ANNALS OF OPERA

1597- 1 94 0

COMPILED FROM THE

ORIGINAL SOURCES

BY

ALFRED LOEWENBERG

WITH AN INTRODUCTION

BY

EDW ARD J. DENT

Third edition, revised and corrected

JOHN CALDER
LONDON
1978
 P:ublished in Great Britain 1978 by
John Calder (publishers) Ltd,
18 Brewer Street, London WIR 4AS

Originally published in January 1943

SECOND EDITION, REVISED

1955

REPRINTED AS ONE VOLUME

1970

THIRD EDITION, REVISED

1978

© 1955, 1978 EDITH LOEWENBERG

ALL RIGHTS RESERVED

ISBN 0 7145 3657 1

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 To the Memory 0/
OSCAR GEORGE THEODORE SONNECK

1 873- 1 92 8
 PREFACE

T
HE bulk of the present work was finished before the war broke out. For
various reasons publication was delayed till now. In the meanwhile
the manuscript has undergone considerable alterations and additions,
and while the annals nominally elose with the year 1940, references to still more
recent revivals and publications have been ineluded when of sufficient im-
portance.
The book is intended to be a skeleton his tory of opera, in dates and other facts.
It is therefore arranged chronologically, but by means of the copious indexes
it can also be used as a dictionary of operas. There are no descriptions of plots,
no musical analyses, no personal critical comments. The facts are to speak for
themselves, and every care has been taken to verify them so that they may serve
as a safe ground on which to build areal his tory of opera, yet to be written.
The selection of some three or four thousand operas out of a total number of-
I dare not oifer a guess, was also chiefly guided by objective historical principles.
Of older operas, preferably such have been chosen as are still extant in one form
or another; of more recent works, those have been selected that have'obtained
success or attracted attention outside their countries of origin. Even so, the
number of entries could easily have been doubled; but the book had to be kept
within reasonable limits.
The term 'opera' is used here in its widest possible sense, covering both
'grand opera' (as it is sometimes called), that is, opera with recitatives, and opera
with spoken dialogue. Confining it to the former would result in omitting
works like The Magie Flute and Carmen. Moreover, there are ineluded examples
of oifshoots like the Italian intermezzo, the English ballad opera, the French
vaudeville, the German 'melodrama'; the pasticcio in its various types; border
cases like Dassoucy' s Alldromede, Weber' s Preciosa and Stravinsky' s Histoire du
Soldat; the modern operetta in different countries. Not ineluded are plays with
incidental music even by famous composers (such as Egmont or Peer Grnt), nor
oratorios, cantatas, etc., unless they were at a later date presented in operatic
form, such as Liszt's St. Elizabeth and Debussy's L'Enfant Prodigue.
It is stated on the titlepage that the book was 'compiled from the original
sources.' That is to say, I did not rely upon second or third hand information.
Whenever possible the dates and other particulars were collected from the
original scores and librettos, from play-bills, contemporary newspapers and
periodicals; next there came memoirs, letters and diaries, and the various
bibliographical works, catalogues, and theatrical chronologies. For the more
recent years, and for countries newspapers of which are not easily available,
official publications of the opera-houses, and lists provided for the purpose by
the authorities proved a great help. Here a certain inequality was unavoidable;
V1ll - PREFACE

while I received from some towns, as for instance, Zagreb or Helsinki, all the
information I required, it was in other cases impossible even to get an answer,
as for instance from Bucharest.
A few explanations of the methods employed in the arrangement of the book
may find their appropriate place here. The entries are given in the chrono-
logical order of their first performances. This implies that only such operas
are recorded as were actually produced on the (public or private) stage, a rule
which has been broken once or twice in exceptional cases (see for instance
col. 297). The year of performance is always repeated at the top of the page,
in order to simplify the task of finding a particular opera. Whenever possible,
the exact day and month of the first performance are given. Where the day
could not be established, the month or the season is indicated. Operas of which
only the year of production is known are placed in the middle of that year. Of
all the operas mentioned in these annals, John Blow' s Venus and Adonis appears
to be the only one of which even the year is uncertain; it has been tentatively
inserted under 1684 for reasons which are explained in the entry. Dates in []
brackets are approximate, in most cases taken from dedications or licences in
the librettos.
The beginning of opera almost coincides with the introduction of the
modem calendar, Gregorian style, in all Roman Catholic countries. The non-
Catholic parts of Germany followed suit in 1700, other countries even later.
All dates are given here accor4ing to one and the same system, viz. the Gre-
gorian style. In this respect a word must be said about England and Russia,
disregarding some cases of minor importance.
In England the change of calendar took place in 1752. Wednesday, 2 Sep-
tember of that year was followed by Thursday, 14 September. So the dates
given in this book of performances in England before September 1752 will be
found to differ from those quoted, for instance, by Burney, by I I days in the 18th
century, by 10 days in the 17th. I should have liked to retain the familiar
Burney dates, but in an international chronölogy they had to be sacrificed for
the sake of conformity. Boyce's The Chaplet was first produced, according to
the original play-bill, on Saturday, 2 December 1749, which was Saturday,
13 December in most of the rest ofEurope. Obviously it could not be placed
in front of Rameau' s Zoroastre (see col. 2 I I), which actually was performed eight
days before and not three days after The Chaplet.
The same applies to Russia, where the Gregorian calendar was not introduced
until 1917. All the dates of operatic performances in Russia are here given
according to Western style, which is ahead of Russian style by I I days in the
18th, 12 days in the 19th and 13 days in the 20th century. In some very few
cases, where it could not be ascertained whether a date quoted from a review
meant Russian or Western style, the figures are given in italics.
 PREFACE IX

In each entry the date is followed by the name of the composer and the tide
of the opera. Fuller details about the composers will be found in index 11.
The name is printed within round brackets when the performance of the opera
took place after the composer's death; within square brackets when he was
the compiler or arrangeur rather than the real composer (see for instance
col. 159).
The tides of the operas are given in the form in which they first appeared
on the play-bills or in the librettos, even if this form is unfamiliar (see for
instance col. 448). It is also given in the originallanguage, that is, the language
in which the opera was first performed. It was thought unnecessary to translate
Italian, French and German tides. To all other non-English tides a translation
has been added unless the tide is a proper name. Russian tides appear in the
original characters, in an English transliteration, and in translation. In trans-
literating Russian names and tides the rules of the British Museum Catalogue
have been followed with some slight deviations.
Next comes the name oft he town in which the opera was first performed,
with the name of the theatre if the town was an important operatic centre (see
list of abbreviations, p. xv). Some towns had different names at different
periods, and sometimes both names had to be used. Obviously performances
in 18th century Russia cannot be stated to have taken place at Leningrad.
The notes appended to the heading begin in each case with the name of the
author or librettist, and the literary source, if any, from which the libretto was
derived. No effort has been spared to bring some light into this unexplored
province of literature, and the authorship of not a few librettos is established
here for the first time. Even more obscure is the bibliography of translations
and adaptations, and this is the first attempt to collect systematically the widely
scattered material. In general the results were rather surprising,· although I
conflled myself to what may be called independent translations, that is, such
as were used for performances in a foreign language or were issued as distinct
publications. Only in exceptional cases have I mentioned translations which
were printed opposite the original text (for use by the audience in the theatre)
when the opera was produced in the originallanguage in a foreign country.
Concerning later revivals, the principles I followed were roughly these: the
older operas, of the 17th and the greater part of the 18th century, are recorded
as fully as possible. In the 19th century this proved to be tiresome and un-
instructive. The operas of Donizetti, Bellini and Verdi were performed in
hundreds of Italian towns every year throughout the century and there would
have been no point in enumerating all those productions. In some cases, such
as Freischütz, Tristan, Otello full records are given up to a certain date. Generally
only the first performances in other countries are indicated. By' countries' I
mean cultural rather than political units; islands, for instance, are treated as
separate countries, and bi-cultural and bilingual towns like Nice, Trieste,
x PREFACE

Strasbourg, Prague havereceived special attention. It goes without saying

that the Euröpean boundaries referred to in remarks such as 'for the first time
in Czechoslovakia' are those which were in force before the second world
war.
Thus the notes, which range from a few lines to several pages, will be found
to contain much information about the later history of a particular opera. It
was manifestly impracticable to give the authority for every single date of
the many thousands assembled here. Originally it was intended to add a
complete bibliography of the books and other sources consulted. This plan
had to be abandoned. Many of the more important sources, however, are
quoted in the text.
There remains to me the pleasant duty of gratefully acknowledging the
valuable help I received from many quarters. In the first place my thanks are
due to Mr. Richard Capell who, in the Daily Telegraph of 15 October 1938,
took the unusual course of reviewing the manuscript of the present book.
I have to thank Mr. Otto Haas, London, for his constaut advice and interest,
and for putting at my disposal his rich stock of music and books on music. I am
very much indebted to the authorities and the staff of the British Museum,
especially to Mr. William C. Smith and to Mr. Ceci1B. Oldman; to Mr. Rupert
Erlebach, librarian of the Royal College of Music; to the librarians of the
Bibliotheque de l' Arsenal and of the Bibliotheque Musicale de l'Opera, Paris,
of the Bibliotheque du Conservatoire, Brussels, and of the Gemeente Museum
(Scheurleer colleciion), The Hague. For giving me access to books and other
sources not elsewhere available I have to thank Mr. Paul Hirsch, Cambridge,
and Mr. Michael D. Calvocoressi, London. I am very much obliged to Pro-
fessor Otto Erich Deutsch, Cambridge, for letting me use his manuscript
Repertory of the Imperial Theatres of Vienna, and for many valuable suggestions.
Furthermore, I wish to convey my thanks to many correspondents for infor-
mation concerning' operatic history in their respective countries. To the
directors and librarians of the opera-houses at Antwerp (Korrinklijke Vlaamsche
Opera); Copenhagen; Geneva (M. Bretton) ; Kaunas; Ljubljana (Dir. Vilko
Ukmar); Paris (Theatre National de l' Opera-Comique, M. L. Gallierri); Prague
(Narodni Divadlo); Riga (Dir.J. Poruks); Sofia (Dir. V. Vassileff); Stockholm;
and Zagreb. To M. Ludvik Bohacek, Prague; Dr. PeterGradenwitz, Tel-Aviv;
Mr. Herbert Graf, formerly ofBerlin; Dr. Hemendra Nath Das Gupta, Girish
Ghosh Lecturer, Calcutta University; Mr. Julius Mattfeld of the Library
Division, Columbia Broadcasting System, New York; M. R. Aloys Mooser,
editor of Dissonances, Geneva; Mme Jolantha von Pukanszky-Kadar, Budapest;
and Mr. Wäinö Sola of the Suomalainen Oopera, Helsinki.
Finally, I want to express my gratitude to Professor Edward J. Dent,
Cambridge, not only for honouring this book with his introduction, but also for
his help in going through the proofs; to my publishers, Messrs. W. Heffer &
 PREFACE Xl

Sons, Ltd., Cambridge, for theirenterprising spirit and splendid efficiency;

last not least to my wife, Edith Loewenberg, for her never-failing help and
, encouragement throughout the many years it took to prepare the book.
ALFRED LOEWENBERG
London,
October I942 (revised August I954)

The late Alfred Loewenberg left an interleaved and heavily annotated copy
of his Annals; this has served as the basis of the present revised edition. Some
alterations and fairly numerous corrections have been made, and many new
dates and other facts added from the author' s notes. Further corrections from
other sources have been accepted and incorporated, but essentially the Annals
remain Loewenberg' s work, presented here as far as possible in his own
revision. No attempt has been made to carry the records beyond I940.
Thanks are due to Mr. Theodore Besterman, whose initiative mad~ possible
the publication of the second edition, to Mr. Frank Walker, wllo generously
undertook the laborious task of revising and editing the manuscript of the
secolld edition (1955), and to Mr. Harold Rosenthai, for revisillg alld
for the additional material he furnished for the present edition.
 CONTENTS
PREFACE PAGE Vll

ABBREVIA TIONS xv
INTRODUCTION, BY EDWARD J. DENT XVll

ANNALS, 1597-1940 COLUMN I-1440

INDEX OF OPERAS 1441-15I4
INDEX OF COMPOSERS I515-I620
INDEX OF LmRETTISTS - I621-I680
GENERAL INDEX I68I-1756
 ABBREVIATIONS
Besides the names of the theatres (see list below) very few abbreviations have been used, and most
of them need no explanation (names of the months, etc.). .
A.M.Z.: Allgemeine Musikalische Zeitung. I.S.C.M.: International Society for Contemporary
Cam.: Carrtival season (usually beginning De-- Music.
cember 26 of the preceding year and n.d.: no date (undated publication).
lasting until February or March). R.M.I.:. Rivista Musicale ltaliana.
I.M.S.: International Musical Society. S.I.M.: Societe Internationale de Musique.

PRINCIPAL THEATRES
(T. and Th. are used for Theatre and its equivalents, Pal. for palazzo. Where no tbeatre is
mentioned, the principal theatre of the town is meant.)
Barcelona, L. Liceo Paris, B.P. Bouffes-Parisiens.
Berlin, D.O. Deutsches Opernhaus. C.I. ComCdie--ltalienne.
Fr.W. Friedrich-Wilhelmstädtisches Ch.E. (Theatre des) Champs-Elys<!es.
(Theater). F.Dr. Folies-Dramatiques.
Kgst. Königsstädtisches (Theater). F.P. Fantaisies-Parisiennes.
Kurf.O. KurfUrsten-Oper. Fa. Theatre Fa.vart.
O. (Königliches) Opernhaus (later Fey. Theatre Feydeau.
Staatsoper). G.L. Gaite-Lyrique.
Sch. Schauspielhaus. O. Opera (Acadentie Royale de
Th.d.W. Theater des Westens. Musique, etc.).
Th.U.d.L. Theater Unter den Linden. O.C. Opera-Contique.
V.O. Volks-Oper. O.N.L. Opera National Lyrique.
Vict.Th. Victoria-Theater. Ren. (Theatre de la) Renaissance.
St.G. (Theatre de la Foire) Saint-Ger-
Bologna, T.C. Teatro Comunale. main.
Brusse1s, F.P. Fantaisies-Parisiennes. St.L. (Theatre de la Foire) Saint-Lau-
M. (Theatre de la) Monnaie. rent.
Florence, P. (Teatro della )Pergola. Th.deM. Theatre de Monsieur.
T.C. Teatro Comunale. Th.I. Theatre--ltalien.
Th.L. Theatre--Lyrique.
Genoa, C.F. (Teatro) Carlo Felice.
Th.S.B. Theatre Sarah Bemhardt.
S.Ag. Sant' Agostino. Tr.L. Trianon-Lyrique.
Lisbon, S.C. San Carlos. Prague, Cz. Czech Theatre.
London. C.G. Covent Garden. G. German Theatre.
D.L. Drury Lane. Rome,Ap. (Teatro) Apollo.
Hm. Haymarket.
H.M.'s. His (or Her) Majesty's. A):g. (Teatro) Argentina.
L.O.H. London Opera House. C. (Teatro) Costanzi.
Ly. Lyceum (English Opera House) Capr. (Teatro) Capranica.
O.c. Opera Contique. T.R Teatro. Reale.
RA.M. Royal Academy of Music. Tord. (Teatro) Tordinona.
R.C.M. Royal College of Music. Turin, T.d.T. Teatro di Torino.
RE.O. Royal English Opera (House). T.R. Teatro Regio.
S.'s Wells. Sadler's WeHs. T.V.E. Teatro Vittorio Emanuele.
St.J.'s St. James's. Venice, F. (Teatro La) Fenice.
(Where no theatre is mentioned, the King's S.Ben. San Benedetto.
Theatre, Haymarket, is meant.) S.Cass. San Cassiano.
Madrid, T.L. Teatro Lirico. S.G.Gr. San Giovanni Grisostomo.
T.R. Teatro Reale. SS.G.e.P. Santi Giovanni e Paolo.
Z. (Teatro de la) Zarzuela. S.Sal. San Salvatore.
S.Sam. San Samuele.
Milan, Can. (Teatro della) Canobbiana.
Sc (Teatro alla) Scala Vienna, B. Burgtheater.
T.d.V. Teatro dal Verme: Ca. Carl-Theater.
T.L. Teatro Lirico (Intemazionale). Jos. (Theater in der) Josefstadt.
T.RD. Teatro Regio Ducal Kä. Kämtnertor-Theater.
Leop. (Theater in der) Leopoldstadt.
Naples, Fior. (Teatro dei) Fiorentini. O. Opernhaus (Hofoper, later Staats-
S.B. San Bartolomeo. oper).
S.C. San Carlo. V.O. Volks-Oper.
T.N. Teatro Nuovo. W. (Theater auf der) Wieden (later
New Y ork, M. Metropolitan (Opera House). Theater an der Wien).
* Opera titles marked thus indicate an entry with addition~ information in the supplementary
volume being prepared by HaroM Rosenthal, which will cover the period 1940-1978.
 INTRODUCTION
The fIrst attempt at a Dictionary of Opcras was made by Leone Allacci, a
learned Greek from thc island of Chios, who became Librarian of the Vatican
Library and published his Drammatu~~ia, a catalogue of all operas performed up
to that date, in 1666. Since tbcn a number of catalogues, dictionaries and
histories of Opera luve bcen published in various languages, but the present
monumental work of Dr. Alfred Loewenbcrg is the first, as far as I kuow, to
arrange the material year by year in chronologieal, rather than alphabetical
order. It starts with the first of all operas, La Dafne, composcd by Jacopo Peri
aud produccd at Florence in 1597, and ends with those produced in 1940. The
compiler makes no pretence of naming every single opera that has ever been
produced anywhere during these three and a half centuries; to do so would have
doubled or treblcd .the size of his volume. How many operas have been put
on the stage, especially during the 19th century, for one performance only,
never to be repeated or remembered, it is impossible to compute. In the
volume before us we shall find the names of many quite unfamiliar works, and
some of those were failures from their birth. Yet even these deserved recording
for so me reason or other; and it may be said that every work named in these
pages has been contributory, in however slight a way, to the general history of
the musical drama.
For every opera named we are giveu the names of librettist and composer,
as weIl as the name of the theatre and the town in which the first production
took place; but besidcs these bare facts we are often supplied with a vast quan-
tity of subsidiary information, espeeially as regards the souree of the plot,
subsequent revivals in other eities and translations into various languages.
Areader who is already interested in operatie history and aequainted at least
with the general outline of it will derive from browsing at random on these .
pages all sorts of new lights on the subjeet. The most obvious thing to be
learned from this book is the course of the main stream ofopera, beginning with
what we might call "aeademie" opera in Florence, produeed before a sma11
audience of exeessively eultivated people. And beeause the only people of that
period who were in a position to become exeessively eultivated were prinees
and cardinals and the eourtiers attendant on them, opera struck root as an
eminently aristocratic and eourtly entertainment, beeoming gradually more
and more sumptuous and speetacular as the 17th century progressed. In spite
of simultaneous eurrents in different direetions, what we might eall" dyna~tic"
opera survived indeed right up to the end of the 18th eentury, even after the
French Revolution had begun to change the face of a11 European society; the
last representative of "dynastie" opera was Mozart's La Clemenza di Tito
in 1791.
XVlll INTRODUCTION

Commercial opera begins with the inauguration of the "Teatro Tron di San
Cassiano" at Venice in 1637, the first opera open to the general public on pay-
ment having been Manelli' s Andromcda, of which the music is lost. This date
gives Dr. Loewenberg one ofhis characteristic opportunities and the reader one
of the peculiarly fascinating delights of this book: the occasional summaries of
unexpected information such as can only be tracked down with difficulty else-
where. Here, under date 1637, we find a complete list of thenumerous Venetian
theatres, called by the names of their parishes, like the St. James' sand St.
Martin' s in London of to-day, but known also by the names of the noble families
which erected and supported them. Later on we find the same sort of excursus
on the operas ofLully, with a list of the latest dates at which they remained in
the Paris repertory, and yet further on there is an interesting synopsis of the
recent Handel opera revival in Germany.
Dynastic opera was almost always in ltalian, wherever it was performed, and
for that reason it is Vienna which preserved dynastic opera the longest, Vienna
being from a musical point of view much more a...ll Italian city than a German
one. In Vienna the spectacular Italian opera was deliberately maintained for
the gloriflcation of the reigning house, and no doubt it was Metastasio' s choice
of subjects such as La Clemenza di Tito which caused his librettos to be set to
music over and over again for the entertainment of such courts as Stuttgart,
Munich, Dresden and Berlin. Paris enjoyed its dynastic opera in French, and
there is one solitary example of an English dynastie opera-Albion and Albanius,
composed by a Frenchman. Dryden may have originaIly intended King Arthur
to be something of the same sort, but as it eventuaIly came to be, with the
coIlaboration of Purcell, it was to the glorification of the country as a whole
rather than of the monarch.
We can' leam from these pages when opera first crossed the Alps, and when
the idea first occurred of translating an opera into another language. The Dafne
of Rinuccini was translated into German by Martin Opitz (a poet ofconsiderable
distinetion) in 1627, but new music seems to have been composed for it by
Schütz; that suggests that in those days the words of an opera were still con-
sidered more important than the music. Another early translation is that of
Cambert's Ariane, made for the performance in London in 1674; but our
author is careful to point out that the opera was sung in London in French, and
that the translation was made merely for the convenience of readers. Lully' s
Roland was translated into Dutch, but not performed in that language. His
Armide (1686) seems to have been the first opera ever performed in a second
language; it was the first French opera performed in Italy (1690) and must have
been sung in ltalian, as it was given not only at Rome, but at Mantua and in
other places as weIl, even as late as 1740. Lully's Acis et Galatee (his last opera,
1686) had the honour of being the first non-German opera performed at
Hamburg (in French, 1689), and although no mention.is made of any other
 INTRODUCTION XIX

opera by Lully having been given in Germany, it is an undoubted fact that Lully' s
music was immensely popular in that country in the form ofinstrumental suites.
Most of the German composers of this period set their operas to Italian
words; it was only at Hamburg that opera in German had any great attraction,
and that only for a short period. Thus the newly-built Italian opera-house at
Hanover was inaugurated with Steffani's Enrico Leone (1689); later it was given
in German at Hamburg, Brunswick, Augsburg and Stuttgart.
That same year 1689 brings us to Dido and Aeneas of Purcell, and it is
interesting to see from this book how it remained almost unknown and un-
performed (except in mutilated concert versions) until Stanford had it revived
for the Purcell bi-centenary in 1895, after which it became a favourite opera
for amateur and school performances in this country, and then, after 1924, was
staged in New York, Münster, Stuttgart, Vienna, Paris, Basle, The Hague,
Florence, and Budapest, the last performance being in Hungarian. The Fairy
Queen, after the Cambridge revival of 1920, has been performed in German
at Essen (1931) and in French at Brussels (1935).
It was not until 1701 that opera reached Berlin, which for centuries had
remained far behind the other German courts in all cultural matters. This
new undertaking was due to the instigation of Queen Sophia Charlotte, who
herself played the harpsichord at the performance of Bononcini's Polifemo in
1702. Frederick the Great supported opera in Berlin at his own expense for
manY years, and insisted that the composers should all be German, but he was
not so patriotic in the matter of language; it was taken for granted that the
librettos could not be in anything but Italian.
The 18th century shows the complete domination of the lyric stage by opera
in Italian, whether serious or comic, apart from Paris, and even in Paris the
conservative French party had to admit defeat in the famous Guerre des Bouffons.
In the followin.g century Paris had its regular ThetStre des Italiens, which was
much more expensive and consequently more fashionable than the native
opera. The world triumph of Italian opera during the first half of the 18th
century was due entirely to the attraction of the Italian voices, especially those
of the castrati. This adoration of the artificial soprano singers is one of the most
difficult things for the modern music-lover to understand, especially since the
worship of Adelina Patti in the last quarter of the 19th century led every
critic to think of florid singing as something essentially feminine, and indeed
associated principally with females of light character such as La Traviata.
The florid singing of the castrati was undoubtedly heroic in expression, and it
was obviously associated closely in the minds of contemporary hearers with the
florid style of trumpet-playing to which modern audiences are weIl accustomed
in the oratorios of Handel and the concertos of J. S. Bach.
With the reign of Queen Anne begins the sad story of native English opera
and the gradual domination of almost all English musical life by foreign
xx INTRODUCTION

musicians who were only too happy to quit the poverty and the servility of
continental life for the streets of London, traditionally supposed to be paved
with gold. Here, the economic basis ofJtalian opera was not the royal privy
purse as in Berlin 01' Stuttgart, but thc extravagance of a wealthy aristocracy,
and for two hundred years the ltalian opera continued to be the acknowledged
rendezvous of exclusive society. But a new rival was undermining the dignity
of the old-fashioned opera seria; both in Italy and in France a new type of
comic opera had been deve10ped which was eventually to dethrone the castrat;
and itself suffer a certain degradation into the opera semi-seria of the early
romantic period. Napoleon put an end to the (astrati by making the operation
a criminal offence; but the public had already tired of them, and they survived
in Italy only as church singers.
Dr. Loewenberg shows us very clcarly how the comic types of opera spread
rapidly over the whole continent. They fall into four main groups: (1) the early
French vaudevilles, plays with songs set to popular airs, often intended as skits
on the serious operas of the day; (2) the English ballad operas, which also had
only a short vogue, but exercised a formative influence on the comic opera of
Germany; (3) the Italian opera b,if.fa, sta1'ting at Naples, imitated at Bologna
and Venice and thence exported to the musical "vorld in general; (4) the Frend1
opera-col/lique, which could not come into being until after the t1audeville type
had come to an end in 1762. The French opera-col/lique always retained an
essentially French character, although it had been initiated by Italian com-
posers; it was much more of a play dun an opera, and the music, despite the
charm of such composers as Monsigny, Grctry and Dalayrac, was always rather
a secondary consideration, whereas the Italian opera buffa, conventional and
foolish to the last degree '[rom the dramatic point of view, depended mainly on
the attraction of the singing.
It can be understood at once that comic operas were easily translatable into
other languages, whereas the old opera seria was hardly conceivablc without thc
Italian language and the voices of the Italian castrati. We can see from Burney' s
History 01 Music how the Italian comic opera so on came to. demand equal
rights with the serious opera at the King's Theatre in the Haymarket, and the
book before us shows how both French and Italian comic operas were trans-
lated not only into English and German, but into Danish, Swedish, Polish
and other languages. Thc first opera that had what one might call a world-
wide success was one which is now completely forgotten except by biblio-
graphers, Orlandini's 11 Marito Ciocatore e la Moglie Bacchettolla, originallyan
intermezzo between the acts of a serious opera, like the more fa-mous La Servil
Padrona. Orlandini's intermezzo ca me out at Venice in 17I8, ten years beforc
The Beggar's Opera and flfteen years before La Serva Padrona. Its cumbrous
tide was too much for foreign lips and ears, but under various other names it
went to Munich, Breslau, Brussels, Paris, Trieste, Vienna, Lisbon and London,
 INTRODUCTION XXI

in which last city it was called The Gamester, but was sung in Italian-"the
first intermezzo or comic interlude which was ever introduced between the acts
of an Italian opera in England" (Burney); this was in 1737. It was given later
at Prague, Hamburg, Dresden, Potsdam and Paris, always in Italian; in 1755 it
reached Copenhagen, where it was sung first in Italian and then translated into
Danish. St. Petersburg saw it in 1757, Edinburgh in 1763, and as late as 1777
it was performed in German .at Berlin, where the music was attributed to one
"Herr Bergulesi"! W e may note that at this period it was the general practice
in Germany to sing only the recitatives in German; the songs and duets, etc.,
were all sung in Italian, which must have saved the unhappy translators a great
deal of labour.
With The Beggar' s Opera begins the interesting his tory ofEnglish comic opera
in the American colonies. Jamaica saw it in 1733 and New York in 1750.
We need not pursue the subject here; early American opera has al ready been
exhaustively treated by American musicologists.
The history of Pergolesi' s famous little opera-the only one by which he is
now remembered-is complicated and curious. It came out first at Naples in
1733, but did not make very rapid progress in Italy. Its first performance
outside Italy was at Graz in 1739, in Italian, and in Italian it was further given
at the usual operatic centres, Dresden, Hamburg, Prague, Paris (1746), Vienna,
Potsdam, Leipzig, Copenhagen, London (1750, as intermezzi for Ciampi's
AdriatlO in Siria), Barcelona, Dijon, Dublin, and various other places. The first
translation ofit was into French in 1754, when it had 150 performances in Paris,
and was given in Germany, Sweden and America too; it was in fact the first
opera sung in America in French (Baltimore, 1790). From 1758 onwards
various English versions appeared. As regards German versions there is some
obscurity, but Dr. Loewenberg is inclined to accept 1770 as the date of the first
(Vienna). Dutch, Polish, Swedish and Russian translations were also made
before the 18th century came to an end. During the first halfofthe 19thcentury
the little opera seems to have dropped out of all repertories, but revivals began
in 1862, first in French, later in Italian (Florence, 1870), in German after 1880
and finally in English, first at New York in 1918, then in London, at the Lyric
Theatre, Hammersmith, in 1919. Recent years have seen many revivals in
unfamiliar languages; it is interesting to note in Dr. Loewenberg's pages the
operas which have had the largest number of performances in countries not
usually associated much with opera. La Serva Padrona has been sung in Spanish,
Hungarian, Portuguese, Croatian, Dutch and Hebrew. The next opera to
enjoy these polyglot revivals in modern times was Gluck' s Orfeo, which has
even achieved a concert performance in Japanese.
Of greater historical importance are the innumerable translations of French
comic opera into most of the northern languages at the moment when the
works of Monsigny, Dalayrac and Gn!try were the fashionable novelties. Dr.
XX11 INTRODUCTION

Loewenberg does not record much in the way of English translations, because
in those days the English procedure was to gei a libretto written by some
native dramatist and supply it with songs taken from any source that came
handy. A few songs by French composers might chance to find a phce along
with Italian songs and possibly a few traditional folk-songs; the ballad operas
had set the tradition, and it was not until well on into the 19th century that the
English theatres began to regard an opera in English as an organic musical
whole, the work of one composer, be he native or foreign.
The widespread popularity of the French comic operas did not long survive
their owrl time, but Monsigny and his contemporaries were succeeded in turn
by Boieldieu, Auber and Adolphe Adam, and the influence of their music has
been profound and lasting, not only on the theatre, but on the concert-music of
those countries which most historians regard as be10nging to the German sphere.
In Germany itself the old French repertory was still current, even in such
pre-eminent theatres as those ofDresden and Munich, during the early years of
the present century. Beethoven, playing in the orchestra of the theatre at Bonn,
became acquainted with all this French music, and it left a permanent trace on
his own inspiration. Weber, Schubert and even Wagner, were saturated with
the French comic opera style, a style to which the only possible riyal in those
days was that of Paer and Rossini.
After 1800, operas come thick and fast ~n all countries, and our author's main
difficulty must have been to decide what works deserved inclusion in this book.
For many gerierations Paris was still to lead the way in opera, even for the
Italians, for the political condition of Italy made it no very attractive territory
for a young composer in pursuit of a career. Rossini's reputation was made
mainly in Paris, London and Vienna, Bellini' s in Paris and London, Donizetti' s
in Vienna and Paris. Vienna itself was quite unproductive; musically it was a
poor imitation ofParis. True, Weber and Schubert were both writing operas,
but as far as Vienna went, they were complete failures. German opera was in
much the same condition as English opera is at this moment; its habitual
repertory was entirely foreign, or else utterly trivial. An idealist like Weber
might try to force DOll Giovatllzi and Fidelio down the throats of his German
audiences, but nobody wanted to listen to them, any more than English
audiences want to hear the very distinguished works which some of our own
composers have contributed to thc stage.
During the first half of the century the political aspect of opera becomes
singularly intercsting, al1d this book brings together a number of cases, perhaps
already well known in isolation, but hardly considered by historians as part of
a connected wholc. The previous century had already seen the most dangerous
play of thc age, Le A1ariage de F(~aro, slip through the censorship under the
disguise of an Italian opera. Latcr generations began to realize that opera,
when it became a democratic diversion, might be a danger to lawful authority.
 INTRODUCTION XX111

Cimarosa, whose Matrimonio Segreto had won the honour of being "encored"
in its entirety at the command of the Austrian Emperor in 1792, was imprisoned
and condemned to death at Naples in 1799 for openly showing his enthusiasm
for the French Republicans. Even Fidelio barely escaped the censorship at
Vienna, and was saved only by a personal appeal to the Empress. A French
full score of Fidelio exists, published in 1826, with the names of the singers who
were to perform it. The performance never took place, according to Dr.
Loewenberg; and the odd thing about the score is that the names of the
characters are altered and the scene is transferred from Spain to Germany.
What political mystery lay behind all this? Another French opera, Les
Visitandines, by Devienne (1792), which made fun of nuns and friars, had a
great vogue in Germany; in Hamburg and Berlin it could be performed without
alteration, but in Vienna the translator had to turn the convent into a Protestant
girls' schoo1. Rossini's Mose in Egitto (Napies, 1818) had to be given in London
as Pietro l'Eremita at the King' s Theatte, although it was accepted in the
original form as an oratorio at Exeter Hall in 1878. Bellini's Bianca e Fernando
(Napies, 1826) had to be called Bianca e Gernando, because Fernando was the
name of the King of N aples! In 1828 we came to Auber' s La .Muette de Portici
(called Masaniello in England) , a performance of which in Brusse1s on 25 August
1830, started the revolution which led to the independence ofBe1gium. Rossini' s
Guillaume Tell (1829) had to appear in London as Andreas Hofer, or The Tell
of the Tyrol. "On account of its political subject," says Dr. Loewenberg, "the
opera had to be given in many countries .in different disguises and with more
or less essential alterations in the original libretto .... As late as in 1866 the
censor at Palermo demanded changes in the text." At Milan, Tell became
William Wallace; at Rome, "Rodolfo di Sterlinga"; at St. Petersburg and
Moscow, Charles the Bold.
Donizetti's Lucrezia Borgia (Milan, 1833) was another opera which suffered
curious changes, but these were probably due not to the censorship but to
Victor Hugo' s objections to his play being turned into an opera. He made
similar difficulties over Verdi's use of Le Roi s'amuse (Rigoletto). Rigoletto, as
is weIl known, had to have its characters changed before the Austrian censorship
would pass it for Venice. Naples and Rome were always nervous of political
trouble, and Madame Pasta, when she came to London with BeIlini, told Lady
Morgan that she had narrowly escaped being thrown into prison for pro-
nouncing the word liberla On the stage. Les HU<f?uenols (1836) was too much
for Munich and Vienna; at Munich it was called Die Anglikaner und Puritaner,
at Vienna, Die Gibellinen in Pisa. Florence preferred the "Anglican"
verSIon.
Paris on the whole took a liberal view of opera; but it may be remarked that
three distinguished men ofletters were arraigned before a tribunal for offences
against public morals-Victor Hugo for Marion de Lorme in 1829 and Le Roi
XXIV INTRODUCTION

s' al1luse in 1832, Alexandre Dumas fils for La Dame aux Camelias (1849), and
Flaubert for Madame Bovary (1857), aU within aperiod of thirty years.
Another subject which this book might provoke us to study in detail is the
history of certain opera plots and the way in which the same story has been
treated by a number of different composers. A typical example is that episode
in Ariosto's Orlalldo Furioso which suggested the deception of Claudio in Much
Ado About Nothi/lg; Handel presented it in Ariodante, Mehul in Ariodant,
J. S. Mayr in Ginevra di Scozia, besides settings by lesser composers. Even
after Rossini' s triumph, :md during his own lifetime, other composers attempted
(with no success) to re-set 11 Barbiere di Siviglia. Dr. Loewenberg has shown
extraordinary learning and research in discovering the literary origins of
numerous operas.
The last few pages of the book bring us almost to the present day and may
weH make us wonder what is to be the prospect of opera in the future. The
period 1920-33 was wonderfully productive of what one might call experimental
operas, mainly in Germany and Italy. And there were successful operas too.
Puccini's posthumous Tura/ldot (Milan, 1926) is described by Dr. Loewenberg
as "so far the last world success in the history of opera." In Germany, Richard
Strauss continued his prosperous career, although probably Schreker, D' Albert
and E. W. Korngold secured more performances for their various operas; we
may doubt whether any of these, except perhaps D' Albert's unpleasant Tiefland,
will ever be revived, even in their country of origin. Of the "experimental"
type, Krenek's J0111lY spielt auf madt> the most sensation; Alban Berg's Wozzeck
very nearly became a world success, in spite of its indescribable horror. One
of the best of all the modern German operas was Die Bürgschaft, by Kurt Weill.
The most prolific composers of opera during that period were Malipiero and
Stravinsky; Malipiero, too, enjoyed the honour of having one of his operas
suppressed by the authorities in Rome because it made fun of prime ministers
in a modern-dress fairy-tale. Milluud and Honegger also contributed works of
high artistic value. How many of these will return to the stage when the world
is at peace? The trouble with most of these operas (and with many by other
composers) is that they are not such as will form the basis of a standard reper-
tory. Every opera-house requires indispensably a certain number of works
which may be counted on to fill the theatre whenever they are performed; that
is why Cavalleria Rusticana, Boheme and Butterfly, with some dozen older works,
are to be seen aU over the world. On the other hand, such an opera as Milhaud's
magnificent Christophe Colomb, like Les Troyens of Berlioz or Busoni' s Doktor
Faust, can only be put on occasionally, with the probability of a considerablc
deficit, in a theatre generously State-supported, and running regularly as a
huge and camplete organization, about the functioning of which there can
never be the slightest moment of anxiety. And the numerous smaller works,
involving perhaps far less expense, but appealing only to an extremely cultivated
 INTRODUCTION xxv
public, can only be produced when the management is quite certain that there
exists such a highly speciaFzed public to patronize them.
Of our own operatic problem in England I will say nothing here, and I am
not competent to speak of conditions in America. This book is printed in
English, and we may indeed fee! proud that an English firm has undertaken its
publication in these difficult days; but it is a work of international importance
and will eventually be indispensable to libraries, booksellers, operatic managers,
musical critics and genuine lovers of opera in all countries.
EDWARD J. DENT
Cambridge,
October 1942.
 "There is somc danger at the present timc that we may be lcd to
an under-estimation of thc etforts of the Florentine Call)erata. Thcy
sought Greek drama and found opera. And whether or not thcy
conseiously or uneonseiously utilized thc traditional or progressive
elemcnts of their time, no historieal subtleties will cver sueeeed in
proving that opera really existed before the Florentine Camerata
stumblcd on it. All thc ;,ndcreurrellts of thcir time might have been
eonverging towards opcra, yet of thcmsclves they would not havc
led to opera without thc new and distinguishing element of dramatic
musical speech."
(0. G. T. SONNECK, in The Musical Antiquar)', Vol. 1lJ, p. 40.)
 ANNALS OF OPERA

1597 or composltJon-means the beginning of our

year 1595, as Sonneck pointed out.
J. PERl: La Dafne There remains one question which Sonneck
Camir'al. Florence, Pal. Corsi apparently did not consider. What did Gagliano
Text by O. Rinuccini. Not divided intoacts (con- me an when in 1608 writing down the words "il
sists of prologue and 6 scenes). carnovale deli' anno 1597"? Carnival began at the
Libretto published in 1600; a new issue ap- end ofDecember and lasted until February or the
peared in 1604. beginning of March. But in 16th century Florence
Peri's music is lost. So is a contemporarysetting the J ulian Calendar was still in force by which the
by Caccini (which might have been used at a per- new year began on I March. Thus the greater
formance in August 1600). Of an eadier, seem- part of Carnival was not in the beginning of the
ingly incomplete setting by Jacopo Corsi, two year, but at the end, and Gagliano's words could
fragments were discovercd at the Brussels Con- refer to the last months of the Julian year 1597,
servatoire (Ms.8750) by H. Panum in 1888 and i.e. to January or February of our, the Gregorian,
first published in Musikalischcs Wo~hcnblatt, 19 year 1598. In this case Peri's "per tre anni eontinui
July 1888. che nel carnovale si rappresento" could mean per-
When was Dafne, the first opera, first per- formances of Dafne in the beginning of (Grego-
formed? Looking through books of reference and rian) 1598, 1599 and 1600. This assumption would
histories of music one will find thc ycar 1594 in- carry us down to the year in which the libretto
dicated as often as the year 1597. The former date was printed and would be perfecdy consistent
is founded on a rather am biguous passage in the with aII other dates established tJy contemporary
preface to Peri's Euridice score (1601); the latter accounts.
date on a statement in Gagliano's Daflle score Dafnc was first produccd, whenever it was, at
( 1608). Jacopo Corsi's house, in the presenee of "Don
The whole complicated matter has been made Giovanni Medici e d' alcuni de' principali gentil-
perfeedy c1ear by O. G. T. Sonneck; see his essay uomini de la citta". According to Rinuccini's ac-
"Dafne thc first opera" in Sammelbände der Inter- count (in the preface to the Euridice libretto, 1600)
nationalen MlIsikgesellschaJt, Vol. xv (1913-14), or it was given in an improved version ("miglior
the note on the Dafne libretto in the Library of forma") again at Corsi's in the presence of the
Congress Catalague of Opera Liliretlas prilltcd bcfore Grand Duchess and of the eardinals Dal Monte
1800 (1914), Pp.340-345. Sonneck's arguments in and Montalto (presumably before 18 January
favour of Gagliano's statement that the first pro- 1599) and repeated at the Palazzo Pitti 21 January
duction was in the Carnival of 1597 seem to be 1599. Anotherperformanee at Corsi's took place
quite convincing, and in the course of the past 25 in August 1600 (this time, perhaps,with Caccini's
years no new documents have been discovered music), and a last revival at the Palazzo Pitti (prob-
which could upset his theory. ably with Peri's music) 26 October 1604, in hon-
It is to be hoped, however, that at least the mis- our of a visit of the Duke of Parma (libretto re-
leading date of 1594 will disappear from the printed with new first sheet). These are the per-
books of reference altogether, because Peri's "fin formances whieh are known to have taken plaee;
1'anno 1594"-even ifit really refers to a produc- but there may have been more of which we have
tion and not merely to the date of commission no knowledge yet.

2
1597-1600 ANNALS OF OPERA 16()(K)2

(For Gagliano's new setting of the libretto, see Il RapimCllto di Cefalo was, three days after
1608; for a German version of the libretto, see Euridiee, produced in the course of the wedding
1627.) festivities for Henri IV and Maria de' Medici. We
1600 know from the younger Miche!angelo's descrip-
tion that, besides Caccini, three other composers
J. PERl: L'Euridice* had a share in the score: Stefano Venturi de! Nib-
6 Oetober. Florence, Pa!. Pitti bio, Luca Bati and Pietro Strozzi. They were not
Text by O. Rinuccini. Not divided intoacts (con- mentioned by Caccini when he published parts
sists of prologue and 6 scenes). ofhis music, consisting oftwo choruses and three
The first opera the music ofwhich is extant. Pro- airs, in his Le NlIove Musiehe in 1601 (facsimile
duced as part of the wcdding festivities ce!ebrated edition by F. Mantica issued in 1930).
at Florence in honour ofHenrY1v, King ofFrance, The first instance of a translation of an opera
anel Maria de' Medici, and Peri himse!f as Orphcus. libretto occurs al ready at this early date: Le Ra-
Libretto published in 1600 (dedication to Maria Jlisselllent de eefale, a French version by N. chre-
de' Medici da ted October 1600; in some co pies tien des Croix, was published at Rouen in 1608
4 October 1600). and was dedicated by the translator to the new-
Score published in 1601 (dedication dated 6 born Dauphin, Jean-Baptiste-Gaston (Iater Duke
February 1600 = 1601 n.s.) as Le Musiehe ... of Orleans), "l'heureux fruit" of the marriage
Sopra I'Ellridicc; from Peri's preface we leam that which had been celebrated by the production
parts of the music as sung in October 1600 were of the Italian original eight years before.
by Caccini (who set the same libretto to music
at the same time; for the production ofhis setting
as a wh oIe, see bdow, 1602). 1602
Peri's music was again published at Venice in G. CACCINI: L'Euridice
1601\; neweditions 1863; (.1900 (in L. Torchi's
5 Deeember. Florence, Pa!. Pitti
L'Arte I/Illsicale in Italia, Vo!. VI); 1919 (vocal
score, edited by C. Perinello); and 1934 (facsim- Rinuccini's text, as composed by Peri in 1600.
ile of the first edition). Parts of Caccini's music had already been used
New York, Berkdey Lyccum, 15 March 1894 at the performances of 1600, as we know from
(Scenes from Act I only). the preface in Peri's score. Caccini's score was
Pcri's Ellridice was revived at Bologna, Casa published earlier (dedication dated 20 December
Mareseotti, 27 April 1616. 1600) than Peri's (dedication dated 6 February
The first modem revival was at a Milan con- 1600-01). The production, however, of Caccini' s
een, 13 May 1916, in a two-act version by G. Te- setting as a whole did not take place before 5 De-
baldini. Other revivals took place at Naples, Poli- cember 1602, when his Euridiee was performed in
teama, 28 January 1920 (by the "Associazione honour of the Cardinals Montalto and Dal Monte
Scarlatti"); Florence, Pa!. Pitti 29 December and the Marchese Peretti.
1923; Munieh, University 23 January 1934 (Ger- Caccini' s score was published in 1600 (or rather,
men version by ß. Beyerle). actually about January 1601) as L'Euridiee com-
posta in Musica In stile rappresentativo; it was re-
G. CACCINI: Il Rapimento di Cefalo printed at Venice in 1615; new editions 1863,
90ctober. Florence, Pa!. Vecchio 1880 and 1881 (in Vo!. x ofEitner's Publikationen
Text by G. Chiabrera. Prologue, 5 acts, and der Gesellschaft für Musikforschullg).
licenza. No separate issue of the libretto was printed for
Libretto published in 1600 (reprinted in Vo!. III Ellridice in 1602. Nor was Caccini's setting ever
of A. Solerti's Gli Albori det Melodramma, 1905). revived.

3 4
 ANNALS OF OPERA

1606 After an interval of ncarly 300 ycars it was only

AGAZZARI: Eumclio* in thc 20th century that Orfeo WaS restored to
Camil'al. Rome, Seminario Romano living music. The following revivals are to oe
Librettist unknown. Dramma pastorale recitato ... recorded:
PARIS, SCHOLA CANTORUM 25 February 1904 (in
COllie Musiche dei/' Armollico flltrot/ato (wh ich was
thc composcr's surnamc as a mcmbcr of thc "Ac- concert form, in French, translated and arranged
cadcmia dcgli Intronati" of Siena). Prologllc and by Vincent d'Indy; repeated there 2 March
3 acts. 1904, 27 January 19°5, 26 February 1905).
The score was pllblished at Venice in 1606 (one MILAN, CONSERVATORIO 30 November 1909 (in

single copy at the ßibliotcca di S. Cecilia, Rome, concert form, under Giacomo Orefice; this
extant). The prcface informs lIS that the opera was version was repeated at Mantua, T. Sociale 5
written within a fortnight and pcrformed by April 1910 and the following days at Venice,
pupils of the Semina rio Romano with great suc- Bologna, Florence, Turin and in other Italian
cess. No libretto seems to havc been printed. towns; also at Monte Carlo 16 April 1910.
BRUSSELS 23 January 1910 (in eoncert form, under
The prologue published in La Dialla (Siena)
Sylvain Dupuis).
1933·
PARIS, TH. REJANE 2 May 19Ir (this was the first
160 7
modern sti'ge performance, tmder the direction
MONTEVERDI: La Favola dJOrfto* ofMareel Labey; repeated Ir Apriland 13 April
24 Fe/Jruary. Mantua 1913).
Text hy A. Striggio (Rappresclltata ill Musica). NEW YORK, M. 14 April 1912 (concert perform-
Prologue and 5 aets. ance, Orefiee' s version); Chicago 4 January
Libretto published in 1607. Score (Favola ill 19 13.
Musica) pllblished at Venice in 1609 (dedication BRESLAU 8 June 1913 (stage performance, German
dated 22 August) and in 1615. Of these two edi- version by H. Erdmann-Guckel).
tions only eight copies are known to be extant BUENOS AIRES 10 May 1920 (Orefiee's version) and
(three of them being preserved in Italy, two in 23 July 1937 (Benvenuti's version).
England, two in Germany, and one in Belgium). LONDON 8 March 1924 (in concert form at the
There are new editions by Eitner (1881), d'Indy Institut Frans;ais, Cromwell Gardens, d'Indy's
(1904), Orefice (1909), Erdmann-Guckcl (1913), version, under Louis Bourgeois).
Malipiero (1923 and 1930), Orff (1930), Bcnve- MANNHEIM 17 April 1925 (stageperformanee, new
nuti (1934), and Respighi (1935). German version by C. Orff); revised by Orff
A facsimile of the 1609 score was edited by 1940 and staged Dresden, 4 October 1940.
A. Sandberger in 1928. OXFORD 7 December 1925 (in English, translated
The opera was dedicated to the Hereditary by R. L. Stuart, orchestrated by J. A. Westrup
Prince of Mantua, Francesco Gonzaga. After the and W. H. Harris).
private production at the "Accademia degl' In- CAIRO 1928 (in Italian).
vaghiti" (the exact date of which is unknown) COLOGNE Summer 1928 (d'Indy's version, trans-
Orfeo was repeated at the Court Theatre, Mantua Iated into German by H. Jalowetz).
on 24 February and 1 March 1607. At Cremona, LENINGRAD Summer 1929 (Malipiero's version).
Monteverdi's native town, Orfeo was given by the NORTHAMPTON, MASS. 12 May 1929 (in Mali-
. "Aeeademia degl' Animosi" on 10 August 1607 piero's version) .
(parts only); stage productions probably taok LONDON, SCALA 30 Deeember 1929 (the Oxford
place at Turin in 1610 and about the same time 1925 version).
at Florence and Milan (see Solerti, Cli Albor; dcl VIENNA 14 January 1931 (in eoneert form, Orff's
Melodralllllla, Vol. 1, pp.70 and 139). version, translated by D. Günther).

5 6
 ANNALS OF OPERA 1608-10

L1SBON Spring 1932 (d'Indy's version, in Portu- fortunate!y only a fragment has been preserved,
guese, under I. Cruz). the cclebrated Lalllellto d'Ariarma (beg ins "Las-
MANTUA, LOGGIA DUCALE April 1933 (under A. ciatemi morire"), first published in the sixth book
Zanella). of Monteverdi's Madrigals, Venice, 1614.
PERUGIA 19 September 1934 (Orefice's version). The opera probably was repeated at Florence
ROME, LR. 26 December 1934 (new version by G. in Carnival 1614 and revived at Venice, Auturnn
Benvenuti, text adapted by A. Rossato). 1639 (at the inauguration of the Teatro di San
MILAN, SC. 16 March 1935 (new version by Moisc, the third Venetian opera-house).
O. Respighi, text adapted by C. Guastalla). Modern revivals of the one extant scene took
MODE NA May 1935 (Respighi's version, text place at Carlsruhe ]anuary 1926 and Paris, Petite
adapted by C. Guastalla). Scene 31 May 1931; Gera, 30 November 1940 in
ZURICH 10 February 1936 (concert performance, a realization by Carl Orfr.
in Italian; music arranged by H. F. Redlich). Ariamla is known to have been famous in [taly
BUDAPEST 25 April 1936 (in Hungarian, translated for many years. The tunes were sung and played
by V. Unyi, Respighi's version). everywhere. When revived at Venice in 1639,
more dun 30 years after its first appearance, the
old opera had hardly to be altered at all (as a com-
r608 parison of the librettos shows) and still proved
111uch more successful than many of the "modern".
GAGLIANO: La DaJne* works. The Lamento served as a model ofits kind
January. Mantua, T. della Corte for centuries to come, " ... quclques pages, les
Rinuccini's text (see 1597), slighdy altercd and plus douloureuses et les plus vraies qu'il ait ccrites,
enlarged. Gagliano's fmt opera. et que Gluck n'a pas surpassees ... " (Romain
The score was published in 1608 (dedication Rolland).
dated 20 October; reprinted in an ab~idgcd ver-
sion by Eitner in Vol. x of thc Publikationen der r6ro
Gesellschaft für MusikforsclHlng, 1881). The libretto
does not seem to have been printed. The opera
GIACOBBI: Andromeda
was perforr~ed twice in the course of the Car- Carnival. Bologna, Salone de! Podesta
nival, and repeated at Florence, presumably in Text by R. Campeggi (Tragedia ... Da recitars; in
Carnival 1610. Musica). Prologue and 5 acts.
Arecent revival of Gagliano's opera took place First opera produced at Bologna of which the
at Moscow Spring of 1911 (rescored by one Pro- composer is known. Libretto printed in 1610
fessor von Glchn); see Die Musik,]uly 19lI, p.55. (copies in the Liceo Musicale, Bologna, and in the
British Museum). "Fatta recitare in Musica di stile
rappresentativo nella Citta di Bologna, per dis-
MONTEVERDI: L'Arianna* porto delle sue bellissime Dame. Ne i giorni di
28 Ma}'. Mantua, T. della Corte Carnescille, con app;:rato magnifico, l' Anno
Text by O. Rinuccini (Tragedia ... Rappresentata MDCX . . . Fece la Musica Girolamo Giacobbi
in musica). Not divided into acts (consists of pro- Mastro di Capella di S. Petronio di Bologna."
logue and 8 scenes). Thc music is lost; one air, "10 ti sfldo, 0 mostro
Performed at the wedding of Francesco Gon- infame," is known to have been fainous all over
zaga, Hereditary Prince of Mantua, with Marghe- ltaly.
rita, Princess of Savoy. A work entided Alldromeda, which might have
The libretto was first published in 1608 and has been Giacobbi's opera, w~s performed at Salzburg
been frequently reprinted since. Of the music, un- on 15 February 1618. This would be, if the iden-

7 8
 1610-16 ANNALS OF OPERA 1616-19
tification is correct, the first known instance of an of a comedy. Dedication in the score dated 15
opera produccd outside Italy. March 16r8.
Thc first dcscription of the work (which is on
the Mars-Vcnus-Vulcan story) was given by A.
1616 W. Ambros in 1878 (Ceschichteder Musik, Vol. IV,
P.301). Only two co pies of the score are known
BELL!: Il Pintlfo d'Orjeo to be extant.
Camipal. Florence, Pal. Gherardesca
Text by G. Chiabrera. Five intermezzi.
The text was published in 1615 in Chiabrera's 1619
Fa(Jolette ... da rappresentarsi cantando, and, ac-
cording to Allacci and other bibliographers, sepa-
LANDI: La Morte dJOrjeo
ratcly at Genoa in 1622 (no copy of the sepa- [1 JUlle]. Rome
rate edition has been traced yct). Text by the composer (and not, as often stated,
Thc music was publishcd under the title of by Alessandro Matthei to whom the work is dedi-
Orfeo do/ente in 1616 (one single copy ofthis score cated). Tragicomedia Pastorale, 5 acts. Landi was
has been preserved at Breslau). Thc title-page in- the first composer who wrote his own libretto.
forms us that it was sung between the acts of a Score printed in 1619 (the only known copy
performance of Tasso's Aminta. of this edition is in the British Museum) and again
Tasso's Aminta was revived, with Bclli's inter- in 1639. Parts of the music were reprinted by H.
mezzi, at Brusscls on 3 March 1926 (French ver- Goldschmidt in 190I.
sion by A. de Rudder, music arranged by A. Text reprinted by A. Solerti in Vol. III of his
Tirabassi); this version was also published atBrus- Cli Albori del Melodramma, 1905, from the score
scls 1927. of 1619.
For an analysis of the work see H. Riemann, The opera is stated to have been produced be-
Handbuch der Musikgeschichte, Vol. H, Pt. 2, p.288. fore the Papal Court.
The text was reprinted by A. Solerti in Vol. III of
his Cli Albori del Melodramma (1905). See also So-
GAGLIANO: Il Aledoro
lerti's Musica . •. alla Corte Medicea (1905), pp.375-
391, where thc version of the text as contained in 25 September. Florence, Pal. Pitti
the score is reproduced. Text by A. Salvadori (... rappresentato in musica),
Arecent attempt of A. Tirabassi (The Musical founded on an episode in Ariosto's Orlando fu-
Quarterly,January 1939) to claim for Bclli's opera a rioso. Three acts.
priority over even Peri's and Caccini's worksis Libretto printed in 1619 and 1623 (only copies
based on arguments which are certainly not suf- of this second edition seem to be extant). Music
ficient to upset the whole history of early ltalian lost.
opera (see ibid., July 1940). The opera was produced to celebrate the clec-
tion of the Emperor Ferdinand II (Cosimo de'
Medici's brother-in-Iaw). An intended revival at
BOSCHETTI: Strali dJAmore Mantua in 1622 (often mentioned on the author-
14 February. Viterbo ity ofE. Vogel's monograph, 1889) did not take
Librettist unknown. No copy of the libretto place as we leam from the dedication in the 1623
traced yet. Five intermezzi. libretto.
Score published in 1618 (Favola recitata in From a contemporary diary, Solerti revealed
Musica Per Intermedij .•.). Produced at Count the fact that Peri had a (presumably small) share
Andrea Maidalchini's, Viterbo, betwccn the acts in the music.

9 10
 ANNALS OF OPERA

1620 1626

VIT ALl: L' Aretusa D. MAZZOCCHI: La Catena d'Adone

Before ~3 FebTtlary. Rome, Casa Evandro Conti
8 FcbYllary. Rome, Pa!. Corsini
Text by O. Tronsarelli (Favola boschereccia),
Text by O. Corsini (Favola il/ Musica). Prologue. founded on an episode in G. B. Marini's poem
and 3 acts. Adone. Prologue and 5 acts.
Score published in 1620 (text reprinted by A. Both score and libretto were published in 1626.
Solerti from the score). The opera was reyived at Bologna, T. Mal-
The preface informs us that the opera was writ- vezzi, in Autumn 1648 (with prologue and inter-
ten and composed within 44 days; it also gives mezzi by N. Zoppio Turchi). Parts of the music
the cast; the name part was sung by the castrato were reprinted by H. Goldschmidt in 1901.
Gregorio Lazerini. The dedications in the libretto (which was
printed only after the perfonnance) are dated
30 March and 12 May 1626. The dedication in the
score is dated 24 October 1626.
162 5 The first (or at least, an early) performance is
referred to in a letter, dated 13 February 1626,
F. CACCINI: La Liberazione which was discovered by A. Saviotti (see Gior-.
di Ruggiero dall'Isola nale Storico della LetteratlIra Ita!ialla, Vo!. XLI, p. 70).
The writer, one Ant0rY0 Donato, gives this piece
d'Alcina
of earl)' opera criticism: "Fu cosa meno che me-
2 February. Florence, Villa Poggio Imperiale diocre, ma onorata da Nepoti Pontefici e molti
Text by F. Saracinelli (Balletto rappresentato in cardinali." Modern critics would not agree with
musica), founded on an episode in Ariosto's Or- hirn on the quality of the work which is one of
lando furioso. Not divided into acts (consists of the most important operas of that period.
The opera seems to have been repeated at Vi-
prologue and 3 scenes).
Performed at a visit of Wladislaw Sigismund, terbo later in 1626 (libretto reprinted). There is
Prince of Poland, to the Grand Duchess of Tus- also an edition ofthe libretto dated Venice 1627.
cany. Both score and libretto Were published in
162 5.
The first extant example of an "opera ballo"; 162 7
at the same time the fmt instance of an operatic
SCHÜTZ: Dafne
work written by a woman composer (Francesca
was the daughter of Giulio Gaccini, see 1600 and 23 April. Torgau
1602). Parts of. the music were reprinted by Text by M. Opitz (partly translated from Ri-
H. Goldschmidt in 1901. nuccini's Italian libretto, see 1597). " ... MlIsica-
It has been stated that La Liberaziolle di Ruggiero lisch in deH Schawplatz zu ;Jringcll . ... " Prologue
was also produced in Poland at an early date. and 5 acts.
While there is no evidence that a production W ritten to celebrate the wedding of George,
actually took place, it is true that there exists a Landgrave of Hesse, with Sophia Eleonora, Prin-
printed Polish translation by S. S. Jagodynski, cess of Saxony, and performed at Hartenfels Cas-
called WybalViellie Ruggiaa z Wyspy AlcYIlY, pub- tle, Torgall, Saxon)'.
lished at Cracow in 1628. See K. Estreicher, Bib- The libretto was printed in 1627. The mllsic of
[jografia Polska, Vol. XXVII (1929), p.124. this earliest German opera is lost. The date of the

II 12
 ANNALS OF OPERA 1632-33

first (or at least, an early) performance is indicated

1632
in a contemporary account of the wedding fes-
tival. It has been suggested that the actual first per- LANDI: Il S. Alessio*
formance took place on 31 March/ro April r627,
23 February. Rome, Pal. Barberini
the night before the wedding, as in the prologue
bride and bridegroom are apostrophized. Text by G. Rospigliosi (the future Pope Clement
IX). Dramma Musieale, prologue and 3 acts.
First opera produced at the theatre in the Pa-
lazzo Barberini. Repeated there February 1634 in
1628 honour of a visit of Alexander Charles, brother
of King Wladislaw IV of Poland. Revived Bo-
GAGLIANO andJ. PERl: La Flora, logna 1647 (probably Landi's work).
o vero Il Natal de' Fiori Score published in 1634 (the only opera score
of that period which is not exceedingly rare).
11 Oetober. Florence, Pa!. Pitti For an account of S. Alessio see G. Pavan in
Text by A. Salvadori (Favola ... Rappresentata Musica d'oggi, October 192r; also U. Rolandi in
ill musica recitativa). Prologue and 5 acts. La Rassegna Doriea, 20 February 1932. Parts of the
Performed at the wedding of Odoardo Farnese, music were reprinted by H. Goldsch~idt in 1901.
Duke ofParma, with Margherita ofTuscany. In most dictionaries 1634 is given as the year of
Both score and libretto were published in r628. the first production. The date of 23 February
Gagliano is the only composer mentioned on the 1632, however, is established by the account of a
tide-page of the score, but a note in it informs us French traveller, Jean-Jacques Bouchard, who
that "Le musiche furono tutte del Sig. Marco da witnessed the first performance. See Lucien Mar-
Gagliano, eccetto la parte di Clori, la quale fu a a
cheix, Ull Parisiell Rome et Naples eil 1632,
opera del Sig. Jacopo Peri.... " D'apres un manuserit inUit ... (at th~ Bibliotheque
Parts of the music were reprinted by H. Gold- de l'.Ecole des Beaux-Arts, Paris), 1897, p.9-10.
schmidt in r901.

1633
1629 M. A. R 0 S SI: Erminia sul Giordano
CORNACCHIOLI: Diana schernita Jmmary. Rome, Pa!. Barberini
Text probably by G. Rospigliosi (who became
Carnival. Rome Pope Clement IX in 1667), founded on an episode
Text by G. F. Parisano (Favola Bosearcccia). Five in Tasso's Gerusale/11l11e libcrata. Dramma ml/sieale,
acts. prologue and 3 acts.
Score published in 1629. Libretto not traced Score published in 1637. Libretto not printed.
yet. The work was performed at the private house The opera seems to have been repeated several
of the German BaronJohann Rudolf von Hohen- times during the following years. It was the com-
rechberg. poser's only work for the stage. Parts of the music
The only known work of Cornacchioli, who were reprinted by H. Goldschmidt in 1901.
was a native of Ascoli. Dedication in the score The year of the first performance is given as
dated6June 1629. At the end the remark: "Questa 1625 by Fetis, Clement, Riemann, and others
Fauola c tolta dalle Metamorfesi di Ouidio, & (which is obviously amistake); Schmidl's Dic-
posta in questi versi dal Sig. Giac: Francesco Pari- tionary has 1635, Rolland, Goldschmidt, and
sani d' Ascoli." Prunicres 1637. Again (as in the case of La
B r3 14
 ANNALS OF OPERA

Catma d'Adolll', sec 1626) a contemporary lettcr, S. MOlSE, 1640: Arianna, by Monteverdi. Operas
discovered by A. Saviotti at the ßiblioteca until 1818.
Oliveriana, Pcsaro (sec Giornalc Storieo dclla NOVISSIMO, 1641: La finta Pazza, by Sacrati. Seven
Lctteratura ltalialla, Vol. XLI, P.70) gives to the operas until 1647.
earlier date of Carnival, 1633, a high degree of SS. APOSTOLI, 1649: Orolltea, by Cesti. Five operas
probability. The letter is dated 2 February 1633, until 1687.
and the writer, one Fabio Almerici, refers to the S. APOLLINARE, 1651: Oristeo, by Cavalli. Ten
opera as La Fllga d'Erminia. operas until 1660.
s. SALVATORE, 1661: Pasifc, by Castrovillari. ße-
cameT. S. Luca 1799, T. Apollo 1833, T. Gol-
r637 doni 1875.
S. ANGELO, 1676: Blena, by Freschi. Operas until
MAN E L LI: L' Andromeda
about 1800.
FdITuary or l\1areh. Venice, S. Cass.
s. GIOVANNI GRISOSTOMO, 1678: Vespasiano, by
Text by B. Ferrari (... rappreselltata in musica). Pallavicino. Became T. Malibran 1835.
Three acts. s. FANTlNO, 1699; Paolo Emilio, by Pignatta.
Written for the inauguration of the T. Tron di Operas until 1720.
San Cassiano which was the first public opera- S. SAMUELE, 1710: L' lngannatar ingannato, by Rug-
house in any town. geri. Existed until 1870.
The libretto was printed only about two S. BENEDETTO, 1755: Zoe, by Cocchi. Became T.
months after the production, the approximate Rossini 1868.
date of which we can guess from the date of the LA FENICE, 1792: I Giuochi d' Agrigento, by Paisiello.
publisher's dedication (6 May 1637) and the Still in existence under that name.
remark "Andromeda 'che su le scene rinacque gia
son due mesi .... " The music is lost, like the rest
of Manelli's operas. For a bibliography of his r638
works see G. Radiciotti, L'Arte //lusicale in Tivoli
MANELLI: La Maga fulminata
(19 21 ), p·49·
[6 Fehruary]. Venice, S. Cass.
Text by B. Ferrari. Three acts.
Also given at Bologna [20 April] 1641. Ma-
nelli's second opera, and the second opera which
Venice remained for many years the only town
was produced at Venice. Music lost.
with regular opera seasons every Carniva\. It ap-
The Venice libretto is dedicated to Basil Feil-
pears from the chronologies that in the course of
ding (2nd Earl of Denbigh) who from 1634-39
the 17th century more than 350 operas were pro-
was British Ambasador Extraordinary to the
duced at the different Venetian theatres, a number
Republic of Venice.
which increased to more than 1,600 at the dose
ofthe 18th century (induding revivals and operas
previously given clsewhere). The following is a r639
list of the principal Venetian opera-houses founded
before 1800.
VITTORI: La Galatea
Name. First opera given there and suhsequc/lt data. CaTllillal. Rome, Pa\. Barberini
S. CASSIANO, 1637: Andromeda, by Manelli. Operas Text by the composer (drallll1la . . • prsto 111
until about 1800. musica). Prologue and 3 acts.
SS. GIOVANNI E PAOLO, 1639: Delia, by Sacrati. Score published Rome 1639, libretto Spoleto
Operas until 1748. 1655. Vittori's only opera. Date of production

15 16
16 39 ANNALS OF OPERA 1639

unknown (the Carnival ended 8 March 1639). The first opera of which Ferrari, composer,
Parts of the music were reprinted by H. Gold- poet, operatic manager, and theorbo virtuoso,
schmidt in 1901. wrote the music as weH as the words. The music
Arccent opinion on La Galatea may be quoted is lost, Iike the rest of Ferrari's operas. Revived
here: "La Galatea c uno dei migliori escmplari Piacenza 1650.
dell' opera romana del Seicento per magnificenza
di scenario, per agilita dell' azione scenica, per v. MAZZOCCHI and MARAZZOLI:
opportuna collocazione di arie a solo e d'insieme,
per impiego efficacc di parti corali. L'ultimo atto
Chi solfre, speri*
e un vero capolavoro per nobildt d' espressione e 27 Febrttary. Rome, Pal. Barberini
per grandiosita di disegno" (F. Vatielli in R.M.l., Text by G. Rospigliosi (the future Pope Cle-
Vol. XLIII, 1939). ment IX). Co media musieale, prologue and 3 acts.
The first comic opera. MS score cxtant (only
SACRA TI: La Delia 0 sia La Sera one copy known, in the Biblioteca Vaticana,
Sposa deI Sole Rome). Libretto not printed (but preserved in
Before 20 January. Venice, SS.G. e P. MS). Only an Argomento et allegoria of the opera

Text by G. Strozzi (Poema dramatieo, first set to was published in 1639 (copy in the Library of
music by F. Manelli, Bologna 1630). Three acts. Congress, Washington).
W ritten for the opening of the second Venetian According to A. Salza (R.M.l., Vol.XIV, P.477)
opera-house, the Teatro Grimani dei Santi Gio- Chi soffre, speri possibly is an enlarged version of
vanni e PaoIo. From a note in the libretto it an earlier opera called Il Faleone, and produced at
appears that the production must have preceded the same theatre towards the end of 1637.
the date of the dcdication (20 January). For use Mazarin and Milton werc amongst the iIIus-
at the actual performance, a scenario was printed trious guests who witnessed the birth of comic
in which, by the way, Manelli, and not Sacrati, opera. Milton alludes to the performance in a
was indicated as the composer. The libretto was letter to Lucas Hoistenius, dated Florence, 30
reprinted in 1644 (which points to a possible re- March 1639.
vival in that year). The music is lost, Iike the rest See further, U. Rolandi in Nuova Antologia.
of Sacrati's operas. Oetober 1927. Parts of the music were published
Also given at Milan 1647 by the Accademici by H. Goldschmidt in 1901.
Febiarmonici.
MONTEVERDI: L'Adone
CAVALLI: Le Nozze di Teti e di Peleo
[21 Deeember]. Veniee, SS.G. e P.
[24}anuary]. Venice, S. Cass.
Text by P. Vendramin (Tragedia musieale).
Text by O. Persiani (Opera seeniea). Prologue and founded on the poem by G. B. Marini. Prologue
3 acts.
and 5 acts.
Cavalli's first opera. The first Venetian opera
The first opera Monteverdi-then aged 72-
the music of which has been preserved (in the
wrote for a public theatre. Very suceessful. given
Contarini collection, Biblioteca di S. Marco,
during the whole Carnival of 1640 and repeated
Venice; see note on Pallavicino, 1679). in the autumn of that year. The music is lost.
The music has been attributed to Monteverdi
B. FERRARI: L'Armida by all older and most modern historians, from
February. Venice, SS.G. e P. Bonlini (1730) to Prunieres (1926) and Malipiero
Text by the composer (after Tasso). Prologue and (1929). Yet it should be mentioned that the opera
3 acts. is most definitely ascribed to Manelli by some

17 18
 ANNALS OF OPERA

authorities. notably by G. Radiciotti (in the bib- SACRATI: Lafinta Pazza

liography of Manelli's works, contained in bis
L'Arte musicale in Tivoli, 1921) and by P. Came- [14]anuary]. Venice, T. Novissimo
rini in Piazzola (1925), p.339. Text by G. Strozzi Prologue and 3 acts'
As a matter of fact, Monteverdi's name is not No connection with La jinta Pazza Licori,
mentioned in the original libretto which contains, another librerto by Strozzi, set to music by Mon-
on the other hand, a dedication by Manelli to teverdi in 1627. Sacrati's opera was written for
Antonio Grimani (the proprietor of the theatre) the opening of the fourth Venetian opera-house
and a letter by the librettist Vendramin to Manelli. ("Teatro Novissimo"); it was very successful
The question would be of major importance if there (performed 12 times in 17 days) and was
the music were extant. perhaps revived at the same theatre in 1644 (as
the libretto was reprinted in that year). It was also
given at Piacenza 1644; Bologna 1647; Genoa
1647; Milan 1662.
1640
La jinta Pazza was also one of the first Italian
CAVALLI: cli Amori di Apollo operas ever performed in Paris (at the Salle du
Petit Bourbon 14 December 1645). Strictly
e di Dafne
speaking, it was the second, having been preceded
Carnival. Venice, S. Cass. by an unknown Italian opera, performed at the
Text by G. F. Busenello (rappresentati in musica). Palais Royal in February or March of the same
Prologue and 3 acts. year 1645, as we know from a letter written by
Cavalli's second opera. Revived Venice, SS. G. the singer Atto Melani (the brother of the com-
et P., Carnival 1647. Score preserved. The libretto poser Jacopo Melani) to his protector Prince
was printed (reprintedl) in 1656. Mattias de'Medici.
Ademollo who first published that letter (in his
I primi Fasti della Musica italiana a Parigi, 1884)
B. FERRARI: Il Pastor regio
suggested that the unknown opera, mentioned by
[23]anuary]. Venice, S. Moise Melani, might have been La jinta pazza; conse-
Text by the composer (dramma ... rappresentato quently the date of 25 February 1645 for the
in musica). Prologue and 3 acts. . Paris production of Sacrati's opera is given in
Ferrari's second opera. Music lost. Also given many books of reference.
at Bologna [18 May] 1641; Genoa (indicated by In 1913 H. Prunieres published his L'Opera Ita-
Allacci without date); Piacenza 15 April 1646; lien en France avant Lulli in which he demon-
Milan 1646. strated that it must have been a different work
which was produced in Paris in Carnival 1645.
But, on his part, Prunieres conjectured that the
164 1 unknown opera was Nicandro e Fileno (by Loren-
CAVALLI: La Didone* zani, see 1681), the music of which, discovered by
Prunieres hirnself some years later, he attributed
Carnival. Venice, S. Cass. to Marazzoli. And, although Prunieres corrected
Text by G. F. Busenello (opera rappresentata in hirnself (Revue Musicale, August 1922), his con-
musica). Prologue and 3 acts' jecture left its traces in many books published not
Text printed as laie as 1656 (separately, and in only between 1913 and 1922 but also later (as in
Busenello's Ore ociose); in 1641 only an Argo- E. J. Dent's Foundations of English Opera, 1928,
mento e scenario was published. One of Cavalli' s P.45). We still do not know which ltalian opera
more important works. Score preserved. actually was performed in Paris in February 1645.

19 20
 ANNALS OF OPERA 1642

We may assume that, when H. Kretzschmar in found in MS copies of the score, viz. I1 Palagio
Jahrbuch der Musik-Bibliothek Peters, 1903, p.82, d'Atlante,' overo La Guerriera amante (Bologna
expressly rectifies a "mistake" ofGrimm's (which score) and 11 Palazzo incantato (Rome score).
is no mistake but perfectly correct), he was a The opera seems to have been revived at Pesaro
. victim of the same confusion. about 1670. Extracts from the music were pub-
lished by H. Goldschmidt in 1901.
MONTEVERDI: Il Ritorno d'Ulisse
in Patria* MONTEVERDI: L'Incoronatione*
February. Venice, S. Cass. di Poppea
Text by G. Badoaro. Prologue and 5 acts. Autll/lln. Venice, SS.G. e P.
Of this opera only a scenario was printed' in Text by G. F. Busenello (opera musicale). Prologue
1641; a MS of the libretto is in the Biblioteca di and 3 acts.
S. Marco, Venice, a MS of the score in the Na- Monteverdi's last opera. Revived at Venice,
tional-Bibliothek, Vienna. (The authenticity of 55. G. e P. Carnival 1646; given at Naples 1651
the latter has been doubted by some authorities.) (as II Nerolle overo L'incoronatione di Poppea), by
The score was published in 1923 (in Denkmäler the company of "I Febi Armonici" as one of the
der Tonkullst in Österreich, edited by R. Haas). earliest 0peras there, if not the first.
From some differences between the Venice lib- Libretto printed in 1651 (at Naples) and 1656 .
retto and the Vienna score (which is in 3 acts) it (in Busenello's are ociose). For the Venice pro-
would appear that the opera was altered for a ductions in 1642 and 1646 only scenarios were
Vienna production; but there is no evidence to printed.
show that a performance at Vienna actually took From the MS score at the Biblioteca di San
place. Marco, Venice, the music was published by H.
The opera was revived in concert form at the Goldschmidt in 1904 (in Vol. II of Studien zur
Institut des Hautes Etudes, Brussels 9 January Geschichte der italienischen Oper im 17. Jahrhundert) ..
1925 (fragments only; French version by C. van The Naples score has also been preserved. A fac-
den Borren) ; on the stage: Paris, Petite Scene 16 simile edition of the Venice score was published
May 1925 (French version by X. de Courville, in 1938 (edited by G. Benvenuti).
reduced to 3 acts, music adapted and re-scored by L' Incoronatiolle di Poppea is the first opera on a
Vincent d'Indy); and, once more, in concert form, historical (instead of mythological, biblical, or
by the Schola Canto rum Paris 25 February 1927. poetical) subject. It has been revived frequently in
In London the work was broadcast 16 January recent times, first in concert form, by the Schola
1928 (English version by D. M. Craig). Cantorum, Paris, 24 February 1905 (music ar-
ranged by V. d'Indy); at the Institut des Hautes
Etudes, Brussels February 1922 (in Italian).
16 42 Stage productions took place at:
PARIS, TH. DES ARTS 5 February 1913 (in French).
L UlGI ROSSI: Palazzo d'Atlante
NORTHAMPTON, MASS., SMITH COLLEGE 27 April
incantato 1926.
22 Febrllary. Rome, Pal. Barberini BUENOS AIRES 9 August 1927 (d'Indy's version)
Text by G. Rospigliosi (the future Pope Clement and 7 August 1938 (Benvenuti's version).
IX). Three acts. OXFORD, UNIVERSITY OPERA CLUB 6 pecember
Apparently no libretto was printed. The above 1927 (in English, translated by R. L. Stuart).
title is taken from a MS copy of the text (Biblio- NEW YORK, JUILLIARD SCHOOL OF MUSIC 23 Feb-
teca Naziollale, Florence). Different titles are to be ruary 1933 (in Italian).

21 22
 ANNALS OF OPERA

PLOJlENCE, GlARDINO BOBOLI 3 June 1937 (music the music, for voices and thorough has~. It was
arranged by G. Benvenuti). reprinted, in vocal score, by R. Eitner in 1881
VlENNA, v.o. 25 September 1937 (in German, (in Vol. :xm of Monatshefte für Musik-Geschichte).
translated and orchestrated by E. IUenek). In a note, Harsdörffer alludes to a performance
PARIS, O.C. 23 December 1937 (in French, trans- (which presumably took place at some private
lated by C. van den Borren); this version had house at Nuremberg). There are records of pro-
previously been heard at Brussels April 1923 ductions at W olfenbüttel in 1654 and at Augsburg
(fragments only, in concert form, orchestrated as late as 1698 (see Die Musik, m, P.345). Revivals
by R. Moulaert). took place at Cologne in 1912 (arranged by R.
Schulz-Dornburg) and at Gera in 1924.
As the music of Schütz's Daphne (see 1627) is
1643 lost, Seelewig is regarded as the firn extant
CAVALLI: L'Egisto* example of German opera. The first German
opera preserved in fUll score dates only from 1671
Autumn. Venice, s. Cass. (q.v.).
Text by G. Faustini (Favola dramatica musicale).
Prologue aIl;d 3 acts.
Also given at Rome 1643 (at the French Am- 1645
bassador's); Genoa 1645; Paris February 1040; ROVETT A: Ercole in Lidia
Florence [27 May] 1646; Bologna, T. Forrnagliari
Carnival. Venice, T. Novissimo
1647 (revived 1659); perhaps also Naples 1651
(unrecorded reprint of the libretto, published Text by M. Bisaccioni. Proiogue and 3 acts.
Venice and Naples 1651, in the British Museum). The first and probably the only produced opera
Libretto also reprinted Florence 1667; Modena of Rovetta, who in 1643 had succeeded Monte-
1667· verdi as maestro di cappella of S. Marco, Venice.
It has been stated by various authors that Ca- (He himself was succeeded by Cavalli in 1668.)
valli wrote this opera for the Vienna court and John Evelyn attended a performance of this opera
that it was produced there in 1642. Apart from (see his Diary, Bray's edition, I, P.204). Music
the fact that the autograph score of L'Egisto is in lost.
the Vienna National-Bibliothek, there is no evi-
dence to show that the opera was produced there COLONNA: La Proserpina rapita
at all, let alone earlier than at Vemce. Cavalli's 5 January. Rome, Pal. Gallicano
7th opera and the first he wrote for soloists only. Text \,y O. Castelli. Prologue and five acts.
He used the chorus again in his Ercole amante, A MS score of this opera was discovered in the
1662. Royal Music Library, British Museum, and iden-
tified by W. Barclay Squire (see his paper An
1644 Opera under Innocent x, in Gedenkboek ••• Dr. D.
F. Scheurleer, 1925).
STADEN: Seelewig John Evelyn was present at a revival on 8 April
?? Nw-emberg 1645, and mentions the performance in his Diary
Text by G. P. Harsdörffer. Prologue and 3 acts. (Bray's edition, I, p.I77). Of the libretto no copy
The full tide reads: Das Geistliche Waldgedicht, seems to have been traced yet.
oder Freudenspiel, genant Seelewig, Gesangsweis auf "The whole work is not a masterpiece, but so
Italienische Art gesetzet. Published in Harsdörffer's few operas of the Roman School of the period
Frauenzimmer Gesprechspiele (8 vols., 1641-1649), have survived that its recovery is of considerable
Vol. IV (1644), first the text, and on pp.48g-Q22 musical interest" (W. B. Squire).

23 24
 ANNALS OF OPERA

take place owing to Pope Innocent XI'S dislike of

16 47
theatrical entertainments. The libretto, however,
LUIGI ROSSI: L'OrfeO* was printed beforehand (copies in the Conserva-
2 March. Paris, Palais Royal toire, Brusscls, and in the British Museum).
,Sonneck, in his note on the Rome 1671 edition of
Text by F. Buti (tragieomcdia per musica). Prologue
Giasollc (Was~gton Catalogue, P.557), misin-
and 3 acts.
terprets Wotquenne' s re mark (Brussels Cata-
The libretto was not printed ; a manuscript of
logue, P.78); it was the 1676, not the 1671, revival
it is in the Biblioteca Barberini, Rome. Only an
which was prohibited (Innocent XI was not
"abrcg{\" in French, was published in 1647. The
elected until 1676).
score was discovered by RomainRolJand in the
The music of Giasonc has been preserved; parts
Biblioteca Chigi, Rome, in 1RR8, and parts of the
of it were published by Eitner in Vol. XII of
music were printed in H. Goldschmidt' s Studien
Pllblikationcll der Gesellschaft für Musikforschutlg
zur Geschichte der italic/lisdlclI Opcr im 17. jahr-
(188 3).
hundert (1901).
Not the first Italian opera produced at Paris,
but the first which was commissioned and ex- CESTI: Orontea*
pressly written for the French capital. The dates [20 ja/wary]. Venice, SS. Apostoli
of 26 February or 3 March (given in some books Text by G. A. Cicognini (drama musicaTe). Pro-
of reference) are to be rectified. See further, H. logue and 3 acts.
Prunicres, L'Oplra eil FraIlee QI'a/l( LI/lli (1913), Cesti' s first opera. W ritten for the inauguration
pp.8~150. of the short-lived Teatro dei Santi Apostoli
(which was the fifth Venetian opera-house). Very
successful in !taly and one of the earliest Italian
1649
operas to be given in Germany. Revived at Ven-
CAVALLI: Giasone* ice, SS.G. e P. [10 January] 1666 and Carnival
[5 janllary]. Venice, S. Cass. 1683. Outside Venice produced at Genoa 1660;
Turin 1662; Milan 1662 and 1664; Ferrara 1663;
Text by G. A. Cicognini (dralllllla lIlusieale).
Macerata [22June] 1665; Bologna 1665 and 1669;
Prologue and 3 acts.
Palermo 1667; Lucca Carnival 1668; Naples pri-
Cavalli's most successful work; the libretto
vately 1674 ("musica rinnovata" perhaps at the
had to be reprinted at V cnice three times in the
Princess of Avcllino's, by the "Filomolpi");
course of two years, and there were further edi-
Reggio 1674; Hanover February 1678 (probably
tions in 1654, 1664, and 1666. Giasonc was sub-
first opera there, text revised); Wolfenbüttel
sequently given at Milan 1650; Florence 1650;
August 1686.
Bologna December 1651; Naples 1653; Rome
There must have been other productions be-
1654; Piacenza 1655; Palermo 1655; Vicenza
tween 1649 and 1662, as in the Tuhn libretto is
1658; Ferrara 1659; Viterbo 1659; Genoa 1661;
an allusion to the successful vogue of Orontea in
Ancona December 1664; Siena 1666 (altered);
all parts of !taly.
Brescia 1667.
(For a French adaptation of the libretto, see
There were revivals at Florence 1651, 1656,
1688.)
1658, 1662 and 1680; Naples 1661, 1667 and 1672;
Milan 1662; Venice, S. Cass. 23 February 1666;
Rome, Tord. 24 January 1671 (as Ilnovcllo Gia-
LEARDINI: La Psiehe
sone, with a new prologue and other additions by September. Mantua
A. Stradella); and Bologna 1673. Alast revival at Text by D. Gabrielli (tragicomedia rappresentata ;'1
Rome in 1676 according to Ademollo did not musica). Prologue and 5 aets.
25
 ANNALS OF OPERA 1650-51
Written for the wedding of Charles n, Duke See R. Haas in Zeitschrift für Musikwissenschaft,
of Mantua, with Isabella Clara, Archduchess of Vol. m (1920-21), P.385, and Vol. v (1922-23),
Austria. Score preserved. p.63 ; and H. Liebrecht in Le Flambeau, December
192 1.

16 50 16 5 1
DASSOUCY: Andromede CAVALLI: L'Oristeo
February. Paris, Petit Bourbon Carnival. Venice, S. Apollinare
Text by P. Corneille. Prologue atid 5 acts. Text by G. Faustini (drama per musica). Prologue
This Tragedie Representle avec les Machines ••. and 3 acts.
may be and has been regarded as a forerunner . W ritten for the inauguration of the short-lived
ofFrench opera. The music, it is true, plays but a Teatro Sant' Apollinare which was the sixth Ve-
sub ordinate part in the play; there are some airs netian opera-house.
and duets and several choruses. In a letter written Revived Bologna [2 January] 1656 as L'Oristeo
in 1672, Dassoucy claims: "11 scait que c'est moi travestito, altered (per cosl dire, mascherato); ac-
qul ay donne !'ame aux vers de l'Andromede de cording to Allacci with intermezzi by Niccolo
Mr. de Corneille." Only fragments of the music Zoppio Turchi, but they do not appear in the
are extant. Andromede was revived at the Come- Bologna libretto as described by Sonneck; Per-
die-Franr;:aise 19 July 1682, with new music by haps he was responsible for the numerous alter-
Charpentier. A Dutch translation by F. Ryk was ations.
published in 1699.
See J. Carlez, Pierre et Thomas Corneille, Libret- CAVALLI: Alessandro Vincitor
tistes (1881), pp.8-16; H. Prunieres in his L'Opba di se Stesso
italien en France avant Lulli (1913) and in Revue
[20 January]. Venice, sS.G. e P.
Musicale, 1937-39 ("Les Aventures de M. Das-
soucy"). Prunieres mentions another early op- Text by F. Sbarra (dramma musicale). Prologue
eratic attempt by the same composer, a pastoral and 3 acts.
play Les Amours d'Apollon et de Daphne, of which One ofCavalli's more successful works. Given
Dassoucy also wrote the words. The text was at:
fLORENCE [15 January] 1653 (libretto British Mu-
printed in 1650, but there is no record of a per-
formance. . seum; 15 January 1653 is the date of dedica-
tion; imprint 1654)
BOLOGNA 1655
ZAMPONI: Ulisse all'Isola di Circe

I
MUNICH 28 February 1658
(probably Cavalli's
24 February. Brussels MILAN 1659
setting)
Text probably by A. Amalteo (who signed the NAPLES [80ctober] 1662
dedicatory poem in the libretto). Prologue, 3 acts As hardly any of the above-mentioned librettos
and licenza. have the name of the composer, it should be
First opera ever produced at Brussels, cele- mentioned that there exists a second setting by
brating the wedding ofPhilip IV, King of Spain, Cesti and Bigongiari (see Sonneck's Catalogue,
with the Archduchess Maria Anna of Austria. p.56), produced at Lucca 3 February 1654. This
Repeated at Brussels 4 February 1655 in honour Lucca edition is remarkable as a very early
of a visit of Queen Christina of Sweden. Libretto instance of a libretto with a printed cast. A new
printed in 1650 (copy at Dresden). Score pre- edition (quarta impressione), Rome 1664 (see Wot-
served (at Vienna). quenne's Catalogue p.Il) was printed for reading

27
 ANNALS OF OPERA

purposes rather than for an actual revival, as it (in 1683 according to Allacci; but also earlier, in
retains the Lucca cast; so was the Bologna edition 1673, as a copy in the British Museum proves).
of 1683, mentioned by Allaci. Libretto also published Genoa 1653.

r652 MARAZZOLI and ABBATINI:

Dal Male il Bene*
BERT All: Theti
Abotlt july. Rome, Pa!. Barberini
March. Mantua Text by G. Rospigliosi (the future Pope Clement
Text by D. Gabrielli (Favola dramatica). Prologue IX). Dramma musicale. Prologue and 3 acts. First
and 5 acts. and third act composed by Abbatini, second act
Produced to cclebrate the arrival of the Arch- by Marazzoli.
duke Ferdinand Carl and his consort Anna de'Me- Libretto not printed. Music extant (partly pub-
dici on their visit to Italy. Revived Vienna 13 lished by H. Goldschmidt in 1901). Produced at
July 16 56 . the wedding of Maffeo Barberini, Prince of Pa-
One of the few operas of Bertali, the music of lestrina, with Olimpia Giustiniani.
which is extant. Bertali had been appointed court
conductor at Vienna in 1649 (succeeding Gio-
vanni Valentini), and as opera performances
began at Vienna about that year, he is the first r654
holder of that important post with whom we
CAVALLI: Xerse
have to dea!. Fclice Sances became his successor
in 1669 (q.v.). [12jalluaryJ. Venice, SS.G. e P.
Text by N. Minato. Prologue and 3 acts.
One of Cavalli's most cclebrated works. Given
r653 at Genoa 1656; Naples 1657; revived at Venice
BE R T All: L' Inganno d' Amore 1657 (with new prologue, intermezzi and other
additions); Bologna 1657 (with alterations); Pa-
[20 Febn/ary]. Regensburg
lermo 1658 (first opera ever produced there; with
Text by B. Ferrari. Prologue and 3 acts.
alterations and comic intermezzi); Verona 1665
Besides the Italian libretto, a German argument
and Milan 1665 (altered by C. Righenzi).
[nnhalt und Verfassung der Comoedi VOll Liebs Betrug
In Italian also given at Paris 22 November 1660
was published in 1653.
(at the Grande Galerie du Louvre, celebrating the
One of the earliest Italian opcras performed in
wedding of Louis XIV and Maria Theresa of
Germany. It was dedicated to the Emperor Fer-
Austria; Lully p~ovided the airs de ballet for this
dinand III and produced at the Imperial Diet.
production).
Music lost.

CA V ALLI: L'Orione CA V ALLI: 11 Ciro

[15june]. Milan, T.R.D. [30 january]. Venice, SS.G. e P.
Text by F. Mclosio. Prologue and 3 acts. Text by G. C. Sorentino (according to the pre-
The first opera Cavalli was commissioned to face earlier given at Naples with music by some
write for a town other than Venice (to celebrate other, unknown, composer). Prologue and 3 acts.
the clection of Ferdinand IV as King of the According to the preface, Cavalli composed
Romans). only those parts of the music made necessary by
The opera does not sec m to have been revived the textual alterations per accotllodarsi al costume of
at Vcnice, although the text was reprinted there Venice.

29 3°
 ANNALS OF OPERA 1654-55
Also given at Genoa 1654; revived Venice, SS. The first extant example of an opera by a
G. e P. [4 February] 1665 (with additional music Neapolitan composer, though possibly some of
by A. Mattioli); Bologna Camival 1666 (within- Cesti's music was retained. The libretto published
termezzi by G. P. Cremata) and 1671; Modena in 1654 says the work was "arricchita di nuova
1675; Perugia 1678; Pistoia 1697. musica da Francesco Cirillo". For an analysis of
The prologue was published by E. Wellesz in the score see N. d'Arienzo's Deli' opera comica
1913 (Vol. I of Studien zur Musikwissenschaft). dalle origini a G. B. Pergolesi (1887). It is not
known whether the opera was produced at the
Teatro S. Bartolomeo, at the Royal Palace, or
CAPRQLI: Le Nozze di PeIeo elsewhere.
e di Theti
14 April. Paris, Petit Bourbon
Text by F. Buri. Prologue and 3 acts. 16 55
After Rossi's Orfeo (see 1647), this was the CAVALLI: L'Eris~ena*
second ltalian opera commissioned and written
January. Venice, Sant'Apollinare
expressly for Paris. Libretto printed in 1654- Of
the music only the airs de ballet are extant Text by A. Aureli. Prologue and 3 acts.
(whether they were composed by Caproli, or Revised Venice, S. Salv. [13 February] 1670
rather by some French composer, is an open (with alterations and without the prologue). Also
question). given at Bologna, T. Formagliari 1661 and re-
"L'Orfeo avait ete un veritable opera; les bal- vived there 1668; Florence 1661; Milan [II Feh-
lets qui s'y trouvaient n'avaient qu'un role en ruary] 1661; Genoa 1666; Lucca Carnival 1668;
quelque sorte decoratif et etaient danses par des Forli 1673 (with added intermezzi); and Brescia
professionels. Au contraire dans Le Nozze la fu- (undated libretto printed).
sion de l'opera italien et du ballet de Cour fran~ais The scores ofboth the 1655 and the 1670 ver-'
est aussi complete que possible. Le ballet, au lieu sions are extant.
de se suffire alui-meme, tire sa raison d'etrede la
comedie et celle-ci fait participer le balletar ac- LA G UERRE: Le Triomphe de l' Amour
tion dramatique" (Prunieres). sur des Bergers et Bergeres
Buti's text seems to be the earliest ltalian 22 January. Paris, Louvre
libretto which was translated into English, as
Text by C. de Beys. One act.
"The Nuptials 0/ Peleus and Thetis. A new ltalian
Libretto printed 1654 (copy Bibl. Mazarine,
Comedy, whence the preceding Mask was ex-
Paris) and again c.1661-62 (copy Bibl. Nat.,
tracted; Made English by a nearer adherence to
Paris). Called in the second edition Pastorale • ..
the Original, than to the French Translation,"
mise en musique.
1654. The translator was James Howell, Historie-
Publicly rehearsed 15 December 1654, first per-
grapher Royal to Charles ll. (In the British
formed at the Louvre 22 January 1655, probably
Museum catalogued, with a question-mark, as a
in concert form.
translation of D. Gabrielli's 5-act Theti text, see
Repeated, as indicated in the second edition,
1652.)
26 March 1657 "Devant Leurs Majestez" with
some alterations and, this time, probably with
CIRILLO: L'Orontea Regina di Egitto scenery.
77. Naples In a dedicatory letter to Louis XIV (in his
Cicognini's text (first composed by Cesti, see Oeuvres en vers de divers Autheurs ..., c.1662) La.
1649). Three acts. Guerre says: "Il y a quelques annees qu' ayant eu

31 32
16 55-5 6 ANNALS OF OPERA

l'honneur de faire reprcsenter devant Votre Ma- the same year, 1656. Last opera produced at the
jeste une Comedie franrraise en Musique, intitulce the Barberini Theatre, in honour of Queen
Le Triomphe de I' Amour, Elle tcmoigna ne pas Christina of Sweden, to whom the score (Dramma
desagreer tout a fait la nouveaute de cette Piece, musiealc) is dedicated. It was printed in 1658, apart
dont j'avois invente la manicre et qui est en effet from Bontempi's ParMe (see 1662), the last Italian
le premier ouvrage de cette sorte ql1i ait jamais opera of the 17th century which was published.
paru en ce Royaume . . . . " Four years later, It is only about 100 years later that we find
exactly the same claim was made by Perrin and printed scores of Italian operas again. (See the
Cambert (see 1659). astonishingly small list compiled by O. G. T.
The discovery of this earliest example of French Sonneck in his Misecl/allcous Studies ill the History
opera is due to H. Quittard (La premiere eomedie oJ Musie, 1921, pp.30S-7.) While printed scores
franraise etI musique, in Bulletin Franfais de la S.I.M., of Italian operas are an exception, they are the
April and May, 1908). rule with French operas; nearly all of them were
The music, like that of Cambert's Pastorale (see published, until 1775 almost exelusively by the
1659) seems to be lost. firm of Ballard.

CESTI: L'Argia LOCKE and others: The Siege

4 NOl'ember. Innsbruck
ofRhodes
Text by A. Apolloni (dramma I11l1sieale). Prologue
and 3 acts. September. London, Rutland House
Produced at Innsbruck in the presenceofQl1een Text by W. D'Avenant. ("Made a Representa-
Christina ofSweden, in honour ofher conversion tion by the Art ofProspective in Scenes, And the
to Catholicism. Also given at Rome 1657 and 1661 Story sung in Recitative Musick. At the back
(libretto published; produced?); Naples 1667; part of Rutland-House in the u pper end ofAlders-
Venice, S. Salv. [13 January] 1669 (altered and gate-Street.") Five entries.
without the prologue); Milan [20 February] Libretto printed in 1656 (dedication dated
1669; Siena 1670 (first opera there); Genoa and 17{27 August). From D'Avenant's preface we
Reggio 1671; Udine 1673. For an account of the learn that "The Musick was compos'd and both
Innsbruck production see A. SandbergerinSt'ellsk the Vocal and Instrumental is exercis'd by the
Tidskrifi Jör Musikforskl1illg, 1924. most transcendent of England in that Art, and
perhaps not unequal to the best Masters abroad;
but being Recitative, and therefore unpractis' d
here; though of great reputation amongst other
Nations, the very attempt of it is an obligation
MARAZZOLI: La Vita umana ovvero to our own."
Il Trionfo dclla Pieta At the end of the libretto, the composers are
JIJanuary. Rome, Pa!. Barberini enumerated as folio ws:
Text probably by J. Rospigliosi. Prologue and The Composition ofVocalMusick was perform' d
3 acts.
The libretto (published in 1656 as Il TriollJo
'f First Entry
Second Entry
Mr. Henry Lawes
Capt. Henry Cook
del/a Pieta) has been attribl1ted to Giulio Rospi-
gliosi, the future Pope Clement IX. That it was
t
The Third Entry
Fourth Entry
by Capt. Henry Cook
Mr. Matthew Lock
written by his nephew Jacopo, appears from the Fifth Entry Mr. Henry Lawes
Historia •.• di Christilla ... di Svetia, by Gualdo The Instrumental Musick was compos'd by
Priorato Conte Goleazzo, published at Rome in br. Charles Coleman, and Mr. George Hudson.

33 34
 ANNALS OF OPERA

The text was reprinted in 1659, and again in

1663 and 1670, followed by a second patt, "as
16 57
they were lately (probably 28 June/8 July 1661, P. A. ZIANI: Le Fortune di Rodope,
first part, and 29 June/9 July, second patt; cf. e di Damira
Pepys, 2 July 1661) represented at His Highness Carnival. Venice, S. Apollinare
the Duke of York's Thearre in Lincolns-Inn
Text by A. Aureli. Prologue and 3 acts.
Fields". In the 1663 edition no composers are
Ziani's first extant opera and one of his best
mentioned.
works. Also given at Bologna Carnival 1658 (re-
The Siege of Rhodes is righdy to be claimed as
vived 1670): Milan 1660; Leghorn [15 May]
the first English opera. It was regarded as such as
1661; Turin 1662 (as one .of the first operas ever
early as 1695, in the preface to The Fairy-Queen
given there); Fertara 1662; Palermol66g; Reggio
(see 1695): "That Sir William Davenant's Siege
1674-
of Rhodes was the first Opera we ever had in Eng-
This was the only opera produced at Venice in
land, no Man can deny; and is indeed a perfect
16S7 and the last which was given at the T. S.
Opera...."
Apollinare.
The music of The Siege of Rhodes unfortunately
seerns to be lost. KBRLL: L'Oronte
February. Munich
MELANI: 11 Potesta di Colognole* Text by G. G. Alcaini. Prologue and 3 acts.
c.26 December. Florence, P. Written for the inauguration of the first Mu-
Text by G. A. Moniglia (Dramma Civile Rusti- nich opera-house. Music lost, like the rest of
cale). Three acts. Kerll's ltalian operas.
Written for the inauguration ot the "Tearro The building of the first Munich opera-house
degli Immobili in Via della Pergola," Florence. was pulled down in 1802. Later opera-houses were
Original libretto in the Rolandi collection, the Residenz-Theater (opened with Ferradini's
Rome. The score in the Biblioteca Chigi, Rome Catone in Utica, see 1753) and the Hof- und Natio-
(discovered by Rolland), has the tide La Tancia naltheater (opened I2. October 1818, bumtdown
overo n Podest4di Colognole. 14 January 1823, re-opened 2 January 1825).
The text was reprinted in 1689 in Moniglia's
Poesie Dramatiehe. In the pretace to this edition J. J. LOEWE?: Amelinde
Moniglia state5 that the opera was repeated at 20 April. Brunswick
Florence (Tearro de' sS. Accadernici Infuocati) Text by Anton Ulrich, Duke of Brunswick
in honour of the Archduke Ferdinand Carl of (Singe-Spiel). Prologue, 5 acts, and epilogue.
Austria, and that it was performed also· at Bo- The full tide reads: Amelinde, Oder: Dy trium-
logna, Pisa and in other towns of Tuscany. phirende Seele, Wy sy nach vielerley versuchenden
The revival at Florence was in Autumn 1661 Anfechtungen überwindet, und Göttlicher Gnade
(dedication dated 6 October 1661), the pro duc- fähig wird. Of this early German opera only the
tion at Bologna in 1673 (according to Allacci). libretto is extant. The music probably was by
No Pisa nor any other edition recorded by Allacci. Loewe.
Contains a parody of the incantation scene in
Cavalli's Giasone (published in Atti deli' Ace. del 16 5 8
R. Ist. Musicale di Firenze, xxxm (1895), Suppl.
nO.3). See for an analysis of the opera, H. Gold-
LUCCIO: 11 Medoro
schrnidt's Studien zur Geschichte der italienischen [u]anuary]. Venice, sS.G. e P.
Oper im 17.]ahrhundert (1901), where also parts Text by A. Aureli (founded on an episode in
of the music are reprinted. Ariosto's Orlando furioso). ProJogue and 3 acts.

35
 ANNALS OF OPERA

The last of Luccio's four operas and the only The text was first printed in 1659 (p"rmissioll
one which is extant (MS score at Venice; airs d'imprimer dated 16 March) and again in 1661 (see
printed). above).
Kretzschmar calls attention to the ove.rture and The PastoraTe d'/ssy, as it is commonly called,
to the ghost-raising scene of this opera. was for a long time regarded as the first French
(The name of the composer appears in different opera until Henry Quittard pointed out the
publications as Luzzo, Lucio, or Luccio. The priority of La Gllerre's Le Triomphe de ['Amour
works listed by Eitner, VI, PP.237 and 2SR, belong (see 1655).
to one and the same composer.)
MARI ANI: Amore vuol Gioventu
CA V ALL!: L' Hipermestra 11. Viterbo
18 J'IIIe. Florence, P. Text by L. Cortesi (Scherzo drall/matico). Three
Text by G. A. Moniglia. Prologue and 3 acts. acts.
W ritten to cclebrate the blrth of the Infante of Also given at Bologna 1664. Of this early
Spain, son of King Philip IV. This was the third comic opera (three characters only) no libretto
opera performed at the Teatro della Pergola. seems to be known. The score has been preserved
In the preface to the libretto Cavalli is called in the Biblioteca di S. Marco, Venice.
"egli che viene oggi reputato il primo composi-
tore d'Italia, particolarmente sopra 10 stile dram- J. J. LOEWE: Orpheus aus Thracien
matico". The libretto was reprinted at Bologna
30 August. W olfenbüttel
in the same year.
Text by Anton Ulrich, Duke ofBrunswick (Tra-
gisches Gedicht). Prologue and 3 acts.
I659 The music of this second opera of Loewe (c(
1657) is also lost.
CAMBERT: Pastorale Only the libretto is extant, the full title of
April. Issy which reads: Orpheus aus Thraden, Der Galliope
Text by P. Perrin. Five acts. u"d des Apollinis Solm, wie er seine Euryt/ice nach
The full title reads: "Premiere Comedie Fran- ihrem Tode utlter der Erden gesl/chet, gefunden, und
c;oise en Musique, Representce en France. Pasto- wieder verTohre", auch selbst elendiglich umbkommen.
rale. Mise en Musique par MonsieurCamber.... "
First produced privately at M. de la Haye's at Issy,
near Paris (the house is now the Scminaire de I660
Saint-Sulpice), and after eight or ten perform-
P. A. ZIANI: L'Antigona de/usa
ances there also given at Vincennes before Louis
XIV (still in April 1659), on Mazarin's suggestion.
da Alceste
Perrin gives a detailed account of the PastoraTe [15 Jalwary]. Venice, SS.G. e P.
and its production in a letter to the Archbishop Text by A. Aureli tdrama per musica). Prologue
of Turin, dated 30 April 1659, which he printed and 3 acts'
as apreface to a new edition of the libretto in his One ofthe older Ziani's most successful operas.
Les Oeuvres de Poesie (Paris 1661). The letter has Given at Bologna 1661; Milan [15 April] 1662;
been reprinted in Pougin's Les t'rais Greateurs de Naples 1669; Venice, S. Salv. Carnival 1670 (re-
l'Opera franfais (1881). It is a very interesting vived); Hanover February 1679 (as L'ATceste, text
document and of high importance for the early revised by O. Mauro, with additional music by
history of French opera. M. Trento) andJune 1681 (with a new prologue
The music of this, Cambert' s first opera, is lost. by Valente, music by P. A. Fiocco).

37 38
1660-61 ANNALS OF OPERA 1661-62

HIDALGO: Celos aun del Ayre matan 1663 (revived SS.G. e P. [16 January] 1667, with
5 December. Madrid, Buen Retiro the sub-title Lo Schiavo reggio, and again in
Carnival 1671); Ferrara 1663; Vienna 1664 (cele-
Text by P. Calderon de la Barca (Festa . .. Can-
braring the peace with the Turks); Macerata
tada). Three acts.
27 January 1665 (first opera there); Lucca Car-
The libretto appears to have been first printed
nival 1665; Parma 1665; Bologna 1667 and
in 1662. The earliest Spanish opera (on the sub-
Carnival 1672; Reggio 1668~ Florence 1670;
ject of Cephalus and Procris; the title means
Rome, Tord. 31 December 1671 (with a new
"Jealousy, even of air, is deadly") which has been
prologue and other additions by A. Stradella);
partly preserved. Themusic of the first act ("Pri-
Mantua 1672 (as 11 regio Schiavo); Naples, Pal.
mera Jomada"), for voices and bass, was dis-
Reale 6 November 1675 (revived S.B. 23 De-
covered by J. Subid in the musicallibrary at the
cember 1688, with a prologue and other addi-
Duke of Alba' s palace (Biblioteca del Palacio de
tions, partly by A. Scarlatti); Munich March
Liria), Madrid (see his La Musica en la Casa de
1680 (with a new prologue by G. A. Bemabei;
Alba, 1927, PP.57-82). Subira edited a vocal score
text altered by V. Terzago).
in 1933.
Parts of the opera were published by Eitner in
The date of production was established by E.
1883 (Vol. XII of Publikationen der Gesellschaft für
Cotarelo y Mori (see Boletln de la Academia Es-
Musikforschung).
panola, December 1932, P.756). For an analysis of
the work see o. Ursprung in Festschrift Amold
Schering, 1937.
MELANI: Ercole in Tebe
8July. Florence, P.
Text by G. A. Moniglia. Prologue and 5 acts.
1661 Written for the wedding of Cosirno m de'
Medici with the Princess Marguerite Louise
KERLL: L'Erinto d'Orleans.
Carnival? Munich A detailed description of this magnificent
Text by P. P. Bissari. Prologue and 3 acts. "Festa teatrale" (the production of which cost
W ritten to celebrate the birth of the Bavarian nearly 100,000 Tuscan pounds) is to be found in
Princess Maria Anna Chrisrina. Revived at Ademollo's 1 primi Fasti de! Teatro di Via della
Munich in August 1671 in honour of a visit of Pergola in Firenze (1884).
the Archbishop of Salzburg, Maximilian Gan- The libretto was later adapted "all' uso di Ve-
dolph. Music l~st. netia" by A. Aureli and set to music by Boretti
(As the Princess was born on 7 November in 1670.
1660, the first production probably was in the
following Carnival.)
1662
CES TI: La Dori ovvero CAVALLI: Ercole amante*
La Schiavafidele 7 February. Paris, Tuileries
Carnival. Florence, T. dei Sorgenti Text by F. Buti. Prologue and 5 acts.
Text by A. Apolloni. Prologue and 3 acts. According to the libretto, originally written
One of the chief works and one of the most for the wedding ofLouis XIV with Maria Theresa
successful ltalian operas of the 17th century. It of Austria, which had taken place aIready on 9
was revived at Florence [24 or 25 October] at July 1660. The belated production served for the
the same theatre in the same year and subse- inauguration of the "Theatre des Machines"
quently given at Venice, S. Salv. [1 January] at the Tuileries palace. The only opera Cavalli

39 4°
1662 . ANNALS OF OPERA

wrote expressly for Paris. Lully provided the

1663
music for the accompanying ballets.
A French translation, probably by C. Lilij, was ROVETTINO: GI'Amori d'Apollo
printed with the Italian libretto, Paris 1662, and
also published separately at Antwerp in the same
e di Leucotoe
year (copies in the British Museum). [8 ]alluary]. Venice, SS.G. e P.
Not counring the Fontainebleau production of Text by A. Aureli. Three acts.
Lorenzani's Nicandro e Fi/eno in 1681, this was the Of the three operas of Rovettino (who in 1690
last Italian opera performed in Paris for 67 years succeeded Legrenzi as maestro di cappella of S.
(Orlandini's Il Marito Giocatore in 1729 being the Marco, Venice), the only one which is extant. It
next), and the last Italian opera seria even for 149 contains the earliest known example of an ac-
years (up to the producrion ofPaisiello's Pirro in companied recitative (recitativo stromentato).
I8n).

DRAGHI: Achille in Sciro

18 November . .Vienna
Text by O. Ximenes. Prologue, 3 actsandlicenza.
The first period of Italian opera at Paris, ter-
Draghi's first extant opera, out of a total of
minated by Ercole amante, can be summarized as
172, most of them written for the Vienna court,
follows:
between 1661-99.
(I) An unknown Italian opera February 1645
(2) LafintaPazza, by Sacrati (see 1641)
14 December 1645
(3) Egisto, by Cavalli (see 1643) February 1646 1664
(4) Orfeo, by Rossi 2 March 1647
(5) Le Nozze di Peleo, by Caproli 14 April 1654 CAV ALLI: Scipione Africano*
(6) Xerse, byCavalh (see 1654) 22 November 1660 [9 February]. Venice, SS.G. e P.
(7) Ercole amante, by Cavalli 7 February 1662
Text by N. Minato. Three acts.
Revived at the same theatre Carnival 1678
BONTEMPI: 11 Paride (with alterations by G. B. Viviani, text revised
3 November. Dresden by T. Fattorini). Also given at Naples 6 Novem-
Text by the composer (opera /I1/1sica/c). Five acts. ber 1667; Florence 1669; Ferrara 1669; Bologna
Written for the wedding of Erdrnute Sophia, 1670; and Rome 8 January 1671 (with a prologue
Princess of Saxony, with Christian Ernst, Mar- and intermezzi, Lesbo e C~fJca, by A. Stradella),
grave of Brandenburg-Bayreuth. Score printed at the inauguration of the Teatro "Tordinona"
in 1662. (= Torre di Nona), which was the first public
First Italiall opera produced at Dresden, on a opera-house at Rome. It was foundedby Gia-
provisional stage at the palace. Some years later, corno d'Alibert, pulled down in 1697, rebuilt in
27 January 1667, a regular opera-house was 1733 and, after a fire on 29 January 1787, again
inaugurated with the same composer' s Il Teseo. in 1795, then renamed "Teatro Apollo".
It was replaced by a new thcatre in 1719 (see (See on the early history of the theatre, A. Ca-
Lotti's Giove in Argo, 1717) and eventually by the me tri in NuolJa AlltCllogia, I February 1931.)
Hoftheater, built by Semper (opened 12 April Scipiolle Africallo also given at Perugia 1677 as
1841; burnt down 21 September 1869; re-opened Il Triol1fo della COllti"ellzn; and Milan, T.R.D. [I
2 February 1878). February] 1692.

41 42
1665-67 ANNALS OF OPERA

The first example of an operatic "cycle"; the

166 5
two parts were performed in turns on sueeessive
CAV ALLI: Mutio Scevola nights later in the season, beginrUng probablyon
[26 January]. Venice, S. Salv. 3 February, when the dedieation in the libretto
of the second part was dated.
Text by N. Minato. Prologue and 3 acts.
It should be noted that the dedication in the
Also given at Bologna 1665 and 1667. Cavalli's
libretto of the first part is dated 15 January 1666,
thirty-nmth opera. Minato's lib~etto occurs again
which is either amisprint or old style ("more
towards the end of the century, in anonymous
Veneto"), as the libretto itself has the irnprint
settings at Milan, T.R.D. [20 January] 1690, Rome
1667 and is listed as having been produced in
(1695), Naples (1698) and Turin (1700).
Carnival 1667 by all ehronologists of the Vene-
tian stage.
1666 The first part was revived at Pisa 1670; Rome,
Tord. 24 January 1672 (with intermezzi and a
SARTORIO: Seleuco prologue added), and probably also at Lucca 14
[16 January]. Venice, S. salv. January 1675 and Bologna 1679.
Text by N. Minato. Three acts.
Revived at the same theatre [16 January] 1668;
at Milan 1671. Tbe first extant opera ofSartorio, CESTI: 11 Porno d'Oro
who from 1666-75 was court conductor at Carnival. Vienna
Hanover.
Text by F. Sbarra (Festa teatrale). Prologue and
CESTI: Il Tito 5 acts.
[13 February]. Venice, SS.G. e P. W ritten to celebrate the wedding of the Em-
Text by N. Beregani (melodrama). Three acts. peror Leopold I with the Infanta Margherita of
Revived Rome, Tord. [12 February] 1672 Spain. Revived at Vienna 12 July 1668 (for the
(with a prologue by A. Stradella); Lucca Sep- Empress's birthday). Libretto printed in 1661 and
tember 1676. 1668; in the latter year also a detailed argument,
The libretto was dedicated to Maria Mancini, in German, was published; in 1672 there followed
who mentions the opera in her memoirs: 'j'y a German translation by J. G. Meyer. Of the music,
fus particulierement favorisee par l'opera de Tite only the prologue and the first, second and fourth
qui me rot dedi6, qui est assurement une des jolies acts are extant. They were published in V ols. m
pieces qu' on aie eneore represenre au theatre Gri- and IV of Denkmäler der Tonkunst in Österreich in
mani, ou je voulus bien assister cinq fois de suite
1896 and 1897 (edited by G. Adler).
y prenant beaucoup de plaisir, et ayant meme
The exact date of the first produetion cannot
voulu cinq ans apres qu' on la representat de nou-
be established (see Adler' s introduction); the wed-
veau a Rome ala Tour di None."
ding was on 12 Deeember 1666, and the Carnival
ended 2 February 1667.
1667 It has been stated that rl Pomo d'Oro was revivcd
at Madrid as late as 1703. But, aceörding to Cota-
SARTORIO: La Prosperita diBlio Seiano reIo y Mori, the play then produeed was amytho-
and La Caduta di BUo Seiano logical eomedy of the same tide and not Cesti's
Carnival. Venice, S. Salv. opera (whieh with its huge apparatus was not
Text of both operas by N. Minato. Three acts likely to be revived anywhere after the occasion
each. for which it was written).

43 44
 ANNALS OF OPERA 1669-70

CESTI: Le Disorazie
ö
d'AlIlore CAVALLI: Il Coriolano
Caruil'al. Vienna ?? Piacenza
Text by F. Sbarra (dral1ll1la giocosomorale). Pro- Text by C. Ivanovich. Three acts.
logue and 3 acts. Cavalli's forty-first and last opera. Music lost.
After Il Pomo d'Oro this was Cesti's second According to Allacci the opera was performed
opera produced at Vienna in that Carnival. The to ce!ebrate the birth of Odoardo, son of the
prologue was composed by the Emperor Leo- Duke Ranuccio II Farnese. 1 .. e production is,
pold 1 hirnself. however, not rccorded in L. Balestrieri's Feste l'
The libretto was reprinted at Rome bter in the spettllcoli allll eorte dei FIITIln'i (1909).
same year (dedication dated 14 December 1667),
but (in spite of Ademollo's contrary statement)
obviollsly rather for the book-shclf than for r67°
purposes of production. Score preserved.
MELANI : Girelfo
20 Jal1l1ary. Florence, T. Cocomero
Text by F. Acciaiuoli (Drall/lila Musieale Bur-
r668 leseho). Prologue and 3 acts.
The story of this ce!ebrated comic opera is
BORETTI: Eliogabalo rather complicated. The text was first published
[10 Jal1uary]. Venice, SS.G. e P. at Ronciglione (near Rome) in 1668 (a copy of
Text by A. Aureli. Three acts. this earliest edition is in the British Museum). The
preface mentions a production at Rome "neUo
Also given at Genoa 1670; Bologna, T. For-
scorso Carnevalc" (viz. at P;,lazzo Colonna in the
magliari 1671 (with intermezzi by G. L. Pocchet-
beginning of February 1668) and in a notice to
tini); Rome, Tord. 4 January 1673 (one of the
the reader, the anonymollS author protests against
operas performed there in honour of Queen
the reproach of obscenity. The composer of that
Christina of Sweden; with a prologlle added for
earliest production is llnknown. Perllaps the music
the occasion); Milan 1674.
was written by Acciaiuoli himse!f, who was a
poet and a musician as weU as a producer and
manager and inventor of theatrical machines.
r669 Next, there were productions at Macerata and
Bologna in 1669, but it is only in 1670 that we
SANCES: Apollo de/uso know for certain that Me!ani's mllsic was used as
the Florence libretto mentions hirn ("Con la
9 Jl/l1e. Vienna musica de! Sig. Jacopo Me!ani, raro ingegno de!
Text by A. Draghi (the composer, who also nostro secolo"). Further productions, aU of them
wrote librettos occasionally). Three acts and anonymollS, are recorded at Siena 1672; Naples,
Ij.cenza. S.B. 1673; Milan, T.R.D. Carnival 1674; Fer-
Parts of the music were composed by the Em- rara [22 October] 1674; Modena 1675; Reggio
peror Leopold 1 (so me airs pllblished by G. Adler 1676; Lueea September 1676 (not 1696); Venice,
in Musikalische Werke der Kaiser, 1893). One of S. Moise Carnival 1682; revived Bologna, T.
the few operas of Sances, who about the time of Malvczzi Carnival 1696 and Florence, T. dei
theproduction of Apollo deluso became court con- Sorgenti (?) 1697.
ductor at Vienna, succeeding Bertali (who had The music of Girello has becn preserved in two
died 1 April 1669). anonymous scores at Naples and Modena respect-

45
 ANNALS OF OPERA

ively. But is it Melani's music? According to

Ademollo the scores correspond to the original
I67I
1668 libretto rather than to those of the produc-
tions at Florence 1670, Naples 1673, and Modena CAMBERT: Pomone
1675. For the Modena production Alessandro
3 March. Paris, O.
Stradella is known to have composed the pro-
logue and it might have been used at Rome in Text by P. Perrin (opera ou representation en mu-
1668 already. sique); in later editions pastorale. Prologue and
At Venice, 1682, the opera was sung by singers 5 acts.
off-stage and performed by wax puppets. It has With Pomone the P;tris Opera (then called
been stated that the music in 1682 was newly "Acaaemie Royale des Opera" and situated at the
composed by one "Francesco Antonio Pistoc- Salle du Jeu de Paume de la Bouteille, Rue des
chino," who has been identified with the well- Fossez-de-Nesle, near Rue Guenegaud) was inau-
known composer F. A. Pistocchi. But, as a matter gurated. On 28 June 1669, Perrin had obtained
of fact, the 1682 libretto is anonymous, as are all the royal privilege of "faire chanter de pareilles
the others, and the music was attributed to Pis- Opera ou representations en musique en vers
tocchi only 50 years later by Bonlirii. There is no fr;ll1~ois, dans toute l'estendue de nostre royaume,
sufficient evidence to show that Pistocchi ever pendant douze annees". The date of the inau-
composed 11 Girello. guration has been given as 18 or 19 March 1671,
This was made dear by Ademollo as· early as by elder historians. The date of 3 March has been
1890 (see his paper "La Storia del Girello," in fairly well established, from contemporary docu-
Gazzetta Musicale di Milano) ; hut the music is still ments, by Nuitter and Thoinan (1886), and is
ascribed to Pistocchi in many books and cata- generally accepted now.
logues, and his name is sometimes mentioned Rehearsals or private performances of Pomone
even in connection with earlier productions, such had taken place injune 1670 at the Sevres palace
as 1672 (when Pistocchi was a boy of 13) and ofMarquis Alexandre de Rieuxde Sourdeacwho,
1675. besides Cambert and Perrin, must be mentioned
as one of the first promoters of French opera and
as its first producer.
DRAGHI: Leonida in Tegea The earliest literary allusion to Pomone occurs
9 lune. Vienna in 1677, in Saint-Evremond's comedy Les Opera
(n, 4): "Pomone est le premier Opera fran~ois qui
Text by N. Minato. Three acts ano licenza. ait parn sur le Theatre. La Poesie en etoit fort me-
W ritten for the birthday of the Emperor Leo- chante, 1a Musique belle." That scene in Saint-
pold I, who himself contributed two airs. Evremond's comedy (which was never per-
Revived Venice, S. Moise [9 Febrnary] 1676 formed) contains similar comments on all the
(with additional music by M. A. Ziani) and once early French operas and is an important sonrce of
more Vienna Camival 1694. information (see Cambert's Ariane, 1674). The
play was translated into German by J. C. Gott-
sched (as Die Opern, 1740) and in his version the
SAN CES: Aristomene Messenio remarks on French operas are turned into similar
ones on the early German operas produced at
22 December. Vienna
Hambnrg.
Text by N. Minato. Three acts and licenza. Altered by Grabu, Pomone was also performed
Written for the birthday of Queen Marianna at the Whitehall Theatre. London, in July I674
of Spain. Sances's last opera. (in French).

47
 ANNALS OF OPERA
Of the music. only the prologue. the first act in Trono, composed by Cavalli in 1660). Three
and a fragment of the second act have been acts.
preserved (in an unfmished printed edition; re- Successful in ltaly: given at Naples, Pal. Reale
issued, in vocal score, by J. B. Weckerlinin ISSI). 29 January 1673 and subsequently at S.B.; Rome,
Tord. 24 January 1674 (as Il Caligola. with alter-
PERANDA and BONTEMPI: Dafne ations) ; Bologna, T. Formagliari 1674 (with in-
termezzi Le Gare di Sdegno, J'Amore e di Gelosia,
3 September. Dresden
text by F. M. Bordocchi, music by P. Fran-
(German) text attributed to one of the com-
ceschini); Milan T.R.D. [30 May] 1675 (libretto
posers, Bontempi, partly founded on M. Opitz's
altered A. Lonati); Vicenza Carnival 1675 as La
libretto of the same title (see 1627). Five acts.
Pazzia in Trono overo Caligula de/irante; Pesaro
The earliest German opera which is extant in
1675. Revived Venice, SS.G. e P. Autumn 1680
fulls core (Dresden, Landesbibliothek). Ori;inal
(with additions); Rome, Capr. Carnival 1692;
libretto apparentlynot printed, but preserved inMS.
Lucca 5 February 1696.
The opera was revived at Dresden on 9 Feb-
According to Bonlini's and Groppo's cata-
ruary 1672; 8 January 1673; 10 February 1678;
logues it was the fIrSt opera produced at Venice
and 23 February 1679.
in the Camival of 1672. The dedication in the
For a full account see R. Engländer's paper in
libretto, however, is dated IS December 1672,
Acta Musicologica, vol. XIII (1941).
which is either amisprint or would point to the
Carnival of the following year.

16 72 CA~BERT: Les Peines et les Plaisirs

PROVENZALE: Il Schiavo di sua Moglie de l'Amour
?? Naples? January or Fehruary. Paris, O.
Text by A. Perrucio e Fardella. Prologue and Text by G. Gilbert. Prologue and 5 acts.
3 acts. The full title reads: Opera, pastorale heroique des
The first of the two operas ofProvenzale which Peines et des Plaisirs de I' Amour, en vers lyriques .••
are extant (see 1678). The MS score in the Biblio- Representee en musique. ... Of the music only the
teca di Santa Cecilia, Rome, is dated 1671. But prologue and the first act have been preserved
the libretto, hitherto unknown, was printed in (re-issued in vocal score by J. B. Weckerlin in
1672. See Catalogo della Libreria Floncel, Paris, 1881).
1774, no.285I. For an account of the opera see The last opera of Cambert prodllced in Paris
H. Goldschmidt in Sammelbände of Ihe l.M.S., before he went to London in September 1673.
Vol. VII (1905-06). The date of the first production has not been
U. Prota-Giurleo (Francesco Cirillo e l'introdu- fixed yet. The original libretto gives only the
zione deI mclodramma a Napoli, Grumo Nevano, year, 1672. The performance must have taken
1952, Appendix, P.31) gives Naples, S.B., as place before 1 April 1672, as on that date the
place of performance, and December 1671 (mis- "Theatre du Jeu de Paume de la Bouteille" was
printed 1771] as the date. But these details are closed by Royal decree. (This disposes of the date
based only on assumptions. 6fs April 1672, given by Uris and many others.)
According to N uitter and Thoinan, the produc-
tion was in February or in the beginning of
PAGLIARDI: Caligula delirante March, according to Melese in January. The first
Carnival. Venice, SS.G. e P. aet was revived privately at Malmaison 24 June
Text by D. Gisberti (originally called La Pazzia 1925 (under F. Raugel).

49 50
 ANNALS OF OPERA

SARTORIO: L'Adelaide r673

[19 February]. Venice, S. Salv.
Text by P. Dolfino. Three acts. L ULL Y: Cadmus et Hermione*
Sartorio's chief work, "von der wundervollen 27 April. Paris, O.
Ouverture ab eine Kabinettsleistung an Erfin-
Text by P. Quinault. Prologue and 5 acts.
dung" (Kretzschmar). Revived at Brussels 27 Au-
The first French tragedie-lyrique, performed at
gust 1681 (in Italian).
the Th. du Jeu de Paume de Bel-Air and trans-
ferred to the new horne of the Opera, at the Pa-
LULLY: Les Festes de l'Amour lais-Royal, in 1674. Louis XIV was present at the
et de Bacchus first night, and according to the Gazette de Franee
15 November. Paris, O. the Royal party "sortit extraordinairement satis-
Text by P. Quinault (in collaboration with faite de ce superbe spectacle". Revived at St. Ger-
Moliere and I. de Benserade). Prologue and 3 acts. main en Laye 5 June 1678; Paris October 1679;
This pastorale was LuHy's first opera, being 4 December 1690; 21 September 1703; 28 Augqst
more or less a pasticcio made up from music ofhis 17II; and 22 August 1737. Given .at Amsterdam
earlier ballets (such as Le Bourgeois Gentilhomme, 1687 (in French; a Dutch translation by T. Arendsz
Georges Dandin, and others). was published in that year); at Brussels November
The performance took place at the SaUe du Jeu 1734 (in Flemish). The last Paris revival was
de Paume de Bel-Air, in Rue de Vaugirard, after followed by a parody, Pierrot Cadmus, by D. Ca-
Cambert' s first theatre had been closed down rolet, produced O.C. 31 August 1737.
earlier in the year and the opera privilege, after The score was printed in 1719.
an inextricable chain of intrigues, had passed See W. J. Lawrence, The Freneh Opera in Loll-
(March 1672) from Perrin and Cambert to LuHy, don. ARiddie of 1686 in The Times Literary Sup-
to remain with him until his death. plement, 28 March 1936, on a possible production
The opera was also given at Amsterdam 5 July of Cadmus et Hermione in London, 11-21 February
1688 and revived in Paris 1689; 1696; August 1686, probably at Dorset Garden, in French.
1706; 1716; and 13 February 1738 (parts only). Lawrence's assumption is based on a letter by
Revived in French at Düsseldorf 1710; Lilie 1720. Peregrine Bertie to the Countess of Rutland, and
Score published 1717. In the same year ap- on an allusion in the prologue of Jevon's The
peared a Dutch translation by D. Buijsero. Devil of a Wife (first acted at Dorset Garden,
4-14 March 1686).

