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93:
27:
461:(1750), in addition to her composing work. Her own compositional style shows a strong affinity for that of Hasse, especially his conception of opera seria. She also performed actively as a singer and keyboard player in court performances, including leading roles in both of her operas. In addition to her two operas, a number of arias, a pastorale, intermezzos, meditations and motets are attributed to her.
534:, who is—as revealed near the end of the opera—the mother of Orontes. Ultimately, the plot ends happily, with each couple united and war averted, as the Scythians and Amazons manage to peacefully co-exist. The depiction of the benevolent, thoughtful ruler Talestris coming to be a political leader suggests the possibility that the opera is a semi-autobiographical rendering of Maria Antonia herself.
380:
and took refuge in Prague and Munich, but returned at her husband’s accession to the throne in 1763. He died ten weeks later, and their son
Frederick Augustus succeeded him. Her son being a minor, she served as joint regent with her brother-in-law
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Although her music is treated somewhat more broadly with less musical analysis, the entire treatise is used to model compositional techniques, implying a high regard for her work by
Antonio Eximeno y Pujades, and presumably other contemporaries.
405:
554:
and enjoyed warm reviews both in their premieres at the court theater, which she sang in, and also throughout other
European cities. Music critic Charles Burney praised her opera and her singing in his 1773 work,
368:
of Rome, a significant institution in operatic reform. With her marriage, she moved to
Dresden. She had nine children with Friedrich Christian, seven of whom survived infancy.
510:
Several operas took on the same principle over the next century, with Maria
Antonia crafting her own libretto and music. The plot centers on Talestris’ relationship with a
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1674:
341:. Throughout her life she received an outstanding education, particularly in the arts; including that of painting and writing poetry, as well as music.
1237:
Heinrich
Theodor Flathe: Maria Antonia von Bayern. In: Allgemeine Deutsche Biographie (ADB). Band 20, Duncker & Humblot, Leipzig 1884, S. 371–374.
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Genealogie ascendante jusqu'au quatrieme degre inclusivement de tous les Rois et
Princes de maisons souveraines de l'Europe actuellement vivans
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433:. Indeed, opera played a major part throughout Maria Antonia’s life. The court of Munich celebrated her birth with a performance of the opera
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until her son reached legal majority in 1768. During her regency, she opposed her co-regent's act to give up her son's claim to the
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Genealogy up to the fourth degree inclusive of all the Kings and
Princes of sovereign houses of Europe currently living
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518:, as in LaCalprenède’s version. In addition to the title character, two other prominent characters are women:
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441:. Her betrothal to Friedrich Christian was likewise celebrated with opera performances, including Hasse’s
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364:, while they would wed in person in Dresden on 20 June 1747. That same year she became a member of the
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Dell' origine e delle regole della musica, colla storia del suo progresso, decadenza, e rinnovazione
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559:. Also of note, the philosopher and music theorist Antonio Eximeno y Pujades included an aria from
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and beyond. The French poet
Gautier de Coste LaCalprenède revived the tale in the novel
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309:. Following the latter's death in 1763, she became the Regent of Saxony for their son
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The
Present State of Music in Germany, the Netherlands, and the United Provinces
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1170:] (in French). Bourdeaux: Frederic Guillaume Birnstiel. 1768. p. 40.
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The Present State of Music in Germany, the Netherlands and United Provinces
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While in Munich, Maria Antonia studied music with renowned opera composers
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1522:
289:(18 July 1724 – 23 April 1780) was a German princess, composer, singer,
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She was the fourth of seven children of the Elector and his wife.
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155:
567:, putting her in the company of five other selected composers:
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1188:. Grove Music Online. Ed. L. Macy. Accessed January 30, 2007.
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Talestri, regina delle Amazzoni: drama per music, de E.T.P.A.
