285:
496:
545:
had given the best air in the piece to
Tenducci." In vain the poor Doctor strove to soothe her – she was ungovernable. He retired from the theatre – sat down, and having written the first words of "Let not rage thy bosom firing" composed an air to them in the same character as "Water parted," though it is inferior in other respects: This he presented to Miss Brent, who being struck with the application of the first line to her own violence of temper, told the Doctor "that she was appeased, and would sing to the utmost of her ability to serve him."
1520:
192:
1544:
471:
their love for each other and their despair at
Arbaces' banishment, Artabanes arrives carrying a bloody sword. His fury at Xerxes' treatment of his son and his desire for Arbaces to become King have led him to assassinate Xerxes. Artabanes confesses the murder to Arbaces and exchanges his bloody sword for that of Arbaces.
50:
482:
In the Temple of the Sun
Artaxerxes, surrounded by his nobles, swears to maintain the rights, laws, and customs of his subjects and is about to pledge this by drinking from a sacred cup, unaware that Artabanes has poisoned the drink. Before Artaxerxes can drink from the cup, news arrives that Rimenes
470:
The opera opens in a moonlit garden of Xerxes' palace. Mandane, the daughter of King Xerxes, and
Arbaces, the son of the King's general Artabanes, are in love. Xerxes has opposed their marriage and banished Arbaces from the palace. Arbaces climbs the wall into the garden. As the young lovers express
207:
The mischief done was the greatest ever known on any occasion of the like kind: all the benches of the boxes and pit being entirely tore up, the glasses and chandeliers broken, and the linings of the boxes cut to pieces. The rashness of the rioters was so great, that they cut away the wooden pillars
474:
Artaxerxes, the King's younger son, arrives with his guards. Artabanes tells him of his father's death and accuses
Artaxerxes's older brother Darius of the murder, "Who but he at dead of night could penetrate The palace? Who could approach the royal bed? Nay, more, his royal ambition..." Artaxerxes
544:
When Dr Arne first brought the Opera of
Artaxeres to a rehearsal, Tenducci sung the Air "Water parted from the Sea" with such effect that Miss Brent for whom the part of Mandane was composed, flew to Dr Arne with some violence, and told him "he might get whom he pleas'd to take Mandane; because he
478:
In the King's palace, the execution of Darius is announced. However, Rimenes (also in love with Semira) has
Arbaces led into the chamber in chains, announcing that the bloody sword used to kill Xerxes had been found in his possession. Arbaces is now condemned to death. However, Artaxerxes, who had
182:, proved very successful. The work was revived at the theatre the following year, although this second run was marred by a riot. On 24 February 1763 a mob protesting the abolition of half-price admissions stormed the theatre in the middle of the performance. According to a contemporary account in
276:. The production was directed by Martin Duncan and designed by Johan Engels using a new performing edition of the score by Ian Page with a reconstruction of the final chorus by Duncan Druce. The cast included Christopher Ainsley as Artaxerxes, Rebecca Bottone, Caitlin Hulcup and Elizabeth Watts.
486:
Artabanes is now faced with seeing his son die or confessing the truth. He confesses to all that he has poisoned the cup, intending to kill
Artaxerxes and that he had also assassinated Xerxes. Artabanes is led off in chains. Artaxerxes, out of his love for Semira and his gratitude to Arbaces,
483:
and his men are at the palace gates. The danger is averted when
Arbaces kills the traitor, confirming to Artaxerxes that his friend is innocent. Artaxerxes then offers the sacred cup to Arbaces instead so that he may pledge his innocence.
511:
in many of her
American concerts, although one contemporary New York critic pronounced it "Nothing but a tie-wig-ish vocal exercise in triplets from beginning to end". Its popularity with singers continued into the 20th century. Both
479:
long been a friend of Arbaces, doubts his guilt. He releases Arbaces from prison and allows him to escape through a secret passage. Rimenes, encouraged by Artabanes, then goes off to lead a rebellion against Artaxerxes.