SARTORIO: L'Orfeo
[14 Deeember). Venice, S. Salv.
PAGLIARDI: Lisimaco
Text by A. Aureli. Prologue and 3 acts. [10 December). Venice, SS.G. e P.
Also given at Naples, Pal. Reale Autumn Text by C. Ivanovich. Three acts.
1682; Brunswick August 1690 (in Italian; a Ger- Revived Turin, Carnival 1681; Florence, T.
man translation by J. C. Lorber was printed for Cocomero Carnival 1689.
that occasion). Revived as Orfeo 0 sia Amore spesso The librettist, a native of Dalmatia, was the
inganna (with manY alterations) at Bologna, T. first to write a book which deals with the history
Formagliari 23 January 1695; Turin [20 April) of opera at Venice, viz. Minerva al Tavolino.
1697; Genoa Carnival 1706. Lettere diverse ... eon Memorie teatrali di Venezia,
A production at Vienna in 1672 (as Orfeo ed 1681 (second edition 1688). It was followed by
Euridiee, earlier than at Venice?) is recorded by G. C. Bonlini's Le Glorie della Poesia, edella
Köchel rather vaguely. Musiea only about 50 years later, in 1730.
51 52
 ANNALS OF OPERA

16 74 CAMBERTt: Ariane, ouLe Mariage

de Bacchus
LU L L Y: Alceste ou Le Triomphe* 9 April. London, D.L.
d' Alcide Text by P. Perrin. Prologue and 5 acts. Music lost.
19 January. Paris, O. Libretto extant, in a French and in an English
Text by P. Quinault. Prologue and 5 acts. edition, copies ofboth of which are in the British
The first opera performed at the Palais Royal, Museum. The title-page of the French libretto
the new home of the Acadcmie Royale de Mu- reads: "Ariane, ou Le Mariage de Bacchus Opera:
sique which Lully succeeded in securing for his Compose par le Sieur P.P. et mis en Musique par
enterprise after Moliere's death in 1673. le Sieur Grabut, Maitre de la Musique du Roi.
Mme de Scvignc, who was present at the Represente par l' Academie Roiale de Musique,
rehearsals, announces the opera in a letter, dated ou Theatre-Roial".
8 January 1674: "On joue jeudi 1'Opera qui est The title of the English edition reads, slighcly
un prodige de beaute: il y ades endroits de la divergently: "An Opera, or, a vocal representa-
:nusique qui ont mcritcs meslarmes...." Louis tion; First compos'd by Monsieur P.P. Now put
XIV first heard Alceste at the palais Royal on 14 into Musick by Monsieur Grabut .. and acted by
April 1674; it was given at Versailles 4July 1674; the Royali Academy of Musick at the Theatre-
Fontainebleau August 1677; St. Germain 1678, Royal in Covent-Garden".
and revived at Paris September 1682; 25 Novem- We know that Perrin had written this libretto
ber 1706; 16 January 1716; 30 November 1728; as early as 1659; he refers to it in the prefatory
22 January' 1739; and, without prologue, 15 No- letter to the 1661 edition ofhisPastorale (see 1659).
vember 1757. We also know that Cambert had set the text
Given at Lyons 1696 and 1699; Brussels 12 Oc- to music and that his setting was rehearsed at the
tober I705 (revived January 1725); Lille 1720. Hotel de Nevers, Paris, in 1669, but that it was
Parodies: Alceste, by P. F. Dominique and J. A. not printed or produced owing to the death of
Romagnesi, c.I. 21 December 1728 and revived Mazarin.
there, with alterations, 9 February 1739; La Noce In Saint-Evremond's comedy Les Opera (cf.
interrompue, by C. S. Favart, C.I. 26 January 1758. note on Pomone, 1671) the following dialogue
Score first published in 1708. concerns Ariane:-
"Celui-ci est ccrit ala main. Lisez, monsieur
DRAGHI: La Lanterna di Diogene Guillaut."
5 February. Vienna "e' est l'Ariane de Cambert, qui n' a pas ete
Text by N. Minato. Three acts. One air was com- representee: mais on en vit les repetitions. La
posed by the Emperor Leopold I. poesie fut pareille acelle de Pomone, pour etre
The copy of the libretto at the Brussels Con- du me me aut<;ur, et la musique fut le chef-
servatoire contains a MS note (published by W ot- d'reuvre de Cambert. rose dire que les plaintes
quenne) from which we learn that La Lanterna di d' Ariane, ct quelques autres endroits de la piece
Diogene was a satirical opera "a elef," each of the ne cedent presque en rien ace que Baptiste [viz.
26 characters representing members of the Euro- Lully] a fait de plus beau".
pean high society, from Leopold I, Louis XIV, Five years after the Paris rehearsals Ariane was
Charles XI of Swedcn down to various Dukes, produced in London, as the opening opera of the
Counts and Ambassadors. The twenty-seventh short-lived "Royall Academy of Musick," at the
character of the opera Tirreo Eunuco was politely Theatral Royal, Bridges Street, Covent Garden
described by the unknown commentator as an (the second building ofDrury Lane Theatre; the
"incerta persona." first building, opened in 1663, was destroyed by

S3 54
 ANNALS OF OPERA

fire 15{25 January 1672). From the notice to the 1684; Modena, T. Fontanelli 4 November 16g0.
reader in the English edition of the text, it be- Another opera by Legrenzi, called La Divisione
comes absolutely dear that Ariane was sung in del Mondo, and produced at the same theatre later
French, and that the English version was "a meer in the same Carnival [4 February] 1675, is stated
Translation, and nothing else" and that it was to have been one ofhis best works. A manuscript
"thought absolute1y necessary for the satisfaction score of La Divisione de! Mondo was sold in 1880,
of those, who being unacquaintcd with the French from the Gehring collection (no.136o).
tongue, and who being Spectators, would find
themse1ves necessitated to see the most pressing LULLY: Thesee
of their Senses go away from the Theatre ungrati- 12 January. Saint-Germain
fied, by their not understanding the Subject that Text by P. Quinault. Prologue and 5 acts.
brought them thither". Revived at Saint-Germain 16 February 1677
The exact date of the first production of Ariane and January 1678.
in London has been established by A. Nicoil (see First given at Paris April 1675, and revived
The T-imes Literary Supplement; 21 September there 29 October 1679; October 1688; November
1922). Ariane seems to have been that mysterious 16g8; 17 November 1707; 5 December 1720;
and much discussed "Italian opera" which Eve1yn 29 November 1729; 10 December 1744; 3 De-
mentions in his Diary, 5 January 1674. He prob- cember 1754 (without the prologue); 13 (not 8)
ably attended a rehearsal of Ariane (see also W. December 1765; 1 February 1767; 23 March
J. Lawrence, ib., 26 September 1929). 1770; and 23 February 1779 (with some new ac-
Cambert's and Grabu's activities in Londen companiments by J. Grenier and one air re-set by
have been dealt with in recent papers by A. Tes- him).
sier and W. H. G. Flood (see La Revue Musica/e, Thus, Theste remained in the repertory for weil
December 1927 and August 1928). The question over 100 years, longer than any other ofLully's
of the composer of Ariane as produced in London, operasi. The score was first printed in 1688.
1674, is still unsolved. It is hardly credible that Also given at Brusse1s 18 May 1682 (revived
Cambert should have chosen for the opening of with a new prologue by P. A. Fiocco 10 Novem-
the London Academy, founded by hirnself, ber 16g7, and 1 January'JJI3); Wolfenbüttel 19
another setting of Ariane than his own. On the August 1687 (in French); Lyons 16g2; Ghent
other hand, there is the evidence of the title-pages, June 1698; probably also at the Hague in 1701;
where Grabu is mep.tioned as the composer very Lilie 1718.
defmite1y, and even more so in theEnglish libretto The 1744 revival was foilowed by two para-
which emphasizes the fact of a new setting. dies, Ar/equin Theste by A. J. de Valois d' Orville,
The explanation that Grabu altered and adapted
Cambert's original music, is not very satisfactory, 1 Thisee from 1675 to 1779 =- 104 years
" 1684 " 1771 =
Amadis 87
but it is the only one which now can be offered. "
Alceste 1674" 1757 = 83
Possibly the lost music of Ariane may be cliscov- " "
" 1686 " 1764 = 7 "
Atmide 8
" 1680 " 1758 = 7 "
ered some dar and give a clue as to the real com- Proserpine 8
poser. Aas . 1686 " 1762 = 76
"
" 167 " 1747 = 7 "
Atys 6 1
Roland 1685 " 1755 = 70
1675 Festes de I' Amour " 1672 " 1738 = 66 "

....
" "
" 1682 " 1746 =
Persie 64
LEGRENZI: Eteocle e Polinice
" 1673 " 1737 =
Cadmus 64
January. Venice, s. Salv. Phaeton
Isis
. 1683 " 1742 = 59
1677 .. 1732 = 55
Text by T. Fattorini. Three acts.
Score extant. Also given at Naples 1680; Milan
Bellbophon ..
"
1679 " 1728 = 49
"
"
Psychi 1678 " 1713 = 35
" "
55 56
 ANNALS OF OPERA

c.I. 30 January 1745, and ThCsee by C. S. Favart, ltalian opera in music, the first that had been in
P. Laujon and Parvi, O.c. 17 February 1745. England of this kind," is now be1ieved to refer
Quinault's text was several times re-set in the to the French Ariatle, not to the English Psyche
18th century; first by Mondonville (Fontaine- (although why Evelyn calls it Italian remains a
bleau 7 November 1765, Paris 13 January 1767); puzzle; the explanation that he meant to say
the failure· of Mondonville's setting was imme- "after the Italian mann er' , is not very satisfactory).
diately followed by a successful revival ofLully's Psyche may be called the earliest surviving
original; secondly, by Gossec (Paris I March example of an English opera. For a discussion of
1782). Both composers kept parts ofLully's music, it, see chapter VI of E. J. Dent's FOt/nJations of
a
including the famous air Faites grtSce 11l0fl tSge en English Opera (1928).
favet/T de magloire. There is a third new setting by
J. Grenier (text reduced by P. F. de Remuzat), GIANNETTINI: Medea i11 Atene
probably produced at Marseilles in 1782 (libretto
[14 December]. Venice, S. Moise
BibI. Soleinne).
Text by A. Aureli. Prologue and 3 acts.
LOCKE: Psyche Giannettini's first and most successful opera.
Revived at Venice, S..Angelo [30 December]
9 March. London, Dorset Gardens
1677 (with additions); Milan 1681; Lucca 9 Jan-
Text by T. Shadwell (founded on a French
uary 1683; Parma 1688 (as Teseo in Atene, with
tragedie-ballet by Moliere, Pierre Corneille and
additional music by B. Sabadini).
Quinault, produced at Paris in 1671). Prologue,
In Italian also Brusscls 24 January 1682 (at the
5 acts and cpilogue.
opening of the Opera du Quai au Foin); W olfen-
The 1675 libretto is called "A Tragedy"; the
büttel 1686; February 1688 and 1692.
music was published in the same year as "The
In German (translated by C. H. Postel), Ham-
English Opera; or the Vocal Musick in Psyche,
burg Carnival 1695; Augsburg Summer 1697;
with the Instrumental therein Intermix'd".
Stuttgart 3 October 1700; and perhaps also Leip-
In the preface Shadwell states: "And by bis
zig Oetober 1701 (a different translation).
excellent Composition, that long known able and
approved Master of Musick, Mr. Lock, ... has
C. PALLAVICINO: Galieno
done me a great deal of right; thotigh, I believe,
the unskilful in Musick will not like the more [23 Dccclllbcr]. Venice, SS.G. e P.
solemn part of it ... "; he also illforms us that Text by M. Noris. Three acts.
"All the Instrumental Musick (which is not Revived Naples, S.B. [17 February] 1685; Mi-
mingled with the Vocal) was composed by that lan T.R.D. [I Februar)'] 1687.
Great Master, Seignior Gio: Baptista Draghi .... "
Psychc was revived at Dorset GardellS in 1690
(libretto reprinted) and at D.1. 20 JUlle 1704, as r676
Psyche or Lovc's Mistrcss.
As to the date of the first production, there has
LULLY: Atys
always beeil much uncertainty since Downes in 10 Ja/lllar)'. Saint-Gerl1lain

his R"sc;'IS Allglicalllls (170S) stated that it was Text by P. Quinault. Prologue and 5 acts.
given in February 1673-74. The discovery of the First given at Paris April 1676; Fontaillcblcau
now acccpted date (which corresponds to the August 1677; rcvived St. Germail1 15 January
year in which tcxt and music were printed) is due 1678 and 7 Januar)' 1682; revived Paris Novem-
to A. Nicoll (see Thc Tilllcs Litcrary SIIPl'!CIIICllt, ber 1689; August 1690; 31 Detcl1lber 1699; 29
21 September 1922). Thc laconic statement in November 1708; 28 November 1709; 23 Decel1l-
Evclyn's Diary tmder 5 January 1674: "r saw an ber 1725; 7 January 1738; and 7 Novcmber 1747

57 58
 ANNALS OF OPERA

(not 1740 as Lajarte has it); there were further preface to the libretto it appears that the opera
concert performances at Versailles June 1749 and was written to celebrate the birthday of Prince
J:me 1751, and (without prologue) Fontainebleau Lorenzo Onofrio Colönna, the husband of Maria
17 November 1753. Mancini.
In French also given at the Hague 1687; Mar-
seilles February 1689; Lyons 7 August 1689 FRANCESCHINI: L'Arsinoe
(revived December 1742); Brussels 19 November [26 December].Bologna, T. Formagliari.
1700; Lille 1720.
Text by T. Stanzani. Three acts.
The popularity of Atys (which was called
Franceschini's best opera. Also given at Venice,
L'Opera du Roi because of its being a favourite
S. Angelo Autumn 1677; Pesaro 1678 and Car-
with Louis XIV) is also indicated by no less than
nival 1681; Innsbruck 12 January 1686.
seven parodies, viz. Atys, by P. F. Dominique,
For an English version of the text, see 1705.
O.C. [3 February] 1710; Arlequin Atys, byC.F.B.
de Pontau, C.!. 22 January 1726; La Grand-Mere
amoureuse, by L. Fuzelier and d'Omeval, Foire
St. G. 10 February 1726 (by marionettes); Atys, 1677
by A. Piron, O.C. 19 February 1726; Atys travesti, FRESCHI: Helena rapita da Paride
by D. Carolet, Th. des Marionettes, Foire St. G.,
Carnival. Venice, S. Angelo
March 1736; Cybelle amoureuse, by A. J. Sticotti,
Text by A. Aureli. Prologue and 3 acts.
c.r. January 1738 (according to Uris); perform-
Freschi's first and most successful opera. Also
ance not recorded by Gueullette, Origny, or in
given at Verona 1680 (as L'Enone schernita,
the Mercure de France j libretto printed after 10
without the prologue); Milan, T.R.D. 1681;
February 1738 without indication of perform-
Modena, T. Ducale 1681 (with prologue and in-
ance; so it was probably rep1aced by Atys, by
termezzi by Conte G. B. Rosselli) ; Hanover June
J. A. Romagnesi, c.r. 27 February 1738.
1681 (text revised by Valenti); Lucca Carnival
Score first published in 1689; 2nd edition 1720.
1683; Bassmo 1684. Revived Venice, S. Mois~
It was in Atys that Lully introduced the double-
[18 January] 1687 (with alterations and additions
bass into the opera orchestra (played by Teobaldo
by F. Navarra); Rovigo Carnival 1707 (still
di Gatti, cf. 1701). A Dutch translation by G. T.
Freschi's setting?).
Domis was published in 1723. (For Piccinni's
Helena was the first opera produced at Sant'
setting of Quinault's libretto, see 1780.)
Angelo the ninth Venetian opera-house. Kretz-
schmar quotes from it the Lamento di Paride as one
LEGRENZI: Germanico sul Reno of the latest and most beautiful imitations of
[27 january]. Venice, S. Salv. Monteverdi's Lamento d'Arianna (see 1608).
Text by G. C. Corradi. Three acts.
Also given at Modena, T. Ducale 1677; Milan, LULLY: Isis
T.R.D. 1677 and Bologna Summer 1680.
5january. Saint-Germain
Text by P. Quinault. Prologue and 5 acts.
PASQUINI: La Donna ancora First given at Paris, April 1677; Marseille 9
efedele March 1701; revived Paris 14 February 1704;
19 April. Rome, Pal. Colonna 15 September 1717; and 14 December 1732.
Text by D. F. Contini. Three acts. At its first appearance Isis (which later was sur-
Pasquini's first opera and one of the fewextant narned "}'opera des musiciens") was rather a
ones. Also given at Macerata [17 February] 1680. failure, due perhaps to the fact that in the quarre!
Scarlatti set the same libretto in 1698. From the scene between Juno and the nymph 10 occurs

59 60
 ANNALS OF OPERA

what was supposed to be an allusion to Madame libretto, not a trace in a thousand catalogues,
de Montespan, ehe King's mistress. Quinault, not even arccord ofits having been produced".
anyway, was for two years banished from court 1906: H. Hcss, Die Opern A.S.'s: "ßumey's in-
and wrote his next libretto for Lully only in 1680. dicati'on seems to prove correct, after all.
A parody, La Vache 10, by Charpentier, was Although no actual trace of the work itsclf has
produced at ehe Foire St. L. in 1718; another, by been found yet, there are some corresponding
L. Fuzclier, A Pourbe Pourbe et demi, Oll le Tro11l- records refcrring to a production.... "
peur trompe, at the Th. des Marionettes, Foire St.G. 1927: The MS score (partly in autograph) was
3 February 1733. discovered and idcntified by A. Gcntili in the
•The score of Isis was first published in 1699; Mauro Foil. collection, now in t11e National
re-published 1719. Library, Turin. See his report in Accadclllie e
Biblioteche d'ltalia, Vol. I (1927-28), pp.4D-42
LEGRENZl: Totila and in 11 Pianoforte, Vol. VIII, no.sl6 (May-June
Pebruary. Venice, SS.G. e P. 1927). "My satisfaction then, may be imagined
in recognising in the Foa collection the wllole
Text by M. Noris. Three acts.
of the opera and in being ahle to establish it as
H. Kretzschmar (Geschichte der Oper, P.104)
thc original score from, Stradella's own hand.
calls attention to the high musical value of this
My considered opinion is that this opera must
opera.
be regarded not only as its author's master-
piece, but also as one of the most prccicus gems
r678 in the vast operatic output ofthe 17th century".
1932: A vocal score, edited (trascritta e armotliz-
STRADELLA: La Forza de/l'Amor
zata) by A. Gentili, was published by Ricordi.
patcmo There remains the question of the libretto,
Camival. Genoa, T. del Falcone wlrich seems to be unknown even to Gentili.
Librettist uilknown. Three acts. Bumey's statement was quite corrcct. His copy
The first and only opera of Stradclla which is was in the British Museum in 1866 as weil as in
known to have been produced during his life- 1906, when Catelani and Hess were writing, and
time (c( 1686). it is there to-day. This completes ehe story of
The remarkable history of this opera can be Stradella's opera:
told in a number of quotations (translated for the LA FORZA IDELL'AMOR /PATERNO.I
sake of conformity): DRAMMA PER MUSICA. / Da recitarsi
1789: C. Bumey, History, IV, p.IOS: "For being in nel Teatro del Falcone 1L' ANNO M.DC.
possession of the drama he set for Genoa pre- LXXVIII. 1CONSACRATO / All'iIIustris-
vious to his murder, which is entitled La Porza sima Signora 1TERESA RAGGI / SAOLI.!
deli' Amorpaterno, :md dated Genoa MDCLXXVli4 Genoa, Franchelli, n.d. Dedication signed by
it appears that the dedication of this opera to Alessandro Stradella:
Signora Teresa Raggi Saoli, was written by The characters are Seleuco, Stratonica, Antioco,
Stradella hirnself" . Lucinda, Arbante, Eurindo, Rubia. No cast.
1866: A. Catelani, Deile apere di A.S., P.38:
"As for la Porza deli' Amor patcmo I do not
know what to say: ßumey asserted that he had
C. PALLAVICINO: Il VespasimlO
seen and possessed the libretto. Until now, he 20 January. Venice, S.G.Gr.
is the only fortunate one. For my part, I have Text by G. C. Corradi. Three acts.
renewed illqlliries ad illflll itlllll, over land and Sllccessful in Italy. Repeatedatthe same theatre,
sca, as you might say: but I did not fmd the Caminl 1680 and also given at Genoa 168')and/or

61 62
 ANNALS OF OPERA

1682 (with additional music by e. F. Pollarolo); January 1738. The building was pulled down
Ferrara 1682 (with additional music by G. F. 7 January 1750, and the Italian troupe continued
Tosi); Modena Autumn 1685; Milan 1685; again from 18 November 1751 at another building, the
at Ferrara 1687 (with alterations) ; Rome, Tord. "Reithaus" .
24 January 1693 (text altered by S. Stampiglia);
Bologna 3 February 1695; Pesaro Autumn 1718 L VLL Y: Psyche
(this revival was arranged in honour of the Pre-
19 April. Paris, 0.
tender James Francis Stuart, then residing at
Pesaro). Text by T. Comeille and B. de Fontenelle. Pro-
11 Vespasiano was written for the inauguration logue and 5 acts.
of the Teatro Grimano di San Giovanni Grisos- Of all of Lully's operas Psyche was the least
tomo, which was the tenth opera-house at successfu!. It was revived at Paris only twice, 8
Venice. After 1747 it was devoted chiefly to the June 1703 and 22 June 1713.
drama, but it became an opera-house again in the Ir was also given at Wolfenbiittel, August 1686
19th century. Re-opened 25 December 1832; (in Ftench), and at Modena 1687 (in French, with
called Teatro Malibran since 8 April 1835; re- Italian interpolations). Score published in 1720.
stored 26 July 1890 and again 17 Dccember 1919 Parts of Psyche had a modem hearing at the Th.
(re-opened with Verdi's Otcllo). des Arts, Rouen, on 7 June 1911.
LuHy had dealt with the same subject before;
a tragcdie-ballet of the same tide by Moliere,
THEILE: Der erschaffene, gefallene PierFe Comeille and Quinault, to which he had
und aufgerichtete Mensch written the music, had been produced at the Tui-
leries on 17 January 1671. It was on that earlier
12 January. Hamburg non-operatic Psyche that Locke and Shadwell
Text by C. Richter. Prologue and 5 acts. founded their English opera (see 1674).
Written for the inauguration of the first Ger-
man opera-house, the Hamburg "Theater am PROVENZALE: Difet1dere l'OJJensore
Gänsemarkt." Revived at Frankfort in 1698, and o vero La Stellidaura veridicante
seemingly at Viborg (Viipuri), Finland, as late
as about 1768 (by a travelling German troupe ?? Naples. Pa!. Reale
under the management ofe. G. Seuerling; com- Text by A. Perruccio e Fardella. Three acts.
munication from Mr.Wäinö Sola, Hclsinki). The second and last ofProvenzalc's two extant
Libretto extant (as of aH operas produced at operas (cf. 1671). Revived at Naples in 1685.
Hamburg in the 17th and early. 18.th century). No copy of the original edition of the libretto
Music lost, as is the music ofTheile's se co nd and has been traccd yet. According to Allacci (1755),
last opera, OreJ/ltcs, produced at Hamburg latcr there are editions of 1678, 1079, and 1685 (and a
in the same year. pr~se version, 1690), and the same dates are given
During the 72 years of its existence, more than in A. Mongitore's Bibliotheca Sicula (1707-14).
280 operas were produced at the Hamburg opera- F. Galiani (Dei Dialetto Napoletal1o . . . , 1779)
house, German original operas, German versions mentions a 1674 edition. According to B. Croce
ofItalian and French operas, from 1703 onwards the production was at the Palazzo Regio; in G.
chiefly operas which contained German as well Gimma' s Elogi Accademici, 1703, a performance at
as Italian airs, and after September 1738 purely the Palace ofPrince Cursi Cicinelli is mentioned.
Italian operas (under Mingotti's management). U. Prota-Giurleo (Franccsco Cirillo e l'illtrodfl-
The last production of the German company was ziouc del melodramlIla a Napoli, Grumo Nevano,
a pasticcio, Der Jahrmarkt 11011 Saillt-Gcrmaill, 2 1952, Appendix, p.3 1) gives the date and place of
 · ANNALS OF OPERA
first performance as 2 September 1674, in Prince
Cursi Cicinelli's villa at Mergellina. 1679
The earliest known libretto is that of the revival
M. A. ZIANI: Alessandro Magno
of 1685, whieh contains the cast but does not
mention the theatre (see Florimo, IV, P.576, and
in Sidone
Croce, 1 Teatri di Napoli, 1891, P.191). Carnival. Venice, SS.G. e P.
The score ofLa Stellidaura (like that ofIl Schiavo Text by A. Aureli. Three acts.
di sua Moglie) has been preserved in the Biblioteca Ziani's first opera. Also given at Vicenza 1681
di Santa Cecilia, Rome. It was examined by Ro- and revived at Venice in Carnival 1683 (at the
maib. Rolland (see his Histoire de l'Opera en Europe Teatro di Canal Regio as La Virt" sublimata dal
avant Lully et Scarlatti, 1895, PP.187--96) and by Grande, ovvero 11 Macedone continente).
HugoGoldschmidt (see Sammelbände ofthe LM.S.,
VoL vn, 1905~6). The two eminent historians
con'ttadict each other in a highly curions way.
PASQUINI: Dov' eAmore ePieta
Rolland calls the score a mannscript without tide, 6January. Rome, Capr.
without list of characters, date, or author's name; Text: an abrldged version of Moniglia's Hiper-
nevertheless, he gives the date of 1670 (perhaps mestra (see 1658). Three acts. Music lost.
on the authority of a misprint in B. Croce's quo- In the libretto Pasquini is mentioned as "ehe
tation from Mongitore !), while Goldschmidt tra i Compositori piu eccellenti di Mnsica non e
claimed that 1678 was indicated in the score as the in Roma il secondo" and it is stated that he set
year of production. the old text to music within a few days, "alla
It may be mentioned that in 1895 Rolland sug- moderna nsanza di bizzarre, e spiritose ariette".
gested the possibility that Francesco Provenzale, The opera was written for the inauguration of
the founder ofthe Neapolitan School and import- the Teatro Capranica, the second public opera-
ant forerunner of Scarlatti, might be identica1 house at Rome (cf. 1664). Operas were given
with one Francesco della Torre who, from there, with many interruptions, for 202 years, the
1678-85, was manager of the Teatro San Barto- last being Verdi's Ernani on 1 March 1881. To-
lomeo at Naples and might have been a composer day, the T. Capranica is a cinema.
himself as he signed, along with Perruccio, the
dedication of an opera libretto, Chi tal nasce tal
J. W. FRANCK: Die drey Töchter
vive, overo L'Alessandro Bala (score preserved at
Monte Cassino; produced Naples, 20 December
Cecrops
1678). The suggestion was founded on purely January. Ansbach
external evidence, not on reasons of style, etc. (as Text by M. A. von Königsmarck. Prologue and
Goldschmidt maintains, who, by the way, also 5 acts.
substituted the name of the hero, Alessandro Bala, Given at Hamburg in 1680 (in a reduced ver-
for that of the supposed composer, Francesco sion, perhaps with some new mnsic by Strungk,
della Torre !). Rolland's assumption has not been to whom the opera was attributed byJ. Mattheson
accepted by historians, it has even been rejected in Der Musikalische Patriot, 1728) and revived at
as a "fantastica ipotesi" by arecent writer on Pro- Ansbaeh 14 April 1683. Franck's authorship has
venzale (G. Pannain in R.M.L, 1925). Yet a copy been definitely established by the discovery <>f
ofChi tal nasce . •. at the Naples Conservatorio is, the original libretto, which mentions his name.
in the recently published catalogue, now actually One of the earliest German operas extant in
attributed to Provenzale. Prota-Giurleo also full score. Discovered by A. Sandberger about
accepts Chi tal nasce •.• as a work by Proven- 1910, it was published only in 1938 (as VoL 38 of
zale. Denkmäler der Tonkunst in Bayern, edited by G. F.
66
 ANNALS OF OPERA 1679-80
Schmidt; see his account in Archi" für Mlisikfor- See on the Vicnna production of Scarlatti's
sc!lImg, Vol. IV). opera, A. Lorcnz in Zeitschrift fiir Musikwissel1-
schaft, IX, p.86 (November 1926).
LU LL Y: Bellbopholl Of II5 operas writtcn by Scarlatti bctween.
1679 and 1721, about 80 are known by their titles
3 1 Jallllar)'. Paris,O. and 35 have bccn prescrved in full score.
Text by T. Corneille (who alone is mentioned in
all earlier editions of the text; he seems to have C. PALLAVICINO: Le AlI1azorzi
had two famous collaborators, Fontenelle and
mll' Isole fort~mate
Boileau, who claimed their respective shares
much latcr). Prologue and 5 acts. [I I NOI,ember]. Piazzola (near Padua)
Very successful, given for about nine months Text by F. M. Piccioli. Prologue and 3 acts.
running; performed at St.-Germain 3 January This and Freschi's Berenice (see 1680) were two
1680 and revived at Paris 10 Deccmber 1705; famous operas expressly written for the private
I I January 1718; 6 April 1728; Versailles 15 Feb-
theatre of the Venetian procurator Marco Conta-
ruary 1749 (in concert form); and (not recorded rini (1633-89). He plays an important part in the
so far) once more Versailles 27 November 1773, history of music as a coilector of MS opera
reduced to 4 acts, music arranged by Berton and scores, chiefly by Venetian composers. His col-
Granicr, at the wedding of the Comte d' Artois, lection is now in the Biblioteca di S. Marco,
the future King Charles x. Venice, where the I12 scores (Codices Contari-
Given at Lyons 20 Jtme 1688; at Drusse!s 8 No- niani) were identified and catalogued by Taddeo
vember 1696 (with a new prologue by P. A. Wie! in 1888. An astonishing number of "lost"
Fiocco; revived 14 November 1708). works came to light, amongst them no less than
Parts of the music were revived at the Th. des 28 scores by Cavalli.
Arts, Rouen, on 7 June 1911.
A parody Arlequill Belleropholl, by P. F. Domi-
nique and J. A. Romagnesi, was produced at the
r680
Cr., Paris 7 May 1728. AGOSTINI: Il Ratto delle Sabirze
In the last act Lully introduccd a "prelude avec
Carnival. Venice, S.G.Gr.
trompettes". BclJeropholl was the first of Lully's
operas the score of which was published (1679; Text by G. F. Bussani. Three acts.
2nd edition 1714)' Of Agostini's operas the only one which is
extant. Revived Bologna Carnival 1689.

A. SCARLATTI: Gli Equivoci Hel

M. A. ZIANI: Damira placata
Sel1lbiante*
Camillal. Venice, S. Moise
February. Rome, Capr. Text by F. Acciaiuoli (Drama da rappresclltarsi nel
Text by D. F. Contini. Three aets. 10co ov' era il Tcatro ZaHe a S. A1oise. ... CO/l-
Scarlatti's first opera. Score preserved. Also sacrato al genio de' wriosi). Three acts.
given at Bologna 1679 (as L'Errore if1tlOCente); The opera was produced on a provisional
Monte Filottramo, near Macerata 1680; Naples, stage, by wooden puppets, "figurc di legno al
at Duke of Maddaloni's March 1680, and Pa!. naturale di estraordinario artificioso la\'oro", as
Reale 21 Decemben68I (with a prologue added); Bonlini teIls uso The singers sang behind the
Vienna Carnival 1681 (as Alllor nOIl vI/ol Inganni, scenes. In a similar wa)", Acciaiuoli's Ulisse i/l
with intermezzi by G. B. Pederzuoli, Il Giudice Feaccia (music by A. de! Gaudio) and his Gircllo
di Villa); Ravenna 1685. (see 1670) were produced at the same place in

67 68
1680 ANNALS OF OPERA 1680
1681 and 1682, with wax puppets; and 11 Le- J. W. FRANCK.: Aeneas
andro (text by Badovero, music by Pistocchi) had
?? Hamburg
preceded them in 1679. Ziani's score is extant.
Text probably by the composer. Prologue and
(See on puppet operas, W. J. Lawrence, in The
3 acts.
Musical Quarterly, Vol. x (1924), P.236.)
The full ti~le reads: Aeneas des Trojanischen
DRAGHI: La Patienza di Socrate Fürsten Ankun./ft in Italien. Airs from this opera
were printed in 1680. After Theile and Strungk,
con due Moglie Franck was the third composer working for the
6 january. Prague new German opera-house at Hamburg (c.15
Text by N. Minato (Scherzo dramatico per mtlsica). operas, 1679-86).
Three acts.
First opera ever produced at Prague. (See P. STRUNGK: Esther
Nettl, Beiträge zur böhmischen and mährischen Mu-
?? Hamburg
sikgeschichte, 1927.) The ballet music was com-
Text by J. M. Köler. Prologue and 5 acts.
posed by J. H. Schmelzer. Score preserved.
The full title reads: Die Liebreiche, durch Tugend
und Schijnheit Erhöhete Esther. Thirty-six airs from
LU L L Y: Proserpine
this opera werc printed in 1684. After Theile,
3 Febmary. Saint-Germain Stnmgk was probably the second composer
Text by P. Quinault. Prologue and 5 acts. working for the new German opera-house at
First given at Paris 15 November 1680 and Hamburg (c.8 operas, 1678-93).
revived there November 1681; Marly 1683; Paris
31 July 1699; 7 March 1715; 28 January 1727; FRES CHI: Berel1ice vendicativa
3I January 1741; and 14NovemberI758 (without
the prologue). Also given at Antwerp Autumn
[8 November]. Piazzola (near Padua)
1 682 (first opera there); in French also, W olfen-
Text by G. M. Rapparini. Three acts.
büttel 1685; Amsterdam 15 September 1688 and ProducedatContarini's privatetheatre (cf. 1679)
170 3. with a very splendid and prodigal display of stage
The score was first published in 1680; 2nd edi- effects (see Grove, III, p.694, 3rdedition,I927). The
tion 1714. production ofBerellice has been frequently cited as
The last three revivals of Proserpine were fol- an example of operatic baroque by writers on the
lowed by parodies, viz. Les Noces de Proserpine, history of opera since 1681, whcn its gorgeous
by A. R. Le Sage and d'Orneval, O.c. 31 March scenery was first described by two eye-witnesses,
1727; Faril1ctte, by C. S. Favart, O.c. 9 March C. Ivanovich (Minerva al Tavolillo, Venice 1681,
1741; and Petrinc, altered from Farillctte by J. M. Vol. I, P.17) and J. Chassebras de Cramailles (His-
Sedaine, Cr. 13 January 1759. -(Für Paisiello's toire de mes COllquetes, Mcrwre Gala/1t, February
new setting of Quinalllt's text see 1803.) 1681). See, for instance, A. Burgh, Anecdotes of
Musie, H, P.383 (1814); Edinbllrgh RevietV, May
A. S CARLA TTI: L' HOllesta lIegli Amori 1820; AI~ltelllei/le Musikalische Zeitllllg, 1821, etc.
Freschi's music is extant. That the opera with
6 Fcbruary. Rome, Pal. Bernini
its choruses of many hundreds, with its elephants,
Tcxt by "Felice Parnasso" (pseudonym of G. F.
and stables full ofhorses, was not given on other
Bcrnini?). Threc acts.
stages; seems only natural.
The opera is dedicated to and was performed
before Queen Christina of Sweden, then residing
at Rome. Revived Siena 1690 (with additional
mnsic by G. Fabbrini).

70
1680-81 ANNALS OF OPERA 1681-82
In this year, 1680, appeared the first Dutch music by M. Martinenghi), Naples December
opera, De Triomferende Min. Vredespel. Gemengt 1686; Parma 1687 (as Olimpia placata, with addi-
met Zang-en Snaarellspel, Vliegwerken en Baletten, tional music by B. Sabadini); Bologna, T. For-
text by D. Buijsero, music by Carolus Hacquart. magliari 1688 and T. della Sala 1694; Rome,
The libretto, containing the airs, was printed Capr. 9 February 1692 (as Amor vince 10 Sdegno,
(co pies Hague, Col!. Scheurleer, and London, with a new third act by an unknown composer).
British Musetim). The opera was written to
celebrate the peace of Nymwegen (1679); but it
was not produced until240 years later (see 7 July 1682
1920) on which occasion the text was reprinted. DRAGHI: La Chimera
Carnival. Vienna
1681 Text by N. Minato (Drama fantastico musicale).
Three acts.
STEFFANI: Marco Aurelio
Revived at Vienna Carnival 1692. First per-
12 or 13 February. Munich formed in 1682 according to Allacci, Köchel,
Text by V. Terzago (the brother of the com- Weilen. A suspicion that the date of 1672 in Wot-
poser). Three acts. quepne's Catalogue (1901, P.41) was amisprint
Steffani's first opera. Score preserved. has been confirmed by the Brussels Conserva-
toire.
LORENZANI: Nicandro e Fileno
September. Fontainebleau J. W. FRANCK: Diocletianus
Text by F. Mancini-Mazarini, Duc de Nevers 6 March. Hamburg
(Cardinal Mazarin's nephew). Poemetto dramatico Text by 1. von Boste!. Prologue and 3 acts.
per Musica. Three acts. Perhaps also produced at Ansbach, though
Lorenzani's first opera; apparently the only certainly not in 1679 (as H. Mersmann, Beiträge
Italian opera produced in France between 1662 zur Ansbacher Musikgeschichte, 1916, p.17, claims),
(see note on Cavalli's Ercole amante) and 1729. but only between 1682 and 1686 as an Ansbach
Anonymous undated libretto printed. Score re- "inventarium de Anno 1686" (quoted by Mers-
covered by H. Prunieres (see Revue Musicale, mann) states that Diocletiano was "in Partitura
August 1922). auss Hamburg gesandt".
"Le Roy a permis au duc de Nevers de faire One of Franck' s most important works. Airs
un opera, et Lulli a fait tout son possible pour from it were printed in 1682.
I'empescher, mais inutilement." (Nouvelles Extra-
ordinaires, Leyden 25 September 1681.) LULLY: Persee
"Dans son ensemble, cette partition est d'une 18 April. Paris, O.
reelle importance pour l'histoire de l' opera en Text by P. Quinault. Prologue and 5 acts.
France et represente Ull essai des plus interessants Given at Versailles in July of the same year and
pour opposer a la tragedie en musique de Lully revived at Paris 10 April 1687; 9 February 1703;
un opera italien adapte au gout des spectateurs 20 November 1710; 8 November 1722; 14 Feh-
fran.;:ais". (Prunieres.) ruary 1737; IS November 1746 and 1765 (with
additions by B. de Bury and P. M. Berton).
FRESCHI: Olimpia vendicata Revived at Versailles I March 1747 (with a
[20 November]. Venice, S. Angelo. new prologue, text by G. A. Leclerq deLa Bruere,
Text by A. Aureli. Three acts. music by B. de Bury) and 17 May 1770 (reduced
Also given at Pavia 1684 (with additional to 3 acts, text altered by N. R. Joliveau, with ad-

71 72
1682-83 ANNALS OF OPERA

ditional music by B. de Bury, A. Dauvergne, F. The score was first published in 1683.
Rebel and F. Franea:ur), to celehrate the wedding • Louis xv was present at the 1721 revival (the
of the Dauphin Louis (XVI) with Marie Antoi- first time that he visited the Opera.)
nette. Another 3-act version, by Marmontel, was Date of first production 9 January (not 6 Jan-
composed by Philidor in 1780. uary, as usually given) has been established by
Given at Brusscls as early as November 1682 P. Melese from eontemporary papers.
(revived 6 November 1685 and 28 December
a
1706); Amsterdam 2 I August 1688 (airs chanter
LEGRENZI: Il Giustino
published); Lyons Winter 1696-7. The score was
first printed in 1682; 2nd edition 1722. january. Veniee, S. Salv.
Parodies: Persee le Cadct, anonymous (in mono- Text by N. Beregani. Three acts.
logues) Foire St. G. 4 February 1709; Arlequin Legrenz( s last great success. Also given at
Persee by 1. Fuzelier, c.I. 18 December 1722; Le Naples, Pa!. Reale 6 November 1684 (with an
Mariage en /'Air by D. Carolet, O.c. 13 March added prologue); Genoa 1689; Milan [29 Jan-
1737; Po/ichinelle Pasre (by marionettes) Foire uary] 1689 and 1691 (text altered) ; Brescia 1691';
St. G. 1737. Bologna 1691 and [29 January] 1692; Lucca 29
Date of first performance April 18 (not 17) December 1693; Rome, Tord. 8 January 1695
according to the Mercure Galant. (text altered by S. Stampiglia); Verona 1696;
Modena, T. Fontanelli 9 January 1697.

I683 A. SCARLATTI: Il Pompeo

L ULL Y: Phaeton [z5january]. Rome, Pal. Colonna
9 j anuary. Versailles Text by N. Minato (first set to music by Cavalli
in I666). Three acts.
Text by P. Quinault. Prologue and 5 acts.
One of Scarlatti's early serious operas.
First given at Paris 27 April 1683 and revived
Also given at Naples, Pa!. Reale, [30 January]
there November 1692; 12 January 1702; 5 Jan-
1684; Ravenna [10 May] 1685; Leghorn 1688;
uary 1710; I I November 1721; 21 December
Palermo 1690; Bologna 9 February 1692.
1730; and 13 November 1742. AtVersailles 6May
1749 and 3 August 1750 (in concert form).
Also given at Avignon, July 1687 (first opera
there); Lyons, 3 or 7 January 1688 (first opera I684
there); Brussels 24 January 1696; Ghent 1708;
LULLY: Amadis*
Hague 15 December 1710; Lille 1718; Marseilles
17 May 1720 (in concert form). 18january. Paris,O.
Phahon was one of Lully's most successful Text by P. Quinault. Prologue and 5 acts.
works; its popularity (it was surnamed "1' opera The opera was to be produced first at Versailles
du peuple") called forth the following parodies (Louis XIV hirnself had suggested the subject of
at the c.r.: Arlequin Phaholl, by J. Palaprat, 4 Feb- the opera), but owing to the death of the Queen,
ruary 1692 (Duteh translation by Emanuel van Amadis was first publicly performed at Paris, and
der Hoeven pllblished 1724); Parodie de Phahon, at Versailles onlyoneyear later, viz. 5 March 1685.
by Macharti, Il December 1721; Arlequin Phaeton, Revived in Paris 8 April 1687; 31 May 1701;
by P. F. Dominique and J. A. Romagnesi, 22 Feb- 1 March 1707; 26 April 1718 (as Amadis de Gaule);
ruary 1731; Arlequin Phaeton, by F. Riccoboni, 4 Oetober 173I; 8 November 1740; 6 November
2I January I743. A fiüh parody, by G. Bailly, 1759; and 26 November 1771 (additions by La-
was published in 1758. borde and Berton).

73 74
 ANNALS OF OPERA

Also given at Amsterdam 1687; Brusscls Jan- wrote for the stage) the part ofVenus was sung
uary 1695 (with prologue by P. A. Fiocco) and by Mary Davies, the actress who became the
4 October 1709· mistress of Charles II in 1667 (sec Pepys's Diary,
The score was first published in 1684; 2nd edi- 14 January 1668), and the part of Cupid by Lady
tion 1721. A Dutch translation by T. Arendsz Mary Tudor, their daughter. As the title was be-
appeared in 1687. stowed on her in December I6Ro,and she became,
A modern revival was at the T wentieth Cen- by marriage, Lady Derwentwatcr in August 1687,
tury Theatre, London, on I4June 1938 (by ama- the performance must have taken pI ace between
teurs; English version by o. Daunt). those two dates, as generally stated.
There were two early satires (rather than paro- The margin, however, can be narrowed down,
dies) produced at the Th. 1. in the same year, viz; considering that Charles 1I died on 6 February
a comedy by N. de Fatouville, Ariequin Emperellr 1685, and that his mistress and his natural child
dans Ia LI/ne, 5 March 1684, and Amadis Cuisinicr, are not likely to have sung the masque under his
May 1684. Later parodies include La Naissallcc successor. On the other hand, it seems preferable
d'Al1ladis, by F. Regnard, c.r. 10 February 1694; to suggest the latest possible year, as Lady Mary
Arlequin Amadis, by P. F. Dominique and J. A. Tudor was born in 1763 and so, in 1684, was only
Romagnesi, c.1. 27 November 173 I; Po/ichillelle a child of eleven, which is rather young even for
Amadis (anonymous), Th. des Marionettes, Foire the part of Cupid.
St. G., March 1732; Al/1adis, by J. A. Romagnesi The libretto does not seem tohave been printed.
and F. Riccoboni, music by Blaise, c.r. 19 De- The score was published in 1902 by C. E. P. Ark-
cember 1740; Al1ladis, by A. J. Labbet de Moram- wright, as no.xxv ofhis Old Ellglish Editioll, and
bert, c.1. 3 r December 1759; AIIWdis, by A. J. again in 1939, edited by A. Lewis.
Sticotti, 176o, not performcd. VCIlIIS al/d Ad<mis was revived at Glastonbury

J. C. Bach set the same text to music 95 years 5 April 1920; London, Old Vic I June 1920 (by
later (see 1779). the Glastonbury company) and Scala Th. 13 July
1926; Liverpool 17 Februar)" I92H; Oxford 9
C. PALLAVICINO: Massil/lo Puppieno March 1937; London, R.C.M. 19 June 1<)38.
[28 DcCC/nbcr]. Venice, SS.C. e P.
Text by A. Aurcli. Three aets.
168 5
Very successful in !taly: repeated with addi-
tions Venice, same theatre, 16R5; Milan 18 June L ULL Y: Rolalld
1685; Trent- 1688; Verona 16~9; Cenoa 1690;
8Jarlllar)'. Vers~lilles
Bologna 9 January 1692; Ferrar:l 1692; Fano
Text by P. QlIinault. Prologue and 5 acts.
r694; Lucca 20 August 1695; Florence Carnival
First given at Paris 8 March 1685, and revivcd
1699; Rome Carnival 17r8. Music lost.
there 12 Februar)" 1705; 15 November 1709; 15
Deccmbcr 1716; II November 1727; 19 Deccm-
c. 168 4? ber 1743; and 11 November 1755 (additions by
1. Aubert). Civen at Lilie 1720; Brussels I<) No-
BL0 w: Velllls ami Ar/Oll is* vember 171.1.
?? London A Dutch version by T. Arendsz was pubbhcd
Librettist uuknown. Prologllc and 3 acts. Date and at Amsterdam in 1686. Thc metres of the trans-
pb ce of first performance unknown. lation prove that it was intended to go with Lully's
From a MS. score in the 13ritish MUSelllll (Add. I1lusic. But there is no record of a production.
MS.22IOO) wc know that in this "Masque for the Parodies: Pierrot Furicllx, Oll Pierrot Ra/aHd, by
Entertainment of the King" (the onl)" work 13l0w 1. Fuzclier, O.c. 3 February 1717; ArlcquiH Ro-

75
1685 ANNALS OF OPERA 1685-86

lalld, by P. F. Dominique and J. A. Romagnesi, Libretto published in 1685, score in 1687.

C.I. 3 I December 1727; Roland, by C. F. Panard Besides Ariane (the authorship of which is doubt-
and A. J. Sticotti, c.I. 20 Janllary 1744; Bolan OU fu!, see 1674) Grabu's only opera, as far as we
Le MMecin amoureux, by J. Bailly, c.r. 27 Decem- know. For a detailed account of the work, its
ber 1755. Leris mentions one more, Polichillelle musical importance and its political meaning, see
Gros-Jean. performed at the Th. des Marionettes E. J. Dent, Foundations of English Opera (1928),
(1744). pp. 160-70. In his most interesting preface, Dryden
The first production was on 8 January (not 18 pays high tribute to his musical collaborator; his
as indicated in later editions of the libretto). eoining of the term "Songish Part" (as opposed
Again. as in Amadis, Louis XIV had suggested the to the reeitative part of opera) is worth mention-
subject himseIE The score was first printed in ing once more.
168 5.
Piccinni used the same libretto 93 years later A. SCARLATTI: Olimpia vendicata
(see 1778). 23 Decel1lber. Naples, Pa!. Reale
Text by A. Aureli (first composed by Freschi,
GA UL TIER: Le Triomphe de la Paix see 1681). Three aets.
28 Jallllary. Marseilles This opera eontains a. very early instance of
Text by the composer (aeeording to A. Fabre, accompanied reeitative (quoted by E. J. Dent,
Les Rues . .. de Marseille, III, P.295). Prologue and Scarlatti, P.46).
3 aets. The date of first performance has been very
The text was printed in 1685, but no eopy ofit ingeniously detected and established by A. Lorenz
has been traeed yet. The musie is also lost. (Alessandro Scarlatti's JIIgendoper, Vol. I, 1927,
This was the first opera ever produeed at Mar- pp.93--9 6).
seilles. See on Gaultier (who was a pupil ofLully),
L. de La Laureneie's paper in Vol. XIII (19II-I2) STEFFANr: Servio Tullio
of the Sammelbände ~r the I.M.S.
[30 Decel1lber]. Munich
(The wrong date of 1682 for the opening of the
Text by V. Terzago (the brother of the com-
Marseilles opera-house is due to Castil-Blaze or
poser). Prologue and 3 acts.
Fhis and still oeeurs in books of referenee.)
Written for the we,.l.ding of the Elector Max
Emanuel with Maria Antonia, the daughter of
c. PALLAvrcrNO: Penelope la Casta the Emperor Leopold I.
[28January]. Veniee, S.G.Gr. For an analysis of Servio TuIlio, see A. Neisser' s
Text by M. Noris. Three aet~ .. monograph (1902).
Also given Milan 1696.
Bonlini (1730) says: "Questo Drama ... e uno
di quelli ehe ha piu incontrato nel genio univer- I686
sale de'Spettatori", meaning Noris's libretto,
BERN ABEr: L' Ascanio
which was reset by Perti (Rome 1696), Searlatti
(NapIes 1696) and CheIIeri (Venice 1716). January. Munich
Text by F. R. Sbarra. Three acts.
One of the 15 operas the younger Bernabei
GRABU: Albion and Albanius wrote for the Munich court, where he succeeded
13 JUlle.
London, Dorset Gardens his father in 1688. Produced some days after Servio
Text by J. Dryden (an opera). Prologue, 3 acts and Tullio (see [30 December] 1685) as indicated in
epilogue. the preface.
c 77
1686 ANNALS OF OPERA 1686

J. W. FRANCK: Cara Mustapha uary 1695 (withanew prologue byP. A.Fiocco);

Hague 1701; Marseilles 10 March 1701.
January. Hamburg
Also performed at Rome in 1690, as the first
Text by L. von BosteL Prologue and 3 acts.
French opera ever given in Italy. Italian trans-
The full tide reads: Der Glückliche Gross-Vezier
lation (by S. Stampiglia?) published in that year.
Cara Mustapha Erster Theil, nebenst der grausamen
According to F. Torrefranca (Festschrift für Jo-
Belagerung, und Bestürmung der Kayserlichen Resi-
hannes Wolf, 1929) performed at some private
dentz-Stadt Wien; a sequel, called Der Unglück-
palazzo rather than in public. According to Sal-
liche Gross-Vezier Cara Mustapha ••. followed a
violi perhaps also given at Mantua in 1695. Armide
few nights later. Airs from the two operas were
must have been rather well-known in Italy, as the
printed in 1686 (some of them reprinted by F.
president De Brosses mentions in his letters a
Zelle in 1889). The last traceable work Franck
private performance at Cardinal Ottoboni's as
wrote for Hamburg before he came to London
late as about 1740.
c.l69o (see W. B. Squire, in The Musical Anti-
A German translation by J. J. Eschenburg was
quary, July 1912).
published in 1766.
According to an old tradition Armide is also
C. PALLAVICINO:·L'Amazone Corsara said to have been produced at Madrid in 1693,
[1 February]. Venice, SS.G. e P. as the first opera at the Spanish court. The state-
Text by G. C. Corradi. Three acts. ment first occurs in Bonnet-Bourdelot's Histoire
Sub-tide: L'Alvilda, Regina de Goti. Successful Je la Musique et de ses Effets (1715), P.379, was
in Italy, revived at Venice Carnival 1688 and repeated by Arteaga in Le Rivoluzioni deI Teatro
subsequendy given at Bologna 17 January 1688; MuskaIe Italiano (1783), I, p.241, and by many
Naples, Pal. Reale 6 November 1689; Vicenza other writers since. According to E. Cotarelo
1690; Turin, T.R. Carnival 1696; Verona 1697; y Mori (Origines •.. de la Opera en Espaiia, 1917)
Rovigo 1697. neither Armide ncir any other of Lully's operas
was ever given in Spain.
Parodies on Armide, of the same tide, were
LULLY: Armide* produced at the c.I., Paris 21 January 1725 (by
15 February. Paris, O. J. Bailly, part of the music by J.J. Mouret) and
Text by P. Quinault (after Tasso). Prologue and I I January 1762 (by P. Laujon). A third, anon-
5 acts. ymous one, was printed in 1747.
This last of Lully's tragedies-Iyriques was Armide was revived, in concert form, at Paris
regarded to be his masterpiece by his contem- 24 November 1905 (by the Schola Cantorurn);
poraries as weIl as by later generations. Score first Florence 12 May 19II (by the Associazione dei
published in 1686; then in 1710 and once more Musicologi; orchestration revised by C. Cor-
in 1718. InJanuary 1687 there was a performance dara); and, on the stage, at Monte Carlo 6 April
in honour of the ambassadors from Siam. Re- 1918 and Geneva December 1939.
vived in Paris 27 November 1703; 26 December For Gluck's setting of Quinault's text, see 1777.
1713; June 1714; 9 November 1724; 7 January
1746 (previously, 30December 1745 atVersailles); L ULL Y: Acis et Galatee
17 February 1747; 3 November 1761; and 4 De- 6 Septembre. Anet
cember (not 3 October) 1764 (this latest revival Text by J. G. de Campistron (pastorale hboique).
preceded Gluck's new setting of the same libretto Prologue and 3 acts.
by less than 13 years). Outside Paris given Lully's last work. Score published in 1686. First
at Avignon September 1687; Lyons 15 February produced at a fete galante given by the Duke of
1689; 1698 and 29 April 1730; Brussels 20 Jan- Vendome to the Dauphin; given at Paris II days

79 80
1686 ANNALS OF OPERA

later (17 September 1686) and revived 5 June dena, is the earliest (and only one) to be connected
1689; 10 June 1695 (according to the Merture with Stradella's score, which is extant.
Galant, 20 June 1695 at Trianon "pour le Roi de (An anonymous libretto of the same title, pre-
Angleterre"); 13 June 1702; 5 October 1704; 18 served at Vienna, has probably nothing to do
August 1718; 13 September 1725; 19 August with Stradella's opera; see Weilen, nO.945; ac-
1734 (with new divertissement, Les Plaisirs eham- cording to him perhaps performed at Vienna 4
petres, by Rebelpere); 18 August 1744; 23January March 1737.)
1749 (at Versailles, with the prologue from
Phalton); 6 June 1752 (after 1 August 1752 on the GABRIELI: 11 Mauritio
same bill with Pergolesi's La Serva Padrona); and [25 Deeember]. Venice, S. Salv.
7 September 1762 (without the prologue). Text by A. Morselli. Three acts.
Also given .at Hamburg December 1689 (in The most successful of Gabrieli's 11 operas;
French; first opera there by a non-German com- also given at Milan 1687 and/or 1689; Bergamo
poser and sung in a foreign language) and at [I2January] 1689; Modena, T. Fontanelli300c-
Brussels 7 November 1695 (with a prologue by tober 1689; Padua May 1691; Vicenza 1691;
P. A. Fiocco). Rome, Tord. February 1692 (with alterations by
In German (translator not mentioned), Ham- S. Stampiglia); Bologna 3I December 1696;
burg 1695 and Stuttgart 1698. Vdine 1696. '
A parody by C. S. Favart, called Tirds et Do-
ristle was produced at the C.I. 4 September 1752
16 8 7
and at Laxenburg, near Vienna 10 May 1756
(Champee signed the Vienna score as copyist, not c. PALLAVICINO: La Gierusalemme
as composer, as claimed by Mantuani and Eitner). liberata
Ads et Galatle was revived at Amsterdam 23
[3January]. Venice, sS.G. e P.
November 1933 (in French, under Pierre Mon-
Text by G. C. Corradi (founded on Tasso's
teux, by the Wagnervereeniging, on which oc-
poem). Three acts.
casion the libretto was reprinted, edited by H.
Prunieres). In London the opera was broadcast Given some weeks later, 2 February 1687 at
Dresden (German translation in libretto by C.
on 29 March 1.937 (in French).
Bernhardi). Revived at Hamburg Spring 1694
(in Italian) and releated there 1695 in German (as
(STRADELLA): Il Trespolo Tutore Armida, translated by G. Fiedler; this German
balordo version contains, for the first time at Hamburg,
[October]. Modena also one ltalian air).
The score was published in 1916 as Vol. LV of
Text by G. C. Villifranchi (altered from a prose
Denkmäler Deutscher Tonkunst, editedbyH. Abert.
comedy by G. B. Ricciardi). Three acts.
The libretto was first published at Bologna
e
1679, under the title Amore Veleilo, e Medicina
STEFFANI: Alarico il Baltha
degl' Intelletti 0 vero Trespolo Tutore (and again 18 January. Munich
in 1682 and 1686 as 11 Tutore balordo); from villi- Text by L. Orlandi. Three acts.
franchi's dedication to Ricciardi, dated I I June Full title: Alarieo il Baltha, eioe l'Audace, Re Je
1679, it appears that this edition was not printed Gothi. W ritten for the birthday of the Bavarian
for a special occasion, and his allusions to previous Electress Maria Antonia.
productions at Rome, Genoa and Naples-with The score was published in 1912 as Vol. XI of
or without music-are rather vague. Denkmäler der Tonkunst in Bayern, edited by H.
The 1686 production at the T. Fontanelli, Mo- Riemann.

81 82
 ANNALS OF OFERA 1688-89

BIBER: Chi la dura la vince produccd at a fete given by thc Prince ofCondC
in honour of a visit of the Grand Dauphin.
[30 lUlle]. Salzburg
Lorenzani's onl)' French opera (cf. 1681). Lib-
Text by F. M. Raffaclini. Three acts. retto printed in 1688. Of the music only some
Biber's only extant opera. See on this earliest airs de ballet are extant. An account of Orolllec
Armillills opera C. Schneider in Archiv für Musik- will be found in Revlle Mllsicale, June 1928 (A.
wissenschaft, Vol. VIII (1926), p.28r. The date of Tessier).
the election of the Archbishop Johann Ernst von
Thun (to whom the work is dedicated) gives a LÖHNER: Theseus
terminus a qllo for the date of production.
15 ]\;opei/lbcr. Nuremberg
Text by thc composer (translated from an Iralian
CO LAS SE: Achi le el Polixclle libretto by Aurcli, Tesco tra le Ril'ali, composed
i .'\lolle/l/ber. Paris, O.
by Freschi in 1685). Three acts.
rorty-four airs from this opera were printed
Text by J. G. de CampistTOll. Prologue and 5 acts.
in 1688. See A. Sandberger in Archil' für Musik-
Overture and first aet were Lull y' s last com-
WiSSClIsch4t, Vol. 1 (October 1918).
position (d. 22 March 16R7). Colasse fmishcd the
work of his master, thtlS setting up a tradition
held by Freneh opera composers throughout the
centuries. Also givcn at HamburgDecember 1692 1689
(in Freneh) and n:vived at Paris 11 October 1712.
The seore was publishcd in 1687.
COLAS SE: Thhis el Pelee
A French opera Alldro/llaquc, produced at Am- 11 Jmlllary. Paris, O.

sterdam 20 July 1688, probably was Colasse's Text by B. de Fontenelle. Prologue and 5 acts.
work (in which Androl1lache is one of the chief Colasse's chief work and one of the most suc-
characters); there is no Frl'llch 17th-century opera cessful French operas between Lully and Rameau.
of dut title. Revived in Paris 1697,27 April 1699; 16 April
1708 (with additions by A. Campra and B.
Stuck); 13 May 1712; 4 November 1723; 19 Jan-
r688 nary 1736; and 29 November 1750 (Fontenclle is
said to have been prcscnt at this revival, nearly
A. SCARLATTI: La Roslllene overo 62 years after the first production. He died, a
L'11 ifedelta feaele centenarian, in 1757); Fontainebleau 14 Novem-
ber 1754 (without thcprologue). GivenatBrussels
Camil'al. Naplcs, Pa\. Reale in 1709 (revived 12 Mal' 1726); Lilie [1720].
Text by G. ]). eil' Totis. Three acts. Parodies: Arleqllin Thhis, by A. R. Lesage, O.c.
According to A. Lorenz one of Scarbtti's best 30 July 1713; Thhis cl Nlü, by P. C. Roy, Sceaux
works. Also given at Florence r6R9; Rome 1690; August 1714; Lcs Naces d'Arlequill el de Silvia, ou
Ferrara r6~H. Thhis el Nlü deguises, by P. F. Dominique, c.1.
19 January 1724; Les Amants inquiets, by C. S.
Favart, c.I. 9 March 1751 and Versailles 22 Jan-
LORENZANI: Orontle
uary 1755.
23 August. Chantilly. Score publishcd in 1689, 1708 and 1716. Fonte-
Text by M. Ledere (adapted from Cicognini's nelle's text was reset by Laborde (Fontainebleau
Italian libretto, sec 1649). Tra.,zMie eil A1usiqlle, 10 October 1765), who retained some parts of
prologue and 5 acts. Colasse' s original ffiusic.

83
 ANNALS OF OPERA 1689

STEFFANI: Henrico Leone probably Christmas" with a high degree of prob-

ability. Surcly, a mis-dating by no less than I~
30 Jalluary. Hanover
years of a work of such outstanding importance
Text by O. Mauro. Three acts.
is a unique case in the history of opera.
Written for the inauguration of the Hanover
The score was published for the first time in
Italian opera-house.
1841, edited by G. A. Macfarren for the Musical
Steffani's most successful work. Given in a
Antiquarian Society. Thcre are later editions by
German translation by G. Fiedler at Hamburg
E. F. Rimbault 1872 (vocal score); W. H. Cum-
1696; Brunswick August 1697 (revived August
mings 1889 (as Vol. III of the eollected edition
1699; 2 February 1716 [with Italian airs, some
ofPurcell's works); A. Bodanzky 1924; E.J.Dent
from Steffani's Tassilone, and additions by G. C.
192 5.
Schürmann]; August 1729); Augsburg 1698;
Some public performances, after Purcell's
Stuttgart I I October 1701 (as Meehthilde).
dcath, took place about Fcbruary 1700, 9 Feb-
Date of first performance indicated in a letter
ruary 1704 and 19 April 1704, when Tlrc Loves
of the Italian composer Antonio Giannettini (see
of Dido al1d Aeneas (Ha Mask, in Four Musical
E. J. Luin, Antollio Gia/mettilli e la Mllsiea a Mo-
Entertainments") was given as an interlude at the
dena, 1931).
Lincoln's Inn Fields Theatre. Parts of the musie
(C. PALLA VI CINO): L' Antiope were heard at concerts occasionally in the 18th
14 FebTllory. Dresden century. But it was only after a lapse of more than
Text by S. B. Pallavicino (the son of the com- 195 years that Dido and Aeneas reached the stage
poser). Three acts. again. The following revivals are to be recorded:
Pallavicino's last work (d. 29 January 1688), LONDON, R.A.M. 10 July 1878 (in concert form, by
completed by Strungk. (See F. Berend, N. A. the Gll1ck Society).
Stmn:?,k, 1913, for an anal ysis of the opera and the lONDON, ST. ].'S HALL I March 1888 (in concert
share of the two composers.) form, by the Bach Choir; Cummings' version).
LONDON, lY. 20 November 1895 (on the stage, by
PURCELL: Dido and Aeneas* the R.C.M., in celebration of the bicentenary
December? London of Purcell's death, additional accompaniments
Text by N. Tate. Prologue and 3 acts. by C. Wood).
The only known copy ofthe original (undated) DUBLIN 14 December 1895 (in concert form, by
libretto (in the R.C.M., London) has no proper the University Society).
title, it simply reads: All Opera Perform'd at Mr. LONDON, HAMPSTEAD CONSERVATOIRE 17 May
Josias Priest's Boarding Sehool at ehelsey. By YOImg 1900 (by the Purcell Operatic Society).
Gentlervol/lell. Tlre Words made by Mr. Not. [sie; LONDON, CORONET TH. 25 March 1901 (by the
should be Nah. = Nahum] Tate. The MI/siek Purcell Operatic Society).
eomposed by kIr. Henry PureeIl. LONDON, GUIlDHALL SCHOOl 17 March 1910.
The date of the first performance of the most LONDON, HYDE PARK 3 J111y 1920 (by the League
famous English opera is stiIluneertain. 1 For a long of Arts).
time, in fact since Hawkins (1776) up to 1904, it LONDON, SCALA TH. 31 December 1929.
was believed to have been written· about 1677. LONDON, SADLER'S WELLS 6 November 193 I.
Only W. B. Sql1ire's and W. H. G. Flood's re- LONDON, NEW TH. 1 July 1941.
searches (see Sammelbände of the I.M.S., Vol. v, GLASTONBURY August 1915.
1903--04, and Musical Times,June and November, CLIFTON 14 Oetober 1924.
19111) have fIXed the date of"second half of 1689, ALTON, HANTS. 10 February 1926.

1 See Dating Purcell's Dido and Aeneas by John Buttrey;

BRISTOL 21 October 1926.
RMA Proceedings 1967-8~ GlASGOW 13 April 1932 and 24 April 1940.

8S 86
1689-90 ANNALS OF OPERA

OXFORD JO November J937. KUSSER:JuUa

Revivals outside Great Britain:
August. Brunswick
NEW YORK, TOWN HALL J3 January J924 (in concert
Text by F. C. Bressand. "In einem Schauspiel
form, Bodanzky's version); on the stage: Juil-
singend vorgestellt". Three acts.
liard School of Music J8 February J932 and
Kusser's first traceable opera. Music lost. Leib-
29 March J939 (Dent's version).
niz mentions the opera in a letter to the Land-
HOMBURG (near FRANKFORT) J2 June J924 (in
grave of Hesse-Rheinfels, dated 14 September
coneert form).
J690.
MÜNSTER J4 March J926 (on the stage, Dent's
version; German translation by A. Mayer).
PARIS, PETITE scENE 2J March J927 (in Freneh,
KRIEGER: Der grossmüthige Scipio
translation by P. Landormy). 2 November. Weissenfels
VIENNA 27 March J927 (at the Redoutensaal, in Text: a German version by an unknown trans-
German; musie arranged from Dent's version lator ofMinato's Scipiollc Africallo (see J664). Pro-
by H. Gal). logue and 3 acts.
STUTTGART J5 July J927 (in German, Dent's Airs from this opera were printed in J692.
version). Krieger was court conductor at Weissenfels
BASLE 9 June J93 J (in German, Dent's version). from J680-1725. Of the numerous operas written
THE HACUE November J934 (Gal's version). by his successor, J. A. Kobelius, nothing is left.
BUDAPEST 6 December J938 (in Hungarian, trans-
lated by K. Nadasdy; music arranged by J.
A. SCARLATTI: CU Equivoci in Amore
Adam).
NANTES February J939 (in eoncert form).
overo La Rosaura
FLORENCE 14 May 1940 (Dent'sversion, translated Decel1lbcr. Rome, Freneh Embassy
M. Labroca, orehestrated by V. Gui). Text by G. B. Lucini. Three acts.
Written for a double wedding ofthe Colonna,
Ottoboni, and Barberini families. Repeated Rome
1690 J692 by the Accademici Uniti; an intended pro-
A. SCARIATTI: La Statira* duction at Tord. J691 did not take place.
Two acts of this opera were published by R.
sJanuary. Rome, T. Tordinona
Eitner in J885 (in Vol. XIV of the Publikationen
Text by P. Ottoboni (the nephew of Pope der Gesellschaft für Musikforschullg).
Alexander VIII). Three acts.
Score preserved. Written for the reopening of
the Tordinona theatre (closed J675-89). OTTOBONH: 11 Colombo overo
L' 1ndia scoperta
STEFFANI: La Superbia d'Alessandro 28 Decel1lber. Rome, T. Tordinona
?? Hanover Text by the composer. Three acts.
Text by O. Mauro. Prologue and 3 aets. The earliest Colul11bus opera, written (and
Repeated at Hanover in J69J as 11 Zelo di perhaps composed) by Cardinal Pietro Ottoboni,
Leonato, without the prologue, and with altera- the nephew of Pope Alexander VIII. Music lost.
tions. See on this opera Ademollo and W otquenne,
Successful in a German version by G. Fiedler, who eite amusing criticisms from the Memoires
Der hochmüthige Alexander: Hamburg J695; of Philippe Emmanucl de Coulanges (J820 edi-
Brunswick August J699; Stuttgart J8 September tion, p.227) and a poem by the Duke of Nevers
1700. Text later set by Handel J726. ending thus:

88
 ANNALS OF OPERA

Le grand bruit de la peste, en tous lieux n:pandu, Modern revivals, mostly in eoncert form:
A fait cesser cette musique; BIRMINGHAM 6 Oetober 1897 (Fuller Maitland's
Cet opera sauvage est enfm defendu version).
Et nous ne verrons plus ce monstre dramatique. PARIS (privatcly) 9 May 1922 (French version by
I69I I. Ddage-Prat).
FALMOUTH 3 Deeember 1924 (on the stage).
PURCELL: King Arthur or CAMBRIDGE 14 February 1928 (on the stage).
The British Worthy* NEW YORK, UNIVERSlTY 24 April 1935 (in concert

May or June. London, Dorset Gardens form).

LONDON, QUEEN'S HALL II December 1935 (in
Text by J. Dryden (A elramatick opera). Prologue,
concert form).
5 acts and epilogue.
Regarded by Dryden as a sequcl to his Albio/l
and Albal/ius (see 1685). S T E F FAN I: Orlando generoso
Only one air was printed in PurcelI's lifetime,
Decembrr. Hanover
and extracts followed in the 18th and 19th cen-
turies.! The score was first published in 1843, Text by O. Mauro. Three aets.
edited by E. Taylor for the Musical Antiquarian In German (translated by G. Fiedler) Hamburg
Society. Further editions by G. E. P. Arkwright January 1696 and revived there in 1707; 29 Jan-
(1889), W. H. Cummings (1897), J. A. Fuller uary 1720, "erneuert, doch mit Beibehaltung der
Maitland (1897), and D. Arundell (1928, as Fiedlersehen Übersetzung, wenigstens in Reeita-
Vol. XXVI of the collected edition of Purcell's tiv" (Mattheson); Drunswick August 1697 (in
works). German) and February r698 (in Italian).
King Arthur was very successful and frequently Airs from this opera were printed in 1699 at
revived. Given at London, D.L. 13 March 1706; Lübeck.
London, Goodman's Fields Th. 30 December
1735 (as Merlin or The British [I/chanter and King
Arthur, the British Worthy; this version is attri- I692
buted to William Giffard, the manager of Good-
man's Fields Theatre; see on this production Tho-
PERTI: Il Furio Camillo
mas Gray's letter to Walpole of 3 January 1736); Carnival. Venice, S. Salv.
York 24 January 1747; Dublin 17 March 1750 Text by M. Noris. Three acts.
and 7 February 1763; London, D.L. 13 December
The most suceessful of Perti's 24 operas. Also
1720; 12 November 1772; 19 October 178r (text
given at Bologna 17 January 1693; Milan, T.R.D.
altered by D. Garrick, additional music by Arne);
[25 January] 1693; Genoa 1693; Rome, Tord.
22 November 1784 (as Arthur anel Emmelil/e, addi-
February 1696 (text altered by S. Stampiglia);
tions by Linley); Dublin 1789 (Arne's version, as
Mantua 1700.
Arthur and Emmrline); London, Royalty 5 April The musie seems to be lost.
1790; New York 24 April 1800 (with Pureell's
music?); Arthur and Emllleline revived London,
c.G. 2 November 1803 and 26 Oetober 1819 STEFFANI: Le Rivali concordi
(music arranged by Bishop), also Lyeeum 2July
20 February. Hanover
1827 (musie arranged by W. Hawes); D.L. 16
November 1842. Text by O. Mauro. Three aets.
1 Complete text of the play with lyrics published in In German (as Die vereinigten Mit-Buhler oder
1717· Die siegende Atalanta, translation by G. Fiedler)

89 90
 ANNALS OF OPERA

Hamhurg 1698 and prohahly Stuttgart 18 Sep- KUSSER:Jason

temher 1699 (as Le Rivali conco,.Ji oder Jie ver-
1 September. Brunswick
söhnten Nebenbuhler).
Text hy F. C. Bressand. Five acts.
Also given at Hamburg 1695 and Stuttgart
PURCELL: The Fairy-Queen* 1698 (as Die unglückliche Liebe Jes tapfern Jasons,
April. London, Dorset Gardens reduced to 3 acts); 7 November 1700; and 1702•
Revived at Brunswick August 1715 and August
Text: an anonymous adaptation, perhaps by E.
1724 (as Die an des Jasons Untreue sich rächende
Settle, of Shakespeare's A MiJsummer Night's
Medea; 1715 'l'educed to 3 acts; 1724 additional
Dream. Prologue and 5 acts. Revived 1693.
music by Schürmann, 3 acts).
Only some songs were puhlished in purcell's
The music ofJason seems to he lost. An anon-
lifetime. The original score was lost as early as in
ymous sCOre in the Staatsbibliothek, Berlin, was
Oetober 1700, when there appeared in the LonJon
for a long time thought to be Kusser' s work,
Gazette the well-known advertisement offering
copied by Keiser. But it has been proved to be
20 guineas reward for its recovery. Perhaps it was
a different opera, Jason oder die Eroberung des gül-
recovered through this advertisement, for ad-
denen Fliesses, Hamhurg 25 November 1720,
vertisements in the Daily Courant show that one
music chießy by Schürmann. See G. F. Schmidt,
act was performed at D.L. I February 1703. The
Frühdeutsche Oper (1933-34), Vol. 1, pp.44 and
score was re-discovered more than 200 years later,
Vol. n, p.8; W. Schulze, Quellen Jer Hamburger
by J. s. Shedlock, in the lihrary of the R.A.M.,
Oper (1938), pp.41-44.
London. Edited by Shedlock in 1903 and again
in 1914, as Vol. xn of the collected edition of
Purcell's works.
Revivals: 1693
LONDON, ST. GEORGE'S HALL 15 June 1901 (in con-
STEFFANI: La Libertli contenta
cert form, under Shedlock).
LONDON, MORLEY COLLEGE 10 June 1911 (in con- 3 February. Hanover
cert form, under G. Holst). Text by O. Mauro. Three acts.
CAMBRIDGE 10 Fehruary 1920 (first production on In German (as Der in seiner Freyheit vergnügte
the stage since 1692, under C. B. Rootham). Aldbiades, translated by G. Fiedler) given at
LONDON, RUDOLF STEINER HALL 23 June 1927. Hamburg 1697; Stuttgart 28 April 1699 (with a
CAMBRIDGE 10 Fehruary 193 I. prologue, perhaps by Kusser, added) and 28 April
ESSEN 27 June 1931 (open-air performance, in 1701; Brunswick Fehruary 1700.
German, translation by E. Schulz-Domhurg).
BRUSSELS 28 June 1935 (in French, translated by
STRUNGK: Alceste
J. Rousseau and J. Weterings).
A German arrangement by H. Stieher was 18 May. Leipzig
published in 1936. Text by P. Thiemich (founded on Aureli's Anti-
gona delusa da Alceste, see 1660). Prologue and
3 acts.
KUSSER: Ariadne Written for the inauguration of the Leipzig
15 February. Brunswick opera-house. Repeated at Naumburg and Weis-
Text by F. C. Bressand. Five acts. senfels in the same year, 1693 (as Hercules). Music
Revived at Brunswick 28 August 1692 and lost, as is the music of Nero, the second opera
1715. Airs from this opera were printed at Stutt- Strungk wrote for Leipzig in Autumn of the
gart in 1700 (as Heliconische Musen-Lust). same year.

91 92
16<)3 ANNALS OF OPERA

See on the early history of the first Leipzig In Tclemann's version the opera was also given
opaa-Iwuse F. Berend's dissertation on Strungk at Brunswick February 1725; I R August 1728 and
([<)[3) and G. F. Schmidt in the Sal/d"c~!!er Fest- February 1732; revived at Hamburg 18 Novem-
schrift (IC)I<)). Abollt roo German operas were ber. 1734.
given there llntil 1720, most of them ano:1ymous Conradi wa:" after Theile, Strungk, Franck,
.md aU cxcept one lost. Strungk, Boxberg, Tcle- and Förtsch, the fifth composer writing for the
mann, Grünewald, Hofmann, HeinicheIl, J. G. Hamburg Gcrlllan opera.
Vogler are the few composers mentioned in thc
libretti. M. A. CHARPENTIER: Medee*
-I Dl'celllf,rr. Paris, O.
B R 0 N N ER: Echo und N arcissus Text b\· T. Corncille. Prologue and 5 acts. Char-
?? BrllllSwick pentier's only opera produced at the AcadCmie.
Text by F. C. Bressand. Three acts. Ncvcr rcvivcd in Paris, although considercd by
Also given at Hamburg 1694. Tbc tlrst of so me critics to equal evcn Lully's operas. Also
Bronner' s 7 operas, none of which is extant. See given at Lilie 17 November 1700. The score was
F. Chrysander in jahrbiicher pir Musik,vissel/schaft printed in 1694.
(1863), pp.2ID-227·

ERLEBACH: Die Plejades oder r694

Das Siebengestirne
POLLAROLO: Ottone
?? 13runswick
Camival. Venice, S.G.Gr.
Text by F. C. 13ressand. Three acts.
Text by G. Frigimclica Roberti. Five acts.
Also given at Hamburg 1694 and revived at
In Italian also givcn at Udine 1696; 13runswick
13runswick February 1699. Erlebach's only opera.
August 1697; and, with alterations, Venice Car-
Music lost.
nival 17r6.
CONRADI: Gensericus KUSSER: Erindo oder
?? Hamburg
Die unsträfliche Liebe
Text by C. H. Postel. Prologue and 3 acts.
Camival? Hamburg
Ful! title reads: Der grosse Kiinig der AJrica-
nischen Wcnden GcnseriClls, als ROIll- und Kartha- Text by C. F. Bressand. Three acts.
gens Überwillder. Also given at Augsburg r698 (as Die ullstr1f-
Of Conradi's 8 operas the only one which is liche Liebe). Forty-four airs [rom Erindo were
extant, at least in a revised version in whicb ie printed in 1695 and reprinted in 1938 (edited by
was revived at Hamburg 20 June 1722 under tbe H. Osthoff).
new title ofSieg der Schönheit (text altered by C. F. (The first production was, according to W.
Weichmann, additional music by Telemann). Schulze, rather in the beginning of I694 titan in
In his Der Musikalische Patriot (1728) Mattheson the Autumn of 1693 as has been assumed.)
states: "Dieser Sieg bestund in dem alten Gense- Revived, in concert-form, Hamburg Decem-
ricus •.. mit einigen Neuerungen: von Teleman- ber I939.
nischer Composition. Hm. PosteIs Poesie wurde
verbessert durch Hn. Weichmann" . See also
A. SCARLATTI: Pirro, e Demetrio
Mattheson's review in his Critica Musica, Vol. I, [28 jant/ary). Naples, S.13.
Pt. 3 (July 1722) which is t1Ie first opera review Text by A. Morsel!i (first composed by Tosi in
in the first German musical periodical. 1690). Three acts.

93 94
 ANNALS OF OPERA

One ofScarlatti'smost famous works. Repeated opera, on the authority of Mattheson, who stated
at Rome, Capr., in the same year, 1694 (not in his Ehrenpforte that Basilius had been heard at
1696); Siena, Acc. Rozzi 1695, with prologue and Brunswiek or W olfenbüttel before it was given
intermezzi by D. Franchini; Florence, Acc. dei at Hamburg. Chrysander (1863) hesitatingly ac-
Sorgenti 1696; Milan, T.R.D. Carnival 1695; cepted that statement, but aeeording to G. P.
perhaps also Mantua 1700; revived Florence Sehrnidt (Neue Beiträge, ... 1929) the opera mad~
Carnival 1711, as La Forza della Fedclta and Fano its appearanee at Brunswiek only about Februarv
[9 Jannary] 1716, under the same tide, with addi- 1696 (as Basilills). Mattheson probably eon-
tional airs by other composers, arranged by A. founded Keiser's opera with tbe Italian original
Massarotti). At Naples, an intermezzo (charac- (Il Re Pastore overo il Basilio in Arcadia) whieh had
ters: Amor and Ruffino, his secretary) was per- indeed been prodneed at Brunswiek in 1691 (with
formed between Acts 11 and III. music by Alveri) and of which Bressand made a
Outside Italy given at Brunswick August 1696 German translation (see F. Chrysander in Jahr-
(in Italian) and February 1700 (in German, trans- bücher für l11usikalische Wissenschaft, 1863, pp.204-
lated by G. Fiedler). Perhaps also Leipzig October 20 5).
1696. Whether it was in fact Keiser's first opera will
London, Hm. 25 December 1708, as Pyrrhus be diffieult to deeide, as tbe date of the first per-
and Demetrius, English version by O. MacSwiney, formance of Basilius at Hamburg is not known,
music arranged by N. F. Haym, with additions and two other operas by hirn were produeed ilt
from Scarlatti's Rosaura, see 1690. Sung pardy in Brunswick in the same year, 1694, viz. Procris
English and pardy in Italian (London debut of the und Cephalus (date unknown) and Die wiederge-
famous Italian singer Nicolo Grimaldi, called Ni- fimdellCII Verliebten (sometimes also bdieved to
colino). Very sllccessful in London, given 61 be his first work for the stage) on 14 Oetober.
times unti! 1717. Last revived 21 March 1716,
wholly in Italian. Also given Dnblin Spring
J711. 16 95
E. C. DE LAGUERRE: Cephale et Procris POLLAROLO: GI'Il1galUlijelici
15 March. Paris, O. 25 NovemlJer. Veniee, S. Angclo
Text by J. F. Duche. Prologue and 5 acts. Text by A. Zeno. Three aets.
Unsuccessful, but worth recording as the first The first setting of Zeno's first libretto. Also
work of a woman composer to be produced at given at Verona 1697; Naples, S.B. Autumn
the Paris Opera. It was her only work for the 1699; Brescia 1707; Vicenza 1709. Music lost.
stage. Score printed 1694. A Dutch translation "L' Autore di questo dramma, ora eeleberrimo
of the text by G. T. Domis was published at per tanti altri, e per l' erudizione singolare di cui
Amsterdam in 1710. e fomito; fu certarnente il primo a nobilitare il
nostro Teatro" (Groppo).
KEISER: Basilius
Spring? Hamburg MEDER: Nero
Text by F. C. Bressand (founded on an Italian Before 28 .Vo!'cmber. Danzig
libretto by F. Parisetti) . Three acts. Text: the same German version, by an unknown
The fnIl tide reads: Der kiilligliche Schäfer, oder translator, of an Italian libretto by G. C. Corradi,
Basilius in Arcadiell. wruch Strungk had eomposed two years earlier
One of Keiser's eariiest operas. Music lost. It (see 1693). Three aets.
has been generally thought to be actually his first The first German opera ever produced at

95
 ANNALS OF OPERA 16g6

Danzig. Music lost. (An Italian opera, Le Nozze Vienna 1697? (according to Allacci and Gerber);
d'Amore e di Psiehe, text by V. Puccitelli, music by Rome, Capr. [8 January] 1698, as La Rinovata
M. "Scacchi, had been given there as early as 15 Gamilla Regina de Volsci; Mantua 1698; Piacenza
Fcbruary 1646.) The composer's attempt to 1698; Venice, S. Salv. [40ctober] 1698; Ferrara
introduce opera as a regular institution was sup- 1699 (and according to Burney 1707); Genoa
pressed by the municipal council. Meder's next Carnival 1700 (and 1703, and Auturnn 1710?);
opera had to be performed at Schottland, a small Siena 1700; Turin, T.R. Carnival 17°1; Leghorn
place outside Danzig territory (1698). (See J.Bolte 170I; Lucca February 1702; Milan 1702; Udine
in Vierteljahrsschrift für Mtlsikwissenschaft, 1891). 1704 (as La Fede ill Gimellto); Rovigo October
1705 (as La Fede ill Gimellto) and 1706; London,
STEF'FANI: I Trionfi deI Fato overo D.L. 10 April 1706 (see below); Padua Camival
Le Glorie d'Enea 1707 (as La Fede in Gimetlto); Bologna 1709 (as
Amore per Amore) and 30 December 1718 (as La
December. Hanover
Fede in Gimento); Dublin March 1711; Udine
Text by O. Mauro. Three acts.
1715; Leghorn May 1715.
According to Kretzschmar, Steffani's most im-
There has always been much uncertainty about
portant opera. Given at Hamburg 25 November
this opera, beginning with the composer and the
1699 (in German, as Il Triumfo del Fato oder Das
year and place of its first production. It is often
maechtige Geschick bei Lavillia und Dido, translated
attributed to the older Bononcini, Giovanni, e.g.
by G. Fiedler). Revived Brunswick February
in a MS score preserved at Münster (see E. J. Dent,
1716 (in Italian, as Ellea in Italia).
Scarlatti, p.65); in the Avvisi di Napoli, reporting
the performance of 1~96: "posta egregiamente in
musica dal!' eccellente Sonator di Violone Sig.
1696
Giovanni Bononcini, Bolognese"; in two MSS. in
KEISER: Circe and Penelope the British Museum (Add. MSS. 14185 and 14186);
Febmary. Brunswick also by the anonymous author of A Gritical Dis-
cours Oll Opera'sand Musick in Ellglarld (1709), who
Text by C. F. Bressand. Two parts, in 3 acts each.
says: "Compos'd by Gio. Buononcini, and pre-
Full titles: Circe oder Des Ulysses erster Theil and
pared for the English Stage by Ni .•. 0 Ha ...
Penelope oder Des Ulysses zweiter Theil.
m". See also Burney, IV, p.210, note. Most of the
Both parts were rcpeated at Brunswick Feh-
earlier librettos do not mention the composer,
ruary 1697 and also given at Hamburg in 1702,
but M. A. ßononcini's name is given in the
the second part under the title of Penelope und
Venice 1698 libretto; also in a MS score in Vienna.
Ulysses, al/der Theil. The first part also perhaps
As to the first production, there is no evidence
Leipzig October 1697 and January or Oetober
for the often repeated statement that Gamilla was
1699. The second part was revived at Brunswick
in August 1708 as Ulysses Wiederkulifft. first produced at Vienna in 1"693 (cven the 1697
Keiser's Ulysses, written 26 years later for Co- production there is doubtful). The Naples libretto
is the earliest known (copy in the Brussels Con-
penhagen (see 1722), is a different work alto-
gether. servatoire). Neither Florimo nor Croce mentions
the production at Naples; but apart from the fact
that the libretto gives the full cast, there is further
M. A. (orG.) BONONCINI: Il Trionfo di
evidertce for the production to be found in the
Camilla Re<~jtla de' Volsei preface to the libretto of Alessandro Scarlatti' s
26 Decc:",bcr. Naples, S.E. Emirctlo, from which we also learn the approx-
Text by S. Stampiglia. Thrce acts. imate date, as it is stated there that Gamilla was
Bononcini's most successful opera; given at produced between an anonymous Gomodo AI/-

97
 ANNALS OF OPERA

tOllillo (text by F. M. Paglia; aeeording to Croce burg April 1725 (in French, with a "teutschem
18 November 1696) and Scarlatti' s E",ircllo (prob- eomiquen Vorspiel").
ably Camival 1697). Score published in 1697.
In London, Camilla was produced at D.L.
10 April 1706 in an English version by O. KEISER: Der geliebte Adonis
MacSwiney l, music adapted by N. F. Haym (but Sprillg? Hamburg
according to Sonneck not altered or enlarged, but Text by c. H. Poste!. Three aets.
practically intact). Very suecessful in London; This is the earliest of Keiscr' s operas the score
first given wholly in English, but from 17 De- of whieh has been preserved. Parts of the opera
cember 1707 half English and half Italian, when were revived at Hamburg 14 January 1878 (at the
Valentini and "The Baroness" sang their parts in bicentenary celebrations of the Hamburg opera,
the latter language (Burney, IV, p.20S). Revived as Klage 1/111 deli totel! Adonis, music arranged by
in London (in English) at Lincoln' s Inn Fields Th. J. N. Fuchs).
13 January 1717, 7 March 1719 and 30 November
1726. Also given at Dublin Spring 1711 (see DESTOUCHES: Isse
above). There were no less than I 13 performances 7 October. Fontainebleau
between 1706 and 1728, which is by far the Text by A. Houdar de La Motte (pastorale U-
greatest nl1mber an Italian opera reached in rOique). Prologue and 3 acts.
London in the course of the whole 18th century; Destouches's most sueeessful work. Repeated
most of the performances, it is tme, were wholly at Trianon 17 Deeember and at the Paris Opera
in English. 30 December 1697, and revived there 14 Oetober
1708 (enlarged to 5 aets); 7 September 1719; 3 Feb-
mary 1721; 19 November 1733; 14 November
1697 1741; VersailIes 26 November 1749, without the
PISTOCCHI: Il Narciso prologue; Paris 23 Deeember 1756; finally at Ver-
sailles 18 Deecmber 1773 (with alterations by
March. Ansbach
Berton).
Text by A. Zeno (Pastorale per /1/usica). Five aets. In Freneh also Lyons 1709; Hague 27 Deecm-
The first opera Pistoeehi wrote for a German ber 1710; Brussels 22 December 1711.
court (tor the inauguration of the Italian opera- In German (as IsS(' oder Die tlcrgllügeude Liebe)
house at Ansbach) and the first setting of Zeno's Wolfcnbüttcl 12 September or 4 Oetober 1710
libretto. The composer himsclf sang the name (musie arranged [partly newly eomposed?] by
part. Revived Munich Carnival 1701. Musie lost. Sehürmann).
Revivcd in COlleert form by the Sehob Can-
DESMARETS,: VC,IUS et Adonis torum, Paris 27 November 1908.
17 March. Paris, O. Thc first performance at Fontaineblcau is re-
Text by J. B. Rousseau. Prologue and S aets. eorcled in the J<1l1mal of thc Marquis de Dangeau:
Rcvived in Paris 17 August 1717; given Olt "On ehanta lln petit opera dont un mousqlletaire
Luncville 15 November 1707; Lilie 1720; Ham- a fait 1a musique; le roi et Ies eourtisans eOllvinrent
ql1' elle est aussi bonne quc eelle de Lully et qu' elle
1 He signed the dcdication in the printed libretto. n' est point volce".
From an agreemcnt betwccll Haym and Christopher The seore was published in 1708 and 1724. T\,,"o
Rieh, dltcd 14 January 1705. and pllblished by A. parodies were produeed at the c.1., Paris, viz. Lcs
Nieoll, .4 Hist"'y I'I Early Eighrcellfh Cellfllry Drallla
All/OHrs dc ViIlCCll/lCS, by P. F. Dominique, 12 Oe-
(1929), p.27.h it appcars thlt the English version origin-
aUy had beeil prep.ll'cd by an othcrwise lInknOWII tober 1719; and Les Gracles, by J. A. Romagnesi,
Mr. Northman. ;: 1 Deeel11 ber 1741.

99 100
 ANNALS OF OPERA

CAMPRA: L'Europe galante A. SCARLATTI: La Caduta

24 Oelober. Paris, O. de' Decemviri
Text by A. Houdar de La Motte. Prologue and Not'embcr. Naples, S.B.
4 entrees. Text by S. Stampiglia. Three acts.
L'Eliropc ,Ralarzte is thc first olltstanding example Aeeording to B. Croee, Scarlatti's best scole
of"opcra-ballet", a French favourite form dming written to Stampiglia's worst libretto. Also given
the 18th century. M<lrInontel (Elel/l(,//(s de Litte- at Palermo 1698 (with a prologlle L'Alcide); and
ralure) dcfines it as "un spectacle composc d'actes probably Leghorn 1699; Florence Camival 1700;
detaches quant a ]' action, mais re unis sous une Genoa Alltumn 1701; Siena Camival 1704 (com-
idee collcctive". Eaeh act or entree may be called poser not mentioned in librettos of these perform-
a litde opera in itself where the action is reduced ances).
to astriet minimum, where the subject ofte,n
bccomcs a mere pretcxt for the devdopment of DURON: Veneno es de Amor
music, and above a1l, dance (P. M. Masson, Ra- la ElI1bidia
I/lCall, 1930, p.2 [). (Envy is the Poison of Love)
In such "spectacle coupt' the single entrees are
17 NOllel/lber. Madrid
easily interchangeabk; new on es could be sub-
Text by A. de Zamora. Three acts.
stituted alm ost ad libifll/ll. About the middle ofthe
One of the very few sllrviving examples of
century tbc "idee c01lective" was often lost sight
earlv Spanish zarzlleb. See for an analysis E. Co-
of, and the earlier "Festes de ... " and "Amoms
tarelo y Mori, in Bo/eflll de la Aeadel1lia EspaFiola,
de ... " tides become, more honesd)", "Fragments
1932, PP·767 sqq.
de ... "
L'Europe galaufc consists of a prologue, Les
Fo~~cs de I'Amollr, and of four entrees, La Fra/lee,
L'Espagl1c, L'ltalie, and La TlIrquie.
Revivcd in Paris 18 May 1706; 20 AuguStI715; KEISER: Augustus
February 1716 (with cantata (Euolle added); 20 9 jUlle. Hamburg
June 1724; 22 February 1725 (with another entree Text by C. H. Postel. Three acts.
La ProvfIl\alc, in place of L'Espa,~lle); 14 June The lengthy title reads: Der bey dem al{lZelllcincn
1736; 9 May 1747; 26 August 1755 (with addi- Welt-friede VOll dCIll grossC/l AuguSlus gcsehlossClle
tions by L. Aubert); 17 June 1766 (parts); and Tempel des Jallus. The opera was written to ceIe-
[6 February 1775 (tbc last entree only). brate the peace of Ryswick (1697) and the glory
Also given probably at the Hague in 1701; of the Emperor Leopold I in general. Althollgh a
Ghent 1706 (with a prologue by P. A. Fiocco); piece d' occasion, it was revived at Hamburg in 1712
Lilie [171R]; Brussels 4 November 1726. Score and even as !ate as 10 Oetober 1729 (with pro-
published in 1724. loglle by Telemann) ; also, in an adaptation, at
Given at Hamburg 21 Februar)' 1724 (in Copenhagen 30 November 1722, as Der VOll
French, in an abridged version), as the first aet of OthillO, delll Urheber des Dällisehell Reichs ge-
a 3-aet pasticcio, called Der Besehlu~s des Camel'als. sc!zlOSSCIlC Tempel des Jalnts (not 10 October 1746,
Thc second act was a French comedy (without as E. H. Müller, AI/gelo u. Pielro Mingotti, 1917.
mllsie) and the third aet was a German eomie p.XXII, supposes). Score preserved.
opera by Telemann, with the Italian tide, 11 Ca- "Hr. Keiser machte die Music, Hr. Postel die
pifallo. "Surely one of the oddest mixtures imag- Verse. Diese beiden Verfasser verstunden sich
inable!" (Sonneck), even in the pastiecio-minded sehr wol, und brachten viel schönes zu Wege.
18th century. Diese Opera bewiess es sonderlich" (Mattheson).

101 102
1698-99 ANNALS OF OPERA 1699-1700

BOXBERG: Sardanapalus DESTOUCHES: Amadis de Crece

?? Ansbach 25 March. Paris, O.
Text by the composer. Prologue and 3 (?) acts. Text by A. Houdar de La Motte. Prologue and
Ofßoxberg's operas (most ofthem written for 5 acts.
Leipzig) the only one which is extant. The score Revived in Paris 3 November 1711 (with alter-
was discovered by A. Sandberger (see H. Mers- ations); 9 March 1724; 7 March 1745; and, in
mann, Beiträge zllr Allsbachcr Musikgcschichte, concert form, Versailles 30 April 1749 and 16
1916). An anonymous opera of the same title, January 1751.
produced at Leipzig in 1708, is (according toGo F. Given at Brussels 2 January 1711; LilIe [1718];
Schmidt) a different work. Lyons in 1742.
Score published 1699.
KEISER: Orpheus A parody, Amadis Ie Cadet, by L. Fuzelier was
?? Brunswick produced at the c.I., Paris 24 March 1724.
Text by F. C. Bressand. Five acts.
Consisting of two parts, called Die sterbel1de Eu-
rydice oder Orpheus erster Theil, and Die verwal1delte 1700
Leyer des Orpheus, respectively, under which titles
it was given at Brunswick February 1699, and KEISER: La Forza della Virtit oder
Hamburg 1702 (as two 3-act operas). Revived Die Macht der Tugend
Brunswick February 1700 (as Orpheus und Euri- Carnival. Hamburg
dice, 3 acts) and February 1770 (in the same form); Text by C. F. Bressand (translated from an
Hamburg 1709 (in 5 acts, as Die biss in und nach Italian libretto by D. David, first set to music by
dcm Todt unerhoerte Treue des Orpheus) and 1726 Pollarolo in 1693). Three acts.
(as Die wunderbare Beständigkeit der Liebe oder Or- Successful at Hamburg, given there nearly all
pheus); Brunswick August 1727 (in 3 acts, re- the year through. Score preserved. Airs from the
modelIed by Schürmann). opera were printed in 1701.
A. SCARLATTI: Il Prigiol1iero
fortunato A. SCARLATTI: L'Eraclea
14 Deeember. Naples, S.B. Carni/Jal? Naples, S.B.
Text by F. M. Paglia. Three acts. Text by S. Stampiglia. Three acts.
Also given at Mantua 1699; Florence Autumn Given at Parma in the same year (music by
1699; Palermo 1702. Scarlatti and Sabadini).
L'Eraclea contains the earliesi knoWll example
of a vocal operatic septet (quoted in E. J. Dent's
1699 monograph, PP.56-58).
POLLAROLO: FaramOl1do
Camival. Venice, S.G.Gr. PISTOCCHI: Le Risa di Democrito
Text by A. Zeno. Three acts. Fcbruary. Vienna
Given at Pratolino !ater in the same year (with Text by N. Minato (first set to mllsic by Draghi
alterations); Bologna 24 J une 1709 (as pasticcio). in 1670). Three acts.
In German (translated by G. Fiedler) Brunswick Also given at Bologna 16 Janllary 1708 (revived
August 1699 and February 1701 (no composer in 1727), at ForB 1710, and at the Stadttheater,
mentioned, but probably Pollarolo's opera). Vienna, as !ate as in September 1737 (eleven years
Revived Brussels 4 November 1727 (in Italian). after Pistocchi's death) and once more in 1742.

103 1°4
 ANNALS OF OPERA 1700-01

DESTOUCHES: Omphale Given at Brussels in 1710; Lille [1720]. Revived

10 November. Paris, O. in Paris 19 July 1709 (with new airs); 13 Septem-
Text byA. Houdar deLaMottc. Prologueand 5acts. ber 1729; I March 1743; Versailles and Com-
One of Destouches's chief works. Given at .piegne, May 1750; and Versailles 20 November
Lyons in 1713; at Brussels 4 November 1715; 1752 (inconcert form).
revived at Paris 21 April 172I; 27 January 1733; Score published 1700 and 1701.
13 January 1735; and 14 January 1752 (at Marly A parody of the same tide, by P. F. Dominique
10 May 1751). and J. A. Romagnesi, was produced at the C.I.
In German (translated lnd arranged by G. P. 22 October 1729.
Telemann), Hamburg 24 April 1724.
Parodies: Hereule }ilant, by 1. Fuzelier,. C.I. 15
May 1721; Polichinelle Alcide ou Le Heros eil Que- I70 I
Ilouille, by D. Carolet, Th. des Marionettes, Foire
St. G. 26 February 1733; La Pi leuse, by J. J. Vade, POLLAROLO: Le Pazzie degliAmanti
O.c. 8 March 1752; Fan/ale, by C. S. Favart and February. Vienna
·P. A. 1. de Marcouvi11e, C.I. 8 March 1752. A Text by F. Passarini. Three acts.
fifth parody, by J. Bailly, was published in 1758, The on!y opera the Venetian composer wrote
not performed. for Vienna. Revived Rovigo Auturnn 17II ; Ven-
After the last revival, the Baron F. M. de ice Carnival 1719.
Grimm published (February 1752) his famous
LeUre sur Omphale (against the French tragedie- KEISER: Stoertebecker und Joedge
lyrique in general), thus opening the notorious
"Guerre des Bouffonnistes et Anti-BoufforUlistes"
Michaels
before the Italian buffo troupe had actua11y started ?? Hamburg
their performances at the Paris Opera (on I Au- Text by Hotter. Three acts.
gust 1752 with Pergolesi's La Serva Padrona). A second part fo11owed later in the same year.
The original libretto of Olllphale gives 10 No- In the preface to the libretto the unusual character
vember 1701 (instead of 1700) as the date of the of the subject is emphasized (Störtebecker was a
first performance, and this has been followed by 14th-century Hamburg pirate).
a11 authorities and books of reference. P. Melcse, The music, apart from a single instrumental
however, in his recendy published Repertoire A/la- minuet, is lost.
lytique (1934), cnters the opera lmder 1700, on the
authority of the JOl/mal du Marquis de Dmzgeau, ARIOSTI: La Fede ne Tradimenti
who records several rehearsals at Fontaincbleau in
12 July. Berlin
Octo ber 1700, and also the general rehearsal there
Text by G. Gigli (first set to music by Fabbrini
on 4 November 1700. There is no review of the
in 1689) I. Three acts.
opera in the Merwre Galant. Whether, after the
One of the very few operas produced at Berlin
rchearsal, the Paris production was postponcd for
before the reign of Frederick the Great. The per-
more than a ycar, or the date of 1701 in the lib-
formance took place at the Lietzenburg (now
retto is amisprint, it is difficult to decide.
Charlottenburg) palace. Score preserved in the
CAMPRA: Hesione British Museum.
21 DecclIlber. Paris, O.
1 As the result of a comparison, C. Sachs suggests
Text by A. Danchet. Prologuc and 5 acts.
that the text might have been written by Queen Sophia
After two opera-ballets in 1697 and 1699, this Charlottc. in French. and that it was translated into
was Campra's first tragcdie-lyrique. ltalian by O. Mamo.

105 106
17°1-02 ANNALS OF OPERA

GATTI: Scylla Campra's chief work. Given at Brussels in

16 Septcmbcr. Paris, O. 1708. Revived in Paris 20 Oetober 1707 (with
alterations) ; 8 June 1717 (with added ballet Les
Text by J. F. Ducl~. Prologue and 5 aets.
Fetes CorillthiezlIlcs, music by Campra) ; 3 (not 30)
Given sinee 20 Deeember 1701 in an altered
March 1729 (with new alterations) ; 23 October
version and with a new prologue.
1738; after Campra's death (1744); Versailles 10
The last and best opera of Gatti who, after Lully
December 1748 (without the prologue); Paris
and Lorenzani, was the third Idian composer
22 February 1750 and 5 October 1764.
who contributed to the French operatic stage.
The part ofthe heroineClorinde (sung by Mlle.
Score published.
Maupin) is written for contralto for the first time
Scylla was revived in Paris, I October 1720 and
in French opera.
II September 1732. A parod)' by L. Fuzelier, Lc
A parody by N. Barbier, La VC1Igearlce de Co-
Cheveu, was produced at the O.c. 25 September
[olllbille ou Arlequill beaufrerc du Grarld Ture, was
173 2 •
prodnced at Lyons as early as 13 July 1703; two
ALDROVANDINI: Mitridate i11 Sebastia others Pierrot Tal1erfde Oll La Meprise de ['Amour
Dcccl7lbcr. Genoa, T. del Falcone (by L. Fnzelier, C. F. Panard a~d C. F. B. de
Pontan) and Arleqllill TancrMe (by P. F. Domi-
Text by G. Maggi. Three acts.
nique and J. A. Romdgnesi) were produced at
Also given at Turin, T.R. Carnival 1702; Flo-
the o.c. and at the c.r., Paris, 10 and 19 March
rence Carnival 1704; and (with additional music
1729, respectively.
by G. Vignob) Naples, S.B. December 1706.

1702 17°3
G. BONONCINI: Polifemo* GASPARINI: Il Pit'tfedelfra i Vassalli
Sl/lIllller. Berlin [3 February]. Venice, S. Cass.
Text by A. Ariosti. One act (17 scenes). Text by F. Silvani. Three acts.
Thc fmt opera produced at Berlin which is Gasparini's second and most successful opera.
extant; the performance took place at the Lietzen- Given at Milan, T.R.D. Carnival 1703 (revived
burg Palace (now Charlottenburg, called after 26 December 1720); Bologna 3I May 1710 (pas-
Queen Sophia Charlotte, who played the cem- ticcio); London 23 December 17lI (as AntiocO)l;
balo part at the production ofBononcini's opera). Padua 1714; Udine 1715; Venice Carnival 1716
Exact date of fmt performance unknown, but (revived at the T.S. Angelo, with alterations) ;
it appears from the Queen' s letter to Steffani that Durlach 1716 (in Italian; probably Gasparini's
it must luve taken place after 25 July; see C. setting).
Sachs, All/si/.: IIIld Oper alll KlIrbralldCllllllrcriselzcll BADlA: La Psiche
H'1; 1<)10 (where the libretto was printed for the 21 Fcbruary. Vienna
tirst time).
Text by P. A. Bernardoni (POClllctto dram/1latico).
In a new arrangement by G. Kaernbach, Poli-
Olle act.
ji-mo was broadcast from Berlin on 6 August
1937; voral score publishcd 193~. 1 Gasparini actually wrote an opera Amioco, text by
A. Zeno and P. Pariati, first produced at Venice in 1705.
CA M P RA: T a/lcrCde* Comparison of the libretti shows that the work given
in London was not that Alllioco, but that it is identical
7 November. Paris, o.
with 1/ pi" Iedel fr" i Vassalli, the hero in question being
Text by A. Danchet (aftcr Tasso). Prologue and an Egyptian prince, and not Antiochus I, King of Syria,
5 acts. as in the opera of 1705.

107 108
 ANNALS OF OPERA.

One ofthe 27 operas ofBadia who, from 1696 GASPARINI: La Fede tradita
to 1738, was court conductor at Vienna. e vendicata
[s]anu(lry). Veniee, s. Cass.
KEISER: Die verdammte Staat-Sticht, Text by F" Silvani. Three aets.
oder Der verftlehrte Claudius Oile of Gasparini's most successful operas.
Spring? Hamburg Given at Florenee Carnival 1705; Verona 1705;
Text by H. Hmsch. Three acts. Lueca Carnival 1706; Leghorn 1707; Naples,
The first opera produced at Hamburg which S.B. December 1707 (text altered by C. dePetris,
contains besides 56 German airs, II in Italian, thus additional music by G. Vignola); Brescia 1709;
indicating the beginning of the decadence of style Rome, Capr. Carnival 17I2; Bologna 15 August
there. 1712 (with additional music by Or1andini);
Revived at Hamburg 1706; 21 November 1718 London 9 March 1713 (as Ernelinda, pasticcio);
and 17 July 1726 as Claudius, Roemischer Karser Modena 26 December 1713; Venice, S. Moise,
(with alterations). Auturnn 1715; Turin, T. Carignano, Ca"rnival
1719; Brunswiek February 1726 (as Rodoaldo Re
FEDELI: Almira di Norvegia); Prague 1727 (Gasparini mentioned
for the last time).
?? Brunswick
By degrees, Gasparini's original music seems
Text by G. Pancieri (first composed by Boniventi
to have been displaced by additions from a riyal
in 1691). Three acts.
setting by Orlandini which was first produced
The composer spent the greater part ofhis life
at Genoa, S. Agöstino Auturnn 1709 (copy otthe
at various German courts (Dresden, Berlin, Cas-
libretto BibI. Soleinne; in the Catalogue,no.4728,
seI). Exact date of first produetion unknown. See
"One Cesare Buonazzoliis mentioned as the author;
on this opera G. F. Schmidt, Die frühdeutsche
he rather seems to have been the manager of the
Oper . .. (1933), Vol. I, P.38.
Genoa theatre who signed the dedication).
There are further anonymous productions of
La Fede tradita e vendicata at Graz Autumn 1736,
17Ö4 and Prague 1738. In the meantime, however, Sil-
vani's text had been reset by Vivaldi (1726) arid
F. CONTI: Alba Cornelia Bioni (1729).
Carnival. Milan, T.R.D.
Text by S. Stampiglia. Three acts. DESMARETS and CAMPRA:
Revived Vienna February 1714 (with inter- Iphigenie en Tauride
mezzi Milo e Lesbina); Breslau 19 February 1726; 6 May. Paris, o.
Brussels Carnival 1728.
Text by J. F. Duche and A. Danchet. Prologue
and 5 acts.
KEISER: Nebucadnezar Revived in Paris 12 March 17II; 15 January
Carnival. Hamburg 1719; 16 December 1734; in concert form, Ver-
Text by C. F. Hunold, ealled Menantes. Three sailles 13 July 1746 and Compiegne 6June 1750;
acts. and onee more Paris, O. 16 November 1762
The fuH ticle reads: Der Gestuertzte und wieder (music revised by P. M. Berton).
Erhoehte Nebucadnezar, Kö"nig zu Babylon unter Given at Lyons in 1712 and February 1714;
dem grossen Propheten Daniel. Lille [1720]; Brussels II August 1726.
Revived Hamburg 28 July 1':1.8 (musie revised Score published without date; re-ptiblished
by Telemann). 1721 and 1723.

109 IIO
 ANNALS OF OPERA

This was the earliest opera on the subject. The HANDEL: Almira*
first Italian Ijigenia in Tauride, by Domenico Scar-
8January. Hamburg
latti, was produced at Rome on 15 February 1713
Text by F. C. Feustking (founded on an Italian
(text by C. S. Capeci).
librettob y G. Pancieri, set to music by Boniventi
in 1691). Three acts.
GRÜNEWALD: Germanicus The full tide reads: Der in Krohnen erlangte
October. Leipzig Glückswechsel, oder Almira, Koenigin von Castilien.
Handel's first opera, containing 41 German and
Librettist unknown. Three acts.
15 Italian airs.
Given at Naumburg and Hamburg in 1706 (as Revived Hamburg 7 February 1732 (with
Die errettete Unschuld oder Germanicus, Römischer alterations; probably revised by Telemann).
General) and (according to Gottsched) revived at Modem revivals, in a new version by J. N.
Leipzig in 1710 and 1720. Fuchs, were at Hamburg 14 January 1878 (bi-
centenary of the Hamburg Opera); Leipzig 25
MATTHESON: Cleopatra June 1879; Hamburg 23 February 1885 (Handel
bicentenary).
200ctober. Hamburg
Keiser, being jealous of his young rival's
Text by F. C. Feustking. Three acts. success, set the same libretto in 1706 (text
The fuH tide reads: Die betrogene Staats-Liebe, altered by B. Feind: Der durchlauehige Secretarius,
oder Die unglückselige Cleopatra, Königin von Egyp- oder Almira, Koenigin in Castilien; produced Au-
ten. Score preserved. tumn 1706; so me airs printed). Handel wrote
In this opera Mattheson sang and conducted three more German operas for Hamburg (Nero,
altemately! It was after a performance of Cleo- 17°5, and Florindo and Daphne, 1708), which are
patra on 5 December 17°4, when Handel refused lost.
to give up his seat at the cembalo, that the well-
known duel between the two composers took CLAYTON?: Arsinoe, Queen ofCyprus
place. 27 January. London, D.L.
Text: an English version, probably by P. A.
Motteux,l of an Italian libretto by T. Stanzani
17°5 (composed by Franceschini, see 1676). An opera,
after ehe /talian manner: All sung. Three acts. (The
GASPARINI: Ambleto words "All sung" were omitted on the tide page
Carnival. Venice, S. Cass. of later editions of the libretto. The editors prob-
Text by A. Zeno and P. Pariati. Three acts. ably realized that the English public had soon
got accustomed to recitative and needed no ex-
The first Hamlet opera. (Shakespeare is not
planation any longer.)
mentioned amongst the sources in the libretto;
Although it was, strictly speaking, an English
see L. Collison-Modey in The Athenifum 31 De-
opera, the history of Italian opera in England
cember 1910.) Also given at Verona 1707; Naples,
begins with Arsinoe, as there is a steady develop-
S.B. 17II; London 9 March 1712.
ment, from the mere translation of an Italian
Domenico Scadatti's opera on the same sl1bject
libretto to the actual insertion of Italian airs in
(sometimes stated to be the first) was produced at
Camilla (see 1696; in London 1706), to Almahide
Rome in 1715 only (same text).
(see 1710; with English intermezzi) and L'Idaspe
(Gasparini's setting was first given in Carnival
1705, according to the libretto; in Carnival 1706
fedele (1710, see Gli Amantigenerosi 1705). Bumey
or even 1707 according to other authorities.) 1 First attributed to him by Whincop in 1747.

III II2
 ANNALS OF OPERA

gives a detailed account of those early years. and with similar titles, viz. The Temple of Love, text
in the light of modern research they have been by Motteux, music by G. F. Saggione, produced
dealt with by A. Nicoll (Anglia, Vol. XLVI) and at the same theatre, 7{J8 March J706; and Love's
others. Triu/IIph, text by Motteux (afterOttoboni), music
Whether elayton composed the music of by Cesarini, Giovanni de! Violone and Gasparini,
Arsil/oe or merely utilized a collection of Italian produced at the same theatre, 26 Fcbruary (8
airs, is still an unsolved problem. It should be March) 1708. The date of the first production, at
notcd, however, that in the preface to the libretto, thc opening night of the new t11catre, is quite
which he signed himself, he does not claim to correctly given in Downes's Roscius AnglicO/lUs
have composed the music. (J708), and was then "corrccted" by later writers.
The pref.'lCe has been reprinted in Sonneck's As to the lang:..age, there seems to be no doubt
CataloXllc. Burney doses his most unfavourable . that the opera was sung in Italian, thus antedating
accOllnt of Arsi/loc with this passage: "It is scarce Almahide (which is generally believed to be the
credible, that in the course of the first year this first example) by fivc years (see J7JO). The cast
miserable performance which neither deserved ofThe Loves ofErgasto is unkno'fn, apart from the
the name of a drama by its poetry, nor an opera "Italian boy" (Bumey, IV, p.200); but Downes,
by its Illusic, should sustain twenty-four repre- the earliest critic, dearly says, " .... opened his
sentations, and the second year eleven". The theatre with a foreign opera, performed by a new
anonymous author of A Critical Discourse UPO/l set of singers arrived from Italy", and Congreve's
Opera's ill E/(l?lal1d ... (1709) is even more severe: epilogue "at the Opening ... with an Italian Pas-
"There is nothing in it but a few Sketches of anti- toral" (Works, J710, Vol. m) stresses the fact that
quated Italian Airs, so mangled and sophisticated, tlle fare offered on that occasion was something
that instcad of Arsiiloc, it ought to be called the cntirely ncw.
Hospital of the old Decrepid Italian opera's". Moreover, there is the libretto of Tbe Loves of
Ergasto; for what other reason should it have been
GREBER: Tlze Loves ofE~t?asto printed in English and Italian on alternate pages
20 April. London, Hm. than to give the public the opportunity offollow-
Text probably by A. Amalteo: Cli Al/lori piace- ing what they heard in a foreign languagc? Thc
I'oli d'E~~asto (fat'olctta per /IIusica) Vienna 1661. A fact that the opera was so unsuccessful as to bc
p'lstoralc, prologue and 3 acts. given only twice, and that it was both preceded
Produced at the inauguration of the Queen's and followed, at Drury Lane and at the Hay-
Theatre, Haynurket, the first opera to be given market, by eight other opcras, all of which were
at the house which was to beeome the regular sung in English (before Almahide cIeared thc way
hOl11e of Italian opera in London for more than for the fmal victory of Italian opera), may have
ISO years. contributed to Bumey's not mentioning its signif-
There has always been much uncertainty about kance as the first Italian opera in London.
this work, its title, the date ofitsfirstperformance, The historieal importance of the work is even
and the language in which it was sung. greatcr, as the score has becn preserved (at the
The title given here is that of the printed lib- Vienna National-Bibliothek, under the ltalian
retto and that und er which it was advertised for title of Cli Amori d'Ergasto) •.Eitner, followed by
a sccond (and apparently last) performance on all books of reference, dates the score C.1701 ,
24 April (5 May) 1705. Cibber (writing 34 years whereas Weilen (Catalogue nO.58J) gives the
later) called it "a translated opera, to Italian date of c.J707--<)8, on the authority of an allusion
musick", and gives the title as Thc Trilllllph of in the prologue (not to be foundin the London
Lol'c; and later still there is a permanent confusion libretto) to the bride of the Emperor Charles VI,
with two almost contemporary English operas Elisabeth Christina of Brunswick-W olfenbüttcl,

II3 JI4
 ANNALS OF OPERA 1705-06

whowasin Viennafrom May 1707 to AprilI708. There is a litde-known reference to Idaspe in

So it seems that Greber, who had come to Z.C. von Uffenbach'sMerkwürdige Reisen (1753),
London with the singer Francesca Margherita de Vol. TI, p.440.
l'Epine in 1692, and is not known to have left A parody, Harlequin-Hydaspes: or, The Gresh-
before 1705, wrote the opera for London, not amite, a Mock-Opera in 3 acts, by Mrs. Aubert,
for Vienna, v.:here it was produced (or intended was produced at the Lincoln's Inn Fields Th. 7
to be produced) only about two years later with J une 1719, three years after the run of the original
a new prologue expressly written for that occa- was finished. As indicated in the libretto of Har-
sion. A comparison of the London libretto and lequin-Hydaspes, most of the songs were taken
the Vienna score might throw further light on the from Idaspe, but there were also songs from
history of The Loves of Ergasto. other London operas ofthose years, from Almahide
(For details on the London production, see (see 1710), Pyrrhus (see 1694), from Handel's Ri-
W. J. Lawrence in The Musical Quarterly, V 01. VII naldo (see I7II) and Amadigi (see 1715), and from
(1921) and A. Nicoll in Anglia, Vol. XLVI (1922). an anonymous Glearte (17I6).

MANCINI: CU Amanti generosi KEISER: Octavia

?? Naples, S.B. 5 August. Hamburg
Text by G. P. Candi (first set to music by Vina- Text by B. Feind. Three acts.
cese, Venice 1703). Three acts. The full title reads: Die roemische Unruhe, oder
Mancini's opera became better known as Die edelmuehtige acta via.
L'Idaspe fedele, under which tide it was produced One of Keiser' s better works, written in com-
in u.'ldon, Hm. 3 April 1710 (dedication dated petition with Handel's second (lost) opera, Die
6 Marzo 1709-fO, and signed by Cav. Nicolino durch Blut lind Mord erlangete Liebe, oder Nero (text
Grimaldi. who sang the tide part). by F. C. Feustking; the same subjectasinOctavia).
Very successful; performed 46 times until 17I6 The score was printed in 1902 as a supplement to
(revived 2 December 17 II , with additional songs, the Handel Gesamtausgabe (edited by M. Seiffett).
and 18 May 1715). In this work English songs
LACOSTE: Philomele
and singers have defmitely disappeared. and the
20 October. Paris, O.
victory of purely Italian opera is complete.
"Nicolini's combat with a lion in the Hay- Text by P. C. Roy. Prologue and 5 acts.
market" was the subject of Addison's famous The most successful opera of Lacoste, who
satire in the tlrirteenth Spectator of I 5-26 March was a chorus singer, and later became conductor
17II (I710, old style). The essay was published at the Opera. Revived in Paris 8 October 1709;
nearly one year after the first performance of 27 April 1723; and 19 October 1734. Given at
Idaspe, and not about the time of its production Lilie [I720]; Brussels IO January 1727; Lyons 26
(a fact which has not always been realized by April I730 and 1742.
historians). Score published 1705.
Burney gives 23 Mayas the date of the first A parody of the same tide, by A. Piron, was
London performance, which is obviously a produced at the C.L, Paris 12 June 1723.
misprint for 23 March (3 April, n.s.). In the
British Museum cO'PY of the 17I2 edition of the 1706
libretto there is a hand-written note: '\Produced
•.• more properly March 2d when it was rehearsed F. CONTI: Clotilda
for Nicolini' 5 benefit". This fact of a sott ofpublic February. Vienna
dress rehearsal is corroborated by the newspapers Text by G. B. Neri (first composed by Ruggeri
(cf. A. Nicoll in Anglia, Vol. XLVI, P.277). in 1696). Three acts.

II5 n6
1706 ANNALS OF OPERA 1707
In English, London, Hm. 13 March 1709
(adapted by J. J. Heidegger; a pasticcio, which
1707
also contained airs by Scarlatti and Bononcini, S TEFFA NI: Armillio
some of them sung in Italian) and again 27 May
Carnival. Düsscldorf
J7II.
Librettist unknown. Five acts.
MARAIS: Alcione
The first of the three operas Steffani wrote for
18 February. Paris 0. Düsse1dorf before finally sacrificing his musical
Text by A. Houdar de La Motte.· Prologue and career to his diplomatie activities.
5 acts.
Very successful in Paris; revived there 17 April A. SC A R L A T TI: Il Mitridate Eupatore*
1719; 9 May 1730; 21 September 1741; 19 Oe-
Carnillal. Veniee, S.G.Gr.
tober 1756 (with many alterations and additions
Text by G. Frigimcliea Robcrti. Fivc aets.
by L. Aubert); and 30 April 1771 ("partition
The first of Searlatti's operas produeed at
completement transformee", according to La-
Veniee. Revived probably Reggio 1713; Milan,
jarte; see his Les Transformations d'lI11 Opera au dix-
T.R.D. [15 January] 1717.
huitieme siede, Chro/lique Musicale, 15 April 1874).
The opera was famous for its (empeste sympho-
nique, one of the first essays in operatic realism. CLA YTON: Rosamond
Score published 1706. 15 March. London, D.L.
A parody by J. A. Romagnesi (Alcio/lne) was Text by J. Addison. Three aets.
produced at the c.r. on 26 October 1741 (with Clayton's seeond and last experiment in English
music by Blaise). opera. Failure, performed thrce times only. (For
Arne's setting of the same libretto see 1733.)
KEISER: Masagniello Furioso, oder Addison, in his satirieal Spectator essays, is silent
Die Neapolitanische Fischer-Empoerung* on this his own unfortunate eontribution to the
history of opera. The anonymous author of A
Jlllle. Hamburg
Critical Discourse upon Opera' s in England (London
Text by B. Feind. Three acts.
1709) reviews Rosamond as folIows: "In short. this
Revivcd at Hamburg in 1714 and 18 June 1727 Opera is no better than a confus' d Chaos of
(ncw version; music revised by Telemann). Musick, where there is ev'ry thing, and nothing,
The first opera on this subject, 122 years before and for my part I think the only thing to be lik'd
Auber's Muette de Portici (see 1828). in it, is that it's short: and I bclieve, if aReward
was to be ordain' d for him that made the worst
SCHÜRMANN: Telemaque Ml1siek in aII the World, the AUthor of Rosa-
June orJuly. Naumburg mond wou' d have reason to say he had not lost
(German) text by J. C. Frauendorf (?). Four acts. his Labol1r, since he wou'd have an undoubted
Revived in a much altered 3-act version, as Te- Tide to the Gratification".
lemachus und Calypso, Brunswiek August 1717;
February 1720; and February (?) 1723; at Ham- [PEPUSCH]: Thomyris, Queen
burg 26 November 1721. ofScythia
12 April. London, D.L.
M. A. ZIANI: Meleagro Text by P. A. Motteux. Three acts.
16 August. Vienna The music consisted of airs by A. Scarlatti, G.
Text by P. A. Bernardoni. Three acts and licenza. Bononcini (these two named in the printed score),
Also given at Brescia 1710. Steffani. Gasparini. and Albinoni (these three

II7 II8
 ANN ALS OF OPERA

mentioned by Hawkins). Pcpusch adapted and

arranged the music and wrote thc recitatives.
I708
Thomyris is the first perfeet example of a London Prunella
pasticcio. It was surig partly in English and partly 23 Fdlfuary. London, D.L.
in Italian. Very Sllccessfulj performed 42 tülles
Text by R. Estcourt (an illtcrlude . ... The sense
until 1728 (revived D.L. 28 November 1709;
and musick co/lutcd frOIll the /Ilost fal1l<lllS masters).
Lincoln's Inn Fields 20 May 1717 and 20 No-
Four acts.
vember 1728, in English).
Isolated example of English musical intermezzi
There can be hardly a doubt as to Motteux's
and probably the first English operatic satire on
amhorship as he is mentioned on the title-page
Italian opera.
of all editions of TlJolllyris. Yet the anonymous
Pnmc/la was performed (for the author's bene-
amhor of A Critical Discourse upon Opera's i/I Eng-
fit) at a revival of George Villiers, Duke of
land (London 1709) most decidedly attributes it~ Buckillgham's comedy, The Rehcarsal (originally
along with Clotilda (see 1706), to the "Swiss
produced in 1671), apparently between the aets.
Count whose Earldom lies in the Land of the
So me of the airs are indicated as to be sung to
Moon", meaning not Motteux but obviously
tunes from Clayton's Arsiu(1c (see 1705), Bononci-
J. J. Heidegger. In a later paragraph the author ni'sCalllilla (sec 1696) , andfrom Thomyris (seeI707).
calls Tholllyris and Clotilda plainly "the Swiss
"Some of tlle songs in the above-mentioned
Operas".
operas are parodied in it. It was a strange medley~
and could not, we think, be very entertaining"
GRA UPNER: Dido, Koenigin von (Biographia Dramatica).
Carthago " ... some of the songs are sung by the cllar-
acters in the Rehearsal-it was meant as a burles-
Spring. Hamburg
que on the Italian Opera-it might amuse in repre-
Text by H. Hinsch. Three acts. sentacion, but it is dull in perusal ... " (Genest).
The first opera Graupner wrote for Hamburg.
Score preserved. See on Graupner W. Nagel's LITERES: Accis y Galatea
study in Sammelbände of the I.M.S., Vol. x 19 December. Madrid, Buen Retiro
(1908-09). Text by J. de Caiiizares. Two acts.
Early Spanish "zarzucla heroica", "casi uno
KEISER and GRAUPNER: 6pera por cl gran numero de recitativos, arietas
y cuatros que tiene" (Cotarelo y Mori).·It was
Der angenehme Betrug oder produced at the Buen Reciro Palace. Pedrell
Der Carneval von Venedig published one air from it in Vol. II of his Teatro
Stimmer. Hamburg [{rieo Espaiiol anterior al Siglo XIX (1897). An
Text by Meister and M. Cuno. Three acts. anonymous work of the same title, produced at
Lisbon 22 October 17II (in Spanish) may have
One of Keiser' s most suceessful works, fre-
been Literes's opera.
quently revived until 1735. Some ofthe airs were
sung in Italian.
The greater part of the music has been preserved I709
and a seleetion waS published in Denkmäler
Deutscher Tonkunst, Vol. XXXVIll (19IZ), edited M. A. ZIANI: Chilollida
by M. Schneider. 21 April. Vienna
There was a modem revival at Hamburg in Text by N. Minato (first set to music by Draghi
March 1931 (music arranged by F. Tutenberg). in 1677). Three acts and licenza.

II9 120
 ANNALS OF OPERA
Ziani' s setting was written for the birthday Napoletana, 1916). A still earlier example is La
of the Empress Amalia Wilhelmina. Repeated Cilla, text by F. A. Tullio, music by M. A. Fag-
Vienna, Carnival 1710. gioli, produced 1706 and revived at the palace of
Prince Chiusano, Naples 26 December 1707.
ASTORGA: Dafni Patro Calienno de la Costa incorporated also
21 April. Genoa, S. Agostino arias by an anonymous "azzellente Autore",
Text by E. Manfredi (first set to music by Aldro- possibly Alessandro Scarlatri.
vandini in 1696), with alterations by F. M. Paglia
(first set in this form by A. Scarlatri in A. OREFICE and MANCINI:
1700). Drama Pastorale per Musica. Three acts. L'Erigelberta 0 sia La Forza
Only the first act is extant. deli' Innocenza
Also given at Barcelona June 1709; Parma
4 November. Naples, Pal. Reale
Carnival 1715 (composer not mentioned; ac-
cording to Volkmann rather Astorga' s than Scar- Text by A. Zeno and P. Pariati (first set to music
latti' s setting); Breslau September 1726. by Fiore and by Gasparini in 1708). Three acts.
For a detailed account of the history of Dafni The composers had an equal share; Orefice
see H. Volkmann's monograph on Astorga. composed the first and part of the second act,
Volkmann suggests Carlo de Petris as the author Mancini the rest. Score preserved. Intermezzi,
who adapted Manfredi's Dajizi for Scarlatti and Melissa schernita, were performed between the.
Astorga. Paglia however is mentioned in the acts and at the end of the opera.
original libretto which was unknown to Volk-
mann; see Giuseppe Dura, Catalogo di Libri autichi HANDEL: Agrippina*
e rad, Naples 1861, no.II892. 26 December. Venice, S.G.Gr.
Text by V. Grimani. Three acts.
KEISER: Desiderius, Koenig der Probably Handcl's only opera produccd in
Longobarden rtaly in the course of his three years' joumey
26July. Hamburg there, the performance of Rodrigo (Florence?
I708?) still being doubtful. 1 Successful at Venice,
Text by B. Feind. Five acts.
given there for 27 nights during the Carnival
Written to celebrate the birthday of the Em-
season. In ltalian also given at Naples S.B. 15 Feb-
peror Joseph I.
ruary 1713 (with additional music by Mancini);
Hamburg 3 November 1718 and 5 November
A. OREFICE: Patro Calienno de 1722; Vierma 1719.
la Costa
October. Naples, Fior.
Text by "Agasippo Mercotellis"l. Three acts. 17 1 0
Music lost. Libretto preserved. According to
M. Scherillo this was the first Neapolitan comic G. BONONCINH: Almahide
opera (analysis of the libretto in his L'Opera bu.ffa 21 Jalluary. London, Hm.
Librettist unknown; the libretto is founded upon
1 Aeeordillg to Seherillo allanagrammatiepseudonym
of one (unknown) "Giasoppe Martoseelli"; aeeording
Dryden's Almanzor and Almahide, the second part
to B. Croce ehe libretto is founded upon an unpublished of his The Conquest of Granada by the Spaniards
eomedy, La Pema, by Nicole Corvo. The work was (1672). Thrce acts.
referred to in the Avvisi di Napoli, 8 Oetober 1709, as
"una graziosa e piaciutissima Commedia in Musica, 1 Cf. Musi, and Lt:tters, Vol.xx, nOS.l and 4- Oanuary
tutta in lingua napolctana ". and Oetober 1939).

121 122
1710 ANNALS OF OPERA 171O-U

The historical importance of Almahide is em- 30 August 1740; an earlier anonymous parody,
phasized by Burney as follows: "Neither the poet Les Fetes Parisiennes, had been given by a troupe
nor composer is mentioned in the book of the of rope-dancers on 3 February 1711.
words or printed copy of the Musick, which
seems all of one style, and that style more like HEINICHEN: Paris und Helena oder
Bononcini's than any other composer of the Der glückliche Liebeswechsel
times. This was the first opera performed in ?? Naumburg
England, wholly in Italian and by ltalian singers;
Text, an altered German version, by an unknown
who were Nicolini, Valentini, Cassani, Marga-
author (B. Feind ?), of an ltalian libretto, La Forza
rita, and Isabella Girardeau. There were, indeed,
deli' Amore, first produced with music by Keiser
intermezzi between the acts, in English, and sung
at Hamburg in 1709. Three acts.
by Dogget, Mrs. Lindsey and Mrs. Cross; but the
Score preserved.
opera was wholly ltalian in poetry, Music and
performance". (As to the question whether AI-
mahide really was the first ltalian opera in London, 1711
see note on Greber's The Loves ofErgasto, 1705.)
The score, published by walsh in 1710 as Songs KEISER: Croesus*
in the new opera call'd Almahide, states on the tide- Gamival? Hamburg
page: "The Songs done in ltalian & English as Text by 1. von BosteI (founded on an ltalian
they are Perform'd at ye Queens Theatre" . There libretto by Minato, 1678, and first set to music by
are 35 ltalian airs, and the intermezzi as mentioned Förtsch in 1684). Three acts.
by Bumey; 8 English songs, duets, etc., sung by The full tide reads: Der hochmuethige, gestuerzte
Dogget, Mrs. Lindsey and Mrs. Cross in the und wieder erhabne Groesus.
characters ofFloro, Blesa and Eliza. Almahide was One ofKeiser's best works. Revived in a new
given 24 times until 1712. version, Hamburg 6 December 1730. Both
versions extant. The opera was published in
CAMPRA: Les Festes Venitiennes* Vol. XXXIX of Denkmäler Deutscher Tonkunst,
17June. Paris, O. 1912 (edited by M. Schneider).
Text by A. Danchet. Prologue and 3 entrees, A parody by J. P. Praetorius, called BuchhöJer
called La Feste des Barquerolles, Les Serenades et les Der Stumme Prinz Atis, was produced at Hamburg
Joueurs and L'Amour saltimbanque. in 1726. According to the preface it was meant to
The following new entrees were added later: be a parody after the French model, with music
La Feste marine, 8 July 1710 (instead of Lo Feste pardy from the original.
des Barquerolles) ; Le Bai, 8 August 1710; Les Devins The exact date of the first production of
de la Place Saint-Mare, 5 September 1710; L'Opera, Groesus is unknown; as the MS score bears the
14 October 1710; Le Triomphe de la Folie, De- date of 1710, die libretto the date of 1711, one
cember 1710. might assume that it was performed early in 171 I.
After 14 October 1710 (5 Ist performance) given
as Le Gamaval de Venise. CHELLERI: L'Innocenza giustificata
Given at Lyons in 1711. Revived in Paris in Gamival? Milan, T.R.D.
of
manifold variations the single entrees, I I Oc- Text by F. Silvani (first set to music by Vinacese
tober 1712; 10 July 1721; 14 June 173 I; 19 July in 1698). Three acts.
1740; 16 June 1750; and 28 August 1759 (with The only opera of Chdleri which is partly
additions by P. M. Berton). The 1740 revival extant. In ltalian (as L'Innocenza difesa) also given
was followed by a parody by C. S. Favart, called atVenice Carnival 1722; Cassd 1726; Brunswick
Les Festes Villageoises, and produced at the O.C. 1731.

