Corte 
 con musica dell' Hasse da grandi, e distinti personaggi a loro privatis- 
 simo trattenimento : ma pubblicamente poi rappresentato la prima 
 volta da musici, e cantatrici nel gran Teatro di Corte ... in occa- 
 sione delle nozze delle AA. RR. di Marianna, arciduchessa d' Austria, 
 e del principe Carlo di Lorena, 1'anno 1744. 
 
 pi., [97]-180 p. 26 cm . (Metastasio, Opere, t. vi, Parigi, vedova 
 Herissant, 1780.} 
 
 Three acts and licenza. Argument. ML 49.A2M44 
 
 Ipermestra. Dramma per musica da rappresentarsi nel nobilis- 
 simo Teatro Venier in San Benedetto la fiera dell' Ascensione dell' 
 anno 1789. 
 
 Venezia, Modesto Fenzo, 1789. 48 p. 18\ cm . 
 
 Two acts. By Metastasio. Argument, cast, scenario, and name of Gennaro 
 Astaritta as composer, but not of librettist.. On p. 23-33, argument, cast, and 
 detailed description of the first ballet, "Alessio ed Eloisa o sia II disertore, ballo 
 eroicomico," by Douberral, and originally performed in London (p. 24); and on p. 48, 
 the title of the second ballet, "Le due nvali o sia La prova del vero amore, ballo 
 campestre." The composers of the music are not mentioned. SCHATZ 387 
 
 Ipermestra. Drama per musica da rappresentarsi nel Teatro novis- 
 simo a S. Samuele per la fiera dell' Ascens?? 1'anno 1748. 
 [Venezia], n. pulil., n. d. 1 p. I., 44 P- 
 
 Three acts, with argument, cast, scenario, and name of composer, Ferdinando 
 Giuseppe Bertoni, but not of librettist, Metastasio. SCHATZ 926 
 
 Ipermestra. Drama per musica da rappresentarsi nel Regio ducal 
 Teatro di Milano nel carnovale dell' anno 1728 . . . 
 
 Milano, Giuseppe Richino Malatesta, 1727. 59 p. 13\ cm . 
 
 Three acts. By Antonio Salvi (not mentioned). Dedication dated Milan, Decem- 
 ber 24, 1727, and signed by the composer, "Giuseppe Ferdinando Brivio e compagni " 
 ("la nostra prima opera "), argument, cast, and scenario. According to the argument, 
 several arias were interpolated "a piacimento de* signori attori," which would explain 
 "nelle arie qualche sentimento non troppo addattato alia ecena." SCHATZ 1327
 
 638 LIBRABY OF CONGBESS 
 
 L'Ipermestra. L. T. of Cavalli's L'Hipermestra. 
 
 Ipermestra, dramma per musica, da rappresentarsi nel Ducal 
 Teatro di Bronsevico, nella fiera estiva MDCCLIX. 
 
 n. i., n. d. 131 p. 19 cm . 
 
 Three acts. Argument, scenario, and names of the author, Metastasio, and the 
 composer, ' ' Ignazio Fiorillo, maestro di capella in attual servizio di corte. ' ' German 
 title-page, "Hypermenestra," and text face Italian. 
 
 First performed, as indicated, August 13, 1759. SCHATZ 3201 
 
 L'Ipermestra. Dramma per musica da rappresentarsi nel Teatro 
 Vendramin di S. Salvadore nella fiera dell' Ascensione dell' anno 
 MDCCLXI. 
 
 Venezia, Modesto Fenzo, 1761. 48, [8] p. Ifo. 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of the composer, Baldassare Galuppi ("La musica sar& nuova"). The addi- 
 tional pages contain the plot of the ballets, "L'Asiatico generoeo" and "I due ver- 
 gognesi da nozze," by Pierre Granget, the composers of the music not being men- 
 tioned. 
 
 An opera by Galuppi, of the same title, was performed at Milano, Regio Ducal 
 Teatro, 1758. ' SCHATZ 3457 
 
 Ipermestra. Drama per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di San Gio. Grisostomo il carnovale dell' anno 1724. 
 Venezia, Marino Rossetti, 1724. 48 p. 15% cm . 
 
 Three acts. By Ant. Salvi, who is not mentioned. Argument, cast, scenario, and 
 name of Geminiano Giacomelli as the composer. SCHATZ 3813 
 
 Ipermestra. Dramma per musica da rappresentarsi nel famosis- 
 simo Teatro Grimani di S? Gio Grisostomo nell' autunno 1744. 
 
 n. i., n. d. 50 p. 15\ cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Gluck as the composer. 
 
 First performed, as indicated, at Venice, November 21, 1744. SCHATZ 3930 
 
 L'Ipermestra. Dramma per musica da rappresentarsi nel Real 
 Teatro in occasione delle relic issime nozze della serenissima arci- 
 duchessa Maria Anna d'Austria ... e ... Carlo Alessandro di 
 Lorena . . . 1'anno 1744. La poesia e del Sig. abb. Pietro Metas- 
 tasio ... La musica e del Sig. Giovanni Adolfo Hasse ... La 
 musica della licenza e dell' ultimo coro, e del Sig. Luca Predieri . . . 
 
 Vienna, Gio. Pietro v. Ghelen, n. d. 4 P- l-> 51, Ul P- 15\ cm . 
 
 Three acts. Argument, scenario, and name of Ignaz Holzbauer as composer of the 
 ballet music. 
 
 First performed at the Burg, January 8, 1744, and at the Hoftheater January 25, 1744. 
 
 SCHATZ 4542 
 
 Ipermestra, dramma per musica da rappresentarsi nella villa di 
 Sant' Uberto festeggiandosi il felicissimo giorno natalizio di S. R. M. 
 Augusto III ... T'anno MLCCLI. 
 
 n. i., n. d. 5 p. 1. (double], 72, [4] p. 19 cm . 
 
 At end: "Friedrichsstadt, appresso la vedova Harpeter." Three acts and licenza. 
 Argument, scenario, and names of Metastasio as author, of Johann Adolph Hasse as 
 composer. German title page, "Hypermenestra," and text face Italian, which is not 
 quite the same as in the Vienna (1744) edition. Forinstance, theariain 1, 1, "Abbiam 
 penato, ver," has become "Tornerai nel fido amante," and that in III, 6, "Perdono 
 al crudo acciaro," has become "L'amato, bene." Schatz and Mennicke call this 
 Basse's second version. 
 
 First performed, as indicated, October 7, 1751. SCHATZ 4543
 
 OPERA LIBRETTOS 639 
 
 Ipermestra Hipermenestre, ballet. See Jommelli's Demofoonte. 
 
 Ipermestra. Drama per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto il carnovale dell' anno MDCCLXXIV. 
 
 Venezia, Modesto Fenzo, 1774. 1 P- 1", 52 p. 17 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, 
 and name of Johann Gottlieb Naumann as the composer. On p. 20-25 description 
 of Antoine Trancard's "II ratio di Proserpina, ballo eroico." The composer of the 
 music is not mentioned. 
 
 First performed, as indicated, February 1, 1774. SCHATZ 7049 
 
 Ipermestra. Dramma per musica da rappresentarsi nel nobilis- 
 simo Nuovo Teatro di Padova lafiera di Giugno dell' anno 1791 . . . 
 
 Padova, Conzatti, n. d. 40 p. 17\. 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication, 
 argument, cast, scenario, and name of Paisiello as the composer. With the opera 
 was performed Filippo Beretti's ballet, "Gli Sciti." The composer of the music is 
 not mentioned. SCHATZ 7702 
 
 Ipermestra. Dramma per musica da rappresentarsi in Alessandria 
 nel Teatro Solerio coll' occasione della solita fiera d'autunno nell' 
 anno MDCCLV. 
 
 Alessandria, Ignazio Vimercati, n. d. 56 p. 16 cm . 
 
 Three acts. By Metaetasio, who is not mentioned. Cast, argument, scenario, and 
 name of "Guiseppe Be, dilettante" as the composer. SCHATZ 8618 
 
 Ipermestra. Dramma per musica da rappresentarsi nel Teatro alia 
 Scala il carnevale delP anno 1786 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 6 p. 1., 44 P- 16 cm . 
 
 Three acts. Dedication, argument, cast, name of Salvatore Bispoli as the com- 
 pose^ and allusion to Metastasio, the author, with 
 
 "nncrescimento di aver tolti tanti eccellenti pezzi, per sostituirne degli altri 
 infinitamente inferior!, onde uniformarsi al costume, o per dir meglio all' abuso che 
 si e introdotto negli spettacoli musicali in Italia." 
 
 With the opera were performed Sebastiano Gallet's ballets, "Ludovico il Moro," 
 "L'amore maestro di scuola," and "Popolo d'Argo." The composer of the music is 
 not mentioned. 
 
 First performed, as indicated, December 26, 1785. SCHATZ 8815 
 
 Second copy. ML 48. A5 v.l 
 
 L'Ipermestra o Le Danaidi, ballet. See Anfossi's L'Olimpiade. 
 
 Ipermestra ossia La morte di Danao, ballet. See Giordani's Nico- 
 mede. 
 
 Iphide Greca, drama per musica. 
 
 By Conte Nicolb Minato, composed by Antonio Draghi for the birthday of Empress 
 Margherita July 12, 1670. 
 
 Not in L. of C. Compare Wotquenne. 
 
 - Iphis auss Griechen-Land. Gesungene vorstelhmg an dem 
 geburths-tag Ihrer Kaiserlichen Mayestat frawen Margariten gebor- 
 ner infantin auss Hispanien ... In sing-kunst gerichtet durch 
 herrn Antoni Draghi . . . Aus dem welschen ins teutsch uebersetzt. 
 Wienn, Matfheo Cosmerovio, 1670. 46 p. 14 m - 
 Three acts, the original Italian "von herrn Nicola Minato." With "Inhalt," 
 "W T ahrscheinende erfindung hierueber," " Under-redner " (characters), "Veraen- 
 derungen des schaw-platzes " ("Erfindungen herrn Ludwigen Burnacini"), and 
 "Taentz " (designed by the imperial balletmaster Ventura Santo. SCHATZ 2801
 
 640 LIBRARY OF CONGRESS 
 
 Iphide Greca. Drama per musica del conte Nicolo Minato. 
 Venetia, li Bertani, 1671. 66, [5] p. 13\ cm . 
 
 Three acts. Argument, scenario, and notice to the reader, which reads in part: 
 
 "Questo nobilissimo drama, se ne passa dal soglio de Cesari a dilettar il genio do 
 gli Adriatic! eroi ... E vero, che per la disparita del loco, e di chi fa rappresen- 
 tarla, egli e un colosso rimesso fra 1'angustie d'un nichio non suo; i saloni di Venetia ? 
 non sono la regia di Ceeare . . . Per questo capo, si tralasciano il piii bello degh 
 apparati . . . 
 
 ''La musica del primo atto sara parto delle virtu dell' ecc. dottor Gio. Domenico 
 Partenio; nel secondo del Sig. D. Domenico Freschi e nel terzo del Sig. Gaspare 
 Sartorio . . . 
 
 " Si sono aggionte alcune seconde stroffe, & altre nove ariette . . . Queete saranno 
 etampate nel fine del libro cole eue annotation! havendo cosi voluto chi le scrisse, 
 confessando non pater aggiungersi perfettioni al perfetto ..." 
 
 First performed at Venice, by the Accademici Soliti, spring, 1671. 
 
 SCHATZ 7779 
 
 Iphigenia in einem sing-spiel auf dem Hamburgischen Schau-platze 
 vorgestellet. Imjahrl731. 
 
 [Hamburg], Gedruckt mit Stromerschen schrifften, n. d. Unpaged. 
 
 Three acts. Argument and scenario. Neither Christian Heinrich Postel, by 
 whom this libretto originally was written, nor the composer, Carl Heinrich Graun, 
 is mentioned. Christian Heinrich Posters "Die wunderbahr errettete Iphigenia" 
 had been composed 1699 by Reiser for Hamburg. Retouched by Georg Caspar 
 Schurmann, as "Iphigenia in Aulis," the libretto with Graun 's music was first per- 
 formed at Brunswick on August 16, 1728 (compare Uffenbach's Reisebeschreibung of 
 this year). The opera was revived there on February 5, 1731. Further retouched, 
 the opera was then first performed at Hamburg on December 3, 1731. 
 
 SCHATZ 4103 
 
 Iphigenia, ein singspiel in zween aufzuegen. 
 
 P. [5-12] of " TJioas, Koenig undfeldherr der Lemnier. Ein trauer- 
 spiel . . . aufgefuehrt von der studierenden jugend des Katholischen 
 SchuThauses zu Augsburg bey St. Salvator. den 2, 3 und 6ten herbst- 
 mondes 1779. [Augsburg], Joseph Simon Hueber" 
 
 Cast and name of Ludwig Bartholomaeus Piindter as the composer. 
 
 SCHATZ 8514 
 
 Iphigenia in Aulis. An opera. 
 
 English translation of conte Francesco Algarotti's five-act libretto, "Iphigenie en 
 Aulide." See [125J-177 p. of his "An essay on the opera," Glasgow, 1768. 
 
 ML 3858.A39 
 
 Iphigenia in Aulis. Tr. of Graun's Ifigenia in Aulide. 
 Iphigenia in Tauris. Tr. of Gluck's Iphigenie en Tauride. 
 Jphigenie en Aulide, opera. 
 
 A five-act opera text, written by conte Francesco Algarotti and included to illus- 
 trate his esthetic theories on librettos (p. 97-157) in his "Saggio sopra 1'opera in 
 musica," of which the L. of C. has the Livorno (1763) ed. ML 3858.A37 
 
 - Iphigenia in Aulis. An opera. 
 
 The above in English translation (p. [1251-177) of "An essay on the opera." Glas- 
 gow, 1768. ML 3858.A39
 
 OPERA LIBRETTOS 641 
 
 Iphigenie en Aulide, tragedie-opera, en trois actes; represented, 
 pour la premiere fois, par I'Acade'mie-royale de musique, le mardi 12 
 avril 1774. 
 Paris, Delormel, 1774. 63 p. 23. 
 
 Three acts. By Du Roullet, who is not mentioned by name but who wrote the 
 "Avertissement " according to which the verses retained from Racine are so marked 
 in the text. Cast and name of Gluck as the composer. 
 
 The first performance took place on April 19, not 12. SCHATZ 3898 
 
 Iphigenie en Aulide, trage"die opera, en trois actes, dont la 
 musique est de M. le chevalier Gluck, represent ee, pour la premiere 
 fois, par F Academic royale de musique le mardi 12 avril 1774. Nou- 
 velle edition. 
 
 Bordeaux, Pierre Philippot, 1783. 38 p. 20. 
 
 Three acts. ML 48.M2L 
 
 Iphigenie en Tauride, tragedie representee par PAcademie royale 
 de musique Tan 1704. Les paroles de M. Duche & la musique de 
 M. Desmarets. Mise au Theatre par MMrs. Danchet & Campra. 
 LXI. Opera. 
 
 n. i., n. d. front., p. 233-290. (Recueil general des opera, t. viii, 
 Paris, 1706.) 14 cm . 
 
 Detached copy. Prologue and five acts, with "Avertissement:" 
 "II y a huit ans que cet opera est fait, & que Mr. Desmarests 1'a mis en musique a 
 la reserve de la plus grande partie du cinquieme acte qui est de Mr. Campra, aussi 
 bien que quelques endroits qui e"tqient demeurez imparfaits, & le Prologue, dont les 
 paroles ne sont point de celuy qui a fait la piece, mais de Mr. Danchet qui a bien 
 voulu s'en charger." 
 
 First performed, as indicated, May 6, 1704. SCHATZ 2537 
 
 Second copy. ML 48. R4 
 
 Prologue de la tragedie d'Iphigenie, represente par I'Academie 
 royale de musique, en 1704. 
 
 [125]-131 p. 17$ cm . (Antoine Danchet, Theatre, t. II, Paris, 
 1751.) 
 
 The avertissement on p. 127 says that Danchet wrote this prologue for and finished 
 Duchess text, written in 1697, and composed by Desmarets with exception of most 
 of the fifth act, which was composed by Campra. PQ 1972. D2 
 
 Iphigenie en Tauride, tragedie en quatre actes, representee pour 
 la premiere fois, par 1' Academic royale de musique le mardi 11 mai 
 1779. 
 [Paris], P. de Lormel, 1779. vi, 50 p. 25. 
 
 Four acts. .Cast and names of Guillarct as the author and of Gluck as the composer. 
 Owing to the indisposition of Mile. Levasseur, the first performance was deferred to 
 May 18, the date printed on the full score. SCHATZ 3903 
 
 Iphigenia in Tauris. Ein tragisches singspiel in vier aufzuegen. 
 Aus dem franzoesischen des herrn Guillard. Die musik ist vom 
 herrn ritter Gluck. Aufgefuhrt auf dem K. K. Nationalhoftheater. 
 
 Wien, leym logenmeister, 1781. 4@ P- 17 cm . 
 
 German version, by Johann von Alzinger, who is not mentioned, but who, in a 
 preface, challenges his critics to furnish a better translation. 
 
 First performed, as indicated, Oct. 23, 1781. SCHATZ 3904 
 
 72251 VOL 114 41
 
 642 LIBRARY OF CONGRESS 
 
 Iphigenie en Tauride Continued. 
 
 - L'Ifigenia in Tauride. Tragedia in quattro atti. Tradotta dal 
 francese in Italiano, dall' abate Lorenzo cfa Ponte poeta de' Teatrali 
 imperiali. La musica del Signer cavalier Gluck. 
 
 Vienna, Giuseppe nob. de Kurzbeck, 1783. 91 p. 16 cm . 
 
 German text (by v. Alzinger) and t.-p. "Iphigenia in Tauris," face Italian. 
 First performed at Vienna, Nationaltheater n. d. Burg, December, 1783. 
 
 SCHATZ 3905 
 
 Iphigenie en Tauride, tragedie-lyrique en quatre actes, represented, 
 pour la premiere fois, par TAcademie royale de musique, le mardi 23 
 janvier 1781. Les paroles sont de M. Dubreuil. La musique de M. 
 Piccini. 
 Paris, P. de Lormel, 1783. 28 p. 19$ cm . 
 
 Cast. ML 50.2.I65P3 
 
 Iphis aus Griechen-Land. Tr. of Draghi's Iphide Greca. 
 
 L'ipocondriaco. Intermezzo. 
 
 [231}-246 p. 16% cm . (Carlo Goldoni, Opere drammaticJie giocose, 
 t, iv, Torino, 1757.} 
 
 Two parts. First composer unknown to Schatz. ML 49.A2G6 
 
 - L'ippocondriaco. Intermezzo di due parti per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 35, 
 [231]-249 p. 18% cm . 
 
 L'ipocondriaco. Drama per musica rappresentato nella villa di 
 Pratolino. 
 
 Firenze, Gio. Filippo Cecchi, 1695. 4 p. 1., 77 p. 17 cm . 
 
 Three acts, without the names of the composer or the author of the libretto, which 
 Schatz attributes to Giovanni Cosimo Villafranchi. According to the author's preface, 
 he intended to call "Quest' operetta ..." "Heautontimerumenos." Composer 
 unknown to Schatz. Giuseppe Maria Buini too young to have been the composer, 
 though somewhere so stated. SCHATZ 1395 
 
 L'ipocondriaco. Dramma gipcoso per musica del Signore Giovanni 
 Bertati da rappresentarsi nel Piccolo Teatro di S. A. S. E. di Sassonia. 
 Dresda, n. pull., 1776. 143 p. 16% cm . 
 
 Three acts. Johann Gottlieb Naumann is mentioned as the composer. German 
 title page, "Der hypochondriste," and text face Bertati's Italian text, originally 
 called "II principe ipocondriaco." 
 
 First performed, as indicated, March 16, 1776. SCHATZ 7050 
 
 L'ipocondrico risanato. Intermezzi per musica a cinque voci, da 
 cantarsi nel Teatro alia Valle Fanno 1746 . . . 
 Roma, Komarek, 1746. 40 p. 15 cm . 
 
 Two parts. Dedication by the impresario Angiolo Lungi, cast and name of Gioac- 
 chino Cocchi as composer. The characters are Pandolfo, Drusilla, Purgone, Rosalba, 
 Lesbino. Author not mentioned and unknown to me. ML 50.2.I67C6 
 
 L'Ipolito [!], dramma per musica da rappresentarsi nel Regio-Ducal 
 Teatro di Milano nel carnovale dell' anno 1745 . . . 
 
 Milano, Giuseppe RicJiino Malatesta, 1745. 5 p. 1., 63 [1] p. 14% cm - 
 Three acts. By marchese Gioseffo Gorini Corio, who is not mentioned. Dedica- 
 tion dated Milan, January 31, 1745, argument, cast, scenario, and name of Cristoforo 
 Kluck (Gluck) as the composer. The additional page contains the substitute arias 
 (I, 13) "Sovra la preda esangue" and (III, 1) "Dirai all' idol mio." SCHATZ 3931
 
 OPERA LIBEETTOS 643 
 
 L'Ippolita. Commedia per musica di Gennarantonio Federico, 
 Napoletano da rappresentarsi nel Teatro de' Fiorentini, nella prima- 
 vera di questo anno 1733 . . . 
 
 Napoli, Nicola di Biase, n. d. 79 p. 
 
 Three acts. Dedication, cast, and name of the composer, Niccolo Conti. 
 
 SCHATZ 2207 
 
 Ippolito ed Aricia. Dramma per musica da rappresentarsi alia 
 Corte elettorale Palatina in giorno del nome del serenissimo elettore 
 . . . 1'anno MDCCLIX. 
 
 Mannheim, Stamperia elettorale, n. d. 8 p. 1., 96 p. 16 cm . 
 
 Five acts. By Carlo Innocenzio Frugoni, who is not mentioned. Argument, cast, 
 scenario, and names of Ignaz Holzbauer as composer of the opera ("nuova com- 
 posizione") and of Christian Cannabich as composer of the "arie dei balli, che non 
 si cantano." 
 
 First performed at Mannheim, Hoftheater, November 4, 1759. SCHATZ 4784 
 
 L'ircana in Julfa, ballet. See Calegari's Le due sorelle incognite. 
 
 Ircano inamorato. Intermezzi per musica da rappresentarsi nel 
 Nuovo Teatro di S. Margerita Fautunno 1729. 
 
 Venezia, Carlo Buonarrigo, 1729. 11 p. 15 cm . 
 
 Two parts. Neither the author, Belisario Valeriani, is mentioned, nor Fortunate 
 Clielleri, the composer. 
 
 First performed at Ferrara, Teatro Bonacossi a S. Stefano, May, 1715, with his 
 ' ' La caccia in Etolia. ' ' SCHATZ 1816 
 
 Irene, dramma per musica, rappresentato alia Regia elettoral corte 
 di Dresda. 
 
 n. i., n. d. 149 p. 16. 
 
 Three acts. By Stefano Benedetto Pallavicini, who is not mentioned. Argu- 
 ment and name of Johann Adolph Hasse as the composer. German title page, 
 "Irene . . . Dresden . . . bey der verwittibten Hof-buchdr. Stoesselin, 1738," and 
 text face Italian. 
 
 First performed, as indicated, February 8, 1738. SCHATZ 4544 
 
 Irene. Tragedia per musica da rappresentarsi nel Teatro Grimano 
 di San Gio. Grisostomo Fanno MDCXCV . . . 
 Venetia, Nicolini, 1695. front., 69 p. 15 cm . 
 
 Five acts. Dedication by the author, conte Girolamo Frigimelica Roberti, and 
 one of his lengthy esthetic-dramaturgic prefaces, argument, scenario, and on p. 11 
 the substitute anas, "De la gloria, e de 1'amor" (III, 1), "Ne 1'amante son gran 
 nimici" (III, 8) and "A morire, a morir' (IV, 9). Music attributed by Allacci and 
 Schatz to Carlo Francesco Pollaroli, who is not mentioned. Schatz records, but 
 incorrectly, fall 1694 as the date of first performance. Allacci has 1695, as above. 
 
 SCHATZ 8299 
 
 Second copy. ML 48.M2O 
 
 L'Irene. Drama per musica da rappresentarsi nel Teatro di S. 
 
 Bartolomeo di Napoli . . . 
 
 Napoli, Parrino & Mutio, 1704. 4 P- l-> 51. p. 14 cm - 
 
 Three acts. By conte Girolamo Frigimelica Roberti (who is not mentioned), but 
 
 condensed to permit the insertion of buffo scenes, supposedly by Nicola Barbapiccola, 
 
 who signs the dedication. Argument, scenario, cast, and notice to the reader: 
 
 "Questo drama dovendosi rappresentare in questo teatro di Napoli, per ridurlo 
 
 in si breve tempo a luce, ha ricevuto qualche alteratione dalla sua prima forma . . . 
 
 Sappi in tanto, che per non defraudare alia lode (che degnamente & dovuta al Sig. 
 
 Gio. Battista Pullaroli [Carlo Francesco Pollaroli?] primo compositore della musica) 
 
 BI segneranno 1'arie del medeeimo col segno . Tutte 1'altre sono del Sig. Domenicu 
 
 Scarlatti."
 
 644 LIBRARY OF CONGRESS 
 
 
 L'lrene Continued. 
 
 The marked arias are "Sento una forza in petto" (I, 2), "Guerra, guerra, voglio 
 guerra" (I, 4), "Non h pena 1'amor piu crudele" (I, 5), "Belle catene" (I, C) ; ''La 
 eperanza d'un core ardente" (I, 6) etc., etc., in fact, at least one half of the arias in 
 the opera. SCHATZ 9539 
 
 Irene augusta. Drama per musica da rappresentarsi nel famoso 
 Teatro Griman : di S. Gio. Grisosostomo. L'autunno dell' anno 1713. 
 
 Venezia, Marino Rossetti, 1718. 70 p. 14\ cm - 
 
 Three acts. By Francesco Silvani, who is not mentioned. Argument, caat, 
 scenario, and name of Antonio Lotti as composer. SCHATZ 5720 
 
 Irene e Costantino drama per musica nel Theatre Vendramino di 
 S. Salvatore Fanno 1681 ... 
 
 Venetia, Francesco Nicolini, 1681. 
 
 Three acts. By Andrea Rossini, who is not mentioned. Publisher's dedication, 
 argument, scenario, and notice to the reader, in which Nicolini says: 
 
 "L'anno passato doveva rappresentarsi in quest' istesso teatro, ma accident! non 
 ordinarii & insidiosi furono i contradestini, che ne lo divertirono ... Le corde 
 della musica sono torture della penna, e la circonferenza delle scene e un carcere dell' 
 ingegno." 
 
 The composer, Antonio Zannettini is not mentioned. SCHATZ 11142 
 
 Iride. See Traetta's Le feste d'Imeneo. 
 
 The Irish mimic; or Blunders at Brighton: A musical entertain- 
 ment in two acts. As performed at the Theatre-Royal, Covent- 
 Garden. With universal applause. Written by John O'Keeffe. 
 London, T. N. Longman, 1795. 1 p. 1., 54 p. 20 cm . 
 
 Cast. The composer, William Shield (Squire), is not mentioned. 
 
 First performed April 23, 1795. LONGE 229 
 
 The iron chest: a play; in three acts. Written by George Colman, 
 the younger. With a preface. First represented at the Theatre- 
 Royal, in Drury-Lane, on Saturday, 12th March, 1796 . . . 
 London, CadeU and Davies, 1796. 1 p. 1., xxiii, [1], 127 p. 21 cm . 
 
 Cast, notice to the reader dated Picadilly, July 20, 1796, and preface. The latter, 
 in which Stephen Storace is appreciatively mentioned as the composer, gives a 
 narrative of the incidents and accidents leading up to the first performance, at which 
 the piece was saved from a fiasco by Storace's music (his last work), but principally 
 the preface assails Kemble, the acting manager and principal performer, whom 
 Colman held responsible for the near fiasco. (The piece became eminently popular 
 afterwards and by 1798 three editions had appeared.) In the notice to the reader, 
 Colman states his indebtedness for the ground work of the play to William Godwin's 
 novel, "Things as they are," and that "the songs, duets, and chorusses, are intended 
 merely as vehicles for musical effect." LONGE 236 
 
 Der irrende ritter. Tr. of Traetta's II cavaliero errante. 
 
 Das irrlicht, oder Endlich fand er sie. Ein singspiel in drey auf- 
 zuegen, nach herrn Bretzner frey bearbeitet, und fuer das k. k. 
 Nationalhof theater zugerichtet. Die musik neu vom herrn Umlauf. 
 Aufgefuehrt auf dem k. k. Hoftheater naechst dem Kaernthuer thor. 
 
 Wien, beym Logenrneister, 1785. 71 p. 15 cm . 
 
 First performed, as indicated, October 21, 1785; at Vienna, Burgtheater, January 
 17, 1782. SCHATZ 10526
 
 OPEKA LIBRETTOS 645 
 
 Das irrlicht Continued. 
 
 - Arien und gesaenge aus dem Irrwisch, oder Endlich fand er sie, 
 einer komischen oper, in drey aufzuegen. Von herrn Bretzner. Die 
 musik ist von herrn Umlauf. 
 
 Riga, Gottlob Christian Froelich, n. d. 19 p. 15% cm . 
 
 First performed at Riga, Vietinghof'echee Theater, 14/25 May, 1786; at Mannheim, 
 Nationaltheater, February 5, 1786. SCHATZ 10527 
 
 Die irrthuemer. Tr. of Storace's Gli equivoci. 
 
 Der irrwisch, oder Endlich fand er sie. Eine operetta in drey 
 akten. 
 
 Stuttgart, Christoph Gottfried Maentler, 1782. 91 p. 
 
 By Chrietoph Friedrich Bretzner. Composed by Christian Ludwig Dieter. 
 Neither author nor composer is mentioned. 
 
 Firet performed at Stuttgart, Kl. Schauspielhaus a. d. Planie, September 23, 1782. 
 
 SCHATZ 2579 
 
 Arien und gesaenge aus dem Irrwisch. Ein singspiel in drey auf- 
 zuegen von C. F. Bretzner. Die musik ist vom freyherrn von Kos- 
 both. 
 
 n. I, 1784. 20 p. 16 cm . 
 
 First performed at Berlin, Dobbelinsches Theater, October 2, 1780. 
 
 ML 50.2.I68K6 
 
 - Arien aus der operette: Der irrwisch, oder Endlich fand er sie; in 
 drey acten, von herrn C. F. Bretzner. Die musik ist vom herrn baron 
 von Kospoth. 
 
 n.i.,1787. 22 p. 16 cm . 
 
 SCHATZ 5218 
 
 irrwisch, oder Endlich fand er sie. Eine operette in drey akten 
 [silhouette] Componirt vom herrn Preu in Leipzig. 
 
 98 p. 16 cm . (C. F. Bretzner, Operetten, 1. land, Leipzig, 1779.) 
 
 The silhouette is a portrait of the actress F. R. Koch. 
 
 Firet performed at Leipzig, Theater am Rannstadter Thore, 1779. SCHATZ 11680 
 
 Der irrwisch, oder Endlich fand er sie. Eine operette in drey 
 akten. Von C. F. Bretzner. Componirt vom herrn Preu in Leipzig. 
 Leipzig, Carl Friedrich Schneidern, 1788. 84 p. 15 cm . 
 
 SCHATZ 8464 
 
 Der irrwisch oder Endlich fand er sie. L. T. of Umlauf 's Das irr- 
 licht oder Endlich fand er sie. 
 
 Isabella, e Rodrigo o sia La costanza in amore. Dramma giocoso 
 per musica di Giovanni Bertati da rappresentarsi nel nobflissimo 
 Teatro in S. Samuele nell' autunno dell' anno 1776. 
 Venezia, Gio. Battista Casali, 1776. 71 p. 17 crA . 
 
 Two acts. Cast, scenario, and name of Pasquale Anfossi as composer. 
 
 SCHATZ 241 
 
 - Isabella e Rodrigo, o sia La costanza in amore. Dramma per 
 musica da rappresentarsi nel Teatro Elettorale di Dresda. 
 
 Dresda, n. p., 1784. 117 p. 16 cm . 
 
 Two acts. Cast (added in pencil), with name of Anfossi as composer. German 
 title-page, "Isabella und Rodrigo, oder die Bestiindigkeit in der hebe," and text 
 face Italian. SCHATZ 242
 
 646 LIBRARY OF CONGRESS 
 
 Isabella und Rodrigo oder Die bestiindigkeit in der Hebe. Tr. of 
 Anfossi's Isabella e Rodrigo. 
 
 Isabelle et Gertrude, ou Les sylphes supposes, comedie en un acte 
 meslee d'ariettes, par M. Favart. Represent ee pour la premiere 
 fois par les Comediens italiens ordinaires du roi, le 14 aout 1765. 
 Paris, la veuve Duchesne, 1765. 43, [5] p. 19 cm . 
 
 The additional unnumbered p. contain: "Poeme, qui a donne" lieu a la comedie 
 d'Isabelle & Gertrude, par Monsieur de Voltaire." The composer and arranger of 
 the score, Adolphe Blaise, is not mentioned. SCHATZ 1064 
 
 - Isabelle et Gertrude ou Les sylphes supposes; comedie en un 
 acte, meslee d'ariettes; par Mr. Tavart [!] La musique est de M. 
 Blaise. Represented pour la premiere fois par les Comediens italiens, 
 ordinaires du roy, le 14 aout 1765. 
 
 Mannheim, Charles Fontaine, 1767. 189 p. 16\ cm . 
 German title page: "Isabella und Gertraude oder Die erdichtete luft-geister," and 
 text face the French. In a note Favart acknowledges hia indebtedness to Voltaire 
 and Marmontel. SCHATZ 1065 
 
 - Isabelle et Gertrude, ou Les sylphes supposes; comedie en un 
 acte, meslee d'ariettes; par M. Favart. La musique est de M. 
 Blaise. 
 
 n. i., n. d. 68 p. 19 cm . (Theatre de M. Favart, Paris, Duchesne, 
 1763-77, t. ix.) 
 
 On p. 53-63, seven "Airs d'Isabelle et Gertrude." Text preceded by Favart'a 
 dedication to Voisenon, and the same avertissement as in Schatz 1065. 
 
 ML 49.A2F1 
 
 - Isabelle et Gertrude ou Les sylphes supposes. Comedie en un 
 acts, mele'e d'ariettes, par M. Favart. La musique est de M. Blaise. 
 Representee pour la premiere fois par les Comediens italiens ordi- 
 naires du roi, le 14 aout 1765. 
 
 Paris, la veuve Duchesne, 1784- 4@ P- 19 cm . 
 
 On p. 41-42, the vaudeville, "Pour nous est fait le plaisir," and on p. 44-46 the 
 air of "O nuit! charmante nuit!" SCHATZ 11677 
 
 Isacio tiranno. Drama per inusica da rappresentarsi nel famosis- 
 simo Teatro Grimani di San Gio. Grisostomo 1'autunno dell' anno 
 1710 . . . 
 
 Venezia, Marino Rossetti, 1710. 72 p. 14 cm . 
 
 Three acts. Dedication, cast, argument, scenario, and notice to the reader, which 
 begins: 
 
 "Ecco la presente seconda mia fatica,-qual' prende coraggio dal tuo generoso com- 
 patimento donato alia prima mia del Vincitor generoso 1'anno 1708 ..." 
 
 This points to Francesco Briani as author. The composer, Antonio Lotti, is not 
 mentioned. SCHATZ 5721 
 
 Les Isles. A. T. of Arneris, entree in Rameau's Les fetes de 1'Himen 
 et de 1' Amour. 
 
 Isis, tragedie en musique, ornee d'entrSes de ballet, de machines, & 
 de changements de theatre, representee devant Sa Majest6 a Saint 
 Germain en Laye. Suivant la copie imprimee a Paris. 
 
 [Amsterdam, Antoine Schelte], 1682. 69 p. (ind. front.) 13% cm . 
 
 Prologue and five acts. Without name of composer and author, but with names 
 of the dancers in the prologue and in the ballets. (See below.) ML 50.2.I69L9
 
 OPERA LIBEETTOS 647 
 
 Isis Continued. 
 
 Isis, tragedie en musique, ornee d'entrees de ballet, de machines, & 
 de changemens de theatre. Representee devant Sa Majeste a Saint 
 Germain en Laye. Suivant la copie imprimee a Paris. 
 
 [Amsterdam, Antoine Schelte], 1686. 69 p. (incl. front.} . 13% cm . 
 
 Prologue and five acts. Without name of composer and author, but with names of 
 the dancers in the prologue and the ballets. ML 49.A2L9 
 
 - Isis, tragedie representee par FAcademie royale de musique Pan 
 1677. Les paroles de M. Qumault, & la musique de M. de Lully. 
 IX. opera. 
 
 n. i., n. d. 14 cm - front., 1-68 p. (RecueU general des opera, t. ii, 
 Paris, 1703.} 
 
 Detached copy. Five acts and prologue. 
 
 First performed, as indicated, August, 1677 (Schatz), April, 1677 (Prunieres); pre- 
 viously, at Saint Germain en Laye, January 5, 1677. SCHATZ 5768 
 
 Second copy. ML 48.R4 
 
 - Isis, tragedie en musique, ornee d'entrees de ballets, de machines 
 & de changemens de theatre. Representee devant Sa Majeste", a 
 Saint Germain en Laye le 5. Janvier 1677. 
 
 Quinault, Theatre, Paris, 1739, t. iv, pi., p. [337]~407. 17 cm . 
 Prologue and five acts. Lully is not mentioned. PQ 1881. Al 1739 
 
 The island of St. Marguerite, an opera, in two acts, and first per- 
 formed at the Theatre Royal, Drury Lane, on Friday, November 13, 
 1789. 
 London, J. Debrett, 1789. vi, [7\-32 p. 21 cm . 
 
 Prologue, cast, and editor's Advertisement, dated Piccadilly, November 30, 1789, 
 in which he says that the piece is founded on Voltaire's story of the Man in the Iron 
 mask, and that 
 
 "The author [John St. John], as appears from his prologue, knows the value of lib- 
 erty, and, consequently, could not withhold his applause from a people struggling for 
 a free constitution : but delicacy required that even the appearance of anything that 
 might be construed into an insult to a foreign country should be avoided ..." 
 
 The composer, Thomas Shaw, is not mentioned. The music was partly selected 
 by the author. LONGE 203 
 
 The island princess; or, The generous Portuguese: Made into an 
 opera: as it is performed at the Theatre Royal. All the musical 
 entertainments, and the greatest part of the play new, and written 
 by Mr. Motteux. 
 
 London, Printed by John Darby for Mary Poulson, 1724- 72 p. 
 16 cm . 
 
 Five acts, with prologue and epilogue. Cast, Peter [Anthony] Motteux's dedica- 
 tion and preface, in which he says that this piece is based on Fletcher's Island princess : 
 
 "As I found it not unfit to be made what we here call an opera, I undertook to 
 revise it, but not as I wou'd have done, had I design'd a correct play . . . The 
 success has answer'd my intent, far beyond expectation. However, I am not willing 
 to attribute it to myself, but chiefly to the excellency of the musical part. What Mr. 
 Daniel Purcel has set is so fine, that as he seems inspir'd with his brother's wonderful 
 genius, it cannot but be equally admir'd. The notes of the interlude set by Mr. 
 [Jeremiah] Clarke have air and humour that crown them with applause: and the 
 dialogue and Enthusiastic song, which Mr. Leveridge set, are too particularly lik'd 
 not to engage me to thank him for gracing my words with his composition, as much as 
 for his celebrated singing ..." 
 
 The piece is not an opera in our sense merely a play with some incidental music. 
 The composers are again mentioned in the text, Daniel Purcell being the chief con- 
 tributor. The text of Clarke's interlude is printed on p. 63-70. under the title: " The
 
 648 LIBRARY OF CONGRESS 
 
 The island princess Continued. 
 
 POUR SEASONS, or Love in every age. A musical interlude. Set to mueick by Mr. 
 Jeremy Clarke," and a note reads: 
 
 "This entertainment is perform'd at the end of the last act, but was design'd for 
 another season, and another occasion ..." 
 
 The "opera" was first performed at London, Drury Lane, 1699. LONGE 75 
 
 L'isle des Amazones. Piece d'un acte. Par Mrs le S * *. & 
 D'Or * *. Qui devoit tre represented a la Foire de Saint Laurent 
 1718. mais dont on n'eut pas besoin, & que la suppression de 1'Opera 
 comique a emp^che' d'etre jou^e depuis. 
 
 Le Theatre de lafoire, Paris, 1737, t. Hi, pi, [331]-376 p. 17 cm . 
 
 By Le Sage and d'Orneval. Largely en vaudevilles. The airs, selected or com- 
 posed and arranged by Jean Claude Qillier, the "compositeur" of the theatre, are 
 printed at the end of the volume in the "Table des airs." 
 
 Parfaict says that the piece was first performed at the Foire Saint Laurent in 1720. 
 
 ML48.L2 III 
 
 L'isle des foux, come'die en deux actes me!6e d'ariettes, parodie de 
 1'Arcifanfano de Goldoni, par Messieurs * * * & Anseaume. 
 Repr6s3nte"e par les Com&liens italiens ordinaires du roi. La 
 musique est de M. Duny. 
 Pans, Claude Herissant, 1762. 46 p. 19 cm . 
 
 By Anseaume, Lefebure de Marcouville, and L. A. Bertin d'Antilly. 
 
 First performed at Paris, as indicated, December 29, 1760. SCHATZ 2846 
 
 L'isle du mariage. Opera-comique en un acte. Represent ee pour 
 la premiere fois sur le Theatre de la Foire S. Laurent le 20 e jour 
 d'aout 1733. 
 
 Le Theatre de lafoire, Paris, 1737, t. ix, 2, pi., [223}-279 p. 17 cm . 
 
 By Carglet. Largely en vaudevilles. The airs, a few of which by Cor(r)ette, are 
 printed at the end of the volume in the "Table dee aire." 
 
 Parfaict gives July 20, 1733, as date of first performance. ML 48.L48X 
 
 L'isle sonnante, opera-comique, en trois actes. Repr&sentee par 
 les Com6diens italiens ordinaires du roi, le lundi 4 Janvier 1768. 
 Paris, Cluade [!] Herissant, 1768. 43 p. 19 cm . 
 
 Neither the author, Charles Colle, nor the composer, Monsigny, is mentioned. 
 First performed 1767 at Villers-Cotterets, private theatre of the duke of Orleans. 
 
 SCHATZ 6576 
 
 L'isle sonnante, opera comique en trois actes, reprSsente par 
 les Com&iiens italiens ordinaires du roi, le lundi 4 Janvier 1768. La 
 musique de M * * * . 
 
 Paris, la veuve Duchesne, 1771. Ifi p. 19 cm . 
 
 Cast. Composed by Monsigny. Neither he is mentioned, nor Charles Colle, the 
 author. SCHATZ 11727 
 
 Ismene, pastorale heroique, donnee a Versailles, en 1747 & 1748. 
 Representee pour la premiere fois par F Academic royale de musique, 
 le vendredi 28 aout 1750. Reprise le jeudi 18 fe"vrier, 1751. Et 
 remise au Theatre, le vendredi 3 aout 1759. 
 
 n. i., n. d. 18 p. 24 cm . 
 
 One act. Cast and names of de Moncrif as author, of Rebel and Francoeur as 
 composers. ML 50.2.J7R22
 
 OPERA LIBRETTOS 649 
 
 Ismene Continued. 
 
 Ismene, pastorale heroique. Repr^sentee devant Sa Majeste, a 
 
 Fontainebleau, le 12 octobre 1769. 
 
 [Paris], Pierre Robert Christophe Bollard, 1769. 24 p. 20 cm . 
 
 One act. Cast and names of de Moncrif as author, of Rebel and Francoeur as 
 composers. ML 50.2.I7R24 
 
 Ismene et Ismenias; tragedie en trois actes, represented devant 
 Leurs Majesty's, a Choisy, le lundi 13 juni 1763, et pour la premiere 
 fois par 1'Academie-royale de musique, le mardi 11 decembre 1770. 
 Paris, de Lormel, 1770. 64 p. 22\ cm . 
 
 Cast and Avertissement (argument). By Laujon, who is mentioned as author. 
 J. B. de La Borde, the composer, is not mentioned. ML 50.2.I7L2 
 
 L'isola capricciosa. Dramma giocoso per musica da rappresen- 
 tarsi nel nobile Teatro di San Samuele il carnovale delP anno 1780. 
 Venezia, Modesto Fenzo, 1780. 64 p. 16 cm . 
 
 Two acts. By Caterino Mazzola, who is not mentioned. Cast, scenario, and name 
 of Giacomo Rust as the composer. On p. [33]-39, cast and description of Francesco 
 Clerico's "Gustavo Vasa, ballo eroico pantomimo in cinque atti, without name of 
 the composer ot the music. SCHATZ 9174 
 
 L'isola d'Alcina. O. T. of Broschi's Bradamante nell' isola 
 d'Alcina. 
 
 L'isola d'Alcina. See Gazzahiga's L'isola di Alcina. 
 
 L'isola d'Alcina. Tragedia del Sig. Co. Fulvio Testi posta in musica 
 da Francesco Sacrati . . . 
 
 Bologna, gli eredi del Dozza, 1648. 57 p. 16\ cm . 
 
 Five acts, with prologue. Dedication by Sacrati and notice to the reader, in which 
 he says: 
 
 "Se rozza ti parerk la musica dell' Alcina, scusala, ti suplico, 6 lettore, che nata 
 fra le rozezze della villa, non pup esser che tale. Per ingannar 1'otio, mi diedi a com- 
 porla, mentre a Panzano, delitie vilereccia, dell' illustriss. Sig. Comelio Malvasia, 
 attendeyo il di lui ritorno dal campo; non con peneiero, che giamai ella havesse & 
 rendersi ardita di comparire ne publici teatri di Bologna . . . 
 
 "Averti in oltre, che se la vedrai introdotta su la scena da un prologo diverse da 
 quello che ne suoi primi natali la condusse sotto gl'occhi de'principi Estensi, 6 oppor- 
 tunita ricercata dal tempo, e dal loco dove ha da rapresen tarsi." 
 
 First performed at Bologna, 1648, as indicated. SCHATZ 9250 
 
 L'isola d'amore. Commedia in musica da rappresentarsi nel Teatro 
 Giustiniani di S. MoisS nel carnovale dell' anno MDCCLII. 
 
 Venezia, n. pull., 1752. front., 72, 3 p. 15 cm . 
 
 Three acts. By Antonio Rigo, called Gori, who is not mentioned. Argument, 
 cast, scenario, and name of Gaetano Latilla as composer. Page 72 and the 3 add. p. 
 contain substitute arias, "Alia guerra, che questo mio core" for "Or con I'immagine 
 d'un bel Torello" (I, 6), "Nel mio core poverino" for "Non so se m'intendete" 
 (I, 4), "Lavorando Nina mia" for "Mamma mia" (II, 2), "Non dubitate o cara" for 
 "Soccorso bramate." SCHATZ 5461 
 
 L'isola d'amore, azione comica per musica da rappresentarsi alia 
 Corte ellettorale palatina . . . 
 
 Mannheim, Stamperia elettorale ed academ., n. d. 71 p. 16\ cm . 
 
 Two acts. Cast, scenario and name of Antonio Sacchini as composer. Author 
 not mentioned and unknown to Schatz. 
 
 First performed at Mannheim, Hoftheater, January 1772; at Rome, Teatro alia 
 Valle, carnival 1766. ML 50.2.I73S3
 
 650 LIBRARY OF CONGRESS 
 
 L'isola d'amore Continued. 
 
 - L'isola d'amore. Intermezzo per musica a quattro voci da rap- 
 presentarsi in Lisbona nel Teatro della rua dos Condes nella prima- 
 vera dell' anno 1774. 
 
 [Lisbona], Stamperia reale, n. d. 62 p. I6 cn . 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Antonio Sacchini as the composer. 
 
 First performed at Lisbon, as indicated, April 20, 1774. SCHATZ 9225 
 
 L'isola d'amore. Dramma giocoso da rappresentarsi nel Thea- 
 tro di Ratisbona . . . 
 
 Ratisbona, n. publ, 1775. 139 p. It. 
 
 Two acts. Cast and name of Antonio Sacchini as the composer. German title- 
 page, "Die insel der liebe," and text face Italian. 
 
 First performed 1775, as indicated. SCHATZ 9227 
 
 - La colonie, comedie en deux actes, imitee de 1'italien, et parodi^e 
 sur la musique du Sig. Sacchini. Represented pour la premiere fois 
 par les Comediens italiens, le 16 aout 1775. 
 
 Paris, la veuve DucJiesne, 1776. $ p. 18 cm . 
 
 Two acts. By Nicolas Etienne Framery. Cast and prefatory note, in which 
 Framery gives the "canevas italien" of L'isola d'amore to show the differences 
 between this and his parodie and to ask the public's indulgence for his irregularities, 
 etc., caused by the difficulty to "conserver tous les morceaux de musique" and yet 
 to turn the text of the "auteur inconnu de Pintermfede italien" into acceptable 
 French. In the text are printed the airs of "Bes ce soir 1'hymen m'engage" (I, 1), 
 "Ah, ma honte en est extreme" (I, 2), "Qu'est-ce done vous arrdte" (II, 2), "Quel 
 sort t'amene" (II, 3). SCHATZ 9228 
 
 - Die kolonie, ein singspiel in zween aufzuegen. Aus dem fran- 
 zoesischen. Mit musik. 
 
 Frankfurt am Mayn, mit Andreaeischen schriften, 1778. 60 p. 
 
 The music is wanting in this copy. Two acts. German version by Johann Andre. 
 Neither Framery nor Sacchini is mentioned. 
 
 First performed at Mannheim, Churf. deutsche Schaubuhne im Schiitthause, 
 February 21, 1779. SCHATZ 9229 
 
 - Arien aus dem singspiele: Die colonie. In zwey aufzuegen. 
 Die musik ist von Sacchini. 
 
 Hamburg, J. M. Michaelsen, 1780. 23 p. 16% cm . 
 
 Two acts. Joh. Andrews version. 
 
 First performed at Hamburg, Theater beim Gansemarkt, February 8, 1780. 
 
 SCHATZ 9230 
 
 - Die insel der liebe, ein singspiel in zween aufzuegen, aufgefuehret 
 an dem Churpf aelzischen hofe im jahr 1772. 
 
 Mannheim, Hofu. Akademie-buchdruckerei, n. d. 52 p. 16 cm . 
 Cast and name of Antonio Sacchini as the composer. German Tr. of the Italian 
 Mannheim ed. of 1772. SCHATZ 9226 
 
 Die insel der liebe. Ein singspiel in zwey aufzuegen. Theils 
 aus der franzoesischen, theils aus der italieniscaen gleicnen namens 
 opera, neu bearbeitet fuer die Hochfuerstlich Thurn und Taxische 
 Schaubuehne. 
 
 Regensburg, gedruckl mit Breitfeldischen schriften, 1781. 55 p.
 
 OPERA LIBRETTOS 651 
 
 L'isola d'amore Continued. 
 
 Cast and names of Sacchini as composer of the opera, of baron [Theodor] von 
 Schacht as composer of the choruses and dances, who says in the dedication : 
 
 "Cet opera vous fit autre fois, grand plaisir, & vous admiries a juste titres les talens 
 du celebre Sacchini. Empressee de coutribuer a vos plaisirs, la troupe allemande 
 qui jouit du bonheur de se voir appuyee par voue, voulut redonner cette piece, ee 
 vit arretee par plusieurs morceaux omis dans la traduction. Encourage" par le succes 
 de Lausus & Lydie, j'entrepris de remettre la piece, avec toute la musique, laissant 
 soigneusement les belles scenes que nous devons a 1'auteur de la Colonie, & pour en 
 faire un spectacle nouveau, j'y aioutais les choeurs, vaudevilles, duos & danses." 
 
 SCHATZ 9231 
 
 L'isola de' cannibal!, ballet. See Tritto's La molinara spiritosa. 
 
 L'isola della fortuna. Dramma giocoso per musica da rappre- 
 sentarsi nel Real Teatro dell' Ajuda nell' autunno dell' anno 
 MDCCLXVII. 
 Lisbona, Michele Manescal Da Costa, n. d. 79 p. 16 cm . 
 
 Three acts. Cast, scenario, and names of Giovanni Bertati as author, of Andrea 
 Luchesi as composer. 
 
 First performed at Venice, Teatro di S. Samuele, fall of 1765. SCHATZ 5742 
 
 L'isola della luna. Dramma giocoso per musica in due atti di 
 Antonio Piazza Venetiano da rappresentarsi nel nobile Teatro di 
 San Samuele 1' autunno dell' anno 1780 . . . 
 
 Venezia, Modesto Fenzo, 1780. 64 p. 16\ cm . 
 
 Two acts. Impresario's dedication, cast, and name of Giovanni Valentin! as the 
 composer. SCHATZ 10585 
 
 Llsola di Alcina. Dramma giocoso per musica da rappresentarsi nel 
 Teatro Giustiniani di S. Moise il carnevale dell anno 1772 di Giovanni 
 Bertati. 
 
 Venezia, Antonio Graziosi, 1772. 64 p. 16$ cm . 
 
 Three acts. Cast, scenario, and name of Giuseppe Gazzaniga as the composer. 
 
 SCHATZ 3665 
 
 - L'isola di Alcina. Dramma giocoso per musica da rappresen- 
 tarsi nel Piccolo Teatro di S. A. E. di Sassonia. 
 Dresda, n. publ, 1773. 139 p. 15\ cm . 
 
 Three acts. With* the names of Bertati and Gazzaniga. German title page, ' ' Die 
 insel der Alcina," and text face Italian, which follows fairly closely the original. 
 
 SCHATZ 3666 
 
 L'isola d'Alcina ; dramma giocoso per musica da rappresentarsi 
 nel Regio Teatro. Alcines 0e, et lystigt synge-spil . . . Oversat 
 paa dansk af R. Soelberg. 
 
 Ki0ben7iavn, E. J. Graae, 1777. 103 p. 16\. 
 
 Three acts. Cast and name of Giuseppe Gazzaniga as the composer. 
 
 First performed, as indicated, March 6, 1777. SCHATZ 3667 
 
 L'isola d'Alcina. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Zagnoni in Bologna il carnevale dell' anno 1779. 
 
 Bologna, Sassi, n. d. 57 p. 15%. 
 
 Three acts. Cast, scenario, and name of Giuseppe Gazzaniga as composer. Ber- 
 tati is not mentioned. ML 48. A5 v.30
 
 652 LIBBARY OF CONGRESS 
 
 L'isola di Bellamarina. Dramma giocoso per musica di Domenico 
 Mantile da rappresentarsi nel Teatro Nuovo sopra Toledo per terz' 
 opera di quest anno 1791. 
 
 Napoli, Vincenzo Mazzola-Vocola, 1792. Ifi p. 15 cm . 
 
 Two acts. Argument, cast, and name of the composer, Francesco Antonio De 
 Blasis. SCHATZ 2420 
 
 L'isola di Bengpdi. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Giustiniani di S. Mois& 1'autunno dell' anno 1777. 
 n. i,, n. d. 51 p. 18 cm . 
 
 Two acts. Cast, name of Gennaro Astaritta as composer ("la musica sara tutta 
 nuova"), and Avyertiments: 
 
 "Riconoscera il leggitore in queeto dramma, eotto altro titolo, la Cuccagna del 
 celebre Sig. Goldoni ... II gusto de' finali introdottosi nelle opere buffe posterior- 
 mente alia rappresentazione del dramma euddetto, ha fatto, che per necessita si 
 dovesee cambiar 1'ordine del libretto, riducendolo a due soli atti, per essersi traspor- 
 tata nel primo finale una parte dell' argomento dell' atto secondo, e nel finale secondo 
 la cataetrofe del dramma. Qualche altro cambiamento, che vi s'incontra si nella 
 introduzione, che nelle arie, non & stato eseguito che per adattarsi in parte al gusto 
 corrente de' signori compositori di musica, ed in parte ai personaggi, che le devono 
 cantare, non intendendp mai con simili cambiamenti di volersi correggere 1'opera 
 d'un autore troppo cognito e rispettato." 
 
 With the opera were performed, composer of the music not mentioned, Riccardo 
 Bleck's ballets, "II pentimento amoroso and "Lo sposo deluso." SCHATZ 382 
 
 L'isola disabitata. Dramma di tre atti per musica. Rappresen- 
 tato per la prima volta in Bologna nelF estate dell' anno MDCCLII. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, v. 4%, 
 [327]-375 p. 18 cm . PQ 
 
 First composer unknown to Schatz. 
 
 L'isola disabitata. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t, iv, [405]- 439 p. 
 16 cm . 
 
 One act. Argument. ML 49.A2M42 
 
 L'isola disabitata. Questa azione teatrale fu scritta dall' autore 
 in Vienna Panno 1752, per la Real Corte Cattolica, dove venne mag- 
 nificamente rappresentata la prima volta con musica del Bonno, sotto 
 la direzione del celebre cavalier Broschi. 
 
 [341]-378 p. 26 cm . (Pietro Metastasio, Opere, t. II, Parigi, vedova 
 Herissant, 1780.} 
 
 One act. Argument. ML 49.A2M44 
 
 L'isola disabitata. Azione per musica da rappresentarsi nel Ducal 
 Teatro di Louisbourg . . . il di 4. novembre 1761. Giorno di S. 
 Carlo, festa dell' insigne suo ordine ducale. La poesia e" del Signer 
 abbate Pietro Metastasio . . . La musica e nuovamente composta 
 dal Signer Nicolo Jommelli ... I balli sono inventati e diretti dal 
 Signer Giovanni Giorgio Noverre . . . 
 [Stutgari], Cotta, n. d. 65, [6] p. 18 cm . 
 
 Two acts. Argument and cast. German title page, "Die unbewohnte insel," 
 and text face Italian. On p. [32}-[33] brief description of the ballet, "Amore vinci- 
 tore dell' indifferenza," on the six add. p. of "II riconoscimento inaspettato." Of 
 these ballets the music probably was composed by either Deller or Rudolph . 
 
 First version first performed at Genoa, Teatro del Falcone, spring of 1756. 
 
 SCHATZ 4863
 
 OPERA LIBRETTOS 653 
 
 L'isola disabitata. Azione per musica del Sig. abbate Pietro Meta- 
 
 stasio . . . 
 
 Venezia, Aloise Valvasense, 1775. 40 P- 17% cm . 
 
 Two parts. Argument and name of Johann Gottlieb Ka.iiTrta.rm as the composer. 
 First performed at Venice, Teatro particolare (Schatz), February, 1773. 
 
 SCHATZ 7061 
 
 L'isola disabitata: cantata seria per musica da rappresentarsi nel 
 Regio Teatro di S. Carlo della Principessa Testate dell anno 1799. 
 
 Lisbona, Simone Taddeo Ferreira, 1799. 59 p. 14 cm . 
 
 One act. Metastasio is mentioned as author, Paisiello as composer. 
 
 First performed, as indicated, July 3, 1799. SCHATZ 7693 
 
 L'isola disabitata. Dramma giocoso per musica di Polisseno 
 Fegejo, pastor Arcade. Da rappresentarsi nel Teatro Grimani di S. 
 Samuel Pautunno dell' anno 1757. 
 
 Venezia, Modesto Fenzo, 1757. 58 p. 15 cm . 
 
 Three acts. By Goldoni. Cast, scenario, and name of Giuseppe Scarlatti as the 
 composer. SCHATZ 9546 
 
 L'isola disabitata. Dramma giocoso per musica di Polisseno 
 Fegeio P. A. Da rappresentarsi nel Piccolo Teatro di S. A. E. di 
 Sassonia . Dresda 1'autumno del 1767. 
 
 'cm 
 
 n. i., n. d. 2 p. L, 157 p. 16\ l 
 
 Three acts. By Goldoni. Cast, scenario, and name of Giuseppe Scarlatti as the 
 composer. German title page, "Die unbewohnte insel," with date, "Dresden. Im 
 fruehlinge des 1767 sten jahres," and text face the Italian, which seems to follow the 
 Venice, 1757, ed. closely, though differences are noticeable. For instance, "Povere 
 doniie; che s'ha da far?" has become "Ah meschinella, che deggo far?" 
 
 SCHATZ 9547 
 
 L'isola disabitata. Azione drammatica per musica da rappresen- 
 tarsi nel Nuovo Teatro del pubblico di Bologna in occasione del faus- 
 tissimo passaggio per detta citta della Maesta di Maria Carolina 
 arciduchessa d' Austria, real sposo di sua Maesta siciliana . . .1'anno 
 MDCCLXVIII. 
 
 Bologna, Lelio dalla Volpe, n. d. xii (incl. front. : coat of arms], 
 28 p. 23\ cm . 
 
 The imprimatur is dated April 8, 1768; count Giov. Luca Pallavicino's dedication, 
 Bologna, April 26, 1768. The libretto, with argument, caet, and name of Tommaso 
 Trajetta as composer, is by Pietro Metastasio, but 
 
 "si sono aggiunte, e cambiate alcune arie, e recitativi a fine di ridurla in due parti 
 e d'introdurvi dei balli coerenti alia azione medesima." 
 
 All such changes are marked with an asterisk. SCHATZ 10394 
 
 - L'isola disabitata, azione per musica del Signor abate Pietro 
 Metastasio; da rappresentarsi nel Regio Teatro danese! Den 
 ubeboede 0e . . . 
 
 Ki0benhavn, H. J. Graae, 1772. 55 p. 17. 
 
 Two acts. Cast, argument, and name of Tommaso Trajetta as composer. Danish 
 text faces Italian. 
 
 First performed, as indicated, January 8, 1773 (Schatz). SCHATZ 10395 
 
 La isola incantata di Circe la maga, ballet. See Pampani's 
 Demofoonte. 
 
 L'isola piacevole, ballet. See Gardi's La semplice.
 
 654 LIBRARY OF CONGRESS 
 
 L'isola piacevole. Dramma g^ocoso per musica da rappresentarsi 
 nel nobilissimo Teatro Giustiniani in San MoisS il carnovale dell* 
 anno 1797. 
 
 Venezia, Modesto Fenzo, 1797. 59 p. 18 cm . 
 
 Two acts. By Lorenzo da Ponte, who is not mentioned . Argument, cast, scenario, 
 and name of Vicenzo Martini (Martin y Soler) as the composer. A note on p. 7 says: 
 
 "La sinfonia esprime una gran burraeca di mare, che a poco a poco vSi 
 abbonazzando . ' ' 
 
 On p. 34, short description of "Li eposi content! ballo anala^o all' opera ... La 
 musica e tutta nuova del Sign or Antonio Cappuci." This, like the second ballet 
 (title on an inserted slip), "La piazza di Pusihpo in Napoli," by Carlo Taglioni. 
 
 First performed at London, Haymarket, 1795. SCHATZ 6011 
 
 - L'isola piacevole. Dramma giocoso per musica da rappresen- 
 tarsi nel Regio Teatro di via S. Maria nail' estate dell' anno 1797 . . . 
 
 Firenze, Stamperia Albizziniana, 1797. J+8 p. 16\ cm . 
 Two acts. Argument, cast, and name of Vincenzo Martini (Martin y Soler) ae 
 composer. Da Ponte is not mentioned. ML 48.A5 v. 15 
 
 Isse, pastorale heroique. Represented par 1'Academie resale de 
 musique 1'an 1697. Les paroles de M. de la Mothe, & la musique de 
 M. Destouches. XLIV. opera. 
 
 n. i., n. d. pi., p. 171-228. (Recueil general des opera, Paris, 1703, 
 t. vi.) 14 cm . 
 
 Detached copy. Three acts and prologue, with ' ' Epistre " addressed to the duke of 
 Burgundy, and a sort of argument. 
 
 First performed, as indicated, December 30, 1697; at Trianon before the King, 
 December 17, 1697. SCHATZ 2546 
 
 .Second copy. ML 48. R4 
 
 Isse, pastorale heroique, represented pour la premiere fois devant 
 Sa Majeste, en trois actes, a Trianon, le 17. decembre 1697 par 
 1'Academie royale de musique. Et remise au theatre le 14 octobre 
 1708 en cinq actes. Les paroles de M. de la Mothe, & la musique de 
 M. Destouches. LXXI. Opera. 
 
 n. i., n. d. front., p. 883-386. (Recueil general des opera, t. ix, 
 Paris, 1710.) 14 cm . 
 
 Detached copy. With Prologue. The "Epistre" has not been reprinted. 
 
 SCHATZ 2547 
 Second copy. ML 48. R4 
 
 - Isse, pastorale heroique, en cinq actes, represented, devant Sa 
 Majest6, a Versailles, le 18 decembre 1773. 
 
 [Paris], P. Robert ChristopTie BaUard, 1773. 54 p. 19 cm . 
 
 Five acts. Cast and note: 
 
 "Les paroles sont de feu M. Lamothe. La musique de feu M. Destouches, avec 
 des changements dans les Fetes, par M. [Pierre Montan] Berton, Maitre de la Musique 
 du roi, Directeur de 1'Opera." ML 50.2.I75D2 
 
 < 
 
 Issea. Favola pastorale per musica da rappresentarsi nel Regio 
 Teatro di Torino per le auguste nozze della real principessa Maria 
 Giuseppa Luisa Benedetta di Savoja col real principe Luigi Stanislao 
 Saverio . . . 1'anno MDCCLXXI. 
 
 Torino, Onorato Derossi, n. d. viii, 42 p. 16 cm . 
 
 Two acts. Cast, scenario, and names of Vittorio Amedep Cigna-Santi as the author, 
 of Gaetano Pugnani as the composer of the opera, and of Giuseppe Antonio Le Messier 
 of the ballet music. SCHATZ 8507
 
 OPERA LIBRETTOS 655 
 
 L'Issipile. 
 
 [299]-358 p. 19. (Pietro Metastasio, Opere drammatiche, Ven- 
 ezia, Giuseppe Bettinelli, 1733-37, t. i.) 
 
 Three acts. Argument. No composer is mentioned. ML 49.A2M4 
 
 Issipile. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t, ii, [105}-192 p. 
 
 Ifjcm 
 
 Three acts. Argument. ML 49.A2M42 
 
 Issipile. Dramma rappresentato la prima volta con musica del 
 Conti nel picciolo interno Teatro della Corte Cesarea, alia presenza 
 degli augustissimi sovrani, nel carnevale del 1732. 
 
 pi., [121\-218 p. 26 cm . (Pietro Metastasio, Opere, t. ii, Parigi, 
 vedova Herissant, 1780.} 
 
 Three acts. Argument. ML 49.A2M44 
 
 Hypsipile. 
 
 Metastasio, Tragedies opera, Vienne, 1751, t. v., 103 p. 14 cm . 
 
 Three acts. Richelet's translation of "Issipile." ML 49.A2M47 
 
 L'Issipile. Drama per musica da rappresentarsi nel Teatro delle 
 Dame nella primavera dell' anno 1732 . . . 
 
 Roma, Si vendono a Pasquino, 1732. 72 p. 15 cm . 
 
 Three acts. By Metastasio, who is mentioned as author. Argument, scenario and 
 dedication by Francesco Cavanna from which it would appear that this "nuova 
 fatica" of Metastasio's was sent to Cavanna "che si esponga al giudizio di Roma." 
 No composer is mentioned and no cast is given. These points combined with the 
 fact that Metastasio himself recorded as first performance that at Vienna, carnival 
 1732 in Conti's setting would lead to the conclusion that the planned performance at 
 Rome in 1732 did not materialize. ML 50.2.178 
 
 L'Issipile. Drama per musica da rappresentarsi nella Cesarea 
 Corte . . . nel carnevale dell' anno MDCCXXXII. La poesia e del 
 Sig. abbate Pietro Metastasio ... La musica e del Sig. Francesco 
 Conti . . . 
 
 Vienna d' Austria, Gio. Pietro Van GJielen, n. d. 68 p. 16\ cm . 
 
 Three acts. Argument, scenario. The ballet music was by Nicola Matteis. 
 
 SCHATZ 2205 
 
 Issipile. Drama per musica da rappresentarsi nel Regio Teatro di 
 Torino, nel carnovale del 1738 alia presenza delle Maesta Loro. 
 Torino, Gio. Battista Scotto, 1738. 4 p. 1., 71, [1] p. 15 cm . 
 
 Three acts. By Metastasio, but the reader is informed that the first scene of the 
 third act, and the two substitute arias printed at the end ' ' Svenasti il padre intanto " 
 (I, 14) and "No, non vedrete mai" (II, 1) are not by him. Argument, scenario, 
 cast, and names of Galuppi as composer of the opera; of the ballet music, Alessio 
 Basetti. Schatz calls this Galuppi's first setting of the text. 
 
 First performed, as indicated, December 26, 1737. SCHATZ 3499 
 
 Issipile. Dramma per musica da rappresentarsi nel Regio-Ducal 
 Teatro di Parma nel carnovale dell' anno MDCCLVI 
 
 Parma, Monti, n. d. 76 p. 18 cm . 
 
 Three acts. By Metaetasio, with indicated alterations. Argument, cast, scenario, 
 and name of G-aluppi as the composer, whose second setting of the text this was, 
 according to Schatz. SCHATZ 3514
 
 656 LIBRARY OF CONGRESS 
 
 L'Issipile. Dramina per musica da rappresentarsi nel Teatro Gius- 
 tinian di S. Mois6 nel carnovale dell' anno 1758. 
 Venezia, Modesto Fenzo, 1758. 78 p. ' 15\ cm . 
 
 Three acts. By Metastasio. Cast and name of Florian Leopold Gassmann as 
 the composer. SCHATZ 3622 
 
 Issipile. Dramnia per musica del Sig. abbate Pietro Metastasio da 
 rappresentarsi nel nooilissimo Teatro La Fenice 1'autunno dell* anno 
 1796. 
 
 Venezia, Stamperia Valvasense, n. d. 61, [1] p. 18* m . 
 
 Three acts. Cast and name of Gaetano Marinelli as the composer. On p. [29]-42, 
 argument, cast, and description of Lorenzo Panzieri's "Oderyik, ballo eroico in cinque 
 atti;" music "tutta nuova, ed espreseamente ecritta" by Vittorio Trento. A second 
 ballet (author and composer not mentioned) had the title, "Un consiglio per li 
 vecchj." 
 
 First performed, as indicated, November 12, 1796. SCHATZ 5956 
 
 L'Issipile. Dramma per musica da rappresentarsi nel Teatro di 
 Macerata nel came vale dell' anno 1748 . . . 
 
 Macerata, gli eredi delPanneUi, 1748. 70, [1] p. 18 cm . 
 
 Three acts. Metastasio is mentioned as the author in the impresario's dedication, 
 dated, "Macerata 15. [!] del 1748." Argument, cast, scenario, and name of Antonio 
 Maria Mazzoni as the composer. The additional page contains a substitute aria : 
 ' Parti, deh! fuggi " for " Perchfc raltrui misura." SCHATZ 6226 
 
 L'Issipile. Dramma per musica di Pietro Metastasio tra gli 
 Arcadi Artino Corasio. Da rappresentarsi nel Teatro Grimani di S. 
 Gio. Grisostomo 1'autunno delr anno MDCCXXXII. 
 Venezia, Carlo Buonarrigo, n. d. 60 p. 15 cm . 
 
 Three acts. Dedication signed by Domenico Lalli, argument, scenario, cast, name of 
 Giovanni Pprta as the composer, and notice that the recitatives not by Metastasio 
 are marked in quotation, and the arias not by Metastasio are marked with an asterisk. 
 To the latter belong, for instance, "Non e terribile" (I, 8), "Chi da un bel volto 
 amato" (I, 10), "Leon ne la foresta" (II, 15). Such substitute arias, etc., were prob- 
 ably by Domenico Lalli. SCHATZ 8391 
 
 L'Issipile. Dramma da rappresentarsi in musica nel Teatro privi- 
 legiato vicino alia corte nell' autunno dell' anno 1760. 
 
 Vienna d' Austria, Stamperia di Ghelen, n. d. Unpaged. 16 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, and name of 
 Giuseppe Scarlatti, who is mentioned as composer. SCHATZ 9548 
 
 - Hypsipile. Ein musicalisch-theatralisches schau-spiel, so in 
 Wien auf der privilegirten Schaubuehne naechst der Burg sur herbst- 
 zeit aufgefuehret worden, im jahr 1760. Verf asset von nerrn abbate 
 Metastasio . . . und in das teutsche uebersetzt von J. A. E. v. G. 
 [Wien], mit von Ghelischen schriften, n. d. Unpaged. 15\ cm . 
 
 Three acts. Translated by Johann Anton, edler von Ghelen. Argument, cast, and 
 name of Giuseppe Scarlatti as the composer. SCHATZ 9549 
 
 Ist's nicht die eine, so ist's die andere. A. T. of Lorazi's Der 
 kapellmeister. 
 
 L'ltalia rigenerata, ballet. See Cristiani's L'amante democratic. 
 L'ltalia rigenerata, ballet. See Zingarelli's Meleagro.
 
 OPERA LIBRETTOS 657 
 
 L'ltaliana in Londra. Intermezzo in musica a cinque voci da rap- 
 presentarsi nel Teatro Valle dell' illmi Signori Capranica. Nel car- 
 nevale dell' anno 1779 . . . 
 
 Roma, Agostino Palombini, 1779. 48 p. 15\ cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Domenico Cimarosa as composer. ML 50.2. 18C2 
 
 - L'ltaliana in Londra. Opera in musica da rappresentarsi nel 
 Picolo Teatro di S. A. S. di Brunsuic-Luneburg. 
 
 Brunsuic, . pull., 1781. 151 p. 16 cm . 
 
 Two acts, with name of the composer, Cimarosa. Author unknown to Schatz. 
 German title-page, "Die Italienerin zu London," and text face Italian. 
 First performed, as indicated, in 1781; at Rome, Teatro Valle, 1779. 
 
 SCHATZ 1939 
 
 - L'ltaliana in Londra. Commedia per musica da rappresen- 
 tarsi nel Teatro Nuovo sopra Toledo per quart' opera di questo cor- 
 rente anno 1794. 
 
 Napoli, n. pull., 1794. 43 p. 15 cm . 
 
 Two acts. Author unknown to Schatz. Cast and notice to the public that this 
 opera, by Cimarosa, has never before been performed at Naples, and that 
 
 "vi si e aggiunto un quartette nel primo atto, che prima non vi era, e due arie 
 nuove dell' istesso maestro. Tutto il dippiu della musica non si e pun to alterato 
 giacche la medeeima ha sempre sortito un esito felice in tutti que' luoghi ove si e 
 rappresentata." SCHATZ 1938 
 
 - Die Italienerin zu London. Eine komische oper in 2. auf- 
 zuegen. Nach dem italiaenischen frey bearbeitet von H. C. Pleiss- 
 ner . . . [vignette]. 
 
 Frankfurt am Mayn, Johann Georg Fleischer, 1 783. 91, [1] p. 16 cm . 
 
 Two acts, with Heinrich Christian Pleissner's dedication to Grpssmann, the director 
 of the " Chur-Coellnische Hof-Schauspielergesellschaft," to w^ich Pleissner appears 
 to have belonged "seit . . . drei jahren." 
 
 First performed at Bonn, Hoftheater, 1783. SCHATZ 1941 
 
 - Gesaenge aus dem singspiele: Die Italienerin zu London, in 
 zwey aufzuegen, nach dem italienischen. In musik gesezt von 
 Cimarosa. 
 
 Hamburg, J. M. Michaelsen, 1789. 36 p. 14$ cm . 
 
 German version in two acts by Johann Christoph Bock. 
 
 First performed at Hamburg, Theater beim Ganeemarkt, July 3, 1789; at Weimar, 
 Hoftheater, Oct. 7, 1786. SCHATZ 1940 
 
 L'ltaliano maritato a Parigi, ballet. See Bianchi's Pizzarro. 
 
 Die Italienerin zu London. Tr. of Cimarosa's L'ltaliana in Lon- 
 don. 
 
 L'ivrogne corrige ou Le mariage du diable. 
 
 In 1759 at the Foire St. Laurent this was performed (text by Anseaume) with 
 music adapted by Laruette to popular airs and vaudevilles. (See Schatz 5434, 
 "L'yvrogne corrig^.") For Vienna, 1760, Gluck then arranged and partly com- 
 posed this anew. 
 
 The Vienna, 1760, libretto not in L. of C. 
 
 72251 VOL 114 42
 
 658 LIBRARY OF CONGRESS 
 
 L'ivrogne corrige Continued. 
 
 Der letzte rausch, ein singspiel in zwei aufzuegen nach dem 
 franzoesischen I'yrogne [!] corrige" des herrn Anseaume. Die musik 
 ist von hrn. ritter Cluck. 
 
 Mannheim, C. F. Schwan, 1780. 56 p. 15\. 
 
 Translator not mentioned and unknown to Schatz. The "Anmerkung" on p. 2 
 reads: 
 
 "Zu der musik des hrn. de la Ruette let diese uebersetzung nicht zu brauchen. 
 Diejenignen also, welche die Gluckische musik nicht haben, und das stueck nach 
 der franzoesischen composition geben wollen, mussen solche nach der am ende ange- 
 haengten uebersetzung einrichten." [p. 49-56] 
 
 This refers to the first act, scenes 3, 4, and 5, including the Vaudeville. 
 
 First performed at Vienna, Nationaltheater, 1781, by the pupils of I. H. F. Muller'a 
 Theaterpflanzschule SCHATZ 3909 
 
 Ixion. See Destouches and Lalande's ballet Les Clemens. 
 Jack the gyant queller. O. T. of Little John and the giants. 
 
 Die jagd, eine komische oper in zween aufzuegen. Auf der kais. 
 koenigl. privil. deutschen Schaubuehne aufgefuehret im jahre 1766. 
 Wien, Johann Paul Kravss, n. d. J^.8 p. 15 cm . 
 
 The dedication begins: "So soil ich es denn wagen meine komische oper drucken 
 zu lassen " and renders it clear that the author was a "junger theatralischer dichter." 
 Composer not mentioned. SCHATZ 11456 
 
 Die jagd. Eine komische oper in drey aufzuegen. 
 Leipzig, Dyckische buchhandlung, 1770. 5 p. 1., 220 p. 15\ cm . 
 
 Neither the author, Christian Felix Weisse, nor the composer, Johann Adam Hiller, 
 is mentioned. On verso of t.-p. the note: "Dieses stueck ist zum theil aus dem 
 lustspiele La partie de chasse de Henri IV. [by Coll] genommen." The other p. 1. 
 contain Weisse's dedicatory poem to Anna Amalia von Sachsen-Weimar und Bise- 
 nach, praising her former protection of German histrionic art. 
 
 First performed at Weimar, Kleines Schlosstheater, January 29, 1770. 
 
 SCHATZ 4721 
 
 Die jagd. Eine komische oper hi drey aufzuegen. 
 
 C. F. Weisse, Komische opern, Carlsruhe, 1778, t. iii, 134 P- 18% cm . 
 
 On p. [2] the note: "Dieses etueck iet zum theil aus dem lustspiele: La partie dt 
 chasse de Henri IFgenommen." The composer, Hiller, is not mentioned. 
 
 ML 49.A2W2 
 
 Die jagd. Eine komische oper in zwey aufzuegen nach Colle und 
 Weise. Fuer das kaiserl. koenigl. Hoftheater. Die musik ist von 
 hrn. Schenk. 
 
 Wien, Ohristoph Peter Rehm, 1799. 80 p-. 15% cm . 
 
 By Karl Friedrich Hensler, who is not mentioned. 
 
 First performed at the Kaerntnerthor Theater, May 7, 1799. SCHATZ 9597 
 
 Der jahrmarkt. Eine komische oper in zwei aufzuegen. 
 Leipzig, Verlag der Dykischen buchhandlung, 1778. 102 p. 16% cm . 
 
 By Friedrich Wilhelm Gotter, who says in his "Nachricht" (p. [3]), dated Gotha, 
 February, 1778: 
 
 "Das gegenwaertige etueck wird schon, seit eingien jahren, auf verschiedenen 
 theatern im manuskript aufgefuehrt. Auch ist der klavierauszug von der dazu gehoe- 
 rigen [Georg] Benda ischen mudik, unter der benennung von Dorfjahrmarkt, im 
 naemlichen verlag erschienen. Diese verschiedenheit des titels wird hoffentlich 
 niemanden irre machen, und BO wenig, ale eine oder die andere abweichung im text, 
 einer besonderer eroerterung beduerfen."
 
 OPERA LIBRETTOS 659 
 
 Der jahnnarkt Continued. 
 
 The " Vorbericht" of the vocal score as published by Dyk at Leipzig in 1776 helps 
 to give precision to Getter's rather vague "Nachricht." The Vorbericht reads in 
 translation : 
 
 "This comic opera by herr Gotter originally had but one act. Afterwards the 
 opera was divided into two acts and herr [Joh. Adam] Hiller, at the request of his 
 friend, herr Benda, composed the song at the end of the first act and the introductory 
 chorus of the second. Some time afterwards a new actor in Seyler's Theater, for 
 which the piece originally had been written, took the part of the colonel, and in 
 order to recommend him also as a vocalist to the public, the herren Engel and Hiller 
 wrote the arias p. 22 and p. 68 [of the vocal score], Engel the text and Hiller the 
 music. With permission of the herren Benda and Gotter, these additional numbers 
 are included in the vocal score, made by Hiller out of friendship for me and the 
 author of the opera ..." 
 
 The text of the 1778 publication is practically identical with that of the vocal 
 score of 1776 (including Engel's contributions), and therefore does not represent the 
 opera as it was first performed at Gotha, Schlosetheater, February 10, 1775, in one 
 act. The first performance at Leipzig took place at the Koch'eches Theater am 
 Rannstaedter Thor, April 25, 1775, and at Hamburg, Theater auf dem Gansemarkt, 
 May 8, 1776. The opera also became known under the title of "Lukas (Lucas) und 
 Barbchen." ML 50.2.J2B2 
 
 Second copy. SCHATZ 772 
 
 Arien und gesaenge zum Dorf jahrmarkt. 
 n. i., 1790. 16 p. 16% cm . 
 First performed at Mannheim, Nationaltheater, February 13, 1780. SCHATZ 773 
 
 Der jahrmarkt zu Gruenwald. A. T. of Th. Weigl's Die mario- 
 nettenbude. 
 
 Der jahrmarkt zu Magerndorf . Tr. of Fischietti's II mercato di 
 Malmantile. 
 
 Der jahrmarkt zu Malmantile. Tr. of Fischietti's II mercato di 
 Malmantile. 
 
 Der jahrmarkt zu Venedig. Tr. of Salieri's La fiera di Venezia. 
 
 Jakob und Benjamin, aufgefuehrt von den schuelern der zweyten 
 classe an dem Katholischen schulhause bev St. Salvat6r im monate 
 May 1784. 
 
 Augsburg, Joseph Simon Hueber, n. d. [lo] p. 19$ cm . 
 
 "Singspiel" in two acts. "Die musik ist vom herren Michael Demmler" (p. 2). 
 With cast. The author is not mentioned, and is unknown to Schatz. At head of 
 this title: "Die sieben heil. schlaefer, ein geistlichee echauspiel in dreyen aufzuegen- 
 und." SCHATZ 2506 
 
 Die Jakobiner in Deutschland. A. T. of Kauer's Gute menschen 
 Heben ihren fuersten. 
 
 Le jaloux dupe. A. T. of Apell's L' amour peintre. 
 
 Le jaloux puni ou La serenade. Entree in Bourgeois's Les plaisirs 
 de la paix. 
 
 Le jaloux puni. 
 
 Le Nouveau theatre itdlien, Paris, 1753, t. Hi, 61-75 p. 
 
 ' ' Divertissement " at the end of the first act of the comedy, ' ' Le jaloux, ' ' performed 
 by the Com&iiens italiens ordinaires du roi, December 23, 1723. The text of "Le 
 jaloux puni" is by de Beauchamp; the music (en vaudevilles) composed or arranged 
 by Mouret.
 
 660 LIBRARY OF CONGRESS 
 
 Le jaloux trompe. Entree in Fragments de Monsieur Lully. 
 
 Jamie and Bess, or, The laird in disguise ; a Scots pastoral comedy, 
 in imitation of the Gentle shepherd. Second edition. 
 
 1 p. 1., xv-vxvii, [2], 30-185 p. 22 cm . (Poems, chiefly in the 
 Scotish dialect, by Andrew Shirrefs, Edinburgh, Printed for the author, 
 1790.) 
 
 Five acts, prologue, and epilogue. Cast, address to the critics, and "An address in 
 Scotch . . . spoken by Mr. Briarly, previous to the representation of Jamie and Bess, 
 January 12, 1788." After the epilogue, an "Address to his crutch" was sung, the 
 music from "forty pieces of original music inscribed to the Right Honourable David, 
 Earl of Buchan. The whole was in the nature of a ballad opera, the 12 airs used all 
 being Scotch tunes. LONGE 283 
 
 Janguir. Tr. of Zeno's text Gianguir. 
 
 Janus. See Reiser's Der bey dem allgemeinen welt-friede . . . 
 geschlossene tempel des . . . 
 
 Le jardinier de Sidon, tire des Oeuvres de M. de Fontenelle, 
 comedie en deux actes, m616e d'ariettes, representee pour la premiere 
 fois, par les Comediens italiens ordinaires du roi, le lundi 18 juillet 
 1768. 
 Paris, Claude Herissant, 1768. 84 p. 19 cm . 
 
 In the avertissenient the anonymous editor of the piece says that the "veritable 
 auteur" is de Fontenelle, that the piece is now performed thirteen years after hia 
 death, and that a comparison with de Fontenelle's "Abdolonime " will show just how 
 he, the editor, modified his model in deference to the exigencies of theatrical action. 
 Schatz attributes the text to R. T. Regnard de Pleinche'ne. The composer, Francois 
 Andre" Danican Philidor, is not mentioned. SCHATZ 8015 
 
 Le jardinier de Sidon, tire des Oeuvres de M. de Fontenelle. 
 Comedie en deux actes, meslee d'ariettes. Kepresentee pour la 
 premiere fois par les Comediens italiens ordinaires du roi, le lundi 18 
 juillet 1768. 
 
 Paris, Claude Herissant, 1770. 82 p. 19. 
 
 Neither author nor Philidor, the composer, mentioned. SCHATZ 11739 
 
 ,Der gaertner von Sidon, ein singspiel hi zween aufzuegen aus 
 dem franzoesischen uebersetzt mit musik. 
 
 Frankfurt am Mayn, mit Andreaeischen schriften 1773. 56 p., 13 
 p. (folded music). 
 
 Cast. Version used by Theob. Marchand's company; by Johann Heinrich Faber. 
 Neither he nor Philidor is mentioned. The music consists of "Meinen garten will 
 das Geschiok" (I, 2, "Laisser la mon jardin"), "Glaubt, die meisten freunde" (II, 6, 
 "Je compare les amis"), "Gliicklich ist der, den die sorgen" (II, 7, "Trop heureux 
 qui peut "). SCHATZ 8016 
 
 Le jardinier et son seigneur, opera comique, en un acte et en prose, 
 par M. Sedaine. 
 
 Paris, par la Compagnie des libraires, 1769. 5 p. 19. 
 
 The composer, Philidor, is not mentioned. SCHATZ 11740 
 
 Le jardinier et son seigneur, opera comique, en un acte, en 
 prose, m61e de morceaux de musicjue: represente sur le Theatre de 
 la Foire Saint-Germain, le mercredi 18 feVrier 1761. Par M. Sedaine. 
 La musique de M. Pbilidor. 
 
 Paris, Claude Herissant, 1785. 38 p. 18 cm . 
 
 On p. 36-38 the airs of "Laissez la grandeur qui brille" and "La beaute dans voa 
 yeux. Cast. SCHATZ 8017
 
 OPERA LIBRETTOS 661 
 
 La jardinier suppose. A. T. of Philidor's L'amant deguise. 
 
 Les jardiniers, comedie en deux actes et en prose, meslee d'ariettes; 
 par M. Davesne: Represented pour la premiere fois par les ComSdiens 
 italiens ordinaires du Roi, le 15 juillet 1771 . . . 
 Paris, la veuve Duchesne, 1772. 52 p. 19 cm . 
 
 Cast. The composer, Prudent, is not mentioned. On p. 50-52 the air of the 
 "Romance. Lorsque j'avois du chagrin," (II, 8). SCHATZ 8475 
 
 Second copy. YUDIN PQ 
 
 Les jardins de 1'Hymen. A. T. of La rose. 
 
 Jason, oder Die eroberung des gueldenen finesses, in einem musica- 
 lischen schau-spiele auf dem Hamburgischen Theatre vorgestellet im 
 jahr 1720. 
 
 [Hamburg], Caspar JdkJiel, n. d. Unpaged. 19 cm . 
 
 Three acts. Neither the author, reep. translator, Friedrich Christian Bressand, is 
 mentioned, nor Reinhard Keiser, the composer. Several Italian arias by others 
 were interpolated. Their text has been added to the German. The text was based 
 partly on the opera, "Giasone overo La conquista del velo d'oro," partly on Bres- 
 eand's "Die ungliickliche liebe des tapferen Jasons." SCHATZ 5097 
 
 Jason, ou La toison d'or, tragedie representee par F Academic royale 
 de musique Fan 1696. Les paroles sont de M. Rousseau, & la musique 
 de M. Collasse. XXXVII. opera. 
 
 n. i., n. d. front., 233-290 p. 14 cm . (Recueil general des opera, 
 Paris, 1703, t.'5.) 
 
 Detached copy. Five acts with prologue. 
 
 First performed, as indicated, Jan. 6, 1696. SCHATZ 2100 
 
 Second copy. ML 48. R4 
 
 The jealous clown: or, The lucky mistake. An opera (of one act) 
 as perform'd at the New theatre in Goodman's-Fields. By Thomas 
 Gataker, Gent. To which is annex'd the musick. 
 London, Henry Parker, 1730. 24 p. 19 cm . 
 
 Cast and dedicatory poem to the author on his "maiden works," by T. Keen, 
 dated Doctors Commons, December 14, 1730. Ballad-opera, the airs to the 13 songs 
 of which are indicated by title. The music is not annexed to this copy. 
 
 LONGE 136 
 
 Jean Jacques Rousseau dans son hermitage. A. T. of the 
 pasticcio La val!6e de Montmorency. 
 
 Jeannette, eller Den fortraengte' ubekiendte. Tr. of Anfossi's 
 L'incognita perseguitata. 
 
 Jeannot et Jeannette. A. T. of Les ensorceles. 
 
 Jephte. Tragadie tire'e de 1'Ecriture Sainte; repre'sentSe pour la 
 premiere fois par 1'Academie royale de musique, le quatri&ne mars 
 1732. Remise le vingt-sixieme fevrier 1733. 
 Paris, Jean Baptiste Christophe Bollard, 1738. xvi, 57 p. 22% cm . 
 
 Prologue and five acts. Cast. Neither the author, Simon Joseph de Pellegrinj is 
 mentioned, nor the composer, Michel Monteclair. On p. iii-v a preface in which 
 the author says: 
 
 "Ce n'a pas 6t sans trembler, que j'ay entrepris de mettre sur le Theatre de 
 1'Acad^mie royale de musique, un sujet tir6 de 1'Ecriture-Sainte: Des amis judicieux 
 avoient beau me repr&enter que ce genre de trag6die n'6toit nouveau que par rap-
 
 662 LIBRARY OF CONGRESS 
 
 Jephte Continued. 
 
 port au lieu, oil i'allois I'introduire, & que ces matieres respectables Violent encore 
 plus propres au chant qu'a la simple declamation; j'avois la prevention a combattre: 
 et la prevention ne se donne pas la peine de raisonner." 
 
 He then continues to answer the objections of his critics in detail. 
 
 "Pour ce qui regarde le ballet dont on faisoit un obstacle insurmontable, je ne 
 comprens pas surquoy on pouvoit se fonder, pour Pexclure de ma tragedie. L'art 
 de danser n'est-il pas de tous les temps, & ne convient-il pas a tous les peuples? La 
 nation juive ne s y adonnoit-elle pas autant que toutes les autres ... La fille 
 de Jephte' n'alla-t-ellt pas audevant de son pere, vainqueur dee Ammonites, avec 
 cles tambourine & des danses? ..." 
 
 The printed score has as date of first performance (followed by the reference books), 
 February 28, 1732. ML 50.2 J3M6 
 
 Jephte, tragedie, tiree de TEcriture Sainte ; representeeparl'Aca- 
 demie royale de musique, Tan 1732. Paroles de M. Pellegrin. Mu- 
 sique de M. Monteclair. CXV. opera. 
 
 n. i., n. d. pi., 51-120 p. 14 cm . (Recueil general des opera, Paris, 
 1739, t. xv.) 
 
 Detached copy. Prologue and five acts. On p. 53-67 the same preface as in the 
 1738 ed. SCHATZ 6590 
 
 Second copy. ML 48.R4 
 
 Jerosme et Fanchonnette, pastorale de la Grenouillere, en. un 
 acte. Par M. Vade. Represented pour la premiere fois sur le 
 Theatre de POpera-comique le 18 feVrier 1755. Nouvelle Edition. 
 
 Paris, Duchesne, 1757. 42, [6} p. 19% cm . 
 
 On the [6] p. "Catalogue de theatres." 
 
 En vaudevilles. Cast. On p. 39-40 the airs of the duo "Quand 1'amour fait dT 
 ouvrage" and of the rondo "L'amour a sur la riviere." The arranger of the music 
 unknown to me. ML 50.2.J4 
 
 - Jerosme et Fanchonette, pastorale de la Grenouillere, en un 
 acte. Par M. Vade. Representee, pour la premiere fois, sur le 
 Theatre de 1'Ope'ra-comique le 18 fevrier 1755. 
 
 La Haye, Pierre Gosse junior, 1760. 4$i Ul P- 16. (Vade, 
 Oeuvres, La Haye, 1759, t. Hi.) 
 
 ^ En vaudevilles. Cast. On the unnumbered p. the air note of the duo, "Quand 
 1'Amour fait d'louvrage." ML 49.A2V2 
 
 Compliment de la cloture de la Foire S. Laurent, 1755. Suivi 
 de celui de la Foire S. Germain de la me'me annSe. Tous deux 
 chantes a la fin de Jerome et Fanchonette le 6 octobre 1755. 
 
 La Haye, Pierre Gosse, junior, 1759. 16 p. 16 cm . (Vadi, Oeuvres 
 La Haye, 1759, t. III.) 
 
 Cast. On p. 14-16, "Autre compliment chante" a POpera comique a la cldturede 
 la Foire S. Laurent." 
 
 Jery und Bately. Ein singspiel. Von Goethe. Achte ausgabe. 
 Leipzig, Georg Joachim Gdschen, 1790. 1 p. 1., 56 p. 17\ cm . 
 
 One act. Edition without "Goschen's Schriften," and with "zuruck tretend" on 
 p. 52 in two words. PT 1958 J5 1790 
 
 Jery und Bately. Ein singspiel. Von Goethe. Achte ausgabe. 
 Leipzig, Georg Joachim Gdschen, 1790. 1 p. 1., 56 p. 17%. 
 
 One act. Edition without "Goschen's Schriften," and with " zurucktretend " on 
 p 52 in one word. Goethe's singspiel had been first performed with music by Carl 
 Siegmund, freiherr von Seckendorff at Weimar, July 12, 1780. PT 1958 J5 1790a
 
 OPERA LIBRETTOS 663 
 
 Le jeune-vieillard. Piece en trois actes, tiree des Contes Persans. 
 Represent^ a la Foire de S. Laurent 1722. par les Comediens italiens 
 de S.- A. R. Monseigneur le due d'Orleans regent. 
 
 Le Theatre de lafoire, Paris, 1724, t. v, pi., [141\-268 p. 17 cm . 
 
 Prose play by Le Sage, Fuzelier, and d'Orneval. The few incidental musical num- 
 bers were composed by Jean Joseph Mouret. The airs are printed in the "Table dee 
 airs " at the end of the volume. ML 48.L2V 
 
 Les jeunes maries. Opera comique en un acte. Par Mr. Par- 
 mentier. 
 La Haye, Pierre Gosse junior, 1751. 72, [7] p. 16\ cm . 
 
 Prose and vaudevilles. The [7] p. contain the airs of the "Menuet de L'esprit 
 folet Qu'il est charmant," "Musette npuvelle de Mr. de Blaise Qu'il m'est doux 
 d'etre votre 6poux," "Musette de Monsieur Rochar Tout suit dansl'univers," and 
 the vaudeville "A trente ans jadis une fille." Both Parfaict and Font (also Schatz) 
 attribute the text, not to Parmentier, but to Favart, and claim that it was first per- 
 formed at the Foire St. Laurent August, 1740 (Font), July 1, 1740 (Parfaict). Font 
 eays that the next entry is a "reprise avec remaniements " of the 1740 play. At any 
 rate, the differences between the 1755 version and that of 1751 are so slight as to be 
 hardly noticeable. SCHATZ 11715 
 
 Les jeunes maries, opera-comi^ue en un acte. Represent e sur 
 le Theatre de la Foire S. Germain, le 15 mars 1755. Nouvelle 
 Edition. 
 
 Paris, Duchesne, 1757. 56 p. 19. (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. vii.} 
 
 Several of the airs are printed in the text. . ML 49.A2F1 
 
 - Les jeunes maries, opera-comique en un acte. Represent^ sur 
 le Theatre de la Foire S. Germain, le 15 mars 1755. 
 Paris, la veuve Duchesne, 1767. 64 p. 19 cm . 
 On p. 49-62, seventeen unaccompanied "Airs dee jeunes mane's." SCHATZ 1 1495 
 
 La jeunesse ou L' amour ingenu. Entree in Campra's Les ages, 
 ballet/ 
 
 Les jeux olympiques. Entrees in Colin de Blamont's Les festes 
 grecques et romaines. 
 
 The jew decoy 'd; or The progress of a harlot. A new ballad opera 
 of three acts. The airs set to old ballad tunes. 
 
 London, E. Bayner, E. Nutt [etc], 1783. 53 p. (incl. front.} 
 16 cm . 
 
 Three acts and introduction. Table of the 17 songs, the airs of which are indicated 
 by title in the text. Of this ballad opera, founded on Hogarth's prints, no author and 
 no performance recorded by Clarence. LONGB 73 
 
 Joas, ein koenig der Juden. Tr. of Michl's Gioas rd di Giuda. 
 
 Le jockei, com&lie en un acte et en prose, me'le'e d'ariettes; repre"- 
 sentSe sur le Theatre de 1'Ope'ra-comique, ci-devant Theatre italien, 
 le 16 nivdse, 1'an IV, (6 Janvier 1796, yieux style.). Paroles du 
 citoyen Hoffman. Musique du citoyen Soli 6. 
 Paris, Vente, an IV e (1796 vieux style.) 29 p. 19%. 
 
 ML 50.2.J6S6
 
 664 LIBRARY OF CONGRESS 
 
 Johann, der muntere seifensieder. Ein deutsches singspiel in 
 drey aufzuegen von Wilhelm Rothammer. 
 
 Wien, Franz Anton Hojfmeister, 1791. 71 p. 16 cm . 
 
 Not recorded by Schatz, Riemann, Towers. SCHATZ 11626 
 
 Jordens lyksalighed. A. T. of Sarti's Astrea tilfredsstillet. 
 
 Joseph, der unterkoenig in Aegypten, von seinen bruedern 
 erkannt, ein singspiel in zween aufzuegen, aufgefuehrt von der 
 studirenden jugend des katholischen schulhauses zu Augsburg bey 
 St. Salvator. den 4, 5, und 6 ten Herbsmondes [Sept.] 1785. 
 [Augsburg], Joseph Simon Hueber, n. d. 18 p. 20 cm . 
 
 With castj "Vorbericht," and name of the composer, Johann Evangelist Drexel. 
 The author is unknown to Schatz. The singspiel was preceded by "Georgius, der 
 grosse heilige martyrer, ein trauerspiel." SCHATZ 2817 
 
 Le joueur. Parody of Orlandini's H giocatore. 
 
 The jovial crew. A comic opera. As it is acted at the Theatre- 
 Royal, by His Majesty's servants ... With the music prefix'd to 
 each song. 
 London, J. Watts, 1731. 4 p. 1., 68 p. 20 cm . 
 
 Three acts. Author unknown. The p. 1. contain a 2 p. list of "Books printed for 
 J. Watts." Cast, table of the fifty-three songs, and "advertisement," which reads 
 in part: 
 
 It may be perhaps necessary to inform the world, that the groundwork of this 
 piece is an old comedy of Richard Brome'e; the prose part of it consisting chiefly of 
 fragments, collected from the Merry beggars, and eo disposed as to introduce the songs 
 with propriety. The songs, (except about half a dozen) were written about three 
 years ago, by a gentleman who is since dead. This circumstance is mentioned here 
 only to obviate some idle rumours which have been spread about relating to the 
 author ..." 
 
 The "idle rumours" perhaps refer to the statement, recorded also by Baker and 
 Schatz, that the interpolations were written by Edward Roome, Matthew Concanen, 
 and Sir William Yonge. 
 
 Ballad opera, the airs being printed in the text with their titles. 
 
 Performed at Drury Lane February 8, 1731. ML 50.5.J6 
 
 The jovial crew: or, The merry beggars. A comic opera. As it 
 is performed at the Theatre-Royal in Covent-Garden. A new edi- 
 tion, with additional songs, and alterations. 
 London, J. and R. Tonson, 1767. 
 
 Three acts. Cast. This edition has only 43 "airs," without music and without 
 even the titles of the airs. Schatz enters under "The jovial crew or The merry beg- 
 gars" an opera by William Bates, London, Covent Garden, February 14, 1760. 
 The present libretto may be a later edition of this (according to Schatz) revised text 
 of "The jovial crew." Grove records under Bates: "The ladies' frolic, an alteration 
 of The jovial crew (jointly with Dr. Arne) 1770." Cummings lists under Arne both 
 "The jovial crew" (1769) and "The ladies' frolic" (1770). The vocal score mentions 
 as composers Bates and Arne. LONGB 27 
 
 Die jubelhochzeit. Eine komische oper in drey aufzuegen. 
 Leipzig, Dyckische buchhandlung, 1778. 208 p. 15% cm > 
 Neither the author, Christian Felix Weisse, nor the composer, Johann Adam 
 
 Hiller, is mentioned. 
 
 First performed at Hamburg, Theater beim Gansemarkt, November 2, 1774, as 
 
 "Das jubelfest;" April 5, 1773, at Berlin, Theater in der Behrenstrasse. 
 
 SCHATZ 4722
 
 OPERA LIBRETTOS 665 
 
 The judgment of Paris. An English burletta. In two acts. As 
 it is performed at the Theatre-Royal in the Hay-Market. The music 
 composed by Mr. Barthelemon . . . 
 London, T. Becket and P. A. De Eondt, 1768. 34 p. 19. 
 
 Two acts. By Ralph Schomberg, who is not mentioned. Cast and dedication. 
 First performed 1768, as indicated. LONGE 52 ' 
 
 The judgment of Paris; or, The triumph of beauty. A pastoral 
 ballad opera of one act. As it is perform d at the Theatre-Royal in 
 Lincoln's-Inn-Fields . . . 
 London, Printed and sold by J. Roberts, 1731. 2 p. I., 15 p. 18 cm . 
 
 The 19 airs used are indicated by title. Author not recorded by Clarence. 
 First performed May 6, 1731. LONGE 290 
 
 Judith, oder Der entsatz Bethuliens. Em singspiel in zweyen 
 choeren nach dem herrn abte Metastasio. 
 
 Page [3-14] (20 cm .) of "Die niederlage der Hunnen vor Augsburg. Ein trauerspiel 
 in dreyen aufzuegen, aufgefuehrt von der studirenden jugend des katholischen schul- 
 hauses zu Augsburg bey St. Salvator den 4. 5. und 6. herbstmondes [Sept. 4-6], 1780. 
 Gedruckt bei Joseph Simon Hueber . . ." 
 
 Two acts with cast. Johann Michael Dernier is mentioned as the composer. 
 The translator is not mentioned and is unknown to Schatz. Translated from Meta- 
 etasio's "La Betulia liberata." SCHATZ 2507 
 
 Le jugement de Midas, come'die. En trois actes et prose: 
 d'ariettes, repre'sente'e pour la premiere fois par les Comediens ita- 
 liens, ordinaires du roi, le samedi 27 juin 1778. Par Monsieur d'Hele. 
 Musique de M. Gretry. 
 
 Paris, Euault, 1778. 52 p. 19. 
 
 Cast. ML 50.2.J9G7 
 
 Le jugement de Midas, comedie en trois actes, en prose, melee 
 d'ariettes, par M. d'Hele; representee pour la premiere fois par les 
 Comediens italiens ordinaires du Roi, le samedi 27 juin 1778. Mu- 
 sique de M. Gretry. 
 
 Paris, la veuve Duchesne, 1779. 64 p. 18% cm . 
 
 Cast. SCHATZ 4161 
 
 Das urtheil der Midas, eine operette in drey aufzuegen. Aus 
 dem franzoesischen des hrn. d'Hele. Die musik ist von hrn. Gretry. 
 
 Muenster, Philipp Heinrich Perrenon, 1781. 72 p. 16% cm . 
 
 By Rothmann, who is not mentioned. SCHATZ 4162 
 
 Das urtheil des Midas. Komische oper, in drei aufzuegen. 
 Nach dem franzoesischen. Mit beibehaltung der Gretryschen musik 
 yon Ch. F. v. B -- n [Bonin], und von J. Andre". Zum erstenmal 
 in Berlin aufgefuehrt den 9ten Julius 1781. 
 
 n. i., n. d. p. [148}-230. 15\ cm . 
 
 Detached copy. 
 
 First performed at Berlin, Dobbelinsches Theater, July 9, 1781. SCHATZ 4163 
 
 Gesaenge aus dem Urtheile des Midas, einer komischen oper in 
 drey akten. In die musik gesetzt von Gretry. 
 
 Mitau, Joliann Friedrich Stefferihagen, 1783. 39 p. 16 cm . 
 German translation by Christian Gottlob Neefe. 
 First performed at Bonn, Churf. Koln. Hoftheater, February 21, 1781. 
 
 SCHATZ 4164
 
 666 LIBRARY OF CONGRESS 
 
 Le jugement de Paris. Pastorale he>oique, represented par 1'Aca- 
 demie royale de musique, Tan 1718. Paroles de Monsieur Pellegrin- 
 Barbier. Musique de M. Bertin. XLIV. opera. 
 
 n. i., n. d. pi., 259-316 p. 14 cm . (Recueil general des opera, 
 Paris, 1734, t. xii.) 
 
 Detached copy. Prologue and three acts. The text was by Simon Joseph de 
 Pellegrin and Marie Anne Barbier. 
 
 First performed according to Schatz on June 14, 1718, but the score gives June 21, 
 1718. SCHATZ 880 
 
 Second copy. ML 48. R4 
 
 - IJB jugement de Paris. Pi&ce d'un acte. Par Monsieur 
 D'Or * *. Represented a la Foire de Saint Laurent 1718. 
 
 Le Theatre de lafoire, Paris, 1737, t. Hi, pi., [61]-93 p. 17 cm . 
 
 By d'Orneval. The airs, selected or composed and arranged by Jean Claude 
 Gillier, the "compositeur " of the theatre, are printed at the end of the volume in the 
 "Table des airs. The piece was a parody of the pastorale he>oique of the same 
 title, by abbe" Pellegrin, music by Bertin. ML 48.L2III 
 
 Le jugement de Paris, ballet-pantomime en trois actes, par le 
 citoyen Gardel. Musique d'Haydn, Plesyel [! Pleyel], et du citoyen 
 M6hul. Donn6 pour la premiere fois sur le Theatre de PAcadeinie 
 de musique, le 5 mars 1793, an II de la Republique. 
 Paris, la veuve Delormel, an VI [1797-98]. x, 21 p. 19. 
 
 Cast, detailed scene-by-scene synopsis, and avant-propos, in which Gardel says: 
 "J'ai toujours remarque dans les ballets d'action que les effets de decorations, et 
 les divertissements vane's et agre"ables, e"toient ce qui attiriot le plus la foule dee 
 epectateurs, et les vifs applaudissements; d'apres cette remarque, j'ai cherche" un 
 sujet qui put se plier a faire valoir les grands talens que I'Op^ra, de Paris seul, possede 
 en danse, et qui me permit d'^tendre les id^es que le nasard pourroit m'offrir: 1'histoire 
 poe"tique est le terrein in^puisable que le mattre de ballet doit cultiver ..." 
 
 ML 52.2.J9 
 
 Le jugement de Paris Das urtheil des Paris, ballet. See Tozzi's 
 Zenobia. 
 
 Julchen und Peter. Tr. of Weigl's Giulietta e Pierotto. 
 
 Julia. A. T. of Reiser's Die durch verstellung . . . siegende liebe 
 oder . . . 
 
 Julie, comedie en trois actes, mSlee d'ariettes; par Mr. Monyel. La 
 musique est de Mr. Des Aides. Represent e"e pour la premiere fois 
 par les Comediens italiens ordinaires du roi, le 22 septembre 1772. 
 Paris, La veuve Duchesne, 1773. 59 p. 19\ cm . 
 
 At end, list of contents (3 p.) of F. J. Desoeur's "Recueil g^n^ral des Opra 
 bouffons," in seven volumes. On p. 58-59 (incorrectly numbered 69) the melody 
 of the final "Choeur. Le plaisir succede aux larmes." SCHATZ 2520 
 
 - Julie, come'die en trois actes, me"le*e d'ariettes; par Mr. Monvel, 
 la musique est de Mr. Des Aides. Representee pour la premiere fois 
 par les Com6diens italiens ordinaires du roi, le 22 septembre 1772. 
 
 Paris, la veuve Duchesne, 1775. 69 p. 17% cm - 
 
 Cast. On p. 68-69, the air of the final ' ' Choeur " : " Le plaisir succede aux larmes." 
 
 YUDIN PQ
 
 OPERA LIBRETTOS 667 
 
 Julie Continued. 
 
 - Julie, em 'singspiel in drey aufzuegen aus dem franzoesischen 
 uebersetzt mit musik. 
 
 Frankfurt am Mayn, mit Andreaeischen schriften, 1774- 128, 12 p. 
 
 The 12 p. of music (folded, obi. engraved) contain melody and baas of the "Arie- 
 Sanft schlief einst Lieschen in dem grase" (II, 1) and "Arie Ay, ay, ay, ay, ay" 
 (III, 3). The translator, Johann Heinrich Faber, is not mentioned. 
 
 First performed at Frankfort o/M, Theater im Junghof, 1774. SCHATZ 2521 
 
 Was einem recht, 1st dem andern billig. Ein singspiel in 
 drey aufzuegen von Monyell. Nach einer freyen uebersetzung, von 
 G. If. W. Grossmann. Die musik ist von Desaides. 
 
 Frankfurt und Leipzig, Hermannische buchhandlung, 1783. 116 p. 
 16 cm . 
 
 First performed at Frankfort, Neues Schauspielhaus im Junghof, 1783. 
 
 SCHATZ 2522 
 
 Julie oder Die dankbare tpchter, ein lustspiel mit gesang. Von F. G. 
 von Nesselrode. Die musik ist vom fuerstl. Taxiscnen operndirecteur 
 hrn. Kirzinger. 
 
 Regensburg, Montagische buchJiandlung, 1780. 102 p. 16% cm . 
 
 First performed 1780, as indicated. SCHATZ 5339 
 
 Julie und Armidor. Tr. of Cimarosa's Giuletta ed Armidoro. 
 Julie und Romeo. L. T. of Benda's Romeo und Julie. 
 Julie und Romeo. Tr. of Zingarelli's Giulietta e Romeo. 
 Julius Caesar. See Reiser's Der durch den fall . . . erhoehete . . . 
 Julius Caesar i Aegypten. Tr. of Sard's Cesare in Egitto. 
 Julius Caesar in Aegypten. See Handel's Giulio Cesare in Egitto. 
 Julius Sabinus. Tr. of Sarti's Giulio Sabino. 
 
 Dem Jupiter abgelegte huldigung. 
 
 Unpaged. 19 cm . 
 
 At end: "Muenchen, gedruckt bey Maria Magdalena Riedlin, wittib, 1727." 
 One act. Argument. Not recorded by Schatz . SCHATZ 11628 
 
 Jupiter en Argos. Tr. of Lotti's Giove in Argo. 
 
 Jupiter et Calisto. See Mondonville's Les projets de 1'amour. 
 
 Jupiter et Niobe. See Les amours des dieux. 
 
 Just in time. A comic opera, in three acts. As performed at the 
 Theatre-Royal, Covent-Garden with the greatest applause. Written 
 by Thomas Hurlstone. 
 London, J. Debrett, n. d. 2 p. 1., 67, [1] p. 20%. 
 
 Publisher's book-list on last page. Cast, dedication dated November 27, 1792, 
 and preface, in which the author calls this "his first dramatic bantling." Originally, 
 he says, it was a two-act comedy, written at a very early age,*for private perform- 
 ance by a party of friends. The manuscript fell into Mr. Colman, sen.'s hands,
 
 668 LIBRARY OF CONGRESS 
 
 Just in time Continued. 
 
 who agreed to produce it, if songs were added. This was done, but Colman's death 
 
 B -evented the performance. The piece was finally brought out for the benefit of 
 r. Munden, May 10, 1792, at Covent Garden. The composer, Thomas Carter, is 
 not mentioned. In Longman and Broderip's vocal score "When the lads and the 
 lasses " is headed as "written and composed by Mr. Johnston e " and text of "Fell 
 war " as written by Carter. LONGB 220 
 
 Justinus. See Schieferdecker's Der von dem ackers-pflug zu den 
 thron erhabene kaeyser Justinus. 
 
 Das kaestchen mit der chiffer. Tr. of Salieri's La cifra. 
 
 Die kantons- re vision. Eine komische oper in drei aufzuegen von 
 Ludwig v. Baczko. 
 
 Koenigsberg, Hartung, 1794- 96 p. 15% cm . 
 
 Wilhelm Ferdinand Halter is mentioned as the composer. 
 
 First performed at Koenigsberg, Ackermann'sches Schauspielhaus, 1794. 
 
 SCHATZ 4449 
 
 Der kapellmeister; oder Ist's nicht die eine, so ist's die andre. 
 Ein komisches singspiel in zwey aufzuegen nach einem italiaen- 
 ischen texte, und Lorazi's Komposition, von Bock. 
 
 n. i., n. d. p. [111}-196. 17 cm . (Komische opern der Italiener, 
 Leipzig, 1781, Bd. I.) 
 
 Detached copy. Added to text, a 2 p. book list of the publisher. 
 
 First performed at Leipzig, Theater oeim Rannstaedter Thore, October 14, 1779, 
 and at Dresden, Churfuerstl. Kleines Theater, in the same year. This is a German 
 version of Girolamo Lorazi's "II maestro di cappella burlato," Rome, Teatro della 
 Pace, carnival, 1777. SCHATZ 5684 
 
 Der kapellmeister. Tr. of Pergolesi's II maestro di cappella. 
 
 Karoline oder Die parforcejagd, eine operette in vier aufzuegen. 
 
 7i. t., 1781. 84 p. 16$ cm . 
 
 Dedication to Friedrich, fuert zu Waldeck by Carl August Seidel. Not recorded 
 by Schatz, Riemann, Towers. ML 50.2. K2 
 
 Kaspar der mundkoch. A. T. of Schack's Die drey ringe. 
 
 Kaspars zoegling, oder Der sieg der bescheidenheit auf der insel 
 des vergnuegens. Ein original-singspiel in zween aufzuegen, fiir das 
 kinderinstitut dieses theaters verfertiget von J. Perinet. Die musik 
 ist vom hrn. Ferdinand Kauer, lehrer der Marinellischen Singschule. 
 Wien, Maihias Andreas Schmidt, 1791. 50 p. 17 cm . 
 
 Cast. 
 
 First performed, as indicated, February 1, 1791. SCHATZ 5035 
 
 Der kaufmann von Smyrna, eine operette in einem aufzuge. Die 
 musik ist von herrn Holly in Prag. 
 
 Frarikfurih und Leipzig, n. pull., 1774- S6 p. 18 cm . 
 
 The author, Christian Friedrich Schwan, is not mentioned. 
 
 First performed at Berlin, Kochsches Theater in der Behrenetrasee, November 13, 
 1773. SCHATZ 4770 
 
 Gesaenge aus dem singspiele: Der kaufmann von Smirna, in 
 einem aufzuge, nach dem franzoesischen des herrn von Champfort, 
 von Schwan. In musik gesezt von Stegmann. 
 
 Hamburg, JoJi*. Matthias Michaelsen, 1792. 15 p. 16$. 
 
 First performed at Konigeberg, Ackermann'sches Theater, 1773. SCHATZ 10040
 
 OPERA LIBRETTOS 669 
 
 Der kaufmann von Smyrna, erne operette in einem aufzuge. Die 
 musik ist von herrn G. Vogler. 
 
 Mannheim, C. F. Schwan, 1771. 75, [4] p. 15. 
 
 ' The unnumbered pages contain a sale's catalogue of the publisher. 
 
 In a prefatory note dated Mannheim, July 22, 1771, C. F. Schwan, who was also 
 the author of the piece, says: 
 
 "Das lustspiel, 'der Kaufmann von Smyrna,' eo wie ich es vor einem jahre aus dem 
 franzoesischen des hn. von Champfort uebersetzt, hat zwar gefallen; allein man setzte 
 mit recht daran aus, dass es zu kurz sey. Ich habe diesem fehler dadurch abzuhelfen 
 geglaubt, wenn ich es in eine operette yerwandelte . . . Wegen den veraender- 
 ungen, die ich hie und da gemacht, werde ich mich wohl nicht entechuldigen duerfen. 
 Es waere unschicklich gewesen, wenn Dornal und Amalie keine arien bekommen 
 haetten, und wenn dieses seyn sollte, BO musste ich eie allein auf das theater bringen 
 und also eine scene einschalten . Den rechtegelehrten habe ich mit vielem vorbedacht 
 weggelassen. Ich finde es sehr unnatuerlich, wenn jemand sich selbst veraechtlich 
 macht . . ." 
 
 First performed at Mannheim, Schauspielhaus auf dem Fruchtmarkt, 1771. 
 
 SCHATZ 10797 
 
 Kayser Hadrianus. See Broschi's Der in Syrien triumphirende . . . 
 
 The Kentish barons: a play in three acts. Interspersed with 
 songs. By the Honourable Francis North. First performed at the 
 Theatre-Royal, Hay-Market, Saturday, June 25th, 1791. 
 
 London, J. Ridgway, 1791. 2 p. 1., 44 p. 19% cm . 
 
 Cast. The composer is not mentioned, and is unknown to Schatz. LONG E 216 
 
 Kierligheds-brevene. Et syngespil i tre acter af Charlotta 
 Dorothea Biehl. 
 
 Ki0benhavn, Nicolava M0Uer, 1774. ? 2 P- K> cm - 
 
 Cast. Sarti, the composer, ia not mentioned. 
 
 First performed at Copenhagen, Courttheatre in Christiansborg Slot, March 22, 
 1775. SCHATZ 9446 
 
 Kildar, ballet. See Zingarelli's II ratto delle Sabine. 
 
 Die kinder der natur, ein singspiel in zween aufzuegen nach dem 
 franzosischen des Marivaux. Aurgefuhrt auf der K. K. National- 
 schaubuhne. Die musik ist von herrn Aspelmayer. 
 
 Wien, zufinden bey dem logenmeister, 17.78. 4? P- 16 cm . 
 
 Author unknown to Schatz. 
 
 First performed on July 15, 1778, as indicated. SCHATZ 364 
 
 Kindliche liebe. Tr. of Gaveaux's L'amour filial. 
 
 King Arthur: or, The British worthy. A dramatick opera. Per- 
 form'd at the Qveens theatre by Their Majesties servants. Written 
 by Mr. Dryden. 
 London, J. Tonson, 1691. 6 p. I, 51, [1] p. 22%. 
 
 Five acts, prologue and epilogue. Cast and dedication to the marquis of Hallifax, 
 largely an eulogy of Charles II. It reads, in part: 
 
 "This Poem waa the last Piece of Service, which I had the Honour to do, for my 
 Gracious Master, King Charles the Second: And though he liv'd not to see the Per- 
 formance of it, on the Stage; yet the Prologue to it, which was the Opera of Albion 
 and Albanius, was often practis'd before Him at Whitehal, and encourag'd by Hia 
 Royal Approbation . . . 
 
 In tne mean time, while the Nation is secur'd from Foreign Attempts, by eo 
 powerful a Fleet, and we enjoy not only the Happiness, but even the Ornamente of 
 Peace, in the Divertisement of the Town, I humbly offer you this Trifle, which if it 
 succeed upon the Stage, is like to be the chiefest Entertainment of our Ladies and
 
 670 LIBRARY OF CONGRESS 
 
 King Arthur Continued. 
 
 Gentlemen this Summer. When I wrote it, seven Years ago, I employ'd some reading 
 about it, to inform my self out of Beda, Bochartus, and other Authors, concerning the 
 Rites and Customs of the Heathen Saxons; as I also us'd the little Skill I have in 
 Poetry to adorn it. But not to offend the present Times, nor a Government which 
 has hitherto protected me, I have been obliged so much to alter the first Design, and 
 take away so many Beauties from the Writing, that it is now no more what it was 
 
 England, than ever formerly; especially passing through the Artful Hands of Mr. 
 [Henry] Parcel, who has Compos d it with so great a Genius, that he has nothing to 
 fear but an ignorant, ill-judging Audience. But the Numbers of Poetry and Vocal 
 Musick, are sometimes so contrary, that in many places I have been oblig'd to cramp 
 my Verses, and make them rugged to the Reader, that they may be harmonious to 
 the Hearer: Of which I have no Reason to repent me, because tnese sorts of Enter- 
 tainment are principally design 'd for the Ear and Eye; and therefore in Reason my 
 Art on this occasion, ought to be subservient to his. And besides, I flatter my self 
 with an Imagination, that a Judicious Audience will easily distinguish betwixt the 
 Songs, wherein I have comply'd with him, and those in which I have followed the 
 Rules of Poetry, in the Sound and Cadence of the Words. Notwithstanding all these 
 Disadvantages, there is somewhat still remaining of the first Spirit with which I 
 wrote it: . . ." 
 
 First performed 1691, as indicated. ML 50.2. K54 
 
 King Arthur: or, The British worthy. A masque. Altered 
 from Dryden, by David Garrick, Esq. And now performed at the 
 Theatre-Royal in Drury-Lane. The music by Purcell and Dr. Arne. 
 The scenes by French and Carver. 
 London, W. Strdhan, T. Lowndep, [etc.}, 17 81. 55 p. 21 cm . 
 
 Cast of 1781 and prefatory note: 
 
 "The names of Dryden and Purcell have made the following performance hitherto 
 regarded as one of the best calculated to shew the effects of poetry ? action and music 
 . . . The success of this, as well as of all other theatrical exhibitions, will wholly 
 depend upon the present taste; but it is hoped, and believed, that two of our greatest 
 geniuses in poetry and music, if they have justice done them upon the stage, t>id fair 
 for public approbation. There are some slight alterations made, for the greater 
 convenience of representation; and some few songs added, where it was thought 
 such additions would be of service to the whole." 
 
 Detailed information on Arne's share in this new version will be found in Cum- 
 mings' book on Arne. 
 
 First performed, as indicated, December 13, 1770. LONOK 251 
 
 King Pepin's campaign. A burlesque opera, of two acts. Acted 
 at the Theatre Royal in Drury-Lane in the year 1745 [!] 
 London, W. Reeve, 1755. [!] 24 p. 19.. 
 
 Two acts. Cast. Neither William Shirley, the author, is mentioned, nor Thomas 
 Augustine Arne, the composer. 
 
 First performed April 15, 1745, as indicated. LONGE 59 
 
 Second copy. LONGE 204 
 
 The kingdom of the birds. A. T. of Wonders in the sun. 
 
 Ki0bmanden som adelsmand, og bondepigen som fr0ken. A. T 
 of Piccinni's Bondehovmod. 
 
 Arien aus der operette Die kleine aehrenleserin. Aus Weissens 
 Kinder-freund. In musick gesetzet von herrn Wittrock. Nebst 
 einem prolog von herrn Goedicke. 
 Luebeck, den 81 maerz 1785, n. publ. 16 p. 16 cm . 
 
 The operetta was followed by Gellert's comedy, "Die kranke frau." Casts for 
 both. The "Prolog fuer Bernh. Aug. v. Wickeue" consumes five pages of the 
 sixteen. SCHATZ 11068
 
 OPERA LIBRETTOS 671 
 
 Die kleinen wagehaelse, ein singspiel in zween aufzuegen, von den 
 schuelern der dritten classe an dem katholischen schulhause bey St. 
 Salvator aufgefuehrt im Maymonate 1785 zu Augsburg. 
 [Augsburg], Joseph Simon Hueber, n. d. 14 P- 19*. 
 
 With "Vorbericht," cast, and name of the composer, Johann Evangelist Drexel. 
 Preceded by "Die kinderzucht, ein lustspiel." SCHATZ 2818 
 
 Die kleinmuehtige selbst-moerderin Lucretia oder Die staats- 
 thorheit des Brutus. Musicalisches trauer-spiel auf dem Ham- 
 burgischen Schau-platz aufgefuehret. Im jahr 1705. 
 
 n. i,, n. d. Unpaged. 19 cm . 
 
 Five acts. Lengthy historical "vorbericht," which reads, in part: 
 
 "Die fehler, so in den italiaenischen arien moechten angemercket werden, sind 
 niemanden ale dem verfasser dieser opera beyzumessen [Bartnold Feind], denn er hat 
 dem zuschauer lieber seine eigne gedancken in dieser sprache verkauffen, als die 
 arbeit mit fremden federn schmuecken wollen, so viel wie moeglich hat er eich nach 
 dem deutschen metro gerichtet, weil die caesur der ital. verse msgemein etwas hart 
 klinget. Des Corneille Lucrece haben wir nicht gelesen, und die italiaenische comedie 
 dee Sigre dottore Bonnicelli hat uns eben so wenig als des cardinals Delfino Lucrezia 
 Romano, so nur eine tragoedia Msta . . . dienen koennen . . . Wir koennen nicht 
 erachten, was die Deutschen bissher abgeschreckt, ein schauspiel in ihrer mutter- 
 sprache von dieser beruehmten liebes-geschichte zu verfertigen . . . Die aria im 4. 
 auftritt der 4. handlung 'Hab ich ja zuviel verbrochen ' ist des verfassers nicht, doch 
 war von des hn. capellmeisters Kaeysers [Reinhard Keiser] composition, wie das 
 gantze schauspiel." 
 
 First performed, as indicated, November 23, 1705. SCHATZ 5099 
 
 Die kleinmuehtige selbst-moerderin Lucretia. Oder: Die 
 staatsthorheit des Brutus. Musicalisches trauer-spiel. 
 
 Barfh. Feind's Deutsche gedichte, Stade, 1708, pi., p. [175}-250. 17. 
 
 Five acts. Date for first performance as Hamburg, November 29, 1705, and same 
 "Vorbericht." 
 
 The composer, Reinhard Keiser, is not mentioned. ML 49.A2F2 
 
 Das kleinod Ceraunia yon TJlissipone jetzo genannt Lisbona. 
 
 Tr. of La gemma Ceraunia . . . 
 
 Der kluge Jakob. Eine komische oper in drey akten von J. K. 
 Wezel. 
 
 Leipzig, DyTcisclie ImcJihandlung, 1787. 143 p. lo% cm . 
 
 The composer, freiherr von Kospoth, is not mentioned. 
 
 First performed at Berlin, National Theater, February 26, 1788. SCHATZ 5219 
 
 Arien und gesaenge aus dem singspiele: Der kluge mann, oder: Die 
 drey wuensche, in einem aufzuge. 
 
 Hamburg, Friedrich Hermann Nesiler, n. d. 15\ cm . 
 
 Schatz enters this under Georg Benda's "Der holzhauer," but "Der kluge mann" 
 and "Der holzhauer" have nothing in common except a few of the characters, the 
 sub-title, and the idea of the piece. In Benda's opera the main characters are called, 
 " Valentin, der holzhauer; Brigitte, Valentins frau; Wilhelmine, Valentins tochter; 
 Konrad, Wilhelminens liebhaber; Wenzel, ein alter Pachter; Der amtmann;" etc. 
 In "Der kluge mann" the characters are: "Hanns, ein armer holzhauer; Grete, 
 seine frau; Lieschen, seine tochter erster ehe; Conrad, ein junger bauer; Wenzel, ein 
 reicher pachter; Der amtmann." It is now easy to see how Schatz was- led to hie 
 entryj though the texts are absolutely different. 
 
 A smgspiel of the title, "Der kluge mann," was performed at Berlin by Koch on 
 March 30, 1774. SCHATZ 771 
 
 Koenig der elfen. A. T. of Wranitzky's Oberon.
 
 672 LIBRARY OF CONGRESS 
 
 Koenig Saul, ein singspiel in zween aufzuegen, aufgefuehrt von der 
 studirenden jugend des Katholischen schulhauses bey St. Salvator in 
 Augsburg den 3. 4. und 6 ten des herbstmonates [September] 1798. 
 
 [Augsburg}, Joseph Anton Hueber, n. d. [16] p. 18 cm . 
 
 Cast and "Vorbericht," mentioning Matthaus Fischer as composer. At head of 
 title, "Kaiser Mauritius, ein trauerspiel . . . und." SCHATZ 3222 
 
 
 
 Der koenig Theodor. Tr. of Paisiello's II re Teodoro in Venezia. 
 
 Der koenig Theodor in Venedig. Tr. of Paisiello's II re Teodoro 
 in Venezia. 
 
 Der koenig Theodor zu Venedig. Tr. of Paisiello's II re Teodoro 
 in Venezia. 
 
 Der koenig und der pachter. Tr. of Monsigny's Le roi et le 
 fermier. 
 
 Gesaenge zu dem heroisch-komischen singspiel in drey aufzuegen: 
 Die koenigin der Schwarzen inseln als fortzetzung vom Wohl- 
 thaetigen derwisch. Die musik ist vom herrn Suessmaier, und nach 
 dem bekannten, und beliebten Spiegel von Arkadien, auf dieses sing- 
 spiel adaptirt, weil des grossen aufwandes, und der schweren be- 
 setzung weger der Spiegel nicht auf alien theatern kann gegeben 
 werden. 
 n. i. t 1797. 16 p. 
 
 Text probably by Johann Schwaldopler. Not recorded by Schatz. 
 
 ML 50.2.K7S9 
 
 Der koenigliche printz aus Pohlen, Sigismundus, oder Das 
 menschliche leben wie ein traum in einem singe-spiel. Auf dem 
 Hamburgischen schau-platz vorgestellet. 1693. 
 
 n. i., n. d. Unpaged. 17% cm . 
 
 Three acts. By Christian Heinrich Postel. Neither he is mentioned nor the 
 composer, Johann Georg Conradi. Argument and "Bericht an den leser," in which 
 Postel Bays: 
 
 "Diese erzehlte geschicht, oder vielmehr dieses gedicht, guenstiger leser, ist durch 
 eine hollaendische feder erstlich in einer comoedie auf den schauplatz gefuehrt, und 
 weil es von sonderbarer artigkeit, hat man es in eine opera, aber versichert nicht 
 ohne grosse muehe wollen uemkleiden, ob es nun vergnuegung oder missbehagen 
 erwecken werde, will man mit der zeit erwarten . . . Wo aber einer gedencket hier 
 eine vollkommene version der hollaendischen comoedie zu finden, betriegt er sich, 
 weil man aus derselben nur den verstand genommen, doch mit ein und andem 
 zusaetzen denselben ausgeziert. Ist nun jemand, der meinet, dass eolchea uebel 
 gethan, der versuch es auf eine andere art. Geraeth es ihm derm besser, wol! Phil- 
 iida soliis habebit." SCHATZ 2179 
 
 Der koenigliche printz Regnerus. In einer opera auff dem Ham- 
 burgischen schau-platz vorgestellet. 
 
 [Hamburg], Conrad Neumann, 1702. Unpaged. 16% cm . 
 
 Three acts. Neither the author is mentioned (unknown to Schatz) nor the com- 
 poser, Johann Christian Schieferdecker. Argument and scenario. 
 
 First performed, as indicated, 1702. SCHATZ 9602 
 
 Der koenigssohn aus Ithaka. Eine grosse heroisch-komische oper 
 in 2 aufzuegen. Verfasst von hrn. Emanuel Schikaneder. In musik 
 gesetzt von hrn. Franz Anton Hoffmeister. 
 
 Wien, Franz Anton Hoffmeisttr, 1797. 100, [2] p. 16% cm . 
 
 First performed at Vienna, Theater auf der Wieden. June 27, 1795. SCHATZ 4750
 
 OPERA LIBRETTOS 673 
 
 Der koenigssohn aus Ithaka Continued. 
 
 Gesaenge aus dem singspiele: Telemach, in vier abtheilungen. 
 (Neu bearbeitet). In musik gesezt von Hofmeister. 
 Hamburg, FriedricJi Hermann Nesiler, n. d. 1+8 p. 15. 
 
 Schikaneder's text is hardly to be recognized in this version by unknown editor. 
 First performed at Hamburg, Theater b. Gansemarkt, January 26, 1797. 
 
 SCHATZ 4751 
 
 - Arien und gesaenge aus Telemach, koenigssohn aus Ithaka. 
 Eine heroisch-komiscne oper in zwey aufzuegen. Die musik ist von 
 Franz Anton Hofmeister. 
 
 Frankfurt am Main, n. publ., 1798. 32 p. 16% cm . 
 
 Follows Schikaneder's original text (at least of the arias) fairly closely. 
 
 First performed at Frankfurt a/M, Nationaltheater, 1798. SCHATZ 4753 
 
 Telemach, prinz von Ithaka. Eine heroisch-komische oper in 
 zwei aufzuegen. Ganz neu bearbeitet. Die musik ist von Hof- 
 meister. Aufgefuehrt zum ersten male den 11. februar 1797 auf dem 
 Hoftheater zu Weimar. 
 
 Weimar, Hoffmann, 1797. 119 p. 15. 
 
 This version was by Christian August Vulpius (not mentioned), who left prac- 
 tically nothing of Schikaneder's text. SCHATZ 4752 
 
 Der kohlenbrenner, ein lustspiel mit gesang in einem aufzug von 
 Ludwig Ysenburg von Buri. 
 
 Neuwied, Gehra und Haupt, 1789. 4$ P- 14% cm - 
 
 Text and music by the above. 
 
 First performed at Neuwied, Hoftheater, 1779. SCHATZ 1422 
 
 Die kolonie. Tr. of Sacchini's La colonie. 
 
 Gesaenge aus der oper Der kopf ohne mann. Eine grosse heroisch- 
 komische zauber-oper in zwey aufzuegen nach der geschichte frey 
 bearbeitet von Joachim Perinet . . . Die musik ist vom herrn Joseph 
 Woelfl . . . 
 
 Wien, n. pull., 1798. 32 p. 16 cm . 
 
 First performed at Vienna, Theater auf der Wieden, December 3, 1798. 
 
 SCHATZ 11106 
 
 Kora und Alonzo, ein drama mit musik vermischt. Nach Marmon- 
 tels erzaehlung frei bearbeitet. Die musik ist von herrn Winter. 
 Mit begnehmigung eines kurfuerstl. Buecher-censurkollegiums. 
 [Munchen], Joh. Paul Voetter, n. d. Unpaged. 16 cm . 
 
 Two acts. By Franz Joseph Marius von Babo, who is not mentioned. 
 First performed at Ratisbon, Thurn & Taxische Schaubuehne im Ballhause, 1781. 
 
 SCHATZ 11038 
 
 Die kranckende liebe oder Antiochus und Stratonica. German 
 T. of Graupner's L'amore ammalato. 
 
 Der krieg. Ein lustspiel des herrn Goldoni als eine komische oper 
 in drey akten. 
 Leipzig, Adam FriedricJi Boehme, 1773. 182, [1] p. 15 cm . 
 
 Goldoni's comedy was "La guerra." Saal's translation of this, revised by Carl 
 Wilhelm Ramler, had been unsuccessful. Christian Felix Weisse saved the situa- 
 tion by adding songs and intermezzi which Johann Adam Hiller composed. In this 
 form as eingspiel, "Der krieg" was first performed at Berlin, Theater in der Behren- 
 etrasse, August 17, 1772 (Schatz). SCHATZ 4723 
 
 72251 VOL 114 43
 
 674 LIBRARY OF CONGRESS 
 
 Kriegs-liste des Bias. Tr. T. of Draghi's Gli stratagem! di Biante. 
 Der kurze irrthum. See Dez6de's L'erreur d'un moment. 
 
 Labino, e Carlotta. Farsa per musica di Gaetano Rossi da rap- 
 presentarsi nel nobilissimo Teatro Venier in San Benedetto Fau- 
 tunno dell' anno 1799. 
 n. i., n. d. J+0 p. 18 cm . 
 
 Cast and name of Johann Simon Mayr as the composer. Pasted on p. 4 a page 
 with the substitute aria "Amore e un ragazzo" (I, 9). 
 
 First performed, as indicated, October 9, 1799. SCHATZ 6155 
 
 I ladri di spirito. Commedia per musica di Giuseppe Palomba da 
 rappresentarsi nel Teatro de' Fiorentini nell' inverno di quest' anno 
 1769. 
 
 Napoli, Stamperia Avelliniana, 1769. 78 p. 15. 
 
 Three acts. Scenario, cast, and name of the composer, Vincenzo Curcio. 
 
 SCHATZ 2310 
 
 II ladro convertito per amore. L. T. of Pergolesi's Livietta e 
 Tracollo o sia La contadina astuta. 
 
 The lady of the manor. A comic opera: as it is performed at the 
 Theatre-Royal in Covent-Garden. Written by Dr. Kendrick. The 
 songs set to music by Mr. Hook. The second edition. 
 London, E. and C. Dilly, J. Wilkie [etc.], 1778. 4 p. 1., 64 p. 21 cm . 
 
 Three acts. Cast and preface, in which the author says: 
 
 "The outline of the following opera (written about ten years ago, by way of relaxa- 
 tion from severer studies) was taken from the Country Lasses of Mr. Charles Johnson, 
 particularly the pleasing and romantic episode, borrowed from the Custom of the 
 Country of Beaumont and Fletcher ..." 
 
 First performed November 23, 1778, as indicated. LONGE 85 
 
 The entertainments, set to musick, for the comic-dramatick opera, 
 called The lady's triumph. Written by Mr. Theobald, and set to 
 musick by Mr. Galliard. 
 London, Jonas Browne, 1718. 2 p. 1., 27 p. 19 cm . 
 
 In the acts one to four the "entertainments, set to musick" in this play were few 
 and far between, the first, at least according to Browne's publication, occurring in 
 the second act in form of a scene, with song; the second in the third act, as a "ballad 
 sung by Mr. Pack." In the fifth act there occurred "The masque of Decius and 
 Paulina," and the full text of this appears, with cast, on p. [12]-27 of this publication. 
 
 The piece evidently belongs to "The curious admixtures of masque and harle- 
 quinade" (Grove) which Rich produced, with music by Galliard, from about 1717 on 
 as pantomimes. LONGE 59 
 
 Der laecherliche printz Jodelet. [vignette.] In einem schertz- 
 haften singspiele auf dem Hamburgischen Schau-Platz vorgestellet 
 im jahr 1726. 
 
 [Hamburg], mit Stromerischen schrifften, n. d. Unpaged. 19 cm . 
 
 Five acts. Cast. Neither the author, resp. translator, Johann Philipp Praetorius, 
 is mentioned, nor the composer Reinhard Keiser. The Italian text has been added 
 to some of the arias. The text was based on Paul Scarron's "Jodelet ou Le maltre 
 valet." SCHATZ 5100 
 
 Die laecherliche werbung. A. T. of Der militz. 
 
 Die lacherlichen gelehrten. Tr. of Astaritta's I visionari.
 
 OPERA LIBRETTOS 675 
 
 Der lahme husar. Eine comische oper in zwey acten von Friedrich 
 Koch. 
 
 Dresden und Leipzig, Breifkopfische BucJihandlung, 1784' 62 p. 
 14 cm . 
 
 Bound in is an anonymous "Neujahrs-Vorspiel," p. [213J-230. Franz Seydel- 
 mann, the composer, is not mentioned. 
 
 First performed at Leipzig, Koch'sches Theater am Rannstaedter Thore, July 17, 
 1780, and at Dresden, Kleines Theater, in the same year. SCHATZ 9845 
 
 The laird in disguise. A. T. of Jamie and Bess. 
 
 II Lamano. Drama per musica da rappresentarsi nel famoso Teatro 
 Grimani di S. Gio. Grisostomo. Nel carnevale dell' anno 1719. Di 
 Domenico Lalli . . . 
 
 Venezia, Marin Eossetti, 1719. 60 p. 15 cm . 
 
 Three acts. Author's dedication, "Ante fatto," cast, scenario, and name of Michel 
 Angelo Gasparini as the composer. SCHATZ 3600 
 
 Lampedo, ein melodrama von herrn oberappellationsrath Lichten- 
 berg in die musik gesetzet vom churpfaelziscnen geistlichen rath und 
 capellmeister Vogler, von dem Hofe aufgefuehrt zur feyer des ll* 11 
 julii, 1779. 
 
 Darmstadt, J. J. WiU, n. d. 10 p. 15. 
 
 One act. SCHATZ 10798 
 
 Lanassa's zweyter theil. See Marie von Montalban. 
 Das land der liebe. A. T. of Bierey's Der zauber-hain. 
 
 Der land-mann ein philosoph. Tr. of Galuppi's II filosofo d 
 campagna. 
 
 Landsbye-pigen fra Prascati. Tr. of Paisiello's La Frascatana. 
 
 La lanterna di Diogene. Drama per musica da rappresentarsi alle 
 S. S. C. C. R. R. Maesta dell' imperatore Leopoldo et dell' impera- 
 trice Claudia nel carnovale dell' anno MDCLXXIV. Musica dell 
 S- Ant. Draghi, M. di Cap. della M. u delF imperatrice Eleonora. 
 Con 1'arie per li balli del S? Gio. Henrico Schmelzer, V. M. di Cap. di 
 S. M. Ces. 
 
 Vienna d* Austria, Matteo Cosmerovio, n. d. 4 P- ^> ^8 p. 15 cm . 
 
 In three acts, by conte Niccol6 Minato, who is not mentioned. Argument and 
 scenario. Lodovico Burnacini is mentioned as designer of the scenery; Santo Ven- 
 tura of the ballets. A drama d, clef (compare for the key Wotquenne, p. 90). The 
 emperor Leopold I is said to have contributed one aria. SCHATZ 2798 
 
 La lanterna di Diogene. Commedia per musica di Giuseppe 
 Palomba da rappresentarsi nel Teatro de' Fiorentini per terz' opera 
 di questo corrente anno 1794. 
 
 Napoli, n. publ, 1794. 48 p. 15 cm . 
 
 Two acte. Cast and name of Pietro Guglielmi as the composer. 
 
 First performed at Venice, Teatro di S. Samuele, fall of 1793 with Palomba's text 
 altered by Angelo Anelli, so that, as Schatz puts it, the revised opera was performed 
 before the original. According to Piovano'the libretto was really by Nicol6 Liprandi 
 (peeud. of Angelo Anelli) and Palomba simply utilized it for the replica in Naples. 
 
 SCHATZ 4250
 
 676 LIBRARY OF CONGRESS 
 
 La lanterna di Diogene Continued. 
 
 La lanterna di Diogene. Dramma giocoso per musica, da rap- 
 presentarsi nel Teatro elettorale di Sassoma. 
 Dresda, n. publ, 1796. 31 p. I, 72 p. 15%. 
 
 Two acts. German title-page, "Die laterne dea Diogenes," and detailed synopsis in 
 German precede the Italian text translated with very many alterations from the 
 Napoletan dialect into Italian. Pietro Guglielmi is mentioned as the composer. 
 
 First performed, as indicated, October, 1796. SCHATZ 4251 
 
 La lanterne veridique. Piece en un acte. Represented a la Foire 
 Saint Laurent. 1732. 
 
 Le Theatre de lafoire, Paris, 1737, t. ix, 2, pi, [17}-71 p. 17 cm . 
 
 By Carolet. Largely en vaiidevilles. The airs, selected or composed and arranged 
 by Jean Claude Gillier, are printed at the end of the volume in the "Table des airs." 
 
 First performed August 19, 1732. ML 48.L2X 
 
 A'lantosok, vagv-is: AVig nyomorusag. Egy vig Enekes Jat6k 
 harom fel-vonasokban. Szabadon forditotta, es muzsikara alkal- 
 maztatta Szerelemhegyi Andras. A'muzsikajat pedig tobb 6kesito 
 instrumentokkal bovitette Reiman tJr. 
 
 Pesten, Fiiskuti Lander er MiMlyndl, 1793. 73 p. 17. 
 
 Title in English would be, "The lute player or Gay misery ... set to music by 
 Andras Szerelemhegyi ..." SCHATZ 11530 
 
 Laodice. Dramma per musica, da rappresentarsi nel Teatro Gius- 
 tiniano di S. Mois6 1'autunno dell' anno MDCCXXIV. 
 Venezia, Marino Rossetti, n. d. 1+8 p. 15\ cm . 
 
 Three acts. By conte Angelo Schietti, who is not mentioned. Argument, cast, 
 scenario, and name of Tommaso Albinoni as composer. SCHATZ 130 
 
 Laodicea. O. T. of Paer's Tegene e Laodicea. 
 
 iy/ Laodicea e Berenice. Drama per musica da recitarsi nel Teatro 
 Vendramino di S. Salvatore Tanno 1695. Seconda impressione. Di 
 Matteo Noris . . . 
 
 Venetia, Nicolini, 1695. front. 71 p. 
 
 Three acts. Author's dedication, scenario, and notice to the reader with argument 
 in which Noris enumerates the qualities that in his opinion make for a good libretto 
 and says that for brevity's sake the original text has been modified in many places. 
 Giacomo Antonio Perti, the composer, is not mentioned. SCHATZ 7951 
 
 Laomedonte. Drama per musica da rappresentarsi nel Teatro 
 Giustinian a S. Moise, 1'autunno dell' anno MDCCXV . . . 
 
 Venezia, Marin Rossetti, 1715. 59 p. 
 
 Three acts. Neither Giovanni Battista Gaizzardi, the author, is mentioned, nor 
 Lorenzo Baseggio, the composer. Impresario's dedication, dated Venice, October 
 19, 1715, notice o the reader, argument, cast, scenario. SCHATZ 619 
 
 Larinda e Vanesio. See L'artigiano gentiluomo. 
 
 Larinda e Vanesio. O. T. of Hasse's L'artigiano gentiluomo. 
 
 The lass of the lakes. A. T. of Helvetic liberty.
 
 OPERA LIBRETTOS 677 
 
 Die last-tragende liebe, oder Emma und Eginhard, in einem sing- 
 spiele auf dem Hamburgischen schau-platze anno 1728 aufgefuehret. 
 [Hamburg]. Gedruckt mit Stromerischen scJirijften, n. d. Unpaged. 
 18. 
 
 Three acts. Note: 
 
 "Die music 1st ein unvergleichliches meister-stuecke von dem nie genung geprie- 
 senen herrn Telemann . . . Die poesie verfertigte C. G. Wend." 
 
 This is followed by the very odd 
 
 "Zuschrifft. Mein liebhaber . . . Gegeben auff dem Gosemarckte den 22. 
 novembr. 1728. Deine getreue Die Hamburgische Opera" in which we read: 
 
 "Der verfasser hat zween beruehmte poeten des vorigen seculi, als den Schlesi- 
 echen Hoffmannswaldau in seinen Helden-brieffen und den Hollaendischen Cats in 
 seiner Manntragenden magd zu vorgaengern und ob er sich zwar fuer einen viel zu 
 unwuerdigen nachfolger so grosser geister bekennet, so getrauet er sich doch zum 
 wenigsten den fuerwurff damit abzulehnen, als ober sich an eine unwuerdige materie 
 gemacht haette. Laeufft auch diese begebenheit schon nicht auff einen tugend- 
 hafften endzweck hinaus, wie solches von eingien als ein unumgaengliches requisitum 
 bey einer opera zum voraus gesetzet wird, so kan man doch dargegen nicht unbillig 
 repliciren, dass wofern anders tugenden und laster in keiner andern absicht als zur 
 resp. nachahmung und vermeidung in einem schauspiele fuergestellet werden, es 
 gleich viel gelte, ob sie in dem ausgange, mittel oder anfange derselben ihre rolle 
 spielen . " Sen ATZ 10262 
 
 Die laterne des Diogenes. Tr. of P. Guglielmi's La laterna di 
 Diogene. 
 
 Die launige kaffeeschenkinn. Tr. of Weigl's La caffettiera 
 bizzarra. 
 
 Laura. Operette in drei akten. Zweiter band. 
 n. i., n. d. 16 cm . p. [257}-314. 
 
 Detached from the works of f reiherr Julius Soden v. Saesanfart (Berlin, Maurer, 1789), 
 who says in a prefatory note: 
 
 "Die gesaenge dieser oper haben gef alien und eind sehr gut in musik gesezt 
 worden. diesa bewog mich, sie durchzusehen . . ." 
 
 No composer recorded by Schatz. SCHATZ 11459 
 
 Laura Rosetti. Ein schauspiel mit gesang, von d'Arien. 
 
 Leipzig, DyckiscTie biLchJiandlung, 1777. 96 p. 16% cm . 
 
 Three acts. 
 
 First performed, with music by Johann Andre, at Berlin, Dobbelinsches Theater, 
 May 23, 1778. SCHATZ 188 
 
 Lauretia, ballet. See Bertoni's Cajo Mario. 
 La Lauretta, ballet. See Caruso's II matrimonio in commedia. 
 La Lauretta, ballet. See Gassmann's L'amore astigiano. 
 Lauretta, ballet. See P. Guglielmi's La serva innamorata. 
 Lauretta, ballet. See Tritto's L'Artenice. 
 
 Lauso e Lidia. Dramma per musica di Giuseppe Foppa da rappre- 
 sentarsi nel Teatro La Fenice il carnovale dell' anno 1798. 
 
 Venezia, Stamperia Valvasense, n. d. 62 p. 17 cm . 
 
 Two acts. Argument, cast, scenario ; and name of Joh. Simon Mayr as the com- 
 poser. On p. [53J-62, cast and description of the ballet, "L'inutile precauzione, " by 
 Lauchlin Duquesny. The composer not mentioned. 
 
 First performed February 14, 1798. SCHATZ 6156
 
 678 LIBBABY OF CONGBESS 
 
 La uso e Lidia, ballet. See Monza's Cajo Mario. 
 
 Lauso e Lidia, o sia II trionfo dell' amicizia, ballet. See Nasolini's 
 Teseo a Stige. 
 
 Lauso e Lidia, ballet. See Rust's Adriano in Siria. 
 Lauso e Lidia, ballet. See Tarchi's L'impostura poco dura. 
 La lavandara. L. T. of Galuppi's II marchese villano. 
 La lavandara astuta. L. T. of Galuppi's II marchese villano. 
 
 La lavandarina. Intermezzi per musica a cinque voci, da cantarsi 
 nel Teatro alia Valle 1'anno 1746 ... 
 Roma, Komarek, 1746. 48 p. 16 cm . 
 
 Two parts. Dedication by Angiolo Lungi, cast, and name of Giovanni Battista 
 Casali as composer. The author is not known to Schatz. 
 
 First performed in January, as indicated. ML 48. A5 v. 3 
 
 Le lavarandine. O. T. of Zannetti's Die waescherinnen, also of his 
 Die waeschermaedchen. 
 
 I1 Leandro. Drama per musica del conte Camillo Badovero . . . 
 Venetia, Gio. Francesco Valvasense, 1679. 4@> Ul P- 14\ cm - 
 Three acts. Author's dedication! dated Venice, May 15, 1679, argument, notice to 
 the reader, and scenario. Francesco Antonio Pistocchi, the composer, is not 
 mentioned. 
 
 , The opera was performed, according to Schatz, at the Teatro sulle Zattere, with 
 movable wooden figures, and the singers behind the scenes. SCHATZ 8196 
 
 Gl'amori fatali. Dramma per musica da rappresentarsi nel 
 Teatro di S. Moise. Del Co. Camillo Badovero . . . 
 
 Venetia,, Gio. Francesco Valvasense, 1682. Ifi p. 14 m - 
 
 Lacks p. 33-40. 
 
 Three acts. Impresario's dedication dated Venice, January 1682, printer's notice 
 to the reader, mentioning this as a replica, and the name of "Francesco Antonio 
 Pistochino" (Pistocchi) as the composer, argument and scenario. This is with 
 negligible differences the same text as that of " II Leandro " and was performed in the 
 eame manner. SCHATZ 8199 
 
 La lecjon, ou La tasse de glaces. Comedie en un acte et en prose, 
 melee d'ariettes, represent ee sur le Theatre de la rue Feydeau, le 5 
 prairial, an 5. eme (24 mai, 1797, v. s.) Paroles de M. Marsollier, 
 musique de M. d'Alayrac. 
 Paris, Huet, an V, (1797, v. st.) 4 p. I, 48 p. 20% cm . 
 
 Cast. In his Avertissement, which contains a very flattering "hommage" to 
 Dalayrac, Marsollier says: 
 
 "Cette com^die, imitee d'un des jolis proverbes de M. Carmontelle, est la premiere 
 que j'aie donne sur le Theatre italien, sous le nom de la Fausse peur. L ouvrage 
 r^useit, et obtint meme 1'honneur d'une re'prise, quoi-qu'il eut bien des de"fauts, et 
 que la musique 16gere, agr6able, mais foible, ne rat 1' ouvrage que d'un enfant de 
 quatorze ans, (le jeune Darcis) qui annongait, il est vrai, les plus heureuses disposi- 
 tions, et que la mort a enlev6 a la fleur de 1'age. II toit 1'eleve du celebre Gretry 
 > . . Voulant fair reparoitre ce petit ouvrage . . . j'ai cru ne pouvoir mieux faire, 
 que de 1'embellir des charmes de la musique de M. d'Alayrac . . . il a bien voulu 
 fie charger de la Lefon . . ." ML 50.2.L23D2
 
 OPERA LIBRETTOS 679 
 
 Lenardo und Blandine. Ein melodram von J. F. von Goetz. In 
 musik gesezt von herrn Winter . . . Aufgefuert von einer gesell- 
 schaft adelicher kunstfreunde auf dem Stadttheater in Augsburg. 
 [Augsburg, Andreas Brinhausser, 1785,} front., unpaged. 15% cm . 
 
 Two acts. Argument and long "Vorbericht" (8 p.) dated January, 1785, which 
 reads, in part: 
 
 "Vor acht Jahren, da der Geschmak an Melodramen in Teutschland sich aus- 
 zeichnete, dachte ich dieser Art Schauspiele ofters nach, und konnte mich nicht 
 enthalten zuweilen meine Anmerkungen uber den Zweck und die innere Einrich- 
 tungen des Spiels, nebst den erforderlichen Masregeln der begleitenden Musik, 
 ofentlich kund zu thun. 
 
 "Ich war weit entfernt, die Warscheinlichkeit eines Monologes von solcher Aus< 
 denung zu behaupten. Allein, so wie eine philosophische Streitfrage, wobei der 
 Gegensaz echon erwiesen angenommen ist, eh man eich daruber streitet, dem Ver- 
 etande zu einer angenemen Beschaftigung wird : eben BO durfe ein leidenschaftlicher, 
 idealisirter Monolog, welcher Saze enthalt, die bei wirklichen Handlungen und Dia- 
 logen einzeln vorkommen konnen, in einer gedrangteren Reihe nicht ganz unan- 
 genem sein. Ueberdies konnte man ein Melodram als ein kiinstliches Solo ansehen, 
 worin der Kiinstler seine Fertigkeit, reichhaltige Verbindung der Ideen und das 
 Kreszendo seiner Kunst zu zeigen Gelegenheit nimmt. In den gewonlichen dra- 
 matischen Stiiken dient dem Schauspieler zum Vorteil: dass sein Spiel durch 
 Zwischenszenen oft vorteilhaft unterbrochen wird, und dem vom Sinne der Handlung 
 erftillten Zuschauer manche Bewegung nicht besonders auffallt, die der Spielende 
 haufig bis zum Ekel widerholt. Ich habe diese Unvollkommenheit in den Vor- 
 stellungen verschiedener beliebten Melodramen zuweilen wargenommen, worin die 
 spielenden Personen, teils bei dem Texte gegen den gehorigen Ausdruck gestiku- 
 hrten, teils die hie und da mit Musik ausgedenten unwarscheinlichen Intervallen, 
 wie abgerissene Perioden, begleiteten. 
 
 "In dieser Absicht stimte mich einst ein einsamer Spaziergang durch romantische 
 Gegenden zu Lieblingsbildern dichterischer Auftritte, ein Zufal hielt mich bei 
 Burgers Lenardo und Blandine fest; und der Sinn dieses innigst durchgedachten 
 Stones erhizte meine Einbildungskraft so nachdruklich, dass ich eine ganze Reihe 
 von Handlungen, die bei dieser Begebenheit sich vor odor nach ereignen konten, 
 mir gleichsam im Geiste vorschweben sah. Im Schwunge dieser Ideen drangte michs 
 zum Deklamiren, zum Gestikuliren, und endlich sas ich auf meinem Stule fest, und 
 versuchte einige der vorgeschwebten Bilder mit Feder und Kreide zu entwerfen. 
 Dabei ereignete sich der ausserst seltne Fal, dass mir die Arbeit den folgenden Morgen 
 nicht ganz misfiel. Kunstfreunde ermunterten mich fortzufaren: und eo ward nach 
 und nach Lenardo und Blandine in dramatische Szenen eingeleitet, und von Punkt 
 zu Punkt so niedergezeichnet, dass man die Folge von Zeichnungen, welche sich auf 
 160 Blat beliiuft, als eine fortdauernde Handlung ansehen konte, die so oft zu erneuern 
 war, als man Belieben trug, die Zeichnungen nach ihrer Reihe und Verbindung vor 
 Augen zu legen. 
 
 "Ich war dabei bemiihet den Grundursachen der menschlichen Bewegungen nach- 
 zuforschen, wornach sich die Stellung und Geslchtsausdriike des menschlichen 
 Korpers durch verschiedne Lagen drangen und verandern konten. Die Resultate 
 dieser snuhsamen Beobachtungen hab' ich bereits dem Publikum unter dem Titel: 
 Versuch leidenschaftlicher Entwurfe fur empfindsame Kunst- und Schauspielfreunde 
 vorgelegt, und ich gestehe gerne dass die giitige Aufnahme dieses Versuches in ver- 
 echidnen ofentlichen Blattern meiner Erwartung desto iiberraschender kommen 
 muste, je mer ich von der Beschranktheit meiner geringen Verdienste iiberzeugt bin. 
 
 "Meine Absicht dabei war vorziiglich den ofentlichen Redner und Schauspieler 
 auf die feineren Reize des Geberdenspils und der Deklamazion aufmerksam, und 
 dadurch das Gebiet des Seelenvermogens und seines unbegreiflichen Einwirkungs- 
 kreises bekanter und gemeinniizlicher zu machen. Diess war eigentlich die Haupt- 
 absicht' des Melodrams, welches ich bey seiner Entstehung keineswegs fur eine 
 ofentliche Vorstellung auf der Biihne, sondern bios zu einem Grundplan zur Zer- 
 gliederung der Symtome und Auswiichse einer der bekantesten und algemeinsten 
 Leidenschaften (ich meine die Liebe) bestimte. Es war demnach Zufall, und keines- 
 wegs meine Hauptabsicht, wenn dieses Stiik auf verschiedenen Buhnen Teutschlands 
 aufgefurt ward, und die Talente verschidner Musiker beschaftigt hatte, die Ruhe- 
 punkte der Affekte mit Melodien zu begleiten . Die Einrichtung jener Musik, welche 
 unter meiner Aufsicht und nach meinen geringen Musikbegriffen ausgefurt worden, 
 ist, (wie auf den Titel angemerkt ward) von Herrn Winter, einem Mann, welchen 
 Teutschland noch zu wenig kennt, um ihm so viel Gerechtigkeit widerfaren zu lassen, 
 ale eeine besonderen musikalischen Vorziige verdienen, welche er in verechiednen
 
 680 LIBRARY OF CONGRESS 
 
 Lenardo und Blandine Continued. 
 
 Werken an dem kurfuretl. Munchner und Manheimer Hofe bereits nimlichst gezeigt 
 hat. 
 
 "Vileicht diirfte es einigen Kunstfreunden nicht unangenem seyn, wenn ich hier 
 einige Ideen anmerke, wornach ich dem Tonkiinstler bei diesem Melodram fortzu- 
 Bchreiten bat. Ich fand bei einigen Dramen und Rezitativen, welche mit Musik 
 begleitet werden, den Feler: dass der begleitende Gesang der Instrumente entweder 
 zu ser an einzelnen Bildern haftete, und allenfals die Bewegungen eines Stromes 
 Bchilderte, welcher unter der ganzen Vorstellung der Natur warscheinlich auf seinem 
 unveranderlichen Plaz fortrauschte, sich aber dennoch in der Musik in dem Augen- 
 blik nur horen liess, da der Schauspieler von Strome sprach. Ausser dieser Klein- 
 meisterei pflegen die Entwiklungen und Ausweichungen ofters so gedent zu werden, 
 dass der Zuschauer und Schauspieler in Verlegenheit gesezt werden muss, was sie 
 in diesen langen Zwischenraumen handlen oder denken sollen. Dadurch wird das 
 vilfaltige hin und her Traben, und manche absichslose Handebewegung bei einigen 
 Monologen unvermeidlich. Meiner unmasgeblichen Meinung nach solte gerade BO 
 viel und nicht mer Musik zwischen den Redeintervallen angenommen und gehort 
 werden, als warscheinliche Zeit die Seele in ihrer einmal angenommen Lage notig 
 hat, um Begriffe aus Begriffen zu folgern oder dadurch zu neuen Ideen iiberzugehen. 
 Der Tonsezer sol eich lebhaft in die Lage der handlenden Person yersezen und den 
 sprachlosen Zustand mit sanften Akorden ausfullen, worinnen das innere Gefiil sich 
 sammelt und ordnet. Er sol die Wirkung iener Momente studiren, worinn die Lei- 
 denschaft entweder noch nicht zu iener Hohe gestiegen 1st, dass sie den Mund unwil- 
 kurlich ofnet, und zu sprechen drangt, oder wenn durch Uebergewicht des Gefiila 
 die Sprache stoket. 
 
 "... Diese wenigen Bemerkungen fand ich notig bei Verfertigung der Musik zu 
 meinem Drama vorauszusezen. Und einsichts voile Kenner der Tonkunst haben die 
 von dem geschikten Tonsezer dadurch erreichten Wirkungen mit Beifal begliiket. 
 Sie werden auch in den meisten Stellen der Musik finden, dass die Instrumente in 
 dem namlichen Grundtone beginnen, oder aufhoren, in welchem die Stime der dek- 
 lamirenden entweder einfalt, oder vorhergegangen ist. Dadurch schmilzt Musik und 
 Deklamazion harmonischer ineinander, und drangt den Sinn der Handlung ungez- 
 wungener fort. Aus diesem last sich ohngefahr schliesen, wie genau Dichter, Ton- 
 eezer und Agirende auf einen Punkt zusammen wirken mussen, um einer Vorstellung 
 Warheit und Ungezwungenheit zu geben ..." 
 
 First performed, as indicated, at Augsburg, January 25, 1785; at Munich, National 
 Schaubuhne, June 25, 1779. SCHATZ 11040 
 
 Die Leipziger messe. A. T. of Keiser's Le bon vivant. 
 
 Leon ou Le chateau de Montenero. Drame en trois actes et en prose 
 m61e d'ariettes. Represent^ sur le Theatre de 1'Opera-comique, 
 ci-devant The'atre-italien, le 24 vende*miaire, an VII de la Repu- 
 blique. Paroles du citoyen Hoffman. Musique du citoyen Dalayrac. 
 
 Paris, Vente, an 7 [1798-99]. 84 p. 19%. 
 
 Cast. 
 
 First performed, as indicated, October 15, 1798. ML 50.2.L26D2 
 
 Leonida in Sparta. Drama da rappresentarsi in musica nel Regio 
 Teatro di Torino Panno 1689. 
 
 Torino, Bartolomeo Zappata, 1689. 88 p. 15 cm . 
 
 Prologue and three acts. Argument, scenario, and prefatory note by the unknown 
 author, who says: 
 
 "Per servire al genip di chi commanda, eccomi quel che non sono, e forzato a com- 
 parire quel che mai fui, cioe divenuto autore d'un drama, senza sapere tampoco quel 
 che si sia teatro." 
 
 "Giovanni Sebenico mastro di capella di S. A. R." is mentioned as the composer. 
 
 SCHATZ 9812
 
 OPERA LIBRETTOS 681 
 
 Leonida in Tegea. Drama per musica da rappresentarsi nel Teatro 
 Zane di S. Moise 1'anno MDCLXXVI del Co. Nicolo Minato . . . 
 Venetia, Francesco Nicolini, 1676. 64 p. 13\ cm . 
 
 In three acts. With impresario's dedication dated February 9, 1676, argument, 
 scenario, and notice to the reader. He is informed that Minato's original libretto has 
 been retouched ' ' per compiacere al genio di questo Serenissimo Cielo, ' ' but that the 
 alterations have been pointed out by quotation marks. He is also informed that 
 Antonio Draghi's music, originally composed for Vienna, June 9, 1670, has been 
 retouched and adjusted, but it is not said that this duty fell to M. A. Ziani. The 
 majority of the arias has either been added or changed. The very first, for instance, 
 "Parto mio ardore," and the very last, "II destin gia s'e placato," are additions. 
 
 SCHATZ 2799 
 
 Leonida zu Tegea. Gesungene vorstellung zu begaengnuss dess 
 glorwuerdigen geburths-tag der roemischen Kayserlichen Mayestaet, 
 Leopold dess Ersten ... In sing-kunst gerichtet durch Antoni 
 Draghi, Ihrer Mayestaet der verwittibten kayserin Capellmeistern. 
 Und in teutsch uebersetzet. 
 
 Wienn, ley Mattheo Cosmerovio, 1670. 7 p. I., 63 p. 14% cm . 
 
 In three acts, with the " Beurlaubung " (licenza). With argument and scenario. 
 A German translation of Draghi's "Leonida in Tegea," as originally performed at 
 Vienna, June 9, 1670. For this opera the emperor Leopold I composed the arias, "lo 
 non so cangiar amor" and "Quand' era giovanetta." Both were published by Adler, 
 1892, in " Musikalische werke der kaiser Ferdinand III, Leopold I und Joseph I." 
 
 SCHATZ 2800 
 Leonida re di Sparta. See M. Curzio. 
 
 Leonore, ou L'amour conjugal, fait historique, en deux actes et en 
 prose melSe de chants. Paroles de J. N. JBouilly, musique de P. 
 Gaveaux, represented pour la premiere fois, a Paris, sur le Theatre 
 Feydeau, le l w ventdse, an 6 e de la Re"publique francaise [February 
 19, 17981. 
 
 Pans, Barba, an septieme [1798-99]. 40 p. 19\. 
 
 Cast. SCHATZ 3649 
 
 [Lesbina e Milo] Nuovi intermedii per musica da rappresentarsi 
 nel Teatro di Sant' Angelo. L'autunno dell' anno 1706 . . . 
 Venezia, Gio. Battista CMarello, 1706. 17 cm . 15 cm . 
 
 Three parts. Dedication dated Venice, November 15, 1706, and signed Lesbina, 
 one of the two characters. Cast. The intermedii were performed together with the 
 opera, "Paride in Ida" (text by Francesco Mazzara; music by Luigi Manza and 
 Agostino Bonaventura Coletti), according to Schatz, to whom both author and com- 
 poser of these intermedii are unknown. SCHATZ 11345 
 
 Lesbina e Nesso. 
 
 Intermezzi (text by Nicola Serino; music by Leonardo Leo), interpolated in 
 Haendel's "Rinaldo," Napoli, 1718, performed, with additions by Leo, on October 1, 
 1718. (Not listed by Leo.) See SCHATZ 4495 
 
 La letteraria fanatica, ballet. See Cimarosa's L'impresario in 
 angustie (Milano, 1789). 
 
 La lettre, comedie en un acte, en prose et vaudevilles, par C. J. 
 Loeuillart-Davrigni ; represented pour la premiere fois, sur le Theatre 
 du Vaudeville, le 7 nivose 1'an 3 me de la Re"publique francaise [Dec. 
 27, 1794]. 
 
 Paris, Chez le libraire, au Theatre du Vaudeville, an troisieme [1794- 
 95]. 44 p. 20 cm . 
 
 Cast. A few of the airs not6s are printed in the text for instance, one by Jadin, 
 "Pour la beauteV' Not recorded by Cl. & L. or Schatz. ML 48.M2L
 
 682 LIBRARY OF CONGRESS 
 
 Der letzte rausch. Tr. of Gluck's L'ivrogne corrige". 
 
 Leucippe, e Teonoe. Tragedia per musica da rappresentarsi nel 
 famoso Teatro Grimani di S. Gio. Grisostomo. L'autunno dell' anno 
 1719. 
 
 Venezia, Marino Rossetti, 1719. 81 p. 15 cm . 
 
 Five acts. By Pietro Maria Suarez, who is not mentioned. Argument, long 
 notice to the reader, cast, scenario, and name of Antonio Pollaroli as the composer. 
 
 SCHATZ 8262 
 
 Leucippo, favola pastorale per musica, rappresentata nella Regia 
 Elettoral villa di Sant' Uberto, il felicissimo giorno natalizio della 
 Maesta di Augusto III ... li 7 ottobre 1'anno MDCCXLVIL 
 TO. i., n. d. 8 p. I, 163, [4] p. 17 cm . 
 
 At end, "Dreeda . . . la vedova Stflssel." 
 
 Three acts and licenza. Argument, scenario, cast, and names of Gio. Claudio 
 Pasquini as author, of Johann Adolph Hasse as composer. German title page, 
 "Leucippus," and text face Italian. SCHATZ 4545 
 
 - Leucippo. Favola pastorale per musica da rappresentarsi nel 
 Teatro Grimani di San Samuele nella fiera dell' Ascensione 1'anno 
 MDCCXLIX. 
 
 Venezia, Al segno della scienza, 1749. 58 p. 15% cm . 
 
 Three acts. Argument, cast, scenario, and name of Johann Adolph Hasse as the 
 composer. The text seems to be practically the same as in Pasquini s text, Dresden, 
 1747. SCHATZ 4591 
 
 Leucippus. Tr. of Basse's Leucippo. 
 
 La liaison de 1'Amour et de Bachus, ballet. See Traetta's Siroe. 
 
 La liberazione di Castruccio Castracane, ballet. See Cimarosa's 
 L'Olimpiade. 
 
 La liberazione di Lilla, ballet. See Bertoni's Medonte. 
 
 La libert^ gelosa di se stessa in persona di Annibale amante di 
 patria. See M. Curzio. 
 
 La liberta nociva. Drama giocoso per musica da rappresentarsi 
 nel Teatro Tron di S. Cassiano 1'autunno dell' anno 1744. 
 Venezia, n. publ., n. d. 2 p. 1., 88 p. 17 cm . 
 
 At end, p. 61 repeated, with variants. 
 
 Three acts by Giovanni Barlocci (not mentioned). Cast and name of the composer, 
 Rinaldo di Capua. 
 
 First performed at Rome, Teatro della Valle, January 17, 1740. SCHATZ 8798 
 
 La liberta ramminga. See M. Curzio. 
 
 La libert^ sempre stabile nelle vicende del principato. See M. 
 Curzio. 
 
 La liberta trionfante. See M. Curzio. 
 
 La libert^ trionfatrice del tempo. See M. Curzio.
 
 OPERA LIBKETTOS 683 
 
 Liberty- hall: or, A test of good fellowship. A comic opera, in two 
 acts. As it is performed with the greatest applause at the Theatre- 
 Royal in Drury-Lane. 
 
 London, Printed for the author, and sold by G. Kearsley, 1785. 3 p. I., 
 38 p. 21 cm . 
 
 Two acts. Cast. The author-composer, Charles Dibdin, is not mentioned. 
 First performed February 8, 1785, as indicated. LONGE 95 
 
 Licinio imperatore. Drama per musica nel famosissimo Teatro 
 Grimano in S. Gio. Grisostomo 1'anno 1684. Di Matteo Noris . . . 
 
 Venetia, Francesco Nicolini, 1684- 84 p. 14 cm - 
 
 Three acts. Author's dedication, argument, and scenario. The composer, Carlo 
 Pallavicino, is not mentioned. SCHATZ 7726 
 
 II Licurgo overo II cieco d'acuta vista, drama per musica da rappre- 
 sentarsi nel Teatro di S. Angelo 1'anno MDCLXXXVL 
 
 Venetia, Francesco Nicolini, 1686. 57 p. 13% cm . 
 
 Three acts. Neither Matteo Noris, the author, nor Carlo Francesco Pollaroli, the 
 composer, is mentioned . The registration date is given as February 5, 1685 . Scenario 
 and notice to the reader, which reads: 
 
 "Per accomodarsi a i personaggi, che recitano, & per non poter per tal quale con- 
 valeecenza dell' autore farsi dal medesimo qualche accordo finale di perfettione alia 
 presente operetta, sono state aggionte canzoni, accorciate scene di maggior forza, con 
 pregiudizio delle medesime, & fatte aggiongere altre eegnate con queste linee ,, come 
 vedrai; tanto ti basti." 
 
 This applies only to scenes ix and x of the third act. . SCHATZ 8300 
 
 Die lieb des Arion gegen die Leucosie. Tr. T. of the ballet Les 
 amours d'Arion & de Leucosie. 
 
 Die lieb kan alles. Tr. of L'amor puo tutto. 
 
 Die liebe auf dem lande. Eine komische oper in drey aufzuegen 
 von C. F. Weisse. Verbesserte ausgabe. 
 
 Leipzig, DyJcische buchhandlung , 1776. 104 P- 17 cm . 
 
 The composer, Johann Adam Hiller, is not mentioned. Weisse based his piece on 
 two French works, Madame Favart's "Annette et Lubin" and Anseaume's "La 
 clochette." 
 
 First performed at Leipzig, Theater beim Rannstaedter Thore, May 18, 1768. 
 
 SCHATZ 4724 
 
 Die liebe auf dem lande. Eine komische oper in drey aufzuegen. 
 C. F. Weisse, Komische opem,' Carlsruhe, 1778, fh. i, p. [97}-188. 
 
 On p, 98, the note: "Nach Anette a Lubin des herrn Favart und der Clochette des 
 herrn Anseaume." The composer, Hiller, is not mentioned. ML 49.A2W2 
 
 Liebe aus dankbarkeit. A. T. of Seydelmann's Das ungeheuer. 
 Liebe aus haabsucht. Tr. of Seydelmann's Amor per oro. 
 
 Die liebe bey den handwerkern. Tr. of Gassmann's L'amore 
 artigiano. 
 
 Liebe durch zauberei. A. T. of Grossheim's Titania. 
 
 liebe erhaelt den sieg. A. T. of Gre"try's Ferdinand und Nicolette.
 
 684 LIBRARY OF CONGRESS 
 
 Die liebe fuer den kaiser, ein laendliches schauspiel mit gesang 
 von herrn Wagenseil. Die musik von herrn direktor Steudle. 
 Hierauf folgt: Der prinzenraub, oder Kunz von Kauffungen, ein 
 historisches schauspiel in 5 aufzuegen, von herrn Neumann. 
 Kaufbeuren, Dom, 1790. Unpaged. 16$ cm . 
 
 At head of title: "Von der loebl. Agenten Geeellschaft A. C. wird Montags den 25 
 und Donnerstags den 28 Oktobr. auch Montags den leten novembris aufgefuehrt." 
 
 Cast and prefatory note. On p. 5, the title and note preceding title repeated 
 with addition "an dem obrigkeitlich verordneten freudenfeet wegen beglueckter 
 kaiserwahl Sr. Majestaet Leopold II." SCHATZ 10062 
 
 Die liebe gegen das vaterland oder Der sterbende Cato. German 
 title of Reiser's L'amore verso la patria. 
 
 Die liebe im matrosenkleide. Tr. of Weigl's L'amor marinaro. 
 
 Die liebe im narrenhause. Eine komische oper in zwey aufzuegen. 
 In musik gesetzt von hrn. Ditters von Dittersdorf. 
 n. i., n. d. p. [25r\-850. 17 cm . 
 
 By Gottlieb Stephanie, the younger. Detached from hie Singepiele, 1792? 
 First performed at Vienna, Karntnnerthor theater, April 12, 1787. SCHATZ 2599 
 
 Gesaenge aus dem singspiele: Orpheus der zweyte, in drey auf- 
 zuegen, nach einer musik von Dittersdorf. 
 
 Hamburg, J. M. Michaelsen, 1788. 86 p. 16 cm . 
 
 Is "Die liebe im narrenhause," as altered by Friedrich Ludwig Schroder. 
 First performed as pasticcio at Hamburg, Theater b. Gansemarkt, December 8, 
 1788. SCHATZ 2600 
 
 Die liebe in der Ukrane oder Hier gehen die maedchen auf die 
 freierei aus. Ein singspiel in vier aufzuegen. 
 
 Frankfurt am Main, Esslingersche Buchhandlung, 1786. 104 P> 
 
 Neither the author, Heinrich Christian Pleissner, nor the composer, Stanislaus 
 Franz Xaver Spindler is mentioned. 
 
 First performed at Innsbruck, Hoftheater, 1786. SCHATZ 9976 
 
 Liebe macht alle stande gleich. A. T. of Gerl's Der bestrafte 
 hochmuth. 
 
 Gesaenge zu der oper: Liebe macht kurzen prozess, oder Die hey- 
 rath auf gewisse art. In zwei aufzuegen von Joachim Perinet . . . 
 1799. 
 n. i., n. d. 27 p. 16 cm . 
 
 A pasticcio. The names of the following composers are indicated in the libretto: 
 Johann Baptist Hennerberg, Joseph Woelfl, Matthias Stegmayer, Franz Anton 
 Hoffmeister, Franz Xaver Siissmayer, Ignaz Xaver, ritter von Seyiried, Jacob 
 Haibel, Joseph Triebensee. 
 
 First performed at Leipzig, Theater am Rannstadter Thore, 1799; at Vienna, 
 Theater auf der Wieden, March 26, 1798. SCHATZ 4633 
 
 Die liebe ohne bossheit. Tr. of Ottani's L'amore senza malizia. 
 Die liebe und Psiche, ballet. See Piccinni's Cato in Utica. 
 
 Die liebe unter den gondoliren. A. T. of Fliess' Die regata zu 
 Venedig.
 
 OPEKA LIBRETTOS 685 
 
 Die liebe unter den gondolieren. A. T. of Sander's Die regata zu 
 Venedig. 
 
 Die liebe unter den handwerksleuten. Tr. of Gassmann's L'a- 
 more artigiano. 
 
 Liebe wagt alles. Tr. of Devienne's Les visitandines. 
 Liebe zum schein. Tr. of P. Guglielmi's I finti amori. 
 Die liebenden greise. Tr. of Anfossi's Gli amanti canuti. 
 
 Das liebesgrab. Ein schauspiel mit gesang in drey akten. 
 
 HeydeTberg, Gebrueder Pfaehler, 1779. 4 P- 1> (incl. front.) , 152 p. 
 
 Neither the author, Wilhelm Gottlieb Becker, nor the composer, Friedrich Schwin- 
 del, is mentioned. SCHATZ 9779 
 
 Die liebesintrigue. A. T. of Paer's L'intrigo amoroso. 
 
 Der liebesteufel, oder Der alchymist. In einem akt. Nach Le 
 Grand. 
 
 A. G. Meissner, Operetten, Leipzig, 1778. 79 p. 17 cm . 
 
 Is the second of the three librettos in this collection. Meissner says, in his 
 ' ' Vorerinnerung : ' ' 
 
 "Der gang dieser operette ist nach L' amour diable von Le Grand: Aber auch nicht 
 yielmehr als den blossengang der scenen, undselbst diesen nicht durchgaengig, hab'- 
 ich beybehalten; anfang und ende weichen vom franzoesischen original ganz, und 
 auch hin und wieder der mittlere theil ab . . . 
 
 "Scenen mit gesang haben nothwendig einen ganz andern bau, als eolche, die 
 bloss gesprochen werden: Meistentheils nehmen sich diejenigen operetten beym 
 auffuehren am wenigsten gut aus, die sich treflich lesen laseen, und zum glueck gilt 
 dies auch oft umgekehrt; denn oft skitzirt der dichter nur, um dem feuer des ton- 
 kuenstlers etof und raum zu geben . ' ' 
 
 No composer mentioned. The text became much better known under the alterna- 
 tive title. Schatz (with doubts) records a setting by Johann Andre under the above 
 title at Schwerin, Theater im Rathhause, May 15, 1788. ML 49.A2M3 
 
 Der alchymist. Operette. [vignette.] 
 
 Leipzig, DyTcische BucMandlung, 1778. 79 p. 16 cm . 
 
 One act. Same "Vorerinnerung'^as above. No composer mentioned. 
 
 SCHATZ 9742 
 
 Arien und gesange su der operette Der alchymist. 1778. 
 n. i., n. d. 16 p. 15% cm . 
 
 One act. Cast. Neither Meissner is mentioned, nor the composer, Johann Andre. 
 First performed at Berlin, Dobbelinsches Theater, April 11, 1778. SCHATZ 1770 
 
 - Arien und gesaenge aus der operette : Der alchymist, in einem 
 aufzuge, vom nerrn Meissner. Die musik ist vom herrn Schuster. 
 Hamburg, J. M. Michaelsen, 1779. 16 p. 15\ cm . 
 
 First performed at Dresden March, 1778; at Hamburg, January 27, 1779. 
 
 SCHATZ 9742 a 
 
 Die liebhaber auf der probe. Tr. of Piticchio's Gli amanti alia 
 prova. 
 
 Der liebhaber von alien. Tr. of Galuppi's opera L'amante di tutte.
 
 686 LIBRARY OF CONGRESS 
 
 Der liebhaber von funfzehn jahren. Tr. of Martini's L'amoureux 
 de quinze aus. 
 
 Liebs betrug. Tr. of Bertali's L'inganno d'amore. 
 
 The life and death of Oliver Cromwell. A. T. of The restauration 
 of King Charles II. 
 
 Lilla e Lubino ossia Una cosa rara, ballet. See Tarchi's Antioco. 
 Linceo, ballet. See Mortellari's Antigona. 
 
 Liiidane e Dalmiro. Dramma serio-comico per musica da ranpre- 
 sentarsi nel Real Teatro dell' Ajuda nel felicissimo giornp natalizio di 
 Sua Majesta . . . Donna Maria I . . . li 17 decembre 1789. 
 [Lisboa], Stamperia Reale, n. d. 88 p. 16 cm . 
 
 Two acts. Scenario, cast, and names of Gaetano Martinelli as author, of Joao Cor- 
 deiro da Silva as composer. SCHATZ 9882 
 
 Second copy . ML 48 . C6I 
 
 Das lindenfest, oder Das fest der freundschaft, eine laendliche 
 operette in zweyen aufzuegen, fuer gesellschaftliche buehnen. 
 n. i., 1790. 64 p. 15 cm . 
 
 " Vorbericht " by the author, who is unknown to Schatz. Composed by Peter von 
 Winter, who is not mentioned. 
 
 Schatz records no performance. SCHATZ 11041 
 
 Lindor et Ismene. Entree in Les fetes liriques. 
 
 Lindor und Ismene. Eine operette. 
 n. i., n. d. 4 p. 1., 88 p. 15 cm . 
 
 Perhaps real title page with imprint "Anspach, Gapert, 1773" missing. Same 
 dedication as in the 1771 edition. (See next entry.) 
 
 First performed with music by Nicolaus Milhle at St. Petersburg, Deutsches 
 Theater, 1779. SCHATZ 6873 
 
 Lindor und Ismene. Eine operette. 
 n.i.,n.d. 1771. 4 p. I, 39 p. 15. 
 
 One act. In the dedication the author (not mentioned), Friedrich Julius Heinrich, 
 freiherr Soden von Sassanfart, says: 
 
 "Das bekannte gemaelde des reizenden Poussin hat mir die erste idee zu diesem 
 stueck gegeben, einem zwitter der Romantischen und Schaeferoper. Vielleicht 
 kpennte es auf dem theater durch die beza\ibernde composition eines Hillers, durch 
 die dekorationen und hauptsaechlich durch die taentze vorzuege bekommen, die 
 ihmiezt fehlen." 
 
 Actually composed by Joseph Aloysius Schmittbauer, and first performed at 
 Hanover, Schlosetheater, 1771. SCHATZ 9657 
 
 - Ein grab in Arkadien ! Operette. In musik gesezt von herrn 
 capellmeister Schmittbauer. 
 Leipzig, n. publ, 1779. 39 p. 15 cm . 
 
 One act. In the prefatory note "S n " (freiherr Soden von Sassanfart) says: 
 
 "Als kind liess ich dieses unbedeutende ding [as "Lindor und Ismene "] drucken; 
 ward auch deswegen von einigen journalisten wie billig jaemmerlich angegrinzt. 
 
 " Zufaelligerweise fiel ea nerrn kapellmeister Schmittbauer zu Carlsruhe in die 
 haende. Seine vortreffliche composition, nach der es auf der hannoeverischen 
 buehne oefters aufgefuehrt wurde, konnte allein mich bewegen, es wieder durchzu- 
 sehen. Ich geb ' es hier veraendert, so viel es bey dem zwang der composition und 
 ohne vernichtung des ganzen, moeglich war. Niemand kan uebrigens mehr, als ich
 
 OPERA LIBRETTOS 687 
 
 Lindor und Ismene Continued. 
 
 selbst, fuehlen, wie wenig es die ehre verdient, die ihm der hannoeverische theater- 
 direktor durch herm Gotters namen erwiese." SCHATZ 9658 
 
 Arkadien. Operette. In musik gesezt von herrn capellmeister 
 Schmittbauer. 
 
 n. i. p. [233}-258. (Freiherr Soden von Sassanfart, Schauspiele, 
 Id. I, Berlin, 1788.} 16 cm . 
 
 A further revision of his "Lindor und Ismene," with the same (but condensed) 
 prefatory note as in "Ein grab in Arkadien." SCHATZ 9659 
 
 Lionel and Clarissa. A comic opera. As it is performed at the 
 Theatre-Royal in Covent Garden. The fourth edition. 
 London, W. Giffin, 1768. 4 p. 1., 76 p. 20 cm . 
 
 Three acts. Cast, prefatory note, and dedication. Neither Bickerstaffe, the 
 author, nor Dibdin, the compiler and composer, ie mentioned. (See next entry.) 
 First performed February 25, 1768. LONGB 14 
 
 - The school for fathers; or, Lionel & Clarissa. A comic opera. 
 By Isaac Bickerstaff. Adapted for theatrical representation, as per- 
 formed at the Theatre-Royal Drury-Lane and Co vent-Garden. Regu- 
 lated from the prompt-book, by permission of the managers . . . 
 
 London, John Bell, 1791. front., 1 p. I., w, [3], 107, [1] p. (J. BeTl, 
 British theatre, London, 1791-1797, t. 1.) 
 
 The engraved front, represents Mr. Parsons as Col. Oldboy and is dated January 
 27, 1791. The 1 p. 1. is an engraved added title page with a scene from the opera and 
 is dated January 6, 1791. 
 
 Three acts. Biographical note, editorial comment, Drury-Lane and Covent- 
 Garden casts, and author's Advertisement. In this he says: 
 
 ' ' it was the general opinion of all my friends, some of whom rank among the best 
 judges, that of all my trifles, Lionel and Clarissa was the most pardonable (an esti- 
 mate with which neither the public nor the editor does not agree) . . . 
 
 "When Mr. Garrick thought of performing this piece at Drury-Lane theatre [1770], 
 he had a new singer to bring out, and every thing possible for her advantage was to 
 be done; this necessarily occasioned some new songs and airs to be introduced; and 
 other singers, with voices of a different compass from those who originally acted the 
 parts, occasioned still more; by which means the greatest part of the musick unavoid- 
 ably became new. This is the chief, and indeed the only alteration made in the 
 opera; and even to that, I should, in many places, have been forced, much against 
 my will, had it not given a fresh opportunity to Mr. Dibdin to display his admirable 
 talents as a musical composer . . . 
 
 "The School for fathers is added to the title, because the plot is evidently double; 
 and that of Lionel and Clarissa alluded to but one part of it . . ." 
 
 Following the text: "A table of the songs. With the names of the several com- 
 posers. N. B. Those marked thus ** are new, both words and music: but those 
 marked thus *, are only new set." According to this, the overture was a "new over- 
 ture" by Dibdin and with exception of one number, "Ah! pry'thee spare me," 
 with music by Galuppi, the entire first act was by Dibdin, "To rob them of 
 strength" and "To tell you the truth" having one asterisk, "Ye gloomy thoughts" 
 two. In the second act two numbers, "Talk not to me," and "Go, and, on my 
 truth," were by Vento, one each by Scolari ("Indeed, forsooth"), Arne ("How 
 cursedly vext ), and Ciampi ("Come then, pining, peevish lover"); all the others 
 by Dibdin, "To fear a stranger" having one asterisk, Ladies, pray admire," "Poor 
 panting heart," and "We all say the man," two. The third act, with exception of 
 one number ("Why with sighs"), by Ciampi, was by Dibdin, and was new with 
 exception of the final chorus, "I wonder, I'm sure" and "O, bliss unexpected " hav- 
 ing one asterisk, "How can you inhuman," "Hist, soft: let's hear," and "A rascal, 
 a hussy " having two. However, the table of songs is not complete, half a dozen of 
 the songs not being listed at all! 
 
 These are "Ah, now delightful the morning ''(I, 1), "Immortal pow'rs protect me" 
 (I, 6), "Indulgent pow'rs, if ever" (I, 11). "Hence with caution" (II, 6), "When 
 love gets into a youthful brain" (III, 8), "O dry those tears" (III, 9).
 
 688 LIBKABY OF CONGBESS 
 
 Lionel and Clarissa Continued. 
 
 "To fear a stranger," while listed under Dibdin (one asterisk) as in act II, in the 
 text appears in act III, 2! In Johnston's vocal score of "A school for fathers . . . as 
 performed at ... Drury-Lane" this air also appears as in act II, but as composed 
 by Galuppil 
 
 Further comparison discloses some rather startling discrepancies. In the vocal 
 score "Ah how delightful the morning" is attributed to Scolari, while the other 
 anonymous airs are not printed. In the vocal score on p. 40 "Come then pining 
 peevish lover" is attributed as in the libretto to Ciampi, but in the "table of the 
 songs" of the vocal score it is attributed to Vinci I Finally, "Why with sighs" is 
 attributed both in the text and the table of the vocal score to Potenza and not to 
 Ciampi. PR 1241. B4 
 
 Liretta e Giannino. Commedia per musica di Saverio Zini da rap- 
 presentarsi nel Teatro de' Fiorentmi per second' opera del corrente 
 anno 1795. 
 
 Napoli, n. publ, 1795. 47 p. 16 cm . 
 
 Two acts. Cast and name of the composer, Valentino Fioravanti. 
 
 Lisandro. Dramma serio per musica da rappresentarsi in Geneva 
 nel Teatro da S. Agostinp il carnevale del 1790 . . . 
 Genova, Stampena Gesiniana, n. d. 70, [1] p. 13\ cm . 
 
 Three acts. By Francesco Ballani, who is not mentioned and whose "Agesilao," 
 with many alterations, this is. Dedicatory sonnet by Pietro Maria Leverati, argument, 
 cast, scenario, and name of Gaetano Isola ("musica nuova") as composer. On p. 
 55-70, argument, cast, name of Vittorio Trento as composer of the music ("tutta 
 nuova"), and description of Filippo Beretti's "Tamar e Selimo ossia Padre e figlio 
 rivali sconosciuti, ballo eroico-tragico di lieto fine in cinque atti." 
 
 First performed January 24, 1790, as indicated. SCHATZ 4906 
 
 Lisbeth, drame lyrique en trois actes et en prose, mdlee de musique; 
 represent^, pour la premiere fois, a Paris, sur le Theatre de FOpe'ra- 
 comique de la rue Favart, le 21 nivdse an 5 de la Republique, ou le 10 
 Janvier 1797, vieux style. Paroles de Favieres. Musique de Gretry. 
 
 Paris, Barba, an VIII de la Republique [1799-1800]. 32 p. 19\. 
 
 Cast. SCHATZ 4197 
 
 Lise et Colin, ou La surveillance inutile, ope'ra en deux actes. 
 Paroles de J. B. Eugne-Hus. Musique de r. Gaveaux. Repre- 
 sente pour la premiere fois a Paris, sur le Theatre de la rue Faydeau, 
 le 17 thermidor [August 4], an quatriSme de la RSpublique. 
 Paris, A la Nouveaute, chez tes freres Gaveaux, an 4- 1796. 64 p- 
 
 Cast and author's dedicatory poem to Dauberval, with footnote: 
 
 " J 'ai fait cet op6ra d 'apres un ballet charmant de la composition du celebre Dauber- 
 
 val, donne 1 a Londres, il y a quelques annees, sous le titre de la Fills, mat gardee, et 
 
 depuis a Bordeaux, aLyon, a Marseille, sousceluid' Iln'estqu'unpasdumalaubien." 
 
 On the last two pages, a complimentary Note to the artists of the Theatre Feydeau. 
 
 ML 50.2.L4G2 
 
 Intermezzi di Lisetta, ed Astrobolo. 
 
 These three intermezzi (by unknown author; music by Carlo Francesco Gas- 
 parini) form p. 84-95 of the libretto of Caldara's opera "La verita nell' inganno," 
 Vienna, November 4, 1717. The intermezzi were previously performed at Venice 
 Teatro di S. Cassiano, carnival, 1707. SCHATZ 1490 
 
 Lisimaco. Drama per musica. Da rappresentarsi nel famoso 
 Theatre Grimano a SS. Giovanni e Paolo. L anno MDCLXXIV . . . 
 
 Venetia, Francesco Nicolini, 1674- front., 69 p. 15 cm . 
 
 Three acts. By Cristoforo Iwanovich, who is not mentioned. Publishers' dedica- 
 tion dated December 10, 1673, and notice to the reader, with allusion to Giovanni 
 Maria Pagliardi as the composer, argument, and scenario. SCHATZ 7583
 
 OPERA LIBRETTOS 689 
 
 ' Lisimaco riamato da Alessandro. Drama per musica di Giacomo 
 Sinibaldi da Roma. Riformato all' uso di Venetia da Aurelio Aureli 
 per recitarsi nel Teatro Vendramino a S. Salvatore. L'anno 
 MDCLXXXII . . . 
 
 Venetia, Francesco Nicolini, 1682. 60 p. 14$ cm . 
 
 Three acts. Aureli'e dedication dated Venice, January 23, 1682, argument, 
 scenario, cast, and notice to the reader, with name of Giovanni Legrenzi as composer 
 ("nova musica"), and remark that lack of time prevented him (Aureli) from writing 
 a new drama, 
 
 "onde tra molti de' virtuosi forastieri, che mi eono capitati nelle mani, h6 stimato 
 bene lo sciegliere questo Lisimaco del Signor Sinibaldi, rappresentato 1'anno paseato 
 in Roma avanti la Maesta della regina di Suezia." SCHATZ 5545 
 
 List iiber list. L. A. T. of Mozart's Figaros hochzeit. 
 
 Arien und gesaenge aus dem singspiel List und ungefaehr, oder 
 Der gmeckliche zufall. In drey aufzuegen, von Stephanie dem 
 juengeren, in musik gesetzt von Ernst Lange. 
 
 Riga, Julius Conrad Daniel Muller, 1793. 20 p. 17 cm . 
 
 First performed at Riga, Vietinghof'sches Theater, February 25/March 8, 1793. 
 
 SCHATZ 5415 
 
 Die listige rache des Sueno. A. T. of Reiser's Die gezwungene 
 bestaendigkeit. 
 
 Die listige wittwe. Tr. of Leo's La vedova ingegnosa. 
 
 Lisuart und Dariolette oder Die frage und die antwort, eine 
 operette in zwey aufzuegen. 
 
 [Wien], Zujinden im Krausischen^uchladen, 1766. 1+6 p. 16 cm . 
 
 Neither the author, Daniel Schiebeler, nor the composer, Johann Adam Hiller, is 
 mentioned. On p. [2], a note to the effect that the piece is based on Chaucer's "The 
 tale of the wife of Bath," as edited by Dryden, and on which tale Voltaire based his 
 "Ce qui plait aux dames." 
 
 First performed at Vienna, Karnthnerthor Theater, January 6, 1767; at Leipzig, 
 Theater beim Rannstaedter Thore, November 25, 1766. SCHATZ 4726 
 
 Lisuart und Dariolette. Ein singestueck in drey acten. 
 Riga, Joh. Friedrich Hariknoch, 1778. 52 p. 18 cm . 
 
 Neither the author, Schiebeler, nor the composer, Hiller, is mentioned. The 
 text is somewhat different from the Vienna text of 1766. For instance, the latter has 
 not the arias, "Gieb, grausames geschick" (I, 1) and "Die prinzessin zu entdecken " 
 (1,2). This belongs to the three-act version, which Schiebeler brought out at Leipzig 
 on January 7, 1767 (Calmus). ScHAaz 4734 
 
 Arien aus Lisuart und Dariolette, in musik gesetzt von herrn 
 Hiller. Nuernberg den 24 sten may 1780. 
 n. i., n. d. 23, [1] p. 16 cm . 
 An altered version of Schiebeler's text. SCHATZ 4727 
 
 The little gipsy. A. T. of Arne's May-day. 
 
 Little John and the giants : A dramatic opera. 
 n. i., n. d. 92 p. 
 
 A five-act ballad opera, the airs of which are indicated in the text by title. Text 
 by Henry Brooke, vol. iv of whose collected works this appears to be. Acted orig- 
 inally March 27, 1749 at Dublin as "Jack the gyant quiller." Prohibited after first 
 night. Altered in 1754 and again acted at Dublin. Printed 1778 as above. Text 
 preceded by "Prologue" and Prologue, spoken at the second representation." 
 
 LONOE 131 
 72251 VOL 114 44
 
 690 LIBRARY OF CONGRESS 
 
 The livery rake, and country lass. An opera. As it is perform'd 
 by the company of comedians of His Majesty's revels, at the new 
 Theatre in the Hay-Market. With the musick prefix'd to each song. 
 London, J. Watts, 1738. 2 p. I, 85 p. 21 cn . 
 
 One act. By Edward Phillips, who is not mentioned. Ballad opera. Caet and 
 table of the 18 songs. The airs are printed in the text, two of them without title. 
 First performed, as indicated, October 15, 1733. ML 50.5. L49 
 
 Second copy. LONGE 37 
 
 Livietta e Tracollo o La contadina astuta. 
 
 Two intermezzi by Pergolesi, text by Mariani. The Naples, 1734, ed. is not in 
 the L. of C., nor any other ed. with the original title. The work became known also 
 under the alternative title, as "Tracollo," "La finta Polacca," " Tracollo, medico 
 ignorante" (as in the Paris libretto of 1753). 
 
 First performed as intermezzi to Pergolesi's "Adriano in Siria" at Naples, Teatro 
 di S. Bartolomeo, October 25, 1734; at Paris at the Academic royale de musique in 
 May 1753. 
 
 In his Pergolesi biography Radiciotti has analized (not the original libretto, but) 
 the score preserved at the Naples conservatory. Accordingly, this score (which is 
 not Pergolesi's own original score) would seem to contain two singing parts "Livietta" 
 and "Tracollo" besides the mute "Fulvia" and the following arias: 
 
 (Int. I) Vi std ben? Vi comparisco t (Livietta); A una povera Polacca (Tracollo); 
 Ecco il povero Tracollo (Tracollo); Vado, vado, ed avrai core (duet); 
 
 (Int. II) Vedo I'aria che s'imbruna (Tracollo); Caro perdona mi, placa (Livietta); 
 Non si muove, non rifiata (Tracollo); Sempre attorno qual palomba (duet, in place of 
 which other scores, according to Radiciotti, have "Per te ho io nel core" from Per- 
 golesi's "Flaminio." For other final duets see below). 
 
 It should be noted that the arias "Vi st6 ben? Vi comparisco?" and "Non si 
 muove, non rifiata" appear also in Goldoni's "Amor fa 1'uomo cieco" text dated 
 1731 by Wotquenne. As intermezzi of that title were composed by Pergolesi and 
 performed with his "La Salustia" at the Teatro di S. Bartolomeo, Naples, winter 
 1731, it may be that those two arias made part of these intermezzi and that in 1734 
 they were again used for "Livietta e Tracollo." (See Amor fa 1'uomo cieco.) 
 
 It appears from Radiciotti's analysis, that the Naples score of "Livietta e Tra- 
 collo" and presumably the Naples libretto do not agree with the score of "Tracollo, 
 intermede "as published at Paris in 1753 nor with our score of "La contadina astuta, 
 as transcribed from a score preserved at the Brussels Conservatory. The distinguish- 
 ing feature between these two scores (which coincide completely) and the Naples 
 score is that they contain a third singing part "Sulpizio" besides "Livia" and "Tra- 
 collo" resp. "Tracollo medico ignorante." The two scores contain (arias in italics): 
 
 (Int. I) Lo voglio scannare (Sulpizio) Al cospetto di tutti gl'elementi; Vi std ben f 
 Vi comparisco (Livia) Ma gli scherzi lasciam; Ad un povero Polacco (Tracollo) Si, 
 dormono ancor ed io Misera, che ascoltai; Tu sei troppo scelerato (Livia) Pieta Livietta 
 mia; Ecco il povero Tracollo (Tracollo) Livia se tanto barbara; Vado, vado, ed avrai 
 (duet). 
 
 (Int. II) Vedo I'aria che s'imbruna (Tracollo) Affe che il far; Questo- -foglio, questa 
 carta (Livia) Questa passata ben; Caro, perdonami, placa (Livia) Gli credo o non 
 gli credo; Non si muove, non rifiata (Tracollo) Affe, ch'ella e gia morta ! Io non posso 
 resistere (Livia) Comincia a intenerirsi; A quella che t'adora (duet). 
 
 II finto pazzo. Intermezzo per musica da rappresentarsi nel 
 Theatro Nuovo dell' opera pantomima de piccoli Hollandesi del 
 Nicolini. 
 
 Brunsviga, Tieredi di Keiteli, n. d. 15 unnumb. p. 20 cm . 
 
 Two parts. By Tommaso Mariani. Cast and name of Giov. Battista Pergolesi 
 as the composer. 
 
 The characters are Livietta, Tracollo and "Fulvia e Facenda, che non parlano" 
 and the libretto contains the following (arias in italics): 
 
 (Int. I) Vi std ben? vi comparisco? (Liv.) Ma lasciamo li scherzi; Ad um povero 
 Polacco (Tracollo) Dormono a sonno pieno; Senti . . . non sara mai (Liv.) Dunque, 
 Livietta mia; Bella mia, se son tuo sposo (Tracollo. From Pergolesi's II maestro di 
 musica) Via, risolva una volta; Vado a morte, ed avrai (duet).
 
 OPERA LIBRETTOS 691 
 
 Livietta e Tracollo Continued. 
 
 (Int. II) Vedo I'aria, che s'imbruna (Tracollo) Par che ci pigli gusto; Caro per- 
 donami, placa (Livietta) Gli credo, o non gli credo; Non si muove, non rifiata (Tracollo) 
 Ah Livietta mia; Dimmi a me, Tu mi vuoi bene f (duet). 
 
 First performed, as indicated, 1749; at Dresden Hoftheater, August 5, 1747. 
 
 SCHATZ 7891 
 
 II ladro convertito per amore. Farsa in musica da rappresen- 
 tarsi per intermezzo nel Teatro Tron di S. Cassiano. II carnovale 
 dell' anno 1750. 
 
 Venezia, Modesto Fenzo, 1750. 19 p. 15 cm . 
 
 Two parts. Cast. Author not mentioned and unknown to Schatz, but the charac- 
 ters are "Livietta" and "Tracollo" and "Fulvia che non parla." Consequently, 
 this pointed to a later title of Pergolesi's "Livietta e Tracollo," text by Mariani 
 and a comparison of this and "II fin to pazzo " established the fact. 
 
 The characters are Livietta, Tracollo and the mute Fulvia. The libretto contains 
 the following (arias in italics) : 
 
 (Int. I) Vi stb benf Vi comparisca? (Livietta) Ma.lasciamo gli scherzt; Ad un 
 povero Polacco (Tracollo) Dormono a sonno pien; Perche ridi, mustaccio; Senti, non 
 sard, mai (Livietta) Via risolva una volta; Deh non lasciarmi, ingrata (Tracollo) Invano 
 ti lusinghi ; Vado a morte, ed avrai (duet) . 
 
 (Int. II) Vedo I'aria, che s'imbruna (Tracollo) Par, che ci pigli gusto; Caro per- 
 donami, placa (Livietta) Gli credo o non gli credo? - Non si muove, non rifiata (Tracollo) 
 Ah! Livietta mia; Contento tu sarai (duet, from Pergolesi's La serva padrone). 
 
 SCHATZ 7906 
 
 La locanda. Dramma gipcoso per musica da rappresentarsi nel 
 Teatro Giustiniani di S. Moise il carnovale dell' anno 1771. 
 Venezia, Antonio Graziosi, 1771. 60, [1] p. 17% crr . 
 
 Three acts. Cast, scenario, and names of Giovanni Bertati as author and of Giusep- 
 pe G-azzaniga as the composer. SCHATZ 3668 
 
 La locanda. Commedia per musica in due atti. Da rappresentarsi 
 nelF Teatro Reale di corte 1'anno 1792. 
 Vienna, n. publ., n. d. 60 p. 17 cm . 
 
 Two acts. By Giovanni Bertati with revisions by Girolamo Tonioli, both unmen- 
 tioned. Paisiello is mentioned as the composer. 
 
 First performed July 10, 1792, as indicated; at London, Little theatre in the Hay- 
 market, February 14, 1792. SCHATZ 7634 
 
 - II fanatico in berlina. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro di S. A. S. il Signer principe di Carignano nell' 
 autunno delF anno 1792. 
 
 Torino, Onorato Derossi, n. d. 51, [1] p. 15 cm . 
 
 Two acts. Giovanni Bertati's "La locanda" text with modifications. Cast and 
 name of Paisiello as the composer. 
 
 First performed at Genoa, Teatro di S. Agostino, spring of 1791. SCHATZ 7635 
 
 - La locanda : A comic opera, as represented at the Theatre Royal, 
 Hay-market. 
 
 London, E. Reynell, 1792. 75 p. 19 cm . 
 
 Two acts. Cast and note on p. [3]: "The music composed expreesjy for the occa- 
 sion, by the celebrated Paesiello . . . the poetry by Signer Bertati, with additions 
 and alterations by G. Tonioli." 1 English text faces Italian. 
 
 First performed, as indicated, February 14, 1792. 
 
 Bound in with this is the libretto of Shield's The farmer, 8th ed., London, T. 
 Cadell, 1791. ScHA-ft'7672
 
 692 LIBBAEY OF CONGRESS 
 
 La locanda Continued. 
 
 Lo strambo in berlina; dramma giocoso per musica da rappre- 
 sentarsi nel Reggio Teatro di S. Carlo della Principessa, la primavera 
 dell' anno 1795. 
 
 Lisbona, Simone Taddeo Ferreira, 1795. 77 p. 15 C . 
 
 Two acte. Bertati's text with modifications. Cast and name of Paisiello as the 
 composer. SCHATZ 7685 
 
 La locandiera. Dramma giocoso per musica da rappresentarsi nel 
 Pubblico Teatro di Lucca 1'autunno dell' anno 1798 . . . 
 Lucca, Bonsignori, 1798. 32 p. 17 cm . 
 
 Two acts. Cast, scenario, name of Alessandro La Motte Toucher as composer 
 ("musica tutta nuova") and initials of the author, A. L., who says in a prefatory note 
 that the text is based on Goldoni. SCHATZ 5358 
 
 La locandiera. Dramma giocoso per musica da rappresentarsi nel 
 Piccolo Teatro di S. A. E. di Sassoma. 
 Dresda, n. publ., 1776. 157 p. 16 cm . 
 
 Three acts. By Domenico Poggi, who is not mentioned. Scenario and name of 
 Antonio Salieri as the composer. German title-page, "Die gastwirthinn," and text 
 by Ludwig Zehnmark face Italian. 
 
 First performed 1776 at Dresden, as indicated; at Vienna, Burgtheater, June 9, 
 1773; and at the Kurthnerthorth eater, June 8, 1773. SCHATZ 9301 
 
 La locandiera di spirito. Commedia per musica da rappresentarsi 
 nel Teatro Nuovo sopra Toledo nell' autunno del corrente anno 1768. 
 Napoli, Vincenzo Mazzola-Vocola, 1768. 2 p. 1., 66 p. 16 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Scenario, cast, and 
 name of Niccol6 Piccinni as the composer. SCHATZ 8128 
 
 La locandiera vivace, ballet. See Gardi's II nuovo convitato di 
 pietra. 
 
 Lock and key: a musical entertainment, in two acts, performed at 
 the Theatre Royal, Co vent-Garden. By Prince Hoare, Esq. 
 London, T. N. Longman, 1796. 48 p. 21 cm . 
 
 Cast. The compiler-composer, William Shield, is not mentioned. In Preston 
 and Son's vocal score the overture is headed as composed by William Parke and 
 " For moments to view " as by Paisiello. 
 
 First performed February 2, 1796. LONGE 238 
 
 Lodoiska, comedie en trois actes, en prose, me'le'e d'ariettes. Repre"- 
 sentee, pour la premiere fois, par les Comediens italiens ordinaires du 
 roi, le premier aotit 1791. Paroles de M. Jaure. Musique de M. 
 Kreutzer. 
 
 Paris, Fievee, [etc.], 1792. 39 p. 20 cm . SCHATZ 5269 
 
 La Lodoiska : Dramma per musica da rappresentarsi nel Regio 
 Teatro di S. Carlo della Principessa in occasione di celebrare il felicis- 
 simo giorno natalizio di Sua Maesta Fedelissima D. Maria I . . . li 
 17 decembre 1796. 
 
 Lisbona, Simone Taddeo Ferreira, 1796. 189 p. lJ& cm . 
 Two acts. Portuguese and Italian text, of which a footnote on p. 5 says: 
 "Tutti i versi virgolati sono dell' originate [I], tutti gli altri sono del Sig. cav. Baldi- 
 notti, poeta estemporaneo." 
 Cast and note on p. 7:
 
 OPERA LIBRETTOS 693 
 
 / 
 
 Lodoiska Continued . 
 
 "La musica del dramma e del celebre Sig. maestro Kreutzer e d'altri autori rino- 
 mati, diretta dal Sig. Antonio Leal Moreira, compositore di musica della Real Camera 
 di Sua Maesta Fedelissima ..." 
 
 First performed at Monza, Teatro Arciducale, fall of 1793. SCHATZ 5269 
 
 La Lodoiska. Dramma per musica da rappresentarsi nel nobilis- 
 simo Teatro La Fenice il carnovale dell' anno 1796. 
 Venezia, Stamperia Valvasense, n. d. 72 p. 18 cm . 
 
 Three acts. On p. 7, "La poesia e tutta nuova del dott. F. G.[onella] di F.ferrara]," 
 and Joh. Simon Mayr is mentioned as the composer. Argument and cast. On p. 
 [251-39 preface, argument, cast, and description of Laucnlin Duquesny's "Cook, 
 ossia Gl'Inglesi in Othaiti, ballo pantomimmo in cinque atti." The second ballet 
 had the title, "II mercato di Pozzuolo ossia II speciale ingamato." The composers of 
 the music are not mentioned. 
 
 First performed January 26, 1796. SCHATZ 6158 
 
 - Lodoiska. Dramma per musica da rappresentarsi nel Regio- 
 Ducal Teatro alia Scala di Milano il carnevale delF anno 1800 . . . 
 Milano, Gio. Batista Bianchi, n. d. 70 p. 60% cm . 
 
 Two acts. Impresario's dedication, cast, scenario, and name of Joh. Simon Mayr 
 as the composer. Sometimes attributed to Gaetano Rossi, but comparison with 
 Schatz 6158 proves that it is but F. Gonella di Ferrara's text in two acts, with numerous 
 alterations. For instance, the first scene of act first is entirely different in the two 
 versions, but to scene second has been added everything preceding the words, ' ' Princi- 
 pessa, se yuoi." The second act shows comparatively few changes in the dialogue, 
 out in this act, too, most of the arias do not appear in the original version, and. for 
 instance, in II, 5 the aria, "Quel nobil core," has been added, where originally there 
 was none at all. On p. 35-42, prefatory note 2 argument, description, and cast of 
 Gaspare Ronzi's "Ginevra di Scozia, ballo eroico pantomimo." The second ballet 
 had the title ; "Ergasto, ed Eurilla vinti dalF amore." The composers of the music 
 are not mentioned. 
 
 First performed at Milan, La Scala, December 26, 1799. SCHATZ 6159 
 
 La Lodoiska, ballet. See Mayr's Telemaco. 
 Lodoiska, ballet. See Paer's La Rossana. 
 
 Lodoiska ; an opera, in three acts, performed, for the first time, by 
 His Majesty's servants, at the Theatre Royal, Drury-Lane, on Mon- 
 day^ June 9th, 1794. Written by J. P. Kemble. The music com- 
 posed, and selected from Cherubim, Kreutzer, and Andreozzi, by 
 Mr. Storace. 
 
 London, G. G. and J. Robinson, n. d. pi., 58 p. 20 cm . 
 
 Cast. LONGE 228 
 
 Lodovico Pio. Dramma per musica . . . Cantato per le vacanze 
 del carnevale nel 1687. Nel nob. Collegio Tolomei di Siena da quei 
 Signori convittori. 
 
 Siena, Stamp, del Pull., 1687. 6 p. 1., 70, [1] p. 14 cm . 
 
 Three acte. Dedication dated Siena, February 3, 1687, and signed by the author, 
 Girolamo Gigli, argument, cast, and notice to the reader, with name of Giuseppe 
 Fabbrini as composer, and in which Gigli says: 
 
 "Eccomi ... col terzo dramma, quando forse potea bastarmi avervi attediato 
 con il secondo . . . 
 
 "Troverete, che Don Chisciotte usa tal volta versi presi, o dal Tasso, o dalF Ariosto. 
 Non mi crediate si temerario, che io pretenda mettere in burla due autori da mer- 
 iveriti, estimati come maestri della poesia; h6 solamente voluto esprimere i pensieri 
 del personaggio, co'versi di que' degni poeti, per far nascer il ridicolo dal contraposto, 
 facendo servire una grande autorita, ad una gran follia ..." ML 50.2. L4F2
 
 694 LIBRARY OF CONGRESS 
 
 
 
 Die lowenjagd. A. T. of Wenzel Miiller's Die verschwoerung der 
 Odaliken. 
 
 Die loewenritter. Erster theil. Ein schauspiel mit gesang in vier 
 aufzuegen, nach der geschichte des herrn Spiess fuer die Marinellische 
 schaubuehne von Karl Friedrich Hensler. Die musik ist von herrn 
 Ferdinand Kauer . . . 
 
 Wien, gedruckt bey Mathias Andreas Schmidt, 1799. 104 P- 19% cm . 
 
 First performed at Vienna, Theater in der Leopoldstadt, September 5, 1799. 
 
 ML 50.2.L5K2 
 
 Lord Blunder's confession; or, Guilt makes a coward. A new 
 ballad opera . . . By the author of Vanelia, an opera. 
 London, T. Reynolds, 1733. 67 p. 18% cm . 
 
 Three acts. Table of the 21 airs used in the opera indicated by title. Author 
 unknown to Clarence. No performance recorded. LONGE 176 
 
 Songs, duets, etc in the new pantomime called Lord Mayor's day; 
 or, A flight from Lapland. As performed at the Theatre-Royal, in 
 Co vent-Garden, with the grand procession, etc. 
 London, T. Cadett, 1783. 23 p. 21 cm . 
 
 Cast. One act, after which (p. 12-23), "A grand historical procession of the sev- 
 eral Companies, with their respective pageants, and the chief magistrates belonging 
 to the City of London from its foundation." Two glees, one indicated as composed 
 by Dr. Rogers, one by William Shields, formed part of this. The text of the enter- 
 tainment was by John O'Keefe. Neither he is mentioned, nor the composer, but 
 William Shield is known to have been responsible for the music. 
 
 Performed November 25, 1782. ML 52.2.L6 
 
 The lord of the manor, a comic opera, as it is performed at the 
 Theatre Royal Drury-Lane, with a preface by the author. 
 London, T. Evans, 1781. xxvi, 96 p. 21 cm . 
 
 Three acts. Cast. By John Burgoyne, who is not mentioned. His lengthy but 
 important preface after apologizing "to every man who has been charged with this 
 foundling" the anonymous piece nad even been attributed to Sheridan states that 
 the piece "was written last summer in the country for mere amusement" without 
 any satirical design on the recruiting service, and he then indulges in "a few thoughts 
 upon opera, and particularly that species of it attempted in the ensuing pages.** A 
 few quotations will show that Burgoyne's ideas are worthy of notice by the historians 
 of English opera : 
 
 "ITiave no hesitation in pronouncing an opinion, that the adopting what is called 
 recitative into a language, to which it is totally incongruous, is the cause of failure 
 in an English serious opera much oftener than the want of musical powers in the 
 performers . . . 
 
 "I will not contend (though I have my doubts) that it is impossible for genius to 
 invent, and for voice to deliver, a sort of recitative that the English language will 
 bear. But it must be widely different from the Italian. If any specimens can yet 
 be produced of it's having been effected, they will be found to consist only of a few 
 lines introductive of the air which is to follow, and as such received by the ear just 
 as symphony would be. Very few serious pieces, except Artaxerxes, can be recol- 
 lected upon our Theatre where it has not entirely failed, even when assisted by 
 action: in oratorios it is, with a few exceptions, and those sustained by accompani- 
 ment, a soporific that even the thunder of Handel's chorusses are hardly loud enough 
 to overcome . . . 
 
 "I trust that in contending against musical dialogue in English, I shall not be 
 understood to think that all music is inapplicable to the higher compositions of our 
 stage. On the contrary I am convinced that under judicious management music is 
 capable of giving them effect beyond what our best authors can attain without it 
 music can add energy to Shakespeare himself. Indignant as an English audience 
 would be to hear King Lear deliver himself in recitative, I believe no person, who 
 had a heart or taste, ever contemplated the mute groupe of Cordelia with the aged
 
 695 
 The lord of the manor Continued. 
 
 parent asleep in her lap, and the physician watching by, without an encrease of 
 sensibility from the soft music which Mr. Garrick introduced into that scene . . . 
 
 "One branch of comic opera which meets with succes on our. stage is evidently a 
 graft from the Burletta of the Italians; and little as I may admire it in general, I will 
 venture to Bay, respectively to the writing, it is improved in our soil. Midas, the 
 Golden Pippin, and some others, considered as pieces of parody and burlesque, are 
 much better than any Italian burletta I know . . . 
 
 "I cannot easily bring myself to allow the higher branch of our Comic Opera, to 
 be of foreign extraction. From the time the Beggar's Opera appeared, we find pieces 
 in prose, with songs interspersed, so approaching to regular comedy in plot, incident, 
 and preservation of character, as to make them a distinct species from any thing we 
 find abroad and is it too much to add that the sense, wit, and humour to be found 
 in some of them are sterling English marks by which we may claim the species as 
 our 'own? . . . 
 
 "They who are unacquainted with the Paris theatre, are referred for judgement 
 upon this subject to the Deserter, Zemira and Azor, and other direct translations; 
 and to Daphne and Amintor, and Thomas and Sally, and other after-pieces, very 
 good in their kind, but written after the French manner. The Padlock is above 
 this class in display of characters; and the French have nothing upon their musical 
 comic stage to compare as resembling comedy, with Love in a Village, or the Maid 
 of the Mill, or to take still greater credit to our theatre, the Duenna. 
 
 "The Lord of the Manor, although the leading incident of the story is professedly 
 taken from the Silvain of Marmontel, is an humble attempt at the species of opera 
 which I have ventured to call English, and to describe as a drama the next in grada- 
 tion below regular comedy, and which might perhaps be carried a step above it ... 
 
 "In a representation which is to hold "a mirror up to nature," and which ought 
 to draw its chief applause from reason, vocal music should be confined to express the 
 feelings of the passions, but never to express the exercise of them. Song, in any 
 action in which reason tells us it would be unnatural to sing, must be preposterous. 
 To fight a duel, to cudgel a poltroon in cadence, may be borne in a burletta, upon 
 the same principle that in the serious opera we see heroes fight lions and monsters, 
 and sometimes utter their last struggles for life in song and die in strict time and 
 tune: but these liberties would be totally inadmissable in the kind of drama which 
 I am recommending ... 
 
 "Music, therefore, if employed to express action, must be confined to dumb shew. 
 It is the very essence of pantomime; and we have lately seen upon the opera stage 
 how well a whole story may be told in dance; . . . It should always be the accessory 
 and not the principal subject of the drama; but at the same time .spring out of it in 
 such a manner that the difference can hardly be discerned, and that it should seem 
 neither the one nor the other could be spared ... It would be affectation in me, 
 as well as ingratitude to the public, to deny the pleasure I have had in the very 
 favourable reception of this piece. At the same time I trust that I am duly sensible 
 how much of the success is to be attributed to the exertions of the performers, the 
 merits of the orchestra, and the excellence of Mr. [William] Jackson's composi- 
 tion . . ." 
 
 First performed at London, Drury Lane, December 27. 1780 (Genest), November 
 27, 1780 (Oulton). LONGE 91 
 
 - The lord of the manor, a comic opera, as it is performed at the 
 Theatre Royal, Dnny-Lane, with a preface by the author. 
 
 Philadelphia, William Spotswood, 1790. xv, [16]-71 p. 15% cm . 
 Three acts. Without names of Burgoyne or Jackson. ML 50.6.L62 
 
 - The lord of the manor, a comic opera, in three acts. As per- 
 formed with universal applause, by the American company. 
 
 Philadelphia, H. Taylor, 1791. 63 p. 18$ cm . 
 
 First performance in America unknown to Seilhamer and me. ML 50.6.L63 
 
 The lords maske-. See A relation of the late royall entertainment. 
 Lorezzo, ballet. See Campobasso's Antigona. 
 Lorezzo, ballet. See Federici's L'Olimpiade.
 
 696 LIBRARY OF CONGRESS 
 
 Lotario. 
 
 Three-act opera, by Geore Friedrich Handel. Altered version of text by Matteo 
 Noris, "Berengario, r& d'ltalia." 
 
 First performed at London, Haymarket, December 2, 1729. 
 Not in L. of C. 
 
 Judith, gemahlin kayser Ludewigs des Frommen oder Die 
 siegende unschuld, in einer opera auf dem Hamburgischen schau- 
 platze ao. 1732. vorgestellet. [vignette] 
 
 Hamburg, mit Stromerischen schrifften, n. d. Unpaged. 18% cm . 
 
 Three acts. Argument and note that the translation of the recitatives is by Johann 
 Georg Hamann, their composition by Georg Philipp Telemann. It is not mentioned 
 that the arias were taken from Handel's "Lotario" (by Matteo None) and F. 
 Chelleri's " L'innocenza difeea" (by F. Silvani). The German translation of the 
 arias is added to the Italian text. 
 
 First performed, as indicated, November 27, 1732. SCHATZ 4481 
 
 Lottchen am hofe. Eine komische oper in drey aufzuegen von 
 C. F. Weisse. Dritte verbesserte auflage. 
 Leipzig, Dykische buchhandlung, 1776. 104 P- 16% cm . 
 
 On p. [2], the note: "Nach der Ninette a la cour des herrn Favart." The com- 
 poser, Johann Adam Hiller, is not mentioned. 
 
 First performed at Leipzig, Theater am Rannstaedter Thore, May 7, 1767 (Schatz), 
 April 24, 1767 (Calmus). SCHATZ 4728 
 
 Arien und gesaenge aus der comischen opera : Lottchen, oder 
 Das bauernmaegdchen am hofe. In dreyen akten. 
 
 Altona, 1770, n. pull. 20 p. 16\ cm . 
 
 Neither Weiese nor Hiller is mentioned. 
 
 First performed at Altona, Theater "Sansouci," 1770. SCHATZ 4729 
 
 Lottchen am hofe. Eine komische oper in drey aufzuegen. 
 C. F. Weisse, Komische opern, Carlsruhe, 1778, ih. i, 96 p. 18% cm . 
 
 On p. [2], the note: "Nach der Ninette it, la cour des herrn Favart." The com- 
 poser, Hiliur, is not mentioned. ML 49.A2W2 
 
 La lotteria militare. A. T. of Le Messier's ballet Accampamento. 
 
 The lottery. A farce. As it is acted at the Theatre-Royal hi 
 Drury-Lane. By His Majesty's servants. With the musick pre- 
 fix'd to each song. The 3d ed., with the addition of a new scene. 
 London, J. Watts, 1732. 4 p. 1., 36 p. 20 cm . 
 
 On p. [iiHiv], "Books printed for J. Watts," p. [iv] containing a list of ballad 
 "Operas with the musick. One act, prologue, and epilogue. Cast and table of the 
 22 songs. Ballad opera. The airs are printed in the text, with their titles, except 
 no. 1, "A lottery is a taxation;" no. 5, "How hapless is the virgin's fate;" no. 6, "Fare- 
 well ye hills and valleys;" no. 8, "When love is lodg'd within the hearts;" no. 9, 
 "Alas! my Lord, you're too severe;" no. 10, "I've often heard;" no. 12, "Dear Sir, 
 be not in such a passion;" no. 13, "Ah think, my Lord!" no. 15, "When the candidate 
 offers;" no. 21, "Since you whom I lov'd," which are all marked as "set by Mr. 
 Seedo;" and no. 22, "That the world is a lottery," which has neither title nor com- 
 poser's name. The text is by Henry Fielding, who is not mentioned. 
 
 First performed, as indicated, January 1, 1732. ML 50.5. L68 
 
 The lottery. By Henry Fielding, Esq. 
 
 [292}-316 p. 19 cm . (Collection of the most esteemed farces and 
 entertainments, t. ii, Edinburgh, 1792.} 
 
 One act. Drury Lane cast. SCHATZ 11753B
 
 OPEEA LIBRETTOS 697 
 
 Arien und gesaenge aus Louise. Eine oper in drey aufzuegen. In 
 musik gesetzt von Friedrich Ludwig Benda. 
 
 Riga, Julius Conrad Daniel Mueller, 1794- 20 p. 17 cm . 
 
 The librettist, Ernst Friedrich Jester, is not mentioned. 
 
 First performed at Konigsberg, Ackermann'sches schauspielhaus, January 16, 
 1791; at Riga on May 30 (June 10), 1794. SCHATZ 765 
 
 Love and innocence, a pastoral serenata. As performed at Mary- 
 bone-Gardens. Set to music by Mr. Hook. 
 
 London, T. Becket and P. A. de Hondt, 1769. 2 p. 1., 27, [1] p. 19. 
 
 The last (unnumb.) p. contains publishers booklist. 
 
 Two acts. Author not mentioned, and unknown to Clarence. LONGE 40 
 
 Love and loyalty. An opera. 
 
 [237}-293 p. ' 21% cm . (The miscellaneous works of A. McDonald, 
 London, J. Murray, 1791.} 
 
 Detached copy. Three acts. Neither a composer nor a performance recorded by 
 Clarence. LONGE 282 
 
 Love and magic. A. T. of The enchanter. 
 
 Love and money ; or, The fair Caledonian. A musical farce, in one 
 act, as performed at the Theatres-Royal, Drury-Lane, and the Hay- 
 market, with universal applause. By the late Mr. Benson . '. . 
 London, J. Wallis, n. d. 32, [8] p. 21 cm . 
 
 Cast. The [8] p. contain "addressee" and list of subscribers. The composer, 
 Samuel Arnold, is not mentioned. 
 
 First performed August 29, 1795. LONGE 246 
 
 Love and revenge; or, The vintner outwitted: an opera; as acted 
 at the new Theatre in the Hay-Market. 
 London, 2 p. 1., [3]-56 p. 19% cm . 
 
 Three acts, with prologue, "spoke by Mr. Fielding." Author not mentioned and 
 not recorded by Clarence. Ballad opera. The airs of the 37 songs are merely indi- 
 cated by title. Cast and dedication. 
 
 First performed 1729, as indicated. ML 50.5. L69 
 
 Second copy. LONGE 105 
 
 Love and riches reconcil'd, a masque. See Love's a lottery. 
 
 Love at first sight: a ballad farce, of two acts. As performed at 
 the Theatre Royal in Drury Lane. 
 London, T. Becket and P. A. de Hondt, 1763. 2 p. 1., 35, [1] p. 
 
 Two acts. By Thomas King, who is not mentioned. Cast and prefatory note. 
 The eleven airs, except the last, are indicated by title. 
 
 First performed, as indicated, October 17, 1763. LONGE 36 
 
 Second copy (20$ cm .). LONGE 193 
 
 Love at first sight : or, The wit of a woman. A ballad opera of two 
 acts, by Joseph Yarrow, comedian . . . 
 
 York, Printed by Thomas Gent, 1742. 6 p. 1., 108 p. 17%. 
 
 On p. 54-68, "Nancy, or, the parting lovers" and nine other songs that have no 
 connection with the play, and on p. [691-108 the farce, "Trick upon trick, or. The 
 vintner outwitted. A farce, as penorm'a by the York company of comedians. 
 
 Two acts, prologue, epilogue. Dedication and list of subscribers. The 21 airs 
 used are indicated by title in the text. LONGE 321
 
 698 LIBRARY OF CONGRESS 
 
 The love distracted maid. Tr. A. L. of Dalayrac's Nina. 
 
 Airs, duets, trios, etc in the new comic opera, called Love finds the 
 way. As performed at the Theatre-Royal in Co vent-Garden. 
 London, J. Bell, 1777. 2 p. 1., 24 p. 20. 
 
 Three acts. Cast. The text is an abridgment of "The School for guardians" by 
 Thomas Hull. Neither he nor the composer is mentioned. 
 
 First performed, as indicated, November 18, 1777 (Genest). ML 50.2.L6 
 
 Love in a camp or Patrick in Prussia. 
 
 Text by John O'Keefe, music selected and composed by William Shield. 
 First performed at London, Covent Garden, February 17, 1786 (Genest). 
 No libretto with the O. T. in L. of C. 
 
 - Patrick in Prussia, or Love in a camp; a comic opera, in two 
 acts, with all the original songs ; as performed at the Theatres Royal 
 Co vent-Garden, and Smock- Alley: being a sequel to the Poor Sol- 
 dier, written by John O'Keefe, Esq . . . From the author's original 
 manuscript. 
 
 Dublin, G. Perrin, 1786. 35 p. 16\. 
 
 Cast. LONGE 148 
 
 Love in a riddle. A pastoral. As it is acted at the Theatre-Royal, 
 by His Majesty's servants. Written by Mr. Gibber. 
 
 London, J. Watts, 1719 [!] 2 p. I., 96 p. 20. [Bound with Gay, 
 John. The beggar's opera. London, 1728] 
 
 Three acts, prologue, and epilogue. Ballad opera. Cast'. On verso of t.-p. a 
 publisher's book list, dated January 3, 1728-9. "The tunes to the songs" are printed 
 on p. [75]-96, with their titles and numbered consecutively for each act: 15, 22, 18, 
 total 55. In the text the airs appear numbered but without title. The air to which 
 the epilogue was to be eung appears in the text. 
 
 The piece was printed 1729, not 1719 as in the title. It was first performed as 
 indicated, January 7, 1729. (See Damon and Phillida.) ML 50.5.B3 
 
 Love in a village ; a comic opera. As it is performed at the Theatre 
 Royal in Covent-Garden. 
 
 London, Printed by W. Griffin for J. Newbery and W. Nicoll [etc.}, 
 1763. 3 p. I, 78 p. 19 cm . 
 
 Three acts. Cast. By Isaac Bickerstaffe, who is not mentioned and who says in 
 his dedication to Mr. Beard: 
 
 "If this opera is considered merely as a piece of dramatic writing, it will certainly 
 be found to have very little merit: in that light no one can think more indifferently 
 of it than I do myself; but I believe I may venture to assert, on your opinion, that 
 some of the songa are tollerable; that the music is more pleasing than has hitherto 
 appeared in any composition of this kind; and the words better adapted, considering 
 the nature of the airs, which are not common ballads, than could be expected, sup- 
 posing any degree of poetry to be preserved in the versification . . ." 
 
 The text was based on "The village opera" and other old plays. Thomas Aug. 
 Arne, who partly composed, partly compiled the music, is not mentioned, nor are 
 other composers mentioned in this edition. 
 
 First performed on December 8, 1762, as. indicated. LONGE 42 
 
 - ... Love in a village; a comic opera. As it is performed at 
 the Theatre Royal in Covent-Garden. Distinguishing also the varia- 
 tions of the theatre. Regulated from the prompt-book, by permis- 
 sion of the managers, by Mr. Wild, prompter. 
 
 London, John Bell, 1781. front., iv, [2], 57, [1} p. 18 cm . 
 
 The front, is a port, of Mrs. Wrighten as Madge. Cast, Bickerstaff's dedication to 
 Beard, and "A table of the [42] songs, with the names of the several composers."
 
 OPERA LIBRETTOS 699 
 
 Love in a village Continued. 
 
 These are Abel, Agus, Abos, Arne, Baildon, Boyce, Bernard, Carey, Festing, 
 Galuppi, Geminiani, Giardini, Handel, Howard, Paradies, Weldon. Almost 
 one half of the music was by Thomas Augustine Arne. 
 
 From this table it appears that Abel's overture was "new," that Howard's ' ' Oh 
 had I been by fate decreed" and "How much superior beauty awes," Arne's "Still 
 in hopes to get the better," "Believe me dear aunt," "Go, naughty man, I can't 
 abide you," and "Well come let us hear" "were composed on purpose for this 
 opera" and that the ballad tunes " Larry Gorgan " and " St. Patrick a day " were 
 introduced. It is curious to note that Walsh's vocal score does not mention Bernard, 
 Abel, Carey, Weldon on title page and that Longman & Broderip's vocal score does 
 not mention Abos and Bernard, but adds Oswald. LONGE 322 
 
 - Love in a village. A comic opera. By Isaac Bickerstaff. 
 Adapted for theatrical representation, as performed at the Theatre- 
 Royal, Co vent-Garden. Regulated from the prompt-book, by per- 
 mission of the managers . . . 
 
 London, John Bell, 1791. front., 1 p. L, 5, [10]-90, [3] p. 15 cm . 
 (J. Bell, British Theatre, London, 1791-1797, v. 1.) 
 
 The front, represents Mrs. Billington as Rosetta in this opera. The 1 p. 1. is an 
 engraved serial title page with a scene from the same opera. The front, is dated 
 September 28, 1790, the serial title page, January 6, 1791. Author's dedication, 
 prefatory note, Drury-Lane and Covent-Garden casts. PR 1241 B4 
 
 Love in a village. A comic opera. Written by Mr. Bickerstaff. 
 As performed at the New theatre, in Philadelphia. 
 
 [Philadelphia] From the press of M. Carey, March 1, 1794. 58 p. 
 
 Three acts. Cast, and on p. 3. "Table of the [42] songs, with the names of the 
 several composers:" Abel, Abos, Argus, Arne, Baildon, Bernard, Boyce, 
 Carey, Festing, Galuppi, Geminiani, Giardini, Handel, Howard, Larry Gro- 
 gan [!], Paradies, Weldon. 
 
 First performed in America at the South wark Theatre, Philadelphia, March, 1767. 
 
 ML 50.6.L72 
 
 Love in every age. A. T. of The four seasons. 
 Love in low life. A. T. of Carey's The press gang. 
 Love in Mexico. A. T. of Arnold's New Spain. 
 
 Love in the city ; a comic opera. As it is performed at the Theatre 
 Royal in Covent-Garden. The words written, and the music com- 
 piled by the author of Love in a village. The second edition. 
 London, W. Griffin, 1767. 2 p. I, Hi, [1], 69, [3] p. 19\. 
 
 The [3] p. at end contain a book list by the publisher. 
 
 Three acts. Cast, dedication, and preface in which Isaac Bickerstaff e says: 
 
 "To those who find fault with an opera, merely for being such, it will be in vain to 
 say any thing in defence of this; indeed the absurdity attach'd to the musical drama 
 is so glaring, that there seems no great penetration necessary to discover it; and conse- 
 quently any one who will cry out sing-song or tweedle-dee, is capable of turning it 
 into ridicule. Yet it should be considered, that its absurdity, gross as it is, consti- 
 tutes, in a great measure, its power of pleasing . . . 
 
 "The music of this piece is almost totally comic, and generally characteristic; I 
 would therefore advise those of my auditors, who do not taste it atothe first hearing, to 
 
 S've it a second, nay a third or a fourth; and after that, should they never desire to 
 jar it again, I can only tell them they happen to dislike what has been repeatedly 
 approved, by all the polite nations of Europe . . ." 
 
 Charles Dibdin (not mentioned) assisted Bickerstaffe in the musical make-up of 
 this pasticcio, which became better known in an altered version as "The romp." 
 The vocal score mentions in the headings (besides Dibdin): Vento, Cocchi, Galup- 
 pi,Piccinni, Barthelemon, Pergolesi and Jommelli 
 
 First performed, as indicated, February 21, 1767. LONGE 32
 
 700 LIBRARY OF CONGRESS 
 
 Love in the East; or, Adventures of twelve hours: A comic opera, 
 in three acts. Written by the author of The stranger at home. As 
 performed at the Theatre-Royal, Drury-Lane. 
 London, W. Lowndes, 1788. 3 p. I, 81 p. 20 cm . 
 
 Cast and dedication, dated E. J. H., March 4, 1788, by J.fames] C.[obb], to Thomas 
 Linley, who composed the music. 
 
 First performed February 25, 1788, as indicated. LONOE 110 
 
 The lover his own rival. A ballad opera. As it is perform'd at 
 the New Theatre in Goodman's Fields. By Mr. Langford. 
 London, J. Watts, 1736. 4 p. I. 82, [3] p. 20\ cm . 
 
 One act, prologue sung to the second part of the "Dutch skipper," epilogue sung to 
 the tune 01 "Sir Thomas I cannot." Cast, preface in which Abraham Langford 
 expresses his appreciation of the "kind reception" given to his piece, due largely to 
 the "care and chearfulness " of the performers, inducing him "probably [to] produce 
 another attempt of the same kind," and table of the 17 songs. Ballad opera, the airs 
 of which are printed in the text with title, except song no. VI, "Like me, the tender 
 dove laments," which is marked as "set by Mr. Stanley." 
 
 First performed 1736. as indicated. ML 50.5.L7 
 
 The lover his own rival. A ballad opera. As it is perform'd at 
 the Theatre Royal in Co vent-Garden. By Mr. Langford. 
 
 London, J. Watts, 1753. 4 p. I, 32, [3] p. 20%. 
 
 Except for the title page, exactly like the edition of 1736. LONGE 198 
 
 The lovers opera. As it is performed at the Theatre-Royal, by His 
 Majesty's servants. By Mr. Chetwood . . . The second edition, 
 with alterations. 
 
 icm 
 
 London, Printed and sold ly A. Dodd, 1729. 3 p. 1., 34 p. 19 C 
 
 One act, with prologue. Cast and same preface as quoted from the 3d ed., only 
 somewhat shorter. No table of songs in this edition. Nor are the 39 [!] airs printed in 
 the text. They are indicated only by title. 
 
 According to Clarence, first performed at Drury Lane, May 14, 1730, but the title 
 page of thislibretto would seem to establish 1729 as the year of performance, and, in 
 fact, Tufts gives May 14, 1729, as date of first performance. LONGE 49 
 
 - The lovers opera. As it is performed at the Theatre-Royal, by 
 His Majesty's servants. By Mr. Chetwood ... 3d ed., with altera- 
 tions: and the musick prenx'd to each song. 
 London, J. Watts, 1730. 4 p. I, 40 p. 20 cm . 
 
 One act, with prologue. Cast, and preface in which William Rufus Chetwood says: 
 "This attempt being begun soon after the run of the celebrated Beggar's Opera (to 
 mention which gives me some confusion, while I am speaking of my own weak 
 endeavors) the reader may perhaps find some new tunes since made use of in other 
 entertainments of this kind. I must declare the songs thereto were made before I 
 ever saw any such performances . . . The town, thro' their good-nature, having 
 given this trifle a more favourable reception than I could have expected, the printer 
 has, to compleat this third edition, been at the expence of adding the tunes to each 
 song." 
 
 Ballad opera with table of the 32 songs. The corresponding airs are printed in the 
 text with their titles, no. 29, "When beauty our courage will try," being marked as 
 "compos'd by Mr. Charke." ML 50.5. L72 
 
 Love's a lottery, and a woman the prize. With a new masque, 
 call'd Love and riches reconcil'd. As it was acted by His Majesties 
 servants at the Theatre in Lincolns-Inn-Fields . . . 
 
 London, Daniel Brown and Edmund Rumbatt, 1699. 4 P- 1i 40 P- 
 21 Y n . 
 
 The masque on p. 36-40. Neither the author, Joseph Harris, is mentioned, nor the 
 composer of the music. 
 
 First performed 1699, as indicated. LONGE 240
 
 OPERA LIBEETTOS 701 
 
 Love's labyrinth. A. T. of Arnold's The banditti. 
 
 Love's mistresse: or The Queens masque. As it was three times 
 presented before both Their Majesties, within the space of eight 
 dayes: In the presence of sundry forraigne ambassadols. Publikely 
 acted by the Queenes comedians, at the Phoenix in Drury-Lane. The 
 second impression, corrected by the author, Thomas Heywood . . . 
 London, Printed by John Raworth, for John Crouch, 1640. \72] p. 
 
 If cm 
 
 Five acts. The masque is here entered without further comment, as it contains 
 so few opportunities for music (dances and a few songs) as to be negligible for the 
 present purpose. It is more a drama than a masque. LONGE 61 
 
 Love's paradice. A. T/ of The grove. 
 
 The loves of Mars and Venus; a play set to musick: written by 
 Mr. Motteux . . . 
 
 London, A. Bettersworth and F. Clay, 1722. [51]-84 p. 15 cm . 
 
 Three acts and prologue. "An explanation of the fable" (p. 83-84), cast, dedi- 
 cation and preface in which Motteux says: 
 
 "This musical play or masque was written to be inserted into a very short farce, 
 written by Mr. Ravenscroft, called The Anatomist, or the Sham doc'tor ... I chose 
 a subject never manag'd in a dramatick way before . . . Whatever the critics may 
 think of the lines . . . there has not been more agreeable, nor more masterly music 
 perform'd upon our stage . . ." 
 
 The prologue and third act are headed as composed by Godfrey Finger, acts 1-2 
 as by John Eccles. 
 
 First performed 1696 at Lincoln's-Inn-Fields. LONGE 205 
 
 Second copy. LONGE 277 
 
 The loves of the deities. A. T. of D. Purcell's Cinthia and Endi- 
 mion. 
 
 The loyal shepherds ; or, The rustic heroine, a dramatic poem. In 
 one act. To which is affixed, several sonnets, ballads, acrostics, etc. 
 Written by T. Goodwin. 
 
 [London], Printed for the author, n. d. 3 p. 1., 39 p. 20\ cm . 
 
 List of subscribers and prefatory acrostic with the name of the author, Thomas 
 Goodwin. 
 
 No composer or performance recorded by Clarence. LONGE 303 
 
 Lucas et Colinette. A. T. of La fete d' amour. 
 
 Lucas und Barbchen. L. T. of G. Benda's Der jahrmarkt. 
 
 Lucca liberata. See M. Curzio. 
 
 Lucile, comedie en un acte, melee d'ariettes. Represented pour la 
 premiere fois par les Com&Iiens italiens ordinaires du Roi, le 5 Jan- 
 vier 1769. 
 Paris, Merlin, 1769. 44 p. 19 cm . 
 
 Neither Mannontel, the author, is mentioned, nor GrStry, the composer. 
 
 SCHATZ 4165 
 
 Lucile, comedie en un acte, m&e'e d'ariettes. Represent^ pour 
 la premiere fois par les Com6diens italiens ordinaires du roi, le 5 Jan- 
 vier 1769. 
 Paris, Veuve Duchesne, 1769. 36 p. 19 cm . 
 
 On p. [33J-36, "Ariettes de Lucile": "Chantonsdeuxpoux," "Onditqu'aquinze 
 ana." Cast. Neither GrStry is mentioned, nor Mannontel. ML 50.2.L8G7
 
 LIBRARY OF CONGRESS* 
 
 Lucile Continu ed . 
 
 Lucile, comedie en un acte, meslee d'ariettes, representee pour la 
 premiere fois par les Come'diens italiens ordinaires du roi, le 5 Jan- 
 vier 1769. 4 
 Paris, Merlin, 1770. 40 p. 19 cm . 
 
 Cast. On p. 37 the air of " Chantons deux e"poux " followed on p. 38-40 by the duet, 
 "On dit qu'a quinze ans." Without names of Marmontel or GrStry. 
 
 SCHATZ 11706 
 
 - Lucile, comedie en un acte, mes!6e d'ariettes, representee pour 
 la premiere fois par les Come'diens italiens ordinaires du roi, le 5 
 Janvier 1769. 
 
 Paris, Merlin, 1774. 40 p. 18 cm . 
 
 Cast. The text is the same as in the 1770 ed. SCHATZ 11707 
 
 - Lucile, ein singspiel in einem aufzuge aus dem franzoesischen 
 uebersetzt und von dem uebersetzer selbst herausgegeben. 
 
 Frankfurt am Mayn, mit Andredischen schriften, 1772. 60 p., 10 
 p. (music). 16% cm . 
 
 By Johann Heinrich Faber who is not mentioned. The music (voices and bass) 
 consists of ' ' Wo kann man beeser eeyn " (Ou peut-on dtre mieux, 1, 4). SCHATZ 4166 
 
 Lucinda. Scherzo pastorale per musca . . . 
 
 Parma, Paolo Monti, 1713. vi, 7-48 p. 21 p. 
 
 Three acts. Imprimatur dated July 14, 1713. In a prefatory note the publisher 
 mentions Vincenzio Nieri as the author and prints a letter by him, dated Lucca, 
 April 19, 1713, in which he says: 
 
 "nel passato carnevale alcuni amici, ed io risolvemmo di rappresentare per pro- 
 prio divertimento questo piccolo dramma, il di cui motive lo trassi . . . daft' opere 
 del gia famoso Moniglia; ma dopo alcune recite, fu sparsa voce, contenersi in esso 
 qualche sentimento immodesto, e perci6 indegno d'esser udito, benche del continue 
 fosse il concorso degli uditori assai folto. Fra gli altri si pose in testa, che cosi fosse, 
 un certo Satrapone Zelante, il quale unito con altro soggetto suo pari, e senza averlo 
 ne pur veduto, gli diede taccia di disonesto, e lascivo; e fece, per quanto fu in sua 
 mano, ogni possibile sforza, acci6 ne restasse eospesa la recita ..." 
 
 He then states that these unwarranted attacks failed and that the opera continued 
 to be performed with success. The composer is unknown to Schatz. ML 50.2.L83 
 
 Lucio Giunio Bruto, ballet. See Tarchi's La congiura Pisoniana. 
 Lucio Giunio Bruto primo console di Roma. See M. Curzio. 
 
 Lucio Papirio. 
 
 Apostolo Zeno, Poesie drammaticke, Venezia, 1744> t> i> P- [271}-355 
 p. 19 cm . 
 
 Three acts and'licenza. Argument. No composer is mentioned. In the "Cata- 
 logo " at end of t. x, date and place of first ed. are given as Vienna, 1719. (Performed 
 there on November 4, with music by Caldara as " Lucio Papirio dittatore.") 
 
 ML 49.A2Z3 
 
 Lucio Papirio. Pubblicato per la prima volta in Vienna 1719. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. v, p. 86. 
 21 cm . 
 
 Three acte. Argument. No composer is mentioned. ML 49.A2Z4
 
 OPERA LIBEETTOS 703 
 
 Lucio Papirio. Dramma per musica da rappresentarsi in Copen- 
 hagen. Lucius Papirius . . . 
 