252:
or the final chorus. The original performing version of the score was lost in the fire that destroyed the Theatre Royal in 1808. After that date, performances of the work used a shortened version reconstructed by
320:. The more virtuosic role of Arbaces went through a considerable amount of casting instability in the 19th century. It was sometimes sung by sopranos, and at other times transposed for
1594:
1322:
593:
and Miss Huntley in a concert in Philadelphia in 1796 and published that same year as an arrangement for piano and voice by Filippo Trisobio with the title, "A Celebrated Duett in
475:
commands Artabanes to avenge his father's death by killing Darius. Later in the garden, Artaxerxes expresses his love to Semira, the daughter of Artabanes and sister of Arbaces.
507:"The Soldier, tir'd of war's alarms" (sung by Mandane in act 3) was a frequently performed recital piece for virtuoso sopranos, particularly in the 19th century. It was sung by
1051:
523:"Water parted from the sea" (sung by Arbaces in act 3) was a popular concert piece in the 18th and 19th centuries. There are also several allusions to it in
1106:
585:"Fair Aurora, pr'ythee stay" (sung by Arbaces and Mandane in act 1) was heard in the United States as early as 1769 in a concert at New York's
216:
had received well over 100 performances, including 48 in Dublin alone between 1765 and 1767. In the United States, the overture was played in
487:
condemns their father to eternal exile rather than death. The opera ends with the two pairs of lovers reunited and the jubilation of all.
298:
was composed when the castrato singers were at their height. The title role (Artaxerxes) and that of Arbaces were written for the Italian
1281:
1357:
1294:
264:, a BBC concert performance in 1979, and another concert performance in 2002 by the Classical Opera Company conducted by Ian Page at
1232:. Strong on Music: The New York Music Scene in the Days of George Templeton Strong. Vol. 2. University of Chicago Press.
1007:, 11–14 March 2008. Accessed 1 October 2009. Now published as Michael Burden, "Imaging Mandane: character, costume monument",
1579:
1384:
1350:
284:
208:
between the boxes, so if the inside of them had not been iron, they would have brought down the galleries upon their heads.
1017:
1402:
312:
in the 19th century. In the 1827 and 1828 performances in London, Artaxerxes was sung by the contraltos Eliza Paton and
225:
688:(Artabanes), Rebecca Bottone (Semira), Daniel Norman (Rimenes); Classical Opera Company; Ian Page (conductor). Label:
1237:
1163:
1142:
154:, and continued to be regularly performed until the late 1830s. Its plot is loosely based on the historical figure,
1589:
1276:
260:
Notable modern revivals of the work include a 1962 performance in London's St. Pancras Town Hall as part of the
1574:
1523:
495:
1000:
16:
This article is about an opera by Thomas Arne. For a later opera by Josef MysliveÄŤek on the same theme, see
958:. Filippo Trisobio was an Italian voice teacher and composer living in Philadelphia, where he died in 1798.
1004:
725:
184:
332:, Patrica Spence, in the 1995 Hyperion recording. The role was also sung by a mezzo-soprano in the 2009
1534:
265:
229:
1377:
1318:
1207:
730:
586:
237:
665:
in 2009 to celebrate Arne's 300th birthday was followed by release of a studio recording in 2010 by
17:
1203:
422:
303:
1153:
571:
313:
254:
236:
remained in the London repertoire for over 70 years with regular revivals including those at the
54:
641:(Artabanes), Richard Edgar-Wilson (Rimenes), Philippa Hyde (Semira); The Parley of Instruments;
1227:
1132:
328:
who sang the role 1827. Considered too high for a modern counter-tenor, Arbaces was sung by a
1223:
1081:
499:
241:
1599:
1584:
1564:
1506:
1370:
8:
1425:
1308:
865:
398:
325:
163:
1344:
1188:
409:
1499:
1457:
1290:
1233:
1159:
1138:
658:
333:
273:
196:
179:
151:
103:
589:
and again in that city in 1794 in a concert at the City Tavern. It was also sung by
1492:
1465:
1441:
1195:
646:
619:
508:
563:
1569:
1177:
1115:
851:
677:
538:
513:
446:
391:
261:
306:
respectively. With the waning of the castrati, the title role was sung by women
1173:
1031:
997:
685:
681:
634:
602:
529:
462:
288:
605:
in 1835 as "a charming imitation of the simpler Italian style of that period".