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and patron of the arts, known particularly for her operas:
522:, her advisor who also falls in love with a Scythian man,
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Margravine Christiane Eberhardine of Brandenburg-Bayreuth
421:. After moving to Dresden she continued her studies with
550:, Maria Antonia’s operas were successfully published by
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Maria Antonia, Princess of Bavaria, Electress of Saxony
1675:
Margravine Magdalene Sibylle of Brandenburg-Bayreuth
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1723:Countess Palatine Amalie of ZweibrĂĽcken-Birkenfeld
453:. Shortly after moving to Dresden, she penned the
409:Painting of Maria Antonia by Pietro Antonio Rotari
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1738:
1538:
1498:Maria Anna Josepha, Margravine of Baden-Baden
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649:Ancestors of Duchess Maria Antonia of Bavaria
1456:Violante Beatrice, Grand Princess of Tuscany
1186:Maria Antonia Walpurgis, Electress of Saxony
852:Marie Casimire Louise de la Grange d'Arquien
301:(“Talestri, queen of the Amazons”). She was
1867:Children of Charles VII, Holy Roman Emperor
1691:Princess Eleonore Erdmuthe of Saxe-Eisenach
1545:
1531:
1338:
1324:
1036:John Frederick, Duke of Brunswick-LĂĽneburg
91:
1552:
1210:Maria Antonia Walpurgis: Baroque Composer
700:Maximilian II Emanuel, Elector of Bavaria
636:. CD, Berlin: Folkert Uhde, 1999 and 2003
565:Dell’ origine e delle regole della musica
71:Learn how and when to remove this message
404:
356:took place in Munich on 13 June 1747 to
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34:This article includes a list of general
1777:18th-century German women opera singers
1451:Maria Anna Victoria, Dauphine of France
1419:Magdalene, Countess Palatine of Neuburg
1220:. (Liner notes of CD, see discography).
226:Maximilian, Hereditary Prince of Saxony
194: 1747; died 1763)
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1707:Archduchess Maria Josepha of Austria
1667:Duchess Magdalene Sibylle of Prussia
1382:Mechthild, Margravine of Baden-Baden
613:: opera, libretto by Maria Antonia (
603:: opera, libretto by Maria Antonia (
221:Maria Amalia, Duchess of ZweibrĂĽcken
211:Frederick Augustus I, King of Saxony
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974:Eleonore-Magdalena of Pfalz-Neuburg
674:Ferdinand Maria, Elector of Bavaria
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1488:Maria Antonia, Electress of Saxony
1414:Maria Anna, Archduchess of Austria
1398:Maria Anna, Archduchess of Austria
1297:5 October 1763 – 17 December 1763
1227:Leipzig: G. G. I. Breitkopf, 1765.
548:Ermelinda Talea Pastorella Arcadia
323:Maria Antoina Walpurgis Symphorosa
244:Maria Antonia Walpurgis Symphorosa
40:it lacks sufficient corresponding
14:
1888:
1503:Maria Josepha, Holy Roman Empress
117:5 October 1763 – 17 December 1763
1847:German women classical composers
1767:18th-century classical composers
1715:Duchess Maria Antonia of Bavaria
1308:Amalie of ZweibrĂĽcken-Birkenfeld
401:Musical training and composition
297:(“The triumph of fidelity”) and
25:
1683:Princess Anna Sophie of Denmark
1595:Catherine of Brunswick-LĂĽneburg
1218:Talestri, Regina delle Amazzoni
758:Charles VII, Holy Roman Emperor
479:appears in numerous works from
459:La conversione di Sant’Agostino
269:Charles VII, Holy Roman Emperor
191:
1817:Electoral Princesses of Saxony
1361:Sabina, Duchess of WĂĽrttemberg
1154:
1094:Benedicta-Henrietta of Simmern
1062:Wilhelmina Amalia of Brunswick
628:Talestri, regina delle amazoni
621:
611:Talestri, regina delle amazoni
311:Frederick Augustus I of Saxony
299:Talestri, regina delle amazoni
1:
1782:18th-century German composers
1643:Agnes Hedwig of Anhalt-Dessau
1347:Duchesses of Bavaria by birth
1142:
916:Leopold I, Holy Roman Emperor
1822:Burials at Dresden Cathedral
1787:18th-century women composers
1213:. Accessed January 30, 2007.
1147:
942:Joseph I, Holy Roman Emperor
820:Therese Kunigunde of Bavaria
415:Giovanni Battista Ferrandini
389:in 1765. She also founded a
376:She left Dresden during the
7:
1611:Elisabeth of Bavaria-Munich
1366:Susanna, Electress Palatine
1293:Electress consort of Saxony
1230:Antonio Eximeno y Pujades:
732:Henriette Adelaide of Savoy
640:
542:Though published using the
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347:
108:Electress consort of Saxony
16:Electress of Saxony in 1763
10:
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1659:Princess Hedwig of Denmark
1223:Walpurgis, Maria Antonia:
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1514:also Princess of Bavaria
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1245:Maria Antonia of Bavaria
878:Maria Antonia of Bavaria
601:Il trionfo della fedeltĂ
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530:, the high priestess of
423:Giovanni Alberto Ristori
295:Il trionfo della fedeltĂ
86:Maria Antonia of Bavaria
1000:Maria Amalia of Austria
445:, sets by Bibiena, and
335:Maria Amalia of Austria
279:Maria Amalia of Austria
216:Anthony, King of Saxony
55:more precise citations.
