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to a royal princess. Bellerofonte proves his worthiness by slaying the monster that plagues
Ariobate's kingdom with a yearly demand for the sacrifice of a noble virgin, but Ariobate accedes to the marriage of Argene and Bellerofonte only after an unexpected turn of events in the third act: news arrives that the usurper Clearco has been overthrown and Bellerofonte may re-claim the kingdom of Corinth. In a sidelight, the virgin Briseide, slated for sacrifice to the monster, is saved from death and finds a lover to marry in the "second tier" of romantic involvements.
192:
88:, in the leading roles. The opera was only the composer's second one, and the first that permitted him the opportunity to write music for first-rate vocal artists. The production was highly successful, indeed responsible for a meteoric rise in his reputation as an operatic composer. From the time of the premiere of
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is a tragic separation of the lovers
Bellerofonte and Argene due to the hostility of Argene's father Ariobate. Bellerofonte was the son of a king of Corinth, but his birthright was usurped by one Clearco. Without a kingdom of his own, Bellerofonte is not deemed an appropriate candidate for marriage
174:
features many arias with elaborate vocal virtuosity of the type favored by
Italian audiences of the 1760s. The ones most widely admired were "Splende così talora" from Act I, scene 2; "Giusti Dei" from Act I, scene 3; "Ch’io mai capace" from Act II, scene 5; and "Palesar vorrei col pianto" from Act
361:
18th-century serious operas in Italy are typically love intrigues that resolve into happy marriages. Generally two marriages are necessary to bring all the love intrigues to a satisfactory conclusion. The lovers are often arranged in tiers based on social rank. The basic pretext of the story of
167:
by their leading dancer, Gennaro Magri. The opera was revived in Siena in spring of 1767 and Prague in carnival of 1768. A notation on a copy of the score in Paris indicates that it was revived at the San Carlo in 1769, however no librettos survive to confirm this.
116:
The subject, chosen by the management of the Teatro San Carlo, was unusual among
Mysliveček's operas. Historical settings, rather than mythological ones, were customary for serious operas in Italy of the 1760s, unless elements from the French
123:
were included to create a Franco-Italian fusion. In this case, the inclusion of choruses and programmatic musical effects mark it as moderately influenced by French operatic traditions aside from the choice of mythological subject matter.
96:
brought into production than any other composer in Europe. During the same time span, he also had more new operas staged at the Teatro San Carlo in Naples than any other composer.
135:, none of the music for which was composed by Mysliveček or used in subsequent performances of the opera. The premiere production included a ballet at the end of Act I,
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888:
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104:
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II, scene 11. These arias were copied in aria collections throughout Italy, but they were even more widely disseminated in
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in the collections of sacred institutions that substituted Latin texts for the original
Italian. In this form, arias from
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574:
560:
536:
594:
863:
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Act II, scene 14 - Accompanied recitative for
Minerva, "Calma del petto," with cavatina, "Riedano gli astri amici"
745:
657:
65:
785:
408:
Act II, scene 13 - Accompanied recitative for
Bellerofonte, "Dell'indomita belva," with aria, "Di quei sassi"
587:
429:
The world premiere (and so far only) recording of the opera was made in 1987 and released in 1991 on the
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8:
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Act III, scene 8 - Trio for Argene, Bellerofonte, and
Ariobate, "Barbare stelle ingrate"
610:
119:
45:
25:
277:
81:
163:
was sung in honor of King
Ferdinand I (also composed by Mysliveček). The ballets were
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As in many 18th-century productions at the Teatro San Carlo, the first performance of
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61:
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Act I, scene 11 - Duet for Argene and
Bellerofonte, "Vanne pur, ma dimmi pria"
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Act II, scene 5 - Accompanied recitative for Argene, "Sarete alfin contenti"
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261:
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Act III, scene 5 - Aria of Diomeded, "Qual ristretto in picciol letto"
209:
191:
148:
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There were at least three earlier operas of the same name composed by
437:(Ariobate), Raul Giménez (Atamante); Celina Lindsley (Bellerofonte),
430:
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Act II, scene 4 - Aria of Bellerofonte, "Parto, ma in quest'istante"
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continued to circulate in central Europe well into the 19th century.
152:
579:
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Act III, scene 3 - Aria of Briseide, "Torbido, e nero il da a noi"
234:
156:
53:
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Act II, scene 12 - Aria of Briseide, "Se ognor fra cento affanni"
331:
244:
231:
225:
176:
160:
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until his death in 1781, Mysliveček succeeded in having more new
445:(Diomede); Czech Philharmonic Chorus; Prague Chamber Orchestra;
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475:
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Act II, scene 11 - Aria of Argene, "Palesar vorrei col pianto"
132:
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555:(Sterling Heights, Mich.: Harmonie Park Press, 2009), 156–58.
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Act I, scene 3 - Aria of Argene, "Giusti Dei, che ben vedete"
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Act III, scene 2 - Aria of Atamante, "Nuove procelli ancora"
377:
Act I, scene 2 - Aria of Bellerofonte, "Splende così talora"
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250:
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37:
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Act I, scene 9 - Aria of Ariobate, "Di che pupille amabili"
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Act I, scene 8 - Aria of Diomede, "Prometti ognor la calma"
304:
112:
printed for its revival in Siena during the spring of 1767.
394:
Act II, scene 2 - Aria of Diomede, "Come potrai, tiranno"
159:). The opera was also preceded by a festive dance while a
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Act II, scene 1 - Aria of Atamante, "Già cinto sembrami"
381:
Act I, scene 4 - Aria of Ariobate, "La frode se adempio"
412:
Act II, scene 14 - Chorus, "Fra le procelle, e i nembi"
402:
Act II, scene 10 - Aria of Ariobate, "Pria ch'io perda"
494:, 1750). The latter was also to a libretto by Bonecchi.