224:
in 1767. The US premiere of the complete opera came on 31 January 1828 at the
1558:
1304:
1248:
1072:
662:
638:
590:
555:
551:
517:
329:
317:
221:
240:(1780, 1820, 1827, and 1828), Covent Garden (1813, 1827, and 1828), and the
1548:
1433:
1417:
1003:, paper delivered at the Research Center for Music Iconography conference,
689:
666:
550:"O too lovely, too unkind" (sung by Arbaces in act 1) has been recorded by
360:
217:
155:
502:
for "Fair Aurora, pr'ythee stay" (p. 1), published in Philadelphia in 1796
1393:
850:
Synopsis adapted from the 1827 acting copy of the libretto, published in
642:
618:. However, the first major studio recording to be released on CD is from
614:
A live recording of a 1979 BBC concert performance was once available on
537:(London, 1808), its beauty caused considerable friction between Arne and
524:
308:
142:
124:
58:
41:
574:'s orchestration for the aria "Soon arrives thy fatal hour" in his 1763
49:
1473:
1340:
1026:
350:
249:
128:
1249:"Theatrical riots and cultural politics in eighteenth-century London"
567:
268:. To mark Thomas Arne's 300th birthday, a fully staged production of
136:
81:
21:
615:
373:
364:
299:
191:
159:
132:
723:
A similar riot occurred the month before during a performance of
386:
272:
was performed in October 2009 in the Linbury Theatre of London's
937:
1317:
712:
575:
1362:
404:
321:
120:
37:
1543:
763:
248:
had been published in 1762. However, it did not contain the
195:
Riot over the abolition of half price admission fees at the
832:
822:
820:
751:
649:(released 1996 as CDA67051/2, re-released 2009 as CDD22073)
370:
220:
as early as 1765, while arias from the opera were heard in
127:
set to an English adaptation (probably by Arne himself) of
1595:
Opera world premieres at the Theatre Royal, Covent Garden
1009:
Music in Art: International Journal for Music Iconography
817:
1277:
A Day in Eighteenth-Century London: Texts and Contexts
961:
925:
780:
778:
316:. In modern performances the role is often taken by a
1532:
562:. According to Simon Heighes, its orchestration with
1202:
955:
795:
793:
775:
973:
805:
733:. For more about the London half-price riots, see
1253:The Eighteenth Century: Theory and Interpretation
790:
429:Semira, Artabanes' daughter; lover of Artaxerxes
1556:
1274:
1222:
1155:Joyce's grand operoar: Opera in 'Finnegans Wake'
869:
746:
1134:The Lives and Works of William and Philip Hayes
1070:
1001:"Imaging Mandane: character, costume, monument"
838:
1151:
899:
757:
228:, in New York City, with a cast that included
1378:
1289:
826:
1206:, Lester S. Levy Collection of Sheet Music,
383:Mandane, Xerxes' daughter; lover of Arbaces
887:Joan Sutherland: The Art of the Prima Donna
633:Vol 33) – Christopher Robson (Artaxerxes),
1385:
1371:
1282:The Norton Anthology of English Literature
898:e.g. "By wather parted from the say". See
48:
20:. For other operas on the same theme, see
1358:International Music Score Library Project
1310:Early Concert-Life in America (1731–1800)
1246:
1179:Musical History, Biography, and Criticism
734:
601:pieces in the opera, it was described by
1285:, 8th Edition). Accessed 1 October 2009.
1152:Hodgart, Matthew; Bauerle, Ruth (1997).
1049:
784:
494:
283:
190:
1303:
1172:
1130:
1104:
967:
943:
931:
919:(London, 1808), pp. 120–121, quoted in
811:
769:
1557:
1186:
1015:
996:
979:
920:
799:
637:(Mandane), Patricia Spence (Arbaces),
169:
1366:
1105:Dunnett, Roderic (11 December 2002).
708:
706:
1011:, 34: 1–2 (2009), pp. 107–136.
676:– Christopher Ainslie (Artaxerxes),
150:premiered on 2 February 1762 at the
1077:and the feminization of virtuosity"
1071:D'Arcy Wood, Gillan (Summer 2008).