 Copenhagen, Andreas Hartwig Godiche, 1756. 155 p. 15\ cm . 
 
 Three acts. Argument, cast, scenario and note: "La musica e di diversi autori." 
 German text face the Italian of Apostolo Zeno. 
 
 First performed 1756, as indicated. SCHATZ 11346 
 
 Lucio Papirio. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino, nel carnovale del 1753 . . . 
 
 Torino, Pietro Giuseppe Zappata e figliuolo, 1753. 4 P- l- } 5 P- 
 
 IQcm 
 
 Three acts. Argument, cast, and scenario. Neither the composer, Ignazio Balbi, 
 nor the librettist, Apostolo Zeno, are mentioned, but as composers of the ballet music 
 are named Amedeo Rasetti and Rocco Gioannetti. 
 
 First performed as indicated, December 26, 1752 (Schatz). SCHATZ 557 
 
 Lucio Papirio. Drama per musica da rappresentarsi nel Teatro di 
 Breslavia Panno 1731-1732 . . . 
 
 n. i., n. d. 103 p. 17% cm . 
 
 Three acts. Dedication by the composer, Antonio Bioni, argument. The libret- 
 tist, Antonio Salvi, is not mentioned. German title-page, "Lucius Papirius, musi- 
 calische opera," and text face Italian. SCHATZ 1044 
 
 Lucio Papirio. Drama per musica del Signor dottor Antonio Salvi 
 da Firenze, da rappresentarsi uella Sala de Sign. Capranica nel car- 
 novale delF anno 1714. 
 
 Roma, Bernabb, 1714. 74 p. 15\ cm . 
 
 Three acts and three intermezzi (text on p. 65-74), "BARILOTTA E SLAPINA." Argu- 
 ment, cast, scenario, and name of Francesco Gasparini as composer. The intermezzi 
 appear to be the same as Salvi's "Barillotto," first composed with music by Domenico 
 Sarro, at Venice, Teatro di San Angelo, fall of 1712. ML 50.2.L85G2 , 
 
 Lucio Papirio. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Berlino . . . 
 
 Berlino, A. Haude, 1745. 133, [1] p. 16. 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Argument, scenario, and 
 name of Carl Heinrich Graun as composer. German title-page, "Lucius Papirius," 
 and text face Italian. 
 
 First performed, as indicated, January 4, 1745. SCHATZ 4104 
 
 Lucio Papirio. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Berlino . . . 
 
 Berlino, Haude e Spener, 1784. 109, [3] p. 16\. 
 
 Three acts. By Apoetolo Zeno, who is not mentioned. Argument, cast, scenario, 
 and name of Joh. Ad. Hasse as the composer. German title page "Lucius Papirius," 
 and text face Italian. 
 
 Performed, as indicated, January, 1784; previously there on January 24, 1766; first 
 performed at Dresden, Hoftheater, January 18, 1742. SCHATZ 4546 
 
 Lucio Papirio. Dramma per musica da rappresentarsi in Firenze 
 nella primavera dell' anno 1795 nel Regio Teatro degli Intrepidi detto 
 della Palla a Corda . . . 
 
 Firenze, Ant. Gius. Pagani e comp., 1795. 26 p. 18 cm . 
 
 Two acts. Cast and name of Gaetano Marinelli as composer. Schatz attributes 
 the text to Zeno. By comparison, it is, however, neither by him nor by Salvi. 
 First performed at Naples, Teatro di San Carlo, May 30, 1791. ML 48.A5 v. 16
 
 704 LIBRARY OF CONGRESS 
 
 Lucio Papirio. Dramma per musica da recitarsi nel Teatro Arci- 
 ducale di Mantova nel carnovale dell' anno MDCCXVIII . . . 
 Mantova, Alberto Pazzoni, n. d. 61 p. 17 cm . 
 
 Three acts. Neither Antonio Salvi, the author, nor Giuseppe Maria Orlandini, the 
 composer, is mentioned. Impresario's (Francesco Bibiena!) dedication, argument, 
 cast, and scenario. 
 
 First performed at Naples, Teatro di S. Bartolomeo, December 11, 1717. 
 
 SCHATZ 7352 
 
 Lucio Papirio. Dramma per musica da rappresentarsi nel nobile 
 Teatro Tron di S. Cassiano nel carnevale dell' anno 1737 . . . 
 Venezia, Giuseppe Bettinelli, 1737. 6 p. 1., Jfi p. 15 cm . 
 
 Three acts. By Antonio Salvi, who is not mentioned. Domenico Lalli's dedica- 
 tion, argument, cast, scenario, and name of Nicola Antonio Porpora as the composer. 
 
 SCHATZ 8371 
 
 Lucio Papirio. Dramma per musica del Sig. dottor Antonio Salvi 
 da Firenze, da rappresentarsi nel Teatro di Sant' Angelo il carnovale 
 delT anno 1715 . . . 
 
 Venezia, Marino Rossetti, 1715. 59 p. 15 cm . 
 
 Three acts. By Antonio Salvi, who is not mentioned. Dedication by Antonio 
 Vivaldi, argument, cast, scenario, and name of the composer, Luca Antonio Predieri. 
 First performed at Pratolino, Teatro della Villa Medici, 1714. SCHATZ 8457 
 
 Lucio Papirio dittatore. O. T. of Zeno's Lucio Papirio and Quinto 
 Fabio. 
 
 Lucio Papirio dittatore. Dramma per musica, da rappresen- 
 tarsi nella Cesarea corte peril nome gloriosissimo della Sac. Ces. e Catt. 
 Real Maesta di Carlo VI . . . La poesia e del Sig. Apostolo Zeno.. . . 
 La musica e del Sig. Antonio Caldara . . . 
 
 Venezia, Domenico Lovisa, 1720. 63 p. 15 cm . 
 
 Three acts. With argument and scenario. Nicola Matteis is mentioned as com- 
 poser of the ballet music. 
 
 First performed, as indicated, at Vienna November 4, 1719. SCHATZ 1499 
 
 Lucio Papirio dittatore. Dramma per musica da rappresen- 
 tarsi nel nuovo Ducal Teatro di Parma la primavera delP anno 
 MDCCXXIX . . . 
 
 Parma, eredi di Paolo Monti, 1729. 71, [1] p. 16$ cm . 
 
 Three acts. By Apoetolo Zeno, retouched by Carlo Innocente Frugoni, both men- 
 tioned by inference. Dedication, dedicatory sonnet by Frugoni ("Comante Eginetico 
 P. Arcade"), argument, notice to the reader with reasons for the alterations, cast, 
 scenario, and name of Geminiano Giacomelli as the composer. SCHATZ 3809 
 
 Lucio Papirio dittatore. Dramma per musica da rappresentarsi 
 nel Real Teatro di Salvaterra nel carnovale dell' anno 1775. 
 
 [Lisboa, n. d.}, Stamperia reale. 62 p. 15% cm . 
 
 Three acte. Apostolo Zeno is mentioned ae the author, Paiaiello as the composer. 
 Cast, scenario, and argument. 
 
 First performed at Naples, Teatro di San Carlo, summer, 1767. SCHATZ 7674
 
 OPERA LIBRETTOS 705 
 
 Lucio Papirio dittatore. Drama per musica da rappresentarsi nel 
 famosissimo Teatro Grimani di S. Gio. Grisostomo il carnovale dell' 
 anno 1721 . . . 
 
 Venezia, Marino Rossetti, 1721. 60 p. 14$ cm - 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Impresario's dedication, 
 argument, cast, scenario, name of Antonio Pollaroli as composer, and notice informing 
 the reader 
 
 "Nella preeente tragedia alcuni cambiamenti si sono dovuti fare, per accomodarla 
 ad un altro Teatro, e ad un' altra musica, e finalmente ad altri virtuosi destinati a 
 rappresentarla ..." 
 
 ana then follows the customary apology to the author and public, protesting that the 
 intention was "solamente di^mutare. non di correggere." In his letter no. 538 Zeno 
 speaks of this libretto as " mutilato dal Piovene." 
 
 First performed, as indicated, December 26, 1720. SCHATZ 8259 
 
 Lucio Silla. Dram ma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Samuele la nera dell' Ascensione dell' anno 1774. 
 Venezia, Gfrazioli, n. d. 48 p. 17 cm . 
 
 Three acts. By Giovanni de Gamerra, with cast, scenario, and name of composer, 
 Pasquale Anfossi, but not of librettist. As first ballet was performed "Solimano II 
 [o sia] La francese trionfante," author and composer not being mentioned. 
 
 SCHATZ 243 
 
 Lucio Silla. Dramma per musica da rappresentarsi all Corte elet- 
 torale Palatina in occasione del felicissimo giorno del nome del sere- 
 nissimo elettore. 
 
 Mannheim, Stamperia elettorale, n. d. 77 p. 16 cm . 
 
 Three acts. By Giovanni de Gamerra with alterations by Matteo Verazj in the 
 second act. Argument, cast, scenario, and names of composer, Johann Christian 
 Bach ("musica . . . nuova composizione"), and of librettist. 
 
 First performed at Mannheim, Hoftheater, November 4, 1773 (Schatz), preceding 
 the performance mentioned by Mozart. . SCHATZ 529 
 
 Lucius Silla, eine opera aufgefuehret bei gelegenheit des hoechst- 
 beglueckten namensfestes Seiner Kurfuerstl. Durchlaucht zu Pfalz. 
 
 Mannheim, Hofund Akademie Buchdruckerei, 1774- 80 p. 15$ cm . 
 
 Argument, cast, scenario, and names of Joh. Christian Bach as composer and of 
 Gamerra and Verazi as authors. On p. 69-70 a detailed description of the ballets, 
 "Acis und Galatea," invented by Stephen Lauchery, music by Joseph Toeschi, and 
 "Achilles und Ulysses auf der Insel Scyros," by the same author, music by Christian 
 Cannabich. SCHATZ 530 
 
 Lucio Silla. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1779 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 4%, U] P- 16\ cm . 
 
 Three acts. Giovanni de Gamerra is mentioned as the author of the text "adattata 
 al comodo del compositor della musica," Michele Mortellari. Argument, cast, 
 scenario. Vittorio Amedeo Canavasso is mentioned as the composer of the music 
 for the ballets, which had no characteristic plot or title. 
 
 First performed, as indicated, December 26, 1778. SCHATZ 6682 
 
 Lucio Vero. O. T. of Zeno's text Vologeso. 
 
 Lucio Vero. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744) t- iti> P' [87]-168 
 p. 19. 
 
 Three acts. Argument. No composer is mentioned. In the "Catalogo" at end 
 of t. x, date and place of first ed. are given as Venice. 1700. (See below). 
 
 ML 49.A2Z3 
 
 72251 VOL 114 45
 
 706 . LIBRARY OF CONGRESS 
 
 Lucio Vero Continued. 
 - Lucio Vero. Pubblicato per la prima volta in Venezia 1700. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. ii, p. 59-136. 
 21 cm . 
 
 Three acts. Argument. No composer mentioned. ML 49.A2Z4 
 
 Lucio Vero. Dramma per musica da rappresentarsi nel famoso 
 Ducal Teatro di Bronsevico n'ella fiera d'inverno dell' anno 1756. 
 [Bronsevico], Keitel, n. d. 151 p. 16 cm . 
 
 Three acts. Argument, scenario. German title page, "Lucius Verus," and text 
 face Italian by Apostolo Zeno. Neither he nor the composer (unknown to Schatz) 
 is mentioned. SCHATZ 11347 
 
 Lucio Vero. Dramma per musica da rappresentarsi nel Teatro di 
 Sant' Angelo il carnovale dell' anno MDLCXXXV . . . 
 Venezia, Marino Rossetti, n. d. 58 p. lJfy cm . 
 
 Three acts. By Apostolo Zeno. Impresario's dedication, cast, argument, scena- 
 rio, and name of composer, Francesco Araya, but not of librettist. SCHATZ 306 
 
 Lucio Vero. Dramma per musica da rappresentarsi in Verona nell* 
 aprimento del Nuovo Teatro Filarmomco il carnovale dell' anno 
 MDCCLIV . . . 
 
 Verona, Giambattista Saracco, n. d. 56 p. 18. 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Publisher's dedication, 
 argument, cast, scenario, and name of Davide Perez as the composer. SCHATZ 7873 
 
 Lucio Vero. Drama per musica da recitarsi nel Teatro Grimani di 
 S. Gio. Grisostomo, 1'anno MDCC . . . 
 Venezia, Nicolini, 1700. 7 p. I, 56 p. 
 
 Three acts. Dedication with the initials of the author, Apostolo Zeno, argument, 
 and scenario. The composer, Carlo Francesco Pollaxoli, is not mentioned. 
 
 SCHATZ 8301 
 
 Lucio Vero. Dramma per musica da rappresentarsi nel Keal Teatro 
 di S. Carlo nel di 13 agosto 1785 per festeggiarsi la nascita di S. M. 
 la regina . . . 
 
 Napoli, Vincenzo Flauto, 1785. 59 p. 15 cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Dedication with same 
 date as in the title, argument, cast, scenario, and name of Antonio Sacchini as the 
 composer. On p. 9-26 argument, cast, and name of Antonio Rossetti as composer of 
 the music of Domenico Lefevre's "D. Pedro, infante di Portpgallo. Ballo tragico in 
 cinque atti." As second ballet was performed his "La festa di Flora, ballo pastorale." 
 
 First performed at the same theatre, November 4, 1764. SCHATZ 9242 
 
 Lucio Vero. Drama per musica da rappresentarsi in Monaco nel 
 autunno dell anno 1720. Nel Teatro Elettorale festeggiandosi il 
 felicissimo giorno del nome dell' Altezza Serenissima Elettorale di 
 Massimiliano Emanuele . . . il di 12. octob. 1720. 
 
 Monaco, Enrigo Teodoro di Collen, n. d. 68, [26\ p. 15 cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Argument, cast, and sce- 
 nario. Pietro Torri, the composer, is not mentioned. The unnumb. pages contain 
 argument and scene by scene synopsis in German. SCHATZ 10366 
 
 Lucius Papirius. Tr. of Zeno's text Lucio Papirio, Copenhagen, 
 1756. 
 
 Lucius Papirius. Tr. of Bioni's Lucio Papirio.
 
 OPERA LIBRETTOS 707 
 
 Lucius Papirius. Tr. of Graun's Lucio Papirio. 
 Lucius Papirius. Tr. of Hasse's Lucio Papirio. 
 Lucius Silla. Tr. of Bach's Lucio Silla. 
 Lucius Verus. Tr. of Zeno's text Lucio Vero. 
 
 Lucius Verus, oder Die siegende treue: in einem singe-spiel auf dem 
 Hamburgischen Schauplatze im jahr 1728 aufgefuehret. 
 
 [Hamburg], mit Stromerischen schrifften, n. d. Unpaged. 19 cm . 
 
 Three acts. Scenario, name of Reinhard Keiser as the composer, and "aver- 
 tissement:" 
 
 "Die denen liebhabern zu gefallen, etatt der hier eingedruckten deutschen, abzu- 
 singende wenige italiaenische arien, (deren inhalt sich zu der materie gantz unge- 
 zwungen schickt), werden verhoffentlich eine allgemeine approbation verdienen. 
 
 The author, Hinsch ? who based his text on Zeno, is not mentioned. 
 
 First performed, as indicated, October 18, 1728. SCHATZ 5101 
 
 The lucky discovery: or, The tanner of York. An opera. As it 
 was acted at the theatre in York . . . 
 
 York, Printed jor the author by Thomas Gent, 1787. 1 p.l-, Hi, [1], 
 26 p. 19 cm . 
 
 One act. Oast and preface signed by John Arthur as author. Ballad opera, the 9 
 airs of the songs being indicated by title. 
 
 Performed at Covent Garden, London, April 24, 1738. LONGE 152 
 
 The lucky mistake. A. T. of The jealous clown. 
 Lucretia. See Keiser's Die kleinmuethige . . . 
 
 Lucrezia Rornana. Dram ma di tre atti per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 43, 
 [295}-340 p. 18. 
 
 See also his "Lugrezia Romana in Contantinopoli." PQ 
 
 II Lucullo. A. T. of A. Scarlatti's L' humanita nelle fere. 
 Ludovico il Moro, ballet. See Rispoli's Ipermestra. 
 
 Ludpvico Sforza detto II Moro, ballet. See Cimarosa's Volo- 
 domiro. 
 
 Die luftschiffer oder Der strafplanet der erde. Ein komisch- 
 satirisches original singspiel in 3 aufzuegen von Max Blumhofer. 
 Fuer das kaiserliche deutsche Hoftheater zu St. Petersburg bear- 
 beitet. 
 
 Leipzig und Koeln, J. A. Imhofsche buchhandlung, 1787. 80 p. 
 16 cm . 
 
 In his long " Vorrede " (p. 3-9), dated Duesseldorf, August 21, 1786, Blumhofer says: 
 "Meine liebe zur musik, und besondere, zur theatermusik gab diesem singspiel das 
 daeeyn. Ich wollte mich in composition ueben und zeigen, und beschloss, mir ein 
 stueck zu diesem endzweck zu verfertigen Ich nahm daher bey der ausarbeitung 
 desselben sogleich auch auf die musik ruecksicht, welches wie es scheint, die moisten 
 verfaeser von singspielen versehen, oft versehen muessen, weil sie entweder keine 
 musik verstehen, oder wenn sie sie verstehen, weil sie zu wenig gefuehl haben, um 
 sich zum voraus in die lage des tonsetzere zu versetzen . . . 
 
 "Ich wollte vereuchen, ob ich in Weissens fuestapfen tretten, und eine operette 
 liefern koenne, die meiner eigenen musickcompositioiu und der auffuehrung wuerdig 
 waere .
 
 708 LIBRARY OF CONGRESS 
 
 Die luftschiffer Continued. 
 
 "Auch diese operette trug ich Sr. Excellenz dem freyherrn von D . . . [Dalberg] 
 an. Aber ich unbesonnener dachte nicht darauf, dass in den opern und operetten. die 
 in M ... [Mannheim] aufgefuehrt werden, mord und tod, gift und dolch herrechen 
 mueseen; wie ee die opern: Gvjenther von Schwartzburg, welche gewiss von jeder oper 
 dee Metastasio das gegenstueck ist, und Rosemunde beweisen; auch muss ueberdiee das 
 etueck arbeit aus eigener fabrique seyn. Ich verdenke also Sr. Excellenz nicht, dasa 
 Dieselben den antrag meiner operette keiner antwort wuerdig fanden. 
 
 "Aber was soil ich mit dir anfangen, liebes operettchen? dich nach . . . M. 
 [Muenchen] schicken? Nein; du bist zu stolz um dich da von einer Excellenz, 
 welche Helena und Paris so reichlich belohnte, beallmosen zu lassen; und ich selbst 
 mag mit musickern, die den grossen Mozart verkleinerten, verachteten und beca- 
 bahrten, nichta zu thun haben. Oder soil ich dich nach Wien schicken? Freylich 
 das gieng noch wohlan Aber ich bin etwaa misstranisch. Wien ist fuer manuscripte 
 eine gefaehrliche stadt. Weisst du was, liebea buechekhen; wandre du auch nach 
 St. Petersburg. Aber, dort ist keine deutsche operette, sagst du? Naerrchen? Was 
 thut das zur sache? Vor etlichen jahren war dort auch noch kein deutsches theater. 
 Was nicht ist, das kann noch werden ..." 
 
 Schatz records no performance. ML 50.2.L9B4 
 
 Second copy. 14i cm . SCHATZ 1108 
 
 Lugrezia Romana in Costantinopoli. 
 
 [217}-264 p- 16% cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. Hi, Torino, 1757.) 
 
 See also his "Lucrezia Romana." First performed as below. ML 49.A2G6 
 
 Lugrezia Romana in Costantinopoli. Drarnma comico da rap- 
 presentarsi in musica dalla Compagnia de Comici nel Teatro Grimani 
 di S. Samuele il carnovale dell' anno 1737. 
 
 Venezia, Alvise Valvasense, 1737. 4? P- 14% cm > 
 
 Three acts. Prefatory note. Neither the author, Carlo Goldoni, is mentioned, 
 nor the composer, Giacomo Macari. SCHATZ 5811 
 
 Lukas und Barbchen. L. T. of G. Benda's Der Jahrmarkt. 
 
 Lukas und Hannchen, eine operette . . . [vignette] 
 t Braunschweig, Fuerstl. WaisenJiausbuchhandlung, 1768. 2 p. L, 44 
 p. 16 cm . 
 
 One act. Dedicatory poem. Based, as the author, Johann Joachim Eschenburg, 
 remarks in a note, on "Annette et Lubin" of Marmontel and still more on that of 
 Mad. Favart. The composer, Johann Friedrich Gotth'eb Beckmann, is not men- 
 tioned. 
 ^ First performed at Braunschweig, Furstl. Kleinee Theater, in 1768. SCHATZ 685 
 
 Luminalia, or The festivall of light. Personated in a masque at 
 Court, by the Queenes Majestic, and her ladies. On Shrovetuesday 
 Night, 1637. 
 
 London, Printed by John Havilandfor Thomas Walkley, 1687. 1 p. 
 I., 21 p. 18 cm . 
 
 Text of the songs, minute description of the masque and of "Night," the anti- 
 masque, and at end "the names of the masquers." The prefatory remarks read, in 
 part: 
 
 "The kings Majesties masque being performed, the queene commanded Inigo 
 Jones, surveyor of her Majesties works, to make a new subject 'of a masque for her 
 selfe, that with high and hearty invention, might give occasion for variety of scenes, 
 strange apparitions, songs, musick and dancing of severall kinds; from whence doth 
 result the true pleasure peculiar to our English masques, which by strangers and 
 travellers of judgement, are held to be as noble and ingenious, as those of any other 
 nations: This being suddainly done and shewed her Majestie, and shee approving 
 it, the worke was set in hand, and with all celerity performed in shorter time, than 
 any thing here hath beene done in this kind." 
 
 The masque has been attributed to T. Lodge and Robert Greene and the music is 
 credited to Nicholas Uaniere. ML 52.2.L92
 
 OPERA LIBRETTOS 709 
 
 Arien aus dem singspiel : Der lumpensammler, oder Ein gutes herz 
 ziert jeden stand in zwey aufzuegen. Die musik 1st von herrn Weigl. 
 n. i., 1797. 14 p. 16 cm . 
 
 By Paul Weidmann, who is not mentioned. 
 
 First performed at Vienna, Burgtheater, October 15, 1792. SCHATZ 10940 
 
 O lunatico Uludido. Novo drama adornado de music a, e tradu- 
 zido do idioma italiano, para se representar no Theatro do Salitre. 
 
 Lisboa, Jose de Aquino Bulhoens, 1791. 127 p. 14% cm . 
 
 Three acte. Author not mentioned and unknown to Schatz. Cast and name of 
 Marcos Antorffo [Portugal] as composer. According to Carvalhaes, this is a Portu- 
 guese version of Goldoni's "II mondo della luna." In Portugal's catalogue of his 
 works this opera figures as "O mundo da lua, " with date of 1792 instead of 1791. 
 
 ML 50.2.L95P7 
 
 Der lustige schuster oder Der zweyte theil vom Teufel ist los. 
 Eine komische oper in drey aufzuegen. 
 
 C. F. Weisse, Komische opern, Carlsruhe, 1778, t. ii, p. [105]-194. 
 
 On p. 106 the note: "Nach dem Merry cobler oder the Second part of the Devil to 
 pay dee herrn Coffey." 
 
 Neither Johann Standfuss, who originally composed the music, nor Johann 
 Adam Hiller, who revised it and partly composed the text anew, is mentioned. 
 
 First performed at Leipzig, Theater am Eannstadter Thore, 1766. With Standfuse' 
 music first performed at Lubeck, January 18, 1759. ML 49.A2W2 
 
 Second (detached) copy. SCHATZ 4733 
 
 Die lustigen weiber. Ein singspiel in vier aufzuegen von Georg 
 Roemer [vignette]. Die musik is von Peter Hitter. 
 
 n. i., 1792. 143 p. 14 m . 
 
 First performed at Mannheim, Nationaltheater, November 4, 1794. SCHATZ 8825 
 
 Das lustlager. Ein singspiel in zwei aufzuegen. Die musik ist 
 vom herrn doktor Schuhbauer, dem verfasser der Dorfdeputirten. 
 Muenchen, Johann Baptist Stroll, 1784. 77 p. 16 cm . 
 
 By Franz Joseph Marius von Babo, who is not mentioned. 
 
 First performed at Munich, old opera house by St. Salvator, August 4, 1784. 
 
 SCHATZ 9711 
 
 Lycidas : a musical entertainment. As it is performed at the Theatre 
 Roval in Covent Garden. The words altered from Milton . 
 
 London, W. Griffin, 1767. 1 p. I., 13, [1] p. . 
 
 One act. Cast. The text by the composer, William Jackson, of Exeter. 
 First performed November 4, 1767. LONGE 198 
 
 Second copy. LONGE 216 
 
 Epilogue. Being a new fancy after the old, and most surprising way 
 or Macbeth, perform'd witn new and costly machines, which were 
 invented and managed by the most ingenious operator Mr. Henry 
 Wright. P. G. Q. 
 
 London, Printed in the year 1674. 21% cm . (In Thomas Duffet's 
 "The Empress of Morocco," London, Simon Neal, 1674 a* P- [26]-89.) 
 
 Cast. The composer of the music (only incidental) of the play is not mentioned. 
 The play was a parody of Elkanah Settle's tragedy of the same title and was first per- 
 formed in 1674. The "Macbeth" epilogue is said in Grove to be a parody of 
 Davenant's version of "Macbeth," music by Mathew Locke. LONGE 271
 
 710 LIBRARY OF CONGRESS 
 
 II macchinista ossia La sustu matematica, ballet. See Martin y 
 Soler's Vologeso. 
 
 Die macht der feen. A. T. of Selim und Zelide. 
 
 Die macht der lie be oder Die von Paris entfuehrte Helena. German 
 title of Reiser's La forza dell' amore. 
 
 II Macedone continente. A. T. of M. A. Ziani's La virtu sublimata 
 dal grande. 
 
 Macrina e Carfoglio. Intermezzi hi Vinci's Medea riconosciuta. 
 
 The mad captain, an opera as it is acted at the New Theatre in 
 Goodman's-Fields. 
 London, Charles Corbett, 173$. 54 p. 19. 
 
 Title vignette port, of Addison. 
 
 One act. By Robert Drury, who is not mentioned. Cast. Ballad opera, the 33 
 airs of which are merely indicated by title in the text, aira 20-29 being incorrectly 
 numbered 21-32. 
 
 First performed March 5, 1733. LONOE 50 
 
 Madama Arrighetta. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro Formagliari il carnevale dell' anno 1761 . . . 
 Bologna, Sassi, 1760. 72 p. 15 cm . 
 
 Three acts. By Antonio Palomba, who is not mentioned. Impresario's dedica- 
 tion, cast, and name of Niccol6 Piccinni as the composer. 
 
 First performed, as indicated, January 7, 1761, at Naples; as "Monsieur Petitone" 
 (Schatz), Naples, Teatro Nuovo, fall of 1758. SCHATZ 8150 
 
 Madama Ciana. Drama giacoso per musica da rappresentarsi nel 
 Teatro di S. Cassano nelP autunno dell' anno 1744. 
 
 Venezia, n. publ., n. d. 2 p. 1., 84, [4] P- 17 cm . 
 
 Three acts. By Giovanni Barlocci, who is not mentioned. Cast and name of 
 Gaetano Latilla as composer. The 4 additional p. contain the substitute arias, 
 "D'ogni core la bellezza for "Non si credano mai (I, 6), "II mqdo e questo" for 
 "Si con giudizio" (II, 2), "Se mai perdete" for "L'idol mio tu fosti," and the addi- 
 tional anas, "Al pensier de torti miei" (II, 11) and "Disprezzata, abbandonata" 
 (III, 1). According to Schatz, Barlocci s libretto was originally called "Donna 
 Marzia." SCHATZ 5447 
 
 Ciana. Dramma giocoso per musica. 
 
 Monaco, Giovanni Giacomo Votter, 1749. 52 p. 15 cm . 
 
 Three acts. The author, Barlocci, is not mentioned. Cast and name of Gaetano 
 Latilla as composer. The text is somewhat different from that of Venice, 4744. For 
 instance, I, 6 has the aria, "Quanto son pazze" instead of "Non si credano," and the 
 aria, "Non mi burli," has been dropped from I, 9. 
 
 First performed, as indicated, July 13, 1749. SCHATZ 5448 
 
 - L'ambizione delusa. Dramma giocoso per musica da rappre- 
 sentarsi in Torino nel Teatro di S. A. S. il Signer principe di Carignano 
 nel carnovale dell' anno 1747. 
 
 Torino, Giuseppe Domenico Verani, n. d. 72 p. lJfy cm . 
 
 Three acts. Cast and name of Gaetano Latilla as the composer. The text is 
 Giovanni Barlocci's "Madama Ciana," though with many differences. For instance, 
 the aria *'Non si credano" (I. 6) has been replaced by "Quanto son pazze;" "Se tu 
 mi sei fedele" (I, 7) by "Pupillette vezzosette;" "Sento cangiarei in lagrime " (1, 8) by 
 ' ' Fiume che altero abbonda." These and others on mounted slips. SCHATZ 5462
 
 OPERA LIBRETTOS * 711 
 
 Madama Prudenza. Farsetta per musica da rappresentarsi nel 
 Teatro della Valle nel carnevale dell' anno 1749 . . . 
 
 Roma, Ottavio Pucdnelli, 1749. 31 p. 15. 
 
 Two parts. Dedication by Angelo Lungi (as author?) and the printer, cast and 
 name of Gregorio Sciroli as composer. ML 50.2. M2S2 
 
 A rehearsal of a new ballad-opera burlesqu'd, call'd The madhouse. 
 After the manner of Pasquin. As it is now acting at the Theatre- 
 Royal in Lincoln's-Inn-Fields. By a gentleman of the Inner-Temple. 
 London, T. Cooper, 1737. 47, [8] p. 20% cm . 
 
 Two acts, with introduction. In his dedication, R. Baker claims that "The mad- 
 house [is] a subject of satyre never touched upon before in the dramatic way ..." 
 
 Prologue and epilogue, followed by a "Prologue to the busy body, design'd to have 
 been spoken by Mrs. Roberts, on Friday, May 22, 1737." The airs of the 18 songs are 
 indicated by title. 
 
 First performed April 22, 1737. LONGE 192 
 
 Das maechtige geschick bei Lavinia und Dido. A. T. of 
 
 Steffani's II triumfo del fato. 
 
 Das maedchen im Eichthale. Ein laendliches hochzeitspiel in 
 fuenf aufzuegen von Bock. Neue rechtmaessige auflage. 
 
 Hamburg, Heroldsche BuchJiandlung, 1785. 104 P- 16 cm . 
 
 Five acts. The composer, Johann or Georg Friedrich Lampe, ia not mentioned. 
 
 First performed at Hamburg, .Theater beim Gansemarkt, August 19, 1776. 
 
 SCHATZ 5384 
 
 Das maedchen im thurme. A. T. of Ruprecht's Das wuetende 
 heer. 
 
 Das maedchen im thurme. A. T. of Schweitzer's Das wutende 
 heer. 
 
 Die maedchen sind von Flandern. A. T. of Mozart's Weiber- 
 treue. 
 
 Das maedchen von Fraskati. Tr. T. of PaisieUVs La Frascatana. 
 
 Die maedchenliebe. Ein schauspiel mit gesang hi drei akten. 
 Leipzig, n. pull, 1794. 152 p. 16%. 
 
 Not recorded by Schatz. Not found in "Deutschee Anonymen Lexikon." 
 
 SOHATZ 11632 
 
 Maedchenlist und liebe. A. T. of Mozart's Die wette. 
 
 Der maedchenmarkt. Komisches singspiel in drey aufzuegen nach 
 Saintfoix. 
 
 Herklots, Operetten, III, (Berlin, 1793), p. [187]-296. 15 cn . 
 
 Detached copy. Performed with music by Dittersdorf at Oels, Hoftheater, 
 April 18, 1797. 
 
 SCHATZ 3601 
 
 Gesaenge aus dem singspiele : Der maedchenmarkt, in zwey auf- 
 zuegen, nach Saintfoix von Herklots. In musik gesezt vom reichs- 
 graren von Kospoth. 
 
 Hamburg, Joh. Matth. Mwhaelsens wittwe, 1793. Ifi p. 15 cm . 
 
 First performed at Hamburg, Theater beim Gansemarkt, September 3, 1793. 
 
 SOUATZ 5220
 
 712 * LIBRARY OF CONGRESS 
 
 Das maedgen im thurme. A. T. of Schweitzer's Das wuetende 
 heer. 
 
 Arien und gesaenge zur komischen oper: Maegera. In zween auf- 
 zuegen 1774. 
 
 n. i., n. d. 20 p. 17 cm . 
 
 Without names of the composer, Johann Bohm, and the librettist, W. Philipp 
 Haffner. 
 
 First performed at Berlin, Kochsches Theater, July 27, 1774. SCHATZ 1115 
 
 La maestra. Dramma bernesco per musica da rappresentarsi nel 
 Teatro Tron di S. Cassiano il carnovale dell' anno 1754 . . . 
 Venezia, Modesto Fenzo, 1754. 72 p. 15 cn . 
 
 Three acts. By Antonio Palomba (not mentioned). .Dedication, scenario, cast, 
 and name of the composer, Gioacchino Cocchi. 
 
 First performed at Bologna, Teatro Formagliari, summer 1747. SCHATZ 2033 
 
 NB. Cocchi's "La scaltra governatrice," which was first performed at Paris, 
 Academic royale de musique, January 25 (Schatz), March 23 (de La Laurencie) 1753, 
 was but a rifadmento of his "La maestra," both containing, for instance, the arias 
 "Scelerata a me rispondi," "Cara Drusilla, Non goda quell' infida" etc. As the 
 L. of C. does not possess the original Bologna, 1747 text, I cannot point out, just what 
 surgical operations the opera suffered at the hands of the Bambini company at Paris. 
 The Venice, 1754 ed. contains in the first act the following arias and it is clear from 
 a comparison with de La Laurencie's remarks on " La scaltra governatrice " in S. I. M., 
 June 15, 1912, p. 32, that the Paris and Venice versions must have been strikingly 
 different: 
 
 I, 1 d, a, be, ce, qu . . . Oh diavolo. 
 lo sono una ragazza. 
 
 I, 2 Mia Drusilla, all' or che. 
 
 I, 5 Piil non chiamo ingiusto amore. 
 
 I, 9 Poverinal hafreddo il naso. 
 
 I, 10 Fiume, ch' alterno abbonda. 
 
 I, 12 No, non mi muove a sdegno. 
 
 I, 13 Se mai vi vedi andar vicino. 
 
 I, 14 Bella mono, or che ti stringo. 
 
 The following arias cited by de La Laurencie are not in the Venice ed . of La maestra: 
 Vedovella poverella; Drusillina; O quanti maestri; Gli sbirri (from Cocchi's La masche- 
 rata), Non son piccina, Fra noi scende Imeneo. 
 
 La maestra di scuola. Dramma giocoso per musica da rappre- 
 sentarsi nel Regio Teatro di Berlino per ordine di Sua Maesta prus- 
 siana. 
 
 Berlino, Haude e Spener, 1763. 101, [3] p. 17\ cm . 
 
 Three acts, with name of Cocchi as composer. German title-page "Die schul- 
 meieterin," and text face Italian, which differs somewhat from that of "La maestra." 
 The first act now has only ten scenes, the two last arias mentioned above occurring 
 in I, 9 and I, 10. Furthermore I, 8 has the aria "Mentisca pure," I, 7 " Poverina! 
 ha freddo," I, 5 " Se alia mia fe," I, 2 "Mia Drusilla" and in I, 1 the second 
 aria was dropped. 
 
 First performed at Berlin, Schlosstheater, December 1763, and previously there 
 in 1754 (Schatz). SCHATZ 2034 
 
 La scuola moderna, osia La maestra di buon gusto. Dramma 
 giocoso per musica da rappresentarsi nel Teatro Giustiniano di S. 
 Mois& 1'autunno dell' anno 1748. 
 
 Venezia, Modesto Fenzo, 1748. front., 58, [1] p. 15 cm . 
 
 Three acts. Antonio Palomba's "La maestra," rewritten by Carlo Goldoni, 
 according to Schatz, who records Cocchi as the composer, whereas Wiel leaves that 
 point open. This notice is addressed to the reader on p. 3: 
 
 "Non avendo servito il tempo per mutar tutta 1'opera, come erasi divisato, si e 
 mutata tutta la materia buffa, la quale, se non parera bene intrecciata colla seria, 
 ci6 e provenuto per la necessaria brevita ..."
 
 OPERA LIBRETTOS 713 
 
 La maestra Continued. 
 
 The differences will appear from the list of characters. Originally they were: 
 Brasilia, Fazio, Leonora, Ottavio, Flaminio, Checca, Pistone. In the revised ver- 
 sion they are: Doralba, Rosmira, Ergasto, Brasilia, Belfiore, Leonora, Lindpro. For 
 purposes of identification it may be further noticed that act I, ec. 2, now begins "Cara 
 Brasilia mia " instead of "Ma che buona ragazza? " and that the opera now ends with 
 "lo mi eento dal diletto" instead of "Grazia ad amore. Eh al nostro core." The 
 additional page contains the substituted arias "Destrier che all' armi usato" (II, 7) 
 and "Giovani cari amanti" (II, 9). SCHATZ 2048 , 
 
 La maestra di buon gusto. A. T. of Cocchi's La scuola moderna. 
 La maestra di scuola. L. T. of Cocchi's La maestra. 
 
 II maestro di capella o sia II tutore deluso, ballet. See Cimarosa's 
 II fanatico burlato. 
 
 II maestro di capella. Dramma giocoso per musica da rappresen- 
 tarsi nei Teatri privilegiati di Vienna Panno 1771. Appresso il 
 maestro di logge. 
 
 n. i., n. d. 64 p. 15\ cm . 
 
 With scenario and name of Florian Jqhann Deller as composer. The author, 
 Antonio Palomba, is not mentioned. Originally the title was "Orazio." 
 
 First performed at Vienna, Theater nachet der Burg, 1771. SCHATZ 2496 
 
 II maestro di cappella. L. T. of Pergolesi's II maestro di musica. 
 
 II maestro di cappella burlato. O. T. of Lorazi's Der kapell- 
 meister. 
 
 II maestro di musica. A. T. of the ballet Le tuteur trompe. 
 
 II maestro di musica. 
 
 Two acts. Author and exact date of performance unknown. Music by Giovanni 
 Battista Pergolesi, composed, according to Radiciotti, probably during the winter 
 1733/34. Neither a copy of the original libretto has come to light, nor the original 
 score or a copy of it. Consequently it is not known just what the score and the 
 libretto contained. Not even the plot is perfectly clear, since the nearest known 
 approach to Pergolesi's score does not contain any dialogue. It is the score of "Le 
 MAITRE DE MusiQUE op6ra bouffon italien . . . Avec la belle ariette Cou-cou. 
 Chanted dans la Fausse suivante del SigT AtiUa [!]," Paris, Boivin, with the note below 
 the imprint: 
 
 "Pour se conformer au gout du public, ou a era devoir retrancher le recitatif. 
 Grav6 d'apres la partition de Pauteur." 
 
 If this last sentence is to be taken literally, it would mean that the Boivin ed. was 
 based on Pergolesi's own score. At any rate, it was evidently inserted in order to 
 establish the authenticity of the Boivin ed., which contains the Italian text (and a 
 French prose translation) of twelve arias, duets, etc., from Pergolesi's "II maestro di 
 musica, first cerformed at Paris, September 19 (de La Lauren cie), October 3 (Schatz), 
 October 19 (Cl. & L.) 1752, with an overture by Sammartini, which was not in- 
 cluded in the score, and, as a supplement, the indicated cou-cou aria, "Cola sul 
 praticello," from Latilla's "La finta cameriera." The twelve arias, etc., from "II 
 maestro di musica" are: 
 
 First act: (1} "Oh che sproposito (by Pietro Auletta, according to de La Lau- 
 rencie);" (2) "A un gusto da stordire, (3) "V6 dir lo basso;" (4) Bella mia, se son 
 tuo sposo;" 
 
 o;" (5) "Veoo quel bel I'occhietto;" (6) "Come chi giocca alle palle." Sec- 
 ond act: (7) "Le virtuose che son famose;" (8) "Quando sciolto avr6 u contratto;" 
 (9) "Se giammai da speco;" (10) "Splenda fra noi, seren " (chorus); (11) "Qual doppo 
 insano" (duet); (12) "Carosignor maestro" (trio). 
 
 It may be added that the ms. score at Berlin (of which the L. of C. has a transcript) 
 is identical with the Boivin ed., i. e., it, too, lacks the dialogue. 
 
 The opera, "Orazio," given 1743 at Vemce ? with the names of Latilla and Per- 
 golesi as composers in the libretto (entered in this catalogue under "Orazio"), is
 
 714 LIBRARY OF CONGRESS 
 
 II maestro di musica Continued. 
 
 clearly a very much expanded three-act version, with six characters instead of three, 
 of the "II maestro di musica" text. The author of the "Orazio" text is not men- 
 tioned in the libretto, but is said by Schatz to have been Antonio Palomba. As to the 
 muuic of "Orazio," Radiciotti and others enter this opera under Pergolesi and Latilla, 
 but, as a matter of fact, the libretto has Latilla first and Pergoleei second. The reason 
 for this order becomes quite obvious from a comparison between the "Orazio " libretto 
 and the Paris, Boivin ed. of the score of "II maestro di musica:" Of the twelve arias, 
 etc., enumerated above, only the following four appear, in the "Orazio " libretto: (no. 1) in 
 I, 1; (2) as "Ha un gusto da morire," in I, 1; (6) in I, 13; (10} as "Splenda fra noi 
 seren," in II, 17. In other words, Pergolesi's share in "Orazio would seem to have 
 been very small, and the opera should henceforth be entered mainly under Gaetano 
 Latilla. 
 
 In 1749, at Parma, "II maestro di musica" had become "Orazio o La scolara alia 
 moda," and at Florence, of course with further interpolations, alterations, etc., the 
 opera was given (1760) as "La scolara alia moda." 
 
 II maestro di cappella, intermezzi per musica, da rappresen- 
 tarsi nel Regio Teatro di Potsdam per ordine di Sua Maesta. 
 
 Berlino, Haude e Spener, 1756. 53 p. ll\ cm . 
 
 Three acts. German title page, "Der kapell-meistjer," and text face Italian. 
 Schatz enters this under "Orazio," by Pergolesi and Latilla, but I fail to see the 
 reason, since both texts, while having a few scenes and arias in common, differ widely, 
 and much more than was customary, even in cases of replicas. For instance, the 
 differences begin in the very first scene, when, instead of the aria, "Ha un gusto da 
 morire," the Potsdam version has "Quanto comanda, si ubbidirb." Scene 2, "Costei 
 troppo 6 vezzosa " has grown from half a page without aria to three with aria, "Finche 
 suona il ritornello." Scenes 4 to 7 in "Orazio" are not in the Potsdam ed., so that 
 I, 8, "Mi par mill' anni," has become I, 4, and then the two texts part company after 
 a few lines, etc., etc. The composer, reap, author, responsible for this three-act ver- 
 sion of Pergolesi's two-act "II maestro di musica," if it may be called such, is not 
 known. SCHATZ 5468 
 
 Le maitre de musique, comedie en deux actes, melSe d'ariettes. 
 ParodiS de 1'italien. Represented pour la premiere fois par les 
 Comediens italiens ordinances du roi le 28 may 1758 [!]. Avec les 
 changemens qui ont e^e" faits depuis peu par 1'auteur dans le second 
 acte. 
 
 Bruxelles, J. J. Boucherie, 1758. 36 p. 21 cm . 
 
 Two acts. Neither Baurans, the author, is mentioned, nor Pergolesi. Cast. 
 The arias in the libretto are as follows: 
 
 (1) Ah quel martire (I, l=Oh che sproposito in "II maestro di musica); (2) Un 
 
 Silote battu de Porage (1, 1 not traced by Wotquenne); (3) Quel delice ne trouve point 
 [, 1=A un gusto da stordire in M. di M); (4) Suis-je bien pour une actrice (I, 3=Vi 
 st6 bene? Vi comparisco? in Pergolesi's Tracollo); (5) Oui, nos chanteuses (I, 3=Le 
 virtuose in M. di M.); (6) Je veux tout bas (I, 3=Vu6 dir lo basso in M. di M.); (7) 
 La pudeur qui me guide (1, 5=Io sono una donzella, in Sellitti's ' ' Cinese rimpatriato " ) ; 
 (8) Si d'une ame propice (I, 5=Bella mia, se son tuo sposo, in M. di M.) ; (9) Le feu me 
 monte au visage (I, 6=Come chi giuocha alle palle in M. di M.); (10) Oh la puissante 
 querelle (II, 1 not traced by Wotquenne); (11) Le badinage, 1'humeur volage (II, 1 
 not traced by Wotquenne); (12) Que c'est un plaisir extreme (II, 1 not traced by 
 Wotquenne); (13) Non, je suis trop en colere (II, 2=Quando sciolto avr6 il contratto 
 in M. di M.); (14) D<sormais, Je scaurai mieux (II, 2 not traced by Wotquenne); 
 (15) Qu' espere un amant (II, 2 not traced by Wotquenne); (16) Ingrat, je romps 
 ma chalne (II, 2 not traced by Wotquenne); (17) Ah! mon coeur soupire (II, 3 not 
 traced by Wotquenne); (18) Grace, sois plus traitable (II, 4=Ad un povero Tracollo, 
 in Pergolesi's Tracollo); (19) Que mille plaisirs. (Not traced by Wotquenne). 
 
 Of these nineteen arias, nos. 1-9, 13, 16, 18 are in the score, as printed by Bailleux, 
 resp. De la Chevardiere, and nos. 10-12, 14, 15, 17, 19 are not. It should also be noted 
 that "A telle qui t'entage," the last aria in the score, is not in the revised libretto. 
 In other words, the aria oelonged, as did the entire printed score, to the first version 
 of Bauran's parody, and does not embody any of the alterations in the second act, 
 which, as a footnote (on p. 20) informs us, had been found to be "trop serieux & trop 
 unifonne."
 
 OPERA LIBRETTOS 715 
 
 II maestro di musica Continued. 
 
 The Brussels 1758 ed. establishes still another important fact. The Conservatory 
 at Brussels possesses, besides the printed score, one (no. 2028) that is m manuscript, 
 with "sept morceaux de plus que le n precedent, tous au second act." Beyond this 
 remark, Wotquenne ventured no conjectures. It turns out, from comparison, that 
 six of these nos. in the manuscript score are identical with nos. 10-12, 14, 15, 17 in the 
 libretto of the revised version, and only one aria ("Mais il faut enfin prendre un 
 parti") does not appear therein. This manuscript score therefore represents the 
 revised 1 version of the opera, and Brussels possesses, therefore, the score of both 
 versions. 
 
 The first version was first performed at Paris May 28, 1755; the second version on 
 March 7, 1757; and at Bruxelles, Theatre de la Monnaie in 1757. ML 50.2.M3P3 
 
 - Le maitre de musique, com6die, melee d'ariettes, parodiees de 
 Pitalien par Baurans. 
 
 Paris, Au bureau de la petite biblioiheque des theatres, 1784- 1 p- I., 
 iv, 50 p, 15 p. (music) 13 cm . 
 
 Two acts. Argument, date of first performance as May 28, 1755 (Paris, Com6die 
 italienne), and "Jugemens et anecdotes eur le Maitre de musique" which read, in 
 part: 
 
 "Cette piece n'est encore qu'une parodie d'un intermede italien, en deux actee, 
 donne a I'0p6ra, sous ce titre: II maestro di musica, le 3 octobre 1752. Le public 
 accueillit tres-bien, a la Comedie italienne, cette seconde traduction de Baurans, et 
 lui sut gr6 d avoir puis6 deux fois dans la meme source, pour lui procurer de nou- 
 veaux plaisirs, inconnus jusqu'alors en France. Le maitre de musique n'eut cepen- 
 dant, pas le meme succes qu'avoit eu la Servante maitresse . . . 
 
 "Le sujet du Maitre de musique a ete trait6 en ballet-pantomime, par Sabadini 
 ... Ce ballet, compost sur la musique italienne, rut donn6, apres la seconde repr6- 
 sentation de la Servante maitresse, le 17 aout 1754, et il r&issit beaucoup." 
 
 The text is the same as in the Brussels (1758) edition, belonging, therefore, to the 
 revised version of 1757. SCHATZ 5467 
 
 La maga Circe. 
 
 One act farsetta, by unknown author, music by Pasquale Anfossi. 
 
 First performed at Rome, Teatro Capranica, carnival 1788 together with Basili's 
 "La bella incognita" and original libretto printed together with libretto of the latter 
 on p. 28-55. (See "La bella incognita.") ML 50.2.B28B2 
 
 La maga Circe. Dramma giocoso per musica in un atto da rappre- 
 sentarsi nel Teatro della nobiliss. Accademia degl' Intronati nel car- 
 nevale 1792 . . . 
 
 Siena, n. publ, 1792. 23 p. 16\ cm . 
 
 With cast and name of Pasquale Anfossi as composer but not of librettist, who is 
 unknown to Schatz. On p. 5 the titles of three ballets by Giuseppe Bossi: "II gene- 
 roso perdono, ballo eroico pantomimp; musica del rinomato Sig. Francesco Giuliani, 
 Livornese," "La burla di D. Pacconio a Parigi," and "La filosofa olandese." 
 
 SCHATZ 262 
 
 - La maga Circe, commedia in musica di un solo atto da rappre- 
 sentarsi nel Regio teatro di S. Carlo della Principessa Pautunno dell' 
 anno 1797. 
 Lisbona, Simone Taddeo Ferreira, 1797. 84 p. 16 cm - 
 
 Cast, scenario, and name of Anfossi as composer. Italian and Portuguese text. 
 
 SCHATZ 263
 
 716 LIBRARY OF CONGRESS 
 
 La maga fulminata. Favola di Benedetto Ferrari dalla Tiorba. 
 Rappresentata in musica in Bologna, e in Venetia. In questa quarta 
 impressione dall' autore corretta. 
 
 n. i., n. d. [53}-110 p. 13^ cm . (Benedetto Ferrari, Poesie dram- 
 matiche, Milano, 1644-} 
 
 Detached copy. Three acts. Dedication by the composer, Francesco Manelli, 
 dated Bologna, April 20, 1641, six sonnets by Angelo Botti, Francesco Sbarra, Fran- 
 cesco Peruzzi, Angelo de' Rossi, conte Paolo Bossio, and Lelio Altogradi, all addressed 
 to Ferrari, the author, argument, prologue, list of characters, and poem by the prin- 
 ter, G. P. Ramellati, to Ferrari. Manelli says in his dedication: 
 
 "La Maga fulminata del Sig. Ferrari, una delle peregrine opere, c'habbiano calcate 
 le scene reali. Fu gia da me vestita della musica; hora I'h6 con maggiore studio 
 raffinata . . ." 
 
 First performed at Venice, Teatro Cassano, carnival 1638. SCHATZ 5888 
 
 Le magazin des modernes, opera-comique en un acte; represente 
 pour la premiere fois sur le Theatre de la Foire, en 1733. 
 
 Charles Francois Pannard, Theatre, Paris, Duchesne, 1763, v. 2, 
 [281}-326 p. 17. 
 
 Prose and vaudevilles. Some of the airs printed in the text. Composer not 
 recorded by Parfaict, who dates first performance February 3, 1736! PQ 2019. P3 
 
 Die magd als frau im hause. Tr. of Pergolesi's La serva padrona. 
 
 Magdelon. Come'die e'pisodique, en prose et en un acte, me'le'e 
 d'ariettes. Repre'sente'e, pour la premiere fois, a Paris, le 16 prairial 
 an VII, et pour la 26 e fois, le 3 vende"miaire suivant, par les comediens 
 du Theatre du Palais Egalite", dit Montansier. Paroles et musique 
 du Cousin-Jacques. 
 Paris, Mowtardier, an VIII [1799-1800]. 21% cm . 2 p. I, 35, [1] p. 
 
 Cast and Avant-propos, in which Cousin Jacques (Beffroy de Reigny) calls this of 
 all his pieces the easiest to play and pays a special tribute to the Magdelon of Madame 
 Barroyer. 
 
 First performed, as indicated, June 4, 1799. SCHATZ 706 
 
 II maggior impossibile. A. T. of Pallavicino's Bassiano. 
 
 La maggior impresa d'Ercole o sia Admeto ed Alceste, ballet. See 
 Pio's Nettuno ed Egle. 
 
 Magia contro magia, ballet. See Bernardini's L'ultima che si 
 perde e la speranza. 
 
 Magia contra magia, ballet. See P. Guglielmi's L'Azzardo. 
 Le magistrat du peuple. A. T. of Ladurner's Wenzel. 
 
 The magnet. A musical entertainment, as sung at Marybone 
 Gardens. 
 
 London, T. Becket, 177 L 29, [3] p. 20 cm . 
 
 The [3] p. contain a publisher's book list. 
 
 One act. Neither author nor composer recorded by Schatz. 
 
 Performed 1771, as indicated. LONGE 190 
 
 Der magnetstein der herzen. Tr. of Salieri's La calamita de 
 cuori.
 
 OPERA LIBRETTOS 717 
 
 Le niagnifique, come'die en trois actes, en prose et en vers, mise 
 en musique, terminee par un divertissement. Par M. Sedaine. La 
 musique est de M. Gretry. Represent ee a Paris, pour la premidre 
 fois, par les Comediens italiens du Roi, le lundi 4 mars 1773, & a 
 Versailles en presence de Sa Majeste, le 26 mars 1773. 
 Paris, Claude Herissant, 1773. 52 p. 19 cm . 
 
 Cast and same avertissement as in the next. The "ariette" here on p. 50-52. 
 
 ML 50.2. M2G7 
 
 Le niagnifique, come'die en trois actes, en prose et en vers, mise en 
 musique, termine'e par un divertissement. Par M. Sedaine. La 
 musique est de M. Gretry. Represented a Paris, pour la premiere 
 fois, par les Comediens italiens du roi, le lundi 4 mars 1773, & a 
 Versailles en presence de Sa Majeste", le 26 mars 1773. 
 
 Paris, Claude Herissant, 1773. 56 p. 18 cm . 
 
 Cast. In the "Avertissement" Sedaine Bays that he wrote his libretto without 
 ever having seen Houdart de la Mothe's piece of the same title (1731). At the end 
 of the avertissement, these esthetic or dramaturgic remarks are of interest: 
 
 "II faut quelque reflexion pour s'appercevoir des eoin avec 1'auteur du drame 
 6carte les moyens de paroitre aux depens de eon associe', comme il ee replie, comme il 
 e'efface, combien enfin il a fait de sacrifices pour n'6tre que le pi6destal de la statue 
 qu'il lui eleve. II est besoin, il est vrai, que le pi^destal soit Bolide, & je n'ose nv'en 
 flatter . . . J'ai mis avec une sorte d'affectation le jeu du theatre, & la pantomime 
 qui occupe la scene pendant les ritournelles (toujours trop longues pour tout auditeur 
 qui n'est pas musicien . . ." 
 
 On p. 53-56, the "Ariette, Jour heureux, douce esp^rance " (III, 8). SCHATZ 4167 
 
 - Le niagnifique, comedie en trois actes, en prose et en vers, mise 
 en musique, termine'e par un divertissement. Par M. Sedaine. La 
 musique est de M. Gretry. Represent6e a Paris, pour la premiere 
 fois, par les Comediens italiens ordinaires du roi, le lundi 4 mars 
 1773, & a Versailles en presence de Sa Majeste, le 26 mars 1773. 
 
 Paris, Herissant, 1782. 56 p. 19 cm . 
 
 Cast and same avertissement.- On p. 53-56, the ariette, ' 'Jour heureux, douce espe- 
 rance" (III, 8). SCHATZ 11708 
 
 - Der praechtige freygebige, ein singspiel in drey aufzuegen aus 
 dem franzoesischen uebersetzt, mit musik. 
 
 Frankfurt am Mayn, mit Andreaischen schriften, 1774- 88 p., 12 p. 
 (folded music}. 15% cm . 
 
 By Joh. Heinr. Faber, who is not mentioned. Cast. The music (voice and bass) 
 consists of "Ach! wie istdas pferd soschon" ("Ahlc'estun superbecheval," I, 6) and 
 "Ach ja, eifersucht qualt ihn" ("0 ciel! quel air de courroux!" Ill, 6). 
 
 SCHATZ 4168 
 
 Songs, duets, trios, finales, etc in Mahmoud. A musical romance, 
 in three acts; as performed at the Theatre Royal, Drury-Lane. The 
 musick by the late Mr. Storace. With a few selections from Sarti, 
 Haydn, etc. 
 n. i., 1796. 24. p. 21. 
 
 Cast. By Prince Hoare, who is not mentioned. The score waa prepared for per- 
 formance by Michael Kelly. 
 
 First performed April 30, 1796. LONOE 234
 
 718 LIBRARY OF CONGRESS 
 
 The maid of the mill. A comic opera. As it is performed at the 
 Theatre Royal in Covent Garden. The music compiled, and the 
 words written by the author of Love in a village. 
 
 London, J. Newberry, R. Baldwin [etc.], 1765. 1 p. I., iv, ii, [2], 75, 
 [1] p. 19. 
 
 On last page, publishers' advertisement of tenth [!] ed. of "Love in a village." 
 
 Three acts. By Isaac Bickerstaffe. Cast, preface, with statement that the text is 
 baaed on Richardson's "Pamela," and dedication, in which Bickerstaffe says: 
 
 "... How far the Comic Opera, under proper regulations, has a right to be 
 acknowledged for a junior offspring of the Drama, and as such become candidate for a 
 share of public encouragement, I shall not pretend to determine; but*if it can be ren- 
 dered an agreeable amusement, the English Theatre has never scrupled to adopt, what 
 was capable of pleasing there; and though as a work of genius, it is by no means to be 
 set in competition with good tragedies and comedies, it may, I apprehend, be per- 
 mitted as an occasional relief to them, without bringing either our taste or understand- 
 ing into question. 
 
 "I need not inform your Royal Highness, that in France, where the stage has been 
 cultivated with more care, and success, than in any other country, this species of 
 entertainment is receiving very great applause; nor is it thought any injury to Cor- 
 neille, and Moliere, that the pieces of Anseaume and Favart, meet with success. It 
 is true, among the French, comic operas have very often the advantage of being 
 extremely well written, of which, On ne S'avise jamais de tout, Le Roy et le Fermier, 
 and some others are an instance; nor would the best composition of the greatest mas- 
 ter, make a very contemptible poem pass on an audience : I wish I could assert with 
 truth, that in this respect, we fall nothing behind our neighbours, and that what I here 
 present to your Royal Highness, mig^ht lay claim to some degree of merit, even in the 
 writing; but though I cannot do this, permit me to say, I have attempted to render 
 it a little interesting, and not wholly undiverting, as far as the music, my principal 
 care, would give me leave ..." 
 
 Neither Samuel Arnold, who assisted Bickenstaffe in the selection and arrange- 
 ment of the music, is mentioned, nor any other composer on whose works they drew 
 for this pasticcio. "The table of the songs" in Preston and Son's vocal score men- 
 tions besides Arnold the following composers: Earl of Kelly (Overture), Abos,Bach, 
 Ciampi, Cocchi, Duni, Galuppi, Giardlni, Hasse, Jommelli, Laschi, Monsigny, 
 Pergolesi, Philidor, Piccinni, Rinaldo di Capua, Scarlatti, Vinci and "the late 
 elector of Saxony." 
 
 First performed, January 31, 1765, as indicated. LONGE 46 
 
 Second copy. AC 901 .M5 
 
 - The maid of the mill. A comic opera. By Isaac Bickerstaff. 
 Adapted for theatrical representation, as performed at the Theatre 
 Royal, Covent-Garden, regulated from the prompt book, by permis- 
 sion of the managers . . . 
 
 London, John Bell, 1791. front., 1 p. 1., mi, [4], 12-102 p. 15 cm . 
 (J. Bett, British Theatre, London, 1791-1797, v. 1.) 
 
 The front, is a port, of Mr. Blanchard as Ralph in the "Maid of the Mill." The 
 p. 1. is an engraved title page of the series with a scene from the same opera. Both 
 engravings are dated January 4, 1791. Author's dedication, biographical sketch of 
 the author, editorial estimate, preface, Drury-Lane and Covent-Garden casts. 
 
 PR 1241. B4 
 
 - The man of the mill. A new burlesque tragic opera. The 
 musick compiled, and the words written, by Seignior Squallini. 
 
 London, J. Coolce, 1765. 1 p. 1., 42 p. 20 cm . 
 
 Three acts. A parody of "The maid of the mill." Author not recorded by 
 Clarence. Not performed. LONGE 125 
 
 The maid of the oaks : a new dramatick entertainment. As it is 
 performed at the Theatre-Royal, in Drury-Lane . . . 
 London, T. Becket, 1774. $ P> 1-, 68 p. 19 cm .
 
 OPERA LIBRETTOS 719 
 
 The maid of the oaks Continued. 
 
 Five acts with considerable incidental music, prologue and epilogue. Cast and 
 preface. By John Burgoyne. Neither he is mentioned, nor Francois Hippolyte 
 Barthelemon, who partly composed, partly selected the music from Rousseau. 
 Philidor, and LaBorde. 
 
 First performed, as indicated, November 5, 1774. LONGE 48 
 
 La maison isolee, ou Le vieillard des Vosges, comedie en deux 
 actes, en prose, melee d'ariettes, represented sur le Theatre Italien, 
 le 22 floreal, an 5, 11 mai 1797, (vieux style) Paroles de Marsolier. 
 Musique de Dalairac. 
 
 Paris, Barba, An cinquieme de la RepuUigue [1 797]. 4@> [#1 P- 20 cm . 
 
 The 2 additional p. contain Barba's "Pieces de Theatre." Cast. SCHATZ 2363 
 
 Le maitre de musique. Parody of Pergolesi's II maestro di 
 musica. 
 
 Le maitre en droit, opera-comique, en deux actes, represent^ pour 
 la premiere fois sur le Theatre de 1'Opera-comique de la Foire S. 
 Germain, le 13 fevrier 1762. 
 
 Paris, DucJiesne, 1762. 31 p. 19% cm . 
 
 Neither the author, Lemonnier, is mentioned, nor the composer, Monsigny. 
 
 First performed, as indicated, February 13, 1760 (Cl. & L.), February 14. 1760 
 (Wotquenne), February 23, 1760 (Schatz, as in next entry). 
 
 ML 50.2.M31M6 
 
 Le maitre en droit, opera-comique, en deux actes ; repre'sente' pour 
 la premiere fois sur le Theatre de I'Opera-comique de la Foire S. 
 Germain, le 23. feVrier 1760. 
 
 Paris, Duchesne, 1764. 88 p. 19 cm . 
 
 Neither the author, Pierre R6n6 Lemonnier, nor the composer, Monsigny, is 
 mentioned. SCHATZ 6577 
 
 Le major Palmer, drame, en trois actes, en prose. Par Pigault- 
 Lebrun. Musique du citoyen Bruni. Represent 6, pour la premiere 
 fois, sur le Theatre Feydeau, le 7 pluvidse [January 26] de ran cin- 
 quieme de la Re"publique. 
 
 Paris, Huet, an cinquieme. (1797). 2 p. I., 72 p. 21 cm . 
 
 Cast and dedicatory poem to Mademoiselle Lesage, who took the part of "Amalie." 
 
 ML 50.2.M32B7 
 
 Malmosor. O. T. of Buini's Artanaganamenone. 
 
 Man kann es ja probieren. A. T. of Schweitzer's Walmir und 
 Gertraud. 
 
 The man of the mill. Parody of The maid of the mill. 
 
 Man sieht niemals alles voraus. Tr. of Monsigny's On ne s'avise 
 jamais de tout. 
 
 Mandame. See Mandane. 
 
 [Mandane] Mandame [ !] Dramma per musica da rapresentarsi nel 
 Teatro di S. Angelo nel carnovale dell anno 1736. 
 
 Venezia, Domenico Tobacco, 1736. 60 p. 14\ cm > 
 
 Three acts. By Bartolomeo Vitturi, who is not mentioned. Argument, notices 
 to the reader, scenario, cast, and name of the composer, Ignazio Fiorillo. 
 
 SCHATZ 3203
 
 720 LIBRARY OF CONGRESS 
 
 II manescalco, ballet. See Rust's Adriano in Siria. 
 
 II maniscalco francese, ballet. See Mortellari's Semiramide. 
 
 II maniscalco francese, ballet. See Zingarelli's Alsinda. 
 
 Manto la fee, opera repr^sente par 1'Academie royale de musique 
 Tan 1711. Les paroles de M. Menesson, & la musique de M. Batistin. 
 LXXVI. opera. 
 
 n.i.,n.d. pi., 253-31 4 p. Iff. (Recueil general des opera, t. X, 
 Paris, 171 4.) 
 
 Detached copy. Prologue and five acts. Music by Jean Batistin Stuck. 
 
 First performed January 29, 1711, as indicated. SCHATZ 10123 
 
 Second copy. ML 48.R4 
 
 Marc' Antonio. See M. Curzio. 
 
 Marcello in Siracusa. Drama per musica nel famoso Teatro 
 Grimano 1'anno MDCLXX di Matteo Noris . . . 
 
 Venetia, Francesco Nicolini, 1670. front., 107 p. 
 
 Last page incorrectly paged 197, with running heading Secondo instead of Terzo. 
 Three acts. Author's dedication, notice to the reader with name of the composer 
 Giovanni Antonio Boretti, argument, and scenario. SCHATZ 1220 
 
 II marchese Carbonaro. Dramma giocoso per musica di Filippo 
 Livigni da rappresentarsi nel Teatro Giustiniani in S. MoisS il carno- 
 vale delP anno 1776. 
 
 Venezia, Gio. Battista Casali, n. d. 64 p. 16\ cm . 
 
 Three acts. Cast, scenario, and name of Francesco Salari as the composer. On 
 p. 31-32, a brief description of Gio. Battista Martein's ballet (title not given), per- 
 formed as primo ballo. The second, by Bartolamio Cambi, was called "Le peregrine 
 erranti." The composers of the music are not mentioned. SCHATZ 9267 
 
 II marchese del Bosco. Intermezzi per musica da rappresentarsi 
 nel Teatro Giustiniano di S. Moise. Nella fiera della Ascensione dell' 
 anno 1747. 
 
 Venezia, Modesto Fenzo, 1747. 21 p. (incl. front.) U& cm . 
 
 Three parts. Author and composer not mentioned and unknown to Schatz. The 
 intermezzi were performed with the anonymous ope'ra, "La finta pazza" (Wiel). 
 
 SCHATZ 11349 
 
 II marchese di Caste 1 Verde. Dramma giocoso per musica da 
 rappresentarsi nel nobil Teatro delle Dame nel carnevale dell' anno 
 1779 . . . 
 Roma, 1779, Si vendono da Luigi Bendio. 60 p. 15 cm . 
 
 Three acte. Dedication, cast, scenario, and name of composer, Agostino Accorim- 
 boni, but not of librettist, who is unknown to Schatz. The dedication states that the 
 opera was to be performed at Rome "per la prima volta." SCHATZ 13 
 
 II marchese di Spartivento, owero II cabalista ne sa' men del 
 caso. Farsetta per musica da rappresentarsi nel Teatro della Valle 
 nel carnevale den" anno 1747 . . . 
 
 Roma, Si vendono da Muzio Bona, 1747. 86 p. 15 cm . 
 
 Two parts. Author not mentioned. Dedication, cast and name of Pietro Auletta 
 as composer, with note that "per comodo de' Signori musici" "alcune arie" marked 
 with asterisk were composed by Benedetto Micheli, but only "Perche il tempo di 
 vincersi " has an asterisk. ML 50.2.M37A9
 
 OPEBA LIBRETTOS 721 
 
 II marchese di Tulipano o sia II matrimonio inespetato. L. T. of 
 Paisiello's II matrimonio inaspettato. 
 
 II marchese Sgrana. Drama per musica di Antonio Palomba 
 Napoletano. Da rappresentarsi nel Teatro* nuovo sopra Toledo nella 
 primavera di quest' anno 1738 . . . 
 
 Napoli, Nicola di Biase, 1738. 69 p. 16. 
 
 Three acts. Dedication, cast, and name of Pietro Auletta as composer 
 
 SCHATZ 499 
 
 II marchese villano. O. T. of Chiari's libretto I raggiri fortunati. 
 
 II marchese villano. Dramma giocoso per musica da rappresen- 
 tarsi ne' Teatri privilegiati di Vienna in tempo delle feste per li felicis- 
 simi sponsali di Ferdinando II di Borbone . . . e di Maria Giuseppe 
 d' Austria 1'anno MDCCLXVII. 
 
 Vienna, GJielen, n. d. 65 p. 16 cm . 
 
 Three acts. By Pietro Chiari, who is not mentioned. Scenario and name of Bal- 
 dassare Galuppi as composer. 
 
 First performed at Vienna in September, 1767; at Venice, Teatro di S. Moiee 
 February 2, 1762. SCHATZ 3458 
 
 - La lavandara. Dramma giocoso per musica da rappresentarsi 
 nel Teatro di S. A. Serenissima il Signor principe di Carignano 
 1'autunno dell' anno MDCCLXX. 
 
 Torino, Onorato Derossi, n. d. 50, [2] p. 16. 
 
 Three acts. Cast. Neither the author, Pietro Chiari, nor the composer, Galuppi, 
 is mentioned. The dialogue follows that of "II marchese villano " closely, but many 
 arias are different. For instance, ' ' II marchese villano " has (1,4), in the Vienna ver- 
 sion, "Nina cara, Nina bella," whereas "La lavandara" has "Chi v& a prender la 
 consorte." SCHATZ 3515 
 
 - La lavandara astuta. Dramma giocoso da rappresentarsi in 
 musica nel Regio-Ducal Teatro Nuovo di Mantoya 1'autunno dell' 
 anno 1771. In occasione del felicissimo passaggio di Sua Altezza 
 Reale il serenissimo Ferdinando Carlo arciduca d'Austria ... 
 
 Mantova, Alberto Pazzoni, n. d. 56 p. 20 cm . 
 
 Two acts. By Pietro Chiari, who is not mentioned. Cast, scenario, and name of 
 Galuppi as composer. A condensation of " II marches^ villano, ' ' the third act having 
 been practically suppressed. The two versions show also noticeable differences in 
 the lyrical parts, and "La lavandara astuta" begins "Benedetta primavera." 
 
 SCHATZ 3505 
 
 - II matrimonio per inganno. Dramma giocoso per musica da 
 rappresentarsi nel Teatro di S. Giacomo di Corfu nell' autunno dell' 
 anno 1771 . . . 
 
 Venezia, Giambattista Casali, 1771. 60 p. 15\ cm . 
 
 Three acts. By Pietro Chiari, who is not mentioned. Impresario's dedication, 
 cast, scenario, and name of Galuppi as composer. Another version of "II marchese 
 villano." It begins, like "La lavandara astuta," with "Benedetta primavera." The 
 fourth scene of act first opens, like the Vienna version of "II marchese villano," with 
 "Nina cara, Nina bella," but ends with "Sai che abbiamo un marcheeato," instead 
 of "Guardami in volto, e poi." SCHATZ 3506 
 
 La marchesina di Nanchin ed il conte di Pelusio, intermezzi. 
 See Caldara's Camaide, imperatore della China. 
 
 72251 VOL 114 46
 
 722 LIBRARY OF CONGRESS 
 
 M. Curzio. Dramma per musica nella solenne celebrazione de' 
 Comizj della serenissima Kepubblica di Lucca Panno MDCCXCI. 
 Lucca, Francesco Bonsignori, n. d. Ixii p. 20\ cm . 
 On p. Ixi-lxii substitute ants "Al zelo, che m'accende" and "Alme amanti, a 
 voi ritomo." Argument. Divided into "Giornata" I-III, each having two parts. 
 Not recorded by Nerici, who, however, mentions Pasquale Antonio Sofia, Antonio 
 Puccini, and Marco Santucci as composers on p. 335 of his "Storia della mueicain 
 Lucca" (1879). 
 
 Since 1431 the election of the city government was accompanied in Lucca by the 
 national festivities of the "Comizj," popularly known as "le feste delle Tasche" in 
 December, first biennial, then tri-ennial, and since 1750 every thirty months. The 
 festivities lasted three days and took place at the government palazzo. 
 
 According to Nerici, tne first definite news of the vocal and instrumental music 
 used at the "feste delle Tasche" date from the year 1636, when Valerio Guami would 
 seem to have been the composer of at least part of the music. With the fall of the 
 republic of Lucca in 1799, the "feste delle tasche" died a natural death. 
 
 In the case of this "M. Curzio" there would seem lo be little room for doubt that 
 it was a bona-fide opera, yet the L. of C. possesses quite a few "Tasche " libretti of a 
 similar character but which are designated as "concerto in musica," "applausi musi- 
 cali," etc. They would lead to the impression that the works were not performed as 
 operas with scenery and action, but as dramatic cantatas, with scenery perhaps, but 
 without action, even though occasionally called "Dramma per musica" or "Com- 
 ponimento dramatico." A characteristic feature of these works was that practically 
 without exception, text and music were the productions of native authors and com- 
 posers. As a rule, each "giornata" was allotted to different authors and composers, 
 if the subjects for each day were different and to different composers, even if the 
 text of the whole formed a trilogy by one author. 
 
 The librettos were practically always printed without names of authors, com- 
 posers and performers. Since these rare and curious texts sometimes figure as operas 
 in reference books and since Nerici does not make it at all clear whether these festival 
 works were operas or dramatic cantatas my impression being that they were of the 
 latter kind it is perhaps best to give here a brief list of those in the L. of C. (those so 
 far found all in ML 54.2. L9, chronologically arranged). The set is not quite com- 
 plete, but it contains some texts unknown to Nerici. 
 
 1645 I-III Applausi musicali. Neither author nor composers known to me. Dif- 
 ferent in subject from Francesco Sbarra's text 'Gli ossequi della fortuna " 
 
 mentioned by Nerici under 1645. 
 1651 II La visione l poesia per musica. Text by Silvestro Torcigliani. Composer 
 
 not mentioned by Nerici. 
 1654 I La liberta trionfante, applausi musicali. Text by Lodovifto Breni, music by 
 
 Marco Bigongiari. Not recorded by Nerici. 
 1654 II II porto della libertb, concerto musicale. Text by Bartolomeo Beverini, 
 
 music by Dom. Stiava. Not recorded by Nerici. 
 1654 III La nave d'Argo, idillio. Text, according to contemporary ms. note, by 
 
 Francesco Sbarra, music by Bernardino Roncaglia. , 
 
 1657 I L'tnwdia abbattuta, applausi musicali. Text by Celio Altogradi, music by 
 
 Marco Bigongiari. Not recorded by Nerici. 
 1657 II Hercole perseguitato, idillio. According to contemporary ms. note, the text 
 
 was by Bartolomeo Beverini, the music by Domenico Stiava. Nerici 
 
 mentions Francesco Sbarra as the author. 
 1657 III La pace, concerto musicale. According to contemporary ms. note, the text 
 
 was by Domenico Vanni, the music by Bernardino Roncaglia. 
 1660 I GYavvanziJortunati del mondo naufragante, concerto musicale. Not recorded 
 
 by Nerici. Author and composer unknown to me. 
 1660 II Bruto costante, concerto musicale. Not recorded by Nerici. According to 
 
 contemporary ms. note, the author was Bartolomeo Beverini. The com- 
 poser is not mentioned. 
 1660 III La libertit trionfatrice del tempo. Not recorded by Nerici. Author and 
 
 composer unknown to me. 
 1663 I I giganti abbattuti, concerto musicale. Nerici mentions the author, Domenico 
 
 Berti, but not the composer. 
 1663 II Scipione Affricano, concerto musicale. Not recorded by Nerici. Author 
 
 and composer unknown to me.
 
 OPERA LIBRETTOS 723 
 
 M. Curzio Continued. 
 
 1663 III La fortuna incatenata. Not recorded by Nerici. Author and composer 
 unknown to me. 
 
 1666 I II vessillo della liberta, concerto mueicale.- Text by Paolino Caeoli, com- 
 poser unknown to Nerici. 
 
 1666 II Gl'arnori politici della liberta raminga, concerto musicale. Not recorded by 
 
 Nerici. Composer unknown to me. Text, according to contemporary 
 
 ms. note, by Vincenzo Cini. 
 1666 III Horatio vero amatore della patria, concerto musicale. Not recorded by 
 
 Nerici. Author and composer unknown to me. 
 1669 I La prudenza vittoriosa, applausi musicali. Not recorded by Nerici. Text, 
 
 according to contemporary ms. note, by Bartolomeo Beverini. Composer 
 
 not mentioned. 
 1669 II La dttafelice, applausi musicali. Not recorded by Nerici. Text, according 
 
 to contemporary ms. note, by Amadeo Saminiati. Composer unknown to 
 
 me. 
 1669 III Martio Cariolano, applausi musicali. Not recorded by Nerici. Text, 
 
 according to contemporary ms. note, by Leone Santucci. Composer not 
 
 mentioned . 
 1672. I Gli avantaggi della concordia, applausi musicali. Not recorded by Nerici. 
 
 Text, according to contemporary ms. note, by Nicolao Bartolini. Composer 
 
 not mentioned. 
 1672 II II consiglio fedele, applausi musicali. Not recorded by Nerici. Text, 
 
 according to contemporary ms. note, by Amadeo Saminiati. 
 1672 III II merito riconosciuto, concerto musicale. Composer unknown to Nerici, 
 
 who records Giov. Vittorio Diversi as author. 
 1675 I II Fetonte, applausi musicali. Text by Bernardo Moscheni, according to 
 
 contemporary ms. note, by Ottavio Carli, according to Nerici, who does 
 
 not mention the composer. 
 
 1675 II L'amorc della patria, applausi musicali. Text by Bernardo Moscheni, com- 
 poser not mentioned by Nerici. 
 1675 III Mutio Scevola, applausi musicali. Not recorded by Nerici. Text by 
 
 Donato Antonio Leonardi, according to contemporary ms. note. Com- 
 poser not mentioned. 
 1678 I II trionfo del ben pubblico, applausi musicali. According to contemporary 
 
 ms. note, the text was by Matteo Regali, the music by Bernardino Ron- 
 
 caglia. 
 1678 II II Temistocle, applausi musicale. Not recorded by Nerici. Text by Giov. 
 
 Nicolao Bareanti, according to contemporary ms. note. Composer not 
 
 mentioned. 
 1678 III La liberta ramminga, applausi musicali. Text by Michele di Poggio- 
 
 Composer unknown to Nerici. 
 1681 I Fabw vincitor di se stesso, concerto in'musiqa. Nerici (under 1678) mentions 
 
 the author, Bartolemeo Andreucci, but not the composer. 
 1681 II Trasibolo ateniese, applausi musicali. Neither author nor composer known 
 
 to Nerici. 
 1684 I t)edo sacrificato alia patria, applausi musicali. Nerici mentions the author, 
 
 Pier Francesco Boccella, but not the composer. 
 1684 II L'tcfea del comando nel cuore di Germanico invincibile, concerto in musica. 
 
 Not recorded by Nerici. Author and composer unknown to me. 
 1684 III La liberta gelosa di se stessa in persona di Annibale amante di patria, applausi 
 
 musicali. Nerici mentions the author, Michele Boccella, but not the 
 
 composer. 
 1687 I-III Marc' Antonio, poesie per musica. Nerici mentions the author, Dome- 
 
 nico Berti, but not the composer. 
 1690 I-III II Catone, poesie per musica. Nerici mentions the author, Bernardino 
 
 Moscheni, but not the composer. 
 1693 I La liberta sempre stabile nelle vicende del principato, concerto per musica. 
 
 Nerici mentions the author, Paolo Sinibaldi, but not the composer. Im- 
 print has date of December 4.
 
 724 LIBRARY OF CONGRESS 
 
 M. Curzio Continued. 
 
 1693 III Horatio, concerto per rausica. Not recorded by Nerici. Imprint has date 
 of December 7. 
 
 1735 I-III Lucio Giunio Bruto prime consolo di Roma, componimento per musica. 
 Nerici mentions the composers, Giovanni Antonio Canuti, Giuseppe Mon- 
 tuoli and Domenico Pierotti, but not the author for this year. 
 
 1741 I-III Solone, dramma per musica. Nerici mentions the composers, Pier Vin- 
 cenzo Chiocchetti, Domenico Pierrotti and Giacomo Puccini, but not the 
 author for this year. 
 
 1744 I-III Teramene, dramma per musica. Not recorded by Nerici, who mentions 
 Giov. Lorenzo Fascetti, Domenico Pierotti and Giacomo Puccini as com- 
 posers for this year, but not the author. 
 
 1755 I-III Marco Manlio Capitolino, dramma. Not recorded by Nerici who men- 
 tions as composers for this year he has incorrectly 1756 Frediano Matteo, 
 Pasquale Antonio Soffi and Giacomo Puccini. 
 
 1760 I-III Roma liberata dalla signoria de 1 re, dramma. By Giambattista Monte- 
 catini. Nerici mentions Pasquale Antonio Soffi (due giornate) and Gia- 
 como Puccini as composers for this year. 
 
 1765 I-III La confederazione de i Sabini con Roma, dramma. Nerici mentions Pier 
 Angelo Trenta as author, Giacomo Puccini, Lelio Ignazio di Poggio and 
 Luigi Boccherini as composers. 
 
 1768 I-III L'esilio di M. P. Cicerone, dramma. Nerici mentions Orazio Gherardi 
 Scolopio as author, Giacomo Puccini and Lelio Ignazio di Poggio as com- 
 posers. 
 
 1770 I-III II Narsete, generate di Giustiniano imperatore, dramma. Not recorded by 
 Nerici, who mentions Pellegrino Tomeoni, Giacomo Puccini and Antonio 
 Puccini as composers for this year, but not the author. 
 
 1775 I-III Roma liberata dalla congiura di Catilina, dramma. Nerici mentions as 
 composers for this year Florido Tomeoni and Antonio Micheli, but not the 
 authors. 
 
 1777 I-III Marco Manlio Capitolino, dramma. Text by Bartolomeo Baroni, music 
 by Antonio Puccini (June 7), Giacomo Puccini (June 8) and Pasquale 
 Antonio Soffi (June 9). 
 
 1779 I-III Cesare nella Brettagna, dramma. Text by abate Serafini, music by 
 Giuseppe Finucci (June 7), Antonio Puccini (June 8), Antonio Micheli. 
 
 1781 I-III II Castruccio, dramma per musica. Nerici mentions as author, Carlo 
 Provenzali, as composers Domenico Quilici (May 28) , Antonio Puccini (May 
 29), and Giuseppe Finucci (May 30). This is bound in with ML 48. A5,v. 28. 
 
 1783 I-III Leonida re di Sparta, dramma. Nerici mentions as author Francesco 
 Franceschi, as composers Giuseppe Rustici (June 2), Antonio Puccini 
 (June 3), Giuseppe Finucci (June 4). 
 
 1785 I-III L'Emilio, dramma per musica. Not mentioned by Nerici, who says 
 that the music for second day (June 7) was composed by Pasquale Antonio 
 Soffi, of the third day (June 8) by Antonio Benedetto Maria Puccini. 
 That for the first day (June 6) was by Giuseppe Rustici. 
 
 1787 I-III Lucca liberata, dramma. Not recorded by Nerici, who says that the 
 text was written by Alessandro Ottolini and the music composed by Pas- 
 quale Antonio Soffi (June 11), Antonio Puccini (June 12) and Domenico 
 Quilici (June 13). 
 
 1789 I-III Bruto, dramma. Not recorded by Nerici, who mentions Luigi Vannucci 
 as author, Domenico Quilici (June 25), Giuseppe Rustici (June 26) and 
 Antonio Puccini (June 27) as composers. 
 
 1791 I-III M. Curzio, as at beginning of this entry. 
 
 ML 54.2.L9 1791 
 
 Marco Manlio Capitolino. See M. Curzio. 
 
 Le marechal, ballet. See P. Guglielmi's L'impostore punito.
 
 OPERA LIBRETTOS 725 
 
 Le marechal ferrant, opera comique en un acte; repre'sente' pour 
 la premiere fois sur le Theatre de 1'Opera comique de la Foire Saint 
 Laurent le 22 aout 1761. Par M. Quetant. La musique de M. 
 Philidor. Seconde edition, revue, corrige'e & augmentee par 
 1'auteur. 
 Paris, Olaude Herissant, 1761. 1 p. I, 52, [2] p. 19 cm . 
 
 Cast. The [2] p. contain text of the "Vaudeville: L'amour ee plait." 
 
 YUDIN PQ 
 
 - Le marechal ferrant, ope'ra-comique en un acte. Represents, 
 pour la premiere fois, sur le Theatre de 1'Opera-comique de la Fpire 
 Saint Laurent, le 22 aout 1761. Par M. Quetant. Nouvelle Edition. 
 
 Paris, Olaude Herissant, 1765. 46 p. 19 cm . 
 
 The composer, Philidor, is not mentioned. SCHATZ 8018 
 
 - Le marechal ferrant, ope"ra comique, en un acte, rfpre'sente' pour 
 la premiere fois sur le Theatre de 1'Op^ra comique de la Foire Saint- 
 Laurent, le 22 aout 1761. Par M. QuStant. La musique de M. 
 Philidor. 
 
 Paris, Claude Herissant, 1785. 48 p. 18 cm . 
 
 Cast. On p. 23-26, the ariette, "Charmant objet de ma flame." SCHATZ 11741 
 
 - Der hufschmied, eine operette in einem aufzuge. Nach dem 
 franzoesischen des herrn Quetant. Die musik ist von herrn Philidor. 
 
 Frankfurth und Leipzig, Esslinger, 1772. 64 p., 4 P' (music). 15 cm . 
 
 Johann Andre's translation, who is not mentioned. The music consists of the 
 
 aria "Komm, ach komm zurtick" and the vaudeville "Die liebe fordert heisse glut." 
 
 SCHATZ 8019 
 
 - Der hufschmied, eine komische oper in zwey akten, nach Quetant 
 und Philidor, aus dem franzoesischen uebersetzt von Heinr. August 
 Ottocar Reichard . . . 
 
 Riga, Gottlob Christian Froelich, 1785. 15 p. 16 cm . 
 
 Lyrics only. 
 
 First performed at Riga, Vietinghoff'sches Theater i. d. gr. Konigsstrasse, 5/16 
 Sept. 1785. SCHATZ 8020 
 
 Margaretha, koenigin in Castilien. In einer opera auf dem 
 Hamburgischen Schau-platze aufgefuehret, den 10. Aug. 1730. 
 
 [Hamburg], Gedruckt mit Stromerischen schriften, n. d. Unpaged. 
 18. 
 
 Five acts. Cast, names of Johann Georg Hamann as author, of Georg Philipp 
 Telemann as composer, and " Vor-erinnerung " which reads, in part: 
 
 "Diejenige, BO der geschichte kundig, duerfften sich vielleicht einer russischen 
 prinzessin bey der Margaretha erinnern. Sie hat Olga geheissen und man setzet 
 ihre lebens-zeit in das achte jahrhundert. Sie verlor ihren gemahl, welcher Ingor 
 oder Igor geheissen, sehr zeitig; und liesa sich nichts so senr angelegen eeyn, ale 
 desselben tod zu raechen . Man hat wichtige bewegungs-gruende gehabt ; wesswegen 
 man die begebenheit dieser heldin, in eine Spanische verwandelt; welche aber anzu- 
 fuehren man nicht fuer nothwendig haelt." SCHATZ 10263 
 
 Margery, or, A worse plague than the dragon: A burlesque opera. 
 Being the sequel to the Dragon of Wantley. As it is perf orm d at 
 the Theatre Royal in Covent-Garden. Altered from the original 
 Italian by Signer Carini. Set to musick by Mr. John Frederick 
 Lampe. The third edition. 
 London, J. Shuckburgh, 1738. 2 p. 1., 8-31 p. 20 em .
 
 726 LIBRARY OF CONGRESS 
 
 Margery Continued. 
 
 Three acts. By Henry Carey. Cast and argument which ends: 
 "The opera concludes, according to the custom of all operas, with the general 
 reconciliation of all parties, no matter how absurd, improbable, or ridiculous. 
 First performed December 9, 1738, as indicated. LONGE 153 
 
 The dragoness, a burlesque opera. Set to musick by Mr. John 
 Frederick Lampe. 
 
 [115\-150 p. 22. (Henry Carey, Dramatick works, London, 
 1743.) 
 
 Later version of ' : Margery." Three acts. Argument with same remark as above. 
 
 The text of "The Dragoness" is noticeably different from that of Margery. For 
 instance, the airs "The tongue is a dangerous weapon " and "No place shall conceal 
 'em" are not in II, 2, of "Margery," where instead we have "Wretched is a wife's 
 condition." Also the dialogue of 1, 3 was shortened and the air I, 2 "The swain I 
 adore" is now preceded by Enter shepherd" with dialogue and air "Hark! I hear 
 the midnight owL" etc., etc. . ML 49.A2C2 
 
 Le mari prefere. Piece d'un acte. Par Mr. Le S * *. Repr&- 
 sent6e a la Foire S. Laurent. 1736. 
 Le Theatre de lafoire, Paris, 1737, t. ix, [363}~421 p. 17 cm . 
 
 By Le Sage. Largely en vaudevilles. The airs, selected or composed and arranged 
 by Jean Claude Gillier, are printed at the end of the volume in the "Table des airs." 
 First performed Aug. 11, 1736. 
 
 ML 48.L2IK 
 
 Le manage cache. A. T. of Renault's Sophie. 
 
 Le mariage d'Antonio, com&lie en un acte et en prose, melSe 
 d'ariettes, represented sur le Theatre italien, le 29 juillet 1786. Les 
 paroles sont de Mde. de Beaunoir. La musique est de Mile. Gretry. 
 Paris, Vente, 1787. 17 p. 21%. 
 
 The opera was instrumentated by Lucile Gr try's father, the famous composer. 
 
 ML 50.2.M4G7 
 
 Le mariage de Momus ou La gigantomachie, opera-comique en 
 trois actes, represent 6 par les marionnettes de la troupe de Fran- 
 cisque, a la Foire Saint-Laurent, en 1722. 
 Alexis Piron, Oeuvres complettes, Liege, 1776, v. 5, 49 p. 17% cm . 
 
 In prose and vaudevilles. Composer not mentioned. See also Tire'sias. 
 
 PQ 2019.P6 
 
 Le mariage du caprice et de la folie. Piece d'un acte. Par 
 M * * Represent ee pour la premiere fois a la Foire Saint Laurent 
 1724. Et remise au theatre en 1730. 
 Le Theatre de lafoire, Paris, 1731, t. viii, pi, [18S]-2S8 p. 17 cm . 
 
 By Alexis Piron. Largely en vaudevilles. The airs, selected or composed and 
 arranged by Jean Claude Gillier, are printed at the end of the volume in the "Table 
 des airs." Text by Piron. * 
 
 First performed August 16, 1724. ML 48.L2VIII 
 
 Le caprice, opera-comique, en un acte. M616 de prose & de 
 vaudevilles. Represents, pour la premiere fois, le 16 aout 1724, sur 
 le Theatre de rOpera-comique. 
 
 Alexis Piron, Oeuvres complettes, Liege, 1776, t. 3, [223}-283 p. 
 
 . 
 
 Epitre d&licatoire aux dances. Same as the above. PQ 2019. P6
 
 OPERA LIBRETTOS 727 
 
 Le mariage du diable. A. T. of Gluck's L'ivrogne corrige". 
 Le mariage impromptu. A. T. of Gaveaux' Le petit matelot. 
 
 Le mariage par escalade, opera-comique, a 1'occasion de la prise 
 du Port-Mahon, represent e pour la premiere fois sur le Theatre de 
 TOpera-comique, le samedi 11 septembre 1756. Nouvelle edition, 
 augment ee de couplets qui avoient 6t6 retranches & de vaudevilles. 
 Paris, Duchesne, 1757. 56 p. 19 cm . (Theatre de M. Favart, 
 Paris, Duchesne, 1768-77, t. em.) 
 
 One act. En vaudevilles. On p. 49-56 three "Airs du mariage par escalade" 
 and two vaudevilles. According to Font, the couplets on the taking of Port-Mahon 
 (1756) are by Piron. The play was first presented in honor of due de' Richelieu by 
 Mme. de Mauconseil at Bagatelle, which explains Favart's dedication to her ("C'est 
 par vos ordres que j 'ai compost ce petit op6ra-comique " ) . The dedication is preceded 
 by an Avertissement, in which the author insists that he is under no contract to 
 write exclusively for the Com6die italienne, and says: 
 
 "Cette petite piece n'a 6t6 compose'e que pour une fete particuliere que 1'on pre- 
 paroit pour le retour de M. le marechal de Richelieu. Mais 1'accueil favorable que 
 le public a fait a tous les ouvrages qui ont paru sur la prise de Mahon, a donn6 lieu 
 
 de Londres a notre gard; ce sentiment fait honneur a notre nation; mais une 
 catesse trop scrupuleuse auroit empech6 de faire parler les personnages selon leur 
 caractere ..." 
 
 Favart's musical collaborator is not mentioned by Font. ML 49.A2F1 
 
 Le mariage par escalade, opera-comic[ue a 1'occasion de la prise 
 du Port-Mahon; represent e pour la premiere fois sur le Theatre de 
 l'Op6ra-comique, le samedi 11 septembre 1756. Nouvelle edition. 
 Paris, la veuve Duchesne, 1777. 64 p. 19. 
 
 On p. 49-64 seventeen unaccompanied "Airs du Mariage par escalade." Same 
 dedication and Avertissement. SCHATZ 1197 
 
 Les manages de Canada. See La premiere representation. 
 
 Les mariages Samnites, drame lyrique en trois actes et en pr6se. 
 Par M. de Rozoi ... La musique de M. Gretry . . . Represents 
 pour la premiere fois par les Come'diens italiens ordinaires du Roi, le 
 mercredi 12 juin 1776. Nouvelle edition. 
 Paris, la veuve Duchesne, 1776. xiii, 58 p. 18^ cm . 
 
 Dedication, cast, and "Preface" in which the author first starts out with a kind of 
 argomento, but then takes issue with his critics. He says, for instance: 
 
 "J'ai fait quelques changements a cet ouvrage depuia la premiere representation. 
 Us consistent d'abord a avoir supprim6 quelques phrases dans le role d'Euphemie, & 
 un r6cit, par lequel je donnois a croire, qu' Agathis, apres e"tre retourn6 au combat, 
 pouvoit s etre trop Iivr6 a eon courage, & ayoit regu un coup mortel. La douleur 
 d'Eumene, de Ceptialide, & d'Euphemie amenoit un trio du plus grand effet musical . . . 
 
 seule de M. Clairval a retard^ la seconde representation de cet ouvrage ... 
 
 On p. 30-32, .the "Choeur des jeunes Samnites. Dieu d'amour, en ce jour" (I, 7, 
 and on p. 56-58, the air of "Vous, qui voyez un coeur 6clorre" (III, 7). 
 
 SCHATZ 4169 
 
 Les mariages Samnites, drame lyrique en trois actes, et en 
 prose. Par M. de Rozoi . . . Represent^ pour la premiere fois,
 
 728 UBBAEY OF CONGRESS 
 
 Les manages Samnites Continued. 
 
 par les Com6diens italiens ordinaires du roi, le mercredi 12 juin 1776. 
 
 Nouvelle edition. 
 
 Paris, la veuve Ducliesne, 1776. xv, 56 p. 19 cm . 
 
 Same caet, etc., as in the last entry, but no music printed in the text. YUDIN PQ 
 
 Les manages Samnites, come'die he"roic[ue, en trois actes et en 
 vers; melSe d'ariettes. Par M. de Rozoi . . . Represented en 
 prose pour la premiere fois ... 12 juin 1776, remise au Theatre en 
 1777 & 1780; & redonnee en vers le 22 mai 1782. La musique de 
 M. GrStry. 
 
 Paris, Belin, 1782. xiv, [2], 61 p. 20 cm . 
 
 Preface, list of errata, and cast. In the preface the author says: 
 "On m'avoit reproch6 de n 'avoir point ^crit en vers un sujet aussi he>oique: j'ai 
 cru devoir au public & & l'amiti, de me conformer a leur avis. Le succes, que cet 
 ouvrage a obtenu sur le Theatre de Rouen, depuis que je 1'ai mis en vere m'a deja 
 r6compens6 de mes peines." 
 
 Further on, he regrets "que 1'on ne donne point au Th&ltre la fin du deuxieme acte, 
 telle que je 1 avois composed, & telle qu' elle n'a jamais e"te represented." On the 
 other hand, he congratulates himself on having reinserted the trio. SCHATZ 4170 
 
 - Die samnitische vermaehlungsfeyer. Ein schauspiel mit 
 gesang. Aus dem franzoesischen. Nach der musik von Gretrv, auf 
 dem Hoftheater . . . [zu] Schwedt . . . zum erstenmale aufgefuenrt. 
 
 Berlin, Christian Friedrich Himburg, 1780. 64. p. 16 cm . 
 
 German version, by Johann Andr6 and Friedrich Ludwig Wilhelm Meyer, who are 
 not mentioned. SCHATZ 4171 
 
 , La Mariamme. Drama per musica da rappresentarsi nel famosis- 
 simo Teatro di SS. Gio. e Paulo. NeU' anno MDCXCVI . . . 
 Venetia, Nicolini, 1696. 86 p. 14 cm . 
 
 Three acts. Notice to the reader, argument, scenario, and dedication, in which 
 the anonymous author calls this "questa prima adulatione del mio genio." The text 
 was by Lorenzo Burlini. The composer, Giov. Maria Ruggeri, is not mentioned. 
 
 SCHATZ 9139 
 
 La Mariane. See Albinoni's Gl'eccessi della gelosia. 
 
 Marianne, comedie en un acte et en prose, melee d'ariettes; repr6- 
 sentee pour la premiere fois sur le Theatre de POpera-comique de la 
 rue Favart, le 19 messidor, an 4 e (7 juillet 1796, v. st.). Paroles de 
 Marsollier, musique de Dalayrac. 
 
 Paris, chez Vente, [n. d.], De I'imprimerie de Chaignieau [f] aine. 
 55 p. 21 cm . 
 
 Cast, only two of the actors being called "Le c."[itoyen]. ML 50.2.M45D2 
 
 Marianne . . . [same as in the above]. 
 
 Paris, chez Vente, [n. d.], De I'imprimerie de Ohaigneau [/] aine. 
 44 p. 21. 
 
 Same cast, all being now "C 60 " and "O 6 ," and same text. ML 50.2.M45D21 
 
 Marie yon Montalban, oder Lanassa's zweyter theil. Ein trauer- 
 spiel mit choeren in fuenf aufzuegen, von J. N. Komareck. 
 n. i., 1794. 86 p. 16 cm . 
 
 Author's dedication, dated Pilsen, am I 1 * hornung [February], 1792. On p. 82-86, 
 "Nachrede." in which the author says that he was inspired to write this piece by
 
 OPEBA LIBBETTOS 729 
 
 Marie von Montalban Continued. 
 
 ''Lanassa," the German version (by Pluemicke) of Le Mierre'e "La Veuve de Mala- 
 bar," and performed at Pilsen February 19 : 1791, by the Vossische Schauspielergesell- 
 schaft, which Komareck then criticizes violently for the liberties taken with pieces 
 in the repertory, sometimes leaving, as he claims, nothing of the piece except its 
 name. His wish for his own piece is 
 
 "daes die musik zu den choeren nur fuer saenger, und fuer keine schnattergaense, 
 wie wir eie und ein wildes miauen hier hoeren mussten, komponirt werden moechte, 
 damit es Voss und konsorten nie einfallen koennte, sich daran zu versuendigen ..." 
 
 First performed, with music by Peter von Winter, at Munich, Hof u. National- 
 theater, January 28, 1800. SCHATZ 11633 
 
 Le marin genereux. A. T. of Piccinni's L'esclave. 
 
 Songs, duets, trio and choruses, in the Mariners, a musical enter- 
 tainment, in two acts. As performed at the King's Theatre, Hay- 
 Market . . . 
 London, C. Loumdes, 1798. 16 p. 20 cm . 
 
 Neither the author, Samuel Birch, is mentioned, nor the composer, Thomas 
 Attwood, who, as appears from Longman & Broderip's vocal score partly com- 
 posed this pasticcio, partly compiled it from Shaw, Martini (Martin y Soler?), 
 Ferrari, Mozart, Miss Bannister, Dittersdorf . 
 
 First performed May 10, 1793. LONOE 227 
 
 Mario e Felice, ballet. See Bianchi's Ines de Castro. 
 
 Vollstaendiger musik-text nir grossen komischen oper in 2 auf- 
 zuegen: Die marionettenbude, oder Der jahrmarkt zu Gruenwald. 
 Die musik ist von herrn Th. Weigl, dem juengern. 
 
 Salzburg, Franz Xaver Duyle, 1797. 30 p. 17 cm . 
 
 The author, Carl Friedrich Hensler, is not mentioned. 
 
 First performed at Vienna, Theater in der Leopoldstadt, March 17, 1795. 
 
 ML 50.2.M455W3 
 
 II maritato fra le disgrazie. Commedia per musica di Giuseppe 
 Palomba da rappresentarsi nel Teatro de' Fiorentini nell' autunno del 
 corrente anno 1774. 
 
 Napoli, n. putt., 1774. 69 p. 15. 
 
 Three acts. Argument, scenario, cast, and name of Gaetano Latilla as composer. 
 
 SCHATZ 5464 
 
 II marito che non ha moglie. Dramma giocoso per musica di 
 Giovanni Bertati da rappresentarsi nel Teatro Giustiniani di San 
 Mois6 nell autunno dell' anno 1774. 
 
 Venezia, Antonio Graziosi, 1774- 68 p. 17 cm . 
 
 Three acts. Cast, scenario, and name of Gennaro Astaritta as composer. 
 
 SCHATZ 373 
 
 II marito disperato. Dramma giocoso di Giambatista Lorenzi 
 P. A. da rappresentarsi nel Teatro de' Fiorentini per seconda corn- 
 media del corrente anno 1785. 
 
 Napoli, n. putt., 1785. 64 p. 15. 
 
 Two acts. Cast and name of the composer, Domemco Cimarosa. SCHATZ 1942 
 
 Arien und gesaenge aus der komischen oper in zwey akten : Die 
 bestrafte eifersucht. Die musik ist von Cimarosa. 
 Berlin, n. putt., 1794. 45 p. 16 cm . 
 
 Translated by Friedrich Hildebrand von Einsiedel (Schatz). Cast. 
 
 First performed at Berlin, Nationaltheater, September 4, 1794. SCHATZ 1943 *
 
 730 LIBRABY OF CONGBESS 
 
 II marito geloso Dramma giocoso per musica da rappresentarsi in 
 Livorno nel Nuovo teatro detto dagli Armeni il carnevale defl' anno 
 1784. 
 Livorno, Antonio Lami e comp., n. d. 93 p. (incl. Ji.-t.). 
 
 Two acts. Cast, scenario, name of Felice Alessandri as composer. Author 
 unknown to Schatz. SCHATZ 147 
 
 II marito geloso. Dramma giocoso per musica di Giovanni Bertati 
 da rappresentarsi nel Teatro Giustiniani in S. MoisS per la seconda 
 opera dell' autunno 1'anno 1781. 
 
 Venezia, n. publ., n. d. 64 p. 11 cm . 
 
 Two acts. Cast and name of Luigi Caruso as composer ("La musica sara"). 
 
 SCHATZ 1645 
 
 II marito giogatore [!], e la moglie bacchettona. Intermezzi per 
 musica da rappresentarsi nel Teatro di S. Angelo il carnevale dell' 
 anno 1719. 
 
 Venezia, Marino Rossetti, 1719. 16 p. 15 cm . 
 
 No cast, but it is well known to have been the same as at Brussels in 1728. (See 
 below). Neither the author of the text is mentioned nor the composer. Schatz 
 attributes the text to Antonio Salvi and the music to Giuseppe Maria Orlandini. 
 First performed as intermezzi in Chelleri's "Amalasunta " on December 24, 1718, 
 according to Schatz. SCHATZ 7337 
 
 The outlines of the text are (arias in Italics) : 
 (Int. Primo) Sisimaledetta. 
 
 Disgraziato Bacocco. 
 
 Un consorte sciagurato. 
 
 O Bacocco, BO questa & la vigilia. 
 
 Serpilla diletta (duet). 
 ( Int . Sec . ) Serpilla india volata . 
 
 Signor giudice. 
 
 Alzatevi madonna, e non piangete. 
 
 Questo e quell' nomo (duet). 
 (Int. Terzo) A questa pellegrina. 
 
 La yergogna, il dispetto. 
 
 lo gia sento. 
 
 Under no. 2372 of the Brussels Conservatory catalogue Mr. Wotquenne lists the 
 score of "Serpilla eBaiocco o vero II marito giocatore e la moglie bacchettona, inter- 
 mezzi comici musicali da rappresentarsi in Bruselle nelP opera di Lucio Papirip il 
 1728 dalla Sig. Rosa Ungarelli di Bologna e dal Sig. Antonio Maria Ristorini di 
 Firenze." Mr. Wotquenne adds that this is not really the title of this score, of which 
 the L. of C. has a transcript with title "II Giocatore," but that it is a "titre copi6 
 d'apres le livret." He means the libretto published at Brussels for the performances 
 (first: November 4) 1728 of "Lucio Papirio," music by Orlandini [!] and of the inter- 
 mezzi under discussion. The text of the Brussels libretto, I know from a private 
 communication to me by Mr. Wotquenne, is the same as in the original Venice libretto 
 of 1719 "II marito giogatore e la moglie bacchettona." This means that it does not 
 contain in the second intermezzo the aria, etc. "Con tan to stranutare," which is the 
 distinguishing feature of the Brussels score no. 2372, the text of which is otherwise 
 the same as in the librettos mentioned. As Georgy Calmus pointed out, a manuscript 
 note (not in our transcript of the Brussels score) says that this aria, etc., was taken 
 from "II vecchio pazzo in amore." The statement is correct, since the aria (and 
 part of the connecting dialogue) appears in the libretto of this title (See Schatz 11376) 
 in the first of the three intermezzi first performed with "La caduta,,di Leone Impe- 
 rator d'Oriente" (music by Paganelli) at Venice, Teatro Giustiniano di S. Moise, 
 carnival 1731. Neither author or composer are mentioned in the libretto and both 
 are unknown to Schatz. 
 
 Possibly this was not the first performance of "II vecchio pazzo in amore," but 
 until an earlier performance is discovered, this Venice performance of 1731 must be 
 considered the first known. Therewith the date of the anonymous Brussels score 
 with the interpolated aria from "II vecchio pazzo in amore" is approximately fixed as 
 not earlier than 1731. It follows that the anonymous score was not used at Brussels 
 in 1728, though Mr. Wotquenne has given it the title of the Brussels, 1728 libretto,
 
 OPEKA LIBRETTOS 731 
 
 II marito giogatore [!], e la moglie bacchettona Continued. 
 
 the text of which does not contain the interpolated aria "Con tan to stranutare" but 
 coincides fully with the original Venice, 1719 libretto. 
 
 Below, there is listed under "The gamester," London, 1736, another edition of 
 the text which coincides fully with the original text. This London version of "II 
 marito giogatore" is positively attributed in the libretto to Orlandini. It would 
 follow, it seems to me, that we do not have the right to attribute any score exclusively 
 to Orlandini, the text of which does not coincide fully with the text of the London 
 libretto. Scores like the Brussels score with its interpolated matter, therefore, repre- 
 sent, if at all, Orlandini's setting, not in its original form, but in a later, adulterated 
 form. This means that as yet Orlandini's score in its original form has not come to 
 light again and that no historical arguments can be based on interpolations for which 
 he was not responsible! 
 
 In his catalogue of "Handschriften nebst den alteren Druckwerken der Musik- 
 Abtheilung der Herzogl. Bibliothek zu Wolfenbuttel," 1890, Emil Vogel has, under 
 no. 257, this entry: 
 
 "Erete Halfte des 18. Jahrh. VINCI, Leonardo. Intermezzo: Bacocco e Serpillo[l] 
 . . . Partitur. Der Componist dieses Intermezzo war bisher nicht bekannt ..." 
 and under no. 258 another copy with title "Serpilla e Bacocco" and remark "Par- 
 titur, dieselbe wie No. 257, doch mit veranderter Schlusselvorzeichnung in den 
 Singstimmen . ' ' 
 
 Our transcript of one of these scores includes a note presumably inVogel's hand: 
 
 "Die hier vorliegende Partitur ist wenn nicht iiberhaupt die einrige erhaltene 
 richer die einzige, welche den Namen des Componisten angiebt." , 
 
 The text of this score, too, coincides fully with the text of the original "II marito 
 giogatore" libretto, Venice, 1719. For this reason and because these scores bear 
 the name of Vinci one might feel inclined to conclude that the intermezzos were 
 originally composed by Vinci. This conclusion would be hasty, first, because 
 the Wolfenbuttel scores bear, not the original title, but two later titles of the 
 work; secondly, because the text of the original libretto as stated above, coincides 
 also fully with the text of the London (1736) libretto "The gamester" (II giocatore) 
 described below, and the title page of this explicitly calls Orlandini the composer. 
 Under the circumstances we must assume, until proof to the contrary is adduced, 
 that at London a setting by Orlandini was actually used. Consequently we must 
 further assume that both Vinci and Orlandini composed the same (original and un- 
 adulterated) text at a very early date, but we can not as yet definitely attribute the 
 earliest setting, that for Venice, season of 1718-19, to either one or the other. 
 
 The commentary above and below in part supersedes the author's article on 
 "II giocatore" in the "Musical Antiquary," April 1913, p. 160-174 and also his 
 remarks in controversy with Georgy Calmus in "Sammelbande der I. M. G. 1912/13, 
 y. 14, p. 170-173. I wish to add here that in my opinion it is dangerous to deduct 
 the comparative age of fairly contemporary scores from a fuller or thinner orchestra- 
 tion of such copies as have been preserved but are not the autograph scores of the 
 composers. Many of the scores of that period have come down to us not in their 
 original form, but with the " Partitur-Bild " simplified for purposes similar to those 
 for which later on "Klavierausziige," Vocal scores, '"Partitions, chant et piano," 
 etc., became the customary substitutes. How dangerous such arguments of appear- 
 ance or even style are, if in this given case the priority of Vinci is to be deducted 
 from a comparison of the appearance of his scores with "Giocatore" scores attributed 
 to Orlandini, may be illustrated by the fact that of the two composers Orlandini is the 
 earlier and that his first known opera antedates by several years the first known opera 
 by Vinci! 
 
 Serpilla e Bacocco. Intermezzi comici musicali. Da rappre- 
 sentarsi la seconda volta, che si esibisce il drama. 
 
 n. i., n. d. 15 p. 14% cm - 
 
 Three parts. Neither author nor composer is mentioned. The text is practically 
 identical with Schatz 7337. Cast. On a fly-leaf Schatz has written this note: 
 
 "Dieses intermezzo wurde als zwischenspiel zu der 2 ten auffuhrung von T. Albi- 
 noni's oper "I veri amici" zu Miinchen, am 27/x 1722, zur vermahlungsfeier dee 
 churprinzen Carl Albert mit der erzherzogin Maria Amalia, gesungen. 
 
 " Ursprunglich war dieses Textbuch demjenigen der vorstehenden oper angeheftet 
 & folgte auf das erste, "Vespetta e Pimpinone" betitelte zwischenspiel." 
 
 SCHATZ 7338 
 
 The gamester. An interlude. Performed by Signora Anna 
 Maria Faini, and Signer Antoni'o Lottini, at the King's Theatre in the
 
 732 * LIBRARY OF CONGRESS 
 
 H marito giogatore [!], e la moglie bacchettona Continued. 
 Hay-Market. The musick is composed by Sig. Giuseppe Maria 
 Orlandini . . . 
 London, J. Ohrichley, 1736. 23 p. 17. 
 
 Italian text under the title of "II giocatore" faces the English. 
 
 First performed January 1/12, 1737 S as indicated. 
 
 The text is practically identical with that of "II marito giocatore," Venice, 1719. 
 According to Burney "II giocatore," first performed at London, Haymarket, Jan- 
 uary 1, 1737, was the first " intermezzo, or comic interlude which was ever introduced 
 between the acts of an Italian opera [Basse's Siroe] in England." SCHATZ 7339 
 
 Le joueur, parodie. Par les Srs. Dominique & Romagnesi . . . 
 Represent 6e pour la premiere fois, par les Come'diens itauens ordi- 
 naires du roi, le 21 jufllet 1729. 
 
 Les parodies du Nouveau theatre italien, Nouv. ed., Paris, 1738, 
 t. iv, [183}-202 p. 16$ cm . 
 
 One act. A note on p. 185 says: 
 
 "Cette petite parodie de 1'Opera du Joueur faisoit cidevant la scene xviii de la 
 Come'die des Debuts, joue'e avec les Paysans de quality." 
 
 The characters were (as in all the "II giocatore" librettos) Bacocco and Serpilla, 
 and much of the text was in Italian, even text sung to the French airs. (They are 
 printed at end of the volume, in the "Table des airs," 92 p., of which p. 49-72 are 
 wanting. To this intermezzo was added, as an afterpiece, on August 17, 1729, "Don 
 Micco e Lesbina. Intermede.") As comparison proves, some, but not many, of the 
 Italian lines are the same, or nearly the same, as in the Venice (1719) edition of "II 
 marito giocatore." It is therefore qute possible that where French aire are not indi- 
 cated in the text the parodists used corresponding music in "II marito giocatore," 
 performed at Paris, Acade"mie royale de musique, June 7, 1729, by Rosa Ongarelli 
 (Ungarelli) and Antonio Maria Ristorini. However, the abundance of French airs, 
 including those to Italian text, that imitate text in "II marito giocatore" excludes 
 the possibility that much of the original music was used for the parody. Indeed, even 
 the possibility of the use of some of it becomes doubtful, in view of the report in the 
 "Mercure du mois de Juillet 1729" (quoted by Parfaict): 
 
 "Toute la musique qu' on trouve tres convenable, est de la composition du Sieur 
 Mouret . . ." ML 48.P3 
 
 H giocatore. Intermezzo per musica. In tre atti. Da repre- 
 sentarsi in Parigi, n'ell Theatre, Opera, il 1752. Le joueur. Inter- 
 mede en musique en trois actes. Represent^ [!} a Paris, sur le 
 Theatre de 1'Opera en 1752. 
 
 Paris, la veuve Delormel &fils, 1752. 27, [1] p. 16$ cm . 
 
 On last page, the Approbation, dated Versailles, August 20, 1752. Cast. (Serpilla: 
 
 Anna Tonlli; Baccocco: Pietro Manelli.) French prose text faces Italian. The 
 
 arias are not distinguished typographically from the recitatives in this libretto, and I 
 
 can not guarantee that the following outlines of the text (arias in italics) are complete: 
 
 (Atto I) Si, si maledetta. 
 
 Ah sei qui bona lana? 
 
 (?) Si ravviva nel mio core. 
 
 La buona moglie Fa buono il marito. 
 
 Serpilla diletta (duet). 
 (Atto II) Serpilla indiavolata. 
 
 Oh die risa, oh che piacere. 
 
 (?) Dipotermi vendicar. 
 
 Speri JOTS' anche un di. 
 
 lib.! che alcun non c'ascolti. 
 
 Qu^sC e queluomo (duet). 
 (Atto III) Jo son fuor di me stesso. 
 
 A questa pellegrina. 
 
 La vergogna, il rispettp. 
 
 (?) Ecco disciolti i lacci. 
 
 Ahi finito. 
 
 Contento tu sarai.
 
 OPERA LIBRETTOS 733 
 
 II marito giogatore [I], e la moglie bacchettona Continued. 
 
 This text differs strikingly from the original "II marito giogatore" text. True, 
 "Si, si maledetta," the first aria, and the duet, "Serpilla dfletta," are the same in 
 both texts. Also, the second intermezzo in both begins with "Serpilla indiavolata," 
 and ends with the duet, "Questo e quell' uomo." Furthermore, the aria, "A questa 
 pellegrina," is in the third intermezzo in both texts, but the aria, "Un consorte 
 sciagurato," is not in the first intermezzo of the Paris (1752) ed., nor "Signer giudice 
 giustizia" in the second, nor the final duet, "lo gia sento," in the third. The dia- 
 logue, while for lines at a time is the same in both, very much more often is not the 
 same; and Baccocco's monologue, at the beginning of the third intermezzo ("lo eon 
 fuor di me stesso "), is only in the Paris (1752) edition. If the text in the latter (which 
 unquestionably is Salvi's "II marito giogatore," though considerably altered) was 
 actually used in the performances of 1752 at Paris, then the entry in Clement et de 
 Laporte's "Anecdotes dramatiques," Paris, 1775 (Supplement): 
 
 'JOUEUR, (le) OpeVa bouffon italien, dont la musique est d'Orlandini, joue"e a 
 I'Ope'ra en 1752 " [first on Tuesday, August 22, not on August 12, preceding Campra's 
 Arethuse] needs to be modified, because it would have been impossible to use Orlan- 
 dini's score without quite a few interpolations and alterations. 
 
 As a matter of fact, the Paris version used was a pasticcio. According to the Mercure, 
 quoted by De La Laurencie (S. I. M. 1912, no. 6, p. 27): 
 
 "La musique de cet intermede, tel qu'il a te joue, est de differents auteurs," 
 and the Mercure attributes the recitatives, the duets in the first two actes (" Serpilla 
 diletta"and "Quest* equel' uomo"), and the arias, "Si, si maledetta" and A questa 
 pellegrina," specifically to Orlandini. Contant d'Orville (I, 10, not 11) mentions 
 Pergolesi as one of the composers of this pasticcio, and since the text of the final 
 duet in the printed Paris (1752) libretto, "Contento tu sarai," is indeed from his "La 
 eerva padrona," there is no reason for disputing the accuracy of Contant d'Orville's 
 remark. We know, however, from the Mercure that this duet was replaced at the 
 third performance by another piece (the duet, "Pace con un laccio," of the Doletti 
 score?). At least one more composer figured in the pasticcio, namely, Giuseppe 
 Maria Buini, since De La Laurencie has traced the "Oh che risa" in the second act 
 to him. He adds Pietro Auletta, but without any proof whatsoever of his identity 
 with Doletti. (See below.) 
 
 If at the third performance "Contento tu sarai" was dropped, "Signor giudice" 
 added to the second act, and if, as reported, other changes took place, then the text 
 in the Paris (1752) ed. can not have been used as printed. These doubts become 
 stronger still in view of the score of: 
 
 "Les AHIETTES DU JotnstTR, opera bouffon italien. Del Sg? Doletti. Re'pre'sente' 
 a rOpera de Paris en 1752 " Paris, M? Boivin, Mr. Le Clerc, M 1 ! 6 Castagnarie. (undated! 
 1 p. I., 32 p., fol.) Below the privilege: "Grav6 d'apr&s la partition de 1'auteur." 
 
 The text of the eight arias and duets in this score is identical with that of the 1719 
 libretto, except that of the two last numbers, "Pace con un laccio" and "Spera 
 fors' anch' un di." These are not in the "II marito giogatore" libretto. On the 
 other hand , the last aria in the 1719 libretto, ' ' lo gia sento, ' ' is not in the Doletti score. 
 At any rate, with exception of two out of eight numbers, the text of all is identical 
 with the texts as found in the Wolfenbuttel Vinci scores and in the London Orlandini 
 libretto and the Venice (1719) libretto. But the title page not only attributes the 
 opera to one Doletti (of whom absolutely nothing else seems to be known to Fe'tis, 
 Wotquenne, Eitner), but says that the Paris score was engraved after his (the author's, 
 i. e. composer's) score! Here, then, is a new puzzle! Now, it is a singular fact that 
 of those two arias one, "Spera (speri) fors' anch' un di," appears in the Paris (1752) 
 "II giocatore" libretto. In view of this fact, and in view of the other fact, already 
 mentioned, that with the third performance of "II giocatore" Pergolesi's "Contento 
 tu sarai " was replaced by another duet, the conjecture may be ventured that (the 
 otherwise unknown) Doletti composed these two arias, and that in some manner the 
 whole score came to be attributed to him. 
 
 We know, however, that of the other six arias (act I) "Si, si, maledetta," "Tin con- 
 sorte sciagurato," "Serpilla diletta" [duet]; (act II) "Signor giudice," "Quest 1 e 
 quel' uomo [duet]; (act III) "A questa pellegrina ", the music of five is the same as 
 in the Wolfenbuttel scores bearing Vinci's name and in the Brussels "Giocatore" 
 score no. 2372, barring transposition of key, etc. The aria "Si, si, maledetta," in 
 the Doletti score is the same as in the Brussels score, but it is different from that in 
 the Vinci score. Consequently as early as 1731 (see above) a setting of "Si, si, 
 maledetta" existed which was not by Vinci. This aria is one of those expressly 
 attributed by the Mercure to Orlandini. Since the recitatives in the Vinci scores 
 are nearly all different from those in the Brussels score (the Doletti score has no reci- 
 tatives), again some composer other than Vinci must nave composed these recite-
 
 734 LIBRARY OF CONGRESS 
 
 II marito giogatore [!], e la moglie bacchettona Continued. 
 
 lives of the Brussels score. This conclusion recalls to our mind the fact that the 
 Mercure expressly attributed the recitatives as used at Paris (1752) to Orlandini. 
 Therefore, if the Mercure was wholly mistaken in assigning the arias identical in the 
 Vinci scores and the Brussels and the Doletti score (duets "Serpilla diletta" and 
 "Quest' equel' uomo " and the aria "A questa pellegrina," i. e., as sung at Paris, 1752) 
 to Orlandini, and if Leonardo Vinci, instead of Orlandini, should have to be con- 
 sidered their composer, the pasticcio character of the Paris (1752) "Giocatore" would 
 have grown still more pronounced. If De La Laurencie adds to the composers so far 
 traced Pietro Auletta, on the theory of his identity with Doletti, this identity is 
 merely an assumption, and has not been supported by any evidence. 
 
 ML50.2.G4O7 
 
 Baiocco et Serpilla, parodie du Joueur; intermede en trois actes. 
 Represented pour la premiere fois par les Come'diens italiens ordi- 
 naires du roi, le jeudi 6 mars 1753. Nouvelle Edition. 
 
 Paris, -N. B. Duchesne, 1760. 48 p. 19 cm . ( Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. ii.) 
 
 Cast, note, and music the same as in the 1771 ed. ML 49.A2F1 
 
 Baiocco et Serpilla, parodie du Joueur, intermede en trois actes. 
 Represented pour la premiere fois par les Com^diens italiens ordinaires 
 du roi, le jeudi 6 mars 1753. 
 
 Paris, la veuve Duchesne, 177L 38 p. 17 cm . 
 
 Cast and note: 
 
 "Get intermede est une traduction litte'rale de Baiocco e Serpilla 6 del Giocatore, 
 ope'ra bouffon, mis en musique par Mr. [Carlo] Sodi, & represent^ ci-devant a la 
 Comdie italienne." 
 
 On p. 3-5 the airs of "Ah! ah! ma cassette" (I, 1); p. 6, "On n'a jamais vu de 
 femme (I, 2); p. 11, duo "Je ne puis plus durer" (I, 2); p. 14-16, "Ma femme fait 
 la diablesse" (II, 1); p. 17-20, "C'est un traltre, un vaurien" (II, 2); p. 24-27, "Ah! . 
 perfide, barbare!" (Ill, 1); p. 28-32, "Ingrate, tu me fuis en vaone" (III, 2); p. 
 33-38, the duo "Mon bonh<?ur est extreme >r (I II, 2). 
 
 This parody, though originally based on that of 1729, no longer has anything in 
 common with it. Parfaict narrates under Sodi the origin of the new parody thus: 
 
 "La nouvelle musique de la parodie du Joueur, intermede italien qui a e'te' repre"- 
 eente'e deux foie a la cour avec beaucoup de succes. Les anciens vaudevilles ayant 
 deplu a la derniere reprise de cette parodie, lee Comediens Italiens prirent le parti 
 de charger le Sieur Sodi de composer de nouvelle musique sur les me'mes paroles, & 
 le melange d'italien & de francoie ayant encore dplu dans les paroles, ils euppri- 
 merent tout 1'italien, & y substituerent des paroles francoises de la composition de 
 M. Favart qui fut oblig6 de parodier la musique du Sieur Sodi." . . . 
 
 (Substantially the same remarks are to be found in the pref. to "Theatre de M. 
 Favart," Paris, 1763-77, t. I, p. xviii.) Sodi's score as published (in L. of C.) agrees 
 with the libretto. SCHATZ 9929 
 
 H marito indolente. Dramma giocosp per musica da rappresen- 
 tarsi nel Teatro Giustiniani di S. Mois& il carnevale dell' anno 1778. 
 [Venezia], n. publ., n. d. 62 p. 18 cm . 
 
 Two acts. By Caterino Mazzola, who is not mentioned. Cast and name of Alfonso 
 Santi as the composer ("La musica sara"). With the opera was performed, com- 
 poser of the music not mentioned, Riccardo Bleck's ballet "L'Indiana a Londra." 
 
 SCHATZ 9393 
 
 H marito indolente. Dramma giocoso per musica da rappresen- 
 tarsi nel Piccolo Teatro di S. A. E. di Sassoma, di Caterino Mazzola . . . 
 Dresda, n. publ, 1782. 14! p. 15\ cm . 
 
 Two acts. Joseph Schuster is mentioned as the composer. German title-page, 
 " Der gleichgueltige ehemann," and text face Italian. 
 
 First performed 1782, aa indicated. SCHATZ 9747
 
 OPERA LIBRETTOS 735 
 
 II marito indolente Continued. 
 
 Gesaenge aus dem singspiele Der gleichgueltige ehemann, in 
 zwei aufzuegen, nach dem italienischen von J. Andree. In musik 
 gesezt von Schuster. 
 
 Hamburg, J. M. MicJiaelsen, 1788. 32 p. 16. 
 
 First performed at Hamburg, Theater beim Gansemarkt, September 22, 1788; at 
 Berlin, Nationaltheater, May 26, 1788. SCHATZ 9748 
 
 II marito raweduto, ballet. See Bianchi's Piramo e Tisbe. 
 
 II marito umiliato ossia La moglie di spirito, ballet. See Cimarosa's 
 Li amanti comici. 
 
 Markedet i Venedig. Tr. of Salieri's La fiera di Venezia. 
 Der markt von Venedig. Tr. of Salieri's La fiera di Venezia. 
 
 O marquez de Tulipano ou O casamento inesperado. Tr. of Paisi- 
 ello's II matrimonio inaspettato. 
 
 The marriage act : a farce. In two acts. As it is performed at the 
 Theatre Royal in Covent Garden. 
 
 London, G. Kearsley, 1781. 2 p. I, 40 p. 21 cm . 
 
 Cast. A reduced version of Charles Dibdin's "The Islanders" (1780). 
 
 First performed September 17, 1781 (Schatz and Oulton); September 18, 1781 
 (Genest). LONGE 91 
 
 Marriage at last. A. T. of The fortunate prince. 
 
 Marriage by proxy. A. T. of The court medley. 
 
 The marriage of Peleus and Thetis, masque. See Windsor castle. 
 
 The marriage promise or The disappointed virgin. See The intri- 
 guing courtiers. 
 
 Marsia. 
 
 p. 217-242. 15\ cm . (Ottavio TronsareUi, Drammi musicali, Roma, 
 Francesco CorbeUetti, 1632.) 
 
 Three parts. Argument. No composer mentioned. ML 49.A2T7 
 
 Marsia deluso. Fayola pastorale. Da rappresentarsi in musica 
 nel famoso Teatro Grimam de' SS. Gio. e Paolo il carnovale dell' 
 anno 1714. 
 
 Venezia, Marino Rossetti, n. d. 72 p. 14\ cm - 
 
 Five acts. Neither the author, conte Agostino Piovene, nor the composer, Carlo 
 Francesco Pollaroli, is mentioned. Notice to the reader, cast, and scenario. 
 
 First performed December 26, 1714, as indicated. SCHATZ 8302 
 
 Marte deluso. L. T. of M. A. Ziani's La Falsirena. 
 
 Marte, Venere e la Gloria, ballet. See M. A. Valentini's Solimano.
 
 736 LIBRARY OF CONGRESS 
 
 Marthesie, premiere reine des Amazones, tragedie represented 
 
 Ear 1'Academie royale de musique. Tan 1699. Les paroles de M. de 
 i Mothe, & la musique de M. Destouches. XL VIII. opera. 
 front., p. 413-468. (Recueil general des opera, t. vi, Paris, 1703.) 
 14. 
 
 Detached copy. Five acts and prologue with dedicatory poem to the king and 
 ' ' A vertissement . ' ' 
 
 First performed, as indicated, November 29, 1699; at Fontainebleau in the king's 
 private theatre, October 25, 1699. SCHATZ 2548 
 
 Second copy. ML 48. R4 
 
 Martin Velten. Eine komische oper in drey aufziigen. 
 
 n. i., TO. d. p. [273}-352. 16. 
 
 Detached copy. Neither the composer, Carl Christian Agthe, is mentioned, nor 
 the author, who is unknown to Schatz. 
 
 First performed at Reval, 1778. SCHATZ 62 
 
 Martio Coriolano. See M. Curzio. 
 
 ' Martio Coriolano. Drama per musica di Frencasco Valsini da 
 rappresentarsi nel famoso Teatro Grimano de Ss. Gio. e Paolo. 
 L'anno MDCLXXXIII . . . 
 
 Venetia, Francesco Nicolini, 1683. 48 p. 14% cm . 
 
 Three acts. Dedication signed Frencasco Valsini [= Francesco Silvani] and dated 
 Venice, January 20, 1683, argument, scenario, notice to the reader with name of 
 Giacomo Antonio Perti as the composer, and remark "eccoti il mio eecondo drama." 
 
 SCHATZ 7957 
 
 , Marzio Coriolano. Drama per musica. Da rappresentarsi nel 
 famoso Teatro di S. Gio. Grisostomo. L'anno 1698. Di Matteo 
 Noris . . . 
 
 Venezia, Nicolini, 1698. front., 82 p. 
 
 Three acts. Author's dedication dated Venice, January 18, 1697. M. V. [=1698], 
 argument, notice to the reader, and scenario. The composer, Carlo Francesco Polla- 
 roli, is not mentioned. . SCHATZ 8303 
 
 Masag niello furioso. Oder: Die neapolitanische fischer-empoe- 
 rung. Musicalishes schau-spiel. 
 
 Barih. Feind's Deutsche gedichte, Stade, 1708, pi., p. [251}-320. 
 
 17 cm . 
 
 Three acts. Date of first performance aa June, 1706, and "Vorbericht" with 
 remark: 
 
 "Die italiaenischen arien wird ein dieser eprache kuendiger, umsonst anderswo 
 als auff diesen blaettern suchen " 
 
 which implies Feind's own authorship. The composer, Reinhard Keiser, is not 
 mentioned. ML 49.AF2 
 
 - Masagniello furioso. Drama musicale, da rappresentarsi nel 
 famosissimo Theatre d'Hamburgo, Die neapolitanische fischer 
 empoerung . . . 
 
 Hamburg. Unpaged. 18 cm . 
 
 (Imprint partly cut off by binder.) 
 
 Three acts. To a few of the arias the Italian text has been added. Neither the 
 author, resp. translator, Barthold Feind, is mentioned, nor the composer, Reinhard 
 Keiser. 
 
 First performed, as indicated, June, 1706. SCHATZ 5125
 
 OPERA LIBRETTOS 737 
 
 Masagniello furioso Continued. 
 
 Masagniello furioso. Drama musicale, da rappresentarsi nel 
 famosissimo Teatro d'Amburgo. [port.] Die neapolitanische fischer- 
 empoerung . . . 
 
 Hamburg, Friderich Conrad Greflinger, 1714- Unpaged. 19 cm . 
 The port, is supposed to be a likeness of "Masaniello, vischer zu Napels. 1647." 
 The Italian text has been added to some arias. Schatz calls this the second ver- 
 sion, but at least the text is the same as in the 1706 edition. Neither Feind is men- 
 tioned nor Keiser. SCHATZ 5126 
 
 Masagniello furioso, oder Die neapolitanische fischer-empoe- 
 rung, in einem sing-spiele auf dem Hamburgischen Schau-platze vor- 
 gestellet im jahr 1727. 
 
 [Hamburg], mit Stromerischen schrifften, n. d. Unpaged. 19 cm . 
 
 Three acts. Cast, scenario. Schatz calls this "III. auegabe." Neither the 
 author, resp. translator, Barthold Feind, is mentioned, nor the composer^ Reinhard 
 Keiser. To some of the arias the Italian text has been added. The text is the 
 same as in the editions of 1706 and 1714. SCHATZ 5102 
 
 La maschera levata al vitio. Drama per musica da rappresentarsi 
 nel Teatro Tron in S. Casciano 1'autunno dell' anno 1704 . . . 
 
 Venetia, Marin Rossetti, 1704- 59 p. 14\ cm . 
 
 Three acts. Dedication signed and dated by the author, Francesco Silvani, 
 Venice, November 2, 1704, argument, cast, and scenario. The composer, Carlo 
 Francesco Gasparini, is not mentioned. SCHATZ 3571 
 
 La maschera ta. 
 
 \26l\-3l8 p. 16\ cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. i, Torino, 1757.) 
 
 Three acts. For first composer, see below. ML 49.A2G6 
 
 La mascherata. Dramma di tre atti per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta ejigli, 1788-95, v. 4%, 
 [47]-108 p. 18. PQ 
 
 La mascherata. Dramma comico per musica di Polisseno Fegejo 
 Pastor Arcade da rappresentarsi nel Teatro Tron di S. Cassiano. H 
 carnovale dell' anno 1751. 
 
 Venezia, Modesto Fenzo,1751. 70 p. 15 cm . 
 
 Three acts. By Goldoni. The composer is not mentioned. Cast and scenario. 
 Attributed by some to Galuppi, by others to Gioacchino Cocchi. Pages 3-4, with 
 Goldoni'sdedication, dated December24, 1750, are missing in this copy. ScHATz3487 
 
 Massenzio. Drama per musica nel Teatro Vendramino a S. Sal- 
 vatore. Del Bussani . . . 
 
 Venetia, Francesco Nicolini, 1678. 80 p. (incl. front.) 15 cm . 
 
 Three acts. Author's dedication, argument, and scenario. The composer, Antonio 
 Sartorio, is not mentioned. 
 
 First performed carnival, 1673, as indicated. SCHATZ 9494 
 
 Massilie, ou La fondation de Marseille. Op6ra en cinq actes. 
 Venard de la Jonchere, Theatre lyrique, Paris, 1772, t. ii, p. [145}-212. 
 
 "Avant-propos " (p. 147-159). No composer mentioned, nor is any recorded by 
 Cl. & L. ML 49.A2L2 
 
 72251 VOL 114 - 47
 
 738 LIBRARY OF CONGRESS 
 
 Massimiano. Dramma per musica da rappresentarsi nel famosis- 
 simo Teatro Grimani di S. Gio. Grisostomo nell' carnevale dell' anno 
 1731 . . . 
 
 Venetia, Carlo Buonarigo, n. d. 66 p. 14% cm - 
 
 Three acts. Originally written as "Costantino" by Zeno and Pariati, retouched 
 under the above title by Giovanni Boldoni, neither of whom is mentioned. Impre- 
 eario's dedication, argument, scenario, cast, and name of Giuseppe Maria Orlandini 
 as the composer. SCHATZ 7351 
 
 Massimo Puppieno. Drama per musica da rappresentarsi nel 
 famosissimo Teatro Grimano di SS. Gio. e Paolo. Seconda impres- 
 sione con nuova aggiunta . . . 
 
 Venetia, Francesco Nicolini, 1685. 64 p- 14' 
 
 Three acts. Dedication dated Venice, December 28, 1684, and signed by the 
 author, Aurelio Aureli, argument, and scenario. The composer, Carlo Pallavicino, 
 is not mentioned. SCHATZ 7727 
 
 The master of the opera. Tr. of Sarro's L'impresario. 
 Mastino della Scala, ballet. See Paer's L'oro fa tutto. 
 
 A match for a widow : or, The frolics of fancy. A[ !] A comic opera, 
 in three acts. As performed at the Theatre Royal, Dublin. 
 London, C. Ditty, 1788. vii, [1], 61, [2] p. 20 cm . 
 
 The [2] p. contain the "Original epilogue," "spoken by Mrs. Melmoth, in 1786." 
 Cast and dedication by the author, Joseph Atkinson (not mentioned), to Richard Daly, 
 the patentee and manager of the Theatre Royal, Dublin: 
 
 "You remember that it was originally written and presented to you in the winter 
 of 1785, as an after-piece : acknowledged to be suggested from a little French drama of 
 one act, without songs (intitled, L'hewreuse erreur), and that in borrowing the idea I 
 totally altered and augmented the dialogue, incidents, and situation of that plot, and 
 for the first time, attempted the introduction of a Yankee character on the European 
 stage . . . you earnestly recommended and urged me instead of confining it to an 
 after musical piece, to extend the design to a compleat comic opera, by the assistance 
 of new characters and an underplot . . . 
 
 "In the course of the week, I again presented you, and read the opera in its present 
 state, with the additional episode, characters and songs ... It was then . . . trans- 
 mitted to Mr. [Charles] Dibdin in London, who embellished it with his harmony: 
 thus with the ornament of new scenery and dresses, and the then musical strength of 
 your company, you, in the spring of 1786, gave it a fair trial before an Irish 
 audience ..." 
 
 The Yankee character introduced is that of Jonathen, who, in the course of the play, 
 sings a "Song (air, Yankee tune [which is not mentioned]): 'He found me in a country 
 now famous in story, ' " and ' ' Song (tune, Yankee doodle) : ' For when I dwelt in Boston 
 bay / 1 liv'd in peace and plenty.' " LONGE 110 
 
 II matematico, ballet. See Pampani's Demofoonte. 
 
 La matinee des boulevards, ambigu-comique. Premiere partie. 
 La soiree des boulevards, . . . Seconde partie La nuit des boule- 
 vards . . . Troisieme partie Le bal des boulevards . . . qua- 
 trieme partie. 
 
 Paris, Cailleau, n. d. 122 p. 21 cm . 
 
 Casts. SCHATZ 11498 
 
 La matinee et la veillee villageoisie, ou Le sabot perdu, diver- 
 tissement en deux actes et en vaudevilles, par MM. de Piis & Barre"; 
 represente pour la premiere fois par les Comediens italiens ordinaires 
 du roi, le mardi 27 mars 1781. 
 
 Paris, Vente, 1784. 32 p. 19 cm . 
 
 Cast. Arranger of the music not recorded by Schatz. SCHATZ 11499
 
 OPERA LIBRETTOS 739 
 
 I matrimoni in ballo. Farsetta per musica di Pasquale Mililotti 
 da rappresentarsi nel Teatro Nuovo nel carnevale di quest' anno 1776. 
 
 n. i., n. d. p, [29}-51. 14$. 
 
 A detached copy of Cimarosa's operatic farce, played at the end of his "I 
 sdegni per amore" (Schatz 1993). SCHATZ 1984 
 
 I matrimoni in cantina. A. T. of Neri Bondi ; s I viaggiatori. 
 
 I matrimoni in maschera. Dramma giocoso per musica da rap- 
 presentarsi nel Teatro Tron di S. Cassano nelP autunno dell' anno 
 1765 . . . 
 
 Venezia, Modesto Fenzo, 1765. 59 p. 15 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Cast, scenario, and 
 name of Ruttini (Giovanni Marco Rutini) as the composer. SCHATZ 9192 
 
 31 matrimonio in maschera. Dramma giocoso per musica. 
 Da rappresentarsi nel Piccolo Teatro di S. A. E. di Sassoma. Dresda, 
 nel carnevale dell' 1767. 
 
 n. i., n. d. 149 p. 16 cm . 
 
 Three acts. Cast," scenario, and name of Giovanni [Marco] Rutini as the com- 
 poser. German title-page, "Die eheverbindung in der maske," and text face Italian, 
 which is with very few modifications the same as in the Venice (1765) version. 
 
 SCHATZ 9187 
 
 II tutore burlato o sia I matrimonii in maschera. Dramma 
 giocoso per musica da rappresentarsi nel Regio Teatro Danese Den 
 bedragne formynder eller De under masken sluttede giftermaale . . . 
 
 Kiebenhavn, L. N. Svare, 1768. 125 p. ll\ cm . 
 
 Three acts. Cast and name of Ruttini [Giovanni Marco Rutini] as the composer. 
 
 First performed 1768, as indicated. SCHATZ 9188 
 
 I matrimonj per fanatisimo [ !] Dramma giocoso per musica da 
 rappresentarsi nel Real Teatro del Fondo di Separazione per terza 
 opera di quest' anno 1788 . . . 
 
 Napoli, n. pull., 1788. 60 p. 15 cm . 
 
 Two acts. Impresario's dedication dated Naples, Nov. 6, 1788, cast, and name of 
 Pasquale Anfossi as composer, but not of librettist, who is unknown to Schatz. 
 On p . 5-13, a detailed description with argument and cast of ' ' Astarbea ossia Pimmalione 
 vendicato, ballo tragico in cinque atti, inventato, e composto dal Sig. Giambattieta 
 Giannini . . . La musica e tutta nuova del Signor D. Pietro Dutillieu." 
 
 SCHATZ 259 
 
 I matrimonii per inganno. Commedia per musica di Giuseppe 
 Palomba da rappresentarsi nel Real Teatro del Fondo di Separazione. 
 Nell' inverno ai questo anno 1779. 
 Napoli, n. pull., 1779. 64 p. 15. 
 
 Three acts. Cast and name of the composer, Giuseppe Maria Curcio ("Curci") 
 
 SCHATZ 2302 
 
 I matrimonj per inganno, ballet. See Nicolini's Gli Sciti. 
 
 I matrimonj per magia. Commedia per musica da rappresentarsi 
 nel Teatro de' Fiorentini per quart' opera del corrente anno 1797. 
 Napoli, n. puhl, 1797. 24 p. 15\. 
 
 One act. Author not mentioned and unknown to Schatz. Cast and name of the 
 composer, Valentino Fioravanti. 
 
 First performed at Naples, Teatro di Fondo, 1794. SCHATZ 3135
 
 740 LIBRARY OF CONGRESS 
 
 Li matrimonj per sorpresa. Farsa per musica a 5. voci da rap- 
 presentarsi nel Teatro Valle degl' illustrissimi Signori Capranica il 
 carnevale dell' anno 1788 . . . 
 
 Roma, Giodcchino Puccinelli, n. d. 58 p. 15 cm . 
 
 Two acts. Author not mentioned and not known to Schatz. Dedication, cast 
 and name of Luigi Platone as composer. ML50.2.M46P4 
 
 II matrimonio cinese, ballet. See Anfossi's Gengis-Kan. 
 
 II matrimonio de' Groelaridesi, ballet. See Rispoli's Nitteti. 
 
 II matrimonio de' Groenlandesi, ballet. See Rossetti's Olim- 
 piade. 
 
 II matrimonio di Figaro. A. T. of Portugal's La pazza giornata. 
 
 II matrimonio improwiso. Commedia con musica d'un atto solo 
 ridotta da Giuseppe Foppa. Da rappresentarsi nel nobilissimo Teatro 
 Giustiniani in San Moise il carnovale dell' anno 1794. 
 
 n. i., n. d. 24 p. 18 cm . 
 
 Cast and name of Ferdinando Pe (Paer) as the composer. SCHATZ 7563 
 
 - II matrimonio improvise o I due sordi, dramma giocoso per 
 musica da rappresentarsi nel Teatro clella molto lie. cittk di Barcel- 
 lona 1'anno 1798. 
 
 Barcellona, Francesco Generas, n. d. 54 p- 14% cm - 
 Two acts. Cast and name of Per (Paer) as the composer. Foppa, the author, is 
 not mentioned. SCHATZ 7564 
 
 II matrimonio inaspettato, ballet. See Valentini's Le sorelle 
 rivali. 
 
 II matrimonio in commedia. Dramma giocoso per musica da 
 rappresentarsi nel Teatro grande alia Scala di Milano, la primavera 
 deir anno 1782 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 4 P- l-> 51 >U] P- 
 The additional p. contains a substitute ari^, ("A forze di mortello") for I, 7. 
 Two acts. By Giuseppe Palomba, who is not mentioned and whose much altered 
 "Le nozze in commedia" this is. Dedication, cast, scenario, and name of Luigi 
 Caruso as the composer. Gaspero Angiolini is mentioned as the author and com- 
 poser of the following ballets: "I geni riuniti," "II Solimano Secondo," "Ildiavolo 
 a quattro, ossia La doppia metamorfosi," and "La Lauretta." These are called 
 "Balli da rappresentarsi alternativamente." 
 
 First performed, as indicated, April 7, 1782; at Rome, carnival 1782. 
 
 SCHATZ 1646 
 
 Li sposi in commedia. Dramma giocoso per musica da rappre- 
 sentarsi nel nobile Teatro di S. Samuele il carnovale dell' anno 1786. 
 Venezia, Modesto Fenzo, 1786. 48, 14 p. ll\ cm . 
 
 Two acts. Altered version of Palomba's "II matrimonio in commedia." Cast, 
 scenario, and name of Francesco Bianchi as composer, but replaced by that of Luigi 
 Caruso on a printed slip of paper pasted over Bianchi's name. The additional 14 p. 
 contain argument, cast, and detailed description of "Ballo primo. Rossana. Ballo 
 tragico in cinque atti da rappresentarsi nel Nobile Teatro di San Samuele il carnovale 
 defl' anno 1786. Condotto, e diretto dal Signer Eusebio Luzzi." The composer of 
 the ballet music is not mentioned. SCHATZ 1647
 
 OPERA LIBRETTOS 741 
 
 II matrimonio in contrasto. Commedia per musica di Giuseppe 
 Palomba da rappresentarsi nel Teatro de' Fiorentini nell' esta del 
 corrente anno 1776. 
 
 Napoli, n. putt., 1776. 69 p. 15 cm . 
 
 Three acts. Argument cast, scenario, and name of Pietro Guglielmi as the 
 composer. SCHATZ 4252 
 
 II matrimonio in maschera. L. T. of G. M. Rutini's I matrimoni 
 in maschera. 
 
 n matrimonio inaspettato. Dramma giocoso per musica da rap- 
 presentarsi nel Teatro di Camenoi-Ostroff. di S. A. I. Monsignor il 
 gran duca Le mariage imprevu . . . 
 
 n. i., n. d. 93 p. 18. 
 
 One act. Based on " II marchese villano " by Pietro Chiari, who is not mentioned. 
 
 Argument and name of Paisiello as composer. French text faces Italian. 
 
 First performed at St. Petersburg, 1779, as indicated. SCHATZ 7636 
 
 II marchese di Tulipano o sia II matrimonio inespetato [ !] 
 Farzeta in musica, per representarci nel Theatro della rua do Condes, 
 nel anno di 1790 . . . 
 
 Lisbona, Simao TJiaddeo Ferreira, 1790. 91 p. 15. 
 
 Two acts. By Chiari, who is not mentioned. Dedication, cast, scenario, and 
 name of Paisiello as the composer. Portuguese title page, "O marquez de Tulipano, 
 ou O casamento inesperado," and text face Italian. SCHATZ 7688 
 
 - Das witzige landmaedchen, oder Der geadelte landmann. Eine 
 komische oper in zwey aufzuegen. Aurgefuehrt auf der schau- 
 buehne der Kaiserl. freyen reichsstadt Nuernberg., 
 Nuernberg, n. publ., 1787. 54 p- 15\ cm . 
 
 With name of Paisiello as the composer. 
 
 First performed 1787, as indicated. SCHATZ 7638 
 
 H matrimonio non e per i vecchi. A. T. of Longarini's La donna 
 ne sa piu del diavolo. 
 
 II matrimonio per astuzia, ballet. See Bianchi's II Chinese in 
 Italia. 
 
 II matrimonio per astuzia. Dramma giocoso per musica da rap- 
 presentarsi nel nobilissimo Teatro di S. Benedetto 1'autunno dell' 
 anno MDCCLXXL 
 
 Venezia, Modesto Fenzo, n. d. 56 p. 17 cm . 
 
 Three acts. Author not mentioned, and unknown to Schatz. Cast, scenario, and 
 name of Andrea Luchesi as composer. 
 
 First performed in October 1771, as indicated. SCHATZ 5740 
 
 H matrimonio per concorso. Dramma giocoso per musica da 
 rappresentarsi in Lisbona nel Teatro della rua dos Condes nell' 
 autunno dell' anno 1773. 
 [Lisbona}, Stamperia reale, n. d. 84 p- (incl. Ti.-t.) 16\ cm . 
 
 Three acte. By Gaetano Martinelli, who is not mentioned. Cast, scenario, and 
 name of Felice Aiessandri as composer. The libretto mentions as ' 'Ballo secondo," 
 "La vedova scaltra," based onGoldoni's comedy of this title, by Giuseppe Magni. 
 
 First performed at Venice, Teatro di S. Moise, during carnival of 1767. 
 
 SCHATZ 148
 
 742 LIBRARY OF CONGRESS 
 
 II matrimonio per concorso, ballet. See P. Guglielmi's L'im- 
 presa d'opera. 
 
 II matrimonio per concorso. Dramma giocoso per musica da 
 
 rappresentarsi nel Regio Ducal Teatro di Milano nell autunno dell' 
 
 anno 1768 . . . 
 
 Milano, Giovanni Montani, n. d. 4 P- Z-, 51 p. 14 cm - 
 Three acts. Dedication, cast, and names of Gaetano Martinelli as the author, of 
 
 Niccolo Jommelli as the composer. 
 
 First performed at Ludwigsburg, Hoftheater, November 4, 1766 (the date 1744 is 
 
 very improbable). SCHATZ 4864 
 
 II matrimonio per concorso, ballet. See Pugnani's Achille in 
 Sciro. 
 
 II matrimonio per concorso, ballet. See Zingarelli's Ifigenia in 
 Aulide. 
 
 II matrimonio per contrattempo. Dramma giocoso per musica 
 da rappresentarsi in Livorno nel Nuovo Teatro detto dagli Armeni il 
 carnevale dell' anno 1785 . . . 
 
 Livorno, Antonio Lami e comp., n. d. 61 p. 14k cm - 
 Two acts. Author not mentioned and unknown to Schatz. Dedication by the 
 impresario, Giovanni Albertini, cast, and name of Angelo Tarchi as the composer. 
 With the opera were performed, composers of the music not mentioned, Giacomo 
 Gentili's ballets " Aci e Galatea " and "II tutore in scompiglio." SCHATZ 10237 
 
 II matrimonip per forza, intermezzo per musica, da rappresentarsi 
 nel Nuovo Regio Teatro di Potsdam . . . 
 Potsdam, C. F. Boss, 1748. 39 p. 16 cm . 
 
 Three parts. Cast. German title page, "Die erzwungene ehe," and text face 
 Italian. Author and composer not mentioned and unknown to Schatz. 
 
 First performed at Venice, Teatro di San Cassiano, fall of 1729. SCHATZ 11350 
 
 " H matrimonio per gratitudine, ballet. See Marinelli's L'interesse 
 gabba tutti. 
 
 II matrimonio per industria. Dramma giocoso per musica da 
 rappresentarsi nel no bile Teatro di Varese 1' autunno dell' anno 
 1793 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 60 p. 17 cm . 
 
 Two acts. Dedication by the author (??), Pietro Astolfi, cast, and name of Ferdi- 
 nando Rutini as the composer. With the opera were performed Eusebio Luzzi's 
 ballets "II cpnvitato di pietra" and "II geloso in cimento," the composers of the 
 music not being mentioned. 
 
 First performed at Florence as "II matrimonio per industria o sia II servo astuto," 
 Teatro via della Pergola, fall of 1792. SCHATZ 9184 
 
 II matrimonio per ingannp. Dramma giocoso per musica da rap- 
 presentarsi nel nobile magnifico Teatro delle Grazie di Vicenza nel 
 corrente mese di settembre 1780 . . . 
 Vicenza, n. publ., n. d. 55 p. 17 cm . 
 
 Last p. numbered incorrectly 41. Two acts. By Giovanni Bertati. Impresario's 
 dedication, cast, and name of Pasquale Anfoasi as composer, but not of librettist. 
 Original title of Bertati's libretto: "Le industrie amorose. 
 
 First performed at Paris, Academie royale de musique, on September 30, 1779, 
 but previously, according to our transcript of the score at the Paris Conservatoire 
 National at the Cocomero, Florence, spring of 1779. SCHATZ 244
 
 OPERA LIBRETTOS 743 
 
 II matrimonio per inganno Continued. 
 
 II matrimonio per iuganno. Dramma giocoso per musica da 
 
 rappresentarsi nel Piccolo Teatro di S. A. S. di Bninsvic-Luneburg. 
 
 Brunsvic, n. publ, 1782. 135 p. 16% cm . 
 
 Two acts. Name of Anfossi as composer. German title-page, "Die heyrath 
 durch betrug," and text face Italian. SCHATZ 245 
 
 II matrimonio per inganno. L. T. of Galuppi's II marchese vil- 
 lano. 
 
 II matrimonio per scomessa ossia La guerra aperta. Dramma 
 giocoso per musica di Filippo Casari da rappresentarsi nel nobile 
 Teatro di San Samuele 1'autunno dell' anno 1795. 
 Venezia, Casoli, 1795. 64 p. 18 cm . 
 
 Cast and name of Delia Maria as composer. SCHATZ 2494 
 
 B matrimonio segreto. Dramma per musica in due atti, da rap- 
 presentarsi nel Teatro Elettorale. 
 
 Dresda, n. publ., 1792. 127 p. 15 cm . 
 
 Two acts. With name of the composer, Domenico Cimarosa, but not of the author, 
 Giovanni Bertati. German title-page, "Die heimlich geschlossene ehe," and text 
 face Italian. 
 
 First performed at Dresden, October 3, 1792; at Vienna, Hoftheater n. d. Burg, 
 February 7, 1792. SCHATZ 1948 
 
 Matroco, drame burlesque. En quatre actes et en vers. M61ee 
 d'ariettes, et de vaudevilles; repre"sente devant Leurs Majeste"s, par 
 les Comediens italiens ordinaires du roi, en 1777. Et a Paris, par les 
 monies Come'diens le 4 fevrier 1778. Les paroles sont de M. Laujon 
 ... La musique de M. Gre"try. 
 
 Paris, Ruault, 1778. 42 p. 19. 
 
 Cast. 
 
 According to Schatz, the opera was first performed at Fontainebleau, November 12, 
 1777, and at Paris, Come'die italienne, February 23, 1778. ML 50.2.M465G7 
 
 . . . Die matrosen, ein schauspiel mit gesang in zwey aufzuegen. 
 n. i., n. d. [97]-160 p. 15 cm . 
 
 Detached copy. Schatz attributes text and music to Ernst Karl Ludwig Ysenburg 
 von Buri. SCHATZ 1423 
 
 First performed at Neuwied, Hoftheater, 1778. 
 
 Matthatia, der eiferer fuer Gottes ehre, ein singspiel in zween 
 aufzuegen, aufgefuehret von der studirenden jugend des katholischen 
 schulhauses zu Augsburg bey St. Salvator den 4. 5. und 6ten herbst- 
 monder [Sept.] 1797. 
 
 [Augsburg], Joseph Anton Hueber, n. d. [10] p. 18 cm . 
 
 Cast and "Vorbericht," mentioning Matthaus Fischer as composer. At head of 
 title: " Der glueckliche vater, ein buergerlichee schauspiel . . . und" 
 
 SCHATZ 3223 
 
 I matti gloriosi. Intermezzo giocoso in musica da rappresentarsi 
 nel nobil Teatro Tron di San Cassiano il carnovale dell' anno 
 MDCCLXXXIII. 
 
 Venezia, Modesto Fenzo, 1783. 40 p. 17 cm . 
 
 Two acts. Author unknown to Schatz. Cast, scenario, and name of the com- 
 poser, Angelp Gagni. After the first act Gaspero Burchi's ballet "I divertimenti 
 dei Calabresi," after the second Leopoldo Campilli's ballet "II divertimento de' 
 Quaqueri nella China." The composers of the music are not mentioned. 
 
 SCHATZ 3412
 
 744 LIBRARY OF CONGRESS 
 
 Li matti per a more. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro Grimani di S. Samuel 1'autunno dell' anno 1754 . . . 
 
 Venezia, Modesto Fenzo, 1754- 60 p. 15. 
 
 Three acts. Dedication, cast, scenario, and name of Gioacchino Cocchi as com- 
 poser. The libretto, according to Schatz, is a later version of Gennaro Antonio Fede- 
 rico's "Amor vuol eofferenza. SCHATZ 2035 
 
 - Li matti per amore. Dramma giocoso per musica da rappre- 
 sentarsi nel Regio Theatre di Berlino per ordine di Sua Maesta prus- 
 siana. 
 
 Berlino, Haude e Spener, 1764. 91, [3] p. 17 Y m - 
 Three acts. Cocchi is mentioned as the composer. German title-page, ' ' Die narren 
 fur liebe," and text face Italian. The first ballet of the three performed with the 
 opera in January, 1764, was called "Le bien et le mal tire" des contes de la Fontaine." 
 
 SCHATZ 2036 
 
 II matto Don Narciso. L. T. of Jommelli's L'uccellatrice. 
 
 II Mauritio. Drama da rappresentarsi in musica nel famoso Teatro 
 Vendramino di S. Salvatore 1'anno 1687. Ristampata con nuove 
 aggiunte . . . 
 
 Venetia, Francesco Nicolini, 1687. 69 p. (incl. front.). 14\ cm . 
 
 Three acts. By Adriano Morselli, who is not mentioned. Impresario's dedication 
 dated Venice, December 25, 1686, notice to the reader with name of Domenico 
 Gabriel! as composer, argument, and scenario. SCHATZ 3399 
 
 II Maurizio, drama da rappresentarsi in musica nel Teatro dell' 
 illustriss. Sign. Co. e Cav. Giuseppe Secco Svardo . . . 
 
 Bergamo, lifratelli Rossi, 1689. 72 p. 13. 
 
 Three acts. Dedication by Giacomo Cipriotti, dated Bergamo, January 12, 1689, 
 "istoria," scenario. Neither the author is mentioned, nor the composer, but com- 
 parison showed that this is Morselli's text as composed by Gabrieli. 
 
 ML 50.2.M47G2 
 
 Le mauvais plaisant ou Le drole de corps, opera-comique, en un 
 acte, par M. Vade, represent 6 pour la premiere fois sur le Theatre de 
 1'Opera-comique de la Foire S. Laurent, le mercredi 17 aout 1757. 
 
 Paris, Duchesne, 1757. 60, [4] p. 19% cm . 
 
 On the [4] p. a list of plays published since 1747. 
 
 Cast. Prose and en vaudevilles. Composer unknown to me. On p. 57-60 the 
 same airs as below. ML 50.2.M48 
 
 Le mauvais plaisant, ou Le drole de corps, opera-comique. En un 
 acte, par M. Vade". Represent^ pour la premiere fois sur le Theatre 
 de I'OpSra-comique de la Foire S. Laurent le mercredi 17 aout 1757. 
 
 La Haye, Pierre Gosse junior, 1759. 63 p. 16 cm . (Vade, Oeuvres, 
 La Haye, 1759, t. iv.) 
 
 One act, largely en vaudevilles. Cast. On p. 60-63, the airs notes, "Oui oui, vous 
 le pouvez," "Daigne's done m'apprendre," "Je vous aime: prononcez de mme." 
 
 ML 49.A2V2 
 
 - Le mauvais plaisant, ou Le drole de corps, opera-comique en un 
 acte, represente pour la premiere fois sur le Theatre de I'Op^ra- 
 comique de la Foire S. Laurent, le mercredi 17 aout 1757. 
 
 Paris, la veuve Duchesne, 1766. 60 p. 19 cm . 
 
 On p. 57-60, the "airs," "Oui, oui, vous le pouvez," "Daignez done m'apprendre." 
 
 SCHATZ 11500
 
 OPERA LIBRETTOS 745 
 
 May-day: or, The little gipsy. A musical farce of one act. To 
 which is added The theatrical candidates. A musical prelude. As 
 they are both performed at the Theatre-Royal, in Drury-Lane. 
 
 London, T. Becket, 1775. 4 p. I, 40 p. 18\ cm - 
 
 One act each. Caste. "The theatrical candidates" on p. [31J-40. Both pieces by 
 David Garrick, who is not mentioned. He says of "May-day, in a prefatory note, 
 that 
 
 "it was merely intended to introduce the Little Gipsy [Miss Abrams] to the public, 
 whose youth and total inexperience of the stage, made it necessary to give as little 
 dialogue to her character as possible, her success depending wholly upon her 
 singing ..." 
 
 The half title of the other piece, on p. [31], reads: "Upon the opening and altera- 
 tions of the theatre," Drury-Lane [Sept. 23, 1775], where "May-Day" was first 
 performed on August 28, 1775 (Cummings); October 28 (Schatz). "May Day" was 
 composed by Thomas Augustine Arne, "The theatrical candidates" by William 
 Bates, neither of whom is mentioned. LONGE 78 
 
 -May-day; or The little gipsy. A musical farce, of one act. By 
 David Garrick, Esq. 
 
 [137]-157 p. 19 cm . (Collection of the most esteemed farces and 
 entertainments, t. vi, Edinburgh, 1792.} 
 
 Drury-Lane cast. SCHATZ 11753 
 
 Mazet, comedie en deux actes en vers, m16es d'ariettes, par Mr. 
 Anseaume. Representee pour la premiere fois par les Come'diens 
 italiens ordinaires du roi, le jeudi 24 septembre 1761. La musique 
 est de M. Duny. 
 
 BruxeUes, Pierre Paupie, 1763. fl p. 19 cm . . ML 50.2.M48D9 
 
 Mazet, come'die en deux actes et en vers, mlee d'ariettes. Par 
 M. Anseaume. Representee pour la premiere fois par les Com^diens 
 italiens ordinaires du Roi, le jeudi 24 Septembre mil sept soixante-un. 
 
 Paris, Par la compagnie des Itibraires, 1769. 4$ P- 19 cm . 
 
 The composer, Duni, is not mentioned. SCHATZ 2847 
 
 Mazet, come'die en deux actes, en vers, melee d'ariettes, par Mr. 
 Anseaume. La musique est de Mr. Duny. 
 
 Paris, la veuve Duchesne, 1771. 4$) 4 P- 
 
 Cast. The last 4 p. contain the ariette, "Avec un Turc, un corsaire " (I, 4). 
 
 SCHATZ 11696 
 
 Le mbroglie de le bajasse. O. T. of Paisiello's La serva fatta 
 padrona. 
 
 Medea. Ein drama mit musicalischen accompagnements, vom hrn. 
 legations-secretair Gotter. Die musik ist vom hrn. capelldirektor 
 Benda. 
 
 Hamburg, n. pull., 1776. 16 p. 16 cm . 
 
 One act. 
 
 First performed at Hamburg, Theater b. Gansemarkt, December 10, 1776; at 
 Leipzig, Theater beim Rannstaedter Thore, May 1, 1775. SCHATZ 774 
 
 Medea. Ein musikalisches drama von herrn Gotter. Die 
 musik ist von herrn Georg Benda. 
 
 n. i., T?. d. [51]-74 p. l^\ cm . 
 
 Detached copy of no. Ill of "Melodramen," pub. by Joseph Johann Morgensaeuler, 
 Pilsen und Klattau, 1791, as appears from our copy of Benda 's "Pygmalion." 
 
 SCHATZ 774a
 
 746 LIBRARY OF CONGRESS 
 
 Medea e Giasone. Drama per musica da rappresentarsi nel Teatro 
 di Sant' Angelo nel carnovale dell' anno 1726. 
 Venezia, Marino Rossetti, 1726. 48 p. 16 cm . 
 
 In three acts, by Giovanni Palazzi (not mentioned). Argument, cast, and name 
 of the composer, Giovanni Francesco Brusa. 
 
 First performed December 26, 1726 (Schatz). SCHATZ 1374 
 
 Medea e Giasone Med6e et Jason, ballet. See Jommelli's La 
 Didone abbandonata. 
 
 Medea in Atene. Drama per musica ristampata con nuove 
 aggiunte per il Teatro novissimp in S. Angelo. L'anno MDCLXXVIII. 
 Di Aurelio Aureli. Opera decima ottava . . . 
 Venetia, Francesco Nicolini, 1678. 59 p. 14 cm . 
 
 Prologue and three acts. Dedication by Francesco Santorini, dated December 30, 
 1677 ; argument, scenario. Antonio Zannettini, the composer, is not mentioned. 
 First performed at Venice, Teatro di S. Moise, fall of 1675. SCHATZ 11144 
 
 - Teseo in Atene. Drama rappresentato in musica nel novissimo 
 Teatro Ducale di Parma . . . roesia di Aurelio Aureli. 
 Parma, Stamperia Ducale, 1688. 85 p. 16 cm . 
 
 Three acts. Dedication by Giuseppe Calvi, argument, scenario, and Aureli's 
 notice to the reader, in which he says: 
 
 "Fu questo drama con titolo di Medea in Atene rappresentato gi& 12 anni in Venetia 
 [1675] ... E se ben variato di titolo, non cangia pero la sua essenza primiera, benche 
 con aggiungervi il novo personaggio della Vecchia 1'abbia aricchito d'alquante nove 
 ariette poste miralbilmente in musica dalla virtu del Sig. D. Bernardo Sabadini . . . 
 Vieni ad ascoltar il drama se brami d'udire una delle pill armoniose, e bizarre musiche, 
 ch'abbia giamai composta il Sig. Gio. Antonio Gianettini [Zannettini] ..." 
 
 This version of "Medea in Atene " does not begin with the prologue of 1678, or even 
 with the first scene in that edition. It begins with " Vincesti amico, e di tua spada," 
 which is not in the 167 version, and the first scene in this, "E svanita dal mio core," 
 is now the third scene. There are many other minor differences of a similar nature 
 between the two texts. SCHATZ 11143 
 
 Medea riconosciuta. L. T. of Vinci's Medo. 
 
 Medea und Jason. Tr. T. of the ballet Mede"e et Jason. 
 
 Medea und Jason, ballet. See Bach's Temistocle. 
 
 Le medecin de 1'amour, opera-comique. En un acte; par M. An- 
 seaume, mis en musique par M. La Ruette; represente pour la pre- 
 miere fois sur le Theatre de la Foire St. Laurent, le 22 septembre 
 1758 . . . 
 Paris, N. B. Duchesne, 1758. 64 p. 20 cm . 
 
 Cast and footnote on p. 2 that scene 6 and the canevas of scenes 7 and 8 were by 
 Marcouville. On p. 60-64 the airs "Accourez, garcons joyeux" (I, 8), "O'est bien 
 dit compere" (I, 8), "Le mariage oil 1'on m'engage" (I, 9), "Vous jaloux, que viens- 
 je" (I, 9), "Deviez voua m'eclaircir" (I, 9). Of the twelve "Ariettes not^es," 
 which one might expect, none is giv%n. SCHATZ 5438 
 
 Le medecin de 1'amour, opera-comique en un acte en vers, remis 
 en musique par M. Van Maldere. 
 
 Bruxelles, J. J. Boucherie, 1766. 46, [1] p. 19 cm . 
 
 Cast. The authors, Anseaume and de Marcouville, are not mentioned. 
 
 First performed at Brussels, Theatre de la Monnaie, 1766. SCHATZ 5867
 
 OPERA LIBRETTOS 747 
 
 Medee, tragedie. En musique. Represent ee par 1' Academic royalle 
 de musique. Suivant la copie imprimee a Pans. 
 
 Amsterdam, Antoine Schelte, 1695. 69 p. (incl. front.). 13 cm . 
 
 Prologue and five acts. Neither the author, Thomas Corneille, is mentioned, nor 
 the composer, Marc' Antoine Charpentier. 
 
 First performed, as indicated, December 4, 1693. ML 50.2.M5C2 
 
 - Medee, tragedie represented par 1' Academic royale de musique 
 1'an 1694. Les paroles de M. T. Corneille, & la musique de M? Char- 
 pentier. XXXI. opera. 
 
 n. i., n. d. front., 345-420 p. 14 cm - (Recueil general des opera, 
 Paris, 1703, t. iv.) 
 
 Detached copy. Five acts with prologue. SCHATZ 1801 
 
 Second copy. ML 48. R4 
 
 Medee, tragedie en trois actes, en vers. paroles de Hoffmann, musique 
 de Cherubini. Representee sur le Theatre Feydeau, le 23 ventdse 
 [March 13]. 
 Paris, Huet, an v e . 1797. 2 p. 1., 48 p. 21\. 
 
 Cast. ML 50.2.M5C3 
 
 Medee et Jason. Tr. T. of the ballet Medea e Giasone. 
 
 Medee et Jason Medea und Jason, ballet. See Bernasconi's 
 Demetrio. 
 
 Medee et Jason, tragedie repre'sentee par 1' Academic royale de 
 musique 1'an 1713. Les paroles de M. la Rocque & la musique de 
 M. Salomon. LXXXI. opera. 
 
 n. i., n. d. pi., 545-609, [3] p. 14 cm > (Recueil general des opera, 
 t. x, Paris, 1714.} 
 
 Detached copy. Prologue and five acts with cast. Schatz mentions as joint-author 
 Simon Joseph de Pellegrin. His reasons do not appear. Parfaict attributes the text 
 to abb6 de Pellegrin "sous le nom de la Rogue and he is also mentioned as the 
 author in the Anecdotes drama tiques. It is safer to follow the libretto, as Antoine 
 de la Roque was not a fictitious person but a well-known litterateur. 
 
 First performed, as indicated, April 24, 1713. SCHATZ 9343 
 
 Second copy. ML 48. R4 
 
 Medee et Jason. Represente pour la premiere fois par les 
 Come'diens italiens ordinaires du roi, le 28 may 1727. 
 
 Les parodies du Nouveau theatre italien, Nouv. ed., Paris, 1738, t. Hi, 
 [2191-266 p. 16$ cm . 
 
 One act. Parody of the opera "Mede'e et Jason" by Dominique, Lelio fils and 
 Romagnesi (see t. I.) The airs and vaudeville are printed at the end in the "Table 
 des airs" (84 p.). ML 48.P3 
 
 II medico parigino o sia L'amaloto per amore. Dramma gipcoso 
 per musica da rappresentarsi nel nobilissimo Teatro della nobil JDonna 
 Tron Veronese in San Cassiano il carnovale dd!ll' anno 1792. 
 Venezia, Modesto Fenzo, 1791. 56 p. 17\ cm . 
 
 Two acts. Cast, scenario, and name of Gennaro Astaritta as composer, but not 
 of librettist. According to Schatz this is a later version, of Giuseppe Palomba's text, 
 "Le nozze in commedia." SCHATZ 374
 
 748 LIBRAEY OF CONGRESS 
 
 Medo. Dramma per musica da rappresentarsi nel Regio Teatro di 
 Torino, nel carnovale del 1753 . . . 
 
 Torino, Pietro Giuseppe Zappata ejigliuolo, 1753. 4 P- li 56> W P- 
 
 Three acts. Cast, scenario, and name of composer, Girolamo Abos. Libretto 
 attributed by Schatz to Carlo Innocenzio Frugoni. With the opera were performed 
 three ballets, music by Amedeo Rasetti and Rocco Gioannetti. SCHATZ 10 
 
 Medo. Dramma per musica di Comante Eginetico Past-ore Arcade 
 da rappresentarsi nel Nuovo Ducal Teatro di Parma la primavera 
 dell' anno 1728 ... 
 
 Parma, gl'eredi di Paolo Monti, 1728. 80 p. 17 cm . 
 
 Three acts. By Carlo Innocenzio Frugoni. Dedication, dedicatory sonnet by 
 Frugoni to the princess Enrichetta d'Este, argument, scenario, cast, and name of 
 Leonardo Vinci as the composer. SCHATZ 10748 
 
 Medea riconosciuta. Da cantarsi nel Teatro privilegiato da 
 S. M. C. e Cat. in Vienna nelT anno MDCCXXXV. Nel mese di 
 decembre. Die wieder erkannte Medea . . . 
 
 Wien, Johann Peter v. Ghelen, n. d. Ill p. 16 cm . 
 
 Three acts (though not so designated) and two intermezzi with "Macrina" and 
 "Carfoglio" as the main characters. Argument. German text faces Italian, which 
 is Frugoiii's "Medo," but with alterations. For instance, "Tu del mio regno sei" 
 has been dropped from I, 3, and ' ' Dal tuo gentil sembiante " has been added to I, 4. 
 
 The composer, Leonardo Vinci, is not mentioned. SCHATZ 10753 
 
 Medonte. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1778 alia presenza delle Maesta Loro. 
 Torino, Onorato Berossi, n. d. viii, 56 p. 15% cm . 
 
 Three acts, with argument, cast, scenario, and name of composer, Ferd. Giuseppe 
 Bertoni, but not of the librettist, Giovanni de Gamerra. On p. 53-56, description of 
 the ballet, "La liberazione di Lilla," in four acts, by Domenico Ricciardi; music by 
 Vittorio Amedeo Canayasso. 
 
 First performed, as indicated, December 26, 1777. SCHATZ 923 
 
 Medonte, ballet. See Cavi's La prepotenza delusa. 
 
 Medonte. Dramma per musica da rappresentarsi nel Real Teatro 
 di S. Carlo nel di 30. maggio 1779 festeggiandosi il glorioso nome di 
 Ferdinando IV ... 
 
 Napoli, Vincenzo Flauto, 1779. 60 p. 16 cm . 
 
 Three acts. By Giovanni de Gamerra, who is not mentioned. Impresario's dedi- 
 cation, dated May 30, 1779, argument, cast, scenario, and name of Giacomo Insan- 
 guine as the composer. With the opera were performed, composers of the music not 
 mentioned, Carlo Lepicq's ballet, "Orfeo sul Monte Rodope, and Gaetano Mariot- 
 tini's ballet "L'incostanza degli amanti." SCHATZ 4836 
 
 Medonte, ballet. See Salari's L'amore rammingo. 
 
 Medonte. Dramma per musica da rappresentarsi nel Real Teatro 
 di S. Carlo nel di 30 maggio 1783 festeggiandosi il glorioso nome di 
 Ferdinando IV . . . 
 
 Napoli, Vincenzo Flauto, 1783. 71 p. 15 cm . 
 
 Three acts. By Giovanni de Gamerra, who is not mentioned. Dedication, with 
 same date as in title, argument, scenario, name of Giuseppe Sarti as the composer, 
 and note: 
 
 "L'arie segnate di asterisco ['Sento al cor la dolce fiamma' (I, 2), 'Prendi 1'estremo 
 addio' (I, 6), etc.] sono state presentate per la musica, e per la ppesia da' cantanti
 
 OPERA LIBRETTOS 749 
 
 Medonte Continu ed . 
 
 istessi. I due irregolari versi di carattere corsivo nel rond6 ['Son pur fiere le mie 
 pene,' etc.] non si eon corretti, per npn fame perder la musica." 
 
 On p. 10-15, argument, cast, description, and name of Mattia Stabingher as the com- 
 poser of the music ("tutta nuova") of Gio. Antonio Cianfanelli's "II trionfo di Ales- 
 sandro o sia La disfatta di Dario, ballo eroico in quattro atti, ' ' and on p. 16-17, argument 
 and name of Giovanni Francesco Giuliani as composer of the music ("tutta nuova") 
 of Giuseppe Trafieri's "II fido amante, ballo pastorale." 
 
 First performed at Florence, Teatro della Pergola, September 13, 1777, with the 
 title, "Medonte, re di Epiro." SCHATZ 9447 
 
 Medonte, re d'Epiro. O. T. of libretto of Mortellari's Arsace. 
 
 Medonte re di Epiro. Dramma per musica da rappresentarsi nel 
 Teatro alia Scala il carnevale 1790 . . . 
 
 Milano, Gio. Batista BiancJii, n. d. 70 p. 16 cm . 
 
 Three acts. By Giovanni de Gamerra, who is not mentioned. Impresario's dedi- 
 cation, dated Milan, January 30, 1790, argument, cast, scenario, and name of Antonio 
 Pio as the composer. 
 
 With the opera were performed Francesco Clerico's comic ballet, "II convales- 
 cente innamorato," and his five-act "La cadutadi Troja, ballo tragico pan tomimo," 
 of which a description with prefatory note and argument appears on p. [61]-70. 
 
 The composers of the music are not mentioned. SCHATZ 8187 
 
 Medonte re di Epiro. Dramma per musica da rappresentarsi nel 
 nobilissimo Teatro di S. Benedetto il carnovale dell' anno 1778. 
 Venezia, Modesto Fenzo, 1778. 60 p. 17 cm . 
 
 Three acts. By Giovanni de Gamerra, who is not mentioned. Argument, cast, 
 scenario, and name of Giuseppe Radicchj. On p. [251-34, argument, cast, and descrip- 
 tion (without name of the composer of the music) of Giuseppe Canziani'a "L'arrivo di 
 Venere nell' isola di Cipro, ballo eroico pantomime. " SCHATZ 8539 
 
 Medonte, re di Epiro. O. T. of Sarti's Medonte. 
 
 II Medoro d'Andrea Salvadori. Rappresentato in musica nel palazzo 
 del Serenissimo G. Duca di Toscana in Fiorenza. Per la elezione all' 
 imperio della Sacra Cesarea Maesta dell' imperatore Ferdinando 
 Secondo . . . 
 
 Fiorenza, Pietro CecconceUi, 1623. 4 p. I, 46 p. 19% cm . 
 
 Three acts. Introductory poem, argument, and dedication to Ferdinando Gon- 
 zaga, duke of Mantova, of date Florence, January 1, 1623, in which Salvadori says: 
 
 "II Medoro (Serenissimo Signore) ricorde vole dell' onore al quale 1'aveva destmato 
 V. A. all' ora che nel felicissimo maritaggio della Sacra Cesarea Maesta dell' impera- 
 trice Sua sorella, ella lo volse far degno d'esser rappresentato in Mantova; poiche per 
 la subita partita di quella Maesta in Germania, egli non pote conseguire cosi segnalata 
 grazia, si contentava piii tosto di starsi celato appresso il suo autore, che comparire 
 in luce con minor yentura. Ora sentendo io, che^ssendp stata trascritta una parte 
 di esso, e divulgata in vari luoghi, cprreva non solamente risico di esser rappresentatp, 
 ma dato ancora alle stampe molto diverse da quello, che era appreeso di me\ h6 giudi- 
 cato ben fatto, che egli con publica comparsa, qualunque egli si sia, venga a rasseg- 
 narsi a V. A. per Suo. Ella lo vedra molto vario da quello, che la prima volta ru 
 veduto in scena, e se potra parer povero ne miei versi, la veste della musica, onde 
 1'ha nuovamente arrichito il Sig. Marco da Gagliano, lo rendera appresso di Lei, e 
 riguardevole, e grato . . ." 
 
 From thie dedication it becomes evident, as Solerti correctly remarks, that the 
 performance of 1622 at Mantova, recorded by Vogel, did not take place. Vogel (see 
 his biography of Marco da Gagliano) did not know this edition of the libretto and 
 based his remarks on letters written by Marco da Gagliano to the duchess of Mantova 
 January 31 and February 7, 1622, to the effect that he was sending her the desired 
 transcript of his score. Before Vogel discovered these letters, it was not known that 
 Marco aa Gagliano was the composer of "II Medoro," first performed 1619 for the 
 festivities mentioned in the title of the opera and alluded to in the dedication and 
 more specifically, as Solerti has found from contemporary documents, on September
 
 750 LIBBABY OF CONGBESS 
 
 II Me dor o Continued. 
 
 25, 1619. (An undated libretto for these performances exists, but it does not mention 
 any composer.) From this document may be gleaned another fact not known to 
 Vogel, Wotquenne, Schatz, etc., namely, that Jacopo Peri composed part of the 
 original music. To quote the passus in Tinghi's "Diario," as excerptea by Solerti 
 in his "Musica, ballo e drammatica all a Corte Medicea dal 1600 al 1637 " : 
 
 "Etadl25 detto [settembre] S. A. . . . avendo alii passati giorni 1'allegrezza della 
 creazione del nuovo imperatore, et per ci6 ordin6 si facesse una festa per recitarsi in 
 
 uisa di cpmedia cantata in musica, et sendo detta opera all' ordine et ordinato in 
 etto di si recitasse nel palazzo de' Pitti nella sala grande de' forestieri, dove era 
 fatto una prospettiva in forma di selve et boschi con finte finte [sic], la qualo opera 
 era nominata Lo sposalizio di Medoro et Angelica, recitata et cantata tutta in musica; 
 fatta 1'opera da Andrea Salvadori, poeta, et la musica fatta parte da Messer Marco da 
 Galliano, maestro di cappella, et da Jacopo Peri, et vi cant6 molte donne et castrati 
 et tutti i musici di S. A. in diversi abiti ..." 
 
 Which parts were composed by Peri, and which by Marco da Gagliano is not 
 known, since no score appears to be extant, or, at any rate, the score has not yet 
 been found. Apparently Peri's share was not large and, so to say, not worth men- 
 tioning later on, even if Marco da Gagliano retained it in 1622. From Marco da 
 Gagliano's letters to the duchess of Mantova we know at least that, at thj3 suggestion 
 of Salvadori, he changed the choruses in order not to make the opera "troppo grave " 
 for the contemplated revival at Mantova. ML 48.M2F 
 
 II Medoro. Drama per musica di Aurelio Aureli nel Teatro a SS. 
 Gio. e Paolo. Favola quarta . . . 
 
 Venetia, Francesco Nicolini, 1658. front., 80 p. 13\ cm . 
 
 Three acts and prologue. Dedication by the impresario, Francesco Piva, dated 
 Venice, January 11, 1658, argument, scenario, and notice to the reader wath name of 
 Francesco Luccio as composer. SCHATZ 5744 
 
 Medus, roy des Medes, tragedie represent ee par 1'Acade'mie royale 
 de musique 1'an 1702. Les paroles de M. de la Grange & la musique 
 de M. Bouvard. LV. opera. 
 
 n. I., n. d. front., p. 345-390. 14 cm - (Recueil general des opera, 
 Paris, 1703, t. vii.} 
 
 Detached copy. Prologue and five acts. 
 
 First performed, as indicated, July 23, 1702. SCHATZ 1274 
 
 Second copy. ML 48. R4 
 
 Meduse. Tragedie, represented par F Academic royale de musique 
 Tan 1697. Les paroles sont de M.Tioyer & la musique de M. Gervais. 
 XXXX. opera. 
 
 n. i., n. d. front., p. 415-468. (Recueil general des opera, t. v, Paris, 
 1703.} 14. 
 
 Detached copy. Five acts and prologue. 
 
 First performed, as indicated, January 13, 1697. SCHATZ 3792 
 
 Second copy. ML 48. R4 
 
 Mehr als grosmuth ! Schauspiel mit gesang. Aufgefuhrt von der 
 Dobbelinschen gesellschaft in Berlin den 24 sten Janner 1781. 
 
 Berlin, Arnold Wever, 1782. 24 p. 17. 
 
 One act. Prefatory note. Neither composer, Johann Andrfi, nor author men- 
 tioned in the libretto. The author is unknown to Schatz. SCHATZ 189 
 
 De meid meesteres. A. T. of Pergolesi's Pandolfus en Zerbina. 
 La melancholique. Entree in Mouret's Les Graces.
 
 OPERA LIBRETTOS 751 
 
 Meleagre, tragedie repre"sentee par 1'Academie royale de musique 
 Tan 1709. Les paroles de M. Jolly & la musique de M. Batistin. 
 LXXIII. opera. 
 
 n. i., n. d. pi., 62 p. 14 cm - (Recueil general des opera, t. x, Paris, 
 
 1714-} 
 
 Detached copy. Prologue and five acts. In his "avertissement," Antoine Fran- 
 cois Jolly enumerates the sometimes radical changes made by him in his text since 
 the performances of the piece. For instance, he says: 
 
 "Pour e"tablir done les caracteres des principaux personnages, & leurs differents 
 interets, & sur tout ceux de Plexippe, qui n'etoient point assez marquez, & qui est le 
 personnage le plus essentiel de la piece puis qu'il en fait le noeud & le de'noument; 
 j'ay fait un premier acte avec un nouveau divertissement. 
 
 "Du premier acte j' en ay compose le second . . . Le troisieme acte est entiere- 
 ment chang6 au divertissement pres qui est le me"me . . . Dans le quatrieme acte 
 les deux premieres scenes sont change'es ... A 1'^gard du cinquieme acte, la 
 premiere scene est beaucoup plus 6tendue ..." 
 
 He concludes by saying: 
 
 "Cet ouvrage que j'ose appeller nouveau, puisqu'il n'a conserve" que le texte & 
 les vers." 
 
 Jean Batistin Stuck's score was printed before these radical alterations took place, 
 and a comparison between the score and the revised libretto is very confusing. 
 
 First performed May 24, 1709, as indicated. SCHATZ 10124 
 
 Second copy. ML 48 R4 
 
 Meleagro. Drama per musica da rappresentarsi nel Teatro di Sant' 
 Angelo il carnovale dell' anno MDCCXVIII. 
 Venezia, Marino Rossetti, 1718. 1+5 p. I5\ cm . 
 
 Three acts. Argument, cast, scenario. Neither the author, Pier Antonio Ber- 
 nardoni, is mentioned, nor the composer, Tommaso Albinoni. SCHATZ 122 
 
 II Meleagro, ballet. See Sarti's Mitridate a Sinope. 
 
 II Meleagro. Drama pastorale da rappresentarsi nel Teatro dell' 
 111 1 ?* Accademia . . . 
 Brescia, Gio. Maria Rizzardi, 1710. 52 p. 15 cm . 
 
 Three acts. By Pietro Antonio Bernardoni, who is not mentioned. Dedication 
 and notice to the reader as argument. Marc' Antonio Ziani, the composer, is not 
 mentioned . 
 
 First performed at Vienna, Burgtheater, July 26, 1706. SCHATZ 11202 
 
 Meleagro. Dramma per musica da rappresentarsi nel Teatro alia 
 Scala il carnevale dell' anno 1798, v. s., correndo 1'anno VI. repub- 
 blicano. 
 
 Milano, Gio. Batista Bianchi, n. d. 4$, \7] P- 16% cm . 
 
 Three acts. Author not mentioned, and unknown to Schatz. Argument, cast, 
 scenario, and name of Nicola Antonio Zingarelli as the composer. The seven 
 unnumb. pages contain the description of Filippo Beretti's "L'ltalia rigenerata, 
 ballo eroico pantomimo in quattro atti." His second ballet was called "Ilrecluta- 
 mento nel villaggio . ' ' The composers of the music are not mentioned . 
 
 First performed, as indicated, in January, 1798. SCHATZ 11254 
 
 Melide, oder Der schiffer. Tr. of Philidor's Melide ou Le navigateur. 
 
 Melide, ou Le navigateur, comedie en deux actes et en vers, mele'e 
 d'ariettes, la musique est de Mr. Philidor. 
 Paris, Chez les Libaires [/] associes, 1774. $ P- 18\ cm . 
 
 By Charles Georges Fenouillot de Falbaire de Quingey; arranged by de Relly 
 (Schatz). On p. 6-9, the air of "Tu ne scais pas beaut6." 
 
 Date of first performance not mentioned by Wotquenne, but, according to Schatz, 
 the opera was first performed at Fontainebleau Octobre 30, 1773, as "Le'mire et M61ide, 
 ou Les fausses infidelite's." SCHATZ 8033
 
 752 LIBBABY OF CONGKESS 
 
 Melide, ou Le navigateur Continued. 
 
 Melide oder Der schiffer. Ein lustspiel mit gesang in zwey auf- 
 zuegen; in musik gesetzt von A. D. Philidor, und fiir die Seylerische 
 schaubuehne, aus dem franzoesischen uebersetzt, von Grossmann 
 und Neefe. 
 
 Frankfurt, n. publ., 1778. 46 p. 16$ cm . 
 
 On p. 3-6, a preface by the translators, in which they point to the growing favor 
 of "Operetten" with the German public, comment on the difficulty of translating 
 French librettos into German, and say: 
 
 "Wenn eich der reim nicht von selbst darbot, haben wir ihn auch nicht angstlich 
 gesucht, und ueberhaupt mehr frey als woertlich, mehr musikalisch brauchbar, als 
 poetisch schoen uebersetzen wollen. 
 
 "Die gedruckte musik, welche wir bald zu liefern denken, ist ein auszug der sing- 
 stimmen, den man zum gebrauch fuer die theater-direktoren, fuer den klavier-akkom- 
 pagnisten, die saenger und saengerinnen beym einlernen, und fuer die liebhaber, die 
 dieses und jenes lied zu hause nachsingen wollen, bequem genug finden soil . . .'' 
 
 SCHATZ 8034 
 
 Arien und gesaenge aus Melide, oder Der schiffer, eine ernsthafte 
 oper, in zwey akten, aus dem franzoesischen uebersetzt, mit beybe- 
 haltung der original-musik des herrn Philidor, von Johann Heinrich 
 Faber. Aufs neue verbessert von Christian Gottfried Thomas. 
 
 Riga, Gottlob Christian Froelich, n. d. 15 p. 16 cm . 
 
 First performed at Riga, Vietinghoff'sches Theater i. d. Konigsstrasse, 16/27, 
 November, 1786. SCHATZ 8035 
 
 Melidore et Phrosine, drame lyrique en trois actes, paroles du 
 citoyen Arnault, musique du citoyen M6hul. Repr6sente, pour la 
 premiere fois, sur le Theatre lyrique de la rue Favart, le 17 Germinal, 
 ran second de la Re"publique [April 6, 1794]. 
 
 Paris, Maradan, An second de la Republique [1794]. 2 p. 1., 52 p. 
 21 % cm . 
 
 Cast. SCHATZ 6277 
 
 Melinda. Favola romanzesca in musica di Giovanni Bertati . . . 
 da rappresentarsi nel nobilissimo Teatro Venier in San Benedetto 
 I'autunno dell' anno 1798. 
 
 Venezia, Modesto Fenzo, 1798. 64 p. 18 cm . 
 
 Two acts. Cast, scenario, and name of Sebastiano Nasolini as the composer 
 ("musica tutta nuova"). On p. 64 a note to the effect that the score contains arias 
 and verses not to be found in the libretto : 
 
 "cio accade per la circostanza, a cui per il meglio si & creduto di doversi adattare, 
 onde facilitare il compimento della musica, dopo che il libretto medesimo era gisi 
 etato riveduto, e licenziato." 
 
 On p. [33J-40 argument, cast, and description of Giovanni Monticini's "Abdu- 
 ramel, Dallo tragico eroico pantomimo di cinque atti," music ("tutta nuova") by 
 Giuseppe Nucci. SCHATZ 7022 
 
 Melinda e Tiburzio. O. T. of Orlandini's La donna nobile. 
 
 Melissa schernita. Intermezzo. See Orefici and Mancini's L' 
 Engelberta. 
 
 La melomanie, comedie en yers et en un acte, m616e d'ariettes. 
 Poeme de M. * * *. Musique de M. S. Champein. Nouvelle 
 Edition. 
 
 Toulon, Mallard, 1787. 31 p. 20. 
 
 Cast. Text by Grenier. 
 
 First performed at Versailles, January 23, 1781; at Paris, Theatre italien, January 
 29, 1781. ML 50.2.M52C4
 
 OPEBA LIBRETTOS 753 
 
 Melpomene et Linus. Entree in Quinault's Les amours des 
 Deesses. 
 
 Das menschliche leben wie ein traum. A. T. of Conradi's Der 
 koenigliche printz aus Polilen, Sigismundus. 
 
 II Meraspe. A. T. of Pallavicino's II tiranno humiliato. 
 
 II mercato d'Amacari Danase, ballet. See Boroni's Le orfane 
 svizzere. 
 
 n mercato di Malmantile. Dramma di tre atti in versi. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 44) 
 [12S\-181 p. 18 cm . 
 
 For first composer see below. PQ 
 
 II mercato di Malmantile. Dramma giocoso per musica di Polis- 
 seno Fegejo [Carlo Goldonil Pastor Arcade da rappresentarsi nel 
 Teatro Grimani di S. Samuele il carnovale dell' anno 1758. 
 
 Venezia, Modesto Fenzo, 1758. 58 p. 14% cm . 
 
 Cast, scenario, and name of Domenico Fischietti as composer. SCHATZ 3231 
 
 - II mercato di Malmantile. Dramma giocoso per musica, di 
 Pplisseno Fegeio, P. A. da rappresentarsi nel Piccolo Teatro di S. A. E. 
 di Sassonia. Dresda, nel carnevale del 1766. 
 
 n. i., n. d. 143 p. 15 cm . 
 
 Cast, scenario, name of the translator, H. A. Busius, and of the composer: "La 
 musica e del celebre maestro Signer Domenico Fischietti di Napoli, e dall' istesso 
 autore in molte parti rimodernata." German title-page, "Der jahrmarkt zu 
 Magerndorff," and text face Italian. SCHATZ 3232 
 
 - II mercato di Malmantile, dramma giocoso in musica da rap- 
 presentarsi nel Teatro Reale di Sua Maesta d'lnghilterra etc etc. 
 Hannover 1'inverno del 1770. 
 
 n. i., n. d., 107 p. 16% cm . 
 
 Cast, scenario, and name of Fischietti as the composer. German title, "Der jahr- 
 markt zu Malmantile," and text face Italian. Considerably altered version. For 
 instance, the characters "II conte della Rocca," "La marchesa Giacinta," and 
 "Cecca" of the original have been dropped entirely. SCHATZ 3238 
 
 II mercato di Malmantile. Dramma giocoso per musica di Polis- 
 seno Fegejo, Pastor Arcade. Da rappresentarsi nel Teatro Grimani 
 di S. Samuele il carnovale dell' anno 1758. 
 Venezia, Modesto Fenzo, 1758. 58 p. 14% cm . 
 
 Three acts. By Goldoni. Cast, scenario, and name of Giuseppe Scarlatti as the 
 composer. 
 
 First performed at Vienna, Burgtheater, 1757. SCHATZ 9550 
 
 - II mercato di Monfregoso, dramma giocoso per musica da rap- 
 presentarsi nel Reggio Teatro di S. Carlo della Principessa, Testate 
 dell' anno 1795. 
 
 Lisbona, Simone Taddeo Ferreira, 1795. 141 p- 15 cm . 
 
 Two acts. Author not mentioned. Cast, scenario, and name of Nicola Zinga- 
 relli as composer. With the opera was performed, composer of the music not men- 
 tioned, Pietro Angiolini's ballet "L'arrivo opportune. " Portuguese text faces 
 Italian. ML 50.2.M55Z3 
 
 72251 VOL 114 48
 
 754 LIBEABY OF CONGRESS 
 
 H mercato di Monfregoso. Dramma giocoso per musica da rap- 
 presentarsi nel Teatro alia Scala 1'autunno dell' anno 1792 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 58, [10] p. 16% cm . 
 
 Two acts. Scenario, cast, name of Nicola Zingarelli as composer, dedication by 
 the impresario Gaetano Maldonati of date Milan, September 22, 1792, in which he 
 says: 
 
 "Per desiderio di dare un maggiore risalto alle rappresentazioni, ed un migliore 
 soddisfacimento al pubblico ... ho intrapreso di fare scrivere un' opera a bella 
 posta per questo teatro e per questa compagnia," and Awiso which reads: 
 
 "Un ben noto dramma giocoso del celebre Sig. Goldoni serve per fondamento del 
 libro della presente opera. Si e sequitato piu che e stato possibile 1'originale, e colla 
 traccia del medesimo si sono fatti tutti que cambiameti creduti adattati al gusto dell' 
 opera buffa del giorno d 'oggi. Si e mutato nel titolo il luogo del mercato al solo oggetto, 
 che lo spartito di questa nuova musica non potesee confondersi coll' antico, che era 
 intitolato II Mercato. di Malmantile." 
 
 The [101 p. contain the scene "Saggia mia figlia vieni" with sextet, substituted 
 for scene II, 8 "Via venite in tribunale" and argument, cast, and description of 
 Antonio Pitrot's four act "Adelasia ballo eroico pantomimo." Neither of this nor of 
 his comic ballet "Don Chisciotte, che and era in scena dopo alcuni giorni " is the com- 
 poser mentioned. ML 50.2.M55Z2 
 
 II mercato di Pozzuolo ossia II speciale ingannato, ballet. See 
 Mayr's Lodoiska. 
 
 Mercato fiammengo, ballet. See Cherubim's Ifigenia in Aulide. 
 
 Mercuric, e Marte. Torneo regale fatto nel superbissimo Teatro 
 di Parma nelF arrive della sereniss. Margherita Medici, moglie del 
 sereniss. duca Odoardo Farnese. 
 Parma, Seth. & Erasmo Viotti, 1628. [48] p. 21\ cm . 
 
 Schatz attributes the libretto to Claudio Achillini, and the music to Giulio Caccini, 
 but as Caccini died in December, 1618, and as this -masque was first performed at the 
 inauguration of the Teatro Farnese, December 21, 1628, Caccini's connection is more 
 than doubtful. At any rate, Ehrichs does not mention this among Giulio Caccini's 
 works. Certainly Schatz found nothing to support his claim of Caccini's connection 
 with "Mercurio e Marte" in Ferrari's "Spettacoli ... in Parma," and I fail to see 
 that Ferrari's rather cursory remarks even oblige us to attribute the text to Achillini. 
 Ferrari mentions neither author nor composer. SCHATZ 1448 
 
 La mere embarrassee, opera-comique ; represents pour la pre- 
 miere fois sur le The&tre de la Foire, en 1734. 
 
 Charles Franpois Pannard, Theatre, Paris, Duchesne, 1763, v. 2, 
 [327]-382 p. 17 cm . 
 
 In prose and vaudevilles. Composer not recorded by Parfaict, who dates first per- 
 formance June 26, 1734. PQ 2019. P3 
 
 La mere jalouse. Piece en un acte. Represented a la Foire Saint 
 Laurent 1732. 
 Le Theatre de lafoire, Paris, 1 737, t. ix, 2 pi., [123}-167 p. 17 cm . 
 
 By Carolet, who is not mentioned. Largely en vaudevilles. The airs, selected or 
 composed and arranged by Jean Claude Gillier, are printed at the end of the volume 
 in the "Table des airs." 
 
 First performed September 19, 1732. ML 48.L2X 
 
 Meride. Dramma per musica da rappresentarsi nelT apertura 
 del Nuovo gran Teatro della residenza Palatina. . . . 1'anno 
 MDCCXLII. La poesia del Sig. abbate Giovan Claudio Pas- 
 quini ... la musica e del Sig. Carlo Pietra Grua . . . 
 
 Mannheim, Stamperia Maieriana, [1T42]. 5 p. 1., 102, [l]p. 18% cm . 
 
 Three acts. Argument, cast, scenario. Alessandro Toeschi is mentioned as the 
 composer of the incidental ballet music. On the last unnumb. p., a notice to the
 
 OPERA LIBRETTOS 755 
 
 Meride Continu ed . 
 
 reader, asking his indulgence for misprints, since the printer did not know "una sola 
 
 voce" of the Italian language. 
 
 First performed January 17, 1742, as indicated. SCHATZ 8167 
 
 Meride e Selinunte. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, l?44j ^ ^> P- \?4^\~ 
 488. 19 cm . 
 
 Five acts and licenza. Argument. No composer is mentioned. In the "Cata- 
 logo" at end of t. x, date and place of first ed. are given as Vienna, 1721. (First per- 
 formed at Laxemburg, Favorita, August 28, 1721, with music by Giuseppe Porsile.) 
 
 ML 49.A2Z3 
 
 - Meride e Selinunte. Pubblicati per la prima volta in Vienna 
 1721. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. v, p. 257- 
 344. 21 cm . 
 
 Five acts and licenza. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Meride e Selinunte. Dramma per musica da rappresentarsi nel 
 famosissimo Teatro Grimani di S? Gio. Grisostomo nel carnevale 
 1744 . . . 
 
 [Venezia], n. pull., n. d. 1 p. 1., 56 p. 15 cm . 
 
 Three acts. By Apostolo Zeno. With argument, scenario, cast, and name of the 
 composer, Pietro Chiarini, but not of the author. SCHATZ 1851 
 
 Meride e Selinunte. Drama per musica da rappresentarsi nel 
 famosissimo Teatro Grimani a S. Gio. Grisostomo. Nel carnovale 
 delF anno 1726. 
 
 Venezia, Marino Rossetti, 1726. 58 p. 15 cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Argument, scenario, cast, 
 and name of Nicola Antonio Porpora as the composer. SCHATZ 8372 
 
 II merito riconosciuto. See M. Curzio. 
 
 Merlin in love : or, Youth against magic. A pantomime opera. In 
 five acts. 
 
 [819}-342 p. 21 cm . (Aaron Hill, Dramatic works, London, T. 
 Lownds, 1760, vol. 7.) 
 
 No composer or performance recorded by Clarence. LONGE 325 
 
 Merope. 
 
 Apostolo Zeno, Poesie drammaticJie, Venezia, 1744 j $ i, P- 81-171. 
 19 cm . 
 
 Three acts. Argument. No composer is mentioned. In the "Catalogo" at end 
 of t. x, date and place of first ed. are given as Venice, 1712. (See below.) 
 
 ML 49.A2Z3 
 
 Merope. Pubblicata per la prima volta in Venezia 1712. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. iv, p. 95-184. 
 21 cm . 
 
 Three acts. Argument. No composer is mentioned. ML 49.A2Z4
 
 756 LIBRARY OF CONGRESS 
 
 Merppe. Drama per musica da rappresentarsi nella Gran Sala del 
 Reggio Palazzo il dl 1. ottobre 1716. In cui si festeggiano gl'anni di 
 S. M. Ces. e Cat. Carlo VI. imperatore regnante . . . 
 Nap., Michele Luigi Muzio, 1716. 6 p. I., 55 p. 18% cm . 
 
 Three acts and prologue. Argument, cast, scenario. Dedication, dated Naples, 
 October 1, 1716, is signed by Nicola Serino, whom Schatz incorrectly records as the 
 author, since this is clearly Apostolo Zeno's "Merope." The composer is not men- 
 tioned, and is unknown to Schatz. ML 50.2.M6 
 
 La Merope. Dramma per musica da rappresentarsi in Verona nel 
 miovo Teatro dell' Accademia Filarmonica nel carnovale dell' anno 
 1763 . . . 
 
 Verona, Dionisio Ramanzini, 1763. 48 p. 18 cm . 
 
 Three acts. By Apostolo Zeno, but with very many alterations. For instance, 
 "Vane alia ingrata, e digli" (I, 4) is not by Zeno at all, and "Sprezza il furor del 
 vento" (I, 5) is from Metastasio's "Adriano in Siria." Also, Zeno's character, Licisco, 
 is missing entirely. 
 
 Francesco Puttini's dedication ("per la prima volta comparendo sopra le scene del 
 cospicuo Filarmonico teatro il presente aramma"), argument, cast, scenario, and 
 note: "La musica di diversi celebri autori." ML 50.2.M62 
 
 Merope. An opera. As perform'd at the Royal Theatre in the 
 Hay-market. 
 London, J. CJiricUey, 1736. 69 p. 17 cm . 
 
 Three acts. By Apostolo Zeno (not mentioned). Dedication, argument, cast, but 
 without the name of the composer, Riccardo Broschi. English text faces the Italian. 
 
 First performed, as indicated, January 8/19, 1737; at Turin, Regio Teatro, carne- 
 vale, 1732. SCHATZ 1341 
 
 Merope. Dramma per musica da rappresentarsi nel grande Real 
 Teatro di S. Carlo net di 20. gennaro 1748 . . . 
 
 Napoli, Domenico Langiano, 1748. 6 p. 1., 52 p. 14 cm - 
 
 Three acts. By Apostolo Zeno. Impresario's dedication, dated Naples, January 
 20, 1748, argument, cast, scenario, and name of the composer, Gioacchino Cocchi, 
 but not of the author. SCHATZ 2049 
 
 Merope. Drama da rappresentarsi per musica nel famoso Teatro 
 Tron di San Cassano il carnevale dell' anno 1711 . . . 
 
 Venezia, Marino Rossetti, 1711. 72 p. 14% cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Dedication, argument 
 cast, scenario, and name of Carlo Francesco Gasparini as the composer. 
 
 SCHATZ 3573 
 
 Merope. Dramma per musica da rappresentarsi nel Teatro Gius- 
 tiniani di S. Mois il carnovale dell' anno 1757. 
 
 Venezia, Modesto Fenzo, 1757. 58 p. 15 cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Cast and name of Florian 
 Leopold Gassmann as the composer. SCHATZ 3619 
 
 Merope. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di San Gio. Grisostomo. Nel carnovale dell' anno 
 MDCCXXXIV . . . 
 
 Venezia,, Marino Rossetti, 1734. 71 p. 15 cm . 
 
 Three acts. By Zeno, who is not mentioned. Dedication, argument, cast, scena- 
 rio, and name of Geminian,o Giacomelli as the composer. SCHATZ 3807
 
 OPERA LIBRETTOS 757 
 
 Merope. Tragedia per musica da rappresentarsi nel Regio Teatro 
 di Berlino per il felicissimo giorno natalizio della Sacra Real Maest& 
 di Sofia Dorotea, regina maore . . . 
 
 Berlino, Haude e Spener, 1756. 128, [2] p. 16% cm . 
 
 Three acts. Giampietro Tagliazucchi is mentioned as the author and Carl Hein- 
 rich Graun as the composer. The text, however, is merely the Italian version of a 
 French text by Frederick the Great, based on Voltaire. German title-page and 
 text (by Grugnanelli, according to Mennicke) face Italian. 
 
 First performed, as indicated, March 27, 1756. SCHATZ 4105 
 
 Merope. Drama per musica da rappresentarsi nel nobilissimo Teatro 
 di S. Benedetto il carnovale dell' anno MDCCLXXIII. 
 Venezia, Modesto Fenzo, 1773. 2 p. I, 55 p. 17 cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Argument, cast, scenario, 
 and name of Giacomo Insanguine, called Monopoli. 
 
 First performed, as indicated, December 26, 1772. SCHATZ 4834 
 
 Merope. Dram ma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S? Gio. Grisostomo if carnovale 1742 . . . 
 [Venezia], n. publ., n. d. 71 p. 15 cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Argument, cast, scenario, 
 and name of Niccol6 Jommelli as the composer. 
 
 First performed, as indicated, December 26, 1741. SCHATZ 4865 
 
 Merope, em musicalisches schauspiel. Vorgestellet auf der 
 Kaiserl. Koeniglichen privilegirten schaubuehne in Wien, 1749. 
 Wien, Joh. Peter van GJielen, n. d. 62, [1] p. 15 cm . 
 
 Three acts. Neither J. L. van Ghelen, the translator, nor Jommelli, the com- 
 poser, is mentioned. Cast, argument, scenario. Second version of the "Merope" of 
 1741. SCHATZ 4866 
 
 Merope. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro Venier in San Benedetto il carnovale dell' anno 1796. 
 Venezia, Modesto Fenzo, 1796. 45 p. ll\ cm . 
 
 Three acts. By Mattia Botturini, who is not mentioned. Cast, scenario, and 
 name of Sebastiano Nasolini as the composer. 
 
 First performed, as indicated, January 21, 1796. SCHATZ 7005 
 
 La Merope. Dramma per musica da rappresentarsi in Bologna nel 
 Teatro Formaliari 1' autunno dell' anno MDCCXVII . . . 
 Bologna, li Rossi e compagni, n. d. 77, [1] p. 16 cm . 
 
 Three acts. Apostclo Zeno is mentioned as author, Giuseppe Maria Orlandini as 
 the composer. Impresario's dedication dated Bologna, October 16, 1717, cast, argu- 
 ment, and scenario. 
 
 First performed, according to Schatz, on October 24, 171V . SCHATZ 7348 
 
 Merope. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S. Gio. Grisostomo nelr autunno dell' anno MDCCL. 
 Venezia, In merceria, n. d. 66 p. 15 cm . 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Argument, scenario, cast, 
 and name of Davide Perez as the composer. SCHATZ 7874 
 
 La Merope. Dramma per musica da rappresentarsi nel Regio-ducal 
 Teatro di Milano per il carnovale dell' anno 1776 . . . 
 Milano, Giovanni Montani, n. d. 5 p. 1., 46 p. 14 m - 
 Three acts. Impresario's dedication, argument, cast, and name of "Traeta" 
 (Tommaso Traetta) as composer, but not of librettist, Apoetolo Zeno. The ballets 
 were invented by Noverre. In the dedication the opera is called the "secondo 
 spettacolo del corrente carnovale." SCHATZ 10412
 
 758 LIBKABY OF CONGRESS 
 
 The merry beggars. A. T. of The jovial crew, 1767. 
 
 The merry cobler: or, The second part of The devil to pay. A 
 farcical opera of one act. As it is perform'd at the Theatre-Royal in 
 Drury-Lane, by His Majesty's servants. By Mr. Coffey, author of 
 the first part . . . 
 London, J. Watts, 1735. 4 p. I, 32 p. 21. 
 
 Cast, table of the 17 songs, and dedication to Lady Walpole, in which Charles 
 Coffey eays: 
 
 " 'Tis true it wants many imbellishments of the former, and is entirely unassisted 
 by the force of magick, which might probably render it more diverting, as affording 
 to poet an unbounded liberty; but as all spells and charms are supernatural and 
 unreasonable, 'tis presumed, that the native simplicity of this, and its great affinity 
 to true nature, will entitle it to bear some proportion of merit to its parent, that met 
 with so much success before it: For the nearer any dramatick piece comes up to 
 nature, the more it shou'd undoubtedly please." 
 
 Ballad opera, the airs of which are printed in the text with their titles. 
 
 First performed, as indicated, May 6, 1735. ML 50.5.M3 
 
 Second copy. LONGE 32 
 
 Airs, duetts, and chorusses, in the operatical pantomime of Merry 
 Sherwood or Harlequin forrester. Now performing at the Theatre- 
 Royal, Co vent-Garden. Third edition. 
 London, T. N.Longman, 1795. 20 p. 21 cm . 
 
 Cast. Neither authors, M. Lonsdale and John O'Keefe, metnioned, nor the com- 
 poser, William Reeve. 
 
 First performed December 21, 1795. LONGE 234 
 
 Mesenzio re d'Etruria. Dramma per musica da rappresentarsi nel 
 Regio Teatro di via della Pergola nelP autunno del MDCCLXXXII . . . 
 
 Firenze, Giovanni Risaliti, 1782. 47 p. 16 cm . 
 
 Three acts. By Ferdinando Casori. Cast and name of the composer, Cherubini 
 ("musica . . . tutta nuova"). The author is not mentioned. On p. 4-8 argument 
 and description of Antonio Muzzarelli's ballet "Adelasia Riconosciuta." The com- 
 poser of the music is not mentioned. 
 
 First performed, as indicated, September 8, 1782. SCHATZ 1846 
 
 Messalina. Drama per musica da rappresentarsi nel Teatro Ven- 
 dramino di San Salvatore 1' anno MDCLXXX del dottor Piccioli. 
 Ristampato con nuove aggiunte . . . 
 
 Venetia, Francesco Nicolini, 1680. 72 p. 14 cm . 
 
 Three acts. Author's dedication dated Venice, February 8, 1679, argument, 
 notice to the reader, and scenario. The composer, Carlo Pallavicino, is not men- 
 tioned. SCHATZ 7728 
 
 Die messe zu Venedig. Tr. of Salieri's La fiera di Venezia. 
 
 Le metamorfosi odiamorose in birba trionfale nelle gare delle 
 terre amanti. Dramma per musica di Gonanto Rinoi, tra gr Accade- 
 mici di Campaltp Infelicio Scordato. Da rappresentarsi nel famoso 
 Teatro Grimani in San Samuel il carnovale 1732 . . . 
 Venezia, Alvise Valvasense, 1732. 36 p. 14 cm . 
 
 Three acts. By Antonio Rigo [anagram as in title]. Dedication, argument, cast, 
 scenario, name of Salvatore Apolloni as composer, and notice to the reader in which 
 the author calls this his second "parto bamboleggiante in fasce," written "in tre 
 sole ore . " SCH ATZ 301
 
 OPEKA LIBRETTOS 759 
 
 The metamorphoses. A comic opera. In two acts. As it is per- 
 formed at the Theatre-Royal in the Hay-Market. The music by Mr. 
 Dibdin. 
 
 London, T. Loumdes, 1776. 2 p. I, 36 p. 20. 
 
 Cast and prefatory note by Charles Dibdin to the effect that about one third of 
 the piece is borrowed fromMoliere's Sidlien and George Dandin. Dibdin says: 
 
 "I have repeatedly assured the public, that they shall be faithfully acquainted 
 from whence I borrow any materials to work up my dramatic trifles." 
 
 First performed August 26, 1776 (Oulton and Schatz); August 26, 1775 (Genest, 
 with reason why 1776 is impossible). LONGE 214 
 
 Second copy. LONGE 244 
 
 Metilda ritrow ta. L. T. of Anfossi's L'incognita perseguitata. 
 
 La meuniere de Qentilly, come'die en un acte, mesle'e d'ariettes; 
 par M. Le Monnier. Represented pour la premiere fois par les 
 Come'diens italiens, le jeudi 13 octobre 1768. 
 
 Paris, Vente, 1768. 75 p. 19 cm . 
 
 Cast. The composer, Jean Benjamin de La Borde, is not mentioned. On p. 
 22-27, 40-42, 46-48, 73-74 the same airs as below printed in the text. 
 
 ML 50.2.M63L2 
 
 La meuniere de Genially, come'die. En un acte, melee d'ariettes. 
 Par Monsieur Le Monier. Represent e"e pour la premiere fois par les 
 Comediens italiens ordinaires du roi, le jeudi 13 octobre 1768. 
 
 Avignon, Louis CJiambeau, 1768. 36 p. 19\ cm . 
 The composer, Jean Benjamin de La Borde, is not mentioned. 
 
 ML 50.2.M63L22 
 
 La meuniere de Gentilly, comedie en un acte, mesle'e d'ariettes; 
 par M. Le Monnier. Repr6sente"e pour la premiere fois par les Come'- 
 diens italiens, le jeudi 13 octobre 1768. 
 
 Paris, Vente, 1770. 54, [1] p. 18 cm . 
 
 The add. p. contains advertisement of F. J. Desseur, Liege. 
 
 The composer, Jean Benjamin de La Borde, is not mentioned. On p. 16-20 
 the ariette La garde d'une fille " (1,5), on p. 29-31 "Amour, que tu me fais souffrir' 
 (I, 7), on p. 34-36 "Quand pour nous rendre heureux" (I, 8), and on p. 52-54 the 
 vaudeville (I, 13) "Nous avons dans notre jeune age." SCHATZ 5346 
 
 - La meuniere de Gentilly, come'die en un acte, melee d'ariettes; 
 par M. Le Monnier. Represent e"e pour la premiere fois par les Com6- 
 diens italiens, le jeudi 13 octobre 1768. 
 
 Paris, Vente, 1779. 54 p. 17% cm . 
 
 Cast. On p. 16-20 the ariette "La garde d'une fille," 29-31 "Amour, que tu me 
 fais souffrir," p. 34-35 "Quand pour nous rendre iieureux," and on p. 32-33 the 
 vaudeville "Nous avons dane notre jeune age." Without name of de La Borde. 
 
 SCHATZ 11718 
 
 - Die muellerinn, ein singspiel in einem aufzuge aus dem fran- 
 zoesischen uebersetzt, mit musik. 
 
 Frankfurt am Mayn, mit Andreaeisc7ierschriften, 1773. 99 p. ,10 p. 
 (fold, music). 
 
 Cast. La Borde's "La meuniere de Gentilly" translated by Johann Heinrich 
 Faber. The folded music contains (voice and bass): "Ach! mein kummervoller 
 stand" (I, l="Vainement en filant mon lin"), " Stille waeser gruenden schlecht" 
 (I, 5="I1 n'est pis que 1'eau qui dort"), and "Spielten wir in den jungen jahren" 
 (1, 13=" Nous avons dans notre jeune age"). SCHATZ 5347 
 
 Der meyerhof. Tr. of Scolari's La cascina.
 
 760 LIBRARY OF CONGRESS 
 
 Midas; an English burletta. As it is performed, at the Theatre- 
 Royal, in Co vent-Garden. 
 
 London, G. Kearsly, W. Griffin, J. Coote, T. Lownds and W. NicoU, 
 1764. 4 p. I, 66 p. 22. 
 
 Ballad opera. Three acts. By Kane O'Hara, who is not mentioned. He is 
 supposed to have selected and adapted the tunes used, as indicated in the headings 
 of the Airs, but quite a few of the Airs were to be sung "To its own tune." These 
 airs apparently composed for the occasion are: (Act I) "To happy ignorance," "Be 
 by your friends advised," "Since you mean to hire"; (Act II) "Wondrous timber"; 
 (Act III) "If in the courts your suit," "If a rival thy character draw" (headed 
 Duetto and the name of Henry Carey's has been added in pencil as the composer), 
 "Now I'm seated " and others. The tunes used included several French and Italian. 
 The text is preceded by the cast, by the humorous "Prologue" as a plea for English 
 drama and English music and by an editorial prefatory note which reads in part: 
 
 "The editor of the following piece thinks proper to observe, that the first idea of 
 it was conceived, and the plan in eome measure executed by a gentleman in Dublin, 
 for the private entertainment of some persons of distinction in that kingdom, at a 
 time, when Italian burlettas were blended with the exhibitions of the theatre, and 
 almost triumphed over the best productions in our language. The public spirit of 
 those, for whom it was originally intended, prevailed upon the author to enlarge his 
 design. Accordingly, Midas adventured on the stage, and met with uncommon suc- 
 cess for a series of nights . . . The public, with their usual candour, will consider 
 the particular scope of this piece, and will decide nothing till they have heard the 
 musick, to which it is adapted." ML 50.2.M65 
 
 Midas : An English burletta. In two acts. As it is performed, 
 at the Theatre Royal in Co vent-Garden. The third edition. 
 
 London, W. Griffin, W. Nicoll, [etc.], 1766. 82 p. 19. 
 
 Two acts. Cast. By Kane O'Hara, who is not mentioned. The tunes are not 
 indicated in this edition. 
 
 First performed at Dublin, Theatre Royal, 1762, and at London, Covent Garden, 
 February 22, 1764. LONQE 46 
 
 - Midas, a burletta. In two acts. By Kane O'Hara, Esq. 
 
 [342}-365 p. 19 cm . (Collection of the most esteemed farces and 
 entertainments, t. II, Edinburgh, 1792.} 
 
 Two acts. Covent-Garden and Edinburgh (1782) casts. SCHATZ 11753B 
 
 An improved edition of the songs in the burletta of Midas, adapted 
 to the tunes . . . 
 
 London, John Stockdale, 1789. 38, [2} p. 20 cm . 
 
 An anonymous political satire with Pitt, Sheridan, the Prince of Wales, etc., as 
 characters. The last (unnumb.) page contains advertisement of Stockdale's edition 
 of Shakespeare's works. LONGE 195 
 
 The midnight wanderers: a comic opera. In two acts. Per- 
 formed at the Theatre-Royal, Covent-Garden. Written by Mr. 
 Pearce . . . 
 
 London, T. N. Longman, 1793. 2 p. 1., 45 p. 20\ cm . 
 
 Cast and Advertisement with name of William Shield as composer, but Longman & 
 Broderip's vocal score says " Composed by Paisiello, Gretry, and Shield," and the 
 overture is headed as being that by Naumann "for the celebrated opera of 
 Amphion." 
 
 First performed February 25, 1793. LONGE 221 
 
 Mietitori. Commedia per musica di Saverio Zini da rappresentarsi 
 nel nuovo Teatro de' Fiorentini per second' opera di questo corrente 
 anno 1781. 
 
 Napoli, n. publ., 1781. 60 p. 15. 
 
 Three acts. Cast and name of Pietro Guglielmi as the composer. 
 
 First performed at Naples, as indicated, October 20, 1781. SCHATZ 4291
 
 OPEEA LIBRETTOS 761 
 
 H miglior d'ogni amore per il peggiore d'ogni odio. Drama 
 per musica da rappresentarsi nel Teatro Tron di S. Casciano. L'au- 
 tunno dell' anno 1703. Di Francesco Silvani . . . 
 Venezia, Gio. Battista Zuccato, 1703. 72 p. 15. 
 
 Three acts. Dedication signed by the author, Francesco Silvani, and dated 
 Venice, November 6, 1703, argument, notice to the reader with name of Carlo Fran- 
 cesco Gasparini as the composer, cast, and scenario. SCHATZ 3572 
 
 Das milchmaedchen und die beiden jaeger. Tr. of Duni's Les 
 deux chasseurs et la laitiere. 
 
 Das milchmaedgen und die zween jaeger. Tr. of Duni's Les 
 deux chasseurs et la laitidre. 
 
 Die mildigkeit des Titus. Tr. of Jommelli's La clemenza di Tito. 
 
 The Milesian, a comic opera. In two acts. As it is performed at 
 the Theatre-Royal in Drury-Lane. 
 London, J. WilJcie, 1777. 1 p. I, 44 p. 21. 
 
 Cast. Neither the author, Isaac Jackman, is mentioned, nor the composer, Thomas 
 Carter. 
 First performed March 20, 1777, as indicated. LONGE 86 
 
 Le milicien, come'die en un acte, meslee d'ariettes, par M. Anseaume. 
 La musique de M. Duny. Represent ee pour la premiere fois a Ver- 
 sailles devant Leurs Majestes, le 29 Decembre 1762, & a Paris surle 
 Theatre de la Comedie italienne le 1 Janvier 1763. 
 
 Bruxelles, Pierre Paupie, 1763. 48 p. 20 cm . SCHATZ 2848 
 
 Le milicien, comedie en un acte, mesle'e d'ariettes, par M. 
 Anseaume, repr&sentee pour la premiere fois a Versailles devant Leurs 
 Majeste^, le 29 de"cembre 1762, & a Pans sur le Theatre de la Comedie 
 italienne le 1 Janvier 1763. 
 
 Paris, la veuve DucJiesne, 1774- 47 p. 19 cm . 
 
 Duni, the composer, is not mentioned. SCHATZ 11697 
 
 Der militz oder Die laecherliche werbung, ein singspiel in einem 
 aufzuge aus dem franzoesischen uebersetzt, mit musik. 
 
 Frankfurt am Mayn, mit Andreaischen schriften, 1775. 84 p., 7 p. 
 (folded dated music) . 16 cm . 
 
 German version by Johann Heinrich Faber. 
 
 The musical supplement contains the arias (voice and bass): "1st die liebe ver- 
 gniigt" ["Quand 1'amour est content"], p. 1-3; "Vogeln landeln und spielen" ["Cee 
 oiseaux de passage "], p. 4-7. SCHATZ 2849 
 
 First performed at Frankfurt a/M, Theater im Junghof, 1772. 
 
 II militare amante. Dramma giocoso per musica da rappresen- 
 tarsi nel nobil Teatro delle Dame il carnevale dell' anno 1781 . . . 
 
 Roma, Puccinelli, n. d. 72 p. 15\ cm . 
 
 Three acts. Author not mentioned and unknown to me. Cast, scenario, prefa- 
 tory note and name of Francesco Piticchio as the composer. On p. 36-41 cast, argu- 
 ment, description (music "tutta nuova" by Mattia Stabingher) of Domenico Ricci- 
 ardi's "II trionfo di Aleeaandro o sia La prigionia di Dario." ML 50.2.M66P4
 
 762 OBBABY OF CONGRESS 
 
 II mill tare bizzaro. Dramma giocoso per musica in due atti com- 
 posto da Tommaso Grand! detto il pettinaro comico. Da rappresen- 
 tarsi in Venezia nel nobile Teatro di San Samuele il carnovale dell' 
 anno 1778. 
 
 Venezia, Modesto Fenzo, 1778. 62 p. 16\. 
 
 Two acts. Cast, scenario, and name of Giuseppe Sarti as the composer. On 
 p. 37 argument without name of the composer of the music of Giuseppe Fabiani's 
 I prodigi d'amore, fayola pastorale, ballo pantomimo." 
 
 First performed, as indicated, December 27, 1777. SCHATZ 9448 
 
 Der militz oder Die laecherliche werbung. Tr. of Duni's Le milicien. 
 
 La milorda. Chelleta per museca, da rappresentarese a lo Triato 
 nuovo ncoppa Toleto nchisto vierno de st' anno 1728 . . . 
 
 Napoli, Agnolo Vocola, n. d. 52 p. 
 
 Three acts. Author not mentioned and unknown to Schatz. Impresario's dedi" 
 cation, notice to the reader, cast, and name of Peppo [Giuseppe] de Ma jo as com- 
 poser. SCHATZ 5863 
 
 Milton und Elmire, ein singspiel in einem aufzuge. Von einem 
 jungen cavalier verfertiget. 
 
 Frankfurt und Leipzig, Johann Georg Fleischer, 1775. Ifi p. 17 cm . 
 
 By H., graf von Spaur. 
 
 First performed with music by Joseph Michl at Frankfurt a/M, Schaiispielhaus i. 
 Junghofe, 1773. SCHATZ 6486 
 
 Milton und Elmire eine original-oper, in zween auf zuegen. Auf- 
 gefuehrt von der Seipp und Bullaischen gesellschaft der deutschen 
 schauspieler auf dem allhiesigen opernhause. 
 
 Augsburg, n. publ., 1780. 40 p. 17 cm . 
 
 The same text as above, but retouched by Wilhelm Friedrich Hermann Rein- 
 wald (Schatz). Michl is not mentioned. 
 
 First performed at Meiningen, Hoftheater, 1776. SCHATZ 6487 
 
 Arien aus Milton und Elmire, eine original-oper in zwei auf- 
 zuegen aufgefuehrt von der Rossnerischen gesellschaft deutscher 
 schauspieler. Die musik ist von dem beruehmten herrn Michel in 
 Muenchen. 
 
 n.i.,1782. 16 p. 16\. SCHATZ 6487a 
 
 Milziade. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani a SS. Gio. e Paulo il carnevale dell anno MDCXCIX. 
 Del dottor Lotto Lotti . . . 
 
 Venetia, Girolamo Albrizzi, 1699. 60 p. 14 cm - 
 
 Three acts. Author's dedication dated Venice, February 24, 1699, argument, 
 scenario, and notice to the reader with the name of Giovanni Maria Ruggeri as the 
 composer. SCHATZ 9140 
 
 Minervens ankunft bey den Musen. Ein analogisches singspiel 
 von F. G. v. Nesselrode. Die musik ist von herrn ^*aul Kirzmger, 
 Aufgefuehrt auf dem fuerstlich Taxischen Theater in Regensburg. 
 1780. 
 
 [Regensburg], Im Montagischen buchladen, n. d. 23 p. 16 cm . 
 
 SCHATZ 5340 
 
 De minnaer standbeeld. Tr. of Dalayrac's L'amant statue.
 
 OPERA LIBRETTOS 763 
 
 Minona oder Die Angelsachsen. Ein tragisch.es melodrama in vier 
 akten. Die musik vom herrn kapellmeister J. A. P. Schulz. 
 
 Hamburg, Benjamin Gottlob Hoffmann, 1785. 190, [1] p. 
 
 By Heinrich Wilhelm von Gerstenberg (not mentioned) whose " Erlaeuterungen 
 und anmerkungen " on p. 169-190. SCHATZ 9724 
 
 Minosse re di Greta o sia La fuga d'Arianna e di Fedra, ballet. 
 See Martin y Soler's In amor ci vuol destrezza. 
 
 Intermedi [Mirena e Floro] cantati dalli Signori Livia Constantini 
 detta Polacchina e Lucretio Borsari . . . Traduction des intermedes 
 italiens en francois . . . 
 
 Dresde, Jean Riedel, & Jean Conrad Stossel, 1718. Unpaged. 
 21 cm . 
 
 The three intermezzi, whose title appears in caption, form on appendix to the 
 libretto of Lotti's opera "GP odi delusi dal eangue," Dresda, 1718. The author of 
 the intermezzi is unknown and the composers, Carlo Francesco Gasparini and Gio- 
 vanni Battista Bononcini, are not mentioned. 
 
 First performed at Naples, Teatro di S. Bartolomeo, 1699. SCHATZ 5707 
 
 The mirror; or, Harlequin everywhere. A pantomimical burletta, 
 in three parts. As it is performed at the Theatre-Royal in Covent- 
 Garden. 
 London, G. Kearsley, 1779. 2 p. I. (incl. front.} , 39 p. 21 cm . 
 
 Cast. The author-composer, Charles Dibdin, is not mentioned. 
 
 First performed, as indicated, November 30, 1779. LONGE 102 
 
 Mirsa, ballet en action, par M. Gardel. Represent^ sur le Theatre 
 de L' Academic de musique, le jeudi 8 novembre 1779. 
 Paris, chez les marchands de pieces de theatre, 1779. 10, [1] p. 
 
 Three acts. Cast. Act by act synopsis of the plot. Composer of the music not 
 recorded by Lajarte, who rectifies the error that the plot of this ballet had anything 
 to do with our war for independence. ML 52.2.M4 
 
 Mirtil, pastorale en musique, ome'e de ballets; represented par les 
 pensionnaires dans les Plaisirs du roy. 
 
 Dresden, Joan Conrad Stossel, 1721. Unpaged. 20\ cm . 
 
 One act. The Avertissement reads: 
 
 "Les vers & la musique de cette petite pastorale ont 6te composez en moins d'une 
 semaine: ainsi on peut dire, que c'est un impromptu de poesie & de musique. La 
 promptitude, sur tout, du maitre de musique, n'est pas ordinaire; car quoyqu'il y ait 
 dans ce divertissement, plus de travail que dans deux actee d'un opera francois, il n'a 
 employe" que quatre jours a le mettre en musique. Et voila ce que fait Pen vie d'obe'Ir, 
 & de plaire a un grand roy, a un bon maitre. On a insert dans cette petite piece tout 
 ce que Pon a cru de plus propre a exercer le talent d'un maitre de musique; & le Sieur 
 [Louis] Andre qui a t6 recu, depuis peu, au service de Sa Majeste, Pa souhaitt6 ainsi, 
 pour avoir occasion de faire connoitre son genie. Les vers sont du Sieur Poisson. La 
 musique est du Sieur Andre. Les ballets sont du Sieur Debargues." 
 
 First performed, as indicated, February 23, 1721. ML 50.2.M67A5 
 
 Mirzele. See Mondonville's Les projets de 1'amour. 
 
 II misantropo o sia II poter delle donne, ballet. See Cimarosa's 
 Giunio Bruto.
 
 764 LIBRARY OF CONGRESS 
 
 Miss Lucy in town. A sequel to The virgin unmasqued. A farce; 
 with songs. As it is acted at the Theatre-Royal in Drury-Lane, by 
 His Majesty's servants. 
 London, A. Millar, 1742.- 2 p. 1., 44 p. 20\. 
 
 One act. Ballad farce. Cast and table of the eight Bongs, the airs of which are 
 not indicated. By Henry Fielding, who is not mentioned. 
 
 First performed May 5, 1742, as indicated. ML 50.5. M4 
 
 Der misshmgene braut-wechsel oder Richardus I, koenig von 
 England. Tr. of Handel's Riccardo I re d'Inghilterra. 
 
 Mistevojus. [vignette] In einem sing-spiele auf dem Hambur- 
 gischen Schau-platze vorgestellet im jahr 1726. 
 
 [Hamburg], Stromerische schrifften, n. d. Unpaged. 19 cm . 
 
 Five acts. Cast, scenario, and "avertissement, which reads, in part: 
 " Wenn der herr verfasser dieeer opera gegenwaertig und nicht in einer ruehmlichen 
 bedienung abweeend waere, wuerde er ohne zweifel in einer gelehrten vorrede den 
 innhalt der gantzen geschichte auf das umstaendlichste angezeigt haben . . . Man 
 ist in allem dem hn. verfasser nachgegangen, ohne daes man hie und da einige italiaen- 
 ische arien eingeschoben und im 5ten acte die mit astericia bezeichnete worte, zur 
 introduction des noch nie in solcher vollkommenheit gesehenen prospects der Stadt 
 Hamburg, von J. P. P. [Johann Philipp Praetorius] inserirt worden . . . Die vor- 
 treffliche music ausser etlichen wenigen arien, ist von . . . Reinhard Kaeyser 
 [Keiser]. Die poesie ist von dem herrn [Johann Samuel] Muller ..." 
 
 He based it on Zeno and Pariati's "Antioco." SCHATZ 5103 
 
 Mit dem glockenschlag : zwoelf! ernsthafte operette in drey 
 akten . . . 
 
 Anspach, Haueisen, 1781. 80 p. 16\ cm . 
 
 Neither the author, freiherr Soden von Sassanfart, nor the composer, Nicolaus 
 Miiiile, is mentioned. SCHATZ 6871 
 
 Mithridates. Tr. of Graun's Mitridate. 
 
 Mitridate. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, ^ v , p. [95]-196. p. 
 19 cm . 
 
 Four acts and licenza. Argument. No composer is mentioned. In the "Cata- 
 logo," at end of t. x, date and place of first ed. are given as Vienna, 1728. (See 
 below.) ML 49.A2Z3 
 
 - Mitridate. Pubblicato per la prima volta in Vienna 1728. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. vii, p. 153- 
 248. 21 cm . 
 
 Five acte and licenza. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Mitridate. Dramma per musica, da rappresentarsi nella Cesarea 
 corte per il nome gloriosissimo della Sac. Ces. e Catt. Real Maesta 
 Carlo VI ... I/anno MDCCXXVIII. La poesia e del Sig. 
 Apostolo Zeno ... La musica e del Sig. Antonio Caldara . . . 
 Vienna d 1 Austria, Gio. Pietro van Ghelen, n. d. 4p-^ 
 
 Five acts, with licenza. Argument and scenario. Niccola Matteis is mentioned as 
 the composer of the ballet music. 
 
 First performed, as indicated, November 4, 1728. SCHATZ 1494
 
 OPERA LIBRETTOS 765 
 
 Mitridate. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S. Gio. Grisostomo nel carnevale dell' anno 
 MDCCXXX . . . 
 
 Venezia, Carlo Buonarigo, n. d. 72 p. 14\ cm - 
 
 Five acts. By Apostolo Zeno, with indicated alterations "di pochissime arie." 
 Impresario's dedication, notice to the reader, cast, scenario, argument, and name of 
 Giovanni Antonio Giai as the composer. SCHATZ 3815 
 
 Mitridate. Tragedia per musica da rappresentarsi nel Regio Teatro 
 di Berlino . . . 
 
 Berlino, Haude e Spener, 1750. 95 p. 17% cm . 
 
 Three acts. Leopoldo de Villati is mentioned as the author, and Carl Heinrich 
 Graun as the composer. Argument and scenario. German title page, ' ' Mithridates," 
 and text face Italian. 
 
 First performed, as indicated, Friday, January 1, 1751 (Schatz); December, 1750 
 (Mennicke). SCHATZ 4106 
 
 Mitridate. Opera. Represented devant Sa Majeste a Berlin, 
 le 1 Janvier 1751. 
 
 Berlin, Edienne de Bourdeaux, 1751. 30 p. 16 cm . 
 
 Three acts. Argument, scenario, and names of Villati and Graun. SCHATZ 4107 
 
 Mitridate. Drama per musica di Filippo Vanstryp da recitarsi 
 nella Sala degl' illustrissimi Signori Capranica nel carnevale dell' 
 anno 1730 ... 
 
 Roma, Antonio de' Rossi, n. d. 72 p. 16 cm . 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and name of 
 Nicola Antonio Porpora as the composer. SCHATZ 8373 
 
 Mitridate a Sinope. Dramma per musica da rappresentarsi in 
 Firenze nel Regio Teatro degl' Intrepidi detto della ralla a corda 
 dai fondamenti eretto, ed aperto per la prima volta nelP autunno del 
 1779 . . . 
 
 [Firenze}, Anton Giusep. Pagani, n. d. 6 p. 1., 50 p. 18\ cm . 
 
 Three acts. Dedication, argument, cast, and name of Giuseppe Sarti as composer. 
 The author is not mentioned, and is unknown to Sch'atz. At end, no substitute arias 
 in this, the obviously first edition of the next entry, and, like this, giving details about 
 the ballet, "II Meleagro." ML 48.A5 v. 30 
 
 Mitridate a Sinope. Dramma per musica da rappresentarsi in 
 Firenze nel Regio Teatro degl' Intrepidi detto della Palla a corda dai 
 fondamenti eretto, ed aperto per la prima volta nelT autunno del 
 1779 . . . 
 
 [Firenze], Anton. Giusep. Pagani, n. d. 7 p. I. (incl. front.} , 52 p. 
 19 cm . 
 
 Three acts. Author not mentioned, and unknown to Schatz. Dedication, argu- 
 ment, cast, name of Giuseppe Sarti as composer, and prologue-poem. On p. 51-52, 
 the substitute arias, "Lasciami in abbandono" (I, 5), "Se oppresso 1'indegno" (I, 6), 
 and "In un mar di tante pene" (III, 7). On p. 1. 4-5, argument and name of Luigi 
 Marescalchi as composer of the music ("sara tutta nuova") of Onorato Vigan6's ballet, 
 "II Meleagro." SCHATZ 9449 
 
 II Mitridate Eupatore. Tragedia per musica da rappresentarsi nel 
 famosissimo Teatro Grimani di S. Gio. Grisostomo 1'anno 1707 . . . 
 
 Venezia, Marino Rossetti, 1707. 84 p. 14 m - 
 
 Five acts. Dedication by the author, conte Girolamo Frigimelica Roberti, argu- 
 ment, cast, scenario, notice to the reader, and name of Alessandro Scarlatti as the 
 composer. SCHATZ 9524
 
 766 LIBRARY OF CONGRESS 
 
 Mitridate in Sebastia. Dramma per musica da rappresentarsi in 
 Firenze nel carnevale del 1704. 
 
 Firenze, Vincenzio Vangelisti, n. d. 70 p. 15*. 
 
 Three acts. Argument, cast, and scenario. Neither the author, Giacomo Maggi, 
 IB mentioned, nor the composer, Giuseppe Antonio Vincenzo Aldrovandini. 
 
 First performed at Genoa, fall of 1701 , at the Teatro del Falcone. SCHATZ 139 
 
 Mitridate re di Ponto, dramma per musica da rappresentarsi nel 
 Regio Teatro di Torino nel carnovale del 1767. Alia presenza di 
 S. S. R. M. 
 
 Torino, Onorato Derossi, n. d. viii, 63, [1] p. 16 cm . 
 
 Three acts. Argument, cast, scenario, and names of the author, Vittorio Amedeo 
 Cigna-Santi, and of the composer, Quirico Gasparini. SCHATZ 3604 
 
 Mitridate re di Ponto vincitor di se stesso. Drama da cantarsi 
 nel celebre Teatro Grimani in S. Gio. Grisostomo. Nel carnovale 
 MDCCXXIII di Merindo Fesanio Past. Arc. 
 Venezia, Marino Rossetti, 1728. 63 p. 16\ cm . 
 
 Three acts. By Benedetto Pasqualigo. Argument, cast, scenario, and name of 
 the composer, Giovanni Maria Capello. SCHATZ 1592 
 
 Le Mitron et la Mitronne, ou Les amours de Gonesse, comedie en 
 un acte, mesle'e d'ariettes, par Mrs. * * * Represented pour la 
 premiere fois, par les Come'diens italiens ordinaires du roi, le 8 mai 
 1765. 
 Paris, Duchesne, 1765. 30 p. 19 cm . 
 
 Neither the author (unknown to Schatz) is mentioned, nor the composer, Jean Ben- 
 jamin de La Borde. SCHATZ 5349 
 
 The mock doctor: or, The dumb lady cur'd. A comedy done from 
 Moliere. As it is acted at the Theatre Royal in Drury-Lane, by His 
 Majesty's servants. With the musick prefix'd to each song. The 
 fourth edition, with additional songs and alterations. 
 London, J. Watts, 1753. 3 p. I., 33, [1] p. 20. 
 
 One act and epilogue. Ballad opera, in which airs v ("O cursed power of gold"), 
 vii ("Thus, lovely patient"), and viii ("If you hope by your skill ") were "setby Mr. 
 Seedo." Cast, dedication, and preface, in which. Henry Fielding (not mentioned) 
 says: 
 
 "Le Medidn malgre lui of Moliere hath been always esteemed in France the best of 
 that author's humorous pieces . . . The English theatre owes this farce to an accident 
 not unli ke that which gave it to the French . And I wish I had been as able to preserve 
 the spirit of Moliere, as I have, in translating it, fallen short even of that very little 
 time ne allowed himself in writing it ... 
 
 "One pleasure I enjoy from the success of this piece, is a prospect of transplanting 
 successfully some others of Moliere of great value. How I have done this, any English 
 reader may be satisfy'd by examining an exact literal translation of the Medecin malgrt 
 lui, which is the second in the second volume of Select comedies of Moliere, just pub- 
 lished by John Watts." 
 
 The preface is followed by cast and table of the nine songs. 
 
 First performed at Drury-Lane, September 8, 1732. ML 50.5.M58 
 
 The mock doctor : or, The dumb lady cur'd. A comedy. Done 
 from Moliere. As it is acted at the Theatre-Royal in Drury-Lane. 
 By His Majesty's servants. With the musick prefix -d to each song. 
 A new ed. With additional songs and alterations. 
 
 London. A. Millar, 1761. 3 p. 1., 31, [1] p. 19$ cm . 
 
 Contents appear to be practically identical with the 1753 ed. MD 50.5.M6
 
 OPERA LIBRETTOS 767 
 
 The mock doctor Continued. 
 
 - The mock doctor or, The dumb lady cur'd. In two acts. By 
 Henry Fielding, Esq. 
 
 [135}-161 p. 19 cm . (Collection of the most esteemed farces and 
 entertainments, t. I, Edinburgh, 1792.) 
 
 Original Drury-Lane and Edinburgh casts. Ballad opera. The aire, "O cursed 
 power of gold " and "If you hope by your skill," were "set by Mr. Seedo." 
 
 SCHATZ 11753A 
 
 The mock governor. A. T. of Sancho at court. 
 
 The mock lawyer. As it is acted at the Theatre Royal in Covent 
 Garden. Written by Mr. Phillips ... To which is added, the 
 musick engraved on copper plates. 
 
 London, T. Astley, n. d. 2 p. I., 3%, p., 8 p. (music}. 16 cm . 
 
 One act. Cast. Ballad opera, the airs of the 20 songs being indicated in the text 
 by title, and the airs engraved in supplement without titles. 
 
 First performed at Covent Garden, London, April 27, 1733. LONGE 73 
 
 The mock-tempest: or, The enchanted castle. Acted at tKe 
 Theatre Royal. Written by T. Duffett . . . 
 
 London, William Cademan, 1675. 3 p. 1., 56 p. 20$ cm . 
 
 Five acts with introduction, prologue, and epilogue. Freely interspersed with 
 songs, etc. Written as a parody of Dryden's "Tempest." LONGE 194 
 
 La moda. Dramma giocosp per musica. Da rappresentarsi nel 
 Teatro Giustiniani di San Moise. II carnovale dell' anno 1754. 
 Venezia, Modesto Fenzo, 1754- 48 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, and name of Ferdinando Giuseppe Ber- 
 toni as composer. The librettist, Domenico Benedetti, is not mentioned. 
 
 SCHATZ 922 
 
 La moda. Dramma giocoso per musica di Pietro Cipretti A. P. 
 Fiorentino, Accademico Appatista da rappresentarsi nel Teatro 
 Giustiniani di S. MoisS il carnovale dell' anno MDCCLXIX. 
 
 Venezia, Modesto Fenzo, 1769. 59 p. 15 cm . 
 
 Three acts. Cast, scenario, and name of the composer, Antonio Boroni. 
 
 SCHATZ 1249 
 
 Die mode, oder Die haeuslichen zwistigkeiten, ein lustiges singspiel, 
 aufgefuehret auf den privilegirten schaubuehnen der Kaiserl. koenigl. 
 haupt- und residenzstadt Wien im jahre 1771. 
 
 Wien, Gedruckt mit von GJielenschen schriften. 59 p. 17 cm . 
 
 Three acts. Scenario and note: "Die musik ist von verschiedenen meistern, 
 vorzueglich aber von herrn Anton Salini" [! instead of Salieri]. The original Italian 
 text, "La moda, ossia I scompigli domestici," is by Pietro Cipretti, who is not men- 
 tioned. SCHATZ 9337 
 
 Modern fine lady. A. T. of The female rake. 
 Modern gallantry. A. T. of The humours of the court. 
 
 Modern honour; or, The barber duellist. A comic opera in two 
 acts. As it is now performing with great applause, at the Theatre 
 Royal, in Smock- Alley, Dublin. Written by a gentleman of that city. 
 London, J. Williams, 1775. iv, [3], 10-33, [1] p. 21 cm . 
 
 Prologue, cast, dedication dated Dublin, November 23, 1775, and prefatory note, 
 in which this is called a " first attempt." Composer not recorded by Schatz. 
 
 LONGE 251
 
 768 LIBRARY OF CONGRESS 
 
 La modista ossia La scuffiaja. L. T. of Paisiello's La modista rag- 
 giratrice. 
 
 La modista raggia trice. Commedia per mucia da rappresentarsi 
 nel Teatro de' Fiorentini per terz' opera di quest' anno 1787. 
 Napoli, n. publ., 1787. 59 p. 16 cm . 
 
 Three acts. By Giambattista Lorenzi, who is not mentioned. Cast and name of 
 Faisiello as the composer. SCHATZ 7642 
 
 - La modista ossia La scuffiaja, dramma giocoso per musica. Da 
 rappresentarsi il carnovale del 1790 nel Teatro del nob. Signer Filippo 
 de Bandeu in Gorizia . . . 
 
 Gorizia, Valerio de' Valerj efigli, n. d. 2 p. 1., 53 p f 17 cm . 
 
 A condensation of Lorenzi 's text by suppressing the two scenes of the original 
 third act and by substituting as scene xiii ol the second act "Incomincio a sperar" 
 and as scene xiv (the last) "Ne Cicotto? dove andiamo," both of which are not in 
 the original. Cast and impresario's dedication dated Gorizia, January 29, 1790. 
 Paisiello is not mentioned. SCHATZ 7643 
 
 Les moeurs du bon vieux temps. A. T. of Gre"try's Aucassin et 
 Nicolette. 
 
 La moglie bizzarra. L. T. of Galuppi's L'amante di tutte. 
 
 La moglie capricciosa. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. pull, 1786. 159 p. 
 
 Two acts. By Filippo Livigni. Giuseppe Gazzaniga is mentioned as the com- 
 poser. German title page, "Die eigensinnige ehefrau," and text face Italian. 
 
 First performed, as indicated, March 18, 1786; at Venice, Teatro di S. Moise, fall 
 of 1785. SCHATZ 3672 
 
 - La moglie capricciosa. Intermezzo a sei voci da rappresentarsi 
 in Firenze nel R. Teatro degl' Infuocati posto in via del Cocomero nel 
 carnevale dell' anno 1792 . . . 
 
 Firenze, Ant. Gius. Pagani e comp., 1791. 55 p. 16% cm . 
 
 Two acts. Cast and name of Giuseppe Gazzaniga as composer, Livigni is not 
 mentioned. ML 48. A5 v.24 
 
 La moglie capricciosa. Opera buff a in musica da rappresen- 
 tarsi nel Teatro dei nobili Signori fratelli Prini di Pisa nel carnevale 
 dell' anno 1795. 
 
 Pisa, Francesco Pieraccini, 1795. I6\ cm . 
 
 Incomplete. Lacks the pages after p. 32. 
 
 Two acts. By Filippo Livigni, who is not mentioned. Cast and name of Giuseppe 
 Gazzaniga as the composer. SCHATZ 3671 
 
 A mulher caprichosa. Drama jocoso em musica para se repre- 
 sentar no Theatre da rua dos Condes no estio do anno de 1791. 
 Lisboa, Simao>Thaddeo Ferreira, 1791. 179 p. Iffi. 
 