123 124
 17Il ANNALS OF OPERA 17II-12

In German (as JI/dith, Ccmahlill Kaysa Llldc'lVigs HAMBURG November I715 (in German, translated
des FrommclI oder Die sil:~ellde Ul/sehuM, translated by B. Feind); frequendy revived until 1730.
by J. G. Hamann), Hamburg 27 November 1732 NAPLES, PAL. REALE 1 October 1718 (in ltalian,
(with recitative.:s and three new airs by Tc1emann with additional music by L. Leo).
and three airs from Handel's Lotario, see 1729;
the airs werc sung in Italian); given at Hamburg RUGGERI: Elisa
until 1737.
l\"C)"l'mber. Veniee, S. Angclo
F. CONTI: 11 Triollfo dell'A/IIore Text by D. Lalli. Three aets.
edella Costanza After 74 years of operatie activity at Venice,
21 Jarlllary. Vienna this was the first eomic opera ever produeed
there. Musie lost.
Text by F. ßallerini. Three acts.
For a discussion of the libretto, see M. Scherillo,
In German (translated by J. J. Hoe), Hamburg
L'Opcra bllffa napoletafla (1916), p.490.
January 1718 (music adapted by Keiser; some airs
were sung in Itali:m); in German also Copenhagen
28 November 1722. In Italian, Breslau Winter FASCH: Ludus Verus
172 5. 27 No"emher. Zeitz
MATTHESON: Hemico w Text, a German version, by an unknown author,
9 Fcbruary. Hamburg of Zeno's Ludo Vero (first eomposed by Polla-
rolo in 1700). Three aets.
Text by J. J. Hoc. Five acts.
The most suecessful opera of Fasch, who is
The fuH tide reads: Die geheimeIl Begebenheiten
more important as a composer of instrumental
Henrico IV, KÖlligs "on CastiliCll Imd Leoll, oder Die
music. Lost, like the rest ofhis operas.
gethcilte Liebe.
Revived at Zeitz 27 November 1713 (as Bere-
Airs [rom this opera were printed in 171 r.
niee), and onee more at Zerbst January 1739.
HANDEL: Rinaldo*
7 March. London, Hm.
Text by G. Rossi (from a sketch, after Tasso, by I7I2
A. Hill, who then provided the printed English
translation). Three acts.
CAMPRA: Idomenee.
The first opera Handel wrote for London. In 12 January. Paris, O.
the preface to the libretto Rossi calls the composer Text by A. Danchet. Five acts.
the "Orfeo del nostro secolo". Revived at Paris 5 April 173 I. (Varesco's Italian
Rillaldo was more or less a pasticcio con~aining Idomeneo, composed by Mozart in 1781, was
several airs [rom Handel' s earlier operas. The derived from Danehet's libretto.)
famous Lascia eh' io pianga derives from this opera. Score published (n.d.).
Very successful in London; given 15 times during
the first season, again 22 times until J 715, and GALLIARD: Calypso a/zd Telemachus
revived, witlr extensive alterations, on both 16
25 May. London, Hm.
January 1717 and 17 April 1731.
Text by J. Hughes. Three acts.
Also given at:
Revived Lineoln's Inn Fields Th. 10 March
DUBLIN April 17II (by Nicolino's troupe as the
first Italian opera in Ireland).1 1717·
1 This has now been disproved by T. J. Walsh in his
This was, for many years, the last attempt at
Opera in Dublin 1705-1797: the first Italian opera was English grand opera. (For an account, see Burney,
not performed in Ireland until 176r. H.R. IV, P.232). Airs printed.

12 5 126
17I2 ANNALS OF OPERA 1712-13

Hughes eloses his preface (in which he calls his new prologue in the "Temple ofErato, President
opera "an Essay for the Improvement of Theat- of Musick"), and a different version with much
rical Musick in the English Language, after the ballet.
Model of the Italians") with the following tribute DESTOUCHES: Callirhoi
to Galliard: "I cannot conelude without acknow-
Z7 December. Paris, O.
ledging the Pleasure I have had, to find the W ords
Text by P. C. Roy. Prologue and 5 acts.
of this Opera so naturally express' d in the Musick,
One of the best of Destouches's later works.
that I believe the Gentleman who has compos' d
Given at Lyons 14 March 1715; Brussels 9 De-
it, has offer' d a much more prevailing Argument
cember 1721. Revived in Paris 3 January 1732,
than. any I cou' durge, to shew that the English
22 October 1743, and 9 November 1773 (with
Language is capable of the most agreeable Graces
alterations by Dauvergne) at the O. and once
of Harmony. 1 have mention' d this without his
more as late as 2 March 1875 at the Th. Taitbout
Leave, yet cou' d not refrain from doing him a
(re-scored by P. Lacome).
Justice, which 1 perswade [sie] my self will be
Score published 1712.
confirm' d by the Opinion of the most disin-
terested Judges."
3
I7 I
"Dr. Amold told me Mr Handell had so high
an opinion ofCalypso and Telemachus as to have FE 0: L' Amor tirannico ossia Zenobia
deelared he would sooner have composed it than 18 January. Naples, S.B.
any one ofhis own Operas. W.K. 1813" (hand- Text by D. Lalli (first set to music by GaspariIii.
written note by William Kitchener in his copy in 1710). Three acts.
ofthe Songs, sold in Julian Marshall's Sale, 29 July Feo's first extant opera.
1884 (sale catalogue no.442).
HANDEL: Teseo*
MARTINEZ DE LA ROCA: z1January. London, Hm.
Los Desagravios de Troya Text by N. F. Haym. Five acts; virtually a transla-
(The Relief ofTroy) tion ofLully's Thesee (see 1675).
June or July. Zaragoza Given 14 times during the season, but never
Text by J. F. Escuder. Prologue and 3 acts. revived.
The only Spanish opera of the 18th century HEINICHEN: CaIJurnia
(and even up to about 1840) which was printed [z6January]. Venice, S. Angelo
in full score. See E. Cotarelo y Mori, Historia de Text by G. Braccioli. Three acts.
la Zarzuela (1934), PP.78-80. With and after Handel, Heimchen was one of
The opera was written in honour of the birth the first German composers to write operas for
of a Spanish prince, and privately produced at ltalian towns. A second work ofhis was produced
the palace of Count de Montemar, field-marshal at the same theatre in the same Camival.
and govemor of Zaragoza. The dedication in the Calfurnia was also given at Hamburg February
score is dated 28 July 1712. 1716 (in German, as Die roemische Grossmuht oder
Calfurnia, translated by J. U. König; some of the
HANDEL: 11 Pastor fido* airs were sung in Italian).
3 December. London, Hm.
Text by G. Rossi (from Guarini's pastoral play, SALOMON: Midie et Jason
1585). Three acts. 24 April. Paris, O.
Revived in a new version, London, Hm. 29 Text by A. de La Roque (later attributed to S. J.
May 1734 and C.G. 20 November 1734 (with a de Pellegrin). Prologue and 5 acts.

127 128
 17 13-14 ANNALS OF OPERA 1714
The first and more successful of the two operas See on Sehweitzelsperger and his Lucretia score
of Salomon, who was a gambist in the Paris 1. Sehiedermair in Sammelbände of the I.M.S.,
Opera orchestra. Revivcd in Paris 17 October Vol. XIV (1912-13).
1713, with alterations; 29 April 1727; 22 Novem-
ber 1736; and 22 February 1749. Given at ßrussels MO URE T: Les Festes de Thalie
14 September 1726. 19 August. Paris, O.
Score published 1713. Text by J. de Lafont. Prologue and 3 entrees.
A parody of the same title (by P. F. Domi- In this suecessful opera-ballet the eornic element
nique, F. Riccoboni, and J. A. Romagnesi) WllS was first introduced into thc sphere of French
prodllced at the c.I. 28 May 1727 and revived opera. Originally it consisted of three I-aet comic
there 10 Dccember 1736 (altered by D. Carolet). operas ealled La Folie, La FCI1l/1/c, and La Veuve,
rcspeetivcly. An cpilogue, La Critique des Festes de
Thalie, was added on 9 October 1714, the third
I7 I 4 act was repheed by La Vellvc coquette on 12 March
D. SCARLATTl: Amord'un Ombra 1715, an': a fourth entn!e, La Provenrale, was added
on 17 September 1722 in place of La Critiqlle. In
e Gelosia d'un Aura various combinations revived at Paris 25 June
20 Jal1uary. Rome 1722; 2 June 1735; 29 June 1745; and 24 Sep-
Text by C. S. Capeci. Three acts. tember 1754. La FCI1l/11e on 13 August 1765; La
The last of eight operas composed by Scarlatti Prol'enra!c on 10 August 1745; 6 February 1755;
for the private theatre of Queen Maria Casimira 31 January 1758; 18 August 1769; and 16 February
of Pohnd (who lived in Rome from March 1699 1775; at Versailles 22 February 1764. The opera
und June 1714). Also produccd in London 10 was givcn at Brussels as earlyas 2 Oetober 1714
June 1720 (as Narciso, text altered by P. A. Rolli) (revived 1 September 1740).
with additional numbers (two songs and two A parody on Les Festes Je Thalie, by P. Lal~on
duets) by Thomas Roseingrave, who (according and Parvi, with music by Blaise, called La Fille,
to Burney, IV, p.266) had brought over the score la FC/11me, ct la Veuve, was produeed at the c.I. on
from Italy. 21 August 1745 (after which parodies of grand
operas were prohibited there for six years).
LEO: Pisistrato There were also two sueeessful parodies of
13 May. Naples, S.B. single aets, the music of both was writtcn by
Text by D. Lalli (17Il). Three acts. Duni, viz. (I) La Fille mal gardee ou Le Pedant
Leo's first opera. S~ore preserved. amoureux (parody of La Provenralc, text by C. S.
Favart, Madame Favart, and LourdetdeSanterre),
produced at the c.I. 4 March 1758. In French
S CHWEITZELSPERGER:
also Amsterdam and Hague 1760; Brmsels 7 Jan-
Die romanische Lucretia uary 1761; Vienna 4 February 1764; Frankfort
?? Durlach 10 April 1764. Dutch versions by J. T. Neyts
Librettist unknown. Prologue and 3 acts. (Rotterdam I 764) and by J. F. Cammaert (Brussels
Probably repeated at Durlach in 1.715 and 1716 1767) printed. (2) La Veul'e illdecise (parody ofLa
and also given at Coburg 1718 and Nuremberg VCIII'C coqw:ftc, text by J. J. Vade}, produced at the
Spring 1719 (with alterations). O.c. 24 September 1759; Vienna 1761 (with new
The only extant opera of Schweitzelsperger airs); Amsterdam 16 September 1761 (revised by
and of some 50 German operas (by Trost, Blinzig, 1. Anscaume).
Käfer, and others) produced at the court of See on Les Festes de Thalie and its parodies, R.
Baden-Durlach between 1712-31. Viollier inRevue deMusicologie,Vol. XIX (MaYI93 5).

129 130
1714 ANNALS OF OPERA

F. CONTI: 1 Satiri in Arcadia

28 August. Vienna A. SCARLATTI: 11 Tigrane overo
Text by P. Pariati (Favola pastorale). Three acts. L'eguallmpegno d'Amore e di Fede*
In German (as Cloris und Tirsis, ttanslated by 16 February. Naples, S.B.
Dr. Gazal), Hamburg 23 January 1719 (with Text by D. Lalli (originally called L'Amor di
Italian airs); Copenhagen 18 December 1721. An
Figlio non conosciuto, set to music by Albinoni,
anonymous Gerinan opera, Die Satyren in Arca-
Venice 1715). Three acts.
dien (perhaps aversion of Conti's work) , was Scarlatti's most famous opera; it is stated in the
produced at Leipzig in 1719. libretto that this was his 106th work for the stage.
In Tigrane, horns were introduced into the opera
PORPORA: Arianna e Teseo orchestra for the first time.
1 October. Vienna Repeated at Innsbruck in the same year; at
Text by P. Pariati. Three acts. Leghorn Carnival 1716.
Revived Vienna Carnival 1717; Venice Au- Date of first performance given in the Naples
tumn 1727; Florence 9 August 1729. No connec- Avvisi of 19 February 1715 (Piovano).
tion with Ariadne in Naxus, text by Rolli, pro- KEISER: Fredegunda
duced London, Lincoln' s Inn Fields Th. 9 January
March. Hamburg
1734·
Text by J. U. König (founded on an Italian lib-
MOURET: Ragonde retto by F. Silvani, set to music by Gasparini in'
December. Sceaux 1704). Five acts.
Text by P. Nericault Destouches. One of Keiser' s most popular works; given at
The full tide reads: Le Mariage de Ragonde et de Hamburg until 1738.
CoUn ou La Veillee de ViIlage. The second suc- An early description of Fredegunda is given in
cessful opera-ballet by Mouret, produced in 1714. E. L. Gerber' s Historisch-Biographisches Lexicon der
It consisted of three intermedes, called La Veillee, Tonkünstler (1791).
Les Lutins, and La Noce et le Charivari, and was HANDEL: Amadigi di Gaula*
privately produced at one of the "Grandes Nuits"
at the palace of the Duchess of Maine at Sceaux.
5 June. London, Hm.
First given at the Paris Opera only four years Text probably by J. J. Heidegger (who signed1
after the composer's death as Les Amours de Ra- the dedication; cf. Burney, IV, p. 255). Thrcc acts.
gonde, 31 January 1742 (then called comedie en Given in London 19 times until 1717. Ham-
musique and somewhat altered). burg September 1717 and 6 February 1719 (in
Revived Paris 12 February 1743; Versailles German, as Oriana, translated by J. Beccau, ad-
24 March 1745 and 27 February 1748 (instead of ditional airs by Keiser; the airs were sung in
Destouches, Nicolas de Malesieux1 is mentioned Italian). There is a printed Dutch translation by
as the author in the 1748 libretto); again Paris K. Elzevier (n.d.). Revived Osnabrück 7 January
11 February 1752; 5 February 1769; and 22 Feb-
1929 (new German version by H. Dütschke).
ruary 1773 (these latest two revivals not recorded ORLANDINI: Amore e Maesta
by Lajarte). Summer. Florence, T. Cocomero
Given at Lyons 1742; Brussels 10 March 1748; Text by A. Salvi. Three acts.
Bordeaux 1758. Given in an altered version by P. A. Rolli (as
Arsace), with additional music by F. Amadei,
1 He bad been one of the chief literary contributors
to the theatrical performances at Sceaux-hence the 1 Not so; a translation probably by Haym, of
mistake in the later libretto. Destouche'sAmadis de Grece (see 1699).

131 13 2
1715- 16 ANNALS OF OPERA 1716-17

London, Hm. 12 February 1721; this version was Faustina Bordoni's first appearance was in this
translated into German by J. Mattheson (who opera. Repeated Rome 1717. Venice Auturnn
also composed the German recitatives) and given 1718 (text altered by G. Boldini); Treviso 1722.
at Hamburg on 18 May 1722 (frequently revived A popular work,many performances.
until 1736).
The original (presumably without Amadei's VIV ALDI: Arsilda, Regina di Ponto
additions) was revived at Turin Camival 1726 Autumn. Venice, S. Angelo
and Florence, P. Carnival 1732 (as Arsace). Text by D. Lalli. Three acts.
Date and place of the first production are One of Vivaldi's earliest operas. Up to 1927,
recorded by F. Piovano in Sammelbände of the of more than 40 operas, only two were known to
I.M.S., Vol. IX (1907-08), P.272. The original be extant; Arsilda was one of them. But a good
libretto is recorded by R. Uccelli, Cotltributo alla many more have been discovered since in the
bibliografia della Toscana, 1922. See also Allacci, Mauro Foa Collection purchased by the Biblio-
cols. 62 and II6, and Sonneck's Catalogue, P.157. teca Nazionale, Turin, in that year.
That Orlandini did not compose his opera
expressly for London becomes dear, moreover, GERVAIS: Hypermnestre
from the remark in the London libretto: "This 3 November. Paris, O.
opera was Originally set to Musick by Signor Text by]. de Lafont. Prologue and 5 acts.
Orlandini, excepting those Songs mark' d with It has been stated, without sufficient evidence
aStar, which are compos'd by Signor Philippo though, that the Duke Philip of Orleans col-
Amadej". laborated in this opera.
Revived at Paris April 1717 (fifth act remo-
delled by S.]. de Pellegrin) ; I ]une 1728; 18 Au-
17 16 gust 1746; and 1 October 1765. Given at Lyons
in 1742.
BERTIN DE LA DOUE: Ajax A parody by P. F. Dominique and J. A. Ro-
20 April. Paris, O. magnesi, called La bonne Fem11le, was produced at
Text by Mennesson. Prologue and 5 acts. the c.r. on 28 ]une 1728.
The most successful of Bcrtin de la Doue's
LOT TI: Alessandro Severo
five operas. Revived at Paris 16 ]une 1726 (debut
of the famous dancer, Marie-Anne Cupis, called 26 December. Venice, S.G.Gr.
Camargo); 2 August 1742; and 14 October 1770 Text by A. Zeno (first setting of the libretto).
(with additions by L. J. Francceur). Three acts.
In French also given at lilie 1723; Brussels Thc last opera Lotti wrote in Italy before he
December 1723; Stockholm 9 April 1724; Lyons went to Dresden in 1717.
1742. Revised Brussels 6 ]uly 1729 (in Italian).
Score published 1716.
A parody by L. Fuzelier, called L' Amant brutal,
was produced at the O.c. on 3 ]uly 1726. 17 1 7
K EIS ER: Die grossmüthige Tomyris*
POLLAROLO: Ariodante July. Hamburg.
Autlmlll. Venice, S.G.Gr. Text by ]. J. Hoe (founded on an ltalian libretto
Text by A. Salvi (originally called Ginevra Prin- by D. Lalli, L'Amor di Figlio non conosciuto, set to
cipessa di Scozia and set to music by Perti in 1708). music by Albinoni in 1715 and Scarlatti in 1715).
Three acts. Threeacts.

133 134
 ANNALS OF OPERA 1718

Brunswick August 1719; revived there in choruses) August 1732; at Breslau 1 October 1728
August 1720; February 1721; February 1724; and (as Antigone vendicata).
onq: more in August 1749 (with additional Italian
airs by Hasse and others). Probably also gi..:en at SCHÜRMANN: Heinrich der Vogler
Durlach 1721 and revived at Hamburg 5 May
[1 August]. Brunswick
1721 :ind 3 November 172 3.
Text by J. U. König. (The title reads in full:
Heinrich der Vogler, Hertzog zu Braunschweig, nach-
LOTTI: Giove in Argo mahls erwehlter Teutscher Kayser.) Three acts.
250etober. Dresden Hamburg 6 November 1719 and revived 18
Text by A. M. Lucchini. Three acts. July 1735. Revived at Brunswick February 1721;
The first opera Lotti wrote for Dresden. Pro- August 1726 as Henricus Allceps (with some ad-
duced at the Redoutensaal ("Sala di Ridotto") as ditional airs by Graun) and August 1730 (under
the new opera-house ("Regio Elettoral Teatro") the original tide). Given by a German company
was not ready yet. It was inaugurated on 3 Sep- at StockhoIm 29 January 1734.
tember 1719 with the same opera. A second part, by the same authors, was
Between the acts of Giove in Argo the inter- produced at Brunswick [II January] 1721.
mezzi Vespetta e Milo (text by S. Stampiglia and
F. Ballerini, music by A. Scarlatti and F. Conti) PORPORA: Temistocle
were produced, one of the first instances of that
1 Oetober. Vienna
sort of perfo~ance in Germany.
Zeno's text (first set to music by M. A. Ziani in
(Date of first performance according to Fürste-
1701). Three acts.
nau and Schatz; the dedication in the libretto is
dated November 1717.) Revived at Brussels 28 September 1729.
The opera by Porpora of this tide performed
in London 5 March 1743 was an entirely different
CAMPRA: Camille, Reine des Volsques
work (libretto by Metastasio).
9 November. Paris, O.
Text by A. Danchet. Prologue and 5 acts. CALDARA: Ifigenia in Aulide
Revived at Paris, after an interval of 44 years,
22 September 1761 (without the prologue; music 4 November. Vienna
revised by P. M. Berton). Text by A. Zeno. Three acts.
One of the earliest operas Caldara wrote for
Vienna. Revived there 22 November 1723.
17 18 (It has been stated that the opera was first
produced at Vienna four years earlier, viz. 4 No-
ORLANDINI: Antigona vember 1714. According to Weilen's Catalogue,
January. Venice, S. Cass. M. A. Ziani's Andromeda was given on that
Text by B. Pasqualigo. Five acts. day.)
One of Orlandini's most successful serious
operas. Revived at Venice, S. Angelo Carnival A. S CARLA TTI: Il Trionfo dell' Onore*
1721 and S.Cass. 7 November 1724; Turin, T,R. 26 November. Naples, Fior.
Carnival 1727; and Bologna 14- June 1727 as La Text by F. A. Tullio. Three acts.
Fedelta coronata (reduced to 3 acts). The first extant example of a cornic opera of
In Italian, also given at Brunswick February the Neapolitan School. Two scenes from it were
and August 1724; Wolfenbüttel 17 April 1725; published by E. J. Dent in Sammelbände of the
Brunswick again (with German recitatives and I.M.S., Vol. XI (1909-10). The opera was revived
135 136
 ANNALS OF OPERA 17 1 8
at Loughton, Essex 23 Jllly 1937 (in English, AUGSBURG 1746.
translatcd and produeed by G. Dunn; open-air POTSDAM Summer 1748 and again 16 Oetober
performance) and ollee more 20 July 1939; also 175 [.
revived at Siena IS September 1<)40 (reviscd by PARIS, O. 22 August 1752 (as Il Gioeatore, revived,
V. Mortari) ; whieh omitted 22 of the 41 arias. after 23 years, by Bambini's buffo troupe, with
additional music by Pergolcsi, Buini and, prob-
ORLANDINI: 1/ Marito Gio,!Iatareela abi)", Auletta).
HANOVER 20 September 1753.
Mag/ie Bacchcttolla*
COPENHAGEN 5 February 1755, 19 Deeember
24 Dcccllllli'r. Veniee, S. Angclo 1755, and 4 February 1757 (in Italian) alld again
Text by A. Salvi. Three parts. 175 8 (in Danish, with reeitatives by J. C.
These tlmous intermezzi wac first pcrformed Klcen).
between the aets of F. Chclleri' s opera seria Al1la- MAYENCE 1758.

las/illta. Besides scveral revivals on Italian stages EDiNBURGH 27 June 1763.

(Florenec 1720; Romc, T. Alibcrt Carnival 1721; ßERLIN 28 April 1777 (with Germ:ln reeitatives;

Ferrara Carnival 1722; Genoa Spring 1723 (as the play-bill mentions as the composer "Herrn
Scrpilla e Bacocco); Lueea C:lrniv:ll 1724 :lnd Bergulesi").
Autumn 1740; Bologna 1725 (:lS 11 Gillocatore) Following the productions at the Paris Opera,
and Carnival 1748 (as Bacocco 0 sia iI GiIlNatorc); two French parodies were performed at the c.I.,
Naples, S.B. I October 1725; Palermo 1726, ete., viz.: (I) Le JOIICllr, 21 July 1729; text (a mixture
between the acts of variolls opere serie by other of French and Italian) by P. F. Dominique and
composers) they were also given at: J. A. Romagnesi, music, it seems, partly from the
MUNICH 27 Oetober 1722 (under the title of Ser- original, partly eomposed by J. J. Mouret; also
pilla e Baeocco, as intermezzi in Albinoni's I Feri given :lt Fontainebleau 7 J:muary 1730. (2) Baioeeo
Amici). cl Serpilla, 6 March 1753; text (wholly in French
BRESLAU November 1727 (in Bioni's Attalo cd now) partly rewritten by C. S. Favart, music by
Arsilloe). C. Sodi. This lauer parody was (in French) also
BRUSSELS 4 November 1728 (in Orlandini's LI/do givcn at Stockholm 20 January 1757, Hague 1758,
Papirio Dittatore). Amsterdam 1761, and Brussels 1766; revived
7 June 1729 (as Bajoc(O e SerpiIla).
PARIS, O. Paris, Varietes-Amusantes, 16 July 1797. In
TRIESTEAugust 1730 (as Serpilla e Bacoao). Swedish (translated by c. Envallsson), Stock-
MOSCOW 25 March 1731. holm 21 April 1784 (given there until 1798) and
VIENNA 8 April 1733 (in Giaeomelli's La Caaia ill Gothellburg 13 March 1795 (revived 10 Decem-
Etolia). ber 1810). There was arecent revival of Sodi's
ST. PETERSBURG 1733 and 21 Oetober 1757. setting at the Mercury Th., London, 25 July 1940
LISBON 1736 (in Sehiassi's Alcssalldro nelrb/die). (as TIn' Gallleslcr, English version by G. Dunn),
LONDON 12 January 1737 (as The Gamestcr, sung prodllced by the "Intimate Opera Company".
in Italian; the first "intermezzo, or eomie in- On the complicated his tory of this opera the
terlude, which was ever introduced between foIIowing authorities shollid be eonsulted: A.
the acts of an Italianopera in England" [Burney, Wotquenne, Calaloglle de la Bibliotheqlle dll COI/-
IV, P.400]. The opera was Hasse's Siroe). scrvaloire Royal de Bruxellcs, Vol. I, PP.458-60
HAMBURG 15 February 1741 and again 3 August (1898); L. de La Laureneie in RCl'ue Musicalc (Bul-
1744, 24 February 1746, 4 July 1753 and 1767. letin Franfais de la S.I.M.), 1912, no.6-8; G. Cal-
PRAGUE 1744 (under the original title;' no com- mus in MontMy Ma<~azille oft/le I.M.S., 1912-13,
poser mentioned). p.II4; O. G. T. Sonneck, ibid., p.170; O. G. T.
DRESDEN 29 August 1746. Sonneck in The Musical Antiquary, 1913, p.r60;

137
1718 ANNALS OF OPERA 1718- 19
O. G. T. Sonneck, Cata/aglle . WaShitlgton, and the same composer's Crispo (see 1721) are
pp·730-34 (19 14). the subject of discussion in Richard Steele's
No composer is mentioned in the original comedy, The Cotlscious Lovers (1723). H, 2. Rolli
Venice libretto. Orlandini's name occurs for the trans la ted the comedy into Italian (1724) and does
first time in the London 1737 libretto. A MS not fai! to emphasize in a note his collaboration
score at W olfenbüttcl names Leonardo Vinci as with Bononcini.
the composer. Sonneck's verdict in 1913 was:
" . . . therefore I do not think that we should
longer hesitate, at least at present, to attribute 1/
17 1 9
Giocatore to Giuseppe Maria Orlandini"; but in
1914: " ... consequently we must further assume A. SCARLATTI: M. Attilio Regolo
that both Vinci and Orbndini composed the same Carniva/. Rome, Capr.
text at a very earl y date, but we cannot as yet
Text by M. Noris (first composed by Pagliardi
defmitcly attribute the earliest setting, that for
in 1693). Three acts.
Venice 1718-19, to either one or thc other".
Since then, the score has been attributed again Revived Bologna October 1724.
to Orlandini by G. Pavan (R.M.I., 1922, p.433)
and by H. Liebrecht (Histoire dll Theatre Frat1rais F. CONTI: Don Chisciotte in Sierra
a BnlxeIles, 1923, P.157), who mentions scores Morena
bearing Orlandini's name at Vienna and Rostock;
to Vinci by G. F. Schmidt (Zeitschrift für Musik- 11 February. Vienna
wissenschaft, VI, P.523). Text by A. Zeno and P. Pariati (Tragicommedia
The "meprises invraisembbbles" (Wotquenne) per mllsica), after Cervantes. Five acts.
which have been made in dealing with the history (In !ater editions of the text the title was
of 11 Ciocatore we need not enumerate again. They changed into DOll Chisciotte in Carte delTa Du-
have not ceased since, either. J. G. Prod'homme, chessa.)
for instance, in his L'Opcra (1925), p.75, gives for Also given at Brunswick February 1720 (in
the 1729 prodllction at the Paris Opera the names Italian).
of the librettists of the 1729 parody "Romagnesi In German (as Dotl Quixotte itl dem Mohren-
et Dominiquc," and the name of thc composer gclmcrgc, translated by J. S. Müller) Brunswick,
of the ] 752 parody "Sodi (ou Auletta?)". August 1721 (revived February 1733 [with so me
As scveral of the above performances were Italian airs] and February 1738) and Hamburg
anonymous, it must be mentioned that there are 5 October 1722 (with some airs sung in Italian;
at least four later settings of the libretto, by G. given there until 1737).
Scarlatti, Florence Camival 1747; Hasse, Frank- Revived Vienna 9 April 1826 (private perform-
fort 5 April 1755; Paistello, T~rin 1774 (according ance at Hofrat von Kiesewetter's; see A.M.Z.,
to Florimo); Schacht, Regensburg 1775 (libretto 1826, P.360, and Grove, IJI, p.21, 3rd edition.
British Museum). 19 2 7).

M. A. BONONCINI: Griselda SCHÜRMANN: Die getreue Alceste

26 Decembcr. Milan, T.R.D. February. Brunswick
Zeno's text (first composed by Pollarolo in 1701). Text by J. U. König (founded on Quinault's
Three acts. French libretto, see 1674). Three acts.
London 5 March 1722 (text alte red by P. A. Hamburg 3 July ]719, as ATceste (given unti!
Rolli) and revived there 2 June 1733. This opera 1723); Brunswick August ]721.

139 140
 1719 ANNALS OF OPERA 1720

FUX: Elisa 1720

25 August. Laxenburg, near Vienna STUCK: Polidore
Text by P. Pariati (Festa teatTale). One act. 15 February. Paris, O.
The only opera ofFux which was published in Text by J. L. I. de La Serre (founded on a tragedy
his lifetime. Written for the birthday of the by S. J. de Pellegrin, 1706). Prologue and 5 acts.
Empress Elizabeth Christina. The last opera of Stuck, who was one of the
Revived Vienna 31 August 1729; in this year earliest violoncellists in the orchestra of the Paris
the score was published at Amsterdam-probably Opera. Revived there 21 April 1739.
the only printed full score of an Italian opera seria Score published 1720.
between 1662 (Bontempi's FarMe) and 1756 (Sar-
ti's Ciro ricollosciuto). PORTA: Numitore
Gerber says that the Emperor Charles VI con- 13 April. London, Hm.
ducted the 1729 revival at the cembalo.
Text by P. A. Rolli. Three acts.
Handel's "Royal Academy of Music" was
LOTTI: Teofane inaugurated with this opera. Porta's most suc-
cessful work.
13 September. Dresden In Italian also given at Brunswick 1723 (as Rhea
Text by S. B. Pallavicino. Three acts. Sylvia); in German as Die helden-nmeth~~e Schaefer
Written for the wedding of Prince Frederick Romulus und Rellltls) Hamburg 2 November 1724
Augustus of Saxony and Maria Josepha, Arch- (with additional music by J. P. Kuntz; recitatives
duchess of Austria. sung in German, airs partly in German, partly in
Lotti's last opera. A German translation by C. Italian).
F. Teuchcr was published in the same year.
HANDEL: 11 Radamisto*
8 May. London, Hm.
TORRI: La Merope Text by N. F. Haym, based on D. Lalli's L'amoT
120etober. Munich Titanico e Zenobia, first set by Gasparini in 1710,
and modified for Florence in 1712. Three acts.
Zcno's text (first composed by Gasparini in 17I I ).
The first opera of Handel which was produced
Three acts. at the newly-founded "Royal Academy of
Torri's best and most successful opera. Re- Music". Repeated there, with alterations, in-
peated at Munich 9 June 1720 and 24 January cluding the Act 3 quartet, one of the only three
1723. Also given at Brussels December 1728 (in quartets in his 40 Italian operas, 8 January 1721
Italian). and 6 December 1721, and once more inJanuary
The third act was printed in Denkmäler der or February 1728. This latter revival, mentioned
Tonkullst ill Bayern, Vol. XIX-XX (1920), edited by Bumey, IV, p. 259, but not recorded in F.
by H. Junker. Colman's Opera Register (see p. 93),nor by Fassini
and Nicoll, I was not able to verifyfrom the news-
papers as the parts in question are missing in the
CALDARA: Lucio Papirio Dittatore British Museum set. 1 That the revival actually took
4 November. Vienna place is confirmed by the printed libretto, with
Text by A. Zeno (written for Caldara). Three fuH cast, a copy of which has been found in the
acts. National Library ofScodand, Edinburgh.
In Italian also given at Brunswiek 9 February 1 January and February of the Daily Courant, the only
1721 and Brussels 4 December 1728. paper in which the ltalian operas were advertised then.

D 141
1720-21 ANNALS OF OPERA 1721

Given at Hamburg 28 January 1722 (in Ger- ORLANDINI: Nerone

man, as Zenobia, oder Das Muster rechtschaffener January. Venice, S.G.Gr.
ehelichen Liebe, translated by J. Mattheson, who
Text by A. Piovene. Three acts.
also composed the German recitatives; the airs
In German (translated by J. Mattheson who
were sung in ltalian; revived 20 January 1736).
also added six airs ofhis own), Hamburg 17 No-
Revived in a new German version by J. Wenz:
vember 1723 and given there until 1738 (the airs
Göttingen 22 June 1927; and onee more Düsse1-
were sung in Italian). In ltalian also, Vienna 3
dorf 14 May 1937 (translated by H. Buths).
April 173 I (probably Orlandini' s setting).
TORRI: Lucio Vero
120ctober. Munich TELEMANN: Der gedultige Socrates*
Zeno's text (first composed by Pollarolo in 1700). 28 January. Hamburg
Three acts. Text by J. U. König (founded on Minato's La
Revived at Munich 3 January 1723. Patienza di Socrate con due Moglie, see 1680). Three
acts.
G. BONONCINI: Astarto* The first opera Telemann wrote for Hamburg.
30 November. London, Hm. Revived Crefeld 16 June 1934 (revised by J.
Text by P. A. Rolli (altered from an earlier Baum).
libretto by Zeno and Pariati, first set to music by
Albinoni in 1708). Three acts. G. BONONCINI: Crispo
The first opera Handel' 5 riyal wrote in London. February. Rome, Capr.
"V.E. e stata una delle principali Cause non solo
Text by G. Lerner. Three acts.
di promovere nella Reale Accadernia, quest'
Successful in London 31 January 1722 (text
Opera; ma pur' anche il di lei rinomato Compe-
revised by P. A. Rolli); given for 21 nights. (Cf.
sitore, il quale 1'a di nuove Bellezze accresciuta
note on Griselda, 1718.)
per mostrare tutta la dovuta attenzione a suoi
Protettori" (from Rolli's dedication to Richard,
Earl of Burlington; it appears from it that the F. MATTEI (AMADEl),
latter had seen Astarto some years ago at the T. G. BONONCINI and HANDEL:
Capranica, Rome, which must have been Pre-
Il Muzio Scevola*
dieri's setting in 1714).
Bononcini's opera was also given at Hamburg 26 April. London, Hm.
20 October 1721 (in Italian) and was revived in Text by P. A. Rolli. Three acts.
London, Lincoln's Inn Fields 9 March 1734. None of the composers is mentioned in the
libretto. Bumey (IV, p.2S8) and Hawkins (v,
p.277) assumed that Ariosti1 joined hands with
17 21 Bononcini and Handel in this opera, but Chrys-
ander proved that the third composer was one
A. SCARLATTI: La Griselda* Filippo Mattei, called Pippo (who perhaps is
January. Rome, Capr. identical to Filippo Amadei, Orlandini's collab-
orator in Arsace, see 17IS).
Zeno's text (first set to music by Pollarolo in
1701). Three acts.
1 Ariosti's name as the composer of the first act stil!
Scarlatti's 114th opera and the last which is occurs in modern publications, e.g. in T. Vallese's Paolo
extant. Rolli in Inghilterra, 1938.

143 144
 1722 ANNALS OF OPERA 1721-23

Mattei wrote the first act, Bononcini 1 the Jaules, transIated by J. Beccau), Hamburg 28 April
second act, Handel the third act. 1723 (the airs were sung in Italian).
In Italian also Hamburg 7 January 1723 (per-
formed with a prologue in German). 17 22
The third act, i.e. Handel's share, was revived
at Essen on 9 June 1928 (German versiol by R. VINCI: Li Zite 'n Galera
Steglich). Camil'al. Naples, Fior.
HA S SE: Al1tioco Text by ß. Saddumene. Three acts.
11 August. Brunswick
Vinci' s first extant opera. Autograph score at
Na pies dated 20 November 1721. Not Saddu-
Text by A. Zeno and P. Pariati (first set to music
mene' s first original libretto as has been stated;
by Gasparini in 1705)' Three acts.
preceded by Don Ciccio, also set by Vinci
Hasse's first opera. Only so me airs are extant.
and produced at the same theatre in 1721. (Lib-
The statements that Hasse's first opera was
retto in the ßritish Museum; music apparently
either caIIed Antigollus (or Antigollo) or that it was
lost.)
written to a German libretto have been refuted
long ago. But since Bumey (Prescut State, I, P.343) KEISER: Ulysses
and Gerber, they obstinately recur even in modern No l'el1l bcr. Copenhagen
books and papers. The Italian-German libretto of (German) text by F. M. Lersner (founded on
Antioco, which is extant, provcs that the opera a French libretto by Guichard, composed by
was composed to an Italian text and was sung Rebel pcre in 1703). Three acts.
either wholly in Italian (according to G. F. Score preserved. Written for the birthday of
Schrnidt) or else with Italian airs and German King Frederick IV of Denmark. The only opera
recitatives (according to R. Haas and H. J. Moser). Keiser wrote for Copenhagen, where, from
PORSILE: Meride e Se!il1ul1te Christmas 1721 to January 1723, a German
operatic company acted at the court theatre.
28 August. Laxenburg, near Vienna
(See T. Krogh in Aarbogfor Musik, 1924, and
Text by A. Zeno. Five acts.
in Festschrift für Johannes Wolf, 1929.)
The first greater work of Porsile, who was
court conductor at Vienna from 1720-40. Inter-
mezzi, Rosina e Lesbo, were produced with the 17 2 3
opera. HANDEL: Ottone, Re di Ger,nattia*
H AN D E L: Il Floridante 23 January. London, Hm.
December. London, Hm.
20 Text by N. F. Haym (altcred from Pallavicino's
Text by P. A. Rolli, based on F. Silvani's La Teofane, see 1719). Three acts.
Costanza in Trionfo (Venice 1697), modified for Successful in London; first produced for Fran-
Livomo, 1706. Three acts. cesca Cuzzoni's debut; revived 16 February 1726;1
Revived London 10 May 1727 and 14 March 22 April 1727; 24 November 1733; and 21 De-
1733. In German (as Der thrazische Printz Flori- cember 1734 (40 performances in all).
1 See on MIlzio Scael'ola also W. H. Cummings in
In ltalian also, Brunswick August 1723 (with
Tlte l'vfllsical Tillles, 19II, p.18. It should be mentioned intermezzi Barlafuso e Pipa) and February 1725
that 13ononcini had composed a whole opera ofhis own (with additional airs by Lotti).
on the same subject for Vienna in 1710 (produced there In German (translated by J. G. Glauche), Ham-
10 July 1710; text by N. Minato); score preserved. One
wonders if Dononcini uscd parts of his old music again
burg 15 Ma)' 1726 {music adapted by Telemann;
and how far RoIIi's libretto is indebted to Minato's "1 Revival announced for 16 February but postponed
earlier text. because ofCuzzoni'sillness until 19 February.

145
 ANNALS OF OPERA

the airs were sung in Italian; given there until HANDEL: Flavio, Re de' Longobardi*
172 9). 25 May. London, Hm.
There exists an edition of the libretto printed
Text by N. F. Haym (partly founded on Cor-
at Paris in 1724 (copy recently acquired by the
neille' s Cid and altered from an earlier Italian
Library ofCongress) with French synopses. Prob-
libretto by S. Ghigi, set to music by Pollarolo in
ably there is a connection with an intended visit
1706). Earlier libretto by M. Noris, Flavio
of the London opera company toParis in the
Cuniberto, set by Franceschini for Venice in 1692;
Summer of 1723 whichhowever came to nothing.
revived Rome 1696. Three acts.
See Le Mercure, April 1723, p.770: "Que1ques
ReVived in London 29 April 1732.
Acteurs Italiens de l'Opera de Londres doivent
venir a Paris, & donner douze representations BLAMONT: Les Festes grecques
dans le cours du mois de Juillet prochain.... "
Revived (in a new German version by O.
et romaines
Hagen) at Göttingen 5 July 1921; Graz 19 De- 13 July. Paris, O.
cember 1923; Berlin 6 September 1926, etc. Text by L. Fuzelier (ballet hlroique). Prologue and
An English translation of Hagen' s version by 3 acts, called Les Jeux Olympiques, Les Bacchanales,
P. E. Pinkerton was published in 1928. and Les Saturnales, respectively.
A fourth act, La F8te de Diane, was added on
9 February 1734 (but dropped in later revivals).
ARIOSTI: Cajo Marzio Coriolano Very successful in Paris.
2March. London, Hm. Revivals at the Opera were on 11 June 1733;
Text by N. F. Haym. Three acts. 4 July 1741; 5 June 1753; 4 May 1762 (Les Satur-
This was probably the first opera Ariosti wrote nales only, with alterations) ; 28 August 1770
for London. L'Odio e /'Amore (1721), which (with alterations by Dauvergne).
Burney attributed to him was, according to Given at Brusse1s in 1741. Fuzelier claims in the
Chrysander, byG.Bononcini. Revived inLondon preface to a later edition to have introduced into
5 April 1732. French tragedie-Iyrique for the first time "les
evenemens de l'histoire," following the Italian
FEO: Siface example of Scarlatti and Bononcini, and calls his
13 May. Naples, S.B. work "un ballet d'une espece toute nouvelle".
Text by P. Metastasio (altered for Feo from an Given at Moulins 1742 in concert form; pro-
earlier libretto by D. David, La Forza della Virtu, logue and Les Bacchanales revived Versailles 26
set to music by Pollarolo in 1693). Three acts. March 1748; Les Saturnales revived Versailles 13
One of Feo' s best works. February 1749; Prologue revived Fontaineblcau
11 October 1764.
Date of first performance according to the MS
score at the Conservatorio S. Pietro a Majella, A.parody, by Fuzelier hirnself, called Les Sotur-
Naples; corroborated by G. Pavan (R.M.I., Vo1. nales, three acts, was produced at the c.I. 2 Sep-
xxvm, 1922, pp.427 and 432), who also reveals tember 1723; reduced to one act as Les Debris des
Metastasio's source which was unknown to Saturnales, 6 September 1723; another, Les Festes
Schatz and Sonneck (although Bonlini, p.199, des Environs de Paris, by P. T. Gondot, 4July 1753.
gave a hint as early as 1730, and a copy ofDavid's
text actually is in the Schatz Collection; see
FUX: Costanza e Fortezza
Sonneck's Catalogue, pp.526 and 1005). 28 August. Prague
As Schatz rightly claimed, Feo was the first Text by P. Pariati. Three acts.
composer of Sifoce and not Porpora (see 1725); Written to ce1ebrate the coronation of the
consequently, Metastasio's Siface text precedes Emperor Charles VI as King of Bohemia and the
that of Didone abbandonata (see 1724). birthday of the Empress Elizabeth Christina.

147 148
1723-24 ANNALS OF OPEltA

Produced at the Hradzhin palace. Sometimes and Venice, Auturnn 1730 (text altered by G.
wrongly claimed to have been the first opera ever Boldini). (Date of first performance according to
produced at Prague (but see 1680). The score was the Mercure de Franee. E. Gabrici, Metastasio in
printed as Vol. VII of Denkmäler der Tonkunst in Napoli [1918], p.75, gives 8 February.)
Östemieh (1910), edited by E. Wellesz.
The opera was revived at:
HANDEL: Giulio Cesare in Egitto*
NORTHAMPTON, MASS. 7 May 1938 (by Smith Col- 2 March. London, Hm.
lege students, under W. Josten, in an English Text by N. F. Haym, based on Bussani's libretto,
version by G. P. Smith). first set by A. Sartorio for Venice, 1677. Three
PRAGUE 1 July 1938 (by students of the Prague acts.
Conservatoire under O. JeremiiS). Along with Rodelinda (see 1725) and Rinaldo
perhaps Handel' s most successful opera.
V I N CI: Silla Dittatore Revived in London 13 January 1725, 28 January
1 Oetober. Naples, Pal. Reale
1730 and 12 February 1732; and once more, with
Rubinelli and Mara, 1 March 1787, according to
Text probably by Vincenzo Cassani (n Tiranno
Edgcumbe "a medley from his Italian works". The
Eroe, Venice 1710, originally set to music by
1787 libretto says: "The music entirely by Handel,
Albinoni). Three acts.
and selected from various operas set by that incom-
Vinci's first extant opera seria. Written to cele-
parble [sie] composer, under the direction of
brate the birthday of the Emperor CharIes VI.
Dr. Arnold"; and "The original, however,
Publicly performed at the Teatro S.B. 17 October
offering a great number of incongruities, both in
1723 (according to the Mercure de Franee).
the Ianguage and the conduct, several material
alterations have been thought absolutely neces-
TORRI: Griselda sary, to give the piece a dramatic consistency, and
12 Oetober. Munich to suit it to the refinement of a modern audience".
Zeno's text (first set to music by Pollarolo in Outside London given at Brunswick August
1701). Three acts. 1725, 1727 and August 1733 (in Italian, as Giulio
Name part created by Faustina Bordoni (the Cesare e Cleopatra); Hamburg 21 November 1725
first part she sang in Germany). (in German, translated by T. Lediard, with addi-
Revived at Munich Carnival 1735. For a com- tions by J. G. Linike, who also composed the
parison of Scarlatti's and Torri's Griselda operas, German recitatives; the airs were sung in Italian;
see H. Junker in Sandberger-Festsehrift (1919). given there until 1737); Vienna 1731 (in Italian;
Haym's libretto reduced and altered).
There seems to exist an edition of the libretto
17 2 4 printed at Paris in 1724, similar to thatofHandd's
Ottone. See Catalogo della Libreria Floneel, Paris
S A R R 0: Didone abbandonata 1774, nos.2717 and 7826.
5 February. Naples, S.B. Modern revivals (German version by O.
Text by P. Metastasio. Three acts. Hagen): Göttingen 5 July 1922; Berlin, V.O.
The first setting of Metastasio's first dramma per 4June 1923; Copenhagen 5 March 1924 (by the
musica (not counting some smaller works and his BerIin company); Zurich 23 March 1924; Basie
Sifaee, altered from an earlier libretto by 3 September 1924; Vienna, Academy of Music,
D. David) , which established his farne as the 29 May 1926 and 0.3 May 1928; and on many
leading librettist of the 18th century (there are other German stages.
far more than a thousand settings ofhis librettos; Also Northampton, Mass., Smith College 14
no complete bibliography yet available). Sarro's May 1927 (in English); London, Foundling Hos-
opera was repeated at Turin, T.R. Carnival 1727 pital 23 June 1927 (in English, in an abridged

149
 ANNALS OF OPERA

concert version) and Scala Th. 6 January 1930 in Revived London 1725 with many alterations.
translation by Robert Stuart. New York, Juilliard 15 May 1731.
School21 January 1931 (in English); Amsterdam In German (translated by c. G. Wendt) Ham-
I December 1933 (by the Dutch Opera Studio); burg 29 November 1734 (the airs were sung in
StrasbourgJanuary 1935 (in French, translated by Italian).
L. Mancini); Poman 1936 (in Polish). Modem revivals:

Der neu-modische
GÖTTINGEN 26 June 1920 1 (new German
TELEMANN:
ZURICH 2
13 June 19 3 f version by
Liebhaber Damon* BERLIN, v.o. 29 January 1924 O. Hagen).
JUlle. Hamburg NORTHAMPTON, MASS., SMITH COLLEGE 9 May 1931

Text probably by the composer (Eill scherzhaftes (in English).

Singespiel). Three acts. LONDON, OLD VIC 5 June 1939 (in English).

Presumably first produced between 3 June and The so-called "Handel Renaissance" move-
3 July, as it is not recorded in Willers's repertory ment in Germany started with Rodelinda; the
(see Archiv für Musikwissenschaft, Vol. VI), where following is a short list of revivals (for details see
thc performances between those two dates are. th~ entries under each year):
missing. Rode/inda 1725 GÖTTINGEN 1920
CALDARA: Gianguir Oltone 1723 GÖTTINGEN 1921
Orlando 1733 HALLE 1922
4 November. Vienna
Giulio Cesare 1724 GÖTTINGEN 1922
Text by A. Zeno (written for Caldara). Five acts. Scrse 173 8 GÖTTINGEN 1924
In German (translated by J. S. Müller) Ham- Tamerlano 1724 CARLSRUHE 19 24
burg 6 February 1728 (in a free adaptation as Admeto 1727 BRUNSWICK 1925
Pharao ulld Joseph; the airs were sung in Italian). Siroe 1728 GERA 1925
HANDEL: Tamerlano* Ariodante 1735 STUTTGART 1926
Ezio 1732 GÖTTIN GEN 1926
11 November. London, Hm.
Rada/llisto 17 20 GÖTTINGEN 1927
Text by A. Piovene (first set to music by Gaspa-
Poro 173 I BRUNSWICK 19 28
rini in 1710), adapted by N. F. Haym. Three acts.
Muz:ioScaetJola 1721 ESSEN 1928
Revived in London 24 November 1731.
Alcina 1735 LEIPZIG 1928
In German (translated by J. P. Praetorius) Ham-
Amadigi 17 15 OSNABRÜCK 1929
burg 27 September 1725 (music adapted by Tele-
Arl1lillio 1737 LEIPZIG 1935
mann; thc airs were sung in Italian); between the
Partenope 173 0 GÖTTINGEN 1935
acts intermezzi were performed, probably Tele-
Scipiolle 1726 GÖTTINGEN 1937
mann's Die ungleiche Heyrath, see 1725.
Tolomeo 17 28 GÖTTINGEN 193 8
Tamcrlano was revived at Carlsruhe 7 Septem-
ber 1924 (new translation and arrangement by
TELEMANN: Die ullgleiche Heyratlz
A. Rudolph and H. Roth), Leipzig 7 June 1925,
and Halle 1940. oder Das herrsch-stichtige
Camer Mcidgw*
17 2 5
27 September. Hamburg
HANDEL: Rodelillda* Text by J. P. Praetorius (founded on an Italian
24 Fcbruary. London, Hm. libretto by P. Pariati, Pil1lpirl(1/1C, set to music by
Text by A. Salvi, probably based on S. Ghigi's Albino/li in 1708). Threc parts.
Flavio Bertarido and set by C. F. Pollaroli for Early instance of German intermezzi after the
Venice, 1706 (first set to music by Perti in 171O), Italian pattern, though therc is some doubt
altered by N. F. Haym. Three acts. whether Telemann did more than set the new

15 1 152
172 5-26 ANNALS OF OPERA

German recitatives and add so me German arias Revived at the same theatre, Carnival 1731
to Albinuni's Italian arias. Sung in a mixture of (text altered by G. Boldini, additional music by
German and Italian. First produced at Hamburg Galuppi and Pescetti); Prague 1734; Parma Car-
probably between the acts ofHandel's Tamerlano. nival 1753; Milan, T.R.D. 1759.
The MS score has the title Pimpinone.
Revived Erlangen 29 September 1925 and SCHÜRMANN: Ludovicus Pius oder
Bamberg February 1929 (revised by G. Becking). Ludewig der Fromme
Chicago, University of Chicago, 16 April 1939
February. ßrunswick
(in English and Italian).
(Germ an) text by C. E. Simonetti. Three acts.
Score printed in 1936 (Reichsdenkmale, Vol. VI,
Repeated at Brunswick, August 1727 and Feh-
edited by T. W. Werner).
ruary 1734. Also produced by aGermancompany
V I N CI: Astianatte at Stockholm 19 November 1733.
(Schürmann used for his opera so me pieces by
2 Decelllber. Naples, S.B.
Campra, Destouches and Graun.) The score was
Text by A. Salvi (first set to music by M. A. Bo- printed in 1890 (as Vol. XVII ofEitner's Publika-
noncini in 1701). Three acts. tionen älterer Musikwerke, edited by H. Sommer).
The best of Vinci' s serious operas. (Date of first
performance indicated in the Mercure de Franee.)
PORSILE: Spartaco
PORPORA: Siface
21 February. Vienna
26 Deeember. Milan, T.R.D. Text by G. C. Pasquini (scenario by A. Zeno).
Metastasio's adaptation ofDavid's text (stated by Three acts.
the author, many years later, to have been written Faustina ßordoni sang in this opera before she
expressly for Porpora; but see 1723). Three acts. came to London in May 1726.
Also given at Venice, Carnival 1726 and, with
alterations, as Si/ace Re di NUlllidia Rome, Capr. HANDEL: Seipione*
7 February 1730.
23 March. London, Hm.
In German (translated by J. P. Praetorius),
Hamburg Winter 1727 (the airs sung in Italian). Text by P. A. Rolli. Three acts.
Ro][{ says in the libretto: ''The first Hint of this
Drama, and so me Lines in it, are borrow'd; but
17 26 what, otherwise, rclates either to the plot itsclf,
or the Diction thro' the Whole, is entirely new".
LEO: 11 Trionfo di Camilla Regina The symphony to Act 2 originally intended for
de' Vo/sei Alessandro; the 1726 performing edition differs
8January. Rome, Capr. from Handel' s manuscript.
Revived and revised London 14 November
Text by S. Stampiglia (first set to music by M. A.
1730; Göttingen 20 June 1937 (translated by E.
Bononcini, see 1696). Three acts.
Dahnk-Baroffio).
One of Leo's most Llmous serious operas.

VINCI: Siroe, Re di Persia HASSE: Il Sesostrate

January. Venice, S.G.Gr. 13 May. Naples, S.B.
Text by P. Metastasio. Three acts. Text by A. Carasale. Three acts.
The first setting of Metastasio's second original Hasse's first greater success (though limited to
libretto. "Questo Drama, universalmente gradito Naples).
ha reso immortale il Norne del suo celebre Intermezzi, Miride e Damari, were sung between
Autore" (Bonlini). the acts.

1S3 154
 ANNALS OF OPERA

According to the original libretto, first per- REBEL and FRANCOEUR:

formed on Maria Theresa's birthday, 13 May (not Pirame et Thisbe
26 August, the date usually given).
170ctober. Paris O.
HANDEL: Alessandro* Text by J. L. I. de La Serre. Prologue and 5 acts.
16 May. London, Hm. The first of 10 operas by the two French com-
Text by P. A. Rolli, based on O. Mauro's La posers, who were inspectors of the Paris Opera
Superbia d'Alessandro, set by Steffani, Hanover from 1746-57, and directors from 1757-66; their
1690. Three acts. names have become inseparable in the history of
Faustina Bordoni's London debut (in the part opera.
ofRossane). Revived London 6 January 1728 and Pirame et Thisbe was revived at Marly I' March
6 December 1732. Revived London26 November 1734 and in Paris on 26 January 1740, 23 January
1743 and 27 March 1748, on both occasions as 1759 (without prologue) and 5 February 1771.
Rossane, probably with additional music by Given at Lyons in January 1741; Montpellier
Lampugnani. 1755; Arniens 1766 (in concert-form).
In Gennan (translated by c. G. Wendt), Ham- Score published 1726.
burg 18 November 1726; Brunswick 17 August Each Paris production was followed by para-
1728 (airs and final chorus sung in Italian; cf. the dies, viz. Pirame et Thisbt (by J. A. Romagnesi,
account in J. F. A. von Uffenbach's Tagebuch F. Riccoboni and P. F. Dominique), C.!. 13 No-
(1728), edited by Max Amim, 1928; given as Der vember 1726; Pirame et Thisbe (by C. S. Favart),
hochmüthige Alexander, perhaps not Wendt's O.C.3 March 1740; Le Qui pro quo ou Polichinelle
translation). Pirame (anonymous), by marionettes, Foire St. G.,
REISER: Der laecherliche Prinz Jodelet December 1740; Pirame et Thisbe (by F. Ricca-
?? Harnburg boni, a revised version of the 1726 parody), C.I.
Text by J. P. Praetorius (founded on P. Scarron's 5 March 1759·
comedy, Jodelet ou Le Mattre Valet, 1645, and on
an older Harnburg libretto, set to music by
Franck in 1680). Five acts. 17 2 7
One of Keiser' s best cornic operas. Exact date GRAUN: Sinilde
of first performance unknown. The opera appears
3 February. Brunswick
in Willers's repertory list (see Archiv für Musik-
Text by J. U. König (founded on an ltalian lib-
wissenschaft, Vol. VI, 1924) only on 25 February
retto by F. Silvani, 11 miglior d'ogni Amore per il
1727 as "not acted", and then (revived) 26 Jan-
peggiore d'ogni Odio, set to music by Gasparini in
uary 1733. Probably also given at Vienna 21 Sep-
1703). Three acts. Full tide: Die in ihrer Unschuld
tember 1738. The opera was printed in 1892 in
siegende Sinilde.
Eitner' s Publikationen älterer Musikwerke, Vol. xvm
Graun' s first opera. Revived at Brunswick Au-
(edited by F. zelle) and revived at Harnburg in
gust 1729 and August 1736 (in both cases as Sando
193 0 •
oder die in ihrer Unschuld siegende Sinilde).
RISTORI: Calandro
The same text was set to music by Telemann
2 September. Pillnitz, near Dresden
later in the same year.
Text by S. B. Pallavicino. Three acts.
The first extant opera of Ristori, and one of the
earliest Italian cornic operas produced in Ger-
CALDARA: Don Chisciotte in
many. Revived at Dresden Camiv~l 1728 (Fre- Corte della Duchessa
derick the Great, then Crown Prince, attended 6 February. Vienna
this revival); also produced at Moscow I I De- Text by G. C. Pasquini (Opera serioridicola), after
cember 1731 (in ltalian). Cervantes. Five acts.

ISS 156
1727 ANNALS OF OPERA 1727-28

In German (adapted by G. C. Schürmann), Gossec, text by Marmontcl, and without the

Brunswick 9 February 1728 (revived rI August second entree); IR August 1767 (the third entree
173 8). only). Given at Amiens 1735 (in concert form);
LyollS 1739 (the sccond entree only); Brussels
HANDEL: Admeto, Re di Tessaglia* 1741.
11 February. London, Hm.
Text: an altered version (by Haym? or Rolli?), of
V I N CI: La Caduta dei Decemviri
an earlier Italian libretto by A. Aureli, L'Allt(~ona 1 Oetober. Naples, S.B.

dclusa da Alceste, set to music by P. A. Ziani (see Stampiglia's text (first set to mllsic by Scarlatti, see
1660). Three acts. 1697). Three acts.
Very successful in London; it was givcn in 1727 One ofVinci's best works; written to ceIcbrate
for 19 nights running and revived 11 Oetober the birthday of the Emperor Charles VI.
1727; 5June 1728; 18 Deeember 173I (withaltera-
tions); and 12 Mareh 1754 (last revival of any ARIOSTI: Teuzzone
Handel opera in his lifetime).
1 No!!cl/lber. London, Hm.
Also given at Brunswick, August 1729, Feb-
Text by A. Zeno (first set to music by Magni and
ruary 1732 and August 1739 (with Gcnnan
Monari in 1706). Three acts.
reeitatives, translated probably by G. C. Schür-
Ariosti's last opera. Given for three nights only..
mann) and at Hamburg 23 January 1730 (in Ger-
man, translated by C. G. Wendt,given thereuntil
HANDEL: Riccardo I, Re dJlnghilterra*
1736). Modified for Hanover as L' Alceste.
Revived Brunswick 14 October 1925 (arrange- 22 November. London, Hm.
ment and new German version by H. Dütschke; Text based on F. Briani's Isado Ti"ano, set by
his translation had been printed as early as 1906). Lofti, Veniee 1710, by P. A. Rolli. Three aets.
In German (as Der misslungene Brat/t-Wechsel
G. BONONCINI: Astianatte oder Riehardus I, Koenig von Ellgland, translated
by C. G. Wendt) Hamburg 3 February 1729
17 May. London, Hm. (with additional German airs by Tclemann, while
Text by N. F. Haym (altcrcd from an earlier Handel's airs were sung in Italian); another Ger-
libretto by A. Salvi, first set to music by Bonon- man version by an unknown translator (Riehardus
eini's brother, Marc'Antonio Bononeini in 1701). genannt das Liiwel1-Herz, Kiil1(r: in Ellgelland) was
Three acts. given (with Italian airs) at Brunswick in the same
The last opera Bononcini wrote for London. month, February 1729 (revived February 1734).
The notorious batde on the stage between the
two rival singers, Faustina Bordoni (Ermione)
and Francesca Cuzzoni (Andromaca), took place
17 2 8
during the last performance of Astianatte (last
night of the season, 6/17 June). B UINI: Il Malmocor
Carnival. Bologna, T. Marsigli Rossi
MOURET: Les Amours des Dieux Text probably by the composer (tragiehissilllo
14 September. Paris, O. drama per musica). Three acts.
Text by L. Fuzelier (ballet-heroique). Prologue The tide is Malmoeor, not Malmosor as quoted
and 4 entrees (calIed Neptune et Amymone, Jupiter by most authorities. The dedication in the lib-
el Niobe, ApolIon el Coronis, and Ariane et Bacchus). retto is dated 12 December 1727.
Successful in Paris. At Bologna the opera was produced with in-
Revived 18 June 1737; 12 May 1746 [not 1747]; termezzi, La Serva astuta, between the acts. Re-
16 August 1757 (with two additional airs by vived Venice Spring 1731 as Artallaganamenone.

157
 ANNALS OF OPERA

See on this opera G. Rossi, Varieta Letterarie Stage, 1749, P.40); New York 3 December 1750;
(1912), pp.165-186. Annapolis, Md. 22 June 1752; Philadelphia 24
On Buini see E. J. Dent's study in Sammelbände August 1759 and, according to W. E. Schultz
of the I.M.S., Vol.:xm (19II-I2). Dent says that (Gay's Beggar's Opera, 1923) before 1800 in
"not a single note of his music appears to have America also produced at Boston, Providence,
survived anywhere". But at least one air, inserted Newport, Baltimore, Richmond, Williamsburg,
into the Paris 1752 revival of Orlandini's Gioca- Norfolk and Charleston.
tore (see 1718), has been discovered since (see 1. The Beggar's Opera Tragediz'd ("in Roman
de La Laurencie in Revue Muskate, June 1912, Shapes") Hm. 14 June ,1734-
p.26). The London performances up to 1749 are re-
corded in A. Nicoll' s A History of Early 18th
[PEPUSCH]: The Beggar's Opera* Century Drama, p.331, and the London revivals
9 February. London, Lincoln's Inn FieIds up to 1876 in W. D. Aclams's A Dictionary of the
Text by J. Gay. Three acts. Drama, P.135.
The music consists of 69 numbers adapted by Different versions were produced at:
Pepusch to popular airs; he also arranged and DUBLIN 2 January 1765 (additional music by
orchestrated the score and composed one of the Giordani).
songs and the overture (which is founded on the C.G. 17 October 1777 (altered by E. Thompson).
air One evening, having lost my way occurring in D.L. 8 November 1777 (new accompaniments
the third act). by Linley).
Notes on the sources of the tunes, by W. H. G. C.G. 14 December 1813 (in an abridged z-act
Flood, will be found in the appendix to 1. MeI- version).
ville'sLife anJLetters ofJohn Gay (1921).1t appears Aversion with additions by T. A. Arne was
that of the 69 airs, 28 are Old English, 15 Old published (perhaps the C. G. version 1777).
lrish, sOld Scottish, and 3 Old French songs. Later revivals in London were at C.G. 9 Oe-
The rest of 18 songs can be attributed to individ- cember 1878 (Macheath: Sims Reeves); Avenue
ual composers, nameIy Purcell (3), Barret, Clarke, Th. 3 November 1886 (orchestrated by G. Fox);
Handel, Carey (2 each), and Bononcini, Eccles, Lyric, H'smith 5 June 1920 (arranged and or-
Geminiani (?), Wilford, Pepusch, Frescobaldi and chestrated by F. Austin). This production had a
Ramondon (I each). run of 1,463 nights (until 15 December 1923; the
Given for 62 nights during the first season, longest run an opera ever had) and was revived
which was the longest run of any play on the at the,same theatre on 23June 1925; 22 MaY1926;
English stage before 1822. Very successful all over 14 February 1928; II March 1929; 13 May 1930;
England and in all English-speaking countries. and at the Criterion6 March 1935. Again Brighton
From a note in Pope's The Dundad we leam that 16 January 1940; London, Hm. 5 March 1940
The Beggar's Opera was acted even at Minorca, and New Th. 21 February 1941. A modem
then a British possession. adaptation by W. Garstang, The Students' Opera
First given at Dublin, March 1728; Dover c. was produced by the Leeds University Dramatic
March 1728; Norwich April 1728; Bath May Society 18 December 1924 (adapted to Austin's
1728; Newcastle c.May 1728 (by two rival com- version of the music).
panies) ; Canterbury and BristolJune 1728; Sand- American 19th and 20th century revivals were
wich July 1728; Deal August 1728; Glasgow at New York 4 June 1849; 20 December 1854;
August 1728; Haddington 9 November 1'728; 31 October 1860; 28 November 1870; Phila-
Bury, Colchester and Ipswich November 1728; delphia 15 November 1854; New Haven, Yale
Edinburgh 1728; Drogheda June 1729; Rich- University 3 May 1912. New York, Greenwich
mond 25 June 1730. Given in Jamaica in 1733 Village Th. 29 December 1920 (the Hammer-
(see W. R. Chetwood, A General History of the smith. version); subsequently giv_en at MontreaI,

159 T60
 ANNALS OF OPERA

Toronto, Ottawa, Indianopolis, and at Chicago Revived in London 30 May 1730and 13January
20 March 1921; Los Angeles 7 November 1921; 1733. RevivedGöttingen 19June 1938 (inGerman,
S. Francisco 21 November 1921. Again revived translated by E. Dahnk-Baroffio) ; W uppertal 1940.
New York, 48th Street Th. 28 March 1928.
First given in French (but by an English com- TELEMANN: Miriways
pany) London, Little Hm. 10 May 1749 and 27 26 May. Hamburg
February 1750 (as L'Opera du Gueux, translated Text by J. S. Müller. Three acts.
by A. Hallam); another French version, by C. P. Repeated there in 1730 (not revived there 31
Patu, was published in 1756; a third version, May 1745, as claimed by E. H. Müller, Angelo u.
published in 1767, is attributed in Cat. Bibi. So- Pietro Mingotti, 1917, p.x, from a Harnburg play-
leinne to Mme Thiroux d' Arconville. There is no bill, without year).
record of a French production in Paris. The Beg-
gar's Opera was first given there in English at the I7 2 9
Th. Caumartin 22 December 1921 (the Hammer-
smith version). The Gentle Shepherd
A German adaptation by E. E. Buschmann, 9 February. Edinburgh, Taylor's Hall
Die Strassenräuber, was published in 1770, and in Text by A. Ramsay (A Scots pastoral comedy). Five
a new version as Die Schleichhändler in 1775. It acts.
was written Zum Behuf des Hamburgischen Thea- The music consists of 21 ballad airs.
ters, but it does not seem to have been acted. First published in 1725 as a pastoral comedy
In a modem German version by K. Heiffert (containing 4 songs only). Changed into a ballad
The Beggar's Opera was first produced at Cologne opera in 1728 after The Beggar's Opera had been
University in 1930 and at Aachen 8 February produced at Haddington. First performed in 1729
1931, etc. (For another German adaptation by probably by pupils of the Haddington Grammar
B. Brecht, with new music by Weill, see 1928.) School, where it was repeated 7 September 1729.
Polly, the sequei to the Beggar's Opera, although First given in London, D.L., 1 May 1730 as Patie
written and ready to be performed in 1729, was and Peggy, or The Fair Foundling, reduced to one
not acted unti148 years later (see 1777). An imita- act (with prologue and epilogue) and adapted by
tion, Macheath Turn' d Pirate or Polly in India, was T. Cibber. His preface is dated 20 April (I May)
however acted at London, Hm. 10 June 1737. 1730, and the newspapers show that the first pro-
duction took place on that night (different dates
HANDEL: Siroe, Re di Persia* are given by some authorities).
28 February. London, Hm. The first professional production of the origi-
Metastasio's text (first set to music by Vinci, see nal was at Edinburgh, Canongate Th. 29 April
1726), altered by N. F. Haym. Three acts. 1758. Frequently revived in Scotland both by
i8 performances in first season but not revived amateurs and professionals. Dublin 1758.
in London. Given in a new English adaptation by R.
Also given at Brunswick August 1730 and 9 Tickell, with additional music by Linley,London,
February 1735. D.L. 29 October 1781.
Revived Gera 25 December 1925 (in German, There are other versions by C. Vanderstop
adapted by R. Meyer). (published 1777), W. Ward (1785), M. Turner
(1790), A. Allan (1798), A. Maclaren (18n). The
HANDEL: Tolomeo, Re di Egitto* latest revival in London was at C.G. 27 June 1817
11 May. London, Hm. (revised by G. Bethune, with Linley's music and
Text by N. F. Haym, based on C. S. Capece's new additions by Bishop).
Tolomeo ed Alessandro, set by D. Scarlatti, Rome Given at Montego Bay, Jamaica 20 March
1711. Three acts. 1784; New York 7 June 1786 (a libretto had been

161 162
1729 ANNALS OF OPERA

published already in 1750), and Philadelphia 4 Feh- CAREY: The Contrivances

ruary 1791 (in Tickell's 1781 version); New York 16 August. London, D.L.
5 June 1795 (orchestrated by B. Carr).
Text by the composer. One act.
The Gentle Shepherd was revived at Glasgow
Given 14 years previously (20 August 1715) at
13 November 1876 (at the Gaiety Th.) and once
the same theatre as The Contrivancesj or, More
more Glasgow 3 September 1923 and Edinburgh
Ways than One. Genest calls it "a very good ballad
10 September 1923 (adapted and arranged by W.
Farce" and it appears in G. Tufts's chronological
Eaton, music selected and composed by W.
list of ballad operas (in The Musical Antiquary,
Robins).
January 1913) under 1715. But the first edition of
HASSE: Tigrane the play shows that there was practically no
music in it then. The 13 songs, etc., were added
4 November. Naples, S.B. only in 1729, viz. one year after, not fourteen
Text by F. Silvani (originally called La Virt;' years before The Beggar's Opera.
trionfante deli' Amore e deli' Odio and set to music The Contrivances is no ballad opera, in the ac-
by M. A. Zi~ in 1691). Three acts. cepted sense of the word, either, as it is expressly
Between the acts, Hasse's first intermezzi, La stated in the title of the score (published by the
Serva scaltra ovvero La Moglie a Forza, were author in 1729) that both words and music were
produced. by Carey. It is called "A comi-farcial Opera" in
Revived at Naples, S.C. 4 November 1745 a Dublin 1731 edition and "Ballad Opera" in
(with additional music by A. Palella). the 1743 edition of Carey's Dramatick Works.
Erroneously considered to be the first opera (Neither the 1715 nor the 1729 editions contain
Hasse wrote in ltaly, owing to amistake by any description as to the genre of the piece.)
Florimo, who gave the date of production as Given at Dublin 1731 and 26 February 1733;
1723. The cast he gives, however, is identical with Philadelphia 20 April 1767 (libretto published
that in the libretto of 1729, while quite different already in 1762); New York I I January 1768;
singers were engaged at Naples in 1723. Montego Bay, Jamaica 10 May 1777.
Frequently revived in London until 1750, and
TELEMANN: Flavius Bertaridus C.G. 25 March and D.L. 3 April 1761; c.G. 23
Koenig der Longobarden April 1773; c.G. 6 May 1785. The latest revival
seems to have been at Bath on 16 June 1819.
23 November. Hamburg
Text by the composer and C. G. Wendt
(translated from an ltalian libretto by S. Ghigi, 1730
set to music by Pollarolo in 1706). Three acts.
Telemann's last extant opera.
VINCI: Artaserse
4 February. Rome, T. delle Dame
Text by P. Metastasio. Three acts.
HANDEL: Lotario* The first setting of this famous libretto. Vinci' s
13 December. London, Hm. last opera (he died 28 May 1730). Given at Naples
Text altered from A. Salvi's Ade/aide (first set to later in the same year and revived there 20 Jan-
music by P. Torri, Munich 1722 and then uary 1738 (libretto altered by L. S. Stampiglia,
Orlandini for Venice earlier in 1729), not from who added a prologue which was set to music by
M. Noris's Berengario as Burney says. Three acts. Leo) and 5 November 1743; Vienna 28 August
Three airs from this opera were used at the 1730; Leghorn Carnival 1731; Ferrara Autumn
Hamburg 1732 production ofChelleri'sInnocenza 1731; Camerino Carnival 1733; London 16 Jan-
giustificata (see 17II). uary 1734 (as Arbace); Florence Carnival 1740;

164
173 0 ANNALS OF OPERA 1731
Ferrara Camival 1745 (musie by Vinei andHasse);
Dresden 23 August 1746; Parma Carnival 1754.
I73I
HA S SE: Artaserse CALDARA and REUTTER:
February. Veniee, S.G.Gr. La Pazienza di Socrate con
Metastasio's text (~ee above). Three aets. due Moglie
Hasse set the libretto at the same time as
17 January. Vienna
Vinei. His setting was produeed at the T.S.
Text by N. Minato (Scherzo dralllatico, first set to
Giovanni Grisostomo as the last opera of the Car-
musie by Draghi, see 1680). Three aets.
nival season. The opera exists in several different
Caldara wrote the beginning of the first and
versions (as Mennieke and Sonneck pointed out).
the third aet, Reutter the rest of the opera.
The followinO" productions are to be rceorded:
Genoa Spring ~730 (probably Hasse's setting); HANDEL: Poro, Re deli' Indie*
Lueea Autumn 1730; London 10 February 1734 13 Febmary. London, Hm.
(musie ehicfly by Hasse and by R. Brosehi); Graz
Text: an altered version of Metastasio' s Alessandro
Spring 1738 (German translation in the libretto
nell' Indie (first set to musie by Vinei in 1729).
by F. J. Pireker); Madrid 25 Oetober 1738 (prob- Three aets.
ably Hasse's setting); Modena Camival 1739;
Revived London, Hm. 4 Deeember 1731,
Ljubljana Camival 1740; Dresden 9 September
c.G. 19 Deeember 1736, including 4 arias not by
1740 (seeond version); Bologna 1745; Brunswiek
Handel. Also given at Hamburg 25 February 1732
February 1751 (probably Hassc's setting); Lübeek
(in German, translated by c. G. Wendt, as Triumph
6 November 1752; London 29 January 1754 (re-
der Grossl11/1th u/ld Treue, oder Clcojida, Kocnigin
vived with alterations) ; Naples, S.c. 20 January
VOI! Indie/1; rceitatives by Telemann ; the airs were
1760 (third version) and Summer 1762; Warsaw
sung in Italian; given there until 1736); Bruns-
3 August 1760 (libretto Bodlcian Library, Ox-
wiek August 1732 (in Italian, with a prologue,
ford); Ferrara 26 Deeember 1764; Lodi 1765;
Apollo Icstcggiante).
London 20 February 1766 (for the third time
Revivcd Brunswiek 21 April 1928 (new Ger-
there; third version).
man version by H. Dütsehke) and, by the Bruns-
For an analysis of the different versions see
wiek eompany, also given at Copenhagen.
O.G.T. Sonneck in Sal11l1lelbällde oI the 1.M.S.,
Vol. XIV (1912-13). PORT A: Farnace
HANDEL: Partenope* Sprillg. Bologna, T. Malvezzi
7 March. London, Hm. Text by A. M. Lueehini (first set to musie by Vinei
Text by S. Stampiglia (first setto musie by Manzo in 1724). Three aets.
in 1699), then modified for Veniee and set by Porta's setting was revived at Munieh Car- .
Caldara, 1708. Three aets. nival 1740 (whcre he had become court eon-
Revived London, Hm. 23 Deeember 1730, ductor in 1738).
C.G. 9 February 1737. Also given at Brunswiek
The Devil to Pay; or The Wives
February 173I (in Italian; revived 12 September
1731; February 1732; I Oetober 1732; I August
Metamorphos' d
1733); Hamburg 28 Oetober 1733 (in German, 17 AII<~IISt. London, D.L.
translated by C. G. Wendt; with reeitatives by Text by C. Coffey (in eollaboration with J.
Keiser; the airs were sung in Italian; given there Motdey, foundcd on a farce, The Devil of a Wife,
until 1736). or A COl1lical Trallsjorlllafion, 1686, attributed to
Revived Göttingcn Jllly 1935 (ncw German T. Jevon, but perllaps written by T. Shadwell;
version by E. Dahnk-Baroffio). see A. E. Riehards in Pllblicafiolls of the Modem

165 166
173 1 ANNALS OF OPERA 173 1-3 2

Language Association of America, Vol.·XXI, 1906, 1740; Pressburg Summer 1741; Vienna, Kä. 8
pp.808-830). Ballad opera, originally in 3 acts, December 1746; Lucca Autumn 1759; Berlin
reduced to one act by T. Cibber in 1732.1 The January 1777·
music consists of 16 songs, of which one is tnarked
as having been composed by Seedo. CALDARA: 11 Demetrio
Very successful on English stages. Given at 4 November. Vienna
Dublin 6 March 1732; Edinburgh 18 January Text by P. Metastasio (written for Caldara).
1734; Charleston, S.C. 16 March 1736; New Three acts.
York 8 January 1751; Annapolis, Md. 31 July In ltalian also given at Brunswick February
1752; Glasgow 1761; Philadelphia 19 December 1734 (as /1 Demetrio Re Jella Sina); Bologna Car-
1766; Kingston, Jamaica 30 October 1779; Cape nival 1742 (Caldara's setting?).
Town 1802. Frequently revived; the latest revival
in London was at C.G. 9 May 1828.
Given in German (translated by C. W. von
Borcke) by Schönemann's troupe, probably with 1732
the English original music, at Berlin 24 January BROSCHI: Merope
1743; Hamburg 29 June 1747; Leipzig 26 January
Carnival. Turin, T.R.
1750. (Borcke was Prussian Ambassador to
Zeno's text (first set to music by Gasparini in
London and the fi~t German translator of Shake-
1712). Three acts.
speare's Julius Caesar. Of his translation of The
The most successful opera of Broschi (the
Devil To Par only some fragments are extant.)
brother of the famous singer Farinelli).
A French translation by C. P. Patu was pub-
Also given at Lucca Autumn 1733, etc.;
lished in 1756.
London 19 January 1737; Jaromeriz, Moravia
A sequel, ca1led The Merry Cobler, also by ;'
Autumn 1737.
Coffey, was produced at D.L., London 17 May
1735 (unsuccessful).
The Devil To Par plays an important part in HASSE: Cajo Fabricio
the history of comic opera. The German Sing- 1zJanuary. Rome, Capr.
spiel movement originates from it and there were Zeno's text (first set to music by Caldarain 1731).
also successful French and Italian imitations. See Three acts.
the settings by Standfuss 1752 and 1759; Philidor Given, with the usual alterations, at Naples,
17S6; Hiller 1766; Portugal 1797; Paer 1800; S.B. Winter 1733 (with intermezzi La Conta-
Solie 1809. The latest version probably was Jina); Dresden 8 July 1734; Jaromeriz. Moravia
Balfe's The Devil's In 11, see 1852. Autumn 1734 (as Pirro); Venice Carnival 1735;
Salzburg 1737; Leghorn Carnival 1740; Lucca
Camival 1740; Bologna 1743 (probably Basse's
HASSE: Cleofide setting); Graz Carnival 1743 (probably Hasse's
13 November. Dresden setting); Frankfort 7 April 17SS; Berlin Septem-
Metastasio's text (AlessanJro nell'InJie, see above), ber 1766.
altered by M. A. Boccardi. Three acts. Basse's setting, with recitatives by Handel,
Also given (mostly as AlessanJro nell' InJie) at probably also London 15 December 1733.
Milan Carnival 1732; Munichl73S; Venice Car-
nival 1736; revived Carnival 1738 and Carnival HASSE: 11 Demetrio
1743; Graz Carnival 1738; Verona Carnival
January. Venice, S.G.Gr.
1 First produced in one act at Goodman's Fields Theo The second setting ofMetastasio's text (see 1731).
atre. London 19 December 1731. Three acts.

16t\
1732 ANNALS OF OPERA 173 2
Given in an altered version as Cleollice, Vienna MONTECLAIR:Jephte
February 1734 and Venice, S. Angelo Camival
28 Febmary. Paris, O.
1740; as Delllefrio rcpcated at Vcnice, S. Cass.
Text by S. J. de Pellegrin (... tide de I'Ecriture
Carnival 1737 and S.G.Gr. Carnival 1747.
Sainte). Prologue and 5 acts.
Also givcn at Parma 1736; Madrid 16 Fcbruary
Montcclair's chief work. The first opera on a
1738 (at the inauguration of the first Italian opera-
biblical sllbject produced at the Paris Academie
house in Spain, the Teatro de los Cai'ios del Pe-
Royale de MllSiqllC; it was temporarily banned
ral); Reggio Summer 1739; Dresden 8 February
by the Archbishop of Paris. Sllcccssful and fre-
1740 (altcred) ; Lucca Carnival 1741; Hamburg
qllently revived llntil 1740 and again 3 March
4 November 1744 (pasticcio, the greater part of
1744 and 6 February 1761. Marseilles 1735; Ver-
thc music bv Scalabrini) ; Gorizia Carnival 1745;
sailles 9 September 1750 (in concert form).
Ferrara Ca~nival 1746; Turin Carnival 1748;
Jephte contains, as a concession, the usual bal-
Frankfort 7 April 1755 (probably Hasse's setting).
lets, and a prologlle with characters from Greek
There was a revival at Mantua as late as in
mythology. (See for details J. Carlez, Un Opera
Carnival 1770 (Mozart attended the performance
biblique au xVlll'Siecle, 1879.)Les AlIlusements cl la
of 10 January, on his first ltalian journey).
Mode, by F. Riccoboni and J. A. Romagnesi, c.I.
HANDEL: Ezio* 21 April 1732, includes a parody on Jephtlll!.
26January. London, Hm. Date of first performance according to the
Metastasio's text (fmt set to music by Auletta in printed score; the original libretto has 4 March.
1729). Three acts. The Merwre de France, exceptionally, does not
The libretto mentions neither HandeLnor Me- give the date.
tastasio; it does mention Mr. Humphreys, who HANDEL: Acis al1d Galatea*
provided the printed translation. Unsuccessful 28 May. London, Litde Hm.
(given for 5 nights only). Text by J. Gay (All Etlglish Pastoral Opera). Three
Revived (in a German version by F. Nothold) acts.
at Göttingen 30 June 1926; Münster 2 December Originally written as a masque, probably in
I 926 (first festival of the German Handel Society) ;
1719, and performed so, at Cannons, probably in
Berlin, D.O. 31 January 1928. 1721.1 Lincoln's Inn Fields Th. 6 April 1731.
F. CONTI: L'Issipile Produced in its entirety at the Litde Hm. Th. on
February. Vienna the above date (unauthorized) and a few weeks
Text by P. Metastasio (written for Conti). Three later (21 June 1732) by Handel himself at the Hm.
acts. Given at Dublin I May 1734, and subsequendy
Conti's last opera. In Italian also givenatBruns- in many different theatres. 1735 (at Aungier
wick February 1733 and August 1736 (probably Street Th.) and 31 January 1742 (in concert form,
at Fishamble Street Th., conducted by the com-
Conti's setting); Jaromeriz, Moravia 4 October
poser); Dublin again 17 December 1742. The
1733·
original seems to have been given in Swedish at
In German (translated by C. G. Wendt, as Sieg
der kindlichen Liebe oder Issipile) Hamburg 20 Feb- Stockholm as early as 19 January 1734, in concert
form; at Stockholm also 10 May 1773 (in Swedish.
ruary 1737 (airs sung inItalian).
translated bv L. S. Lalin, with additions by H. F.
HANDEL: Sosarme Re di Media* Johnsen and odlers); a Swedish parody by C. 1.
26 February. London, Hm. Hallman, mllsic by C. Stenborg, called Casper
Text: P. A. Rolli (?) of A. Salvi's Dionisio, Re di ach Dorothea, was produced at Stockholm 3I Au-
Portagalla, set by G. A. Perti for Villa Medici, gust 1775 and Gothenburg 9 February 1776.
Pratolino, 1707. Three acts. Revived London 8 1 In 1718 a letter from Cannons says "Handel is com-
May 1734. posing a little opera".

169
1732 ANNALS OF OPERA 1733

Frequently revived in London, viz. Little Hm.

1733
2 April 1753 (in English, for Sra. Frasi's benefit);
Ranelagh House 9 June 1757; Marylebone Gdns. d' ALM E ID A: La PaziC/lza di Socrate
27 May 1773; Ql1een's, Tottenham Street 3 Feb- Camil'al. Lisbon
ruary 1X3! (additional aeeompaniments by Cip- Minato's text (first set to musie by Draghi, see
riani P~)(ter);D.L.20Jl1ne IH38; D.L. 5 February 1680, and again by Caldara and Reutter, see 173 I).
1842 (wlth a prologue by T. S. Cooke); Crystal Three aets.
Palaee 21 Oetober 1865 (in eoneert form); Prin- The [mt (ltalian) opera by a Portuguese com-
eess's 2 August 1899; Great Queen Street Th. 10 poser which is partly cxtant (the third aet only).
March 1902 (produeed by Gordon Craig, with Libretto printed. Produeed at the Pa~o da Ribeira.
Mozart's aeeompaniments 1); Bishopsgate Inst.
2 Deeember 1926 (in eoneert form).
Outside London revived at Durharn 17 Oe-
CA L DAR A: Sancio Pailza, Govematore
tober 1792; New York 14 February 1839 (in dell' Isofa Barattaria
eoneert form), and 21 November I!l42 (on the 27 January. Vienna, B.
stage); i:dinburgh I May 1840; Dublin 6 June Text by G. C. Pasquini (comedia per musica), after
1853; Carlsruhe 8 March 188R (in German, Cervantes). Three aets.
translated and arranged by F. Mottl); Cologne (Thus the island of Barattaria oecurs in the title
25 Oetober 1898 (in a coneert version by F. of an opera 156 years before Sullivan's G(!l1doliers,
Chrysander); Munieh May 1903 (by the Or- see 1889.)
chestervereill); Munieh 7 ]une 1922 (stage produe-
tion); Copenhagen 13 Deeember 1935 (inDanish, HANDEL: Orfalldo*
translated by M. Dam); Florenee, c., 14 May 7 February. London, Hm.
1940, Falmouth23]une 194I. Text based on C. S. Capeehi's Orlando. Set by
A Spanish translation by R. Benedito was D. Scarlatti, Rome I7II. Three aets.
published in 1935. Revived as Orlal1dos LiebesIVal7ll (German ver-
PERGOLESI: Lo Frate 'Imamorato*2 sion by H. J. Moser), Halle 28 May 1922 and
Krefeld 1934.
23 September. Naples, Fior.
Text by G. A. Federieo (Commeddeja pe mmusiea), T. A. ARNE: Rosamond
written in Neapolitan dialeet. Three aets.
18 March. London, Lineoln's Inn Fields
Repeated, witlI alterations, at the same theatre
Addison's text (first set to musie by Clayton, see
Camival 1734 and revived T.N. Winter 1748.
1707). Three aets.
PESCETTI: Demetrio Ame's fIrSt opera. Of the music only six songs
26 December. Florence, P. and one duet have been preserved. Successful on
Metastasio's text (first set to musie by Caldara, see English stages.
173 I). Three acts. Revived in London, D.L. 19 March 1740, 11
Revived London 23 February 1737 as the first February 1745 and 22 April 1765; at c.G. 26 April
and most successful of several operas Pescetti 1754. Given at Dublin 18 May 1743 (reduced to
produced in London, where he was composer to 2 aets) and revived there 31 December 1755·
the King's Th. from 1737 to 1740. Galuppi
became his successor (see 1741). HASSE: Siroe Re di Persia
2 May. Bologna, T. Malvezzi
1 Originally written for private performances at
Vienna in November and December 1788. Metastasio's text (first set to music by Vinci, see
2 Sometimes known as 11 Fratello Innamorato. 1726). Three acts.

171 172
1733 ANNALS OF OPERA 1733

Given at Florence 1736; London 4 December COPENHAGEN 1749, November 1752; II Decem-
1736 (see Bumey, IV, P.400); Padua June 1737; ber 1754; 14 November 1755; 24 November
Madrid [24 March] 1739; Parma Camival 1742; 1756; 7 December 1757·
Rimini 1743; Naples, S.C. 5 November 1747; LONDON, HM. 7 April 1750 (as intermezzi in
Lucca Auturnn 1748. In a revised version: War- Ciampi's Adriano in Siria).
saw Camival 1763; Vie!l:lla 1763; Dresden 3 Au- BARCELONA Summer 1750.
gust 1763; Siena 1765. NUREMBERG 19 July 1751.
BERLIN 1752.
SCHWETZINGEN Summer 1752.
PERGOLESI: La Serva Padrona*
PARIS, O. I August 1752 (with an overture by
28 August. Naples, S.B. Telemann, on the same bill with Lully's Acis
Text by G. A. Federico. (The text has often et Galatee).
wrongly been attributed to J. A. Nelli, whose tübeck 15 May 1753; Brunswick 30 April 1753;
3-act comedy of the same tide, published 1731, Frankfort 24 May 1753; Danzig July 1753; Han-
has nothing to do with the libretto.) Two parts. over 3 September 1753; Liege Autumn 1754;
Intermezzi, first performed between the acts of Dijon 8 February 1756; Mayence 1758; Bamberg
Pergolesi's serious opera, Il Prigionier sl/perlio (lib- 1760; Edinburgh 21 June 1763; York October
rettist unknown). The original text as contained 1763; Dublin 28 April 1764; Maestricht 17 De-
in the libretto of Il PrZfJio/lier sliperbo has been cember 1764; Gotha 30 January 1767; Krems-
reprinted by B. Croce in the second edition of münster 1774; Riga 1777, etc.
his I Teatri di Napoli, 1916. First given at PARIS, in Italian, in 1746and 1752,
Pergolesi's most famous work. It so on (not so as indicated above. The 1752 production at the
very so on though) became known in Italy Opera caused the famous Querelle des BOUjfOIlS,
(Rome, T. Valle February 1738; Parma 1738; the struggle between the defenders of French tra-
San Giovanni in Persiceto, September 1739 and gedie-Iyrique and the adherents of Italian opera
Bologna later in the same ycar; Lucca 1740; buffa, fought out in some 60 pamphlets published
Venice 1740, 1741, 1742, 1745; Florence 1742; between 1752 and 1754 (cf. note on Omphale,
Padua Spring 1747; Reggio Camival 1748, etc.) 1700). A complete list of those pamphlets
and made its way across the Alps, with travelling (Grimm, Holbach, ROllSseau, Diderot are
companies, within six years. In Italian given at: amongst the authors) will be found in L. Reichen-
GRAZ Easter 1739 (the German translation in the a
burg's CO/ltrilJlltioll I'histoire de la Quere/le des
printed libretto by J. L. von Ghden). Boujfons (Philadelphia 1937).
A French prose translation of La Serva Padrona
DRESDEN 8 February 1740 (as intermezzi in Hasse's
is printed opposite the Italian text in the Paris
DClllefrio).
libretti of 1746 and 1752, entided La Soubrette
GORIZIA Carnival 1742.
MaItresse.
HAMßURG 31 October 1743; revived I 744; 1745;
The first translation of La Serva Padrona
174 6.
intended for performance was the French version
PRAGUE 1744- by P. Baurans (" que l' on m' aassure ctre gouver-
4 October 1746 (with an overture hy
PARIS, C.I. neur des enfants de Mr. Delaporte, intendant de
Paganelli). Grenoblc", according to his contemporary, T. S.
VIENNA, KÄ. 15 October 1746 (as intermezzi in Gueullette), ca lIed La Scrvante MaItresse, and fIrSt
Wagenseil's La CICIIlcllza di Tito). produced at P.uis, c.I. 14 August 1754 (given
AUGSBURG 1746. there c. I 50 tim es within one year). Also given
POTSDAM J 5 March 174~L at Versailles 4 December 1754; Brussels 12 July
LEIPZIG ':1I May 174X. 1755; Aachen 30 August 1757; Vicnna and Hague

173 174
1733 ANNALS OF OPERA 1733
1758; Frankfort 19 April 1760; Amsterdam 1760; the composer I. Gspan1• But a Nuremberg play-
Dresden 1764; Smolna (Russia) c.November bill of 5 February 1778 (quoted by G. Dieke, Kin-
1773; Berlin 22 April 1776; St. Petersburg 21 De- dertheater, 1934) says: "La serva padrona, Die Die-
cember 1776 (by amateurs; probably in French); nerin eine Frau, übersetzt von Ignatius Gspan".
Mwich 17 March 1783; Gothenburg 22 April Perhaps Kurz had Pergolesi's opera in his re-
1783; Stockholm May 1783; Cassel 14 April pertory, translated by himself and adapted to the
1784; Baltimore 12 JWle 1790 (first opera in German words by Gspan (who may have added
America that was SWlg in French); New York some music ofhis own). But it is not quite dear
9 Dec;§mber 1790; Cologne 1795/6; Charleston, whether Kurz' s version originally had any music
S.C. 15 May 1797; Philadelphia 25 May 1798; at all, or was "imitated as a comedy".
Kingston, Jamaica 20 December 1800. Next we find Lachet wer lachen kann oder die
First given in LONDON, in Italian, in 1750, as Dienerin eine Frau, translated by one Pauli, pro-
indicated above. The performance was on 27 duced at Munich 26 February 1783 (recorded by
March (7 April, o.s.) and not on 27 April (o.s.) P. Legband). As a matter of fact,Piccinni (who
as some books of reference have it. In Italian, did not write an opera of such tide) is mentioned
revived at the Hm. 24 March 1763 and 23 April as the composer; but that might easily be a slip,
1776. First given in English at Marylebone Gar- as often occurs in 18th-century bills. What was
dens, London 8JWle 1758, as The Servant Mistress, probably another German version of Pergolesi's
adapted by S. Storace the EIder and J. Trusler. opera was printed (and probably performed) at
Transported to the Litde Hm. 29 March 1759, Schleswig in 1785 Wlder the tide Wie sie Pfeift, so
advertised as "with addition of a new act and a muss er tanzen; see Bibliotheca Danica, V01. IV
new character as originally performed at Naples". (1902), col.420, entered Wlder the "author's"
Frequendy revived during the following years. name of Padiona, Serva [sie]; the same misWlder-
It was a special favourite with summer audiences standing occurs in the Index Vol. (1913), p.195.
at Marylebone Gardens; given there on 16 JWle So far these German versions have not been
1770 with additional songs by S. Amold, as mentioned in the Pergolesi bibliography. H. M.
cOWlterpoise to a riyal production at Ranelagh Schletterer stated (Waldersee's Sammlung Musi-
House, where aversion by Dibdin was performed kalischer Vorträge, 1880) thatLa Serva Padrona was
on 28 May 1770 (The Maid the Mistress, text by first produced in German at Bremen in 1803. But
I. Bickerstaffe, music by Dibdin; transported to the Bremen historian, J. H. Behncken, had re-
D.L. 12 April 1771 Wlder the new tide of He corded that performance as early as 1856, dearIy
wou' d if he cou' d; or, An old Fool worse than any); stating that it was Paisiello's opera of the same
revived Royalt1 Th. 28 January 1788. tide. Schletterer's bIWlder, unfortWlately, has
An English version by D. E. Baker is printcd been taken over by every later writer on Pergo-
in the libretto of the ltalian production ofLa Serva lesi, down to the latest edition of Radiciotti's
Padrona at Edinburgh, 1763. The last English I 8th- standard biography (1935). Undoubtedly a Ger-
century adaptation, by J. O'Keeffe, was produced man version of La Serva Padrona was Zofen herr-
at C.G. 14 February 1783 (with Amold's addi- schaft, translated by C. A. Herklots, produced
tions). Berlin 19 March 1810 (with an overture by P. C.
There is much Wlcertainty and confusion about Guglielmi) and Darmstadt 19 September 1810
the early Gcrman versions of La Serva Padrona. (as Die gebietrische Magd).
According to J. H. F. Müller (Genaue Nach- An anonymous Dutch version, De Kamenier
richten, •.. 1772) there was given at Vienna, Kä. van Fortuin (translated from the French) was
6 January 1770, La serva padrona, nachgeahmt von published in 1772 and performed at Amsterdam
Kurz (i.e. J. J. F. von Kurz, called Bemardon). 1 He joined Bernardon' s troupe as musical director
The music of this version has been attributed to I October 1770.

175
1733 ANNALS OF OPERA 1733
1773; another one, by B. Ruloffs, Pandolfus en WEIMAR 15 January 1888 (in German).
Zerbina of De Meid Meestercs, in 1793. MILAN 27 November 1892 (in Italian).
An anonymous Polish version (translated from CARLSRUHE 3 November 1893 (in German).
the French) was produced at Warsaw in 1780 HANOVER 19 April 1894 (in German).
(first recorded performance II March 1781). The lUGA 1894 (in German).
Italian original was given there on 28 May 1781, STUTIGART 3 May 1898 (in German).
Kurz's German veqion already in 1774. COPENHAGEN I September 1900 (in Danish, trans-
A Swedish version, by C. Envallsson (also lated by J. Dam).
translated from the French), was produced at MUNICH 28 December 19QI (in German) ; revised
Stoekholm 3 October 1781 and Gothenburg 5 by F. Wüllner.
August 1783. VENICE April 1907 (in Italian) ; revised by E. Wolf-
Aceording to N. Findeizen, Pergolesi's opera Ferrari.
was produced in Russian at Moscow in 1789; VIENNA 29 May 1909 (in German); revised by R.
according to O. Chayanova's monograph on the Kleinmichel; revived 27 March 1927 and 14
Moscow Maddoks Theatre this again was Pai- May 1930.
sieIIo's Serva Padrona (translated by Prince A. I. LAUCHSTEDT 29 May 1910 (in German) ; revised
Golintsin). Pergolesi's opera, in Italian, had been by H. Abert.
given at Moscow on 26 June 1782. JESI2 October 1910 (in Italian), at the Pergolesi
La Scrva Padrona is one of the oldest operas stilI bieentenary festival.
in the reportery. After a short period of oblivion lUO DE JANEmo 5 August 19I2 (in Italian).
in the first half of the 19th century it has been BASLE 7 May 1914 (in German, Abert's version).
frequently revived in many countries ever since. NEW YORK, LYCliUM 7 May 1917 (in English,
It was the first opera to be televised in its entirety translated by S. Rosenfeld); Juilliard School
by the B.B.C., on 23 December 1937. 18 Fcbruary 1932 (in Englis~); M. 23 February
BADEN BADEN 11 August 1862 (in Freneh). 1935 (in Italian); Little Th. II January 1938
PARIS, o.c. 13 August 1862 (in French, music re- (in English, translated by G. Dunn).
vised by F. A. Gevaert); revived there 22 Feb- BARCELONA 8 November 1922 (in Spanish), by
ruary 1900; 13 Oetober 1910; Tr. 1. 20 Novem- . thc Asociaci6n de MUsica de Camera.
ber 1920; O.C. 2 April 1929;23 December 1937. BUENOS AmES 1924 (in Spanish).
BRUSSELS, M. 19 December 1862 (in French); BUDAPEST 26 May 1926 (in Hungarian, translated
revived Th. Moliere 16 November 1905; M. by V. Unyi).
4 November 1921. FALMOUTH 13 December 1927 (in English, trans-
FLORENCE 20 June 1870 (in Italian) ; revived 24 lated by M. and E. Radford).
March 1893 and 25 April 19II. BERLIN, D.O. 23 March 1929 (in German).
NAPLES 14 May 1871 (in Italian) ; by the Societa ZAGREB 15 Decel]lber 1930 (in Croatian).
Filarmonica.
TURIN 20 November 1931 (in Italian); San Remo
LONDON, ROYALTY 7 March 1873 (in French);
5 March 1933, etc.
Lyric, H'smith 29 January 1919 (in English,
LENINGRAD Spring 1933 (in Russian, translated
translated by G. Crawford); Mercury 15 June
by M. A. Kuzmin).
1939 (in English, translated by G. Dunn).
HAMBURG 25 April 1880 (in German, translated ,t.L\LTA 6 January 1934 (in Italian).
by H. M. Schletterer). TEL AVIV 8 May 1934 (in Hebrew, translated by
LEIPZIG I July 1880 (in German) ; revived 8 Octo- M. Freidmann).
berI893. LISBON Spring 1937 (in Portuguese, translated by
STOCKHOLM 13 September 1881 (in Swedish, M. Oliveira).
translated by E. A. Wallmark, already pub- HAGUE Spring 1938 (in Dutch).
lished 1864); revived 14 Oetober 1939. (For Paisiello's opera ofthesametitle, see 1781)

177 178
1733-34 ANNALS OF OPERA 1734

RAMEAU: Hippolyte et Aricie* expressly for the Russian court theatre. But the
fact that he brought it with him from Milan is
1 Oetober. Paris, O.
proved by the 1734 libretto, which is extant
Text by S. J. de Pellegrin. Prologue and 5 acts.
(Paris, Bibliotheque de J'Opera). The opera is
Rameau's first opera (an earlier Samson, text by
mentioned in some books of reference under the
Voltaire, was never performed; text published
tide of Abiazare (which is the female chief char-
1745).
acter in La Forza de/l'Amore e deU'Odio).
Given at Lyons 1735 and again February 1743.
The Russian translation, by V. K. Tredya-
Revived at the Opera I l September 1742 (with
kovsky, as printed in the St. Petetsburg libretto,
alterations); 25 February 1757; 4 October 175 8;
is entided Sila Lyubi i Nenal'isti. The first opera
and 24 March 1767 (with additions by P. M.
Araja composed expressly for St. Petersburg was
Berton, Boyer and Gavinies).
Metastasio's Semiramide riconosciuta, produced
The first production and some of the revivals
there (as Ilfinto Nino overo Semiramide rieonosciuta)
were followed by parodies, viz. Le Badinage, by
one year after La Forza, viz. 9 February 1737.
L. de Boissy, C.Fr. 23 November 1733, and, at
J. von Stählin published German translations of
the c.I., Hippolyte et Aricie, by J. A. Romagnesi
both La Forza and Semiramide in 1736.
and F. Riccoboni, 30 November 1733, and Hipo-
Araja was the first of the great number of
lyte et Aricie, by C. S. Favart and Parmentier,
famous Italian composers at the Russian court in
music by Blaise, I l October 1742 (revived 16
the 18th century; his successors include Man-
March 1757).
fredini (1759-66); Galuppi (1765-68); Traetta
Modem revivals: Geneva 28 March 1903 (under
(1768-76); Paisiello (1776-83); Sarti (1784-86
Jaques-Dalcroze); Paris, O. 13 May 1908 (music
and again 1792-96); Cimarosa (1787-91); Martin
revised by V. d'Indy); Basle 20 May 1931 (in
y Soler (1788-94) and Cavos (1797-98, when
German, translated by L. Jansen).
Italian opera was prohibited by Faul I).
1734
HANDEL: Arianna in Creta*
VIVALDI: L'Olimpiade* 6 February. London, Hm.
Carnival. Venice, s. Angelo Text attributed to F. Colman, but seems rather
The second setting ofMetastasio's text (first set to to be a thorough revision, or rc-writing, by Col-
music by Caldara in 1733). Three acts. man or another, ofPariati' s Arianna e Teseo (Rome
One of the many operas of Vivaldi, the scores 1729). Three acts. Revived London, c.G., 8
of which were recovered by A. Gentili in the Foa December 1734 with ballet.
Collection, Turin, in 1927. An Arianna in Creta given at Brunswick in Au-
L'Olimpiade was, after 205 years, revived at the gust 1737 and February 1738 may have been
Vivaldi Festival, Siena 19 September 1939 (music Handel's opera.
arranged by V. Mortari). On F. Colman, the father of George Colman
the Eider, see the latter's biography by E. R. Page
ARAJA: La Forza dell'Al/lore e
(1935), pp.l-S. To Francis Colman is attributed
dell'Odio the handwritten Opera Register in the British
Carnival. Milan, T.R.D. Museum which closes after the entry of Ariadne,
Anonymous text by C. F. P. Three acts. for which he is said to havc written the text. As
Given at St. Petersburg 9 February 1736 as the Co Iman died at Pisa, 20 April 1733, he did not
first Italian opera seria there (precisely 100 years live to see the production of the opera, nor can he
before Glinka' s Life for the Czar). Score preserved have written the last section of the Opera Register
at Vienna; dated 1739. (if he wrote it at all). The unknown author who
It has been stated that Araja wrote this opera wrotc, or at least finished, the manuscript enters

179 180
1734 ANNALS OF OPERA 1734

Ariadne i/l Crete under a wrong date (confounding Goldoni); S. Moist-, Autumn 1744 (as Il Tra-
it with the riyal opera at Lincoln's Inn Fields, [ollo); S. Moisc, Carnival 1746 (as Livirtta).
Porpora's Ariadlle in Naxus): Jallry pmo Ariadrze BOLOGNA 1746 (as Il Traeollo).
in Crete a lIezv Opera & very good & pe1orm'd DRESDEN 5 August 1747 (as Ilfillto Pazz,,).
very oftclI-Sigr Carestino Still}; surprisilzg/y weil: PRAGUE 1747/48 (as Ilfillt(l Pazzo).
a /lew Ezmue!z-lIlany times perj(;TI1z'd. MADRID January 174R (as La COlltadina aSlllta).
The libretto of Ariadlle ill Cretc is attributcd to VIENNA 1748 (as Il TraeoIIo) and 6 January 1759
Francis Colman by all writers on Handel since (as Il fimo Pan(l).
Chrysander. The earliest authority for this attrib- LEIPZIG 15 May 174H (as Ilfillto Pazzo).
ution seems to be Richard ßrinslcy Peake (Me- POTSDAM 1748 (as Iljillto Pazzo).
moirs ofthe Co/mall Family, 1 H41, Vol. I, p.14) and HAMBURG 29 January 1749 (as Ilfilllo Pazz,,).
hi.s evidence does not seem too convincing as he BRUNSWICK 1749 (as 1I.fillto Pazzo).
mixes up Handel's and Porpora's Ariadlle operas. COPENHAGEN 1749 (as Il Traeollo) and 16 February
The characters in Handel's opera are exacdy the 1757 (same tide).
same as in Pietro Pariati's libretto Arimma c Tesco VENICE, S.CASS. Carnival 1750 (as I/ Ladro e(lIlVCT-
(first Vienna 1714; bter Florcnce 1721), where ti r(l pa AlI/oT(').
Colman may have got hold of the text and may ST. PETERSBURG, PETERHOF 2 August 1750 (as.
have sent it to Handel). The texts of some of the TraeoIIo).
arias are identical. PARIS, O. 1 May 1753 (as Tra[ollo, Medico igllo-
rallte).
KEISER: Circe BARCELONA [27 January] 1754 (as Traeollo).
1 March. Hamburg SCHWETZINGEN Summer 1754 (as Traeollo).

Text by J. P. Praetorius (translation from a lib- EDlNBURGH II July 1763 (as Traeollo).

retto writtcn in Dutch and French by J. J. Mau- YORK October 1763 (as T!zc alllorous Robber, by

ricius, Dutch minister at Hamburg). Five acts. Italian singers).

Keiser's last opera; contains 21 German and 23 One wonders whether an English budetta, La
Italian airs, the latter pardy by Vinci, Handel, and Strattagemma [sie] or The Stratagem, produced in
Hasse. London, Marylebone Gardens 26 July 1759, was
not aversion of La COlltadilla astuta. Unfortu-
PERGOLESI: La COlltadil1a astuta>f: nately, not more than the tide and the attribution
25 Oetober. Naples, S.B. to Pergolesi appear from the advertisement, and
Text by T. Mariani. Two intermezzi, sung be- no libretto seems to have been printed. Two
tween the acts ofPergolesi's Adrimlo ill Siria (Me- years bter, the same title recurs for a "tragicomic
tastasio's text). burletta," produced at the Litde Haymarket Th.
The serious opera was unsuccessful; but the 23 June 1761; but this time, however, the music
intermezzi enjoyed a long vogue after the com- of T!zc Strata.~ell/ is attributed to Hasse.
poser' s death, under many different titles and with A French parody on Pergolesi's intermezzi (as
the usual alterations and additions, according to produced at the Paris Opera in 1753), Traeollo
the requirements and abilities of the different C!zar/atall, was given at the c.1., Paris, 17 No-
buffo trouFs. The following productions are.: '0 vember 1756 (text by J. Lacombe, music by Sodi).
be recordcd: La COlltadi/1a astuta was revived in the original
ROME 1737 (as Lil'ietta c Traeoll,,) and [2 February] Italian at Treviso 24 April 1917; Trieste I I June
1748 (as Lajillta Po/acea). 1925; Rome, T. Quirinetta 20 April 1927, etc.
MILAN, T.R.D. 1731) (as Il Ladro jilltO Pazzo). In an English version by M. and E. Radford at
VENICE, S.SAM. Spring, 1741 (as I/ jilltO Pazzo, airs the Duke's Th., London 16 March 1933 (by the
by other composers added, libretto alte red by R.A.M.).

181 182
1735 ANNALS OF OPERA 1735

LEO: Demofoonte
1735
20 January. Naples, S.B.
PERGOLESI: Olimpiade* Metastasio's text (first set to music by Caldara in
8January. Rome, T. Tordinona 1733). Three acts.
Metastasio's text (first set to music by CalClara in The most successful of Leo's serious operas.
1733). Three acts. Revived Naples, S.C. 19 December 1741.
The best of Pergolesi's serious operas. Unsuc-
cessful in Rome; also given at Venice November HANDEL: Alcina*
1738; Munich 1738; Siena Summer 1741; Lon- 27 April. London, c.G.
don I May 1742 (as Meraspe overo L'Olimpiade), Text based on A. Fanzaglia's L'Isofa della Afcina,
text altered by P. A. Rolli; more or less a pastic- set by R. Broschi for Rome, 1728, from Ariosto's
cio, no composer's name mentioned in the Orfdndo Furioso. Three acts.
librp.tto. Given in London 24 times until 1737. In Italian
"Our fifth Opera was the Olimpiade, in which also Brunswick February 1738 (some airs sung
they retain'd most ofPergolesi's Songs & yet 'tis in German) and August 1738 (wholly in rtalian).
gone already, as if it had been a poor thing of RevivedLeipzig 14June 1928 (German version
Galuppi's. Two nights did I enjoy it all alone, byH. Roth).
snugg in a Nook in the Gallcry, but found no one Afcina was the first ofHandel's operas published
in those regions had ever hcard ofPergolesi, nay, in the German Handel Gesamtausgabe (1869).
r hcard several affirm it was a Composition of
Pescetti's: now there is a 6th sprung up by the DUNI: Nerone
name of Cefalo & Procri." (Thomas Gray' s letter 21 May. Rome, T. Tordinona
to lohn Chute, 24 May, 1742). Text by F. Silvani, with alterations. Three acts.
Olimpiade was revived at the T. della Fortuna,
Ofthe music only some airs are extant. Duni's
Fano, in March 1937 (under R. Falk).
first opera, chieHy remembered for the fact that
(Date offirst production, 8 [or 91January, ac-
the Romans preferred it very much to Pergolesi's
cording to A. Cametti, not 31 January as usually
Olimpiade (see above) and received it enthusiast-
given).
ically. Duni is reported to have told Pergolesi at
GIACOMELLI: Cesare in Egitto the rehearsals of Olimpiade: "Vi sono troppe
January. Milan, T.R.D. finezze al di sopra dell' intelligenza del volgo
Text by G. F. Bussani (first set to music by Sar- nella vostra opera. Queste bellezze passeranno in-
"torio in 1677). Threc acts. comprese, e voi non riescirete punto. La mia
Also given at Venice in Autumn of the same opera, ve 10 confesso, non sara paragonabile aHa
year, and Naples, S.B. May 1736. vostra; ma piu semplice, sara piu felice".
The best ofGiacomelli's C.13 operas produced
bctween 1724 and 1739.
RAMEA U: Les Indes galantes*
23 August. Paris, O.
HANDEL: Ariodante* Text by L. Fuzelier (ballet heroique). Prologue and
19 January. London,C.G. 3 entrees, called Le Turc gellercux, Les Incas du
Text by A. Salvi (originally called Ginet/ra Prin- Perou, and Les Fleurs, Feste pcrsane. A fourth
cipessa di Scozia and first set to music by Perti in entree, Les Sauvages, was added on 10 March
1708), from Ariosto's Orlando Furioso. Three acts. 1736.
Revived C.G. 16 May 1736 with ballet. With modifications, Les Indes galantes was re-
Revived Stuttgart 28 September 1926 (German vived at Paris 10 March 1736; 28 May 1743; 8
version by A. Rudolph). June 1751; and 14July 1761. Les Ineas du Nrou at
183 184
1735 ANNALS OF OPERA 1735-36

Versailles 30 January 1765; Paris 5 Deeember and two choruses in German, translated probably
1771. Les Sau vages at Versai!les 16. February 1765; by Schürmann; repeated there February 1744);
Choisy 10 Oetober 1769; Paris 16 July 1773. Hamburg, with a prologue by Paolo Scalabrini,
Les Fleurs had a modem revival at the O.c. 8 December 1745 (revived 14 October 1748);
30 May 1925. St. Petersburg I January 1747; Copenhagen 18
The seeond entree was given at Parma on 18 December 1748; Palermo Camival 1764; Cre-
Deeember 1757 (in Italian, as Gl'Inca de! Peru, mona Camival 1770 (Mozart attended a per-
translated by C. I. Frugoni). formance on his first ltalian joumey).
Favart wrote a parody, L' Ambigu de la Folie, ou At Moscow the opera was given at the coro-
Le Ballet des Dilldons, produeed at the O.c. 3I Au- nation of the Empress Elizabeth, with a prologue,
gust 1743; redueed to 3 entrees, this was revived La Russia afftitta e ricoflsolata, text by J. von Stählin,
at the c.1. 26 July 1751 and again 8 August 1761 music by D. dall' Oglio. See on this production
under the title of Les Indes dansantes. A new J. von Stählin's Bey/agen zum neu veränderten Russ-
parody on the fourth entree (Les Sauvages) was land (1770), which is the earliest account of the
added on 2 September 1751 (C.I.) under the title history of opera in Russia. A short paragraph on
of Les Amours cllampestres; it was also given at the Moscow production appeared in the July 1742
Vienna in 1755 and, with new musie by P. van issue of the MeTCIlre de France-quite arcmarkable
Maldere, at Schönbrunn 5 Oetober 1758. rts text achievement of early joumalism.
was used for the modem Gluck pasticcio, Die
Maienkiinigin, music partly from Gluck's L'Isle PREDIERI: Il Sogno di Seipione
de Merlin (see 1758). 1 October. Laxenburg, near Vienna
Another parody, Les Indes ch~ltantes, by J. A. Text by P. Metastasio (Azione teatrale, allllsil/a
Romagnesi and F. Riccoboni, with music by alle sjortllnate campagne delle armi Allstri(/chc in
Mouret, was produced at the C.1. 17 September Italia). One act.
1735 (revived there 12 August 1743). The same Revived Vienna 4 November 1739.
day a parody by D. Carolet was produced at the (Mozart set the same text in 1772.)
O.c.: Les A,11011rs des ltldes, consisting of Le bon
Turc and Le jalOllx Poltron; one weck later, 24 PERGOLESI: 11 Flaminio*
September 1735, a parody on the third entree
Autll/1lll. Naples, T.N.
followed: Le Deguiscmcl1t postiche.
Text by G. A. Federico. Three acts.
HASSE: Tito Vespasiano ovvero Pergolesi' s last work for the stage; as it does
La Clemenza di Tito not appear from the title, it should be mentioned
that it is a comic opera.
24 September. Pesaro
Successful at Naples, revived there Winter
Metastasio's text (partly founded on Corneille's
1737, 1739 and Winter 1749. Also given at Siena
Cinna and first set to music by Caldara in 1734).
Camival 1742.
Three acts.
Hasse' s setting was written for the inauguration
of the Teatro Publico, Pesaro. I736
Also given at Dresden 17 January 1738 (revived
11 January 1740 and 26 July 1746); Naples, S.c.,
CALDARA: Achille in Seiro
4 November 1738 (with additional music by An- 13 February. Vienna, B.
tonio Palella); Madrid [I4 May] 1739 (Spanish Text by P. Metastasio. Three acts.
translation in libretto by P. F. Quazza); Moscow Written to celebrate the wedding of Maria
9 June T742; Berlin II January 1743 and 22 July Theresa (then Archduchess) with StephenFrancis,
1744; llrunswick August 1743 (with recitatives Duke of Lorraine.

1!!6
1736-37 ANNALS OF OPERA 1737

HANDEL: Atalallta* another to Galuppi); Parma 1749; Lucca 1752

(without composer's name); Leiden 1752; Paris,
23 May. London, c.G.
O. 19 September 1752 (in a much condensed ver-
Librettist B. Valeriani, based on his La Caccia il
sion, as Il Maestro di Musica; the libretto does not
Etolia set by Bonacossi, Ferrara, 1715. Three acts.
name the composer, the Mcrcllrc de Frallce says the
"As it is Perform' d ... on Occasion of an Illus-
airs are by different allthors; the score was publish-
trious Wedding", namcly that of Frederick
ed in the following year under Pergolesi's name);
Prince of Wales, son of George H, to Princess
Ravenna 1754; Trieste Camival 1756 (attributed
Augusta of Saxe-Gotha. Ten performances.
to "varii celebri Auron"); Munich 1758; Flo-
rence Camival 1760 (reduced to intermezzo
RISTORI: Le Pate dimensions, as La Scolara alla moda, and attributed
10 August. Dresden to "diversi celebri Autori").
Text by S. B. Pallavicino. One act.! A proportion of Auletta's music survived
Written to celebrate the return of the Elector throughout, but after the opera had been in
Frederick AUgllStuS II from Warsaw where he circulation a few years most of the airs were by
was crowned King of Poland. Ristori was com- other composers-it had become a pasticcio. This
missioned to write the coronation opera because was probably what happencd to most other such
Hasse was on leave in Italy at that time. opere buffe.
The Paris version, which includes four numbers
by Auletta, one by G. M. Capelli and others by
1737
unidentificd composers, had a career of its own
A ULETT A: Orazio as 11 Maestro di Musica, misattributed to Pergo-
lesi.
Camival. Naples, T.N.
Translated into French by P. Baurans, it was
Text by Antonio Palomba (his first libretto),
given as Le Martre de Musiquc at Paris, C.L 3 I
partly in Neapolitan dialect. Three acts.
May 1755 and, in a revised version, 7 March
This work had a tmly extraordinary career.
1757; revived Versailles 14 March 1764 and Paris,
Revivcd at Florence in 1740 and 1742 (without
c.r. April 1776.
Auletta's name and with music by other com-
In French also given at Bmssels 1755; Haglle
posers); Venice, S. Moise Autumn 1743 (with
1758 and I February 1774.
additions by Alcssandro Maccari and others, but
After an interval of more than 1So years, Il
misattributed in the libretto to Latilla and Pergo-
Maestro di Musica was revived (in German, as
lesi); Genoa Carnival 1744; Graz Camival 1745;
Der getreue Musikl1leistrr, translated and or-
Leipzig Spring 1745; Hamburg 17 June 1745
chestrated by A. Schering) at Lauchstedt 6 July
(at Graz, Leipzig and Hamburg misattributed to
1924; Prague May 1929; Frankfort I February
Latilla and Pergolcsi); Milan 1746 (without com-
1930;' Basle 17 April 193 I; also Vienna 8 February
poser's name); Bologna 25 August 1747 (under
1938 (at the "Insel" Theatre; Schering's version,
Aulctta'sname); Vienna20August 1748; Venice
partly re-written by H. F. Koenigsgarten).
Spring 1748 (undcr AlIletta's name); Rcggio
An Italian reconstruction by F. Caffarelli, (who
1748 (llnder AlIlctta's name); London IO De-
edited a new vocal-score in 1935) at Rome, Pa-
cember 1748 (llnder AlIletta's name); Copen-
lazzo Doria Pamfilj 27 April 1935, Jesi (Pergo-
hagen 1749; Brllsscls 20 September 1749 (attrib-
lesi's native town) 22 March 1936 (by the Amici
ured on one page of the libretto to Aulctta and on
della Musica da Camera); Buenos Aires August
1 The libretto (Washington. Libr,ry of Congress) is
1936.
in one aet; the MS score (according to Ristori's bio- Revivcd in English by Columbia University
grapher, K. R. Mengclberg) h.ls thrce "cts. students, Ncw York 17 April 1936.
188
1737 ANNALS OF OPERA 1737

HANDEL: Amlillio* other hand, is as grand and as pompous as pos-

2} Jal1!1ary.London,C.G. sible by which Means the Contrast is the stronger,
and has succcedcd accordingly". A sequel called
Text by A. Salvi (first set to music by A. Scarlatti
Ma~~ery, <'r A '""'SC PIa,l!lIe thml thc Dra~oll, by the
for Pratellino in 1703), with alterations. (Burney's
same authors, was produccd at C.G. on 20 De-
statement as to the origin of the libretto is not
cember 173X and at Dublin 5 February 1739. It
correct.) Three acts.
was !ater altered and reprinted as Thc Drac~ollcss,
Performcd six timcs on Iv.
and was reviwd as Lady AtOMC ,'r Thc Dragolless
ReviveJ Leipzig 23 Februar)' 1935 (German
at c.G. 21{ April 1755.
version and arrangement by H. J. Moser and M.
A parody by an l1nknown author, called The
Seiffert).
P~ItCOIl-PyC, or A Kil1g'S Corol1atioll: prop,:r 'l1ataials
HANDEL: GiliStillo*
for formill<~ all Oratori", Opera", Play accordillg to
27 F"f,mary. London, C.G. the Modem Taste, to be reprcs('//tcd ill oppositioll to
Text: analtered version ofN. Beregani's libretto, the Dragoll of Walltlry, was published in 1738.
first set to music by G. Legrenzi (see 1683) for
Venice. Altered by Pariati for Vivaldi, Rome HANDEL: Berel1ice
1724. Three acts. Performed nine times. 29 May. London, c.G.
Given at Brunswick August 1741 (with Italian Text by A. Salvi (first set to music by Perti in
airs and German recitatives and choruses; trans- 1709) for Pratellino. Three aces.
lated by C. E. Simonetti and G. C. Schürmann; Unsuccessful, given for four nights only.
the latter also contributed some additional music). Brunswiek February 1743 (with Itahan airs and
German recitativ(:s and opening chorus, music
LAMPE: The Dra,'l,on of Wamley* arranged by G. C. Schürmann).
27 May. London, Hm.
Text by H. Carey (A burlesque opaa). Three acts.
LA TILLA: GislIlolldo
A satire 0:1 Italian opera seria, directed parti- SummeT. Naples, Fior.
cularly against Handel's GillStillo (sec above); but Text in "'Neapohtan dialect by G. A. Fedcrico.
the opera is said to have been a favourite with Three acts.
Handel all the same. Very successful in a Tuscan version as La fillta
Conceming the date of first performance see Camericra. Mostly under that title, given at
Notes alld Qlleries, Vol. 171 (1936), P.41, and Rome, Valle 1738, Florence 1738 (revivedSpring
Emmett L. Avery, Fieldillg's Last Seasol1 tvith the 1742); Modena and Faenza 1741; Genova Spring
Haymarl:ct Theatre, in Modem Philology (Chicago), 1742; Vicenza Camival 1743; Venice, S. Angelo
Vol. 36, 1938/39. Spring 1743; Bologna Carnival 1743 (revived
Very successful in London; c.G. 6 November 1749); Vienna. Kä. 1744; Hamburg 20 August
1737 and given there 67 times during the first 1744 (in condensed form, as intermezzi, La Giar-
season and frequently revived. First given at ditlicra Cmlfessa, 2 parts) and 21 November 1745
Dublin 6 February 1738. The latest revival at (as La pllta C<I/IIcriera); Graz Carnival 1745;
c.G. was on 18 March 1782. Of the libretto no Leipzig Spring 1745; Naples and Milan. T.R.D.
less than 14 editions' were .pubhshed within one 1745; Turin, T. Carignano Carnival 1747; Reg-
year. In a dedicatory letter to Lampe (inserted gio and Mantua 1747; Parma and Munich 1749;
in !ater editions) Carey says: "It is a Burlesque London 1 Februar)" 1749 (as DOll Calasciolle; La-
Opera: And Burlesque cannot be too low. Low- tilla not mentioned); Brussels August 1749 (by
ness (figuratively speaking) is the Sublimity of the same company and under the same title as in
Burlesque: If so, chis opera is, consequently, the London); Copenhagen 1749 (revived 1 October
tip-top Sublime ofits Kind. Your Musick, on the 1755 as La Giariliniera, no composer mentioned;

190
1737 ANNALS OF OPERA 1737-3 8
and 12 November 1756); Barcelona 1750; ßruns- Written for the inauguration of the Teatro
wick 2 August 1751; Paris, O. 30 November San Carlo, Naples. (The theatre was burnt down
1752; Leiden 1752; Pavia 1753; Trieste Autumn on 13 February 1816 and reopened on 12 January
1754; Dresden August 1762 and Gotha 2 No- 181 7.)
vember 1765 (as La Ciardiniera fatta Contessa per
le Stravaganze di DOll Calassione). LEO: L'Olimpiade
19 Deeember. Naples, S.C.
RAMEA u: Castor et Pollux* Metastasio's text (first set to music by Caldara in
24 Oetober. Paris, O. 1733), adapted by L. S. Stampiglio. TIme acts.
Text by P.J.J. Bernard. Prologue and 5 acts. Given at Lisbon later in the same month. Re-
Rameau's chief work. Frequently revived at vived Naples 19 Dccember 1743.
the Paris Opera; given there 254 times until 1785.
When, in 1791, Candeille set the same libretto
I738
again, he kept pa~ts of the original music. Given
also on many French provincial stages and (in GALUPPI: Alessandro nell'Indie
French) at Parma 6 December 1758 (Italian trans- Camival. Mantua
lation in the libretto by J. A. Sanvitale) and Cassel Metastasio's text (first set to music by Vinci in
1776. 1729). Three acts.
Parodies: Castor et Pollux, by J. A. Romagnesi
Galuppi' s first greater success (in the list of his
and F. Riccoboni, c.r. 14 or 24 December 1737;
operas this is nO.15). Given in many Italian towns
Les Jumeaux, by J. N. Guerin de Fremicourt and
(untiI 1762) and at Stuttgart 30 August 1752 and
others, c.I. 9 March 1754; Castor et Pollux, by
Munich 12 October 1755.
P. T. Gondot, Brussels 14 January 1754 and as
Les Gemeaux, Paris, C.I. 10 May 1777; Le bon HANDEL: Faramondo*
Frere, by P. J. B. Nougaret, published 1779;
18 January. London, Hm.
Christophe et Pierre-Lue, by J. E. Despreaux,
Trianon May 1780. Zeno's text as modified for Gasparini, Rome 1720
Castor et Pollux has been revived several times (first set to music by Pollarolo in 1699), with
in the 20th century. First in concert form by the alterations. Three acts.
Schola Cantorum, Paris 29 January 1903. On the Unsuccessful (8 nights only).
stage: Montpellier 23 January 1908; Paris, O.
21 March 1918 (recitatives and dances orches- LATILLA: Madama Ciana
trated by A. Bachelet) and 20 October 1930; February. Rome, T. Pallacorda
Glasgow 27 April 1927 (by amateurs, for the first Text by G. Barlocci (according to Schatz origin-
time in English, translated by G. F. MacCrone); ally called Donna Marzia). Three acts.
Geneva 28 September 1930 (by the Paris Opera Given, under many different titles, and with
company); Oxford 22 November 1934 (in alterations at Lisbon Carnival 1740; Venice, S.
English, translated by D. Arundell and T. W. Cass. Autumn 1744 (with some new airs by Ga-
J. Taylor); Florence 27 April 1935 (at the Maggio luppi); Milan June 1745; Turin Carnival 1747
Musicale Fiorentino, by the Paris Opera com- (as L'Ambizione delusa) and 1748 (as Ciana);
pany); Buenos Aires 30 July 1936 (in French). Vienna 15 July 1748 (as La Nobilta immaginaria);
Leghorn Autumn 1748; Bologna January 1749;
SARRO: Achille in Seiro Ferrara Spring 1749, and Munich 13 July 1749
4 November. Naples, S.C. (as Ciana); London 24 January 1750; Paris, O.
Metastasio's text (first set to music by Caldara in 23 September 1753 (as CU Artigiani arriehiti, re-
1736), adapted by L. S. Stampiglia. Three acts. duced to 2 acts).

191 192
173 8-39 ANNALS OF OPERA 1739
HANDEL: Serse* The earliest of Rinaldo di Capua's serious
26 April. London, Hm. operas. Also given at Malta in 1740. Of the music
only some airs have been preserved.
Text altered from an earlier libretto by N. Mi-
nato (first set to musieby Cavalli, see 1654). Three
aets. d J
ALMEIDA: La Spinalba 0 vero
Handel's only opera with a eomie plot (if not
Il Vecchio matto*
a eomie opera in the striet sense of the word). The
famous Largo (O/llbra mai fu •..) oeeurs in Serse. CarniJlal. Lisbon
Performed 5 times only. Many revivals include: Librettist tmknown (Dramma comico). Three
GÖTTINGEN 5 July 1924 (in German, translated by acts.
O. Hagen). The first (Italian) opera of a Portuguese com-
VIENNA, SCHÖNBRUNN 30 May 1925 (in German, poser which has been preserved as a whole (score
translated by O. Hagen). at the Bibliotheca da Ajuda, Lisbon). The opera
BUDAPEST 12 May 1928 (in Hungarian, translated was produced at the Pa'ro da Ribeira.
by P. Ottlik).
NORTHAMPTON, MASS. 12 May 1928 (in English,
translated by T. N. Wilder). RAMEAU: Les Fetes dJHebe Oll
NEW YORK, JULLIARD SCHOOL 15 Deeember 1932 Les Talents lyriques*
(in English, translated by T. N. Wilder).
21 May. Paris, O.
CHICAGO, UNIVERSITY 16 February 1935 (in
English, translated by T. N. Wilder). Text by A. G. de Montdorge. Prologue and 3
entrees, called La Poesie, La Musique, and La Danse
LOUGHTON, ESSEX 15 June 1935 (in English, trans-
Iated by G. Dunn). (or sometimes referred to, after their principal
characters, as Sapho, Tirtee, and AegIe).
LONDON, DUKE'S 28 November 1935 (in English,
translated byG. Dunn, bythe R.A.M.). Very successful opera-ballet, revived in Paris
MUNICH 1936. 27 July 1747; 18 May 1756; 5 June 1764; 6 July
BRESLAU 1940.
1770 (the third entree only); 27 October 1772
and 3 November 1775 (the second entree only).
CORSELLI: Alessandro nell' Indie The third entree also revived Fontainebleau 6No-
9 Ma}'. Madrid, Buen Retiro vember 1753; Versailles 18 January 1764. The
Metastasio's text (first set to musie by Vinci in second entree also revived Versailles 22 February
1729). Three aets. 1764.
Corsclli's setting was written for the eelebra- Also given at Lyons 1740; ßrusscls 1741.
tion ofthe wedding ofCharies IV, King ofNaples Revived ßrussels 21 March 1910 (the first
(!ater King of Spain) and Princess Maria Amalia entree only); Monte Carlo 24 Janllary 1914;
of Saxony. Prodlleed at the Palacio Real Buen Dijon 2 March 1939.
Retiro (first Italian opera there). Favart wrote parodies on all three entrees; the
first two, callcd Les Amours de Gogo and SallSOllnct
et Tontoll were forbidden by the police; the third,
1739 L'Alllollr i/llpromptil, was produced at the O.C.
RINALDO DI CAPUA: Vologeso, 10 July 1756. Other parodies inclllde: Les Talcllts
Re dei Parti comiques, by C. F. Pal1ard, O.c. 8July 1739; Lcs
TaleIlts comiqucs, by A. J. de Valoisd'Orville, O.c.
Camil'al. Rome, Arg. 10 August 1747; aud Le Prix de ['Amollr, by J. L.
Text: an alte red version of Zeno's Ltlcio Vero. Araignon, mllsie by C. F. Clement, c.I. 27 Sep-
Three lets. tember 1756.