1062:. L'Almanacco di Gherardo Casaglia
713:University of North Texas Libraries
13:
1111:, St John's, Smith Square, London"
703:
14:
1611:
1334:
1542:
1519:
1518:
1198:, 1995. Accessed 1 October 2009.
1158:. University of Illinois Press.
856:, Volume 19, J. Cumberland, 1828
597:. Fair Aurora". Unlike the more
341:Roles, voice types, premier cast
1392:
949:
909:
892:
875:
859:
844:
367:' younger son; Arbaces' friend
199:, during a 1763 performance of
1326:(1763) – Thomas Augustine Arne
739:
717:
490:
1:
696:
609:
1580:Operas set in ancient Persia
900:Hodgart & Bauerle (1997)
758:Hodgart & Bauerle (1997)
440:Rimenes, Artabanes' captain
197:Theatre Royal, Covent Garden
180:Theatre Royal, Covent Garden
152:Theatre Royal, Covent Garden
7:
1247:McPherson, Heather (2002).
1016:Camner, James (July 1996).
1005:City University of New York
726:The Two Gentlemen of Verona
454:
162:after his assassination by
10:
1616:
1328:. Accessed 1 October 2009.
1299:. Accessed 1 October 2009.
1050:Casaglia, Gherardo (2005).
989:
692:(released 2010 as CKD 358)
416:Arbaces, son of Artabanes
401:, general of Xerxes' army
257:and John Addison in 1813.
123:in three acts composed by
15:
1516:
1484:
1409:
1400:
1319:University of North Texas
1313:. Breitkopf & Härtel.
1229:Reverberations, 1850–1856
1218:. Accessed 1 October 2009
946:, pp. 145, 168, 235.
883:Beverly Sills and Friends
570:bass was an influence on
178:(2 February 1762) at the
158:who succeeded his father
93:2 February 1762
88:
75:
67:
62:in the title role in 1827
47:
36:
31:
1347:, hyperion-records.co.uk
1204:Johns Hopkins University
1137:. Taylor & Francis.
956:Johns Hopkins University
423:Giusto Fernando Tenducci
304:Giusto Fernando Tenducci
279:
185:The Gentleman's Magazine
1590:English-language operas
1270:(subscription required)
1208:"A Celebrated Duett in
1131:Heighes, Simon (1995).
1100:(subscription required)
1045:(subscription required)
885:(Deutsche Grammophon);
870:Brodsky Lawrence (1995)
520:have recorded the aria.
266:St John's, Smith Square
1275:Norton Topics Online,
1224:Brodsky Lawrence, Vera
1073:"The castrato's tale:
772:, pp. 67–68, 172.
547:
503:
355:Cast at 1762 premiere
292:
244:(1836). The score for
210:
203:
18:Artaserse (MysliveÄŤek)
1575:Operas by Thomas Arne
1082:The Wordsworth Circle
542:
498:
302:, Nicolò Peretti and
287:
205:
194:
174:The opening night of
104:Covent Garden theatre
1507:A-Hunting We Will Go
1403:List of compositions
747:Norton Topics Online
645:(conductor). Label:
560:The Age Of Bel Canto
541:, the first Mandane.
262:St. Pancras Festival
140:. The first English
866:Richard Grant White
653:The performance of
343:
170:Performance history
1034:on 2 November 2012
902:, p. 238 and
839:D'Arcy Wood (2008)
731:Drury Lane Theatre
504:
339:
293:
242:St James's Theatre
238:Drury Lane Theatre
204:
1530:
1529:
1500:Soft Flowing Avon
1458:Love in a Village
1291:Royal Opera House
1182:. John W. Parker.
917:Green Room Gossip
915:Gridiron Gabble,
827:Royal Opera House
659:Royal Opera House
535:Green Room Gossip
500:Piano–vocal score
452:
451:
419:soprano castrato
334:Royal Opera House
314:Elizabeth Vestris
291:as Mandane (1827)
274:Royal Opera House
112:
111:
55:Elizabeth Vestris
1607:
1547:
1546:
1538:
1522:
1521:
1493:Rule, Britannia!