 Two acts. By Filippo Livigni, who is not mentioned. Portuguese text faces 
 Italian. Cast and name of Giuseppe Gazzaniga as the composer. SCHATZ 3678 
 
 La moglie di spirito. A. T. of the ballet II marito umiliato.
 
 OPERA LIBRETTOS 769 
 
 La moglie nemica. Drama per musica da rappresentarsi nel 
 
 Teatro Vendramino di S. Salvatore, 1' anno 1694. Di Francesco 
 
 Silvani . . . 
 
 Venetia, Nicolini, 1694- front., 64 p. 14 m - ^ 
 
 Three acts. Author's dedication dated Venice, January 10, 1694, argument, and 
 
 scenario. The composer, Marc' Antonio Ziani, is not mentioned. SCHATZ 11203 
 
 La moglie padrpna. Dramma giocoso per musica da rappresen- 
 tarsi ne' Teatri privilegiati di Vienna. L'anno 1768. 
 
 Vienna, GTielen, n. d. 88 p. 16. 
 
 Two acts. Author not mentioned and unknown to Schatz. Scenario and name 
 of "Giuseppe Scarlatti as the composer. SCHATZ 9559 
 
 La moglie virtuosa, ballet. See Cristiani's La citta nuova. 
 
 La mogliere fedele. Commeddea pe mmuseca da rappresentarese a 
 lo Teatro Nuovo ncoppa Monte Cravaneo nchist' autunno dell' anno 
 corrente 1731 . . . 
 
 Napole, A spese de li impressarie, 1731. 60 p. 15 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Impresario's dedi- 
 cation, argument, cast, and note to the effect that the music is by Leonardo Vinci, 
 except all the recitatives and certain indicated arias, which were by Giuseppe Sel- 
 litti. These arias are "Quanta furie scatenate" (1, 10), "Non serve cchiu a penzare" 
 (II, 13), "E'no scuoglio chisto core " (III, 10). At the end of the libretto is this note: 
 
 " Nell' atto primo Sc. xii noagno de 1'area ' Fr& le sciure,' etc. se p6 dicere la seguente 
 aria posta mmuseca da lo Sio Angelo Antonio Tro jano, ' Se chisto affritto core ' . . . 
 Pulli che ritrovi in qualche margine, e il Sig. Pietro Pulli famosiseimo sonatore di 
 arceliuti e contrapontisto." 
 
 This remark applies to the arias "Povera pecorella" (I, 6), "So n'astritto resceg- 
 nuolo" (1, 17), "Chi cade dint' all' acqua" (II, 2), "Non si stracqus turco cano" (II, 
 15), "Me conzola no penziero" (III, 2), "Che d'e chesto? che m'e dato?" (Ill, 4). 
 Even therewith the pasticcio character of the opera is not exhausted because the 
 aria "E n'ancunia sto core" has in margin Leonardo Leo's name. SCHATZ 10755 
 
 Der mohr. Tr. of Salieri's II moro. 
 
 Les moissonneurs, comedie en trois actes, melee d'ariettes. Repre- 
 sent 6e pour la premiere fois par les Come'diens italiens ordinaires du 
 roi, le 27 Janvier 1768. Par M. Favart. La musique est de M. Duni. 
 
 Paris, la veuve Duchesne, 1768. 61 p. 19. 
 
 With Favart's dedication and "Avertissement." No cast and no music printed 
 in the text. SCHATZ 2850 
 
 Les moissonneurs, comedie en trois actes et en vers, meslee 
 d'ariettes . . . Represented pour la premiere fois par les Comediens 
 italiens ordinaires du roi, le 27 Janvier 1768. Par M. Favart. La 
 musique est de M. Duni. 
 
 Paris, U veuve Duchesne, 1768. 91, [4] p. 3 pi. 19 cm . (Theatre 
 de M. Favart, Paris, Duchesne, 1763-77, t. x.) 
 
 Cast. On p. 89-90 the "Vaudeville. Rustant et Nicole" ("Des biens que votre 
 main "). The [4] p. "Catalogue general dts theatres " and a list of "Pieces a ariettes 
 et vaudevilles" arranged by title. Text preceded by same dedication and aver- 
 tissement. Font claims that Voisemon retouched the text. ML 49.A2F1 
 
 Die schnitter. Ein schauspiel in drey aufzuegen mit arietten 
 aus dem franzoesischen des hrn. Favart uebersetzt von Johann 
 Heinrich Faber . . . 
 
 Frankfurt am Mayn, Johann Georg Esslinger, n. d. 88 p. 17 cm . 
 72251 VOL 114 49
 
 770 LIBRARY OF CONGRESS 
 
 Les moissonneurs Continued. 
 
 The text is preceded by Faber's rebuttal (dated Mayence, May 20, 1769) of a 
 violent criticism of his tragedy "Inkle und Yariko" and a "Vorbericht," in which 
 he expresses in vigorous terms his contempt for critics in general and a certain Schmidt 
 in particular. This edition of Faber's translation evidently was issued previous to 
 its first performance in 1771, noted below. ML 50.2.M75D94 
 
 Die schnitter, ein singspiel in drey aufzuegen aus dem franzoe- 
 sischen uebersetzt, mit musiK. 
 
 Frankfurt am Mayn, mit Andreaeischen schriften, 1772. 110 p. ,8 
 p. (folded dated music). 16% cm . 
 
 German version by Johann Heinrich Faber (not mentioned). With cast. 
 
 The musical supplement contains the arias (voice and bass): "O! wie schon sind 
 doch" ["Que Rousme est touchante"], p. 1-3; "O! wie erfreut die erndte-zeit" [O 
 le bon temps que la moiseon], p. 3-4; "Ich geh gern jeden morgen" ["Ma demarche 
 est l^gerel, p. 4-7; "Candorn soil der Himmel schonen" ["Mon coeur jouit d'un bien 
 supreme ], p. 7-8. SCHATZ 2851 
 
 First performed at Frankfurt a/M, Theater im Junghof, 1771. 
 
 II molaforbici. Commedia per musica di Giuseppe Palomba da 
 rappresentarsi nel Teatro nuovo sopra Toledo per prim' opera di 
 quest' anno 1782. 
 
 Napoli, n. publ, 1782. 55 p. 15$ cm . 
 
 Three acts. Cast and name of Gaetano Monti as the composer. SCHATZ 6602 
 
 Os moleiros. Tr of Paer's I molinari. 
 
 La molinara. Dramrna giocoso per musica di Filippo Livigni da 
 rappresentarsi nel nobile Teatro cti San Samuele il carnovale dell' 
 anno 1778. 
 
 Venezia, Modesto Fenzo, 1778. 52 p. 17 cm . 
 
 Two acts. Cast, scenario, and name of Domenico Fischietti as composer. Be- 
 tween the acts was performed " Amore e Peiche. Ballo eroico" by Giuseppe Fabiani, 
 the composer of the music not being mentioned. SCHATZ 3233 
 
 La molinara. O. T. of Piccinni's La Molinarella and II Cavaliere 
 Ergasto. 
 
 La molinara o sia L'amor contrastato. L. T. of Paisiello's 
 L'amor contrastato. 
 
 La molinara spiritosa. Commedia per musica di Saverio Zini da 
 rappresentarsi nel Real Teatro del Fondo di Separazione per second' 
 opera di quest' anno 1787 . . . 
 
 Napoli, n. publ., 1787. 48 p. 15 cm . 
 
 Two acts. Cast, notice to the public, impresario's dedication, and name of Gia- 
 como Tritto as the composer. With the opera was performed Giambattista Gian- 
 nini's ballet "L'isola de' cannibali." The composer of the mueic not mentioned. 
 
 SCHATZ 10476 
 
 La molinarella. Dramma giocoso per musica da rappresentarsi in 
 Lisbona nel Teatro della rua dos Condes nella primavera dell' anno 
 1773. 
 
 [Lisbona], Stamperia Redle, n. d. 87 p. 16\ cm . 
 
 Three acts. The author is not mentioned and is unknown to Schatz. Argument, 
 cast, ecenario, and name of Niccol6 Piccinni as the composer. The opera became 
 known also as "II cavaliere Ergasto" (Fedeli). 
 
 As "La Molinara" first performed at Naples. Teatro Nuovo. fall of 1766. 
 
 SCHATZ 8099
 
 OPEBA LIBRETTOS 771 
 
 I molinari. Commedia con musica d'un atto solo di Giuseppe 
 Foppa da rappresentarsi nel nobilissimo Teatro Giustiniani in San 
 MOIS& il carnovale dell' anno 1794. 
 
 Venezia, Modesto Fenzo, 1794. 38 p. 18 cm . 
 
 Cast and name of Ferdinando Per (Paer) as the composer. SCHATZ 7515 
 
 Os moleiros : comedia com musica em hum so' acto, para se 
 representar no Keal Theatro de S. Carlos, no dia 4 de Janeiro de 1796. 
 Em beneficio de Domingos Caporalini . . . Traduzida do italiano 
 
 por N. N. 
 
 Lisboa, Simao Thaddeo Ferreira, 1795. 107 p. 14$ cm . 
 
 Prefatory note and name of Fernando Per (Paer) as the composer. The author, 
 Foppa, is not mentioned. Portuguese text faces the Italian. SCHATZ 7558 
 
 I molinari francesi, ballet. See Monza's Sesostri. 
 Momus. Intermede in Bourgeois' Les plaisirs de la paix. 
 Momus exile. See Destouches and Lalande's ballet Les Siemens. 
 
 Momvs turn'd fabulist: or, Vulcan's wedding. An opera: after 
 the manner of the Beggar's opera. As it is perform'd at the Theatre- 
 Royal in Lincolns-Inn Fields. With the musick prefix'd to each 
 song. 
 
 London, J. Watts, 1729. 4 p. I, 70 p. 18\ cm . 
 
 Three acts and introduction. The p. 1. contain half-title, publisher's list, with date 
 Nov. 12, 1729, title page, publisher's list, dated October 28, 1729, cast, and 
 "introduction," in which the gentleman says: 
 
 "Sir, I was my self an eye-witness of it, being in France when this piece first 
 appear'd on the stage and saw it represented several nights with a considerable share 
 oi pleasure, which put me upon rendering it into English. In this performance I have 
 taken the liberty of turning the fables which were spoke in France, into ballads to be 
 sung, and have heighten'd several of the scenes by the addition of other ballads, suit- 
 able to the present taste of the town. In short, I have made that an English opera, 
 which was but a French farce." 
 
 By Ebenezer Forrest, after a farce by Fuzelier and Le Grand. The 42 airs are 
 printed in the text, with their titles. 
 
 First performed, as indicated, December 3, 1729. ML 50.5.M63 
 
 Second copy. LONGE 50 
 
 Le monde renverse. Pi&ce d'un acte. Par Mrs. le S * *. & 
 D'Or * *. Sur le plan de M. de la F. Represent e"e a la Foire de 
 Saint Laurent 1718. 
 
 Le Theatre de lafoire, Paris, 1737, t. Hi, pi., [201}-267 p. 17 cm . 
 
 By Le Sage and d'Orneval. Largely en vaudevilles. The airs, selected or composed 
 and arranged by Jean Claude Gillier, the " compositeur " of the theatre, are printed 
 at the end of the volume in the "Table des airs." ML 48.L2III 
 
 Das monden-reich. Eine operette von drey handlungen. Die 
 musik ist von herrn Frischmuth. 
 
 n. i., 7i. d. [40] p. 16\ cm . 
 
 Author unknown to Schatz. 
 
 First performed at Berlin (Doebbelin), Theater Monbijou, 1769. SCHATZ 3373 
 
 Das mondenreich. Tr. of Piccinni's II regno della luna.
 
 772 LIBUAKl' OF CONGBESS 
 
 II niondo al rovescio, o sia Le donne che comandono. 
 
 [l}-52 p. 16% cm . (Carlo Goldoni, Opere drammatiche giocose, t. I, 
 Torino, 1757.} 
 
 Three acts. First composed by G&luppi. (See below.) ML 49.A2G6 
 
 - II mondo alia roversa, o sia Le donne che comandano. Dramma 
 di tre atti per musica. Rappresentato per la prima volta in Venezia 
 1'anno MDCCL. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta ejigli, 1788-95, v. 41, 
 [61}-114 p. 18 cm . PQ 
 
 II mondo alia roversa o sia Le donne che comandono. Dramma 
 
 fiocoso per musica da rappresentarsi nel Teatro Nuovo di S. Samuele. 
 I carnovale dell' anno 1753. 
 Venezia, Modesto Fenzo, 1753. 48 p. 16% cm . 
 
 Three acts. By Goldoni, who is not mentioned. Impresario's dedication, dated 
 February 17, 1753, cast, scenario, but not the name o* the composer, Baldassare 
 Galuppi. The opera became known later on also under the title, "II regno delle 
 donne. 
 
 First performed at Venice, Teatro di S. Cassiano, fall, 1750. SCHATZ 3459 
 
 - II mondo alia roverscia. Dramma gipcoso per musica. Di 
 Polisseno Fegeio P. A. da rappresentarsi nel Piccolo Teatro di S. A. E. 
 di Sassonia. Dresda, 1'anno del 1768. 
 
 n. i., n. d. 135 p. lo\ cm . 
 
 Three acts. Cast, scenario, and the name of Galuppi as composer. German title 
 page, "Die verkehrte Welt," and text face Italian text, which is noticeably different 
 in the arias from the Venice (1753) edition. For instance, this has (I, 6) Feriteme, 
 piagatemi " instead of " In quel volto siede un nume, " and (III, 4) " E un dolce tesoro " 
 instead of "Chi troppo ad amor crede." 
 
 Firsc performed at Dresden, Bruhl'sches Theater, June 25, 1754. SCHATZ 3460 
 
 II mondo della luna. 
 
 \5\-62 p. W\ cm . (Carlo Goldoni, Opere drammatiche giocose, t. II, 
 Torino, 1757.) 
 
 Three acts. First composed by Galuppi. (See below.) ML 49.A2G6 
 
 - II mondo della luna. Dramma di tre atti per musica. Rappre- 
 sentato per la prima volta in Venezia il carnovale dell' anno 
 MDCCLII. [!] 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta ejigli, 1788-95, t. 40, 
 p. [11S]-169. 18. PQ 
 
 II mondo della luna. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro Giustiniani di San MoisS nel carnovale dell' anno 
 1775. 
 
 Venezia, Antonio Graziosi, 1775. 64 p- 17^ cm . 
 
 Three acts. By Goldoni. Cast, scenario, and name of the composer Gennaro 
 Astaritta, but not of the author. SCHATZ 383 
 
 II mondo della luna. Dramma giocoso per musica di Polisseno 
 Fegejo, Pastore Arcade, da rappresentarsi nel Real Teatro di Salva- 
 terra nel carnovale dell' anno 1765. 
 
 Lisbona, Stamperia Ameniana, n. d. 66 p. 15 cm . 
 
 Three acts. By Carlo Goldoni. Cast, scenario, and name of composer, Pietro 
 Antonio Avondano. SCHATZ 510
 
 OPERA LIBRETTOS 773 
 
 II mondo della luna. Dramma giocoso per musica di Pplisseno 
 Fegejo Pastor Arcade. Da rappresentarsi nel Teatro Giustinian di 
 S. Moise. II carnovale dell' anno 1750. 
 
 Venezia, Modesto Fenzo, 1750. 59 p. Iffi- 
 
 Three acts. By Goldoni. Neither he nor the composer, Baldassare Galuppi, ie 
 mentioned. Cast and scenario. 
 
 First performed, as indicated, January 29, 1750. 
 
 SCHATZ 3461 
 
 II mondo nella luna. Drama giocoso, da rappresentarsi sopra il 
 Teatro di S. M. B. 
 
 London, G. WoodfaU, 1760. 93, [1] p. 20. 
 
 Three acts. The last p. contains the aria, ' ' Bella mia, se eon tuo sposo, ' ' substituted 
 for "lo ho un vespaio" (I, 4). English transl. faces the Italian of Goldoni, who is not 
 mentioned. Cast, name of Baldassare Galuppi as composer, and note that "the trans- 
 lator has thought proper to give some of the scenes almost literally, in order the more 
 to facilitate to the reader the intelligence of the original." 
 
 The text does not mention the fact that about one-half of the arias are not from this or 
 any other play by Goldoni. It is clear that also the music was more or less a pasticcio, 
 the substituted aria, for instance, being from Pergolesi's "II maestro di musica." 
 
 First performed at London, Haymarket, November 22, 1760. ML 48.M2H 
 
 Die welt im Monde. Eine komische oper in drey aufzuegen. 
 Aus dem italiaenischen uebersetzt. Die musik ist von demherrn 
 Balthasar Galuppi. 
 
 Oels, Samuel Gottlieb Ludwig, [17]. 79 p. 16 cm . 
 
 Three acts. Translator unknown to Schatz. SCHATZ 3462 
 
 
 
 II mondo della luna. L. T. of Paisiello's II credulo deluso. 
 
 II mondo festeggiante. Balletto a cavallo fatto nel Teatro con- 
 giunto al palazzo del serenissimo granduca per le reali nozze de' 
 serenissimi principi Cosimo Terzo di Toscana e Margherita Luisa 
 d'Orleans. 
 
 G. A. Moniglia, Poesie drammatiche, parte prima, Firenze, Vincen- 
 zio Vangelisti, 1689, v. 1, [257\-297 p. 24 cm . 
 
 A prose description by Alessandro Segni of this remarkable affair (invented by 
 Alessandro Carducci), interspersed with Moniglia's "parole per tanto de' pienissimi 
 cori e quelle di tutti i passati canti." Domenico Anglesi is mentioned as the com- 
 poser. 
 
 According to Allacci, printed 1641, which is impossible, since Cosimo Ill's mar- 
 riage took place in 1661. ML 49.A2M7 
 
 Monsieur de Porsugnac. Intermezzi comici musicali da rappre- 
 sentarsi nel Teatro di Sant' Angelo 1'autunno dell' anno MDCCXLI. 
 Venezia, Marino Rossetti, 174.1. 19 p. 14\ cm . 
 
 Two parts. Author not mentioned, and unknown to Schatz, and Giuseppe Maria 
 Orlandini, the composer, not mentioned. 
 
 First performed at Venice, Teatro di S. Samuele, May, 1727. SCHATZ 7341 
 
 - Pourceaugnac and Grille tta. An interlude. Performed by 
 Sig. Anna Maria Faini, and Signer Antonio Lottini, at the King s 
 Theatre in the Hay-Market. The musick is composed by Sig. 
 Giuseppe Maria Orlandini . . . 
 
 London, J. Chrichley, 1737. 31 p. 17. 
 
 English text faces Italian, which is much altered from the origii^l. 
 
 First performed January, 1737, as indicated. SCHATZ 7342
 
 774 LIBRARY OF CONGRESS 
 
 Monsieur Petiton. Intermezzo. 
 
 [257}-276 p. 16% cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. iv, Torino, 1757.) 
 
 Two parts. Not mentioned by Wiel. Schatz records without composer's name a 
 performance at the Teatro di San Samuele, 1736. ML 49.A2G6 
 
 - Monsieur Petiton. Intermezzo di due parti per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 35, 
 [207\-229 p. 18% cm . PQ 
 
 Monsieur Petitone. O. T. of Piccinni's Madama Arrighetta. 
 Li montanari nel Peru, ballet. See Rispoli's Idalide. 
 
 Montezuma. Tragedia per musica da rappresentarsi nel Regio 
 Teatro di Berlino ... nel earnovale del MDCCLXXI. 
 Berlino, Haude e Spener, 1771. 131, [3] p. 16$ cm . 
 
 Three acts. By Frederick the Great, whose French prose text was translated into 
 Italian by Giampietro Tagliazucchi. Neither he nor the king is mentioned. Argu- 
 ment, scenario, and name of Carl Heinrich Oraun as the composer. German title- 
 page and text face Italian. 
 . Performed as indicated; previously performed there January 6, 1755. ScHATz4108 
 
 The monument in Arcadia: A dramatic poem, in two acts: By 
 George Keate, Esq. . . . 
 
 London, J. Dodsley, 1778. x, [2], 43 p. 26 cm . 
 
 Dedication, preface. No composer or performance recorded by Clarence. 
 
 LONGE 186 
 
 Der morgen des europaeischen glueckes, oder Aurora, an dem 
 hohen gebuhrts-tage des . . . herrn Joseph I, erwaehlten roemischen 
 kaeysers ... in einem schaeffer-spiel auf dem grossen Hamburgi- 
 schen schau-platz vorgestellet, im jahr 1710, den 26 julii. 
 
 Hamburg, Friedrich Conrad Greftinger, n. d. Unpaged. 19 cm . 
 
 Five acts. Scenario and congratulatory "vorbericht." Neither the author, 
 Breymann, is mentioned, nor the composer, Reinhard Keiser. To some of the arias 
 Italian text has been added. 
 
 First performed, as indicated, July 26, 1710. SCHATZ 5104 
 
 II Moro. Commedia per musica da rappresentarsi nel Teatro 
 elettorale di Sassonia. 
 
 Dresda, n. pull., 1797. 157 p. 16% cm . 
 
 Two acts. Antonio Salieri is mentioned as the composer. Giovanni de Gamerra, 
 the author, is not mentioned. German title-page, "Der mohr," and text face Italian. 
 
 First performed at Dresden, July, 1797; at Vienna August 7, 1796, at the Burg- 
 theater. SCHATZ 9303 
 
 II moro di corpo bianco ossia Lo schiavo del proprio onore, ballet. 
 See P. Guglielmi's La sposa contrastata. 
 
 II moro di corpo bianco o sia Lo schiavo del proprio onore, ballet. 
 See Marinelli's Amore aguzza Pingegno. 
 
 La mort d'Hercule. L. T. of Lully and Marais' Alcide. 
 
 La mort di Licomede. Tr. T. of the ballet La morte di Licomede. 
 
 La morte d'Agamemnone, ballet. See Andreozzi's Ines de Castro.
 
 OPERA LIBRETTOS 775 
 
 La morte d'Egisto ossia Le furie d'Oreste, ballet. See Caruso's 
 Antigono. 
 
 La morte d'Ercole Der tod des Hercules, ballet. See Jommelli's 
 Semiramide. 
 
 La morte d'Ercole, ballet. See Nasolini's Adriano in Siria. 
 
 La xnorte d'Ettore, ballet. See Nasolini's Gl' Indiani. 
 
 La morte d'Ippolito e Fedra, ballet. See Geraci's Vologeso. 
 
 La morte d'Oloferne. Tragedia sacra per musica da rappresen- 
 tarsi nel Real Teatro del Fondo di Separazione nella quadragesima 
 di quest' anno 1791. 
 
 Napoli, Vincenzo Flauto, n. d. 34 p> 15 cm . 
 
 Two parts. Cast and name of Pietro Guglielmi as composer. In an "Awiso" 
 the anonymous author says: 
 
 " . . . E siccome Pistesso sacro fatto & stato scenegigiato dall' in signe abate Pietro 
 Metastasio, sotto il titolo della Betulia Liberata, cod ha creduto ben fatto lo scrittore 
 deila presente tragedia, dove 1'e riuscito servirsi de' sentimenti d'un si immortale 
 autore, non defraudarne il publico, con trascriverli fedelmente." ML 50.2.M8G92 
 
 La morte di Oloferne. Componimento per musica. 
 
 Roma, Arcangelo Casaletti, 1791. 1 p.l., xxxvii p. 27 cm . 
 
 Two parts. Text based on "La Betulia liberata" by Metastasio. The author is 
 not mentioned. Pietro Guglielmi is mentioned as the composer. 
 
 First performed at Rome, Palazzo Colonna, April 22, 1791. ML 50.2.M8G93 
 
 - II trionfo di Giuditta o sia La morte d'Oloferne. Dramma sacro 
 
 Teatro di via della Pergola la 
 
 per musica da rappresentarsi nel Regio 
 quadragesima del MDCCXCV . . . 
 
 Firenze, Stamperia ATbizziana, 1795. 32 p. 
 
 Two acts. Cast, name of Pietro Guglielmi as the composer and same "awiso" 
 according to which the anonymous author helped himself freely to Metastasio's ' ' Betulia 
 liberata. " SCHATZ 4277 
 
 - II trioxifo di Giuditta o da La morte d'Oloferne. Dramma 
 sacro per musica da rappresentarsi nel Regio Teatro degli Awalorati 
 in Livorno la quadragesima dell' anno 1796. 
 
 [Livorno], Tommaso Masi e compagno, n. d. 46 P- 15. 
 
 Two acts. Cast, scenario, and same prefatory Avviso. 
 
 Pietro Guglielmi is mentioned as the composer. SCHATZ 11712 
 
 La morte d'Orfeo, ballet. See Gius. Scarlatti's Pelopida. 
 
 La morte di Arrigo Sesto, re d'Inghilterra, ballet. See G. Gior- 
 dani's Elpinice. 
 
 La morte di Attila, ballet. See Fioravanti's L'astuta in amore 
 ossia II furbo malaccorto. 
 
 La morte di Calisto, ballet. See Paer's Cinna. 
 
 La morte di Cesare. Dramma per musica del Signer abate D. 
 Gaetano Sertor da rappresentarsi nel nobilissimo Teatro di San 
 Samuele il carnovale dell anno 1789 . . . 
 Venezia, Modesto Fenzo, 1788. 80 p. 17.
 
 776 LIBRARY OF CONGRESS 
 
 La morte di Cesare Continued. 
 
 Three acts with licenza. Author's dedication, argument, scenario, cast, and name 
 of the composer, Francesco Bianchi. On p. 31-35 argument of the ballet "II convito 
 di Cesare,' p. 56-65 argument, cast, and full description of the ballet "Timugino, 
 gran Kan de' Tartari, in quattro atti." Both ballets were by Domenico Ricardi, 
 the composers of the music not being mentioned. 
 
 First performed, as indicated, December 27, 1788. SCHATZ 1005 
 
 Giulio Cesare. Dramma per musica del Signer abate D. Gaetano 
 Sertor da rappresentarsi nel Reg. Teatro di Trieste nella primavera 
 dell' anno MDCCXC. 
 
 Trieste, Stamperia governale, n. d. 68 p. 16% cm . 
 
 Three acts. Impresario's dedication, dated April 21, 1790, argument, cast, scena- 
 rio, and name of Francesco Bianchi as composer. The text is a later version of 
 Sertor's "La morte di Cesare." SCHATZ 1006 
 
 La morte di Cesare. Dramma per musica da rappresentarsi nel 
 Teatro grande alia Scala il carnevale 1791 . . . 
 
 Milano, Gio. Batista, Bianchi, n. d. 64 p. 16% cm . 
 
 Pages 17-18 supplied in ms. 
 
 Three acts. By Gaetano Sertor, who is not mentioned. Impresario's dedication, 
 dated Milan, December 19, 1790, argument, cast, scenario, and name of Nicola Antonio 
 Zingarelli as the composer. With the opera was performed Giuseppe Traffieri's 
 ballet "Edipo," composer of the music not mentioned and the libretto of which does 
 not appear at the end, as annunced in a footnote. 
 
 First performed, as indicated, December 26, 1790 (Schatz). SCHATZ 11263 
 
 La morte di Cleopatra. Dramma per musica da rappresentarsi 
 nel Real Teatro di S. Carlo nel dl 30. maggio 1798 per festeggiare il 
 nome glorioso di Ferdinando IV . . . 
 
 Napoli, Stamperia Flautina, 1798. 51 p. 15 cm . 
 
 Two acts. Argument, cast, scenario, name of Pietro Guglielmi as the composer, 
 and dedication, dated May 30, 1798, in which the impresario, Onorato Balsamo, says: 
 
 "Per la seconda volta, median te il vostro sovrano clementissimo beneplacito, com- 
 parisce sulle scene del vostro Real Teatro il dramma intitolato : La morte di Cleojxitra." 
 
 By whom the text was first composed and when it was first performed as indicated, 
 Schatz does not mention, but Piovano proved that the libretto is by Antonio Simone 
 Sografi, that it was composed by Nasohni, 1791, and that Guglielmi's opera was first 
 performed at Naples, Teatro di San Carlo, June 22, 1796. The libretto contains also, 
 on p. 3847, cast and description of Gaspare Ronzi's "Enea e Lavinia, ballo eroico pan- 
 tomimico," in five acts, and on p. 48-51 of his "Amor vince tutto, ballo coruico panto- 
 mimo'in un solo atto." The composers of the music are not mentioned. 
 
 SCHATZ 4253 
 
 La morte di Cleopatra. O. T. of Nasolini's Cleopatra, regina 
 d'Egitto. 
 
 La morte di Cleopatra, ballet. See Rust's Gli antiquari in Palmira. 
 La morte di Clitennestra. A. T. of the ballet Oreste. 
 La morte di Danao. A. T. of the ballet Ipermestra. 
 
 La morte di Dimone o sia L'innocenza vendicata. Dramma serio- 
 giocoso per musica da rappresentarsi nel nuovo Teatro Tron in S. 
 Cassano rautunno dell' 'anno MDCCLXIII. 
 
 Venecia, Paolo Colombani, 1763. 77 [1] p. 17. 
 
 Three acts. Prefatory note with argument, cast, and note: 
 
 "II dramma & del Sig. Giuseppe de [Joseph Felix von] Kurtz impresario, e postc in 
 versi italiani dal Sig. Giovanni Bertati. La musica e del Sig. Antonio Tozzi . . ."
 
 OPERA LIBRETTOS 777 
 
 * 
 
 La morte di Dimone Continued. 
 
 In his preface Kurtz says: 
 
 "Ecco qual sia il dramma, ch'io ho destinato di far rappresentare in queeto nuovo 
 teatro. Molto dire dovrei del dramma medeeimo, il di cui genere forse potra strano 
 eembrare al pubblico, dopo che 1' Italia si e dimenticata delle rappresentazioni, che 
 facevansi ne' suoi teatri if secolo scorso. Solamente per6 io mi ristringerd a dire, che 
 non cerco, e non pretendo con questa mia composizione d'introdurre un nuovo gusto 
 eulle scene italiane; ma che a me si conyeniva di appigliarmi ad una rappresentazione 
 di questo tal genere, affine d'introduryi que' spettacoli, e quelle decorazioni, ch'io 
 aveva destinato di produrre in questa citta; ed eccp per questo introdotte nuovamente 
 eulle scene le Deita, e la moltiplicita di personaggi." SCHATZ 10385 
 
 La morte di Geta, ballet. See Portugal's Alceste. 
 
 La morte di Licomede La mort de Licomde, ballet. See Jom- 
 melli's Demofoonte. 
 
 La morte di Meleagro, ballet. See Tritto's L'equivoco. 
 
 morte di Mitridate, tragedia per musica del Signer Sografi poeta 
 Teatro La Fenice e del Teatro comico Sant' Angelo Testate dell' 
 
 La 
 del 
 anno 1797. 
 
 Venezia, Stamperia Valvasense, n. d. 55 p. 17% cm . 
 
 Two acts. Cast and name of Nicola Antonio Zingarelli as the composer ("La 
 musica tutta nuova"). On p. [25]^-33, argument, cast, and description of Filippo 
 Beretti's ballet, "L'esilio di Tarquinio il Superbo VII. re di Roma," music by Vittorio 
 Trento. The second ballet was called "Chi la fa 1'aspetta." SCHATZ 11269 
 
 La morte di Pirro, ballet. See Bertoni's Nitteti. 
 
 La morte di Semiramide. Tragedia per musica da rappresentarsi 
 nel Teatro grande alia Scala il carnevale 1791 . . . 
 
 Milano, Gio. Batista, Bianchi, n. d. 4 P- ?-, 57, [16] p. 16% CT . 
 
 Three acts. By Antonio Simone Sografi. Impresario's dedication dated Mflan^ 
 February 9, 1791, cast, scenario, and names of the composer, Giovanni Battista 
 Borghi, and the librettist (in h.-t.). The unnumb. additional pages contain preface, 
 cast, argument, and detailed description of Giuseppe Traffieri's "Le Danaidi, ballo 
 tragico-pantomimo " in five acts and the argument of his ballet "Rinaldo d'Asti." 
 The composers of the music are not mentioned. SCHATZ 1234 
 
 La morte di Semiramide, ossia La vendetta di Nino. Tragedia 
 per musica da rappresentarsi nel Regio Teatro di S. Carlo della rrin- 
 cipessa la primavera dell' anno 1799. 
 
 Lisbona, Simone Taddeo Ferreira, 1799. 4 P- Z., 9 P- 14 cm - 
 Cast, scenario, and name of composer, Borghi. Portuguese text faces Italian. 
 
 SCHATZ 1240 
 
 La morte di Semiramide ossia La vendetta di Nino. Dramma 
 per musica da rappresentarsi nel Ces. Reg. Teatro di Trieste Fautunno 
 dell' anno 1795. 
 
 Trieste, Stamperia govemiale, n. d. 48 p. 16% cm . 
 
 Three acts. By Antonio Simone Sografi, who is not mentioned, and is not to be 
 confused with the author or rather arranger of the text with same title as composed 
 1802 by Nasolini, who is not mentioned, but is known to be the composer of this 
 earlier opera, too. Dedicatory poem by the impresario dated Trieste, October 3, 
 1795, cast, and scenario. With the opera was performed Michele Fabiani's "II trionfo 
 d'Arbace, ballo eroico in cinque atti," music ("scritta espressamente") by "Moris. 
 d'Anglois, virtuoso di S. M. il re di Sardegna." 
 
 First performed at Rome, Teatro Argentina, carnival 1792, under the title "Semi- 
 ramide." SCHATZ 7013
 
 778 LIBRARY OF CONGRESS 
 
 
 
 La morte di Semiramide. L. T. of Prati's La vendetta di Nino. 
 
 La morte ed il rinascimento del pastore Adone, ballet. See 
 Bach's Artaserse. 
 
 Les mortels. Entree in Brassac's L'empire de 1'amour. 
 
 I morti fatti sposi, ballet. See Cimarosa's Gli Orazi e i Curiazi. 
 Les morts vivans. A. T. of Le Petit 's Le combat nocturne. 
 Moschetta e Grullo. Intermezzi in Sarro's Siroe, r& di Persia. 
 
 II mostro, ossia Da gratitudine amore. Dramma per musica da 
 rappresentarsi nel Teatro Elettorale, composta da Caterino Maz- 
 zola . . . 
 
 Dresda, n. publ, 1786. 135 p. 15\ cm . 
 
 Two acts. Franz Seydelmann is mentioned as the composer. German title- 
 page "Das ungeheuer, oder Liebe aus dankbarkeit," and text wee Italian. 
 
 First performed 1786, as indicated. SCHATZ 9846 
 
 Motezuma. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto per la fiera dell' Ascensione dell' anno 1772. 
 Venezia, Modesto Fenzo, 1772. 56 p. 16% cm . 
 
 Three acts. Argument with name of the author, Vittorio Amedeo Cigna-Santi, 
 cast, scenario, and name of Baldassare Galuppi as composer. (" La musica sari del.") 
 First performed May 27, 1772, as indicated. SCHATZ 3463 
 
 Motezuma. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1780 . . . 
 
 Torino, Onorato Derossi, n. d. mil, 60 p. 15% cm . 
 
 Three acts. Argument, cast, scenario, and names of Vittorio Amedeo Cigna-Santi 
 as author, of Giacomo Insanguine as composer. With the opera were performed, 
 libretto published separately in French and Italian, Sebaetiano Gallet's ballets "II 
 tempio della pazzia," "Bacco ed Arianna," and "II guerrier generoso," music by 
 Vittorio Amedeo Canavasso. SCHATZ 4835 
 
 Motezuma. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1765 . . . 
 
 Torino, Gaspare Bayno, n. d. 8 p. I., 60 p. 16\ cm . 
 
 Three acts. Argument, cast, scenario, and names of Vittorio Amedeo Cigna-Santi 
 as author, of Giovanni Francesco de Majo as composer of the opera, and of Giuseppe 
 Antonio Le Messier as composer of the three incidental ballets. SCHATZ 5858 
 
 Motezuma. A serious opera. To be performed at the King's 
 Theatre in the Hay-Market. The music, entirely new, by Signer 
 Sacchini. The translation by Bottarelli, jun. teacher of languages. 
 London, T. CadeU, 1775. iv, 53, [1] p. 19. 
 
 This title on p. [1|. It is preceded by the iv p. with the author, Giovan Gualberto 
 Bottarelli's, dedication (dated February 1, 1775) to the duke of Dorset. The last 
 unnumb. page contains "Proposals for printing by subscription several Odes of 
 Horace, translated into Italian verse by G. G. Bottarelli and set to music by Messrs. 
 Bach, Vento, Giordani, Boroni, Holtzbauer, Barthelemon, and others . . . 
 
 The cast is preceded by G. G. Bottarelli's notice to the reader with a very brief 
 argument, and reading in part: 
 
 "I do not see what objections can arise against Motezuma's dying on the opera- 
 stage, breathing the language of harmony, when actors die on other stages in tragedy, 
 speaking the language of the Muses.
 
 OPEBA LIBRETTOS 779 
 
 * 
 
 Motezuma Continued. 
 
 "I hope the British nation (I mean such as are inspired by Apollo, and whose 
 genius's are happily composed to form the learned world) will take in good part these 
 attempts of an honest man, who has laboured these seven and twenty years, both night 
 and day, either to add new pleasures to the entertainment, or to give a new face and 
 form to the old ones." SCHATZ 9232 
 
 Motezuma. Drama per musica da rappresentarsi nel Teatro di 
 Sant' Angelo nell' autunno dell' anno 1733. 
 
 Venezia, Marino Rossetti, n. d. 60, [1] p. 15 cm . 
 
 Three acts. By Alvise Giusti, who is not mentioned. Argument, cast, scenario, 
 and name of Antonio Vivaldi as the composer. The additional page contains the 
 substitute aria, "A svenare il mostro gl'empi" (I, 16), and the additional aria, "II 
 nochiero coraggioso" (II, 2). SCHATZ 10773 
 
 The recitatives, airs, etc. in the new pantomime entertainment of 
 Mother Shipton. As it is now performing at the Theatre-Royal in 
 Covent-Garden. The second edition. 
 
 London, n. publ., 1771. 8 p. 21 em . 
 
 Cast. Neither the author (unknown to Clarence) nor the composer, Samuel 
 Arnold, is mentioned. 
 
 First performed 1770. ML 52.2.M6 
 
 Moulinet premier, parodie de Moulinet Second, tragedie. 
 
 Paris, Praultfils, 1739. 2 p. I., 56 p. 19. (Theatre de M. 
 Favart, Paris, Duchesne, 1763-77, t. vi.) 
 
 One act. Text (in prose and vaudevilles) preceded by "Epistre. Moulinet a 
 Mahomet" and followed, on p. 55-56, by "Compliment de Moulinet au public. A la 
 cldture du Theatre de l'Ope>a-comique, le 21 mars 1729," with "Nota. La parodie 
 a 6t represented pour la premiere fois, le 15 mars 1739." Parody of de la Noue's 
 "Mahomet II," first played at the Th6atre-Francais on February 23, 1739. Font does 
 not mention Favart's musical collaborator. ML 49.A2F1 
 
 Songs, duets, choruses etc in The mountaineers; a play, in three 
 acts. Performed at the Theatre Royal, Hay-Market. Second 
 edition. 
 
 London, T. CadeU, 1793. 1 p.l., 5-20 p. 20. 
 
 Neither the author, George Colman, jun., is mentioned, nor the composer, Samuel 
 Arnold. 
 
 First performed August 3, 1793. LONOE 227 
 
 -The mountaineers; a play, in three acts; written by George 
 Colman; (the younger) and first performed at the Theatre Royal, 
 Haymarket, on Saturday, August 3, 1793. 
 
 London, J. Debrett, 1795. 2 p.l., 90, [2} p. 20. 
 
 The [2] p. contain booklists of Debrett. Cast. LONQE 231 
 
 Mountaineers of Switzerland. A. T. of Carr's The archers. 
 
 The mouth of the Nile ; or, The glorious first of August, a musical 
 entertainment. By T. Dibdin. As performed at the Theatre-Royal, 
 Covent-Garden. The second edition. 
 London, J. Barker, 1798. 26, [2] p. 21. 
 
 On the [2] p., Barker's booklists. One act. Cast and prologue. The composer, 
 Thomas Attwood, is not mentioned. 
 
 First performed October 25, 1798. LONOE 254 
 
 Die muellerin. Tr. of de La Borde's La meuniere de Gentilly.
 
 780 LIBRARY OF CONGRESS 
 
 
 
 Die miillerin oder Die streitig gemachte Hebe. Tr. of Paisiello's La 
 molinara o sia L'amor contrastato. 
 
 Das muendel. Ein lustspiel mit gesaengen, in zwey aufzuegen, von 
 Ch. G. K. [orb] 
 
 AUona, J. E. S. Hellmann, 1783. 56, [1] p. 16\ cm . 
 
 Not recorded by Schatz. ML 50.2.M86 
 
 A mulher caprichosa. Tr. T. of Gazzaniga's La moglie capricciosa. 
 
 Les Muses, ballet represent^ par 1'Academie royale de musique 1'an 
 1703. Les paroles de M. Danchet & la musique de M. Campra. 
 LIX. Opera. 
 
 n. i., n. d. front., 111-172 p. 14 cm > (Recueil general des opera, 
 Paris, 1706, t. viii.) 
 
 Detached copy. Prologue and four entries, called "La pastorale," "La satyre," 
 "La trag&lie," "La com^die." 
 
 First performed, as indicated, October 28, 1703. SCHATZ 1558 
 
 Second copy. ML 48.R4 
 
 - Amarillis, pastorale, represented par 1'Academie royale de 
 musique, a la place de celle qui se trouve dans Le ballet des Muses. 
 Composee par MM. Danchet & Campra. 
 
 n. i., n. d. 173-180 p. 14 cm - (Recueil general des opera, Paris, 
 1706, t. viii.) 
 
 Detached copy. One act. At end, the remark, "Cette pastorale finit par le diver- 
 tissement de la premiere pastorale, cy devant page 124," t. e., "le ballet des Muses." 
 First performed at Paris, Academic royale de musique, September 10, 1704. 
 
 SCHATZ 1542 
 Second copy. ML 48. R4 
 
 - Les Muses, ballet. Repr6sente" par l'Acad6mie royale de musique 
 le 8 octobre 1703. 
 
 [19S]-268 p. ll\ cm . (Antoine Danchet, Theatre, t. ii, Paris, 1751.} 
 Prologue and the same four entries. Campra, the composer, is not mentioned. 
 
 PQ 1972.D2 
 
 Amarillis, pastorale, represented, par I'Acad&nie royale de 
 
 musique, a la place de celle, qui se trouve dans Le ballet des Muses. 
 
 [255\-263 p. ibidem. PQ 1972.D2 
 
 The Muses in mourning. An opera. 
 
 [3]-l 7 p. 21 cm . (Aaron Hill, Dramatic works, London, T. Lownds, 
 1760, vol. ii.) 
 
 One act. No composer or performance recorded by Clarence. LONGE 326 
 
 Das muster rechtschaffener ehelichen liebe. A. T. of Handel's 
 Zenobia. 
 
 La muta per amore. A. T. of Moneta's II capitan Tenaglia. 
 
 La muta per amore. Dramma giocoso per musica di Cerilo Orco- 
 meno P. A. della Colonia Renia. Da rappresentarsi nel nobile Teatro 
 di San Samuele nel carnovale dell' anno 1781 . . . 
 Venezia, Modesto Fenzo, 1781. 72, [1] p. 16% cm . 
 
 Two acts. Dedication, cast, scenario, and name of Michele Mortellari as the 
 composer. Author's real name not mentioned by Wotquenne. SCHATZ 6693
 
 OPERA LIBRETTOS 781 
 
 Mutio Scevola. See M. Curzio. 
 
 Mutio Scevola. Drama per musica nel Teatro a S. Salvatore 
 
 1'anno 1665 . . . 
 
 Venetia, Guliani, 1665. front., 94 p. (incl. pi.) 14%- 
 
 Three acts with prologue. By conte Niccol6 Minato. Author's dedication dated 
 
 Venice, January 26, 1665, preface, argument, and scenario. The composer, Pietro 
 
 Francesco Cavalli, is not mentioned. SCHATZ 1739 
 
 Mutius Scaevola. Tr. of Mattel, Bononcini and Handel's Muzio 
 Scevola. 
 
 II muto per astuzia. Farsa giocosa per musica di Giuseppe Foppa 
 da rappresentarsi nel nobile Teatro Giustiniani in San Moisd il carno- 
 vale dell' anno 1799. 
 
 [Venezia], n. pull., n. d. 36 p. 17%. 
 
 One act. Cast and name of Bernardini (Marcello di Capua) as composer. 
 
 SCHATZ 851 
 
 Mutter Natur in ihren kindern. A. T. of Piccinni's Der gluecks- 
 wechsel. 
 
 II Muzio Scevola. Dramma per musica del nobile Signore Carlo 
 Giuseppe Lanfranchi Rossi, patrizio Pisano, da rappresentarsi nel 
 Nuovo Teatro della citta di Padova per la solita fiera dell' anno 
 1762 . . . 
 
 Padova, Conzatti, 1762. 62, [2} p. 17 cm . 
 
 Three acts. Impresario's dedication, argument, scenario, cast, and name of 
 Baldassare Galuppi as composer. ("La musica e nuova.") The additional pages 
 contain the substitute arias (II, 6) " Almen la sorte arrida " and "Aria di Tito. Veggo 
 nel gran cimento." 
 
 First performed in June, 1762, as indicated. SOHATZ 3464 
 
 Muzio Scevola, drama per musica, da rappresentarsi nel Teatro d' 
 Hamburgo, 1'anno 1723 Mutius Scaevola . . . 
 Hamburg, Caspar Jakhel, n. d. Unpaged. 18^ cm . 
 
 Three acts and prologue. Argument, cast, scenario. The prologue has German 
 text only; the three acts German (author unknown to Schatz) and Italian (by Paolo 
 Antonio Rolli). Neither he is mentioned, nor any composer. 
 
 Chrysander, when speaking of the first performance of the opera at London, Hay- 
 market, April 15, 1721, in his Handel biography, proved that the single acts were 
 composed by Filippo Mattel (called Pippo), Giovanni Battista Bononcini (who also 
 composed the overture published by Walsh), and Georg Friedrich Handel, in the 
 order named. The error of naming Attilio Ariosti (who was not in England at the 
 time) as one of the collaborators instead of Mattei is due to Hawkins (V, 277) and 
 Burney (IV, 258). Also Filippo Amadei has been mentioned as composer of the 
 first act. That would not add to the controversy if the claim of Schatz is correct, that 
 Filippo Amadei was merely the real name of Filippo Mattei. 
 
 First performed at Hamburg, January 7, 1723; at London, as above. SCHATZ 168 
 
 - Muzio Scevola. 
 
 [87]-99 p. 17 cm . (RoUi, Componimenti poetici, Nuova edizione, 
 Verona, G. Tumermani, 1744.) 
 
 Three acts. Argument and dedication. ML 49.A2R7 
 
 II Muzio Scevola. Drama per musica . . . 
 
 Napoli, Dom. Ant. Parrino e Michele Luigi Muzio, 1698. 71 p. 
 13 cm .
 
 782 LIBRARY OF CONGRESS 
 
 n Muzio Scevola Continued. 
 
 Three acte. By conte Niccol6 Minato, who is not mentioned. Impresario's dedi- 
 cation, argument, cast, and scenario. The composer, Alessandro Scarlatti, is not 
 mentioned. Dent says: "ascribed by Florimo and others to A. Scarlatti without any 
 apparent documentary evidence." 
 
 First performed at Naples, Teatro di S. Bartolomeo, 1698. SCHATZ 9528 
 
 My grandmother; a musical farce, in two acts, as performed at the 
 Theatre Royal, Haymarket. The music composed by Mr. Storace. 
 
 n. pi., Printed for the curious, 1794. 19, [1] p. 17\ cm . 
 
 Cast. The author, Prince Hoare, not mentioned. 
 
 First performed December 16, 1793. LONGE 233 
 
 Myndlingen og Sladdreren. Tr. of d'Avossa's La pupilla ed il 
 ciarlone. 
 
 Myrrha und Elvira oder Das opferfest. L. T. of Winter's Das unter- 
 brochene opferfest. 
 
 Myrtil et Lycoris, pastorale. Represented devant Leurs Majestes 
 a Choisy, en septembre 1778. 
 
 [Paris], P. R. OhristopJie Bollard, 1778. 4 p. I, 22 p. 21 cm . 
 
 One act. Cast. Bocquet de Liancourt and Maximilien Jean Boutellier are men- 
 tioned as authors, [Leopold Bastien] Desormery as composer. 
 
 First performed at Fontainebleau, November 4, 1777; at Paris, Academic royale 
 de musique, October 2, 1777. ML 50.2.M92D2 
 
 Myrtillo. See Venus and Adonis. 
 
 Mysis ed Eufrasia ossia I due gemelli, ballet. See Trento's opera 
 Bianca de' Rossi. 
 
 The mysteries of the castle: a dramatic tale, in three acts; as 
 performed at the Theatre-Royal, Covent-Garden. Written by Miles 
 Peter Andrews, Esq. 
 London, T. N. Longman, 1795. 1 p. I, 89, [3] p. 20. 
 
 Cast, prologue, epilogue, and prefatory note, of date February 24, 1795, stating that 
 the prologue and song in praise of Hawking is by Capt. Topham. William Shield, 
 who partly selected, partly composed the numerous songs, gleee, etc., is not mentioned. 
 
 First performed January 31, 1795. LONGE 229 
 
 Der nachlaessige. Tr. of Ciampi's II negligente. 
 
 Die nacht. Tr. of Piccinni's Notte critica. 
 
 Die nachtmusik. A. T. of Mitscha's Adrast und Isidore. 
 
 Nais, ballet-h6roique, avec un prologue, represents, pour la premiere 
 fois, par I'Academie-royale de musique le mardi 22 avril 1749, et 
 remis au Theatre le mardi 7 aout 1764. 
 
 Paris Aux depens de I' Academic, ches de Lormel, 1764. 59, [1] p. 
 }*. 
 
 Three entries and prologue, called "L'accord des dieux." Cast, brief argument, 
 and names of Louis de Cahueac as author, of Jean Philippe Rameau as composer. 
 
 ML 52.2.N22
 
 
 OPERA LIBRETTOS 783 
 
 La uaissance de Venus, opera. Represented par 1'Academie 
 royale de musique 1'an 1696. Les paroles sont de M. Picque & la 
 musique de M. Collasse. XXXIX. opera. 
 
 n. i., n. d. front., 353-414 P> 14 cm - (Recueil general des opera, 
 Paris, t. v, 1703.) 
 
 Detached copy. Five acts and prologue. 
 
 First performed May 1, 1696, as indicated. SCHATZ 2101 
 
 Second copy. ML 48. R4 
 
 Der name thut nichts zur sache. A. T. of Schack's Die beiden 
 Antone and originally of Anton der dunune gaertner. 
 
 Nancy : or, The parting lovers. An interlude. Set to music by the 
 author. 
 
 [245}-254, [2] p. 22 cm . (Henry Carey, Dramatick works, London. 
 1743.} 
 
 One act. Argument, in which Carey says that the subject of his interlude is based 
 on an actual occurrence, and that from it: 
 
 "the author drew the following sketch, and fonn'd it into an interlude, a kind of 
 entertainment formerly in great request, but now almost a stranger to the English 
 stage. The Italians still preserve it under the name of Intermezzo, which is equal to 
 the word Interlude. These little starts of fancy, not only afford a present diversion, 
 and supply a vacancy on the stage, while other entertainments are getting ready; but, 
 by encouragement and improvement, sometimes become entertainments themselves." 
 
 First performed at Drury Lane 1739 ; revived in 1755, as ' ' The press gang, or Love in 
 low life, "on the prospect of a war, and frequently brought forward on similar occa- 
 sions under the title of True Blue" (Grove). ML 49.A2C2 
 
 Nanette et Lucas, ou La paysanne curieuse, comedie en prose, 
 m&e'e d'ariettes, en un acte; repre'sente'e pour la premiere fois par 
 les Come'diens italiens le 14 juin 1764. Les paroles sont de M. 
 Framery. La musique de M. le chevalier d'Herbain. 
 Paris, Claude Herissant, 1754 [!] 51 p. 19 cm . 
 
 Cast and Framery 's complimentary "Epftre a Messieurs les acteurs de Nanette et 
 Lucas." ML 50.2.N17H3 
 
 Nanette et Lucas, ou La paysanne curieuse, come'die en prose, 
 me'le'e d'ariettes, en un acte; repre'sente'e pour la premiere fois par 
 les Com^diens italiens le 14 jum 1764. Les paroles sont de M. 
 Framery. La musique de M. le chevalier d'Herbain. 
 
 Paris, Claude Herissant, 1775. 40 p. 19 cm . 
 
 On p. 1&-19, the air of "Cet amour qu' en vous voyant" (I, 7). SCHATZ 4644 
 
 Nanine, soeur de lait de la reine de Golconde; pastorale en 
 trois actes; en ariettes et vaudevilles choisis. 
 
 Gen&ve et se trouve a Paris, chez la veuve Duchesne, 1773. 64 p. 
 21. 
 
 Argument. On p. 57-64 the "Airs de'tacheV': "Nos plus beaux jours," "Ou 
 suis-je transport^?" "Non, je ne puis plus." Neither the author, Desfontaines de 
 Lavall^e, is mentioned, nor the composer, Jean Joseph Rodolphe. 
 
 First performed at Fontainebleau, Theatre de la Cour, 1773. ML 50.2.N2R7 
 
 Nannerl bei hofe. A. T. of Der verliebte eigensinn.
 
 784 LIBRARY OP CONGRESS 
 
 Li Napoletani in America. Dramma giocoso per musica da rap- 
 presentarsi nel Real Teatro dell' Ajuda in occasione di festeggiarsi il 
 relicissimo giorno natalizio di Sua Reale Maesta . . . D. Marianna 
 Vittoria . . . nella primavera dell' anno 1775. 
 Lisbona, Stamperia reale, n. d. 88 p. 15 cm . 
 
 Three acts. Cast, scenario, and names of Francesco Cerlone as author, of Niccol6 
 Piccinni as composer. 
 
 First performed March 31, 1775, as indicated; at Naples, Teatro de' Fiorentini, 
 June 10, 1768. SCHATZ 8133 
 
 Narbale. Dramma per musica da rappresentarsi nel Teatro Gius- 
 tiniani di San Moisfc nella fiera dell' Ascensione dell' anno 1774. 
 
 Venezia, Modesto Fenzo, 1774. 4? P- W cm - 
 
 Three acts. Argument, cast, scenario, and name of the composer, Ferdinando 
 Giuseppe Bertoni, and of the author, Metastasio. The argument contains this ludi- 
 crous out characteristic remark: 
 
 "Questo atto eroico diede occasione al rinomatissimo Metastasio di formarne il 
 drain ma, che ha per titolo: L'Eroe cinese. Per le convenienze poi di questi cantanti, 
 e le circostanze del teatro, che non poterono accomodarsi al vestito e scena Cinesi, si e 
 pensato mutare e scena e nomi de' personaggi, e per conseguenza anche il titolo del 
 dramma, conservandone tutta 1'azione." 
 
 With the opera was performed (composer of the nfusic not mentioned) Domenico 
 Ricciardi's ballet, "II ratto delle Sabine," description and cast of which on p. 20-22. 
 
 First performed, as indicated, May 25, 1774. SCHATZ 940 
 
 Narciso. 
 
 p. 9-55. 15\ cm . (Ottavio TronsareUi, Drammi musicali, Roma, 
 Francesco Corbelletti, 1632.) 
 
 Prologue and five acts. Argument. No composer mentioned. ML 49.A2T7 
 
 II Narciso. 
 
 Apostolo Zeno, Poesie drammatiche t Venezia, 1744, t- vii, p. [293]-358. 
 19 cm . 
 
 Five acts. Argument and prefatory note referring to the first edition of this 
 "dramma pastorale" published at "Aspac, per Geremia Rretschmann nel 1697," with 
 Francesco Antonio Pistocchi's name as composer, etc. It is further said that Pis- 
 tocchi performed the part of Narciso and that Zeno wrote the play in fifteen days. 
 In the "Catalogo" at end of t. x is this note: "in Aspac. 1696. Ediz. assai guasta, e 
 storpiata." As a matter of fact, the Anspach ed. is not dated. ML 49.A2Z3 
 
 II Narciso, publicato per la prima volta in Aspac 1696. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. i, p. 103-158. 
 21 cm . 
 
 Five acts. Argument. No composer is mentioned. ML 49.A2Z4 
 
 II Narciso. Favola boschereccia rappresentata in musica nella citta 
 di Lodi . . . 
 Lodi, Menletti, n. d. 4 p. 1., 80 p. 15 cm . 
 
 Three acts with prologue. By Francesco de Lemene, who is not mentioned. 
 Dedication dated Lodi, September 29, 1676, and signed by the composer, Carlo 
 Bortio. SCHATZ 1254 
 
 II Narciso. Pastorale per musica da rapresentarsi nel novissimo 
 Teatro di corte d'Anspacn, consegrata all' Altezza Serenissima Elet- 
 torale di Madama Soma Charlotte ... da Francesco Antonio Pis- 
 tocchi, mastro di capella dell' Altezza Serenissima il Margravio di 
 Brandenburgo. 
 
 Anspach, Geremia Kretschmann, n. d. Unpaged. 19 cm . 
 
 Five acts. Composer's dedication, notice to the reader with Apostolo Zeno'e 
 name as the author and of Johann Christian Rau as author of the German translation
 
 OPEKA LIBRETTOS 785 
 
 II Narciso Continued. 
 
 that faces the Italian text. Argument, scenario, and cast, in which Giuseppe Maria 
 Cassani's name was added on a printed slip for the character of the originally blank 
 Lesbino. 
 
 First performed in 1697, as indicated. SCHATZ 8197 
 
 II Narciso, drama pastorale, da rappresentarsi sul Regio Teatro 
 Danese, il carnovale dell' anno 1763. Narcissus . . . 
 Ei0benhavn, Lars Nielsen Svare, n. d. 109 p. 15\ cm . 
 
 Three acts. Argument, cast, and names of Apostolo Zeno as author, of Giuseppe 
 Sarti as composer ("La musica e tutta nuova"). Danish text faces Italian. 
 
 SCHATZ 9450 
 
 Narciso et Ecco immortalati. Opera drammatica di Oratio Per- 
 siani rappresentata in musica in Venetia . . . 
 
 Venetia, Antonio Bariletti, 1642. 81, 18 p. 14 cm . 
 
 The last page of the libretto incorrectly numbered 65. In three acts with prologue. 
 Author's dedication, dated Venice, January 30, 1642. The additional 18 p. contain 
 the "Argomento et scenario ..." The composer, Pietro Francesco Cavalli, is 
 not mentioned. 
 
 First performed at Venice, 1642, Teatro a SS. Giovanni e Paolo, as indicated. 
 
 SCHATZ 1747 
 Narcissus. Tr. of Sarti's II Narciso. 
 
 Die narren fiir liebe. Tr. of Cocchi's Li matti per amore. 
 
 Die narrheiten der eifersucht. Tr. of Anfossi's Le pazzie 
 de'gelosi. 
 
 II Narsete, generate di Giustiniano imperatore. SeeM. Curzio. 
 
 II natal d' Apollo. Cpmponimento drammatico per festeggiare la 
 nascita di S. A. R. il principe ereditario delle Sicilie. 
 Napoli, Stamperia redle, 1775. front., 78 p. 19\ cm . 
 
 Two acts and licenza. Vignettes, etc. Argument, scenario, cast, names of Saverio 
 Mattei as author, of Pasquale Caf aro as composer. The two acts were separated by 
 "La gara degli atleti, ballo." The componimento was followed by Carlo Lepicq's 
 five-act "Adelaide di Guesclin, ballo eroico," of which, without name of the composer 
 of the music, cast, argument, and scene by scene description. 
 
 First performed, as indicated, January 4, 1775, Teatro di San Carlo. 
 
 ML48.M2G 
 
 II natal d'Ercole di Michelagnolo Buonarroti. Fayola rappresen- 
 tata al serenissimo Signor Don Alfonso da Este, principe di Modana, 
 e all' eccellentissimo Signor Don Luigi suo fratello, nella venuta loro 
 a Firenze. Da Madama serenissima di Toscana. Nel palazzo dell' 
 Eccellentiss. Sig. D. Antonio Medici, [coat of arms] 
 Firenze, Giunti, 1605. 4 p. 1., 51 p. 21 cm . 
 
 Prologue and five acts. Buonarroti's dedication is dated Florence, October 22, 
 1605. Since he speaks of "Questa mia favola del Natal d'Ercole, rappresentata a 
 V. A. S. e all' eccellentiss. Sig. D. Luigi suo fratello, ben che al presente comparisca 
 fuori spogliata de gli ornamenti dell' apparato, e per se poco adorna ..." The per- 
 formance would seem to have taken place before October 22, 1605, but a contempo- 
 rary diary of court happenings, which Solerti quotes in "Musica . . . alia Corte 
 Medicea dal 1600 al 1637 " make it quite clear that October 22, 1605, was the date 
 of first performance. The diary does not mention the composer. Nor is he men- 
 tioned in the libretto, nor by Solerti, Eitner, Vogel, Corazzini, yet Schatz attributes 
 the music to Jacopo Peri. The words of "II natal d'Ercole" do not appear with 
 any of his published music. SCHATZ 7920 
 
 Second copy. ML 48.M2 I 
 
 72251 VOL 114 50
 
 786 LIBRARY OF CONGRESS 
 
 II natal di Giove. 
 
 Metastasio, Poesie, Parigi, vedova QuiUau, 1755, t. ii, [481]~454 p. 
 16 cm . 
 
 One act. ML 49.A2M42 
 
 - II natal di Giove. Azione teatrale, rappresentata la prima volta, 
 con musica del Bonno, negli appartamenti dell' Imperial Favorita 
 dalle reali arciduchesse Maria Teresa (poi imperatrice regina), e 
 Marianna di lei sorella, dal R. principe Carlo di Lorena, e da una 
 dama, ed un cavalier della corte, alia presenza de' sovrani, per festeg- 
 giare il giorno di nascita dell' imperator Carlo VI, il dl primo ottobre 
 1740 . . . 
 
 [359]-384 p. 26 cm . (Pietro Metastasio, Opere, t. i, Parigi, vedova 
 Herissant, 1780.) 
 
 One act. Argument. ML 49.A2M44 
 
 II natale augusto. Dramma per musica per celebrare il felicissimo 
 nascimento di S. A. Serenissima Donna Maria, principessa della 
 Beira. Da cantarsi in atto di umilissimo ossequio in casa di Anselmo 
 Jose da Cms Sobral. 
 
 Lisbona, Simone Taddeo Ferreira, 1783. 4 P- l-> 38 p. 16 cm . 
 
 Prologue, two acts. Gaetano Martinelli is mentioned as the author, Antonio Leal 
 Moreira as the composer. The princess was born April 29, 1793. 
 
 First performed, as indicated, Lisbon, May, 1793. SCHATZ 6637 
 
 II natale di Minerva. Dramma musicale. 
 
 Girolamo Bartolommei Smeducci, Drammi musicali morali, Firenze, 
 1656, v. i, p. [59}-99. 23. 
 
 Prologue and three acts. Argument, allegoria, and dedication to duke Ferdinand 
 of Bavaria, beginning: 
 
 "Queste mie musicali fa vole, che nel tempo delle fortunatissime nozze di V. A. S. 
 giunsero in penna a farle divotissima offerta, ritornano, rinnovate con la stampa, a 
 dedicarsi air A. S. Sereniss. . . ." ML 49.A2B3 
 
 Nature et patrie. A. T. of Gre"try's Callias. 
 
 Naturens r0st. Et syngestykke i tre akter. Lyrisk omarbejdet 
 efter Armands original: Le cri de la nature, komoedie i een akt. Af 
 E. Falsen. Musiken af hr. kapelmester Kundzen. 
 
 Kj0benhavn, Johan Fredrik Schultz, 1799. 100 p. 15^ cm . 
 
 First performed at Copenhagen, Royal Theatre, December 3, 1799. SCHATZ 5327 
 
 Le naufrage au port, comedie en un acte, melee de vaudevilles par 
 les CC. Pain et Midet; repre"sentee pour la premiere fois sur le 
 Theatre du Vaudeville le 13 Fructidor, Fan 2 me de la RSpublique 
 franpaise. 
 
 Paris, au Theatre du Vaudeville, an troisieme, [1794-95}. 39 p. 20. 
 Cast. On p. 38, the air of the vaudeville, "Pour voir accueillir." 
 First performed, as indicated, August 30, 1794. ML 48.M2H 
 
 II naufragio di Cipro. Dramma pastorale per musica, nuova- 
 mente composto per essere rappresentato sul Regio Teatro di Copen- 
 aga, nel came vale dell' anno 1764. Skibbmddet ved Cypren . . . 
 Oversadt paa dansk, af R. Soelberg . . . 
 
 Ki0berihavn, Lars Nielsen Svare, n. d. 95 p. 16 cm . 
 
 Three acts. Argument, cast, and names of Pietro Antonio Zani as author ("La 
 poesia 6 tutta nuova "), and of Giuseppe Sarti ("La musica 5 tutta nuova "). Danish 
 text faces Italian. 
 
 First performed, as indicated, in January, 1764. SCHATZ 9451
 
 OPERA LIBRETTOS 787 
 
 II naufragio felice, ballet. See Borghi's La donna instabile. 
 
 The naval pillar: A musical entertainment. Performed at the 
 Theatre-Royal, Co vent-Garden, with unbounded applause. By T. 
 Dibdin . . . 
 
 London, J. Barker, 1799. 27, [1] p. 21\. 
 
 Cast, prefatory note, and name of "Mr. [John] Moorehead" as composer of "the 
 overture, new songs, and music of the dance." He also utilized a few national and 
 old airs and the "Glee and chorus: When Britain first her flag uprear'd," by Callcott. 
 
 First performed October 7, 1799. (Genest.) LONGE 258 
 
 La nave d'Argo. See M. Curzio. 
 
 Le navigateur. A. T. of Philidor's Melide. 
 
 Die neapolitanische fischer-empoerung. A. T. of Reiser's 
 Masagniefio furioso. 
 
 Nebucadnezar, koenig zu Babylon. See Reiser's Der bestuerzte 
 und wieder erhoehte . . . 
 
 La neqessita non ha legge. Dramma giocoso per musica da rap- 
 presentarsi in Bologna nel Teatro Marsigli Rossi nel' estate dell' 
 anno 1784 . . . 
 Bologna, Sassi, n. d. 54 p. 15 cm . 
 
 Two acts. Author unknown to Schatz. With impresario's dedication, cast, 
 scenario, and name of the composer, Vincenzo Fabrizj. Practically the same text as: 
 
 SCHATZ 2976 
 
 La necessita non ha legge. Dramma giocoso per musica da 
 rappresentarsi nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. pull., 1786. 119 p. 15 cm . 
 
 Two acts. Author unknown to Schatz. German text and title-page, "Noth hat 
 kein gesetz," face Italian. With cast and name of the composer, Vincenzo Fabrizj. 
 
 SCHATZ 2969 
 
 II negligente. 
 
 [17S]-218 p. 16\ cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. ii, Torino, 1757.) 
 
 Three acts. First composed by Ciampi as below. ML 49.A2G6 
 
 II negligente. Dramma di tre atti per musica. Rappresentato 
 per la prima volta in Venezia 1'anno 1753. [!] 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 44> 
 [183]-231 p. 18 cm . PQ 
 
 II negligente. Dramma comico per musica da rappresentarsi nel 
 Teatro Giustinan di S. Mois I'autunno dell' anno 1749. 
 
 Venezia, Modesto Fenzo, 1749. front., 48 p. 14% cm . 
 
 Three acts. By Goldoni, with alterations. Cast and name of composer, Legrenzio 
 Vincenzo Ciampi. SCHATZ 1886 
 
 II negligente, drama per musica. Tradotto dalT italiano in 
 tedesco da Marco Soralli, maestro della lingua italiana in Norim- 
 berga. Der nachlaessige, eine musicalische opera. Ubersetzt aus 
 dem italiaenischen ins teutsche und verbessert von Marco Soralli . . . 
 
 n. i., n. d. 109 p. 17 cm . 
 
 Three acts. German text faces the Italian. The cast is that of Fiieret Thurn uml 
 Taxis private company, managed by Girolamo Bon, which first performed the opera
 
 788 LIBRARY OF CONGRESS 
 
 II negligente Continued. 
 
 at Frankfort o/M, Theaterbude am Rossmarkt, October 5, 1754. A foot-noto an 
 p. [2] reads: 
 
 La musica delle arie, duetti, terzetti e quartetti sono del celebre Signor Vincenzo 
 Ciampi, Maestro napolitano." 
 
 The text is not quite the same as in "II negligente," Venezia, 1749. For instance, 
 
 Le negociant de Nantes. A. T. of Solid's Le Franc Breton. 
 
 Nel perdono la vendetta. Melodramma da rappresentarsi nel 
 Teatro Giustiniano di S. MoisS per la fiera dell' Ascensione dell' anno 
 1728. 
 
 Venezia, Aloise Valvasense, 1728. 4& P- 15 cm . 
 
 Pages 3-4 perhaps missing. 
 
 Three acts. Notice to the reader as argument, and scenario. Neither the author, 
 Carlo Paganicesa, nor the composer, Giovanni Porta, is mentioned. 
 
 First performed in May, 1728, as indicated. SCHATZ 8384 
 
 Le nemiche degli uomini, ballet. See Tarchi's Dorval e Virginia . 
 
 I neniici generosi o sia II duello per complimento. Dramma giocoso 
 per musica da rappresentarsi nel Regio Teatro di via della Pergola la 
 primavera del 1797 . . . 
 
 Firenze, Stamperia Albizziniana, 1797. 52 p. 16% cm . 
 
 Two acts. Without names of the composer, Cimarosa, or author, who is unknown 
 to Schatz. On p. 4-10, argument, cast, and detailed description of Gio. Batista 
 Giannini's four-act "La fata benefica. Ballo persiano favoloso." Paisiello and 
 Ercolani are mentioned as the composers of the music. 
 
 First performed at Rome, Teatro Valle, carnival, 1796. SCHATZ 1957 
 
 I nemici generosi. Dramma giocoso per musica, 'da rappre- 
 sentarsi nel Teatro Elettorale di Sassonia. 
 
 ;cm 
 
 Dresda, n. publ, 1797. 27 p. 1., 64 p. 16 C 
 
 Two acts with name of the composer, Cimarosa. German title-page, ' ' Die grossmue- 
 thigen feinde," faces Italian, and most of the p. 1. are taken up by the very detailed 
 "Innhalt." 
 
 First performed, as indicated, January 18, 1797. SCHATZ 1958 
 
 II duello per complimento. Farsa giocosa per musica d'un atto 
 solo da rappresentarsi nel Teatro Giustimani in San Moise\ 
 
 Venezia, Modesto Fenzo, Anno primo delta liberta italiana [1797]. 
 32 p. 18\ cm . 
 
 One act. Cast and name of Cimarosa as the composer. The farce is followed by 
 
 giocosa per musica d'un atto solo da rappresentarsi nel Teatro Giustiniani in S. Moise 
 del cittadino Giuseppe Foppa . . . La musica e del celebre maestro SimeoneMayr." 
 
 SCHATZ 2002 
 
 II nemico amante. L. T. of Buini and Chelleri's La paee per 
 amore. 
 
 II nemico delle donne. L. T. of Galuppi's L'inimico delle donne. 
 Neptune et Amymone. See Mouret's Les amours des dieux.
 
 OPERA LIBRETTOS 789 
 
 Nerina. Favola pastorale da rapp^esentarsi nel Teatro Grimani di 
 S. Samuel nella fiera dell' Ascensione dell' anno 1728 . . . 
 
 Venezia, Carlo Bonarrigo, 1728. 47 p. 16% cm . 
 
 Three acts. Dedication by Domenico Lalli as impresario, who is supposed to have 
 altered the text by Pietro d'Averara, who is not mentioned; argument, cast, scenario, 
 and name of Antonio Pollaroli as the composer. SCHATZ 8263 
 
 Nero. See Handel's Die durch blut und mord erlangete liebe. 
 Nero. Tr. of Orlandini's Nerone. 
 
 Nerone. Tragedia per musica rappresentata nel famoso Teatro 
 Grimani di S. Gio. Grisostomo il carnovale dell' anno 1721. 
 Venezia, Marino Rossetti, 1721. 59 p. 
 
 Three acts. By conte Agostino Piovene, who ie not mentioned. Argument, cast, 
 scenario, and name of Giuseppe Maria Orlandini as the composer. SCHATZ 7343 
 
 Nero, in einem sing-spiele auf dem Hamburgischen schauplatze 
 vorgestellet. Im jahr 1729. 
 
 n. pi., Gedruckt mit Stromerschen schrifften, n. d. Unpaged. 18 cm . 
 
 Three acts. Scenario. Translated by Johann Mattheson, who is not mentioned. 
 The arias have also Italian text. "Die music (auseer den wenigen mit dem * bezeich- 
 neten arien) ist von dem hrn. Orlandini ..." The starred arias are "Affetti del 
 mio sposo" (I, 1), "Gia tutto valore" (I, 5), "Spirto eccelso, con valore" (I. 9), 
 "Bella destra" (I, 12), "Amor e gelosia" (II, 3), "D'antico Amor le faci" (II, 6). 
 
 The composers of these arias are not mentioned. SCHATZ 7344 
 
 v II Nerone. Drama per musica, nel nupvo Teatro Grimano di S. 
 Gio. Grisostomo. L'anno 1679. Di Giulio Cesare Corradi . . . 
 Venetia, Francesco Nicolini, 1679. 71 p. 14 cm - 
 
 Three acts. Author'^, dedication, argument, notice to the reader with name of 
 Carlo Pallavicino as the composer and scenario. SCHATZ 7729 
 
 Nerone fatto Cesare. Drama per musica da rappresentarsi nel 
 famoso Teatro di S. Salvatore. L'anno MDCXCIIl. Di Matteo 
 Noris . . . 
 
 Venetia, Nicolini, 1693. 89 p. 13% cm . 
 
 Three acts. Author's dedication, notice to the reader with name of Giacomo 
 Antonio Perti as the composer, and scenario. 
 
 First performed, carnival 1693, as indicated. SCHATZ 7952 
 
 Netley Abbey, an operatic farce in two acts, as performed at the 
 Theatre-royal, Covent-Garden. Written by Mr. Pearce . . . 
 London, T. N. Longman, 1794. 8 p. 1., 35, [1] p. 20 cm . 
 
 Cast, dedication, dated November 22, 1794, and note appreciative of the "comic 
 exertions," "vocal powers " of the cast and of "the beautiful air" by Mr. Baumgarten, 
 in the first act, and Mr. Shield's striking composition of "England, a world within 
 itself" in the second. No other composers are mentioned in the libretto, but the 
 title page of Longman and Broderip's vocal score says "partly selected and partly 
 composed by Mr. Baumgarten, Mr. W. Parke, Sig? Paisiello, Mr. Howard, and 
 Mr. Shield, and the individual numbers are headed accordingly. 
 
 First performed on April 10, 1794 (Schatz); April 22, 1794 (Genest). LONGE 229 
 
 Nettuno ed Egle. Favola pastorale per musica da rappresentarsi 
 nel Real Teatro dell' Ajuda per celebrare gli augustissimi sposalizi de' 
 serenissimi Signori infanti di Portogallo e di Spagna Don Giovanni 
 con Donna Carlotta Gioacchina, e Donna Marianna Vittoria con Don 
 Gabriele Antonio la primavera dell' anno 1785. 
 
 [Lisboa}, NeUa stamperia reale, n. d. 52 p. 15 cm . 
 
 Two acts. By Gaetano Sertor (Schatz). Argument, cast, scenario, and name of 
 the composer, Joao de Sousa Carvalho. It is said that "il drammatico componi- 
 mento, fc d'un Veneto incognito autore." SCHATZ 1671
 
 790 LIBKABY OF CONGRESS 
 
 Nettuno ed Egle. Fayola pastorale per musica da rappresentarsi 
 nel nobilissimo Teatro di S. Benedetto la fiera dell' Ascensione dell' 
 anno 1783 . . . 
 
 Venezia, Modesto Fenzo, 1783. 57 p. 17$ cm . 
 
 Two acts. Dedication by the author, Gaetaiio Sertor, argument, cast, scenario, 
 and name of Antonio Pio as the composer. On p. 29-32 cast, description, and name 
 of Carlo Canobio as the composer of the music of "Cupido trionfatore o sia Apollo e 
 Dame, ballo pastorale pantomime composto dal Signor Giuseppe Canziani " and on 
 p. 55-57 of La maggior impresa d'Ercole o sia Adureto ed Alceste, ballo tragico 
 eroico pantomimo " by the same author and composer. SCHATZ 8188 
 
 Das neu-beglueckte Sachsen durch die erfreuliche geburt eines 
 Chur-Saechsischen printzen, auf veranstaltung des koenigl. Pohln. 
 und Chur-fuerstl. Saechs, Geheimen Secretaire herrn Koenigs, als er 
 eben in Hamburg anwesend war, in einem von ihm verfertigten Pro- 
 logo vor seiner opera Sancio zu allerunterthaenigster freuden-bezeu- 
 gung auf dasigem schau-platze oeffentlich vorgestellt. 1730. 
 Hamburg, [Piscator], n. d. Unpaged. 18 cm . 
 
 Publisher's name cut off in binding. 
 
 Cast, names of the author and of the composer, Georg Philipp Telemann, and 
 sonnet by Christoph Gottlieb Wend, dated "Hamburg, im October 1730" and 
 addressed to Johann Ulrich Koenig. From the dedication it appears that this libretto 
 was printed after the performance on October 30, 1730, in honor of the prince's birth, 
 on August 25, 1730. The libretto is followed by: 
 
 FORSETZUNG DES PROLOG!, an statt der opera Sancio, dabey vorzuatellen. 1730. 
 
 Hamburg, gedruckt mit Piscators schrifften. 
 
 Cast. SCHATZ 10272 
 
 Der neu-modische liebhaber Damon, in einem scherzhaften singe- 
 spiele auf der Hamburgischen schau-buehne zum erstenmale vorge- 
 stellet 1724. 
 
 [Hamburg], Caspar JakJiel, n. d. Unpaged. 18 cm . 
 
 Three acts. Argument. Neither the author (unknown to Schatz) nor the com- 
 poser, Georg Philipp Telemann, is mentioned. SCHATZ 10264 
 
 Musiktexte aus dem Neusonntagskinde nach dem Furchtsamen des 
 weil. herrn Hafner. Als singspiel neu fuer das k. k. privil. Marinelli- 
 sche Theater bearbeitet [von] Joachim Perinet . . . Die musik ist 
 vom herrn Wenzel Mueller . . . Aufgefuehrt den 10 ten des wein- 
 monates [Oct.] 1793. Dritte auflage. 
 
 Wien, Mathias Andreas Schmidt, 1794. 40 P- 17 cm . 
 
 Cast. SCHATZ 6947 
 
 - Gesaenge aus dem singspiele : Das sonntagskind in zwey auf- 
 zuegen. In musik gesetzt von Wenzel Mueller. 
 
 Hamburg, Rale und Freystatzky vrittwe, 1798. 32 p. 16*. 
 
 Joachim Perinet is not mentioned. 
 
 First performed at Hamburg, Theater beim Gansemarkt, February 3, 1795. 
 
 SCHATZ 6948 
 
 - Arien und gesaenge aus der oper: Das neue Sonntags-kind. 
 Ein komisches singspiel in zwev aufzuegen. Die musik ist vom 
 herrn kapellmeister Mueller in Wien. 
 
 Berlin, n. publ., n. d. 4& P- 16% cm - 
 
 Cast. Perinet is not mentioned. 
 
 First performed at Berlin, Koenigl. National Theater, May 6, 1796. SCHATZ 6949 
 
 Der neue gutsherr. A. T. of Dittersdorf's Der schiffspatron.
 
 OPERA LIBRETTOS 791 
 
 Der neue gutsherr. In drey akten. Komponirt vom herrn musik- 
 direktor Hiller. 
 
 n. i., n. d. 134 P- 17 cm - 
 
 In his "Vorrede," dated Leipzig, July 6, 1781, [Johann Gottfried] Dyk says: 
 
 ' ' Die franzoesische und deutsche komische oper ist em sonderbar ding. Zwar ist es 
 etwas sehr gewoehnliches, zumal unter den Franzosen, liederchen bey spaziergaengen 
 und mahlzeiten zu singen; aber im gespraech mit andern faellt man doch nie aus 
 rede in gesang. Indess, die gattung ist einmal da und gewaehrt vergnuegen . . . 
 Um aber das unnatuerliche in der form BO viel als moeglich zu mindern, sollte man 
 die scene immer auf das land, oder in die fabelhaften und ritter zeiten legen; hier 
 laesst sich der gesang noch am ehsten ohne gar zu grosse widersinnigkeit anbringen. 
 Aus dem itzigen staedtischen leben entlehnte suejets, sollten wir Deutsche uns um 
 so mehr enthalten mit gesaengen zu verbraemen, da wir unsern dialog in prosa schrei- 
 ben und da unser gesang, eben weil er ungleich mehr gesang ist als der franzoesische, 
 auch deshalb ungleich greller von der rede absticht. Die Italiener, in deren opern 
 alles gesang ist, koennen ihre suejets freyer waehten: hingegen muessen sie auf alle 
 entwicklung der charaktere und leidenschaften verzicht thun, welche das recitativ 
 nicht zulaesst. Bey dieser manier kann der dichter nur durch die situationen interes- 
 siren oder belustigen : bey der franzoesischen und deutschen kann er es auch in etwas 
 durch die charaktere . . . Ausgefuehrte arien vollends darf man nur in ruhepunk- 
 ten, etwann gegen das ende ernes akts, anbringen: in der mitte einer scene haelt 
 eine solche arie den fortgang der handlung zu lange auf. Nach diesen grundeaetzen 
 habe ich zu arbeiten gesucht, und nicht sowohl auf einen kuenstlich verflochtenen 
 plan und ausgefuehrte charaktere, als auf gemaelde und kontrastirende eituationen 
 und empfindungen mein absehn gerichtet . . . Der stoff meines stuecks ist aus dem 
 Paysan parvenu von Marivaux gezogen; und die ausfuehrung der gesaenge gehoert 
 einem meiner freunde, dem verfasser des Huldreich Wurmsamen von Wurmfeld, 
 [Johann Friedrich Junger], ohne dessen beyhuelfe ich es nicht wuerde gewagt haben, 
 eine oper zu schreiben . . . Herr Hiller will die gefaelligkeit fuer mich haben, 
 musik zu den gesaengen zu setzen: ein klavierauszug dieser musik wird im druck 
 erscheinen." 
 
 A performance is not recorded by Schatz. SCHATZ 4730 
 
 Der neue herr oder Die hoeflichen bauern. Ein singspiel in zwey 
 akten nach der Ankunft des herrn neu bearbeitet. 
 
 Breslau und Hirsckberg, Johmin Friedrich Korn, dem aeltern, 1788. 
 94 p. 14. 
 
 Not recorded by Schatz. Not found in "Deutsches Anonymen Lexikon." Rie- 
 mann has "Der neue Herr, Singspiel von Georg Braun (Eichstatt, ca. 1790)." 
 
 SCHATZ 11637 
 
 Der neue krumme teufel. 0. T. of Haydn's Asmodeus der 
 krumme teufel. 
 
 Der neue richter. A. T. of Weissflog's Das fruehstueck auf der 
 jagd. 
 
 Das neue sonntagskind. L. T. of Wenzel Muller's Das neu sonn- 
 tagskind. 
 
 Die neuen Amazonen, ein allegorisch pantomimisches ballet von 
 C. Schulz. Die musik ist vom kapellmeister Schweitzer. 
 
 Theater Journal fuer Deutschland, Fuenftes stueck, Gotha, 1778, p. 
 46-53. 
 
 Two acts. Identical with the ballet "Die Amazonen" composed between 1772 
 and 1775 (Maurer)? SCHATZ 11754 
 
 Die neuen Arkadier. L. T. of Siissmayer's Der spiegel von Arka- 
 dien.
 
 792 LIBRARY OP CONGRESS 
 
 The new rehearsal. A. T. of Barthelemon's A peep behind the 
 curtain. 
 
 New Spain ; or, Love in Mexico : an opera in three acts ; as per- 
 formed at the Theatre-Royal in the Hay-Market. First actea on 
 Friday, July 16, 1790. 
 
 London, G. G. J. and J. Robinson, 1790. 3 p. I, 61 p. 22. 
 Neither the author, John Sea wen, nor Samuel Arnold, the composer, is mentioned. 
 
 ML 50.2.N43 
 Second copy. LONGE 238 
 
 Nicaboro in Jucatan. Dramma per musica di Domenico Piccinni 
 da rappresentarsi nel Real Teatro di S. Carlo nel dl 12. gennaro 1799. 
 Festeggiandosi la nascita di Ferdinando IV . . . 
 
 Napoli, Stamperia Flautina, 1799. 48 p. 15\ cm . 
 
 Two acts. Impresario's dedication, dated Naples, January 12, 1799, argument, 
 scenario, cast, and name of Giacomo Tritto as the composer. According to a foot- 
 note, the text of the first part of scene 1, act I, was not by Piccinni. On p. 8-18, argu- 
 ment, cast, without name of the composet of the music, and description of Gaspare 
 Ronzi's "Giuh'etta e Romeo, ballo pantomime tragico-urbano." His second ballet 
 was called "Li Zingani in fiera." SCHATZ 10463 
 
 Nicaise, opera-comique en un acte. Par M. Vade". Represent^ 
 sur le Theatre de 1'Opera-comique a la Foire S. Germain le 7 feVrier 
 1756. 
 Paris, Duchesne, 1756. 70 p. 19% cm . 
 
 Largely en vaudevilles. Cast. On p. 65-70 the "Airs choisis" as below. On 
 cover of this title the music is attributed to [Felice] Bambini. ML 50.2. N3 
 
 Nicaise, opera-comique en un acte,par M. Vade. Repr6sente sur 
 le Theatre de FOp6ra-comique a la Foire St. Germain le 7 f&vrier 
 1756. 
 
 La Haye, Pierre Gosse, junior, 1760. 85 p. 16 cm . (Vade,0euvres, 
 La Haye, 1759, t. iv.) 
 
 Largely en vaudevilles. Cast. On p. 79-85, the "Airs choisis:" "Pour d'autree 
 instans," "Non, je n'aimerai jamais." ML 49.A2V2 
 
 Nicaise, op6ra-comique, en un acte. Represents sur le Theatre 
 de rOpera-comique, a la Foire S. Germain le 7 fevrier 1756. 
 
 Paris, la veuve Duchesne, 1766. 72 p. 19 cm . 
 
 On p. 67-72, the airs: "Pour d'autres instants gardez," "Non, je n'aimerai jamais 
 que vous." SCHATZ 11501 
 
 Nice, imitation de Stratonice; en un acte, en prose, me!6e de vaude- 
 villes; represented pour la premiere fois sur le Theatre du Vaudeville 
 le mercredi 6 juin 1792. 
 
 Paris, Maret, 1793. 27 p. 20 cm . 
 
 Cast. Not recorded by Cl. & L., Schatz or Towers. ML 48.M2H 
 
 Nicodeme dans la lune, ou La revolution pacifique. Folie en 
 prose et en trois actes, mel^e d'ariettes et de vaudevilles. Repre- 
 sented pour la premiere fois a Paris, au Theatre francais, comique et 
 lyrique, le 7 novembre 1790, et, pour la cent cinquante-sixieme fois, 
 le mardi 27 septembre 1791. rar le Cousin-Jacques. Troisieme 
 Edition. 
 Paris, Froulle et chez I'auteur, 1791. 104 P- 21 cm . 
 
 Cast. On p. 97-104, "Quelques reflexions de I'auteur" on the history, etc., of this 
 famous piece, which is "selon tout le monde, une production tres originale, eoit en 
 mal, soit en bien." SCHATZ 707
 
 OPERA LIBRETTOS 793 
 
 Nicola e Cirilla, ballet. 'See Gardi's II finto Stregone. 
 
 Nicomede. Dramma serio per musica da rappresentarsi in Geneva 
 nel Teatro da S. Agostino il carnevale del 1790 . . . 
 Genova, Stamperia Gesiniana, n. d. 53 p., 13, [1] p. 13^ cm . 
 
 Three acts. Eustachio Manfred! is mentioned as the author, and Giuseppe Gior- 
 dan! as the composer (" musica nuova ") . Dedicatory poem, argument, scenario, and 
 cast. The additional pages contain the argument, cast, and description of Filippo 
 Beretti's five-act ballo tragico, "Ipermeetra ossia La morte di Danao." The com- 
 poser of the music is not mentioned. SCHATZ 3847 
 
 V I\ Nicomede in Bitinia. Drama per musica da rappresentarsi nel 
 Teatro Zane. L'anno MDCLXXVII. Del dottore Gio. Matteo 
 Giannini . . . 
 
 Venetia, Francesco Nicolini, 1677. front, 71 p. llf m . 
 
 Three acts. Poem dedicated to the empress Eleonara by Hiannini and dated 
 Venice, February 4, 1677, argument, scenario, and notice to the reader, with name of 
 Carlo Gross! as the composer, and remark to the effect that the drama, on account of 
 the "apparenze e machine," could not be performed in its original form, for want of 
 space. Hence the necessity to condense and mutilate it "in quella parte, che nobilita 
 i drami, ed allettando 1'occhio, invaghisce gl'animi, oggid& aseuefatti a i prodigi." 
 
 SCHATZ 4218 
 
 La Nicopoli. Drama musicale da rappresentarsi nel Theatre 
 Domestico in S. Fantino 1'anno 1700 del dottor Francesco Rossi . . . 
 Venetia, Gio. Maria Rossi, 1700. front., 48 p. 15 cm . 
 
 Three acts. Author's dedication, argument, prefatory note, with name of the com- 
 poser, Bernardo Borgognini. SCHATZ 1241 
 
 Nicoraste. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto nella fiera dell' Ascensione dell' anno 1769. 
 Venezia, Modesto Fenzo, 1769. 46 p. 16% cm . 
 
 Three acts. By Bartolomeo Vitturi (not mentioned), with alterations. Argument, 
 cast, and name of Antonio Sacchini as the comnoeer. SCHATZ 9233 
 
 Nicoraste re di Tracia. Dramma per musica da rappresentarsi nel 
 Teatro di S. Angelo la fiera dell' Ascensione dell' anno 1745. 
 
 Venezia, Modesto Fenzo, 1745. 4$ P- 15- 
 
 Three acts. By Bartolomeo Vitturi, who is not mentioned. Impresario's dedica- 
 tion, dated Venice, May 22, 1745, argument, cast, scenario, and name of Giovanni 
 Battista Pattoni as the composer. SCHATZ 7785 
 
 Nilus, der grossmuethige veraechter der welt, ein singspiel in 
 einem aufzuge von der kleineren congregation unter tern titel der 
 Unbefleckten Empfaengniss Mariae aufgeruehrt im Maerzmonde 1785 
 zu Augsburg. 
 
 [Augsburg], Joseph Simon Hueber, n. d. 10 p. 19\ cm . 
 
 At head of title: "Martinez oder Die besiegte rachbegierde, ein christliches trauer- 
 epiel in drey en aufzuegen, und." 
 
 With cast and "Vorbericht." Michael Demler is mentioned as compoeer. The 
 author is not mentioned, and is unknown to Schatz. SCHATZ 2508 
 
 Nina, ou La folle par amour, come'die en un acte, en prose, 
 d'ariettes, par M. M. D. V. Musique de M. Dalayrac. Ke"pr6sent6e, 
 pour la premiere fois, par les Com&liens italiens ordinaires du roi. le 
 15 mai 1786. 
 
 Paris, Brunei, 1788. 47 p. 21. 
 
 Cast. Text by B. J. Mareollier. ML 50.2.N4D2
 
 794 LIBRARY OF CONGRESS 
 
 Nina Continued. 
 
 -Nina; or, The love distracted maid: A comedy in one act. Trans- 
 lated from the French of M. .M. D. V. 
 London, G. GouUing, 1787. 2 p. I, 40 p. 21 cm . 
 
 On p. 39-40, a list of "New music published by G. Goulding." In a prefatory note 
 this translation is called, "entire and unmutilated: no deviation whatever has been 
 attempted from the fable or connection of the excellent original ..." He appar- 
 ently alludes to Mareollier'e "Nina, ou La folle par amour," first performed at Paris, 
 with Dalayrac's music, 1786. 
 
 No performance of this English version, by unknown translator, recorded by 
 Clarence. LONGK 99 
 
 - Nina oder Wahnsinn aus liebe. Ein schauspiel mit gesang in 
 einem aufzuge. Nach dem franzoesischen mit beybehaltener musik 
 von B. C. d'Arien. 
 
 Hamburg, n. fabl., 1787. 56 p. 17 cm . 
 
 Dalayrac is not mentioned. 
 
 First performed at Hamburg, Theater beim Gansemarkt, January 31, 1787. 
 
 SCHATZ 2367 
 
 Nina oder Wahnsinn aus liebe. Ein schauspiel mit gesang in 
 einem akt. 
 
 Mainz, n. publ, 1787. 2 p. I, 66 p. 14$ cm . 
 
 "Vorerinnerung . . . Der uibersetzer," according to Schatz, Heinrich Gottlieb 
 Schmieder. Dalayrac is not mentioned. 
 
 First performed at Mannheim, June 17, 1787. SCHATZ 2368 
 
 Arien und gesaenge aus Nina oder Wahnsinn aus liebe. Singspiel 
 in einem aufzuge. Aus dem franzoesischen. Die musik ist vom 
 herrn Dallairac. 
 
 Berlin, n. publ., 1790. 16 p. 16 cm . 
 
 German version by Joh. Andre" (Schatz). 
 
 First performed at Berlin. Nationaltheater, May 3, 1788. SCHATZ 2369 
 
 Nina; oder: Was vermag die liebe nicht? Ein singspiel in 
 einem aufzuge. Nach dem franzoesischen von L. Die musik ist 
 von Dallirak. 
 
 Berlin, n. pull., 1789. 62 p. 15. 
 
 First performed at Charlottenburg, Schlosstheater, July 31, 1789. SCHATZ 2370 
 
 Nina or The love distracted maid. Tr. of Dalayrac's Nina ou La 
 folle par amour. 
 
 Nina o sia La pazza her amore. Commedia in prosa, ed in verso per 
 musica, tradotta dal francese. Da rappresentarsi nel Teatro de' 
 Fiorentini per seconda opera di quest' anno 1790. 
 Napoli, Vincenzo Flauto, 1790. 47 p. 18 cm . 
 
 Two acts. Cast, name of Paisiello as composer, and preface by the author, Giam- 
 battista Lorenzi. In this he refers to the first performance at Caserta, Teatro del Reale 
 Sitp di Belvedere, summer of 1789, for which, by royal command, he wrote and 
 Paisiello composed several additional numbers. The opera was there performed in 
 one act, without intermissions. For this replica, he continues, it was found necessary 
 to divide the opera in two par+s, and, incidentally, to write and compose further 
 additional numbers. All these additions are marked with an asterisk in the libretto. 
 They are: 
 
 "Con voi divide" (I, 8), "Mormora il ruscelletto allor piii grato" (I, 9), "Gli 
 armenti suoi raccoglie (I, 9), "Senza il caro mio tesoro" (I, 9), "L'amo tanto, che 
 per lei" (II, 1), "Se non prendo un p6 di fiato" (II, 3), "Conti-con voi . . . con 
 lei "(II, 7). SCHATZ 7645
 
 OPERA LIBRETTOS 795 
 
 Nina o sia La pazza per amore Continued. 
 
 - Nina, o sia La pazza per amore. Dramma giocoso per musica, 
 da rappresentarsi nel Teatro di S. A. E. di Sassonia. 
 Dresda, n. puU., 1791. 99 p. 15\. 
 
 Two acts. Paisiello is mentioned, but not Lorenzi. German title page, "Nina, 
 oder Wahnsinn aus liebe," and text face Italian. 
 
 First performed January 7, 1792, as indicated. SCHATZ 7646 
 
 Nina oder Wahnsinn aus liebe. Tr. of Dalayrac's Nina ou La folle 
 par amour. 
 
 Nina oder Wahnsinn aus liebe. Tr. of Paisiello 7 s Nina o La pazza 
 per amore. 
 
 Nina oder Was vermag die liebe nicht? Tr. of Dalayrac's Nina ou 
 La folle par amour. 
 
 Nina pazza per amore, ballet. See Andreozzi's Amelia ed Ottiero. 
 Nina pazza per amore, ballet. See Andreozzi's Argea. 
 Nina pazza per amore, ballet. See Astaritta's II curioso accidente. 
 La Nina pazza per amore, ballet. See Guglielmi's Enea e Lavinia. 
 
 Ninetta, o sia La contadina nel palazzo signorile, ballet. See Sarti's 
 Siroe. 
 
 Ninette a la cour. A. T. of Le caprice amoureux. 
 
 Ninette a la cour, ballet en action; p>ar M. Gardel, L. . . . Re- 
 present^, devant Leurs Majeste"s, a Choisy, pour la premiere fois, & 
 a Fontainebleau en 1777. 
 
 [Paris], Pierre Robert Christophe Bollard, 1777. 2 p. 7., 19 p. 21 cm . 
 
 Three acts. Cast. Act by act synopsis of the action. Composer of the music not 
 recorded by Lajarte, who merely says: " Ninette a la cour fut parodi6 par Favart sur 
 la musique de Ciampi (Bertoldo alia Corte). Quelques airs sont rested dans le ballet, 
 qui eut du succes." 
 
 First performed at Paris, Academic royale de musique, August 18, 1778. 
 
 ML 52.2.N4 
 
 
 
 La ninfa Apollo. O.T. of L' mganno felice, 1730; with same prefa- 
 tory note. 
 
 La ninfa Apollo del conte Lemene. Favola pastorale da rappresen- 
 tarsi nel Teatro Grimani di S. Samuele nella fiera tiell' Ascensione 
 dell' anno 1734 ... 
 
 Venezia, Marino Rossetti, n. d. 34 p. 15$ cm . 
 
 Three acts. Retouched by Giov. Boldini, who is not mentioned. Impresario's 
 dedication, cast, scenario, and name of Galuppi as composer. 
 
 First performed, as indicated, May 30, 1734. SCHATZ 3488 
 
 La ninfa Apollo. Scherzo scenico pastorale per musica da rappre- 
 sentarsi nel Teatro Tron di S. Cassano 1' ultima sera del carnovale 
 delF anno MDCCIX. Poesia del co. Francesco de Lemene, Lodi- 
 giano. 
 
 Venezia, Marino Rossetti, 1709. 24 p. ll& cm . 
 
 Three acts. Cast. The composer, Carlo Francesco Gasparini, is not menti&ned. 
 First performed February 12, 1709, as indicated. SCHATZ 3574
 
 796 LIBRARY OF CONGRESS 
 
 La ninfa Apollo. Pastorale da recitarsi in musica 1' anno 1726. 
 Per la ricreazione del carnovale da Signori Accademici Librali . . . 
 
 Venezia, Antqnio Bortoli, 1726. 46 p. 15 cm . 
 
 Three acts. Without list of characters ! Dedication and notice to the reader: 
 
 "Eco la Ninfa Apollo parto della celebre penna del Sig. Francesco di Lemene, ma 
 non gi& quale resci dalle mani del suo autore. L' aggiunta d' un personaggio, la muta- 
 zione delle ariette, e la variazione e trasposizione di qualche ecena, la rendono in 
 buona parte da quella diverea. Sappia per6 chi legge, che un tale cambiamento non 
 e gia effetto di poca etima verso un cos\ illustre poeta, ne presunzione di migliorar la 
 poesia, ma pura necessita di accomodarla al numero, ed alia abilita di chi deve rap- 
 preeentarla, ed all' uso, ed al gusto della musica del moderno teatro . . ." 
 
 The composer, Francesco Rossi, is not mentioned. SCHATZ 8888 
 
 La ninfa avara di Benedetto Ferrari dalla Tiorba. Rappresetata 
 in musica in Venetia. Posta in musica dall' istesso autore. 
 
 n. i., n. d. p. [205\-237 (Poesie drammatiche di Benedetto Ferrari, 
 MUano, 1644). 
 
 Detached copy. Three acts and prologue. Author's dedication and argument. 
 First performed at Venice, Teatro di San Moise, carnival 1641. SCHATZ 3066 
 
 La ninfa bizzarre. Dramma pastorale del Signer Aurelio Aureli. 
 Musica del Sig. Marc' Antonio Ziani. Da rappresentarsi il mese di 
 Settembre nel rinovato Teatro Accademico dell' Aurora in Cento 
 1' anno MDCCI . . . 
 
 Modona, Demetrio Degni, 1701. 48 p. 15% cm . 
 
 Three acts. By Aurelio Aureli, who is not mentioned. Cast, scenario, and dedi- 
 cation dated Cento, September 8, 1701, which begins: 
 
 "La ninfa bizzarra, che nel fine dello spirato secolp sii la Brenta fece di se mede- 
 eima delizioso spettacolo agl' occhj dell' adriatica nobiltk . . ." 
 
 This refers to the performances at Venice, Teatro di Dolo sopra la Brenta, October, 
 1697. SCHATZ 11190 
 
 Le iiinfe di Diana, ballet. See Bianchi's Calto. 
 
 Ninias tiranno di Babilpnia punito da Zoroastro o sia Piramo e 
 Tisbe, ballet. See Anfossi's Gli amanti canuti. 
 
 Nino. Dramma per musica da rappresentarsi nel Teatro di S. 
 Angelo. Nel carnovale dell' anno 1732 . . . 
 
 Venezia, Carlo Buonarrigo, n. d. 55 p. 15 cm . 
 
 Page 55 contains Buonarrigo's announcement of publication of "un esatto catalogo 
 di tutti li drammi musicali recitati in Venezia." 
 
 Three acts. Dedication, argument, scenario, cast, and name of the composer, 
 Francesco Cpurcelle. The libretto was originally by Ippolito Zanelli and was 
 revised by Vincenzo Cassani (Schatz). SCHATZ 2283 
 
 Niobe. See Bertali's Theti. 
 
 Niobe, koenigin in Thebe . . . gesungener vorgestellet im jahr 
 
 1688. 
 
 Muenchen, Johann Jaecklin, n. d. 6 p. L, 92 p. 18% cm . 
 
 Three acts. Dedication to the "Churfuerstliche Durchleuchten " dated Munich, 
 January 1, 1688, and signed by Ludwig (Luigi) Orlandi, argument, scenario, list of 
 machines. The composer^ Agoetino Steffani, is not mentioned. Orlandi's Italian 
 title was "Niobe, regina di Thebe." 
 
 First composed January 5, 1688 (Riemann). SCHATZ 10033 
 
 Niobe, regina di Thebe. O. T. of Steffani's Niobe, koenigin in 
 Thebe.
 
 OPEBA LIBRETTOS 797 
 
 Nitetis. Tr. of Sarti's La Nitteti. 
 
 Nitetti. Dramma per musica del celebre Sig. Pietro Metastasio. 
 Da rappresentarsi nelT Imperial Teatro di Pietroburgo. 
 
 St. Pietroburgo, NeUa Stamperia dell 1 Academia deUe Scienze, n. d. 
 217 p. 19. 
 
 Three acts. Argument, cast, and name of Giovanni Paisiello as composer. French 
 title page, "Nitetis," and text face Italian. 
 
 First performed January, 1788, as indicated. ML 50.2.N46P2 
 
 Nitocri. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, t. Hi, p. [$49]-344 P- 
 19 cm . 
 
 Three acts and licenza. Argument. No composer is mentioned. In the "Cata- 
 logo " at end of t. x, date and place of first ed. are given as Vienna, 1722. (See below.) 
 
 ML 49.A2Z3 
 
 - Nitocri. Pubblicata per la prima volta in Vienna 1722. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. v, p. 345- 
 436. 21 cm . 
 
 Three acts and licenza. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Nitocri. Drama per musica da rappresentarsi nel Regio Teatro di 
 Torino, nel carnovale del 1752. alia presenza di S. S. R. M. 
 
 Torino, Pietro Giuseppe Zappata e figliuolo, 1751. 4 P- 1"> 68 p. 
 
 Three acts. By Apostolo Zeno. Argument, cast, scenario, and names of the 
 author and the composer, Gioacchino Cocchi. 
 
 First performed, as indicated, December 26, 1751. SCHATZ 2050 
 
 Nitocri. Dramma per musica da rappresentarsi nel famoso Teatro 
 Grimani di S. Gio. Grisostomo il carnevale dell' anno MDCCXXXIII. 
 Venezia, Carlo Buonarigo, n. d. 69 p. 15 cm . 
 
 Three acts. By Apostolo Zeno. Dedication by Domenico Lalli (who, according 
 to Schatz, altered the text) argument, notice to the reader, scenario, name of the 
 composer, Giuseppe Sellittti, and cast. 
 
 First performed at Venice with modifications (indicated by an asterisk) of the 
 original libretto as used at Vienna 1722 ("fc rimasta soggetta alia solitta mutazione 
 di alcune arie"). SCHATZ 9827 
 
 Nitocri, koenigin in Egypten. An dem glorwuerdigsten geburts- 
 tag der Roem. Kais. wie auch Koen. Spanis. Cathol. Majestaet Elisa- 
 bethae Christinae ... In der kaiserlichen Favorita welsch gesun- 
 gener vorgestellet. Im jahr 1722. Poesi des herrn Apostolo Zeno 
 . . . Die music zu denen worten ist von dem hrn. Antonio Cal- 
 dara . . . 
 
 Wienn, JoTiann Peter Van Ghelen, n. d. 4 P- li 7 P- 14$ cm - 
 Three acts and licenza. Argument and scenario. The ballet music was com- 
 posed by Niccola Matteis. Translation only of Caldara's "Nitroci." SCHATZ 1486 
 
 Nitteti. Dramma scritto dall' autore in Vienna, per la Real corte 
 cattolica; ed ivi . . . rappresentato la prima volta con musica del 
 Conforti, sotto la magistrate direzione del celebre cavalier Carlo 
 Broschi, 1'anno 1756. 
 
 pi., [105]-206 p. 26. (Metastasio, Opere, t. viii, Parigi, vedova 
 Herissant, 1781.) 
 
 Three acts. Argument. ML 49.A2M44
 
 798 LIBRARY OF CONGRESS 
 
 La Nitteti. Nuovo dramma per musica del Signer abbate D. Pietro 
 Metastasio. 
 
 Napoli, Domenico Lanciano, 1756. 72 p. 
 Three acts. Argument, scenario, and dedicatory sonnet to Farinelli. No com- 
 poser is mentioned. Evidently published for the closet, not for the stage. 
 
 ML 50.2.N46 
 
 La Nitteti. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto la fiera dell' Ascensione dell' anno 1780. 
 
 Venezia, Modesto Fenzo, n. d. 54 p- 17\ cm . 
 
 Three acte. By Metastasio. Argument, cast, scenario, and name of composer, 
 Pasquale Anfossi, but not of librettist. On p. 22-35: "Descrizione del primo ballo. 
 Gabriella di Vergy ballo tragico-pantomimo in cinque atti d'invenzione, e direzione 
 del Sig. Francesco Clerico ... with cast and argument, but not the name of the 
 composer of the music. SCHATZ 276 
 
 Nitteti. Dramma per musica d& rappresentarsi nel nobilissimo 
 Teatro di San Samuele il carnovale dell' anno 1789. 
 
 Venezia, Modesto. Fenzo, 1789. 64 p. 18 cm . 
 
 Two 'acts! Argument, cast, scenario, and name of the composer, Ferdinando 
 Giuseppe Bertoni, but not of the librettist, Metastasio. On p. 25-32 argument, 
 cast, and full description of "La morte di Pirro, ballo eroico in quattro atti," by 
 Domenico Ricciardi, music by Vittorio Trento. SCHATZ 941 
 
 Nitteti. Dramma per musica da rappresentarsi nel Teatro alia 
 Scala di Milano nella primavera 1789. In occasione delle faustissime 
 nozze delle Loro Altezze Reali Farciduchessa Maria Teresa d' Austria 
 ed il duca d'Aosta . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 72 p. 16% cm . 
 
 Three acts. By Metastasio. Impresario's dedication, argument, cast, scenario, 
 and name of Francesco Bianchi as composer. On p. [61]-^72 cast, argument, and 
 description of "Amore e Psiche, ballo eroico pantomime " in five acts by Gaspero 
 Angiolini, who also composed the music. 
 
 First performed, as indicated, April 20, 1789. SCHATZ 1003 
 
 La Nitteti. Dramma per musica da rappresentarsi nel Real Teatro 
 di S. Carlo nel di 20 gennaro 1783 per festeggiare la nascita . . . [di] 
 Carlo III ... 
 
 Napoli, Vincenzo Flauto, 1783. 72 p. 15 cm . 
 
 Three acts. By Metastasio. Dedication dated Naples, January 20, 1783, argu- 
 ment, cast, scenario, and name of the composer, ("Curci") Giuseppe Maria Curcio. 
 With the opera were performed Paolo Franchi s "Urtado e Miranda, ballo tragico 
 pantomime in cinque atti" with argument, cast, and description and Giuseppe 
 Trafieri's ballet "II cambio felice o sia Pulcinella sposo deluso. The composers of 
 the music are not mentioned. SCHATZ 2300 
 
 La Nitteti. Dramma per musica da rappresentarsi in Firenze nel 
 Teatro di via della Pergola nell' autunno dell' anno 1758 . . . 
 
 Firenze, Stamperia dirimpetto all' Oratorio di S. Filippo Neri, n. d. 
 63 p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, 
 and name of Johann Adolph Hasse as the composer. 
 
 First performed at Venice, Teatro di S. Benedetto, carnival 1758. SCHATZ 4547 
 
 La Nitteti. Dramma per musica da rappresentarsi nel Real Teatro 
 dell' Ajuda nel felicissimp giorno natahzio del fedelissimo monarca 
 D. Giuseppe I ... nel di 6 giugno 1770. 
 Lisbona, Stamperia reale, n. d. 85 p. 16 cm . 
 
 Three acts. Argument, scenario, cast, and names of Metastasio as author, of 
 Niccolb Jommelli as composer. 
 
 First performed at Stuttgart, Hoftheater, February 11, 1759. SCHATZ 4891
 
 OPEEA LIBRETTOS 799 
 
 La Nitteti. Dramma per musica da rappresentarsi nel Real Teatro 
 di S. Carlo nel di 30. maggio 1764. Festeggiandosi il nome della 
 S. R. M. di Fernando IV ... 
 
 Napoli, Francesco MoreUi, 1764. 70, [1] 15tf m . 
 
 Three acts. By Metastasio, who f is not mentioned. Impresario's dedication, 
 dated Naples, May 30, 1764, argument, scenario, cast, name of Antonio Maria Mazzoni 
 as the composer, and "awertimento," which reads, in part: 
 
 "non meno i versi de' recitativi, che 1'arie segnate cplle virgolette si tralasciano per 
 la maggior possibile brevita. In qualche ecena poi si sono aggiunti pochi versi di 
 recitative, a solo oggetto, che 1'attore senza cantar quell' aria, che si tralascia, abbia 
 un positive concludente per partir dalla scena. Questi pochi versi non vengono 
 stampati nell' interne del libro, ove la scena si chiede; ma nell' ultima pagina divisi, 
 per quella venerazione, che si deve al non mai lodato abbastanza rispettabilissimo 
 autore di questo dramma." SCHATZ 6227 
 
 La Nitteti. Dramma per musica da rappresentarsi nel Regio Ducal 
 Teatro di Milano nel carnovale dell' anno 1771 . . . 
 
 Milano, Giovanni Montani, 1771. v, 56 p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Dedication, argument, 
 scenario, cast, and name of Carlo Monza as the composer. SCHATZ 6615 
 
 Nitteti. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1783 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 68, [1] p. 15\. 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 names of Salvatore Bispoli as the composer of the opera, of vittorio Amedeo Canavassp 
 as composer of InnocenzoGambuzzi's ballets, "La favola d 'Apollo eDafne," "II matri- 
 monio de' Groelandesi," and " Di popolo egizio." A description of the first is printed 
 on p. 58-62, the argument of the second on p. 63. 
 
 First performed, as indicated, December 26, 1782. SCHATZ 8812 
 
 La Nitteti. Dramma per musica, da rapnresentarsi sul Regio Teatro 
 Danese, Fautunno dell' anno 1761. Nitetis . . . 
 
 Ki0benhavn, Lars Nielsen Svare, n. d. 143 p. 16 cm . 
 
 Three acts. Argument, cast, and names of Metastasio as author, of Giuseppe Sarti 
 as composer. Danish text faces Italian. 
 
 First performed, as indicated, October 12, 1761. SCHATZ 9452 
 
 - La Nitteti. Dramma per musica da rappresentarsi nel Teatro 
 di S. Benedetto per la fiera dell' Ascensione dell' anno 1765. 
 Venezia, Giorgro Fossati, n. d. 64-P- 17$ cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Giuseppe Sarti as the composer. The text follows the original of 1761 closely ? 
 but it is characteristic that for the performances in Venice the chorus, "Si scordi i 
 euoi tiranni" (I, 6), was dropped. SCHATZ 9475 
 
 La Nitteti. Ultimo dramma per musica del Sig. abate Pietro Metas- 
 tasio, Poet Cesareo. Da rappresentarsi nel Teatro dell' illustrissimo 
 pubblico di Reggio per la Fiera dell' anno 1757 . . . 
 
 Reggio, Giuseppe Davolio, n. d. 5 p. 1., 64 p. 17\ cm . 
 
 Three acts. Dedication dated Reggio, April 29, 1757, argument, cast, scenario, and 
 name of Tommaso Trajetta as composer. SCHATZ 10403 
 
 Li nnamorate correvate. Commeddea de not& Pietro Trinchera, 
 posta mmuseca da lo Sio Don Gregorio Sciroli, masto de cappella de 
 S. Ece. lo Segnore prencepe de Besegnano. Da rappresentarese a 
 lo Teatro Nuovo a Mmonte Cravario nchisto prencipio de vierno 
 dell' anno 1752. 
 
 Napoli, Domenico Lanciani, 1752. 83 p. 15^ cm . 
 
 Three acts. Cast and notice to the reader: 
 
 "sta commeddeja . . . e cchella siesta, che a lo carnevale dell' anno passato co lo 
 titolo de lo FINTO PERZIANO, ncontraje la sciorte de dare sfazione ... E pe cosirela
 
 800 LIBRARY OF CONGRESS 
 
 Li nnamorate correvate Continued. 
 
 ncuollo a st'aute personaggie, e Btato necessario cagnare la parte de la primma donna, 
 e chella de la seconda da Napolitano, Ntoecano. La museca e tutta nuova, fatta da 
 lo Sio Don Gregorio Sciroli ... a riserba de ll'arie segnate co llo segno , che so de 
 lo primmo autore." 
 
 Accordingly, "Picarone, a un cavaliero" {L, 4), "Chi llo birbo malenato" (I, 8), 
 "Celia mia, meglio de chillo" (I, 11), etc., were by Nicola Logroscino. 
 
 SCHATZ 9785 
 
 No magick like love. A. T. of The British enchanters. 
 
 Songs, duets, trio and finales, in No song no supper. As per- 
 formed at the Theatre-Royal, Drury-Lane. The music chiefly com- 
 posed by Mr. Storace: The rest selected from Pleyel, Gretry, Dr. 
 Harington, Giordani, Gluck, etc. 
 
 n. i., 1790. 18 p. 19\. 
 
 Two acts. Cast. The author, Prince Hoare, is not mentioned. Storace utilized 
 his opera "Gli equivoci" for this. 
 
 First performed, as indicated, April 16, 1790. LONQE 206 
 
 - No song, no supper. 
 
 Same title, same imprint, same cast, same text, but 1 p. I., 
 
 [1], 6-17 p. 18. LONOB 215 
 
 No song no supper. An opera in two acts. As performed at 
 the Theatre Royal Drury-Lane. 
 
 Dublin, P. Byrne, 1792. 34 p. 17$ cm . 
 
 Cast. Neither Prince Hoare, the author, nor Stephen Storace, the composer, is 
 mentioned. SCHATZ 10085 
 
 Second copy. LONOE 223 
 
 Noah's flood, or, The destruction of the world. An opera. . . . By 
 Edward Ecclestone, Gent. ... 
 
 London, Printed by M. Clark and sold by B. Toolce, 1679. 9 p. I., 
 52 p. 21 cm . 
 
 Of the 9 p. 1., the 3d (end of the dedication) and 9th (list of characters) are wanting 
 in this copy. On p. 1. 2-3, "The epistle dedicatory;" on p. 1. 4-5, poems to "Mr. 
 Edward Ecclestone," by Richard Saunders, John Leanerd, and John Morton; on 
 p. 1. 6-8 the preface to this five-act play, in which the author says: 
 
 "... Mr. Dreydon's State of Innpcency and fall of Man, is of the same nature 
 with this, from whose incomparable piece I drew this rugged draught ..." 
 John Leanerd begins his poem: 
 
 "Milton reviv'd, or rather Dryden trac'd; 
 "Each step found out and follow'd, though in haste. 
 "A second op'ra to the world is brought, 
 "Full of quick sence, smooth fancy, subtle thought." 
 
 Listed by Clarence in "The Stage " as a miracle play. ML 50.2.N74 
 
 Second copy, lacking 9th p. 1., and trimmed to 19 cm . LONGB 241 
 
 The noble peasant, a comic opera, in three acts; as performed at 
 the Theatre-Royal, in the Haymarket. By Thomas Holcroft. 
 London, George Robinson, 1784. 2 p. I., Hi, [4}-68 p. 21. 
 
 Three acts. Cast and preface dated August 14, 1784, in which the author lavishes 
 his praise on William Shield, who composed the overture and almost all the songs, 
 etc., except two glees by Cooke and Smith, an "Ancient glee, composed in the year 
 1500," and two songs to music by Duni and Sacchini. 
 
 First performed August 2, 1784, as suggested. L ON OK 93
 
 OPEEA LIBRETTOS 801 
 
 The noble pedlar: or, The fortune hunter. A burletta. As acted 
 at the Theatre Royal, Drury-Lane, set to music by Mr. Barthelemon. 
 Second edition. 
 London, W. NicoTl, 1771. 20 p. 23 cm . 
 
 Two parts. Cast. The author, George Saville Carey, is not mentioned. 
 
 First performed, as indicated, May 13, 1771. LONGE 213 
 
 Le noble roturier, comedie en un acte, mdlee de vaudevilles; par 
 J. B. Radet. Represented sur le Theatre du Vaudeville, le 24 
 ventose de 1'an deux de la republique francoise une et indivisible. 
 
 Paris, chez le libraire, au Theatre du vaudeville, Andeuxieme. [1798- 
 94] 54 p. 20. 
 
 - Variantes du Noble roturier. n. i., n. d. 12 p. 20 cm . 
 
 Cast. Many of the airs are printed in the text. Not recorded by either Cl. & L. or 
 Schatz. 
 First performed, as indicated, March 14, 1794. ' ML 48.M2K 
 
 La noce interrompue. Parody of Lully's Alceste. 
 
 Les noces d'Arlequin et de Silvia ou Thetis et Pele"e deguise*s. 
 Parody of Colasse's Thetis et Pele"e. 
 
 A noiva fingida. Drama jocoso em musica para se representar no 
 Theatro do Salitre. Anno cle 1790. 
 
 Lisboa, Jose de Aquino Bulhoens, 1790. 74 P- 15* m . 
 
 Three acts. Portuguese translation of Giuseppe Maria Diodati's ' ' Le trame deluse. ' ' 
 Cast and name of Marcos Antonio [Portugal] as the composer. SCHATZ 8431 
 
 Non irritare le donne ovvero II chiamantesi filosofo. Farsa 
 giocosa per musica originale di Giuseppe Foppa da rappresentarsi nel 
 nobile Teatro Giustiniani in San Moise il carnovale dell anno 1799. 
 Venezia, Modesto Fenzo, 1798. 41 p. 18\ cm . 
 
 Cast and name of Marcos Portugal as the composer. 
 
 The opera was followed by Giuseppe Cajani's ballet, "L'amante in cimento," the 
 composer of the music not being mentioned. 
 
 First performed, as indicated, December 27, 1798 (Carvalhaea). SCHATZ 8438 
 
 Non son quella, e la difesa. Drama per musica da rappresentarsi 
 nel Teatro di Sant' Angelo nell' autunno delF anno MDCCX . . . 
 Venezia, Gio. Battista Zuccato, 1710. 60 p. 14 m - 
 Three acts. Dedication dated Venice, November 29, 1710, argument, and scenario. 
 Neither the author, Giorgio Antonio Falier, nor the composer, Giov. Maria Buggeri, 
 is mentioned. - SCHATZ 9132 
 
 Les nopces de Pelee et de Thetis. See Caproli's Le nozze di Teti 
 e di Peleo. 
 
 Airs, duets, etc., in the new pantomime, called the Norwood gypsies. 
 Performing at the Theater-Royal in Covent-Garden. Second edition. 
 London, Printed in the year 1777. 1 p.l., 5-16 p. 20 cm . 
 
 Neither the author is mentioned (unknown to Clarence), nor the composer, John 
 Abraham Fisher. LONGE 124 
 
 Noth hat kein gesetz. Tr. of Fabrizj's opera La necessita non 
 ha legge. 
 
 72251 VOL 114 51
 
 802 LIBRARY OF CONGRESS 
 
 II nottambulo, ballet. See Sard's L'Idalide. 
 
 La notte critica. Dramma di tre atti per musica. Rappresentato 
 per la prima volta in Venezia il carnovale dell' anno MDCCLXVI con 
 musica del Boroni. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95. t. 39 
 [127}-188 p. 18. FQ 
 
 La notte critica. Dramma giocoso per musica del Signer dottor 
 Carlo Goldoni da rappresentarsi nel Teatro Tron di S. Cassano il 
 carnovale dell' anno 1766 . . . 
 
 Venezia, Modesto Fenzo, 1766. 70 p. ll& cm . 
 
 Three acts. Impresario's dedication, cast, scenario, and name of the composer, 
 Antonio Boroni. SCHATZ 1246 
 
 - La notte critica. Dramma giocoso per musica di Polisseno 
 Fegeio, P. A. da rappresentarsi nel Piccolo Teatro di S. A. E. di 
 
 Sassonia. 
 
 Dresda, n. publ., 1768. 159 p. 15% cm . 
 
 Cast and name of the composer, Boroni. German title-page, "Die critische 
 nacht," and text face Italian. SCHATZ 1247 
 
 La notte critica. 
 
 Three acts. By Goldoni. Music by Florian Leopold Gassmann. 
 First performed, at Vienna, Burgtheater, January 5, 1768. 
 Not in L. of C. 
 
 Die unruhige nacht, ein komisches singspiel in drey aufzuegen. 
 Aus dem italienischen. Auf die musik des verstorbenen nerrn Florian 
 Gassmann uebersetzt. Aufgefuehrt in Kais. Koenig. National- Hof- 
 theater. 
 
 Wien, beym Logenmdster, 1783. 69 p. 16\ cm . 
 
 Three acts. German version by Johann Joachim Eschenburg. 
 
 First performed, as indicated January 10, 1783. SCHATZ 3616 
 
 La notte critica. Dramma giocoso per musica da rappresentarsi 
 nel Teatro del Pubblico della citta di Pisa il carnevale dell' anno 
 MDCCLXIX. 
 Pisa, Pompeo Polloni, e comp., 1769. 78 p. 19. 
 
 Three acts. By Goldoni, who is not mentioned. Cast, scenario, and name of 
 Filippo Gherardesca as the composer. SCHATZ 3801 
 
 Notte critica. Dramma giocoso per musica di Polisseno Fegejo, P. 
 A. da rappresentarsi nel Real Teatro di Salvaterra nel carnevale dell' 
 anno 1767. 
 Lisbona, Michele Maneschal da Costa, n. d. 98 p. 16 cm . 
 
 Three acts. By Goldoni. Argument, cast, scenario, and name of Niccol6 Pic- 
 cinni as the composer. This libretto, therefore, undermines Cametti's claim that 
 "Notte critica" was really an opera of Niccolo Piccinni's "secondogenito, Luigi," 
 who was born, by the way, in 1766!! SCHATZ 8100 
 
 Gesaenge aus der komischen oper: Die nacht, in zwey aufzuegen, 
 nach dem italienischen des Dr. Goldoni. Die musik von Piccini. 
 
 Hamburg, J. M. Michaelsen, n. d. 36 p. 15 cm . 
 
 Translated by Johann Joachim Eschenburg. 
 
 First performed at Berlin, Koch'sches Theater i. d. Behrenstrasse, November 10, 
 1774. SCHATZ 8101
 
 OPERA LIBEETTOS 803 
 
 Le nouveau d'Assas, trait civique, en un acte et en prose, m61e de 
 chants. Represente pour la premiere fois, par les Come"diens italiens 
 ordinaires du roi, en octobre 1790. Les paroles sont de M * * *. 
 La musique est de M. Berton. 
 Paris, Vente, 1790. 32 p. 21 cm . 
 
 Label of Duchesne, an VII, pasted over imprint. Cast. Text by Dejaure. 
 First performed October 15, 1790. ML 50.2. N6B2 
 
 Le nouveau Don-Quichotte, opera-bouffon, en deux actes, paroles 
 de M. Boissel. Musique de M. Champein; represente, pour la pre- 
 miere fois, a Paris, sur le Theatre de Monsieur, aux Thuileries, le 
 lundi 25 mai 1789; & a Nantes, dans les premierers jours de novem- 
 bre 1790. 
 
 A Nantes, et se trouve a Bruxelles, dies J. L. de Boubers, 1792. 35 p. 
 21 Y m . 
 
 Cast. ML 50.2.N62C3 
 
 Le nouveau magasin des modernes, come'die en un acte, en prose, 
 melee de vaudevilles. Representee, pour la premiere fois sur le 
 Theatre du Vaudeville le 18 Frimaire, an 7 [December 8, 17981. 
 
 Paris, chez le libraire du Theatre du vaudeviUe, an VII. [1798-99]. 
 47 p. 20 cm . 
 
 Cast. "Avec 14 airs note's," printed in the text. Not recorded by either Cl. & L. 
 or Schatz. ML 48M2K 
 
 Le nouveau marie, ou Les importuns, opera comique en un acte; 
 represente pour la premiere fois, par les Comediens italiens ordinaires 
 du roi, le 20 September 1770. Les paroles sont de Monsieur de 
 Cailhava. La musique de Monsieur Bacelli. 
 Paris, veuve Duchesne, 1771. 31 p. 18 cm . 
 
 Cast and (on p. 25-31) music. SCHATZ 520 
 
 La nouvelle Bastienne, opera comique en un acte, suivi du Diver- 
 tissement de la Fontaine du Jouvence. Par Mr. Vad6. Represente 
 pour la premiere fois sur le Theatre de l'Op6ra-comique le 17 sep- 
 tembre 1754. 
 
 La Haye, Pierre Gosse, 1760. 44, 24 p. 16 cm . (Vade, Oeuvres, t. 
 ii, La Haye, 1760.} 
 
 En vaudevilles. The 24 p. contain seven "Airs de la Nouvelle Bastienne": "Tant 
 qu'on verra la riviere," "Donn' moi ta main," "Mon Bastien va perir," "Aga! ces 
 gens la faut," "Ne vla-t-il pas de bieaux appas," "Esprit farouche, nen ne te touche," 
 and ' ' Quand j 'avone engag " ; three ' ' Airs chantans de La fontaine de Jouvence " : 
 "Tendre Amour recois rhommage," "Ah! qu'il est affreux de vieillir," and "Sois 
 favorable a nos de"sirs"; and "Fontaine de Jouvence. Duo. Parodie du Regne 
 amour": "Chante un dieu, que j'adore." The divertissement was "composed" by 
 Jean George Noverre. The arranger of the music unknown to me. ML 49.A2V2 
 
 - La nouvelle Bastienne, ope'ra-comique en un acte, suivi du 
 Divertissement de la Fontaine de Jouvence. De M. Vade*. Repre"- 
 sente" pour la premiere fois sur le Theatre de 1 'Ope'ra-comique le 17 
 septembre 1754. 
 
 Paris, la veuve Duchesne, 1766. 56 p. 19. 
 
 On p. 33-44, seven "Airs de La nouvelle Bastienue," and on p. 45-56, four "Airs de 
 La fontaine de Jouvence." SCHATZ 11503
 
 804 LIBRARY OF CONGRESS 
 
 Nouvelle chasse du cerf, divertissement en musique; compost de 
 plusieurs airs parodies sur les opera d'Angleterre: avec dine'rentes 
 symphonies e"trangeres. 
 
 p. [297]-[315]. 19y m . (Jean de Serre de Rieux, Les dons des 
 enjans de Latone, Paris, 1734-) 
 
 The text is preceded by an " Avertissement," which reads in part: 
 
 "L'id6e n'est pas nouvelle; elle a paru avec succes dans le divertissement de la 
 Chasse du cerf imprime' Che's Ballard il y a plus de vingt-cinq ans ... en meme 
 terns 1'idee est venue d'offrir aux personnes qui pourvoient dans la suite entendre 
 cette seconde Chasse, un genre de nouveaute en musique si different, qu' elle ne 
 pourroit diminuer le prix ni balancer la reputation acquise a la musique de M. Morin 
 auteur de la premiere . . . 
 
 "... Toute la difference qu'il y a entr'eux, ne consiste que dans la composition 
 de la musique. II n'y a dans cette seconde Chasse que les seuls recitatifs, qui font 
 la liaison de 1'action, & les choeurs, qui sont composes par un auteur francois: toutes 
 les symphonies sont etrangeres, tiroes de differens auteurs italiens connus, & tous les 
 airs chantans sont parodies sur un nombre d'airs choisis dans les opera d'Angleterre 
 de la composition de M. Hendel (Handel). 
 
 "... Comme sa composition infiniment sage & gratieuse semble s'approcher de 
 notreguotplus qu'aucune autre, dans le principe ou Ton estque tout ce qui est essen- 
 tiellement bon en musique doit le paroitre tel a toutes les nations sensees, on a voulu 
 faire 1'essay de voir si les paroles francqises raises avec exactitude pourroient sous un 
 masque etranger recevoir encore de nouvelles graces ..." 
 
 This preface is slightly contradicted by the "Table des air a chanter, avec violoris " 
 at end, where after the airs by "Hendel" is listed "Volez, tendres Zephirs" as by 
 "Fago, Napolitain" and "Que tes jeux sont charmans, trio." as from "2. L. de Son. 
 Le Glair." 
 
 Not recorded by De La Valliere. ML 63.836 
 
 La nouvelle ecole des femmes, comedie en trois actes, mesle"e 
 d'ariettes, avec un divertissement par M. de Moissy. La musique de 
 M. Philidor. Representee pour la premiere fois par les Comediens 
 italiens ordinaires du roi, le lundi 22 Janvier 1770. 
 Paris, la veuve Duchesne, 1770. 61 p. 18 cm . 
 
 Cast. On p. 53-61, the airs of the ariettes, "Je veux qu'on m'aime" (I, 1), "Laure 
 a de la beaute " (I, 5), "Ce n'est plus a Cythere " (II, 6). SCHATZ 8021 
 
 La nouvelle soiree des boulevards, ambigu mle de chants & de 
 danses; nouvellement corrige'e & augmentee, & telle que les Come'- 
 diens italiens ordinaires du roi viennent de la remettre au theatre. 
 Bordeux, Jean Chappuis, 1769. Jfi p. 19 cm . SCHATZ 11504 
 
 Le nouvelliste dupe, opera comique en un acte; repre"sente pour la 
 premiere fois sur le Theatre de la Foire, en 1737. 
 
 Charles Francois Pannard, Theatre, Paris, Duchesne, 1763, v. 2, 
 [179}-226 p. 17. 
 
 In prose and vaudevilles. Composer not found. PQ 2019. P3 
 
 II novello Giasone. L. T. of Cavalli's Giasone. 
 
 Le nozze. O. T. of Goldoni's text I pretendenti delusi, better 
 known as Fra i due litiganti il terzo gode. Also the same as Le nozze 
 di Dorina. 
 
 Le nozze. Dramma di tre atti per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, v. 87, 
 [315}-364 p. 18\ cm . 
 
 For first composer and performance see next entry. PQ
 
 OPERA LIBRETTOS 805 
 
 Le nozze. Dramma giocoso per musica di Polisseno Fegejo, Pastor 
 Arcade, da rappresentarsi nel Teatro Grimani di S. Samuele per il 
 carnovale 1757. 
 
 Venezia, Modesto Fenzo, 1757. 48 p. 14% cm . 
 
 Three acts. By Goldoni, who is not mentioned. Cast, scenario, and name of 
 Bakiassare Galuppi as composer. 
 
 First performed at Bologna, Teatro Marsigli Rossi, summer, 1755, but Piovano says 
 that the Teatro Fo-magliari was the theatre. SCHATZ 3465 
 
 Le nozze a dispetto. Commedia per musica di Giuseppe Palomba 
 da rappresentarsi nel Real Teatro del Fondo di Separazione per la 
 prima opera del corrente anno 1797. 
 
 Napoli, Stamperia Flautina, 1797. 55 p. 15% cm . 
 
 Two acts. Impresario's dedication dated Naples, July 17, 1797, cast, and name of 
 the composer, Giuseppe Maria Curcio. On p. 47-55, argument, preface, description, 
 cast of ' ' Elisabetta e Blech , ballo eroico pantomimo diviso in cinque atti , " by Giuseppe 
 Cajani, who also composed the music. As second ballet, was performed "I finti 
 filosofi." SCHATZ 2303 
 
 Le nozze alia Mira. Farsa con arie in musica che si rappresenta 
 nel Teatro Tron di San Cassano il carnovale 1780. 
 Venezia, Modesto Fenzo, 1780. 48 p. 16\ cm . 
 
 Two acts. Author unknown to Schatz. Cast. Angelo Gagni is mentioned as the 
 composer of the opera and of the ballets. SCHATZ 3413 
 
 Le nozze americane, ballet. See Colla's Andromeda. 
 
 Le nozze d'Enea con Lavinia. Tragedia di Giacomo Badoaro 
 N. V. Rappresentata nel Teatro di S. S. Gio. e Paolo 1'anno 1641. 
 Posta in musica da Claudio Monteverde, maestro di capella della 
 Basilica di S. Marco. 
 
 Unpaged ms, probably 17th cent. 13% cm . 
 
 Five acts, with prologue. The opera was first performed as indicated. 
 
 SCHATZ 6596 
 
 Le nozze d'Ercole, e d'Ebe. Dramma per musica per i lietissimi, 
 e faustissimi sponsalizi dell' Augusta infanta di Spagna D. Carlotta 
 di Borbon coir infante augusto di Portogallo D. Giovanni e dell' 
 augusta infanta di Portogallo D. Marianna Victoria coll' augusto 
 infante di Spagna D. Gabriel Antonio di Borbon. 
 Lisbona, Francesco Luiggi Ameno, 1785. 5 p. 1., 27 p. 
 
 Two acts. The title proper, on 1st p. 1., the rest on 2d p. 1. On 3d p. 1., "Da can- 
 tarsi ai [13] d'Aprile del 1785. Nel palazzo dell' eccellentissimo Signor conte di 
 Fernan Nunez." On p. 1. 4, cast and note that the music is by Jeronymo Francisco 
 de Lima, "il poetico componimento e del Sig. * * * poeta romano" (name 
 unknown to Schatz). SCHATZ 5618 
 
 Le nozze d'Ercole, e d'Ebe. Serenata per musica da rappresen- 
 tarsi nel famosissimo Teatro Grimani a S. Gio. Grisostomo 1 ultima 
 sera del carnevale. 
 
 Venezia, n. publ, 1744- 14 P- 18 cm . 
 
 Two parts. Cast and name of Nicola Antonio Porpora as the composer. The 
 author not mentioned, and unknown to Schatz. 
 
 First performed February 18, 1744, as indicated. SCHATZ 8374
 
 806 LIBRARY OF CONGRESS 
 
 Le nozze degli Dei. Favola dell' ab.' Gio. Carlo Coppola nelle rcali 
 nozze de Sereniss. gran duchi di Toschana Ferdinando II. e Vittoria 
 principessa d'Urbirio. 
 
 Firenze, Amadore Massi e Lorenzo Landi, 1637. 4 P- ^> 104 P-> ? pl-< 
 50, [l]p., 1 pi. 23. 
 
 The ornamental t. p. and the 7 pi. were designed by Alfonsus Pariginus, engraved 
 by Stefanus Delia Bella. The pi. at end of the volume has the legend "Trattato di 
 Carlo Blasis " and hardly belonged originally with this volume. 
 
 Prologue and five acts. Author's dedication dated Florence, August 1, 1737, and 
 "A' lettori argomento, which reads in part: 
 
 "Sappia il benigno lettore, che io nel comporre, e 3tampare questa opera non ho 
 hayuto altro fine, che di ubbidire al comandamento del Serenissimo Gran Duca, u 
 cui servo; il quale mentre ch'io era con 1'animo piu che mai alieno da simili potsie, 
 mi comad6, cne componessi la comedia, la quale ei dovea rappresentare in musica 
 nelle sue felicissime nozze. Mi ristrinse & breve spazio di tempo per condurla a 
 fine, come quegli, che havea gusto di vederla compita.avati la sua partenza per Pisa. 
 M'ordin6 soggetto allegro, quale si conviene a. nozze, e per dar maggior campo all' 
 inventor delle machine di abbellirla con varieta, e vagnezza di prospettiva; voile 
 che contenesse festa in cielo, in mare, e nell' inferno: Ond' io presi per soggetto le 
 Nozze degli Dei, trattandone quattro piu celebrate da' poeti . . . 
 
 "Cosl pensai sodisfare alle volonta. del Serenissimo Gran Duca il quale tra. sette 
 giorni vide la comedia finita, 1'udl letta da me, e mostr6 no poco gradirla. Spero 
 che la brevitsl del tempo, nel quale e stata composta scusera. le imperfezioni . . . 
 Non tralascero di dire, che per fuggir la lunghezza, che portan seco le musiche, e le 
 machine, e per la stagione molto calda, e poco atta agli spettacoli, e per la brevitS. 
 delle notti, quella che si rappresentd fii in gran parte scemata, e variata da questa, 
 che si stampa ..." 
 
 This argumento is followed by the list of " Interlocutor! . Chori. Balli." The 
 text of the opera ending on p. 104, with instructions to the binder is followed by 
 
 "RELAZIONE DELLE NOZZE DEGLI DEI. Favola dell' abate Gio. Carlo Coppola 
 . . . In Firenze Nella nuova stamperia del Massi, e' Landi. 1637." 
 
 The author was Francesco di Raffaello Rondinelli, who signs the dedication. His 
 very minute description of this extraordinarily spectacular opera begins with the 
 antecedents of the text, already narrated by Coppola and then he says: 
 
 "Piacuto il concetto si diede ordine a. cinque compositori principal! della cittk 
 (accioche il sentirsi varieta. di stile apportasse maggior diletto & chi ascoltava) che 
 metessero in musica queeta poesia; i quali corrisposero con 1'artifizio del contra p- 
 punto, e con la vaghezza dell' arie alia bellezza della favola. II che fatto furono 
 d ; stribuite le parti K migliori, che Jii trovassero nella citta; ne si deve tralasciare, che 
 un' opera cosl grande, nella quale intervennero circa 150. cantori, si fece senza chia- 
 mare alcun musico forestiero; essendosi presi tutti de' provisionati da S. A. e dello 
 Stato, e citt& di Firenze. La cura della musica fu del Sig. Bal6 Ferdinando Saraci- 
 nelli, Bopraintendente di essa per S. A. quella delle machine Pebbe Alfonso Parigi, 
 e de' balli Agnolo Ricci veterano in condurre con isquisitezza simili trattenimenti. 
 Per ispiegare questa machina fu eletto il cortile del Palazzo de' Pitti, il quale essendo 
 per tutta Europa ctlebrato (come in veritd, egli e) per una fabrica ammirabile, sarebbe 
 cosa superflua, come notissimo il descriverlo. 
 
 "Risolutesi tutte queste cose il Sereniss. G. Duca se n'ando a Pisa, lasciando la 
 cura di perfezionare quest' opera al Sereniss. Sig. principe Gio. Carlo suo fratello . . . 
 Fattasi pertento la coronazione della Sereniss. Sposa, fu giudicato opportuno il rap- 
 presentarla in questo tempo, accioche essendo i popoli in somma allegrezza per questa 
 eolennit^ della nuova Gran Duchessa & tanto giubilo, e cosl universale, corrispon- 
 desse festa di straordinaria magnificenza ..." 
 
 The relation is followed by the names "de i cavalieri, che operayano nell' abbatti- 
 mento, e ne balli della commedia" and on the unnumb. p. by the imprimatur, dated 
 September 5, 1637, that of the opera itself (on p. 104) being dated July 14, 1637. 
 
 Neither Schatz nor Solerti have anything to say about the identity of the five com- 
 posers. If Schatz dates the first performance as September, 1637, he overlooked the 
 fact that the text of the opera was published after the performances. The correct 
 date is July 8, 1637, as appears from Solerti's "Musica, ballo e drammatica alia Corte 
 Medicea dal 1600 al' 1637." SCHATZ 11351 
 
 Le nozze de' Sanniti, ballet. See G. Giordani's La disfatta di 
 Dario.
 
 OPERA LIBRETTOS 807 
 
 Le nozze della Bita. Dramma giocoso per musica da rappresen- 
 tarsi in Firenze nel Teatro di via del Cocomero nelF autunno dell' 
 anno 1778 . . . 
 
 Firenze, Anton Giuseppe Pagani, 1778. 59 p. 16% cm . 
 
 Two acts. Cast. Niccol6 Tassi is mentioned as the author, Bernard(in)o Ottani 
 as the composer. SCHATZ 7362 
 
 Le nozze di Amore e di Norizia. Italian O. T. of Sales' Das 
 hochzeitsfest des Amors und der Norizia. 
 
 Le nozze di Dorina. Same as Goldoni's text Le nozze. 
 Le nozze di Dorina. L. T. of Sarti's I pretendenti delusi. 
 
 Le nozze di Figaro. Comedia per musica tratta dal francese in 
 quattro atti. Da rappresentarsi nel Teatro di corte 1'anno 1786. 
 
 Vienna, Giuseppe Nob. de Kurzbeck, n. d. 99 p. 16\ cm . 
 
 Da Ponte is mentioned as the author, Mozart as the composer. In his preface, 
 Da Ponte says: 
 
 "II tempo prescritto dalP uso alle drammatiche rappresentazioni, un certo dato 
 numero di personaggi comunementt praticato nelle medesime; ed alcune altre pru- 
 denti viste, e convenienze dovute ai costumi, al loco, e agli spettatori, furono le 
 cagioni per cui non ho fatto una traduzione di quella eccellente comedia [by Beau- 
 marchais], ma una imitazione piuttosto, o vogliamo dire un estratto. 
 
 '.' Per questo sono stato costretto a ridure a undeci attori i sedeci che la compongono, 
 due de' quali si possono eseguire da uno stesso soggetto, e ad ommettere, oltre un 
 intiero atto di quella, molte graziosissime scene, e mold bei motti, e ealetti pnd'e 
 eparsa, in loco di che ho dpvuto sostituire canzonette, arie, cori ed altri pensieri, e 
 parole di musica suscettibili, cose che dalla sola poesia, e non mai dalla prosa si som- 
 mistrano. Ad onta per6 di tutto lo studio, e di tutta la diligenza e cura avuta dal 
 maestro di cappella, e da me per esser brevi, 1'opera non sar& delle piu corte che si 
 sieno esposte sul nostro teatro al che speriamo che basti di ecusa la varieta delle fila 
 onde e tessuta 1'azione di questo dramma, la vastita e grandezza del medesimo, la 
 moltiplicita df ' pezzi musicali, che ei son doyuti fare, per non tener di soverchio 
 oziosi gli attori, per scemare la noja, e monotonia dei lunghi recitativi, per esprimere 
 tratto trattp con diversi colon le diverse passioni che vi campeggiano, e il denderio 
 nostro particolarmente di offerira un quasi nuovo genere di spettacolo ad un pubblico 
 di gusto si raffinato, e di si giudizio intendimento. II Poeta. 
 
 First performed, as indicated, May 1, 1786. SCHATZ 6826 
 
 - Le nozze di Figaro o sia La folle giornata. Comedia per musica 
 tratta dal francese in quattro atti, da rappresentarsi ne' Piccoli Teatri 
 di S. M. il re di Prussia messo in musica dal Sign. Wolfgango Mo- 
 zart . . . 
 
 Berlino, Haude e Spener, 1790. 165 p. 15\ cm . 
 
 Da Ponte is not mentioned. German title page, "Figaro's hochzeit oder Der tolle 
 tag," and text (after Vulpius) face Italian. 
 
 First performed at Potsdam, as indicated, 1790. SCHATZ 6827 
 
 - Gesaenge aus dem singspiele Figaro's heyrath, in vier aufzuegen, 
 aus dem italienischen uebersetzt vom fre3'herrn von Knigge. In 
 musik gesetzt von Mozart. 
 
 Hamburg, J oh. Matih. Michaelsen, 1791. 56 p. 16 cm . 
 
 First performed at Hamburg April 4, 1791. SCHATZ 11396 
 
 Die hochzeit des Figaro. Eine nach dem italienischen frei- 
 bearbeitete operette in vier aufzuegen von C. A. Vulpius. Die 
 musik ist von Mozart. 
 
 Leipzig, JoJiann Samuel Heinsius, 1794- 110 p. 14b cm - 
 First performed at Weimar, herzogl. Hoftheater, October 24, 1793. SCHATZ 6829
 
 808 LIBRARY OF CONGRESS 
 
 Le nozze di Figaro Continued. 
 
 - Die hochzeit des Figaro. Ein singspiel in vier aufzuegen. Mit 
 beybehaltung der musik von Mozart. Aus dem italieniscnen iiber- 
 sefzt. Flier das Kaiserl. Koenigl. Hoftheater. 
 
 Wien, Johann Baptist Wattishausser, 1798. 102 p. 16 cm . 
 
 German version, by Adolph Friedrich freiherr von Knigge and Philippine Eregine, 
 freiin von Knigge. 
 
 First performed at Vienna, as indicated, July 10, 1798; at Hanover, Schlosstheater, 
 by the G. F. W. Grossmann'sche Gesellschaft. May 18, 1789. SCHAI-Z 6828 
 
 Figaros hochzeit, oder List iiber list. Ein scherzhaftes sing- 
 spiel in 4 aufziigen. Nach Mozzarts musik. Aus dera italianischen 
 oes abbate da Ponte. 
 
 Passau, Niklas Ambrosi, 1793. 109 p. m cm . 
 
 "Karakter und kleidung der personen " on p. [4-9]. The stage-business is printed 
 in red ! SCHATZ 6860 
 
 Le nozze di Monsu Fagotto. Intermezzi per musica a tre voci da 
 rappresentarsi nel Teatro alia Valle nel carnevale dell' anno 1754 . . . 
 
 Roma, Libraria di S. MicTiele, 1754- 24 p. 15 cm . 
 
 Two parte. Author not mentioned. Text perhaps written by Angelo Lungi, who 
 together with the book-seller G. Puccinelli signed the dedication. Cast and name 
 of Gioacchino Cocchi as composer. The first intermezzo begins with the aria ' ' Perche 
 eon bella, Perche son cara," the second with the aria "Se si mette una pedina." 
 
 ML 50.2.N7C6 
 
 Le nozze di Paride. Spettacolo poetico, e musicale dell' abate 
 Pietro Chiari Bresciano poeta di S. A. Sereniss. di Modona. Da rap- 
 presentarsi nel Teatro di San Gio. Grisostomo 1'autunno dell' anno 
 1756. 
 
 Venezia, Modesto Fenzo, 1756. 56 p. 17 cm . 
 
 "Azioni della mattina del mezzogiorno della sera." Sonnet by Antonio Co- 
 dognato, cast, nama of Galuppi as compose^ and notice to the reader, which begins: 
 
 "Ecco un componimento poetico di cui non e'e ancora veduto su teatri nostri 
 I'esempio; ma che non lascia per6 d'esser giustificato dalla ragione, e dall' uso." 
 
 On p. 8, a substitute aria, "Se mi volete oppressa" (II, 12). SCHATZ 3489 
 
 Le nozze di Peleo e di Theti. 
 
 Prologue and three acts. Text by Francesco Buti, music by Carlo Caproli del 
 Violino. Not to be confused with Cavalli's "Le nozze di Teti e di Peleo." 
 
 First performed at Paris, Salle du Petit-Bourbon, April 14, 1654 (not January 26, 
 1654). 
 
 Not in L. of C. 
 
 Les nopces de Pelee et de Thetis. Comedie italienne en mu- 
 sique, entre-meslee d'un ballet sur le mesme sujet, danse par Sa 
 Majeste". 
 
 Paris, Robert Bollard, 1654. 4$ P- 21% cm . 
 
 Prologue and three acts. Names of the nobility participating. A note at end says: 
 
 "Ce qui suit est la comedie italienne, traduite en vers francois par un autre que 
 par celuy qui a fait ceux du ballet." 
 
 The text of the "comedie " does not follow in this copy. The caption title on p. 3 
 reads: 
 
 "VERS DU BALLET ROYAL, avec 1'argument de chaque scene de la comedie, qui 
 donne occasion & chaque entree du ballet." 
 
 The text of the ballet was by Benserade. The "comedie italienne en musique," 
 as the scene by scene argument proved, was NOT identical with Cavalli's "Le nozze 
 di Teti e di Peleo," text by Orazio Persiani. 
 
 First performed at Paris, January 26 ; 1654. 
 
 Chouquet and others confuse Caproli' s opera with the ballet intermezzos as repre- 
 sented by this entry. The composer of the ballet I have not found mentioned, but 
 Prunieres claims that Jean Baptiste de Iiully collaborated. ML 52.2.N67
 
 OPERA LIBRETTOS 809 
 
 Le nozzi di Peleo e di Theti Continued. 
 
 - The nuptials of Peleus and Thetis. A new Italian comedy, 
 whence the preceding mask was extracted ; made English by a nearer 
 adherence to the original, then to the French translation . . . 
 
 London, Henry Herringman, 1654. 2 p. 1., 25 p. 21% cm . 
 
 Three acts and prologue. Obviously a translation of Buti's text by James Howell', 
 who is not mentioned. LONGE 241 
 
 Le nozze di Peleo e Teti, ballet. See Cimarosa's Artemisia. 
 
 Le nozze di Perseo e d'Andromeda, ballet. See Casali's Antigona. 
 
 Le nozze di Teti, e di Peleo. Opera scenica del Signer Oratio 
 Persiani . . . 
 Venetia, Giacomo Sarzina, 1639. 108, 23 p. 14 cm . 
 
 Three acts, with prologne. Author's dedication dated Venice, January 24, 1639. 
 The 23 additional pages contain "Breve espositione della festa teatrale del Signer 
 Oratio Persiani, posta in musica dal Sig. Francesco C avail! da recitarsi nel Teatro di 
 S. Casciano. L'opera e intitolata Le nozze di Teti e di Peleo." SCHATZ 1748 
 
 Le nozze disturbate. L. T. of Naumann's La villanella incostante. 
 
 Le nozze disturbate. Dramma giocoso per musica del Signer. 
 Gaetano Martinelli Romano da rappresentarsi nel Teatro Giustiniani 
 di San Moise il carnovale dell' anno 1766. 
 
 Venezia, Modesto Fenzo, 1766. 71 p. 14\ cm . 
 
 Three acts. Cast, scenario, and name of Paisiello as the composer. SCHATZ 7696 
 
 Le nozze in campagna. Dramma giocoso di Logolcardoni Colodisce 
 da rappresentarsi nel Teatro Giugtiniani di S. Moise 1'autunno dell' 
 anno 1768. 
 Venezia, Modesto Fenzo, 1768. 70 p. 15 cm . 
 
 Three acts. By Carlo Goldoni, according to Schatz and Wiel, but none of the 
 arias listed in Wotquenne's Verzeichnis under Goldoni. Cast, scenario, and name of 
 Gregorio Sciroli as the composer. SCHATZ 9782 
 
 Le nozze in commedia. O. T. of G. Palomba's text II medico 
 parigino. 
 
 Le nozze in commedia. Commedia per musica di Giuseppe Pa- 
 lomba da rappresentarsi nel Nuovo Teatro de' Fiorentini per terz' 
 opera di quest anno 1781. 
 
 Napoli, n. pull., 1781. 70 p. 15 cm . 
 
 Three acts. Cast and name of Pietro G-uglielmi as the composer. SCHATZ 4254 
 
 Le nozze in contrasto. Dramma giocoso per musica di Giovanni 
 Bertati da rappresentarsi nel Teatro Giustiniani in S. Moise 1'autunno 
 dell' anno 1779. 
 
 Venezia, n. pull., n. d. 63 p. 18 cm . 
 
 Two acts. Dedication by Bertati, cast, and name of Giovanni Valentin! as the 
 composer. ("La musica sara.") SCHATZ 10582 
 
 Le nozze in contrasto. Dramma giccoso per musica da rap- 
 presentarsi nel Piccolo Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. pull., 1782. 109 p. 15% cm . 
 
 Two acts. Giovanni Valentin! is mentioned as composer. German title-page, 
 "Die streitige heurath," and text faces Italian, which is practically the same as in 
 the Venetian version of 1779. 
 
 First performed, as indicated, 1782. SCHATZ 10583
 
 810 LIBRARY OF CONGRESS 
 
 Le nozze in contrast Continued. 
 
 - Le nozze in contrast. Dramma giocoso per musica da rap- 
 presentarsi in Firenze nel Nuovo Regio Teatro degl' Intrepid! detto 
 La Palla a Corda nelT autunno del 1785 . . . 
 
 Firenze, Stamperia Bonducciana, 1785. 52 p., [2] 1. 17\ cm . 
 ' Two acte. Cast and name of the composer, Giovanni Valentin!. The 2 1. con- 
 tain substituted matter for I, 7. ML 48. A5 v.24 
 
 Le nozze in garbuglio. Commedia per musica di G. M. D. da rap- 
 presentarsi nel Teatro Nuovo sopra Toledo per terz' opera di questo 
 corrente anno 1793. 
 
 Napoli, n. pull., 1793. 39 p. 15 cm . 
 
 Two acts. By Giuseppe Maria Diodati. Cast and name of Giacomo Tritto as 
 the composer. SCHATZ 10473 
 
 
 
 Le nozze in villa. Intermezzo per musica da rappresentarsi nel 
 Teatro alia Valle degl' illmi Sigg. Capranica nel carnevale dell' anno 
 1792. 
 
 Roma, Michele Puccinelli, n. d. 54 p- 16 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Silvestro Palma as composer. ML 50.2.N72P2 
 
 Le nozze inaspettate. Commedia per musica da rappresentarsi nel 
 Teatro de' Fiorentini per terza opera di questo corrente anno 1793. 
 
 Napoli, 1793. 56 p. 15%- 
 
 Two acts. Cast and name of composer, Gaetano Andreozzi, but not of librettist, 
 who is unknown to Schatz. SCHATZ 208 
 
 Numa, dramma per musica da rappresentarsi alia Regia elettoral 
 corte di Dresda, il carnovale dell' anno MDCCXLIII. 
 n. i., n. d. (double) 54, [14] p. 15 cm . 
 
 Three acts. By Stefano Benedetto Palla vicini, who is not mentioned. Argu- 
 ment, scenario, and name of Johann Adolph Hasse as the composer. German title 
 page, "Numa . . . Dresden, gedruckt . . . bey der yerwitt . . . Stoesselin," and 
 text face Italian. The fourteen additional pages contain Italian and German text of 
 the " intermedio PIMPINELLA E MARCANTONIO Pimpernelle und Marcantonius," 
 by the same author and composer. 
 
 Performed, as indicated, January 14, 1743; first performed at Hubertusburg, 
 Schlosstheater, October 7, 1741. SCHATZ 4548 
 
 Numa Pompilio. Poemetto drammatico nel felicissimo giorno nata- 
 lizio della Sac. Ces. R. Maesta di Leopoldo I. Augustissimo impera- 
 dor de' Romani. 
 
 Pietro Antonio Bernardoni, Poemi drammatid, parte terza, Vienna, 
 van GTielen, 1707, p. 91-106. 16\. 
 
 Argument. The composer is not mentioned by von Weilen. 
 
 First performed at Vienna, June 9, 1707, as indicated. ML 49.A2B4 
 
 '< Numa Pompilio. Drama per musica da rappresentarsi nel famoso 
 Teatro Grimano. L'anno MDCLXXIV. Di Matteo Noris . . . 
 Venetia, Francesco Nicolini, 1674- 96 P- 14 m - 
 Three acts. Author's dedication dated Venice, January 11, 1674, argument, 
 notice to the reader, and scenario. The composer, Giovanni Maria Pagliardi, is not 
 mentioned. SCHATZ 7584
 
 OPEKA LIBRETTOS 811 
 
 Numa Pompilio II re de Romani. Serenata per musica da can- 
 tarsi nel Real palazzo di Lisbona li 24 giugno 1 789 . . . 
 [Lisbona}, Nella stamperia reale, n. d. 26 p. lo cm . 
 
 One act. "Succinto drammatico componimento " by Gaetano Martinelli. Argu- 
 ment, cast, and names of the composer, Joao de Sousa Carvalho, and the author. 
 
 SCHATZ 1672 
 
 Numitore. 
 
 36 p. 17 cm . (Rolli, Componimenti poetiti, Nuova edizione, Verona, 
 G. Tumermani, 17 44-) 
 
 Three acts. Argument. The composer, Giovanni Porta, is not mentioned. 
 First performed at London, Haymarket, April 2 (Fassini), April 13 (Schatz), 1720. 
 See also "Die helden-muetige schaefer Romulus und Remus." ML 49.A2R7 
 
 La nuova della pace, ballet. See Cherubim's Ifigenia in Aulide. 
 
 La nuova Giannetta. Dramma giocoso per musica da rappresen- 
 tarsi in Parma nel R. D. Teatro di corte il carnevale delr anno 
 MDCCXXXVII . . . 
 
 Parma, Carmignani, n. d. vii, J$. [1] p. 17 cm . 
 
 Imprimatur dated February 5-6, 1787. 
 
 Two acts. A later version of "L'incognita perseguitata," by Giuseppe Petrosel- 
 lini. Cast and name of "Ferdinando Bobuschi Colornese" as the composer, of 
 whom the impresario in the dedication eays : 
 
 "la camera, con tan to applauso intrapresa dal giovine autor della musica, e seg- 
 nata dalla sovrana munificenza." SCHATZ 8841 
 
 II nuovo convitato di pietra. Dramma tragicomico da rappresen- 
 tarsi nel nobile Teatro di San Samuele il carnovale dell anno 
 MDCCLXXXVII. 
 
 Venesia, Modesto Fenzo, 1787. 64 p. 18 cm . 
 
 Two acts. Author not mentioned, and unknown to Schatz. Cast, scenario, and 
 name of Francesco Gardi as the composer. With the opera were performed the ballets, 
 by Antonio Muzzarelli, "II Beyerlei o sia II giouocatore inglese" (music by Pietro 
 Dutillieu) and "La locandiera vivace " (composer of the music not mentioned). 
 
 SCHATZ 3540 
 
 II nuovo D. Chisciotte. L. T. of Leo's II fantastico. 
 
 II nuovo Figaro. Dramma giocoso per musica da rappresen- 
 tarsi in Parma nel R. D. Teatro di corte il carnevale dell' anno 
 MDCCXCIV . . . 
 
 Parma, Carmignani, n. d. viii, 86 p. 18 cm . 
 
 Four acts. A slightly altered version of Lorenzo da Ponte's "Le nozze di Figaro." 
 Impresario's dedicatory poem, scenario, and name of Ferdinando Per (Paer) as the 
 composer. 
 
 On p. 75-86, preface, argument, cast, and description of Giovanni Monticini'a "II 
 trionfo di Gustavo r& di Syezia, ballo eroico-tragico pantomimico in cinque atti." 
 The composer of the music is not mentioned. 
 
 First performed January, 1794, as indicated. SCHATZ 7565 
 
 II nuovo savio della Grecia. Dramma giocoso per musica di 
 Domenico Mantile da rappresentarsi nel Real Teatro del Fondo di 
 Separazione per terz' opera del corrente anno 1796 . . . 
 
 Napoli, n. publ., 1796. 2 p. 1., 47 p. 15\ cm . 
 
 Two acts. Impresario's dedication, dated November 4, 1796, cast, and name of 
 the composer, Giuseppe Farinelli. On p. [3]-13, argument, cast, and description of 
 "Zulima o sia La famiglia riunita, ballo pantomimo in cinque atti, composto e diretto 
 dal Sig. Lauchlin Dusqueeney ... la musica . . . tutta nuova, scritta dal Signor 
 Pleyel." SCHATZ 3019
 
 812 LIBRARY OF CONGRESS 
 
 The nuptials of Peleus and Thetis. See Caproli's Le nozze di 
 Peleo e di Theti. 
 
 Les nymphes. Entree in Duval's Les genies. 
 
 Les nymphes de Diane, op6ra comique, par Mr. Favart. Nouvelle 
 Edition. 
 
 Paris, Aux depens de la compagnie, 1755. 89 p. 
 
 En vaudevilles. On cover of this copy the music is attributed to J.[ean] B.[aptiste] 
 Moulinghem (Moulinghen), who, under the circumstances, can only have arranged 
 the music. ML 50.2.N9M6 
 
 - Les nymphes de Diane, opera-comique en un acte. Represent 6 
 pour la premiere fois tout en vaudevilles sur le Theatre de TOpe>a- 
 comique de la Foire S. Laurent le 22. septembre 1755. Par M. 
 Favart. 
 
 Paris, Duchesne, 1755. 56, [8] p. 19 cm . (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. viii.) 
 
 Cast. The [8] p. contain eight "Airs choisis des Nimphes de Diane Vaudeville" 
 ("Je voulois vaincre"). Favart's musical collaborator is not mentioned by Font, 
 who says that the opera was first performed at Bruxelles in 1747, after having been for- 
 bidden for performance at Paris, Foire St. Laurent, in 1741. ML 49.A2F1 
 
 - Les nymphes de Diane, ope'ra-comique en un acte. Repre- 
 sent e pour la premiere fpis tout en vaudevilles sur le Theatre de 
 1'Opera-comique de la Foire St. Laurent le 22 septembre 1755. 
 
 Paris, la veuve Duchesne, 1766. 68 p. 19 cm . 
 
 On p. 55-68, eight "Airs des Nymphes de Diane." Neither the author, Favart, is 
 mentioned, nor the arranger of the airs, etc. SCHATZ 11502 
 
 Oberon oder Koenig der elfen, ein romantisches singspiel in drey 
 aufzuegen nach Wieland. Von Friederike Sophie Seyler. Herrn 
 Schroeder, Director des Hamburger Theaters, zugeeignet. Die 
 musik ist von Paolo Wranitzky. Dritte auflage. 
 Hamburg, Herold, 1792. 95, [1] p. 15\ cm . 
 
 Page 95 incorrectly numbered 79 . The last page contains instructions for an altered 
 performance of the third act. 
 
 The dedication is dated Schleswig, July, 1788. In it the authoress does not mention 
 the fact that Heinrich Gottlieb Schmieder added a few arias, which were composed 
 by Carl David Stegmann. 
 
 First performed at Frankfurt a/M, Nationaltheater, October 15, 1790, and at Ham- 
 burg, Theater beim Gansemarkt, October 17, 1791. SCHATZ 11112 
 
 Obert e Melina, ballet. See Mayr's cantata Temira e Aristo. 
 L'obstacle favorable. See Les comediens corsaires. 
 Octavia. See Reiser's Die roemische unruhe. 
 Odervik, ballet. See Zingarelli's II ritratto. 
 
 Gl'odj delusi dal sangue. Drama per musica ... da rappre- 
 sentarsi in Dresda nel carnevale 1718. 
 
 Dresda, Giovanni Riede.1 & Giovanni Stoessel, n. d. Unpaged. 21 cm . 
 
 Three acts. Dedication signed by the author, Antonio Maria Luchini, and dated 
 Dresda, Febraro, 1718, argument, cast, scenario, and name of Antonio Lotti as com- 
 poser of the opera; of "Signor Woulmyer" as composer of the ballet music. French 
 title page, "La haine vaincue par la force du sang," and text face Italian. Following 
 the text of the opera is printed that of the three "Intermedi cantati . . . Dresde, 
 chez Jean Riedel & Jean Conrad Stossel, 1718," called "MIRENA E FLORA." These, 
 too, have Italian and French texts on opposite pages. SCHATZ 5707
 
 OPERA LIBRETTOS 813 
 
 GFodj delusi dal sangue. Drama per musica da rappresentarsi 
 nel Teatro di S. Angelo nella fine del carnovale 1728. 
 
 Venezia, Marin Rossetti, n. d. 1+1 p. 14 cm . 
 
 Three acts. By Antonio Maria Lucchini, who is not mentioned. Argument, cast, 
 scenario, and names of Galuppi as the composer of acts I and III, and of Giov. 
 Battista Pescetti of act II. 
 
 First performed on February 4, 1728. SCHATZ 3521 
 
 Gli odii fraterni. A. T. of Pacelli's II finto Esau. 
 
 L'odio 1'amor. Drama per musica. Da rappresentarsi nel famo- 
 sissimo Teatro Grimani in S. Gio. Grisostomo 1'anno 1703. Di 
 Matteo Noris. 
 
 Venezia, Marino Rossetti, 1703. 1 p. 1., 79 p. 15 cm . 
 
 Three acts. Preface and scenario. The composer, Carlo Francesco Pollaroli, is 
 not mentioned. SCHATZ 8304 
 
 L'odio e Famore. Melodrama di Matteo Noris da rappresentarsi in 
 Napoli nel Teatro di S. Bartolomeo in quest, anno 1704 . . . 
 
 Napoli, MicheleLuigi Mutio, 1704- 4 P- l-> &4 P- 13 cm . 
 
 Three acts. Dedication by Nicola Serino, cast, scenario, name of Giuseppe [An- 
 tonio Vincenzo] Aldrovandini as composer, and notice (by Serino?) to the reader, 
 according to which the present edition is an altered version of Noris' libretto "per 
 1'aggiunzioni di rappresentanti e tra per la variazione d'arie." It is also stated that 
 the music of the following arias was not by Aldrovandini but was new: "A 1'armi, a 
 1'armi" (I, 2), "Mi fa guerra, e mi combatte" (I, 3), "Voi piangete 6 luci belle" 
 (I, 6), "Sapessi almen dov'e" (I, 6), and many others. Their composer is not men- 
 tioned. SCHATZ 136 
 
 L'odio placato. Drama per musica da recitarsi nel Teatro di S. 
 Angelo 1'anno 1730. 
 
 Venezia, Alvise Valvasense, 1730. 4? P- 
 
 Three acts. By Francesco Silvani, who is not mentioned. Argument, notice to 
 the reader, cast, scenario, and name of Galuppi as composer. 
 
 First performed, as indicated, December 27, 1729. SCHATZ 3490 
 
 L'odio vinto dalla costanza. Dramma per musica da rappresen 
 tarsi in Parma nell' Imperial-ducale Teatro il carnovale dell' anno 
 1739 . . . 
 Parma, Gozzi, n. d. 48 p. 17 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Dedication by the 
 impresario, Domenico Maria Creta, dated Parma, January 24, 1739, argument, cast, 
 scenario, and note: 
 
 "La musica e scelta da diversi autori." 
 
 The text is perhaps the same as Antonio Marchi's, another title of which was "La 
 costanza trionfante degl' amori e degl' odii." SCHATZ 11352 
 
 L'odio vinto dalla costanza. L. T. of Vivaldi's La costanza trion- 
 fante degl' amori e degl' odii. 
 
 L'Odoacre. Drama per musica di Novello Bonis. Da rappresen- 
 tarsi nel Teatro di Sant' Angelo. L'anno MDCLXXX . . . 
 Venetia, Francesco Batti, 1680. 60 p. 14 cm . 
 
 Three acts (running title of third incorrectly numbered second). Author's dedi- 
 cation dated Venice, January 4, 1679, argument, scenario, and notice to the reader: 
 
 "Doppo il mio Dario ravvitato non hebbi altra fortuna di servirti. Hora vedrai 
 1'Odoacre. Compatiscilo poichfe e barbaro. Ammolira le sue durezze 1'armonia delle 
 note del Signer Giovanni Varischino nipote, e discepolo di quel D. Giovanni Le- 
 renzi , ch'immobilisce la fama eul' arco de' stupori." SCHATZ 10593
 
 814 LIBRABY OF CONGRESS 
 
 Odoacro, prime re d'ltalia, ballet. See Piccinni's II servo padrone. 
 
 Odoardo. Drama per musica da rappresentarsi nel Teatro di Sant' 
 Angelo 1'anno MDCXCVIII . . . 
 
 Venezia, Girolamo Albrizzi, 1698. 6 p. I. (incl. front.), 57 p. 14 cm . 
 
 Three acts. Dedication by Apostolo Zeno as author, though "Odoardo" does 
 not appear in his collected works nor any of the arias in Wotquenne's Verzeichnis 
 under Zeno. Argument, and scenario. The composer, Marc' Antonio Ziani, is not 
 mentioned. 
 
 First performed, as indicated, carnival 1698. SCHATZ 11191 
 
 Oedip zu Colonos. Tr. of Sacchini's Oedipe a Colone. 
 
 Oedipe a Colone, trag&lie lyrique en trois actea. 
 n. i., n. d. p. [l]-32. 18% cm . 
 
 Three acts. On p. [1] this note: "Le poe'me est du C. Guillard. La musique de 
 Sacchini." C. stands obviously for Citoyen, which would fix the date of this edition 
 as 1792 or later. 
 
 First performed at Versailles, Theatre de la Cour, January 4, 1786, and at Paris, 
 Acad^mie royale de musique, February 1, 1787. SCHATZ 9234 
 
 Oedip zu Colonos. Lyrisches drama in drey aufzuegen zur 
 beybehaltenen musik von A. Sacchini, aus dem franzoesischen ueber- 
 setzt von C. Herklots. 
 
 Berlin, n. publ., 1798. 55 p. 
 
 Cast and "Vorerinnerung." 
 
 First performed at Berlin, Kgl. National Theater, October 17, 1797. SCHATZ 9235 
 
 Die oesterreichische grossmuht oder Carolus .V. Auf das hoechst- 
 erfreuliche kroemmgs-fest ... Caroli VI. envaehlten roemischen 
 kaeysers ... in einem musicalischen schauspiele auf dem grossen 
 Hamburgischen Theatro vorgestellet am tage Caroli MDCCXII. 
 n. i., n. d: Unpaged. 19 cm . 
 
 Three acts and epilogue. Scenario and laudatory "vorbericht." Neither the 
 author, Johann Ulrich Koenig, is mentioned, nor the composer, Reinhard Keiser. 
 First performed, ae indicated, January 28, 1712. SCHATZ 5108 
 
 Ogus, o sia II trionfo del bel sesso. Dramma giocoso per musica, 
 da rappresentarsi nel Teatro Elettorale. 
 
 Dresda, n. publ, 1796. 22 p. I., 60 p. 16 cm . 
 
 Two acts. By Giovanni Bertati, who is not mentioned and whose title originally 
 was "La forza delle donne." German title-page, "Ogus, oder Der triumph des 
 schoenen geschlechts," and scene-by-scene synopsis precedes the Italian text. Peter 
 von Winter is mentioned as the composer. 
 
 First performed, as indicated, March 5, 1796; at Prague, Nationaltheater, 1795. 
 
 SCHATZ 11058 
 
 Oithona: A dramatick poem, taken from the prose translation of 
 the celebrated Ossian, as performed at the Theatre Royal in the 
 Hay-Market. Set to musick: by M. Barthelemon. 
 
 London, T. Becket and P. and A. de Hondt, 1768. 23 p. 21. 
 
 Three acts. Author not recorded by Baker. LONGE 163 
 
 L'Olandese in Italia. Dramma giocoso in musica da rappresen- 
 tarsi nel Teatro da rua dos Condes nel anno 1766 . . . 
 Lisbona, Pietro Ferreira, n. d. 94 p. 15 cm . 
 
 Incomplete, p. 1-8 missing. The t.-p. supplied in transcript. 
 Three acts. Niccolo Taesi is mentioned as the author, Giovanni Marco Rutini as 
 the composer. 
 
 First performed at Florence, Teatro di via del Cocomero, spring of 1765. 
 
 SCHATZ 9190
 
 OPERA LIBRETTOS 815 
 
 An old fool worse than any. A. T. of He wou'd if he cou'd. 
 
 An old man taught wisdom : or, The virgin umnask'd. A farce. 
 As it is perform'd at the Theatre-Royal, by His Majesty's servants. 
 By Henry Fielding, Esq; with the musick prefix'd to each song. The 
 second edition. 
 London, J. Watts, 1735. 39 p. 19 cm . 
 
 One act. Cast and table of the twelve songs. Ballad opera, the airs printed in the 
 text, with their titles. Later on, the piece became known almost exclusively under 
 the alternative title. 
 
 First performed at Drury Lane, 1734 (Clarence); January 6, 1735 (Tufts). 
 
 ML 50.5.042 
 
 - The virgin unmasked. A musical entertainment, in one act. 
 By Henry Fielding, Esq,. With alterations. As performed at the 
 Theatres-Royal in Drury-Lane, and Covent-Garden. 
 
 London, T. Payne and son [etc.], 1786. 27, [5] p. 21 cm . 
 
 The [5] p. contain a table of the 11 songs and a four-pa^e booklist of W. Lowndes. 
 Casts of 1786, with the N. B.: "Some parts of this entertainment are performed only 
 at Drury-Lane, and other passages only at Covent-Garden." Ballad opera, most of 
 the airs being indicated by title. LONGE 97 
 
 - The virgin unmask'd. By Henry Fielding, Esq. 
 
 [120}-141 p. 19 cm . (Collection of the most esteemed farces and enter- 
 tainments, t. xi, Edinburgh, 1792.*) 
 
 Drury-Lane and Edinburgh (1782) caste. Ballad opera. SCHATZ 11753B 
 
 The old woman weatherwise, an interlude; as performed at the 
 Theatre Royal in Drury-Lane. 
 London, S. Bladon, 1788. 18 p. 21 cm . 
 
 One act. Cast. Neither the author, G. Saville Carey, is mentioned, nor the com- 
 poser (not recorded by Schatz). Genest under Drury Lane 1769-70 says: "Old 
 women weatherwise. This contemptible interlude is attributed to G. S. Carey it 
 was acted at D. L. in the course of 1770." LONGE 251 
 
 Olimpia, ballet. See Winter's Catone in Utica. 
 Olimpia placata. L. T. of Freschi's Olimpia vendicata. 
 
 Olimpia vendicata. Drama per musica da rappresentarsi nel 
 Teatro di S. Angelo 1'anno MDCLXXXII. Di Aurefio Aureli opera 
 XXII . . . 
 
 Venetia, Francesco Nicolini, 1682. 55 p. 
 
 Three acts. Author's dedication dated Venice, November 20, 1681, author's notice 
 to the reader, with name of Giovanni Domenico Freschi as composer, scenario, and 
 arguments preceding each act. SCHATZ 3352 
 
 - Olimpia placata. Drama rappresentato in musica nel novis- 
 simo Teatro ducale di Parma . . . Poesia di Aurelio Aureli. 
 
 Parma, netta, Stamperia ducale, 1687. 88 p. 16 cm . 
 
 Three acts. Impresario's dedication, argument, scenario, and author's notice to 
 the reader, in which he says: 
 
 "La brevita del tempo stabilito alle recite non le h& permesso di poter questa prima 
 volta farsi vedere con nuova fatica. Onde e etata dalla necessity costretta a portarti 
 I'Olimpia mio drama gi& un lustro compostOj e rappresentato con non picciolo agradi- 
 mento in Venetia . . . h6 ineerita la Vecchia, che nel primo drama non v'era, per il 
 che m'e convenuto riformarlo in gran parte con mutar totalmente non solo il suo fine 
 ma cangiarli ancora il primo titolo d'Olimpia vendicata in Olimpia placata. Le nuove
 
 816 LIBRARY OF CONGRESS 
 
 Olimpia vendicata Continued. 
 
 aggiunte tutte sono etate poste in musica dalla virtu ammirabile del Sig. D. Bernardo 
 Sabadini . . . 1'armonia delle cui note avr& aggiunto nuovo splendore alia musica 
 singplare della prima Olimpia compoeta dal Sig. D. Domenico Freschi ..." 
 
 The libretto is one of the early instances in which not only the "I'inventore delle 
 scene" (in this case, "Ferdinando Galli detto il Bibiena") is mentioned, but also the 
 "inventor de balli" (Federico Crivelli) and the "inventore, e fabbricatore degl' 
 habiti" (Gasparo Torrelli). SCHATZ 5359 
 
 L'Olimpiade. 
 
 [227}-297 p. 19 cm . (Pietro Metastasio, Operedrammatiche, Venezia, 
 Giuseppe Bettinelli, 1738-87, t. 1.) 
 
 Three acts and licenza. Argument. No composer is mentioned. ML 49.A2M4 
 
 Olimpiade. 
 
 Metastasio, Poesie, Parigi, vedova Quillau,*1755, t. II, 104 P- 16 cm . 
 Three acts and licenza. Argument. ML 49.A2M42 
 
 Olimpiade. Dramma rappresentato con musica del Caldara la 
 prima volta nel giardino dell' Imperial Favorita, alia presenza degli 
 augusti regnanti, il dl 28 agosto 1733, per festeggiare il giorno di 
 nascita del? imperatrice Elisabetta . . . 
 
 pi., [3]-120 p. 26 cm . (Pietro Metastasio, Opere, t. II, Parigi, vedova 
 Herissant, 1780.} 
 
 Three acts and licenza. Argument. ML 49.A2M44 
 
 4 
 
 L'Olimpiade. Drama per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto il carnovale dell' anno .MDCCLXXIV 
 
 Venezia, Modesto Fenzo, 1774. 62 p. 17 cm . 
 
 Three acts. By Metastasio. Argument, cast, scenario, and name of Pasquale 
 Anf ossi as composer, but not of librettist. Between the first and second acts was per- 
 formed "L'Ipermestra o Le Danaidi. Ballo tragico pantomimo, d'invenzione e com- 
 posizione di Monsieur Giovanni Favier." The composer of the music is not men- 
 tioned. A detailed description of the ballet on p. 21-30. 
 First performed, as indicated, December 26, 1774. (Schatz.) SCHATZ 246 
 
 L'Olimpiade. Dramma per musica da rappresentarsi nel Teatro 
 Tron di S. Cassiano il carnovale dell' anno 1765. 
 Venezia, Modesto Fenzo, 1765. 54 p. 18 cm . ., 
 
 Three acts. Argument, cast, scenario, and name of composer, Ferdinando Giu- 
 seppe Bertoni, but not of the librettist, Metastasio. SCHATZ 915 
 
 Olimpiade. Dramma per musica da rappresentarsi nel Teatro 
 grande alia Scala di Milano, il carnevale dell anno 1782 . . . 
 Milano, Gio. Batista Bianchi, n. d. J+8 p. 15\ cm . 
 
 Three acts. By Metastasio. Dedication ("per Papertura delle recite del carne- 
 vale entrante"), argument, cast, scenario, and name of composer, Francesco Bianchi. 
 First performed, as indicated, December 26, 1781. SCHATZ 1004 
 
 L'Olimpiade. Dramma per musica da rappresentarsi in Firenze 
 nel nuovo Regio Teatro degl' Intrepidi detto La Palla a corda nella 
 primavera del 1785 . . . 
 
 Firenze, Stamperia Bonducciana, 1785. 1 p. 1., iv, 87 p. 16\ cm . 
 
 Two acts. By Metastasio, with argument, cast, and name of the composer, Gio- 
 vanni Battista Borghi ("musica nuova"). Two ballets by Domenico Ricciardi were 
 performed with the opera, one of which was composed by Gius. Horban and was 
 called "Giasone e Medea." 
 
 First performed at Modena, Teatro Rongoni, December 26, 1784. SCHATZ 1235
 
 OPERA LIBRETTOS 817 
 
 L'Olimpiade. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nella primavera del 1737 per le regie nozze. 
 
 Torino, Pietro Giuseppe Zappata efigliuolo, 1737. 4 P- ^-, ?<?, ^ P- 
 
 By Metastasio. Three acts. Argument, scenarioj cast, and name of the com- 
 
 ?oser, Giuseppe Ferdinando Brivio. Alessio Rasetti is mentioned as composer of the 
 allet music. SCHATZ 1326 
 
 Olimpiade. Dramma rappresentato con musica del Caldara la 
 prima volta nel giardino den" Imperial Favorita, alia presenza degli 
 augusti regnanti, il di 28 agosto 1733, per festeggiare il giorno di 
 nascita delr imperatrice Elisabetta, d'ordme dell' imperator Carlo VI. 
 n. i., n. d. pi, 106 p. 17 cm . 
 
 Evidently detached from an edition of Metastasio's works not in the L. of C. 
 Three acts and Licenza. Argument. ML 50.2. 05C2 
 
 L'Olimpiade del celebre Sig. abate Pietro Metastasio . . . Dramma 
 per musica da rappresentarsi nel Pubblico Teatro di Lucca nelT 
 aut'unno dell' anno MDCCLXXXIV. 
 Lucca, Francesco Bonsignori, n. d. 63 p. 14\ cm - 
 
 Two acts. Argument, scenario, cast, and name of the composer, Cimarosa. On 
 p. 57-63 description of Antonio Muzzarelli'e "La liberazione di Castruccio Castra- 
 cane." The composer of the music is not mentioned. 
 
 First performed at Vicenza, Nuovo Teatro Eretenio, July 10, 1784. SCHATZ 1960 
 
 - L'Olimpiade del celebre Signer abate Pietro Metastasio . . . 
 Dramma per musica da rappresentarsi nel Nuovo Teatro di Vicenza 
 1'autunno MDCCXCIV. 
 
 Vicenza, Vendramin Mosca, n. d. 4.8 p. 18 cm . 
 
 Two acts. Dedication referring to the first performance in 1784, argument, cast, 
 scenario, and name of Domenico Cimarosa as composer. ("La musica sara.") 
 
 SCHATZ 11686 
 
 L'Olimpiade. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1790. Alia presenza di S. S. R. M. 
 Torino, Onorato Der'ossi, n. d. viii, 51 p. 15\ cm . 
 
 Three acts. By Metastasio. With argument, cast, scenario, and name of the 
 composer, Vincenzo Federici. On p. [47J-51 "Descrizione de' balli inyentati, e 
 composti , come pure la musica de' medesimi dal Signer Gaspare Angiolini" with 
 argument, cast, and description: (1) "Sargine," (2) -"Lorezzo," (3) "I vincitori 
 de' giuochi olimpici." 
 
 First performed at Turin, as indicated, December 26, 1789. SCHATZ 3046 
 
 L'Olimpiade. Dramma per musica da rappresentarsi nel Teatro 
 Grimani a S. Samuele nella Fiera dell' Ascensione dell' anno 1745. 
 n. i., n. d. 1 p.l., 48 p. 15 cm . 
 
 Three acts. By Metastasio. Argument, cast, scenario, and name of the com- 
 poser, Ignazio Fiorillo. 
 
 First performed, as indicated, Venice, May, 1745. SCHATZ 3205 
 
 L'Olimpiade. Drama per musica da recitarsi sul famosissimo 
 Teatro di Braunsviga nella fiera d'estate 1'anno 1749. Die olym- 
 pischen spiele . . . 
 
 Wolfenbuettel, Christian Bartsch wittwe u. erben, n. d. Unpaged. 
 
 Three acts. By Metastasio. Argument (in German only), scenario, and name of 
 the composer, Ignazio Fiorillo. German text faces Italian. SCHATZ 3202 
 
 72251 VOL 114 - 52
 
 818 LIBRARY OF CONGRESS 
 
 L'Olimpiade. Dramma per musica del Signore abbate Pietro Meta- 
 stasio da rappresentarsi in Siena nel Teatro della virtuosissima Acca- 
 demia degl' Intronati nell' estate dell' anno 1763 . . . 
 
 Siena, Bonetti, 1763. 58 p. 15\. 
 
 Three acte. Impresario's dedication, argument, cast, scenario, and name of 
 Galuppi as composer. 
 
 First performed, as indicated, July 24, 1763; at Milan, Regio Ducal Teatro, Decem- 
 ber 26, 1747. SCHATZ 3496 
 
 L' Olimpiade . Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto il carnovale dell' anno MDCCLXVII . . . 
 
 Venezia, Modesto Fenzo, 1767. 64 p. 11 \. 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication 
 dated Venice, December 26, 1766, argument, cast, scenario, and note: "La musica e 
 di tre celebri maestri di capella." These were Pietro Guglielmi, Antonio Gaetano 
 Pampani, and Francesco Brusa. 
 
 Whether the first act was that of Guglielmi's "L'Olimpiade," Naples, 1763, or 
 whether it was a new setting, is not known. SCHATZ 4316 
 
 Olimpiade. Dramma per musica da rappresentarsi nel Regio elet- 
 toral Teatro di corte nel carnevale dell' anno MDCCLVI. La musica 
 & del Sig r . Gio. Adolfo Hasse . . . 
 
 Dresda, la vedova Stoessel e Giovanni Carlo Krause, n. d. 7 p. I., 
 (double} 91 p. 23 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, and scenario. 
 German title page, "Das olympische spiel," and text face Italian. 
 
 First performed, as indicated, February 16, 1756. SCHATZ 4549 
 
 - L'Olimpiade. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1765 . . . 
 Torino, Gaspare Bayno, n. d. viii, 68 p. 16 cm . 
 Three acts. Argument^ cast, scenario, and name of Joh. Ad. Hasse as the com- 
 
 the ballets by Francesco Salomoni, the second of which, music by Giuseppe Antonio 
 Le-Messier, was called "I cacciatori burlati." 
 
 First performed, as indicated, December 26, 1764. SCHATZ 4550 
 
 L'Olimpiade. Dramma per musica <Ja rappresentarsi nel Teatro 
 ducale di Stutgard festeggiandosi il felicissimo giorno natalizio di 
 vSua Altezza Serenissima Carlo, duca regnante di Wirtemberg e Teck, 
 etc. La poesia e del Signor abbate Pietro Metastasio ... La 
 musica e nuovamente composta dal Signor Nicol6 Jommelli ... I 
 balli sono inventati dal Signor Giovanni Giorgio Noverre . . . 
 
 Stutgard, Cotta, 1761. 181, [7] p. 18. 
 
 Three acts, preceded by (17 p.) "Prplogo." German title page, "Die olympische 
 spiele," and text face Italian. Preceding p. 72, two unnumbered pages, with a brief 
 description of "I capricci di Galatea, ballo pastorale." The 7 add. p. contain a 
 description of "Admeto ed Alceste, ballo tragico." The composers of the music are 
 not mentioned. Abert says that, in addition, between second and third acts Noverre'e 
 ballet "Rinaldo," music by Rudolph, was performed. 
 
 First performed, as indicated, February 11, 1761. SCHATZ 4867 
 
 - L'Olimpiade. Dramma per musica da rappresentarsi nel Real 
 Teatro dell' Ajuda in occasione di festeggiarsi il felicissimo giorno 
 natalizio di Sua Real Maesta 1'augustissima Signora D. Marianna 
 Vittoria . . . nella primavera dell' anno 1774. 
 
 [Lisbona], Stamperia Reale, n. d. 88 p. 15 cm . 
 
 Three acte. Argument, scenario, cast, and names of Metastasio as author, of 
 Niccol6 Jommelli as composer. The text seems to follow closely that of 1761. 
 
 First performed, as indicated, March 31, 1774. SCHATZ 4885
 
 OPERA LIBRETTOS 819 
 
 L'Olimpiade, dramma per musica da rappresentarsi nel Teatro Tron 
 di S. Cassiano Fautunno dell' anno MCCLII . . . 
 [Venezia], n. publ., n. d. 1 p. 1., Jfi p. 16 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication, argu- 
 ment, cast, scenario, and name of Gaetano Latilla as composer. SCHATZ 5449 
 
 L'Olimpiade, ballet. See Meucci's Telemaco. 
 
 L'Olimpiade. Dramma per musica da rappresentarsi nel famoso 
 
 Teatro Grimani di S. Gio. Grisostomo nelr autunno dell' anno 
 1738 . . . 
 
 Venezia, Marino Rossetti, 1738. 69 p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned; neither is Pergolesi, the com- 
 poser. Domenico Lalli's dedication, argument, cast, and scenario. 
 
 First performed at Rome, Teatro Tor di Nona, carnival (January), 1735. 
 
 SCHATZ 7904 
 
 L'Olimpiade. Dramma da rappresentarsi ne' Regi Teatri di S. M. 
 il re di Prussia. Messo in musica dal Sign. G. F. Reichardt . . . 
 Berlino, Haiide e Spener, 1791. 107 p. 16 cm . 
 
 Three acts. German title-page, " Die Olympiade . . .vom herrn abt Metastasio," 
 and text face Italian. Argument, cast, and note that "molti cambiamenti furono 
 fatti al dramma del Metastasio si per commodo della musica, che per quello de' Signori 
 attori." 
 
 First performed at Berlin, as indicated, on October 3, 1791. SCHATZ 8649 
 
 Olimpiade. Dramma per musica da rappresentarsi nel Teatro 
 Interinale di Milano il carnovale dell' anno 1778 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 59, 24 p. 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication, argu- 
 ment, cast, scenario, and name of Antonio Rossetti as the composer. The 24 p. 
 contain cast, argument, description, and name of Luigi Gatti ("musica tutta nuova ) 
 as composer of the music of Innocenzo Gambuzzi's Germanico in Germania, ballo 
 eroico-pantomimo," in five acts, the argument of Gambuzzi's "II matrimonio de' 
 Groenlandesi," and the title of his third ballet, "Giaccona." 
 
 First performed December 27, 1777, as indicated. SCHATZ 8885 
 
 L'Olimpiade. Dramma per musica da rappresentarsi nel nobilis- 
 simo Teatro di S. Benedetto 1'autunno dell' anno MDCCLXXXVI. 
 Venezia, Modesto Fenzo, 1786. 55 p. 17 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Sacchini as the composer, with remark, "alcuni pezzi di musica sono di altri 
 celebri maestri." 
 
 First performed at Padova, Teatro Nuovo, June, 1763. SCHATZ 9238 
 
 L' Olympiade ou Le triomphe de 1'amitie", drame he'roique en 
 trpis actes et en vers, mele* de musique; repre'sente', pour la premiere 
 fois, par les Come'diens italiens oridnaires du roi, le 2 octobre 1777, & 
 a Fontainebleau, devant Leurs Majest6s, le 24 du niSme mois. 
 
 Paris, la veuve Duchesne, 1777. 2 p. 1., 24 p. 19 cm . 
 
 Cast and names of Nicolas Etienne Framery as the author of this French ver- 
 sion, of Sacchini as the composer. SCHATZ 9239 
 
 L'Olimpiade. Dramma per musica da rappresentarsi nel Teatro 
 Grimani di S. Benedetto 1'autunno dell' anno 1760. 
 Venezia, Antonio Comino, 1760. 55 p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Gregorio Sciroli as the composer. SCHATZ 9783
 
 820 LIBRARY OF CONGRESS 
 
 L' Olimpiade. Dramma per musica da rappresentarsi nel Teatro 
 Giustiniani di S. Moisd il carnovale dell' anno 1747. 
 Venezia, Valvasense, 1747. Ifi p. 15\ cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Giuseppe Scolari as the composer. SCHATZ 9797 
 
 Olimpiade. Dramma per musica del Sig. abbate Pietro Metastasio, 
 Poeta Cesares. Da rappresentarsi in Verona nel nuovo Teatro dell' 
 Accademia filarmonica nelP autunno dell' anno 1758 . . . 
 Verona, Dionisio Ramanzini, n. d. 51 p. 17% cm . 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and name of 
 Tommaso Trajetta as the composer. ("La musica e tutta nuova. ") SCHATZ 10404 
 
 - Olimpiade. Dramma per musica da rappresentarsi in Firenze 
 nel Teatro di via della Pergola nelF autunno dell' anno 1767 sotto la 
 protezione di Sua Altezza Reale Pietro Leopoldo, arciduca d'Au- 
 stria . . . 
 
 n. i., n. d. vi, 60 p. 21\ cm . 
 
 Vignettes. 
 
 Three acts. Argument, cast, and name of Tommaso Traetta as composer. The 
 music is called "tutta nuova," which possibly means that this is a second setting of 
 the text by Metastasio, who is not mentioned. 
 
 First performed October 15, 1767, as indicated. SCHATZ 10396 
 
 Second copy. ML48.M2C 
 
 L'Olimpiade. Dramma per musica di Pietro Metastasio, poeta di 
 S. M. C. C., fra gl'Arcadi Artino Corasio. Da rappresentarsi nel 
 Teatro di Sant' Angelo nel carnovale dell' anno MDCCXXXIV. 
 Venezia, Marino Rossetti, 1734. 72 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, and name of Antonio Vivaldi as the com- 
 poser. SCHATZ 10774 
 
 Olimpie, tragddie lyrique en trois actes, poeme du c en Guillard, 
 musique du c en Kalkbrenner; representee pour la premiere lois ft 
 Paris, sur le Theatre de la Republique et des Arts, le 18 frimaire 
 an 7 ... 
 
 Paris, Charles Honel, an VII [1798-99]. 2 p. I., 40 p. 26 cm . 
 
 First performed, as indicated, December 18, 1798. SCHATZ 4998 
 
 L'Olindo. Commedia per musica* di Antonio Palomba Napoletano 
 da rappresentarsi nel Teatro di Forentini nel carnevale di quest' 
 anno 1753. 
 
 Napoli, Domenico Lanciano, 1753. 83 p. ll t \ cm - 
 
 Three acts. Cast and (on p. [41) the remark: 
 
 "La musica e del Signor D. Niccolo Conti, a riserba dell' ultima cavatina di 
 Masillo, Finale dell' atto secondo e 1'intiero terz atto, come anco la sinfonia, e 1'arie 
 con questo segno , che sono del Sig. D. Matteo Capranica, ambo maestri di cappella 
 Napoletani." SCHATZ 2208 
 
 Olindo e Sofronia. L. T. of Andreozzi's Sofronia e Olindo. 
 
 L'Olympiade da rappresentarsi in musica nel Teatro Nouvo [!] di 
 corte. nel carnovale 1764. Trasposte in versi tedeschi. La poesia 
 del Signor abbate Pietro Metastasio. La musica d del Sig. Andrea 
 di Bernasconi . . . 
 
 Monaco, Giov. Giac.. Votter, n. d. 211 p. 15 cm . 
 
 Three acts. Argument. German title, "Die olympischen spiel," and text face 
 Italian. 
 
 First performed at Munich, January 20, 1764. SCHATZ 859
 
 OPEKA LIBRETTOS 821 
 
 Die Qlympiade. Tr. of Reichardt's L'Olimpiade. 
 
 L'Olympiade ou Le triomphe de 1'amitie. French version of Sac- 
 chini's Olimpiade. 
 
 Das olympische spiel. Tr. of Hasse's Olimpiade. 
 Die olympische spiele. Tr. of Jommelli's L'Olimpiade. 
 Die olympischen spiel. Tr. of Bernasconi's L'Olympiade. 
 Die olympischen spiele. Tr. of Fiorillo's L'Olimpiade. 
 
 L'ombra di Nino ossia L'impostore scoverto. Da rappresentarsi nel 
 Real Teatro di S. Cecilia, per la prima opera nell' autunno di quest 7 
 anno 1796 . . . 
 
 Palermo, Stamperia Valenza, n. d. 4& P- 14 m - 
 
 Two acts. The author, Michelangelo Prunetti, is not mentioned. Impresario's 
 dedication, cast, and name of Francesco Ruggi as the composer. 
 
 First performed at Naples, Teatro del Fondo, 1794. SCHATZ 9145 
 
 L'ombre du cocher poete. Prologue des deux pieces suivantes. 
 Represent^ par les Marionettes e'trangeres a la Foire de S. Germain 
 1722 . . . 
 
 Below the title this A vertissement : 
 
 "Les auteurs de 1'Opera comique, voyant encore une fois leur spectacle ferm<, 
 plus animez par la vengeance que par un esprit d'interet, s'aviserent d'acheter une 
 douzaine de marionettes, & de loiier une loge, ou, comme les assiegez dans leurs 
 demiers retranchemens, ils rendirent encore leurs armes redoutables. Leurs ennemis 
 poussez d'une nouvelle fureur, firent de nouveaux efforts contre Polichinelle chan- 
 tant; mais ils n'en sortirent pas & leur honneur." 
 
 - Le remouleur d'amour. Piece d'un acte. Representee par 
 les Marionettes etrangeres a la Foire de S. Germain 1722. 
 
 - Pierrot Romulus, ou Le ravisseur poli. Representee par les 
 Marionettes etrangeres k la Foire de S. Germain 1722. Cette piece 
 est une parodie de la tragedie de Romulus que Ton joiioit en ce 
 tems-la. 
 
 Le Theatre de lafoire, Paris, 1724, t. v, 8 pi, [47}-140 p. 17 cm . 
 
 The plays in t. v. were written by Le Sage, Fuzelier, d'Orneval, according to a 
 note on 2d p. 1. of t. iv. Largely en vaudevilles. The airs, selected or composed and 
 arranged by Jean Claude Gillier, are printed at the end of the volume in the "Table 
 des airs." ML 48.L2V 
 
 Omphale, tragedie. Represente par 1'Academie royale de musique 
 1'an 1701. Les paroles de M. de la Mothe, & la musique de M. 
 Destouch.es. LIV. opera. 
 
 n. i., n. d. front., p. 277-344 (Recueil general des opera, t. mi, Paris, 
 1703.) 14 cm 
 
 Detached copy. Five acts and prologue, with dedicatory "Epistre" to the duke 
 of Burgundy. 
 
 First performed, as indicated, November 10, 1701. SCHATZ 2549 
 
 Second copy. ML 48. R4 
 
 - Omphale, tragedie, represented pour la premiere fois par 
 l'Acade"mie royale de musique, en 1701. Reprise en 1721 & en 1733. 
 Remise au Theatre le 14 Janvier 1752. 
 
 Paris, Aux depcns de 1'Academie cJiez la V. Delormel &fils, 1752. 
 60 p. 24 cm . 
 
 With cast. Author and composer are mentioned on p. 2. SCHATZ 2549A
 
 822 LIBRARY OF CONGRESS 
 
 Omphale Continued. 
 
 - Fanfale, parodie d'Omphale, en cinq actes; avec des divertisse- 
 ments. Par Mrs. Favart & Marcouville. Represented pour la 
 premiere fois par les Come'diens italiens ordinaires du roi, le mercredi 
 8 mars 1752. 
 
 Paris, N. B. Duchesne, 1759. 60, [4] p. 19 cm . (Theatre deM. 
 Favart, Paris, Duchesne , 1763-77, t. I.} 
 
 Cast. En vaudevilles. Many of the airs are printed in the text. The arranger of 
 the music is not mentioned by Font. The [4] p. contain "Privilege du roi" and a 
 "Catalogue de parodies & opera comiques." ML 49.A2F1 
 
 La fileuse, parodie d'Omphale, par Mr. Vade". Represented pour 
 la premiere fois sur le Theatre de 1 Ope>a comique le 8 mars 1752. 
 
 La Haye, Pierre Gosse, 1760. 88, [1] p. 16 cm . (Vade,Oeuvres,La 
 Haye, 1760, t. I.) 
 
 One act, en vaudevilles. The added page contains the air of the vaudeville, "Si 
 1'amant qui vous rend." ML 49.A2V2 
 
 La fileuse, parodie d'Omphale, represented pour la premiere fois 
 sur le Theatre cle FOpera-comique, le 8 mars 1752. 
 
 Paris, la veuve Duchesne, 1766. 32 p. 19 cm . 
 
 One act. On p. 29-30, the "Vaudeville de La fileuse:" "Si 1'amant qui vous rend 
 hommage." The author, Jean Joseph Vade 1 , is not mentioned. SCHATZ 11492 
 
 - Hercule filant. Parodie d'Omphale. Comedie represented pour 
 la premiere fois, par les Comediens italiens ordinaires du Roi, le jeudi 
 15. may 1721. 
 
 Les parodies du Nouve'au Theatre italien, Nouv. ed., Paris, Briasson, 
 1738, t. II, \41}-86 p. 16\. 
 
 One act. Louis Fuzelier mentioned in t. I as author. The airs and vaudeville 
 used are printed at the end of the volume in the "Table des airs" (60 p.). 
 
 ML 48. P3 
 
 Omphale, in einem sing-spiele auf dem Hamburgischen Schau-platze 
 zum erstenmale im jahre 1724 aufgefuehret. 
 
 [Hamburg], Caspar JaJchel, n. d. Unpaged. 18 cm . 
 
 Prologue and five acts. Cast, scenario, and notice to the reader, who is informed: 
 
 "Es hat zwar dem hiesigen Schau-platze bissher an allerhand abwechslungen, so 
 wohl in ansehung des innhaltes der opern als auch der music, taenze, kleidungen, ver- 
 wandlungen und anderen zierraten nicht gemangelt; ob aber jemahls alhier ein werk 
 hervor getreten, dass so viele und so'weit von einander entfernete veraenderungen in 
 sich gehalten als das gegenwaertige, daran moegte wohl gezweifelt werden. Seinen 
 ursprung nimmt es von Mr. de la Motte . . . Gleich wie nun in itztgedachtem [the 
 text] ein bestaendiger wechsel herrschet, also ist auch in der musicalischen ausarbei- 
 tung solches in acht genommen und der hauptinnhalt nach italiaenischer was aber zu 
 den aufzuegen gehoeret, nach franzoesischer art eingerichtet worden." 
 
 The reader is further informed that, for the sake of brevity, the music was cut in 
 three places, besides in the last scene, "damit das spiel ein freudiges ende nehme," 
 as was also done in France. The absent translator is said to have reported that hia 
 translation is literal, except for the interpolation of arias of his own make in imitation 
 of Italian models, or excisions in order to better balance the "Odaischen saetze" or 
 "wenn er, da ihm in der gedruckten franzoesischen music etwas von dem originale 
 abweichendes in die augen gefallen, diesem mehr, als jenem nachzugehen ursache 
 gefunden." 
 
 The German version was made by the composer Georg Philipp Telemann, who is 
 not mentioned. SCHATZ 10265
 
 OPERA LIBRETTOS 823 
 
 On ne s'avise jamais de tout, opera-comique, represents a Ver- 
 sailles devant Leurs Majestes, le mercredi 2 de"cembre 1761. Et 
 ci-devant sur le Theatre de la Foire St. Laurent, le lundi 14 septembre 
 1761. Par M. Sedaine. La musique de M. M * * * [Mon- 
 signy]. Toisieme [!] Edition augment e"e. 
 
 Avignon, Louis Chambeau, 1764' 35 p. 19 cm . 
 
 Cast of September 14, 1761. SCHATZ 6578 
 
 On ne s'avise jamais de tout, opera-comique, par M. Sedaine. 
 Represent e par les Come"diens franpois de la cour sur le Nouveau 
 Theatre de S. A. E. de Saxe a Dresde, 1766. 
 
 [Dresde], George Conrad Walther, n. d. 60 p. 18 cm . 
 
 Monsigny is not mentioned. SCHATZ 11729 
 
 On ne s'avise jamais de tout, opera comique, en un acte en 
 prose, me'le de musique; par Mr. Sedaine. Represente pour la pre- 
 miere fois sur le Theatre de la Foire St. Laurent, le 14 septembre 1761. 
 
 Paris, Claude Herissant, 1775. 46 p. 17\ cm . 
 
 On p. [40]-46, "Ariettes et vaudevilles:" "Un chanteur n'est pas un Caton," 
 "Une nlle est un oiseau," " Vous qui croyez que dee tendres." Music by Monsigny, 
 who is not mentioned. SCHATZ 11728 
 
 - Man sieht niemals alles voraus, ein singspiel in einem aufzuge 
 aus dem franzoesischen uebersetzt mit musik. 
 
 Frankfurt am Mayn, mit Andreaischen schrifien, 1772. 64 P-, 10 
 p. (folded music}. 16\ cm . 
 
 Johann Heinrich Faber's version. The 10 p. of music (bass and voice) contain: 
 "Lise kann nicht mehr lang verweilen," "Alles, was ich nur erblicke, "Junge 
 maedchen sind fuerwahr," "Ihr, die ihr meint." SCHATZ 6579 
 
 5 
 
 Het onderaardsch gf ^elf . A. T. of Dalayrac's Camille. 
 L'onesta trionfante. A. T. of the ballet La sposa in equivoco. 
 Der onkel aus Amsterdam. Tr. of Cimarosa's II pittore parigino. 
 
 Onorio. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S. Gio. Grisostomo nelF autunno dell' anno 
 MDCCXXIX . . . 
 
 Venezia, Carlo Buonarigo, n. d. 1 p. 1., 69 p. 15 cm . 
 
 Three acts. Dedication signed by Domenico Lalli, scenario, cast, and notice to 
 the reader (with name 'of Francesco Ciampi as composer) which says: 
 
 "Da una penna fu ideata la presente drammatica composizione, e da un' altra 
 intieramente verseggiata." 
 
 Schatz records as authors Lalli and Giovanni Boldini. SCHATZ 1874 
 
 Onorio in Roma. Drama da rappresentarsi in musica nel famosis- 
 simo Teatro di S. Gio. Grisostomo Panno 1692 . . . 
 
 Venetia, Nicolini, 1692. front., 67 p. 14 cm . 
 
 Three acts. Dedication dated Venice, February 2, 1692, with the initials of the 
 author, Giovanni Matteo Giannini, argument, scenario, and notice to the reader with 
 the remark: 
 
 "E stata ideata in momenti: sceneggiata in ore: vereeggiata in meno di un giorno: 
 Reso armoniosa dal Signor Carlo [Francesco] Polaroid in poco piii d'una settimana. 
 Non dico fa vole: Lo creda chi vuole; ma e cosi in verita. SCHATZ 8305
 
 824 LIBRARY OF CONGRESS 
 
 L'opera. Entree in Campra's Les festes v6nitiennes. 
 
 Opera buffa. Ein komisches singspiel in zwey akten. 
 
 n. i., n. d. p. [95]-218. (C. F. Bretzner, Singspiele, Leipzig, 1796.) 
 16 cm . 
 
 The composer, Georg Ernst Gottlieb Kallenbach, is not mentioned. 
 
 SCHATZ 4999 
 
 L'opera comique, opera-comique en un acte, en prose et ariettes, 
 par J. Se"gur le jeune, et Em. Dupaty; represent^ pour la premiere 
 fois sur le Theatre de I'Ope'ra comique national, rue Favart, le 21 
 messidor an 6 de la Republique [July 9, 1798]. 
 
 Paris, Huet, an VI. [1797-98] 55 p. 19. 
 
 Cast. The composer, P. A. D. Delia Maria, is not mentioned. ML 50.2.O6D2 
 
 L'opera comique, ope"ra comique en un acte, en prose et ariettes; 
 par J. Se"gur le jeune, et Em. Dupaty; musique de Domenico Delia 
 Maria. Repre'sente', pour la premiere fois, sur le Theatre de 1'Ope'ra- 
 comique-national, rue Favart, le 21 messidor an VI de la Republique. 
 
 Toulouse, Brouilhiet, an septieme [1798-99]. 24 p. 19$ cm . 
 
 Cast. ML 50.2.O6D22 
 
 L'opera comique assiege. Piece d'un acte. Par M re le S * * 
 & d'Or * * Represented a la Foire Saint Germain 1730 . . . 
 Le Theatre de lafoire, Paris, 1731, t. vii, pi, [403}~436 p. 17 cm . 
 
 By Le Sage and d'Orneval. Largely en vaudevilles. The airs, selected or com- 
 posed and arranged by Jean Claude Gillier, are printed at the end of the volume in 
 the "Table des airs." Below the title the Avertissement: 
 
 "Cette piece fut faite a 1'occasion d'un nouveau pr< ces que les Comediens francois 
 s'awiserent d'intenter a 1'Opera comique, & dans leq 'el ils eurent le dementi." 
 
 First performed March 26, 1730. t ML 48.L2VII 
 
 L'opera en province. Parody of Gluck's Armide. 
 
 L'opera in prova alia moda. Drama giocoso. 
 
 Amsterdam, Enrico Boussiere, 1753. 205, [3] p. 15 cm . 
 
 French title page, "La repetition ordinaire de 1'opeia," and text face Italian. 
 Three acts with cast, followed oy three acts with cast and argument of "Urganostocor, 
 tragedia tragichissima ma di lieto fine," this, too, with Italian text and French trans- 
 lation. The 3 additional p. contain substitute arias. Neither the author, Giovanni 
 Fiorini, is mentioned, nor the composer, Gaetano Latilla. The following awiso 
 precedes the text: 
 
 "Non essendo possibile d'eseguire 1'intero libro in una sola sera, si & giudicato 
 bene di spartirlo in quattro recite; nella di cui 1. La prova intiera, coila prima 
 azzione della tragedia. Nella 2. La stessa prova colla seconda azzione della tragedia. 
 Nella 3. I medeeimi atti della prova colla terza azzione della tragedia. 4. La scena 
 unica del terzo atto della prova, e le tre azzioni della tragedia ..." 
 
 First performed at Amsterdam, 1753; at Venice, Teatro S. Moise, carnival, 1751. 
 
 SCHATZ 5450 
 
 L'opera nuova. Dramma giocoso per musica di Giovanni Bertati 
 da rappresentarsi nel Teatro Giustimani in S. Mois6 per la seconda 
 opera di carnovale Fanno 1781. 
 
 Venezia, n. publ., n. d. 62 p. 17 cm . 
 
 Two acte. Cast and name of Matteo Rauzzini as the composer. SCHATZ 8613 
 
 L'opera seria. O. T. of Calsabigi's text La critica teatrale.
 
 OPERA LIBRETTOS 825 
 
 Dramma giocoso per musica da rappresentarsi in 
 ro di via del Cocomero, nella primavera dell' anno 
 
 L' opera seria. 
 Firenze nel Teatro 
 1771 . . . 
 
 [Firenze], Ant. Giuseppe Pagani, n. d. front., 1 p. 1., 64 p. I6\ cm . 
 
 Three acts. Neither the author, Ranieri de' Calsabigi, nor the composer, Florian 
 Leopold Gassmann, is mentioned. Scenario and dedication. The opera is a satire 
 on the foolish practices of composers, rhymesters, stars, impresarios, etc., and the 
 libretto is dedicated to them in words that leave nothing to be desired in bluntness. 
 
 The front, is a portrait by An. Piattoli, engraved by F. Gregori, of Pietro Leopoldo 
 I, arciduca d'Austria. 
 
 First performed, according to Schatz, at Vienna, Teatro di Cort6, 1769. 
 
 SCHATZ 3623 
 
 The operator. A ballad opera. 
 
 London, Printed for the author, 1740. 2 p. 1., 36 p. 22 cm . 
 
 One act. The airs of the 10 songs not even indicated by title. Author not recorded 
 by Tufts, who says: "intended to satirize Dr. Taylor, an oculist." LONGE 128 
 
 Die operisten in Nanking. Tr. of Alessandri's La compagnia 
 d'opera a Nanchino. 
 
 Opernverwalter von den Canarischen inseln. A. T. of Leo's 
 Der impresarius. 
 
 Das opfer der Nymphen, ein vorspiel. Am geburtsfeste des 
 koenigs von Preussen, den 24. januar 1774 auf dem Deutschen 
 Theater zu Berlin aufgefuehret. 
 
 Berlin, George Ludewig Winters wittwe, n. d. 11 p. 20% cm . 
 
 One act. Neither the author, Carl Wilhelm Ramler, nor the composer, Johann 
 Abraham Peter Schulz, is mentioned. SCHATZ 9725 
 
 Das opfer der treue. Ein vorspiel mit gesaengen. Aufgefuehrt 
 am geburtstage Seiner Majestaet des koenigs, den 24 jenner 1776 
 von der Waeserschen Schauspielergesellschaft in Breslau. 
 
 Breslau und Leipzig, Christian Friedrich Gutsch, 1 779. 16 p. 1 5 \ cm . 
 
 One act. Neither the author, Karl Emil Schubert, is mentioned, nor the composer, 
 Franz Andreas Holly. SCHATZ 4771 
 
 Das opferfest. A. T. and L. T. of P. v. Winter's Das unterbrochene 
 opferfest. 
 
 I opr0rt vand er godt at fiske. Tr. of Sarti Fra i due litigant! il 
 terzo gode. 
 
 L'oracolo, ballet. See Nasolini's II trionfo di Clelia. 
 
 L'oracolo di Velleda. Poemetto drammatico nel giorno del glorio- 
 sissimo nome della Sacra Real Maesta di Amalia Willelmina regina 
 de' Romani. 
 
 Pietro Antonio Bernardoni, Poemi drammatici, parte terza, Vienna, 
 van GJielen, 1707, p. 45-64- W 1 - 
 
 Argument. The composer is not mentioned by von Weilen. 
 
 First performed July 10, 1706? ML 49.A2B4 
 
 L'oracolo in Messenia. Dramma per musica da rappresentarsi 
 nel Teatro di S. Angelo nel carnovale dell' anno 1738. 
 
 Venezia, Marino Rossetti, n. d. 70 p. lJ+\ cm . 
 
 Three acts. Later version of "Merope," by Apostolo Zeno, who is not mentioned. 
 Argument, cast, scenario, and name of Antonio Vivaldi as the composer. 
 
 SCHATZ 10775
 
 826 LJBRABY OF CONGRESS 
 
 L'oracolo in sogno. Drama in musica da rappresentarsi nel Teatro 
 di Sant' Angelo I'anno 1700. Poesia di Francesco Silvani . . . 
 Venezia, Nicolini, 1700. 60 p. ll+\ cm . 
 
 Three acts. Silvani's dedication, dated Venice, January 11, 1700, argument, cast, 
 scenario, and notice to the reader, who is informed by Silvani that he was forced to 
 mutilate his text BO much "ch'egli & appena riconoscibile per quello, che recitato in 
 Mantova, ebbe la fortuna d'incontrare il compatimento di quella Serenissima Altezza, 
 che h voluto clementissimamente rimunerarlo col dichiararmi suo Servidore 
 Attuale ..." SCHATZ 11353 
 
 Composer not mentioned, and unknown to Schatz. 
 
 Oraklet. Et syngespil i to handlinger. Indrettet til det Danske 
 Theaters Brag efter det 'franske af Saint Foix og det tydske af 
 Gellert. 
 
 n. i., n. d. 44 p. 17 cm . 
 
 Paolo Scalabrini is mentioned as the composer. Author unknown to Schatz. 
 First performed at Copenhagen, Courttheater, April 23, 1776. SCHATZ 9517 
 
 Gli Orazi e i Curiazi, ballet. See Basili's II ritorno d'Ulisse. 
 
 Gli Orazi e i Curiazi. Tragedia per musica del Signer Antonio 
 Sografi, poeta del nobilissimo Teatro la Fenice e del Teatro comico 
 Sant' Angelo composta per il teatro sudetto per il carnovale 1797. 
 
 Venezia, Stamperia -Valvasense, n. d. 70 p. 16\ cm . 
 
 Three acts. Cast and name of the composer, Cimarosa. ("La musica tutta 
 nuova.") On p. 61-70, argument, cast, and detailed description of Lorenzo Pan- 
 zieri's "Cha-Gian in Dely ballo eroico in cinque atti." The composer of the music 
 ie not mentioned. The second ballet was called "I morti fatti sposi." 
 
 First performed at Venice, La Fenice, December 26, 1796. SCHATZ 1961 
 
 Gli Orazi e I Curiazi. Tragedia per musica del Signer Sografi da 
 rappresentarsi nel nobilissimo Teatro La Fenice Fautunno 1798. 
 
 Venezia, Valvasense, n. d. 4& p. 17 cm . 
 
 Three acts. Cast and name of Marcos Portugal as the composer ("La musica tutta 
 nuova "). On p. [25J-28, cast, argument, and name of Vittorio Trento as the composer 
 of the music of Salvatore Vigano's ballet, "Giorgio principe della Servia, ballo eroi- 
 comico pantomimo." 
 
 First performed at Ferrara, Teatro Comunale, September 2, 1798 (Schatz and 
 Carvalhaes). SCHATZ 8442 
 
 Orazio. Dramma giocoso per musica. 
 
 Venezia, Modesto Fenzo, 1748. 57 p. lJ& cm . 
 
 Three acts. Scenario and name of Pietro Auletta, composer, but not of librettist, 
 Antonio Palomba (Schatz). 
 
 First performed at Venice, Teatro di S. Angelo, spring, 1748. SCHATZ 500 
 
 Orazio. O. T. of Deller's II maestro di cappella. 
 
 Orazio. Opera bernesca in musica da rappresentarsi in Venezia 
 nel Teatro di S. Moise neli' autunno dell' anno 1743. 
 
 Venezia, Girolamo Bortoli, 1743. 66 p. (ind. front.} 15\ cm . 
 
 Three- acts. By Antonio Palomba, who is not mentioned. Cast, scenario, and 
 names of "Gaetano Latilla e Signor Pargolesi" (Pergolesi) as composers. See Per- 
 golesi's " II maestro di musica. 
 
 Latilla'e "Orazio" was first performed at Rome, Teatro Valle, spring of 1738. 
 
 SCHATZ 5466
 
 OPERA LIBRETTOS 827 
 
 " Orazio. Drama per musica da rappresentarsi nel famosissimo Teatro 
 Grimano di San Gio. Grisostomo. L'anno MDCLXXXVIII . . . 
 Venetia, Francesco Nicolini, 1688. 71 p. 14 cm . 
 
 Three acts. Dedication dated Venice, January 16, 1688, and signed "F. A. !>." 
 Neither the author, Vincenzo Grimani, is mentioned, nor the composer, Giuseppe 
 Felice Tosi. Notice to the reader, argument. The "Intermedii" are mentioned in 
 the nature of "Gioco di soldate con lotte, e spadoni," the first act, " Combattimento 
 de tre Orazij e tre Curiazij," second act, etc. SCHATZ 10377 
 
 Orazio Curiazo. Drama per musica da rappresentarsi nel Teatro 
 Grimani a S. Samuelle per la fiera dell' Ascenj?? 1'anno 1746 . . . 
 [Venezia], n. publ., n. d. J$ p. 15\ cm . 
 
 Three acts. Argument, scenario, cast, and Ferdinando Bertoni's name as "di- 
 rettore della musica," not as composer. Librettist not mentioned and unknown to 
 Schatz. SCHATZ 924 
 
 Orbecch, ballo eroico favoloso. See Fioravanti's Gl'inganni for- 
 tunati. 
 
 i 
 
 Oreste. Dramma per musica da rappresentarsi nel Real Teatro di 
 S. Carlo nel dl 13 agosto 1783 per festeggiarsi la nascita di S. M. la 
 regina . . . 
 
 Napoli, Vincenzo Flauto, 1783. 55 p. 15 cm . 
 
 Three acts. Luigi Serio is mentioned as author of this "nuovo dramma" in the 
 dedication dated Naples, August 13, 1783. Argument, cast, scenario, and name of 
 Cimarosa as composer. On p. 10-15 argument, cast, and detailed description of 
 Gio. Antonio Cianfanelli's "II trionfo di Alessandro o sia La disfatta di Dario, ballo 
 eroico in quattro atti ... La musica e tutta nuova del Sig. Mattia Stabingher." 
 
 SCHATZ 1966 
 
 L'Oreste. Dramma serio in musica da rappresentarsi nel Regio 
 Teatro della nobile Academia dei Costanti della citta di Pisa nella 
 primavera dell' anno 1798. 
 
 Pisa, Stamperia Pieraccini, n. d. 88 p. 17 cm . 
 
 Two acts. "La poesia e del Sig. D. F.francesco] G.fonella] autore del Ritorno di 
 Serse, della Lodoiska ... La musica e del cele*bre Sig. Giuseppe Moneta . . ." 
 Cast. SCHATZ 6555 
 
 Oreste. Dramma per musica da rappresentarsi nel Regio Teatro di 
 Torino nel carnovale del 1766 . . . 
 
 Torino, Onoraio Derossi. viii, 52, [2] p. 17 cm . 
 
 Date of publication, if any, torn off. 
 
 Three acts. A later version of "Ifigenia in Tauride" by Mattia Verazj, who ifl 
 not mentioned. Argument, cast, scenario, and names of Carlo Monza as the com- 
 poser of the opera, and of Giuseppe Antonio Le Messier as the composer of the music 
 for Giovanni Battista Marten's ballets "Bradamante e Ruggero" and "Amor Cor- 
 saro." SCHATZ 6611 
 
 Oreste o sia La morte di Clitennestra, ballet. See Giordani's Fer- 
 nando nel Messico. 
 
 Oreste o sia La morte de Clitennestra, ballet. See Rust's II baron 
 di Terra Asciuta. 
 
 Oreste e Pilade. O. T. of Agricola's I Greci in Tauride.
 
 828 LIBRARY OF CONGRESS 
 
 L'Oreste in Sparta. Drama prime per musica del dottor Pompeo 
 Luchesi . . . 
 
 Reggio, Prospero Vedrotti, 1697. 88 p. 15\. 
 
 Three acts. Dedication dated Reggio, April 29, 1697, notice to the reader with 
 the name of Carlo Francesco Pollaroli as the composer ("nuovo saggio del euo spiri- 
 toso talento nella musica"), cast, and scenario. On p. 87-88 the "Arie proprie de' 
 eignori virtuosi": "Pi to che preghi meno intendo" (I, 3), "Vezzoeetto nume alato" 
 (I, 7), "Chi e rubello ad amor" (I, 28), and "Delizie de 1'alma" (III, 21). 
 
 SCHATZ 8306 
 
 Orestes: a dramatic opera. As it is acted at the Theatre-Royal in 
 Lincoln's Inn-Fields. Written by Mr. Theobald . . . 
 
 London, John Watts, 1731. 4 p. I, 77, [2] p. 19. 
 
 Cast. Five acts, prologue, and epilogue by Henry Fielding, in which the line 
 occurs: "Love for soft hearts, and musick for soft brains. Why this drama 
 with its negligible few songs, etc., is called an opera is difficult to see. The com- 
 poser is not mentioned and is not recorded by Schatz. 
 
 First performed, as indicated, April 3, 1731. LONQE 191 
 
 Le orfane svizzere. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Giustiniani di S. Moise 1'autunno dell' anno 1770 dell' 
 abbate Pietro Chiari. 
 
 Venezia, Antonio Graziosi, 1770. 52 p. lS\ cm . 
 
 Three acts. Impresario's dedication, cast, scenario, and name of the composer, 
 Antonio Boroni. Innocente Gambuzzi's ballets, composers not mentioned, were 
 performed with the opera, "La pescatrice fedele" and "II mercato d'Amacari Da- 
 nase." SCHATZ 1248 
 
 L'orfanella americana. Commedia per musica in quattro atti di 
 Giovanni Bertati da rappresentarsi nel Teatro in S. Moise per la 
 prima opera dell' autunno 1787. 
 
 Venezia, Gio. Battista Casali, n. d. 56 p. 18 cm . 
 
 Four acts. Cast and name of Pasquale Anfossi as composer. SCHATZ 270 
 
 L'orfanella americana. Dramma giocoso per musica, da rappre- 
 sentarsi nel Teatro di S. A. E. di Sassonia. 
 Dresda, n. putt., 1790. 119 p. 15\. 
 
 Two acts. By Giovanni Bertati, who is not mentioned. Composed by Friedrich 
 Christopher Gestewitz, as appears from the libretto. German title page, "Die 
 verwaiste Amerikanerin," face the Italian. 
 
 First performed, as indicated, in January, 1791. SCHATZ 3796 
 
 L'orfano, ballet. See Tarchi's Giulio Sabino. 
 
 L'orfano cinese. Dramma per musica da rappresentarsi nel 
 nobilissimo Teatro di S. Benedetto la fiera dell' Ascensione dell' anno 
 MDCCLXXXVII. 
 
 Venezia, Modesto Fenzo, 1787. 72 p. 16 cm . 
 
 Three acts. Cast, scenario, and name of composer, Francesco Bianchi. Librettist 
 unknown to Schatz. On p. 33-36, description of Antonio Muzzarelli's ballet, "Ulisse 
 al Monte Etna." Neither of this nor the second ballet, "L'amante del studio," is the 
 composer mentioned . 
 
 First performed, according to an avviso (p. 3), at the same theatre during carnival 
 (January 30), 1787. SCHATZ 979 
 
 L'orfano della China, ballet. See Bertoni's Cajo Mario. 
 L'orfano nella China, ballet. See Bianchi's Eurione.
 
 OPERA LIBRETTOS 829 
 
 Orfeo. 
 
 [363]-394p. 17 cm . (Rotti, Componimenti poetici, Nuova edizione, 
 Verona, G. Tumermani, 1744-} 
 
 Three acts. According to Burney "a new pasticcio . . . the airs . . . chiefly 
 selected from the works of Hasse, Vinci, Araja and Porpora." From the six 
 "Favourite Songs" published by Walsh we know that Araja composed "Felice ai 
 cH sereni" (III, 5) and Vinci "E follia, se nascondete" (III, 4), which is but a para- 
 phrase of Metastasio's text in his "Catone in Utica." The aira "Vaga stella palli- 
 dita" headed by Walsh as composed by Porpora, does not seem to be in Rolli's 
 text of 1744. 
 
 First performed at London, Haymarket, March 2, 1736. ML 49.A2R7 
 
 Orfeo. L. T. of Bertoni's Orfeo ed Euridice. 
 
 Orfeo. Abbr. T. of Gluck's Orfeo ed Euridice. See the third act of 
 his Le feste d'Apollo. 
 
 Orfeo. Tragedia per musica da rappresentarsi nel Regio Teatro di 
 Berlino per il felicissimo giorno natafizio della Sacra Real Maesta di 
 Sofia Dorotea, regina madre . . . 
 
 Berlino, Haude e Spener, 1752. 92, [3] p. 17 cm , 
 
 Three acts. Leopoldo de Villati is mentioned as the author, and Carl Heinrich 
 Graun as the composer. Haude & Spener's privilege, argument, and scenario. Ger- 
 man title-page, "Orpheus," and text face Italian. 
 
 First performed, as indicated, March 27, 1752. SCHATZ 4115 
 
 Orfeo. Tragedia per musica. Orpheus, ein musicalisches trauer- 
 spiel. 
 
 Hamburg, Conrad Jacob SpieringTc, 1764- 63 p. 17 cm . 
 
 Three acts. Neither the author, Leopoldo de Villati, nor the composer, Carl Hein- 
 rich Graun, is mentioned. German text faces Italian. 
 
 Performed at Hamburg, Theater b. Gansemarkt, 1764. SCHATZ 4109 
 
 Orfeo, ballet. See Paisiello's La disfatta di Dario. 
 
 L'Orfeo. Drama per musica nel Teatro Vendramino a S. Salvatore. 
 Di Aurelio Aureli. Opera decima settima . . . 
 Venetia, Francesco Nicolini, 1673. 72 p. 14 cm . 
 
 Prologue and three acts. Author's dedication, dated Venice, December 14, 1672, 
 argument, scenario, and name of Antonio Sartorio as the composer. SCHATZ 9483 
 
 - Orpheus, in einer italiaenischen opera auf dem Schau-platz zu 
 Braunschweig vorgestellet und daraus in das teutsche uebersetzet. 
 
 Braunschweig, Caristoph Friedrich Zittiger, 1690. Unpaged. 15 cm . 
 
 Prologue and three acts. A "Symbolum" by the translator, "Johann Kristof 
 Lorber, pasted on the leaf preceding the title page. He is r.ot mentioned in the text, 
 nor is the composer. According to Schatz, it is "probably" Antonio Sartorio'e 
 "Orfeo" in a German version (with alterations) of Aureli's text. 
 
 Evidently performed at Brunswick, 1690. SCHATZ 9484 
 
 Orfeo a torto geloso overo Amore spesso inganna. Drama 
 per musica da rappresentarsi nel Teatrino di Savoia 1'anno 
 MDCXCVII . . . 
 
 Bologna, Pier- Maria Monti, n. d. front., 67 p. 
 
 Three acts. Dedication signed by Giacomo Maggi, and dated Turin, April 20, 1697. 
 Argument and scenario. Schatz attributes the music to Antonio Sartorio and the 
 text to Aurelio Aureli, neither of whom is mentioned. As a matter of comparison, so 
 little of Aureli's "Orfeo" text (Venice, 1672; music by Sartorio) appears in thia
 
 830 LIBRARY OF CONGRESS 
 
 Orfeo a torto geloso Continued. 
 
 Bologna edition that they are practically two different librettos. For instance, in the 
 original, I, 6 begins, "Aristeo, che t'affligge," and the aria is, "Al foco d'amore," 
 whereas in this Bologna libretto these words open the eleventh scene of the first act, 
 and the aria is, "Amor spietato arciere." 
 
 First performed at Bologna, Teatro Formagliari, carnival, 1695. SCHATZ 9485 
 
 Orfeo e Euridice. Ballet, music by Le Messier. See Galuppi's La 
 clemenza di Tito. 
 
 Orfeo ed Euridice. Dramma per musica da rappresentarsi nel 
 nobil Teatro di San Benedetto di Venezia nell' estate dell' anno 
 MDCCLXXVI. 
 
 Venezia, Modesto Fenzo, 1776. xxvii p. 20% cm - 
 
 One act. Argument, cast, scenario, and name of composer, Ferdinando Giuseppe 
 Bertoni, but not of the librettist, Ranieri de' Calsabigi. The opera had been pre- 
 viously performed at the same theatre during carnival (January) of the same year 
 (1776), as appears from the libretto "Aristo e Temira e Orfeo ed Luridice." (Schatz, 
 934-935.) According to the preface of the latter, "Orfeo" had first been performed 
 at Vienna, but this can refer only to Gluck's setting, Vienna, 1762., 
 
 First performed, as indicated, June 3, 1776. The libretto of Bertoni's opera was 
 also printed, and performed together with Joh. Simon Mayr's "Temira e Aristo" 
 (Venezia, Stampena Valvasense, 1795, p. [29]-51 [Schatz 6203]). SCHATZ 916 
 
 - Orfeo. Dramma per musica con li balli analoghi da rappresen- 
 tarsi nel Regio Teatro di Berlino. 
 
 Berlino, Haude e Spener, [1788]. 63 p. 16 cm . 
 
 Three acts. Argument, cast, scenario, and names of the composer, Bertoni, and 
 the librettist. It is stated that the Italian text is by Calsabigi "mit einigen zu der 
 jezigen auffuhrung anbefohlnen einschaltungen." Rei chard t is mentioned as the 
 composer of these interpolations. German title-page, "Orpheus," and text face 
 Italian. 
 
 First performed at Berlin, Kgl. Operntheater, January 31, 1788. SCHATZ 917 
 
 Orfeo ed Euridice, ballet. See Gazzaniga's La disfatta de' Mori. 
 
 Orfeo, ed Euridice. Azione teatrale per musica da rappresentarsi 
 nel Teatro privilegiato vicino alia Corte nell' autunno del 1762. 
 Vienna, Ghelen, n. d. [84] p. 19 cm . 
 
 T.-p. preceded by half-title with quotation from Virgil. Text of first act headed, 
 of the two other acts followed, by vignettes. On t.-p. above imprint Orpheus resting 
 under a tree with his lyre. 
 
 Argument, scenario, cast, and names of "Cav. Cristofano G-luck" as composer, of 
 Gaspero Angiolini as "inyentore e direttore de' balli," a brief description of which 
 follows. The author of this famous libretto. Ranieri de' Calsabigi, is not mentioned. 
 
 First performed, as indicated, October 5, 1762. ML 50.2. 07G4 
 
 - Orfeo. Forms third part of Gluck's Le feste d'Apollo, Parma 
 (1769). SCHATZ 3897 
 
 - Orfeo ed Euridice e Aristo e Temira, drammi per musica da 
 rappresentarsi in Bologna nel Nuovo Pubblico Teatro nella prima- 
 vera dell' anno MDCCLXXL 
 
 Bologna, Sassi, n. d. 32, 32, vii, [1] p. 20. 
 
 One act. By Calsabigi, who is not mentoined. Argument, cast, and name of 
 Gluck as the composer. 
 
 Of the one act "Aristo e Temira" Carlo Monza is given as the composer after the 
 argument and cast. Conte De Salvioli, the author, is not mentioned. At the end a 
 description of Giovanni Favier's "Gli amori di Marte, e di Venere o la Furina di 
 Vulcano nell' isola di Lenno. Ballo eroico pantomimo." The composer of the 
 music is not mentioned. SCHATZ 3934
 
 OPERA LIBRETTOS' 831 
 
 Orfeo, ed Euridice Continued. 
 
 Orpheus and Eurydice, a musical drama in imitation of the 
 ancient Greek theatrical feasts. As performed at the King's Theatre 
 in the Haymarket. The poetry by the celebrated councellor Calsa- 
 bigi with additions and alterations by Signer A. Andrei. 
 
 London, J. Jarvis, 1785. 55 p. 23 cm . 
 
 Argument, cast, explanation of the ballets, and autobiographic captatio benevolen- 
 tiae by the "Orpheus" Giusto Ferdinando Tenducci, dated May 7, 1785. If he 
 therein says " I have resolved humbly to present . . . that same Orpheus, which was 
 so much applauded at Florence " and where he had sung the same part, he not only 
 contradicts himself later on but on p. [8] shows that the London version was a pasticcio 
 of the worst sort : 
 
 "The music by cav. Christopher Gluck: with the additions of the late celebrated 
 John Christian Bach: and with the choice of several favorite pieces of Mr. Handel. 
 The whole (with many new additions and alterations) under the direction of Signer 
 Pasquale Anfossi." 
 
 English text faces the Italian. SCHATZ 3926 
 
 Orpheus und Euridice. Eine tragische oper in drey acten. 
 458-481 p. Cramer's Magazin der musik, Feb. 21, 1785. 17 cm . 
 According to a footnote thia translation was by Johann Joachim Eschenburg. 
 First used at a conceit at Breslau iu the Zwinger, August 29, 1770 (Schatz). 
 
 SCHATZ 3912 
 
 - Orphee et Euridice, drame-he'roique en trois actes, represent^, 
 pour la premiere fois, par 1'Academie-royale de musique, le mardi 
 2 aout 1774. 
 Paris, Et se vend a Marseilles, chez Sube et Laporte, 1775. 28 p. 
 
 Cast and argument with remark: 
 
 "M. Calzabigi est 1'auteur du poe'me italien. On a suivi aussi litteralement qu'il 
 6toit possible 1'original dans la traduction: Ce foible ouvrage semble exiger plus 
 d'indulgence qu'aucun autre, par 1'extrdme difficult^ d'adapter la poesie franfaise 
 & la musique expressive d'un op6ra, qui a d6ja e'te' repre'sente^ avec eucces eur lea 
 principaux theatres de 1'Europe." 
 
 Moline is mentioned as translator, Gluck as composer. ML 50.2.O7G45 
 
 Orphee et Euridice, ope"ra a grand spectacle . . . par Mr le 
 chevalier Gluck. 
 
 Paris, Veuve Duchesne, 1782. 32 p. 20 cm . 
 
 Three acts. By Pierre Louis Moline, who is not mentioned. 
 
 ML 48.M2H 
 
 - Roger-Bontems et Javotte, parodie d'Orphee et Euridice, pi&ce 
 en un acte, me"lee d'ariettes, par MM. Moline e D'Orvigny represented 
 pour la premiere fois par les Come'diens italiens ordinaires du roi, le 
 samedi 13 mai 1775. 
 
 Paris, la veuve Duchesne, 1775. 32 p. 19 cm . 
 
 On p. 32 the air of "Eh, messieurs! laissez-vous toucher." The composer, resp. 
 arranger, of the music not recorded by Cl. & L. and Schatz. SCHATZ 11510 
 
 Orfeo ed Euridice Orphe'e & Euridice, ballet. See Jommelli's La 
 Didone abbandonata. 
 
 Orfeo ed Euridice, ballet. See Mizliweczek's II Bellerofonte. 
 
 Orfeo ne'll inferi Orph6e aux enfers. See Campra's Le carnaval 
 de Venise.
 
 832 LIBRARY OF CONGRESS 
 
 Orfeo sul Monte Rodope, ballet. See Insanguine's Medonte. 
 Oriana. Tr. of Handel's Amadigi di Gaula. 
 
 Origille. Opera bernesca in musica da rappresentarsi nel Teatro 
 di S. Mois& 1'autunno dell' anno 1744. 
 
 Lcm 
 
 Venezia, Pietro Bassaglia, 1744- 4@ P- 14 
 
 Three acts. By Antonio Palomba, who is not mentioned. Notice to the reader, 
 scenario, cast, and note "La musica e di diverei autori," who are not mentioned. 
 Antonio Palella is known as one of them. SCHATZ 7713 
 
 L'origine degli amori di Marc Antonio nell' arrive di Cleopatra 
 in Tarso, ballet. See Anfossi's Ezio. 
 
 L'Orimpnte. Drama per musica del Co. Nicolo Minato . . , 
 Venetia, Vdluasense, 1650. 100 p. (incL front.) 14 cm - 
 Three acts, with prologue. Author's dedication, dated Venice. February 20, 1650, 
 
 argument, notice to the reader, and scenario. Without name of the composer, Pietro 
 
 Francesco Cavalli. 
 
 First performed, as indicated, at the Teatro S. Cassiano. SCHATZ 1723 
 
 Orion, tragedie representee par FAca { demie royale de musique, Tan 
 1728. Paroles de M. Pellegnn. Musique de M. de la Coste. CIX. 
 opera. 
 
 n. i., n. d. 14 cm - pi-, 189-252 p. (Eecueil general de-s opera, 
 t. xiv, Paris, 1734.) 
 
 Detached copy. Five acts and prologue. Schatz gives as joint author Joseph de 
 Lafont. 
 
 First performed, as indicated, February 17, 1728. SCHATZ 5355 
 
 Second copy. ML 48. R4 
 
 Orion oder Der fuerst und sein hofnarr. Ein hofgemaelde in vier 
 aufzuegen fuer das k. k. priv. Schikanedersche Theater frey bear- 
 beitet von Joachim Perinet . . . [vignette]. 
 Wien, n. publ., 1798. 4 p. I, 103 p. 16 cm . 
 
 Sentimental dedication to the public of Vienna, without name of Ignaz Xaver, 
 ritter von Seyfried, as the composer. 
 
 First performed at Vienna, Theater auf der Wieden, January 8, 1798. 
 
 SCHATZ 9858 
 
 
 L'Orione. Dramma di Francesco Melosio da Citta della Pieve. 
 Fatto rappresentare nel Teatro Regio di Milano Fanno 1653 . . . 
 
 Venetia, n. publ, 1653. 72 p. 13% cm . 
 
 Pages 3-4 appear to be missing. Presumably they contained the dedication, the 
 argument, and possibly the name of the composer, Pietro Francesco Cavalli. 
 
 First performed, as indicated, in June, 1653. SCHATZ 1740 
 
 L'Oristeo. Drama per musica di Giovanni Faustini Favola ottava. 
 
 Venetia, Gio. Pietro Pinelli, 1651. 80 p. ll>\ cm . 
 
 Three acts, with prologue. Author's dedication and argument. Pietro Francesco 
 Cavalli, the composer, is not mentioned. 
 
 First performed at Venice, Teatro di S. Apollinare, carnival, 1651. SCHATZ 1752 
 
 L'Oristeo travestito. Favola dramatica per musica di Giovanni 
 Faustini . . . [coat of arms] 
 
 Bologna, Giacomo Monti, 1656. 92 p. 14 cm - 
 
 Three acts, with prologue. Dedication by Pier' Antonio Cerua, dated Bologna, 
 January 2, 1656, argument, and notice to the reader, who is informed that this is
 
 OPERA LIBRETTOS 833 
 
 L' Oristeo Continued. 
 
 Faustini's Oristeo, but much altered, "per cosl dire, mascherato." As a matter of 
 fact, the first eleven scenes of both are practically identical, then I, 12 in Bologna 
 begins, "Qual rumor," whereas Venice has "Pargoletti germani," and the differences 
 become too numerous for enumeration, though the original text is not lost sight of. 
 For instance, III, 1 in the Venice ed., "Dove, dove m'agg_iro," has become III, 4 in 
 the Bologna ed. The composer of "quest' operetta," as it is called in the dedication, 
 is not mentioned , but most likely was Cavalli, except, of course, for the new text. The 
 matter is summed up in these words: "Condona cortese la multiplicity de gli episodii 
 aggionti per dilettarti, e compatisci le digression! talora soverchie, necessane per6 nel 
 diversificarsi le scene, e multiplicarsi le machine." SCHATZ 1724 
 
 Orithia. Favola sccnica del conte Maiolino Bisaccioni . . . 
 Venetia, Milodii, 1650. 72 p. Ift. 
 
 Prologue and three acts. Author's dedication, dated February 1, 1650, notice to 
 the reader, argument, and scenario. The composer, Gasparo Sartorio, is not men- 
 tioned. SCHATZ 9497 
 
 Orlando. Drama per musica da rappresentarsi nel Teatro di Sant' 
 Angelo 1'autuno dell' anno MDCCXXVIL 
 
 Venezia, Marino Rossetti, 1727. 60 p. 15 cm . 
 
 Three acts. By Grazio Braccioli, who is not mentioned. (Somewhat altered 
 version of his ' ' Orlando furioso. ' ') Cast, scenario, and name of Antonio Vivaldi as the 
 composer. SCHATZ 10776 
 
 Orlando finto pazzo. Drama P. musica da rappresentarsi in S. 
 Angelo 1'autunno 1714 del dottor Grazio Braccioli . . . 
 
 Venetia, Marino Rossetti, n. d. 72 p. 13\ cm . 
 
 Three acts. Author's dedication, dated Venice, November 10, 1714, argument, 
 cast, scenario, and name of Antonio Vivaldi as the composer. Not the same text aa 
 "Orlando." SCHATZ 10777 
 
 Orlando furioso. Dramma per musica da rappresentarsi nel Teatro 
 Arciducale di Mantova il carnovale dell' anno MDCCXXV . . . 
 Mantova, Alberto Pazzoni, n. d. 52 p. 16 cm . 
 
 Three acts. By Grazio Braccioli, who is not mentioned. Impresario's dedication, 
 argument, cast, scenario, and name of Orazio Polarolli as the composer. 
 
 SCHATZ 8257 
 
 Orlando furioso. Dramma per musica da rappresentarsi nel Teatro 
 di S. Angelo 1'autunno del 1713. Del dottor Grazio Braccioli . . . 
 
 Venezia, Marino Rossetti, 1713. 71 p. 14 m - 
 
 Three acts. Author's dedication dated Venice, November 7, 1713, argument, 
 cast, scenario, and name of Giovanni Alberto Ristori as the composer. SCHATZ 8818 
 
 Orlando generoso. O. T. of Steffani's Der grossmuethige Roland. 
 
 Orlando Paladino. Dramma eroicomico per musica, da rappre- 
 sentarsi nel Teatro Elettorale. 
 
 Dresda, n. puU., 1792. 115 p. 15\. 
 
 Three acts. By Nunziato Porta, who is not mentioned. German title page, 
 "Hitter Roland," and text face Italian. Joseph Haydn is mentioned as the com- 
 poser. 
 
 First performed at Dresden, Churfuerstl. Theater, November 28, 1792; at Esterhaz, 
 August, 1782. SCHATZ 4612 
 
 Orlina ossia La famiglia riunita, ballet. See Zingarelli's Carolina e 
 Mexicow. 
 
 72251 VOL 114 53
 
 834 LIBRARY OF CONGRESS 
 
 L'Orxnindo. Favola regia per musica di Giovanni Faustini . . . 
 
 Venetia, Francesco Mttoco, 1644- 95 p. 12%. 
 
 Three acts with prologue. Author's dedication and argument. Without name of 
 tiie composer, Pietro Francesco Cavalli. 
 
 First performed at Venice, Teatro di S. Cassiano, carnival, 1644. SCHATZ 1725 
 
 Ormisda. O. T. of Zeno's Cosroe text. 
 
 Onnisda. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, t> iv, p. 92. 19 cm . 
 
 Three acts and licenza. Argument. No composer is mentioned. In the "Cata- 
 logo " at end of t. x, date and place of first ed. are given as Vienna, 1721. See below. 
 The text is preceded (on p. xiv) by count Gozzi, the editor's prefatory comment on the 
 vicissitudes of librettos, etc. ..." ML 49.A2Z3 
 
 - Ormisda. Pubblicato per la prima volta in Vienna 1721. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. v, p. 167- 
 256. 21 cn . 
 
 Three acts. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Ormisda. Dramma per musica,da rappresentarsi nella Cesarea corte 
 per il nome gloriosissimo della Sac. Ces. e Catt. Real Maesta di Carlo 
 VI . . . L'anno MDCCXXI. La poesia e" del Sig. Apostolo Zeno 
 ... La musica e del Sig. Antonio Caldara. 
 
 Vienna d' Austria, Gio. Pietro Van GTielen, n. d. 4p-l-> 82 p. 15 cm . 
 
 Three acts and licenza. Argument and scenario. Niccola Matteis is mentioned 
 as composer of the ballet music. 
 
 First performed, as indicated, November 4, 1721. SCHATZ 1501 
 
 Ormisda. Dramma per musica da rappresentarsi nel Teatro Tron 
 a' San Cassiano nel carnovale dell' anno 1728. 
 Venezia, Marino Rossetti, 1728. 60 p. 15 cm . 
 
 Three acts. By Apostolo Zeno. Argument, cast, scenario, and name of the com- 
 poser, "Bartolamio Cornans" [Cordans]. SCHATZ 2226 
 
 L'Ormonda costante. A. T. of Grossi's L'Artaserse. 
 
 Ornospade. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, t- H> P- [281}-363 
 p. 19 cm . 
 
 Three acts and licenza. Argument. No composer is mentioned. In the ; 'Cata- 
 logo " at end of t. x, date and pkce of first ed. are given as Vienna, 1727. (See below.) 
 
 ML 49.A2Z3 
 
 Ornospade. Pubblicato per la prima volta in Vienna 1727. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. vii, p. 82. 
 21 cm . 
 
 Three acts and licenza. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Ornospade. Dramma per musica, da rappresentarsi nella Cesarea 
 corte per il nome gloriosissimo della Sac. Ces. e Catt. Real Maesta Carlo 
 VI ... L'anno MDCCXXVII. La poesia del Sig. Apostolo 
 Zeno ... La musica e del Sig. Antonio Caldara . . . 
 
 Vienna d' Austria, n. publ., n. d. 4 p. 1., 63, [1] p. 16 cm . 
 
 Three acts and licenza. Argument and scenario. Niccola Matteis is mentioned as 
 composer of the ballet music. 
 
 First performed, as indicated, November 4, 1727. SCHATZ 1503
 
 OPERA LIBRETTOS 835 
 
 L'oro fa tutto. Dramma giocoso per musica da rappresentarsi nel 
 Teatro alia Scala Pautunno dell' anno 1793 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 68, [8] p. 16 cm . 
 
 Two acts. By Angelo Anelli, who is not mentioned. Impresario's dedication, 
 cast, scenario, and name of Ferdinando Per (Paer) as the composer. 
 
 With the opera were performed the ballets "La contadina astuta" and "Mastino 
 della Scala," by Giuseppe Banti. Of the first, mutsic by Vittorio Trento, the 8 
 unnumbered p. contain prefatory note, cast, and description of the four acts. 
 
 SCHATZ 7521 
 Second copy. ML 48.A5 v. 1 
 
 - L'oro fa tutto. Dramma giocoso per musica, da rappresentarsi 
 nel Teatro Elettorale. 
 
 Dresda, n. publ., 1795. 127 p. 15% cm . 
 
 Two acts. Paer is mentioned as the composer, but Anelli is not mentioned. Ger- 
 man title page, "Geld ist die loosung," and text face Italian. SCHATZ 7522 
 
 Oro non compra amore o sia II barone di Mosca bianca. Dramma 
 giocoso per musica da rappresentarsi nel nobilissimo Teatro Venier 
 in San Benedetto Pautunno dell' anno 1794. 
 