525:
Ackerman, James A., Introduction to Josef Mysliveček,
99:
400:
Act II, scene 5 - Aria of Argene, "Ch'io mai capace"
80:. The cast featured two stellar singers of the time,
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Act I, scene 7 - Aria of Briseide, "Non è la morte"
214:
Premiere, 20 January 1767, Teatro San Carlo, Naples
52:) that was typically set in the distant past. The
850:
76:on 20 January 1767, the birthday of his father,
145:Pantomimo tra Pulcinella, Arlecchino e Coviello
884:Opera world premieres at the Teatro San Carlo
595:
349:Courtiers, nobles, soldiers, guards, servants
375:Act I, scene 1 - Chorus, "Rendi alle selve"
543:Cronache del Teatro di S. Carlo (1737–1960)
602:
588:
545:Vol. 1, Edizioni Politica Popolare, 1961.
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103:
20:
851:
583:
609:
541:de Filippis, Felice and Arnese, R.,
66:King Ferdinand I of the Two Sicilies
879:Operas based on classical mythology
503:de Filippis and Arnese (1961) p. 37
370:
100:Composition and performance history
48:. It conforms to the serious type (
13:
433:label, with Gladys Mayo (Argene);
14:
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143:), and one at the end of Act II,
108:The title page of a libretto for
889:Ferdinand I of the Two Sicilies
68:and was first performed at the
56:, based on the Greek legend of
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497:
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1:
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553:Josef Mysliveček, "Il Boemo"
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64:. The work was dedicated to
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567:The New Penguin Opera Guide
528:Isacco figura del redentore
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36:is an 18th-century Italian
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905:
859:Operas by Josef Mysliveček
300:in the service of the King
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617:
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78:King Charles III of Spain
16:Opera by Josef Mysliveček
199:from the Siena libretto.
186:
864:Italian-language operas
531:, A–R Editions, 2000.
200:
113:
28:
512:Holden (2001) p. 628.
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107:
40:in three acts by the
24:
650:Il trionfo di Clelia
480:Domènech Terradellas
326:Francesca Gabrielli
239:Ferdinando Mazzanti
722:La clemenza di Tito
147:(Pantomime between
278:Caterina Gabrielli
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131:included separate
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82:Caterina Gabrielli
29:
846:
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706:Romolo ed Ersilia
690:Il gran Tamerlano
549:Freeman, Daniel E
472:Francesco Sacrati
354:
353:
343:Giuseppe Benigni
340:soprano/castrato
336:goddess of wisdom
293:Giuseppe Coppola
62:Giuseppe Bonecchi
60:, was written by
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762:Adriano in Siria
611:Josef Mysliveček
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597:
590:
581:
580:
565:Holden, Amanda,
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492:Saint Petersburg
468:
435:Douglas Ahlstedt
371:Vocal set pieces
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120:tragédie lyrique
70:Teatro San Carlo
46:Josef Mysliveček
26:Josef Mysliveček
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634:Il Bellerofonte
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569:Penguin, 2001.
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310:Angelo Monanni
197:Il Bellerofonte
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181:Il Bellerofonte
172:Il Bellerofonte
129:Il Bellerofonte
110:Il Bellerofonte
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33:Il Bellerofonte
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449:(conductor).
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322:mezzo-soprano
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447:Zoltán Peskó
441:(Briseide);
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360:
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317:his mistress
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270:his daughter
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223:
220:Bellerofonte
196:
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144:
136:
128:
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93:
90:Bellerofonte
89:
32:
31:
30:
18:
874:1767 operas
786:L'Olimpiade
778:La Calliroe
262:Anton Raaff
139:(A Turkish
94:opere serie
86:Anton Raaff
58:Bellerophon
50:opera seria
853:Categories
746:Demofoonte
674:La Nitteti
666:Ipermestra
658:Demofoonte
626:Semiramide
453:References
315:Briseide,
286:a courtier
284:Atamante,
224:Prince of
210:Voice type
149:Pulcinella
738:Artaserse
478:, 1642),
431:Supraphon
425:Recording
307:castrato
298:Diomede,
153:Harlequin
44:composer
826:Antigono
802:Demetrio
794:La Circe
714:Antigona
698:Demetrio
682:Motezuma
357:Synopsis
274:soprano
268:Argene,
249:King of
245:Ariobate
235:castrato
157:Coviello
54:libretto
818:Medonte
642:Farnace
520:Sources
332:Minerva
232:soprano
226:Corinth
177:Bohemia
161:cantata
133:ballets
869:Operas
840:Operas
838:List:
829:(1780)
821:(1780)
813:(1780)
810:Armida
805:(1779)
797:(1779)
789:(1778)
781:(1778)
773:(1777)
765:(1776)
757:(1775)
749:(1775)
741:(1774)
733:(1774)
725:(1774)
717:(1774)
709:(1773)
701:(1773)
693:(1772)
685:(1771)
677:(1770)
669:(1769)
661:(1769)
653:(1768)
645:(1767)
637:(1767)
629:(1766)
618:Operas
573:
559:
535:
484:London
476:Venice
290:tenor
74:Naples
730:Atide
458:Notes
257:tenor
251:Lycia
206:Role
187:Roles
141:Pasha
42:Czech
38:opera
770:Ezio
754:Ezio
571:ISBN
557:ISBN
533:ISBN
305:alto
155:and
84:and
551:.,
72:in
855::
334:,
247:,
222:,
151:,
603:e
596:t
589:v
490:(
482:(
474:(
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