1466:The Fairy Prince
1442:Thomas and Sally
1387:
1380:
1373:
1364:
1363:
1356:: Scores at the
1345:Italian libretto
1329:
1314:
1300:
1286:
1271:
1268:
1266:
1264:
1243:
1219:
1215:
1199:
1196:Hyperion Records
1183:
1169:
1148:
1127:
1125:
1123:
1101:
1098:
1096:
1094:
1067:
1065:
1060:2 February 1762"
1059:
1046:
1043:
1041:
1039:
1030:. Archived from
1012:
983:
977:
971:
965:
959:
953:
947:
941:
935:
929:
923:
913:
907:
896:
890:
879:
873:
863:
857:
848:
842:
836:
830:
824:
815:
809:
803:
797:
788:
782:
773:
767:
761:
755:
749:
743:
737:
735:McPherson (2002)
721:
715:
710:
647:Hyperion Records
620:Hyperion Records
587:Vauxhall Gardens
509:Henriette Sontag
344:
342:
338:
230:Elizabeth Austin
100:
98:
52:
29:
28:
1615:
1614:
1610:
1609:
1608:
1606:
1605:
1604:
1555:
1554:
1553:
1541:
1533:
1531:
1526:
1512:
1480:
1405:
1396:
1391:
1337:
1332:
1269:
1262:
1260:
1240:
1213:
1187:Holman, Peter,
1174:Hogarth, George
1166:
1145:
1121:
1119:
1116:The Independent
1099:
1092:
1090:
1063:
1057:
1044:
1037:
1035:
998:Burden, Michael
992:
987:
986:
978:
974:
966:
962:
954:
950:
942:
938:
930:
926:
914:
910:
897:
893:
880:
876:
864:
860:
853:British Theatre
849:
845:
837:
833:
825:
818:
810:
806:
798:
791:
785:Casaglia (2005)
783:
776:
768:
764:
756:
752:
744:
740:
722:
718:
711:
704:
699:
678:Elizabeth Watts
631:English Orpheus
612:
554:and appears on
539:Charlotte Brent
533:. According to
514:Joan Sutherland
493:
457:
447:George Mattocks
392:Charlotte Brent
378:Nicolò Peretti
340:
282:
172:
108:
107:
101:
96:
94:
63:
25:
12:
11:
5:
1613:
1603:
1602:
1597:
1592:
1587:
1582:
1577:
1572:
1567:
1552:
1551:
1528:
1527:
1517:
1514:
1513:
1511:
1510:
1503:
1496:
1488:
1486:
1482:
1481:
1479:
1478:
1470:
1462:
1454:
1446:
1438:
1430:
1422:
1413:
1411:
1407:
1406:
1401:
1398:
1397:
1390:
1389:
1382:
1375:
1367:
1361:
1360:
1348:
1336:
1335:External links
1333:
1331:
1330:
1315:
1305:Sonneck, Oscar
1301:
1287:
1279:(companion to
1272:
1244:
1238:
1220:
1212:. 'Fair Aurora
1200:
1184:
1170:
1164:
1149:
1143:
1128:
1102:
1068:
1047:
1013:
993:
991:
988:
985:
984:
972:
970:, p. 312.
968:Hogarth (1835)
960:
948:
944:Sonneck (1907)
936:
934:, p. 242.
