20:
58:. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste. The cuts and changes in the text made for the 1777 performance of Mysliveček's opera are not attributable. All of Mysliveček's operas are of the serious type in Italian language referred to as
105:
to engage him for a series of operas in Naples in 1778–79. Mysliveček's intervention enabled
Marchesi to establish himself permanently as one of the leading singers in Italy. Except for Marchesi's singing, the opera was not considered to have been particularly successful, and it was overshadowed by
82:. By the end of 1776, he had temporarily recovered enough to travel to Munich. In the autumn of 1777, he underwent an operation for facial disfigurement associated with his disease that resulted in his nose being burned off. Earlier research assumed that the Munich
101:, who had earlier appeared only in minor roles, but was given one of the leading roles in this production. His singing was considered superb by the court of Munich, and Mysliveček used his influence with the management of the
327:(Sterling Heights, Mich.: Harmonie Park Press, 2009). More detailed information is found in German in Karl Böhmer, W. A. Mozarts "Idomeneo" und die Tradition der Karnevalsopern in München (Tutzing, 1999), pp. 84-87.
50:
that was first performed in 1728, one of the most popular of the
Metastasian librettos in Mysliveček's day. The story is based on incidents from the lives of the 5th-century Roman emperor
111:
880:
355:
624:
91:
78:
on 10 January 1777. The composer was to have come to Munich a year earlier, but he was detained in Italy due to the effects of
860:
845:
705:
593:
850:
403:
673:
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348:
855:
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94:, insisted on completely new music, which Mysliveček did provide. The cast included the great
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daughter of
Massimo, a Roman patrician, in love with Ezio and betrothed to him
834:
206:
Roman patrician, father of Fulvia, confidant and secret enemy of
Valentiniano
115:, which was performed in the same theater only a few weeks after the run of
531:
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737:
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274:
Act III, scene 2 - Aria of
Valentiniano, "Con le procelle in seno"
150:
107:
95:
79:
43:
147:
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in 1775, however it has come to light recently that the court of
315:
Documentation concerning the Munich performance of
Mysliveček's
278:
Act III, scene 10 - Aria of
Massimo, "Tergi l'ingiuste lagrime"
240:
Act I, scene 2 - Aria of
Valentiniano, "Se tu la reggi al volo"
280:
Act III, scene 11 - Aria of Fulvia, "Ah, non son io che parlo"
265:
Act II, scene 8 - Aria of Varo, "Nasce al bosco in rozza cuna"
87:
75:
267:
Act II, scene 10 - Aria of Onoria, "Finché per te mi palpita"
246:
Act I, scene 5 - Aria of
Massimo, "Il nocchier che si figura"
224:
35:
272:
Act III, scene 1 - Aria of Onoria, "Peni tu per un'ingrata"
254:
Act I, scene 12 - Aria of Fulvia, "Finche un zeffiro soave"
244:
Act I, scene 4 - Aria of Fulvia, "Caro padre, a me non dei"
284:
Act III, scene 14 - Chorus, "Della vita ne' dubbio camino"
259:
Act II, scene 4 - Aria of
Massimo, "Va, dal furor portata"
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Act II, scene 3 - Aria of Valentiniano, "Vi fida lo sposo"
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Act I, scene 7 - Aria of Onoria, "Quanto mai felici siete"
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Act I, scene 3 - Aria of Ezio, "Pensa a serbarmi, o cara"
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Act II, scene 7 - Aria of Fulvia, "Quel fingere affetto"
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Act I, scene 9 - Aria of Valentiniano, "So chi t'accese"
282:
Act III, scene 13- Coro "Della vita nel dubbio cammino"
261:
Act II, scene 6 - Aria of Ezio, "Recagli quell'acciaro"
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Act III, scene 5 - Rondò of Ezio, "Mi dona, mi rende"
269:
Act II, scene 13 - Quartetto "Ecco alle mie catene"
176:
general of the imperial armies, in love with Fulvia
136:Premiere cast, 10 January 1777, Hoftheater, Munich
86:was merely a revival of the composer's setting for
192:sister of Valentiniano, secretly in love with Ezio
632:
832:
220:prefect of the Praetorian guard, friend of Ezio
252:Act I, scene 11 - Aria of Ezio, "Guarda pria"
618:
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42:. It was the composer's second setting of a
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106:the overwhelming success of Mysliveček's
92:Maximilian III Joseph, Elector of Bavaria
18:
833:
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881:Cultural depictions of Flavius Aetius
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70:The opera was first performed at the
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143:emperor of Rome, in love with Fulvia
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13:
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892:
34:is an eighteenth-century Italian
674:L'impresario delle Isole Canarie
38:in 3 acts by the Czech composer
16:Opera by Josef Mysliveček (1777)
309:
1:
302:
846:Works set in the 5th century
325:Josef Mysliveček, "Il Boemo"
112:Isacco, figura del redentore
7:
851:Fiction set in ancient Rome
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229:uncertain ("Il Sig. N.N.")