1827:German harpsichordists
1797:German opera composers
457:for Hasse’s oratorio,
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366:Accademia dell’Arcadia
339:Karl Albert of Bavaria
1862:Daughters of emperors
1852:Women opera composers
1837:Electresses of Saxony
1832:Women harpsichordists
1651:Sophie of Brandenburg
1588:Euphemia of Oleśnica
1554:Electresses of Saxony
1216:Seiferling, Steffen:
563:in his 1774 treatise
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317:Family and background
167:Katholische Hofkirche
1807:Nobility from Munich
1802:House of Wittelsbach
1792:Duchesses of Bavaria
1757:18th-century regents
1250:House of Wittelsbach
1208:LĂłpez, Pilar Ramos:
1184:Allroggen, Gerhard:
443:La Spartana generosa
362:Electorate of Saxony
1603:Margaret of Austria
1582:Barbara of Legnica
1570:Cecilia of Carrara
1564:Elisabeth of Hesse
1194:16 May 2008 at the
546:ETPA, standing for
493:Alexander the Great
431:Johann Adolph Hasse
358:Frederick Christian
303:Electress of Saxony
99:Anton Raphael Mengs
1872:Daughters of kings
1576:Anna of Thuringia
1304:Title last held by
1282:Title next held by
617:, 6 February 1760)
538:Critical reception
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360:, the heir to the
327:Nymphenburg Palace
325:, she was born at
139:Nymphenburg Palace
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1265:23 April 1780
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1234:. Rome, 1774.
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149:23 April 1780
148:
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94:
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23:
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1583:
1577:
1571:
1565:
1513:
1487:
1472:none notable
1471:
1435:none notable
1434:
1306:
1300:
1291:
1284:
1278:
1262:
1258:18 July 1724
1255:
1248:
1231:
1224:
1217:
1209:
1201:
1185:
1167:
1162:
1156:
877:
631:
627:
610:
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589:
564:
560:
556:
547:
541:
509:
488:
470:
465:
458:
450:
442:
439:Pietro Torri
434:
412:
383:Franz Xavier
375:
365:
351:
343:
337:and Elector
322:
320:
298:
294:
286:
285:
151:(1780-04-23)
136:18 July 1724
97:Portrait by
67:
58:
39:
18:
1752:1780 deaths
1747:1724 births
1726:(1769–1806)
1710:(1733–1757)
1702:(1694–1727)
1694:(1694–1694)
1686:(1680–1691)
1678:(1656–1680)
1670:(1611–1656)
1662:(1602–1611)
1654:(1586–1591)
1638:(1553–1585)
1630:(1547–1553)
1622:(1532–1547)
1614:(1464–1486)
1606:(1431–1464)
1598:(1423–1428)
1590:(1420–1422)
1584:(1396–1419)
1578:(1388–1395)
1572:(1376–1388)
1566:(1356–1370)
622:Discography
615:Nymphenburg
485:Middle Ages
352:A marriage
259:Wittelsbach
53:introducing
1741:Categories
1143:References
569:Palestrina
501:Massagetes
477:Thalestris
132:1724-07-18
36:references
1148:Citations
581:Pergolesi
552:Breitkopf
544:pseudonym
489:Cassandre
449:’s opera
397:in 1766.
321:Baptized
61:June 2024
1192:Archived
641:Ancestry
561:Talestri
524:Learchus
512:Scythian
466:Talestri
455:libretto
354:by proxy
348:Marriage
141:, Munich
1179:Sources
605:Dresden
585:Corelli
528:Tomiris
520:Antiope
516:Orontes
497:Orontes
395:brewery
372:Regency
196:
188:
184:
156:Dresden
49:improve
1718:(1763)
1646:(1586)
1301:Vacant
1279:Vacant
1261:
583:, and
573:Nanini
526:; and
514:ruler
475:queen
473:Amazon
331:Munich
275:Mother
265:Father
174:Spouse
162:Burial
114:Tenure
101:, 1752
38:, but
1263:Died:
1256:Born:
1166:[
595:Works
577:Clari
532:Diana
447:Gluck
254:House
239:Names
203:Issue
190:(
186:
1092:15.
1034:14.
972:13.
914:12.
850:11.
792:10.
505:foil
471:The
429:and
417:and
146:Died
126:Born
1060:7.
998:3.
940:6.
876:1.
818:5.
756:2.
730:9.
698:4.
672:8.
587:.
437:by
329:in
1743::
630::
579:,
575:,
571:,
425:,
313:.
192:m.
1546:e
1539:t
1532:v
1339:e
1332:t
1325:v
134:)
130:(
74:)
68:(
63:)
59:(
45:.
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