193 194
1739 ANNALS OF OPERA

LEO: Amor vuol SoJJerenza

Autumn. Naples, T.N. BERN AS CONI: Temistocle
Text by G. A. Federico. Three acts. Carnival. Salzburg
The best of Leo's comic operas. Successful in
Metastasio's text (first set to music by Caldara in
ltaly. Given at Florence 1742; Palermo Autumn
1736). Three acts.
1746; Bologna 3 February 1748 (as Lafinta Fras-
Bem~coni's setting was also given at Padua
catana); Padua 1748 and London I I January 1749
6 June 1740 and Venice, S.G. Gr. Carnival 1744
(as La finta Frascatana).
and revived at Munich (where Bemasconi be-
Revived (as La finta Frascatana) Naples, T.N.
came Porta's successor as court conductor in
Autumn 1744 (with additional music by M. Cap-
1755), February 1754.
ranica) and once more Carnival 1750 (with ad-
ditional music by Logroscino and G. Ferradini; JOMMELLI: Ricimero, Re dei Goti
libretto British Museum). 16January. Rome, Arg.
Known also as Il Cioe, "Cioe" being the con- Text: an altered version of A. Zeno's and P. Pa-
standy repeated favourite word of Fazio, a po- riati's Flavio Anicio Olibrio (first performed with
pu!ar comic character (cf. Cocchi's Li Matti per music by Gasparini in 1707). Three acts.
Amore, 1754). See on this opera E.J. Dent's study See on the Ricimero libretto M. Fehr's study in
in Sammelbände ofthe l.M.S., Vol. vm (1906-07). Zeitschrift für Musikwissenschaft, Vol. 1 (1918-19).
The President De Brosses wrote in one of his Jommelli's first extant opera.
famous letters from ltaly (dated Naples, 14 No-
vember 1739) to M. de Neuilly: "Quelle inven- PEREZ: Siroe
tion! quelle harmonie! quelle excellente plai- 4 November. Naples, s.c.
santerie musicale ! je porterai cet opera en Metastasio's text (first set to music by Vinci in
France.... " 1726). Three acts.
Perez's first extant opera seria. Revived at
RAMEAU: Dardanus* Lisbon Autumn 1752 and once more 1756.
19 November. Paris, O.
Text by C. A. Lederc de La Bruere. Prologue and 174 1
5 acts.
A parody by C. S. Favart, C. F. Panard, and
HANDEL: Deidamia*
Parmentier, called Arlequin Dardanus was pro- 21 January. London, Lincoln' s Inn Fields
duced at the C.L, Paris 14 January 1740. In the Text by P. Rolli, based on L Bentivoglio's Achille
18th century Dardanus was revived at the Opera in Seiro set by Legrenzi for Ferrara, 1663 and
on 23 April 1744 (new version; two acts re- modified für Venice, 1664. Three acts.
written); 15 April 1760 (with new alterations); Handel's last opera. Unsuccessful; given for
20 April 1762; and 4 February 1768 (without three nights only and never revived in 18th or
prologue) (more than 100 times until 1770); at 19th centuries.
Fontainebleau 8 October 1763 and 9 November
1769·
La Chercheuse d'Esprit
Modern revivals: Paris 26 April 1907 (in con- 20 February. Paris,O.C.

cert form, by the Schola Cantorum) ; Dijon 1907; Text by C. S. Favart and A. R. de Voyer d' Argen-
Algiers February 1934 (on the stage). son, Marquis dePaulmy (foundedonLafontaine's
Sacchini used a reduced version of the same tale Comment I'Esprit vient aux Filles). One act.
libretto for his opera of the same tide (see· Composer unknown. The score has been at-
1784). tributed to Duni (who came to Paris only in

195
J74J ANNALS OF OPERA 1741-42

J757). Very successful (ran for 200 nights), and The first of 27 operas Graun wrote for the
frequently revived in Paris. Prussian court from 174J-56. Revived Berlin, O.
In French also given at Brussels 14 May J743; 24July 1744 and J9 December 1777·
Munich J749; London, Little Hm. 28 November
J749 and 23 December 1786; Turin Spring 1753; GALUPPI: Penelope
CasscI 17RJ. 23 Dacl1Iber. London, Hm.
Anonymous German versions \vere published
Text by P. A. Rolli. Three acts.
in 1749 and 1750; a Dutch translation by H. van
The first of four operas Galuppi wrote for
Elvervelt was published at Amsterdam in 1758.
London, where he spent two seasons. Revived
Revived at Paris at the
London 17 December 1754 (probably as pasticcio
VARIETES 15 February 1822 (text alte red by T. M.
as the libretto does not mention Galuppi's name
Dumersan and W. Lafontaine).
any more).
VAUDEVILLE 13 March 1822 (in a rival version by
N. Gersin anel J. J. GabricI, with some new airs JOMMELLI: Merope
by J. D. Doche). 2 June 1863 (text altered by
26 Dcccl1lbcr. Venice, S.G. Gr.
C. Hcrald, music arrangeel by J. F. Pillevesse).
Zeno' s text (first set to music byGasparini in 171 J).
OPERA COMIQUE 22 February 1900 (arranged and
Three aets.
orchcstrated bv J. B. T. Weckerlin).
Also given at Bologna December 1744;
JOMMELLI: Ezio Vienna J3July 1749; BarccIon:14December 1751,
Pesaro Carnival 1753; Stuttgart I I February
29 April. Bologna, T. Malvezzi
175 6.
Metastasio's text (first set to music by Auletta in
1728). Three acts. G L U C K: Artascrse
JommeIli' s first greater success. Givcn in dif- 26 DW'I/Ibcr. Milan, T. R.D.
ferent versions at Naples 4 November 1748; Metastasio's text (first set to music by Vinci, sec
Vienna, Schön brunn 4 October 1749; Stuttgart
1730). Three acts.
JJ February J751 and JJ February 175R. Revived
Gluck' s first opera. (Thus in the same year 174J
Bologna, T.C. 3 I January 1768; Lisbon 6 June
there was in January the first production of
J771 (according to the score at Naples) and/or Handel's last, and in December the first produc-
31 March 1772 (according to the libretto). tion of Gluck's first opera.)
Of the music only smaII p:lrtS luve becn pre-
PER E z: Demetrio served.
13 JUlle. Palermo
Metastasio's text (first set to music by Caldara in
'73 I). Three acts.
Revived Venice, S. Sam. Spring 175J. Very HASSE: Lucio Papirio
successful at Lisbon; first given there in 1753 and
18 Jallltary. Dresden
rcvivcd Carnival 1765 and Autu(llll 1768.
Zcno 's text (first set to music by Caldara, see 1719).
Three acts.
GRA UN: Rode/jllda, Regilla Frederick the Great was present at the second
de' LOllgobardi night on 19 Januar)". Also givcn at Brunswick
13 DCCClllbcr. Berlin, Schloss August 1744 (with Gennan recitatives, translated
Text by G. G. Bottlrelli (altcred from an carlier and probably composed by Schürmann); Naples,
libretto by A. Salvi, the same utilized by Haym S.c., 4 November 1746; Berlin 24 January 1766
for Handel' s Rodclillda, sec 1725). Three aets. and January 1784.

197
1742-43 ANNALS OF OPERA 1743
GLUCK: Demetrio Given at Florence, P. in the same Carnival and
2 May. Venice, S. Sam.
revived there 26 December 1749; also Leghorn
Metastasio' s text (first set to music by Caldara, see Carnival 1744 and Ancona Carnival 1746.
1731). Three acts.
Gluck' s second opera. Only 6 airs are extant. JOMMELLI: Demofoonte
(The opera is sometimes quoted as Cleoniee.) 13 June. Padua.
Metastasio's text (first set to music by Caldara in
HASSE: Didone abbandonata 1733). Three acts.
7 Odober. Hubertusburg, near Dresden One of Jommelli's most successful works;
Metastasio's text (first set to music by Sarro, see givcn at Parma Spring 1749; Milan T.R.D.
1724). Three acts. January 1753; Lodi Carnival 1754; London 9De-
Naples, S.C. 20 January 1744; London 6 April cember 1755; Stuttgart I I February 1764 (re-
1748 (chieHy byHasse); Berlin29 DecemberI752 peated at Ludwigsburg I I February 1765 and
and December 1769; an intended further revival 1769; last revived at Stuttgart 10 January 1778);
at Berlin in January 1780 was cancelled on ac- Naples, S.c. 4 November 1770 (with alterations;
count of the death of Princess Louisa Amalia; Mozatt was present at the first night); Lisbon
Versailles 1753. 6June 1775.

GRAUN: Cleopatra e Cesare GLUCK: 11 Tigrane

7 Deeember. Berlin, O. . 9 September. Crema
Text by G. G. Bottarelli (founded on P. Cor- Text; Goldoni's version of F. Silvani's La Virtu
neille's La Mort de Pompee). Three acts.
trionfante dell'Amore e dell'Odio (1691), as first
W ritten for the inauguration of the Berlin set by G. Arena in 1741. Three acts.
opera-house (which was burnt down, after Only parts of the music are extant.
exactly 100 years of existence, 18 August 1842, Discovery and reconstruction of this opera are
and was rebuilt and reopened 7 December 1844, due to F. Piovano; see' his admirable paper "Un
with Meyerbeer's Ein Feldlager in Schlesien). Opera inconnu de Gluck" in Sammelbände of the
G L U C K: Demofoonte LM.S., Vol. IX (1907-08). See on the origin of
the libretto also G. Ortolani in the City ofVenice
26 Deeember. Milan, T.R.D.
edition of Goldoni's Works, Vol. XXXIII (1934),
Metastasio's text (first set to music by Caldara in
pp·3 II-3 14·
1733). Three acts.
Gluck's first greater success. Also given at HASSE: Antigono
Reggio May 1743 (with additional airs by F.
10 Oetober. Huhertusburg, near Dresden
Maggiore); Florence 1743; Bologna 26 December
Text by P. Metastasio (written for Hasse). Three
1743; Vienna 6 October 1744 (Gluck's setting/);
acts.
Ferrara Carnival 1745. Revived Milan 13 May
Given at the Dresden Court Theatre 20 January
1747; Florence 1749. Airs preserved; overture
1744 and at Hamburg IO September 1744 (Hasse's
and recitatives lost.
setting, according to Mattheson; according to
1743 the libretto the greater part of the music was by
Scalabrini); Naples, S.c. 19 December 1744
TERRADELLAs:A1erope (music adapted by A. Palella); Brunswick 3I
Carnival. Rome, T. delle Dame January 1746 (sung partly in German, translated
Zeno's text (first set tomusie byGaspariniin 17u). by Schürmann?); Milan, T.R.D. Carnival 1747;
Three acts. Parma Carnival 1753 (as Alessandro Re d'Epiro).

199 200
1743-44 ANNALS OF OPERA 1744-45

GRA UN: Artaserse Also given at S. Giovanni in Persiceto 1745;

2 December. Berlin, O. Graz Carnival 1746; Leipzig 6 May 1746; Prague
Metastasio's text (first set to music by Vinci, see Summer 1746 (revived 1760); Dresden II Jan-
1730). Three acts. uary 1747; London 18 May 1748; Brunswick
August 1748 (recitatives and some airs in German,
Also given at Brunswick, August 1745 (asArta-
banus, with German recitatives, translated by translated by Schürmann ?); Warsaw 7 October
1760.
Schürmann, and additional airs) and 23 August
1747; and Stuttgart 30 August 1750 (at the in-
auguration of the new opera-house there). 1745
REBEL and FRANCOEUR:
Zelindor Roi des Silphes
1744
17 March. Versailles
TERRADELLAS: Artaserse Text by F. A. P. de Moncrif. Prologue and 1 act.
Camival. Venice, S.G. Gr. First produced at the Paris Opera 10 August
Metastasio' stext (first set to music by Vinci, see 1745 and frequently revived there until 1752 and
1730). Three acts. again 17 June 1766; Versai11es 18 December 1752;
Terrade11as's chief work, given on several Bellevue 4 March 1753; Fontainebleau 19 Oc-
Italian stages. tober 1769; Paris 11 May 1773.
Given in an Italian version by C. I. Frugoni
GLUCK: La Sofonisba at Parma Autumn 1757.
A parody, Zephire et Fleurette (text by P. Laujon
[13January] Milan, T.R.D.
and C. F. Panard, revised by Favart), was pro-
Silvani's text (first set to music by Caldara in
duced at the C.I., Paris 23 March 1754.
1708), with most of the airs: taken from different
librettos of Mctastasio' s. Three acts.
RAMEAU: platee*
G L U C K: Ipermestra 31 March. Versailles
Text by J. Autreau and A.J. de Valois d'Orville
21 November. Venice, S.G. Gr.
(ballet-bouffon). Prologue and 3 acts.
Text hy P. Metastasio (written for Hasse earlier
Given at the Paris Opera on!y four years later,
in the same year). Three acts.
4 February 1749 (text altered by Ballot de Sovot
The first of Gluck' s operas of which a11 the airs
and revived there 9 February 1750 and 21 Feb-
and recitatives are extant in full score. 1 Also given
ruary 1754. Known also with the sub-title Junon
at Prague Autumn 1750; Munich 1751 (accord- jalol/se. Modem revivals:
ing to Piovano probably Gluck' s setting); St. Pe-
MUNICH, KAIM-SAAL, 26 January 1901 (by the
tersburg 3 March 1760 (according to some Munich "Orchesterverein").
authors; according to R. A. Mooser extremcment
MONTE CARLO 5 April 1917 (in French).
douteux).
COMO 29 January 1921 (by the "Amici della Mu-
sica", Italian version by A. Finzi and P. Clau-
HA S SE: Sellliramide riCO/IOSciuta setti).
26 Deccmber. Venice, S.G. Gr. MILAN, T. CARCANO 31 January 1921 (by the
Metastasio's text (first set to music by Vinci In "Amici della Musica", Italian version by A.
1729). Three acts. Finzi and P. Clausetti).
"Cet ouvrage de camaval est trcs-curieux 11.
1 British Museum, Add. MSS 16014. ctudier. C' ctait la premiere incursion de l'Ecole
201 202
1745 ANNALS OF OPERA

fran~aise dans le genre de musique bouffonne, OU

excellaient les vieux mahres italiens" (Lajarte).
1746
The 1754 revival struck the final blow at the JOMMELLI: Don Trastullo*
ltalian artists who had been producing their inter- Garnival. Rome, T. della Pace
mezzi at the Paris Opera for 18 months. They Librettist unknown. Two parts.
gave their last performance on 7 March 1754. Successful intermezzi, given on many Italian
stages (at Rome, Tord. 7 February 1756 as La
Gantata e Disfida di Don Trastullo) and at Madrid,
FIO~ILLO: L'Olimpiade Buen Retiro 23 September 1757; Munich 1758
May. Venice, S. Sam. and Camival 1763; Warsaw c.1766; London 9
Metastasio's text (first set to music by Caldara in April 1767 (for one night only; not recorded by
1733). Three acts. Burney or by Nicoll).
Revived in August 1749 at Brunswick, where
Fiorillo became court conductor in 1754 (as
GRA UN: Demofoonte, Re di Tracia
Schürmann's successor). 17 January. Berlin, O.
Metastasio's text (first composed by Caldara in
i 733 ). Three acts.
HASSE: Arminio Revived Berlin Camival 1774 (with altera-
tions). Three airs in this opera were composed by
7 October. Dresden
King Frederick H.
Text by G. C. Pasquini. Three acts and licenza.
The second Dresden performance took place GLUCK: La Caduta de' Giganti
at the request of Frederick II, after the batde of 18 January. London, Hm.
Kesselsdorf, 19 December 1745. RevivedatDres- Text by F. Vanneschi. Two parts.
den 8 January 1753. Also given at Berlin 18 Jan- The first of the two operas Gluck wrote for
uary 1747 (revived 24 December 1773); Vienna London. It was when hearing La Gaduta de' Gi-
13 May 1747 (with ballet music by Holzbauer) ; ganti that Handel is said to have made the well-
Brunswick22 August 1747 (with German reci- known remark "He knaws no more of contra-
tatives, translated by SchürmannI); Warsaw 3 punto as mein cook, Waltz".
August 1761. Six airs from the opera were published by
An earlier Arminio opera by Hasse, produced Walsh.
at Milan 28 August 1730, is a different work
altogether (text by A. Salvi).
JOMMELLI: Cajo Mario
6 February. Rome, Arg.
Text by G. Roccaforte. Three acts.
PEREZ: Alessandro nell' Indie Successful in Italy; Florence, P. Auturnn 1747;
26 December. Genoa, S. Agostino Bologna Carnival 1751 and Carnival 1758; Mo-
dena Decernber 1751; Leghorn Carnival 1754;
Metastasio's text (first set to music by Vinci in
Verona Carnival 1762; Cesena Carnivall770.
'.729). Three acts.
Revived Prague 1772 as 11 Gajo Mario GonsoIe
Revived Naples, S. C. 4 November 1749. e Patrido.
Given at Lisbon 31 March 1755 (at the inaugu-
ration of the Royal Opera di Tejo) and revived GL UCK: Artamene
then: at the S. Carlos theatre as late as Carnival 15 March. London, Hm.
1806. Also given at Cadiz [ 17 December] Text by B. Vitturi (first set to music by Albinoni
1764· in 1740), altered by F. Vanneschi. Three acts.
203 204
 ANNALS OF OPERA 1747
Like La Cadl/ta de' C(\?allli (see above), Arta- 176 3 and again 10 Januar)' 1777 and 25 September
/llellC was more or less a pasticcio from carlier 1782. An analysis of the opera is given in W.
operas, chiefl)' from Tigrallc, S"';ll1isbc, anel lper- Heinsc's novcl, Hildi'gard Vorl Hohenthai (1795-
II/eslra (1743 and 1744). See on Gluck's two <)6).
Londoll oper:ls W. B. S'luire in T/'c lHlIsieal
SCHÜRER: Doris
Qllartcrly, Vol. 1 (1915).
Six :tirs from Ar/alllfllC were published by 13 Fcbmary. Dresden
Walsh. Librcttist unknown. Ein /1/llsikalisches Scha~fer­
spiel. T wo acts.
lEClAIR: Scylla ct G!aucus An isolatcd instancc of a Gcrman pastoral opera
40a,,"er. Paris, O. in the very period whcn Italian opcra was the
Text by d' Albaret. Proloßue and 5 acts. fashion a11 over Germany, scveral years before
The only opera of the famous violinist. Un- the introducrion of German Singspiel.
silCcessful. Extracts were revived in conccrt form
at Lyons (Leclair's native town) on 21 March TERRADELlAS: Bellerofonte
J9 0 9· 4 April. London, Hm.
Tcxt by F. Vanneschi. Three aets.
SCHÜRER: La Ga/atea
" ... crescendo is llsed in this opera, seemingly
8 iVol'clllhcr. Dresden for the first timc; and new effeets are frequently
Text by P. Metastasio (written in 1722, first com- produced by pianos and fortes" (Burney, IV,
poser unknown). Two acts. P·45 6 ).
Rcpeated at Pi11nitz 28 June 1747 (at the Ba-
varian-Saxon double wedding; see note on ·COCCHI: La Maestra
Gluck's Lc Nozze d'Erwle c d'Ebc, 1747). Sprillg. Naples, T.N.
Text by A. Palomba. Thrce acts.
Coeehi's most sllceessflll comie opera. Given
at Bologna Scptcmbre 1747; Turin 1748; Mo-
I747 dena 1748; Vcnicc, S. Moisc Alltumn 1748 asLa
lOGROSCINO: Il Governatore* Swola l1Ioderna, 0 sia La Maeslra di blloll Gl/sto; text
Camil'al. Naples, T.N. altered by C. Goldoni, probably witll new music
Text by D. Canica. Three acts. by Ciampi, who is mentioned in a 1749 Verona
The best-known ofLogroscino's comie operas. libretto (La Maestra di SC/lola). Coechi's setting
was revived at Naplcs, Fior. Camival 175I (with
The score was diseovered by E.J. Dent at Münstcr
about J904. Thc finale of the first act was pub- additional musie by L::tilla and Cordc1la); Veniee
lished b)' H. Kretzsehmar (JahrIJlle/' der Ml/sik- Carnival 1754; Sinigaglia Jllly 1754; Bologna
bibliothek Petcrs, 1908, rcprintcd in Kretzschmar's 8 January 1757; Milan, T.R.D. Autumn 1757;
Gesam/lleltc Al/fsätze, Vol. 1I, appendix). Rome, Capr. Carnival 1760.
Outside Italy given at London I I March I749;
Potsdam Summer 1749 (anonymous); Paris, O.
JOMMElLI: La Didone abbandollata 25 January 1753 (as La Scaltra GOlJernatrice); Bar-
28 ]a/lllary. Rome, Arg. celona [13 August] 1753 (anonymous); Brussels
Mctastasio's text (first set to musie by Sarro in Winter 1753; Trieste Carnival 1755; Prague
1724). Thrce aets. 1756; Dresden 4 August 1756; St. Petersburg
Onc of Jommelli's most important works. 5 November 1759 (anonymous); Nuremberg 8
Vienna 8 December 1749; Stuttgart April 1751 January 1763; Berlin 23 Deeember 1763 (as La
and revived there in a new version 11 February Maestra di Scuola).
E 205 206
1747 ANNALS OF OPERA

GLUCK: Le Nozze d'Ercole e d'Ebe GALUPPI: L'Olimpiade

29June. pillnitz, near Dresden 26 December. Milan, T.R.D.
Librettist unknown (the text was first set to music Metastasio's text (first set to music by Caldara in
by Porpora, Venice 18 February 1744). Two acts. 1733). Three acts.
The production of this screnata was part of the The most successful of Galuppi' s serious operas.
wedding festivities in honour of the double mar- Given at Mannheim 17 January 1749 (revived
riage of Max Joseph, Elector of Bavaria, with 19 November 1756); Naples, S.c. 18 December
Maria Anna, Princess ofSaxony, and ofFrederick 1749 (revived with alterations 30 May 1750);
Christian, Prince of Saxony, with Maria Antonia Prague Spring 1750; London 10 February 1756
Walpurgis, Princess of Bavaria (the composer, (text altered by F. Vanneschi, additional airs by
see 1754 and 1760). Hasse, Scalabrini, and Schürer F. Giardini); Cadiz [24 December] 1762; Siena
contributed the rest of the wedding operas. The 24 July 176 3.
score was published in 1914 (Vol. XIV of Denk-
mäler der Tonkunst in Bayern, edited by H. Abert).

PORPORA: Filandro
18 July. Dresden
LOGROSCINO: Giunio Bruto
Text by V. Cassani (dramma comico-pastorale), January. Rome, Arg.
originally called L' Incostanza schernita and first Librettist unknown (of this tide only a 17th cen- .
set to music by Albinoni in 1727. Three acts. tury text is recorded by Allacci). Three acts.
The first opera produced at Dresden under No copy of the libretto is known. Date and
Hasse' s direction which was not composed by place of first (?) performance are given in the MS
Hasse (but by his former teacher and now rival, score at Münster. Il Governatore (see 1747), Giunio
Porpora). There were a sinking and a rising star Bruto and OlimpiaJe (Rome, 1753; recendy dis-
in the cast too: Faustina Hasse as" Orsinda " and covered in a private collection at Cambridge) are
Porpora's pupil, Regina Mingotti, as "Corina". the only extant operas of Logroscino, out of a
total of more than 25 which are known by
BOISMORTIER: Daphnis et Chloe tide.
28 September. Paris, O.
Text by P. Laujon (pastorale). Prologue and 3 acts. HA S SE: Demofoonte
The last and best ofBoismortier's three operas. 9 February. Dresden
Revived Paris, O. 4 May 1752. A parody by P. T. Metastasio's text (first set to music by Caldara in
Gondot, Les Bergers de Qualitl, was produced at 1733). Three acts.
the C.I. 5 June 1752. One of Hasse' s greatest successes. Venice Car-
nival 1749; Mannheim January 1750; Naples
HASSE: Leucippo
S.C.January 1750; Vicenza Carnival 1754. With
70ctober. Hubertusburg, near Dresden alterations: Naples 4 November 1758; Warsaw
Text by G. C. Pasquini (favola pastorale). Three 7 October 1759; Malta Autumn 1765.
acts.
Also given at Brunswick 1747 (revived Feb-
ruary 1765); Salzthal28 August 1748 (as Dafne e
G L U C K: Semiramide riconosciuta
Leucippo); Vienna 28 August 1748; Venice May 14 May. Vienna, B.
1749; Dresden 7 January 1751 (revived 1761); Metastasio's text (first set to music by Vinci in
Prague Spring 1752; Frankfort 19 September 1729). Three acts.
1754; Mannheim 1757; Pressburg 1759; BerUn Gluck wrote this opera to celebrate the birth-
7 January 1765· day of the Empress Maria Theresa. Revived Ham-

207 208
 ANNALS OF OPERA 1748-49
burg 19 October 1936 (translated hy H. Swed- When, in 1753, Ciampi's opera was prcduced
lund, with additional music from Gluck's Poro, in Paris by Bambini's buffo troupe and proved a
1744). great success, the minor Paris theatres, after their
custom, so on followed suit with French parodies.
GRAUN: Ifigenia in Aulide
One of them, Favart's Le Caprice amoureux, is
13 Dccembcr. ßerlin, O.
recorded here as an independent work (see 1755)
Text by 1. de Villati (probably written in colla- because it was in Favart's rather than in Goldoni's
boration with Frederick II, founded on Racine's version that the opera was imitated during the
tragedy). Three acts. second half of the century.
Successful in Bcrlin where it was last revived a
The other parody was called BertflOlde la ville
in ]anuary 1768. Also performed at Brunswick and produced at the o.c. Paris 9 March 1754,
August 1749 (recitatives and some airs in German, Brussels 28 ]une 1755 and Hague 1760. Its author
translated by Schürmann ?). was 1. Anseaume (perhaps in collaboration with
An earlier, German, opera by Graun on the G. C. de Lattaignant, or with].]. Vade and Farin
same subject (text by G. C. Schürmann) had been de Hauterner), and A. N. La Salle d'Offemont
produced at Brunswick 16 August 1728 (revived arranged the music from the Italian original and
5 February 1731 and 16 August 1734) and Ham- from French popular airs. There is also a Dutch
burg 3 December 1731. version ofBertholde cl la Ville by]. T. Neyts (n.d.).

CIAMPI: Bertoldo, Bertoldino

c Cacasenno I749
27 Decembcr. Venice, S. Moise J OMMELLI: Artaserse
Text by C. Goldoni (founded on Italian 16th cen- 4 February. Rome, Arg.
tury legends). Three acts. Metastasio's text (first set to music by Vinci, see
Frequently given with slightly different titles, 1730). Three acts.
as Bertoldo, Bertoldo in Corte, Berto/do al1a Corte; Also given at Mannheim Carnival 1751 and
in London as Bertoldo, Bertoldino e Cacasenno aUa Stuttgart 30 August 1756 (in Italian).
Corte deI Re Alboino (1754) and as Bertoldo (1762).
The complicated history of this famous comic G L U C K: La Contesa dd Numi
opera has been fully investigated by o. G. T. 9 April. Copenhagen
Sonneck (Sammelbände of the I.M.S., Vol. XII, Text by P. Metastasio (written in 1729 to cele-
1910-II). More recent contributions to its prob- brate the birth of the Dauphin, son of Louis XV,
lems are to be found in the City ofVenice edition and produced at Cardinal Polignac's, Rome 26
of Goldoni' s W orks (Vol. XXVII, pp.291 -297) and November 1729 with music by Vinci); the
in A. Iacuzzi's Europeall Vogue of Favart (1932). Danish translation in the libretto by T. Clitau.
The following productions are to be recorded: One act.
Verona Carnival 1750; Padua I I ]une 1750; Gluck chose the same text when the birth of
Milan, T.R.D. Spring 1750; Brunswick C.1750; the Danish Prince Christian, later King Christian
Bologna Summer 1751; Strasbourg 1751; Paris, VII, was to be celehrated. Parts of the opera were
0.9 November 1753; Potsdam 30 March 1754; revived at Copenhagen, in concert form, 1 April
Amsterdam 1754; London, c.G. 9 December 1871 and February 1902.
1754 (revived I I ]anuary 1762); Ferrara and
Pcsaro Carnival 1755; Genoa Summer 1755; JOMMELLI: Demetrio
Placenza Spring 1758; Trieste Carnival 1760; Spring. Parma
Prague 1760; St. Petersburg 4 May 1761. Re- Metastasio's text (first set to music byCaldara, see
vived as a pasticcio, Treviso Auturnn 1791. 173 1). Three acts.

209 210
1749 ANNALS OF OPERA 1749

Also givcn at Madrid, Buen Retiro 23 Sep- G. Casanova (the famous adventurer) and in an
tember 1751; M:mnheim 4 Nowmber 1753; almost eomplctely new setting by J. A_ Adam. l
Pressburg 1760. A parody by T. G. Taeonet, ealled Nostradamus,
was produeed at the o.c. in 1756. The original
GA L U P PI: L' Arcadia in Brenta was onee more revived, in eoneert form, by the
14 May. Venice, S. Angelo Sehola Cantorum, Paris 26 November 1903·
Text by C. Goldoni (the first comic libretto he
wrotc for Galuppi. An e~rlicr setting by Ciampi, BOYCE: The Chaplet
produccd at Piaccnza 1746 or at llassano Autumn 13 Decelllbcr. London, D.L.
1747 is very dOllbtflll. No libretto earlier than Text by M. Mendez (A /lli/sieal el/tertaill//lellt).
1749 has cOllle to light yet). Three acts. Two acts.
Galuppi's first grcat success as a composer of Successful on English stages. Frequendy re-
comic operas. Given on Itali:m stages until 1769; vived in London in the 18th century; given at
Rome Carnival 1759, rcduceLl to 2 acts; Corno D.L. 129 times until 1773. Also given at Dublin
1765, as La 1ll1V1'.1 Areadia. 1757; Philadelphia 4 June 1767; New York 14
In Italian also Barcelona 1751; Leyden 1752; March 1768. As early as 1818 Thc Quarterly Mus-
London, c.G. 18 November 1754; Hamburg 2 ical Magazille alld RCl'ic/v wrote: uDr. William
April 1755; Dresden 23 May 1755; Cologne 21 Boyce wrote a musical entertainment called the
February 1757; St. Petcrsburg 9 February 1759; Chaplet which now lies amongst the things for-
Pressburg Spring 1759; Munich 1760. Last gotten; it is in one act. The dialogue is earried on
revived Bonn Carniv:ll 1771. in recitative, and there are airs, duets, and one
An undated Italian-French libretto 1S men- chorus. Same of them are, wc believe, transferred
tioned in Ca!. Bibi. So/einlle (no.4744). to the Burletta of Midas, PIISIt abal/t the brisk bOll'l
is one of these. There is nothing in the whole
CIAMPI: Il Negligente thing to savc it from oblivion". Still, The Chaplct
AutUIIIIl. V cnice, S. Moise was rcvivcd again on 24 March 1936 by the Arts
Text by C. Goldoni. Three acts. Theatre Club, Landon.
Sueeessful in Ital)'; given at Lodi Carniv:ll
1752 as 11 Trasmrato; at Florcnce Autumn 1752
GALUPPI: II Conte Caramella
as Lo Spellsierato. In Italian also givcn at London 18 Dcccl11bcr. Verona
as early as 1 Deeember 1749; Frankfort 5 October Text by C. Goldoni (p3rtly founded on Addi-
1754 (German translation in libretto by M. So- son's eomedy, Thc Drtl11I11Icr or The Halmlcd
ralli); Trieste Autumn 1756; Oporto 15 May HOl/se, 1716). Three acts.
1762 (first Italian opera there, produced at the Given on many Italian stages and at Barcelona
Theatro do Corpo da Guarda; Portugucse libretto [18 Junel 1754; Pragllc J755; Dresden 18 July
o Descuidado printed; music attributcd to Per- 1755; Trieste Carnival J756; Moscow 27 JUlle
golesi by T. Braga and by Vasconcellos). 1759; St. Petersburg 21 September 1759; Nurem-
berg 7 February 1703 :ilId 5 November 1763 (as
RAMEA U: Zoroastre* Lo Spettra (Oll Tall/bl/fa); Grafeneck, near Stllttgart
4 November 1765 (as 11 Tal11bl/ro nottumo; Pots-
5 DceclI1bcr. Paris, O.
dam 23 September 1766.
Text by L. de Cahusac. Prologue and 5 acts.
(Date and place of first performance according
Revived at the o. on 20. Januar)' 1756 (new
to Schatz, Piovano, and all other authorities. The
version, 3 aets pardy re-written) and (with alter-
ations by Berton) 26 January 1770. Given at I For an account of the Dresden production sec the

Dresden 7 February 1752 in an Italian version by Merwre de Fraflce, May 1752.

2II 212
1749-50 ANNALS OF OPERA 1750-5 1
earliest libretto known, however, is that for the January 1755; Prague 1755; Moscow Summer
production at Venice, S. Sam. 13 November 1758; London 22 November 1760; Breslau 1796.
175 1 .) In German prodllced at Oels (undated libretto
printed).
In this year, 1749, there was published an im-
portant German opera libretto, Thusllelde, ein GALUPPI: 11 Mondo alla Roversa
Singspiel in 4 Arifziigen, mit einem Vorbericht VOll o sia Le Donne ehe eomandano
der Möglichkeit und BeschaDi'llheit guter Singspiele,
14 Novelllber. Vcnice, S. Cass.
by Johann Adolf Scheibe. His text was nevcr set
Text by C. Goldoni (Dralllma bemesco). Three
to music; but it may bc regarded as the literary
acts.
starring point of the 18th ccntury German na-
In Italian also given at Trieste 1752; Barcelona
tional opera movement, and as the prototype of
1752; Brussels Decembcr 1753; Praglle 1754;
works like Schwcitzcr's Alceste (see 1773) and
Leipzig 5 May 1754; Dresden 25 June 1754 (re-
Holzbauer's Günther VOll Schwarzburg (sec 1777).
vived 1768); Hambllrg 22 November 1754; Lai-
bach 1757 (as L'Impero delle DOllne); Munich
175 8 ; Moscow 1759.
I75 0 The only opera of Galuppi which was pub-
lished in his lifetime (vocal score, Leipzig, Breit-
GLUCK: Ezio
kopf, 1758). For arecent account of the work see
Camival. Prague G. G. Bernardi in Musica d'Oggi, June 1934.
Metastasio's text (first set to mllsic by Auletta in
1728). Three acts.
Also given at Leipzig 1751 and revived at I75 I
Vienna December 1763.
German translation by J. A. von Ghelen pub-
TERRADELLAS: Sesostri Re d'Egitto
üshed Vienna 1765. Carnival. Rome, T. delle Dame
Text by A. Zeno and P. Pariati (first set to music
HA S SE: Attilio Regolo by Gasparini in 1709). Three acts.
Terradellas's last opera. The story that Jom-
12 J alluary. Dresden
melli was so jealous of the success of Sesostri as to
Text by P. Metastasio (written in 1740 at Vicnna
poison his riyal Terradellas (who died 20 May,
but not performed there because of the death of
1751) first occurs in A.M.Z., 1800, nO.24, and
the Emperor CharIes VI). Three acts.
was taken over by very many books and maga-
Hasse's opera (which was the first setting ofthe
zines. It seems that Friedrich Rochlitz, editor of
libretto) was revived at Berlin December 1775.
the Leipzig periodical, simply invented it as no
trace of the legend is to be found in 18th century
GAL UPPI: 11 Mondo della Luna* sources.
29January. Venice, S. Moise
Text by C. Goldoni (the first setting of this
HASSE: 11 Ciro rieonosciuto
famous libretto which was later composed by 20 January. Dresden
Piccinni, Haydn, Paisiello and many others). Metastasio's text (first set to music by Caldara in
Three acts. 1736). Three acts.
Successful in Italy. In Italian also given at Bar- Also given at Prague in the same Carnival;
celona Spring 1751; Brussels Winter 1753; Stuttgart 11 February 1752; Warsaw Carnival
Brunswick January 1753 (revived February 1762. This was the last opera in which Faustina
1760); Dresden 7 Octoberl754; Hamburg 23 Hasse appeared in public.

213 214
175 1 ANNALS OF OPERA 175 2

JOMMELLI: L'Ifigenia 175 2

9 Febmary. Rome, Arg.
Text by M. Verazi. Three acts.
HA YD N: Der neue krumme Teufeil
Also given at Mannheim 4 November 1751; Spring. Vienna, Kä.
Naples 18 Dccember 1753; Barcelona Spring Text by J. J. F. von Kurz (founded on Lesage's Le
1755; Prague 1762; C:lSSei August 1766. Diable boitel/x). Two aets.
This is the Ifigellia in Al/lide slIbject; an Ifigenia Haydn' s first opera. The music unfortunately
in Tauride by Jommclli (Napies 20 J:muary 1771 seems to be lost, astonishingly, as the work was
and Lisbon Carnivall776) is also extant. rather suceessful; there must have been many
co pies and one or the other might emerge some
ABOS: Tita Mall/ia day.
30 May. Naples, S.c. Revived at the same theatre24 November 1770
Probably G. Roccaforte's text (first set to music as Asmodeus der krrmlllle Teufel; at the Leop. Th.
by Manna in 1742). Three acts. 4 November 1782 (as Der krumme TeujCl) and
Of Abos's serious operas the only one which once more at the suburban Fasan Theatre 28 Sep-
is extant. Also given at Modena 26 December tember 1783. Also given at Pressburg 29 October
1753; London 10 April 1756; Florence, P. 26 De- 1764; Nuremberg 12 August 1766; Frankfort
cember 1759. 1767; Prague 17 November 1771; Berlin 15 Feh-
In a contemporary letter quoted by B. Croce ruary 1774 (as Der hinkende Teufel); Warsaw
the libretto is calIed "un ben raccoho mazzetto 1774; Donaueschingen 1778-9; Dresden June
di scclti fiori dcl Salvi"; Salvi, however, is not 1782; Munich 7 January 1783, and on many
known to have written a "Tito Manlio" text. In minor stages until the end of the century. The
the ßritish Museum Catalogue the London li- opera is last mentioned in the Gothaer Taschen-
bretto is attributed to Matteo Noris; but his Tito buch für die Schaubühne, 1798, p.27I.
Malllio (first set to music by Pollarolo in 1696) is A comedy founded on Lesage's novcl had been
strikingly different from that used by Abos. produced at Vienna on 16 July 1738. See on the
first period of Viennese German Singspiel, V.
TRAETT A: Il Farnace Helfert in Zeitschrift für Musikwissenschaft, Vol. v
4 NOI'c/1/bcr. Naples, S.c. (1922-23) and R. Haas in Studien zur Musikwis-
senschaft, Vol. XTI (1925).
T \.'xt: an alte red version of Zeno's Mitridate (first
s\.'t to musie by Caldara in 1728). Three acts.
BONNO: L'Erae Cincse
Traetta's first opera.
13 May. Vienna, Schönbrunn
BERTONI: Lc Pescatrici Text by P. Metastasio. Three acts.
26 Dc(clllber. Venice, S. Sam. Written for Bonno and first produced by gio-
Text by C. Goldoni. Three aets. voni distinte dame e cavalieri. Also given at Barce-
Bertoni's most sueeessful eomie opera. Given lona 23 September 1755 and Parma I May 1764.
on many Italian stages and in Italian also at Brus- On Bonno, who in 1774 became Gassmann's
scls c. Decembcr 1753; Dresden 5 September 1 Tide from the earliest extant libretto (undated;
1754; Prague 1757; Bonn May 1758; London copy Stadtbibliothek, Vienna); according to R. Haas
28 April 1761; 13arcelona [28 May] 1761 (revived (Studien zur Musikwissenschtl{t, Vol. xn [19251, P.55)
1769); Logroiio, Spain 1764; Brunswiek August lhis edition belongs probably to a revival in 1758, and
the original tide possibly was Der krumme Teufel. An
1766 (as Le Ire Pescatrici).
ltalian intermezzo Il Vecchio ingallllato is contained in
In Spanish (transbted by R. de la Cruz) Madrid thc second act of Der lieue krumme Tetifel; at Pressburg
26 Oetober 1765. 1764 the intermezzo was called Le Avventure di Lesbina.

2 15 216
1752 ANNALS OF OPERA 1752
successor as court conduetor at Vienna, see E. ber 1759; Vienna Autunm 1760; Turin Spring
Wellesz's study in Sammelbände 0/ the I.M.S., 1761; Liege 10 January 1771; Warsaw May
Vol. XI (1909-10). 1778; Hamburg 2.8 Jtme 1782 (on the same bill
with Lcs Al110urs de Bastien et Bastienne, see bclow);
ST ANDFUSS: Der TeuJcl ist los, Gothenburg 2 May 1783; Stockholm June 1783;
oder Die verwandelten Weiber Amsterdam 1787; New York 21 October 1790;
Colognc 1795-6; St. Pctersburg 1797; Berne 10
60etober. Leipzig
June 1809; Casse! Spring 18I1; Quebec 26May
Text by C. F. Weisse (founded on C. Coffey's The
1846 (by the Societc des Amateurs Canadiens);
DCl'il ta Pa)" see 1731). Two aets. Algiers September 1901 (by the Petit Athenee).
Within a few mondIs Haydn's Viennese ope-
A Dutch version by J. F. Cammaert was pub-
retta was followed by the first North German
lished at Brussels in 1758 (reprinted 1762). Pro-
SingspicI-surcIy more than a me re coincidence.
duced in Dutch at The Hague in 1769 (if not
Standfuss's music has been preserved only in
earlier). Revived Amsterdam December 1932 (by
Hiller's revised version of the opera (see 1766).
the Dutch Chamber Opera).
His setting was also heard at Hamburg and Kö-
An English version, by Charles Burney, The
nigsberg 1756; Frankfort 26 September 1757 (re-
Cunning-Man (a musical entertainment, imitated and
vived 20 November 1770); Berlin 31 January
adapted to Ihe original music) was produced in Lon-
1761; Nuremberg Winter 1764-5; and revived
don, D. L. 21 November 1766 and Dublin 1767.
at Liibeck 27 September 1776. He also composed
Apart from Burney's adaptation, there was an
the music for a sequel Der lustige Schuster (see
anonymous English version, The Village Conjurer,
1759).
published in 1767 (in Vol. 11 ofRousseau's Miscel-
laneous Works).
J. J. ROUSSEAU: Le Devin du Village* A German version by C. Dielitz was published
18 Oclaber. Fontainebleau in 1820. Produced in German only much later:
Text by the composer (interllledc). One act. Vienna 5 March 1909 (by amateurs); Leipzig 21
First produced at Fontainebleau with a pasticcio March 19II (Diclitz's translation revised by P.
overture and recitatives by Jelyotte and Fran- Prina, music arranged by R. Gound); Zurich 29
coeur. Produced at the Opera, Paris 1 March June 1912.
1753 with Rousseau's original recitatives and The great success of Le Devin du Village soon
with a newly composed overture. Given there called forth a parody. It was written by C. S.
more than 400 times until 1829 (20 April 1779 in Favart (in collaboration with his wife and Harny
an altered version, with 6 new airs). de Guerville and called Les Anlaurs de Bastien el
Some days after the production at the Paris Bastienne). Produced at the C.L, Paris 4 August
Opera, on 4 March 1753 given at the palace of 1753 (50th performance as early as 19 December
Bellevue, at the private theatre of Mme de Pom- 1753). In Frcnch also, Fontainebleau 3 November
padour who played the part of Colin. 1753; Brussels November 1753; Laxenburg (near
Revived in Paris at the Comedie-Frant;:aise 29 Vienna) 16June 1755; Vienna 5July 1755; Frank-
May 1838; Th. du Vaudeville 30 August 1864 fort 27 March 1764; Hamburg 28 June 1782;
(partly re-orchestrated by J. Cadaux); Galerie Vi- Gothenburg 4 May 1783; Sielce (Poland) 7 Sep-
vienne 24 December 1896; O.c. 27 June 1912 tember 1788; Lazienk (near Warsaw) Summer
(previously at Ermenonville 23 June 1912; music 1791 (music arranged by Gaetano). Revived Paris,
revised by J. Tiersot); Petite Scene 5 May 1923. Petite Scene 5 May 1923 (along with Le Devin
Outside Paris given (in French) at Brussels du Village).
1753; Lyons 1754; The Hague 28 March 1754; Les Amours de Bastien et Bastienne was first given
Stockholm 9 February 1758; Frankfort Novem- in German at Berlin, Donner'sches Haus 29 May
217 218
175 2 ANNALS OF OPERA 175 2-53
1763 (see M. Dubinski in Die Musik, August 1912, FRANKFORT 3 October 1764 (in German, as Die
P.I42). Another German version, by F. W. Weis- wunderbare Wirkung der Natur).
kern, was first produced at Vienna, Kä. 5 May BRUNSWICK February 1765 (in Italian).
1764 (according to J. H. F. Müller, Cenaue Nach- MADRID 12 June 1766 (in Spanish, translated by
richten •.. , 1772; later authorities give 5 April R. de a Cruz, additional music by P. Esteve).
1764) and subsequently at Brünn 1770; Prague
I I February 1772; Berlin 22 October 1773, etc. BLAVET: Le JaloHx corrige
Revived Vienna, Jos. 29 May 1779 and Leop. 18 November. Bemy
29 October 1781; Munich 29 January 1784 (as Text by C. Co1l6. One act.
Bastien und Bastienne, oder In der Liebe muss gezankt First performed at the Comte de Clermont' s
sein). palace. Paris, O. 1 March 1753 (on the same bill
For Mozart's new setting ofWeiskern's adap- with Rousseau's Le Devin du Village, see above).
tation, see 1768. In French also Mannheim 1754. The score consists
Abert (I, 141, note) quotes a 1764 edition of chieHy of airs from the Italian intermezzi then
Weiskern's version. In the British Museum there being performed in Paris (La Serva Padrona, 11
is a copy of a 1774 edition with additions by Ciocatore and 11 Maestro di Musica). Blavet com-
J.H. F. Müller (cf. MusicandLetters, OctoberI942). posed the recitatives and the vaudeville finale.
Another parody on Le Devin du Village was See on this early French comic opera L. de La
J. J. Vade's La nouvelle Bastienne, produced at the Laurencie in L'Annee Musicale, 1912. .
O.C., Paris 17 September 1754; it was much less
successful than Favart's work. GALUPPI: La Calamita de Cuori
26 December. Venice, S. Sam.
GL UCK: La Clemenza di Tito Text by C. Goldoni. Three acts.
4 November. Naples, S.C. Given at Rome, Capr. February 1757 in a re-
Metastasio's text (first set to music by Caldara in duced 2-act version (ridotta a Jarsetta) and at Bo-
1734). Three acts. logna January 1759 in a still shorter one-act
Gluck introduced the air Se mai senti spirarti version (ridotta ad intermezzo as Cli quattro Amanti
from this opera afterwards into Iphigenie en Tau- in un Amante solo). Revived Reggio 30 April 1768
ride (see 1779) where it became Oh malheureuse and Modena May 1768 (as La Straniera rico-
Iphigenie. nosciuta).
Outside Italy given at Prague 1754; Leipzig
G. S CARLA TTI: I portentosi Effetti 15 May 1754; Dresden 18 July 1754; Hamburg
della Madre Natura 13 November 1754; Moscow 9 February 1759 (in
Italian; Russian translation by E. Bulatnitsky pub-
11 November. Venice, S. Sam.
lished in same year); London 3 February 1763
Text by C. Goldoni. Three acts.
(with an overture by J. C. Bach); Bonn 16 De-
Outside Italy given at :
cember 1764; Lisbon and Warsaw 1766; Aran-
TRIESTE 1754 (in Italian).
juez Spring 1769.
MUNICH 1758 (in Italian).
HAGUE 1 March 1760 (in Italian; production re-
corded by D. F. Scheuerleer and J. Fransen; an I753
Italian-French libretto of 1754, translated by
one Dampenet, is mentioned in Cat. Bibi. So- JOMMELLI: Attilio Regolo
leinne VI, 406). 8January. Rome, T. delle Dame
NUREMBERG 4 January 1763 (in Italian). Metastasio's text (first set to music by Hasse, see
BERLIN 19 December 1763 (in Italian). 1750). Three acts.
21 9 220
1753 ANNALS OF OPERA 1753

Also given in London 23 April (not I I May) Revived BerlinJanuary 1783.

1754 (first Jommelli opera in London) and re- An English translation by S. Derrick (Sylla)
vived 15 May 1762; revived Naples, S.C. 23 was published in London 1753. (It does not seem
March 1761. to have been intended for a production in Lon-
don. None ofGraun's operas was ever produced
MONDONVILLE: Titon et l'Aurore in England. )
9 January. Paris, O.
Text by Abbe de La Marre, retouched by C. A. F. RINALDO DI CAPUA: La Zingara*
de Voisenon; the prologue by A. Houdar de La 19June. Paris, O.
Motte (pastorale-heroi"que). Prologue and 3 acts.
Librettist unknown. Two acts.
Revived in Paris 22 February (not January)
Rinaldo di Capua's most famous work and the
1763 and I2 January 1768; Fontainebleau 18 Oc-
only one which has been preserved as a whole.
tober 1764; Marseilles 1777.
It is unlikely that the 1753 Paris performance of
In French also Brussels October 1754; Gothen-
this popular intermezzo was the first production ;
burg 24 January 1763; Cassel 1767.
but it is the earliest of which we know. Accord-
In Italian (translated by C. I. Frugoni) Parma
ing to Ortolani the work probably dates from
Autumn 1758.
1739·
Parodies: (I) Totinet, by L. Poinsinet and M.
In Italian also given at Pesaro Carnival 1755;
Portelance, O.C. 23 February 1753. (2) Ratoll et
Mayence 1758; York October 1763 (? The
Rosette ou La Vengeance inutile, text by C. S. Fa-
Fortune Teller, by Italian singers; see S. Rosenfeld,
vart, music partly from Mondonville's opera,
Strolling Players in the Provinces, 1939, p.160).
partly by Sodi, C.I. 28 March 1753. In French
It was, however, in its French version that La
also Fontainebleau 27 October 1753; Vienna 14
Zingara made headway; this was called La Bohe-
September 1755; Ulriksdal (Sweden) I Septem-
t11ienne (adapted by C. S. Favart, additions from
ber 1756; Hague 1760. Revived Paris, c.I. 20
Pergolesi and others) and produced at Paris, c.r.
June 1773. There is also a Dutch translation by
28 July 1755. 1 In French also Brussels and Liege
J. T. Neyts (n.d.). In Swedish (translated by C.
1756; Hague 1758; Vienna 1758 (as L'Egyp-
Envallsson), Stockholm 2 April 1799. (3) Le Ricn,
tienne); Nuremberg 2 February 1763; Frankfort
by J. J. Vade, O.C. 10 April 1753. (4) Titonet, by
5 April 1764; Dresden I May 1764; Stockholm
J. Bailly, published 1758, not performed. October 1768; Warsaw September 1778; Goth-
enburg 27 April 1783.
HASSE: Solimano In Swedish (translation by C. H. Flintberg),
5 February. Dresden Stockholm 28 September 1780; Gothenburg 12
Text by G. A. Migliavacca. Three acts. September 1783.
One of Hasse's most famous works, produced In Russian perhaps Moscow 25 June 1788 (no
with the utmost splendour (see Curiosa Saxonica, composer mentioned).
1753, p.66). A revival at Pesaro 1772 is doubtful. Thcre are two Dutch versions of the libretto,
by J. T. Neyts and by J. Nomsz (n.d.).
GRAUN: Silla Two English pieces, the one by an unknown
27 March. Berlin, O. author, with music by Barthelemon (La Zingara,
or The Gipsey, London, Marylebone Gardens 25
Text by King Frederick II ofPrussia (written in
[not 21] August 1773), the other by C. Dibdin,
French, founded on Duche's Scylla, see 1701),
translated irrto Italian by G. P. Tagliazucchi. A
1 There was an ullsuccessful rival version by Mous-
German translation by F. W. Eichholz was pub- tou also called La Bo/,,!mietltle, produced at the o.e.
lished a~ Halberstadt in 1753. Three acts. Paris I41uly 1755 (music arranged by C. F. element).

221 222
1753 ANNAl,S OF OPERA 1753-54
with music by Amold (The Gipsy, London Hm. Revivals: Paris, Th. du Rire 25 March 1899;
3 August 1778), have, according to Iacuzzi, Brussels, Th. Moli~re 14 December 19°5; Paris,
nothing in common with Favart's version. Petite Scme 30 January 1925.
La Zingara was revived, with a new German
libretto, music arranged by R. von Mojsisovicz, FERRANDINI: Catone in Utica
at the Conservatoire, Graz 27 May 1927 and at
Fürth 12 November 1927 (as Die chinesischen
120etober. Munich
Mädchen). Metastasio's text (first set to music by Vinci in
For details on the music of La Zingara and La 1727). Three acts.
Bohemienne see P. Spitta in Vierteljahrsschrift für Written for the inauguration of the new
Musikwissensehajt, Vol. m (1887) and Sonneck's Munich opera-house "Teatro Nuovo presso la
Catalogue, pp.II68, II 69. Residenza", afterwards known as the "Residenz-
Theater").

SELLITTI: Il Cinese rimpatriato DAUVERGNE: La Coquette trompee*

19 Jt/ne. Paris, O. 13 November. Fontainebleau
Librettist unknown. One act. Text by C. S. Favart (eomedie en musique). One
Produced on the same bill with La Zingara, act.
with an overture by Jommelli (wruch, accord- Revived Paris, O. 8 August 1758 (as the third
ing to La Laurencie, did its best to sound Chinese). act of a 4-act opera-ballet, called Les Feste6
There are two different French adaptations: d'Euterpe).
Le Chinois poli en Franee, by 1. Anseaume, pro-
duced at Paris, O.C. 20 July 1754; Brussels 23 AGNESI: Ciro in Armenia
August 1755; Vienna, Laxenburg 2 June 1756;
26 Deeember. Milan, T.R.D.
and Les Chinois, by C. S. Favart and J. A.
Naigeon, additional music from Pergolesi and Text probably by the composer. Three acts.
Coccru, Paris C.l. 18 March 1756 (revived 28 The most important work of Maria Teresa
February 1760); Brusseb 17 July 1756; Hague d' Agnesi-Pinottini, one of the earliest Italian
1759; Amsterdam 1760. Dutch version by J. T. women composers of operas.
Neyts printed (n.d.).

DAUVERGNE: Les Troqueurs*

1754
MARIA ANTONIA WALPURGIS:
JO July. Paris, O.C.
Text by J. J. Vade (after Lafontaine). One act. 11 Trionfo della Fedelta
Called by the Mercure de Franee "premier Inter- Summer. Dresden
mede que nous ayons eu en France dans le gout Text by the composer (with alterations by
purement Italien". Metastasio). Three acts.
In French also given at Brussels November The first opera of the Saxon Princess; Hasse
1753; Stockholm 1754; Hague and Vienna 1758; composed parts of the music. Revived Munich
Frankfort 20 May 1760; Nuremberg 15 January 6 February 1761; Bonn 1769; Padua 14 June
1763; St. Petersburg 1 May 1765; Dresden 1765. 1772.
A par~dy by Farin de Hautemer, Le Troe, was The score was published in 1756. A German
published in 1756. translation of the libretto (by J.e. Gottsched?)
There is a printecl Dutch version by J. T. Neyts appeared in F. W. Marpurg's Historisch,.Kritische
(n.d.). Beyträge, Vol. m, pt.4 (1757); other German ver-
223 224
1754 ANNALS OF OPERA 1754

sions appeared at Leipzig 1754 (Der Triumph der recitava •.• poi si recito ... il Filosofo in Villa".
Treue) and Dresden 1767 (Der Sieg der Treue). But no Bologn:-. 1754 libretto is extant either.
The opera is not identical, as has been assllmed, Very successful all over Italy; given in a re-
with a pasticcio of the same title, produced at duced two-act version as La SeTl1a astuta at Rome
Charlottenburg August 1753. Carnival 1757 and Venice I!! November 1761;
A Frcnch translation, by De MaroHe, was pub- given at Bassano Camival 1763 as La Campagna.
lished in 1165. Outside Italy givcn at Frankfort 21 April 1755

GLU C K : ' .*
LeCmeSt
(anJ I April 1764 as intermezzo); Dresden 13
June 1755; Pragllc 1755; Mannheim 1756 (reviv-
24 September. Schlosshof, near Vienna ed Schwetzingen March 1771); Munich 1758;
Text by P. Metastasio (trattenimento drammatico, Barcelona 1758; St. Petersburg 16 September
originallyset to music byCaldara-not by Reutter 175 8 ; Pressburg 1759; Brussels June 1759 (as lI
-in 1735 and in a reviscd form by Conforto in Tutore burlato).
1751).1 One act. London 6 January 1761 (revived 21 April 1768,
Produced at the Prince of Saxe-Hildburg- "but not heard with the same pleasure", accord-
hausen's Palace of Schlosshof (between Vienna ing to Bumey, and again 16 January 1770 and
and Pressburg) and repeated at the Burgtheater, 8 February 1772).
Vienna, on 17 April 1755. Also given in Italian Dublin Carnival 1762 (presumably as lI Tu-
at St. Petersburg 18 or 19 February 1761. tore bur/ato; this production is always quoted as
The Guardian trick'd for the simple reason that
GAL UPPI: Il Filosofo di Campagna* the British Museum copy of the libretto lacks the
26 Oetober. Venice, S. Sam. first, Italian, tide-page).
Text by C. Goldoni. TIme acts. Vienna 1763 and 1768; Bonn 3 January 1764;
Galuppi's most famous work and the most Zaragoza 1764; Carlsbad Summer 1765; Berlin
popular Italian cornic opera between Pergolesi's 18 July 1765; Warsaw 1766; Stralsund January
La Serva Padrona (1733) and Piccinni's La buona 1769; Salamanca c. 1769; Hermannstadt 1770 (as
Figliuola (1760). The Venice 1754 production is La Serva astuta; Galuppi' s opera?); Moscow 1774;
the first of which a libretto is extant. An earlier Reval and Riga 1777; Stockholm 9 November
performance at Milan in the summer of 1750 is 1780 (as Il Filosofo ignorante di Campagna).
recorded by Paglicci-Brozzi (li Regio Ducal Teatro In Spanish (translated by R. de la Cruz) Madrid
di Milano nel Secolo XVI/l, p.I2o) and has been 26 January 1766 and Barcelona [20 June] 1769.
accepted by Schatz and Sonneck; but the first A German adaptation (Der Philosoph auf dem
known Milan libretto dates from 1755. Another Lande, nachgeahmt von Kurz) was given at
production which may have been Galuppi's opera Vienna, Kä., on 12 May 1770 (according to J. H.
is mentioned in the unpublished diary of D. M. F. Müller, GCllaue Nachrichten . .. , 1772).
Galeati (BibI. Com., Bologna) under the date of An English adaptation The Wcdding Ring, text
19 August 1754: " ... nel Teatro Formagliari si and music by Charlcs Dibdin, was produced at
D.L., London, on I Fcbruary 1773.
1 The editor of the standard edition of Metastasio's
Il Filosofo di Campagna was revived at the Liceo
Opere (paris, Herissant, I780-82) is responsible for two
wrong statements conceming Le Cinesi, namely that
Benedetto Marccllo, Venice 28 February 1907
the litde work bad been first set by Reutter, and (at Goldoni's biccntenary festival, under the
that the author altered it for Gluck. As a matter of fact, direction of Wolf-Ferrari); at Treviso 20 April
Caldara was the first composer, and the revised version 1927 (in the reduced Serva astf4ta version, music
(with four, instead of three, characters) was made for
arranged by G. G. Bemardi); and at Casa Rezzo-
Niccolo Conforto, whose setting, as La Festa Cinese,
was heard at Aranjuez 30 May I75I, three years before nico, Venice 26 July 1938 (music arranged by
Gluck. V. Mortari).

225 226
1754-55 ANNALS OF OPERA 1755

MONDONVILLE: Daphnis et Outside Italy given at Dresden July 1755;

Alcimadure Prague 1756; St. Petersburg Carnival 1758;
Munich 1759; Copenhagen Autumn 1759
29 October. Fontainebleau
(Danish translation in the libretto by R. Soel-
Text by the composer (pastouralo Toulouzeno, in berg); Trieste 1760; Cadiz 1762; Sevilla 1764;
Languedoc dialect). Prologue in French, Les Jeux London 6 May 1769.
floraux, text by C. A. F. de Voisenon. Prologue (For Haydn's setting of the same libretto see
and 3 acts. 1768; for a German version see 1771.)
Given at the Paris Opera on 29 December 1754
and revived there in French on 10 June 1768 and
17 March 1773. The French version, according GRAUN: Montezuma*
to Grimm (1768), is also by the composer. Given 6January. Berlin, O.
at Montpellier (in the patois of that town) on (Original French) text by King Frederick u,
25 August 1758 (in concert form); Versailles 12 Italian version by G. P. Tagliazucchi. Three acts.
and/or 19 December 1764. Repeated Berlin Camival 1771. Revived Saar-
Parodies: Jerosme et Fanchonette ou La Pastorale brücken 13 October 1936 (German version by
de la Grenouillere, byJ.J. Vade, O.c. 18 February F. Neumeyer.)
1755; Les Amours de Mathurine, by J. Lacombe, The score was published as V 01. xv of Denk-
C.I. 10 June 1756; L' heureuse Feinte (anonymous), mäler deutscher Tonkunst in 1904 (edited by A.
published 1756. Mayer-Reinach).

COCCHI: Li Matti per Amore HASSE: Ezio

Autumn. Venice, S. Sam. 20 January. Dresden
Text: an altered version of G. A. Federico's Metastasio's text (first set to music by Auletta in
Amor vl/ol Sofferenza (see 1739). Three acts. 1728). Three acts.
Given at Vicenza Spring 1755; at Modena, Also given in London 12 April 1755. (Hasse is
T. Rangoni SumIJiler 1755 as 11 Signor Cioe. In mentioned as the composer in the libretto; ac-
ltalian also Munich 1761; Nuremberg 19 January cording to Bumey the music was by Perez.)
1763; Berlin Carnival 1764, etc. (An earlier setting by Hasse of the same li-
(The libretto has often been attributed to Gol- bretto, produced Naples 1730, is lost.)
doni who, perhaps, altered the original text for
Venice.) SMITH: The Fairies
3 February. London, D.L.
1755 Text by the composer (from A Mit!summer
Night's Dream). Prologue and 3 acts.
V. PALLAVICINO and FISCHlETTI:
(The text has often been attributed to Garrick,
Lo Speziale who repudiated the authorship in a letter to
Carnival. Venice, S. Sam. James Murphy French, December 1756.) Also
Text by C. Goldoni. Three acts. given at New York 29 May 1786 and Phila-
Pallavicino composed the first act, Fischietti delphia 29 June 1787. According to Pohl, this
the rest of the opera. was the first attempt to introduce recitative into
Given at Rome Carnival 1757 in a reduced English opera.
farsetta version; revived at Mantua 21 January "Garrick has produced a detestable English
1764 with sub-ticle La finta Ammalata; at Treviso opera, which is crowded by all true lovers of
Spring 1770 as 11 Bottanico Novellista. their country. To mark the opposition to ltalian

227 228
1755 ANNALS OF OPERA 1755
opera, it is sung by some cast singers, two Ital- A Dutch translation by J. F. Cammaert was
ians, a French girl, and the chape1 boys; and to published in 1757 (reprinted 1762); performed in
regale with sense, it is Shakspeare's Midsummer Dutch Amsterdam 1773.
Night's Dream, which is forty times more non- A German translation by C. L. R[euling] was
sensical than the worst translation of any Italian published ,at Prague in 1769; performed in
opera-books". (Horace W alpole, letter to Richard German Mayence c.1765; Pressburg 1778; Agram
Bentley, 23 February 1755.) 29 August 1784; Budapest 26 July 1796.
English adaptations were The Capricious Lovers
]OMMELLI: Pelope (text by R. Lloyd, music by G. Rush), London,
11 February. Stuttgart D.L. 28 November 1764; and Phillis at Court (an
Text by M. Verazi. Three acts. alteration of the same text, music by T. Gior-
The first ofJommelli's Stuttgart operas which dani), Dublin 25 February 1767 (see W. J.
is extant. Revived Lisbon Carnival 1768. Lawrence in The Musical Quarterly, Vol. VIII,
P·397).
[DUNI]: Le Caprice amoureux ou (For an Italian version of the libretto see 1765 ;
Ninette ala Cour for Weisse's German version of the libretto, see
12 February. Paris, C.!. 1767.)
Text by C. S. Favart (a French version or "par- A new version of the original libretto by
ody" of Goldoni's Bertoldo, Bertoldino e Caca- Creuze de Lesser (new music by Berton) was
senno, see 1749). Originally in 3 acts; reduced to produced at the O.c., Paris 21 December 18II;
2 acts 8 March 1756 (date according to the another version, by F. V. A. d'Artois de Bour-
Mercure de France). nonville and E. T. M. Ourry at the Vaudeville
From o. G. T. Sonneck's study in Sammel- 28 October 1822; another one, by J. H. Dupin
bände ofthe I.M.S., Vol. XII (191Q-II) it appears and T. M. F. Sauvage, at the Th. Porte St.
that Duni was not the composer of this opera Martin on 26 November 1822 (music arranged
which really was a pasticcio from Ciampi, Latilla, by A. Piccinni); and a fourth version, by N.
Cocchi, Sellitti, Jommelli, Vinci, etc. Duni cer- Brazier, P. F. A. Carmouche and Joslin, at the
tainly arranged the score for Favart. He is, Varietes 19 December 1822.
however, called the composer in most books of
reference, and he was regarded as such as early ARA] A: Cephal i Prokris
as 1776 (on the tide-page of the Copenhagen IJ;e<J>am, II TIPOKPllC'b
libretto of the same opera).
10March. St. Petersburg
Dtmi's autograph score, preserved at Vienna,
Text by A. P. Sumarokov. Three acts.
bears the tide Le Retour au Village.
Excerpts from this very early Russian opera
In French also given at Brussels 30 January
(the MS score of which has been preserved) were
1756; Liege and Hague 1759; Vienna 1760;
published by V. Morkov in 1862.
Amsterdam 1761; Frankfort 24 May 1762; Press-
A French translation by De Henninger was
burg II July 1764; Dresden 2 December 1765;
printed in 1755.
St. Petersburg 26 December 1765; Copenhagen
24 October 1767; Smolna 23 January 1776;
Warsaw August 1778.
UTTINI: Il Re Pastore
In Danish, Copcnhagen 12 March 1776 (as 24 July. Stockholm
pasticcio; translated by N. K. Bredal). Metastasio's text (first composed by Bonno in
In Swedish, Stockholm 29 October 1793 and 1751). Three acts.
Lund 16 September 1795 (as pasticcio; translated Produced at the palace ofDrottningholm. The
by J. M. Lannerstjema). best ofUttini's Italian operas and the only one of

229 230
1755 ANNALS OF OPERA 1755-56
which the score was printed. See on his activity T. Falcone Spring 1760. It may ha~.; been
in Sweden E. Sundström in Svensk Tidskrift for Gluck's as no other opera of that title is known.
Musikforskning, Vol. xm (1931).
SCOLARI: La Cascina
lOMMELLI: Enea nel Lazio 27 December. Venice, S. Sam.
30 August. Stuttgart Text by C. Goldoni. Three acts.
Text by M. Verazi. Three acts. Scolari's most popular cornic opera. Given at
Revived Ludwigsburg 6 January 1766; Lisbon Bassano Carnival 1763, as La Campagna; in ltaly
Carnival 1767. until 1772.
In Italian also produced at Dresden 30 June
1756; Trieste Carnival 1757; St. Petersburg
GALUPPI: Le Nozze Auturnn 1758; Barcelona [7 April] 1761 (with
14 September. Bologna, T. Formagliari some airs by Brusa); Dublin 19 December 1761;
Text by C. Goldoni. Three acts. Nuremberg 15 November 1762; London 8 Jan-
Successful in ltaly: Milan, T.R.D. Autumn uary 1763 (as pasticcio, text arranged by G. G.
1756; Venice Carnival 1757, etc. Given at Peru- Bottarelli) ; Berlin December 1763; Pressburg
gia Carnival 1759 and on many other stages as 26 December 1764; Warsaw 1765; Lisbon Car...,
Le Nozze di Dorina. nival 1766; Gotha 18 September 1767 (German
Outside ltaly given at MWnheim 1757; Prague translation in the libretto by A. S. Perrin);
1760; Barcelona [23 August] 1760; London 1 Vienna 1768 (as pasticcio).
February 1762; Bonn 13 May 1764; Vienna 1764;
Lisbon 1766; Dresden 1766; Warsaw 1766.
(The first production at Bologna was at the 175 6
T. Formagliari, not at the T. Marsigli Rossi, ac-
cording to a note in D. M. Galeati's onpublished CAFARO: La Disfatta di Dario
diary, 13 September 1755, and according to the 20 January. Naples, S.C.
original libretto.) This Goldoni text became fa- Text by N. G. Morbilli, Duke of Sant' Angelo.
mous again when Sarti set it 27 years later Three acts.
under the new title of Pra due litiganti il terzo gode Cafaro's first opera and the first setting of this
(see 1782). favourite libretto.
Revived Florence, P. Auturnn 1757, etc.
G L U C K: V Innocenza giustificata
8 December. Vienna, B. FISCHlETTI: La Ritornata di Londra
Text by Count G. Durazzo (airs by Metastasio). 7 Pebruary. Venice, S. Sam.
One act (2 parts). Text by C. Goldoni. Three acts.
Repeated in August 1756 and revived Summer Successful in ltaly; given at Parma Autumn
1768 in a revised version as La Vestale. See on this 1757, as La Virtuosa ritornata da Londra; at Genoa
opera A. Einstein's paper in The Monthly Musical [22 December] 1758 and Modena 12 January
Record, September 1936. ("Orfeo stands in much 1760 as 11 Ritorno di Londra. Outside Italy given
the same relation to L'Innocenza giustificata as at Dresden 22 July 1756; Prague Carnival 1757;
Lohengrin does to Rienzi".) The score was pub- St. Petersburg 25 February 1758; Lübeck 24July
lished in 1937 (Vol. LXXXU of Denkmäler der 1758; Hague 1759; Barcelona [6 May] 1761;
Tonkunst in Östmeich, edited by A. Einstein). Munich 1761; Copenhagen Carnival 1762;
According to 1. T. Belgrano an opera called Nuremberg 8 November 1762; Berlin Oetober
L'1nnocenza giust!Jicata was also given at Genoa, 1764; C6rdoba 1769; Potsdam 26 July 1776.

231 23 2
 ANNALS OF OPERA 1756-57

GL UCK: Antigono CONFORTO: Nitteti

9 February. Rome, Arg. 23 September. Madrid, Buen Retiro
Metastasio' s text (first set to mllsie by Hasse, see Text by P. Metastasio. Three acts.
1743). Three aets. The first setting of this famous libretto which
Gillek used in this opera parts from his earlier was Metastasio's last great success, and writtert
works. expressly for Madrid, where his friend, the singer
HASSE: Olimpiade* Farinelli was then manager of the court theatres.
Conforto's setting was produced at the Buen
16 Fcbmary. Dresden
Retiro palace, for the celebration of the birthday
Metastasio's text (first set to mllsie by Caldara in
of King Ferdinand VI.
1733). Three aets. The remark in the Herissant edition of Metas-
Revived Warsaw Camival 1761; TlIrin 26
tasio's Opere " .•. scritto dall' autore in Vienna,
Deeember 1764. per la Rcal corte cattolica; ed ivi ••. rappre-
GRA UN: Merope scntato la prima volta .•. " is somewhat mislead-
ing. A. Della Corte in his I primi musicisti di Me-
27 March. ßerlin, O.
tastasio (appendix to his biography of Paisiello,
(Original Freneh) text by King Frederiek II (after 1922) makes no efforts to settle that point.
Voltaire), Italian version by G. P. Tagliazuechi.
Three acts. GLUCK: Il Re Pastore
Graun's last opera. It was also the last opera 8 Decembcr. Vienna, B.
produced at Berlin before the Seven Years' War, Metastasio's tcxt (first set to music by Bonno in
and the fmt which was given there after the war 1751). Three acts.
(revived 19 March 1764 and onee more Carnival GllIck's setting was written for the birthday of
1773). the Emperor Francis I.
[PHILIDOR]: Le Diable aquatre BRUSA: Le Statue
ou La double Metamorphose 27 Decc/11ber. Venice, S. Sam.
19 August. Paris,O.C. Text by G. B. ßrusa (the son of the composer).
Text by J. M. Sedaine (from Coffey's The Devil Three acts.
to Pay, see 173 I), adapted by Baurans. Three acts. Repeated Rome, T. Valle Carnival 1758;
Philidor arranged (and not composed) the mu- Trieste Carnival 1758; Turin, T. Carignano Au-
sic, which consists of popular airs. tumn 1763. In Italian also Nuremberg 26 January
In French also given at Laxenburg (near 1763 and probably Potsdam 29 July 1768.
Vienna) 28 May 1759 (with additional airs by The score of this dram/11a giocoso per musica by
Gluck); Liege 8 December 1759; Hague and the rather unknown Venetian composer was dis-
Amsterdam 1760; Brussels 16 January 1762; covered by A. Della Corte and is analysed in his
Dresden 1765; Copenhagen 1768. Revived Ver- L'Operacomica italiananell' '700,Vo!. I, pp.126-13 5.
sailles 29 February 1764; Paris, c.I. 14 February
1790. 1757
In German (adapted by F. W. Weiskern),
Vienna, Kä. 29 April 1767. PEREZ: Solimano
In Swedish (translated by c. Envallsson), Camival. Lisbon, Th. de Salvaterra
Stockholm 3 June 1787 (pasticcio). Librettist unknown. Three acts.
A Polish version by J. Baudouin, with new mu- Perez's most important opera (cf. H. Kretzsch-
sic by Gaetano, was produced at Warsaw 18 No- mar, Geschichte der Oper, pp.188-189). Revived
vember 1787. Lisbon 31 March 1768; Palermo 1779.

233 234
1757 ANNALS OF OPERA 1757

HAMAL: Vo~~e di Ch6jol1tainc T R A E T TA: La Dido11C abballdonata

(Thc Trip to Chal1dfontaine) Aufllllm. Venice, S. Moise
23 JOllllory. Liege
Metastasio's text (first set to music bv Sarro see
Text by S. J. de Harlcz, P. G. de Vivario, P. R. 1724). Three acts. .'
de Carticr, and J. J. Fabr)'. Opero bllrless' es frCllz
Successful in Italy (Milan, T.R.D. January
oel.
17°3; Naples, S.c. January 1764, with prologue
Comic opera written in the Liege dialect; one
by Majo; Parma 1764, etc.).
of ascries of four Walloon operas (the others
were Li Ligcoi cgagy, Li Fiesse di HOllfe-si-Plou,
and Les Ypoconfc). G. SC A R L A T TI: L' Isofa disabitata
First produccd in concert form at the Hötcl-
20 Novcmber. Venice, S. Sam.
de-Ville, the first act 23 January, the second act
16 February, the third act 25 February 1757. The Text by C. Goldoni. Three acts.
whole 19 September 1767, at the inauguration The most sllccessful opera of the younger
of the Liege Theatre, and again 15 June 1776. Scarlatti.
Music preserved. Vocal score published 1858 Given at Genoa T. Falcone, [14 August] 1760
(edited by L. Terry). as La Chiucse smorrito. In Italian also given at
The first act was revived at Liege on 13 April Vicnna 1757 (revived 12 May 1763, reduced to
1867; the wh oIe opera, in a French version by 1 act, and 9 December 1773); Trieste Camiva}

H. de Fleurigny, Brusscls Th. Moliere 10 March 1759; Barcelona 4 November 1761; Klagenfurt
1890 and Paris, Nouveautes 2 June 1890. 1765; Prague Summer 1767; Dresden 10 No-
(See on this opera C. Bellaigue' s study in ReflllC vember 1767.
des DCIIX Mondes, 15 September 1921.)
FI SCHI E T TI: Il Mercato di Malmantile
DUN I: Le Peintre amoureux de
SOll Modele 26 Dcccmber. Venice, S. Sam.

26July. Paris, O.c. Text by C. Goldoni. Three acts.

Text by L. Anseaume. Two acts. It seems that the mllsic originally was to be
Successful on French stages. written by G. Scarlatti as his name occurs in the
Outside Paris given at The Hague and Liege original libretto ovcrpasted with a slip bearing
1759; Turin Spring 1761; Brusscls 27 September Fischietti's name. Very successful in Italy and
1761; Stockholm 8 November 1764; Warsaw 8 abroad;givenatBarcclona [8 April] 1760; Cadiz
May 1765; Copenhagen 1767; Casscl 26 January Spring 1762; Valenzia Autumn 1768.
1784· London 10 November 1761 and, with new
In German (translated by J. H. Faber), Frank- songs (by Galuppi ?), 14 April 1762; revived 28
fort 1773. January 1769.
In Russian (translated by V. G. Voroblevsky), Dublin Camival 1762; Nllremberg 3 Novem-
Moscow 18 February 1779. ber 1762; Lisbon Carnival 1763; Vienna 15 May
In Swedish (translated by C. Envallsson), 1763 (accordillg to Zinzendorf's diary); Frank-
Stockholm 3 I Angust 1782. fc.Jrt 7 April 1764; Warsaw 1765; Dresden 6 Feb-
A "Parade et parodie" on Duni's opera, called ruary 1766 (revised by the composer); Hanover
Gillcs, Gorfoll Pciutre, z'Al11oure/lx-t-et-Ri[lal, text 26 February 1770; Bonn 1772, etc.
by A. A. H. Poinsinet, music by J. B. de La In Spanish, Madrid Carnival 1764 (as La
Borde, was produced at the O.c., Paris 2 March Feria de Valdemoro, translation by J. Clavijo y
1758; and at Copenhagen 1772 (in French). Fajardo).

235
 ANNALS OF OPERA 1758

First perfortned at Vienna J3 May 1888, and sub-

175 8 sequently given at Stllttgart J2 January 1899;
MAJO: Ricimero, Re dei Goti Weimar 13 becember 1899, etc.; Dresden 3 I Oc-
Carnival. Parma tober 1902: Berlin 26 April 19J2; Graz 8 October
Librettist unknOwn. Thrce acts. 19J4·
Majo's first opera. Successfll\ in Italy; RQtne In German also, Prague 7 January 1900; Riga
23 January 1904; Zurich February 1909; Phila-
Carnival 1759; Naples 1760, etc.
delphia I December 1927.
Translations from Kalbeck's version produced
HOLZBA UER: Nitteti at:
Camival. Turin, T.R. STOCKHOLM J6 March J896 (in Swedish).
Metastasio's text (first set to music by Conforto, BUDAP!:ST J9 March 1913 (in Hllngarian, trans-
see 1756). Three acts. lated by D. Kosztohinyi).
In Italian also, Mannheim 4 November 1758. KAUNAS 23 September i922 (In LithuilOian).
One of the few italian \)peras ofHolzbauer which COPENHACEN 17 April 1933 (in Danish, translated
are extant. by H. H. SeedorffPedersen).

DA UVERGNE: Enee et Lavinie TRAETTA: LJOlimplaJe

14 February. Paris, o. AI/tllmn. Verona
Text adapted by Paradis de Moncrif from an old Metastasio's text (first set to mus!c hy Caldara in
libretto by B. de Fontenelle (first set to mllsic by 1733). Three acts.
Cclasse in 1690). Five acts. Revived Florence 15 October 1767; St. Peters-
The most successful of Dallvergne's serious burg 2 May 1769.
operas; revived in Paris 6 Deccmber 1768 (rectify
Lajarte who says that it wasliever revived). FISCHlETTI: 11 Signor DoUore
An anonymous parody L'Embarras dll Choix Aut/imn. Venice, s. Moise
was produced at the O.c. on 13 March 1758. Text by C. Goldoni. Three acts.
In French opera one of the carliest cxamples of
Successfui in Italy; last revived Pavia 1787.
rc-setting an old libretto, a practice so common In Italian, also given at Trieste 26 December
in Italy; see Mature de FraIlee, December 1765.
1759; Brunswick 1760 and February 1766; Mu-
nich 1760; Barcelona '[6 September] 1761; Prague
GLUCK: L 1s1e de Merlin
J
Oll 1762; Lisbon Carnival J763 (as 11 Dottore);
Le Monde rel1iJerse* Cadiz [23 January] 1764; Vienna, Laxenburg 6
3 Oetober. Vicnna, Schönbrllnn June 1764; Warsaw 1766; Londan 12 March
1767 (revived I May 1770); Dresden Winter
Text by L. Anseaume (altered from a vaudeville
by A. R. Lesage and d'Orncval, originally pro- J768 (revised by the composer); Bonn 1772.
duced at the Thcatre dc Ia Foire St. Laurent,
Paris, in 1718 under the title Le Monde renvers!, TRAETt A: Buovo d'Antona
and with Anseallmc's alterations in 1753). One 27 Deeember. Venice, S. Moise
act. Text by C. Goldoni (founded on the Anglo-
Large parts of the mllsic of L' Isle de Merlin Norman 13th century romance ofBevis ofHamp-
were used for Die Maicllköuigill, a modern GllIck ton).Three acts.
pasticcio, text by M. Kalbeck (founded on Les Traetta's first extant comic opera.
Amollrs ehampetres, see 1735, note on Rameau's In ltalian also given at Tutin, T. Carignano
Lcs bub galantes), music arranged by J. N. Fuchs. 1759; Bologna [rr October] 1759; Barcelona [22

237 23 8
 ANNALS OF OPERA 1759
May] 1760; Sevilla 1764 (firstItalian opera there); den 29 October 1765; Warsaw Autumn 1765;
Verona Spring 1765; Palma, Mallorca [26 May] Palma, Mallorca [6 August] 1767; Vienna Au-
1767; Dresden 1772. tumn 1768; London 18 December 1770.
In the Zatta edition of Goldoni's plays it is In Spanish (translated by R. de la Cruz),
stated (Vol. XLI, 1794) that Buovo d'Antona was Madrid 20 January 1764.
first produced at Florence in 1750 (without men-
S T A N D F U S s: Der lustige Schuster
tioning a composer). Consequently, the date of
18 January. Lübeck
1750 (sometimes misprinted as 1756) for the pro-
duction of Traetta's opera has been taken over Text by C. F. Weisse (founded on C. Coffey's
by Florimo, W otquenne, Dent and many others. The Merry Cobbler, 1735). Three acts.
But aS long as a (possibly misprinted) date, given The second part of Der Teufel ist los by the
so many years after the vogue of the opera was same authors (see 1752). Also given at Frankfort
over, remains the only evidence for a production 1762; Dresden 9 February 1765; and, in a revised
in 1750, it seems to be safer to adopt the date of version by Hiller (cf. note on his Die verwandelten
the earliest extant libretto (which mentions Weiber, 1766), Leipzig Summer 1766; Hamburg
Traetta as the composer). The year 1758 is also 22 August 1769; Weimar 5 May 1771; Berlin
given in a biographical note on Traetta in For- 20 July 1771; Budapest 1774; Altdorf 1777; Salz-
kel's Musikalischer Almanach, 1783, p.109. See burg 5 November 1780. On minor German
also G. Ortolani in Opere complete di Carlo Gol- stages revived even in the i9th century (Hanover
doni, Vol. XXXI, P.552;" ... si tratta, come spesso, 1809; Görlitz 1820; Münster 31 August 1873 I).
d'un errore evidente ... "; and "Troppe volte le Given in Swedish (translator not mentioned) at
affermazioni dell' edizione Zatta risultano fan- Gothenburg I April 1783.
tastiche". An anonymous opera which, judging from the
SCALABRINI: title, might have been a Russian version of Der
Den Belennede Kiaerlighed eller lustige Schuster was produced at Moscow 12 Jan-
uary 1789.
De Troe Elskende
(Love rewarded or The faithful Lovers) MONSIGNY: Les Aveux indiscrets
29 December. Copenhagen 7 February. Paris,O.C.
Text by J. Windtm0lle (translation from an anon- Text by La Ribadiere (after Lafontaine). One act.
ymous Italian libretto L' Amor premiato 0 Gli In French, also given at Brussels May 1759,
Amanti fedeli). Three acts. Frankfort 1760 and Copenhagen 1769. In Ger-
Scalabrini's 'first Danish opera (Comisk Synges- man Frankfort C.1775. In Russian, Moscow 1787
pil) and one of the earliest operas produced at the (translated by V. A. Levshin).
Danish National Theatre. Music lost. A parody of the same title, by Toussaint Gas-
pard Taconet, was produced at Versailles 19 Fe~
1759 ruary 1759 and Paris, Th. Nicolet 1764.
GASSMANN: Cli Uccellatori LARUETTE: Cendrillon
Carnival. Venice, S. Moise 21 February. Paris,O.C.
Text by C. Goldoni. Three acts. Text by L. Anseaume. One act.
Gassmann' s first great success; given on many According to the tide-page of Duchesne' s
other ltalian stages. edition, the first performance was the previous
In Italian, also Trieste Carnival 1760; Barce- night, 20 February at the Theatre de la Foire, St.
lona [6 August] 1760; Madrid 10 December Germain.
1?64; Prague Spring 1765 (with additional mu- The first of the many operas dealing with the
_ SIC by G. Rust); Carlsbad Summer 1765; Dres- _ Cinderella subject (see Isouard, 1810; Steibelt,

239 240
1759 ANNALS OF OPERA 1759
1810; Rossini, 1817; Rozkosny, 1885; Massenet, Originally the text had been written by Favart
1899; W olf-Ferrari, 1900). Date of first perform- and C. B. Fagan as Le Pouvoir de l'Amour, ouLe
ance according to the Mercure de France; the Siege de Cythere in 1743. In 1748 it was altered by
printed libretto has 20 February. Also given at Favart alone and performed as La Cythere ass;egee
Brusse!s 1766 or earlier. at Brusse!s 7 July 1748; Paris, O.C. 12 August
1754; and Vienna 1757. The composers of those
PHILIDOR: Blaise le Savetier* earlier versions are not known. Gluck' s setting
was first produced at Schwetzingen, near Mann-
9 March. Paris, O.C. heim (exact date unknown) and, according to A.
Text by J. M. Sedaine (after Lafontaine). One act. Einstein, at Vienna in the same ycar, 1759, per-
Philidor's first opera. Very succcssful in Paris. haps even carlier than at Schwetzingen. Zinzen-
In French also given at Brusse!s January 1760; dorf in his diary mentions a performance at
Hague 1760; Amsterdam 26 May 1762; Turin Vienna on 17 February 1762. Also givcn at Lyons
Spring 1765; Hanover 17 July 1769; Casse! 21 17 March 1762 (in concert form). Rcmodelled
July 1784. as a 3-act opera-ballet: Paris, O. 1 (not 1I) Au-
In German (translated by J. H. Faber), Frank- gust 1775 (with additional music by Berton, text
fort 1772; revived Munich 19 May 1785. In by Moline). In German (translated by K. L.
Swedish (adapted by C. Envallsson), Stockholm Gieseke), Vienna, W. 19 January 1796 (with
21 April 1797. Dutch version by J. T. Neyts pub- additional music by F. A. Hoffmeister).
lished (n.d.). A German adaptation Der Dorf- Revived Magdeburg 24 January 1929 (new
balbier by C. F. Weisse, music by Hiller, was German version by L. K. Mayer).
produced at Leipzig in 1771. An English version
The Landlord outwitted or The Cobler's Wife, S.'s LARUETTE: L'Yvrogne corrige
Wells 23 June 1783 and 10 May 1784; and as
Who pays the Rent, or The Lalldlord outwitted, 8 24 July. Paris, O.c.
May 1797. An English adaptation The Cobler; or Text by L. Anseaume and Lourdet de Santerre
A Wife of Ten Thousand, text and music by C. (founded on a fable by Lafontaine). Two acts.
Dibdin, was produced in London, D.L. 9 De- Gluck composed the same text some months
cember 1774. later (see 1760). Date of first performance accord-
ing to the Mercure de Prallce. The printed libretto
has 23 July 1759. Revived Hague 1760•
TRAETT A: Ippolito ed Aricia
9 May. Parma G L U C K: L' Arbre enchante OU
Te: by C. 1. Frugoni (an Italian version ofPelle- Le Tuteur dupe
grin's French libretto, set by Rameau, see 1733).
3 October. Vienna, Schönbrunn
Five acts.
Text by L. H. Dancourt (altered from an earlier
Traetta made use of so me ofRameau's original
French vaudeville by J. J. Vade, called Le Poirier,
music (see M. Cooper, Gluck, 1935, p.26). Re-
itself based on Lafontaine' s tale La Gageure des
vived Parma Spring 1765.
(Date of first performance indicated in the
trois Commeres, produced at Paris, O.c. 7 August
Mercure de France.) 1752). One act.
In French, also Hague 31 January 1771. Re-
modelled by Gluck (text altered by Moline) ,
GL UCK: Cythere assiegee* Versailles 27 February 1775 (given there in hon-
Summer. Schwetzingen our of a visit of Marie Antoinette's brother, the
Text by C. S. Favart (from Longus's Daphnis ct Archduke Maxirnilian); also perfoqned at Rozana
Chloe). One act. (Poland), at Prince Sapieha's, 12 September 1784.

241
1759-60 ANNALS OR OPERA

In Danish (translated by A. G. Thoroup), Summer 1767 (with three additional airs by

Copenhagen 21 September 1792. Marescalchi); Valencia [4January] 1769; Aran-
In Russian, Moscow 30 June 1793. juez Summer 1769. In Spanish (translated by
In German (translated by K. L. Gieseke), A. Bazo), Madrid 1765, with additional music
Vienna, W. 3 I May 1794. by P. Esteve; Barcelona 1770; Valladolid 1772.
Revived Paris, F.P. 27 April 1867 (text altered NUREMBERG 7 June 1762 (in Italian; according to
by C. Nuitter) and subsequently at: an advertisement, quoted by F. E. Hysel) ,
PRAGUE 1868 (in German) according to Wot- apparently for the first time in Germany.
quenne. BONN 23 March 1764 (in Italian, revived 13 May
BRUSSELS, ur. MOLIERE 18 January 1906 (in 1772).
French). VIENNA 19 May 1764 (in Italian, at the Palace of
FRANKFORT 1921 (in German). Laxenburg; at the Burgtheater, Summer 1768
WIESBADEN January 1926 (in German; mUSlC and 9 April 1777); in French, Kä. 22 January
arranged by A. Rother). 1776; in German, Kä. 5 December 1784.
ERLIN 3 July 1936 (in German; at the Hoch- WARSAW 1765 (in Italian) and 22 January 1783
schule für Musik). (in Polish, translated by W. Boguslawski); in
AMSTERDAMJanuary 1937 (by the Dutch Cham- Polish also, Wilna 4 April 1799.
ber Opera). DRESDEN 16 November 1765 (in Italian; givcn
V ocal score edited by Max Arend, with Ger- there until 1781).
man version by Käthe Arend-Andrasch, pub- INNSBRUCK 1765.
lished 1914. LONDON, HM. 25 November 1766 (according to
advertiscment; Bumcy gives 9 December
17 60 1766), in Italian; revived there almost every
season until178S, and again, 28 May 1789; 5
PICCINNI: La buona Figliuola* May 1796; and 21 June 1810, for Catalani's
6 February. Rome, T. delle Dame benefit, "from the original score, with no
Text by C. Goldoni (founded on Samuel alteration whatever".
Richardson's Pamela or Virtue Rewarded, 1740). LONDON, C.G. 3 December 1766 (in English, as
Three acts. The Accomplish' d Maid, translated by E. Toms,
Goldoni had treated the subject as a comedy who calls his version the "first attempt of
in 1750 and re-wrote it as an opera libretto in bringing an entire musical composition on the
1756 when it was first set by Duni (Parma English stage"; another translation, by T. Hol-
26 December 1756 and, in French, Paris, C.I. 8 croft, The Maid ofthe Vale, was given at Dublin
June 1761). There is also a setting by Perillo, in 1775, with new music by Michael Ame;
givert at Venice ten days after the Rome produc- the Covent Garden libretto was reprinted at
tion of Piccinni's opera. Philadelphia in 1777, apparently the first opera
Piccinni's 18th opera and his greatest success; of Italian origin published in America; but
given all over Italy; at Rome, Capr. February there is no record of an American production.
1762, as La buona Figliuola Zitella, reduced to a BERLIN December 1768 (in Italian) and 8 Sep-
"farsetta"; at Reggio May 1763, Modena, T. di tember 1777 (in German, translated by J. J.
Corte 18 June 1763, and Florence Autumn 1763 Eschenburg; this version was given on every
as La Baronessa riconosciuta; at N aples, T. N. German stage: Berlin 8 September 1777 at
Summer 1778 with many alterations. Döbbelin's Th. and 10 March 1787 at the
Outside Italy: National Th.; St. Petersburg 15 January 1778;
BARCELONA [19 March] 176i (in Italian); sub- Hamburg 14 January 1779; Vienna 5 Decem-
sequently given at Sevilla 1764; S. Udefonso ber 1784; Riga Autumn 1785, etc.).

243 244
 ANNALS OF OPERA

COl'ENHAGEN Autlllnn 1769 and 2 January 1777 Thc second and last opera of tlle Saxon Prin-
(in Italian, Danish translation in the libretto by cess. Revived Dresden 24 August 1763 and 3 De-
F. A. Friis) and 1772 (in Frcnch). cember 1767 (debut of G. E. Mara). Score pub-
MANNHEIM 4 Novcmbcr 1769 (in Italian) and 2 lished I 765.
May 1782 (in German). A French translation, by De Marolle, was pub-
PARIS, C.I. 17 June 1771 (in Frcnch, translated by lished in I 765.
J. F. Cailhava d'Estandoux, music arranged by A German adaptation as a tragedy without
D. Baccclli; revived there 29 January 1777 music was publishcd at Zwickau in 1766.
under Piccinni's supervision; this version was
also given at Brussels 1771; Maestricht and TRAETTA: I Tintaridi
Copcnhagen 1772; Vienna 22 January 1776; April. Parma
Liege 19 June 1779; Cassel 16 July 1784). In
Text by C. I. Frugoni (an Italian version of
Italian: Paris, O. 7 December 1778 and Th. de
Bernard's Castor et Pollux, see 1737). Five acts.
M.3 February 1790.
In Italian also given at Vienna 1760; revived
CEUTA (MOROCCO) 6 July 1773 (in Italian; see R.
Florence 3 January 1768.
Twiss, Travcls Through Portugal alld Spain,
(Tin/aridi is the correct form of the title, not
1775, p.274).
Tantaridi or Tantiridi (Goldschmidt), nor Tinda-
BASTIA (CORSICA) Carnival 1775 (in Italian).
ridi (Riemann), nor Tindari (SchmidI).
ESZTERHAZA Autumn 1776 (in Italian).
DUBLIN 17 May 1777 (in Italian; Michael Kelly's
GL UCK: L'Yvrogne corrige*
debut; see his Reminisce/lces, Vol. I, p.17).
RIGA 1777 (in Italian).
April. Vienna, B.
ST. PETERSBURG 31 May 1779 (in Italian). Text by L. Anseaume (first set to music by La-
KREMSMÜNSTER 1781 (in Italian). ruette, see 1759). Two acts.
STOCKHOLM 28 March 1781 (in Italian) and 10 In German, Vienna, B. December 1781 (as
September 1788 (in Swedish, translated by C. Der letzte Rausch, by a company of children;
Envallsson). anonymous translation published Mannheim
KOUSKOVO 13 June or 13 July 1782 (in Russian? 1780); Gotha 14 May 1784 (as Die Trunkenbolde
Russian version by I. A. Drnitrevsky, publish- in der Hölle).
ed in that year). Revived Paris, Petite Scene 7 June 1922 (in
An undated Dutch adaptation by J. T. Neyts French); Nantes 13 March 1928; by the Petite
was published about 1770. Scene also produced at Barcelona Spring 1928;
P. L. Ginguene, Piccinni's first biographer Amsterdam November 1928; Brussels 26 No-
(1800) reports, with some reserve, a production vember 1928; Swinemünde Summer 1928 (new
of La buona Figliuola, by Italian Jesuits, at the German version by W. M. Treichlinger); Lon-
Chinese Court, Peking, before 1778 ! don, Birkbeck College 12 March 1931 (in Eng-
La buona Figliuola was revived, under the title lish, translated by G. Dunn). Kiel 7 May 1936
of La Cecchina and with alterations, at Bari (the (new German version by B. Engelke).
composer's native town) 7 February 1928 (cele-
braring the bicentenary ofPiccinni's birth, under DURAN: Antigono
the direction of La RoteIla). 10 July. Barcelona
Metastasio's text (first set to music by Hasse, see
MARIA ANTONIA WALPURGIS:
1743). Three acts.
Talestri, Regina delle Amazoni Duran's setting seems to be the first opera by
6 February. Nymphenburg, near Munich a Catalan composer expressly written for the
Text by the composer. Three acts and licenza. Barcelona stage.

245
 ANNALS OF OPERA

PHIlIDOR: Le Soldat Magicien Rimario e Grilantea, the acwal first production of

14 August. Paris,O.c. which is not dateable.
Text by 1. Anseaume (founded on a story by A.
Le Metel d'Ouviile). One act. GA VINIES: Le Pretendu
In French also given at Amsterdam II April 6 November. Paris, C.I.
1761; Brussels 13 May 1761; Hague 29 Decem-
Text by F. Riccoboni. Three acts.
ber 1761; Bonn March 1764; Copenhagen 1767; The only opera by the famol1s French violinist.
Hanover 17 July 1769. In French also given at Frankfort 28 February
In Dutch, Amsterdam 1768 (translations by J.
1761; Vienna 15 January 1763; Brussels 1767·
T. Neyts and J. F. Cammaert printed).
In German (translated by J. J. Eschenburg) :
Brunswick and Hamburg 1770 (by Ackermann's
LAMPUGNANI: Amor Contadino
company); Hanover 12 May 1773; Cologne 14 12 November. Venice, S. Angelo
July 1780; Berlin 25 April 1785, etc. Text by C. Goldoni. Three acts.
Another German version, by 'F. W. M.', pub- Lampugnani's last traceable opera. Given on
lished at Mannheim in 1771, was probably used some Italian stages and (in Italian) also at MUriich
by Marchand's company at Frankfort. Sonneck 1761; Prague Summer 1763; Copcnhagen Al1-
attributes this translation to F. 1. W. Meyer. but tumn 1763 (Danish translation in the libretto by
this can hardly be correct, as Meyer was born in R. Soelberg); Lisbon Carnival 1764.
1758.
In Danish (translated by 1. Knudsen), Copen- GAL UPPI: L' Amante di tutte*
hagen 29 April 1783.
15 NO!lember. Venice, S. Moise
In Polish (translated by 1. PierozYllski), War-
Text by A. Galuppi (the son of the composer).
saw I I March 1787 (some new music by Gae-
Three acts.
tano) and Wilna 9 April 1799.
Very successful in Italy (Bologna, Verona,
Revived Paris, Tr. 1. 17 January 1920.
Turin 1762, Milan, Parma 1763, Florence 17 64,
etc.; given at Rome, Tord. 7 January 1762 as 11
HA S SE: Alcide al Bivio Matrimonio ill Villa ossia L'Ama71le di lutte) and
8 October. Vienna abroad: Barcelona [4 May] 1762; Prague 176 3;
Text by P. Metastasio. One act. ~openhagen Autumn 1763 (as La M(lglic bizarra,
Written for the wedding of the Archduke Danish translation in ehe libretto by R. Soclberg);
Joseph and the Princess Isabella of Bourbon and Gorizia Carnival 1764; Dresden I May 1766
performed at the Redoutensaal of the Hofburg (revived 30 September 1775); Ljubljana [22 No-
(together with Tetide, a serenata by Gluck which vember] 1766; Cadiz 20 January 1767; Vienna
is not extant). 1767 (as 11 Vccc[,io gcloso); San Ildcfonso (Spain)
In Italian also given at Copenhagen 2 February Summer 1768; Valencia Autllmn 176X; Rostock
1774 (Danish translation in the libretto by F. A. November 1768; StralsundJanuary 1769; Mann-
Friis); Leipzig 23 Decem ber 1777 (lmder J. A. heim Camivall77o; Lübeck 17 August 1773 (as
Hiller) and Vienna 11 March 1781 (in concert 11 Vccchio ge/oso); Warsaw 17 January 1776 ;
form). Stockholm 7 Febn.iary 1781; Lisbon as late as
Vocal score published 1763. Autumn 1807.
Revived for the centenary of Hasse's death at In German, Leipzig 27 June 1769 (see C. H.
Dresden 29 December 1883 (in German, as Die Schmid, Schreiben über die Leipzigcr Biihne, 1770 ).
Wahl des Herkules, translated by K. F. Niese) on In Polish, Warsaw 6 April 1783 (translator
the same bill with one of Hasse's intermezzi, unknown).

247
 ANNALS OF OPERA

(Date of first performance from Gradenigo's 1770 (pasticcio; Giordani, Sacchini, Barthelemon
unpublished Notatorj.) are named as composers in the printed score).
Revived Bologna Palazzo Felicini 21 August
T. A. ARNE: Yhomas and SaUy, 1769 (as Le Vicende Je! Caso); Rome Capr. 8
or Yhe Sailor's Return* January 1774.
In German (translated by J. C. Bock), Leipzig
28 November. London, c.G.
30 June 1780; another German tide or version
Text by I. Bickcrstaffc. Two acts.
was Das Spiel des Zufalls, produced at Munich
Successful on English stages: given at Dublin
1 May 1785 (Piccinni mentioned as composer).
27 April 1761 (not December 1759); York
Another German translation, by J. A. von
Spring 1764; Ncwcasdc Summer 1764; Edin-
Ghelen, was published at Vienna in 1761.
burgh 19 January 1765; Philadelphia 14 Novem-
ber 1766; New York 21 December 1767; Kings-
TRAETTA: Armida
ton, Jamaica 2 October 1779.
In Thomas and Sally, clarinets were introduced 3 January. Vienna, B.
into the English opera orchcstra for the first time. Text by Count G. Durazzo (founded on Qui-
Frequendy revived in London; recent revivals nault's ArmjJe, see 1686), versification by G.
were Lyric Th., Hammersmith, 10 April 1926; Migliavacca. One act.
Arts Theatre Club 24 March 1936; Cambridge One ofTraetta's most important works. Given
27 July 1937; New York, Litde Th. 4 January also at Naples, S.c. Spring 1763; revived Venice,
1938 and London, Mercury Th. 15June 1939 (by S. Salv. 27 May 1767 (this latter production, ac-
the "Intimate Opera Company"); London, New cording to Salvioli and Haas, with a new text
Th. 1 July 1941. by F. Sarego, a statement which is not borne out
by the entries ofboth the 1761 and 1767libtettos
DUNI: L'Isle des Foux* in the Library of Congress Catalogue).

29 December. Paris, c.I.

GAL UPPI: Li Yre Amanti ridicoli
Text by L. Anseaume and P. A. Lefevre de Mar-
couville (founded on Goldoni's Arcifanfano, Re 18January. Venice, s. Moise
dei Matti). Two acts. Text by A. Galuppi (the son of the composer).
In French, also given at Vienna 4 July 1761; Three acts.
Brussels 14 February 1762; Copenhagen 1770; Successful in !taly; also given in Italian at Tri-
Moscow on or before 24 September 1775 (on este 1762; Prague Autumn 1763; Brunswick Feb-
which day Bourree de Corberon attended a per- ruary 1765; Vienna and Münster 1765; Dresden
formance); Liege 3 February 1784. 27 November 1766; London 5 November 1768
(with so me new music by F. Alessandri; text
altered by G. G. Bottarelli) ; Copenhagen Au-
I7 6I tumn 1771; Bonn 1774.
(Date of first performance according to Gra-
PICCINNI: Le Vicende della Sorte denigo's unpublished Notatorj.)
3January. Rome, Valle
Text by G. Petrosellini (founded on Goldoni's MONSIGNY: Le Cadi dupe*
I portentosi Effetti della Madre Natura, see 1752). 4 February. Paris,O.C.
Three acts. Text by P. R. Lemonnier (set by Gluck !ater in
Very successful in !taly and abroad: Lisbon 6 the same year). One act.
June 1766; Dresden 2 December 1766; Bruns- Monsigny's setting was also given at Amster-
wick 1768 (in 2 acts); London 6 November dam 12 December 1761; Dresden 1765 (revivcd

249
 ANNALS OF OPERA

29 September 1767); ßrusse\s 1766; Copenhagen Barll/lt:ssa maritata; at Florence Spring 1765 as La
January 1767; Hanover 3IJuly 1769;ticge I D e- buona MIl,c.:1it·; at Naples, T.N. Summer 1765 as
cember 1770; Tllrin Spring 1774;Cil.sscl21 No- La. CCCcl,il/a maritilla (text revised by P. Mililotti).
vember 1783; Moscow 29 January 178$. In Italian. also givcn at Barcelona [25 SeptemberJ
In Swedish (translated by C. Envallss~n aXld 1763; Brunswick 1763; Vienna 1764; Warsaw
C. Stenborg), Stockholm 19 April 1781 ; Gothen- 1765; Dresden 5 Decel11ber 1765; London 31 Jan-
burg 30 September 1783. uary 1767 (cf. Bumey, IV, p.492; revived 2 May
In Russian, Moscow 25 May 1794. 1771); Valencia Camival 1769; Madrid 1769;
A Dutch version by J. T. Neyts was published Paris. O. 15 April 1779.
c.1762; a German version by J. H. Faber in 1772; Yet another seqllcl, La (lUol/a F~~liu(lla supposta
a D.mish version by L. Knudsen in 1785. VedolJa (text by A. Bianchi. mIJsic by Latilla).
was produced at Venice, S, Cass. Carnival 1766.
JOMMELLI: L'Olill1piade
PHILIDOR: Le Madchalferrant
11 Felmlary. Stllttgart
22August. Paris, O.C.
Metastasio's text (first set to music by Caldara in
Text by A. F. Quctant (and. according to Des
1733). Prologue and 3 acts.
Boulmiers, Servicres and Anscaume). One act.
Revived Lisbon 31 March 1774. The only
One of Philidor's most popular works; givcn
opera ofJommelli of which the score was printed
at Föntainebleau 3 November 1762 and aJl over
(in 1783): cf. RlidolfKrallss, Die BIICh- und Noten-
France. In French, also giv~n at Amsterdam 1762;,
druckerei der Hohell Karlsschulr, in Württembergische
Vienna 26 June 1763; frankfort 25 March 1764
Vierteljahrsh~{te, Vol. xx (1911).
and probably earlier; St. Petersburg 7 October
PHILIDOR: Le Jardinier et 50n Seigneur* 1764 (first French opera in Russia); turin Spring
1765; Dresden 1765; Geneva 1766; Copenhagen
18 Fcbmary. Paris,O.C.
Fcbruary 1767; Brussels 1767; Aachen 23 July
Text by J. M. Sedaine (after a fable by Lafon- 1768; Ghent 1<) March 1769; Hamburg 10 Feh-
taine). One act. ruary 1769; Liege 30 October 1770; Warsaw I
In French also, Brussels 1767, Copenhagen February 1778; Munich 7 April 1783; Cassel 2
1772 and Cassel 15 September 1784. October 1784; Cologne 1796-7; Kingston. Ja-
The existence of a new genre of dramatic maiea 15 February 1802,.
music, namely French opcra-comiqlle, different In German (translated by j. Andre), Frankfort .
from the older type CII vaudevilles and devcloping Autumn 1771; Munich 12 April 1776; Vienna
alongside of grand opera, had now become a fact Spring 1776; Pressburg 1 March 1779. etc. In a
weil recognized in the public mind, as we may new German version by H. A. O. Reichard,
conclude from the remark in the Mercure de Gotha 7 October 1776; Donn 21 March 1779;
n
Francr (March 1761), propos the production of Hamburg 1779; Carlsruhe 1711 I; Hanovcr 28
Le Jardi!'ier et Sllll Seiglleur ... "La Musique qui June 1787; Cologne 11 june 18110; Pyrmont 7
est dcvenue la partie interessante d'un Opera- july 1781; Riga 16 November 1785; Bremen 19
comiqlle .... " December 1785; Berlin 3 September 1787, etc.
In German also Amsterdam 2 June 1796.
PICCINNI:La buona Figliuola maritata In Danish (translated by J. H. Wessel), Copen-
10 JUlle. Bologna, T. Formagliari hagen 15 December 1778.
Text by C. Goldoni. Three acts. In Russian, Moscow 1780.
A sequel to La bllona F~flliuola (see 1760), but In Swedish (translated by C. Envallssori, musie
not nearly as successful. Given at Reggio 1761. adapted by C. Stenborg), Stockholm . II July
and Modena, T. di Corte. 12 July 1763 asLa 1781 and. with alterations. 23 September 1786.

251
 1761 ANNALS OF OPERA

In Polish (translated by J. Baudouin), Warsaw [A UDINOT]: Le Tonnelier

15 December 1781.
28 September. Paris, O.c.
In English, Boston 25 March 1793.
Text by the composer (after Lafontaine). One act.
A Spanish version (EI Borrado burlado, text and
Audinot was rather the compiler than the com-
music by Conde de Penaflorida) was produced
poser of the fIrst version; see the account in
at Vergara I I September 1764.
Charles Maurice's Histoire anecdotique du Theßtre
Dutch translations by J. N. Neyts and by J. et de la Litterature, 1, P.373; according to a note
Menkema werc published in 1769 and 1784 by Weckerlin in the Paris Conservatoire copy of
respectively.
the score, J. C. Trial, Philidor, Gossec, Audinot
There was a contemporary parody on Le Ma- and Schobert all contributed to Le Tonnelier.
rechal ferrant, called Le Forgeron, by G. Delautel, This cornic opera only became a great success
part of the music by the author, produced at the four years !ater, in a new version (text revised by
Th. Nicolet, Paris, in April 1762.
F. A. Quctant, music re-arranged by Gossec).
Philidor's opera was revived in Paris, Tr. L. First produced Paris, c.1. 16 March 1765; in
20 November 1920. French also, Geneva 1766; Copenhagen March
1767; Brussels 20 April 1767; Lübeck 17 May
1769; Vienna 15 January 1776; Warsaw 12 Feb-
MONSIGNY: On ne s'avise jamais ruary 1778; St. Petersburg 2 January 1779; Lon-
de tout* don 6 June 1783 (privately, 40 Great Marlborough
14 September. Paris,O.C. St., in concert form); Gothenburg 26 April 1784;
Moscow 25 November 1784; New York 7 Oc-
Text by J. M. Sedaine (after Lafontaine's tale of
tober 1790 (first opera which was sung in French
the same title). One act.
there); Aachen 17 August 1794; Hamburg 29
Performed at Fontainebleau 2 December December 1794; Cologne 1795-6.
176 I. In German, Hamburg Summer 1771; (trans-
In French also given at Brussels 25 February lated by C. F. Schwan); Weimar 3 August 1772;
1762; Hague 12 May 1762; Vienna 17 August Gotha I2July 1774; Leipzig 30 September 1774;
1762; Amsterdam 1762; St. Petersburg 9 Decem- Hague 1774; Altenburg 19 August 1775, etc.;
ber 1764; Geneva 1766; Dresden 18 July 1766; (translated by J. H. Faber), Frankfort 1775; Dres-
Turin Spring 1774. den 9 November 1775; Vienna, Fasan Th. 12
In German (translated by J. H. Faber), Frank- May 1776 and B. 29 June 1780; Troppau 1781;
fort 1772; Augsburg 31 August 1779; Warsaw Berlin 2 November 1781; Riga 13 December
I I October 1782. 1782; Cassel 1783; Stockholm June 1783; Ams-
In Swcdish (translated by C. Envallsson), terdam C.1793.
Stockholm 28 May 1790. In Polish (translated by J. Baudouin), Warsaw
A Dutch version by J. F. Cammaert was pub- 7 September 1779; Cracow 24June 1790.
lished in 1763. In Danish (translated by H. Gram), Copen-
Revived Brussels, Th. Moliere 15 February hagen 27 October 1780; revived 7 March 1858.
1906; Paris, "Th. de Monsieur" (Th. des Mathu- In Swedish (translated by C. Envallsson),
rins), December 1910; Paris, Petite Scene 26 Feb- Stockholm 17 January 1781.
ruary 1928. In German, as Das Lebemelixier, new In Russian (translated by F. V. Gensh), Mos-
German text by L. Metzl, music arranged by H. cow 17 August 1783; (perhaps earlier at Kous-
Gal, Baden (near Vienna), June 1936. kovo 1780; a Russian translation by V. G. Voro-
Vocal score (edited by C. Lecocq) re-issued in blevsky was published, n.d.).
1910. There are four different Dutch translations, by

253 254
 ANNALS OF OPERA

J. F. Cammaert (1768); J. T. Neyts (n.d.); A.

Soulage (1786); and B. Ruloffs (1792). Bumey
I7 62
attended a Flemish production at Brussels inJuly J. C. BACH: Alessandro nell'Indie
1772. In Flemish also Oudenarde 1796-7.
20 january. Naples, S.c.
An English adaptation, The Cooper, text and
Metastasio's text (first set to music by Vinci in
music by T. A. Ame, was produced in London,
1729). Three acts.
Hm. 10 June 1772; also Boston 3 April 1793.
The last opera Bach wrote for the Italian stage
Gossec' s version was frequendy revived in
before he setded in London in Autumn 1762.
France; at Lyons as late as 23 February 1927 (re-
scored by M. Reuchsel).
Midas
22 january. Dublin
CL UCK: Le Cadi dupe*
Text by K. O'Hara (An English burletta). Three
DCCl'/l1bcr. Vienna, B. acts.
Text by P. R. Lemonnier (set by Monsigny The music of this famous parody on Italian
about the same time, see above). One aet. opera seria consists of popular tunes, se!ected by
Exact date of first performance unknown; from the author, but "in its frequent resort to concert-
a letter written by Count Durazzo to Favart we ed music bridged the gap between ballad opera
know dut it must lüve been before 12 Decem- and comic opera" (W. J. Lawrence).
ber. In Zinzcndorf's diary a performance on 13 According to O'Keeffe (Recollections 1826 I,
Deccmbcr is rccorded. P.53),William Brownlow "a musical amateur
In German (translated by J. Andre) Berlin I and fine player on the harpsichord he!ped settling
Decembcr 1783; Hamburg, December 1783. the music for Midas". It was written on the
After an interval of nearly a century, Gluck's instance ofLord Momington, father of the Duke
opera was revived in a new arrangement by J. N. ofWellington, and first produced at Crow Street
Fuchs, at Hamburg I4January 1878 (text revised Th., Dublin, as a counter-attraction to Scolari' s
by W. Hock) and Vienna 9 March 1881 (text La Cascina (see 1755), produced at the rival
revised by F. Krastel); subsequently given on theatre in Smock Alley on 19 December 1761
many other German stages, viz. Mannheim 19 (cf. R. Hitchcock, An historical View of the Irish
April I~X2; Cassel 6 May 1882; Berlin 31 May Stage, Vol. II,I794, P.93). First given in London,
I.H82; Munich 6 October 1882; Graz 25 April c.G. 22 February 1764 (reduccd to 2 acts 5 Feb-
1883; in German, also Prague 3 April 1887: ruary 1766; reduced to one-act interlude, Rich-
RotterdaIT1 1887; Manchester 22 April 1893 (by mond 8 September 1766) and frequendy revived
amateurs); Strasbourg 15 February 1900; again since, viz. D.L. 25 Octo ber 1802; C. G. 17 Sep-
rcvived, Lauchstedt 29 May 1909; Vienna tember 1812; Ly. 4 August 1817; Surrey Th. 16
(Schön brunn) 14 Mal' 1930. July 1851; Brighton 30 July 1859; and as late as
In Hungarian (translated by E. Abranyi), 4June 1923 at Trinity College Hall, Cambridge.
Budapcst 4 Oetober 1881. Given at Philadelphia on 24 November 1769
In the original French, Paris, Petite Scene 14 (revived I May 1840); New York 3 May 1773
March 1926; Nantes 13 March 1928. (freguendy revived); Montego Bay, Jamaica 12
In Duteh, Amsterdam, July 1930 (at the Con- April 1777; Boston 25 April 1794.
servatoirc). Given by an English company also at St. Peters-
In English, Rochester, N.Y., Eastman School burg II January 1772 (according to Findeizen it
of Music 16 May 1932. was Gretry's Le jllgcment de Midas, which, con-
In Hebrew (translated bl' Z. Isr;:el), Jerusalem sidering the rest of the repertory of that troupe,
1935· seems very unlikely).

255
 ANNALS OF OPERA

T. A. AR NE: Artaxerxes* on one of Marmontel's Contes Moraux). One act.

Febmary. London, c.G.
2
This little work had previously been perform-
Text: an English translation, by the composer, ed in January 1762 at the wedding of one M. de
of Metastasio's Artaserse (1729). Three acts. Mailly. Blaise partly compiled and partly com-
Arne's most famous opera, very successful on posed the music. Very successful in France; first
performed at Fontainebleau 27 October 1762.
English stages. Last revived at C.G. 30 Septem-
ber 1814 (with additional music by Bishop) and Revived in Paris as late as October 1910 at the
Th. des Mathurins and I February 1930 at the
16 October 1839.John Braham added a quartet to
the words "Mild as the Moonbeams". First given Th. de l' Avenue. Vocal score reprinted in 1910
(edited by R. Montford).
at Dublin 18 February 1765; Edinburgh 1769
(with the addition of three favourite Scots airs, In French, also performed at Amsterdam and
text by Robert Ferguson; revived I July 1830); The Hague 1762; Frankfort 23 March 1764; St.
New York 31 January 1828 (re-orchestrated by Petersburg 14 January 1765; Dresden 5 February
C.E.Horn). 1765; Turin Spring 1765; Geneva, Copenhagen
and Brussels 1766; Rheinsberg 27 August 1766;
GA L U P PI: Il Marchese Villano Hamburg 2 December 1766; Vienna 1768;
2 Febmary. Venice, S. Moise Regensburg C.I773 (with additional music by J.
Text by P. Chiari. Three acts. Touchemoulin); Warsaw 25 July 1778; Gothen-
In Ital y gi yen under several different titles, viz. burg 6 May 1784; Moscow 9 December 1784;
11 Marchese Giorgino (Turin, T. Carignano Au- Charleston, S.C. 16 July 1794.
tumn 1763); 11 Marchese Tulipano (Sinigaglia 9 In Dutch (translated by P. F. Lynslager), Ams-
February 1764 and Milan, T.R.D. Autumn terdam 1779; another translation, by J. T. Neyts,
1764); La Lavalldara (Autumn 1770); La Lavan- already published Rotterdam 1764 and Amster-
dara astuta (Mantua Autumn 1771). dam 1768.
Outside Italy given at Prague 1766; Dresden In Swedish (translated by N. Öhrwall), Go-
22 July 1766; Warsaw 1766; Vienna, Schön- thenburg 7 May 1782 and Stockholm 2 May
brunn 12 September 1767 (celebrating the en- 1786.
gagement of Ferdinand IV of Naples to Maria In Polish (translator unknown) , Warsaw 20
Josepha of Austria; German translation by J. A. October 1787.
von Ghelen published) and Kä. 29 May 1776 In some other countries the original music was
(Italian-German libretto published; additions by replaced:
other composers); Ludwigsburg Spring 1770; Lucas ulld Hannchen, text by J. J. Eschenburg,
Corfu Autumn 1771 (as 11 Matrimonio per 1n- music by J. F. G. Beckmann: Brunswick
ganno); Potsdam 9 July 1773; Graz Carnival 1778. 1768; Cologne Spring 1772; Hanover 28
In German (as Der Lalldjuilker und seill Sohn, April 1777.
translated by J. H. Burmann), Frankfort 18 Sep- Nanetta e Lubino, text by C. F. Badini, mu-
tember 1784. Another German adaptation, pos- sic by G. Pugnani, London 8 April 1769;
sibly, was Kaspar der bäl/erische Lalldedelmann, Warsaw 1~ February 1781; and (accord-
Vienna, Leop. 13 January 1782 (no composer ing to Regli and others); Turin, T. Cari-
mentioned, but the original title was 11 Marchese gnano 1784 (but this production seems
Villano). doubtful).
Annette and Lubin, text and music by C.
BLAISE: Annette et Lubin Dibdin: London, c.G. 2 October 1778.
15 Febmary. Paris, C.!. The libretto of Hiller's Die Liebe auf dem
Text by M. J. B. Favart, her husband C. S. Lande (see 1768) is partly founded on
Favart, and J. B. Lourdet de Santerre (founded Anllefte et Lllbin.

257
 ANNALS OF OPERA

Marmontel himself turned his story into an Performed at Fontainebleau 27 October 1762.
opera whieh was performed, with musie by J. B. In French also: Copenhagen and Brussels 1767;
de Laborde, at Marcehal de Riehclieu' s private Liibeck II Deeember 1769; Licge 13 November
theatre on 30 March 1762 and at Brussds 18 Oe- 1770; Cassel28 January 1784; Cologne 1796-7.
tober 1767 (as La /loupelle All/lette et Lubin); also In German (translated by J. J. Eschenburg),
at Cassd 26 November 1783. More than a quar- Brunswick 19 December 1769; Hamburg Au-
ter of a eentury after its first production All/leUe tumn 1770; Hanover 10 May 1773; Berlin 2 July
cl Lubill was still popular enough to inspire two 1773; Mannheim 1 August 1779, etc. Another
sequcls: (I) La Vieil/esse d'Annette rt LI/bill (text by German translation by F. W. Eichholz was pub-
1. A. Bertin d' Antilly, musie by P. D. A. Cha- lished at Halberstadt in 1776.
pelle), Paris, c.r. I August 1789 and Brussels 18 In Russian (translated by V. A. Levshin), Mos-
January 1796. (2) La Vellgcallce du Bailli (text by cow 3 October 1785.
C. S. Favart and his son C. N. J. Favart, musie Thc opera was revived by the Petite Scene,
by 1. E. Jadin), Paris, Th. de M. 30 April 1791. Paris 7 June 1922; and at Madrid Summer 1929
About the same time, J. P. E. Martini (to (in Spanish).
whom Font ineorrectly attributes the 1762 mu-
sie) set the original libretto again; his opera was
G L U C K: OrJco, ed Euridice*
produced at Fontainebleau 6 February 1789;
publiclyat the O.c., Paris 18 April 1800 and at 5 Oetober. Vienna, B.
the Freneh theatre, St. Petersburg 29 June 1800. Text by R. de' Calzabigi (Azione tealrale Pfr
Annette et Lubin was the first new work pro- Musica). Three aets.
dueed at the Comcdie-Italienne, Paris, after its Notwithstanding Alceste (see 1767) and the two
amalgamation with thc Opera-Comique (which Iphigcllie settings (see 1774 and 1779) Orfl:O re-
hitherto had becn pcrforming at the fairs of St. mains the composer' s mcilleur titre de gloire as his
Laurcnt and St. Germain). Thc new company first reform opera. Calzabigi claimed his share in
started on 3 February 1762, with a double-bill the famous letter to the Mcrcure de Prallee (pub-
eonsisting of Monsigny's Oll ne s'avise jamais de lished 21 August 1784): "J'espere que vous con-
taut and Philidor' s Blaise le Savetier at thc old viendrez, Monsieur, d'apres cet expose, que si M.
home of the Comedie-Italienne at the Hotel de Gluck a ete le createur de la Musique dramatique,
Bourgogne. They moved to the Salle Favart il ne I' a pas crece de rien. Je lui ai fourni la ma-
(Hotel Choiseul, Place des Italiens) in 1783. tiere ou le chaos si vous voulez; I'honncur de
cette creation nous est done eommun".
HASSE: Il Trionfo di ele/ia First produced Vienna, Burgtheater 5 Oetober
1762; following performances were 10 and 21
27 April. Vienna, B.
October, I I November, 12 December; 13 Feb-
Text by P. Metastasio (written for Hasse). Three
ruary 1763, 24 July; then (after a single perform-
aets.
ance, in Freneh, at the Kä. 30 June 1781) revived,
Written and produeed to cclebrate the confme-
B. 31 December 1781, again in Italian. After that
ment of the Archduchess Isabella of Bourbon.
the opera was not given again at Vienna until
Also given at Warsaw 3 August 1762 and
1862 (see bclow).
Naples, S.c. January 1763.
After Vienna, Orfeo is stated to have been pro-
dueed at Frankfort in April 1764 at the eorona-
PHILIDOR: Sancho Panfa da/1S son Isle tion of the Arehduke Joseph as King of the
8lu/y. Paris, C.I. Romans. This production, however, seems some-
Text by A. A. H. Poinsinet (after Cervantes). what doubtful. See for details (also of all further
One aet. performances), The Musical Quarterly, July 1940.

259 260
 ANNALS OF OPERA

18th centtlry productions: BRUSSELS 19 August 1776 (in Freneh; last revived
PARMA 24 August 1769 as the Ia~t aet of a mixed there IsFebruary 1938).
speetacle ealled Le Feste d'Apollo, produeed for ESZTERHAZA 1776 (in Itali:m).

the ee!ebration of the wedding of Ferdinando, WARSAW 25 November 1776 and 25 November

Prinee of Parma, to Prineess Maria Amalia, 1789 (in Italian).

daughter of the Empress Maria Theresa. HAGUE 1779 (in Frcnch).

LONDON 7 April 1770 (in It:lIian), text altered by COPENHAGEN 24 April 1779 (in concert form,

G. G. Bottare!li, additional music by J. c. Bach probably in French).

and P. Guglielmi; repcatcd 30 April Inl; then BRÜNN 12 December 1779 (first stage-perform-

9 March 1773 in its original form, 25 May 1773 ance in German ; transbtor not mentioned; see
once more in the ßaeh-Guglielmi version. Litteratllr-llIld Theater-Zeitung 1780, P.96).
Twelvc years bter, 12 May 1785, revived for BARCELONA 1780 (ltalian libretto printed; pro-

the singer Tenducci, this time with additional duction not otherwise reeorded).
music by J. c. Bach, Handel anti Anfossi, text ST. PETERSBURG 1782 (Italian libretto printed;

altered by A. Andrci. First produced in English production not otherwise recorded).

c.G. 28 February 1792 (with additions by MAYENCE 4 November 1782 (in German, by J.

Handel, J. C. Bach, Sacchini, Weichsel and Böhm's eompany and possiblyinhis translation).
Reeve!). FRANKFORT January 1783 (in German, by J.

BRESLAU, ZWINGER 29 August 1770 (in eoncert Böhm's company and possibly in his transla-
form; German version by J. J. Eschenburg). tion; subsequently also produeed at Aaehen,
BOLOGNA, T.C. May 1771 and Casino Nobilc 16 and Diisseldorf).
February 1788 (in Italian). ULLE 2 March 1783 (in French).

FLORENCE, T. COCOMERO 13 September 1771 and HANOVER c. May 1783 (in Italian).

T. Porta Rossa 7 March 1773 (in eoneert DUBLIN 3 January 1784 (at the Smock Alley Th.,

form). for the first time in English, translated by F.

MUNICH 5 February 1773 (in Italian, with addi- Gentleman, musie adapted by F. Tendueci); a
tional music by J. C. Bach and G. Guadagni). burletta by R. Houlton, music by T. Giordani,
STOCKHOLM 25 November 1773 (in Swedish, was produced at the Cape! Street Th., Dublin
translated by G. Rothman, music arranged by 14 Jtme 17 84.
F. Uttini); revived I I May 1786 (new Swedish PADUA 1784 (in Italian).

translation, from the French version, by A. F. SALZBURG 5 April 1786 (in Italian; eoncert per-

Ristcll). formance).
NAPLES, PAL. REALE 25 January 1774 (in its original CASSEL 22 August 1787 (in German, by J. Böhm's

form) and S.c. 4 November 1774 (with J. C. eompany).

Bach's additions). AVIGNON 1790 (in French).

PARIS, O. 2 August 1774 (in Freneh, translated by CHARLESTON, S.C. 24 June 1794 (in Frcneh, an-

P. L. Moline, with alterations) ; given there nounced as Uby Paisie!o"; Gluck's opera? See
297 times until 28 July 1848. A parody, by P. O. G. T. Sonneck,EarlyOpera ill Alllcrica, p.206).
1. Moline and 1. F. A. Dorvigny, callcd Roger- SIENA Summer 1795 (in Italian, coneert perform-

Bontcms ct Javotte, was produced at the C.L, ance at thc Accademia dei Ravvivati).
Paris, 13 May 1775; another Le pctit Orphee by MADRID I January 1799 (in Italian).

J. Rouhier-Deschamps, music by P. D. Des-

hayes, at Le Havre 18 March 1785 and Paris, 19th and 20th century prodllctions :
Varietes 13 June 1793 (not 1792, as indicated LISBON Spring 1801 (in Italian, text altcred by G.
in the libretto). Caravita; additional music by M. A. Portugal;
HAMBURG Winter 1775-6, in coneert form. revived there not before 3 I January 1893).