 Venezia, Modesto Fenzo, 1794. 78 p. 18% cm . 
 
 Two acts. By Angelo Anelli, who is not mentioned, and who based his text on 
 Bertati's "La villanella rapita." Cast, scenario, and name of the composer, Luigi 
 Caruso. Between the acts were performed Giuseppe Trafieri's ballet, "Lo sposalizio 
 de' Morlacchi." The composer of the music is not mentioned. 
 
 First performed, as indicated, November 26, 1794. SCHATZ 1649 
 
 L'Orode. Drama per musica da recitarsi nel Teatro di Casale Panno 
 1675 . . . 
 
 Milano, Lodovico Monza, n. d. 93 p. 14? cm - 
 
 Three acts. Dedication, notice to the reader, mentioning Sig. Marchese Giacomo 
 Natta as author, the latter's notice to the reader, informing him that the opera was 
 originally intended for performance by the "cavalieri . . . per loro divertimento," 
 and that "Pietro Paolo Forni, mastro di capella ineigne del duomo di Casale," com- 
 posed the music. Argument, and scenario. SCHATZ 3301 
 
 L'Oronta. Drama per musica da rappresentarsi nel Teatro di S. 
 Bartolomeo in questo carnovale dell' anno 1728 . . . 
 Napoli, Francesco Bicciardi, 1728. 60 p. 14 m - 
 Three acts and (on p. 21-26, 38-43) the two intermezzi "PERICHITTA E BERTONE.'' 
 Authors of the texts not mentioned, of the intermezzi unknown to Schatz, of the 
 opera given by him as Claudio Nicola Stampa. Dedication, argument, scenario, 
 casts and name of Francesco Mancini as composer. On p. 60 "aria di Perichitta" 
 "lo per6 non son di quelle" substituted for Dolce straidel dio bambino" in the 
 first intermezzo. ML 50.2.O7M2 
 
 Oronte. Dramma di tre atti per musica. Rappresentato per la 
 prima volta in Venezia il carnovale dell' anno MDCCXL. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta ejigli, 1788-95, v. 36, 
 [145]-203 p. 
 
 As "Oronte re de' Sciti" with music by Galuppi, first performed at Venice, Teatro 
 Grimani di S. Grisostomo, December 26, 1740. PQ 
 
 L' Oronte di Menfi. Drama per musica da rappresentarsi nel 
 famoso Teatro Formagliari 1'anno 1676 di Tomaso Stanzani. Seconda 
 impressione con aggiunta. 
 
 Bologna, perl' erededi Domenico Barbieri, n. d. 71, [1] p. 13*. 
 
 Three acts. Argument, scenario, and notice to the reader, with name of Petronio 
 Franceschini as composer. SCHATZ 3318
 
 836 LIBRARY OF CONGRESS 
 
 Oronte rd de' Sciti. O. T. of Galuppi's Oronte. 
 
 Orontea, regina d'Egitto. Drama musicale del Sig. dottor Gia- 
 cinto Andrea Cicognini . . . 
 
 Venetia, n. publ., n. d. 72 p. 14 cm - 
 
 Prologue and three acts. Published after 1649 (see next entry) by Bartolomeo 
 Lupardi, the Roman bookseller, who speaks in his dedication of "la preeente operetta 
 delr Orontea regina d'Egittp, di nuoyo peregrina, e vagante per mezo delle stampe." 
 The composer, Marc' Antonio Cesti, is not mentioned. 
 
 First performed as "Orontea" at Venice, Teatro di SS. Apostoli, carnival, 1649. 
 
 ML 50.2.O73C2 
 
 Orontea, regina d'Egitto. Drama musicale del dottor lacint* 
 Andrea Cicognini . . . Fatto rappresentare dal Sign. Gio. Battista 
 Abbatoni in Torino. 
 
 Torino, Bartolomeo Zavatta, 1662. Ip.l., 69, [3] p. 13\ cm . 
 
 Three acts, with prologue. Impresario's dedication, scenario, but without the 
 name of the composer, Marc' Antonio Cesti. The three additional pages contain 
 "Aggionte nelP opera dell' Orontes:" Act I, 11, "Qual vaneggiante ardire," with 
 aria, "Credere & femine e vanita." Act II, 1, "Dimmi Amor, che t'h6 fatt' io;" 
 II, 5 (Creonte), "Odami il mondo tutto amo Alidoro. Ah! 1'amerai si, ma con tuo 
 danno;" II, 12, "Un dolcissimo sorriso." Act III, 4, "Trionfa mia core;" III, 7, 
 "Da me che piii volete;" III, 22, "Giovinetti lascivi." It is said in the dedication 
 that "il presente drama musicale" met with applause "in tutte le parti d' Italia." 
 
 SCHATZ 1781 
 
 Orphee. Entree in Grenet's Le triomphe de Pharmonie. 
 
 Orphee, tragedie en musique, represented par L' Academic royale de 
 musique. Suivant la copie imprimee a Paris. 
 
 [Amsterdam, Antoine Schelte], 1690. 48 p. (incl. front.) 13% cm . 
 
 Prologue and three acts. Neither the author, Du Boullay, is mentioned, nor the 
 composer, Louis de Lully. 
 
 First performed, as indicated, April 8, 1690. ML 50.2.O75L9 
 
 Orphee, tragedie representee par FAcademie royale de musique 1'an 
 1690. Les paroles de M. Du Boulay, & la musique de M. Louis de 
 Lully. XXV. opera. 
 
 n. i., n. d. 14 cm - front., 1-50 p. (RecueU general des opera, t. iv, 
 Paris, 1703.) 
 
 Detached copy. Three acts and prologue. 
 
 First performed, as indicated, April 8, 1690. SCHATZ 5783 
 
 Second copy. ML 48 . R4 
 
 Orph.ee aux enfers. See Campra's Le carnaval de Venise. 
 Orphee et Euridice. Tr. T. of the ballet Orfeo ed Euridice. 
 Orphee et Euridice. See Gluck's Orfeo ed Euridice. 
 
 Orphee et Euridice. Melo-drame en un acte, en prose par Mons. 
 Duplessis, au service de S. A. R. le due de Panne. Musique de M r * 
 Par. 1791. 
 
 n. i., n. d. [17] p. 18 cm . 
 
 Printed in a most unusual manner, in three parallel columns, the first containing 
 musical indications, as, forinstance, "Musique frissonante & plaintive, " or "Quelquea 
 coups d'archet, " with figures referring to the respective place in the prose text; the 
 second containing indications of duree (duration), as, for instance, "6 secondes" or 
 "2 minutes"; the third containing the prose text. 
 
 First performed, as indicated, at Parma, Teatrino di Corte. SCHATZ 7550
 
 OPEBA LIBRETTOS 837 
 
 L'orpheline villageoise. A. T. of Fridzeri's Les deux miliciens. 
 Orpheus, burletta. See Barthe'lemon's A peep behind the curtain. 
 
 Orpheus. Ein singspiel in drey aufzuegen, von L. In musik gesetzt 
 von Friedrich Benda. 
 
 n. i., 1785. 22 p. 
 
 Name of author unknown to Schatz. 
 
 First performed at Berlin, at a concert in January, 1785. SCHATZ 766 
 
 Orpheus. Tr. of Bertoni-Reichardt's Orfeo. 
 Orpheus. Tr. of Graun's Orfeo. 
 Orpheus. 
 
 Firet performed in five acts, text by Friedrich Christian Bressand, music by Rei- 
 ser, at the Courttheatre, Brunswick, 1798, under the above title, according to Schatz. 
 Repeated (with alterations) in two parts of three acts each at Brunswick in 1699 as 
 "Die sterbende Eurydice," resp. "Die verwandelte leyer des Orpheus." Then at 
 Hamburg, Opernhaus beim Gansemarkte, 1702, as follows: 
 
 % 
 
 Die sterbende Eurydice oder Orpheus erster theil. In einem 
 singespiel auif dem Hamburgischen Scnau-platz vorgestellet. 
 
 Hamburg, Conrad Neumann, n. d. Unpaged. 18 cm . 
 
 Three acts. Neither the author, Friedrich Christian Bressand, nor the composer, 
 Reinhard Keiser, is mentioned. SCHATZ 5106 
 
 - Orpheus, ander theil. In einem singe-spiel auf dem Hambur- 
 gischen Schau-platz vorgestellet. 
 
 Hamburg, Conrad Neumann, n. d. Unpaged. 18 cm . 
 Three acts. Without name of the author, Bressand, or Keiser, the composer. 
 
 SCHATZ 5107 
 
 - Die biss in und nach dem todt unerhoerte treue des Or- 
 pheus. [vignette] In einem singe-spiel auf dem grossen Ham- 
 burgischen Schau-platze vorzustellen. Im jahr 1709. 
 
 Hamburg, Joli. Nic. Gennagel, n. d. Unpaged. lS$ cm . 
 
 Five acts. Scenario and name of Reinhard Keiser as the composer. The author, 
 resp. translator, Friedrich Christian Bressand, is not mentioned. The Italian text 
 has been added to many of the arias. 
 
 In the very nature of the case, this five-act version is not a mere condensation of 
 the version in two parts of three acts each. For instance, scenes I, 1-6, in Schatz 
 5106 are not in Schatz 5105. I, 3 of the latter, "Ach, Aristaeus, welch verkehrter 
 blick," and I, 4, "Dein fur mich duncklea wort," are the same as I, 6 ? and I, 7, in 
 Schatz 5106. In the latter I, 8 (the last scene of the act), has the ana, "Bey mir 
 wancken," which is not in the corresponding scene I, 5, of Schatz 5105. _ This is 
 followed, as last of the act, by scene I, 6, "Angenehmste liebeskertzen," with aria, 
 "Dolce mia vita Angenehmstes leben," which scene is not in Schatz 5106. The 
 second act is the same in both versions, but after that the differences become very 
 numerous again. It is curious to see that, whereas the fourth act begins with "Lass 
 Orpheus die vernunfft," etc., in Schatz 5105, this whole scene is made part of III, 11, 
 in Schatz 5106. The first scene in Schatz 5107 in common with Schatz 5105, seems 
 to be the latter's IV. 7, "Schoner ort, gliickseelgo felder" (chorus) which is the first 
 scene of second act in Schatz 5107. SCHATZ 51C5 
 
 The masque Orpheus and Euridice. 
 
 See act III, scene 2 of Martin Bladen's tragi-comedy, "Solon or Philosophy no 
 defence against love," London, R. Smith, 1705, p. 28-S3. 
 
 No performance recorded by Clarence. LONGE 79
 
 838 LIBRARY OF CONGRESS 
 
 Orpheus and Eurydice. With the pantomime entertainment. 
 As acted at the Theatre-Royal in Lincoln's-Inn-Fields. By Mr. 
 Henry Sommer . . . 
 
 London, C. Corbett, 1740. viii, 28 p. 17$. 
 
 One act. In his preface the author refutes the charges of plagiarism brought by 
 "Mr. Hill the apothecary" against the impresario, Mr. Rich. Sommer says that he 
 wrote the piece eleven years ago, and that in 1734 he had occasion to submit it to Rich, 
 who then described to him the plan of his own entertainment of the eame title, with 
 the "several tricks and escapes which he intended to introduce. The same season 
 (1734) Sommer made overtures to Mr. Fleetwood, who, however, could only offer to 
 take the piece for the season following, and to purchase several of Sommer's ' ' modules," 
 which oner he rejected. Thereupon he entered into negotiations with Mr. Giffard, 
 who, in 1736, agreed to produce the piece 
 
 "and the modules were carried to Lincoln 's-Inn-Fields Play-house, in order to be 
 got up with all expedition. And Mr. Giffard judging the pantomime part was long 
 enough without the addition of a serious, because there was so great a variety, declined 
 playing this as being too expensive. 
 
 "In January, towards the latter end, the harlequinade of my piece was performed 
 with applause . . . I have reason to hope that Mr. Hill will not be so hardy to say, I 
 have borrow'd anv thing from his . . ." 
 
 The composer, John Frederick Lampe, not mentioned, and not recorded by Schatz. 
 
 LONGE 199 
 
 Orpheus and Eurydice. Tr. of Gluck's Orfeo ed Euridice. 
 
 Orpheus der zweyte. A pasticcio, principally by Dittersdorf. See 
 his " Die lie be im narrenhause." 
 
 Orpheus og Euridice. Et syngespil i tre acter. Poesien er af 
 C. D. Biehl. Musiquen af hr. Nauman. Paa regisseur Hansens 
 Forlag. 
 
 Kiflbenhavn, Jolian Friderich Morthorst, 1790. Jfi p. 16 cm . 
 
 First performed at Copenhagen, Kongl. Theater, January 31, 1786. SCHATZ 7052 
 
 - Orpheus und Euridice. Eine tragische oper. Nach dem 
 daenischen von Carl Friedrich Cramer. Die musik vom herrn capell- 
 meister Naumann. 
 
 Kiel und Hamburg, bey dem verfasser, n. d. xxxi, [1], 54 P- 15 cm . 
 The first seventeen p. of the "Vorrede" bring quotations from Virgil and Ovid, to 
 show the origin of the plot. Then Carl Friedrich Cramer, the author of the German 
 text, dwells at length on the dramaturgic problems presented by the theme of Orpheus 
 and Euridice, and finally he points out wherein and why his text differs from the 
 Danish original. On p. xxvi particularly he gives his reasoms for weakening still more 
 than the Danish original the impression of a "ganz grundloser eigensiun" in the 
 mere "Frauenzimmer" Euridice. This "Vorrede" is well worth reading. Cramer's 
 Tr. also in his Magazin d. Musik. 1786, p. 1085-1145. SCHATZ 7053 
 
 Orpheus und Eurydice. Tr. of Gluck's Orfeo ed Euridice. 
 Orpheus und Euridice. Tr. of Naumann's Orpheus og Euridice. 
 
 Gli Orti Esperidi. 
 
 [319]-356p. 19 cm . (Pietro Metastasio,0peredrammatiche, Venezia, 
 1733-37, v. 3.} 
 
 Two parts. No composer mentioned. 
 
 First performed with music by Porpora at Naples, Real Palazzo, August 28, 1721. 
 
 ML 49.A2M4
 
 OPEEA LIBRETTOS 839 
 
 Gli Orti Esperidi Continued. 
 
 - Gli Orti Esperidi. 
 
 Metastasio, Poesie, Parigi, vedova QuiUau, 1755, t. ix, [101}-146 p. 
 16 cm . 
 
 Two parts. ML 49.A2M42 
 
 - Gli orti Esperidi. 
 
 [47]-86 p. 26 cm . (Metastasio, Opere, t. x, Parigi, vedova Heris- 
 sant, 1782.) 
 
 Two parts. ML 49.A2M44 
 
 Gli Orti Esperidi. Serenata per musica da cantarsi . . . per 
 celebrare il felicissimo giprno natalizio di Sua Maestk fedelissiina 
 1'augusta D. Marianna Vittoria regina madre nella primavera dell' 
 anno 1779. 
 [Lislona], Stamperia reale, n. d. 30 p. 16. 
 
 Two parts. Cast and names of Metastasio as author, of Jeronymo Francisco de 
 Lima aa composer. 
 
 First performed, as indicated, March 31, 1779. SCHATZ 5620 
 
 Gli orti Esperidi. Drama per musica del Signore abate Pietro 
 Metastasio da cantarsi nella Heal Villa di Qiieluz. Nell' anno 1764. 
 
 Lisbona, Stamperia Sosiana, n. d. 23 p. 
 Two parts. "Luciani Xavier" (Luciano Xavier doe Santos) is mentioned aa 
 the composer. SCHATZ 9396 
 
 The airs, duets, choruses and argument of the new ballet pantomime, 
 (taken from Ossian) called Oscar and Malvina; or The hall of 
 Fingal. As performed at the Theatre-Royal, Covent-Garden. The 
 third edition. 
 
 London, T. Cadell, 1791. 19 p. 18 cm . 
 
 Cast. According to Grove's Diet., William Reeve completed William Shield's 
 unfinished music. 
 
 First performed August 20, 1791 (Clarence), October 20 (Genest). LONOB 218 
 
 Oscar e Malvina, ballet. See Trento's Bianca de' Rossi. 
 
 Osiride, dramma per musica, in occasione delle felicissime nozze di 
 S. A. S. il principe Antonio, duca di Sassonia, etc. e di S. A. R. la 
 prineipessa Carolina, figlia di S. M. il re" di Sardegna. Del Sigr. 
 Caterino Mazzola . . . 
 
 Dresda, n. pull, 1781. 4 p. I, 79 p. 19. 
 
 Two acts and Licenza. Argument and name of Johann Gottlieb Naumann as the 
 composer. German title page, "Osiris," and text face Italian. 
 
 First performed as indicated, October 27, 1781. SCHATZ 7054 
 
 Osiris. Tr. of Naumann's Osiride. 
 
 Osiris. Entree in Rameau's Les f&tes de 1'Himen et de F Amour. 
 
 Osmanns serail. Tr. of Ghinassi's II serraglio di Osmano. 
 
 Osmane. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto il carnovale dell' anno 1784 . . . 
 
 Venezia, Modesto Fenzo, 1784. 51 p. 17% cm . 
 
 Three acts. By Gaetano Sertor, who is mentioned as author and Giuseppe Gior- 
 dani as the composer. Author's dedication, argument, cast, and scenario. On p.
 
 840 LIBRARY OF CONGRESS 
 
 Osmane Continued. 
 
 23-29 ca*t and description of "Giasone e Medea. Ballo eroico-tragico d'invenzione 
 del celebre Sig. Noverre rimesso in Bcenadal Sig. Vestris; date in Venezia dal Sig. Le 
 Picq; e adesso rimesso in ecena dal Sig. Domenico Le Fevre," whose ballet "Gli 
 amori di Mirtillo con Silvanzia" was also performed. The composers of the music 
 are not mentioned. SCHATZ 3848 
 
 L'ospedale de' pazzi, ballet. See Giordani's Don Mirtillo con- 
 trastato. 
 
 Ottaviano Ces. Augusto. Melodrama da rappresentarsi nel Teatro 
 ducale dell' Altezza Serenissima di Mantova. L'anno MDCLXXXII. 
 Venetia, Francesco Nicolini, 1682. 1 p. 1., 60 p. &l cm . 
 
 Three acts. Argument, cast, scenario, and notice to the reader with the name of 
 Giovanni Legrenzi "novo Anfiqne del nostro secolo" as the composer and stating 
 that the author of "L'Annibale in Capua, il Tito, il Genserico & 1'Eraclio "ia also 
 the author of this, which accordingly would be count Nicola Beregani. 
 
 Lacks the p. 1. (an ornamental t.-p.) which is in our second copy (ML 50.2.P78L3.) 
 First performed, as indicated, May, 1682. SCHATZ 5537 
 
 L'Ottavio. Commedia per musica di Gennarantonio Federico Napo- 
 letano. Da recitarsi nel Teatro de' Fiorentini nell' inverno di questo 
 anno 1733 ... 
 
 Napoli, Nicola di Biase, n. d. 57 p. 14% cm ' 
 
 Three acts. Impresario's dedication, cast, and name of Gaetano Latilla as the 
 Composer. SCHATZ 5452 
 
 Otto. Tr. of Handel's Ottone. 
 
 Ottocaro, ballet. See Nicolini's II trionfo del bel sesso. 
 
 Ottone. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S. Gio. 'Grisostomo if carnovale dell' anno 1740. 
 
 Venezia, Marino Rossetti, 1740. 4 8 P- 15 cm - 
 
 Three acte. By Antonio Salvi, who is not mentioned. Argument, cast, scenario 
 and name of Gennaro d' Alessandro (Alessahdri) as composer. SCHATZ 157 
 
 Ottone. 
 
 Three-act opera by Georg Friedrich Handel. Text was an altered version by 
 Nicola Francesco Haym of Stefano Benedetto Pallavicini's "Teofane." 
 First performed at London, Haymarket, January 12, 1723. 
 Not in L. of C. 
 
 Otto, in einem sing-spiele auf dem Hamburgischen Schau-platze 
 vorgestellet im jahr 1726. 
 
 [Hamburg], Gedruckt mit Stromerschen schrifften, n. d. Unpaged. 
 
 Three acts. Argument, name of Georg Friedrich Handel ab the composer. The 
 arias are printed with Italian and German texts. The translator, Glauche, is not 
 
 mentioned. SCHATZ 4482 
 
 
 
 Ottone. Tragedia per musica fatta da rappresentarsi nel Teatro di 
 S. Gio. Grisostomo. L'anno MDCXCIV . . . 
 
 Venetia, Nicolini, 1694- 84 p. (incl. front.). 16 cm . 
 
 Five acts. Dedication by the author, conte Girolamo Frigimelica Roberti, notice 
 to the reader, scenario, and arguments preceding each act. The composer, Carlo 
 Francesco Pollaroli, is not mentioned. SCHATZ 8307
 
 OPEKA LIBRETTOS 841 
 
 Ottone il Grande. Drama per musica da recitarsi nel famoso 
 Teatro de' S. S. Gio. e Paolo Fanno MDCLXXXIII di Frencasco 
 Valsini . . . 
 
 Venetia, Francesco Nicolini, 1683. 60 p. lJfy tm . 
 
 Three acts. Author's dedication (dated December 5, 1682), notice to the reader^ 
 argument but without name of the composer, Paolo Biego. Francesco Valsini 
 stands for Francesco Silvani, who calls this "il primo parto della mia penna." 
 
 SCHATZ 1015 
 Our way in France. A. T. of Fontainebleau. 
 
 The Oxford act, a new ballad-opera. As it was perf orm'd by a com- 
 pany of students at Oxford . . . The second edition. 
 London, L. GuUiver, 1788. 2 p. 1., 44 p. 19 cm . 
 
 Three acts. Table of the 37 songs, the airs of most of which indicated by title in 
 the text. Author not mentioned, and not recorded by Clarence. LONGE 49 
 
 The Oxford roratory. A. T. of The ragged uproar. 
 La pace. See M. Curzio. 
 
 La pace fra la virtu e la bellezza. 
 
 Metastasio, Poesie, Parigi, vedova QuiUau, 1755, t. vii, [337}-362 p. 
 16 em . 
 
 One act. ML 49.A2M42 
 
 La pace fra la virtu e la bellezza. Azione teatrale, scritta dall' 
 autore in Vienna per ordine sovrano, 1'anno 1738, ed eseguita la 
 prima volta con musica del Predieri nella grande anticamera dell' 
 Imperial residenza . . . per festeggiare il giorno di nome di S. A. R. 
 Maria Teresa, arciduchessa d' Austria, poi Imperatrice regina. 
 
 [369]-392 p. 26 cm . (Pietro Metastasio, Opere, t. Hi, Parigi, vedova 
 Herissant, 1780.) 
 
 One act. ML 49.A2M44 
 
 La pace fra le tre dee. Festa teatrale, scritta dall' autore in 
 Vienna 1'anno 1765 per uso della Real corte cattolica, in occasions 
 delle f elicissime nozze delle Loro Altezze Reali D. Carlo di Borbone . . . 
 e Donna Luisa di Borbone . . . 
 
 [211}-232 p. 26 cm . (Metastasio, Opere, t. xi, Parigi, vedova Heris- 
 sant, 1782.} ML49.A2M44 
 
 La pace fra Tolomeo e Seleuco. Drama per musica da rappresen- 
 tarsi nel famoso Teatro Grimano di S. Gio. Grisostomo Panno 1691 . . . 
 
 Venetia, Nicolini, 1691. front., 64 P- 14 cm - 
 
 Three acts. Dedication, with the initials of the author, Adriano Morselli, argu- 
 ment, notice to the reader, with the name of Carlo Francesco Pollaroli as the com- 
 poser, and scenario. SCHATZ 8308 
 
 II Seleuco. Drama per musica d'Adriano Morselli da rappresen- 
 tarsi nel famosissimo Teatro di Torre di Nona Panno MDCXCIII . . . 
 
 Roma, Gio. Francesco Buagni, 1693. front., 72 p. 13 cm . 
 
 Three acts. Dedication by the bookseller, Francesco Leone, argument, cast, and 
 scenario. The composer, Carlo Francesco Pollaroli, is not mentioned. A consid- 
 erably altered version of Morselli's "La pace fra Tolomeo & Seleuco." For instance, 
 the latter begins, " Per beltanon vista mai;" " II Seleuco " begins, "Non vedutaancor, 
 m'impiaga;" and scenelll, "Dal pin fugace usciti," has become scene IV. 
 
 SCHATZ 8309
 
 842 LIBRARY OF CONGRESS 
 
 La pace generosa. Drama per musica da recitarsi nel famoso 
 Teatro di S. Salvatore 1'anho 1700. Poesia di Francesco SUvani . . . 
 
 Venetia, Nicolini, 1700. 88, [1] p. Utf m . 
 
 Imprint at end. 
 
 Three acts. Author's dedication, dated Venice, February 10, 1700, argument, 
 notice to the reader, cast, and scenario. The composer, Marc Antonio Ziani, is not 
 mentioned. SCHATZ 11192 
 
 La pace per amore. Drama per musica da rappresentarsi nel Teatro 
 Giustiniano di S. Mois& 1'anno 1719. 
 
 Venezia, Marino Rossetti, 1719. 55 p. 15 cm . 
 
 Three acts. By conte Angelo Schietti. Argument, cast, and scenario, but without 
 the names of the composers, Giuseppe Maria Buini and Fortunato Chelleri, or of the 
 librettist. SCHATZ 1 100 
 
 - II nemico amante. Drama per musica da rappresentarsi nel 
 Teutro Giustiniano di S. Moisd. L anno 1724 . . . 
 
 Venezia, Mario Eossetti, n. d. Jfi p. 15 cm . 
 
 Three acts. Argument, cast, and scenario. A "ristampa " of "La pace peramore," 
 as appears from the impresario's dedication: 
 
 "Havendo rissoluto di fare novamente rappresentare nel Teatro Giustiniano di 
 S. Moise il drama presente, che nello stesso gl anni decorsi sotto altro titolo riportd 
 1'applauso universale, come anco lo consegui in altre citt d'ltalia per esser parto di 
 penna erudita, e benissimo nota ..." 
 
 The alterations are numerous. For instance, I, 7 now has the aria, ' ' Nel giardin di 
 pian teadorno," instead of "Quandoarricchito," and I,8"Lamianammavadicendo" 
 instead of "Ingegnoso e pur Amore." Neither the composers, Buini and Chelleri, 
 are mentioned, nor Schietti, the author. SCHATZ 1401 
 
 The padlock: A comic opera: As it is performed by His Majesty's 
 servants, at the Theatre Royal in Drury-Lane. A new edition [title 
 vignette]. 
 
 London, W. Griffin, n. d. vi, [2}, SI p. 19 cm . 
 
 Two acts. By Isaac Bickerstaffe, who is not mentioned. Cast, dedication to the 
 King of Denmark, in which Bickerstaffe says: 
 
 ''It is my lot to produce the only new dramatic performance, while this kingdom 
 is honored with Your Majesty's presence. I lay it at your feet, as a mark of hommage 
 from the English stage," 
 
 and preface, in which Bickeretaffe mentions as source of ' ' this petty drama " Cervantes' 
 novel, "The jealous husband," thanks the artists who performed it, especially Mrs. 
 Arne, "our best English singer," and says: 
 
 "The music of this piece being extremely admired by persons of the first taste and 
 distinction, it would be injustice to the extraordinary talents of the young man who 
 assisted me in it, was I not to declare, that it is, under my direction, the entire com- 
 position of Mr. Dibdin, whose admirable performance in the character of Mungo, 
 does so much credit to himself and me ... 
 
 First performed October 3, 1768, as indicated. LONGE 46 
 
 - The padlock. In two acts. By Mr. Isaac Bickerstaff. 
 [266]-289 p. 19 cm . (Collection of the most esteemed farces and 
 
 entertainments, Edinburgh, 1792, t. Hi.) 
 
 Drury-Lane and Edinburgh (1783.) casts. SCHATZ 11753 
 
 Padinani e Mirda, ballet. See Minoja's Tito nelle Gallic. 
 Padmani e Mirda, ballet. See Monza's Enea in Cartagine. 
 II padre crudele. A. T. of the ballet Tancredi. 
 
 Padre e figlio rival! sconosciuti. A. T. of the ballet Tamar e 
 Selimo.
 
 OPERA LIBRETTOS 843 
 
 H padre e il figlio rivali. The father and the son rivals; a comic 
 opera as perform' d at the King's Theatre in the Hay-Market. The 
 music entirely new by Signor Tomaso Giordani, a Neapolitan com- 
 poser. 
 
 London, W. Griffin, Dec. 1769. 67, [1] p. 19\. 
 
 Three acts. Made up, as appears from the notice to the reader, by Giovanni 
 Gualbertp Bottarelli from the "Incognita peraeguitata," by Petrosellini and Casori'e 
 ' ' Amore industrioso " : 
 
 "The merit of invention, I do not, therefore, presume to claim; but the reduction 
 of one complete drama, from two imperfect and confused ones, with five principal 
 actors, and three inferiors who all contribute to accomplish the action, is the produce 
 of my own industry." 
 
 Cast. English text faces Italian. SCHATZ 3851 
 
 II paese della Cucagna. 
 
 \_5\-51 p. 16\ cm . (Carlo Goldoni, Opere drammatiche giocose, t. Hi, 
 Torino, 1757.} 
 
 Three acts. First composed by Galuppi as below. ML49.A2G6 
 
 - II paese della Cuccagna. Dramma di tre atti per musica. 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e ngli, 1788-95, v. 44> 
 [287]-338 p. 18 cm . 
 
 PQ 
 
 II paese della Cuccagna. Dramnia giocoso per musica. 
 
 Vienna, Gi. Tomaso de Trattnern r 1770. Unpaged. 16. 
 
 Three acts. Author (Carlo Goldoni) and composer (unknown to Schatz) not 
 mentioned. 
 
 First performed at Vienna, 1770. SCHATZ 11354 
 
 II paese della Cuccagna. Commedia per musica. Di Polisseno 
 Fegejo, Pastor Arcade. Da rappresentarsi nel Teatro Giustiniani di 
 S. Moise. Per la fiera dell' Ascensione 1'anno 1750. 
 
 Venezia, Modesto Fenzo, 1750. front., 48, [2] p. 15. 
 
 Three acts. By Goldoni. Galuppi, the composer, is not mentioned. Cast and 
 scenario. The two additional pages contain the substitute arias "Innocente sai, che 
 eono" (I, 5),"Adognibeldiletto" (1, 11), " Se ne avesse mille intorno " (111,5), and 
 "Imparare non voglio (III, 10). 
 
 First performed, as indicated, May 7, 1750. SCHATZ 3492 
 
 Le palais de Flore. Ballet. Danse a Trianon le {blank 6.1 Janvier 
 1689. Suivant la copie imprime'e, a Paris. 
 [Amsterdam, Antoine Schelte], 1689. 2!,. p., incl. front. 13$. 
 
 Five entries. Argument, beginning: 
 
 "Le roy, entre les autres marques de son extreme eatiBfaction au retour de Mon- 
 seigneur le Dauphin, a voulu luy donner une feste dans cet agreable palais que 1'ou 
 a tant de raison de nommer le Palais de Flore ..." 
 
 Neither the author nor the composer is mentioned by de La Valli^re, or in modern 
 reference books. ML52.2.P2 
 
 II palazzo d'Osmano. L. T. of Gazzaniga's II seraglio d'Osmano. 
 
 Palaemon ein schaeferspiel mit gesaengen in zween akten von J. 
 W. A. Schoepfel. 
 
 Frankfurt und Leipzig, Christian Gottlieb Hertel, 1774- ^ii 1&1> 
 [1] p. 17 cm . 
 
 The xxii p. contain a " Vorrede" dated Leipzig, March 22, 1774, which throws 
 a curious side light on the author's esthetic creed. He begins with a dissertation on 
 taste regretting that the preference of Germans for "die franzoeaische jacke" and
 
 844 LIBRARY OF CONGRESS 
 
 Palaemon Continued. 
 
 "den Frack" "des Englaenders" in literary matters. He then launches into an 
 esthetic comparison between the merits (and popularity) of the "Singspiel" and of 
 comedy and tragedy. He finally champions the " Schaeferspiel " ana finds fault 
 with those who call "Das schaeterspiel . . . hirngespinnst, leere, traeumerey und 
 das zeitalter, in welchem die handlung vorgeht, ein Ding, das nie wirklich, sondern 
 immer nur in den koepfen der dichter existirt hat." Not recorded by Schatz. No 
 composer known to me. ML 50.2. P16 
 
 Pallade trionfante in Arcadia. Dramma pastorale per musica da 
 rappresentarsi nel Teatro Grimani di S. Samuele. II carnovale dell' 
 anno 1714 . . . 
 
 Venezia, Marino Rossetti, 1714- 4$ P- 14\ cm - 
 
 Three acts. Tommaso Ristori's dedication, argument, scenario, and name of 
 Giovanni Alberto Bistori as the composer. The author, conte Otto Mandelli, is not 
 mentioned. SCHATZ 8819 
 
 II palladio conservato. Componimento drammatico rappresentato 
 in musica nelF Imperial corte il dl 4. novembre 1735 per festeggiare il 
 glorioso nome di Carlo VI ... . 
 
 [13]-24 p. 19 cm . (Pietro Metastasio, Opere drammatiche, Venezia, 
 Giuseppe Bettinelli, 1733-37, v. 4.) 
 
 One act. Argument. No composer mentioned. ML49.A2M4 
 
 - II palladio conservato. 
 
 Metastasio, Poesie, Parigi, vedova QuiUau, 1755, t. vii, [259]-278 p. 
 16. 
 
 One act. ML49.A2M42 
 
 II palladio conservato. Azione teatrale, allusiva alle vicende 
 di quel tempo, scritta dall' autore in Vienna Tanno 1735 . . . e rap- 
 presentata la prima volta con musica del Reiitter negli interni privati 
 appartamenti dell' Imperial Favorita dalle Altezze Reali di Maria 
 Terese . . . dell' arciduchessa Marianna di lei sorella, e da una dama 
 della Cesarea Corte, per festeggiare il di primo d'ottobre, giorno di 
 nascita dell' imperatore Carlo VI. 
 
 [S41]-358 p. 26 cm . (Pietro Metastasio, Opere, t. v, Parigi, vedova 
 Eerissant, 1780.) 
 
 One act. Argument. ML49.A2M44 
 
 II palladio conservato, dramma per musica da cantarsi nella Real 
 Villa di Queluz il giorno di S. Pietro del' anno de 1771. Autore delle 
 parolle il Signore abbate Pietro Metastasio. La musica & del Signore 
 Luciano Xavier dos Santos. 
 
 Lisbona, Stamperia Sosiana, n. d. 3 p. 1., 14 p- 16 cm . 
 
 One act. Argument. 
 
 First performed, as indicated, October 19, 1771. SCHATZ 9397 
 
 Palma, ou Le voyage en Grece, op^ra en deux actes; represent 6 
 pour la premiere fois sur le Theatre de la rue Feydeau, le 5 rructidor 
 an 6. [Aug. 22, 17981 Par P. E. L. . . . Musique de Plantade. 
 
 Paris, Au Bureau dramatique, an VII [1798-99] 39, [1] p. 20. 
 
 Cast. By Pierre Edouard Lemontey. ML50.2.P2P4
 
 OPERA LIBRETTOS 845 
 
 La palma d'amore. Favoletta dramatica del Sig. Francesco Berni, 
 rappresentata nel Teatro di S. Lorenzo in Ferrara con musica, e 
 macchine in occasione delle nozze de grillustrissimi Signori Co. Fran- 
 cesco Miria estense Mosti, e D. Caterina Pia di Sauoia. Nel carnevale 
 dell' anno 1650 e da Gio. Bascarini dedicata alii medesimi. 
 
 Ferrara, Giuseppe Gironi, 1650. 4 P- 1-, 62 p. 19\ cm . 
 
 Dedication and notice to the reader, in which the author says: 
 
 "Questo componimento fu destinato al teatro, non alia stampa. Nacque per la 
 musica, non per la lettura " 
 in less than nine days. The customary protesta in this notice is neatly turned: 
 
 "Credi pure, che versarebbe il proprio eangue, come Christiano, chi ha sparao 
 quest' inchiostro, come poeta." 
 
 The composer, Andrea Mattioli, is not mentioned. SCHATZ 6104 
 
 Palmira. Tr. of Salieri's Palmira, regina di Persia. 
 
 Palmira di Tebe. Serenata per musica da cantarsi nella Real Villa 
 di Queluz per celebrare il felicissimo giorno natalizio del Serenissimo 
 Signore D. Giuseppe principe del Brasile li 21 agosto 1781. 
 
 [Lisbona}, Stamperia reale, n. d. 38 p. 15 cm . 
 
 One act. Gaetano Martinelli is mentioned as author, Luciano Xavier di Santi [dos 
 Santos] as composer. Argument and cast. SCHATZ 9399 
 
 Palmira, koenigin von Persien. Tr. of Salieri's Palmira, regina 
 di Persia. 
 
 Palmira regina di Persia. Dramma eroi-comico da rappresentarsi 
 negl' Imperiali Regi Teatri di corte 1'anno 1795. 
 
 Vienna, Mattia Andrea Schmidt, n. d. 62 p. 18 cm . 
 
 Two acts. Giovanni de Gamerra is mentioned as the author, Antonio Salieri as 
 the composer. 
 
 First performed at Vienna, Karnthnerthortheater, October 14, 1795. 
 
 SCHATZ 9305 
 
 Palmira, regina di Persia. Dramma eroi-comico da rappresen- 
 tarsi nel Teatro Elettorale di Sassonia. 
 
 Dresda, n. pull., 1797. 127 p. 16 cm . . 
 
 Two acts. Antonio Salieri is mentioned as the composer, but the author, Giovanni 
 de Gamerra, is not. The text follows the original closely. German title-page, 
 "Palmira, koenigin von Persien," and text face Italian. 
 
 First performed at Dresden, as indicated, March 18, 1797. SCHATZ 9306 
 
 Palmira, eine grosse oper in vier aufzuegen; aus dem italiaen- 
 ischen des K. K. hofdichters Gamera, uebersezt von Schlotterbek, 
 herzogl. hofdichter. Die musik ist vom kapellmeister Salieri. Auf 
 dem grossen herzogl. Theater zu Stuttgart zum erstenmale aufge- 
 fuehrt bei gelegenheit der festlichen heimfuehrung Ihrer Koenigl. 
 Hoheit, der frau erbprinzessin Charlotte Auguste Mathilde. 
 
 Stuttgart, gebrueder Maentler, 1797. 2 p. 1., 73, [1] p. 
 
 Cast, argument, and "anmerkung," which reads, in part: 
 
 "Die verse dieser oper sind nach dem rhytmus des italienischen originals und der 
 Salierischen musik uebersezt, einige wenige stellen ausgenommen, welche, da die 
 launen des kompositeurs mich zu sehr fesselten, in der part itur anders lauten." 
 
 First performed, as indicated, April 7, 1797. SCHATZ 9307
 
 846 LIBRABY OF CONGRESS 
 
 Palmire, ballet he'roique en un acte; represents devant Leurs 
 Majestes, a Fontainebleau, le 24 octobre 1765. 
 
 [Pan*], OhristopJie Bollard, 1765. 82 p. 20% cm . '(Journal des 
 Spectacles, t. ii, Paris, 1766.) 
 
 One act. Cast and names of Chamf ort (de Chanfort) as author of the text, of Bernard 
 de Bury as the composer of the music, and of Laval pere et fils as ' ' composers " of the 
 ballete. On p. [21J-32, cast and program of (by the same authors) : 
 
 La vengeance de 1' amour, ou Diane et Endimion, pantomime 
 he'roique. en trois actes; execute" devant Leurs MajestSs, k Fontaine- 
 bleau, a la suite de Palmire. 
 
 [Paris], OhristopTie Bollard, 1765. 
 
 ML 48.J7 
 
 Pandolfo. L. T. of Hasse's D tutore. 
 
 II Pandolfo. Commedia per musica da rappresentarsi in Venezia. 
 Nel Teatro Grimani a S. Samuele 1'autunno dell' anno 1745. 
 
 Venezia, Antonio Mora, 1745. 46 p. 16. 
 
 Three acts. Giuseppe Scolari is mentioned as the composer. A prefatory note 
 informs us: 
 
 "Essendoei accinto un poeta incognito a ridure in cinque Boli persona^gi la Com- 
 media in commedia gi& rappresentata in varii teatri ; Dopo aver con tale idea scritti 
 alcuni yersi cangio pensiero, e piu agevole gli fu di scriver questa, che ti presento, 
 dove di quella non v'e se non la ecena appunto della Commedia, che si finge alia 
 presenza di Pandolfo, ma diversamente condotta. Ti serva 1'awiso per sapere come 
 eiavi entrata 1'accennata scena, quando essendo tutto il resto nuovo ..." 
 
 SCHATZ 9798 
 
 Pandolfus en Zerbina of De meid meesteres. Tr. of Pergolesi's 
 La serva padrona. 
 
 I panduri accampati, ballet. See Pugnani's Tamas Koulikan nell 
 India. 
 
 Pane e Siringa, ballet. See Piccinni's La pescatrice. 
 Pantaleone e Carlotta. O. T. of Hasse's La finta Tedesca. 
 
 Panurge dans 1'isle des lanternes, come"die-lyrique, en trois actes 
 et en vers, represented, pour la premiere fois, par 1'Acade'mie royale 
 de musique, le mardi 25 Janvier 1785. 
 
 n. L, n. d. 48 p. 21 cn . 
 
 Cast, name of Gr6try as the composer, and Avertissement. The author, resp. 
 authors, Etienne Morel de Chefdeville and the comte de Provence (later Louis XVIII) 
 are not mentioned. A note on p. [2] says: "Les paroles sont de M. M * * *." 
 The Avertissement reads in part: 
 
 "On n'ignore point les preventions qui eubsistent encore contre le genre comique, 
 BUT le Theatre de I'Op^ra; mais on sait aussi que le public ne se laisse point entratner 
 par les opinions particulieres, et qu'il applaudit au genre qui 1'amuse comme a celui 
 qui I'intlresse . . ." ML 50.2.P25G7 
 
 H Paolo Emilio. Drama per musica da rappresentarsi nel Teatro 
 di Canalreggio 1'anno MDCLXXXXIX . . . 
 
 Venetia, Gio. Battista Tramontin a i Frati, n. d. 4$ P- 18% cm - 
 Three acts. Anonymous dedication, argument, and notice to the reader. Neither 
 the author, Francesco Rossi, nor the composer, Pietro Romolo Pignatta, is men- 
 tioned. SCHATZ 8170
 
 OPERA LIBRETTOS 847 
 
 Die parforcejagd. A. T. of Karoline. 
 
 Die parforsjagd. A. T. of Maier's Wallrad und Evchen. 
 
 II Paride, opera musicale dedicata alle Serenissime Altezze di Chris- 
 tiano Ernesto, marggravio di Brandenburgo . . . et Erdmude Sofia 2 
 principessa di Sassonia . . . nella celebratione delle loro nozze di 
 Gio. Andrea Bontempi, Perugino. 
 
 Dresda, Melchior Bergen, 1662. [266] p. 27% cm - 
 
 Five acts. By the composer, whose dedication is dated Dresden, November 3, 
 1662. Scene by scene argument and notice to reader, in which Bontempi says: 
 
 "II mio poetare non ei stende piu oltre, che nel formar qualche soggetto apparte 
 uente alia musica, e ci6 piu per uso de' miei proprii componimenti, che de gl' altrui;- 
 piu per mancanza de' poeti, che per professione . . . Alcuni lieci poetici, (ee pur 
 tali sono) da' quali, con lunga eerie di yersi, ei cagiona la prolissita de recitativi, che 
 mi coetituiece partiale, piu della poesia, che della musica, eon nati e dalla brevita 
 della tessitura, per la disunione degl' atti, e perche, havendo dovuta esser tradotta 
 in lingua tedesca, per intendimento diquei, che non hanno cognitione della favella 
 italiana, e da credere, che la lettura habbia da eesere il principale oggetto: massima- 
 mente dove simili componimenti, non hanno fatto ancora spettacolo di se steesi, fra 
 iluminosi eplendori del teatro. Onde ne viene in coneeguenza che se quest' opera, 
 non hayra tessiture artificiose. accidenti improvisi, varieta di metri, frequenza d'in- 
 ventipni, brevita di recitativi. epessezza di canzonette, inganni, viluppi^disciogli- 
 menti, sottigliezze, capricci, motti, allegoric, metafore, eentenze, traslati, e final- 
 mente tutti quegli abbellimenti, che debbono havere i drami musicali, composti per 
 allettare & adulare il genip del secolo; non havra ne meno spettatori nauseati, come 
 altrove, dalla frequenza di tante e tante opere, che 1'ascoltino . . . [Then speaks 
 of hie ambition and intention to write an opera totally different from all others.] 
 
 "Non e comedia; poiche la materia, che contiene, non e tratta da attioni civili e 
 private. Non e tragedia; poiche non eeprime, ne conclude casi atroci, e miserabili. 
 Non e tragicomedia; poiche non partecipa, ne della comedia, ne della tragedia. 
 Doyrebl' esser drama; ma la quafita del eoggetto, e della tessitura, non ammette 
 ragionevohnente 1'imposition di questo nome. Sarei per nominarla, Erotopegnio 
 Musicale (Epwconalfycov musicum; quod est ludus de amore, ad musicam pertinene) 
 ma per esser nome inusitato, quantunque fondato eu la ragione, no so ee sia (lettore) 
 per sodiefarti ..." 
 
 At the end of the libretto of the opera a note by the translator and list of errata. 
 German title page, "Paris, ein gedicht zur musica," and text face Italian. The 
 libretto of the opera is followed by a number of prose monologues addressed to the 
 "Hochverstandige richter" in German by Nimrod, Sol, Mars, Diana, Venus etc. 
 Apparently an allegorical-mythological pageant followed the opera. The "Cartel 
 zum ballet des Parnasses" with an address by "Fama" ends the volume. The per- 
 formances of Bontempi's ambitious work took place at Dresden, November 3 ana 13, 
 1662. SCHATZ 1209 
 
 Paride. Drama per musica da rappresentarsi nel famoso Teatro 
 Grimani di S. Gio. Grisostomo. II carnovale dell' anno 1720. 
 
 Venezia, Mariano Rossetti, 1720. 72 p. 14% cm . 
 
 Five acts. By Francesco Muazzo, who is not mentioned. Argument, notice to 
 the reader, cast, scenario, and name of Giuseppe Maria Orlandini as the composer. 
 According to the author, this text was originally "in his tender years " written for his 
 own pleasure as a tragedy. Upon suggestion of his friends he remodelled it into the 
 text for an opera, adding arias and per le convenienze della scena moderna . . . 
 di bel nuovo alcune picciole scene." SCHATZ 7345 
 
 Paride ed Elena. Dramma per musica da rappresentarsi in Napoli 
 nella nobile Accademia di musica dedicate a' Signori cavalieri che la 
 compongono. 
 
 Napoli, Vincenzo Mazzola-Vocola, 1777. 5 p. 1., J^l p. 81 cm . 
 
 Five acts. The author, Ranieri de' Calsabi^i, is not mentioned. Argument, 
 scenario and prefatory remarks by the marchese di Corleto (dated Naples, December 
 17, 1777), which reads as follows:
 
 848 LIBRARY OF CONGRESS 
 
 Paride ed Elena Continued. 
 
 "L'aver io prpmossa in Napoli, e stability con successo una unione di cavalieri 
 dilettanti di musica, mi ha fatto luringare di ricavarne non solo un'onesto, e nobile 
 divertimento, ma ben'anche di far rivivere il gusto in questo genere\ che pare sia 
 quasi assopito. Infatti la maggior parte de' forestieri intendenti rimangono stupiti 
 di non trovare nelle orchestre di Napoli ne 1'esattezza, ne I'espressione; e tanto piu 
 che mantenendosi ne' conservatorii una cpntinua sorgente di musica, eembra che 
 quest'arte dovesse nella nostra citt portarsi al piu eccelso grado di perfezione. Ma 
 il numero immenso dei professori, che ne ha avvilite le paghe, e la moltiplicitjl delle 
 musiche, nata appunto dalla poca spesa che importano, nan prodotta corrispondente- 
 mente la sazieta negl'i ascoltanti, e la svogliatezza dell' arte nei professori. Chi 
 crederebbe mai che un buon soprano canti per la miserabile paga di dieci carlini? 
 E che sia solo per met& piena una chiesa, dove fra scelti, e numersoi cori d'istrumenti, 
 si sente cantare un mottetto all' incomparabile Aprile, o a Cafarelli? Queste neces- 
 sarie conseguenze dell' attuale sistema armonico di Napoli, sono da altra parte sin- 
 tomi troppo chiari della decadenza di un' arte, che ha sempre formato uno de' preggi. 
 ed ornamenti della nazione. Ho creduto dunque che eccitando 1'emulazione nei 
 professori, ed il genio nella nobilta, si potesse por' reargine al torrente della corruz- 
 zione, che minaccia alia musica la tptale rovina. Non ho troyato un mezzo piu 
 adattato per riuscirvi, quanto quello di formare la detta unione di nobilta, dove sull' 
 esempio delli stessi cavalieri dilettanti si animano i professori a distinguerei, e colla 
 scelta delle migliori composizioni si risveglia generahnente il gusto, e la passione per 
 la musica. A questo fine ho voluto ancora adoprarmi, con far eseguire nella nostra 
 accademia il tanto rinomato Paride del cavalier Cristofaro Gluch (Gluck), del quale 
 e Buperfluo decantarne i preggi a chi deve sentirlo. L'espressione della musica con- 
 naturale al detto compositore, brilla ancor maggiormente in questa sua opera, dove 
 non trovando egli, come nell' Alceste passion! viplenti da maneggiare ? ha intrapreso 
 di far spiccare il contrappsto dei caratteri di Paride, e di Elena, esprimendo in essi 
 1'indole delle due nazioni Frigia, e Spartana; essendo rimarchevole, che nell' adat- 
 tarsi alia ruvidezza, e semplicitk di quest' ultima, si sostenga merayigliosamente, 
 senza punto cader nei triyiale. Se non mi fosse pienamente nota 1'abilita dei profes- 
 sori, che con tanta cura si sono scelti per servizio della nostra accademia, temerei con 
 ragione del successo di una composizione cost delicata, e che merita la maggior esat- 
 tezza nell' esecuzione; ma questa volta mi lusingo, non ostante 1'assenza del com- 
 positore; che dice lo stesso cavalier Gluch essere del pari necessario per il buon regola- 
 mento, che la presenza del sole nelle opere della natura; sia il Paride eseguito in 
 modo, da fame spiccare tutta 1'arte, e le bellezze . . . 
 
 First performed at Vienna, Burgtheater, November 3, 1770. ML 50.2.P27G5 
 
 Paride in Ida. Drama per musica da rappresentarsi nei Teatro di 
 S. Angelo Pautunno dell' anno 1706. 
 
 Venezia, Marino Rossetti, 1706. 52 p. U& cm . 
 
 Three acts. Argument and scenario. Neither the author, Francesco Mazzari, nor 
 the composers, Luigi Manza and Agostino Bonaventura Colletti, are mentioned. 
 
 First performed at Parma, Teatro Ducale, 1696. SCHATZ 5917 
 
 II Pariggino in Italia. Intermezzo in musica da reppresentarsi nei 
 nobile Teatro Tron Veronese a San Cassiano il carnovale dell' anno 
 1784 . . . 
 
 Venezia, Modesto Fenzo, 1784. 40 p. 16$ cm . 
 
 Two acts. Cast, scenario, and name of composer, Lorenzo Baini. Librettist 
 unknown to Schatz. Not identical with "II finto Parigino." SCHATZ 553 
 
 Paris. Tr. of Bontempi's II Paride. 
 
 Der Pariser mahler. Tr. of Cimarosa's II pittor parigino. 
 
 II Parnaso accusato e difeso. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t. vii, [279]-306 p. 
 W cm . 
 
 One act. ML49.A2M42
 
 OPERA LIBRETTOS 849 
 
 II Parnaso accusato e difeso Continued. 
 
 - II Parnaso accusato, e difeso. Componimento drammatico, 
 scritto dalF autore in Vienna Fanno 1738 . . . ed eseguito la prima 
 volta con musica del Reiitter nella galleria dell' Imperial Favo- 
 rita . . . per festeggiare il di 28 d'Agosto, giorno di nascita dell' 
 imperatrice Elisabetta. 
 
 [359J-380 p. 26 cm . (Pietro Metastasio, Opere, t. v., Parigi, vedova 
 Herissant, 1780.) ML49.A2M44 
 
 II Parnaso confuso. Festa teatrale, scritta . . . dalT autore in 
 Vienna, e rappresentata la prima volta con musica del Gluck negF 
 interni appartamenti dell' Imperial soggiorno di Schonbrunn dalle 
 AA. RR. di quattro arciduchesse d'Austria ... in occasione delle 
 nozze delle SS. RR. MM. di Giuseppe II d'Austria, e di Maria Giuseppe 
 di Baviera, . . . I'anno 1765. 
 
 [345J-368 p. (Metastasio, Opere, t. viii, Parigi, vedova Herissant, 
 1781.} 
 
 One act. ML49.A2M44 
 
 II Parnaso confuso del Sig. ab. Metastasio P. Ces., azione teatrale 
 rappresentata in musica neU' interno della imperiale corte in occa- 
 sione delle felicissime nozze delle Sacre Reali Maesta di Giuseppe II 
 d'Austria e di Maria Gioseffa di Baviera; R& e regina de' Romani. 
 
 Milano, Giuseppe Cairoli, 1765. 19 p. 17 cm . 
 
 One act. The composer, Gluck, is not mentioned. 
 
 First performed at Schonbrunn, January 24, 1765. SCHATZ 3936 
 
 Parodie, tragi-comedie. Represented pour la premiere fois, par lea 
 Comediens italiens ordinaires du roi, le 23. mai 1723. 
 
 Les Parodies du Nouveau Theatre italien, Nouv. ed., Paris, 1738, 
 t. ii, [207]-250 p. 16V**. 
 
 One act. By Fuzelier (see t. I). The airs and vaudeville used are printed at the 
 end of.the volume in the "Table des airs " (60 p.). ML48.P3 
 
 La parodie au Parnasse* opera-comique en un acte. Represente 
 pour la premiere fois sur le Theatre de FOpera-comique de la Foire 
 Saint Germain le 20 mars 1759 . . . 
 
 Paris, Duchesne, 1759. 53, [2] p. 19 cm . (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. viii.) 
 
 The [2] p. contain lists of plays, etc.; p. 50-63, four airs. One act. Cast. Prose 
 and vaudevilles. Font does not mention Favart's musical collaborator. Numerous 
 footnotes give the key to the personal allusions, etc., in the text. The preface of the 
 "Theatre (t. I, p. xxvi) says about this play: 
 
 "Satyre ingenieuse & tres fine. M. Favart n'avoue point cette piece, telle qu'elle 
 est imprime'e ici, quoique le fond, le quadre, la plus grande partie des couplets, & 
 presque tous les details lui appartiennent. Un anonyme ayant eu, on ne scait com- 
 ment, une copie de cet opera-comique, represente en 1740 sous le titre de La barriere 
 du Parnasse ou de La muse chaiuonniere, & ne scachant pas que M. Favart en 6toit 
 1'auteur, crut pouvoir ee 1'approprier. II y insera la critique des ouvrages dramatiques 
 qui paroissoient alors, critique un peu trop vive, & qu'assurement M. Favart, C(ui n'y 
 est pas m<5nag6 lui-mSme au sujet de Petrine, ne se seroit pas permise. La scene de 
 Diogeno est une personnalite\ & Ton n'en trouvera dans aucune des productions de 
 notre auteur. On avoit judicieusement retranch^ cette scene ^ la representation: 
 elle n'auroit pas du reparoftre ici. ML49.A2F1 
 
 722T>1 VOL 114 54
 
 850 LIBRARY OF CONGRESS 
 
 Parpagnacco. Intermezzi comici musicali da rappresentarsi nel 
 Teatro Tron di San Cassano il carnovale dell' anno MDCCVIII. 
 Venezia, Marino Rossetti, 1708. 12 p. 
 
 Three iutennezzi. Neither the author, Pietro Pariati, nor the composer, Carlo 
 Francesco Gasparini, is mentioned. 
 
 First performed at Venice, with the opera, "Flavio Anicio Olibrio," carnival, 1707. 
 
 SCHATZ 3575 
 
 Pollastrella & Parpagnacco. 
 
 Under this title, with Italian and German texts, Pariati's Intermezzi, as composed 
 by Gasparini (though he is not there mentioned), form part of the unpaged libretto 
 of Riccardo Broschi's opera, "Adriano in Siria" (Stuccarda, 1737). Some differences 
 are noticeable. For instance, the first aria, "Che piacere che diletto " supplanted 
 "Non si vanti di belta." SCHATZ 1338 
 
 - L'astrologo. Intermezzi per musica da rappresentarsi nel 
 Teatro di S. Angelo il carnovale 1731. 
 
 [At end] Venezia, Carlo Buonarigo, 1731. [12] p. 15 cm . 
 Three intermezzi. A somewhat altered version of "Parpagnacco." For instance, 
 the aria in the third intermezzo is now "lo sono guerriero, instead of "Sogle donne 
 amar e disamar," and "Di Venere il monte," in the second, has replaced "Da questa 
 linea io vedo." Neither Pariati nor Gasparini mentioned. SCHATZ 3590 
 
 Partenope. Festa teatrale, scritta . . . dall' autore in Vienna, e 
 rappresentata la prima volta con musica dell' Hasse . . . per cele- 
 brare i regi sponsali di Ferdinando IV di Borbone . . . e di Maria 
 Giuseppa arciduchessa d' Austria, nell' autunno dell' anno 1767. 
 
 [S31]-390 p. 26 cm , (Metastasio, Opere, t. ix, Parigi, vedova 
 Herissant, 1781.) 
 
 Two parts. Argument. ML49.A2M44 
 
 La Partenope. Drama per musica da rappresentarsi nel famosis- 
 simo Teatro Grimani in San Gio. Crisostomo. II carnovale dell* 
 anno MDCCVIL 
 
 Venezia, Marino Rossetti, n. d. 59, [1] p. 14$ cm - 
 
 Three acts. By Silvio Stampiglia (not mentioned). Somewhat altered from the 
 Naples (1699) edition of the text, as appears from the publisher's notice to the reader: 
 Chi ha dovuto per un grande comandamento ridurlo all' uso di queste scene ha 
 servata religiosamente 1'intentione del celeberrim autore, che 1'ha composto, non 
 alteratovi punto 1'ordine delle scene, ne con accrescervi del suo, n& con lo scemarvi 
 coe'alcuna di cio ch'ha ritrovato nell' esemplare etampato in Napoli 1'anno 1699, che 
 fu il primo, in cui fii rappresentato. Solamente vi h6 levati gl'intramezzi, ed alcune 
 ariette a titolo della voluta brevita nel luogo delle quali h& posto due versi di recita- 
 tivo. Alcune altre ne ha mutate per accommodarsi alia musica ..." 
 
 Argument, cast, and scenario, but without the name of the composer, Antonio 
 Gaidar a. On the last page "Opere musicali fin' ora stampate in Venezia da Antonio 
 Bortpli ..." 
 
 First performed at Venice, as indicated; at Naples, January, 1699. SCHATZ 1495 
 
 Partenope. Drama. Da rappresentarsi nei Fegio Teatro di Hay- 
 market. 
 
 Londra, Tomaso Wood, 1730. 77, [1] p. 18 cm . ' 
 
 Three acts. Neither the author, Silvio StoT^iia, nor the composer, Georg 
 Friedrich Handel, is mentioned. Ar^uaient and cast. English title, "Parthe- 
 nope," and text face Italian. The additional page contains the additional aria 
 "Seguaci di Cupido" for the last scene of the opera. 
 
 First performed February 24, 1730, as indicated. SCHATZ 4483
 
 OPERA LIBRETTOS 851 
 
 Partenope Continued . 
 
 Partenope. Drama per musica con prologo nel felicissimo di 
 natalizio delF Altezza Serenissiina di Elisabeta Sofia Maria, duchessa 
 vedova di Braunsviga-Luneburgo . . . Parthenope . . . Vorge- 
 stellet auf dem Theatro des fuerstlichen Lust-hauses zu Saltzthal den 
 12. September 1731. 
 
 n. i., n. d. Unpaged. 18^ m . 
 
 Three acts. Argument, scenario, and name of Hendel (Georg Friedrich Handel) 
 as the composer. German translation faces Italian, which seems to follow Stam- 
 piglia's text closely. SCHATZ 4484 
 
 Parthenope, in einem sing-spiele auf dem Hamburgischen schau- 
 platze fuergestellet. 
 
 [Hamburg], Gedruckt mit Spieringkischen schrifften, 17^3. Unpaged. 
 
 Three acts. "Vorbericht" with argument and note that C. G. Wendt translated 
 the text, that Reinhard Keiser composed the recitatives and Hendel (Georg Fried- 
 rich Handel) the arias. The Italian text is added to the arias. 
 
 First performed October 27, 1733, as indicated. SCHATZ 4485 
 
 Partenope. Festa teatrale da rappresentarsi in musica nell' Impe- 
 rial regio Teatro festeggiandosi i fehcissimi sponsali di Ferdinando IV. 
 di Borbone re delle Due Sicilie e di Maria Giuseppa d'Austria 1'anno 
 MDCCLXVII. 
 
 n. i., n. d. Unpaged. 21 cm . 
 
 At end : ' ' Vienna, nella stamperia di Ghelen 1767 ." The frontispiece, ornamental 
 title page, head and tail pieces, etc., were designed by J. Bidermann, engraved by 
 J. C. de Reinsperger. Two acts. Argument, cast, and names of Metaetasio as author, 
 of Johann Adolph Hasse as composer. 
 
 First performed, as indicated, September 9, 1767. SCHATZ 4551 
 
 - Partenope, dramma per musica da rappresentarsi nel Regio 
 Teatro del Nuovo Sans-Souci nell' estate del 1 775 . . . 
 
 Berlino, Haude e Spener, 1775. 69, [3] p. 17 cm . 
 
 Two acts. Argument, cast, and names of Metastasio as author, of Hasse as com- 
 poser. German title page, "Parthenope," and text face Italian, which follows the 
 original Vienna (1767) edition closely, except that the aria for II, 2, "Ah! piu di 
 te confusa," has been replaced by "Caro . . . 1'affanno mio" and that the nuptial 
 allusions after the chorus, "Si tutto il cielo," were, of course, dropped. 
 
 First performed, as indicated, July 18, 1775. SCHATZ 4552 
 
 Partenope componimento drammatico dell' abbate Pietro Metastasio 
 da cantarsi nell' Accademia di musica di Dame e Cavalieri. 
 
 Napoli, Stamperia Raimondiana, 1782. 4? P- 19 cm . 
 
 Two acts. Oast, name of Vincenzo Martini (Martin y Soler) as the composer, 
 and on p. 5 "Protesta," in which alterations from Metastasio for brevity's sake and 
 "per comodo della musica " are acknowledged. SCHATZ 6013 
 
 Partenope. Drama per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1749 . . . 
 
 Torino, Pietro Giuseppe Zappata e figliuolo, n. d. 4 P- ?> % P- 
 15 cm . 
 
 Three acts. By Silvio Stampiglia, who is not mentioned. Argument, scenario, 
 cast, and names of Giuseppe Scarlatti as composer of the opera, of Alessio Rasetti of 
 the music for the three ballets, "Caccia di Diana," etc. SCHATZ 9556
 
 852 LIBRARY OF CONGRESS 
 
 Partenope sul lido etrusco. Azione teatrale di Cristoforo Boc- 
 cella, patrizio lucchese. 
 Lucca, Francesco Bonsignori, 1785. ' 25 p. 26 cm . 
 
 Exquisite vignettes. One act. Cast, argomento, and name of composer, Gaetano 
 Andreozzi. 
 
 First performed at Lucca, Teatro Castiglioncelli, 1785. SCHATZ 197 
 
 La partenza d'Enea, o sia Didone abbandonata, ballet. See Gazza- 
 niga's Zon-Zon principe di Kibin-Kin-Ka. 
 
 La partenza di Berenice. A. T. of the ballet Tito. 
 
 La partenza e il ritorno de' marinari. Dramma giocoso per 
 musica da rappresentarsi nel Teatro Giustiniani di San Moise il car- 
 novale dell' anno 1765 ... 
 
 Venezia, Modesto Fenzo, 1765. 71 p. 14\ cm . 
 
 Three acts. Author unknown to Schatz. Cast, scenario, and name of Galuppi as 
 composer. 
 
 First performed December 26, 1764, as indicated. SCHATZ 3466 
 
 La partenza inaspettata. Intermezzo in musica a cinque voci da 
 rappresentarsi nel Teatro Valle dell' illmi Signori Capranica. Nel 
 carnevale dell' anno 1779 . . . 
 
 Roma, Agostino Palombini, 1779. 4@ P- 15 cm . 
 
 Two acts. The author, Giuseppe Petrosellini, is not mentioned. Cast and name 
 of Antonio Salieri as composer. ML 50.2.P28S2 
 
 La partenza inaspettata. Commedia per musica da rappresen- 
 tarsi nel Teatro di Monza Fautunno dell' anno 1781 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 69 p. lo\ cm . 
 
 Two acts. By Giuseppe Petrosellini, who is not mentioned. Cast, scenario, and 
 name of Antonio Salieri as the composer. With the opera was performed Raineri 
 Pazzini's ballet "Vindemmia." 
 
 SCHATZ 9310 
 
 La partenza inaspettata. Intermezzo in musica a cinque voci 
 da rappresentarsi nel Piccolo Teatro di S. A. E, di Sassonia. 
 
 Dresda, Stamperia elettorale, 1781. 141 p. 16 cm . 
 Two acts. Antonio Salieri is mentioned as the composer. German title-page, 
 "Die unerwartete abreide," and text face Italian. 
 
 Firet performed 1781 at Dresden, as indicated. SCHATZ 9311 
 
 Le parterre merveilleux. Prologue du Rival de Iui-m6me. Repre"- 
 sente a la Foire Saint Laurent. 1732. 
 Le Theatre de la foire, Paris, 1737, t. ix, 2, 2 pi., [73}-122 p. 17 cm . 
 
 - Le rival de lui-meme. Piece en un acte en vers. Represen- 
 tee par les petits Comediens de 1'Opera comique a la Foire Saint 
 Laurent 1732. 
 
 By Carolet. Largely en vaudevilles. The airs, selected or composed and arranged 
 y Jean Claude Gillier, are printed at the end of the volume in the "Table des airs." 
 Firet performed August 19, 1732. ML 48.L2X 
 
 Parthenope. Tr. of Handel's Partenope 
 Parthenope. Tr. of Hasse's Partenope.
 
 OPERA LIBRETTOS 853 
 
 The parting lovers. A. T. of Carey's Nancy. 
 
 La Pasife o vero L'impossibile fatto possibile. Drama per musica 
 del Signer D. Giuseppe Artale . . . 
 
 Venetia, Giacomo Batti, 1661. 72 p. 13% cm . 
 
 Three acts with prologue. Dedication, argument, allegoria, and name of the com- 
 poser, Daniele Castrovillari. 
 
 First performed at Venice, Teatro di S. Salvatore, carnival, 1661. SCHATZ 1689 
 
 Le passion! per troppo amore. Drama per musica da rappresen- 
 tarsi nel Teatro di Sant' Angelo. Nel carnovale dell* anno 1713. Di 
 Matteo Noris. 
 
 Venezia, Marino Rossetti, 1713. 72 p. 15 cm . 
 
 Three acts. Prefatory note, scenario, and name of Johann David Heinichen ae 
 the composer. SCHATZ 4703 
 
 II pastor fido, ballet. See Alessandri's II vecchio geloso. 
 
 II pastor fido. Tragicommedia pastorale del cavalier Guarini com- 
 pendiata al tempo, ed al modo di cantarsi nel Teatro a S. Angelo nel 
 carnovale dell' anno 1721. 
 
 Padoa, Gio. Battista Conzatti, 1721. 79, [1] p. 17\ cm . 
 
 Five acts. Edited by Benedetto Pasqualigo, who is not mentioned. Argument, 
 cast, scenario, and name of Carlo [Luigi] Pietragrua as the composer. The addi- 
 tional page contains the substitute aria "Da noi il ciel piu non dimanda" (V, 7). 
 
 SCHATZ 8164 
 
 II pastor regio. Dramma del Signer Benedetto Ferrari, rappresen- 
 tato in musica in Venetia nelT anno MDCXXXX . . . 
 
 Venetia, Antonio Bariletti, 1640. 1 p. 1., 58 p. 14\ cm . 
 
 Three acts and prologue. Author-composer's dedication dated Venice, Jan. 23, 
 1640, and argument. SCHATZ 3067 
 
 II pastor regio di Benedetto Ferrari dalla tiorba. Rappresentato 
 in musica in Venetia, et in Bologna. Posto in musica dall' istesso 
 autore. In questa terza impressione dall' autore ampliato, e corretto. 
 
 n. i., n. d. 18. [161]-207 p. (B. Ferrari, Poesie drammatiche, 
 Milano, 1644-) 
 
 Detached copy. Three acts, the "Prologo d' Amore, rappresentato in Venetia," 
 and the "Prologo d'Apollo rappresentato in Bologna," dedication signed by Camillio 
 Cevenini and dated Bologna, May 18, 1641, argument and sonnet by the publisher 
 Ramellati to Ferrari "per il suo Pastor regio." SCHATZ 11700 
 
 La pastorale. Entree in Campra's Les Muses. 
 
 . . . Pastorale mise en musique, par le Sieur Cambert. Repre- 
 sent 6e au village d'Issy pres Paris, & au chasteau de Vincennes 
 devant Leurs Maiestez en Avril 1659. 
 
 Perrin, Les oeuvres 'de poesie, Paris, Estienne Loyson, 1661, [291]- 
 812 p. 14\ cm . 
 
 Five acts. At head of title "Premiere comedie francoise en musiquo, representee 
 en France," at the chateau of M. de la Haye. Until recently Pierre Perrin and 
 Robert Cambert were considered the founders of French opera, but in the S. I. M., 
 1908, y. 4, nos. 4-5, Henri Quittard published an essay, "La premiere come'die fran- 
 caise en musique," in which he called attention to the extremely rare libretto "Le 
 triomphe de 1 amour sur des bergers et bergeres . . . mis en musique par De La 
 Guerre ... A Paris . . . CHarles Chenault . . . 1654." This one act pastorale 
 was reprinted 1661 or shortly afterwards. The text was by Charles de Beys, the
 
 854 LIBKARY OF CONGRESS 
 
 La pastorale Continued. 
 
 music by Michel de la Guerre (d. 1679). Quittard goes into the history of this fore- 
 runner of Perrin and Cambert's pastorale, reprints the text, and dates the first per- 
 formance as January 22, 1655. 
 
 In his "Oeuyres," Perrin precedes the text of his own pastorale on p. 273-290 by 
 his "Lettre ecrite a Monseigneur 1'archevesque de Turin. Apres la representation 
 de la cpmedie suivante. De Paris ce 30. avril 1659." Unfortunately, this very 
 interesting and important historical document is too long for quotation here. It is 
 easily accessible in cxtenso in Pougin's " Les vrais cr^ateurs de 1'op^ra francais, Perrin 
 et Cambert" (Paris, 1881, p. 56-68). Of course, the letter is in the nature or a cam- 
 paign manifesto for French opera against Italian. For English-speaking people his 
 sixth "deffaut" (defect) pointed out against the cultivation of Italian opera in France 
 is particularly d propos. Perrin says: 
 
 "Le eixieme qui les fera tofijours echoiier sur noetre theatre, est le deffaut in6vi- 
 table de chanter en une langue etrangere & inconnue la meilleure partie des spec- 
 tateure, qui leur ravit la plus belle partie du plaisir de la comedie, qui est celuy de 
 I'esprit, & qui fait & leur gard ce qui arrive & peu pres & ceux qui voyent danser 
 sans entendre les violous ..." PQ 1879.P3 
 
 ' II pastore d'Anfriso. Tragedia pastorale per musica da rappre- 
 sentarsi nel Teatro Griniano di San Gio. Grisostomo 1'anno MDCXCV 
 . . . Seconda impressione. 
 
 Venetia, Nicolini, 1695. front., 71 p. 14 cm - 
 
 Five acts with intermezzi. Dedication signed by the author, conte Girplamo 
 Frigimelica Roberti, who, as was his custom, comments on his dramaturgic inten- 
 tions in his notice to the reader, which is followed by the argument and scenario. 
 The composer, Carlo Francesco Pollaroli, is not mentioned. SCHATZ 8310 
 
 La pastorella al soglio. Opera postuma di Giulio Cesare Corradi. 
 Da rappresentarsi per musica nelP antichissimo Teatro Tron di San 
 Casciano per 1'autunno dell' anno 1702. 
 
 Venezia, Marino Rossetti, 1702. 59 p. 15 cm . 
 
 Three acts. Argument, scenario. Composer not mentioned and unknown to 
 Schatz. Orefice's opera, mentioned by Towers, is of date 1710. SCHATZ 11355 
 
 La pastorella al soglio. Drama per musica di Gio. Carlo Pagani- 
 cesa. Da rappresentarsi nel Teatro Giustiniano di S. MoisS nella 
 fiera dell' Ascensione MDCCLI. 
 
 [Venezia], n. publ., n. d. 1 p. 1., Jfi p. 15 cm . 
 
 Three acts. Argument, cast, and name of Gaetano Latilla as composer. 
 
 SCHATZ 5465 
 
 La pastorella fedele, ballet. See Bianchi's La villanella rapita. 
 
 La pastorella illustre. Azione per musica in due parti da rappre- 
 sentarsi nel Ducal Teatro di 'Stuttgardt per ordine di Sua Altezza 
 Serenissima Carlo, duca regnante di Wirtemberg e Teck etc il di 4. 
 novembre 1763 ... La poesia del Signer de Tagliazucchi . . . 
 La musica e nuovamente composta dal Signor Nicol6 Jommelli . . . 
 I ballisono in ventati e diretti dal Signer Giovanni Giorgio Noverre . . . 
 
 [Stuttgardt], Cotta, n. d. Ill p. 18. 
 
 Two acts. Argument, cast ? and scenario. German title page, "Die vornehme 
 schaeferin," and text face Italian. SCHATZ 4868 
 
 - La pastorella illustre. Azione teatrale per musica in due parti 
 da rappresentarsi nel Real Teatro di Salvaterra nel carnovale dell' 
 anno 1773. 
 
 Lisbona, Stamperia Reale, n. d. 51 p. \5 cm . 
 
 Two acts. Argument, scenario, cast, and names of Tagliazucchi as author, of 
 JNiccolo Jommelli as composer. Text seems to follow text of 1763 closely. 
 
 SCHATZ 4836
 
 OPEBA LIBRETTOS 855 
 
 La pastorella impertinente, ballet. See Anfossi's II curioso indi- 
 screte. 
 
 La pastorella nobile. Commedia per musica di Saverio Zini da 
 rappresentarsi nel Real Teatro del Fondo di Separazione per prim' 
 opera di quest' anno 1788 . . . 
 
 Napoli, n. putt., 1788. 48 p. 14$ cm . 
 
 Two acts. Dedication dated Naples, April 15, 1788, cast, and name of Pietro 
 Guglielmi as the composer. On p. 6-9 cast and argument of Giambattista Gian- 
 nini's "L'Aurora vendicata, ballo eroico favoloso," without name of the composer of 
 the music. SCHATZ 4255 
 
 La pastorella nobile. Dramma giocoso per musica, da rappre- 
 sentarsi nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. publ, 1791. 115 p. 15 cm . 
 
 Two acts. Pietro Guglielmi is mentioned as the composer. German title-page, 
 "Die adliche schaeferin," and text face Italian, which shows alterations of Zini's 
 text. For instance, the aria, "Di qua vedi un milordino," 1, 3, has been replaced by 
 "Perchi mai t'6 fatto nascere," and the second act begins "Questo mio figlio m'a 
 econyolto il cerebro" instead of "No, no, german, in questo punto." 
 
 First performed, as indicated, February 12, 1791. SCHATZ 4256 
 
 La pastorella nobile. Dramma giocoso per musica da rappre- 
 sentarsi nel magnifico Teatro della illustrissima Accademia degli 
 Erranti di Brescia il carnovale 1792 . . . 
 
 Brescia, Pasini, n. d. 60 p. 16\ cm . 
 
 Two acts. Impresario's dedicatory sonnet, cast, scenario, and name of Pietro 
 Guglielmi as composer. Zini is not mentioned. ML48.A5v.12 
 
 La pastorella rapita da' corsari, ballet. See Paisiello's II r 
 Teodoro in Venezia. 
 
 La pastorella scaltra. Intermezzi per musica a tre voci da rap- 
 presentarsi nel Teatro alia Valle nel carnevale dell' anno 1753 . . . 
 
 Roma, MarceUo Silvestri, n. d. 24 p. 15\ cm . 
 
 Two parte. Author not mentioned and unknown to Schatz Dedication, signed 
 by G. Puccinelli and Angelo Lungi, the latter perhaps being the author. Cast and 
 name of Nicola Logroscino as composer. ML 50.2.P286L6 
 
 Le pastorelle d'Arcadia. Festa campestre nelle augustissime nozze 
 delle Altezze Reali de reale infante di Spagna Don Ferdinando di 
 Borbone . . . e della reale archiduchessa d'Austria Maria Amalia. 
 [vignette] 
 
 Parma, Stamperia reale, 1769. 74, [1] p. front. 2S\. 
 
 Dedicatory poem, a "Relazione della festa campestre ..." and names of the 
 nobility participating precede the text which is in two parts with two "Cantate 
 introdotte a guisa d'intermedj." Not recorded by Schatz. ML48M2A 
 
 Le pastorelle difese, ballet. See Valentini's Le sorelle rivali. 
 Li pastori d'Arcadia, ballet. See Gnecco's Lo sposo di tre. 
 
 I pastori delle Alpi. Dramma serio-giocoso per musica da rappre- 
 sentarsi nel Regio Teatro di Trieste 1'autunno dell' anno MDCCLXXX 
 
 Gorizia, Giacomo Tommasini n. d. 58 p. 17\ cm . 
 
 Two acts. Antonio Pasquale Valli is mentioned as the author and Giuseppe 
 Moneta as " compositore dilettante di musica, il quale recentemente ed a bella posta 
 1'ha scritta." Impresario's dedicatory poem dated Trieste, October 17, 1780, cast, 
 and scenario. SCHATZ 6557
 
 856 LIBRARY OF CONGRESS 
 
 Li pastori per allegrezza impazziti. Pastorale giocosa da rappre- 
 sentarsi nel Nuovo Teatro in Dresda, festeggiandosi il giorno del 
 glorioso nome di Sua Maesta d'Augusto III . . . 1'anno MDCCLV. 
 
 Dresda, la vedova Stossel, ed aderente Giovanni Carlo Erause, n. d. 
 109, [2] p. 17 im . 
 
 Two acts and licenza. Cast. German text faces Italian. Author and composer 
 not mentioned, and unknown to Schatz and Furstenau. 
 
 First performed, as indicated, August 5, 1755. SCHATZ 11356 
 
 Patie and Peggy: or, The fair foundling. A Scotch ballad opera. 
 As it is acted at the Theatre-Royal in Drury-Lane. By His Majesty's 
 servants . . . With the music prefix'd to each song. 
 London, J. Watts, 1730. 4 p. I, 84, [2] p. 20. 
 
 One act, prologue, and epilogue. Cast and author's preface, signed T.feophilus] 
 C.[ibber] and dated "Theatre-Royal April the 20th, 1730 " which reads, in part: 
 
 "That I am indebted to Mr. Ramsay's Gentle Shepherd (a Scotch pastoral comedy, 
 wrote originally in five acts) for the greatest part of the following piece, was not owing 
 to my idleness, but a doubt of my abilities to produce any thing entirely new of this 
 kind, that might plead to much pretence to favour ..." 
 
 He decided 
 
 " to turn it into a ballad opera . . . in bringing the tale within the compass of one 
 act, adding to the number of the songs, and changing it into the English dialect 
 without which, it had not been intelligible to our auditors; nor indeed had I time to 
 vary it more, my benefit being fix'd before I had laid my design, which was plan'd 
 and finish 'd in one day . . ." 
 
 The 22 airs are printed in the text, with their titles. 
 
 First performed, according to Clarence ("The Stage encyclopaedia"), and Tufts, 
 on May 31, 1731, but this is obviously incorrect, as this performance must have taken 
 place before April 20, 1730. ML 50.5.P18 
 
 Second copy. LONGE 49 
 
 Patrick in Prussia or Love in a camp. See Love in a camp. 
 
 Patro Tonno d'Isca. Chelleta marenaresca a muodo de dramma 
 pe museca de lo dottore Agasippo Mercotellis, da recetarese a lo 
 Teatro de li Shiorentine nchist' anno 1714 . . . 
 
 Mmenezia, Francisco Ricciardo, 1714- 4 P- Z-> 64 p. 15 cm . 
 
 Last p. incorrectly numbered 74. Three acts. By Giuseppe Martoscelli. Dedi- 
 cation by the composer, Giovanne Veneziani (Giovanni Veneziano), dated Septem- 
 ber 26, 1714, notice to the reader, and cast. 
 
 First performed at Naples, Teatro de' Fiorentini, as indicated. ML 50.2.P29V2 
 
 The patron: or, The statesman's opera, of two acts, as 'tis acted by 
 the company of comedians at the New Theatre in the Hay-Market. 
 By Mr. Odell . . . To which is added the musick to each song . . . 
 
 London, Printed by W. Pearson, for John Clarke, n. d. 3 p. I., 38, 
 [2] p. 19 cm . 
 
 The [2] p. contain Clarke's book list. Two acts. Cast, dedication, epilogue. Bal- 
 lad opera. The 19 (unnumbered) airs used are printed in the text, with their titles. 
 
 First performed 1729, as indicated. LONGE 262 
 
 Second copy, with a half-title as 4th p. 1. LONGE 321 
 
 Paul et Virginie. Ope"ra en trois actes. Musique de Kreutzer. 
 
 Eambourg, G. F. Schniebes, 1796. 20 p. 15\ cm . 
 
 By Etienne Guillaume Francois Favieres, who is not mentioned. 
 
 First performed at Hamburg, Theatre de la Socie'te' franfaise, October 23, 1795; 
 at Paris, Theatre de la Come'die italienne, January 15, 1791. SCHATZ 5266
 
 OPERA LIBRETTOS 857 
 
 II Pausania. Drama per musica da rappresentarsi 1'anno 
 MDCLXXXII nel famosissimo Teatro Vendramino a S. Salvatore . . . 
 
 Venetia, Francesco Nicolini, 1682. 63 p. (incl. front.) IJfy. 
 
 Three acts. Dedication by the author, Girolamo Frisari, dated Venice, December 
 8, 1681, argument, scenario, and notice to the reader, with name of Giovanni Legrenzi 
 as composer. SCHATZ 5546 
 
 La pauvre femme, come'die en un acte et en prose, melee de mu- 
 sique. Representee pour la premiere fois, sur le Theatre de 1'Opera- 
 comique national, le 19 germinal, an troisieme de la Republique. 
 [April 8, 1795]. Paroles du citoyen Marsollier. Musique du citoyen 
 Dalayrac. 
 
 Paris, chez les Marcfiands de nouveautes, An V [1796-97]. 28 p. 
 20 cm . ML 50.2.P295D2 
 
 La paysanne curieuse. A. T. of d'Herbain's Nanette et Lucas. 
 
 La pazza giornata ovvero II matrimonio di Figaro. Dramma 
 comico per musica di Gaetano Rossi da rappresentarsi nel nobilissimo 
 Teatro Venier in San Benedetto il carnovale dell' anno 1800. 
 
 Venezia, Fenzo, 1799. 88 p. 18 cm . 
 
 Two acts. Cast, notice to the reader, and name of Marcos Portugal as the com- 
 poser ("Musica tutta nuova "). On p. [49J-52, cast, argument, and name of Giuseppe 
 Nucci as the composer of the music ("tutta nuova") of "L'infausto Matrimonio bal- 
 letto di Giovanni Monticini." 
 
 First performed, as indicated, December 26, 1799 (Carvalhaes). SCHATZ 8439 
 
 La pazza. per amore, ballet. See Nasolini's La Calliroe. 
 La pazza. per amore. A. T. of Paisiello's Nina. 
 
 I pazzi per disimpegno. Dramma giocoso per musica di Camidio 
 Matiaglauro P. A. da rappresentarsi nel Teatro Giustmiani.in S. 
 Moise per la seconda opera del carnevale 1'anno 1782. 
 
 Venezia, n. publ., n. d. 60 p. 17 cm . 
 
 Two acts. Cast and name of composer, Gaetano Andreozzi. By Pietro Antonio 
 Bagliacca, whose Arcadian name the above was. SCHATZ 222 
 
 La pazzia in trono ovvero Caligola delirante. O. T. of text of 
 Pagliardi's Caligula delirante. 
 
 Le pazzie amorose, ballet. See Bianchi's La villanella rapita. 
 
 Le pazzie amorose, ballet. See P. Guglielmi's L'impostore punito. 
 
 Le pazzie de' gelosi. Farsetta per musica a cinque voci da rap- 
 presentarsi nel Teatro alia Valle degl' illmi Sig. Capranica nel carne- 
 vale dell' anno 1787. 
 Roma, Gioacchino PuccineUi, 1787. 4$ P- 15 cm > 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Pasquale Anfossi as composer. 
 
 First performed February 6, 1787, as indicated. ML 50.2.P3A5 
 
 - Le pazzie de' gelosi. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro di S. H. E. di Sassonia. 
 
 Dresda, n. publ., 1788. 127 p. 15\. 
 
 Two acts. Name of Pasquale Anfossi as composer, but without that of librettist, 
 who is unknown to Schatz. German title-page, "Die narrheiten der eifersucht, 
 and text face Italian. SCHATZ 247
 
 858 LIBRARY OF CONGRESS 
 
 Le pazzie degl' amanti. Drama da rappresentarsi in musica in 
 Rovigo 1'autunno dell' anno 1711. Nel Teatro dell' illustrissimo 
 Signer Co: Marc' Antonio Monfardini. Di Francesco Passarini. 
 
 Venezia, Antonio Bortoli, 1712. 46 p. 15 cm . 
 
 Three acts. Argument and notice to the reader with the name of Carlo Francesco 
 Pollaroli as the composer. 
 
 First performed at Vienna, Teatro della Cesarea Corte, February, 1701. 
 
 SCHATZ 8311 
 
 Le pazzie di Orlando. Dramma giocoso da rappresentarsi nel 
 Regio Ducal Teatro di Milano 1'autunno dell' anno 1773 . . . 
 Milano, Gio. Battista Bianchi, n. d. 51, [1] 6. 14% cm - 
 Three acts. By Carlo Francesco Badini, who is not mentioned. Dedication, cast, 
 and name of Pietro Guglielmi as the composer. The urinumb. pages contain a 
 noteworthy comment by Gasparo Angiolini on his "Solimano II, a specimen of 
 "la commedia ballata nella sua simpficita," of which, with exception of one aria, 
 he also composed the music. 
 
 First performed at London, Haymarket, 1771. SCHATZ 4301 
 
 II pazzo glorioso. Dramma giocoso per musica da rappresentarsi 
 nella presente stagione nel teatro di questa nobilissima citta . . . 
 Casdl maggiore, Giuseppe Braglia, n. d. 35 p. 14% cm - 
 Two acts. Cast and names of composer, Bernardini (Marcello di Capua), and 
 librettist, Giovanni Bertati. A contemporary hand has added 1790 to the title. 
 
 SCHATZ 850 
 
 II pazzo glorioso. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Tron di S. Cassiano 1'autunno dell' anno 1753. 
 
 Venezia, Modesto Fenzo, 1753. 60 p. 15\ cm . 
 
 Three acts. According to Schatz, Liviano Lantino's (anagram of Antonio Villano) 
 "Lo stravagante," but altered by Goldoni. Cast, scenario, and name of Gioacchino 
 Cocchi as composer. SCHATZ 2053 
 
 II pazzo glorioso. Dramma giocoso per musica. Nell' anno 
 
 1758. 
 
 Monaco, Gio. Giac. Votter, n. d. 4 P- lo\ cm . 
 
 Reduced to two acts. With name of the composer, Giovanni [!] Cocchi. 
 
 SCHATZ 2037 
 
 Un pazzo ne fa cento. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro Giustiniani in S. Mois& il presente autunno 
 MDCCLXII. 
 
 Venezia, Francesco Valvasense, n. d. 48 p. ISlf. 
 
 Three acts. Author not mentioned and unknown to Schatz. Scenario, cast, and 
 name of Florian Leopold Gassmann as the composer. SCHATZ 3624 
 
 Un pazzo ne fa cento. Djamma giocoso per musica di Giuseppe 
 Foppa da rappresentarsi nel nobilissuno Teatro in S. Samuele 1'au- 
 tunno dell' anno 1796. 
 
 Venezia, StamperiaValvasense, n. d. 78, [1] p. 18. 
 
 Three acts. Cast and name of Joh. Simon Mayr as the composer. On. p. [39J-45 
 argument, cast, and description of Gio. Battista Checchi's "Alessandro, e Campaspe, 
 ballo eroico." The composer of the music is not mentioned. 
 
 First performed, as indicated, October 8, 1796. SCHATZ 6176
 
 OPERA LIBRETTOS 859 
 
 II pazzo per forza. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Elettorale, composto da Caterino Mazzola . . . 
 
 Dresda, n. publ, 1783. 135 p. 15. 
 
 Two acts. Joseph Schuster is mentioned as composer. German title-page, "Er 
 soil und muss ein narr seyn," and text face Italian. 
 
 First performed, as indicated, January, 1784. SCHATZ 9751 
 
 Le pecheur suedois. A. T. of Bruni's Toberne. 
 
 Les pecheurs, comedie en un acte et en vers. M616e d'ariettes. 
 Representee sur le Theatre des Come'diens italiens ordinaires du roi, 
 le 7 juin 1766. La musique est de M. F. J. Gossec. 
 Avignon, Louis Chambeau, 1766. 26 p. 19$. 
 
 Cast. Text by the marquis de La Salle, who is not mentioned. 
 
 ML 50.2.P305G7 
 
 - Les pecheurs, comedie. En un acte, mele'e d'ariettes, representee 
 sur le Theatre des Comediens italiens ordinaires du Roi, le 7 juin 
 1766. La musique est de M. F. J. Gossec. 
 
 Paris, Vente, 1767. 37 p. 19. 
 
 Cast. Text by the marquis de La Salle, who is not mentioned. SCHATZ 4010 
 
 - Les pecheurs, comedie en un acte, melee d'ariettes, representee 
 sur le Theatre des Comediens italiens ordinaires du roi, le 7 ]uin 1766. 
 La musique est de Mr. F. J. Gossec. 
 
 Paris, Vente, 1771. 85 p. 19 cm . 
 
 Cast. On p. 14-16 the ariette "L'age en vain sembloit," p. 17-18 "De la richesse 
 l'clat." The author, marquis de La Salle, is not mentioned. SCHATZ 11702 
 
 - Les pecheurs, comedie en un acte, melee d'ariettes; representee 
 sur le Theatre des Comediens italiens ordinaires du roi, le 7 juin 1766. 
 La musique est de M- F. J. Gossec. 
 
 Paris, Vente, 1782. 32 p. 19. 
 
 Cast. On p. 15-16 the ariette "De la richesse, 1 'eclat." The text is the same as 
 in the 1771 ed., except that the ariette "L'age en vain sembloit" is given without the 
 music. The author is not mentioned. SCHATZ 11701 
 
 - De visschers, zangspel. Naar *het fransche gevolgd door Bar- 
 tholomeus Ruloffs. 
 
 Amsterdam, J. Helders en A. Mars, 1793. 7 p. 1., 48, [4] p. 17. 
 
 The p. 1. contain dedication, a poem by the translator, dated 1793, a notice to the 
 reader with Gossec's name as the composer, privilege notice, dated October 15, 
 1792, and the four additional pages contain "Byvoegzel tot de Viaschere ..." 
 
 First performed at Amsterdam, Stads Schouwburg, May, 1793. SCHATZ 4015 
 
 Le pedant amoureux. A. T. of Duni's La fille mal gardee. 
 
 A peep behind the curtain; or, The new rehearsal. As it is now 
 performed at the Theatre Royal in Drury-Lane. 
 
 London, T. Becket and P. A. de Hondt, 1767. 2 p. 1., 46 p. 20. 
 
 Prologue and two acts. The only operatic part of this farce by David Garrick (not 
 mentioned) is in the second act, in form of "The burletta of Orpheus." The composer 
 is not mentioned, but is known to be Francois Hippolyte Barthfilemon. 
 
 Firet performed, as indicated, October 23, 1767. ML 50.2. P31
 
 860 LIBRARY OF CONGRESS 
 
 A peep behind the curtain Continued. 
 
 - A peep behind the curtain; or, The new rehearsal. As it is 
 now performed at the Theatre Royal in Drury-Lane. New edition. 
 
 London, T. Becket, 1772, 2 p. I, 46 p. 20 cm . 
 
 Apparently the same as the 1767 ed. LONGE 27 
 
 A peep into the seraglio. A. T. of BickerstafiVs text The sultan. 
 A peep into the tower. A. T. of Harlequin Mungo. 
 
 Peeping Tom of Coventry, a comic opera. As it is performed at 
 the Theatre Royal, Smock- Alley. By John O'Keefe, Esq. 
 
 Dublin, CoUes, Wilkinson, Byrne [etc.], 1786. 2 p. 1., 43 p. 17$ cm . 
 
 Two acts. Cast. The composer, Samuel Arnold, is not mentioned. 
 
 First performed September 6, 1784, at the Hay-Market, London. LONGE 149 
 
 - Peeping Tom of Coventry ; a comic opera, as it is performed at 
 the Theatre-Royal, Smoke-alley. 
 
 [Dublin], Printed for the booksellers, 1787. 28 p. 17% cm . 
 
 Two acts. Cast. Neither O'Keefe is mentioned, nor Arnold. SCHATZ 338 
 
 Les peines et les plaisirs de 1'amour, pastorale represented par 
 F Academic royalle de musique en Fan 1672. Les paroles sont de M. 
 Gilbert & la musique de M. Cambert. II. opera. 
 
 n. i., n. d. front., lfl-100 p. 14 cm - (Recueil general des opera, 
 Paris, 1703, Li.) 
 
 Detached copy. Five acts and prologue. SCHATZ 1520 
 
 Second copy. ML 48. R4 
 
 Le peintre amoureux de son modele, piece en deux actes, parodiee 
 dal Pittore innamorato, intermede italien: Represent 6e pour la pre- 
 miere fois sur le Theatre de 1'Opera-comique de la Foire S. Laurent, 
 le mardi 26 juillet 1757. Par M. Anse"aume. 
 
 Paris, Duchesne, 1757. 38, [2] p. 19$ cm . 
 
 Prose, ariettes and vaudevilles. Cast. On p. 3 the same foot-note as in next 
 entry. The [2] p. contain lists of plays. ML 50.2.P32D9 
 
 Le peintre amoureaux de son modele, piece en deux actes. Re- 
 presented pour la premiere fois sur le Theatre de FOpe'ra-comique de 
 la Foire St. Laurent, le mardi 26 juillet 1757. Par M. Anseaume. 
 Nouvelle edition. 
 
 Paris, la veuve Duchesne, 1767. 28 p. 19 cm . 
 
 In footenote on p. 3: "Les ariettes sont parodie'es sur la musique de 1'intermede 
 italien [Tl pittor innamorato'], de la composition del Signer Duny, compositeur de 
 musique de 1' Infant Don Philippe, due de Panne, etc." SCHATZ 2853 
 
 Der verliebte maler, ein singspiel in zween aufzuegen aus dem 
 franzoesischen uebersetzt, mit musik. 
 
 Frankfurt am Mayn, mit Andreaischen schriften, 1773. 52 p., 23 p. 
 (folded music, dated 1775). 16 cm . 
 
 German version, by Johann Heinrich Faber. With cast. 
 
 The musical supplement contains the arias (voice and bass): "Ja ich war ein 
 madchen" ["Quand j'e'tois jeunette"], p. 1-5; "Auf einmal ward entziindet" ["Un 
 instant a fait naitre"], p. 6-11; "Endlich singt der gott der Hebe" ["De 1'amour je 
 Benslaflamme"], p. 12-16; " 1st sie eine coquette " [" Si c'estune coquette"], p. 16-23. 
 
 First performed at Frankfurt, Theater im Junghof, 1773. SCHATZ 2854
 
 OPERA LIBRETTOS 861 
 
 Pelarina. Intermezzo. 
 
 [79]-109 p. 16\ cm . (Carlo Goldoni, Opere drammatiche, t. iv, 
 Torino, 1757.) 
 Three parts. ML 49.A2G6 
 
 -La pelerina. Intermezzo di tre parti per musica. Rappresen- 
 tato per la prima volta a Feltre 1'anno MDCCXXIX. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta ef-gli, 1788-95, v. 85, 
 [5]-37 p. 18\. 
 
 Three parts. According to Schatz, first performed with music by unknown com- 
 poser at Venice, Teatro Grimania S. Samuele in 1734. PQ 
 
 Les pelerins de la Mecque. Piece en trois actes. Par M ra le 
 S** & d'Or** Represent^ a la Foire S. Laurent 1726 & ensuite 
 sur le Theatre du Palais royal. 
 
 Le Theatre de lafoire, Paris, 1728, t. vi, pi., [123]-230 p. 17. 
 
 By Le Sage and d'Orneval. Largely en vaudevilles, a few of which are marked as by 
 "M. 1'AbbeV' The airs, selected or composed and arranged by Jean Claude Gillier, 
 the ' ' compositeur " of the company, are printed at the end of the volume in the ' ' Table 
 des airs." Parfaict adds, as author, Fuzelier. 
 
 First performed July 29, 1726. ML 48.L2 VI 
 
 II pellegrinaggio o sia La vindemmia fiamminga, ballet. See Sarti's 
 II trionfo della pace. 
 
 II pellegrino. Drama musicale rappresentato nelle camere della 
 serenissima granduchessa Vittoria di Toscana per solennizzare il 
 giorno natalizio del serenissimo Cosimo Terzo granduca di Toscana. 
 
 G. A. Moniglia, Poesie drammatiche, seconda parte, Firenze, Cesare 
 e Francesco Bindi, 1690, p. [295}-323. 24. 
 
 Three acts. Argument and prefatory note according to which this "piccolo com- 
 ponimento dramatico ristretto in due soli pereonaggi" was composed by Lorenzo 
 Cattani and was sung by "due fanciulle di camera della serenissima granduchessa." 
 
 First performed in 1685 as indicated. ML 49.A2M7 
 
 Pelope. Dramma per musica da rappresentarsi nel Teatro Ducale 
 di Stutgart festeggiandosi il felicissimo giorno natalizia di Sua Altezza 
 Serenissima Carlo, duca regnante di Wirtemberg e Tech etc. ... La 
 poesia e di Mattia Verazi ... La musica & del celebre Sig. Nicolo 
 Jommelli . . . 
 
 Stutgart, Cotta, 1755. 94 p. 18% cm . 
 
 Three acts. Argument, cast, scenario. German title-page, "Pelope," and text 
 face Italian. 
 
 First performed, as indicated, February 11, 1755. SCHATZ 4869 
 
 Pelopida. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnevale del 1763 . . . 
 
 Torino, Gaspare Bayno, n. d. viii, 56 p. 16* m . 
 
 Three acts. By Gaetano Roccaforte, who is not mentioned. Argument, caet 
 scenario, and name of Giuseppe Scarlatti as the composer. On p. 53-56 brief descrip- 
 tions of Augusto Hues' ballets, music by Giuseppe Antonio Le Messier, "I selvatici'' 
 and "La morte d'Orfeo." SCHATZ 9551 
 
 Pelops. Tr. of Jommelli's Pelope.
 
 862 LIBRARY OF CONGRESS 
 
 La pena degl' occhi. Drama per rapprescntarsi nel Teatro Zane 
 di San Moise 1'anno MDCLXXX VIII . . . 
 
 Venetia, Francesco Nicolini, 1688. 56 p. 14""- 
 
 Three acte. The anonymous author asks in a prefatory note for the reader's indul- 
 gence because he has "composto in poch'pre u presente drama." Argument and 
 scenario. The composer, Francesco Rossi, is not mentioned. SCHATZ 8889 
 
 Penelope. Drama per musica in applauso delle augustissime nozze 
 delle Sacre Cesaree Keali Maesta dell' imperatore Leopoldo et impe- 
 ratrice Claudia Felice. Fatto rappresentare dal serenissimo Sig. 
 duca di Mantova, Monferrato etc 1'anno 1674. 
 
 Mantova, gli Osanni, n. d. 1 p.l., 75, [1] p. 20 cm . 
 
 Prologue and three acts. Argument. Author and composer not mentioned and 
 unknown to Schatz. SCHATZ 11357 
 
 Penelope, a dramatic opera, as it is acted at the new Theatre in the 
 Hay-Market. 
 
 London, Printed, and sold by Tho. Green and Charles Davis, 1728. 
 4 p. 1., [1], 18-60, [1] p., 15 p. (music). - 19 cm . 
 
 Three acts. By John Mottley and Thomas Cooke, who are not mentioned. Pref- 
 ace 'prologuej cast, and epilogue. The 15 p. of music (engraved on one side) contain 
 the overture in score and 14 numbered ballad airs with their titles, corresponding to 
 the numbered songs in text (without the titles of the airs). LONG-E 152 
 
 Penelope. Dramma serio per musica da rappresentarsi nel Regio 
 Teatro dell' Accademia degli Awalorati in Livorno 1'autunno dell' 
 anno 1795. 
 
 [Livorno}, Tommaso Masi e compagno, n. d. 1$ p. 18 cm . 
 
 Two acts. By Gius. Maria Diodati, who is not mentioned. Impresario's dedica- 
 tion, argument, cast, scenario, and name of Domenico Cimarosa as composer. 
 
 First performed at Naples, Teatro del Fondo, December 26, 1794. SCHATZ 1967 
 
 Penelope, tragicommedi. Denen . . . majestaeten . . . zur fass- 
 nachts-unterhaltung welsch-gesungener vorgestellet im jahr 1724. 
 Poesi, des hrn. Pariati ... In die music verfasset von hrn. Fran- 
 cesco Conti . . . 
 
 Wien, JoJiann Peter van Ghelen, n. d: 55 p. 15 cm . 
 
 Three acte. Argument, cast, scenario. German text only. 
 
 First performed at Vienna, Hoftheater, February 6, 1724. SCHATZ 2202 
 
 Penelope la casta, drama per musica, da rappresentarsi per opera 
 seconda nel Teatro di S. Angelo il carnevale dell' anno 1716. Di 
 Matteo Noris, recitato la prima volta nel famoso Teatro di S. Gio. 
 Chrisostomo 1'anno 1685 . . . 
 
 Venezia, Marino Rossetti, 1716. 60 p. 15 cm . 
 
 Three acts. Dedication , argument, cast, name of the composer, Fortunato Chelleri 
 and notice to the reader. He is informed (in the dedication) that this is 
 
 "la piu fortunata composizione drammatica del Sig. Matteo Noris, intitolata la 
 Penelope, la <juale con tanto applauso nell' anno 1685 si vidde rappresentata nel 
 Teatro di S. Gio. Chrisostomo." 
 and in the notice: 
 
 "Se la ritrovi in qualche parte mutata, e nell' arie, e nelli versi, non si e fatto ad 
 altro fine, che per accomodarla, cosl all' uso modern o del teatro, come alia compagnia 
 che deve rappreeentarla." SCHATZ 1813
 
 863 
 
 Penelope la casta. Drama per musica da rappresentarsi nel 
 famosissimo Teatro Grimano in S. Gio. Chrisostomo. L'anno 
 MDCLXXXV. Di Matteo Noris . . . 
 
 Venetia, Francesco Nicolini, 1685. 84 p. 14 cm - 
 
 Three acts. Publisher's dedication dated Venice, January 28, 1685, argument, 
 and scenario. The composer, Carlo Pallavicino, is not mentioned. SCHATZ 7730 
 
 La Penelope moderne. Piece en deux actes. Par M le S * * 
 F * * & d'Or * *. Represented a la Foire Saint Laurent 1728. 
 
 Le TUatre tie la foire, Paris, 1781, t. vii, pi, 1 p. I, 84 p. 17 cm . 
 
 By Le Sage, Fuzelier, and d'Orneval. Largely en vaudevilles. The aire, selected 
 or composed and arranged by Jean Claude Gillier, the "compositeur" of the com- 
 pany, are printed at the end in the "Table dee airs." 
 
 First performed September 6, 1728. ML 48.L2VII 
 
 Penelope nella partenza da Sparta. Dramma per musica per 
 celebrare.il felicissimo giorno natalizio di . . . Donna Maria I ... 
 li 17 decembre 1782. 
 
 [Lisbona], Nella stamperia reale, n. d. 32 p. 15 cm . 
 
 One act with licenza. By Gaetano Martinelli. Cast, argument, and names of the 
 composer, Joao de Sousa Carvalho, and the author. SCHATZ 1673 
 
 Penelope und Ulysses, ander theil, in einem sing-spiel vorgestellet. 
 
 Hamburg, Nicolaus Spieringlc, 1702. Unpaged. 19 cm . 
 
 Three acts. Neither the author, Friedrich Christian Bressand, is mentioned, nor 
 the composer, Reinhard Keiser. 
 
 First performed at Brunswick, February, 1696. SCHATZ 5109 
 
 II pentimento amoroso, ballet. See Astaritta's L'isola di Begodi. 
 
 II pentimento generoso. Drama per musica da rappresentarsi nel 
 Teatro di Sant' Angelo per ultim' opera del carnevale 1719. Di 
 Domenico Lalli . . . 
 
 Venezia, Marino Rossetti, 1719. 55 p. 15 cin . 
 
 Three acts. Author's signed preface, "Al lettore," cast, scenario, and name of 
 the composer, Stefano Andrea FiorS, "Milanese, Maestro di cappella attuale della 
 Real Corte di Torino; & Accademico Filarmonico." SCHATZ 3194 
 
 Le pere rival. Piece en un acte. Representee sur le Theatre de 
 POpera comique a la Foire S. Germain, le 24 mars 1734. 
 
 Le Theatre de la foire, Paris, 1737, t. ix, 2, pi., [823]-383 p. 17 cm . 
 
 By Carolet. Largely en vaudevilles. The aire, a few of which by Corette, are 
 printed at the end of the volume in the ""Table des aire." 
 
 First performed March 30, 1734. ML 48.L2X 
 
 Le peregrine erranti, ballet. See Salari's II marchese Carbonaro. 
 
 Peribea in Salamina. Drama per musica da rappresentarsi nel 
 Nuovo Teatro delle Grazie in Vicenza. Per la fiera del maggio 
 1712 . . . 
 
 Padova, Penada, 1712. 60 p. 15 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Dedicatory sonnet, 
 argument, cast, scenario, and name of Carlo Francesco Pollaroli as the composer. 
 
 SCHATZ 8312 
 
 Perichitta e Bertone, intermezzi. See Mancini's L'Oronta.
 
 864 LIBRARY OF CONGRESS 
 
 Pericle effeminate. Drama per musica, di Giacomo Castoreo, per 
 recitarsi nel Teatro di S. Appolmare . . . 
 
 Venetia, Giacomo Batti, 1658. 89 p. (incl. front.} 14 cm . 
 
 Three acts and prologue. Author's dedication dated Venice, January 7, 1653, 
 argument, and notice to the reader, in which he incidentally deplores "la deproyate 
 corutella del secolo, nel quale la facolta poetica, che altre volte iu stromento d' inti- 
 morir i tiranni con la civiltA de costumi, non trovi mezo per dilettarti che con la 
 rfacciatagine de moti inhonesti .'. ." 
 
 The composer, Francesco Luccio, is not mentioned. SCHATZ 5747 
 
 Peronne sauvee, opera en quatre actes, represent 6, pour la pre- 
 miSre fois, par I'Acade'mie-royale de musique, le mardi 27 mai 1783. 
 
 Paris, P. de Lormel, 1788. 65 p. 23\ cm . 
 
 Withcastand"Averti8sement." "Les paroles sontdeM.deS * * *Sauvigny]. 
 La musique est de M. Dez&de.'' SCHATZ 2526 
 
 Persee, tragedie. Represented par 1'Academie royale de musique. 
 Suivant le copie imprime'e. A Paris. 
 
 [Amsterdam, Antoine Schelte], 1685. 60 p. (incl. front.) 13\ cm . 
 
 Prologue and five acts. Neither Quinault, nor Lully mentioned. 
 
 ML 50.2.P33L9 
 
 Persee, tragedie represented parl'Academie royale de musique Tan 
 1682. Les paroles de M. Quinault, & la musique de M. de Lully. 
 XIV. opera. 
 
 n. i., n. d. front., 299-368 p. 14 cm - (Recueil general des opera, 
 t. ii, Paris, 1703). 
 
 Detached copy. Prologue and five acts. 
 
 First performed, as indicated, April 17, 1682. SCHATZ 5769 
 
 Second copy. ML 48. R4 
 
 - Persee, tragedie represented par FAcade'mie royale de musique, 
 le 17 avril 1682. & ensuite a Versailles au mois de Juin. 
 
 Le theatre de Monsieur Quinault, Paris, 1739, t. v., pi., p. [12]-193. 
 
 jfcm 
 
 Prologue and five acts. Lully is not mentioned. PQ 1881. Al 1739 
 
 - Arlequin Persee. Comedie represent 6e pour la premiere fois 
 par les Come'diens italiens ordinaires du roi, le vendredi 18. decem- 
 bre 1722. 
 
 Les parodies du Nouveau Theatre italien, Nouv. ed., Paris, Briasson, 
 1738, t. ii, [87}-150 p. 
 
 Three acts. By Fuzelier (see t. I). The airs and vaudeville used are printed at 
 the end of the volume in the "Table des airs" (60 p.). ML 48. P3 
 
 Persee & Andromede, ballet. See Traetta's Siroe. 
 
 Perseo. Drama per musica di Aurelio Aureli, favvola decimaterza. 
 Rappresentato in musica nel Teatro Grimano Fanno 1665 . . . 
 
 Venetia, Francesco Nicolini, 1665. front., 6 p. I., 79 p. 14 cm . 
 
 Three acts and prologue. Author's dedication, argument, and scenario. The 
 composer, Andrea Mattioli, is not mentioned. SCHATZ 6103 
 
 Perseo trionfante. Dramma musicale. 
 
 Girolamo Bartolommei Smeducci, Drammi musicali morali, Firenze, 
 1656, v. i, p. [101}-130. 23 cm . 
 
 Prologue and three acts. Argument and allegoria. ML 49.A2B3
 
 OPERA LIBRETTOS 865 
 
 Perseus and Andromeda with The rape of Colombine: or, the 
 flying lovers. The five interludes; three serious, and two comic. 
 The serious compos'd by Mons. Roger, and the comic by Mr. John 
 Weaver, dancing masters. As it is perform'd at the Theatre Royal 
 in Drury-Lane. The cloaths, scenes and machines, entirely new. 
 
 London, W. Trott, 1728. 5 p. I, 12 p. 19. 
 
 Cast, argument, description, and the words of "A song sung by Mr. Ray to the 
 tune of Thomas I cannot . . . the words by Mr. Weaver In London Town there 
 liv'd, well known." This was composed by John Christopher Pepusch, as perhaps 
 the entire work. In his ' ' History of the mimes and pantomimes " (1728) John Weaver 
 calls "Perseus and Andromeda'' "A burlesque entertainment in dancing, in gro- 
 tesque characters. Composed by J. Weaver and first performed in Drury-Lane, 
 1716." LONGE 191 
 
 Perseus and Andromeda. As it is performed at the Theatre 
 Royal in Lincoln's-Inn-Fields. Adorn'd with copper-plates . . . 
 The fourth edition; to which is added the Sailor's ballad. 
 
 London, T~ho. Wood, 1730. 5 p. 1. (incl. 2 pi), 18 p. 19. 
 
 One act. Cast and argument. Neither author nor composer mentioned. 
 
 LONGE 40 
 
 II pertinace. Drama per musica da rappresentarsi nel famoso Teatro. 
 Vendramino di San Salvatore 1'anno 1689 . . . 
 
 Venetia, Nicolini, 1689. 66 p. 14% cm . 
 
 Three acts. Publisher's dedication, argument, and scenario. Neither the com- 
 poser, Paolo Biego, nor the librettist is mentioned. Schatz considers Pietro d'Ave- 
 rara as the librettist, but Wotquenne points out that "II pertinace" is not the same 
 as d'Averara's "Publio Elio Pertinace." SCHATZ 1016 
 
 The Peruvian; a comic opera, in three acts. As performed at the 
 Theatre Royal Covent-Garden. By a lady. The music chiefly com- 
 posed by Mr. Hook. 
 
 London, J. Bell, 1786. 3 p. I, 81 p. 21. 
 
 Cast and Advertisement, in which the unidentified author calls herself "not a 
 resident of England." 
 
 First performed March 18, 1786, as indicated. LONGE 97 
 
 Li pescatori, ballet. See Sarti's La giardiniera brillante. 
 
 La pescatrice. L. T. of Pietro Guglielmi's La bella pescatrice. 
 
 La pescatrice ovvero L'erede riconosciuta. Farsa per musica a 
 quattro voci da rappresentarsi nella Real Villa del Poggio a Cajano 
 nella primavera dell' anno 1772. 
 
 Firenze, Stecchi e Pagani, 1772. 1 p. I, 56 p. 17 cm . 
 
 Two acts. Niccolb Piccinni is mentioned as the composer. Author unknown. 
 
 First performed at Rome, Teatro Capranica, January 9, 1766. SCHATZ 8102 
 
 La pescatrice. Operetta per musica da rappresentarsi ne' 
 Teatri privilegiati di Vienna il carnovale dell' anno 1769. 
 
 Vienna, GJielen, n. d. 46 p. 17 cm . 
 
 Two acts. Niccol6 Piccinni is mentioned as the composer. 
 
 First performed at Vienna, Karnthnerthor Theater, January 23, 1769. 
 
 SCHATZ 8103 
 
 72251 VOL 114- 55
 
 866 LIBRARY OF CONGRESS 
 
 La pescatrice Continued. 
 
 - L'erede riconosciuta. Dramma giocoso per musica da rappre- 
 sentarsi nel nobilissimo Teatro di S. Benedetto 1'autunno dell' anno 
 MDCCLXXL 
 
 Venezia, Modesto Fenzo, n. d. 55 p. 17^. 
 
 Expanded to three acts. Cast, scenario, and names of Niccol6 Piccinni and Sal- 
 vador Perillo ae the composers, the latter being responsible for the additional music 
 only. This consists of: "Ajuto buona gente and "Deb. concedi, o caro padre" 
 (I, 1), "Vi vuol altro che bravati" (I, 4), "Un pensier mi nasce in testa" (I, 5), "Un 
 amante rispettoeo " (I, 7, " Quella stizza laecia andare " (II, 1), "Voialtre femmine" 
 (II, 2), "Delle donne il core e fatto" (II, 3), "Oh che giorno di contento" (II, 4), 
 "Dal tuo costante amore" (II, 11), "Piu non sento gli anni miei " (III, 3). With the 
 opera were performed Giovanni Antonio Sacco's ballets, "Pane e Siringa" and "La 
 sposa gronlaudese," of which short descriptions, without name of the composers of the 
 music, are given in the libretto. SCHATZ 8104 
 
 - Das fischermaedchen. Ein singspiel in zween aufzuegen. Auf 
 dem hochfuerstlich Thurn- und Taxischen Theater allhier aufgefuehrt. 
 
 Regensburg, Gedruckt mit Breitfeldischen schriften, n. d. 4$ P- 16 cm . 
 
 Two acts. Translator unknown. 
 
 First performed, as indicated, carnival, 1777. SCHATZ 8105 
 
 La pescatrice fedele. L. T. of Anfossi's La vera costanza. 
 La pescatrice fedele, ballet. See Boroni's Le orfane svizzere. 
 
 La pescatrice in Jassa, ballet. See Gardi's II contravveleno in 
 Jassa. 
 
 Le pescatrici. 
 
 [107]-160 p, 16\ cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. Hi, Torino, 1757.} 
 
 Three acts. First composed by Bertoni, as below. ML 49.A2G6 
 
 - Le pescatrici. Dramma di tre atti in musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, v. 44) 
 [233}-286 p. 18 cm . PQ 
 
 Le pescatrici. Dramma giocoso per musica da rappresentarsi nel 
 Teatro posto in contrada di San Samuele. II carnovale dell' anno 
 1752 . . . 
 
 Venezia, Giuseppe Bettinelli, 1752. 59 p. 15. 
 
 Three acts. Impresario's dedication, dated Venice, December 24, 1751, cast, 
 scenario. Neither the author, Carlo Goldoni, is mentioned, nor the composer, Ferdi- 
 nando Giuseppe Bertoni. SCHATZ 921 
 
 [Le pescatrici.] 
 
 Torino, 1754. 62 p. 15 cm . 
 Title page missing. 
 
 Three acts. By Carlo Goldoni, who is not mentioned. Cast, scenario, and name 
 of Rocca Gipanetti as the composer. 
 
 First performed at Turin, Teatro del principe di Carignano, spring, 1754. 
 
 SCHATZ 3831
 
 OPERA LIBRETTOS 867 
 
 Das Petermaennchen. Ein schauspiel mit gesang in vier aufzue- 
 gen. Nach der geister geschichte des herrn Spiess bearbeitet von 
 Carl Friedrich Hensler. Die musik dazu ist ganz neu verfasst von 
 herrn Joseph Weigl . . . Erster theil. 
 
 Wien, Johann Baptist Wallishauser, 1794. 83 p. 18 cm . 
 
 This copy lacks the front. ("Ich will indess sein vater eeyn"). A second copy 
 (Schatz 11942a) contains it, but the copy was cut down to 16 cm . by a binder. 
 
 First performed at Vienna, Theater in der Leopoldstadt, April 8, 1794. 
 
 SCHATZ 10942 
 
 Das Petermaennchen. Ein schauspiel mit gesang in vier auf- 
 zuegen . . . Zweyter theil. 
 
 Wien, Johann Baptist Wattishamer, 1794. 75 p. 18 cm . 
 
 First performed at Vienna, Theater in der Leopoldstadt, May 20, 1794. 
 
 SCHATZ 10943 
 
 Peters Bryllup. Et syngespil i to akter ved Thomas Thaarup. Sat 
 i musik af hr. capelmester J. A. P. Schulz. 
 
 Ki0benhavn, Johan Frederik Schultz, 1793. 60 p. 18 cm . 
 
 First performed at Copenhagen, Royal Theatre, December 12, 1793. SCHATZ 9726 
 
 Le petit commissionnaire. A. T. of Bruni's Claudine. 
 
 Le petit-maitre en province, comedie en un acte et en vers, avec 
 des ariettes. Par M. Harny. La musique est de M. Alexandre. 
 Represented pour la premiere fois par les Com6diens italiens ordi- 
 naires du roi, le 7 octobre 1765. 
 
 Paris, la veuve Duchesne, 1765. 38 p. 19% cm . 
 
 Cast and author's preface which reads: 
 
 "Je ne dois sans doute qu'au jeu des acteurs le succes de cette piece. Je saisis 
 avec plaisir 1'occasion de leur en marquer ma reconnoissance. Quelques personnes 
 cependant ont trouve mauvais que j'aie fait representer cette comedie sur le Theatre 
 Italien. II faut me justifier . Les acteurs de ce theatre se font un devoir d'accueillir, 
 d'encourager les auteurs; on n'y connoit point 1'usage de faire desirer pendant deux 
 ans 1'honneur d'une lecture, rhomme de lettres n'est point oblige^ de jouer le role de 
 suppliant dans Pantichambre d'un semainier. Ces raisons sont suffisantes pour un. 
 hommequi ne se sent point d'humeur asouffrir les tracasseries, & eur-tout 1'humilia- 
 tion. On peut y joindre cependant des vues particulieres. La musique parolt 
 aujourd'hui tenir le premier rang dans nos spectacles; sero tice deplaire au public 
 que de tacher de 1'allier avec la peinture de nos moeurs? Pourquoi nous borner aux 
 paisans? Pourquoi ne pas essayer tous les tous? Quittons le village, la ville nous 
 offrira plus d'un tableau interessant. J'espere que 1'on ne prendra point ceci pour 
 un trait de satyre centre les auteurs qui n ont travaill^ que dans le premier genre. 
 Un talent en annonce toujours un autre. L'auteur de la Chercheuse <T Esprit a fait 
 VAnglois a Bordeaux. Chacune de ces pieces est un chef-d'oeuvre. On me par- 
 donnera ais6ment de citer par prf6rence M. Favart. II est permis a un cplier 
 d'avoir quelque predilection pour son maitre. C'est lui qui m'a donne les premieres 
 lecons de 1'art dramatique. Bastien a t6 fait sous ees yeux. II est facile de s'en 
 appercevoir, & cette derniere piece vaudroit sans doute beaucoup mieux, si j'avois 
 pu profiter de ses avis pendant le cours de la composition. Quelques critiques m'ont 
 accuse^ d'avoir copi le m^chant dans la scene oil le marquis tourne en ridicule le 
 baron & la baronne. Us se sont tromps. Cette situation est tire du conte des 
 Remois de la Fontaine." ML 50.2.P337A4 
 
 - Le petit-maitre en province, comedie en un acte et en vers, avec 
 des ariettes par Mr. Harny. Repr6sent6e pour la premiere fois par 
 les Comediens italiens ordinaires du Roi, le 7 octobre 1765. La 
 musique est de Mr. Alexandre. 
 Paris, la veuve Duchesne, 1771. 40 p- 18%. 
 
 One act. Cast and the music of some of the airs, as follows: "Les dehors les plus 
 Beduisants," "Les premiers moments d'une belle," "L'eclat est le moyen de plaire." 
 
 SCHATZ 159
 
 868 LIBRARY OF CONGRESS 
 
 Le petit-maitre malgre lui. A. T. of Favart's La repetition 
 nterrompue. 
 
 Le petit matelot, ou Le mariage im-promptu, com6die, en un acte 
 en prose, me!6e de chant. Par le C. rigault-Lebrun. Musique du 
 C. Gavau [ !]. Represented pour la premiere fois sur le Theatre de la 
 rue Faydau, le 7 nivdse, Fan 4me de la R6publique. 
 
 Paris, Huet, 1796. 46 p. 20. 
 
 Preface. Cast. Corhposed by Pierre Gaveaux. 'The date in the title would be 
 December 28, 1795, but is probably a misprint for 17 nivoee, which would be January 
 7, 1796, in accordance with the date in the printed score and accepted by the reference 
 books. ML 50.2.P34G2 
 
 - Le petit matelot, ou Le mariage impromptu, come'die en un acte 
 et en prose, m el 6e de chant; par le citoyen Pigault-Lebrun, musique 
 du citoyen Gavau [!] Represent ee pour la premiere fois, sur le 
 Theatre de la rue Faydeau, le 7 niv6se, 1'an quatrieme de la Repu- 
 blique . 
 
 Paris, Huet, 1796. 40 p. 19^ cm . 
 
 The same cast, preface, and text which is printed in a somewhat smaller type than 
 the other edition of 1796. SCHATZ 3641 
 
 Le petit matelot, ou Le mariage impromptu. Com6die en un 
 acte et en prose; melee de chants. Par le-C. Pigaut-Lebrun. Mu- 
 sique du C. Gavau. [!] Repr&sentee pour la premiere fois sur le ThM- 
 tre de la rue Feideau, le 7 niv6se, 1'an 4e de la R^publique. 
 
 Avignon, les freres Bonnet, Van cinquieme de la Republique [1796-97]. 
 82 p. 20 cm . ML 50.2.P34G22 
 
 La petite Nannette. Opera-comique, en deux actes, represented 
 pour la premiere fois & Paris, au Theatre Feydeau, le 19 frimaire, an 
 5me. (Vendredi 9 decembre 1796, vieux style) Paroles et musique 
 du Cousin Jacques . . . 
 
 Paris, Moutardier, an V.1797. 75 p. 19\ cm . 
 
 Cast. SCHATZ 703 
 
 Les petites maisons. Piece en un acte. Represented a la Foire 
 S. Germain. 1732. 
 
 Le Theatre de la foire, Paris, 1737, t. ix, 2, pi., [433]~488 p. 17 cm . 
 By Carolet. Partly en vaudevilles. The airs are printed at the end of the volume 
 in the "Table des airs." Composed according to Parfaict, by Travenol. 
 
 ML 48.L2X 
 
 Les petits comediens, opera-comio.ue en un acte; represent^ pour 
 la premiere fois sur le Theatre de la Foire, en 1731. 
 
 Charles Francois Pannard, Theatre, Paris, Duchesne, 1763, v. 2, 
 [129\-178 p. 17 cm . 
 
 In prose and vaudevilles. Composer not recorded by Parfaict, etc. PQ 2019. P3 
 Petrine. Parody of Lully's Proserpine. 
 Die pfleg-tochter. Tr. of Garcia's La pupilla. 
 Pflicht und liebe im streit. A. T. of Mederitsch' Rose.
 
 OPERA LIBRETTOS 869 
 
 Phaedon und Naide, oder Der redende Baum. Ein singspiel in 
 zwey aufzuegen. 
 
 83 p. 14% cm - (Johann Georg Jacobi, Theatralische Schriften 
 Nachtrag zu seinen saemtlichen werken, Leipzig, G. J , Goeschen, 1792.}- 
 
 First performed with music by Franz Friedrich Siegismund August, reichsfrei- 
 herr Boecklin von und zu Boecklinsau, at Freiburg i/Br., Stadttheater, January 
 5, 1790. SCHATZ 1113 
 
 Phaeton. Tr. of Graun's Fetonte. 
 Phaeton. Tr. of Jommelli's Fetonte. 
 
 Phaeton, tragedie en musique, represent ee par 1'Academie royale de 
 mnsique devant Sa Majeste a Versailles, le sixieme jour de Janvier 
 mil six cens quatre-vingts-trois. Suivant la copie imprimee, a Paris. 
 
 [Amsterdam, Antoine Schelte}, 1683. 58 p. (ind. front.) 13^ cm . 
 
 Prologue and* five acts. Neither Quinault, the author, is mentioned, nor Lolly, 
 the composer. ML 50.2.P347L9 
 
 Phaeton, tragedie en musique, representee par FAcademie royale 
 de musique. Devant Sa Majeste a Versailles. Suivant la copie 
 imprimee a Paris. 
 
 [Amsterdam, Antoine Schelte], 1686. 58 p. (incl. front.} 13\ cm . 
 
 Prologue and five acts. Neither the author, Philippe Quinault, is mentioned, 
 nor the composer, Jean Baptiste de Lully. 
 
 First performed at Versailles, January 6, 1683; at Paris, Acade'mie royale de 
 musique, April 27, 1683. ML 50.2.P347L92 
 
 Phaeton, tragedie representee par FAcademie royale de musique 
 Fan 1683. Les paroles sont de M. Quinault, & la musique de M. de 
 Lully, XV. opera. 
 
 n. i., n. d. 14 cm - pi-, 369-430 p. (Recueil general des opera, t. ii, 
 Paris, 1703.) 
 
 Detached copy. Five acts and prologue. SCHATZ 5777 
 
 Second copy. ML 48. R4 
 
 - Phaeton, tragedie en musique. Representee devant le roi au 
 mois de Janvier 1683. & ensuite par F Academic de musique le 27 
 avril suivant. 
 
 Philippe Quinault, Theatre, Paris, 1739, t. v., pi, p. [195}-251 . 17 cm . 
 Prologue and five acts. Lully is not mentioned. PQ 1881.A1 1739 
 
 - Arlequin Phaeton, parodie. Par les Srs. Dominique & Romag- 
 nesi . . . Represent 6e pour la premiere fois, par les Come'diens 
 italiens ordinaires du roi, le 22 feVrier 1731. 
 
 Les parodies du Nouveau theatre italien, Nouv. ed., Paris, 1738, t. iv, 
 [271}-312 p. m cm . 
 
 One act. Called in the table of contents the "second parodie " of the opera, but, 
 according to Wotquenne, the third. The airs and vaudeville printed at end of the 
 volume in the "Table des airs " (92 p J. ML 48. P3 
 
 Die phantasten. Tr. of Paisiello's I visionari. 
 
 Phaon, drame lyrique. En deux actes, en vers me'le' d'ariettes, 
 repre"sente" devant Leurs Majestes, a Choisy en Septembre 1778. 
 
 [Paris], P. R. C. Bollard, n. d. 3 p. I, 46 p. 20. 
 
 Two acts. By Claude Henri Watelet, who is not mentioned. Cast and name of 
 Niccol6 Piccinni as the composer. SCHATZ 8158
 
 870 LIBRARY OF CONGRESS 
 
 Pharamundus, in einer opera vorgestellet auf dem grossen Braun- 
 schweigischen Theatre in der Laurentii Messe, anno 1746. 
 
 Woljfenbuettel, Christian Bartsch wittwe, n. d. 
 
 Three acts. A German version of Aposto Zeno's "Faramondo," with the Italian 
 text of the arias added to the German . Argument and note that the music ' ' anlangend 
 die eymphonia und die moisten arien " was composed by Johann Adolph Hasse. 
 
 First performed as indicated, August 15, 1746. SCHATZ 4553 
 
 Pharao und Joseph, in einem sing-spiele auf dem Hamburgischen 
 Schau-platze vorgestellet. Im jahr 1728. 
 
 [Hamburg] Gedruckt mil Stromerschen schrifften, n. d. Unpaged. 
 
 In five acts, by Johann Samuel Muller. With cast and names of the author and 
 of Antonio Caldara as composer of the arias, to which the Italian text has been added. 
 Really a free translation of Zeno's "Gianguir," performed, with Caldara's music, at 
 Vienna in 1724. SCHATZ 1483 
 
 Le Pharaon. Piece d'un acte. Par Monsieur F * * * *. Rep- 
 r6sent6e a la Foire de Saint Germain 1717. 
 
 Le Theatre de lafoire, Paris, 1737, t. ii, pi, [899]~448 p. 17 cm . 
 
 By Fuzelier. The airs, selected or composed and arranged by Jean Claude Gil- 
 lier, the " compositeur " of the theatre, are printed at the end of the volume in the 
 "Table des airs." ML 48.L2II 
 
 Pharnaces : an opera. Altered from the Italian. By Thomas Hull. 
 As it is performed at the Theatre Royal in Drury-Lane . . . 
 
 London, J. and R. Tonson and T. Lownds, 1765. vi, [2], 39 p. 19. 
 
 Three acts. Cast and dedication, dated London, January 1, 1765. The composer, 
 
 William Bates, is not mentioned. Presumably altered from Lucchini's "Farnace." 
 
 LONGE 50 
 Second copy. LONGE 203 
 
 Pharnaces : or, The revenge of Athridates. An English opera. As 
 it was to have been performed at the Theatre Royal, Edinburgh. 
 The music selected from the most capital composers, and adapted by 
 Mr. Tenducci. The third edition. 
 
 Edinburgh, Printed by Martin & Wotherspoon, 1769. 4? P- 16% cm . 
 
 Three acts. Cast and this note: 
 
 "As Mr. Gilson is extremely ill, the part of Athridates is obliged to be left out, and 
 part of Pompey and of Gilades and all the recitatives (except Mr. Tenducci's, with 
 accompany ments), as they would be tedious to the audience. 
 
 The original text presumably was Antonio Maria Lucchini's "Farnace." The 
 English version is not that by Thomas Hull. LONGE 277 
 
 Phebe or The beggar's wedding. See The beggar's wedding. 
 
 Phedre, trag^die-lyrique, en trois actes; represented a Fontainebleau 
 le 26 octobre 1786. Remise sur le Theatre de 1'Academie de musique 
 le mardi 21 noyembre 1786. Paroles du Sieur * * * Musique 
 du Sieur Le Moine. 
 
 Bordeaux, PJiilippean, 1786. 28 p. 21 cm . 
 
 Text by Francois Benoit Hoffman. ML 50.2.P35L2 
 
 Le Phenix. A. T. of La bonne femme.
 
 OPEEA LIBRETTOS 871 
 
 Philander. A dramatic pastoral. By the author of the Female 
 Quixote. 
 
 London, A. Millar, 1758. mi, [8]~48 p. 19 cm . 
 
 Two acts. Dedication, dated London, November 20, 1757, by the author, Char- 
 lotte Lenox. No composer and no performance recorded by Clarence. LONGE 52 
 
 Philander. Tr. of Porpora's Filandro. 
 
 Philemon et Baucis. A. T. of Les bons et les me'chans. 
 
 Philemon und Baucis, oder Gastfreiheit und Armuth. Eine 
 original-operette in zween aufzuegen: von Johann Christoph v. 
 Zabuesnig. Aufgefuehrt auf der Schaubuehne zu Augsburg unter 
 der direktion herrn Voltolini. 
 
 Augsburg, Conrad Heinrich Stage, 1792. 61 p. 17 cm . 
 
 The composer, Johann Christian Kaffka, is not mentioned. 
 
 First performed, as indicated, 1792. SCHATZ 4985 
 
 Philippe et Georgette. 
 
 One act. By Monvel; music by Dalayrac. 
 First performed at Paris, December 28, 1791. 
 Not in L. of C. 
 
 - Gesaenge aus der oper: Philipp und Georgette, in einem 
 aufzuge, nach dem franzoesischen singspiele gleichen namens bear- 
 beitet von Herklots. Die musik ist von d'Alairac. 
 
 Hamburg, Robe und Freystatzky wittwe, 1798. 16 p. 15 cm . 
 
 First performed at Hamburg, Theater beim Gansemarkt, October 2, 1798. 
 
 SCHATZ 2372 
 
 Phillis at court; a comic opera of three acts. As it is now per- 
 forming, with great applause, at the Theatre-Royal in Crow-street, 
 Dublin. The music by Signer Tomaso Giordani. 
 London, J. WiUiams, 1767. 40 p. 19% cm . 
 
 Cast and Advertisement: 
 
 "It may be proper to take notice, that the title given this piece, at present, is 
 copied from the French of Monsieur Favart; whose 'Caprices d 'amour, ou Ninette a 
 la cour,' the author, Mr. Lloyd, confesses was the grpund-work of his piece, called 
 the 'Capricious lovers.' 
 
 "In crder to make that piece entertaining, (and in conformity with the Italian 
 burletta) musical dialogues have been added towards the end of each act; these are 
 known among the Italians by the word finale, and are deemed indispensably necessary 
 in an entertainment of this sort. It is now presented to the public with many altera- 
 tions. Several airs have been added, others again suppressed; and adapted to the 
 talents of the different performers, some of them being foreigners ... it was necessary 
 to alter the title of this opera, to that of Phillis at court, on account of the altera- 
 tions . . ." 
 
 First performed, as indicated, February 25, 1767 (Lawrence). LONGE 36 
 
 Philomele, tragedie, represented pour la premiere fois par 1'Aca- 
 demie royale de musique, le 20. du mois d'octobre 1705. 
 
 Amsterdam, Henri Schelte, 1706. 68 (incl front.) , [3] p. 14 cm . 
 
 Five acts, prologue and avertissement. Cast. Neither the author, Roy ("Cet 
 ouvrage est 1 essai d'une Muse naissante") is mentioned, nor the composer, La 
 Coste. ML 50.2.P36L2
 
 872 LIBRARY OF CONGRESS 
 
 Philomele -Continu ed . 
 
 - Philomele, tragedie repr&sentee par FAcadSmie royale de mu- 
 sique Fan 1705. Remise au theatre le mardy 8 me octobre 1709. Les 
 paroles de M. Roy & la musique de M. de la Coste. LXV. opera. 
 
 n. i., n. d. 14 cm - front., 64 p- (Recueil general des opera, t. ix, 
 Paris, 1710.) 
 
 Detached copy. Five acts and prologue. Cast. SCHATZ 5356 
 
 Second copy. ML 48.R4 
 
 Philomele, tragedie represented par FAcademie royale de 
 musique de Paris, les vingt octobre 1705, huit octobre 1709, & dix- 
 neuf octobre 1734. Et par FAcademie royale de musique de Lyon 
 en 1742. 
 
 Lyon, Aime DelarocJie, 1742. 67 p. 23 cm . 
 
 Five acts, without prologue. Avertissement and cast. Neither Roy nor La Coste 
 are mentioned. The text is the eame as in the ed. of the Recueil des opera, 1710. 
 
 SCHATZ 5356a 
 
 Philomele, parodie en trois actes; priced ee d'un prologue, 
 donnee au Theatre italien en 1723. 
 
 Alexis Piron, enures complettes, Liege, 1776, v. 5, [S21}~392 p. 
 
 In prose and vaudevilles. A parody of Lacoste's opera of the same title. 
 First performed, according to Parfaict, who does not record a composer, June 12, 
 1723. PQ 2019.P6 
 
 Le philosophe bride. A. T. of Aristote amoureux. 
 
 Die philosophen. Tr. of Paisiello's I filosofi immaginari. 
 
 Phoebe. ' A pastoral opera. Set to music by Dr. Greene. 
 London, n. puU., 1748. 27 p. 20\ cm . 
 Three acts. The author, James Hoadley, is not mentioned. 
 No performance recorded by Schatz. LONGB 274 
 
 La pianella perduta. A. T. of the ballet L'inverno. 
 
 La pianella perduta, ballet. See Paer's La Rossana. 
 
 La pianella perduta, ballet. See Paisiello's Le gare generose. 
 
 La pianella persa. A. T. of L'inverno. 
 
 La pianella persa. Farsa giocosa per musica d'un atto solo da 
 rappresentarsi nel Teatro della magnifica Accademia Filarmonica di 
 Verona nella corrente primavera . . . 
 
 Verona, Dionigi Ramanzini, 1798. 36 p. 18 cm . 
 
 By Giuseppe Palomba, who is not mentioned. Dedication, cast and name of 
 Francesco Gardi as composer ("La mueica e tutta nuova"). 
 
 First performed at Venice, Teatro di S. Moise, fall of 1797. ML 50.2.P38G2 
 
 Airs, duetts, and chorusses, arrangement of scenery, and sketch of 
 the pantomime, entitled The picture of Paris. Taken in the year 
 1790. As performed at the Theatre-Royal, Covent-Garden. 
 London, T. CadeU, 1790. 20 p. 20 cm . 
 
 Two acts. Cast. Neither the author of the dialogue and songs, Merry, is men- 
 tioned, nor the compiler-composer, William Shield. The title page of Longman and
 
 OPERA LIBRETTOS 873 
 
 The picture of Paris Continued. 
 
 Broderip's vocal score says " part . . . taken from the celebrated opera of Amphion, 
 composed by the Sigr. Naumann and the rest composed by William Shield." It is 
 interesting to note that he introduced a ira. 
 
 First performed December 20, 1790. LONGE 207 
 
 La piece a deux acteurs, opera-comique en un acte, avec un pro- 
 logue, represent^ pour la premiere fois sur le Theatre de la Foire, en 
 1738. 
 
 Charles Francois Pannard, Theatre, Paris, Duchesne, 1763, v. 3, 
 [139]-202 p. 17 cm . 
 
 In prose and vaudevilles. According to Parfaict, who does not record a com- 
 poser and dates the first performance February 6, 1738, the original title was "L'ar- 
 moire ou La piece a deux acteurs." PQ 2019.P3 
 
 Pierrot Romulus ou Le ravisseur poll. See L'ombre du cocher 
 poete. 
 
 La pieta di Sabina. Drama musicale. 
 
 G. A. Moniglia, Poesie drammatiche, seconda parte, Firenze, Cesare 
 e Francesco Bindi, 1690, p. [149}-216. 24. 
 
 Three acts. Argument with remark: 
 
 "Questo drama fu composto per servire alia serenissima granduchessa Vittoria di 
 Toscana, e messo in musica dal padre Lorenzo Cattani . . . ma per ancora non e 
 comparito su le scene, n& alle stampe." ML 49.A2M7 
 
 La pieta inaspettata, ballet. See Bertoni's Andromaca. 
 
 La pietra simpatica. Commedia per musica da rappresentarsi nel 
 Teatro de' Fiorentini per terz' opera del corrente anno 1796. 
 Napoli, n. publ., 1796. 59 p. 15%. 
 
 Two acts. By Giambattista Lorenzi, who is not mentioned. Cast and name of 
 Silvestro di Palm a as composer. 
 
 First performed, according to Schatz, at the same theatre, fall of 1795. 
 
 ML 50.2.P4P2 
 
 Pietro il Grande ossia II trionfo dell' innocenza. Dramma eroico 
 del Signer Antonio Simon Sografi ... da rappresentarsi nel Teatro 
 private di Sua eccellenza Co. Alessandro Pepoli la primavera dell' 
 anno 1793. 
 
 Venezia, Dalla Nuova tipografia, n. d. Jfi p. 17\ cm - 
 Three acts. Name of Giuseppe Rossi as composer and author's dedication to 
 conte Pepoli, from which it appears that the drama was ordered by the count for his 
 private theatre and that he performed the part of Alesdo. Says Sografi: 
 
 ' ' Desidero che in (jualche parte egli possa metter in mostra quel singolare talent*^ 
 che tra i molti e van la fa distinguere nella bell' arte del canto. Conoscendo la di 
 Lei Bomma capacita nella teatrale declamazione, spero di non eesermi ingannato 
 nello scriverle la parte di Alessio." SCHATZ 8893 
 
 Pigmalion, ou La statue anime'e, opera-comique en vaudevilles; 
 represente pour la premiere fois sur le Theatre de la Foire, en 1733. 
 
 Charles Francois Pannard, Theatre, Paris, Duchesne, 1763, v. 2, 
 [227}-280 p. 17 cm . 
 
 According to Parfaict, who does not record a composer, the text was written jointly 
 by Pannard and Lafnchard, first performed as "Pygmalion" on March 26, 1735 [!] 
 and revived on March 6, 1736, under the above title. PQ 2019.P3
 
 874 LIBRARY OF CONGRESS 
 
 Pigmalion oder Die reformation der liebe, ein lyrisches drama in 
 zwey handlungen von Carl Ilerklots. 
 
 Berlin, Friedrich Maurer, 1794. front., 6, [2], 127 p. 16. 
 
 No composer or performance recorded by Schatz. In his "Vorbericht" of date 
 "Ostermesse 1794 " Herklots says that his play is clearly intended for " musikalische 
 composition," but that the possibility of " theatralische darstellung" is questionable, 
 though he kept this possibility constantly in mind. He continues by saying what his 
 main object was 
 
 "Seine hauptabsicht was die, einem gefuhlvollen tonsezzer gelegenheit zu ver- 
 schaffen, sein talent fiir richtigen ausdruck wechselnder leidenschaften zu zeigen, 
 und diese absicht verriith schon zur genuge, dass er sich nicht arien nach italianischem 
 zuschnitt, sondern jene" edlere gattung von tonkunst gedacht hat, von deren herz- 
 erschutternden wirkung der unsterbliche Gluck seinen landsleuten so vortreffiiche 
 muster hinterliess." 
 
 "Der verfasser hat die stellen, die er fur eigentlichen gesang, und die er fiir rezi- 
 taf ion bestimmte, durch grossere und kleinere drucklettern bezeichnen lassen, aus 
 griinden aber, hat er nur den drey hauptpersonen die leztere art des vortrags gegeben, 
 und iiberdem vieles, waa seinem inhalt gemiiss, rezitativ seyn miisste, nach art der, 
 in italiiinischen opern gewohnlichen schlussscenen, lyrisch behandelt; durch welche 
 vermischung er keiner inkonsequenz schuldig zu seyn glaubt, da Reichardt, Salieri, 
 und andre denkende componisten schon praktisch gezeigt haben, dass diese form den 
 edlen und richtigen musikalischen ausdruck keinesweges ausschlidsst." 
 
 ML 50.2.P411 
 
 Pigmalion, acte de ballet, repre'sente' devant La Majeste, a Fon- 
 tainebleau, le samedi 24 octobre 1772.- 
 
 [Paris], Pierre Robert ChristopJie Bollard, 1772. 18 p. 18% cm . 
 
 Cast and names of Houdar de La Motte as author of the text, of Jean Philippe 
 Rameau as composer, and of de Laval as "composer " of the ballets. The text ia 
 Ballot de Sauvot's revised version under the above title of the fifth entr6e, "La 
 sculpture," in de La Motte's ballet text "Le triomphe des arts." ML 48.B2 
 
 Pigmalion, monologue. Par Jean Jacques Rousseau. 
 
 n. i., n. d., 1772. 21 p. 18. 
 
 The text is followed by a folded sheet of engraved music, with title "Airs [dp 
 Pigmalion." First comes an "Andantino," air with ace., with name of Jean Jacques 
 Rousseau as composer, and below this an "Andante par M. Coignet. Doit etre 
 belle" and "Amoroso par M. Coignet. Dece qui n'est pas~." both unaccompanied. 
 Compare next entry. ML 50.2.P41R7 
 
 - Pygmalion, par J. J. Rousseau, sc&ne lyrique. 
 
 ' 'A Geneve, et se vend d, Lyon, ainsi que la musique, chez Castaud . . . 
 MDCCLXXXVL" 16 p. 20. 
 
 With publisher's preface, in which this quotation from a letter to him by Coignet: 
 "Ce n est point un opera . . . 1'auteur 1'a intituled Sctne lyrique: Les paroles ne 
 se chantent point, & la musique ne sert qu'k remplir les intervalles des repos neces- 
 saires a la declamation. Rousseau vouloit donner par ce spectacle, une ide"e de la 
 m61op6e des Grecs, de leur ancienne declamation thatrale . . . Je dois cependant 
 a 1'exacte v^rit^ d'annoncer que dans les vingt-six ritournelles qui composent la 
 musique de ce drame, il y en a deux que Rousseau a faite lui-meme . . . Je declare 
 que 1'andante de 1'ouverture, & que le premier morceau de 1'interlocution qui carac- 
 terise le travail de Pygmalion, appartiennent & Rousseau. Le surplus de la musique 
 est de M. Coignet, amateur." 
 
 First performed at Paris, Theatre de la Come'die-Francaise, October 30, 1775. 
 
 SCHATZ 2095 
 
 Pygmalion, eine lyrische handlung aus dem franzoesischen des 
 hrn. J. J. Rousseau mit begleitung der musik des hrn. Coignet, 
 uebersetzt und mit taenzen vermehrt fuer die National-schaubuhne 
 zu Mannheim. 
 
 Mannheim, C. F. Schwan, 1778. 19 p. 16\ cm . 
 
 Translation by Otto Heinrich reichsfreiherr von Gemmingen, with "Inhalt." 
 
 First performed as indicated, March 29, 1778. SCHATZ 2096
 
 OPERA LIBRETTOS 875 
 
 II Pigmalione, ballet. See G. Giordani's Atalanta. 
 Pigmalione, ballet. See Mortellari's Arsace. 
 
 Die pilgrime von Mecca (Mekka). A. T. of Gluck's Die unver- 
 mutete zusammenkunft. 
 
 A pill for the doctor : or, The triple .wedding. A musical enter- 
 tainment, as performing at the Royalty-Theatre. 
 London, D. Steel, 1790. 17 p. 21. 
 
 One act. Cast. Neither author nor composer recorded by Clarence. 
 
 LONGE 273 
 
 Piinmalione. Scena drammatica tratta dalla Scena lirica di Mon- 
 sieur J. J. Rousseau per li Signori Matteo Babini, e Carolina Pitrot 
 dal Signer Sografi e posta in musica dal Signer Gian Battista Cimador 
 da rappresentarsi la sera di 26 gennaro 1790. 
 Venezia, n. pull., 1790. xvi p. 18 cm . 
 
 On p. iii: ". . . si e ritenuta soltanto 1'idea principale del celebre autore." 
 
 SCHATZ 1903 
 
 Pimmalione vendicato. A. T. of the ballet Astarbea. 
 
 Pimpernelle und Marcantonius. Tr. of Hasse's Pimpinella e 
 Marcantonio. 
 
 Pimpinella e Marcantonio. Intermezzi by Hasse for his opera 
 Numa. 
 
 Pimpinone. Intermezzi comici musicali da rappresentarsi nel 
 Teatro Tron di S. Cassiano 1'autunno delF anno MDCCVIII. 
 Venezia, Marino Rossetti, 1708. 12 p. 15 cm . 
 
 Three parts. By Pietro Pariati, who is not mentioned. Composed by Tommaso 
 Albinoni, performed with his opera, "Astarto," and bound in with its libretto (Schatz 
 110). The cast of the intermezzi there printed after the cast of the opera. 
 
 SCHATZ 111 
 
 Vespetta, e Pimpinone. Intermezzi comici musicali. Da 
 rappresentarsi la prima volte, che si esibisce il drama. 
 
 n. i., n. d. 16 p. 15 cm . 
 
 Three parts. Cast. 
 
 Performed, with Tommaso Albinoni 's opera, "I veri amici," at Munich October 
 24, 1722. SCHATZ 100 
 
 Pirame et Thisbe, tragedie, represented par FAcademie royale de 
 musique, 1'an 1726. Paroles de M. La Serre. Musique de Messieurs 
 Francoeur & Rebel. CVII. opera. 
 
 n. i., n. d. pi., p. 61-122. (Recueil general des opera, t. 14, Paris, 
 1734.} 14 cm . 
 
 Detached copy. Five acts and prologue. 
 
 First performed, as indicated, October 17, 1726. SCHATZ 3336 
 
 Second copy. ML 48. R4
 
 876 LIBRARY OF CONGRESS 
 
 Pirame et Thisbe Continued. 
 
 - Pirame et Thisbe. ParleSr. R. R. * * * Represented pour 
 la premiere fois, par les Come'diens italiens ordinaires du roi, le 13 
 novembre 1726. 
 
 Les parodies du Nouveau theatre italien, Nouv. ed., Paris, 1738, 
 t. in, [319]-366 p. 16\ cm . 
 
 One act. Parody, by Dominique, Romagnesi, and Biccoboni, of the opera. The 
 airs and vaudeville printed at end'of the volume in the "Table des airs" (84 p.). 
 
 ML 48. P3 
 
 - Pirame et Thisbe", tragedie. Represented par I'Acade'mie 
 royale de musique de Lyon. Au mois de Janvier de 1'annee 1741. 
 
 [Lyon], Ayme Delaroche, 171+1. 59 p. 25 cm . 
 
 Five acts, without prologue. Neither the author, Jean Louis Ignace de La Serre, 
 mentioned, nor the composers, Francois Francoeur and Francois Rebel. 
 
 ML 50.2.P43R2 
 
 Piramo e Tisbe. A. T. of the ballet Ninias tiranno di Babilonia 
 punito da Zoroastro. 
 
 Piramo e Tisbe. Dramma per musica da rappr^sentarsi nel 
 nobilissimo Teatro di S. Benedetto il carnovale [Jan.] dell' anno 
 1783 . . . 
 
 Venezia, Modesto Fenzo, 1783. 48 p. 17\ cm - 
 
 Three acts. Dedication by the author, Gaetano Sertor, argument, cast, scenario, 
 and name of the composer, Francesco Bianchi. The ballets were called "Alonso e 
 Cora. Estratto dalla storia dell' Incas del Signor di Marmontel," by Domenico Ric- 
 ciardi; music ("tutta nuova") by Antonio Capuzzi. He is not mentioned as the 
 composer of Ricciardi's second ballet, "II manto raweduto." SCHATZ 980 
 
 Piramo e Tisbe, ballet. See Colla's Didone. 
 
 Piramo e Tisbe, tragedia per musica in due atti da rappresen- 
 tarsi nel Regio Teatro appresso Potsdam . . . nell' estate dell' anno 
 MDCCLXXI. 
 
 Berlino, Haude e Spener, 1771. 61 p. 16 cm . 
 
 Two parts. Argument, cast, scenario, and names of Marco Coltellini as author, of 
 Johann Adolf Hasse as composer. German title page "Piramus und Thisbe" and 
 text face Italian. 
 
 First performed, as indicated, in March, 1771; at Vienna, Burgtheater, Novem- 
 ber, 1768. SCHATZ 4555 
 
 Piramo e Tisbe, ballet. See Piccinni's La Griselda. 
 Piramus und Thisbe. Tr. of Hasse's Piramo e Tisbe. 
 
 Piramus und Tisbe. Ein melo-drama. Bearbeitet nach Fabri 
 dem juengern, und in die musik gesetzt von Franz Spindler. 
 
 n. i., n. d., 1788. p. [459}-476. 16 cm . 
 
 Detached copy. 
 
 First performed at Innsbruck, Hoftheater, 1785. SCHATZ 9977 
 
 Songs, duets, trios, chorusses, etc in the Pirates. An opera. In 
 three acts, now performing at the King's Theatre, Haymarket. 
 London, E. Cox, 1792. 1 p. I, 29 p. 20\. 
 
 Cast. Neither the author, James Cobb, is mentioned, nor the composer, Stephen 
 Storace, who used parts of his opera "Gli equivoci." 
 
 First performed November 21, 1792 (Schatz), November 11 (Genest). LONGE 220
 
 OPERA LIBRETTOS 877 
 
 Pirithous, tragedie represent ee par FAcademie royale de musique 
 Tan 1723. Paroles de M. de la Serre. Musique de M. Mouret. CI. 
 ope"ra. 
 
 n. i., n. d. 1 pi., p. 195-262 (Recueil general des opera, t. arm, Paris, 
 1734}. 14 cm . 
 
 Detached copy. Three acts and prologue. Seguineau is supposed to have been 
 joint author with de La Serre. 
 
 First performed, according to Schatz, January 17, 1723, but the engraved score 
 gives January 26, 1723. SCHATZ 6743 
 
 Second copy. ML 48. R4 
 
 Le serdeau des theatres. Comedie. Represented pour la pre- 
 miere fois, par les Comediens italiens ordinaires du roi, le samedi 19. 
 fe*vrier 1723. 
 
 Les parodies du Nouveau theatre italien, Nouv. ed., Paris, Briasson, 
 1738, t. ii, 151-206 p. 16% cm . 
 
 One act. By Fuzelier (see t. I), who in this comedy also parodied the opera "Piri- 
 thoiis." The airs and vaudeville used are printed at the end of the volume in the 
 "Table des airs " (60 p.). ML 48.P3 
 
 Pirrhus, tragedie represented par P Academic royale de musique, 
 1'an 1730. Paroles de M. Fermelhuis. Musique de M. Royer. 
 CXIIL opera. 
 
 n. i., n. d. pi., 397-462 p. lJfy cm . (Recueil general des opera, t. xiv, 
 Paris, 1734.) 
 
 Detached copy. Five acts and prologue. Cast and avertissement. 
 First performed, as indicated, October 26, 1730 (Schatz), but the score says October 
 19, 1730. SCHATZ 9110 
 
 Second copy. ML 48.R4 
 
 Pirro. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, t- vtij P- [201}-292 
 p. 19 cm . 
 
 Five acts. Argument and prefatory note, in which Zeno apologizes for this drama, 
 practically written in ten days. No composer is mentioned. In the "Catalogo" at 
 end of t. x, date and place of first ed. are given as Venice, 1704. (See below.) 
 
 ML 49.A2Z3 
 
 - Pirro. Pubblicato per la prima volta in Venezia 1704. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. Hi, p. 88. 
 21 cm . 
 
 Five acts. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Pirro. Drama per musica da rappresentarsi nel Teatro di S. Angelo, 
 1'anno MDCCIV . . . 
 
 Venezia, Marino Eossetti, 1704. 72 p. 12*. 
 
 Five acts. Dedication signed by Afpostplo] Zfeno] as author, argument, scenario, 
 notice to the reader, in which this drama is said to have been written in ten days. 
 The composer, Giuseppe Antonio Vincenzo Aldrovandini, is not mentioned. 
 
 First performed during carnival, 1704, as indicated. SCHATZ 137 
 
 Pirro. L. T. of Zingarelli's Pirro, r& di Epiro. 
 
 Pirro e Demetrio. O. T. of Morselli's text La forza dell' amicizia.
 
 878 LIBRARY OF CONGRESS 
 
 Pirro e Demetrio. Drama da rappresentarsi in musica nel famoso 
 Teatro Grimano di S. Gio. Grisostomo 1'anno 1690 . . . 
 
 Venetia, Nicolini, 1690. 70 p. 14 cm . 
 
 Three acts. Dedication signed with the initials of the author, Adriano Moreelli, 
 argument, cast, scenario, and notice to the reader with name of [Giuseppe Felice] 
 Tosi as the composer. SCHATZ 10378 
 
 Pirro re di Epiro. Dramma per musica da rappresentarsi nel 
 Teatro alia Scala il carnevale dell anno 1792 . 
 
 {cm 
 
 Milano, Gio. Batista Bianchi, n. d. 67 p. 16 C 
 
 Three acts. Impresario's dedication, dated Milan, December 26, 1791, argument, 
 cast, scenario, name of Nicola Antonio Zingarelli as the composer, and note by the 
 author, Giovanni de Gamerra (not mentioned by name) that this is his "Pirro" with 
 "essential alterations," and he refers the reader to the seventh volume of his "nuovo 
 Teatro " for the text in its original form. SCHATZ 11261 
 
 II Pirro. Dramma eroico per musica da rappresentarsi in Parma 
 nel R. D. Teatro di Corte il carnevale dell' anno MDCCIC . . . 
 
 Parma, Stamperia Carmignani, n. d. 2 p. 1., 48 p. 17% cm . 
 
 Three acts. By Giovanni de Gamerra, who is not mentioned. Cast and name of 
 Nicola Antonio Zingarelli as the composer. On p. [43]-48, prefatory note, cast, and 
 description of Giovanni Battista Checchi's "La generosita d'Alessandro ossia Apelle e 
 Campaspe, ballo eroico-pantomimo," the composer of the music not being mentioned. 
 
 First performed at Milan, Scala, December 26, 1791. SCHATZ 11253 
 
 Pisistrato. Dramma di tre atti per musica. Rappresentato per 
 la prima volta in Venezia in tempo dell' Ascensione 1'anno 
 MDCCXXXVI. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta ejigli, 1788-95, v. 36, 
 [27}-66 p. 18$ cm . 
 
 See also "La generosita politica." PQ 
 
 II pittor burlato, ballet. See Anfossi's Zenobia in Palmira. 
 
 II pittor parigino. Dramma gioccoso per musica da rappresen- 
 tarsi nel Piccolo Teatro di S. A. E. di Sassonia. 
 Dresda, n. pull., 1782. 133 p. 15\. 
 
 Two acts. By Giuseppe Petrosellini (not mentioned). Name of the composer, 
 Cimarosa. German title-page, "Der Pariser mahler," and text face Italian. 
 
 First performed at Dresden February 22, 1783; at Rome, Teatro Valle dei Signori 
 Capranica, January, 1781, as "II pittore parigino." SCHATZ 1969 
 
 II pittor parigino. Dramma giocoso per musica da rappresen- 
 tarsi nel Reggio Teatro di S. Carlo della Principessa, Fautunno dell' 
 anno 179,4. 
 
 Lislona, Simone. Taddeo Ferreira, 1794. 169 p. 16 cm . 
 
 Two acts. The author, Giuseppe Petrosellini, is not mentioned. Portuguese text 
 faces Italian. Cast, scenario, and names of Domenico Cimarosa as composer of the 
 opera; of Giuseppe Cajani of the music of his own "ballo eroico-magico-pantomimo 
 intitolato Armida e Rinaldo." ML 50.2.P46C3 
 
 II barone burlato. Commedia per musica da rappresentarsi al 
 Teatro Nuovo nell' inverno dell' anno 1784. 
 
 Napoli, n. pull., 1784. 54 p. 15 cm . 
 
 A later version, in three acts, of "II pittor parigino." Cast and name of the com- 
 poser, Cimarosa, and the remark: "I pezzi nuovi sono del Sig. D. Francesco Cipolla 
 ... e si contrasegnano coll asterisco." These are: (I, 3) "Si discioglie, e si econ- 
 nette;" (I, 5) "La nostra signorina;" (I, 7) "Son modestina;" (II, 1) "Ad un amante 
 savio;" (II, 2) "Semplicetta contadina," "Cricca mio, colla cognata." Giovanni 
 Bonito is said to have made the changes in the libretto. SCHATZ 1979
 
 OPERA LIBRETTOS 879 
 
 fl pittor parigino Continued. 
 
 Der onkel aus Amsterdam. Eine comische oper in zwei auf- 
 zuegen. Nach dem italienischen: II pittore parigino frei bearbeitet 
 und der musik des Cimarosa untergelegt. Aufgefuehrt von der 
 Secondaschen Gesellschaft in Leipzig und Dresden. 
 
 Riga und Mitau, Wilhelm Christian Andreas Mueller, 1796. vi, 
 104 p. 16% cm . 
 
 German version, by Gfeorg] C[arl] Claudius, who dates his preface Leipzig, May, 
 1795. In this he speaks of his deviations from the Italian original, and says: 
 
 Der Pariser Maler (II pittore parigino) von "Cimarosa machte eine geraume Zeit 
 hindurch auf dem kaiserl. konigl. Hoftheater in Wien, selbst bei seinen vielfaltigen 
 Wiederhohlungen gleichsam immer ein neues Gluck, und dieses ist die Ursache, 
 warum man ihn in ein deutsches Gewand einzukleiden suchte. Da unsere deutsche 
 Original-Oper immer noch so arm bleibt, und, allem jetzigen Anscheine nach, auch 
 nicht sonderlich reicher werden dlirfte, so bedarf es also schon einer Entechuldigung 
 weniger, wenn man auslandische Producte aufinlandischen Boden verpflanzt. Dass 
 dergleichen Arbeit immer selbst bei allem Fleisse, selbst bei einem ziemlich gefiillten 
 Magazin von Erfahrungen, ein Wagstuck bleibe, ist nicht zu laugnen. Denn der 
 Inhalt der ital. Opern, und die meist so sonderbare Bearbeitung ihrer Gegenstiinde 
 stossen gemeinhin so sehr wider den deutschen Geschmack, dass nicht selten Nation 
 gegen Nation ungerecht wird, sich beiderseits verkennen, und am En,de selbst den 
 Wald-vor Biiumen nicht sehen. Die Deutschen haben bereits an unserm Eschenburg 
 einen vortrefflichen Vorganger, wie der Friede zwischen beiden Partheien zu erhalten 
 sey, und wie man jeder sein Recht geben konne. Robert und Kalliste wird ewig 
 da von ein schones Beispiel bleiben. Auch Herr D. Schmieders Versuche sind von 
 den deutschen Theatern mit Beifall aufgenommen worden. Ich wiirde mich freuen, 
 wenn mann meine Arbeit nicht so ganz uberflussig finden wollte. Ueber Cimarosas 
 Musik will ich hier nichts sagen, da ich nur mit meiner eigenen Sache zu thun habe. 
 
 "Die Aenderung des Titels: Der Pariser Maler, schien mir schon die erste Noth- 
 wendigkeit; denn der Maler in diesem Stuck kann aus alien Weltgegenden herseyn, 
 da ihm der ital. Entwurf keine Eigenheit beimisst, warum er gerade aus Paris seyn 
 muss. Selbst fiir sonst neugierige Liebhaber des Theaters wiirde dieser Titel keinen 
 besondern Reiz gehabt haben, da die Emigranten anjetzt eben nicht die freudigste 
 Theilnahme erregen. Ich bestimmte den Titel nach der Hauptintrique des Stiicks, 
 weil ich glaube, dass es mit alien Titeln so gemacht werden sollte, obgleich unsere 
 neuere Zeit auch iiber diese alte wahre Regel, ohne sich darum zu bekummern, ihren 
 rustigen Geniesprung gemacht zu haben scheint . . . 
 
 "Wenn trotz alien diesen Bemiihungen diese Oper immer noch manches Unge- 
 reimte an sich tragen sollte, so war es schlechterdings unmoglich, eolches ganz zu 
 verdrangen, weil man alsdann eine neue Musik hiitte dazu componiren miissen, und 
 der schonen Musik wegen wurde diese Oper ja einzig nur verdeutscht. 
 
 "Schlusslich bitte ich alle Kiinstler, die in diesem Stuck eine Rolle zu spielen 
 haben, solche genau zu memoriren. was die Opernsanger, wie die Erfahrung sagt, 
 immer so leichtsinnig unterlassen sollen. Der Dialog muss Schlag auf Schlag gehen; 
 hangts aber da, so muss ich im voraus versichern, dass man sich selbst in den Hinter- 
 grund stellen, und einzig daran Schuld seyn wird, wenn man weniger gefallt." 
 
 First performed at Oels, Hoftheater, May 13, 1797. SCHATZ 1970 
 
 II piu bei dono, inutile. Dramma giocoso per musica di un atto 
 solo di Giovanni Bertati da rappresentarsi nel Teatro Giustiniani in 
 S. MoisS il carnovale dell' anno 1779. 
 n. i., n. d. 30 p. 17\ cm . 
 
 Composed by Antonio Rossetti, who is not mentioned. This was performed 
 together with the one act "I Quaqueri" by the same author and composer and pub- 
 lished with it in one volume with separate pagination. SCHATZ 8884 
 
 La piu costante tra le maritate. A. T. of II D. Gastone. 
 
 II piu fedel fra i vassalli. Drama p>er musica. Da recitarsi nell' 
 antichissimo Teatro Tron di S. Casciano Fanno 1703. Poesia di 
 Francesco Silvani . . . 
 
 Venezia, li eredi Nicolini, 1703. 72 p. 14$ cn .
 
 880 LIBRARY OF CONGRESS 
 
 II piu fedel fra i vassalli Continued. 
 
 Three acts. Author's dedication, dated Venice, February 3, 1703, notice to the 
 reader with name of Carlo Francesco Gasparini as the composer, and scenario. 
 
 SCHATZ 3579 
 
 - II piu fedel fra i vassalli. Drama per musica da rappresentarsi 
 nel Teatro di Sant' Angelo il carnoval dell' anno 1716. 
 
 Venezia, Marino Rossetti, 1716. front., 60 p. 14% cm . 
 
 Three acts. Cast, scenario, and notice to reader, alluding to the performances 
 of 1703, and stating: 
 
 "Lo ecorgerai quello stessp, che ebbe la gloria di piacerti. ne vi troverai altra 
 alterazione, che nelle canzoni in parte variate, per adattarle a virtuosi, che devono 
 rappresentarlo . ' ' 
 
 Neither Silvani nor Gasparini is mentioned. ML 48.M2O 
 
 II piu fedel tra' gl'amici. Dramma per musica da rappresentarsi 
 nel famosissimo Teatro Grimani di San Gio. Grisostomo. L'anno 
 1724 . . . 
 
 Venezia, Marino Rossetti, 1724. 70 p. 15\ cm . 
 
 Three acts. By Francesco Silvani. who is not mentioned. Publisher's dedication. 
 "Motivo istorico," cast, scenario, and name of "Michel Angelo Gasparini Luchese 
 as the composer. SCHATZ 3602 
 
 II piu fedel tra vassalli. Melodrama da rappresentarsi nel Teatro 
 di S. Bartolomeo di Napoli in quest' anno 1705 . . . 
 Napoli, Michele Luigi Mutio, 1705. 4 P- !>> 5 P- 13% cm . 
 Three acts. Scenario, cast, and name of Giuseppe Antonio Vincenzo Aldro- 
 vandini as composer. It appears from Nicola Serino, the manager's notice to the 
 reader, that the libretto (originally written by Francesco Silvani) was modified to the 
 extent of adding the characters Creperio and Bellina, of replacing many arias by 
 new ones from Giulio Convo's pen and by inserting a complete scene (III, 6) written 
 by Silvio Stampiglia. SCHATZ 138 
 
 II piu infedele tra gli amanti. Drama per musica da rapresen- 
 tarsi nel Teatro Dolfin in Treviso per il prossimo autunno 1731 . . . 
 Venezia, Carlo Buonarrigo, 1731. 36 p. 15 cm . 
 
 Three acts. By Angelo Sorietti, who is not mentioned. Dedication by Antonio 
 Martinelli, argument, cast, name of Tommaso Albinoni as composer, and notice that 
 the performances would begin on October 6. SCHATZ 123 
 
 II Pizarro nelT America ossia La conquista del Peril, ballet. See 
 Tarchi's Demofoonte. 
 
 Pizichi, oder Fortsetzung des Fagottisten. Ein singspiel in drey 
 aufzuegen, von Joachim Perinet. Die musik ist vom hrn. Wenzel 
 Mueller, kapellmeister dieses theaters. Aufgefuehrt auf dem k. k. 
 priv. Marinellischen Theater. Zweyte verbesserte auflage. 
 
 Wien, Mathias Andreas Schmidt, 1793. 90 p. 18 cm . 
 
 The dedicatory preface by the author "dem besten publikum gewidmet" is dated 
 Vienna, January 28, 1793, and reads, in part: 
 
 "Ich weiss, dass dieses spektakelstueck keinen auspruch auf regelmaessigkeit zu 
 machen hat, aber ich denke, wenn es eine zeit im jahre giebtj die man die Fassnacht 
 heisst, an der auch der vernuenftige mann zuweilen antheil nimmt, so mag wohl 
 auch danu und wann so eine zauber komoedie mit unterlaufen, um sich zu zerstreuen, 
 und Aug und ohr darinn zu ergoetzen . . . ich bin sehr entschlossen, mit einer 
 Zauberruthe, dem chaos im dritten theile, ein erwuenschtes ende zu machen. . . . 
 widme ich Ihnen hier die zweyte auflage, so wie sie auf dem hiesigen theater, der 
 zu langen dauer wegen, abgekuerzt gegeben wurde ..." 
 
 First performed, as indicated, October 2, 1792. SCHATZ 6956
 
 OPERA LIBRETTOS 881 
 
 Pizzarro. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di San Samuele il carnovale dell' anno 1788. 
 Venezia, Modesto Fenzo, 1787. 55 p. 17\ cm . 
 
 Three acts. Argument, cast, scenario, and name of the composer, Francesco 
 Bianchi. The librettist is not mentioned and unknown to Schatz. On p. [23J-32, 
 argument, cast, and full description of "Cresfonte, re di Scizia, ballo eroico in cinque 
 atti" by Domenico Ricciardi, music ("tutta nuova") by Antonio Capuzzi. The 
 second ballet, also by Ricciardi, the composer not being mentioned, was called 
 "L'italiano maritato a Parigi." 
 
 First performed, as indicated, December 26, 1787. SCHATZ 999 
 
 Pizzarro nell' Indie o sia La distruzione del Peru. Dramma per 
 musica da rappresentarsi in Firenze la primavera dell' anno 1784 nel 
 nuovo Regio Teatro degl' Intrepidi detto La Palla a Corda . . . 
 
 Firenze, Stamperia Bonducciana, 1784- 4 P- 17 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Argument, cast, 
 scenario, and name of Giuseppe Giordard as the composer. ("La musica fe tutta 
 nuova.") SCHATZ 3849 
 
 Le plaisir et I'innocence, opera-comique en un acte. Par M. 
 Parmentier. Represente pour la premiere fois sur le Theatre de 
 I'Ope'ra-comique, le 14 aout 1753. 
 Paris, DucJiesne, 1753. 41,7 p. 18% cm . 
 
 En vaudevilles. Cast. The 7 p. contain eight engraved "Airs," the last being 
 headed "Vaudeville de Mr. Laruette," who may have arranged the whole opera. 
 In a note on p. 2 Parmentier says: 
 
 "Apres avoir fait en society avec M. Favart la parodie de Mahomet Second, tra- 
 ge"die de M. de la Noue, celle de Popera Hyppolite, Le cocq de village, & quelques 
 autres pieces qui n'ont pas e"te" imprime'es; j'ai cru pouvoir nazarder seul Le plaisir 
 et I'innocence . . ." ML 50.2.P47L2 
 
 Les plaisirs de la campagne, ballet, represent e par 1'Academie 
 royale de musique 1'an 1719. Paroles de M. Pellegrin-Barbier. 
 Musique de M. Bertin. XCVII opera. 
 
 n. i., n. d. pi., ^9-50$ p. (Recueil general des opera, t. xii, Paris, 
 1734). 
 
 Detached copy. Three entrees and prologue by Simon Joseph de Pellegrin and 
 Mile. Marie Anne Barbier. 
 
 First performed at Paris, Academic royale de musique, August 10, 1719. 
 
 SCHATZ 881 
 Second copy. ML 48. R4 
 
 Les plaisirs de la paix, balet reprSsente pour la premiere fois, par 
 1'Academie royale de musique, le lundi 29. avril 1715. Les paroles de 
 M. [blank] & la musique de M. Bourgeois. LXXXVII. op6ra. 
 
 n. i., n. d. pi., [301]-353 p. 14 cm . (Recueil general des opera, Paris, 
 1720, t. xi.} 
 
 Detached copy. By Mennesson. Prologue, three entries "L'assemble'e," "Feste 
 
 ' "Le jaloux pu 
 "Bacchus," "Momus," "Mascarade." The Avertissement says: 
 
 de buveurs," "Le jaloux puni ou La serenade " and four intermedes "Les Cyclopes," 
 
 ' ' Quoique chaque entre*e ait son sujet particulier, on a pris soin de les Her toutes 
 par des intermedes; ensorte que la piece & le prologue ne sont qu'un mgrne sujet." 
 
 SCHATZ 1273 
 Second copy. ML 48. R4 
 
 72251 VOL 114 56
 
 882 LIBRARY OF CONGRESS 
 
 Platee, ballet bouffon en trois actes, pre'ce'de' d'un prologue; repr6- 
 sente" devant le roi, en son chateau de Versailles; le mercredi 31 mars 
 1745. 
 
 [Paris], Bollard, 1745. 58 p. 25. 
 
 Cast and names of "Hautreau, et Vallois" [Jacques Autreau and A J. Le Valoifl 
 d'Orvillel as authors, of Jean Philippe Rameau as the composer. With the text, 
 retouched by Balot de Sauvot, the work was revived under the title of "Platee ou 
 Junon jalouse" on February 4, 1749. ML 52.2.P5 
 
 Plautilla. Drama per musica da rappresentarsi nel famoso Teatro 
 Grimani di S. Gio. Grisostomo. L'autunno dell' anno 1721 . . . 
 
 Venezia, Marino Rossetti, 1721. 60 p. 16 cm . 
 
 Three acts. Dedication signed by Vincenzo Cassani as author, argument, cast, 
 scenario, name of Antonio Pollaroli as composer, and notice to the reader which 
 reads, in part: 
 
 " Gia ti son noti i vincoli, pnde viene ristretto un poyerp poeta dramatico. Numero 
 precise di mutazioni, e quasi di versi; ariette, che a richiesta de maestri, e de musici 
 devono cambiarei secondo il loro canto, ancorche guastino tal volta il componimento 
 della scena, e faccino mutare il carattere, oltre tanti altri, che ben tu sai." 
 
 SCHATZ 8264 
 
 A playhouse to be lett. A. T. of The stage-mutineers. 
 
 The plot. As it is performed by His Majesty's Company of come- 
 dians at the Theatre-Royal in Drury-Lane. With the musick pre- 
 fix'd to each song. 
 London, John Watts, 1735. 28, [2] p. 19 cm . 
 
 One act, prologue, and epilogue. Cast and table of the 10 songs, the airs of which 
 are printed in the text with their titles. Attributed to John Kelly. 
 
 First performed at Drury Lane, January 22, 1735. LONGE 293 
 
 Plymouth in an uproar. A musical farce, as it is performed at 
 the Theatre-Royal in Covent-Garden. The music composed by Mr. 
 Dibdin. The third edition. 
 
 London, G. Kearsley, 1779. 2 p. 1., 41 p. 20 cm . 
 
 Cast. By Neville, who is not mentioned. 
 
 First performed October 21, 1779, as indicated. LONGE 153 
 
 Pocahontas. Schauspiel mit gesang, in fuenf akten. 
 
 Jamestown, 1784. 80 p. 16. 
 
 The prefatory note begins: 
 
 "Dieses schauspiel runt schon laenger, als es Horaz verlangte, im pulte des ver- 
 fassers, der es vor dreyzehn jahren, einein freunde zu gefallen, verfertigt hatte" 
 and ends: 
 
 "Dass das wilde maedchen witzig redet, wird niemand befremden, der aus Kap. 
 Smiths Reise weiss, dass witz ein hervorstechender zug im charakter der Virginier- 
 innen war." 
 
 Published at Ansbach, 1784, and written by Johann Wilhelm Pvose. No composer 
 recorded by Schatz. SCHATZ 11641 
 
 II poeta di campagna. Commedia per musica di Sayerio Zini da 
 rappresentarsi nel Teatro Nuovo sopra Toledo per prim' opera di 
 questo corrente anno 1792. 
 
 Napoli, Vincenzo Flauto, 1792. 46 p. 15 cm . 
 
 Two acts. Cast and name of Pietro Guglielmi as the composer. SCHATZ 4263
 
 OPERA LIBRETTOS 883 
 
 II poeta di campagna Continued. 
 
 - Lo sciocco poeta di campagna. Dramma giocoso per musica 
 da rappresentarsi nel Teatro alia Scala 1'autunno dell' anno 1793 . . . 
 
 Milano, Gfio. Battista Bianchi, n. d. 58 p. 16 m - 
 
 Two acts. Impresario's dedication, cast, scenario, and name of Pietro Guglielmi 
 as the composer. Zini's text has been altered noticeably. For instance, I, 5, begins 
 now "Che sposo vago, e bello," instead of "Col piu profondo, ed umile." With the 
 opera were performed, composers of the music not mentioned, Giuseppe Banti's 
 "ballo eroico Zima" and his "ballo comico II Posilipo di Napoli." SCHATZ 4264 
 
 - Lo sciocco poeta di campagna : Farsa prima per musica da 
 rappresentarsi nel Reggio Teatro di S. Carlo, della Principessa nel 
 carnovale dell' anno 1794 . . . 
 
 Lisbona, Simone Taddeo Ferreira, 1794- 95 p. 15 cm . 
 
 One act. By Saverio Zini, who is not mentioned. Portuguese text faces Italian. 
 Impresario's dedication, cast, name of Pietro Guglielmi as composer, and scenario. 
 With the opera were performed (composer of the music not mentioned) Pietro Angio- 
 lini's ballets, ' ' Ciro in Timbraja " and ' ' Li finti filosofi." ML 50.2.S38G9 
 
 II ppdesta di Tufo antico o sia II tutore burlato. Farsetta per 
 musica da rappresentarsi nel Teatro Valle degl' illustriss. Sigg. 
 Capranica nell estate dell' anno 1786 . . . 
 Roma, Michele PuccineUi, n. d. 66 p. 15 cm . 
 
 Two acts. Cast, scenario, and names of the author, Francesco Ballani, and Agoetino 
 Accorimboni as composer. SCHATZ 17 
 
 II poeta di villa. Farsetta in musica a cinque yoci da rappresen- 
 tarsi nel rinnovato Teatro di Palla [!] Corda la prima vera dell' anno 
 1786 . . . 
 
 Roma, Arcangelo Casaletti, n. d. 57, [1] p. 14? cm - 
 Two acts. Cast and name of the composer, Luigi Caruso. Author unknown to 
 Schatz. SCHATZ 1658 
 
 II poeta melodrammatico in Parnaso. Dramma eroicomico per 
 musica da rappresentarsi nel magnifico Teatro dell' Accademia Filar- 
 monica di Verona nel carnovale dell' anno MDCCLXXXVI . . . 
 Verona, Dionigi Ramanzani, 1786. 56 p. 17 cm . 
 
 Two acts. Impresario's noteworthy prefatory note, .cast, name of Luigi Caruso 
 as composer ("la musica tutta nuova" and note "La poesia e del Sig. A. A." 
 
 ML 50.2.P48C2 
 
 Le poete suppose, ou Les preparatifs de f6te, come'die en trois actes 
 et en prose, melSe d'ariettes et de vaudevilles, represented, pour la 
 premiere fois, par les Come'diens italiens ordinances du roi, le 25 
 avril 1782. Seconde Edition. Paroles de M. Laujon. Musique de 
 M. Champein. 
 
 Paris, Duchesne, Brunei, n. d. 1 p. 1., 124, 2 p. 21 cm . 
 
 Page 124 incorrectly numbered 224. The 2 add. p. contain three "Airs note's dans 
 le divertissement." On p. 119-124, " Remplacement de la scene VIII, et en prose, 
 de cet acte [III], par le present duo " ("Ce cher Bailli "). ML 50.2. P5C3 
 
 Le ppirier, opera comique. Par M. Vade", represent^ pour la 
 premiere fois sur le Theatre de la Foire S. Laurent, le 7 aout 1752. 
 Paris, Duchesne, 1752. 56 p. 21\ cm -. 
 
 One act. On p. 53-56, the airs notes, "Du jeune objet que j'adore," "Pour me 
 plaire il faut," and the vaudeville, "Pretextant une bonne affaire." The arranger of 
 the music not recorded by Parfaict. ML 50.2.P53S2
 
 884 LIBRARY OF CONGRESS 
 
 Le poirier Continued. 
 
 - Le poirier, opera comique par Mr. Vade". Represented pour la 
 premiere fois sur le Theatre de la Foire St. Laurent; le 7 aout 1752. 
 
 La Eaye, Pierre Gosse, 1760. 64 p. 16 cm . (Vade, Oeuvres, La 
 Eaye, 1760, t. i.) 
 
 One act, en vaudevilles. Cast. ML 49.A2V2 
 
 Le poisson d'avril. See Le public venge". 
 
 Polidore, tragedie, represented par 1'Academie royale de musique, 
 1'an 1720. Paroles de M. de Laserre. Musique de M. Baptistin. 
 XCVIII. opera. 
 
 n.i.,n.d. pi. ,64 p. llf. (Recueil general des opera, t.xiii, Paris, 
 1734.} 
 
 Detached copy. Prologue and five acts. Schatz mentions Simon Joseph de Pelle- 
 grin as joint author, without stating his reasons. The composer was Jean Batistin 
 Stuck. 
 
 First performed February 15, 1720, as indicated. SCHATZ 10125 
 
 Second copy. ML 48. R4 
 
 Polidoro. Tragedia da rappresentarsi in musica nel famoso Teatro 
 Grimani de' SS. Gio. e Paolo il carnovale dell' anno 1714. 
 Venezia, Marino Rossetti, n. d. 71 p. 15 cm . 
 
 Five acts. Cast, scenario, and argument, in which the author, conte Agoetino 
 Piovene (not mentioned), acknowledges his indebtedness to the drama by conte 
 Torelli. The composer, Antonio Lotti, is not mentioned. SCHATZ 5708 
 
 Polidorus, in einem sing-spiele auf dem Hamburgischen Schau- 
 platze fuergestellet. 
 
 [Hamburg], Gedruckt mit Spieringischen schrifften, 1735. Unpaged. 
 18 cm . 
 
 Five acts. Johann Samuel Miiller's free German version of Co. Agostino Piovene's 
 "Polidoro." Argument and name of Carl Heinrich Graun as the composer. 
 
 First performed at Hamburg, Theater b. Gansemarkt, November 23, 1735; at 
 Brunswick, August 13, 1731 (Schatz); Sommermesse, 1726 (Mennicke). 
 
 SCHATZ 4110 
 
 II Polifemo. Dramma per musica da rappresentarsi nel Real 
 Teatro del Fondo di Separazione per quart' opera di questo anno 
 1786 . . . 
 
 Napoli, n. pull, 1786. 36 p. 15 cm . 
 
 Three acts. By unknown author. Dedication, argument, and cast. The remark, 
 "La musica e diretta dal . . . Francesco Cipolla," does not, as Schatz would have 
 it, establish him clearly as the composer. SCHATZ 2013 
 
 II Polifemo. Opera drammatica del Sig. Paolo Rolli. Da rappre- 
 sentarsi nel Regio Teatro del Buon-Ritiro ... in questo carnevale 
 dell' anno MDCCXLVIII. 
 
 [Madrid], Lorenzo Francesco Mojados, n. d. [11], 12-101 p. 23 cm . 
 
 Three acts. Argument, cast, scenario, and the names of the composers, Francesco 
 Corselli (act I), Francesco Corradini (act II), Giovanni Battista Mele (act III). 
 Spanish title-page, "El Polifemo," and text face Italian. SCHATZ 2253 
 
 Polifemo. 
 
 [295]-333 p. 17 cm . (Rotti, Componijnenti poetid, Nuova edizione, 
 Verona, G. Tumermani, 1744-} 
 
 Three acts. The composer, Nicol6 Porpora, is not mentioned. 
 First performed at London, Haymarket, January 1, 1735 (Fassini). 
 
 ML 49.A2R7
 
 OPERA LIBRETTOS 885 
 
 Polipodio e Rucchetta. Intermezzi da cantarsi nel Teatro alia 
 Torre Argentina nel carnevale dell' anno 1738. Musica del Sig. 
 Gaetano Latilla. 
 
 [Rome], n. publ., n. d. 16 p. 15. 
 
 Two parts. Not recorded by Schatz. Autfior unknown to me. Intermezzo I 
 begins with the aria "Se rillnstriesima Dicono a me," Intermezzo II "Certi amorini 
 asciutti." ML 50.2.P54L2 
 
 Politicks in miniature: or, The humours of Punch's resignation. 
 A tragi-comi-farcical-operatical puppet-show with a new scene of 
 Punch's levee, and the surprising metamorphosis of his puppets. To 
 which is added, the Political rehearsal Harlequin Le Grand: or, The 
 tricks of Pierrot Le Premier. With the cheats and adventures of 
 Punchinello, Mezotin, Scaramouch, Pantaloon, and others. Being 
 a tragi-comi-pantomimical performance of two acts. In which are 
 introduced, An heroic scene of Female Honour, and a very majestic 
 pantomime scene of kicking. The whole interspers'd with, patriots, 
 chorus of patriots; courtiers, chorus of courtiers; songs; observa- 
 tions, critical and political. Taken from the Westminster Journal 
 of March 20, 1741-2, Oct. 30, & Nov. 6, 1742. 
 
 London, J. MecheTl, n. d. 38 p. 16% cm . 
 
 Two acts. LONGE 277 
 
 Polixene et Pirrhus, tragedie represented par 1'Academfe rovale de 
 musique 1'an 1706. Les paroles de M. de la Serre, & la musique de 
 M. Collasse. LXVIII. opera. 
 
 n. i., n. d. (Recueil general des opera, Paris, t. ix, 1710.} front., 
 169-226 p. 14 cm . 
 
 Detached copy. Five acts and prologue. 
 
 First performed, as indicated, October 21, 1706. SCHATZ 2102 
 
 Second copy. ML 48.R4 
 
 Poll of Plympton. A. T. Carter's The constant maid. 
 Pollastrella & Parpagnacco. L. T. of Gasparini's Parpagnacco. 
 
 Pollastrella & Parpagnocco, intermezzi. See Broschi's Adriano 
 in Siria. 
 
 Polly: an opera. Being the second part of the Beggar's opera. 
 Written by Mr. Gay . . . 
 
 London, Printed for the author, 1729. 1 p. 1., vii, [1], 72 p., 81 p. 
 (music}. 23% cm . 
 
 Three acts and introduction. Ballad opera. Seventy-one songs, the airs of which 
 are indicated in the text by title. They are printed with their basses in the supple- 
 ment without title, but with number corresponding to that in the text and with the 
 words to which they were to be sung in "Polly." 
 
 The text is preceded by Gay's preface, dated March 15, 1729, in which he narrates 
 his experiences with the Lord Chamberlain who refused to grant permission of per- 
 formance, though "everything was ready for a rehearsal," but "the Lord Chamber- 
 lain sent an order from the country to prohibit Mr. Rich to suffer any play to be 
 rehears'd upon his stage till it had been first of all supervis'd by his Grace. Gay 
 then in parallel columns lists the errors in the copy delivered to the Lord Chamber- 
 lain ana the Emendations on revising the piece for the press. He takes pains to 
 prove that there was no attempt on his part to deceive the Lord Chamberlain as to 
 the actual text of the piece. On Dec. 7, 1728, he desired to read the opera to His 
 Grace, but was ordered to leave the manuscript with him, and on Dec. 12, 1728, 
 received word from the Lord Chamberlain
 
 886 LIBRARY OF CONGRESS 
 
 Polly Continued. 
 
 "that it was not allow'd to be acted, but commanded to be supprest. This was 
 told me in general without any reasons assign 'd, or any charge against me of my 
 having given any particular offence. 
 
 "Since this prohibition I have been told that I am accused, in general terms, of 
 having written many disaffected libels and seditious pamphlets ... I have been 
 inform'd too, that in the following play, I have been cnarg'd with writing immorali- 
 ties; that it is fill'd with slander and calumny against particular great persons, and 
 that Majesty itself is endeavour'd to be brought into ridicule and contempt. 
 
 "... to justify and vindicate my own character, I thought my-eelf obliged to 
 print the opera without delay in the manner I have done. 
 
 "As the play was principally design 'd for presentation, I hope when it is read it 
 will be considered in that light: And when all that hath been said against it shall 
 appear to be intirely misunderstood or misrepresented; if, some time hence, it should 
 be permitted to appear on the stage, I think it necessary to acquaint the publick, 
 that as far as a contract of this kind can be binding; I am engag'd to Mr. Rich to 
 have it represented upon his theatre." [Lin coin's. Inn Fields, not Covent Gar*den, 
 built 1732, as pointed out by Tufts.] 
 
 John Christopher Pepusch, who selected and arranged the music, is not men- 
 tioned. 
 
 The piece was not performed until June 19, 1777, at the Haymarket (Genest), 
 and then, it is generally claimed, altered by Colman. Tufts adds: "Arnold sup- 
 plied six new airs." ML50.5.P74 
 
 - Polly: an opera. Being the second part of the Beggar's opera. 
 Written by Mr. Gay . . . 
 
 London, Jeffery Walker, n. d. 3 p. 1., [v]-vii, [1], 70 p. 20. 
 [Bound with Jiis Beggar's opera. London, 1728.] 
 
 Three acts and introduction. The danie preface as in the dated 1729 ed. Con- 
 tains no music. The (71) airs are merely indicated in the text by title. 
 
 ML 50.5.B3 
 Second copy. LONGE 103 
 
 Polly. An opera, as written by John Gay. Being the second 
 part of the Beggar's opera. 
 
 London, John BeU, 1777. 84 p. 17 cm . 
 
 At head of title: "Bell's edition." On p. 83-84 "Table of the songs." On p. 3-5 
 Gay's preface dated "March 25, 1729." 
 
 This 1777 edition contains the same text and the same 71 airs indicated by title 
 as in the 1729 eds.! Consequently, it is not Colman- Arnold's version, first performed 
 on June 19, 1777, at the Haymarket. SCHATZ 7865 
 
 Poltis oder Das gerettete Troja, eine komische oper in drey auf- 
 zuegen. 
 Leipzig, ley Friedrich Gotihold Jacobaeem, 1773. 119, [1] p. 15\ cm . 
 
 On the last unnumbered page the note that ' ' diese komische oper von herr Hillern 
 in musik gesetzt wird." Text preceded by quotation from Pope, by way of argu- 
 ment. The text is by Gottfried Samuel Brunner, who revised a manuscript play by 
 Steinel and added anas. Schatz does not record a performance of this work. 
 
 SCHATZ 4731 
 
 Polyxena. Ein lyrisches monodrama. Von F. J. Bertuch. 
 
 Weimar, Im verlage des Industrie-comptoirs, 1793. 16 p. 22 cm . 
 
 Dedication, dated Weimar, April 6, 1793, and Einleitung (dated Weimar, March 20, 
 1793), in which Bertuch says that he wrote this trifle 1774; that it was published in 
 the same year in the Teutsche Merkur; that it was composed by several musicians, 
 among whom Anton Schweitzer; and that the text was now reprinted, after nineteen 
 years, because of the fact that Schweitzer's music was now to appear for the first time. 
 
 SCHATZ 11757
 
 OPERA LIBRETTOS 887 
 
 Polyxena Continued. 
 
 Polyxena, ein lyrisches monodrama von Bertucli. In musik 
 gesetzfc von Schweizer. 
 
 Hamburg, Freystatzky und Robe, 1794- 13 p. 15\ cm . 
 
 "Einleitung" (argument). 
 
 First performed at Gotha, Schlosstheater im Ballhause, April 7, 1775, and at Ham- 
 burg, Theater beim Gansemarkt, February 19, 1778. SCHATZ 9778 
 
 Les pommiers et le moulin, comedie-lyrique en un acte, repre- 
 sente pour la premiere fois par FAcademie royale de musique, le 
 vendredi 22 Janvier 1790. Paroles de M. Forgeot. Musique de M. 
 Lemoine. 
 
 Paris, P. Delormel, 1791. 23 p. 21\. ML50.2.P56L2 
 
 Pomone. Pastorale represented par 1'Academie royalle en 1671. 
 Les paroles sont de M. Pen-in & La musique de M. Cambert. I. Opera 
 n. i., n. d. front., J$ p. llf m . (Recueil general des opera, Paris, 
 1703, t. i.} 
 
 Detached copy. Five acts and prologue. 
 
 First performed at Sevres, at the palace of the marquis de Sourdeac, June 12, 1670, 
 and at Paris, Salle au Jeu de Paume de la Bouteille, March 3, 1671. SCHATZ 1519 
 
 Second copy. ML 48. R4 
 
 II Pompeo. Draimna per musica da rappresentarsi nel Teatro del 
 Falcone di Genova . . . 
 Genova, Antonio Scionico, 1691. 71 p. 13. 
 
 Three acts. Conte Nicolo Minato, the author, not mentioned. Dedication signed 
 by the composer, Giacomo Antonio Perti, who is not otherwise mentioned, argument, 
 scenario, and cast. SCHATZ 7958 
 
 II Pompeo. Dranima per musica da rappresentarsi nel Teatro di 
 Ravenna nel present' anno 1685 . . . 
 
 Ravenna, Bernardino e Matteo Pezzi, 1685. 76 p. llf m . 
 
 Three acts. Dedication, dated Ravenna, May 10, 1685, of this drama ("poch" anni 
 Bono da un ingegno piu ameno fatto comparire su la magnificenza de' teatri di Roma, 
 [1683] & hora da noi su la picciolezza del nostro"), argument. Neither the author, 
 conte Niccold Minato, is mentioned, nor the composer, who is unknown to Schatz. At 
 Rome, the composer was Alessandro Scarlatti, and 'probably, under the circum- 
 stances, his music was also used at Ravenna. ML 48.A5 v. 3 
 
 Pompeo in Armenia. Dramma per musica da rappresentarsi nel 
 Teatro di S. Angelo il carnovale dell' anno 1747. 
 Venezia, Modesto Fenzo, 1747. 48 p. I fa. 
 
 Three acts. By Bartolomeo Vitturi, who is not mentioned. Argument, cast, 
 scenario. Giuseppe Scarlatti, the composer, is not mentioned. SCHATZ 9552 
 
 Pompeo Magno. Drama per musica nel Teatro a S. 6alvatore per 
 1'anno 1666 . . . 
 
 Venetia, Francesco Nicolini, 1666. 86 p. 14$ cm - 
 
 Three acts, with prologue. Author's dedication signed with conte Niccold Minato'a 
 initials and dated Venice, February 20, 1666, argument, notice to the reader, and 
 scenario. The composer, Pietro Francesco Cavalli, ia not mentioned. SCHATZ 1732
 
 888 LIBRARY OF CONGRESS 
 
 Pompeo Magno in Cilicia. Drama per musica da rappresentarsi 
 nel Teatro di Sant 'Angelo 1'anno MDCLXXXI. Di Aurelio Aureli 
 opera XXI. 
 
 Venetia, Francesco Nicolini, 1681. 57, [1] p. 14h cm - 
 Three acts. Author's dedication dated January 22, 1681, his notice to the reader, 
 with name of Giovanni Domenico Freschi as composer, argument, and scenario. 
 
 SCHATZ 3353 
 
 Ponce de Leon. Ope'ra-bouffon, en trois actes; paroles et musique 
 de M. Lebreton [!] Kepr^sente" pour la premiere fois, sur le The'atre 
 de I'Ope'ra-comique national, rue Favart, le 25 vent6se an. V. [March 
 15, 1797] 
 Paris, Barba, 1797. 60 p. 19$ cm . 
 
 Cast. The score published in 1797 gives Henri Montan Berton as author and 
 composer. SCHATZ 896 
 
 The poor soldier, a comic opera. In two acts. With all the original 
 songs. Written by John O'Keefe, Esq. ... As acted at the 
 Theatre Royal, Covent Garden. A new edition. Improved and 
 carefully corrected. 
 
 Dublin, Printed and sold by the booksellers, 1785. 1 p. 1., 32 p. 
 
 Cast. Largely a ballad opera, the resp. airs of the 19 songs being indicated by title. 
 The music partly compiled and partly composed by William Shield, who is not 
 mentioned. 
 
 First performed at Dublin, Smock Alley, March 28, 1783, as ' ' The Shamrock or 
 Revels on St. Patrick's Day" (Lawrence); as "The Shamrock, or, The anniversary 
 of St. Patrick," London, Covent Garden, April 7, 1783 (Schatz), May 7, 1783 (Law- 
 rence); under the above title, November 4, 1783 (Geneet), December 1783 (Law- 
 rence). According to Tufts, the 1798 ed. of O'Keefe's works gives the date as 1782. 
 
 LONGE 168 
 
 The poor soldier. A comic opera. 
 
 [175]-200 p. 16 cm . (A volume of plays, Dublin, 1791.) 
 
 Without name of author or composer. PR 1269. V6 
 
 Poor Vulcan, a burletta, in two acts, as performed at the Theatre- 
 Royal in Co vent-Garden. 
 London, G. Kearsley and W. NicoU, 1778. 2 p. 1., 45 p. 21 cm . 
 
 Cast. The author-compiler-composer, Charles Dibdin, is not mentioned. In 
 Johnston and Randall's vocal score " When the sergeant" is headed as composed by 
 Dr. Arne and "Joys that wordly mortals " as by Dr. Arnold. 
 
 First performed February 4, 1778, as indicated. LONGE 87 
 
 Popolo d'Argo, ballet. See Rispoli's Ipermestra. 
 
 Poro. Drama per musica da rappresentarsi nel Regio Teatro di 
 Torino nel carnovale del 1745. Alia presenza di Sua Maesta. 
 
 Torino, Pietro Giuseppe Zappata e figliuolo, n. d. 4 P- l-> 68 P- 
 
 Three acts. Altered from Metastasio, who is not mentioned by name. Argument, 
 scenario, cast, and names of Gluck as the composer of the opera, of Alessio Rasetti as 
 composer of the ballet music. 
 
 First performed December 26, 1744, as indicated. SCHATZ 3933 
 
 Poro re d'ltalia. O. T. of Handel's Porus.
 
 OPERA LIBEETTOS 889 
 
 Porsena. Drama per musica da rappresentarsi nel Teatro di S. A. 
 S. E. di Baviera nel carnevale dell' anno MDCCXXV. 
 Monaco, Giovanni Luca Straub, n. d. 79, [1] p. 15 cm . 
 
 Three acts. Argument, cast, scenario. Author and composer not mentioned and 
 unknown to Schatz. SCHATZ 11358 
 
 Porsenna. Drama per musica da rappresentarsi nel Teatro di S. 
 Bartolomeo il giorno 19. novembre 1713. In cui si festeggia il glorioso 
 nome di S. M. Ces. e Catt. Elisabetta . . . 
 
 Napoli, MicheleLuigi Muzio, 1713. 68 p. 14 cm . 
 
 Three acts. Dedication by the impresario, Nicola Serino, argument, scenario, 
 cast, and footnote on p. 10: 
 
 "Musica del Signer Antonio Lotti; accomodata e diretta dal Sig. Alessandro Scar- 
 latti, primo maestro della Real Cappella." 
 
 The author, conte Agostino Piovene, is not mentioned. 
 
 Lotti's opera was first performed at Venice, Teatro di S. Giov. Grisostomo, car- 
 nival, 1712. SCHATZ 5711 
 
 Porsugnacco e Grilletta. Intermezzi in Basse's Gerone tiranno 
 di Siracusa. 
 
 Li portentosi effetti della gran Madre Natura. A. T. of L'inno- 
 cenza protetta dal Cielo. 
 
 I portentosi effetti della Madre Natura. 
 
 [271}-332 p. 16\ cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. ii, Torino, 1757.} 
 
 Three acts. First composed by Scarlatti, as below. ML 49.A2G6 
 
 I portentosi effetti della Madre Natura. Dramma di tre atti 
 per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 42, 
 [263}-325 p. 18 cm . 
 
 PQ 
 
 I portentosi effetti della Madre Natura. Dramma giocoso per 
 musica da rappresentarsi nel Teatro Nuovo di S. Samuele 1'autunno 
 delT anno 1752 . . . 
 
 Venezia, Modesto Fenzo, 1752. 2 p. 1., 64 p. 17 cm . 
 
 Three acts. Cast, scenario, and Carlo Goldoni's dedication dated November 11, 
 1752, in which he says: 
 
 "Questi giocosi drammi per muaica sono in oggi per tutta 1' Italia desiderati, e con 
 piacere intesi, e le persone nobili, e colte v'intervengono frequentemente, trovando 
 in esse alia melodia del canto, unito il piacere dell' onesto ridicolo, il che forma un 
 divertimento assai piu allegro del solito. 
 
 The composer, Giuseppe Scarlatti, is not mentioned. SCHATZ 9554 
 
 I portentosi effetti della Madre Natura. Dramma bernesco 
 per musica. Nell' anno 1758. 
 
 Monaco, Giov. Giac. Votter, n. d. 76 p. 15 cm . 
 
 Three acts. By Goldoni, who is not mentioned. Neither is Giuseppe Scarlatti, 
 the composer. The text differs slightly from the original Venice, 1752, ed. For 
 instance, "Donnaj vi lascio il cor" (I, 11) has become Non temer, che avanti a lei" 
 and "Se tal' un mi dice bella" (1, 13) has become "Non son bella non sono vezzosa." 
 
 SCHATZ 9553 
 
 II porto della liberta. See M. Curzio.
 
 890 LIBRARY OF CONGRESS 
 
 The portait; a burletta. As it is performed at the Theatre Royal, 
 in Covent-Garden. The music by Mr. Arnold. 
 London, T. Becket and co., MCCCLXX [!] 2 p. 1., 32 p. 20. 
 
 Three acts. By George Colman, who is not mentioned. Cast and same prefatory 
 note as in next entry. 
 
 First performed November 22, 1770, as indicated. ML 50.2.P59A7 
 
 - The portrait; a burletta. As it is performed at the Theatre Royal, 
 in Covent-Garden. The music by Mr. Arnold. A new edition. 
 
 London, T. Becket and co., MCCCLXX [!] 2 p. I, 28 p. 20. 
 
 Two acts. Cast and prefatory note, according to which this edition of "The Por- 
 trait" ("founded on a French piece, called Le tableau parlant" by Anseaume) differs 
 from the first by omission of the "superfluous" part 01 Pierrot and the reduction of 
 the burletta to two acts. The author, George Colman, is not mentioned. 
 
 LONQE 26 
 
 Poms. An opera as it is perform'd at the Theatre Royal in Covent- 
 Garden. The fourth edition, with additions. 
 
 London, T. "Wood, 1736. 67 p. 17. 
 
 Three acts. Argument and cast. The Italian title, "Poro re dell' Indie," heads 
 the Italian text which faces the English. According to a footnote on p. 3 the arias, 
 etc., "Tiranna la sorte" (I, 2), "Poro, se sull' Idaspe / Sortl illeso Alessandro" (III, 
 5), indicated in the text and others on "the leaf of alterations " which is not in this 
 copy, were not composed by Handel. The text is based on "Alessandro nelP Indie " 
 by Metastasio, who is not mentioned. 
 
 First performed, as indicated, December 8, 1736; originally at the same theatre, 
 February 2, 1731. SCHATZ 4486 
 
 - Triumph der grossmuth. und treue, oder Cleofida, koenigin 
 von Indien, in einem sing-spiele auf der Hamburgis. Schau-buehne 
 fuergestellet. Anno MDCCXXXII. 
 
 Hamburg, mit Stromerschen schrifften, n. d. Unpaged. 18% cm . 
 
 Three acts. In his "Vorbericht," which contains also the argument, C. G. Wend, 
 the translator, says that this "Poms" has nothing to do with an opera of the same 
 title previously performed at Hamburg, that in his translation of Handel's "Poms," 
 though but "eine eilfertige arbeit," care was taken "ein theil derer arien (sonderlich 
 Bolcher, die sich im gemeinen leben appliciren lassen,) in teutsche reime zu bringen 
 und unter die music zu legen, damit sie allenfalls liebhaber, die eben keine abgoetter 
 von italiaenischen worten sind, auch teutsch singen hoeren, oder selbst auf der kam- 
 mer nachsingen koennen." He then comments on the difficulty Italian verses 
 "musicalisch zu parodiren." Characteristic is his remark: 
 
 " Dass unser heir Telemann die teutschen recitative unter noten gebracht, brauche 
 ich wohl nicht erst zu melden, weil so ein grosser meister dergleichen etwas wohl 
 im schlafe zu verrichten faehig ist, und^ch folglich seinen sonst hohen verdiensten 
 durch meldung eines so geringen fast unrecht anthun wuerde." 
 
 The Italian text of the arias has been added to the German. 
 
 First performed, as indicated, Theater beim Gansemarkt, February 25, 1732. 
 
 SCHATZ 4487 
 
 Porzia, ballet. See Alessandri's Calliroe. 
 
 II Posilipo di Napoli, ballet. See P. Guglielmi's Lo sciocco poeta 
 di campagna, 
 
 Pourceaugnac and Griletta. Tr. of Orlandini's Monsieur de 
 Porsugnac. 
 
 Le pouvoir de 1'amour. A. T. of the ballet Le premier navigateur. 
 
 Le pouvoir de I'amour. A. T. of Melml's Euphrosine et le tyran 
 corrige.
 
 OPERA LIBRETTOS 891 
 
 II povero superbo. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Grimani di S. Samuel nel carnovale dell' anno 1755 . . . 
 Veneziq, Modesto Fenzo, 1755. 59 p. 15. 
 
 Three acts. Author unknown to Schatz. Impresario's dedication, cast, scenario, 
 and name of Baldassare Galuppi as composer. According to Piovano, the text is 
 taken from Goldoni's "Castalda. SCHATZ 3467 
 
 Der praechtige freygebige. Tr. of Gretry's Le magnifique. 
 
 Prassitele in Gnidp. Drama pastorale per musica d'Aurelio 
 Aurelii da rapresentarsi in Rovigo nel Teatro novissimo dell' illustriss. 
 Signor Co. Marc' Antonio Monrredini 1'anno 1700 . . . 
 Venezia, Marino Rossetti, 1700. front., 48 p. 14% cm . 
 
 Three acts. Dedication, argument, cast, scenario, and Aureli's notice to the reader, 
 in which he mentions the "bizzarra musica del Signor Agostino Bonaventura Colletti, 
 virtuoso Luchese," and says: 
 
 "Se giammai nel numero. di 62 drami da me composti fin ora per la musica, me n'e 
 caduto dalla pena alcuno che meriti il titolo d'allegro; questi (6 benigno lettore) a mio 
 credere pu6 dirsi uno di quelli . . ." SCHATZ 2113 
 
 Prassitele in Gnido. Drama pastorale per musica da rappresen- 
 tarsi in Venetia nel Teatro Novissimo cfi Santi Appostoh 1'anno 
 1707 . . . 
 
 Venetia, Gio. Maria Rossi, 1707. 55 p. 15 cm . 
 
 Three acts. By Aurelio Aureli, who is not mentioned. Impresario's dedication, 
 argument, notice to the reader, and scenario. The composer, Girolamo Polani, is 
 not mentioned. SCHATZ 8255 
 
 II pregiudizio che nasce dal mancare di parola. A. T. of C. F. 
 Pollaroli's Almansore. 
 
 Le premier navigateur, ou Le pouvoir de 1'amour, ballet d'action, 
 en trois actes par M. Gardel 1'aine". Represente sur le Theatre de 
 1'Academie de musique, le mardi 26 juillet 1785. 
 
 Paris, n. pull, 1785. 13 p. 20\ cm . 
 
 Cast and scene by scene synopsis of the action of the three acts. No composer 
 mentioned, but Lajarte, charging Gardel with plagiarism on Philidor, says: "Musique 
 tire"e des oeuvres de Gretry." ML 52.2. P6 
 
 La premiere representation. Prologue. Pour pre"ceder la piece 
 suivante. Par M r Le S * * *. Represented a la Foire S. 
 Laurent. 1734. 
 
 - Les mariages de Canada. Piece d'un acte. Par M r Le 
 S * *. Repr&sentee a la Foire S. Laurent. 1734. 
 Le Theatre de la Foire, Paris, 1737, t. ix, p. [275\-362. 17 cm . 
 By Le Sage. Largely en vaudevilles. The airs, selected or composed and arranged 
 by Jean Claude Gillier, are printed at the end of the volume in the "Table des airs." 
 
 ML 48.L2IX 
 
 II prencipe giardiniero di Benedetto Ferrari dalla tiorba . . . 
 Rappresentato in musica in Venetia. Posto in musica dall' istesso 
 autore. 
 
 n. i., 7i. d. p. [239]-291. (Poesie drammatiche di Benedetto Ferrari, 
 Milano, 1644.) 13 m - 
 
 Detached copy. Three acts. Author's dedication, argument, two sonnets addressed 
 to the author, and "Prologo. Hercole su' L'idra." 
 
 First performed at Venice, Teatro de' SS. Gio. e Paolo, December 30, 1643. 
 
 SCHATZ 3068
 
 892 LIBRARY OF CONGRESS 
 
 Les preparatifs de fete. A. T. of Champein's Le po&te suppose". 
 
 La prepotenza delusa. Dramma giocoso per musica in due atti 
 d'Antonio Piazza Venetiano da rappresentarsi nel nobilissimo Teatro 
 di S. Samuele nel carnovale dell' anno 1777. 
 
 Venezia,.Gio. BaUista Casali, 1777. 64 p. 17$ cm . 
 
 Cast, scenario, and name of Giovanni Cavi as composer. On p. [31}-42, preface, 
 cast, scenario, and detailed description of Innocenzo Gambuzzi s Medonte, ballo 
 eroico." Baldassare Filippo Mattel is mentioned as the composer of the music. 
 
 SCHATZ 1757 
 
 La presa di Granata. Dramma serio per musica da rappresen- 
 tarsi nel Regio Teatro dell' Accademia degli Awalorati in Livorno 
 1'autunno dell' anno 1795. 
 
 [Livorno], Tommaso Masi e compagno. Ifi p. 
 
 Two acts. By Mario Ballani. Argument, cast, and names of the composer, 
 Giuseppe Maria Curcio, and the author. On a flyleaf a curious "protesta" of Sig. 
 Girolamo Braura has been pasted : 
 
 "che la parte di Lara . . . non corrisponda alle sue convenienze e carattere, pro- 
 testa di avere accettata la detta parte spontaneamente, e per mera compiacenza alle 
 istanze stategli fatti a tale effetto." SCHATZ 2305 
 
 - La conquista di Granata. Dramma per musica da rappresen- 
 tarsi nel Regio Teatro di via della Pergola 1'autunno del 1796 . . . 
 Firenze, Pietro Fantosini, 1796. 32 p. 17 cm . 
 
 Three-act version of the above. Argument, cast, and name of Giuseppe Maria 
 Curcio as composer. The third act simply consists of the two last scenes of the second 
 act. With the opera was performed Antonio Cianfanelli's ballet, "La diserzione per 
 equivoco." The composer of the music is not mentioned. SCHATZ 2306 
 
 La presa de Marochini, ballet. See Della Maria's Chi vuol non 
 puole. 
 
 The press gang or Love in low life. L. T. of Carey's Nancy. 
 Le Pressoir. See Floquet's Le seigneur bienfaisant. 
 
 Presumptuous love : A dramatick masque. As it is performed at 
 the New Theatre in Lincoln's Inn-Fields, 1716. 
 London, Edw. Nutt, n. d. 24 p. 21 cm . 
 
 Two acts. Cast and preface, in which the author (not recorded by Clarence) says: 
 "I own here is a great deal of room for fine machinery decoration of the stage, and 
 the like; but as that wou'd have encreas'd the expencea of the house too considerably, 
 we hope the musick to this masque will prove as agreeable an entertainment to the 
 town, as hath been produced in this kind some years; for the composing of which, we 
 own ourselves obliged to Mr. William Turner, wno hath a happy genius in naturalizing 
 Italian musick into a true English manner, without losing the spirit and force of the 
 original in the imitation, or the masterly touches of the art in the composition." 
 
 LONGB 138 
 
 I pretendenti burlati. Dramma giocoso per musica esposto a 
 diporto villereccio dal nobil uomo D. Gian-Carlo Grossardi nel suo 
 privato teatrino di Medesano F estate dell' anno 1793. 
 n. L, n. d. 4 p. I, 77 p. 20% cm . 
 
 Two acts. Author not mentioned, and unknown to Schatz. Cast (of amateurs), 
 scenario, and name of Ferdinando Par (Pae'r) as the composer. ("La musica tutta 
 nuova.") SCHATZ 7566
 
 OPERA LIBRETTOS 893 
 
 I pretendenti delusi. L. T. of Sarti's Fra i due litigant! il terzo 
 gode. 
 
 Le pretendu, comedie en trois actes, en vers, nidlee de musique; par 
 M. Riccoboni. Represented, pour la premiere . fois, sur le Theatre 
 des Comediens italiens ordinaires du roi, le jeudi 6 novembre 1760. 
 
 Paris, de Lormel, 1760. 72 p. 19 cm . 
 
 Cast and name of Pierre Gavinies as composer. ML 50.2.P63G2 
 
 Les pretendus, comedie-lyrique en un acte, representee pour la 
 premiere fois, par 1'Academie royale de musique, le mardi 2 juin 1789. 
 Paris, P. de Lormel, 1789. viii, 55 p. 23 cm . 
 
 One act. By Marc Antoine Jacques Rochon de Chabannee, who is not mentioned. 
 "Avertissement," name of Le Moine as composer, and cast. SCHATZ 5487 
 
 Les preux chevaliers. See Dorothee. 
 
 La preziosa ridicola. Intermezzi in II Radamisto, Firenze, 1728. 
 
 La preziosa ridicola. Intermezzi comici musicali da rappresen- 
 tarsi nel Teatro di S. Angelo il carneval dell' anno 1719. 
 Venezia, Marino Rossetti, 1719. 20 p. 15% cm . 
 
 Three parts. Neither the author, marchese Trotti, nor the composer, Giuseppe 
 Maria Orlandini, is mentioned. 
 
 First performed at Bologna, Teatro Formigliari, June 14, 1718. SCHATZ 7346 
 
 Le preziose umiliate, ballet. See Winter's BelJsa. 
 
 Le prie del'oiseau ou du papegai, ballet. See Bernasconi's Didone 
 abbandonata. 
 
 La prigionia di Dario. A. T. of Stabingher's ballet II trionfo di 
 Alessandro. 
 
 II prigioniero fortunate. Drama per musica di Francesco Maria 
 Paglia . . . 
 
 Napoli, Dom. Ant. Parrino e Michele Luigi Mutio, 1698. 70 p. 
 14 cm . 
 
 Three acts. Author's dedication, notice to the reader, cast, and scenario. The 
 composer, Alessandro Scarlatti, is not mentioned. 
 
 First performed at Naples, Teatro di San Bartolomeo, December 14, 1698. 
 
 SCHATZ 9529 
 
 II prigioniero fortunate. Drama per musica da rappresentarsi 
 in Mantova F anno 1699 . . . 
 
 [Mantova], Gio. Batt. Grana, n. d. 91, [2] p. 
 
 Three acts. Dedication, notice to the reader, cast, scenario, and names of Paglia 
 as the author, of Alessandro Scarlatti as the composer. On the [2] p. "Arie mutate": 
 "Segni d'un bel valore" instead of "Cangia il cielo," "Ben mio tu non vedrai" 
 instead of "Quell' ardore" (both act I), "Son nata per quegl' occhi" instead of "Mi 
 tormenta," "Sapr6 svenar con 1'armi" instead of Flagellate" (both act II), and in 
 act III "Quanto earei beata" instead of "Folli amanli" and "Bella prova de la mia 
 fede" instead of "M' incatena." ML 50.2.P65S2 
 
 La prima eta dell' innocenza o sia La Rosaja di Salency, ballet. 
 See Borghi's Artaserse.
 
 894 LIBRARY OF CONGRESS 
 
 j Primislao, primo re di Boemia. Drama per musica. Da rappre- 
 sentarsi nel Teatro di S. Cassiano 1' anno 1698. Di Giulio Cesare 
 Corradi . . . 
 
 Venetia, Per il Nicolini, 1697. 60 p. lJ& cm . 
 
 Three acts. Author's dedication dated Venice, November 9, 1697, argument, 
 scenario. The composer, Tommaso Albinoni, is not mentioned. SCHATZ 124 
 
 II primo giprno dell' anno nella China, ballet. See Tarchi's Ifi- 
 genia in Aulide. 
 
 II primo navigatore, ballet. See Minoja's Tito nelle Gallic. 
 The prince of Arragon. A. T. of Arnold's The birth-day. 
 
 The princess of Tarento. A comedy in two acts. 
 
 [189}-236 p. 21 Y m - (TTie miscellaneous works of A. M' Donald, 
 London, J. Murray, 1791.} 
 
 Interspersed with airs, songs, etc., composed by Corelli, Vanh.aU, Gluck, Giar- 
 dini, Millico, Handel, Harrington. LONGE 282 
 
 La princesse d'Elide, ballet heroique, represente par 1'Academie 
 royale de musique, 1'an 1728. Paroles de M. Pellegrin. Musique de 
 M. Villeneuve. CX. opera. 
 
 n. i., n. d. pi. 253-296 p. 14 cm - (Recueil general des opera, t. xiv, 
 Paris, 1734}. 
 
 Detached copy. Prologue and three acts. 
 
 First performed, as indicated, July 20, 1728. SCHATZ 10738 
 
 Second copy. ML 48.R4 
 
 La princesse de Carizme. Pi&ce en trois actes. Par Monsieur le 
 S *. Represent ee a la Foire de Saint Laurent 1718. Et pen- 
 dant le cours de la me'me foire, sur le Theatre de TOp^ra, par ordre 
 de S. A. Royale Madame. 
 
 Le Theatre de la foire, Paris, 1737, t. Hi, pi., \_95\-199 p. 17 cm . 
 
 By Alain Rene* Le Sage. Largely en vaudevilles. The airs selected or composed 
 and arranged by Jean Claude GiUier, the "compositeur" of the theatre, are printed 
 at the end of the volume in the "Table des airs/' ML 48. L2 III 
 
 La princesse de la Chine. Piece en trois actes. Par M 1 * le 
 
 S * * & d'Or * * represented a la Foire Saint Laurent 1729. 
 
 Le Theatre de la Foire, Paris, 1731, t. viii, pi., [121}-212 p. 17 cm . 
 
 By Le Sage and d'Orneval. Largely en vaudevilles. The airs, selected or composed 
 and arranged dy Jean Claude Gillier, are printed at the end of the volume in the 
 "Table des airs." 
 
 First performed June 25, 1729. ML 48.L2 VII 
 
 La princesse de Navarre, come'die-ballet ; feste donnee par le roy 
 en son chateau de Versailles, le mardi 23. fevrier 1745. Cette piece 
 est du Sr. Arrouet de Voltaire. 
 
 [Paris], Bollard fits, n. d. 88 p. 21 cm . 
 
 Prologue, three acts, and final Divertissement. The latter was intended entirely 
 for music, whereas in the come'die-ballet proper music figured only incidentally in 
 the form of dances and choruses. The composer, Jean Philippe Rameau, is not 
 mentioned. Cast and Avertissement, reading, in part: 
 
 "Le Roi a voulu donner a Madame la Dauphine une Fe'te qui ne fut pas seulement 
 un de ces Spectacles pour les yeux, tels que toutes les Nations peuvent les donner, & 
 qui passant avec 1' eclat qui les accompagne. ne laissent apres eux aucune trace. II a
 
 OPERA LIBRETTOS 895 
 
 La princesse de Navarre Continued. 
 
 command^ un Spectacle qui put a la fois servir d 'amusement a la Cour, & d'encourage- 
 ment aux beaux Arts, dont il scait que la culture contribue a la gloire de son Royaume. 
 M. le Due de Richelieu, Premier Gentilhomme de la Chambre en exercice, a ordonne 
 cette Fete magnifique. 
 
 "II a fait eieyer un Theatre de cinquante-six pieds de profondeur dans le grand 
 Manege de Versailles, & a fait construire une Salle, dont les decorations & les embel- 
 lissemens sont tellement menag^s, que tout ce qui sert au Spectacle doit s'enlever en 
 une nuit, & laisser la Salle ornee pour un Bal pare, qui doit former la Fete du 
 lendemain. 
 
 "Le Theatre & les Loges ont ete construits avec la magnificence convenable, & 
 avec le gout qu'on connolt depuis long-terns dans ceux qui ont dirige ces preparatifs. 
 
 "On a voulu reunir sur ce Theatre tous les talens qui pourroient contribuer aux 
 agremens de la Fete, & rassembler a la fois tous les charmes de la declamation, de la 
 Danse & de la Musique, afin que la Personne Auguste, a qui cette Fete est consacre"e, 
 
 Rtit connoitre tout d'un coup les talens qui doivent etre doresnavant employes a 
 li plaire. 
 
 "On a done voulu que celui qui a etc" charge" de composer la Fete, fit un de ces 
 ouvrages Dramatiques, oil les divertissemens en musique torment une partie du sujet, 
 oil la plaisanterie se mele a 1'Heroique, & dans lesquels on voit un melange de 1' Opera, 
 de la Comedie, & de la Tragedie. 
 
 "On n'a pu ni du donner a ces trois genres toute leur etendue; on s'est offeree" 
 seulement de reunir les talens de tous les Artistes qui se distinguent le plus, & 1'unique 
 merite de 1'Auteur a ete de chercher a faire valoir celui des autres ... 
 
 "Ce Divertissement a ete execute le 23. F4vrier de cette anne"e 1745. vers les six 
 heures du soir. Le Roi s'est place au milieu de la Salle, ayant aupres de lui, la Reine, 
 Monsieur le Dauphin, Madame la Dauphine & Mesdames. 
 
 "Les Princes & les Princesses du Sang achevoient le cercle. Les Grands Officiera 
 de la Couronne etoient derriere la Famille Royale. 
 
 "II eut ete a desirer qu'un plus grand nombre de Francais eut pu voir cette assem- 
 ble, tous les Princes de cette maison qui est sur le Trone long terns avant les plus 
 ancienes du monde, cette foule de Dames parses de tous les ornemens qui sont encore 
 des chef-d'oeuvres du gout de la Nation, & qui etoient effaces par elles; enfin cette 
 joye noble & detente qui occupoit tous les coeurs & qu'on lisoit dans tous les yeux. 
 
 "On est sorti du Spectacle a neuf heures & demie dans le meme ordre qu'on etoit 
 entre, & alors on a trouv toute la facade du Palais & des Ecuries illuminee. La 
 beaute de cette Fete n'est qu'une foible image de la joye d'une Nation qui voit reunir 
 le sang de tant de Princes ausquels elle doit son bonheur & sa gloire. 
 
 "Sa Majeste, satisfaite de tous les soins qu'on a pris pour lui plaire, a ordonne que 
 ce Spectacle fut represente encore une seconde fois." ML 52.2. P7 
 
 II principato cttetodito dalla frode. Drama per musica da rap- 
 presentarsi nel Teatro Tron in S. Casciano Fanno 1705 . . . Poesia 
 di Francesco Silvani . . . 
 
 Venezia, Marino Rossetti, 1705. 72 p. 15 cm . 
 
 Three acts. Author's dedication, dated Venice, January 31, 1705, argument, notice 
 to the reader, cast, scenario, and name of the composer, Carlo Francesco Gasparini. 
 
 SCHATZ 3577 
 
 II principe di Lago Nero ossia La contadina in corte, ballet. See 
 di Palma's Gli amanti della-sorte. 
 
 II principe di Taranto. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro Elettorale di Sassonia. 
 Dresda, n. putt., 1798. 155 p. 15\ cm . 
 
 Two acts. Ferdinando Francesco Paer is mentioned as the composer. The 
 author, Filippo Livigni, is not mentioned. German title page, "Der fuerst von 
 Taranto," and text face Italian. The text is an altered version of Livigni's "La finta 
 principessa." 
 
 First performed March 24, 1798, as indicated; previously at Parma, Teatro Ducale, 
 carnival, 1797. SCHATZ 7524
 
 896 LIBRARY OF CONGRESS 
 
 II principe selvaggio. Drama per musica da rappresentarsi nel 
 Teatro di Sant' Angelo. L'anno 1695 . . . 
 Venetia, Nicolini, 1695. 66 p. 14 em . 
 
 Three acts. Dedication signed by the author, Francesco Silvani, with his initials 
 and dated Venice, January 10, 1695, notice to the reader, argument, and scenario. 
 The composer, -Michel Angelo Gasparini, ia not mentioned. SCHATZ 3603 
 
 La principessa di Amalfi. O. T. of Weigl's La contessa di Amalfi. 
 La principessa di Tingi, ballet. See Insanguine's Calipso. 
 
 La principessa fedele. Drama per musica da rappresentarsi nel 
 Teatro Tron di San Cassiano per 1'autunno dell' anno 1709 . . . 
 Venezia, Marino Rossetti, n. d. 65 p. 15 cm . 
 
 Three acts. Neither the author, conte Agostino Piovene, nor the composer, Carlo 
 Francesco Gasparini, are mentioned. Dedicatory poem, argument, cast, and 
 scenario. SCHATZ 3578 
 
 La principessa nlosofa ossia II contraweleno. Commedia ridotta 
 ad uso melodrammatico da rappresentarsi nel nobilissimo Teatro 
 Venier in S. Benedetto 1'autunno dell' anno 1794. 
 
 Venezia, Andrea Albrizzi, n. d. viii, 56, [12} p. 18% cm . 
 
 Two acts. By Antonio Simone Sografi, who is not mentioned. Impresario's dedi- 
 cation, cast, and name of Gaetano Andreozzias composer. Vittorio Trento is men- 
 tioned as composer of the music for the ballets "Fallaride, tiranno d'Agricento, ballo 
 eroico tragico pantomimo " and "II ratto delle castellane fatto dai Triestini." Of the 
 first a complete synopsis of plot is given by its author; Giuseppe Trafieri on the 
 unnumbered pages of the libretto. 
 
 First performed, as indicated, October 6, 1794. SCHATZ 198 
 
 Le printemps, divertissement pastoral en un acte et en vaudevilles 
 par MM. de Pils & Barre"; represente pour la premiere fois, a Marly ^ 
 devans Leurs Majestes, le samedi 29 mai 1781, & a Paris, le mardi 
 22 du m6me mois, par les Come'diens italiens ordinaires du roi. 
 
 Paris, CaiUeau, 1784. 24 p. 18\. 
 
 The composer, Felix Jean Prot, is not mentioned. SCHATZ 8471 
 
 The prisoner: a musical romance, in three acts. First performed 
 by His Majesty's company from the Theatre-Royal, Drury-Lane, at 
 the King's Theatre, Hay-market, on Thursday, October 18th, 1792. 
 
 London, C. Lowndes, n. d. 2 p. 1., 28 p. 21\ cm . 
 
 Cast. The air "Where the banners of glory " is headed as by Mozart. Neither 
 the author, John Rose, is mentioned, nor the composer, Thomas Attwood. In 
 Longman & Broderip's vocal score the last finale is headed as by "Giornovichi 
 and Attwood. 
 
 LONG E 236 
 
 The prisoner or The resemblance. Tr. of Delia Maria's Le prison- 
 nier ou La ressemblance. 
 
 Le prisonnier, ou La ressemblance, com6die. En un acte et en 
 prose, me'lee de chants; jou6e sur le Theatre Favart, le 10 pluviose, 
 an VI. [January 29, 1798]. Parole [!] du citoyen Alex. Duval, 
 musique du citoyen Domenico della Maria. 
 
 Amsterdam, Le Franc, an. VI 1798. 86 p. 19% cm . 
 
 With cast. SCHATZ 2485
 
 OPEKA LIBRETTOS 897 
 
 Le prisonnier Continued. 
 
 The prisoner; or, The resemblance. (From the French.) A 
 comic opera, in one act. Adapted to the English stage by Henry 
 Heartwell, Esq. 
 
 London, Oadell and Dames, 1799. mil, [9]~40 p. 21 cm . 
 
 Cast and preface which makes it clear that the translation had not yet been per- 
 formed and in which Heartwell says: 
 
 "Very few liberties have been taken with the original ["Le prisonnier, ou La 
 ressemb lance," text by Duval, music by Delia Maria] which, to stamp its celebrity, 
 boasts of one hundred successive representations in the year 1798. It does not open 
 with Rosina's song; has no change of scene; with those exceptions, the situation, 
 interest, and, it is hoped, simplicity, will be found faithfully preserved." 
 
 This translation was found to be too simple for the English stage. With the cooper- 
 ation of George Colman for the text and Thomas Attwood for the music "The 
 prisoner" was much altered and expanded to two acts. In this form it was first 
 performed as "The castle of Sorrento" at the Haymarket, July 13, 1799. (See this 
 under its title.) LONGE 254 
 
 Arien und gesaenge aus der oper: Der arrestant, in einem auf- 
 zuge. Aus dem franzoesischen uebersetzt von Ihlee. Die musik ist 
 von Domenico della Maria . 
 
 Frankfurt am Main, n. publ., 1799. 16 p. 16\ cm . 
 
 First performed at Francfort o/M, Nationaltheater, January 23, 1800. 
 
 SCHATZ 2486 
 
 Le prix de Cythere, opera-comique ; par M. le marquis D. P. & M. 
 Favart; represente" pour la premiere fois sur le Theatre du fauxbourg 
 S. Germain, le 12 fevrier 1742. Nouvelle Edition. 
 
 Paris, Duchesne, 1761. 72 p. W cm . (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. vi.) 
 
 Prologue, one act. Prose, vaudevilles, and original ariettes, which are printed in 
 the text. Written in collaboration with the marquis de Paulmy. Font does not 
 mention their musical collaborator. He gives February 13, 1742, instead of Feb- 
 ruary 12 as the date of first performance. ML 49.A2F1 
 
 The prize, or, 2, 5, 3, 8. A musical farce in two acts. Written by 
 Prince Hare [ !], Esq. The music by Storace. 
 Dublin, Patrick Conner, 1793. 44 p. 17$ cm . 
 
 Cast. By Prince Hoare. 
 
 First performed at London, March 11, 1793. LONGE 233 
 
 Proceguimento ou Segunda parte do Falador. Tr. of Marescalchi's 
 II proseguimento del CWarlone. 
 
 Procris et Cephale. Tr. of Reichardt's Cephalus und Prokris. 
 
 Procris och Cephal, opera uti tvo acter, uti deras Kongl. Majes- 
 taters och Kongl. Husets narvaro forsta gangen upford den 8 jannarii 
 1778. 
 Stockholm, Kongl. Tryckeriet, 1778. 18 p. 22 cm . 
 
 Cast and prefatory note, according to which the text was based on Marmontel's 
 "Procris et Cephale, by Gudmund Goran Adlerbeth, who is not mentioned, and the 
 music partly selected by Lara Samuel Lalin from "goda mastares arbeten," partly 
 composed, ? 'recitativerne och en del chorer," by the court conductor, Henrik Filip 
 Johnsen. SCHATZ 4967 
 
 72251 VOL 114 57
 
 898 LIBRARY OF CONGRESS 
 
 Procris und Cephalus in einem singe-spiel vorgestellet. 
 
 Hamburg, Nicolaus Spieringk, 1701. [54\ p. 18 cm . 
 
 Three acts. By Friedrich Christian Bressand. Neither he is mentioned, nor the 
 composer, Georg Bronner. 
 
 First performed at Hamburg, Opernhaus b. Gansemarkt, in 1701; at Brunswick, 
 Hochfuretl. grosses Theater, in 1694. SCHATZ 1333 
 
 I prodigi d'amore, ballet. See Sarti's II militare bizzarre. 
 
 I prodigi dell' innocenza. Drama per musica rappresentato in 
 Firenze nel carnevale dell' anno 1708 . . . 
 
 Firenze, Vincenzo Vangelisti, 1707. 64 p. 15% cm . 
 
 Three acts. Argument, cast, scenario, and prefatory note, in which the unknown 
 author acknowledges his indebtedness to the text ["Ottone"] by conte Roberto 
 Frigimelica, for "penaieri" not only, but in many places for "sue parole medesime." 
 Composer not mentioned, and unknown to Schatz. 
 
 First performed, as indicated, Teatro in via della Pergola. SCHATZ 11359 
 
 II prodigio dell' innocenza. Drama per musica da rappresentarsi 
 nel Teatro Grimano de Ss. Gio. e Paolo. L'anno 1695 . . . 
 
 Venetia, Per il Mcolini, 1695. 70, [1] p. 1J&. 
 
 Three acts. By Fulgenzio Matteo Gualazzi. Neither he is mentioned, nor the com- 
 poser, Tommaso Albinoni. Dedication, argument, scenario, notice to the reader. 
 
 SCHATZ 104 
 
 Progne e Filomene, o sia Tereo, tiranno di Nasora, ballet. See 
 Nasolini's Timoleone. 
 
 The progress of a harlot. A. T. of The jew decoy'd. 
 
 Les projets de 1' Amour, ballet-heroique, en trois actes; represent 6, 
 a Versailles, devant Sa Majeste, le mercredi 29 mai 1771 
 
 [Paris], Pierre Robert Christophe Bollard, 1771. 4 p. 1, 51 p. 21\. cm 
 Cast and name of Jean Joseph Cassanea de Mondonville as composer. The author 
 of the text is not mentioned and is not recorded. The single acts were called " L'Hi- 
 men et 1'Amour," "Jupiter et Calisto," and "Mirzele." ML 52.2.P75 
 
 Prologue des deux pieces suivantes. Represent e par la Troupe du 
 Sieur Francisque a la Foire de Saint-Germain. 1721 . . . 
 
 Below the title, the Avertissement: 
 
 "Quelques personnes de la premiere distinction s'e'tantinteresse's pourcette troupe, 
 on la laissa joiier ce prologue & les deux pieces qui le euivent en prose, mel^e de 
 vaudevilles." 
 
 Arlequin Endymion. Piece d'un acte. Represented par la 
 Troupe du Sieur Francisque a la Foire de Saint Germain 1721 . . . 
 
 Below the title, this Avertissement: 
 
 "Les come"diens italiens dans ce temps-la repre"senterent devant le roi une piece 
 intitule Diane & Endymion, ce qui donna occasion de faire celleci, qui contient 
 quelques scenes parodie"es." 
 
 La foret de Dodone. Represented par la troupe du Sieur 
 Francisque a la Foire de Saint Germain 1721. 
 
 Le Theatre de lafoire, Paris, 1724, t. iv, 3 pi., [213}-251 p. 17 cm . 
 
 From 264 the pagination jumps, by printer's error, to 295! According to a note on 
 2d p. 1., the plays in t. iv were by Le Sage, Fuzelier, and d'Orneval. The "prologue " 
 is entirely in prose; the two other plays en prose, melee de vaudevilles. The airs, 
 gfilected or composed and arranged by Jean Claude Gillier, the " compositeur " of the 
 theatre, are printed at end of the volume in the "Table des airs." 
 
 ML 48. L2 IV
 
 OPERA LIBRETTOS 899 
 
 Prologue des Indes galantes. See Rameau's Les Indes galantes. 
 
 La promessa serbata al primo. Drama per musica da rappresen- 
 tarsi nel Teatro de' SS. Gio. e Paolo 1'anno 1697. 
 
 Venetia, Nicolini, 1697. 4 p. 1., 48 p. 15 cm . 
 
 Three acts. Author unknown to Schatz. Argument, notice to the reader, scenario. 
 The composer, Antonio Caldara, is not mentioned. SCHATZ 1496 
 
 Les promesses de mariage, suite de L'e"preuve villageoise, opera 
 bouffon en deux actes et un vers, par M. Desforges. Musique de Al. 
 Berton. Represent e, pour la premiere fois, par les dome'diens 
 italiens ordinaires du roi, le 4 juillet, 1787. 
 
 Paris, Brunet, 1788. 26 p. 19$ cm . SCHATZ 902 
 
 The prophetess or, The history of Dioclesian. Written by Francis 
 Beaumont and John Fletcher. With alterations and additions, after 
 the manner of an opera. Represented at the Queen's theatre, by 
 Their Majesties servants. 
 London, Jacob Tonson, 1690. 2 p. I, 74, [2] p. 21 cm . 
 
 . Five acts and epilogue. The operatic adaptation was made by Thomas Betterton. 
 Neither he nor the composer, Henry Purcell, is mentioned. This copy contains no 
 preliminary matter of any kind except the title page and list of characters. 
 
 First performed in the early summer of 1690. ML 48.M2D 
 
 The prophetess ; or, The history of Dioclesian. A dramatic 
 opera, with all the new songs, and the masque. As performed at the 
 Theatre-Royal in Covent-Garden. 
 London, J. and R. Tonson, 1759. 72 p. 16 cm . 
 
 Five acts. Cast. Neither authors nor composer mentioned, but Cummings lists 
 this modernization under the works of Thomas Aug. Arne. LONGE 72 
 
 II proseguimento del Chiarlone, dramma giocoso per musica di 
 Giacomo Fiorini, da rappresentarsi nel Teatro rua dos Condes in 
 Lisbona 1'autunno dell' anno 1766 . . . 
 
 Lisbona, Pietro Ferreira, n. d. 8 p. I., 179 p. 14% cm - 
 Three acts. Author's dedication, cast, scenario, and name of Luigi Marescalchi 
 as the composer. Portuguese title-page, " Proceguimento, ou Segunda parte do 
 Falador," and text face the Italian. SCHATZ 5947 
 
 Proserpina rapita. Intermedio pe rmusica di Benedetto Ferrari 
 dalla Tiorba. 
 
 n. i., n. d. p. [293}-303 (Poesie drammatiche di Benedetto Ferrari, 
 Milano, 1644.) ^ m - 
 
 Detached copy. One act, composed by the author, as appears from the sonnet 
 addressed to the author on p. 295. 
 
 First performed at Bologna, Teatro Guastavillani, 1645. SCHATZ 3069 
 
 Proserpina rapita. Intermedii in musica per la pastorale da reci- 
 tarsi in casa de gFillustriss. Signori Co. Costante, et Alessandro Ben- 
 tivogli. D. C. R. C. 
 Bologna, per gli Jieredi di Giovanni Rossi, 1613. 30 p. 19% cm . 
 
 Prologue and four intermedii. The dedication "Ad Amore" contains no special 
 data. No composer recorded by Ricci or Schatz, but from Solerti'e "L'origine del 
 melodramma," p. 236, it appears that conte Ridolfo Campeggi was the author and 
 Girolamo Giacobbi perhaps the composer. ML 50.2.P68
 
 900 LIBRARY OF CONGRESS 
 
 Proserpine, tragedie en musique, orne'e d'entrSes de ballet, de 
 machines, & de changements de theatre. Represented devant Sa 
 Majest6 a Saint Germain en Laye le [blank] de fevrier 1680. 
 
 Paris, (Thristophe BaUard, 1680. 7 p. I (inc. front.}, 70 p'. 23 cm . 
 
 Bound in with Bellerophon, 1679, also composed by Lully. 
 
 Prologue and five acts. Casts. Neither the company nor the author, Philippe 
 Quinault, is mentioned. 
 
 First performed, as indicated, February 3, 1680 (Schatz), February 5 (Pruniores), 
 and at Paris, Acade'mie royale de musique, November 15, 1680. ML 50.2.B35L9 
 
 Proserpine, tragedie en musique, orne'e d'entr6es de ballet, de 
 machines, & de changements de theatre. Represent 6 devant Sa 
 Majeste" a Saint Germain en Laye. Suivant la copie imprimee, a 
 Paris. 
 
 [Amsterdam, Antoine Schelte], 1688. 72 p. (incl. front.) 13% cm . 
 Five acts and prologue. Cast. Neither Quinault nor Lully are mentioned. 
 
 ML 50.2.P7L9 
 
 Proserpine, tragedie represented par 1'Academie royale de mu- 
 sique Fan 1680. Les paroles de M. Quinault, & la musique de M. de 
 Lully. XII. opera. 
 
 n. i., n. d. 14 cm . front., 197-268 p. (Recueil general des opera, 
 t. ii, Paris, 1703.) 
 
 Detached copy. Prologue and five acts. SCHATZ 5770 
 
 Second copy. ML 48. R4 
 
 Proserpine. Tragedie en musique orne'e d'entrees de ballet, de 
 machines & de changemens de theatre. Represented devant Sa 
 Majest6 a Saint Germain en Laye, le 3. fevrier 1680. 
 
 Quinault, Theatre, Paris, 1739, t. v., pi, 68 p. 17 cm . 
 
 Five acts. Without name of Lully as the composer. PQ 1881. Al 1739 
 
 Proserpine, tragedie, represent^ devant le roi, a Saint Germain 
 en Laye, en 1680; et par 1 Academie-royale de musique, en juillet 
 1699. Mars 1715. Janvier 1727. Janvier 1741. Et remise au 
 theatre, le mardi 14 novembre 1758. 
 
 Paris, Aux depens de 1'Academie, chez la V. DeLormel & fils, 1758. 
 71 p. 22% cm . 
 
 Five acts without prologue. Cast. Names of Quinault and Lully. 
 
 ML 50.2.P72L9 
 
 Petrine, parodie de Proserpine. Represented pour la premiere 
 fois par les Come'diens italiens ordinaires du roi, le 13 Janvier 1759. 
 
 Paris, N. B. Duchesne, 1759. 64 p. 19 cm . (Theatre de M. Favart, 
 Duchesne, 1763-77, t. iv.) 
 
 One act. Prose and vaudevilles. Many airs printed in the text. Cast. The 
 arranger or composer is not mentioned and is unknown to Font. According to the 
 preface (v. I, p. xix) some of the couplets were written by Sedaine. According to 
 Font "Petrine" is merely a much altered version of Fayart's "Farinette," a parody 
 (performed March 9, 1741) of Lully's "Proserpine," revived January 31, 1741. The 
 original version was "tout en vaudevilles." ML 49.A2F1 
 
 La prosperita di Elio Sejano. O. T. of Minato's libretto La gene- 
 rosita di Tiberio.
 
 OPERA. LIBRETTOS 901 
 
 La prosper! ta di Elio Seiano. Dramma per musica nel Teatro a 
 S. Salvatore 1'anno MDCLXVII . . . 
 
 'Venetia, Bcrtolo Tramontino, 1667. 72 p. 14% cm . 
 
 Three acts. Dedication by the author, conte Nicol6 Minato, and dated Venice, 
 January 15, 1666, argument, scenario, and notice to the reader which reads, in part: 
 
 "A questo drama, nominate La prosperita di Seiano, doveva la sera immediata- 
 mente vedersi 1'altro intitolato La caduta di Seiano, ma per non ritardarti il godimento 
 de gl'insigni virtuosi die v'intervengono, & il diletto della musica del Signer Antonio 
 Sartorio . . . s'e yoluto pre venire con questa, per farti poi in breui giorni eentire 
 anco 1'altra compositione. 
 
 This notice, therefore, would cancel the one at the end of the text: 
 
 "Segue poi I 1 opera intitolata La Caduta di Seiano, che si rappresenta la sera segu- 
 ente alia recita di questa." SCHATZ 9486 
 
 La prosperita infelice di Giulio Cesare dittatore. Opera musi- 
 cale di Gio. Francesco Busenello. 
 
 Venetia, Andrea Giuliani, 1656. 64 p. 15 cm . 
 
 Five acts, with prologue. Argument and scenario, but without name of the com- 
 poser. Music attributed by Schatz and Wiel (in the "Musical Antiquary") to Pietro 
 Francesco Cavalli. Both date the first performance 1646, Teatro Novissimo, Venice, 
 though the libretto plainly has date of 1656. SCHATZ 1726 
 
 Proteo sul Reno. Poemetto drammatico nel giorno del gloriosis- 
 simo nome della Sac. Heal Maesta di Giuseppe I. r de' Romani. 
 
 Pietro Antonio Bernardoni, Poemi drammatici, parte terza, Vienna, 
 van GJielen, 1707, p. 79-90. 16% cm . 
 
 The composer, Giovanni Battista Bononcini, is not mentioned. 
 First performed at Vienna, Hoftheater, as indicated, March 19, 1703. 
 
 ML 49.A2B4 
 
 Protesilao. Dramma per musica in due atti con cori e balli ana- 
 loghi composto dal Signer abate Sertor di Venezia e messo in musica 
 da! Signer Amedeo Naumann ... da rappresentarsi nel Regio 
 Teatro di Berlino il carnovale dell' anno 1793. 
 Berlino, Haude e Spener, n. d. 73 p. 16\ cm . 
 
 Argument and cast. German title page, "Protesilaus," and text face Italian. 
 (See next entry.) 
 
 First performed, as indicated, in January, 1793. SCHATZ 7055 
 
 Protesilao. Dramma per musica in due atti con cori e balli ana- 
 loghi. Composto dal Signer abate Sertor di Venezia. E messo in 
 musica il primo atto: dal Sign. Gio. Feder. Reichardt . . . ed il 
 second' atto dal Signer Amadeo Naumann . . . Da rappresentarsi 
 nel Regio Teatro di Berlino il carnovale MDCCLXXXIX. 
 
 Berlino, Haude e Spener, n. d. 73, [2] p. 16 cm . 
 
 Argument and cast. German title-page, " Protesilaus," and text face Italian. 
 
 First performed, as indicated, January 26, 1789. SCHATZ 8654 
 
 Protesilaus. Tr. of Naumann's Protesilao, also of his and Reich- 
 ardt 's opera of this title. 
 
 II protettor del poeta. Intermezzi per musica a tre voci da rap- 
 presentarsi nel Teatro alia Valle nel carnevale dell' anno 1754 . . . 
 
 Roma, Si vendono nella Libraria di S. Michele, 1754. 24 p- 15\ cm . 
 
 Two parts. Author not mentioned and unknown to Schatz. Dedication signed 
 by G. Puccinelli and Angelo Lungi, cast and name of Gaetano Latilla as composer. 
 
 ML 50.2.P73L2
 
 902 LIBRARY OF CONGRESS 
 
 II protettore alia moda. Dramma comico per musica da rappre- 
 sentarsi nel Teatro Tron di S. Cassiano 1'autunno dell' anno 1749. 
 
 Venezia, Modesto Fenzo, 1749. 60 p. 15 cm . 
 
 Three acts. A new version of "Chi non f non falla," by Giuseppe Maria Buini, 
 who is not mentioned, and who also was responsible for the music (Bologna, 1729). 
 For the replica, Galuppi reset more or less the whole libretto, but it is probable that, 
 besides Buini and Gafuppi's music, music by several other composers was used in this 
 pasticcio (Piovano). The libretto for this further replica of 1749 contains no reference 
 to the composers. SCHATZ 3520 
 
 La prova del dram ma serio. Dramma giocoso per musica da rap- 
 presentarsi in Firenze nel R. Teatro di via del Cocomero nel carne- 
 vale dell' anno 1797 . . . 
 
 Firenze, Anton Giuseppe Pagani e comp., 1797. 19 p. 16\ cm . 
 
 One act. Author not mentioned, and unknown to Schatz. Cast and name of 
 Ferdinando Rutini as the composer. ("La musica e tutta nuova.") SCHATZ 9185 
 
 La prova del vero amore. A. T. of the ballet Le due rivali. 
 La Provengale. Entree in Mouret's Les festes de Thalie. 
 
 La Provengale. For Duni's parody of this, see his La fille mal 
 garde"e. 
 
 The prude, a comic opera . . . 
 n. i., n. d. [97]-176 p. 20. 
 
 Three acts. By Eliza Ryves, who is not mentioned, and from whose Poems on 
 several occasions (London, 1777), this appears to be detached. She says, in a footnote 
 on p. [97]: 
 
 "The author hopes her readers will be so indulgent, as to consider that this opera 
 was intended for the stage, and most of the airs composed for particular tunes ..." 
 