932:Heighes (1995)
924:
908:
891:
874:
858:
843:
831:
816:
812:Dunnett (2002)
804:
789:
774:
770:Sonneck (1907)
762:
750:
738:
716:
701:
700:
698:
695:
694:
693:
686:Andrew Staples
682:Caitlin Hulcup
651:
650:
635:Catherine Bott
611:
608:
607:
606:
603:George Hogarth
583:
548:
530:Finnegans Wake
521:
492:
489:
468:
467:
463:Ancient Persia
456:
453:
450:
449:
444:
441:
437:
436:
433:
430:
426:
425:
420:
417:
413:
412:
407:
402:
395:
394:
389:
384:
380:
379:
376:
368:
357:
356:
353:
348:
289:Mary Ann Paton
281:
278:
171:
168:
110:
109:
102:
92:
90:
86:
85:
77:
73:
72:
69:
65:
64:
53:
45:
44:
34:
33:
9:
6:
4:
3:
2:
1612:
1601:
1598:
1596:
1593:
1591:
1588:
1586:
1583:
1581:
1578:
1576:
1573:
1571:
1568:
1566:
1563:
1562:
1560:
1550:
1545:
1540:
1539:
1536:
1525:
1515:
1508:
1504:
1501:
1497:
1494:
1490:
1489:
1487:
1483:
1476:
1475:
1471:
1468:
1467:
1463:
1460:
1459:
1455:
1452:
1451:
1447:
1444:
1443:
1439:
1436:
1435:
1431:
1428:
1427:
1423:
1420:
1419:
1415:
1414:
1412:
1408:
1404:
1399:
1395:
1388:
1383:
1381:
1376:
1374:
1369:
1368:
1365:
1359:
1355:
1353:
1349:
1346:
1342:
1339:
1338:
1327:
1325:
1320:
1316:
1312:
1311:
1306:
1302:
1298:
1297:
1292:
1288:
1284:
1283:
1278:
1273:
1258:
1254:
1250:
1245:
1241:
1239:0-226-47010-5
1235:
1231:
1230:
1225:
1221:
1217:
1211:
1205:
1201:
1197:
1193:
1192:
1189:Liner Notes:
1185:
1181:
1180:
1175:
1171:
1167:
1165:0-252-06557-3
1161:
1157:
1156:
1150:
1146:
1144:0-8153-2357-3
1140:
1136:
1135:
1129:
1118:
1117:
1112:
1110:
1103:
1088:
1084:
1083:
1078:
1076:
1069:
1061:
1055:
1048:
1033:
1029:
1028:
1023:
1021:
1014:
1010:
1006:
1002:
999:
995:
994:
981:
980:Camner (1996)
976:
969:
964:
957:
952:
945:
940:
933:
928:
922:
921:Burden (2008)
918:
912:
905:
901:
895:
888:
884:
878:
872:, p. 282
871:
867:
862:
855:
854:
847:
840:
835:
828:
823:
821:
813:
808:
801:
800:Holman (1995)
796:
794:
786:
781:
779:
771:
766:
760:, p. 22.
759:
754:
748:
742:
736:
732:
728:
727:
720:
714:
709:
707:
702:
691:
687:
683:
679:
675:
672:
671:
670:
668:
664:
663:Covent Garden
660:
656:
648:
644:
640:
639:Ian Partridge
636:
632:
628:
625:
624:
623:
621:
617:
604:
600:
596:
592:
591:Raynor Taylor
588:
584:
581:
577:
573:
569:
565:
564:muted violins
561:
557:
553:
552:Marilyn Horne
549:
546:
540:
536:
532:
531:
526:
522:
519:
518:Beverly Sills
515:
510:
506:
505:
501:
497:
488:
484:
480:
476:
472:
466:
464:
459:
458:
448:
445:
442:
439:
438:
434:
431:
428:
427:
424:
421:
418:
415:
414:
411:
408:
406:
403:
400:
397:
396:
393:
390:
388:
385:
382:
381:
377:
375:
372:
369:
366:
362:
359:
358:
354:
352:
349:
346:
345:
337:
335:
331:
330:mezzo-soprano
327:
323:
319:
318:counter-tenor
315:
311:
310:
305:
301:
297:
290:
286:
277:
275:
271:
267:
263:
258:
256:
251:
247:
243:
239:
235:
231:
227:
223:
222:New York City
219:
215:
209:
202:
198:
193:
189:
187:
186:
181:
177:
167:
165:
161:
157:
153:
149:
145:
144:
139:
138:
134:
130:
126:
122:
118:
117:
105:
91:
87:
84:
83:
79:Metastasio's
78:
74:
71:probably Arne
70:
66:
61:
60:
56:
51:
46:
43:
39:
35:
30:
27:
23:
19:
1472:
1464:
1456:
1449:
1448:
1440:
1432:
1424:
1416:
1351:
1343:'s original
1323:
1309:
1295:
1280:
1261:. Retrieved
1259:(3): 236–252
1256:
1252:
1228:
1209:
1190:
1178:
1154:
1133:
1120:. Retrieved
1114:
1108:
1091:. Retrieved
1089:(1–2): 74–79
1086:
1080:
1074:
1064:(in Italian)
1053:
1036:. Retrieved
1032:the original
1025:
1019:
1008:
975:
963:
951:
939:
927:
916:
911:
903:
894:
886:
882:
877:
861:
852:
846:
834:
807:
765:
753:
741:
724:
719:
690:Linn Records
673:
667:Linn Records
654:
652:
630:
626:
613:
598:
594:
579:
572:Philip Hayes
559:
543:
534:
528:
485:
481:
477:
473:
469:
460:
435:Miss Thomas
307:
295:
294:
269:
259:
255:Henry Bishop
245:
233:
226:Park Theatre
218:Philadelphia
213:
211:
206:
200:
183:
175:
173:
156:Artaxerxes I
147:
141:
135:
115:
114:
113:
80:
57:
26:
1600:Music riots
1585:Opera seria
1565:1762 operas
1485:Other works
1394:Thomas Arne
1321:Libraries,
684:(Arbaces),
680:(Mandane),
643:Roy Goodman
525:James Joyce
491:Noted arias
326:John Braham
309:en travesti
250:recitatives
232:as Semira.