262
 ANNALS OF OPERA

CLAUSENBURG before 1804 (in Hungarian, trans- fair Th. 21 February 1927; Juillard School
lated by J. K6nyi; according to Z. Ferenczi. 1935·
K6nyi' s translation had been published as early BADEN-BADEN 17 August 1863 (in French).
as 1774; see Bibliographia HlIllgariae H, p.941). PRAGUE 17 Deccmber 1864 (for thc first time in
BRUNSWICK 1806 (in French). Czech, translated by J. J. Kottr and J. Kopp);
BERLIN 20 April 1808 (in German, translated by rcvived there 6 November 1884 (new Czech
J. D. Sander from the French version; revived version by V. J. Novotny); revived at Brünn
25 October 1818, 13 November 1841, etc.) and 30 June 1883 (in Gcrman).
3 April 1821 (in Italian). ST. PETERSBURG 2 June 1867 (in !talian, privatcly,
BRESCIA 12 September 1808 (in concert form, by at court, under Rubinstein) and 27 April 1868
the Societa Filamonica). (in Russian).
MILAN 24 May 1813 (in concert form at the Con- RIGA 30 December 1869 (in German).
servatorio; repeated there 1862 and 25 April WEIMAR 6 March 1870 (first performance of the
1879). Berlioz version in Gcrmany).
DRESDEN 19 April 1838 (apart from a concert per- CAMBRIDGE 22 May 1876 (in English, Chorley's
formance at Breslau in 1831, this was the first translation, in concert form by St. John's Col-
German production after Berlin). Most Ger- lege Musical S~ciety).
man stages produced Orfco only after 1850; GRAZ 26 March 1877 (in German).
Weimar 16 February 1854 with a prclude and ROTTERDAM January 1880 (in Gcrman).
fmale by Liszt; Mannheim 16 December 1860; BUDAPEST 8 March 1883 (in Hlingarian, translated .
Munich II July 1861. by E. Abranyi) and 30 January 1904 (translated
PARIS, TH. L. 19 November 1859 (in French, mu- by s. Varady).
sic revised by Berlioz); the next revivals at BOSTON I I April 1885 (in Gcrman).
Paris were at the Gaitc 9 Ma y 1889 (in Italian) ROME, COST. 26 Octobcr 1888 (first stage pcr-
and O.c. 5 May 1896 (in French) .. formance in Italy in thc 19th centllry); sub-
LONDON, C.G. 27 June lR60 (Berlioz's version); sequently Florcncc, P. 16 February IS89;
6 November 1890 (original version); Ly. 10 Vcnicc, F. 17 March 1889; Milan, T. Manzoni
])ecember 1892 (in English, by the R.C.M.); 10 April 1889; Turin, T. Vittorio Emanllclc
c.G. 17 May 189R (for the firsttime in French); May 1889; Naplcs 24 Junc I8R9; Triestc 5 De-
22June 1905; Savoy 12 April 1910 (in English); ccmbcr 1889; Genoa 13 April 1890, etc.
c.G. I July 1920 and 20 June 1937. BARCELONA, T.L. Septcmber 1889 (in Italian);
DUßLlN 21 September 186o (in Italian). Catalan vcrsion by J. ]>Clla published 19 10 •
MANCHESTER I2 December 1861 (in concert form, TRI ESTE 1889 (in German).
English version by H. F. Chorley). CAMßRIDGE 13 May I R90 (in English; Chorley's
VIENNA T 5 November 1862 (for the first time vcrsion rcvised).
there since 17RI, in conccrt form; further con- BASLE 5 March IS94 (in German; possibly tor the
ccrt performanccs 8 April 1870 am! 6 April first timc in Switzerbnd).
1R73); rcvived on thc stage as latc:J.s 2 February COPENHAGEN 30 September I R96 (in Dlnish,
1882 (in German). translated by J. Lchmann).
NEW YOllK 25 May 1863 (at thc Winter Gardcn, BUENOS AIR ES 5 January 1899 (in Italiln); revivcd
in English, translated by F. M. Raymond); 3 JUlle 1924·
Acadcm y of Music 8 January 1R86 (in Eng- AMSTERDAM October 1902 (in Dutch).
lish); M. 30 ])ecember 18<)1, TI Dcccmbcr ANTWERP 15 March 1904 (in French) and 4 No-
11195,23 Dccembcr 1909,22 May T930, 29 No- vcmber 191 i (in Flemish).
vcmbcr I<)3'J (in It,llian); revivcd in English MARSEILLES 29 March 1904 (in French).
l'rovincetown Playhouse 2<) April 1920; May- OSLO (ClIIlISTlANIA) S OcrobcrI907(in Norwcgian).
 ANNALS OF OPERA

HELSINKI 21 April 1914 (in Finnish). In German (translation by C. G. Pfeffel publish-

LAUCHSTEDT 19 June 1914 (revival of the 1762 ed Frankfort 1766), performed Cologne Spring
version, new German translation by H. Abert). 1772; (with new dialogue by J. H. Faber pub-
FALMOUTH 28 November 1923 (new English ver- lished Frankfort 1773), performed Frankfort 13
sion by M. and E. Radford). September 1774 or earlier; Munich 19 April
SOFIA 30 September 1927 (in Bulgarian, translated 1781; Carlsruhe 1781.
by V. Bobchevsky). In Danish (translated by C. D. Biehl), Copen-
LONDON, OLD VIC 29 November 1933 (new Eng- hagen 25 November 1777.
lish version by E. J. Dent). In Swedish (translated by C. Envallsson),
TOKYO 3 February 1935 (in concert form, in a Stockholm 24 January 1784.
Japanese translation by Ono). A Dutch version, by J. F. Cammaert, was pub-
RIO DE ]ANEIRO August 1935 (in Italian). lished at Brussels in 1764; another, by J. T. Neyts,
CAIRO 1937 (in German). about the same time (n.d.).
]ERUSALEM 7 February 1939 (concert- perform-
ance, in Italian).
PICCINNI: 11 Cavaliere per Amore
Open-air productions took place at the Amphi- Winter. Naples, T.N.
theatre, Orange, II July 1903; at the Theatre du Text by G. Petrosellini. Two acts.
Jorat, Mczieres (Switzerland) I July 19II (music In Italian also, Lisbon Carnival 1764; Vienna
arranged by G. Doret and C. Saint-Saens); at the Carnival 1766; Dresden 22 February 1766; Bialy-
Arenes, Bcziers, 30 June 1928; and at the Park stok (Poland) Spring 1766 (at the private theatre
de Proce, Nantes, 28 June 1930. of the Hetman Branicki). Revived Munich
Summer 1772; Warsaw 19 April 1775; Moscow
TRAETTA: Sofonisba 27 September 1782.
4 November. Mannheim Given in an enlarged 3-act version, 11 Fumo
Text by M. Verazi (according to M. Fehr only a dllano (text altered by A. Palomba, with addi-
new version of A. Zeno's Scipione nelle Spagne, tional music by B. Ottani), at Venice Autumn
first produced with music by Caldara at Barce- 1766 and Copenhagen Auturnn 1769 (Danish
lona in 1710). Three acts. translation in the libretto by F. A. Friis).
Although one of Traetta's best works it does
not seem to have been given on any other stage.
T. A. ARNE: Love in a Village*
The opera was publishcd in Denkmäler der Ton- 8 Deeember. London, C.G.
kunst in Bayern (edited by H. Goldschmidt) in Text by I. Bickerstaffe. Three acts.
1914· Music partly composed, partly selected. Over-
ture by C. F. Abel. Besides Ame, 15 other com-
MONSIGNY: Le Roi et le Fermier posers had tlleir share in the score; but out of 43
22 November. Paris, c.I. numbers 19 are Ame's, 6 ofthem expressly com-
Text by J. M. Sedaine. Thrce aets. posed for Love in a Village, which, therefore, has
Successful in Paris (last rcvived O.c. 23 Octo- been called the first English comic opera, after
ber 1806), first given at Versailles 15 February the preceding period of 35 years of, more or less
1763. pure, ballad opera. (See M. Silbum, in The Mu-
In French also given at Vienna Autumn 1763; sical Times, July 1920).
Warsaw Carnival 1766; Gencva 1766; Dresden First given at Dublin 8 July 1763; York Spring
16 July 1766; Brusscls 1767; Ghent 12 March 1764; Newcastle Summer 1764; Edinburgh
1769; Lübeck 27 November 1769; Liege 22 No- 1765; Philadelphia before 22 January 1767; New
vember 1770; St. Petersburg 3 February 1776; York I I January 1768; Kingston, Jamaica 9 Oc-
Cassel 1782. tober 1779; Calcutta 24 February 1791.
266
 ANNALS OF OPERA

Frequently revived in London; the latest pro- NOVARA Carnival 1764 (as Li Matrimoni in Mas-
ductions were at the Princess's Th. 4 March 1844 chera).
and 16 November 1848; Surrey 17 September TRIESTE Spring 1764 (as 11 Matrimonio in Mas-
1853; Guildhall School of Music 10 May 1923 chera).
and Everyman 21 December 1923 (music arrang- ROVJGO Auturnn 1764 (as 11 Tutore burlqto, addi-
ed by J. Herbage); Leeds 27 March 1926; Lyric, tional music by Scolari).
Hammersrnith 19 April 1928 (music arranged by MODENA, T. RANGONI January 1765 (as Gli Sposi
A. Reynolds). in Maschera).
Rutini' s name only occurs in the libretti for
DUN I: Le Milicien the performances at Novara, Trieste and Modena.
29 December. Versailles There is a libretto at Münster of a work, Amore
in Maschera 0 sia il Tutore burlato, performed still
Text by L. Anseaume. One act.
earlier, at Rome, T. Valle, Carnival 1762, which
First given at the c.I., Paris 1 January 1763 and
is obviously related, at any rate in subject, with
in French also, Brussels 1767; Hamburg 10 Feh-
Rutini's opera. But this was a set of "intermezzi
ruary 1769; Vienna 15 January 1776; Warsaw
in musica", not a three act opera. The early his-
30 July 1777; Liege 30 January 1779. Revived
tory of 1 Matrimoni in Maschera remains some-
Paris, Th. de la Cite, 28 October 1795; Hamburg
what dubious.
1795; Antwerp 27 August 1807·
Given then at Venice, S. Cass., Auturnn 1765
In German (translated by J. H. Faber), Frank-
(the first performance which is recorded by Son:'
fort 1772; Munich 6 January 1783; Carlsruhe 6
neck) and other Italian stages; at Pistoia with yet
December 1786.
another tide, Li Sposi per 1nganno (pasticcio).
In Swedish (translated by c. Envallsson),
Outside Italy: Dresden 6 January 1767; Aran-
Stockholm 23 November 1782.
juez Spring 1767; Prague Summer 1767; Copen-
In Polish, Warsaw 2 January 1783.; Cracow 29
hagen Auturnn 1768 (as 11 Tutore burlato; Danish
April 1790; Wilna 26 February 1799.
translation in the libretto by F. A. Früs); Munich
There are three printed Dutch versions, by J.
Summer 1772; Valencia [25 August] 1774 (pas-
T. Neyti (n.d.),J. F. Cammaert (1770), and P. F.
ticcio). Die Verheyratung in der Maske, one act,
Lynslager (1779 and 1782).
Brunswick 26 January 1779, performed by child-
ren, was probably a reduced version of Rutini's
I7 6 3 opera.
The most successful of Rutini's cornic operas.
RUTINI: I Matrimoni in Maschera Score preserved. See for an analysis, A. Della
Carnival. Cremona, T.N. Corte, L'Opera comica Italiana (1923), Vol. I,
Text, according to Piovano, perhaps by F. Ca- P·254·
sori. Three acts.
Sonneck (Catalogue, P.739) gives "Venice, Au-
d' AVOSSA: La Pupilla
turnn 1765" as place and date of first perform- Carnival. Naples, Fior.
ance. But there are earlier productions on record: Text by A. Palomba. Three acts.
CREMONA as above. Avossa' s only extant opera. Given at Venice,
BOLOGNA, T. FORMAGLIAIU 30 July 1763 (as 11 S. Moise Auturnn 1765 as 11 Ciarlone; Turin, T.
Matrimonio in Maschera). Carignano 1766 and 1774 as La Pupilla scaltra.
FLORENCE, T. VIA S. MARIA Auturnn 1763 (as Gli In Italian also Barcelona 1765, Lisbon 1766 and
Sposi in Maschera). Prague 1768 (as 11 Ciarlone); Stralsund January
FERRARA Carnival 1764 (as Li Matrimonj in Mas- 1769; Copenhagen Auturnn 1769 (as La Pupilla
chera; libretto British Museum). ed il Ciarlone; Danish translation in the libretto
268
 ANNALS OF OPERA

by F. A. Friis); Vienna 1770 (as Il Giarlone); given there for three months' run and revived
Mllnich Carnival 1775. 24 May 1777.

VENTO: L'Egiziana PHILIDOR: Le Bucheron Oll

Garnival. Venice, S. Moise Les frois Souhaits
Librettist unknown. Three acts. 28 February. Paris, c.I.
Vento's only extant opera. Given at Milan, T. Text by J. F. Guichard and N. Castet (founded
R.D., in Autumn of the same year, and (with on a tale by Perrault). One act. Given at Ver-
additional music by Gassmann) at Vienna Sum- saillcs 15 March 1763, etc. Outside France:
mer 1769 and Florence Spring 1771 (as La Zin- VIENNA 1765 and 1768 (in French).
gara). DRESDEN 1765 and 2 April 1766 (in French).
GENEVA AND BRUSSELS 1766 (in French).
VAN MALDERE: La Bagarre COPENHAGEN 1767 (in French) and 3 December
10 February. Paris, c.r. 1782 (in Danish, translated by L. Knudsen).
Text by J. F. Guichard and A. A. H. Poinsinet. GHENT 14 March 1769.
One act. HAMBURG Autumn 1770 (in German, translated
The only opera of the Belgian composer that by J. H. Faber).
was produced in Paris; givcn at Brusscls bter in FRANKFORT 1773 (in German, translated by J. H.
the same year. Faber).
ßERLIN 20 February 1774 (in German, translated
PICCINNI: Le Contadil1e bizarre by J. A. C. Koch).
February. Rome, Capr. WARSAW August 1778 (in French) and 1780 (in
Text by G. Petrosellini. Thrcc acts. Polish, translated by L. Pierozyriski).
Successful in Italy; given at Verona Autumn LIIiGE 8 June 1779 (in French).
1764 as La Schiocchezza i/l Amorc; Rome, Capr. MUNICH 7 August 1781 (in German).
5 February 1765 as Le Gonladine astule; Bologna CASSEL 8 December 1783 (in French).
September 1765 as La GOl/ladil/a bizarra; Siniga- MOSCOW 15 or 22 July 1787 (in Russian).
glia July 1769 as Le Villa/zelle aslllie. Last rcvived There are two printed Dutch translations by
in Italy, Bergamo 26 Dccember 1776 (as Le J. F. Cammaert (1770) and by J. T. Neyts (n.d.).
Villal/e astllle). An Italian version by G. Brunati was published
In Italian also, Trieste Carnival 1764; Klagen- in 1805. For a German version ofthe libretto see
furt 1765; Lisbon Autumn 1765; Dresden 28 1778.
October 1766; Vienna Carnival 1767; Prague The opera was revived at Brussels, Th. Moliere,
Summer 1767; Bresla1l7 September 1768; Berlin 8 March 1906.
Decembcr 1768; London 7 November 1769;
Bastia (Corsica) 1774 (as Le Villanclle astllle). SACCHINI: Alessandro ne//' Indie
In Spanish (translated by R. de la Cruz) , Spring. Venice, S. Salv.
Madrid [20 August] 1773. Metastasio's text (first set to music by Vinci 111
(Date of first production according to G. Pa- 1729). Three acts.
nn; Venice Autumn 1763 is usually given.) Successful in Italy. Turin Carnival 1766;
Naplcs, S.c., 2 June 1768, etc.
J. C. BACH: Orione 0 sia
Diana vendicata G L U C K: 11 TrionJo di Clelia
19 Fcbrttary. London, Hm. 14 May. Bologna, T.C.
Text by G. G. Bottarelli. Thrce acts. Metastasio's text (first set to music by Hasse, see
Bach's first London opera. Very successful, 1762). Three acts.

F
 ANNALS OF OPERA

Gluek's setting was written for the inaugura- In German (first translated by C. F. Schwan),
tion of the new Teatro Comunale, Bologna; it Mannheim 1771; Weimar 15 November 1771;
does not appear to have been produeed on any Cologne Spring 1772; Berlin 5 August 1772;
othcr stage. Hanover 23 June 1773; Hamburg 1773; Gotha
20 September 1774; Leipzig 8 Oetober 1774;
SACCHINI: L'Olilllpiade Altenburg 26 August 1775; Frankfort 18 Sep-
jlme. Padua tember 1776 if not earlicr; Regensburg 15 May
Metastasio's text (fmt set to musie by Caldara in 1778; Bonn 28 February 1779; Munieh 6 August
1733). Three aets. 1779; Augsburg 13 August 1779; Vienna, Jos.
Givcn on Italian stages until about 1790. In 23 August 1779 (revived Leop. 20 Deeember
Italian also, Salzburg I May 1768. In French 1803); Carlsruhe 1881; Bremen 15 Oetober 1883.
(translated by N. E. Framery), Paris, c.I. 2 Oe- In German also, Hague 1774; Warsaw 6 May
tober 1777 (originally intended for production 1781; Riga 29 Oetober 1782; Pressburg 1789.
at the Opera, but withdrawn after some rehear- In Russian (translated by Z. Krizhanovsky),
sals; revived C.I. 15 January 1778 and 24 April St. Petersburg 1779.
1780); Fontainebleau 24 Oetober 1777; Ghent 21 In Swedish (translated by C. Stenborg), Stoek-
December 1778; Liege 2 I Deeember 1779. holm 15 November 1780; Gothenburg 16 No-
In German, Bonr. 16 March 1783; Frankfort vember 178r.
6 May 1783; Mannheim 28 November 1784; In Polish (translated by J. Baudouin), Warsaw
Carlsruhe 14 February 1785; Mayenee 2 I De- 19 July 1781; Craeow 5 November 1789.
eember 1785 (one of the very few Italian serious In Danish (translated by L. Knudsen), Copen-
operas of that time whieh were translated into hagen 6 November 178r.
German); also given at Winterthur November There are printed Duteh versions by J. F. Cam-
1793 (in eoneert form). maert, 1764, J. T. Ncyts, 1768 and 1770, and
P. F. Lynslager, 1778, 1783 and 1794. Given in
DUNI: Les deux Chasseurs ef Duteh at The Hague as late as 1820.
la Laitiere A translation into Provenc;:al dialeet, ealled La
21 July. Paris, c.I. Laytayro de Naubemad, was published at Toulouse
Text by L. Anseaume (after two fables by La- in 1783.
fontaine). One aet. Frequently revived in Paris: O.c. 3 August
Very popular in Franee and abroad. In Freneh 1865 (text revised by J. Adenis); Galerie Vi-
also Brusse1s 1763 and 1766; Vienna, Laxenburg vienne 15 Oetober 1896; and Petite Seene 25
8 May 1764; Amsterdam 1764; St. Petersburg April 1920.
12 November 1764; Stockholm 7 January 1765; (Date of first production aeeording to the
Warsaw 8 May 1765; Dresden 1765; Turin libretto; according to Baehaumont's Memoires
Spring 1765; Hamburg 4 Deeember 1766; seerets, it was 23 July; aeeording to the MerCtire
Copenhagen 30 Deeember 1766; Lübeek 17 May de FraIlee it was 25 July 1763.)
1769; Liege 6 November 1770; Moseow 24 No-
vember 1775 (aeeording to the diary of Bourree
TRAETT A: ijigmia in Tal/ride
de Corberon); Smolna February 1776; Stock- 4 Oetober. Vienna, Sehönbrunn
holm June 1783; Cassel 16 Janulry 1784; New Text by M. Coltellini. Three aets.
York 9 November 1790 (Sonneck) or 10 No- In Italian also, Florenec I Februar)' 1767 (under
vember 1790 (Odell); London 20 Janm . 1792 Gluek's direetion); Milan, T.R.D. 26 Deeember
(at the Th. ofVarieties, Savile Row); Charleston, 1767; St. Petcrsburg April 1768; Copenhagen
S.C. 8 February 1794; Cologne 1795-6; Phila- 25 Oetober 1774 (probably Traetta's opera);
delphia 17 Deeember 1796. Mantua 1777; Naples, S.c. Januar)' 1778. Re-

271 27 2
 ANNALS OF OPERA

vived Florence, P. 21 March 1782 (as a cantata, airs by Piccinni" [Burney]; and in its original
two parts); Vienna, n. 22 December 1784 (in form, as La Schiafla 7 November 1767; revived
concert form); Eszterhaza 1786 (with one addi- 22 February 1770; 12 March 1772; 1 April
tional air by Haydn). Burney (IV, p.SOS) men- 1777; and 24 February 1784).
tions a private performance in London, at Mrs. Vienna, B. before 19 Fcbruary 1768; Bruns-
J31aire's "latcly" (i.e. before 17H9). Performed as wick 1768; Copenhagcn Autumn 1768 (Danish
an oratorio, S. Ijigcl/ia in Etiopia, Florence 19 translation in the libretto by F. A. Friis; revivcd
March 1773. 6 March 1776); Valencia Autumn 1768; Barce-
Earlier performances ofTraetta's opera in 1758 lona [22 April] 1769; Dresden 1770; Mannheim
and 17S9 are recorded in Sonnleithner's Collccta- 19 November 1771; Warsaw 16 October 177S;
ncen. But the 1763 libretto (no earlier edition is Regensburg Carnival 1777; Aachen 28 August
known) reads: "Sebbene il presente dramma sia 1781; Danzig August 1782; Cracow I January
stato composto esprcssamente dall'autore per 17 88 .
questa occasione". See on this question (which is In German (as Die Sclavin und der grossmüthige
of some bearing because of the possible priority Seefahrer, translated by J. J. Eschenburg). Mann-
to Gluck's Orfro) Goldschmidt's introduction to heim January 1773; Leipzig 13 August. 1777;
Traetta's works in DCllkl:läler Deutscher Tonkunst, Munich November 1777; Cologne Summer
P.14; also R. Haas, Cluck und Durazzo, p.70 and 1779; Vienna, Jos. 28 June 1779 (B. 7 August
A. Einstein, Cluck, p.46. 1781, translated by G. Stephanie); Salzburg 22
October 1780; Warsaw 21 April 1781; Bonn I
BORONI: L' Amore in Musica December 1782; Bremen 22 December 1783;
150etober. Venice, S. Moise Riga 7 June 178S; Carlsruhe 2 November 1785;
Berlin 20 November 1786; Prague 1787; Agram
Text perhaps by C. Goldoni (see on his possible
15 October 1789; Amsterdam Winter 1791.
authorship G. Ortolani in apere complete di Carlo
An anol1ymous French I-aet version, L'Esclave
Coldoni, Vol. XXXII, P.143). Three acts.
ou Le Marin genereux, was probably first perform-
Outside Italy given at Vienna 1764; Dresden
ed at Zweibrücken 1773 (where the libretto-
12 September 176S; Prague, Carlsbad, Warsaw
copy BibI. Soleinne-was printed in that year);
1765; Lisbon 1766; Ludwigsburg 22 August
in French also, Hague 1782; St. Petersburg 1800.
1770; Brunswick 1777.
In Swedish (translated from the French by C.
Manderström), Stockholm (31 May 1779 accord-
17 6 4 ing to the libretto; produced only) 31 July 1783.

PICCINNI: CU Stravaganti PHILIDaR: Le Sorder

1 January. Rome, Valle 2 January. Paris, c.I.
Librettist unknown. Two acts. Text by A. A. H. P(,:l1sinet. Two aets.
Successful in Italy; given at Parma in the same Philidor introduced one air from Gluck's Orfeo
Carnival as La Schiava riconosciuta, which is the ("Chiamo il mio ben co si") into his Sorder
better-known tide of this opera. In Italian also ("Nous etions dans cet agc"); see on this plagia-
given at: rism the introduction to the Pelletan edition of
LISBON 6 June 176S. Gluck's Orfeo (1898). First given at Versailles 21
DRESDEN IS October 176S (as La Schiava; revived March 1764; in French also, at Amsterdam 1764;
I2 October 1776 and 12 April 1780). Vienna 1765; Turin Spring 1765; Copenhagen
LONDON 21 October 1766 (as Cli Stravaganti osia and Brussels 1767; Hamburg 6 February 1769;
I Matrimoni aUa Moda, pasticcio, arranged by Hanover 31July 1769; Liege 24 November 1770;
G. G. Bottarelli, "in which there were several Hague 24 January 1774; Smolna 16 February

273 274
 ANNALS OF OPERA

1775; Berlin 24 January 1777;Warsaw July 1778; Revivals. In French; Paris, O.c. 20 December
St. Petersburg 1798. 1906 (as Les NleritlS de la Mecque); Paris, Tr.L.
In German (translated by J. H. Faber); Ham- 6 November 1923.
burg 1771; Frankfort 1772; Hague 1774; Dres- In German: (text revised by C. Hagemann)
den January 1777; Munich 4 May 1779, etc. WIESBADEN October 1922.
Another German version, by C. F. Henisch, was BASLE 26 September 1924.
published at Prague in 1772. BERLIN, o. 18 February 1928.
There are Dutch translations by J. T. Neyts
VIENNAJunc 1931.
(n.d.) and by J. F. Cammacrt (1769). Revived
STETTIN 16 February 1932 (new German version
Paris, F.P. 9 February 1867 (text revised by J.
by C. Rittberg).
Adenis, music revised by Poise; reduced to 1 act).
In English (translated by G. Dunn), Loughton,
GLUCK: La Rmcollfrc imprevlIc* Essex 21 July 1939.

7Ja/wary. Vienna, B. Thc score w;o.s fIrSt published in 1931, edited

by M. Arend.
Text by L. H. Dancourt (from an earlier French
vaudeville by Lesage and d'Omeval, 1726). Threc
acts. RU S H: TIJC Royal Shephcrd
The last and best of Gluck's French comic 24 February. London, D.L.
operas. Text by R. Rolt (an English version of Met~s­
In French also, Bordeaux 1766 (as Ali cl Rhia); tasio's 11 Re PastMe). Three acts.
Brusscls 19 May 1766; Amsterdam, Hague and Given in an alte red version by F. Tenducci at
Mannheim 1768; Copenhagen 1772; Liege 23 Dublin July 1765 and Edinburgh 30 Januar)'
December 1776; Cassel 1780; LilIe 17 Novem- 176<); and (as Alllilltas) London, c.G. 15 Decelll-
ber 1783; Marseilles 1784; Paris, c.r. 1 May 1790 ber 176<) (with additional Illusic by Gugliclmi,
(music arranged by J. P. Solic). Arnold, and Th. C. Carter).
In German (translated by J. H. Faber, as Dir
rlllvenn"t!reie ZlIsammellklll!fi oder Die Pi!~rillll/lc MONSIGNY: Rose cf Colas*
VOll Mecca), Fr:mkfort 16 April 1771; Vicnna, Kä.
8 l\1arch. Paris, c.r.
Spring 1776 (revivcd ß. 26 July 1780, Lcop. IO
Text by J. M. Sedainc (founded on Lafontaine's
Novembcr 178<) ;md Kä. 28 June 1807); Munich
tale Li' Vall). One act.
<) March 1779; Augsburg [6 July 177'); UIIll 6
Dccelllber 178 I; Hamburg T7X I; Carlsruhc 178 I; One of Monsigny's most p()pular works, Fon-
Nurernberg Auturnn 17X2; Honn 16 Septcl11 ber taillebleau 13 Ocrober 1764, etc. Very succcssful
[7~3; Balin 27 Oetober 17S3 (tirst Gluck 0pl'fa in Paris; givl'I1 ar the c.I. tllltil2I Februar)" 1794;
there); MayencL' 1784; Riga 5 August 17}i); rcvived at the Th. de l'Egalitc 3 November '7<)4;
Schwedr 23 Dccember I7X5; Prcssburg T4July O.c. 12 Ma\" I S62 (rcvised by Gevacrt) alld at
1786; Pyrlllonr ,md Col0gnc 17S6; Hanovcr JT thc Tr.L. 12 Januar\" l<)IS; revived at the CC"lIl-
May 17XI); BruIlSWick 22 A ugusr I7S,:>; Brlinn servatL)irL', AI~Jsterdalll J UIlC 11)21). Outside
3 I Janu.ln· 171)2; l;raz [-+ I)CCCI11 ber 1793; Berne France given :It:
Spring I S04, etc. August 1705 (in Frellch) allel 7 Sep-
W.\I{'.\\\' 27

In D.lJJish (tLlllsLItcd b\" P. T. Vanclall), COjJcn- tcmber 17XI (in C;crman).

hagen 26 N OVCIll bcr 177h. C,E;\I:VA AND llIlU,SELS J 760 (in Frcnch).
In Sv,Tdish (trall,latcd b\· C. Env,lllss0n). C(lPE~ll.~(;FN March J 707 (in French) and 2S Oc-
Stockholm 20 JUIlt' 17~(1. tnbLT 1777 (in Danish, translated by N. K.
There is alsD a printe'Li Dutch version by J. T. 13redal).
Ncyts (n.d.) liEGE 27 Oetober 1770 (in Frellch).

275 27 6
 ANNALS OF OPERA

HAMBURG 9 November 1770 (in German, trans- Rcvived at Naples 13 August 1785. Also given
lated by J. H. Faber); Mannheim 1771; Frank- in London 20 November 1773 (Sacchini is men-
fort 3 April 1771, etc. tioned by Burney and most other authorities;
AMSTERDAM 4 February 1774 (in French) and [6 the libretto says "Music by several eminent
May] 1783 (in Dutch, translated by P. F. Lyns- composers").
lager); an earlier version, by J. T. Neyts, had
been published in 1769; Hague Spring 1774
KOHOUT: Le Serrurier
(in German). 20 December. Paris, c.r.
VIENNA 8 January 1776 (in French) and 9 May Text by A. F. Quetant. One act.
1778 (in German). In French also, Brussels 1767; Copenhagen
MOSCOW 29 August 1784 (in Russian, translated 1769; Vienna 24January 1776. In Swedish (trans-
by M. V. Sushkova) and 4 January 1785 (in lated by C. Envallsson), Stockholm 3 October
French); revived 6 June 1809. 1797. In German (translated by J. H. Faber),
BERLIN 17 October 1786 (in German). Frankfort Auturnn 1771. Dutch translation by
STOCKHULM 21 July 1790 (in Swedish, translated J. T. Neyts published (n.d.).
by C. Stenborg; revived there as late as 15 An early instance of a French comic opera
October 1927). written by a Czech composer. The score was
An English version, text and music by C. printed in 17~5. Le Serrurier was revived at the
Dibdin, was produced at c.G. London on 18 Prague Conservatoire on 24 June 1929 (see J.
September 1778. Branberger in Der Auftakt, February 1929).

FISCHIETTI: Vologeso, Re de' Parti

17 6 5
4 Oetober. Prague
Text by A. Zeno (a later version of his Lucio SACCHINI: La Contadina in Corte*
Vero, 1700). Three acts. Carnival. Rome, Valle
The composer was then musical director of Librettist unknown to Schatz-Sonneck. P. Gra-
Bustelli's troupe. In 1765 he became Hasse's suc- denigo (in his unpublished Notatorj, Venice,
cessor at Dresden. Museo Corrcr) attributes a libretto of the same
title, but in 3, instead of 2 acts, set by Rust and
BATTISHILL and M. ARNE: Almena performed at Venice in 1763 and at Lisbon in
2 November. London, D.L. 1765, to Gasparo Gozzi.1
Text by R. Rolt. Three acts. One of the various versions of the Bertoldo
Another English serious opera by Rolt, pro- story (see 1749); given at Rovigo Carnival 1779
duced at D.L. in 1764 (sec above, The Royal as La COlltadina illgelltilita.
Shepherd). Also given at Dublin c. 1765; with
1 A comparison of the two libretti (see A. Iacuzzi.
alterations, D.L. 7 February 1766.
The European Vogue of Favart, PP.259-266) shows that
the text as composed by Sacchini was reduced and con-
MAJO: Ifigenia in Tauride sider.blyaltered. But Sacchini returned to the original
4 November. Mannheim 3-act version in 1771 when the opera was given at
Ludwigsburg and about the same time in London.
Text by M. Verazi. Three acts. Matters are even more complicated than Iacuzzi states.
He does not discuss the two extant London libretti, the
SACCHINI: Lucio Vero second of which (1782) seems to represent a third ver-
sion (two acts, but six instead of four characters). Both
4 NovellIber. Naplcs, S.c.
the Ludwigsburg 1771 and the London 1782 libretto
Zeno's text (first set to music by Pollarolo in 1700). affirm that the music was Hentirely new"; but we may
Thrcc acts. take such statements cum grano saUs.

277
 ANNALS OF OPERA

In Italianalso: Prague Camival 1767 (accord- It has often been stated that Telemaco was first
ing to Teuber), 1777 (according to Haas and produced at Rome in 1750, in an original 3-act
Kamper); Vienna 1767 (revived 19 April 1782); version. The evidence for and against this legen-
Dresden 17 January 1767; Pressburg 1768; Ljub- dary original Telemaco h~~ been summed up by
ljana Camival 1769; Hanover 6 February 1770; M. Cooper and A. Einstein in their recent books
Bamberg 18 June 1770; Copenhagen Camival on Gluck. It should be pointed out that as early
1771 (Danish translation in libretto by R. Soel- as 1890 A. Ademollo wrote in the Gazzetta Musi-
berg); London 14 March 1771 (revived 14 De- cale di Milano (p.398): "Di tale rappresentazione
cember 1779 and 2 March 1782); Ludwigsburg non si trova ne illibretto, ne alcun documento.
Spring 1771; Madrid 1771 (asLaSalldrilla); Bonn Di piu, nel 1750, Anno Santo, i teatri di Roma
March 1772; Munich April 1772; Schwetzingen restarono tutti chiusi, co me sempre negli Anni
July 1772 ; Graz 1776; Trieste 5 April 1779; Santi."
Warsaw 22 January 1781; Brunswick c. Camival The score of the 1765 Telemaco has been pre-
1783; St. Petersburg 1784 (?); Gothenburg 30 served.
April 1793; Stockholm 12 November 1793;
Christiania 2 May 1794. ARNOLD: The Maid of the Mill*
A German translation, Das Bauermädchen am 31 January. London, c.G.
Hofe, Munich 1777, preserved at Regensburg, is, Text by 1. Bickerstaffe (founded on Richardson's
according to S. Färber, signed "L. J. F.", per- Pamela). Three acts.
haps a rnisprint for "c.J. F.", (theMuniehtrans- Successful ballad opera which had a run of 29
lator, C. J. Förg). nights in its first season. The printed score men-
In Polis;} (translated by W. Boguslawski), tions-besides Amold who arranged the music,
Warsaw 19 October 1783. -no less than 18 composers from whose works
the music was compiled. The overture was
PICCINNI: Il Barone di Torreforte written by T. A. Erskine, Earl of Kelly.
10 January. Rome, Capr. Revived London, c.G. 20 October 1797 in a
Librettist unknown. Two acts. reduced 2-act version and 18 October 1814 with
In Italian also: Dresden 12 June 1766 (revived some new music by Bishop and others.
23 January 1781); Würzburg [22 September] Given at Dublin, Crow Street Th. 25 March
I 769 ; Hanover 22 March 1770; Bonn 1772 ; 1765 (as pasticcio) and Smock Alley Th. the next
Palermo Auturnn 1775; London 22 February night (with new music by Giordani). R. Hitch-
1781. cock (frish Stage, 1794) gives a slightly different
In Spanish (translated by R. de la Cruz) , account as to the dates: "Both managers thought
Madrid 4 February 1768 and Barcelona 1774. it an object worth their utmost attClltion. The
In German, Hanover 22 March 1770. words of the opera were published and equally
The same text was set by Joseph Michl and free for both. But the music was in manuscript
produced at Munich 23 March 1772 (in Italian) and the sole property of the Covent-garden
and in a German translation by C. J. Förg at manager. From him Mr. Barry purchased it and
Munich 1777 and Mannheim 24June 1779· consequently imagined he had in this instance
securely triumphed over his antagonist. In this
GLUCK: Il Telemaco 0 sia dilemma Mr. Mossop found an unexpected re-
L' Iso la di Circe* source, in the great abilities of Signior Giordani.
30 January. Vienna, B. It is a fact weIl established, that though the parts
Text by M. Coltellini (altered from an earlier were writing out in Dublin for Mr. Barry, yet
Italian libretto by C. S. Capeci which was first did Signior Giordani sit down and new compose
composed by A. Scarlatti in 1718). Two acts. the entire opera of the Maid of the Mill in full

279 280
 ANNALS OF OPERA

score, with all the ar:companiments, in less than Mannheim 1772; Frankfort 1773) and by F. W.
a fortnight; and it was written out, studied, the Gotter (Mayence 1776; Hamburg 26 April 1779;
scenes painted, and the opera brought out, two Munich 6 July 1779, etc.); in German, also Hague
nights before they were able to accomplish it at 1774; Riga 24 March 1784.
Crowstreet" . In Russian (translated by Princess Volkonsky
The Maid of the Mill was also given at New and V. A. Lcvshin) , Moscow before 1786 (at
York 4 May 1769; Philadelphia 5 January 1770, Prince Volkonsky's private theatre).
etc.; Brighton 31 July 1770 (first opera there); In Swedish (translated by C. Envallsson),
Kingston, Jamaica 13 November 1779. Also pro- Stockholm 3 November 1790.
duced by a travelling English trotIpe at St. Peters- There are printed Dutch versions by J. T.
burg 16 May 1772. Neyts, n.d.; by J. N. Esgers, Hague 1779; and by
A parody, The Mall of the Mill, by "Seignior C. Lorie, Amsterdam 1785.
Squallini", was published in 1765. Tom JOlles was revived by amateurs ("Socicte
du 18< Siede") at the Salle Villiers, Paris in June
BAT ES: Pharnaces 1914·
An English opera, text by J. Reed, music com-
15 February. London, D.L.
posed and compiled by Arnold (London, c.G.
Text by T. Hull (founded on an Italian libretto
14 January 1769) is an independent work, using
by A. M. Lucchini). Three acts.
Poinsinet's text only to a very small degree and
One of the few attempts to follow up the great
not a single number ofphilidor's music.
success of Arne's Artaxerxes (see 1762). Bates's
only grand opera.
SACCHINI: Ilfinto Pazzo per AmQre
PHILIDOR: Tom JOl1es* Spring. Rome, Valle
Text by T. Mariani (first composed by Sellitti,
27 February. Paris, c.I.
Naples 1735). Two acts.
Text by A. A. H. Poinsinet and B. Davesne
Given at Pavia Spring 1775 as 11 Soldato per
(founded on Fielding's novel). Three acts. Forza impazzito per Amore. Last revived Varese
Regarded by some authors as Philidor's chef
Autumn 1797.
d'Q?uvre. First given at Versailles 20 March 1765 In Italian also, Dresden 1769; Pressburg 1770;
and repeated at the c.I. 30 January 1766 with Prague 12 September 1781.
some alterations. Subsequently given at Geneva In German (translated by G. Stephanie), Vien-
1766; Brussels 26 July 1766; Dresden 3 Decem-
na, B. 6 April 1779 (revived Leop. 10 May 1787);
ber 1766; Amsterdam 1767; Vienna 1768; Co-
Hamburg 1780; Riga 26 June 1784.
penhagen 1769; Lübeck 4 December 1769; Given at Warsaw 10 January 1775 (in Italian);
Florence, T. Via S. Maria September 1776 (li- 25 September 1779 (in Polish, translated by W.
bretto Washington; one of ascries of French Boguslawski); 3I May 1781 (in German).
opera-comiques produced at Florencc under the
direction ofRutini; see Floquet's letter to Gn:try,
BLAISE: Isabelle et Gertrude ou
dated 13 September 1776, in Mereure de Fra/lee,
November 1776); Turin Spring 1778; Cassel 23 Les Sylphes supposes
January 1784; St. Petersburg 20 July 1800. Re- 14 August. Paris, C.I.
vived at Paris, Fa. 15 February 1795. Text by C. S. Favart (founded on Voltaire's
In German, Frankfort 16 September 1769 Gertrude ou L'Education d'une Fille). One act.
(translated by F. J. Sebastiani; one of the earliest The authors introduced three airs by Gluck
German translations of French oplra-eomique; into their "mince partition" (as CIement-Larousse
later versions were by J. H. Faber (published call it).
 ANNALS OF OPERA

In French also given at Brussels I May 1766; 1767; Lisbon 6 June 1767; London 26 March
Dresden 1766; Copenhagen 1767; Mannheim 1768; Breslau 6 September 1768; Berlin Decem-
1767; Lübeck II December 1769; Cassel 1780 ber 1768; Valencia Autumn 1769; Ludwigsburg
and 26 April 1784. Summer 1770; Copenhagen Autumn 1770
Last revived in Paris by the Petite Scene May (Danish translation in the libretto by R. Soel-
1914 and 25 April 1920. berg); Bonn 1772; Gorizia Carnival 1776; Vien-
The same libretto was set by young Gf(!try in na 9 June 1777 (as Il Vccchio deluso; probably
1766; it was his first French opera, produccd at Guglielmi's opera).
Geneva in December 1766.

DUNI: La Fee Urgele, ou I7 66

Ce qui pfalt aux Dames
SACCHINI: L'Isofa d'Amore
26 October. Fontainebleau
Text by C. S. Favart (after a tale by Voltaire Camival. Rome, Valle
which, itself, is founded on Chaucer's Tlze Wifc Librettist unknown. Two acts.
ofBath's Tale). Four aets. The most suecessful ofSacchini's comic operas,
Given at Paris, c.I. 4 December 1765 and last particularly in the French and German versions.
revived there at the Gymnase 6 January 1821 In Italian also given at Dresden 9 February
(rcduced to one aet and with new choruses by 1768; Oggerstein near Mannheim 1769, and
L. Aimon). Schwctzingen June 1772; Vienna Summer 1769
In French also Geneva 1766; Brussels 12 De- (additional music by Gassmann) ; Mannheim
cemoer 1766; Amsterdam and Hague 1767; Co- January 1772 and 1775; Munich Carnival 1773;
penhagell 1770; Vienna, Kä. November 1780; Lisbon 20 April 1774; Regensburg 1775; London
Moscnw 13 November 1874 (revived 22 Decem- 12 March 1776; Eszterhaza Summer 1776; as La
ber I X10); Cologne 1796-7. Revived at Antwerp Colol1ia, re-translated from the French version by
10 March 1824. G. A. Riva, Colorno, near Parma 9 October
In Gernun (translated by J. H. Faber), Mann- 1775·
heim [772; Frankfort Spring 1772. In Spanish (translated by R. de la Cruz),
In Danish (translated by J. H. WesseI), Copen- Madrid 12 September 1774; Barcelona 1777.
hagen 30 January 1782. In French (as La Colonie, translated by N. E.
III l'olish (translated by J. Baudouin), Warsaw Framcry), Paris, c.I. 16 August 1775 (revived
-' April [7X3. Th. de I'Egalite 23 September 1794); Fontaine-
All Ellglish adaptation of the libretto is D. blcau 4 November 1775; Brusscls 10 January
Garrick's A .Chrisf/1laS Tale, produced London, 1776; Vienna c.January 1776; Casscl 2 July
D.L. 27 Oetober 1773 (with new music by Dib- 1777; Warsaw June 1778; Smolna 25 June 1778;
dill); Dllblill 7 March 1777. Parma, Conte de Flavigny's April 1784; Cologne
1796-7; Moscow 1 May 1809.
P. GUGLIELMI: Il Ratto della Sposa In Danish (translated from the French version
Venicc, S. Moisc
Al/fIIllIll. by N. K. Bredal), Copenhagen 15 April 1777.
Text by G. Martinelli. Three acts. In German (translated from the French version
Gllgliclmi's I Rth opera and his first great suc- by J. Andre), Mannheim 21 Fcbruary 1779;
cess. Givcn at Padua Carnival 1775 as Il Vecclzio Berlin 2 May 1779 (revived 13 April 1790);
delI/so; at Sima I I Februar)" 1778 as La Sposa Breslau 2 Decembcr 1779; Hamburg 8 February
rapifa. 1780; Frankfort I I April 1780; Vienna, B. 7 May
In Italian also given at Dresden 22 May 1766; 1780; Augsburg 19 May 1780; Cologne 5 July
Trieste [10 September] 1766; Barcelona [2 June] 1780; Munich 18 August 1780; Bonn 6 October

28 3
 ANNALS OF OPERA

1780; Cassel7 September 1781; Riga 29 October A scene from this opera was sung at a London
1783; Carhruhe 29 October 1784; Schwedt 7 concert as late as 5 May 1823; parts of the opera
October 1785; Solothurn 12 July 1789; Press- were revived at the inauguration of the new
burg November 1793. Stuttgart Hoftheater even on 14 September 1912.
In Polish (translator unknown), Warsaw 1780. (See for adescription of the opera, W. Heinse's
In Dutch (translated from the French version, novel Hildegard von HohenthaI, 1795-96.)
translator unknown), Amsterdam 1782.
In Swedish (translated from the French version PAISIELLO: Lefinte Contesse
byC. EnvalIsson),Stockholm 7 May 1783; Gothen- February. Rome, Valle
burg 16 April 1784; Malmö 23 September 1804. Text by P. Chiari (originally caIled 11 Marchese
In Russian (translated from the French version Villano and first set to music by GaIuppi, see 1762),
by V. G. Voroblevsky), Moscow 16 November reduced to 1 act.
1780 (revived 25 September 1794) and St. Peters- Given at Milan July 1770 as La Lavandara astuta
burg 23 November 1790. (pasticcio, additions by Piccinni); also Pisa Car-
nival 1786. Revived in an enlarged 2-act version
PIe eIN NI: La Pescatrice ovvero St. Petersburg 1777 (at Oranienbaum Palace) and
L'Erede ricollosciuta I November 1779 (at Kamenoy Ostrov) as 11
9 Janllary. Rome, Capr. Matrimonio inaspettato.
Librettist unknown (the text has nothing to do Under this title as weil as under two others,
with Goldoni's Pescatrici). Two acts. viz. 11 Marchese Tulipano (Florence) andLa Conta-
Given at Venice Autumn 1771 in an enlarged dina di Spirito (Vienna) the opera was then given
3-act version with additional music by S. Perillo; all over Europe; yet another sub-title La Contessa
at Turin, T. Carignano 1781 and Genoa 1782 as di Sarzana was used at Trieste. Given at: Naples,
La Pescatrice illllocente. Palace of Portici June 1781; Florence, P. Spring
In Italian also, Vienna 23 January 1769; Dres- 1783; Vienna 6 April 1785; London 24 January
den 3 I January 1773; Munich April 1773; 1786 (with additional music by Cherubini; a
Warsaw 16 January 1775; Regensburg Carnival pasticcio 11 Marchese Villano, with music by
1777, etc. Piccinni and Paisiello had been given there al-
In German (translated by C. J. Förg) Munich ready 26 March 1778); Hamburg I May 1787;
1771-2 and I I September 1777; Salzburg 1778; VersaiIIes 17 July 1787; Rome, Capr. 7 January
Nuremberg 7 July 1779 (by Schikaneder's com- 1788; Eszterhaza 1788; Madrid 25 August 1788;
pany); Regensburg 27 Decembcr 1779; Augs- Trieste January 1789; Wa:rsaw 6 January 1790;
burg 13 April 1780; Gotha 24 April 1784; Carls- Lisbon 1790; Barcelona 9 December 1791;
ruhe 6 Dccember 1784; Pforzheim 6 June 1787, Prague 1792; Paris, Th. 1. 13 December 1801.
etc. In German, also Warsaw 23 June 1781; There were almost as many German alter-
Pressburg 1788; Riga 1790. (C. A. Vulpius had native titles. Given at:
another German translation, called Der Liebes- PRESSBURG 18 November 1785 (as Das listige
trank, ready by 1787; but it does not seem to Bauemmädchen, translated by J. Chudy).
have becn acted.) PYRMONT I August 1786 (as Ritter Tulipan auf
Rosenstock, Nelkenhain und Hollerblüth, oder Das
JOMMELLI: Il Vologeso listige Bauernmädchen).
11 February. Ludwigsburg NUREMBERG 1787 (as Das witzige Landmädchen oder
Text: alaterversionofZeno'sLucio Vero (1700), Der geadelte Landmann).
first set to music by Rinaldo di Capua in 1739. COLOGNE 1787-8; Hanover 18 April 1792 and
Three acts. Bremen 22 October 1792 (as Das listige Bauern-
Lisbon Carnival 1769. mädchen oder Die unvermutete Heirat).
28 5 286
 ANNALS OF OPERA

VIENNA, TH.A.D. LANDSTRASSE Spring 1790. A parody by P. T. Gondot, eaIIed Nanine, Sreur
MUNICH 20 Deeember 1793 (as Das listige Bauern- de Lait de la Reine de Golconde was published in
mädchen oder das Tulipanengeschlecht). 1768.
The opera was frequently revived in German The story beeame a favourite subject with
in the beginning of the 19th eentury (Poznan opera composers: see Uttini 1776; Sehulz 1787;
I February 1805; Würzburg 13 February 1809; Berton 1803; Donizetti 1828.
Hanover I May 1809; Darmstadt 13 August 1809,
Berlin 19 Deeember 18II, Hamburg 28 February BARTHELEMON: Pelopida
1813; Bremen 13 May 1814; Mayenee 17 May
24 May. London, Hm.
1815; Graz 15 November 1827) and was given at
Stuttgart as late as 1843. Very probably G. Roeeaforte's text (first set to
In Freneh (translated by C. J. A. GourbilIon), musie by G. Searlatti in 1763). Three acts.
Paris, Th. de M. 28 January 1789 (revived Th. The first opera of Barthelemon who, sinee
Porte Saint-Martin 9 September 1802); LilIe 15 1764, had been leader of the orehestra at the
King's Theatre. Extraets from the opera were
November 1789; Ghent 1792; Liege 1 August
performed at a Dublin eoneert 10 Oetober 1771.
1795; Brussels 2 January 1796; Kingston,Jamaiea
20 Decembcr 1800; Antwerp 15 January 1805
(revivcd 10July 1812); Moseow 28 August 1809; J. A. HILLER: Die ven/landelten Weiber,
Lyons Oetober 1816; Le Havre 18 February oder Der Teufel ist los
1817. 28 May. Leipzig
In Swedish (translated by C. Envallsson),
Text by C. F. Weisse. (For his first, 2-aet version,
Stockholm 13 November 1794.
of the libretto, set by Standfuss, sec 1752;
In Russian (translated by V. A. Levshin), St.
this new 3-aet version was influeneed by Sedaine' s
Petersburg 26 April 1795 (revived April 1811);
Freneh libretto of 1756, q.v.).
Moseow 22 June 1798 (revived 4 May 1806 and
Very suecessful aII over Germany: Hamburg
5 May 1820).
21 July 1766, ete., Berlin I] July 1771. In German
In Polish (translated by 1. Osinski), Warsaw
also, St. Petersburg II February 1779; Graz IO
18°4·
February 1793; Temesvar 28 February 1802;
In Duteh (translated by C. van der Vijver),
Vienna, Leop. 19 Deeember 1809. Parts of the
Amsterdam [2I'Oetober] 1807.
opera were given at Hamburg as late as 19 Feh-
ruary 1855.
MONSIGNY: Alille, Reine de Golconde (For a sequcl Der lustige Schuster oder Der zweite
15 April. Paris, O.
Teil 1'0/11 Teufel ist los, see 1759; this was also
revised and pardy re-eomposed by Hillcr, but it
Text by J. M. Sedaine (founded on a story by
ean hardly be ealled a new opera and is treated
S. J. de ßouffiers). Three acts.
here as a new version of Standfuss' s original
Revived in Paris 4 Oetober 1768; 26 May
setting. Hiller's new version was also given at
1772; 4 July 1779; and 16 July 1782. In Frcneh Leipzig in 1766; exaet date unknown, probably
also ßrussels 4 July 1774; Liege 18 January 1783. a few wecks after Die verwandelten Weiber.)
A Germ:m translation by F. 1. W. Meycr was
published at ßerlin 1782.
An Italian version by A. Andrci, musie by GOSSEC: Les Ncheurs
Rauzzini, was produeed in London 18 March 7 June. Paris, c.1.
1784. Text by A. N. de La SaUe d'Offemont. One aet.
In Russian, Moseow 21 Dceember 1786 and One of Gossee's best works. In Freneh also
1793· given at Brussels IO September 1767; Smolna

288
1766 ANNALS OF OPERA

8 March 1777; Casscl20 Februar)' 1784; Cologne JOMMELLI: Il Matrimonio per

1796-7. Last revived Antwerp I I March 1805 and Concorso
Brusscls 31 July 1815.
4 November. Ludwigsburg
In Swedish (translated by C. Envallsson),
Stockholm 6 September 1789; Gothenburg 28 Text by G. Martinelli. Three aets.
October 1790; Malmö 12 July 1808. In Italian also, Milan, T.R.D. Autumn 1768;
In Dutch (translated by D. Rulolfs), Amster- Lisbon 6 J une 1770. At Stuttgart still given during
dam [6 May] 1793; Oudenarde 1796-7. the 'eighties.

DUNI: La Clochette* RILLER: Lisuart und Dariolette oder

24 fltly. Paris, c.I. Die Frage und die Antwort
Text by L. Anscaume (founded on a tale by La- 25 November. Leipzig
fontaine). One act. Text by D. Sehiebeler (partly founded onFavart's
In French also Amsterdam 1766; Brusscls 18 La Fee Urgele, see 1765).
January 1767; Copenhagen 1767; Vienna 1768; On the origin of the libretto see G. Sehmidt-
Warsaw 10 February 1778; Liege 10 June 1780; mann's dissertation on Sehiebeler, 1909). Orig-
Munich 21 March 1783; Gothenburg 25 April inally in 2 aets; given also at Vienna 6 January
1783; Stockholm June 1783; Cassel 30 October 1767. An enlarged 3-act version was produced at
1784; Hamburg 1795; Cologne 1795-6. Leipzig 7 January 1767; Salzthai 1 August 1769;
In Swedish (translated by D. G. Djörn), Hamburg 1769; Derlin 26 July 1771, ete.
Gothenburg 16 December 1783 and Stockholm
18 February 1786.
In Russian, Kouskovo 1780 and Moscow 19 17 6 7
September 1792.
A Dutch version by J. T. Neyts was published P. GUGLIELMI: La Sposafedele
in 1768; another by J. G. Doornik in 1783. Camival. Venice, S. Moise
Vocal score reprinted in 1910, edited by C. Text by P. Chiari. Three acts.
Lecocq. Revived Paris, Varietcs amusantes, 29 The most suceessful of Gugliclrni' s earlier op-
August 1794 and "Th. de Monsieur" (Th. des eras. Given at Florence, Carnival 1774 as La Rosi-
Mathurins) 22 December 1910. nella 0 La Sposa Jedele and Spring 1779 as La Sposa
costante; at Genoa, S.Ag. Summer 1776 as La Fe-
TRAETTA: Le Serve Rivali* delta in Amore.
Autlllnn. Venice, S. Mois<: Outside Ital y, in Italian, given at Dresden 1768;
Text by P. Chiari. Three acts. Copenhagen A\1turnn 1768 (Danish translation
Very suceessful in Italy: Florence, T. Coco- in the libretto by F. A. Früs); Vienna 1769 (re-
mero Spring 1767; repeated Venice, S. Mois<: vived 19 April 1777); London 3I March 1770 (as
Autumn 1767; Bologna November 1767; No- La Costanza di RosincIla; repeated 3I Oetober
va ra Carnival 1769; Milan, T.R.D. Summer 1775 undcr its original title, as a pasticcio);
1769, ete. Munieh Summer 1772; Cadiz 1772; Lisbon
In Italian also, Vienna 1767; Lisbon and Bruns- Autumn 1773; Warsaw 4 January 1775; Prague
wiek 1768; Dresden II October 1768; London 1775; Madrid Summer 1776; Graz, Carnival
3 June 1769 (revived 19 December 1780); Donn 1778; Eszterhiza 3 Ma y 1778, ete.
1773; Warsaw 4 February 1775. Sueeessful also in a German translation by J. J.
In German as Die Nebenbuhlerinnen, Cologne Eschenburg, as Robert IIlld Kalliste, oder Der
27 September 1785; Casscl 5 January 1787; Pyr- Triumph der Treue: Berlin 8 April 1775; Dresden
mont 7 August 1787. 25 February 1776; Vienna 20 June 1776; Ham-
 ANNALS OF OPERA

burg 25 September 1776; Hanover 10 January had previously been successfully produced in
1777; Frankfort 14 Jwie 1777; St. Petersburg 29 Russia, viz., with music by Araja in 17S0). Three
January 1778; Strasbourg 28 February 1779; Augs- acts.
burg 11 June 1779; Bonn 9 December 1781; The first success of the Czech composer; given
Warsaw 22June 1782; Riga 29 November 1782; at Siena [6 May] 1767 and !ater in the same year
Prague Easter 1783; Munich I Jo1y 1783; Lai- also produced at Prague. (The opera was not
bach 31 May 1784; Cologne Autumn 1784; written for Parma as stated by Eimer and many
Carlsruhe 21 February 178S; Bremen 18 October other authorities.)
1785; Cassel 28 April 1787; Pyrmont 26 June
1787; Pressburg 1788; Graz 14 March 1789; J. A. HILLER: Lottchen am Hofe
Wolfenbüttel2S August 1789; Budapest 27 De-
24 April. Leipzig
cember 1789; Amsterdam 1792, etc. Given on
Text by C. F. Weisse (after Goldoni and Favart,
German stages until about 1800.
see 1749 and 175S). Three acts.
HAYDN: La Canterina* Successful on German stages; Berlin I Jo1y
Carnival. Eszterhaza 1769, etc.; in German also, Prague I April 1771;
Librettist unknown (the text is different from St. Petersburg 1778; Riga 1778 (as Lotte und Gür-
Goldoni' s intermezzo ofthe same tide, set to music geQ; Salzburg 18 February 1781. Given in Ger-
by Galuppi in 17S6). Two acts. many until the end ofthe 18th century. Revived
Revived Bielefeld 21 March 1939 (in German, Darmstadt 31 March 1936 (new version by F.
as Die kleine Sängerin, translated and arranged by Herburger and A. Anzengruber).
M. See). Cleveland 30 December 1940 in English Given at Vienna, Kä. 10 June 1769 "umge-
as The Songstress. ändert als Lustspiel von Heufeld" . A new setting
M. ARNE: Cymon ofFavart's text (see 1755) by H. M. Berton (first
2 January. London, D.L. produced Paris 21 December 1811) was given
Text by D. Garrick (A dramatic romance, founded with parts ofHiller's music when performed (in
::m Dryden's poem Cymon and Iphigenia). Pro- a German version by G. F. Treitschke) at Vienna,
logue, S acts, and epilogue. W. 19 October 181S.
Ame's most successfo1 work; Dublin 4 March
[771 (accompaniments by W. Clagget); Phil- GASSMANN: L'Amore Artigiano
ldelphia 3 March 1773; New York 3 May 1773; 26 April. Vienna, B.
Edinburgh 1783, etc. Frequendy revived in Lon- Text by C. Goldoni (first set to music by Latilla
Ion; the latest revivals were at: in 1760). Three acts.
:.G. 20 November 181S (reduced to 3 acts, with Gassmann' s setting was very successful all over
additions by Bishop, also airs by Stevenson, Europe. Given at:
Braham and Paer). BOLOGNA [10 April] 1768 and on many other
:.G. 14 December 18IS (reduced to 2 acts); and Italian stages: Burney attended a performance
21 October 1817; II October 1820 and 7 April at Milan 17July 1770; revivedMilan,Sc. I May
1827). 1782.
.Y. I April 18so (reduced to I act, adapted by VALENCIA Autumn 1769 (in Italian).
J. R. Planche as Cymon and Iphigenia). DRESDEN 2 January 1770 (in Italian).
COPENHAGEN Autumn 1770 (in Italian; Danish
MYSLIVECZEK: Il Bellerofonte translation in the libretto by R. Soelberg) and
20 January. Naples, S.c. 4 January 1781 (in Danish, translated by L.
rext by G. Bonechi (according to B. Croce, who Knudsen).
luotes a letter by Bonechi, saying that his work SCHWETZINGEN May 1772 (in Italian).

291
 ANNALS OF OPERA

PRAGUE J774 (in Italian) and Summer 1783 (in at Salzburg University at the end of each term.
German). (Even this was not the first stage-work of the
MUNICH Camival 1775. eleven-year-old boy; Die Schuldigkeit des ersten
WARSAW 22 January 1775 (in Italian) and 22 April Gebotcs, the first act of which was set hy Mozart,
J787 (in Polish, translated by W. Boguslawski). had been given at Salzburg University on J2
GRAZ Spring 1778 (in Italian) and 18 December March 1767.)
J792 (in German). Apollo et Hyacinthus was revived at
LONDON 3 March 1778 (in Italian; not 3 August ROSTOCK 29 April 1922 (in German, translated by
J775). H. C. Schott and G. Scholz, music arranged
VIENNA, B. 29 September J779 (for the first time by P. G. Scholz and J. Tumau).
in German, translator not mentioned); re- MUNICH April 1932 (in German, translated by E.
vived Leop. 30 April 1790 (translated by J. A. Mann, music arranged by K. Schleifer).
von Ghelen); and in yet another version by SALZBURG August 1935 (new version by R. Ten-
K. F. Lippert, Kä. 29 December 180J (as pas- schert, arranged for puppets); this version was
ticcio). also given at Linz 16 April 1937.
NICE Camival J781 (in Italian).
BONN J5 October 1781; Frankfort 13 April 1782; GOSSEC: Toinon el Toinette
Hamburg 28 August 1782, etc. (in German).
20 June. Paris, c.r.
DUBLIN 1782 (in Italian).
Text by J. A. J. Des Boulmiers. Two acts.
BERLIN 16 June 1783 (in German).
In French also, Amsterdam and Hague 1768;
RIGA J8 December 1783 (in German).
Liege 2 February 1771; Copenhagen J771; Brus-
ST. PETERSBURG 1785 (in Italian).
sels 27 May 1776; Cassel J4 January 1784.
PRESSBURG 1788 (in German ; revived 16 Decem-
In German (translated by J. H. Faber), Frank-
ber J797).
fort 1774; Cologne 22 June J775; (translated by
BUDAPEST 1788 (in German).
G. Stephanie), Vienna, Kä. J June J776 and B.
9 February J779, etc.
PAISIELLO: L'Idolo Cinesc* In Dutch (translated by P. J. Uylenbroek),
Spring. Naples, T.N. Amsterdam November J783; an earlier Dutch
Text by G. B. Lorenzi. Three acts. version, by J. T. Neyts, had been published at
Successful at Naples; given 6 April' 1768 at the Alkmaer in 1768, and a third anonymous one in
court theatre of Caserta as the first comic opera the same year. Bumey attended a performance in
there. In Italian also, Paris, O. JO June J779 (with Flemish at Brussels in July 1772 (music arranged
additional music by Piccinni and others); St. Pe- by Vitzthumb).
tersburg 30 August 1779 (at Tsarskoye Selo; In Danish (translated by A. G. Thorollp), Co-
French and Russian translations by A. G. Volkov penhagen 25 November J785.
and Levachoi published on that occasion). Re- In Swedish (adapted and translated by C. En-
vived Naples Fondo 1783. vallsson), Stockholm II September J 804 (pas-
ticcio); also Malmö 22 April J807 and Lllnd 22
MOZART: Apollo cl Hyaeinthus seu July J807·
Hyaeinthi Metamorphosis*
13 May. Salzburg
NAUMANN: L'Achille in Seiro
(Latin) tcxt by R. Widl. Called a Lateitlischc Ko- 5 September. Palermo
miidie. Strictly speaking, not an opera, but musical Metastasio's text (first set to music by Caldara, see
intermezzi (9 numbers) in Widl's Latin tragedy, J736). Three acts.
Clcmc/ltia Croesi. Such Latin plays were performed Nauma:nn's first preserved opera.

293 294
 ANNALS OF OPERA

HASSE: Partel10pe After Orfeo (see 1762) Gluek's seeond "reform

9 SeptemlJre. Vienna, B. opera"; the prefaee to the score (pllblished Vienna
Text by P. Metastasio. Two acts. 1769) is one of the most remarkable documents
W ritten to cclebrate the betrothal of King Fer- for the theory of opera. The date of 16 December
dinand IV of Naples to the Archduchess Maria (instead of 26) 1767 for the first performance at
Josepha (d. 15 October 1767). Also given at Vienna, still freqllently occurring, is wrong. and
Naples, S.c. 20 September 1767 and Berlin 18 owes its existenee to an old misprint; see C. F.
July 1775. Pohl, Haydll, Vol. II (1882), p.II9.
(According to the diary of Khevenhüller 1 Par- Alceste was revived at Vienna, in Italian, on
tC/10PC had been produced two years earlier at 21 September 1770; again Schönbrllnn 25 No-
Innsbruck, 6 August 1765, at the wedding of the vember 1781 and Vienna, B. 3 Deeembcr 1781;
Archduke Leopold; but it was Romolo ed Ersilia, also Vienna, Prinee Auerperg's February 1786.
by the same authors, which was performed on Outside Vienna given at Paris, O. 23 April 1776
that occasion.) (in Frcneh, translated by F. L. G. Lebland du
ROllIlet; with some adjustments in the last aet by
PHILIDOR: ErneliHde Prillcesse Gossec); given there more or less regularly until
1826; revived 21 Oetober 1861 (revised by Ber-
de Norve,~e lioz) and 12 Oetober 1866 (313 performances in
24 N(1/lclllber. Paris, O. all). Thcn revived at the O.C. 28 May 1904 and
Text by A. A. H. Poinsinet (founded on an Italian again at the O. 8 February 1926 and 23 November
libretto by M. Noris, Ricimero, Re de Va/1dali, 1936. A parody by P. A. A. de Piis, P. Y. Barre,
1(84). Three aets. J. ll. D. Dcsprcs and L. P. P. Resnier, called La
Philidor's chief work in the province of grand BVI/11(' Fe/1/me 01/ Le PIU1Ilix, was produeed at the
opera. Given at Paris 24 January 1769 as Sand(1l11ir, c.I. on 7 July 1776. Another, er/este, by ßardon,
Prillcc dc DalmclIlarc!.: and revived (with the orig- was published in 1784.
inal title) Versailles TI Deccmbcr 1773 and Paris, In Frcnch also givcn at Cassel6 April 1778 (first
0.8 JulI' 1777 (enlarged to 5 aets, text revised by performance in Gcrmany); Brunswiek 1801.
J. M. Sedaine). In Italy, Padua 1777; Bologna, T.C. 9 May
Given at Brusscls 4 Oetober 1772 (first version) 1778 alld Casino Nobilc February I78R; Naplcs,
and 4 November 1774 (second version). Fondo Autll:nn 1785; Florence, P. 26 Deeember
A parody by J. E. DesprCallx, ealled Bcrlillgl/c, 17H6. (Calzabigi's text was also used by
was prodlleed at Choisy 13 September 1777 and Gllgliclmi. whose setting was produecd at Milan 26
anothcr, callcd Salls-Dorlllir, :lt the c.I., Paris Dcccmbcr 1768, cxactly one ycar after Gluck's.)
12 Oetober 1777. In Italian also given at Copenhagen I Fcbruary
Voe:!l score reprinted in 18R3 (edited by Ccsar 1775 (Danish translation in the libretto by H..
Franck). Soclberg); Lilie I2 Apri117R3; Hanovcr c.No-
GL UCK: Alceste* vember 1733; London 30 April 1795 (for Brigitta
Banti's bencfit; a sclection had becn given pre-
26 Dcmll/ICT. Vienna, B.,
viously at a "fete" at the King's Th. IO April
Text by R. de' Calzabigi (Tragedia per lIlusica).
1780, with Antonia Bcrnaseoni for whom Gluek
Three acts.
originally lud written the p:lrt of Alceste); Berlin
1 AllS der Zeit Maria Thcresi"s, '{"gebl/cl! des Fiirstell 4 March 1796 and 15]:muary 1804; Sc. Petcrsburg
Ja/lmlll Jose! Khevenhiillcr-:Hctsch. Vol. VI (1764-67). 1798; Moseow Carnival 1803; Trieste 1804.
1917. pp.120 and 263. Thc anticipation ofthe 1767 title
In Swcdish (translated by C. J. Hertzenhjclm
in a diary entry of 1765 rCl1lJim a curious fact which
can be explained only by assullling that the title of the and J. H. Kcllgren, musie arranged by L. S. Lalin) ,
opera was supplied frolll memory at a later date. Stockholm 26 February 178 I.

295
 ANNALS OF OPERA

In German, Frankfort 31 July 1784 (translated dulity, a new Amcrican Comic'Opera of two acts. By
by J. Böhm); Cologne Auturnn 1784 (Böhm's Andrerv Barton. It was announced for production
translation); Cassel 23 March 1787; Mayence at Philadelphia 20 April 1767, but withdrawn as
9 April 1791 (translated by H. G. Schmieder) ; it contained "personal reflections". Reprinted (in
Berlin 15 October 1817 (translated by C. A. 3 acts) 1796. The music consists of popular airs.
Herklots); Budapest I November 1817; Munich See O. G. T. Sonneck, in Sammelbände of the
8 July 1840; Dresden 17 February 1846; Prague I.M.S., Vol. VI (1904-5).
17 November 1846; Leipzig 18 June 1853; Carls-
ruhe 28 June 1855; Rotterdam April 1864.
In Russian, Kouskovo, Count Cheremetyev's,
1768
after 1785.
Some of the more recent revivals of Alceste GASSMANN: La Notte critica
were at:
5January. Vienna, B.
VIENNA 4 October 1885 and 6 March 1916 (in
Text by C. Goldoni (first set to music by Boroni,
German).
1766, and Piccinni, 1767). Three acts.
BOLOGNA, T.C. 7 October 1888 (in Italian, re-trans-
In German (translated by J. J. Eschenburg)
lated from Herklots's German version by A.
Vienna, B. IO January 1783.
Zanardini).
BARCELONA, T.L. September 1889 (in Italian, re-
translated from Herklots' s German version by DUNI: Les Moissonneurs
A. Zanardini). 27 January. Paris, C.I.
COPENHAGEN 15 November 1898 (in concert Text by C. S. Favart. Three acts.
form). In French also, Amsterdam 1768; Liege 8 De-
PRAGUE 6 February 1901 (in German). cember 1768; Copenhagen 12 June 1769; Er-
PARIS, O.C. 28 May 1904 (in French). langen 1769.
LONDON,H.M's 2 December 1904 (by the R.C.M., In German (translated by J. H. Faber) Frankfort
in English, translated by C. Aveling). 1772; another German version, by G. K. Pfeffel
BRUSSELS 14 December 1904 (in French; for the was given at Rostock 5 June 1776 (modified by
first time there). P. F. Ilgener; see Sonneck's Catalogue, p.974 and
STUTTGART 18 November 1923 (new German A. Iacuzzi, The European Vogue of Favart, P.184).
version by H. Abert). An anonymous English translation The Reapers,
PARIS, O. 8 February 1926 and 23 November 193 6 or The Englishman out ofParis, was published in
(in French). 1770; see also Shield's Rosina, 1782.
ZURICH IO March 1926 (in German). A Spanish version by R. de la Cruz was set
TURIN, T. DI TORINO 12 May 1926 (in Italian). by Esteve (La Espigadera, Madrid 20 July 1778).
OXFORD 6 December 1926 (in English). An anonymous Dutch translation was pub-
BUENOS AIRES 21 June 1934 (in French). lished in 1785.
FLORENCE, BOBOU GDNS. I June 1935 (in Italian).
ROME, T.R. 16 January 1937 (in Italian).
LONDON, C.G. 6 May 1937 (in French). JüMMELLI: Fetonte
WELLESLEY COLLEGE, MASS. I I March 1938. 11 February. Ludwigsburg
BASLE 1 June 1939 (in German). Text by M. Verazi. Three acts.
Lisbon 6 June 1769. Given at Stuttgart until
1773. An earlier Fetonte opera by Jommelli (per-
The first American opera libretto was printed formed Stuttgart I I February 1753; different lib-
in 1767, The Disappointment, or, The Force of Cre- retto) is not extant.

297
 ANNALS OF OPERA

The score was published in the Denkmäler J. A. HILLER: Die Liebe auf dem Lande
Deutscher Tonkunst series in 1907 (edited by H. 18 May. Leipzig
Abert). Text by C. F. Weisse (founded on Favart's An-
nette et Lubin, see 1762, and Anseaume's La Clo-
D I B D IN: Lionel and Clarissa* chette, see 1766), Three acts.
Hamburg 1769; Berlin 13 August 1771 and all
25 February. London, C.G.
over Germany; in German also, St. Petersburg
Text by I. Bickerstaffe. Three acts. 5 November 1778; Vienna 7 June 1779; Riga 30
Given in a new version as Lione! and Clarissa, April 1784.
or A School for Fathers, London, D.L. 8 February For a Danish version, see 1810.
1770; Dublin 2 April 1770 (first version already
1769); Philadelphia 14 December 1772; Kingston,
RODRIGUEZ DE HITA: Briseida
Jamaica 14 April 1781; Edinburgh 23 February
1786 (if not earlier); New York 21 February 1794 11 July. Madrid, T. del Principe
(first recorded performance; probably given there Text by R. de la Cruz (zarzuela her6ica). Two
already c.1773); Boston 14 November 1796. acts.
The greater part of the music was composed by Parts of the music were revived in concert form
Dibdin; as to the additions by other composers, at the Ateneo, Madrid in 1896 (under F. Pedrell).
see Sonneck's Catalogue, p.687.
Frequently revived on English stages; in Lon- GRETRY: Le Huron
don as late as 22 May 1924 at Birkbeck Institute ~ 20 August. Paris, c.I.
and 28 October 1925 at the Lyric, Hammersrnith
Text by J. ~. Marmontel (founded on Voltaire's
(music arranged by A. Reynolds; ran for 171 L'Ingenu). Two acts.
nights). Gretry's first success; given in Paris until 1807;
the 100th performance there was on 17 March
TRAETTA: L'Isola disabitata 1776.
In French also, Amsterdam 1768; Liege 26 Jan-
[26 Apriij. Bologna, T.C.
uary 1769; Copenhagen 1769; Cassel 19 Novem-
Metastasio's text (first set to music by Bonno in ber 1783; Parma Carnival 1787.
1752). Two acts. In German (translated by C. L. Reuling) Vienna
Of the music only one air is extant. Given also 1770; Prague 1770; Frankfort 1772-73; Mayence
at St. Petersburg Carnival 1769; Copenhagen 1776; revived Vienna, Kä. April 1776 and Leop.
8 January 1773 (Danish translation in the libretto 25 October 1783; Bonn 1783.
by F. A. Friis); Warsaw 1 June 1781 (composer In Danish (translated by C. H. Pram), Copen-
not mentioned; rather Traetta's than G. Scar- hagen 6 January 1780.
latti's setting); Prague Autumn 1783. A Dutch version by J. T. Neyts was published
in 1769.

GALUPPI: Ifigenia in Tauride MO ZAR T : Bastien und Bastienne

2 May. St. Petersburg September? Vienna
Text byM.Coltellini(firstset to music byTraetta, Text: F. W. Weiskem's Gerrnan version ofFa-
see 1763). Three acts. vart's parody on Rousseau's Le Devin du Village
The only opera Galuppi wrote for Russia (see 1752). One act.
where he was court conductor, 1766-68. Score The performance took place at the garden
preserved. theatre of Anton Mesmer, the once famous hyp-

299
1768 ANNALS OF OPERA 1768
notist, probably il1 September 1768. It was the NEW YORK 26 October 1916 (in English, trans-
only production of this litde Singspiel until 122 lated by A. Mattulath) and 5 February 1939
years later. The Basticn und Bastil.'lItlC produced (translated by H. Hagen).
at Vienna suburban theatres 3 August 1775 and TRIESTE, CONSERVATORIO 14June 1923 (in Italian).
29 May 1779 is attributed to Mozart in E. K. ROME, T. DI MARCELLO 21 January 1927 (in Italian).
Blümml's and G. Gugitz's Alt-Wicncr Thcspis- NANTES 13 March 192R (in French).
karren (p.48 I). But there is no evidence that this BARCELONA April 1928 (in French).
was not rather the Weiskern version of Favart's SALZBURC 6 August 1928 (in Russian, by the Lcn-
parody, whieh seems to be mueh more likely ingrad Conservatoire).
(sec 1752). CENEVA March 1933 (in French).
Bas/ien u"d Bastielllll' was revived by the Gesell- HACUE April 1938 (bytheDutchChamberOpera).
schaft dcr Opmifrcullde at the Architektenhaus, JERUSALEM I March 1939 (in Hebrew, translated
Berlin on 2 October 1R90. One year later, with by E. Troche).
a new text by M. Kalbeck, it was produeed at
Vienna, O. 25 Deceinber 1891 and subsequendy RODRIGUEZ DE HITA: Las Segadoras
at Brünn 14 April 1892, Graz 28 November 1892, (The Reapers)
Hamburg 29 November 1892, Berlin 5 Decem- 30ctober. Madrid, T. del Principe
ber 1892, Basle 19 December 1892 and in most Text by R. de la Cruz (zarz~e1a burlesca). Two
German theatres. Another new version, by R. acts.
Simons, was given at Vienna, V.O. 31 October Successful at Madrid. Also given at Barcelona
1905· 1773. Music preserved.
Translated from Kalbeck's version also given at:
BUDAPEST 20 November 1892 (in Hungarian, HAYDN: Lo Speziale*
transla,ted by A. Rad6). Au/umn. Eszterhaza
STOCKHOLM 28 September 1893 (in Swedish, Text by C. Goldoni (first set to music by V.
translated by E. Grandinson). Pallavicini and Fischietti, see 1755). Three acts.
LONDON, bALY'S 26 December 1894 (in English, Repeated Vienna 22 March 1770 (privately at
translated by C. Bache) and C.G. 2 May 1907 Freiherr von Sumerau's).
(in German) ; broadcast 17 March 1933 (English Revived (in a German version by R. Hirsch-
version by E. BIom). feld), Dresden 22 June 1895; Vienna, Ca. 3 No-
PARIS, O.C. 9 June 1900 (in French, translated by vember 1895; Hambutg 5 November 1895; Basle
H. Gauthier-Villars and G. Hartmann); re- 19 March 1897, etc. Again Vienna, O. 10 Feb-
vived at the Theatre Club Arlequin 9 January ruary 1899 and 29 May 1909 (reduced to one act,
1932. scoring rcvised);. Amsterdam 24 January 1911.
BRUSSELS 29 December 1900 (in French). . In 1932 (heing the year ofthe 200th-anniversary
ANTWERP 2 February 1901 (in Flemish). of Haydn's birth) the opera was seen again
PRACUE 1905 (in Czech. translated by V. J. No- on many German stages (Vienna 9 April 1932,
vomy). etc.). Sinee 1925 produced in many countries
ZACREB I June 19II (in Croatian; by amateurs). hy the Vienna Sängerknaben. Translated from
MANCHESTER 21 October 1912 (in English, trans- Hirschfeld's version, Lo Speziale was given in
Iated by S. Langford). London, King's Th., Hammersmith 3 September
VENlCE. UCEO 1914 (in ltalian. translated by C. 1925 (Efiglish version by A. Skalski and K. Lark);
Rossi). at ehe Neighborhood Playhouse, New York 16
MADRID Spring 1915 (in Spanish, translated by A. March 1926 (English version by A. Macdonald,
Gil y Gordaliza. with recitatives by Manuel music arranged by H. Barlow); at Budapest 24
M. Faixa). April 1932 (Hungarian version by E. Unger).

301 302
 ANNALS OF OPERA

D I B D IN: The Padlock

3 Oclober. London, D.L.
SACCHlNI: Il Cidde
Text by 1. Biekerstaffe (founded on Cervantes's
story EI Celoso eXlrcmeiio). Two aets.
Camival. Rome, Arg.
Very sueeessful on English stages. Given at Text by G. Pizzi. Threc aets.
New York as early as 29 May 1769; Philadelphia In Italian also, London 19 January 1773 (lib-
8 November 1769, ete. Dublin 26 February 1770; retto altered by G. G. Bottarelli); Lisbon Autumn
Edinburgh c. January 1775; Montego Bay, Ja- 1773·
maiea 19 Mareh 1777; Calcutta 1789; CapeTown Rcvived in a Freneh versi:m as Clzil1lflle Oll Le
27 May 1815; Bombay November 1820. Also Cid (translated by N. F. Gllillard) Fontaineblcau
given by a touring English eompany at St. Peters- 18 November 1783 and Paris, O. 9 February 1784;
burg 21 November or 17 December 1771. During also Brussels 3 Mal' 1801. Given at Paris 50 times
the 19th eentury revived on many European and until 1790; revivcd Paris, O. 5 April 1808.
Ameriean stages by the touring Negro aetor Ira The statement, given .by some authors, that
Aldridgc (in the part of Mungo, whieh was, in this opera was fmt produeed as ChilllClla at Rome
1768, ereated by Dibdin himself). in 1762 or 1764, laeks verifieation.
Given at Vienna, Ca. 19 February 1853 (in
GRETRY: Lucile
English) and 18 April 1857 (in German, as Das
5 Jarlilary. Paris, c.I.
Vorhällgeschltlss, translated by C. Juin). Anony-
mous Frcneh version published 1822. Text by]. F. Marmontel (from his tale L'Eeolc des
Nres). One aet.
DU NI: Les Sabots Given at Fontaincblcau r8 Oetober 1769; in
Paris until 1793 (lOoth performance 8 July 1773).
260etober. Paris, c.I.
In Frcnch also, Copenhagen, Amsterdam and
Text by J. M. Sedaine and J. Cazotte. One act.
Haglle 1769; Liege 25 November 1770; Laxcn-
In Freneh also, Copcnhagcn 1769; Liege 17 Dt:-
burg, near Vienna 23 September 1772; Turin
ecmber 1776. In Swt:dish Gothenburg 21 No-
Spring 1774; Florcnee September 1776; Warsaw
vember 1786. There are two printcd f)uteh VCf-
JulI' 1778; Cassel 17 Deeember 1783.
sions by J. T. Neyts (n.d.) and by J. c. Honig
In German (translated by J. H. Faber), Frank-
(1812). Thc opera was rcvived at the O.c., Paris
fort 1772; Cologne Spring 1772; Hague 1774;
on 6 July I S66.
Vicnna, Kä. Mal' 1776 and B. 29 June 1778;
GOtlll 6 November 1778; Munich November
HASSE: Pira/llo e Tisbc*
1778; Allgsburg I JlIly 1779; Carlsruhe 17Hr;
"'·vl/l'mbrr. Vienna, B. Bonn 5 June [783, ctc.
Text by M.Coltcllini( IlItcrl1leZztl Ira.~i(O). Two aetS. In Swedish (translated by A. M. Malmstedt),
Thc bst intermczzoof H:mc and one of the Stoekholm 19 June 1770 (musie adaptcd by L. S.
fcw cxtant ones. Repeatcd Laxenburg Palace Lalin); revivcd Malmö 28 Oetober I~04.
September 1770 :1nd also givcn at Potsd:1;n M:\rch In Danish (mll,Lltcd b;' N. K. Bn:dal), Copcn-
I77l; Dresden 1775; Copenhagcn 177S. IZevi"ed hagen 4 September 177~ (;tt Frcdensborg palace)
Colognc Alltlll11l1 1939 (in German). and 27 Oetober j 778 (at the Royal Thcatre).
In Dutch, Amstcrdam Winter I7X3 (see Dc
ES T E V E: Los Jardillcros dc Aralljllcz To,Jllec!spcI-Hesclt,JuIJlCY, 17R 3); there are printed
':5 D('(cl1Ihcr. M:1drid, T. dcb Cruz vcrsions byJ. T. Neyts (n.d.) and by P.J. Uykn-
Text by thc comp"'l'f (opern «Jlllico-l'l!ffo-drllllla- brock (I/Xr).
liea). Two aets. In Polish (transl.lted by F. Zablocki), Warsaw
Early l'xtant l·X.II11plc of Spauish eomie opera. 19 Fcbrllary 1789.

3°3 30 4
 ANNALS OF OPERA

Lucile contains the famous quartet, "Ou peut- Malmö 19 August 1804; Lund 7 Septembre
on etre mieux qu' au sein de sa famille". The opera 1808.
was revived at Liege as late as 17 April 1920. WARSAW 1778 (in Freneh) and 17 January 1788
(in Polish, translated by L. PierozyIiski).
MONSIGNY: Le Deserteur CASSEL 1779 (in Freneh).
6 March. Paris, C.I. KOUSKOVO 18 February 1781 (in Russian, trans-
Text by J. M. Sedaine. Three aets. Iated by V. G. Voroblevsky; a later translation,
Monsigny's most famous work. Given in Paris by V. Levshin, was published in 1793).
until the end of the 19th eentury; revived at St. RIGA 14 January 1783 (in German).
Cloud 28 Oetober 1843 and at the O.C. 30 Oe- ST. PETERSBURG 23 January 1785 (in Freneh); and
tober 1843 (re-seored by Adam); F.P. 80etober 20 Oetober 1789 (in Russian, Voroblevsky's
1867; O.c. 23 June 1893 and 26 Oetober 1911. translation).
Outside Paris given at: MOSCOW 22 February 1785 (in Freneh) and 1799
AMSTERDAM 1769 (in French); II May 1772 (in (in Russian); revived 22 February 1807 and
Duteh, translated by J. T. Neyts) and 1776 (in 22 January 1819.
German) ; another Duteh version, by B. Ru- NEW YORK 8 June 1787 and Philadelphia I I July
loffs, was published in 1782 and 1784. 1787 (in English, the London version).
HAMBURG and BRUNSWICK 1770 (in German, PRESSBURG 1788'and Budapest 25 September 1789
translated by J. J. Eschenburg) ; Frankfort 8 (in German).
April 1771, ete. There are at least two more BOSTON 24 April 1793 and Philadelphia 14 May
German versions, by C. F. Schwan (published 1798 (in Freneh).
Mannheim 1770; used at Altenburg 13 Sep-
tember 1775) and by M. von Brahm (published CARVALHO: L'Amore industrioso
Vienna 1770; used for a performance, appar-
31 March. Lisbon, Th. d'Ajuda
ently without music, at Vienna, Kä. 19 No-
Text by G. Casori (first set to musie by Rutini in
vember 1770).
1765). Three aets.
COPENHAGEN 1770 (in Freneh) and 28 November
Carvalho's first (Italian). opera; suceessful at
1775 (in Danish, translated by N. K. Bredal).
Lisbon, where it was first produeed on the birth-
LIEGE 4 Deeember 1770 (in Freneh).
day of Queen Marianna Vittoria. Score preserved.
BERLIN 12 May 1772 (in German; given there
until 1822).
DRESDEN 1772 (in Freneh, as Alexis Otl le Desertetlr)
MOZART: Lafinta Semplice*
and Oetober 1775 (in German). 1 May. Salzburg
LONDON,-D.L. 2 November 1773 (in English, Text by M. Coltellini (founded on an earlier
adaptcd by C. Dibdin, who also added so me libretto of the same title by Goldoni, whieh was
music of his own and two numbers by phili- first set by Perillo in 1764). Three aets.
dor); Dublin 10 February 1774. The opera had been written for Vienna in 1768,
HAGUE 8 February 1774 (in Freneh) and later in but the produdion there was frustrated; see
the same year in German. Abert-Jahn, I, p.I28, and Leopold Mozart's for-
VIENNA, SCHÖNBRUNN 220etoberr775 (inFreneh) mal eomplaint to the Emperor, in chapter I of
and Kä., April 1776 and B. 28 November 1779 H. G. Farmer's and H. Smith's Ncw Mozartiana
(in German; last revived there 24 November (Glasgow 1935). More than ISO years after its
1813, in a new version by W. Ehlers). first production at the Arehbishop's palaee, Salz-
TURIN Spring 1776 (in French). burg, La finta Semplice was revived in a German
STOCKHOLM 15 May 1777 (in Swedish, as Alexis, version by A. Rudolph (as Die verstellte Einfalt)
translated by C. Stenborg); also in Swedish at at Carlsruhe 2 Oetober 1921; also given at the

30 6
 ANNALS OF OPERA

Akademie-Th., Vienna 10 February 1925; Bres- 1 June 1854; O. Nat. Lyrique 23 October 1876;
lau December 1927; Prague December 1928. Galerie Vivienne 4 April r 89S; "Th. de Monsieur"
In Danish (as R,)sil/as Skacll/Jsstykkcr, translated (Th. des Mathurins) October 1910; Bordeaux
from Rudolph's version by G. Hetsch), Copen- 6 April r880; Brusscls 25 March 1909.
hagen 21 April 1923. In French also given at Brusscls 1769; Copen-
hagen 1770; Liege 17 November 1770; Vienna,
D I B D IN: The Ephcsiall Matron* Laxenburg 10 September 1772; Turin Spring
12 May. London, Ranclagh House 1774; Harlem 27 June 1774; Moscow 3 Novem-
Text by I. Bickerstaffe (A (Ollli( sacl/ata, after the ber 1775 (revived 29 April 1809); Warsaw Au-
lI1afl/lcr oJ the Italiall). One act. gust 177!!; Munich 14 March 1783; Geneva 17
First produced at Ranclagh House at a "Jubilee Januar)' 1784; Cassel 8 May r784; Charleston,
Ridotto or Bai ParC" (the date is given here tor S.c. 17 June 1794; Philadelphia 17 December
the first time). Repeated Little Hm. 3r August 1796; Madrid July ISS<); Baden-Baden 14 Au-
1769; D.L. R May 1771; Dublin December 1778. gust 1861.
Revived London, Court Th. 3 May 1926; In German (translated by F. W. M.), Mann-
Duke's r6 March 1933 (by the R.A.M.); Art heim 1771; (translated by H. A. O. Reichard),
Theatre Club 24 March 1936; R.C.M. 19 June Cologne 20 April 1722; Berlin 3 I May 1774;
1938; Fortune 23 April 1940, arranged and orche- Gotha 13 January 1775 (music adapted and two
strated by G. Dunn. Revived in a German version additional airs by A. Schweitzer); Vienna, Kä.
by G. R. Kruse at the Lessing Museum, Berlin on May 1776; Munich 1776; Hamburg 15 Decem-
25 February 1932. ber 1780; Riga 21 February 1783; Pressburg 7 No-
vember 1785, etc.
MEYER VON SCHAUENSEE: In Spanish (translated by R. de la Cruz),
Halts Hüttcllslock Madrid J ul y 1777 and, in a new version, 3J uly 178 I.
In Danish (translated by J. H. WesseI), Copen-
?? Luceme
hagen 30 November 1779.
Text by the composer. Two acts. Performed at
In Russian (translated by A. Y. Khilkov), Mos-
the annual meeting of the "Helvetische Konkor-
cow 15 June 1780.
diagesellschaft", probably at the Engelberg con-
In Polish (translated byJ. Baudouin), Warsaw
vent, Luceme. First extant example of a comic
1782.
opera written by a Swiss composer.
In Swedish, Stockholm 10 April 1782 (trans-
RODRIG UEZ DE HITA: Las Labradoras lated by C. Envallsson) and 15 January 1799
(translated by C. G. afLeopold); Malmö'6 May
de Murcia 1807.
16Septembre. Madrid, T. del Principe In Dutch (translated by B. Ruloffs), Amster-
Text by R. de la Cruz (zarzuela burlesca). Two dam October 1783. Another Dutch translation
acts. by J. T. Neyts published (n.d.).
Revived in concert form Madrid 28 May 1896
(revised by F. Pedrell).
177 0
GRETRY: Lc Tableau parlallt*
September. Paris, c.I.
20
SCHWElTZER: Elysium
Text by L. Anseaume (comedie-parade). One act. 18 Jalluary. Hanover
Very successful on French stages. First given at Text byJ. G.Jacobi(Eil/ VorspielmitAricl/). One act.
Fontainebleau 7 November 1770 and frequently Written as a piece d'occasioll for celebrating
revived in Paris: at the O.c. until 1865; Th. L. Queen Charlotte's birthday. but later on given

308
 1770 ANNALS OF OPERA

on other stages as weil; Hamburg 19 July 1770; GR:ETRY: Silvain

Dessau 24 September 1774 (first opera there);
19 February. Paris, C.I.
Berlin 17 August 177S; Luceme 1776, etc.
Text by]. F. Marmontel (founded on Gessner's
In German also, St. Petersburg 1776; Riga 10
Erast). One act.
August 1784. Last revived Magdeburg 17 March
Given in Paris until 1827. In French also, Am-
1797; Königsberg April 1806.
sterdam and Hague 1770; Liege I2January 1771;
An anonymous French translation was pub-
Bonn 1771; Copenhagen 1771; Harlem 3 July
lished at Paris in 1771.
1774; Smolna 24 April 1781; Cassel 21 January
1784; Lazienk Summer 1791; Brussels 30 De-
J. A. HILLER: Die Jagd cember 1794; Cologne 179S-96; Hamburg 1797
29January. Weimar or earlier; St. Petersburg 4 February 1800.
In German, Frankfort 1772 (translated by]. H.
Text by C. F. Weisse (founded on C. CoIle's La
Faber); Hanover 7 May 1773 (as Walder); Berlin
Partie de Chasse de Henri IY which, itself, is based
26 May 1773 (as Erast und Ludnde, translated by
upon Sedaine'sLe Roi et le Fermier, see 1762, and,
J. J. Eschenburg) ; Hamburg 21 July 1773; Vienna,
further back, upon R. Dodsley's The King and
Kä. May 1776 and, in a new translation, B. 18
the Miller 0/ Mansfield, 1736). Three acts.
November 1778; St. Petersburg I March 1778
Hiller's most popular work; given at St. Pölten
(Eschenburg's version); Munich October 1778.
I January 1771, Hamburg 14 February 1771, Ber-
In Danish (translated by N. K. Bredal), Co-
lin 18 June 1771, and all over Germany.
penhagen IS February 177S.
In German also, Pressburg December 177S;
In Dutch, Amsterdam September 1783; there
Vienna, Kä. June 1776; St. Petersburg 2S April
are printed Dutch versions by H. Asschenbergh,
1779; Warsaw 9 December 1781; Riga I
1777; by J. T. Neyts (n.d.); by ]. A. Backer,
November 1782; Luceme 1787; Amsterdam
178S; and by P.]. Kasteleyn, 1786.
c.1793· In Russian (translated by V. Levshin), Moscow,
J. F. Reichardt, in his Ober die Deutsche Ko- Prince Volkonsky's 9 March 1788.
mische Oper • .• (1774) gives a detailed description In Swedish (translated by A. M. Malmstedt),
ofDieJagd. Stockholm 27 July 1791.
Frequently revived during the 19th and even (For a German opera on the same subject, see
in the 20th century, viz.: Benda's Walder, 1776.)
LEIPZIG II March 180S, 28 January 1826 (for
Weisse's centenary), 18 November 18S7, and COIGNET andJ. J. ROUSSEAU:
28 January 1891.
Pygmalion
OSNABRÜCK 20 November 1830 (revised by Lort-
zing).
May. Lyons
Text by J.1. Rousseau (Scene lyrique). One act.
DRESDEN 27 February 1837 (given there until
The earliest account of this first " meI0drame "
1866).
or "monodrame" is contained in Coignet's letter
XÖNIGSBERG 2S November 18SS.
to the Mercure de France, January 1771 (in answer
BERLIN, FR. W. 14 Septemb.:r 18S7 and II October
to areport that the whole of Pygmalion was com-
1890 (revised by E. Pohl, re-scored by G. Lehn-
posed as weil as written by Roussea~); . .
hardt).
" ..• mais ce n' est point un opera: 111 a mtttule,
HAMBURG 16 May 18S8 and IS January 1878. Scene Lyrique. Les paroies ne se chantent point,
BREMEN February 1905 (Lortzing's version). & la Musique ne sert qu'a remplir les intervall~s
LEIPZIG September 1912. des repos necessaires a la declamation.... Je dOlS
DRESDEN October 1915 (revised by V. Eckert). cependant a l'exacte verite d'annoncer, que dans

309 310
1770 ANNALS OF OPERA 1770

les vingt-six ritournelles qui composent la Mu- Anonymous English version published 1779.
sique de ce drame, il y en a deux que M. Rousseau In the preface there is an allusion to performances
a faites lui-meme. Je n' aurois pas besoin de les (in French) at Lord '·Villers" (Villiers's?) private
indiquer a quiconque verra ou entendra cet ou- theatre at Boulney (?), with Le Texier as Pygma-
vrage; Mais comme tout le monde ne sera pas lion, and Miss Hodges (to whom the translation
aportee d' en juger, par la difficultc de repn!senter is dedicated) as Galatea. There is another English
ce spectacle, je declare que l'Andante de l' ouver- version, by William Mason, written in 1775 but
ture, & que le premier morceau de l'interlocution not published until 18n (in Vol. II ofhis Works).
qui caracterise le travail dePygmelion, appar- Russian version by V. I. Maikov published
tiennent aM. Rousseau...." 1779·
After private performances at Lyons, Hotel de Dutch versions published 1788 (anonymous),
Ville, and Paris (at Madame de Brionne's), Pyg- 1790 (by]. van Walre) and 1796 (byJ. vanBalen).
malion was publicly produced at the Comedie- Danish version by N. T. Bruurt published
Fran~aise, Paris, on 30 October 1775; given there 1814-
once II September 1780, with new music by E. Istel's theory (see Beihefte of the I.M.S.,
Baudron (in place of Coignet's share). Vol. I, 1901) that there exists a second version of
Revived at the Varietes amusantes 2 April Pygmalion wholly composed by Rousseau, has
1793; Th. de 1'Egalite I I October 1794; Th. de not been generally accepted. There was a scenic
la Cite 26 September 1805. revival of the Berlin score (according to Istel,
Parody by Guillemain Arlequin, Marchand de Rousseau's setting), at Munich on 4 May 1904
Poupees ou le Pygmalion moderne, Varietes amu- (with an older German translation by G. von
santes 24May 1779. Leon, originally published 1788). The Coignet-
In French also given at: Brussels 1772; Venice, Rousseau version was last revived at the Comedie-
S.Sam. Carnival 1774; Hague 29 January 1774; Fran~aise, Paris 29 June 1912 (music revised by
Milan, T.R.D. 1775; Palermo 1776; Brescia L. Uon and O. Letorey).
1776; Warsaw April 1777; St. Petersburg 13
July 1777 (privately); Cassel and Dresden 1779; lüMMELLI: Armida abbandonata
Naples 1781; Hamburg June 1782; Gothenburg
30 May. Naples, S.C.
29 April 1783; Madrid January 1788; NewYork
Text by F. S. de' Rogati (after Tasso). Three acts.
9 (Sonneck) or 10 (Odell) November 1790 (per-
One ofJommelli's best works. Lisbon 3I March
haps in English) and 3 March 1796 (in French);
1773; Florence, P. 1775; revived Naples 13 Au-
Vienna 4 January 1791; Charleston, S.C. 8 Feh-
gust 1780 (last Jommelli production in Italy).
ruary 1794; Copenhagen 1805; Berlin 16 August
Mozart attended one of the 1770 performances
1808 and 13 April 1832.
at Naples.
In Polish, Warsaw 23 November 1777 (trans-
lated by T. K. Wegierski); there is another
printed Polish version by J. Baudouin (n.d.). GASSMANN: La Contessina*
In German (translated by O. H. von Gem- 3 September. Neustadt, Moravia
mingen) , Mannheim 29 March 1778; German Text (founded on an earlier libretto of the same
versions of Rousseau' s text were set by tide by Goldoni), generally attributed to M. Col-
Aspelmayr, Schweitzer, Benda, etc. (see 1779). tellini (who is, for instance, mentioned as the
For Italian versions, see Cimadoro's setting, author in the Milan and London librettos); but
1790. according to Lazzeri (La Vita •.. di Calzabigi,
Spanish versions by P. Suarez y Panez, and by 1907, p.215) and G. Ortolani (in the City of
J. D. Rojo, both published 1788; by F. Duran, Venice edition of the works of Goldoni, Vol.
published (3rd edition) 1816. XXVII, 1929, P.159) it was written by R. de' Cal-

3II 312
1770 ANNALS OF OPERA 1770
zabigi (MS of the libretto preserved; see also H. PACHECO: En Casa de Nadie no se
Michel in Gluck-Jahrbuch, IV, 1918, P.II3). Three meta Nadie 0 EI buen Marido
acts.
First performed at Neustadt (Unicov), Mo- 28 September. Madrid, T. del Principe
ravia, at a meeting of the German Emper9r, Text by R. de la Cruz. Two acts.
]oseph II and King Frederick n of Prussia. Sub- Early zarzuela jocosa. Score preserved.
sequendy performed (in ItaIian) at Vienna 1770; (The proverbial tide freely translated means
Dresden 2 ]anuary 1772 (with additional music Mind rour own Business; or, The good Husband.)
by Schuster); Florence, T. Cocomero Spring Pacheco's only work for the stage. See J. Subira,
1772; Turin, T. Carignano Auturnn 1772 and La Musica en la Casa de Alba (1927), p.335.
Lisbon Carnival 1774 as II Superbo deluso; Lon-
don I I ]anuary 1774; Milan, T.R.D. Auturnn GR:ETRY: Les deux Avares*
1774; Modena, T. di Corte, November 1774;
Trieste Carnival 1775; Copenhagen 26 March 270ctober. Fontainebleau
1778; Bologna Summer 1778 (pasticcio, addi- Text by c. G. Fenouillot de Falbaire. Two
tions from Astaritta and Cimarosa); Parma acts.
Carnival 1779 (pasticcio); Rimini Carnival 1780 After two private performances publicly pro-
(same pasticcio as at Bologna). duced at the c.1., Paris on 6 December of the
Successful also in different German versions; same year, and, with alterations, 6 ]tme 1773.
as Das gräfliche Fräulein (translated by L. Schrnidt) In French also, Brussels 1771; Copenhagen
Prague Summer 1783; Nuremberg 25 August 1772; Leghorn 8 ]une 1773; Hague 20 February
1784; Cologne 14 November 1786. As Die junge 1774; Liege 19 November 1775; Vienna IO ]an-
Gräfin (translated by J. A. Hiller), Riga 14 Sep- uary 1776; Florence September 1776; Stuttgart
tember 1784. As Die Gräfin oder Der übel-ange- 14 December 1776; Warsaw 1776; Geneva 7 Feh-
brachte Stolz, Vienna,- Leop. 30 May 1786; re- ruary 1784; Cassel20 February 1784, etc. St. Pe-
vived there 28 March 1797 and 16 ]anuary 1803 tersburg 18 November 1800.
as Johann in sechs Gestalten. In German (translated by]. H. Faber), Frank-
The score was printed in Denkmäler der Ton- fort 1771 (libretto printed in that year; perform-
kunst in Österreich (1919), in]. A. Hiller's trans- ance not recorded); Vienna, Kä. May 1776 and B.
lation, edited by R. Haas. 12 May 1779 (J:evived Vienna, W. January 1805,
The opera was revived at Klagenfurt 18 March translated byJ. vonSeyfried, withadditionalmusic
1924 and Mannheim 20 September 1924 (revised by A.J. Fischer); Munich 30June 1776; Gotha I I
by L. K. Mayer). September 1776; Dresden May 1777; Pressburg
August 1777; Hamburg 26 February 1778; Augs-
E. W. WOLF: Das Rosenfest burg 9 July 1779; Cologne 22 June 1780; Bonn
3 December 1780; Riga 20 December 1782;
4 September. Weimar Carlsruhe 22 April 1785; Berlin I I December
Text by G. E. Heermann (founded on a French 1787 (revived 2 August 1858); Budapest 8 January
libretto by Favart, produced with music by Blaise, 1812.
Duni, and Philidor at Fontainebleau 25 October In Danish (translated by N. K. Bredal), Co-
1769 and at the c.1., Paris 14 December 1769). penhagen 29 October 1774.
Three acts. In Swedish (translated by c. Manderström),
Wolfs most successful Singspiel. Leipzig 21 Stockholm 15 May 1778; Gothenburg 12 March
September 1770; Berlin 2 ]uly 1771; Hanover 1782 (with additional music by B. Schindler).
12 ]uly 1773; Hamburg 1773, etc. In German In Polish (translated by J. Baudouin), Warsaw
also, St. Petersburg 1 February 1778. 25 September 1781.

31 3 31 4
1770 ANNALS OF OPERA 1770
In Russian (translated by V. G. Voroblevsky), GRETRY: L'Amitie al'Epreuve*
Kouskovo c.1780; (translated by F. V. Gensh),
13 November. Fontainebleau
Moscow 5 March 1783; (translated by Z. Kriz-
hanovsky) St. Petcrsburg 17 JlIly 1789. Text by C. S. Favart and C. H. F. de Voisenon
In Dutch, Amsterdam 9 May 1772. There are (founded on a tale by Marmontel). Two acts.
threc printed Dlltch translations, by J. T. Neyts Paris, c.I. 24 January 1771. Redueed to one
(n.d.), J. F. Cammaert (1772) and B. Ruloffs aet: Versailles 29 Deeember 1775 and Paris, c.I.
(17 87). I January 1776. Enlarged again (3 aets); Fon-

An English adaptation by K. O'Hara (The Truo tainebleau 24 October 1786 and Paris; c.I. 30
Mism) , music by Dibdin, was produced in October 1786 (as Les vrais Amis ou L'Amit;e a
London, c.G. 2TJanuary 1775; (also Dublin J781 /'Epmll'c). In Freneh also, Brussels 1771; Co-
with the sub-title Thc Mllfij's Ghost); Baltimore penhagen 1772; Berlin i 773; Hague 29 January
J4 March 1783; New York 17 July 1786; and 1774; Liege 6 January 1776; Cassel 3 April
Philadelphia 9 April 1791. There are also German 17 84.
and Italian adaptations. When, 90 years later, In German (translated by J. H. Faber), Frank-
Agnelli, a pllpil of Donizetti, set the original fort 29 April 1772; (translated by H. A. o.
text ;lgain, he kept parts of Gretry's music Reiehard), Gotha 22 November 1775; Munich
(Marseilles 22 March 1860; Brussels 26 April 1775; Amsterdam 1776; Dresden 1777; Mann-
1867). Gretry's opera was revived at: heim 19 May 1778; Regensburg 2IJanuary 1780;
PARIS, O.C. 23 June 1893 (in French). Berlin 12 February 1780; Vienna, B. 22 January
1781 (tra.lslated by G. Stefanie?); Bonn 2 April
CARLSRUHE 2 October J894 (in German).
1782; Münster 22 July 1782; Hamburg 30 De-
MOSCOW 1909 (in Russian). eember 1782.
CASSEL 1926 (in German). In Danish (translated by N. K. Bredal). Co-
GENEVA March 1932 (in French, by students). penhagen 25 Ocrober 1775.
VERSAILLES 12 May 1939 (in French; by pupils of In Russian (translated by V. G. Voroblevsky),
the Paris Conservatoire at the Th. Montansier). Kouskovo 10 July 1779.
A Dutch version by J. T. Neyts was published
about 1772; another Dutch version, by B. Ru-
GLU C K : Paride e Elena* lo!fs, was published in 1782.
3 November. Vienna, B. Art anonymous English adaptation called The
Text by R. de' Calzabigi (the third and last lib- Pemviall with new music by J. Hook was pro-
retto he wrote fot Gluck; but sec note on Salieri's dueed at C. G., London 18 March 1786.
Les Danaides, 1784). Five acts. The opera was revived at Erfurt May 1938
Unsuccessful; outside Vienna only given at (in German, adapted by B. Laass).
Naples [17 December] 1777. Khevenhüller wrote
in his diary .. . . . welche aber wegen ihres un- MO ZAR T: Mitridate, Re di Ponto*
gleichen und in etwas wunderlichen Gusto nicht
besondere Approbation gefunden hat". 26 December. Milan, T.R.D.
Revived Prague 9 February 1901 and Ham- Text by V. A. Cigna-Santi (founded on G. Pa-
burg I l March J905 (in German; revised by J. rini's Italian translation of Raeine's tragedy, and
Stransky, in a reduced 2-aet version). Again Tli- first set to musie by Q. Gasparini in 1767). Three
bingen 22 June 1937 (in eoneert form) and Wei- aets.
mar 30 November 1937 (on the stage). The first opera Mozart wrotc for the Italian
(Date of first performance 3 November, not stage. Successful; ran for 20 nights, but never
30 November as sometimes stated.) revived in 18th or 19th centuries.

31 5 316
1771 ANNALS OF OPERA 1771

177 1 MARTINI: L'Amoureux de quitlZe Ans

OllLa double Fete
GAZZANIGA: La LOCatlda
18 April. Paris, c.I.
Carnil'al. Venice, s. Moise Text by P. Laujon. Three acts.
Text by G. Dertati. Three acts. Martini's first successful opera. Originally writ-
One ofGazzaniga's most popular works; given ten for Chantilly, to celebrate the wedding of the
alt over Italy and, in Italian, also at Lisbon 1772; Duc de Bourbon, but not performed there. Given
Dresden 1772; Vienna 22 September 1772; Fontainebleau 12 October 1771; revived Paris,
Munich Carnival [773; Trieste Carnival 1773; Fa. 29 Oetober 1794; in the French provinces
LjubUana Carnival 1773; Cadiz July 1773; until 1812.
Dastia, Corsica 177S; Copenhagen 20 December In French also given at Brussels 2 September
[77S (Danish translation in the libretto by R. 1774; Haarlem 7 July 1774; Casse! 1780 and 25
Soclberg); Klagenfurt Spring 1778; Graz Sum- August 1784; Smolna 1783.
mer 1778; Eszterhiza 22 November 1778; St. Pe- In German, Vienna, B. 29 December 1778
tersburg 6 January 1779. (translated by G. Stephanie, aecording to eon-
Also given as Il Matril//ollio per blgallno at temporary ac<;ounts; by L. A. Holfmann, ac-
Pavia June 1773; Warsaw 1774; Eszterhaza cording to Goedeke); Mayence 3 February 1790
c. I77S; as Il Re dei MamalHalli at Prague I77S; (translated by C. A. Vulpius). There is a printed
Varese Autumn 1778; as Il .'I1al//alucco at Pesaro Dutch translation by J. T. Neyts (n.d.).
Carnival 1776.
J. A. RILLER: Der Aemdtekral1z
PICCINNI: Lcßlltc GClllcllc* Sprin,~. Leipzig
2jat/llary. Rome, Valte Text by C. F. Weisse. Three aets.
Text by G. Petroscllini. Two acts. Successful in Germany: Derlin 17 February
In ltaly also given as Le dllc filllc Gel/zelle and as 1772; Königsberg 1773; Hanover 17 June 1773;
Le Gcrmane ;,/ [;qllivoco (Sinigaglia Summer Hamburg 4 August 1773; Dresden 8 January
1774); last revi ved l'esaro Carnival [~oo. In 1776; Vienna, Kä. Spring 1776, etc. In German
ltalian also given at Vienna 20 April 1772 (with also, Amsterdam 1770; Riga 8 December 1784;
additions); Mannheim 7 November 1772; Dres- Luecrne [787. Last given at Derlin 4 October
den 2 January 1773; Munich Carnival 1773; 1794; Dreslau 2 Jul)' 1802; Leipzig 18 March
Lisbon Summer [773 (in an enlarged 3-act [80S·
version); Paris, O. [[ June 177H (opening night The exaet date of the first performance is llll-
of the second Italian buffo com pan y in Paris, !cd known, but it must have been between 3 April
by l'iccinni; performed there on the same bill (when Koeh's eompany came from Weimar) and
with Mozart's ballet, Lcs pctits Ri<'l/s, which was 29 May (when the)' went to Derlin).
recovered by V. Wilder in [H72); Warsaw A song from this Singspiel is the theme of Max
Spring [784. Rcger's Hiller-Variatioll('//, 01'. 100.

MYSLIVECZEK: MotczulIW SALIERI: An/lida

jall!lary. Florence, P. 2 jUlle. Vicnna, D.

Text by V. A. Cigna-Santi (first composed by Text by M. Coltcllini (after Tasso); first set by
Majo in [70S). Three acts. G. Scarlatti, [7(}(). Three aets.
This opera by the Czech composer was re- Also gi ven at:
vived at the StateComervatory, Prague in Sum- COPENIlAGEN 20 November 1773 (in Italian; Dan-
mer 193 I. ish translation in the libretto by F. A. Friis)

3[7 3[8
1771 ANNALS OF OPERA 1771
and 30 ]anuary 1781 (in Danish, translated ragazzo ci fara dimentiear tutti", and Leopold
by A. G. Thoroup). Mozart's letter to his wife (19 Oetober 1771),
ST. PETERSBURG 1774 (in Italian); Russian trans- "Mir ist leid, die Serenata des Wolfgang hat die
lation by I. A. Dmitrevsky and Freneh trans- opera von Hasse so niedergeschlagen, dass ieh es
lation by Deville published on that oeeasion. nicht beschreiben kann".
HAMBURG Winter 1775-76 (in eoneert form).
MAYENCE 1783-84 (in German, translated by C. F. GRETRY: L'Ami de la Maison
Cramer).
260etober. Fontainebleau
BRUNSWICK 1785 (in Italian).
Text by]. F. Marmontel. Three acts.
BERLIN 16 April 1787 (in eoneertform, in German,
Publicly performed Paris, C.!. 14 May 1772
translated by C. F. Cramer).
(not 2 December 1771, as indicated in one issue
WINTERTHUR I Deeember 1790 (in eoneert form;
of the libretto; nor 14 March 1772) and given
frequently revived there until 1808).
there until 1829.
DANZIG May 1798 and 5 Mareh 1800 (in coneert
Outside Paris given at:
form).
BRUSSELS 1772 (in French).
FRANKFORT 1772 (in German, translated by]. H.
ROELLIG: Clarisse oder Faber).
Das unbekannte Dienstmädgen COPENHAGEN 1773 (in French) and 23 October
8 Oetober. Hamburg 1776 (in Danish, translated by N. K. BredaI).
Text by J. C. Bock (founded on Marmontel's VIENNA, KÄ. May 1776 and B. 26 May 1778 (in
dramatization of his story, La Bergere des Alpes). German).
Three acts. TURIN Spring 1776 (in Freneh).
Suceessful in North Germany; Lübeck 9 De- WARSAW 1776 (in French) and 18 August 1781

cember 1772; Hanover 30 April 1773, etc. (in German).

LIEGE 7 ]anuary 1777 (in French).
GOTHA 8 August 1777 (in German, new transla-
HASSE: Ruggiero 0 vero
tion by H. A. O. Reichard).
L'eroica Gratitudine MUNICH November 1778 (in German).
160etober. Mibn, T.R.D. CASSEL 1780 and 7 ]une 1784 (in Freneh).
Text by P. Metastasio. Three aets and licenza. BERLIN 16 October i780 (in German).
Hasse's last opera. Also given at Naples, s.c. RIGA 3 ]une 1783 (in German).
20 ]anuary 1772. GENEVA 4 May 1785 (in French).
Rl1ssian translation by V. G. Voroblevsky pub-
MOZART: Ascanio in Alba* lished Moscow 1779.
170etober. Milan, T.R.D.
Text by G. Parini (Festa teatrale). Two acts. GRETRY: Zemire et Azor*
These two works, .the last opera of the 72-years- 9 November. Fontainebleau
old Hasse and the youthful serenata of the Text by]. F. Mannontel (founded on P. C. Ni-
15-years-old Mozart, were written for the wed- velle de La Chaussee' s comedy Amour par Amour,
ding of the Archduke Ferdinand and the Princess 1742). COl1ledie Ballet. Four acts.
Maria Ricciarda Beatrice of Modena. These two Sl1bsequently performed in public. Paris, c.I.
days in October 1771 may be said to separate two 16 December 1771. One of Gretry's most suc-
epochs of opera. The often ql10ted two sayings, cessful works; given in Paris until 1836 and re-
referring to this event, may be once more re- vived at the O.c., 29 ]une 1846 (re-orchestrated
peated here; Hasse's (apocryphal) words, "Ql1esto by Adam) and 15 September 1862.

31 9 po
1771 ANNALS OF OPERA 1771

Zemire et Azor soon became an international and 23 July 1796 (new translation by L. da
success. Given a': Ponte). Collier and LinIey's version revived
BRUSSELS 1772 (in French~. C. G. 1812, with additions by Bishop, Welsh
FRANKFORT 23 May 1772 (in German, translated and Cooke.
by J. H. Faber). T. PETERSBURG 27 June 1777 (in French); IO Au-
MANNHEIM Summer 1772 (in German) and Jan- gust 1777 (in Italian, at Oraruenbaum palace);
uary 1776 (in Italian, translated by M. Verazi). 19 January 1778 (in German) ; and 8 October
COPENHAGEN 1772 (in French) and 7 January 1784 (in Russian).
1777 (in Danish, translated by N. K. Bredal). DROTTNINGHOLM 22 July 1778 and Stockholm 12

HAGUE 1774 (in German). October 1778 (in Swedish, translated by A. M.

LIEGE 20 November 1774 (in French). Malmstedt, music adapted by D. L. Wasenholtz
HANOVER 1774 (in French).
and P. Frigelius).
CASSEL 1778 and 15 December 1783 (in French).
BRUNSW1CK 1774 (in French).
BERLIN 16 October 1778 (in German) ; also Mu-
HAMBURG December 1774 (in French) and 27 Au-
nich c. December 1778; Augsburg IO August
gust 1777 (in German).
1779; Cologne 1781; Hanover 15 January 1781,
MOSCOW 16 June 1775 (in Russian, translated by
etc.
M. V. Su~hkova).
PRESSBURG 7 February 1780 (in German).
V1ENNA, SCHÖNBRUNN 10 October 1775 (in
PRAGUE 1781 (in German).
French) and Kä. May 1776 and B. 13 October
GRAZ Carnival 1782 (in Italian).
1779 (in German) ; revived Leop. 21 January
RIGA 14 October 1782 (in German).
1790; W. 8 January 1818 (music arranged by
GENEVA 7 January 1784 (in French).
Seyfried).
BUDAPEST 1787 (in German).
GOTHA 29 January 1776 (in German, translated
by H. A. O. Reichard); another German ver- NEW YORK I June 1787 (in English, LinIey's

sion, by Moritz August von Thümmel, was adaptation).

published in 1776 (composed by Neefe, per- PHILADELPHIA 28 July 1787 (in English, Linley's

formed Leipzig 5 March 1776); another anon- adaptation).

ymous one (possibly by Bock) at Münster MADRID 26 January 1791 (in Italian).
1777; still another in a vocal score, translated HAVANA 17 December 1791 (in French?)
and cdited by Hiller 1783. CHARLESTON, S.C. 6 August 1794 and Philadelphia
TURIN Spring 1'/76; Florence September 1776; I June 1798 (in French).
Parma, at Cornte de Flavigny's Carnival 1782 BOSTON 3 I March 1797 (in English; nOl LinIey' s
(in French). adaptation).
WARSAW October 177<> (in French); 13 October LISBON Spring 1797 (in Italian).
1781 (in German); and 9 May 1782 (in Polish, DUBLIN 1801 (Liriley's version).
translated by Kuszewski). Zell/ire et Azor was rcvivcd at Brussds 12 May
AMSTERDAM 1776 (in German) ; Januar)' 1784 (in 1909, and Liegc 19 May 1930. In English, Lon-
Dutch, translated by P. Pijpers); there are don, Arts Thcatre Club 12 May 1935 and Fortune
earlier printed Dutch versions by J. T. Neyts Th. 23 April 1940 (by amatcurs, music arranged
(n.d.) and ß. H. v. A. (llrusscls 1772). by Leighton Lucas).
LONDON, D.L. 5 December 1776 (in English, For German operas on the same subject, see
adapted by G. Collier, ml1sic arranged by 1776 (Ballrngar!cn) and 1819 (Spohr). A Gcrman
Linley); Hm. 23 February 1779 (in Italian, seql1cl Der Rillg der Liebe oder ZCllIirclls /llId Azorells
Verazi's translation); revived 8 March 1781 Ehestalld, with music by Umlauff, was prodllced
(Vcrazi' s translation altcred by C. F. Badini) at Vienna 3 Deccmber 1786.

321 322
1771-72 ANNALS OF OPERA 1772

NEEFE: Die Apotheke SACCHINI: Armida

13 Deceml,er. Berlin Camival. Milan, T.R.D.
Text by G. de Gamerra (after Tasso). Three aets.
Text by J. J. Engel (founded on Goldoni's La
In Italian also given at Florence, T. in Via S.
Speziale, see 1755, and originally written for
Maria Autumn 1772; in London 22 April 1780
Hiller). Two acts.
(as Ril1aldo) aOJ.d revived there 17 February 1791
Thc first new Singspiel to be produced at
at the opening of the new Pantheon Opera House
Koch's "Theater in der Behrenstrasse", Berlin.
in Oxford Street (text altered by G. Tonioli,
Rostock 13 November 1772; Bonn 10 April
mllsie arranged by Mazzinghi); Lisbon 1798.
1782; Bremen 20 November 1782; Carlsruhe 17
In French (as Re/wild, adapted by ].]. Leboeuf,
November 1784, ete. In German also, St. Peters-
who used for his French text Pellegrin's libretto
burg 26 February 1778.
Renaua, sct by Desmarets in 1722; musie arranged
by Framery), Paris, O. 28 February 1783 (given
DELLER: Il Maestro di Capella there 156 times until 1800 and revived 16 March
31 Decembcr. Vienna, B. 1815); Liege 24 ]anuary 1784; Copenhagen 1786
(in concert form).
Text by A. Palomba (originally called Orazia
(Leboellf's version was re-translated into Italian
and first set to nmsie by Auletta in 1737; sce coI.
by G. Cinque for the Russian composer P. Sko-
187). Three aets.
kov, whose setting was produeed at Naples, S.c.
Deller's best-known work; of the musie only 4 November 1788.)
parts are extant.
Der Kapellllleister oder der verwirrte Opern-Ver-
walter [lOil Neapel, Cologne Spring 1772, was Z A N E T TI: Le Lavarandine
probably a German version of this; also as Der Camival. Rome, Capr.
I'erwirrtc Opemdirckror, Haglle 1774. Text by F. Mari. Two acts.
The most popular opera of this otherwise lIn-
important composer and the only one which is
1772 still extant.
In Italian also, Lisbon 1773 and Dresden De-
GAZZANIGA: L'Isola di Alcilla ecmber 1774.
Suceessflll in a German version by J. C. Bock:
Camil'al. Veniee, S. Moise
Hamburg 17 May 1779; Leipzig 6 Oetober 1779;
Text by G. Bertati (after Ariosto). Three acts. Frankfort 25 April 1781; Vicnna, B. I I ]uly 1781;
One ofGazzaniga's greatest sllceesses; given in Pyrmont 15 ]uly 1781; Bonn 4 November 1781;
many ltalian towns and at Lisbon Autllmn 1772; Riga 18 ]uly 1783; Carlsruhe 29 October 1785;
Dresden 20 March 1773; Sehwetzingen May Berlin I I Decem ber 1786; Pragllc 1790, ete.
1773; Vienna 4 April 1774; Bastia, Corsica All-
tumn 1774; Pragllc 1775; London 2H March
1776 and '7 April 1777; Copcnhagen 6 March
SALIERI: La Fiera di Venezia
1777 (Danish translation in the libretto by R. 29 January. Vienna, B.
Soelberg); Dublin 12 April 1777; Graz Autllmn Text by G. G. Boccherini. Three acts.
1778; Eszterhaza 177<) (with one additional air In Italian also given at Mannheim 22 Novem-
by Haydn). ber 1772; Bonn 1774; Warsaw 25 February 1775;
Given at Warsaw JO ]une 1775 (in Italian) and Dresden 4 November 1775; Turin, T. Carignano
8 March 17<)0 (in Polish, translated by L. Piero- Autumn 1776; Copenhagen 10 April 1777 (Dan-
zynski). ish translation in thc libretto by R. Soelberg);

323
1772 ANNALS OF OPERA 1772
Graz Summer 1778; Florence, P. Spring 1779; SCHWElTZER: Die Dorfgala
Milan 21 August 1779 (at the inauguration of the
30]lInt:. Weimar
new T. della Canobbiana); Kremsmünster 1780;
Text by F. W. Gotter. Two acts.
Munich Camival 1786.
Also in 2 acts: Hamburg 21 January 1779.
In German (translated by H. C. Pleissner),
Enlarged to 3 acts: Gotha 9 December 1774;
Hamburg 16 July 1781; Frankfort 14 April 1784;
Leipzig S May 1775; Altenburg I September
Bremen 13 December 1784; Schwedt 30 May
1775; Dresden February 1776; Berlin 25 March
1786; Cassel2 March 1787; Hanover I February
1784; Schwedt 29 August 1785.
1790; Breslau 19 March 1790; Budapest 6 Au-
Reduced to I act: Frankfort 6 September 1777;
gust 1790; Vienna, Leop. 13 July 1791; Berlin
Mayence 1778; Mannheim 26 Decembcr 1779;
2S 'February 1799, etc. Another German version,
Bonn 26 May 1780; Cologne 29June 1780; Pyr-
by J. N. Rothmann, was published c. I780 (n.d.).
mont I August 1781; Casscl 10 September 1781;
In Russian, St. Petersburg 2S May 1791; Mos-
Berlin 16 July 1802.
cow 26 November 1795 (revived 6 May 1807
In German also, St. Petersburg 27 August 1778.
and 4 June 1821).

S AR TI: Deucalioll og Pyrrha GAL V AN: Las Foncarraleras

19 March. Copenhagen (The 'Maids of Fuencarral)
Text by C. A. Thiclo, airs by N. K. Bredal 25 Septelllber. Madrid, T. dcl Principe
(based on a French comedy by G. F. Poullain Text by R. de la Cruz. Two acts.
de Saint-Foix). One act. One of the few extanc examples of Spanish
The most successful of Sarti's Danish operas; 18th-century zarzuela.
given at Copenhagen 20 times until 1785 and in
a Swedish version by W. von Rosenheim at
DEzEDE:Julie
Stockholm 21 October 1790. The music does not
seem to have been preserved. 28 September. Paris, c.1.
Text by J. M. Boutet de Monve!. Three acts.
MOZART: Il Sogllo di Scipiolle* Dczcde' s first opera. In French also, Brusscls
1773; Haarlem 28 June 1774; Vienna 1775; Mos-
1 May. Salzburg
cow August 1775; Liege 16 January 1776; Casscl
Metastasio' s text (first set to music by Predieri, see
30 June 1784.
1735). One act. In German (first translated by J. H. Faber;
Mozare' s setting of this ScrCllata dral/lI/latiea was
there is another German version by G. F. W.
written to cclebrate the installation of the new
Grossmann), Frankfort 18 April 1776; Amster-
Archbishop ofSalzburg, Hieronymus von Collo-
dam 1776 (there' is also a printed Duteh version
redo. (Date of first performance according to A.
by J. T. Neyts, n.d.); Munich 29 January 1779;
Kutscher; E. Anderson gives 29 April.)
Bonn 21 February 1779; Vienna, B. 23 August
1779; Frankfort 4 April 1780; Hamburg January
E. W. WOLF: Die DorfdeputierteIl 1782; Bremen 6 Oetober 1783; Cologne Spring
15 ]lIl1e. Berlin 1787; Brunswiek 29June 1789; Hanover 19 April
Text by G. E. Heermann (founded on Goldoni's 1790.
comedy, Il FClidatario). Three acts. In Danish (translated by J. H. WesseI), Copen-
Successful in Germany; Vienna, Kä. Jlme 1776; hagen 7 November 1783.
in German also, St. Petersburg 5 February 1778. In Swedish (trans la ted by C. Mandersträm),
A Htmgarian translation b)' Szerelemhegyi was Stockholm 25 March 1786; Gothenburg 3 No-
pubhshed before 1796. vember 1796.

325 326
 ANNALS OF OPERA 1773
(Date of first performance according to Mer- take place); a French version by C. Compan was
eure de Franee; the libretto gives 22 September produced at Versailles on 8 June 1781; another
1772.) Freneh adaptation, by B. F. de Rozoy (music
arranged by J. B. Rochefort) was given at Paris,
MOZART: Lucio Silla* 0.21 September 1781 anel at Cassel 19 July 1784.
26 Deeember. Milan, T.R.D. In French also Aaehen 17 August 1794.
Text by G. de Gamerra, with alterations by In German (translated by G. Stephanie),
Metastasio. Three acts. Vienna, B. 21 August 1780 (revived 8 April
The last opera Mozart wrote in haly. 1795); and probably Schwedt 21 April 1786. A
Revived Prague 14 December 1929 (German German translation by Stierle is mentioned in
version by A. Rudolph). the Gothaer Theater-Kalendar, 1783, p.2IO (pro-
bably for Augsburg 15 May 1780, Die verfolgte
Unbeka/lIlte).
1773 In Spanish (translated by Ferrnin de! Rey),
Madrid 10 September 1787.
AN F 0 S SI: L' 111cog11ita perseguitata
9 January. Rome, T. delle Dame
UTTINI: Thetis och PelCe
Text by G. Petrosellini (first set to music by Pic-
cinni in 1764). Three acts. 18 January. Stockholm
Although Piccinni's setting was fairly success- Text by J. Wellander (founded on a play by
ful (outside Italy also given at Lisbon 3I March King Gustafm). Five acts.
1766 andDresden 3 December 176~) the glory The first Swedish grand opera. Given 30 Oc-
of L'Ineognita perseguitata remaim.with Anfossi's tober 1775 in a reduecd 3-aet version; revived
music; this opera was his first great suecess; given 13 Februar)' 1791. One aet was revived on 18
at Milan Summer 1773 and all over Italy; at Bo- January 1923 at the 150th anniversary festival of
logna Autumn 1773 and Carnival 1786 and Na- the Stockholm opera-house.
pIes, T.N. Autumn 1778, as Giatl/1ctta; at ForB A parody by C. I. Hallman, with music by C.
1779 as La GiQ1l/letla persegllitata. Also given at: Stenborg, eallcd Pctis aeh Thclee, was produced
VIENNA 3I August 1773 (as Mctilda ritrollata). at Stoekholm 27 September 1779 and Gothen-
MANNHEIM 21 November 1773. burg 15 November 1779.
DRESDEN 4 January 1774 (as La Giamletta perse-
guitata). ANDRE: Der Töpfer
MUNICH Carnival 1774.
22 Jal1l1ary. Hanau, near Frankfort
TRI ESTE Carnival 1775.
WARSAW 23 March 1775 (as La Metilde Titrovata). Text by the composer. One aet.
COPENHAGEN I November 1775 (as La Gian~etta; Andre' s first opera.
Danish translation in the libretto by R. Soel- Frankfort 29 Oetober 1773 (revived in 2 acts
berg). 7 November 1780); Weimar 20 January 1774;
ESZTERIL.\zA 1779 (as Metilde ritravata). , Gotha 29 July 1774; Leipzig 14 Oetober 1774;
ST. PETERSBURG 10 July 1779 (as La Gia/l/1eua). Berlin 14 February 1775, ete.; Dessau 4 Decem-
BARCELONA 30 May 1786. ber 1776; Hamburg 1778; Salzburg 8 January
In French (translated by P. L. Moline, music 1781; Mnnieh 9 January 1781; Regcnsburg 1781;
adapted by J. N. A. Le Froid de Mereaux), Fon- Dresden July 1782; Bremen 30 Oetober 1783.
tainebleau 25 Oetober 1776 (or, aecording to a Goethc was so mueh impressed by the litde
later edition of the libretto, 12 November 1776; work that he wrote his first Singspiel, Erll'ill and
an intendcd produetion at the c.I., Paris, did not Elmire, for Andre (1775).

327 328
1773 ANNALS OF OPERA 1773
GR ET R Y : Le MaSllifique A parody, Euridice, by F. H. von EinsiedeI, with
music by Seckendorf, was performed at Weimar
4 March. Paris, c.I.
3 September 1779.
Text by J. M. Sedline (founded on a tale by La-
The opera was revived at Weimar on 9 June
fontainc). Three acts.
1933·
In French also, Vcrsailb 26 March 1773 (the
libretto says 19 March); Hague 27 January 1774; S ALlE RI: La Locandiera
Vienna 1775; Liege 20 January 1776; Turin 8 jUllc. Vienna, B.
Spring 1776; Casscl24 November 1783; Parma, Text by D. Poggi (founded on Goldoni's com-
at Comte de Flavigny's Cz.rnival 1788; Brussels edy). Three acts.
8 March 1792; Gachina 3I October 1799; Mos- In Italian also, Warsaw 12 January 1775;
cow 3 I Decembcr 1810. Florcnce 27 Jull' 1775; Dresden 1776; Copen-
In German (transbted by J. H. Faber), Frank- hagen 30 October 1777; Paris, Th. Fel'deau 29
fort 27 April 1775; Vienna, B: I I May 1776; February 1792 (as La Locandicra scaltra, with addi-
Munich October 1778; Augsburg 29 March tions by Cherubini).
1780; Carlsruhe 1781; Cologne DeLember 1784. In German (translated by L. Zelmmark),
A Dutch version, by J. T. Nel'ts, was published Vienna 12 November 1782; Press burg 2 Sep-
ahout 1775; another, bl' H. Asschenbergh in 1786. tember 1785.

SCHWElTZER: Alceste DEZEDE: L'Erreur d'un Moment,

28 May. Weimar Oll La Suite de Julie
Text by C. M. Wie!and. Five acts. 14 jUlle. Paris, C.I.
Intended by the authors as the first step towards Text by J. M. Boutet de Monve! (as the title
a German national opera. 1 The vocal score was says, a sequel to julie, by the same authors, see
printed in 1774 and 1786, the full score in 1779. 1772). One act.
First performed by Seyler's troupe at Weimar In French also Vienna 1775; Moscow 17 De-
and subsequently given at: Frankfort Spring cember 1775; Liege 19 January 1777 and Casse!
1774; Gotha 16 August 1774; Schwetzingen 13 17 December 1783.
August 1775; Altenburg 15 September 1775; A German cranslation by J. M. Kellner, julie
Mannheim November 1775; Lucerne 1775; odcr der kurze Irrthulll, was published at Wetzlar
Königsberg 1776 (in concert form); Dresden in 1777; performed Cologne 1779 (also with title
1776; Danzig 4 November 1777 (in concert Das zerstiirte Vcrsprechcll).
form); Breslau 14 January 1779; Munich 1779; In Russian (translated by A. Y. Khilkov), Mos-
Berlin 31 Mal' 1780; Hamburg 23 April 1781; cow 1782.
Leipzig 8 August 1781; Magdeburg January In Swcdish (translated by C. Manderström).
1782 (in concert form); Fürth 12 October 1782; Stockholm 4 November 1787; Gothenburg 13
Nuremberg 30 October 1782; Neustrclitz 28 March 1789.
April 1783; Passau I November 1783; Bozen 19 Dutch version by J. T. Neyts printed (n.d.).
March 1784; Vienna, Neustift 1784; Mal'ence In 1805 the same libretto was set by the
18 November 1785; Casse! 1785 if not earlier; then 23-years-old Auber (his first work for the
Prague 1792. Italian translation by G. U. Pagani stage; produced by amateurs).
Cesa published 1830.
NAUMANN: Armida
das erste StUck unserer BUhne in Metastasios
1 " .•.
Geschmack". (c. H. Schmid, CIJro/!ologie des deutscheIl
j/me. Padua
"'''caters, 1775.) Text by G. Herm; (after Tasso). Three acts.