 The titles of these are given on p. 175-176, in a table of the "Old tunes, to which 
 the .airs are adapted." LONGE 197 
 
 La prudenza vittoriosa. See M. Curzio. 
 
 Prunella: an interlude perform'd in the The Rehearsal, at the 
 Theatre-Roya] in Drury-Lane. The sense and musick collected 
 from the most famous masters. By Mr. Airs, for the advantage of 
 Mr. Estcourt . . . 
 
 London, Printed for Bernard Lintott, n. d. 2 p. 1., 16 p. 21\ cm . 
 
 A prefatory note by Estcourt precedes the list of characters. The interlude has 
 four scenes spread over the four acts of "The Rehearsal," a comedy by George Villiers, 
 duke of Buckingham. In the margin some of the airs are indicated to which the 
 airs in "Prunnella" were to be sung. The indicated airs were taken from Clayton's 
 "Arsinoe," from Bononcini's "Camilla" and from "Thomyris." Also popular airs 
 (ballad airs?) seem to have been used! On the title page is this 
 
 "Note, that an opera, of which this is but a part, will be soon finished and printed, 
 with a prologue and epilogue; and a preface in praise of the fineness and delicacy of 
 operas, and the difference between an Italian opera and an opera in Italy." 
 
 According to Clarence "Printed before 1713 . . . Acted Drury Lane, Februray 
 12, 1708," the same date as given by Genest. ML 50.2. P74 
 
 La pruova reciproca. Commedia per musica di Giuseppe Palomba 
 da rappresentarsi nel Teatro de' Fiorentini per second' opera di 
 quest' anno 1789. 
 
 Napoli, n. publ., 1789. 48 p. 14\ cm . 
 
 Two acts. Cast and name of Giacomo Tritto as the composer. SCHATZ 10474
 
 OPERA LIBRETTOS 903 
 
 Psiche, componimento musicale cantato in Vienna, a di 19. novembre 
 1720 e replicato nel 1721. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744) ^ wi, P- \359}-390. 
 19 cm . 
 
 No composer is mentioned. (The music was composed by Fux and Caldara.) In 
 the "Catalogo" at end of t. x it is said of this text: "ora per la prima voltastampata." 
 
 ML 49.A2Z3 
 
 - Psiche, componimento musicale cantato in Vienna. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. xi, p. 349^ 
 382. 21 cm . 
 
 One act. No composer is mentioned. ML 49.A2Z4 
 
 La Psiche. Poemetto dranimatico nel giorno del gloriosissimo nome 
 della Sac. Ces. Real Maesta delP imperadrice Eleonora Maddalena 
 Teresa. 
 
 Pietro Antonio Bernardoni, Poemi drammatici, parte terza, Vienna, 
 wnGJielen, 1707, p. 107-121. 
 
 Argument. The composer, Carlo Agostino Badia, is not mentioned. 
 First performed at Vienna, Hoftheater, February 21, 1703, as indicated. 
 
 ML 49.A2B4 
 
 La Psiche. Dranuna musicale di Franc? di Poggi? Cantato in 
 Lucca nell anno MDCVL . . . 
 
 Lucca, Francesc . Marescandoli, 1654- 1 p. 1., 78 p. 21 cm . 
 
 The publisher's dedication, Lucca, 1654, is followed by a notice to the reader, a 
 dedication by "Li sei Accademici deputati" dated October 25, 1648, beginning 
 "Esce finalmente questa nuova Psiche da' Teatri alle stampe," but from the pub- 
 lisher's dedication and notice to the reader it appears that the publication was delayed 
 until 1654. Madrigal (words) by Antonio Fortini, argument, " Allegoria della favola," 
 " Distributione dell' apparato. Architettura di Paulo Lipparelli, list of characters, 
 prologue and five acts. The "Distributione" reads, in part: 
 
 "Fv' promoseo il trattenimento di quest' Opera in Lucca, per gl'otij Carneualeschi 
 del 1645. dal la Accademia delli Accesi; e m espresso nella Sala del Palazzo de' 
 Borghi, che nella sua mole antica, non punto violata da gl'anni, confessa d'hauer 
 assistito a i nobili natali di questa Etrueca Figlia di Roma. Alia Poesia di Francesco 
 di Poggio successe la Musica spiritosa di Tomaso Breni; che articolata con viuacissima 
 leggiadria, fu poi cantata con straordinaria lode da varij Can tori, tanto nationali, che 
 forestieri; ma tra tutti, dal Caualiere Nicolo Margheritoni, virtuoso Seruitore dell' 
 Eccellentiss. Sig. Prencipe di Massa, che con energia molto efficace, vestitosi delle 
 tenere condition! di Psiche, seppe violentare al diletto egualmente, & alia com- 
 miseratione 1'vniuereal sentimento delli Ascoltanti. Paulo Lipparelli, soggetto di 
 celebrate grido, adempiendo le parti d'officiosissimo Accademico, arrichi lo epetta- 
 colo con merauigliose inuentioni di Apparato, & di Machine; di che all' altrui curiosita 
 qui a parte si disegnano le memorie; & Francesco Sbarra, quell' ingegno grande, che 
 nelle sue numerose, & bizzarre compositioni Drammatiche ha saputo erudire i costumi 
 del nostro secolo, con arti non pill godute sopra le Scene, hebbe gusto di sopr' inten- 
 dere alia vniuersale Economia di tutta 1'Attione rappresentatiua. Con appassionata 
 applicatione inseruirono a quest' Opera molti altri Accademici, & soggetti ui qualit^; 
 ma tra tutti si vide risplendere con singolarit& di vantaggio la persona dell' Arci- 
 diacono Francesco Sardi, che con larga contributione d'affetto, & d'oro, le adorn6 la 
 comparsa, & le assicur6 opportunamente ogni applauso." SCHATZ 1315 
 
 Psiche. Tragicomedia rappresentata in musica, et dedicata alia 
 serenissima Isabella Clara arciduchessa d' Austria, etc nelle sue 
 augustissime nozze col serenissimo Carlo Secondo, duca di Man- 
 tova . . . 
 
 Mantova, Osanna, 1649. 1 p. 1., 96 p. 22 cm . 
 
 Prologue and five acts. Dedication by the editor, Francesco Bulgarini of date 
 Mantova, October [blank], 1649, with name of Diamante Gabrielli as author, Alle-
 
 904 LIBRARY OF CONGRESS 
 
 Psiche Continued. 
 
 goria, and editor's lengthy notice to the reader on the character of this drama, includ- 
 ing remark : 
 
 "essendo il drama composto da rappresentarsi in musica, e con machine apparenti. 
 poca vaghezza havrebbe avuta, comanciandosi dopo che Psiche fosse tornata dall 
 inferno: come all' incontro era necessario il farlo breve diverei, perche, portando 
 lunghezza la musica, non havessero i Serenissimi prencipi, che v'intervennero, a 
 stare a disaggio. Non dur6 pifr di tre hore in quattro; tempo nondimeno aggiustato 
 alle sceniche poesie; di modo che al eentire d'Angelo Ingegneri nel luogo eopracitato, 
 se piu durassero, benche dilettevoli, sempre noiose riuscirebbono. Si potrebbe 
 aggiungere, che il teaser lunga la favola, e cosi senza la mira, che possa commoda- 
 mente recitarsi in musica, e difetto; che se bene oggidl si recitano spesso i drami 
 eenza musica, non e il dovere, che si tolga loro il potersi almeno in musica rappre- 
 sentare ... 
 
 On p. 91-96 laudatory sonnets, etc. The composer, Alessandro Leardini, is not 
 mentioned. 
 
 First performed in September, 1649, as indicated. ML 50.2.P78L3 
 
 La Psiche, o vero Amore innamorato. Drama per musica rappre- 
 sentato nel Real Palazzo, in ossequio del compleanos della Maesta 
 della Regina Madre nostra signora, (che Dio guardi.) . . . 
 
 Napoli, Carlo Porsile, 1683. 6 p. I., 68 p. 14 cm . 
 
 Three acts. Argument, cast, "Apparenze," name of Alessandro Scarlatti as 
 composer, and dedication signed by Filippo Schor, Nicola Vaccaro, e Francesco della 
 Torre and dated, Naples, December 21, 1683: 
 
 "La Psiche, che affidata nella protezzione dell' E. V. altre volte nel idioma spag- 
 nuolo fece pompa de suoi tragici avecenimenti, trasportata hora da un humilissimo 
 servitore di V. E. nella favella italiana no ardirebbe esporsi di nuovo su le scene 
 senza la benigna assisteza del primiero suo protettore ..." 
 
 Mentioned by Dent? Not recorded by Schatz. ML 50.2.P78S2 
 
 Psiche ed Amore, intermedii. See Descrizione de gl'intermedii. 
 
 Psyche, tragedie. Represented par L' Academic royale de musique. 
 Suivant la copie imprimee a Paris. 
 
 [Amsterdam, Antoine Schelte], 1688. 60 p. (ind. front.) 13% cm . 
 
 Prologue and five acts and the dedication "L'Acad^mie royale de musique au 
 roy." Neither Corneille nor LuUy is mentioned. ML 50.2.P8L92 
 
 Psyche, tragedie represented par rAcademie royale de musique 
 Tan 1678. Les paroles sont de M r Corneille & la musique de M. de 
 Lully. X. opera. 
 
 n. i., n. d. 14 cm - pi-, 69-134 p. (Recueil general des opera, t. ii, 
 Paris, 1703.) 
 
 Detached copy. The dedicatory poem, prologue, and five acts. Fontenelle is 
 sometimes said to have been a joint author, but Prunieres questions .this. He claims 
 that Thomas Corneille simply turned his and Moliere's ' 'Psyche^' of 1671, for which 
 Lully had composed the intermedes, etc., into an opera. Lully composed the neces- 
 sary new music in three weeks. In this form "Psych6" was first performed, as 
 indicated, April 9, 1678 (Schatz), April 19 (Prunieres). SCHATZ 5771 
 
 Second copy. ML 48. R4 
 
 Psyche. L. T. of Mondonville's L' Amour et Psych6. 
 
 Psyche. Singespiel in zwei aufzuegen von Karl Muechler [portrait 
 vignette]. 
 
 Berlin, Friedrich Maurer, 1789. Ip.L, 86 p. 16\ cm . 
 
 The title page contains the portrait of ' ' Friederike Auguste Conradine Unzelmann 
 geb. Flittner." The composer, Carl Bernhard Wessely, is not mentioned. 
 
 First performed at Berlin, Nationaltheater, November 18, 1789. SCHATZ 10990
 
 OPERA LIBRETTOS 905 
 
 Public Cornelio Scipione. Dramma per musica da rappresen- 
 tarsi nel Regio Teatro di Torino 1'anno MDCCXXVI . . . 
 Torino, Francesco Antonio Gattinara, n. d. 60, [1] p. 15 cm . 
 
 Three acts. Dedication, "notizie storiche," cast, and scenario. Neither the 
 author, Antonio Salvi, not the composer, Giovanni Antonio Giai, is mentioned. 
 First performed, as indicated, December 26, 1725. SCHATZ 3817 
 
 Public Cornelio Scipione. Drama per musica da rappresentarsi 
 nel famoso Teatro Grimani di S. Gio. Grisostomo nel carnovale dell' 
 anno 1712 . . . 
 
 Venetia, Marino Rossetti, n. d. 79 p. 15 cm . 
 
 Five acts. Neither the author, conte Agostino Piovene, nor the composer, Carlo 
 Francesco Pollaroli, is mentioned. Dedicatory sonnet, historical notes, cast, and 
 scenario. SCHATZ 8313 
 
 Pub. Eliq Pertinace. Drama per musica da rappresentarsi nel 
 Teatro Vendramino di San Salvatore 1'anno MDCLXXXIV . . . 
 
 Venetia, Francesco Nicolini, 1684- 70 p. (incl. front.} 14 cm . 
 
 Three acts. Dedication by the author, Pietro d'Averara, argument, cast, scenario, 
 and name of Giovanni Legrenzi as composer. SCHATZ 5538 
 
 Second copy. ML 48.M2O 
 
 II Pub? Scipione. Dramma per musica. MDCCLXXXVIV. 
 
 Author's manuscript. [61] p. 20^ cm . 
 
 Two acts. Text preceded by the list of characters, argument, and the anonymous 
 author's dedicatory Lettera al Sig. Deifebo Romagnoli. According to Piovano, in 
 the Supplement to Eitner, the composer, Deifebo Romagnoli, since 1795 organist at 
 the cathedral of Siena, was also a poet. If that is correct, it is possible that he ie the 
 author of this libretto, since the "Lettera" is written in a curiously facetious, self- 
 ironical tone. At any rate, the libretto appears to have been written at the request 
 of Romagnoli for his use. Whether or not ne composed it, is not known to me. 
 
 ML 48.A5 v. 32 
 
 Le public venge, come'die-yaudeville en un acte, avec un prologue; 
 represented pour la premiere fois, par les Comediens itakens ordi- 
 naires du roi, a la rentree du 9 avril 1782. 
 
 Paris, la veuve Ballard & fils, 1782. 96, [4] p. 20 cm . 
 
 Cast. The prologue is called "Le poisson d'avril." The 4 p. contain the vaude- 
 villes "Loind ici la morale "and "Autheursque la cabale." Composer and authors 
 unknown to me. ML 50.2. P85 
 
 Die puecefarbnen schuhe oder Die schoene schusterinn. Ein 
 komisches singspiel in zwey aufzuegen. Aus dem franzoesischen des 
 herrn baron v. Serrieres frey uebersetzt und bearbeitet von Stephanie 
 dem juengern. Die musick ist neu gemacht vom herrn kapell- 
 meister Umlauf. Aufgefuehrt im K. K. Nationaltheater. 
 Wien, beym Logenmeister, 1779. 69 p. 15\ cm . 
 
 Haas says that Stephanie took over, without alterations, several arias in Job. 
 Andre's translation of ae Serrieres's "Les souliers mordoreV (1776). 
 
 First performed, as indicated, June 19, 1779 (Schatz), June 22, 1779 (Haas). 
 
 SCHATZ 10529 
 
 Die schoene schusterinn. Ein komisches singspiel in zwey 
 aufzuegen. 
 
 n. i. p. 1-68. 16\ cm . (Gottlieb Stephanie d. jung., Singspiele, 
 Liegnitz, 1792.} SCHATZ 10530
 
 906 LIBRARY OF CONGRESS 
 
 Die puecefarbnen schuhe Continued. 
 
 Arien imd gesaenge aus der operette in zwey auf zuegen : Die 
 schoene schusterinn, oder Die schuhe a la Marlborough. Aus 
 dem franzoesischen des baron du [!] Serrieres. Die musik vom herrn 
 Umlauf . . . 
 
 Berlin, n. publ, 1794. 24 p. 15\. 
 
 Cast. 
 
 First performed at Berlin, Kgl. Nationaltheater, 1794. SCHATZ 10531 
 
 La pulcella d'Orleans. A, T. of Andreozzi's Giovanna d'Arco. 
 
 Pulcinella, cavaliere d'industria, ballet. See Monza's Ifigenia 
 in Tauride. 
 
 Puntigli, e gelosie tra moglie, e marito. Commedia per musica 
 di Giuseppe Palomba da rappresentarsi nel Teatro Nuovo nell' 
 autunno dell' anno 1784. 
 
 Napoli, n. publ., 1784. 59 p. 14% cm . 
 
 Three acts. Cast and name of the composer, Luigi Caruso. SCHATZ 1650 
 
 I puntigli gelosi. Dramma giocoso per musica di Filippo Livigni. 
 Da rappresentarsi nel nobile Teatro in San Samuele il carnovale dell' 
 anno 1783. 
 
 Venezia, Modesto Fenzo, 1783. 62, [1] p. 17$ cm . 
 
 Two acts. Cast, scenario, and name of Felice Alessandri as composer. The 
 "Secondo ballo" was entitled, "II trionfo d'Arianna o sia Arianna abbandonata da 
 Teseo, e soccorsa da Bacco d'invenzione del Sig. Onorato Vigan6." SCHATZ 154 
 
 II puntiglio amoroso. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro Giustiniani di S. Moise il presente carnovale 
 MDCCLXIII. 
 
 Venezia, Francesco Valvasense, n. d. 56 p. 15% cm . 
 
 Three acts. The author is not mentioned. Caet, scenario, and name of Galuppi 
 as the composer. Schatz and Wotquenne attribute the text to Carlo Gozzi, Pavan 
 to Gaspare Gozzi, Wiel and Piovano leave the question open. 
 
 First performed, as indicated, December 26, 1762. SCHATZ 3507 
 
 La pupilla. Intermezzo. 
 
 [176]-192 p. 16$ cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. iv, Torino, 1757.) 
 
 Two parts. First composer not recorded by Allacci, Wiel or Schatz. 
 
 ML 49.A2G6 
 
 La pupilla. Intermezzo di due parti per musica. Rappresen- 
 tato per la prima volta in Venezia 1'autunno dell' anno MDCCXXXI V. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta ejigli, 1788-95, t. 35, 
 [51]-70 p. 18\ cm . PQ 
 
 La pupilla. O. T. of d' Avossa's La pupilla ed il Ciarlone and II 
 Ciarlone. 
 
 La pupilla. Farsetta in musica a tre voci a recitarsi nel Teatro alia 
 Valle il carnevale dell' anno 1755 . . . 
 Roma, Ottavio Pucdnetti, 1755. 22 p. 15\ cm . 
 
 Two parts. Author not mentioned and unknown to Schatz. The text is neither 
 by Ant. Palomba nor by Goldoni, though "Signor tutore, non dubitare" has been
 
 OPERA LIBRETTOS 907 
 
 La pupilla Continued. 
 
 borrowed from his "La pupilla" and "Al mio ben si tu dirai" from hia "II filosofo di 
 campagna." None of the other arias listed in Wotquenne's Verzeichnis. They are 
 "Luci care, luci belle," "Non mi state a infastidire," "Va cantando 1'augellino," 
 etc. Cast, name of Francesco Saverio Garcia as composer and dedication by (the 
 author?) Angelo Lungi. ML 50.2.P9G2 
 
 - Die pfleg-tochter, ein lustig musicalisches zwischen-spiel zu drey 
 stimmen so auf gnaedigstem befehl Ihro Churfuerstl. Durchlaueht 
 aufgefuehrt worden. den 21ten novembris 1758. 
 
 Mannheim, CJiurfuerstliche Hof- und cantzley-buchdruckereij n. d. 
 67 p. 16\ cm . 
 
 "Francesco Saverio Gurzia [!] der sogenannte Spagnoletto" is mentioned as the 
 composer. Consequently a German version of Francesco Saverio Garcia's "La 
 pupilla." The translator is not mentioned and IB unknown to Schatz. 
 
 SCHATZ 3555 
 
 La pupilla astuta. Dramma giocoso per musica da rappresentarsi 
 nel nobiliss. Nuovo Teatro di Padova I'auturtno dell' anno 1794 . . . 
 
 Padova, fratelli Conzatti, n. d. 81 p. 17 cm . 
 
 Two acts. Neither the author (unknown to Schatz) nor the composer, Giuseppe 
 Ella, is mentioned. Cast. Because of the radical changes in Harnaud's "Foilie 
 amorose" the anonymous author says "posso dirmi piu compositore, che traduttore." 
 
 First performed at Palermo, Teatro di S. Cecilia, fall of 1792. SCHATZ 2913 
 
 La pupilla, ed il ciarlone, dramma giocoso per musica da rappre- 
 sentarsi nel Regio Teatro danese. Myndlingen og Sladdreren, et 
 lystigt synge-spil . . . 
 * Kifoenhavn, L. N. Svare, 1769. 177 p. ll\ cm . 
 
 Three acts. Danish text faces Italian. By Antonio Palomba, who is not men- 
 tioned. Cast and name of Giuseppe Abbos (=Giuseppe d'Avossa) as composer. 
 First performed at Naples, Teatro dei Fiorentini, carnival, 1763, as "La pupilla." 
 
 SCHATZ 511 
 
 II ciarlone. Dramma giocoso per musica da rappresentarsi nei 
 Teatri privilegiati di Vienna nell' anno 1770. 
 
 Vienna, Giovanni Tomaso di Trattnem, n. d. 64 p- 16% cm . 
 
 Argument, but without name of composer, Giuseppe d'Avossa, or librettist, 
 Ant. Palomba. SCHATZ 512 
 
 La pupilla rapita. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Giustiniani di S. Moise il presente autunno IVIDCCLXIII. 
 
 Venezia, n. publ., n. d. 69 p. 15 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Cast, scenario, and 
 note: 
 
 "La mueica sara tutta nuova del Sig. maestro Saverio Laurent! romano, eccet- 
 tuate alcune arie, che saranno pure nuove del Sig. maestro Antonio Boroni romano 
 a mottivo della ristrettezza del tempo per la absenza del Sig. maestro Gio. Battista 
 Ruttini, e saranno contradistinte dal segno *." 
 
 The only arias thus marked are: "Ah eposina mia carina" (III, 12), *'Le donne 
 col cervello" (III, 6), "Oh che bile, oh che tremore" (II, 11), "Quel piacer d'es- 
 servi sposa" (II, 6), "Vo mostrarvi alia francese" (I, 7). SCHATZ 5473 
 
 La pupilla scaltra. Dramma giocoso per musica da rappresentarsi 
 nel nobilissimo Teatro Venier in San Benedetto il carnovale dell 7 
 anno 1795. 
 
 Venezia, Modesto Fenzo, 1795. 88 p. 18% cm , 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast, scenario, and 
 name of Pietro Guglielmi as the composer. On p. 50-59 argument, cast, and descrip-
 
 908 LIBRARY OF CONGRESS 
 
 La pupilla scaltra Continued. 
 
 tion of Giuseppe Traffieri's "Bianca de' Roeei, ballo tragico pantomime" in five 
 
 acts, music ("tutta nuova") by Vittorio Trento. Traffieri's second comic ballet was 
 called "Rosa e Nicola." 
 
 First performed as indicated, January 8, 1795. SCHATZ 4257 
 
 The purse; or, Benevolent tar. A musical drama, in one act, as 
 performed at the Theatre Royal in the Hay-Market. By J. C. 
 Cross. (The music by Mr. Reeve.) 
 
 London, Printed by William Lane, 1794. 82 p. 20 cm . 
 
 Cast and prefatory note. 
 
 First performed February 8, 1794. LONGE 227 
 
 Pursignacco e Grilletta. See Orlandini's Pourceaugnac and Gril- 
 letta. 
 
 Die puzmacherinn. Eine operette in drei akten von J. W. A. 
 Schoepfel, und in musik gesezt von Friedrich Preu. 
 
 Baireuih, Johann Andreas Luebeks erben, 1790. 176 p. 
 
 On p. 174-176 sale's catalogue of the publisher. SCHATZ 8465 
 
 Pygmalion. Ein monodrama von J. J. Rousseau. Neu uebersetzt 
 von herrn Gotter. Die musik ist von herrn Georg Benda. 
 
 24 p- 14b cm ' (No. I. of " Melodramen," Joseph Johann Morgen- 
 saeuler, Pilsen und Klattau, 1791.) 
 
 First performed at Gotha, Hoftheater, September 20, 1779. SCHATZ 775 
 
 Pygmalion. See Coignet and Rousseau's Pigmalion. 
 
 The comick masque of Pyramus and Thisbe. As it is perform'd at 
 the Theatre in Lincoln's-Inn Fields . . . 
 
 London, W. Hears, 1716. 4 p. I, 16 p. 19 cm . 
 
 One act. Cast, argument, and preface signed by the author, Richard Leveridge, in 
 which he says: 
 
 "As diversion is the business of the stage, 'tis variety best contributes to that 
 diversion . . . And as our present encouragers of this part of the theatrical labours, 
 have for some late years been chiefly regaled with high recitative and buskin airs; I 
 have here endeavoured the quite reverse of those exalted performances; and hope I 
 may challenge some small excuse for this exotick essay, from no less than example 
 and precedent. 
 
 "If the first founders, the Italians, in the grandest, of their performances, have 
 introduced lions, bears, monkies, dragons etc as their doughty fables require: I know 
 no reason why I may not turn moonshine into a minstrel; the lion and stone wall into 
 songsters; and make them as diverting as a dance of chairs and butterflies have been 
 in one of our most celebrated British entertainments ..." 
 
 At the end of the argument Leveridge says that Shakespeare's "The Midsummer 
 night's dream" he "made bold to dress out ... in recitative, and airs, after the 
 present Italian mode, hoping I have given it the same comical face, though in a 
 musical dress." Leveridge also composed the music. 
 
 First performed October 29, 1716, as indicated. LONGE 54 
 
 Pyramus und Thisbe. Ein musikalisches duodram. Fur das 
 K. K. National-Hoftheater. 
 
 Wien, Johann Baptist WaUishausser, 1795. 16 p. 17 cm . 
 
 Author unknown to Schatz. Composed by Anton Eberl, who is not mentioned. 
 First performed, as indicated, December 7, 1794; privately, 1793, at the Gesell 
 echaftstheater of count v. Stockhammer. SCHATZ 2889
 
 OPERA LIBRETTOS 909 
 
 Pyramus und Thisbe. Ein musikalisches duodram. 
 
 HaUe, Hemmerdesche ~buchhandlung , 1787. v, [6]~32 p. 15 cm . 
 
 One act. Prefatory note, dated "K . . n [Koeln] im maerz 1787," and signed by 
 the author [Friedrich Anton Franz] B[ertra]nd. He says: 
 
 " Wer kennt nicht Ariadne auf Naxos, und Medea-durch herrn Benda's meisterhafte 
 komposizion, zwo der treflichsten deutschen originalstuekke? Ich wuenschte 
 Pyramus und Thisbe auf gleiche art bearbeitet zu sehen, schrieb den gegenwaertigen 
 text, und theilt' ihn herrn Benda mit . . . ich erhielt die echmeichelhafte versich- 
 erung: eowohl gegenstand als behandlung desselben wuerden vorzueglich sein muei- 
 kalisches talent aufgefordert haben, der deutschen buene in jener manier ein drittes 
 etueck zu liefern; haetten ihn nicht vorfaelle mit derselben entzweiet, die mir von 
 zu groesem gewicht scheinen, als dass ich so indiskret seyn sollte, sie ohne des mannes 
 erlaubnis vor'e angesicht des publikuns zu bringen. Vielleicht ist diese arbeit so 
 gluecklich, dass sie versoehnt sich herr Benda selbst nicht noch in der folge mit dem 
 theater; irgend eine andre meisterhand der vollendung nicht unwerth haelt ..." 
 
 Composed by Daniel Gottlob Turk, who is not mentioned. Schatz records no 
 performance. SCHATZ 10512 
 
 Pyrrhus and Demetrius. An opera. As it is perform'd at the 
 Queen's Theatre in the Hay-Market. 
 
 London, Jacob Tonson, 1709. 3 p. 1., 52 p. 22 cm . 
 
 Three acts. Cast and dedication by "Owen Swiny " (Owen McSwiney). His text 
 is practically a translation of Adriano Morselli's "Pirro e Demetrio." It does not 
 include the seventeen English aria translations by Armstrong, printed by Walsh in 
 the "Songs in . . . Pyrrhus and Demetrius." The libretto contains the Italian text 
 and the English translation of all the arias, etc., that were sung in English, those sung 
 in Italian remaining untranslated. The music was largely that composed by Ales- 
 sandro Scaxlatti for Naples (1694), but the overture and not less than twenty-one 
 arias were by Nicolo Francesco Haym, as appears from Walsh's "Songs." 
 
 First performed at London December 14, 1708. ML 50.2. P95 
 
 Second copy. LONGE 208 
 
 Pythias und Damon, ein singspiel von zween aufzuegen, aufge- 
 fuehrt von den schuelern der ersten rhetorik am Katholischen schul- 
 hause bey St. Salvator im Aprilmonathe 1781. 
 
 Augsburg, Joseph Simon Hueber, n. d. 8 p. 18% cm . 
 
 With "Vorbericht," cast, and name of the composer, Johann Evangelist Drexel. 
 The author unknown to Schatz. Preceded by "Der patriotismus, ein trauerspiel." 
 
 ScHATa 2819 
 
 II quacquero burlato, ballet. See Caruso's Gli amanti dispettosi. 
 
 II quadro animate, ballet. See Portugal's Lo spazzacamino prin- 
 cipe. 
 
 II quadro movibile, ballet. See Galuppi's L'amante di tutte. 
 
 The quaker; a comic opera. As performed at the Theatre-Royal in 
 Drury-Lane. 
 
 London, John Bell, 1777. 8 p. 1., 44 p. 21 cm . 
 
 On first p . 1 . a portrait of Mr . Bannister in the character of Steady . Two acts . Cast . 
 The author-composer, Charles Dibdin, is not mentioned. In Johnston's vocal score, 
 "The face which frequently displays," is headed as "composed by Mr. linley." 
 
 First performed April 3, 1775 (Clarence), October 7, 1777 (Schatz), May 3, 1775 
 (Genest). LONGE 87 
 
 La quakera spiritosa. Commedia per musica di Giuseppe Palomba 
 da rappresentarsi nel Teatro de' Fiorentini per second' opera in quest- 
 anno 1783. 
 
 Napoli, n. pull, 1783. 58 p. Ifo. 
 
 Three acts. Argument, cast, and name of Pietro Guglielmi as the composer. 
 
 SCHATZ 4258
 
 910 LIBRARY OF CONGRESS 
 
 The quaker's opera. As it is perform'd at Lee's and Harper's 
 great theatrical booth in Bartholomew-fair. With the musick pre- 
 fix 'd to each song. 
 
 London, Printed for J. W. and sold by J. Roberts [etc.], 1728, 3 p. I., 
 49 p. 20. 
 
 Three acts and introduction. By Thomas Walker, who is not mentioned. The 
 text is preceded by a table of the 26 songs. Ballad opera, the airs of which are printed 
 in the text with their titles, except no. 8 "And when we come unto the whit" and 
 19 "O Johnny, thou hast done me wrong," which have none. 
 
 According to Tufts, altered from "The Prison-breaker or The adventures oi John 
 Sheppard " (printed in 1725 but not acted.) ML 50.5. Q91 
 
 Second copy. LONGE 47 
 
 I Quaqueri. Dramma giocoso per musica di un atto solo di Gio- 
 vanni Bertati. Da rappresentarsi nel Teatro Giustiniani in S. Moise" 
 il carnovale dell' anno 1779. 
 
 n. i., n. d. 32 p. 17\ cm . 
 
 Composed by Antonio Rossetti ("La musica eara"). This was followed by "!L 
 Pitf BEL DONO INUTILE," also in one act, by the same author and composer and 
 forming part of the same publication. SCHATZ 8883 
 
 Le quart-d'heure de Rabelais, comedie en un acte, en prose, 
 mele"e de vaudevilles. Par les CC. Dieu-la-Foy et Prev6t-d'Iray. 
 Represented pour la premiere fois, sur le Theatre du Vaudeville le 
 25 nivdse, an 7. [Jan. 14, 1799.] 
 
 Paris, chez le libraire au Theatre du Vaudeville, an vii. [1798-99.] 
 64 p. 20. 
 
 Cast. "Avec 9 airs note's," printed in the text. Not recorded by either Cl. & L. 
 or Schatz. ML 48.M2K 
 
 II quartiere fortunate. Intermezzo di tre parti per musica. 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 35, 
 
 [159}-180 p. 18$ cm . 
 
 No composer recorded by Schatz. PQ 
 
 Der Quasi-mann, eine komische oper hi zwey aufzuegen. In musik 
 gesetzt von herrn Franz Danzi . . . 
 
 Muenchen bey Joseph Lindauer, 1789. 62 [1] p. 16 cm . 
 
 With "Vorbericht, " dated April, 1789, in which [Matthias Georg] Lambrecht says: 
 "Le naufrage, ou: Les fun&railles de Crispin, wurde in Wien unter dem titel: Treue 
 und undank, neu bearbeitet. Man fand, dass dieses nachspiel zu sehr farce sey; 
 auch erinnere ich mich nicht, dasa es auf einem andern deutschen theater in diesem 
 neuen gewande sey gegeben worden. Mir schien der stoff zur komischenoperunyer- 
 besserhch. Ich denke, man wird ihm itzt den vorwurf des uebertriebenen nicht 
 machen, da man sich sogar an italienische opern hat gewoehnen koennen. Am 
 musikalischem interesse wird es ebenfalls nicht fehlen, da herr Danzi sicii schon als 
 ein mann von talent, dem publiko bekannt gemacht hat." 
 
 First performed at Munich, Opernhaus bei St. Salvator, August, 1789. 
 
 SCHATZ 2410 
 
 Les quatre saisons, divertissement de musique & de dance, pour 
 celebrer le mariage de Son Altesse Royale de Pologne & Electorate de 
 Saxe 1719. 
 
 Dresde, Jean Conrad Stossel, n. d. Unpaged. 17\ cm . 
 
 Prologue and five entrees. Argument, cast, names of Jean Poisson as author and 
 of Johann Christoph Schmidt as the composer and "avant-propos, " which says that 
 the king himself, wanting for the festivities "un espece d'opera francais," selected 
 the eujet, formed the plan, and designated the list of characters, thus leaving to the
 
 OPEEA LIBRETTOS 911 
 
 Les quatre saisons Continued. 
 
 poet practically only the versification. The spoken and danced parts were all taken 
 by members of the nobility, almost sixty persons, whereas for the chorus and orchestra 
 the king's musicians, more than one hundred persons, were employed. 
 First performed September 23, 1719, at Dresden in the Royal Gardens. 
 
 SCHATZ 9641 
 
 Li quattro element! : Carrosello tra le feste celebrate in Dresda per 
 comando di S. M. in occasione delle nozze di L. L. A. A. R. R. 
 
 Dresda, G. C. Stossel, n. d. Unpaged. 18 cm . 
 
 French title-page "Carrousel des quatre elemens," and text face Italian, the author 
 of which is not mentioned. A prefatory note says: 
 
 "Cangiato in anfiteatro il giardino degli aranci contiguo al Regio elettoral palazzo 
 servendo a cio mirabilmente la magnifica loggia, che regna intornp ad esso giardino, 
 comparisce Giove sopra macchina mobile rappresentante il Caps, introducendo nell 
 anfiteatro suddetto con ordinata, e vaga marchia quattro quadriglie ..." 
 
 The names of the noblemen taking part in these, representing the four elements, 
 are given on the next pages together with the name of Antonio Lotti as composer of 
 Giove's monologue. 
 
 First performed during the marriage festivities for prince Friedrich August and 
 Maria Gioseffa, princess of Austria, on September 15, 1719. SCHATZ 5725 
 
 Le quattro nazionl. L. T. of Bernardini's La donna di spirito. 
 
 Le quattro stagioni. Commedia per musica di Giuseppe Palomba 
 da rappresentarsi nel Real Teatro del Fondo di Separazione . . . 
 
 Napoli, n. publ, 1784. 58 p. 15 cm . 
 
 Three acts. Impresario's dedication, dated Napoli, June 12, 1784, cast, and name 
 of the composer, Luigi Caruso. SCHATZ 1651 
 
 Que ne peut pas 1' amour 1 ? Come" die lyrique. 
 Le magasin des modemes, La Haye, Propice, [1768]. p. 51-98, 67 p. 
 
 I4 cm . 
 
 One act. The text proper on p. 53-94. In the prefatory remarks it is said that 
 "cette petite piece . . . n'est faite que pour paroltre dans 1'asile d'une socie'te'." 
 Interesting is also the remark : 
 
 "J'ai done fait un opera-comique ; ou plutot, comme 1'on dit aujourd'hui, une 
 com^die lyrique." 
 
 The 67 p. contain the airs notes belonging to the piece. Neither author nor com- 
 poser is mentioned. Not recorded by Schatz. ML 20.M14 
 
 The Queens masque. A. T. of Loves mistresse. 
 
 Quello che puo accadere. Dramma giocoso per musica da rappre- 
 sentarsi nel nobile Teatro di San Samuele il carnovale dell' anno 1784. 
 
 Venezia, Gio. Battista Casali, n. d. 63 p. 18 cm . 
 
 Two acts. Cast, scenario, and name of composer, Gaetano Andreozzi, but not of 
 librettist, who is unknown to Schatz. SCHATZ 218 
 
 La querelle des theatres. Prologue. Par Messieurs le S** & 
 de la F*. Represents a la Foire de Saint Laurent 1718. Et 
 ensuite sur le Theatre de I'Opera, par ordre de Son A. R. Madame. 
 
 Le Theatre de lafoire, Paris, 1737, t. in, pi., [37}-59 p. 17 cm . 
 
 By Le Sage and Lafont. The airs, selected or composed and arranged by Jean 
 Claude Gillier, the "compositeur " of the theatre, are printed at the end or the volume 
 in the "Table des airs." ML 48.L2III 
 
 La queue de verite. See Le diable d' argent.
 
 912 LIBRARY OF CONGRESS 
 
 Quiiito Fabio. Dramma per musica da rappresentarsi nel nobilis- 
 simo nuovo Teatro cli Paclova nella fiera di Giugno dell' anno 1778 . . . 
 Padova, n. publ, 1778. 48, [1] p. 17\ cm . 
 
 The additional unnumbered page contains Volunnio's aria (I, 4), "Dell' amico i 
 perigli." Three acts. Impresario s dedication, argument, cast, scenario, and name 
 of Ferdinando Giuseppe Bertoni as composer ("musica sar& tutta nuova "). Apostolo 
 Zeno not mentioned as author of the libretto, which in its original version was called 
 "Lucio Papirio dittatore." 
 
 First performed at Milan, Teatro Interinale, January, 1778 (Schatz). SCHATZ 932 
 
 Quinto Fabio. Dramma per musica da rappresentarsi nel nobilis- 
 simo Teatro di Torre Argentina il carnevale dell' anno 1783 . . . 
 Roma, Cannetti, 1783. $6 p. 15% cm . 
 
 Three acts^ By Apostolo Zeno. Originally called "Lucio Papirio dittatore." 
 Argument, scenario, cast, and name of the composer, Cherubini. Onorato Vigan6's 
 ballets (music by Luigi Mareschalchi), "La dolce vendetta" and "II r& de' ciarla- 
 tani," were performed with the opera. 
 
 First performed in January, 1783, as indicated. SCHATZ 1847 
 
 Quinto Fabio. Dramma per musica da rappresentarsi nel Regio 
 Teatro dell' Accademia degli Avvalorati in Livorno 1'autunno dell' 
 anno 1794. 
 
 [Livorno], Tommaso Masi e compagno, n. d. 46 p. 17% cm . 
 
 Two acts. Author of this complete modernization of Zeno's "Lucio Papirio ditta- 
 tore" not mentioned, and unknown to Schatz. Impresario's dedication, argument, 
 cast, scenario, and name of Nicola Antonio Zingarelli as the composer ("La musica 
 e tutta nuova"). With the opera were performed Carlo Augusto Favier's ballets, 
 "Ezio" and "La contadina spiritosa," the composers of the music not mentioned. 
 
 SCHATZ 11255 
 
 Quinto Lucrezio proscritto. Dramma musicale fatto rappresen- 
 tare da' Signori Accademici del Carino per festeggiare il giorno nata- 
 lizio del sereniss. principe Francesco Maria di Toscana. 
 
 Firenze, Vincenzo Vangelisti, 1681. 4 P- l-> 104 P- I6\ cm . 
 
 Three acts. By Giov. Andrea Moniglia, who is not mentioned. Dedication dated 
 November 12, 1681 (the prince's birthday), notice to the reader, with name of Lorenzo 
 Cattani as composer, argument. SCHATZ 1713 
 
 Quinto Lucrezio proscritto. Drama musicale fatto rappresen- 
 tare da' Signori Accademici del Casino per festeggiare il giorno nata- 
 lizio del sereniss. principe cardinale Francesco Maria di Toscana. 
 
 G. A. Moniglia, Poesie drammatiche, parte prima, Vincenzio Vange- 
 listi, Firenze, 1689, p. [503}-593. 24 cm . 
 
 Three acts. Argument and prefatory note with name of Lorenzo Cattani as com- 
 poser. The text is followed on p. 584-593 by "Lettera apologetica per lo Quinto 
 Lucrezio Proscritto. Scritta da F. N. all' autore." ML 49.A2M7 
 
 Les quiproquo nocturnes, op6ra bouffon, en deux actes. Paroles 
 de J. G. A. Cuvelier, musique de L. Morange. Represented, pour la 
 premidre fois, le 23 frimaire, an 6, [Dec. 13, 1797] sur le The'atre 
 Montansier. 
 
 Pans, Barba, (1798} An VI. 38 p. 20%. 
 
 Cast. SCHATZ 6627
 
 OPERA LIBRETTOS 913 
 
 Gesaenge aus dem singspiele: Der rabe, in vier aufzuegen nach dem 
 italienischen des grafen Gozzi. In musik gesetzt von Andreas 
 Romberg. 
 
 Hamburg, FreystatzJcy und Robe, 1794. 31 p. 15% cm - 
 
 By Schwick, who is not mentioned. 
 
 First performed at Hamburg, Theater beim Gaensemarkt, April 7, 1794. 
 
 SCHATZ 8870 
 
 Les racoleurs, opera-comique en un acte. Par M. Vade. Repre- 
 sente" pour la premiere fois sur le Theatre de l'Op6ra-comique a la 
 Foire S. Germain le 11 mars 1756. 
 Paris, Duchesne, 1756. 61, [3] p. 19% cm . 
 
 On the [3] p. lists of plays by Vade", etc. Prose and en vaudevilles. Cast. On p. 
 60-61 the airs of "D'un faraut de note quartier," and "Le zele ardent nous engage." 
 Composer unknown to me. ML 50.2.R15 
 
 Les racoleurs, ope'ra comique, en un acte, represent e, pour la pre- 
 miere fois, sur. le Theatre de I'Op^ra comique, a la Foire Saint- 
 Germain, le 11 mars 1756. 
 
 [181]-250p. 15\ cm . (Jean Joseph Vade, Oeuvres complettes, t. Hi, 
 Nouv. ed.,-Troyes, an VI [1798]. 
 
 The arranger of the music is not mentioned. PQ2068.V2 
 
 II Radamisto. Drama per musica da rappresentarsi in Firenze nel 
 Teatro di via del Cocomero Testate delP anno MDCCXXVIII . . . 
 Firenze, Melchiorre Alberighi e Giuseppe Pagani, 1728. 88 p. 
 
 Three acts. Impresario's dedication, dated Florence, June 18, 1728, argument, 
 cast, scenario. On p. [71J-88 text of the three intermezzi "LA PREZIOSA RIDICOLA." 
 Not recorded by Schatz and not found elsewhere by me. ML 48. A5 v.18 
 
 Radamisto. Musicalisches zwischenspiel . . . Vorgestelletim jahr 
 1734. im monat October. 
 n. i., n. d. 84 p. 15 cm . 
 
 The title is followed by argument and list of characters. At end of the text the 
 note: "Die buechlein seynd zu bekommen in dem kaiserlich-privilegirten theatre 
 bey dem Kaerntner-Thor [Vienna]. Not recorded by von Weilen. SCHATZ 11643 
 
 Radamisto. Drama per musica da rappresentarsi nel Teatro di S. 
 Angelo 1'anno 1698. Di Antonio Marchi . . . 
 Venetia, Nicolini, 1698. 63 p. 14 cm . 
 
 Three acts. Author's dedication dated Venice, November 11, 1698, notice to the 
 reader, argument, scenario. The composer, Tommaso Albinoni, is not mentioned. 
 
 SCHATZ 97 
 
 II Radamisto. Drama per musica fatto rappresentare nel Teatro di 
 Piedemonte ... in occasione degli acclamati sponsali dell' eccellen- 
 tiss. Sig. D. Antonio di Sangro . . . coll' eccellentiss. Signora D. 
 Cecilia Gaetano d'Aragona . . . e a medesima consacrato dall' abb. 
 Nicold Giuvo. 
 
 Venetia, Per il Prodocimo, 1707. 4 p. I, 76 p. 18$ cm . 
 
 Three acte. Author's dedication, argument, cast, scenario, and name of the com- 
 poser, "Nicol6 Fago, detto il Tarantino." SCHATZ 2981 
 
 72251 VOL 114 - 58
 
 
 914 LIBRARY OF CONGRESS 
 
 Radamisto. 
 
 Three-act opera by Georg Friedrich Handel. Text by Nicola Francesco Haym. 
 First performed at London, Haymarket, April 27, 1720. 
 
 - Zenobia, oder Das muster rechtschaffener ehelichen liebe, in 
 einer opera auf dem Hamburgischen Schau-platze vorgestellet im 
 jakr 1726. 
 
 [Hamburg], Gedruckt mil Stromerschen schrifften, n. d. "Unpaged. 
 
 Three acts. Argument. Neither Johann Mattheson, the translator of Haym's 
 "Radamisto," nor the composer, Georg Friedrich Handel, is mentioned. Italian 
 text of the arias is added to the German. 
 
 First performed at Hamburg, 1722. SCHATZ 4502 
 
 The raft; or, Both sides of the water, a musical drama. As per- 
 formed with universal applause at the Theatre-Royal, Covent- 
 Garden. By J. C. Cross . . . The music composed by Mr. Reeve. 
 
 London, J. Barker, 1798. 29, [3] p. 21 cm . 
 
 The [3] p. contain advertisements. 
 
 One act. Cast. 
 
 First performed, March 31, 1798. LONGE 246 
 
 The ragged uproar: or, The Oxford roratory: A new dramatick 
 satire; in many scenes, and one very long act . . . Originally 
 plann'd by Joan Plotwell; and continued by several truly eminent 
 hands, well vers'd in the art of designing . . . 
 
 London, G. Pote, n. d. 32 p. 20. 
 
 In form almost of a ballad-opera, the airs being indicated by title . Author unknown 
 to Clarence, who records neither date of publication nor a performance. LONOE 195 
 
 II raggiratore di poca fortuna. Commedia per musica di Giuseppe 
 Palomba da rappresentarsi nel Nuovo Teatro dV Fiorentini per prim' 
 opera del corrente anno 1779. 
 
 Napoli, n. pull., 1779. 72 p. 15 cm . 
 
 Three acts. Prefatory note, cast, and name of Pietro Guglielmi as the composer. 
 First performed, as indicated, August 1, 1779. SCHATZ 4259 
 
 I raggiri d'amore. L. T. of Tritto's Le vicende amorose. 
 
 I raggiri fortunati. Farsa di un atto solo del Signor abate Pietro 
 Chiari da rappresentarsi nel nobilissimo Teatro Venier in San Bene- 
 detto il carnovale dell' anno 1795. 
 
 Venezia, Modesto Fenzo, 1795. 4 P- 18 cm - 
 
 Cast, scenario, and name of Sebastiano Nasolini as the composer. The text is an 
 altered version of Chiari 's "II marchese villano." 
 
 First performed, as indicated, February 5, 1795. SCHATZ 7029 
 
 Li raggiri fortunati. L. T. of Robuschi's Castrini, padre e figlio. 
 
 I raggiri scoperti. Dramma giocoso per musica da rappresentarsi 
 nel Teatro della molto ille. citta di Barcellona, 1'anno 1792. 
 
 BarceU., Francesco Generas, n. d. 78 p. 15 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Cast and name of 
 Giacomo Tritto as composer. 
 
 First performed at Rome, Teatro alia Valle, carnival 1791. ML 50.2.R17T8 
 
 II Ramiro in Norvegia. A. T. of M. A. Ziani's Gl'amori tra gl'odii.
 
 OPERA LIBRETTOS 915 
 
 Raol de Crequi, ballet. See Winter's Belisa. 
 
 Raollp, signore di Crequi. Tr. of Dalayrac's Raoul, sire -de 
 Crequi. 
 
 Raoul, Barbe Bleue, comedie en prose et en 3 actes, melee d'ariettes ; 
 par M. Sedaine. Musique de Mr. Gre"try. Represented pour la 
 premiere fois par les Comediens italiens ordinaires du roi, le lundi 2 
 mars 1789. 
 
 Amsterdam, Gabriel Dufour, 1791. Jfl p. 20% cm . 
 
 Label of Vente pasted over imprint. ML 50.2.R22G72 
 
 - Raoul Barbe Bleue, comedie en trois actes et en prose, repre- 
 sentee pour la premiere fois, par les Comediens italiens ordinaires du 
 roi, le lundi 2 mars 1789. Paroles de M. Sedaine. Musique de M. 
 Gre"try. 
 
 Bruxettes, Loiseau, 1791. 39 p. 20 cm . 
 
 Label of Vente pasted over imprint. ML 50.2.R22G73 
 
 Raoul, herr von Crequi oder Die verhinderte grausamkeit. Tr. of 
 the ballet Raul, signore di Crechi o sia La tirannide repressa. / 
 
 Raoul, sire de Crequi, comedie en trois actes, en prose. Par Mr 
 Monvel. ReprSsentee pour la premiere fois par les Comediens italiens 
 ordinaires du roi, le samedi 31 octobre 1789. Mise en musique par 
 M? Dalayrac. 
 Paris, n. publ., 1790. 75 p. 19 cm . ML50.2.R24D3 
 
 - Arien und gesaenge aus Rudolph yon Creki. Ein singspiel in 
 drey aufzuegen. Nach dem franzoesischen. Die musik ist von 
 d'Alayrac. 
 
 Riga, Julius Conrad Daniel Mutter, 1792. 16 p. 16% cm . 
 German version, by Heinr. Gottlieb Schmieder. 
 
 First performed at Riga, Theater i. d. gr. Konigstrasse, 1/12, Febr. 1793 ; at Mayence, 
 Nationaltheater, Dec. 17, 1791. SCHATZ 2374 
 
 - Raollo, signore di Ciequi, tragi-commedia in prosa di tre atti, 
 mista d'arie per musica, e tolta dal francese da reppresentarsi nel 
 Reggio Teatro di S. Carlo . . . li 17 decembre dell' anno 1795. 
 
 Lisbona, Simone Taddeo Ferreir, 1795. 187 p. 15 cm . 
 
 Italian version, by Giuseppe Carpani,' with his name and those of Monvel and 
 Dalayrac. Portuguese text faces Italian. SCHATZ 2376 
 
 The rape of Colombine or The flying lovers. See Perseus and 
 Andromeda. 
 
 The rape of Europa by Jupiter. A masque as it is sung at the 
 Queens Theatre in Dorset-Garden. By their Majesties servants. 
 London, M. Bennet, 1694. 2 p. 1., 8 p. 21 cm . 
 
 One act. Cast and argument. Author not known to Clarence. Composer not 
 mentioned, and unknown to me. ML 50.2. R2 
 
 The rape of Helen, a mock opera. As it is acted at the Theatre 
 Royal in Covent-Garden. By John Breval, Esq. . . . 
 
 London, J. Wilford, 1737. 2 p. 1., 48 p. 19 cm . 
 
 One act. Ballad opera, but quite a few of the 25 songs lack indication of the air to 
 be sung. 
 
 First performed May 19, 1733, as indicated. LONGE 52
 
 916 LIBRARY OF CONGRESS 
 
 The rape of Proserpine: as it is acted at the Theatre-Royal in 
 Lincoln's-Inn-Fields. Written by Mr. Theobald. And set to 
 musick by Mr. Galliard. 
 
 London, T. Wood, 1727. viii, 17 p. 17\ cm . 
 
 One act. Cast and J. Rich's dedication, recommending his "part in this work" 
 (the design of it), and dated "Lincoln's-Inn-Fields, Feb. 10, 1726. This dedication, 
 to Thomas Chamber, reads in part: 
 
 "Though my inclination to musick frequently leads me to visit the Italian opera; 
 yet, I confess, it is not in the power of the present excellent performers to prevent 
 my falling into the very common opinion, that there are many essential requisites 
 still wanting, to establish that entertainment on a lasting foundation, and adapt it to 
 the taste of an English audience. 
 
 "For not to mention the trite objection of the performances being in Italian, and 
 the general ill choice of the subjects for those compositions, it is evident that the vast 
 expence of procuring foreign voices, does necessarily exclude those various embellish- 
 ments of machinery, painting, dances, as well as poetry it self, which have been 
 always esteemed (except till very lately in England) auxiliaries absolutely necessary 
 to the success of musick; and, without which, it cannot be long supported, unless by 
 very great subscriptions, of which we naturally grow tired in a few years. 
 
 "It seems, therefore, the only way by which musick can be establish'd in England, 
 is to give it those assistances from other arts which it yet wants, and by that means to 
 adapt it still more to the public taste; to moderate, as much as possible, the expence 
 of it, and thereby to make it a general diversion, which hitherto it has not been. 
 
 "You will perceive, Sir, that in the following entertainment, the vocal parts of 
 which are here presented to you, I have endeavoured to introduce that variety, which 
 has usually been thought agreeable on the stage; and have attempted to form the 
 serious part of it upon the above mentioned plan, as a specimen of what may not be 
 displeasing to an English audience, and from which the town may be aj)le to form a 
 judgment of the effect an opera wou'd have, if conducted (by an abler hand) in the 
 same manner. 
 
 "As for the other parts, it might, perhaps, seem an affectation in me to detain you 
 with the history of the ancient pantomime entertainments, or to make a long apology 
 for the revival of them at present. Thus much, however, may be said in their favour, 
 that this theatre has of late ow'd its support in great measure to them. I own my self 
 extremely indebted to the favour with which the town is pleas 'd to receive my 
 attempts to entertain them in this. kind; and to engage, for my own part, that when- 
 ever the publick taste shall he disposed to return to the works of the drama, no one 
 shall rejoice more sincerely than my self ..." 
 
 According to Grove's Diet., this pantomime was first performed in 1725, forming 
 part of "Harlequin sorcerer," as "The loves of Pluto and Proserpine." "The rape 
 of Proserpina" is not mentioned by Genest. ML 50.2.R24 
 
 I 
 
 II rapimento di Cefalo rappresentato nelle nozze della Chris- 
 tianissima Maria Medici regina di Francia e di Nayarra. Di Gabri- 
 ello Chiabrera [vignette]. 
 
 Firenze, Giorgio Marescotti, 1600. [3], 4-27, '[1] p. 21. 
 
 At end, on the unnumb. p. printer's mark. Five acts. On p. [2] Interlocutori, 
 on p. [3J-4 Prologo. No composer is mentioned, but Michelangelo Buonarroti in his 
 very minute and interesting "Descrizione," 1600, of the festivities (quoted by 
 Solerti) says: 
 
 "Giulio Caccini ebbe il carico di tutta la musica, e funne il componitore; se non 
 che dei cori, il primo da Stefan Venturi del Nibbio, insieme con una gran musica 
 delli Dei simili a coro, ed il terzo e'l quarto da Messer Luca Bati maestro della catte- 
 dral cappella composti furono. II secondo per maggiormente onorarsi musica e scena 
 reale, di fare compiacquesi il Signor Pietro Strozzi, gentiluomo non solamente di 
 tale arte, ma di ogni nobile facolta adornissimo: per la cui opera altresi ricevette 
 molto giovamento 1'esercizio di tale impresa, siccome per quella del Signor Cosimo 
 de' Medici ancora." 
 
 Caccini did not mention these facts when he published part of his music in his 
 "Nuove musiche," 1601 [1602], p. 19-24 with these introductory remarks: 
 
 "Non havendo io potuto per molti impediment far' istampare com' era il desiderio 
 mio il Rapimento di Cefalo composto in musica da me per comandamento del Sere- 
 nissimo Gran Duca mio signore . . . mi e parso ora con 1'occasione di quest' altre 
 mie musiche aggiugnere a quelle 1'ultimo coro di esso Rapimento . . ."
 
 OPERA LIBRETTOS 917 
 
 II rapimenjbo di Cefalo Continued. 
 
 Besides this chorus "Ineffabile ardore" he published the arias "Muove si dolce," 
 "Caduca fiamma," "Qual trascorrendo," and the chorus "Quand il bell' anno." 
 After -the first two arias the chorus "Ineffabile ardore" was repeated. The whole 
 publication, therefore, forms what might be termed the finale of "II rapimento di 
 Cefalo." 
 
 Final rehearsal on October 7, 1600; first performance on October 9, 1600. 
 
 SCHATZ 1449 
 
 II rapimento di Proserpina, ballet. See G. F. de Majo's Catone 
 in Utica. 
 
 II rapitore punito, ballet. See P. v. Winter's I sacrifizi di Creta. 
 
 Le rappel de la Foire a la vie. Piece d'un acte. Par Mrs le S * *. 
 & D'Or * * ... 
 Le Theatre de Iqfoire, Paris, 1737, t. Hi, pi, [411]~4o4 p. 17 cm . 
 
 By Le Sage and D'Orneval. Largely en vaudevilles. The airs, selected or com- 
 posed and arranged by Jean Claude Grillier, the " compositeur " of the theatre, are 
 printed at the end of the volume in the "Table des airs." A note on the title page 
 reads: 
 
 "Les auteurs de cette piece 1'avoient composed pour le debut de 1'Opera comique, 
 qui s'est retabli a la Foire de S. Laurent de cette pr^sente ann6e 1721: mais comme 
 la permission de r'ouvrir ce theatre n'a pas ete accordee aux acteurs qu'on auroit 
 8ounait6, on n'a pas voulu la faire representer. Le lecteur sera peut-etre bien aise 
 de voir par ou ces auteurs se proposoient de recommencer les representations de ce 
 Bpectacle." 
 
 First performed Sept. 1, 1721. ML 48.L2III 
 
 Rappresentanza allegorica che serve d'introduzione alia festa di 
 ballo da darsi nel Real Casino delle cascine e nell' annesso parterre 
 la sera de' iv luglio MDCCXCI. In occasione delle pubblicne feste 
 di gioia date da S. A. R. Ferdinando III Gran-duca di Toscana 
 ec. ec. ec. nelle cascine dell' isola i giorni iii. iv. e v del detto mese 
 di luglio. 
 
 Firenze, Grazioli, n. d. 24 p. 2S\ cm . 
 
 The text is preceded by a kind of argument. Neither the author nor the composer 
 is mentioned. The allegory deals with Diana, Cerere, Flora, and Bacco. 
 
 ML 48.M2A 
 
 Le rapt des Sabines, ballet. See P. Guglielmi's L'impostore punito. 
 
 The raree show: or, The fox trap't. An opera. The second edi- 
 tion, with alterations. Written by Joseph Peterson, comedian . . . 
 Chester, Printed by Roger Adams, for the author, 1740. 4 v.1., $1, 
 [1] p. W cm . 
 
 Two acts. Dedication, prologue, and two epilogues. Largely a ballad opera, the 
 airs used in which are indicated by title. According to Tufts, acted at York, 1739. 
 
 LONOE 271 
 
 Die rasereyen des Rolands. Tr. of Touchemolin's I furori di 
 Orlando. 
 
 Raton et Rosette. Parody of Mondonville's Titon et 1'Aurpre. 
 H ratto della sposa, ballet. See Baroni's Artaserse.
 
 918 LIBRARY OF CONGRESS 
 
 II ratto della sposa. Dramma giocoso per musica .del Signer 
 Gaetano Martinelli Romano da rappresentarsi nel Teatro Giustiniani 
 di San Mois6 1'autunno dell' anno 1765. 
 
 Venezia, Modesto Fenzo, 1765. 60 p. 14 cm . 
 
 Three acts. Caet, scenario, and name of Pietro Guglielmi as the composer. 
 
 SCHATZ 4280 
 
 II ratto della sposa. Dramma giocoso per musica da rappresen- 
 tarsi nel Real Teatro dell' Ajuda in occasione di festeggiarsi il giorno 
 natalizio del fedelissimo monarca D. Giuseppe I . . . nel di 6. giugno 
 MDCCLXVII. 
 
 Lisbona, Michele Manescal da Costa, n. d. 16 cm . 
 
 Imperfect, wanting the pages after p. 82. 
 
 Three acts. By Gaetano Martinem, who is not mentioned. Cast, scenario, and 
 name of Pietro Guglielmi as composer. ML 50.2.R27G9 
 
 II ratto delle castellane fatto dai Triestini, ballet. See Andre- 
 ozzi's La principessa filosofa. 
 
 II ratto delle Sabine. Drama per musica nell' augusto Teatro 
 Grimani di S. Gio. Crisostomo 1'anno MDCLXXX del Bussani . . . 
 
 Venetia, Francesco Nicolini, 1680. 66 p. 14$ cm - 
 
 Three acts. Dedication, argument, scenario, cast, and name of composer, Pietro 
 Simone Agostini. The dedication signed in full by Giacomo Francesco* Bussani. 
 The composer is referred to as Augustini. SCHATZ 65 
 
 II ratto delle Sabine, ballet. See Bertoni's Narbale. 
 
 II ratto delle Sabine. Drama per musica, nel giorno nata- 
 lizio della S. C. R. M. t4 dell' imperatore Leopoldo. . . Tanno 
 MDCLXXIV . . . Posto in musica dal S? Antonio Draghi . . . con 
 1'arie per li balli del Sig. Gio. Enrico Smelzer . . . 
 
 Vienna d' Austria, Gio. Christoforo Cosmerovio, n. d. 7 p. 1., 129 p. 
 15 cm . 
 
 Three acts. Argument. By conte Nicol6 Minato, who, in his dedication, dated 
 June 9, 1674 (the emperor's birthday), calls this "il primo tribute della mia penna," 
 and who, in a prefatory note to the reader, says: 
 
 "Questo drama fu concepito per le scene dell' Adria, m& direttione d'astri piu fortu- 
 nati 1'ha scortp eii quelle di Cesare ... Lo vederai framezato con 1'introduttione 
 de' Giuochi olimpici, per dividerne in due giorni la rappresentatione : & causa di non 
 recar" in una sol volta incommodo alle M. M. Augustissime in staggione di troppo 
 fervidi giorni. Comtisci la debolezza della mia penna, gi da te conosciuta: e se a IX 
 mie dramatiche compositioni in Venetia, & ad altre XIV in questa Cesarea Reggia 
 porgesti il dono del tuo cortese gradimento, non defraudarne anco questo, che dalla 
 tua benignita se lo spera: e vivi felici." ML 50.2.R28D7 
 
 II ratto delle Sabine, ballet. See Mortellari's Semiramide. 
 
 II ratto delle Sabine. Dramma per musica di Gaetano Rossi da 
 rappresentarsi nel nobilissimo Teatro La Fenice per prima del carno- 
 vale 1800. 
 
 Venezia, Stamperia Valvasense, 1799. 84, [1] p. 17$ cm . 
 
 Two acts. Cast, name of Nicola Antonio Zingarelli as the composer, and prefa- 
 tory note by the author, Gaetano Rossi, who says: 
 
 "Quando si rifletta, che un povero autore e oggidi obbligato a servire alia musica, 
 alia ecena, ma piu di tutto alle ognor nuove Convenienze teatrali (a queste capricciose 
 e irragionevoli dietruggitrici dell' ordine drammatico) non si potra, non compatirlo, o 
 tacciarlo di prolissita, e d'arbitrio."
 
 OPERA LIBRETTOS 919 
 
 II ratto delle Sabine Continued. 
 
 On p. [39pl4, prefatory note, argument, cast, and name of Vittorio Trento as com- 
 poser of the music of Lorenzo Panzieri's "Kildar, ballo tragico pantomimo." The 
 second ballet was called "Gl'inganni delusi." 
 
 First performed, as indicated, December 26, 1799. SCHATZ 11256 
 
 II ratto di Prosperpina. Fayola per musica da eseguirsi nella 
 nobile Accademia de' Rinnovati il carnovale dell' anno 1791. 
 
 Venezia, Typografia Valvasense, n. d. 16 p. 19\ cm . 
 
 Two acts. By Mattia Botturini. Names of the author and the composer, Giovanni 
 Battista Cimador. SCHATZ 1902 
 
 II ratto di Prosperpina, ballet. See Naumann's Ipermestra. 
 
 II ratto di Prosperpina. Dramma per musica da cantarsi nella 
 Real Villa di Queluz per celebrare il felicissimo giorno natalizio della 
 serenissima Signora Donna Maria Francesca Benedetta principessa 
 del Brasile li 25 luglio 1784. 
 
 [Lisboa], Stamperia reale, n. d. 35 p. 15 cm . 
 
 One act. Argument, cast, and names of Gaetano Martinelli as author, of Joao 
 Cordeiro da Silva as composer. SCHATZ 9884 
 
 Der rauchfangkehrer, oder Die unentbehrlichen verraether ihrer 
 herrschaften aus eigennutz. Ein musikalisches lustspiel in drey 
 aufzuegen. In musik gesetzt von herrn Anton Salieri . . . Aufge- 
 fuehrt im K. K. Nationaltheater. 
 
 Wien, beym Logenmeister, 1781. 108, [1] p. 16 cm . 
 
 Three acts. By Leopold von Auernbrugger, who is not mentioned. 
 First performed at Wien, Burgtheater, April 30, 1781 (Schatz), April 20, 1781 
 (Haas). SCHATZ 9313 
 
 Raul, signore di Crechi o sia La tirannide repregsa, ballet. See 
 Himmel's Semiramide. 
 
 Le ravisseur poll. A. T. of Pierrot Romulus. 
 
 II rawedimento del figliuol prodigo, dramma sacro in musica di 
 Giuseppe Palomba da rappresentarsi al Teatrino del largo del Castello 
 nella quaresima di quest anno 1790. 
 
 Napoli, n. pull., n. d. 46 p. 14 cm . 
 
 Two acts. Cast and name of the composer, Giuseppe Coppola. SCHATZ 2211 
 
 II re alia caccia. Dramma di tre atti per musica. Rappresentato 
 per la prima volta in Venezia 1'autunno dell' anno MDCCLXIII, con 
 musica del Buranello. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 37, 
 [71}-135 p. 18% cm . PQ 
 
 II re alia caccia. Dramma giocoso di Polisseno Fegejo da rappre- 
 sentarsi nel Teatro di S. Samuelle 1'autunno dell' anno MDCCLXIII. 
 
 Venezia, Antonio Bassanese, n. d. 66 p. 
 Three acts. By Goldoni. Notice to the reader, cast, scenario, and name of 
 Baldaesare Galuppi as composer. SCHATZ 3475 
 
 II re alia caccia, ballet. See Naumann's Solimano.
 
 920 LIBRARY OF CONGRESS 
 
 II re alia caccia. Commedia per musica di Pasquale Mililotti da 
 rappresentarsi nel Teatro Nuovo sopra Toledo nell' autunno del 
 corrente anno 1780. 
 
 Napoli, n. pull., 1780. 66 p. 15 cm . 
 
 Three acts. Cast and name of Angelo Tarchi as the composer. SCHATZ 10224 
 
 II r6 alia caccia, ballet. See Tarchi's Giulio Sabino. 
 
 II re de' ciarlatani, ballet. See Cherubim's Quinto Fabio. 
 
 * II re infante. Drama per musica da rappresentarsi nel famosissimo 
 Teatro Grimano di San Gio. Grisostomo. L'anno MDCLXXXIII. 
 Di Matteo Noris. Ristampata con riforma . . . 
 Venetia, Francesco Nicolini, 1683. 80 p. 14 cm . 
 
 Three acts. Author's dedication and scenario. The composer, Carlo PaUavicino, 
 is not mentioned. SCHATZ 7734 
 
 II re infante. Drama per musica da rappresentarsi nel Teatro 
 Malvezzi 1'anno 1694. Dei Sig. Matteo Noris . . . 
 Bologna, Giulio Borzaghi, n. d. 87. llf. 
 
 Three acts. Dedication dated Bologna, January 18, 1694, and signed by Giacomo 
 Antonio Perti and Ceare Bonazzoli apparently as impresarios, scenario, and notice 
 to the reader which reads, in part: 
 
 "Lo vedrai cangiato in varij luoghi con nuove ariette . . . Averti ancora, che si 
 e posto in scena nella maniera, che f u scritto di prima impressione supponendo questa 
 la vera intentione del medesimo autore." 
 
 The words in the dedication "eccolo, che, doyendo ritornar alle etampe, e di 
 nuovo comparir sopra le scene in Bologna " make it clear that the opera must have 
 been performed there before 1694. Bound in is the following (same imprint, 21 p.): 
 
 INTERMEZZI, et aggiunte al drama intitolato II re infante, che si rappresenta nel 
 Teatro Malvezzi 1'anno 1694. 
 
 The reader is informed that, in order to please the audience, in many places of the 
 opera arias have been cancelled and others "di maggior genio de' virtuosi cantanti" 
 have been substituted, also that 
 
 " vi si sono ancora aggiunti due intermezzi, accioche piu ti sia grato il serio, veden- 
 dovi framezzato il faceto." 
 
 The characters in these intermezzi are ' ' Dircea, poi Gildo " and ' ' Gildo, poi Despina 
 e Livio." The substitute arias printed are "Merce de la mia fe" (I, 5), "Sembra 
 riso, ed e sol pianto" (I, 7), "Se costante e la mia bella" (I, 11), "Sol per voi fogli 
 amorosi" (1, 12), "Vaghi rai del mio bel Sole" (II, 1), "Quand un ayme tendrement" 
 and "Les amantes, qui sont fideles" (II, 3), "Rissolvi 6 cor tradito" (II; 5), "Come 
 al Polo si rivolge" (II, 17), "Sei vago, sei vezzoso" (II, 17), "Nel seno amante" 
 (III, 2), "Belta costante" (III, 3), "Fiero Pluto de 1'Inferno" (III, 3), "Bel gioia, 
 gioiasoave" (III, 24). Schatz attributes the music to Perti, probably because he 
 signed the dedication. Comparison proves that, barring many alterations, the text 
 is the same as the one performed 1683 at Venice, the setting of which is attributed 
 also by Schatz to Carlo Pallavicini. If correctly attributed to him, it therefore may 
 be that Perti either did not compose the text for Bologna (1694) at all or that he waa 
 merely responsible for the additional music, etc. SCHATZ 7953 
 
 II re pas tore. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t. v, [859}-425 p. 
 16 cm . 
 
 Three acts. Argument. ML 49.A2M42 
 
 - II re pastore. Dramma scritto dalF autore in Vienna . . . rap- 
 presentato la prima volta con musica del Bonno da giovani distinte 
 dame, e cavalieri nel teatro dell' Imperial Giardino di Schonbrunn . . . 
 nella prima vera dell' anno 1751. 
 
 pi., [107]-180 p. 26 cm . (Metastasio, Opere, t. vii, Parigi, vedova 
 Herissant, 1780.) 
 
 Three acts. Argument. ML 49.A2M44
 
 OPERA LIBKETTOS 921 
 
 II re pastore. Dramma per musica da rappresentarsi nel Teatro di 
 Lucca nell' autunno dell' anno MDCCLXV. 
 
 Lucca, Filippo Maria Benedini, n, d. 63 p. 
 
 Three acts. By Metastasio. Argument, scenario, cast, and note: "La mueica e 
 di diversi celebri autori." On p. 62, a schedule of the performances from August 17 to 
 October 16; on p. 63, the substituted arias, "Al tuo pensier richiama" (I, 1) and "In 
 mezzo a tanti affanni" (III, 4). ML 50.2.R29 
 
 II re pastore, ballet. See Anfossi's Gli artigiani. 
 II re pastore, Pallet. See Anfossi's Gengis-Kan. 
 II re pastore, ballet. See Borghi's Creso re di Lidia. 
 
 II re pastore. Dramma per musica da rappresentarsi nel nobil 
 Teatro di San Benedetto di Venezia nell estate dell' anno 
 MDCCLXIX. 
 
 Venezia, Modesto Fenzo, 1769. 45 p. 19 cm . 
 
 Two acts. Argument, cast, scenario, and names of Metastasio as author and of 
 Baldassare Galuppi. An adaptation of the original drama, as remarked on p. 8. On 
 p. 25-^28 and 41-45, a description of the ballets, the second being called "Rinaldo 
 nella isola incantata d'Armida." 
 
 First performed at Parma, Teatro Ducale, April, 1762 (Schatz); at Milan, Teatro 
 Ducale, April, 1758 (Piovano). SCHATZ 3468 
 
 II re pastore. Dramma per musica da rappresentarsi nel nobilis- 
 simo Teatro di S. Benedetto nella fiera dell' Ascensione dell' anno 
 1767 . . . 
 
 Venezia, Modesto Fenzo, 1767. 54 p. 17 cm . 
 
 Three acts. By Metaetasio, who is not mentioned. Impresario's dedication, argu- 
 ment, cast, scenario, and name of Pietro Guglielmi as the composer. 
 
 First performed at Turin, Teatro Carignano, fall of 1765, according to Schatz and 
 others, but Piovano makes it clear that this is a mistake; that the composer of the 
 Turin opera of that title is not known; and that Guglielmi's opera was probably first 
 performed as indicated in the title of the Venetian libretto. SCHATZ 4302 
 
 II re pastore. Dramma per musica da recitarsi nella Regia elettorale 
 villa di Sant' Uberto, per festeggiare il felicissimo giorno natalizio di 
 S. S. R. M. il re" di Polonia Augusto III . . . li 7 ottobre dell' anno 
 1755 . . . 
 
 Dresda, la vedova Stoessel e Giovanni Carlo Krause, n. d. S p. I., 
 58, [2] p. 21 cm . 
 
 Three acts and licenza. By Metastasio, who is not mentioned. Argument, cast, 
 scenario, and name of Johann Adolph Hasse as the composer. SCHATZ 4556 
 
 II re pastore. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Sans Souci . . . 
 
 Berlino, Haude e Spener, 1770. 107, [4] p. 16 cm . 
 
 Three acts. German title-page, "Der im schaefer verborgene koenig," and text 
 face Italian, which follows the original Dresden (1755) edition closely, except that a 
 prologue has been added as ' ' Vorspiel zu der oper dor Koenigliche schaefer. Aus dem 
 franzoeeischen uebersetzt." Joh. Ad. Hasse is mentioned as composer of the opera. 
 
 First performed, as indicated, October 1, 1770. SCHATZ 4557
 
 922 LIBRAKY OF CONGRESS 
 
 II re pastore. Dramma per musica del Sig. abate Pietro Metas- 
 tasio . . . Da rappresentarsi nel Teatro Giustiniani di San Moise 
 il carnovale dell' anno 1753. 
 
 Venezia, n. putt., 1753. 47 p. 15. 
 
 Three acts. Argument, cast, scenario, and name of Giuseppe Sarti as the composer. 
 First performed at Pesaro, Teatro del Sole, carnival, 1752. SCHATZ 9466 
 
 II re" pastore, ballet. See Sarti's Fra i due litigant! il terzo gode, 
 Milano, (1795). 
 
 II re pastore, ballet. See Sarti's Giulio Sabino. 
 
 II re Teodoro in Venezia. Dramma eroi-comico per musica da 
 rappresentarsi nel Teatro alia Scala la quaresima dell' anno 1788 . . . 
 Milano, Gio. Batista Bianchi, n. d. 1 p. 1., 80 p. 16^ cm . 
 
 Two acts. By Giambattista Casti, who is not mentioned. Dedication, argument, 
 scenario, and name of Giovanni Paisiello as the composer. With the opera were 
 performed (composers of the music not mentioned) Ranieri Pazzini's ballet, "La pas- 
 torella rapita da' Corsari" and Giuseppe Scalesi's "Gelosia per gelosia." 
 
 First performed at Vienna, Burgtheater, August 23, 1784. ML 50.2.R3P22 
 
 II re Teodoro in Venezia. Dramma eroico-comico, da rappre- 
 sentarsi nel Teatro di Monsieur. Le roi TJheodore a Venise. Op6ra 
 h6roi-comique, represente pour la premiere fois, le 21 fevrier 1789, 
 sur le Theatre de Monsieur. 
 
 Paris, de L'imprimerie de Monsieur, 1789. (double) 62 p. 21, cm . 
 
 Two acts. Not Dubuisson's translation. French text faces Italian. Cast, name 
 of Giovanni Paisiello as the composer and Avertissement: 
 
 "En traduisant ce poeme, Ton s'est propose" deux principaux objets, 1'un, de faci- 
 liter aux personnes peu veree'es dans la langue italienne, I'lntelligence du texte, que 
 Ton a suivi d'aussi pres qu'il a 6te possible; 1'autre, d'etablir des distinctions sensibles 
 entre le r^citatif simple, le re"citatif oblige 1 , et les airs. On a done rendu en prose le 
 r6citatif simple, et le reste en vers blancs ou non rimes ... Si les personnes qui 
 lisent pendant la representation, e"prouvent que cette forme de version distrait moms 
 leur oreille du rythme musical, que ne le feroit de la prose absolue, on ne regrettera 
 pas de s'dtre impost cette contrainte de plus." ML 50.2.R3P27 
 
 - Le roi Theodore a Venise, opera-heroi-comique en trois actes, 
 . . . represents deyant Leurs Majestes, a Fontainebleau, le 28 
 octobre, & a Versailles, le 18 novejnbre 1786. Musique du cel^bre 
 Pasielo [!]; Paroles imitees de 1'italien par M. Dubuisson. 
 
 Versailles, Le Coutre, 1787. 66 p. 18 cm . ML50.2.R3P25 
 
 Der koenig Theodor in Venedig. Ein aus dem italiaenischen 
 uebersetztes grosses sing-spiel in zween aufzuegen mit der musik des 
 kapellmeisters Paisiello, aufgefuehrt von der scnauspieler gesellschaft 
 des herrn Boehm. 
 
 Koeln am Rhein, gedruckt mit Langischen schriften, 1785. 62 p. 
 \. 
 
 Cast. Two acts. By Johann Boehm. 
 
 First performed 1785, as indicated. SCHATZ 7651 
 
 - Der koenig Theodor zu Venedig. Eine komische oper. Auf 
 dem Hof theater vorzustellen. 
 
 Stuttgart, Buchdruckerei der Herzogl. Hohen Carls-Schule, 1785. 
 189 p. 15\ cm . 
 
 Two acts. Paisiello is mentioned, but not Caeti. Argument in German and 
 Italian as is the text. 
 
 First performed 1785, as indicated. SCHATZ 7682
 
 OPERA LIBRETTOS 923 
 
 II re Teodoro in Venezia Continued. 
 
 - Gesaenge aus dem singspiele : Koenig Theodor in Venedig, in 
 zwey aufzuegen. In musik gesetzt von Paisiello. Nach dem italie- 
 nischen des abbate Casti, frey bearbeitet von d'Arien. 
 Hamburg, J. M. Michaelsen, 1788. 54 p. 16% cm . 
 First performed at Hamburg, Theater b. Gansemarkt, April 14, 1788. 
 
 SCHATZ 7653 
 
 Gesaenge aus dem singspiele Der Koenig Theodor in zwey auf- 
 zuegen. Aus dem italiemschen. In musik gesetzt von Paisello. 
 
 n. pi., n. puU., 1792. 40 p. 15 cm . SCHATZ 7683 
 
 Alien und gesaenge aus dem singspiel : Theodore in Venedig, 
 mit der musik des kapellmeisters Paesiello. 
 
 Berlin, n. putt., 1799. 47 p. 16 cm . 
 
 Two acts. Boehm's version with modifications. 
 
 Performed in 1799 at Berlin, Kgl. National theater; first performed there August 7, 
 1786. SCHATZ 7652 
 
 The reapers : or The Englishman out of Paris. An opera. 
 London, T. Carnan, 1770. Ip.l, 63 p. 21 cm . 
 
 Three acts with prologue. According to prefatory note the piece is practically "a 
 translation, or rather an imitation" of "Les Moissonneurs " (by Favart, music by 
 Duni). Neither author nor performance recorded. LONGE 204 
 
 Das recht des lehnsherrn. Tr. of Martini's Le droit du seigneur. 
 II reclutamento in villaggio, ballet. See Zingarelli's Meleagro. 
 Le reclute d'amore, ballet. See Tritto's Apelle e Camp/ispe. 
 
 Le reclute del villaggio, ballet. See Martin y Soler's L'accorta 
 cameriera. 
 
 Le reclute per inganno, ballet. See Delia Maria's Chi vuol non 
 puole. 
 
 Le reclute villane, ballet. See Caruso's Gli amanti dispettosi. 
 
 La reconciliation. A. T. of Beffroy de Reigny's Le club des 
 bons-gens. 
 
 The reconciliation; or The triumph of nature. A comic opera, in 
 two acts by Peter Markoe. 
 Philadelphia, Prichard & Hall, 1790. viii, [9}~48 p. 20 cm . 
 
 A ballad opera, the tunes indicated in the text. The dedication (p. [m]) reads: 
 
 "To His Excellency Thomas Miflin, Esq., President of the State of Pennsylvania; 
 and to the Honorable Thomas M'Kean, Chief Justice of the said State; this comic 
 opera approved of by them in their official capacity according to law; but withdrawn 
 from the managers of the theatre, after it had remained in their hands more than four 
 months; is ... inscribed." 
 
 In his preface (p. [v]-vi) Markoe says: 
 
 "A revisal and correction of "Erastus," literally translated by a native of Ger 
 many, lately arrived in Pennsylvania, gave rise to the following piece. 
 
 "The happy simplicity of the German original, written in one act by the celebrated 
 Gesner, suggested an enlargement of the plan. A new character is added, songs are 
 introduced, and the dialogue so modelled as to be rendered (it is presumed) pleasing 
 to an American ear. Those who understand the German and the English languages 
 will, on comparing the two pieces, readily perceive the difference between them ..." 
 
 ML 50.6.R28 
 Second copy. Dram. Pa in phi. v. 7
 
 924 LIBRARY OF CONGRESS 
 
 La reconciliation genereuse, ballet. See Bernasconi's La cle- 
 menza di Tito. 
 
 Die recrouten auf dem lande, eine komische oper in drey acten. 
 
 Wittenberg und Zerbst, Samuel Gottfried Zimmermann, 1781. 135 p. 
 17 cm . 
 
 Neither the author (unknown to Schatz) nor the composer, Carl David Stegmann, 
 is mentioned. 
 
 First performed, as "Die rekruten auf dem Lande," at Konigsberg, Acker- 
 mann'sches Schauspielhaus, 1775. SCHATZ 10041 
 
 
 
 The recruiting Serjeant. A musical entertainment as it is per- 
 form'd at the Theatre-Royal in Drury-Lane [vignette]. 
 London, William Griffin, 1770. 28 p. 19$ cm . 
 
 One act. Cast and prefatory note stating that Charles Dibdin composed the 
 music, and that 
 
 "This piece was performed last summer at Ranelagh; but, though very much 
 approved by the best judges of musical composition, by being performed in an 
 orchestra, lost the better part of its effect. 
 
 "It was thought it would please more in action upon the theatre; and with the 
 addition of a new scene and chorus, and a ballet suitable to the subject; is now, 
 accordingly, once more presented to the public ..." 
 
 The author, Isaac Bickerstaffe, is not mentioned. 
 
 First performed 1769, as indicated; at Drury Lane, January 19, 1771. 
 
 LONGB 37 
 
 - The recruiting Serjeant. A musical entertainment. By Isaac 
 Bickerstaff, Esq. 
 
 [SSS]-S42 p. 19 cm . (Collection of the most esteemed farces and 
 entertainments, t. vi, Edinburgh, 1792.} 
 
 One act. Drury-Lane cast. The composer, Dibdin, is not mentioned. 
 
 SCHATZ 11753F 
 
 Der redende baum. A. T. of Boeklin von und zu Boeklinsau's 
 Phaedon und Naide. 
 
 Das redende gemaehlde. Tr. of Gre"try's Le tableau parlant. 
 
 Die redende statue. A. T. of Mozart's Don Juan. 
 
 Die reformation der liebe. A. T. of Herklots' play Pigmalion. 
 
 Arien und gesaenge aus dem singspiele Die Regata zu Venedig, 
 oder: Die nebe unter den gondoliren in zwey akten. Komponirt 
 vom herrn doktor Fliess. 
 
 Berlin, n. pub., 1798. 35 p. 15 cm . 
 
 By Samuel Gottlieb Biirde. Cast. 
 
 First performed at Berlin, Kgl. Nationaltheater, August 3, 1798. SCHATZ 3247 
 
 Die Regata zu Venedig oder Die liebe unter den gondolieren. 
 Eine oper in drei aufzuegen von S. G. Buerde. 
 
 Koenigslerg, Friedrich Nicolovius, 1795. 112 p. 17 cm . 
 
 Three acts. The composer, F. Sigismund Sander, is not mentioned in the "Vor- 
 bericht," which describes the Venetian regattas, and states that 
 
 "der vorfall, welcher die entwicklung des gegenwaertigen schauspiels ausmacht, 
 rich bei einer Regata im iahr 1784 wirklich ereignet hat." SCHATZ 9372
 
 OPERA LIBRETTOS 925 
 
 La reggia d' Imeneo. Festa teatrale per le felicissime nozze del 
 serenissimo principe Antonio di Sassonia, e della serenissima arci- 
 duchessa Maria Teresa di Austria. 
 
 Dresda, Stamperia elettorale, 1787. 4 5 P- 21 i cm - 
 
 One act. Giannambrogio Migliavacca is mentioned as the author, Gio. Amadeo 
 [Johann Gottlieb] Naumann as the composer. German title page, " Die burg 
 Hymens," and text face Italian. 
 
 First performed, as indicated, October 21, 1787. SCHATZ 7056 
 
 I regii equivoci. Drama per musica da rappresentarsi nel famoso 
 Teatro di Sant' Angelo F anno 1697 . . . 
 
 Venezia, Nicolini, 1697. 2 p. I, 72 p. 14\ cm . 
 
 Three acts. Dedication by the author, Matteo Noris, argument, notice to the 
 reader, and scenario. The composer, Carlo Francesco Pollaroli, is not mentioned. 
 
 SCHATZ 8314 
 
 Le regiment de la Calotte. Piece d'un acte. Representee par 
 1'Opera comique a la Foire de S. Laurent le 1. septembre 1721. avec 
 Les funerailles de lafoire & son Rappel a la vie. Et ces trois pieces 
 furent joules au Palais royal par ordre de S. A. R. Madame le 2. 
 octobre suivant. 
 
 Le Theatre de lafoire, Paris, 1724, t. v, pi., 46 p. 17 cm . 
 
 According to a note on 2d p. 1. of t. iv, the plays in t. iv-v were written by Le Sage, 
 Fuzelier, and d'Orneval. Largely en vaudevilles. The airs, selected or composed 
 and arranged by Jean Claude Gillier, are printed at the end of the volume in the 
 "Table des airs." The final vaudeville was composed by Aubert. The text is 
 preceded by this Avertissement: 
 
 "Le 22. du mois d'Aout le Privilege de 1'Opera Comique fut 6te" a la troupe qui 
 1'avoit, & donne 1 a celle du Sieur Francisque; qui commenca ses representations en 
 vaudevilles le I. de Septembre suivant. 
 
 "Pour mettre au fait du Regiment de la Calotte ceux qui n'y sont pas, ils sauront 
 que c'est un regiment metaphysique, invent^ par quelques esprits badins, qui s'en 
 sont fait euxmemes les pnncipaux officiers. Ils y enr61ent tous les particuliers, 
 nobles & roturiers, qui se distinguent par quelque folie marquee, ou quelque trait 
 ridicule. Get enrolement se fait par des brevets en prose ou en vere qu'on a soin de 
 distribuer dans le monde. Mais la plupart de ces brevets sont 1'ouvrage de poe'tes 
 tmraires, qui de leur propre autorit^ font des levies de ens, qui deshonoreroient le 
 corps par leur merite & par leur sagesse, si le commissaire ne les cassoit point aux 
 revW" ML 48.L2 V 
 
 La regina creduta re. Drama per musica da rappresentarsi nel 
 Teatro di Sant' Angelo 1'anno 1706. Di Matteo Noris. 
 
 Venetia, Gio. Battista Zuccato, 1706. 70 p. 14 cm . 
 
 Three acts. Prefatory note and scenario. The composer, Marc' Antonio Bonon- 
 cini, is not mentioned. Between p. 8-9 a page inserted with alterations. 
 
 SCHATZ 1205 
 
 Regina de' Volsci. L. T. of M. A. Bononcini's II trionfo di Camilla, 
 regina de' Volsci. 
 
 La regina Sant [!] Orsola del S? Andrea Salvador! Rappres* nel 
 Teatro del sereniss. Gran duca di Toscana al sereniss. Principe Vla- 
 dislao Sigismondo, Principe di Polonia e di Suetia. Aggiuntivi i 
 Fiori del Calvario dello stesso autore . . . 
 
 Fiorenza, Pietro Cecconcelli, 1625. 5 fold, pi., 168 p. (incl. # 
 engraved t.-p.) IJfy. 
 
 Five acts and prologue. Author's dedication dated Florence, January 29, 1625, 
 sonnet by Salvadori to the Polish prince, two sonnets by abate Agnolo Capponi, ode 
 by Gabriello Chiabrera, argument, "Persone, che recitano" (without cast), and, 
 finally, remarks on the scenery, after which:
 
 926 LIBRARY OF CONGRESS 
 
 La regina Sant [!] Orsola Continued. 
 
 "Quest azzione, accio possa recitarsi senza musica, e stata dal suo autore piii allun- 
 gata in stampa; di quello che fu cantata in scena". Le musiche furono del Sig. Marco 
 da Gagliano. 
 
 "La scenaj e le macchine de Sig. Giulio Parigi. 
 
 "L'abbattimento e'l ballo del Signer Agnolo Kicci." 
 
 The plates were engraved by Alfonso Parigi. In the argument we read: 
 
 "L'azzione eroica di questa real Vergine, e per episodic gl'accidenti del principe 
 Ireo, epiegati in poesia drammatica, sotto le note di musica recitativa, due volte con 
 pompa degna defl' antica grandezza Romana; 6 stata rappresentata a due de' mag- 
 giori principi d'Europa: la prima volta al sereniss. arciduca Carlo d' Austria, & ulti- 
 mamente al serenissimo Vladislao Sigismondo, principe di Polonia, e di Suezia, sotto 
 1'ombra della cui protezzione e venuta in luce. Ne forse e poca gloria del nome 
 Toscano, che si come sotto gl'auspici de' sereniss. gran duchi, prima in questo 
 teatro fu rinpvato 1'uso de gl'antichi drammi di Grecia in musica, cosi oggi in questo 
 medesimo, sia stato aperto un nuovo campo, di trattare con piu utile, e duetto lasciate 
 le vane favole de Gentili, le vere> e sacre azzioni Cristiane. 
 
 Performed, as indicated, at the Palazzo Pitti, January 29, 1625; first performed, as 
 indicated, at the same theatre during fall of 1624, but under the title "Santa Orsola, 
 Vergine e Martire." 
 
 On p. [103J-168 of the book: 
 
 FIORI DEL CALVARIO. Sonetti del S. Andrea Salvadori nella Santiss. Passione di 
 Nostro Sig. dedicati alia principessa M. Maddalena di Toscana." 
 
 Salvadori's dedication is dated Florence, December 20, 1623. On p. 167-168 
 "Tavola de sacri misteri contenuti ne' Fiori del Calvario," which comprise a "Pre- 
 fazione " and 56 sonnets. SCHATZ 3410 
 
 La regina Sant' Orsola d' Andrea Salvadori, recitata in musica 
 nel Teatro del sereniss? Gran duca di Toscana dedicata al serenissimo 
 principe Ladislao Sigismondo principe di Polonia, e di Suezia. 
 
 Fiorenza, Pietro Cecconcelli, 1625. 6 p. 1. (incl. engraved t.-p.}, 
 104 p. 23\ cm . 
 
 Prologue and five acts. Contents the same as of the 168 p. ed. except that Sal- 
 vadori's sonnet to Prince Sigismondo has been dropped and that neither the " Fiori 
 del Calvario" appear in the 104 p. ed. nor Parigi's plates. ML 50.2. R34 
 
 Le regina di Macedonia. L. T. of Gasparini's Statira. 
 II regio schiavo o sia La Dori. L. T. of Cesti's La Dori. 
 
 II regno della lima. Dramma giocoso da rappresentarsi nel Regio 
 Ducal Teatro di Milano nella corrente primavera . . . 
 Milano, Gio. Batista Bianchi, 1770. 83, [1} p. 15 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Dedication, cast, 
 and name of Niccol6 Piccinni as the composer. On p. [69]-83 cast and description 
 of the ballets "Aci e Galatea" and "Gli Americani. The composers of the music 
 are not mentioned. 
 
 The imprimatur on the last p. is dated April 14, 1770. 
 
 Cametti is wrong in attributing this text to Goldoni. It is a pasticcio with next 
 to no arias, if any, from Goldoni, but, for instance, "Non vi piacque, ingiusti Dei" 
 (I, 5) from Metastasio's Siroe or "Meglio rifletti al dono" (I, 10) from Metastasio's 
 Antigono. SCHATZ 8106 
 
 - II regno della luna, dramma giocoso per musica da rappresen- 
 tarsi nel Piccolo Teatro di S. A. S. E. di Sassonia. 
 
 Dresda, n. pull., 1773. 141 p. 17 cm . 
 
 Three acts. Niccolo Piccinni is mentioned as the composer. German title-page 
 "Das mondenreich " and text face Italian, from which the arias "Ah sta un esercito " 
 (11,6), and " Ve', ve' di Florido" (III, 3), and the whole scene " Vaneggia? Delisa" 
 (11,10) have been dropped. Otherwise the text is the same as in the original version. 
 
 First performed 1773, as indicated. SCHATZ 8107
 
 OPERA LIBRETTOS 927 
 
 II regno delle Amazon!. Dramma giocoso per musica da rap- 
 presentarsi nel Regio Teatro di via della Pergola Testate del 
 MDCCLXXXIV . . . 
 
 Firenze, Si vend.e da Giovanni Risaliti, 1784- 4$ p. 16 cm . 
 
 Two acts. By Giuseppe Petrosellini, who is not mentioned. Scenario, cast of the 
 ballet "II divertimento transburghese," name of Agostino Accorimboni as composer. 
 
 First performed on July 16, 1784, as indicated; at Parma, Teatro Ducale, Decem- 
 ber 27, 1783. SCHATZ 14 
 
 II regno delle donne. L. T. of Galuppi's II mondo alia roversa o 
 sia Le donne che comandono. 
 
 II regno galante. Melodrama per musica da recitarsi nel Teatro 
 Giustiniano a S. Moise 1'autunno dell' anno 1727 . . . 
 
 Venezia, Marino Rossetti, 1727. 59 p. 14 cm . 
 
 Three acts. Dedication, with name of Giovanni Real! as the composer, dated 
 Venice, October 25, 1727, and signed by cav. Michel Angiolo Boccardi di Mazzera ae 
 author, argument, cast, scenario, and again name of the composer SCHATZ 8619 
 
 Regulus. Tr. of Metastasid's text Attilio Regolo. 
 
 The rehearsal : or, Boys in petticoats. A comedy in two acts. As 
 it is performed at the Theatre Royal in Drury-Lane. Written by 
 Mrs. Clive. The music composed by Dr. Boyce. 
 London, R. Dodsley, 1753. 43 p. 21 cm . 
 
 The second act only contained music. Cast and prefatory note by C. Clive that she 
 wrote the piece about 1750 for her benefit performance (March 15, 1750). 
 
 LONGE 270 
 
 Reinald. Tr. of Dalayrac's Renaud d'Ast. 
 
 Reinald und Armide, 'ballet. See Holzbauer's Hadrian in Syrien. 
 
 La reine de Golconde. L. T. of Monsigny's Aline reine de Golconde. 
 
 La reine des Peris. Comedie persane, represent e par 1' Academic 
 royale de musique, 1'an 1725. Paroles de M. Fuselier. Musique de 
 M. Aubert. CIlI. opera. 
 
 n. i., n. d. pi., 319-392 p. (Recueil general des opera, Paris, 
 1734, t. xiii.) 
 
 Detached copy. Five acts and prologue. 
 
 First performed, as indicated, April 10, 1725. SCHATZ 486 
 
 Second copy. ML 48. R4 
 
 La reine du Barostan. Piece d'un acte. Par M 1 ? le S * * & 
 d'Qr * * Represented a la Foire Saint Germain 1730. 
 
 Le Theatre de lafoire, Paris, 1731, t. vii, pi, [351}~401 p. 17 cm . 
 
 By Le Sage and d'Orneval. Largely en vaudevilles. The airs, selected or composed 
 and arranged by Jean Claude Gillier, are printed at the end of the volume in the 
 "Table des airs." 
 
 First performed February 28, 1729 (Parfaict). ML 48.62 VII 
 
 Reinold und Armida. O. T. of P. v. Winter's Armida und Rinaldo. 
 
 Die rekruten auf dem lande. O. T. of Stegmann's Die recrouten 
 auf dem lande. 
 
 Der rekruten-aushub. A. T. of Dieter's Die familien-heirath.
 
 928 LIBRARY OF CONGRESS 
 
 A relation of the late royall entertainment given by the Right 
 Honorable the Lord Knowles, at Cawsome House neere Redding: to 
 our most Gracious Queene, Queene Anne, in her progresse toward 
 the Bathe, upon the seven and eight and twentie dayes of Aprill, 
 1613. Whereunto is annexed the description, speeches and songs of 
 the Lords Maske, presented in the foanquetting-house on the marriage 
 night of the High and Mightie, Count Palatine, and the Royally 
 descended the Ladie Elizabeth. Written by Thomas Campian. 
 London, John Budge, 1613. 32 unnumbered pages. 19 cm . 
 
 Inigo Jones is mentioned aa having invented the machines, etc. The composers 
 of the music, Thomas Campion himself, and perhaps Jeremy Hearn, Robert 
 Johnson, Giov. Coperario, Thomas Giles. Thomas Lupo are not mentioned. 
 
 ML 52.2.R38 
 
 Le remouleur d'amour. See L'ombre du cocher poete. 
 
 Renaud, tragedie, represented par 1'Academie royale de musique, 
 1'an 1722. Paroles de M. Pellegrin. Musique de M. Desmarests. 
 C. opera. 
 
 n.i., n. d. pi., p. 117-194- (Recueil general des opera, t. xiii, Paris, 
 
 1734.) I4 cm . 
 
 Detached copy. Prologue and five acts, with long "Argument de la tragedie" 
 (p. 119-122). 
 
 First performed, as indicated, March 5, 1722. SCHATZ 2533 
 
 Second copy. ML 48. R4 
 
 Renaud. French version of Sacchini's Armida. 
 
 Renaud d'Ast, comedie en deux actes et en prose, me'le'e d'ariettes. 
 Represented pour la premiere fois par les Comediens italiens ordi- 
 naires du roi, le jeudi 19 juillet 1787. Les paroles de MM. Radet & 
 Barre. La musique de M. d'Alayrac. 
 
 Paris, Prault, 1788. 37 p. 21 cm . 
 
 Last p. incorrectly numbered 33. 
 
 Cast. ML 50.2.R39D21 
 
 Renaud d'Ast, comedie, en deux actes et en prose, melee d'ari- 
 ettes ; par MM. Radet & Barre. Musique de M. d'Alayrac. Repre- 
 sentee pour la premiere fois par les Come'diens italiens ordinaires du 
 roi, le jeudi 19 juillet 1787. 
 
 Paris, Brunei, 1788. 56 p. 19. 
 
 Cast. ML 50.2.R39D22 
 
 Renaud d'Ast. Syngespil i to acter. Musiken af D'almirac. [!] 
 n. i., n. d. 88 p. 16 cm . 
 
 Cast. 
 
 First performed at Copenhagen, April 16, 1793. SCHATZ 2379 
 
 Gesaenge aus dem singspiele Reinald, in zwey aufzuegen, nach 
 dem franzoesischen. In musik gesetzt von d'Alayrac. 
 
 Hamburg, JoJiann Matthias Michaelsen, 1790. 30 p. 15. 
 
 German version by H. G. Schmieder. (Schatz.) 
 
 First performed at Hamburg, Theater beim Gansemarkt, January 12, 1790; at 
 Mayence, National theater, November 1788. SCHATZ 2378
 
 OPERA LIBRETTOS 929 
 
 Renaud d'Ast, comedie en deux actes, meslee d'ariettes, represen- 
 ted devant Leurs Majestes a Fontainebleau, le 12 octobre 1765. 
 
 [Paris], CJiristophe Bollard, 1765. 60 p. 20\ cm . (Journal ties 
 spectacles, t. i, Paris, 1766.) 
 
 Cast and names of Le Monnier as author, of Trial and Pierre Vachon as composers. 
 
 ML 48 J7 
 
 La rencontre. A. T. of Delia Maria's Le vieux chateau. 
 La rencontre imprevue. A. T. of Le trompeur trompe. 
 
 La rencontre imprevue, opera bouffon en trois actes et en prose, 
 tire" des Pelerins de la Mecque, redige" par M. Dancourt & mis en 
 musique par M. le chevalier Gluk [!]... 
 
 Paris, la veuve Duchesne, 1776. 56 p. 18\ cm . 
 
 By L. H. Dancourt. At the end (on p. 52-56) the airs of "J'ai fait un rgve" and 
 "Sans 1'espeiance du retour." 
 
 First performed at Vienna, Theater n. d. Burg, January, 1764. SCHATZ 3919 
 
 Die unvermuthete zusammenkunft oder Die pilgrime von 
 Mecca, ein singspiel in drey aufzuegen aus dem franzoesischen ueber- 
 setzt, mit musik. 
 
 Frankfurt am Mayn, mit Andreaeischen schriften, 1772. 109 p., 
 14 p. (music). 16\ cm . 
 
 By Johann Heinrich Faber, who is not mentioned. Cast. The fourteen p. of 
 music at end (voice and bass): "Das schicksal bringt mich itzt zuriick," "So kommt, 
 so kommt, holder jungfrau'n chore " and ' ' Einen bach, der fliesst " proved that this is 
 a German version of the opera by Gluck. SCHATZ 3920 
 
 Det uventede m0de. Et lystigt syngestykke i tre acter, taget 
 af herr Dancourts, Pilligrimene fra Mekka. Musikken er of ridderen 
 herr Gluck. til samme musik oversat of P. T. Wandall. 
 
 n. i., n. d. 96 p. 17 cm . 
 
 First performed at Copenhagen, Hoftheater i Christiansborg Slot, November 26, 
 1776. SCHATZ 3922 
 
 Das rendezvous in der neuen alee. A. T. of Tuczek's Harms 
 Klachl. 
 
 II Reno sacrificante, attione dramatica in musica del Sig. Co. Ridolfo 
 Campeggi. 
 
 Bologna, Sebastiano Bonomi, 1617. 35 p. 20 cm . 
 
 On p . 3 : " Fatta rappresentare in Bologna per honore de gli illustriss. & re verendiss. 
 Signon cardinal! Caponi legato, et Ludovisi arcivesc., di detta citt^l, et per diporto de 
 i suoi nobiliseimi cavallien & bellissime dame, dalla magnanimita de grilmstri, & 
 eccelsi Signori Anziani, Cons, e confaloniero di giustitia del popolo bolognese, per lo 
 secondo bimestre dell' anno MDCXVII . . . Fece la musica il Sig. Girolamo Gia^ 
 cobbi maestro di capella di San Petronio di Bologna. Sovraintese alia scena, machine, 
 ed habiti il Sig. Gio. Luigi Valesio." 
 
 First performed as indicated, Teatro della Sala, April 28, 1617. SCHATZ 3804 
 
 La repetition interrompue, opera-comique en un acte; avec un 
 prologue. Repre'sente' pour la premiere fois sur le Theatre de la 
 Foire, en 1735. 
 
 Charles Francois Pannard, Theatre, Paris, Duchesne, 1763, v. 2, 
 [383]-444 p. 17. 
 
 In prose and vaudevilles. Composer not recorded by Parfaict, who dates the first 
 
 Serformance August 6, 1735, and attributes the text jointly to Pannard and Favart. 
 ee next entry . PQ 2019 . P3 
 
 72251 VOL 114 59
 
 930 LIBRARY OF CONGRESS 
 
 La rSpe'tition interrompue, ou Le petit-maitre malgrS lui. Opera- 
 comique, repre'sente' pour la premiere fois sur le Theatre de la Foire 
 S. Germain, le 14 mars 1757. Et reprise le 3 fevrier 1758. 
 
 Paris, N. B. Duchesne, 1758. 93, [3] p. 19 cm . (Theatre de M. 
 Favart, Paris, Duchesne, 1763-77, t. viii.) 
 
 Prologue and one act. In prose and vaudevilles. Casts. On p. 81-93 seven aire 
 and a duo; on the [3] p. the approbation and lists of plays. Favart's musical collabo- 
 rator is not mentioned by Font. 
 
 This is Favart'e much altered version of "La r6p6tition interrompue" written 
 originally by him in collaboration with Pannard and first performed at Paris, Foire 
 St. Laurent, August 6, 1735. The original version was incorporated in Pannard's 
 worke, as published by Duchesne in 1763. See preceding entry. ML 49.A2F1 
 
 La repetition ordinaire de 1'opera. Tr. of Latilla's L'opera in 
 prova alia moda. 
 
 The reprisal; or, The tars of Old England. In two acts. By Dr. 
 Smollet. 
 
 [30]-63 p. 19 cm . (Collection of the most esteemed farces and enter- 
 tainments, t. ii, Edinburgh, 1792.) 
 
 Drury-Lane and Edinburgh (1780) casts. 
 
 Composer not mentioned by W. Barclay Squire. SCHATZ 11753B 
 
 The resemblance. A. T. of Delia Maria's The prisoner. 
 La ressemblance. A. T. of Delia Maria's Le prisonnier. 
 
 La ressource comique, piece en un acte, melee d'ariettes; prece'dee 
 d'un prologue. Par M. Anseaume. La musique de M. Merault. 
 Represented pour la premiere fois par les Come'diens italiens ordi- 
 naires du roi, le Samedi 22 aout 1772. 
 
 Paris, la veuve Duchesne, 1772. 80 p. 21% cm . 
 
 Cast. On p. 75-80, the airs of the ariettes, " Je le veux, et cela suffit," "De 1'ordre 
 expres d'un petit dieu," and "Suis-je digne." The composer's correct name is Jean 
 Nicolas Am6d6e Le Froid de M6reaux. ML 50.2.R42M2 
 
 La ressource des theatres, piece en un acte. Par M. C * * * 
 repr6sente pour la premiere fois sur le Theatre de 1'Opera-comique, 
 le 31 Janvier 1760. 
 
 Paris, Duchesne, 1760. 42, [6] p. 19 cm . 
 
 Cast. Running title calls this a prologue. Prose, vaudevilles, and ariettes, some 
 of which are printed in the text, ae, for instance, the final vaudeville, "Toujoure 
 suivre avec umfonnite , ' ' of which a foot-note says : ' ' L'air & les couplets du vaudeville 
 sont de M. Favart." In fact, the preface of the "Theatre" (v. I, p. xxvii) informs 
 us that this was Favart's only contribution to the play, "mais ce vaudeville a fait 
 presque eeul tout le succes de la piece." The real author is mentioned neither in this 
 preface nor by Font, who is silent also on the musical collaborator. The [6] p. contain 
 lists of plays, etc. SCHATZ 11509 . 
 
 La ressource des theatres, piece en un acte. Par M. C * * * 
 Represents pour la premiere fois sur le Theatre de 1'Ope'ra-comique, 
 le 31 Janvier 1760. 
 
 Paris, Duchesne, 1760. 42, [6] p. 19 cm . (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. viii.) 
 
 Prose, vaudevilles, etc., precisely the same as the foregoing. ML 49.A2F1
 
 OPERA LIBRETTOS 931 
 
 The restauration of King Charles n. or, The life and death of 
 Oliver Cromwell. An histori-tragi-comi ballad opera. As it was 
 forbid to be acted at the New Theatre in the Hay-Market . . . 
 
 London, R. Walker, 1732. 2 p. 1., vii, [1], 04, [2] p. 18$ cm . 
 
 Three acts. Dedication by the author, Walter Aston, and his preface. According 
 to this, Aston submitted the play to Mr. Potter, "master" of the New Theatre in the 
 Hay-Market, who told him that 
 
 "nothing must be play'd there till a gentleman of the treasury, and another of the 
 exchequer, had read and approv'd it." 
 
 They were approached. They claimed to "have "not time to look over such 
 things," but if their friend, who had approached them in behalf of Aston, "was satis- 
 fied , there was no offence , there should not be any stop put to it . " Thereupon Aston 
 
 "distributed the parts [the proposed cast on the last [2] p.], printed bills and 
 tickets, and had it rehearsed thrice; but unexpectedly a message came, to stop the 
 performance [which was planned for May 4th]; for the actors should be all taken up: 
 That now they dare not play treason, they put treasonable titles to their bills; and 
 that the Restauration of King Charles II. was a treasonable title. 
 
 "I confess lam so stupid, I cannot apprehend what they mean ..." When 
 Aston protested and asked for the censor's reasons, the final answer he reports to have 
 been, the story is too recent." 
 
 The 23 airs used in this ballad opera are indicated by title. LONGE 275 
 
 La rete di Vulcano, ballet. See Sacchini's Creso. 
 
 Le retour. Entree in Boismortier's Les voyages de Pamour. 
 
 Le retour de 1' opera -comique, en un acte. Par Monsieur * * * 
 Represents pour la premiere fois sur le Theatre de POpera-comique 
 de la Foire saint Laurent, le 28 juin 1759. 
 
 Paris, Dudiesne, 1759. 56 p. 19 cm . (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. viii.) 
 
 Cast. Prose, vaudevilles, and ariettes. Several of the airs are printed in the 
 text. Font does not mention Favart's musical collaborator. ML 49.A2F1 
 
 Le retour de 1' Opera comique au faubourg S. Germain. Piece 
 en un acte servant de prologue. Represent 6e le 27 feVrier 1734 a la 
 Foire Saint Germain. 
 
 Le Theatre de lafoire, Paris, 1737, t. ix, 2, pi., [287}-321 p. 17 cm . 
 
 By Carolet. Largely en vaudevilles. The airs, a few of which by Corette, are 
 printed at the end of the volume in the "Table des airs." ML 48. L2 X 
 
 Le retour de tendresse, comedie. En un acte et en vers. Mele"e 
 d'ariettes. Representee devant Leurs Majest6s, a Fontainebleau le 
 17 octobre 1777. Les paroles du Sieur Anseaume. La musique du 
 Sieur Mereau. 
 
 Paris, Ruault, 1778. 37, [1} p. 19\. 
 
 Cast. ML 50.2. R4M3 
 
 Le retour du seigneur dans ses terres. See Floquet's Le seig- 
 neur bienfaisant. 
 
 Die reue vor der hochzeit. Singspiel hi einem aufzuge. 
 . Berlin, Friedrich Maurer, 1782. 56 p. 16\. 
 
 The author, Fr. L. W. Meyer, is not mentioned. No composer or performance 
 recorded by Schatz. ML 50.2.R44 
 
 Die reue vor der that. See Dez6de's L'erreur d'un moment.
 
 932 LIBRARY OF CONGRESS 
 
 Le re~ve, opera-comique en un acte; represente" pour la premiere fois 
 sur le Theatre de la Foire, en 1738. 
 
 Charles Franfois Pannard, Theatre, Paris, Duchesne, 1763, v. 8, 
 [20S}-258 p. 17 cm . 
 
 In prose and vaudevilles. Composer not recorded by Parfaict, who dates first 
 performance February 15, 1738. PQ 2019.P3 
 
 Le reveil de 1' opera-comique. Prologue. Represent^ a la Foire 
 Saint Laurent. 1732. 
 Le Theatre de lafoire, Paris, 1737, t. ix, 2, pi., 15 p. 17 cm . 
 
 By Carolet. Largely en vaudevilles. The airs, selected or composed and arranged 
 by Jean Claude Gillier, are printed at the end of the volume in the "Table des airs." 
 First performed August 13, 1732. ML 48.L2 X 
 
 The revenge, a burletta; acted at Marybone Gardens, MDCCLXX. 
 With additional songs. By Thomas Chatterton. 
 
 London, T. King, H. Chapmann, J. Egerton, 1795. 1 p. 1., 47 p. 
 21 cm . 
 
 On p. [41]-47 the additional "Songs." Two acts. A prefatory note says: 
 "This burletta, and the songs which follow it, were printed from an original manu- 
 script, in the hand-writing of the celebrated Chatterton, who received five guineas 
 for the composition from the proprietors of Marybone Gardens, July 6, 1770." 
 The composer, Samuel Arnold, is not mentioned. LONGE 296 
 
 Second copy, lacking the leaf with the prefatory note. ML 50.2.R45 
 
 The revenge of Athridates. A. T. of the pasticcio Pharnaces. 
 
 La revolution pacifique. A. T. of Beffroy de Reigny's Nicod&me 
 dans la lune. 
 
 Rex et Pontifex: being an attempt to introduce upon the stage a 
 new species of pantomime. 
 
 London, M. Cooper, 1745. 15 p. 20 cm . 
 
 By R. Dodsley, who is not mentioned. ML 52.2.R4 
 
 Rhea Sylvia, in einem singespiele auf dem Hamburgischen Theatro 
 vorgestellet im jalir 1720. 
 
 Hamburg, Caspar Jakhel, n. d. Unpaged. 18% cm . 
 
 Three acts. Argument and scenario. Neither the author (resp. translator, un- 
 known to Schatz) nor the composer, Melchior Hofmann, is mentioned. 
 
 First performed at Leipzig, Opernhaus im Bruhle, 1714; at Hamburg, Opernhaue 
 beim Gansemarkt. SCHATZ 4760 
 
 Rhea Sylvia. L. T. of Porta's Numitore. 
 
 La ricca locandiera. Intermezzi per musica a quattro voci da rap- 
 presentarsi nel Teatro Capranica nel carnevale dell' anno 1759 . . . 
 
 Roma, Giuseppe e Nicola Grossi, n. d. 85 p. 15\ cm . 
 
 Two intermezzi. Dedication by the bookseller, Agostino Palombini, of "il pre- 
 sente scherzo di poesia," cast, and name of Pietro Gugliehni as composer. The 
 author is unknown to Schatz. ML 48.A5 v.3 
 
 II Riccardo. Drama per musica da rappresentarsi nel Teatro de' 
 Fiorentini nel carnevale del corrente anno 1743* . . . 
 
 [Napoli], Nicola de Biase, n. d. 71 p. 14k cm - 
 
 Three acts. Author not mentioned and unknown to Schatz. Impresario's dedi- 
 cation, cast, and name of Nicola Logroscino as composer. SCHATZ 5674
 
 OPERA LIBRETTOS 933 
 
 Riccardo, Cor di Leone. Tr. of Gretry's Richard Coeur de Lion. 
 
 Riccardo Cor di Leone. Commedia per musica da rappresentarsi 
 nel nobile Teatro Giustiniani in San Moise per la prima opera del 
 carnovale 1790. JTratta dall' originale francese di M. Sedaine e 
 ridotta per uso del Teatro suddetto. 
 
 Venezia, Modesto Fenzo, 1789. 49 p. 18 cm . 
 
 Two acts. Cast and name of Ferdinando Robuschi as the composer. 
 
 First performed December 26, 1789, as indicated. SCHATZ 8844 
 
 Riccardo I re d'Inghilterra. 
 
 Three acts. By Georg Friedrich Handel. Text by Paolo Antonio Rolli. 
 First performed at London, Haymarket, November 11, 1727. 
 Not in L. of C. 
 
 - Der misslungene braut-wechsel, oder Richardus I, koenig von 
 England, in einem sing-spiele auf dem Hamburgischen Schau-Platze 
 fuergestellet anno 1729. 
 
 [Hamburg], mit Stromerschen schrifften, n. d. Unpaged. 18% em . 
 
 Three acts. With names of C. G. Wend as translator of Rolli's "Riccardo I, re 
 d'Inghilterra," and author of the "untergemischten teutechen poesie," of Georg 
 Philipp Telemann as the composer of the German arias and of Handel as composer 
 of the Italian, German translation of which is added to the Italian texts. Concerning 
 the "untergemischte teutsche poesie," Wend says in the "Vorbericht" (with 
 argument): 
 
 "die hinzugefuegte comische untermischung wird der geneigte leeer sich desto 
 weniger missfallen lassen, weil dergleichen abwechselung nunmehro nicht nur zur 
 mode, sondern auch fast zur nothwendigkeit geworden ist, womit man sich zugleich 
 zu dessen bestaendiger gewogenheit empfiehlet und sich einer frequenten gegenwart 
 getroesten will." 
 
 First performed, as indicated, Theater beim Gansemarkt, February 3, 1729. 
 
 SCHATZ 4488 
 
 Richard Coeur de Lion. Come'die en trois actes, en prose et en 
 vers, mise en musique. Represented, pour la premiere fois, a Paris, 
 par les Come'diens italiens ordinaires du roi, le 21 octobre 1784; & a 
 Fontainebleau, devant Leurs Majestes, le 25 octobre 1785. 
 
 Paris, Brunei, 1786. 48 p. 20. 
 
 Neither the author, Michel Jean Sedaine, is mentioned, nor the composer, Gr6try. 
 
 ML 48.M2H 
 
 Richard, Coeur de Lion, comedie en trois actes en prose et en 
 vers, mis en musique. Represent e"e, pour la premiere fois, a Paris, 
 par les Come'diens italiens ordinaires du Roi, le 21 octobre 1781; & a 
 Fontainebleau, devant Leurs Majestes, le 25 octobre 1785. Nouvelle 
 Edition. 
 
 Paris, Didor, Value, 1787. 34 p. 19 cm . 
 
 Neither the author, Sedaine, nor the composer, Gr6try, is mentioned. 
 
 SCHATZ 4177 
 
 - Richard Coeur de Lion. An historical romance. From the 
 French of Monsr. Sedaine. As performed at the Theatre Royal, 
 Drury-Lane. 
 
 London, J. Debrett, 1786. 52 p. 20\ cm . 
 
 Three acts. Cast and Advertisement, stating this to be an adaptation to the English 
 stage without "adventitious matter," except that "the discovery of Richard's con- 
 finement being now given to Matilda in place of Blondel ..."
 
 934 LIBRARY OF CONGRESS 
 
 Richard Coeur de Lion Continued. 
 
 Neither John Burgoyne is mentioned, who translated and adapted Sedaine's text, 
 nor Thomas Idnley, who adapted Gr6 try's music. Not to be confused with Shield's 
 adaptation, performed at Co vent Garden in the same year. 
 
 First performed at London October 24, 1786, as indicated. LONGE 98 
 
 ... Arien und gesaenge aus dem singspiel Richard Lowenherz, 
 in drei aufzuegen. Nach dem franzosischen des Sedaine. Musik von 
 Gretry. Nach anordnung der konigl. General-intendantur. 
 
 Berlin, n. publ., n. d. 31 p. 15 cm . 
 
 By Johann Andr6. 
 
 First performed at Berlin, Kgl. Nationaltheater, February 9, 1790. SCHATZ 4179 
 
 Riccardo Cor di Leone. Commedia per musica da rappresen- 
 tarsi nel Teatro di Monza 1'autunno dell' anno 1787 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 64 p- 16 cm . 
 
 Three acts. Sedaine and Gre"try are mentioned by the anonymous translator in 
 his interesting "Awertimento del traduttore" (p. 7-12) after the dedication. He 
 speaks of the extraordinary difficulty of translating the "scarsa, laconica, e tronca . . . 
 lingua de' Francesi . . . atta a rinchiudere molto senso in pochi monosillabi" into 
 Italian and adjusting it to the score without changing a single bar of the music, the 
 first time, so he claims, that this had been tried by a translator. SCHATZ 4201 
 
 Richard Lowenherz. Tr. of Gretry's Richard, Coeur de Lion. 
 
 Richardus I, koenig von England. A. T. of Handel's Der miss- 
 lungene braut-wechsel. 
 
 Ricimero. Drama per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto Tautunno dell' anno MDCCLXXIII. 
 
 Venezia, Modesto Fenzo, 1773. 1 p.l, 55 p. 17 cm . 
 
 Three acts. ~By Francesco Silvani (not mentioned). Text originally called "La 
 fede tradita e vendicata." In the present libretto Umblo has become Grimoaldo, 
 and Scandone has become Rodoaldo. Argument, cast, scenario, and name of the 
 composer, Giov. Batt. Borghi. On p. 20-27, cast, argument, and detailed description 
 of Antonio Trancart's "Ajace e Cassandra, ballo eroitragico," in thirteen scenes, on 
 p. 41-47 of his ballet, "Le feste o Le gelosie del seraglio." The composers of the music 
 are not mentioned. 
 
 First performed November 26, 1773. SCHATZ 1236 
 
 - Ricimero: Dramma per musica da rappresentarsi nel Teatro 
 delP illustrissima Accademia Filarmonica m Verona nel carnovale 
 dell' anno 1778 ... 
 
 Verona, Dionisio Ramanzin, n. d. 4? P- 17\ cm - 
 
 Three acts. By Silvani, who is not mentioned. Impresario's dedication, argu- 
 ment, scenario, cast and name of Borghi as composer. ML 50.2.R47B6 
 
 Ricimero. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnevale del 1756 alia presenza di S. S. R. M. 
 
 Torino, Zappata e Avondo, n. d. viii, 61, [2] p. 15\ cm . 
 
 Three acts. Author unknown to Schatz. Argument, cast, scenario, and name of 
 the composer, Giacinto Calderara. Vincenzo Saunier is mentioned as the "com- 
 positore of the three ballets, Rocco Gionatti [Gioanettil as the "compositore delle 
 arie de' balli." The first was entitled, "Cerere e Trittolemo," and is described on 
 p. 20-21. The second is called "Giudicio di Paride," and is described on p. 41-42, 
 and the third, "Sacrificio detto Taurobolio pella elezione ed inaugurazione di un re di 
 Norvegia," and is described on p. 60-61. The two additional pages contain some 
 changes introduced in the third act. 
 
 First performed, as indicated, December 26, 1755. SCHATZ 1507
 
 OPERA LIBRETTOS 935 
 
 Ricimero. See also Galuppi's Ernelinda. 
 
 Ricimero. Dramma per musica da rappresentarsi nel Real Teatro 
 di S. Carlo nel dl 13 di agosto 1789 per festeggiarsi la nascita di S. M. 
 la regina . . . 
 
 Napoli, Vincenzo Flauto, 1789. 60 p. 15 cm . 
 
 Two acts. Argument, cast, scenario, name of Giacomo Siri as the composer, and 
 impresario's dedication, in which this is called a replica of 
 
 "RICIMERO, ma ridotto in una forma tutta nuova: ci6 si e fatto a solo fine di adat- 
 tarlo al gusto, che corre pe' spettacoli." 
 
 The author, Francesco Silvano, is not mentioned whose "La fede tradita e vendi- 
 cata " this is in a modernized version. SCHATZ 9896 
 
 Ricimero re de' Goti. Drama per musica da rappresentarsi il 
 carnevale dell' anno 1740 nel Teatro a Torre Argentina . . . 
 Roma, Antonio de' Rossi, n. d. 62 p. 16 cm . 
 
 Three acts. Rifacimento of Zeno and Pariati's "Flavio Anicio Olibrio." Argu- 
 ment, cast, scenario and name of Niccol6 Jommelli as composer. 
 
 First performed as indicated, January 16, 1740. ML 50.2.R48J6 
 
 Ricimero re de' Goti. Drama per musica da rappresentarsi in 
 Roma nel nobil Teatro delle Dame nel corrente carnevale dell' anno 
 MDCCLLX. 
 
 Roma, Stamperia de' Rossi, n. d. 4 p. 16 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Dedication, argu- 
 ment, scenario, cast, and name of Giovanni Francesco de Majo as composer. 
 
 First performed at Parma, Teatro Ducale, carnival, 1758. SCHATZ 5859 
 
 Ricimero, re de Vandali. Drama per musica nel famosissimo 
 Teatro Grimano in S. Gio. Grisostomo 1' anno 1684. Di Matteo 
 Noris . . . 
 
 Venetia, Francesco Nicolini, 1684- 79 p. 14 cm . 
 
 Three acts. Author's dedication, argument, and scenario. The composer, Carlo 
 Pallavicino, is not mentioned. SCHATZ 7731 
 
 H riconoscimento di Teseo ossia Teseo e Medea, ballet. See G. 
 Giordani's Ariarate. 
 
 H riconoscimento inaspettato, ballet. See Jommelli's L' isola 
 disabitata. 
 
 Le rien. Parody of Mondpnville's Titon et L' Aurore. 
 
 I rigiri delle cantarine. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro di S. Cassiano. L' autunno dell' anno 1745 . . . 
 
 Venezia, Modesto Fenzo, 1745. 60 p. 15\ cm . 
 
 Three acts. By "Bartolomeo Vitturi, who is not mentioned. Impresario's dedica- 
 tion, cast, scenario, and name of Francesco Maggdore as composer. SCHATZ 5833 
 
 Les rigueurs du cloitre, come'die en deux actes, en prose, m 
 d'ariettes; represented pour la premiere fois par les come'diens ita- 
 liens ordinaires du roi, le 23 aout 1790. Paroles de M. FeVee. 
 Musique de M. Berton. 
 
 Paris, J. L. de Boubers, 1793. 24 p. 18}"*. 
 
 Cast. SCHATZ 898
 
 936 LIBRARY OF CONGRESS 
 
 Klnaldo. Dramma per musica da rappresentarsi ncl nobilissimo 
 Teatro Venier in San Benedetto il carnovale dell' anno 1789. 
 
 Venezia, Modesto Fenzo, 1789. 40 p. 19$ cm . 
 
 Two acts. By Giuseppe Foppa, who is not mentioned. Argument, cast, and 
 name of Pietro Guglielmi as the composer. On p. [17] 24 cast, argument, and 
 description without name of the composer of the music of Francesco Clerico's "I 
 sacrifizi di Tauride, ballo serio pantomime." The second ballet was called "II 
 filosofo deriso." 
 
 First performed, as indicated, January 28, 1789. SCHATZ 4303 
 
 i 
 
 Rinaldo, an opera. Perform'd at the Queen's Theatre in London. 
 MDCCXL 
 
 [71]-143 p. 21 cm . (Aaron Hill, Dramatic works, London, T. 
 Loumds, 1760, vol. I.) 
 
 Three acts. Cast and argument. In his dedication to the Queen Aaron Hill pays 
 "This opera isanative of Your Majesty's dominions" and speaks of his "endeavour 
 to see the English opera more splendid than her mother, the Italian." In his preface, 
 Hill, mentioning Hendel (Georg FriedrichHandel) as the composer, gives the peculiar 
 history of this Rinaldo text: 
 
 "The deficiencies I found, or thought I found, in such Italian opera's, as have 
 hitherto been introduced among us, were, first, that they had been composed for 
 tastes and voices, different from those who were to sing and hear them on the English 
 stage; and secondly, that wanting the machines and decorations, which bestow so 
 great a beauty on their appearance, they have been heard and seen to very con- 
 siderable disadvantage. 
 
 "At once to remedy both these misfortunes, I resolved to frame some drama, that, 
 by different incidents and passions, might afford the music scope to vary and display 
 its excellence, and fill the eye with more delightful prospects, so at once to give two 
 senses equal pleasure. 
 
 ' ' I could not chuse a finer subject than the celebrated story of Rinaldo and Armida, 
 which has furnished opera's for every stage and tongue in Europe ... It was a very 
 particular happiness, that I met with a gentleman so excellently qualify'd as Signor 
 Rossi, to fill up the model I had drawn, with words so sounding and so nch in sense, 
 that if my translation is in many places led to deviate, 'tis for want of power to reach 
 the force of his original ..." 
 
 This is followed by Giacomo Rossi's notice "II poeta al lettore" in which he pays 
 not the slightest attention to Hill, apologizes for the defects of his "parto di poche 
 sere " due to lack of time 
 
 "poiche il Signor Hendel, Orfeo del nostro secolo, nel porla in musica, a pena mi 
 diede tempo di scrivere, e viddi, con mio grande stupore, in due sole settimane armo- 
 nizata da quell' ingegno sublime, al maggiorgrado di perfezzione un opera intiera." 
 
 Rossi's Italian text is faced by Hill's English translation. 
 
 First performed at London, Haymarket, February 24, 1711. LONGE 325 
 
 - Rinaldo, [vignette]. Musicalisches schau-spiel, auf dem grossen 
 Hamburgischen Theatro im monath novembr. 1715. 
 
 Hamburg, FriedricTi Conrad Graeflinger, n. d. Unpaged. 18$ cm . 
 
 Publisher's name cut off in binding. 
 
 Three acts. In the lengthy ' ' Kurtzer vor-bericht " Barthold Feind (not mentioned 
 by name) states that he made his translation of Rossi's "Rinaldo " in five days; that 
 this will account for its shortcomings; but that, on the other hand, he followed Rossi 
 "fast sclavisch," so not to miss a single note of Hendel's music. He means, of course, 
 Georg Friedrich Handel. This incidental remark may be of interest: 
 
 "En fin, weil noch kein Teutscher als Hendel einen Rinaldo aus der italiaenischen 
 sprache in die music gesetzet, wird ihm wohl niemand den glorieusen musicalischen 
 titel eines Orfeus dieses seculi, als der neid selber disputirhch machen ; wiewol ich 
 mich dabey mit plaisir erinnere, dass alhier ein herr von den gens de qualite, welcher 
 einen staatscaracter mit besonderm ruhm bekleidet und dem bey muessigen stunden 
 die music sein zeitvertreib'ist, yor einigen jahren in der allerzartesten bluethe seines 
 alters eine von mir auf befehl seines nunmehr in Gott ruhenden herrn vaters Excellence 
 verfertigte italiaenische opera, "Virginia generosa, e Don Camillo incostante" 
 benahmet in die music gesetzt und der Hochseeligeten Koenigin Anna, glor-wuer-
 
 OPERA LIBRETTOS 937 
 
 Rinaldo Continued . 
 
 digeten andenckens, seine vertft dergestalt gezeiget, dass ihm der titul eines Amphions 
 von vielen Grossen der music kundigen in London beygelegt worden ..." 
 
 SCHATZ 4489 
 
 Rinaldo. In einem singe-spiele auf dem Hamburgischen Schau- 
 platze im jahr 1723 vorgestellet. 
 
 [Hamburg], Caspar Jakhel, n. d. Unpaged. 18 cm . 
 
 Three acts. Neither Feind, the author, nor Handel, the composer, is mentioned. 
 Schatz calls this "II. veraenderte ausgabe," but comparison proves the text to be 
 identical with that of 1715, except that the Italian text of the anas has been more con- 
 sistently added to the German. SCHATZ 4501 
 
 - Rinaldo. Drama per musica da rappresentarsi nella gran sala 
 del Real Palazzo il di 1. ottobre 1718 in cui si festeggiano gli anni di 
 S. M. Ces. e Cat. Carlo VI ... 
 
 Napoli, Michele Luigi Muzio, 1718. 
 
 Prologue and three acts. Nicola Serino's dedication, dated October 1, 1718, 
 scenario, cast, and publisher's notice to the reader, which reads, in part: 
 
 "L'idea dell' autore ne alter6 alcuni personaggi, al che non s'e potuto dar rimedio 
 per servirsi in buona parte della musica del Signor Giorgio Federico Hendel (Handel); 
 che primo la pose in musica. Molte scene aggiuntevi, come ancora tutte le buffe, 
 quah ritroyerai segnate con il sono mueica del Sign. Leonardo Leo, che n'ebbe il 
 pensiero di deriggerla." 
 
 Accordingly, Leo composed "Ove ridon nel prato li fiori " (prol.), the scenes (1, 10) 
 "Gia per la mia grand' arte," (II, 4) "Eeser non pu6, che 1'Averno," (II, 11) "Ahi! 
 Pur riveggo il caro eposo," etc., and more particularly the scenes between "Lesbina" 
 and "Neeso" exclusively, which act as interpolated intermezzi, "Oh econsolato 
 Nesso" (1. 11), "E non si arriva mai, poter di Bacco" (II, 12), "lo per me mi strase- 
 colo" (III, 8), and "Trpmbe, fischi, tamburri" (III, 11). These comic scenes, etc., 
 Schatz attributes to Serino. SCHATZ 4495 
 
 II Rinaldo, ballet. See Marescalchi's L'Alessandro nell' Indie. 
 
 Rinaldo. Dramma per musica da rappresentarsi nel Teatro Ven- 
 dramin in S. Salvatore nella fiera dell' Ascensione dell' anno 1775 . . . 
 
 Venezia, Gio. Battista Casali, 1775. 44 p. 17 cm . 
 
 Three acts. Dedication, cast, scenario, and name of Antonio Tozzi as the com- 
 poser. ("La musica ear& del tutto nuova.") Author not mentioned, and unknown 
 to Schatz. SCHATZ 10386 
 
 Rinaldo and Arniida. 
 
 Noverre, Jean George, Works, Tr. from the French, London, 1783, 
 v. 3, [29]-51 p. 21 m . 
 
 "Preliminary discourse" and detailed description of the three scenes. 
 
 GV 1787. N8 
 
 Rinaldo d'Aste. Commedia con musica d'un atto solo da rappre- 
 sentarsi nel nobilissimo Teatro Giustiniani in San MoisS il carnovale 
 dell' anno 1794. 
 
 Venezia, Modesto Fenzo, 119 4. 40 p. 18 cm . 
 
 By Giuseppe Carpani, who is not mentioned. Cast and name of Marco Portogalli 
 (Portugal) as the composer. 
 
 First performed, as indicated, January 4, 1794 (Carvalhaes). SCHATZ 8428 
 
 - Rinaldo d'Aste. Dramma giocoso per musica da rappresen- 
 tarsi nel Regio Teatro di S. Carlo della rrincipessa nel felicissimo
 
 938 LIBRARY OF CONGRESS 
 
 Rinaldo d'Aste Continued. 
 
 giorno natalizio di Sua Altezza lleale ... D. Carlotta Gioac- 
 china . . . li 25 d'aprile 1799. 
 Lisbona, Simone Taddeo Ferreira, 1799. 109 p. 14 cm . 
 
 Two acts. Cast and name of Marcos Portugal as the composer, and note: 
 "Questo dramma in un solo atto in prosa, e stato accresciuto, e ridotto a due atti 
 in verso dal Sig. Giuseppe Caravita, poeta del Teatro." 
 
 Portuguese text faces Italian. SCHATZ 8429 
 
 Rinaldo d'Asti, ballet. See Borghi's La morte di Semiramide. 
 Rinaldo e Armida, ballet. See Salieri's La cifra. 
 
 Rinaldo nel giardino incantato d' Armida, ballet. See Bianchi's 
 Trionfo della pace. 
 
 Rinaldo nella isola incantata d'Armida, ballet. See Galuppi's 
 H r& pastore. 
 
 Rinaldo nella selva incantata, ballet. See Sarti's Siroe. 
 
 Rinaldo und Alcina. Eine komische oper in drei aufzuegen von 
 Ludwig v. Baczko. 
 
 Koenigsberg, Hartung, 1794. 71 p. 15 cm . 
 
 Composed by Maria Theresia Paradies, who is not mentioned. 
 
 First performed at Prag, Altstaedter National Theater, 1796. SCHATZ 7770 
 
 Der ring der liebe oder Zemirens und Azors ehestand, ein singspiel 
 in drey aufzuegen. Aufgefuehrt im k. k. Theater naechst dem 
 Kaernthnerthore . 
 
 Wien, beym Logenmeister, 1786. 77 p. 16 cm . 
 
 Neither Schatz nor Haas know the author. They record Ignaz Umlauf as the 
 composer. A foot-note on p. [2] reads: 
 
 "Die musik ist auf ein waelsches singspiel geschrieben; ein deutscher dichter 
 hat auf die musik einen neuen stoff gebaut. Kenner wiseen die beschwerlichkeit." 
 
 First performed, as indicated, December 3, 1786. SCHATZ 10533 
 
 La rinovata Camilla o sia Camilla, regina de' Volsci. L. T. of M. A. 
 Bononcini's II trionfo di Camilla, regina de' Volsci. 
 
 II ripiego in amore. Farsetta per musica da rappresentarsi nel 
 Teatro alia Valle nel carnevale dell' anno 1751 . . . 
 Roma, Ottavio Puccinelli, 1751. [28] p. 15\ cm . 
 
 Two parts. Author not mentioned and unknown to Schatz. Cast, name of 
 Rinaldo di Capua as composer and dedication signed by Angelo Lungi and the 
 publisher. ML 50.2.R49R4 
 
 II riposo interotto, ballet. See Gluck's II trionfo di Clelia. 
 
 II ripudip d'Ottavia. Drama per musica, da rappresentarsi nel 
 Teatro Grimani in S. Gio. Grisost. 1'anno MIDCC ... Di Matteo 
 Noris. 
 
 Venetia, Nicolini, 1699. 72 p., incl. front. 15 cn . 
 
 Three acts. Author's dedication, notice to the reader, and scenario. The com- 
 poser, Carlo Francesco Pollaroli, is not mentioned. SCHATZ 8315
 
 OPERA LIBRETTOS 939 
 
 Le risa di Democrito. Da cantarsi nel Teatro privilegiato da S. M. 
 C. e Cat. in Vienna. Nell' anno MDCCXXXVII. Nel mese di set- 
 tembre. Das gelaechter des Democritus . . . 
 
 Wien, JoJiann Peter v. Ghelen, n. d. 81 p. 14 cm . 
 
 Three acts. Argument and text in German faces Italian. Neither the author, 
 conte Nicola Minato, nor the composer, Francesco Antonio Pistocchi, is mentioned. 
 
 First performed at Vienna, Hoftheater, carnival, 1700. SCHATZ 8200 
 
 La rispettosa tenerezza. Componimento dramatico, scritto in 
 Vienna dall' autore . . . ed eseguito con musica del Reutter negl' 
 interni appartamenti del palazzp di Schonbrunn dalle AA. RR. di 
 tre arciduchesse d'Austria ... in occasione di festeggiare il giorno 
 di nome della madre loro augustissima Panno 1750. 
 
 [197]-204 p. 26 cm . (Metastasio,Opere,t.xi,Parigi,vedovaHeris- 
 
 sant, 1782.} ML49.A2M44 
 
 I riti d'Apollo Leucadio. A. T. of Mayr's Saffo. 
 
 I riti della Baja Dushy, ballet. See Bianchi's La cappricciosa 
 ravveduta. 
 
 La ritornata di Londra. Dramma di tre atti per musica. Rap- 
 presentato per la prima volta in Venezia il carnovale dell' anno 
 MDCCLVI. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, v. 44> 
 [5}-62 p. 18 cm . PQ 
 
 La ritornata di Londra. Dramma giocoso per musica di Polisseno 
 Fegejo P. A. [Goldoni] Da rappresentarsi nel Teatro di S. Samuele 
 il carnevale dell' anno MDCCLVI. 
 
 Venezia, Angiolo Geremia, n. d. 60 p. 15\ cm . 
 
 Three acts. Cast, scenario, and name of the composer, Domenico Fischietti. 
 
 SCHATZ 3234 
 
 La ritornata di Londra, dramma giocoso per musica, da rap- 
 presentarsi nel Nuovo Teatro in Dresda nell; estade dell' anno 
 MDCCLVI. Die zurueckkunft aus Londen, ein nmsicalisches lust- 
 spiel . . . 
 
 [Dresden], Stoesselin und Joh. Carl Krause, n. d. 175 p. 16 cm . 
 
 Three acts. Cast added in ms., scenario, and name of Domenico Fischietti as 
 composer. German text faces Italian. 
 
 First performed July 20, 1756. SCHATZ 3235 
 
 II ritorno d'Agamemnone, ballet. See P. Guglielmi's Arsace. 
 
 II ritorno d' Angelica nell' Indie. 
 
 p. 143-154- 15\ cm . (Ottavio Tronsarelli, Drammi muLsicali, Roma, 
 Francesco CorbeUetti, 1632.} ^ 
 
 One act. Argument. No composer mentioned, but Lady Morgan, in her work on 
 Salvator Rosa, affirms that the above was performed at Rome, with music by one 
 Cignani, who is not mentioned by Eitner. ML 49.A2T7 
 
 II ritorno d'Ulisse. Dramma per musica da rappresentarsi nel 
 Regio Teatro di via della Pergola nell' autunno del 1798 . . . 
 Firenze, Pietro Fantosini, 1798. 49 p.
 
 940 LIBRARY OF CONGRESS 
 
 II ritorno d'TJlisse -Continued. 
 
 Three acts. Argument, cast, and name of Francesco Basil! as composer. Librelr 
 tist is unknown to Schatz. On p. 5-12, a detailed description, with cast, of "Gli 
 Orazi, e i Ouriazi. Ballo eroico tragico pantomimo in cinque atti composto e diretto 
 da Gaetano Gioja." Composer of the music not mentioned. The second ballet, also 
 by Gioja, was called "La volubile." 
 
 First performed September 1, 1798, as indicated. SCHATZ 629 
 
 II ritorno d'Ulisse. Componimento dramatico rappresentato nella 
 sala dal palazzo del sereniss. granduca in Pisa per festeggiare il 
 giorno natalizio della sereniss. granduchessa Vittoria di Toscana. 
 
 G. A. Moniglia, Poesie drammatiche, parte prima, Firenze, Vincen- 
 zio Vangelisti, 1689, p. [435}-501. 24 cm . 
 
 Three acts and prologue. Argument with name of Jacopo Melani as composer. 
 
 First performed as indicated, 1656. ML 49.A2M7 
 
 II ritorno della primavera, ballet. See Colla's Andromeda. 
 
 II ritorno di Astrea in terra. Dramma per musica per i lietissimi 
 e faustissimi sposalizi dell' augusta infanta di Spagna D. Carlotta 
 Gioacchina coll' infante Augusto di Portogallo D. Giovanni: e dell' 
 augusta infanta di Portogallo D. Marianna Vittoria coll' augusto 
 infante di Spagna D. Gabnele Antonio. 
 Lisbona, Francesco Luigi Ameno, 1785. 5 p. I., 15 p. 16 cm . 
 
 The title on the 1st p. 1., the rest on the 2d. On 3d p. 1., "Da can tarsi ai [15] de 
 Giugno del 1785 nel palazzo dell' eccellentissimo Signer conte di Fernan Nunez." 
 Argument, cast, and name of Jos6 Palomino as the composer. The author is not 
 jnentioned, and is unknown to Schatz. SCHATZ 7751 
 
 II ritorno di D. Calandrino. Intermezzo in musica a cinque voci 
 da rappresentarsi nel Teatro Valle dell' illmi Signori Capranica. Nel 
 came vale dell' anno 1778 . . . 
 
 Roma, Arcangelo Casaletti, 1778. 60 p. 15 cm . 
 
 Two parts. Author not mentioned, and unknown to Schatz. Dedication by the 
 impresario, Palombini, cast, and name of Cimarosa as composer. ML 50.2.R5C3 
 
 II ritorno di Rinaldo presso Armida o sia La vendetta di Armida 
 vinta dalT amore, ballet. See Bianchi's Cajo Mario. 
 
 II ritorno di Ulisse a Penelope. Dramma per musica composto 
 da Ant. Filistri de' Caramondani . . . e messo in musica dal Sign. 
 Felice Alessandri ... da rappresentarsi nel Regio Teatro di Berlino 
 il carnovale dell' anno 1790. 
 
 Berlino, Haude e Spener, n. d. 151 p. 15% cm . 
 
 German title-page, "Ulysses riickkunft zur Penelope," and text face Italian. 
 Three acts. Argument, cast, and indication of the cuts adopted for the performance 
 after a number of copies of the libretto without such indication had been published, 
 BO a special .note informs us. From a comparison with the score it would appear as if 
 Alessandri never composed these cute. 
 
 First performed, as indicated, January 25, 1790. SCHATZ 149 
 
 II ritorno opportune, ballet. See Martin y Soler's L'accorta 
 cameriera. 
 
 II ritratto. Commedia per musica di Saverio Zini da rappresen- 
 tarsi nel Real Teatro del Fondo di Separazione per second' opera di 
 questo corrente anno 1791. 
 
 Napoli, Vincenzo Flauto, n. d. 83 p. 15.
 
 OPEEA LIBKETTOS 941 
 
 II ritratto -Continued. 
 
 Two acts. Cast and name of composer, Francesco Bianchi. On p. 5-7, cast, descrip- 
 tion of the ballet, "Gl'Inglesi in America Ballo di carattere inventato, et composto dal 
 Sig. Gio. Battista Giannini", music ("tutta nuova") by Giuseppe Ercolano. 
 
 First performed at Naples, Teatro Nuovo, in 1787. SCHATZ 981 
 
 II ritratto. Dramma giocoso in musica da rappresentarsi nel Teatro 
 alia Scala di Milano 1'autunno del 1799. 
 
 Milano, Gio. Batista Bianchi, n. d. 72 p. 17 cm . 
 
 Two acts. By Luigi Romanelli, who is not mentioned. Cast and name of Nicola 
 Antonio Zingarelli as the composer. With the opera was performed Gaspare Ronzi's 
 ballet, "Odervik," the composer of the music not mentioned. 
 
 First performed, as indicated, October 12, 1799. SCHATZ 11257 
 
 La ritrosia disarmata. Componimento drammatico, scritto dall' 
 autore in Vienna Fanno 1759, per uso della Real corte di Spagna. 
 
 [105]-118 p. 26. (Metastasio, Opere, t. xi, Parigi, vedova Heris- 
 sant, 1782.} 
 
 One act. Composer unknown to me. ML 49.A2M44 
 
 Bitter Roland. Tr. of Haydn's Orlando Paladino. 
 
 Bitter Willibald, oder Das goldene gefaess. Ein romantisches sing- 
 spiel in zwey aufzuegen. Von Karl Friedrich Hensler. Aufgefuehrt 
 auf der Kais. Koenigl. privil. Marinellischen Schaubuehne. Die 
 musik ist von Ferdinand Kauer. 
 
 Wien, IgnazGoldhann, 1794. 78 p. 17 cm . 
 
 First performed, as indicated, June 13, 1793. SCHATZ 5053 
 
 The rival candidates: a comic opera in two acts; as it is now per- 
 forming at the Theatre Royal in Drury-Lane. By the rev. Henry 
 Bate. 
 
 London, Printed: sold by T. Becket and W. Griffin, 1775. 4 P- 1", 
 37 p. 19\ cm . 
 
 Two acts with epilogue. Cast, dedication of "this my first essay " to Mrs. Garrick, 
 dated Hendon, Middlesex, February 9, 1775, and Advertisement : 
 
 "The Rival candidates is an attempt of the dramatic kind, undertaken by the 
 writer from no motive of literary variety, but in order to introduce to the world, a 
 young musical composer, whose taste he conceived might do honour to his profes- 
 sion . . ." 
 
 He means Thomas Carter. 
 
 First performed, as indicated, February 1, 1775. LONOE 32 
 
 - The rival candidates. In two acts. By the Rev. Henry Bates. 
 
 [130-154] P- 19 cm . (Collection of the most esteemed farces and 
 entertainments, t. iv, Edinburgh, 1792.} 
 
 Drury-Lane and Edinburgh (1783) casts. SCHATZ 11753 
 
 Le rival confident, come'die en deux actes et en prose, me'le'e d'ari- 
 ettes; par M. Forgeot, muskiue de M. Gre"tri; Represented, pour la 
 premiere fois, par les Come'diens italiens ordinaires du roi, le 26 juin 
 1788. 
 
 Paris, Prault, 1788. 2 p. I, 65, [3] p. 21. 
 
 Cast. The [S] p. contain advertisements. ML 50.2.R58G7 
 
 Le rival de lui-meme. See Le parterre merveilleux.
 
 942 LIBRARY OF CONGRESS 
 
 The rival milliners: or, The humours of Co vent Garden. A tragi- 
 comi-operatic pastoral farce. As it was acted at the theatre in the 
 Hay-Market . By Robert Drury, Gent. . . . The third edition cor- 
 rected. 
 
 London, R. Spavan, n. d. 48 p. 15. 
 
 Two acts. Cast. Ballad opera, the aire of the 25 songs of which are indicated in 
 the text by title. 
 
 First performed at London, Little theatre in the Hay Market, 1735. LONGE 76 
 
 I rivali delusi. A. T. of Basse's Eurimedonte e Timocleone. 
 
 I rivali delusi. Intermezzo per musica a quattro voci, da rappre- 
 sentarsi nel Teatro alia Valle 1 anno 1752 . . . 
 Roma, Ottavio PuccineUi, 1752. 22, [1] p. 15\ cm - 
 Two parts. Author not mentioned and unknown to Schatz. Text not by Gold oni. 
 Contains arias like "Se son ragazza tenera," "Bella tu sei di questo core," "Diyertirse 
 a spese d'altri," etc. Cast, name of Niccol6 Jommelli as composer and dedication 
 by Agostino Valle. ML 50.2.R59J6 
 
 I rivali generosi. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, t- v, p. [267}-352 
 p. 19 cm . 
 
 Three acts and licenza. Argument. No composer is mentioned. In the "Cata- 
 logo " at end of t. x, date and place of first ed. are given as Venice, 1697. (See below.) 
 
 ML 49.A2Z3 
 
 I rivali generosi, pubblicati per la prima volta in Venezia 1697. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. i, p. 159- 
 234. 21 cm . 
 
 Three acts. Argument. No composer is mentioned. ML 49.A2Z4 
 
 I rivali generosi. Drama per musica da rappresentarsi nel Reg. 
 Teatro della Munitione di questa Nob. e Fedel. citta di Messina 
 1'anno 1712 . . . 
 
 Messina, Stamp, di Vine. d'Amico, 1712. 82 p. 13$ cm . 
 
 Three acts. By Apostolo Zeno. With impresario's dedication, argument, notice 
 to the reader, cast, and scenario. Neither Zeno nor the composer, Michele Facco, is 
 mentioned. SCHATZ 2979 
 
 I rivali generosi. Drama per musica da rappresentarsi nel Teatro 
 Grimani di S. Samuele 1'anno 1726. Per la festa dell' Ascensione. 
 
 Venezia, Marino Rossetti, 1726. 57 p. 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Argument, cast, scenario, 
 and name of Giuseppe Vignati as the composer. SCHATZ 10724 
 
 I rivali generosi. Drama per musica da rappresentarsi nel Teatro 
 di S. Salvatore 1'anno MDCXCVII . 
 
 i cm 
 
 Venetia, Nicolini, 1697. 6 p. 1., 48 p. 15 C 
 
 Three acts. Dedication signed by Afpostolo] Zfeno] as author, his dramatiirgic 
 preface, argument, and scenario. The composer, Marc' Antonio Ziani, is not men- 
 tioned. 
 
 First performed, as indicated, carnival, 1697. SCHATZ 11206 
 
 Le rivali placate. Da cantarsi nel Teatro privilegiato da S. M. C. 
 e Cat. In Vienna nelT anno MDCCXXXVIII. Nel mese di Gen- 
 naio. Die besaenftigte mitbuhlerinnen . . . 
 
 *Wien, Johann Peter v. Ghelen, n. d. 75 p. 13\ cm . 
 
 Three acts. Argument. German text faces Italian. Author and composer not 
 mentioned and unknown to Schatz. Not recorded by von Weilen. SCHATZ 11360
 
 OPERA LIBRETTOS 943 
 
 Li rival! placati. Dramma giocoso per musica da rappresentarsi 
 
 nel Teatro di questa elettorale corte . . . 
 
 Bonn, Rommerskirchen, 1774- Unpaged. 16 cm . 
 
 Three acts. Cast, scenario, and name of Pietro Guglielmi as the composer. The 
 author, Gaetano Martinelli, is not mentioned. 
 
 First performed, as indicated, 1774 at Venice, Teatro <ii S. Moise, fall of 1764. 
 
 SCHATZ 4261 
 
 I rival! placati ; drama giocoso per musica da rappresentarsi nel 
 Regio Teatro De forsonede medbeylere . . . 
 Kifibenhavn, H. J. Graae, 1777. 139 p. 16\ cm . 
 
 Three acts. Cast and name of Pietro Guglielmi as the composer. Danish text 
 faces Italian. 
 
 First performed, as indicated, December 18, 1777. SCHATZ 4262 
 
 Li rivali ridicoli. Dramma giocoso per musica di Giovanni Bertati 
 da rappresentarsi nel Teatro Giustiniani in S. Mois& per la prima 
 opera aell' autunno 1780. 
 
 Venezia, n. pull., n. d. 64 p. 17$ cm . 
 
 Three acts. Cast and name of Michele Mortellari as the composer. 
 
 SCHATZ 6691 
 
 The rivals, or, The green-room controversy; a musical prelude, as 
 performed at the Salisbury Theatre, 1776. 
 Salisbury, J. Hodson, n. d. 12 p. 19 cm . 
 
 One act. Cast and dedication dated November 6, 1776. Author and composer 
 not mentioned. Not recorded by Clarence or by Schatz. ML. 50.2.R6 
 
 La robe de dissention, ou Le faux-prodige, ope'ra-comique en deux 
 actes, joue" a la Foire Saint-Germain, en 1726. 
 Alexis Piron, Oeuvres complettes, Liege, 1776, v. 4> [255\-335 p. 
 
 $ cm . 
 
 En vaudevilles. Composer not recorded by Parfaict. 
 
 First performed, as indicated, September 7, 1726. PQ 2019.P6 
 
 Robert und Kalliste oder Der triumph der treue. Tr. of P. Gug- 
 lielmi's La sposa fedele. 
 
 Robin Hood. An opera. As it is perform'd at Lee's and Harper's 
 Great Theatrical Booth in Bartholomew-fair. With the musick pre- 
 fix'd to each song. 
 London, J. Watts, 1730. 46 p. 19 cm . 
 
 Three acts. Table of the 19 songs, the airs of which are printed in the text, with 
 their titles. Author unknown to Squire and Tufte. LONGE 49 
 
 Robin Hood. A new musical entertainment. As it is perform'd 
 at the Theatre-Royal in Drury-Lane. The musick compos'd by the 
 Society of the Temple of Apollo. 
 London, Printed and sold at the Theatre, 1751. 24 p. 20$ cm . 
 
 Two acts. Cast. By Moses Mendez, who is not mentioned. According to Grove, 
 the music was composed by Charles Burney, who was a member of the Society of the 
 Temple of Apollo. 
 
 First performed December 13, 1750, as indicated. AC 901.M5 v.519
 
 944 LIBRARY OF CONGRESS 
 
 Robin Hood; or, Sherwood forest: A comic opera. As it is per- 
 formed at the Theatre-Royal, in Covent-Garden. By Leonard Mac 
 Nally, Esq. 
 London, J. Almon, 1784. 74 p. 21 cm . 
 
 Three acts. Cast and dedication to William Shield, composer to the Theatre- 
 Royal, Covent-Garden (in which capacity he also composed and partly compiled the 
 music for this piece). Mac Nally says: 
 
 "The three principal ideas which combine the subject are not original, but bor- 
 rowed from the ballads of Robin Hood, the Nuibrown maid, and the Hermit of the dale: 
 I adopted them as being popular. It was my first intention to have taken all the 
 eongs from old ballads; those I have selected are, I trust, not ill chosen, or unappli- 
 cabie to the piece ..." 
 
 In Eland's vocal score "The stag through the forest" is headed as composed by 
 Henry Harington, "If to me" as by Anfossi and "Friendship claims the name 5 ' 
 as by Bertoni. The overture is ascribed by a contemporary hand to Baumgarten. 
 
 First performed, as indicated, April 17, 1784. LONGE 93 
 
 Robin Hood or Sherwood forest: A comic opera. As it is per- 
 formed at the Theatre-Royal, in Covent Garden. By Leonard 
 Macnally, Esq. The fifth edition. With alterations, and additions, 
 as it is now performed. 
 
 London, J. Almon, 1787. [3], 6-62 p. 21 cm . 
 
 Three acts. Casts of 1784 and 1787. Shield is not mentioned. 
 
 ML 50.2.R62S3 
 
 La Rodelinda. Drama per musica da rappresentarsi in Venezia nel 
 Teatro di San Moise 1'autunno del' anno MDCCXXXI . . . 
 
 Venezia, Carlo Buonarigo, 1731. 4$ P> 
 The publisher's name has been effaced. 
 
 Three acts. By Antonio Salvi (not mentioned). Dedication, argument : notice to 
 reader, cast, and scenario. The composer, Bortolamio Cordans, is not mentioned. 
 
 SCHATZ 2227 
 
 Rodelinda. 
 
 Three-act opera. By Georg Friedrich Handel. Text was an altered version by 
 Nicola Francesco Haym of Antonio Salvi's "Rodelinda, regina de' Longobardi." 
 First performed at London, February 13, 1725. 
 Not in L. of C. 
 
 Rodelinda, koenigin in der Lombardey, in einem sing-spiele 
 auf dem Hamburgischen schau-platze im jahr 1734 vorgestellet. 
 [Hamburg], Gedruckt mit Spieringischen schrifften, n. d. Unpaged. 
 
 Three acts. Argument, with name of Georg Friedrich Handel as composer of the 
 Italian arias, the Italian text of which is added to the German. Neither the composer 
 of the German recitatives nor C. G. Wend, the translator of the Italian by Salvi-Haym, 
 is mentioned. 
 
 First performed, as indicated, Theater beim Gansemarkt, November 29, 1734. 
 
 SCHATZ 4490 
 
 Rodelinda, koenigin in der Lombardey. Tr. of Handel's 
 Rodelinda. 
 
 Rodelinda, regina de' Longobardi. Dramma per musica da rap- 
 presentarsi nel nuovo Regio Teatro della Corte . . . 
 [Berlino], Ambrogio Haude, 1741. 6 p. 1., 95 p. 19%. 
 
 Three acts. Giovanni Gualberto Bottarelli is mentioned as the author, and he 
 signs the dedication as such, remarking that he wrote the libretto by demand of the 
 king, but from the "Avvertimento" in the 1778 ed. it would appear that he simply 
 retouched a drama by Zeno. As a matter of fact, Zeno never wrote a Rodelinda, nor
 
 OPERA LIBRETTOS 945 
 
 Rodelinda, regina de' Longobardi Continued. 
 
 did he write the arias in this particular Rodelinda. The text utilized by Bottarelli 
 was really that by Antonio Salvi. The avvertimento is preceded by the cast, the 
 argument, and the names of Carl Heinrich Graun as the composer, and of "Giovanni 
 Cnstoforo Host" as the author of the German version, "Rodelinde, koniginn der 
 Longobarden," which faces the Italian. 
 
 First performed, as indicated, December 13, 1741. SCHATZ 4117 
 
 - Rodelinda, regina de' Longobardi. Dramma per musica da 
 rappresentarsi nel Regio Teatro della Corte . . . 
 Berlino, Haude e Spener, 1778, 95, [3] p. 16 cm . 
 
 Three acts. By Giovanni Gualberto Bottarelli (who is not mentioned), but the 
 "Avvertimento" reads as follows: 
 
 "Quantunque questa tragedia [Pertharit, di P. Cornelio] sia forse la piu debole di 
 quante ne ha ecritte quel chiarissimo tragico, parva ad Apostolo Zeno, cn'ella potesse 
 servire di degno soggetto ad un dramma per musica, e ne fece un opera che si trova fra 
 le altre di quell' insigne autore. 
 
 "Quei che nell' anno 1744 serviva da poeta nel Regio Teatro di Berlino, trasformd 
 malamente 1'opera dello Zeno, e la die fuori mutilata e guasta com' ell' e anche al 
 presente ... 
 
 This is entirely incorrect, as the note for the 1741 ed. proves. Argument, cast, 
 scenario, and name of Carl Heinrich Graun as the composer. Though the avverti- 
 mento says that a revival was ordered "nel presente anno 1778," the performance 
 took place, according to Schatz, December 19, 1777. German title-page, Rodelinde, 
 koeniginn der Longobarden," and text face Italian. SCHATZ 4111 
 
 Rodelinde, koniginn der Longobarden. Tr. of Graun's Rodelinda, 
 regina de' Longobardi. 
 
 II Roderico. Dramma per musica da rappresentarsi nel Teatro della 
 Pace di Roma. L'anno MDCXCIV . . . 
 
 Roma, Buagni, 1694. &4 P- 13 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz and Wotquenne. 
 Carlo Francesco Gasparini is mentioned as the composer in the dedication. Argu- 
 ment and scenario. 
 
 First performed, as indicated, January 25, 1694. SCHATZ 3580 
 
 ' Rodoaldo, re d'ltalia. Drama da rappresentarsi nel nuovo Teatro 
 Zane a S. Moise 1'anno MDCLXXXV. Di Tomaso Stanzani . . . 
 
 Venetia, Francesco Nicolini, 1685. 56 p. (incl. front.) 
 Three acts. Author's dedication dated Venice, January 10, 1685, argument with 
 name of Domenico Gabriel! as composer, and scenario. ' SCHATZ 3400 
 
 Rodomonte sdegnato. Dramma per musica. Da rappresentarsi 
 nel Teatro di S. Angelo. II carnovale dell' anno 1714. Del dottor 
 Grazio Braccioli . . . 
 
 Venezia, Marino Rossetti, 1714- 72 p. 14 cm . 
 
 Three acts. Dedication signed by Antonio Vivaldi and dated Venice, January 20, 
 1714, argument, cast, scenario, and name of Michel Angelo Gasparini as the com- 
 poser. SCHATZ 3601 
 
 Rodrigo Ecimene. A. T. of the ballet L'eroe castigliano. 
 
 Das roemische April-fest. Musicalisches lust und tantz-spiel, zu 
 allgemeiner freuden-bezeugung ueber die im April erfolgte heilsame 
 gebuhrt Sr. roemisch-kayserl. und catholischen Majestaet Caroli VI 
 erstgebohrnen . . . Leopoldi I . . . im junio 1716 auf dem Ham- 
 burgischen Schau-platz vorgestellet. 
 
 Hamburg, Friderich Conrad Greflinger, n. d. Unpaged. 19 cm . 
 
 72251 VOL 114 - 60
 
 946 LIBRARY OF CONGRESS 
 
 Das roemische April-fest Continued. 
 
 Five acts. Lengthy historical preface without names of the author, Barthotd 
 Feind, or composer, Reinhard Keiser. To some of the arias the Italian text has 
 been added. SCHATZ 5127 
 
 Die roemische grossmuht, oder Calpurnia. Tr. of Heinichen's 
 Calfurnia. 
 
 Die roemische unruhe, oder Die edelmuehtige Octavia. In einem 
 sing-spiel auf dem grossen Hamburgischen Schau-platz aufgefuehret. 
 
 [Hamburg], Gedruckt imjahr, 1705. Unpaged. 18\ cm . 
 
 Three acts. Neither the author, resp. translator, Barthold Feind, is mentioned, 
 nor the composer, Reinhard Keiser. To some of the arias the Italian text has been 
 added. 
 
 First performed, as indicated, August 5, 1705. SCHATZ 5128 
 
 Die roemische unruhe. Oder: Die edelmuehtige Octavia, mu- 
 sicalisches schauspiel. 
 
 Barih. Feind's Deutsche gedichte, Stade, 1708, pi., p. [115]-174 
 17 cm . 
 
 Three acts. Date of first performance, Hamburg, August 5, 1705, and "Vorbe- 
 richt," in which Feind first compares other librettists like Postel, Hunold, and 
 Bressand, and then says: 
 
 "Das eujet dieses schau-spiels ist zuerst in Weissenfels, ehe und bevor Nero all 
 hier aufgefuehret, verfasset und bias auf die helffte ausgearbeitet word en. Nachdem 
 man mir aber das werck gezeiget und an bey dessen vollziehung aufgetragen, so babe 
 bey der durchlesung befunden, dass es die umstaende schwerlicn zuliessen, des herrn 
 verfassere propos auszufuehren, ich auch lieber etwas neues selbst machen wollte, 
 als andre arbeit zumustern: darum ich ausser den namen der Octavia, und einige 
 reflexions auf die auffuehrung des Piso, nichts behalten ..." 
 
 The composer, Reinhard Keiser, is not mentioned. Quite a few of the arias hava 
 Italian and German texts. This the "Vorbericht" Explains, as follows. 
 
 "Weil auch bissher die delicatesse der italiaenischen sprache in andern opern die 
 ohren der zuschauer durch eine verborgene kitzlung an sich gelocket, so babe aus 
 dieser ursache einige hinzu gefueget. Wer solcher kuendig, mag solche als die erste 
 fruechte von dergleichen arbeit ansehen, und Kein zu strenges urtheil faellen, denn 
 sie haetten endlich bey mehr gegebner zeit wol koennen verbessert werden." 
 
 ML 49.A2F2 
 
 Roger-Bontems et Javotte. Parody of Gluck's Orphee et Euri- 
 dice. 
 
 Roger de Sicile, surnomme Le roi sans chagrin. Piece en trois 
 actes. Par M re Le S * *. & d'Or * * *. Represented a la 
 Foire S. Laurent 1731. 
 
 Le Theatre de lafoire, Paris, 1737, t. ix, lid p. 17 cm . 
 
 By Le Sage and d'Orneval. Largely en vaudeville. The airs, selected or com- 
 posed and arranged by Jean Claude Gillier, are printed at the end of the volume in 
 the "Table des airs." , ML48.L2IX 
 
 Rogerius auf der insel der Alcine, ballet. See Bach's Temistocle. 
 
 Le roi et le fermier, comedie en trois actes, me'le'e de morceaux de 
 musique. Represent e"e pour la premiere fois par les Come'diens ita- 
 liens ordinaires du roi, le lundi 22 novembre 1762. Par M. Sedaine. 
 
 BruxeEes, Pierre Paupie, 1765. 52 p. 19\ cm . 
 
 The composer, Monsigny, is not mentioned. ML 50.2.R7M7
 
 OPERA LIBRETTOS 947 
 
 Le roi et le fermier Continued. 
 
 Le rpi et le fermier. Comedie en trois actes. Me"lee de morceaux 
 de musique. Par M. Sedaine. Represented par les Comediens fran- 
 cois de la cour sur le Nouveau Theatre de S. A. E. de Saxe, & Dresde, 
 1766. 
 
 [Dresde], George Conrad Walther, n. d. 78 p. 16^ cm . 
 The composer, Monsigny, is not mentioned. The text is the same as in our Paris 
 ed. of 1768. 
 
 First performed at Dresden, June 13, 1766. SCHATZ 11732 
 
 Le rpi et le fermier, comedie en trois actes, mlee de morceaux 
 de musique. Represented pour la premiere fois par les Comediens 
 italiens prdinaires du roi, le lundi vingt-deux novembre 1762. Par 
 M. Sedaine. 
 
 Paris, Claude Herissant, 1768. 52 p. 19 cm . 
 
 In his "Avertissement" Sedaine says: 
 
 "Jamais bon ou mauvaia ouvrage n'a eu tant de peine que celui-ci a paroitre au 
 theatre. II avoit en lui-meme la premiere difficulte. II falloit que je trouvasse un 
 grand artiste, un musicien habile, qui voulut bien avoir un peu de confiance en 
 moi, enfin tin ami qui voulut bien risquer un genre nouyeau en musique; & quelque 
 rares que soient les poetes en ce nouveau genre, les musiciens le sont encore plus. 
 
 He continues by saying that his piece was based on an English tale, that it waa 
 performed with ill-advised changes, and that it is here published as written by him 
 originally. The composer was Monsigny. SCHATZ 11730 
 
 Le rpi et le fermier, come'die en trois actes, melee de morceaux 
 de musique. Represented pour la .premiere fois par les Comediens 
 italiens ordinaires du Roi, le lundi 22 novembre 1762. Par M. 
 S6daine. 
 
 Paris, la veuve Duchesne, 1779. 56 p. 19% cm - 
 
 Cast. The composer, Monsigny, is not mentioned. With the airs of "Ami, laisse 
 la la tendresse " (1, 4), and "Le mylord m'offre des richeeses " (1,8). SCHATZ 6580 
 
 Der koenig und der pachter. Ein comisches singspiel in drey 
 aufzuegen. Aus dem franzoesischen des herrn Sedaine uebersetzt. 
 
 Frankfurt und Leipzig, Johann Gottlieb Garbe, 1766. 94 p. 17. 
 Conrad Gottlieb Pfeffel's version of Monsigny's opera. SCHATZ 6581 
 
 Der koenig und der pachter, ein singspiel in drey aufzuegen aus 
 dem franzoesischen uebersetzt, mit musik. 
 
 Frankfurt am Mayn, mit Andreaischen schriften, 1773. 102 p. 14 
 p. (folded music). 16\ cm . 
 
 Dialogue by Johann Heinrich Faber, the lyrics by Pfeffel. The music (bass and 
 voice) consists of: "Der milord wies mir kostbarkeiten " (I, 8), "Des reicht urns 
 pracht" (I, 8), "Ce que je dis est la vrit6 meme,") "Lasst uns schaaf und trift ver- 
 zehren" (III, 12, "Que le soleil dans la plaine"). 
 
 Version used by Theob. Marchand's Churpfalz. deutsche Hofschauspiel-Gesell- 
 Bchaft. SCHATZ 6582 
 
 Le roi Theodore a Venise. Tr. of Paisiello's II r Teodoro in 
 Venezia. 
 
 Roland, tragedie en musique. Represented devant Sa Majeste" a 
 Versailles, le huiti&me Janvier 1685. Suivant la copie impnme'e a 
 Paris. 
 
 [Amsterdam, Antoine Schette], 1685. 69 p. 13\ cm . 
 
 Prologue and five acts. Neither Quinault, the author, is mentioned, nor Jean 
 Baptiste de Lully, the composer. ML 50.2.R65L9
 
 948 LIBRARY OF CONGRESS 
 
 Roland Continued. 
 
 Roland, tragedie represented par FAcademie royale de musique 
 Fan 1685. Les paroles sont de M. Quinault, & la musique de M. de 
 Lully, XVII. opera. 
 
 n. i., 11. d. 14 cm - front., 1-72 p. (Recueil general des opera, t. Hi. 
 Paris, 1703.) 
 
 Detached copy. Five acts and prologue. 
 
 First performed, as indicated, March 8, 1685; at Versailles, January 18, 1685. 
 
 SCHATZ 5778 
 Second copy. ML 48. R4 
 
 Roland, tragedie representee devant Sa Majeste", a Versailles, le 
 huitieme [!] jour de Janvier 1685. Remise au Theatre par 1'Academie 
 royale de musique le 12 fevrier 1705, 15 novembre 1709, 15 decembre 
 1716, 11 novembre 1727; et le jeudi 17 decembre 1743. 
 Paris, Jean Baptiste CJiristophe Bollard, 1743. x, 66 p. %2$ cm . 
 
 Over the last date on the title page has been pasted % slip with the correct date 
 of performance, December 19, 1743. 
 
 Prologue and five acts with cast. On p. iii the note: 
 
 "II n'y a rien de nouveau dans cette remise, qu'un mot au dernier vere de la 
 page 3, on y lit Quand je trouvay Medor, il faut lire Quand j'appercfis Medor: meme 
 page au huitieme vers, lire Roland renverse. On peut accoler ou rayer les retranche- 
 ments qu'on a juge a propos de faire aux pages suivantes" [follows an extensive list]. 
 
 SCHATZ 5780 
 
 - Roland. Tragedie en musique. Represented a la Cour le 18 
 Janvier 1685. & par FAcademie ae musique le 8. fevrier suivant. 
 
 Philippe Quinault, Theatre, Paris, 1739, t. v., pi., p. [313]-378 p. 
 
 If cm 
 
 Prologue and five acts. Lully is not mentioned. PQ 1881. Al 1739 
 
 - Arlequin Roland. Par les Srs. Dominique & Romagnesi . . . 
 Repr^sente" pour la premiere fois par les Comediens italiens ordinaires 
 du roi, le 31 decembre 1727. 
 
 Les parodies du Nouveau theatre italien, Nouv. ed., Paris, Briasson, 
 1738, t. iii, [367]-408 p. 
 
 One act. Parody of the opera "Roland." The airs and vaudevillt printed at 
 end of the volume in the "Table des airs " (84 p.). ML 48.P3 
 
 Roland, parodie. Represent e"e pour la premiere fois par les 
 Comediens italiens ordinaires du roi, le 20 Janvier 1744. 
 
 Charles Francois Pannard, Theatre, Paris, Duchesne, 1763, v. 1, 48 
 p. 17 cm . 
 
 En vaudevilles. Parody of Lully's opera. Composer not recorded by Parfaict, 
 who attributes the text jointly to Sticotti and Pannard. PQ 2019. P3 
 
 Roland, tragedie-lyrique mise en trois actes, avec quelques change- 
 mens, representee pour la premiere fois, par FAcademie royale de 
 musique, le mardi 27 Janvier 1778. Le poeme est de Quinault. La 
 musique est de M. Piccini. 
 
 Paris, Aux depens de VAcademie, 1778. 31 p. 21 cm . 
 
 Cast. ML 50.2.R65P3 
 
 Roma liberata dalla congiura di Catilina. See M. Curzio.
 
 OPERA LIBRETTOS 949 
 
 Divertissements du ballet des Romans, et Les amours de Ragonde, 
 comedie en musique. En trois actes. Mis au Theatre de FAcad^mie 
 royale de musique, de Lyon. En 1'annee 1742. 
 Lyon, Aime Delaroche, 1742. 1 p. 1., 26 p. 23 cm . 
 
 Contains only "La bergerie, acte du ballet des Romans" with cast. Neither the 
 author, Michel de Bonneval, nor the composer, Niel, is mentioned. 
 
 The ballet, "Les Romans," of which "La bergerie" forms the first entree, was first 
 performed at Paris, Academic royale de musique, August 23, 1736. SCHATZ 7161 
 
 - Les romans, ballet-heroique repre'sente' par l'Acad6mie royale de 
 musique, Fan 1736. Paroles de M r Bonn * * * Musique de M r 
 Niel. CXXVI. opera. 
 
 n. i., n. d. 281-370 p. 14\ cm - (Recueil general des opera, Paris, 
 1745, t. xvi.} 
 
 Detached copy. Prologue and the entries "La bergerie," "La chevalerie," "La 
 feerie," "Le roman merveilleux, nouvelle entree, ajoutee aux prec6dentes, le 23 sep- 
 tembre 1736," with note replying to the reproach "d 'avoir introduit dans ses romans 
 des noms & des divinites du paganisme " and stating that this added act is partly 
 by another author. At end of text a note that the Academic now performs "La 
 bergerie" aa third and "La feerie" as first entree. ML 48.R4 
 
 Le ronian merveilleux. Entree in Niel's Les romans. 
 
 Rome excis'd. A new tragi-comi ballad-opera. Of three acts. As 
 it now acting with general applause. By a polite company of cour- 
 tiers. Ezekiel, xxvii. 36 [follows quotation] 
 
 London, Printed for Cyrenius Taxall, and sold by T. Jones, 1733. 
 vii, [1], 9-48 p. 21 cm . 
 
 A political attack on the excise bill in form of a ballad opera with eighteen songs, 
 tunes indicated by title. The plot is laid in Rome in the times of "Augustus Caesar, 
 Emperor of Rome." The tenor of the play and of the "Dedication" (p. iii-vii) is 
 obvious from the heading "To all true lovers of old English liberty." 
 
 Of course, no performance is recorded and the author seems to be unknown. 
 
 LONGE 172 
 
 Romeo e Giulia. Dramma per musica in II. atti del Sanseverino. 
 Seconda edizione. 
 
 Berlino, la vedova di Giorgio Lodovico Winter, 1776. 40 p- 20\ cm . 
 
 The two acts are preceded by "Prologo della Musa Melpomene a S. A. R. Mon- 
 ignore il principe Henrico di Prussia." The text is followed by: 
 
 - Romeo et Julie. Drame en musique en deux actes, traduit de 
 1'italien compose" par Sanseverino. 
 
 Berlin, la veuve Winter, 1776. 44 p. 20% cm . 
 
 Same prologue, but in French. For a composer of the text see next entry. 
 
 ML 50.2.R67 
 
 Romeo e Giulia. Drama per musica in due atti del Sign. San- 
 severino da cantarsi per commando al Palazzo Ducale di Brunsviga. 
 Brunsviga, n. null, 1778. 55 p. 16 cm . 
 
 Johann Gottfried Schwanberg is mentioned ae the composer. German title- 
 ;e, "Romeo und Julie," and text face Italian. 
 r irst performed, as indicated, March, 1778. SCHATZ 9766
 
 950 LIBRARY OF CONGRESS 
 
 Romeo e Giulia Continued. 
 
 Romeo e Giulia. Dramma per musica in due atti del Sign. 
 Sanseverino. La musica e del Sigr. Schwanenberg. Da cantarsi nel 
 Concerto dei dilettanti di musica in Berlino 1780. 
 
 n. i., n. d. 55 p. 16\ cm . 
 
 German title-page, "Romeo und Julie," and text by Eschenburg face Italian. 
 
 SCHATZ 9766 
 
 Romeo et Juliette, opera en trois actes. Paroles du C. J. A. Segur, 
 musique du C. Steibelt. Represent^, pour la premiere fois, a Paris, 
 sur le Theatre de la rue Feyaeau, le 10 septembre (v. st.), 1'an deuxi- 
 me de la R6publique, une & indivisible. 
 
 Paris, Huet [etc], L'an second de la Republigue [1793-94] 44 P- 
 21 cm . 
 
 Cast. Pages 33-44 stitched in twice. ML 50.2.R68 S8 
 
 Romeo et Juliette, opera en trois actes. Paroles du C. J. A. 
 Segur, musique du C. Steibelt. Represent^, pour la premiere fois, a 
 Paris, sur le Theatre de la rue Feydeau, le 10 septembre (v. st.), Fan 
 deuxieme de la Republique francaise. Seconde Edition. 
 
 Paris, Huet, An troisieme de la Republique [1794-95] 
 Same cast and same text, which is corrected in many places by a contemporary 
 hand. Evidently used for performances. Provenience perhaps explained by the 
 label on the binding "Theatre Feydeau. Sageret." ML 50.2.R68 S82 
 
 Romeo und Julie. Ein schauspiel mit gesang in drey aufzuegen 
 [vignette] 
 
 Leipzig, DyTc, 1779. 76 p. 16\ cm . ("Singspiele von Friedrich 
 Wilhelm Goiter, erstes baendchen") 
 
 In a "Nachricht," following a poem "An Madam Unzer, geborne Ackermann," 
 the first Julie, Gotter says: 
 
 "Benda's musik mag meine schuzschrift bey denjenigen seyn, die ea fuer ent- 
 weihung halten, ein euejet der tragischen Muse auf die opernbuehne zu versezen." 
 
 This prefatory note is dated Gotha, October, 1778, and Gotter takes pains to 
 point out that his text is indebted to Shakespeare and not to German dramatists. 
 
 First performed with Georg Benda's music at Gotha, Hoftheater, September 25, 
 1776. SCHATZ 776 
 
 Arien und gesaenge aus Julie und Romeo, einem schauspiele mit 
 gesang in drey aufzuegen, vom herrn Geheimen legations-secretair 
 Gotter. In musik gesetzt vom herrn kapelldirector George Benda. 
 
 Berlin, n. publ, 1796. 16 p. 16 cm . 
 
 Cast. 
 
 Performed at Berlin, Nationaltheater in the year of publication; first performed 
 at Berlin, Dobbelin'sches Theater, February 8, 1779 (Schatz). SCHATZ 777 
 
 Romeo und Julie. Tr. of Schwanberg's Romeo e Giulia. 
 
 Romilda. Dramma per musica da rappresentarsi nel Teatro Giusti- 
 niano di S. Moise nel carnevale dell' anno 1731. 
 
 Venezia, Carlo Buonarigo, n. d. 4$ P' 14% cm - 
 
 Three acts. By Carlo Paganicesa (not mentioned). Impresario's dedication, 
 argument, cast, scenario, and name of the composer, Bortolamio Cordans. 
 
 SCHATZ 2229
 
 OPERA LIBRETTOS 951 
 
 La Romilda. Drama regie musicale del Co. Pietro Paolo Bissari K. 
 Vicenza, Giacomo Amadio, 1659. front., 91 p. 14 cm . 
 
 Prologue and three acts. Imprimatur dated January 3, 1659, argument. On p. 90 
 additional verses for Adrasto, between I, 14, and I, 15. On p. 91 cuts are indicated, 
 for instance, II, 8, and III, 11. The composer, Carlo Grossi, is not mentioned. 
 
 SCHATZ 4219 
 
 II Romolo. Drama per musica nel felicissimo giorno natalizio della 
 S. C. K. M^' di Leopoldo I. . . . 1'anno MDCCII. Posto in musica 
 dal Sig^ Marc' Antonio Ziani . . . con 1'arie per li balletti del Sig? 
 Gio. Gioseffo Hoffer . . . 
 
 Vienna d'Austria, appresso gVeredi Cosmeroviani, n. d. 77 p. 
 
 Three acts and licenza. Dedication by the author, Donate Cupeda, dated Vienna, 
 June 9, 1702, argument, scenario. SCHATZ 11193 
 
 Romolo e Tazio. Drama per musica da rappresentarsi nel famo- 
 sissimo Teatro Grimani di S. Gio. Grisostomo. Nell' autunno 1722. 
 Di Vicenzo Cassani ... 
 
 Venezia, Marin RosseUi, 1722. 56 p. 15. 
 
 Three acts. Author's dedication, cast, argument, scenario, and name of Carlo 
 Luigi Pietragrua as the composer. SCHATZ 8166 
 
 Romolo ed Ersilia. Dramma scritto dall' autore in Vienna . . . e 
 rappresentato ... la prima yolta con musica dell' Hasse, nel Teatro 
 delP Imperial palazzo della citta d'Inspruch ... in occasione delle 
 felicissime nozze, che ivi si celebrarono, delle Altezze Reali dell' Arci- 
 duca Leopoldo d'Austria, e dell' infanta donna Maria Luisa di Bor- 
 bone, 1'anno 1765. 
 
 [95}-l 76 p. 26 cm . (Metastasio, Opere, t. ix, Parigi, vedova Heris- 
 sant, 1781.) 
 
 Three acts. Argument. ML 49.A2M44 
 
 Romolo ed Ersilia. Dramma per musica rappresentato in occa- 
 sione delle felicissime nozze delle AA. LL. Reali 1'arciduca Leopoldo 
 d'Austria e 1'infanta D. Maria Luisa di Borbon, celebrate in Inspruch 
 . . . 1'anno MDCCLXV. 
 Roma, Carlo BarbieUini, 1765. 5 p. 1., 55, [1] p. 21 cm . 
 
 Three acts. Dedication, argument, cast, scenario, and names of Metaetasio aa 
 author, of Joh. Adolph Hasse as composer. 
 
 First performed at Innsbruck, Theatre in the Imperial palace, August 6, 1765. 
 
 SCHATZ 4589 
 
 II Romolo e'l Remo. Drama di Giulio Strozzi. 
 
 Venetia, Gio. Battista Surian, 1645. 96 p. lS\ cm . 
 
 Three acts with prologue. Dedication dated Venice, February 5, 1645, argument, 
 but without name of the composer, Pietro Francesco Cavalli. The single acts bear 
 the technical titles "La proposta," "II nodo," and "Lo scioglimento." 
 
 First performed, as indicated, at the Teatro a S. S. Giovanni e Paolo, February 5, 
 1645. t SCHATZ 1727 
 
 The romp. O. T. of Love in the city.
 
 952 LIBRARY OF CONGRESS 
 
 The romp. A musical entertainment in two acts. Altered from 
 Love in the city, by Mr. Bickerstaff. As it has been acted at the 
 Theatres Royal in Dublin and York, and now performed at the Theatre- 
 Royal in Drury-Lane. 
 London, W. Lowndes^ 1786. 32 p. 21 cm . 
 
 Cast and dedication. Charles Dibdin, who had assisted the author in the compi- 
 lation of the music of this pasticcio, is not mentioned. 
 
 First performed at Covent Garden, March 28, 1778. LONGE 97 
 
 The romp. A comic opera. In two acts. Altered from Love in 
 the City, by Mr. Bickerstan. 
 
 [239}-262 p. 19 cm . (Collection of the most esteemed farces and 
 entertainments, t. vi, Edinburgh, 1792.) 
 
 Drury-Lane and Edinburgh casts. SCHATZ 11753F 
 
 Rosa e Nicola, ballet. See P. Guglielmi's La pupilla scaltra. 
 
 Rosalia. Ein nachspiel mit arien von Schink. 
 Gotha, Carl Wilhelm Ettinger, 1777. 39 p. 17. 
 One act. The composer, Joseph Schubert, is not mentioned. 
 First performed at Berlin, Dobbelinsches Theater, March 8, 1777. SCHATZ 9704 
 
 Rosalinda, a musical drama. As it is performed at Hickford's 
 Great Room, in Brewer's Street. By Mr. Lockman. Set to music 
 by Mr. John Christopher Smith. To which is prefixed, an enquiry 
 into the rise and progress of opera and oratorios, with some reflec- 
 tions on lyric poetry and music. 
 
 London, Printed by W. Strahan for the author, 1740. 4 P> I*-, xtiv, 
 [2], 9-19 p. 23 cm . 
 
 One act. Cast and dedication by John Lockman. ML 50.2.R72 
 
 La Rosalinda. Drama per musica da rappresentarsi nel novissimo 
 Teatro di S. Angiolo 1'anno 1692. M. V. cr Antonio Marchi . . . 
 Venetia, Girolamo Albrizzi, 1693. front., 71 p. 14% cm . 
 
 Three acts. Author's dedication dated Venice ; November 11, 1692, argument, 
 scenario, and notice to the reader, in which Marchi calls this "un primo parto d'in- 
 gegno . . . scritto piu per capriccio, che per genio" and mentions Marc' Antonio 
 Ziani as the composer. SCHATZ 11210 
 
 Rosamond; an opera. (Altered from Mr. Addison.) The music 
 entirely new set by Mr. Arnold. 
 
 London, L. Davis and C. Reymers, 1767. 40 p- 19% cm . 
 
 Reduced from three to two acte. Cast. Author of the alterations not mentioned 
 by Genest. 
 
 First performed at Covent Garden, April 21, 1767. ML 50.2.R73A7 
 
 Rosamund. Ein singspiel in drey aufzuegen. Fuer die Chur- 
 Pfaelzische Hof-singbuehne. 
 
 Mannheim, C. F. Schwan, 1778. Unpaged. 15% cm . . 
 
 Three acts. Cast, vorbericht, and names of Wieland as the author, of Anton 
 Schweitzer as the composer of the opera and of Cannabich as composer of Lauchery's 
 incidental "ballet, welches die hoellcnfarth des Herkules um Alcesten zurueck- 
 zuhohlen vorstellt." 
 
 First performed at Mannheim, Nationaltheater, January 20, 1780, the death of the 
 sovereign interfering with first performance in 1778. SCHATZ 9774
 
 OPERA LIBRETTOS 953 
 
 La Rosaura. Dramma per musica da rappresentarsi nel Teatro di 
 S. Angelo 1'anno 1689 . . . 
 
 Venetia, Nicolini, 1689. front., 67 p. llf. 
 
 tfhree acts. Author's dedication by Antonio Arcoleo, notice to the reader with 
 Giacomo Antonio Perti's name as the composer, argument, and scenario. Arcoleo 
 
 'Mi e stato necessario addattarmi ad alcune scene gia dipinte; ad abiti preparati, 
 al numero stabilito de personnaggi, alle sodisfattioni di tutti, ed in tanta angustia, 
 di tempo." SCHATZ 7954 
 
 La Rosaura. Cofiamedia per musica di Gennarantonio Federico 
 Napoletano. Da rappresentarsi nel Teatro de' Fiorentini nell' 
 inverno di quest' anno 1736 . . . 
 
 Napoli, Nicola di Biase, 1786. 72 p. 15 cm . 
 
 Three acts. Impresario's dedication, cast, and name of Domenico Sarro as the 
 composer. SCHATZ 9419 
 
 La Rosaura. A. T. of A. Scarlatti's Gli equivoci in amore. 
 
 La Rosaura overo Amore figlio della gratitudine, drama. Da rapre- 
 sentarsi in musica da ajutante & ajutanti di camera avanti la S. R. 
 Maesta di Eleonora, regina di Polonia . . . 1'anno MDCXCII. Posto 
 in musica dal Sign. Carlo Augustino Badia . . . 
 
 Insprugg, Giacomo Christoforo Wagner, n. d. 61 p. IJfy 
 
 Three acts. By conte Ottavio Malvezzi, who is not mentioned. SCHATZ 542 
 
 Rosbale. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S. Gio. Grisostomo nell autunno dell anno 1737 . . . 
 
 Venezia, Marino Rossetti, n. d. 60 p. llf m . 
 
 Three acts. Dedication by Domenico Lalli. argument, cast, scenario, and name 
 of Nicolk Antonio Porpora as the composer. Text by Claudio Nicola Stampa, who 
 is not mentioned. The title originally was "Eurene. 
 
 In his own catalogue Schatz recorded as first performance Arezzo, Teatro della 
 Citta, 1736, but in the ms. of his opera dictionary he gives the above. SCHATZ 8360 
 
 Roschen und Colas. Tr. of Monsigny's Rose et Colas. 
 La rose ou Les jardins de l'Hymen. O. T. of the following: 
 
 - La roze ou Les festes de PHvmen, opera comique, represent d sur 
 le Theatre de I'OpSra comique, le 8 mars 1752. 
 
 Paris, Duchesne, 1754. 56 p. 18% cm . 
 
 Prologue and one act. En vaudevilles. Not recorded by Schatz. Parfaict refers 
 from the title to the alternative title, but has no entry there. Desboulmiere, in his 
 "Histoire du theatre de I'Opdra-comique " (1769, t. i) has a few pages on Piron's 
 "La rose ou Lea jardins de l'Hymen; Ope>a comique en un acte, en prose, me'le de 
 vaudevilles, suivi d'un divertissement & pr&e'de' d'un prologue," which was per- 
 formed on March 5, 1745, after some difficulties with the police authorities. Com- 
 parison of the present libretto with Desboulmiers' analysis of Piron's piece proved 
 them to be identical. I have not found "La roze" elsewhere mentioned in the 
 reference books. ML 50.2. R87 
 
 - La rose, ope"ra-comique en un acte, avec un prologue. 
 
 Alexis Piron, Oeuvres complettes, Liege, 1776, v. 3, [347]-418 p. 
 17tf m . 
 
 En vaudevilles. PQ 2019.P6
 
 954 LIBRARY OF CONGRESS 
 
 The rose. A comic opera, in two acts, as it is performed at the 
 Theatre Royal, in Drury-Lane. The words by a Gentleman com- 
 moner of Oxford. The music by doctor Arne. 
 London, E. and C. Ditty and W. Griffin, 1773. 4 p. I, 28 p. 19tf m . 
 
 Two acts. Cast and preface, in which the anonymous author eays: 
 
 ''My attendance at college being indispensible, I have committed this trifle to the 
 
 care ot my friend, Dr. Arne." 
 
 whom Grove and others consider the real author. 
 
 First performed December 2, 1772, as indicated. LONGE 37 
 
 Rose, oder Pflicht und liebe im streit. Ein komisches singspiel in 
 drey aufzuegen. Aufgefuehrt im kaiserl. koenigl. National-Hof- 
 theater. 
 
 Wien, Joseph, edler von Kurzbeck, 1783. 86 p. 16 cm . 
 
 Neither the author, Gottlieb Stephanie d. J. is mentioned nor the composer Johann 
 Mederitsch. 
 
 First performed, as indicated, February 9, 1783. ML 50.2.R74M3 
 
 Rose and Colin, a comic opera, in one act. As it is performed at 
 the Theatre-Royal in Covent Garden. 
 
 London, G. Kearsley, 1778. 28 p. 21. 
 
 Cast and prefatory note by the author-composer, Charles Dibdin: 
 
 "The following little piece is an imitation of the French comic operas of one act, 
 which are generally characterized, either by their natural simplicity, or some single 
 striking incident, and little or nothing more is designed. It is now first attempted to 
 introduce this species of entertainment on the English theatre, as containing excellent 
 situations for light airs ..." 
 
 First performed September 18, 1778, as indicated. LONGE 87 
 
 Rose et Colas, comedie en un acte, prose et musicjue, repr&ente'e 
 pour la premiere fois par les Comediens italiens ordinaires du roi, le 
 8 mars 1764. 
 
 Paris, Claude Herissant, 1764. 4 p. I, 62, [2] p. 18. 
 
 Cast, Herissant's privilege, on the [21 p. a list of plays and preface by the author 
 Sedaine, who is not mentioned, in which he states: 
 
 " Je fais imprimer cette piece avant qu'elle soit represented, & je la fais distribuer 
 le propre jour de la representation." 
 
 He took this precaution, he says, not because of "un amour-propre tres indiscret" 
 but in order to give "a I'auditeur toute la facility de suivre la musique sur les paroles." 
 The preface is interesting, as it gives an inside-view of Sedaine's ambitions and 
 methods. He says, for instance: 
 
 "Ce petit genre a Pambition de joindre la flute d'Euterpe au masque de Thalie, 
 tels que les Grecs 1'ont unie au sceptre de Melpomene. Ses efforts tendent a intro- 
 duire la vraie com&iie, ne faisant qu'un avec les morceaux de musique nfcessaire- 
 ment enchaines a la scene, & vicieux des que le concours heureux de 1'harmonie ne 
 donne pas a 1'action de la chaleur, du mouyement, & de la precision, sur-tout dans 
 ces momems rapides sur lesquels la trag&Iie & la comedie n'osent & ne peuvent 
 appuyer . . ." 
 
 Sedaine forgot completely to mention his musical partner, Monsigny. 
 
 ML 50.2.R74M6 
 
 Rose et Colas, come'die en un acte, prose et musique, represent ee 
 pour la premiere fois par les Come'diens italiens ordinaires du roi, le 
 8 mars 1764. 
 
 Paris, la veuve Duchesne, 1770. 52 p. 18 cm . 
 
 Cast. Neither Sedaine, the author, nor Monsigny, the composer, is mentioned. 
 Contains the airs of "Pauvre Colas" (I, 1), "C'est ici que Rose respire" (1, 12). 
 
 SCHATZ 6583
 
 OPERA LIBRETTOS 955 
 
 Hose et Colas Continued. 
 
 Rose et Colas, come'die en un acte, prose et musique; repr6- 
 sente"e pour la premiere fois par les Comlcfiens italiens ordinaires du 
 roi, le 8 mars 1764. 
 
 Paris, la veuve Duchesne, 1779. 43 p. 19 cm . 
 
 Cast. On p. 3-6, the ariette, "Pauvre Colas." Neither the composer, Monsigny, 
 is mentioned, nor Sedaine, the author. SCHATZ 11733 
 
 Roschen und Colas, ein singspiel in einem aufzuge aus dem 
 franzoesischen uebersetzt. 
 
 Frankfurt am Mayn, mit Andreaischen scJiriften, 1772. 88 p., 15 
 p. (music). 16% cm . 
 
 Johann Heinrich Faber's version of Monsigny's opera. The music (voice and bass) 
 cojtttains: "Viel lieber an einem fadchen" (I, 5, "Sans chien & sans houlette" 
 
 "Hier wohnt sie, wo ich zitternd schleiche" (I, 12, "C'est ici, que Rose respire"); 
 "Es war einst ein vogel draus" (I, 13, "II e"toit un oiseau gris"). Version used by 
 Theob. Marchand's Churpfalzische Hofschauspiel gesellschaft. SCHATZ 6584 
 
 - Den forstilte tvistighed, efter den franske: Rose og Colas. Et 
 comisk synge-spil af Sedaine i een handling; musiken af Monsigny; 
 til samme musiK overeat af Niels Krog Bredal. 
 
 n. i., n. d. 95 p. 16. 
 
 First performed at Copenhagen, January 10, 1777. SCHATZ 6585 
 
 Rosemunde. Ein melodrama in einem akt von Bretzner. (Die 
 musik von J. Ch. Kaffka.) 
 
 p. 65-89. 18% cm . (Litteratur und Theater Zeitung, Berlin, 1780, 
 &" jahrg., 1*" Th.) 
 
 First performed at Breslau, Neues Waeer'eches Theater, January, 1782. 
 
 SCHATZ 4772 
 
 Das rosenfest. Eine operette in drey aufzuegen. Aus dem fran- 
 zoesischen nach dem singspiele des hrn. Favart, La rosiere de Salenci. 
 Dritte veraenderte auflage.. 
 
 Weimar, Carl Ludolf Hoffmann, 1774. % P- i; 188 p. 15$ cm . 
 
 By Gottlob Ephraim Heermann (not mentioned), who says in the preface that he 
 had neither patience nor time to thoroughly overhaul the text again for a third edition, 
 and that he contented himself with condensing now and then the text and with 
 marking those parts which in performance might be omitted. The composer, Ernst 
 Wilhelm Wolf, is not mentioned. 
 
 First performed at Weimar, Schlosstheater in der Wilhelmsburg, 1770. 
 
 SCHATZ 11083 
 
 Das rosenfest. Eine operette in drey aufzuegen. Aus dem 
 franz&sischen nach dem singspiele des Herrn Favart, La rosiere de 
 Salenci. 
 
 [Weimar?] n. publ., 1776. 112 p. 16$ cm . 
 
 Neither G. E. Heermann is mentioned, nor Ernst Wilhelm Wolf. 
 
 ML 50.2.R75W6 
 
 Das rosenfest zu Salenci. Tr. of Gre"try's La rosiere de Salenci. 
 
 Das rosenmaedchen, oder Das fest der weiblichen tugend. Tr. of 
 La rosiere de Salenci by Blaise, Philidor and Duni.
 
 956 LIBRARY OF CONGRESS 
 
 La Rosiere, ballet-d'action, en deux actes, de la composition de M. 
 Gardel, 1'aine", Maitre des ballets. Represented, pour la premiere 
 fois, sur le Theatre de FAcade'mie de musique, le mardi 29 juillet 1783. 
 
 Paris, a la SaUe de VOpera, 1783. 16 p. 18\ cm . 
 
 Two acts. Cast added by contemporary hand . Scene by scene description of the 
 action. The composer of the music is not mentioned in the libretto nor oy Lajarte. 
 
 ML 48.B2 
 
 La rosiere de Salenci, com6die, en trois actes, mele^e d'ariettes; 
 par M. Favart: repr^sente'e devant Sa MajestS a Fontainebleau, le 
 25 octobre 1769. Et a Paris, par les Com6diens ordinaires du roi, le 
 14 de"cembre 1769. 
 
 Paris, la veuve Ducfiesne, 1770. viii, 104 P- 19 cm . (Theatre de 
 M. Favart, Paris, Duchesne, 1763-77, t. z.) 
 
 Cast. On. p. 97-98 the air of the "Vaudeville de la Rosiere de Salenci" ("Vous 
 qui cherchez a m^riter") and on p. 102-104 the "Air: Menuet d'Exaudet" sung to 
 tne words "Get 6tang, qui s'etend." The text is preceded by an " Eclaircissement 
 historique sur la Fete de la rose" and by an "Avis du libraire which begins: 
 
 "La Rosiere de Salenci a deja 6te imprime; mais les exemplaires toient unique- 
 ment destines pour la cour. 
 
 "Depuis plusieurs ann6es bien des auteurs se plaignent de voir leurs ouvrages 
 contrefaits dans presque toutes les grandes villes du royaume, remplis de fautes, de 
 contre-sens insoutenables, qui les d^figurent au point qu'eux-memes ont bien de la 
 peine a les reconnoitre. Ces contrefactions . . . se debitent mme jusques sur les 
 theatres, de la capitale: c'est pourquoi, pour garantir le public de toute supercherie 
 a cet egard, nous nous croyons obliges de 1 avertir de s'adresser direc"tement aux 
 libraires designes sur les titres des pieces qui s'impriment a Paris ..." 
 
 The music is attributed principally to Blaise, Duni, and Philidor, who are not 
 mentioned. ML 49.A2F1 
 
 Das rosenmaedchen, oder, Das fest der weiblichen tugend, ein 
 singspiel in drey aufzuegen aus deni franzoesischen uebersetzt, mit 
 musik. 
 
 Frankfurt am Mayn, mit Andreaischen schriften 1772. 128 p., 11 
 p. (folded dated music). 16% cm . 
 
 German version by Johann Heinrich Faber. With cast. 
 
 The musical supplement con tains .the arias (voice and bass): "Dieser teich malet" 
 ["Cet etang qui s etend"] p. 1-4, "Katchen hat mir dumm geschienen" ["Nicole a 
 1'air bien novice"], p. 4-8; "Madchen, lasst euch die freude schmecken" ["Amuses 
 vos jeunes "], p. 9-10; "Man giebt uns den unterricht " ["On nous donne des lecons "], 
 p. 10-11. 
 
 First performed at Frankfurt a/M, Theater im Junghof, 1772. SCHATZ 2860 
 
 La rosiere de Salenci, pastorale en trois actes, melee d'ariettes; 
 repre'sentee, pour la premiere fois, par les Comediens italiens ordi- 
 naires du roi, le lundi 28 fevrier 1774: precedee de Reflexions sur 
 cette pi&ce, mdles de quelques Observations generates sur les spec- 
 tacles. 
 
 Paris, Delalain, 1774. xxviii, 67 p. 21 cm . 
 
 Cast. By Alexandre Fre'deric Jacques Masson, marquis de P6zay, who is not 
 mentioned. His preface is very interesting and full of side lights on olden times and 
 manners. Gr6try, the composer, comes in for some complimentary remarks, and those 
 who were jealous of his successes for some rather uncomplimentary remarks. Nor 
 does the author spare his own critics when defending his piece in detail against their 
 attacks. Still, the criticism levelled at the piece can not have been wholly unrea- 
 sonable, because the author himself in a foot-note on p. xx remarks that even after 
 contracting the two first acts of the original four into one, the piece may be too long 
 with its three acts.- The date of performance in the title is that of the original four 
 acts at the Comdie italienne, Pans, whereas the three-act version was first performed 
 there on June 18, 1774. The present three-act libretto was printed, as appears from
 
 OPERA LIBEETTOS 957 
 
 La rosiere de Salenci Continued. 
 
 remarks on p. xvii, before this performance but, of course, after that of the four-act 
 version. Of the libretto printed for the original performances at Fontainebleau 
 (exact date not recorded) the author says that it was^'trop fautive pour valoir meme 
 la peine d'etre desavou^e." 
 
 For the present purpose the following quotations from Masson de P&say's frank 
 and noteworthy "Reflexions" must suffice: 
 
 ". . . La presence inattendue de Madame la Dauphine, ayoit favorablement 
 dispose le Public a la premiere representation de la Rosiere & Paris; on est indulgent 
 quand on est heureux. Quelques mois auparavant cette Piece avoit etc" donn^e & 
 Fontainebleau, & n'avoit pas eu pour elle, a beaucoup pres, le plus grand nombre 
 des suffrages. II y a plusieurs exemples, au Theatre, de cette apparente contradiction 
 entre les jugemens de la Cour & ceux de la Ville. J'en donnerai plus d'une raison 
 plausible, avant de me preValoir de celle que 1'esprit malin de la Capitale se plait a 
 accrediter. Je ne 1'allegue point, parce qu elle me paroit fausse . . . 
 
 "Une de ces circonstances les plus marquees, est sans doute 1'usage qui proscrit lea 
 applaudissemens toutes les fois que Sa Majeste honore le Spectacle de sa presence. II 
 ne nous appartient pas de decider ei ce silentieux hommage du respect compense bien 
 celui qu'il interdit a 1'amour; s'il peut etre, pour un Monarque, beaucoup de tableaux 
 plus doux que tout mouvement passionne" des coeurs qui lui appartiennent; & si des 
 ris & des larmes libres ne developperoient pas toujours, avec un nouvel avantage, 
 aux yeux du Roi, le caractere du peuple charmant & sensible dont il est maitre? Ce 
 que je sais, c'est que 1'etiquette a fixe cet usage; c'est qu'il est glacant pour 1'Acteur; 
 c'est que 1'Acteur ne se glace point sans r^froidir celui qui 1'^coute, & que de froideur 
 en froideur, & de contrainte en contrainte la toile se leve & s'abaisse ainsi, sans que 
 1'ame engourdie a ce Theatre se permette 1'elan, qui seul lui donne le droit de juger, 
 parce que seul il lui permet de sentir . . . 
 
 "II est une autre observation particuliere aux Pieces en musique, c'est qu'elles ne 
 sont donnees a Versailles ou a Fontainebleau qu'une fois, deux au plus, & qu'il est 
 impossible de juger les effets d'harmonie a une premiere, & meme a une seconde 
 representation . . . 
 
 "Aux obstacles communs a toutes les Pieces en musique donn^es & la Cour, il s'en 
 est joint quelques-uns de particuliere a la mienne. Un devoir militaire m'occupoit a 
 I'lsle de Rhe, au moment oil Ton se disposoit a la donner a Fontainebleau. Je ne 
 pouvois pas trop decemment repasser la mer pour venir veiller ^ la repetition. Quel- 
 ques mois auparavant, je m'etois contente d'envoyer un manuscrit exact, accompagne 1 
 de notes indispensables. J'ignore par quelle fatalite il se trouva perdu avant que la 
 Piece fut sue, & par consequent representee. Au defaut du manuscrit egare, on eut 
 recours a un autre tres-rature, ou les nouvelles corrections, relatives aux anettes seule- 
 ment, etoient portees. Elles s'y trouvoient malheureusement en contradiction avec 
 1'ancien dialogue: dela resulta, a la representation, mille petites absurdites plus 
 piquantea les unes que les autres, & un galimathias dont toute la bonne volonte des 
 rivaux auroit eu bien de la peine a sauyer le ridicule a 1'Auteur mutiie & absent. 
 
 "Ce manuscrit etoit depuis cinq ou six ans entre les mains de M. Gretri. Je saisis 
 cette occasion de rapporter la date de mon importante production; je me crois oblige 
 d'en faire part aux esprits bien intentionnes, qui ont eu grand soin de faire remarquer 
 a des Juges, dont une seule pensee ne peut etre indifferente, combien peu le metier 
 d'un Aide-Marechal General-des-Logis de L'Armee est de faire des Opera-comiques. 
 C'est a ces donneurs d'avis benevoles que j 'observe qu'il y a six ans sur-tout, ces dis- 
 tractions pouvoient encore m'etre permises; qu'aujourd'hui m@me je serois aussi loin 
 d'en rougir que de m'enorgueillir du succes le plus entier dont elles pourroient 6tre 
 suivies . . . 
 
 J'ai tarde long-terns a faire imprimer la Rosiere: peut-e"tre ne I'aurois-je pas fait 
 imprimer du tout, si des critiques verbales, meme imprimees, ne m'avoient fait con- 
 noltre que toute Piece oil il y a de la musique n'est jamais bien entendue, ni m^me 
 comprise avant d'avoir ete Ifte: c'est pour 1 intelligence de la Scene que je me deter- 
 mine a cette nouvelle publicite, & non par la conviction que de telles miseres puissent 
 jamais meriter les honneurs durables de la presse . . ." ML 50.2.R8G71 
 
 La rosiere de Salenci, pastorale en trois actes, m616e d'ariettes. 
 Represent 6e pour la premiere fois par les com6diens italiens ordinaires 
 du Koi le lundi 28 fevrier 1774. 
 
 Paris, Delalain, 1775. 52 p. 18 cm . 
 
 Neither the author nor the composer Gr6try is mentioned. Contents as in next 
 
 SCHATZ 4182
 
 958 LIBBARY OF CONGRESS 
 
 La rosiere de Salenci Continued. 
 
 La rosiere de Salenci, pastorale en trois actes, me16e d'ariettes. 
 La musique de M. Gre"try. Represented pour la premiere fois par 
 les Comeaiens italiens orainaires du roi, le lundi 28 fe"vrier 1774. 
 
 Paris, Delalain, 1785. 54 p. 18 cm . 
 
 Same cast. Does not contain Masson de P^zay's "Reflexions." On p. 3-6, the 
 air of the ariette, "Quel beau jour ee dispose" (I, 1). On p. 52-54 of the "Ronde, 
 pendant laquelle on danse. Chantez, dansez, amusez-vous'^(UI, 5). 
 
 ML 50.2.R8G73 
 
 Das rosenfest zu Salenci, ein singspiel in drey aufzuegen aus 
 dem franzoesischen uebersetzt, mit musik. 
 
 Frankfurt am Maun, mit Andreaischen schriften, 1775. 109 p., 8 
 p. (folded music). lQ\ cm . 
 
 By Joh. Heinr. Faber, who is not mentioned. The music (voice and bass) consists 
 of "Im wankenden kahne" ("Ma barque flottante," II, 7) and "Singet und tanzet, 
 freuet Euch" ("Chantez, dansez, amueez-vous," III, 5). SCHATZ 4183 
 
 La Rosilda. Dramma favoloso da recitarsi in musica 1'anno 1707. 
 Nel Teatro di S. Fantin in Venezia. Di Bartolomeo Pedoni . . . 
 
 Venezia, Gio. Maria Rossi, 1707. 4 8 P- 15 cm . 
 
 Three acts. Author's dedication, argument, scenario, and notice to the reader, 
 with the name of^Girolamo Polani as the composer. SCHATZ 8251 
 
 La Rosilena. Drama per musica di Aurelio Aureli, favola duode- 
 cima. Rappresentata nel novissimo Teatro Grimano ranno 1664 . . . 
 
 Venetia, Francesco Nicolini, 1664- 71 p. 
 Prologue and three acts. Author's dedication dated January 4, 1664, argument, 
 and scenario. Bovettino, the composer, is not mentioned. SCHATZ 9109 
 
 Rosilena ed Oronta. Drama per musica da rappresentarsi nel 
 Teatro di SamV Angelo nel carnovale dell' anno 1728 . . . 
 
 Venezia, Antonio Bortoli, 1728. 58 p. 15 cm . 
 
 Three acts. By Giovanni Palazzi, who is not mentioned. Impresario's dedica- 
 tion, argument, cast, scenario, and name of Antonio Vivaldi as composer. 
 
 SCHATZ 10778 
 
 La Rosilla. Tragicommedia di Filostrato Lucano Cinneo. Da 
 rappresentarsi nel nuovo Teatro di sopra la strada di Toledo in 
 questo autunno del corrente anno 1733 . . . 
 
 Napoli, n. publ, 1733. 72 p. 15 cm . 
 
 Three acts. Real name of the author is Antonio Soliva, according to Wotquenne 
 after Florimo), but Piovano eays that it is an anagram of Francesco Antonio Tulli. 
 Impresario's dedication, cast, argument, and note: 
 
 La musica e del Signer Antonio Orefici, a riserva dell' arie con questo segno 
 che sono del Signor Lionardo Leo . . ." 
 
 This would apply to " Se i miei strali fosser tali" (I, 4), "II vincitore : Lascia, 
 ch'ip parli al core" (I, 7), "Po fa la Ddea, che a chisto core" (I, 13), "In libertate 
 lasciami il core" (I, 15), "Vincerai, non paventar" (II, 7), "Quell amor, che nel 
 cimento" (11,9), "Ma non gli affetti miei" (II, 11), "Sento la speme" (II, 15), "Non 
 fa, ch'io porri immora" (III, 1), "Dove spero aver la sorte (III, 3), "Dolce ben 
 mio" (III, 9}, "Bell' alme innamorate" (III, 14). 
 
 The sign frequently stands not at the beginning of an aria but somewhere in the 
 middle or towards the end. Since there appears no reason for having misplaced it, 
 the lines have been quoted, which are actually distinguished by the sign. Thus 
 part of an aria would seem to have been by Orenci, part by Leo! This sort of thing 
 was not customary even in pasticcios, though it was not unprecedented. 
 
 SCHATZ 7293
 
 OPEEA LIBRETTOS 959 
 
 Rosimonda. Tragedia per musica da rappresentarsi nel Teatro 
 Grimano di San Gio. Grisostomo Fanno MDCXCVI . . . 
 
 Venetia, Nicolini, 1696. front., 84 p. 14 cm . 
 
 Five acts. Dedication by the author conte Girolamo Frigimelica Roberti, one of 
 his lengthy notices to the reader, argument, and scenario. The composer, Carlo 
 Francesco Pollaroli, is not mentioned. 
 
 First performed at the same theatre, fall of 1695. SCHATZ 8316 
 
 Rosina, a comic opera, in two acts. Performed at the Theatre- 
 Eoyal in Covent-Garden. 
 
 London, T. CadeU, 1783. 46, v-vi p. 21 cm . 
 
 Cast. The p. v-vi at end contain an Advertisement to the effect that "some of 
 the songs and a few short passages of the dialogue " which were omitted in the per- 
 formance are restored, also that the fable of the piece is taken from the book of Ruth, 
 and that both Thomson and Favart's works on the same subject were utilized as far 
 as the difference of the plan would allow. 
 
 Neither the author, Mrs. Brooke, nor the composer-compiler, William Shield, is 
 mentioned. In Napier's vocal score " The morn returns " is headed as composed by 
 Stephen Paxton, "Henry cull'd the flowrets " as by Sacchini 
 
 First performed December 31, 1782, as indicated. LONGE 91 
 
 Rosina consolata o sia L'innocenza protetta. Intermezzo a quattro 
 voci del Signer abate Pietro Antonio Bagliaca tra jgF Arcadi Cancidio 
 Matiglauro. Da rappresentarsi nel Teatro di San Cassiano Fautunno 
 delF anno 1781 . . . 
 
 Venezia, n. pull, 1781. 40 p. 16\ cm . 
 
 Two acts. Pages 29-30 supplied in ms. Impresario's dedication, cast, and name 
 of Giovanni Valentin! as the composer. SCHATZ 10584 
 
 Rosmira. Dranuna per musica da rappresentarsi in Firenze nel 
 Teatro di via del Cocomero nelF carnevale delF anno 1746 . . . 
 
 Firenze, Gio. Batista Stecchi, 1746. 55 p. 15 cm . 
 
 Three acts. Impresario's dedication, argument, cast, and scenario. Neither 
 author nor composer mentioned. Schatz attributes the music to Giuseppe Antonio 
 Paganelli and says that the composer sang the part of "Armindo." The list of 
 characters says: "II Sig. Giuseppe Paganelli di Forli," but since the composer was 
 from Padua, the two do not appear to be identical. (Comp. also Eitner.) 
 
 By comparison I find that the text is a pasticcio text. Much of the dialogue is 
 identical with Silvio Stampiglia's "La Rosmira fedele." Also a few arias are iden- 
 tical with arias in this, but most are not, and of these quite a few can be traced to 
 Metastasio. SCHATZ 7575 
 
 Rosmira. Dramma per musica da rappresentarsi nel Teatro di S. 
 Angelo il carnovale 1738 . . . 
 
 Venezia, Marino Rossetti, 17 88. J$ p. 15 cm . 
 
 Three acts. Dedication by the composer, Antonio Vivaldi, argument, cast, and 
 scenario. Silvio Stampiglia is mentioned by Vivaldi as the author. SCHATZ 10779 
 
 La Rosmira fedele. Dramma per musica di Silvio Stampiglia, da 
 rappresentarsi nel Teatro di S. Samuele per la fiera dell' Ascensione 
 delF anno MDCCLIIL 
 
 cm 
 
 Venezia, Angiolo Geremia, n. d. 33 p. 16 
 
 Three acts. Argument, cast, and name of the composer, Gioacchino Cocchi. 
 
 SCHATZ 2044
 
 960 LIBRARY OF CONGRESS 
 
 La Rosmira fedele. Dramma per musica di Silvio Stampiglia tra 
 gli Arcadi Palemone Licurio. Da rapprcsentarsi nel Teatro celebre 
 Grimani in S. Gio. Grisostomo il carnovale MDCCXXV . . . 
 Venezia, Marino Rossetti, n. d. 57 p. 15%. 
 
 Three acta. Impresario's dedication, cast, argument, scenario, and name of 
 Leonardo Vinci ae tne composer. SCHATZ 10751 
 
 La Rossana. A. T. of the ballet "La vittoria di Tamerlano contro 
 Bajazette. 
 
 Rossana, ballet. See Caruso's Li sposi in commedia. 
 
 La Rossana. Dramma per musica da rappresentarsi nel Teatro alia 
 Scala il carnevale dell' anno 1795 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 50, [15] p. 16 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Impresario's dedi- 
 cation dated Milan, January 31, 1795, argument, cast, scenario, and name of Ferdi- 
 nandp Per (Paer) as the composer. 
 
 With the opera were performed Paoli.no Franchi's "ballo eroico-tragico Lodoiska," 
 his "ballo eroico-pastorale Gli amori di Angelica e Medoro" and "La pianella per- 
 duta." The unnumbered pages contain the description of the first and the argument 
 of the second. The composers of the music are not mentioned. The last unnum- 
 bered page contains the substitute aria, etc. (I, 6) "Un tenero accento." 
 
 SCHATZ 7561 
 
 Le rossignol, opera comique an un acte, de Messieurs * * * 
 Repre"sente pour la premiere fois le 15 septembre 1752, & jours 
 suivans, jusqu'a la c!6ture du Theatre du Faubourg Saint-Laurent; 
 et continue" le 3 fe"vrier 1753, pour 1'ouverture du Theatre du Fau- 
 bourg Saint-Germain. 
 
 Paris, PraultJLls, 1753. 31 p. 19 cm . 
 
 En vaudevilles. In the Avertissement (p. [4-5]) the authors say: 
 
 "Parlons maintenant d'une autre piece qui s'est d6bit6e & Paris dans Pintervalle 
 des deux foires, intitule'e de meme: Le Rossignol, opera comique, represente pour la 
 premiere fois sur le theatre de Rouen, le 8 octobre 1751, & imprim6 dans la m&me ville 
 en 1752. 
 
 "Ce titre annoncant k notre Rossignol, un rival d'autant plus dangereux qu'il 
 paroit fortifie' du droit d'alnesse, les deux auteura se sont, comme on peut croire, 
 empresses & le lire, & ce n'est pas sans surprise, qu'entr'autres imitations, ils y ont 
 vu un de leurs couplets, copie"presqu'en entier ... II est question du monologue 
 "Que pour mon coeur ces heux ont d'attraits . . . Or, comme il seroit difficile de 
 ee persuader qu'une ressemblance si parfait soit un pur effet du hazard, les deux 
 auteurs apprenendant, avec raison, que le repioche d'un plagiat aussi caracteris4 ne 
 retombat sur eux, ont fait toutes les demarches ne'cessaires pour e'claicir la verit6; <& ils 
 ont^teassez heureux pour recouvrer un des doubles de la piece de Rouen, reve"tu de 
 1'approbation d'un censeur de Paris, dans lequel double, le couplet, dont il s'agit, 
 n'existe point, ce qui est une preuve, sans replique, que cet auteur 1'a ajoute" apres 
 coup, & que c'est lui par consequent qui est le plagiaire . . ." 
 
 They then ask the public to choose between their "Rossignol de Paris" and the 
 "Rossignol provincial. According to Parfaict (see t. vii): 
 
 "L'avis au lecteur qui precede la piece est fait pour justifier les auteurs de 1'ac- 
 cusation d'avoir pris I'id6e & mdme quelques morceaux d'une piece du meme nom, 
 compos^e par M. Bavieres de Rouen . . . 
 
 Clement and de Laporte give Baillere as the name of the author. They and Schatz 
 attribute the text of the Parisian Rossignol to the abbe" de Latteignant and others. 
 Schatz does not mention the composer, resp. the arranger, of the music. According 
 to Schatz there was played on November 18, 1751, at Berny, at the palace of the 
 comte de Clermont a one-act com^die mel^e d'ariettes by Charles CoU6, music by 
 J. B. de La Borde, which might easily be confused with the two other Rossignols, 
 since its title was "Rossignol ou Le mariage secret." ML 48. A4
 
 OPERA LIBRETTOS 961 
 
 Das rothe kaeppchen oder Hilft's nicht, so schadt's nicht. Ein 
 komisches singspiel in drei aufzuegen von herrn von Dittersdorf . 
 
 Koeln am RJieine, Langen, 1791. 78 p. 16 cm . 
 
 By the composer after Livigni's "Giannina." 
 
 First performed at Breslau, Wasersches Theater, May 26, 1790. SCHATZ 2603 
 
 Das rothe kaeppchen. Eine komische operette in zwei auf- 
 zuegen. Die musik ist von herrn Dieter von Dittersdorf. Aufge- 
 fuehrt zum erstenmal den 7. Junius 1791 auf dem Hoftheater zu 
 Weimar. 
 
 Weimar, Hoffmannische buchhandlung, 1792. 88 p. 16% cm . 
 
 Altered by Vulpius who in the unsigned "Vorrede" Bays: 
 
 "Das original dieser operette, welches man als manuskript mit der partitur 
 erhaelt, mag wohl allein die guten buehnen von der auffuehrung derselben bisher 
 abgeschreckt haben. Das war auch der fall bei uns, und daher enstand diese neue 
 bearbeitung deren gjuenstige aufnahme gar nicht zweifelhaft geblieben ist. Die 
 angenehme musik dieser operette verdiente alleine schon eine umaenderung des 
 textes . . ." SCHATZ 2604 
 
 The rover; or, Happiness at last: A pastoral drama, as it was 
 intended for the theatre . . . 
 
 London, M. Cooper, W. Reeve, and H. Dood, 1752. 1 p. I., ii, [2], 
 24 p. 21% cm . 
 
 One act. Poem to Francis Delavall, list of subscribers and Advertisement in 
 which this play "the author's first essay of this kind," is said to have 
 
 "gain'd the commendation of the manager of the Theatre Royal; but, as it was 
 intended to succeed the representation of a play, the length of it prevented its having 
 the honour of appearing on the stage." 
 
 The author, S. Boyce, is not mentioned. LONGE 160 
 
 Les routes du monde. See L'industrie. 
 
 Royal clemency. A. T. of The deserter of Naples. 
 
 The royal garland. A new occasional interlude, in honour of His 
 Danish Majesty. Set to music by Mr. Arnold. And performed at 
 the Theatre Royal, Covent-Garden. 
 London, T. Becket and P. A. de Eondt, 1768. [6}-24 p. 19% cm . 
 
 By Isaac Bickerstaffe, who is not mentioned. 
 
 First performed October 1, 1768, as indicated. LONGE 36 
 
 The royal merchant: an opera. Founded on Beaumont and 
 Fletcher. As it is performed at the Theatre Royal, in Covent- 
 Garden. 
 
 London, WiUiam Griffin, 1768. 3 p. 1., 68 p. 19\. 
 
 Three acts. Cast and prefatory note, in which the author, Thomas Hull (not 
 mentioned), says that in utilizing the old play ["The beggar's bush "] 
 
 "he was the rather tempted to make tnis experiment, from the romantic turn of 
 the fable, and singularity of the characters in this play, which appeared to him 
 peculiarly calculated for an opera ..." 
 
 The composer, Thomas Linley, is not mentioned. (See also his " The camp.") 
 
 First performed December 14, 1767 (Schatz), February 24, 1767 (Tufts). 
 
 LONGE 197 
 
 The royal shepherd, an English opera; as it is performed at the 
 Theatre-Royal in Drury-Lane. The music composed by Mr. Rush. 
 The second edition. 
 
 London, W. Owen and C. Moran, n. d. 2 p. 1., 41, iii-iv p. 
 72251 VOL 114 61
 
 962 LIBRARY OF CONGRESS 
 
 The royal shepherd Continued. 
 
 Three acts. Taken by R. Rolt from Metastasio's "II re pastore," neither of whom 
 is mentioned. The iii-iv p. contain table of the Bongs. 
 
 First performed, as indicated, February 24, 1764. LONGE 37 
 
 The royal shepherd. An English opera; as it is performed at 
 the Theatre-Royal in Drury-Lane. The music composed by Mr. 
 Rush. The third edition. 
 
 London, W. Owen and C. Moran, n. d. 2 p. 1., 41, xlii-xliii p. 20% cm . 
 Three acts. Argument, cast, and at end table of the songs, etc. By Richard Rolt. 
 
 LONQE 192 
 Second copy. LONGE 216 
 
 Amintas. An English opera. As perform'd at the Theatre- 
 Royal in Covent-Garden. 
 
 London, T. Lowndes, 1769. 2 p. 1., 28 p. 19% cm . 
 
 Three acts. Cast and argument. This is Richard Rolfs "The Royal shepherd, " 
 as altered by Giusseppe Ferdinando Tenducci. Music by George Rush, with, inter- 
 polations from Pietro Guglielmi and others. One of the telling differences between 
 this and "The Royal shepherd " is that the latter has, in I, 2, the aria, "A shepherd, 
 though I am," whereas "Amintas" has "Altho' this humble garb I wear." 
 
 First performed December 15, 1769, as indicated. LONGE 37 
 
 Amintas ; an English opera. 
 
 [293}-311 p. 19 cm . (Collection of the most esteemed farces and 
 entertainments, t. vi, Edinburgh, 1792}. 
 
 Three acts. Covent-Garden cast. H ATZ 11753F 
 
 La roze ou Les festes de FHymen. See Piron's text La rose. 
 Der ruchlose. A. T. of Righini's Das steinerne gastmahl. 
 Rudolph von Creki. Tr. of Dalayrac's Raoul, sire de CrSqui. 
 
 Riibenzahl, o sia II vero amore. Dramma giocoso per musica da 
 rappresentarsi nel Teatro di S. A. E. di Sassonia del Signer Caterino 
 Mazzola. 
 
 Dresda, n. publ, 1789. 131 p. 15\. 
 
 Two acts. Joseph Schuster is mentioned as composer. German title-page, "Rue- 
 benzahl, oder Die wahre liebe," and text face Italian. 
 
 First performed, as indicated, February 14, 1789. SCHATZ 9752 
 
 Ruggiero. Dramma per musica da rappresentarsi nel Teatro Ven- 
 dramin di S. Salvatore nella fiera dell' Ascensione dell' anno 1769. 
 Venezia, Modesto Fenzo, 1769. 47 p. 16 cm . 
 
 Three acts. By Caterino Mazzola, who is not mentioned. Cast, scenario, and 
 name of Pietro Guglielmi as composer of the "musica tutta nuova." 
 
 First performed May 3, 1769, as indicated. SCHATZ 4304 
 
 II Ruggiero o yero L'eroica gratitudine. Questo dramma manca 
 neh" edizione torinese, perche non era ancora scritto quando il decimo 
 volume di essa fu puoblicato. II compose 1'autore d'ordine dell' 
 imperatrice regina in Vienna; ed ivi uscl . . . dalla stamperia del 
 Ghelen; e fu rappresentato con musica dell' Hasse immediatamente 
 hi Milano, in occasione delle felicissime nozze delle AA. RR. di Ferdi- 
 nando arciduca d'Austria, e dell' arciduchessa Maria Beatrice d'Este 
 . . . 1'anno 1771. 
 
 pi., [177}-266 p. 26 cm . ( Metastasio, Opere, t. ix, vedova Herissant, 
 1781.} 
 
 Three acts. ML 49 . A2M44
 
 963 
 
 II Ruggiero o vero L'eroica gratitudine. Dramma per musica da 
 rappresentarsi in occasione defle felicissime nozze delle Altezze Loro 
 Reali . . . Ferdinando arciduca d'Austria e . . . Maria Beatrice 
 d'Este ... In Milano I'anno MDCCLXXI. 
 
 Vienna, Stamperia di GJielen, 1771. Unpaged. 25 cm . 
 
 The imprint, together with Metastasio's name as author, appears on a leaf preceding 
 the ornamental title page, which, as were the head and tail pieces, was designed by 
 J. Bidermann and engraved by J. C. de Reinsperger. 
 
 Three acts and licenza. Scenario, cast, and name of Johann Adolph Hasse as the 
 composer. 
 
 First performed at Milan, Regio Ducal Teatro, October 18, 1771 (Schatz), October 
 16, 1771 (Mennicke). SCHATZ 4558 
 
 Die ruinen von Portici. Ein allegorisches singspiel in zwey acten 
 von C. A. Herbst. 
 Breslau, Ernst Gottlieb Meyer, 1798. 112 p. 17 cm . 
 
 Dedication, "Vorschlage zu anordnung des cqstums," "An das publicum:" "Die 
 grundidee zu dieser operette ist aus dem kleinen franzoesiechen roman des Ca- 
 zotte 'Biondetta' entlehnt." 
 
 First performed, with music by A. Joseph Fischer, Stuttgart, Hof theater, May 10, 
 1807. SCHATZ 3210 
 
 La rupture du carnaval. See Destouches' Le camaval et la folie. 
 
 La ruse d'amour, ou L'Spreuve, comedie en nn acte et en vers, 
 m^lee d'ariettes. Par M. Maill6 de Marencour. Musique de M. 
 Chardiny . . . Representee pour la premiere fois a Paris, par les 
 Come'diens de S. A. S. Monseigneur le conte de Beaujolois, au Palais- 
 Royal, le jeudi 25 aout 1785, & a Saint Cloud; devant Leurs Majestes, 
 le 28 septembre 1785. 
 Paris, Brunei, 1786. 13, [1] p. 20\ cm . ML50?2.R9C3 
 
 La ruse de carnaval. A. T. of Les deux morts. 
 
 La ruse villageoise, ope'ra-comique, en un acte, en prose et en vaude- 
 villes. Par le C. A. B. Sewrin, represent^, pour la premiere fois, a 
 Paris, sur le Theatre de la rue de Louvois, le 2 juiDet 1793 (vieux 
 style). 
 Paris, la citoyenne Toulon, 1794. 32 p. 20% cm . 
 
 Cast. Not recorded by Cl. & L. or Schatz. An opera of the same title (music by 
 Charles Ots) was performed at Ghent, January 2, 1796. SCHATZ 11511 
 
 The rustic heroine. A. T. of The loyal shepherds. 
 
 Sabinus, trag^die-lyrique, en cinq actes, represented, devant Sa 
 Majeste", a Versailles, le 4 de'cembre 1773. 
 [Paris], P. Robert CJiristophe BaUard, 1773. 
 
 Cast. With name of the composer, Francois Joseph Gossec, but not of the author, 
 Michel Paul Gui de Chabanon de Maugris. SCHATZ 4011 
 
 Le sabot perdu. A. T. of La matinee et la veillee. 
 
 Les sabots, ope'ra-comique en un acte, mes!6 d'ariettes. Par Mrs. 
 C . . . et Sedaine. Represent^ pour la premiere fois par les Com4- 
 diens italiens ordinaires fu roi, le mercreai 26 octobre 1768. 
 
 Paris, Claude Herissant, 1769. 22 p. 19 cm . 
 
 Cast. Duni, the composer, is not mentioned. Jacques Cazotte collaborated with 
 Sedaine. ML 50.2.S2D9
 
 964 . LIBRARY OF CONGRESS 
 
 Les sabots Continued. 
 
 Les sabots, opeVa-comique en un acte, mesle" d'ariettes. Par Mrs. 
 C. . . . et Sedaine. ReprSsente" pour la premiere fois par les 
 Come'diens italiens ordinaires du roi, le mercredi 26 octobre 1768. 
 
 Paris, Claude Herissant, 1770. 24 p. 18 cm . 
 
 Cast. Duni, the composer, is not mentioned. SCHATZ 2855 
 
 Les sabots. Op6ra-comique en un acte, mele d'ariettes; par 
 Mrs. C. . . . & Seaaine. Represent^ pour la premiere fois par les 
 Come'diens italiens ordinaires au roi, le mercredi 26 octobre 1768. 
 
 Paris, Claude Herissant, 1777. 24 p. 18 cm . 
 
 Cast. On p. 14-16, the ariette, "Qu'ils sont heureux, ces'oiseaux!" The com- 
 poser, Duni, is not mentioned. SCHATZ 11698 
 
 Sabrina. An opera for the Theatre Royal in the Hay-Market. By 
 Paul Rolli, F. R. S. 
 
 London, J. Chrichley, 1737. 61 p. 17 cm . 
 
 Three acts. Preface, like the text, in Italian, with English translation. Burney 
 IV, 412, mentions this opera, without naming the composer. Schatz enters it under 
 Giov. Battista Pescetti and others. 
 
 First performed, as indicated (April 26), May 7, 1737. SCHATZ 8859 * 
 
 Sabrina. 
 
 [425\-40 P- 17. (Rolli, Componimenti poetici, Nuova edizione, 
 Verona, G. Tumermani, 1744') 
 
 Three acts. Argument. No composers mentioned. ML 49.A2R7 
 
 I sacrifizi di Greta o sia Arianna e Teseo. Dramma per musica da 
 rappresentarsi nel Regio Teatro di via della Pergola la primavera 
 del MDdbXCIII . . . 
 
 Firenze, Stamperia Albizziniana, 1793. 32 p. 16 cm . 
 
 Three acts. By Pietro Pariati (not mentioned), but modernized. Argument, cast, 
 and name of Peter von Winter as the composer. With the opera was performed 
 Giuseppe Trafieri's "II rapitore punito, ballo eroicomico pantomimo" (composer of 
 the music not mentioned). 
 
 First performed at Venice, Teatro di S. Benedetto, carnival, 1792. SCHATZ 11051 
 
 I sacrifizi di Tauride, ballet. See P. Guglielmi's Rinaldo. 
 
 Sacrifizio detto Taurobolio pella elezione ed inaugurazione di un 
 re di Norvegia, ballet. See Calderara's Ricimero. 
 
 II sacrifizio interrotto. Tr. of P. v. Winter's Das unterbrochene 
 opferfest. 
 
 Saed ossia II serraglio. L. T. of Paer's L'intrigo amoroso. 
 Der saeuffer. Tr. of Basse's II bevitore. 
 Saffo. See Traetta's Le feste d'Imeneo. 
 
 Saffo o sia I riti d'Apollo Leucadio, dramma per musica del Signor 
 Sografi da rappresentarsi nel nobilissimo Teatro della Fenice il carno- 
 vale dell' anno 1794. 
 
 Venezia, Modesto Fenzo, 1794. 43 p. 17% cm . 
 
 Two acts. Cast, scenario, and name of Joh. Simon Mayr as the composer. 
 
 SCHATZ 6171
 
 OPERA LIBRETTOS 965 
 
 La saggia pazzia di Giunio Brutp. Drama per music a da rappre- 
 sentarsi nel famosissimo Teatro Grimani a Santi Gio. e Paolo 1'anno 
 1698 . . . 
 
 Venetia, Nicolini, 1698. front., 60 p. 14\ cm . 
 
 Three acts. Dedication dated by the author Lotto Lotti, Venice, November 24, 
 1698, scenario and notice to the reader with name of Giovanni Maria Ruggeri as the 
 composer. SCHATZ 9141 
 
 . . . The sailor's farewell; or, The Guinea outfit. A comic opera, 
 in three acts. With great improvements. 
 
 Liverpool, Printed and sold by T. Schofield, n. d. 45 (incl. front.), 
 [3] p. 17 cm . 
 
 The [3] p. contain prologue and publisher's book-list. At head of title: "Second 
 edition. By T. Boulton, who is not mentioned. No composer recorded by 
 Clarence. LONGE 323 
 
 The sailor's opera: or, A trip to Jamaica. 
 
 London, Printed for the author, 1745. 1 p. 1., 4 P- 16 cm . 
 
 Five acts. Ballad opera, the 27 airs in which are indicated by title. Author not 
 recorded by Clarence, who dates first performance as London, Drury Lane, May 12, 
 1731. LONGE 168 
 
 The sailor's rehearsal. A. T. of Britons, strike home. 
 The sailor's return. A. T. of Thomas and Sally. 
 
 St Patrick's day; or, The scheming lieutenant. A comic opera: as 
 it is acted at the Theatre-Royal, Smoke- Alley. 
 
 [Dublin], Printed for the looksellers, 1788. 27 p. 15\. 
 
 Bound in by mistake are p. 47-50 of an edition of the "Castle of Andalusia." 
 Two acts. Neither the author, Richard Brinsley Sheridan, is mentioned, nor the 
 composer. 
 
 First performed at London, Covent Garden, May 2, 1775. LONGE 223 
 
 Les saisons. See Ballet des saisons. 
 
 Les salamandres. Entree in Duval's Les genies. 
 
 Salomon. A. T. of Reiser's Die ueber die liebe triumphirende 
 weissheit. 
 
 Salustia. L. T. of Bernasconi's Alessandro Severe. 
 
 Die samnitische vermaehlungsfeyer. Tr. of Gre"try's Les mariages 
 Samnites. 
 
 Sancho at court. By a gentleman late of Trinity College, Dublin. 
 As it was design 'd to be acted at Drury Lane. 
 
 2 p. 1., 56 p. 19 cm . 
 
 Title page wanting. Title copied from Tufts, who eays under 1742 "Ascribed to 
 James Ayres." I have found the opera mentioned also with the title "Sancho at 
 court or The mock governor." 
 
 Three acts. Ballad opera, the 20 airs in which are indicated by title. In a preface, 
 the bookseller, Mr. Torbuck, tells the reader that 
 
 "The author is a gentleman of Trinity College, Dublin, who has publish 'd several 
 small pieces that have had a favourable reception, and, as I am inform'd, is in no 
 small reputation with the inimitable Dean, who, as he himself told me, had the 
 inspection and chastisement of the play "
 
 966 LIBRARY OF CONGRESS 
 
 Sancho at court Continued. 
 
 He goes on to say that he submitted the piece to the manager of Drury-Lane, who 
 advised judicious cuts and who recommended Chetwood for the purpose. This was 
 done, but when the piece was submitted to the Chamberlain's office with Chetwood'e 
 alterations, no answer was forthcoming from the censor for eig^ht months, and when 
 Torbuck wanted the manuscript back he "could not have it, it being left at a place 
 not then to be come at." Thereupon he decided to print the piece. He winds up 
 by saying: 
 
 "However, the trouble I have had in this affair will be a sufficient caution to me 
 (and may be so to others) not to undertake the bringing a play on the stage; for as 
 things are now circumstanced, viz. the approbation of the players, the hcensing- 
 office and the ill-natur'd critic, not to say any thing of the publick, an author has 
 but a email chance of succeeding." LONOE 189 
 
 Sancho Panca dans son isle, opera bouffon, en un acte, par M. 
 Poincinet le jeune. La musique est de M. Philidor. Represented 
 pour la premiere fois par les Come'diens italiens ordinaires du roi, le 
 8 juillet 1762. 
 Avignon, Louis Chambeau, 1768. 39 p. 19\ cm . ML 50.2.S2P4 
 
 Sancho Panga dans son isle, opera bouffon en un acte, par Mr. 
 Poinsinet, le jeune, represent^ pour la premiere fois par les Comediens 
 italiens ordinaires du roi, le 8 feVrier 1762. La musique est de Mr. 
 Philidor. 
 
 Paris, la veuve Duchesne, 1771. 56 p. 18 cm . 
 
 Cast. On p. 18-22 the ariette "Je vais eeulette en mon jardin" (I, 5), on p. 35-38 
 the romance "Je m'en revenais chantant" (I, 12) and the vaudeville "Je vais revoir 
 ma chere " in last scene. 
 
 The date of first performance in the title is incorrect; it should be July 8, 1762. 
 
 SCHATZ 8022 
 
 Sanko Panssa : eine operette. Aus dem franzoesischen ueber- 
 setzt. 
 
 Halberstadt, Johann Heinrich Gross, 1776. 72 p. 15 cm . 
 
 Argument with names of Poinsinet as author and Philidor as the composer. Trans- 
 lated t>y Friedrich Wilhelm Eicholz, who is not mentioned. SCHATZ 8023 
 
 Sancio, oder Die siegende grossmuth. In einem sing-spiele auf dem 
 Hamburgischen Schau-platze vorgestellet. Im jahr 1727. 
 
 [Hamburg], Gedruckt mil Stromerschen schrifften, n. d. Unpaged. 
 
 18 cm . 
 
 Three acts. Argument, cast, scenario, and names of Joh. Ulrich Koenig as the 
 author, of Georg Philipp Telemann as the composer. Koenig based his text on 
 Francesco Silvani's "II miglior d'ogni amore per il peggiore d'ogni odio." 
 
 SCHATZ 10266 
 
 Den sande bestandighed. Tr. of Anfossi's La vera costanza.* 
 Sanko Panssa. Tr. of Philidor's Sancho Panca. 
 Sansome, ballet. See Cimarosa's I tre amanti. 
 
 Sansonnet et Tonton. O. T. of Favart's parody L'amour im- 
 promptu. 
 
 La Santa Eugenia. A. T. of L'innocenza vendicata.
 
 OPERA LIBRETTOS 967 
 
 Sapho. Ope*ra en trois actes. 
 
 Venard de La Jonchere, Theatre lyrigue, Paris, 1772, t. ii, p. [27 5\- 
 840. 
 
 "Avant-propos" (p. 277-294). No composer mentioned. Nor is any recorded by 
 Cle'ment & Larousse. ML 49.A2L2 
 
 Sara, ou La fermiere e"cossoise, come'die en deux actes et en vers, 
 mlee d'ariettes; par M. C. . . D. . . M. . . Represented pour la 
 premiere fois par les Comediens italiens ordinaires du roi, le 8 mai 
 1773. La musique est de M. Vachon. 
 
 Paris, J. A. Durand Dufrenoy, 1774. 4$, $3 P- 19 cm - 
 Cast. By Jean Baptiste Collet de Measine. The 2 unnumb. pages contain the 
 air "Le dieu d'amour, le dieu du vin" (II, 5). SCHATZ 10571 
 
 Sardanapalo. Drama per musica. Da recitarsi nel Teatro di San't 
 Angelo 1'anno 1679. Di Carlo Maderni . . . 
 
 Venetia, Francesco Nicolini, 1679. 60 p. 14%- 
 
 Three acts. Impresario's dedication, argument, notice to the reader with name of 
 Giovanni Domenico Freschi as composer and scenario. SCHATZ 3654 
 
 Sardanapalo, re degli Assirj, ballet. See Andreozzi's Agesilao. 
 
 
 
 II sargente burlato, ballet. See Cimarosa's Le donne rivali. 
 Sargine, ballet. See Federlci's L'Olimpiade. 
 
 Sargines, ou L'el&ve de 1'amour, comedie en quatre actes, en prose, 
 par M. Monvel. Repre'sente' pour la premiere fois a Paris, par les 
 Come'diens italiens ordinaires du roi, le mercredi 14 mai 1788. Mise 
 en musique par M. d'Alayrac. 
 Paris, J. L. de Boubers, 1789. 46 p. 18%. SCHATZ 2380 
 
 Die satire. A. T. of Preu's Bella und Fernando. 
 
 I satiri in Arcadia. O. T. of Conti's Cloris und Tirsis. 
 
 1 satiri puniti. A. T. of the ballet Egle e Cloco. 
 
 S a tiro & Amore. Intermedio in Cavalli's II novello Giasone. 
 
 Les saturnales. Entre"e in Colin de Blamont's Les festes grecques 
 et romaines. 
 
 La satyre. Entre" in Campra's Les Muses. 
 
 Les sauvages. A. T. of Dalayrac's Az6mia. 
 
 Les sauvages. Entree in Rameau's Les Indes galantes. 
 
 La sauvagesse. See Les desespere"s. 
 
 Le savetier et le financier, opera comique, en deux actes, en prose, 
 mele"e d'ariettes; represents devant Leurs Majest6s, a Marly, en 
 octobre 1778. 
 
 [Paris], R. R. C. Bollard, n. d. 3 p. 1., 75 p. 23. 
 
 Cast, dedicatory poem, and name of Henri Joseph Rigel as composer. The author, 
 Jean Baptiste Lourdet de Santerre, is not mentioned. 
 
 First performed October 23, 1778, as indicated; at Paris, Com&iie italienne, October 
 30, 1778 (Schatz), November 9 (Cl. & L.). ML 50.2.S3R3
 
 968 LIBRARY OF CONGRESS 
 
 II savio delirante. Comico divertimento per musica da rappresen- 
 tarsi nel Teatro Formagliari il carnevale delr anno 1726. 
 Bologna, Costantino Pisarri, n. d. 58, [1] p. 15 cm . 
 
 Three acts, in Bolognese dialect. The composer, Giuseppe Maria Buini, to whom 
 Schatz attributes the text, is not mentioned. Notice to the reader. The imprimatur 
 is dated January 16, 1726. SCHATZ 1385 
 
 Le .frenesie d'amore. Divertimento per musica da rappresen- 
 tarsi nel Teatro Giustiniano di S. Mose. Nelli mesi di maggio, e 
 giugno 1726. 
 
 Venezia, Maria Rossetti, 1726. 56 p. 12. 
 
 Three acts. Practically the same as "II savio delirante," though beginning with 
 an aria, "Barbare stelle infide," which is not in the original. Buini is not mentioned. 
 
 SCHATZ 1386 
 
 Lp sbarco de' Spagnuoli nelT America, ballet. See G. M. Rutini's 
 Sicotencal. 
 
 La scaltra awenturiera. Commedia per musica di Giuseppe 
 Palomba da rappresentarsi nel Teatro de' Fiorentini per quart' opera 
 di quest' anno 1788. 
 
 Napoli, n. publ, 1788. 55 p. 15 cm . 
 
 Three acts. Argument, cast, and name of Giacomo Tritto as the composer. 
 
 SCHATZ 10477 
 
 La scaltra governa trice. L. T. of Cocchi's La maestra. 
 
 La scaltra letterata. Dranuna giocoso per musica da rappresen- 
 tarsi nel Real Teatro di Salvaterra nel carnovale dell' anno 1772. 
 
 Lisbona, Stamperia Reale, n. d. 80 p. 15 cm . 
 
 Three acts. Antonio Palomba is mentioned as the author; Niccola Piccinni aa 
 the composer. Cast and scenario. With the opera were performed Francesco Sauve- 
 terre's ballets, "La statua animata " and "Li vendemmiatori." The composers of the 
 music are not mentioned. 
 
 First performed at Naples, Teatro Nuovo, winter of 1758. SCHATZ 8139 
 
 La scaltra spirit osa. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro di S. A. Serenissima il Signer principe di Carignano 
 nelT autunno dell' anno MDOCLXI. 
 
 Torino, Gaspare Bayno, n. d. 70 p. 15 cm . 
 
 Three acts. Cast, scenario, and name of Niccol6 Piccinni as the composer. The 
 dialogue follows fairly closely that of Palomba's "La scaltra letterata, but many 
 arias are different. For instance, this has in I, 4, "D'ogni timor gia sento," and in 
 III, 3, "T'amo a segno o mio tesoro," whereas "La scaltra letterata" has "De dolci 
 affetti miei," resp. "No, non yedrete mai," the "T'amo a segno " being in III, 1. 
 
 First performed with this title at Bologna, Teatro Marsigh Rossi, fall of 1760. 
 
 SCHATZ 8148 
 
 La scaltra spiritosa. L. T. of Piccinni's La scaltra letterata. 
 
 Scamandre. Pastorale he"roique en quatre actes, avec un prologue. 
 Venard deLa Jonchere, Theatre lyrique, Paris, 1772, t. ii, p. [77}-144- 
 18\ cm . 
 
 " Avant-propos " (p. 79-95). From a publisher's "Avis aux musiciens" ("Ceux 
 qui auroient dessein de mettre en musique quelques-une des opera contenn dans ce 
 recueil . . ." it would appear that the text had not yet been composed in 1772. Nor 
 ie any composer recorded by Cl. & L. ML 49.A2L2
 
 OPERA LIBRETTOS 969 
 
 Scanderberg, tragedie, represented par l'Acade"mie royale de 
 musique, 1'an 1735. Paroles de feu Monsieur de la Mothe ; acheve'es 
 par M. de Laserre. Musique de Messieurs Rebel et Francoeur. 
 CXXIV. opera. 
 
 n. i., n. d. 145-204 p. 14$ cm . (Recueil general des opera, Paris, 
 1745, t. xvi.} 
 
 Detached copy. Five acts and prologue. 
 
 First performed, as indicated, October 27, 1735. ML 48. R4 
 
 Scanberberg, tragedie, represented devant Leurs Majeste"s, \ 
 Fontainebleau le 22 octobre 1763. 
 
 [Paris], ChristopJie Bollard, 1763. 4 p. I, 62 p. 19 cm . 
 
 Five acts. Cast and names of "feu M. de la Mothe, avec les changemens qui ont 
 & jug6s necessairee" as author; of Francois Rebel and Francois Francoeur as 
 composers. In view of this libretto, Cl. & L.'s statement, "Get ope'ra n'a jamais 6t6 
 repns," should be modified. ML 50.2.S34R2 
 
 Schach Wampum oder Die wuensche. L. T. of Stegmann's Sultan 
 Wampum oder Die wuensche. 
 
 Die schadenfreude, ein kleines lustspiel fuer kinder mit liederchen. 
 
 [101]-130 p. 16 cm . (Der kinderfreund. Ein wochenllatt, Tuebin- 
 gen, 1778.} 
 
 In caption on p. [103]: "LXXI. bis LXXIII. stueck, den 11. bis 25. november 
 1776." Neither the author, Christian Felix Weisse, nor the composer, Georg Peter 
 Weimar, is mentioned. SCHATZ 10963 
 
 Schattenspiel an der wand. Ein singspiel in zwey akten. 
 94 p. (C. F. Bretzner, Singspiele, Leipzig, 1796.} 16% cm . 
 