10:
897:
861:Operas by Josef Mysliveček
714:La passione di Gesù Cristo
644:
590:
371:
122:
856:Italian-language operas
213:Domenico de Panzacchi
26:
706:Alessandro nell’Indie
658:Siface, re di Numidia
22:
818:Il trionfo di Clelia
404:Il trionfo di Clelia
319:of 1777 is found in
46:by the Italian poet
770:La clemenza di Tito
476:La clemenza di Tito
66:Performance history
682:Siroe re di Persia
666:Didone abbandonata
141:Valentiniano III,
27:
828:
827:
794:Ciro riconosciuto
778:Gioas re di Giuda
650:Gli orti esperidi
638:Pietro Metastasio
600:
599:
460:Romolo ed Ersilia
444:Il gran Tamerlano
321:Daniel E. Freeman
233:
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180:soprano castrato
888:
786:Achille in Sciro
762:Betulia liberata
746:Adriano in Siria
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516:Adriano in Siria
365:Josef Mysliveček
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328:
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236:Vocal set pieces
199:Rosa Manservisi
169:Angela Gallieni
155:Tommaso Consoli
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103:Teatro San Carlo
54:and his general
40:Josef Mysliveček
24:Josef Mysliveček
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52:Valentinian III
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99:Luigi Marchesi
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866:Opera seria
841:1777 operas
754:L'Olimpiade
540:L'Olimpiade
532:La Calliroe
133:Voice type
60:opera seria
835:Categories
802:Ipermestra
500:Demofoonte
428:La Nitteti
420:Ipermestra
412:Demofoonte
380:Semiramide
303:References
72:Hoftheater
48:Metastasio
738:Demofonte
722:Artaserse
492:Artaserse
204:Massimo,
730:Demetrio
634:Libretti
580:Antigono
556:Demetrio
548:La Circe
468:Antigona
452:Demetrio
436:Motezuma
288:See also
196:soprano
190:Onoria,
166:soprano
160:Fulvia,
151:castrato
108:oratorio
96:castrato
80:syphilis
44:libretto
572:Medonte
396:Farnace
148:soprano
119:ended.
871:Operas
821:(1762)
813:(1751)
805:(1744)
797:(1736)
789:(1736)
781:(1735)
773:(1734)
765:(1734)
757:(1733)
749:(1732)
741:(1731)
733:(1731)
725:(1730)
717:(1730)
709:(1729)
701:(1728)
693:(1728)
685:(1726)
677:(1724)
669:(1724)
661:(1723)
653:(1721)
594:Operas
592:List:
583:(1780)
575:(1780)
567:(1780)
564:Armida
559:(1779)
551:(1779)
543:(1778)
535:(1778)
527:(1777)
519:(1776)
511:(1775)
503:(1775)
495:(1774)
487:(1774)
479:(1774)
471:(1774)
463:(1773)
455:(1773)
447:(1772)
439:(1771)
431:(1770)
423:(1769)
415:(1769)
407:(1768)
399:(1767)
391:(1767)
383:(1766)
372:Operas
218:Varo,
210:tenor
174:Ezio,
88:Naples
76:Munich
56:Aetius
484:Atide
225:tenor
130:Role
123:Roles
36:opera
698:Ezio
524:Ezio
508:Ezio
317:Ezio
295:Ezio
117:Ezio
84:Ezio
31:Ezio
636:by
74:in
837::
323:,
62:.
626:e
619:t
612:v
357:e
350:t
343:v
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