32 9 330
J773 ANNALS OF OPERA J773

Naumann's first greater Sllccess; in ltalian also There are printed Durch versions by J. T.
given at Praglle 1776 and Vienna 15 October Neyts (n.d.), by n. D. A[sten] (1775), and by
J777· H. Ogclwight (1792).
In Gcnnan (tramlatcd by J. C. Bock), Leipzig Revived Moscow I4 May 1810 (in Freneh).
6 July I7HO; Dresden Winter 1780; Berlin 27
Deecmber 1782; Schwedt 2 Decembcr 17R5; MONSIGNY: La belle Arsc1le
13rcsbll 24 Januar)' 17R6. 6 Nvvflllhcr. Fontaineblcall
Text by C. S. Favart (collledie-jJcric; his last lib-
HA Y D N: V Infedelta delusa* retto), founded on Voltaire' s poem La Begllculc.
26 July. Eszterhaza Three aers.
Librettist unknown (Burlctta per /tllisica). Two Given at Paris, c.r. 14 August 1775 in an
acts. enlargcd 4-aet version. Last revived Paris, O.c.
H,evived Vienna 14 Mal' J930 (as Liehe l7Iacht I Oetober 1794 and 21 September liloS.
erfillderisch, German version by H. Goj:l, mllsic In Freneh also, Liege 18 February 1776; Brus-
revised by G. Kassowitz). sels 19 February 1776, etc. Casscl 24 May 1777;
Turin Spring 1778; Smolna 15 Deeember 1782;
G RE TR Y: La Rasiere de Salency Parma Carnival 1789; Cologne 1795-96; Mos-
23 Oetober. Fontainebleatl eow 15 May 1809; Berne 6 July 1809; Sroek-
Text bl' A. F. J. Masson de Pezal' (oprra Iyri- holm June 1813.
eOl7liqlle). Four acts. In Danish (translated by T. C. Walter), Copcn-
Paris, c.r. 28 Februarl' 1774 and, in a rcduced hagen 30 January 1777 and (in a new translation
3-act version (now called pastorale) 18 Jllne 1774. by A. G. Thoroup) 4 September 1781 (at Fre-
The date of the first, Fontainebleatl, prodllc- densborg Palaee) and 10 Deeember 1781 (at the
tion, nothitherto recorded, is givcn in the original Royal Theatre).
libretto (eopy Paris, Bibliothcque Nationale). In German (translated by J. H. Faber), Düssel-
In French also, Brusscls 20 Mal' J774; Sri10lna dorf 27 November 1778; Mannheim 20 March
30 JulI' 1775; Turin Spring 1776; Casscl 1777; 1779; Frankfort 15 April 1779; Cologne Sum-
Parma, at Comte de Flavigny's Carnival 1790; mer 1779; Berlin 25 August 1779 (translated by
St. Petersburg 1798. J. Andre); Bonn 9 March 1780; Munieh 4 July
In German (translated bl' J. H. Faber), Frank- 1780; Hamburg 27 Oetober 17Ro; Hmover 8
fort 1775; Augsburg 20 August 1779; Vienna 9 Januar)' 1781; Warsaw 25 November 1781; Riga
September 1779; Pressburg 3 April 1780; Co- 30 September 1782 (first opera given at the new
logne 7 August 1780; Munieh I I September Vietinghoff theatre); Neustrelitz 5 May 1783;
1780; Bonn 18 Oetober 1780; Pl'rmont 17 Jtlly Bremen I Decembcr 1783; Sehwedt 16 August
1781; Regensburg 1781; \Varsaw 15 September 1785; Rostoek 20 JUlle 1786; Vicnna, Kä. 4 Au-
1782; Bremen 15 Oetober 1784; Hanover 22 gust' 1786; Casscl 24 January 1787; Pyrmont 22
January 1794. July 1787; Dresden 29 May 1788.
In Italian (as La Festa dclla Rosa, transbted by In Swedish (translated by A. M. Malmstedt),
M. Verazi), SehwetzingenJuly 1776. Drottningholm 22 July 1779 and Stockholm 13
In Danish (translated by C. D. Biehl), Copen- January 1780.
hagen 4 September 1779, at Fredensborg Pabee In Russiall, St. Petersburg 1785 (rcvived 22
and 17 September 1779 at the Royal Theatre. June 1815); Moscow January 1802 (revived 26
In Swedish (translared by C. J. Lindegrcn), May 1806).
Stockholm 31 January 1798. In Durch (translated by B. Ru!offs), Amster-
Given as a pantomime at Char!c<;roll, S.c. on dam [10 Oetober] 1788; ther:: was another Durch
I July 1795· ,('rsion, by J. T. Neyrs. Fublishcd (n.d.).

33 T 332
1773 ANNALS OF OPERA 1773-74
In Polish (translated by F. Zablocki), Warsaw In French also, Cassel 1783 (and again 26
17 October 1788. April 1802; Germain translation by J. D. von
In Italian (translated by 1. da Ponte), London Apell published on that occasion).
12 December 1795 (music arranged by Maz- Revived Brussels 30 April 1930 (and again 8
zinghi). September 1930 at the eighth I.S.~.M. festival).
The vocal score of La belle Arsene was reprint-
ed in 1909.
A parody, La Lingere, by Mague de Saint- I774
Aubin, was produced at La Rochelle December
1777; Paris, Th. des Petits Comediens du Bois AN F 0 S SI: La finta Giardiniera
de Boulogne July 1781; Saint-Cloud 21 October Carnival. Rome, T. delle Dame
1781. Text by R. de' Calzabigi (the same libretto
Mozart set to music in 1775; for a comparison of
HOLLY: Der Kaufmann von Smyrna Anfossi's and Mozart's settings, see E. J. Dent,
13 NOl'clllber. Berlin Mozart's Operas, P.45). Three acts.
Text by C. F. Schwan (founded on a comedy by In Italian also given at Würzburg [26 August]
Chamfort and first set to music by Vogler in 1771). 1774; Dresden 7 February 1775; London 7 March
One act. 1775 (as La Marchesa Giardiniera, with additions
The most successful of Holly's operas; given by T. Giordani); Vienna 13 June 1775; Warsaw
at Vienna, Kä. June 1776 as Wohltatcn gelllimlcn 17 December 177S; Paris, O. 12 November 1778;
die HerzC/l and B. 13 February 1781 as Der Skla- Eszterhaza Autumn 1780; Lisbon Carnival 1786.
l'ellhä/ldler VOll Smyma. In German (as Die edle Gärtnerin) Frankfort
The same libretto was set by Stegmann 12 September 1782.
and first performed in the same year, 1773, at In French (translated by Balle), Paris, Th. de
Königsberg (exact date unknown) and else- M. 5 Februar)' 1789.
where in Germany; also given at Copenhagen In Polish (translated by W. Boguslawski),
2 January 1776 (in Danish, translated by P. T. Warsaw 14 February 1790.
VandalI; given there unti! 1817); in German, St.
Petersburg 20 February 1778 and Riga 25 Feb- PICCINNI: Alessandro nell'Indie
ruary 1785; Hamburg, as late as 24 Ju!y 1793 12 January. Naples, S.c.
and 13 May 1808. Metastasio's text (first set to music by Vinci In
1729). Three acts.
GOSSEC: Sabinus The best of Piccinni's Italian serious operas;
4 Dcccmber. Versailles revived at Naples, Fondo 12 January 1792 after
Text by M. P. G. de Chabanon (foundcd on his the eomposer's return from Paris. (An earlier
traged)' Eponillc, 1762). Five aets. setting by Piccinni of the same libretto had been
Gossec's first tragedic-l)'riqlle (unsuccessful). performed at Rome, Arg. 21 January 1758. Both
Paris, O. 22 February 1774. scores extmt.)

GRETRY: Cephalc, et Procris, Oll T. C. WALTER: Den Provede Troskab

L' Amour cO/yugal (Faithfulness Proved)
30 Deccmbcr. Versailles 31 Jallliary. Copenhagen
Text by J. F. Marmonte!. Three acts. Text by C. D. Bieh!. Three acts.
Paris, O. 2 May 1775 and (with alterations) Not the first Danish opera, but the first written
23 May 1777. by a Danish composer; given three times only.

G 333 334
1774 ANNALS OF OPERA 1774
PAISIELLO: Il Duello* Berlin 25 Deeember 1809; Casscl 3 June 1819;
Sprillg. Naples, T.N. Stuttgart 23 December 1820.
In 1846 Richard Wagner revised the opera by
Text by G. B. Lorenzi. One act.
improving the translation, ehanging the orches-
In Italian also given at Vienna 15 July 1775;
tration and composing som:: new recitatives for
Tsarskoye selo 1782.
the third aet (into whieh he even introduced a
In French (as Lc Duc! cOllliquc, adapted and
new eharaeter, Artemis). This version was first
enlarged to 2 acts by P. L. Moline, additional
produeed at Dresden 24 February 1847 and given
mllsic by J. N. A. Le Froid de Mereaux), Paris,
on many German stages (including Vienna 12
c.r. 16 September 1776 and Fontainebleau 10
Oetober 1867 and Berlin I I June 1914). Also
October 1777.
Strasbourg I I Mareh 1900. Revived zurich 17
In German (translated by C. G. Neefe): Vien-
Oetober 1936.
na, Kä. 17 April 1786; Mannheim 3 August 1786;
In Italian (translated by G. Sehmidt), Naplcs,
Carlsruhe 6 January 1790; Budapest 18 July 1790.
S.c. 15 August 1812.
In Polish, Wilna 16 May 1799.
In Danish (translated by A. Hertz; Wagner' s
Revived Taranto 26 November 1916 (music
version), Copenhagcn 27 April 1861 and Chris-
revised by C. De Nardis).
tiania 20 Oetober 1875.
In Czeeh (translated by J. ßöhm) Prague 9
GLUCK: Iphigenie en Aulide* April 1872 (revived 29 !vhy 1921). Given at
19 April. Paris, O. Brussels for the first time as late as 26 April 1910
Text by F. L. G. Lebland du Roullet (founded (in Freneh) and even \ater in England :llld
on Racine's tragedy). Three acts. Ameriea: Oxford 20 November 1933 (in Eng-
The first work Gluck wrote for the Paris lish, translated by J. Troutbeck); Philadelphia 22
Opera. "Ja mais le Public n' a montre tant d' em- February 1935 (in Freneh); Glasgow 14 April
pressement et d'enthousiasme que pour cet opera 1937 (in English, by the Scottish National Aead-
qui doit faire epoque dans la musiqu~ Franc;oise" emy of Musie).
(,'v[ercurc de Frallcc). Its suecess was interrupted In Croatian, Zagreb 6 July 1933.
after the 5th performance through the death of In Hungari:ll1, ßudapest Oetober 1937.
Louis xv. Resumcd 10 Januar)' 1775 and given
there 428 timcs until 1824; rcvivcd at the O.c.
ANFOSSI: Il Geloso ill Cimento
18 Dccembcr 1907. 25 May. Vicnna, B.
A parody by J. E. Despreaux called MOlllic was Text by G. Bertati. Threc acts.
given at Choisy in August 1778. Given also as La Vedol'agalallte (Graz Winter
In Frcnch also, Lilie 7 July 1782; Cassell782; 1779), La Vcdvva scaltra (Castclnuovo 178S) :\Ild
Hamburg 1795; Ghent 1799; St. Pctersburg as La Vedol'a hi.:::arra (Napies, Fior. 1788). Re-
1801; ßrunswick 1806. dlleed to 2 aets, Venicc, S. Maise Autmnn 1784.
In Swcdish (translated by C. Manderström, In Italian also, Veniee, S. Sam. November
music adapted by D. L. Wasenholtz and L. S. 1774; Turin and ROl1le 1775, etc. Trieste May
Lalill) , Stockholm 29 Dcccmbcr 1778 (with a I77S; Dresden November 1775; Copenhagcn
prologue by Uttini, text by J. H. Kcllgrcn). 3 I January 1776 (Danish translation in the lib-
In Dmch (translated by P. Pijpers), Amster- retto by R. Soelberg); Warsaw July 1776;
dam 1801. Prague 1776; London 4 February 1777; Dllblin
In German (translated by J. D. Sander), Mag- 1778; Esztcrhiza 10 September 1778; Paris, O.
dcburg 1790; Sehwerin 3 January 1806; Munich 18 January 1779 (with additions by Giardini);
IS07 (rcvived 29 January 1816, partly re-orehes- St. Petcrsburg 13 April 1779; Brunswiek 1781;
trated by Winter); Vienna 14 Dceember 1808; ßarcelona 12 June 1783; Cracow 2 May 1790.

335
1774 ANNALS OF OPERA 1774
In German (as Die Eifersucht auf der Probe, PAISIELLO: 11 Credulo deluso*
translated by J. J. Eschenburg), Hamburg 12 Jan-
September. Naples, T.N.
uary 1781; Berlin 3 March 1781 (revived 29 Au-
gust 1806); Vienna, Kä. 27 September 1783 and Text: an altered version of Goldoni's 11 Mondo
Leop. 22 March 1787; Bonn 6 July 1783; Riga della Luna (see 1750). Three acts.
13 January 1784; Cologne Autumn 1784; The month of the first production is recorded
Schwedt 22 November 1785; St. Petersburg in the Venetian Giortlalc Ellciclopedico, February
1785; Linz 18 April 1786; Casscl 12 March 1787; 1775 (apropos of the Venice production of an-
Hanover 7 June 1787; Prague 1787; Rostock 23 other opera on the same subject by Astaritta):
June 1788; Dresden July 1788; Munich May "Si rappresenta attualmente questo Dramma
1789; Pyrmont 10 July 1790; Amsterdam 1792; anche a Napoli, cola pure accomodato a11' uso
another German version, by L. Zehnmark, was odiemo Napolitano, che forse e piu stravagante
used at Pressburg 12 June 1786 and Budapest 7 de! Lombardo; e tanto ne piacque la Musica de!
July 1790. S. Maestro Paisiello, che dal mese di Settembre
In Polish (translated by L. Pierozynski) War- deli' anno prossimo scorso sino ad ora se n'e
saw 15 July 1787. continuata la rappresentazione".
Given in a reduced 2-2ct version, text altered
by M. Coltellini, at St. Petersburg 5 October
JOMMELLI: 11 Trionfo di Clelia 1783 (as 11 MOl1do della Luna); Naples, Fondo 10
6 June. Lisbon, Th. d'Ajuda October 1784; Vienna 20 October 1786.
Metastasio's text (first set to music by Hasse, see In French (translated by M. J. Mattieu de
1762). Three acts. Lepidor, as Orgon dans la Lune Oll le erUule
Jommclli's last opera (he died on 25 August trompe), Versailles before I I June 1777; Hague
1774), written for the birthday of King Joseph I 21 January 1780 and Paris, Th. d. M. 27 April
of Portugal. 17 89.
Revived Parma 26 June 1813; and late!y, cele-
brating the Paisiello bicentenary, Naples May
DIBDIN: The Watermanj or, 1940 (the revival, at least, was announced).
The First of August*
8 August. London, Hm.
J. C. BACH: Lucio Silla*
Ba11ad opera, text and music (partly composed
and partly compiled) by Dibdin. Two acts. 4 November. Mannheim
Very successful on English stages; frequently Text by G. de Gamerra (first set to music by
revived in London during the 19th century, and Mozart, see 1772), with alterations by M. Verazi.
as late as 23 May 19I! at c.G. for Santley's Three acts.
benefit and farewell performance. Given at Dub- C. S. Terry, on the authority of F. Walter,
!in 31 December 1776; Edinburgh I I January assumes the date of performance to have been
1777; Spanish Town, Jamaica February 1789; 20 November 1776. The original Italian libretto
Philadelphia 8 April 1791; New York 22 May is undated, but the German translation bears the
1793 (last revived I July 1872). A new edition date of 1774 and leaves no doubt that the opera
of the vocal score by S. N. Sedgwick and E. M. was first produced at Mannheim in ce!(!bration
Lee was published in 1928. of the name-day of the Elector, 4 November, of
(Date of first performance checked from the that year.
newspapers. It is differently given in some books Revived Kiel 22 March 1929 (in German,
of reference.) translated and arranged by F. Tutenberg).

337
1774 ANN ALS OF OPERA 1774

MARTINI: Henri w GHENT June 1783.

14 November. Paris, c.r. MADRID 24 November 1787.
CRACOW 12 March 1789
Text by F. B. de Rozoy. Time acts.
LISBON 1793.
First given at Versai11es 16 December 1774; in
Revived in London 5 April 1781; 15 May
French also, Vienna 1775; Brussels 20 September
1788; 5 June 1794; 9 January 1808; rcvived in
1775, ctc.; in French also, St. Petcrsburg 9 De-
Paris 15 October 1806.
cember 1784.
A pasticcio from La Frascatana and Le dUI?
A German version was published at Frankfort
Conlesse (see 1776), called 11 finlo Spettro (text by
(.1776, an anonymous Dutch version in 1778.
M. Verazi) was produced at Mannheim 26 No-
Revived, Paris, c.r. 21 November 1789; Ant-
vember 1776; it was the last opera which was
werp 7 August 1806; and, with alterations, as
sung in Italian there.
Henri IV, ou La Bataille d'lvry, Paris, O.c. 23
In German (translated by J. F. Schmidt), Augs-
April 1814, "pour l'heureux retour des Fils de
burg 30 July 1779; Pressburg 8 Fcbruary 1780;
Henri IV au Trone de France" as indicated in the
Frankfort I June 1781; Berlin 19 November
libretto.
178 I ; Graz and Laibach 1782; Riga 9 May 1783;
Revived in Russian (translated by A. P. Vesh-
Vienna, Neustift 3 August 1783 and Kä. 9 Sep-
nyakov), St. Petersburg 4 December 1820.
tember 1783; Prague 1787; Budapest 29 Septem-
An anonymous Dutch translation was pub-
ber 1787; Amsterdam 21 June 1796. Another
lished in 1778. A Swedish version by J. S. Ahl-
German version, by M***, called Der Vorll/l/1I4
gren, with new music by G. H. Küster, was
oder Das Mädchell VOll Frascali, was given at
given at Stockholm 19 December 1870.
Mannheim 14 January 1783. Translated also from
the French version (see below) , as Die lufautbl
PAISIELLO: La Frascatana VOll Zalllora: W cimar Oerober 1785; Graz 1 Jan-

NOl'ell1bcr. Venice, S. Sam. uary 1794 (earlier given there in 1782, see above,
Text by F. Livigni. Three acts. in a translation by A. L.).
Very successful in Italyand a11 over Europe. In French (as L' lnfallie de Zall/ara, adapted by
Naples, T.N. Winter 1774 (revived there with N. E. Framcry) first at Strasbourg Autumn 1780
additional music by Paisiello, November 1786); (sec letter in Litteratllr- l/Ild Theatcrzcitllllg, 16
Milan, T.R.D. Autumn 1775 and Sc. Autumn Deeember 1780); subsequently produced at Ver-
1780, etc. In Italian also produeed at: sailles I7S1 and ;111 over France; Lille 26 May
VIENNA 29 April 1775. 1782; Ghent July 1782; Liege 7 Deeember 1782;
TRIESTE May 1775. Casscl 28 Novcmber 1783; eventually Paris, Th.
PRAGUE 1776. de M. 22 June 1789; revived Antwerp 23 January
DRESDE:-.I I 776. 1806.
COPE:-IHAGEN 31 October 1776. In Russian (translated by V. A. Lcvshin), St.
LONDO:--l 5 November 1776. Petcrsburg 1780.
DUBLIN Spring 1777. In Danish (translatcd by L. Knudscn), Copcn-
ESZTERHAZA 31 May 1778. lugen 2 April 17X2.
GRAZ SUlllmer I77X. In Polish (translated by W. ßoguslawski),
PARI~, o. 10 Scptember 177;<'. Warsaw 13July 17SZ; Cracow J3 Fcbruary 1790.
ST. PETERSßUIl<; 4 November I77S. A Duteh translation (from thc Frcnch vc:-sion)
CASSEL 177'). by n. Zurmühlcn was published 17H4.
llARCELO:--lA 26 March [7XO. In Swcdish (translated from thc Frcnch \'\.T-
WARS.-\W 27 Jalllllry 17X!. sioH by J. D. Valcrius), Stockholm 10 Oetober
BRU:>ISWICK 17Xz 179<)·

33') 340
1774-75 ANNALS OF OPERA 1775
La Frascatana was revived by the Societa Filar- After Mozart's death La fi/lta Giardiniera was
monica, Turin 19 June 1937 (under G. Gedda). given, in the original Italian, once more at
Prague on 10 March 1796; and, in German again,
as Die schöne Gärtnerin at Oels (Silesia) 25 Feh-
1775 ruary 1797 (see Schlesische Provinzialblätter, Feh-
ruary 1797, P.199); then it disappeared from the
PA I SIE L L 0: La Discordia Jortunata stage for 95 years.
Carnival. Venice, S. Sam. It was revived, in a new translation by M.
Text by "Abate F. B. A. F.". Three acts. Kalbeck, on the same bill with Bastien und Bas-
tienne at:
Given at Dresden 20 November 1776 and
Vienna, O. 25 December 1891 (music revised
Prague Autumn 1784 as L'Avaro de/uso; at
by J. N. Fuchs); subsequently at Bremen 30 Sep-
Rome, Tord. January 1780 in a reduced 2-act
tember 1892; Leipzig 28 November 1892; Basle
version; at Pesaro Carnival 1780 as 11 Quadro
1 March 1893; Berlin 2 December 1893; Graz
parlante. In Italian also, Vienna 6 July 1785.
11 December 1896, etc.
In German (translated by C. A. Vulpius),
Weimar 26 April 1786; (translated by J. L.
20th Century Revivals
Schmidt), Aachen 26 March 1787; (translated by
P. Trautmann), Prague 1787. Hanover 17 April In German:
1787; Budapest 1788 (Vulpius's translation); MAYENCE 21 October 1915 (revised by R. and L.
Hamburg 28 August 1789, etc. Berger).
DARMSTADT 25 November 1915 (revised by O.

MOZART: Lafinta Giardiniera* Bie; one act).

BERLIN 17 February 1916 (0. Bie's version).
IJJanuary. Munich CARLSRUHE 27 January 1918 (revised by A. Ru-
Calzabigi's text (first set to music by Anfossi, see dolph).
1774), with alterations by M. Coltellini. Three MUNICH 14January 1935 (revised by S. Anheisser).
acts. BASLE 14 March 1935 (the Mayence 1915 ver-
After the very successful Munich production sion).
the opera was translated into German by the
In Hungarian (as Mirandolina, adapted to a new
actor Stierle for the touring troupe of the man-
libretto by S. Hevesi, founded on Goldoni's
ager Johann Böhm. The first traceable perform-
comedy), Budapest 27 November 1924.
ance of this German version took place at Augs-
In English (translated by H. Dowd), New
burg on 1 May 1780 (as Die, verstellte Gärtnerin);
York, Mayfair Th. 18 January 1927; London,
also given in the same year at Nuremberg. But
Scala 7 January 1930 (with recitatives by L.
it is likely to have been given earlier in 1780, or
Heward).
even late in 1779, at Salzburg where Böhm's
In the original Italian (music revised by V.
troupe had a season before they went to Augs-
Garulli), TriesteJuly 1928; Milan, T.d.V. 6 No-
burg and where Mozart also spent those months.
vember 1928.
Next we fmd the opera performed at ~rankfort
on 2 April 1782 (as Sandri/la oder Die verstellte
Gräfin). This was the first performance of any G. BENDA: Ariadne auJNaxos*
Mozart opera in Central or Northern Germany; 27 January. Gotha
another translation (by H. G. Schmieder?) Das Text by J. C. Brandes (founded on a cantata by
verstellte Gärtnermädcllen was given at Mayence in H. W. von Gerstenberg and originally written
August 1789 (play-bill of the second performance, for Schweitzer, who did not finish his composi-
22 August 1789, preserved). tion). Ein Duodrama mit Musick. One act.

34 1 342
1775 ANNALS OF OPERA 1775
The first and most successful German "melo- Spengel); Berlin 13 June 1833; Königsberg 25
drama" (a spoken play with orchestral accom- November 1855; Breslau 17 January 1898;
paniment throughout). Published 1778 (vocal Weimar 16 June 1916; Lauchstedt 6 July 1924;
score) and 1781 (full score). New edition of the Regensburg 23 February 1925; Aussig 1931.
vocal score published 1920 (edited by A. Einstein). The German melodrama movement initiated
In German also produced at Leipzig 24 April by Benda in 1775, soon found adherents, such as
1775; Altenburg I I September 1775; Berlin 23 Neefe, Reichardt, Vogler, Winter, Danzi, Can-
August 1776; Hamburg 6 September 1776; nabich, Zumsteeg and interest even on the part
Hanover 27 December 1776, etc.; Vienna, Jos. of Mozart, who admired Ariadne (see his
I I July 1779 and B. 4 January 1780; St. Peters- letter to Leopold Mozart, dated Mannheim, 12
burg 2 September 1779; Salzburg 29 September November 1778). The whole movement, how-
1780; Warsaw 19 May 1781; Riga 16 October ever, lasted only for about twenty years. See for
1782; Pressburg 24 January 1798. details E. Istel, Die Entstehung des deutschen Melo-
Benda' s Ariadne was one of the very few Ger- dramas (1906).
man musical dramas before Mozart to be trans-
lated into other languages. Produced at: GRETRY: Lafausse Magie
BERLIN 10 February 1777 (in French, translated
by Prince Frederick Augustus of Brunswick- 1 February. Paris, c.I.
Oels). Text by J. F. Marmontel. Two acts.
WARSAW 8 March 1778 (in French, "traduit de Given at the c.I., with alterations, 18 March
l' Allemand par un Prince du Sang d'une des 1776; in Paris until 1828 and revived at the O.C.
plus illustres maisons du Nord", probably the 16 July 1863 (re-orchestrated by E. Prevost).
same translation as used at Berlin). In French also produced at Hague 1775; Liege
COPENHAGEN 29 May 1778 (in Danish, translated 23 December 1775; Brussels 10 May 1776; Stutt-
by B. G. Sporon). gart 13 June 1776; Cassel 1777; Turin Spring
PARIS, C.I. 20 July 1781 (in French, translated by 1778; Geneva 4 October 1784; Charleston, S.C.
J. B. Dubois de Jancignyl). 3June 1795; Hamburg 1795; Cologne 179<>-97;
NAPLES, flOR. 16 December 1783 (in Italian, trans- Gachina (Russia) 4 September 1798; Hanover
lated by H . . . ; see Cramer's Magazin der 27 July 1805; Moscow 20 April 1809; Vienna
Musik, 1784, pp.64-70). 27 June 1809·
GORIZIA 1786 (in Italian, translated by A. de' In Danish (translated by N. K. Bredal), Copen-
Giorgi-Bert6Ia). hagen 30 January 1778.
STOCKHOLM 22 December 1786 (in Swedish, In German (as Die abgeredete Zauberey, trans-
translated by J.' P. Stolpe); revived Gothen- lated by G. Stephanie), Vienna, B. 27 October
burg 9 October 1806; Malmö 21 July 1807; 1778; (as Das Blendwerk, translated by F. L. W.
Lund 24July 1807. Meyer), Mannheim 25 February 1779; (as Der
BUDAPEST 18 May 1802 (~Hungarian). Zauberspiegel, translated by J. Andre and C. F.
PRAGUE 22 December 1875 (in Czech); revived von Bonin), Berlin 18 January 1781. Yet another
Bmo 1935. German version, by J. N. Rothmann was pub-
Frequently revived on German stages: Munich lished in 1781.
18 December 1832 (music revised by H. L. von In German also, Warsaw I June 1782; Riga
30 June 1783.
1 He wrote the introductory essay in the French In Dutch, Amsterdam 1785 ; in Flemish already,
libretto; the anonymous ttanslation is attributed both
Mecheln 1783.
to him and to Cuinet Dorbeil; see Catalogue of the
Bibliotheque Nationale, Paris, Vol. 18, p.968, and Vol. In Swedish (translated by C. Envallsson),
34, p.609· Stockholm 16 July 1792.

343 344
1775 ANNALS OF OPERA 1775

G. BEN DA: Der Dowahrmarkt G. BENDA: Medea

10 Fcbmar)'. Gotha Ma)'. Leipzig
1

Text by F. W. Gotter. One act. Text by F. W. Gotter. Ei" mit Musik vermischtes
The vocal score was publishcd in 1776 as Der Drama. One act.
Dorfja/ml/arkf, the libretto in 1778 as Der Jahr- Benda' s second melodrama, hardly less success-
I/wkf. Full score fIrSt published in T930, in DC/lk- ful than Ariadlle some months earlier. Vocal
I/Iäler Dftlfsclzcr TOllkllIlSt, edited by T. W. score published 1778 and 1785.
Wemer. This very popubr Singspiel originally Subsequently produced at Gotha 6 June 1775;
had one act. Divided into two acts and with Altenburg 6 September 1775; Dresden 6 No-
some additional music by J. A. Hillcr it was vember 1775; Hamburg 10 December 1776;
given Jt Leipzig 25 April [775; Dresden 26 Oc- Berlin 26 Mareh 1777; Frankfort 3 I May 1777;
tober 1775; Hanover X May 1776; Hamburg Vienna, B. 5 Deeember 1778, etc.; Graz 7 July
4 July 1776; Berlin IR June 1778; Vienna, B. 1818.
15 April 1779; MJlmheim 13 February 1780; In German also, St. Petcrsburg 8 February
Riga 23 October 1782, etc. 17RI; Warsaw 16 April 1781; Flensburg 1781;
In DJnish (translated by S. Sonnichsen Jnd N. Riga 12 March 1783; Beme March 18II;
H. Weinwich), Copenhagen 21 November 1788. Moscow 24 February 182 I; Strasbourg 15 June
Revived Würzburg 5 December 1915 (reviscd 182 5.
by 1. Landshoff) ; Hanover May 193 I (accord- In French, WarsJw 4 March 1785.
ing to the D.D. T. edition). In Danish (translated by F. Schwartz), Copen-
hagen 17 Oetober 1788 (published al ready 1782).
RAUZZINI: Piralllo e Tisbe In Hllngarian (translated by M. Emyi), Buda-
16lvfaniI. London, Hm. pest T9 May 1802.
Text by M. Coltcllini. Two parts. In Russian, Moscow 1802.
The first and best opera Rauzzini wrote for In Polish (translated by F. Zablocki), Warsaw
Londoll (revived there 29 MJrch 17SI). 1806.
In Italian also, Vienna 3 I December 1776; A Czech version by K. H. Tham was publish-
BrullSwick Spring 1782; Prague Summer 1783; ed in 1787; produced in Czech (not in Tham' s
Warsaw Spring 1784. translation), Prague 22 December 1875.
In German (translated by 1. Zc1mmark), An Italian version, with new music by G.
Vienna, B. 7 December 1794. Poffa, was given at Trieste 21 November 1783;
(Date of first performJnce checked from news- in Italian also Forll Spring 1784; Gorizia Sum-
papers; different dates are given by Nicoll and mer 1786; Milan 1792.
Terry.) A French version by J. J. G. Berthevin, with
new music by J. S. Demar, was published (and
MOZART: Il Re Pastore* performed?) at Orleans in 1798 (Bibl. Soleillne,
23 April. Salzbllrg nO.3005); two earlier Frcnch translations, by
Metastasio's text (first set to music by Bonno in De Rosieres, Vienna 177!!, and by A. Berqllin,
1751). Two acts. Paris 1781, were publishcd.
Mozart's setting was produced in hor.our of a An anonymolls Swedish version appeared
visit of the Archduke Maximilian, son of Maria 1784 in AftOlI-Bladcd (Stockholm).
Theresa, to Salzburg. Frcqllently revived in GcrmallY: Munich 12
Revived Salzburg 27 January 1906 and February 1885 (rcvised by J. R. Schachner);
Munich March 1906 (in Italian, cclebrating Gotha 21 March 1888 and 22 February 1896;
Mozart's 150th birthday); Dessau 9 May 1933 Regensburg 23 February 1925; Berlin 25 March
(in a German translation by S. Anheisser). 1934. Revived in Czech, Bmo 1935·

345
1775 ANNALS OF OPERA 1775

HA YDN: L'Incontro improviso* ANFOSSI: L'Avaro

29 AI4gtlst. Eszterhaza Autumn. Venice, S. Moise
Text: an Italian version, by K. Friberth, of Dan- Text by G. Bertati. Three acts.
court's Rencontre imprevue (set by Gluck, see Milan 3 August 1776; Bologna and Turin
1764). Three acts. 1776; Florence Carnival 1777; Parma Carnival
Produced in honour of a visit of the Archduke 1777; Alessandria April 1777; revived Venice,
Ferdinand, son of Maria Theresa, to Eszter- S. Moise Carnival 1778; Vicenza and Cremona
haza. Carnival 1778, etc. Given at Florence Spring
Revived Lauchstedt Summer 1936 (in Ger- 1777, as La Fedelta nel/e Angustie.
man, as Unverhofftes Begegnen, translated by H. In Italian also, Vienna 1776; Trieste 26 De-
Schultz). cember 1776; Copenhagen 31 January 1777
(Danish translation in the libretto by R. Soel-
berg); Graz Carnival 1779; Warsaw Autumn
PAISIELLO: Socrate immaginario* 1779; Dresden 1780; Brunswick 1782 and
Oetober. Naples, T.N. Hanover 1783 (as 11 Sordo e I'Avaro); Frankfort
February 1783 (as 1 due Avari); London 14June
Text by G. B. Lorenzi, on a plan by F. Galiani.
1783; Lilie 4 March 1788; Madrid 1791. Revived
Originally in two acts.
Milan, Sc. March 1791; Trieste Carnival 180S.
After a command performance at court, 23
In French (as Le Tuteur avare, translated by J.
October 1775 the opera was banned by King L. Gabiot de Salins, additional music by Cam:"
Ferdinand I (being "ritrovato indiscreto") and
hini) , Paris, Th. Beaujolais 1 March 1788; Ver-
allowed to be acted again only in March 1780
sailles 15 August 1788; Liege 16 December 1789.
(now in 3 acts). Subscquently given at Florence,
In German (as Der Geizige oder Die Liebe ist
P. Spring 1780, etc.; Dresden 1781; Milan, Sc.
sinnreich), Hanover 14 June 1790; Pyrmont 28
Autumn 1783; Malta Carnival 1784; Lisbon
June 1790.
Carnival 1788; and rcvived at Naples (with some
In Spanish (translated by L. F. ComeHa),
alterations) in 1796, 1801, and 1814; at Milan in
Madrid 9 December 1796.
1801 and 1814.
A modern revival took place at the T. degli
LINLEY: The Duenna; or,
Independenti, Rome 20 Fcbruary 1926 (as a
spoken comedy, without the greater part of The Double Elopement*
Paisiello's music). A new edition of the vocal 21 November. London, C.G.

score (edited by G. Barini) was published in Text by R. B. Sheridan. Three acts.

193 I. Revived again Naples, Politeama 6 or 10 Music partly composed, partly compiled by
October 1936. Thomas Linley, father and son.
One of Paisiello's best works. " ... il capo- One of the most successful English comic
lavoro poetico deli' opera buffa, come il Matri- operas of the 18th century: "63 nights was the
monio segreto n'e il capolavoro musicale. Queste career of the Beggar's Opera; but the Duenna
due produzioni mostrano quanto l'ingegno napo- was acted no less than 75 times during the first
letano possa nd genere comico" (Scherillo). season, the only intermissions being a few weeks
M. KeHy was present at the "first representa- at Christmas, and the Fridays on every week;
tion" (meaning that of the 1780 revival as he the latter on account ofLeoni, who, being a Jew,
arrived at Naples only 30 May 1779. See his could not act on those nights" (G. Hogarth, 11,
Reminiscenccs, I, p.49; the famous Casacciello then P-35 0 ).
sang the name-part, wh ich in 1775 had been Given at York 9 April 1776; Birrningham 12
created by Gennaro Lucio). August 1776; Dublin, Th. R., Crow St. 3I Jan-

347 348
 ANNALS OF OPERA

uary 1777 (in a pirated version as The Governess) In Russian, St. Petersburg 1782.
and New Th., Fishamble St. 21 February 1777 In Polish, WiLna 17 February 1810.
(in the original form); Kingston, Jamaica, 27 No-
vember 1779; New York 10 July 1786; Phila- ANFOSSI: La vera Costanza
delphia 3 July 1787; Baltimore 5 September 2January. Rome, T. delle Dame
1787; Charleston, S.c. 13 March 1795 (orches- Text by F. Puttini. Three acts.
trated by T. Bradford); etc. A parody by I. Pot- Repeated at Rome in the same year at T.
tinger was published 1776. Pallacorda; Bologna Autumn 1776; Turin 1776;
An Italian version of the libretto, La Gover- Florence Carnival 1777; Milan Auturnn 1777,
nante, by C. F. Badini, was composed by Bertoni etc.
and produced in London, Hm. 15 May 1779; Given at Venice 20 November 1776 as La
according to the libretto so me of the original PescatriceJedele; at Florence, T. Cocomero Spring
songs were retained. 1777 and Milan Autumn 1777 as 11 Principe di
A French translation (without the lyrics), by Lago Nero.
A. H. Lapierre de Chateauneuf, La Duegne et le In Italian also, Vienna 12 January 1777; Trieste
Juif Portugais, was published in 1827. 25 January 1777; Dresden February 1777; Lon-
The Duenlla was given at CaIcutta 1915 in don 20 January 1778; Copenhagen 3I January
Bengali, at Bombay 1925 in Marathi. 1778 (Danish translation in the libretto by R.
Frequently revived on English stages; Norwich Soelberg); St. Petersburg 25 November 1778;
1922; Birmingham May 1923 (arranged by C. Brunswick February 1783; Prague 1785.
F. Smyly) and 26 December 1924; arranged by
A. Reynolds: London, Lyric Th. (Hammer- UT TIN I: Aline Drotning tlti Golconda
smith) 23 October 1924 and again 22 April 193 I
I I Janllary. Stockholm
(ran for 141 nights).
Text: a Swedish translation, by C. B. Zibet, of
Sedaine's French libretto (see 1766). Three acts.
177 6 Uttini's last opera. Revived at Stock holm 30
PAISIELLO: Le due Contesse November 1778 and 14 May 1781.
2January. Rome, Valle
FRIDZERI: Les Souliers mors-dods
Text by G. Petrosellini. Two parts.
Successful in haly. Milan, Sc. Spring 1782, etc.
Oll La Cordonniere Allemande
In Italian also produced at Vienna 17 Novem- I I Janllary. Paris, c.I.

ber 1776; Dresden and Graz 1777; London 4 Text by A. de Ferricres. Two acts.
November 1777; St. Petersburg 1778; Paris, O. The most popular of Fridzeri's comic operas.
9July 1778; Warsaw 1779; Prague 1783; Barce- In French also, BrusscIs 4 September 1776;
lona 24 July 1783; Madrid 25 July 1788. Cassel9 January 1784; Baltimore 30 March 1796;
In German (translated by C. J. Förg), Munich Philadelphia 24 December 1796. Revived Nantes
18 May 1779; Frankfort 15 May 1782; Cologne 14 August 1806.
Autumn 1784; Hamburg 1785; Mannheim 29 In Polish (translated by A. Michniewski),
September 1785; Carlsruhe 20 October 1785; Warsaw July 1776; Cracow 17 December 1789.
Budapest 2 February 1787, etc. In Russian, Moscow 22 January 1779.
In French (adapted by N. E. Framery), Ver- In Dutch (translated by P. F. Lijnslager), Am-
sailles and Strasbourg before 5 July 1781 (accord- sterdam 1779.
ing to Framery's letter to Paisiello as quoted by In German (translated by J. Andre), Munich
Schizzi); Amsterdam 15 November 1785 (lib- 13 April 1779; Bonn 9 February 1783; for a
retto British Museum); Liege 9 February 1787. German opera on me same subject, see 1779.

349 35 0
 ANNALS OF OPERA

In Swedish (translated by C. Envallsson), Dresden July 1776; Frankfort 29 May 1777;

Stockholm 8 Fcbruary 1785 (as pasticcio). Hamburg I9 December 1777; Berlin 4 March
A Danish adaptation, Silkeskoenc, by T. 1780, etc.
Thaarup, music by Schall, was produced at In German also, Pressburg August 1792.
Copenhagen on 28 March 1794.
BA UMGARTEN: Zemire und Azor
J. SCHUSTER: La Didone abbmldonata
18 May. Bresbu
[12 ]anuaJ-Y]. Naples, s.c. Text: a German version, by K. L Sc!:ubert and
Metastasio's text (first set to music by Sarro, see the composer, of Marmonte!'s French libretto
1724). Three aets. (sec 177I). ROl1laJltisch-kol/;isc!zc Oper. Four acts.
The best of Schuster' s Italia!1 serious operas. Given by the Breslau company also at Vienna,
Revived in 1779 at Venice and Naples (sec M. Kä. June 1776; Mayence 1776.
Kelly's Remil!isCClICCS, T, p.72).
As to the date of the first performance, no
season is indicated by Florimo, Croce, or by
E
G R T R Y: Les Mariages Sal/11Iitcs
Engländer in his study on Schuster. The score at 12 ]Ime. Paris, c.r.

the Naples COI.servatorio has the handwritten Text by B. F. de Rozoy (founded on a tale by
note "li 12 de! 1776." Marmontcl). Three acts.
A new version of the first opera Gretry had
BERTONI: Orfeo, edEuridice written for Paris (I768, performed privatcly at'
the Prince de Conti's).
]aJ/lIary. Vcnice, S. Ben.
Revived with altcrations (the dialogue in verse
Calzabigi's text (first set to music by Gluck, sec
instcad of prosc), Paris, c.I. 22 May 1782. In
1762). One act.
French also, Brusscls 4 November 1776; Cassc1
First produced on the same bill with another
19 June 1779; Geneva 6 March 1784.
I-act opera by Bertoni, Aristo c TCllllra; repeated
In German (translated by J. Andre anti F. L.
Padua 2 May 1776 in concert form; Venice, S.
W. Meyer), Frankfort 1776 or 1777; Schwedt
Ben. 3 J une 1776 and revived Venice, F. 13 May
1780; Mannheim 17 February 17112; llerlin 1 June
1795·
1782; Münster 27 July 1782; Bonn 10 Novem-
In Italian also, London 31 Mal' 1780 (for one
ber 1782; Vienna, W. March 1806 (re-orchcs-
night only, "in the manner of an oratorio");
trated by Seyfried).
Casscl 1781; Hanover 1783; Berlin 3 I January
In Danish (translated by A. G. Thoroup),
1788 (enlarged to 3 aets; additional music by
Copenhagen 30 J:muary 1784.
Reichardt; Gluck's Orf1'o was not given at Berlin .
In Russian, Kouskovo II July 1787.
before 1808); Eszterhaza 1788.
The march frorn this opera is the therne of
Bertoni's setting (considered now as a rather
Mozart's piano variations K. 352 (1781).
c1umsy imitation of Gluck) was published in full
A parody Cefphalide, (11/ Les autres Mariagcs
score in 1776. The interesting preface has been
salmlites, text by Prince CharIes Joseph de Ligne,
reprinted several times (e.g. in the Pelletan edi-
rnusic by Vitzthurnb and Cifolelli, was given at
tion of Gluck's Orf1'o, 1898).
Brusscls on 30 January 1777.
G. BENDA: Walder*
23 Fcbruary. Gotha G. BENDA: Romeo tmd Julie
Text by F. W. Gotter (from Marmonte!'s Sil- 25 Septell/ber. Gotha
vain, see 1770; Eil! läl!dlichcs Schauspiel mit Ge- Text by F. W. Gotter (after Shakespeare). Three
sang). One act. aets.

35 1 352
 ANNALS OF OPERA

This was the first Romeo alld Juliet opera of a In Italian also given at Vienna 8 October 1777
lang series to follow l and thc only German one. (revived 21 April 1793, perhaps with Mozart's
Very successful on German stages: Dresden· final chorus K. 615, composed in 1791).
February 1777; Frankfort 3 June 1777; Hamburg Dresden 14 January 1778; Eszterhiza 1779;
10 May 1778; Berlin 8 February 1779; Regens- Trieste 5 October 1779; St. Petersburg 60ctober
burg February 1779 (orchestrated by T. von 1779 (revived I December 1798); Graz Winter
Schacht); Mannheim II March 1779; Stuttgart 1780; Brunswiek c. Summer 1782; Frankfort
1780; Breslau I December 1780; Bonn 8 May February 1783; Potsdam 29 March 1783 and Ber-
1782; Prague Summer 1783; Vicnna, Kä. 27 \in 18 January 1784; Barcelona 26 January 1784
August 1783; Bremen 13 October 1783; Riga (revived 16 July 1807); London 15 April 1784
20 July 1784; Munich 12 November 1784; Cassel (revived I February 1794 as I Contadini bizzarri;
28 February 1787; Pyrmont 3 July 1787; Hano- 8 June 1797; and IO January 1801); Warsaw 24
ver 23 November 1787; Cologne 1787-88; Dres- February 1785; Versailles September 1787 and
den 26 June 1788; Celle 18 September 1789; Paris, Th. d. M. 14 April 1790 (revived 14 March
Bremen I I December 1793; Graz 26 September 1805); Madrid 19January 1788; Lisbon Summer
1794· 1793; Lugano 1807.
In German also, Pressburg 1787; Temesvar 8 In German (translated by H. C. Pleissner),
December 1801; St. Petersburg 1810, and accord- Bonn 13 July 1783; Frankfort 8 August 1783;
ing to R. Schlösser, at Amsterdam, Solothurn, Linz 5 August 1786; Budapest 23 April 1790;
and Odense. Berlin 5 October 1791, etc.
The opera was ~evived at the State Conserva- In Polish (translated by L. Pierozynski),
toire, Prague in Summer 1931. Warsaw 27 May 1786 (revived 1810) and Wilna
14 February 1799.
DIBDIN: The Seraglio
BORTNY ANSKY: Creonte
14 November. London, c.G.
26 November. Venice, S. Ben.
Text by the composer. Two acts.
Successful in London; also given at Philadel- Librettist unknown. Two acts.
phia 19 May 1794 and New York 21 September One of the earliest examples of an opera
1797. Some airs were contributed by S. Arnold written for the Italian stage by a Russian com-
and by J. A. Fisher. poser (the only forerunner, it seems, being
DemoJoonte, performed at Leghorn Carnival
1773, composed by M. S. Berezovsky).
S AR TI: Le Gelosie villane
November. Venice, S. Sam.
Text by T. Grandi (founded on Goldoni's I777
comedy, Il Feudatario). Three acts.
Sarti's first great succcss as a composer of
HOLZBA UER: Günther von
cornic opera. Given at Pistoia 3 January 1779 Schwarzburg
and on other Italian stages as 11 Feudatario. Milan, sJanuary. Mannheim
Sc. Spring 1779 (first comic opera there). Re- Text by A. Klein. Three acts.
vived Venice, S. Angelo 23 August 1798 as n Holzbauer's only German opera. Modestly
Feudatario and Turin, Carignano 1799 as 11 Feu- calIed "Singspiel", but it was a new attempt to
datario burlato. create a German grand national opera (with
recitatives).
1 See Steibelt 1793; ZingarcIli 1796; Vaccai 1825;
Bellini 1830; Marchetti 1865; Gounod 1867; d'Ivry Given at Mannheim until 1785; also Mayence
1878; Barkworth 1916; Zandonai 1922. 1778; Münster 17 August 1782; Frankfort 14

353 354
1777 ANNALS OF OPERA 1777
September 1782; Bonn 17 November 1782; In Danish (translated by J. H. WesseI), Copen-
Brünn II January 1783; Breslau 1783; Cologne hagen 4 September 1780 at Fredensborg Palace
Auturnn 1784; Cassel August 1785; Pressburg and 30 October 1780 at the Royal Theatre.
1788; Hanover 4June 1789 (eelebrating the birth- In Swedish (translated by c. Envallsson), Stoek-
day of King George 111); Budapest 3 September holm 2 January 1794; Gothenburg 24 May 1796;
1792. another version, by c. J. Lindegren, was pro-
The seore was printed in 1776 and reprinted duced at Stockholm 10 February 1797 (with
in 1902 (Vo!. VIII-IX of Denkmäler Deutscher Ton- additional music by Dupuy).
kunst, edited by H. Kretzschmar). It was the first Dutch translation by H. J. Roullaud published
German opera ever published in full score. 17 87.

AN F 0 S SI: 11 Curioso indiscreto SCHMITTBA UER: Lindor und Ismene

February. Rome, T. delle Dame 4June. Lüneburg
Librettist unknown. Three acts. Text by J. von Soden. One act.
In Italian also given at Dresden 4 April 1778; Libretto first published in 1771; a second edi-
Paris, O. 13 August 1778; Barcelona 26 April tion, with alterations and under the title Ein Grab
1780; Trieste 3 Oetober 1780; Prague Spring il1 Arkadien! followed in 1779, a third edition,
1782; Vienna 30 June 1783; London 18 December called Arkadien, 1788, in Vo!. I of Soden's eol-
1784; Madrid 1 October 1791; Warsaw 30 Oc- lected plays. (All three editions in the Library cf
tober 1792 (as 11 Gurioso burlato). Congress, Washington; see Sonneck's Galalogue,
In Freneh (translated by P. U. Dubuisson), pp.686--87.) The MS score of the opera has been
Paris, Th. Montansier 23 September 1790. preserved (at Darmstadt) ; for a detailed account
For the Vienna performance of Anfossi' s opera, of it see 1. Schiedermair, in Sammelbände of Ihe
Mozart wrote the two soprano airs Vorrei spie- I.M.S., Vo!. XIV (1913), pp.s42-50.
garvi, oh dia (K. 418) and No, no che 110n sei capace Place and date of first performance according
(K.41 9). to G. Fischer, Musik in Ha/lnover (1903), p.39.
Produced by J. F. Stöffier's company under the
DEZEDE: Les trois Fermiers direction ofFranz Anton von Weber, the father
of Carl Maria von Weber. An earlier produetion
24 May. Paris, C.I. at Hanover in 1771 (by Seyler' s troupe ?), as main-
Text by J. M. Boutet de Monve!. Two acts. tained by Schatz, I could not verify. Fischer's
In Freneh also given at GasseI 1778; Liege 24 date is supported by the facts that Schmittbauer
June 1779; Vienna 1780; Smolna November is not mentioned as the composer of Li/ldor und
1780; Stockholm 28 May 1783; St. Petersburg Ismene in the Gotha Thealerkalel1der before 1777,
13 September 1798. and that the Darmstadt score has the date of I 778.
In German (translated by W. G. Becker and Soden's remark in the 1779 preface "auf der
c. G. Neefe): Frankfort 21 April 1779; Mann- hannöverischen Bülme" rnight be regarded as
heim 2 May 1779; Berlin 24 April 178o; Bonn fitting for Lüneburg as weil; for Lüneburg be-
21 May 1780; Colog~e 6 June 1780; Hamburg longed to (the electorate of) Hanover. In the 1788
25 September 1780; Munich 28 November 1780; edition this prefatory note was extended to "auf
Münster 18 July 1782; Riga 13 February 1783; der hannöverischen Bühne und anderen . . ."
Bremen 9 December 1784; Schwedt 30 Deeem- which would cover produetions at Cologne 6
ber 1784; Vienna, Kä. 28 Oetober 1785; Mainz July 1779; Rostock 17 May 1780; Nuremberg
26 November 1785, etc.; revived Berlin 10 March 7 November 1782; Bozen 15 March 1784; Carls-
1809. ruhe 25 April 1785. An opera Lindor und Ismene

355 356
1777 ANNALS OF OPERA 1777

was also performed by :l Gcrm:ln troupe :lt St. Pe- HA Y D N: Il Mondo della Luna'"
tcrsburg on 15 November 177R (see Findeizen, n, 3 August. Eszterhaza
p.I 15, who mentions as the composer Schweitzer
Goldoni' s text (first set to musie by Galuppi, see
with :I question-mark). It was, however, probably
1750). Three acts.
not Schmittbauer's opera, but :I setting of the
Revived Schwerin 20 March 1932 (in German,
same text by Nikolaus Mühle which was pro-
translated by W. M. Trcichlinger, musiearranged
duced there (sec Gothaer ThcatcrkafCllder, 1780,
by M. Lothar); this version was also given at
P.258) as weil as at Danzig 21 September 1781
BerIin, Hochschule für Musik I July 1932; Basle
(see L. Gomperz, Kritische Bcmerkl/llgc1I über das
6 January 1933.
Theater, P.I05).
RIGHINI: Il Convitato di Pietra
(PEPUSCH and) ARNOLD: Polly o sia Il Dissoluto
19 JUlle. London, Little Hm.
21 August. Vienna, Kä.
Text by J. Gay (An Opera, fICi1lg the sccond part of
Librettist unknown to Sonneck; the text is (on
the Beggar's Opera). Three acts. what authority?) attributed to A. de' Filistri da
The preface to the libretto is dated 15 March Caramondani in C. SehmidI's Dizionario; both
1729; text and songs were published in that year, the Vienna and Prague libretti are anonymous.
but the opera was not allowed to be acted until Three aets.
48 years later (with alterations in the original One of the earliest Italian Don Giovanni operas,
text by G. Colman the Eider and 6 new airs by ten years before Mozart. Also produeed at Prague
Arnold). 1777; Eszterhaza Summer 1781 (probably Ri-
Revived: ghini's opera); Brunswiek 1782; Hanover 1783
LONDON, LITTLE HM. II June 1782. or 1784.
LONDON, D.L. 16 June 1813 (for this unsuccessful Further Don Giovanni operas of this period are:
revival M. Kelly wrote some new airs). 11 Convitato di Pietra, anonymous text (2 aets),
LONDON, KINGSWAY 30 December 1922 (text re- musie by G. Callegari; Veniee, S. Cass. Carnival
written by C. Bax, musie arranged by F. 1777·
Austin. This revival had a nm of 324 nights). 11 Condtato di Pietra, text by G. B. Lorenzi
LONDON, CHELSEA PALACE 31 March 1923 (text (1 aet), musie by Tritto; Naples, Fior. Carnival
adapted by W. E. B. Henderson and R. B. Sal- 1783·
isbury, lyries by N. Slee, musie arranged by Albertini's opera, see 1783; Gazzaniga's and
H. Bath). Mozart's operas, see 1787.
Also revived New York, Cherry Lane Play- Il nuovo Convitato di Pietra, text by G. M. Foppa
house 10 Oetober 1925. (2 aets), musie by F. Gardi; Veniee, S. Sam. 5 Feb-
ruary 1787; also Bologna 1791; Milan, Teatro
STENBORG: Konung Gustaf privato de' due Muri Summer 1791 (performed
by amateurs); Corfu Carnival 1795; Milan, Can.
Adolphs Jagt Summer 1796.
25 June. Stockholm Il Convitato di Pietra, Lorenzi's text, musie by
Text by A. F. RisteIl (founded on C. CoIle's V. Fabrizi; Fano 1788; Leghorn 1789; Barcelona
eomedy La Partie de Chasse de Henri IV). Three 8 July 1790; Bologna Carnival 1791; Lueea
aets. Auturnn 1792; Lisbon 1796; Madrid 12 Novem-
The earliest attempt at Swedish historieal opera ber 1796, ete.
(comedie ..• blandad med sang). First given at Additional pasticci with similar tides were
Gothenburg 6 Deeember 1779. produeed at Rome, Valle Autumn 1789; Veniee.

357
1777 ANNALS OF OPEF.A 1777
S. Cass. Carnival 1792 (I act; text different from PRAGUE II April 1866 (in Czech, translated by J.
all others); ßastia, Corsica Spring 1797. Böhm) and 9 March 1898 (in German).
BASLE 3 December 1880 (for the first time in
S ART I: Medonte, Re di Epiro Switzerland ?).
8 September. Florence, P. NAPLES, S.C. II March 1890 (for the first time in

Text by G. de Gamerra. Three acts. Italy, translated by A. Zanardini).

Apart from Giulio Sabillo (see 1781) Sarti's most WIESBADEN 15 May 1902 (in German, revised by

important serious opera. Given all over Italy G. von Hülsen and J. Schlar).
(until the end of the century) and (in Italian) also BEzIERS 28 August 1904 (open-air performance).
at London 14 November 1782 (revived 8 De- LYONS 12 November 1904 (in French).
cember 1798); Trieste 26 March 1786 (revived LONDON, C.G. 6 July 1906 (in French; for the first
12 November 1796); Madrid 27 January 1787; time in England, apart from a concert selection
Vienna 9 February 1794. given at a Norwich Festival on 18 September
186o); revived c.G. I May 1928 (in Ger-
GLUCK: Armide* man).
NEW YORK 14 November 1910 (in French).
23 September. Paris, o.
MILAN, sc. 17 December 19II (new Italian trans-
Quinault' s text (first set to music by Lully, see
1686). Five acts. lation by A. Lega).
FALMOUTH 24 November 1936 (for first time iti
At the Paris Opera given until 1837 andrevived
there 12 April 1905 (392 performances up to English, translated by M. and E. Radford);
19 13). Given at Versailles 14 June 1784. also Glasgow 14 April 1939.
Parodies: L'Opera de Province, by P. A. A. de FLORENCE 14 May 1941 (in German).

Piis, P.Y.Barre, J.P.D.Despres and L.P.P.

Resnier, Paris, C.I. 17 December 1777 (revived MONSIGNY: Felix,ouL'Enfanttrouve
18 October 1780); Madame Terrible, by P. L. Mo-
!ine, Meaux 6 September 1778. Early productions 10 November. Fontainebleau
after Paris: Text by J. M. Sedaine. Three acts.
COPENHAGEN I May 1779 (in concert form; parts Monsigny's last opera; like Rossini, Monsigny
only). lived on for more than 39 years without writing
HANOVER 18 January 1782 (in Italian). another work for the stage.
CASSEL 4 April 1783 (in French). Paris, c.I. 24 November 1777; given at the
STOCKHOLM 24 January 1787 (in Swedish, trans- O.c. until 1825. Revived at the Opera Populaire
lated by A. F. RisteIl, with a prologue by G. J. 22 December 1847 (re-scored by Adam).
Vogler, text by C. G. af Leopold, and with In French also, Liege 12 November 1782; Cas-
ballet music by J. M. Kraus). sei 16 June 1784; Arnsterdam and Hague 1784;
BERLIN 20 May 1805 (in German, translated by Cologne -1796-97; Beme I January 1807; Mos-
J. von Voss; given there until 1889). cow 4June 1810.
VIENNA, W. 9 January 1808 and Kä. 3 April 1808 In German (translated by J. Andre), Mann-
(in German). heim 6 April 1783; Ber!in 5 January 1784 (re-
BRUSSELS 23 December 1823 (in French); revived vived 2 November 1801, with additions by B. A.
7 November 1905. Weber); Vienna, Kä. 16 October 1785; Riga 14
Some revivals: May 1790.
DRESDEN 5 March 1843 (Wagner conducting). There are printed Dutch versions, anonymous
CARLSRUHE May 1853 (in German, recitatives by 1784, and by P. Pijpers, 1790. A Danish version
Jos. Strauss, translation revised by E. Devrient). by R. Frankenau was published in 1808.

359
 ANNALS OF OPERA

PICCINNI: Roland
27 January. Paris, O.
G. BENDA: Der Holzhauer oder Quinault's text (first set to music by Lully, see
Die drei Wünsche 1685), altered and reduced to three acts by J. F.
Marmontel.
2 January. Gotha
Piccinni's first French opera; in Paris given
Text: a German version, by F. W. Gotter, of until 1793.
Guichard's and Castet's Le Bacheron (see 1763). In French also, Copenhagen 1 May 1779 (in
One act. concert form, parts only); Cassel 1781 and I June
In German also, Hamburg 4 May 1778, etc.; 1784; Lilie 5 September 1781; Liege 4June 1782.
Bonn 13 December 1780; Berlin 20 April 1781; In Swedish (translated by A. F. RistelI, music
Munich September 1782; Riga 8 July 1785. adapted by L. S. Lalin), Stockholm 22 July 1781
An opera of this tide was given at Moscow on at Drottrungholm Palace and 10 December 1781
15 July 1787 (in Russian); as no composer is men- publicly.
tioned, it may have been Philidor's original. A German translation, by J. D. von ApelI, was
published at Göttingen in 1802.
Parodies: La Rage d'Amour, by L. F. A. Dor-
BERTONI: Quinto Fabio vigny, Paris, C.I. 19 March 1778; Romans, by
January. Milan, T. Interinale J. E. Despreaux, Marly 30 May 1778; Donner-
Text: an altered version of Zeno's Lucio Papirio
pamp (Swedish), by C. I. Hallman, music by C.
Stenborg and J. D. Zander, Stockholm 26 Jan-
Dittatore, 1719. Three acts.
uary 1783 and Gothenburg 17 December 1784.
Given on many Italian stages; Padua 12 June
1778; Venice, S.Ben. 25 November 1784; Rome,
Arg. 7 January 1786, etc.; also London 22 January J. E. HARTMANN: Balders DfJd
1780 and 7 March 1782; Trieste 22 February 7 February. Copenhagen
1785. Text by J. Evald (Heroisk Syngespil). Three acts.
Given at Copenhagen until 1832.
NAUMANN: Amphion German versions by F. Miinter and by C. H.
26January. Stockholm Reichei, published 1780 and 1782 respectively.
Produced in German, Regensburg 27 July 1788
Text by G. G. Adlerbeth (from a French libretto (by Schikaneder's troupe, in the open air !).
by A. L. Thomas). Prologue and I act. English version by G. Borrow published 1889.
Naumann's first Swcdish opera; a German There occur in Balders Dod, a hundred years
vocal score in 3 acts was published in 1784; in before Wagner, ensembles of the Valkyries.
German (translated by J. L. Neumann), produced
at Schwedt 22 August 1785. A number of private
and concert performances in Germany between UMLA UFF: Die Bergknappen
1785 and 1798 are recorded in Engländer's bio- 17 February. Vienna, B.
graphy ofNaumann; the opera was last given in Text by P. Weidmann. One act.
concert form at Leipzig 12 March 1812. Opening opera of the newly-founded German
Parts of the music of A/Ilphioll were used in the Natiollalsingspiel at the Burgtheater. There had
English pantomime, The Picture of Paris (text by been a private performance for the Emperor
R. Merry and C. Bonnor), produced London, Joseph II on 16 January. Also given at Hamburg
c.G. 20 December 1790 (the rest of the score by 1780; Regensburg 1781; Mannheim 4 July 1784;
W. Shield). Riga Auturnn 1785; Prague 1791.

36 2
 ANNALS OF OPERA

An anonymotlS Polish translation was pub- wissellschaft, v, p.2 SI) rcvivcd at Dresden as late
lished at Warsaw in 1779. as 16 May 1804 (in German, as AII/atlda, die II/äch-
The score of Die Bergkllappen was published in ((~e Fee, oder: Zauberc}' iilJfr Zauberer).
191 I (in the D. T.Ö. series, edited by R. Haas).
For a contemporary account of the fmt season of SACCHINI: L'AI/lorc Soldato
the Nationalsingspiel, sec]. H. F. Miilkr, AINhicd 5 Mal" London, Bm.
VOll der ... Schal/vii/lIle (IH02), p.253. Text by A. Andrei (alteret! from an earlier lib-
retto by N. Tassi, originally callcd L'AI1IOY (ra
J. SCHUSTER: Der AlchYl/list J'Amli and first set by G. M. Rutini in 176M).
March. Dresden Threc acts.
Text by A. G. Meissncr (also set by Andre, In Italian also, Paris, O. 8July 1779; Eszterlüza
Berlin 11 April 1778 and revived there S Novem- 1779; Florence May 17HI.
ber 1787). One act.
Schuster's most successful work: Hamb:lrg 27 GAZZANIGA: La Vcndcmmia
January 1779; Mannheim 23 March 1779; Vicnna, 15 lv.fa}'. Florence, P.
Jos. 20 April 1779 (Andre or Schuster?) and Kä.
Text by G. llertati (partl)' foundcd on an earlicr
17 April 1786 (Schuster); Riga 19 November
libretto of the same title by Goldoni). Two aets.
1782, etc. Originally givcn earlicr in the same year, Jan-
Revived at Dresden 14 Ocrober 1796; 16 March
uary 177M, as an intermezzo, I1 Marchese di Verde
1798; and May 1933 (revised by R. Engländer).
Alltic(1, at the T. CarL, Rome, with music by
Gazzaniga and Piticchio.
J. C. BA C H: La Clemenza di Scipione*
One of Gazzaniga's most sucecssf111 works; in
4 April. London, Hm. Ital)' given l1ntil r}~04.
Librettist unknov-m. Three aets. In Italian also, Trieste 26 Deccmber 1778;
According to the review in the Public Adverriser, Eszterhaza Spring J 780; Prague 1780; Bruns-
"Thc Poctry is said to be the production of a wiek 1782; Dresden 1783; Warsaw 7 September
Foreign Minister residing at our Court; a Person 178S; London 9 May 17891; Paris, Th. Fe)'deau
of Taste and Learning who softens the Cares of 1 June 1791 (with additional music by Cherubini
Neo-ociation
b '"
b\" sa~rificing
......,
in sccret to the and Mengozzi); Madrid 1792; Barcelona 13 Sep-
Muses". tember 1792; Lisbon 24 June 1794. Revivcd
Bach's last Italian opera. Rcvived London 28 Milan, Sc. 4 November 1796 and Autumn 1804.
March I80S (Elizabeth Billington's benefit). In German, Cassel 23 October 1790; Ha:lOver
(First produetion 1778, not 177S, as wrongl)' 4 Februar)' 1791 and perhaps Prague 1791 (anon-
statcd by Pohl, Schwarz, and others.) ymollS opera, Die Wcilzlese pcrformed in that
year).
TRAETTA: Il Cavaliere errmzte*
Sprillg. Venice, S. Moisc GR Er R Y: Le Jugemellt de Midas
Text by G. Bertati (Dralll/lla eroiwlI/iw). Two acts. 27 JII/le. Paris, c.I.
Traetta's last prcscrved opera. Successful in Text by T. d'Hl'le. Threc aets.
Italy: Florence, P. 20 April 1778; Parma 26 Dc- In French also, Liege 28 May 1779; Hague
cember 1779; Turin, T. Carignano 178S (as Stordi- 1779; Cassc1 1779; Vienna 1780; Parma, atComte
latlO, Pril/cipc di Gral/ata); Padua, 22 JulI' 1786, etc.
1 At the London production of La Ve",[cIIJlnia, the
In Italian also, Vienna 1779; Paris, O. S August
duet (Collnt-SlIsanna) C",del perche!lIJora from Mozart's
1779; Dresden 1780; Eszterhaza Summer 1782
Le Nozze di Figaro was sung by Benucci and Anna
(as I1 Car'alicre crral/tc /Zell' Isola i/Zcalltata). Ac- Storacc; probably the first piece of any Mozart opera
cording to A. Schatz (Vierteljahrsschrift fiir M/lsik- ",hich was hcard on the London stage.
 ANNALS OF OPERA

de Flavigny's Carnival 1784; Hamburg 1795; poser. This was the first opera Michael Kelly
New Orleans 11 June 1808. heard at Naples; see his Reminiscellces, I, p.44,
In German (translated by C. G. Neefe), Bann where he speIls the name of the "German" com-
21 February 1781; Riga 19 May 1783; (translated poser" Metzlevisic".
by C. F. von Bonin :md J. Andre), Berlin 9 July
17BI. There are two more German versions, by S ART I: I Contrattempi
J. N. Rothmann (publishcd 1781) and by B. C.
d'Arien. Not'el1lbcr. Venice, s. Sam.
Thc opera was revived at Paris, Pe ti te Scene Text by N. Porta. Three acts.
1 K May 1924; Amsterdam Conservatoire Jan- Succcssful in Italy; Florence Spring 1781;
uary 1938. Monza Autumn 1781; Turin, T. Carignano
Autumn 178r; given at Novara Carnival 1782,
KAMIENSKI: Nedza Uszczdliwiona Padua Autumn 1786 and Vice!1za 26 December
(Misery Made Happy) 1786 as Gli Eqr,dvoci svelati.
11 Jllly. Warsaw In Itahan, also, Dresden IO January 1782;
Text by W. Boguslawski (from a "cantata" by Vienna 26 April 1784.
F. Bohomolec). Two acts. In German, Pressburg 1788; Budapest 9 June
The first Polish opera. Music (consisting of I I 1789·
airs and 2 duets) extant. Date (differently given
in most books) according to 1. Bernacki. GRETRY: Lesfausses Apparences OU
L' Amant jaloux*
ASPELMA YR: Die Kinder der Natur
20 NotJember. Versailles
15July. Vienna, B.
Text by T. d'Hele, versification by F. Levasseur.
Text (according to Goedeke, v, P.P3) by 1. A. Three acts.
Hoffmann (founded on C. C. de Marivaux's
Paris, c.I. 23 December 1778.
comedy, La Dispute, 1747). Two acts.
In French also, Hague 1779; Liege 27 Novem-
Aspelmayr was the second German composer
ber 1779; Vienna Summer 1780; Cassel 1780;
represented in the repertory of the Vienna Natio-
Parma CarnivaI 1781; Smolna 5 July I781; Brus-
nalsingspiel (after Umlau/f, see above).
sels 18 May 1795; Hamburg 1795; St. Petersburg
28 September 1795.
S AllE R I: Europa riconosciuta
In German: Vienna B. 12 October 1780 (trans-
3 Arlgtlst. Milan, Sc. lated by G. Stephanie); Berlin 17 December 1781
Text by M. Verazi. Two acts. (translated by J. Andre and C. F. von Bonin);
Written for the inauguration of the new Bann 10 February 1782; Münster 10 August
"Teatro aHa Scala" (its predecessor, the Teatro 1782; Mannheim 8 September 1782 (translated
Regio-Ducal, inaugurated 26 December 1717 by F. W. Gatter, music adapted by C. G. Neefe);
with Gasparini's Costantino, having burnt down Hamburg 6 February 1783 (translated by B. C.
on 25 February 1776). Gluck had been invitcd to d'Arien); Carlsruhe 28 December 1785.
write the opening opera, but had refused. In Pohsh (translated by 1. PierozYllski) , Warsaw
7 Scptembre 1787.
MYSLIVECZEK: Olimpiade In Danish (translated by J. H. WesseI), Co-
4 November. Naples, s.c. penhagen 23 November 1787.
Metastasio's text (first set to music by Caldara in In Swedish (translated by C. EnvaIlsson),
1733). Three acts. Stockholm 26 March 1790.
Regarded as the chief work of the Czech co m- Dutch version by A. K. published 1797.
 ANNALS OF OPERA 1778
Gn:try's opera was revived at Paris, O.c. 18 Bretzner) and 9 January 1787 (in a new translation
September 1850; and, lately, at Liege 16 May as Das Narrenhaus); Schleswig 1786; Pressburg
1930 and at the Conservatoire, Geneva 16 April January 1787; Berlin 13 February 1787, ete.
1931. In Russian, St. Petersburg 26 June 1789;
Moseow 5 September 1797 (revived 2 February
BORTNYANSKY: Quinto Fabio 1809).
26 December. Modena, T. di Corte In Spanish (translated by L. F. Comella),
Madrid 12 November 1797.
Text: the same version of Zeno's Lf4cio Papirio,
whieh Bertoni had set to musie earlier in 1778 CIMAROSA: L' Italiana in Londra*
(see above). Three aets.
28 Dccelllber. Rome, Valle
Bortnyansky's seeond and last Italian opera.
He afterwards wrote two Freneh operas-comiques Text (according to Gazzetta Toscalla, I January
1780) by G. Petrosellini. Two acts.
(librettos by De La Fermiere) for the Russian
Cimarosa's twelfth opera and his first great
court, viz. Le Faucon (Gachina 22 Oetober 1786)
and Le Fils rival ou La moderne StrafOllice (Pavlovsk suecess. Turin, T. Carignano Autumn 1779; Flo-
rence Carnival 1780; Novara Carnival 1780;
22 Oetober 1787), the scores of whieh are extant.
Parma Summer 1780; Milan, Sc. 10 July 1780
and all over Italy.
SALIERI: La Scola de'Gelosi In Italian also produced at: Pillnitz 20 Septem-
27 Deccmber. Veniee, S. Moise ber 1780 and Dresden 4 Oetober 1780; Gorizia
Text by C. Mazzola. Two aets. 1781; Graz Camival 1781; Prague 1781; Warsaw
Sueeessful in Italy; Bologna November 1779 14 May 1781 and Cracow 7 February 1788;
and Autumn 1780 (as L'Amorc in contrasto); Flo- Trieste 27 September 1781; Ghent September
renee April 1780 and January 1787; Turin, T. 1782; Lugano 28 September 1782 (first opera
Carignano Autumn 1780; Maeerata Camival ever given there, announced as by Paisiello);
1781; Modena, T. di Corte 13 June 1781; Veniee, Aachen 7 November 1782; Barcelona 8 May
S. Sam. Camival 1783, ete.; given at Naples, 1783; Madrid 19 January 1785; Lisbon Carnival
T.N. Camival 1785 in a new version (text altered 1788; Cadiz 1792; Vienna 5 May 1783; Versailles
by G. Bonito, additional musie by F. Cipolla). July 1787; Paris, Th. de M. 9 September 1790
Revived Milan, Sc. 15 November 1798. (with additions by Cherubini and Mingozzi;
In Italian also, given at: Trieste 26 Deeember revived 17 October 1801). London 15 January
1779; Eszterhaza Summer 1780 (with one addi- 1788 (as La Locandicra, the scene changed from
tional air by Haydn); Warsaw 20 January 1781; London to Amsterdam); St. Petersburg 1797.
Dresden 17 February 178 I; Brunswiek c.Summer In German (translated by C. F. Pleissner):
1782; Frankfort Februar)' 1783; Vienna 22 April Bonn 25 May 1783; Frankfort 13 September
1783; Prague 1783; London TI March 1786; 1783; Nurcmberg 3I August 1784; Salzburg 19
Cracow 16 April 1789; Madrid I March 1791; Septembcr 17R4; Riga 18 May 1785 (as Nantcilen
Paris 20 May 1791; Lisbon Spring 1795. oder Das dClltsc!Ic M!idc!Icll in Londoll); etc. New
In Polish (translated by W. Boguslawski), Genllan version by J. C. Bock: Pressbl1rg 21 Au-
Warsaw 2SJanuary 1783; Craeow 27 JunI.' 1790; gust 1786; Weimar 7 Oetober 1786; Cologne
Wilna 2 Decembcr 1798. 5 November 17~6; Hanovcr 7 May 1787; Ham-
In GWllan (translated by L. Zcllllmark), Rig:i burg 3 July 1789, etc. Never given at Berlin.
19 September 1783; Vicnna, Neustift Th. 4 De- In Polish (transbted by W. Boguslawski),
ce mb er 1783 ;md Kä. 19 November 1784; Buda- Warsaw 16 January 1783; Wilna 3 January 1799.
pest Summer 1784 (first opera eva given there); In Danish (translated by L. Knudsen), Co-
Hamburg 23 Novcmber 1785 (transbted by C. F. pcnhagcn 14 Oetobcr 1786.
1778-79 ANNALS OF OPERA 1779
In French (as Livia, ou L'ltalienne a LonJres, maginari. Not to be confounded with /1 Socrate
adapted by Pigeon de Saint-Paterne), Paris, Th. immaginario (see 1775) which is a different work.
Montansier 13 April 1790; (translated by Neu- Apart from /1 Barbiere Ji Siviglia (see 1782), the
ville), Amsterdam December 1792. most important opera Paisiello wrote for the
In Swedish (translated by C. Envallsson), Stock- Russian Court.
holm 13 November 1795. (The date of the first performance is given by
In Russian, St. Petersburg 4 June 1810. the Empress Catherine II in a letter dated 5/16
The opera was revived. at Geneva (seventh February 1779. Schatz-Sonneck and other sources
Festival of the I.S.C.M.) 8 April 1929 (reduced give 18 February 1779.)
I-act version by A. Lualdi). In Italian also produced at WOarsaw 30 April
1781; Moscow 25 April 1782; Venice, S. Sam.
Autumn 1782; Ghent May 1783; Vienna 8 Oe-
I779 tober 1783; Naples, Fior. 1784; Eszterhaza 1784;
Melnik, KoldUl1, Obmanshchik i Svat Salzburg 1785; Barcelona 16 June 1785; Paris,
Th. de M. 24 March 1789; Lisbon 1790; Dresden
MeJIbHHK, ROJIJJ;YH, 06MaHIIJ:HK H CBaT
December 1793; Trieste Spring 1796; Milan, Sc.
31 January. Moscow
5 November 1798.
Text by A. O. Ablesimov. Three acts. In German (translated by G. Stephanie), Vien-
(The title means MiIler, WizarJ, Deceiver, anJ na, B. 22 May 1781; Frankfort 30 October.1781;
Marriage-Broker.) Hamburg 29 January 1782; Berlin n March
Frequently misattributed to Fomin. Ablesimov 1783; Munich 29 July 1783; Salzburg Autumn
indicated in thr libretto various popular melodies 1783; Trieste July 1784 (first opera ever sung in
to be used in the work and these were harmonised German there); Cologne Autumn 1784; Carls-
for the performance at Moscow by an otherwise ruhe 5 October 1784; Riga 10 November 1784;
unknown violinist named Sokolovsky. Additions Budapest 13 May 1786; Hanover 27 April 1787;
were made from time to time and it is possible Pforzheim 1 June 1787; Prague 1787; Pyrmont
that Fomin was responsible for the overture and 8July 1790; Cassel 13 November 1790; Pressburg
a few new numbers added at St. Petersburg. 8 September 1792; Bremen 28 October 1792;
First given at St. Petersburg 14 February 1781. Osnabrück 4 March 1793; Warsaw 17 September
Very popular cornic opera, frequently revived in 1793; Craeow September 1796 (as Der verjüngte
Russia during the 19th century: Vocal score re- Greis, aceording to Journal des Luxus und der Mo-
printed in 1894 (misattributed to Fomin). den); Agram 22 January 1799; Berne Spring
Revived in Paris, Petite Scene 14 June 1929 (in
18°4·
French, translated by o. Choumansky, G. Al- In Danish (translated by L. Knudsen), Copen-
phaud, and X. de Courville, musie revised by hagen 21 December 1784.
Cherepnin). In French (translated by P. U. Dubuisson),
Paris, Th. Beaujolais 15 January 1789.
PAISIELLO: Cli Astrologi immaginari* In Polish (translated by W. Boguslawski),
14 February. St. Petersburg Warsaw 18 April 1790.
Text by G. Bertati (founded on Marmontel's tale In Hungarian (translated by A. Szerelernhegyi),
Le Connoisseur), originally in 3 acts and ealled Budapest 27 September 1793; Clausenburg 14
1 Visiollari (first eomposed by Astaritta, Venice September 1806.
Autumn 1772; Dresden 3 September 1774; Lis- In Russian, Moscow 26 February 1794; St. Pe-
bon Carnival 1775). Two aets. tersburg 19 September 1796.
Very successful all over Europe. Sometimes The latest recorded productions were at Vienna
given under the original title, or as 1 Filosofi im- 6 April 1802; Berlin 12 December 1806; Milan

370
1779 ANNALS OF OPERA 1779

Spring 1807; Parma Summer 1807; Padua Au- music by F. J. Prot, Paris, c.1. 26 June 1779; also
tumn 1808; Venice Il J une 1809; Stuttgart 2 I Casscl 1782; Toulouse 1784; Liege 7 January
June 1809; Moscow IX September 1819 (in Ger- 1789; Brussels 22 August 1798; Stockholm 25
man); Lucerne [8[9 (in German, by students). February 1800 (in Swedish, translated by c. En-
vallsson); Moscow 24 Oetober 1807 (in Freneh).
SEYDELMANN: Arsene Revived Ghent 19 February 1822; Paris, Varictcs
3 March. Dresden 6 December 1822. (Favart used for Lcs Rel'er.ies an
Text by A. G. Meissner (translated from Favart's earlier piece of his, written in eollaboration with
French libretto, see 1773). Four acts. C. H. F. de Voisenon, ealled La petite 1phigellic
The best work of the Saxon composer. Date and produced in Paris, c.r. 21 July 1757 :lS :l
of first performance according to Schatz; R. parody of c. Guymond de Latouche's tr:lgedy
Cahn-Speyer gives Leipzig 15 April 1779 and 1phi,~ellie
en Tauride); (2) Les bons Amis ou 11 erait
Dresden 26 November 1781. Also givcn at Co- Temps, by L. F. A. Dorvigny, Varictcs-Amll-
logne 1785-86. santes 2 July 1779 (no music); (3) 1phise aux Bou-
levards (anonymous), Th. des Eleves August 1779.
HA YDN: La vera Costanza* Early productions of Gluck's opera were at:
April. Eszterhaza VIENNA, B. 23 Oetober 1781 (in German, trans-
Puttini's text (first set to music by Anfossi, see lated by J. von Alxinger) and 14 Deeembcr
1776). Three aets. 1783 (in Italian, translated by L. da Ponte);
Haydn's settiag was originall y wrinen for the also at Prince Auersperg's, February 1786.•
Vienna Hoftheater, but it was never produced LlLLE 3 March 1782.
there. Ir became fairly popular in a German ver- STOCKIlOLM 5 May 1783 (in Swedish, translated
sion by F. X. Girzik: Der flatterhafte Liebhaber oder by A. F. Risrcll).
Der Sieg der Bcständ(~kcit, given at Pressburg 30 RHEINSBERG 9 May 1783 (in French).
January 1786; Budapest 7 July 1789; Vienna, Th. CASSEL 26 Mareh 1784 (in French).
a.d.Landstrasse 13 April 1790; Brünn 1.4 Jalll13ry COPENHAGEN 6 February 1785 (concert perform-
1792. nunce, in French).
In a French version by P. U. Dubuisson, as BERLIN 21 February 1788 (in concert form, in
LaI/rette, given at Paris, Th.d.M. 2 I JlllllJry 1791. French) anJ 24 Febrmry 1795 (on the stage,
Probably translated from this Frcnch version it new German version by J. D. Sander).
was then performed as Laurette at Cologne in July MAYENCE 24 May 1790 (in German).
1796 (in German). FRANKFORT 27 Jllly 1790 (in German).
According to O. Chayanova (sec also Der Frci- MANNHEIM IR Janllary I79[ (in German).
müthige, I, P.I(9) an opera ofthis title (which may Hf\MBURG 22 December 1793 (the first aet only,
luve been Haydn's) was performed in Russian at in coneert form); on the stage, eomplete, :! I
Moscow in 1802. June 18 [1.
HANOVER 7 February 1794 (in German).
G L U C K: Iphigenie en Tauride* BREMEN 18 Deeember 1794 (in German).
18 May. Paris, O. LONDON 7 April 1796 (in Italian, Da Ponte's ver-

Text by N. F. Guillard .. Four aets. sion).

Very sueeessful in France; given at the Opera WE[MAR 27 Decembcr 1800 (in German, trans-
408 times until 1829; revived Th.L. 26 Novem- bted by C. .A. Vlllpius).
ber 1868; Ren. 7 December 1899; O.c. IR June IlRUNSW[CK 1802 (in Frcneh).
1900; 20 April 19[4; and 18 April 1931. STUTTGART I Oetober 1805 (in Germall).
Parodies: (I) Lcs Reveries renouvelees des Cras, MUN[CH :! 1 Oetober I ,~oR (in Gerl1l:ln).
by C. S. Favart and J. N. Guerin de Frcmieourt, BRESLAU 22 March 1810 (in German).

371 372
1779 ANNALS OF OPERA 1779
DANZIG 3 I March 1XII (in Germ:m). Suce::ssful in Germany: Hambl!rg 16 Decem-
BUDAPEST 15 September 1814 (in Gcrman). 1779, etc.; also Salzburg 24 September 1780;
AMSTERDAM 1821 (in German). Warsaw 18 September 1781; Dresden 5 Decem-
Later productions: ber 17SI; Riga 19 August 1783; Vienna, Leop.
LOI-IDON, PRII-ICE'S 9 Jul~' 1H40 (in German) and 9 June 1783; ßreslau 22 April 1785; Berlin 4June
H.M's 8 MlY IS66 (in 1~.llian, tramlated by S. 17 8 5 (German version by J. Andre); Schwedt
de Castrone, Marchese della R;~ata; in English 6 February 1786; carlsruhe 14 March 1786;
much bter, see bclow). Prague 5 September 1790; Budapest I I Septem-
PRAGUE 10 Februar)' 11':43 (in (;erman) and 6June ber 1791.
1890 (in Czech, tr:mslated by V. J. Novotny). Revived Vienna, Kä. 3 I January 1785 and W.
COPENHAGEN 20 October 18.p (in Danish, trans- 27 April 1795; ßerlin 26 July 1825.
Iated by A. Hertz).
MANCHESTER II January 1860 (at a Halle concert, CIMAROSA: L' bifedeltafedele
for the first time in English, translated by H. F. 20 July. Naples, Fondo
Chorley). Text by G. ß. Lorenzi. Three acts.
BASLE r 5 March 1877 (in German, for the first Written for the inauguration of the new "Real
time in Switzerland?). Teatro dcl Fondo di Separazione", Naples. Ac-
BRUSSELS 25 February 1883 (in concert form). cording to the preface, Lorenzi tried to create a
BARCELONA 15 April 1900 (in Italian). new genre half-way between opera seria and
WEIMAR 9 June 1900 in new orchestration by opera bUff..l.
Richard Strauss. Outside Italy only given at Dresden 5 Oetober
ORANGE 12 August 1900 (open air performance 1782.
at the Roman Theatre).
ALGIERS March 1901 (in French). DA SIL VA: La Galatea
HAGUE Janu,:try 1902 (in French). 21 AI~~IISt. Lisbon, Th. di Qucluz
LONDON, H.M's 18 February 1910 (in English, by T cxt by P. Metastasio (written in 1722; first com-
R.C.M.). poser unknown). Two aets.
NEW YORK, M. 25 November 1916 (in German; Da Silva's setting was written for the cclebra-
for the first time in Ameriea). tion of the birthday of "Don Giuseppe, Principe
VICENZA 28 August 1922 (at the T. Olim pico, for dcl ßrazilc" (son of Maria I, Queen ofPortugal).
the first time in Italy). Thc score of this early opera by a Portuguese
BASLE 5 September 1929 (in a German version, by composer is extant.
G. ßundi).
FALMOUTH 16 February 1933 (in English, trans- G. BEN DA: Pygmalion
lated by M. and E. Radford). 20 September. Gotha
LONDON, CENTURY TH. 3 February 1934 (same Text: a German version, by an unknown trans-
version). lator (Gotter?), of Rousseau's S((\ne lyriqlle (see
CHRISTIANSUND c.December 1934 (in Norwegian). 1770). One aet.
MILAN, SC. II March 1937 (in Italian). The vocal score of Benda's setting was pub-
BUENOS AIRES 24 September 1937 (in German). lished in 1780.
Also produced at Bonn 24 February 1780;
UMLAUFF: Die puecefarbnen Schuhe Mannheim 28 January 1783; Weimar 29 January
oder Die schöne Scllusterimz 1791; Pressburg March 1794 (Benda's?); Berlin
22June. Vienna, B. 25 November 1797; Leipzig 2June 1799; Breslau
Text: a German version, by G. S'tephanie, of 2July 1799; Vienna, Kä. I2June 1801, etc. Given
Ferrieres's French libretto (see 1776). Two acts. at Berlin until 1835.

373 374
1779 ANNALS OF OPERA 1779
In Russian, Moscow 24 February 1794. vember 1786) and by F. A. von Mitscha (Vienna,
In French, Poznan 17 February 1806. B. 26 April 1781).
Revived in Czech, Bmo 1935.
Previously to Benda, two other German com- P. G UGLIELMI: La Villanella
posers had tried their hands at a new setting of ingentilita
Rousseau's Pygmalion. First Aspelmayr, whose
version in a German translation by J. G. von
8 November. Naples, Fior.
Laudes was pcrformed at Vienna 19 February Text by S. Zini. Three acts.
1772 (and perhaps even earlier with thc original After 12 years (see La Sposafedele, 1767) in the
French text); probably at Prague I October 1772; course of which Gllglielmi wrote no less than 25
and, according to G. Becker, also on so me Italian unsuccessflll works, this was the first opera of a
stages. Secondly Schweitzer, whosesctting (trans- more fortunate period lasting until 1790.
lator probably J. F. Schrnidt) was first performed Given at Florence, P. Spring 1782 as 1 due Fra-
at Weimar 13 May 1772 and sllbsequently at telli sciocchi; new 2-act version Milan, Sc. 9 Au-
Leipzig 3 November 1774 and Gotha 15 Novem- gust 1783 (1 Fratelli Pappamosca); revived Naples
ber 1774. The music of both Aspe1mayr's and Autumn 1784; Rome, T. Pallacorda Camival
Schweitzer's versions scems to be lost. 1790 (as La Villanella incivilita).
Outside !taly: Lisbon Camival 1786; Mar-
seilles Autumn 1789. Probably identical with an
GL U C K : Echo et Narcisse
opera La Villanella fortrmata, which was produced
24 Septell/ber. Paris, O. by a travelling company at Breslau 6 January
Text by L. T. de Tschlldy. Three acts. 1792; Lübeck 8 July 1792; Gothenburg 23 April
Gluck's last opera. Unsuccessful; after a few 1793; Stockholm I October 1793; and Christia-
performances in 1779 and 1780, revivcd in Paris nia 20 May 1794.
only on 25 March 1806 in a reduced 2-act ver-
sion by A. L. Beallnier, mllsic arranged by H. M. GR ET R Y: Les Evenements imprevus
Berton (10 performances lmtil 1814). Given at
11 NovcmlJcr. Versailles
LilIe 17 March I 78.!.
Revived in the .!oth century by the Elizabeth Text by T. d'Hele. Three acts.
Duncan School at Darmstadt 11 October 1913 Paris, c.I. 13 November 1779 and, with altera-
(revised by E. Duncan and M. Merz); and sub- tions, 12 October 1780.
seqllently on some other German stages and at In French also, Cassel 178 I; Liege 3I Decem-
Zurich 27 October 1913 (German version by T. ber 1781; Amsterdam 12 April 1791.
Rehbaum). In German (as Die ullvertilflthctm Zufaclle,
Revived in Frellch privately, at Malmaison 4 translated by G. Stephanie), Vienna, B. I Sep-
July 1926 (under F. Rallge1). tember 1781; Frankfort 2 January 1783; (as Un-
l'erhojJt kommt oft, translated by J. Andre), Berlin
K 0 S POT H:Adrast und Isidore, 17 April 1782; Hamburg 6 December 1782;
Mannheim 29 June 1783; Bonn 23 July 1783, etc.
oder Die Serenate In Danish (translated by L. Knudsen), Copen-
16 Oeto!,CT. Berlin hagen 2 January 1784.
Text by C. F. Dretzner (founded on Molicrc's In Swedish (translated by c. Stenborg), Stock-
Lc Silicien). Two acts. holm 27 October 1800.
Given in Berlin llntil 1802; Schwedt 7 January An English adaptation by G. Colman, addi-
1785; Dreslall 23 July 1790. Bretzncr's text was tional music by M. Kelly and W. Hawes, Gay
also composed by F. Preu (Dresden 22 February Deceivers; or More Laugh than Love, was given in
1779; Hamburg 23 August 1779; Budapest 6 No- London, Litde Hm. 22 August 1804 (revived 10

375
1779 ANNALS OF OPERA 1779-80
May 1828) and in New York on 5 November GRETRY: Aucassin et Nicolette, OU
1819· An English translation ofthe original, Un- Les Moeurs du bon vieux Temps
foreseen Events. was published in T. Holcroft's
30 December. Versailles
Theatrical Recorder, U (1806).
Text by J. M. Sedaine (founded on the French
13th century story). Four acts.
HA YDN: L' Isola disabitata* Paris, c.I. 3 January 1780 and repeated there
6 December. Eszterhaza 7 January 1782 in a reduced 3-act version with
Metastasio's text (first set to music by Bonno in some new music.
1754). Two parts. In French also, Liege 25 February 1783; Cassel
In Italian also, Vienna 19 March 1785 (in con- 27 August 1784; Geneva 22 June 1785; Cologne
cert form); Berlin 1786. 179<>-97; Beme 3 October 1801.
In German, perhaps Pressburg 24 April 1780 In German (translated by J. Andre), Hamburg
(Haydn's setting? The anonymous performance 17 September 1787; Berlin 3 August 1791. There
is recorded in A. Heppner's book on the Press- was another German translation by C. G. Neefe,
burg stage; considering the place and the year it 1785·
seems not unlikely that it was Haydn's opera. A
German translation of Metastasio's text, by A. 1780
G. Meissner, had been published in 1778 and
might have been used). CA R USO: L' Albergatrice vivace
Revived Vienna 29 May 1909 (in German, re- Carnival. Venice, S. Sam.
duced to one act, scoring revised); Washington, Librettist unknown. Two acts.
Library of Congress 9 March 1936 (in Italian) ; The most successful of Caruso's more than 50
Florence, P. 21 May 1938 (in Italian). Vocal score operas. Given on many ltalian stages (Milan,
published 1938. Sc. 25July 1781, etc.) and at Warsaw 24January
1781; Dresden 1782; London 16 December 1783
J. C. BACH: Amadis de Gaule (with additions by other composers); Hanover
14 December. Paris, O. 1783 or 1784; Potsdam 20 September 1785.
Quinault's text (first set to music by Lully, see
1684), reduced to three acts by A. M. D. de SALIERI: La Dama Pastorella
Vismes. January. Rome. Valle
Bach's last (unsuccessful) opera, the only one Text by G. Petrosellini. Two acts.
he wrote for Paris. "Les Gluckistes ont trouves This opera became more popular 10 years later
qu'il n'avait ni l'originalite de Gluck, ni ses su- when Da Ponte revised the libretto for Vienna.
blimes elans; les Piccinistes, que son chant n' avait Produced there under the new tide La Cifra I I
ni le charme, ni la variete de la melodie de December 1789.
Piccini" (Grimm, Co"esp. litt. x, P.236). In ltalian also given at Dresden 1790; Milan,
Sc. 16 October 1790; Barcelona 30 May 1791;
Warsaw 2. March 1793; Lisbon Spring 1796;
MYSLIVECZEK: Armida
London 10 March 1798.
26 December., Milan, S.C. In German (as Der Aufschluss or as Die Ent-
Text: an ltalian version, by G. A. Migliavacca, zifferung, translated by H. G. Schmieder), Han-
of Quinault's Armide (first set to music by Lully, over 5 June 1792; Mannheim 24 JW!e 1793
see 1686). Three acts. (translated by H. Beck); Hamburg 7 October
Mysliveczek's last opera. 1793; Vienna 19 December 1805; Frankfort 1

377
 ANNALS OF OPERA 1780

June 1807; (as Das Kästchen mit der ChiJfer, trans- PAISIELLO: Lafinta Amante
lated by C. A. Vulpius), Berlin 25 February 4June. Mogilev
1793; (as Das entdeckte Geheimnis, translated by
Librettist unknown. Two acts.
K. L. Gieseke), Vienna, W. 8 April 1795.
The opera was written for a meeting of
In Spanish (translated by L. F. Comella),
Catherine II and Joseph II which took place at
Madrid 8 July 1799. Mogilev, on the Dnieper,White Russia, on 4 June.
SCHWElTZER: Rosamund The opera was probably produced on that night.
In Italian also given at: Moscow 24 May 1782;
20 Jalluary. Mannheim
Vienna, Laxenburg Palace 20 June 1784 and B.
Text by C. M. Wieland. Three acts.
7 July 1784; Cracow 3 April 1788; Naples, Fior.
Schweitzer's last work. The opera was ready
August 1788 and S.c. 13 August 1788 (revived
to be performed on I I January 1778 when the
Fondo Auturnn 1825); Palermo 1793; St. Peters-
sudden death of the Bavarian Elector, Maximilian
burg 19 September 1799; Paris 19 May 1804.
Joseph, on 30 December 1777, and the departure
In Russian (translated by Z. Krizhanovsky),
of his successor, Carl Theodor, to Munich
St. Petersburg 1784; Moscow 15 April 1787.
frustrated the production. Two years later the
In German (translated by J. Andre) perhaps
interest in the new development of German
Carlsruhe 22 March 1786 (see L. Schiedermair,
national opera raised by Alceste and Günther von
Die Oper an den Badischen Höfen, P.533); Mann-
Schwarzburg had somewhat diminished; Rosa-
heim 8 April 1788; Baden 1789; Frankfort 14
mund was given at Mannheim four times only
September 1793.
and did not reach any other stage.
GRETRY: Andromaque
J. E. HARTMANN: Fiskerne 6June. Paris, O.
31 January. Copenhagen Text by L. G. Pitra (founded on Racine's trage-
Text by J. Evald. Three acts. dy). Three acts.
Very successful at Copenhagen; given there Gretry'sfirst trageJie-Iyrique (unsuccessful). Ac-
until 1814 and revived 3! January 1880 (in con- cording to Grimm, a parody on Andromaque, by
cert form, by the Cäciliaföreningen). J. B. Henri Gourgault Dugazon, was performed
In this opera occurs the Danish National An- at Mlle Guimard' s private theatre in August 1780.
them Kong Christian. In Swedish (translated by A. F. Ristell, J. H.
There are printed German versions of the Kellgren, and A. N. Edelcrantz), Drottning-
libretto by C. F. Cramer (1780) and C. F. Sander holm Palace 22 July 1785 and Stockholm 3 No-
(1786); Swedish translation by G. E. Lundgren vember 1785.
published 1875. BEECKE: Claudine von Villa Bella
PICCINNI: Atys 13June. Vienna, B.
22 February. Paris, O.
The first of the numerous settings of Goethe's
Schauspiel mit Gesang (1776). Three acts.
Quinault's text (first set to music by Lully, see
Frankfort 3 February 1784; Bonn 10 February
1676), altered and reduced to 3 acts by J. F.
1784, etc.
Marmontel.
Given in Paris 64 times until 1792. CIMAROSA: 11 Falegname
In French also, Copenhagen 1795 (parts, in Summer. Naples, Fior.
coneert form); St. Petersburg 1798. Text by G. Palomba. Three acts.
In Swedish (translated by A. F. Ristell), Stock- Milan, Sc. II August 1781; Florence Carnival
holm I November 1784 (music adapted by L. 1782; Mantua Spring 1782; Bologna October
S. Lalin). 1782; Venice, S. Moise Auturnn 1784; Turin, T.

379 380
 ANNALS OF OPERA
Carignano Autumn 1785, etc. (Given at Treviso, Wrinen for the inauguration of the new
Zara, and Udine, Summer 1789 as L'Artista; in theatre at Eszterhaza. In German (as Die belohnte
Italy until 1803, mostly in a reduced 2-act version). Treue; translator unknown), Vienna 18 Decem-
In Italian also: Prague 1782; Graz Carnival ber 1784; Pressburg 3 June 1785; Budapest 5 June
1783; Vienna 25 July 1783 (revived with altera- 1789; Graz I I October 1792.
tions 15 July 1789); Brunswick 1784; Dresden
1787; Charlottenburg July 1789; Warsaw 31 AN F 0 S SI: I Viaggiatori Jelici
December 1792; Madrid 12 November 1793. Oc/ober. Venice, S. Sam.
NEEFE: Adelheit Vorl Veltheim Text by F. Livigni. Two acts.
One of Anfossi's most successful comic operas.
23 September. Frankfort
Given on many Italian stages: Florence, P. 17
Text by G. F. W. Grossmann. Four acts.
April 1781; Turin, T. Carignano Autumn 1781;
The most successful work of Neefe who was
Bologna Autunm 1781; Milan, Sc. Carnival
BeetllOven's first teacher at Bann. Given at Bonn
1784 and Autumn 1787, etc. In Italian also at
I I October 1780; Pyrmont 19 July 1781; Cassel
Trieste 23 May I7SI; Prague Dccember 1781;
20 August 1781; Vienna, B. 3I August 1781 (by
Dresden 2r November 1781; London II Decem-
a company of children); Bcrlin 2 July 1782;
ber I78r (revived 28 May 1785 and I March
Münster 8 July 1782; Bremen 17 December
1803); Brunswick 1782; Hanover 1782; Vienna
1783; Breslau 2 December 1784, etc. (in Ger-
29 Deccmber 1783; Corfu Autumn 1784;
many given until about 1800).
Madrid 1787; Paris, Th. de M. 30 June 1790 (three
In German also, Trieste 17 June 1787 (with
additional airs by Cherubini) ; Warsaw 18 Sep-
music?); Schlcswig 1789.
tember 1790; Lisbon Spring 1794.
One of the earliest German operas on a Turk-
In German (translated by F. X. Girzik), Press-
ish subject and in that respect the immediate fore-
burg 27 May 1785 and Budapest 16 October
runner of Mozart's ErztJührung (see 1782).
1789; (translated by K. 1. Gieseke), Graz 1788;
K 0 S POT H: Der Irrwisch oder (translated by C. F. D. Schubart), Stuttgart 1
Endlich fand er sie September 1789.
Oetober. Berlin
2

Text by C. F. Bretzner. Three acts. FL 0 Q U E T: Le Seigneur bienfaisant

One of the favourite German Singspiel lib- 14 Deeember. Paris, O.
rettos of that time; there are settings by Holly, Text by M. A. J. Rochon de Chabannes. Three
Preu, Mühle, Dieter, all e.I780; see also umlauff's acts, called Le Pressoir ou Les Fetes de {'Automne;
setting, 1782. L'[necndie; and Le Bai; a prologue or first act Le
Kospoth's opera was given in Berlin until 1796. Retour du Seigneur dans ses Terrcs was added for
In German also, Bremen 26 August 1784; Riga a revival on 23 December 1782. Given at Bor-
Autumn 1785; Schwedt 30 September 1785; deaux 1794 as Le General bienfaisant.
Hanover 27 December 1787. Floquet's most successful work and of some
historical interest as an attempt to introduce a
HA Y D N: La Fedelta premiata*
bourgeois subject into the heroic repertory of
15 Oetober. Eszterhaza 1 ehe Paris Opera.
Text: an altered version ofG. B. Lorenzi'sL'[n-
Jedelta fedele (see 1779). Three acts. J ACKSON: The Lord ofthe Manor
1 H. Robbins Landon' s recent authoritative researches 27 Deeember. London, D.L.
showed that although the opera was announced for
production on this date, the first performance did not, Text by J. Burgoyne (founded on Marmontel's
in fact, take place until25 February I7SI. H.R. Silvain, see 1770). Three acts.
1780-81 ANNALS OF OPERA

Successflll on English stages. First given at Forli Spring 1783; Modena I January 1784;
Dublin 23 March 1781; Edinburgh 24 July 1781. Reggio 1784; Perugia Carnival 1784; Naples,
Libretto also pu blishcd Philadelphia I 790 and 179 I . S.C. 13 August 1786, etc.
Given in New York 2 February 1818 and 27 In Italian also given at: Esterhaza, Brunswick
December 1826; revived in London, c.G. 24 Oc- and Barcelona in 1783; Hanover January 1784;
tober 1812 (with additional music by J. C. Doyle, Warsaw 15 March 1785; Vienna, Kä. 4 August
Bishop, Welsh, Reeve and Davy); D.L. 20 De- 1785 (revived 14 September 1805 with additional
cember 1820; Ly. 12 November 1834; and Strand music by Weigl, Salieri and Gyrowetz); Trieste
21 November 1853. 1 March 1788; London 5 April 1788; Madrid
(Burgoyne's preface contains interesting ideas 16 December 1797; Lisbon 13 May 1798; Berlin
on the development and possibilities of English 3 January 1803 (as Eppollilla, with additions by
opera.) GÜrrlich).
In German (translated by J. N. Schueller),
17 81 Pressburg 2 January 1786 and Budapest 26 No-
vember 1792; another German translation, by N.
CI M AR 0 S A: Il Pittor Parigino
A. Heiden, was published at Nl1remberg in 1781
4 jatlllary. Rome, Valle (performed ?).
Text by G. Petrosellini. Two acts. The opera contains a famous fl1neral march
Originally in two acts; a later, 3-act version, which has been compared to the one in Beet-
11 Barolle burlato was first given at Narles Winter hoven's Eroica.
1784 (text altered by G. Bonito, additional mu-
sic by F. Cipolla. KAMIENSKI: Zoska czyli
Very successful in Italy; Bologna Autumn Wiejskie Zaloty
1781; Parma Carnival 1782; Turin Spring 1782;
(Sophia, or Country Courtship )
Milan, Sc. 10 August 1782; Venice, S. Sam. Au-
tumn 1783, etc. In Italy until 1808. 21jafluary. Warsaw
In Italian also given at Prague and Dresden Text by S. Szymanski. One act.
1782; Leipzig Summer 1782; Barcelona 20 April Popular Polish ballad-opera, Kamienski's most
1783; London 25 January 1785 (text altered by successf111 work; given 76 times until 1859 (but
A. Andrei); Vienna 18 May 1785 (revived 24 not "consecutively". Riemann's Musiklexikoll
May 1792, "die Musik verbessert und vermehrt", and many other books of reference repeat a slip
probably the 1784 version); Warsaw 25 Novem- in L. von Trockj's pamphlet, Die Elltlllickhmg der
ber 1785; Corfu Camival 1787; Eszterhaza 1789; Oper ill PoleIl, 1867, p.24; see ibid., p.I1). Text
Antwerp 30 August 1804; Paris I August 1805. printed 1784. Music extant.
In German (as Der Maler VOll Paris, translated The year of the first performance was 1779
by F. X. Girzik), Pressburg 28 July 1786; Han- according to Dmuszewski-Karasowski; 1780 ac-
over 4 July 1788; Budapest 8 August 1792; (as cording to A. Zalewski's Kroflika (1807).21 Jan-
Der Onkel aus Al1lsterdam, translated by G. C. uary 1781 is the date of the first recorded per-
Claudius), Ocls 13 May 1797. formance (advertisement). Givcn at Cracow on
17 October 1790.
SARTI: Giulio Sabino
ja'lIIary. Venice, S. Ben. PICCINNI: Iphigenie en Tauride
Text by P. Giovannini. Three acts. 23 ja/lliary. Paris, O.
The most sllccessful of Sarti' s serious operas. Text by A. Du Congc Dubreuil. Four acts.
Florence, P. Autumn 1781; Pisa Spring 1782; The opera seems to luve been commissioned
Imola Summer 1782; Bologna September 1782; by the management of the Opera at the same
 ANNALS OF OPERA

time as Gluck's Iphigenie en Tauride (see 1779), In Mozart's lifetime, the opera was, after
taking advantage of the struggle between Munich, only given once more; (private) perform-
Gluckistes and Piccinnistes. According to La- ance at Prince Auersperg's, Vienna, in March
jarte, "le pauvre Piccinni a ete encore une fois 1786. The duet K.489 and the rondo K.490 were
dupe des intrigues et du mauvais vouloir de added for that occasion. A private performance,
l'administration". Still, his opera was performed in Italian, presumably in concert form, took place
more than 30 times (revived 17 June 1785 and at Budapest in 1803; see Bibliographia Hungariae,
6 November 1790). Vol. II, p.201.
In French also given at Copenhagen 25 Feh- Next, Idomeneo was produced in German on a
ruary I787 (in concert form); in concert form few stages in the beginning of the 19th century:
also St. Petrrsburg 29 December 1791. Parts of Cassel I January 1802 (translated by J. D. von
it were revived at Paris, O. on 26 March 1916. Apell); Nuremberg 1803; Hamburg 31 March
1804 (in concert form); Vienna 13 May 1806
CHAMPEIN: La Melomanie (translated by G. F. Treitschke); Berlin 3 August
23 January. Paris, c.I. 1806; Frankfort 4 November 1807; Stuttgart 14
Text by Grenier and Duveyrier. One act. November 1810; Leipzig 181l (in concert form);
Champein's best work, given at the O.c. Bucharest 1818; Königsberg 12 December 1821;
until 1829. Riga 1825 (in concert form).
In French also, Liege 27 November 1783; On many important stages the opera was pro-
Hague 27 March 1784; Rouen 29 March 1784; duced about the rniddle of the 19th century:
Cassel25 September 1784; Marseilles 3I October Weimar 16 February 1840; Munich 12 January
1787 (at the inauguration of the Grand-Theatre); 1845 (translated by L. Lenz; announced as first
Aachen 10 August 1794; Hamburg 1795; Charles- performance at Munieh!); new German trans-
ton, S.C. 16June 1795; St. Petersburg 31 August lation by K. F. Niese: Dresden 15 January 1854;
1795; Baltimore 14 March 1796; Philadelphia 30 Berlin 15 October 1855; Mannheim 27 January
December 1796; Cologne 1796-97; Moscow 8 1861; Leipzig 3 February 1869; Darmstadt 22
February 1809; Berne 23 April 1810. October 1871; Cassel28 November 1877.
In German (translated by H. G. Schrnieder), New arrangement by J. N. Fuchs: Vienna 25
Frankfort 5 August 1785; (translated by C. G. October 1879; Hamburg 17 January 1880; Rot-
Neefe), Hanover 7 September 1790; Hamburg terdam 4 December I 880; Prague 17 October 1887·
1799; (translated by C. A. Herklots), Berlin I The opera was revived in a new arrangement
June 1813· by E. Lewicki at Carlsruhe 4 April 1917 and
In Dutch, Amsterdam 1786 (revived Hague Dresden 4 March 1925.
1814); in Flernish, Oudenarde 1795. Many revivals took place in 1931, celebrating
In Danish (translated by A. G. Thoroup), Co- the 150th anniversary of the first performance.
penhagen 15 February 1791. It was given in new arrangements by A. Rother
In Swedish (translated by C. Envallsson), at Dessau 19 February 1931; by Richard Strauss
Stockholm 15 December 1796. and L. Wallerstein at Vienna 16 April 193 I ;
A Russian version of the libretto by A. V. Zurich Spring 1932; Berlin 11 November 1932,
Khrapovitsky was set by Martin y Soler: etc.; by W. Meckbach, Brunswick 31 May 193 1 ;
produced St. Petersburg 18 January 1790. and by E. Wolf-Ferrari and E. L. Stahl at Munich
15 June 1931.
MOZART: Idomeneo* The Italian original was revived at the Mozart
29 January. Munich Festival, Basle 13 May 1931.
Text by G. B. Varesco (founded on Danchet's Idomeneo was very seldom given outside the
French libretto, see 1712). Three acts. German speaking countries. Parts of the music
 ANNALS OF OPERA

were used in a French pasticcio, Louis XII ou L:J SALIERI: Der Rauchfangkehrer
Route de Reims by J. F. S. Maizony de Laureal 30 April. Vienna, B.
and J. H. Vemoy de Saint~Georges, music from
Text by L. von Auenbrugger. (Sub-title: Die
Idomeneo, Tito, etc., arranged by P. Cremont and
unentbehrlichen Verräther ihrer Herrschaften aus
A. Vergne, produced at Paris, Odeon 7 June 1825
Eigennutz.) Three acts.
(A l'occasion du Sacre de Sa Majeste Charles x) and
Salieri's contribution to the "National-Sing-
in an English pasticcio The Casket by M. R. Lacy,
spiel"; the first of his two German operas. Also
produced in London, D.L. 10 March 1829.
given at Frankfort 14 November 1782; Berlin
In Paris, parts of Idomeneo were heard at the 12 August 1783 (adapted); Prague Summer
Conservatoire in February 1846; the whole opera 1783; Salzburg Autumn 1783; Mannheim 10
at a Schola Cantorum concert 27 November
April 1785; Riga Oetober 1785; Carlsruhe 2
1902 and, recently, in Italian, Conservatoire 21
May 1786; Hanover 29 May 1787; Budapest 14
February 1931 and Th. des Champ~Elysees 28 July 1787; Pressburg 1788; Munich September
Oetober 1933 (by the Societe des Etudes Mozar- 1788, etc.
tiennes). ReVlved Vienna, Leop. 9 October 1786 (with
The third aet was staged at the Th. des Arts, original title) and Th.a.d. Landstrasse, 10 May
12 December 1912 (in French, translated by L. 1790, as Die listigen Kaminfeger oder Die bestraften
Laloy). Spröden.
Recent productions :
PRAGUE 5 December 193 I (in Czech, translated ANDRE: Belmont und Constanze oder
by J. Fiala). Die Entführung aus dem Serail
BRUSSELS 25 January 1932 (the Strauss-Waller- 25 May. Berlin
stein version in French, translated by P. Text by C. F. Bretzner (according to W. Prei-
Spaak). bisch founded on G. Martinelli's ltalian libretto,
GLASGOW 12 March 1934 (in English, translated La Schiava liberata, performed with music by
by M. and E. Radford). Jommelli at Ludwigsburg 18 .December 1768,
LONDON, TWENTIETH CENTURY TH. 12 March 1938 with music by Schuster at Dresden 2 October
(in English, M. and E. Radford's version). 1777; according to E. J. Dent founded on the
English pasticcio, The Captive, text by I. Bicker-
CAMBRIDGE 2 May 1939 (in English, M. and E.
staffe, performed London, Hm. 21 June 1769).
Radford's version).
Three acts.
The opera does not seem to have been pro- Bretzner's text was written for Andre. When
duced in America. 1 Nor was it ever given Stephanie and Mozart used his libretto in 1782,
in ltaly, although P. Lichtenthal made an arrange- Bretzner published his notorious protest in the
ment for ltalian stages as early as 1843 (see A.M. Berliner Litteratur und Theater-Zeitung ("Ein ge-
Z., Vol. XLV, p.809). wisser Mensch namens Mozart ...").
NAUMANN: Elisa Andres setting was also given at Munich 16
November 1781; Leipzig 1781; Hamburg 13
21 April. Dresden
June 1782; Carlsruhe 16 Oetober 1784; Schwedt
Text by C. Mazzola. Two acts. 14 January 1785.
In ltalian also given at Prague 1788; at Dresden
until 1790. ZINGARELLI: Montezuma
In Danish (translated by L. Knudsen), Copen- 13 August. Naples, S.C.
hagen 30 January 1795. Text by V. A. Cigna-Santi (first composed by
1 American and Italian productions in 1947. Majo in 1765). Three acts.

388
 ANNALS OF OPERA

Zingarelli's first opera. There is no record of a In Polish (translated by W. Boguslawski),

later production at Vienna (as claimed by all Warsaw 30 Oetober 1791.
writers on Zingarelli) when the opera "was high- Said to have been sung in Czeeh, by Italian
ly praised by Haydn"; but there possibly was singers, at Prague 1795.
one at Eszterhaza in 1786. In German, Bremen December 1803 (as Das
Dienstmädchen als Gebieterin; see note on the Ger-
PAISIELLO: La Serva Padrona* man produetions of Pergolesi's Serva Padrona,
1733).
10 September. St. Petersburg Revivals: Milan 27 Oetober 1826; London,
G. A. Federico's text (first set to music by Pergo- H.M.'s 21 June 1858 (in coneert form) and 5 July
lesi, see 1733). Two parts. 1858 (on the stage); New York 13 November
Paisiello's setting was written in order to 1858; Philadelphia 29 January 1859; Dublin 10
celebrate the name-day of the Grand Duke March 1860; Paris 25 December 1868; Padua, T.
Alexander of Russia, and produced at the Ermi- Coneordi Spring 1871; Naples 26 May 1878 (by
tage. the Soeieta Filarmoniea); and lately, Rome, T.
"Per non avere qui ne poeta ne libri sono stato Eleonora Duse 10 June 1927 and Cairo 1936.
costretto di mettere in musica la Serva padrona
fatta tanti anni fa del fu Pergolesi, come lei sa; e ALESSANDRI: 11 Vecchiogeloso
ando in scena il di trenta dello seorso eon un
Autl4nm. Milan, Sc.
sueeesso mirabile, per il quale S.M.I. l'Impera-
Text (aeeording to U. Rolandi) by G. Bertati
triee ha fatto un presente alli due attori: eioe alla
(partly founded on Molicre's L'Ecole des Maris).
donna ehe ha fatto la parte di Serpina eceellente-
Two aets.
mente le ha donato un fiore da testa di brillanti,
The most sueeessful of Alessandri's comie
all uomo ehe ha fatto la parte di Uberto (ehe eon
operas; given at Padua 1782 and Leghorn 1784
difficoldl si puo far meglio) gli ha donato un
as Il Marito geloso.
anello di brillanti, e a me una seatola eon un
In Italian also, Trieste Carnival 1783; Fiume
contorno di brillanti" (letter by Paisiello to F.
1783; Vienna 7 May 1784; Prague 1784.
Galiani, published by S. Panareo in 1910).
In German (translated by F. X. Girzik), Press-
In Italian also given at Moseow 26 June 1782;
burg 26 July 1785; Linz 5 June 1786; Budapest
Warsaw 9 January 1785'; Vienna 26 March
19 July 1789; Brünn 12 July 1792.
1786 (privately, at Prinee Auersperg's) and Kä.
18 June 1794; Madrid 25 September 1786; Bo-
logna Autumn 1786; LilIe 6 November 1786; CIMAROSA: Giannina e Bernadone
Craeow 9 November 1788; Paris, Th. de M. 12 No I'cmbcr. Veniee, S. Sam.
March 1789 (revived Th. I. 21 November 1801); Text by F. Livigni. Two aets.
Lisbon 1790; Prague 1791 (aeeording to O. Very sueeessful in Italy and abroad; Varese
Kamper by "Passetto"); Trieste 6 August 1793; Autumn 1782; Leghorn Carnival 1783; Novara
London 29 May 1794; Sehwerin 1794; Breslau Spring 1783; Turin Autumn 1783; Bologna
7 November 1799; Lyons 18 July 1805· Spring 1784; Siena Summer 1784; Palermo
In Freneh St. Petersburg 7 November 1782. 1784; Parma Carnival 1785; Naples, T.N. Spring
In Russian (translated by Prinee A. I. Golint- 1785, ete.; given at Veniee, S. Angelo Carnival
sin), St. Petersburg 31 July 1789; Moseow 1789 1786; redueed to an intermezzo as 11 Villallo
(revived 12 September 1817). gelaso. First given at Milan, Sc. 24 June 1790.
In Italian also produeed at Prague Autumn
1 An earlier performance on 18 May 1781, as record-
ed by 1. Bernacki, Teatr, Dramat i .Wllzyka za Slallis[awa 1783; Trieste January 1784; Vienna 24 Septem-
AI/gusla, Vol. II, p.300, must have been Pergolesi's opera. ber 1784; Dresden 4 January 1785; Warsaw 6

390
 ANNALS OF OPERA

Januar)' 1785; Barcelona 25 August 17!i6; Drott- In Italian also, Trieste Carnival 1783; Dresden
ningholm 1786 and Stoekholm 20 February 17R7; 1783; Warsaw 27 January 1785; Marseilles Au-
Malta Carnival 1787; London 9 Januar)" 17 87; tumn 1790; Lisbon Autumn 1796; Paris, Th.I.
Versailles Summer I7X7; Madrid IR Oetober 3 June 1803·
1788; Marseilles I790;':Lisbon Spring 17<J1; St. In German (as Der Schmaus, translated by J. H.
Petersburg 1794; Paris, Th.I. 18 July 1XOI ; Corfu Burmann), Frankfort 2 October 1784; Mayence
Autumn IS24. 14 December 1785; Mannheim 27 April 1786;
In Polish (translated by L. Pieroz)'llski), Carlsruhe 28 October 1786; Salzburg 1787 (as
Warsaw 10 January 1787; Wilna 21 February Das Gastmahl); Hanover 13 November 1789;
1799· Bernc Spring 1804.
In Swedish (translated by C. Stenborg and C. (In London the opera was performed with ncw
Envallsson), Stockholm 15 Dccember 1796. musie by Bertoni, text altcred by A. Andrei, on
A German translation, Hallchcll Imd Bcmardoll, 2 November 1782.)
was published at Salzbnrg in 17S8.
Frequendy revived in Ital)': Florence, T. dcgli
Arrischiati 18 May 1870; Naples January 1882,
by the Societa Filarmoniea dei Nobili; 23 Sep-
tember 1882 at the T. Fior. and 14 December
G R ET R Y: La double Epreuve Oll
1895 at the T. Mercadante; Rome May 1905
(privatcly at Villa Torlonia); and latcly, Turin, Colinette ala Cour
T.R. 2 March 1932. 1 Ja/luary. Paris, O.
Text by J. B. Lourdet de Santerre (comedie-
ARNOLD: The Banditi; or lyriqll1'). Three acts.
Love's Labyrinth a
A new successflll version of Favart's Nillette
28 Not'cl1lber. London, C.G. la COllr (see 1755). Revived Paris 2 August 1791;
Text by J. O'Keeffe. Two acts. 24 January 1810; II5 performances until 1816.
Given at the same theatre one year later, 2 No- In Freneh also, ehent 29 March 1783; Casscl
vember 1782, in an enlarged 3-act version as Tlre 22 December 1783; Liege 14 February 1784;
Castle of A/ldalusia, which is the better known Geneva April 1785; last revived Paris, O. 24
tide of this suecessful comic opera (musie, as January 1810.
usual, pardy compilcd, pardy composed). Also In German (as Die doppelte Erkelllltlichkeit,
given at Dublin I I January 1782 (with additional translated by F. X. Huber, additional musie by
songs by F. Tendueci); Edinburgh I2July 1783; Süssmayr), Vienna 28 February 1796.
New York 21 April 1788; Philadelphia 5 No-
vember 1788, ete. Revived London, c.G. 15 May
UMLA UFf: Das Irrlicht oder
1807 (in 2 acts, as WIrich is tlre Master?); Hm. 26
July and c.G. I November 1817 (reduecd to 2 Endlich fand er sie
acts by J. Winston, additional musie by Bishop); 17 Jmlllary. Viclma, B.
again c.G. 20 June 1820. Bretzner's text (first published 1779 and already
set by Kospoth, see 1780, and by at least three
CIMAROSA: 11 Convito other composers, with alterations). Three acts.
27 December. Veniee, S. Sam. Umlauff's setting was also given at Mannheim
Text by F. Livigni. Two acts. 5 February 1786; Riga 25 May 17H6; Hamburg
Revived Milan, Se. 4 November 1796. In Autumn 1787; etc., and revived at Vielma, W.
Ital y given until after I Hoo. 2 April 1796; Poznan 31 Oetober 1803.

39 1 392
 ANNALS OF OPERA

W I N T ER: Helena und Paris MANNHEIM 18 April 1784.

5 February. Munich CARLSRUHE 16 October 1784.
COLOGNE 24 October 1784.
Text by C. J. Förg. Three acts.
SALZBURG 17 November 1784.
\Vinter's first greater success: given at Vienna
DRESDEN 12 January 1785.
20 November 1784; Carlsruhe 9 May 1785;
RIGA 1 March 1785.
Mannheim 5 December 1786; Pressburg 1788;
MUNICH 1 April 1785.
Budapest 2 October 1789; Frankfort 30 June
WEIMAR 4 April 1785.
1792; Berlin 6 February 1797, etc. In Italian,
AACHEN 24 April 1785.
Florence, P. Carnival 1784. In the preface to the
CASSEL 26 May 1785.
libretto Winter pays tribute to Holzbauer as one
PRESSBURG 13 June 1785.
of the first German composers to have achieved
AUGSBURG 19 August 1785.
glory "in dem erhabnen Fache von Theater-
NUREMBERG 25 August 1785.
musik".
MAYENCE 3 December 1785.

CI M A R 0 S A: La Ballerina amante ROSTOCK 5 July 1786.

ALTONA 17 July 1786.
Summer. Naples, Fior.
HANOVER 12 April 1787.
Text (according to the MS score at Naples) by
HAMBURG 18 June 1787.
C. A. Casini. Two acts.
BRESLAU 24 August 1787.
Milan, Sc. August 1783, etc. Given at Rovigo
CARLSRUHE 17 September 1787.
Auturnn 1789 as L' Amante ridicolo; in Italy until
COBLENZ 23 November 1787.
about 1804.
GRAZ 15 June 1788.
In Italian also, Malta Carnival 1784; Trieste
BERLIN 16 October 1788.
26 December 1784; Prague Spring 1785; Barce-
LÜBECK 7 January 1789; Bamberg 14 April 1789
lona 14 October 1785; Dresden and Eszterhaza
(in concert form).
1786; Madrid 24 October 1787; Lisbon 30 June
AMSTERDAM January 1791 (privately, according
1793 (inauguration of the Real Theatro de San
to H. C. Rogge, already 1789).
Carlos); St. Petersburg 23 January 1796.
BUDAPEST 19 June 1791; Hermannstadt and Te-
mesvar 1792, etc.
MO ZAR T: Die Entführung aus
STUTTGART I:) September 1795 (Stuttgart was the
dem Serail* last of the greater German stages, where the
16July. Vienna, B. Entführ/mg was given because Dieter's setting
Bretzner's text (first set to music by Andre, see of the same text, see 1784, barred its way).
1781), altered by G. Stephanie. Three acts. BERNE 1803; Basle 13 January 1809; Winterthur
Mozart' s first German opera ori a larger scale 21 August 1826.
and his first great success. There were 34 per- Translated into other languages the Entführung
formances at Vienna until4 February 1788 when was given at:
the "National-Singspiel" at the Burgtheater came WARSAW 25 November 1783 (in Polish, translator
to an end. unknown; in German earlier, see above).
The first productions in German outside AMSTERDAM 1797 (in Dutch, translated by G.
Vienna were at: Brender a Brandis; in German earlier, see
PRAGUE Auturnn 1782. above).
WARSAW 8 May 1783. PARIS 26 September 1798 (at the Lycee des Arts,
BONN 22 June 1783. French version by P. L. Moline); Th. de la
FRANKFORT 2 August 1783. Cite 16 November 1801 (in German, first
LEIPZIG 25 September 1783. opera ever sung there in that language; see

393 394
 ANNALS OF OPERA

note on Das S"IlIlClljcst der BralllitlclI, 1790); Th. Rochester, N.Y. I November 1926; New
L. 1I May I Xw (in French, tr:lIlslated by York, Guild Th. 4 April 1927.
Prosper-Pascal); O. 4 December 1903 (the BUDAPEST 21 March I RR2 (in Hungarian, trans-
Brusscls 1902 version, sec bdow, recitativcs by btor not mentionecl; in German much earlicr,
P. Vidal); Opera-Comique 18 February 1937. sec above); revived 15 March 1913 (new
MOSCOW R Fcbruary I X10 (in Russian, translated Hungarian version by S. Hevesi).
by S. Kuvichinsky) and St. Petersburg 30 De- ALEXANDRIA 6 February 1889 (in Greek, accord-
cember IRI6 (translated by A. I. Sheller); ing to reports in contemporary journals).
Moscow 29 June IR20 (in German); rcvived DUBLIN II July 1921 (in English; for the first
Leningrad 2S March 1925. time in Ircland).
COPENHAGEN 1 April J813 and Christiania 1832 ZAGREB 2 March 1922 (in Croatian).
(in Danish, translated by N. T. Bruun). RIGA 18 March 1924 (in Lettish; in German much
STOCKHOLM 21 September J 8 14 (in Swcdish, earlier, sec above).
translated by M. Alten). HELSINKI 5 February 1926 (in Finnish).

LONDON, C.G. 24 November 1827 (in English, as BUCHAREST December 1927 (in Rumanian).

The Scra.~lio, translated by W. Dimond, with BARCELONA 3 January 1928 (in German ; for the

additional airs by C. Kramer) ; D.L. 23 June first time in Spain).

J841 (in German); H.M.'s 30 June 1866 (in SOFIA 14 March 1928 (in Bulgarian).
Italian, translator not mcntioned; with recita- LJUBLJANA 20 November 1929 (in Slovenian.

tives by Arditi); c.G. 9 June 1881 (in Italian, translated by F. Bucar).

with rccitatives by Benedict); H.M.'s 20 June TEL-AVIV 2 May 1935 (in Hebrew, transbtcd by

1910 (in English, translated by J. Troutbeck Z. Israel).

and P. Greenbank). FLORENCE, P. 18 May 1935 (in Gcrman; for the

GHENT 14 June 1829 (in German) and 27 January first time in Italy).
1860 (in Frcnch); Brussels August 1829 (in BUENOS AIRES 23 August 1938 (in German).

German) and 15 February 1902 (in French,

translated by M. Kufferath and L. Solvay). HA Y D N: Orlatldo Paladillo*
PRAGUE 8 November 1829 (in Czech, translated
by J. Jungmann; in German much earlier, see Allgust. Eszterhaza
above). Text by N. Porta after Ariosto (an altered ver-
NEW YORK 16 February 1860 (by the Brooklyn sion of a libretto by C. F. Badini, called Le Panie
Operatic Circle, in Italian according to J. Matt- d'Orlalldo and performed with music by Guglicl-
feld who gives thc title as Be/Illollte alld COtlS- mi in London 23 February 178I. Porta altered
tallze; Odell gi ves the title as Il Seraglio and the text for Prague, where Guglielmi's opera was
does not mention the language. But since no produced as Orla/ldo Paladillo in 1775). Three acts.
Italian version of Die Elltfiilmlllg had been The most sllceessful of Haydn' s operas. Full
staged yct anywhere at that date and the con- list of performances: In the original Italian Dres-
ductor was Carl Anschütz and the singers den 2X November 1792. In German (as Rolalld
American or German, and as other procluc- der Pfalz'<.raJ, translated by F. X. Girzik): Prcss-
tions of thc "Operatic Circlc" included Der burg 22 May 1786; Praguc 1791; Brünn 26 Oe-
Frcisclllitz and Fidelio, both in German, it seems tober 1791; Vicllna, W. 9 Januar)' 1792; Buda-
much more likely that Die EntJiilmlllJ!, too, was pcst 21 May 1792; Mannheim 5 August 1792;
sung in German). 5ubsequently given at the Donaucschingcn 13 January 1793; Frankfort 22
German Opera House, New York 10 October Septembcr 1793; Cologne IX Novembcr 1793;
1862; Philadelphia 4 March 1863; in English: Graz 26 November 1793; Nurcmberg 14 Jan-
New York, Hotel Astor 8 January 1910; uar)' i 796 (as Der IPlltende Roland); Berlin 18

395
 ANNALS OF OPERA

April 1798; Hanover 28 June 1798; Bremen 4 Zingarelli, G. G. Ferrari and Viotti); (revived
October 1798; Oels 29 October 1799; Leipzig 6 January 1791 at the inauguration of the Th.
January I800; Munich 5 December I800; Augs- Feydcau; Th.I. 13 April 1802 and 2 August 1809
burg I802; Ballenstedt 3 October I802; Königs- as Le Nozze di Dorilla ossia I tre Pretendenti); Lis-
berg 2 December I803; Hamburg 22 March bon Autumn 1793.
1805; Breslau 20 December I805 (new transla- In German (as Well11 sich zwer streitetl, frellt
tion by J. G. Rhode); St. Petersburg c. Decem- sich der dritte, translated by 1. Zehnmark) Vienna,
ber I813 (in German). Revived Leipzig 3I March Fasan Th. IO May 1784 and Kä. 27 November
1932 (as Ritter Roland, revised by E. Latzko). 1784 and Leop. 17 January 1789; Cologne 2 Jan-
uary 1785 and 8 Oetober 1786; Pressburg 4 July
ANDRE: Der Liebhaber als Automat 1785; Mayenee 12 November 1785; Munieh 4
oder Die redende Maschine August I786; Sehwedt 3 November 1786; Stras-
11 September. Berlin bourg 14 July 1787; Salzburg 1787; Budapest
Text by the composer (founded on a French lib- 9 August 1787; Warsaw 23 Oetober I793; (as
retto by Cuinet Dorbeil, set to music by Rigel in Wer's Glück hat führt die Braut heim oder Im
1781). One act. Trübc/l ist gut fischen, translated by J. Andre; see
Andre's most successful Singspiel. Given in Ephcmeridcn . . :, 1785, P.I99) Hamburg 10 Feb-
Berlin until I796; also on many other German ruary 1785; Frankfort 12 May 1785; Mannheim
stages and Riga I790; Prague I791; Amsterdam 29 Deeember 1785; Carlsruhe 14 Oetober 1786;
1792; Vienna, W. 19 April 1793. Vienna, Kä. 14 September 1787; Hanover 14Jan-
uary 1788; Berlin 14 July 1788; Dresden July
S ART I: Fra due Litiganti il terzo gode* 1788; Riga 1790; Pyrmont 2 July 1790; Cassel
14 September. Milan, Sc. 25 August 1790; Amsterdam 1791; Innsbruck
Text: an altered version of C. Goldoni's Le 1793; Bremen 1803-04; Beme Spring 1804.
Nozze (first set to music by Galuppi, see I755). Another German version by P. Trautmann was
Three acts. used at Prague 1787.
Sarti's setting became very popular and will Revived Hamburg 3 April ISIl (with new
always be remembered bccause of Mozare' s quot- dialogue by J. F. Schink; see K. 1. Costenoble,
ing it in the last act of DOll Giova/llli. Tagebücher, Vol. H, p.I04; the undated libretto
Given at Venice, S. Moi~c: Autumn 1782 as in the Library of Congrcss, Schatz no. 9459, prob-
I Prctclldcllti delllsi; Naplcs, T. Fondo 10 Decem- ably belongs to this revival and not to the 1785
ber 1784 as Le Nozze di Darilla; Padua Carnival production); Berlin 5 March 1812.
1792 as I dlle Litigallti; Naples 1798 as Dorina In Polish (translated by 1. Pierozynski) War-
cOllfrastata (pasticcio). In Italian also produced at saw 1789.
Vienna 28 May 1783 (German translation in thc In French as H~lene ct Francisquc, translated by
libretto by Schönborn); Leipzig IO June 1783; P. U. Dubuisson, Paris, Th. Montansier 20 April
Prague 1783; Trieste 27 December 1783; Lon- 1790 and Th. National 25 September 1793.
don 6 January 1784 (as I Rivali delI/si) and 26 In Danish (translated by 1., Knudsen) Copen-
February 1793 (as Le Nozze di Dorilla, with addi- hagen 7 April 1795.
tional airs by Martin and Storace); Dresden 1784;
Barcelona 9 Deeember 1784; Warsaw 2 January
EDELMANN: Ariane dans l' Isle
1785; Stuttgart 1785; Graz Winter 1785; Fiume de Naxos
Carnival 1786 (as Fra tre Litiganti alCliIl 11011 gode); 24 September. Paris, O.
Regensburg 1786; Lilie 8 November 1786; Ber- Text by P. 1. Moline. One aet.
!in Autumn 1787; Madrid 5 June 1789; Paris, The best work of the Alsatian composer, who
Th.d.M. 14 September 1789 (with additions by was guillotined in 1794. Given at the Paris O.