 This detached copy contains the title page of the collection and the " Vorbericht ' 
 (p. iii-v), in which Bretzner says: 
 
 "Mozart ward dem deutschen theater zuerst durch die Entfuehrung bekannt: 
 vielleicht weckt auch eins dieser stuecke irgend ein noch schlafendes musikalisches 
 genie auf, und dann hab ich doch wenigstens das verdienst, es aufgeweckt zu haben. 
 Zwar haben, bereits vor drei jahren, zwey kompositeurs die kompoeition der beyden 
 ereten stuecke [this and his "Opera buna"] uebernommen: allein da sie in langer 
 zeit, trotz meiner erinnerung um zuruecksendung der manuscripte, nichts haben von 
 eich hoeren lassen: so kann ich nicht anders vermuthen, als dass sie die lust dazu 
 verloren haben . . . Dass ich meine singspiele nach italienischer form gemodelt 
 habe? es ist die gegenwaertig beliebte modeform, ohne welche sich selten ein pro- 
 dukt dieser art glueck versprechen kann ..." 
 
 The composer, Georg Ernst Gottlieb Kallenbach, is not mentioned. 
 
 Schatz records no performance. SCHATZ 5000 
 
 Der schatzgraeber. A. T. of Kaffka's Der aepfeldieb. 
 
 Die schatzgraeber oder Wer andern eine grube graebt, faellt selbst 
 darein. Ein lustspiel in drey aufzuegen mit arien. 
 
 n. i., 1789. 64 p. 17. 
 
 Not recorded by Schatz. Not found in Deutsches Anonymen Lexikon.* 
 
 SCHATZ 11647 
 
 Der schauspieldirektor. Ein gelegenheitsstuck in einem aufzuge. 
 Musik von Mozart. 
 
 Liegnitz, David Siegert, 1792. p. [351}-395. 16%. 
 
 At head of title the figure 5. The words from "Musik " to " 1792 " are pasted over 
 the original title page which was without imprint. The libretto in this form is merely 
 a detached copy from Gottlieb Stephanie's "Singspiele" with special title-page. A
 
 970 LIBRARY OF CONGRESS 
 
 Der schauspieldirektor Continued. 
 
 prefatory note preceding the title page has been likewise extracted therefrom and 
 pasted on a fly leaf. It reads: 
 
 "Der Schauspieldirektor, welcher bey gelegenheit eines festes in SchSnbrunn 
 gegeben wurde, und wozu Seine Majestat, der Hoechstselige Kaiser Joseph der 
 Zweijte, mir eelbst die idee angaben, fand, so oft er hernach in Wien gegeben wurde, 
 den ausseror^entlichsten beyfall. Da nur eine kleine zahl biicher da von gedruckt 
 worden sind, so ist es auswaerts so gut als gar nicht bekannt; auch sind die dritte 
 und fuenfte scene hier voellig neu. vorhin waren statt dereelben scenen aue bekann- 
 ten stucken. Dem ohngeacntet, dass es bios als gelegenheitsstlick erschien, hat es 
 doch herr Schroder mit yielem beyfalle in Hamburg aufgefuehrt. Mozart setzte die 
 darinn vorkommenden singstuecke in musik." 
 
 First performed at Schonbrunn, Orangerie, February 7, 1786. SCHATZ 6840 
 
 Der schauspieldirektor in der klemme. Tr. of Cimarosa's L'im- 
 presario in angustie. 
 
 Die schellenkappe. A. T. of Schack's Der wohlthatige derwisch. 
 
 Die schelmen. Tr. of Fiorillo's Li birbi. 
 
 The scheming lieutenant. A. T. of St. Patrick's day. 
 
 Scherz, list und rache. Ein singspiel. Von Goethe. Achte aus- 
 gabe. 
 
 Leipzig, Georg Joachim Gbschen, 1790. 1 p. 1., 96 p. ll\ cm . 
 
 Four acts. Edition without "Goschen's Schriften," with "Er ist bitter" on 
 p. 37 and with A in title. PT 1958.S4 17.90 
 
 Scherz, list und rache. Ein singspiel. Von Goethe. Achte 
 ausgabe. 
 Leipzig, Georg Joachim Gdschen, 1790. 1 p. 1., 96 p. 16 cm . 
 
 Four acts. Edition with A in title, on p. 37 " Es ist bitter." Without "Goschen's 
 Schriften." 
 
 First performed with music by Peter von Winter, at the private theatre of Graf 
 Anton von Toning at Schloss Seefeld (near Munich), 1790. PT 1958.S4 1790a 
 
 Gli scherzi di fortuna. Drama per musica subordinate al Phro di 
 Aurelio Aureli, favola nona. Rappresentato nel famoso Theatro 
 Grimano 1'anno 1662 . . . 
 
 Venetia, Francesco Nicolini, 1662. 78 p. 14 cm . 
 
 Prologue and three acts. Author's dedication dated Venice, January 12, 1662, 
 argument, and scenario. The composer, Pietro Andrea Ziani, is not mentioned. 
 
 SCHATZ 11218 
 
 La schiava. L. T. of Piccinni's Gli stravaganti. 
 
 La schiava americana, ballet. See Paisiello's Le vane gelosie. 
 
 La schiava amorosa. Farsetta in musica a quattro voci da rap- 
 presentarsi nel Teatro Capranica nel carnevale dell' anno 1770 . . . 
 
 Roma, Ottavio Puccinelli, n. d. 52 p. 16 cm . 
 
 Two parts. Impresario's dedication, argument, cast and names of Marcello di 
 Capua as author, 01 Giovanni Battista Borghi as composer. ML 50.2.S41B6
 
 OPERA LIBBETTOS 971 
 
 La schiava astuta. Intermezzi per musica a tre voci da rappre- 
 sentarsi nel Teatro Alibert detto delle Dame, nel carnevale dell' 
 anno 1765 . . . 
 
 Roma, Ottavio Puccinelli, n. d. 15 p. 
 
 Two parts. Author not mentioned and unknown to Schatz. Cast and name of 
 Marcello di Capua (Bernardini) as composer. Contains arias like "Via buon zitello," 
 "Fra tante mie pene," "Una ragazza semplice," etc. ML 50.2.S42B3 
 
 La schiava fedele. A. T. of Cesti's La Dori. 
 
 La schiava fortunata. Drama per musica da rappresentarsi nel 
 .portentoso Teatro Zane a San Moise 1'anno MDCLXXIV . . . 
 
 Venetia, Francesco Nicolini, 1674- 56 p. llf m . 
 
 Three acts. Francesco Santorini's dedication, dated Venice, January 1, 1674, 
 notice to the reader, argument, scenario, and name of the composer, Marc' Antonio 
 Cesti. Originally by Gio. Andrea Mpniglia, the libretto was 
 
 "ritoccata [by Giulio Cesare Corradi] d ariette, introduttione, intermedij, e qualche 
 picciola scena, che smaltata con natural bizzarria dall' armonico stile del Sign. Marc' 
 Antonio Ziani, le ridusse in figura del moderno universal compiacimento, e fece 
 maggiormente spiccare il suo antico pretioso valore." 
 
 First performed at Vienna, Hoftheater, 1667, according to Schatz. Von Weilen 
 fails to record such a performance. SCHATZ 1782 
 
 La schiava fortunata. Commedia per musica da rappresentarsi 
 nel Teatro Nuovo sopra Toledo per quart' opera nel corrente carno- 
 vale 1796. 
 
 Napoli, n. publ, 1796. 48 p. 15 cm . 
 
 Two acts. Author not mentioned, and unknown to Schatz. Cast and name of the 
 composer, Valentino Pioravanti. 
 
 First performed at Rome, Teatro Capranica, 1791. SCHATZ 3130 
 
 La schiava liberata. Dramma serio-comico per musica da rappre- 
 sentarsi nel Real Teatro dell' Ajuda in occasione di festeggiarsi il 
 felicissimo giorno natalizio di Sua Reale Maestk ... D. Marianna 
 Vittoria . . . nella primavera dell' anno 1770. 
 
 Lisbona, Stamperia reale, n. d. 98 p. 15\ cm . 
 
 Three acts. Scenario, cast, and names of Gaetano Martinelli as author, of Niccol6 
 Jommelli as composer. 
 
 First performed^, as indicated, March 31, 1770; at Ludwigsburg, Hoftheater, Decem- 
 ber 18, 1768. SCHATZ 4898 . 
 
 La schiava liberata. Dramma serio comico per musica del Sigr. 
 Gaetano Martinelli da rappresentarsi nel Piccolo Teatro di S. A. E. 
 di Sassonia. 
 
 Dresda, I'anno 1777, n. publ. 135 p. 16 cm . 
 
 Three acts. Joseph Schuster is mentioned as the composer. German title-page, 
 "Die befreyte sklavinn," and text face Italian. 
 
 First performed October 2, 1777, as indicated. SCHATZ 9754 
 
 - Die befreyte sklavin. Ein singspiel nach dem italienischen des 
 herrn Cajetan Martinelli. In drey aufzuegen. Die musik ist vom 
 herrn Joseph. Schuster . . . 
 
 p. 1-72. 17 cm . (Joh. Christ. KaffTca, Sammlung auslaendischer 
 theaterstuecke, in die deutsche buehne, bearbeitet, Breslau, Wilfielm 
 Gottlieb Korn, 1784.) 
 
 Detached copy. 
 
 First performed at Breelau, Waeer'sches Theater, 1784. SCHATZ 9755
 
 972 LIBRARY OF CONGRESS 
 
 La schiava per amore. Comedia per musica di Tomaso Mariani 
 Romano. Da rappresentarsi nella Sala Latina al vicolo de Leutari 
 nel carnevale del presente anno 1746. 
 
 Roma, Giovanni Zempel, 1746. 60 p. 16% cm . 
 
 Three acts. Argument and name of Francesco Maria Paci as the composer. 
 
 SCHATZ 7379 
 
 La schiava riconosciuta. L. T. of Piccinni's Gli stravaganti. 
 
 La schiava riconosciuta. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro Grimani di S. Samuele il carnovale dell' anno 
 1766 . . . 
 
 Venezia, Modesto Fenzo, 1766. 48 p. 17 cm . 
 
 Three acts. Impresario's dedication, cast, scenario, and names of Giuseppe Scolari 
 as composer ("La musica 6 nuova"), and of Alcindo Isaurense, P. A. as author, 
 whose real name is not mentioned by either Wotquenne or Schatz. SCHATZ 9805 
 
 Gli schiavi per amore. A. T. and L.*T. of Paisiello's Le gare 
 generose. 
 
 La schiavitu fortunata. Drama per musica da rappresentarsi nel 
 Teatro di S. Angelo. L'anno 1694 . . . 
 Venetia, Nicolini, 1694. 64 p. 14 cm . 
 
 Three acts. Dedication by the author, Fulgenzio Mattia Gualazzi, who is not 
 mentioned by name, argument, scenario, and notice to the reader, which reads, 
 in part: 
 
 ? 'I1 primo drama fvi coposto per questo medesimo teatro, poi accomodato per neces- 
 sita a quello di Padova. II presente, come usci dalla penna, cosi vien dato alia luce." 
 
 The composer, Carlo Francesco Pollaroli, is not mentioned. SCHATZ 8317 
 
 Lo schiavo del proprio onore. A. T. of the ballet II moro di corpo 
 bianco. 
 
 Lo schiavo reggio. A. T. of Cesti's La Dori. 
 
 Der schiffbruch, ein maelirchen in vier akten von dem verfasser 
 von Fremore und Melime, die musik von Franz Hugo, freiherrn von 
 Kerpen. 
 
 Frankfurt am Mayn, mit Andreaeischen schriften, 1778. 93 p. 
 16 cm . 
 
 By Graf H. von Spaur. 
 
 First performed at Mayence, Schauspielhaus a. d. gr. Bleiche, January, 1778. 
 
 SCHATZ 5142 
 
 Der schiffer. A. T. of Philidor's Melide. 
 
 Gesaenge aus dem singspiele : Der schiffspatron oder Der Gutscherr, 
 hi zwey aufzuegen. In musik gesezt von Dittersdorf . 
 
 Hamburg, Freystatzlcy und Robe, 179 4. 
 
 Schatz attributes this version to Jiinger. Comparison with the next entry proves 
 that it is practically the original version as condemned by " C." 
 
 First performed at Hamburg, Theater beim Gansemarkt, April 28, 1794; at Vienna, 
 Theater auf der Wieden, 1790. SCHATZ 2608 
 
 - Der schiffspatron oder Der neue gutsherr. Eine komische oper 
 hi zween aufziigen. Neubearbeitet. Die musik ist von herrn 
 Ditters von Dittersdorf. 
 Leipzig, Wilhelm Heinsius der jungere, 1793. 118, [1] p. 16 cm .
 
 OPERA LIBRETTOS 973 
 
 Der schiffspatron Continued. 
 
 On p. [103J-118, signed "Ostermesse, 1793. C.," the editor's reasons for subjecting 
 the original text to such a thorough revision. To prove "die geschmacklosigkeit des 
 alten textes," he then quotes several scenes of the original version. For instance, the 
 opera began, "Amtmann: Doch unmasgeblich meynt das Oberamt" instead of, as in 
 his version, "Der Schoffer. Hiermit wird miinniglich heut publicirt," and instead of 
 the aria, 
 
 "O Eifersucht! O Eifersucht 
 
 Mein Herz willst Du zerstoren!" 
 he has: 
 
 "O Eifersucht! O Eifersucht! 
 Du Qual verliebter Herzen." 
 
 In general, he says: "habe ich dem ganzen mehr haltung zu geben, und die scenen 
 iiberhaupt besser zu verbinden gesucht." 
 
 Schatz attributes the original version to Johann Friedrich Jiinger, and mentions a 
 later version, " neubearbeitet, " by Vulpius. SCHATZ 2607 
 
 Gesaenge aus der oper: Der schlaf trunk. In zwei aufzuegen von 
 C. F. Bretzner. Die musik ist von G. B. Bierey. 
 
 Breslau, Grass und Barih, n. d. 36 p. 16\ cm . 
 First performed at Dresden, Theater vor dem schwarzen Thore, August 4, 1797. 
 
 SCHATZ 1028 
 
 Der schlaftrunk. Ein komisches singspiel in 2 aufzuegen. Von 
 C. F. Bretzner. In musik gesetzt von G. E. G. Kallenbacn. 
 Altona, gebrueder Meyn, n. d. Unpaged. 16 cm . 
 
 Printed before 1800? 
 
 Schatz records no performance. SCHATZ 5001 
 
 Das schlangenfest in Sangora. Eine heroisch. komische pper in 
 zwey aufzuegen, von Karl Friedrich Hensler. Die musik ist von 
 Wenzel Mueller, Kapellmeister. 
 
 Wien, Schmidt, 1797. 86 p. 16% cm . 
 
 "Aufgefuehrt auf der K. K. privil. Marinellischen schaubuhne in Wien," Decem- 
 ber 15, 1796. SCHATZ 6959 
 
 Die schlaue wittwe oder Die beiden angefuehrten thoren. Tr. of 
 Portugal's La vedova raggiratrice o siano I due sciocchi delusi. 
 
 Gesaenge aus dem singspiele : Der schleyer, in drey aufzuegen, von 
 Vulpius. In musik gesetzt von dem herzogl. Sachsen-Weimarischen 
 kapellmeister Wolf. 
 
 Hamburg, Johann Matthias Michaelsen, 1788. 22 p. 16\ cm . 
 
 First performed at Hamburg, Theater beim Gansemarkt, May 22, 1788. 
 
 SCHATZ 11084 
 
 Der schleier. 
 
 n. i., n. d. 110 p. 14% cm > (Vulpius, Opern, 1. laendcTien, 
 Baireuth cfc Leipzig, 1790.} 
 
 Detached copy. Three acts.' The composer, Ernst Wilhelm Wolf, is not men- 
 tioned. SCHATZ 11084a 
 
 Der scnlosser. Tr. of Kohault's Le serrurier. 
 
 Gesaenge aus dem singspiele Der schlosser. In zwey aufzuegen. 
 In musik gesetzt von herrn Piccini. 
 
 n. i., 1793. [8] p. 16%. 
 
 Not recorded by Schatz under Piccinni. SCHATZ 11756
 
 974 LIBRARY OF CONGRESS 
 
 Die schnitter. Tr. of Duni's Les moissonneiirs. 
 
 Die schnitter. Eine komische oper in drey aufzuegen. Von P. F. I. 
 
 Rostock, Mueller, 1779. [8] p. 18 cm . 
 
 By P. F. Ilgener. Perhaps a German version of Favart's play "Les moissonneurs," 
 music by Duni. SCHATZ 11462 
 
 Die schoene Arsene. Tr. of Monsigny's La belle Arsene. 
 Die schoene Arsene. See Seydelmann's Arsene. 
 
 Das schoene flschermaedchen. Tr. of Pietro Guglielmi's La 
 bella pescatrice. 
 
 Die schoene marketenderinn. Em militaerisches original-sing- 
 spiel in zwey aufzuegen fuer die Marinellische schaubuehne von Karl 
 Friedrich Hensler. Die musik von herrn Wenzel Mueller, kapell- 
 meister. 
 
 Wien, Mafhias Andreas Schmidt, 1795. 36 p. 16 cm . 
 
 Cast. 
 
 First performed, as indicated, October 13, 1795. SCHATZ 6961 
 
 Die schoene marketenderin. Ein militairisches original-sing- 
 spiel in zwey aufzuegen vom Karl Friedrich Hensler; die musik ist 
 vom herrn Wenzel Mueller, kapellmeister. 
 
 n. pi, n. pull., 1798. 32 p. 16 cm . SCHATZ 6961a 
 
 Die schoene muellerin. Tr. of Paisiello's L'amor contrastato. 
 
 Die schoene schusterinn. A. T. and also L. T. of Umlauf's Die 
 puecefarbnen schuhe. 
 
 Die schone und getreue Ariadne. O. T. of Postel's text Die 
 betrogene und nachmals vergoetterte Ariadne. 
 
 Schoenheit und ehrbarkeit. A. T. of Martin y Soler's Etwas 
 seltsames. 
 
 Schoenheit und tugend. A. T. of Martin y Soler's Die seltenheit. 
 
 Schoenheit und tugend. A. T. of Martin y Soler's Die seltne 
 sache. 
 
 The school for fathers or Lionel and Clarissa. L. T. of Lionel and 
 Clarissa. 
 
 De schoone Arsine. Tr. of Monsigny's La beUe Arsene. 
 
 Der schorsteinsfeger Peter oder Das spiel des ohngefaehrs. Tr. of 
 Portugal's Lo spazzacamino principe. 
 
 Die schuhe a la Marlborough. A. T. of Umlauf's Die schone 
 schusterinn. 
 
 De schulden. Tr. of Champein's Les dettes. 
 
 Die schule der ehemaenner. Tr. of Isouard's L'aviso ai maritati.
 
 OPERA LIBRETTOS 975 
 
 Die schule der eifersucht. Tr. of Salieri's La scola de' gelosi. 
 Die schule der eifersuechtigen. Tr. of Salieri's La scola de gelosi. 
 Die schule der jugend. Tr. of Duni's L'e"cole de la jeunesse. 
 
 Die schule der liebhaber. A. T. of Mozart's Eine (ist) (machts) 
 wie die andere. 
 
 Die schulmeisterin. Tr. of Cocchi's La maestra di scuola. 
 
 Der schulze im dorfe, oder Der verliebte heir doctor. Erne 
 comische oper in drey aufzuegen. 
 
 Weimar, Karl Ludolf Hoffmann, 1779. 112 p. 15. 
 
 Author unknown to Schatz. Composed by Christian Ludwig Dieter. 
 
 First performed at Stuttgart, kl. Schauspielhaus, May 10, 1779. SCHATZ 2580 
 
 Der schulze im dorfe, oder Der verliebte herr doctor. Erne 
 comische oper in drey aufzuegen. Die musik ist von herrn Lacher . . . 
 
 n. i., 1789. 112 p. 16 cm . 
 
 Author and date of first performance unknown to Schatz. SCHATZ 5363 
 
 Der schuss von Gaensewiz. A. T. of Zumsteeg's Der betrug aus 
 liebe. 
 
 Gesaenge aus den [!] Schusterfeierabend. Eine [!] komisches sing- 
 spiel in drey aufzuegen. Die musik dazu ist von herrn Wolaneck, 
 musikdirektor zu Prag. Aufgefuehrt von der Mihuleschen gesell- 
 schaft. Augsburg 1794. 
 n. i., n. d. 31 p. 16 cm . 
 
 Author not mentioned and unknown to Schatz. 
 
 First performed at Prague, Vaterlaendisches Theater, December 31, 1793. 
 
 SCHATZ 11073 
 
 Schwarz und weiss. Singspiel in zwei aufzuegen, nach Saintfoix. 
 
 n. i., n. d. [57]-l 76 p. 15 cm . (Carl Alexander Herklots, Operetten, 
 Berlin, 1793.) 
 
 Detached copy. No composer recorded by Schatz. SCHATZ 11649 
 
 Die schwestern von Prag. Als singspiel in zwey aufzuegen, nach 
 dem lustspiele des weyland herrn Hafner, fur dieses theater neu 
 bearbeitet von Joachim Perinet . . . Die musik ist vom herrn 
 Wenzel Mueller . . . 
 
 Wien, MatUas Andreas Schmidt, 1794. 100 p. 15 cm . 
 
 Cast and prefatory note which ends: 
 
 "Dass die ausdriicke und die sprache im oesterreichischen dialekte sind, ent- 
 echuldigt nur die bestimmung, dass es in und fuer Oesterreich geschrieben wurde." 
 
 At end of the text: "Aufgefuehrt auf dem k. k. privil. Marinellischen Theater in 
 der Leopoldstadt," March 11, 1794. SCHATZ 6963 
 
 Lo scialacquatore. Intermezzi per musica a tre voci da rappre- 
 sentarsi nel Pubblico Teatro di Lucca nel carnevale dell' anno 
 MDCCLXIII. In pccasione delle recite in prosa da farsi dall' Acca- 
 demia de' dilettanti della Comica. 
 Liicca, Francesco Antonio Berchielli, 1768. 22 p. 15 cm . 
 
 Two parts. Author unknown to Schatz. (Text not that of Schatz 6521.) Cast 
 and name of Lorenzo Minuti as composer. SCHATZ 6521
 
 976 LIBRARY OF CONGRESS 
 
 Lo scialaquatore alia fiera. Dramma giocoso da rappresentarsi 
 nel Teatro di S. Cassiano 1'autunno dell' anno 1745 . . . 
 Venezia, Modesto Fenzo, 1745. 57 p. 15 cm . 
 
 Three acts. By Ambrosio Borghesi, who is not mentioned. Impresario's dedi- 
 cation, cast, and note: 
 
 "La musica del Sig. maestro [Giuseppe Maria] Orlandini, e d'altri." 
 
 SCHATZ 7347 
 
 La sciocchezza in amore. L. T. of Piccinni's Le contadine bizarre. 
 
 Lo sciocco poeta di campagna. L. T. of P. Guglielmi's II poeta 
 di campagna. 
 
 Scipio in Kartagena. Tr. of Sacchini's Scipione in Cartagena. 
 
 Scipione. 
 
 [187]-220p. 17 cm . (Rolli, Componimenti poetici, Nuova edizione, 
 Verona, G. Tumermani, 17 44-) 
 
 Three acts. Argument. The composer, Handel, is not mentioned. 
 First performed at London, Haymarket, March 12, 1726. ML 49.A2R7 
 
 Scipione. Dramma per musica da rappresentarsi nel nuovissimo e 
 nobJissimo Teatro dell' eccellentissima casa Balbi in Mestre 1'au- 
 tunno dell' anno 1778 . . . 
 
 Venezia, Modesto Fenzo, 1778. 56 p. 17 cm . 
 
 Three acts. Eugenio Giunti's "Scipione in Cartagena" (not mentioned) with 
 alterations. Dedication, argument, cast, scenario, and name of Giuseppe Sarti as 
 the composer. ("La musica e tutta nuova.") On p. [23J-32 dedication, argument, 
 cast, name of Luigi Boccherini as composer of the music, and description of Onorato 
 Vigand's "Cefalo e Procri, ballo eroico-tragico pantomimo." SCHATZ 9474 
 
 Scipione Aflfricano. See M. Curzio. 
 
 Scipione Affricano. Dramma per musica recitato nel. Teatro novo 
 di Roma, in Tordinona Panno 1671 . . . 
 
 Roma, per i success, al Mascardi, 1671. 6 p. 1., 82, [1] p. 14 cm . 
 
 Prologue and three acts with two intermezzi ("GROTTE DI VULCANO" and "LA 
 BELLEZZA SOPRA D'UN cARRo"). The author, conte Niccolo Minato, is not men- 
 tioned, whose text was very much altered. Argument, notice to the reader, scenario, 
 and dedication by the book-dealer, Bartolomeo Lupardi, dated January 1, 1671. 
 Schatz attributes the music to Alessandro Scarlatti, but, if he was bonf in 1658 or 
 1659, Schatz presumably was mistaken. Dent does not mention this opera. 
 
 SCHATZ 9537 
 
 Scipione Africano drama per musica nel Teatro a SS. Gio. e Paolo 
 1'anno 1664 ... 
 
 Venetia, Steffano Curti e Franc. Nicolini, 1664- 5 p. I., 74, [1] P- 
 14 cm . 
 
 Three acts. By Co. Niccol6 Minato. Author's dedication dated Venice, February 
 9, 1664, argument, and scenario. Notice to the reader with name of Pietro Francesco 
 Cavalli as composer. SCHATZ 1741 
 
 / Scipione Africano. Drama per musiea nel famoso Teatro Gri- 
 mano a SS. Gio. e Paolo Fanno MDCLXXVIII . . . 
 Venetia, Francesco Nicolini, 1678. 72 p. 14 cm . 
 
 Three acts, altered by Tebaldo Fattorini. Editor's dedication, argument, scenario, 
 and notice to the reader, in which we are informed that to adapt Cavalli's opera 
 "maggiormente al genio corrente e etato necessario di ridurlo a qualche brevita, ed 
 accrescerlo nelle canzoni." The composition of these alterations was entrusted to 
 Bonaventura Viviani. For purposes of identification it may be noted that this 1678 
 ed. contains 20, 21, and 24 scenes instead of 20, 20, and 20. SCHATZ 1754
 
 OPERA LIBRETTOS 977 
 
 Scipione il giovane. Dramma per musica da rappresentarsi nel 
 famosissimo Teatro Grimani di S. Gio. Grisostomo nelr autunno dell' 
 anno 1731 . . . 
 
 Venezia, Carlo Buonarigo, n. d. Ip.l., 60 p. 15 cm . 
 
 Three acts. By Giovanni Francesco Bortolotti, whole not mentioned. Author's 
 dedication, argument, scenario, cast, name of Luca Antonio Predieri as the com- 
 poser, and notice to the reader which reads: 
 
 "Per 1'ordinaria necessita. di accomodarsi alia voce, ed al genio de virtuosi can- 
 tanti, eseendosi dovute mutare alcune dell' arie del presente dramma, ne potendolo 
 par Pautore per le sue gravi occupazioni, e convenuto ad altra penna impiegarsi per 
 sodisfarli." 
 
 These arias or parts of arias are designated by asterisks, as for instance: "L'ar- 
 dente mia fiamma" (III, 1) or "Ingrata mi sprezzi" (II, 5). SCHATZ 8458 
 
 Scipione in Cartagena. O. T. of Eugenio Giunti's text Scipione. 
 
 Scipione in Cartagena, dramma per musica da rappresentarsi nel 
 Nuovo Teatro di Corte . . . nel carnevale dell' anno MDCCLXX. 
 La poesia e del Signer Eugenio Giunti ... La musica del Sig. 
 Antonio Sacchini. 
 
 Monaco, Maria Maddalena Mayrin, n. d. 125 p. 19 cm . 
 
 Three acts. Argument, scenario, and cast. German title-page, "Scipio in Karta- 
 gena," and text face Italian. With the opera were performed the ballets, "L'alliance 
 de Romulus et de Tatius Der fried zwischen Romulo und Tatzio," and "Les amans 
 reunis Die wieder vereinigten freier." 
 
 First performed, as indicated, January 8, 1770 not at Padua, where the opera was 
 not performed until June, 1770. SCHATZ 9240 
 
 Scipione in Cartagine nuova, dramma per musica da rappresen- 
 tarsi nel nuovo Ducal Teatro di Piacenza, in occasione, che si napre la 
 fiera la primavera dell' anno 1730 . . . Poesia di Carlo Innocenzio 
 Frugoni . . . 
 
 Parma, Stamperia di 8. A. S., n. d. 8 p. 1., 72 p. 17 cm . 
 
 Three acts. Dedication and Frugoni's dedicatory sonnet, argument, cast, scenario 
 and name of Geminiano Giacomelli as the composer. 
 
 First performed at Parma in 1728. SCHATZ 3808 
 
 Scipione nelle Spagne. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, t- iv> P- [93]-189. 
 19 cm . 
 
 Three acts and licenza. Argument. No composer is mentioned. In the "Cata- 
 logo " at the end of t. x, date and place of first ed. are given as "in Barcellona. 1710. 
 E in Vienna. 1722." According to Schatz both times Caldara's score was used. 
 
 ML 49.A2Z3 
 
 Scipione nelle Spagne. Pubblicato per la prima volta in Bar- 
 celona 1710. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. iv, p. 94. 
 21. 
 
 Three acts and licenza. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Scipione nelle Spagne. Dramma per musica, da rappresentarsi 
 nel Teatro Grimani di S. Samuele nell fiera dell' Ascensione. L'anno 
 1724. 
 
 Venezia, Marine Rossetti, 1724- 57 p. 14b cm - 
 
 Three acts. Argument, cast, scenarioj name of Tommaeo Albinoni as composer, 
 and notice to the reader, in which this is called an altered and reduced version of 
 Zeno' s text as first performed at Vienna in 1722. SCHATZ 125 
 
 72251 VOL-1 14 62
 
 978 LIBRARY OF CONGRESS 
 
 Scipione nelle Spagne. Dramma per musica da rappresentarsi 
 nel Teatro di S. Angelo 1'autunno dell' anno 1746. 
 Venezia, Modesto Fenzo, 1746. 34 p. 15 cm . 
 
 Three acts. The author is not mentioned. Argument, scenario, cast (also for the 
 -''Intermezzi"), and name of Galuppi as composer. The intermezzi, "La donna 
 giudice e parte," were composed by Giovanni Cingoni. The composer of the other 
 II conte Nespola" unknown to Piovano. The original title or conte Agostino 
 Piovene's libretto (music by C. F. Pollaroli, Venice, 1712) was "Publio Cornelio 
 Scipione." 
 
 First performed, as indicated, in November, 1746 (Pavan). SCHATZ 3493 
 
 Gli Sciti, ballet. See Arioli's China. 
 
 Gli Sciti. Nuovo dramma da rappresentarsi in musica nel Teatro 
 grande alia Scala di Milano il carnevale del 1799. Correndo 1'anno 
 VII. repubblicano. 
 
 Milano, Gio. Batista Bianchi, n. d. 48 p. lo\ cm . 
 
 Two acts. By Gaetano Rossi, who is not mentioned. Cast, scenario, and name of 
 Giuseppe Nicolrni as the composer. 
 
 With the opera were performed Urbano Garzia's "ballo eroi-tragico Gonzalvo in 
 America " and ' ' ballo comico I matrimonj per inganno. ' ' The composers of the music 
 are not mentioned. SCHATZ 7133 
 
 Gli Sciti, ballet. See Paisiello's Ipermestra. 
 
 Der sclavenhaendler, ein singspiel in zwei aufzuegen. In musik 
 gesezt von Peter Hitter. 
 
 Mannheim, C. F. Schwan und G. C. Goetz, 1790. 92 p. 18 cm . 
 
 Prefatory note, dated Mannheim, January 20, -1790j by the author, Christian 
 Friedrich Schwan, who says that about twenty years previously he translated from the 
 French the popular comedy ? "Der kaufmann von Smyrna." This he subsequently 
 turned into a one-act singspiel, produced successfully with Vogler's music at Mann- 
 heim, but it could not be continued, because Vogler went to Italy with the only score. 
 In the meantime Carl David Stegmann (1773) published the vocal score of his own 
 setting of the text, and in 1775 Andreas Holly his. Schwan continues: 
 
 "Dadurch wurde nun dieses kleine singspiel allgemeiner gemacht, und verschie- 
 dene Jahre lang auf mehreren buehnen gegeben, bis es endlich auch wie andere 
 seines gleichen, nach und nach in vergessenheit gerieth. 
 
 " Ich lasse es nun auf veranlassung eines unserer hiesigen schon ruehmlich bekanten 
 tonkuenstlers, zum dritten male in einer sehr veraenderten gestalt, und in einem 
 etwas laengerem gewande, unter dem titel, Der sclavenhaendler, auf der buehne 
 erscheinen. ' 
 
 First performed at Mannheim, Nationaltheater, April 11, 1790. SCHATZ 8830 
 
 Die sclavin und der grossmuethige seefahrer. Tr. of Piccinni's 
 Gli stravaganti. 
 
 La scola de' gelosi. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro Giustiniani in S. Moise il carnovale dell' anno 1779. 
 n. i., n. d. 72 p. 18 cm . 
 
 Two acts. By Caterino Mazzola, who is not mentioned. Antonio Salieri is men- 
 tioned as the composer. SCHATZ 9314 
 
 La scola de gelosi. Opera in musica da rappresentarsi nel 
 Piccolo Theatre di S. A. S. di Brunsvic Luneburg. 
 Brunsvic, n. pull, 1782. 169 p. 17 cm . 
 
 Two acts. Without name of Caterino Mazzola, the author, but with name of 
 Antonio Salieri, thecomposer. German title-page, " Die schule der eifersuechtigen," 
 and text face Italian, which is practically the same as in the original edition. 
 
 First performed 1782, as indicated. SCHATZ 9315
 
 OPERA LIBRETTOS 979 
 
 La scola de' gelosi Continued. 
 
 Die schule der eifersucht, oder Liebe hasst alien zwang. Ein 
 singspiel, in zwei aufzuegen; von herrn Pr. Zehnmark. 
 
 Koeln am RJieine, Johan GodschaTk Langen, 1787. 75, [4] p. 16 cm . 
 
 At end, 3 unnumb. p. of "Nachricht," with a list of Langen's theatrical pub- 
 lications. The composer, Antonio Salieri, is not mentioned. 
 
 First performed at Vienna, Karthnerthortheater, November 19, 1784. 
 
 SCHATZ 9316 
 
 Gesaenge aus Der schule der eifersuechtigen, ein singspiel in 
 vier aufzuegen, nach Mazzola, von C. F. Bretzner. In musick 
 gesetzt von Salieri. 
 
 Hamburg, J. M. Michaelsen, 1787. 32 p. 18 cm . 
 
 First performed at Hamburg, Theater b. Ganeemarkt, November 23, 1785. 
 
 SCHATZ 9317 
 
 A escola dos ciosos. Drama giocoso em hum s6 acto, traduziao 
 livremente do idioma italiano em versos portuguezes para se repre- 
 sentar em musica no Real Teatro de S. Carlos, pfferecido ao publico 
 por Francisco Marquesi no dia do seu ben^ficio: A musica he do 
 celebre mestre de capella o Senior Salieri. 
 
 Lisboa, Simao TJiaddeo Ferreira, 1795. 66 p. 15. 
 
 Cast. 
 
 First performed 1795, as indicated. SCHATZ 9318 
 
 La scola di musica. A. T. of Bernardini's Le tre orfanelle. 
 
 La scolara alia moda. L. T. of Pergolesi's II maestro di musica; 
 also A. T. of Latilla and Pergolesi's Orazio, which is a very much 
 altered and expanded version of " II maestro di musica." 
 
 La scolara fatta maestra. Intermezzi per musica da rappresen- 
 tarsi nel Real Teatro di Potsdam, per ordine di Sua Maesta. 
 Potsdam, C. F. Voss, 1749. 53 p. 16% cm . 
 
 Three parts. Cast. The author is unknown to Schatz. German title-page, "Die 
 zur meisterin gewordene schuelerin," and text face Italian. The composer, Giovanni 
 Cingoni, is not mentioned. The two last parts of the text are clearly based on the 
 intermezzo, "La donna giudice e parte." The first part may also have been taken 
 from some intermezzo, or may have been written for the occasion. SCHATZ 2010 
 
 La sconfitta delle Amazon!, ballet. See Salieri's La fiera di 
 Venezia. 
 
 La scoperta d'un isola nelT America del capitano Durson Inglese, 
 ballet. See Crippa's Le confusioni per somiglianza. 
 
 Lo scroccatore smascherato. A. T. of di Palma's Chi mal fa mal 
 aspetti. 
 
 Lo scoprimento inaspettato. Dramma giocoso per musica da 
 rappresentarsi nel Teatro Nuovo nel carnevale del corrente anno 1787. 
 
 Napoli, n. pull., 1787. 58 p. 15 cm . 
 
 Three acts. By Vicenzo di Stefano, who is not mentioned. Caet and name of 
 Pietro Guglielmi as the composer. SCHATZ 4265 
 
 La scuffiaja. A. T. of Paisiello's La modista.
 
 980 LIBRARY OF CONGRESS 
 
 La scuffiara. See Tritto's Li due gemelli. 
 
 Lo scultore. Intermezzi a tre voci da rappresentarsi in Firenze nel 
 Teatro di via del Cocomero nelP autunno dell' anno 1761. 
 
 Firenze, Anton Giuseppe Pagani, 1761. 24 p. 15 cm . 
 
 Two parts. Cast. Neither author nor composer known to Schatz. 
 
 ML 48.A5 v. 16 
 
 La scuola degli amanti. A. T. of Mozart's Cosi fan tutte. 
 
 La scuola degli amanti. Commedia per musica da rappresentarsi 
 nel Teatro Nuovo sopra Toledo per quart' opera di quest anno 1783. 
 
 Napoli, n. puU., 1783. 60 p. 15 cm . 
 
 Three acts. By Giuseppe Palomba, who is not mentioned. Cast and name of 
 Giacomo Tritto as composer. SCHATZ 10478 
 
 La scuola de' gelosi. Dramma giocoso per musica nella prossima 
 primavera dell' anno 1780. Nel Teatro Fflarmonico di Verona . . . 
 
 Verona, Dionigio Ramanzini, n. d. 72, 6, [1] p. 17$ cm . 
 
 Two acts. Impresario's dedication, cast, names of Catterino Mazzola as author, 
 of Antonio Salieri as composer. The 6 p. contain libretto of Gaspero Angiolini's 
 "Alessandro trionfante nell Indie, ballo eroico pantomimo," composer of the music 
 not mentioned. ML 50.2.S46S2 
 
 La scvola di magia, balletto alle Dame. Amore riconscendo le 
 Dame si volubili e legiere viene ne la scuola di magia da Zoroastro 
 Mago, accid trasformi con incanti, inusitati oggetti per appagar il 
 loro inconstante desio. 
 
 n.i.,n.d. folio broadside. ML52.2.S39 
 
 La scuola di scultura, ballet. See Cimarosa's I due supporti conti. 
 
 La scuola moderna. Dramma di tre atti per musica rappresentato 
 per la prima volta in Venezia 1'autunno dell' anno MDCCXLVIII. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, v. 4%, 
 [207}-261 p. 18 cm . 
 
 But see Cocchi's La maestra, text by Ant. Palomba. PQ 
 
 La scuola moderna osia La maestra di buon gusto. L. T. of 
 Cocchi's La maestra. 
 
 La scuola olandese ossia L'amante in statua, ballet. See Portugal's 
 La donna di genio volubile. 
 
 Scylla, tragedie represented par 1'Academie royale de musique 1'an 
 1701. Les paroles de M. Duche" & La musique de M. Theobal. 
 LIII. opera. 
 
 n. i., n. d. front., p. 215-276 (Recueil general des opera, t. vii, 
 Paris, 1703). 14$ cm . 
 
 Detached copy. Five acts and prologue. Composed by Teobaldo di Qatti, called 
 as above. 
 
 First performed, as indicated, September 16, 1701. SCHATZ 3633 
 
 Second copy. ML 48. R4 
 
 Gli sdegni amorosi. A. T. and L. T. of Goldoni's text II gondo- 
 liere.
 
 OPERA LIBRETTOS 981 
 
 Li sdegni cangiati in a more. Dramma da rappresentarsi nel 
 Teatro Ginstiniano di S. Moise". II carnevale deU' anno MDCCXXV 
 
 Venezia, Marino Rossetti, n. d. Jfl P- 
 
 Three acts. By Francesco Silvani (not mentioned), but completely altered 
 according to this notice to the reader: 
 
 "S'e convenuto per accomodarei al numero degli attori ridurre il drama a sei, 
 mentre il euo autore 1'haveva composto in eette ed altresi per maggior brevita levarle 
 moltissimi versi, che s'havrebbero interlineati, ma per comodo de chi legge laeciati 
 senza stamparli. Tutte 1'arie sono state mutate, alia risserva di alcune ..." 
 
 Schatz attributes these changes of Silvani's "II duello d'amore e di vendetta" to 
 the composer, Giuseppe Maria Buini, who is not mentioned. Impresario's dedica- 
 tion, argument, cast, scenario. SCHATZ 1394 
 
 I sdegni per amore. Commedia per musica di un' atto di Giuseppe 
 Mililotti da rappresentarsi nel Teatro Nuovo nel carnevale di quest' 
 anno 1776. 
 
 Napoli, n. pull., 1776. 52 p. 15 cm . 
 
 Cast and name of the composer, Cimarosa. On p. [3] the notice: 
 
 "Questa commedia, che ora comparisce di un solo atto, doveva farsi in due, ma 
 per van accidenti, e sopratutto per la mancanza del tempo si & dovuta ridurre in un 
 atto solo." 
 
 Pages [29J-51 contain the libretto with cast of Cimarosa's 
 
 "I MATRIMONI IN HALLO. Farsetta per musica di Pasquale Mililotti. Da rappre- 
 sentarsi nel Teatro Nuovo nel carnevale di quest' anno 1776 " SCHATZ 1993 
 
 La secchia rapita. Dramma eroi-comico per musica composto da 
 Niccold Liprandi da rappresentarsi nel nobilissimo Teatro di San 
 Samuele il carnovale dell' anno 1794. 
 
 Venezia, Modesto Fenzo, 1794. 64 p. 17$ cm . 
 
 Two acts. Author's dedication, cast, scenario, and name of Francesco Bianchi 
 as composer. In the dedication Angelo Anelli (pseud. Liprandi) says of the text, 
 written for Milan", fall of 1793: 
 
 "ho dovuto rifarlo presso che tutto di novo, non conservando, che alcune cose, 
 cioe 1'introduzione, e i finali di quello esposto in Milano:. anzi ne stessi finali ho 
 dovuto agjnungere, e togliere alcune cose in maniera, che men fatica mi earebbe etata 
 il comporh di novo." SCHATZ 982 
 
 La secchia rapita. Dramma eroi-comico di Gio. Gastone Bocche- 
 rini, poeta Arcade, da rappresentarsi ne' Teatri privilegiati di Vienna 
 1'anno 1772. 
 
 [Vienna], Giuseppe Kurtzboeck, n. d. 77 p. 16 cm . 
 
 Three acts. Argument, cast, scenario, and name of Antonio Salieri as the com- 
 poser ("La musica e tutta nuova"). 
 
 First performed at Vienna, Burgtheater, October 21, 1772. SCHATZ 9319 
 
 - La secchia rapita. Dramma eroicomico di Gio. Gastone Boc- 
 cherini poeta Arcade da rappresentarsi nel Piccolo Teatro di S. A. E. 
 di Sassonia. 
 
 Dresda, n. publ., 1775. 135 p. 16 cm . 
 
 Three acts. Antonio Salieri is mentioned a,s the composer. German title-page, " Der 
 geraubte evmer," and text face Italian, which is slightly different from tne original 
 edition. For instance, the latter does not have the chorus, "Viva, viva: trombette e 
 tamburi" (I, 6). 
 
 First performed January 3, 1775, as indicated. SCHATZ 9321 
 
 - Der geraubte eymer, eine heroisch-komische oper aufgefuehret 
 am kurpfaelzischen hofe im jahre 1774. 
 
 Mannheim, Hofund Akademie buchdruckeri, n. d. 72, [5] p. 15 cn
 
 982 LIBRARY OF CONGRESS 
 
 Lu secchia rapita Continued. 
 
 Three acts. Argument, scenario, and name of Antonio Salieri as the composer. 
 This is a separate edition of the German translation of his "La secchia rapita, first 
 performed at Mannheim, November 5, 1774, as indicated. At end descriptions of 
 the ballets "Die von Amor beschuezten liebhaber" and "Das seefest oder Die unver- 
 muthete zusammenkunft." SCHATZ 9320 
 
 La secchia rapita. Dramma giocoso per musica da rappresentarsi 
 nel Teatro alia Scala 1'autunno delF anno 1793 . . . 
 Milano, Gio. Batista Bianchi, n. d. 68 p. 16\ cm . 
 
 Two acts. By Angelo Anelli, who is not mentioned. Impresario's dedication, 
 argument, cast, scenario, name of Nicola Antonio Zingarelli as the composer, and 
 footnote that this text is an absolutely new treatment of the subject, and not to be 
 confused with th former drama of the same title. With the opera was performed 
 Giuseppe Banti's ballet, "Zima," the composer ot the music not oeing mentioned. 
 
 First performed, as indicated, September 7, 1793. SCHATZ 11258 
 
 - La secchia rapita. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro Elettorale. 
 
 Dresda, n. putt., 1795. 15 p. 1., 58 p. 15\. 
 
 The p. 1. contain detailed "Innhalt." German title page, "Der geraubte eimer," 
 faces Italian. Zingarelli is mentioned as the composer. 
 
 First performed, as indicated, 1795. SCHATZ 11259 
 
 Second thought is best. An opera of two acts, performed at the 
 Theatre Royal in Drury-Lane. Addressed to R. B. Sheridan, Esq. 
 by J. Hough, of the Inner Temple, in which is introduced the song 
 rejected by the Lord Chamberlain. 
 
 [Lvndon], Murray and Greenlaw, 1788 [/]. 43 p. 21% cm . 
 
 The date is a misprint for 1778. 
 
 Cast and dedication. The composer is not mentioned, and ie unknown to Schatz. 
 
 First performed, as indicated, March 30, 1778. LONGB 270 
 
 The secret enlarged. See The agreeable surprise. 
 
 II secreto, opera by Job. Simon Mayr. See Cimarosa's II duello per 
 complimento, Venezia, (1797). SCHATZ 2002 
 
 Das seefest oder Die unvermuthete zusammenkunft, ballet. See 
 Salieri's Der geraubte eymer. 
 
 II segreto, ballet. See Nicolini's II trionfo del bel sesso. 
 
 II seguito tra 1'armi o sia La donna militare, ballet. See Salari's 
 L'amore rammingo. 
 
 Der seliende Cupido. Tr. F. of the ballet L'amour clairvoyant. 
 I sei gigli. See Manelli's La Filo. 
 
 Le seigneur bienfaisant, opera, compose" des actes du Retour du 
 seigneur dans ses terres, du rressoir, ou Des f^tes de 1'automne, de 
 L'incendie et du Bal, represent^ pour la premiere fois par 1'Academie- 
 royal [ !] de musique le lundi 23 cUcembre 1782. 
 
 Paris, P. de Lormel, 1782. viii, 58 p. 23 cm . 
 
 Rochon de Chabannes is mentioned as author, Etienne Joseph Floquet aa the com- 
 poser. Cast and ' ' avertissement, ' ' which begins : 
 
 "L'Acadmie royale de musique m'avoit engage 1 plusieur fois a faire un nouvel acte 
 au Seigneur Bienfaisant pour tacher de completter la dur6e du spectacle, & rem6dier
 
 OPERA LIBRETTOS 983 
 
 Le seigneur bienfaisant Continued. 
 
 ainsi a 1'embarras d'y joindre un acte Stranger, d'autant plus difficile & trouver, qu'il 
 falloit toujours qu'il fut sans ballet ... Je ne dirai plus rien de cet acte, sinon qu'il 
 m'a facilite les moyens d'amener naturellement un spectacle militaire & par consequent 
 un tableau different de ceux des trois anciens derniers actes . . ." 
 
 The opera is based on incidents in the life of Henri IV. 
 
 The original three-act version was first performed at Paris, Palais Royal, December 
 14, 1780, and later at the Salle de la Porte Saint Martin, November 15, 1781. 
 
 SCHATZ 3249 
 
 Seila. Componimento dramatico d'Inalbo Laerzio P. A. Posto in 
 musica dal Sig. Jacopo Scplart, maestro di capella in Cingoli e cantato 
 in Cesena nella sera del di 7 settembre 1787. 
 Faenza, Lodovico Genestri, n. d. 29 p. 19% cm . 
 
 Two acts. Real name of the above unknown to Schatz, and this Arcadian name 
 not entered by Wotquenne. SCHATZ 9807 
 
 Seldano, duce degli Svedesi. Dramma per musica da rappresen- 
 tarsi nel Teatro di San Benedetto 1'autunno dell' anno 1797. 
 
 Venezia, Anno primo delta Liberia italiana, Modesto Fenzo, n. d. 
 40 p. 18^. 
 
 Two acts. Author unknown to Schatz. Argument, cast, and name of the com- 
 poser, Giuseppe Farinelli. On p. [21J-26, cast and description of the ballet, "I bac- 
 chanali, composto e diretto da Onorato Vigano ... la musica tutta nuova e del 
 maestro Giuseppe Nucci. SCHATZ 3030 
 
 II Seleuco. L. T. of C. F. Pollaroli's La pace fra Tolomeo e Seleuco. 
 
 Seleuco. Drama per musica nel Teatro a San Salvatore, per Fanno 
 1668 . . . 
 
 Venetia, Francesco Nicolini, 1668. 4 P- T", ? 8 P- 14 cm - 
 
 Three acts. Dedication by the author, conte Niccol6 Minato and dated Venice, 
 January 16, 1668, argument, scenario, and notice to the reader: 
 
 "Questo drama comparve fin hora mascherato eotto simulatione di cittadino del 
 cielo di Napoli; hora ch'egli e stato eletto a nuovamente servirti, no h6 gusto, ch'egli 
 rimanga con 1'oscura nota d'occulti, e menzogneri natali. Eg^li e parto di quella 
 etessa penna, che ti fece vedere il JCerse, L' Artemisia, L'Antioco, Lo Scipione, il 
 Mutio, il Pompep & ultimamente la Caduta, e la Prosperita di Seianp. L'autore 
 nascose volontieri la di lui origine all' hora che doveva farlo comparire insieme col 
 suo Pompeo, temendo, che, se fossero ambo stati conosciuti per figli d'una senna 
 medesima, potesse egli restar ripreso di partialita con 1'uno piu, che con 1'altro." 
 
 The composer, Antonio Sartorio, is not mentioned. ' 
 
 First performed at the same theatre, carnival, 1666, the dedication in the 1666 
 libretto being dated January 16, 1666. (See Wotquenne, who does not mention the 
 author.) SCHATZ 9487 
 
 Seleuco. Dramma per musica da rappresentarsi nel Teatro di S. 
 Angiolo Fanno MDCCXXV . . . 
 
 Venezia, Marino Rossetti, n. d. 59 p., [1] 1. 15\ cm . 
 
 Three acts. Argument, cast, scenario, and dedication with Appstolo Zeno's name 
 as author. His collaborator, Pietro Pariati, is not mentioned. The original title of 
 their text was "Antioco." The composer Giovanni Zuccari, is not mentioned ae 
 composer. SCHATZ 11286 
 
 Seleuco, re di Siria. Dramma per musica da rappresentarsi nel 
 nobilissimo Teatro Venier in San Benedetto il carnovale dell' anno 
 1792. 
 
 Venezia, Modesto Fenzo, 1791. 64 p. 18 cm . 
 
 Three acte. Cast, scenario, and name of the composer, Francesco Bianchi, but 
 notof the librettist, Mattia Botturini. On p. [19J-39 argument, caat, and full description
 
 984 LIBRARY OF CONGRESS 
 
 Seleuco, re di Siria Continued. 
 
 of "Alfredo il Grande, rfe degli Anglo-Sassoni, ballo tragico pantomimo in cinque 
 atti" by Paolino Franchi, music ("tutta nuova ed espressamente scritta") by Vit- 
 torio Trento. The second ballet, also by Franchi, composer not mentioned, was 
 called "Solimano II." 
 
 First performed, as indicated, December 26, 1791. SCHATZ 1000 
 
 The self-conquest of Alexander. A. T. of Noverre's ballet Apelles 
 and Campaspe. 
 
 Selim og Mirza. Originalt skuespil med musik i tre acter af P. A. 
 Heiberg. Musiken af herr O. Zink. 
 
 Ki$berihavn, Christian Frederik Holm, 1790. viii, 72 p. 17$ cm . 
 
 Cast and noteworthy "forerindring." 
 
 First performed at Copenhagen, Royal Theatre, February 1, 1790. SCHATZ 11272 
 
 Selim und Zelide, oder Die macht der feen. Eine romantisch- 
 komische oper in zwey aufzuegen. Unter der direktion der herrn 
 Mihule und Butteau aufgefuehrt auf dem Kleinseitner Theater mon- 
 tags den 30 november 1789. 
 
 Prag, Joseph Emanuel Diesbach, n. d. Unpaged. 17$ cm . 
 
 Author and composer unknown to Schatz. SCHATZ 11463 
 
 Selima & Azor, a Persian tale, in three parts: as performed at the 
 Theatre-Royal in Drury-Lane . . . 
 London, J. BeU, 1784. 4 p. I, 39 p. 21 cm . 
 
 By Sir G. Collier, who is not mentioned. Cast, dedication dated West-Hill, 
 January 12, 1784, and Advertisement dated January 13, 1784, in which the author 
 eaye: 
 
 "The following little piece (which is an imitation of the French Zemire & Azor) 
 [by Marmontel] was the production of some leisure hours, in a journey which the 
 author made a lew years ago . 
 
 _ licioue 
 
 alteratic 
 
 As a matter of fact, Thomas Linley utilized Gre"try's score to a considerable extent. 
 
 First performed at Drury-Lane, October 6, 1776 (Schatz); December 5, 1776 
 (Genest). LONGE 95 
 
 Selin. Gran signer de' Turchi. Drama per musica da rappresen- 
 tarsi nel Nuovo Teatro di S. Margherita il carnovale dell' anno 1730 
 
 Venezia, Carlo Buonarrigo, 1730. 47 p. 14 cm - 
 
 Three acts. Impresario's dedication, argument, scenario. Author (Antonio Maria 
 Lucchini) and composer not mentioned. Schatz records this as a pasticcio. 
 
 SCHATZ 11361 
 
 Der seltene fall. Tr. of Martin y Soler's Una cosa rara. 
 
 Die seltenheit oder Schoenheit und tugend. Tr. of Martin y Soler's 
 Una cosa rara. 
 
 Der seltne fall. Tr. of Martin y Soler's Una cosa rara. 
 
 Die seltne sache oder Schoenheit und tugend. Tr. of Martin y 
 Soler's Una cosa rara. 
 
 La selvaggia ovvero Adelia e Roberto, ballet. See Pae'r's L'intrigo 
 amoroso.
 
 OPERA LIBRETTOS 985 
 
 II selvaggio eroe. Tragicomedia eroico-pastorale da rappresentarsi 
 in music a nel famosissimo Teatro Grimano di S. Gio. Grisostomo 
 1'anno 1707. 
 
 Venezia, Marino Rossetti, n. d. 72 p. 14 cm . 
 
 Five acts. By conte Girolamo Frigimelica Robert!, who is not mentioned. Pub- 
 lisher's prefatory note, author's "Notizia poetica" (p. 4-9), argument, cast, scenario, 
 and name of the composer, Antonio Caldara. SCHATZ 1497 
 
 I selvatici, ballet. See Gius. Scarlatti's Pelopida. 
 
 Semele, tragedie repre"sentee par F Academic royale de musique 1'an 
 1709. Les paroles de M. de la Mothe, & la musique de M. Marais. 
 LXXII. opera. 
 
 n. i., n. d. front., p. 387-437, [3] (Recueil general des opera, t. ix, 
 Paris, 1710.} 14 cm . 
 
 Detached copy. Five acts and prologue. 
 
 First performed, as indicated, April 9, 1709. The three additional pages contain 
 the ' ' Privilege general . ' ' SCHATZ 5921 
 
 Second copy. ML 48. R4 
 
 Semiramide. 
 
 Metastasio, Poesie, Parigi, vedova Quittau, 1755, t. v, [265]-357 p. 
 16 cm . 
 
 Three acts and lizenza. Argument. "Nella forma in cui sono stati ridotti dall' 
 autore" (Seenoteon p. 169of v. vi.) Sameashis " Semiramide nconosciuta," which 
 see for characteristic differences between the original and the later version. 
 
 Same, t. vii, [119J-240 p. 16cm. "Come . . . nelP altre edizioni" (Note, VI, 
 169). ML 49.A2M42 
 
 Semiramide. Dramma scritto dall' autore in Roma, ed ivi rap- 
 presentato con musica del Vinci la prima volta, nel Teatro detto delle 
 Dame, il carnevale dell' anno 1729. 
 
 pi., [3]-106 p. 26 cm . (Metastasio, Opere, t. vii, Parigi, vedova 
 Herissant, 1780.} 
 
 Three acts and licenza. Argument. ML 49.A2M44 
 
 Semiramide. Pubblicata per la prima volta in Vienna 1725. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. vi, p. 233- 
 310. 21 cm . 
 
 Five acts and licenza. Argument. No composer is mentioned. Same as "Semi- 
 ramide in Ascalona." ML49.A2Z4 
 
 Semiramide. Dramma per musica del Signer abate Pietro Metasta- 
 sio. Da rappresentarsi nel Teatro di Lucca nell' autunno dell' anno 
 1751. 
 Lucca, Filippo Maria Benedini, 1751. 92, [1] p. 16 cm . 
 
 Three acts. Argument, cast, scenario. Composer not mentioned and unknown 
 to Schatz. The last p. contains the schedule of performances, which began on 
 August 29, 1751. SCHATZ 11362 
 
 Semiramide, ballet. See Anfossi's Antigono. 
 
 Semiramide. Dramma per musica da rappresentarsi nel Nuovo 
 Teatro di Corte ... in occasione del reale sposalizio della Sacra Real 
 Majesta di Gioseppe . . . e dell' imperial prencipessa, Maria Gio- 
 seppa . . . 
 
 Monaco, Gioszppe Francesco ThuiUe, 1765. 135, [17] p.
 
 986 LIBBABY OF CONGRESS 
 
 Semiramide Continued. 
 
 Three acts. By Metastasio and licenza by Eugenic Giunti. Cast, argument, 
 scenario, and names of composer, Andrea Bernaaconi, and librettists. The licenza 
 is followed by the description of the ballets invented by Du Buisson de Chalandray. 
 German title-page, "Semiramis," and text face Italian. 
 
 First performed, as indicated, January 5, 1765. . SCHATZ 860 
 
 La Semiramide. Drama musicale. 
 
 G. A. Moniglia, Poesie drammaticJie, seconde parte, Firenze, Cesare 
 e Francesco Bindi, 1690, p. [440]-504. 24. 
 
 Three acts. Scenario and argument with remark this drama: 
 "ebbe la sua nascita per servire alle nozze del serenissimo arciduca Sigismondo, 
 ma per la morte dell' A. S. prima di celebrare i regij sponsali, fu tplto ancor' esso alia 
 luce. Fu comandato all' autore di comporlo dal eerenissimo principe Leopoldo di 
 Toscana, ed' il Signer cavaliere [Marc'] Antonio Cesti [d. 1669] 1'arricchl maraviglio- 
 samente co'l metterlo in musica." ML 49.A2M7 
 
 Semiramide. Dramma per musica da rappresentarsi nel Nuovo 
 Teatro in Padova per la solito fiera di Giugno 1759 . . . 
 Padova, Conzatti, 1759. 64 p. 18. 
 
 Three acts. By Metastasio. Dedication signed by Domenico Fischietti e Prospero 
 Olivieri, argument, cast, scenario, and name of Fischietti as composer ("La musica 
 tuttanuova"). SCHATZ 3243 
 
 Semiramide. Drama per musica da rappresentarsi nel Regio 
 Teatro di Berlino per il felicissimo giorno natalizio della Sacra Real 
 Maesta di Sofia Dorotea, regina madre . . . 
 Berlino, Haude e Spener, 1754. 135 p. 16\ cm . 
 
 Three acts. Giampietro Tagliazucchi is mentioned as the author and Carl Hein- 
 rich Graun as the composer. Argument, and scenario. German title-page "Semi- 
 ramis," and text face Italian. 
 
 First performed at Berlin, Kgl. Opern theater, March 27, 1754. SCHATZ 4112 
 
 Semiramide. Dramma da rappresentarsi con musica del Signor 
 Himmel . . . nel gran Teatro Keale di Berlino il carnovale dell' 
 anno 1797 . . . 
 Berlino, Havde e Spener, n. d. 89 p. 16 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. German title page 
 "Semiramis" and text face Italian. Argument and cast. On p. [78J-89 cast and 
 description of "Raul Signore di Crechi osia La tiranide repressa. Ballo tragicomico 
 in tre atti, composto dal Sign. Salvatore Vigan6. La musica e del medesimo. Raoul, 
 herr von Crequi, oder Die verhinderte grausamkeit." 
 
 First performed, as indicated, February 18, 1797. SCHATZ 4738 
 
 Semiramide. Dramma per musica da rappresentarsi nel famosis- 
 simo Teatro Grimani di S? Gio. Grisostomo nel carnevale 1743 . . . 
 
 [Venezia], n. pull., n. d. 1 jr. 1., 48 p. 15 cm . 
 
 Three acts. By Francesco Silvani, who is not mentioned. Argument, cast, 
 scenario, and name of Niccol6 Jumelli (Jommelli) as composer. It should be noted 
 that this text, attributed by Wiel to Silvani, is totally different from Metastasio's 
 "Semiramide riconosciuta. Therefore, Jommelli's "Semiramide," Venice, 1743, 
 should no longer be confused with his "Semiramide riconosciuta," first performed 
 at Turin, December 26, 1741, as appears from the original libretto in possession of 
 Manoel de Carvalhaes. (This settles definitely the questions left half-open by Abert 
 on p. 46, 78 of his Jommelli biography.) SCHATZ 4880 
 
 Semiramide. Dramma per musica da rappresentarsi nel Teatro 
 Ducale di Stutgard festeggiandosi il felicissimo giorno natalizio di 
 Sua Altezza Serenissima Carlo, duca regnante di W irtemberg e Teck,
 
 OPEBA LIBRETTOS 987 
 
 S emiramide Continued . 
 
 etc. . . . La poesia e del Signer abbate Pietro Metastasio ... La 
 musica e nuovamente composta dal Signer Nicold Jonunelli ... I 
 balli sono inventati dal Signer Giovanni Giorgio Noverre ... 
 
 [Stutgard], Cotta, 1762. 170, [5] p. 18. 
 
 Three acts. Argument, cast, scenario. German title page, "Semiramis," and 
 text face Italian. On p. [66J-73, cast and description of "Amore e Psiche, ballo 
 eroico Amor und Psyche . . ." On p. [122]-131 of the ballet, "La morte d'Ercole 
 Der tod des Hercules." The 5 add. p. contain brief explanation and cast of "Le 
 feste pereiane Das persianische freuden-fest." The composers of the music are not 
 mentioned, but Abert mentions as composer of the first two Rudolph. 
 
 Schatz calls this opera Jommelli's second setting of "Semiramide," first performed 
 (see Schatz 4880) as "Semiramide riconosciuta " at Turin, December 26, 1741 ; at Stutt- 
 gart, as indicated, February 11, 1762. SCHATZ 4870 
 
 Semiramide. Dramma per musica da rappresentarsi nel Real 
 Teatro di Salvaterra nel carnovale dell' anno 1771. 
 Lisbona, Starriperia reale, n. d. 72 p. 16 cm . 
 
 Three acts. Argument, cast, scenario, and names of Metastasio as author, of Niccol6 
 Jonunelli as composer. The text is slightly different from that of 1762. For instance, 
 the aria, "Come all' amiche arene " has been dropped at end of I, 8. 
 
 First performed, as indicated, January 25, 1771. SCHATZ 4892 
 
 La Semiramide, ballet. See Jommelli's Armida abbandonata. 
 
 Semiramide. Dramma per musica da rappresentarsi nel Teatro 
 alia Scala il carnevale dell' anno 1785 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 67, [1] p. 16 cm . 
 
 Three acts. Author not mentioned, and unknown to Schatz. Dedication, argu- 
 ment, cast, scenario, and name of Michele Mortellari as the composer. With the 
 opera were performed Sebastiano Gallet's ballets, "II ratio delle Sabine," "II manis- 
 calco francese," and a third without characteristic title. The composers of the music 
 are not mentioned. 
 
 First performed, as indicated, December 26, 1784. SCHATZ 6692 
 
 Semiramide. Dramma per musica. Da rappresentarsi nel famoso 
 Teatro Grimani di S. Gio. Grisostomo. II carnovale dell' anno 
 1714 . . . 
 
 Venezia, Marino Rossetti, 1714- 58 p. lffi m . 
 
 Three acts. Dedication by the author, Francesco Silvani, who is not mentioned by 
 name, argument, cast, scenario, and name of Carlo Francesco Pollaroli as the composer. 
 
 First performed, as indicated, December 26, 1713. SCHATZ 8318 
 
 Semiramide. Dramma per musica da rappresentarsi nel Teatro 
 Nuovo di corte per comando di S. A. S. E. Carl Teodoro conte 
 Palatino del' Reno, duca dell' Alta e Bassa Baviera . . . nel carno- 
 vale MDCCLXXXII. 
 
 [Munich], n. publ., n. d. 157 p. 15 cm . 
 
 Three acts. Metastasio is mentioned as author, Lorenz Hflbner as translator and 
 Salieri as composer. Argument, cast. German t.-p. "Semiramia" and text face 
 Italian. 
 
 First performed in January, 1782, as indicated. ML 50.2.S48S2 
 
 Semiramide. Dramma per musica, da rappresentarsi sul Regio 
 Teatro Danese, 1'autunno dell' anno 1762. Semiramis . . . 
 
 Kifiberihavn, Lars Nielsen Svare, n. d. 127 p. 15\ cm . 
 
 Three acts. Argument, 'cast, and names of Metastasio as author, of Giuseppe Sarti 
 as the composer ("La musica e tutta nuova "). SCHATZ 9463
 
 988 LIBRARY OF CONGRESS 
 
 Semiramide Continued. 
 
 - Semiramide. Dramma per musica da.rappresentarsi nel Teatro 
 Vendramino di S. Salvatore la fiera dell' Ascensione dell' anno 1768. 
 Venezia, Modesto Fenzo, 1768. 46 p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Giuseppe Sarti as the composer. The text is noticeably different from the 
 original text of 1762. The first act, for instance, had only ten scenes instead of thir- 
 teen, the tenth being "Come? qual foggia e questa," which was not in the 1762 version. 
 
 SCHATZ 9476 
 
 Semiramide. Dramma per musica del Signer abate Pietro Metas- 
 tasio, Poeta Cesaro da rappresentarsi nel Teatro Tron di S. Cassano 
 il carnovale dell' anno 1765 . . . 
 
 Venezia, Modesto Fenzo, 1765. 64 p. 17\ cm . 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and name of 
 Tommaso Trajetta as composer. SCHATZ 10413 
 
 La Semiramide. Drama per musica nel famoso Teatro Grimano a 
 S. Gio. e Paolo. Per Fanno MDCLXXI . . . 
 
 Venetia, Nicolini, 1671. front., 72 p. 15 cm . 
 
 Three acts. Publisher's dedication, dated Venice, December 11, 1670, argument, 
 scenario, and notice to the reader ? informing him that the text is by Gio. Andrea 
 Moniglia, with alterations "per aggiustar all' uso di Venetia il presente drama." The 
 alterations were by Matteo Nona (Schatz). Neither he nor the composer, Pietro 
 Andrea Ziani, is mentioned. SCHATZ 11223 
 
 Semiramide in Ascalona. 
 
 Apostolo Zeno, Poesie drammaticke, Venezia, 1744) t- H, P- [365]-443> 
 [1] p. 19 cm . 
 
 Five acts and licenza. Argument. No composer is mentioned. In the "Cata- 
 logo" at end of t. x, date and place of first ed. are given as Vienna, 1725. Same as 
 his "Semiramide." First performed August 28, music by Caldara. 
 
 ML 49.A2Z3 
 
 Semiramide in bernesco. Same as Jommelli's II cacciatore deluso. 
 
 La Semiramide in India. Dramma del conte Maiolino Bisac- 
 cioni . . . 
 
 Venetia, Francesco Miloco, 1648. 89 p. 15 cm . 
 
 Three acts, with prologue. Author's dedication, dated Venice, January 4, 1649, 
 notice to the reader, and argument. Francesco Paolo Sacrati, the composer, is not 
 mentioned. SCHATZ 9254 
 
 La Semiramide riconosciuta. 
 
 [71]-148 p- 19 cm . (Pietro Metastasio, Opere drammatiche, Venezia, 
 Giuseppe Bettinelli, 1733-37, v. 2.} 
 
 Three acts. Argument. No composer mentioned. Same as his fi Semiramide." 
 This is one of the texts which Metastasio later on partly rewrote. Here are a few 
 telling differences: The original version has in I, 6 the aria "Maggior follia non 
 v'e," which the later version dropped. In I, 8 of the original version the scene 
 begins with "Amico, in rived erti" and has the aria "Come all' amiche arene"; in 
 the later version the scene begins "Come! e tu npn ravoisi" and has no aria. In the 
 original version I, 10 begins "Signer, brama Scitalce" and has no aria, in the later 
 version it begins "Signor, quali predici" and has the aria "Se intende si poco" 
 which occurs in the original version in I, 11. ML 49.A2M4
 
 OPERA LIBRETTOS 989 
 
 Semiramide riconosciuta. Dramma per musica da rappresen- 
 tarsi nel Teatro novissimo di San Benedetto nel carnevale dell' anno 
 MDCCLVI. 
 
 Venezia, Angiolo Geremia, n. d. 70 p. 15\ cm . 
 
 Three acts. By Metastasio. Argument, scenario, and cast, but without name of 
 the composer, Francesco Brusa. SCHATZ 1377 
 
 Semiramide riconosciuta. Dramma per musica da rappresen- 
 tarsi nel Teatro Tron di San Cassiano. II carnovale delr anno 
 1753 . . . 
 
 Venezia, Modesto Fenzo, 1753. 64 p. 14$<. 
 
 Three acts. By Metastasio. Dedication, argument, cast, and name of the com- 
 poser, Gioacchino Cocchi. SCHATZ 2045 
 
 La Semiramide riconosciuta, dramma per musica da rappresen- 
 tarsi nel Regio-Ducal Teatro di Milano, nel carnovale delr anno 
 1749 . . . 
 
 Milano, Giuseppe Richino Malatesta, 1749. 6 p. 1., 55 p. 14 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication, dated 
 Milan, January 25, 1749, argument, cast, scenario, and name of Baldassare Galuppi 
 as composer. SCHATZ 3469 
 
 Second copy. ML 48.A5 v. 3 
 
 Semiramide riconosciuta. Dramma per musica da rappresen- 
 tarsi nel famosissimo Teatro Grimani di S. Gio. Grisostomo nel car- 
 nevale 1745 ... 
 
 TO. i., n. d. 72 p. 15\ cm . 
 
 Tfiree acts. Dedication, argument, cast, scenario, name of Johann Adolph Hasse 
 as the composer, and apology for the (perhaps in some places) excessive cuts in Metas- 
 tasio 's masterpiece. 
 
 First performed, as indicated, at Venice December 26, 1744. SCHATZ 4559 
 
 La Semiramide riconosciuta, dramma per musica, da rappre- 
 sentarsi nel Reggio Teatro in Dresda nell' occasione delle felicissime 
 nozze del serenissimo real principe Luigi Delfino di Francia colla seren- 
 issima Giuseppa Delfina di Francia, principessa real di Polonia . . . 
 anno 1747. 
 
 n. i., n. d. 8 p. 1., (double) 111, [2] p. 16\ cm . 
 
 Three acts and licenza. Argument and name of Johann Adolph Hasse as the 
 composer. German title page, "Die entdeckte Semiramis," and text face Italian, 
 which is not quite the same as in the original Venice (1745) version. For instance, 
 the aria, "Maggior follia non v'e," has been added to I, 6, and the aria, "Ei d'amor 
 quasi delira," has been added to I, 12. Mennicke (but not Schatz) calls this Basse's 
 second version of his opera. 
 
 First performed, as indicated, January 11, 1747. SCHATZ 4560 
 
 - La Semiramide riconosciuta. Dramma per musica da rappre- 
 sentarsi nel Regio Teatro di Varsavia per il gloriosissimo giorno 
 natalizio di Sua Maesta Augusto III ... In Varsavia a' vn 
 d'ottobre MDCCLX. 
 
 [Varsavia}, Presso Micaele GroeU, n. d. Unpaged. 16% cm . 
 
 Three acts and licenza. Argument, scenario, and names of Metastasiq as the 
 author, of Joh. Ad. Hasse as the composer. French title page, "Semiramis," and 
 text face Italian, which is neither quite the same as in the Dresden version of 1747, 
 nor as in the original Venice version of 1745. For instance, the aria, "Ardo per te d'a- 
 more," in 1, 11 of Venice ed. has been replaced by "Se intende si poco " of the Dresden 
 ed. On the other hand, the additional arias in I, 6 and I, 12 of the Dresden version 
 have been dropped, and the original text has been restored. SCHATZ 4572
 
 990 LIBRARY OF CONGRESS 
 
 Semiramide riconosciuta. O. T. of Jommelli's Semiramide, 1762. 
 
 Serairamide riconosciuta. Drama per musica. Da rappresen- 
 tarsi nel Teatro, detto delle Dame nel carnevale dell' anno 1741 . . . 
 
 Roma, gli eredi del Fern, 1741. 84 p. 14 cm . 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and names of 
 Metastasio as author, of Giovanni Battista Lampugnani as composer. 
 
 First performed, as indicated, January, 1741. SCHATZ 5389 
 
 La Semiramide riconosciuta. Dramma per musica dell' abbate 
 D. Pietro Metastasio da rappresentarsi nel Regal Teatro di S. Carlo 
 il dl 20. gennajo 1751 ... 
 
 Napoli, gli eredi di Mosca, 1751. 6 p. 1., 72 p. 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication, dated 
 Naples, January 20, 1751, argument, cast, scenario, and name of Giuseppe de Majo 
 as composer. SCHATZ 5864 
 
 La Semiramide riconosciuta. Dramma per musica, da rappre- 
 sentarsi nel nobil Teatro del Bairo Alto nel autunno dell' 1765. 
 
 Lislona, Pietro Ferreira, n. d. 8 p. 1., 138 p. 16 cm . 
 
 Three acts. By Metastasio, who is not mentioned. "La musica e tirata da uno 
 epartito del . . . David Perez." Argument, cast, and scenario. Portuguese title 
 page, "A Semiramis reconhecida," and text face Italian. 
 
 First performed at Rome, Teatro Alibert, carnival, 1749. SCHATZ 7875 
 
 Semiramide riconosciuta. Dramma per musica di Artino CorasiOj 
 Pastpre Arcade, da rappresentarsi nel famosissimo Teatro Grimani di 
 S. Gio. Grisostomo nel carnevale del 1729. 
 
 Venezia, Carlo Buonarigo, n. d. 1 p. I., 72 p. 14% cm . 
 
 Three acts. By Metastasio, who is not mentioned. Dedication by Domenico 
 Lalli, argument, cast, scenario, and name of Nicol Antonio Porpora as the composer. 
 
 SCHATZ 8361 
 
 Semiramide riconosciuta. Drama per musica di Pietro Metasta- 
 sio fra gli Arcadi Artino Corasio. Da rappresentarsi nel carnevale 
 dell' anno 1729 nel Teatro detto delle Dame . . . 
 
 Roma, Zempere de Mey, n. d. 84 p. 15 cm . 
 
 Three acts. Dedication, argument, cast, scenario, and name of Leonardo Vinci 
 as composer. SCHATZ 10752 
 
 Semiramis. Tr. of Bernasconi's Semiramide. 
 
 Semiramis, tragedie, represented par I'Academie royale de musique 
 1'an 1718. Paroles de M. Roy. Musique de M. Destouches. XCVI. 
 opera. 
 
 n. i., n. d. pi., p. 377-44$ - (Recueil general des opera, t. xii, Paris, 
 1734.) 14. 
 
 Detached copy. Five acts and prologue with "Avertissement." 
 First performed, as indicated, December 4, 1718. SCHATZ 2550 
 
 Second copy. ML 48. R4 
 
 Semiramis. Tr. of Graun's Semiramide. 
 
 Semiramis. Tr. of Hasse's La Semiramide riconosciuta. 
 
 Semiramis. Tr. of HimmePs Semiramide.
 
 OPERA LIBRETTOS 991 
 
 Semiramis. Tr. of Jommelli's Semiramide. 
 Semiramis. Tr. of Salieri's Semiramide. 
 Semiramis. Tr. of Sard's Semiramide. 
 
 A Semiramis reconhecida. Tr. of Perez' La Semiramide riconos- 
 ciuta. 
 
 La semplice. A. T. of von Schacht's II tutore deluso. 
 
 La semplice owero La virtu premiata, dramma eroicomico d'un 
 atto solo originate di Giuseppe Foppa da rappresentarsi nel nobile 
 Teatro Giustmiani in San Moise il carnovale clell' anno 1799. 
 Venezia, Modesto Fenzc, 1798. 36 p. 15 cm . 
 
 Cast and name of Francesco Gardi as the composer. After the opera Giuseppe 
 Cajani's ballet "L'isola piacevole" (composer of the music not mentioned). 
 
 SCHATZ 3541 
 
 La semplice ad arte. Commedia per musica di Giuseppe Palomba 
 da rappresentarsi nel Nuovo Teatro de' Fiorentini per prim' opera di 
 quest anno 1782. 
 
 Napoli, n. puU., 1782. 58, [1] p. U& cm . 
 
 Three acts. Cast and name of Pietro Guglielmi as the composer. 
 
 First performed, as indicated, May 12, 1782. SCHATZ 4266 
 
 La semplice burlata ballet. See Andreozzi's Arsinoe. 
 
 La semplice fortunata. L. T. of Paisiello's L'innocente fortunata. 
 
 semplice spiritosa. Dramma gipcoso per musica da rappre- 
 tarsi nel Teatro Giustinian di S. MoisS 1'autunno dell' anno 1748. 
 
 La 
 
 sentarsi 
 
 Venezia, Modesto Fenzo, 1748. 60, [2] p. 
 
 Three acts. Cast, scenario. The 2 unnumb. p. contain substitute arias. Author 
 and composer not mentioned and unknown to Schatz. SCHATZ 11363 
 
 Senocrita, dramma per musica. 
 n. i., n. d. 70 p. 15 cm . 
 
 At end: Dresda . . . la vedova Stoessel. MDCCXXXVII. 
 
 Three acts. By Stefano Benedetto Pallavicini, who is not mentioned. Argument 
 and name of Johann Adolph Hasse as the composer. 
 
 First performed at Dresden, Hoftheater, February 27, 1737. SCHATZ 4561 
 
 La sepolta viva. A. T. of Dalayrac's Camilla. 
 
 A sequel to the opera of Flora. As it is now acted at the Theatre 
 Royal in Lincoln's-Inn-Fields. To which is added, the musick 
 engraved on copper plates. Written by the author of Flora. . 
 
 London, A. Bettesworth and C. Hitch and T. Wood, 1782. 1 p. I., 
 31, 8 p. 15 cm . 
 
 Two acts. By Colley Gibber, not by John Hippeeley, who played Sir Thomas 
 Testy. The 8 p. contain without titles Airs 1-15. The titles of the airs are indicated 
 in the text. 
 
 First performed on March 20, 1782, as indicated. ML 50.5.S3 
 
 La sera sposa del sole. A. T. of Sacrati's La Delia.
 
 992 LIBRARY OF CONGRESS 
 
 The seraglio; a comic opera, in two acts: as performed at the 
 Theatre-Royal in Co vent-Garden. 
 London, T. Evans, 1776. 1 p.l, SI p. 20. 
 
 Cast. Author-composer, Charles Dibdin. Johnston's vocal score says, "chiefly 
 composed by C. Dibdin," and heads "What shall I do?" "I simply wait for your com- 
 mands," and "Away with tyrant laws" as composed by Samuel Arnold, and "Ah 
 what avails?" as by A. [John Abraham] Fisher. 
 
 First performed November 14, 1776. LONGE 124 
 
 Airs, chorusses, in the new musical entertainment of The seraglio; 
 as it is performed at the Theatre-Royal in Covent-Garden. 
 
 London, T. Evans, 1776. 16 p. 19 cm . 
 
 Two acts. Cast and note: 
 
 "On account of the unusual number of songs originally performed in this piece, it 
 has been found expedient, in order to shorten the time of representation, to take out 
 some of the airs, among which are those sung by Mr. Mattocks, his part has therefore 
 been given to Mr. Robson." ML 50.2.S48 
 
 II seraglio di Osmano. Dramma giocoso per musica di Giovanni 
 Bertati da rappresentarsi nel Teatro Giustiniani in S. Moise per 
 prima opera del carnevale 1785. 
 
 Venezia, Antonio Casali, n. d. 62 p. 17 cm . 
 
 Two acts. Cast, scenario, and name of the composer, Giuseppe Gazzaniga. 
 
 First performed, as indicated, December 26, 1784. SCHATZ 3676 
 
 II palazzo d' Osmano: Dramma giocoso per musica da rappre- 
 sentarsi nel Reggio Teatro di S. Carlo, della Principessa il carnevale 
 dell' anno 1795. 
 
 Lisbona, Simone Taddeo Ferreira, 1795. 191, [2] p. 
 
 Two acts. Gazzaniga is mentioned as the composer. Portuguese text faces the 
 Italian by Bertati, who is not mentioned. SCHATZ 3680 
 
 Le serdeau des theatres. Parody of Pirithoiis. 
 
 La serenade venitienne. See Campra's Trois nouvelles entrees. 
 
 Serenade!! eller De sorte naeser. Syngestykke i tre optoge af 0. 
 Pram sat i musik af hr. regimentsquarteermester Wedel. 
 
 Eifiberihavn, Jolian Frederik Schultz, 1795. 80 p. 16 cm . 
 
 First performed at Copenhagen May 15, 1795. SCHATZ 10919 
 
 Les serenades & les joueurs. Entries in Campra's Les festes 
 venitiennes. 
 
 Die serenate. A. T. of Preu's Adrast und Isidore. 
 
 Le serenate noturne, ballet. See Anfossi's Le gelosie villane. 
 
 La serieta in conflitto, ballet. See Rust's La caccia d'Enrico IV. 
 
 Serpilla e Bacocco. L. T. of II marito giogatore e la moglie 
 bacchettona. 
 
 II serraglio. A. T. of Paer's Saed.
 
 OPEEA LIBRETTOS 993 
 
 II serraglio di Osmano. Dramma gipcoso per musica da rappre- 
 sentarsi nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. pull, 1787. 143 p. 15% cm . 
 
 Two acts. By Giovanni Bertati, who is not mentioned. Stefano Ghinassi is 
 named as the composer. The German title page, "Osmanns serail," and text face 
 Italian. SCHATZ 3803 
 
 Le serrurier, opera bouffpn; represent^ pour la premiere fois par 
 les Com^diens italiens ordinaires du roi, le 20 decembre 1764. Lea 
 paroles sont de M. Que"tant. 
 
 Paris, Duchesne, 1765. 47 p. 21. 
 
 One act. Cast and note on p. 2: 
 
 "Le eujet de cette bagatelle eet originairement de M. de la Ribardiere. La piece 
 avoit ete presentee aux Italiens qui n'en firent point usage: 1'auteur 1'ayant aban- 
 donnee a M. Kohault, ordinaire de la musique de Monseigneur le prince de Conti, 
 je la refis comme elle est actuellement pour 1'amusement de S. A. S. 
 
 On p. 10-12, the ariette, "Le tendre coeur de ta bergere." On p. 38-40, the vaude- 
 ville, '^Bannissons le eoupcon jaloux." On p. [431-47, an "Essai sur ropera-comique," 
 in which Quetant defines this form of art and gives his advice as routinier on suitable 
 subjects, on the "intrigues," the dialogue, the proper place for ariettes, etc. 
 
 First performed at Paris, Theatre de la Comedie-italienne, December 20, 1764. 
 
 SCHATZ 5205 
 
 Le serrurier, opera bouffpn; represent e pour la premiere fois par 
 les Comediens italiens ordinaires du roi, le 20 de"cembre 1764. Les 
 parolles sont de M. Quetant. 
 
 Paris, Duchesne, 1766. 31 p. 19. 
 
 One act. On p. [2], the same note as above. 
 
 On p. [28J-31 the "Essai sur I'opera-comique." SCHATZ 11716 
 
 Le serrurier, opera bouffpn, represent^ pour la premiere fois par 
 les Come'diens italiens ordinaires du roi, le 20 decembre 1764. Lea 
 paroles sont de M. Quetant. 
 
 Paris, Duchesne, 1771. 82 p. 19 cm . 
 
 One act. Cast. The essay on the opera-comique is not in this edition, the text 
 of which is the same as in the ed. of 1766 with the addition of the unaccompanied 
 airs of "Le tendre coeur de ta bergere," on p. 8-11 and on p. 28-31 the vaudeville 
 with chorus "Bannissons le soupcon jaloux." SCHATZ 11717 
 
 Der schlosser, ein singspiel in einem aufzuge aus dem franzoe- 
 sischen uebersetzt. Mit musik. 
 
 Frankfurt am Mayn, mit Andreaeischen schriften, 1772. 60 p., 9 
 p. (music). 16\ cm . 
 
 Cast. Neither the translator, Johann Heinrich Faber, nor the composer, Joseph 
 
 SCHATZ 5206 
 
 La serva astuta. Intermezzi per musica a tre voci da rappresen- 
 tarsi nel Teatro di via del Cocomero nel carnevale dell' anno 1756. 
 
 Firenze, Gaetano Albizzi, 1756. 30 p. 15. 
 
 Two parts. Neither author nor composer mentioned and both unknown to me. 
 The text is not by Goldoni. ML 48.A5 v.16 
 
 La serva astuta o sia II filosofo in campagna. L. T. of Galuppi's 
 II filosofo di campagna. 
 
 72251 VOL 114 63
 
 994 LIBRARY OF CONGRESS 
 
 La serva bacchettona. Commedia per musica di Antonio Palomba 
 Napoletano da rappresentarsi nel Teatro de' Fiorentini, nella prima- 
 vera di quest' anno 1749 . . . 
 
 Napoli, Domenico Langiano, 1749. 4 P- l-> 68 P- 
 
 Three acte. Impresario's dedication ("commedia, che prima comparisce in quest' 
 anno sul mio teatro"), cast, and name of the composer, Gioacchino Cocchi. 
 
 SCHATZ 2040 
 
 La serva fatta padrona. Commedia per musica da rappresentarsi 
 nel Teatro de' Fiorentini nelT esta di quest' anno 1769. 
 Napoli, Stamperia AveUiniana, 1769. 72 p. 15\ cm . 
 
 Three acts. Cast, name of Paisiello as the composer, and preface by the author, 
 Pasquale Mililotti, in which he says that the impressario was compelled to abandon 
 his plan of presenting a new work and "di replicare la presente commedia, tanto, 
 pochi anni sono, dall' eccellentissima nobilta e dal pubblico cpmpatita; ed acciocche 
 possa maggiormente aggradire, come spera, ha proccurato di farla in buona parte 
 innovare si di poesia, come di musica, come si osservera da chi cortese degnerasse di 
 leggerla." 
 
 Accordingly, these performances of 1769 can not have been the first, at least not 
 in the original form of the opera, and it is known that the title of the original dialect 
 version was "Le mbroglie de le bajasee." SCHATZ 7671 
 
 La serva favorita. Dramma per musica da rappresentarsi in 
 Firenze nel Teatro di via del Cocomero, nell' autunno del 1741 . . . 
 
 Firenze, Anton M. Albizzini, n. d. 65 p. 14\ cm - 
 
 Three acts. By Giov. Cosimo Villafranchi, with dedication signed by Giovanni 
 Ghinzer (CMnzer) as impresario and cast. Author unknown to Schatz. Composed 
 by the impresario, who does not mention the fact. 
 
 First performed at Florence, Teatro via di Cocomero, carnival, 1727. 
 
 SCHATZ 1864 
 
 La serva innamorata : Dramma giocoso per musica da rappresen- 
 tarsi nel Reggio Teatro di S. Carlo della rrincipessa, Testate delP 
 anno 1794. 
 Lislona, Simone Taddeo Ferreira, 1794. 165 p. 14\ cm . 
 
 Two acts. By Giuseppe Palomba, who is not mentioned. Cast, scenario, and 
 name of Pietro Guglielmi as the composer. With the opera was performed, com- 
 poser of the music not mentioned, Carlo Bencini's ballet "Lauretta. 
 
 First performed at Naples, Teatro de' Fiorentini, summer, 1790. SCHATZ 4294 
 
 La serva nobile. Drama civile fatto rappresentare in musica dagl' 
 illustrissimi Signori Accademia Immobili nel loro teatro . . . 
 n. i., n. d. [185}-298 p. 15\ cm . 
 
 Detached apparently from Moniglia's Poesie drammatiche, 1689-90, third part 
 which is wanting in our set. Three acts. By Giovanni Andrea Moniglia, who is not 
 mentioned. Argument, name of Domenico Angles! as composer in the prefatory 
 note, and on p. 279-29, " Dichiarazione La serva nobile de' proverbi, e vocaboli usati 
 dalla plebe fiorentina, de' quali per legittima imitazione e e valso 1'autore." Why 
 Pavan attributes the music to Jacqpo Melani is unknown to me. 
 
 First performed at Florence, as indicated, in 1660. SCHATZ 288 
 
 La serva onorata. Dramma giocoso per musica da rappresentarsi 
 nel Teatro de' Fiorentini per seconda opera del corrente anno 1792. 
 
 Napoli, Vincenzo Flauto, n. d. 58 p. 15 cm . 
 
 Two acts. Cast and name of Niccol6 Pictinni as the composer. On p. ,3 thie 
 anonymous note:
 
 OPERA LIBRETTOS 995 
 
 La serva onorata Continued. 
 
 "II presente dramma e una imitazione, o sia eetratto del libro intitolato le Nozze 
 di Figaro. Nell' originale francese 1'azione fu cpndotta da sedici interlocutor!, e 
 poi dal Sig. ab. da Ponte quest! si ridussero a undici . . . ora compariece sopra queste 
 scene rietretta 1'azione a eei attori." 
 
 According to Schatz Giambattista Lorenzi is responsible for this version. 
 
 SCHATZ 8129 
 
 La serva padrona. Intermezzo per musica da rappresentarsi nel 
 Teatro Giustinian di S. Mose. 
 
 Venezia, Modesto Fenzo, 1748. 20 p. (ind. front.) . 14 m - 
 Two parts. Neither Gennaro Antonio Federico is mentioned as author, nor G. B. 
 Pergolesi as the composer. Cast. The text is exactly the same as in the score 
 edited at Paris by Rousseau in 1752. It agrees also, it seems, with the text of the 
 original libretto (Naples, 1733) as analyzed by Radiciotti, except that the final 
 duet, "Per te io ho nel core," has been substituted from act III of Pergolesi's "Fla- 
 minio" for the original final duet of "La Serva Padrona," "Con ten to tu sarai." In 
 the replicas, "Per te io ho nel core" appears to have been used oftener than the 
 original. 
 
 The libretto contains (arias in italics): 
 (Int. I) 1. Aspettare e nan venire. 
 
 Questa & per me disgrazia. 
 
 2. Sempre in contrasti. 
 
 In somma delle somme. 
 
 3. Stizzoso, mio. 
 Benissimo, hai tu inteso? 
 
 4. Lo conosco a quelli occhietti (duet). 
 (Int. II) Or che fatto. 
 
 5. A Serpina penserete. 
 Ah quanto mi. 
 
 6. Son imbrogliato io gib. 
 Favorisca, signor, passi. 
 
 7. Per te ho io nel core (duet). 
 
 First performed at Naples, Teatro di S. Bartolomeo, August 28, 1733. 
 
 SCHATZ 7892 
 
 La serva padrona. Intermezzo in musica da rappresentarsi 
 sopra il Theatro Nuovo dell' opera pantomima del Nicohni. Die als 
 magd gewordene frau . . . 
 
 Braunschweig, Keitel, n. d. Unpaged. 18\ cm . 
 
 Cast. German text faces Italian. Pergolesi is not mentioned. Contains the 
 substituted final duet, "Per te io ho nel core." 
 
 Performed 1749. as indicated. SCHATZ 7894 
 
 - La serva padrona, intermezzo per musica. Stampato a spese 
 degli musici italiani e riveduto da Marco Soralli, maestro della lingua 
 italiana. 
 
 n. i., n. d. 63 p. 
 
 An altered version of Pergolesi's 2-act intermezzo. Soralli or somebody else made 
 this version begin with an "Intermezzo primo. SERPINA E ANTIMONIO. Serp. 'Di 
 grazia signore conte.' " After this comes the original "Intermezzo primo," and called 
 such! The second intermezzo is followed by "Intermezzo terzo. UBERTO, POI SER- 
 PINA, etc. Uber. 'II prender mogliej'" in which again the conte figures. Appar- 
 ently two different works were combined to produce this hybrid affair. German 
 title page, "Die herrechende magd," and text face Italian. 
 
 First performed at Frankfurt a/M. Theaterbude am Rossmarkt, April 4. 1755, by 
 the opera company of prince Thurn & Taxis under the management of Girolamo Bon. 
 
 SCHATZ 7902 
 
 La servante maitresse. Comedie en deux actes. Melee 
 d'ariettes, parodies de La serva padrona, interm&de italien. Repre-
 
 996 LIBRARY OF CONGRESS 
 
 La serva padrona Continued. 
 
 sent6e pour la premiere fois par les Comediens italiens ordinaires du 
 roi, le me'rcredi 14 aout 1754. 
 Paris, P. G. Le Mercier, 1754. 31, [1] p. 19. 
 
 Pergolesi is not mentioned. On p. 3, this four-liner: 
 
 "A M lle Favart. 
 Nature un jour 4pousa 1'art; 
 De leure amours naquit Favart. 
 Qui semble tenir de sa mere. 
 Tout ce qu'elle doit a son pere." 
 
 The parody reap, transl. was by N. Baurane, who is not mentioned. 
 The score was published by the widow Delormel. Both the score and the libretto 
 contain the arias 
 
 I, 1. Longtemps attendre (=1 in La Serva Padrona). 
 I, 2. Eh bien! Finiras tu? (source unknown to Wotquenne). 
 Sans fins, sans cesse (=2 in S. P.). 
 Eh, mais nefait-il pas? (=3 in S. P.). 
 Je devine a ces yeux (=4 in S. P.). 
 II, 1. Vous gentilles jeunes filles (According to Wotquenne=Donn belle che bramate in 
 
 "Amor mascherato," intermezzo by unknown composer). 
 II, 2. Charmant espcrir qui nous (Sotirce unknown to Wotquenne). 
 II, 3. A. Zerbine laisses par grace (=5 in S. P.). 
 II, 4. Quel est mon embarras (=6 in S. P.). 
 II, 5. Me seras tufidelef (=Contento tu sarai, the original final duet of S. P.). 
 
 " La serva padrona " was first performed at Park, Com6die italienne, October 4, 
 1746, with an overture by Paganelli, and again at Paris, Academie royalede musique, 
 with an overture by Telemann on August 1, 1752, before a ballet-pantomime and 
 after Lully's "Acis et Galat^e." SCHATZ 7895 
 
 La servante maitresse, comedie en deux actes. MelSe d'ariettes 
 parodi6es de la Serva padrona, intermede italien. Represent e"e pour 
 la premiere fois, par les Comediens italiens ordinaires du roi, le 
 mercredi 14 aout 1754. 
 
 La Haye, Pierre Paupie, 1755. 36 p. 19 cm . 
 
 Baurans translation. Pergolesi is not mentioned. ML 48. A4 
 
 La servante maitresse, comedie en deux actes, me'lee d'ariettes, 
 traduite de la Serva Padrona, intermede italien. 
 
 Paris, la veuve Duchesne, 1771. 32 p. 16 cm . 
 
 Transl. by N. Baurans. Pergolesi is not mentioned. Cast. On p. 27-32, "Airs 
 de la Servante maitresse," viz, "Sans fin, sans cesse" (I, 2), "Vous, gentilles jeunes 
 filles" (II, 1). SCHATZ 7895a 
 
 - La servante maitresse, comedie en deux actes, melee d'ariettes, 
 traduite de la Serva padrona, intermede italien. 
 
 Bruxelles, J. J. Boucherie, n. d. 35, [1] p. 19 cm . 
 
 Cast. Neither Pergolesi is mentioned, nor Baurans, the translator, resp. parodist. 
 On p. 31-35, "Airs choisis de la Servante Maitresse." ML 50.2.S51P3 
 
 Die magd als frau im hause, ein musicalisches mittel-spiel. 
 n. i., n. d. [16] p. 15\ cm . 
 
 Cast and date, "Dresden im jahr 1740." Pergolesi is not mentioned. 
 
 First performed at Dresden, Hoftheater, February 8, 1740. SCHATZ 7893 
 
 - Pandolfus en Zerbina, of De meid meesteres, zangspel. Naar 
 het fransche La servante maitresse gevolgd door Bartholomeus 
 Ruloffs. 
 
 Amsteldam, J. HeUers en A. Mars, 1793. 7 p. 1., 32 p. 16%. 
 Prefatory poem by the translator, followed by his historical preface. 
 
 SCHATZ 7896
 
 OPERA LIBRETTOS 997 
 
 La serva padrona. Intermezzo in due atti da rappresentarsi in 
 musica nella Sala del Signer Bartolomeo Cambi cfetto Meo . . . 
 Posto in musica dal Sig. maestro Vittorio Trento. 
 Venezia, n. pull., 1795. 20 p. 16 cm . 
 
 By Gennaro Antonio Federico, who is not mentioned. Composer's dedication and 
 cast. 
 
 First performed 1795, as indicated. SCHATZ 10429 
 
 La serva per amore. Dramma giocoso per musica di Filippo 
 Livigni, da rappresentarsi nel Teatro di San Samuelle 1'autunno dell' 
 anno 1773. 
 
 Venezia, Modesto Fenzo, 1773. 54 p. 17$ cm . 
 
 Three acts. Cast, scenario, and name of Galuppi as the composer. SCHATZ 3508 
 
 La serva scaltra. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Giustiniani di S. Moise. Nell' autunno dell' anno 
 MDCCLIX. 
 
 Venezia, Modesto Fenzo, 1749. 70 p. ' 16 cn . 
 
 Three acts. Author not mentioned, and unknown to Schatz. Impresario's dedi- 
 catory poem, cast, scenario, and name of Giuseppe Scarlatti as the composer. 
 
 SCHATZ 9555 
 
 La serva sposa. Intermezzi per musica a tre voci da rappresentarsi 
 nel Teatro alia Valle nel carnevale dell' anno 1758 ... 
 
 Roma, Marcello Silvestri, n. d. 23 p. 15\ cm . 
 
 Two parts. Author not mentioned and unknown to Schatz. Publisher's dedica- 
 tion, cast and name of Rinaldo di Capua as composer. Contains arias: "Piu eono 
 in amore," "Sbagliate Sor conte," "D*amore nella rete," "Piu rimiro quel visino," 
 etc. ML 50.2.S5R4 
 
 La servante justifiee, Ope"ra comique. De Messieurs F*** et 
 F*** 
 
 Paris, Prault fils, 1744. 4$ P- 19. (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. vi.} 
 
 One act. Prose and vaudevilles. By Favart and Fagan. "Suivi de 12 airs et 
 du duo du Tictac, grave's en musique," says Font, but they are not in this reissue of 
 Prault's edition, atleast not in our copy, which does not show signs of imperfection. 
 Font does not mention Favart's musical collaborator. Towers lists an opera of the 
 above title as composed by J. B. Moulinghem (Moulinghen). 
 
 First performed at the Foire St. Germain March 19, 1740. ML 49.A2F1 
 
 - La servante justiflee, op6ra-comique en un acte. Represent^ 
 pour la premiere fois sur le Theatre de rOpe>a-comique, le 19 mars 
 1740. 
 Paris, la veuve Duchesne, 1766. 68 p. 19 cm . 
 
 Onp. 45-68, twelve "Airsde Laservante justified" and "Letictac. Duo. Comme 
 on voit notre moulin." Without names of the authors, Fagan and Favart, or the 
 composer. SCHATZ 11513 
 
 La servante maitresse. Parody of Pergolesi's La serva padrona. 
 
 Le serve rivali. Dramma giocoso per musica del Signer abate Pietro 
 Chiari da rappresentarsi nelTeatro Giustiniani di S. Moise 1'autunno 
 dell' anno 1767. 
 
 Venezia, Modesto Fenzo, 1767. 70 p. 14\ cm . 
 
 Three acts. Argument, cast, scenario, name of Tommaso Trajetta as composer, 
 and description of the ballets, whose composer is not mentioned. 
 
 First performed at Venice, as indicated, but previously at Venice, Teatro di S. 
 Moise, fall of 1766. SCHATZ 10397
 
 998 LIBRARY OF CONGRESS 
 
 II served astuto. A. T. of Ferd. Rutini's II matrimonio per industria. 
 
 II servo di due padroni, ballet. See Martin y Soler's Ifigenia in 
 Aulide. 
 
 II servo padrone ossia L'amor perfetto. Dramma giocoso per 
 musica da rappresentarsi nel nobihssimo Teatro di San Samuele il 
 carnovale dell' anno 1794. 
 
 Venezia, Modesto Fenzo, 1794. 68, [1] p. 18 cm . 
 
 Two acts. Impresario's dedication with Caterino Mazzola's name as the author 
 of the text, scenario, cast, and name of Niccol6 Piccinni as the composer. 
 
 On p. 37-43 argument, cast, and description of Giuseppe Trafien's five act "Odo- 
 acre, primo r& d' Italia, ballo tragico eroico pantomimo ... La musica tutta nuova 
 e del Signer maestro Vittorio Trento." 
 
 First performed January 17, 1794, as indicated. SCHATZ 8152 
 
 II servo padrone, ossia L'amor perfetto. Dramma giocoso per 
 musica, da rappresentarsi nel Teatro Elettorale, del Signer Caterino 
 Mazzola . . . 
 
 Dresda, n. publ, 1792. 173 p. 
 Two acts. Joseph Schuster is mentioned as composer. German title-page, "Der 
 herr ala bedienter oder Die wahre Hebe" and text face Italian. 
 
 First performed January 5, 1793, as indicated. SCHATZ 9756 
 
 Sesostri. Drammk per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnevale del 1755 alia presenza di S. S. R. M. 
 Torino, Zappata ed Avondo, n. d. viii, 62, [1] p. 15% cm . 
 
 Three acts. Argument, cast, scenario, and name of composer, Ferdinando Giuseppe 
 Bertoni, but not of. Apostolo Zeno and Pietro Pariati, the authors. The ballets, of 
 which the second was called "Coronazione d'Apollo, e Dafne," were by Gaetano 
 Veetri, music by Rocco Gioannetti. 
 
 First performed at Turin, December 26, 1754. SCHATZ 918 
 
 Sesostri, re d'Egitto. Dramma per musica da rappresentarsi 
 nel Reggio Teatro di Praga, in decembre dell' anno 1766 . . . 
 Praga, Carlo Giuseppe Jaumich, n. d. 5 p. 1., 119 p. 15 cm . 
 
 Three acts. Impresario's dedication, cast, scenario, and name of composer, Ber- 
 toni. Zeno and Pariati are not mentioned. German title-page, "Sesostris, konig in 
 Egypten," and text face Italian. SCHATZ 919 
 
 Sesostri. Dramma per musica da rappresentarsi nel Teatro Gri' 
 manidi S. Benedetto rautunno dell' anno 1757. 
 
 Venezia, Modesto Fenzo, 1757. 4^ P- 15 cm . 
 
 Three acts. By Apostolo Zeno and Pietro Pariati, who are not mentioned. Argu- 
 ment, cast, scenario, and name of Oaluppi as composer. 
 
 First performed, as indicated, November 26, 1757. SCHATZ 3494 
 
 Sesostri, an opera; to be perform'd at the King's TJieatre in the 
 Hay-Market. For the benefit of Signora Campolini, and Signor 
 Guglielmi, composer to the opera. The music was composed on 
 purpose for this benefit by the above Signor Guglielmi. The poetry 
 taken from an old book, is quite alter'd and adapted to the present 
 taste by Giovan Gualberto Bottarelli. 
 
 London, W. Griffin, 1768. 47, [1] p. 20 cm . 
 
 Three acts. Italian text and English translation. Cast and argument. 
 
 First performed* as indicated, 1768. 
 
 It is not known in iust what relation this "Sesoetri" stood to Guglielmi 's opera of 
 the same title, text by Zeno and Pariati, as first performed at Venice, Teatro di S. 
 Salvatore, May 7. 1766. SCHATZ 4267
 
 OPEKA LIBRETTOS 999 
 
 Sesostri, re di Egitto. % 
 
 Apostolo Zeno, Poesie drammaticTie, Venezia, 1744, t- ^ P- [201]- 
 
 1 Qcm 
 JC/ 
 
 Three acts. Argument. Written in collaboration with Pietro Pariati. No 
 composer is mentioned. In the "Catalogo" at end of the t. x, date and place of 
 first ed. are given as Venezia, 1710, but see below. ML 49.A2Z3 
 
 Sesostri. Pubblicato per la prima volta in Venezia 1708. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. x, p. 199- 
 287. 21 cm . 
 
 Three acts. Argument. No composer is mentioned. Written in collaboration 
 with Pietro Pariati. ML 49.A2Z4 
 
 Sesostri, re d'Egitto Sesostris, konig in Egypten. L. T. of Ber- 
 toni's Sesostri. 
 
 Sesostri re d'Egitto. Drama per musica da rappresentarsi nel 
 Regal Teatro di S. Carlo a di 30. maggio 1752 . . . 
 
 Napoli, Domenico Lanciano, 1752. J+8 p. 14 cm - 
 
 Three acts. By Apostolo Zeno and Pietro Pariati, who are not mentioned. Im- 
 presario's dedication, dated Naples, May 30, 1752, argument, cast, scenario, and name 
 of the composer, Gioacchino Cocchi. SCHATZ 2046 
 
 - Sesostri re d'Egitto, dramma per musica da rappresentarsi nel 
 Nuovo Teatro di Padova per la solita fiera di giugno dell anno 1756 . . . 
 Venezia, Modesto Fenzo, 1756. '48 p. 17 cn . 
 
 Three acts. Dedication, argument, scenario, cast, and name of Gioachino Cocchi 
 as composer. Zeno and Pariati, the authors, are not mentioned. SCHATZ 11687 
 
 Sesostri, re di Egitto. Drama per musica, da rappresentarsi nella 
 Cesarea corte . . . nel carnevale dell' anno MDCCAvII. La poesia 
 si del drama, come degl' intramezzi del Sig. dottor Pietro Pariati 
 . . . La musica pure si del drama, come degl' intramezzi e del Sig. 
 Francesco Conti. 
 
 Vienna d j Austria, Gio. Van Ghelen, n. d. 80 p. 14\ cm - 
 Argument, scenario, and note that at the end of the play would be performed a 
 "ballo di fanciulli," music by Nicola Matteis, and the vntramezzi after the first act, 
 the second act and during the first change of scenery in the third. The subject of 
 these intramezzi (p. 69-80) was "GRILLETTA E PIMPINONE " (Schatz 2198). It should 
 be noted that in Zeno's collected works "Sesostri, re di Egitto" appears as written 
 jointly by him and Pariati. 
 
 First performed, as indicated, February, 1717. SCHATZ 2197 
 
 Sesostri, re d'Egitto. Drama per musica, da rappresentarsi nel 
 Teatro di S. A. S. di Carignano, nel carnevale dell' anno 1717 . . . 
 Torino, P. G. Zappata, 1717. 4 p. I, 72 p. 15. 
 
 Three acts. By Apostolo Zeno and Pariati, who are not mentioned. Dedication, 
 argument, cast, notice to the reader asking his pardon for the liberties taken with 
 "la gloriosa penna dell' autore," scenario, and name of the composer, Stefano Andrea 
 Fior6. SCHATZ 3192 
 
 Sesostri re di Egitto. Drama per musica da rappresentarsi nel 
 Teatro Tron di San Cassano nel carnovale dell' anno 1 709 . . . 
 
 Venezia, Marino Rossetti, n. d. 68 p. 15 cm . 
 
 Three acts. By Apostolo Zeno and Pariati, who are not mentioned. Impresario's 
 dedication, argument, cast, scenario, and name of Carlo Francesco Gasparini as the 
 composer. SCHATZ 3681
 
 1000 LIBRARY OF CONGRESS 
 
 Sespstri rS d'Egitto, dramma per musica da rappresentarsi nel 
 Regio Ducal Teatro di Milano, nel carnovale dell' anno 1760 . . . 
 Milano, Giuseppe Rickino Mdlatesta, 1759. 5 p. 1., 36, [1] p. 14\ cm - 
 Three acts. By Zeno and Pariati, who are not mentioned. Dedication, argu- 
 ment ? cast, and name of Carlo Monza as the composer. On the additional page the 
 substitute aria for III, 6, "Che pena, che affanno." With the opera were performed 
 Sonie^s ballets "Venere ed Adone," "I molinari francesi," and "II giudizio di 
 Paride." The composers of the music are not mentioned. 
 
 First performed, as indicated, December 26, 1759. SCHATZ 6612 
 
 Sesostri re d'Egitto. Drama per musica da rappresentarsi in Roma 
 nel Teatro delle Dame nel carnevale dell' anno MDCCLI . . . 
 Roma, Fausto Amidei, n. d. 65 p. 15 cm . 
 
 Three acts. By Zeno and Pariati, who are not mentioned. Dedication, argu- 
 ment, scenario, cast, and name of Terradellas as composer. ML 50.2.S55T2 
 
 Sesostris, konig in Egypten. Tr. of Bertoni's Sesostri, re d'E- 
 gitto. 
 
 Sesto Tarquinio. Drama per musica. Nel famoso Teatro Ven- 
 dramino di San Salvatore, 1'anno MDCLXXIX. Del dottore Camillo 
 Badovero . . . 
 
 Venetia, Francesco Nicolini, 1679. 78 p. 14 cm . 
 
 Three acts. Author's dedication, dated December 5, 1678, argument, scenario, 
 and notice to the reader: 
 
 "Questo e il mio primo drama, che nove anni sono scrissi per mio diporto, eceneg- 
 giato per6 con altro ordine di quello, che lo ritrovi al presente. Per incontrare le 
 sodisfattione de mold, h6 pregiudicato alia mia, & 1'uso corrente della moltiplicita 
 delle arie, ha fatto correr in aria le eostanze del piu buono recitative ... si, per 
 essere primo aborto della mia penna, come ti dissi, come per essere etato lacerato piii 
 volte, e gli errori . . . sarebbe rimasto finalmente estinto, ee la virtu singolariBsima 
 del illustre Sig. Gio. Battista Tomasi Virtuoso di camera del Serenissimo Duca di 
 Mantova non gli havesse eoministrato il balsamo vitale della sua mueica. Respira 
 dunque questo & sola forza de sospiri; sono le note i suoi giorni; spera passare al tuo 
 aggradimento a favore de passaggi, e far punto al periodo delle sue awersitadi c6 il 
 solo contrapunto. II Sig. Tomasi ancora per colpa di tante mutationi etato necesitato 
 a rendere in qualche parte dura la solita sua dolcezza, che per6 se ti ferir^ 1'orrecchio 
 alcuna divereita, di tuono accusa il troncamento delle scene, le aggiunte doppo la 
 perfettione, che per altro non pu6 fallire chi insegna." SCHATZ 10359 
 
 Li sforzi d'ambizione e d'amore. Drama per musica, da rap- 
 presentarsi nel Teatro Giustiniano di S. Moise. Nel carnovale 1724. 
 
 Venezia, Carlo Buonarrigo, n. d. front., 4$ P> 14 m - 
 
 The title appears separate as frontispiece. 
 
 Three acts. By Antonio Maria Lucchini, who is not mentioned. Argument, cast, 
 scenario, and name of Giovanni Porta as the composer. SCHATZ 8392 
 
 The sham captain. A. T. of The boarding-school. 
 
 The shamrock or The anniversary of St. Patrick. O. T. of Shield's 
 The poor soldier. 
 
 The shamrock or Revels on St. Patrick's Day. O. T. of Shield's 
 The poor soldier. 
 
 The sheep -shearing: or, Florizel and Perdita. A pastoral comedy. 
 Taken from Shakespear. As it is acted at the Theatre-Royal in 
 Smock-alley. The songs set by Mr. Arne. 
 Dublin, Peter Wilson, 1755. 27, [1] p. 16. 
 
 Two acts, prologue, and epilogue. By MacNamara Morgan, who is not men- 
 tioned. LONOE 201 
 First performed at London, Covent Garden, March 25, 1754 (Genest).
 
 OPEEA LIBRETTOS 1001 
 
 The sheep -shearing Continued. 
 
 Florizel and Perdita; or, The Sheepshearing: A dramatic pas- 
 toral. In two acts. (Altered from Shakespeare's Winter's tale. 
 
 [87}-10S p. 19 cm . (Collection of the most esteemed farces and enter- 
 tainments, t. i, Edinburgh, 1792.) 
 
 Drury-Lane and Edinburgh (1781) caste. Neither MacNamara Morgan is men- 
 tioned, nor Arne. SCHATZ 11753A 
 
 The shepherd's artifice, a dramatic pastoral. As it is perform'd at 
 the Theatre Royal in Covent Garden. The words written and the 
 music compos'o. by Mr. Dibdin. 
 London, T. Becket and P. A. De Hondt, 1765. 32 p. 19 cm . 
 
 Two acts. Cast. 
 
 First performed Friday, May 21, 1762, at Covent Garden. LONGE 52 
 
 The shepherd's lottery. A musical entertainment. As it is per- 
 form'd by His Majesty's Company of comedians at the Theatre- 
 Royal in Drury-Lane. The music compos'd by Dr. Boyce. 
 London, M. Cowper, 1751. 24 p. 19 cm . 
 
 Two parts. By Moses Mendez, who is not mentioned. 
 
 First performed November 19, 1751, as indicated. LONGE 54 
 
 The shepherd's wedding. A. T. of Stanley's Arcadia. 
 
 The shepherdess of the Alps : a comic opera, in three acts. As it 
 is performed at the Theatre-Royal in Covent-Garden. 
 
 London, G. Kearsly, 1780. 1 p. 1., 86 p. 20% cm . 
 
 Cast. The author-composer, Charles Dibdin, is not mentioned. 
 
 First performed January 18, 1780, as indicated. LONGE 126 
 
 Sherwood forest. A. T. of Shield's Robin Hood. 
 
 La sibille, represented, devant Sa Majeste", a Fontainebleau, le 
 jeudi 25 octobre 1770. 
 
 [Paris], Pierre Robert Ohristophe BaUard, 1770. 2 p. 1., 15 p. 21%. 
 
 One act. Cast and names of De Moncrif as author, of Antoine Dauvergne as 
 composer. 
 
 First performed at Paris, Acade"mie royale de muaique, August 8, 1758, and pre- 
 viously at Fontainebleau November 13, 1753, as first act of a ballet called "Les fStes 
 d'Euterpe." (See also his La coquette trompee.") ML 50.2.S59D2 
 
 Der sich raechende Cupido. L. T. of Reiser's Die entdeckte 
 verstellung. 
 
 The Sicilian romance: or, The apparition of the cliffs, an opera, 
 by Henry Siddons. As performed with universal applause at the 
 Theatre Royal, Covent-Garden. 
 
 London, J. Barker, 1794. 1 p. 1., 44 P- %l\> 
 
 Three acts. Cast, prologue, and dedication. The composer, William Reeve, is 
 not mentioned. 
 
 First performed May 28, 1794. LONGE 239 
 
 Sicotencal. Dramma per musica da rappresentarsi nel Nuovo 
 Teatro de' cjuattro Signori associati cavalien e patrizj della Regia 
 citta di Pavia nella primavera dell' anno 1776 . . . 
 Pavia, Porro, Bianchi e compagni, n. d. 41 > 10 P> 17.
 
 1002 LIBRARY OF CONGRESS 
 
 Sicotencal Continued. 
 
 Three acts. By Cesare Oliver!. Impresario's dedication, argument, cast, scenario, 
 and names of the author and the composer, Giuseppe Colla (La musica sara tutta 
 nuova"). The ballets, of which the first was called "Arianna," were by Giuseppe 
 Salomoni; the music by Giuseppe Sighizzelli. SCHATZ 2110 
 
 Sicotencal. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1776 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 60 p. 16\ cm . 
 
 Three acts. Argument, cast, scenario, and names of Cesare Oliver! as author, of 
 Giovanni Marco Rutini as composer. With the opera were performed (music by 
 Giuseppe Antonio Le Messier) Giuseppe Canziani's ballets, "Le dissension! d'amore 
 nel campo," "L'amante travestita," and "Lo sbarco de' Spagnuoli nell' America." 
 
 SCHATZ 9191 
 
 Sidney e Silly, ballet. See Bianchi's Eurione. 
 
 Sidonio. Drama per musica da rappresentarsi nel Teatro Tron di 
 S. Cassano 1'autunno dell' anno 1706 . . . 
 
 Venezia, Marino Rossetli, 1706. 70 p. 15 cm . 
 
 Three acts. By Pietro Pariati, who is not mentioned. Dedication, argument, 
 cast, scenario, and name of Antonio Lotti as composer. SCHATZ 5722 
 
 Sidonio e Dorisbe. Drama di Francesco Melosio. Honorato di 
 musica dal Sig. Nicolo Fontei e rappresentato nel Teatro di S. Moise" 
 1'anno [1642]. 
 
 Venetia, Gio. Battista Surian [ MDCXLII}. 106 p. 13 cm . 
 
 Dates partly filled out in pencil. On p. 106 (incorrectly numbered 104), a mounted 
 notice to the reader: 
 
 "Scusa gli errori della stampa, che sono infiniti, occorsi, per hauer 1'autore lasciata 
 ad altri la cura di correggere." 
 
 Three acts and prologue. Author's dedication, dated February 16, 1642, argu- 
 ment, author's notice to the reader, and "Scherzo avanti il prologo." SCHATZ 3290 
 
 Der sieg der bescheidenheit auf der insel des vergnuegens. A. T. 
 of Kauer's Kaspars zoegling. 
 
 Der sieg der Clelia. Tr. of Michl's II trionfo di Clelia. 
 
 Der sieg der natur ueber die schwaermerey. A. T. of Phanty's 
 Don Sylvio von Rosalva. 
 
 Der sieg der natur ueber die schwaermerey. A. T. of F. S. 
 Sander's Don Sylvio von Rosalva. 
 
 Der sieg der natur ueber die schwaermerey. A. T. of Ulbrich's 
 Der blaue schmetterling. 
 
 Sieg der schoenheit, in einem singspiele auf dem Hamburgischen 
 Schau-Platz vorgestellet 1722. 
 
 Hamburg, Philipp Ludwig Stromer, n. d. Unpaged. 18 cm . 
 
 Three acts. According to Schatz, originally written by Christian Heinrich Postel 
 as "Der grosse konig der afrikanischen Wenden Gensericus als Horns und Karthagos 
 ueberwinder," but first performed at Hamburg in 1693 as "Gensericus," with music 
 by Johann Georg Conradi. The text was then partly rewritten by Weichmann, and 
 further altered for the performances of 1722 by Georg Philip Telemann, who com- 
 posed the new music. Under its original title, "Der grosse kpenig," etc., Telemann's 
 version of Conradi's opera was then performed at Braunschweig in February, 1725. It 
 was repeated, so Schatz claims, at Braunschweig in February, 1732, as "Sieg der
 
 OPERA LIBRETTOS 1003 
 
 Sieg der schoenheit Continued. 
 
 schoenheit." Schatz' statements do not quite agree with those of Ottzenn, who, in 
 his monograph on Telemann, mentions a score preserved at Berlin headed "Genserich 
 Opera, so zu Braunschweig anno 1732, in der Winter Messe representiret worden. 
 Componirt von kapellmeister Telemann in Hamburg." This would Beem to imply 
 that Telemann composed an opera, "Genserich," performed at Braunschweig in 
 1732, and that this opera is not identical with Conradi's "Sieg der schoenheit, as 
 revised by Telemann. 
 
 Cast, scenario, and avertissement, which indicates cuts and states: 
 "Ferner hat man fur gut befunden [das] in der dritten handlung am ende des 
 zehenden auftritts befindliche B[allet] nicht vorzustellen, an dessen statt aber soil 
 vor dem schluss-chore ein Gr[and] Salleten chaconne von den samtlichen taentzern und 
 taentzerinnen hin [zu] gefueget und also das gantze werck mit solcher pracht geschlos- 
 sen werden, [wie] es anfaenget." 
 
 The composer, Johann Georg Conradi, is not mentioned. SCHATZ 2180 
 
 Sieg der weissheit ueber die liebe. A. T. of Telemann's Calypso. 
 
 Le siege de Tyr. Trage*die en cinq actes. 
 
 Venard de La Jonchere, Theatre lyrique, Paris, 1772, t. ii, 76 p. 
 
 " Avant-propos " (p. 3-12). No composer mentioned, nor is any recorded by 
 Clement & Larousse. ML 49.A2L2 
 
 Songs, duets, trios, chorusses, etc., in the Siege of Belgrade. An 
 opera, in three acts, now performing at the Theatre-Royal, Drury 
 Lane. 
 
 London, J. Jarvis, 1791. 2 p. I, 27 p. 20 cm . 
 
 Cast. Neither the author, James Cobb, is mentioned, nor Stephen Storace, who 
 partly composed the music, partly compiled it from Martin y Soler's "Una cosa 
 rara," and other works. Dale's vocal score mentions in the headings besides Martin 
 y Soler, Paisiello, Salieri, and Kelly. 
 
 First performed January 1, 1791, as indicated. LONQE 207 
 
 - The siege of Belgrade ; a comic opera, in three acts. As it is 
 performed at the Theatres Royal, in London and Dublin . . . 
 Dublin, Printed and sold by the booksellers, n. d. Ifi p. 17\ cm . 
 
 Cast. Neither author nor composers mentioned. LONGE 233 
 
 Second copy. SCHATZ 6020 
 
 Songs, duets, trios, chorusses, etc., in the Siege of Belgrade. An 
 opera, in three acts. Now performing at the Theatre Royal, Drury- 
 Lane. The music by the late Mr. Storace. 
 
 London, Printed by C. Lowndes, and sold in the theatre, n. d. 23 p. 
 21^ cm . 
 
 Cast. As Storace died 1796, this would be the earliest possible date for this edition. 
 
 LONGE 263 
 
 The siege of Gibraltar: A musical farce, in two acts. As it is per- 
 formed at the Theatre-Royal in Covent-Garden. The second edition. 
 By F. Pilon. 
 
 London, G. Kearsley, 1780. 2 p. 1., 42 p. 21. 
 
 Cast and prefatory note, in which Frederick Pilon acknowledges the "very favourite 
 eong of 'How stands the glass around, my boys?'" as not his own. The composer, 
 William Shield, who partly selected the music from others, is not mentioned. 
 
 First performed April 25, 1780, aa indicated. LONOE 95
 
 1004 LIBRARY OF CONGRESS 
 
 The siege of Rhodes: the first and second part; as they were 
 lately represented at His Highness the Duke or York's Theatre in 
 Lincolns-Inn Fields. The first part being lately enlarg'd. Written 
 by Sir William D'avenant. 
 
 London, Printed for Henry Herringman . . . 1663. 4 P- l-> 46 P-) 
 1 Z., [2], 61, [2} p. 22. 
 
 Signatures: pt. 1: A in four, A 2 -F in fours; pt. 2: 2 1. unsigned, B-I in fours. 
 
 The second part has special t.-p. and separate paging. 
 
 The first part consists of "Entry " first to fifth, preceded by the author's dedication 
 to the Earl of Clarendon, and "The persons represented." The second part consists 
 of five acts, prologue, and epilogue. 
 
 This edition contains no allusion to the fact that this was (practically) the first 
 opera produced by D'avenant in 1656 after he obtained permission "for the per- 
 formance of operas." Especially does this edition not contain the particulars given 
 in the first edition of the libretto, 1656 . (See Prendergast in ' ' English music, ' ' 1906), as, 
 for instance, "a representation by the art of prospective in scenes, and the story sung 
 in recitative musick," nor that the vocal music of the first and fifth "entry" of the 
 first part was composed by Henry Lawes, of the second and third, by Captain Henry 
 Cook, and the fourth, by Matthew Locke, nor further, that the instrumental music 
 was composed by Charles Coleman and George Hudson. The music of this first 
 English opera seems to be lost. ML 50.2.S62 
 
 Die siegende Atalanta. A. T. of Steffani's Die vereinigten mit- 
 buhler. 
 
 Die siegende bestaendigkeit. A. T. of Reiser's Bretislaus. 
 Die siegende grossmuth. A. T. of Telemann's Sancio. 
 
 Der siegende Phaeton, in einem sing-spiel auf dem Hamburgischen 
 Schau-platz vorzustellen. 
 
 Hamburg, Nicolaus Spieringk, 1702. Unpaged. 18% cm . 
 
 Three acts. Neither the author, Nothnagel, is mentioned, nor the composer, 
 Reinhard Keiser. 
 
 First performed at Hamburg, 1700, as "Der gedemiithigte Phaeton." 
 
 SCHATZ 5110 
 
 Die siegende treue. A. T. of Reiser's Lucius Verus. 
 
 Die siegende unschuld. A. T. of Handel's Chelleri and Telemann's 
 Judith, gemahlin Rayser Ludewigs des Frommen. 
 
 Der siegreiche koenig der Gothen Alaricus. Als uberwinder des 
 maechtigen Roms, in einem singe-spiel auff dem Hamburgischen 
 Schau-Platze vorgestellet. 
 
 Hamburg, Conrad Neumann, n. d. Unpaged. 16\ cm . 
 
 Three acts. Argument. Neither the author, Nothnagel, nor the composer, 
 Johann Christian Schieferdecker, is mentioned. 
 
 First performed, as indicated, 1702. SCHATZ 9603 
 
 Siface. Dramma per musica da rappresentarsi nel Teatro di Sant' 
 Angelo per la solita fiera dell' Ascensione dell' anno 1761. 
 Venezia, Modesto Fenzo, 1748 [/] 46 p. 14% cm . 
 
 Three acts. Cast, scenario, argument, and name of the composer, Domenico 
 Fischietti. 
 
 The author of the text is not mentioned, but comparison showed it to be a rifaci- 
 mento of Metastasio's text for Porpora's "Siface," which itself waa but a rifacimento 
 of some earlier text by unknown author. (See below.) Metastasio's dialogue was 
 kept largely intact, but most of his arias have disappeared and others were replaced 
 by texts from other operas of his. For instance I, 4 "Potria fra tan to" if from hia
 
 OPERA LIBRETTOS 1005 
 
 Siface Continued. 
 
 "Achille in Sciro," II, 4 "Piu temer non posso ormai" from his "Ipermestra," II, 8 
 "lo veggo in lontananza" from his "Semiramide." Fischietti's "Siface" has in 
 
 I, 2 "Dellamiasorte altera," Porpora'sl, 2 has "Seti scopro il foco mio," Fischietti's 
 
 II, 3 has no aria, Porpora's II, 3 has "Porto e vero il sen piagatp," Fischietti's II, 4 
 has "Piu temer non deve ormai," Porpora's has "Come nave in mezzo all' onde'' 
 and Porpora's III, 9 "Quel basso vapore" was moved to III, 7. Other original 
 "Siface" arias in Fischietti's opera are "Son pellegrin errante" (II, 5), "Rendimi i 
 lacci miei" (II, 11), "Sempre in soglio" (final chorus). "A gli oltraggi della sorte" 
 (II, 14) which is listed by Wotquenne as from Zeno's "Ornospade" (I, 1) appears in 
 Fischietti's "Siface" in II, 13 and in Porpora's "Siface" in II, 14! 
 
 It should be noted that Schatz claims Porpora not to have been the first to com- 
 pose Metastasio's "Siface." He records a setting by Francesco Feo for Naples, 
 Teatro di S. Bartolomeo, spring 1723. 
 
 The date in the imprint is a misprint, as the first performance took place as indi- 
 cated, on April 29, 1761. SCHATZ 3242 
 
 Siface. Dramma per musica da rappresentarsi in Rovigo nel Teatro 
 
 Venezij per la fiera Panno MDCCXLIV. 
 Bologna, Costantino Pisarri, n. d. 1 p. 1., 55, [2} p. 14% cm - 
 The imprint on first add. p. On second add. p. a list of "Comedie diverse stam- 
 
 pate da Coetantino Pisarri." 
 
 Three acts. By Metastasio, who is not mentioned. (See above and next entry.) 
 
 Dedication by the impresario, Alessandro Paghetti, dated Rovigo, October 10, 1744, 
 
 argument, cast, scenario, and name of Francesco Maggiore as composer. 
 
 SCHATZ 5834 
 
 Siface. Drama per musica da rappresentarsi nel famosissimo Teatro 
 Grimani di S. Gio. Grioostomo nel carnevale dell' anno MDCCXXVI. 
 Venezia, Marino RosseUi, 1726. 60 p. 15. 
 
 Three acts. 
 
 No author is mentioned. Quadrio was the first to attribute the text to Metastasio, 
 who then had this to say about his authorship in a letter written on June 29, 1772, to 
 abbate Vincenzo Cammillo Alberti: 
 
 "E un drarama fatto senza volerlo fare: 1'idea era di raffazzonare un antico libretto 
 a istanza del maestro Porpora (but see above) e nel raffazzonarlo fu interamente 
 cambiato . . . ma pure non e mio, ben che non credo che vi 'sia rimasto alcun vereo 
 del primo autore." 
 
 It is unknown to me whose text Metastasio undertook to raffazzonar. However, 
 it is a curious fact that the aria "A gli oltraggi della sorte" in II, 14 of "Siface" also 
 occurs and only slightly different in I, 1 of Zeno's Ornospade! This fact was over- 
 looked by Wotquenne, who failed to incorporate several "Siface" arias in his "Ver- 
 zeichnis" (See above Fischietti's Siface.) 
 
 Argument, cast, scenario, and name of Nicola Antonio Porpora as the composer. 
 
 First performed at Milan, Regio Ducal Teatro, December 26, 1725. SCHATZ 8362 
 
 Syphax, in einem sing-spiele auf dem Hamburgischen Schau- 
 platze vorgestellet. Im janr 1727. 
 
 [Hamburg], Gedrudct mit Stromerschen schrifften, n. d. Unpaged. 
 19 cm . t 
 
 Three acts. Cast, argument, and names of Nicola Antonio Porpora as the com- 
 poser "der Arien," of Johann Philipp Praetorius as the translator. The arias are 
 printed with Italian and German text. SCHATZ 8363 
 
 Siface e Sofonisba. Dramma per musica da cantarsi nella Real 
 Villa di Queluz per celebrare il felicissimo giorno natalizio di S. M. 
 fedelissima 1'augusto D. Pietro III. r& di Portogallo . . . li 5. luglio 
 1783. 
 
 n. pi., n. d., Netta stamperia reale. 84 p. 15. 
 
 One act. Argument and cast. Gaetano Martinelli is mentioned as the author, 
 Antonio Leal Moreira, maestro del Real Seminario di Liabona, as the composer. 
 
 SCHATZ 6632
 
 1006 LIBRARY OF CONGRESS 
 
 Sigismondo primo al diadema. Dramma musicale da rappre- 
 sentarsi nel famosissimo Teatro di SS. Gio. e Paolo, nelF anno 
 MDCLXXXXVI . . . Composto in musica dal Sign. D. Pietro 
 Romolo abbatte Pignatta. 
 
 Venetia, Nicolini, 1696. 62 p. 16 cm . 
 
 Three acts. Composer's dedication and argument. Text from a "penna illus- 
 tre " soil. Giovanni Grimani, who is not mentioned by name. SCHATZ 8171 
 
 II signer benefico, ballet. See Salieri and Rust's II talismano. 
 II signer beneflco, ballet. See Tarchi's II trionfo di Clelia. 
 
 II signer dottore. Dramma di tre atti per musica. Rappresentato 
 per la prima volta in Venezia 1'anno MDCCLVIII. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95. t. 40, 
 [57}-112 p. 18. 
 
 See next entry. PQ 
 
 II signer dottore. Dramma giocoso per musica di Polisseno Fegejo, 
 Pastor Arcade [Goldoni] da rappresentarsi in Monaco di Baviera. nel 
 anno 1760. 
 
 [Monaco], Giuseppe Francesco Thuille, n. d. 64, [1] p- 15 cm . 
 
 Three acts. With name of Domenico Fischietti as composer. The additional 
 page contains the substitute arias (I, 6) "Donne belie avete il vanto" and (II, 2) 
 E un grandissimo piacere." 
 
 First performed at Venice, Teatro di San Moise, fall of 1758. SCHATZ 3236 
 
 II signer dottore. Dramma giocoso per musica. Da rappre- 
 sentarsi nel Piccolo Teatro di S. A. E. di Sassonia. Dresda, 1'inverno 
 del 1768. 
 
 n. i., n. d., 14! p. 16 cm . 
 
 Three acts. Cast, scenario, and names of Goldoni as author, of Domenico Fischi- 
 etti as composer. German title-page, "Der herr doctor, ein lustiges singspiel," and 
 text face Italian. Differs considerably from the Munich version. SCHATZ 3237 
 
 II signore benefico, ballet. See Zingarelli's Alsinda. 
 
 Silla . Drama da rappresentarsi nel Teatro di Sant' Angelo. L'anno 
 MDCLXXXIII . . . 
 
 Venetia, Francesco Nicolini, 1683. 58 p. 14\ cm - 
 
 Three acts. By Andrea Rossini, who is not mentioned. Impresario's dedication, 
 dated Venice, February 4, 1683 ? argument, scenario, and author's notice to the reader, 
 in which he mentions Giovanni Domenico Freschi as the composer, and says: 
 
 "Per agiustare il presente drama alia necessita, che seco porta 1'angustia del teatro, 
 e la brevita desiderata ne tempi correnti, h6 convenuto renderlo come uno scheletro 
 spolpato dalla maggior forza degl' acdidenti, essendoei levati non solo moltissimi verei, 
 ma ancora 1'intiere mutationi di scena." SCHATZ 3355 
 
 Silla. Drama per musica da rappresentarsi nel Regio Teatro di 
 Berlino per il felicissimo giorno natalizio della Sacra Real Maesta di 
 Sofia Dorotea, regina madre . . . 
 
 Berlino, Haude e Spener, 1753. 107, [1] p. 16\ cm . 
 
 Three acts. In the preface the court poet, Giampietro Tagliazucchi, says: 
 
 "Venutami leggiadramente in franceee scritta [by Frederick the Great, based on 
 Duchy's 'Scylla'Tmi e convenuto darle 1'ornamento della italiana dramatica poesia, 
 perche sia dell' altro della musica soggettibile." 
 
 The composer, Carl Heinrich Graun, is not mentioned. German title-page and 
 text (by Francesco Grugnanelli, according to Mennicke) face Italian. 
 
 First performed, as indicated, March 27, 1753. SCHATZ 4116
 
 OPERA LIBRETTOS 1007 
 
 Silla Continued. 
 
 - Sylla. A dramatic entertainment, presented at the King's 
 Theatre in Berlin, on the 27th day of March, 1753. Being the birth- 
 day of the Queen Mother. Translated from the French of the king 
 of Prussia, by Mr. Derrick. 
 
 London, P. Vaillant, J. Bouquet, [etc.], 1758. vii, [1], 89, [1] p. 
 19 cm . 
 
 Three acts. Dedication by Samuel Derrick, dated London, July 11, 1753, transla- 
 tion of Tagliazucchi's "address to the reader," in which he makes it clear that he 
 simply translated the French prose text by Frederick the Great in order to adapt it 
 to the "beauties of Italian music " and to render it fit for a theatrical representation," 
 and "A short account of Sylla." Graun, the composer, is not mentioned. English 
 text only. 
 
 Not performed in England. LONGE 262 
 
 Silvain, comedie en un acte, meslee d'ariettes; parM. Marmontel 
 La musique est de M. Gretry. Represented pour la premiere fois 
 par les Come'diens italiens ordinaires du Roi, le 19 fe"vrier 1770. 
 Paris, Merlin, 1770. 40 p. 18 cm . 
 
 Cast. On p. 33-40, the ariettes, "Nos coeurs cessent de s'entendre" (I, 1), "Ne 
 crois pas qu'un long menage " (I, 3). SCHATZ 4184 
 
 Silvain, come'die en un acte, mel^e d'ariettes; par M. Marmontel, 
 de 1'Academie Francoise. La Musique est de M. Gretry. Repre- 
 sente pour la premire [ !] fois par les Come'diens Italiens ordinaires du 
 Roi, le 19 Fevrier 1770. 
 Paris, Merlin, 1770. 55 p. 19% cm . 
 
 Cast. On p. [47]-55, the "Ariettes de Silvain:" "Nos coeurs cessent," "Ne crois 
 pas qu'un long manage." The approbation is dated February 21, 1770. 
 
 ML 50.2.S63 
 
 - Silvain, ein singspiel in einem aufzuge aus dem franzoesischen 
 uebersetzt, mit musik. 
 
 Frankfurt am Mayn, mit Andreaeischen scJiriften, 1772. 52 p., 16 
 p. (folded music). 16%. 
 
 Neither Marmontel nor GrStrynor the translator (Job. Heinr. Faber) mentioned. 
 The music (bass and voice) consists of "Glaube mir, was ich Dir sage " ("Ne crois pas 
 qu'un long menage," I, 3), "Ich weiss nicht, ob die schwesterliebe " ("Je ne scais pas 
 si ma soeur aime," I, 3), and "Er hat langst diesen trieb' gespurt" ("H6 comment ne 
 pas le cheiir," I, 3). SCHATZ 4185 
 
 - Sylvain, ein singspiel in einem aufzuge uebersetzt aus dem 
 franzoesischen. Die musik ist vom herrn Gre"try. Aufgefuehrt auf 
 dem K.K. Nationaltheater. 
 
 Wien, zujinden beym logenmeister, 1778. 39 p. 16%. 
 
 Translator not mentioned, and unknown to Schatz. 
 
 First performed, as indicated, November 18, 1778. SCHATZ 4186 
 
 - Erast und Lucinde. Eine operette in einem aufzuge. Nach 
 dem Silvain des herrn Marmontel. Neue durch herrn Eschenburg 
 veraenderte auflage. Die musik ist von herrn Gretry. 
 
 Muenster, Perrenon, 1777. 43 p. 14%. 
 
 First performed at Berlin, Theater i. d. B^hrenstrasse, October 16, 1773. 
 
 SCHATZ 4187
 
 1008 LIBRARY OF CONGRESS 
 
 Silvia; or, The country burial. An opera. As it is performed at 
 
 the Theatre-Royal in Lincoln's-Inn-Fields. With the music pre- 
 fix'd to each song. 
 
 London, J. Watts, 1731. 4 p. I, 77, [1] p. 19. 
 
 Three acts. Ballad opera. Dedication by the author, George Lillo, and table of the 
 63 songs, the airs of which are printed in the text, with their titles. 
 
 First performed November 10, 1730. LONGE 262 
 
 La Silvia. Drama pastorale da rappresentarsi nel Teatro Gius- 
 
 tinian di S. Moisd 1'autunno dell' anno 1730 . . . 
 Veneiazia [!], Carlo Buonarigo, n. d. 1+5 p. 14\ cm - 
 Three acts. By conte Enrico Bissari (not mentioned). Argument, dedication, 
 
 cast, notice to the reader. The dedication is dated October 28, 1730. The composer, 
 
 Bortolamio Cordans, is not mentioned. 
 
 First performed at Vicenza, Teatro nuovo di Piazza, 1710 (Schatz). SCHATZ 2228 
 
 Silvia. Opera pastorale. Da rappresentarsi in musica in Ratis- 
 bona . . . 
 
 Ratisbona, n. publ., 1690. Unpaged. 20 cm . 
 
 Three acts and prologue. With dedication to the participants in the Reichs- 
 versammlung at Ratisbon, February, 1690, signed by tne author, Ruggiero Fedeli, 
 who also composed the music. German title-page, ' ' Silvia, ' ' and text face the Italian . 
 
 SCHATZ 3038 
 
 Silvie, ope"ra en trois actes; avec un prologue. Represent e devant 
 Leurs Majestes, a Fontainebleau, le 17 octobre 1765. 
 
 [Paris], CTiristophe Ballard, 1765. 56 p. 20\ cm . (Journal des 
 Spectacles, t. ii, 1766.} 
 
 Prologue and three acts. Cast and names of Laujon as author, of Le Berton (Pierre 
 Montan Berton) and Jean Claude Trial as composers. 
 
 First performed, as indicated, at the Acadmie royale de musique, November 18, 
 1766 not, as incorrectly in the libretto, November 11 (Schatz). ML 48.J7 
 
 La sincerita con la sincerita ovvero II Tirinto. Favola dramma- 
 tica per musica composta e fatta rappresentare dagli Accademici 
 Sfaccendati. Nell' Aricia, 1'anno 1672 . . . 
 Cosmopoli [Roma], 1672. 84 p. 13$ cm . 
 
 Three acts. Dedication, argument, scenario. Authors and composers not known 
 to Schatz. SCHATZ 11364 
 
 Ein singspiel ohne titel in drey aufzuegen. 
 n. i., n. d. 108 p. 16 cm . 
 
 Possibly printed after 1800. Neither the author, Leopold Hiesberger, nor the 
 composer, Jonann Baptist Schenck, is mentioned. 
 
 First performed at Vienna, Theater auf der Wieden, November 4, 1790. 
 
 SCHATZ 9594 
 
 Die singschule oder Drei heirathen an einem tage. Eine komische 
 oper in drei aufzuegen von Ludwig v. Baczko. 
 Koenigsberg, Hartung, 1794- 84 p. 15\ cm . 
 
 "Die musik ist von herrn musikdirektor Mile" (Nicolaus Muhle). 
 
 First performed at Koenigsberg, Ackermannsches Theater, 1794. SCHATZ 6872 
 
 Sir Politick Ribband. A. T. of The state juggler.
 
 OPEBA LIBRETTOS 1009 
 
 Sirita. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, t- vi> P- [188]- 
 269. 19 cm . 
 
 Three acts and licenza. Argument. No composer is mentioned. In the "Cata- 
 logo," at end of t. x, date and place of first ed. are given as Vienna, 1719. (See below). 
 
 ML 49.A2Z3 
 
 Sirita. Pubblicata per la prima volta in Vienna 1719. 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t: v, p. 87-166. 
 
 21 cm . 
 
 Three acts. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Sirita, dramma per musica, da rappresentarsi nelP imperial favorita 
 . . . per le felicissime nozze de serenissimi principi Maria Gioseffa 
 arciduchessa d'Austria e Federico Augusto, principe ereditario di 
 Sassonia. La poesia & del Sig. Apostolo Zeno ... La musica e del 
 Sig. Antonio Caldara . . . 
 
 Vienna d'Austria, Gio. Van Ghelen, 1719. 4 p. 1., 72 p. 15$. 
 
 Three acts and licenza. Argument and scenario. The ballet music was composed 
 by Niccola Matteis. 
 
 First performed, as indicated, at Laxenburg, August 20, 1719. SCHATZ 1487 
 
 II Siroe. 
 
 70 p. 19 cm . (Pietro Metastasio, Opere drammatiche, Venezia, 
 Giuseppe Bettinelli, 1738-37, v. 2.} 
 
 Three acts. Argument. No composer mentioned. ML 49.A2M4 
 
 Siroe. 
 
 Metastasio, Poesie, Parigi, vedova Quittau, 1755, t. Hi, [111}-215 p. 
 16 cm . 
 
 Three acts. Argument. ML 49.A2M42 
 
 - Siroe. Rappresentato con musica del Vinci la prima volta in 
 Venezia, nel carnevale dell' anno 1726. 
 
 pi., [223]-S36 p. 26 cm . (Pietro Metastasio, Opere, t. Hi, Parigi, 
 vedova Herissant, 1780.) 
 
 Three acts with licenza. Argument. ML 49.A2M44 
 
 Siroes. 
 
 Metastasio, Tragedies opera, Vienne, 1751, t. Hi, 127 p. llf. 
 Three acts. Richelet's translation of "Siroe." ML 49.A2M47 
 
 II Siroe. Dramma per musica da rappresentarsi nel Gran Ducal 
 Teatro di Bronsevigo nella fiera d'estate del anno MDCCLXVIL 
 
 n. i., n. d. 151 p. 15$ cm . 
 
 Three acts. Argument, scenario. German title page, "Der Siroes," and text 
 face Italian. A 19th cent. ms. note on the t.-p. reads: "Gedichtet von Metaetasio. 
 In musik gesetzt von Vinci, Handel, Wagenseil, Bioni, Hasse, Vivaldi, u. s. w." 
 Of course, this "in musik gesetzt " is misleading, since the music of this pasticcio was 
 not composed for the occasion, but selected. SCHATZ 11365 
 
 Siroe. Dramma per musica da rappresentarsi nel Teatro di S. 
 Benedetto nel carnevale dell' anno MDCCLXXI. 
 Venezia, Modesto Fenzo, n. d. 62 p. 18 cm . 
 72251 VOL 114 64
 
 1010 LIBRARY OF CONGRESS 
 
 Siroe Continued. 
 
 Three acts. By Metastasio. Argument, cast, scenario, and name of the composer, 
 Giovanni Battieta Borghi. On p. 27-30 detailed description of Charles Lepicq's 
 ballet "Gli amanti protetti dall' Amore." The composer of the music is not men- 
 tioned. 
 
 First performed in January 1771 as indicated. SCHATZ 1237 
 
 Siroe. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S. Gio. Grisostomo, nel camovale dell' anno 1750. 
 Venezia, Alt' insegna della scienza, n. d. 59 p. 15 cm . 
 
 Three acts. By Metastasio. Cast, scenario, and name of the composer, Gioacchino 
 Cocchi. SCHATZ 2041 
 
 Siroe. See Basse's Siroe, re di Persia. 
 
 Siroe. Dramma per musica da rappresentarsi nel Nuovo Teatro in 
 Padova per la solita fiera di giugno 1753 . . . 
 Padova, Conzatti, 1753. 78 p. 17\ cm . 
 
 Three acts. By Metastasio, who is not mentioned. Dedication, argument, cast, 
 scenario, and name of Gaetano Latilla as composer. 
 
 First performed at Rome, Teatro delle Dame, carnival, 1740. SCHATZ 5451 
 
 Siroe. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S? Gio. Grisostomo nel carnevale 1743 . . . 
 n.i.,n.d. 1 p.-l, 60 p. 15% cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, scenario, cast, and 
 name of Gennaro Manna as composer. SCHATZ 5902 
 
 Siroe. Dramma per musica da rappresentarsi nel Regio Teatro di 
 Torino nel carnovale del 1780 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 60 p. 15\ cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Giuseppe Sarti as composer. With the opera were performed, music by 
 Vittorio Amedeo Canavasso, Sebastiano Gallet's ballets "Rinaldo nella Selva incan- 
 tata," "Ninetta, o sia La contadina nel palazzo signorile," and "L'incoronazione di 
 Siroe," descriptions of which are noted to have been published separately. 
 
 First performed, as indicated, December 26, 1779. SCHATZ 9464 
 
 Siroe. Drama per musica da rappresentarsi nel Regio Teatro di 
 Torino nel carnovale del 1750 . . . 
 
 Torino, Pietro Giuseppe Zappata efigliuolo, n. d. 4P-1-, 61 P- 16 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, scenario, cast, and 
 names of Giuseppe Scarlatti as composer of the opera, of Alessio Rasetti of the three 
 ballets, which had no specific titles. 
 
 First performed December 26, 1749, as indicated; at Florence, Teatro in via della 
 Pergola, summer of 1742. SCHATZ 9557 
 
 H Siroe. Dramma per musica da rappresentarsi nel Nuovo Teatro 
 di corte . . . nel carnovale 1767. La poesia e del Signor abbate 
 Pietro Metastasio . . . La musica & del Signor Tommaso Tra- 
 jetta . . . 
 
 Monaco, appresso Marie Magdalene Mayrin, n. d. 173, [24] p- 
 W cm . 
 
 Three acts. German title page "Siroes" and text face Italian. Argument, sce- 
 nario, cast. On the [24] p. description (in German and French) and cast of Chalan- 
 dray's two ballets "Perse'e & Andromede" and "La liaison de 1' Amour et de Bachus." 
 
 ML 50.2.S6T8
 
 OPERA LIBRETTOS 1011 
 
 Siroe, re di Persia. Drama per musica, da rappresentarsi nel 
 Regio Teatro di Torino, nel carnovale del 1730 . . . 
 
 Torino, Gio. Battista Valetta, n. d. 3 p. 1., 54, [1] p. 15\ cm . 
 
 Three acts. By Metastasio. Argument, scenario, cast, and name of the composer, 
 Stefano Andrea Fiord, "maestro di cappella di S. M. il r6 di Sardegna, etc." 
 
 Firet performed, as indicated, December 26, 1729. SCHATZ 3193 
 
 Siroe, re di Persia. 
 
 Text by Metastasio; music by Hasse. 
 
 His so-called first setting first performed at Bologna, May 2, 1733. 
 
 Not in L. of C. 
 
 Siroes, king of Persia. An opera perform'd at the King's 
 Theatre in the Hay-Market. 
 
 London, Charles Bennet, 1736, 83 p. 17 cm . 
 
 Three acts. Argument and cast. English text faces the Italian. Neither Metas- 
 tasio, the author pi "Siroe " (as in caption title), nor Johann Adolph Hasse, the sup- 
 posed composer, is mentioned. (See next entry.) 
 
 First performed, as indicated, November 23, 1736. SCHATZ 4587 
 
 Siroe, dramma per musica da rappresentarsi nel Regio Teatro di 
 Dresda per il gloriosissimo giorno di nome di Sua Maesta Augusto 
 III . . . La poesia e del Sig. abbate Metastasio. La musica & del 
 Sig. Hasse ... 
 
 Dresda, Stamperia regia, 1763. 3 p. 1., 87, [2] p. 17 cm . 
 
 Three acts and licenza. Argument and scenario. Schatz and Mennicke call this 
 Basse's second version of the text, which is not quite the same as in the London (1736) 
 edition. For instance, London has, in I, 1, the aria, "Dovea evenarti allora" (from 
 Metastasio's Catone in Utica), whereas Dresden has "Se il mio paterno amore;" Lon- 
 don has, in I, 3, the aria, "Dille pur che il suo riposo," which is not in the Dresden 
 edition, and is not by Metastasio at all; Dresden has, in I, 5, the aria, "D'ogni amator 
 la fede/' whereas London has "Ancor io pensai d'amore," which is also not by Metaa- 
 tasio; Dresden has, in I, 8, the aria, "O placido il mare," whereas London has "Nel 
 cor il mio pensier, ' ' which is not by Metastasio. Considering that Metastasio's dialogue 
 has been freely tampered with, and that so many arias are neither from his "Siroe" 
 nor by him at all, it becomes clear that this London ' ' Siroe " (by Schatz and Mennicke 
 so-called first version of the "Siroe" text) was really a pasticcio, and though Hasse 
 presumably composed the new numbers, at its best, a Hasse pasticcio, though Burney 
 (IV, 400) save: Composed by Hasse. This is the first time that I ever perceived the 
 composer of an opera named in the advertisements and bills of the day. 
 
 First perfonnea at Dresden, as indicated, August 3, 1763. SCHATZ 4562 
 
 Siroes. Opera, qui sera represent^ au Theatre Royal de Varsovie 
 au carnaval de 1'an MLXXJLXIII. 
 
 Varsovie, Michel Groett, n. d. Unpaged. 16^. 
 
 Three acts. Argument and scenario. The composer, Jph. Ad. Hasse, is not 
 mentioned. German title page, "Siroes," and text laces this French translation of 
 Metastasio's text. The opera was, of course, performed in Italian. SCHATZ 4592 
 
 Siroe, re di Persia. Drama per musica da rappresentarsi nel 
 Teatro detto delle Dame nel carnovale dell' anno 1727 . . . 
 
 Roma, Bernabb, n. d. 72 p. 15. 
 
 Three acts. By Metastasio, who is not mentioned. Argument, scenario, cast, 
 name of Niccola Porpora as composer, and dedication to "Clementina regina della 
 Gran Bretagna," in wnich this is called the second opera of the season. 
 
 ML 50.2.S64P6
 
 1012 LIBRARY OF CONGRESS 
 
 Siroe, re di Persia. Drama per musica di Artino Corasio Pastore 
 Arcade da rappresentarsi nel Teatro di S. Bartolomeo nel carnevale 
 dell' anno 1727 . . . 
 
 Napoli, Angela Vocola, 1727. 64 p. 14$ cm . 
 
 Three acts. By Metastasio. Impresario's dedication, argument, scenario, cast, 
 and name of Domenico Sarro as the composer also of the two intermezzi by an 
 unknown author, on p. 57-64, "MOSCHETTA E GRULLO," performed with the opera. 
 
 SCHATZ 9420 
 
 Siroe, re di Persia. Drama per musica di Artino Corasio Pastore 
 Arcade. Da rappresentarsi nel famosissimo Teatro Grimani di S. 
 Gio. Grisostomo nel carnevale dell' anno 1731 . . . 
 Venetia, Carlo Buonarigo, n. d. 70 p. 14 cm < 
 
 Three acts. By Metastasio. D dication by Domenico Lalli, argument, cast, and 
 scenario. The composer, Leonardo Vinci, is not mentioned. 
 
 First performed at Venice, same theatre, carnival, 1726. SCHATZ 10749 
 
 Siroe, re di Persia. Drama per musica da rappresentarsi nel 
 Teatro dell' illustriss. pubblico di Keggio in occasione della fiera dell' 
 anno MDCCXXVII . . . 
 Reggio, li Vedrotti, 1727. 72 p. 16$ cm . 
 
 Three acts. By Metastasio (not mentioned). Impresario's dedication, dated 
 Reggio, April 29, 1727, argument, cast, scenario, name of Antonio Vivaldi, and note 
 to the effect that "per comodo della musica," the arias, ''Non ei presto il suo colore'' 
 (I, 9) and " Vado con alma sorte " (II, 13) were substituted. SCHATZ 10780 
 
 Siroes. Tr. of Metastasio's Siroe text. 
 
 Siroes. See Hasse's Siroe, r& di Persia. ) 
 
 Siroes. Tr. of Traetta's Siroe. 
 
 Siroes, king of Persia. See Hasse's Siroe, re" di Persia. 
 
 II Sismano nel Mogol. Dramma serio per musica da rappresen- 
 tarsi in Cremona nel Teatro Nazari il carnevale dell' anno 1785. 
 Cremona, Manini, n. d. Jfi p. Id 0111 . 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and names of 
 Giovanni de Gamerra as the author, of Paisiello as the composer. With the opera 
 were performed Luigi Cprticelli's ballets "Adelaide" and II tutore ingannato." 
 The composer of the music is not mentioned. 
 
 First performed at Milan, Regio Ducal Teatro, January, 1773. SCHATZ 7697 
 
 Skibbruddet ved Cypren. Tr. of Sarti's II naufragio di Cipro. 
 Den ski0nne Arsene. Tr. of Monsigny's La belle Arsene. 
 The skirts of the camp. A. T. of Shield's Hartford-Bridge. 
 Skovhuggeren eller De tre 0nsker. Tr. of Philidor's Le bucheron. 
 
 Slaves in Algiers; or, A struggle for freedom: A play, interspersed 
 with songs, in three acts, by Mrs. Kowson. As performed at the 
 New Theatres, in Philadelphia and Baltimore. 
 Philadelphia, Printed for the author, 1 794. 2 p .1, ii, 72, [2] p. 16 cm . 
 
 Three acts, prologue, and epilogue. Dedication of "this first dramatic effort " "to 
 the citizens of the United States of North America," cast and preface in which Susanna 
 Rowson says that her play is founded in part on Cervantes, that she hopes some
 
 OPERA LIBRETTOS 1013 
 
 Slaves in Algiers Continued. 
 
 alterations made since the first performance have improved her play, that she returns 
 her thanks to the performers, since it was chiefly owing to their exertions that the 
 play was received with such unbounded marks of approbation." As to Alexander 
 Reinagle she acknowledges her obligation "for the attention he manifested, and the 
 taste and genius he displayed in the composition of the music." 
 First performed at Philadelphia, New Theatre, December 22, 1794. 
 
 PR 1241. D7 v.9 
 
 La smorfiosa. Intermezzi per musica a tre voci da recitarsi nel 
 Teatro alia Valle nel carnevale delF anno 1756 . . . 
 Roma, Ottavio Pucdnelli, 1756. 24 p. 15 cm . 
 
 Two parts. Author not mentioned and unknown to Schatz. Cast, name of Ri- 
 naldo di Capua as composer and dedication signed by the publisher and Angelo 
 Lungi. Contains arias: "Signer Tenente non serve mente, "Se a un bel canto 
 lusinghiero," "Cosi per terra," etc. ML 50.2.S66R4 
 
 - La smorfiosa. Intermezzi per musica a tre voci da rappresentarsi 
 nel pubblico Teatro di Lucca nel carnevale dell' anno MDCCLXII. 
 In occasione delle recite in prosa da farsi dall' Accademia de' dilet- 
 tanti della Comica . . . 
 
 Lucca, Filippo M. Benedini, 1762. 26 p. 15 cm . 
 
 Two acts. Author unknown to Schatz. Composed by Rinaldo di Capua, who is 
 not mentioned. SCHATZ 8799 
 
 La smorfiosa. Intermezzi a tre voci da recitarsi nel Teatro alia 
 Valle il carnevale dell' anno 1748 . . . 
 
 Roma, Ottavio PuccineUi, 1748. 21 p. 15 cm . 
 
 Two intermezzi. Author not mentioned and unknown to Schatz. Dedication by 
 Angelo Lungi and the publisher, cast and name of Gregorio Sciroli as composer. 
 Contains the arias: "Lasciate fare, non dubitare," "Gia mi fa Galeno al core," 
 "Qual colomba innamorata," "E nemico, e non amante," etc. Entirely different 
 text from that of Rinaldo di Capua's opera. ML 50.2.S66S2 
 
 The smugglers; a musical drama, in two acts. As it is performed 
 at the Theatre Royal, Drury Lane. By Samuel Birch. 
 
 London, C. DiUy, 1796. 2 p. I, 37, [1] p. 21. 
 
 Cast and prefatory note. The composer, Thomas Attwood, is not mentioned. In 
 Longman & Brodenp's vocal score "My fathers before me" is headed as "Sung and 
 composed by Mr Suett." LONGE 238 
 
 First performed April 13, 1796, as indicated. 
 
 i 
 
 The snake in the grass : A dramatic entertainment, of a new species ; 
 being neither tragedy, comedy, pantomime, farce, ballad, nor opera. 
 
 [87]-l 14 p- 21 cm . (Aaron HiU, Dramatic works, London, 1760, 
 vol. ii.) 
 
 One act. No composer or performance recorded by Clarence. LONG E 326 
 
 The snuff box; or, A trip to Bath. A comedy of two acts, as it was 
 performed at the Theatre Royal in the Hay-Market. By William 
 Heard . . . [vignette] 
 London, Printed for the author), 1775. 4 p. 1., 26 p. 2P 
 
 I cm 
 
 that it was performed without "the embellishments of music " except the song "With 
 head thrown back," composed "in a most elegant style" by James Hook. 
 
 LONOE 310
 
 1014 LIBRARY OF CONGRESS 
 
 So bessert sie sich. Tr. of Martin y Soler's La capricciosa corretta. 
 
 So prellt man alte fuechse. Eine komisclic operette in einem 
 aufzuge, nach dem franzoesischen des Moliere. Die musik dazu ist 
 von Johann Christoph Kaffka. 
 
 n. i., n. d. p. [127}-180. (Sammlung auserlesener iheaterstucke, 
 Breslau, 1784.) 17 cm . 
 
 Detached copy. Text by August Gottlieb Meissner and the composer. 
 
 First performed at Breslau, Neuee Wasersches Theater, 1782. SCHATZ 4987 
 
 Socrate immaginario. Commedia per musica da rappresentarsi 
 nel Piccolo Te'atro di S. A. E. di Sassonia. 
 
 Dresda, n. publ, 1781. 188 p. 
 
 Three acts. By Ferdinando Galiani and Giambattista Lorenzi, who are not men- 
 tioned. German title-page, "Der eingebildete Sokrates and text face Italian." 
 
 First performed 1781, as indicated; atPprtici, Teatro di Corte, December 23, 1775; 
 and at Naples, Teatro Nuovo sopra Toledo in October of the same year. SCHATZ 7658 
 
 II Socrate immaginario. Dramma giocoso per musica da rappre- 
 sentarsi nel nobile Teatro di San Samuele il carnovale dell' anno 1776. 
 Venezia, Gio. Battista Casale, 1776. 32 p. 17% cm . 
 
 One act. Author not mentioned and unknown to Schatz. Cast and name of the 
 composer, Giacomo Bust. SCHATZ 9170 
 
 Sofonisba. Dramma per musica del Sig. Mattia Verazzi, poeta e 
 secretario intimo di S. A. E. Elettoral Palatina da rappresentarsi nel 
 Teatro Vendramino di S. Salvatore la fiera dell' anno 1764 . . . 
 
 Venezia, Modesto Fenzo, 1764. 58 p. 14\ cm . 
 
 Three acts. Dedication, argument, cast, scenario, and name of the composer, 
 Antonio Boroni. SCHATZ 1251 
 
 Sofonisba. Drama per musica da rappresentarsi nel famosissimo 
 teatro Grimani di S. Gio. Grisostomo. L'autunno dell' anno 
 MDCCVIII. Consegrato ... da Francesco Silvani. 
 
 Venezia, Marino Rossetti, 1708. 71, [1] p. 14% cm . 
 
 Three acts. With author's dedication dated Venice, November 22, 1808, argument, 
 notice to the reader with name of Antonio Caldara as composer, cast, and scenario. 
 
 SCHATZ 1500 
 
 Sofonisba. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1764 . . . 
 
 Torino, Gaspare Bayno, n. d. viii, 55, [1] p. 16 cm . 
 
 Three acts. By Matteo Verazj, who is not mentioned. Argument, cast, scenario, 
 and name of Baldassare Galuppi as composer. With the opera were performed 
 Augusto HUBS' ballets "La contnbuzione siorzata," "La cpstanza affricana soccorsa 
 dair arte magica," and "Le allegrezze per le vittorie di Scipione," music by Giuseppe 
 Antonio Le Messier. The ballets are described on p. 53-55. SCHATZ 3470 
 
 La Sofonisba. Dramma per musica da rappresentarsi nel Regio 
 Ducal Teatro di Milano nel carnovale dell' anno 1744 . . . 
 
 Milano, Giuseppe Richino Malatesta, 1744- 6 P- 1"> 51> Ul P- 15 cm . 
 
 Three acts. Recitatives by Francesco Silvani, most of the lyrics from Metasta- 
 sio's works. (Comp. Wotquenne). Dedication dated Milan, January 13, 1744, 
 argument, cast, scenario, and the name of Gluck as the composer. SCHATZ 3932
 
 OPERA LIBRETTOS 1015 
 
 Sofonisba. Drama per musica da rappresentarsi nel famosissimo 
 Tcatro Grimani di S. Gio. Grisostomo neicarnevale MDCCXLVI. 
 
 [Venezia], n. puU., n. d. 1 p. 1., 60 p. 14$ cm . 
 
 Three acts. By Antonio and Girolamo Zanetti, who are not mentioned. Argu- 
 ment, cast, scenario, and name of Niccolo Jommelli as the composer. 
 
 (Abert incorrectly 1749, on p. 5; correctly 1746, on p. 46.) SCHATZ 4871 
 
 Sofonisba. Drama per musica da rappresentarsi nel Teatro di S. 
 Bartolomeo nel carnevale dell' anno 1718 . . . 
 
 Napoli, Michele Luigi Muzio, 1718. 75 v. 
 
 Three acts. Dedication by Nicola Serino, dated- Naples, January 22, 1718, argu- 
 ment, scenario, cast, and name of Leonardo Leo as composer. The author, Fran- 
 cesco Silvani, is not mentioned. SCHATZ 5555 
 
 Sofronia, ed Olindo. Azione tragica per musica di Carlo Sernicola, 
 P. A. da rappresentarsi nel Real Teatro di S. Carlo nella Quaresima 
 del 1793 . . . 
 
 Napoli, Vincenzo Flauto, 1793. 39 p. 18$ cm . 
 
 Two acts. Impresario's dedication dated Naples, February 17, 1793, cast, and 
 name of Gaetano Andreozzi as composer. SCHATZ 200 
 
 - Olindo e Sofronia. Dramma per musica da rappresentarsi nel 
 Teatro Venier in San Benedetto la primavera dell' anno 1798. 
 
 Venezia, Modesto Fenzo, 1798. 50 p. 18 cm . 
 
 Two acts. Cast, scenario, and name of composer, Gaetano Andreozzi, but not of 
 librettist. Pages 37-50 contain cast and detailed description of " Riccardo cuor di 
 Lione, ballo eroico pantomimo in eei atti " by Salvatore Vigano. Giuseppe Waigel [!] 
 is mentioned as the composer of the music. SCHATZ 220 
 
 II sogno. Componimento drammatico, scritto d'ordine sovrano 
 dall' autore in Vienna 1'anno 1756, ed eseguito la prima volta con 
 musica del Reiitter ne' privati appartamenti dell' imperatrice regina, 
 dall' A. R. dell' arciducnessa Marianna, e da due dame della sua corte. 
 
 [417]-430 p. 26 cm . (Pietro Metastasio, Opere, t. 4, Pariai, vedova 
 Herissant, 1780.) 
 
 One act. Argument. ML 49.A2M44 
 
 II sogno. Nuovo componimento dramatico del Sig. abbate Pietro 
 Metastasio, Ppeta Cesareo, da cantarsi dallaSerenissima arciduchessa 
 Marianna figlia primogenita delle LL. MM. Imp. e da due dame dell' 
 imperial corte di Vienna Panno 1757. [vignette} 
 
 Pisa, Gio. Paolo Giovanetti e comp., n. d. 1 p. 1., xv p. 22^ cm . 
 
 Vignettes, head and tail pieces. On p. [2] medaillon portrait "Pietrus Metasta- 
 eius. Poeta. Caesareus. / Apollini Austriaco MDCCLIV. 
 
 One act. Argument and name of Georgio Reutter (Johanu Adam Joseph Carl 
 Georg Beutter) as the composer. 
 
 First performed at Vienna, privately before Maria Theresia, 1757. SCHATZ 8696 
 
 II sogno di Scipione. 
 
 Metastasio, Poesie, Parigi, vedova Quittau, 1765, t. ii, [405]~430 p. 
 16 cm . 
 
 One act and licenza. ML 49.A2M^2 
 
 - II sogno di Scipione. Azione teatrale, allusiva alle sfortunate 
 campagne delle armi Austriache in Italia; rappresentata la prima 
 volta con musica del Predieri nell' Imperial Favorita, alia presenza
 
 1016 LIBRARY OF CONGRESS 
 
 n sogno di Scipione Continued. 
 
 de' Sovrani, il di primo ottobre 1735, per festeggiare il giorno di 
 
 nascita dell' imperator Carlo VI ... 
 
 [3S5]-358 p. %6 cm . (Pietro Metastasio, Opere, t. i, Parigi, vedova 
 Herissant, 1780.} 
 
 One act and licenza. Argument. ML 49.A2M44 
 
 II spgno di Scipione. Drammatico componimento da rappresen- 
 tarsi nel Regio Teatro di Berlino per ordine di Sua Maesta. 
 
 Berlin, A. Haude, 1746. 46, [2] p. 16 cm . 
 
 Two parts. The Italian title page is preceded by German title page, "Der traum 
 des Scipio," and German text faces Italian. Neither Metastaeio, the author, nor 
 fhrietoph Nichelmann, the composer, is mentioned. 
 
 First performed, as indicated, March 27, 1746. SCHATZ 7103 
 
 La soiree a la mode. A. T. of Le cercle. 
 
 La soiree des boulevards, ambigu ml6 de scenes, de chants, & de 
 danses. Representes pour la premiere fois par les Com6diens 
 italiens ordinaires du roi, le 13 novembre 1758. 
 
 Paris, N. B. Duchesne, 1759. 86 p. 19 cm . 
 
 One act. Cast. Neither the author, Charles Simon Favart, is mentioned, nor the 
 arranger of the popular airs, etc, who, according to Font, also contributed original 
 music. SCHATZ 11514 
 
 - La soiree des boulevards, ambigu m616 de scenes, de chants, & 
 
 de danses; repr^sente pour la premiere fois par les Come'diens 
 
 italiens ordinaires du roi, le 13 novembre 1750 [!]. Nouvelle Edition. 
 
 Paris, N. B. Duchesne, 1759. 60, [4], 16 p. 19. (Theatre de 
 
 M. Favart, Paris, Duchesne, 1768-77, t. iv.) 
 
 One act. Again the composer and arranger of the music is not mentioned. The 
 [4] p. contain catalogues of plays and opera music. The 16 p. contain six "Airs et 
 vaudevilles de la Soiree des boulevards. They are followed by 
 
 Supplement de la Soiree des boulevards; representee pour 
 la premiere fois, par les Come'diens italiens, ordinaires du roi, le 10 
 mai 1760. 
 
 Paris, Duchesne, 1760. 64 p. 19 cm . 
 
 One act. Cast. Several of the airs and vaudevilles are printed in the text. Ac- 
 cording to Font, the text of this sequel was partly by Panard and Gurin 
 
 ML 49.A2F1 
 
 La soiree orageuse, comedie en un acte et en prose, mlee d'ariettes; 
 par M. Radet; musique de M. d'Alayrac: representee pour la pre- 
 miere fois par les Com6diens italiens ordinaires du roi, le samedi 29 
 mai 1790. 
 
 Paris, Brunei, 1791. 40 p., [14] I. 
 
 Cast. The unnumb. 1. contain (printed on inside p.) seven airs and one vaudeville 
 from the opera, all, with one exception, with guitar accompaniment, and all, with two 
 exceptions, with Imbault's imprint. ML 50.2.S67D2 
 
 II solachianello. A. T. of Pietro Guglielmi's La finta zingana. 
 Der soldat als zauberer. Tr. of Philidor s Le soldat magicien.
 
 OPERA LIBRETTOS 1017 
 
 Le soldat magicien, opera-comique en un acte; represent e" pour la 
 premiere fois sur le Theatre de 1'Ope'ra-comique de la Foire S. Lau- 
 rent, le 14 aout 1760. 
 
 Paris, Duchesne, 1760. 76 p. 20. 
 
 Cast. Neither Anseaume, the author, is mentioned, nor Philidor, the composer. 
 On p. 67-76 the same airs as below. ML 50.2.S68P4 
 
 - Le soldat magicien, opera-comique en un acte; repre'sente* pour 
 la premiere fois sur le Theatre de rOpe'ra-comique de la Foire S. 
 Laurent, le 14 aout 1760. 
 
 Paris, la veuve Duchesne, 1775. 5T p. 18% cm . 
 
 On p. 43-51, "Airs choieis du Soldat magicien": "Femme qu'on offense" (I, 3), 
 "Tous les voeux d'une fillette" (I, 7), "L'hymen est a craindre" (I, 10). Neither 
 Anseaume, the author, nor Philidor, the composer, is mentioned. SCHATZ 8024 
 
 - Der soldat als zauberer, eine komische oper in einem aufzuge 
 aus dem franzoesischen uebersetzt von F. W. M. Die musik ist von 
 Hn. Philidor. 
 
 Mannheim, C. F. ScJiwan, 1772. 80 p. 14 cm . 
 
 Tranel. by Friedrich Ludwig Wilhelm Meyer. SCHATZ 8025 
 
 - Arien der komischen operette : Der zaubernde soldat. In 
 einem akte. 
 
 n. i., n. d. 14 P- 16 cm . 
 
 On p. 3, this note: 
 
 "Das stueck ist aus dem franzoesischen, und die arien unter die musik des herrn 
 Philidor von dem uebersetzer des Sancho Panssa untergelegt, ' ' which points to Johann 
 Joachim Eschenburg. SCHATZ 8026 
 
 II soldato per forza impazzito per a more. Intermezzo a quattro 
 voci da rappresentarsi nella presente stagione nel Teatro di questa 
 citta . . . 
 Pavia, Porro, Bianchi e comp., n. d. 36 p. 16 cm . 
 
 Imprimatur dated at end, April 22, 1775 or 1774. 
 
 Two acts. Antonio Sacchini is mentioned as the composer. The author, Tom- 
 maso Mariani, is not mentioned. 
 
 First performed, as "II fin to pazzo per amore," at Rome, Teatro aila Valle, spring 
 of 1765. SCHATZ 9221 
 
 - Der verstellte narr aus liebe. Ein singspiel in zwey aufzuegen. 
 Aus dem italiaenischen uebersetzt, auf die musick des herrn Ant. 
 Sacchini . . . Aufgefuehrt in dem K. K. National-Theater. 
 
 Wien, beym Logenmeister, 1779. 52 p. 16 cm . 
 
 Two acts. Transl. by Gottlieb Stephanie d. Jung. 
 
 First performed, as indicated, April 6, 1779. SCHATZ 9222 
 
 Soliman. Tr. of Hasse's Solimano. 
 
 Soliman den Anden. Comoedie i tre acter, efter hr. Favarts 
 Soliman Second. Med nye arier for0get, hvortil musiken er sat af 
 hr. secretaire Thomas Christian Walter. 
 
 n. i., n. d. Ill p. 16^ cm . 
 
 By Charlotte Dorothea Biehl, who is not mentioned. 
 
 First performed at Copenhagen, Court theater, February 17, 1778. SCHATZ 10867
 
 1018 LIBRARY OF CONGRESS 
 
 Soliman der Zweite, oder Die drei sultaninnen. Ein singspiel in 
 zwey aufzuegen. Nach dem franzoesischen des herrn Favart bear- 
 beitet von Franz Xaver Huber. Die musik ist von hrn. Franz Xav. 
 Suessmayer . . . Aufgefuehrt auf den k. k. Hoftheatern. 
 
 Wien, J. B. Wallishauser. 1799. 88 p. 16\ cm . 
 
 First performed October 5, 1799, as indicated. SCHATZ 10182 
 
 Soliman Second, come'die en trois actes, en vers; par M. Favart: 
 represented pour la premiere fois par les Comediens italiens ordi- 
 naires du roi, le 9 avril 1761. Et remise au Theatre do 19 de"cembre 
 de la me'rne anne"e. 
 
 Paris, Duchesne, 1762. 4 p. 1., 118 p. 19 cm . (Theatre de M. 
 Favart, Paris, Duchesne, 1763-77, t. iv.) 
 
 The 4 p. 1. contain besides the t.-p., catalogues of plays, etc., and Favart's dedica- 
 tion to the due de Richelieu. No cast! On p. 100-102 the Divertissement, & file 
 turque and errata, on two unnumb. p. Favart's privilege and then on p. 103-118 six 
 "Airs de Soliman Second et de la Feste turque. The arranger and composer of the 
 music, Paul Ce"sar Gibert, is not mentioned. ML 49.A2F1 
 
 Soliman second ; ou, Les trois sultanes, come'die en trois actes 
 et en vers par M Favart. Represented pour la premiere fois par les 
 Come'diens italiens, ordinaires du roi le 9 avril 1761 & remise au 
 Theatre le 19 De"cembre de la me*me annSe. Nouvelle edition. 
 
 Paris, Didot Vaine, 1772. 64 p. 19 cm . 
 
 The composer, Paul Ce"sar Gibert, is not mentioned. For the revival of January 
 16, 1777, he partly set the text anew. ML 48.M2N 
 
 Solimano. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1782 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 63, [1] p. 17 cm . 
 
 Three acts. Argument, cast, scenario, and name of the composer, Giuseppe 
 Maria Curcio ("Curci"). The author is unknown to Schatz. Witn the opera were 
 performed Sebastiano Gallet's "Aci e Galatea, favola ridotta in ballo eroico," "La 
 fiera di Batavia, ballo comico," and "II Beiram, o sia II carnovale turco," music of 
 all three by Vittorio Amedeo Canavasso. 
 
 First performed, as indicated, January 19, 1782. SCHATZ 2301 
 
 Solimano. Dramma per musica da rappresentarsi nel Teatro 
 Giustinian di S. MoisS nel carnovale 1755. 
 Venezia, Modesto Fenzo, 1755. 58 p. 15 cm . 
 
 Three acts. By Giannambrogio Migliavacca, who is not mentioned. Cast, sce- 
 nario, and name of Domenico Fischietti as composer. SCHATZ 3240 
 
 Solimano. Drama per musica da rappresentarsi nel Teatro della 
 Regia elettoral corte di Dresda, nel carnevale dell' anno MDCCLIII. 
 La poesia e del Sig? Giannambrogio Migliavacca . . . La musica e" 
 del Sig Gio. Adolf o Hasse . . . 
 
 Dresda, la vedova Stossel, n. d. 4 P- 1"> 9 P> 19 cm . 
 
 Three acts. Argument, cast, and scenario. 
 
 First performed, as indicated, February 5, 1753. SCHATZ 4563 
 
 - Solimano. Dramma per musica da rappresentarsi nel Teatro 
 della Regia elettoral corte di Dresda, nel carnevale dell' anno 
 MDCCLI V. La poesia & del Sig^? Giannambrogio Migliavacca . . . 
 La musica e del oig^ Gio. Adolfo Hasse . . . 
 
 Dresda, la vedova Stossel. n. d. 7 p. 1., (double) 92 p. 23 C 
 
 {cm
 
 OPERA LIBRETTOS 1019 
 
 Solimano Continued. 
 
 Three acts. Argument, cast, scenario. German title page, "Soliman," and text 
 face Italian, which is practically the same as in the 1753 edition. 
 
 First performed, as indicated, January 7, 1754. SCHATZ 4564 
 
 Solimano. Drama per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto il carnovale dell' anno MDCCLXXIII. 
 Venezia, Modesto Fenzo, 1773. 52 p. 17$ cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Argument, cast, 
 scenario, ajid name of Johann Gottlieb Naumann aa the composer. 
 
 On p. 24 brief description of the ballet "II re alia caccia by Gasparo Angiolini, 
 who also composed the music. SCHATZ 7062 
 
 Solimano. Dramma per musica da rappresentarsi nel Real Teatro 
 dell' Ajuda in occasione di festeggiarsi u felicissimo giorno natalizio 
 di Sua Reale Maesta . . . D. Marianna Vittoria . . . nella prima- 
 vera dell' anno 1768. 
 
 Lisbona, Michele Maneschal da Costa, n. d. 70 p. 18 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Argument, cast, 
 scenario, and name of David Perez as the composer. 
 
 Performed as indicated, March 31, 1768; previously at Lisbon, Theatre provi- 
 sional do Barracao da Ajuda, 1757. SCHATZ 7877 
 
 Solimano. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro Tron di S. Cassano 1'autunno dell anno 1766. 
 
 Venezia, Modesto Fenzo, 1766. 56 p. 16 cm . 
 
 Three acts. Author not mentioned and unknown to Schatz. Dedication signed 
 A. C. and dated Venice, November 22, 1766, argument, cast, and name of Gregorio 
 Sciroli as the composer. SCHATZ 9784 
 
 Solimano. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1756 . 
 
 cm 
 
 Torino, gli Zappata et Avondo, n. d. x, [2], 76 p. 15\ 
 Three acts. By Giannambrogio Migliavacca, who is not mentioned. Argument, 
 cast, scenario, and name of Michel Angelq Valentini as composer. With the opera 
 were performed (brief descriptions in the libretto) three ballets by Vincenzo Saunier. 
 music by Rocco Gioanetti, "Di eelvaggi," "Del Bezeetan, o Mercato di schiavi 
 and "Di Marte t Venere e la Gloria." SCHATZ 10587 
 
 Solimano n, ballet. See Bianchi's Seleuco. 
 
 II Solimano Secondo, ballet. See Caruso's U matrimonio in 
 commedia. 
 
 II Solimano secondo, ballet. See Gassmann's L'amore artigiano. 
 Solimano IE, ballet. See P. Guglielmi's Le pazzie di Orlando. 
 
 Solimano n o sia La francese trionfante, ballet. See Anfossi's 
 Lucio Silla. 
 
 II solitario reso sociabile per amore, ballet. See Cimarosa 's U 
 convito. 
 
 Solone. See M. Curzio.
 
 1020 LIBRARY OF CONGRESS 
 
 La somiglianza, ossiano I gobbi. Drama giocoso per musica, da 
 rappresentarsi nel Teatro Elettorale. 
 Dresda, n. pull, 1793. 185 p. 15 cm . 
 
 Two acts. The author, Cosimo Mazzini, is not mentioned. Portugal Is men- 
 tioned as the composer. German title-page, "Die taeuschende aehnlichkeit oder 
 Die buckeligen," and text face Italian. 
 
 First jserformed at Dresden on December 4, 1793, as indicated; at Florence, Teatro 
 Palla a Corda, spring of 1793, under the title, " La conf usione della somiglianza ossiano 
 
 I due gobbi" as probably the first of Portugal's operas performed in Italy. 
 
 SCHATZ 8400 
 
 - I due gobbi. Dramma giocoso in musica da rappresentarsi nel 
 nobilissimo Nuovo Teatro di Padova Fautunno dell' anno 1793 . . . 
 
 Padova, lifrateUi Conzatti, n. d. 51 p. 18 cm . 
 
 Two acts. Dedication, cast, and name of Marcos Portugal as the composer. 
 With this title, the opera was first performed in Siena spring of 1793. 
 
 SCHATZ 8445 
 
 Arien und gesaenge aus dem komischen singspiel Verwirrung 
 durch aehnlichkeit in zwey aufzuegen aus dem italienischen frey 
 uebersetzt von C. Herklots. Die musik ist von Marco Portogallo. 
 n. i., 1795. 46 p. 16. 
 
 Two acts. Cast. 
 
 First performed at Berlin, Kgl. Nationaltheater, August 3, 1795. SCHATZ 8401 
 
 The son-in-law, a comic opera: as it acted at the Theatres Royal in 
 London and Dublin. 
 
 Dublin, Printed for the booksellers, 1788. 32 p. 15\ cm . 
 
 Two acts. Neither the author, John O'Keefe, is mentioned, nor the composer, 
 Samuel Arnold. 
 
 First performed at London, Haymarket, August 14, 1779. LONGE 223 
 
 II sonambulo, ballet. See Andreozzi's Amleto. 
 
 Das sonnenfest der Braminen. Ein heroisch-komisches origmal- 
 singspiel in zwey aufzuegen, fuer die k. k. privil. Marinellische schau- 
 buhne von Karl Friedrich Hensler. Die musik ist von herrn Wenzel 
 Mueller, kapellmeister. 
 
 Wien, Schmidt, 1790. 60 p. 17 cm . 
 
 Cast and dedication dated "Im herbstmonat 1790." 
 
 First performed, as indicated, September 9, 1790. SCHATZ 6965 
 
 - Het feest der Braminen, zangspeel. 
 
 AmsteUam, I. Helders en A. Mars, 1798. 3 p. I, 79, [1] p. 17 cm . 
 
 Dedicatory sonnet by the translator, Salomon Bos. 
 
 First performed at Amsterdam, Nationale Stads schouwburg, 1798. SCHATZ 6966 
 
 Das sonntagskind. L. T. of Wenzel Miiller's Das neusonntagskind. 
 
 Sophie, ouLe mariage cache", com6die en trois actes, mlee d'ariettes. 
 La musique est de M. Kohaut. Represented pour la premiere fois 
 par les Come'diens italiens ordinaires du roi, en 1770. 
 Paris, veuve Duchesne, 1771. 46 P- 16% cm . 
 
 By Madame Riccoboni, who is not mentioned. 
 
 Date above incorrect; first performed there June 4, 1768. SCHATZ 5207
 
 OPERA LIBRETTOS 1021 
 
 Sophie et Moncars, ou L'intrigue portugaise; comedie lyrique en 
 trois actes et en prose, melee de chants: Represented pour la pre- 
 miere fois a Paris sur le Theatre de la rue Feydeau, le 9 vendemiaire 
 an VI de la Re"publique (30 septembre 1797). Par J. H. Guy. Mise 
 en musique par P. Gaveaux. 
 
 Paris, Tiger, an VI (1797. v. st.). 2 p. I, 60 p. 21 cm . 
 
 Cast. ML 50.2.S7G2 
 
 Sophie et Sigismond. See Les desesperes. 
 
 Sophonisbe : ein musikalisch drama, mit historischem prolog und 
 choeren von A. G. Meissner. 
 
 Leipzig, Dykische bucTihandlung, 1776. 32 p. 15 cm . 
 
 One act. "Die musikbegleitung ist von herrn musik direktor Neefe." In the 
 " Vorbericht," dated Dresden, July 23, 1776, the author dwells at considerable length 
 on the problem of "diese art von drama," meaning the "melodrama" of Benda, 
 Neefe, etc. At the end he says that he had contemplated going more into detail 
 about the dramaturgic problem of prologues for purposes of dramatic exposition, but 
 gave up the idea since he heard that a similar work was to leave the press soon. 
 
 First performed at Frankfurt a/M, Theater im Junghof, 1778. SCHATZ 7072 
 
 Sophonisbe. Ein musikdrama von herrn Meissner. Die musik 
 ist von herrn Neefe. 
 
 n. i., n. d. [109}-12? p. 14$ cm . 
 
 Detached copy. From his Collected works, published after 1800? SCHATZ 11724 
 
 Le sorcier, comedie lyrique, mesle'e d'ariettes en deux actes: repre*- 
 sentee pour la premiere fois par les Come'diens francois ordinaires du 
 roi, le {blank} 1767 ... 
 
 Copenhague, Cl. PUlibert, 1767. 68 p. 19 cm . 
 
 Cast, author's dedication, names of Philidor as composer and of Poinsinet as author, 
 who says, in a note: 
 
 " Je profite de cette occasion pour avertir le public au sujet de I'e'quivoque qu'a 
 eouvent occasionne" la conformity du nom de mon cousin avec le mien; c'est pour la 
 prevenir de'sormais que M. Poinsinet de Sivri, auteur de 1' elegante traduction dea 
 poetes lyriques Grecs . . . ne prendra plus que le nom de Sivri ..." 
 
 According to Tiersot, Philidor helped himself to music from Gluck'e Orpheus. 
 
 For date of first performance, see next entry. YUDIN PQ 
 
 Le sorcier, comedie lyrique, meslee d'ariettes, en deux actes, rep- 
 re"sente"e pour la premiere fois par les Come'diens italiens ordinaires 
 du roi, le lundi 2 janvier 1764. 
 
 Paris, la veuve Duchesne, 1770. 67 p. 17% cm > 
 
 Neither the author, Poinsinet is mentioned, nor Philidor, the composer. On 
 p. 55-67, the air of the vaudeville "Loin de 1'objet de ma tendresse" (II, 12) and the 
 "Airs du Sorcier:" "Jeune fillette" (I, 4), "Sur les gazons" (II, 2), "Dans le sein 
 de la liberty " (II, 12), "Rien ne peut bannir," substitute air for "Non ma mere" 
 (I, 3). SCHATZ 8027 
 
 Der zauberer, em singspiel in zween aufzuegen aus dem franzoesi- 
 schen uebersetzt, mit musiK. 
 
 Frankfurt am Mayn, rait Andreaeischen schriften, 1772. 110 p., 12 
 p. (music) 16 cm . 
 
 Cast. Transl. for Theod. Marchand's company by Johann Heinrich Faber. Neither 
 he nor Philidor is mentioned. The music (voice and pf.) consists of "Faengt der 
 stahl nur an zu gluhn " (I, 1, "De ce linge que je repasse "), "Am baum dort " Til, 2, 
 "Sur lea gazona ), "Ala mir das schicksal" (II, 12, "Dans le eein de la liberte' '). 
 
 SCHATZ 8028
 
 1022 LIBRARY OF CONGRESS 
 
 Le sorelle rivali. Dramma giocoso per musica da rappresentarsi 
 nel Teatro di Monza 1'autunno dell' anno 1782 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 63 p. 15% cm . 
 
 Three acte. By Giovanni Bertati, who is not mentioned. Dedication, cast, 
 scenario, and note: "Musica in buona parte del Sig. maestro [Giovanni] Valentin! ed 
 in parte d'altri celebri autori." With the opera were performed Antonio Bertini's 
 ballets, "II matrimonio inaspettato" and "Le pastorelle difese," the composers of 
 the music not being mentioned. 
 
 First performed at Brescia, Teatro dell' Accademia degli Erranti, 1781; at Venice, 
 Teatro di S. Moise, December 26, 1780, as "La statua matematica." SCHATZ 10586 
 
 De sorte naeser. A. T. of Wedel's Serenaden. 
 
 II sospetto senza fondamento. Dramma pastorale fatto rappre- 
 sentare da gli Accademici Oscuri per festive applauso al giorno 
 natalizio del Sereniss. principe Ferdinando di Toscana. 
 
 Firenze, Stamgeria di S. A. S. aUa Condotta, 1691, Ad istanza di 
 Andrea Orlandim. 4$ P- 16% cm . 
 
 Three acts. Dedication signed by Andrea Orlandini, whom Schatz calls the 
 author. Composer not mentioned, and unknown to Schatz. 
 
 First performed, as indicated, August 9, 1691. SCHATZ 11366 
 
 The sot. A burletta, in two parts. As it is performed at the Theatre 
 Royal in the Hay market. Altered from Fielding. The music com- 
 posed by Dr. Arne. 
 London, Cox and Bigg, 1775. 2 p. I., [1], 10-35 p. 20\ cm . 
 
 The caption title is "'Squire Savage. Part the first." The prefatory advertise- 
 ment reads: 
 
 "The characters and design of this piece are taken from a ballad opera, written by 
 Henry Fielding, Esq. 
 
 "Some ot the songs are likewise written by that celebrated author; but many 
 others, with the quintetto and chorus necessarily added, and the measure of the 
 dialect is obliged to be changed throughout, on account of its being delivered in 
 recitative. 
 
 . "Dr. Arne is sensible of the disadvantage attending all dramatic performances, 
 deprived of their greatest ornaments, viz. Action, characteristic, dress and scenes; 
 but a restrictive Act of Parliament, (intended chiefly to prevent strolling vagabonds 
 from infesting the town with their paltry attempts; but no way meant to suppress 
 native genius, when displayed by persons of undoubted establishment and reputa- 
 tion) has unfortunately prevented the Dr. from displaying his productions in the most 
 advantageous manner, he humbly hopes (supposing it was difficult to draw a line 
 between the two extremes) that the public, ever favourable and indulgent, will, as 
 in oratorios, by the assistance of printed books, supply with their ever fertile imagina- 
 tion, this unavoidable deficiency which, as now, will hereafter give him a fair oppor- 
 tunity to exert his best endeavours towards the entertainment 01 his gracious patrons, 
 without infringing the interdicts of the said Act." 
 
 The piece was advertised for first performance on March 16, 1772, as "a new burletta, 
 called Squire Badger" (Cummings), and, according to Clarence, was printed in 1772 
 under that title. LONGE 274 
 
 II sotteraneo ossia Catterina di Coluga, ballet. See Nasolii's Len 
 feste d'Iside. 
 
 Les souliers mors-dores ou La cordonniere allemande, come'die 
 lyrique en deux actes; represented pour la premiere fois sur le Theatre 
 des Come'diens italiens ordinaires du roi, le jeudi 11 Janvier 1776. 
 
 Paris, Vente, 1776. 68 p. 19 cm . 
 
 Cast. Neither de Ferrieres, the author, nor Fridzeri, the composer is mentioned 
 in the libretto. On p. 59-63 the melodies of the "Air. Bien loin d'oser douter" 
 and the " Vaudeville. Chez 1'etranger, on appr^cie." SCHATZ 3372
 
 OPERA LIBRETTOS 1023 
 
 Le souterrain. A. T. of Dalayrac's Camille. 
 
 Airs, duets, trios and finale, introduced in the comedy of The Spanish 
 barber. As performed at the Theatre-Royal in the Hay-Market. 
 The third edition. 
 London, T. Coded, 1783. 12 p. 21. 
 
 1) and founded on B 
 
 adapted the 
 
 
 
 Text by George Colman (who is not mentioned) and founded on Beaumarchais' 
 Barbier de Seville." Samuel Arnold, who partly composed, partly 
 
 music, is not mentioned. 
 
 First performed, August 30, 1777. LONGE 91 
 
 The Spanish lady, a musical entertainment, in two acts. Founded 
 on the plan of the old ballad. As perform'd at the Theatre Royal in 
 Covent-Garden . . . 
 
 London, J. Cooper, n. d. 85 p. 18\ cm > 
 
 Cast, dedication, and preface dated, Theatre-Royal, Covent-Garden, December 8, 
 1769, which reads in part: 
 
 ' ' The following scenes were written on receiving the news of a signal conquest, 
 gained in the Spanish West Indies, by the English forces in the year 1762, and intended 
 as a small tribute to the noble family who had the direction of that important expedi- 
 tion. It was accordingly licensed and rehearsed, when some public commotions in 
 the theatrical world, prevented the. intended exhibition; since which, it has been 
 once acted for a performer's benefit. 
 
 ' ' It has now undergone some few changes and abridgments, and is to be considered 
 merely as the story of the Spanish lady, in a dramatic dress . . . With the aid of 
 the music (which has been selected under the inspection of an eminent composer), it 
 is hoped the piece may not prove unentertaining to a delicate and susceptible 
 mind . . ." 
 
 The author, Thomas Hull, is not mentioned. The composer, who selected the 
 music, is not recorded by W. Barclay Squire. 
 
 First performed May 2, 1765, as indicated. LONGE 150 
 
 The Spanish rivals. A musical farce, in two acts, as performed at 
 the Theater-Royal in Drury-Lane. 
 
 London, J. Almon, 1784. 1 p. 1., 84 p. 21 cm . 
 
 Cast and dedication, in which the author, Mark Lonsdale, calls this the "first 
 offering of a Cumbrian Muse." The composer. Thomas linley, is not meationed. 
 He utilized, as appears from Thompson's vocal score, a number of folk-dances. 
 
 First performed November 4, 1784 (Schatz); November 5 (Tufts). LONGE 95 
 
 Spartaco. Dramma per musica, da rappresentarsi nell' Imperial 
 Corte . . . nel carnevale dell' anno MDCCXXVI. La poesia & del 
 Sig. abate Giovan Claudio Pasquini. La musica & del Sig. Giuseppe 
 Porsile . . . 
 
 Vienna d* Austria, Gio. Pietro Van Ghelen, n. d. 4 P- ^> ?0 P- l^^ cm . 
 
 Three acts. Argument, scenario, and name of Niccola Matteis as composer of the 
 ballet music. 
 
 First performed, as indicated, February 21, 1726. SCHATZ 8377 
 
 La Spartana generosa, oyvero Archidarnia, dramma per musica 
 rappresentato ... in occasione delle doppie auguste nozze celebrate 
 in Dresda. L'anno MDCCXXXXVII. La poesia 6 del Sign, abbate 
 Gio. Claudio Pasquini . . . 
 
 n. i., n. d. 7 p. 1., 174 P- lW m . 
 
 At end: "Dalla Stampa regia per la vedova St&ssel." 
 
 Three acts. Argument, cast, and scenario. Johann Adolph Basse, the com- 
 poser is not mentioned. German title page, "Die grossmuethige Spartanerin, oder 
 Archidamia " and text face Italian. 
 
 First performed, as indicated, June 14, 1747. SCHATZ 4565
 
 1024 LIBRABY OF CONGBESS 
 
 Lo spazzacami.no, ballet. See Bianchi's Ines de Castro. 
 
 Lo spazzacaniino. L. T. of Portugal's Lo spazzacainino principe. 
 
 Lo spazzacamino principe. . Commedia con musica d'un atto solo 
 da rappresentarsi nel nobilissimo Teatro Giustiniani in San Moisd il 
 carnovale dell' anno 1794. 
 
 Venezia, Modesto Fenzo, 1794. 48 p. 18 cm . 
 
 By Giuseppe Foppa, who is not mentioned. Cast and name of Marcos Portugal 
 as the composer. After the opera was performed Urbano Garzia's comic ballet II 
 quadro animato." The composer of the music is not mentioned. 
 
 First performed, as indicated, January 4, 1794 (Carvalhaes). SCHATZ 8417 
 
 Lo spazzacaniino. Commedia con musica d'un atto solo da 
 rappresentarsi nel Teatro Elettorale. 
 
 Dresda, n. publ, 1794. 48 p. 16. 
 
 By Giuseppe Foppa, who is not mentioned. Marco Portogalli (Portogallo) is 
 mentioned as the composer. SCHATZ 8418 
 
 II barone Spazzacamino. Farza in prosa di un solo atto da 
 rappresentarsi nel Regio Teatro di S. Carlo offerto al rispettabil 
 publico di Lisbona da Giuseppe Tavani nel giorno del suo benefizio 
 ai 27 maggio 1799. 
 
 Lisbona, Simone Taddeo Ferreira, 1799. 103 p. 14% cm . 
 Cast and name of Marco Portogallo as the the composer. Portuguese text facea 
 Italian, which is practically Giuseppe Foppa's "Lo spazzacamino principe." 
 
 SCHATZ 8433 
 
 Der schorsteinfeger Peter, oder Das spiel des ohngefaehrs. 
 Eine komische oper in zwei akten. Nach dem italiaenischen sing- 
 spiele lo Spazzacamino frei bearbeitet von K. H. Zschiedrich. 
 
 Pirna, Arnold und Pinfher, 1799. 2 p. 1., 80 p. 15 cm . 
 
 Name of Portogallo as composer, and translator's preface, dated Dresden, May, 
 1799, in which he says that Brocchi selected Portugal s opera, "Lo spazzacamino," 
 for his debut at Pillnitz {near Dresden), with great succ ss. He then continues: 
 
 ' ' Hier sahe sie der bearbeiter derselben mit vergnuegen und glaubte dem teutschen 
 opern theater nicht unnuetz zu werden, wenn er ihm dies lustige machwerk eignete. 
 
 "Dies geschahe mit mannichfaltigen noethigen abaenderungen des plans, mit 
 veredlung des karakters der Donna Flora, der, unter der welschen maske, dem 
 sittlichen vaterlaendischen zuschauer schwerlich behagen konnte und mit vertheilung 
 einer handlung in zwo; jedoch unter beibehaltung der ganzen lokalitaet und der 
 echoenen musik." 
 
 First performed at Dresden, Theater vor dem schwarzen Thore, May 22, 1799. 
 
 SCHATZ 8419 
 
 Lo spazzacamino principe. Commedia con musica divisa in due 
 atti' e tolta dal francese da rappresentarsi nel Teatro di Monza 
 Pautunno 1790 ... 
 
 Milano, Gaetano Motta, n. d. 4 P- l-t 68 p. 16 cm . 
 
 Two acts. Dedication by the impresario, Antonio Puttini, in which he calls this 
 "uno spettacolo che fe il primo di questo genere, che compaja in Italia." The author, 
 Giuseppe Carpani, who is not mentioned by name, takes his mouth still more full in 
 his notice to the public. He, too, insists on the novelty saying of his version of "Le 
 ramoneur prince: 
 
 "non vi avendo musica, si poteva, col farvela tra noi, riunire per la prima volta ai 
 pregj dell' opera francese la pompa, e le attrative della musica italiana, e dar cosi uno 
 spettacolo, o signori, novissimo e ben degno di voi, e che imitato yenendo produrrebb? 
 all' Italia una quantita di attori, ed amcchir potrebbela di bellissime commedie alia 
 musica accomodote." 
 
 On a slip pasted on p. 1. 4, the note: "La musica sara tutta nuova del eel. Sig. 
 maestro Angelo Tarchi. With the opera was performed (composer of the music not 
 mentioned) Urbano Garzia's ballet, "La cosa rara." SCHATZ 10238
 
 OPERA LIBRETTOS 1025 
 
 II specials ingannato. A. T. of the ballet II mercato di Pozzuolo. 
 
 Les spectacles malades. Prologue. Par M?? le S * * * 
 d'Or * * represents a la Foire Saint Laurent 1729. 
 Le Theatre de lafoire, Paris, 1731, t. mi, pi, [213}-240 p. 17 cn . 
 
 By Le Sage and d'Orneval. Largely en vaudevilles. The airs, selected or com- 
 posed and arranged by Jean Claude Gillier, the " compositeur " of the company, are 
 printed at the end of the volume in the "Table des airs." 
 
 First performed August 29, 1729. ML 48.L2VII 
 
 Lo speziale. Dramma di tre atti per musica. Rappresentato per 
 la prima volta in Venezia 1'anno 1753 con musica del Pallavicini e 
 del Fishietti. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta ejigli, 1788-95, t. 42, 
 p. [109]~158. 18**. PQ 
 
 Lo speziale. See also Fischietti's II bottanico novellista. 
 
 Lo speziale. Dramma giocoso per musica di Polisseno Fegejo pas- 
 tor Arcade da rappresentarsi nel Teatro Grimani di S. Samuel, nel 
 carnovale dell' anno 1755 . . . 
 
 Venezia, Modesto Fenzo, 1755. 48 p. 
 
 Three acts. By Goldoni. Impresario's dedication, cast, scenario, names of Vin- 
 cenzo Pallavicini and Domenico Fischietti as composers, and notice to the reader, 
 which reads: 
 
 "Ponendosi nel frontispizio il nome arcadico dell' autore, ben conosciuto, ha egli 
 desiderato, che si faccia sapere al mondo, essere stato da lui composto il presente 
 libretto tre anni sono in Bologna ad istanza del Sig. Francesco Baglioni e del Sig. 
 Francesco Carratoli, in tempo che cola trovavasi colla compagnia del Sig. Girolamo 
 Medebac. 
 
 "Tale protests, intende egli di fare per sua giustificazione verso di quelli, che lo 
 caricano ingiustamente aver trascurato di scrivere per il Comico suo Teatro per lucrare 
 con altri. Egli ha liberta di scrivere per teatri di musica. II Filosofo di Campagna 
 lo ha scritto nella Quaresima passata, in tempo, che non potea prevedere la malatia 
 eofferta per cinque mesi. Ma a chi mai rende egli conto di 6 la gente oziosa, e 
 maligna, che non ha che fare con lui." 
 
 First performed, according to Schatz, at Milan, Regio Ducal Teatro, 1754, but see 
 above the entry from Goldoni's works. SCHATZ 7714 
 
 Lo speziale, dramma giocoso per musica, da rappresentarsi nel 
 Nuove Teatro di Dresda 1'anno MDCCLV. Der Apotheker . . . 
 
 [Dresden], Gedruckt bey der verwitt. . . . Stoesselin und . . . Jdhann 
 Carl Krausen, n. d. 131 p. 16$ cm . 
 
 Three acts. Cast and scenario. German text faces Italian. Neither Goldoni nor 
 the composers, Pallavicini and Fischietti, are mentioned. The Dresden text seems 
 to follow the original closely. SCHATZ 7715 
 
 Der spiegel von Arkadien. Eine grosse heroisch-komische oper in 
 2 aufzuegen. Von Emanuel Schikaneder. 
 n. i., 1796. 79 p. 15. 
 
 Franz Xaver Suessmayr is mentioned as the composer. See also his "Die 
 koenigin der Schwarzen inseln. 
 
 First performed at Vienna, Theater auf der Wieden, November 14, 1794. 
 
 SCHATZ 10183 
 
 Der spiegel von Arkadien. Eine heroisch-komische oper in 
 zwei aufzuegen. Unter dem titel: Die neuen Arkadier neubearbeitet 
 und zum erstenmal auf dem Hoftheater zu Weimar den 2. februar 
 1796 aufgefuehrt. Die musik ist von Franz Suessmeyer. 
 
 Weimar, Hojfmannische Buchhandlung, 1796. 4 P- 1-> 1%0 P- 17 cm . 
 
 72251 VOL 114 - 65
 
 1026 LIBRARY OF CONGRESS 
 
 Der spiegel von Arkadien Continued. 
 
 This title page followed by a special t.-p. with the new title. 
 
 ' In his "Vorrede," Christian August Vulpius (not mentioned) under date of "Wei- 
 mar, am tage Renata, 1796" says: 
 
 "Wer das original dieser oper kennt, deren bearbeitung ich hier liefere, der wird 
 finden, was ich dabei geleistet habe, oder nicht. Ich habe anderswo (In den Rhei- 
 nischen Musen, 5 bd., 1 St. S. 67-72) als ich diese arbeit begann, schon etwas da- 
 rueber gesagt." 
 
 Vulpius then takes issue with Schikaneder for having given the piece an incorrect 
 title, for having made of Arcadia an island and other such silly and absurd nonsense, 
 and he continues : 
 
 "Der dialog aller handelnden pereonen ist groesstentheils ganz neu fuer geeittete 
 und deutsche zuschauer geschrieben worden und die verse sind allenthalben abge- 
 aendert . . '. Freilich, die musik war da und der neue text musste derselben erst 
 angepasst werden, und daher kamen die fesseln, in die ich mich sehr ungern schmiegen 
 musste." SCHATZ 10184 
 
 Gesaenge aus dem singspiele: Der spiegelritter, in drey aufzuegen, 
 vom praesidenten von Kotzebue. In musik gesetzt von Ignaz Walter. 
 Hamburg, Freystatzlcy und Robe, 1795. 51 p. 16\ cm . 
 
 First performed at Hamburg, Theater beim Gansemarkt, October 26, 1795; at 
 Frankfurt a. M., Nationaltheater, September 11, 1791. SCHATZ 10865 
 
 - Der spiegelritter, eine oper in drey aufzuegen. 
 
 n. i., n. d. front., [321]~448 p. 
 
 Obviously detached from some volume of an edition (before 1800?) of August von 
 Kotzebue's collected works, as the opera libretto is followed on p. [449]-^i76, by his 
 ' ' Einige zuege aus dem leben des guten Musaeus von der hand seines schuelers ent- 
 worfen." In the "Vorbericht" to the opera, Kotzebue says: 
 
 "Man hat mich oft aufgefordert, doch auch einmal eine oper nach heutigem 
 zuschnitt zu verfertigen, und da habe ich denn endlich eine gemacht. Der leser 
 wird hoffentlich finden, dass sie eben so naerrisch und abentheuerlich und albern 
 ist, als ihre aeltern geschwister auf der deutschen buehne. Unter alien operibus 
 eines schriftetellers ist eine solche oper das leichteste opus. Der himmel mache 
 mich so gluecklich, als er die herren Eberl & consorten gemacht hat; das heiset: er 
 schenke meinem Spiegelritter eine musik, wie-die der Dittersdorffe, Mozart's, Mar- 
 tin's oder Reichard s, so wird sich der bursche wohl durch die welt helfen." 
 
 SCHATZ 10865a 
 
 Das spiel des ohngefaehrs. A. T. of Portugal's Der schorstein- 
 feger Peter. 
 
 Lo spirit o di contraddizione. Dramma giocoso per musica da 
 rappresentarsi nel Teatro di S. A. E. di Sassonia, composto dal Signor 
 Caterino Mazzola . . . 
 
 Dresda, n. publ., 1785. 139 p. 15\ cm . 
 
 Two acts. Joseph Schuster is mentioned as composer. German title-page, "Der 
 geist des widerspruchs," and text face Italian. 
 
 First performed, as indicated, April 20, 1785. SCHATZ 9757 
 
 Lo spirito di contradizione. Dramma giocoso per musica del 
 Signor Gaetano Martinelli Romano. Da rappresentarsi nel Teatro 
 Giustiniani di San Moise il carnovale dell' anno 1766. 
 Venezia, Modesto Fenzo, 1766. 70 p. 15 cm . 
 
 Three acts. Cast, scenario, and name of Pietro Guglielmi as the composer. 
 
 SCHATZ 4305
 
 OPERA LIBRETTOS 1027 
 
 Lo spirito di contradizione. Dramma giocoso per musica da rap- 
 presentarsi nel Real Teatro di Salvaterra nel carnovale dell' anno 1772. 
 
 Lisbona, Stamperia reale, n. d. 98 p. 16 cm . 
 
 Three acts. Argument, cast, scenario, and names of Gaetano Martinelli as author, 
 of Girolamo Francesco Lima (Jeronymo Francisco de Lima) as composer. 
 
 SCHATZ 5616 
 
 The spoil'd child. A farce, in two acts. As performed at the 
 Theatre in Boston. First American edition. 
 
 Boston, Thomas Hall, 1796. 28 p. lo$ cm . 
 
 Cast.' Neither the author, Bickerstaffe, is mentioned, nor the composer of the 
 incidental music. 
 
 First performed in America as a "musical farce" at Baltimore, October 27, 1794. 
 
 PR 1241.D7 v. 7 
 
 Li sponsali d'Enea. Drama per musica da rappresentarsi nel 
 Teatro di S. Angelo nella Fiera dell' Ascensione . . . 
 Venezia, Girolamo Savioni, 1731. 4$> Ul P- 14 m - 
 Three acts. Impresario's dedication, argument, notice to the reader cast and 
 scenario. Neither the author, Francesco Passarini, nor the composer, Michele Fini, 
 is mentioned. SCHATZ 3104 
 
 La sposa bisbetica. Dramma giocoso per musica da rappresentarsi 
 nel Teatro di S. A. S. il Signor prmcipe di Carignano nella primavera 
 dell' anno 1798. 
 
 Torino, Onorato Derossi, n. d. 4 P- 1> 46, Ul P- 15 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz and Piovano. Cast, 
 ecenario, and name of [Pietro Carlo] Guglielmi as the composer. 
 
 First performed at Rome, Teatro Valle, carnival, 1797. SCHATZ 4312 
 
 La sposa di stravagante temperamento. Dramma per musica 
 da rappresentarsi nel nob. Teatro di S. Cassiano nella state 1798. 
 
 Venezia, Antonio Rosa, n. d. 17 em . 
 
 Incomplete, ending with p. 46. 
 
 Two acts. Cast and name of Pietro [Carlo] Guglielmi as the composer. The text 
 iff that of his "La sposa biebetica," but with alterations. For instance, I, 4, now 
 begins "Fate largo, buona gente," instead of "Mie care donnette." SCHATZ 4313 
 
 La sposa bizzarra. Opera buff a di Egesippo Argolide, Pastore 
 Arcade della Colonia Alfea. Da rappresentarsi nel Teatro Gius- 
 tiniani in S. Moise per la terza opera di carnovale Fanno 1781. 
 Venezia, n. publ., n. d. 53 p. 17 cm . 
 
 Two acts. By Carlo Giuseppe Lanfranchi Rossi, who is not mentioned. Cast and 
 name of Alfonso Santi as the composer. SCHATZ 9394 
 
 La sposa contrastata. Commedia per musica di Saverio Zini da 
 rappresentarsi nel Real Teatro del Fondo di Separazione per terz' 
 opera di questo corrente anno 1791. 
 
 Napoli, Vincenzo Flauto, n. d. 4$ P- 14 m - 
 
 Two acts. Cast and name of Pietro Guglielmi as the composer. On p. 4-7, cast, 
 prefatory note, and argument of Giovanni Battista Giannini's II moro di corpo bianco 
 o sia Lo schiavo del proprio onore, ballo di carattere," music ("tutta nuova") by 
 Giuseppe Ercolano. SCHATZ 4269 
 
 La sposa costante. A. T. of S. Vigand's La creduta vedova. 
 
 La sposa di stravagante. L. T. of P. C. Guglielmi's La sposa 
 bisbetica.
 
 1028 LIBRARY OF CONGRESS 
 
 La sposa fedele. Dramma giocoso per musica da rappresentarsi 
 nella prossiina primavera dell' anno 1765[?]. Nel Teatro in Cremona 
 in proprieta di un nobile di detta citta . . . 
 Cremona, Ricchini, n. d. Jfi p. 17 cm . 
 
 Three acts. Cast and dedication. Neither the author, Pietro Chiari, is mentioned, 
 nor the composer. If the date in the title is 1769, instead of 1765, then this might 
 have been a replica of Pietro Guglielmi's opera of the same title, first performed at 
 Venice 1767. ML 50.2. S72 
 
 La sposa fedele. Dramma giocoso per musica da rappresentarsi in 
 Lisbona nel Teatro della rua dos Condes nell' autunno dell' anno 
 1773. 
 [Lisbona], Stamperia reale, n. d. 85 p. 16 cm . 
 
 Three acts. By Pietro Chiari, who is not mentioned. Cast, scenario, and name of 
 Pietro Guglielmi as the composer. With the opera was performed (composer of the 
 music not mentioned) Giuseppe Magni's ballet La vedova scaltra." 
 
 First performed at Venice, Teatro di S. Moise, carnival, 1767. SCHATZ 4270 
 
 - La sposa fedele, dramma giocoso per musica da rappresentarsi 
 nel Regio Teatro Danese. Den troe bruud . . . 
 
 Kifoerihavn, Lars Nielsen Svare, 1768. 127 p. ll\ cm . 
 
 Three acts. Cast and name of Pietro Guglielmi as the composer. Chiari is not 
 mentioned. Danish text faces Italian. 
 
 First performed, as indicated, 1768. SCHATZ 4271 
 
 - La sposa fedele. Dramma giocoso per musica. Da rappresen- 
 tarsi nel Piccolo Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. pull., 1771. 131 p. 16% cm . 
 
 Three acts. Name of Pietro Guglielmi as the composer. Chiari is not mentioned . 
 German title-page, "Die getreue braut," and text, calling the composer "Don Petro 
 Wilhelm," face Italian. 
 
 First performed, as indicated, 1771, but also previously, 1768. SCHATZ 4272 
 
 - Robert und Kalliste, oder Der triumph der treue. Eine 
 operette in drey akten. Nach dem inhalte der Sposa fedele von 
 Johann Joachim Eschenburg. 
 
 Breslau und Leipzig, n. pull., 1776. 62 p. 15. 
 
 Pietro Guglielmi is not mentioned as composer. 
 
 First performed at Berlin, Theater in der Behrenetr, April 8, 1775. SCHATZ 4273 
 
 La sposa gronlandese, ballet. See Piccinni's La pescatrice. 
 
 La sposa in equivoco. Dramma giocoso per musica da rappresen- 
 tarsi nel nobile Teatro Giustiniani in San Moise 1'autunno dell' anno 
 1791. 
 
 Venezia, Modesto Fenzo, 1791. 84 p. 17 cm . 
 
 Two acts. By unknown librettist. Impresario's dedication ("Si riapre . . . 
 questo teatro "), cast, scenario, and name of Francesco Bianchi as composer. On pages 
 45-53, argument, cast, and full description of "Le donne inyidiose ossia L'onesta 
 trionfante, ballo giocoso pantomime," by Giuseppe Scalesi, music ("tutta nuova ") by 
 Vittorio Trento, and p. 80-84, of "Enrichetta, comico pantomimo," by the sam 
 authors. SCHATZ 1007 
 
 La sposa invisibile. Dramma buffo per musica da rappresentarsi 
 nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. pull., 1788. 99 p. 15% cm . 
 
 Two acts. Author unknown to Schatz. German text and title-page, "Die unsicht- 
 bare braut," face Italian. Vincenzo Fabrizj is mentioned as composer. 
 
 First performed, as indicated, February 20, 1788; at Rome, Teatro Capranica, car- 
 nival, 1786. SCHATZ 2970
 
 OPERA LIBRETTOS 1029 
 
 La sposa persiana. Drama giocoso ter[!] musica da rappresen- 
 tarsi nel nobile Teatro di San Samuele nelF autunno dell' anno 1775. 
 
 Venezia, Carcani, n. d. 55 p. 16\ cm . 
 
 Three acts, based on Goldoni's comedy of the same title, possibly by the impresario, 
 Onorato Vigan6, who signed the dedication. Cast and name of Felice Alessandri as 
 composer. Carlo Canobbio ie mentioned as the composer of the music of the first 
 ballet. SCHATZ 155 
 
 La sposa persiana, ballet. See Anfossi's II curioso indiscrete. 
 La sposa peruviana, ballet. See Martin y Soler's Vologeso. 
 
 La sposa polacca. Dramma giocoso per musica da rappresentarsi 
 nel Teatro di Sant' Angelo nella primavera dell' anno 1799. 
 
 Venezia, Casali, n, d. 62 p. 17%. 
 
 Two acte. Cast and name of composer, Bernardini (Marcello di Capua), who is 
 also mentioned as librettist. 
 
 First performed at Rome, Nuovo Teatro di Apollo, December 26, 1795. 
 
 SCHATZ 852 
 
 La sposa rapita, ballet. See Portugal's La donna di genio volubile. 
 
 La sposa tra le imposture. Commedia per musica di Francesco 
 Antonio Signoretti da rappresentarsi nel Teatro Nuovo sopra Toledo 
 per prim' opera di quest' anno 1798. 
 
 Napoli, n. putt., 1798. 51 p. 15 cm . 
 
 Two acts. Cast and name of Luigi Mosca as the composer. SCHATZ 6725 
 
 La sposa volubile ossia L'amante imprudente. Dramma giocoso 
 per musica per celebrare 1'augusto nome di Sua Altezza Reale . . . 
 D. Carlotta Gioacchina ... da rappresentarsi nel Reggio Teatro di 
 S. Carlo 1' autunno dell' anno 1795. 
 Lisbona, Simone Taddeo Ferreir, 1795. 173 p. 15 cm . 
 
 Two acts. Author unknown to Schatz. Cast, name of the composer, Luigi 
 Caruso, and scenario. Portuguese text faces Italian. 
 
 First performed, as indicated, November 4, 1795; at Rome, Teatro della Valle, 
 summer, 1789. SCHATZ 1654 
 
 Lo sposalizio de' Morlacchi, ballet. See Caruso's Oro non compra 
 1'amore. 
 
 Lo sposalizio per dispetto. Dramma giocoso per musica di 
 Giovanni Bertati da rappresentarsi nel Teatro *Giustiniani in S. 
 Moise per la prima opera del carnevale 1'anno 1782. 
 Venezia, n. publ., n. d. 61 p. 17. 
 
 Two acts. Cast and name of Gaetano Monti as the composer. 
 
 First performed, as indicated, December 26, 1781. SCHATZ 6600 
 
 Le spose ricuperate. A. T. of Caruso's I campi Elisi. 
 
 Li sposi contenti, ballet. See Martin y Soler's L'isola piacevole. 
 
 Gli sposi delusi dalle astuzie di Crespino, ballet. See Cimarosa's 
 Artaserse. 
 
 Li sposi in commedia. L. T. of Caruso's II matrimonio in corn- 
 media.
 
 1030 LIBRARY OF CONGRESS 
 
 I sposi in rissa. Farsa di un' atto per musica di G. M. D.fiodati] 
 La musica & del P. D. Bernardo di Fraja dilettante attual organista 
 di M. Casino. 
 
 Napoli, n. pull., 1791. 24 p. Ifo. 
 
 Cast. 
 
 First performed at Naples, Teatro Nuovo, 1791. SCHATZ 3314 
 
 Gli sposi per inganno, ballet. See G. Giordani's Caio Ostilio. 
 
 I sposi perseguitati. Commedia per musica di Pasquale Mililotti 
 da rappresentarsi nel Teatro Nuovo sopra Toledo per terza opera del 
 corrente anno 1782. 
 
 Napoli, n. publ., 1782. 64, [1] p. lJ& cm . 
 
 Three acts. Cast and name of Niccol6 Piccinni as the composer. On the addi- 
 tional page the substitute recitative and aria (I, 8) "Come li dentro intesi" "Ahi, 
 che parlar non posso " with this note: 
 
 "Non essendo 1'aria di Vernold dell' atto primo confacente alia sua voce, e tras- 
 portandola, avrebbe perduta 1'armonia." 
 
 On p. 3 this avvertimento: 
 
 "Essendosi stabilito dal sig. impresario di far rappresentare per terza opera la 
 presente commedia rappresentata nello stesso Teatro nell' anno 1769. Per adattarlo 
 alia presente compagnia, si son dovute tradurre in Toscano quattro parti Napolitane, 
 cioe la parte di Bettina, di Melampo, di Nanella, che se le 6 dato il nome di Lesbina, 
 e di Rina, a cui si 6 dato il nome di Ninetta. Le suddette parti sono state tradotte 
 quasi ad literam per non uscir dalla favola, e non cambiare i pezzi di musica, che 
 fecero allora una sorprendente riuscita." SCHATZ 8140 
 
 Li sposi ridicoli burlati, ballet. See Anfossi's Gli amanti canuti. 
 
 Lo sposo burlato, ballet. See Caruso's II vecchio burlato. 
 
 Lo sposo burlato. See Dittersdorf s "Der gefoppte braeutigam." 
 
 Lo sposo burlato. Intermezzi in musica da rappresentarsi nei 
 Teatri privilegiati di Vienna nell' anno 1770. 
 
 Vienna, Giovanni Tomaso di Trattnem, n. d. 64 p. 16 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Niccol6 Piccinni is 
 mentioned as the composer. 
 
 First performed at Rome, Teatro della Valle, January 3, 1769. SCHATZ 8153 
 
 Lo sposo deluso, ballet. See Astaritta's L'isola di Begodi. 
 
 Lo sposo di tre e marito di nessuna, dramma giocoso per musica, 
 da rappresentarsi nei Teatri privilegiati in Vienna la primavera dell' 
 annoMDCCLXVIII. 
 
 [Vienna], nella Stamperia Ghelen, n. d. 68 p. 15\ cm . 
 
 Three acts. By Antonio Palomba, who is not mentioned. On p. 2, the note: "La 
 musica e del Signor Don Pasquale Anlossi ... A riserva dell' introduzione, e de' 
 tre final! , che sono del Sig. [Pietro] Guglielmi, e dell' arie segnate coll' asterisco che 
 sono del Sig. Floriano Gasman ..." but no aria appears printed with asterisk! 
 
 According to Schatz (no such performance in Florimo), the opera was first per- 
 formed at Naples, Teatro Nuovo sopra Toledo, fall of 1763, music by Anfossi, except 
 the introduction, the three finales, and the aria of the baronessa in the third act, which 
 were by Pietro Guglielmi. SCHATZ 284 
 
 Lo sposo di tre e marito di nessuna. Commedia per musica di 
 Antonio Palomba da rappresentarsi nel Teatro della citta' dell' 
 Aquila. 
 
 Napoli, Amato Cons, 1781. 68 p. 15% cm .
 
 OPEEA LIBRETTOS 1031 
 
 Lo sposo di tre e marito di nessuna Continued. 
 
 Three acts. Cast. No composer mentioned, but Schatz and Florimo attribute the 
 music to Pasquale Anfossi, Pietro Guglielmi, and Giuseppe Giordano. The text 
 is a very much altered version of the Vienna (1768) ed. of "Lo sposo di tre," and in 
 Neapolitan dialect. One distinguishing difference is that it no longer contains the 
 famous "Son gi& tre d\ che Nina." 
 
 First performed at Naples, Teatro del Fondo, 1781, as indicated. SCHATZ 285 
 
 Lo sposo di tre, e marito di nessuna. Dramma giocoso per 
 musica di Filippo Livigni da rappresentarsi nel nobile Teatro di San 
 Samuele Fautunno dell' anno 1783 . . . 
 
 Venezia, Gio. Battista Casali, n. d. 63 p. 17% cm . 
 
 Two acts. Cast, scenario, and name of the composer, Cherubim. SCHATZ 1848 
 
 Lo sposo di tre, e marito di nessuna. Dramma giocoso per 
 musica da rappresentarsi nel Teatro alia Scala la quaresima dell' 
 anno 1793 ... 
 
 Milano, Gio. Batista Bianchi, n. d. 56 p. 16\ cm . 
 
 Two acts. By Antonio Palomba, who is not mentioned. Impresario's dedication, 
 cast, and name of Francesco Gnecco as the composer. With the opera were performed 
 Giovanni Monticini's ballets, "La fata Urgella" and "Li pastori d'Arcadia." The 
 composers of the music are not mentioned SCHATZ 3965 
 
 Lo sposo disperato. Dramma giocoso per musica di Giovanni 
 Bertati da rappresentarsi nel Teatro Giustimani di S. Mois& Fautunno 
 dell' anno 1777. 
 
 [Venezia], n. pull., n. d. 63 p. 18 cm . 
 
 Two acts. Cast and name of Pasquale Anfossi as composer. SCHATZ 252 
 
 II zotico incivilito. Dramma giocoso per musica, da rappresen- 
 tarsi nel Teatro Elettorale. Der civilisirte bauer. Bin scherzhaftes 
 singspiel . . . 
 
 Dresda, n. putt., 1792. 15\. 
 
 Two acts. Name of composer, Anfossi. Cast added in pencil. Text a later ver- 
 sion of "Lo sposo disperato." German text faces Italian. 
 
 First performed at Dresden on December 12, 1792. SCHATZ 253 
 
 Lo sposo per equivoco. Intermezzo in musica da rappresentarsi 
 nel nobil Teatro Tron Veronese di S. Cassiano Pautunno dell' anno 
 MDCCLXXXIII. 
 
 Venezia, Pietro Sola, n. d. 50 p. 16% cm . 
 
 Two acts. Cast, scenario, and name of Pasquale Anfossi as composer, but not of 
 librettist, who is unknown to Schatz. 
 
 First performed at Rome, Teatro Capranica, carnival, 1781. SCHATZ 277 
 
 Lo sposo senza moglie. A. T. of Cimarosa's I due supposti conti. 
 
 Sprigs of laurel: a comic opera. In two acts. As performed, with 
 universal applause, at the Tneatre-Royal, Covent-Garden. Written 
 by JohnO'Keeffee[!] . . . 
 
 London, H. S. WoodfaU, 1793. 3 p. 1., 47 p. 20 cm . 
 
 Cast, author's dedication, dated April 6, 1793, and "A card," dated Brompton, 
 May 21, 1793, which reads: 
 
 Mr. O'Keefe owes his first thought of writing this piece, to a circumstance he had 
 heard of a centinel quitting his post, to follow the detachment from the Guards when 
 it embarked at Greenwich: But whether a fact ? or fiction, he is happy if it has afforded 
 any pleasure from the popularity of the occasion, the sweet melodies of Mr. Shield, 
 and the zealous exertion of the respective performers." Longman & Broderip'a
 
 1032 LIBRARY OF CONGRESS 
 
 Sprigs of laurel Continued. 
 
 vocal score says: "Consisting of German, Scotch, Irish, and English airs, one by a 
 nobleman and others by Handel, Aniossi, and Shield." 
 
 First performed, ae indicated, May 11, 1793, and, according to Genest, in an altered 
 version as "The rival soldiers," at the same theatre, May 17, 1797. LONOE 225 
 
 - Sprigs of laurel: a comic opera, in two acts. As performed, 
 with, universal applause, at the Theatre Royal, Covent-Garden. 
 Written by John O Keefe ... A new edition. 
 
 London, G. WoodfaU, 1794. 3 p. I., 47, [1] p. 20. 
 
 Same cast, dedication, and "card." ML 50.2.S74S3 
 
 The Spring. Pastoral as it is now performing at the Theatre Royal 
 in Drury Lane. The music by Mr. Handel, and other eminent 
 masters . . . 
 
 London, T. Dames, n. d. 16 p. 21\ cm . 
 
 Two acts. Text by James Harris, who is not mentioned in the Advertisement, 
 which reads: 
 
 "As this pastoral was not originally designed for the theatre, it is thought proper to 
 give the public some account of it, and by what means it has now found its way to 
 the stage. 
 
 "The chorusses and airs were selected from Mr. Handel and several other eminent 
 masters, by a gentleman whose taste and knowledge in music, is perhaps his least 
 merit. 
 
 "Having conceived the design of a musical entertainment of this miscellaneous 
 nature, he found himself obliged, in order to introduce the several airs and chorusses 
 with propriety, to connect them by a recitative of his own composition: This naturally 
 produced a kind of little drama; and the ease and elegance of the whole, is the more to 
 be admired, when it is considered that the words were of necessity composed in perfect 
 subservience to the music. 
 
 "The piece has been several times performed at Salisbury, and been greatly 
 admired by many of the first rank and other acknowledged judges of music. The 
 author, upon Mr. Norris (who performed a capital part in tne pastoral) being engaged 
 at the theatre, was applied to for leave to bring it on the stage, to which, he has most 
 obligingly given his consent . . ." 
 
 The text is the same as of " Daphne and Amaryllis," 1766 (Longe 293). 
 
 First performed at Drury Lane October 22, 1762. ML 50.2.S743H2 
 
 The springs glory, a maske. Together with sundry poems, epi- 
 grams, elegies, and epithalamiums. By Thomas Nabbs. 
 
 London, Printed by J. Dawson, 1639. 51 unnumbered p. 17^ cm . 
 
 Second ed. Includes his "A presentation intended for the Prince his Highnesse 
 on his birthday the 29 of May 1638, " partly to be sung and danced. The text of the 
 masque is preceded by Thomas Nabbes' dedication to "Guglielmo Balle [William 
 Ball] filio natu majori Petri Balle armigeri" (therefore not dedicated to Peter Ball!), 
 a dedicatory poem by "C. G. Oxon" to Nabbes and one by Robert Chamberlaine to 
 Nabbes. No allusion to a composer is made. No performance recorded by Clarence. 
 
 ML 52.2.S76 
 
 Spurio Postumio. Drama per musica da rappresentarsi nel famo- 
 sissimo Teatro Grimani di San Gio. Grisostomo il carnovale dell' 
 anno 1712 . . . 
 
 Venezia, Marino Rossetti, n. d. 68 p. 15 cm . 
 
 Three acts. By conte Agostino Piovene, who is not mentioned. Historical notes, 
 cast, and scenario. The composer, Carlo Francesco Pollaroli, is not mentioned. 
 
 SCHATZ 8320 
 
 Squire Badger. See Arne's The sot. 
 
 Die staats-thorheit des Brutus. A. T. of Reiser's Die klein- 
 muehtige selbst-moerderin Lucretia.
 
 OPERA LIBRETTOS 1033 
 
 The stage -mutineers: or, A play-house to be lett. A tragi-comi- 
 farcical-ballad opera, as it is acted at the Theatre-Royal in Covent- 
 Garden. By a gentleman late of Trinity-College, Cambridge . . . 
 London, Richard Wellington, 1733. 4 p. I., 40 p. 19 cm . 
 
 One act, prologue, and epilogue. Cast. The airs used are indicated by title. 
 The author is not recorded by Clarence. 
 
 First performed, as indicated, October 31, 1733. LONGE 262 
 
 The state juggler: or. Sir Politick Ribband. A new excise opera. 
 N. B. With this opera is given gratis, Britannia extisa, in two parts; 
 and the Excise Congress, with three emblematical pictures, printed on 
 a large sheet of fine paper, fit to be fram'd . . . 
 
 London, T. Reynolds, 1733. 1 p. 1., [7}~43 p. 19. 
 
 Three acts. In form of a ballad-opera, the airs of the 21 songs in which are indi- 
 cated by title. The extras mentioned in the title are not in this copy. No author 
 or performance recorded. LONGE 136 
 
 The state of innocence, and fall of man: an opera. Written in 
 heroick verse; and dedicated to Her Royal Highness the Dutchess. 
 By John Dryden . . . 
 
 London, Printed by H. H. for H. Herringman, 1684- 8 p. Z., 38, 
 [2} p. 22% cm . 
 
 "The author's apology for heroick poetry, and poetick licence" ([8] p. preceding 
 
 &. 1) contains first Dryden's reasons for publishing an opera which was never acted." 
 ne of them was his. desire to protect his reputation as a poet: 
 
 "many hundred copies of it being dispers'd abroad, without my knowledge or 
 consent; BO that every one gathering new faults, it became at length a libel against 
 me . . ." 
 
 This treatise is preceded by a poem "To Mr. Dryden, on his poem of Paradise'' 
 and by Dryden's dedication. At the end a two-page publisher's catalogue. No 
 mention is made of a composer or of a performance and none are recorded. 
 
 ML 50.2.S745 
 
 The statesman's opera. A. T. of The patron. 
 
 The statesman foil'd. A musical comedy of two acts. Performed 
 at the Theatre Royal in the Hay-Market. The musick composed by 
 Mr. Rush. . 
 
 London, T. Becket and co., 1768. 2 p. Z., 42 p. t 19$ cm . 
 
 Two acts. By Robert Dossie, who is not mentioned. Cast. 
 
 First performed July 8, 1768, as indicated. LONGE 37 
 
 Statira. Dramma di tre atti per musica rappresentato per la prima 
 volta in Venezia 1'anno MDCXJKL. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 36, 
 [205}-247 p. 18\ cm . PQ 
 
 The earliest setting recorded by Schatz is that by Pietro Chiarini for Venice, 
 Teatro di San Samuele, spring 1741. 
 
 Statira. 
 
 Apostolo Zeno, Poesie drammatiche. Venezia, 1744) * x > P- [205]-288. 
 19 cm . 
 
 Three acts. Argument. Written in collaboration with Pietro Pariati. No com- 
 poser is mentioned. In the "Catalogo" at end of vol. x date and place of first ed. 
 is given as Venice, 1706, but see Gasparini's opera below. ML 49.A2Z3
 
 1034 LIBRARY OF CONGRESS 
 
 S ta tir a Continu ed . 
 
 Statira. Pubblicata per la prima volta in Venezia 1706. 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. ix, p. 279- 
 
 859. 21 cm . 
 
 Three acts. Argument. No composer is mentioned. Written in collaboration 
 with Pietro Pariati. ML 49.A2Z4 
 
 Statira. Dramma per musica da rappresentarsi nel Teatro dell' 
 Illustriss. Signori Capranica 1'anno 1726 . . . 
 
 Roma, Rossi, n. d. 64 p. 15 cm . 
 
 Three acts. By Apostolo Zeno and Pietro Pariati, who are not mentioned. Dedi- 
 cation by Giuseppe Polvini Falliconti, argument, cast,, scenario, and name of Tom- 
 maso Albinoni as composer of the opera and of the intermezzi ("ed e questa la 
 settantesima opera da lui posta in musica "). SCHATZ 98 
 
 Statira. Drama per musica da rappresentarsi nel Teatro Tron di 
 S. Cassano il carnovale dell' anno MDCCV . . . 
 
 Venezia, Marino Rossetti, 1705. 60 p. 14\ cm - 
 
 Three acts. Neither the authors, Zeno and Pariati, are mentioned, nor the com- 
 poser, Carlo Francesco Gasparini. Dedication dated Venice, February 2, 1705, 
 argument, and scenario. SCHATZ 3582 
 
 Le regine di Macedonia. Drama per musica da rappresentarsi 
 nel famoso Teatro di S. Bartolomeo in quest' anno 1708 . . . 
 
 Napoli, Salvatore Votto, n: d. 5 p. 1., 66, [1] p. l^ cm . 
 
 Three acts. Impresario's dedication, notice to the reader, argument, cast, and 
 scenario. Is Zeno and Pariati's "La Statira" as altef%d by Carlo de Pretis. The 
 usual excuse is made to the "Amicp Lettore," in which notice Giuseppe Vignola is 
 named as the composer of the additional matter. Gasparini is not mentioned at all. 
 A most unusual feature of thia libretto is that on the additional page the arias by 
 Giuseppe Vignola are enumerated by first line, i. e. (Act I) "Dalle pupille della 
 mia bella," "Si, si consolami," "Fiero addio"; (Act II) "Pupille del mio bene," 
 "Disperato questp core," "Co i lacci del tuo amor"; (Act III) "Di morte non cura il 
 rigore," "Si godi, o cor," "Bella mi parto," "Cari sassi," "Scherza ridi," "Aure 
 belle," "e tutte le scene buffe." SCHATZ 3583 
 
 Statira. Dramma per musica del dottor Carlo Goldoni. Da rap- 
 presentarsi nel Teatro di Sant' Angelo. Nella fiera dell' Ascensione 
 ranno 1751. 
 
 Venezia, Modesto Fenzo, 1751. J+5 p. 14% cm - 
 
 Three acts. Argument, cast, scenario, and note that 
 
 "La musica de' recitativi con alcune arie segnate con la stelletta* saradel Signer 
 Francesco Maggiore maestro di capella napolitano, e direttore dell' opera. L'altre 
 arie saranno poste a piacimento de cantanti. 
 
 Accordingly, Maggiore composed only the arias "Fidi amanti fortunati (III, 4), 
 "Al caro Nume appresso " (III, 5) and no others. . SCHATZ 5832 
 
 Statira. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S? Gio. Grisostomo il carnevale 1742 . . . 
 [Venezia], n. publ., n. d. 59 p. 15 cm . 
 
 Three acts. By Francesco Silvani, who is not mentioned. Argument, scenario, 
 cast, and name of Nicolk Antonio Porpora as the composer. SCHATZ 8364 
 
 La Statira. Dramma per musica recitato nel Teatro di Torre di 
 Nona. L'anno 1690. 
 
 Roma, Gio. Francesco Buagni, 1990 [!]. 68 p. 13 cm . 
 
 Three acts. By cardinal Ottoboni, who is not mentioned. Impresario's dedica- 
 ion, argument, and scenario. The composer, Alessandro Scarlatti, is not men- 
 tioned. SCHATZ 9536
 
 OPERA LIBRETTOS 1035 
 
 Statira. Drarmna per musica del dottor Carlo Goldoni da rappre- 
 sentarsi nel Teatro Grimani di S. Samuele nella fiera dell' Ascensione 
 1'anno MDCCLVI . . . 
 
 Venezia, Francesco Pitteri, n. d. J+6 p. 15% cm - 
 
 Three acts. Argument, cast, scenario, name of Giuseppe Scolari as composer, 
 and Goldoni's, as always, charming dedication "alle nobilissime dame Veneziane," 
 in which he says : 
 
 "Allora quando (Eccellentissime dame) su queste scene medesime fu per la prima 
 volta rappresentata la mia Statira, nell' anno 1741, queeto piccolo dramma era parto 
 d'un' uomo che dir potevasi principiante, e da pochissimi conosciuto . . . Non mi 
 sarei mai creduto vederla, dopo il corso di quindici anni, tratta dall' urna delle opere 
 dimenticate, per farla nuovamente comparir sul teatro. So chi mi ha fattp si bel 
 regalo; non ho potuto impedirlo, ma non vuo nemmeno dissimulare la dispiacenza, 
 che ne risento. Ora quell' uomo, incognito nel 1741, e conosciuto un po troppo per 
 suo malanno, e se in allora quest' operetta ebbe la fortuna che di lei si parlasse poco, 
 ora chi sa, che di lei non si parli troppp? ... II zelo dunque di mia reputazione, il 
 rispetto, che devo al pubblico ... mi hanno stimolato a rivederlo, ad accrescerlo, a 
 rifformarlo, cosicche poco del primo scheletro vi e rimasto . . . 
 
 "Aggiugnesi alle altre imperfezioni di questp dramma quella di essere in cinque 
 personaggi soltanto, per accomodarsi alia orevita ricercata dalla etagione. Ma ci6 
 sarebbe il minor male, se fosse poi ben tessuto, e dolcemente scritto; io non so fare 
 nelF una, ne 1'altra di queste due. Quando scrivo per musica 1'ultimo, a cui pensi, 
 son'io medesimo. Penso agli attori, penso al maestro di capella moltissimo, penso 
 al piacere degli uditori in teatro, e se i miei drammi si vedeseero rappresentate sol- 
 tanto, e non venissero letti, spererei migliore destine . . ." SCHATZ 9799 
 
 La Statira principessa di Persia. Drama per musica impiego di 
 
 hore otiose di Gio. Francesco Busenello . . . 
 
 Venetia, Andrea Giuliani, 1655. 94 p. (incl. front.) 14^ cm - 
 
 Three acts with prologue. Long author's dedication dated Venice, January 18, 
 
 1655, with name of Pietro Francesco Cavalli as composer, and argument. 
 
 First performed at Venice, Teatro di SS. Giovanni e Paolo, as indicated, carnival 
 
 1655. SCHATZ 1728 
 
 - La Statira, principessa di Persia. Drama per musica di Gio. 
 Francesco Busenello. 
 
 Venetia, Andrea Giuliani, 1656. 70 p. 15 cm . 
 
 Prologue and three acts. Argument. The composer, Francesco Cavalli, is not 
 mentioned. SCHATZ 11682 
 
 La statua animata, ballet. See Piccinni's La scaltra letterata. 
 La statua matematiea. O. T. of Valentini's Le sorelle rivali. 
 
 La statua per puntiglio. Dramma giocoso per musica da rappre- 
 sentarsi nel nobilissimo Teatro Giustimani in San Moisd il carnovale 
 dell' anno 1792. 
 
 Venezia, Modesto Fenzo, 1791. 55 p. 17 cm . 
 
 Two acts. Cast, scenario, and name of composer. Bernardini (Marcello di Capua), 
 but not of librettist, who is unknown to Schatz. SCHATZ 835 
 
 Le statue. Dramma giocoso per musica da rappresentarsi nel 
 Teatro Grimani di S. Samuele per il carnovale 1757. 
 
 Venezia, Modesto Fenzo, 1757. 60 p. 15 cm . 
 
 Three acts. Cast and scenario. Wiel mentions neither librettist nor composer. 
 Schatz attributes text and music to Francesco Brusa. 
 
 First performed December 27, 1757, as indicated. SCHATZ 1378 
 
 La statue anim.ee. A. T. of Pannard's text Pigmalion.
 
 1036 LIBRARY OF CONGRESS 
 
 Lastatuemerveilleuse. Piece en trois actes. Tire"edel'arabe . . . 
 
 Le Theatre de lafoire, Paris, 1724, t. iv, pi, 94 p. 17 cm . 
 
 By Le Sage and D'Orneval. Mostly en vaudevilles. The airs, selected or com- 
 posed and arranged by Jean Claude Oillier, the "compositeur" of the theatre, are 
 printed at the end of the volume in the "Table des airs." A note on the title page 
 reads: 
 
 "Cette piece avoit 4t6 composed par les auteurs du Rappel de lafoire a la vie, pour 
 etre donnee avec ce prologue a 1'Opera-comique, dont ils esperoient le retablissement 
 a la Foire de S. Germain 1719. Mais ce spectacle demeurant supprim^, ils la firent 
 representer en prose par la troupe des daneeurs de corde du Sieur Francisque, qui, ne 
 ee voyant pas inquitee par les Com^diens, la jotia & Foire de S. Laurent 1720." 
 
 ML 48.L2IV 
 
 Arien und gesaenge aus Dem stein der weisen, oder Die zauberinsel. 
 Eine heroisch-komische oper in zwey aufzuegen. 
 Frankfurt am Main, 1796. 28 p. 16 cm . 
 
 Neither the author, Johann Emanuel Schikaneder, nor the composer, Benedict 
 Schack, is mentioned. 
 
 First performed at Frankfurt a/M. Nationaltheater, 1796; at Vienna, Theater auf 
 der Wieden, September 11, 1790. SCHATZ 9570 
 
 Arien und gesaenge aus dem singspiele Die stelnerne braut. Ver- 
 fasst und in musik gesetzt voin freyherrn von Lichtenstein. 
 Dessau, n. publ., 1799. Unpaged. 16% cm . 
 
 Two acts. At end, "Gedruckt bey H. G. Heybruch." 
 
 First performed at Dessau, Hoftheater, April 25, 1799. SCHATZ 5599 
 
 Der steinerne gast. A. T. of Mozart's Don Juan. 
 
 Das steinerne gastmahl oder Der ruchlose. Tr. of Righini's II 
 convitato di pietra o sia II dissoluto. 
 
 Der sterbende Cato. A. T. of Reiser's Die liebe gegen das 
 vaterland. 
 
 Die sterbende Eurydice oder Orpheus. L. T. of Reiser's Orpheus. 
 
 Stoertebecker und Joedge Michaels. Erster theil, vorgestellet 
 in einem singe-spiel auff dem Hamburgischen Schau-platz. 
 Hamburg, Nicolaus Spieringk, 1701. Unpaged. 18\ cm . 
 
 Three acts. "Vorbericht," mentioning neither the* author, Hotter, nor the com- 
 poser, Reinhard Keiser. 
 
 First performed, as indicated, 1701. SCHATZ 5111 
 
 Stoertebecker und Joedge Michaels. Zweyter theil, vorge- 
 stellet in einem singe-spiel auf dem Hamburgischen Schau-platz. 
 
 Hamburg, Nicolaus Spieringlc, 1701. Unpaged. 18$ cm . 
 
 Three acts. Neither Hotter is mentioned, nor Keiser. 
 
 First performed, as indicated, 1701. SCHATZ 5112 
 
 Den store Tamerlan. Tr. of Sard's II gran Tamerlano. 
 
 Der straf planet der erde. A. T. of Blumhofer's Die luftschiffer. 
 
 Lo strambo in berlina. L. T. of Paisiello's La locanda.
 
 OPERA LIBRETTOS 1037 
 
 The strangers at home; A comic opera, in three acts. As per- 
 formed at the Theatre Royal in Drury Lane [vignette]. 
 London, Harrison cfe co., 1786. 80 p. 21 cm . 
 
 Cast, dedication by the author, James Cobb, dated London, February 22, 1786, and 
 Advertisement, with name of Thomas linley as the composer. 
 
 First performed December 8, 1785, as indicated. LONGE 96 
 
 Die strassenraeuber, eine komische oper in drey aufzuegen. (Zum 
 behuf des Hamburgischen Theaters.) 
 
 Hamburg und Bremen, Joliann Henrich Cramer, 1770. 126 p. 
 
 By E. E. Buschmann, who is not mentioned and who on p. 105-126 in an "An- 
 hang"" calls his play "eine kppie der beruehmten Bettlers-oper, " pointing out the 
 differences between his version and Gay's original and the reasons therefor and 
 adding a few historical notes on the "Beggar's opera." No composer or performance 
 recorded by Schatz. ML 50.2. S746 
 
 Les stratagem.es de 1'amour, ballet represente par 1'Academie 
 royale de musique Tan 1726. Musique de M. D.estouches. Paroles 
 de M. Roy. CVI. opera. Tome XIV. 
 
 n. i., n. d. pi., p. 1-60. (Recueil general des operas, Paris, 1784-) 
 14 cm . 
 
 Detached copy. Three acts and prologue with " Avertissement " as argument with 
 this statement (on p. 7): 
 
 "Le prologue a ete fait pour le manage de Leurs Majestez. On a place Le Roy au 
 milieu de ses plus celebres predecesseurs qui doivent revivre en Luy." 
 
 First performed, as indicated, March 28, 1726. SCHATZ 2551 
 
 Second copy. ML 48. R4 
 
 Li stratagem! amorosi. Dramma per musica da rappresentarsi 
 nel Teatro Giustiniano di S. Moise. II carnovale dell' anno 1730. 
 Venezia, Carlo Buonarrigo, 1730. 48 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, notice to the reader with name of Tommaso 
 Albinoni as composer and establishing Francesco Passarini as author. SCHATZ 131 
 
 Gli stratagem! di Biante. 
 
 By conte Nicola "Minato, composed by Antonio Draghi for the birthday of the 
 Empress, January 6, 1682, with insertion of arias by Leopold I. 
 Not in L. of C. 
 
 - Kriegs-liste dess Bias. An dem geburts-tag Ihrer Mayest. der 
 regierenden roemischen kaiserin Eleonora Magdalena Theresia . . . 
 Gesungener vorgestellt. In die music gesezt durch herrn Antoni 
 Dragi, der verwittibten Kayserl. Mayest. capellmeistern. Mit der 
 music zu den daenzen herrn Andre Antoni Scnmelzer von Ehrenruef 
 der Roem. Kayserl. Mayest, Gammer musici. 
 
 Wienn, bey Joliann Christoph Cosmerovio, 1682. 80 p. l! t .\ cm . 
 