143:opera seria
125:Thomas Arne
59:en travesti
42:Thomas Arne
1559:Categories
1474:The Cooper
1450:Artaxerxes
1352:Artaxerxes
1341:Metastasio
1324:Artaxerxes
1296:Artaxerxes
1210:Artaxerxes
1191:Artaxerxes
1109:Artaxerxes
1075:Artaxerxes
1054:Artaxerxes
1027:Opera News
1020:Artaxerxes
868:quoted in
745:quoted in
697:References
674:Artaxerxes
655:Artaxerxes
627:Artaxerxes
610:Recordings
595:Artaxerxes
580:Telemachus
410:John Beard
361:Artaxerxes
351:Voice type
296:Artaxerxes
270:Artaxerxes
246:Artaxerxes
234:Artaxerxes
214:Artaxerxes
201:Artaxerxes
176:Artaxerxes
148:Artaxerxes
129:Metastasio
116:Artaxerxes
97:1762-02-02
68:Librettist
32:Artaxerxes
1263:1 October
1122:1 October
1093:1 October
1038:1 October
906:for more.
568:pizzicato
465:c. 465 BC
461:Setting:
399:Artabanes
336:revival.
212:By 1790,
164:Artabanus
137:Artaserse
82:Artaserse
22:Artaserse
1524:Category
1509:" (1777)
1502:" (1769)
1495:" (1740)
1307:(1907).
1226:(1995).
1176:(1835).
455:Synopsis
432:soprano
374:castrato
324:such as
300:castrati
160:Xerxes I
133:libretto
131:'s 1729
106:, London
89:Premiere
76:Based on
1018:"Arne:
990:Sources
889:(Decca)
729:at the
657:at the
599:bravura
387:soprano
95: (
1570:Operas
1535:Portal
1477:(1772)
1469:(1771)
1461:(1762)
1453:(1762)
1445:(1760)
1437:(1754)
1429:(1740)
1426:Alfred
1421:(1738)
1410:Operas
1354:(Arne)
1236:
1162:
1141:
1058:
904:passim
576:masque
566:and a
443:tenor
365:Xerxes
322:tenors
119:is an
1549:Opera
1434:Eliza
1418:Comus
556:Decca
405:tenor
347:Role
280:Roles
121:opera
38:Opera
1265:2009
1234:ISBN
1160:ISBN
1139:ISBN
1124:2009
1095:2009
1040:2009
881:See
516:and
371:alto
558:'s
527:'s
40:by
1561::
1293:,
1257:43
1255:.
1251:.
1194:,
1113:.
1087:38
1085:.
1079:.
1024:.
819:^
792:^
777:^
705:^
669:.
661:,
622:.
616:LP
578:,
363:,
188::
166:.
146:,
1537::
1505:"
1498:"
1491:"
1386:e
1379:t
1372:v
1267:.
1242:.
1216:"
1214:'
1168:.
1147:.
1126:.
1107:"
1097:.
1066:.
1056:,
1052:"
1042:.
1022:"
982:.
841:.
829:.
814:.
802:.
787:.
629:(
582:.
99:)
24:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