H 397
 ANNALS OF OPERA

until 1825. In French also, New York 21 March March 1793; Brussels 8 November 1793; St.
1791 (see Sonneck, Early Opera in America, p.201); Petersburg 1797; NewOrleans 10 December 180S.
St. Petershurg 1793; Brussels 13 May 1796 (as In German (translated by J. N. Schueller), Press-
Ariane abandonnle). burg 14 October 178S; (translated by G. F. W.
In Russian, Moscow 2S February 1799. Grossmann) Mannheim 20 November 1785. etc.;
In German, St. Petersburg 1810. Berlin 30 August 1788 (given there until 1826);
Vienna, W. 2 August 1796.
PAISIELLO: 11 Barbiere di Siviglia In Spanish, Madrid 3 December 1787 (revived
12 August 1800).
ovvero La Precauzione inutile*
In Russian (translated by M. V. Popov), St.
26 September. St. Petersburg Petersburg 27 August 1790; Moscow 29 August
Text by G. Petrosellini (founded on Beaumar- 1797·
chais's comedy, 177S). Four acts. Anonymous Dutch translation published 1792.
W ritten 33 years before Rossini' s opera of the In Swedish (translated by J. D. Valerius),
same title, Paisiello's Barbiere was, in its time, not Stockholm 8 June 1797.
less successful and popular than its follower, and In Polish, Wilna 12 November 180S.
recent revivals show that the older setting has not Productions (in English) at Philadelphia, Char-
been completely obliterated even now. leston, S.C., and Baltimore in 1794 as c1aimed
The exact date of the first performance at the by H. E. Krehbiel, H. C. Lahee, and many other
Ermitage, not yet to be found in any book of writers are very doubtful.
reference, has been communicated by Paisiello Revivals: Paris, F.P. IS May 1868 and O.C.
himself in an (undated) letter, written probably 27 June 1889 (in French, new translation by V.
in the beginning of 1783 to F. Galiani, his former Wilder, re-orchestrated by T. C. Constantin).
collaborator in 11 Socrate immaginario (see S. Turin, T. Balbo September 187S; Venice, T.
Panareo, Paisiello in Russia, 1910, P.37). See for MalibranJanuary 1876 and 13 May 1903; Genoa,
further details Music and Letters, Vol. xx, NO.2 Politeama September 1878; Naples 23June 1879,
April 1939). etc. Berlin, Kroll's 19 April 1913 (in German,
In Italian also produced at Vienna 13 August revised by R. Falk). Antwerp December 1913
1783; Caserta 22 November 1783 (at the royal (in Flernish). Monte Carlo 31 March 1918 (in
palace); Trieste 26 December 178S; Milan, Sc. Italian); Milan, Scala 27 April 1939 (in Italian).
Autumn 1786; Venice, S. Sam. 28 January 1787;
Naples, Fior. 1787 (reduced to 3 acts and with NAUMANN: Cora och Alonzo
additions by Paisiello); etc. Given at Venice, S.
30 September. Stockholm
Moise 5 January 1800 in a reduced I-act version.
Prague Carnival 1784; Warsaw 2 October Text by G. G. Adlerbeth (founded on Marmon-
178S; Barcelona 3 August 1786; London I I June tel's novel, Les 1ncas). Three acts.
1789 (revived 26 January 1793; 5 June 1798; 9 The opera had been fmished in 1779 and in
June 1807); Paris, Th. de M. 22July 1789; Lisbon 1780 a German vocal score was published (trans-
Summer 1791 and 21 June 1799; Madrid 16 Jan- lated by J. L. Neumann). Previously to the Stock-
uary 1796; Mexico 4 December 1806 (first Italian holm production a concert performance had
opera ever given there). taken place at the Hotel de Pologne, Dresden
In French (translated by N. E. Framery, with 15 March 1780. At Stockholm the opera was
dialogue from Beaumarchais), versailles 14 Sep- given at the inauguration of the new opera-
tember 1784; Lilie 26 June 178S; Cassel 29 Au- house; it was frequently revived there until 1832,
gust 1785; Liege 31 January 1786; (in a new and once more, 30 September 1882, at the looth
French version by P. L. Moline) Paris, O.C. 16 anniversary of the inauguration.

399 400
178 2-73 ANNALS OF OPERA 1783
Successful also on German stages: Schwedt 25 CIMAROSA: Chi"dell'altrui si veste,
.
September 1786; Berlin 25 April 1787 (in con- presto si spoglia*
cert form); Hanover 4 June 1788; Pressburg 1788,
Carnival. Naples, Fior.
etc. To the list of German productions as given
by Engländer in his 1110nograph on Naumann Text by G. Palomba. Three acts.
may be added performances at Winterthur 18 Successful in Italy; Milan, Sc. Autumn 1784,
November 1789 (in concert form) and Aachen etc.
31 July 179I. In Italian also produced at Eszterhaza 1786;
In Danish (translated by T. Thaarup), Copen- Madrid 25 December 1787; Dresden 1789;
hagen 30 January 1788; previously given there Barcelona 9 December 1789; London 7 January
in concert form 1784. 1790 (as Ninetta, with additional music by F.
Giardini); Lisbon 1792; St. Petersburg 30 May
CARVALHO: Penelope l1ella Partenza 1798; Gachina 11 September 1798; Cagliari,
da Sparta* Sardinia Camival 1804.•
Revived at Rome, T. Valle Summer 1813
17 Deccl1lbcr. Lisbon, Real Camara
(reduced to 2 acts); Naples, T.N. April 1825 (as
(Italian) text by G. Martinelli. One aet and li-
Nina e Martuffo-, reduced to one act).
cenza.
Performed on the birthday of Queen Maria I.
One of the best works of the Portuguese com-
CIMAROSA: I due Baroni di Rocca
poser. Azzurra
SHIELD: Rosina* February. Rome, Valle
31 Dcccl1lba. London, c.G. Text by G. Palomba. Two acts.
Text by F. Brooke (founded on Favart's Les Successful in Italy; Milan, Sc. Spring 1786,
Moisso1zneurs, see 1768). Two acts. etc. Revived Modena 11 May 1802 as La Sposa
Popular ballad opera; Dublin 18 March 1783; in Contrasto.
Edinburgh 24 January 1784; Belfast 1784; Mon- In Italian also given at Eszterhaza 1787; Barce-
tego Bay, Jamaica 23 April 1785; New York 19 lona 27 June 1789; St. Petersburg C.1789 (?);
April 1786; Philadelphia 19 January 1787, etc. Vienna 6 September 1789; Dresden 1790; Lisbon
Revived in London lIlltil 1831, and again on 12 Carnival 1791; Warsaw I September 1792;
January 1923 by the Mayfair Dramatic Club at Corfu, Autumn 1793; Paris 14 July 1802 (with
the Guildhall School of Music. additions by Fioravanti); London 1Janmry 1803.
For the Vienna production Mozart wrote the
aria K.578 (A111Ia grande e nobil Core).
17 8 3
BERNARDINI: Il Conte di Bell'Umore ALBER TINI: Don Juan, alba
Carnival. Rome, Pallacorda Ukarany Libertyn
Text by the composer. Two acts. 23 February. Warsaw
Bemardini's most successful comic opera. Text by W. Boguslawski (translated from an
Given all over Italy; at Varese Autumn 1792 as Italian libretto) 1. Three acts.
11 Conte brillante, with additional music by Carlo Polish Don Giovanni opera, four years before
Uboldi; in Italian also given at Leipzig Summer Mozart; suecessful in Poland, given at Warsaw
1783; Barcelona 4 September 1783; Prague Au-
1 Perhaps the anonymous text 11 Convitato di Pietra,
tumn 1783; Lisbon Carnival 1785 and Spring
composed by Righini (see 1777), it being the only three-
1791; Graz Spring 1785; Trieste Summer 1791; act version on record. I was unable to see a copy of
Madrid 6 May 1795. Boguslawski's libretto.

401 402
 ANNALS OF OPERA

until about 1812. Libretto published 1783; parts Bay, Jamaica 9 April 1785; New York 2 Decem-
of the music are preserved. ber 1785 (18 times within six months); Phila-
In Italian, perhaps Florence, P. 9 April 1792 delphia 22 January 1787; Calcutta I May 1789.
(see note on Mozart's Don Giovanni, co1.454). In English also, Hamburg 9 March 1795 (where
a short-lived English theatre, under the manage-
DEZEDE: Blaise et Babet Oll ment of one Williamson from Edinburgh, exist-
La Suite des trois Fermiers ed in that year). Revived in London, C.G. 20
September 1809 and D.L. 19 February 1816. A
4 April. Versailles
sequel to The poor Soldier by the same authors
Text by J. M. Boutet de Monvel (a sequel to his
(Patrick in Prussia; or, Love in a Camp) was pro-
Les trois Fermiers, see 1777). Two acts.
duced in London, c.G. 17 February 1786 (re-
Paris, c.I. 30 June 1783; given at the O.c.
vived D.L. 15 February 1814); both Edinburgh
until 1827.
and New York 9 April 1787; Philadelphia 5 July
In French also, Stockholm 1784; Cassel23 Oc-
1787, etc.
tober 1784; Liege 23 November 1784; St. Peters-
The music consists of Irish airs, selected by
burg, Ermitage 22 January 1792; Charleston, S.c.
O'Keeffe; overture, accompaniments and addi-
23 july 1794; Brussels 9 March 1795; Hamburg
tional airs by Shield. The original version does
5 June i795; Cologne 1795-96; Baltimore
not seem to have been preserved (although, ac-
March 1796; Philadelphia 7 January 1797; Port
cording to the play-bill, at least the words of the
Louis, Mauritius 19 July 1797 (first opera ever
songs were printed).
given there); Hanover 28 December 1803.
The music of The poor Soldier was published
In German (as Blaise und Babet), Carlsruhe 14
probably in 1783 (1782 according to the British
April 1787; (as T~ffel und Dortehen, translated by
Museum Catalogue, which seems unlikely).
H. von Mayer), Mannheim 10 August 1788;
Date of first performance of The Shamrock,
Hamburg 13 October 1788, etc.; Amsterdam
7 April 1783 (not May 7 as stated by W. J. Law-
1790; Berlin 9 September 1797. Last revived
rence in The Musical Antiquary, Vol. IV, P.185).
Hamburg 16 January 1814.
In Dutch (translated by H. J. Roullaud), Am- SC HUB A UR: Die DorJdeputierten
sterdam 1788 (revived Hague 1808).
8 May. Munich
In Danish (translated by J. H. Wessel), Copen-
G. E. Heermann's text (first set to music by E. W.
hagen 18 May 1790.
Wolf, see 1772). Three acts.
In Swedish (translated by C. J. Lindegren),
The only Singspiel of Schubaur the score of
Stockholm 29 November 1797.
which is still extant. Very successful on German
In Russian, Moscow 1804.
stages; given until 1815; Mannheim 19 Novem-
Italian translation by G. Piazza published 180!.
ber 1783, etc.; Salzburg 17 April 1785; Riga 23
August 1785; Budapest 26 March 1787; Press-
SHIELD: The Shamrock; or,
burg 1788; Amsterdam 1791; Berlin 23 Septem-
The Anniversary of St. Patrick ber 1796; Basle 3 March 1809.
7 April. London, c.G.
Text by J. O'Keeffe. A pastoral Romance. Two P. GUGLIELMI: La Quakera spiritosa
acts. Summer. Naples, Fior.
Revived at the same theatre some months later Text by G. Palomba. Three acts.
(4 November 1783) in an altered version as The Reduced to 2 acts: Milan, Sc. August 1785.
poor Soldier, which proved a great success. Very In Italian also produced at Dresden 1785;
popular on English stages. Dublin 16 January Eszterhaza 1787; Vienna 13 August 1790 (text
1784 and, in a revised version, 1785. Montego revised by L. da Ponte).

40 3
 ANNALS OF OPERA

In Gennan (translated by F. X. Girzik), Press- A parody Le Marehal/d d'Esclaves, by J. B.

burg 1788. Radet, P. Y. Barre and J. R. Lecouppey de la
Roziere, was produced at the c.I. 27 January
PICCINNI: Didon*
1784; another, Les Reconnaissarzees ou La Foire de
160etober. Fontainebleau Beaucaire, at the Va rietes Amusantes 2 August
Text by J. F. Marmonte!. Three acts. 17 84.
The most successful ofPiccinni' s French operas; In French also, Geneva 22 June 1785; Charle-
publicly performed at Paris, O. I December 1783 ston, S.c. 3 August 1795; Hamburg 1796; Co-
(given there until 1836; the 250th performance logne 1796--97; Liege 15 December 1796; Bruns-
was on 8 February 1826); Lilie 27 June 1790. wick 1803; Hanover 14 August 1803; St. Peters-
In French also, Copenhagen 20 April 1794 (in burg November 1804; Berne 12 February 1806.
concert form); Rheinsberg 1 October 1795; In Italian (translated by G. Carpani), Monza
Hamburg 1796; Liege 20 February 1802; St. Autumn 1795 (with additional music by W.
Petersburg 1804; Stockholm 2 April 1805; Ant- Pichl); Lisbon 14 May 1807 (with one air by
werp 19 January 1819. A.J. do Rego).
In German (translated by H. G. Schmieder), In Swedish (translated by J. M. Lannerstjerna),
Mayence 12 February 1792 and Frankfort 15 Stockholm I November 1796 (with a prologue
April 1792; (translated by C. A. Herklots), Ber- by L. Piccinni).
lin 18 March 1799; Breslau 15 August 1800; re- In German (translated by F. X. Huber),
vived Berlin 6 November 1807 (with ballet music Vienna, W. 4 October 1804; Briinn 16 March
by B. A. Weber); Darmstadt 26 December 1825. 1812.
At Solothurn 1794 adapted to a German lib- In Russian (translated by I. F. Timkovsky),
retto Das siegcl/de Christcntum. Moscow 28 November 1816; St. Petersburg 17
November 1817.
MARTINI: Le Droit du Seigneur A Dutch version by P. Pijpers was published
17 Oetober. Fontainebleau in 1788.
Text by F. G. Desfont:tines and Lava!. Three acts.
Paris, c.I. 29 December 1783. In French also, CHERUBINI: Lo SpOSO di tre, Marito
Amsterdam 1784; Casscl 9 March 1785; Liege di Nessuna
21 February 1786; Hamburg 1795-96. AI/tut/m. Venice, S. Sam.
In German (translation by B. C. d'Arien), Text by F. Livigni. Two acts.
Casscl25 August 1787; Hamburg 13 March 1789; Cherubini's first comic opera. Apparently not
Berlin 16 October 1790, etc. given on any other stages then, but revived 143
In Swedish (translated by J. D. Valerius), years later at Dresden 27 November 1926 (as
Stockholm 6 June 1799. Don Pistaeehio, der dreifach Verlobte, German ver-
A Danish version by A. G. Thoroup was pub- sion by H. Tessmer and A. Reucker).
lished in 1790.
BlANCHI: La Villanella rapita
G R ET R Y: La Caravane du Caire Autumn. Venice, San Moise
30 Oetober. Fontainebleau Text by G. Bertari (founded on Favart's Le
Text by E. More! de Chedeville (the King, Louis Caprice amoureux, see 1755). Two acts.
XVI, is said to have had a share in the libretto). Bianchi's most popular work; Milan, Sc., Sep-
Three acts. tember 1785, etc.
Paris, O. 15 January 1784 (given there for In Italian also given at Trieste January 1785;
more than 500 nights, until 1829). Dresden 1785; Prague Autumn 1785 (asLaSposa

406
 ANNALS OF OPERA

rapita); Vienna 25 November 1785; Eszterhaza

1786; Barcelena 27 April 1787; Madrid 29 April
17 84
1788; Paris, Th. de M. 15 June 1789 (pasticcio; P. GUGLIELMI: Le Vicende d'Amore
revivcd 18 February 1802); London 27 February Carnival. Rome, Valle
1790; St. Petersburg 1795; Lisbon Spring 1796.
Librettist unknown. Two acts.
In French (translated by P. U. Dubuisson),
In ltalian also, Vienna 16 June 1784; Prague
Paris, Th. Fran~ais Comique et Lyrique Summer
Auturnn 1784; Dresden 1785; Lübeck July 1787;
1790· Brunswick Camival 1791.
In Swedish (translated by G. G. Adlerbeth),
In German (as Der verliebte Zwist, translated by
Stockholm 24 July 1802 (pasticcio).
G. F. W. Grossmann), Cassel2 April 1791; Hano-
In Russian (translated by A. I. SheIler), St.
ver 4 May 1791.
Petersburg 16 December 1816.
In German, Budapest I February 1792.
In Vienna, Bianchi' s opera was performed with ZANDER: Niugg spar och Fan tar,
two inserted pieces by Mozart, a quartet and a eller Aldrarnes Ddrskaper
trio (K. 479, 480). Mozart's additions were alsc 17 February. Stockholm
used in Paris, London, Madrid and St. Petersburg,
Text by C. Envallsson (partly founded on Plau-
and, probably, elsewhere as weil. tus's Mostellaria). Two acts.
The proverbial tide means The Niggard Saves,
PICCINNI: Lefaux Lord the Devil Takes, or The Follies of OlJ Age.
Zander' s best comic opera, given at Stockholm
6 December. Paris, C.I.
40 times until 1819 (revived 14 September 1819).
Text by G. M. Piccinni, the son of the composer.
Given at Gothenburg 21 February 1792; at Mal-
Two acts.
mö 6 December 1805.
Piccinni's last greater success.
In French also given at Cassel 17 January 1785;
Amsterdam 1785; Liege 31 October 1796.
HA YDN: Armida*
In Danish (translated by C. D. Biehl), Copen- 26 February. Eszterhaza
hagen 4 October 1785. Text by J. Durandi (first set to music by Anfossiin
In German (translated by J. Andre), Hamburg 1770), after Tasso. Three acts.
August 1787; Mannheim 24 February 1788. Durandi's authorship has been doubted by
In Russian, St. Petersburg 28 July 1790. some authorities; but see G. de Gregory, Vita Ji
In Swedish (translated by J. D. Valerius), Jacopo DuranJi (1817), p.24: " ... per il nuovo
Stockholm 16 November 1798. dramma del carnovale del 1770, aderl egli replicate
instanze, e compose l'Armida, dramma con mu-
CARUSO: Cli Amanti alla Prova sica del maestro Anfossi, stampato in Torino neIl
1770 e quindi ristampato neU 1805, epoca in cui
26 December. Venice, S. Moise fu di nuovo rappresentato, ed a consolazione del
Text by G. Bertati. Two acts. nostro poeta venne dall' armonioso Hayden
One of the best-known of Caruso's numerous messo per la seconda volta in musica, e dal pub-
operas and one of the few extant ones. blico Torinese applaudito".
Successful in ltaly. Given at Ancona Camival Haydn's last performed opera; on his L'Anima
1786, as I Ire Amanti in Prova; Naples, T. Fondo Jet Filosofo, libretto by C. F. Badini, written for
Autumn 1787 as Cli Amanti Jispettosi; revived London in 1791, but not performed, see H. Bot-
Milan, Sc. 5 March 1796. In ltalian also, Barce- stiber, PP.34o-45; autograph score Berlin ; a selec-
lona 9 December 1786; Madrid 8 April 1798. tion was published in 1805 (vocal score) and 1807

407 408
 ANNALS OF OPERA

(fuH score) as Orfeo ed Euridice, and given in con- 1794; Baltimore 6 November 1794 (with addi-
cert form at Leipzig 29 September 1807 (parts) tional musie by A. Reinagle); revived D. L. 13
and Königsberg 29 October 1808. March 1813 (withadditional music byJ. Addison).
Armida was given in German (translated by According to W. T. Parke (Musical Memoirs)
F. X. Girzik), Pressburg 3 November 1786 the overture was written by C. F. Baumgarten.
(according to A. Heppner) or 16 October 1785
(according to Pohl and Wendschuh); Budapest SALIERI: Les Danaides
8 April 1791; Vienna, W. 25 March 1797 (in
26 April. Paris, O.
concert form). Revived at Turin 26 December
Text by F. L. G. Lebland du Roullet and L. T.
1804 (in Italian, in 2 acts).
de Tsehudy (founded on and partly translated
from an Italian libretto by Calzabigi, caIIed Iper-
GRETRY: Theodore et Paulin mestra, written for Gluck in 1778 and published
5 March. Versailles in 1784). Five acts.
Text by P. J. B. Choudard Desforges. Three acts. The opera was announced and produced as a
Better known by its later title, L'Epreuve l'illa- common work by Gluck and Salieri and it was
geoise; given at Paris, c.I. 18 March 1784 as only after the twelfth performance thatGluck
Theodore et Paulin and, reduced to two acts, 24 made a public statement to the effect that Les
June 1784 as L'Epreuve l'illageoise; in Paris until Danaides was entirely his pupil Salieri's work.
1831 and frequently revived afterwards, viz. Successful in Paris; given at the O. 127 tirnes
O.C. 25 May 1853 (rc-orchestrated by Auber); until 7 January 1828, since 22 October 1817 in a
3 September 1866; 24 May 1888; Th.L. I I Sep- 4-act version (text altered by A. F. Desaugiers;
tember 1863; Galerie Vivienne 15 April 1896; additional musie by Spontini).
Tr. L. 12 January 1918. A parody by M. J. Gentil de Chavagnae and
In French also given at Liege 14 December M. A. M. Desaugiers, eaIIed Les petites DanaiJes,
1784; Cassel 27 May 1785; Brussels 6 August ou 99 Victimes, was produced at Paris, Th. Porte
1794; Cologne 1795-96; Gachina 20 September St. Martin 14 Deeember 1819 and (in Freneh)
1798; Moscow 6 May 1809; Berne 5 July 1809; London, Hm. 18 July 1831.
New York 14 September 1827; Baden-Baden 17 Salieri's opera was also given in German (trans-
July 1863. lated by J. W. T. Franz), Mannheim 300etober
In German, Hanover 8 September 1790; re- 1796, and in Danish (translated by N. T. Bruun),
vived Graz 29 March 1895 (new German version Copenhagen 1805 (in eoneert form).
by F. von Hausegger, music arranged by S. von Calzabigi protested against the breach of his
Hausegger); another German version by Schlet- author's rights in a famous letter to the Mercure
terer was published 1897. de France (21 August 1784). For details, see J. G.
Dutch translation by P. F. Lynslager published Prod'homme in' The Musical Quarterly, Vol. m
Amsterdam 1788. (1917), P.263. The eorrespondenee in the Mercure
(For a sequel, see 1787.) de Fra/lee is reprinted in G. Lazzeri's book on
Calzabigi (1907).
SHIELD: Robin Hood; or,
Sherwood Porest CIMAROSA: L'Olimpiade
17 April. London, C.G. 10 July. Vicenza
Text by L. MacNally. Three acts. Metastasio's text (first set to music by caldara in
Successful on English stages: Dublin 30 Decem- 1733). Three acts.
ber 1784; Charleston, S.C. 16 February 1793; Written for the inauguration of the Teatro
Philadelphia 10 March 1794; New York 30 April Eretenio, Vicenza.

410
 ANNALS OF OPERA
Milan, Sc. 7 September 1788, etc. (in Italy In German also given at Zurieh 29 July 1788
given until 1807). (in coneen fonn; first opera ever heard there).
In ltalian also produced at Trieste 24 April In Freneh (in 3 aets, translated by P. U. Du-
1786; London 8 May 1788; Corfu Carnival 1791; buisson), Brussels 1786; Fontainebleau 28 Octo-
Lisbon Summer 1798. ber 1786; Versailles 18 November 1786; Lilie 13
June 1790; Paris, Th. Montansier 28 Oetober
PAISIELLO: 11 Re Teodoro in Venezia* 1790 and Odeon 24 August 1797; Ghent 1791;
Hamburg December 1803; Antwerp 9 February
23 August. Vienna, B. 181S. Another Freneh version (in 2 acts), by P. L.
Text by G. B. Casti (Dramma eroicomico). Two Moline, recitatives by L. C. A. Chardiny, was
aets. used at Paris, O. I l September 1787.
One of Paisiello's best and most sueeessful In Danish (translated by A. G. Thoroup),
works and a favourite opera for the next 30 years; Copenhagen 23 Oetober 179S.
it deals with the story of Baron Theodore de In Polish (translated by W. Boguslawski),
Neuhoff, who was King of Corsiea in 1736, and Lvov 1798 and Warsaw 1799.
died in London 17S6.
In ltalian also produeed at Prague Auturnn DIETER: Belmont und Constanze, oder
1784; Warsaw 16January 178S; Florenee, P. Car- Die Entführung aus dem Serail
nival 178S; Naples Fior. 178S; Stuttgart and
27 August. Stuttgart
Brunswick 178S; Milan, Sc. September 1786;
A new setting of Bretmer's text (see 1781 and
B::rlin 1787 (libretto printed; performed?); Lon-
1782), two years after Mozart. Three aets.
don 8 (not 18) Deeember 1787; Paris, Th. de M.
Dieter's eomposition was very sueeessful at
21 February 1789 (revived ... April 1804); Mad-
rid 10 December 1789; Dresden May 1791 (as Stuttgart (where Mozart' s opera was not given
CU Avventurieri, musie partly adapted to a new before 179S).
libretto by C. Mazzolll); in the original version
revived Dresden 1812; Barcelona 2S August 1792. HOLLAND: Agatka, czyli
Last revived, Bologna Spring 182S. Przyjazd Pana
In German (translated by J. Böhm), Vienna, (Agatha, or The Lord's Arrival)
Kä. 4 February 178S; revived W. 18 Mareh 1796 17 September. Nidwiez (Poland)
(in a new version by E. Schikaneder) and 3 Sep-
Text by Prinee M. Radziwill. Operetka. Three
tember 1813 (in a new version by J. von Sey-
acts.
fried); Pressburg 16 May 178S (at the inaugura-
First produeed at the Prinee's private theatre
tion of Count Erdödy's opera-house; German
at a visit ofKing Stanislaw Poniatowski; publicly
version by F. Teyber); Budapest 21 Deeember
performed Warsaw 30 Oetober 178S; Lv6v June
1787. On most German stages Böhm's version
1796. One of the first extant examples of Polish
was used: Schwetzingen 21 July 1785 and Mann-
opera.
heim 24 July 178S; Cologne Auturnn 1785;
Given at Warsaw until the end of the 18th
Mayenee 10 December 178S; Berlin 7 August
century, sinee 1799 in a redueed 2-act version.
1786 (revived 6 November 1799 and Kgst. II
Oetober 1824), ete. In a new German version by
B. C. d'Arien: Munieh Mareh 1788 and Ham- SACCHINI: Dardanus
burg 14 April 1788; translated by C. A. Vulpius, 18 September. Versailles
Weimar 30 January 1794. Another German trans- La Bruere's text (first set to musie by Rameau, see
lation by P. W. G. Hansleutner was published 1739), altered and redueed by N. F. Guillard.
Stuttgart 1786. Four aets.

411 412
 ANNALS OF OPERA

Sacchini's first original French opera. Paris, O. In English (rival versions), London, c.G. 16
30 November 17S4; reduced to 3 aets: Fontaine- Octobcr 1786 (translated by L. MacNally, music
bleau 20 Oetober 178S and Paris, O. 13 January adaptcd by Shield) and D.L. 24 October 1786
1786 (given there until 1808). (translated by J. Burgoyne, music adapted by
Linlcy); the latter version was also given at Dub-
lin r7S6; Edinburgh 7 April 1792; Boston 23 Jan-
CIMAROSA: I due supposti Conti ossia uary 1797 (part! y re-scored by 'frille Labarre);
Lo Sposo senza 1'vfoglie* Philadelphia 23 March 1798; New York 21 May
r800 (partly re-scored by V. Pclissier; revived
100etober. Milan, Sc.
13 April rR36).
Text by A. Anelli. Two aets. In Italian (translated probably by G. Carpani,
Florence, P. Carnival 178S; Parma Summer according to De Tipaldo, Biografie), Monza Au-
178S; Venice, S. Sam. Autumn 178S; Padua tumn 1787; Lisbon Carnival 1792.
7 October 178S; Bologna Carnival 1786; Turin In German (first translated by J. Andre): Ham-
and Verona 1786, etc. burg 30 July 1787 (and "nach der Londoner Ver-
Given at Rome, Valle Spring 1786, with the änderung", translation altered by F. L. Schröder,
suh-title Lo Sposo ridicolo. 6 December 1790); Vienna Kä. 7 January 1788
In Italian also produced at Trieste Carnival (frequently revived; W. 1802 (additions by A.
1786; Barcelona 30 May 1787; Dresden 1787; Fischer) and 28 November 1810 (re-orchestrated
Vienna 12 May 1789; Madrid 10 August 1789; by I. von Seyfried); Berlin 9 February 1790
Marseilles 1790; Lisbon 1791; Cadiz 1792; St. (revived 3 March 1806 with additions by B. A.
Petersburg 20 April 1798. Weber and J. Weigl); Poznan 22 September
Revived Milan (at the inauguration of the T. 1805; Prague 1807; Budapest II February I8II.
Lentasio) 17 January 180S as Lo Sposo senza The latest revivals on German stages were at
Moglie. Mannheim 1849 (orchestrated by L. Hetsch);
Breslau 25 January 1858; Königsberg 18 Oetober
1861; Leipzig 12 Deeember 1862; Munich 25
G R ET R Y: Richard Clrur-de-Lion* August 1866; Carlsruhe 2 December 1888 and
21 October. Paris, c.I. 19 November 1898.
In Danish (translated by L. Knudsen), Copen-
Text by J. M. Sedaine. Three acts.
hagen 3I January 179I.
Gretry's most famous opera; enlarged to 4 acts, In Dutch (translated by B. Ruloffs), Amster-
Paris, c.I. 21 December 178S, but a few days later dam [24 February] 179I.
again altered and reduced to 3 acts; given on In Swedish (translated by C. EnvaIIson),
Freneh stagesthroughout the whole 19th century Stockholm 21 D~cember 1791 and (translated by
and still revived now and then. c.]. Lindegren) 30January 1797; Malmö I I May
Re-scored by Adam: Paris, O.c. 27 September r807; Lund 21 August 1807; Gothenburg 19 No-
1841; Th.L. 23 May 18S6; O.C. 18 Oetober 1873. vember 1807. Revived Stockholm 25 November
Some of the latest revivals were at Paris, O.c. 1857 (new Swedish version by C. W. A. Strand-
13 October 1910; Tr.L. 2 February 1918; Liege berg; re-scored by J. Foroni).
16 August 1908 and 16 May 1930; Brussels 28 In Polish (translated by J. Baudouin), Warsaw
Oetober 1933. 14 April 1809.
In French also, Ghent 29 October 1786; Liege In Spanish, Madrid 3 May 1812.
5 January 1787, ete.; St. Petersburg 2 July 1795; In Russian (translated by V. A. Levshin), St.
Warsaw 22 March 1819; London, St.J's. 26 Feh- Petersburg 9 November 1815; Moscow 30 Oc-
ruary 1849; Baden-Baden 18 J uly 1864. tober 1817.

413 414
 ANNALS OF OPERA

Very popular on German stages: Vienna, Leop.

17 8 5 19 July 1785, etc. In German also, Warsaw 29
DEZEDE: Alexis et Justine September 1793; Budapest 13 May 1801; Berlin
14 Janllary. Versailles 23 June 1802.
In Czech, Prague 17 April 1785 (translated by
Text by J. M. Boutet de Monve!. Two acts.
V. Tham; if not merely pcrformed as a comedy,
Paris, c.1. 17 January 1785.
it would have becn the first "opera" ever sung
In French also Liege 15 November 1785;
in that Ianguage); revivcd 16 September 1791.
Charleston, S.C. 10 July 1795; Cologne 1795-96;
In Swedish (translated by H. A. Kullberg),
St. Petersburg 6 July 1798.
Stockholm 13 December 1833 and (in a new
In German (translated by C. G. Neefe), Mann-
version by E. W. Djurström), 31 March 1855
heim 7 October 1787; Carlsruhe 14 February
(music arranged by A. Säfström).
1789; Berlin 31 March 1789; Munich August
Given in Germany until the middle of the 19th
1795, etc.
century, but from about 1800 with many addi-
Anonymous Dutch version published 1796.
tions by other composers (W. Müller, etc); as a
Quodlibet (arranged by L. Schneider; published
GRETRY: Panurge dans ['Isie 1838; 2nd edition Berlin 1851) given at Weimar
des Lanternes as late as 30 November 1882.
25 Jallllary. Paris, O. As Der reisende Student also given at the Ger-
Text by E. More! de Chedeville and the Comte man theatre, New York 25 October 1842 and
de Provence (Louis XVlIT) , after Rabelais (but, Hoboken 15 June 1853, the former being prob-
according to Querard, more or less copied from ably, the latter defmitely, Schneider's version.
a MS by the late F. Parfaict, the historian of the
Paris theatres). Three acts. CHERUBINI: Lafinta Principessa
"Une nouvelle tentative pour etendre les li-
2 April. London, Hm.
mites du genre comique sur le Theatre d'Opera"
Text by F. Livigni (fmt set to music by Alessandri
(Mercure de France).
in 1782). Two act~.
In Paris given 248 times until 1824; in French
The first of two operas Cherubini wrote for
also, Lyons 12 September 1787; Hague 1789;
London where he held the post of composer at
Brussels 21 January 1793; Hamburg December
the King's Theatre for two seasons before he
1796; Gachina November 1799; St. Petersburg
went to Paris.
17 February 1800; Cassel Spring 1813.
In Swedish (translated by J. D. Valerius),
Stockholm 16 December 1799. LIMA: Le Nozze dJErcole, e dJEbe
Dutch translation by C. Loots published 1804. 13 April. Lisbon
(Italian) text by an unknown author. Two acts.
WINTER: Der Bette/student oder Performed at the double wedding of two
Das Donnerwetter Spanish and two Portuguese princes and prin-
cesses at the palace of the Spanish Ambassador to
2 February. Munich
Lisbon, Femando Nufiez.
Text by P. Weidmann (originally published as a
comedy in 1776 and first produced at Vienna, B.
6 October 1776), founded on Cervantes's story STORACE: Cli Sposi malcontenti
La Cueva de Salamanca. Two acts. 1 June. Vienna, B.
Winter's music was added for the Munich Text by G. Brunati. Two acts.
production. Storace's first opera.

415 416
 ANNALS OF OPERA

In Itaüan also, Prague 1786; Leipzig Summer FRANKFORT 25 October 1786; Mannheim 19 No-
1786; Dresden 1789. vember 1786 and Cassel 5 February 1787
In German (translated by J. W. Cowmeadow), (translated by C. G. Neefe).
Hanover 11 May 1792; Berlin 12 December PRAGUE 1787 (translated by P. Trautmann).
1793; Breslau 4 June 1795· HAMBURG 5 December 1787; Vienna 3 Septem-
In French (translated by P. U. Dubuisson), ber 1789; Munich October 1789; Berlin 19
Paris 12 April 1790 (at the opening ofthe Theatre March 1794; Riga 3 October 1794, etc.
de la Demoiselle Montansier) ; repeated 29 Au- In Danish (translated by C. D. Biehl), Copen-
gust 1793 at the Th. National. hagen 8 January 1789.
An Engüsh adaptation by P. Hoare, The Cave
P. GUGLIELMI: La Virtuosa in of Trophollius, music arranged by Storace, was
giveninLondon,D.L. 3 May 1791 (seeM. Kelly's
Mergellina
Reminiscences, 11, P.3).
Summer. Naples, T.N.
Text by S. Zini. Two acts. SARTI: lfinti Eredi
Successful in ItaIy: given at Cremona Carnival
30 October. St. Petersburg
1791 as Chi la dura la vince ossia La jinta Cantatrice;
Text by G. Bertati (originally called 11 Vmano
at Venice Autumn 1791 as La Virtuosa bizzara.
geloso and first set, in 3 acts, by Galuppi
In Italian also, Malta Carnival 1787; Lisbon
in 1769). Two acts.
Carnival 1790 and 17 December 1793; Warsaw
The first opera Sarti wrote in Russia.
9 April 1792; Barcelona 22 June 1792; Madrid
Also given at Prague 1786; Vienna I August
21 January 1797; London 7 April 1807.
1786; Dresden 1787; Turin 1791 ; Milan, Sc. 26
°

February 1792; Padua October 1793; Madrid

SCHENK: Die Weinlese 9 June 1794; Lisbon I I September 1794; Trieste
120ctober • Vienna, Leop. 26 December 1795; Florence Autumn 1796;
Text: an altered version, by W. C. D. Meyer, Palermo September 1797; Venice September
of Weisse's Aerndtekranz (s~e 1771). Three acts. 1799, etc. Revived Barcelona 12 October 1803.
Schenlc's first opera and one of the first suc-
cesses at Marinelli's new "Theater in der LeopoId- FABRIZI: Li due Castellani Burlati
stadt", Vienna (opened in 1781). Given there Autumn. Bologna, T. Marsigli-Rossi
until 1803; given also at Vienna, W. c. 9 July Text by F. Livigni (first set to music by Valentini
1791 (as Der Erntekrallz oder das Schnitterfest). earlier in the same year). Two acts.
The first and Olle of the best of Fabrizi's cornic
SALIERI: La Grotta di Trofonio operas and about the only one of which the score
12 October. Vienna, B. has survived. Given on many Italian stages (at
Text by G. B. Casti. Two acts. Parma Carnival 1786 as a pasticcio from Valen-
In Itaüan also given at Dresden 1786; Trieste tini's and Fabrizi's settings) and at Barcelona 27
14 January 1787; Paris, Th. de M. 15 March June 1786; Dresden 1788; Madrid 30 April 1789;
1790 (with 2 airs by Cherubini) ; Parma Carnival London 2 February 1790; Lisbon Summer 1797
1791; Lisbon 1795; Gorizia Carnival 1795; (reduced to I act).
Barcelona 1796; Stuttgart 23 October 1809.
Even more successful on German stages where
GAZZANIGA: La Moglie capricciosa
it was produced in several different translations: Autumn. Venice, S. Moise
PRESSBURG 17 April 1786 and Budapest r6 July Text by F. Livigni. Two acts.
1789 (translated by F. X. Girzik). Successful in ItaIy; given there until after 1800.

417 418
 ANNALS OF OPERA

In Italian also, Dresden 18 March 1786; Trieste

26 December 1787; Madrid 21 January 1790;
17 86
Lisbon Summer 1791; Vienna 26 April 1792; MARTIN Y SOLER: Il Burbero di
Warsaw 5 March 1793. buon Cuore
In German : ßautzen 27 Oetober 1796 (prob-
ably carlicr elscwhere). 4 jaIHlary. Vienna, B.
Text by L. da Ponte (founded on Goldoni's
comedy, Le BOl/rm bietifaisant). Two acts.
PICCINNI: Penelope
Martin y Soler's first greater success: Venice
2 N"/lCll/hcr. Fontainebleau Autumn 1798; Rome, Valle Spring 1790; Bolo-
Text by J. F. Mannontel. Three acts. gna, T. Zagnoni May 1790, etc.
The last of Piccinni' s French serious operas In Italian also: Prague 1786; Dresden 3 Octo-
which was produeed. Paris, O. 9 December 1785 ber 1789; Trieste 26 Deeember 1789; Paris, Th.
:md with alterations 16 Oetober 1787. Feydeau22 February 1791; Madrid 30 May 1792;
Unsuecessful (14 performances), bm still of London 17 May 1794 (with additional music by
enough interest to eall forth three parodies, viz. Haydn, Trento and G. G. Ferrari); Barcelona 14
Oll/stal/cc by J. ß. Radet, P. Y. Barre and J. R. October 1794; St. Petersburg 30 May 1796.
Lecouppey de Ja Rozicre, c.1. 6 January 1786; Revived Vienna 9 November 1789 (with two
SYI/[(lPC, Reil/(' de Mic-Mac, by J. E. Despreaux, additional airs by Mozart, K.582, 583, written
Versailles 3 r Jmuary 1786; and .Tcan de Rctour, for Louise Villcneuve).
by P. G. Parisau, Va rietes Amusantes 9 February
17H6. SACCHlNI: Oedipe aColone*
4 jalllwry. Versailles
P. G U G LI ELM I: Enea e Lavinia Text by N. F. Guillard. Three acts.
4 ;\","'cil/hcr. Naplcs, S.c. Saechini's chief work; first produced at the
Text by V. de Ste[mi. Thrce aets. Paris O. I February 1787 (after Sacchini's death)
:md frequcntly revived there until 1844 (583 per-
One of the most important of Guglielmi's
formances).
scriollS 0peras; repeated at Naples 13 August
In Freneh also, Liege 2 March 1796; Hamburg
17XX amI also given at Milan, Sc. 28 July 1789,
20 April 1796 (revived 1799 and 18II); Cologne
Venice, Gello;1, etc.; Madrid 25 August 1790.
1796--97; Copcnhagen 1798 (in eoneert fonn);
St. Petersburg 6 ·Ma)' 1799; Antwerp 14 Feb-
DALA YRAC: La Dot ruary 1805.
In German (translated by C. A. Herklots),
8 }'·""Cll/ber. Fontaineblcau Hanover 21 May 1790; Berlin 16 Oetober 1797;
Text b~' F. G. Desfontaines, a revised version of Munich 15July 1800; Vienna 3 August 1802, etc.
his earlier libretto Le Billet de Maria,~c. Three aets. Last given in Germany: Weimar 17 February
OIlC 0f Dalayrac's first greater successes. Paris 1820 and Casscl I May 1826.
c.1. 2 r November 1785 (givcn at the O.c. until In Swedish (translated by C. G. Nordforss),
182H); in [-rench also, Liege 15 November 1786; Stockholm 1 N0vember 1800 (givcn there l1ntil
llrusscls 2 November 1795; Sr. Percrsburg 7 Au- 18 36).
gust 1795; Hamburg 13 Septcmber 1797 0r In Italian (translated by G. Sehrnidt?), Naples,
carlier; Gachina 5 October 1798. S.c. 14 May 1808.
In ItJliall (translated by G. Carpani), Monza In Russian (translated by R. M. Zotov), St.
Aurumn 1789 (additional musie by W. Pichl). Petersburg 13 S'eptember 1816.

420
1786 ANNALS OF OPERA

Dutch translations by P. J. Uylenbroek and by A Danish parody by P. L. Heiberg, Michel og

J. Kinker were published in 1795 (reprinted 1799) Malme, adapted to Naumann's music, was pub-
and 1807 respectively. lished in 1789.
The opera was revived in concert form at
Frankfort in April 1862 and at the Conservatoire,
MO ZAR T: Der Schauspieldirektor*
Brussels 7 December 1881; on the stage, Ant- 7 February. Vienna, Schönbrwm
werp Autumn 1909 (in Flemish); Paris, O. 27. Text by G. Stephanie. Komödie mit Musik. One
February 1916 (parts only). act. The music consists of an overture, two airs,
TA ReH I: Ariarate a trio and the finale.
jalll/ary. Milan, Sc. Written for a garden-party given by the
Text by F. Moretti. Three lctS. Emperor Joseph II at Schönbrunn and performed
The most successful of Tarchi's numerous together with Salieri's divertimento teatrale, Pri-
Italian operas (see 1800 for the best work of his ma la Musica e poi le Parole* (text by G. B. Casti).
French period). Given at Bologna May 1786; A correspondent to the Berlin periodieal, Ephe-
Trieste 9 April 1787; Palermo 2 June 1787; merider/ der Literatur lind des Theaters (1786, P.189),
Naples, S.c. 4 November 1787, etc. In Italian mentions in his report of the Schön brunn pro-
also, Warsaw II January 1787. duction the riame of every singer as well as
Stephanie's-but not Mozart's.
NAUMANN: GustafWasa
Publicly performed Vienna, Kä. 18 (not II)
19 january. Stockholm
February 1786 and W. 5 August 1797; also at
Text by J. H. Kellgren (scenario by King Gustaf
Salzburg 1797-98 and Graz 4 April 1799. Accord-
m). Three aets.
ing to the preface to a later edition of Stephanie's
Given at Stockholm 134 times until 1823 and
Singspiele, it was also performed at Hamburg
frequently revived during the 19th century (since
(before 1792; see Sonneck's Catalogue, Pp.969-70;
12 April 1859 partly re-orchestrated by 1. Lach-
but this production is not recorded by Schütze,
ner); parts of it even were revived as late as 18
Meyer or by any other writer on the Hamburg
January 1923. stage). In a new arrangement by M. Stegmayer
(A Danish translation of the libretto, by F. H.
(Quodlibet für den Carl/eval) revived Vienna, W.
Guldberg, was published in 1796; a Dutch ver-
20 February 1814 (with additional music by
sion by J. Meerman in 1806.) The scenario by Dittersdorf and others); also performed at Stras-
Gustaf 1Il was published first in French (trans-
bourg 17 September 1814; Agram 24 May 1827.
lated by J. B. Dechaux), Stockholm 1804; in After a long period of oblivion, the libretto
German (translated by C. F. Rühs), Berlin 1805;
was revised by L. Schneider, who replaced Ste-
in the original Swedish, Stockholm 1806.
phanie's original imaginary characters by Mozart
A parody by E. Schröderheim, Gustava Giick,
himsclf, Schikaneder (the "Schauspieldirektor"),
was performed at Court 1787, published 1850. Mozart's sister-in-Iaw, Aloysia Lange, etc. This
NA U MAN N: Orpheus og Euridice version was first produced at Berlin 25 April
31 january. Copenhagen 1845 and Vienna, Leop. 2 December 1845 (as
Text by C. D. Biehl (partly founded on Calza- Mozart ur/d Schikaneder) and has been generally
bigi' s libretto). Three acts. accepted since; given at Riga 17 November
The first grand opera in the Danish language; 1845; Prague 7 August 1846; Basle 18 January
given at Copenhagen until 1791. German vocal 1858; Vienna, Kä. 28 August 1858. Another ver-
score (translated by C. F. Cramer) published sion, by R. Genee, called Der Kapellmeister, was
1787. Given in concert form at Winterthur 30 produced at Kroll's, Berlin 22 May 1896. The
November 1791 (in German, orchestrated by original version was revived at Vienna, V.O. 17
T. Müller); Stettin Winter 1798-99. February 1916.

421 422
 ANNALS OF OPERA

Translated into other languages, mostly from known. According to the libretto it was given
L. Schneider's version, Der Schauspie/direktor was "per prim' opera in quest' anno", and this was
performcd at: in Spring according to G. Pavan. Very successful
PARIS, B.P. 20 May 1856 (as L'IlIIpresario, transiat- in Italy and abroad; on many stages given as CU
ed by L. Battu and Lud. Halcvy) and Tr.L. Schiavi per Amore. Milan, Sc. 13 August 1791, etc.
2 Fcbruary 1918 (as Lc Directeur de TheJtre, new In Italian also, Vienna I September 1786;
translation byP.Bcrcl); the 1856 version was, Prague January 1787; London 24 April 1787
by ehe B.P. company, also producedin London (Anna Storace's London dcbut; revived 27 May
(see below) and at Berlin, Kroll's 26 June 1858. 1790 and 14 March -1797); Versailles August
Revived Paris, Thcatre Lyrique de la Porte 1787; Madrid 5 July 1789 and Barcelona 4 No-
Saint-Martin, 12 June 1936 in aversion by vember 1790; Moscow 1790 or 1791; Lisbon
Raymond Genty and Borel. Carnival 1792; Warsaw 7 July 1792; Dresden
STOCKHOLM 27 January 1857 (in Swcdish, trans- 3 October 1793; St. Petersburg 6 October 1798.
Iated by J. C. Stjernström). In German (as Der Wettstreit der Crossmuth,
LONDON, ST. JAMES'S 30 May 1857 (in French, by translated by F. X. Girzik), Pressburg 1787;
the Bouffes-Parisiens); Crystal Palace I I Au- Bozen February 1789; Budapest 27 May 1789;
gust 1860 (in concert form, in Italian); Crystal Vienna, Th. a.d. Landstrasse 22 May 1790; and
Palace 14 September 1877 (as The Mallager, (in another translation by H. G. Schmieder, as
translated by W. Grist); Crystal Palace 18 Oc- Die beydell Flüchtlillge), Mayence 1789 (accord-
tober 1892 and Olympic 25 October 1892 (in ing to Schatz-Sonneck); Mayence 12 January
Italian, as L' Impresario, with recitatives by A. 1791 (according to the repertory as given in
Mascheroni); H.M.'s 23 July 1910 (in English). Joumal des Luxus und der Moden); Hamburg 30
NEW YORK 9 November 1870 (in German) and June 1791; Hanover 16 November 1791, etc.
26 Oetober 1916 (in English, as The Impresario, In French (as Le bOIl Maltre ou Les Esclaves par
translated by H. E. Krehbiel). Al1IoflT, translated by C. J. A. Gourbillon and P.
PRAGUE 12 March 1875 (in Czech; revived II G. Parisau), Paris, Th. de M. 20 March 1790.
April 1916 and 9 January 1937). Another French version (Le Maltre gellereux,
COPENHAGEN I September 1877 (in Danish, trans- translated by P. U. Dubuisson) was produced at
Iated by H. P. Holst). Paris, Th. Montansier 28 May 1790 and Th. Nat.
AMSTERDAM July 1930 (in Dutch, at the Conser- 20 August 1793; Amsterdam December 1792;
vatoire). Hamburg 1796; Antwerp 14 January 1804.
Lately revived in English, S. Francisco March
1933 (translated by S. Neustadt); and Cambridge PASHKEEVICH,: Fevey
27 July 1937 and London, Sadler's Wells 23
<l>eBeiI
March 1938 (translated by E. Biom); his version
had previously been broadcast from London on 30 April. St. Petersburg
17 March 1933. Text by the Emprcss Catharine II (from a Rus-
On Vulpius's Die theatralischen Abellteuer (made sian story, 0 Karevice FeFcya). Four acts.
up from the Schauspie/direktor and from Cima- First produced at the Ermitage; publicly per-
rosa's L' Impresario in Allgustie), see co1.433. formed St. Petersburg 8 Deeember 1790.
The voc:!l score was printed in 1789 under
PAISIELLO: Le Garegenerose Pashkeevich's name. Later authorities (Longinov,
in MO/Fa, 1857, P-43) attribute the music to an
Sprillg. Naples, Fior otherwise completely unknown composer, Brisk
Text by G. Palomba. Two acts. (not Briks, as Riemann has it), ullder whose
The exact date of the fmt performance is un- name the music was reprinted in 1895.

42 3
 ANNALS OF OPERA

MOZART: Le Nozze di Figaro MANNHEIM 24 October 1790.

1 May. Vienna, B.
HAMBURG 4 April 1791 (Knigge's translation).
AACHEN 15 May 1792.
Text by L. da Ponte (founded on Beaumarchais's
VIENNA, W. 28 December 1792 (translated by K.
comedy, La Jolle Journee, ou Le Mariage de Figaro,
L. Gieseke).
1785). Four acts.
WEIMAR 24 October 1793.
When first produced in Vienna, the opera was
MUNICH January 1794.
not a very great success; there were nine per-
BRESLAU 31 October 1794.
formances in 1786, none in 1787 and 1788. Re-
DRESDEN 30 April 1795.
vived only 29 August 1789, with two new airs
VIENNA, KÄ. 10 July 1798 (Knigge's translation).
for Adrianna Ferrarese (Susanna), Al desio di chi
On another early German translation (Passau
t'adora and Vn moto di gioia mi sento. For an
1789) see A. E. Cherbuliez, in Bericht über die
account of the first production, see Michael
musikLVissensehaftliehe Tagung . . • in Salzburg,
Kelly's Reminiscences, Vol. I, PP.258-262.
1931, p.150 ff.
Early productions in Italian were at:
In Italy the opera was first performed at Monza
PRAGUE December 1786.
Auturnn 1787 and Florence, P. Spring 1788. See
MONZA Auturnn 1787 (see below).
on these rather odd productions (at Monza the
FLORENCE Spring 1788 (see below).
3rd and 4th act was re-written by Angelo Tar-
POTSDAM Auturnn 1790.
chi!) A. Einstein, in The Monthly Musical Reeord,
LEIPZIG 26 May 1793.
July 1935. They passed nearly unnoticed; G.
First performed in German at:
Piccini, in his Il Teatro della Pergola (1912) does
PRAGUE, ROSENTHAL TH. June 1787 (according to
not even mention the Florence performance,
an advertisement quoted by Teuber, II, p.244;
while U. Morini (La R. Accademia degli Immobili
translated possibly by V. Maschek). ed il suo Teatro La Pergola, 1926) attributes the
DONAUESCHINGEN 23 September 1787 (at the
opera to Paisiello. Figaro was then given at Turin,
Prince ofFürstenberg's private theatre; accord- T. Carignano Auturnn 1811, as 11 Matrimonio di
ing to the play-bill, translated by Secretair Figaro; at Naples, Fondo March 1814; Milan,
Held and Kammersänger Walter). Sc. 27 March 1815; Florence, T. degl' Intrepidi
LEIPZIG 3 August 1788. Spring 1818 and P. Auturnn 182I; Leghorn
GRAZ 9 August 1788. Carnival 1823; Milan, Canobbiana 8 October
FRANKFORT II October 1788 (translated by C. A. 1825; Turin, T. Carignano Auturnn 1826, etc.
Vulpius). At the Fiorentini Theatre, Naples, an altered
HANOVER 18 May 1789 (translated by A. F. von version of Da Ponte's libretto was produced in
Knigge: "Der Dialog ist von meiner Tochter 1792, called La Serva onorata (music by Piccinni);
[Philippine Eregine von Knigge]. Sie hat dabei the text was als-o used by Paer for his 11 nuovo
das französische Stück genützt und manche Figaro (Parma January 1794).
launichte Stelle, die im Italienischen wegge- Franee aud Belgium:
lassen war, wieder hereingebracht. Der Text PARIS, O. 20 March 1793 (in French, translated by
der Arien ist von mir ... " (Knigge's Drama- F. N otaris; spoken dialogue, from Beaumar-
turgische Blätter, 23 May 1789). chais, instead of recitative; five performances
BRUNSWICK II August 1789. only).
CELLE 14 September 1789. PARIS, TH.I. 23 December 1807 (in Italian).
BONN AND COLOGNE 1789 (Vulpius's translation). NiMES 3 I December 1818 (French version by F.
STUTTGART 23 July 1790 (Vulpius's translation). H. J. Castil-Blaze).
BERLIN 14 September 1790 (500th performance NANTES 17 January 1822 (French version by F.
24 September 1908). H. J. Castil-Blaze).

42 5
1786 ANNALS OF OPERA

BRUSSELS 11 April 1822 (French version by F. H. ed by N. T. Bruun); 14June 1825 (in German);
J. Castil-Blaze). 25 May 1842 (in ltalian); 7 January 1844 (new
GHENT 29 November 1822 (French version by F. Danish version by N. C. L. Abrahams).
H. J. Castil-Blaze). STOCKHOLM 23 January 1821 (in Swedish, trans-
LILLE 20 January 1823 (French version by F. H. lated by B. H. Crusell; Crusell's translation
J. Castil-Blaze). only published 1851; new Swedish translation
ANTWERP 26 February 1826 (French version by by S. C. Bring pubüshed 19II). '
F. H. J. Castil-Blaze). DUBLIN 27 January 1821 (in Engüsh) and 6 March
PARIS, ODEON 28 June 1826 (French version by 1838 (in Italian).
F. H. J. Castil-Blaze). NEW YORK 10 May 1824 (in Engüsh, Bishop's
PARIS, TH.L. 8 May 1858 (translated by J. Barbier version); 24 October 1831 (in French); 23 No-
and M. Carre). vember 1858 (in Itaüan); 18 December 1862
ANTWERP 4 December 1900 (in Flemish). (in German).
MONTE CARLO 23 February 19II (new French EDINBURGH 4 December 1832 (in Italian).
version by P. Ferrier). ST. PETERSBURG December 1836 (in German);
PARIS, O.C. 5 March 1919 (Ferrier's version). Camival1851 (in Italian); and 8 October 1901
PARIS, O.C. 1 July 1939 (new French version by (in Russian, translated by M. 1. Chaikovsky);
A. Boschot). revived Leningrad 19 May 1936; Moscow Con-
To the different Paris productions may be servatory 1876 withrecitatives byTchaikovsky.
added the pasticcio, Figaro ou Le Jour des Noces, CHRISTIANIA 1838 (in Danish).
text by F. V. A. and L. C. A. d'Artois de Bour- HELSINKI30 October 1840 (in German) and 20
nonville, music arranged by Blangini (from September 1922 (in Finnish, translated by T.
Mozart's Figaro and Rossini's Barbiere), given at Muroma).
the Th. des Nouveautes 16 August 1827. The BUCHAREST 1843 (in German) and October 1937
English equivalent was The Two Figaros, by J. R. (in Rumanian); revived 6 November 1938 in
planche (founded on a French comedy by H. A. German, by the Frankfort Opera Company.
Richaud Martelly): London, Olympic 30 No- ZAGREB July 1844 (in German) and 26 October
vember 1836 and NewYork 16 November 1837, 1917 (in Croatian, translated by A. Kassowitz-
music, as in the French pasticcio, from Mozart's Cvijic); rcvived in German 19 May 1938, by
and Rossini's operas. the Frankfort Opera Company.
Other Countries : RIO DE JANEIRO 1848 (in Italian).
AMSTERDAM 8 July 1794 (in German); 12 May PRAGUE 14 November 1852 (for the first time
1809 (in Italian); 6 February 1817 (in French); there in Czech, translated by E. Ujky).
1825 (in Dutch). SYDNEY 19 August 1862 (in English).
MADRID 20 May 1802 (in Spanish, translatcd by WARSAW 31 December 1885 (in Polish).
V. R. de Arellano). SOFI~ 23 September 19II (in Bulgarian, translat-
BUDAPEST 20 March 1812 (in German) and II ed by A. Naidenov) and 8 May 1938 (in Ger-
September 1858 (in Hungarian, translated by man by the Frankfort Opera Company).
M. F. = Mikl6s Feleki?). BARCELONA 2 February 1916 (in Italian) and 16
LONDON, HM. 18 June 1812 (in Italian) ; c.G. 6 January 1923 (in German) ; Catalan translation
March 1819 (in English, adapted by T. Hol- by J. Pena published 1927.
croft, music arranged by Bishop); D.L. 12 May LONDON, OLD VIC 15 January 1920 (new Engüsh
1841 (in German); C.G. 15 March 1842 (new version by E. J. Dent).
English version by J. R. Planche; with spoken LJUBLJANA 28 November 1926 (in Slovenian.
dialogue). translated by I. Sorli).
COPENHAGEN 9 January 1821 (in Danish, translat- BUENOS AIRES 29 June 1928 (in German).

427 428
 ANNALS OF OPERA
BELGRADE 15 May 1938 (in German). P. GUGLIELMI: L' Inganno amoroso
ATHENS 6 December 1938 (in German).
12 June. Naples, T.N.
DALAYRAC: Nina, cuLa FolIe Text by G. Palomba. Two acts.
par Amour Successful in Italy; given at Rome, T. Valle
Carnival 1787 in a reduced version asCli Equi-
15 May. Paris, c.I.
voci nati da Somiglianza; Venice, S. Moise Au-
Text by B. J. Marsollier (founded on a story in
tumn 1788 as Le Nozze disturbate; Monza Au-
F. T. M. de Baculard d'Arnaud's Delassements de
tumn 1788 and Bologna Carnival 1791, as Le
l'Romme sensible). One act.
due Cemelle; Parma Carnival 1792 as L'Equivoco
Very successful in France; last revived Paris,
amoroso j Savona 1793 as Li due Equivoci per Somi-
O.C. S January 18S2.
glianza; Padua Carnival 1794 as Le due finte
A parody, Nani ou La Folie de Village, by P. J.
Cemelle. Given in Italy until 1809; in Italian also,
C. Lecocq Darcourt was published in 1787 and
Vienna 9 April 1787; Barcelona 30 May 1789
produced at Valenciennes 3 September 1788.
(revived 25 August 1803); Paris, Th. de M. 29
In French also, Liege 24 November 1786, etc.;
May 1790 (additions by Paisiello); Marseilles
Aachen 21 July 1794; Charleston, S.C. 23 July
March 1791; Trieste 26 December 1791; Madrid
1794; Cologne 179<>-97; St. Petersburg S No-
4 April 1793; Lisbon Spring 1796; St. Petersburg
vember 1798; Moscow 10 October 1808.
29 August 1798.
In German (translated by B. C. d'Arien),
A German version by J. B. Krebs, Die Zwil-
Hamburg 3I January 1787 and Munich October
lingsbrüder, was produced at Stuttgart ,.1810.
1787; (translated by H. G. Schmieder), Mann-
heim 17 June 1787; Munich October 1787;
(translated by J. Andre), Berlin 3 May 1788 and DITTERSDORF: Doctor und Apotheker*
Potsdam 22 September 1788 (first opera sung in 11 July. Vienna; Kä.

German there); Vienna, Leop. -lI June 1790 and Text by G. Stephanie (said to be founded on a
W. 29 July 1806; Budapest 30 January 1796; French play, L' Apothicaire de Murcia,which biblio-
Rotterdam Spring 1797; Berne Spring 1804. graphically seems to be untraceable). Two acts.
In English (translated by J. W oleot, music Dittersdorf's most successful opera. Frequently
adapted by W. T. Parke, additions by Shield; see revived on German stages up to the present time.
Parke's Musical Memoirs, I, P.9S), London, C.G. Given at Pressburg IS September 1786; Cassel
24 April 1787. There are three more English 13 April 1787; Hamburg 7 May 1787; Berlin
versions, viz. Nina; or The Love distracted Maid 25 June 1787 (II3 times until 18S3, revived 31
(anonymous) and Nina; or The Madness of Love December 1890, I November 1899 and 26 April
(by G. M. Berkeley), both published 1787. The 1912).
third, by W. Dunlap, was used at a revival in In German also, Budapest 26 November 1787;
New York 4 February 180S. Schleswig 1788; Prague 1790; Riga 1790; Agram
In Italian (translated by G. Carpani), Monza 1790 (or earlier; see Journal des Luxus und der
Autumn 1788 and Milan, Canobiana March Moden, 1790, P.513); Amsterdam 1792; Warsaw
1789; but soon replaced in Italy by Paisiello's 10 August 1793; Poznan 29 October 1803; Beme
setting (see 1789). Spring 1804.
In Russian, Kouskovo 28 November 1790. In English (adapted by J. Cobb, additional
In Swedish (translated by c. Stenborg), music by S. Storace), London, D.L. 25 October
Stockholm 8 December 1792; Malmö 17 April 1788 (running for 36 nights) ; also given at Dublin
1807; Lund IS August 1808. 22 July 1789; Boston 1795; Charleston, S.C. 26
Dutch translation published 1789; performed April 1796 (music arranged by B. Bergman) ; phi-
in Flemish Oudenarde 179S. ladelphia20May 1796; New York 3 March 1798.

429 430
 ANNALS OF OPERA

In Danish (translated by L. Knudsen), Copen- Autumn 1799, as Li Ra.fZgiri scopcrti; last rcvivcd
hagen 17 November 1789. Romc, Arg. 30 April 1822.
In Russian (translated by F. Rozanov), Moseow In Italian also given at VicIlna 7 May 1787;
17 88. Madrid 5 Jllly 17 88; Dresden 3 January 17'~9;
In Freneh (translated by Beaunoir), ßrussels Barcelona 14 Oetobcr 17X9; Corfu Carnival
2 May 1794 (musie adapted by C. F. H. Du- 1790; Lisbon 13 May 1790 (revivcd Spring 1797);
quesnoy); Hamburg 1796. Marscillcs Autumn 1790; LonJon 14 February
In Swedish (adapted by C. Envallsson), Stock- 1792; Warsaw 6 June 1792; Paris, Th. Fcydeau
holm 6 June 1795 (at an earlier production 28 16 June 1792.
Oetober 1791 new mllsie by J. D. Zander had In Germ:m, Press burg T7~8 :md Blldapest 2R
been lIsed); rcvived Gothenburg 29 April I H2H Jllly 17H9 (as Die bctro.~ellell ßctn~f{cr); Weimar
and Stockholm I February 1858 (new Swedish 24 Oetober 1794; Oels 16 January 1796; Vienna.
translation by F. T. Hcdberg). W. 18 June 1796 (as Die Ilcrcitcltm Rällke, trans-
In Duteh (translated by 1. J. A. Gogel), Am- latcd probably by C. A. Vulpills); Hanover
sterd.lm 1796; revived Hague I H09. 4 February T802; Bremcn 1802-03; Berlin r I
In Hungarian (translated by J. Kiss), Debreezen January T80X.
27 July 1799· In Spanish. Madrid 23 Oetober 1802 (as Las
Revived in German, Munich 22 May IH23 Tramas lJl/rladas).
(with additional numbers by Poissl); BasIc 4 Jan- Date of first performance aeeording to a note
uary 1852 (first time in Switzerland?); New York in the autograph score at Naples.
30 June 1875. So me of the latest revivals in
Germany were at Halle I January 1918; Munieh S CHUBA UR: Die treuen Köhler
Deeember 1924; Coblenz March 19}8 (revised 29 Septelllber. Munieh
by H. ßurkarJ). Tcxt by G. E. Heermann (first set to musie by E.
W. Wolf in 1773). Two aets.
J. C. VOGEL: La Toison d'Or Sehubaur's last opera. Stuttgart 16 Oetober
5 September. Paris, O. 1788, cte. Revivcd Vienna, W. 26 April 1797.
Text by P. Desriaux. Three aets. Voeal score printed. (The libretto is founded
Vogel's fmt opera. The score is dedieatcd to upon a historieal event, the kidnapping of two
Gluek, who praiscd the opcra highly shortly Saxon prinees in 1455; see P. A. Mcrbaeh in
before his death. Rcvivcd with alterations as NCllcs Archiv pir Sächsische Geschichte lind Altcr-
Medee a ColcllOS, Paris, O. 17 June 1788 (nine tUlIlsbmdc, 1929.)
days before the eomposer's dcath at the age of
32)·
DITTERSDORF: Betrug durch
Date of first performance aeeording to the Aberglauben*
Mercure de France, to the Mbnoirs seaets and to 3 Oetober. Vienna, Kä.
the printed score. The libretto has August 29 Text by F. Eber!. Two aets.
1786 and a seeond libretto publishcd under the Sueeessful on German stages: Pressburg and
a
title Medee Colchos Oll la Toisoll d'Or was issued Cologne 1787; Frankfort 23 September 1787;
with the datc of 27 September 1786. Hamburg 7 July 1788; Hanovcr 22 Oetober
1788; Mannheim 16 November 1788; Berlin 17
CIMAROSA: Le Trame deluse January 1789; Carlsruhe 19 January 1789; Stutt-
September. Naples, T.N. gart I May 1789; Budapest I2June 1789; Munieh
Text by G. M. Diodati. Two aets. September 1789; Prague 1790, etc. Revivcd
Sueeessful in Italy; Milan, Sc. 19 August 1787 Vienna 4 September 1796; Stuttgart 30 Oetober
(revived 2 November 1818); given at Bologna 1808.

431 432
 ANNALS OF OPERA

In Danish (translated by A. G. Thoroup), Co- XXVI, 1905). Some years later, a 2-act version,
penhagen 15 March 1796. adapted by C. A. Vulpius to music from Cima-
First performed 3 October, not jO October as rosa's opera and Mozart's Schauspieldirektor (both
Riedinger has it. of them origina11y produced in the same year
and treating very similar subjects), was given at
CIMAROSA: L' Impresario in Angustie Weimar (14 October 1797) and subsequentlyon
many other German stages; in German also,
Oetober. Naples, T.N. Laibach 15]anuary 18II and St. Petersburg 1813.
Text by G. M. Diodati. One act. Revived Hamburg 24 June 1814, Berlin 18]uly
In its original form this farce was given on the 1817 and (Kgst.) 10 August 1824. A new Ger-
same bill with the two-act opera 11 Credulo by the man translation by E. Latzko was published
same authors (see the original libretto in Son- 1932.
neck's Cataloglle, P.332). In Danish (translated by F. G. Sporon), Co-
The difhculties in dating the first performance penhagen 15 December 1795.
luve been pointed out by Sonneck. According In Swedish (translated from the French ver-
to Diodati's statement in the preface to the sion by C. G .. Nordforss), Stockholm 28 April
Impresario libretto, it was produced "appresso a11 1799·
altra mia Le Trame dcll.tse", which would mean In Polish (translated by W. Boguslawski),
about October. Lvov 1796 and Warsaw 1799.
Given at Milan, Sc. 3 October 1789 and a11 In Dutch (translated from the Freneh version
over Italy (until about 1825); in Italian also, by W. van Ollefen), Amsterdam 1800.
Trieste 6 December 1788; Paris, Th. de M. 6 In Russian (translator not mentioned), Moscow
May 17119 (enlarged to 2 aets, additions by 25 Oetober 1820.
Gugliclmi and Giordani); Barcelona 13 July In the original Italian, Cimarosa's opera was
1789; Eszterhaza 1790; Lisbon Camival 1792; revived at Turin, T.R. 28 February 1933, and
Warsaw 29 September 1792; Vienna 24 October Milan, Sc. 9 March 1938 (music revised by A.
1793; Ljubljana Spring 1794; Dresden Spring Toni).
1794; St. Petcrsburg 1794 or 20 February 1795.
Revivcd Paris, Th. I. 12 March 1802. DA LA Y R AC: Azclllia, OU Lc Ilouveau
In French (as Le Dircctmr darls /' EII/harras,
translated by P. U. Dubuisson), Paris, Th. Beau-
Robillsoll
jolais 23 December 1789; Ghent 1791; Hamburg 17 OClober. Fontainebleau
c. ]anuary 1795; Rotterdam 25 April 1796; Beme Text by A. E. X. de Lachabeaussicre (opera-
20 Fcbruary 1806; Moseow 19 April IS09; Ant- cOllliqllC Oll rOllIar,' lyri-col/1i1"c). Three aets.
wcrp 6 ]anuary lR2I. Another French version, Publicly rcrformed Paris, c.I. 3 Mal' 1787
La COI/1Mie a la Cmllf!a.~'/(·, translated by F. A. (with the new sub-title Les Sal/I'ascs, and with a
DlIvcrt, Illllsic adaptcd by P. C. CrClllont, was new third aet); given until 1828.
prodllccd at tbc Ot!Con, Paris, 10 August 1825. In FrClleh also, Liege 3 October 1789; Brusscls
In German (as Da Direktel/r in der Klel/1l/1e, 17 ]une 1795; Cologlle 1796-97; Hamburg and
translated by Pilger), Aaehrn S May 1791 and Gaehiiu 1797; Moscow 5 February IRlo; New
Colngnc 25 September 179T. Another version, York 20 Septcmbcr 1827.
by no lcss a translator tban C;octhc (who had In German (translated by H. G. Schmicder),
beel! presellt at a performance of thc Italian Mayence 26 May 17S9; Hamburg 21 September
original at ROllle Oll 31 ]lIly 1787), was produced 17~9; Herlin 7 ]une 1790; Munich 11 April 179 1 ;
at Weimar 24 October '791 (as Die Ihealralischl'l1 Cologne 20 November 1791; Graz IR April
Ai>l'11ll'11cr; sec M. Morris in G,,('/he-:!ahrhl/ch, Vol. 1793 (translated by J. Pcrinet); Vil'l1na, Leop. 7

433 434
 ANNALS OF OPERA

July 1795 :md Kä. 22 July 1805; Budapest GRETR Y: Le Comte d'Albert
6 June 1797; Bane Spring 1804; St. Petcrsburg
13 NOl'l'lIIhcr. Fontainebleau
1808; BasIc r6 January TR09.
Text by J. M. Scdaine (founded on a fable by
Dutch translation by E. G. Beaumont publish-
Lafontaine). Two acts; produced on the same bill
ed Rottcrdam r790; another by H. Ogelwight
with a third aet ealled Suitc du COlllle d'Alhcrl.
published Amsterdam 1791.
Revived as Alhcrt cl Anloine 01/ Le Servicc reco/ll-
In Swedish (translated by W. von Rosenheim),
pellse, Fa. 7 Deccmber 1794.
Stockholm 6 June 1793 and (in another version
Paris, c.I. 8 February 1787. In French also,
by c. Envallsson) 13 June 1793 (at two different
Liege 21 November 1787; Amsterdam 1788;
theatrcs); Gothenburg 25 February 1796; Malmö
Cologne 1796-97; St. Petersburg 27 April 1800;
27 April 1807; Lund 10 August 1807.
Hanover II June 1805; Moscow 29 April 1809;
In Russian (translated by V. A. Levshin), Kous-
Antwerp 17 Septcmber 1812.
kovo C.1794 and Moscow 1803.
In German (translated by H. G. Schmieder),
In Danish (translated by N. T. Bruun), Co-
Mayence 20 June 1789; Balin 2 January 1799.
penhagen 29 October 1810.
In Swedish (translated by C. J. Lindegren),
In Dutch, Amsterdam 1817.
Stockholm 16 May 1799.
In Russian (translated by A. P. Veshnyakov),
LEMOYNE: PhMre St. Petersburg 23 Deeember 1822.
An English adaptation by P. Hoare, with some
260etober. Fontainebleau new music by M. Kelly, called A Frielld in Nccd
Text by F. B. Hoffman. Three acts. is a Friend indeed, was produeed in London, D.L.
Lemoyne's chief work. Publicly performed 9 February 1797.
Paris, Ö. 21 November 1786 (given there 36
times until 1792 and revived 5 Deeember 1795 MARTIN Y SOLER: Una Cosa rara
and 2 November 1813). o sia Bellezza ed Onesta*
In Russian (translated by P; N. Semenov), St.
17 November. Vienna, B.
Petersburg 30 Deccmber 1818 (additional music
Text by L. da Ponte (founded on a story La LUlla
by Steibelt).
della Sierra, by Luis Velez de Guevara). Two aets.
Martin y Soler's most popular work and olle
GR:ETRY: Les Meprises par of the great operatic successes of that period.
Ressemblance* Frequently revived until about 1825. In Italian
also given at:
7 November. Fontainebleau DRESDEN 1787.
Text by J. Patrat. Three acts. PRAGUE Autumn 1787.
Paris, c.r. 16 November 1786. In French also, MILAN, S.C. 13 Oetober 1787.
Amsterdam 9 April 1791; Brussels 8 December VENICE 26 December 1787.
1799 (as Les deux Grenadiers). Revived Paris, O.c. TRI ESTE January 1788.
24 September r817 and 29July 1858; in Swedish, ROME, VALLE 12 April 1788.
Stockholm 7 March 1877 (as De bägge Grelladier- DRESDEN 12 April 1788.
erna, orchestration revised by J. Dente). LJUBLJA!'IA 1788.
Patrat later had the music suppressed and his ST. PETERSBURG Autumn 1788.
text produced as a comedy, under the title ofLes LONDON 10 January 1789.
deux Grenadiers ou Les Quiproquos; in this form MADRID 23 September 1789.
performed, Th. de 1a Cite 70ctober 1793. Duteh WARSAW 3 January 1790.
translation of this version published 1805. BARCELONA 2 September 1790.

435
 ANNALS OF OPERA

PARIS, TH. FEYDEAU 2 November 1791. AN F 0 S SI: Le Gelosie !ortunate

LISBON25 April 1794
AI/tuml!. Venice, S. Sam.
CAGLIARI, ~ARDINIA Autumn 1805.

Revived in London 13 June 1805 and 16 May Text by F. Livigni. Two acts.
1816; revived Paris 29 August 1812. Milan, Sc. 10 February 1788, etc.
In German (as Cosa rara, der seltne Fall, oder In Italian also given at Barcelona 23 July 1787
Schiinheit und Tugend, translated by F. Eberl), (revived 12 May 1791); Vienna 2June 1788 and
Vienna, Leop. 26 June 1787; (as Eine seltlle Ver- with alterations 13 June 1789; Eszterhaza 1789;
schwisterul1g: Tugelld ulld Selziillizeit beysam11lel1, Madrid 22 October 1791; Trieste Summer 1794;
translated by F. X. Girzik) Pressburg 1787 and Bastia, Corsica Spring 1797.
Budapest February 1788; (as Lilla, oder Schöllheit Performed at Vienna with one inserted air by
und Tugend, translated by J. Andre) Cologne Mozart (Ull bacio di mallO, K.541). Performed
Spring 1787, Hamburg 9 January 1788, Mann- at San Francesco d'Albaro, near Genoa Autumn
heim 8 June 1788, Munich July 1788, Schleswig 1790 with additions by Paisiello.
1788, Berlin 3 August 1788, Carlsruhe 16 Sep-
tember 1788; (as LiIla, oder die seltelle Trelle)
Prague 4 September 1789, Leipzig 24 September F 0 M IN: Novogorodskoy Bogatir
1789·
Boyeslavich
In German also, Amsterdam 19 May 1792;
Temesvar 7 March 1802; Dane Spring 1804; HOBoropO;:(CKoil: BoraTblpb BOeC.llaBHQb
Poznan 3 October 1805. (Boyeslavich the Hero of Novgorod)
A German sequel, Der Fall ist IlOeh weit selteller !
8 Dcwllbrr. St. Petersburg
oder: Die geplagteIl Ehemällller (text by E. Schi-
kaneder, music by D. Schack), was given at Text by the Emprcss Catharine II. Five acts.
Vienna, W. 10 May 1790; Prague 1792; Ham- First produced at the Ermitage; publicly per-
burg I October 1792; Budapest I I September formed Moscow 16 Februar)' 1795.
1793·
In Russian (translated by 1. A. Dmitrevsky),
St. Petersburg I~ June 1789 (revived 26 June STORACE: Gli Equivoci*
1803); Moscow 30 April 1795 (revived ::7 April
1806; 26 Dccember 1816; 29 August 1823). 27 Deeember. Vicnna, B.
In Danish (translated by L. Knudsen), Copen- Text by L. da Ponte (follnded on Shakespeare's
hagen 15 November'1791. Comedy of Errors. Dral1ll1la bl!ffo ... ad il1litazione
In Polish (transbted by W. Bogusbwski), della eomedia i/lglese di Shakespeare, ehe ha per titolv:
W.lrsaw 179-1-; Wilna 13 February 1810. Les meprises). Two acts.
In French (as Les Ac(or.!ees de Village, translated Given at Leipzig Summer 1793 as Li quattro
by J. Patrat), Paris, Th. Montansier 3 November Celllelli; in ltalian also, Praglle 1793; Dresden 18
1797, Th. clc la Ci te 14 December 1797; Ghent November 1797. In German, Pressburg 1788.
1800. Later on Storace introduced parts of the music
For an English adaptation. see Storace's Siege into his English operas X" S,l/lg, IIll Supper (1790)
of BcZ~r'lIle, 1791. and The Pirates (1792). See on Cli Equivoci, one
Ulla C'S,1 rara was revived at Halle December of the earliest Shakespearean operas, H. Boas in
1921 (in Gwn:m, Andrc's version revised by L. Sammelbände of the I.ALS., Vol. xv (1913-14),
Sachse); Barcelona 21 April 1936 (in Italian, at p.330, and A. Einstein in The MOlltldy MI/sied
the fourtecnth Festival of the 1.S.C.M.). Record, March-April, 1936.

437 43 8
 ANNALS OF OPERA

1787 at Munich as late as 1824 (A.M.Z., 1824, P.585;

see also C. M. von Weber' s letter of 22 March
CHAMPEIN: Les Dettes 1811).
11 January.
Paris, C.I. Date of first production according to Schatzl
Text by N. J. Forgeot. Two acts. Rudhart, Zenger.
Given in Paris until 1826.
In French also, Liege 20 January 1788; Charles- DITTERSDORF: Democrito co"etto
ton, S.C. 21 July 1795; Hamburg 1795; Cologne 24 January. Vienna, B.
1795-96; Hanover 20 January 1804; Moscow 28 Text (according to G. Gugitz) by G. Brunati
July 1810. (founded on J. F. Regnard's comedy Democrite,
In Dutch (translated by H. Ogelwight), Am- 1700). Two acts.
sterdam July 1791. The ltalian production was a failure, but the
(Date of first performance according to Mer- opera became fairly popular on the German
eure de Franee; the libretto gives 8 January 1787.) stage. The earliest German version (1788) was
PAISIELLO: Pi"O called Silene (by Dittersdorf himself? see A. E.
Brachvogel, Geschichte der Königlichen Theater zu
12 January. Naples, S.C.
Berlin. Vol. II, 1878,P.134); produced perhaps at
Text by G. de Gamerra. Three acts. Pressburg 1788 as Der gebesserte Democrit.
Successful in Italy (last revived Naples, S.C. In a German version by H. G. Schmieder the
25 December 18II; Parma 5 December 1812). opera was then given at
Given at Rome, Ap. Summer 1798 in a reduced MAYBNCE 1790 (as Democrit).
2-act version. MANNHEIM 26 May 1791 as Der eingebildete De-
In Italian also given at Trieste 24 April 1789; mocrit.
Warsaw 16January 1790; Leipzig Summer 1793; AACHEN 5June 1791 and Cologne 3 October 1791
Madrid 14 October 1793; Prague 1794; London as Democrit am Hofo.
13 June 1809 (in preparation already in 1791, FRANKFORT 10 July 1791 as DemocrJt.
semi-public dress rehearsals 23 February, 10 and HAMBURG 27 July 1791 as Democrit der Zweyte
22 March; not produced then as the licence was (translation altered by F. L. Schröder;in 3 acts).
refused by the Lord Chamberlain) ; Paris 19 Jan- MUNICH 13 June 1794 as Der neue Democrit.
uary 18II (first Italian opera seria there for 125 (Date of first performance according to Pohl
years, since Cavalli's Ercole amante in 1662 !). and others: Riedinger has I January; Schatz-
(According to Paisiello himself, Pirro was the Sonneck 27 January, perhaps following Krebs's
first serious opera which contains finales.)l "Wednesday, 27 January"; yet 27 January was
VOGLER: Castore e Polluce a Saturday.)

12 January. Munich
BULANT: Zbitenshchik
Text: a reduced 3-act version of C. I. Frugoni's
36HTeHb~HKb
I Tintaridi (see 1760).
Successful at Munich. Revived (in Italian) (The Seiler of Mead)
Prague 1798 and 1801; Vienna 22 December 28 January. Moscow
1803 (in concert form); Munich 14January 1806 Text by Y. B. Knyazhnin. Three acts.
(with alterations, atthe wedding ofEugene Beau- V'ery popular Russian comic opera. First given
harnais with Princess Augusta ofBavaria). at St. Petersburg 22 May 1789, and freq~ently
The chorus of the furies from Castore e Polluce revived on Russian stages until after 1850. The
was introduced into a Don Giovanni performance text (first printed in 1789) is an imitation of the
1 Not true. H.R. Barber 0/ Seville, which, in Paisiello's setting. had

439 440
 ANNALS OF OPERA

been very slleeessflli in RlIssia (see 1782). A MS it. When in 1794 poet to the King's Theatre, Da
score of the opera was shown at the International Ponte concocted a new one-aet version from
Theatre Exhibition, Vienna, 1892. Bertati's and from his own libretto; this "tragi-
Dates of the first performances according to comie opera," Il Don Gioflalmi, was produeed in
N. Findeizen's "O'lepKH no HCTOPHH MY3blKH London on I March 1794 with parts of Gazza-
8 POCCHH • • • " (1929), Vol. H, p.I07. Different niga's musie and additional airs by Sarti, Federici
dates, probably misprinted, are given in the same and Gugliclmi. Mozart's opera eame to London
allthor's article on early RlIssian opera in The no less than 23 years later. It is, however, likely
Musical Quarterly, 1933. that at least Mozart' s "Cataloglle Song" was heard
in London in 1794 as the text is literally to be
found in the libretto. (See Chrysander's study in
SCHALL: Claudine afVilla Bella
Vierteljahrsschrift für Musikwissetlschaft, Vol. IV
29 January. Copenhagen [1887], which deals thoroughly with the whole
Text, a Danish version, by N. H. Weinwich, of Gazzaniga-Mozart question.)
Goethe's Singspiel (see 1780). Three acts.
The first of Schall's seven Danish operas.
DITTERSDORF: Die Liebe im
Narrenhause*
GAZZANIGA: Don Giovanni Tenorio
12 April. Vienna, Kä.
o sia 11 Convitato di Pietra*
Text by G. Stephanie. Two aets.
5 Febmary. Veniee, S. Moise Sueeessful on German stages; given at Press-
Text by G. Bertati. One act. burg 1787; Cologne 1787-88; Hamburg 8 De-
Forming the second aet of 11 Capriccio dramma- cember 1788 (as Orpheus der Zweyte, text altered
tico (music perhaps by Valentini, who is mention- by F. L. Schröder, music adapted by J. F.
ed in a later libretto, ForB., 1789). Wiel and Schatz Hönieke); Hanover 2 November 1789; Stuttgart
have made it clear that 11 Capriccio drammatico is 5 April 1790; Munieh November 1790; Berlin
only a slightly altered version of Bertati's La No- 16 May 1791, ete. In German also, Budapest 4
!lita (Veniee, S. Moise Autumn 1775), which June 1790; Amsterdam 1792; Warsaw 28 Sep-
then served as introductory aet to L'1taliano a tember 1793. Revived Stuttgart 26 November
Parigi (musie ofboth by Alessandri). 1808; Würzburg 27 October 1813.
Very sueeessful in Italy; Bologna Spring 1788;
Milan, Sc. 3 Oetober 1789; Turin and Fodi 1789, CIMAROSA: 11 Fanatico burlato
ete. (given at Milan, T. Lentasio, as late as I I
April 1821). In Italian also Paris 10 Oetober 1791 Spring. Naples, Fondo
(Cherubini, then eonduetor at the Th. Feydeau, Text by S. Zini. Two acts.
introdueed some pieces from Mozart's Don Gio- (The tide in a MS score at the Florenee Con-
flanni into Gazzaniga's work and one quartet of servatorio isLa BurlaJclice opero 11 Fanatico burlato.)
his own); Lisbon Carnival 1792; London I March Aecording to the libretto given "per prim' opera
1794 (see below); [Madrid 12 November 1796, di quest' anno", whieh was in Spring aeeording
Gazzaniga's aeeording to Carmena y Millan; in to Cambiasi. Successful in Italy; Milan, Sc. 30
reality Fabrizi's opera, according to the libretto]. March 1788, ete. Revived Naples, T.N. Carnival
The opera is of special interest as the immediate 1808; Florence, P. October 1809.
forerunner of Mozart' s Don Gioflanni; particular- Outside Italy given at Vienna 10 August 1788;
Iy so sinee Chrysander first drew attention to the Barcelona 27 April 1789; Paris, Th. de M. 28
fact that Da Ponte, Mosart's librettist, obviously November 1789; Corfu Auturnn 1790; Lisbon
knew Bertati's text, and not only knew but used 1794·
441
 ANNALS OF OPERA
In German as Der adelsücizt\~e Bürger, Mann- Into German the opera was first translated by
heim 13 October 1791. F. X. Girzik (Pressburg 1788 and Budapest 3
November 1789) and by W. Müller (published
AHLSTRÖM: Frigga Carlsruhe 1788; not intended for the stage).
On most stages a 4-act version by H. G.
31 May. Stockholm
Schmiedcr was used: Frankfort 14 August 1790;
Text by C. G. afLeopold (foundcd on a comedy Hanovcr and Potsdam 23 September 1791 and
by King Gustaf III of Sweden). One act. Derlin 24 October 179I; Cassel 3 Sertember
Revived Stockholm 18 April 1803 (in an en- 179I; Stuttgart 8 Ocrober 1791; Hamburg 28
larged 2-act version). See T. Norlind's study in December 1791; Al11stcrdam 28 May 1794;
St·ensk Tidskrift jör MJISikj<lrskllillg, Vol. VIII Vienna S Dccember 1797, etc.
( 1926). Gi ven at Brlinn in 18 10 in a new translation
SALIERI: Tarare called Atar. Frequently revived in Germany;
so me of the btest productions were at Prague
8JUlle. Paris, O. 20January ISIS and 1827 (re-scored byTrieben-
Text by P. A. Caron de lleaumarchais. Prologue sec); Weimar 26 Decembcr 1835; Munich 14
and 5 acts. January IS42; Frankfort 1844-; Leipzig 24 March
Salicri's chief work. Given in Paris 13 I times 1846; Altona 1851; Stuttgart as latc as 27 Sep-
until 1826; revived 3 August 1790 with so me tember 1S63 (re-scored by P. von Lindpaintner
additions; 16 July 1799; and 3 February 1819 in and K. Eckert, new translation by F. J. Schlitky).
a rcduced 3-act version arranged bv A. F. De- In Polish (translated by W. lloguslawski),
saugiers). ' Warsaw 24 September 1793; Poznan 13 July
In French also, Liege 24 January 1789; St. 1So I; Wilna 8 September 1801.
Petcrsburg 1789 (revived I July IS03); Copen- Anonymous Dutch transhtion published 1793.
hagen 1799 (the prologue only, in concert form); In Russian, Moscow 21 November ISI7.
Hanover 23 March 1804; Haglle 1805; Druns- An English translation by C. James was pub-
wick 1806; th~ second version llrusscls 24 Feb- Iished as early as 1787; but the opera was only
ruary 1821. produced at the Ly., London 15 (not 14) August
A parody by F. L. de Donnefoy de Donyon, 1825 ("compiled from the German, French, and
called Lal/laire Oll Le Chaos, was produced at the Italian scores and arranged to the English words
c.r., Paris 2.7 July 1787; another, Bagarc, by by Mr. Hawes"; English version by S. J. Arnold.).
Magne de Saint-Aubi n , was givcn in another
theatre four days later, and a third, Errata, by
SCHULZ: Aline, Reine de Golconde
F. L. D***, was published in the same year.
Even more succcssful than the French ori~inal SI/mlller. Rheinsberg
was an Italian adaptation by Da Ponte (original- Sedaine's text (first set to music by Monsigny, see
Iy in 5 acts) AXJlr, Re d'OrIllJls; first performed 1766). Three acts.
Vienna, ll. 8 January 17 88 celcbratino- the wed- Performed at the private Frcnch opera-house
ding of the Archduke (late'r Emperor) Francis II; of Prince Heinrich of Prussia where Schulz was
this version Was also given at: Prague and Leipzig conductor. The exact date of the production is
17 88 ; Dresden 21 November 1789 (rcduccd to unknown; the performance is alluded to in the
2 acts); Warsaw 2 Janllary 1790; Lisbon 17 De- preface of the vocal score, published in 1790. The
cember 1790 and Spring 1799; Milan, Sc. 16 May opera was very popular afterwards in a Danish
1792 and Summer 1797; Darcelona 1800; Paris, adaptation by T. Thaarup (Alille Dronni/Jg i Gol-
ThJ. 6 March 18[3; Rio deJaneiro 17 Decem- cOllda); first performed at Copenhagen 30 Jan-
ber 1814. uary 1789 and given there until 18IS.

443 444
 ANNALS OF OPERA

BE R TON: Les Promesses de Mariage HÄFFNER: Electra

4 Jllly. Paris, c.1. 22 July. Stockholm
Text by P.]. B. Choudard Desforges (a sequel to Text by A. F. RisteIl (from a French libretto by
his Theodore et Pal4lin, composed by Gretry, see Guillard, set to music by Lemoyne in 1782). Three
1784). Two acts. ". acts.
The first of the younger Berton's numerous The first and most important of HäffUer' s three
operas. Swedish operas; first performed at the Palace of
Drottningholm; given at the Royal Theatre,
DALA YRAC: Renaud d'Ast Stockholm 10 December 1787.
19 Jllly. Paris, c.1.
Text by J. B. Radet and P. Y. Barre (founded on
ARNOLD: Inkle and Yarico
Lafontainc's talc, L'Oraisoll de Saint-Julicll). Two 4 August. London, LinIe Hm.
acts. Text by G. Colman, the youngcr. Thrce acts.
In Paris, givcn until 1828; in Frcnch also, Liege One of Arnold' s most popular works. Dublin
15 November 1789; St. Pctersburg 22]uly 1795; 5 December 1787; Kingston, Jamaica 2 August
Colognc 1796-97; Hanover 24 January 1804; 1788; New York 6 July 1789; Philadelphia 17
Moscow 19 December 1807; Stockholm April 1813. May 1790; Calcutta 10 February 1791; Boston
In Gcrman: 1794·
HANOVER 16 Junc 1788 (as Reillald, translated by Frequently revivcd on English stages; at New
H. G. Schmicder). York as Iate as 22 April 1844. (Date of first per-
MAYENCE November 1788 (as Rei/lald, translated formance verified from the play-bill; the libretto
by H. G. Schmieder). has II August).
HAMBURG 12 January 1790 (as Reinald, translated
by H. G. Schmieder). PHILIDOR: La belle Esclave ou
AMSTERDAM 1790 (as Rei/lald, translated by H. G. VaZcour et ZeiZa
Schmieder).
18 September. Paris, Th. Beaujolais
BERLIN 27 July 1791 (as Reillald, translated by H.
Text by A. J. Dumaniant. One act.
G. Schmiedcr).
One of Philidor's last works; also given at
VIENNA, W. 27 August 1791 (as Ccorg "oll AstCIl,
Marseilles 1 March 1788; Liege 19 September
translated by K. L. Giescke).
1789, etc.
MUNICH 3 Novcmber 1799 (as Ccorg ""11 Aste/l,
translated by K. L. Gicsekc).
VIENNA, LEOP. 3 October 1799 (as Der Liebhaber
MARTIN Y SOLER: L'Arbore di Diana*·
i/l der KIelIlIlIe, translatcd by J. Perinet) and 1 1 Oetober. Vicnna, B.

Decembcr 1801 (translatcd by Sedtler). Text by L. da Ponte. Two acts.

In Italian (translated by G. Carpini), Monza Written to celcbrate the wedding of the Arch-
Autumn 1789. duchess Maria Theresa with Prince Anton of
In Danish (tr:mslated by O. C. Olufscn and F. Saxony. Nearly as successful as Una Cosa rara by
Schwartz), Copcnhagcn 16 April 1793. the same authors (see 1786).
In Swcdish (tränsbtcd by C. Envallsson), In Italian also given at Prague 16 January 1788;
Stockholm 6 Junc 1796. Leipzig 25 May 1788; Milan, Sc. 1 October 1788;
In Russian, Moscow 26 Decembcr 1799. Trieste 26 Dccember 1788; Passau 31 January
In Flcmish, Oudcnarde 1799. 1789; Madrid 4 November 1789; Warsaw 25
A Dutch translation by J. van Wal rc was pub- February 1790; Barcelona 25 August 1791; Rot-
lished in 1803. terdam 1795; London 18 April 1797.

445
 ANNALS OF OPERA

In German (translated by F. Eberl), Vienna, Revived Naples, T.N. Autumn 1843 and
Leop. 17 July 1788 and Kä. 29 August 1802; again Fior. 15 April 1883 ("riveduta, corretta e
(transIated by F. X. Girzik), Pressburg 1788; rinnovata, ne si sa da chi", as a reviewer wrote);
Budapest 26 August 1789; (translated by B. C. Rome I January 1892.
d' Arien), Hamburg 10 November 1788; (trans-
lated by C. G. Neefe), Bonn 3 January 1789. MOZART: 11 Dissoluto punito
Berlin 24 February 1789; Prague 26 April 1791 o sia 11 D. Giovanni
(revived 25 June 1808); Amsterdam 1792;
29 Oetober. Prague
Weimar 10 October 1793 (translated by C. A.
Vulpius); Schleswig 1799; Temesvar 3 Decem- Text by L. da Ponte(Dramma giocoso), pardy
ber 1801; Basle 23 January 1809. Revivcd Stutt- founded on Bertati's DOll Giova1ltzi 0 sia 11 Con-
gart 2 January 1819 (new German version by F. vitato di Pietra (see above). Two acts.
K. Hiemer). Givcn at Prague 532 tirnes within 100 years
In French (translated by P. U. Dubuisson), (during the same period given at Berlin 491 times,
Paris, Th. Montansier 6 May 1790; Ghent 1799. at Vienna 472 times); given at Prague for the
In Russian (translated by I. A. Dmitrevsky), first time in German 8 November 1807 (but ac-
St. Petcrsburg 15 September 1789; Moscow cording to O. Teuber al ready in 1791 at the
1792; revived Moscow I December 1808 and
"Vaterländische Bühne im Hiberner Kloster");
St. Petersburg 13 October 1818. given at Prague for the first time in Czech 9
In Polish (translated by J. N. Kaminski), Lvov April 1825 (see the preface to J. N. Stepanek's
translation) and revived in a new Czech version
1'798; Wilna 30 December 1798; Warsaw 31
August 1799. by V. J. Novotny 27 September 1884; looth
Anonymous Dutch translation published (n.d.). Czech performance 12 June 1894.
After Prague, first produced at Vienna, B. 7
PAISIELLO: La Modista Raggiratrice May 1788 (in Italian, with three additional num-
Autumn. Naples, Fior. bers: the airs, Mi tradl and Dalla sua pace and the
duet, Per queste tue malline); given at Vienna for
Text by G. B. Lorenzi (founded on an older lib-
the first time in German: W. 5 November 1792
retto by G. A. Federico, Filippo, 1735, and first
(translated by C. H. Spiess); Kä. I I December
set to music by Tritto in 1784). Three acts.
1798 (translated by K. F. Lippert).
Very successful in Italy; Milan, Sc. 7 J une 1790,
In Italian also performed at Leipzig 15 June
etc.; given at Rome, T. VaIIe June 1788 as La
1788 (by the Prague company; called on the
Scuffiara amante 0 sia Il Maestro di Swola Napo-
play-bilI, Eill c~rosses Singspiel).
letano; at Pavia Carnival 1789 and Lodi Sum-
mer 1789 as La Cuffiara astl/ta ossia L' ollesta Productions in German up to 1802
Raggiratrice; at Gorizia Carnival 1790 as La Mo- [The foIIowing list is, with additions and cor-
dista ossia La Scuffiaja, with some alterations ; at rections, founded on the stlldies by C. Engel (Die
Naples 1792 and Milan, Sc. 26 May 1808 as La Don juan-Sage a"!fder Bühnc, 1887), R. von Freis-
Scuffiara (with new additions); at Florence, P. auff (Mozart's Don jl/an, 1887), A. Schatz (review
Spring 1800 as La Swffia Raggiratrice. of Freisallff' s book in Viertcljahrsschrift für Musik-
Outside Ital)': Vienna 23 April 1788; Warsaw wissellschaft, 1888) and P. A. Merbach (in Die
25 September 1789 (by amateurs); Madrid 26 SCClZC, Vol. VII, parts 7-9, 1917); for details on

July 1791; Lisbon Carnival 1792; Leipzig Sum- the earliest German prodllctions see also the
mer 1793; London 16 April 1796 (revived 16 various papers by o. Bacher.]
February 1819; Paisiello's setting according to MAYENCE 13 March 1789, and FRANKFORT 3 May
the libretto, not Tritto's, as Nicoll has it); Paris, 1789 (translated by H. G. Schmieder); these
Th. I. I I July 1802. dates have been established by o. Bacher; the

447
 ANNALS OF OPERA

wrong date of 23 May 1789 for the first GOTHA AND OEDENBURG 1794.
German performance of Don Giovallni (Son- RUDOLSTADT 10 September 1794.
neck, Abert, etc.) should be rectified. DANZIG II September 1794.
MANNHEIM 27 September 1789 (translated by C. ERFURT 22 September 1794.
G. Neefe). SCHLESWIG I December 1794.
BONN 13 October 1789 (translated by C. G. KIEL 12 January 1795.
Neefe). MAGDEBURG January 1795.
HAMBURG 27 October 1789 (translated by F. L. STETTIN 30 January 1795.
Schröder). NUREMBERG 20 April 1795.
GRAZ 30 November 1789 (this performance is ERLANGEN May 1795.
doubtful; announced, but not reviewed. First FRANKFORT (ODER) 1795.
recorded performance at Graz 28 May 1795). LAUCHSTEDT 3 August 1795.
BRÜNN December 1789. DRESDEN 16 September 1795 (new German ver-
AUGSBURG 1790. sion by C. A. Zschiedrisch; in Italian: 28 May
SOEST 26 June 1790. 181 4).
SCHWERIN 5 July 1790. LEIPZIG 3 January 1796 (in Italian earlier, see
BERLIN 20 December 1790 (Schröder's transla- above).
tion; 500th performance 25 November 1887); STUTTGART 28 March 1796.
in Italian: Kgst. 24 April 1843. POTSDAM 1796.
HANOVER 4 March 1791. FREIBURG 1796.
CASSEL 16 April 1791 (given there in French in SALZBURG 18 January 1797.
April 18II). DESSAU 27 January 1797.
PRAGUE 1791 (at the "Vaterländische Bühne im BAUTZEN 6 April 1797.
Hiberner Kloster", aeeording to O. Teuber). GÖRLITZ 1797.
PYRMONT 8 July 1791. REVAL 1797 (in Estonian much later, see below).
MUNICH 7 August 1791. ST. PETERSBURG 1797 (according to Theaterjournal
COLOGNE 7 October 1791. 1797, I, P.196).
BRESLAU 20 JanuaryI792 (Schmieder's translation). BUDAPEST 28 December 1797 (according to All-
WEIMAR 30 January 1792 (in Italian: 4 September gemeine Deutsche Theaterzeitung, Pressburg; ac-
181 3). cording to J. Kidir only 1801. But according
GLOGAU 26 July 1792. to Gothaer Theaterkalender 1790, p.IJI, in pre-
BREMEN 24 Oetober 1792. paration there al ready in 1790, translated prob-
VIENNA, w. 5 November 1792 (translated by C. ably by F. X. Girzik).
H. Spiess). KARLSBAD 23 June 1798.
BRUNSWICK 10 March 1793. NACHOD 1 July 1798.
MÜNSTER March 1793. LINZ 2 November 1798.
PASSAU May 1793 (but see A. E. Cherbuliez, in VIENNA, KÄ. II December 1798 (translated by K.
Bericht über die musiktvissensehaftliche Tagung F. Lippert).
... in Salzburg, 193 I, p. 150 ff. where a Passau PRESSBURG 26 December 1798.
1789 score is mentioned). SAGAN I January 1799.
DÜSSELDORF, AACHEN, KÖNIGSBERG 1793. ALTENBURG 2 May 1799.
LÜBECK 17 October 1793. NAUMBURG 23 June 1799·
OELS II January 1794. AURICH AND MINDEN 1799.
AMSTERDAM 9 June 1794 (according to Rogge RIGA 1799 (in Lettish much later, see below).
and Seheurleer; Schatzhas 8 March 1794, Mer- BALLENSTEDT January 1799.
bach I I November 1794). GREIFSWALD 13 February 1800.

449 450
 ANNALS OF OPERA

INNSBRUCK 22 April 1800. AMSTERDAM 3 I January 1809 (in Italian; the

ALTONA 29 November 1800. Freneh translation in the libretto [copy ColI.
COBURG 18 March 180I. Hirsch, British Museum] bl' F. C. Müller).
ELBING9 June 1802. HAGUE II May 1804 (in Dutch) and 7 December

In 180r F. Rochlitz's translation (founded on 1815 (in French); the Castil-Blazeversion 1835;
Neefe and Sehräder) was published whieh served 20 Mal' 1829 (in German).
as a standard version for c. 50 years; more recent ROTTERDAM 27 Mal' 1810 (in German); II Feb-

German versions are by G. H. F. T. Sever (1854); ruarl' 1836 (in Freneh); 23 March 1843 (in
W. Viol (1858); L. Bischoff (1860); A. von Italian).
Wolzogen (1860 and 1869); C. H. Bitter (1866); See on the productions of Don Giollanni in
B. Gugler (1869); T. Epstein (1870); F. Gran- Holland, H. C. Rogge in Tijdsclzrifi der Vereeni-
daur (r871); K. F. Niese (1872); M. Kalbeck ging 1I00r Noord-Nederlands Musiekgeschiedellis,
(1886); H. Levi (1896); E. Heinemann (1904); VoI.II (1887), P.237.
K. Scheidemantel (1913); A. Bodanzky (1914), A new Dutch translation by C. van der Linden
ete. was published in 1903.
"Don Giovalmi" in other countries Hun<<;ary
Poland BUDAPEST 28 Deeember 1797 (? in German, see
WARSAW 14 Oetober 1789 (in Italian) and 1817 above).
(in Polish, translated by K. Brodzillski). KRONST ADT 8 Oetober 1826 (in Hungarian, trans-
POZNAN 24 October 1803 (in German) . Iated bl' E. Pall'; his version published Kassan
LEMBERG 27 February 1879 (in Polish; but cer-
1829).
tainly given earlier there in German). CLAUSENBURG 14 December 1826 (in Hungarian,
translated by E. Paly.
Russia BUDAPEST 24 November 1827 (in Hungarian,

ST. PEHRSBURG 1797 (in German, see above; no translated bl' E. PaIy.
performance earlier than 1800 is reeorded by BUDAPEST 29 May 1839 (new Hungarian version

Findeizen. In jal/mal des Luxus t/1/d der Modell by J. Szerdahelyi; since 1917 a modern trans-
and in Iffiand' s Allllallach fürs Theater a perform- lation by Z. Harsanyi has been used).
ance in Spring 1809 is mentioned. The earliest France
extant plal'-bill dates from 14 May 1828).
PARIS, o. 17 September 1805 (30. Fructidor An
ST. PETERSBURG 3 May 1828 (in Russian, trans-
XIII, in French, adapted by J. Thuring and D.
Iated by R.· M. Zotov; date according to Baillot, musie arranged by C. Kalkbrenner;
Stasov and Cheshikhin; Freisauff and Schatz this mutilated version was given 28 times until
give 2 September 1828). 27. January 1807. The Empress Josephine was
MOSCOW 7 Jl1ne 1li25 (in Italian). prescnt at the first night; Napoleon heard the
ST. PETERSIlURG Carnival 1831 (in Italian). opera about the same time at Ludwigsburg on
KIEV 1876 (in Russian, translated by A. Grigor-
4 Oetober 1805).
yev). PARIS, TH. I. 2 September 1811 (in Italian; under
Holland Spomini's direction).
AMSTERDAM 9 June 1794 (in German, see above; PARIS, ODEON 24 December 1827 (in French, as
eopy of the libretto ColI. Portheim, Vienna). Le Fcstill de Pierrc, adapted by F. H. J. Castil-
AMSTERDAM 18 Oetober 1803 (in Freneh; the Blaze, with dialogue from Moliere's pIay; 4
Kalkbrenner version, sec below, under Paris). acts).
AMSTERDAM 26 March 1804 (in Duteh, translated PARIS, TH. I. 26 May 1!)31 (in German, by a
by H. Ogelwight). company from Aachen).

451 452
 ANNALS OF OPERA

PARIS, O. 10 March 1834 (in French; new s-act COPENHAGEN 23 February 1845 (new Danish ver-
version by H. Blaze de Bury and E. Deschamps. sion by N. C. L. Abrahams).
Revived 21 March 1841, 2 April 1866, etc.; COPENHAGEN I Jtme 1858 (in German).
looth performance 4 November 1872. Since STOCKHOLM 6 December 1813 (in Swedish, trans-
1866 given with a ballet, music from Mozart, lated by C. G. Nordforss).
arranged by Auber). STOCKHOLM 27 January 1856 (new Swedish ver-
PARIS, TH. L. 8 May 1866 (new translation by sion byW. Bauck); another Swedish version by
H. Trianon, music adapted by J. F. E. Gautier). S. C. Bring published 19II.
PARIS, O.C. J7 November 1896 (new translation CHRISTIANIA 6 January 1836 (in Norwegian;
by L.V. Durdilly). revived 7 May 1902 at the Nationalteatret).
PARIS, O.C. 30 April 1912 (new translation by
Ifaly
P. Ferrier).
PARIS, CH.E. 28 May 1924 (in German, by the According to Freisauff, Schatz, Abert, and
Vienna O. company). others, Mozart's opera was produced at Florence,
PARIS, o. 14 March 1934 (new translation by A. P. as early as 9 April 1792. According to U.
Boschot). Morini the opera produced then was Albertini's
LILLE 10 October 1805 (in French; the Kalkbren- Don Giovanni (see 1783), while G. Pavan does not
ner version). mention any performance at all. No libretto
NANTES 14 November 1814 (in French). seems to be extant. But there is a strong argument
LYONS 10 December 1822 (in French; first pro- against so early a Don Giovanni production in
duction of the Paris 1827 version) and 9 Octo- Italy in Franz Niemtschek's biography ofMozart
ber 1841 (in German). (1798), p.68: "In Florenz habe man den Hen Akt
ROUEN 4June 1841 (in German); 24January 1866 des Don Juan nach neun misslungenen Proben,
(in Italian); and 19 January 1898 (in French). für unausführbar erklärt!! Diese Nachrichten
MARSEILLES 15 September 1842 (in German) and hörte der Verfasser aus dem Munde eines Teut-
16 May 1867 (in French). sehen berühmten Opernkomponisten d. Hrn.
BORDEAUX 26 April 1869 (in French). W**, der sich in Italien lange aufhielt, und den
MONTE CARLO 14 February 1907 (in Italian). Zustand der Musik daselbst genau kennt, weil er
für einige grosse Bühnen Opern schrieb". (The
Belgium opera composer alluded to probably is Peter von
GHENT 5 October 1806 (in French; the Kalkbren- Winter.)
ner version). Apart from the doubtful Florence production
BRUSSELS I April 1807 (in French; the Kalkbren- the first performances of Don Giovanni in Italy
ner version). were at:
ANTWERP 3 December 1807 (in French; the Kalk-
BERGAMO Camival 1811.
brenner version). ROME, VALLE II june 1811.
LIEGE 23 May 1839 (in German). NAPLES, FONDO 14 October 1812 and Auturnn
BRUSSELS 9 August 1844 (in German).
1816; S. C. 6July 1834.
BRUSSELS 20 March 1861 (in Italian). MILAN, sc. 17 October 1814; T. Re. I January
BRUSSELS 17 May 1867 (in French, the Paris 1834 1820.
version). TURIN, T. D'ANGENNES Autumn 1815; T. Cari-
ANTWERP I October 1898 (in Flemish, translated
gnano Auturnn 1828; T. R. Camival 1859.
by E. Keurvels). FLOREN CE, T. DE' RISOLUTI Summer 1817; P.
Denmark, Sweden, Norway April 1818.
COPENHAGEN 5 May 1807 (in Danish, translated BOLOGNA, T. BADINI December 1817.

by L. Kruse). PARMA, T. DUCALE 26 December 1821.

453 454
 ANNALS OF OPERA

GENOA, T. DEL FALCONE May 1824; C. F. Spring LONDON, OLD VIC. 24 November 1921 (translated
1867· by E. J. Dent).
BOLZANO (BOZEN) 19 April 1827 (in German). The 300th performance at c.G. was on 15 July
VENICE, S. BEN. 8 April 1833. 19 14.
MALTA September 1833. DUBLIN 7 January 1828 (in Italian).
TRIESTE 26 December 1842. etc. EDINBURGH 21 July 1830 (in English, translated
CAGLIARI, SARDINIA 13 January 1883. and adapted by T. H. Reynoldson).
EDINBURGH 27 November 1832 (in Italian).
Switzerland
CALCUTTA 4 February 1833 (in English, sccnes
(productions in Germ:m):
only; see Hemendranath Das Gupta, Thc Indian
BERNE 15 April 1812. Sta.~e (1935), pp.264-65)·
ST. GALLEN 1812. MELBOURNE 1861 (in English).
ZURICH 1822 (in concert form). SYDNEY September 1862 (in English).
WINTERTHUR 28 November 1827 (in concert CAIRO 1870 (in Italian).
form). U.S.A.:
BASLE 4 February 1835. NEW YORK, PARK TH. 23 May 1826 (in Italian).
GENEVA 1856; in French 7 April 1874. PHILADELPHIA 25 December 1827 (in Italian).
On 8 November 1850 Richard Wagner con- PHILADELPHIA 6 November 1837 (in English, ad-
ducted a DOll Giovamli performance at Zurich vertised as "First time in Amcrica, in a faithful
"mit neuer Bearbeitung des Dialogs und mit translation" ).
Recitativs" by himsclf. SAN FRANCISCO 1855 (in Italian).
NEW YORK, STADT TH. 2 April 1856 (in German).
Great Britain, Ireland, ete.
NEWYORK, CHATHAMTH. 29 May 1862 (in English,
Londoll.-On amateur performances of Don
Bishop's version).
Giovatllli and other Mozart operas in London be-
CHICAGO 1859 (in Italian).
tween 1806 and 18rr see the anonymous articles,
Autobiography of an Amateur Sillger in The Har- Latin Ameriea, Spain, and Portugal
11l0niCOIl, 1831, pp.ro6 and 135; see also 183 0 , (all productions in Italian):
P.I13, note. Cf. F. O. Souper in The MOllthly BUENOS AIRES 8 February 1827 (Spanish transla-
Musical Rccord, January 1935. tion in the printed libretto by J. M. 5.).
On the professional stage: MADRID, T. DE LA CRUZ 15 December 1834 (re-
LONDON, HM. 12 April 1817 (not 20 May 1817; vived T. R. 20 April 1864).
in Italian; given 23 times during the first sea- LISBON 6 January 1839 (revived 1 December
son). 1868).
LONDON, C.G. 30 May 1817 (in English, as The BARCELONA 18 December 1849 (Catalan trans-
Libertine, translated by 1. Pocock, music adapted lation by J. Pena published 193 I).
by Bishop). MEXICO 23June 1852 (revived 1 November 1895).
LIMA, PERU Camival 1854 (see M. Hauser, Reise-
LONDON, ADELPHI 5 July 1830 (in English, adapted
by W. Hawes). briefe, pm).
SANTIAGO, CHILE 1870 (see R. Briseiio, Estad{stica
LONDON, HM. II July 1832 (in German).
Bibliografica de la Literatura Chilena, Vol.rr,
LONDON, D.L. 5 Fcbruary 1833 (in English, trans-
pm).
lated by S. Beazley).
RIO DE JANEIRO Summer 1880.
LONDON, PRINCESS'S 1 October 1849 (in English;
author of this new version not mentioned; Other Countries
probably J.W. Mould, who edited the work as REVAL (TALLINN) 1797 (in German) and 1929 (in
VOl.VI ofhis The Standard Lyric Drama in 1850). Estonian, translated by G. Tuksam).

455
 ANNALS OF OPERA

RIGA 1799 (in German) and 12 February 1921 (in July 179 1 and Madrid 4 November 1791 (as Le
Lettish, translated by L. Laiccns). Avvellture galanti) ; Dresden 6 November 1793 (as
LAIBACH (LJUBLJANA) 15 November [RIS (in Ger- I Disprezzatori delI/: Damle); Lisbon Carnival
man, C. H. Spiess's translation) and 24 ]:muary 1797 (as Le Vicende amorase).
1925 (in Sloveniln). Date of first performance and original title
AGRAM (ZAGREB) 1830 (in German) and I9January according to Formenti' s Indice dei Spettacoli, 1788-
1875 (in Croatian, translated by E. J. Tomic); 89, qlloted in C. L. Curiel's Il Teatro S. Pietro di
I June 1920 (new translation by M. Nehajev). Trieste (1937). Schatz-Sonneck give Le Vicende
HELSINKI6 November 1840 (in German) and 27 amorose as the original tide and April 1787, as the
March 1878 (in Finnish, tr:mslated by A. Törne- date of the first performance.
roos).
SOFIA 7 April 1930 (in Bulgarian, translated by
DAN Z I: Die Mitternachtsstunde
B. Danovsky).
KAUNAS 5 Decembcr 1933 (in Lithllanian, trans- April. Munich
Iated by S. Santvaras). Text by M. G. Lambrecht (founded on Duma-
BUCliAREST c. Jammy 1834 (in Germ:m) and niant's comedy, La Guare ollllcrte). Three acts.
Spring 1936 (in Rum:mian). The most sllccessflll of Danzi's nllmerollS ope-
ras amI the only one which was published.
Revi ved M unich February 1798; Frankfort 12
Febru~ry 1799; Hamburg c. February 1799; Bcr-
lin 1 October 1799; Mannheim 29 June 1800;
REICHARDT Androl/1eda Nuremberg 1801; in GerIllan also Budapest 10
2 ]mlllary. Berlin, O. August 1803; St. Petersburg I 80R; last given Mu-
nich 29 June 1815·
Text by A. de' Filistri da Caramondani. One act.
Reichardt' s first Italian opera.
P. GUGLIELMI: La Pastorella nobile
C HER U BIN I: lfi/?cllia in Aulide 19 April. Naplcs, T.N.
Fcbmary. Turin .. T.R. Text by S. Zini. Two acts.
Text by F. Moretti (firs set to mllsic by Zingarclli One of Guglielmi's most successful works.
in 1787). Three acts. Given at Milan, Sc. September 1789 and all ovcr
The last opera Cherubini wrote in Italy; given !taly; the latest revival was at Venice, S. Ben.
in the same year 1788 at Parma, Milan and Flo- 28June 1809.
rence; in Italian also, London 24January 1789. In Italian also prodllced at Barcelona 25 August
17R9 and Madrid. 18 Jllne 1791; Paris, Th. de M.
12 December 1789 (additions by Martin y Solcr
TRI T T 0: Le Avventure amorose
and Chcrllbini; revived 4 April 1807 asL'Erede di
Sprillg. Rome, Valle Bclprafo; givell until 1822); Nice Carnival 1790;
Text by "Timido P.A." Two acts. Vienna 24 M.l Y1790 (additions by Weigl); Corfu
The most successful ofTritto's numerous ope- Autumn 1790; Dresdcn 12 Fcbruary T791; Lisbon
r.ls. Given at Genoa S?ring 178<) as Lc Avvellture 13 May 1791; London, Pantheon 17 Deccmber
ga/mzti; at Bologna 14 January 1792 aso Le VicC/lde T79! (rcvived Hm. 10 February 1801); Prague
amorase; at Turin 1792, Padua 13 June 17<)2 and 1792; Palma, Mallorca Autumn 1793; St. Peters-
Trieste 13 August 1793 as I Raggiri d'AlIlorc; out- burg 1797.
side Italy: Paris 26 January 1789 (opening of the In German (as Die Sc!zii/le arif delll Lande, trans-
Th. de Monsieur, !ater Feyde:lU); Barcelona 4 lated by H. G. Schmieder), Frankfort 25 Octobcr

457
 ANNALS OF OPERA

1791; Cologne 27 Oetober 1793; (as Die adeliche PA I SIE L L 0 : L' Amor contrastato*
Schäferin, translated by K. L. Gieseke), Brünn
Summer. Naples, Fior
14 November 1791; Breslau I June 1792, Graz
Text by G. Palomba. Two acts.
30 Oetober 1792, ete.; (as Der Lohn weiblicher
Better known by its later titles, La Molinara, or
Sittsamkeit, translated by G. F. W. Grossmann),
La Molinarella. Given at Venice Carnival 1789 in
Hanover 10 February 1795 and (as Das adligeLa/ld-
an enlarged 3-aet version; Milan, Sc. March
mädchen), 15 April 1796; and (in yet another Ger-
1791, ete.
man version by K. F. Lippert) Vienna 17 May
In Italian also produced at Madrid 16 May 1789
1798.
(revived 20 June 1792 and 23 May 1809); Barce-
lona 30 May 1790; Paris, Th. de M. 31 Oetober
(SACCHINI): Arvire et Evelina 1789 (with nine additional n umbers by Cheru bini ;
29 April. Paris, O. revived Th. I. 2 September 1801 and I July
Text by N. F. Guillard (founded on W. Mason's 1809); Eszterhaza Summer 1790; Dresden 1790;
Caractacus, produeed London, C.G. 6 Deeember Vienna 13 November 1790 (frequently revived
1776, with ineidental musie by Ame). Three aets. until 1833); Trieste 28 Deeember 1790; London,
Saeehini's last opera, performed two years after Pantheon 21 May 1791 (revived Hm. 6 Deeem-
his death, eompleted by J. B. Rey. Sueeessful in ber 1794,22 March r803, 8 March 1817); Prague
Paris; given at the O. 87 times until I8II and 1791; Warsaw 28 April 1792; Innsbruek 16 July
revived there 13 September 1820 (redueed to 2 1792; Lisbon Autumn 1793; St. Petersburg 1795
aets by N. S. G. Saulnier, musie adapted by Ber- and 9 December 1798 (revived 1831); Amster-
dam 1806.
ton).
In ltalian (as Evelilza, translated by L. da Ponte), In German (as Die LaUIlCIl der Liebe), Brünn
30 November 1791; very popular in a German
London 10 January 1797.
version by C. F. Bretzner (as Die schiille Mülleril/),
In Danish (translation by R. Frankenau), Co-
Frankfort 26 December 1792; Hanover 8 April
penhagen 30 January 1799; the first act had been
previously heard there in concert form in 1791 (in 1793; Hamburg 26 April 1793; Berlin 16 Oeto-
ber 1793, ctc.; in German also, Rotterdam Sprino-
Frcnch).
1796; Bernc Spring 1R04; Amsterdarn 1805; St.'"
Petersburg 1809; Copenhagen 10 June 1825;
DA L A Y R AC: Sargines, Oll L' Eleve Budapest 4 July 1825. Last revivcd Dresden 7
de l'Amour December 1861; Berlin, Fr.W. 27 April 1862.
14 May. Paris, c.I. German voeal score published 1890.
In Russian (translated by N. S. Krasnopolsky),
Text by J. M. Boutet de Monvel (founded on a
St. Pctersburg 8 JunI' IRr2; (translated by A. F.
story in F. T. M. Baculard d'Arnaud's Epmll'cs
Merzlyakov), Moscow 7 November 1816.
dl/ Sel/ti/llcllt). Four acts.
Bc'ethoven used two arias from this opera for
In Freneh also, Cassel 26 August 1790; Liege
variations: QI/al/t' (\ pi/I {,ello and the better known
February 1793; Brusscls r6 July 1794; St. Peters-
;\'c! ,w pi/lI/Oll 1I1i SCI/to (Mich fiiehcII allc Frcl/dcII),
burg IH04; Trier 13 Decembcr r804; Berne 12
both 1796.
July rli09; Moscow 26 November IRro.
In German (transbted by H. G. Schmieder),
Frankfort 5 September 1790; Mannheim TO April
SAlIERI: Il Talismano
1791, etc. At H:lI11bufO" March lRoo JS Otto 1'011 JO September. Vienna, B.

Ifaldbl/rg. ,., Text by L. da Pollte, Three acts.