 Three acts. With dedication, dated "Wienn, den 6 jenner 1682" and signed 
 Nicola Minato, "Inhalt," " Unterredente persohnen," " Veraenderungen der Scnau- 
 buehne" (by Lodovico Burnacini) and "Daenze" (arranged by the imperial ballet 
 master, Domenico Ventura). On p. 10: 
 
 "Zu mercken 
 
 Dass die Reden, sozwischen disen zwey zeichen ( ) begriffen eeyn, von niemand 
 andern veretanden werden, als nur von dem, der'eie selbst saget." 
 
 SCHATZ 2802
 
 1038 LIBRARY OF CONGRESS 
 
 Stratira. Tragedia di Silvestro Branchi da Bologna, detto il Cos- 
 tante, nell' Accademia de 'Ravvivati . . . Rappresentata dalli 
 Accademici, con gPintermedii dell' istesso. Fatti in musica dal Sig. 
 Ottavio Vernici, organista di S. Petronio. 
 
 Bologna, Gio. Domenico MoscateUi, 1617. 6 p. 1., 231, [1] p. 18$ cm . 
 
 The last page contains the errata. 
 
 Prologue and five acts with five intermedi. Author's dedication dated September 
 2, 1617, sonnets by the author "alia eua tragedia," and to cardinal Capponi, to whom 
 the text is dedicated, by Paolo Fprti to the author, by the latter to the "signori pro- 
 tettori nel recitarsi la eua tragedia," argument and notice to the reader containing 
 this protesta, certainly one of the earliest on record: 
 
 "E dove si ritroveranno in questo mio poema le voci fate ; sorti, Dei, eterno, Angelo, 
 & simili si devrarmo intendere conforme al' uso poetico; imperoche io voglio sotto- 
 ponermi sempre a 1'ubbidienza de la santa Romana Chiesa ..." 
 
 It is remarkable how this agrees with the later on so stereotyped formulas of 
 protestc. SCHATZ 10714 
 
 Stratonica. Drama per musica da rappresentarsi nel Teatro di San 
 Bartolomeo nella primavera del corrente anno 1727 . . . 
 
 Napoli, Angelo Vocola, n. d. 48 p. 15\ cm . 
 
 Three acts. Publisher's dedication, scenario, cast, and notice to the reader, in 
 which we read : 
 
 "Se diverso dal suo primo essere, ti verra sptto 1'occhio, il presente drama, sappi, 
 che ei e fatto per meglio accomodarei agli attori, a liberta de quali s'e lasciato il poner 
 1'arie a loro sodisfazione, e sono tutte quelle contrasegnate con il presente asterisco *, 
 1'altre si sono fatte dipianta, non gia per pregiudica"re il suo degnissimo autore [Anto- 
 nio Salvi?]; ma solo per incontrare il genio de' rappresentanti, e questo si e fatto dal 
 Sig. Carlo de Palma ..." 
 
 Accordingly the arias "T'inganna il tuo pensier" (II, 6), "In sen piu non scin- 
 tilla," (III, 4), etc., were selected by the singers for this pasticcio. On p. 19-23, 
 35-39 the text of two intermezzi with the characters " VALASCO E VESPETTA." Author 
 and composer of these also unknown to me. ML 50.2.S75 
 
 Lo stravagante. O. T. of Villano's libretto II pazzo glorioso. 
 
 Lo stravagante. Commedia per musica da rappresentarsi nel 
 Teatro de' Fiorentini nel carnevale di quest' anno 1764. 
 Napoli, Vincenzo Mazzola- Vocola, 1764- 71 p. 15 cm . 
 
 Three acts. By Livianp Lantini (recte Antonio Villano) who is not mentioned. 
 Cast and name of Nicol6 Piccinni as the composer. 
 
 First performed at Naples, same theatre, fall of 1761. SCHATZ 8130 
 
 Lo stravagante Inglese. Dramma gjocoso per musica da rappre- 
 sentarsi nel Teatro Ducale di Bronsvic. 
 
 Bronsvic, n. publ, 1788. 72 p. 16$ cm . 
 
 Two acts, with name of the composer, Francesco Bianchi, but not of the librettist, 
 Giovanni Greppi. 
 
 First performed at Venice, Teatro di S. Moise, fall of 1785. SCHATZ 983 
 
 Gli stravaganti. Farsetta per musica a quattro yoci da rappresen- 
 tarsi nel Real Teatro dell' Ajuda per gli anni felicissimi di S. M. F. 
 Don Giuseppe Primo nel giorno 6. di giugno del 1765. 
 
 Lisbona, Michele Maneschal da Costa, n. d. 4 P- 1-> 5 P- 15\ cm . 
 
 Two acts. Cast, scenario, and name of Niccol6 Piccinni as the composer. Author 
 not mentioned and unknown to Schatz. 
 
 First performed at Rome, Teatro Valle, January 1, 1764. SCHATZ 8144
 
 OPERA LIBRETTOS 1039 
 
 Gli stravaganti Continued. 
 
 - Gli stravaganti. Intermezzo in musica con fai-setta in prosa 
 intitolata La falsa gelosia. Da rappresentarsi nel Teatro de' Fioren- 
 tini nell' esta di quest' anno -1772 . . . 
 
 Napoli, Vincenzo Flauto, 1772. 70 p. 15 cm . 
 
 Two parts. Impresario's dedication and cast. The composer, Niccol6 Piccinni, 
 is not mentioned . The text is the same as of his ' ' La schiava riconosciuta, ' ' of course, 
 with the usual changes in the arias. SCHATZ 8112 
 
 La schiava. Azione comica per musica da rappresentarsi nel 
 Teatro privilegiato vicino alia corte 1'anno 1765. 
 
 Vienna, GJielen, n. d. 44 P- 16 cm . 
 Two acts. Cast and name of Niccol6 Piccinni as the composer. SCHATZ 8151 
 
 - La schiava. Azzione comica in musica, da rappresentarsi nel 
 Picolo Teatro di S. A. E. di Sassonia. 
 
 Dresda, L'autunno del anno 1765, n. publ. 3 p. 1., 94 p. 15 cm . 
 
 Two acts. Cast and name of Niccolo Piccinni as the composer. German title-page, 
 "Die gefangene," and text face Italian. 
 
 First performed October 15, 1765, as indicated. SCHATZ 8110 
 
 -La schiava, a comic opera; as performed at the King's-Theatre 
 in the Hay-Market. The music by Signor Piccini, directed by Signer 
 Tomaso Giordani, With additions and alterations, by Giovan 
 Gualberto Bottarelli. 
 London, W. Griffin, 1772. 59, [1} p. 18 cm . 
 
 Three acts. Cast. English translation faces Italian. 
 
 First performed at London, Hay-Market, under ^the above title, on November 5, 
 1767; under the original title, "Gli stravaganti," but with much interpolated music 
 by other composers, October 21, 1766. ML 50.2.S85P4 
 
 La schiava riconosciuta. Dramma giocoso per musica da rap- 
 presentarsi nel Teatro dell' illustrissimo pubblico di Reggio per la 
 fiera dell' anno MDCCLXX . . . 
 
 Reggio, Giuseppe Davolio, n. d. 56 p. 14% cm - 
 
 Three acts. Dedicatory poem by the impresario, Francesco Guatelli, cast, and 
 name of Niccol6 Piccinni as the composer. 
 
 April 29, 1770, is given as the date of first performance in the libretto, which is 
 (with the customary alterations) the same as "Gli stravaganti." SCHATZ 8109 
 
 - La schiava riconosciuta, dramma giocoso per musica da rap- 
 presentarsi nel Teatro di Ratisbona . . . 
 
 [Regensburg], Gedruckt mil Zunkelischen schriften, n. d. Ill p. 
 
 Two acts. Cast and name of Niccol6 Piccinni as the composer. German title- 
 page, "Die wieder erkannte sclavin, and text face Italian. 
 
 First performed, as indicated, carnival, 1777. SCHATZ 8111 
 
 L'esclave, ou Le marin ge'ne'reux, intermede en un acte, re"dige 
 de 1'italien, et represent 6 en province. La musique est de M. N. 
 Piccini . . . 
 
 Aux Deux-Ponts, et se trouve a Paris, chez la veuve DucTiesne, 177 4> 
 52 p. 18$ cm . 
 
 The "Notes" on p. 3-5 give the plot of "tout ce fatras qu'on nommoit les Extrava- 
 gans." The anonymous translator and editor waxes very sarcastic over this kind of 
 Italian dramas, made "on dit . . . pour la plupart, par des perruquiers," and he
 
 1040 LIBRARY OF CONGRESS 
 
 Gli stravaganti Continued. 
 
 briefly states his reasons for his own one-act version. He begins his "Notes" with 
 these remarks: 
 
 "Ces eepeces de traductions devroient tre moins rares: outre qu'elles rendroient 
 notre scene lyrique plus variee, elles empe'cheroient les larcins continuels d'une 
 partie de noa musiciens, & aiguil loueroient 1'emulation de 1'autre." 
 
 On p. 38-52, the airs: "A votre age, ce langage" (sc. 2), "Loin de son berger" 
 (sc. 6), "En amour un tel hommage" (x 8). 
 
 First performed at Zweibriicken, Theatre de Socie'te', 1774. SCHATZ 8114 
 
 Die ausschweifenden, ein komisches singspiel, welches bei 
 Gelegenheit des hoechstbeglueckten namens festes der durchlauch- 
 tigsten frauen churfuerstin an dem Churpfaelzischen Hof aufge- 
 fuehret worden. 
 
 Mannheim, Akademische buchdruckerey, 1771. 54 p. 15. 
 Two acts. Niccol6 Piccinni is mentioned as the composer. 
 First performed November 19, 1771, as indicated. SCHATZ 8113 
 
 Arien aus der oper Der grossmuethige seefahrer. 
 
 n. i., n. d. [8] p. 16 cm . 
 
 Eschenburg's version of "Gli stravaganti." SCHATZ 8117 
 
 - Die sclavin und der grossmuethige seefahrer. Eine operette 
 nach dem italiaenischen. Die musik ist von hrn. Piccini. 
 
 Mannheim, C. F. Schwan, 1773. 72, [4] p. 14 cm . 
 
 The unnumb. p. contain advertising matter. 
 
 One act. Translated by Johann Joachim Eschenburg, who is not mentioned. 
 He says in his preface: 
 
 "Die italiaenische operette eelbst [Gli Stravaganti, perf. there 1772] hat mit gegen- 
 waertiger ausser der anlage, die ueberhaupt nicht viel sagen will, sehr wenig aehn- 
 liches. Man hat nur die musik nutzen wollen und ist also von dem original so oft 
 abgewichen, als es der deutsche plan zu erfordern schien. Ein hiesiger geschickter 
 theatraldichter machte zuerst eine franzoesische nachahmung, die auch mit der 
 musik gestochen worden; diese ist gewissermassen, besonders was die arien betrift, 
 hier zum grunde gelegt worden. Es wird immer zum voraus gesetzt, dass man den 
 hrn. Piccini hoeren will, wenn man sich bei der vorstellung dieses stueckes einfindet 
 und nicht den dichter, auf den man, wenn er noch so harmonisch gereimt haette 
 kaum acht haben wird. 
 
 "Bey originalstuecken geht der dichter voran und der componist folgt ihm. Bey 
 uebersetzungen aber und nachahmungen muss sich der dichter nach der bereits 
 vorhandenen musik bequemen ..." 
 
 First performed at Mannheim, Brettertheater auf dem Fruchtmarkt, by Theod. 
 Marchand's company, January, 1773. SCHATZ 8115 
 
 - Die sklayinn und der grossmuethige seefahrer. Ein komi- 
 sches singspiel, nach dem italienischen frey bearbeitet. Auf die 
 musik vom herrn Piccini. Von herrn Stephanie dem juengern. Auf 
 gefiihrt auf dem k. k. Nazionalhoftheater. 
 
 Wien, Logenmeister, 1781. 57 p. 16\ cm . 
 
 Two acts. First performed, as indicated, August 1, 1781. SCHATZ 8116 
 
 Le stravaganze del caso. Intermezzo per musica a quattro voci da 
 rappresentarsi nel Teatro di S. Angelo. 
 Venezia, Modesto Fenzo, 1761. 
 
 Two parts. Author is not mentioned and is unknown to Schatz. Cast and name 
 of Antonio [Maria] Mazzoni as the composer. 
 
 First performed at Bologna, Teatro Pubblico, carnival, 1760. SCHATZ 6228
 
 OPERA LIBRETTOS 1041 
 
 Le stravaganze del conte. Commedia per musica di P. M. da rap- 
 presentarsi nel Teatro de' Fiorentini nel carnevale del corrente anno 
 1772. 
 
 Napoli, Vincenzo Flauto, 1772. 71 p. 15 cm . 
 
 Three acts. By Pasquale Milillotti. Scenario, cast, and name of the composer, 
 Domenico Cimarosa. SCHATZ 1986 
 
 Der streit der kindlichen pflicht und der liebe oder Die flucht 
 des Aeneas nach Latien. In einer opera auf dem Hamburgischen 
 Schau-platz aufgefuehret. 
 
 [Hamburg], Gedruckt mit Stromerschen schrifften, 1731. Unpaged. 
 19<. 
 
 Three acts. Argument and names of Johann Georg Hamann as translator (of 
 Metastasio's "Didone abbandonata"), of Georg Philipp Telemann as composer of the 
 recitatives, and of Nicola Antonio Porpora as composer of the "unvergleichliche 
 music der arien." These are printed with Italian and German text. 
 
 The above was first performed, as indicated, November 19, 1731; the original, 
 "Didone abbandonata," at Reggio, Teatro Pubblico, April 28, 1725. SCHATZ 8365 
 
 Die streitig gemachte liebe. A. T. of Paisiello's Die mullerin. 
 
 Die streitig gemachte liebschaft. Tr. of Paisiello's L'amor con- 
 trastato. 
 
 Die streitige heurath. Tr. of Valentini's Le nozze in contrasto. 
 A struggle for freedom. A. T. of Reinagle's Slaves in Algiers. 
 
 Lo studente. Commedia per musica di Saverio Zini da rappresen- 
 tarsi nel Teatro Nuovo per second' opera di quest' anno 1783. 
 
 Napoli, n. publ., 1783. 47 p. 15 cm . 
 
 Three acts. Cast and name of Gaetano Monti as the composer. SCHATZ 6604 
 
 I studenti. Commedia per musica di Giuseppe Palomba da rappre- 
 sentarsi nel Real Teatro del Fondo di Separazione per prim' opera del 
 corrente anno 1796 . . . 
 
 Napoli, n. publ., 1796. 52 p. 15 cm . 
 
 Two acts. Impresario's dedication dated Naples, May 12, 1796, cast, and name 
 of Gabriele Prota as the composer. On p. 6-14 prefatory note, argument, cast, descrip- 
 tion, and name of Vittorio Trento as the composer of the "musica tutta nuova" of 
 Lauchelin Duquesney'e "Ahtor ed Erma, ballo eroico in cinque atti," on p. 15-17 
 argument and cast without name of the composer of the music of Duquesney's "Er- 
 nesto ed Elisa, ballo pastorale." SCHATZ 8472 
 
 The students whim. A. T. of Don Sancho. 
 Gli studi interotti, ballet. See Salieri's La cifra. 
 
 The sturdy beggars. A new ballad opera. Humbly dedicated to 
 the Right Honourable, and Right Worshipful, the Lord Mayor . . . 
 and the worthy merchants and citizens of London . . . 
 London, J. Dormer, 1733. xii, [3], 14-80 p. 18 cm . 
 
 Three acts. The lengthy dedication of this political piece on the Excise Bill is 
 signed Civicus. The airs of the 29 songs are indicated by title. The author unknown 
 to Clarence. LONGE 200 
 
 72251 VOL 114 66
 
 1042 LIBRARY OF CONGRESS 
 
 Der sturm. Eine heroisch-komische oper in zwey aufzuegen, nach 
 Schakespear fuer die Marinellische scnaubuehne bearbeitet, von 
 Karl Fnedrich Hensler. Die musik ist vom herrn Wenzel Mueller, 
 kapellmeister. 
 
 Wien, Matthias Andreas Schmidt, 1798. 86 p. 17 cm . 
 
 Krone gives the title as "Der Sturm oder Die zauberinsel." 
 
 First performed, as indicated, November 8, 1798. SCHATZ 6967 
 
 Der sturm oder Die bezauberte insel. Ein singspiel in zwey aufzue- 
 gen. Nach dem Shakespearischen schauspiel: Der Sturm bearbeitet 
 von J. W. D. 
 
 Cassel, Griesbachsche JiofbucTihandlung, 1798. 100 p. 15 cm . 
 
 By Johann Wilhelm Doering. The composer, Peter Bitter, not mentioned. 
 
 First performed at Aurich, 1799. SCHATZ 8831 
 
 Die subordination. A. T. of Walter's Graf von Waltron. 
 II sum e lo schiavo, ballet. See Calegari's Artemisia. 
 
 Le suffisant, par M. Vade". Represented pour la premiere fois sur 
 le Theatre de 1 Ope'ra-comique, le 12. mars 1753. 
 
 Paris, Duchesne, 1753. 36 p. 18\ cm . 
 
 One act, en vaudevilles. The arranger of the music is unknown to me. 
 
 ML 50.2.89 
 
 Le suffisant, opera comique, par Mr. Vade". Repr&sente" pour la 
 premiere fois sur le Theatre de I'Op^ra comique le 12 mars 1753. 
 
 La Haye, Pierre Gosse, 1758. 60 p. 16 cm . (Vade, Oeuvres, La 
 Haye, 1760, t. i.) 
 
 One act, en vaudevilles. ML 49.A2V2 
 
 Les suites d'une erreur. A. T. of Berton's Le delire. 
 La suite de Julie. See L'erreur d'un moment. 
 La suite des Trois fermiers. See Blaise et Babet. 
 Suite du comte d'Albert. See Gre"try's Le comte d'Albert. 
 
 Sulpitia. Drama per musica nel giorno del gloriosissimo nome 
 della S. C. R. M.* 4 dell' augustissimo imperatore Leopoldo . . . 
 1'anno MDCXCVII. Posto in musica dal S' Antonio Draghi, 
 maestro di cap. di S. M. C. con 1'arie per li balletti del S? Gio. Gioseffo 
 Hoffer, violimsta di S. M. C. 
 
 Vienna d' Austria, Susanna Cristina, vedova di Matteo Cosmerovio, 
 n. d. 90 p. 14\ cm . 
 
 Three acts. By conte Nicola Minato, who is not mentioned. At end of the opera 
 (p. 88-90), "La vittoria d'Ercole contro Anteo. Introduttione ad un real balletto, 
 per la licenza." With argument, scenario (designed by Lodovico Bumacini). The 
 dances were arranged by the imperial ballet master SigT Francesco Torti. The em- 
 peror Leopold I contributed the arias, "Taci, o core, "Amor di marito," and "0 
 bella costanza," all three published by Adler, 1892. 
 
 Performed, as indicated, November 15, 1697; first performed at Vienna, Hof theater, 
 November 18, 1672. SCHATZ 2803
 
 OPERA LIBRETTOS 1043 
 
 Sulpizia fedele. Dramma per musica: Da rappresentarsi nel 
 
 Theatre Grimani di S. Samuel. Nella fiera dell' Ascensione dell' 
 anno 1729 ... 
 
 Venezia, Carlo Buonarrigo, n. d. 36 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, name of Antonio Pollaroli as the composer, 
 and dedication signed by Domenico Lalli, who says: 
 
 "... gia che per ora non mi vien fatto col mio, ardisco almeno col merito dell' 
 altrui virtuoso operare. In quest' opera adunque scritta dal Sig. Giovanne Boldini 
 veneto cittadino, ed illustre poeta, della quale (come direttore delli Teatri Grimani) 
 a me ne tocca la cura, in questa il mio tribute le porgo ..." 
 
 On what authority Wiel and Schatz attribute the text jointly to Boldini and Lalli 
 I do not know. SCHATZ 8261 
 
 The sultan, or, a Peep into the seraglio. A farce in two acts. By 
 Isaac Bickerstaffe . . . Acted at the Theatres Royal in Drury- 
 Lane and Covent-Garden. The second edition. 
 
 [London], C. Dilly, 1787. 22, [2] p. 20%. 
 
 The [2] p. contain the Epilogue spoken at the Theatre-Royal, Dublin, 1778. 
 
 Casts of Drury Lane, 1775 and 1787; Covent Garden, 1787, and Advertisement: 
 
 "The following petite piece, which is taken from Marmontel, was originally acted 
 at Drury-Lane Theatre in the year 1775" [December 12]. 
 
 Here entered because, on account of the less than half dozen songs, it sometimes 
 figures as a musical entertainment. LONGE 98 
 
 The sultan, or A peep into the seraglio. In two acts. 
 [310}-339 p. 19 cm . (Collection of the most esteemed farces and 
 
 entertainments, t. i, Edinburgh, 1792}. 
 
 Dublin and Edinburgh (1782) casts. SCHATZ 11753A 
 
 Sultan Wampum, oder Die wuensche. Ein orientalisches scherz- 
 spiel mit gesang, in drey aufzuegen. Von August von Kotzebue. 
 
 n. i., 1794. 88 p.- 16 cm . 
 
 Carl David Stegmann, the composer, is not mentioned. 
 
 First performed at Mainz, Nationaltheater, March 7, 1791. SCHATZ 10042 
 
 Gesaenge aus Schach Wampum, oder Die wuensche, ein orien- 
 talisches scherzspiel mit gesang, in drey aufzuegen. In musik 
 gesezt von Stegmann. 
 
 Hamburg, Joh. Matthias Michaelsen, 1792. 16 p. 16\ cm . 
 First performed at Hamburg, Theater beim Gansemarkt, December 1, 1792. 
 
 SCHATZ 10043 
 
 Sultan Wampum oder Die wuensche. Ein orientalisches scherz- 
 spiel mit gesang in drey aufzuegen. (Erschien 1794.) 
 
 n. i., n. d. 98 p. 14 cm . 
 
 Neither the author, Kotzebue (evidently the copy is detached from an edition (be- 
 fore 1800?) of hie collected works), nor the composer, Carl David Stegmann, is men- 
 tioned. SCHATZ 11749 
 
 Le sultane, ballet. See G. Giordani's Atalanta. 
 
 Songs, trios, duetts and chorusses, in the comic opera of Summer 
 amusement; or, An adventure at Margate. As it is performed at 
 the Theatre Royal in the Hay-Market. Third edition. 
 
 London, T. CadeU, 1781 . 23 p. 21. 
 
 Three acts. Cast. Neither the authors, Peter Andrews and William Augustus 
 Miles, are mentioned, nor Samuel Arnold, who partly composed, partly compiled 
 the music from Dr. Arne, Giordani, and Dibdin, as appears from Thompson's vocal 
 score. Arnold also utilized a few ballad airs. 
 
 First performed July 1, 1779, as indicated. LONGE 91
 
 1044 LIBRARY OF CONGRESS 
 
 The summer's tale. A musical comedy of three acts. As it. is 
 performed at the Theatre Koyal in Covent-Garden . . . 
 
 London, J. Dodsley [etc], 1765. 2 p. I, 76 p. 19 cm . 
 
 Three acts. Cast. By Richard Cumberland, who is not mentioned. A pasticcio 
 with overture (by Abel) and 36 airs, music by the following composers mentioned in 
 the heading: one air each by Lampugnani, Boyce Potenza, Bertoni, Russell, 
 Lampe, St. Germain, Granom, Dunn (Duni?), Stanley, Ciampi, Piccinni, 
 Giardini. Vernon, B,ichter. two each by Howard, Hasse, three anonymous, 
 three each by Bach (Joh. Chr.) and Cocchi, four by Thomas Aug. Arne, and five by 
 Samuel Arnold. Composed for the occasion were Arne's "From clime to clime 
 (II, 8), "In vain you attempt to engage" (II, 9), and "When a freak has got in" 
 (III, 6); Arnold's "There lies your road" (I, 2), "Look back, behold" (II, 2), and 
 Give me back my heart" (III, 7); Bach's "So profound an impression" (II, 3). 
 
 First performed December 6, 1765, as indicated. 
 
 For a two-act condensation, see "Amelia," 1771. LONOE 40 
 
 The sun's darling: A moral masque: as it hath been often pre- 
 sented at Whitehall, by Their Majesties servants; and after at the 
 Cockpit in Drury-Lane, with great applause. Written by John 
 Foard and Tho. Decker, Gent. 
 
 London, Printed by J. Bell, for Andrew Penneycuicke, 1656. 3 p. I., 
 43 p. 17 cm . 
 
 First performed at Drury Lane, 1623-24. LONGE 242 
 
 La superba corretta. Commedia per musica in due atti. Da rap- 
 presentarsi negl' Imper. Reg. Teatri di corte, F anno 1795. 
 
 Vienna, Mattia Andrea Schmidt, n. d. 4@ P- 17 ^ cm . 
 
 Author unknown to Schatz. Pierre Dutillieu is mentioned as the composer. 
 
 First performed, as indicated, April 30, 1795. SCHATZ 2876 
 
 La superba innamorata, ballet. See Nasolini's Adriano in Siria. 
 
 La superbia umiliata ossia L'egualita d'amore, ballet. See Cima- 
 rosa's I Traci amanti. 
 
 II superbo deluso. L. T. of Gassmann's La contessina. 
 Les surprises de Famour. 
 
 Three act ballet-opera by Gentil-Bernard, music by Rameau. 
 
 First performed at the Academic royale de musique, Paris, May 31, 1757. 
 
 Not in L. of C. 
 
 Les ensorceles, ou Jeannot et Jeannette, parodie des Surprises 
 de Famour. Par Mde. Favart & Mrs. Guerin & H * * * Repre"- 
 sentee pour la premiere fois par les Comediens italiens ordinaires du 
 roi, le jeudi premier septembre 1757. 
 
 Paris, la veuve Delormel & fits, 1758. 2 p. 1., 52 p. 19 cm . 
 
 The initial H. above stands for Harny de Guerville who, at least according to 
 Schatz, was principally responsible for the selection and arrangement of the music 
 for this parody. The dedication is signed by Mad. Favart alone. SCHATZ 4454 
 
 Les ensorceles ou Jeannot et Jeannette, parodie ; par Madame 
 Favart & Mrs. Guerin & H . . . Represented pour la premiere fois 
 par les Come'diens italiens ordinaires du roi, le jeudi 1 septembre 
 1757. Nouvelle Edition. 
 
 Paris, N. B. Duchesne, 1758. 75, [5] p. 19 cm . (Theatre de M. 
 Favart, Paris, Duchesne, 1763-77, t. v.) 
 
 The [5] p. contain catalogues (partly dated 1759) of plays and operas. One act. 
 Dedication signed by Favart [!] and not by his wife. Cast. Only the airs of the 
 ariettes are printed in the text, not of the vaudevilles. ML 49.A2F1
 
 OPERA LIBRETTOS 1045 
 
 The surrender of Calais. A play. In three acts. By George 
 Coleman, Jun. Esq. As performed at the little Theatre Hay-Market. 
 
 Dublin, P. Byrne, 1792. 59 p. 17% cm - 
 
 Cast. The composer, Samuel Arnold, is not mentioned. 
 
 First performed at London, as indicated, July 30, 1791. LONGE 233 
 
 Second copy. SCHATZ 336 
 
 La surveillance inutile. A. T. of Gaveaux' Lise et Colin. 
 
 La Svanvita. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744) t. vii, p. [93}-200. 
 19**. 
 
 Three acts. Argument. No composer is mentioned. In the "Catalogo" at end 
 of t. x, date and place of first ed. are given as Milan, 1707. Schatz and Fehr attribute 
 the libretto to Apoetolo Zeno and Pietro Pariati, whereas in Zeno's collected works it 
 appears as written by Zeno alone. Campanini attributes the text to Pariati alone. 
 (See also below.) ML 49.A2Z3 
 
 - Svanvita. Pubblicata per la prima volta in Milano 1707. 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. Hi, p. 
 
 177-276. 21 cm . 
 
 Three acts. Argument. No composer is mentioned. ML 49.A2Z4 
 
 La Svanvita. Drama da rappresentarsi nel Regio Ducal Teatro di 
 Milano Fanno 1708 . . . Opera del dottore Pietro Pariati da 
 Reggio. 
 
 Milano, Eredi Ghisolji, n. d. 5 p. 1., 71, [1] p. 14% cm . 
 
 Three acts. Impresario's dedication, dated December 26, 1707, argument, scenario^ 
 and name of the composer, Stefano Andrea Fiord, "maestro di Capella di S. A. R. di 
 Savoja." SCHATZ 3195 
 
 Gli sventurati amori di Cleide ed Almindo o sia II trionfo de' 
 Goti, ballet. See Bianchi's La vendetta di Nino. 
 
 Le sventure fortunate. Farsa per musica da rappresentarsi nel 
 Teatro de' Fiorentini nel carnevale di quest' anno 1785. 
 
 Napoli, n. publ, 1785. 71 p. 15 cm . 
 
 One act. Author not mentioned, and unknown to Schatz. CCst and name of 
 Pietro Guglielmi as the composer. On p. [33J-71 is printed, with cast and the same 
 composer's name : 
 
 - La finta Zingara. Farsa per musica di Giambattista Lorenzi ? 
 P. A. da rappresentarsi nel Teatro de' Fiorentini nel carnevale di 
 quest' anno 1785. 
 
 First performed, as indicated, January 10, 1785. SCHATZ 4274 
 
 II Svizzero ingannato, ballet. See Zannetti's Le cognate in 
 contesa. 
 
 Sylla. Tr. of Graun's Silla. 
 
 Les sylphes ou L' amour leger. Entree in Duval's Les ge"nies. 
 
 Les sylphes supposes. A. T. of Blaise's Isabelle et Gertrude. 
 
 Sylvain. Tr. of Gre"try's Silvain. 
 
 Syphax. Tr. of Porpora's Siface.
 
 1046 LIBRARY OF CONGRESS 
 
 The syrens, a masque in two acts, as performed at the Theatre 
 Royal, Co vent-Garden. Written by captain Thompson. The music 
 composed by Mr. Fisher . . . 
 London, G. Kearsly, 1776. 4 p. I, [1], 4-32 p. 18 cm . 
 
 Two acts. Cast, preface, and dedication, dated Kew, April 28, 1776. 
 
 First performed February 26, 1776 (Genest). LONOE 200 
 
 Der Tabaran. Tr. of Hasse's II Tabarano. 
 
 II Tabarano. L. T. of Hasse's Don Tabarrano. 
 
 Le tableau parlant, com6die-parade, en un acte & en vers, m616e 
 d'ariettes; repre'sentee pour la premiere fois par les Com&Iiens 
 italiens ordinaires du roi, le mercredi 20 septembre 1769. Par Mr. 
 Anseaume, la musique est de Mr. GrStry. 
 
 Paris, la veuve Duchesne, 1769. 48 p. 19 cm . ScnATz4i88 
 
 - Das redende gemaehlde, eine operette in einem aufzug aus dem 
 franzoesischen des hrn. Anseaume von F. W. M.[eyer]. Die musik 
 ist von hn. Gretry. 
 
 Mannheim, C. F. Schwan, 1771. 88 p. 14 m . 
 
 First performed at Mannheim, Theater a. d. Fruchtmarkt, 1771. SCHATZ 4189 
 
 Gesaenge und arien aus der komischen oper: Das redende 
 gemaehlde. Die musik ist vom herrn Gretry. 
 
 Hamburg, J. M. Michaelsen, 1780. 16 p. 16\ cm . 
 
 One act. German version by Heinrich August Ottokar Reichard, who is* not men- 
 tioned. 
 
 First performed at Hamburg, Theater am Gansemarkt, December 15, 1780; at 
 Berlin, Theater i. d. Behrenet., May 31, 1774. SCHATZ 4190 
 
 Tacere ed amare. Drama civile musicale rappresentato nell' 
 Accademia (le' Signori Infuocati. 
 n. i., n. d. p. [405}-504 p. I5\ cm . 
 
 Three acts. Detached from the third vol. (not in L. of C.) of the "Poesie dram- 
 matiche" (1689-1690) by Giov. Andrea Moniglia, who is not mentioned. Argument, 
 scenario, and preface, in which Jacopo Melani is mentioned as the composer, and 
 the "Teatro di via del Cocomero da' SS. Accademici Infuocati," at Florence, is given 
 as the place of first performance, which probably took place, not in 1674 (Schatz), 
 but in 1673, since the dedication in the 1674 libretto, at Brussels, is dated I 1 lorence, 
 January 7, 1673. SCHATZ 6288 
 
 Taddaedl, der dreyssigjaehrige A. B. C. schuetz. Eine posse 
 mit gesang in drey aufzuegen, nach einer burleske fuer die Mari- 
 nellische schaubuehne bearbeitet von Karl Friedrich Hensler. Die 
 musik ist vom herrn Wenzel Mueller kapellmeister. 
 
 Wien, Schmidt, 1799. 95 p. 16\. 
 
 First performed, as indicated, May 22, 1799. SCHATZ 6968 
 
 Die taeuschende aehnlichkeit oder Die buckeligen. Tr. of Portu- 
 gal's La somiglianza ossiano I gobbi. 
 
 Der tag des heyls oder Demetrius in Athen. Tr. of Wilderer's II 
 giorno di salute ovvero Demetrio in Athene.
 
 OPERA 'LIBRETTOS 1047 
 
 Taican re della Cina. Tragedia per musica da rappresentarsi nel 
 Teatro Iron di S. Cassano 1'anno 1707. 
 
 Venezia, Marino Rossetti, 1707. front., 82 p. 13\ cm . 
 
 Five acts. By Urbanp Rizzi, who is not mentioned. Argument, cast, name of 
 Carlo Francesco Gasparini as the composer, scenario, and printer's notice to the 
 reader, beginning: 
 
 "Per lascier tempo & gl'intermezzi ridicoli, & a' balli, si taceranno nella musica 
 tutti li versi, che vedrai eegnati nel margine." SCHATZ 3584 
 
 Les talens lyriques. A. T. of the ballet Les fe"tes d'HSbe". 
 
 Talestri. Drama per musica da rappresentarsi in Roma nel Teatro 
 delle Dame nel corrente carnevale dell' anno MDCCLII . . . 
 
 Roma, Fausto Amidei, n. d. 71 p. lJ^\ cm . 
 
 Three acts. Dedication, argument, cast, scenario, and names of Gaetano Rocca- 
 forte as author, of Niccol6 Jortimelli as composer. 
 
 First performed, as indicated, December 28, 1751. ML 50.2.T13J6 
 
 Talestri, regina delle Amazon!. Opera drammatica. Di E.[rme- 
 linda] T.[alea] P.[astorella] A.[rcada]. 
 
 Monaco, Giuseppe Francesco TJiuille, 1760. 64 p. 16 cm . 
 
 Orignal edition, and practically the same text, though without the licenza, as 
 of next entry. SCHATZ 5950 
 
 Talestri, regina delle Amazzoni, opera drammatica di E.[rme- 
 linda] T.[alea] P.[astorella] A.[rcada]. 
 
 Dresda, C. S. Watiher, 1770. 91, [3] p. 23% cm . 
 
 Three acts and licenza. Text and music by Maria Antonia Walpurgis, princess 
 of Saxony, whose Arcadian name is indicated in the title. 
 
 First performed at Dresden August 24, 1763; at Nymphenburg, Theater des churf. 
 Schlosses (near Munich), February 6, 1760. SCHATZ 5948 
 
 Der talisman. Ein singspiel in drey aufzuegen. Nach dem 
 italiaenischen des Goldoni. Auf die musik des herrn Anton Salieri 
 . . . fur die Marinellische buehne frei uebersetzt von Ferdinand 
 Eberl. 
 
 Wien, 7i. pull., 1789. 72 p. 17 cm . 
 
 Dedication and "Erinnerung fuer die kritick," which reads, in part: 
 "Die ersten zwey arien dea zweyten aufzugs befindon sich nur in der original 
 Spartitur, und sind im gedruckten italiaenischen buechel [' II talismano *] ganz andren 
 textes." 
 
 First performed at Vienna, Theater in der Leopoldstadt, April 30, 1789. The 
 original II Talismano," Goldoni's text partly rewritten by Da Ponte, was first per- 
 formed at Vienna, Burgtheater, September 10, 1788. SCHATZ 9322 
 
 Arien und gesaenge aus dem Talisman, oder Die zigeuner. Ein 
 singspiel in zwey aufzuegen, nach dem italienischen. Die musik ist 
 von nerrn Salieri. 
 
 n. i., 1790. 40 p. 16. 
 
 Translation by Heinrich Gottlieb Schmieder, who is not mentioned. 
 
 First performed at Mayence, Nationaltheater, February 20, 1790. SCHATZ 9323 
 
 - Arien und gesaenge aus dem singspiel in drey aufzuegen Der 
 Talisman. Die musik ist von Salieri. 
 Berlin, n. pull., 1798. 56 p. 17 cm . 
 
 Cast. The translator, Adolph Franz Friedrich Ludwig, freiherr von Knigge, is not 
 mentioned. 
 
 First performed at Berlin, Nationaltheater, May 20, 1796; at Huno\/cr, Schlose- 
 theater, June 4, 1790. SCHATZ 9324
 
 1048 LIBRARY OF CONGRESS 
 
 Der talisman. Tr. of Salieri's II talismano. 
 
 II talismano. Dramma di tre atti per musica. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 37, 
 [5]-69 p. 18% cm . 
 
 For first composers see next entry. PQ 
 
 II Talismano. Dramma giocoso per musica da rappresentarsi nel 
 Teatro alia Scala Testate dell' anno 1785 . . . 
 
 Milano, Gio. Batista BiancJii, n. d. 67 p. 16\ cm . 
 
 Three acts. By Carlo Goldoni, who is not mentioned. Dedication, cast, scenario, 
 and names of Antonio Salieri as composer of the first act, of Giacomo Rust of the 
 second and third. With the opera were performed "alternativamente" Sebastiano 
 Gallet's ballets, "L'amor vincitore, ballo anacreontico," "II signore benefico," 
 "II Bajram de' Turchi," the composers of the music not being mentioned. 
 
 First performed at Milan, Teatro alia Canobbiana, September, 1779. 
 
 SCHATZ 9336 
 
 Tamar e Selimo ossia Padre e figlio rivali sconosciuti, ballet. See 
 Isola's Lisandro. 
 
 Tamas Kouli-Kan nell' India. Dramma per musica da rappre- 
 sentarsi nel Regio Teatro di Torino nel carnovale del 1772 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 63, [1] p. 16 cm . 
 
 Last page incorrectly numbered 93. 
 
 Three acts. Argument, cast, scenario, and names of Vittorio Amedeo Cigna Santi 
 as the author, of Gaetano Pugnani as the composer of the opera, and of Paolo Gebhard 
 as the composer of the music for Giovanni Favier's ballets, "I panduri accampati," 
 etc., briefly described on p. 61-63. SCHATZ 8506 
 
 II tamburo. Commedia per musica di Giambatista Lorenzi, P. A. 
 da rappresentarsi nel Teatro Nuovo nel carnevale di quest' anno 1784. 
 
 Napoli, n. publ., 1784. 58 p. 14$ cm . 
 
 Three acts. Cast and name of Paisiello as the composer. 
 
 First performed at the same theatre, spring of 1773. SCHATZ 7659 
 
 II tamburo notturno. Dramma giocoso per musica da rappre- 
 sentarsi nel Regio-Ducal Teatro di Parma il carnovale dell' anno 
 MDCCLXXVIIL 
 
 Parma, Stamperia reale, n. d. 64 P- 20 cm . 
 
 Three acts. Lorenzi's text with alterations by Giovanni Bertati, neither author 
 being mentioned. Cast and name of Paisiello as the composer. On p. [61J-64 cast 
 and program of Giuseppe Traffieri's "Amore premiato, ballo pastorale." Tne com- 
 poser of the music is not mentioned. 
 
 First performed, as indicated, December 26, 1777; at Venice, Teatro di San Moise, 
 fall of 1773. SCHATZ 7660 
 
 - II tamburo notturno. Dramma giocoso per musica da rappre- 
 sentarsi ne' Teatri privilegiati di Vienna nell' anno 1774. 
 [Vienna], Giuseppe Kurzbok, n. d. 78 p. 17 cm . 
 
 Three acts. Lorenzi's poetry "tradotta dal dialetto napolitano nel idioma Tos- 
 cano dal Signer Boccarini, poeta de' Cesarei Teatri di Vienna." Paisiello is men- 
 tioned as the composer. 
 
 First performed May 17, 1774, as indicated. SCHATZ 7661 
 
 II tamburo notturno. L. T. of Paisiello's II tamburo. 
 Tamerlan. Tr. of Handel's Tamerlano.
 
 OPEBA LIBRETTOS 1049 
 
 Tamerlane. Tr. of Handel's Tamerlano. 
 
 Tamerlane. Dramma per musica da rappresentarsi nel Teatro di 
 San Samuelle il carnevale dell' anno MDCCLIV. 
 
 Venezia, Angiolo Geremia, n. d. 4$ P- 16 cm . 
 
 Three acts. By conte Agostino Piovene, who is not mentioned. Notice to the 
 reader as argument, scenario, cast, and on p. 6 the statement: 
 
 "II primo atto e posto in musica dal Signer Gioacchino Cocchi, il secondo dal 
 Signor Giambattista Pescetti, ilterzo parte da uno, e parte dall' altro di essi maestri." 
 
 SCHATZ 2054 
 
 Tamerlano. Tragedia per musica da rappresentarsi nel Teatro Tron 
 di San Cassano 1'anno 1710. 
 
 Venezia, Marino Rossetti, n. d. 65 p. ,14 m > 
 
 Three acts. Neither the author, conte Agosttino Piovene, nor the composer, Carlo 
 Francesco Gasparini is mentioned. Notice to the reader, cast and scenario. 
 
 SCHATZ 3585 
 
 II Bajazet. Dramma per musica da rappresentarsi nel Teatro 
 dell' illustrissimo pubblico di Reggio in occasione della fiera Panno 
 MDCCXIX . . . 
 
 Reggio, Ippolito Vedrotti, 1719. 77 p. 
 
 Three acts. Dedication dated Reggio, April 29, 1719, argument, Protesta, cast, 
 scenario, and name of Carlo Francesco Gasparini as the composer. ("La musica 6 
 nuova.") The author, conte Agostino Piovene, is not mentioned, a considerably 
 altered adaptation of whose "Tamerlano" this "Bajazet" is said to be in the Protesta, 
 "particolarmente nelP arie, che sempre esigono d'essere accomodate a' nuovi musici." 
 For instance, Tamur has been dropped from the list of characters and that of Clearco 
 has been added. The aria ending scene IV, act I, "Custodite per mia figlia," has 
 become "Forte, e lieto a morte andrei," the third scene begins "Un lieto annunzio" 
 instead of "Prencipe, or orai i Greci," the third act has seventeen scenes instead of 
 fifteen, etc., etc. Though the music is said to be new, presumably this is to be taken 
 with a grain of salt. Probably "II Bajazet " was not Gasparini's second setting of the 
 Tamerlano text, but his first and only setting of the text with other music where the 
 texts differed. Perhaps "II Bajazet" was in reality a pasticcio. SCHATZ 3562 
 
 II Tamerlano. Dramma per musica da rappresentarsi nel Teatro 
 Vendramino di S. Salvatore la fiera dell' Ascensione dell' anno 1765. 
 Venezia, Modesto Fenzo, 1765. 56 p. 14% cm . 
 
 Three acts. By conte Agostino Piovene, who is not mentioned. Argument, cast, 
 scenario, and name of Pietro Guglielmi as the composer. On p. 25^26 description 
 without name of the composer of the music of Jean Baptiste Martein's ballet "La 
 forza delP amore e dell' amicizia." SCHATZ 4306 
 
 Tamerlano : Drama. Da rappresentarsi nel Regio Teatro di Hay- 
 Market, per La Reale Accademia di musica. 
 
 London, Printed and sold at the King's Theatre in the Hay- Market, 
 1724. 6 p. 1., [3], 4-99 p. 18. 
 
 Three acts. Cast, argument, text both in Italian and in English. (Half-title on 
 1st p. 1. is "Tamerlane, an opera.") The dedication in Italian only. In it Nicola 
 [Francesco] Haym says: 
 
 " Avendo io per ubbidire agli ordini de' miei nobilissimi padroni i signori direttori 
 della Reale Accademia di musica, accomodato per il loro teatro la presente opera di 
 Tamerlano ..." 
 
 Consequently, Haym did not claim to have been the author of the text, as charged 
 In Grove s Dictionary and elsewhere. He does not mention conte Agostino Piovene 
 nor the composer, Georg Friedrich Handel. English translation faces Italian text. 
 
 First performed at London, as indicated, October 31, 1724. ML 60.2.T23
 
 1050 LIBRARY OF CONGRESS 
 
 Tamerlano Continued. 
 
 - Tamerlan, in einem sing-spiele, auf dem Hamburgischen Schau- 
 platze vorgestellet. Im jahr 1725. 
 
 [Hamburg], mit Stromerischen schrifften, n. d. Unpaged. 18\ cn . 
 
 Three acts. Cast, prefatory note, and names of Hendel (Georg Friedrich Handel) 
 as the composer of the opera, of Georg Philipp Telemann as the composer of the 
 "intermezzo," of Nicola Haym as author of the "italiaenische poesie" and Johann 
 Philipp Praetoriue as author of the translation, to which the Italian text of the arias 
 has been added. Praetorius says, after mentioning Haym and "die ausbuendig 
 echoene musique " Handel's: 
 
 "Doch hat eine illustre persohn durch geschickte composition der parthie des 
 Bajazeths eine abermahlige probe ihrer vertu ablege" wollen. Das recitativ hat zwar 
 der music nach bey der ubersetzung durch cine" beruehmten mann geaendert werden 
 muessen, doch sind in dem lOte auftritt der 3ten handlug einige zeilen unveraendert 
 in italiaenis. sprache und nach der Hendelischen composition beybehalten worde, 
 weil worte un music gar zu schoen auch dem affect ein grosses abgehen duerffte, im 
 fall die ubereetzung dem original nicht gleich kaeme ..." SCHATZ 4492 
 
 Tamerlano. Drama per musica, da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1730 . . . 
 
 Torino, Gio. Battista Valetta, n. d. 3 p. I., 58 p. 15 cm . 
 
 Three acts. By conte Agostino Pipvene, who is not mentioned. Argument, 
 scenario, cast, and name of Nicola Antonio Porpora as the composer. SCHATZ 8375 
 
 Taxnira. Ein drama. Nebst einer abhandlung ueber das melo- 
 drama von D. Huber . . . [vignette]. 
 Tuebingen, Cotta, 1791. 136 p. 17. 
 
 One act. Argument, dedicatory poem, and prefatory note, in which Huber says: 
 "Dieses melodrama war vor zenn jahren fertig, nemlich die arbeit des dichters. 
 Ich las es, wie meine meisten arbeiten in diesem und andern faechern, meinem ehr- 
 wuerdigen freunde vor, dem regierungs praesidenten von Gemmingen. Das drama 
 schien ihm zu gefallen. Er machte mir spgar die hoffnung, die musik dazu zu ver- 
 fertigen. Denn er war auch meister in dieser kunst. Er componirte wirklich eine 
 tragische ouvertlire in dieser absicht. Ich harrte ein paar jahre mit geduldiger 
 hoffnung auf die erfuellung des ganzen verspruchs. . . . Da natte ich die freund- 
 liche bosheit, ihm mit dem druck des drama und einer zueignung zu drohen, die ihn 
 der unerfuellten zusage beschuldigte ... Es hatte die wirkung, dass er unsern 
 hofmusikua Zum Steeg [!] bewog, die musikalische composition zu uebernehmen. 
 Er that es, das etueck wurde zweymal auf hiesigem theater aufgefuehrt . . ." 
 
 First performed June 13, 1788. Huber's essay, "Etwas ueber das melo-drama," 
 on p. 41-136. Schatz records the author as Ludwig Ferdinand Huber, other authori- 
 ties as Johann Ludwig Huber. SCHATZ 11295 
 
 Tamiri, drama per musica di Bartolameo Vitturi da rappresentarsi 
 nel Teatro di S. Angelo nelT autuno dell' anno MDCCXXXIV . . . 
 Venezia, Marin Rossetti, n. d. 60 p. 15% cm . 
 
 Three acts. Impresario's dedication, argument, author's notice to the reader, cast, 
 scenario, and name of Galuppi as composer. 
 
 First performed, as indicated, November 17, 1734. SCHATZ 3495 
 
 Tancrede, tragedie represented par FAcademie royale de musique 
 Fan 1702. Les paroles de M. Danchet & la musique de M. Campra. 
 LVIL Opera. 
 
 n. i., n. d. front., 1-56 p. 14 cm - (Recueil general des opera, Paris, 
 1706, t. viii.) 
 
 Five acts with prologue. 
 
 First performed, as indicated, November 7, 1702. SCHATZ 1560 
 
 Second copy. ML 48. R4
 
 OPERA LIBRETTOS 1051 
 
 Tancrede Continued. 
 
 - Tancrede, tragedie, representee, par 1' Academic royale de mu- 
 sique, pour la premiere fois le 7 novembre 1702. 
 
 [1331-192 p. ll\ cm . (Antoine DancJiet, Theatre, Paris, 1751, t. ii.) 
 
 Prologue and five acts. Campra is not mentioned. PQ 1972. D2 
 
 Arlequin Tancrede. Parodie en un acte. Par les Srs. Domi- 
 nique & Romagnesi . . . Represent e pour la premiere fois par les 
 Comediens italiens ordinaires du roi, le 19 mars 1729. 
 
 Les parodies du Nouveau theatre italien, Nouv. ed., Paris, 1738, t. iv, 
 [731-120 p. 16$ cm . 
 
 One act. The airs and vaudeville used are printed at end of the volume in the 
 "Table des airs" (92 p.) ML 48.P3 
 
 Tancredi ossia II padre crudele. Ballo tragico in tre atti composto 
 e diretto da M- Domenico Lefevre da rappresentarsi nel magnifico 
 Teatro dell' Accademia Filarmonica di Verona nel carnovale dell' 
 anno 1793. 
 
 Verona, Dionigi Ramanzini, n. d. 20 p. 17 cm . 
 
 Argument, cast, and scene by scene description of the plot. Composer of the 
 music not mentioned and unknown to me. ML 52.2.T22 
 
 Tancredi. Dramma per musica da rappresentarsi ne\ Regio Teatro 
 di Torino nel carnovale del 1767. Alia presenza di S. S. R. M. 
 
 Torino, Stamperia reale, n. d. viii, 64, [11 p. 16% cm . 
 
 Three acts. Argument, cast, scenario, and nameof composer, Ferdinando Giuseppe 
 Bertoni, but not of librettist, Balbis. Three ballets by Vincenzo Galeotti, music 
 by Giuseppe Antonio Le Messier, went with the opera, the first two being called "II 
 convitato di pietra" and "Amore e Psiche." 
 
 First performed, as indicated, December 26, 1766. SCHATZ 930 
 
 Tancredi. Tragedia per musica in tre atti di Alessandro Pepoli ad 
 uso del medesimo nel suo Teatro private. 
 
 Venezia, Tipograna Pepoliana, 1795. 4 P- 17% cm . 
 
 Francesco Gardi is mentioned as the composer. In his curious preface, conte 
 Pepoli says: 
 
 il libro (e tutti lo crederanno) fu da me composto a piacer mio, la musica egual- 
 mente vi fu applicata dal valente compositore a piacer mio, ed io alfine la reciterd, e la 
 canterb a piacer mio." SCHATZ 3542 
 
 Tancredi. Dramma per musica da rappresentarsi nel Teatro 
 Nuovo di Corte per comando di S. A. S. E. Carlo Teodoro conte Pala- 
 tino del' Reno . . . nel carnovale MDCCLXXXIII. 
 
 n. i., n. d. 135 p. lift. 
 
 Three acts. Author not mentioned, and unknown to Schatz. Argument, cast, 
 and names of Ignaz Holzbauer as composer, of Lorenz Hiibner as translator. German 
 title page, "Tankred," and text face Italian. 
 
 First performed, as indicated, at Munich, Hoftheater, January, 1783. 
 
 SCHATZ 4786 
 
 II Tancredi, ballet. See Tritto's La vergine del sole. 
 
 Tankred. Tr. of Holzbauer's Tancredi. 
 
 The tanner of York. A. T. of The lucky discovery. 
 
 Tanto va la gatta al lardo che si lascia lo zampino. A. T. of II 
 calzettaro, ballet.
 
 1052 LIBRARY OF CONGRESS 
 
 Tarar. Tr. of Salieri's Axur r d'Ormus. 
 
 Tarara o sia La virtu premiata. Drajnma per musica del Sig. abate 
 Gaetano Sertor da rappresentarsi nel nobilissimo Teatro La Fenice 
 nel carnovale dell' anno 1793. 
 
 Venezia, n. publ., 1792. [v]-viii, 48 p. 16 cm . 
 
 Three acta. Cast and name of composer, Francesco Bianchi. 
 
 First performed at Venice, as indicated, December 26, 1792. SCHATZ 984 
 
 Tarare, opera en cinq actes, avec un prologue, represent 6 pour la 
 premiere rois sur le Theatre de 1'Acaaemie royale de musique, le 
 vendredi 8 juin 1787. 
 
 Amsterdam, Cesar Noel Guerin, 1787. 88 p. 18 cm . 
 
 Dedication and names of [Pierre Augustin] Caron de Beaumarchais as the author, 
 of Antonio Salieri as the composer. SCHATZ 9325 
 
 - Tarare, an opera, in five acts: with a prologue. As it was per- 
 formed for the nrst time at the Theatre of the Royal Academy of 
 music, on Friday the 8th June, 1787. 
 
 London, R. Faultier, 1787. 96 p. 20%. 
 
 Five acts and prologue. Cast, translator's advertisement, names of Beaumarchais 
 as author, and of Antonio Salieri as composer, and Beaumarchais's dedication to 
 Salieri. LONGE 299 
 
 - Axur re d'Ormus. Dramma tragicomico in cinque atti. Da 
 rappresentarsi nei Teatri di Praga 1'anno 1788. 
 
 [Praga}, Giuseppe Emanuele Diesbach, n. d. 82 p. 16 cm . 
 
 Name of Lorenzo da Ponte as author, of Antonio Salieri as the composer. This is 
 a free Italian version of "Tarare," not a translation. 
 
 First performed at Vienna, Burgtheater, January 8, 1788. SCHATZ 9326 
 
 Axur, re d'Ormus. Dramma tragicomico in due atti da rappre- 
 sentarsi nel Theatre di S. A. E. di Sassonia. 
 
 Dresda, n. publ., 1789. 131 j>. 15 cm . 
 
 Two-act version of Da Ponte's text, who is not mentioned. Antonio Salieri ia 
 mentioned as the composer. German title-page, "Axur, koenig von Ormus," and text 
 face Italian. 
 
 First performed, as indicated, November 21, 1789. SCHATZ 9329 
 
 Axur re d'Ormus. Dramma tragicomico in musica da rappre- 
 sentarsi in musica da rappresentarsi nel Teatro alia Scala la prima- 
 vera dell' anno 1792 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 68 p. 16\ cm . 
 
 Two acts. Cast, scenario, names of Da Ponte as author, and of Antonio Salieri as 
 the composer, and impresario's dedication, which reads, in part: 
 
 "... Axur re d'Ormus, lo stesso che fu rappresentato nel Teatro della R. I. Corte 
 di Vienna. Benche sia egli stato originariamente ecritto in cinque atti separati, ei e 
 ora diviso in due sole parti, puramente per uniformarsi all' uso dei nostri teatri dell' 
 Italia, ed accioche non mancasse del soli to divertimento dei balli." 
 
 The first of these, by Urbano Garzia (composer of the music not mentioned), was 
 called "Federico II re di Prussia." SCHATZ 9331 
 
 Axur, koenig von Ormus. Ein tragikomisches singspiel in 
 fuenf aufzuegen. Uebersetzt von Sarker. Aufzufuehren im K. K. 
 Hoftheater. Bei der vermaehlung S. K. H. Franz, erzherzogs von 
 Oesterreich mit J. D. H. Elisabeth, princessinn von Wuertemberg. 
 
 Wien, n. publ., 1788. 58 p. 16\. 
 
 Names of Lorenzo da Ponte and of Antonio Salieri. This is Barker's transl. of 
 the Italian original first performed, as indicated, January 8, 1788. SCHATZ 9327
 
 OPERA LIBRETTOS 1053 
 
 Tarare Continued. 
 
 - Axur, koenig von Ormus. Eine heroische oper in fiinf auf- 
 ztigen, nach dem italiaenischen des herm abbe da ronte uebersetzt 
 und fiir das graflich Erdoedysche operntheater eingerichtet von herrn 
 Girzick. Zum drucke befoerdert von herrn Jon. Nep. Schueller. 
 1788. Die musik ist von herrn Anton Salieri. 
 
 Pressburg, Weber, 1788. 80 p. 16. 
 
 On p. 74-80: "ANHANG das gra^flich Erdoedische Operntheater betreffend. 
 Theater Personale Folgende opern eind eeit der eroeffnung des graeflichen theaters 
 aufgefuehrt worden." Dedication and cast. SCHATZ 9328 
 
 - Axur, koenig von Ormus, ein singspiel in vier aufzuegen. Nach 
 dem Tarar des Beaumarchais von D. Schmieder. 
 
 Hamburg und Altona, Buclihandlung der Neuen Verlagsgesellschaft, 
 1799. 125 p. 16\ cm . 
 
 Cast and notice to the reader by Schmieder, which reads : 
 
 "Dieses singspiel ist durch seine pefteren darstellungen auf alien grossen buehnen 
 Deutchlands bekannt genug. Neulich hat sich durch seine fleissige und prunkyolle 
 auffuehrung dieser oper, das Nationaltheater zu Altona, ein schoenes blatt, in seinen 
 noch frisch bluehenden kranz gewunden. Sie ward hier vom May bis July d. J. 
 eilfmal mit immer gleichem beyfall gegeben. Die Namen der hiesigen kuenstler 
 eind dem personenverzeichnisse, als ein zeichen der achtung, beygesetzt." 
 First performed at Frankfurt, Nationaltheater, August, 1790. SCHATZ 9332 
 
 Axur, koenig von Ormus. Grosse oper in vier aufzuegen. Aus 
 dem italiaenischen. Musik von Anton Salieri. 
 
 n. i., n. d. 64 p. 16% cm . 
 
 Later version with recitatives of Heinrich Gottlieb Schmieder's translation, who 
 is not mentioned. Possibly published after 1800. SCHATZ 9334 
 
 Gesaenge aus dem singspiele : Tarar, in vier aufzuegen, nach dem 
 franzoesischen und italienischen des Beaumarchais und abbate Casti, [ !] 
 von D. Schmieder. Die musik ist von Salieri. 
 
 Hamburg, Johann Matthias Michaelsen, 1791. 4$ P- 16^ cm > 
 As "Tarar" first performed at Hamburg, Theater beim Gansemarkt, December 28, 
 1791; as "Axur, koenig von Ormus" at Frankfurt a/M, Nationaltheater, August 14, 
 1790. SCHATZ 9330 
 
 II Tarconte, principe de' Volsci. Drama per musica da rappre- 
 sentarsi nel Teatro Formagliari 1'autunno dell' anno 1716. 
 
 Bologna, Giulio Rossi, e comp., n. d. 4$ P- 15 cm . 
 
 Three acts. Argument, notice to the reader, cast, scenario. Author and com- 
 poser not mentioned and unknown to Schatz. 
 
 First performed, as indicated, November 7, 1716. SCHATZ 11367 
 
 The tars of Old England. A. T. of The reprisal. 
 
 Tarsis et Zelie, tragedie representee par 1'Academie royale de 
 musique, 1'an 1728. Paroles de M. de la Serre; musique de M 
 Francoeur-Cadet, & Rebel fils. CXI opera. 
 
 n. i., n. d. pi., p. 297-344 (Recueil general des opera, t. xiv, Paris, 
 1784). 14. 
 
 Detached copy. Five acts and prologue. 
 
 First performed, as indicated, October 19, 1728. SCHATZ 3337 
 
 Second copy. ML 48.R4 
 
 I Tartari generosi, ballet. See Bertoni's Bajazette.
 
 1054 LIBRARY OF CONGRESS 
 
 Das tartarische gesez. Ein schauspiel mit gesang in zwey auf- 
 ziigen. [vignette] 
 Leipzig, Dykische buchhandlung, 1779. 64 p. 16\ cm . 
 
 Two acts. By Gotter, based according to his "Nachricht, " dated "Gotha im 
 august 1778," on Gozzi's "Gluckliche Bettler." The composer, Johann Andr, is 
 not mentioned. 
 
 First performed at Berlin, Dobbelinsches Theater, May 31, 1779. ScHATzl90 
 
 II Tartaro generoso, ballet. See Zannetti's Le cognate in contesa. 
 La tasse de glaces. A. T. of Dalayrac's La lecon. 
 Taste a la mode. A. T. of Harlequin restor'd. 
 The taste of the age. A. T. of The fool's opera. 
 
 Teagene et Cariclee, tragedie en musique. Represented par 1'Aca- 
 de'mie royale de musique. Suivant la copie imprimee a Paris. 
 Amsterdam, Antoine Schelte, 1695. 60 p. (incl. front.} 13\ cm . 
 
 Prologue and five acts. Neither the author, Duche", is mentioned, nor the com- 
 poser, Desmarets. 
 
 First performed, as indicated, February 3, 1695. ML 50.2.T3D2 , 
 
 Teagene et Cariclee, tragedie represented par FAcademie royale 
 de musique Tan 1695. Les paroles sont de M. Duche", & la musique 
 de M. Desmarets. XXXIV. opera. 
 
 n. i., n. d. front., p. 67-134- (Recueil general des opera, t. v, Paris, 
 1703.) 14 cm . 
 
 Detached copy. Prologue and five acts. SCHATZ 2534 
 
 Second copy. ML 48. R4 
 
 II teatro italiano alia China, ballet. See Martin y Soler's 
 Andromaca. 
 
 Tegene e Laodicea. Dramma per musica da rappresentarsi nel 
 Regio Teatro di via della Pergola if carnevale del 1799 . . . 
 Firenze, Stamperia Albizziniana, 1799. 28 p. 16 cm . 
 
 Three acts. By Giuseppe Foppa, who is not mentioned. Cast and name of Ferdi- 
 nando Per (PaSr) as- the composer. With the opera were performed Domenico de 
 Pvossy's ballets, "Alfonso di Castiglia" and "L'equivoco dei due mulinari." The 
 composers of the music are not mentioned. 
 
 Originally performed at Padua, Teatro Nuovo, June, 1793, as "Laodicea." 
 
 SCHATZ 7508 
 
 Telegone, tragedie, represente"e par 1'Academie royale de musique, 
 Tan 1725. Musique de M. la Coste. Paroles de M. Pellegrin. 
 CV. opera. 
 
 n. i., n. d. llf m . pi., J+53-5%/1 p. (Recueil general des opera, 
 t. xiii, Paris, 1734.) 
 
 Detached copy. Five acts and prologue. Cast. 
 
 First performed, as indicated, November 6, 1725. SCHATZ 5357 
 
 Second copy. ML 48.R4 
 
 Telemach. Tr. of Grua's Telemaco. 

 
 OPERA LIBRETTOS 1055 
 
 Telemaco. Opera seria da rappresentarsi nel Teatro Nuovo di 
 Corte . . . nel carnevale 1780. La poesia e del Signer conte Seri- 
 mann. La musica e del Signer Paolo Grua . . . 
 
 Monaco, Francesco Giuseppe TJiuiUe, n. d. 1^5 p. 15 cm . 
 
 Three acts. Argument, cast, and name of Giuseppe Toeschi as composer of the 
 ballet music. German title-page, "Telemach," and text by Anton, graf von Toerring 
 zu Seefeld, as indicated in the German title, face Italian. 
 
 First performed, as indicated, January 10, 1780. SCHATZ 4222 
 
 Telemaco. Dramma per musica di Carlo Sigismondo Capeci da 
 rappresentarsi nella Sala dell' illustrissimo Signor Federico Capranica 
 nel carnevale dell' anno 1718 . . . 
 Roma, Bernabb, 1718. 72 p. lift. 
 
 Three acts. Impresario's dedication, argument, cast, and name of Alessandro 
 Scarlatti as the composer. ("Questa e la centesima nona opera teatrale da lui 
 composta.") SCHATZ 9532 
 
 Telemaco ed Eurice nelT isola di Calipso. Dramma per musica 
 da rappresentarsi nel nobilissimo Teatro di S. Benedetto nel carnovale 
 dell' anno 1777. 
 
 Venezia, Modesto Fenzo, 1777. 62 p. 17$ cm . 
 
 Three acts. Argument, cast, scenario, and names of composer, Ferdinando 
 Giuseppe Bertoni, and the author, marchese Giovanni Piudemonte, whose Arcadian 
 name is given: "Echille Acanzio, P. A. della colonia Veronese." Both poetry and 
 music are called "tutta nuova." On p. 23-36, description, with cast and argument, of 
 "I tre Orazj e i tre Curiazj. Ballo tragico, composto ed eseguito da Monsieur Carlo 
 Le Picq," and on p. 53-56, description of "L amante generosa, ballo pantomimo 
 d'inyenzione ed esecuzione del Sig. Giuseppe Cancianl." The composers of the 
 music are not mentioned. 
 
 First performed, as indicated, December 26, 1776. SCHATZ 933 
 
 Telemaco in Sicilia. Dramma per musica del Signor Antonio 
 Simon Sografi avvocato veneto. 
 
 (At end) Padova, Penada, 1792. 55, [1] p. 19$. 
 
 Four acts. Sografi's dedication, dated Padova, June 20, 1792, begins: 
 
 "Nell' idea di offerirvi questa nuova mia produzione (la quale posso chiamar 
 nuova, perche ad onta ch'io abbia trattato questo medesimo soggetto pel teatro d'una 
 Real corte volli in questa occasione ridurlo ad uso del vostro ..." 
 
 Cast and name of Antonio Calegari as composer. SCHATZ 1508 
 
 Telemaco nelT isola di Calipso, ballet. See Bertoni's II Bajazette 
 
 Telemaco nelT isola di Calipso, ballet. See P. Guglielmi's Ales- 
 sandro nelT Indie. 
 
 Telemaco nelT isola di Calipso. Dramma per musica del Signor. 
 Sografi, poeta del nobilissimo Teatro La Fenice e del Teatro comico 
 Sant' Angelo. Composta per il teatro sudetto per il carnovale 1797. 
 Venezia, Stamperia Valvasense, n. d. 78 p. 17\ cm . 
 
 Three acts. Cast and name of Joh. Simon Mayr as the composer. On p. [67J-78, 
 prefatory note, argument, cast, and description of Lorenzo Panzieri's "La Lpdoiska, 
 ballo eroico pantomimo in tre atti." The composer of the music is not mentioned. 
 
 First performed, as indicated, January 16, 1797. SCHATZ 6175 
 
 Telemaco nelT isola di Calipso. Dramma per musica del nobile 
 Signpre Carlo Lanfranchi Rossi, patrizio Pisano, da rappresentarsi 
 in Firenze nel Teatro di via del Cocomero nelP autunno dell' anno 
 1773 . . . 
 
 Firenze, Anton Giuseppe Pagani, 1778. vi, 3-56 p. 17 cm .
 
 1056 LIBRARY OF CONGRESS , 
 
 Telemaco nelT isola di Calipso Continued. 
 
 Three acts. Argument, cast, and scenario. On p. v, "La musica parte e propria, 
 e parte sotto la direzione del Sig. Gio. Vincenzo Meucci, maestro di cappella Fiorent. 
 Tutte quelle arie, che saranno notate con questo segno *non sono, che adattate dall' 
 autore del libro a comqdo della musica." 
 
 On p. 3-6, description and cast of Giuseppe Banti'a "L'Olimpiade, ballo panto- 
 mimo-eroico," music by Gennaro Astaritta. SCHATZ 6400 
 
 Telemaco nell' isola di Calipso, ballet. See Piccinni's Tigrane. 
 
 Telemaco nella isola di Calipso. Dramma per musica da rap- 
 presentarsi nel Real Teatro del Fondo di Separazione per terza opera 
 di questo anno 1785 . . . 
 
 Napoli, n. pull, 1785. 24 p. 15 cm . 
 
 Two parts. Dedication and cast. The remark, "La musica e diretta dal Sig. D. 
 Francesco Cipolla" (p. 5), does not, as Schatz would have it, establish him as the 
 composer. The author is unknown to Schatz. SCHATZ 2012 
 
 Telemaque, tragedie, fragments des modernes. Represent 6e pour 
 la premiere fois par 1' Academic royale de musique, Fonzieme jour de 
 novembre 1704. 
 
 Amsterdam, Henri Schelte, 1705. 48 p. 13 cm . 
 
 A pasticcio in five acts with prologue. The compilers Danchet and Campra are 
 not mentioned. Same Avvertissement as below. ML 50.2.T34C3 
 
 Telemaque, tragedie, fragments des modernes. Represent ee par 
 1'Academie royale de musique Fan 1704. Cette pi^ce a este" mise au 
 Theatre par les soins de MM. Danchet & Campra. LXII. opera. 
 
 n. i., n. d. front., 291-332 p. (Recueil general des opera, Paris, 
 1706, t. viii.) 
 
 Detached copy. A pasticcio in five acts with prologue. In the Avertissement 
 Danchet eays: , 
 
 "Apres avoir donne les FRAGMENTS DE MONSIEUR DE LULLY, qui eurent un succes 
 favorable, je fus charge de faire les FRAGMENTS DES OPERA MODERNES que Ton ne veut 
 pas remettre entiers sur le theatre. Pour en faire quelque chose de singulier, j'entre- 
 pris de les rendre interessants en y mettant une action . . . J'ay choisi le sujet de 
 Telemaque, j'en ai fait le plan d'une tragedie, que j'ai composed des plus beaux 
 morceaux de musique, que les connoisseurs m'ont indiquez, ou que j'ay vu moy- 
 mgme aplaudir au theatre. Get ouvrage peut tre compart a un cabinet pare de 
 tableaux choisis de differents maitres . . . J'ay marque" dans ce livre le nom des 
 auteurs dont je me suis eervy, & j'ay marqu6 par doubles virgules les vers de liaison 
 que j'ay faits, & que Monsieur Campra a mis en musique." 
 
 Accordingly, for this pasticcio he utilized Fontenelle and Colasse's "En^e & 
 Lavinie," his own and Campra's Arethuse, La Fontaine and Colasse's Astree, de 
 La Mothe and Colasse's Canente, Corneille and Charpentier'a Medee, Bernard and 
 Campra"'8 Carnaval du Venise, Saint Jean and Marais' Ariane, M Ue Saintonge and 
 Desmarets' Circ6, Guichard and Rebel's Ulysse. It is not mentioned that Campra 
 composed the "vers de liason." 
 
 First performed at Paris, Acad^mie royale de musique, November 11, 1704. 
 
 SCHATZ 1561 
 Second copy . ML 48 . R4 
 
 Telemaque, tragedie. Fragmens des modernes. Represented 
 par FAcad6mie royale de musique, Fan 1704. 
 
 [291}-333 p. 17 $ cm . (Antoine Danchet, Theatre, t. ii, Paris, 1751.) 
 Prologue and five acts. Practically the same avertissement. PQ 1972. D2
 
 OPEKA LIBRETTOS 1057 
 
 Telemaque, tragedie representee pour la premiere fois, par 1'Aca- 
 demie royale de musique, le jeudi 6. decembre 1714. Les paroles de 
 M. Pellegrin & la musique de M. Destouches. LXXXVI. opera. 
 
 n. i., n. d. pi., p. 233-300. (Recueil general des operas, t. xi, 
 Paris, 1720.} 14 cm . 
 
 Detached copy. Five acts and prologue. The score, published 1714 as "Tele- 
 maque et Calypso," gives November 15, 1714, as the date of first performance, the 
 "second edition" of 1715 gives December 6, 1714, and Chouquet and Schatz have 
 November 29, 1714. SCHATZ 2552 
 
 Second copy. ML 48. R4 
 
 Parodie de 1'opera de Telemaque. Piece d'un acte. Par Mon- 
 sieur le S * *. Represented a la Foire de S. Germain 1715 avec 
 La ceinture de Venus. 
 
 Le Theatre de lafoire, Paris, 1737, t. i, pi, [351}-384 p. 17. 
 
 By Alain Ren6 Le Sage. En vaudevilles. The melodies are printed in the " Table 
 des airs" at the end of the volume. They were selected or composed and arranged 
 by the " compositeur " of the theatre, Jean Claude Gillier. The overture and the 
 tempest music was borrowed from Marais' opera "Alcione." ML 48. L2 
 
 Telemaque dans 1'isle de Calipso, ballet-heroique, en trois actes, 
 par M. Gardel. Represent e pour la premiere fois sur le Theatre de 
 I'Academie de musique, le mardi 23 fevrier 1790. 
 Paris, a la SaUe de I'Opera, 1790. 28 p. 18tf m . 
 
 Three acts. Cast. Scene by scene description of the action. The composer, 
 Miller (according to Lajarte), is not mentioned. ML 48. B2 
 
 Telemaque dans Fisle de Calypso, ou Le triomphe de la sagesse, 
 tragedie lyrique en trois actes. Representee sur le Theatre de la rue 
 Feydeau, le [blank} floreal, an 4. [May 11, 1796]. 
 Paris, Laurens aine, an IV de la Republique [1795-96]. 56 p. 21 cm . 
 
 Cast and names of Alphonse Francois Dercy as author, of Le Sueur as composer. 
 
 ML 50.2.T35L3 
 
 Telemaque dans 1'isle de Calypso, ballet. See Michl's II trionfo 
 di Clelia. 
 
 Telephe, tragedie representee pour la premiere fdis, par 1'Academie 
 royale de musique, le jeudy 23, novembre 1713. Les paroles de M. 
 Danchet & la musique de M. Campra. LXXXIV. opera. 
 
 n. i., n. d. 111-176 p. 14 cm - (Recueil general des opera, Paris, 
 1720. t. xi.} 
 
 Detached copy. Five acts, with prologue. SCHATZ 1562 
 
 Second copy. ML 4.R4 
 
 - Telephe, tragedie. 
 
 [217}-280 p. 17$ cm . (Antoine Danchet, Theatre, Paris, 1751, 
 t. Hi.) 
 
 Prologue and five acts. Campra is not mentioned. PQ 1972.D2 
 
 Temira e Aristo. Cantata da eseguirsi nel nobilissimo Teatro della 
 Fenice per la fiera dell' Ascensione dell' anno 1795. 
 
 Venezia, Stamperia Valvasense, 1795. 51 p. 19 cm . 
 
 Nine scenes. Neither the author, conte de Salvioli, is mentioned, nor the com- 
 poser, Joh. Simon Mayr. On p. [17]-28, prefatory note, argument, cast, and descrip- 
 tion of Lauchlin Duqueany's "Obert e Melina, ballo eroico-tragico in cinque atti," 
 with music ("tutta nuova") by Vittorio Trento. On p. [29-51J the argument, cast, 
 scenario, and Calsabigi's (not mentioned) text of "Orfeo ed Euridice," with name of 
 Ferdinando Bertoni as the composer. The latter was first performed in 1776. 
 
 SCHATZ 6203 
 72251 VOL 114 67
 
 1058 LIBRARY OF CONGRESS 
 
 II Temistocle. See M. Curzio. 
 
 II Temistocle. 
 
 68 p. 19 m . (Pietro Metastasio, Opere drammatiche, Venezia, Giu- 
 seppe BettineUi, 1738-37, v. 4.) 
 
 Three acts and licenza. Argument. No composer mentioned. ML 49.A2M4 
 
 - Temistocle. 
 
 Metastasio,' Poesie, Parigi, vedova QuiUau, 1755, t. iv, [301]~403 p. 
 16 cm . 
 
 Three acts and licenza. Argument. ML 49.A2M42 
 
 Temistocle. Rappresentato con musica del Caldara la prima 
 volta in Vienna, nell 7 interno gran Teatro della Cesarea corte . . . il 
 di 4 novembre 1736, per festeggiare il nome dell' imperator Carlo 
 VI ... 
 
 pi., [235}-340 p. 26 cm . (Pietro Metastasio, Opere, t. v, Parigi, 
 vedova Herissant, 1780.) 
 
 Three acts and licenza. Argument. ML 49.A2M44 
 
 Temistocle. Azione scenica. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744) ^ *> P- \.44^\~ 
 504 p. 19 cm . 
 
 Three acts. Argument. No composer is mentioned. In the "Catalogo" at end 
 of t. x, date and place of first ed. are given as Vienna, 1700. (According to Schatz 
 and Fehr first performed there on June 9, 1701, with music by M. A. Ziani.) 
 
 ML 49.A2Z3 
 
 Temistocle. Azione scenica, pubblicata per la prima volta in 
 Vienna 1700. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. ii, p. 58. 
 21 cm .) 
 
 Three acts. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Temistocle. Dramma per musica da rappresentarsi nel Regio 
 Teatro di via della Pergola il carnevale del MDCCXCIII . . . 
 Firenze, Stamperia Albizziniana, 1793. 35 p. 16\ cm . 
 
 Two acts. Argument, cast, and note: "La musica & di diverei celebri autori." 
 The author, Metastasio, is not mentioned. ML 48.A5 v. 16 
 
 Temistocle. 
 
 Three acts. By Metastasio. Music by Johann Christian Bach. 
 First performed, at Mannheim, November 4, 1772. 
 Not in L. of C. 
 
 Themistocles, eine opera aufgefuehret bei gelegenheit des 
 hoechstbeglueckten namensfestes Seiner churfuerstl. Durchlaucht zu 
 Pfalz. 
 
 Mannheim, Uqfund Akademie Buchdruckerei, 1772. 95 p. 16\ cm . 
 
 According to note on p. [8], this is an adaptation "mit neuen arien, duetten und 
 finalen bereichert," by Mattia Verazi, of Metastasio's drama as composed by Johann 
 Christian Bach. Argument, cast, scenario. German text only. On p. 81-95, detailed 
 description, with cast, of the ballets, "Rogerius auf der insel der Alcine" (music by 
 Joseph Toeschi) and "Medea und Jason (music by Christian Cannabich). Both 
 were written by Stephan Lauchery. SCHATZ 531
 
 OPERA LIBRETTOS 1059 
 
 Temistocle. Dramma per music a da rappresentarsi nel famosissimo 
 Teatro Grimani di Sn. Gio. Grisostomo nel carnevale 1744 . . . 
 [Venezia], n. pubL, n. d. 57 p. 15 cm . 
 
 Three acts. By Metastasio. Argument, cast, scenario, and name of composer, 
 Andrea Bernasconi, but not of librettist. SCHATZ 861 
 
 Temistocles. Vorgestellt [im] gesungnen schau-spiel auf dem 
 neuen Hof-Schau-Platze ... in der fassnacht 1754. Die poesie ist 
 vom herrn abbt, Peter Metastasio, die musik ist vom herrn Andre 
 Bernaskoni . . . 
 
 Muenchen, Johann Jacob Voetter, n. d. 191, [3] p. 14% cn - 
 Three acts. Argument, cast, and scenario. Italian text, "Temistocle," faces 
 German. The opera was followed by "Urtheil dee Paris, heroischer echaefer-tanz," 
 apparently by Du Buisson de Charlandray. 
 
 First performed at Munich, as indicated. SCHATZ 862 
 
 II Temistocle. Dramma per musica, da rappresentarsi nel gran 
 Teatro dell' imperial Corte per il nome gloriosissimo della Sac. Ces. e 
 Catt. Real Maesta di Carlo VI ... L' anno MDCCXXXVI. La 
 ppesia e del Sig. abbate Pietro Metastasio ... La musica e del 
 Sig. Antonio Caldara . . . 
 
 Vienna d' 'Austria, Gio. Pietro Van GJielen, n. d. dp. 1., 72 p. 15 cm . 
 
 Three acts and licenza. Argument and scenario. The ballet music was composed 
 by Niccola Matteis. 
 
 First performed at Vienna, Hoftheater, November 4. 1736. SCHATZ 1488 
 
 Temistocle. Drama per musica da rappresentarsi nel Teatro Obizzi 
 di Padova nel mese di giugno 1721 . . . 
 Padova, n. publ, 1721. 48 p. ld cm . 
 
 Three acts. By Apostolo Zeno. Impresario's dedication, argument, cast, sce- 
 nario, name of Fortunate Chelleri as composer, and this notice to the reader, which 
 covers a current practice of the time: 
 
 "II presente Temistocle e un' azzione scenica fatta in Vienna per il giorno natalizio 
 della S. C. R. M. di Leopoldo Primo Imperatore de Romani 1'anno 1701, e per potere 
 esprimere la sua perfezzione, basta il dire, che sia componimento uscito dalla famosa 
 penna del Sig. Apostolo Zen [!] istorico e poeta di S. M. Imp. [music by Ziani]. Questo 
 adunque essendosi dovuto accommodare rappresentabile nel Teatro Obizzi di Padova, 
 e stato soggetto alia dura necessita di aggiunta di nuove scene, cambiamenti di arie, 
 ed accrescimenti di mutazioni. Destino al quale ogni drama vien sottoposto, dopo 
 la sua prima cpmparsa che egli fa su i Teatri. Ma acioche questo non punto resti 
 defraudato di ci6, che di venerazione si deve, a quello, ch' e partp d'un' cosl celebre, 
 e rinomato autore, tutto quello che da altro poeta vi sara tramischiato con piccole 
 virgolette contrasegnato vedrassi. Vivi felice. 
 
 Accordingly, for instance, were added Temistocles' aria (I, 7) "Dell' aurora al 
 primo albore, Palmide's entire scene (I, 10) "O dell' anime amanti" and the final 
 chorus "Chi non sa che sia dolore " and many more. The revisor is not mentioned. 
 
 SCHATZ 1815 
 
 Temistocle in bando. Drama per musica da rappresentarsi nel 
 Teatro di San Casciano 1' anno MDCLXXXIII . . . 
 Venetia, Francesco Nicolini, 1683. 59 p. 14 cm . 
 
 Three acts. By Adriano Morselli (not mentioned) with indicated interpolations 
 ' ' per comodo delle mutationi , e per sodisf are a cantanti . ' ' These are ' ' Quella e Si ban 
 al certo," etc. (I, 14), and the whole III, 4, "lo vivo ancora? e invendicato io vivo?" 
 Dedication, argument, and scenario. The composer, Antonio Zannettini, is not 
 mentioned. SCHATZ 11147 
 
 Temistokles. Tr. of Bernasconi's Temistocle.
 
 1060 LIBRARY OF CONGRESS 
 
 Der tempel der wahrheit . Ein vorspiel mit gesang und tanz. Auf- 
 gefuehrt zu Berlin am gcburtsfeste S. K. H. des Prinzon von Preussen 
 (des jetzt regierenden Koenigs Majestat) den 25 ten September 1780. 
 [14]-26 p. (Annalen des theaters, erstes heft, Berlin, Friedrich 
 Maurer, 1788.) 
 
 According to a foot-note the libretto was by Prof. [Friedrich Ludwig Wilhelm] 
 Meyer of Gottingen and had not been published. The composer, Friedrich Wilhelm 
 Hemrich Benda, is not mentioned. SCHATZ 767 
 
 Der tempel des gedaechtnisses. Ein scherzhaftes singspiel, aus 
 dem franzoesischen uebersezt. Nebst einem historischen vorbericht 
 von den comischen opern. 
 
 Frankfurt und Leipzig, n. publ., 1770. 103 p. 16\ cm . 
 
 In the unsigned "Historischer vorbericht von dem ursprung der scherzhaften 
 singspiele, welche Opera comique genennet werden," it is said: 
 
 "Gegenwaertiges stueck ist aus dem sechsten theil des theaters de lafoire genom- 
 men, welcher die herren le Sage, Fuzelier und d'Orneval zu verfassern hat; es hat 
 daselbsten die zweyte stelle, und heisset Le temple de memoire oder Gedaechtniss- 
 tempel. Hier ist es theils uebersetzt, theils nachgeahmt. Von den couplets sind 
 viele in der melodie franzoesischer vaudevilles; einige gehen nach teutschen gaseen- 
 hauern; einige auch nach opern -arien vornehmer componisten; der dritte theil der- 
 eelben aber ist, yon herrn Johann Conrad Elmer, wohlbestellten organisten zu St. 
 Martin in Memmingen, in die musique gesetzet worden." SCHATZ 2917 
 
 Der tempel des schicksals. Prolog vom herrn stadtgerichts sekre- 
 tar Schubert in Breslau; vorgestellt auf dem hiesigen theater am 
 ersten januar dieses jahres. 
 
 p. 193-200. 18%. (Litteratur und Theater Zeitung, Berlin, 1779, 
 l ster th.) 
 
 The composer, Franz Andreas Holly, is not mentioned. 
 
 First performed at Breslau, as indicated. SCHATZ 4772 
 
 The tempest. An opera. Taken from Shakespear. As it is per- 
 formed at the Theatre-Royal in Drury-Lane. The songs from 
 Shakespear, Dryden, etc. The music composed by Mr. Smith. 
 
 London, J. and R. Tonson, 1756. 4 p. I, 47 p. 20\ cm . 
 
 Three acts. The composer, John Christopher Smith, also compiled, resp. selected 
 the text, probably aided by David Garrick. Argument and cast. 
 
 First performed February 11, 1756, as indicated. LONGE 198 
 
 Second copy. Office 
 
 II tempio dell' eternita. 
 
 Metastasio, Poesie, Parigi, vedova QuiUau, 1755, t. vi, [391]-432 p. 
 16 cm . 
 
 One act. Argument. ML 49.A2M42 
 
 II tempio dell' eternita. Festa teatrale scritta dall' autore in 
 Vienna 1'anno 1731 . . . e sontuosamente rappresentata la prima 
 volta con musica del Fux nel Giardino dell' Imperial Favorita, per 
 festeggiare il dl 28 agosto, giorno di nascita dell' imperatrice 
 Elisabetta. 
 
 [357]-894 p. 26. (Pietro Metastasio, Opere, t. 4, Parigi, vedova 
 Herissant, 1780.) 
 
 One act. Argument. Originally composed, performed and published, according 
 to Kochel, under the title "Enea negli Elisi owero II tempio dell' eternita,'' 
 which see. ML 49.A2M44
 
 OPERA LIBRETTOS 1061 
 
 II tempio della gloria O templo da gloria. 
 Lisboa, Simao TJiaddeo Ferreira, 1790. 39 p. 15. 
 
 On p. [2], "Da rappresentarsi nel Teatro della rua Dos Condes nel 17. di decembre 
 1790. Giorno natalizip di Sua Maesta Fedelissima Dona Maria I." Dedication, cast, 
 and names of Eustachio Manfrede as author, of Carlo Spontoni as composer. Portu- 
 guese text faces Italian. SCHATZ 10017 
 
 II tempio della morte. Ballo eroico-pantomimo da rappresen- 
 tarsi nel magnifico Teatro dell' Accademia Filarmonica di Verona il 
 carnovale dell' anno 1794. Composto e diretto dal Signer Filippo 
 Beretti. 
 
 Verona, Dionigi Ramanzini, n. d. 14 p> 16% cm . 
 
 Cast, argument, scene-by-scene description . Composer of the music not mentioned . 
 
 ML 52.2.T32 
 
 II tempio della pazfcia, ballet. See Insanguine's Motezuma. 
 
 Le temple de 1'ennuy. Prologue. Par Messieurs le S * * & 
 F * * *. Represente a la Foire de S. Germain 1716. Le 
 tableau du mariage. Piece d'un acte. Par Messieurs le S * * 
 Y * * *. Represent ee a la Foire de Saint Germain 1716. 
 Le Theatre de lafoire, Paris, 1737, t. ii, 2 p. 1., [259}-315 p. 17 cm . 
 
 By Alain Ren6 Le Sage and Louis Fuzelier. The airs, selected or composed and 
 arranged by Jean Claude Gillier, are printed at the end of the volume in the "Table 
 des airs." ML 48.L2II 
 
 Le temple de la gloire, feste donne"e a Versailles, le 27 novembre 
 1745. 
 
 [Pans], Jean Baptiste CJiristophe BaMard, 1745- viii, 4$ P-, 1 pi- 
 Head and tail-pieces, initials. Five acts. Preface, according to which the subject 
 is taken from Metastasio. Neither Voltaire, the author, is mentioned, nor the com- 
 poser, Jean Philippe Rameau. 
 
 First performed at Versailles, November 27, 1745; at Paris, Academie royale de 
 musique, December 7, 1745. ML 50.2.T38R2 
 
 Le temple de la paix. Ballet. Dans6 devant sa Majeste" a Fon- 
 tainebleau, le 15 d'Octobre 1685. Suivant la copie imprime'e a 
 Paris. 
 
 [Amsterdam, Antoine ScJielte], 1686. 36 p. (inel. front.) 13% cm . 
 
 Six entries, with the names of the nobility participating. In his dedication Lully 
 says: 
 
 "De tous les ouvrages que j'ay faits, & que j'ay eu 1'honneur d'offrir a Vostre 
 Majest4, voicy celui qui luy appartient le plus legitimement." ML 49*.A2L9 
 
 - Le temple de la paix, ballet represente par 1'Academie royale de 
 musique Pan 1685. Les paroles de M. Quinault & la musique de 
 M. de Lully. XIX. opera. 
 
 n. i., n. d. llf m . front., 91-120 p. (Recueil general des opera, 
 t. Hi, Paris, 1703.) 
 
 Detached copy. Six entries. 
 
 First performed, as indicated, October, 1685; at Fontainebleau, September 12, 1685 
 
 SCHATZ 5772 
 Second copy. ML 48. R4 
 
 - Le temple de la paix. Ballet danse" devant le roi k Fontaine- 
 bleau le 15. octobre 1685. 
 
 Philippe Quinault, Theatre, Paris ,1739, t. v., pi., p. [379]~411. 17 cm . 
 Six entries. Lully is not mentioned. PQ 1881 .Al 1739
 
 1062 LIBRARY OF CONGRESS 
 
 Le temple de memoire. Piece d'un acte. Represent 6e a la Foire 
 de Saint Laurent 1725. & ensuite sur le Theatre du Palais Royal. 
 
 Le Theatre de lafoire, Paris, 1728, t. vi, pi., [19}-69 p. 17. 
 
 Le Sage, Fuzelier, and d'Orneval are mentioned as the authors. Largely en vaude- 
 villes. The airs selected or composed and arranged by Jean Claude Gillier, the "com- 
 positeur" of the troupe, are printed at the end of the volume in the "Table des airs." 
 
 First performed July 21, 1725. ML 48.L2VI 
 
 Le temple du destin. Pi&ce d'un acte. Par M. le S * * *. 
 Represented a la Foire de S. Laurent 1715. 
 Le Theatre de lafoire, Paris, 1737, t. i, pi, [385}~427 p. 17. 
 
 By Alain Rene Le Sage. En vaudevilles. The melodies are printed in the "Table 
 des airs " at the end of the volume. They were selected or composed and arranged by 
 the "compositeur" of the theatre, Jean Claude Gillier. 
 
 First performed July 25, 1715. ML 48.L2 I 
 
 The temple of dullness. With the humour of Signer Capocchio, 
 and Signora Dorinna. A comic opera of two acts. As it is perform'd 
 at the Theatre-Royal in Drury-Lane. The music by Mr. [Th. Aug.] 
 Arne. 
 London, J. Watts, 1745. 16 p. 21\ cm . 
 
 Two acts. The author, Colley Gibber, is not mentioned. Text preceded by "a 
 short preface by way of argument." 
 
 First performed, as indicated, January 17, 1745. ML 50.2.T39A7 
 
 The temple of love : a pastoral opera. English'd from the Italian. 
 All sung to the same musick. By Signior J. Saggione. As it is per- 
 form'd at the Queen's Theatre in the Hay-Market. By Her Majesty's 
 sworn servants. Written by Mr. Motteux. 
 London, Jacob Tonson, 1706. 2 p. I., 37, [1] p. 21. 
 
 Three acts, prologue, and epilogue. According to Burney (iv, 201), the music was 
 by Giacomo Greber. Not only does the title page contradict this, but Walsh pub- 
 lished songs from the opera, as composed by Giuseppe Fedeli Saggione. 
 
 First performed, as indicated, March 7, 1706. LONGE 294 
 
 O templo da gloria. Tr. of Spontoni's II tempio della gloria. 
 
 II tempo fa giustizia a tutti. Dramma giocoso per musica da 
 rappresentarsi nel Teatro alia Canobiana il carnevale 1797 . . . 
 Milano, Gio. Batista Bianchi, n. d. 63 p. 16%. 
 
 Two acts. By Antonio Brambilla, who is not mentioned. Cast and name of Ferdi- 
 nando Pher (Paer) as the composer. 
 
 First performed at Milan, as indicated, January 26, 1797; at Parma, Teatro Ducale, 
 fall 1792. SCHATZ 7537 
 
 Ten thousand pounds for a pregnancy. A. T. of The wanton 
 countess. 
 
 Teodelinda. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1789 . . . 
 Torino, Onorato Derossi, viii, 64 P- 19. 
 
 Three acts. By Giandomenico Boggio. Cast, scenario, argomento, and names of 
 librettist and composer, Gaetano Andreozzi. The ballets, the music for which was 
 composed by Vittorio Amedeo Canavasso, are entitled "La costanza coniugale," 
 "La fiera di Sinigaglia" and "II Gastaldo burlato." They were by Giuseppe Banti, 
 and a detailed description of the first is on p. 57-64 of the libretto. SCHATZ 211
 
 OPEBA LIBRETTOS 1063 
 
 Teodora Augusta. Drama per musica da rappresentarsi nel 
 riformato Teatro Vendramino di S. Salvatore 1'anno 1686. Ristam- 
 pato con nuova aggiunta . . . 
 
 Venetia, Francesco Nicolini, 1686. 60 p. llf m . 
 
 Three acts. By Adriano Morselli, who is not mentioned. Impresario's dedication, 
 argument, scenario, and author's notice to the reader, in which he mentions Domenico 
 Gabriel! as the composer, and says: 
 
 " Fu dall " autore adornato di nove arie, e si sono alterate, & aggiunte alcune scene; 
 onde benche sia lo stesso, sara per6 in qualche parte diversa. SCHATZ 3401 
 
 Teodorico. Dramma per musica da rappresentarsi nel Teatro 
 Formagliari Fautunno dell' anno MDCCXXVII . . . 
 Bologna, Costantino Pisarri, n. d. 62, [1] p. 16\ cm . 
 
 Three acts. By Antonio Salvi. Impresario's dedication, dated Bologna, October 
 26, 1728, argument, cast, and scenario, but without name of the composers or librettist, 
 but on p. 7, the note: "La musica sara di diversi autori," and Schatz mentions Giu- 
 seppe Maria Buini as one of them. In the dedication the term "il presente libretto " 
 is used. SCHATZ 1383 
 
 Teodorico. Drama per musica da rappresentarsi nel famoso Teatro 
 Grimani di S. Gip. Grisostomo. L'autunno dell' anno 1720. Del 
 dot. Antonio Salvi Fior. . . . 
 
 Venezia, Marino Rossetti, 1720. 60 p. lS cm . 
 
 Three acts. Publisher's dedication, argument, cast, name of Giovanni Porta as 
 the composer, and notice to the reader, who is informed that this text is but a some- 
 what altered version of a "drama, che uscito pochi anni so'no, ben e vero con altro 
 nome, dalla penna felice del Signor dottor Salvi Florentine." SCHATZ 8393 
 
 Teodosio. Drama per musica da rappresentarsi nel Teatro d'Ham- 
 burgo 1'anno 1718. Theodosius ... , 
 
 Hamburg, Caspar JakJiel, n. d. Unpaged. 19*. 
 
 Three acts. By Vincenzo Grimani, who is not mentioned. The " Innhalt " is in 
 German only, but list of characters and the text are both in Italian and German. 
 Schatz mentions as composers Johann Joseph Fux, Carlo Francesco Gasparini, and 
 Antonio Caldara. 
 
 First performed, as indicated, November 14, 1718; at Brunswick on September 12, 
 1716, as "Teodosio ed Eudossa." SCHATZ 3392 
 
 II Teodosio. Drama per musica da rappresentarsi nel Teatro di S. 
 Cassiano in Venezia Fanno 1699. 
 
 Venezia, Nicolini, 1699. 59 p. 
 
 Three acts. Argument, scenario, and publisher's prefatory note: 
 
 ' ' Eccoti un drama abpzzato molto tempo fa da una penna nooile [Vincenzo Grimani], 
 che per esser volata al cielo non ha potuto compirlo. Hora te lo presento aggiustatp in 
 modo tale, che haverei speranza potesse esser compatito. Chi ha havuto la prima 
 intentione di perfettionarlo, non h^ havuto mai la seconda di mettertelo sotto 1'occhio, 
 ma la conguintura ha portato cosi ..." 
 
 The composer, Marc' Antonio Ziaxti, is not mentioned. 
 
 First performed, as indicated, carnival, 1699. SCHATZ 11194 
 
 Teodosio ed Eudossa. O. T. of Fux, Gasparini and Caldara's 
 Teodosio. 
 
 Teodosio il giovane. Dramma posto in musica dal Signor Filippo 
 Amadei, e rappresentato in Roma 1'anno 1711. 
 Roma, Antonio de' Rossi, n. d. 80 p. 16 cm . 
 
 Three acts. Argument and scenario. Librettist unknown to Schatz. 
 
 First performed at the Teatro di Tor di Nona, as indicated. SCHATZ 167
 
 1064 LIBRARY OF CONGRESS 
 
 Teofane. Dramma per musica rappresentato nel Regie Electoral 
 Teatro di Dresda in occasione delle relic issime nozze de Serenissimi 
 principi Federigo Augusto . . . e Maria Gioseffa, arciduchessa 
 d'Austria. 
 
 Dresda, Gio. Corrado Stossel, 1719. front, unpaged. 19 cm . 
 
 Three acts. By Stefanp Benedetto Pallavicini, who is not mentioned. Argument, 
 cast, and names of Antonio Lotti as composer of the opera, of "Giambattista Woul- 
 myer, mastro di concerto" as composer of the ballet music. Frerfch title page, 
 "Theophane," and text face Italian. At end, a congratulatory scene (licenza), with 
 chorus. 
 
 First performed, as indicated, September 13, 1719. SCHATZ 5723. 
 
 Teramene. See M. Curzio. 
 
 Teraminta: an opera. Set to musick by Mr. John Christopher 
 Smith. 
 
 [47]-88 p. 22. (Henry Carey, Dramatick works, London, 1743.) 
 
 Three acts. Argument with foot-note: 
 
 "The recitative of this opera was written originally in prose for expedition sake; 
 since which time the author has alter'd it into blank verse, and made great improve- 
 ment in the drama, as will appear by comparing it with the edition printed in the 
 year 1732." 
 
 First performed at London, Lincoln's Inn Fields, November 20, 1732. 
 
 ML 49.A2C2 
 Second copy, detached. LONGE 127 
 
 Tereo, tiranno di Nasora. A. T. of the ballet Progne e Filomene. 
 
 Der ternengewinnst oder der gedemtithigte stolz. O. T. of Ditters- 
 dorf's Terno secco. 
 
 Terno secco, oder Der gedemuethigte stolz. Ein komisches sing- 
 spiel in 2 aufzuegen, nach dem italiaenischen frey bearbeitet zu einer 
 musik vom herrn von Dittersdorf. 
 Oels, Ludwig, n. d. 100 p. 17 cm . 
 
 Text by the composer. 
 
 First performed at Oels. Hof theater, February 11, 1797, as "Der ternengewinnst 
 oder Der gedemuthigte stolz." SCHATZ 2609 
 
 II Teseo. Festa teatrale per le reali nozze de i serenissimi sposi Gio. 
 Giorgio III, principe elettorale di Sassonia . . . ed' Anna Sofia, 
 principessa reale ereditaria di Danimarca, e Norwegia, de' Vandali, 
 e Goti, etc. 
 
 G. A. Moniglia, Poesie drammatiche, seconda parte, Firenze, Cesare 
 e Francesco Bindi, 1690, p. [855\-438. 24 cm . 
 
 Prologue and five acts. Scenario and argument. No composer mentioned and 
 not recorded by Schatz or Fiirstenau. Possibly composed by Giovanni Andrea 
 Ang " 
 perf 
 
 Angelini Bontempi, who was court composer at Dresden, where "II Teseo" was first 
 rformed on January 27, 1667. ML 49.A2M7 
 
 
 Teseo. Dramma per musica da cantarsi nella Real villa di Queluz 
 per celebrare il felicissimo giorno natalizio del Serenissimo Signore D. 
 Giuseppe, principe del Brasile li 21. agosto 1783. 
 
 [Lisbona], Stamperia reale, n. d. 82 p. 15% cm . 
 
 One act with licenza. Argument, cast, and names of Gaetano Martinelli as author, 
 of Jeronymo Francisco de Lima as composer. SCHATZ 5619
 
 OPERA LIBRETTOS 1065 
 
 Teseo a Stige. Dramma tragico per musica da rappresentarsi nell' 
 Imperial Teatro di via della Pergola il carnevale deiMDCCXCI . . . 
 
 Firenze, Stamp. Albizziniana, 1791. front., 59 p. 17 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Argument, cast, and 
 name of Sebastiano Nasplini as the composer ("La musica e tutta nuoya"). On 
 p. 7-14 cast and description of Gaspero Ronzi's Lauso e Lidia o sia II trionfo dell' 
 amicizia, ballo eroico pantomime in cinque atti." The composer of the music is 
 not mentioned. SCHATZ 7021 
 
 Teseo e Medea, ballet. See II riconoscimento di Teseo. 
 
 Teseo in Sicilia. Poetico componimento ad uso di serenata del Sig. 
 abate Gio. Domenico Co. di Cataneo. Posto in musica dal N. H. 
 Marc' Antonio Tiepolo per piacevole trattenimento delle figlie del 
 Pio Ospitale degP Incurabili. L'anno MDCCLIV. 
 
 Venezia, Modesto Fenzo, 1754. 32 p. 17 cm . 
 
 Two parts. Cast. SCHATZ 10352 
 
 vTeseo tra le rivali. Dramma per musica da rappresentarsi nel 
 Teatro a S. Angelo. Di Aurelio Aureli. Opera XXV . . . 
 Venetia, Francesco Nicolini, 1685. 56 p. lS\ cm . 
 
 Three acts. Author's dedication dated Venice, February 7, 1685, argument, sce- 
 nario, and author's notice to the reader, mentioning Giovanni Domenico Freschi as 
 composer. ^ SCHATZ 3348 
 
 A test of good fellowship. A. T. of Dibdin's Liberty-hall. 
 
 La testa riscaldata. Farsa giocosa per musica originale di Giu- 
 seppe Foppa da rappresentarsi nel nobilissimo Teatro Venier in San 
 Benedetto il carnovale dell' anno 1800. 
 Venezia, Fenzo, 1799. 48 p. 18 cm . 
 
 One act. Cast and name of Ferdinando Per (Paer) as the composer. On p. 45-48 
 argument of Giovanni Monticini's "La vendetta d'amore, ballo allegorico, music 
 ("tutta nuova") by Vittorio Trento. 
 
 First performed January 20, 1800, as indicated. SCHATZ 7540 
 
 Das testament, eine komische operette in einem aufzuge. 
 
 [185]-246 p. 16 cm . (Zwo Tcomische operetten von G * *, Chem- 
 nitz, 1773.) 
 
 Not recorded by Schatz. For author's name, quotation from the preface, etc., 
 see "Das vornehme Suschen." SCHATZ 11655 
 
 Testoride Argonauta. Dramma per musica da rappresentarsi nel 
 Teatro della real villa di Queluz per festeggiare il felicissimo giorno 
 natalizio di sua maestk . . . D. Pietro III . . . li 5 luglio 1780. 
 [Lisboa}, NeTla stamperia reale, n. d. 55 p. 15 cm . 
 
 Two acts. By Gaetano Martinelli. Scenario, cast, and names of the author and 
 the composer, Joao de Sousa Carvalho. SCHATZ 1669 
 
 La tete- noire. See La fausse-foire. 
 
 Tetide. Serenata da cantarsi per le felicissime nozze delle LL. AA. 
 RR. 1'arciduca Giuseppe d'Austria e la Principessa Isabella di Bor- 
 bone per comando degli Augustissimi Regnanti. 
 
 Vienna, Ghelen, 1760. Unpaged. 21 cm . 
 
 Embellished with exquisitely engraved vignettes, etc. The preliminary title 
 reads: "Tetide del Sig. Giannambrogio Migliavacca . . ." Argument, cast, and 
 name of Gluck as the composer. 
 
 First performed at Vienna, Redouten Saal of the palace, October 8, 1760. 
 
 SCHATZ 3937
 
 1066 LIBRARY OF CONGRESS 
 
 Tetide in Sciro. Drama per jnusica da rappresentarsi nel Teatro 
 delle Grazie il maggio 1715 ... 
 
 Vicenza, Tomaso Lavezari, 1715. 52 p. 16 cm . 
 
 Three acts. By Carlo Sigismondo Capece, who is not mentioned. Dedication, 
 argument, cast, and name of Carlo Francesco Pollaroli as the composer. 
 
 SCHATZ 8319 
 
 Der teufel 1st los. A. T. of Killer's Die verwandelten weiber. 
 
 Der teufel 1st los oder Die verwandelten weiber. O. T. of Stand- 
 fuss-Hiller's Die verwandelten weiber oder Der teufel ist los. 
 
 Teuzzone. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, l?44t ^ iv> P- [355]- 
 444- 19 cm . 
 
 Three acts. Argument. No composer is mentioned. In the "Catalogo" at end 
 
 of t. x, date and place of first ed. are given as, "in Milano. 1706. [Music of act I by 
 
 Paolo Magni, of acts II-III by Clemen te Monari.] E in Ven. 1707. ma tronco 
 
 (see below). ML 49.A2Z3 
 
 Teuzzone. Pubblicato per la prima volta in Milano 1706. 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. Hi, p. 89- 
 
 176. 21. 
 
 Three acts. Argument! No composer is mentioned. ML 49.A2Z4 
 
 Teuzzone. Drama per musica, da rappresentarsi nel Teatro di 
 S. A. S. di Carignano . . . 
 
 Torino, Pietro Giuseppe Zappata, 1716. 4 P- li ^9, [1] p. llf m . 
 
 Three acts. Altered from Apostolo Zeno, as indicated on 3d p. 1. Dedication, 
 argument, cast, scenario, and names of Girolamo Casanova as composer of first and 
 second acts, of Stefano Andrea Fiord of the third. 
 
 First performed, as indicated, in September, 1716. SCHATZ 1682 
 
 Teuzzone. Drama da rappresentarsi per musica nel Teatro Tron 
 di S. Cassano, il carnovale dell' anno MDCCVII. Di A. Z. 
 Venezia, Marino Rossetti, n. d. 60 p. 14% cm - 
 
 Three acts. By Apoetolo Zeno. Argument, cast, scenario, and name of Antonio 
 Lotti as composer. The text is the one called above "tronco," but, as a matter of 
 fact, it is exactly the same as in the Orleans edition. SCHATZ 5709 
 
 L'inganno vinto dalla ragione. Drama per musica del Sig. 
 A. Z. Da rappresentarsi nel nuovo Teatro detto di S. Gio. de' 
 Fiorentini nel giorno 19. di novembre, che si festeggia il nome della 
 nostra regina . . . 
 
 Napoli, MicheleLuigi Mutio, 1708. 50 p. 13%. 
 
 Three acts. Impresario's dedication, argument, scenario, cast, and notice to the 
 reader, with name of Apostolo Zeno as author, but stating: 
 
 "la necessita, impostami da varie circostanze del tempo, del luogo, de' rappresen- 
 tanti, e dal genio de gl'ascoltanti, mi hi costretto farci non picciola alterazione, cosi 
 nel troncare dello stil recitative, come nello aggiungervi anette, e scene burlesche. 
 II tutto per6 si e fatto colla maggior discrezione possibile, senza alterare il principal 
 tessuto del drama ..." 
 
 which is an altered version of "Teuzzone." A further note then gives the names of 
 Giuseppe Vignola as the composer of the alterations and additional burlesque scenes, 
 and that of Antonio Lotti of the opera proper. In this rifadmento the character of 
 " Troncone, imperadore della Cina" has been dropped. Begins " Dunque 1'invitto 
 rege" instead of " Nostro, amici, e'l trionfo" and has in this I, 1 the aria "Occhi 
 non giova" which originally was in I, 3 has in II, 9 in addition to aria "Soffri 
 costante" the aria " Fugge e vola" which is not in the original version, etc., etc. 
 
 SCHATZ 5727
 
 OPERA LIBRETTOS 1067 
 
 Thalie au nouveau theatre, prologue en prose, en vers, ariettes & 
 vaudevilles. La musique est de M. Gre"try. 
 
 Paris, Brunei, 1788. 30, [2} p. 21%. 
 
 On the [2] p. a list of plays published by Brunet. 
 
 Cast. The author, Sedaine, is not mentioned. 
 
 First performed at Paris, Comedie italienne, rue Favart, April 28, 1783. 
 
 ML 50.2.T395G7 
 
 The theatrical candidates. See also May-day. 
 
 - The theatrical candidates, a musical prelude, upon the opening 
 and alterations of the theatre, Drury-Lane, 1775. By David Gar- 
 rick, Esq. 
 
 [159]-164 p. 19 cm . (Collection of the most esteemed farces and 
 entertainments, t. vi, Edinburgh, 1792.} 
 
 Cast. Music by William Bates, who is not mentioned. 
 
 First performed, as indicated, September 23, 1775. SCHATZ 11753F 
 
 - The theatrical candidates : a musical prelude, upon the opening 
 and alterations of the theatre. 
 
 n. i., n. d. [31]~40 p. 21\ cm . 
 
 Detached copy. Cast. Neither author nor composer mentioned. LONGE 239 
 
 Themire, pastorale en un acte . . . par M. Sedaine. La musique 
 de M. Duny. Repre"sent6e pour la premiere fois, devant Sa Majeste" a 
 Fontainebleau, le samedi 20 octobre 1770. Et a Paris, pour la pre- 
 miere fois, par les Comediens ordinaires du roi, le lundi 26 octobre 
 1770. 
 
 Paris, Claude Herissant, 1771. 24 p. 18% cm . 
 
 With cast. SCHATZ 2856 
 
 Themistocle, tragedie lyrique, en trois actes; repre'sente'e, pour la 
 premiere fois, devant Leurs Majeste"s, a Fontainebleau, le jeudi 13 
 octobre 1785. 
 
 [Paris], P. B. C. BaUard, 1785.' 4 p. I, 55 p. 20 cm . 
 
 Cast and names of Morel [de Chefde.ville] as author, of Francois Andre Danican 
 Philidor as composer. 
 
 First performed, as indicated; at Paris, Acade'mie royale de musique, May 23, 1786. 
 
 ML 50.2.T4P3 
 
 Themistocles. Tr. of Bach's Temistocle. 
 
 
 
 Theodor in Venedig. Tr. of Paisiello's II re Teodoro in Venezia. 
 
 Theodore & Paulin. Original title of Gretry's L'e"preuve vil- 
 lageoise. 
 
 Theodosius. Tr. of Fux, Gasparini, and Caldara's Teodosio. 
 
 Theonoe, tragedie represented pour la premiere fois par TAcad4mie 
 royale de musique le [blank] jour du mois de novembre 1715. 
 
 Paris, Pierre Ribou, 1715. xx, 58, [2], 4 p. 23 cm . 
 
 Prologue and five acts. Argument and cast. For author, composer and date of 
 first performance see next entry. On the [2] p. Ribou's privilege, on the 4 p. his 
 ' ' Catalogue des livres nouveaux. " ML 50 .2 .T43S2
 
 1068 LIBRARY OF CONGRESS 
 
 Theonoe Continued. 
 
 - TheonoS, tragedie represented pour la premiere fois, par 1'Aca- 
 de"mie royale do musique, le 3 e decembre 1715. Les paroles de M. de 
 la Rocque & la musique de M. Salomon. LXXXVIII. opera. 
 
 n. i., n. d. pi., [356]-418 p. 14 cm - (Recueil general des opera, 
 t. xi, Paris, 1720.) 
 
 Prologue and five acts. Avertissement as argument. Schatz (following Parfaiet) 
 gives Simon Joseph de Pellegrin as author, but the Anecdotes dramatiques give 
 Antoine de la Roque, and there seems to be no reason for not accepting his authorship. 
 
 SCHATZ 9344 
 Second copy. ML 48. R4 
 
 Theophane. Tr. of Lotti's Teofane. 
 
 Thereby hangs a tale. A. T. of Apollo turn'd stroller. 
 
 Thesee. Opera en trois actes. 
 
 Venard de La Jonchere, Theatre lyrique, Paris, 1772, t. ii, p. [213]- 
 273. 
 
 " Avant-propos " (p. 215-232). No composer mentioned, nor is any recorded by 
 Clement & Larousse. ML 49.A2L2 
 
 Thesee, trage"die-lyrique en quatre actes, represented pour la pre- 
 miere fois, par PAcademie-royale de musique le 11 Janvier 1675. 
 En Novembre 1707, en Janvier 1721, en novembre 1729, en de'cem- 
 bre 1744, en decembre 1754, en decembre 1765, en fevrier 1779. 
 Remise en musique par M. Gossec. Et au theatre, le mardi 26 
 feVrier 1782. 
 Paris, P. de Lormel, 1782. 62 p. 23. 
 
 Cast. Quinault is mentioned as author, but his text was retouched by Etienne 
 Morel de Chefdeville, who is not mentioned. 
 
 The correct date of the revival, according to Schatz, is March 1, 1782. 
 
 SCHATZ 4012 
 
 Thesee. Tragedie en musique ornee d'entre"es de ballets, de ma- 
 chines, & de changements de theatre. Represented devant Sa Majeste" 
 a Fontainebleau, le [blank] jour de Janvier 1678. 
 
 Imprimee a Paris, cfc on les vend a Anvers, Henry van Dunwaldt, 
 1687. 72 p. 13. 
 
 Prologue and five acts. Cast. Neither the author, Quinault, is mentioned, nor 
 the composer, Jean Baptiste Iiully. 
 
 First performed April, 1675, at Paris, Academic royale de musique; before the 
 king at Saint-Germain en Laye, January 11, 1675 (Schatz), January 10 (Prunieres). 
 
 SCHATZ 11722 
 t 
 
 Thesee. Tragedie en musique. Ornee d' entrees de ballet, de 
 machines, & de changemens de theatre. Represented devant Sa 
 Majeste a Fontainebleau. Suivant la copie imprimee, a Paris. 
 
 [Amsterdam, Antoine Schelte], 1688. 81 p. (incl. front.) 13\ cm . 
 
 Prologue and five acts. Cast. Neither Quinault is mentioned, nor Lully. 
 
 ML 50.2.T45L92 
 
 - Thesee, tragedie represented par 1'Academie royale de musique 
 1'an 1675. Les paroles sont de M. Quinault, & la musique de M. de 
 Lully. VI. opera. 
 
 n. i., n. d. 14 cm . pi-, 273-346 p. (Recueil general des opera, t. i, 
 Paris, 1703.) 
 
 Detached copy. Prologue and five acts. SCHATZ 5773 
 
 Second copy. ML 48.R4
 
 OPERA LIBRETTOS 1069 
 
 Thesee Continued! 
 
 Thesee, tragedie. En musique. Ornee d'entrees de ballet, de 
 machines & de changemens de theatre. Represent^ devant Sa 
 Majeste a Saint Germain en Laye, le 3. fevrier [!] 1675. 
 
 Quinault, Theatre, Paris, 1739, t. iv, pi, p.[191]-265. 17 cm . 
 
 Prologue and five acts. Lully is not mentioned. PQ 1881.A1 1739 
 
 - Thesee, parodie nouvelle de Thesee; represented pour la premiere 
 fois sur le Theatre de FOpera comique, le 17 fevrier 1745. Nouvelle 
 Edition, avec la musique. 
 
 n. i., n. d. 56 p. 19 cm . (Theatre de M. Favart, Paris, Duchesne, 
 1763-77, t. vii.) 
 
 One act. En vaudevilles, quite a few of the airs being printed in the text, which 
 was partly by Laujon and Parvi. Font does not mention the musical collaborator. 
 
 ML 49.A2F1 
 
 Thesee, tragedie en cinq actes; repre'sente pour la premiere fois 
 devant Leurs Majestes, a Fontainebleau, le 7 novembre 1765. 
 
 [Paris], Christophe BaUard, 1765. 72 p. 20\ cm . (Journal des 
 spectacles, t. ii, Paris, 1766.} 
 
 Five acts. Cast, names of Quinault as author, of Mondonville as composer, who 
 penned the following dignified and sensible Avertissement, as if he foresaw the unfair 
 attacks on him ever since the first public performance of his work at the Acadmie 
 royale de musique, January 13, 1767: 
 
 "On scait qu'en Italic, les Musiciens eont en possession de mettre en musique le 
 mme poe'me. On ne les soupconne pas de travailler dans la vue de dprimer ceux 
 qui les ont devance's. 
 
 "Nous avons la meme Iibert6 en France pour les motets. Si nous pensons comme 
 eux dans le genre Latin, pourquoi n'aurions nous pas le meme privilege pour lea 
 poemes francois? Get usage encourageroit les talens, exciteroit l'6mulation, & con- 
 tribueroit peut-etre a 1'amusement du Public. Ces motifs que j'ai cru raisonnables, 
 m'ont d6termin6 a choisir le poeme de Thesee, non comme un temraire qui veut 
 attaquer Lully, mais comme un enthousiaste des operas de Quinault. II est vrai 
 que pour me conformer au gout present du Theatre, j'ai 4t6 contraint d'abrger les 
 scenes, & d'acroitre les divertissemens, ce qui m'a oblig6 pour les liaisons d'ajouter 
 quelques vers qu'on reconnoitra surement pour n'etre pas de Quinault. 
 
 "A l'6gard de la musique de Lully, ma delicatesse & mon admiration pour ce 
 cele"bre auteur, m'ont d^fendu de 1'employer. J'ai crA que n'en pas faire usage 
 c'^toit la respecter. 
 
 "C'est dans ce sentiment que j'ai o?6 ouvrir une carriere nouvelle & avantageuse 
 a tous les compositeurs. Heureux si 1'on veut bien pardonner mon entreprise en 
 f aveur du motif . " ML 48 . J7 
 
 II Theseo. A. T. of P. A. Ziani's L'incostanza trionfante. 
 
 Theti. Favola dramatica, e Niobe, introduttione alia Barriera. 
 Rappresentate in musica nel gran Teatro Ducale di Mantoua, per la 
 venuta de' Ser." 11 arciduchi d'Austria Ferdinando Carlo, Anna 
 Medici sua consorte, e Sigismondo Francesco. Componimenti del 
 senator Diamante Gabrielli . . . 
 
 Mantova, Osanna, 1652. 79 p. 17 cm . 
 
 "Theti" (p. 3-54) has argument, prologue, and five acts; "Niobe" (Schatz 873). 
 three acts. The composer, Antonio Bertali, is not mentioned. SCHATZ 872-873 
 
 Thetis et Pelee, tragedie. En musique, represented par 1'Academie 
 royalle de musique. 
 
 Pans, Christophe BaUard, 1699[!]. front., 56 p. 22 cm . 
 
 Prologue and five acts. Neither the author, Bernard Le Bovier de Fontenelle, is 
 mentioned, nor the composer, Pascal Colasse. 
 
 First performed, as indicated, January 11, 1689, not 1699. ML 50.2.T48C6
 
 1070 LIBBABY OF CONGRESS 
 
 Thetis et Pele"e Continued. 
 
 Thetis et Pelee, tragedie en musique, represented par 1'Academie 
 royalle de musique. Suivant la copie imprim6e a Pans. 
 
 [Amsterdam, Antoine Schette], 1689. 60 p. (incl. front.}. 18$ cm . 
 
 Prologue and five acts. Neither de Fontenelle is mentioned, nor Colaase. 
 
 ML 50.2.T48C62 
 
 Thetis et Pelee; tragedie represent e"e par TAcademie royale de 
 musique 1'an 1689. Les paroles de M. de Fontenelle & La musique 
 de M. Colasse. XXIV. opera. 
 
 n. i., n. d. front., 331-394 p. 14 cm - (Recueil general des opera, 
 Paris, 1703, t. lii.) 
 
 Detached copy. Five acts, with prologue. 
 
 First performed January 11, 1689. SCHATZ 2103 
 
 Second copy . ML 48 . R4 
 
 Les amans inquiets, parodie de Thetis et Pelee. Repre"sente"e 
 pour la premiere fois par les Com6diens italiens, ordinaires du roi, 
 fe 9 mars 1751. 
 
 Paris, La veuve Delormel &fils [etc.], 1751. 59, [1], 4 p. 18\ cm . 
 One act. Cast. The 4 p. contain eight airs notes. The piece, wute en vaudevilles, 
 was written by Charles Simon Favart, who is not mentioned. ML 48. P2 
 
 Les amants inquiets, parodie de Thetis et Pele"e. Represented 
 pour la premiere fois, par les Com^diens italiens ordinaire[!] du roi, 
 le mardi 1751. Seconde edition. 
 
 Paris, PrauU, 1751. 59, [1], 2 p. 19 cm . (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. i.) 
 
 One act. En vaudevilles. Cast. The 2 p. contain six engraved airs. The ar- 
 ranger of the music is not mentioned by Font. ML 49.A2F1 
 
 Les noces d'Arlequin et de Silvia, ou Thetis et Pelee deguis6s. 
 Parodie de 1'Opera de The"tis & Pele"e. Par M. Dominique . . . 
 ReprSsentee pour la premiere fois, par les Come'diens italiens ordi- 
 naires du roi, le 18 Janvier 1724. 
 
 Les parodies du Nouveau TJieatre italien, Nouv. ed., Paris, 1738, 
 t. ii, [251}-278 p. 
 
 One act. The airs and vaudeville used are printed at the end of the volume in the 
 "Table des airs" (60 p.). ML 48.P3 
 
 Thetis et Pelee, trage"die en cinq actes. Represented devant Leurs 
 Majeste"s a Fontainebleau, le 10 octobre 1765. 
 
 [Paris], Christoplie Battard, 1765. 68 p. 20^ cm . (Journal des 
 spectacles, t. i, Paris, 1766.) 
 
 Cast and name of de Fontenelle as author. Colasse was not the composer, since 
 we read, on p. 13 of the Journal: "la musique de M. * * * substitute a celle de 
 Colasse." Jean Benjamin de La Borde is known to have been the composer. 
 
 ML 48 J7 
 
 Thetis et Pelee deguises. A. T. of Les noces d'Arlequin et de 
 Silvia.
 
 OPERA LIBRETTOS 1071 
 
 Thetis och Pelee. Opera i fern acter, upfoerd pa den Kongl. 
 Svenska Theatren fdrsta gangen, den 18 januarii, 1773. 
 Stockholm, Henr. Fougt, 1773. 8 p. I, 67 p. 19 cm . 
 
 Johan Wellander is mentioned as the author, Francesco Antonio Baldaesare TJttini 
 as the composer. Dedicatory poem to the king by the author, argument, cast, and 
 noteworthy preface, with this footnote: 
 
 "Herr Uttini,hade f&rut componerat Kongl. Begrafnings-och Kr6nings-musiken, 
 efter de, pa nadigste befallning, af F&rfattaren, dertil upgifne Skalde-stycken." 
 
 SCHATZ 10550 
 
 Thomas and Sally or the Sailor's return. A musical entertain- 
 ment as performed at the Theatres Royal. A new edition, [vignette.] 
 
 London, W. Griffin, T. Lownds [etc.], n. d. 1 p. 1., vii, [1], 19 p. 
 
 tf m . 
 
 Two acts. Cast and preface by the author, Isaac Bickeretaffe (not mentioned), in 
 which he says, among other things: 
 
 "He wrote it merely to comply with the request of a theatrical person, whom he had 
 an inclination to oblige; it was designed and finished in somewhat less than a fort- 
 night; and his excuse for now suffering it to appear in print (and he really thinks such 
 excuse necessary) must be the .nature of a musical entertainment, which requires, 
 that the words should be put into the hands of the audience, who would otherwise 
 find it impossible to accompany the performers in what they sing upon the stage ..." 
 
 The composer, Thomas Aug. Arne, is not mentioned. 
 
 First performed at London, Covent Garden, November 28, 1760. LONGE 37 
 
 Thomas and Sally: or, The sailor's return. A musical enter- 
 tainment. As performed at the Theatres Royal. A new edition. 
 
 Dublin, James Williams, 1773. vii, [8]-23 p. 17. 
 
 Two acts. Cast and preface. Without name of Bickeretaffe or Arne. 
 
 AC 901. T5 
 
 - Thomas and Sally. In two acts by Mr. Isaac Bickerstaff . 
 
 A collection of the most esteemed farces . . . Edinburgh, 1792, v. 2, 
 p. [23ff\-244. 19 cm . 
 
 Covent Garden, Drury-Lane, and Edinburgh (1782) casts. SCHATZ 11753B 
 
 Thomyris, queen of Scythia. An ope.ra. As it is perform'd at 
 the Theatre in Lincolns-Inn-Fields. Written by Mr. Motteux. The 
 fourth edition. 
 London, J. Tonson, 1719. 3 p. I, [1], 10-46 p. 18. 
 
 Three acts. Cast and preface: 
 
 "The delicacy of taste in mueick which the English have of late Years arriv'd to, 
 makes it necessary that all Entertainments of this kind shou'd be as exquisite as the 
 Nature of the Thing will bear. For this Reason it is, that the Persons concern'd in 
 the reviving of English Opera's lay before the Town the Scheme of their Undertaking; 
 not without Hopes, from former Encouragements, that the World will come into so 
 Agreeable and Innocent a Diversion. 
 
 "Their first and principal Design is to fix these Entertainments, and make them 
 more lasting in England. It has been observ'd, that if we shou'd have the Misfor- 
 tune to lose the best of the Italian Performers, either through Age, want of Health, 
 or their Customary Inclination of returning to their Native Country, Opera's must 
 necessarily fall. But it wou'd be happy if we had voung People train'd up here in 
 England, and instructed to sing after the Italian Manner; (and sure the Town will 
 be willing to encourage such a Nursery, who may emulate those Excellent Performers:) 
 This wou'd be a Means not only to establish but perpetuate these favourite Enter- 
 tainments. 
 
 "To those who may perhaps mention the Difficulty of finding Native Voices for 
 the English Theatre, we beg leave to observe that England has already supply'd us 
 with Mrs. Tofts, Mrs. Barbier and Mrs. Robinson; who may etand in Competition 
 with the most Eminent among the Italians: There have formerly been Men, who 
 have given entire Satisfaction to the Publick on the Stage, and there is no Reason
 
 1072 LIBRARY OF CONGRESS 
 
 Thomyris, queen of Scythia Continued. 
 
 why others may not be found now, who will be glad to qualify themselves upon 
 Encouragement. We cannot but remember one of late Years whose Voice, dedicated 
 to more solemn Performances, the Italians themselves have own'd was not to be 
 parallel'd; and if we may expect to be supply 'd with the like, those Artificial Voices, 
 which are the peculiar Product of Italy, may well be spared, and we are apt to believe 
 the English will never regret the want of them in their own Country. 
 
 "As a moderate Price demanded will help to convince the Towin that the Prin- 
 cipal Aim is to divert the Publick upon the most easie and reasonable Terms the 
 Nature of the Affair will admit; so at the same time the Persons concern'd confess 
 they flatter themselves that this very Method will in the Event be serviceable to 
 them. For they cannot conceive how any Diversion can be lasting that is so Burden- 
 some, as are those Exorbitant Prices, Large Subscriptions, and frequent Benefit 
 Days. These are Grievances that have been justly complain'd of, and which they 
 are resolv'd shall never be charg'd upon them. They are detennin'd to sit down 
 satisfied with a moderate Gain, and it in the Prosecution of this Design they shall 
 hereafter have occasion to make Application to the Publick for some additional 
 Encouragement, they promise that it shall be in such moderate Terms as every Body 
 may think well of. 
 
 "Now what they hope they may promise themselves in the Success, depends upon 
 these three Particulars; The General Encouragement from the Town to what has 
 been propos'd; The Reasonableness of the Performers in their Demands; and The 
 good Oeconomy and sincere Design of Pleasing in those who have undertaken it." 
 
 Itfotteux wrote the text adapting it to arias by Alessandro Scarlatti, Giovanni 
 Battista Bononcini, as Walsh's score informs us and to whom Hawkins adds StefEani, 
 Gasparini, and Albinoni. Pepusch furnished the recitative (not printed) and 
 arranged the music. 
 
 First performed, as indicated, April 1, 1707. LONGE 200 
 
 Der thrazische printz Floridantes. Tr. of Handel's Floridante. 
 
 The three dukes of Dunstable. A. T. of H. PurcelPs A fool's 
 preferment. 
 
 Songs, etc., in a new musical farce, called Throw physick to the 
 dogs! As performed at the Theatre-Royal, Hay-Market. The 
 musick by Dr. Arnold. 
 
 London, Cadell and Dames, 1798. 14 p. 21 cm . 
 
 Two acts. By H. Lee, who is not mentioned. Also known as "Caleb Quotem 
 and his wife." 
 
 First performed, as indicated, July 6, 1798. ML 50.2.T52 
 
 Tiberio imperadore d'Oriente. O. T. of Pallavicino's text Le 
 vicende d'amor e di fortuna. 
 
 Tiberio imperatore d'Oriente. Drama per musica da rappresen- 
 tarsi nel Teatro di Santangelo Panno 1702. 
 
 Venezia, Marino Rossetti, n. d. 4$ P- 14 m - 
 
 Three acts. By Giovanni Domenico Pallavicino, who is not mentioned. Argu- 
 ment, printer's notice to the reader with the name of Carlo Francesco Gasparini as 
 the composer, and scenario. SCHATZ 3586 
 
 Tieteberga. Drama per musica da rappresentarsi nel Teatro Gius- 
 tiniano di San Moisfc Tautunno dell' anno MDCCXVII. 
 
 Venezia, Marino Rossetti, 1717. 58 p. 
 
 Three acts. By Antonio Maria Lucchini, who is not mentioned. Argument, cast, 
 scenario, and name of Antonio Vivaldi as the composer. SCHATZ 10781 
 
 Tigrane. Dramma per musica da rappresentarsi nel Teatro di via 
 della Pergola il carnevale del MDCCLXXI . . 
 Firenze, Gio. Risaliti, 1771. 56 p. 16%. 
 
 Three acts. Cast, argument, scenario. Author and composer not mentioned and 
 unknown to Schatz. SCHATZ 11368
 
 OPERA LIBRETTOS 1073 
 
 II Tigrane. Dramma per music a Da rappresentarsi in Crema in 
 occasione della Fiera di Settembre delF anno 1743 . . . 
 
 Brescia, Gian Maria Rizzardi, n. d. 55 p. 12. 
 
 Three acts. Argument, cast, scenario, and on p. 7: "La musica sar& di nuova 
 composizione del Sig. Cristoforo Gluch" [Gluck]. In his essay, "Un op6ra inconnu 
 de Gluck" (Sammelbande d. I. M. G. 1907/8, p. 231-281), Pioyano proves that: "Le 
 texte du Tigrane est celui que I'abb6 Francesco Silvani e"crivit en 1691 sous le titre 
 La virtiL trionfante dell' amore e delV odio, et qui fut successivement refondu en 1723 
 probablement par un poe'te napolitain, et remanie' en 1741 par Goldoni." The copy 
 described by Piovano lacked the p. 35-^36, which contain, according to our complete 
 copy, scene I, 14, beginning "Den, principessa, almeno" and ending with the aria 
 "rriva del caro bene," also I, 15, beginning "Morire? tolga il ciel si tristo evento" 
 with the aria "Care pupille amate" and I, 16, beginning "Caro, invitto Tigrane." 
 
 ML 50.2.T56G3 
 
 Tigrane. Drama per musica da rappresentarsi nel Real Teatro di 
 S. Carlo nel di 4. novembre di quest anno 1745. Per solennizare il 
 glorioso nome di Sua Maesta. 
 
 Napoli, Cristoforo Ricciardi, n. d. 58 p. llf m . 
 
 Three acts. Dedication, argument, cast, scenario, and note: 
 
 "La musica del recitative della scena xi dell atto terzo, e tutte 1'arie signate colla 
 lettera S. sono del celebre maestro Sig. Gio. Adolfo Asse detto il Sassone [Hasse], 
 quelle di tutti 1'altri recitativi, sinfonia, ed alcune arie sono del Sig. Antonio Palella, 
 maestro di cappella napolitano, direttore dell' opera." 
 
 The arias not by Hasse, accordingly, were, for instance, in the first act: "Coronato 
 il crin d'alloro" (I, 1), "Scende dal monte il fpnte" (I, 7), "Perfido non parlarmi" 
 (1, 8). The text is a modernized version (utilizing perhaps Goldoni's final alterations 
 of 1741) of Francesco Silvani's " La virtu trionfante dell' amore e dell' odio." Com- 
 parison with the Brescia, 1743, edition of "Tigrane" (as set by Gluck for Crema, 1743) 
 shows, forinstance, that the aria for I, 8, in this ".Non mi parlar d'amore "has become 
 "Perfido non parlarmi." The scene I, 9, now begins "Lxxlio di Cleopatra" and has 
 the aria "Quando 1'amore insegna" instead of "Si despera il mio core" resp. "Vezzi, 
 lusinghee sguarde,' 'and Scene I, 10, beginning "Se sia, che un giorno stringa" has 
 the aria "Se spunta arnica face" instead of "Se spunta arnica stella" and beginning 
 "Non im ami Cleopatra." 
 
 First performed, as indicated, November 4, 1745, but previously under the same 
 title at Naples, Teatro di San Bartolomeo November 4, 1723, and presumably without 
 the final revisions by Goldoni, but with many alterations in Silvani's tex-t and without 
 Palella's music. SCHATZ 4584 
 
 Tigrane. Dramma per musica da rappresentarsi nel Teatro di S. 
 Angelo. Nella fiera della Ascensione dell' anno 1747 . . . 
 
 Venezia, Modesto Fenzo, 1747. 4? P- 15 cm . 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and name of 
 Giovanni Battista Lampugnani ("nuova composizione") as composer. The author 
 is not mentioned, but comparison proved that this is substantially Goldpni's moderni- 
 zation (1741) under the title "Tigrane" of Francesco Silvani's "La virtu trionfante 
 dell' amore e dell' odio." 
 
 First performed, as indicated, May 10, 1747. SCHATZ 5390 
 
 Tigrane. Dramma per musica da rappresentarsi nel Teatro di S. 
 Angelo il carnovale dell' anno 1733 ... 
 
 Venezia, Aloise Valvasense, 2 p. 1., 47 p. 15%. 
 
 Three acts. Dedication signed by the author, Bartolo Vitturi, notice of the sub- 
 stitute aria (I, 11) "Agitata da piu vanti," argument, notice to the reader, cast, and 
 name of Giuseppe Antonio Paeanelli as composer. Vitturi informs the reader that 
 the drama really intended for this season had to be reserved for the next and that he 
 found himself obliged to write "Tigrane" in five days. He goes on to say that this 
 old theme has been treated by him independently of others and : 
 
 72251 VOL 11468
 
 1074 LIBRARY OF CONGRESS 
 
 Tigrane Continued. 
 
 "II mio eolito non 6 di servirmi delle scene migliori di cinque, o eel drammi, e 
 poi per formarne uno, con una massa d'incompatibili errori unirle assieme. Tutto 
 queflo, che finora composi, fu parto della mia mente, ne vi sara alcuno capace di 
 dime il contrario. Questa volta dovei fare diversamente . . . Dunque, qual esso 
 ria cotesto dramma compatiscilo, se non altro a riguardo de virtuosi, che lo rappre- 
 eentano . . ." 
 
 First performed, as indicated, February 10, 1733. SCHATZ 7370 
 
 Tigrane. Dramma per musica. La rappresentarsi nel Regio Teatro 
 di Torino nel carnevale del MDCCLXI . . . 
 
 Torino, Giacomo Giuseppe Avondo, n. d. viii, 52 p. 16\ cm . 
 
 Three acts. In the catalogue of his libretto collection Schatz gives Vittorio Ame- 
 deo Cigna-Santi as the author, but in his Piccinni "Chronologiscb.es Verzeichnis" 
 he says: "Text von Francesco Silvani, ursprunglich m. d. Titel. La virtu trion- 
 fante dell' amore, e dell' odio bearbeitet von Carlo Goldoni." Argument, cast, 
 scenario, and name of Niccol6 Piccinni as the composer. With the opera were per- 
 formed Vincenzo Saunier ballets, music by Giuseppe Antonio Le Messier, "Telemaco 
 nell' isola di Calipso," "Cadmo ed Ino, and Cittadini di Sinope festeggianti le 
 nozze di Mitridate." Of the last, which was a sequel to the opera's finale, a brief 
 description is given on p. 52. SCHATZ 8118 
 
 Tigrane. Dramma per musica da rappresentarsi nel Teatro di S. 
 Angelo nella fiera delr Ascensione dell' anno 1762. 
 
 Venezia, Modesto Fenzo, 1762. 48 p. 17$ cm . 
 
 Three acts. Argument, cast, scenario, and name of Antonio Tozsri as composer 
 ("La musica sara tutta nuova"). The text is Francesco Silvani's "La virtu trion- 
 fante dell" amore e dell' odio" as rewritten under the above title by Carlo Goldoni, 
 1741. 
 
 First performed, as indicated, May 19, 1762. SCHATZ 10387 
 
 II Tigrane re d'Armenia. Drama per musica da rappresentarsi 
 nel Teatro di San Cassiano. L'anno 1697. Di Giulio Cesare Cor- 
 radi . . . 
 
 Venezia, Per il Nicolino, 1697. 71 p. 14 cm > 
 
 Three acts. Author's dedication, argument, scenario, and notice to the reader, 
 with name of Tommaso Albinoni as composer. 
 
 First performed during carnival of 1697. SCHATZ 126 
 
 Time turned oculist. A. T. of Albion restored. 
 
 The times ; or, A fig for invasion : a musical entertainment in two 
 acts. Dedicated to ... William Pitt ... by a British officer . . . 
 
 London, T. Becket, 1797. 6 p. (incl. front.} , 48 p. 21 cm . 
 
 Dedication dated January, 1797, and note to the public. Neither author, com- 
 poser, nor performance recorded by Clarence. LONOB 244 
 
 Timocrate. Dramma per musica da rappresentarsi nel Teatro di 
 S. Angelo nel carnevale dell' anno 1723 . . . 
 Venezia, Francesco Storti; 1723. 57 p. 14$ cm . 
 
 Three acts. Dedication signed by Domenico Lalli as author, argument, cast, 
 scenario, and name of Leonardo Leo as composer. SCHATZ 5560 
 
 Timoleone. Dramma serio per musica da rappresentarsi per la 
 prima volta nel Teatro di Reggio la fiera dell' anno VI. Repubblicano. 
 Reggio, Davolio, n. d. 84 p. 19*. 
 
 Two acts. "La poesia del dramma ^ affatto nuova del citt. Simon Antonio Sografi. 
 La musica tutta nuova & espressamente composta in Reggio dal rinomato maestro citt.
 
 OPERA LIBBETTOS 1075 
 
 Timoleone Continu ed . 
 
 Sebastiano Nasolini." Impresario's prefatory note, dated "Reggio 14 fiorile anno 
 VI." (April 29, 1798), cast, and scenario. With the opera was performed Giovanni 
 Monticini's ballet, "Progne e Filomene, ossia Tereo, tiranno di Nasora." The com- 
 poser of the music is not mentioned. SCHATZ 7026 
 
 Timugino, gran Kan de' Tartar!, ballet. See Bianchi's Morte di 
 Cesare. 
 
 I Tintaridi, dramma per musica da rappresentarsi in Firenze nel 
 Teatro di via della Pergola nel carnevale dell' anno 1768 . . . 
 n. i., n. d. Unpaged. 21 cm . 
 
 Same general appearance as the 1768 ' ' Enea e Lavinia " libretto. Five acts. Dedi- 
 cation, argument, cast, scenario, and name of Tommaso Traietta as composer, and 
 librettist, Carlo Innocente Frugoni. In the dedication the impresario says: 
 
 "Non potevano in miglior tempo uscire per la prima volta alia pubblica luce del 
 Teatro fiorentino i Tintaridi, opera del celebratissimo abbate Frugoni ridotta all' 
 ultima perfezione, quanto adesso ..." 
 
 First performed, as indicated, January 3, 1768; at Parma, Teatro Ducale, April, 
 1760. SCHATZ 10400 
 
 La tirannide abbattuta dalla virtu. Festa musicale. 
 
 By conte Nicol6 Minato, music by Antonio Draghi, Vienna, 1697, with some arias 
 by the emperor, Leopold I. 
 Not in L. of C. 
 
 Die durch. die tugend gestuerzte wueterey. An den glor- 
 wuerdigsten namens-tag der Roem. Kayserl. Majestaet Eleonora 
 Magdalena Theresia . . . gesungener vorgestellt in dem Lustgarten 
 der Kayserlichen Fayorita im jahr 1697. Mit der music zu denen 
 worten herrn Antoni Drahy[!], der Roem. Kays. Mayest. capell- 
 meisters. Zu den daenzen, nerrn Johann Joseph Hoffer, der Roem. 
 Kays. Mayest. Cammer-musici. 
 
 Wienn in Oesterreich, Bey Susanna Christina Cosmerovin, n. $. 
 [50] p. 18 cm . 
 
 One act. With argument and scenario (designed by Lodovico Burnacini). 
 First performed, as indicated, July 22, 1697. SCHATZ 2804 
 
 La tirannide debellata. Drama da rappresentarsi nel Regio- 
 Ducal Teatro di Milano . . . nel carnevale dell' anno 1736. 
 Milano, Giuseppe Richino Malatesta, 1736, 56 p. 14% cm - 
 Three acts. Argument, scenario, cast, and name of the composer, "Egidio Duni, 
 Napoletano," but without name of the authors. The libretto is by Apostolo Zeno 
 and Pietro Pariati, and originally had the title, "Flavio Anicio Olibrio." 
 
 SCHATZ 2857 
 
 La tirannide dell' interesse. Tragedia politicomorale di Francesco 
 Sbarra, rappresentata in musica in Lucca nel Teatro de Borghi. 
 
 Lucca, Francesco Marescandoli, 1653. 192 p. 13)f m . 
 
 Prologue and five acts. Author's dedication, with date of Lucca, September 30, 
 1653, argument, anagram, and sixteen poems addressed to the author (p. 13-25), and 
 his lengthy preface, which elucidates his reasons for writing a "tragedia politico- 
 morale. He starts in by saying: 
 
 "lo non compongo, che per mio gusto, ed il mio gusto e d'apportar piu giovamento, 
 che diletto, onqe stimo megliore strada di caminar su le regole de Sacri Oratori, che 
 detestano i vitii. che il seguitar gl' esempi de profani poeti, che gli vanno adu- 
 lando . . ." 
 and he lays stress on the fact that he deemed it fruitful
 
 1076 LIBRARY OF CONGRESS 
 
 La tirannide dell' interesse Continued. 
 
 "contro 1'uso, e le leggi poetiche, che non ammettoao le morti in scena se non per 
 racoonto, esporre alia vista degl' auditor! la Virtii per sua cagion moribonda, e 1'Intel- 
 letto di eua man trucidato ..." 
 
 The allegorical nature of the work may be inferred from the scenic indication : 
 
 "La Bcena rappresenta la Reggia delr Intelletto nell' Isola del Libero Arbitrio." 
 
 The composer, Marco Bigongiari, is not mentioned. 
 
 First performed at Lucca, February 5, 1653. ML 50.2.T55 
 
 -La tirannide dell' interesse. Tragedia politico morale di 
 Francesco Sbarra rappresentata in musica in Lucca nel Teatro de' 
 Borghi . . . 
 
 Venetia, Nicolb Pezzana, 1658. 168 p. 13. 
 
 Five acts and prologue. Publisher's dedication (dated Venice, January 12, 1657), 
 author's preface, and argument. Marco Bigongiari, the composer, is not men- 
 tioned. SCHATZ 1035 
 
 La tirannide punita. Drama per musica da rappresentarsi nel 
 Teatro Obizi in Paova [!] il carnovale dell' anno 1721. 
 Padova, Gio. Battista Conzatti, .1721. 59 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, and prefatory note, according to which 
 this is an altered version of a text previoulsy performed at Venice and, indeed, it is 
 Giacomo Francesco Bussani's "Antonino e Pompejano." 
 
 Composer not mentioned and unknown to Scnatz. SCHATZ 11369 
 
 La tirannide repressa. A. T. of the ballet Raul, signore di Crechi. 
 
 II tiranno di Colco. Drama musicale rappresentato nella Villa di 
 Pratolino. 
 
 cm 
 
 Firenze, Vincenzio Vangelisti, 1688. 76 p. 15 
 
 Three acts. Argument. Neither the author, Giovanni Andrea Moniglia, nor the 
 composer, Giovanni Maria Pagliardi, is mentioned SCHATZ 7585 
 
 fl tiranno di Colco. Drama musicale rappresentato nella villa di 
 Pratolino [vignette] 
 
 G. A. Moniglia, Poesie drammatiche, parte seconda, Firenze, Cesare 
 e Francesco Bindi, 1690, 1 p. I, 78 p. 24 cm . 
 
 Three acts. Argument, scenario and prefatory note (p. 3-6) which contains details 
 about "una non maravigliosa meno, che sontousissima macchina" used for a some- 
 what burlesque kind of prologue to the opera. We are told that the opera was per- 
 formed eight times and : 
 
 ' iV Fu questo drama composto nella villa dt Pratolino, e dopo tre anni, nell' istessa 
 tatto rappresentare dal serenissimo principe di Toscana: lo messe in musica con 
 ammirabile armonia il Sig. Gio. Mana Palliardi (Pagliardi) ... A questo drama 
 fu fatta una amorevole censura, alia quale soggiunse 1'autore una piccola difesa, che 
 in piede dell' opera e registrata." 
 
 It is printed as "Lettera apologetica dell' autore" on p. 69-78 and is dated Prato- 
 lino, September 15, 1688, which proves that the opera cannot have been performed 
 later than in the summer of ] 688. ML 49. A2M7 
 
 II tiranno eroe. Drama per musica da rappresentarsi nel Teatro 
 Tron di S. Cassano 1'anno 1710 . . . 
 
 Venezia, Marino Rossetti, 1710. 69 p. lJf m . 
 
 Three acts. Dedication signed by the author, Vincenzo Cassani, argument, notice 
 to the reader, cast, scenario, and name of Tommaso Albinoni as composer. 
 
 SCHATZ 127
 
 OPERA LIBRETTOS 1077 
 
 II tiranno humiliate d'Amore, overo il Meraspe. Drama p. 
 music a nel Teatro Grimano . . . 
 
 Venetia, Bortolo Bruni, 1667. 1 p. I, 67, [1] p. 15 cm . 
 Prologue and three acts. By Giovanni Faustini, music by Carlo Pallavicino, 
 neither of whom mentioned. Imprimatur dated November 24, 1667. 
 First performed, as indicated, December 12, 1667. SCHATZ 7737 
 
 Tircis et Doristee. Parody of Lully's Aeis et Galatee. 
 
 Tiresias, opera-comique, en trois actes. Precede d'un prologue. 
 Donne a la Foire Saint-Laurent en 1722. 
 
 Alexis Piron, Oeuvres complettes, Liege, 1776, v. 4> [337]~468 p. 
 17 m . 
 
 On p. 339-^348 " Avertissement de 1'^diteur, et anecdote sur la piece de Tiresias, 
 & eur Le mariage de Momus, ou La gigantomachie, " informing the reader how Piron 
 came to write "Tiresias" for Francisque, manager of the Op^ra-comique, how Fran- 
 cisque defied the authorities by using spoken language in his theatre, how he was 
 promptly arrested, how Piron sought to gain his release by a satirical lettre to M. d' 
 Argenson, which is reprinted, etc., etc. The piece is partly in prose, partly en vaude- 
 villes. Composer not recorded by Parfaict, etc. PQ 2019. P6 
 
 Tiridate. Drama per musica nel Teatro a S. Salvatore per 1'anno 
 1668 . . . 
 
 Venetia, Francesco Nicolini, 1668. front., 67 p. llf m . 
 
 Three acts. Dedication signed by Niccol6 Minato and dated Venice, February 4, 
 1668, argument, and notice informing the reader: 
 
 "La composizione [i. e. drama] e d'insegne & erudita penna ... la necessita di 
 brevita 1'ha fatta ridur meno ricca. Qualche cosa e stata aggiunta, come la parte 
 della Bambina Fidalma, e qualche altra pocha novita per acomodarsi a' personaggi, 
 che si hayevano, e per tenersi all' uso di queste scene. Chi v'ha immischiatcTla 
 penna [Minato?], 1'ha fatto con espressa permissione dell' autore [marchese Ippolito 
 Bentivoglio] . . ." 
 
 The composer, Giovanni Legrenzi, is not mentioned. SCHATZ 5539 
 
 II Tirinto. A. T. of La sincerita con la sincerita. 
 
 II Tirinto. Dramma musicale nuovamente rappresentato da' Sig- 
 nori Accademici Efimeri in Firenze Fanno 1692 ... 
 
 Firenze, Vincenzio Vangelisti, 1692. 61 p. llf m . 
 
 Three acts. Dedication signed by Domenico Piazzini, argument, and "protesta" 
 which reads: 
 
 "Per accomodarsi al genio del presente secolo, che ne i divertimenti ancora ama 
 la brevita, e stato necessario troncare gran parte de' versi del presente dramma, ed 
 aggiungervi delle arie. Non s'e preteso in cio dar regola all' autore, il quale se fosse 
 stato presente da per se steseo avrebbe ridotta 1'opera sua alia moda." 
 
 Author and composer unknown to Schatz. SCHATZ 11370 
 
 Tirsi. Drama pastorale da rappresentarsi in musica nel Teatro 
 Giustiniano di San MoisS il carnovale dell' anno MDCCXXXIV. 
 
 Venezia, Marin Rossetti, n. d. 36 p. 14 m - 
 
 Three acts. Author (Francesco Lemene) and composer (unknown to Schatz) not 
 mentioned. Scenario and note that the idea and disposition of the text is wholly the 
 author's own, wherefore no argument. SCHATZ 11371 
 
 /II Tirsi. Drama pastorale per musica da rappresentarsi nel Teatro 
 di S. Salvatore 1'autunno dell' anno MDCXCVI . . . 
 Venezia, n. pull., n. d. 6 p. 1., 48 p. 14% cm - 
 Publisher's name and date, 1696, cut off in binding? 
 
 Five acts. Dedication signed with the initials of Apostolo Zeno as author, though 
 no such text appears in his collected works. Argument, scenario. The composers, 
 Antonio Lotti, Antonio Caldara, and Attilio Ariosti (Schatz), are not mentioned. 
 
 SCHATZ 5728 
 Der tischler. Tr. of Cimarosa's II falegname.
 
 1078 LIBRARY OF CONGRESS 
 
 Titania oder Liebe durch zauberei. Ein singspiel in zwey aufziigen. 
 
 Cassel, Hampe, 1792. 2 p. I, 108 p. 17 cm . 
 
 Prefatory note by the author, Oberst von Weber, who is not mentioned, with infor- 
 mation to the effect that the text was composed by Georg Christoph Grossheim, and 
 that the opera was first performed at Cassel, Hof-Operntheater, 1792. SCHATZ 4215 
 
 II Tito. Melodrama da recitarsi nel famoso Teatro Grimano 1'anno 
 1666 . . . 
 
 Venetia, Steffano Curti, 1666. front., 91, [1] p. 14 m . 
 
 Three acts. By conte Niccol6 Beregani. Publisher's dedication, dated Venice, 
 February 13, 1666, author's preface, with clear allusions to his identity, name of Marc' 
 Antonio Cesti as composer, argument, and scenario. SCHATZ 1784 
 
 Tito o La partenza di Berenice, ballet. See Tarchi's L'apoteosi 
 d'Ercole. 
 
 Tito e Berenice, ballet. See Borghi's Arbace. 
 
 Tito e Berenice. Dramma per musica di Giuseppe Foppa da rap- 
 presentarsi nel nuovo e nobilissimo Teatro detto La Fenice la fiera 
 dell' Ascensione dell' anno 1793. 
 
 Venezia, Modesto Fenzo, 1793. 60 p. 17 cm . 
 
 Two acts. Argument, cast, scenario, and name of Sebastiano Nasolini as the com- 
 poser. On p. 25-28, argument of Francesco Clerico's "La conquista del vello d'oro, 
 ballo eroico pantomime in cinque atti," the composer of the music not being men- 
 tioned. SCHATZ 7017 
 
 Tito Manlio. Dramma per musica da rappresentarsi nel Teatro da 
 S. Agostino il carnovale dell' anno 1784 . . . 
 
 Genova, Stamperia Gesiniana, n. d. 72 p. 14%- 
 Three acts. Author not mentioned, and unknown to Schatz. Argument, scenario, 
 cast, and name of Giuseppe Giordan! as the composer. ("La musica e di nuova cpm- 
 posizione.") On p. 59-72, description of "Enea nel Lazio ballo tragico-pantomimo 
 d'invenzione . . . del Signor Michele Fabiani ..." The composer of the music is 
 not mentioned. SCHATZ 3841 
 
 Tito Manlio. Drama per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1743 . . . 
 
 Torino, Pietro Giuseppe Zappata e Jigliuolo, n. d. 4 P- l-> 71 p. 
 
 Three acts. By Gaetano Roccaforte, who is not mentioned. Argument, cast, 
 scenario, and names of Niccol6 Jommelli as composer of the opera, of Alessio Rasetti 
 as composer of the music of the three ballets, "Sposalizio rustico," etc. On p. 70-71, 
 the arias "Mi promette al cor la calma," substituted for "Confusi i miei pensieri," in 
 I, 10; "Languire, oh Dio! vi sen to," substituted for "Spezza lo stral piagato," in 
 1,12; and "Nel morir semi vuoi forte, "substituted for "Che leggetiranna," in II, 12. 
 
 SCHATZ 4881 
 
 Tito Manlio. Drama per musica da rappresentarsi nel famosissimo 
 Teatro Grimani a S. Gio. Grisostomo Fautunno dell' anno 1746. 
 [Venezia], n. publ., n. d. 1 p. 1., 48 p. 15 cm . 
 
 Three acts. Argument, cast, scenario, name of Niccol6 Jommelli as the composer, 
 and notice to the reader to the effect that 
 
 "per accomodarsi poi sempre piu almoderno Teatro edalla nuova musica, compa- 
 risce questa volta il presente dramma, in qualche parte variato si nell' ordine, come 
 nel portamento di qualche scena, di verei, ed ariete, ed accorciato in oltre, per oppor- 
 tunemente reatringerlo alia solita prescritta brevita." 
 
 Neither Matteo Noris is mentioned as author, nor conte Jacopo Sanvitale, who, 
 according to Schatz, was responsible for the alterations. Schatz also claims that this
 
 OPERA LIBRETTOS 1079 
 
 Tito Manlio Continued. 
 
 was Jommelli's second setting, with interpolation of pieces by Antonio Zanetti, but 
 neither the libretto itself nor Wiel corroborate this claim. The text is eo absolutely 
 different from that of Turin (1743) as to have nothing in common with it except the 
 scene in II, 3, " Ingiustiseimi Numi," with the aria, "Da meche vorresti," which has 
 become scene 11,4. Under the circumstances, it is clear that this ' ' Tito Manlio " was 
 not a second setting, but practically a new opera. SCHATZ 4900 
 
 Tito Manlio. Drama per musica rappresentato nella Villa di 
 Pratolino. 
 
 cm 
 
 Firenze, Gio. Filippo Cecchi, 1696. 4 p. 1., 72 p. 15' 
 Three acts. Neither the author, Matteo Noris, nor the composer, Carlo Francesco 
 Pollaroli, is mentioned. Argument and scenario. SCHATZ 8321 
 
 Tito Manlio. Dramma per musica da rappresentarsi in Firenze il 
 carnovale dell' anno 1721 nel Teatro di via della Pergola . . . 
 
 Firenze, Stamperia di Domen. Ambrogio Verdi. Ad istanza di Gio. 
 Angiolo Targiom, 1720. 79 p. 15. 
 
 Three acts. Dedication by Michele Giusti, argument, cast, scenario. Neither 
 the author, Matteo Noris, is mentioned, nor the composer, Luca Antonio Predieri. 
 
 ML48.A5 v.18 
 
 Tito nelle Gallie. Dramma per musica da rappresentarsi nel Teatro 
 grande alia Scala il carnevale dell' anno 1787 . . . 
 Milano, Gio. Batista Bianchi, n. d. 16\. 
 
 Imperfect, stops with p. 44 (III, 5) and lacks therefore also the "programma" of 
 the ballets. 
 
 Three acts. Author unknown to Schatz, who says that this is a much altered 
 version of the " Giulio Sabino " text. Dedication, argument, cast, scenario, and 
 name of Ambrogio Minoja as the composer. With the opera were performed Paolino 
 Franchi's ballets ' ' Padmani e Mirda, ' ' " II primo navigatore," and ' ' Fanfara militare. ' ' 
 The composers of the music are not mentioned. 
 
 First performed, as indicated, December 26, 1786. SCHATZ 6519 
 
 Tito Vespasiano owero La clemenza di Tito. O. T. of Basse's La 
 clemenza di Tito. 
 
 Titon et L'Aurore, pastorale-heroique, represented, pour la premi- 
 ere fois, par FAcademie-royale de musique. le mardi 9 Janvier 1753. 
 Remise au Theatre le mardi 22 fevrier 1763. 
 Paris, Aux depens de T Academic, dies de Lormel, 1763. 4% P- 
 
 Prologue and three acts. Cast and name of Jean Joseph Cassanea de Mondon- 
 ville as composer. The author, Antoine Houdart de La Motte, is not mentioned. 
 
 ML 50.2.T59M7 
 
 Titon et L'Aurore, pastorale he*roique, mise en musique par Mr. 
 Mondonville . . . 
 
 Marseille, Jean Mossy, 1775. 28 p. 21. 
 
 Prologue and three acts. De La Motte is not mentioned. ML 50.2.T59M73 
 
 Le rien, parodie des parodies de Titon et 1'Aurore. Repre'sente' 
 sur le Theatre de 1'Opera comique le 10 avril 1753. 
 
 Paris, DucJiesne, 1753. 16 p. 18\. 
 
 One act, en vaudevilles. Neither the author, J. J. Vad6, nor the arranger of the 
 music are mentioned. 
 
 See also Vade'e Oeuvres, 1760, t. ii. ML 48.P2
 
 1080 LIBRARY OF CONGRESS 
 
 Titon et L'Aurore Continued. 
 
 - Raton et Rosette, ou La vengeance inutile; parodie de Titon et 
 1'Aurore; repre"sente*e pour la premiere tois par les Come'diens italiens 
 ordinaires du roi, le mercredi 28 mars 1753. Troisieme Edition. 
 
 Paris, N.B. Duchesne, 1759. 88 p. 19. (Theatre de M. Favart, 
 Paris, Duchesne, 1763-77, t. it.) 
 
 Cast. One act. En vaudevilles. Many of the airs printed in the text and at the 
 end of the text on p. [65]-88 ten "Vaudevilles, et ariettes italiennes, parodi^es dans 
 Raton et Rosette ..." 
 
 The music is a mixture of old airs and such from Mondonville's opera. 
 
 ML 49.A2F1 
 
 II Titone. Drama per musica di Giovanni Faustini. 
 
 Venetia, Francesco Valvasense, 1645. 66 p. llf m . 
 
 Three acts with prologue. Author's dedication. Pietro Francesco Cavalli, tha 
 composer, is not mentioned. 
 
 First performed at Venice, Teatro di S. Cassano, carnival, 1645. SCHATZ 1749 
 
 Titus. Tr. of Metastasio's text La clemenza di Tito. 
 Titus. Tr. of Mozart's La clemenza di Tito. 
 
 To arms! or, The British recruit. A musical interlude. As per- 
 formed at the Theatre Royal, Co vent Garden. By Thomas Hurl- 
 stone . . . 
 London, J. Debrett, 1793. 16 p. 20\. 
 
 One act. Cast and prefatory note stating that the piece is the production of a few 
 hours and that the music is by William Shield and Tommaso Giordajii. 
 
 First performed, May 3, 1793. LONGE 221 
 
 Toberne, ou Le p6cheur sue"dois, comedie en deux actes, me'le'e de 
 morceaux de musique; paroles du C. Patras, musique du C. Bruny, 
 represented sur le Theatre de la rue Feydeau, en vend&niaire, 4 e 
 annSe de la Republique Francaise. 
 
 Paris, Maradan, cinquieme annee de la Republique [1796-97}. 39 p. 
 19. 
 
 First performed, as indicated, December 2, 1795. SCHATZ 1370 
 
 Der tod der Dido. 
 
 p. 497-510 18\ cm . (Litteratur und Theater Zeitung, Berlin, 1780, 
 &" jahrg., 3*" th,.). 
 
 At head of title: "Auch ein melodram mit chfiren und taenzen untermischt." 
 
 The editor of the magazine says in a footnote: 
 
 "Von dieser kurzweiligen satire, die vermuthlich das licht der welt am Rhein 
 erblickt hat, ist mir ein gedrucktes exemplar von einem unbekannten zum ein- 
 ruecken in diese zeitung zugesandt worden." SCHATZ 4772 
 
 Der tod des Hercules. Tr. of the ballet, La morte d'Ercole. 
 
 Der tod des Hercules, ballet. See Salieri's Die messe zu Venedig. 
 
 Der tod des Orpheus. Ein singspiel in drey aufzuegen. 
 
 n. i., n. d. 162 p. 14\ cm . 
 
 Neither composer, Gottlob Bachmann, nor author mentioned in this copy, 
 detached from J. G. Jacobi's Theater schriften, Leipzig, 1792. 
 
 First performed, according to Riemann, at Brunswick, in 1798. SCHATZ 537 
 
 Toeffel und Dortchen. See Blaise et Babet.
 
 OPERA LIBRETTOS 1081 
 
 Der tb'pfer, eine komische oper in einem aufzuge. Verfertiget und 
 in mueick gesetzt von Johann Andre". Zweyte, verbesserte auflage. 
 . Frankfurt und Leipzig, Johann Georg Esslinger, 1774- 96 p. 15%. 
 
 Dedication. In his prefatory note, dated "Offenbach, den 28. Brachmonats [June] 
 1774," Andr6 says: 
 
 "Der musick zu gefallen, weil sie in partitur gestochen ist, musst ich die arien 
 ohnverandert laseen. Eine neue arie ['Bis eins gewinnt'] ist im dritten auftritt 
 hinzugekommen, davon die partitur bey dem verleger geschrieben zu haben ist. 
 
 "Bey dieser gelegenheit finde ich dienlich zu erklaren, dass ich nicht, wie im dies- 
 jahrigen Almanach der deutschen Musen von mir gesagt wird, der uebersetzer der 
 franzosiechen operetten bin, welche eeit einigen messen bey herrn Andrae in Frank- 
 furth erscheinen." 
 
 First performed at Frankfurt a/M., Schauspielhaus im Junghof, October 29, 1773; 
 at Hanau, according to the t.-p. of the engraved score, January 22, 1773. 
 
 SCHATZ 191 
 
 Toinon et Toinette, come'die, en deux actes en prose, meslee 
 d'ariettes. Represented pour la premiere fois, par les Come'diens 
 italiens ordinaires du Roi, le 20 juin 17*67. 
 Paris, la veuve Duchesne, 1768. 31 p. 19 cm . 
 
 Cast. By Des Boulmiers; music by Gossec; both not mentioned. 
 
 SCHATZ 4013 
 
 Toinon et Toinette, come'die en deux actes, en prose, 
 d'ariettes; represented pour la premiere fois par les Comediens 
 italiens ordinaires du roi, le 20 juin 1767. 
 Paris, la veuve Duchesne, 1781. Jfi p. 19 cm . 
 
 On p. 35-36, the vaudeville "La plus vive reconnaissance," on p. 37-40, the air 
 of "Avec une epouse che"rie." Neither Desboulmiere nor Gossec mentioned. 
 
 SCHATZ 11703 
 
 - Anton und Antonette, ein singspiel in zween aufzuegen aus 
 dem franzoesischen uebersetzt. Aurgefuehrt auf dem churfuerstl. 
 Theater zu Muenchen. [Nov.] 1778. 
 
 n. i., n. d. 40 p. 16tf m . 
 
 Translated by Johann Heinrich Faber. 
 
 First performed at Francfort o/M., Theater im Junghofe, 1774. SCHATZ 4014 
 
 La toison d'or. A. T. of Colasse's Jason. 
 
 La toison d'or, tragedie lyrique, en trois actes, represent e"e, pour la 
 premiere fois a Paris, sur le Theatre de 1'Academie-royale de musique, 
 le mardi 29 aout 1786. 
 
 Paris, P. de Lormel, 1786. 45 p. 24. 
 
 Cast and name of Johann Christoph Vogel as the composer. 
 
 The^ score bears as date of first performance September 5, 1786, and Schatz insists 
 on this as correct. Cl. & L. have the date of the libretto. The author, Desriaux, is 
 not mentioned. ML 50.2.T67V7 
 
 Der tolle tag. A. T. of Mozart's Figaro's hochzeit. # 
 
 Tom Jones, come'die lyrique, en prose et en trois actes. La musique 
 est de M. Philidor, et les paroles ae M. Poinsinet. 
 
 Paris, Duchesne, 1766. 60 p. 19. SCHATZ 11742 
 
 - Tom Jones, come'die lyrique, en trois actes, imite'e du roman 
 An^lois de M. Fielding, par M. roinsinet. La musique, par Mr. A. D. 
 Philidor. Represented devant incurs Majestes a Versailles par les
 
 1082 LIBRARY OF CONGRESS 
 
 Tom Jones Continued. 
 
 Com&lieiis italiens ordinaires du roi, le 30 mars; a Paris pour la 
 
 premiere fois le 27 feVrier 1765, & remise au Theatre le 30 Janvier 
 
 2766[!]. 
 
 Paris, la veuve Duchesne, 1769. 44, \2] P- 19 cm . 
 
 It should de noted that "Tom Jones et Fellamar, suite de Tom Jones a Londres" 
 Paris, 1787 is a comedy, not an opera. ML 48.M2N 
 
 Tom Jones. Comedie lyrique en trois actes imite'e du roman 
 anglois de M. Fielding par M. Poinsinet. La musique par Mr. A. D. 
 Philidor. Representle a Florence au Theatre dans la rue de S. 
 Marie. 
 
 Florence, L'imprimerie Bonducciana, 1776. 47 p> 20. 
 
 ML 48.M2F 
 
 - Tom Jones. Come'die lyrique en trois actes, imitee du Roman 
 anglais de M. Fielding, par M. roinsinet. La musique par M. A. D. 
 Philidor. Repr6sentee devant Leurs Majestes a Versailles, par les 
 Come'diens italiens ordinaires du roi, le 30 mars; a Paris, pour la 
 premiere fois, le 27 feVrier 1765, & remise au Theatre le 30 Janvier 
 1776 [! instead of 1766]. Nouvelle Edition. 
 
 Paris, la veuve Duchesne, 1778. 61 p. 17\ cm . 
 
 On p. 59-60, the air of the vaudeville, "Je voua obtiens." SCHATZ 8029 
 
 Tom Jones, ein singspiel in drey aufzuegen aus dem franzoesi- 
 schen uebersetzt, mit musik. 
 
 Frankfurt am Mayn, mit Andrealischen schriften 1773. 103 p., 18 
 p. (folded music). 16^. 
 
 Cast. Transl. for Theob. Marchand'a company, by Johann Heinrich Faber. 
 Neither he nor Philidor is mentioned. The music (voice and pf.) consists of: "AchI 
 ich fleh in Ihren armen" (I, 8, "Ah! ma tante, je vous prie"), "Wie stark ist Deine 
 macht" (II, 4, "La pauvre fillette a beau faire'.'), "Oft, wenn im haus" (11,5, "Plus 
 d'une fois"), "Vergonne, dass ich weine" (III, 2, "Ami, qu'en mes bras"), "Dich 
 hab ich, dich, mir theurer" (III, 12, "Je vous obtiens"). SCHATZ 8030 
 
 - Gesaenge aus der oper: Tom Jones. In drey aufzuegen. Der 
 inhalt von Poinsinet, die composition von Philidor. 
 
 Hamburg, J. M. Michaelsen, n. d. 24 p. 17. 
 
 The translator, Friedrich Wilhelm Gotter, is not mentioned. 
 
 First performed at Hamburg, Theater beim Gansemarkt, April 26, 1779. 
 
 SCHATZ 8031 
 
 Tom Jones. Ein lustspiel mit gesang in drey aufzuegen. * Aus 
 dem franzoesischen des hrn. Poinsinet. In musik gesetzt von A. D. 
 Philidor. 
 
 Oels, Samuel Gottlieb Ludwig, n. d. 72 p. 16. SCHATZ 8032 
 
 Tom Jones, a comic opera: as it is performed at the Theatre-Royal 
 in Co vent-Garden. By Joseph Reed. 
 London, Becket and De Hondt, 1769. 4 p. 1., 62 p. 20 cm . 
 
 Three acts. Cast and same preface as in next entry, which also see for composers. 
 First performed as indicated, January 14, 1769. ML 50.2.T71
 
 OPEBA LIBRETTOS 1083 
 
 Tom Jones Continued. 
 
 - Tom Jones, a comic opera: as it is performed at the Theatre 
 Royal in Covent-Garden. By Joseph Reed. The second editioD. 
 
 London, Becket and De Hondt, 1769. 4 p. I., 59 p. 20. 
 
 Three acts. Cast and preface, in which the author says: 
 
 "While I was writing the last act of this opera (which was in June, 1765), the French 
 Tom Jones fell into my hands. I found its plan so very confined, and so materially 
 different from mine, that I could reap little or no benefit from it. The only particu- 
 lars, of which I have availed myself from Mons. Poinsinet, are the hint of legitimating 
 Jones, and the thought, which gave rise to my second air." 
 
 By far most of the airs are headed by the namea of these composers: Arnold (6), 
 Holcombe (1), Granom (1), Arae (11), Van Maldere (1), Joh. Chr. Bach. (3), 
 Handel (1), Galuppi (1), Baildon (1), Boyce (1), Abel (1), Pergolesi (1), Hasse 
 (1), Corelli (1), but some were to be sung to indicated popular tunes, and a few of the 
 airs have no neading at all. LONGE 25 
 
 La tomba di Merlinp. Pramma giocoso per musica da rappresen- 
 tarsi nel Teatro Giustiniani di S. Moise 1'autunno dell' anno 1772 di 
 Giovanni Bertati. 
 
 Venezia, Antonio Graziosi, 1772. 68 p. 17% cm . 
 
 Three acts. Impresario's dedication, cast, scenario, and name of the composer, 
 Giuseppe Gazzaniga. SCHATZ 3673 
 
 Le tombeau de Nostradamus. See Arlequin Mahomet. 
 
 Tomiri. Dramma per musica per celebrare il felicissimo giorno 
 natalizio di Sua Maesta Fedelissima 1'augusta Donna Maria I . . . li 
 17. Dec. 1783. 
 [Lisbona}, Nella stamperia reale, n. d. 33 p. 15. 
 
 One act, with licenza. By Gaetano Martinelli. Argument, cast, and names of the 
 author and the composer, Joao de Sousa Carvalho. SCHATZ 1675 
 
 Tomiri. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro Venier in San Benedetto 1'autunno dell' anno 1795. 
 
 Venezia, Modesto Fenzo, 1795. 49 p. 17$ cm . 
 
 Two acts. Author not mentioned, and unknown to Schatz. Argument, cast 
 scenario, and name of Pietro Gu^lielmi as the composer. On p. 25-32, argument, 
 cast, and synopsis of "Alcide negh orti Esperidi, ballo favoloso eroico pantomimo." 
 
 First performed, as indicated, December, 1795. SCHATZ 4276 
 
 Tomiri. Drama per musica da rappresentarsi nel Teatro di S. 
 Casciano Fanno MDCLXXX di Antonio Medolago . . . 
 
 Venetia, Francesco Nicolini, 1680. front., 60 p. 14 cm - 
 Three acts. Argument, scenario, author's dedication dated Venice, January, 1679, 
 and his notice to reader, in which he says : 
 
 "Tutto ci6, che troverai di lascivo in questo drama credilo posto solo per seguire 
 1'uso corrente, e non per genial propensione. L'angustia della scena (in cui non 
 ponno farsi apparenze di pompa) & altri difetti gli remetto tutti alia tua gentilezza 
 ... La musica e del S. D. Angelo Vitali, nelle npti del cui bizzaro contrapunto 
 conoscerai, che non h& degradato da gli altri suoi spiritosi talenti." SCHATZ 10758 
 
 Le tonnelier. Opera-comique mele d'ariettes. Represente par ies 
 Comecliens italiens ordinaires du roi, le 16 mars 1765. 
 
 Paris, Duchesne, 1765. 56 p. 18^ cm . 
 
 Cast. On p. 52-56 the airs of "C'est cependant le cours" and ot the three airs 
 mentioned in next entry, which compare for further details. On p. [3] a note reads: 
 "La piece est un melange de 1'ancien & du nouveau genre," meaning that it is partly 
 en vaudevilles and partly not. An Avertissement on p. [2] reads:
 
 1084 LIBRARY OF CONGRESS 
 
 Le tonnelier Continued. 
 
 "On a repr&ent^, a I'Opera-Comique, dans la derniere anm'e de la Foire Saint- 
 Laurent, une piece intitulee: le Tonnelier, dont le succes ne fut pas heureux. Quel- 
 ques situations th^atrales & de bona morceaux de musique qui s'y trouvoient, firent 
 naltre 1'idee de la remettre au theatre, avec des changemens. Ceux qu'on y a faits, 
 sont devenus si considerables, qu'on pourroit la donner aujourd'hui comme tout-a- 
 fait nouvelle. Cependant pour n'avoir point de reproche a recevoir ni a ee faire sur 
 cet article, on a eu soin de marquer ici, avec des guillemots, tout ce qui subsiste de 
 1'ancien Tonnelier. 
 
 C'est d'apres des e'preuves favorables & relici^es en plusieurs endroits, qu'on oee 
 presenter cette piece au public; plus appuy^s neanmoms sur les exemples de son 
 indulgence, que sur le mrite de 1 ouvrage . . ." 
 
 Accordingly "C'est pour le dieu du vin," "Climene, au cabaret," "Dans un 
 verger, Colinette," "Quand je vois Fanchette," "Pres de moi dans la boutique," 
 etc., had been retained by Qultant-Gossec from Audinot's original version. Indeed, 
 this applies to most of the ariettes, etc., in the libretto. As to the "nouvelle Edition 
 augmentee" of the next entry, the 1767 ed. has thirteen scenes only, whereas the 
 1765 has fourteen! Furthermore, while the dialogue in scene 7 is somewhat longer 
 in the 1767 ed., the songs "En revenant de Clarenton " and "Je veux bien m'en fier 
 a foi" in scenes second and third have been dropped. The final scene differs very 
 much in both editions, the 1767 ed. having, for instance, the vaudeville "Trop occupe" 
 de mon ouvrage," the 1765 ed. "Aupres d'un tendron." The score published by 
 De La Chevardiere coincides with the 1767 ed. of the libretto, not with the 1765 ed. 
 
 ML 50.2.T68 
 
 Le tonnelier, opera-comique, mele d 'ariettes. Represents par 
 les Come'diens italiens ordinaires du roi, le 16 mars 1765, & a Bruxelles 
 le 20 avril 1767. Nouvelle Edition augmentee. 
 
 Paris, Veuve Duchesne, 1767. 48 p. 19 cm . 
 
 Originally written and composed by Nicolas M6dard Audinot and first performed 
 at the Opeia-comique on September 28, 1761, this one-act opera was revised for the 
 performances mentioned above by Francois Qu^tant and Francois Joseph Gossec. 
 On p. 44--18 the music of the vaudeville "Aupres d'un tendron" and the three airs 
 "Dans un verger Colinette," "Pres de moi, dans la boutique," and "Un tonnelier 
 vieux . ' ' Sen ATZ 487 
 
 Le tonnelier, ope"ra-bouffon, en un acte, mele" d'ariettes; revu, 
 corrig6, & tel qu'il a etc" repre'sente' a Paris par les Comediens italiens 
 ordinaires du roi. 
 
 Paris, par Iq Compagnie des libraires, 1768. 38 p. 19 cm . 
 Neither Audinot nor Gossec mentioned. SCHATZ 11672 
 
 Le tonnelier, opera bouffon, en un acte, mele d'ariettes; revu, 
 corrige^ & tel qu'il a 6t6 represente a Paris par les Come'diens italiens 
 ordinaires du Koi. Nouvelle Edition. 
 
 Paris, par la Compagnie des libraires, 1768. 38 p. 18\ cm . 
 Neither Audinot nor Gossec mentioned. SCHATZ 11674 
 
 Le tonnelier, opera-comique, mesle d'ariettes, repre'sente par les 
 Comediens italiens ordinaires du roi, le 16 mars 1765, & a Bruxelles 
 le 20 avril 1767. Nouvelle Edition, augmented. 
 
 Paris, la veuve Duchesne, 1770. 44 P- 19 cm . 
 
 On p. 39-44 the vaudeville "Aupres d'un tendron, a votre age," and the airs 
 "Dans un verger Colinette," "Pres de moi, dans la boutique," and "Un tonnelier 
 vieux." The text seems to be the same as in the Paris, 1768, ed. SCHATZ 11673 
 
 Arien und gesaenge aus der komischen oper : Der fassbinder, in 
 einem akt. 
 
 Berlin, n. putt., 1796. 15 p. 16 cm . 
 
 First performed at Berlin in 1796 at the Nationaltheater, but previously at the 
 Dobbelinsches Theater, November 2, 1781 (Schatz). SCHATZ 489
 
 OPERA LIBRETTOS 1085 
 
 Le tonnelier Continued. 
 
 - Der fassbinder, ein singspiel in einem aufzuge aus dem franzoe- 
 sischen uebersetzt mit musik. 
 
 Frankfurt am Mayn, Andreae, 1778. '71 p, 10 (fold, music). 17. 
 
 Cast. The music (voice and bass) consists of the arias "Einen weinstock, der 
 voll trauben," "Seiner arbeit abzuwarten," "Ein btittner alt," "Ein alter mann 
 von euren jahren." This is Johann Heinrich Faber's translation of "Le tonnelier." 
 
 First performed at Frankfort o/M., Theater au d. Junghofe, 1773. SCHATZ 488 
 
 Too civil by half, a farce in two acts, as performed with universal 
 . applause, at the Theatre-Royal, Drury-Lane. By John Dent . . . 
 
 London, J. Stockdale, 1783. 4 p. I, 39, [1] p. 21. 
 
 Cast, dedication, and prefatory note. Interspersed with six eongs, the composer 
 of which not recorded by Clarence. 
 
 First performed November 5, 1782. LONGE 92 
 
 La Torilda. Drama del Rincorato, Academico Olympico. 
 Venetia, Francesco Valvasense, 1648. 127, [1] p. 14%- 
 Three acts with prologue. Long historico-esthetic preface by the author, Pietor 
 
 Paolo Bissari. Argument and scenario. The composer, Pietro Francesco Cavalli, 
 
 is not mentioned. 
 
 First performed at Venice, Teatro di S. Cassiano, carnival, 1648. SCHATZ 1733 
 
 Die totale mondfinsterniss, ein komisch singspiel in zwey aufzue- 
 
 fn, von Carl Friedrich Zimdar ... In musik gesezt von C. G. 
 eber . . . 
 
 Stuttgart, Buchdruckerei der Tierzoglichen Hohen Carls-Schule, 1786. 
 92 p. 15% cm . 
 
 First performed at Stuttgart, Herzogl. Kleines Schauepielhaus auf der Planie, 1786. 
 
 SCHATZ 10915 
 
 /Totila. Drama per musica nel famosissimo Teatro Grimano di SS. 
 Gio. e Paolo. L'anno MDCLXXVII. Di Matteo Noris . . . 
 Venetia, Francesco Nicolini, 1677. 79 p. 14- 
 
 Three acts. Author's dedication, argument, scenario. The composer, Giovanni 
 Legrenzi, is not mentioned. SCHATZ 5547 
 
 The songs, chorusses, etc in The touchstone, or, Harlequin traveller. 
 An operatical pantomime. As it is performed at the Theatre-Royal 
 in Covent-Garden. The third edition. 
 London, G. Kearsley, 1779. 2 p. I, 15 p. 21 cm . 
 
 Text and music by Charles Dibdin, who, in a prefatory note, speaks of the dialogue 
 as "considerably improved, by the advice and assistance of some ingenious friends." 
 First performed January 4, 1779, as indicated. LONGE 102 
 
 II Trace in catena, drama per musica da rappresentarsi nella Sala 
 de' Signori Capranica 1'anno MDCCXVII. 
 
 Roma, Bernalb, 1717. 72 p. 15 cm . 
 
 Three acts. Author not mentioned and unknown to Allacci. Prefatory note, 
 scenario, cast and note: "La musica e del Sig. Francesco Gasparini. e di dui euoi 
 allievi." ML 50.2.T73G2 
 
 I Traci amanti. Dramma giocoso per musica da rappresentarsi nel 
 Teatro di S. A. S. il Signer principe di Carignano nel carnovale dell' 
 anno 1794. 
 
 Torino, Onorato Derossi, n. d. iv, 56 p. Iffi. 
 
 Two acts. By Giuseppe Palomba, who is not mentioned. Cast, scenario, and 
 name of Cimarosa as composer. On p. 44-56, description, with argument apd cast.
 
 1086 LIBRABY OF CONGRESS 
 
 I Traci amanti Continued. 
 
 but without name of the composer of the music of Federico Terrades "Eechila e 
 Timoleone oesia La caduta di Timofane, tiranno di Corintp, ballo eroico-tragico diviso 
 in tre atti." His second ballet was called "La superbia umiliata oseia L'egualita 
 d'amore." 
 
 Firet performed at Naples, Teatro Nuovo, 1793. ML 50.2.T73C2 
 
 Gli Turchi amanti, dramma giocoso per music a da rappresen- 
 tarsi nel Reggio Teatro di S. Carlo della Principessa il carnovale dell' 
 anno 1796. 
 
 Lisbona, Simone Taddeo Ferreira, 1796. 135 p. 
 Two acts. Cast and names of the author, Giuseppe Palomba, and the composer, 
 Cimarosa. A later version of their "I Traci amanti." SCHATZ 1999 
 
 Tracollo. L. T. of Pergolesi's Livietta e Tracollo o sia La conta- 
 dina astuta. 
 
 II tradimento premiato. Favola pastorale, da recitarsi in musica 
 1'autunno dell' anno 1709. Nel Teatro di Sant' Angelo . . . 
 Venetia, Gio. Battista Zuccato, 1709. 56 p. llf m . 
 
 Three acts. By Giov. Battista Candi, who is not mentioned. Publisher's dedica- 
 tion, argument, and scenario. The composer, Girolamo Poland, is not mentioned. 
 
 SCHATZ 8252 
 
 II tradimento punito, ballet. See Piccinni's La Griselda. 
 
 H tradimento tradito. Drama per musica. Da rappresentarsi 
 nel Teatro di S. Angelo 1'anno MDCCIX . . . 
 Venetia, Zuccato, 1709. 4 p. I, [5]-60 p. 15. 
 
 Three acts. Dedication signed by the author, Francesco Silvani, and dated Venice, 
 December 29, 1708, argument, cast, scenario. The composer, Tommaso Albinoni, is 
 not mentioned. SCHATZ 103 
 
 II tradimento traditor di se stesso. Drama per musica da rap- 
 presentarsi nel famosissimo Teatro Grimani di S. Gio. Grisostomo 
 ranno MDCCXI . . . Di Francesco Silvani. 
 
 Venezia, Marino Rossetti, 1711. 72 p. 15 cm . 
 
 Three acts. Author's dedication, dated Venice, January 17, 1711, argument, 
 scenario, cast. The composer, Antonio Lotti, is not mentioned. A contemporary 
 ms. note on p. [2] reads: "e lo stesso che la Statira t? A." SCHATZ 5710 
 
 Artaserse re di Persia. Drama per musica da rappresentarsi 
 nel Real Palaggio, nel di primo ottobre 1713. Giorno festivo per gli 
 anni, che compie la Maesta Ces. e Catt. del nostro invittissimo 
 imperadore Carlo VI . . . 
 
 Napoli, MicheleLuigi Muzio, 1713. 6 p. 1., 57 p. llf. 
 
 Prologue and three acts. Dedication signed by Serino as impresario, argument, 
 scenario, cast, and notice to the reader, stating: 
 
 "La necessita d'avervisi adaggiungere le parti di Farfalletta, e di Dragasso, ha 
 fatto, che piil cose vi si fussero tolte, aggiunte, e variate, non meno per attendersi alia 
 brevita che uniformarsi al genio de' rappresentanti, e di questa citta. 
 
 "Anche la musica e di celebre compositore [Lotti], ma ti awertisco, che tutte le 
 scene buffe, e tutte le arie che vedrai con queeto segno , sono state poste in musica 
 dal Signor Francesco Mancini ..." 
 
 Accordingly, he composed, for instance, the arias, ' ' Superba; vedrai " (1, 3), "Aure, 
 fonti, erbetti, e fiori" (I, 4), "Sai, ch'un ombra la bellezza" (I, 6), "Sovyengati, 
 spietata" (I, 9), and many others. The text, with the indicated alterations, is 
 Silvani's II tradimento traditor di se stesso." SCHATZ 5712 
 
 La tragedie. Entree in Campra's Les Muses.
 
 OPERA LIBRETTOS 1087 
 
 The tragedy of Chrononhotonthologos: being the most tragical 
 tragedy that ever was tragediz'd by any company of tragedians. 
 Written by Benjamin Bounce, Esq; . . . 
 
 London, J. SJiuckburgh and L. GiUiver [etc], n. d. SO, [1] p., incl. 
 front. 
 
 Cast. One act, prologue and epilogue. By Henry Carey. On p. [8]: "The 
 tunes of ye songs." (only four-) 
 
 First performed at London, "little theatre" in the Haymarket, February 22, 1734. 
 
 ML 50.2.C47 
 
 Chrononhotonthologos : The most tragical tragedy that ever 
 was tragediz'd by any company of tragedians. 
 
 \151\-182 p. 22 cm . (Henry Carey, Dramatick works, London, 1743} 
 Prologue and one act. Without the tunes. ML 49.A2C2 
 
 Chrononhotonthologos : The most tragical tragedy that ever 
 was tragedized by any company of tragedians. The seventh edition. 
 
 London, T. Lowndes, T. Calson [etc.], 1770. 32 p. 19. 
 
 One act and prologue. No music printed in this ed. LONGE 54 
 
 Chrononhotonthologos. By Mr. Henry Carey. 
 
 [245\-258 p. 19. (Collection of the most esteemed farces and 
 entertainments, t. ii, Edinburgh, 1792.) 
 
 One act. SCHATZ 11753B 
 
 vTraiano. Drama per musica da rappresentarsi nel famoso Teatro 
 Grimano di SS. Gio. e Paolo. L'anno MDCLXXXIV. Di Matteo 
 Noris . . . 
 
 Venetia, Francesco Nicolini, 1684- 69 p. 14 cm . 
 
 Three acts. Author's dedication and scenario. Giuseppe Felice Tosi, the com- 
 poser, is not mentioned. SCHATZ 10380 
 
 Le traite mil, comedie en un acte et en prose, meltse d'ariettes, 
 representee le 5 messidor, an 5, sur le Theatre Feydeau. [June 23, 
 1797] Paroles de M. Marsollier, musique de M. Gavaux. 
 
 Paris, Euet, an V (ou 1797). 64 p. 21. 
 
 Cast, ML 50.2.T77G2 
 
 Le traite mil, comedie en un acte et en prose, melee d'ariettes, 
 repre'sente'e le 5 messidor, an V, sur le Theatre Feydeau. Paroles 
 de M. Marsollier, musique de M. Gavaux. 
 
 Paris, Euet, an VII*- [1798-99] 48 p. 21. 
 
 Same cast and text. ML 50.2.T77G22 
 
 Het vernietigd verdrag, zangspel. Door G. Brender & Brandis. 
 Amsteldam, Abraham Mars, 1799. 87, [1] p. 16%. 
 
 Author's preface dated "den ll den van Lentemaand 1799" with names of the 
 author and the composer. 
 
 First performed at Amsterdam, Stadt Schouwburg, March, 1799. SCHATZ 3644 
 
 Le trame deluse. Drama giocoso in due atti da rappresentarsi nel 
 Teatro di Corte 1'anno 1787. 
 
 Vienna, Gioseppe nob. de Kurzbek, n. d. 84 p- 16%. 
 
 Two acts. With name of the Composer, Domenico Cimarosa, but not of the author, 
 Gius. Maria Diodati. 
 
 First performed at Vienna, Nationalhoftheater n. d. Burg, May 7, 1787; at Naples, 
 Teatro Nuovo, carnival, 1786. SCHATZ 1972
 
 1088 LIBRARY OF CONGRESS 
 
 Le trame deluse Continued. 
 
 - Lo trame deluse. Dramma giocosa per music a da rappresentarsi 
 nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. pull, 1788. 127 p. 15%. 
 
 Two acts, with name of the composer, Cimarosa. German title-page, "Die ver- 
 eitelten raenke," and text face Italian. 
 
 First performed at Dresden, January 3, 1789. SCHATZ 1973 
 
 Le trame deluse. O. T. of text of Portugal's A Noiva fingida. 
 
 Le trame per amore. Commedia per musica di Francesco Cerlone 
 da rappresentarsi nel Teatro Nuovo per terza opera di quest' anno 
 1783. 
 
 Napoli, n. pull., 1783. 60 p. 15 cm . 
 
 Three acts. Cast, name of Paisiello as the composer and note that "per brevita" 
 the third act had to be shortened and would end with the terzetto and that for the 
 game reason minor arias would be dropped. 
 
 First performed at Naples, Teatro Nuovo, October, 1770. SCHATZ 7681 
 
 Le trame spiritose. Dramma giocoso per musica da rappresentarsi 
 in Geneva nel Teatro da S. Agostino la primavera del 1793 . . . 
 
 Genova, Stamperia Gesiniana, n. d. 65 p. 14 cm . 
 
 Two acts. By Giuseppe Palomba, who is not mentioned. Cast, name of Giacomo 
 Tritta (Tritto) as composer and impresario's dedication, in which he says that the 
 opera was heard with applause in the previous pear at Naples, at the Teatro Nuovo. 
 
 SCHATZ 10475 
 
 La tranquillita disturbata, ballet. See Borghi's Creso rd di Lidia. 
 
 Gesaenge aus dem singspiele Der transport im koffer, in drey auf- 
 zuegen. In musik gesezt von Edmund Weber. 
 
 Hamburg, Johann Matthias Michaelsen, 1791. 32 p. 16\ cm . 
 
 Author not mentioned and unknown to Schatz. 
 
 First performed at Hamburg, Theater beim Gansemarkt, May 30, 1791. 
 
 SCHATZ 10916 
 
 Trapolin's vagaries. A. T. of The devil of a duke. 
 Trasibolo Ateniese. See M. Curzio. 
 
 Trattenimento musicale d' Apollo con il Reno nelle nozze sonttuose 
 delli 111. et Ecc. SS? il Sig Co. Federico Rossi Co. di San Secondo 
 et la Sig Donna Orsina Pepoli: la coronatione d' Apollo per Dafne 
 conversa in lauro Baletto: Amore guerriero per la Hocca incantata 
 Bariera. Pensieri del Sig. Silvestro Branchi il Costante nell' Acca- 
 demia di Rawivati, et alcune ottave per le medesime nozze del Sig? 
 N. S. . . . 
 
 Bologna, Gio. Paolo Moscatelli, 1621. [72] p. 15 cm . 
 
 Pictorial title page. Branchi's dedication is dated Bologna, May 30, 1621. The 
 first piece is divided into "Uscita" 1-2, "Amore guerriero" is one long scene ("bar- 
 riera") followed by a baletto and the "Coronatione d' Apollo ".consists of Uscita 1-6 
 with the baletto in the last. Ricci attributes all these texts to Silvestro Branchi. 
 He does not mention the composer or composers. That Silvestra Branchi wrote and 
 Ottavio Vernizzi (probably) composed at least "La coronatione d' Apollo "is clear 
 since in 1623 an edition of the text was published by the same publisher for per- 
 formance in the Teatro della Sala in which Branchi is called the author and Vernizzi 
 the composer. In 1623 the text was divided into four "intermezzi," for Branchi's 
 play "I/anaorosa innocenza." (See "La coronatione d'Apollo"). ML 52.2.T7 

 
 OPERA LIBRETTOS 1089 
 
 Der traum des Scipio. Tr. of Nichelmann's II sogno di Scipione. 
 
 The travellers in Switzerland. A comic opera, in three acts: as 
 performed at the Theatre Royal, Covent-Garden. By Mr. Bate 
 Dudley . . . 
 
 London, J. Debrett, 1794. 80 p. 20. 
 
 Cast, author's dedication, dated Bradwell Lodge, March 20, 1794, and prefatory 
 note, with name of William Shield as composer resp. compiler, and statement that 
 "several of the airs, and all the choruses" were "written to compiled music." 
 
 First performed February 22, 1794. LONGE 227 
 
 Gesaenge zu dem schauspiele Der travestirte Hamlet, in drey akten. 
 In musik gesetzt von Tuzeck. 
 
 n. i., 1799. 14 p. 16$ cm . 
 
 The author, Johann Georg Carl Ludwig Giesecke, is not mentioned. 
 
 First performed at Vienna, Theater auf der Wieden, July 10, 1794. SCHATZ 10506 
 
 I tre amanti. Dramma giocoso per musica da rappresentarsi nel 
 Teatro di via della Pergola nella primavera del MDCCLXXVII . . . 
 
 Firenze, Gio. Risaliti, 1777. 66>p. 16. 
 
 Two acts. Cast and name of Cimarosa as the composer. The author is unknown 
 to Schatz. On p. 5-16, cast and description of ' ' Sansone, ballo tragico di invenzione, 
 e compoeizione del Sig. Antonio Pi trot, posto in Bcena per la prima volta . . . 1777." 
 The composer of the music is not mentioned. Pitrot remarks (p. 16), "si sono nobili- 
 tati i personaggi per maggior proprieta del soggetto!" 
 
 First performed at Rome, Teatro Valle dei Signori Capranica, carnival, 1777. 
 
 SCHATZ 1975 
 
 I tre anianti. Intermezzo in musica a cinque voci da rappre- 
 sentarsi nel Piccolo Teatro Elettorale. 
 
 Dresda, Stamperia elettorale, 1781. 125 p. 15%. 
 
 Two acts, with name of the composer, Cimarosa. German title-page, "Die drey 
 liebhaber," and text face Italian. 
 
 First performed, as indicated, March 10, 1781. SCHATZ 1976 
 
 Li tre anianti ridicoli. Dramma per musica di Ageo Liteo da rap- 
 presentarsi nel Teatro della Fama de' Nobili di Gubbio nel corrente 
 carnevale dell' anno 1765 . . . 
 
 Gubbio, Giuseppe Bartolini, n. d. 58 p. 15%. 
 
 Three acts. By Antonio Galuppi who is not mentioned. Cast, dedication, and 
 name of Baldassare Galuppi as composer. 
 
 First performed at Venice, Teatro di S. Moise, carnival, 1761. SCHATZ 3471 
 
 Le tre burle. A. T. of Salieri's Falstaff. 
 
 r 
 
 Li tre cicisbei ridicoli. Dramma giocoso per musica da recitarsi 
 nella fiera dell' Ascensione dell' anno 1748. Nel Teatro di Sant' 
 Angelo. 
 
 Venezia, Modesto Fenzo, 1748. 59 p. 15. 
 
 Three acts. By Carlo Antonio Vasini, who is not mentioned. Cast and name of 
 Natale Resta as the composer. Additional or substitute arias, "Area d 'interne 
 adore" (p. 45) and "Basta cosi, t'intendo" (p. 59), are inserted on slips. 
 
 SCHATZ 8692 
 
 72251 VOL 114 69
 
 1090 LIBRARY OF CONGRESS 
 
 I tre difensori della patria. Dramma per musica da rappresen- 
 tarsi nel Teatro di Sant' Angelo 1'autunno dell' anno MDCCXXJX . . . 
 Venezia, Marino Rossetti, 1729. J+6 p. 15 1. 
 
 Three acts. By Adriano Morselli, who is not mentioned, and whose original title 
 was "Tullo Ostilio." Dedication, argument, scenario, cast, and name of Giovanni 
 Battista Pescetti as the composer. SCHATZ 7961 
 
 - Tullo Ostilio. Dramma per musica da rappresentarsi nel 
 Teatro di San Angelo Fanno 1740 . . . 
 
 Venezia, Marino Rossetti, 1740. Ifi p. 15 cm . 
 
 Three acts. Neither Adriano Moreelli, the author, nor Giovanni Battista Pescetti, 
 the composer, is mentioned. Impresario's dedication, argument, and cast. Notice- 
 ably different from the earlier I tre difensori della patria." For instance, the 
 opening chorus in the latter, "Queste spoglie, o invitta Roma, "is absent from the 
 1740 ed. SCHATZ 7962 
 
 Li tre Eugenj. Commedia per musica di un atto di G. B. L., P. A. 
 Da rappresentarsi nel Teatro Nuovo sopra Toledo nel carnovale del 
 corrente anno 1778. 
 
 Napoli, n. publ., 1778. 39 p. 15. 
 
 Text by Giovanni Battista Lorenzi. Cast and name of Francesco Lenzi as com- 
 poser. SCHATZ 5551 
 
 Le tre fanatiche. Commedia per musica di Giuseppe Palomba da 
 rappresentarsi nel Real Teatro del Fondo di Separazione nel carno- 
 vale di quest' anno 1785 . . . 
 
 Napoli, n. pull., 1785. 48 p. 15\. 
 
 Two acts. Cast and name of composer, Gaetano Andreozzi. The impresario's 
 dedication is dated January 25, 1785. SCHATZ 204 
 
 I tre gobbi rivali. Intermezzo a quattro voci da cantarsi dalla 
 compagnia de' Comici Lombardi nel Teatro de' Fiorentini nel carno- 
 vale del 1783. 
 
 Napoli, n. publ., 1783. 21 p. 15 cm . 
 
 Two acts. A much altered, shorter version of "La favola de' tre gobbi," by Carlo 
 Goldoni, who is not mentioned. Dedicatory poem, cast, and remark: "La sinfonia 
 e la musica segnata col segno + e del Sig. D. Vincenzo Fabrizi Romano." This 
 applies to "Mi corrono d'intorno," " Dico- bene-certo ardore," "Per servirvi, e 
 cortegiar," etc. The text of these arias does not appear to be by Goldoni. In the 
 first intermezzo only his "Vezzosa gradita" was retained. In the second, whereas 
 the arias "Corpo di Bacco / Son Parpagnacco," "Vi prego di core" and "Se vi 
 guardo ben" are in the original version, "Seu tanto benedetti" and "Che bella cosa 
 ch'e" are not by Goldoni at all. SCHATZ 2972 
 
 I tre matrimoni. Commedia in musica da rappresentarsi nel 
 Teatro Grimani di S. Samuele 1'autunno dell' anno MDCCLVI. 
 Venezia, Modesto Fenzo, 1756. 52 p. lJ& cm . 
 
 Cast, scenario, and name of the composer, Nicola Calandra, detto Frascia. Libret- 
 tist unknown to Schatz. SCHATZ 1474 
 
 De tre 0nsker. A. T. of Philidor's Skovhuggeren. 
 
 I tre Orazj e i tre Curiazj , ballet. See Bertoni's Telemaco ed Eurice.
 
 OPERA LIBRETTOS 1091 
 
 Le tre orfanelle o sia La scola di musica. Dranuna giocoso di un 
 atto solo per musica del Sig. Giovanni Bertati ... da rappresentarsi 
 nel nobUissimo Teatro Venier in San Benedetto F autunno dell' anno 
 
 1798. 
 
 Venezia, Modesto Fenzo, 1798. 32 p. 18 cm . 
 Cast and name of Bernardini, (Marcello di Capua) as composer. SCHATZ 847 
 
 Li tre Orfei. Dramma giocoso per musica da rappresentarsi nel 
 nobile Teatro Tron in S. Cassiano nell' autunno dell' anno 1787. 
 
 Venezia, n. publ., n. d. 60 p. 16 cm . 
 
 Two acts. Cast. Neither the composer, Marcello Bernardini (Marcello di 
 Capua) is mentioned, nor the author, who is unknown to Schatz. 
 
 First performed at Rome, Teatro della Palla a Corda, carnival, 1784. 
 
 SCHATZ 848 
 
 Gli tre pretendenti. Dramma giocoso per musica da rappresen- 
 tarsi in Bologna nel Teatro Marsigli Rossi la primavera dell' anno 
 1777 . . . 
 
 Bologna, Sassi, n. d. 67 p. 15 cm . 
 
 Three acts. Impresario's dedication, cast, scenario, and name of the composer, 
 Giovanni Battista Borghi, but not of the librettist. The imprimatur is dated May 
 21, 1777. 
 
 Schatz liete this as being the same as Giovanni Bertati's text of "La donna insta- 
 bile." The two texts, indeed, begin "Don Testaccio mio carissimo" and they have 
 now and then other matter in common, as, for instance, the finale of the second act, 
 "Non si faccia piii rumore." It is therefore clear, that the "Gli tre pretendenti" 
 text is somewhat related to that of "La donna instabile," but on the whole the 
 two texts have very little in common and are practically two different texts. 
 
 SCHATZ 1230 
 
 I tre rival! in amore. Farsa per musica a 5. voci da rappresentarsi 
 nel Teatro Valle degF illmi Sig. Capranica. II carnevale dell' anno 
 1789. 
 
 Roma, Gioacckino Pucdnelli, n. d. 4$ P- 16\ cm . 
 
 Two acts. The author not mentioned and unknown to Schatz. Cast and name of 
 Ferdinando B,obuschi as the composer. SCHATZ 8845 
 
 Li tre vagabond!. Dramma giocoso per musica da rappresentarsi 
 nel nobile Teatro Tron di San Cassiano nell' autunno dell' anno 
 1776 . . . 
 
 Venezia, Gio. Battista Casali, 1776. 63 p. 17. 
 
 Three acts. Author not mentioned and unknown to Schatz. Impresario's dedi- 
 cation, cast, scenario, and name of Salvatore Perillo as the composer. SCHATZ 7927 
 
 Treu in der untreue. Tr. of Cimarosa's L'infedelta fedele. 
 
 Die treuen koehler, eine operette in zwey aufzuegen, von herrn 
 Herrmann in Weimar. In musik gesezt von herrn musikdirektor 
 Knecht in Biberach. Wird den 29 juni auch 2ten und 4ten iulii 
 1789 allhierzu Kaufbeuren auf dem gewoehnlichen Theater der bur- 
 gerlichen Agenten A. C. aufgefuehrt. 
 
 Kaufbeuren, Dorn, n. d. Unpaged. 16 cm . 
 
 Cast and "historischer vorbericht," at end of which price of tickets, rules about 
 admission, etc. 
 
 First performed at Biberach, Theater der evangelischen Meister Sanger Gesell- 
 schaft im Schlachthause, February 2, 1786. SCHATZ 5198
 
 1092 LIBRARY OF CONGRESS 
 
 Die treuen koehler, eine operette in zween aufzuegen von Heer- 
 mann. In musik gesezt von L. Schubaur der medizin doktor. Auf- 
 gefuehrt auf dem churfuerstl. Nationaltheater in Muenchen 1786. 
 
 Muenchen, Joseph Lindauer, n. d. 1 p. 1., 120 p. 15\ cm . 
 
 Dedication signed by the composer, Lukas Schubauer, and his "Vorrede" in 
 which he narrates "die geschichte des saechsischen prinzenraubes," on which the 
 operetta is based. 
 
 First performed, as indicated, September 29, 1786. SCHATZ 9712 
 
 Die treuen koehler, eine operette in zween aufzuegen. 
 
 Weimar, Carl Ludolf Hoffmann, 1778. 7 p. I (incl. front.) , 182 p. 
 
 By Gottlob Ephraim Heermann, who is not mentioned. Dedication, argument, 
 name of Ernst Wilhelm Wolf as the composer, and note: 
 
 "Auf dem herzoglichen Hof theater zu Weimar, von der zur zeit anwesenden 
 koenigl. Groebritannischen Seilerischen Geeellschaft aufgefuehret, den 2ten des 
 Brachmonats." 
 
 First performed at Weimar, Schlosstheater in der Wilhelmsburg, July 14, 1772. 
 
 SCHATZ 11085 
 
 Le tribunal de la chicane. A. T. of Philidor's L'huitre et les 
 plaideurs. 
 
 II tribute campestre. Componimento pastorale drammatico da 
 rappresentarsi in musica nel Regio Ducale Teatro nuovo di Mantova 
 in occasione del felicissimo passaggio di Sua Maesta Maria Carolina 
 . . . sposa di Sua Maesta Ferdinando IV. di Borbone, r& delle Due 
 Sicilie [engraved ports, of both] 
 
 Mantova, per I'erede di Alberto Pazzoni, 1768. 5 p. 1. (incl. front.) , 
 30 p. 23 cm . 
 
 One act. Numerous vignettes, cast, and names of Tommaso Trajetta as com- 
 poser and of librettist, Giovanni Battista Buganza. SCHATZ 10401 
 
 Tribute di rispetto e d'amore. Componimento drammatico, 
 scritto dall' autore . . . 1'anno 1754, ed eseguito con musica del 
 Reutter nell' interno della Corte imperiale dalle tre AA. RR. . . . 
 festeggiando il giorno di nascita dell' augusto loro genitore. 
 
 [189}-196 p. 26 cm . (Metastasio, Opere, t. xi, Parigi, vedova Heris- 
 Sant, 1782.) ML49.A2M44 
 
 Trick for trick. A comedy of two acts. As it is perform'd at the 
 Theatre-Royal in Drury-Lane, by His Majesty's servants. By R. 
 Fabian . . . 
 
 London, J. Watts, 1735. 4 p. I, 36 p. 19. 
 
 Interspersed with ten songs, sung to popular airs, which are printed in the text, with 
 their titles. Cast, table of the songs, and dedication. 
 
 First performed, as indicated, May 10, 1735. ML 50.5.T84 
 
 Second copy. LONGE 40 
 Third copy. LONGE 262 
 
 A trick to cheat the devil. A. T. of Imposture defeated. 
 
 Le triomphe d'Alcide. A. T. of Lully's Alceste. 
 
 Le triomphe de Flore. See Dauvergne's Egle. 
 
 Le triomphe de I'amitie. A. T. of Sacchini's L'Olympiade.
 
 OPERA LIBRETTOS 1093 
 
 Le triomphe de 1'amour. Divertissement en musique orne" de 
 ballets pour le carnaval de Fanne'e 1725. 
 
 Dresde, Jean Conrad Stossel, n. d. [56] p. 19. 
 
 Prologue and five entries. Cast, names of Poisson as author, of Louie Andrij as 
 composer, and Avertissement, which reads, in part: 
 
 "Ceci n'est point ouvrage dramatique, qui renferme un eujet intrigue 1 , suivi, & 
 denovi^; ce n'est a proprement parler que ce qu'on nomme un ballet: On y trouvera 
 cependant tous les spectacles, & tous les agr^mene de nos grands opera francois ..." 
 
 First performed at Dresden, Hoftheater, February 12, 1725. ML 50.2.T7 
 
 Second copy. SCHATZ 193 
 
 Le triomphe de 1'amour. Ballet, danse" devant Sa Majeste" a S. 
 Germain en Laye. Suivant la copie imprime'e a Paris. 
 
 [Amsterdam, Antoine Schelte}, 1686. 4? P- (incl. front.). 13$ cm . 
 
 Twenty entries, with the names of the participants. On p. [29}-47, the " Vers pour 
 la pereonne et le personnage de ceux qui sont du ballet du Triomphe de 1' Amour." 
 Neither authors nor composer mentioned. -See next entry. ML 49.A2L9 
 
 Le triomphe de 1'amour, ballet represente par PAcademie 
 royale de musique Pan 1681. Les paroles sont de M. Quinault & la 
 musique de M. de Lully, XIII. opera. 
 
 n. i., n. d. 14 cm . front., 269-298 p. (Recueil general des opera, t. 
 ii, Paris, 1703.) 
 
 Detached copy. Twenty entries. Text partly by Benserade. (See his Oeuvree, 
 t. ii.) 
 
 First performed, as indicated, April 15, 1681 (Schatz), May 6 (Prunieres); at 
 Saint-Germain en Laye, before the court, January 21, 1681. On September 11, 1705, 
 the ballet was revived, but reduced to four entries and prologue by Danchet and 
 Campra. SCHATZ 5774 
 
 Second copy. ML 48. R4 
 
 - Le triomphe de 1'Amour, ballet danse devant Sa Majeste", a 
 Saint Germain en Laye le . . . Janvier 1681. 
 
 Le Theatre de Monsieur Quinault, Paris, 1739, t. v., pi., [69]-104 p. 
 17 cm . 
 
 Twenty entries. On p. [105J-126: "Vere pour la personne et le pereonnage de 
 ceux qui sont du ballet du Triomphe de 1'Amour." Those participating are men- 
 tioned by name. Lully, the composer, is not mentioned. PQ 1881. Al 1739 
 
 Le triomphe de 1'Amour sur Bacchus. Entree in Duplessis' 
 Les festes nouvelles. 
 
 Le triomphe de I'harmonie, ballet-heroique repr&sente" par 
 TAcade'mie royale de musique, Tan 1737. Paroles de M r Le Franc, 
 musique de M r Grenet. CXX vTII. opera. 
 
 n. i., n. d. J$9-J!fl8 p. IJfif. (Recueil general des opera, Paris, 
 1745, t. xvi.) 
 
 Detached copy. Prologue and entries, "Orphe'e," "Hylas," "Amphion." 
 First performed, as indicated, May 9, 1737. ML 48.R4 
 
 Le triomphe de la raison sur 1'amour, pastorale mise en musique 
 par Monsieur de Lully . . . Represented a Fontainebleau. 
 
 Amsterdam, Henry Schelte, 1699. 15 p. (incl. front.) . 15 cm . 
 
 One act. Author not mentioned, and unknown to Schatz. The composer was 
 Jean Baptiste de Lully, the younger. 
 
 First performed, as indicated, October 25, 1696. ML 50.2.T8L9 
 
 Le triomphe de Thalie. See Mouret's Les festes de Thalie.
 
 1094 LIBRARY OF CONGRESS 
 
 Lc triompbe de Venus. See Campra's Trois nouvelles entrees. 
 
 Le triomphe des arts, ballet represents par 1'Academie royale de 
 musique Tan 1700. Les paroles de M. de la Mothe, & la musique de 
 M. d la Barre. XLIX. opera. 
 
 n. i., n. d. front., Jfi p. 14- (Recueil general des opera, Paris, 
 1703, t. mi.) 
 
 Five entries. Dedicatory poem and "avertissement," with argument. 
 
 First performed at Paris, Acad&nie royale de musique, May 16, 1700. 
 
 SCHATZ 5344 
 
 Second copy. ML 48. R4 
 
 
 
 Le triomphe des sens. See Mouret's Le ballet des sens. 
 I trionfi del fato. O. T. of Steffani's II trionfo del fato. 
 
 I trionfi di Goffredo in Gerusalemme. Cantata da rappresen- 
 tarsi nel Teatro del Pubblico della citta di Pisa in occasione del primo 
 faustissimo arrivo in detta citta di S. A. R. Francesco III . . . gran- 
 duca di Toscana. 
 
 Pisa, Evangelista Pugli, 1739. 35 p. 20%. 
 
 Dedication, argument, " Annotazioni " (p. 19-24, 34-35), argument, "Interlocu- 
 tori," name of cavaliere awocato Pio dal Borgo as author and Michele Fini as com- 
 poser. SCHATZ 3106 
 
 II trionfo d'amore. Questa festa teatrale fu, sotto il titolo di Asilio 
 d'Amore, scritta dall' autore in Vienna, e rappresentata la prima 
 volta in Lintz 1'anno 1732 . . . L'anno 1765 poi venne in gran parte 
 cambiata dall' autore medesimo per adattarla col nuovo titolo di 
 Trionfo d'amore alia circostanza delle reali nozze di Giuseppe II, e 
 Maria Giuseppa di Baviera . . . e fra le altre festive solennitk fu da 
 cantori, e cantatrici con musica del Gasman eseguita . . . negli 
 appartamenti dell' imperial soggiorno di Schonbrunn. 
 
 [267}~292 p. 26 cm . (Metastasio, Opere, t. ix, Parigi, vedova Heris- 
 sant, 1781.) 
 
 One act. ML 49.A2M44 
 
 II trionfo d'amore. Azione teatrale rappresentata in musica nella 
 Imperial Regia Corte in occasione delle felicissime nozze delle Sacre 
 Reali Maesta di Giuseppe II. d'Austria e di Maria Gioseff a di Baviera 
 . . . Fanno MDCCLXV. 
 
 Milano, Giuseppe Cairoli, n. d. 42> Ul P- 17 cm . 
 
 One act. Neither Metastasio, the author, nor Florian Leopold Gassmann, the 
 composer, is mentioned. The imprimatur is dated February 27, 1765. 
 
 First performed at Schonbrunn, Schlachtensaal of the Imperial palace, January 
 25, 1765. SCHATZ 3628 
 
 II trionfo d'amore. Azione pastorale in un solo atto da rappresen- 
 tarsi nel teatro novamente costrutto a questo solo fine in una delle 
 corti del Ducal Palazzo di Luisburgo all' occasione, ed in seguito della 
 superba festa ivi data li 16 febbraio 1763. La poesia e del Signor de 
 Tagliazucchi ... La musica & di nuova composizione del Signor 
 Jommel i . . . I balli sono del Signor Noverre . . . 
 [Stuttgardt], Cotta, n. d. 53 p. 18. 
 
 Oneact. Argument, cast. German title-page, "Der triumph dee Amors, "and text 
 face Italian. JNot to be confused with Jommelli s "L'Endimione." SCHATZ 4872
 
 OPEBA LIBRETTOS 1095 
 
 II trionfo d'amore. A. T. of Jommelli's L'Endimione. 
 
 II trionfo d'amore. Favola pastorale da rappresentarsi in musica 
 m Mantova 1'aimo MDCCIV . . . 
 
 Mantova, Alberto Pazzoni, n. d. 72 p. 15. 
 
 Three acts. Author not mentioned and unknown to Schatz- Dedication dated 
 Mantova, December 19, 1703, cast, scenario, and (at end) note: "La musica e del 
 Sig. Antonio Quintavalle, organista di camera del Ser. padrone." On p. 69-71 text 
 of eight "Arie mutate." ML 50.2.T81Q3 
 
 II trionfo d'amore. See Traetta's Le feste d'Imeneo. 
 
 II trionfo d'Arbace, ballet. See Nasolini's La morte di Semiramide. 
 
 II trionfo d'Arianna con balli, e cori analoghi al soggetto. Dramma 
 per musica del nobile Signore Carlo Lanfranchi Rossi . . . fra gli 
 Arcadi Egesippo Argolide da rappresentarsi nel Teatro Giustiniani in 
 San Moisd per la fiera dell' Ascensione dell' anno 1781. 
 
 Venezia, Modesto Fenzo, n. d. 44 P> 17 cm . 
 
 Two acts. Author's dedicatory sonnet, argument, cast, and name of Pasquale 
 Anfossi as composer. SCHATZ 271 
 
 II trionfo d'Arianna. Dramma con cori e balli analoghi composto 
 d'ordine sovrano da Antonio de' Filistri . . . e messo in musica dal 
 Signor Vincenzo Righini ... da rappresentarsi nel gran Teatro Reale 
 di Berlino. 
 
 Berlino, Eaude e Spener, 1796. Ill p. 
 
 Three acts. Argument and cast. German title-page, ' ' Der triumph der Ariadne, ' ' 
 and text face Italian. 
 
 Performed in 1796, as indicated; first performed at the same theatre, December 28, 
 1793. SCHATZ 8788 
 
 II trionfo d'Arianna o sia Arianna abbandonata da Teseo e soccorsa 
 da Bacco, ballet. See Alessandri's I puntigli gelosi. 
 
 II trionfo d'Armida. Drama per musica da' rappresentarsi nel 
 Teatro Giustiniano A. S. Moise 1'anno 1726. 
 
 Venezia, Marino Rossetti, n. d. J$ p. 15%. 
 
 Three acts. By Girolamo Colatelli, who is not mentioned. Scenario and notice 
 to the reader with name of Tommaso Albinoni as composer. 
 
 First performed in the fall of 1726, as indicated. SCHATZ 132 
 
 II trionfo d'Augusto in Egitto. Opera in musica. Dedicata, e 
 cantata all' Ecc. ma Sig. ra D. Anna Antonia . . . nelle sue nozze coll' 
 Ecc. mo Sig. r D. Gaspar Teller Girone, Gomez di Sandovale, duca 
 d'Ossuna . . . Nel Regio Teatro di Milano 1'anno 1672. 
 
 Milano, Marc' Antonio Randolfo Malatesta, n. d. 4 P- ^., 107 p. 
 16 cm . 
 
 Prologue and three acts. Dedication to the ladies and sonnett to D . Anna Antonia. 
 Author (Carlo Maria Maggi) and composer (unknown to Schatz) not mentioned. 
 
 SCHATZ 11372 
 
 II trionfo d'Ercole in Troia o sia Esione liberata, ballet. See 
 Martin y Soler's Una cosa rara. 
 
 II trionfo de' Goti. A. T. of the ballet Gli sventurati amori di 
 Cleide ed Almindo.
 
 1096 LIBRARY OF CONGRESS 
 
 II trionfo de' pupilli oppress!. Commedia per musica di Pasguale 
 Mililotti da rappresentarsi nel Nuovo Teatro de' Fiorentini per 
 quart' opera di questo corrente anno 1782. 
 
 Napoli, n. publ, 1782. 56 p. 15. 
 
 Three acts. Cast and name of Salvatore Rispoli as the composer. SCHATZ 8813 
 
 II trionfo de' Spagnoli o sia Jja disfatta de' Marrocchini, ballet. 
 See Bernardini's Amore per incanto. 
 
 II trionfo del bel sesso. Dramma giocoso in musica da rappresen- 
 tarsi nel Teatro alia Scala di Milano 1 autunno del 1799. 
 
 Milano, Gio. Batista Bianchi, n. d. 76, [2] p. 16%. 
 
 Two acts. By Luigi Romanelli, who is not mentioned. Cast, scenario, and name 
 of Giuseppe Nicolini as composer. On p. [69J-76, argument, cast, and description of 
 Gaspare Ronzi's "Ottocaro, ballo eroico pantomime in cinque atti." Neither of this, 
 nor of his "ballo comico II segreto," is the composer of the music mentioned. 
 
 First performed, as indicated, August 20, 1799. SCHATZ 7138 
 
 II trionfo del bel sesso. A. T. of P. v. Winter's Ogus. 
 H trionfo del ben pubblico. See M. Curzio. 
 
 II trionfo del valore: A. T. of the ballet Amor pud tutto. 
 
 * 
 
 II trionfo dell' amicizia. A. T. of the ballet Lauso e Lidia. 
 
 II trionfo dell' amore & della costanza. Der triumph der Hebe 
 und bestaendigkeit, wurde [vignette] in einem sing-spiel auf dem 
 Hamburgischen Schau Platz fuergestellet im monath Januarius, 1718. 
 
 Hamburg, Friedrich Conrad Greflinger, n. d. Unpaged. 19. 
 
 German version by Johann Joachim Hoe, with scenario and very long argument, in 
 which we read: 
 
 "... dieses von fuernehmer hand herstammende schau-spiel [ist] auf dem Schau- 
 platz zu Wien, wiewohl auf eine gantz andere art, in welscher sprache fuergestellet 
 und von dem beruehmten kayserl. capellmeister Mona. Conty [Francesco Bartolomeo 
 ContiJ in die music gebracht worden: Selbige ist von dem verfasser der teutschen 
 poesie, anlangend die Arien ausser zwey oder drey schertzhafftedurchgehendsbehalten 
 worden, um den versuch zu thun, ob man nicht einige teutsche dem italiaenischen 
 metro gleichfoermige arien, verfertigen koenne, welche der schoenheit der music, 
 dem von dem musico wohl beobachteten nachdrucke der woerter und der reinlichkeit 
 [!!] der teutschen sprache nicht entgegen stuenden . . ." 
 
 The libretto contains practically only German text, but about half of the arias 
 appear also in Italian. 
 
 The Italian original, by Francesco Ballerini (von Weilen), was first performed at 
 Vienna, Hoftheater, January 21, 1711. SCHATZ 2199 
 
 II trionfo dell' Amore fra i pastori, ballet. See Sarti's Giulio 
 Sabino. 
 
 II trionfo dell' Arno. Cpmponimento drammatico fatto rappre- 
 sentare nel Teatro del Pubblico della citta di Pisa da XII cavalieri . . . 
 per festeggiare il primo faustissimo arrivo in detta citta de serenissimi 
 sposi Pietro Leopoldo, arciduca d'Austria . . . e Maria Luisa, 
 infanta di Spagna ... in Pisa Fanno MDCCLXVI. 
 [Pisa], Pompeo PoUoni, n. d. xxvii p. 25 cm . 
 
 Two acts. Dedication. Cav. Pio dal Borgo is mentioned as author, Giovanni 
 Gualberto Brunetti as composer. SCHATZ 1366 
 
 II trionfo dell' innocenza. A. T. of Gius. Rossi's Pietro il Grande.
 
 OPERA LIBRETTOS 1097 
 
 II trionfo della continenza. Drama per musica da rappresentarsi 
 nel famosissimo Teatro di SS. Gio. e Paolo 1'anno 1691 di Giulio 
 Cesare Corradi . . . 
 
 Venetia, Nicolini, 1691. 60 p. 14 cm . 
 
 Three acts. Argument, scenario, and name of Francesco Paris Algisi as composer. 
 
 Schatz gives the fall of 1690 as time of first performance, which would seem to be 
 contradicted by the information in the title and the date of imprint. SCHATZ 161 
 
 II trionfo della costanza. Dramma semi-serio da rappresentarsi 
 in musica nel Teatro di S. A. Serenissima il Signer Principe di 
 Carignano nella primavera dell' anno MDCCLXIX. 
 
 Torino, Onorato Derossi, n. d. 52 p. IJfif. 
 
 Three acts. Cast, scenario, name of the author, G. M. d'Orengo, and of the com- 
 poser, Carlo Defranchi (Franchi). SCHATZ 3329 
 
 II trionfo della costanza. Opera tragicomica per musica, com- 
 posta ... da Domenico Poggi per solennizare il giorno natalizio di 
 S. A. Reale Filippina Carlotta . . . 
 
 Bronsvic, n. pull., 1790. 76 p. 16. 
 
 Two acts. Argument, scenario, and name of Johann Gottfried Schwanberg as 
 the composer. 
 
 First performed at Brunswick, Hoftheater, March 13, 1790. SCHATZ 9767 
 
 II trionfo della costanza in Statira vedoya d'Alessandro. Drama 
 per musica da rappresentarsi nel Teatro di S. Angelo. II carnovale 
 dell' anno 1731. 
 
 Venezia, Carlo Buonarrigo, n. d. 86 p. 14 m - 
 
 Three acts. By Bartolomep Vitturi, who is not mentioned. Cast, name of Antonio 
 Galeazzi as composer, scenario, and argument, in which we read: 
 
 "Delia Statira di Monsieur Pradon furono tratti i caratteri, e 1'argomento del 
 preeente dramma, ma poi diversamente sceneggiato per accomodarlo all' uso dell' 
 Italiano Musicale Teatro." SCHATZ 3418 
 
 II trionfo della fedelta. Dramma pastorale per musica di E.[rme- 
 linda] T.[aleal P.[astorella] A.[rcada] 
 
 Dresda, la vedova Stossel e Giovanni Carlo Krause, 1754- 8 fold, 
 pi. (of which the last six numbered 1-6 and incl. front.), port., 63 p. 22%. 
 
 The platea were engraved by L. Zucchi after paintings by (1-5) B. Miillers and 
 (6-8) J. Roos. The portrait was designed by Steffano Torelli and engraved by L. 
 Zucchi. It represents in profile "Ermelind. Tal. P. A.," indicating as in the title- 
 page the Arcadian name of Maria Antonia Walpurgis, princess of Saxony, who wrote 
 both text and music of this opera, though neither was wholly her work. It is known 
 from her letters that she submitted her text to Metastasio for corrections and that 
 Hasse, her teacher, composed part of the music, though his name appears neither 
 in the libretto nor in the published score of the opera. 
 
 First performed at Dresden, Regio Elettoral Teatro, summer of 1754. SCHATZ 5949 
 
 II trionfo della innocenza. Drama per musica da rappresentarsi 
 nel Teatro di S. Angelo, 1'anno 1692. Di D. Rinaldo Cialli . . . 
 Venetia, Nicolini, 1692. 58 p. 15 cm . 
 
 Three acts. Author's dedication, argument, scenario, and notice to the reader 
 with name of Antonio Lotti as composer. SCHATZ 5724 
 
 II trionfo della liberta. Tragedia per musica. Da rappresentarsi 
 nel famosissimo Teatro Grimano di S. Gio. Grisostomo. L' anno 1707. 
 
 Venezia, Marino Rossetti, 1707. 84 p. 15. 
 
 Five acts. By conte Girolamo Frigimelica Roberti, who is not mentioned and 
 who filled 24 of the 84 p. with lengthy notices to the reader, notizia istorica, notizia 
 poetica, L'azione, II nodo, etc., etc. Scenario and name of Alessandro Scarlatti 
 as the composer. SCHATZ 9525
 
 1098 LIBRARY OF CONGRESS 
 
 II trionfo della pace. Festa teatrale per inusica da rappresentarsi 
 nel Regio Teatro di Torino nella primavera del 1782 alia presenza 
 delle Maesta Loro. 
 
 Torino, Onorato Derossi, n. d. viii, 40 p. 15^. 
 
 Two acts. Argument, cast, scenario, and names of the composer, Francesco 
 Bianchi, and the librettist, Cesare Oliveri. On p. 36-39 description, argument, and 
 cast of "L'inaspettata consolazione nelle sventure, ballo eroicomico." The second 
 ballet was called "Rinaldo nel giardino incantato d'Armida." Both were by 
 Domenico Ricciardi and composed by Vittorio Amedeo Canavasso. SCHATZ 991 
 
 II trionfo della pace. Dramma per musica da rappresentarsi per 
 I'aprimento del nuovo Regio-Ducal Teatro in Mantova la primavera 
 dell' anno 1783 . . . 
 
 Mantova, per I'erede di Alberto Pazzoni, n. d. 70 p. IS. 
 
 Two acts. Dedicatory poem, argument, cast, scenario, and names of Cesare Oliveri 
 as author, of Giuseppe Sarti as the composer ("La musica sara"). On p. [49J-70 
 prefatory note, argument, cast, scenario, and description of Innocenzo Gambuzzi's 
 ballets (music by Antonio Bonazzi) "Enea nel Lazio ed II pellegrinaggio o sia La 
 vindemmia fiamminga, ballo piacevole pantomime." 
 
 First performed, as indicated, May 10, 1783. SCHATZ 9478 
 
 II trionfo della pazzia. A. T. of Bernardini's II fonte d'acqua 
 gialla. 
 
 II trionfo della virtu. Dramma per musica da rappresentarsi nel 
 fambsissimo Teatro Grimani di San Gio. Grisostomo I'autunno dell' 
 anno MDCCXXIV . . . 
 
 Venezia, Marino Rossetti, n. d. 58 p. 16 cm . 
 
 Three acts. As appears from the notice to the reader, altered and condensed to 
 six characters from eight by unknown author from original text by Pietro dAverara, 
 who is not mentioned. Dedication, argument, cast, scenario, and name of Giovanni 
 Francesco Brusa. SCHATZ 1375 
 
 II trionfo della virtu. A. T. of von Schacht's La festa interotta. 
 
 II trionfo di Alessandro o sia La disfatto di Dario, ballet. See 
 Cimarosa's Oreste. 
 
 II trionfo di Alessandro o sia La disfatta di Dario, ballet. See 
 Sarti's Medonte. 
 
 II trionfo di Allesandro ossia La prigionia di Dario, ballet. See 
 Paisiello's Elfrida. 
 
 II trionfo di Alessandro o sia La prigionia di Dario, ballet. See 
 Piticchio's II militare amante. 
 
 II trionfo di Alessandro o sia La prigionia di Dario, ballet. See 
 Zanetti's Didone abbandonata. 
 
 II trionfo di Amore e di Marte, drama da rappresentarsi nel nobi- 
 
 lissimo Theatro Zane di S. Moise\ L'anno 1689. Dell' abbate Paolo 
 
 Emilio Badi, dottore de 1'ima, e Paltra legge . . . 
 Venetia, Zamaria Rossi, 1689. 5 p. 1., 46 p. 14 cm - 
 Three acts. Author's dedication, argument, scenario, and notice to the reader 
 
 with name of Antonio Lombardini as composer. SCHATZ 5679 
 
 II trionfo di Arianna, ballet. See Tarchi's La Virginia.
 
 OPERA LIBRETTOS 1099 
 
 II trionfo di Bacco. A. T. of Bernardini's II barone a forza. 
 
 II trionfo di Camilla, regina de' Volsci. Dramma per musica 
 di Silvio Stampiglia, tra gl'Arcadi Palemone Licurio . . . 
 
 Napoli, Domenico Antonio Parrino e Michele Luigi Mutio, 1696.- 
 2 p. I, 83 p. 13. 
 
 Three acts. Argument. T.-p. and list of characters have been supplied in ms., 
 as above. This was evidently done under the impression that the copy is one of the 
 Naples ed. (1696) of Marc Antonio Bononcini's opera, but as Wotquenne'a catalogue 
 proves, this should have 6 p. 1., 70 p., not 2 p. 1., 83 p. ! Consequently, our imperfect 
 copy belongs to some other edition. It is distinctly different from the next entry. 
 
 SCHATZ 1206 
 
 Camilla, regina de' Volsci. Drama da rappresentarsi in 
 musica nel famoso Teatro Vendramino 1'anno 1698 . . . 
 Venetia, Girolamo Albrizzi, 1698. 59 p. 14%. 
 
 Three acts. Publisher's dedication, dated Venice, October 4, 1698, scenario, argu- 
 ment, and preiatory note, in which it is stated: 
 
 "E convenuto ridurlo con molta fatica a quella brevita, ch'e indispensabilmente 
 necessaria al costume delle noetre scene." 
 
 Accordingly, the first act has 17 scenes, the second 15, the third 12, as against 15, 18, 
 15 in our imperfect copy. Also, the text differs noticeably in scenes otherwise the 
 same. For instance, imperf. copy has, in Scene I, act I, Camilla, "Ma piu di voi son' 
 io misera figlia;" Venice (1698) has, "O d'infelice re misera figlia." In the latter the 
 opera ends with a quartet, "Amore nel mio core;" the imperf. copy with a chorus, "A 
 tan to giubilo." The opera became known under many titles besides the two here 
 given: "Regina de' Volsci," "La fede in cimento o sia, Camilla, regina de' Volsci," 
 "Amore per amore," "La rinovata Camilla." SCHATZ 1208 
 
 - II trionfo di Camilla regina de' Volsci, drama per musica di 
 Silvio Stampiglia tra gl' Arcadi Palemone Licurio. Da rappresen- 
 tarsi nel Teatro da S. Sebastiano 1'anno 1701 . . . 
 
 Livorno, Jacopo Valisi, 1701. 72 p. 18. 
 
 Three acts. Dedication, argument, scenario. The composer, probably Marc' 
 Antonio Bononcini, is not mentioned. ML 50.2.T82B9 
 
 - Camilla. An opera. As it is performed at the Theatre Koyal in 
 Drury-Lane, by Her Majesty's servants. 
 
 London, Jacob Tonson, 1706. 3 p. I, 38, [2] p. 21%. 
 
 On last (unnumb.) page, publisher's book list. 
 
 Three acts , prologue , and epilogue . Cast and dedication by " Owen S winy , ' ' which 
 reads, in part: 
 
 "The mighty encouragement musick has lately met with in England, is not only 
 an effect of the true taste our nobility and gentry entertain of that nice science, but 
 an instance that we have some among us, who may be able in time to bring it into a 
 eetled reputation. Hitherto it seem'd confin'd to the more Southern climates, as if 
 it had been the peculiar product of those happier countries; and languish'd, like 
 tender exoticks, when remov'd into our colder region. But some late attempts have 
 made it appear, that the English genius is not so inharmonious, but that a publick 
 encouragement may render us capable of contending for the mastery with the Italians 
 themselves. 
 
 "This consideration made me ambitious of addressing the following essay to Your 
 Ladyship [Lady WhartonJ, which is design'd to introduce a foreign composition, that 
 may serve at present to give ue a taste of the Italian musick, and in time prove a foil 
 to the English ..." 
 
 Owen MacSwiney mentions neither Stampiglia, whose "II trionfo di Camilla" he 
 simply translated, nor M. A. Bononcini. Nor does he mention Niccolo Francesco 
 Haym. If Grove's Dictionary says: 
 
 Camilla (adapted from Buononcini, to a libretto by Owen Mac Swiney) was 
 Haym's first opera, produced at Drury Lane, April 30, 1706." 
 
 this information is partly misleading, partly incorrect, since a comparison between 
 the score of "The songs ... in Camilla" (London, Walsh) and the ma. score oi 
 Bpnoncini's opera proves that the latter was performed at London practically intact, 
 without additions by Haym or any other composer. . LONGE 132
 
 1100 LIBRARY OF CONGRESS 
 
 II trionfo di Cesare in Egitto, ballet. See Monza's Cleopatra. 
 
 II trionfo di Clelia. Dramma scritto . . . dall' autore in Vienna, 
 ^e rappresentato nella Cesarea Corte la prima volta, con musica dell 
 *Hasse ... in occasione del felicissimo parto di S. A. R. 1'arci- 
 
 duchessa Isabella di Borbone 1'anno 1762. 
 
 pi., [3]-94 p. 26 cm . (Metastasio, Opere, t. ix, Parigi, vedova Heris- 
 sant, 1781.) 
 
 Three acte. Argument. ML 49.A2M44 
 
 II trionfo di Clelia. Dramma del celebre Signor abate Pietro 
 Metastasio ... da rappresentarsi per musica in Bologna nell 
 primayera dell' anno 1763 in occasione della prima apertura del Nuovo 
 J^ubblico Peatro inventato dal celebre Sig. Cavaliere Antonio Galli 
 Bibiena . . . 
 
 Bologna, Giam Battista Sassi, n. d. 79, [1] p. 21% cm . ' 
 Three acts. Argument, cast, scenario, and name of Cristoforo Gluk (Gluck) as the 
 composer. With the opera were performed (composers of the music not mentioned) 
 Augusto Hus's ballets. "II riposo interotto" and "Le fontane incantate" briefly 
 described in the libretto. 
 
 First performed, as indicated, May 14, 1763. ML 48.M2E 
 
 II trionfo di Clelia. Dramma per musica da rappresentarsi in 
 occasione del felicissimo parto di S. A. R. Parciduchessa Isabella . . . 
 In Vienna Fanno MDCCLXII. 
 n. i., n. d. Unpaged. 21% cm . 
 
 At end: "Vienna, nella Stamperia di Ghelen 1762." Frontispiece,' ornamental 
 title page, head and tail pieces, etc., designed by different artists, engraved by A. 
 Tischler. 
 
 Three acts. Argument, cast, scenario, and names of Metastasio as author, of Joh. 
 Ad. Hasse as composer. 
 
 First performed at Vienna, Burgtheater, April 27, 1762. SCHATZ 4566 
 
 Die triumphirende Claelia, ein theatralisch-musicalisches schau- 
 spiel, so bey der gluecklich erfolgten entbindung Ihrer Koenigl. 
 Hoheit . . . Isabella ... in Wien aufgefuehret worden im janr 
 1762. Verfasset von herrn abbate Metastasio . . . und in das 
 teutsche uebersetzt von J. A. E. v. G. 
 
 [Wiew], Gedruckt mit von Ghelisclien schriften, n. d. Unpaged. 
 15\ cm . 
 
 Three acts. Translated by Johann Anton, edler von Ghelen. Argument, cast, 
 scenario, and name of Hasse as the composer. SCHATZ 4567 
 
 II trionfo di Clelia. Dramma per musica da rappresentarsi nel 
 Real Teatro dell' Ajuda nel felicissimo giorno natalizio del fedelissimo 
 monarca D. Giuseppe I ... nel di 6. giugno, 1774. 
 
 [Lisbona}, Stamperia reale, n. d. 70 p. 14 cm - 
 
 Three acts. Argument, cast, scenario, and names of Metastasio as author, of Nic- 
 co!6 Jommelli as composer ("nuova composizione," consequently Abert's 1772 on 
 p. 93 of his Jommelli (biography would appear to be incorrect). The date in the 
 score at Naples, San Carlo 1757, if correct, would mean that the Liseabon score was a 
 Second setting. SCHATZ 4883
 
 OPERA LIBRETTOS 1101 
 
 II trionfo di Clelia. Dramma per musica da rappresentarsi nel 
 nuovo Teatro di Corte . . . nel carnevale dell' anno MDCCLXXVI. 
 La poesia 6 dell Sig. abbate Pietro Metastasio . . . La musica & del 
 Sig. Giuseppe Micnl . . . 
 
 Monaco, Francesco Giuseppe ThuiUe, n. d. 8 p. I., 145, [42} p. 
 15. 
 
 Three acts. Argument, scenario, and cast. German title page, "Der sieg der 
 Clelia," and text face Italian. The unpaged part contains in French and Italian 
 cast and description of Trancart's ballets "Telemaque dans 1'isle de Calypso" ("Tele- 
 mach in der insel der Calipso") and "Venus et Adonis" ("Venus und Adonis"). 
 The composers of the music are not mentioned. SCHATZ 6489 
 
 II trionfo di Clelia. Dramma per musica da rappresentarsi nel 
 Regio Teatro di Torino nel carnovale del 1768 . . . 
 Torino, Onorato Derossi, n. d. viii, 61, [1] p. 16 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, 
 and name of Joseph Mislrweczek as the composer. On p. 59-61 description of the 
 ballets that were performed with the opera. Only the first "Egle e Dafni" had a 
 special title. It was invented by Antonio Pitrot and Giuseppe Antonio Le Messier 
 composed the music. 
 
 First performed, as indicated, December 26, 1767. SCHATZ 6531 
 
 II trionfo di Clelia. Nuovo dramma del celebre Antonio Simone 
 Sografi da rappresentarsi in musica nel Teatro grande alia Scala di 
 Milano il carnevale del 1799. Correndo 1'anno VII. Repubblicano. 
 
 Milano, Gio. Batista Bianchi, n. d. 53, [3] p. 16 cm . 
 
 Two acts.. Impresario's and author's prefatory notes, cast, scenario, and name 
 of Sebastiano Nasolini as the composer ("La musica e tutta nuova "). 
 
 On p. [27J-36 argument, cast, and description of Urbano Garzia's ' ' II Bruto Milanese 
 ossia La congiura contro Galeazzo Maria Sforza Visconti, ballo tragico-pantomimo," 
 on p. [55]-56 of his ballet "L'oracolo." The composers of the music are not mentioned. 
 
 First performed, as indicated, December 26, 1798. SCHATZ 7028 
 
 Second copy. ML 48.A5 v.l 
 
 II trionfo di Clelia, dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1787 . . . 
 
 Torino, Onorato Derossi, n. d. viii, 72 p. 15% cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, cast, scenario, and 
 name of Angelo Tarchi as the composer. On. p. 65-72 cast and description of Sebas- 
 tiano Gallet's four-act "II signore benefico, ballo pantomimo,' music by Vittorio 
 Amedeo Canavasso. 
 
 First performed, as indicated, December 26, 1786. SCHATZ 10222 
 
 II trionfo di Flavio Olibrio. Drama per musica da rappresentarsi 
 nel f amosissimo Teatro Grimani a S. Gio. Grisostomo. Nell' autunno 
 1726 . . . 
 
 Venezia, Marino Rossetti, 1726. 58 p. 15. 
 
 Three acts. Later version of "Flavio Anicio Olibrio " by Apostolo Zeno and Pietro 
 Pariati, who are not mentioned. Impresario's dedication dated Venice, November 
 23, 1726, argument, cast scenario, and name of Giovanni Porta as the composer. 
 
 SCHATZ 8382 
 
 II trionfo di Gedeone. Dramma sacro per musica da rappresen- 
 tarsi nel Regio Teatro di via della Pergola la quadragesima del 
 1798 . . . 
 
 Firenze, Stamperia Albizziniana . . . per Pietro Fantosini, 1798. 
 40 p. 16%. 
 
 Two acts. Author not mentioned and unknown to Schatz. Argument, cast, and 
 name of Giuseppe Moneta as composer. ("La musica e tutta nuova.") 
 
 SCHATZ 6553
 
 1102 LIBRARY OF CONGRESS 
 
 II trionfo di Oiuditta o sia La morte d'Oloferne. See the A. T. 
 
 II trionfo di Gustavo re di Svezia, ballet. See Paer's II nuovo 
 Figaro. 
 
 II trionfo di Maggio, vincitor della peste. Favola musicale. 
 
 Girolamo Bartolommei Smeducd, Drammi musicali morali, Firenze, 
 1656, v. i, p. [131]-181. 23. 
 
 Prologue and three acts. Argument, allegoria, and dedication to Ferdinando II., 
 Gran duca di Toscana, in which he says: 
 
 "... m'ayvisai, che potesse per avventura non dispiacere, se con poetico stile lo 
 n'offerissi dipinto 1 'abbominoso moetro della peste; il quale n'afflisse la bell' Italia, 
 non perdpnando alia Toscana. Quindi composi la presente fayoletta musicale del 
 Trionfo di Maggio; gia che cesso in un tal tempol'infettantecontagio." ML49.A2B3 
 
 II trionfo di Pallade in Arcadia. Drama pastorale da rappresen- 
 tarsi in musica nel carnovale dell' anno 1716 nel Teatro Marsiglj 
 Rossi . . . 
 
 Bologna, Costantino Pisarri, 1715. 50, [1] p. 15. 
 
 Three acts. By conte Otto Mandelli. Dedication dated December 26, 1715, 
 argument, cast, scenario, and name of Floriano Aresti, composer, but not of librettist. 
 
 SCHATZ 312 
 
 II trionfo di Rodrigo, ballet. See Sard's Giulio Sabino. 
 
 II trionfo di Scipione in Cartagine. Dramma per musica da rap- 
 presentarsi nel Regio Teatro di via della Pergola il carnevale del 
 MDCCXCV . . . 
 
 Firenze, Pietro Fantosini, 1795. 36 p. 
 
 Three acts. Argument and cast. "La poesia e tutta nuova del Sig. C. M. La 
 musica e espressamente tutta nuova del celebre . . . Giuseppe Curcio ..." 
 
 SCHATZ 2307 
 
 II trionfo improwiso, ballet. See Pugnani's Demetrio a Rodi. 
 
 A trip to Bath. A. T. of The snuff-box. 
 
 A trip to Jamaica. A. T. of The sailor's opera. 
 
 A trip to Portsmouth. A. T. of S. Arnold's Britain's glory. 
 
 The trip to Portsmouth; a comic sketch of one act, with songs. 
 
 London, T. Waller, T. Becket [etc.], n. d. 51 p. 19. 
 
 Cast, prologue, and Advertisement, in which the author, George Alexander Ste- 
 phens (not mentioned), says that "these detached scenes," "begun and finished in 
 five days, ' ' were inspired ' ' by the late naval review at Portsmouth. ' ' The composer, 
 Charles Dibdin, is not mentioned. 
 
 First performed at London, Haymarket Theatre, August 11, 1773. LONGE 40 
 
 A trip to the Nore. A musical entertainment in one act. As per- 
 formed by Their Majesty's servants at the Theatre-Royal, Drury- 
 Lane. By Andrew Franklin . . . 
 
 London, George Cawthorn, 1797. 22 p. 21 cm . 
 
 Cast and prefatory note, according to which the text was written in less than a day, 
 "to pay a just tribute of respect and applause to those gallant heroes who distinguished 
 themselves in the late glorious action against the Dutch." The text of the song, 
 "Why, Jack, my fine fellow," is credited, as also the text of the song "O'er the rude 
 rocks," to John Grubb. The final medley is one of four British national airs. The 
 composer and arranger is not mentioned, and is unknown to Schatz, but Dibdin con- 
 tributed "Why, Jack, my fine fellow." 
 
 First performed November 9, 1797. LONGE 244
 
 OPERA LIBBETTOS 1103 
 
 The triple wedding. A. T. of A pill for the doctor. 
 
 Gesaenge aus dejn singspiele Der triumpf der liebe, in vier auf- 
 zuegen, von Jester. In musik gesetzt von C. D. Stegmann. 
 
 Hamburg, Freystatzky und Robe, 1796. 72 p. 15\ cm . 
 
 First performed at Hamburg, Theater beim Gansemarkt, April 4, 1796. 
 
 SCHATZ 10044 
 
 II triumfo del fato oder Das maechtige geschick bei Lavinia und 
 Dido. Wie solches am 15. [25.] novembris als den glorwuerdigsten 
 nahmens-tag des . . . Reisers Leopolds in aller-unterthaenigstem 
 gehorsam auf deni Hamburgischen Schauplatz in einem singe-spiel 
 auffgefuehret worden im jahr 1699. 
 n. i., n. d. Unpaged. 16 cm . 
 
 Badly cut copy. 
 
 Three acts. Neither the translator, Gottlieb Fiedler, nor the composer, Agostino 
 Steffani, nor the original author, Ortensio Mauro, is mentioned. The original 
 Italian title was "I trionfi del fato," to which, in the same year, was added the A. T. 
 "Legloried'Enea." 
 
 First performed, as "I trionfi del fato." at Hanover, December, 1695. 
 
 SCHATZ 10037 
 
 Der triumph, der Ariadne. Tr. of Righini's II trionfo d'Arianna. 
 
 Triumph der grossmuth und treue oder Cleofida, koenigin von 
 Indien. Tr. of Handel's Poro re d'ltalia. 
 
 Der triumph der liebe und bestaendigkeit. Tr. of Conti's II 
 trionfo dell' amore & della costanza. 
 
 Der triumph der treue. A. T. of P. Guglielmi's Robert und 
 Kalliste. 
 
 Der triumph der tugend. A. T. of von Schacht's Das unter- 
 brochene fest. 
 
 Der triumph des Amors. A. T. of Jommelli's Endymione, 1759. 
 
 Der triumph des Amors. Tr. of Jommelli's II trionfo d' am ore, 
 1763. 
 
 Der triumph des schoenen geschlechts. Tr. A. T. of P. v. 
 Winter's Ogus. 
 
 The triumph of beauty. A. T. of The judgment of Paris, ballad 
 opera. 
 
 The triumph of conjugal love. A. T. of Noverre's ballet Alceste. 
 
 
 
 Airs, chorusses, etc in the Triumph of mirth; or, Harlequin's 
 wedding. 
 
 London, n. publ, 1782. 15 p. 20. 
 
 Neither author nor composer, Thomas Linley, the elder, mentioned. 
 
 First performed at London, Drury-Lane, 1782. ML 52.2.T81
 
 1104 LIBRARY OF CONGRESS 
 
 The triumph of nature. A. T. of Markoe's libretto The reconcilia- 
 tion. 
 
 The triumph of peace. A masque, presented by the Foure Honour- 
 able Houses, or Innes of court . . . [mutilated] the King and Queenes 
 Ma . . . [mutilated] the Banquetting-house at White Hall, [muti- 
 lated] February the third, 1633. Invented and written by James 
 Shirley . . . 
 
 London, Printed by John Norton, for William Coolce, 1638. 1 p. I., 
 8, 24. p. 17. 
 
 Text contains 9 songs and detailed description. On the last page the note: 
 
 "The scene and ornament, was the act of Inigo Jones . . . The composition of 
 the musicke, was perform'd by Mr. William Lawes, and Mr. Simon Ives, whose art 
 gave an harmonious soule to the otherwise languishing numbers." 
 
 Grove adds Henry Lawes as composer. LONGE 188 
 
 The triumph of peace. A masque. Perform'd at the Theatre 
 Royal in Drury-Lane. On occasion of the general peace, concluded 
 at Aix la Chapelle, October 7th, 1748. Written by R. Dodsley. 
 Set to musick by Mr. Arne. 
 London, R. Dodsley, 1749. 15 p. 20. 
 
 One act. 
 
 First performed, as indicated, February 21, 1749. AC901.M5 v.519 
 
 Die triumphirende Claelia. Tr. of Hasse's II trionfo di Clelia. 
 Den troe bruud. Tr. of P. Guglielmi's La sposa fedele. 
 Die Trofonius hoehle. Tr. of Paisiello's La grotta di Trofonio. 
 Trofons zauberhoele. Tr. of Salieri's La grotta di Trofonio. 
 
 Les trois comeres. Piece en trois actes. Par M rs Le S * *. & 
 d'Or * *. Represent ee a la Foire S. Germain 1723. 
 Le Theatre de lafoire, Paris, 1737, t. ix, [423]-568 p. 17 cm . 
 
 By Le Sage and D'Orneval. Largely en vaudevilles. The airs, selected or com- 
 posed and arranged by Jean Claude Gillier, are printed at the end of the volume in 
 the "Table des airs." ML 48.L2IX 
 
 Les trois fermiers, comMie en deux actes, en prose, et mele'e 
 d'ariettes, repre'sente'e pour la premiere fois, par les Come'diens ita- 
 liens ordinaires du roi, le 12 mai 1777. Par M. Monvel. 
 
 Paris, Vente, 1777. 2 p. 1., 87, [1] p. 21. 
 
 Cast. Dezede, the composer, is not mentioned. On p. [1-4] a prefatory note in 
 which Monvel refers to an anecdote in "Les Eph 6m brides du Citoyen, tome 2, anne 
 1769 " as source of his plav in answer to imputations of his critics 
 
 Correct date of first performance, according to Schatz, May 24, 1777. 
 
 ML 50.2.T83D2 
 
 Les trois fermiers, comedie en deux actes et en prose, mele'e 
 d'ariettes; represented pour la premiere fois par les Come'diens ita- 
 liens ordinaires du roi, le 16 mai 1777. rar Monsieur Monvel. 
 Nouvelle Edition. 
 
 Paris, N. B. Duchesne, 1781. 40 p. 20 cm . 
 
 Dezdde, the composer, is not mentioned. ML 50.2.T83D3
 
 OPERA LIBBETTOS 1105 
 
 Les trois comeres Continued. 
 
 Les trois fermiers, comedie en deux actes, en prose, et melee 
 d'ariettes; represented pour la premiere fois par les Come'diens 
 italiens ordinaires du roi, le 16 mai 1777. Par M. Monvel. 
 
 Paris, Vente, 1782. 64 p. 19$. 
 
 With cast and author's preface, in which he narrates the anecdote on which his 
 plot is founded. Dez&de, the composer, is not mentioned. On p. 57-64 "Airs des 
 Trois fermiers. No.l. Romance. Faut attendre avec patience . . . No. 2. Chanson. 
 Je le compare avec Louis . . . No. 3. Romance en rondeau. Dre's 1'instant que je 
 vis . . . No. 4. Vaudeville. Sans uii petit brin d 'amour." SCHATZ2523 
 
 Die drey paechter. Ein singspiel in zwey aufzuegen. Aus dem 
 franzoesischen des hrn. MonveT. Uebersetzt von Eerrn Wilhelm 
 Gottlieb Becker. Aufgefuehrt im k. k. Hoftheater naechst dem 
 Kaerntnerthor. 
 
 Wien, beym logenmeister, 1785. 72 p. 16. 
 
 First performed, as indicated, October 28, 1785; at Francfort o/M, Theater im 
 Junghof, April 21, 1779. SCHATZ 2524 
 
 Trois nouvelles entrees. See Fragments de Mr. de Lully. 
 Les trois souhaits. A. T. of Philidor's Le bucheron. 
 Les trois sultanes. A. T. of Gilbert's Soliman Second. 
 
 Troja distrutta. Dramma per musica da rappresentarsi nel Nupvo 
 Regio Ducal Teatro di Milano per il secondo spettacolo nel suo primo 
 aprimento nel corrente autunno dell' anno 1778 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 55, [1] p. 16%. 
 
 Three acts. By Mattia Verazj, who is not mentioned. His remarks addressed 
 "Al rispettabiliasimo pubblico di Milano" are very instructive reading and show, if 
 nothing else, how authors dreaded the caprices and "inveterate" traditions of the 
 Milanese public. Dedication, argument, cast, and name of Michele Mortellari as 
 the composer ("La musica e nuova composizione"). With the opera were performed 
 the anonymous ballets "Calipso abbandonata" and "La gelosia. 
 
 First performed, as indicated, September 1, 1778. SCHATZ 6687 
 
 II Trojano schernito in Cartagine nascente e moribonda. 
 
 Dramma per musica, nel Teatro a San Samuele. 
 
 Venezia, Antonio Mora, 1743. 2 p. 1., 7-45 p. 15%. 
 
 Three acte. Note on 2d p. 1.: "Le parole sono d'autore incognito. La musica e 
 di quattro virtuosi maestri." Wiel mentions Giuseppe Imer as author of this parody 
 of Metastasio's "La Didone abbandonata." ML 48. A5 v.10 
 
 Le trompeur trompe, ou La rencontre impreVue. Opera comique 
 en un acte, par M. Vade. Represente pour la premiere fois sur le 
 Theatre de la Foire S. Germain, le 18 fevrier 1754 . . . 
 
 Paris, DucJiesne, 1754. 61, [S] p. 18% cm . 
 
 On the [3] p. a list of plays published since 1747. En vaudevilles. The arranger 
 of the music unknown to me. On p. 56-61 the same airs as below. Not to be con- 
 fused with Blaise's opera of the same title (1767), in which Vad6's text had been 
 retouched by Framery. ML 50.2.T835 
 
 Le trompeur trompe, ou La rencontre imprevue. Opera-comique 
 en un acte, par M. Vade". Represented pour la premiere fois sur le 
 Theatre de la Foire S. Germain le 18 fevrier 1755. 
 
 La Haye, Pierre Gosse, 1759. 67 p. 16. (Vade, Oeuvres, La 
 Haye, 1760, t. ii.) 
 
 One act, en vaudevilles. On p. 61-67 the three airs notes: "De tous les coetirs," 
 "De m6me qu'une tincelle," "Quand on se rend." ML 49.A2V2 
 
 72251 VOL 114 70
 
 1106 LIBRARY OF CONGRESS 
 
 Les trompeurs trompes, divertissement en un acte, a 1'occasion de 
 la f&te de Madame de la Garde, pour la veille de Sainte-Anne, sa 
 patrone: repre'sente' le 27 juillet 1772, au Chateau de la Cour-Neuve. 
 
 n. pi, Aux Vertus, 1772. 102 p. 20. 
 
 Cast. On p. 69-95 "Bouquet pour Annette," the romanza "Dee bouquets le plus 
 simple" (airs only), "Chanter pour 1'aimable Annette" (with ace.), "Aupres d An- 
 nette, rassemblons-nous " (air only), "Je r6ve en vain" (with ace.) 
 
 Not recorded by Cl. & L., Schatz or Towers. SCHATZ 11517 
 
 Tropotipo. Intermezzi per musica di Ortanio, Past. Arc. Da rap- 
 presentarsi nel Teatro Grimani di S. Samuele. Nell' autunno dell' 
 anno presente 1726. 
 
 Venezia, Marino RosseUi, 1726. 21 p. Iff. 
 
 Three parts. By Domenico Lalli. Cast and name of Giovanni Battista Pescetti 
 as the composer. SCHATZ 7963 
 
 Les troqueurs, en un acte. Par M. Vade*. Represented pour la 
 premiere fois sur le Theatre de la Foire S. Laurent le 30 juillet 1753. 
 Suivi du Rien; parodie des parodies de Titon et L'Aurore. 
 
 La Haye, Pierre Gosse, 1759. 24 p. 16 cm . (Vade, Oeuvres, La 
 Haye, 1760, t. ii.) 
 
 One act. The parody and the "Airs choisis dee Troqueurs," which should follow 
 according to the table of contents, are wanting. The composer, Antoine Dau- 
 vergne, is not mentioned. 
 
 The Ms. de Munich, published by Prod'homme (Sammelbande d. I. M. G. July- 
 September, 1905) , gives the date of first performance as July 29, 1753. ML 49. A2V2 
 
 Les troqueurs, ope"ra bouffon, interme'de. Par Mr. Dauvergne. 
 1761. 
 
 n. i., n. d. 17 p. 21. 
 
 One act. By Jean Joseph Vade", who is not mentioned. ML 50.2.T84D3 
 
 Les troubadours. See Floquet's L'union de 1' amour et des arts. 
 
 Les Troyennes en Champagne, opera-comique en un acte. Par 
 M. Vade" represents pour la premiere fois sur le Theatre de FOpera- 
 comique du Fauxbourg St. Germain, le 1 fe"vrier 1755. 
 
 La Haye, Pierre Gosse, junior, 1759. (Vade, Oeuvres, La Haye, 
 1759, t. Hi.} 52 p. 16. 
 
 En vaudevilles. Cast. On p. 49, the air note of the rondo "Ne lisons jamais dans 
 1'avenir." This was a parody of Chateaubrun's tragedy, "Les Troyennes " (1754). 
 
 Not recorded by Cl. & L., though entered (without name of composer) in "Anec- 
 dotes dramatique " by Clement and De Laporte. ML 49.A2V2 
 
 True-blue. L. T. of Carey's Nancy. 
 
 Das tugendhaffte lieben. See Graupner's Berenice e Lucilla. 
 
 v Tullia Superba. Drama per musica da rappresentarsi nel novo 
 Teatro di S. Angelo. L'anno 1678 . . . 
 
 Venetia, Francesco Nicolini, 1678. 64 p. 13\ cm 
 
 Three acts. Dedication dated Venice, January 29, 1678, and signed by the sup- 
 posed author, Antonio Medolago. Notice to the reader, calling this libretto "le 
 primizie del mio povero ingegno," and mentioning Domenico Freschi as the com- 
 poser, argument, and scenario. SCHATZ 3356
 
 OPERA LIBRETTOS 1107 
 
 Tullo Ostilio. Drama per musica del Sig. Adriano Morselli da 
 rappresentarsi nel famoso Teatro di Tor di Nona . . . 
 
 Roma, Buagni, 1694. 72 p. 13 cm . 
 
 Three acts. Impresario's dedication, cast, scenario, and prefatory note, in which 
 it is stated : 
 
 "Comparisce per la seconda opera su queste scene, il Tullo Ostilio, bensi in gran 
 parte mutata per quello che risguarda all arie da Palemone Licurio [= Silvio Stam- 
 piglia] havendovi levate, & aggiunte alcune scene con qualche poca variazione in 
 diverei passi de' recitativi ... La musica in pochi giomi 1'ha partorita il fertile 
 ingegno del Signor Gio. Bpnoncini." 
 
 Consequently the opening remark in the dedication that "il Tullo Ostilio, che sin 
 ora con eommo applaueo ha passeggiato i piu famoei teatri d' Italia vienea far mostra di 
 si in questo di Koma," appears to apply to the libretto, with music by some other 
 composer, possibly by Marc Antonio Ziani, first performed at Venice in 1685. Bonon- 
 cini^j setting was first performed, as indicated, during carnival, 1694. SCHATZ 1201 
 
 Tullo Ostilio. Dramma in musica da rappresentarsi nel nobile 
 Teatro di Torre Argentina il carnevale delP anno 1784 . . . 
 
 Roma, Cannetti, 1784. 40 p. 17. 
 
 Three acts. Francesco Ballani is mentioned as the author, Giuseppe Gazzaniga 
 ae the composer. Argument, scenario, and cast. With the opera were performed 
 Onorato Vigan6's "ballo eroico tragico pantomime Andromaca in Epiro" and "ballo 
 semitragico pantomimo II convitato di pietra," music for both by Luigi Marescalchi. 
 
 SCHATZ 3685 
 
 Tullo Ostilio. O. T. of Pescetti's I tre difensori della patria. 
 
 Tullo Ostilio. Drama per musica da rappresentarsi nel ristau- 
 rato famoso Teatro Vendramino di S. Salvatore. L'anno 
 MDCLXXXV . . . 
 
 Venetia, Francesco Nicolini, 1685. 64 P- 14 cm - 
 
 Three acts. By Adriano Morselli. Neither he is not mentioned, nor the composer, 
 Marc' Antonio Ziani. Publisher's dedication, argument, and scenario. 
 / First performed, as indicated, carnival, 1685. SCHATZ 11195 
 
 Le turc genereux. Entree in Rameau's Les Indes galantes. 
 
 La turca in cimento, ballet. See Andreozzi's Angelica e Medoro. 
 
 Gli Turchi amanti. L. T. of Cimarosa's I Traci amanti. 
 
 Turia Lucrezia. Dramma per musica da rappresentarsi nel Teatro 
 di Sant' Angelo nel carnevale dell' anno MDCCXXVI . . . 
 
 Venezia, Marino Rossetti, 1726. 58 p. 16 cm . 
 
 Three acts. Dedication by Domenico Lalli as author ("la presente mia opera"), 
 and dated Venice, December 26, 1725, argument, cast, scenario, and name of Antonio 
 Pollaroli as the composer. SCHATZ 8265 
 
 Turno Aricino. Drama per musica da rappresentarsi nel Teatro 
 del Falcone . . . 
 
 Genoa, Gio. Battista Scionico, 1702. 4 p. 1., 62, [4] p. 15. 
 
 Three acts. Argument, scenario, cast, and dedication by Giov. Batt. Scionico. 
 Neither the author, Silvio Stampiglia, is mentioned, nor the composer, Giuseppe 
 Antonio Vincenzo Aldrovandini. SCHATZ 140 
 
 Turno re de Rutoli. Dramma tragico per musica di Gio. Gastone 
 Boccherini Lucchese . . . 
 
 Vienna, Giovanni Tommaso de Trattnern, 1767. 64 p. 21 cm . 
 
 Three acts. Argument, scenario and dedication in which Boccherini says: 
 "L'ardente desio che ho di mostrare ogni mio poco ingegno, prima della mia desti- 
 
 nata partenza da questa Dominante, mi fa risolvere a dare alia luce un' opera teatrale, 
 
 senza aspettar 1'occasione che si produca in scena." 
 
 No composer or performance recorded by Schatz. ML 50.2. T9
 
 1108 LIBRARY OF CONGRESS 
 
 The turnpike gate; a musical entertainment, in two acts. Now 
 performing with universal applause, at the Theatre Royal, Covent- 
 Garden. By T. Knight. 
 London, G. G. and J. Robinson, 1799. 2 p. I, 52 p. 21%'. 
 
 Cast and "advertisement for the useof the theatres " to the effect that the "old, but 
 ridiculous" and contradictory "signs of P. S., meaning prompt side; and O. P. mean- 
 ing opposite prompt " have been replaced by "R. H. meaning right hand; and L. H 
 meaning left nand; (always supposing you are on the stage and facing the audience." 
 
 The composers, Joseph Mazzinghi and William Reeve, are not mentioned. 
 
 First performed November 14, 1799. LONGE 258 
 
 La Tusnelda o sia La disfatti di Vario, ballet. See Cimarosa's 
 Artaserse. 
 
 Le tuteur trompe o sia II maestro di musica, ballet. See Gelosia e 
 pazzia. 
 
 II tutore. Intermezzi ... In Dresde, Panno 1738. 
 
 See the 22 additional pages in Hasse 's Alfonso, (Dresda), 1738. He composed also 
 these intermezzi, the author of which is unknown to Schatz. 
 
 First performed at Naples, Teatro di San Bartolomeo, 1730; at Dresden, Hoftheater, 
 May 11, 1738. SCHATZ 4510 
 
 II tutore. Intermezzi da rappresentarsi in musica. 
 n. i., n. d. 4 5 P- 16% cm . 
 
 Two parts. Cast and note: "In Dresda Panno 1738." Hasse is not mentioned. 
 German title page, "Der vormund " and text face Italian. Obviously issued for the 
 convenience of a German audience for the same performance as above. SCHATZ 4569 
 
 Pandolfo. Intermezzo a due voci. 
 Venezia, Marino RoSsetti, 1789. 21 p. 15. 
 
 Two parts. Cast and name of Johann Adolph Hasse as composer. The text ie 
 that of II tutore." Was performed as intermezzi for Chiarini's opera "Achille in 
 Sciro." SCHATZ 4583 
 
 II tutore e la pupilla. Intermezzo per musica da rappresen- 
 tarsi nel Teatro dell' Opera Pantomima de Piccoli Hollandesi sopra 
 la Piazza de Cappuccmi. A Vienna, la prima vera dell' anno 
 MDCCXLVII. 
 
 n. i., n. d. Unpaged. 20*. 
 
 Two parts. Cast and name of Joh. Ad. Hasse as the composer. Same text as the 
 above. 
 
 First performed under this longer title at Hamburg, Opernhaus beim GSnsemarkt, 
 November 26, 1744. SCHATZ 4570 
 
 II tutore burlato. A. T. of Accorimboni's II podesta di Tufo antico. 
 II tutore burlato. A. T. of Insanguine's opera La finta semplice. 
 
 II tutore burlato o sia I matrimonii in maschera. L. T. of G. M. 
 Rutini's I matrimoni in maschera. 
 
 II tutore deluso o sia La semplice, intermezzo a quatro, da rappre- 
 sentarsi nel Teatro di Ratisbona . . . 
 
 [Regensburg], Gedruckt mit Zunkelischen schriften, n. d. 185, [1] p. 
 
 Two acts. Cast, name of Theodor, freiherr von Schacht as the composer, and 
 his "avertissement " : 
 
 "Get op6ra, qui peut dtre est un des anciens sortis d'ltalie, avait pour titre La 
 Semplice. C'est sous ce nom qu'il est connu et c'est sans contredit un des meilleurs
 
 OPERA LIBRETTOS 1109 
 
 
 
 H tutore deluso Continued. 
 
 que nous ayons de ce pais la ... Cependant ayant a representer un ope*ra devant 
 un public, dont une grande partie s'attache au de*faut de la langue, aux beaute"s d'un 
 chant aise et naturel, sans faire attention a des expressions trop rech cache's et indifl- 
 pensables au musicien, lorsque les paroles les demande; j'ai done fait changer par 
 Monsieur Friggieri, presque tout le caractere du premier acteur Giacinto, qui, outre 
 eon ingenuit^, tait farci de cee expressions empoulle's difficiles a saisir d'abord, 
 meme a des connoisseurs de la langue. J'ai de plus ajoute" quelque airs du celebre 
 Metastasio ..." 
 
 German title-page, "Der betrogene vormund oder Das einfaeltige maedgen," and 
 text face Italian. 
 
 Must have been performed after 1780. SCHATZ 9564 
 
 II tutore e la pupilla. L. T. of Basse's II tutore. 
 
 II tutore in scompiglio, ballet. See Tarchi's II matrimonio per 
 contrattempo. 
 
 II tutore ingannato, ballet. See Anfossi's Azor, re di Kibinga. 
 
 II tutore ingannato. Dramma giocoso per musica. Da rappre- 
 sentarsi nel Teatro di San Samuelle il carnovale dell' anno 1774. 
 Venezia, Modesto Fenzo, 1774. 56 p. 17% cm . 
 
 Three acts. Author n'ot mentioned and unknown to Schatz. Cast, scenario, and 
 name of Luigi Marescalchi as the composer. With the opera were performed Onorato 
 Vigano's ballets "Diana sorpresa" (described on p. 28-29) and 'Amore trionfator 
 dellamagia." The composer of the music is not mentioned. SCHATZ 5945 
 
 II tutore ingannato, ballet. See Paisiello's II Sismano nel Mogol. 
 II tutore sorpreso, ballet. See Tarchi's Giulio Sabino. 
 
 Tutto per amore. Dramma giocoso per musica da rappresentarsi 
 nel Teatro di S. A. E. di Sassonia. Composto dal Sign. Caterino 
 Mazzola . . . 
 
 Dresda, n. pull., 1785. 131 p. 15. 
 
 Two acts. Johann Gottlieb Naumann is mentioned as the composer. German 
 title page, "Alles aus liebe," and text face Italian. 
 
 First performed, as indicated, March 5, 1785. SCHATZ 7057 
 
 - Elskovs magt. Et syngespil i to acter, af Caterino Mazzola, 
 hvortil musikken er componeret af Naumann. Oversadt af Lars 
 Knudsen. 
 
 Ki&benliavn, S^nnicksens forlag , 1791. 110 p. 16% cm . 
 First performed at Copenhagen, Kongelige Theater par Kongens Nytorv, April 12, 
 1791. SCHATZ 7063 
 
 De twee standbeelden; zangspel, met balletten door den burger 
 Pieter Pypers. 
 
 Amsteldam, J. Helders en A. Mars, 1798. 4 P- Z., [vi], 127, [1] p. 
 
 Four acts. Dedication by the author dated "Amsterdam, 14 van wintermaand, 
 1797," and " Voorrede," dated "30. van Louwmaand, 1798," with the name of Barthol- 
 omaeus Ruloffs as the composer. 
 
 First performed at Amsterdam, Nationale Schouwburg, 1798. SCHATZ 9150 
 
 2, 5, 3, 8. A. T. of Storace's The prize.
 
 1110 LIBRARY OF CONGRESS 
 
 The two harlequins. A farce of three acts. Written by Mr. 
 Noble. And acted by the King's Italian comedians at Paris. And 
 now perform'd by the French comedians at the Theatre in Lincoln's 
 Inn Fields. 
 
 London, W. Hears and W. Chetwood, 1718. (double) 43 p. 19. 
 
 French original, "Lea deux arlequins " (by the elder Riccoboni), faces the English 
 translation. 
 
 First performed at Paris, March 20, 1718! LONGE 262 
 
 The two misers : a musical farce. As it is performed at the Theatre 
 Royal in Covent-Garden. By the author of Midas, and the Golden 
 pippin. 
 
 London, G. Kearsley, 1775. 3 p. I, 32 p. 19$ cm . 
 
 Two acts. By Kane O'Hara. Cast and note: 
 
 "The following scenes are taken from a justly admired piece entitled, Les deux 
 avares [by Fenouillot de Falbaire]. The bare out-line only or the finish'd characters, 
 with just enough of the dialogue to connect the incidents, has been retain 'd in order 
 to reduce the whole within the compass of an English farce ..." 
 
 The composer, Charles Dibdin, is not mentioned. How much, if any, of Gre"try's 
 music he borrowed, is unknown to me. In Johnston's vocal score of "The two 
 misers" Dibdin is not mentioned, and the title page says " The music selected from 
 the works of the most celebrated composers." In our copy the name of Dr. Hayes 
 is added in pencil to the duet " Now gossip strike home and that of [Felice] Giar- 
 dini to the catch "Fill ev'ry man his cup. 
 
 First performed, as indicated, January 21, 1775. LONGE 32 
 
 The two queens of Brentford: or Bayes no poetaster: A musical 
 farce, or comical opera. Being the sequel of the famous Rehearsal, 
 written by the late duke of Buckingham. With a comical prologue 
 and epilogue. 
 
 London, T> 'Tlwm CTietwood, 1721. 88 p. 19. 
 
 Five acts. Neither Thomas Durfey, the author, is mentioned, nor the composer. 
 Possibly the text was not composed. No performance recorded. LONGE 169 
 
 The two Sosias. A. T. of Purcell's Amphitryon. 
 
 Two to one. A comic opera, in three acts. As performed at the 
 Theatre-Royal, Hay-market, and Smock-alley. Written by George 
 Colman, jun. . . . The music composed by Dr. Arnold. 
 
 Dublin, Printed for W. Wilson, 1785. 54 p., 1 1. 17. [Bound 
 with Thompson, James. Edward and Eleonora.] 
 
 Most of the music was composed by Arnold, but, as Harrison & co.'s vocal score 
 shows, he also utilized some ballad airs. For instance, for air IV, "Adzooks, old 
 Crusty" he used "Yankee Doodle." "When cruel parents" is headed in the vocal 
 score as composed by Philip Hayes. 
 
 First performed at the Haymarket June 19, 1784. PR 
 
 Den ubeboede 0e. Tr. of Traetta's L'isola disabitata. 
 
 Die uber eyffersucht und list triumphirende bestaendLige liebe, 
 aus der bekandten historic von Tamestris in ein drama zusammen 
 gezogen. 
 
 Wittenberg, August Koberstein, n. d. Unpaged. 19 cm . 
 
 Four acts. Dedication signed by the composer and author, Johann Paul Kuntze, 
 and his apologies to the reader, who is informed that the text 
 
 "mit samt der composition binnen 3. tagen muessen ihr ende sehen . . . Es 
 mangel t zwar den arien so viel an pense"en, als die recitative an historien abundiren. 
 Allein, was jenes verursachet, ist schon gemeldet. Hier aber hat, was sonst ein 
 oeff entlicher schauplatz und die action der personen verrichten, durch worte bedeutet 
 werden muessen." 
 
 It would seem that the opera was first performed in concert-form about 1720, at 
 Wittenberg, in the composer s Collegium musicum. SCHATZ 5315
 
 OPERA LIBRETTOS 1111 
 
 Gli uccellatori. Dramma di tre atti per musica. Rappresentato 
 per la prima volta in Venezia nel 1759 con musica del Gazman [!]. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, v. J$, 
 [159}-206 p. 18. PQ 
 
 Li uccellatori. Dramma giocoso per musica di Polisseno Fegejo, 
 Pastor Arcade. Da rappresentarsi nel Teatro Giustinian di S. MOIS& 
 il carnovale dell' anno 1759 . . . 
 
 Venezia, Modesto Fenzo, 1759. 58 p. 15. 
 
 Three acts. By Goldoni. Cast, scenario, and name of Florian Leopold Gass- 
 mann as the composer. SCHATZ 3617 
 
 Gl'uccellatpri. Dramma giocoso per musica da rappresentarsi 
 ne' Teatri Privilegiati di Vienna Fautunno dell' anno 1768. 
 Vienna, Glielen, n. d. 60 p. 16. 
 
 Three acts. Goldoni is mentioned as author and Florian Leopold Gassmami as 
 the composer. Schatz claims that this was his second setting; of the text. This 
 Vienna version of the libretto follows fairly closely that of the original, Venice, 1759. 
 Still, a number of differences are noticeable. For instance, the aria "Tusai cupido" 
 (I, 11) has become "Roccolina bella, bella," "Amor per te mi stimola" (III, 5 N has 
 become "Per te sospiro," etc., etc. SCHATZ 3627 
 
 Gl'uccellatori, ballet. See Robuschi's Li raggiri fortunati. 
 
 L'uccella trice. Intermezzi per musica da rappresentarsi nel Teatro 
 di S. Samuele nella fiera delF Ascensione dell' anno MDCCL. 
 Venezia, AW insegna delta Scienza, n. d. 19 p. 16. 
 
 Two parts. Author not mentioned and unknown to Schatz. Cast and name of 
 Niccolo Jommelli as the composer. 
 
 First performed, as indicated, May 6, 1750. SCHATZ 4873 
 
 - Intermezzo in musica, da representarsi nel Teatro Privileggiato del 
 Signer Pietro Moretti, in Dresda nel mese di giugn. 1762 intitolato II 
 matto Don Narciso. 
 
 -n 1 -n /7 99 rt 1 fi cm 
 
 II. I/., II. (Jb. && JJ. JLU . ^ 
 
 Two parts. Cast and note: "La musica e di diversi autori," among whom Schatz 
 includes Jommelli. The text is that of "L'Uccellatrice," but with so many differ- 
 ences as to almost hide the identity. SCHATZ 4874 
 
 Die ueber die liebe triumphirende weissheit, oder Salomon, in 
 einem singe-spiel auff dem grossen Hamburgischen Schau-platze vor- 
 gestellet im jahr 1703. 
 
 [Hamburg], mit Greflingischen schrifften, n. d. Unpaged. IS " 1 . 
 
 Three acts. Scenario and "vorrede," according to which "Der . . ..Koenig 
 Salomon " "vor einigen jahren " was performed at Brunswick, but: 
 
 "Dass man aber dieses schauspiel durchaus geaendert; und so wohl die music, 
 poesie als auch die invention und einrichtung anders und kuertzer gemacht, 1st aus 
 solchen ursachen geschehen, die ein jeder errathen kan, der die opern, das hiesige 
 theatrum und den gout der leute verstehet. Die eintzige partie von Salomon ist, 
 was die poesie und die music anbelanget, aus gewisser raison so geblieben; nur dass 
 man wegen der weitlaeufftigkeit vieles ausgelassen, und zuletzt eine neue arie hinzu- 
 gesetzet, welche wie auch eine andere arie des Salomons in der music neu ist, und 
 will man selbige aus unnoehtiger sorgfalt nicht beschreiben, weil ein jeder den grpssen 
 unterschied der alten und neuen composition leicht verstehen wird. Imgleichen 
 hatmanauf vornehmen befehl, . . . diese arie in dem dritten actumit eingeruecket: 
 Euch ihr schoenen augen muss ich lieben, und es dem hochgeneigten leser berichten 
 wollen, um nicht angesehen zu werden, als ob man sie vor die seinige ausgaebe . . ." 
 
 Neither the author, Christian Friedrich Hunold (called Menantes), is mentioned, 
 nor the composer, Reinhard Keiser. SCHATZ 5113
 
 1112 LIBRARY OF CONGRESS 
 
 TJlisse. Drajnma per musica di Domenico Lalli da rappresentarsi 
 nel Teatro di S. Angelo per 1'ultim' opera del carnevale dell' anno 
 MDCCXXV . . . 
 
 Venezia, Marino Rossetti, n. d. 56 p. 15. 
 
 Three acts. Author's dedication, cast, scenario, argument, and name of Giovanni 
 Porta as the composer. SCHATZ 8394 
 
 Ulisse al Monte Etna, ballet. See Bianchi's L'orfano cinese. 
 
 LTJlisse errante. Opera musicale dell' Assicurato, Academico 
 incognito . '. . 
 
 Venetia, Gio. Pietro PineUi, 1644. U8 P- 1$- 
 
 Five acts. By Giacomo Badoaro, who in his long dedication (p. 5-18) gives what 
 may be called his esthetic crejed of dramas for music. In the course of his remarks he 
 eays: 
 
 "Feci gia molti anni rappresentare il Ritarno d' Dlisse in patria, dramma cavato di 
 pun to da Homero, e raccordato per ottimo da Aristotile nella sua Poetica, e pur' anco 
 all' hora udii abbaiar qualche cane, ma io non fui per6 tardo a risentirmene co' sassi 
 alle mani. Hora f6 vedere 1' Ulisse errante ... ho voluto rappresentare gli accident! 
 piii gravi, occorsi ad Ulisse nel gir' in patria ... Se dirassi, e questa opera sia 
 un moetro, dir6 di n6; se dirassi, che'l soggetto ecceda la commune dell' altre tragedie, 
 dir6 che e un gigante nato per eccesso di materia, e non contra la mia volunta. Se 
 vorra affermar un bell' ingegno, che di questo soggetto poteva fare cinque opere; io 
 le rispondo, ch'e vero, ma non le h6 fatte, perche ho voluto, e saputo fame una sola . . . 
 
 "Fu il Ritarno d' Ulisse in patria decorato dalla musica del Signer Claudio Monte- 
 verde soggetto di tutta fama, e perpetuity di nome, hora manchera questo condi- 
 mento; poiche e andato il gran maestro ad intuonar la musica degli angeli a Dio. Si 
 goderanno in sua vece le g^loriose fatiche del Signer Francesco Sacra ti, e ben' era di 
 dovere, che per yeder gli splendori di questa luna, tramontasse prima quel Sole. 
 Havremo per ordinator di machine, e di scene il nostro ingegnosissimo Torelli.. . ." 
 
 Between this dedication and the argument there is a notice to the reader by Gia- 
 como Torelli, which is of importance in another direction. He says: 
 
 "Io hebbi dalla mano dell' auttore 1' Ulisse errante, con privilegiata auttorita di 
 farlo etampare in grande con le figure dopp6 fornite le recite, & ci6 intrapresi per 
 haver occasione di mostrar al mondo quelle fatiche, che h6 io incontrate per ben servire 
 a questi cavalieri; Hora dalla pienezza di questa gratia e nato in m& nuovo ardire di 
 farla anco stampar in questa forma per incontrar la sodisfattione di quelli, che godono 
 piu simili cose, quando sieno accompagnate dalla lettura ..." SCHATZ 9255 
 
 L'Ulisse in Feaccia. Drama da rappresentarsi in musica nel luoco 
 ove era il Theatre Zane a San Moise. L'anno MDCLXXXI. 
 
 Venetia, Francesco Nicolini, 1681. $ p. 
 
 Three acts. Notice to the reader, argument and scenario. Neither the author, 
 Filippo Acciajuoli, nor the composer, An.tonio del Gaudio, is mentioned. One of 
 those operas that were staged with ' ' figure -formate di cera. ' ' SCHATZ 3634 
 
 Ulisses. A. T. of Keiser's Circe. 
 
 Ulisses, musicalische opera, welche auff dem Theatre zu Bresslau 
 in October anno 1726 vorgestellet . . . 
 n. i., n. d. Unpaged. 17^. 
 
 Three acts. Dedication, argument, scenario, and names of "Signore Teofilo 
 Fedele Theophilo Treu " as composer, of Domenico Lalli as author. German text 
 faces Italian. SCHATZ 10444 
 
 L'ultima che si perde e la speranza. O. T. of Zini's text Gli 
 amanti della dote.
 
 OPERA LIBEETTOS 1113 
 
 L'ultima, che si perde e la speranza. Commedia per musica di 
 Saverio Zini da rappresentarsi nel Real Teatro del Fondo di Sepa- 
 razione per second 'opera di questo corrente anno 1790. 
 
 Napoli, n. putt., 1790. 44 p. 15\. 
 
 Two acts. Cast and name of Marcello di Capua (Marcello Bernaxdini) as com- 
 poser. On p. 5-7, cast and argument of "Magia contro Magia. Ballo eroico favploeo. 
 Composto e diretto dal Sig. Gio. Battista Giannini." Pietro Dutillieu is mentioned 
 as the composer of the music. SCHATZ 841 
 
 - L'ultima che si perde e la speranza. Farsa di un atto solo 
 da recitarsi per musica nel nobilissimo Teatro della nobil Donna Tron 
 Veronese in San Cassiano, il carnovale dell' anno 1792. 
 Venezia, Modesto Fenzo, 1792. 56 p. 18tf m . 
 
 Cast and name of Marcello da Capua (Marcello Bernardini) as composer ("La 
 musica e del tutto nuova"). This one-act farce is followed as "atto secondo" (with 
 cast) by "II convitato di pietra. Farsa di un atto solo ... La musica e di van 
 celebri maestri," on p. 29-56. SCHATZ 836 
 
 TJlysse, tragedie represented par 1'Academie royale de musique Fan 
 1703. Les paroles de M. Guichard & la musique de M. Rebel. 
 LVIII. opera. 
 
 n. i. t n. d. pi., p. 57-110. 14 cm > (Recueil general des opera, 
 t. viii, Paris, 1706.} 
 
 Detached copy. Five acts and prologue. Brief avertissement. 
 First performed, as indicated, January 21, 1703. SCHATZ 8622 
 
 Second copy. ML 48. R4 
 
 Ulysse et Circe. Entree in Duplessis' Les festes nouvelles. 
 
 Ulysses. In einem musicalis'chen Schau-spiele auf dem Ham- 
 burgischen Theatro vorgestellet im jahre 1721. 
 [Hamburg], Caspar Jakhel, n. d. Unpaged. IS. 
 
 Three acts. Author not mentioned^ and unknown to Schatz. Argument. Com- 
 posed by Johann Caspar Vogler, who is not mentioned. SCHATZ 10801 
 
 Ulysses riickkunft zur Penelope. Tr. of Alessandri's II ritorno 
 di Ulisse a Penelope. 
 
 Umor di principessa o sia L'ambizione castigata. See the A. T. 
 
 Gli umori contrari. Dramma giocoso per musica di un atto solo 
 di Gio. Bertati . . . posto in musica dal maestro Sebastiano Nasolini 
 da rappresentarsi nel nob. Teatro di S. Cassiano nella state 1798. 
 Venezia, Antonio Rosa, n. d. 27 p. 17^. SCHATZ 7030 
 
 Das unbekannte dienstmaedgen. A. T. of Roellig's Clarisse. 
 
 Die unbewohnte insel. Tr. of Jommelli's L'isola disabitata. 
 
 Die unbewohnte insel. Tr. of Gius. Scarlatti's L'isola disabitata. 
 
 De under masken sluttede giftermaale. A. T. of G. M. Rutini's 
 Den bedragne formynder. 
 
 Die uneinigen briider. Tr. of Graun's I fratelli nemici. 
 
 Die unentbehrlichen verraether ihrer herrschaften aus eigen- 
 nutz. A. T. of Salieri's Der rauchfangkehrer.
 
 1114 LIBRARY OF CONGRESS 
 
 Die unerwartete abreise. Tr. of Salieri's La partenza inaspettata. 
 Den unge grevinde. Tr. of Gassmann's La contessina. 
 
 Das ungeheuer oder Liebe aus dankbarkeit. Tr. of Seydelmann's 
 II mostro ossia Da gratitudine amore. 
 
 Die ungezwungene liebe. A. T. of Telemann's Adelheid. 
 
 Die ungleiche heyrath zwischen Vespetta und Pimpinone in 
 dreyen intermediis auf dem Hamburger Theatro vorgestellt. 
 
 n. i., n. d. Unpaged. 18. 
 
 The Arias in Italian, the recitatives in German. Neither Pietro Pariati, the 
 author of the Italian "Vespetta e Pimpinone," nor the translator, Johann Philipp 
 Praetorius, nor the composer, Georg rhilipp Telemann, is mentioned. Ottzenn 
 enters this, possibly from the score parts, aa Pimpinone oder Die ungleiche heirat." 
 
 First performed as indicated, 1725. SCHATZ 10273 
 
 Die unglueckselige Cleopatra, kpenigin von Egyppten. A. T. 
 of Mattheson's Die betrogene staatsliebe. 
 
 L'union de 1'amour et des arts, ballet-heroique en trois entries; 
 compost des actes de Bathile & Chloe, de Theodore, & de La cour 
 d'amour: represente, devant Sa Majeste, a Choisy-le-roi, le 9 feVrier 
 1774. 
 
 [Paris], P. Robert Christophe BaMard, 1774. 61 p. 19. 
 
 Cast and names of Pierre Rene" "Le Monnier, commissaire des guerres" as author 
 and of Etienne Joseph Floquet as composer. The third entree has, in the text, the 
 alternative title "Les troubadours," and "Theodore" is preceded by this note: 
 
 "Le sujet de cet acte, est le m^me que celui qui a ete" traite" par M. Roi [Roy], 
 dans le Ballet des Graces; on a supprime le role d'Eudoxe, mere de Theodore, parce 
 qu'on a cru qu'il faisoit longueur. Les vers marque's par des guillemets, sont de 
 1 ancien opera." 
 
 First performed at Paris, Acade'mie royale de musique, September 7, 1773. 
 
 ML52.2.U5 
 Union of the clans. A. T. of The highland fair. 
 
 Das unnuetze bestreben. Ein singspiel in zween aufzuegen. 
 
 n. i., n. d. [113}-176 p. 16. (F. L. ScJimidel's TJieatralische 
 werke, Wien cfc Leipzig, 1785.) 
 
 Detached copy. The text is preceded by this protest: 
 
 "Dieses singspiel wurde den 23 hornung [February] 1783 in dem k. k. National- 
 hoftheatei unter dem titel Die betrogene arglist aufgefuehrt. Da es in dieser 
 gestalt, in der es aufgefuehrt wurde, gar nicht zu dieser absicht bestimmt war, sondern 
 von dem herausgeber ohne mein wissen dazu gebraucht worden iet, so bin ich nie- 
 manden, der ueber seine unwahrscheinliche und unvollkommene ausfuehrung unzu- 
 frieden war, und es sein musste, rechenschaft schuldig. Was die gegenwaertige 
 ausfuehrung betrifft, erwarte ich das urtheil .eines jeden kunstrichters, der mich 
 belehren will." 
 
 The piece was written, and composed by Joseph Weigl, for the marionettes theater 
 of friends of Schmidel. SCHATZ 10958 
 
 Die betrogne arglist, ein singspiel in einem aufzuge. In musik 
 gesetzt von Joseph Weigl. Aufgefuehrt im kaiserl. koenigl. National 
 Hoftheater. 
 
 Wien, beym Logenmeister > 1783. 28 p. 16. 
 
 By Schmidel with alterations by unknown author (see the foregoing entry). The 
 text is preceded by this odd prefatory note by Joseph Weigl: 
 
 "Die Goetter sehen mit beglueckender huld auf die opfei dei erstlingeherab; Du 
 erstes, bestes publikum Deutschlands sey du meine gottheit! empfange dies erst- 
 lingsopfer aus meinen fast noch unmuendigen haenden, und schenke mir, wo nicht 
 beyiall, wenigstens nachsicht." 
 
 First performed, as indicated, February 23, 1783. SCHATZ 10959
 
 OPERA LIBBETTOS 1115 
 
 Die unniitze vorsicht. A. T. of Andre's Der barbier von Sevilien. 
 Die unniitze vorsicht. A. T. of Paisiello's Der barbier von Sevilla. 
 Die unruhige nacht. Tr. of Gassmann's La notte critica. 
 
 Der unschuldige betrug, oder Auf dem land kennt man die rache 
 nicht. Eine laendliche operette in einem aufzug, fuer die Marinel- 
 lische Kinderschule. Von herrn Leopold Huber . . . Die musik ist 
 von herrn Ferdinand Kauer . . . 
 Wien, Schmidt, 1790. 92 p. 15\ cm . 
 
 Cast of the children who took the characters. 
 
 First performed, as indicated, June 22, 1790. SCHATZ 5061 
 
 Die unsichtbare braut. Tr. of Fabrizj's La sposa invisibile. 
 
 Unter zwey streitenden siegt der dritte. Tr. of Sarti's Fra i due 
 litiganti il terzo gode. 
 
 Unter zwey streitenden zieht der dritte den nutzen. Tr. of 
 Sarti's I pretendenti delusi. 
 
 Das unterbrochene fest oder Der triumph der tugend. Tr. of von 
 Schacht's La festa interotta. 
 
 Das unterbrochene opferfest. Eine heroisch-komische oper in 
 zwey akten. 
 
 By Franz Xaver Huber, Music by Peter von Winter. 
 
 First performed at Vienna, Kaernthnerthor Theater, June 15, 1796. 
 
 L. of C. has the original version only in the edition of 1803. 
 
 Gesaenge aus dem singspiele: Myrrha und Elvira, oder Das 
 opferfest, in zwey aufzuegen. Die musik ist von dem kapellmeister 
 Winter. 
 
 Hamburg, Robe und Freystatzky wittwe, 1797. 89 p. 16. 
 
 Huber's text in Christian August Vulpius version, neither of whom is men- 
 tioned. 
 
 First performed at Hamburg, Theater beim Gansemarkt, September 1, 1797. 
 
 SCHATZ 11060 
 
 - II sacrifizio interrotto. Dramma eroicomico in due atti da rap- 
 presentarsi nel Teatro Elettorale di Sassonia. 
 
 Dresda, n. publ., 1798. 159 p. 16. 
 
 The Italian translator is not known. Peter von Winter is mentioned as the com- 
 poser. German title-page, "Das unterbrochene opferfest," and text face Italian. 
 
 First performed, as indicated, April 25, 1798. SCHATZ 11061 
 
 Gesaenge aus der oper: Das opferfest, in vier acten. Die musik 
 ist vom kapellmeister Winter. 
 
 Hamburg, Friedrich Hermann Nestter, n. d. 39 p. 15%. 
 
 The Huber- Vulpius version. 
 
 First performed with this title at Hamburg, December 12, 1798. SCHATZ 11062 
 
 Die unvermutete zusammenkunft, oder Die pilger von Mecca 
 (Mekka). Tr. of Gluck's La rencontre imprevue. 
 
 Die unvermutheten zufaelle. Tr. of Gr6try's Les eV&ienients 
 impreVues.
 
 1116 LIBRARY OF CONGRESS 
 
 L'uomo effeminate, ballet. See Crippa's Le confusion! per somi- 
 glianza. 
 
 L'uomo femmina. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Giustiniani in S. Moise" il presente autunno MDCCLXII. 
 
 Venezia, Francesco Valvasense, n. d. 1$ p. 15 cm . 
 
 Three acts. Author not mentioned^ and unknown to Schatz. Cast, scenario, and 
 name of Galuppi as the composer. SCHATZ 3509 
 
 L'uomo indolente. Commedia per musica di Giuseppe Palomba 
 da rappresentarsi nel Teatro Nuovo sopr.a Toledo per terz' opera del 
 corrente anno 1795. 
 
 Napoli, n. pull., 1795. 44 p. 15\ cm . 
 
 Two acts. With cast and name of the composer, Giuseppe Farinelli. 
 
 SCHATZ 3017 
 
 Uranio e Erasitea. Favola pastorale di Eaco Panellenio vice- 
 custode della Parmense colonia da rappresentarsi nel Regio-Ducal 
 Teatro di Parma 1'agosto dell' anno 1773 per la nascita del real 
 primogenito di Ferdinando Borbone. Infante di Spagna e di Maria 
 Amalia . . . [vignette]. 
 
 Parma, Stamperia reale, n. d. 6 p. 1., SI p. 22 cm . 
 
 Two acts. By conte Jacopo Antonio San vi tale, who signs the dedication with both 
 his real and his Arcadian name. Argument, cast, name of the composer, Giuseppe 
 Colla, and note: 
 
 "Questa favola pastorale, con maggiore estensione in tre atti divisi, fu un' opera 
 fino dair anno 1720 esposta sul Ducal Teatro di Piacenza in occasione delle nozze del 
 Serenissimo Sig. Duca di Modena. La traccia, la condotta, e i pessimi versi, che ne 
 fanno arrossire 1'autore, sono tutti diversi, come diversa e 1'allegoria; onde 1'argomento 
 medesimo chiaramente si vede in quante nuove, e migliori maniere possa esser trattato. 
 Quanti autori di tragedie, di commedie, e di drammi musicali non hanno trattato il 
 medesimo argomento? Giudica bene, e vivi elice." SCHATZ 2108 
 
 TJrganostocor. See Latilla's L'opera in prova alia moda. 
 Urtado e Miranda, ballet. See Curcio's La Nitteti. 
 
 Das (urteil) urtheil des Midas. Tr. of Gretry's Le jugement de 
 Midas. 
 
 Urtheil des Paris, ballet. See Bernasconi's Temistokles. 
 Das urtheil des Paris. Tr. of Graun's II giudicio di Paride. 
 
 The useless precaution. A. T. of Mrs Griffith's text The barber of 
 Seville. 
 
 Det uventede m0de. Tr. of Gluck's La rencontre imprevue. 
 Les v.acances de Cy there. A. T. of L' amour desoeuvre". 
 
 II vagabondp fortunate. Commedia per musica di P. M. Da 
 rappresentarsi nel Teatro de' Fiorentini nell' autunno di quest' anno 
 1773. 
 
 Napoli, Vincenzo Flauto, 1773. 2 p. 1., 56 p. 15. 
 
 Three acts. By Pasquale Mililotti. Cast and name of Niccol6 Piccinni as the 
 composer. SCHATZ 8142
 
 OPERA LIBRETTOS 1117 
 
 Li vaghi accident! fra amore e gelosia. L. T. of Galuppi's La 
 diavolessa. 
 
 Valasco e Vespetta, intermezzi. See Stratonica. 
 Valcour et Zeila. A. T. of Philidor's La belle esclave. 
 
 La vallee de Montmorency, ou Jean Jacques Rousseau dans son 
 hermitage, opera-comique en trois actes, en prose, mel<3 de vaude- 
 villes. Far fes CC. Piis, Barre, Radet et Desfontaines. Represent^, 
 pour la premiere fois, sur le Theatre du Vaudeville, le 23 prairial, an 
 6. [June 11, 1798] 
 
 Paris, chez le libraire au Theatre du vaudeville, an VII [1798-99]. 
 87 p. 21% cm . 
 
 Cast. Many of the airs are printed in the text. They are by no means all vaude- 
 villes in the sense of real folk-songs but in the technical sense. For instance, Rous- 
 seau's own "Dans ma cabane obscure" was used and Paisiello is expressly men- 
 tioned as the composer of the/rafow "Je suis Lindor" for "Toujours amsi, de mon 
 champetre asyle," as also "C.fitoyen] Wicht" as composer for thefredons of "Pour 
 leur grosseur" and "Cueillons ces censes." A note on p. 2 informs us that the title 
 of the opera at its first performance was simply "La val!4e de Montmorency." 
 
 ML 50.2.V2 
 
 II valore delle donne. Dramma.giocoso per musica da rappresen- 
 tarsi in Casale nel Teatro degF Illmi Signori cavalieri della societa 
 nel carnevale dell' anno 1783 . . . 
 
 Casale, Giovanni Meardi, n. d. 53, [1] p. 14%- 
 
 Reimprimatur dated February 8, 1783. Two acts. By Giovanni Bertati. Im- 
 
 Eresario's dedication, cast, scenario, and name of Pasquale Anfossi as composer, 
 ut not of librettist. 
 First performed at Turin, Teatro Corignano, fall of 1780. SCHATZ 268 
 
 Le vane gelosie. Commedia per musica da rappresentarsi nel Teatro 
 grande alia Scala la primavera 1791 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 80, [8] p. 16. 
 
 Three acts. By Giambattista Lorenzi, who is not mentioned. Impresario's dedi- 
 cation, scenario, and name of PaisieUo as the composer. The unnumbered p. con- 
 tain argument and description of Giuseppe Herdlitzka's "La schiava americana, 
 ballo pantomimo di mezzo carattere." Neither of this nor of his second, comic, ballet 
 "La vindemmia " is the composer of the music mentioned. 
 
 First performed at Naples, Teatro de' Fiorentini, spring, 1790. SCHATZ 7701 
 
 Vanelia: or, The amours of the great. An opera. As it is acted by 
 a private company near St. James's . . . 
 
 London, E. Rayner, 1732. vii, [1], 55 p. 19. 
 
 Three acts and introduction. Political satire in form of a ballad opera. Table 
 of the 21 songs, the airs to which are indicated by title in the text. Author unknown 
 to Clarence. LONGE 191 
 
 Vanesio and Larinda. A. T. of Orlandini's Le bourgeois gentil- 
 homme. 
 
 La vanita corretta dal disprezzo, ballet. See Monza's Erifile. 
 
 La vanita delusa. Drama giocoso per musica da rappresentarsi nel 
 Teatro Giustiniano di S. Moisd nel carnovale dell' anno 1748. 
 
 Venezia, n. publ., 1747. 59 p. 
 Three acts. Scenario, cast. Author and composer not mentioned and unknown 
 to Schatz. Perhaps identical with Antonio Gori's text of the same title. 
 
 SCHATZ 11373
 
 1118 LIBRARY OF CONGRESS 
 
 La vanita delusa. Dramma per musica da rappresentarsi in Firenze 
 nelF autunno dell' anno 1731 nel Teatro di via del Cocomero . . . 
 Firenze, Giuseppe Pagani e Melchiorre Alberighi, 1731. 90 p. 
 
 Three acts. Argument and name of the composer, Giovanni Chinzer. The 
 author (unknown to Schatz) in the argument resents the attacks made on him by 
 "maligni censori " and others and protests that his text is not intended as "una satira 
 diretta contro la nobilita.' SCHATZ 1865 
 
 The varietie, a comedy, lately presented by His Majesties servants 
 
 at the Black-Friers. 
 
 London, Humphrey Moseley, 1649. 2 p. 1., 87 p. 14- 
 Five acts. By William, duke of Newcastle, who is not mentioned. Considerably 
 
 interspersed with songs. PR 2729. N5 
 
 Vasco di Gama, dramma per musica con cori e balli analoghi com- 
 ppsto da Antonio de' Filistn ... da rappresentarsi nel Regio Teatro 
 di Berlino il carnovale dell' anno 1792. Con musica di van autori. 
 
 Berlino, Haude e Spener, n. d. 119 p. 15% cm . 
 
 Three acts. Argument, cast. German title page and text face Italian. Carl 
 Spazier wrote a sarcastic review of this pasticcio in the Musikalisches Wochenblatt, 
 1792, p. 153-155, 161-162, from which it appears that not less than eighteen com- 
 posers were represented, amongst them Prati, Paisiello, Nasolini, Bianchi, Sard, 
 Righini, Naumann, Jommelli, and the then court conductor Felice Alessandri, 
 who furnished most of the recitatives for this monstrum. 
 
 First performed, as indicated, January 20, 1792. SCHATZ 11374 
 
 I vecchi delusi. Commedia per musica di Giuseppe Palomba da 
 rappresentarsi nel Teatro de' Fiorentini per second opera di questo 
 corrente anno 1793. 
 
 Napoli, Vincenzo FUuto, 1793. 48 p. 15\ cm . 
 
 Two acts. Cast and name of Gaetano Marinelli as the composer. SCHATZ 5960 
 
 I vecchi burlati. Dramma giocoso per musica da rappresen- 
 tarsi nel nobile Teatro di San Samuele Fautunno dell' anno 1795 . . . 
 Venezia, Casali, 1795. 55, [1] p. 17 cm . 
 
 Two acts. Palomba's "I vecchi delusi," without many alterations. Impresario's 
 dedication, cast, and name of Gaetano Marinelli as the composer. SCHATZ 5966 
 
 H vecchio amante. Dramma giocoso per musica da rappresen- 
 tarsi in Torino nel Teatro di S. A. S. il Signor principe di Carignano nel 
 carnovale dell' anno 1747. 
 
 Torino, Giuseppe Domenico Verani, n. d. 78 p. llfy. 
 
 Three acts. Castand name of Gaetano Latilla as composer. The author, Giovanni 
 Barlocci, is not mentioned. Schatz says that the original title of his text was "La 
 commedia in commedia." SCHATZ 5463 
 
 E vecchio burlato. O. T. of the libretto Chi vuol non puole. 
 
 II vecchio burlato. Dramma giocoso per musica da rappresen- 
 tarsi nel nobile Teatro di San Samuele Fautunno dell' anno 1783. 
 
 Venezia, Gio. Battista Casali, n. d. 72 p. 18% cm . 
 
 Two acts. Author unknown to Schatz. Cast, scenario, and name of "Luigi 
 Ceruso" (Luigi Caruso) as the composer. On p. 65-72 ? argument, and detailed 
 description of "Zemira e Azor, ballo serio pantomimo in cinque atti,'' by Francesco 
 Clerico. Of this and the second ballet, ''Lo eposo burlato, he also composed the 
 music. SCHATZ 1664
 
 OPERA LIBRETTOS 1119 
 
 II vecchio capricioso in a more. See II vecchio pazzo in amore. 
 
 II vecchio geloso. Dramma giocoso per musica da rappresentarsi 
 nel Teatro di S. A. Serenissima il Signer Principe di Carignano nell' 
 autunno del 1782. 
 
 Torino, Onorato Derossi, n. d. 78, \2] p. 14. 
 
 Two acts. Cast, scenario, and name of Felice Alessandri as the composer. 
 Librettist unknown to Schatz. With the opera were performed Filippo Beretti's 
 ballets (composer of the music not mentioned), "II pastor fido"and "La contadina 
 filosofa." 
 
 First performed at the Teatro della Scala, Milan, fall season of 1781. SCHATZ 151 
 
 II vecchio geloso. L. T. of Galuppi's L'amante di tutte. 
 
 II vecchio pazzo in amore. Da rappresentarsi nel Teatro Gius- 
 tiniano di S. Moise 1 nel carnovale dell anno 1731. Dalla Sig. Rosa 
 Venturini . . . e dal Signer Pietro Michelli. 
 [Venezia], n. publ., n. d. 12 p. llf m . 
 
 Three intermezzi, performed with Paganelli's "La caduta di Leone Imperator 
 d'Oriente." Author and composer not mentioned, and unknown to Schatz. 
 
 SCHATZ 11376 
 
 - II vecchio capricioso in amor. Da rappresentarsi nel Teatro 
 Giustiniano di S. Moise" nel carnovale dell' anno 1732. Dalla Sig. 
 Maria Penna, e dal Sig. Matteo Bevilacqua Bolognesi. 
 Venezia, Steffano Valvasense, n. d. 12 p. 15 cm . 
 
 Three intermezzi, performed with Albinoni's "Gli evenimenti di Rugero." The 
 text is the same as of II vecchio pazzo in amore." SCHATZ 11375 
 
 Veddemaalet eller Elskernes skole. Tr. of Mozart's Cosi fan tutte. 
 
 La vedova. Drama musicale rappresentato nel giardino del Signer 
 marchese Bartolommeo Corsini alia Porta al Prato. 
 
 n. i., n. d. p. [299]-403. 
 
 Detached from the third part (not in L. of C.) of Moniglia's "Poesie dram- 
 matiche," 1690. Three acts. Argument and scenario. On p. 301: 
 
 "Fu questo drama composto dall' autore per comandamento del Sereniss., e rev- 
 erendiss. principe cardinale Gio. Carlo di Toscana, per doversi rappresentare nel 
 eolito Teatro de Signori Accademici Immobili sotto la protezzione della medesima 
 Altezza Reyerendissima, e gia era stato messo in mueica dal famoso Sig. Jacopo Melani, 
 e n'erano di gia state distribuite le parti a i recitanti; ma sopravenendo la eempre 
 lagrimevol morte di si gran principe, ne rest6 sospesa la recita; la quale dopo molti 
 anni da una fiorita conversazione di nobilissimi cavalieri fu richiamata su le scene 
 1'anno 1680 nel giardino del Sig. march. Bartolommeo Corsini" [at Florence]. 
 
 SCHATZ 6289 
 
 La vedova accorta. Dramma giocoso per musica da rappresentarsi 
 nel Teatro di S. Cassano il carnevale dell' anno 1745[!] . . . 
 
 Venezia, Modesto Fenzo, 1746[!] 64 p. 15%. 
 
 Three acts. Argument, cast and scenario. Ferdinando Giuseppe Bertoni is 
 mentioned only as the composer of the recitatives and of nine arias, marked with an 
 asterisk, for instance, "Son rimasta vedovella" (I, 8), "Voi, che pieta provate" 
 (II, 4). The author, Ambrosio Borgheee, is not mentioned. SCHATZ 927 
 
 According to Wiel 1745 is the correct year of performance. 
 
 La vedova bizzarra. Commedia per musica da rappresentarsi nel 
 Teatro de' Fiorentini per prim' opera di quest' anno 1788. 
 
 Napoli, n. publ, 1788. 45 p. 15. 
 
 Three acts. By Giovanni Bertati . Cast and name of composer, Pasquale Anf ossi, 
 but not of librettist. SCHATZ 261
 
 1120 LIBRARY OF CONGRESS 
 
 La vedova capricciosa. Commedia per musica di Giuseppe Palomba 
 Napolitano. Da rappresentarsi nel Teatro Nuovo sopra Toledo nel 
 carnevale di quest' anno 1765. 
 
 Napoli, Vincenzo Mazzola-Vocola, 1765. 93 p. 15. 
 
 Three acts. Cast and name of "Giacomo Insanguine detto Monopoli" as com- 
 poser, "a riserba dell' arie di Odoardo e Celidea che sono di D. Carlo De Franchi." 
 (See f.-n. on p. 93 below the aria "Ah dalla gioja oppresso" substituted for "lo veggo 
 un' astro splendere " in I, 3.) SCHATZ 4840 
 
 La vedova ingegnosa. Intermezzi per musica, rappresentati nel 
 Regio Teatro alia corte di Dresda. L'anno 1747. 
 
 n. i., n. d. 79 p. 15\. 
 
 Three acts. Cast. The author, Tommaso Mariani, is not mentioned, nor the 
 composer. According to Schatz this was first performed as intermezzi to "Emira," 
 July 12, 1735, Teatro S. Bartolomeo, with music by Leonardo Leo. Though the 
 opera was by Leo, the intermezzi possibly were not. Florimo mentions Ignazio 
 Prota as the composer, and Florimo s predecessor is said by Leo, the biographer of 
 his ancestor, to have attributed the music to Giuseppe Sellitti. The original title 
 seems to have been "Drusilla, vedova ingegnosa e D. Strabone, dottore in medicina." 
 German title page, "Die listige wittwe, and text face Italian in the Dresden ed. 
 
 SCHATZ 5554 
 
 La vedova ingegnosa. Intermezzi per musica rappresentati nel 
 Regio Teatro alia Corte di Dresda. L'anno 1747. 
 
 n. i., n. d. 39 p. 17tf m . 
 
 The same, but Italian text only. ML 50.2.V25L2 
 
 La vedova ingegnosa ossiano Le bizzarie del bel sesso, ballet. See 
 Tarchi's Ademira. 
 
 La vedova raggiratrice, o siano I due sciocchi delusi. Dramma 
 giocoso per musica da rappresentarsi nel Teatro Elettorale. 
 Dresda, n. pull., 1795. 127 p. 16. 
 
 Two acts. Author not mentioned and unknown to Schatz and Carvalhaes. Marcos 
 Portugal is mentioned as the composer. German title-page, "Die schlaue wittwe 
 oder Die beiden angefuehrten thoren," and text face Italian. 
 
 First performed 1795, at Dresden, as indicated; at Florence, Teatro della Pergola, 
 spring of 1794. SCHATZ 8421 
 
 La vedova scaltra, ballet. See Alessandri's II matrimonio per con- 
 corso. 
 
 La vedova scaltra, ballet. See P. Guglielmi's La sposa fedele. 
 
 La vedova scaltra. Dramma giocoso per musica da rappresentarsi 
 nel magnifico Teatro dell' illust. Academia degl' Erranti della citta 
 di Brescia per la fiera dell' anno 1778 . . . 
 Brescia, Francesco Ragnoli, 1778. 63 p. 16\ cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Impresario's dedi- 
 cation, cast, and name of Vincenzo Righini as the composer. 
 
 First performed, as indicated, August, 1778. SCHATZ 8790 
 
 II veglione, ballet. See Stabinger's L'astuzie di Bettina. 
 
 II vello d'oro. Dramma per musica da rappresentarsi nel Teatro 
 Tron di S. Cassiano. Nel carnovale dell' anno 1749 . . . 
 
 Venezia, Modesto Fenzo, 1749. 36 p. 15. 
 
 Three acts. By Giovanni Palazzi, who is not mentioned. Argument, cast, sce- 
 nario, and name of Giuseppe Scolari as the composer. SCHATZ 9800
 
 OPEEA LIBRETTOS 1121 
 
 Venceslao. 
 
 Apostolo Zeno, Poesie drammatiche, Venezia, 1744, t v -> $4 P- 19*. 
 
 Five acts and licenza. Argument. No composer is mentioned. In the "Cata- 
 logo" at end of t. x, date and place of first ed. is given as "in Venezia. 1703. E in 
 Vienna. 1725." (See below.) ML 49.A2Z3 
 
 Venceslao. Pubblicato per la prima volta in Venezia 1703. 
 
 Apostolo Zeno, Poesie drammatiche, Orleans, 1785-86, t. ii, p. 217- 
 304. 21 cm . 
 
 Five acts and licenza. Argument. No composer is mentioned. ML 49.A2Z4 
 
 Venceslao. Dramma per musica da rappresentarsi nel Teatro di 
 S. A. S. il Signer principe di Carignano . . . 
 
 Torino, Francesco Antonio Gattinara, 1721. 4 P- ^., 60, [1] p. 15 cm . 
 
 Three acts. Impresario's dedication, argument, cast, scenario, and name of the 
 composer, Giuseppe Bpniyenti, but not of the librettist, Apostolo Zeno. 
 
 First performed, as indicated, December 26, 1720. SCHATZ 1195 
 
 Venceslao. Dramma per musica, da rappresentarsi nella Cesarea 
 Corte per il nome gloriosissimo della Sac. Ces. e Catt. Real Maesta di 
 Carlo VI. imperadore de' Romani . . . La poesia e del Sig. Apostolo 
 Zeno . . . La musica & del Sig. Antonio Caldara . . . 
 
 Vienna d 1 Austria, Gio. Pietro Van GJielen, n. d. 4 P> l>> 72 p. 14%- 
 Five acts and licenza. Argument and scenario. The ballet music was composed 
 by Niccola Matteis. 
 
 First performed at Vienna, as indicated, November 4, 1725. SCHATZ 1489 
 
 Venceslao. Drama per musica da rappresentarsi nel Teatro Tron 
 di S. Cassiano nel carnovale dell' anno MDCCLII. 
 
 [Venezia], n. publ., n. d. 60 p. 14%. 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Argument, cast, scenario, 
 and name of Antonio Gaetano Pampani as the composer. SCHATZ 7759 
 
 Venceslao. Drama da rappresentarsi per musica nel Teatro 
 Grimani in S. Gio. Grisostomo . . . 
 
 Venezia, Girolamo Albrizzi, 1703. 72 p. 1J&. 
 
 Five acts. Dedication, with the initials of the author, Apostolo Zeno, from which 
 it appears that the drama was first privately performed for Signore Filippo Rangoni 
 before it appeared before the public at the Grimani Theatre. Argument, cast, scen- 
 ario, notice to the reader, and name of Carlo Francesco Pollaroli as the composer ("La 
 musica e . . . ventesima sua fatica in questo solo Teatro"). SCHATZ 8322 
 
 Venceslao, drama per musica. Wenceslaus . . . 
 
 Hamburg, Spiering, 1744- ^5 p. 19%. 
 
 Three acts. By Apostolo Zeno, who is not mentioned. Scenario, cast, argument, 
 and name of Paolo Scalabrini as the composer "a risserva di alcuneariedi diversi 
 autori." Italian and German texts. 
 
 First performed at Hamburg, Theater beim Gansemarkt, August 19, 1744; at the 
 same theater previously, October 31, 1743, and at Linz, Theater im Ballhause, 1743. 
 
 SCHATZ 9518 
 
 Venceslao. Musicalisch.es schauspiel, umb auf dem hohen nahmens- 
 tag Seiner Churfuerstl. Durchl. Maximilian Emanuel ... in Muen- 
 chen den 12. octob. dess 1725 sten jahrs vorgestellet zu werden. 
 Auss dem welschen uebersetzt. 
 
 [Muenchen], Johann Lucas Straub, n. d. 76 p. 13 cm . 
 
 Five acts. Neither Apostolo Zeno, the author, nor the translator, nor the composer, 
 Pietro Torri, is mentioned. The Italian text of the arias and choruses is added to 
 the German. SCHATZ 10367 
 
 72251 VOL 114 71
 
 1122 LIBRARY OF CONGRESS 
 
 Les vendangeurs ou Les deux baillis, divertissement en un acte et 
 en vaudevilles; par MM. de Piis & Barre"; represent^ pour la pre- 
 mi&re fois ; a Paris, le mardi 7 novembre 1780, <x a Versailles, devant 
 Leurs Majestes, le vendredi suivant, par les Come'diens italiens ordi- 
 naires du roi. 
 
 Paris, Vente, 1781. 40 p. 19 cm . 
 
 Cast. Not recorded by Cl. & L. or Schatz. SCHATZ 11521 
 
 La Vendemia ossia La contadina impertinente, ballet. See Insan- 
 guine's Calipso. 
 
 La vendemmia. A. T. of the ballet Li due sindaci. 
 
 La vendemmia. Dramma giocoso per musica. Da rappresentarsi 
 nel Teatro presso la porta d'ltalia. Sotto 1'impresa e direzzione di 
 Giuseppe Bustelli. L'anno 1779. 
 
 Vienna, Giuseppe noble de Kurzbock, n. d. 56 p. 16\ cm . 
 
 Two acte. By Giovanni Bertati, who is not mentioned. Scenario and name of 
 Giuseppe Gazzaniga as composer. This version has in I, 3, the aria "Del destino 
 invan mi lagno," in I, 6, "Su bel bello, adagio," in I, 8, "Alle selve alle capanne." 
 
 First performed at Florence, Teatro in via della Pergola, May 12, 1778; at Venice, 
 Teatro di San Moise, fall of 1778. ML 50.2.V28G3 
 
 La vendemmia. Dramma giocoso per musica, da rappresentarsi 
 nel Piccolo Teatro Elettorale. 
 
 Dresda, 1783, n. pull. 127 p. 15%. 
 
 Two acts. German title page, "Die weinlese," and text face Italian. Gazzaniga 
 is mentioned as the composer. This edition of Bertati's text is very different from 
 that below. 
 
 The latter has in I, 3, the aria "La donna ch'6 amante," the Dresden libretto has 
 no aria; the Lisbon ed. has "Su bel bello, adagio" in I, 6, the Dresden ed. has it in 
 I, 7. Scene I, 9, in the latter is the same as I, 8, in the former, but this has the aria 
 "Egli & ver che son villana" instead of "Alle selve, alle campanne." SCHATZ 3675 
 
 La vendemmia. Dramma giocoso per musica da rappresentarsi 
 
 nel Reggio Teatro di S. Carlo defla Principessa . . . nel 24 di giugno 
 
 dell' anno 1794. 
 
 Lisbona, Simone Taddeo Ferreira, 1794. 77 p. 14 m - 
 Two acts. By Giovanni Bertati, who is not mentioned. Cast, scenario, and name 
 
 of the composer, Giuseppe Gazzaniga. SCHATZ 3674 
 
 La vendemmia ossia La contadina impertinente, ballet. See 
 Anfossi's II curioso indiscrete. 
 
 Li vendemmiatori, ballet. See Piccinni's La scaltra letterata. 
 
 I vendemmiatori ovvero I due sindaci. Farsa in prosa con musica 
 alia francese che si rappresenta della Compagnia Accademica toscana 
 di Pietro Andolfati addetta al Regio Teatro degli Infuocati di 
 Firenze . . . 
 
 Livorno, Antonio Lami e comp., 1790. 44 P- 14^ cm > 
 One act. Neither the author (unknown to Schatz) is mentioned, nor the composer, 
 Ferdinando Rutini. 
 
 First performed at Florence, Teatro di via del Cocomero, carnival, 1789. 
 
 ML 48.A5v.13 
 
 Le vendemmie o sia La villanella rapita, ballet. See Sard's Fra i 
 due litiganti il terzo gode, Lisbona^ 1793.
 
 OPERA LIBRETTOS ' 1123 
 
 Le vendemmie fiamminghe, ballet. See Bianchi's II disertore. 
 La vendetta d'amore, ballet. See Paer's La testa riscaldata. 
 
 La vendetta di Armida vinta dall' amore. A. T. of the ballet II 
 ritorno di Rinaldo presso Armida. 
 
 La vendetta di Nino, ballet. See the pasticcio Elena e Paride. 
 
 La vendetta di Nino. Drani/na per musica da rappresentarsi nel 
 Real Teatro di S. Carlo nel dl 12 di novembre 1790 . . . 
 
 Napoli, Vincenzo Flauto, 1790. 56 p. 15. 
 
 Two acts. Impresario's dedication, argument, cast, scenario, and name of Fran- 
 cesco Bianchi as the composer. The text is by Ferdinando Moretti (not mentioned) 
 who based it on Melchiore Cesarotti's translation of Voltaire's "Semiramis." Dedi- 
 cation dated November 12, 1790, with remark that the first performance had to be 
 postponed from Noyember4. On p. 8-24 cast, argument, and description of "Gli sven- 
 turati amori di Cleide ed Almindo o sia II trionfo de' Goti. Balloeroico pantomimo, 
 inventata e composto dal Sig. Sebastiano Gallet" in five acts, music ("tutta nuova") 
 by Giuseppe Ercolano. SCHATZ 985 
 
 La vendetta di Nino. A. T. of Borghi's La morte di Semirajinide. 
 
 La vendetta di Nino, ballet. See Curcio's Emira e Zopiro. 
 
 La vendetta di Nino. A. T. of Nasolini's La morte di Semiramide. 
 
 La vendetta di Nino. Melodramma tragico per musica da rappre- 
 sentarsi nel nobile Teatro de' Cinque Signori Condomini di Senigallia 
 la fiera di luglio dell' anno 1786 . . . 
 
 Firenze, n. pull., 1786. front., 47 p. 18. 
 
 Two acts. The author is not mentioned and unknown to Schatz. Impresario's 
 dedication, prefatory note, cast, and name of Alessio Prati as the composer ("musica 
 tutta nuova ). SCHATZ 8452 
 
 - La morte di Semiramide. Tragedia in musica da rappresentarsi 
 nel nobilissimo Teatro Venier in San Benedetto 1'autunno dell' anno 
 1791. 
 
 Venezia, Modesto Fenzo, 1791. 54 p. I8\ cm . 
 
 Three, act version of "La vendetta di Nino " in which Seleuco has become Sesostri. 
 Cast, scenario, and name of Giuseppe instead of Alessio Prati as the composer. On 
 p. [23]-28 argument and cast of Paolino Franchi's "Inkle e Jariko, ballo eroico tragico 
 pantomimo. The composer of the music is not mentioned . SCHATZ 8453 
 
 La vendetta disarmata dall' amore. Drama per musica da rap- 
 presentarsi in Venezia nel Teatro di S. Fantino. L'anno 1704 . . . 
 
 Venezia, Domenico Miloco, 1704- 48 p. 14 cm . 
 
 Three acts. Dedication with the initials of the author Francesco Passarini, sce- 
 nario, argument, and notice to the reader. The composer, Girolamo Polaui, is not 
 mentioned. The dedication begins "Gl'applausi, che ripport6 in Rovigo 1'autunno 
 scorso il presente drama" but it was then given with the title "La costanza nell' 
 Honore." SCHATZ 8253 
 
 [Venere, Amore, etc.] 
 
 Venere, Amore, Iride, Borea, Nettuno, Anfione, Museo are the characters used for 
 the prologue and six intermedii in : 
 
 "IlERO, E LEANDRO. Favola marittima del Bracciolino dell' Api. Con inter- 
 medii apparent!. E col Montano Egloga ... In Roma, Appresso Guglielmo Fac- 
 ciotti. 1630 . . . Ad instanza d'Ottavio Ingrillani." 
 
 Ingrillani's dedication is dated Rome, April 20, 1630. PQ.
 
 1124 LIBRARY OF CONGRESS 
 
 Venere con Adone ossia Le gelosie di Diana e di Marte, ballet. See 
 Paer's Ero e Leandro. 
 
 Venere e Adone, ballet. See Anfossi's La contadina incivilita. 
 Venere ed Adone, ballet. See Monza's Sesostri. . 
 
 Venere gelosa di Niccol6 Enea Bartolini . . . 
 Padova, Paolo Framo, 1643. 7 p. I., 92, [1] p. 14. 
 
 Three acts with prologue. Author's dedication dated Padua, January 11, 1643, 
 lengthy prefatory note, and argument. Francesco Paolo Sacrati, the composer, is 
 not mentioned. 
 
 First performed at Venice, Teatro Novissimo alia Cavallerizza, carnival, 1643. 
 
 SCHATZ 9251 
 
 Venere placata. Componimento drammatico per le augustissime 
 nozze delle Reali Altezze di Giuseppe arciduca d Austria etc e della 
 reale infanta Donna Isabella di Borbone etc Da cantarsi nel Teatro 
 di Livorno la sera de' v. ottobre MDCCLX . . . [vignette] 
 
 Livorno, Gio. Paolo Fantechi, n. d. xxvii, [1] p. 29%. 
 
 Vignettes by C. Coltellini, engraved by F. Violanti and others. At the end Marco 
 Coltellini is mentioned as the author and Carlo Antonio Campion as the composer. 
 The cast consisted of two characters only, Venere, sung by Maria Maddalena Parigi 
 and Amore, sung by Tommaso Guarducci. SCHATZ 1536 
 
 Venere placata. Dramma per musica da rappresentarsi nel Teatro 
 Grimani di S. Samuele neila fiera dell' Ascensione dell' anno 
 MDCCXXX. 
 
 Venezia, Carlo Buonarigo, 1781. 47, [1] p. 15. 
 
 Three acts. By Claudio Niccol6 Stampa, with impresario's dedication, argument, 
 cast, scenario, and names of the author and of the composer, Francesco Courcelle. 
 The additional p. contains Buonarigo's announcement of publication of "un esatto 
 catalogo di tutti li drammi musicali recitati in Venezia." SCHATZ 2284 
 
 I Veneziani a Costantinopoli, ballet. See Luigi Piccinni's 
 L'amante statua. 
 
 I Veneziani a Costantinopoli, ballet. See Trento's La finta 
 amalata. 
 
 La vengeance. A. T. of Gresnich's Les faux monnoyeurs. 
 
 La vengeance de 1' amour ou Diane et Endimion. See Palmire. 
 
 La Venitienne, comedie-ballet, represented par 1'Academie royale 
 de musique Fan 1705. Les paroles de M. de la Mothe & la musique 
 de M. de la Barre. LXIV. opera. 
 
 n. i., n. d. 14. front., 393-436, [3] p. (Recueil general des 
 opera, t. viii, Paris, 1706.) 
 
 Detached copy. Three acts, with prologue. Cast. 
 
 First performed, as indicated, May 26, 1705. SCHATZ 5345 
 
 Second copy. ML 48. R4 
 
 Venus, feste galante, chantSe devant Monseigneur, le 27 Janvier 
 
 1698. 
 
 [1}-12 p. 17\. (Antoine Danchet, Theatre, t. ii, Paris, 1751.) 
 One act. Not recorded by De La Valliere. PQ 1972.D1
 
 OPERA LIBRETTOS 1125 
 
 Venus and Adonis: A masque. And Myrtillo: A pastoral inter- 
 lude. Performed at the Theatre-Royal. Written by Colley Gibber, 
 Esq., set to musick by Dr. Pepusch . . . 
 London, Henry Lintot, 1786. vii, (incl. front.) , [8]~24 p. 16. 
 
 The first piece consists of two "interludes." "Myrtillo" begins on p. 25. Caste 
 and preface: 
 
 "The following Entertainment is an Attempt to give the Town a little good Musick 
 in a Language they understand: For no Theatrical Performance can be absolutely 
 Good, that is not Proper; and how can we judge of its Propriety, when we know not 
 one Word of the Voice's Meaning? But perhaps this is not all that the Italian Lan- 
 
 eome absurd favourite Air of the Singer, that in a few Days the first Book you have 
 bought, is reduc'd to little more than the Title-Page of what it pretends to; and as it 
 now stands, the whole Entertainment seems to be dwindled into a Concert of Instru- 
 ments; for a Voice that is not understood, has in reality no more Meaning than the 
 Fiddle that plays to it : And thus, by slavishly giving up our Language to the despotick 
 Power of Sound only, we are so far from establishing Theatrical Musick in England, 
 that the very Exhibition or Silence of it eeems entirely to depend upon the Arrival or 
 Absence of some Eminent Foreign Performer. By this sort of Conduct, the vast 
 Sums that have been levied for the Support of it, have only ended in its Abuse and 
 Prostitution. And (though the insolent Charms of the Opera seem to be above it) 
 why should we suppose that a little plain Sense should do Musick any more harm, 
 than Virtue does a Beautiful Woman? And 'tis but a melancholy Proof of its Power, 
 that it has been so long able to keep Nonsense in countenance. 
 
 "It is therefore hoped, that this Undertaking, if encourag'd, may in time reconcile 
 Musick to the English Tongue. And, to make the Union more practicable, it is 
 humbly moved, that it may be allow'd a less Inconvenience, to hear the Performer 
 express his Meaning with an imperfect Accent, than in Words, that (to an English 
 audience) have no Meaning at all : And at worst, it will be an easier Matter to instruct 
 two or three Performers in tolerable English, than to teach a whole Nation Italian. 
 
 "After having said so much of its Absurdities, it will be but just to allow the Excel- 
 lencies of the Italian Composition ; the Manner of it being indisputably superior to 
 all Nations for a Theatre: And 'tis hoped this Entertainment will want nothing of 
 the Italian, but the Language." 
 
 "Venus and Adonis" was first performed at Drury Lane, as indicated, November 
 22, 1715; "Myrtillo" in 1716. ML 52.2. V47 
 
 Venus et Adonis, tragedie en musique, represented par PAcademie 
 royalle de musique. 
 
 Amsterdam, chez les Jieritiers d'Antoine Schelte, 1699. 57 p. (incl. 
 front.). 14 m . 
 
 Prologue and five acts. Neither the author, J. B. Rousseau, nor the composer, 
 Henri Desmarets, is mentioned. 
 
 First performed March 17, 1697, as indicated. ML 50.2. V3D2 
 
 - Venus et Adonis, tragedie. Repre'sente'e par 1'Academie royale 
 de musique Tan 1697. Les paroles sont de M. Rousseau & la musique 
 de M. Desmarets. XLI. opera. Tome VI. 
 
 n.i.,n.d. front., p. 1-62. (Recucil general des opera, Paris, 1708.) 
 14 cm . 
 
 Detached copy. Prologue and five acts. SCHATZ 2535 
 
 Second copy. ML 48.R4 
 
 Venus und Adonis, in einer, sov/ohl der poesie, als musique nach, 
 frantzoesischen opera, nebst inem teutschen comiquen vorspiel auf 
 dem Hamburgischen Schau-platz, im april der 1725 sten jahres vorge- 
 stellet. 
 
 n. i., n. d. \46] p. 16%. 
 
 With "Vorbericht," in which Desmarets and Rousseau are mentioned. Trans- 
 lator unknown to Schatz. French and German text. SCHATZ 2536
 
 1126 LIBRARY OF CONGRESS 
 
 Venus et Adonis, ballet. See Michl's II trionfo di Clelia. 
 Venus et Adonis. See Mondonville's Les festes de Paphos. 
 Venus et Adonis, entree in Quinault's Les amours des Dresses. 
 
 La vera costanza. Dranuna giocoso per jnusica da rappresentarsi 
 nel Teatro delle Dame nel carnevale dell' anno 1776 . . . 
 
 Roma, Giovanni Bartolomicchi, 1776. 12, 70 p. 15%. 
 
 Three acts. By Francesco Puttini, who is not mentioned. Publisher's dedica- 
 tion, argument, scenario, cast, and name of Pasquale Anfossi as the composer. 
 
 First performed, as indicated, January 3, 1776. ML 50.2.V33A5 
 
 * La vera costanza. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro di viadella Pergola nella primavera del MD(XILXXVII 
 
 
 
 Firenze, Gio. Risaliti, 1777. 48 p. 16. 
 
 Three acts. By Francesco Puttini. Name of Pasquale Anfossi as composer, but 
 not of librettist, and cast of the ballets, but not of the opera. SCHATZ 249 
 
 La vera costanza; drama giocoso per musica da rappresentarsi 
 nel Regio Teatro. Densandebestandigned; et lystigt syngespill . . . 
 
 Ki0lenhavn, H. J. Graae, 1778. 163 p. 
 
 Three acts. Argument, cast, and name of Pasquale Anfossi as composer. Danish 
 text faces Italian. 
 
 First performed, as indicated in the title, January 31, 1778. SCHATZ 250 
 
 La vera costanza. Dramma giososo per musica. Da rappre- 
 sentarsi nel Piccolo Ducal Teatro di Bronsvic. 
 
 Bronsvic, n. pull., 1783. 159 p. 16. 
 
 Jfhree acts. Scenario and name of Anfossi as composer. German title-page, 
 "Die wahre bestandigkeit," and text face Italian. SCHATZ 251 
 
 La pescatrice fedele. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro Giustiniani di San Moise" Fautunno "dell' anno 
 1776. 
 
 n. i., n. d. 2 p. 1., 80 p. 17 cm . 
 
 Three acts. Cast, scenario and name of Pasquale Anfossi as composer. This is 
 practically the same text as that of "La vera costanza," except that tne third act of 
 "La pescatrice fedele "has six scenes only instead of nine, that III, 1 is different, 
 shorter and without the aria "N6, non andra 1'indegna," and that the scene II, 11 
 "Perdona amato Ernesto" with aria "A questo bel segno" has been dropped. 
 
 First performed at Venice, as indicated, November 20, 1776. SCHATZ 248 
 
 La vera costanza. Dramma giocoso per musica da rappresentarsi 
 nel Real Teatro dell' Ajuda nel felicissimo giorno natalizio di Sua 
 Altezza Serenissima 1'augusto Don Giovanni, principe del Brasile li 
 13. maggio 1789. 
 [Lislona], Stamperia reale, n. d. 60 p. 15\. 
 
 Two acts. By Francesco Puttini, who is npt mentioned. Scenario, cast, and 
 name of Jeronymo Francisco de Lima as composer. 
 
 First performed at Lisbon, Theatro de Salvaterra, carnival, 1785. SCHATZ 5617 
 
 Die veraechter der schoenen oder Der wechsel in der liebe. Tr. of 
 Tritto's Li disprezzatori delle donne o sia Le vicende amorose.
 
 OPERA LIBRETTOS 1127 
 
 Die an dem gluecklichen vermaehlungs-tage Ihr. Rpemisch. und 
 Ungar. Majestaet koenig Josephs mit der Durchl. printzessin Wil- 
 helmina Amalia gebohrnen hertzogin zu Braunschw. und Lueneb. 
 vorgebildete Verbindung des grossen Hercules mit der schoenen 
 Hebe, wie solche in einem singe-spiel auf dem Hamburg. Schau-platz 
 aufgefuehret worden. 
 
 [Hamburg], Nicolaus SpieringJc, 1699. Unpaged. 18. 
 
 Three acts. Historical preface by the author, Christian Heinrich Postel (not 
 mentioned), with name of Reinhard Keiser as composer. 
 
 First performed, as indicated, February 14/24, 1699. SCHATZ 5114 
 
 Die verdammte staat-sucht, oder Der verfuehrte Claudius, in 
 einem sing-spiel auff dem Hamburgischen Schau-platz vorgestellet. 
 
 Hamburg, Nicolaus Spieringks wittwe, 1703. Unpaged. 19. 
 
 Three acts. Neither the author, Hinsch, is mentioned, nor the composer, Rein- 
 hard Keiser. Some of the arias have Italian text only. SCHATZ 5130 
 
 - Claudius, roemischer kaeyser, in einem sing-spiele auf dem 
 Hamburgischen Schau-platze vorgestellet im jahr 1726. 
 
 [Hamburg], mit StromerscTien schrifften, n. d. Unpaged. 19. 
 
 Three acts. Argument, scenario. Neither the author, resp. translator, Hinsch, 
 nor the composer, Reinhard Keiser, is mentioned. Some of the arias have Italian 
 text added to the German. Noticeably different from the edition of 1703. For 
 instance, the aria "Wie sich die blauen flammen entziinden" has been dropped 
 from I, 1, as also "Holde goettin glimmer hertzen" from I, 2, and the aria in I, 2, 
 "Toedtliche eyffersucht," has been replaced by "Du grausame schoene." 
 
 SCHATZ 5083 
 
 Die vereinigten mit-buhler oder Die siegende Atalanta, in einem 
 singe-spiel auff dem Hamburgischen Schau-platz vorgestellet 1698. 
 n. i., n. d. Unpaged. 18. 
 
 Prologue and three acts. German version by Gottlieb Fiedler of Agostino Stef- 
 fani's "Le rivale concordi," text by Ortensio Mauro. As such, first performed at 
 Hanover, February 10, 1692, not 1693 as Riemanu incorrectly states in his Steffani 
 bibliography. SCHATZ 10035 
 
 Die vereitelten raenke. Tr. of Cimarosa's Le trame deluse. 
 
 Veremonda 1'Amazzone di Aragona. Drama ridotto in nuova 
 forma dal Signer Luigi Zorzisto, per esser honorato di musica dal 
 Signer Francesco Cavalli . . '. 
 
 Venetia, Giuliani, 1652. 93 p. (incl. front.) 15 cm . 
 
 Three acts with prologue. By conte Maiolino Bisaccioni. The dedication is 
 signed by Gio. Battista Balbi, the director of the scenery, machinery, etc., is dated 
 Venice, January 28, 1652, and deals with the machines, etc., only. The argument 
 appears on p. 86-91. 
 
 First performed at Venice, Teatro a SS. Giovanni e Paolo, fall of 1652. 
 
 SCHATZ 1742 
 
 Die verfolgte unbekannte. Tr. of Piccinni's L'incognita perse- 
 guitata. 
 
 Die verfolgte und triumphirende liebe. A. T. of Gruger's Hass 
 und aussoehnung. 
 
 Der verfuehrte Claudius.. A. T. of Reiser's Die verdammte 
 staatsucht.
 
 1128 LIBRARY OF CONGRESS 
 
 Die vergebliche vorsicht. A. T. of F. L. Benda's Der barbier von 
 Seville. 
 
 La vergine del sole. A. T. of the ballet Cora. 
 
 La vergine del sole. Dramma per musica da rappresentarsi nel 
 Regio Teatro degl' illustrissimi Signori Accademici Awalorati in 
 Livorno 1'autunno dell' anno 1799. 
 Livorno, La Societa tipogrqfica, n. d. 35 p. 17^ cm . 
 
 Two acts. By Francesco Cas61i. Prefatory note, argomento, cast, and names of 
 composer, Gaetano Andreozzi, and author. 
 
 First performed at Palermo, Teatro di Santa Cecilia, fall of 1797. SCHATZ 203 
 
 La vergine del sole. A. T. of Sarti's L'Idalide. 
 
 La vergine del sole. Dramma per musica di Carlo Lanfranchi 
 Rossi, gentiluomo toscano, tra gli Arcadi = Egesippo Argolide. Da 
 rappresentarsi nel Real Teatro del Fondo di Separazione per quart' 
 opera di quest' anno 1786 . . . 
 
 Napoli, n. publ, 1786. 48 p. 14$ cm . 
 
 Two acts. Impresario's dedication, notice to the public, in which this is called 
 the last opera of the season, argument, scenario, cast, and name of Giacomo Tritto as 
 the composer. On p. 41-48, argument and description, without name of the com- 
 poser of the music, of Giambattista Giannini's "II Tancredi, ballo eroico pantomime." 
 His second ballet was called "L'infedelta sorpresa." SCHATZ 10464 
 
 La vergine del sole o sia Alonzo e Cora, ballet. See Prati's L'lfigenia 
 in Aulide. 
 
 Die verhinderte grausamkeit. A. T. of the ballet Raoul, herr von 
 Crequi. . 
 
 I veri amici. O. T. of Silvani's Candace libretto, as altered by 
 
 I veri amici. Secondo drama per musica da rappresentarsi in occa- 
 sione che si festeggiano le augustissime nozze de serenissimi sposi 
 Carlo Alberto principe elettorale di Baviera etc e Maria Amalia, 
 principessa elettorale, arciduchessa d'Austria etc 1'anno MDCCXXII. 
 Monaco, Enrico Teodoro di Gotten. 70 p. IJfif. 
 
 Prologue and three acts. By Francesco Silvani and Domenico Lalli. Argument, 
 cast, scenario, and name of Tommaso Albinoni as composer. With this opera were 
 performed his intermezzi, " Vespetta e Pimpinone" (see his Pimpinone). 
 
 First performed, as indicated, October 24, 1722. SCHATZ 99 
 
 I veri amici. Drama per musica da rappresentarsi nel Teatro Tron 
 di S. Cassano. Nel carnovale dell' anno 1713 ... 
 Venezia, Marino Rossetti, 1713. 70 p. 15 cm . 
 
 Three acts. Dedication, argument, cast, scenario, and notice of the publisher, in 
 which* he says: 
 
 " L'idea del presente drama, e presa dalla famosa tragedia di Mons. Pietro CorneliOj 
 intitplata 1'Eraclio ["HeVaclius"], ella fu appoggiata ad una storia egittia, cangiatevi 
 perci6 i nomi. Consegnato poi ad altro auttore perche la verseggiasse, questo si e 
 ereduto in debito di aggiugnervi diverse altre scene ancora per ridurre 1'opera all uso 
 italiano, chegusta vederead agiregl' interlocutori, enon solo sentirli parlare . . ." 
 
 This note does not seem to quite bear put Wiel and Schatz, who attribute the text 
 to Francesco Silvani and Domenico Lalli. They both consider Andrea Paula ti as 
 the composer. SCHATZ 7786
 
 OPERA LIBRETTOS 1129 
 
 La verita in cimento. Drama per musica da rappresentarsi nel 
 Teatro di S. Angelo 1'autunno dell' anno 1720 . . . 
 
 Venezia, Marino Rossetti, 1720. 4$ P- ^ cm - 
 
 Three acts. By Giovanni Palazzi, who is not mentioned. Impresario's dedica- 
 tion, argument, cast, scenario, and name of Antonio Vivaldi as the composer. 
 
 SCHATZ 10782 
 
 La verita nelT inganno. O. T. of Francesco Silvani's text Attalo 
 re di Bitinia. 
 
 La verita nelT inganno. O. T. of Silvani's text I fratelli 
 riconosciuti. 
 
 La verita nelT inganno. Drama per musica, da rappresentarsi 
 nella Cesarea Corte per il nome gloriosissimo della Sac. Ces. e Catt. 
 Real Maesta di Carlo VI ... L/anno MDCCXVII. 
 
 Vienna d' Austria, Gio. Van Ghelen, n. d. 95 p. 
 
 Three acts and licenza. By Francesco Silvani, who is not mentioned, but who 
 presumably also wrote the three intermezzi in three parts of "Lisetta ed Astrobolo" 
 (p. 84-95). With argument, scenario, and name of the composer, Antonio Caldara. 
 The ballet music was composed by Niccola Matteis. 
 
 First performed at Vienna, Hoftheater, November 4, 1717. SCHATZ 1490 
 
 La verita nell' inganno. Drama per musica da rappresentarsi nel 
 Teatro Tron di S. Cassano. Nel carnovale dell' anno 1713 . . . 
 Venezia, Marino Rossetti, 1713. 72 p. 14% cm . 
 
 Three acts. By Francesco Silvani, who is not mentioned. Dedication dated 
 Venice, February 7, 1713, argument, cast, scenario, name of Carlo Francesco Gaa- 
 parini, and notice to the reader, who is informed that the libretto was written eight 
 years previously, remained since then destined for performance, but now had to be 
 cut, altered, and adapted "all' attivita de' virtuosi, che devono rappresentarlo." 
 
 SCHATZ 3587 
 
 La verita raminga, e'l Disinganno. Drammi musicali. Di Fran- 
 cesco Sbarra. Di nuovo aggiunti alia moda. 
 
 Venetia, n. publ., 1664. 4* P- 13cm - 
 
 On p. 28-41: "II Disinganno. [2] Intremedi rappresentati in musica." This IB 
 preceded by "La verita raminga. Balletto in musica" in two parts (p. 3-27), but it 
 is really a bizarre opera with ballets. The argument was delivered by "II Tempo" 
 in person, who "al suono d'una bizarra corrente comparve ballando grave d'anni 
 non meno, che leggiero di piedi un vecchio alato ... No composer recorded by 
 Allacci, Wotquenne, or Schatz. ML 50.2. V35 
 
 Die verkehrte welt. Tr. of Galuppi's II mondo alia roverscia. 
 
 Die verkehrte welt, in einer opera comique auf dem Hamburgischen 
 Schau-platze vorgestellet. Im jahr 1728. 
 
 [Hamburg], Gedruckt mit Stromerschen schrifften, n. d. Unpaged. 
 18 cm . 
 
 Three acts. Cast, names of Johann Philipp Praetorius as author, of Georg Philipp 
 Telemann as composer and "Vorbericht, , in which Praetoriue gives as his source 
 Le Sage's "Le monde ren verse 1 , " first performed 1718. The capable German trans- 
 lation then made could not be traced. Besides, it was mostly in prose: 
 
 "So hat der uebersetzer des gegenwaertigen sing-spiels, dem herrn Le Sage, mutatis 
 mutandis, lediglich folgen, und nach dessen wohlgetroffenen original seine schlechte 
 copie einrichten muessen." SCHATZ 10267 
 
 Der verkleidete liebhaber oder Der verstellte gaertner. Tr. of 
 Philidor's L'amant de'guise'.
 
 1130 LIBRARY OF CONGRESS 
 
 Die verlassene Armide. Tr. of Prati's Armida abbandonata. 
 Die verlassene Dido. Tr. of *Hasse's La Didone abbandonata. 
 Die verlassene Dido. Tr. of JommeUi's Didone abbandonata. 
 Die verlassene Didone. Tr. of Fiorillo's La Didone abbandonata. 
 
 Der verliebte eigensinn oder Nannerl bei hofe. Tr. of Favart's 
 parody Le caprice amoureux. 
 
 Der verliebte herr doctor. A. T. of Dieter's Der schulze im dorfe. 
 Der verliebte herr doctor. A. T. of Lacher's Der schulze im dorfe. 
 
 Der verliebte maler. Tr. of Duni's Le peintre amoureux de son 
 module. 
 
 Die verliebte taenzerin. Tr. of Cimarosa's La ballerina amante. 
 
 Gesaenge aus der oper Der verliebte werber, in zwey aufzuegen. 
 Die musik ist von Carl Eule. 
 
 Hamburg, Peter Christian Heinrich Robe, 1799. 82 p. 
 
 Author unknown to Schatz. 
 
 First performed at Hamburg, Theater beim Gansemarkt, September 10, 1799. 
 
 SCHATZ 2961 
 
 Die verliebten bauernmaedchen. Tr. of Borghi's Le villanelle 
 innamorate. 
 
 Die verliebten poltergeister. Tr. of Mozart's Gli amanti folletti. 
 Het vernietigd verdrag. Tr. of Gaveaux 'Le trait e nul. 
 II vero amico. A. T. of the ballet Zeboschi ed Esing. 
 
 II vero amore. Da cantarsi nel Teatro privilegiato da S. M. C. e 
 Cat. in Vienna. Nell' anno MDCCXXXVI. Nel mese di novem- 
 bre. Die wahre liebe . . . 
 
 Wien, Johann Peter v. GJielen, n. d. 67 p. 15. 
 
 Three acts. Argument. German text faces Italian. Author and composer not 
 mentioned, and unknown to Schatz. Not recorded by von Weilen. SCHATZ 11377 
 
 II vero amore. A. T. of Schuster's Rubenzahl. 
 
 II vero omaggio. 
 
 Metastasio, Poesie, Parigi, vedova Quillau, 1755, t. vii, [363}-376 p. 
 16. 
 
 One act. ML49.A2M42 
 
 - II vero omaggio. Questo breve* drammatico componimento fu 
 scritto in Vienna dall' autore, 1'annp 1743, e cantato con musica del 
 Bonno nel Palazzo del giardino di Schonbrunn, alia jpresenza de' 
 sovrani, per festeggiare il giorno di nascita di S. A. K. 1'arciduca 
 Giuseppe, poi imperadore. 
 
 [405\~416 p. 26. (Pietro Metastasio, Opere, t. ii, Parigi, vedova 
 Herissant, 1780.} 
 
 One act. ML49.A2M44
 
 OPERA LIBRETTOS 1131 
 
 Die verschwoerung der Odaliken[!] oder Die loewenjagd. Ein 
 singspiel in drey aufzuegen, fuer die K. K. priv. Marinellische schau- 
 buehne, yon Karl Friedrich Hensler. In musik gesetzt, von herrn 
 kapellmeister Mtiller. 
 
 Wien, mit Goldhannschen schriften, 1792. 91 p. 16. 
 
 Cast. 
 
 First performed, as indicated, May 3, 1792. SCHATZ 6974 
 
 II versillo della liberta. See M. Curzio. 
 
 Der verspottete geitzige. Tr. of Paisiello's L'avaro deluso. 
 
 Der verstellte gaertner. A. T. of Philidor's Der verkleidete 
 liebhaber. 
 
 Die verstellte gaertnerin. Tr. of Anfossi's La finta giardiniera. 
 
 Das verstellte kannnermaedgen. Tr. of Galuppi's La finta 
 cameriera. 
 
 Der verstellte narr aus liebe. Tr. of Sacchini's II soldato per 
 forza impazzito per amore. 
 
 Der verstellte Policare. Tr. of Conti's II finto Policaro. 
 Die verstellte Teutsche. Tr. of Hasse's La finta Tedesca. 
 Vertunno e Pomona, ballet. See Anfossi's La forza delle donne. 
 Vertunno e Pomona, ballet. See Rust's II conte Baccelone. 
 
 Die verwaiste Amerikanerin. Tr. of Gestewitz' L'orfanella 
 americana. 
 
 Die verwandelte Daphne. See Handel's Der beglueckte Florindo. 
 
 Die verwandelten weiber, oder Der teufel ist los. Eine komische 
 oper in drey aufzuegen. Zweyte auflage. 
 Leipzig, Dyckische lucJihandlung, 1772. 144 P- 15\ cm > 
 On p. [21, the note: "Nach dem Devil to pay or The wives metamorphosed des herrn 
 Coffey." On October 6, 1752, Christian Felix Weisse's two-act "Der teufel ist loa 
 oder Die verwandelten weiber" was performed, with music by Johann Standings, at 
 Leipzig. Later on Weisse rewrote the text in three acts, after Sedaine's "Le diable a 
 quatre and reversed the title, and Johann Adam Hiller revised Standfuss's music. 
 replaced rejected portions of it by music of his own, and composed all new matter in 
 the text. The libretto of 1772 mentions neither author nor composers. In the revised 
 three-act version this practically first German comic opera was first performed at Koch's 
 Theater am Rannstaedter Thore, Leipzig, May 28, 1766 (Calmus). SCHATZ 4732 
 
 Arien und gesaenge aus der komischen oper Die verwandelten 
 weiber, oder Der teufel ist los, in drey aufzuegen. Nach dem 
 " Devil to pay or the Wives metamorphosed " des herrn Coffey. 
 Die musik ist von Standfuss und Hiller. 
 
 Riga, Julius Conrad Daniel Mueller, 119^ 16 p. 16 cm . 
 
 SCHATZ 4732a
 
 1132 LIBKABY OF CONGBESS 
 
 Die verwandelten weiber Continued. 
 
 Die verwandelten weiber oder Der teufel ist los. Eine komische 
 
 oper in drey aufzuegen. 
 
 C. F. Weisse, Komische opern, Carlsruhe, 1778, ih. ii, 5 p. 1., 104 p. 
 
 Text preceded by the dedicatory poem to Anna Amalia duchess of Saxe- Weimar 
 and Eisenach, as protectress of German dramatic and histrionic art. On p. [2] the 
 note : ' ' Nach dem Devil to pay, or, the Wives metamorphosed des herrn Coff ey . ' ' With- 
 out names of Standfuss and Hiller. ML 49.A2W2 
 
 Die verwandelten weiber. Tr. of Portugal's Le donne cambiate. 
 
 Verwirrung durch aehnlichkeit. Tr. of Portugal's Le confusioni 
 della somiglianza. 
 
 v H Vespasiano. Drama per musica nel nuovo Teatro Grimano di 
 S. Gio. Chrisostomo. L'anno 1678. Di Giulio Cesare Corradi . . . 
 Venetia, Francesco Nicolini, 1678. 72 p. 14% cm - 
 
 Three acts. Author's dedication, notice to the reader with name of Carlo Palla- 
 vicino as the composer, argument, and scenario. SCHATZ 7732 
 
 Vespetta e Milo. Intermezzi by A. Scarlatti (I-II), and Conti (III) 
 in Lotti's opera " Giove in Argo. SCHATZ 5719 
 
 [Vespetta e Milo] Intermedi cantati dalli Signori Livia Constantini 
 la Polachina, e Lucrezio Borsari, ambi virtuosi della Maesta Augusto 
 Secondo re di Polonia . . . Traduction des intermedes italiens en 
 franpois . . . 
 
 Dresde, Jean Riedel, 1717. 31 p. 15 cm . 
 
 A notice to the reader tells us that the first and second intermezzo were by Alee- 
 eandro Scarlatti, the third by Francesco [Bartolommeo] Conti; also that the text of 
 the first two was by Silvio Stampiglia, of the third by baron Francesco Ballerini 
 and that 
 
 "Le arie che sono tradote in francese, di Vespetta e di Milo, si possono cantare 
 come le italiane." 
 
 Not mentioned by Dent, unless I am much mistaken. The libretto of these 
 intermezzi forms also part of that to Antonio Lotti's opera "Giove in Argo," Dresda, 
 (1717). (Unpaged. 19cm. See Schatz 5719.) 
 
 First performed at Dresden, Schlosstheater ("Sala di Ridotto"), October 25, 1717 
 (Schatz), though the dedication in the libretto of "Giove in Argo" is dated Novem- 
 ber, 1717. SCHATZ 9522 
 
 Vespetta e Pimpinone. L. T. of Albinoni's Pimpinone. 
 Vespetta e Valasco, intermezzi. See Stratonica. 
 
 La veuve. Entree in Mouret's Les festes de Thalie. 
 
 I 
 
 La veuve coquette. Entree in Mouret's Les festes de Thalie. 
 La veuve indecise. Parody of La veuve coquette. 
 
 H viaggiator ridicolo, dramnxa giocoso per musica. Da rappresen- 
 tarsi nel Teatro privileggiato di Vienna nelT anno 1766. 
 [Vienna], Ghelen, n. d. 56 p. 16\ cm . 
 
 Three acts. Cast, scenario, and names of Goldoni as the author, and of Florian 
 Leopold Gassmann as the composer. 
 
 First performed as indicated, Kaernthnerthortheater, May 25. 1766. 
 
 SCHATZ 3618
 
 OPERA LIBRETTOS 1133 
 
 II viaggiator ridicolo. Dramma giocoso da rappresentarsi nel 
 Teatro Giustinian di S. Moisd il earnovale dell' anno 1761. 
 Venezia, Modesto Fenzo, 1761. $8 p. 14 cm . 
 
 Three acts. By Goldoni, who is not mentioned. Cast, scenario, and name of 
 Salvatore Perillo as the composer. SCHATZ 7922 
 
 II viaggiatore ridicolo. Dramma di tre atti per musica. Rap- 
 presentato per la prima volta in Parma nel earnovale dell' anno 
 MDCCLVII con musica del Mazzoni. 
 
 Carlo Goldoni > Opere teatrali, Venezia, Zatta efigli, 1788-95, t. 40, 
 [5]-56 p. 18 cm . PQ 
 
 II viaggiatore ridicolo. Dramma giocoso per musica del Signer dot- 
 tor Carlo Goldoni da rappresentarsi nel magnifico Teatro dell 7 illustris- 
 sima Accademia degli Efranti di Brescia per la fiera di agosto dell' 
 anno 1771 . . . 
 
 Brescia, Fratelli Pasini, n. d. 55 p. 17 cm . 
 
 Three acts. Dedication, cast, scenario, and name of the composer, Pietro Cara- 
 manica. . SCHATZ 1619 
 
 II viaggiatore ridicolo. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro del Bairo Alto di Lisbona nell' estate del corrente 
 anno 1770. Poesia del rinomato avvocato Carlo Goldoni . . . 
 
 Lisbona, Stamperia reale, n. d. 72 p. 14% cm - 
 
 Three a,cts. Dedication, cast, scenario, and name of Giuseppe Scolari as com- 
 poser, except for the arias: "Quant' e buono il cioccolato" (I, 1), "Se placate un dl 
 vi miro" (I, 3), "Vous e~tes le mpn cher coeur" (I, 6), "So che gl'uomini han per 
 uso"(I, 8), " lo eono un uqmo docile " (II, 1), " Di sdegno m'accende (II, 2), "Astolfo 
 poveretto" (II, 4), "lo conosco d'ogni ainante" (II, 5), "Non sperar ch'io faccia 
 pace" (III, 4). The composer of these is not mentioned. ML 50.2.V42S2 
 
 I viaggiatori. Commedia per musica di Pasquale Mililotti da rap- 
 presentarsi nel Teatro de' Fiorentini nella primavera del corrente 
 anno 1776. 
 
 Napoli, n. puU., 1776. 48 p. 15\ cm . 
 
 Three acts. Cast and name of Niccol6 Piccinni as composer. Florimo and Schatz 
 state that the opera had been previously performed there in the fall of 1775. 
 
 SCHATZ 8134 
 
 I viaggiatoxi o siano I matrimoni in cantina. Dramma giocoso per 
 musica da rappresentarsi nel nuovo Teatro de' nobili Signori fratelli 
 Prini della citta di Pisa il carnevale dell' anno 1786. 
 Pisa, Francesco Pieraccini, 1786. Jfi p. 17% cm . 
 
 Two acts. Author not mentioned, and unknown to Schatz. Cast and name of 
 Michele Neri Bondi as the composer. ("La musica tutta nuova.") SCHATZ 7079 
 
 I viaggiatori areostatici, ballet. See Pugnani's Demofoonte. 
 
 I viaggiatori felici. Dramma giocoso per musica da rappresen- 
 tarsi nel Piccolo Teatro di S. A. E. di Sassonia. 
 Dresda, n. publ., 1781. 163 p. 15\ cm . 
 
 Two acts. By Filippo Livigne, who is not mentioned. Name of Aufossi as 
 composer. German title-page, Die gluecklichen reisenden," and text face Italian. 
 
 First performed at Dresden on November 21, 1781; at London in the same year 
 (Schatz), and at Venice, Teatro di S. Moise, fall of 1780. SCHATZ 255
 
 1134 LIBRARY OF CONGRESS 
 
 I viaggiatori felici Continued. 
 
 I viaggiatori felici; a' new comic opera, in two acts. As per- 
 formed at the King's Theatre in the Hay-Market. The music 
 entirely new, by the celebrated Signer Anfossi. 
 
 London, H. ReyneU, 1782. 68 p. 17 m . 
 
 Two acts. By Filippo Livigni, who is not mentioned. SCHATZ 254 
 
 I viaggiatori felici. Dramma giocoso per musica. Da rappre- 
 sentarsi ne' Teatri privilegiati di Vienna 1'anno 1783. 
 
 [Vienna], Giuseppe Nob. de Kurzbeck, (1783). 173 p. 16% cm . 
 Two acts. Name of Anfossi as composer. German title, "Die gluecklichen 
 reisenden," and text face Italian. 
 
 First performed on December 29, 1783, as indicated in the title. SCHATZ 256 
 
 La viaggiatrice o sia Le circostanze imbarazzanti, ballet. See Bian- 
 chi's Briseide. 
 
 Le vicende amorose. Dramma giocoso per musica del Timido da 
 rappresentarsi nel Teatro Giustimani di S. MoisS 1'autunno dell' 
 anno 1760. 
 
 Venezia, Modesto Fenzo, 1760. 59 p. 14$ cm . 
 
 Three acts. Unknown author's preface? cast, scenario, and name of Ferdinando 
 Giuseppe Bertoni as composer. SCHATZ 928 
 
 Le vicende amorose. O. T. of Tritto's Li disprezzatori delle donne 
 o sia Le vicende amorose and of his I raggiri d'amore. 
 
 Le vicende d'amor e di fortuna. Da rappresentarsi in musica nel 
 Teatro di San Fantino il carnovale dell' anno 1709. 
 
 Venetia, Marino Rossetti, n. d. 4@ P- 14 cm - 
 
 Three acts. Argument, scenario. Author (Giov. Domenico Pallavicino, text origi- 
 nally called "Tiberio imperadore d'Oriente ) and composer (unknown to Schatz) 
 not mentioned. SCHATZ 11378 
 
 Le vicende d'amore. O. T. of the libretto L'impostura poco dura. 
 
 Le vicende d'amore. Dramma in musica a cinque voci. Da rap- 
 presentarsi ne' Teatri privilegiati di Vienna 1'anno 1784. 
 
 Vienna, Giuseppe nob. de Kurzbeck, n. d. [9]-70 p. 17 cm . 
 
 Two acts. Author not mentioned and unknown to Schatz. Pietro Gugliemi is 
 mentioned as the composer. On p. 1-8 a "Capitolo burlesco sopra lo studio." 
 
 First performed, as indicated, June 16, 1784; at Rome, Teatro Valle, carnival, 1784. 
 
 SCHATZ 4278 
 
 Le vicende della sprte. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro di S. A. Serenissima il Signer principe di Carignano 
 nelT autunno delT anno MDCCLXIV. 
 
 Torino, Gaspare Bayno, n. d. 1+6 p. 16 cm . 
 
 Three acts. The author, Giuseppe Petrosellini, is not mentioned. Cast and name 
 of Niccol6 Piccinni as the composer. 
 
 First performed at Rome, Teatro Valle, January 3, 1761. SCHATZ 8154 
 
 Le vicende della sorte. . Dramma giocoso per musica da rappre- 
 sentarsi nel Real Teatro dell' Ajuda in occasione di festeggiarsi il 
 giorno natalizio del fedelissima monarca D. Giuseppe I. ... nel di 
 6 giugno. MDCCLXVI. 
 
 Lisbona, MicJiele Maneschal da Costa, n. d. 63 p. 16 cin . 
 Two acts. By Giuseppe Petrosellini, who is not mentioned. Cast, scenario, and 
 name of Niccold Piccimti as the composer. SCHATZ 8143
 
 OPERA LIBRETTOS 1135 
 
 Le vicende della sorte Continued. 
 
 - Der glueckswechsel, oder Mutter Natur in ihren kindern. Ein 
 komisches singspiel in zwey aufzuegen, nach Goldoni und Riccini[!J, 
 von Bock. 
 
 n. i., n. d. 78 p. 16. 
 
 Is no. I in liter theil of his "Komische opern der Italiener," Leipzig, 1782. 
 
 First performed at Leipzig, Theater b. Rannstadter Thore, June 30, 1780. 
 
 SCHATZ 8120 
 
 Victor, hertzog der Normannen. Opera. 
 
 n. i., n. d. Unpaged. 16\ cm . 
 
 Three acts. Argument. Neither the author, Hinsch, is mentioned, nor the com- 
 posers, Johann Christian Schieferdecker (act I), Johann Mattheson (act II), and 
 Georg Bronner (act III). 
 
 First performed at Hamburg, Theater beim Gansemarkt, 1702. SCHATZ 9605 
 
 Li viecchie coffejate. Commeddeia pe museca de col' Antuono 
 Feralintisco pe lo triato de li Shiorentine nchist' anno 1710 . . . 
 
 Nuenezia, pel'aredede Casparra Stuorto , 1710. 4p.l.^61p. 13% cm . 
 
 Three acts. By Francesco Antonio Tulli, who is not mentioned. Dedication, 
 cast, scenario, and notice to the reader, in which this is said about the anonymous 
 and unknown composers: 
 
 "Fa ntennere a li benigne lejeture, ca chi a puosto nmuseca sta commedeja e no 
 povero sorece nfus' all' uoglio no scuro prinzipiante, e no scolariello de chillo gra' 
 mastrone, ch' ha fatto la primma, e farra la terza; ed e uno nzomma, c'ha la varva 
 peccerella, e perzo e sseno scarzo ancora de fonnamiento, mmereia d'essere compatuto, 
 ei non ee vedea le cose soje tutta la regola, e tutta la mellonia, che nc'abbesogna . . ." 
 
 SCHATZ 11381 
 
 Lo viecchio avaro. Commedia pe' museca, de coF Antuono Fera- 
 lintisco. Da rappresentarese a lo Triato de li Shiorentine 'nchisto 
 carnevale de ll'anno 1727 . . . 
 
 Napole, A spese de lo mpresario, 1727. 60 p. 14% cm - 
 Three acts. By Francesco Antonio Tulli. Scenario, notice to the reader, cast, 
 name of Giuseppe de Majo as composer, and impresario's dedication, according to 
 which the carnival season was to close with this opera. ML 50.2.V41M2 
 
 La vieillesse ou L'amour enjoue. Entree in Campra's Les ages, 
 ballet. 
 
 La vieillesse d' Annette et Lubin, ope>a. En un acte et en prose, 
 mele" de chant par M. A. L. d'Antilly. Re'pre'sente', pour la premiere 
 fois, par les Comediens italiens ordinaires du roi, le premier aout 1789. 
 
 Paris, Prault, 1790. 47 p. 21. 
 
 Cast. The composer, Pierre David Augustin Chapelle, IB not mentioned. 
 
 ML 60.2.V45C3 
 
 Le vieux chateau, ou La rencontre, come'die en un acte, mele'e de 
 chants; repr6sent6e pour la premiere fois sur le Theatre Feydeau, 
 le 25 ventose an 6 [March 15, 1798]; paroles du citoyen Alex. Duval, 
 musique du citoyen Domenico Della Maria. 
 Paris, Au bureau dramatique, an VI. [1798-99] Jfi P- 21 cm . 
 
 ML 50.2.V49D2 
 
 Le village. Entree in Boismortier's Les voyageurs de Famour.
 
 1136 LIBRARY OF CONGRESS 
 
 The village maid ; an opera. In three acts. By a young lady . . . 
 
 London, Printed for the authoress, by William Innes, 1792. 4 P-l-i 
 90 p. 20% cm . 
 
 List of subscribers and Advertisement. Neither authoress, composer, or per- 
 formance recorded by Clarence. LONGE 220 
 
 The village opera. As it is acted at the Theatre-Royal, by His 
 Majesty's servants. Written by Mr. Johnson ... To which is 
 added the musick to each song. 
 
 London, J. Watts, 1729. 3 p. 1., 70 p. 20. [Bound with Gay, 
 John. The beggar' 's opera. London, 1728.] 
 
 Three acts. Ballad opera. Cast and table of the 53 songs, followed by a one-page 
 list of "Books lately publish'd and printed for J. Tonson and J. Watts." The cor- 
 responding airs are printed in the text with their titles. Air 40 ("Softer than the 
 breath of May ") is a "Minuet, by Mr. Fail-bank." 
 
 First performed at Covent Garden, as indicated, February 6, 1729. ML 50.5.B3 
 
 The village opera. As it is acted at the Theatre-Royal, by His 
 Majesty's servants. Written by Mr. Johnson ... To which is 
 added the musick to each song. 
 London, J. Watts' 1729. 4 p. I, 76 p. 20% cm . 
 
 Three acts. Same cast and same book list, but the table of contents now has 63 
 not 53 songs and on recto of p. 1. 4 appears "A new air": "If 'tis true, that once," 
 sung by Miss Raftor in II, 3. The Minuet by Mr. Fairbank" has now become 
 Air 45. ML50.5.V45 
 
 Second copy of this edition, but of an issue which has this characteristic misprint 
 in the heading of the book list: "O OKS lately publish'd . . ." LONGE 32 
 
 The village wedding: or, The faithful country maid. A pastoral 
 entertainment of music. As it is performed at the Theatre-Royal 
 at Richmond. 
 London, M. Hingeston, 1767. 35 p. 19 cm . 
 
 Two acts. Cast. By James Love, who is not mentioned. Composer unknown 
 to Schatz. LONGE 198 
 
 La villana riconosciuta. Commedia per musica di Giuseppe 
 Palomba da rappresentarsi nel Teatro di S. Ferdinando a Ponte 
 nuovo.. 
 
 Napoli, Domenico Sangiacomo, 1791. 48 p. 15 cm . 
 
 Two acts. Cast and name of Cimarosa as the composer. On p. 2 a notice to the 
 effect that two arias, one of them "Rammenta alfin chi sono" (1, 10), were changed 
 "per comodo de' cantanti " and that "per serbare la brevita si tralascia di rappresen- 
 tare 1'atto 3." On p. 48 the notice: 
 
 "Si avverte che mancava la .composizione della musica dell' aria di Mad. nell 
 atto secondo scena x, p. 38 ("Misero pargoletto") e si e costituita la seguente: " Che 
 smania . . . che affanno. Larabbiam'opprime." 
 
 First performed at Naples, Teatro del Fondo, 1783. SCHATZ 1987 
 
 La villanella incostante. Dramma giocoso per musica di Giovanni 
 Bertati da rappresentarsi nel Teatro Giustiniani di S. Moise 1'autunno 
 dell' anno 1773. 
 
 Venezia, Antonio Graziosi, 1773. 60 p. ll\ cm . 
 
 Three acts. Cast, scenario, and name of Johann Gottlieb Naumann as the com- 
 poser. SCHATZ 7058
 
 OPERA LIBRETTOS 1137 
 
 La villanella incostante Continued. 
 
 - Le npzze disturbate. Dramma giocoso per musica del Sigr. 
 Giovanni Bertati da rappresentarsi nel Piccolo Teatro di S. A. S. E. 
 di Sassonia. 
 
 Dresda, n. putt., Tanno 1774. 14$, Ul P> 16$ cm . 
 
 Three acts. Johann Gottlieb Naumann is mentioned as the composer. On the 
 additional page the remark: 
 
 "Poiche nel finale dell' atto eecondo e stato cangiato il Brindisi fatto per la citta 
 di Venezia, ei avverte per il rispetto dovuto al celebre autore, che la variazione e 
 seguita per adattarei alle circostanze di questo teatro." 
 
 German title page, "Die gestoehrte hochzeit," and text face Italian. 
 
 First performed in 1774, as indicated. SCHATZ 7059 
 
 La villanella ingentilita. Commedia per musica di Saverio Zini 
 da rappresentarsi nel Nuovo Teatro de' Fiorentini per terza opera 
 del corrente anno 1779. 
 
 Napoli, n. putt., 1779. 68 p. 15 cm . 
 
 Three acts. Cast and name of Pietro Guglielmi as the composer. 
 
 First performed, as indicated, November 8, 1779. SCHATZ 4292 
 
 - Li fratelli Pappamosca. Dramma giocoso per musica da rap- 
 presentarsi nel Eeal Teatro di Salvaterra nel carnovale dell' anno 
 1786. 
 
 [Lisbon], Stamperia reale, n. d. 83 p. 
 
 Three acts. Cast, scenario, and name of Pietro Guglielmi as the composer. This 
 is Zini's "La villanella ingentilita" with noticeable differences. For instance, I, 3, 
 has now the aria "Fiumicel, soave erbetta " instead of "Dormiva il mio pastore un di 
 nel prato" and II, 5, now begins "Fratello Sesto mio, mi dice il core" instead of 
 "Oh che fussi ammazzata." SCHATZ 4283 
 
 La villanella rapita. A. T. of the ballet Le vendemmie. 
 
 La villanella rapita. Dramma giocoso per musica di Giovanni 
 Bertati da rappresentarsi nel Teatro Giustiniani in San Mois& 1'au- 
 tunno dell' anno 1783 . . . 
 
 Venezia, Modesto Fenzo, 1783. 64 p. 17$ cm . 
 
 Two acts. Impresario's dedication, cast, scenario, and name of composer, Fran- 
 cesco Bianchi. The two ballets were called "La pastorella fedele" by Federico 
 Terrades, music ("tutta nuova") by Mattia Stantingher [Stabingher] and "II bar- 
 biere di Siviglia, ballo comico " by the same author, the composer not being mentioned . 
 
 SCHATZ 986 
 
 -La villanella rapita. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro alia Scala 1'autunno dell' anno 1785 . . . 
 Milano, Gio. Battista Bianchi, n. d. 64 P- 17 cm . 
 Two acts. Cast, name of Francesco Bianchi as composer, scenario, and dedication, 
 according to which the " vera malattia della principale attrice," the "Signora Giacinta 
 Gu Hi prima donna assoluta senza vicenda, had delayed the performances several 
 days. They began in September. Bertati is not mentioned. With the opera were 
 performed Sebastiano Gallet's ballets, "L'amor vincitore oesia Diana ed Endimione" 
 and "Le pazzie amorose," the composers of the music not being mentioned. 
 
 ML 48.A5 v. 12 
 
 La villanella rapita. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro di S. A. E. di Sassonia. 
 
 Dresda, n. i., 1785. 135 p. 15\. 
 
 Two acts. With name of Francesco Bianchi as composer. German title-page, 
 "Das entfuehrte bauernmaedchen," and text face Italian. 
 
 First performed at Dresden in 1785. SCHATZ 987 
 
 72251 VOL 114 - 72
 
 1138 LIBRARY OF CONGRESS 
 
 La villanella rapita Continued. 
 
 - La villanella rapita ; a comic opera, in two acts, as performed at 
 the Theatre Royal in the Hay Market. The music by Signer Bianchi, 
 under the direction of Signer Federici. 
 
 London, H. ReyneU, 1790. 71 p. 19. 
 
 Two acts. The author, Bertati, is not mentioned. 
 
 First performed 1790, as indicated. ML 48.M2N 
 
 - La villanella rapita, osia, Le gelosie di Pippo : Dramma giocoso 
 per musica da rappresentarsi nel Regio Teatro di S. Carlo, della 
 Principessa la primavera dell' anno 1796. 
 
 Lisbona, Taddeo Ferreira, 1796. 135 p. lJ& cm . 
 
 Two acts. Cast, argument, scenario, and name of the "celebre Sig. Adamof!] 
 Bianchi " as composer of course, an error for Francesco Bianchi. The text is that 
 by Bertati. Between the acts was performed "La villanella socorsa," ballet by 
 Luigi Chiaveri, the composer not being mentioned. Portuguese text faces Italian. 
 
 SCHATZ 990 
 
 La fedelta tra le selve. Dramma giocoso per musica a sette 
 voci da rappresentarsi nel Teatro alia Valle degP illmi Sigg. Capranica 
 nell' anno 1789. 
 
 Roma, Michele PuccineUi, n. d. 58 p. 15 cm . 
 
 Two acts Cast and name of the composer, Francesco Bianchi, but not of the 
 librettist, Giovanni Bertati. Four arias, marked with an asterisk, were by Valentino 
 Fioravanti, as stated in the note: "Che giorno di contento" (I, 7), "Care selve 
 amiche piante" (II, 15), etc. The text is that of "La villanella rapita." 
 
 SCHATZ 992 
 
 La villanella socorsa, ballet. See Bianchi's La villanella rapita. 
 
 Le villanelle astute. Dramma giocoso per musica da rappresen- 
 tarsi nel nobile Teatro di S. Samuele il carnovale dell' anno 1786. 
 Venezia, Modesto Fenzo, 1786. 45, [1] p. 18 cm . 
 
 Two acts. By unknown author. Cast, scenario, and name of Franesco Bianchi, 
 as composer. The ballets, both by Eusebio Luzzi, the composers not being men- 
 tioned, were called ' ' Giulietta e Romeo, ballo tragico in cinque atti " and ' ' II geloso in 
 cimento." SCHATZ 1010 
 
 Le villanelle innamorate. Azzione comica per musica da rappre- 
 sentarsi nel Piccolo Teatro di S. A. S. E. di Sassonia Fanno 1778. 
 Dresda, NeTla Stamperia elettorale, n. d. 79 p. 16\ cm . 
 
 Two acts. By unknown author. German title-page, ' ' Die verliebten Bauernmaed- 
 chen," and text face Italian. Giov. Battista Borghi is mentioned as composer. 
 First performed as "L'amore in campagna" at Vienna, Hoftheater, June 19, 1774. 
 
 SCHATZ 1238 
 
 II villano geloso. O. T. of Bertati's text I finti eredi. 
 
 II villano geloso. Dramma giocoso per musica da rappresentarsi 
 nel Teatro Giustiniani di S. MOIS& 1'autunno dell' anno 1769 . . . 
 Venezia, Modesto Fenzo, 1769. 48 p. 16\. 
 
 Three acts. By Giovanni Bertati, who is not mentioned. Impresario's dedica- 
 tion, scenario, and. name of Baldassare Galuppi as composer. SCHATZ 3472
 
 OPERA LIBRETTOS 1139 
 
 II villano geloso. Dramma giocoso per musica da rappresentarsi 
 nel Piccolo Teatro di S. A. E. di Sassonia. 
 Dresda, n. publ, 1770. 125 p. 15 cm . 
 
 Three acts. By Giovanni Bertati, who is not mentioned. Scenario and name of 
 Johann Gottlieb Naumann as the composer. The cast has been added in ink by a 
 contemporary hand. German title page, "Der eyfersuechtige bauer," and text face 
 Italian. 
 
 First performed 1770, as indicated. SCHATZ 7060 
 
 La ville. Entree in Boismortier's Les vogages de 1' amour. 
 
 Le villeggiatrici ridicole. Dramma comico per musica d 'Antonio 
 Bianchi Veneziano da rappresentarsi nel Teatro Tron di S. Cassiano 
 nelT autunno delF anno 1765. 
 
 Venezia, Modesto Fenzo, 1765. 59 p. 14 m - 
 Three acts. Cast, scenario, and name of the composer, Antonio Boroni. 
 
 SCHATZ 1253 
 
 La villeggiatura. A. T. of Cimarosa's L'apparenza inganna. 
 
 La villeggiatura. Dramma giocoso per musica. Da rappresentarsi 
 nel Teatro di S. A. Serenissima il Signor principe di Cangnano nelP 
 autunno dell' anno MDCCLXIV. 
 
 Torino, Gaspare Bayno, n. d. 55 p. 15\ cm . 
 
 Three acts. Cast. Neither Niccolo Piccinni, the composer, nor the author 
 (unknown to Schatz) is mentioned. 
 
 First performed at Bologna, Teatro Formagliari, carnival, 1764. SCHATZ 8155 
 
 La villeggiatura di Mestre. Farsa per musica da rappresentarsi 
 dai Comici del Teatro Tron in S. Cassiano nel carnovale dell' anno 
 1770 . . . 
 
 Venezia, Gio. Battista Casali, n. d. Ifi p. 15. 
 
 Two acts. Dedication signed by the author, Giovanni Dolfin, and name of the 
 composer, Salvatore Perillo. SCHATZ 7923 
 
 La villeggiatura in scompiglio ossia II falso amico, ballet. See 
 G. Giordani's Cajo Mario. 
 
 I yiluppi amorosi. Commedia per musica di due atti di Giuseppe 
 Mililotti. Da rappresentarsi nel Teatro Nuovo sopra Toledo per la 
 prima opera di quest' anno 1778. 
 
 Napoli, n. pull., 1778. 60 p. 15 cm . 
 
 Two acts. Argument, cast, and name of Angelo Tarchi as the composer. 
 
 SCHATZ 10227 
 
 II vincitor di se stesso. Dramma per musica del Sig. conte Antonio 
 Zaniboni ... da rappresentarsi nel Teatro di Sant' Angelo 1'au- 
 tunno dell' anno MDCCXLI . . . 
 
 Venezia, Marino Rossetti, 1741' 4$ P- 15 cm . 
 
 Three acts. Impresario's dedication dated November 4, 1741, argument, scenario, 
 cast, and name of the composer, Ignazio Fiorillo. SCHATZ 3204
 
 1140 LIBRARY OF CONGRESS 
 
 II vincitor generoso. Drama per musica da rappresentarsi nel 
 famosissimo Teatro Grimani di S. Gio. Grisostomo il carnovale dell' 
 anno MDCCVIII . . . 
 
 Venezia, Marino Rossetti, 1708. 70, [1] p. 15 cm . 
 
 The add. p. contains a list of "Opere muricali sin' ora stampate in Venezia da 
 Antonio Bortoli." 
 
 Three acts. Dedication with the initials of the author, Francesco Brianni, who 
 calls this his first drama and dates the dedication Venice, January 10, 1708, notice to 
 the reader, cast, and scenario. The composer, Antonio Lotti, is not mentioned. 
 
 SCHATZ 5726 
 Second copy. ML 45. A5 v.12 
 
 La vindemmia, ballet. See Paisiello's Le vane gelosie. 
 Vindemmia, ballet. See Salieri's La partenza inaspettata. 
 
 La vindemmia o La contadina impertinente, ballet. See Tarchi'a 
 Le Danaidi. 
 
 La vindemmia fiamminga. A. T. of the ballet II pellegrinaggio. 
 
 Vindice la pazzia della vendetta. Favola pastorale da rappresen- 
 tarsi in musica nel Teatro di S. Fantino Panno 1707 in Venezia . . . 
 
 Venezia, Gio. Maria Rossi, 1707. 42 p. 15 cm . 
 
 Three acts. Dedication by the author, Bartolomeo Pedoni, argument, notice to 
 the reader, cast, and scenario. The composer, Girolamo Polani, is not mentioned. 
 
 SCHATZ 8254 
 
 A Vinganga da Cigana: drama jocoserio de hum so' acto, para se 
 representar no Real Theatro de S. Carlos, pela companhia italiana, 
 onerecido ao publico por Domingos Caporalini no dia do seu bene- 
 ficio. Anno de 1794. A poesia he de Lereno Secinuntino Arcade 
 Romano. A musica he do Sr. Antonio Leal Moreira, mestre do Real 
 Seminario, e do mesmo theatre. 
 Lisboa, Simao Thaddeo Ferreira, n. d. 4? P> 14 cm ' 
 Cast. SCHATZ 6634 
 
 Second copy. ML 48.C6I 
 
 The vintner outwitted. A. T. of Love and revenge. 
 
 II vintp trionfante del vincitore. Drama per musica da rappre- 
 sentarsi nel Teatrp di Sant' Angelo 1'autunno dell' anno MDCCXVII 
 
 Venezia, Marino Rossetti, 1717. 59 p. 
 
 Three acts. Dedication by the author, Antonio Marchi, dated Venice, Novem- 
 ber 22, 1717, cast, argument, scenario, and notice to the reader, in which Marchi says: 
 
 "Nel ristretto termino di pochi giorni sono stato obbligato ad alestire il presente 
 mio drama. Questo e lo stesso sogetto, che hai compatito mold anni sono nel Teatro 
 di Santi Giovanni e Paolo [as "Zenobia regina dei Palmireni"]; ma pero ora ridotto 
 piu uniforme al tuo genio, ed al gusto moderno, in guisa tale, che ti sembrera al tutto 
 di verso ..." 
 
 Composer not mentioned and unknown to Schatz, who calls this a pasticcio. 
 
 SCHATZ 11379 
 
 La Violante. O. T. of A. Palomba's text Don Saverio. ,* 
 
 La violenza d'amore. A. T. of Gasparini, Polaroli and Ballarotti's 
 L'Alciade.
 
 OPERA LIBRETTOS 1141 
 
 The virgin prophetess. A. T. of Cassandra. 
 
 The virgin unmasked. A. T. of An old man taught wisdom. 
 
 Virginia. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro delle Dame nel carnevale dell' anno 1786 . . . 
 
 Roma, Gioacchino PuccineUi, n. d. 44 P- 16 cm . 
 
 Three acts. Dedication, argument, scenario, and name of Gioacchino Albertini 
 as composer. The author is unknown to Schatz. The music ("tuttanuova") of the 
 first ballet was by Francesco Giuliani. SCHATZ 86 
 
 Virginia. Tragedia per musica in tre atti del conte Alessandro 
 Pepoli da rappresentarsi nel nobilissimo Teatro della Fenice al 
 principio del carnevale dell' anno 1794. 
 
 Venezia, Modesto Fenzo, 1793. 88 p. 19 cm . 
 
 Three acts. Cast, scenario, and name of Felice Alessandri as composer. 
 
 First performed December 26, 1793, as indicated in title. SCHATZ 156 
 
 La Virginia. Dramma per musica da rappresentarsi nel Nuovo 
 Teatro dagli Armeni della citta di Livorno Pautunno dell' anno 1786. 
 
 Livomo, Gio. Vine. Falorni, n. d. Jfi p. 15 cm . 
 
 Three acts. Author not mentioned, and unknown to Schatz. Impresario's dedica- 
 tion, argument, cast, scenario, and name of Angelo Tarchi as composer ("La musica e 
 tutta nuova"). With the opera was performed (composers of the music not men- 
 tioned) Domenico Ballou's "II trionfo di Arianna, ballo eroico pantomimo." As 
 second ballet for later on was announced "II cappellaro." 
 
 First performed at London, Hay-market, May 4, 1786; at Florence, Teatro di via 
 della Pergola, fall of 1785. SCHATZ 10232 
 
 Virginio console. Drama per musica da rappresentarsi nel Teatro 
 in Sant' Angelo 1'anno 1704. Di Matteo Noris. 
 Venetia, Gio. Battista Zuccato, 1704. ? 2 P- 15cm - 
 
 Three acts. Scenario and prefatory note, in which Noris says: 
 "Quando io credevo haver terminata la lunghissima mia camera (ed' il perche gia 
 lo sai) di compor drami per musica, mi conviene di bel nuovo dar principio alia corsa 
 in un teatro, dove 1'augustia della scena non admette imperiah magnificenze n& 
 pompose maesta ..." 
 Antonio Zannettini, the composer, is not mentioned. SCHATZ 11145 
 
 Viriate. Dramma per musica da rappresentarsi nel Teatro Ven- 
 dramino di San Salvatore nella fiera dell Ascensione dell' anno 1762. 
 Venezia, Valvasense, 1762. 60 p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned, and whose original title was 
 " Siface " (Schatz). Argument, cast, scenario, and name of Galuppi as the composer. 
 ("La musica sara tutta nuova. ") 
 
 First performed May 19, 1762, as indicated. SCHATZ 3511 
 
 Viriate. Dramma per musica da rappresentarsi nel famosissimo 
 Teatro Grimani di S. Gio. Grisostomo nel carnovale del 1739 . . . 
 Venezia, Marino Rossetti, 1739. 60 p. 14% cm . 
 
 Three acts. Metastasio's "Siface," altered by Domenico Lalli, who signs the 
 dedication. Argument, cast, scenario, and name of Joh. Ad. Hasse as composer. 
 
 SCHATZ 4581
 
 1142 LIBRARY OF CONGRESS 
 
 La virtu al cimento. Meloclramma da rappresentarsi in Parma nel 
 R. D. Teatro di Corte il carnevale dell' anno MDCCXCVIII . . . 
 Parma, Carmignani, n. d. 68, [4] p. 18 cm . 
 
 Two acts. By Angelo Anelli, who is not mentioned, and whose original title was 
 "Griselda." Dedication, cast, scenario, and name of Ferdinando Par (Paer) as the 
 composer. ("La musica e tutta nuova.") With the opera were performed Francesco 
 Clenco's ballets, "Ercole e Dejanira " and "Zemira e Azor," of which latter a descrip- 
 tion on the unnumbered pages. The composers of the music are not mentioned. 
 
 First performed in February, 1798. SCHATZ 7545 
 
 La virtii de' s trail d'amore. Opera tragicomica musicale di 
 Giovanni Faustini . . . 
 
 Venetia, Pietro Miloco, 1642. 96 p. 13\ cm . 
 
 Three acts, with prologue. Author's dedication. The composer, Pietro Francesco 
 Cavalli, is not mentioned. 
 
 First performed at Venice, Teatro di S. Cassiano, carnival, 1642. SCHATZ 1729 
 
 La virtu nel cimento. L. T. of Orlandini's Griselda. 
 La virtu premiata. A. T. of Bianchi's Tarara. 
 La virtu premiata. A. T. of Gardi's La semplice. 
 
 La virtu sublimata dal grande owero II Macedone continente. 
 L. T. of M. A. Ziani's Alessandro Magno in Sidone. 
 
 La virtu tra' nemici. Drama per musica da rappresentarsi 
 nel Teatro Giustiniano di San Mois6 il carnovale dell' anno 
 MDCCXVIII . . . 
 
 Venezia, Marino Rossetti, 1718. 59 p. lJfy cm . 
 
 Three acts. Argument, notice to the reader, cast, scenario, and dedication signed 
 by the author, Giovanni Battista Abbati, who calls this, in the prefatory note, "il 
 secondo aborto della mia penna." Giuseppe Boniventi, the composer, is not 
 mentioned. SCHATZ 1193 
 
 La virtu trionfante d'amore vendicativo. Favola pastorale da 
 recitarsi in musica nej Teatro di San Fantino 1'anno 1708 . . . 
 Venezia, Gio. Maria Rossi, 1708. 44 p. 14 m - 
 
 Three acts. Dedication by the author Bartolomeo Pedoni, briefest kind of scena- 
 rio, argument and notice to the reader with the name of Girolamo Poland as the 
 composer. SCHATZ 8256 
 
 Virtu trionfante del vizio, La. A. T. of Franceschirii's Dionisio. 
 
 La virtu trionfante dell' amore e dell' odio. O. T. of Silvani's 
 text Tigrane. 
 
 La virtu trionfante dell' amore, e dell' odio: Drama per musica 
 da recitarsi nel Teatro Vendramino di S. Salvatore, Tanno 1691. Di 
 Francesco Silvani. Nova impressione . . . 
 Venetia, Nicolini, 1681. 67 p. 14\ cm . 
 
 Three acts. Author's dedication, argument, scenario, and notice to the reader, 
 in which Silvani says : 
 
 "Voglio . . . che til faccia smentire coloro che dicono, ch'il gusto di Venetia & 
 corrotto, e che non piacciono oramai piu che le barzelette, e che s'abborriscono sii le 
 ecene la graviti & il decoro. lo 6 lettore non ho di te tal sentimento, onde ti prego 
 eecondare la mia opinione, col frequentare un teatro, dove la virtu trionfa, sostenuta 
 dalle musiche note del Signor Marc' Antonio Ziani, dall' arte de piu virtuosi & insigni 
 can tan ti d' Italia . . ." SCHATZ 11207 
 
 First performed as indicated, carnival 1691.
 
 OPERA LIBRETTOS 1143 
 
 Virtues of nature. A. T. of The American Indian. 
 
 La virtuosa alia moda. Dramma giocoso per musica da rappre- 
 sentarsi nel Teatro della nobilissima Accademia Intronata di Siena 
 nelT estate dell' anno 1777 . . . 
 
 Siena, Vincenzo Pazzini Carli efigli, 1777. 56 p. 16 cm . 
 
 Two acts. By Giovanni Bertati, who is not mentioned. Impresario's dedication, 
 cast, and name of Luigi Caruso as the composer. 
 
 First performed at Bologna, Teatro Marsigli Rossi, 1776; at Trieste, Teatro di San 
 Pietro, carnival, 1776. SCHATZ 1648 
 
 - Li due amanti rivali. Dramma giocoso per musica da rappre- 
 sentarsi nel nobile Teatro di San Samuele 1'autunno dell' anno 1779. 
 
 cm 
 
 Venezia, Modesto Fenzo, 1779. 47 p. 17 
 
 Two acts. Considerably different from the above. In this the character of the 
 prima buffa, for instance, is called Isabellina, in "La virtuosa alia moda" Mirando- 
 lina. A note on p. 3 reads: 
 
 "La musica & del Signor maestro Luigi Carusio [Caruso], escluse per61edue arie 
 della prima buffa, e quelle della seconda. 
 
 Cast, scenario. SCHATZ 1653 
 
 La virtuosa bizzara. L. T. of P. Guglielmi's La virtuosa in Mer- 
 gellina. 
 
 La virtuosa in Mergellina. Dramma giocoso in musica da rappre- 
 sentarsi nel Regio Teatro nelP Accademia degli Awalorati in Livorno 
 il carnevale defi' anno 1793. 
 
 [Livorno}, Tommaso Masi e comp., n. d. 61 p. 17 cm . 
 
 Two acts. By Saverio Zini, who is not mentioned. Impresario's dedication, 
 cast, scenario, and name of Pietro Guglielmi as the composer. 
 
 First performed at Naples, Teatro Nuovo, summer, 1785. SCHATZ 4279 
 
 -La virtuosa bizzara. Dramma giocoso per musica da rappre- 
 sentarsi nel nobilissimo Teatro Giustmiani in San Moise 1'autunno 
 dell' anno 1791. 
 
 Venezia, Modesto Fenzo, 1791. 52 p. 16% cm . 
 
 Two acts. Cast and name of Pietro Guglielmi as the composer. This is Zini's 
 "La virtuosa in Mergellina" text, but especially in the arias remarkably different 
 from the Livorno, 1793, ed. SCHATZ 4280 
 
 Chi la dura la vince ossia La finta cantatrice. Dramma giocoso 
 per musica da rappresentarsi in Cremona nel Teatro della Nobile 
 Associazione il carnevale dell' anno 1791. 
 
 Cremona, Lorenzo Manini, n. d. 59 p. 15 cm . 
 
 Two acts. Cast and name of Pietro Guglielmi as the composer. This is Zini'a 
 "La virtuosa in Mergellina" text, but with many alterations. SCHATZ 4299 
 
 Le virtuose bizzarre. Intermezzo per musica a cinque voci da 
 rappresentarsi nel Teatro di Tordinona nel carnevale dell' anno 
 1779 . . . 
 
 Roma, Ottavio PuccinelU, 1778. 36 p. 15 cm , 
 
 Two parts. Author not mentioned and unknown to Schatz. Cast and name of 
 Agostino Accorimboni as composer. Contains arias: "Se mai s'inalza al volo," 
 "Se mi trovo in campo," "Sono amor giovane," "Se a cantar mi metto," etc. 
 
 First performed as indicated, December 29, 1778. ML 50.2.V6A2
 
 1144 LIBRARY OF CONGRESS 
 
 Le virtuose ridicole. 
 
 [219}-270 p. 16% cm . (Carlo Goldoni, Opere drammatiche giocose, 
 t. ii, Torino, 1757.) 
 
 Three acts. First composed by Galuppi as below. ML 49.A2G6 
 
 Le virtuose ridicole. Dramma di tre atti in versi. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 43, 
 [123]-178 p. 18 cm . PQ 
 
 Le virtuose ridicole. Dramma giocoso per musica da rappresen- 
 tarsi nel Teatro posto in contrada di San Samuele. II carnovale 
 delP anno 1752. 
 
 Venezia, Giuseppe BettineUi, 1752. 60 p. 15 cm . 
 
 Three acts. Neither the author, Goldoni, nor the composer, Galuppi, is men- 
 tioned, whom at least Wiel does not positively identify with the music. 
 
 SCHATZ 3512 
 
 The vision of the twelve goddesses, presented in a mask the 8th 
 of Jan. at Hampton-Court, by the Queen's most excellent Majesty, 
 and her ladies. 
 London, n. pull, 1717. [225}-245 p. 16. 
 
 Detached copy. The long dedication (p. [227]-235) by Sam. Daniel, the author, 
 to Lady Lucy, countess of Bedford, begins: 
 
 "In respect of the unmannerly presumption of an indiscreet printer, who without 
 warrant hath divulged the late show at Court, presented the 8th of January, by the 
 Queen's Majesty and her ladies, and the same very disorderly set forth: I thought it 
 not amiss, seeing it would otherwise pass abroad, to the prejudice both of the mask 
 and the invention, to describe the whole form thereof, in all points as it was then 
 perform'd ..." 
 
 The composer not mentioned and unknown to Schatz. 
 
 First performed, as indicated, January 8, 1623. LONGE 201 
 
 I visionarj. Dramma giocoso per musica da rappresentarsi nel 
 Teatro Giustiniani di S. Moisd 1'autunno dell' anno 1772. Di Gio- 
 vanni Bertati. 
 
 Venezia, Antonio Graziosi, 1772. 68 p. 16\ cm . 
 
 Three acts. Cast, scenario, and name of Gennaro Astaritta as composer. 
 
 SCHATZ 375 
 
 I visionarj. Dramma giocoso per musica del Sigr. Giovanni 
 Bertati da rappresentarsi nel Piccolo Teatro di S. A. S. E. di Sassonia. 
 
 Dresda, n. pull, 1774. 151 p. 17 cm . 
 
 Three acts. Name of Astaritta as composer. German title-page, "Die lacher- 
 lichen gelehrten, ein lustiges singespiel," and text face Italian. 
 
 First performed, as indicated, September 3, 1774. SCHATZ 376 
 
 I filosofi immaginarj . Dramma giocoso per musica da rappre- 
 sentarsi nel Real Teatro di Salvaterra nel carnovale dell' anno 1775. 
 
 [Lisbona], neUa Stamperia reale, n. d. 78 p. 15\ cm . 
 
 Three acts. Cast, scenario, and name of Gennaro Astaritta as composer. The 
 text is Bertati's "I visionari." SCHATZ 379 
 
 I visionari. L. T. of Paisiello's I filosofi immaginari. 
 La visione. See M. Curzio.
 
 OPERA LIBEETTOS 1145 
 
 Les visitandines, comedie en deux acte [!] et enprose. M16e d'a- 
 riettes. Represented sur le Theatre de la rue Feydeau, le / aout 
 1792. Par M. Picard. 
 Paris, Delalain, 1792. 31 p. 20 cm . 
 
 Cast. The composer, Devienne, is not mentioned. 
 
 The printed full score has as date of first performance, July 7, 1792. 
 
 ML 50.2.V63D3 
 
 De visitandines, zangspel in drie bedryven. Naar het fransch, 
 door Hendrik Ogelwight, junior. 
 
 AmsteUam, J. Helders en A. Mars, 1796. 4 p. I, 63, [1] p. 16\ cm . 
 
 With "Voorbericht." Translation of Devienne's "Les visitandines," text by 
 Picard. SCHATZ 2563 
 
 Gesaenge aus der oper: Liebe wagt alles, in zwey aufzuegen. 
 Dei musik ist von Devienne. 
 
 Hamburg, Robe und Freystatzky wittwe, 1798. 24 p. 15 cm . 
 
 Translation of "Les visitandines " by Heinrich Gottlieb Schmieder. 
 First performed at Hamburg, Theater beim Gaensemarkt, May 4, 1798. 
 
 SCHATZ 2556 
 
 De visschers. Tr. of Gossec's Les pe"cheurs. 
 
 H vitio depresso, e la virtft coronata. Drama per musica da rap- 
 presentarsi nel Teatro di S. Angelo 1'anno 1687. Di Aurefio 
 Aureli . . . 
 
 Venetia, Francesco Nicolini, 1687. 72 p. lS\ cm . 
 
 Three acts. Author's dedication, dated Venice, November 24, 1686, argument, 
 scenario, and author's notice to the reader, in which he mentions Teofilo Orgiani as 
 the composer, and remarks: 
 
 "Questo drama, che leggi e il mio Eliogabalo, che gia 18. anni rappresentar tu 
 vedesti con tanto applauso nel famoeo Teatro Grimano a Ss. Gio. e Paolo, fc I'istesso 
 pereonaggio, ma vestito in forma diversa . . ." SCHATZ 7299 
 
 La yittoria d'Ercole contro Anteo, ballet. See Draghi's opera 
 Sulpitia. 
 
 La vittoria d'lmeneo. Festa da rappresentarsi nel Regio Teatro 
 di Torino per le nozze delle A. A. R. R. di Vittorio Amedeo, duca di 
 Savoia, e di Maria Antonia Ferdinanda, infanta di Spagna, 1'anno 
 MDCCL. 
 
 Torino, Pietro Giuseppe Zappata, efigliuolo, n. d. 68 p. 15%. 
 
 Three acts. By Giuseppe Bartoli. Cast, scenario, name of Galuppi as composer, 
 and author's long dramaturgic preface by way of argument (p. 3-9), in which he says: 
 
 "In somma ho tentato di nunire le sorelle bene spesso divise, facendo si che la 
 poesia, la musica, la pittura ; e la danza dirette in questa occasione senza violenza ad 
 un solo fine, mostrassero la dipendenza loro da un solo principio. Giov6 ancora questo 
 incorporamento del ballo con 1'azione per non altrepassare ai molto a cagion de' versi 
 il prescritto limite allo spettacolo." 
 
 First performed, as indicated, June 7, 1750. SCHATZ 3500, 
 
 La vittoria di Tamerlanp contro Bajazette ossia La Rossana, 
 ballet. See Sacchini's Armida.
 
 1146 LIBRARY OF CONGRESS 
 
 La vittoria nella costanza. Drama per musica da rappresentarsi 
 nel Teatro di Sant' Angelo 1'anno 1702 . . . 
 
 Venetia, Marino Rossetti, n. d. front., 54 p. 15 cm . 
 
 Three acts. Dedication signed by the author, Francesco Passarini, argument, 
 scenario, and notice to the reader, with name of Giuseppe Boniventi as composer, 
 and in which Passarini says : 
 
 "h6 invitato da Hannover il mio dramma & comparire su le scene dell' Adria . . . 
 L'h6 vestito come ho potuto, non come dovevo e volevo, obligate & tenermi a quelle 
 scene destinate gia alia Briseide . . ." Sen ATZ 1194 
 
 Vittorina. Dramma di tre atti per *musica. Rappresentato per la 
 prima volta in Londra Fanno MDCCLXXXII con musica del Piccini. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta efigli, 1788-95, v. 36, 
 [249]-309 p. 18\ cm . 
 
 Schatz dates the first performance London, Haymarket, 1779. PQ 
 
 Voila ma journee. A. T. of Dalayrac's Ambroise. 
 Les voleurs. A. T. of Lesueur's La caverne. 
 
 Volodomiro. Dramma per musica da rappresentarsi nel Regio 
 Teatro di Torino nel carnovale del 1787 alia presenza di S. S. R. M. 
 Torino, Onorato Derossi, n. d. viii, 80 p. 16 cm . 
 
 Three acts. By Giandominico Boggio. Argument, cast, scenario, and names of 
 the composer, Domenico Cimarosa, and the author. On p. 71-79, cast and descrip- 
 tion of Ludovico Sforza detto II Moro, ballo pantomimico in cinque atti." The 
 second ballet was called ' ' Chi ne fa ne aspetta. ' ' The third had no specific title. All 
 three were by Sebastien Gallet, music by Vittorio Amedeo Canavasso. SCHATZ 2000 
 
 Vologeso. Dramma per musica da rappresentarsi nel nobillissimo 
 Teatro di S. Benedetto nella fiera dell' Ascensione dell' anno 
 MDCCLXX. 
 
 Venezia, Modesto Fenzo, 1770. 59 p. 17% cm . 
 
 Three acts. By Apostolo Zeno, a later version of his "Lucio Vero." Argument, 
 cast, scenario, and name of the composer, Giuseppe Colla. SCHATZ 2111 
 
 II Vologeso, ballet. See Gazzaniga's Circe. 
 
 Vologeso. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro Venier in San Benedetto la fiera dell' Ascensione dell' anno 
 1796. 
 
 Venezia, Modesto Fenzo, 1796. 46 p. 18\ cm . 
 
 Three acts. By Apostolo Zeno (originally his "Lucio Vero "), who is not mentioned. 
 Argument, cast, scenario, and name of Ignazio Gerace as the composer. On p. 
 21-28 a description with argument and cast of "La morte d'Ippolito e Fedra, ballo 
 tragico pantomime." 
 
 First performed, as indicated, May 4, 1796. SCHATZ 3780 
 
 Vologeso. Dramma per musica da rappresentarsi nel Regio-Ducal 
 Teatro di Milano per il carnevale dell' anno 1776 . . . 
 
 Milano, Giovanni Montani, n. d. 4> $, & P- 15 cm . 
 
 Three acts. A later version of "Lucio Vero" by Apostolo Zeno, who is not men- 
 tioned. Impresario's dedication dated Milan, December 22, 1775, argument, sce- 
 nario, cast, and name of Pietro Guglielmi as composer. The additional pages con- 
 tain cast and description of Noverre's "Les Horaces et lea Curiaces, ballet tragique 
 en cinq actes" and description of his "Les incidents, conte." The composers of the 
 music are not mentioned. 
 
 First performed, as indicated, December 26, 1775. SCHATZ 4307
 
 OPEBA LIBRETTOS 1147 
 
 II Vologeso. Dramma per musica da rappresentarsi nel Real Teatro 
 di Salvaterra nel carnevale dell' anno 1769. 
 Lisbona, Michele Manescal da Costa, n. d. 62 p. 15 cm . 
 
 Three acts. A later version of "Lucio Vero" by Apostolo Zeno, who is not men- 
 tioned. Argument, cast, scenario, and name of Niccolo Jormnelli as the composer. 
 First performed at Ludwigsburg, Hoftheater, February 11, 1766. SCHATZ 4877 
 
 Vologeso. Dramma per musica da rappresentarsi nel Regio Teatro 
 di Torino nel carnovale del 1783. Alia presenza delle Maesta Loro. 
 
 Torino, Onorato Derossi, n. d. viii, 52 p. 16\ cm . 
 
 Three acts. A later version of "Lucio Vero" by Apostolo Zeno, who is not men- 
 tioned. Argument, cast, scenario, and names of Vincenzo Martin (Martin y Soler) 
 as the composer of the opera, and of Vittorio Amedeo Canavasso as the composer of 
 the music of Innocenzo Gambuzzi's ballets: "Le gelosie villane in Montefosco," 
 "La sposa peruviana," and "II macchinista ossia La susta matematica." 
 
 Performed as second opera of the season. SCHATZ 6024 
 
 Vologeso. Dramma per musica da rappresentarsi nel Teatro di S. 
 Benedetto il carnevale dell' anno MDCCLXV. 
 Venezia, Giorgio Fossati, n. d. 62 p. 16 cm . 
 
 Three acts'. A later version of "Lucio Vero" by Apostolo Zeno, who is not men- 
 tioned. Argument, cast, scenario, and name of Giuseppe Sarti as the composer. 
 First performed at Copenhagen, Royal Theater, carnival, 1754. SCHATZ 9465 
 
 - Vologeso. Dramma per musica da rappresentarsi nel Teatro di 
 Verona il carnovale dell' anno MDCCLXLX . . . 
 Venezia, Modesto Fenzo, 1769. 60 p. 15 cm . 
 
 Three acts. By Zeno, who is not mentioned. Impresario's dedication, argument, 
 scenario, cast and name of Giuseppe Sarti as the composer. ML 50.2.V7S3 
 
 II Vologeso. Dramma per musica da rappresentarsi nel Nuovo 
 Teatro alia Cavallerizza nella fiera di Pascha dell' anno MDCCLIII. 
 In Lipsia. 
 
 n. i., 1753. 5 p. I, 123 p. 15. 
 
 Three acts. A later version of "Lucio Vero" by Apostolo Zeno, who is not men- 
 tioned. German text faces Italian. Argument, cast, and name of Francesco Zoppis 
 as the composer. SCHATZ 11284 
 
 Vologeso re de' Parti. Drama per musica da rappresentarsi nel 
 Regio Teatro di Torino nel carnovale del 1744 . . . 
 
 Torino, Pietro Giuseppe Zappata e figliuolo, n. d. 4 P- 1-, 63 p. 
 
 m . 
 
 Three acts. A later version of "Lucio Vero" by Apostolo Zeno, who is not men- 
 tioned. Argument, cast, scenario, and names of Leonardo Leo as composer of the 
 opera, of Alessio Rasetti as composer of the three incidental ballets. 
 
 First performed, as indicated, December 26, 1743. SCHATZ 5562 
 
 I volponi. Dramma di tre atti per musica. Rappresentato per la 
 prima volta in Parigi 1'anno MDCCLXXVII. 
 
 Carlo Goldoni, Opere teatrali, Venezia, Zatta e figli, 1788-95, t. 39, 
 [5}-66 p. 18 cm . 
 Composer unknown to me. PQ 
 
 La volubile, ballet. See Andreozzi's Argea. 
 
 La volubile, ballet. See Basili's II ritorno d'Ulisse. 
 
 II volubile. L. T. of Piccinni's L'incostante.
 
 1148 LIBRARY OF CONGRESS 
 
 II volubile assodato, ballet. See Ottani's Arminio. 
 
 Die von Amor beschuezten liebhaber, ballet. See Salieri's Der 
 geraubte eymer. 
 
 Der von dem ackers-pflug zu den [!] thron erhabene kaeyser 
 Justinus. In einem sing-spiel auff den [!] grossen Hamburgischen 
 Schau-Platze vorgestellet. Im jahr 1706. 
 n. i., n. d. Unpaged. 16% cm . 
 
 Three acts. Argument and scenario. Neither the author (unknown to Schatz) 
 nor the composer, Johann Christian Schieferdecker, is mentioned. SCHATZ 9604 
 
 Die yon Paris entfuehrte Helena. A. T. of Reiser's Die macht 
 der liebe. 
 
 Die vorgeblichen grafen. Tr. of CimarQsa's I due supposti conti. 
 
 Der vormund. Tr. of Hasse's II tutore. 
 
 Die vornehme schaeferin. Tr. of Jommelli's La pastorella illustre. 
 
 Das vornehme Suschen, eine komische operette in drey aufzuegen. 
 
 1 p. I., 184 P- 16 cm . (Zwo Tcomische operetten von G * * *, 
 Chemnitz, 1773.) 
 
 In his prefatory note, the unidentified author says: 
 
 "Wuerdiget man mich seiner beurtheilung, so macht man sich einen juengling 
 verbindlich, der die Musen, von seiner wiege an, unbeschreiblich liebte, und setzt ihn 
 dadurch vielleicht in den stand, diese gesetzlosen taendeleyen dereinst durch cor- 
 rectere und wichtigere arbeiten der verzeyhung wuerdig zu machen." 
 
 Not recorded by Schatz. The "Zwo komische operetten" have been attributed 
 (see Deutsches Anonymen Lexikon) to Carl Franz Henisch, 1745-1776, and to Wilhelm 
 Kraus, but (1) the title page clearly points to a name beginning with the letter G.; 
 (2) Kraus's earliest known publication dates from 1795, so that an interval of more 
 than twenty years would lie between this and the "Zwo komische operetten;" (3) the 
 dedicatory poem, with the motif of "Die erstlinge," ends: 
 
 " Und BO auch heiligt Dir die dankbare Camoene 
 Die ersten ihrer toene." 
 
 This can not possibly apply to Henisch, who began to publish his Singspiele in 
 1770, and who would hardly, in 1773, have called himself a "Juengling." Neither 
 this nor "Das Testament," the other operetta in the volume, is recorded by Schatz. 
 
 SCHATZ 11655 
 
 Le voyage an Mont-Bernard. A. T. of Cherubim's Elisa. 
 Le voyage en Grece. A. T. of Plantade's Palma. 
 
 Les voyages de 1'amour, ballet represent e par 1'Acade'mie royale 
 
 de musique, Fan 1736. Paroles de M r de la Bruere. Musique de 
 
 M r Boismortier. CXXV. opera. 
 
 205-280 p. 14% cm - (Recueil general des opera, Paris, 1745, t. xvi.) 
 Detached copy. Prologue and the acts, "Le village," "La ville," "La cour" 
 
 (both versions), "Le retour," "La ville, acte nouveau." 
 
 First performed, as indicated, May 3, 1736. ML 48. R4 
 
 Vulcan's revenge. A. T. of Noverre's The amours of Venus. 
 Vulcan's wedding. A. T. of Momus turn'd fabulist.
 
 OPEEA LIBRETTOS 1149 
 
 Arien aus den Waescherinnen. Eine komische operette von zwei 
 aufzuegen. 
 
 n. i., n. d. 24 p. 15 cm . 
 
 Translation of Marl's text, "Le lavarandine." Neither the translator, Johann 
 Christoph Bock, is mentioned, nor the composer, Francesco Zaxmetti. 
 
 First performed under the above title at Dresden, Kleines Theater, 1779. The 
 Italian original was first performed at Rome, Teatro Capranica, carnival, 1772. 
 
 SCHATZ 11139 
 
 Die waeschermaedchen. Eine komische operette in zwey auf- 
 zuegen. (Nach einem italienischen text und Zanetti's komposition.) 
 n. i., n. d. [9]~76 p. 16 cm . (Komische opern der Italiener, Zum 
 gebrauch fuer die deutsche buehne herausgegeben von J. C. Bock, Erster 
 ih. Leipzig, 1781.) 
 
 Translation of Francesco Mali's text, "Le lavarandine," music by Zannetti, first 
 performed Rome, Teatro Capranica, carnival, 1772. 
 
 First performed at Leipzig, Theater beim Rannstaedter Thor, October 6, 1779. 
 
 SCHATZ 11138 
 
 Der waffenschmid. Eine komische oper in zwey aufzuegen, nach 
 herrn Ziegler's beliebtem lustspiele: Liebhaber und nebenbuhler in 
 einer person. Als singspiel fuer die Marinellische Schaubuehne 
 bearbeitet von Karl Friedrich Hensler. Die musik ist von Ferdinand 
 Kauer . . . 
 
 Wien, Joseph Kamesina, 1797. 92 p. 16. 
 
 First performed, as indicated, July 25, 1797. SCHATZ 5065 
 
 Die wahl des Herkules. Ein lyrisches drama. In musik gesetzt 
 von Anton Schweitzer. Am 17 ten geburtstage des damaligen herrn 
 erbprinzen yon Sachsen- Weimar und Eisenach auf dem Hoftheater 
 zu Weimar im jahre 1773 aufgefuhrt. 
 n. i., n. d. p. [201}-223. 14 cm . 
 
 Detached from an edition of Wieland's works, possibly 19th century. 
 
 First performed September 4, 1773, as indicated. SCHATZ 9775 
 
 Wahnsinn aus liebe. A. T. of Dalayrac's Nina. 
 Wahnsinn aus liebe. A. T. of Paisiello's Nina. 
 Die wahre bestandigkeit. Tr. of Anfossi's La vera costanza. 
 Die wahre liebe. A. T. of Schuster's Der heir als bedienter. 
 Die wahre liebe. A. T. of Schuster's Ruebenzahl. 
 
 Der wahre menschenfreund, ein singspiel in zween aufzuegen, 
 aufgefuehrt von der studirenden jugend des katholischen schulhauses 
 zu Augsburg St. Salvator. Den 2. 3. und 6ten herbstmondes 1790. 
 
 [Augsburg], Joseph Anton Hueber, n. d. [15] p. 18 cm . 
 
 Cast and "Vorbericht" mentioning "Matthaus Fischer, regulirter chorherr des 
 HI. Augustus beym Heil. Kreuze," as composer. At head of title: "Der gerechte 
 koenig, ein schauspiel . . . und " SCHATZ 3226 
 
 Walder, ein laendliches schauspiel mit gesang in einem aufzuge. 
 (Der inhalt ist aus Marmontels Silvain genommen, die musik von hrn. 
 Georg Benda.) 
 
 Gotha, Carl Wilhelm Ettinger, 1778. 64 p. 15 cm . 
 
 By Friedrich Wilhelm Gotter. 
 First performed at Gotha, Hoftheater, February 23, 1776. SCHATZ 778
 
 1150 LIBRARY OF CONGRESS 
 
 Gesaenge aus dem singspielo Die waldmaenner, in drey aufzuegen. 
 Die musik 1st von Heneberg. 
 
 Hamburg, Freystatzky und Robe, 1797. 24 p. 15$ cm . 
 
 By Johann Emantiel Sohikaneder, who is not mentioned. 
 
 First performed at Hamburg, Theater beim Gansemarkt, May 31, 1797; at Vienna, 
 Theater auf der Wieden, October 14, 1793. SCHATZ 4631 
 
 Wallrad und Evchen oder Die parforsjagd, ein singspiel von L. Ph. 
 Hahn. Mit musik von J. L. F. C. Maier, dem juengern. 
 
 Zweibruecken, P. HaUanzy, 1782. 67 p. 16\ cm . 
 
 On p. 3-11 a "Vorbericht" dated ''Zweibruecken, im Erndemond, 1782," which 
 reads like a novel. According to this, a starving, old, retired actor by the name of 
 Meyer came to the author with the request to cede to him some literary work which 
 he would publish at his own expense and from the sale of which Meier expected to 
 reap a profit. Hahn finally consented, found an old "Entwurf zu einem Hochzeit- 
 gedicht," completed it as a singspiel in eight daya, got a young, local musician, evi- 
 dently Maier, to compose it, etc. The result, of course, was that Meyer did not 
 even cover the printing expenses with this venture. A few years later he was dead 
 and Hahn then decided to give the possible proceeds from the sale of the libretto, 
 which seems to have at first been printed under the name of Meier, to the widow. 
 Finally, Hahn says that the play is in certain respects local, the characters being 
 designed after certain well-known persons of Zweibruecken . SCHATZ 5844 
 
 Walmir und Gertraud, oder Man kann es ja probieren. Eine 
 operette in drey aufziigen. 
 n. i., n. d. 75 p. 13$ cm . 
 
 At head of title: I. Apparently a detached copy from the collected works of 
 Johann Benjamin Michaelis, who says in his Vorbericht: 
 
 "Diese operette sollte ein versuch eeyn, die ruhrende komodie in das lyrische 
 drama ueberzutragen . . . Ubrigens ist diese kleinigkeit eein erster theatralischer 
 ausflug, den er bereita 1766 gewagt." 
 
 The composer, Anton Schweitzer, is not mentioned. 
 
 First performed at Hanover, Schlosstheater, 1769. SCHATZ 9776 
 
 Die wankelmuethige. Tr. of Portugal's La donna di genio volu- 
 bile. 
 
 The wanton countess : or, Ten thousand pounds for a pregnancy. 
 A new ballad opera, founded on true secret history . . . 
 
 London, Nichols, 1733. 40 p. 18\ cm . 
 
 Three acts and introduction. The 22 airs used are indicated by title. Dedicated 
 by "Mortimer" to "Sir T. Gaudy of Gaudy-Hall." Author unknown to Clarence. 
 
 LONGE 275 
 
 The wanton Jesuit: or, Innocence seduced. A new ballad opera. 
 As it is acted at the New Theatre in the Hay-Market. 
 
 London, J. MiUan and W. Shropshire, 1731. 5 p. 1., [1], 48, [1] p. 
 19 cm . 
 
 Three acts, introduction, and epilogue. Cast and preface beginning: 
 "The following ballad -opera is a faithful translation of the French original; nor is 
 there one word added to the title, or any character omitted in the dramatis personee 
 . . . There is a strong presumption that it was wrote by a Hugonot to please the 
 Janseniste, who abhor Jesuits . . . But it is not very material who was the author 
 of it . . ." 
 
 The preface of the anonymous and unknown translator then goes on to say how 
 the piece was privately performed, how the Jesuits caused it to be suppressed, etc. 
 
 LONGE 120 
 
 Was den damen gefaellt. A. T. of Die fee Urgele. 
 
 Was einem recht, ist dem andern billig. See Dezede's Julie.
 
 OPERA LIBRETTOS 1151 
 
 Was erhaelt die maenner treu? Ein original singspiel in zwey 
 aufzuegen vom herrn professor Zehnmark. Die musik ist vom herrn 
 Ruprecht, mitgliede der k. k. Nationalschaubuehne. Aufgefuehrt 
 auf dem k. k. Nationaltheater. 
 
 Wien, beym logenmeister, 1780. 86 p. 17% cm - 
 
 First performed, as indicated, March 30, 1780. SCHATZ 9161 
 
 Was thut die liebe nicht. Tr. of Naumann's La dama soldato. 
 Was vermag die liebe nicht? A. T. of Dalayrac's Nina. 
 
 The waterman; or, The first of August. A ballad opera, hi two 
 acts. As performed at the Theatre-Royal, Hay-Market. A new 
 edition. 
 London, R. Baldwin, 1783. v. [1], 40 p. 21 cm . 
 
 Original cast and 1783 Covent-Garden cast. In his preface the author-composer- 
 compiler, Charles Dibdin (not mentioned) says: 
 
 "Finding among the different pieces I have composed for Ranelagh and the theatre, 
 a number of ballads which I took great pains with, and which have been but little 
 heard, I thought I could not better employ my leisure time than in furnishing, upon 
 some familiar plan, the dialogue necessary to work up these materials into a ballad 
 farce, a species of entertainment which has always been well received, and which; as 
 it has lain dormant for some time, I thought would have so far the charms of novelty 
 to recommend it. 
 
 "I had heard of a piece of this sort, which has the characters of a Waterman and a 
 gardener in it; and the scene of which is laid at Battersea: This I enquired after, but 
 was informed it was out of print; I nevertheless liked the idea of those two characters 
 so well, that I determined to pursue the hint . . . I never read the piece in question, 
 nor do I for a certainty at this moment know the title of it . . . " 
 
 First performed at the Haymarket August 17, 1774 (Clarence, but Genest "the 5th 
 time "), July 14,1774 (Schatz). LONGE 121 
 
 - The waterman; or, The first of August. A ballad opera, in two 
 acts. By Charles Dibdin, Esq. 
 
 [88}-112 p. 19 cm . (Collection of the most esteemed farces and enter- 
 tainments, t. vi, Edinburgh, 1792.} 
 
 Hay-Market and Covent-Garden casts. Music partly selected, partly composed by 
 Dibdin. SCHATZ 11753 
 
 The weathercock. A musical entertainment of two acts; as per- 
 formed at the Theatre-Royal, Covent-Garden. 
 London, T. Evans, 1775. 2 p. 1., 87 p. 21. 
 
 Two acts. Cast, table of the 19 songs, and prefatory note. By Theodoeius Forrest, 
 according to Clarence. Schatz does not record the composer. 
 
 First performed October 17, 1775, as indicated. LONGE 86 
 
 Der wechsel in der liebe. A. T. of Tritto's Die veraechter der 
 schoenen. 
 
 The wedding: a tragi-comi-pastoral-farcical opera. As it is now 
 acting at the Theatre-Royal, in Lincoln's-Inn-Fields. With an 
 Hudibrastick Nimmington. By Mr. Hawker ... To which is pre- 
 fix'd, The overture, by Dr. Pepusch. With an addition of the 
 musick to each song, engrav'd on copper plates. 
 
 London, Printed for W. Hears, . . . and sold ly S. Birt, 1729. 
 v, [1], 28 p. 19% cm . 
 
 The last p. supplied in ms. The engraved music plates are missing. 
 
 One act. Cast and dedication of "The tender buddings ... of an infant Muse," 
 by Essex Hawker, who played the part of Rako. The 23 airs are indicated in the 
 text by title. 
 
 First performed May 6, 1729. LONGE 33
 
 1152 LIBRARY OF CONGRESS 
 
 The wedding Continued. 
 
 - The wedding : a tragi-comi-pastoral opera. As it is acted at the 
 Theatre-Royal in Covent-Garden. With an Hudibrastick Skimming- 
 ton. Written by Mr. Hawker . . . With the overture by Dr. 
 Pepusch. Also the music to each song, engraven on copper plates. 
 The second edition. 
 
 London, W. Mears, 1734. fold, front., 24 p.; (music) 8, 8 p. 19 cm . 
 
 One act. Same cast and same text as in the first edition, but without the dedica- 
 tion. The overture (8 p.) is followed by the 23 airs (8 p.) numbered, without titles, to 
 correspond to those indicated by title in the text. LONGE 306 
 
 -The country- wedding, and Skimming-ton: a tragi-comi-pas- 
 toral-farcical opera. As it is acted by His Majesty's servants at the 
 Theatre-Royal in Drury Lane, 
 
 London, W. Trott, 1729. 2 p. L, 24 p. 18$ cm . 
 
 One act. Cast and "Advertisement to the town," by "The Young company," 
 dated Theatre-Royal, July 18, 1729. It appears that this libretto was published prior 
 to the performances. The 25 airs used in this ballad opera are indicated by title. 
 
 Comparison shows that this is practically the same text as Essex Hawker's ballad 
 opera The wedding," notwithstanding noticeable differences. The cast is also 
 different, Hawker having disappeared and the number of characters having been 
 reduced from seven to five. LONGE 275 
 
 The wedding ring, a comic opera. In two acts. As it is performed 
 at the Theatre Royal in Drury Lane. 
 London, T. Becket, 1773. 2 p. 1., ii, 4! p. 20. 
 
 Two acts. Cast and preface, dated February 8, 1773, by Charles Dibdin, in which 
 he says : 
 
 "The reader will perceive at first sight that the hint of this piece is borrowed from 
 an Italian Opera, entitled, II Filosofo di Campagna [by Goldoni]. There is also a 
 circumstance from Moliere, which, except about twenty lines taken from different 
 publications, and thrown occasionally into the songs, are the only passages in it that 
 have ever appeared either on the stage, or in print. 
 
 "Indeed conscious of my own inability, I should have collected all the materials, 
 had it been practicable ; but attempting this without success, and being unwilling to 
 throw away a subject than which 'tis nardly possible to conceive any thing more 
 operatical, I determined to make a tryal of what I could do to it myself, and this in no 
 respect with a view of setting myself up for an author, but merely from a desire of 
 assisting my reputation as a musician . . ." 
 
 First performed, as indicated, February 1, 1773 (Genest). LONGE 28 
 
 Weibertreue oder Die maedchen skid von Flandern. Tr. of Mozart's 
 Cosi fan tutte. 
 
 Die weinlese. Ein singspiel in zwei aufzuegen. Nach dem Erndte- 
 kranz des herrn Weisse, fuer die Mannheimer National-schaubuehne 
 eingerichtet von Meyer, mitgliede dieses theaters. Die composition 
 ist von Herrn Becke, hauptmann eines schwaebischen Dragoner- 
 regiments. 
 
 Mannheim, C. F. ScJiwan, 1783. 110, [2} p. 16 cm . 
 
 Cast. The additional pages contain a biographical sketch of the librettist Wilhelm 
 Christian Dietrich Meyer, who died on September 2, 1783, in his thirty-sixth year 
 during the publication of his libretto. 
 
 First performed, as indicated, on December 10, 1782. SCHATZ 679 
 
 Die weinlese. Tr. T. of Gazzaniga's La vendemmia.
 
 OPERA LIBRETTOS 1153 
 
 Arien und gesaenge aus Der weinlese. Eine laendlich-komische 
 oper von Joh. Jacob Ihlee. Mit musik von herrn musikdirektor 
 Kuntzen. 
 
 Frankfurt am Main, n. pull., 1793. 23 p. 16\ cm . 
 
 First performed at Frankfort on Main, Nationaltheater, May 3, 1793. 
 
 SCHATZ 5331 
 
 - Das fest der winzer. Komische oper in drei aufzuegen. 
 n. i., n. d. 120 p. 15 cm . 
 This is Ihlee's "Die weinlese," composed by Kunzen. SCHATZ 5332 
 
 Gesaenge aus der oper: Das fest der winzer, oder Wer fuehrt die 
 braut nach hause ? Die musik ist von herrn F. L. A. Kunzen. 
 
 n. i., n. d. 23 p. 16. 
 
 Ihlee's "Die weinlese" with alterations. SCHATZ 5333 
 
 Der weiseste in Sidon, in einer opera auf dem Hamburgischen 
 Schau-platze vorgestellet. 1733. 
 
 Hamburg, gedruckt mit seel. Spieringlcs sch/rifften, n. d. Unpaged. 
 18 cm . 
 
 Three acts. Argument, cast, and names of Johann Georg Hamann as author, of 
 Georg Philipp Telemann as composer. 
 
 First performed at Hamburg, Opernhaus beim Gansemarkt, October 10, 1729. 
 
 SCHATZ 10268 
 
 Welche ist die beste nation? Em lustspiel mit gesang in zwey 
 aufzuegen. Aufgefuehrt im k. k. National-Hoftheater. 
 Wien, Joseph edler von Kurzbeck, 1782. 61 p. 16 cm . 
 
 By Ayrenhoff (Haas), who is not mentioned. He says in his " Vorerinnerung " : 
 
 "Ein komisches singspiel, worin einem geschickten tonkuenstler auf eine natuer- 
 lich herbeygefuehrte art, gelegenheit verschaft wuerde, die verschiedenheiten des 
 musikalischen geschmacks der verschiedenen europaeischen nationen auszudruecken, 
 sollte in unserm gesangreichen zeitalter keine undankbare arbeit seyn so dacht ich 
 mir; und so enstund gegenwaertiger versuch ..." 
 
 Ignaz TJmlauf (not mentioned) composed the music. The piece was hissed. 
 (Haas). 
 
 First performed at Vienna, Burgtheater, December 13, 1782. SCHATZ 10528 
 
 The Welsh opera: or, The grey mare the better horse. As it is 
 acted at the new Theatre in the Hay-Market. Written by Scriblerus, 
 Secundus, author of the Tragedy of tragedies . . . 
 London, Printed by E. Rayner, and sold by H. Cook, n. d. 1 p. I., 
 
 a, a, 39, [i] p. i9 cm . 
 
 Two acts and introduction. Cast and preface, in which the author, Henry Field- 
 ing, hints at the political basis of this piece, and says: 
 
 "As the performance of the Grub-street opera has been prevented, by a certain 
 influence, which has been very prevailing of late years, we thought it would not be 
 unacceptable to the town, if we communicated to them the Welsh opera, from which 
 the other was not only originally borrow'd, but which ia in effect the same, excepting 
 some few additions, that were made only with a view to lengthen it ..." 
 
 Ballad opera, the 30 airs used being indicated by title. 
 
 First performed in July, 1731, as indicated. LONGE 262 
 
 72251 VOL 114 73
 
 1154 LIBRABY OF CONGRESS 
 
 The Welsh opera Continued. 
 
 -The genuine Grub-street opera. As it was intended to be 
 acted at the New Theatre in the Hay-market. Written by Scrib- 
 lerus Secundus . . . 
 
 London, Printed and sold for the benefit of the comedians of the New 
 Theatre in the Hay-market, 1731. mi, [1], 9-64 p. 19 cm . 
 
 Three acts and introduction. Ballad opera. The 57 airs are indicated by title. 
 
 ML 50.5.G79 
 
 Die welt im monde. Tr. of Galuppi's II mondo della luna. 
 Wenceslaus. Tr. of Scalabrini's Venceslao. 
 
 Wenzel ou Le magistrat du peuple. Op6ra en trois actes*, pr&sente" 
 a la Convention nationale le 2 germinal de la deuxi^me anne"e r6pub- 
 licaine [March 22, 1794], jou6 sur le Theatre national le 21 du me'ine 
 mois: [April 10, 1794] Paroles de Fillet: musique de la Durner. 
 [Ladurner.] 
 Paris, Maradan, Seconde annee, [1794]. 2 p. 1., 30 p. 20\ cm . 
 
 SCHATZ 5375 
 
 Wer andern eine grube graebt, fallt selbst darein. A. T. of Die 
 schatzgraeber. 
 
 Wer das glueck hat. A. T. of Paisiello's Der betrogene geizige. 
 
 Wer den schaden hat, darf fuer den spott nicht sorgen. Eine 
 komische oper in zwey aufzuegen, nach Dorvigny. fuer die Marinel- 
 lische schaubuehne von Karl Friedrich Hensler. Die musik ist von 
 herrn Wenzel Mueller, kapellmeister. 
 
 Wien, Joseph Kamesina, 1798. 92 p. 16%. 
 
 First performed, as indicated, May 10, 1798. SCHATZ 6976 
 
 Wer fuehrt die braut nach hause? A. T. of Kunzen's Das fest 
 der winzer. 
 
 Wer wagt, gewinnt. A. T. of Accorimboni's Das herbstabentheuer. 
 
 Die wette, oder Maedchenlist und liebe. Tr. of Mozart's Cosi fan 
 tutte. 
 
 What news now? A. T. of The humours of the time. 
 
 Who's afraid? A farce of one act: with songs. 
 
 \351}-410 p. (Select dramatic pieces, London, W. Lowndes, 1787.') 
 21 cm . 
 
 By Dr. Jodrell, who is not mentioned. No performance recorded. LONGE 203 
 
 The widow of Wallingford ; a comedy of two acts : (With songs) as 
 it was performed in the neighbourhood of Wallingford, by a set of 
 gentlemen and ladies ; at whose request it is now published. 
 
 London, Printed for the author, n. d. 2 p. 1., 32 p. 21 cm . 
 
 Author not recorded by Clarence. No tunes indicated. LONGE 102 
 
 Dor .wiedererkannte Cyrus. Tr. of Verocai's II Giro riconosciuto. 
 Die wiedererkannte Medea. Tr. of Vinci's Medea riconosciuta.
 
 OPERA LIBRETTOS 1155 
 
 Die wiedererkannte sclavin. Tr. of Piccinni's La schiava ricon- 
 osciuta. , 
 
 Die wiederhergestellte ruh, oder Die gecroente tapferkeit des 
 Heraclius, aufF das ungarische kroenungs-fest . . . Caroh VI erwehl- 
 ten roemischen kaeysers ... in einem singe-spiel auf dem Ham- 
 burgischen Schauplatz vorgestellet im junio MDCCXII. 
 n. i., n. d. Unpaged. 19 cm . 
 
 Five acts and prologue. Scenario, dedication by the author 2 Johann Ulrich Konig, 
 and "vorrede." The composer, Reinhard Keiser, is not mentioned. SCHATZ 5115 
 
 Die wiederkehr der gueldnen zeit, bey hoechst-gluecklicher ver- 
 maehlung Sr. Majestaet des roemischen und hungarischen koenigs 
 Josephi I mit . . . Wilhelmina Amalia, gebohrne hertzogin zu 
 Braunschweig und Lueneburg, vermittelst eines singe-spieles auff 
 dem Hamburgischen Schauplatz vorgestellet. 
 
 [Hamburg}, Nicolaus Spieringlc, 1699. Unpaged. 19 cm . 
 Three acts. "Vorbericht," without the name of the author, Friedrich Christian 
 Bressand, or the composer, Reinhard Keiser. 
 
 First performed, as indicated, February, 1699. SCHATZ 5131 
 
 
 
 Die wiedervereinigten freier. Tr. of the ballet Les amans reunis. 
 A wife of ten thousand. A. T. of Dibdin's The cobler. 
 
 Die wilddiebe, eine operette in einem aufzuge. 
 
 Muenster in Westphalen, Heinrich PJdlipp Perrenon, 1774- Un- 
 paged. 15\ cm . 
 
 Neither the composer, Johann Gottlieb Nicolai, nor the authors, Wilhelm Stuhle 
 and Anton Matthias Sprickmann, are mentioned. 
 
 First.periormed at Muenster, Hoftheater, 1774. SCHATZ 7114 
 
 Die wilden. Tr. of Dalayrac's Azeinia. 
 
 Der wildfang. Eine komische oper hi zwey aufzuegen. Nach herrn 
 v. Kotzebue frey bearbeitet yon Franz Xaver Huber. Aufgefuehrt 
 auf den K. K. Hof-Theatern in Wien. 
 
 [Wien], Mit von Kurtzbekischen schriften, 1797. 140 p. 16% cm . 
 
 "Vorbericht" dated Vienna, September, 1797, and name of Franz Xaver Suess- 
 mayr as composer. 
 
 First performed October 4, 1797, as indicated. SCHATZ 10185 
 
 Willhelm und Roeschen, oder Die Hollandgaenger, eine operette 
 in drey aufzuegen. 
 
 ZeUe, Carl GseUius, 1773. 72 p. 15 cm . 
 
 On p. 2, the note: 
 
 "Das sujet dieser operette ist aus dem 85 und 86 ten stuecke des Hannoverschen 
 MagazinB vom J. 1770 genommen, und soil eine wahre geschichte seyn. AUB der 
 Clarisse dee herrn Bocks sind ein paar sich passende arien, fast unveraendert, ein- 
 geschaltet" 
 
 Not recorded by Schatz. Not found in "Deutsches Anonymen Lexikon." 
 
 SCHATZ 11468 
 
 William and Nanny; or, The cottagers. L. T. of The cottagers.
 
 1156 LIBRARY OF CONGRESS 
 
 Windsor castle ; or, The fair maid of Kent, an opera, as performed 
 at the Theatre-Royal, Covent-Garden, in honour of the marriage of 
 Their Royal Highnesses the Prince and Princess of Wales. By .the 
 author of Hartford-Bridge . . . 
 London, T. N. Longman, 1795. 4 p. I (incl front.) , 40 p. 20 cm . 
 
 Two acts. By William Pearce. Cast, dedication, dated London, May 4, 1795, 
 and Advertisement, according to which 
 
 "it was the author's suggestion that the second act of this performance might 
 exhibit a tournament, as the spectacle most apposite to the heroic character of the 
 court of Edward the Third; Mr. Noverre, having, however, projected a ballet on an 
 event in the classic mythology, the author withdrew his plan; and the episode of the 
 Marriage of Peleus and Thetis [called a masque in the text] was adopted ..." 
 
 "The music is principally by Mr. [Johann Peter] Salomon. It is, however, a 
 justice due to Mr. [Reginald] Spofforth, a young English composer, of very con- 
 siderable promise, to state that the opening roundelay, the glee "Shades of Windsor," 
 and Mr. Fawcett's song ["In throng from all parts"], at the end of the first act, were 
 produced by him. 
 
 First performed, as indicated, April 6, 1795. LONGE 231 
 
 The wishes. A. T. of Belphegor. 
 
 The wit of a woman. A. T. of Love at first sight. 
 
 Der wittwer und die wittwe. Tr. of Winter's I due vedovi. 
 
 Das witzige landmaedchen, oder Der geadelte landmann. Tr. of 
 Paisiello's II matrimonio inaspettato. 
 
 The wives metamorphos'd. A. T. of The devil to pay. 
 
 The wives revenged ; a comic opera in one act. As it is performed 
 at the Theatre-Royal in Covent-Garden. 
 London, G. Kearsley, 1778. 36 p. 31 cm . . 
 
 Cast and same prefatory note by the author-composer, Charles Dibdin, as in his 
 "Rose and Colin. '' 
 
 First performed September 18, 1778, as indicated. LONGE 87 
 
 Der wohlthaetige, ein singspiel in zween aufzuegen, von der stu- 
 direnden jugend des katholischen Schulhauses zu Augsburg bey St. 
 Salvator aufgefuehrt den 3. 4. und 6ten herbstmondes 1799. 
 
 [Augsburg], Joseph Anton Hueber, n. d. [Id] p. 18 cm . 
 
 Cast and "Vorbericht" saying that the " ton verfassung " is by Matthaus Fischer 
 and that the singspiel was first performed "vor sieben Jahren" [1792]. At head of 
 the title: "Der fu erst auf der jagd, ein schauspiel . . . und" SCHATZ 3228 
 
 Der wohlthaetige derwisch oder Die schellenkappe. O. T. of 
 Schack's Die zaubertrommel oder Der wohlthaetige derwisch. 
 
 The women in an uproar. A. T. of The commodity excis'd. 
 
 The wonder ! An honest Yorkshireman. See Carey's The honest 
 Yorkshire-man. 
 
 Wonders in the sun, or The kingdom of the birds ; a comick opera. 
 With great variety of songs in all kinds, set to musick by several of 
 the most eminent masters of the age. Written by Mr. Durfey. 
 London, Jacob Tonson, 1706. 3 p. I, 69, [2] p. 21. 
 
 Durfey 's dedication, "Introduction to the prologue," "Dramatis personae," 
 "Emblematical figures," prologue ("all sung"), four acts (spoken dialogue .with
 
 OPERA LIBRETTOS 1157 
 
 Wonders in the sun Continued. 
 
 some incidental songs), and epilogue, of which the last page has been supplied in 
 ms. in this copy. The words of the "Ode" (act I) "Groves and woods" were "made 
 to a pretty, but very difficult tune of Mr. Eccles" and the "Dialogue" (act III) 
 "Pray now John" was "made to a famous Sebel, of Seignour Baptist Lully." No 
 other composers are mentioned. Tufts quoting Whincop says "It had several bal- 
 lads in it that took very much with the common people, which leaves the question 
 open whether or not "ballads" are meant in the sense of songs set to popular ballad 
 airs. 
 
 First performed at London, Haymarket, April 5 not March 7, 1706. LONGE 194 
 
 Songs, duets, trios, glees, choruses, etc. in the comic opera of the 
 Woodman. As performed at the Theatre-Royal, Covent-Garden, 
 Second edition. By Mr. Bate Dudley. 
 London, T. CadeU, 1791. 1 p. I, 28 p. 17$ cm . 
 
 Three acts. Cast and prefatory note dated February 26, 1791. The text, hastily 
 
 8ut together, was written "to excite the admired talents of a musical friend," Wil- 
 am Shield, but Longman & Broderip's vocal score says " composed chiefly " by 
 Shield. 
 
 First performed February 26, 1791. LONGE 218 
 
 - The woodman, a comic opera, in three acts ; as performed at the 
 Theatre-Royal, Covent-Garden, with universal applause. By Mr. 
 Bate Dudley. 
 
 London, T. CadeU, 1791. 5 p. I. (incl. front.), 94 p. 18 cm . 
 
 Cast. Henry Bate Dudley's dedication dated Bradwell Lodge, April 30, 1791, 
 and reprint of the prefatory statement. LONGE 215 
 
 A world discovered. A. T. of Columbus. 
 
 The world in the moon; an opera. As it is perform' d at the 
 Theatre in Dorset-Garden. By His Majesty's servants. ByE. S. ... 
 The second edition. 
 London, Abel Roper, 1697. 4 p. I, 43, [1] p. 20% cm . 
 
 Five acts, prologue, and epilogue. Cast and epistle dedicatory by Elkanah Settle, 
 to Christopher Rich, which reads, in part: 
 
 "The feast being made under your own roof, I cannot choose eo proper a patron for 
 this entertainment as your self ... So great an undertaking, I am sure, has never 
 been on an English stage; and I am not traveller sufficient to make foreign compari- 
 sons. And here I think my self obliged to do the pencil this publick right, to tell the 
 world that never was such a pile 01 painting rais'd upon so generous a foundation; 
 especially under all the hardships of so backward a season of the yea.r . . . 
 
 "As to the entertainment itself I hope I shall not be vain to say, that the model of the 
 scenes of this play are something of an original: I am sure I have removed a long heap 
 of rubbish, and thrown away all our old French lumber, our clouds of clouts, and set 
 the theatrical paintings at a much fairer light ..." 
 
 Not a real opera, but a play interspersed with some music composed in about equal 
 parts by Jeremiah Claxke and Daniel Purcell. LONGE 180 
 
 A worse plague than the dragon. A. T. of Margery. 
 
 Die WTiensche". A. T. of Stegmann's Sultan Wampum and Schach 
 Wampum. 
 
 Die wueste insel. Singspiel. Nach Metastasio, von A. G. Meiss- 
 ner. [vignette] 
 
 Leipzig, Dykische Buchhandlung, 1778. 7 p. I, 34 p. 16 cm . 
 
 One act. Dedicatory poem, "Dem barden Rhingulph geweiht," argument, and 
 prefatory note, in which Meissner says: 
 
 "Dase ich bey vorliegender arbeit Metastasio ['L'isola disabitata'] zu meinem 
 urbildgewaehlt, sagt dertitel . . . Waamein singspiel selbst betrift; sohab'ichden
 
 1158 LIBRARY OF CONGRESS 
 
 Die wueste insel Continued. 
 
 in halt dcr recitative so treu als moeglich uebergetragen, und bloss in den arien mir 
 einige abweichungen, und zwar mit fleiss erlaubt. I)enn freylich 1st es ganz etwaa 
 andrea, in reimfreye Jamben, als in gereimte musikalische Stanzen, getreu zu ueber- 
 setzen; und nachher sind selbst so viel ehrfurcht ich sonpt fuer Metastasio habe 
 eeine arien, wenigstens nach meinem urtheil, immer mehr des herrlichen stoffes fuer 
 die tonkunst, uudihres einsichtvollen bauesund standpunkts, als ihres dichterischen 
 styls wegen merkwuerdig. Oft erlaubt er sich sogar in ihnen taendeleyen, vor denen 
 er eich in eeinen recitativen sorgfaeltigst hueten wuerde ..." 
 
 First performed at Leipzig, with music by Joseph Schuster, Theater beim Rann- 
 staedter Thore, September 30, 1779. SCHATZ 9758 
 
 Das wuetende heer, oder: Das maedchen im Thurme. Ein 
 heroisch-komisches singspiel in drey aufzuegen. Nach Bretznern, 
 fuer das K. K. Opera. Theater eingerichtet, und in musik gesetzt von 
 herrn Ruprecht. 
 
 [ Wien], n. d., bey dem logenmeister. 80 p. 16 cm . 
 
 First performed at Vienna, Kaernthnerthor Theater, June 1, 1787. SCHATZ 9162 
 
 Das wiitende heer, oder Das maedgen im thurme. Eine operette 
 in drey akten. [silhouette] Componirt vom herrn kapellmeister 
 Schweitzer in Weimar. 
 
 [99}-192 p. 16 cm . (C. F. Bretzner, Operetten, Id. I, Leipzig, 1779.) 
 
 The silhouette is a portrait of the actress Minna Brandes. 
 
 Date of first performance unknown to Schatz, but it must have occurred between 
 1772 and 1774. The work is not mentioned by Maurer in his book on Schweitzer. 
 
 SCHATZ 11680 
 
 -Das wuetende heer, oder Das maedgen im thurme. Eine 
 operette in drey akten. Von C. F. Bretzner. Componirt vom herrn 
 kapellmeister Schweitzer in Gotha. 
 Leipzig, Carl Friedrich Schneider, 1788. 79 p. 15% cm . 
 
 SCHATZ 9777 
 
 Die wunderbahr errettete Iphigenia (by Postel). See Graun's 
 Iphigenia. 
 
 Die wunderbahr-errettete Iphigenia in einem singe-spiel auff dem 
 Hamburgischen Schau-platz vorgestellet. 
 
 Hamburg, Nicolaus Spieringlc, 1699. Unpaged. 19 cm . 
 
 Five acts. Argument and "vorbericht." Neither the author, Christian Heinrich 
 Poetel, is mentioned, nor the composer, Reinhard Keiser. 
 
 First performed, as indicated, 1699. SCHATZ 5132 
 
 Der wunderliche Franzos. Tr. of Astaritta's II francese bizarre. 
 
 Die wunderschoene Psyche, zu hoechstem gedaechtniss des 
 erfreulichsten gebuhrts-tages der aller-durchlauchtigsten, gross- 
 maechtigsten koenigin in Preussen . . . Sophien Scharlotten, 
 welcher einfiel den 20. octobris, in einem Singe-spiel auff dem Ham- 
 burgischen Schau-platz vorgestellet. 
 
 [Hamburg}, Nicolaus Spieringlc, 1701. Unpaged. 19 cm . 
 
 Three acts. "Vorbericht." Neither the author, Christian Heinrich Postel, nor the 
 composer, Reinhard Keiser, is mentioned. Postel based the text on Marini's 
 "Adone," on Corneille and Fontenelle's "Psyche," and on Matteo Noris's "L'Amor 
 inamorato." SCHATZ 5116
 
 OPEBA LIBRETTOS 1159 
 
 Xerse. Drama per musica nel Teatro a SS. Gio. e Paolo per Fanno 
 MDCLIV . . . 
 
 Venetia, Matteo Leni, 1654. 6 p. 1. (incl. front.) 71 p. 14 cm > 
 Three acts with prologue. By conte Niccol6 Minato, who signs the dedication 
 with his initials and dates it Venice, January 12, 1654. Argument, scenario, and 
 notice to the reader without name of Pietro Francesco Cavalli as composer. 
 
 SCHATZ 1743 
 
 II Xerse. Drama per la musica con aggionta dell' intermedii, e 
 molte altre scene, & aggiustamenti, conforme si rappresentd nella 
 citta di Palermo. Data in luce ad instantia dell' Academia delli 
 Musici di detta citta . . . 
 
 Palermo, Andrea Colicchia, 1658. 5 p. 1., 142 p. 13 cm . 
 
 Prologue and three acts. Dedication and argument. No allusion to author or 
 composer, except that the dedication says: "comppsto con felice yena di poesia 
 d'autor famoso in tal materia." Comparison proved it to be conte Niccol6 Minato's 
 "Xerse," as set to music by Francesco Cavalli, Venice, 1654. The intermedii are 
 of a comic character. ML 50.2. X3C2 
 
 Youth against magic. A. T. of Merlin in love. 
 
 L'yvrogne corrige, opera-comique en deux actes ; par Mrs. Anseaume 
 & * * *; mis en musique par M. De la Ruette: represent 6 pour 
 la premiere fois sur le Theatre de 1' Opera-comique de la Foire Saint 
 Laurent, le 23 juillet 1759. 
 Paris, Duchesne, 1759. 40 p. 20\ cm . 
 
 Cast. On p. 35 the vaudeville "Un amant dans ees beaux discours" and on p. 
 38-40 "Sa tendresse pour moi chaque jour." For a German version of this, made 
 for use of Gluck's setting of the above, but providing in an appendix for use of 
 Laruette's music, see Schatz 3909 under "L'ivrogne cornge"." SCHATZ 5434 
 
 Zaide, reine de Grenade, ballet heroique, repre*sente" par 1'Aca- 
 demie royale de musique de Lyon, en juin 1749. 
 Lyon, Rigollet, 1749. 4! p. 19% cm . 
 
 Prologue and three acts. Neither the author, de La Marre, is mentioned, nor the 
 composer, Boyer. Cast. 
 
 First performed at Paris, Acade'mie royale de musique, September 3, 1739. 
 
 ML 52.2.Z2R7 
 
 Zaira. Dramma nuovo per musica da rappresentarsi nel nobilissimo 
 Teatro Venier in San Benedetto il carnovale dell' anno 1797. 
 Venezia, Modesto Fenzo, 1797. 44 p. 18\. 
 
 Two acts. Probably by Mattia Botturini. Cast, scenario, and name of Sebastiano 
 Nasolini as the composer. 
 
 First performed, as indicated, February 22, 1797. SCHATZ 7018 
 
 Intermezzi di Zamberlucco, e Palandrana, da rappresentarsi nel 
 Teatro Bonacossi da S. Stefano il carnovale dell' anno MDCCXXI. 
 
 [At end] Ferrara, Bernardino Pomatelli, n. d. 15, [1] p. 15 cm . 
 
 Three intermezzi. Neither the author (unknown to Schatz) nor the composer, 
 Carlo Francesco Gasparini, is mentioned. 
 
 First performed at Venice, Teatro di S. Cassiano, fall, 1709. SCHATZ 3591 
 
 La Zanina maga per amore. Dramma comico per musica da rap- 
 presentarsi nella terra di S. Giovanni in Persiceto nel Teatro de' Sig. 
 Accademici Candidi Uniti 1'autunno dell' anno MDCCXXXVII. 
 
 Bologna, Costantino Pisarri, n. d. 4, \%\ P- 15 cm . 
 
 Three acts. Attributed by Schatz to the composer, Giuseppe Maria Buini, who 
 is not mentioned. Dedication, notice to the reader, and cast. Imprimatur dated 
 August 29, 1737. SCHATZ 1398
 
 1160 LIBRARY OF CONGRESS 
 
 La Zanina maga per amore Continued. 
 
 Zanina maga per amore. Dramma comico per musica da rap- 
 presentarsi in Cesena nel Teatro eretto nel Palazzo Spada il carno- 
 vale 1745. 
 
 [At end] Bologna, Costantino Pisarri, 1745. 1 p.l., 50, [1] p. 14% cm . 
 
 Exactly the same text as in 1737, though Schatz claims "con cambiamenti." 
 With impresario's dedication dated Cesena, February, 1745, notice to the reader, 
 and cast, but again without the names of the composer and the librettist. Schatz 
 claims that Buini and "altri maestri" were responsible for the music, but this claim 
 is apparently based on the libretto published by Modesto Fenzo for the performances 
 at Venice, May, 1742. Wiel enters the opera under that year as "di vari autori." 
 
 SCHATZ 1399 
 
 Der zauberer. Ein singspiel in zween aufzuegen. Aufgefuehrt auf 
 der hochfuerstl. Thurn und Taxischen schaubuehne. 
 Regensburg, Breitfeld, 1781. 1 7 cm . 
 
 Imperfect. 
 
 Two acts. Cast. "Die poesie ist von herrn Poinsinet. Die mueik von Henri 
 Croes verfertigt." (p. [2]). This is a translation by Johann Heinrich Faber (Schatz) 
 of Poinsinet's "Le sorcier." The missing pages (after p. 56) of the last scene have 
 been added in manuscript. SCHATZ 2294 
 
 Der zauberer. Tr. of Philidor's Le sorcier. 
 
 Die zauberfloete. Eine grosse oper in zwey aufzuegen. Von Em- 
 manuel Schikaneder. Die musik dazu ist von herrn Wolfgang Amade 
 Mozart . . . 
 
 n. i., 1794. 96 p. 18 cm . 
 
 According to Schatz and Dent the text was (at least) planned in part by Gieseke. 
 First performed at Vienna, Theater auf der Wieden, September 30, 1791. 
 
 ML 50.2.Z25M7 
 
 Die zauberflb'te. Eine oper in drei aufzuegen, neubearbeitet von 
 C. A. Vulpius. Die musik ist von Mozart. Aufgefuehrt auf dem 
 herzoglichen Hoftheater zu Weimar zum erstenmal am 16. Januar 
 1794. 
 
 Leipzig, Johann Samuel Heinsius, 1794. front., 104 P- 16 cm . 
 
 The "Vorrede" dated "Weimar, den 30. Jan. 1794" reads: 
 
 "Es war uns schlechterdings unmoeglich, die Zauberfloete nach dem originale, 
 welches Mozart durch seine himmlische komposition gleichsam veredelt hatte, vor 
 unser delikates publikum hier auf das theater zu bringen. Es musete daher auf eine 
 umarbeitung gedacht werden, und so enstand die meinige, welche nachher auch von 
 der Mannheimer buehne angenommen wurde. 
 
 "Wer das original kennt, wird wiesen, was ich geleistet habe, oder nicht. Den 
 dialog habe ich ganz neu umgeschaffen. Die verse habe ich geaendert und wenig- 
 stens vom nonsens gereiniget, wie ich hoffe! Dennoch wird man hier und da nocn 
 harte reime genug finden. Sie sind immer, bei arbeiten dieser art, ziemlich unver- 
 meidlich. Es ist unendlich leichter/ttr die musik, als nach einer schon vorhandenen 
 komposition, zu arbeiten . . . 
 
 "Das originalstueck hat gar keinen plan. Die menschen gehen darinne nur, um 
 wieder zu kommen, und kommen, um abgehen zu koennen. Ich habe es ver- 
 Bucht, einen plan hineinzudraengen ... In dieser ruecksicht habe ich auch das 
 etueck in drei aufzuege abgetheilt, weil der zwischenraum von nacht und tag mir 
 dadurch bestimmter gemacht zu seyn schien, und weil ueberhaupt der zweite aufzug 
 durch seine unverhaeltnissmaessige laenge, ermuedete ..." SCHATZ 6849 
 
 II flauto magico. Dramma eroicomico per musica in due atti 
 tradotto dall' idioma tedesco nelF italiano. Da rappresentarsi nel 
 Elettorale Teatro di Dresda. 
 n. i., 1794. 94 p. 16% cm - 
 
 Argument. Italian version, by Giovanni de Gamerra. 
 
 First performed, as indicated, April 2, 1794. SCHATZ 6850
 
 OPERA LIBRETTOS 1161 
 
 Der zauber-hain, oder Das land der liebe. Eine romantisch 
 komische oper in drey akten von Th. Berling. Komponirt vom 
 musikdirektor Bierei. 
 
 n. i., 1799. 31 p. 16\ cm . 
 
 First performed at Dresden, Theater vor dem schwarzen thore, May 8, 1799. 
 
 SCHATZ 1032 
 
 Die zauberharfe. L. T. of Walter's Die harfe. 
 
 Die zauberhoele des Trofonius. Tr. of Salieri's La grotta di 
 Trofonio. 
 
 Die zauberinsel. L. A. T. of Wenzel Muller's Der sturm. 
 Die zauberinsel. A. T. of Schack's Der stein der weisen. 
 Der zaubernde soldat. Tr. of Philidor's Le soldat magicien. 
 Der zauber spiegel. Tr. of Gre"try's La fausse magie.. 
 
 Arien zur Zaubertrommel oder Der wohlthaetige Derwisch. Eine[!] 
 grosses komisches singspiel in drey aufzuegen. Die musik dazu ist 
 von herrn Schak. Aufgefuehrt von der Mmuleschen Gesellschaft. 
 Augsburg, n. pull., 1793. 29 p. 16 cm . 
 
 The author, Johann Emanuel Schikaneder, is not mentioned. The music was by 
 Schack, Gerl, and others (Komorzynski). 
 
 First performed at Augsburg, Nationaltheater, 1793; at Vienna, Theater auf der 
 Wieden, 1792, as "Der wohlthatige derwisch oder Die schellenkappe." 
 
 SCHATZ 9571 
 
 Die zauberzither. A. T. and L. T. of Wenzel Miiller's Der fagottist. 
 
 Der zaubrer. Eine komische oper in einer handlung von Karl Franz 
 Henisch. 
 
 Prag, n. putt., 1772. 48 p. 
 
 The composer, Franz Andreas Holly, is not mentioned. 
 
 First performed at Prague, Kgl. Theater i. d. Kotzen, 1772. SCHATZ 4773 
 
 Zeboschi ed Esing, ossia II vero amico, ballet. See P. C. Guglielmi's 
 Dorval e Virginia. 
 
 Zefiro e Flora, ballet. See Manfredini's Armida. 
 
 Der zeitvertreib auf dem lande. Tr. of Astaritta's II diverti- 
 mento in campagna. 
 
 Zelia, drame en trois actes, mle de musique. Paroles de Dubuisson, 
 musique de Deshaye. 
 
 Paris, et se trouve a Lille, Deperne, 1793. 71 p. 19 cm . 
 
 First performed (music by Prosper Didier Deshayes, with the alternative title, 
 "L'homme a deux femmes") at Paris, Theatre de la rue de Louvois, 1791. 
 
 ML 50.2.Z33D2
 
 1162 LIBRARY OF CONGRESS 
 
 La Zelinda. Dramma per musica da rappresentarsi nel Real Teatro 
 del Fondo di Separazione per prim' opera di quest' anno 1786 . . . 
 
 Napoli, n. pull., 1786. 86 p. 14$ cm . 
 
 Three acts. The author is not mentioned, and is unknown to Schatz. Impresario's 
 dedication dated Naples, April 17, 1786, notice to the readers (" Vi taccio il nome dell' 
 autore. Per una natural modestia giammai egli ei e annunziato nelle sue produzioni "), 
 argument, scenario, cast, and name of Giuseppe Millico as the composer. The first 
 ballet was analogous to the opera; the second, by Giambattista Giannini (music by 
 Capuzzi), was called "Annetta e Fierillo." SCHATZ 6499 
 
 
 Zelindor roi des Sylphes. 
 
 Op6ra-ballet in one act, with prologue by Moncrif ; music by Rebel and Francoeur. 
 First performed at Versailles March 17, 1745; at Paris, 1 Academic royale de mu- 
 sique, August 10, 1745, and revived there in 1754. 
 Not in L. of C. 
 
 Zephire et Fleurette, parodie de Zelindor, en un acte. Par 
 Messieurs * * *. Represented pour la premiere fois, par les Come'- 
 diens italiens ordinaires du roi, le samedi 23 mars 1754. 
 
 Paris, veuve Delormel & fits, 1754. ~27, 8, 4 p. 19 cm . (Theatre de 
 M. Favart, Paris, Duchesne, 1763-77, t. ii.) 
 
 Cast. En vaudevilles. No airs printed in the text, but the 8, and 4 p. at end 
 contain nine engraved "Airs de Zephire et Fleurette" and "Vaudeville de Zephire 
 et Fleurette." On p. [3] this Avertissement: 
 
 "Cette piece d'abord en prose, & en couplets, fut pre'sente'e aux Comediens italiens 
 en 1745. Us se preparoient a la jouer, lorsque des circonstances momentandes les 
 empecherent de donner des parodies. Une copie de cet ouvrage tomba entre les 
 mains d'un comedien de province, qui le fit imprimer apres y avoir ajoute" quelquea 
 couplets. Les auteurs le reVendiquerent, en retrancherent les augmentations, la 
 piece fut refondue & donne'e dans la forme qui suit." 
 
 The authors were Laujqn and Panard and the piece was "refondue" by Favart. 
 The arranger of the music is not mentioned by Font. ML 49.A2F1 
 
 Zemine et Almanzor. See L'industrie. 
 
 Zemira. Dramma per musica da rappresentarsi nel nobilissimo 
 Teatro di S. Benedetto il carnovale dell' anno 1782. 
 Venezia, Modesto Fenzo, 1782. 63, [1] p. 17. 
 
 Two acte. By Gaetano Sertor. Argument, cast, scenario, and names of com- 
 poser, Pasquale Anfossi, and librettist. 
 
 On p. 27-42 "Descrizione del primo ballo Don Pietro, re di Castiglia, ballo tragico 
 pantomimo in cinque atti, inventato, e diretto dal Signer Paolino Franchi ..." 
 The second ballet was called "L'amore in contrasto." The composer of the music 
 of the ballets is not mentioned. SCHATZ 272 
 
 First performed December 26, 1781, as indicated. 
 
 Zemira. Dramma per musica da rappresentarsi nel nob. Teatro 
 nuovo della magnifica cittk di Padova la fiera del Santo 1'anno 
 MDCCLXXXVI. 
 
 Padova, Gio. Antonio Gonzatti, n. d. 32 p. 17 cm . 
 
 Two acts. Argument, cast, scenario, and name of Francesco Bianchi as com- 
 poser, but not of Gaetano Sertor, the author. The music is called "del tutto nuova." 
 Consequently, the performances of a "Zemira" by Bianchi at Naples, Teatro di S. 
 Carlo, November 4, 1781, as mentioned by Schatz, may have been an earlier setting 
 of the same text. SCHATZ 1001 
 
 Zemira e Azor, ballet. See Andreozzi's Giovanna d'Arco. 
 Zemira e Azor, ballet. See Caruso's II vecchio burlato.
 
 OPERA LIBRETTOS 1163 
 
 Zeinira e Azor, ballet. See Paer's La virtu al cimento. 
 Zemira e Azore. Tr. of Gretry's Ze"mire et Azor. 
 
 Zemire et Azor, comedie ballet, en vers et en quatre actes; melee 
 de chants et de danses; representee devant Sa Majeste", & Fontaine- 
 bleau, le 9 novembre 1771, & sur le Theatre de la Comedie italienne, 
 le lundi 16 decembre suivant. Par M. Marmontel . . . La musique 
 de M. Gretry. 
 
 Paris, Vente, 1772. 56 p. 17% cm . 
 
 Cast. On p. 50-56 three "Airs de Zemire et Azor": "Rose cherie, aimable fleur," 
 "Des mains d'un pere," "Du moment qu'on aime." YUDIN PQ 
 
 Zemire et Azor, comedie ballet, en vers et en quatre actes, m&lee 
 de chants et de danse, representee devant Sa Majeste" a Fontaine- 
 bleau, le 9 novembre 1771, & sur le Theatre de la Comedie italienne 
 le lundi 16 de'cembre suivant. Par M. Marmontel . . . La musique 
 de M. Gretry. 
 
 Paris, Vente, 1774. 56 p. 18 cm . 
 
 Cast. On p. 49-56 "Airs de Zemire et Azor": "Rose cheiie, aimable fleur" 
 (II, 2), and "Du moment qu'on aime" (III, 5). SCHATZ 4191 
 
 Zemire et Azor, comedie-ballet. 
 p. 3-43. 20% cm . 
 
 Caption title. Lacks title-page, etc. Approbation at end dated November 16, 
 1771. 
 
 Three acts. Text by Marmontel, music by Gretry. ML 52.2.Z45 
 
 Zemire et Azor, comedie-ballet en vers et en quatre actes, 
 
 de chants et de danses ; par Mr. Marmontel . . . La musique est de 
 Mr. Gretri. 
 
 Berlin [!], Le Moine, 1773. 56 p. 18$ cm . 
 
 On p. [2] the note: 
 
 "Repr6sent6 devant Sa Majeste, a Fontainebleau, le 9 novembre 1771, & sur le 
 Theatre de la Comedie italienne, le lundi 16 de'cembre suivant." SCHATZ 11709 
 
 Zemira e Azore, a new comic opera; as performed at the King's 
 Theatre, in the Hay-market. Translated into Italian by Signer 
 Verazzi. And into English by Mrs. Rigaud. The music by the most 
 celebrated composer, Signor Gretry. 
 
 London, G. Bigg, 1779. 65 p. 18$ cm . 
 
 Cast. 
 
 First performed as indicated, in 1779. Mattia Verazi's Italian version, according 
 to Schatz, was first used at Mannheim, Hoftheater, January, 1776. SCHATZ 4196 
 
 Zemire und Azor, ein singspiel in vier aufzuegen aus dem 
 franzoesischen uebersetzt, mit musik. 
 
 Frankfurt am Mayn, mit Andreaischen schriften, 1775. 80 p., 16 
 p. (folded music). 16\ cm . 
 
 By Johann Heinrich Faber, who is not mentioned. The music (voice and bass) 
 consists of "Jene geister, womit man schreckt" ("Lea esprits dont on nous a fait 
 
 eur," I, 1), "Ach! welche quaal! ach! welche schmerzen" ("Ah! quel tourment 
 'etre sensible^' III, 1), "Munter sieht man den vogel" ("La fauvette avec sea 
 petits," III, 5). SCHATZ 4192
 
 1164 LIBRARY OF CONGRESS 
 
 Zemire et Azor Continued. 
 
 Zemire und Azor. Eine romantisch komische oper in vier auf- 
 zuegen. Nach dem franzoesischen des Marmontel. 
 
 Breslau und Leipzig, Christian Friedrich Gutsch, 1 779. 87 p. 15% cm . 
 German version, by Karl Emil Schubert. SCHATZ 4193 
 
 Gesaenge aus Zemire und Azor, einem singspiele in vier aufzue- 
 gen, von herrn Gretry. 
 
 Mitau, Johann Friedrich Stefferihagen, 1782. 24 p. 16% cm . 
 German version by Heinrich August Ottokar Reichard. 
 First performed at Gotha, Hoftheater, January 29, 1776. SCHATZ 4194 
 
 Zemire und Azor, ein singspiel in vier aufzuegen aus dem 
 franzoesischen uebersetzt. 
 
 Muenster, Perrenon, 1777. 64 p. 17 cm . 
 
 SCHATZ 4195 
 
 Gesaenge zu der oper : Zemire und Azor in vier aufzuegen. Aus 
 dem franzoesischen uebersetzt. 
 
 <r> <i n ft 99 >n /O'lcm 
 
 n. i/., itf. a. KiXi p. 1 1 5 . 
 
 Printed before 1800? SCHATZ 11710 
 
 Zemire et Melide, ou Les fausses infidelites. O. T. of Philidor's 
 Melide ou Le navigateur. 
 
 Zemire und Azor, eine romantisch-komische oper in vier. aufzuegen 
 Nach dem franzoesischen des Marmontel. 
 
 Breslau, Johann Friedrich Korn d. dltere, 1775. 56 p. 
 Lyrics by Karl Emil Schubert; dialogue by the composer, Gotthilf von Baum- 
 garten (neither mentioned). 
 
 First performed at Breslau, Schuch'sches Theater, May 18, 1776. SCHATZ 658 
 
 Zemire und Azor. Tr. of Gre"try's Z6mire et Azor. 
 
 Zemirens und Azors ehestand. A. T. of Umlauf's Der ring der 
 liebe. 
 
 Zenis et Almasie, ballet heroique, represents devant Leurs 
 Majest6s, a Fontainebleau, le 2 novembre 1765. 
 
 [Paris], Christophe Bollard, 1765. 22 p. 20\ cm . (Journal des 
 spectacles, t. ii, Paris, 1766.} 
 
 One act. Cast and names of Chamfort as author of the text, of Benjamin Jean de 
 La Borde and Bernard de Bury (see t. I, p. 15) as composers of the music, and of 
 Laval pere et fils as "composers " of the ballet. ML 48 J7 
 
 Zenobia. 
 
 Metastasio, Poesie, Parigi, vedova Quittau, 1755, t. v, 93 p. 16 cm . 
 Three acts and licenza. Argument. ML 49.A2M42 
 
 Zenobia. Dramma scritto dall' autore 1'anno 1740, e rappresentato 
 la prima volta con musica del Predieri nel jDalazzo dell Imperial 
 Favorita . . . il di 28 agosto dell' anno medesimo, per festeggiare il 
 giorno di nascita dell' imperatrice Elisabetta . . . 
 
 pi., [3]-96 p. 26 cm . (Metastasio, Opere, t. vi, Parigi, vedova Heris- 
 sant, 1780.) 
 
 Three acts and licenza. Argument. ML 49.A2Z44
 
 OPERA LIBRETTOS 1165 
 
 Zenobia Continued . 
 Zenobie. 
 
 Metastasio, Tragedies-opera, Vienne, 1751, v. i, p. [137]-243. 14 cm * 
 Three acts. Richelet's translation of "Zenobia." ML 49.A2M47 
 
 La Zenobia. Drama per musica di Mattio Noris. Da rappresen- 
 tarsi nel Teatro di San Cassano 1'anno 1665 . . . 
 Venetia, Camillo Bortoli, 1666. 15 p. 13. 
 
 Three acts. Author's dedication, dated Venice, January 10, 1666, argument, 
 scenario, and notice to the reader (" Sonp anni quattro in circa, che h6 delineato questo, 
 mio parto"). The composer, Giovanni Antonio Boretti, is not mentioned. 
 
 SCHATZ 1221 
 
 Zenobia. Dramma per musica da rappresentarsi nel Teatro Gius- 
 tinian di S. Moise. L'autunno dell' anno 1746. 
 Venezia, Modesto Fenzo, 1746. 52 p. 17 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Argument, scenario, cast, and 
 name of Girolamo Michelli as the composer. SCHATZ 6481 
 
 Zenobia. Dramma per musica, da rappresentarsi nel nobil Teatro 
 del Bairo Alto la state dell' anno 1765. Per celebrare la riccorrenza 
 del gloriosissimo compleannos di S. A. R. il Signer prencipe di Beira. 
 [Lislona], n. pull., n. d. 12 p. 1., 123 p. 14$ cm . 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication, 
 argument, cast, scenario, congratulatory poem, and note: 
 
 ' ' La musica tutta, ch'e quella stessa, cantata nel Regio Teatro di Milano in pccasione 
 delle gloriosissime feste celebrate 1'anno 1752, e parto felice del celebre Sig. David 
 Perez . . ." 
 
 but the opera was actually first performed there fall of 1751. Portuguese title page and 
 text face Italian. ML 50.2.Z37P3 
 
 Zenobia. Festa teatrale per musica. Da rappresentarsi nel giorno 
 del felicissimo, e gloriosissimo nome della Sac. Ces. e Catt. Real 
 Maesta di Elisabetta Cristina imperadrice regnante . . . 1'anno 
 MDCCXXXII. La poesia e del Sig. abate Gio.Claudio Pasquini . . . 
 La musica e del Sig. Giorgio Reiitter il giovine . . . 
 
 Vienna d' Austria, Gio. Pietro Van GJielen, n. d. Unpaged. 21\ cm . 
 
 One act and licenza. Argument. 
 
 First performed at Vienna, Hoftheater, November 19, 1732. ML 48.M2C 
 
 Zenobia. Dramma per musica da rappresentarsi nel Teatro di S. 
 Angelo 1'autunno dell anno 1740 . . . 
 
 Venezia, Marino Rossetti, n. d. 60 p. 15 cm . 
 
 Three acts. By Metastasio, who is not mentioned. Impresario's dedication, 
 argument, cast, scenario, and name of Guglielmo Sbacci as the composer. 
 
 SCHATZ 9512 
 
 Zenobia. Dramma per musica da rappresentarsi nel Nuovo Teatro 
 di corte . . . nel carnevale dell' anno MDCCLXXIII. La poesia & 
 dell' Sig abbate Pietro Metastasio . . . La musica e del Sig. Antonio 
 Tozzi .... 
 
 Monaco, Francesco Gioseppe ThuiUe, n. d. 173, [26] p. 15 cm . 
 
 Three acts. Argument, cast, and scenario. German title-page, "Zenobia," and 
 text face Italian. The unnumb. 26 p. contain casts and descriptions in French and 
 German of Canziani's "Le jugement de Paris, ballet heroique et pantomime Das 
 urtheil dfes Paris" and Regina's "L'Espagnol genereux, ballet pantomime Der 
 grossmuethige Spanier." The composers of the music are not mentioned. 
 
 First performed January, 1773, as indicated. SCHATZ 10384
 
 1166 LIBRARY OF CONGRESS 
 
 Zenobia. Dramma per musica da rappresentarsi nel nobil Teatro 
 di Torre Argentina nel carnovale dell' anno 1762 . . . 
 
 Roma, Giovanni Giussani, 1762. 51 p. 15 cm . 
 
 Three acts. Dedicatory poem, cast, argument, scenario, names of composer, 
 Tommaso Trajetta, and librettist, Metaetasio, and protesta: 
 
 "Ciocche si e variato, ed aggiunto nel dramma, si e fatto per accomodarlo al teatro 
 presenter e per quanto e stato possibile, vi si sono adattate le ariette, ed i recitativi 
 di altre opere dramatiche dello stesso autore: i di cui celeb ri originali restano sempre 
 illeei nelle molte applaudite edizioni ..." SCHATZ 10398 
 
 Zenobia, dramma per musica, da rappresentarsi nel Regio Teatro 
 Danese. Zenobia, et syngespil . . . 
 
 Kivbenhavn, L. N. Svare, 1770. 87 p. 17\ cm . 
 
 Three acts. Argument and cast. Neither Metastasio, the author, nor Francesco 
 Antonio Baldassare Uttini, the composer, is mentioned. Danish text faces Italian. 
 First performed at the same theater, carnival, 1754. SCHATZ 10551 
 
 Zenobia oder Das muster rechtschaffener ehelichen liebe. Tr. of 
 Handel's Radamisto. 
 
 Zenobia in Palmira. Dramma serio per musica da rappresentarsi 
 nel Regio Teatro dell' Accademia degli Awalorati in Livorno 1'au- 
 tunno dell' anno 1796. 
 
 [Livorno}, presso Tommaso Masi, e compagno, n. d. 32 p. 17% cm . 
 
 Two acts. By Gaetano Sertor. Cast, scenario, and name of composer, Pasquale 
 Anfossi, but not of librettist. 
 
 With the opera were performed the ballo serio "II Zorilan" and the ballo comico 
 "II pittor burlato," both invented by Gio. Batista Giannini. The composer of the 
 music is not mentioned. 
 
 First performed at Venice, Teatro di S. Benedetto, December 26, 1789. 
 
 SCHATZ 257 
 
 Zenobia in Palmira. Drama per musica da rappresentarsi nel 
 Regio Teatro di Milano 1'anno 1710 . . . 
 
 Milano, Giuseppe Pandolfo Malatesta, n. d. 58 p. 13% cm . 
 
 Three acts. Attributed by Schatz to Zeno (jointly with Pariati), but no such 
 text appears in Zeno's collected works. The text is largely the same as that of 
 the anonymous "L'amore eroico," 1725. Dedication, argument, scenario, and Reim- 
 primatur. The composer, Fortunato Chelleri, is not mentioned. 
 
 First performed at Barcellona, 1709, Teatro en la casa de la Lonja. SCHATZ 1818 
 
 Zenobia, regina de Palmireni. Dramma per musica da rapresen- 
 tarsi nel Teatro Grimano de SS. Gio. e raolo 1'anno 1694. De 
 Antonio Marchi . . . 
 
 Venetia, Per il Nicolini, 1694. 71 p. 13$ cm . 
 
 Three acts. Author's dedication, argument, scenario, and notice to the reader, 
 in which Marchi calls this his second drama and mentions Tommaso Albinoni as the 
 composer. SCHATZ 112 
 
 Zenobia regina dei Palmireni. O. T. of Marchi's text II vinto 
 trionfante del vincitore. 
 
 Zenobie. Tr. of Metastasio's Zenobia. 
 
 Zenocrate ambasciatore a' Macedoni. Drama per musica da 
 rappresentarsi nel Teatro Zane di S. Mois& 1'anno 1687. Del Gas- 
 parini . . . 
 
 Venetia, Francesco Nicolini, 1687. 60 p. 14 cm . 
 
 Three acts. Dedication, argument, notice to the reader, scenario. The composer, 
 Pietro Porfiri, is not mentioned. SCHATZ 8356
 
 OPERA LIBEETTOS 1167 
 
 Zenone, imperator d' Orients. Drama per musica. Da rappre- 
 sentarsi nel Teatro di San Casciano 1'anno 1696. Di Antonio 
 March! . . . 
 
 Venetia, Nocolini, 1696. 71 p. 14$ cm . 
 Pages 5-6 wanting. 
 
 Three acts. Dedication, argument, notice to the reader. Composed by Tommaso 
 Albinoni, who is not mentioned. SCHATZ 101 
 
 Zephire et Fleurette. Parody of Rebel and Francoeur's Zelindor. 
 
 Academic royale de mu- 
 
 Zephire et Flore, opera, rep>resente par 1' 
 
 sique. Suivant la copie imprimee, a Paris. 
 
 [Amsterdam, Antoine Schelte], 1688. Jfi p. (incl. front.} 
 Prologue and three acts. For author and composer see next entry. 
 
 ML 50.2.Z4L9 
 
 Zephire et Flore, opera, represent^ par 1'Academie royale de 
 musique. 
 
 Imprime a Paris, & onles vend a Anvers, chez Henry van Dunewald, 
 1689. 86 p. 13\ cm . 
 
 Prologue and three acts. Neither the author, Michel Du Boulay, is mentioned, nor 
 are the composers, Louis and Jean Louis de Lully. 
 
 First performed, as indicated, March 22, 1688. ML 50.2.Z4L9 
 
 Zephire et Flore, opera represent^ par 1'Academie royale de 
 musique 1'an 1688. Les paroles de M. Du Boulay, <& la musique de 
 M re Louis de Lully, cfc Jean Louis de Lully. XXIII. opera. 
 
 n. i., n. d. 14 cm - pi-, 281-330 p. (Recueil general des opera, 
 t. Hi, Paris, 1703.) 
 
 Detached copy. Three acts and prologue. SCHATZ 5784 
 
 Second copy. ML 48. R4 
 
 Das zerstoerte Troja, oder Der durch den tod Helenen versoehnte 
 Achilles, wurde an dem theuren Carols-tage wegen des neulichen von 
 Ihro Roem. Kays, und Cathol. Maj. unsern aflergnaedigsten kayser 
 und herrn, ueber die Tuercken befochtenen sieges, und der darauf 
 hoechst gluecklich erfolgten eroberung der sehr wichtigen vestung 
 Temeswar, [vignette] zu allerunterthaenigster bezeugung der hierob 
 geschoepften freude in einem musicalischen singe-spiel auf dem 
 Hamburgischen Schau-platz vorgestellet im novembre, 1716. 
 
 Hamburg, Fridrich Conrad Grejlinger, n. d. Unpaged. 19 cm . 
 
 Five acts. Scenario and historical "vorbericht" by the author, Johann Joachim 
 Hoe, who is not mentioned. He says: 
 
 "zur nachricht, dass einig^e gute freunde den verfasser der poetie. welcher die 
 poetische feder nur bey einigen mueesigen stunden ergriffen, veranlasset, gegen- 
 waertige opera zu verfertigen, welche, wenn man die italiaenische entgegen zu nalten 
 beliebet, eben nicht fuer eine blosse ubersetzung wird zu schaetzen seyn. Fuernem- 
 lich aber hat ihn dazu angetrieben des grossen virtuosen, des hn. capell-meister 
 Keisers extraordinaire composition ..." 
 
 Many arias have the Italian text added to the German. Hoe based his text on 
 Urbano Rizzi's "Achille placato." 
 
 As sixty-sixth opera, by Keieer, first performed, as indicated, November 4, 1716. 
 
 SCHATZ 5117
 
 1168 LIBRARY OF CONGRESS 
 
 Die zigeuner. Ein lustspiel mit gesang, in fuenf aufzuegen, von 
 Heinrich Ferdinand Moeller. Aufgefuenrt auf dem churfuerstl. 
 Theater zu Muenchen. Die musik merzu ist von herrn Joh. Chr. 
 Kaffka, und bey selbigem in Augsburg zu haben. 
 
 n. i., n. d., 1778. 94 p. 16 cm . 
 
 First performed, as indicated, 1778. SCHATZ 4988 
 
 Die zigeuner. A. T. of Salieri's Der talisman. 
 
 Zima, ballet. See P. Guglielmi's Lo sciocco poeta di campagna. 
 
 Zima, ballet. See Zingarelli's La secchia rapita. 
 
 Li Zingani in fiera, ballet. See Tritto's Nicaboro in Jucatan. 
 
 La Zingara. 
 
 Intermezzo in two parts. Music by Binaldo di Capua. Author unknown. Date 
 of first performance unknown. 
 
 Not in L. of C. and no copy of the original edition had been traced by Spitta 
 when he wrote his essay on Rinaldo di Capua for the Vierteljahrsschrift fur Mu- 
 sikwissenschaft, 1887. In this essay Spitta sought to reconstruct the original version 
 of "La Zingara " (though without much success), principally on the basis of the some- 
 what altered score edited by Cosimi some time after the first performance of "La 
 Zingara" on June 19, 1753, at the Academic royale de musique, Paris. Compare 
 Spitta also for the relationship between this score and that of Favart's French version 
 of 1755. Cosimi's score contains the following (arias in Italics): 
 (Int. I) Con la speme del goder. 
 
 Si taglia borse. 
 
 Tu non pensi. 
 
 Caro fratello mio. 
 
 Hb ragione, si signore. 
 
 Mancherebbe amor questa. 
 
 Ella pud credermi. 
 
 E in breve sar6 sposo. 
 
 Si, caro ben sarete. 
 
 E dove, dove Torso n'and6 (Rec. ace.) 
 
 Che orror che spnvento. 
 
 Donde Signor tant ira. 
 
 Amor, oh che diletto. 
 (Int. II) Imaginar non puoi. 
 
 E specie di tormento (text Metastasio's Temistocle). 
 
 S'avyicina, Calcante. 
 
 O voi possenti Numi (Rec. ace.) 
 
 Voce, cheflebile. 
 
 Nulla, nulla Signor. 
 
 Perfidi, che volete. 
 
 Non tante smanie. 
 
 dell' Egitto Nume custode (= " Dea delle selve ... Tu il core intatto" 
 in Basse's Leucippo). 
 
 lo giuro rei. 
 
 Viverd se tu lo vuoi. 
 
 Oh Dio Nisa d'amore. 
 
 Ogni tromba, ogni tamburo. 
 
 La Bohemienne, comedie en deux actes en vers, meslee 
 d'ariettes, traduite de la Zingara, intermede italien. 
 La Haye, H. Constapel, 1758. 40 p. 15\ cm . 
 
 Two acts. By Favart, parodied from Rinaldo di Capua's "La Zingara," and first 
 performed at Paris, Comedie italienne, July 28, 1755. At the head of the arias are 
 given the first words of the Italian arias used. The cast is preceded by this impudent 
 
 " Avertissement 
 
 "Cette bagatelle est une traduction de l'in termed e italien donn sur le Theatre de 
 l'Ope>a. Dans tous les endroits ou Ton a suivi 1' original & la lettre, on a du necessaire- 
 ment se rencontrer avec les auteurs qui ont traduit le meme sujet. On ne peut point 
 &re eoupconn^ de plagiat, quand'il n'y qu'une facon de dire les choses." 
 
 SCHATZ 8797
 
 OPERA LIBRETTOS 1169 
 
 La Zingara Continued. 
 
 -La Bohemienne, come'die en deux actes et en vers, mesle"e 
 d'ariettes, traduite de la Zingara, intermede italien. Represented 
 pour la premiere fois par les Comecliens italiens ordinaires du roi, le 
 28 juillet 1755. 
 
 Paris, N. B. Duchesne, 1759. 48, [5], [41]-96 p. 19 cm . Theatre 
 de M. Favart, Paris, Duchesne, 1763-77, t. ii.) 
 
 Cast. The [5] p. contain catalogues of plays; the p. [41]-96, seventeen "Ariettes de 
 la Bohemienne. In the text which coincides with that of the published score the 
 corresponding ariettes are headed by the first words of the Italian arias. 
 
 The seventeen ariettes are: 
 
 Dans I'esperance du plaisir (= "Con la speme del goder" in La Zingara). 
 
 Tu ne songes guere (= "Tu non pensi" in La ZingaraJ. 
 
 Que t'importe que je reste (= "H6 ragione, si Signore" in La Zingara). 
 
 Ah! cette ligne designe (= "Ella pu6 credermi" in La Zingara). 
 
 Examinez sa grace (= "Tre giorni son che Nina.". For a long time attributed to 
 Pergolesi, though without proof. Radiciotti persists in attributing this song to 
 Pergolesi on the strength of rather na'ive "internal " evidence. His reading of Squire's 
 articles on the song in "Musical Times," 1899, and Zeitschrift d. I. M. G. 1900/01 is 
 curiously inaccurate. Squire adduced some contemporary evidence that the song 
 was considered a composition by Legrenzio Vincenzo Ciampi, and he traced its first 
 anonymous appearance in print to tne year 1749 when it was printed (in April) by 
 Walsh of London as one of tne interpolated songs in a comic opera called "I tre cicis- 
 bei ridicoli," a rifacimento (London, Haymarket, March 14, 1749) perhaps by Ciampi, 
 the accredited "maestro to the company" in London of Natale Kesta s opera (text 
 by Vasini), Venice, Teatro di Sant' Angelo, May 1748. Spitta was inclined, though 
 without sound reasons, to attribute the song, which originally was comic, not tragic, 
 to Binaldo di Capua. Pergolesi's name did not become attached to it until the 
 sixth decade of the eighteenth century, i. e. if Gugler really saw an English sheet- 
 edition of the song with Pergolesi's name, or otherwise not until the nineteenth cen- 
 tury. Weckerlin, for instance, never saw an edition with Pergolesi's name older 
 than 1847.) 
 
 Oui, vous serez sans cesse (= "Si, caro ben sarete" in La Zingara). 
 
 Ah! mon ours a pris la fuite (= "Maledetti quanti siete" in Ciampi 'a Bertoldo, 
 Bertoldina e Cacasenno). 
 
 Oh! laissez done mon coeur (= "Madam' lasciatemi" in Besta's I trfe cicisbei 
 ridicoli). 
 
 Mon coeur, o cher Calcante (as appears from a note in the score, this duet was by 
 Pergolesi. Indeed it is "Per te io h6 nel core" from his Flaminip). 
 
 (Int. II) Je n'en puis plus (= "Si rawiva" [nel mio core], which also appears in 
 the "Giocatore" Paris). 
 
 Au piege il va se rendre (= "E specie di tormento" in La Zingara). 
 
 Je perds sans ressource (= Che error! che spavento" in La Zingara). 
 
 vous, demons celebres (= voi possenti Numi (in the text colled an ariette, in the 
 "Ariettes" a recitative and in the score correctly a "Recitatif accompagne." It is 
 from La Zingara). 
 
 Ta voix au noir sijour (= "Voce che lugubre" in La Zingara). 
 
 Au secours. Ah! je tremble (= "Perfidi che volete" in La Zingara). 
 
 Pouvre Nisei Tu chilis (= "Vedovella, poverella" in Cocchi's La scaltra governa- 
 trice). 
 
 Toujours preste, toujours leste (= "Ogni tromba, ogni tamburo" in La Zingara). 
 
 ML 49.A2F1 
 
 La Zingara. L. T. of Vento's L'Egiziana. 
 
 Ziste et Zeste, ou Les importuns, folie en un acte et en vaudevilles, 
 par les CC. Cailhava et Leger. Represented pour la premiere fois, 
 sur le Theatre du Vaudeville ... 27 Aout 1796. 
 
 Paris, Au Theatre du Vaudeville, [etc], An V! [1796-97]. 35 p. 8. 
 
 Cast. On p. 34 the air of the "Vaudeville. Paroles et musique du citoyen 
 Leger. Plein de la plus vive ardeur." 
 
 Not recorded by Cl. & L. or Schatz. ML 48.M2E 
 
 72251 VOL 114 74
 
 1170 LIBRARY OF CONGRESS 
 
 Zoe. Drammaper musica da rappresentarsi nel Teatro novissimo di 
 San Benedetto if carnovale dell' anno MDCCLVI. 
 Venezia, Angiolo Geremia, n. d. 52 p. 15\ cm . 
 
 Three acts. By Francesco Silvani, an altered version of whose "La forza del 
 sanguine" this is, according to Schatz. Argument, cast, scenario, and name of 
 Gioacchino Cocchi as composer. 
 
 First performed, as indicated, December 26, 1755. SCHATZ 2047 
 
 La Zoe. Dramma per musica da rappresentarsi nel nobile Teatro 
 Tron di S. Cassiano 1'autunno dell' anno 1736 . . . 
 
 Venezia; Giuseppe Bettinelli, 1736. 71 p. 15 cm . 
 
 Three acts. A later version of "La forza del sangue" by Francesco Silvani, who 
 is not mentioned. Dedication by Domenico Lalli, argument, cast, scenario, and 
 name of Luca Antonio Predieri as composer. SCHATZ 8459 
 
 Zon-Zon principe di Kibin-Kinka. Dramma giocoso da rappre- 
 sentarsi nel Regio Ducal Teatro di Milano 1'autunno dell' anno 
 1773 . . . 
 
 Milano, Gio. Batista Bianchi, n. d. 68, [2} p. 15\ cm . 
 
 Two acts. A considerably altered version of "L'inimico delle donne " by Bertati, 
 who is not mentioned. Impresario's dedication, scenario, and name of Giuseppe 
 Gazzaniga as the composer. With the opera was performed Gasparo Angiolini's 
 "La partenza d'Enea, o sia Didone abbandonata," who possibly also composed the 
 music for this ballet. SCHATZ 3688 
 
 Zophilette. Cbnte de Mr. Marmontel mis en scenes & en ariettes, 
 & represents le 17 mai 1765. 
 
 Paris, n. publ, 1768. 2 p. 1., 39 p. 19 cm . 
 
 One act. The anonymous author says in his preface: 
 
 "J'avais toujoura imaging qu'en travaillant d'apres I'e'le'gant Marmontel, la re'us- 
 site e"tait sure. Je m'amusai a mettre en scenes son Conte de Laurette. A peine 
 eus-je achev6 de compiler mon drame en faveur d'une soci6t4 qui a bien voulu 
 s'amuser de le repr&enter, que je crus qu'il n'y avait qu'a le faire mettre en musique. 
 J'ai refais mes ariettes sur des airs italiens. J'entrevoyais d6ja mon triomphe, & le 
 plaisir d'avoir contribue" a celui du public." However, he decided first to submit 
 his play to a "femme charmante, pleine d'esprit & de gout" for her criticism which 
 he expected to be in the form of a compliment. He quotes her not altogether flat- 
 tering "reflexions" and suggestions for improvement and continues by saying: 
 
 "Me connaissant trop de paresse & point assez de talent pour suivre le conseil sage 
 & honnSte que renferme cette juste critique, j'abandonnai mon projet de me faire 
 jouer sur le theatre. Je me plaindrai peut-etre bientot de 1'avoir e"t6 trop en soci^te"." 
 
 The "airs italiens" to which his ariettes were to be sung are indicated in every 
 instance with the name of the composer. Accordingly the music formed an anthology 
 of arias by Galuppi, Ferrandini, Jommelli, Gluck, Bach, Piccinni, Traetta, 
 Sarti and others and includes a few Venetian canzonettas. 
 
 Not recorded by Schatz, Cl. & L., etc. ML 50.2.Z6 
 
 Zoraime et Zulnar, ope*ra en trois actes, par le C. Saint-Just, 
 musique du C. Boieldieu. Represents pour la premiere fois sur le 
 Theatre de la rue Favart, le 21 florSal, an 6 de la RSpublique Fran- 
 caise. [May 10, 17981 
 
 Paris, Au bureau dramatique, an VI. [1797-98]. 67, [1] p. 21 cm . 
 
 Cast. ML 50.2.Z65B6 
 
 Zorei e Ozai, ballet. See G. Gio'rdani's Erifile. 
 
 II Zorilan, ballet. See Anfossi's Zenobia in Palmira. 
 
 Zorilan, ballet. See Cimarosa's L'impegno superato.
 
 OPERA LIBRETTOS 1171 
 
 Zorinski : a play, in three acts, as performed at the Theatre Royal, 
 Hay-Market. By Thomas Morton . . . 
 London, T, N. Long-man, 1795. 2 p. L, 78 p. 20 cm . 
 
 Cast. Considerably interspersed with songs, etc., composed by Samuel Arnold 
 (not mentioned). 
 
 First performed June 20, 1795. LONGE 232 
 
 Zoroastre, tragedie. Represent ee par 1' Academic royale de musique, 
 pour la premiere fois, le vendredy cinq december 1749. 
 
 [Pans], Aux depens de I' Academic, 1749. 74, [2] p. 22% cm . 
 
 Five acts. Cast, argument, and names of Louis de Cahusac as author, of Jean 
 Philippe Rameau as composer. ML 50.2.Z7R2 
 
 Zoroastro, tragedia tradotta dal francese, da rappresentarsi nel Regio 
 Elettoral Teatro di Dresda, dalla compagnia de comici italiani in 
 attuale servizio di Sua Maesta nel carnovale dell' anno MDCCLII. 
 
 Dresda, Stamperia regia, n. d. 8 p. 1., 64 p. 20 cm . 
 
 Five acts. Argument, synopsis of plot, cast. [Giacomo] Casanova [de Seignaltl 
 is mentioned as author of this Italian version of Louis de Cahusac's tragedy, and 
 "Sig^nor [Johann August] Adam, musico di camera di S. M." as composer of the 
 music including the ballets excepting the overture and the first chorus, which were 
 by Rameau, and presumably taken from his "Zoroastre." 
 
 First performed, as indicated, February 7, 1752. SCHATZ 55 
 
 II zotico incivilito. L. T. of Anfossi's Lo sposo disperato. 
 
 Zulima. Dramma per musica da rappresentarsi in Firenze nella 
 primavera dell' anno 1796 nel Regio Teatro degli Intrepidi detto della 
 Pall a a cord a . . . 
 
 Firenze, Ant. Gius. Pagani e comp., 1796. 89 p. 17 cm . 
 
 Two acts. By Francesco Gonella di Ferrara. Argument, name of Marco Porto- 
 gallo as composer and note: "La poesia e,tutta nuova dell' autore della Lodiska." 
 
 ML48.A5 v.14 
 
 Zulima. Dramma per musica da rappresentarsi nel Teatro di via 
 della Pergola nel carnevale del MDCCLXXVII . . . 
 
 Firenze, Gio. Risaliti, n. d. 39 p. 16$ cm . 
 
 Two acts. By Cesare Oliveri, who is not mentioned. Cast, argument, and name 
 of Giovanni Marco Rutini as the composer. With the opera was performed Antonio 
 Terrade'e ballet "II Francese in Londra," the composer of the music not being men- 
 tioned. SCHATZ 9189 
 
 Zulima o sia La famiglia riunita, ballo pantomime. See Farinelli's 
 II nuovo savio della Grecia. 
 
 Die zur meisterin gewordene schuelerin. Tr. of Cingohi's La 
 scolara fatta maestra. 
 
 Die zurueckkunft aus Londen. Tr. of Fischietti's La ritornata 
 di Londra. 
 
 Die zween Savoyarden. Tr. of Dalayrac's Les deux petits 
 Savoyards. 
 
 Die zwey comtessinnen. Tr. of Paisiello's Le due contesse. 
 
 Die zwey geizigen. A. T. of Joh. Ad. Hiller's Das grab des Mufti
 
 1172 LIBRARY OF CONGRESS 
 
 Die zwey geitzigen. A. T. of Gre"try's Das grab des Mufti. 
 
 Die zwey schatzgraeber, eine komische operette von einem aufzug. 
 n.i.,1781. 55 p. 16\ cm . 
 Not recorded by Schatz. Not found in "Deuteches Anonymen Lexikon." 
 
 SCHATZ 11665 
 
 Die zwey vormuender. Tr. of Dalayrac's Les deux tuteurs. 
 Die zwischenfalle. Tr. of Sarti's I contratempi. 
 
 Zwo komische operetten von G * *, nebst andern gedichten 
 zum anhange. 
 
 Chemnitz, Joh. Dav. Stoessels erben u. Putscher, 1773. 4p-l>-> %87 p. 
 16 cm . 
 
 Dedication and apology, "An den kunstrichter," followed by (p. 1-184) "Dae 
 VORNEHME SuscHEN, eine koinische operette in drey aufzuegen" and "Das TESTA- 
 MENT, eine komische operette in einem aufzuge" (p. 185-246). For further data see 
 these under their titles. SCHATZ 11655 
 
 Die zwoelf schlafenden jungfrauen. Zweyter theil. Em schau- 
 spiel mit gesang in vier aufzuegen, nach der geistergeschichte des 
 herrn Spiess, fuer die Marinellische schaubuenne bearbeitet, von 
 Karl Friedrich Hensler. Die musik ist vom hrn. Wenzel Mueller, 
 kapellmeister. 
 
 Wien, Mathias Andreas Schmidt, 1798. 83 p. 16 cm . 
 
 First performed, as indicated, July 24, 1798. Of the Iter theil, the L. of C. has not 
 the original ed. of 1797, but only Berlin, 1805, of the Illter theil we have the 
 original ed., Wien, 1800. SCHATZ 6979 
 
 Die zwolf schlafenden jungfrauen. Ein schauspiel mit gesang 
 in 4 aufzuegen, von Karl Ludwig Gieseke . . . Die musik ist von 
 Matthaeus Stegmayr. Fuer das K. K. Wiednertheater. 
 
 Wien, Binzische Buchhandlung, 1798. 126 p. 16% cm . 
 
 First performed June 4, 1796, as indicated. ScHAT2; 10052 
 
 9
 
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