In Swcdish (translated b; C. Envallsson), Altered from an earlicr libretto bv Goldoni
Stockholm 29 April 1795. which had been written far thc inal1~uration 0;'
'"
45\1 460
 ANNALS OF OPERA

the new Teatro della Canobbiana, Milan; pro-

duced with music by Salieri (first act) and Rust
17 8 9
(second and third acts) in September 1779 as the DA L A Y R AC: Les deux petits Savoyards
first new opera there; also glven at the Scala in
July 1785 and on some other Italian stages. For 14]anuary. Paris, C.I.
Vienna, Da Ponte modernized the libretto, and Text by B. J. Marsollier. One act.
Salieri wrote entircly new music. This second One of Dalayrac' s greatest successes. Given in
setting apparently was never heard in Italy, but Paris until 1836 and revived at St. CIoud 22 July
was the more successful in Central Europe. 1847 (by pupils of the Paris Conservatoire).
In Italian also given at Prague 1788; Dresden In French also given at Liege 17 September
and Brunswick 1789; Warsaw 12 January 1789; Geneva 17 December 1789; Aachen 24 Au-
1790. gust 1794; St. Petersburg 4 February 1795; Ham-
In a German version by F. Eber!: Vienna, burg 4 March 1795; Cologne 1796-97; Philadel-
Leop. 30 April 1789; Budapest 5 July 1789; phia 16January 1797; Moscow 5 February 1810;
Warsaw 8 December 1793. London, St. J.'s 19 April 1844.
In a German version by H. G. Schmieder: Even more popular in Germany (first trans-
Mayence 20 February 1790; Car!sruhe 22 No- lation by H. G. Schmieder), Mayence 12 May
vember 1790; Munich 14 June 1793; Hamburg 1790; Mannheim 25 July 1790; Hanover 7 Sep-
1794; Berne Spring 1804· tember 1790; Hamburg 7 October 1791; Berlin
In a German version by A. F. von Knigge: 9 November 1791; Briinn 21 June 1792; Breslau
Hanover 4June 1790; Ber!in 20 May 1796; Bres- 14 September 1792; Bremen 31 October 1792;
lau 4 January 1799; Schleswig 1805. Vienna, Leop. 13 December 1792 (translated by
J. Pcrinet) and W. the very next night, 14 De-
cember 1792, in Schmieder's translation; (revised
CHERUBINI: Demophoon* by A. J. Fischer, Kä. 14 August 1804); Graz I I
July 1793; Budapest 30 March 1794; Poznan 23
5 DeCClllber. Paris, O.
November 1803; Berne Spring 1804; Prague
Text by J. F. Mannontcl (based on Metastasio's 26June 1814; Moscow 20 November 1819.
DCl1lofoollte). Three acts. Given in Germany throughout the 19th cen-
Chcrubini's first Frcnch opera; given for eight tury; last revived Carlsruhe 2 October 1894 and
nights only. A concert at Coblenz 29 November 16 May 1902.
1926, when extracts from the opera were per- In Dutch (translated by H. Asschcnbergh and
formed, not revived in 18th or 19th centuries. H. G. Roullard), Amsterdam 1790; revived
Haguc 1822; in Flemish, Oudenarde Winter
1797-8.
P. R I T T ER: Der Eremit aufFormentara In Italian (translated by G. Carpani), Monza
14 December. Mannheim Autumn T791; S. Pier d' Arena (near Genoa)
Autumn 1793; Lisbon I I January 1796. Another
Text by A. von Kotzebue. Two acts. Italian version, by G. Brunati, was published in
Ritter's most successful opera. Given on many 1798.
German stages and, in German, also at Brünn In Danish (translated by A. G. Thoroup),
12 October 1791; Budapest 9 December 1791; Copenhagcn 18 September 1792.
Schleswig 1792. Revived Agram 20 March 1804 In Swcdish (translated by C. Envallsson),
(Ritter's setting?); Hanover 4 May 1804. Stockholm 6 June 1794; Malmö 13 May 1807;
Dlltch translation by V ... published Rotterdam Lund 24 August 1807.
1791. In Russian, Moscow 1801.
 ANNALS OF OPERA

In Polish (translated by K. Hebdowski), War- In German (translated by J. Perinet), Vienna,

saw 1809. Leop. 13 Oetober 1794; Bautzen 21 February
In English (translated by M. Lonsdale), Lon- 1799; Görlitz 1800; Agram 6 November 1804.
don, S's Wells 29 June 1789 and 8 July 1795. An
English adaptation by F. Reynolds, The Duke of GRETRY: Raoul Barbe Bleue
Savoy; or, Wife and Mistress, additional music by 2 March. Paris, C.I.
Bishop, was given in London, C.G. 29 September
Text by J. M. Sedaine. Three acts.
1817; the original, in English, London, Queen's
This Comedie en prose, meIee d'ariettes seems to
13 February 1835; in French, St. J.'s 19 April
be the first of the very many Blue-Beard operas,
1 844.
a favourite theme from the 18th century up to
Dukas (1907), Bart6k (19IS), and Reznicek
GIORDANI: La Disfatta di Dario (1920).
7 February. Müan, Sc. In French also, Brusse1s and Amsterdam 1791;
Text: an altered version of Morbüli's libretto Hamburg 24 January 1797; St. Petersburg 22 Oc-
(first set to music by Cafaro, see 1756). Three acts. tober 179S; Moscow 24 Oetober ISOS.
The most successful opera of Giordani and one In German (as Der Blaubart, translatornot men-
of the very few that have been preserved. Revived tioned), Oels 5 January 1799; (translated by
H. G. Schmieder); Altona 9 September IS00;
Lisbon 17 December 1806.
Berlin 23 March IS01 (revived 22 March IS44
and 27 July IS65); Vienna, W. 14 August IS04
MARTIN Y SOLER: Gore Bogatir (Schmieder's translation revised by J. Sonnleith-
Kosometovich ner; music revised by A. J. Fischer; revived Kä.
rope BoraTbIp RocoMeToBß'l 12 April IS21 and2 OctoberrS33); Prague 19June

(Mock-Hero Kosometovitch) ISI4 (revived IO May IS40); He1sinki 6 Decem-

ber IS33; Bucharest 1834; Basle I December
9 February. St. Petersburg
1841. Last revived Carlsruhe 10 April 1890 (re-
Text by the Empress Catharine 11. Five acts.
vised by F. Mottl).
First performed at the Ermitage; publicly, St In Polish (translated by J. Baudouin), Warsaw
Petersburg 28 April 1789. 2 February IS05.
See on the political background of this satirical Dutch translation by N. G. Brinkman pub-
opera (directed against Gustavus III of Sweden), lished 1807.
A. Brückner in Baltische Monatsschrift, Vol.XVI In Russian (translated by A. V. Luknitsky),
(1867), P.307; and R. A. Mooser in R.M.!., Vol. St. Petersburg 13 February 1815; Moscow 2Jan-
XL (1936). uary IS I 7·
In Hungarian (translated by F. S. Deaky),
J. SCHUSTER: Rübenzahl 0 sia Clausenburg 23 February IS22.
11 vero Amore In Czech (translated by S. K. Machacek),
Prague IS December IS31.
14 February. Dresden
Text by C. Mazzola. Two acts.
The first opera on this favourite German sub-
KU N ZEN: Holger Danske
ject, composed by a German composer to ltalian 31 March. Copenhagen
words. Given at Prague 1789 as Il Trionfo deli' Text by J. E. Baggesen (founded on Wie1and's
Amore sulla Magia and at Warsaw IO February Oberon). Three acts.
1790 as II Degorgone ossia II Trionfo deU' Amore Regarded as the outstanding Danish national
sulla Magia. opera of the ISth century, but given 6 times only.
 ANNALS OF OPERA

A parody by Heiberg, Holger Tydske, was pub- In Danish (translated by R. Frankenau), Co-
lished in 1789. penhagen 4 November 1803.
Revived in concert-form by the Cäciliaföre- In Swedish (translated by C. G. Nordforss),
ningen, Copenhagen 19 February 1912. Stockholm 26 April 1810.
A German translation by C. F. Cramer was
published in 1789. PAISIELLO: Ni1la 0 siaLa Pazza
CO R DEI ROD A SI L VA: Bauce e per Amore*
Palemone 25 jUlle. Caserta, Royal Palace
25 April. Lisbon, Th. d' Ajuda Text by G. Carpani (translated from Marsollier's
French libretto, sec 1786), with spoken dialogue,
(Italian) text by G. Martinelli. One act.
and with additions by G. B. Lorenzi. One act.
The best work of the Portuguese composer.
First produced at Caserta in honour of a visit
CHAMPEIN: Le nouveau of Queen Maria Carolina of Sicily.
Don-Quichotte Publicly produced at Naples, Fior. 1790 (en-
larged to 2 acts and with new additions by Lo-
25 May. Paris, Th. de M.
renzi and Paisiello) and all over Italy. Given with
Text by Boisscl (from Cerv:mtes). Two acts. recitatives first at Parma Camival 1793 and
Along with La Melomanie (see 1781), Cham- Naplcs, Fior. 1795; given on Italian stages until
pein's most successful work; prodllced lInder the about 1845. In Italian also:
pseudonym of Zaccharelli. BARCELONA 4 November 1789.
In French also, Brussels 29 June 1792 (revived VIENNA 13 April 1790 (with additional music by
13 January 1816 as Manquillados); Hamburg 3 Weigl, text revised by L. da Ponte; frequently
A,lgust,1803; St. Petersburg January 1806; revived until24 April 1830).
Moscow 6 May 1809. PARIS, TH. FEYDEAU 4 September 1791 (with re-
In Swedish (translated by J. D. Valerius), citatives and one air by Cherubini; revived
Stockholm 16 November 1804. Th.1. 30 August 1802 and 10 February 1824).
In Russian (translated by A. V. Luknitsky), DRESDEN 7 January 1792.
St. Petersburg 2 December 18ll. WARSAW 12 May 1792.
TRIESTE [4 September] 1792.
LEMOYNE: Les Pretendus LISBON Spring 1794.
2 June. Paris, O. PRAGUE 1794 (said to have been sung there in
Text by M. A.J. Rochon de Chabannes (comedie- Czcch, by Italian singers, in 1796).
lyriquc). One act. ST. PETERSBURG 1794 or 1795.
In Paris given 294 times until 1827, and revived LONDON 27 April 1797 (revivcd 26 May 1825 for
at St. Cloud 22 July 1847 (by pupils of the Paris Pasta's bencfit).
Conservatoire). AMSTERDAM Carnival 1808.
In French also, Amsterdam 13 April 1791; In German, Mannheim 29 October 1793;
Brusscls 29 August 1791; Hamburg 1798-99; Munich December 1796.
St. Petersburg 29 July 1799; Beme 13 September In Spanish (translated by L. F. Comclla), Mad-
1802; Hanover 7 January 1804; Moscow 4 Feb- rid 9 December 1795 (probably with Paisiello's
ruary 1809. music).
In German (as Drei Freier auf einmal, translated In Russian, St. Petersburg 29 August 1796 and
by H. G. Schmieder), Frankfort 25 September Moscow 12 September 1797.
1791; Mannheim 14 March 1793, etc.; Berlin 29 In Polish (translated by W. Pekalski), Warsaw
Oetober 1804. 1809.
 ANNALS OF OPERA

Revived Turin, T. Carignano 9 May 1910, (by February J790; Stuttgart 29 April 1791; Cologne
the Associazione dei Musicologi Italiani) ; Naples, 18 September 1791; Brünn 13 October 1791;
T. Sannazaro 28 May 1921; Milan, T. Manzoni Weimar 24 November 1791 (text altered byC.A.
(by Scala company) 3I March 1940 (text revised Vulpius); Berlin IS July 1792 (revived Kgst. 3
by R. Simoni, music arranged by C. Gatti). November 1824); Hamburg 19 November 1792;
Hanover 6 February J793; Munich 12 April 1793,
DITTERSDORF: Hironimus Knicker etc.
7July. Vienna, Leop. In German also given at Budapest 19 October
The text, by different authors attributed to Eberl, 1790; Amsterdam 1792; Warsaw 21 June 1796;
Schikaneder, Vulpius, or Stephanie, seems to have Temesvar 28 January 1802; Berne July 1804;
been written by the composer himsclf. Two acts. Poznan 16 February I 80S; Moscow 12 February
From a passage in Dittersdorf's autobiography 1820; Helsinki 23 August 1832.
may be concluded that he originally composed Some of the latest performances were at Ber-
this opera as weil as Das rothe Kaeppchen (see lin, Fr. W. 29 June 1 8S1; Leipzig 3 April 18S2;
1790) and others for the private theatre of the BasIc 18 January 1858; Dresden 16 July 1863.
Prince-Bishop of Breslau, Count Schaffgottsch, Dutch translation by H. Molkenboer published
at Johannisberg in Silesia, where it was perhaps 1796 .
performed in or about 1787; perhaps also at
Brünn December 1788. REICHARDT: Claudine von Villa Be/la
No libretto earlier than 1792 seems to be 29 July. Berlin
known; Sonneck (p. 593) claims the Hamburg Goethe's text (first set to music by Beecke, see
1792 libretto to be approximatcly the original 1780). Three acts.
one; but Schütze's remark in his Hamburgische First performed at the Schlosstheater, Char-
Theate~~eschichte (1794, P.94): " ... eine alte, von lottenburg; publicly Berlin, O. 3 August 1789.
einem allzeitfertigen Skribenten neubearbeitete Revived Königsberg May 1932 (remodelled by
Oper ... ", seems to indicate that, although with J Müller-Blattau).
new modifications, Vul?ius's Weimar version
(1791) was used at Hamburg as well. (J. C. VOGEL): Demophon
Apart from Doctor und Apotheker, Dittersdorf's
22 September. Paris, O.
most popular opera; given on every German
Text by P. Desriaux (founded on Metastasio's
stage between 1790 and 1810 and frequently re-
Demofoonte; another French adaptation had been
vived afterwards.
set by Cherubini 10 months earlier, see 1788).
A miser being the chief character, the tide had
Three acts.
to be changed sometimes: out of consideration
Vogel' s second and last opera, produced I S
for the Archbishop Hieronymus Colloredo (Mo-
months after his death.
zart' s Archbishop !) it became at Salzburg Chriso-
In French also, Copenhagen 1792 (the first act
stomus Knicker; and was, according to the Journal
only, in concert form); Brunswick 180S.
des Luxus und der Moden, later on (November
In German (translated by 1. F. Castelli), Vienna
1792) given there as Hokus Pokus oder Die Lebens-
W. 11 May 1808 (additions by J. von Seyfried).
essenz (text and music altered by A. F. von Hof-
mann), which is peculiar because Dittersdorf
actually wrote an opera of the title Hokus Pokus
KRA US: Soliman dßn 11., eller
in 1791. At Brunswick, in 18u, Hieronymus
De Ire Sultaninnorna
Knicker became Ludus Knicker for Jerome Bona- 22 September. Stockholm
parte's sake. Text by J. G. Oxens~erna (translated from a
The earliest performances were at Breslau 26 French libretto by C. S. Favart, 1761). Three acts.
 ANNALS OF OPERA

The most successful opera of Kraus, who, in aufgeführt werden kann" (the two stages, by the
1788, had succeedcd Uttini as court conductor at way, on which the jlldcl1bralll was not given !).
Stockholm. Given there 31 times until T817; Date of first performance according to J. Ka-
Gothenburg 20 Ma)' ISOS; Lund 22 July 1808. dar. An earlier productiOll at Pressburg in 1788
(Schatz) seems doubtful.
REI CHARDT: Brenllo
160ct"ber. Berlin, O. DALA YRAC: Raoul, Sire de Crequi
Text by A. de' Filistri da Caramondani. Three aets. c.I.
31 Oetober. Paris,
The best of Reichardt's Italian operas. Full Text by J. M. Boutet de Monvcl. Threc acts.
score published 1789. Revived Paris, Fa. 9 November 1794 as Balhilde
Revived, in an abridged concert version, Berlin el Eloi.
24January 1798 (in German; first time that music In French also, Brussels 4 February 1791;
to German words was sung at the Berlin 0.) and Aachen 24 August 1794; Cologne 1796--97; St.
Danzig 21 April 1800. Revived in Italian Berlin Petersburg 1800; Hanover 1803; Moscow 30 Au-
II January 1802. The overture was a favourite in gust 1810; New Orleans 1810.
Berlin concerts for many years; played as late as In German (translated by H. G. Schmieder),
as 16 January 1847. Mayence 17 December 1791 (music adapted by
Stegmann) ; Riga 12 February 1793; (translated
PAN ECK: Die christliche Judenbraut by J. Perinet), Vienna, Leop. 10 September 1793 ;
(translated by C. A. Herklots), Munich October
180etober. Budapest
1794; Hamburg 1794; Berlin 13 March 1795;
Text by F. X. Girzik. Two acts.
Schleswig 1795; Hanover 8 June 1795; Oels 29
Very successful on German stages; Prague
October 1795; Bremen 6 November 1795; ßres-
Summer I790; Vienna, Th.a.d. Landstrasse 11
lau 13 July 1797·
October I790 (and W. 27 December I796);
Revived ßerlin 19 November 1804; Vienna,
Breslau 25 November 1791; Brünn 9 September
Kä. 22 May 1805 (with additional music by B. A.
1792; Weimar I November 1792; Lübeck 23
Weber); Würzburg 18 June 1809.
January 1793; Graz 27 April 1793; Salzburg I793;
In Swedish (adapted by O. Kexcl), Stockholm
Munich 28 Januar)" 1794; Oels 29 August I795
28 January 1793.
(music arranged by Dittersdorf); N uremberg
In Italian (translated by G. Carpani), Monza
C.I795; Cologne 1795--96; Hanover 30 June 1796;
Autumn 1791; Lisbon 17 December 1795.
Bremen c.November 1796; Carlsruhe 9 February
In Russian (translated by S. N. Glinka) , Moscow
1798; Temesvar 13 December 1801. Given at
1804.
Königsberg as late as 1816.
In Polish (translated by W. Pekalski), Warsaw
A sequel Der Durchmarsch oder Der Alte muss
1810.
bezahlen was produced at Vienna, Leop. 30 No-
A Dutch translation by B. A. Fallee was pub-
vember 1808 (text by J. Perinet, music by V.
lished in 1807; anomer by Kup (n.d.).
Tuczek). The vocal score of Die christliche Juden-
The opera was revived, for a single night, at
braut was printed. In a list of current music, other-
the O.C., Paris 5 July 1889.
wise not critical, published in the Gothaer Theater-
Kalender, 1799, T. F. K. Arnold calls it "ein in
jeder Rücksicht erbärmliches Produkt, welches
P. G U GLIELMI: La bella Pescatrice
ich blos deshalb angeführt habe weil es noch in Autl/mn. Naples, T.N.
allen Orten ausgepocht und ausgepfiffen wurde, Text by S. Zini. Two acts.
da es hingegen in der Leopoldstadt und auf dem First performed at Naples, T.N., "per second
Kärnthner Thortheater zu Wien nicht genug opera di quest' anno"; according to Piovano

470
 ANNALS OF OPERA

(R.M.I., Vol. XVII, p. S25) this was only in After V ienna produced at Frankfort 15 Oc-
Autumn. tober 1790, " mit einigen neu hineingemachten
Given at Rome Carnival 1790 as La Villanella Gesängen von Schmieder, in Musik gesetzt von
incivilita; Milan, Sc. II August 1790, etc. In Italy Stegmann und Walter" (Journal des Luxus und der
until 1807; in ltalian also, Madrid 3 July 1790 and Moden, December 1790); Mannheim 20 Novem-
Barcelona 3 August 1790; Paris, Th. de M. 23 De- ber 1790; Budapest 25 November 1790; Hanover
cember 1790 (additions by Mengozzi); Lisbon 10 February 1791; Hamburg 17 October 1791;
Carnival 1791 (revived 19JanuarY179S); London, Prague 1791; Berlin 15 February 1792, etc. Given
Pantheon 24 March 1791 (revived Hm. 7 April at Weimar 2S May 1796 in an altered version by
ISOl); Vienna 26 April 1791 (revived 15 July C. A. Vulpius.
1798); Dresden 5 November 1791 (revived ISII); In German also, Warsaw 31 October 1793;
Linz 1792. Amsterdam S June 1796; Pressburg 2 Deeember
In German (translated by F. H. von Einsiedel), 1797; Temesvar 5 November ISOl; Berne IS03;
Weimar 5 January 1792. Poznan 2 December IS04.
In Russian, St. Petcrsburg 26 May 1792. In Duteh, Amsterdam (.1797; Dutch trans-
lation published 1796, 1797 and IS02.
CIMAROSA: La Vergine de! Sole In Russian (translated by Yankovich), St. Pe-
6 November. St. Petcrsburg tersburg 9 May 179S; Moscow IS02.
Text by F. Moretti (first composed by Sarti, as In Polish (translated by B. Kudlicz), Warsaw
1810.
Idalide, in 17S3). Three acts.
One of the two operas Cimarosa wrote ex- Revived Berlin, Kgst. 14 June 1826 (obviously
pressly for the Russian court. taking advantage of the London success of We-
ber's opera before it could be produced in Ger-
In Italian also given at Bologna 7 February
many); revived Hamburg as late as 25 March
1790, etc., sometimes as Idalide; Warsaw 3 July
IS47 (with Weber's overture played before Wra-
1790; Madrid 4 November 1790; Lisbon 25 July
nitzky' s opera).
IS02. Revived St. Petersburg IS04; Rome, Valle
(On the origin of the libretto, see G. Bobrik,
May ISIO.
Wielallds ... Oberon auf der deutschen Singspicl-
bühne, 1909; and R. Fellinger in Die Musik, Sep-
W R A N I T Z K Y: Oberon, König der Elfen* tember 1934.)
7 November. Vienna, W.
Text by K. L. Gieseke (founded on Wicland's PAISIELLO: I Zingari in Fiera
poem and a libretto, Hüon und Amande, by F. S. 21 November. Naples, Fondo
Seyler, 17S9). Romantisch komische Oper, 3 Text by G. Palomba. Two acts.
acts. Very successful in Italy; Milan, Sc. IS Sep-
Very successful a11 over Germany until IS26 tember 1790 (revived 3 January 1804), ete.; in
when it was replaced in the repertory by Weber' s Italian also produeed at Madrid 19 Oetober 1790;
opera; occasiona11y revived even after I S26. Barcelona 9 December 1790; Lisbon 1791; Vienna
Exact date of first production has been estab- IS September 1791; Charlottenburg S Oetober
lished by o. E. Deutsch. A11later dates, as 6 May 1791; Dresden 1792; Warsaw 22 December 1792;
1790 (K. Glossy), 23 May 1791 (Goedeke) are to London 14 May 1793 (revived 4 January ISOO
be rectified. Thc statement that the opera was and 27 Mai IS03); Pavlovsk 1796; St. Petersburg
expressly written for the coronation ofLeopold 11 4 September ISOO; Paris, Th. I. 3 May 1802; Ca-
and first produced at Frankfort was taken over gliari, Sardinia Carnival 180S.
from Jahn by nearly every author (including In German, Mannheim 4 August 1791 (as Die
Schatz-Sonneck). Zigeunerin oder Der gefoppte Astrolog); Weimar

47 1 472
 ANNALS OF OPERA 1790

24 November 1792 (as Die Zigeunerin, translated

by F. H. von Einsiedel).
I790
In Russian, Moscow Spring 1804. GRETRY: Pierre le Grand
The opera was revived at Naples, Fior. I July
13 January. Paris, c.1.
188 3.
Text by J. N. Bouilly. Four acts.
In French also given at Rotterdam 3 February
STORACE: The Haunted Tower 1792; Brussels 8 August 1792; Hanover 14 April
24 November. London, D.L. 1805; Beme 5 Febrllary 1806. Revived Paris,
Text by J. Cobb. Three acts. O.c. 3I January 1801 and 7 May 1814.
Storace's first English opera (the music "se- In German (translated by C. A. Herklots),
lected, adapted and composed"). Berlin 16 October 1794; Hamburg Spring 1795.
Very successful in London, given 50 times In Dutch (translated by B. Ruloffs), Amster-
during the first season. Dublin 14 January 1793; dam 1799 (revived 18n).
Edinburgh 9 Fcbruary 1793; Charleston, S.C.
24 April 1793; Philadelphia 2 December 1794; CIMADORO: Pimmaglione
New York 9 January 1795 (with additional music 26 JmlHary. Venice, S. Sam.
by V. Pelissier); Spanish Town,Jamaica6 February Text: an Italian version, by A. S. Sografi, of
1816. Revived London, D.L. 24 February 1816; Rousseau's Pyglllalioll (see 1770). One act.
c.G. 3 February 1832; and once more as late as According to Dassori, first performed Venice
26 May 1922 at the Guildhall School of Music 1788; the earliest known libretto, however, men-
(by the Mayfair Dramatic Club). tions Venice, T. San Samuele, 26 January 1790,
as place and date of the production. Not recorded
LEMOYNE: Nephre by Wie\. Sonneck gives the date but not the
theatre.
15 December. Paris, O.
Successful in Italy: Padua March 1790 (in
Text by F. B. Hoffman (foundedonT.Comeille's concert form by the Accademia dei Signori Sco-
tragedy, Camma). Threc acts. lari; libretto British Museum; revived Padua at
It was in Nephte that, for the first time at the the Sala Verde 29 April 1791 and at the T. Obizzi
Paris Opera, a composer was called before the January 18II); Trieste 20 May 1790; Parma 23
curtain. Given in Paris 40 times until 1791. Re- November 1793 (translated by G. Perini); Flo-
vived Brussels I2 November 1804. rence and Ferrara 1794; Milan, Sc. 20 November
1795; Naples 1795; Lucca 21 January 1796;
ANFOSSI: Zenobia di Palmira Ancona 1796; Rome, T. Apollo Carnival 1797
and Valle Autumn 1808; Turin Camival 1801;
26 December. Venice, S. Ben. Verona 13 May 1809, etc. One of the latest re-
Text by G. Sertor. Two acts. vivals in Italy was at Rome, Arg. 30 November
The most successful of Anfossi's serious operas 1822.
and one of his last works. Outside Italy given at Vienna, B. 15 July 1791
In Italian also prodllced at Madrid 9 December (revived Kä. 6 July 1804, in Italian, and Leop. 21
1790; Warsaw 17 January 1791;Leipzig Summer September 1814, in German); Brünn 2 February
1792; London 20 December 1794; Gachina 26 1792; Paris 4 May 1792 (revived 28 April 1814);
October 1797 (Anfossi's or Paisiello's setting?); Regcnsbllrg March 1793; Passau June 1793;
Trieste November 1797; Moscow Carnival Barcelona 5 June 1794; Madrid 12 November
1803; Barcelona 22 December 1806 (Anfossi's or 1796; London 8 June 1797; Frankfort Spring
Paisiello's setting?). 1800 (music by Cimadoro and Paer); Lisbon

473 474
1790 ANNALS OF OPERA 1790

Summer 1801; Dresden 24 February 1802 (as German adaptations:

intermezzo in the pasticcio 11 Giorno natalizio, No other opera, perhaps, has been subjected
music by J. Schuster and others; see Journal des to so many different versions and attempts to
Luxus und der Moden, 1802, p.280). "improve" the libretto. The first German per-
Pimmaglione was later on frequendy revived by formance was at Frankfort I May 1791 (as Liebe
the singer Marianna Sessi in various towns, as und Versuchung, translated by H. G. Schmieder
Amsterdam 1816; Brussels 29 June 1816; Bedin and C. D. Stegmann). Given at Amsterdam 1791,
6 July 1817; Hanover 26 September 1817; Ham- in German, as So machen's die Mädchen. Also given
burg 3 January 1818; Stockholm 30 May 1818; at Mayence I I June 1791 and Brünn 24 April
St. Petersburg 5 August 1818; Moscow 24 April 1792. Next came Berlin 3 August 1792 (as Eine
1819; Dresden 6 November 1820; Leipzig 25 No- macht's wie die Andere oder Die Schule der Lieb-
vember 1820; Munich February 1821; Wilna haber; translator unknown); Hanover 10 October
29 May 1821; Prague Spring 1822; Strasbourg 1792 (as So machen's die Mädchen alle, 4 acts; so
12 November 1823, etc.; sung by her at Ham- also at Cologne, Aachen and Düsseldorf 1793);
burg as late as 22 January 1836. Passau 3 January 1793 (as So macht'sjede); Mann-
Besides Sografi's, there were several other heim 12 May 1793 (as Die Wette); Augsburg 10
Italian versions of Rousseau's Pygmalion, viz. by January 1794 (same tide as at Berlin); Vienna, W.
F. S. de' Rogati (published Naples 1773); by 14 August 1794 (as Die Schule der Liebe oder So
S. Zannowich, published Paris 1773; by machen sie's alle, translated by K. L. Gieseke).
G. Perini (published Milan 1777; produced with The first German translation, which was more
Cimadoro's music, Parma 1793, see above;) by generally accepted, was C. F. Bretzner's version,
G. Tamagni (produced Fermo Carnival 1780; Weibertreue, oder Die Mädchen sind von Flandern
music by?); by A. Pepoli (produced at his private (in 2 acts); first performed at Leipzig 1794; Bres-
theatre, Padua 12 July 1793; music by Pepoli lau 16January 1795; Bautzen 3 September 1795;
himself); by C. Conci (produced Pavi~ Summer Hanover 23 September 1795; Bremen 16 October
1799, with music by T. Gilardoni). Sografi's 1795; Hamburg 3 February 1796; Graz 18 August
version was also set by B. Asioli (first produced 1796, etc. A second version by Bretzner, in 4 acts,
Turin 1789, probably at the private theatre called Die Wette oder Mädchenlist und Liebe, was
of Marchese Gherardini; music printed; revived given at Stuttgart 16 May 1796 and Hamburg
at Paris as late as 2 April 1829). Finally, there 6 July 1796. Two more 18th-century versions
were settings by F. Sirotti (produced Milan, were Die Wette oder Weibertreue keine Treue,
Sc. Carnival 1793) and by F. Gnecco (Genoa Munich May 1795, and So sind sie alle, alle (trans-
Spring 1794). See also Cherubini's Pimmalione, lated by C. A. Vulpius), Weimar 10 January
1809· 1797. Bretmer's 2-act version was given at
Vienna, Leop. 1 July 1802 as Die zwei Tanten aus
MOZART: Cosifan tutte 0 sia Mailand, oder Die Verkleidungen.
La Scuola degli Amanti* Of the numerous 19th and 20th century ver-
26 January. Vienna, B. sions, the following may be mentioned:
Text by 1. da Ponte (the third and last libretto VIENNA, B. 19 September 1804 as Mädchentreue

he wrote for Mozart). Two acts. (translated by G. F. Treitschke).

In Italian also produced at Prague 1791 (exact BERLIN 9 September 1805 as Mädchentreue (trans-
date unknown; in any case before Mozart's lated by G. F. Treitschke).
death, on 5th December of that year, as the lib- PRAGUE 1808 as Mädchentreue (translated by G. F.
retto says: " ... Mozzart, maestto di Capella in Treitschke).
attual servizio di S. Maesta Cesarea"); Leipzig BRESLAU 10 April 1806 as Mädchenrache (translated

Summer 1791; Dresden 5 October 1791. by J. G. Rhode; see Der Freimüthige, IV, P·3 12).

475 476
 1790 ANNALS OF OPERA 1790

VIENNA, W. 20 January 1814 as Die Zauberprobe MILAN, SC. 19 September 1807 and Spring 1814
(a revised version of G. F. Treitschke's trans- (both as La Scuola degli Amanti).
lation). NAPLES, FONDO Camival 1815 (revived 1870).
PRAGUE 7 March 1815 as Die Zauberprobe (a re- TURIN, CARIGN. Autumn 1814 (as La Scuola degli
vised version of G. F. Treitschke's translation). Amanti); 23 September 1816, etc. Revived
STUTTGART 7 January 1817 as Mädchen sind Mäd- Turin, T. Gerbino Summer 1872.
chen (translated by J. B . .Krebs). Given at Venice, T. Fenice 14 September 1934
BERLIN, o. 25 March 1820 and Munich 1824 as in German (by the Vienna O. company).
Die verfängliche Wette (translated by C. A. COPENHAGEN 19 October 1798 (as Veddemaalet eller
Herklots). Elskernes Skole, translated by A. G. Thoroup).
BERLIN, KGST. 29 December 1825 as So machen es COPENHAGEN 19 December 1826 (as Flugten fra
alle (translated by K. von Holtei). Klostret, adapted to a new libretto by A. G.
VIENNA, KÄ. 3 I October 1840 as So machen es alle Oehlenschläger) .
(translated by K. von Holtei). COPENHAGEN 12 April 1887 (as Det ger de aUe,
WEIMAR 13 November 1830 as Der Weiberke/lller translated by E. B0gh).
oder Wer hat die Wette gewonnen? PARIS, TH. I. 28 January 1809 (in Italian; date
MAYENCE II October 1838 as Die Guerillas (trans- according to the libretto; Castil-Blaze, Pougin,
lated by J. D. Anton). Prod'homme give 1 February or 11 February
BERLIN 15 December 1846 as So macheIl es alle respectively; Napoleon had the opera privately
(a revised version of Herklots's translation by performed at Compiegne on 1 September I8n).
L. Schneider). PARIS, o. 5 January 1813 (in French, adapted to a
VIENNA 19 February 1863 as Weibertreue. new libretto Le Laboureur Chinois, l by E. Morel
DRESDEN 19 September 1856 (translated by K. F. de Chcdeville, J. M. Deschamps, and J. B. D.
Niese; at Dresden for the first time in Ger- Despres; I-act pasticcio, music from Cosi fan
man). lutte, and from other works by Mozart, Haydn
CARLSRUHE 9 September 1860 as So machen's alle and Mayr, arranged by Berton).
(translated by E. Devrient, recitatives arranged PARIS, TH. L. 31 March 1863 (in French, as Peines
by W. Kalliwoda). d'Amour perdues; this time the Cosi fan tutte
Mention mayaiso be made of a pasticcio music was adapted to a new text by J. Barbier
Winzer und Sänger, text by J. P. Lyser (published and M. Carre, founded on Shakespeare's Love's
in Mozart-Album, 1856), music chiefly from Cosi Labou,'s Lost).
fan tuttI' (3 numbers from Idomeneo), produced PARIS, O.C. 20 April 1920 (for the first time trans-
at the Tivoli, Hamburg 2 June 1856. F. Hirth lated from the original by L. V. Durdilly and
does not mention the performance in his mono- J. Chantavoine).
graph on Lyser (p.S21). (See, for details on the Paris productions, J. G.
An attempt to drop Da Ponte's original text Prod'homme in Le Menestrel, 19 June 1925.)
altogether and to adapt the music to a new lib:: LONDON, HM. 9 May 18II (in Italian).
retto, founded on a comedy by Calderen, was LONDON, LY. 29 July 1828 (in English, as Titfor
made by the singer K. Schei4emantel: Dresden Tat; or The Tab/es Turned, translated by S. J.
6 June 1909 (as Die Dame Kobold). Amold?; music arranged by W. Hawes).
Outside the German speaking countries, Cosi LONDON, PRINCE'S 30 January 1841 (in English,
fan tuttI' was given in the original ltalian at: as The Retaliation; by amateurs).
TRIESTE June 1797 (as La Scu~la degli Amanti). LONDON, LY. 14 April 1841 (in English, as The
BARCELONA 4 November 1798 (at Madrid as late RetaUation; by amateurs).
as 22 May 1878). 1 First Paris performance 1807 as Laboureur Chinois

VARESE Auturnn 1805. (translated by Durdilly).

477
1790 ANNALS OF OPERA 179 0
LONDON, ST. GEORGE'S HALL 16 January 1873 (in 15 February 1793 (given there until 1847); in
Italian). English also, Hamburg 20 February 1795 (see
LONDON, SAVOY (R.C.M.) 16 July 1890 (in English, note on Thc Shamrock, 1783); Cape Town 9 Oe-
translated by M. E. Browne). tober 1815.
LONDON, KlNGSWAY TH. 23 March 1927 (in Revived in London, Ly. 19 Oetober 1809 and
English, translated by M. E. Browne). D.L. 14June 1817; revived at Manchester as late
BRlSTOL 18 Oetober 1926 (Browne's version re- as I I July 1870.
vised by E. J. Dent).
The 1828 version was also given at Dublin 13 ZINGARELLI: Antigone
April 1831. 30 April. Paris, O.
ST. PETERSBURG 1813 (in Germ:m) and Carnival
Text by J. F. Marmontel. Thrcc aets.
183 I (in Italian). Zingardli's only Freneh opera. Unsueeessful
STOCKHOLM 14 May 1830 (in Swedish, translated
(only given twiee). In Italian, Leghorn Camival
by N. E. W. af Wetterstedt from Bretzner's
1791.
German version; revived there only 15 Feb-
ruary 1940). R. KREUTZER: Jeanne d'Arc aOrleans
PRAGUE 30 Oetober 183 I (for the first time in
10 May. Paris, c.I.
Czeeh, translated by S. K. Maehacek).
Text by P.]. B. Choudard Desforges and Cousin.
BRUSSELS 29 January 1875 (in Italian) and 8 Feb-
ruary 1923 (in Freneh, translated by P. Spaak). Three aets.
This seems to be the first opera on this favourite
BASLE 3I January 1883 (in German, L. Sehneider's
subjeet (see Balfe 1837; Hoven 1840; Verdi 1845;
version; for the first time in Switzerland?;
Mermet 1876; Chaikovsky 1881). Kreutzer's first
Zurich only 24 February 1899).
opera. Revived Antwerp 15 February 1822.
NEW YORK, M. 24 March 1922 (in Italian; appa-
rently for the first time in Ameriea) -and Juilliard
Sehool of Musie 28February 1940 (in Italian). DITTERSDORF: Das rothe Kaeppchen
RIGA 21 November 1925 (in Lettish). 26 May. Breslau
LJUBLJANA 25 December 1926 (in Slovenian). Text by the composer, founded on Livigni's
LEMBERG 1927 (for the first time in Polish; at the Gial11lil1a e Bcrtiadolle, see 1781 (and not by C. A.
Conservatoire). Vulpius, as Riedinger has it, nor by K. L. Gieseeke
BUDAPEST 9 J:muary 1930 (in Hungarian, trans- to whom it has also been attributed). Three aets.
lated by V. Unyi; previously produeed there (Aeeording to Riedinger first produeed at
at the Conservatoire in 1927). Vienna, Leop. 1788, and perhaps even earlier at
BRATISLAVA 1933 (in Siovakian). Johannisberg. As far as the Leopoldstadt theatre
BUENOS AJRES 17 July 1934 (in Italian). is eoneerned Hadamowsky's Catalogue shows
ANTWERP 22 January 1938 (in Flemish). that the opera was not given there at all; as to
Johannisberg, see note on Hirollymus Kllicker,
STORACE: No Song, no Supper* 1789).
16 April. London, D.L. Given at Weimar 7 June 1791 (text revised and
Text by P. Hoare. Two aets. reduecd to 2 aets by C. A. Vulpius); Prague 1791;
The musie "ehiefly eomposed" by Storaee, Cologne 9 Oetober 1791; Berlin 20 Deeember
who took a trio and a sextet from his Equivoci 1791; Vicnna, W. 23 February 1792; Hanover
(see 1786) and some pieces from Grctry and other I I April 1792; Munieh 4 May 1792; Bremen 19
composers. Very sueeessful on English stages; Oetober 1792; Hamburg 1792; Nuremberg
Dublin 15 March 1791; Philadelphia 30 Novem- 1793; Rostoek 16 June 1794; Dessau 31 July 1794;
ber 1792 (given there until 1851); New York Salzburg Spring 1795; Graz 29 June 1797; Carls-

479 480
 1790 ANNALS OF OPERA 1790
ruhe 15 December 1797, etc.; in German also, BERTON: Les Rigueurs du C[ottre
Amsterdam 1792; Budapest 6 August 1800; Paris
28 August. Paris, C.l.
21 November 1801; Poznan 9 September 1805;
St. Petersburg 1809; Solothum 20 January 18n. Text by J. Fievee. Two acts.
In Danish (translated by L. Knudsen), Copen- Brussels I March 1793, etc. Berton's first more
hagen 19 May 1794· important work; of historical interest as the
In Dutch (translated by C. Loots), Amsterdam earliest instance of those "reseue operas" which
1796; revived 1817. ruled the repertory of Central Europe from the
Frequently revived in Germany throughout time of the French Revolution until about 1820,
the 19th century; so me of the latest revivals were Beethoven's Fidelio and Cherubini's Les Jeux
at Riga October 1857; Berlin 23 April 1861; Journees being the climax of that movement.
Stuttgart 6 March 1868; Munich 17 November
MEHUL: Euphrosine Oll
1868; Dessau 13 January 1899.
Beethoven published variations on a theme
Le Tyran corrige
from this opera (Es war einmal ein alter Mann) in 4 September. Paris, c.I.
1794· Text by F. B. Hoffman. Five acts.
Reduced to 4 acts on n September 1790; 3-act
D ALA YRA C: La Soiree orageuse version first given in 1792: the printed libretto for
29 May. Paris, c.I. a new Act 3 dates from c. 1794-5, since 22 August
Text by J. B. Radet. One act. 1795 given in the final, 3-act version. Mehul's first
In French also given at Amsterdam 16 April performed opera. Given in Paris until 1829 and
1791; Brussels 8 June 1791; Hamburg 1795; revived 26 February 1900 at the Th. L. de la
Cologne 21 September 1797; Gachina (near St. Renaissance as Euphrosine et Coradin (text revised
Petersburg) 3 Oetober 1798. Revived Paris, O.c. by P. Ferrier).
In French also, Brussels 10 October 1792; St.
5 July 1889·
In Swedish (translated by C. Envallsson), Petersburg 1798; Hanover 2 August 1803;
Stockholm 7 October 1793. Moscow 17 October 1808; Beme 27 May 1809.
In German (as Die stürmische Nacht), Vienna, In German, Frankfort 29 April 1792; (trans-
Leop. 14 August 1795; St. Petersburg 1809; lation by K. L. Gieseke) Vienna, W. 19 September
Moscow 25 November 1820. 1795; H;;mburg Spring 1797; Mayence 1797;
Dutch translation published 1799; performed Munich December 1798; Schleswig 1802; Buda-
in Flemish already at Oudenarde 26 September pest 16 September 18n; St. Petersburg 1815;
1796 and Courtrai 16 December 1796. revived Berlin 9 December 1825 (new German
version by May). Another German translation,
by G. E. Lüderwald, was published at Riga (n. d.).
P. GUGLIELMI: La Serva
In Dutch (translation by P. G. Witsen Geys-
innamorata beek), Amsterdam [I November] 1798.
Summer. Naples, Fior. In Russian (translated by A. I. Sheller), St. Pet-
Text by G. Palomba. Two acts. ersburg n October 1815; Moscow 24 April 1816.
Successful in Italy (last revived Venice Summer
1817). W. MÜLLER: Das Sonnenfest
In Italian also, Vienna 15 February 1791 (as La
der Braminen
Giardiniera illna11l0rata); Barcelona 4 November
1792; Lisbon Summer 1794; Trieste 26 Decem- 9 September. Vienna. Leop.
ber 1794; Madrid 12 April 1795; Paris, Th. I. Text by K. F. Hensler (heroisch-komisches Original-
28 December 1804; Amsterdam 1808. Singspiel). Two acts.
1790 ANNALS OF OPERA 1790
The first great success of Müller who, since PASHKEEVICH, SARTI,and
1786, had been conductor at the Th. in der Leo- CANNOBIO: Nachalnoye Upravlenie
poldstadt.
Olega
Subsequently given at Prague 1792; Graz 1
HaqaJI'hHOe YnpaBJIeHie ÜJIera
January 1793; Hamburg 3 July 1793 (with addi-
(The early Reign of Oleg)
tional music by C. D. Stegmann); Brünn 1794;
Nuremberg 1794;Weimar 31 January 1795 (text 26 October. St. Petersburg
altered by C. A. Vulpius); Berlin 16 October Text by the Empress Catharine H. Five acts.
1795; Breslau 4 December 1795; Bremen De- First produced at the Ermitage; publicly per-
cember 1796; Hanover 27 February 1797; Carls- formed 2 November 1790.
ruhe 27 January 1798; Oels 12 May 1798; Aachen First Russian opera published in fuU score
8 September 1799; Cologne, Düsseldorf and Cre- (1791). The opera was written "in imitation of
feld 1799; Munich October 1800; Temesvar 27 Shakespeare, not observing the traditional mies
December 1801; Berne 1803; Poznan 27 October of the stage".
1805· Interesting notes by Sani on his Oleg music are
reprinted in G. Pasolini Zanelli's biography ofthe
In German also produced at the Th. de la Cite,
composer (1883); for an account ofthis opera see
Paris 3 December 1801. This was the last pro-
also Count Valentin Eszterhazy's letters (edited by
duction of the short-lived first German opera-
Ernest Daudet, 1907), p.p6 and 333.
season in Paris, under the management of one
A German translation, by Ch. F. Völkner,
Haselmeyer. The season was in Auturnn 1801
was published in 1792.
(not 1802 as stated by Castil-Blaze; see A.M.Z.,
10 February 1802). The productions were: 16
BEFFROY DE REIGNY:
November 1801, Die Entführung aus dem Serail,.
21 November, Das rote Käppchen; 25 November,
Nicodeme dans la Lune ou
Das Neusonntagskind; 29 November, Der Spiegel La Revolution pacifique
von Arkadien; 30 November, Der Tyroler Wastel; 7 November. Paris
and 3 December, Das Sonnenfest der Braminen. The Text by the composer (Folie en prose tneIee d'ariet-
theatre had been named "Theatre Mozart" for the tes et de vaudevilles). Three acts.
occasion. This satirical play (hardly to be called an opera)
In Dutch (translated by S. Bos), Amsterdam had a run of 363 nights at the small "Theatre
1798. Fran~ais comique et lyrique" (Boulevard St. Mar-
tin; existing only from 26 June 1790 to 25 Jan-
In Polish (translated by W. Boguslawski),
uary 1794) and was revived at the Theatre de la
Warsaw 23 November 1800.
Cite on 31 December 1796 for another 200 nights.
(For a sequel see 1791.)
An imitation by Deduit, Nicodeme dans le SoleiI,
SCHULZ: Rest-Gildet was performed at the Theatre de M. Yon, Bou-
(The Harvest Horne) levard du Temple, I l June 1791; another by
Maillet, Le Retour de Nicodeme de la Lune at the
16 September. Copenhagen Delassements Comiques at about the same time.
Text by T. Thaarup. One act.
Given at Copenhagen until 1835 (since 21 Jan-
BlANCHI: La Vendetta di Nino
uary 1791 in a new version). A German trans- 12 November. Naples, S.c.
lation by F. H. W. Froelich was published in Text by F. Moretti (founded on M. Cesarotti's
1795· Italian version ofVoltaire's Semiral1lis). Two acts.
 ANNALS OF OPERA 1791
Outside Italy given at appeared on the American stage (Philadelphia 10
MADRID 9 December 1793 (in Italian) and 4 No- December 1840; New York 21 December
vember 1800 (in Spanish, translated by V. R. 18 40 ).
de Arellano, music adapted by M. Ronzi).
LONDON 26 April 1794 (as La SCllliramidc, text
R. KREUTZER: Paul et Virginie
altered by L. da Ponte; Brigitta Banti' s London
debut; revived 8 Februar)" 1800). 15 Jalluary. Paris, c.1.
PARIS, TH.I. 19 August ISll (as SCIIliralllidc); re- Text by E. G. F. de Favicres (founded on Saint-
vived 2 Oetober I ~r 5. Pierre's story, first published in 1787). Three
aets.
Revived Paris, O. 12 June 1806 (changed into
1791 an opera-ballet); revived at the O.c. 14 August
1 8 46.
STORACE: The Siege oJBelgrade
In French also, Rotterdam 22 November 1791;
1Jatlllary. London, D.L.
Liege 19 December 1791; Brussels 3I January
Text by J. Cobb. Three acts. 1792; Amsterdam 1792; Aachcn 3 August 1794;
Storace pardy composed the music, pardy Cologne 1795-96; Hamburg 23 October 1795;
compiled it form Martin's opera L'lIa Cosa rara St. Petersburg 18 June 1800; Hanover 24 Decem-
(sec 1786) and otherworks. Kelly, Ir, I: "Therewas ber 1803; Berne 8Jul)' 1809; Moscow 15 January
a good deal of beautiful original music in it, by 1810.
Storacc, who, with his great taste and knowledge
In German (translated by H. G. Schmieder),
of effect, had also sclected so me from Martini";
Amsterdam 1793; Berlin 21 January 1794, etc.;
Parke: "The first stage musical performance of
(translated by I. F. Castelli, as Die Familic auf
moment to be given at our national theatres";
Islc-dc-Frallcc) Vienna, W. 1805; St. Petersburg
and "This opera presented a marked instance of
1818.
the rapid transition which the English opera had
In Swedish (translated by D. G. Björn), Stock-
made from the simplicity of the ballad farce to
holm J 5 Mal' 1794.
the captivating splendours of the ltalian drama.
Dutch translation by P. G. Witsen Geysbeek
The music, which was excellent throughout, pro-
published 1797.
cured the author for his copyright one thousand
In Danish (translated by N. T. Bruun), Copen-
pounds".
hagen 19 May 1815.
Letter in Journal des Luxus ulld der MadeII, 15
In Russian (translated by P. N. Kobyakov),
January 1791: "Ich war gestern nicht wenig ver-
St. Petersburg 6 November 1809 and Moscow
wundert, als ich in der hier sehr beliebten Ope-
28 May J812.
rette: The Siege of Belgrade fast alle Arien der
The opera was given as a pantomime at Boston
Cosa rara fand. Ein gewisser Signore Storace ver-
10 May J797.
steht die Kunst aus vielen Italiänischen Opern eine
Original-Englische zusammenzustoppeln. Sänger
und Sängerirmen sind gut und schmelzen die F. 1. BENDA: Louise
rauhen Töne ihrer Sprache so ziemlich in die
16Jalluary. Königsberg
Accente der Liebe".
Very successful in London, given there for 50 Text by E. F. Jester. T~ree acts.
nights during the first season; given at Dublin 27 The most successful opera of Georg Benda's
January 1792; New York 30 December 1796; son.
Philadelphia 1801; Edinburgh 15 December 1810; In German also, Riga 10 June 1794; Hamburg.
the last revivals took place' when Braham first 1794; revived at Königsberg as late as 1820.
 ~791 ANNALS OF OPERA 1791
MARTIN Y SOLER and DALAYRAC; Camille OU Le Souterrain
PASHKEEVICH: Fedul s Detmi 19 March. Paris, c.1.
<l>eA'YJI c )J;i>ThMH Text by B. J. Marsollier (founded on Mme de
(Fedul and bis Childxen) Genlis's Adele et Thlodore). Three acts.
27 January. St. Petersburg Successful in France. Last revived Paris, O.C.
Text by the Empress Catharine 11. One act. 3 August 1841.
First performed at the Ermitage; publicly, St. In French also, Brussels 25 April 1792; St. Pe-
Petersburg 2 March 1791; Moscow 7 January tersburg May 1792 (previously given by ama-
1796 (revived I January 1807, 13 November 1821 teurs at Aleksandrovsk; see Souvenirs of Mme
and once more as late as 6 December 1896). Vocal Vigee-Lebrun, English edition, 1879, Vol. n, p.20) ;
score published in 1895. Of the music, slx num- Cologne 179lH)7; Moscow 31 October 1808;
bers were written by Martin and five by Pashkee- Berne 5June 1809; NewYork 8 September 1827.
vich. In Dutch (translated by A. C. Brinkrnan) ,
Arnsterdam 1796; in Flemish, Oudenarde I Octo-
BORGHI: La Morte di Semiramide ber 1798.
9 February. Milan, Sc. In Swedish (translated by C. Envallsson),
Text by A. S. Sografi. Three acts. Stockholm 29 May 1797 and (in another version
Borghi's best opera. Bologna October 1791, by C. J. Lindegren) 6 May 1800.
etc. In Italian (translated by G. Carpani), Monza
In Italian also, Trieste 4 October 1795; Vienna Auturnn 1794; Lisbon 29 November 1799.
14 May 1797; Lisbon Spring 1799. In Danish (translated by N. T. Bruun), Co-
penhagen 28 March 1805.
MEHUL: Cora In Russian (translated by D. I. Vyelyashev-
15 February. Paris, O. Volyntsov), Moscow 30 January 1812; St. Peters-
Text by Valadier (founded on Marmontel's novel, burg 13 December 1813.
Les Incas). Four acts. An English adaptation by P. Hoare, The Cap-
Unsuccessful; given for five nights only. tive of Spilburg, with new music by Kelly and
Dussek, was produced in London, D.L. 14 No-
DITTERSDORF: Der Gutsherr oder vember 1798 and New York 25 March 1801.
Hannchen und Gürge
2 March. Vienna, W. NAUMANN: La Dama Soldato
Text by J. F. Jünger. Two acts. 30 March. Dresden
Very successful on German stages; sometimes Text by C. Mazzola. Two acts.
called Der Schilfspatron; Frankfort 6 June 1792; The most successful of Naumann's COtmc
Munich 6 July 1792; Breslau 30 November 1792; operas.
Bremen 3 December 1792; Hanover 23 January In Italian also Prague 1792.
1793; Graz 19 March 1793; Cologne 15 Decem- In German (translation by C. A. Vulpius pub-
ber 1793; Aachen and Düsseldorf 1793; Hamburg lished Leipzig 1793 as Was thut die Liebe nicht),
28 April 1794; Carlsruhe 6 January 1798, etc. Vienna, Leop. 14 August 1794 (as Der weibliche
In German also, Warsaw and Lemberg 1793; Soldat); Schwerin 1795; Mannheim 16 August
Budapest 17 July 1796; Temesvar 18 February 1795; Königsberg 31 January 1796; Oels 30July
1802; Poznan 3 November 1803. 1796; Dresden 17 September 1802; Leipzig 1803;
The last revivals seem to have been at Darm- Hamburg 14 September 1804; Amsterdam 28
stadt 30 March 1807 and Vienna, Leop. 7 May October 1807; Berlin 26 May 1812. Last revived
1816. Weimar 2 February 1831.
1791 ANNALS OF OPERA 1791
A one act version by Schmieder was announced Summer 1793; Lisbon Spring 1795 (asLo Strambo
in the journal für Theater und andere schiine Künste, in Berlina); Bastia, Corsica Spring 1797; Oporto
1797, p·1l4. 1799; Amsterdam 1808; Paris 22 July 1814. Re-
vived in London, Hm. 28 February 1792 and 22
GRETRY: Guillaume Tell May 1802.
In German (as Die Abenteuer im Gasthof oder
9 April. Paris, c.r.
Die lächerlichen Reisenden, translated by K. L.
Text by].M. Sedaine. Three acts. Gieseke), Vienna, W. 9 April 1796; Graz 30 April
Important revolution opera. 1798; Temesvar 25 February 1802.
In French also Ghent 1794; New Orleans c. In Polish, Wilna February 18Il.
18r7. Revived Paris, O.c. 24 May 1828 (text
revised by]. P. Pellissier, music re-scored by Ber-
ton); Marseilles 16 October r828; Le Havre 6 N AS OLINI: La Morte di Cleopatra
December 1828, ctc., but this new run of Gn~­ 22 june. Vicenza
try's work was cut short by Rossini's Tell (1829).
Text by A. S. Sografi. Two acts.
Grctry's opera was produced once more by a
Very successful in Italy, where it was given
French company in New York 12 August 1831.
unti11817.
In Italian also Trieste 24 April 1792; Berlin
CANDEILLE: Castor et Pollux March 1797 (at Countess Lichtenau's private
14 jUlle. Paris, O. theatre); Madrid 6 October 1798; Lisbon Sum-
mer 1800; London 4 March 1806; Oporto 8 No-
P.J.]. Bernard's text (first set to music by Rameau,
vember 1807; Paris I December 1813 (Napoleon
see 1737). Five acts.
attended the first night).
Candeille re-scored and retained some pieces
of Rameau's original music. Successful in Paris;
Louis XVI and Marie Antoinette attended a per- CHERUBINI: Lodoiska*
formance on 20 September 1791 (the last time
18 july. Paris, Th. Feydeau
th::y went to the Academie Royale de Musique).
Revived in Paris r8 October r796 and 28 Decem- Text by C. F. Fillette Loraux. Three acts.
ber 1814. One of Cherubini's chief works. Rather more
appreciated in Germany than in France.
PAISIELLO: La Locanda In German (translated by C. A. Herklots),
Berlin 13 May 1797; Schleswig 1799; Dessau
16 jUlle. London, Pantheon Spring 1800; Hamburg c. September 1800;
Text: a reduced version ofG. Bertati'sLa Locanda Vienna, W. 23 March 1802 (Kä. 24January 1814;
(first set to music by Gazzaniga, see 1771) by G. Jos. 10 December 1828); Budapest 18°3; Munich
Tonioli. Two acts. 1813; Hermannstadt and Lemberg 1814; Riga
First given in Italy at Naples, Fior. January AutuInn 1842. Revived Leipzig 21 November
1792 (as 11 Fallatico in Berlilla, with an additional 1854·
third act, text by G. B. Lorenzi); Genoa, S.Ag. In Italian, Dresden May 1802.
28 May 1792 (not 1791); given at Palermo Sum- In Polish (translated by W. Boguslawski),
mer 1792 as Le Avventure della Locanda; Milan, Warsaw and Wilna 1804; PoznanJune 1805.
Sc. 14 August 1792; Turin, T. Carignano Au- InDanish (translated by N. T. Bruun), Copen-
tumn 1792, etc. hagen 3I October 1815.
In Italian also Barcelona 24 April 1792; Vienna In English, New York 4 December 1826 (music
10 July 1792; Trieste 26 December 1792; Leipzig arranged by R. Honey).

490
 1791 ANNALS OF OPERA 179 1

R. KREUTZER: Lodoi'ska 8 ~eptember 1798 and 25 March 1799) and at

1 August. Paris, C.I.
Hamburg 7 February 1796 and Berlin 28 February
1796 (in concert form, for the benefit of the com-
Text by J. E. B. Dejaure. Three acts.
poser's widow).
As it was often the case in these years, the two
In German (translated mosdy by F. Rochlitz):
rival houses of opera-comique produced operas
DRESDEN 26 May 1796.
on the same subject. In France, Kreutzer' s setting
CASSEL March 1797.
was the more popular one.
BUDAPEST II June 1798.
In French also given at Amsterdam February
ALTONA 1798.
1793; Brusse1s 19 June 1793; Cologne 1796-97;
BRÜNN 4 October 1798.
Hamburg 1797; Brunswick 24June 1809; Hano-
BAUTZEN 3 December 1798.
ver 15 March 1804; St. Petersburg 1804; Beme
BRESLAU 19 March 1799.
24June 1809; Moscow 5 November 1810.
GRAZ 18 July 1799.
In ltalian (translated by G. Carpani), Monza
Autumn 1793; Lisbon 17 December 1796 (music FRANKFORT 22 August 1799 (translated perhaps
arranged by Leal Moreira). by J. J. Ihlee).
In Swedish (translated by J. P. Stolpe), Stock- WEIMAR 21 December 1799 (translated by C. A.
holm 2 November 1795 (with an epilogue by Vulpius).
Lindegren, music by Haeffuer). LEIPZIG,January 1801.
In Russian (translated by V. A. Levshin) , St. MUNICH 10 February 1801.
Petersburg 22 June 1814 and Moscow 24 October DESSAU 10 August 1801.
1816. BERLIN 16 October 1801.
In Dutch (translated by B. Ruloffs), Amster- BREMEN December 1801.
dam 1796. HANOVER 24 February 1802.
In London, Lodoiska was performed as a pastic- MANNHEIM 8 August 1802 (additionS:from Cima-
cio, music se1ected from Cherubini, Kreutzer and rosa, Weigl, Winter).
Andreozzi, arranged by Storace and adapted to STUTTGART 7 November 1803.
an English libretto by J. P. Kemble (D. L. 9 June POZNAN 20 March 1806.
1794 and New York 13 June 1808). (Kelly, Vol. SALZBURG I May 1807.
II, p.66: "I was in Paris at the first representations
KÖNIGSBERG 29 April 1808.
of Lodoiska at both theatres; but, partiality apart PRAGUE 1808.
the Drury Lane piece surpassed them both"). COLOGNE September 1808.
Also C.G. 15 October 1816; Dublin 1816.
HAMBURG 30 September 1808.
BASLE 18 January 1809.
MOZART: La Clemenza di Tito* PRESSBURG 20 November 1809, etc.
6 September. Prague In a German version by J. von Seyfried pro-
Metastasio's text (first set to music by Caldara in duced at Vienna, W. 22 September 1801; Kä.
1734), reduced, and altered by C. Mazzola. Two 12 April 1804 (in Italian, with some additional
acts. music byWeigl) and 2January 18II (inGerman).
Written and performed within 18 days to Given at Munich in Italian 21 July 1805 (with
ce1ebrate the coronation of the Emperor Leopold additional airs byWinter, Cannabich, Weigl and
lIasKing of Bohemia. After the special occasion Mayr) and in German 14 February 1824 as Kiinig
for which it was composed the opera became Garibald (the libretto gives the date as 16 Feh-
known to a greater public only some years after ruary), adapted to a new libretto by C. M. Heigel,
Mozart's death. First given at Vienna, Kä. 29 additional music by J. H. Stuntz (ce1ebrating the
December 1794 and B. 31 March 1795 (also W. 25thjubilee ofKing MaxJoseph ofBavaria).

491 49 2
179 1 ANNALS OF OPERA 1791
Revived at Prague 17 December 1848 (ceIc- February 1793; Mannheim 10 March 1793; Bre~
brating the Emperor Francis Joseph's accession to men JO October 1793; Hamburg 26 October
the throne). 1795; Berlin 26 January 1796; Ocls 10 December
Frequently revived in Germany, particularly in 1796, etc.
Mozart jubilee years such "as 1856 and 1906. The A Dutch translation by A. Fokke Simomz
most recent revivals were at Leipzig December appearcd in 1807.
1916 and Mannheim November 1919 (new Ger-
man version by A. Rudolph). MO ZAR T: Die Zauberjlöte*
Outside Austria and Germany La elemel/za di 30 SeptC/ilbcr. Vienna, W.
Tito was produced in London, Hm. 27 March
Text by E. Schikaneder. Two acts.
1806 (in Italian, for Elizabeth Billington' s bencfit,
text altered by S. Buonaiuti); first Mozart opera The actor and writer Kar! Ludwig Gieseke
in London ; revived 3 March 18 I2; 2 March 18 I 6; (real name, Johann Georg Metzler) who played
I May 1821. Given in German at the Prince's Th. in the first performance the small part of the first
16July 1840. slave (d. 1833 as professor of mincralogy in Dub-
LISBON Autumn 1806 (in Italian). !in), seems to have had a rather important share
AMSTERDAM 1809 (in Italian); 20 December 1823 in the libretto (cf. F. Grandaur in Neue Zeitschrift
(in German) and 1840 (in Dutch). für Musik, 1891; E. von Komorzynski in Alt-
NAPLES, s.c. 13 May 1809 (in Italian). Wiel/eT Kalel/der für das Jahr 1922 and E. J. Dent's
PARIS, TH.I. 20 May 1816 (in Italian). Mozart's Opera The Magie Flute; its History and
MILAN, T. RE 26 December 1816 (in Italian). Interpretation, 19II).
MILAN, SC. 26 December 1818 (in Italian). Die Zauberfiäte was a great success right from
ST. PETERSBURG 24 April 1817 (in Russian, trans- the beginning. Schikaneder announced the 83rd
lated by A. I. Sheller) and 20 August 1818 (in night on 23 November 1792 as the 100th perform-
Iulian). ance, the 135thnight on 22 October 1795 as the
MOSCOW 23 July 1818 (in Russian). 200th performance. On I January 1798 he an-
COPENHAGEN 29 January 1823 (in Danish, trans- nounced the 300th performance. Altogether, the
lated by N. T. Bruun); revived 8 September opera was given at the Theater auf der Wieden
1860. 223 times until 6 May 1801. (See on Goethe's
STOCKHOLM 23 June 1823 (in Swedish, translated project of a sequel to Die Zauberfiäte, the pam-
by A. Lindeberg). phlet by Victor Jung, 1900. For an actual sequel,
PRAGUE 19 November 1891 (for the first time Winter's Das Labyrint, see 1798.)
there in Czech, translated by V. J. Novotny). A belated continuation, Sarastro by K. E.
FALMOUTH 12 November 1930 (for the first time Goepfart, text by G. Stomme!, was given in
in English, translated by M. and E. Radford). concert form at Hengelo (Holland) on 9 Decem-
LONDON, WEST CENTRAL HALL 28 February 193 I ber 1891.
(in English, translated by M. and E. Radford). After Vienna, Die Zauberfiäte was first produced
A Serbian translation by J. GrCic was published at Prague 25 October 1792; given there in Italian
in 1891 (for a concert performance at Novi Sad?). (translated by G. de Gamerra, as 11 Flauto magico,
NEW YORK Radio performance 22 June 1940 of with recitatives by J. B. Kuchad) Camival 1794;
Acts land 2, and 29 June of Act 3. in Czech perhaps in the same year; translation by
uR. B. A." (A. Nejedly, A. J. Puchmajer, and
I. WAL TER: Der Spiegelritter S. Hnewkowsky) published 1794 and re-issued
September. Frankfort
11 1931. Given at Prague in a Czech version by J. K.
Text by A. von Kotzebue. Three acts. Chmelensky II January 1829; in a new version
Popular in Germany; given at Hanover 21 by J. Böhm 5 December 1874.

493 494
1791 ANNALS OF OPERA 179 1
Productiolls in Germall : DANZIG 19 October 1794.
ZITTAU 1792 (in concert form). DÜSSELDORF 4 November 1794.
AUGSBURG 21 January 1793. LÜBECK 17 November 1794.
LEIPZIG 25 January 1793. SCHLESWIG 29 December 1794.
PASSAU 3I January 1793. KIEL 14January 1795.
BUDAPEST 3 March 1793 (in German). BRESLAU 25 February 1795.
GRAZ 29 May 1793. ROSTOCK 19 May 1795.
BRÜNN June 1793. STRALSUND 22 June 1795.
GODESBERG, NEAR BONN June 1793. OELS I August 1795.
MAGDEBURG 1793 (fragments only) and 18 March GREIFSWALD 20 October 1795.
1799 (complete). OEDENBURG 12 December 1795.
MUNICH 11 July 1793. STUTTGART 18 December 1795.
WARSAW 27 July 1793 (in German). TEMESVAR 1796 (in German).
DRESDEN 7 August 1793 (in German) and 2 April CASSEL 5 December 1796.
1794 (in Italian). BERNE 12 December 1796.
FRANKFORT 16 August 1793. NEUSTRELITZ 2 January 1797.
LINZ 25 August 1793. PRESSBURG 26 February 1797.
HAMBURG 15 November 1793 (200th performance OSNABRÜCK 13 March 1797.
29 November 1836). BALLENSTEDT 22 December 1797.
WEIMAR 16 January 1794 (in 3 acts, libretto revised LEMBERG 1797 (in German).
by C. A. Vulpius). REVAL 1797 (in German).
KÖNIGSBERG January 1794. ST. PETERSBURG 1797 (in German).
MANNHEIM 29 March 1794 (Vulpius's version). KREFELD Spring 1798.
BRUNSWICK 17 April 1794 (in German) and 6 HERMANNSTADT 29 June 1798.
AugustI804 (in French, translated by A. Bursay). CRACOW 1799, etc.
FREIBURG 24 April 1794. First given at the Vienna Hoftheater 24 Feb-
STETTIN 24 April 1794. rua;y 1801 (400th performance there 18 Novem-
HANOVER 25 April 1794. ber 1893); at ViennaLeop. fmt 2 November 1810.
OLOMOUC 3 May 1794. In other languages, Die Zauberfläte was given
BERLIN 12 May 1794 (500th performance 3 Sep- in Italian and in Czech at Prague and Dresden,
tember 1905); in ltalian, Kgst. 24 February see above; at:
18·W· AMSTERDAM 3 April 1799 (in Dutch, triJ.nslated by
AMSTERDAM 31 May 1794 (in German). J. C. Meyer); in German earlier, see above; in
NUREMBERG 14 May 1794. French 18 October 1803; in Italian 30 Decem-
ELBING June 1794. ber 1809.
MAYENCE 0794. MOSCOW 1801 (in Russian, at Maddoks's Th.
COLOGNE 1794 and 29 April 1796. according to Chayanova; see also A. von
ALTONA 1794 and '28 August 1798. Kotzebue's journal, Der Freilllüthige, I, P.199).
LAUCHSTEDT 3 July 1794. Earlier dates as given by Findeizen (Moscow
AACHEN 10 July 1794. 1794?) :md by Stasov (St. Petersburg 1799)
DESSAU 11 August 1794. lack verification. (Anonymous Russian trans-
RUDOLSTADT 26 August 1794. lation published St. Petersburg 1799.) Given at
BAUTZEN 26 August 1794. St. Petcrsburg 1797 in German (see above; pro-
HALBERSTADT 29 August 1794 (by amateurs). duction recorded in TheaterjouTlla/, I, p.196)
ERFURT 27 September 1794. and sJune 1818 (in Russian, translated by A.1.
BREMEN 3 October 1794. Sheller).

495
179 1 ANNALS OF OPERA 179 1
PARIS, O. 20 August 1801 (in French, as Les Mys- MILAN, SC. 15 April 1816 (in Italian; rcvived therc
Irres d'Isis, text by E. More! de Chcdeville; "Le as late as 12 May 1923).
Citoyen Lachnith a compose Ic rccitatif. ct BUCHAREST 18 I 8 (in German).
forme Ja partition" (he lIscd parts from Mo- BRUSSELS Al1gust 1829 (in German, by the Aachen
zart's La Clc,lIenza di Tito, Le Nozze di Figaro, company coming from Paris).
and DOll Gioflalmi). This mlltilatcd version had BRUSSELS 10 February 1880 (in French, the Paris
its 100th pcrformance on 23 October IRI8 and 1865 version).
was given 134 times lIntil 2 May 1827. Also BRUSSELS 20 Dcccmber 1912 (new Frcnch version
gi vcn at N an tcs 2 March 1815. Sec· the anal ysis by J. G. Prod'homme andJ. Kienlin).
in G. Scrvicrcs's Episodcs d'Histoire Musicalc, NEW YORK 17 April 1833 (in English, adapted by
19 1 4. C. E. Horn); 23 January 1855 (in Gcrman);
PARIS, TH. J. 21 May 1829 (in German, by a com-
21 November 1859 (in Italian).
pany from Aachcn).
H. C. Lahee (Annals of Music in Alllerica) re-
PARIS, TH. L. 23 February 1865 (in French, trans-
cords a performance of Die Zauberfiö·te at Phila-
lated by C. Nuittcr and A. Bcaumont). delphia as carly as 7 March 1832. This statement,
PARIS, 0aC. 3 April 1878 (in French, translated by given withollt refercnce, has becn taken over by
C. Nuitter and A. Beaumont). many writers including J. G. Prod'homme, and
PARIS, O.C. 31 May 1909 (new translation by A. A. Einstein (in the third edition of Köchel's Ver-
Bisson and P. Ferrier). zeichnis). No such performance can be substanti-
PARIS, O. 22 Dccember 1922 (new translation by ated from the books dealing with the history of
J. G. Prod'homme and J. Kienlin, first given the Philadelphia stage, not even from the
Brusse!s 1912, see be!ow). daily account book of the Philadelphia theatre as
WARSAW 29 January 1802 and Poznan July 1805 edited by R. D. James in 1932.
(in Polish, translated by W. Boguslawski); in HELSINKI 15 April 1841 (in German) a'ld 12 Jan-
German earlier at Warsaw, Lemberg, Cracow, uary 1877 (in Finnish, translated by A. Törne-
see above; revived Lemberg 21 June 1923 (new roos).
Polish version by A. Kiczman). CLAUSENBURG 3 December 1843 (in Hungarian,
LONDON, HM. 6 June 18ll (in Italian, translated by translated by E. P:Hy; parts only); the whole
G. de Gamerra). opera, Budapest 17 February 1877, translated
NORWICH I June 1829 (in English, adapted by by G. Böhm). An earlier Hungarian version
C. H. Mueller). by S. Uszl6 had been published in 1804. Since
LONDON, C.G. 27 May 1833 (in German; a se!ec- 1913, a modern translation by Z. Harsanyi has
tion already King's Th. 18 June 1829). been used.
LONDON, D.L. 10 March 1838 (in English, adapted ANTWERP 14 March 1896 (in Flemish).

by J. R. Planche). ZAGREB 18 February 1899 (in Croatian, translated

DUBLIN 29 September 1868 (in Italian). by A. Harambasic).

CAMBRIDGE I December 19l1 (new English ver- MONTE CARLO 26 March 1921 (in Italian).
sion by E. J. Dent). BUENOS AIRES 16 May 1923 (in Italian).

STOCKHOLM 30 May 1812 (in Swedish, translated RIGA 28 November 1923 (in Lettish).

by H. A. Kullberg). BARCELONA 15 January 1925 (in German); Cata-

COPENHAGEN 23 March 1816 (in Danish, trans- lan translation by J. Pena published on that
Iated by N. T. Bruun, the second act only; both occasion.
acts 30 January 1826 in Danish, 20 May 1826 LJUBLJANA 22 December 1927 (in SIovenian).
in German; concert performances of the first SOFIA I May 1931 (in BuIgarian, translated by
act already 24 February 1798 and 14 May 1801. B. Danovsky).

497
1791-92 ANNALS OF OPERA 1792
A performance in Egypt, at the Pyramids, took Cimarosa's most successful work. Apart from
place in April 1912 (produced by K. Guttenber- Mozart, the only Italian opera buffa between
ger-Peler). Pergolesi and Rossini which is still in the reper-
tory in Italy as well as in other countries. The first
BEFFROY DE REIGNY: opera Cimarosa wrote for Vienna after his return
Les deux Nicodemes OU Les Fran~ais from Russia. It is said to have been repeated the
same night on the Emperor Leopold n's special
dans la Planete de Jupiter
request.
21 NOIJember. Paris, Th. Feydeau
Given at Vienna 133 times unti11884. In Italian
Text by the composer. Two acts. also Prague 1792; Leipzig 20 June 1792; Dresden
A seq uel to his Nicodeme (see 1790); after a few 3 October 1792; Monza December 1792 (for the
nights banned by the police for political reasons. first time in Ital y); Milan, Sc. 17 February 1793
Other sequels were Le vrai Nicodeme (1791); Les and all over Italy; given at Palermo 1793 and Siena
trois Nicodemes (1791); Nicodellle aux Ellfers (1792). Carnival 1795 as Lo Sposalizio segreto; given at
For details see C. Westercamp's mono graph on Turin Autumn 1803 as 11 Matri/llollio nottumo.
Beffroy de Reigny (1930). Barcelona 22 May 1793; Madrid 21 September
1793 (revived I May 1878); Lisbon Summer
DALA YRAC: Philippe et Georgette 1794 (revived 17 November 1868). London 11
January 1794 (revived 21 April 1798,25 January
28 Decc/llber. Paris, C.I.
1803, IO May 1814, 30 May 1818, 16 July 1829;
Text by J. M. Boutet de Monve!. One act.
H.M.'s 14 July 1842 and 14 June 1849; c.G. 21
Given in Paris until 1827. June 1849; H.M.'s 23 June 1860, Ly; 14 February
In French also, Ghent 1794; Brussels 8 June 1871, etc.). Trieste 15 March 1794; Ljubljana
1795; Cologne 1796-97; St. Petersburg 30 April Summer 1794; St. Petersburg 1794 or 20 Feb-
1800; Hanover 31 December 1803; Moscow 1 ruary 1795 (revived Carnival 1850); Charlotten-
October IHoS; Vicnna 30July 1809.- burg 2 October 1796. Paris, Th.I. IO May 1801
In Dutch (translated by A. C. Brinkman), (given there 332 times until 1872). Amsterdam
Amsterdam 1796. 1806 ;md Carni val 1808. Mexico December
In GerIl1an (transbted by C. A. Herklots), 1831; New York 4 January 1834; Philadelphia
Hamburg 2 October 1798; revived Berlin 14 17 April 1834; Berlin, Kgst. 26 June 1841; Bucha-
February IH05 (new German version by A. W. rest 1847; Calcutta 1870 (libretto I3ritish Muse-
Schlegel, who is l1lentioned as the translator in um); Malta 1872.
A.M.Z.; with additions by B. A. Weber).
In German: Berlin 5 November 1792 (trans-
In Danish (translated by E. de Falsen), Copen- lated by F. L.W. Meyer); Mannheim 18 August
hagen 9 April 1799. 1793 (translated by H. I3eck); Hanover 28 May
In Swedish (translated by J. D. Valerius), 1794; Passau 1794; Oels 21 May 1796;Weimar
Stockholm 2X January 1800. 3 December 1796 (translated by C. A. Vulpius);
Cologne 1796--97; Budapest 30 August 1797;
Munich 30 March 1798 (translated by K. L.
1792 Gieseke); I3reslau 16 October 1798; Rostock
7 May 1801; Bremen 18°3-04; Hamburg 28 De-
CIMAROSA: Il Matrimonio segreto* cember 1804; Vienna 10 June 1806 (for the fmt
7 Febmary. Vienna, B. time there in German) ; Laibach 15 January 18II;
Text by G. Bertati (founded on The Clalldestillc Graz 26 March 1825 (translated by J. C. Grün-
Man'iage, by G. Colman and D. Garrick, 1766). baum); Dresden IO June 1849 (first time there in
Two acts. German); Stuttgart May 1850; Vicnna 15 Octo-

499 5°0
1792 ANNALS OF OPERA 1792
ber 1850; Munieh 6 April 1851, ete. (new Ger- BIRMINGHAM 20 June 1921 (new English version
man translation by A. Lewald, 'r~eitatives by Lind- by R. Gatty).
painmer). Another German translation, by C. LONDON, COURT TH. 26 June 1928 (English version
Lebrün, was published 1838. by R. Gatty).
In Freneh (translated by P. L. Moline), Ghent BASLE 22 March 1927 (new German version by
1793; Brussels 4 June 1798; Antwerp 27 Deeem- L.Jansen)
ber 1804; (translated by F. H. J. Castil-Blaze) BERLIN 6 Oetober 1928 (in German, Jansen's ver-
Nlmes 1817; Strasbourg 6 October 1824; Hague sion).
Oetobe; 1838; (translated by Moras and F. San- WASHINGTON 23 April 1933 (at theJuilliard Sehool
tallier) Le Havre February 1862. of Musie; in English, Gatty's version, recita-
In Spanish (translated by L. F. Comella), tives by A. Stcrssel).
Madrid 7 September 1795. BUCHAREST in or before 1934-35 (in Rumanian).
In Danish (translated by F. G. Sporon), Co- NEW YORK, M. January 1937 (Gatty's version).
penhagen 26 September 1797; revived 30 May
1854 (new translation by T. Overskou). SC H ALL: Kinafarerne
In Swedish (translated by C. Envallsson), (Travellers to China)
Stoekholm I I February 1800; revived I Decem- 2 March. Copenhagen
ber 1851 (new translation by C. W. A. Strand- Text by P. A. Heiberg. Two acts.
berg). Suecessful at Copenhagen; given thcre until
In Polish (translated by J. Adamezewski), 183°·
Warsaw 27 December 18°5; revived 21 Novem-
ber 1840 (new translation by K. K. Kurpmski). GAVEA ux: L'Amour filial
In Duteh (translated from the French version 7 March. Paris, Th. Feydeau
by B. A. Fallee), Amsterdam 1808. Text by C. A. Demoustier. One aet.
In Russian, St. Petersburg 24 May 1822. Gaveaux' s first opcra, originally ealled Les deux
In English (translated by H. F. Chorley), Suisscs, sub-tide La Jambe de Bois. Sueeessful in
London, c.G. I November 1842 and Dublin 6 Paris.
May 1843; (translated by W. Grist) London, In Freneh also, Brussels 29 June 1795; Rotter-
Crysral Palacc 13 Dceember 1877. dam July 1795; Cologne 1795-96; Wilna 18 June
In Czech (translatcd by B. Peska), Prague 17 1802; Hanover 26 April 1804; Beme 3June 1809;
December 1872. Moseow 7 August 1809. Revivcd Liege 20 Fcb-
Some revivals after 1880: ruary 1814 (as Les dCllx SlIisses).
VIENNA 15 March 1884 (revised by J. N. Fuchs). In Gcrman (translatcd by C. A. Herklots), Ber-
LONDON, SHAFTESBURY 12 November 1891 (in lin 16 Oetober 1796; Hamburg 1796, ete.
Italian), and St. Georgc's Hall, 25 November In Danish (translatcd by R. Frankcnau), Co-
1896 (in English). penhagen 31 Oetoberl 797.
ST. PETERSBURG 29 September 1895 (in Russian, In Spanish, Madrid 25 Deeembcr 1802 (prob-
translatcd by N. Yurin). ably Gaveaux's opera).
HAMBURG II May 1909 (new German version by In Swedish, Stoekholm 24 June 1807 (ad-
T. Rehbaum, music revised by W. Kleefeld). vertised as by Dalayrac).
BUENOS AIRES 12 August 19II (in Italian). In Polish (translated by Sekolowski), Warsaw
PRAGUE 22 April 1914 (in Czeeh). 1808.
MONTE CARLO 16 Mareh 1916 (in Italian). In Flemish, Oudenardc 1795.
BARCELONA 9 Novcmber 1916 (in Italian). Thcre are printed Dutch versions by G. Bren-
PARIS, TR.L. 12 March 1921 and O.c. 10 Oetober der 11 Brandis and by J. C. van Son, both 1799·
193 I (new French version by D. Muller). Rcvived in Dutch at The Haguc as latc as 1832.

5°1 502
1792 ANNALS OF OPERA 1792

MEHUL: Stratonice* GHENT 1793 (revivcd 1879).

BRUSSELS 23 August 1794; revived 27 September
3 May. Paris, c.1. 1818 (as Be/fort et Euphemie) and 25 April 1852.
Text by F. B. Hoffman (comeJie-heroique). One COLOGNE 1796"-97; Hamburg 1797; Brunswick
act. 1801.
Revived at the O. 20 March 1821 (rccitatives BERNE 24 June 1809.
by Mehul's ncphew, Louis Joseph Daussoigne). ANTWERP 1 February 1827 (as Le Pensionnat de
Given in Paris until 1827. jeunes Demoiselles).
In French also, Lyons 1792; Brussels 15 August ST. PETERSBURG Spring 1805 (asBe/fortetEuphemie
1796 (the second version 16 August 1825); Co- ou La Pension de Nevers).
lognc 1796-97; St. Petersburg 1798; Berne 19 DUBLIN 1824 (as Le Pensionnat de Nevers; French-
July 1810; Moscow 22 December 1810. English libretto Allen A. Brown Collection,
In German (translated by C. A. Herklots), Ber- Boston).
lin 23 August 1815. In German (as Die Heimsucherinnen), Schleswig
In Russian (translated by F. F. Kokoshkin), 10 March 1794 (translator unknown; libretto
St. Petersburg I May 1820. printed; see Bibliotheca Danica, Vol. IV, P.406); as
A parody by J. B. D. Despres and J. A. P. de Liebe wagt alles (translated by H. G. Schmieder),
Segur, called Nice, was produced at the Th. du Hamburg 4 May 1798; (as Die Herrnhutherinnen),
Vaudeville, Paris 6 June 1792. Vienna 26 November 1804; (as Die Liebe im
Kloster, translated by C. A. Herklots), Berlin 3
October 1808.
PAISIELLO: I Giuochi d'Agrjgento
In Swedish (translated by D. G. Björn), Stock-
16 May. Venice, F. holm 22 February 1794; Malmö 13 April 1807;
Text by A. Pepoli. Three acts. Lund 3 August 1807.
Written for the opening of the new "Teatro In Dutch (translated by H. Ogelwight), Am-
la Fenice." Also given at London 5 February 1793 sterdam 1796 (revived there 1799 and Hague
and Lisbon 4 November 1799. Revived Venice, 1814).
F. 7 February 1801. In Danish (translated by E. de Falsen), Copen-
hagen 5 May 1797 (given there until 1854).
In Spanish (as La Quinta de Escorond6n), Madrid
DEVIENNE: Les Visitandines* 24June 1803·
7 July. Paris, Th. Feydeau An anonymous parody, Les Pu tins cloitrees, was
Text by L. B. Picard. Three (produced in two) published 1793 and 1796.
acts.
One of the most successful Frenth operas of the STEGMANN: Heinrich der Löwe
revolution period.
15 July. Frankfort
Frequently revived in Paris, viz.:
O.C. 2 March 1825 (as Le Pensionnat de jeunes Text by H. G. Schmieder (Ein allegorisches Sing-
Demoiselles, text altered by J. B. C. Viai). spiel). Two acts.
ODEON 30 June 1825 (as Les Franfais au Serail, text Written for the coronation of the Empcror
altered by H. Albertin). Francis ll. Also given at Vienna, W. 23 August
TH. L. II February 1852; Folies Bergere 2 March 1792; Hamburg 2 February and 2 March 1794
1872; Galerie Vivienne II November 1895; (in concert form).
O.C. 15 May 1900; Th. L. 17 January 1920. Revived Königsberg 1802 and November 1823
Outside France produced at: (with new dialogue by Struve).

5°3 5°4
1792 ANNALS OF OPERA 1792-93
ZINGARELLI: Il Mercato di of a tragic end, at Bologna Carnival 1796 and (as
MonJregoso (Ade/volto) Verona Carnival 1797.
In Italian also given at Madrid 25 August 1794;
22 September. Milan, Sc.
Trieste October 1797; Corfu Carnival 1798;
Text: an altered and reduced version of Gol-
London 19 May 1798 (last revised 6 February
doni's Il Mereato di Malmantile (see 1757). Two
1813); Lisbon 17 Dccember 1804.
acts.
In German (translated by J. O. H. Schaum),
Zingarelli's best comic opera; last revived in
Berlin 160ctober 1802.
Italy: Milan, Sc. September 1801; Naples, Fondo
9 October 1803.
In Italian also given at Prague 1793; Vienna STORACE: The Pirates*
13 June 1793; Leipzig Summer 1793; Barcelona 21 November. London, Little Hm.
14 May 1794; Lisbon Summer 1795; Madrid
Text by J. Cobb. Three acts.
Spring 1796.
In German (as DerJahrmarkt von Woltershausen, Again, as in his No Song, no Supper (see 1790),
Storace used parts of his Equivoci music, but also
translated by J. F. Schlotterbeck), Stuttgart
introduced a quintet from Guglielmi's La bella
Summer 18011-.
Peseatriee (according to Kelly) and airs by Anfossi
and Bianchi (according to Parke); the additions
NASOLINI: Eugenia
are not indicated in the printed score.
13 Oelober. Venice, S. Ben. Revived with additional music by Braham,
Text by G. M. Foppa (from Beaumarchais's Cooke, Mercadante and Baldueci, orchestration
drama). Three acts. revised by Cooke, London, D.L. 29 November
Outside Italy given at Dresden Carnival 1794; 1827 as Isidore de Merida; or, The Devil's Creek;
Lisbon Auturnn 1794; Barcelona 12 November this version was also given in New York on 9
1794; Madrid 9 December 1795. June 1828 (music arranged by C. E. Horn).
(Date of first performance verified from the
PAER: 11 Tempo Ja Giustizia a tutti newspapers; Genest has I I November, Kelly
20 November.)
Autumn. Parma
Text by A. Brambilla. Two acts.
The first of Paer's operas which had a greater
success. 1793
Given at Piacenza Spring 1793, Padua 26 De-
cember 1793 and Genoa, T. Falcone Carnival
DALAYRAC: Ambroise Oll Voila
1797 as Le Astuzie amorose and all over North maJournee
Italy. Also Corfu Carnival 1795. 12 January. Paris, c.I.
Revived (as La Loeanda dei Vagabondi) Modena,
Text by J. M. Boutet de Monve!. One act.
T. Rangoni 20 July 18Q4; Barcelona 20 Novem-
Successful in Paris; given at the O.C. lmtil
ber 1806; Bologna 26 December .809; Dresden
1827·
1813; and once more Florence, T. degli Arris-
In French also, St. Petersburg 26 October 1793;
chiati 30 April 1872.
Brussels 15 February 1796 (revived 7 December
1840); Hanover 16 August 1803; Moscow 15 Oc-
PAISIELLO: L'Elfrida tober 1808; Berne 17 July 1809; Vienna 26 Au-
4 November. Naples, S.c. gust 1826.
Text by R. de' Calzabigi. Two acts. In German, Vienna, W. 6 March 1812.
Given in a new version, with a happy instead In Russian (translated by P. N. Kobyakov),

50 5 506
1793 ANNALS OF OPERA 1793

St. Petersburg 19 December 1809 and Moscow MEHUL: Le jeune Sage ef le vieux Fou
10 November 1814. 28 March. Paris, O.c. 1
In Swedish (translated by C. G. Nordforss),
Text by F. B. Hoffman. One act.
Stockholm I I December 1812; Gothenburg 14
In French also, Liege 30 September 1795; Co-
June 1816.
logne 179<>--97; Brussels I March 1799, etc.
In Dutch (translated by C. Vreedenberg), Am-
In Swedish (translated by C. G. Nordforss),
sterdam 1816.
Stockholm 9 October 1805.
In Russian, St. Petersburg January 1812.
LESUEUR: La Caverne Revived at the Arts Theatre Club, London
8 May 1929 (as There's no Foollike a young Fool,
16 February. Paris, Th. Feydeau
English version by H. G~aham).
Text by P. Dercy (founded on an episode in
Lesage's Gil Blas). Three acts.
PORTUGAL: La Confusione nafa dalla
One of ehe earliest examples of"bandit" opera,
a species characteristic of that period. According Somiglianza ossiano I due Gobbi
to H. Kretzschmar, La Cal1eme is " ... vielleicht Spring. Rome, Pallacorda
dasjenige Kunstwerk, das uns den tiefsten Blick Text by c. Mazzini (founded on a comedy by
auf Geist und Herz der Schreckenszeit gestattet. L. Del Buono)t Two acts.
Es gibt keine zweite Oper mit solch dumpfängst- The first great success of Portugal, the only
licher Stimmung, solcher fieberhaften Erregung Portugllese composer whose (Italian) operas were
und solcher wilden Energie". given all over Europe. Milan, Sc. 14 February
In French also, Liege 2 September 1795; 1796, etc.
Brussels 18 December 1795; Rotterdam 9 No- In ltalian also, Dresden 4 December 1793;
vember 1796; Cologne 179<>--97; Brunswick Trieste 14 Janllary 1794 (revived Spring 1815);
Spring 1804; St. Petersburg May 1805; Moscow Barcelona 16 June 1794; Vienna 28 June 1794;
28 October 1809; Cassel. May 1812. Prague 1794; Corfu 26 December 1794; Lenden
Dutch translation by P. G. van Witsen Geys- 15 March 1796; St. Petersburg 1798; Cagliari,
beek published 1799. Sardinia Autumn 1802; Amsterdam 1806.
In German, Vienna, W. 14June 1803 (as Die In German (translated by C. A. Herklots), Ber-
Hiihle bcy Cosiro, translated by J. von Seyfricd) lin 3 August 1795; Hamburg 6 May 1796, etc.
and Kä. 24 June 1803 (as Die Rällbcrhiilzle, trans- Another German version (by K. L. Gieseke) was
lated by K. F. Lippert); Berlin 29 June 1807; used at Budapest 25 March 1801 and Graz 24
Stuttgart 1817 (as AlJollso II/ld Seraphillc); Prague January 1803. Given on German stages until 18 t 9:
Summer 1819. Another translation by H. G. Herklots's translation, Hanover 25 July Ib19;
Schmieder, Die Rällbcrhiihle, published Hambllrg Gieseke's translation, Nuremberg 29 November
1 804. 1819·
In Russian (translated by N. V. Vsevolozhsky), The oper;, docs not secm to have been given at
St. Petersburg 10 August 181R; Moscow 6 May Lisbon, thl' Cllmposc:r's native town.
1819 (with additional mllsic by Maurer).
I On 11 Fcbruary I79J tht Paris ''ComCdit'-ltalienne''
takes tbc ncw name of ThEine cIe ('Opaa-Comique
SC H U L Z: Itldtoget (Entry) National" undcr which it 11«0_ DOW generally
known. ßctween 17MJ and IBoI it wal abo often called
26 FelIT/larr. Copenhagen "Salle Favart" oe "Tbatre de la Ruc: Favart" as different
from tbc rival bouse in Rue Feydeau (tate "Theatre de
Text by P. A. Hciberg. Two acts. Monsieur·'). In 1801 tbc two companies werc amalgam-
Given at Copcnhagen 49 timcs until 1H27. ated.

508
1793 ANNALS OF OPERA 1793

KUNZEN: Die Weinlese In Danish (translated by N. T. Bruun), Co-

penhagen 18 April 1806 (previously given there
3 May. Frankfort
in French, 1798, in concert form).
Text by J. J. Ihlee. Three acts. In Russian (translated by A. G. Volkov),
The most successful work of the German- Moscow 2 January 1809; St. Petersburg 19 Sep-
Danish composer. tember 1817.
In German also given at Prague 1794; Hamburg In Swedish (translated by C. G. Nordforss),
28 August 1795; Breslau I I November 1796; Stockholm 30 January 1815.
Hanover 3I July 1797; Bremen September 1797; In German, St. Petersburg 16 February 1818.
Oels 2 December 1797; St. Petersburg 1803; (This opera was the first in which a Chinese
Berne April 1804; Berlin 16 November 1807, gong was used in the orchestra.)
etc. Revived (in a reduced 2-act version) Berlin,
Kgst. 28 June 1825; Leipzig 2 August 1826. ARNOLD: The Children in
In Danish (as Vinhosten eller Hvem forer Bruden
the Wood
hjem, translated by R. Frankenau), Copenhagen
22 December 1796 (given there until 1832). 1 October. London, Litde Hm.
Text by T. Morton. Two acts.
Successful on English stages and Dublin 10 Feb-
CIMAROSA: I Traci amanti ruary 1794; Philadelphia 24 November 1794
19June. Naples, T.N. (given there until 1833; additional music by B.
Text by G. Palomba. Two acts. Carr; New York 26 December 1794 (with addi-
Successful in Italy; given at Padua 6 October tional music by B. Carr), etc.
1795 as 11 Padre alla Moda; another alternative
tide was, according to Cambiasi, Lo Sbarco di W. MÜLLER: Das Neusonntagskind
Mustanzir). In Italy given until 1818. Outside 10 October. Vienna, Leop.
Italy: Madrid 15July 1794; Lisbon Carnival1796 Text by C. Perinet (founded on P. Hamer's
(as Gli Turchi amami); London'16 February 1796; comedy Der Furchtsame, 1774). Two acts.
Dresden 1796; Vienna 30 April 1800; Paris 3 I No- Very successful all over Austria and Germany:
vember 1809 (according to the libretto; Castil- Graz 20 February 1794; Pressburg 3 April 1794;
Blaze gives 22 November 1809). Budapest 21 April 1794; Salzburg Autumn 1794,
(Date of first performance according to the etc.; also Nuremberg 1794 and Mayence 1795 (as
autograph score at Naples). Der Geisterseher); adapted for the North German
stage by E. Grossmann, Hamburg 3 February
STEIBELT: Romeo etJuliette 1795; Hanover 3 July 1795; Bremen 20 October
1795; Weimar 29 March 1796 (text altered by
10 September. Paris, Th. Feydcau C. A. Vulpius); Berlin 6 May 1796; Mannheim
Text by J. A. P. de Scgur. Three acts. 26 February 1797; Oels 18 March 1797; Breslau
Steibelt's most successful work (particularly August 1797; Carlsruhe 16 March 1798; Aachen
popular in Russia, where Stcibelt succeeded Boiel- 9 May 1798; Munich 14January 1800, etc.
dieu as conductor of the Frcnch opera company The last (154th) Vienna performance was on
in 18u). Last revived in Paris, O.C. 19 January 26 July 1829; given at Weimar as late as I I March
1822. 1846; Würzburg20 February 1849; Berlin, Fr.W.
In French also, Liege 29 November 1796; Co- 24 May 1852; Breslau 29 April 1862.
logne 1796-97; Brussels 17 March 1799 (revived In German also, Rotterdam Spring 1796; Te-
14 March 1815); St. Petersburg 1809; Moscow mesvar 22 November 1801; Paris, Th. de la Cite
28 May 1810; New Orleans 6 August 1810. 25 November 1801; Berne Spring 1804; Poznan

509 510
1793-94 ANNALS OF OPERA 1794
16 September 1805 (as Der Geisterseher); St. Pe- One ofPortugal's most successful works. Given
tersburg 1808; Moscow 9 September 1820. at Lisbon later in the same year (1794) in Por-
In Dutch (translated by G. C. de Greuve), Am- tuguese (as 0 Basculho da Chamine) and 27 May
sterdam 1799; (translated by G. Vreedenberg) 1799 in Italian.
Amsterdam 1813 and Hague 1829. In Italian also given at Dresden Spring 1794;
In Polish (translated by W. Boguslawski), Vienna 5 September 1795; Barcelona 6 May
Warsaw 1802. 1796; Bastia, Corsica Spring 1797; St. Petersburg
22 November 1797; Ljubljana Spring 1799;
London 17 June IS00. Last revived Milan 14
WINTER: I Fratelli Rivali March IS19.
November. Venice, S. Ben. In Russian (translated by I. A. Dmitrevsky),
Text by M. Butturini. Two acts. Moscow 26 November 1798 (revived 3 Novem-
In Italian also given at Prague 25 October 1794; ber 180S).
Dresden October 1795 (revived September 1816); In German (as Schornsteinfeger Peter, in a 2-act
Vienna 16 November 1795; Madrid 30 May version by C. A. Zschiedrisch), Dresden 22 May
1797; London 18 February 1800. 1799; Hamburg 9 May IS00, etc.; Warsaw 1810.
In German (translated by M. Stegmayer),
Frankfort 1798; Mannheim 15 September 1799; WEIGL: La Principessa dJAmalfi
(translated by F. X. Girzik) Budapest I I May
10 January. Vienna, B.
1800, etc. Revived Munich 16 July 1819; Stutt-
gart 1820. Text by G. Bertati. Two acts.
W eigI' s first greater success. Haydn wrote to
the young composer on II January: " . . . da
BOIELDIEU: La Fille coupable molto tempo non 0 ascoltato musica con piu
2 November. Rouen attenzione che la sua Principessa di AmaIJi di ieri:
Text by J. F. A. Boieldieu, the father of the com- chiara di pensiero, alta, piena di sentimento; in
poser. Two acts. poche parole, un capolavoro".
Boieldieu's first opera. Score preserved. In Italian also given at Prague 1794; Leipzig
15 June 1794; Dresden 13 December 1794; Char-
S CHULZ: Peters Bryllup lottenburg 19 June 1796; Milan, Sc. April 1803;
Paris 14 November 1805; Venice, F. Autumn
(Peter's Wedding)
IS07, etc.
12 December. Copenhagen In German (translated by F. X. Girzik), Buda-
Text by T. Thaarup. Two acts. pest 2S April 1795; (translated by C. A. Vulpius)
Given at Copenhagen until1835. Weimar 6 January 1798; revived Graz 2 March
1807·

PORTUGAL: Demofoonte
I794
8 February. Milan, Sc.
PORTUGAL: Lo Spazzacamino
Metastasio's text (first set to music by Caldara in
Principe 1733). Three acts.
4January. Venice, S. Moise In a reduced 2-act version given at Lisbon 15
Text by G. M. Foppa (founded on a French August IS08 (revived 2S April ISI9) and Rio de
comedy by Maurin de Pompigny, 1785). One Janeiro 17 December I8II (as one of the first
act. operas ever produced there).

5n SI2
1794 ANNALS OF OPERA 1794

S T E FAN I: Cud, czyli Krakowiaki i Aachen, Düsse!dorf and Crefeld 1797; Hamburg
Gorale Carnival 1799-1800; Oels 6 July 1799; Berlin
24 Mareh 1800, ete.
1 March. Warsaw
In Gennan also Budapest 9 Oetober 1794;
Text by W. Boguslawski. Two acts.
Pressburg 15 January 1795; Schleswig 1798; Te-
(The tide means: Thc .'vfiracle; or, The Craco-
mesvar 29 November 1801; Agram 2 May 1802;
I'iar/s alld Ihe MOlllllaill-Folk.)
Poznan 12 August 1804; St. Petersburg 1808;
For a contemporary aeeount see]. G. Seume's
Prague Carnival 1809; Moscow 3 February 1821;
Eillige NacllrichlclI über die Vorfällc ;'1 PolclI im Jahr
Gothenburg 26 December 1827; Helsinki 28
1794, 1796, pp. I 5-17· March 1838; New York 30 November 1859.
Very successful in Poland; given at Warsaw
In Hungarian (translated by P. J. Kotsi), Clau-
144 times until 1859. Lemberg 1796; Poznan 7]uly
senburg 16 February 1803; Budapest 17 February
1801; Craeow 22 September 1809. A seque!,
1808.
Zabobon (SlIpcrstitioll), mostly called Nowe Kra-
In Polish (translated byJ. Drozdowski), Warsaw
kowiacy (3 aets, tcxt by]. N. Kaminski, music by
1803; Wilna 1808
Kurpinski) was first produced at Warsaw in 1816;
In Russian (translated by A. I. SheIIer), St. Pe-
also Lemberg 22 November 1816 (in Polish) and
tersburg 10 Oetober 1814; Moscow II December
I I March 1829 (in German, translated by F.
181 7.
Pohlenburg); Wilna 25 September 1827, ete.
In Dutch, Hague 1830.
This sequel was, since 1826, often performcd on
Some of the latest revivals were at Hamburg
the samc bill with the original. Revived at
12 April 1849; Berlin 16 March 1852; Vienna
Warsaw as late as 8 March 1913 (seeond part) and
8January 1859; Munich 31 Deeember 1863; Kö-
24 ]uly :929 (first part).
nigsberg 26 January 1870.
Also produced (in Polish) at the Exhibition Th.,
A Nachgcstaltung by C. Czarniawski was pub-
Vienna II September 1892.
lished in 1935 (produced Baden, near Vienna
June 1935).
HEWITT: Tammanny; or, The Beethoven used the air Ich bin der Sclmeider Ka-
Indian Chief kadu from this opera for his Variations, Op.12Ia
3 March. New York,]ohn Street Th. (1824).
Text by A. J. Hatton. Three acts.
One of the earlicst Ameriean operas. Given at GA VEA ux: La FamilIe indigente
New York 13 Mareh 1795 in a redueed 2-act 24 March. Paris, Th. Feydeau
version as America rcdiscovered. Also Philadelphia Text by B. A. Planterre (Fait historique, mell de
18 Oetober 1794; Boston 4January 1796. Music Chant, founded on an idyl by S. Gessner). One
lost. Of the text, the Iyries only are extant. act.
In French also, Brussels 8 February 1796; Rot-
W. MÜLLER: Die Schwestern terdam 2 September 1796; Cologne 1796-97, etc.
von Prag* In Danish (translated by N. T. Bruun), Co-
penhagcn 17 September 1802.
11 March. Vienna, Leop.
Text by C. Perinet (founded on P. Hafner's
comedy Die reisenden Comödianlell, 1774). Two Z I N GAR E L LI: Gerusalemme distrutta
aets. Lcnt. Florence, P.
Even more popular than his Neusonntagskind Text by A. S. Sografi. Two acts.
(see 1793), given onevery German stage; Nurem- Revived Florence, T. de' Infocuati 27 Novem-
berg 1794-96; Salzburg Spring 1795; Cologne, ber 1803 as La Dislruzione di Gerusalemme. Revived

514
1794 ANNALS OF OPERA 1794
in 1807 for a private performance at Casa Lante, ANDREOZZI: La Principessa Filosofa
Rome, and revived Rome, T. Valle 14 March
ossia Il Contravveleno
1810; Naples, T. Fondo 18II; Milan, Sc. 22 Feh-
ruary 1812, etc. 6 Getober. Venice, S. Ben.
In Italian also at Paris 4 May 18II and Vienna, Text by A. S. Sografi (Commcdia ridotta ad uso
W. 22 May 1817. melodrammatieo). Two acts.
In German (translated by F. K. Hiemer), Stutt- The most popular of Andreozzi's numerous
gart 6 November 1814; Darmstadt November operas (a list of which will be found in R.M.l.,
18 1 5. Vol. XVI, P.263).
Outside Italy given at Madrid 5 Oetober 1797;
ISO U AR D: L' Avviso ai Maritati Lisbon Summer 1800; London 5 May 1801 (text
altered by S. Buonaiuti).
Spring. Florence, P.
Text by F. Gonella. Three acts.
The first opera of the Maltese composer. Suc-
S ÜSSMA YR: Der Spiegel von Arkadien
cessful in Italy; given also at Lisbon 1794; Dresden 14 November. Vienna, W.
Carnival 1795; Madrid 2 August 1795. Text by E. Schikaneder. Two aets.
The most successful work of Mozart's pupil
CIMAROSA: Le Astuziefemminili* and one of the best achievements of the German
"Zauber-Oper". In Vienna given II3 tim es until
16 August. Naples, Fondo
1804; last revived there 26 August 1826.
Text by G. Palomba (for unknown reasons Rie- In German also given at Press burg 12 Septem-
mann, CIement-Larousse, Nicoll and others name ber 1795; Frankfort 20 September 1795; Passau
Metastasio (!) as the author of the libretto). Two 1796; Hamburg Summer 1796; Berlin 3 August
aets. 1796; Munich March 1797; Hanover 2Julle 1797;
Suecessful in Italy; first given at Milan, Sc. Bremen Oetober 1797; Salzburg, Cologne, DUs-
12 March 1803. seldorf and Crefeld 1797; Aaehen May 1798, etc.
Outside Italy given at Barcelona 12 September Also Lemberg 1797; Sehleswig and Budapest
1795; Lisbon 2 December 1797; Paris 21 October 1800; Paris, Th. de la Cite 29 November 1801;
1802; London 21 February 1804. Temesvar 14January 1802; Beme 1803; Warsaw
In German (translated by C. A. Herklots), Ber- 3 November 1804; POZllan 18 November 1804;
lin 9 September 1799. St. Petersburg 1804; given at Weimar 2 February
Revived Naples, T. Filarmonieo 10 February 1796 as Die neuen Arkadier (text altered by C. A.
1871 (text revised by E. Goliseiani, recitatives by Vulpius).
C. Rossi) and London, c.G. 15 July 1871; Bo- In Italian (!), Prague 7 September 1795 (in
logna, T. Brunetti Summer 1871; Florence, T. German there 9 March 1809).
Arrischiati Autumn 1871; Paris 5 February 1874; In Russian, St. Petersburg 5 May 1814; Moscow
Rome, Capr. November 1878; Florence, T. Nic- 7 May 1818.
colini 14 January 1893. There are also printed Freneh (by F. G. Hauss-
Again revived (orehcstrated by O. Respighi; ner, 1801) and Polish (by W. Kratzer, n.d.)
produced by Diaghilev, as an opera-ballet, cho- verSIons.
reography by Massine) Paris, O. 27 May 1920;
London, C.G. 22June 1920; Naples 30 MaY1921;
CHER UBINI: Elisa OU Le Voyage
Monte Carlo 24 Deeember 1923; Florence, P.
20 May 1939.
au Mont-Bernard*
(Date of first performance aecording to the 13 December. Paris, Th. Feydcau
autograph score at Naples.) Text by J. A. de Reveroni Saint-Cyr. Two acts.

51 5 516
1794 ANNALS OF OPERA 1795
Like Lodofska (see 1791), more sllccessful in London I I January IS17 (Giuditta Pasta's London
Germany than in France. debut); St. Petersburg 21 November IS18.
In German (translated by c. A. Herklots),
Berlin 10 October 1799; Vienna, W. IS Decem-
ber IS02; Budapest 16 September ISOS, etc. 1795
In Spanish, Madrid 10 February IS03. MARTIN Y SOLER: La Scola de
In Russian, Moscow I S03; St. Petersburg 10
October ISI4.
Maritati
Revived in an abridged German version (by 27 January. London, Hm.
E. Pasquc and F. Langer) as a prologue to Les deux Text by L. da Ponte. Two acts.
JOl/mees (see IS00), Mannheim 25 March 1903. Date of the first performance verified from the
newspapers; Sonneck givcs 17 May 1794 (the
date of the London productiOll of 11 Bllrbero di
LEAL MOREIRA: A Vingan~a da Cigana
buon Cuore). According to most authorities since
(The Gipsy's Vengeance) Fctis, this opera had been originally produced at
Deeember. Lisbon, S.c. St. Petersburg about 17SS under the title of Cli
Text by "Lereno Secinuntino, Arcade Romano" Sposi in Contrasto. In fact, there is no record of its
(pseudonym of the Brazilian poet Domingos Cal- ever having been given in Russia (see also R. A.
das Barbosa). One act. Mooser in R.M.I., Vol. XL, 1936, P.441), and no
This drama joeoserio was the first opera which reason to doubt Da Ponte's statement that he
was sung in Portuguese at the new Theatro San wrote the libretto in and for London within threc
Carlos, Lisbon (opened 30June 1793). Score pre- wecks.
served. Subsequently given, under the original title or
as La Caprieciosa (;)rretla, at Venice, S. Moise 5
STORACE: The Cherokee October 1795; Crema 26 Decembcr 1795; Genoa
20 Deeember. London, D.L. and Bologna Spring 1796; Florence, P. 7 May
Text by J. Cobb. Three acts. 1796 (revived Spring 18n); Milan, Sc. 7 June
Given at Boston 24 June 1799. Revived Lon- 1796; Turin and Udine 1796; Palermo 1797;
don, D.L. 30 April IS02 as Algonah, with additio- Padua Autumn 1797; Naples, T. Fondo 1798;
nal musie by M. Kelly (see his Rel1lilliseenees, Vol. Ancona 1798; Rome February 1800; Brescia
H, p.79, where he erroneously gives 20 Novem-
Summer 1806, etc.
ber as the date of the first performance; and Vol. In Italian also:
H, p.ISS, where he simply says "The drama by DRESDEN 1796 (as La Capricciosa corretta).

Cobb, the music by myself", withoutevcn men- VIENNA 11 October 1796 (as Cli Sposi in COlltrasto).

tioning the fact that Algonah was onlya new ver- MADRID 16 April 1797 (as La Capricciosa corretta).

sion ofhis friend Storace's Thc Chcrokec. LISBON SumLler 1797 (as La Capricciosa corretta).

The opera was lately revived at Leeds 27 Octo- PRAGUE 20 January 1802 (as La Capricciosa corretta).

ber 1926 (score arranged by A. Tyrer). PARIS 2 June 1806 (as La Moglie corretta); revived
25 March 1815.
AMSTERDAM 1807 (as La Moglie corretta).
CIMAROSA: Penelope Revived in London 26 January 1798 and 14
26 Darm/Jer. Naples, Fondo July 1801.
Text by G. M. Diodati. Two acts. In German (first?), Bautzen 28 January 1798;
Successful in !taly; also given at Lisbon 30 Sep- Weimar 25 May 1799 (translation revised by C.
tember IS04; Paris S May 1815 (according to the A. Vulpius; as Die Eigensinnige); revived Frank-
libretto; Castil-ßlaze gives 31 Dccember 1815); fort 1824.

51 7 518
1795 ANNALS OF OPERA 1795

DALAYRAC: Adele et Dorsan HOFFMEISTER: Der Königssohn

27 April. Paris, O.c. aus Ithaka
Text by B. J. Marsollier. Three aets. 27 June. Vienna, W.
In Freneh also, Liege 8 November 1798; Brus- Text by E. Schikaneder. Two aets.
scls 25 Oetober 1799; St. Petersburg 1800, Beme The most sueeessful ofHoffmeister's operas.
8 May 1802. Redueed to 2 aets Paris, Fey. 8 Oeto- Given at Prague 5 April 1796 (revived 1824);
ber 1801. Hamburg 26 Jalluary 1797 (very mueh altered) ;
Weimar II February 1797 (as Telemach, Prinz von
WEDEL: Serenaden eller De sorte Ithaka, text revised by C. A. Vulpius); in German
Naeser also, Budapest c.1800; Temesvar 16 Deecmbcr
(The Serenade or The black Noses) 1801.
15 May. Copcnhagen In Polish (translated by W. Boguslawski),
Text by C. H. Pram. Three aets. Warsaw 17 March 1803.
The most sueccssful of wedel' s three "Syn-
gcstykke"; givcn at Copenhagen until 1804. SALIERI: Palmira, Regina di Persia
14 October. Vienna, Kä.
MARTIN Y SOLER: L'Isola del Piacere
Text by G. de Gamcrra (from an intended Freneh
26 May. London, Hm. opera La Princesse de Babylone, by Martin after
Text by L. da Ponte. Two aets. Voltaire, 1788). Two aets.
Unsueeessful in London, given three times In Italian, Prague 1796; St. Petersburg 12
only. On the seeond night (28 May) an inter- September 1796; Dresden 18 March 1797; Rome,
mezzo, Le Nozze de Contadini Spagnoli, was intro- T. Pallaeorda Spring 1805.
dueed. Revived in London II June 1801. In German (translated by J. J. Ihlee), Frankfort
In ltalian also given at Veniee, S. Moise 23 7 April 1797; (translated by J. F. Sehlotterbcek),
January 1797 (as L' Isola piacevole); Florence, T. in Stuttgart 27 June 1797 (eelcbrating the arrival of
Via Santa Maria and Udine Summer 1797, ete.; the English Prineess Charlotte Augusta Matilda,
Madrid 25 July 1799 (in Italian) and 3 Oetober daughter of George III and married to King Fre-
1801 (in Spanish, translated by L. F. Comella); deriek II ofWürttemberg); (translated by C. A.
Lisbon 26 January 1801 (in Italian). Herklots), Berlin 10 January 1798 (revived 15
In German: Oetober 1826); Budapest 20 August 1798; (trans-
VIENNA, W. 26 April 1800 (as Die Insel der Liebe, lated by C. A. Vulpius), Weimar 2 March 1799;
translated by M. Stegmayer; additions by 1. von Altona 5 Oetober 1799; Sehleswig 1800; Ham-
Seyfried; also Leop. 21 Oetober 1809). burg 13 November 1801; (Ihlee's translation)
BUDAPEST c.I800 (as Die Insel der Liebe, translated
Vienna, W. 24 February 1803 (revived 18 April
by M. Stegmayer). 181 5).
AACHEN 9 August 1802 (as Die Insel der Liebe). In Polish (translated by W. Boguslawski),
MANNHEIM 12 Deeember 1802 (as Die Entdeckungs-
Warsaw 1804; Wilna 1809.
fahrer, translated by S. G. = Stefan Grua1). Parts of the opera were rcvived in eoneert form
LEIPZIG 24 Oetober 1804 (as Das Liebesfest in Kata- at Leipzig on I March 1838.
lonien, Stegmayer's translation).
HAMBURG 16 September 1805 (as Das Fest der Liebe
oder Die beiden Eifersiichtigen).
S. PALMA: La Pietra simpatica
In Hungarian (as S~erelem Szigete, translated by Autumn. Naples, Fior.
A. Lang), Neumarkt (Maros-Vasarhely) 10 Au- Text by G. B. Lorenzi (founded on Marmontel's
gust 1806 and Clausenburg 21 September 1806. tale, Le Connoisseur). Two aets.

519 520
 1795 ANNALS OF OPERA

The most successful of Palma's comic operas; Carnival stagione on 26 December, the date
"una poesia ed una musica geniale e dotta" (Na- usually given.)
poli-Signorelli). Milan, Sc. 26 August 1797, etc.
Given at Parma Autumn 181 I, with additions by . CIMAROSA: I Nemicigenerosi
G. Alinovi.
26 December. Rome, Valle
In Italian also given at Vienna 6 May 1796; Bar-
celona 26 April 1798; Trieste 26 December 1798; Text (according to the Catalogue of the Cima-
Paris 30 June 1801 (withadditions by M. Trento). rosa Exhibition, Vienna 1901) by F. Petrosellini.
Originally in 2 acts.
Reduced to I aet (as 11 Duello per Complimento),
B RUN I: T oberne Oll Le Pecheur Venice, S. Moisc 24 September 1797).
suMois In Italian also, Vienna 2 July 1796 (revived I
3 December. Paris, Th. Feydeau October 1804); Dresden 18 January 1797; Barce-
lona 9 December 1797; Corfu Carnival 1798; St.
Text by C. Patrat. Two acts.
Petersburg 1798; Paris 9 August 1801 (revivcd
In French also given at Brussels 29 June 1796;
31 March 1808 and 17 February 1818); Cagliari,
Hague September 1796; Cologne 1796--97; Beme
Sardinia Autumn 1805.
26 September 1801; Moscow 6 June 1809.
In German (translated by C. A. Herklots),
Berlin 22 March 1797; Vienna, W. 14 March
1801; Hermannstadt 30 August 1804. 1796
Dutch translation by H. Ogelwight published
1798. GAVEA ux: Le petit Matelot Oll
In Swedish (translated by C. G. Nordforss), Le Mariage impromptu
Stockholm I I January 1798 at the Arsenal Th. 7January. Paris, Th. Fcydeau
and 9 November 1798 at the Royal Th. Given at
Text by C. A. G. Pigault-Lebrun. One act.
Stockholm (where the opera was of speciallocal
Gaveaux' s most popular work, a special favour-
appeal) until 1837. Also Malmö 27 June 1808.
ite in Germany.
In Russian (translated by P. N. Arapov), St.
Petersburg 29 July 1822; Moscow 15 January In French also, Brussels 28 August 1796; Ham-
182 3. burg 4 September 1797; St. Petcrsburg 5 Decem-
ber 1798; Beme Dccember 1800; Hanover 18
September 1803. Given by French amateurs at
PA ER: L' Intrigo amoroso Cape Town I I October 1808.
Decelllber. Venice, S. Moisc In German (translated by C. A. Herklots),
Text by G. Bertati. Two acts. Berlin 20 May 1797; Oels 3 March 1798; Breslau
In Italy also given as Il Male vien dal Buco 23 April 1798; Bremen Autumn 1798; Hamburg
(Ferrara 1797; Venice, S. Angelo 26June 1797); 1798; Krefeld 20 May 1799; Graz 1800; Munich
Saed ossia 11 Serraglio (Turin 1798); and Gl'Intrighi March 1800; Vienna, W. 1801 and Kä. 29 June
de! Serraglio ossia Il Male vien dal Bene (Bologna 1805; Beme 1803; Poznan 25 September 1805;
17 September 1797; Milan, Sc. 14 August 1800). Prague Summer 1810; given at Hamburg as Iate
In Italian also Vienna 26 April 1798; Lisbon as in 1866.
Summer 1798; Dresden 17 April 1799; Barcelona In Swedish (translated by C. G. Nordforss),
13 June 1799; Prague 28 April 1802. Stockholm 28 October 1799; Malmö 7 Septem-
(It appears from the Giornale dei Teatri di Vene- ber 1806.
zia that the opera was first produced about the In Danish (translated by R. Frankenau), Co-
middle ofDecember, before the beginning of the penhagen 10 November 1800 (given until 1832).

521 522
 ANNALS OF OPERA
In Russian (translated by I. I. Valberkh), Mos- at Leghorn 1807 with the sub-tide Le Tombe di
cow 1801; St. Petersburg Autumn 1808; revived Verona.
Moscow 23 May 1809 in French, 6 March 1810 In Italian also given at:
in Russian, and 25 September 1819 in German. VIENNA 7 April 1797; (28 April 1804 with addi-
In Spanish (translated by V. R. de Arellano), tions by Weigl; last revived there in 1830).
Madrid 24 February 1802 and Mexico 1825. LISBON 1798.
In Dutch (translated by C. Vreedenberg), Am- TRIESTE November 1800.
sterdam and Hague 1828. PARIS, TH.I. 16 Deeember 1812 (but previously at
Italian translation by G. Ricchi published 1805. Napolcon's private Theatre des Tuileries 9
March 1809). ,
NASOLINI: Merope BERLIN 30 July 1817.
MOSCOW 8 May 1819.
21 January. Venice, S. Ben.
MUNICR ~ugust 1819 (with many additions by
Text by M. Butturini. Three acts.
Winter).
In Italian also, Trieste October 1799 (libretto
LONDON 21 June 1824.
altered by G. Artusi; revived there Spring 1808);
NEW YORK 26 July 1826.
London 28 March 1802 (as Merope e Pol!(onte,
BUENOS AIRES 3 August 1826.
with Elizabeth Billington and Brigitta Banti; very
In German, Bozen 1798; Berlin 7 August 1812
successful; see Kelly' s Reminiscences, II, p. 186);
(translated by C. A. Herklots); Hamburg 28
Paris 21 December 18II (Napoleon attended a
March 1817; Munieh 22 August 1819, ete.
command performance at his private Theatre des
In Polish, Wilna 22 April 1810.
Tuileries I December 18 II); Munich I Septem-
ber 1812 (additional music by Poissl and Mayr;
libretto reduced to 2 acts and adapted by J. STEGMANN: Der Triumph der Liebe
Schlett).
4 April. Hamburg
Produced in a German version by F. K. Hie-
Text by E. F. Jester. Four aets.
mer at Stuttgart 29 September 1813 and Frank-
(Sub-tide in the printed voeal score Das kühne
fortJune 1818 (with Nasolini's and Poissl's music).
Abentheuer.)
The most suecessful of Stegmann's operas.
M A Y R: Lodoiska Revived Hamburg 24 November 1806 (as Die
26 January. Veniee, F. Roseni/1Sel, libretto revised by K. L. Costenoble).
Text by F. Gonella. Three aets. Last given at Königsberg February 1821.
Suceessful in Italy; given at Milan, Sc. 26 De-
cember 1799 in a redueed 2-act version.
In Italy until 1819. In Italian also, Vienna 3 I
CARR: The Archers, or Mountaineers
May 1798 (additional musie by Weigl); Lisbon of Switzerland
4 November 1798; Dresden May 1802; Paris, Th. 18 April. New York,John Street, Th.
des Tuileries 16 April 181I. Text by W. Dunlap (dealing with the William
Tell story; founded on an anonymous libretto,
ZINGARELLI: Giulietta e Romeo Helvetic Liberty, or, The Lass ofthe Lakes, published
30 January. Milan, Sc. London 1792 and reprinted Philadelphia 1794).
Text by G. M. Foppa (after Shakespeare). Three Three aets.
aets. Given three times in New York and, in 1797,
Zingarelli's most important work whieh kept twice at Boston.
the stage until C.1825-30, when Vaeeai's and Bel- The first Ameriean opera of whieh parts of the
Jinj's operas on the same subjeet appeared. Given musie (three pieces) are extant.

52 3
 ANNALS OF OPERA

SOLlE: Le Secret ber 1810 (as Die Tiroler in Wien); Berlin, Kgst.
20 April. Paris, O.C
16 February 1825.
In German also, Paris, Th. de la Cite 30 No-
Text by F. B. Hoffman. One act.
vember 1801; Poznan 25 July 18°4; St. Peters-
Solie' s most successful work.
burg 1808; Bcmc 13 May 18II. Given at Vienna
In French also Brusscls 10 October 1796, etc.;
(IOoth performance 25 May 1798) until 1837, at
Cologne 1796-97; Hamburg 1797; Hanover
Weimar until 1841, at Lübeck until 1842; revived
1803; Beme 19 February 1806; New Orleans 4
Basle 17 February 1850.
September 1808; Vienna 6 August 1809; Moscow
A sequel Österreichs treue Brüda oder die Scharf-
30 June 1810.
schiitzen in Tyrol by the same autbors, was pro-
In German, Hamburg December 1799; Schles-
duced at Vienna, W. 25 October 1796, and Press-
wig 1800; Bremen Autumn 1800; Hanover 17
burg 26 March 1797.
April 1801; (translated by CA. Herklots), Ber-
lin 23 September 18°3; (translated by CA. Vul-
pius), Weimar 15 July 1805; (translated by M. WINTER: Das unterbrochene
Stegmayer), Budapest I January 1807; Munich Opferfest
1807; Vienna, W. August 1808 (revived 8 Octo- 14June. Vienna, Kä.
ber 1839); in German also Poznan 19 July 1804;
Text by F. X. Huber. Two acts.
Moscow 5 August 1819; Amsterdam 27 Septem-
Winter' s most famous work and abollt the most
ber 1824. Given on German stages until about
successful German opera between Zauber}/öte
1860.
(1791) and Freischütz (1821).
In Flemish, Oudenarde Winter 1797-98.
In Russian (translated by S. N. Glinka), Mos-
Given at Berlin I March 1797; Munich 19 Au-
cow 1799; St. Petersburg 23 October 1809. gust 1797; Hamburg 1 September 1797 (as
In Dutch (translated by P. G. van Witsen
Myrrha und Elvira, text altered by C. A. Vulpius),
etc.
Geysbeek), Amsterdam 1801; Hague 1809.
In Spanish, Madrid 3 December 1801; Mexico
In German also Budapest II December 1797;
Brünn 21 December 1797; Press burg I Decem-
1824·
ber 1798; Temesvar 19 November 1801; Poznan
In Swedish (translated by J. D. Valerius),
Stockholm 19June 1800; Gothenburg 31 March 2 September 1805; Prague 1807; St. Petersburg
1808; Beme I I March 1812; Amsterdam 29 No-
1803; Malmö 15 August 1804; Lund 3 July 1807.
In Danish (translated by A. G. Thoroup), vember 1823; London, Hm. 28 May 1834.
In Italian, Dresden 25 April 1798; Florence, T.
Copenhagen 13 December 1803.
dei Risoluti Summer 1818.
In Polish (translated by J. Drozdowski), War-
In Polish (translated by W. Boguslawski),
saw 1806.
Italian translation by A. Piazza published 1797. Warsaw 5 November 1802; PoznanJuly 1805.
In Swedish (translated by C G. Nordforss),
Stockholm 16 November 1812.
HAI BEL: Der Tiro/er Wastel In Russian (translated by Aleksandrov), Mos-
14 May. Vienna, W. cow IO February 1817; at St. Petersburg two days
Text by E. Schikaneder. Three acts. later in a different version by A. I. Sheller.
The only extant Singspiel of Mozart's future In Danish (translated by N. T. Bruun), Co-
brother-in-law. penhagen 29 January 1818.
Very successful on German stages: Graz 20 In French, Antwerp 31 March 1818; Paris,
February 1797; PragueJune 1797; Budapest 1798; Odeon 21 October 1824 (translated by J. H. de
Agram November or December 1799; Dresden Saur and 1. de Saint-Genies, music arranged by
31 July 1801; Laibach 1806; Hamburg 23 Octo- P. Cremont and Vogt); there are earlier printed
K 52 6
 ANNALS OF OPERA

French versions by J. D. von Apell (Cassel 1802) SCHENK: Der Dorfbarbier*

and by A. van Hoogstraaten (Amsterdam 1805).
30 Oetober. Vienna, B.
In English (translated by H. Napier), London,
Ly. 7 August 1826 (music arranged by W. Haw- Text by J. and P. Weidmann (originally prod-
es). uced as a comedy at the same theatre 18 Jime
Given on German stages until the end of the 1785). One act.
19th century; last revived Leipzig 25 August Schenk's most popular work, given on every
1917· German stage. Berlin 13 March 1798; Hamburg
4 January 1799 (in 2 acts); Breslau 19 September
DALA YRAC: Marianne 1799; Oels 29 March 1800; Hanover 30 June
1800; etc.
7 July. Paris, O.C.
In German also Agram 23 September 1802;
Text by B. J. Marsollier. One act. Poznan IO November 1803; Schleswig 1804;
Successful in Paris; given at the O.C. until Eisenstadt 1805; St. Petersburg 1808; Budapest
1825. In French also, Brussels 26 October 1796; 7 January 1812; Prague 22 September 1816; Mos-
Berne January 1801, etc. cow 2 October 1819; Amsterdam 20 April 1825;
In Danish (translated by K. L. Rahbek), Co- Gothenburg 23 April 1827; New York 15 De-
penhagen 13 September 1798. cember 1847.
In German (translated by C. A. Herklots), In Hungarian (translated by P. J. Kotsi), Buda-
Berlin 28 November 1803. pest 4 July 180S; Clausenburg 26 July ISI2. In
Italian version by D. Bresciani published 1797; Polish (translated by M. Wagrowski), Warsaw
Dutch version by P. J. Uylenbroek published ISIO. In Czech (translated by V. Filipek), Prague
1800. 29 February IS59.
Some of the latest revivals: Frankfort 25 De-
cember 1889; Vienna 23 February IS90; Breslau
PORTUGAL: La Donna di Genio
17 January IS9S; Prague 11 February IS9S; Ber-
volubile lin, D.O. 23 March 1929. In Swedish, Stockholm
5 Oetober. Venice, S. Moise 27 October IS93. Score publishedin the D.T.Ö.
Text by G. Bertati (founded on a comedy by series in 1927 (edited by R. Haas).
Goldoni). Two acts. A sequel, Adam in der Klemme, music by Dia-
Given at the same theatre 4 November 1796 belli, was produced at Vienna, Kä. 25 April 1809.
with a new second act, and at the T.S.Sam. 16
November 1800 reduced to one act. Bologna
1797; Modena, T ..Rangoni 28 December 1797; KUNZEN: Hemmeligheden
Rome, Ap. Spring 1798; Milan, Sc. June 1799, (Secrecies)
etc. In Italy until 1815; in Italian also, Trieste
22 November. Copenhagen
Summer 1797; Corfu Carnival 1798; Dresden 8
December 1798; Lisbon 23 January 1799; Vienna Text by A. G. Thoroup (from a French libretto
21 October 1799; Barcelona 18 November 1799; by Quetant, Les Femmes et le Seeret, set to music by
Dubrovnik (Ragusa) 1803; Paris, Th.I. 19 Jan- Vachon in 1767). One act.
uary 1804 (revivcd 2 October 1813 and 26 Au- The most successful ofKunzen' s Danish works;
gust 1819); Oporto 19 November 1805; Amster- given at Copenhagen 49 times until IS51. (Ac-
dam Carnival 1806. cording to T. Krogh, given in Germany as Kön-
In Spanish (translation probably by L. F. Co- nen sie schweigen; I was not able to find arecord
mella), Madrid 9 December 180!. of a performance.)
 ANNALS OF OPERA 179Cr97

GRESNICK: Lesfaux Mendians VAL. FIORAVANTI: 11 Furbo eontro

23 November. Paris, Th. Louvois al Furbo
Text by J. A. Lebrun-Tossa. One act. 29 December. Venice, S. Sam.
This opera of the Belgian composer was first Text probably by the composer. Two acts.
given at Liege 16 January 1800 and revived there Fioravanti's first greater success. Given at Par-
at the eighth festival of the I.S.C.M. on 3 Septem-
ma Carnival 1798 asL'Arte contro ['Arte; atTrieste
ber 1930. Auturnn 1802, as Chi la Ja, chi la disJa e chi [' im-
(Clement-Larousse give 23 November 1797, broglia; at Modena, T. Rangoni 26 December
as the date of the first performance. According 1804, as Il Ciabattino incivilito. Milan, Sc. March
to the printed score and the libretto it was in Fri- 1798, etc.
maire, An V, viz. November 1796.) In Italian also, given at Trieste March 1797;
Vienna 10 June 1797 (as 11 Ciabattino ringentilito);
PELISSIER: Edtvin and Angelina, Corfu Autumn 1797; Barcelona 13 May 1799;
or: The Banditti Lisbon Auturnn 1800; Dubrovnik (Ragusa) 1804;
London I March 1808 (revived 19 January 1813).
19 December. New York, John Street Th.
Text by E. H. Smith (founded on O. Goldsmith's
ballad, 1764). Three acts.
This second American opera of the year 1796 1797
was given only once. Two songs are preserved.
Libretto printed.
GR13TRY: Lisbeth
10 January. Paris, O.c.
CIMAROSA: CU Orazi ed i Curiazi* Text by E. G. F. de Favieres (founded on a story
26 December. Venice, F. by Florian). Three acts.
Text by A. S. Sografi. Three acts. In French also given at Ghent 1799; Liege 25
The most successful of Cimarosa' s serious ope- October 1799; Brussels 23 January 1800; Beme
28 February 1801, etc. On French stages until
ras. Milan, Sc. 26 December 1797, etc. Last re-
about 1813.
vived in Italy at Florence, P. October 1841.
Tn Swedish (translated by J. W. Spetz), Stock-
In Italian also produced at Vicnna 30 June 1797
holm 6 September 1803.
(last rcvivcd W. 16 March 1822); Lisbon 17 Dc-
Italian translation by G. Savorgnan published
cembcr 1798; Praguc 1799; Trieste I October
1800; Paris 3 March 1804 (the first act only); 18 1797·
See on this opera (in which Favieres introduced
January 1810 (private performance for Napo-
the Swiss poet and painter Salomon Gessner) E.
leon); 16June 1813 (publicly; revived 14 August
Closson in Revue Musicale, Vol. v, no.6 (April
1823); St. Petersburg Carnival 1805; London 2
192 4).
May 1805 (frequently revived lmtil· I I March
1841); Dresden May 1805; Munich 13 July 1806
(with additions by Danzi), etc.; Barcelona 4 No-
G R 13 T R Y: Anaereon ehez Polyerate
vember 1807. 17 January. Paris, O.
In Polish (translated by 1. OsiJiski), Warsaw Text by J. H. Guy. Three acts.
1812. Givcn in Paris until 1825; 100th performance
In Russian (translated by A. I. Shcller), St. 9 December 1814. In French also, Brussels 10
Petersburg II March 1815. March 1803; Brunswick Summer 1804.
In Spanish (translated by D. Solis), Madrid In Swedish (translated by J. D. Valerius),
10 June 1816. Stockholm 18 January 1803.

530
1797 ANNALS OF OPERA 1797
In German (translated by C. A. Herklots), CHERUBINI: Medee*
Berlin 3 August 1809. 13 March. Paris, Th. Feydeau
A Dutch version by C. A. van Raij was pub- Text by F. B. Hoffman. Three acts.
lished in 1812. Not very successful in Paris. Two parodies were
The opera was revived at Tournai as late as 16 produced there the same month, La Sorciere, by
December 1900. C. A. Sewrin, at the Th. de la Cite 27 March 1797,
and Bebü etJargon, by P. Villiers andP. A. Capelle,
BRUNI: Le Major Palmer at the Th. Montansier the very next night. Revived
26January. Paris, Th. Feydeau in French, Brussels 31 March 1814.
In German (translated by C. A. Herklots),
Text by C. A. G. Pigault-Lebrun. Three acts.
Berlin 17 February 1800; (translated by G. F.
In French also, Brussels 10 November 1797;
Treitschke) Vienna 6 November 1802; Budapest
Moscow 12 January 18II.
23 December 1803; BrÜlln 24 November 1817.
In German (translated by C. A. Herklots),
In Danish (translated by T. Overskou), Co-
Berlin 16 October 1798; Dessau Spring 1800
penhagen 14 February 1826.
(with an additional quartet by B. A. Weber);
Given in London, H.M.' s for the first time as
Vienna, W. September 1805; Budapest 15 Sep-
late as 6 June 1865 (in Italian, translated by S. de
tember 1806.
Castrone della Rajata, recitatives by Arditi); an
In Swedish (translated by J. D. Valerius),
earlier production was prevented by Cherubini
Stockhohn 19 September 1800.
himself, as appears from the following passage:
In Spanish (translated by F. Enciso Castrill6n)
"Outre cela le caractere de la musique est trop
Madrid 28 January 1804.
severe pour le gout des Anglais .... Si Mr. Wat-
In Polish, Wilna 16 November 1810.
ten s' obstinait a vouloir le donner ... je serais
oblige de faire mettre un article dans les papiers
BOIELDIEU: La Famille Suisse publiques pour prevenir tout le monde que cet
11 February. Paris, Th. Feydeau opera aurait ete represente contre mon gre" (un-
Text by C. Godard d' Aucour de Saint-Just. One published letter by Cherubini of 25 April 1815).
act. Frequently revived on German stages; Prague
The first of Boieldieu' s operas which was pro- 7 February 1840; Frankfort I March 1855 (with
duced in Paris; also given at Brussels 22 Novem- recitatives by F. Lachner); Rotterdam 1866; Mu-
ber 1797. nich 12 April 1872; Berlin 30 October 1872;
Vienna 26 November 1880; Hamburg 20 Octo-
ber 1896; andlately Erfurt 14 March 1925 (revised
PAER: II Principe di Taranto
by H. Schüler and H. Strobel).
11 February. Parma
Given for the first time in Italy at Milan, Sc.
Text: an altered version of F. Livigni's La finta 30 December 1909 (new Italian version by C.
Principessa (see 1785). Two acts. Zangarini, with Lachner's recitatives).
Milan, Sc. September 1797, etc. Revived Nap-
les, T.N. Spring 1807 as La Contadina fortunata;
Modena, T. in Via Emilia 24 September 1809; KU N ZEN: Dragedukken
Vigevano Autumn 1810; Parma Carnival 1812. (The good Fairy)
In Italian also given at Madrid 13 July 1797; 14 March. Copenhagen
Dresden 24 March 1798 (revived 16 June 1821); Text by E. de Falsen. Four acts.
Vienna 6 November 1798; Prague 22 DeceI!lber GivenatCopenhagen untih82I. Also Christiania
1799; Paris 14 May 1803; London 23 Decembet II April 1804; revived Copenhagen 15 June 1832
1806 (revived 16 January 1810). (the second act only); Bergen 6 October 1852.

531 532
 1797 ANNALS OF OPERA 1797

BERTON: Ponce de Leon Musical Record, January 1913. Her op~ra does not
15 March. Paris, O.c. seem to have been successful; a rather rude letter
Text by the composer (Opera-bouffon). Three in the Journal des Luxus und der Moden (1797,
acts. P.566) reads: "Von dem sonderbaren Opernwerk
In French also, Ghent 1798; Brussels 2 Septem- nach welchem Sie fragen, und welches diesen
ber 1801; St. Petersburg 1804. Sommer bei uns gesehen und gehört worden ist,
In Danish (translated by L. Kruse) , Copen- darf ich Ihnen nur sagen, dass der Verfasser der
hagen 24 May 1803. Oper und der Komponist, beide blind sind...•
Zum Unglück für die Oper, war das Publikum
MEHUL: Le jeune Henri nicht auch blind".
1 May. Paris, O.C.
Text by J. N. Bouilly (originally called La Jeu-
SO R: Telemaco nella Isola
nesse de Henri IV, and written for Gretry). Two di Calipso
acts. 25 August. Barcelona, T. Principal
The opera itself was unsuccessful; but it was Text: a reduced version of an older libretto by
famous for its ouverture de chasse, which had to be C. S. Capeci (first set to music by A. Scarlatti in
played three times at the first night, and was a 1718), according to Schilling the one used by
concert favourite throughout the 19th century. Cipolla in 1785 (see Sonneck's Catalogue, P.1056).
Two parts.
DALAYRAC: La Maison isoIee ou The only opera of the famous Spanish guitarist
Le Vieillard des Vosges who, later on, wrote a few ballets for the Paris
11 May. Paris, O.C. Opera and spent some years in London. The music
Text by B. J. Marsollier. Two acts. of Telemaco does not seem to have been preserved-;
Successful in Paris; revived Odeon 20 August
1827; F.Dr. 6 May 1832 as Les Voleurs des Vosges, WEIGL: L'Amor marinaro
reduced to one act. 150ctober. Vienna, B.
In French also, Ghent 1798; Hanover I August Text by G. de Gamerra. Three acts.
1803; Moscow 15 October 1810. In Italian also, Dresden 18 July 1798; Ljubljana
In Swedish (translated by C. G. Nordforss), Spring 1799; Bologna Autumn 1805; Florence, ..
Stockholm 6 May 1802; Gothenburg 12 July P. I December 1810; Milan, T. Cärcano Spring
1805; Malmö I July 1808; revived at Stockholm 18u; Parma 26 December 1813; Modena Carni-
as late as 4 February 1860. val 1814; Naples, Fondo 1819.
In Dutch (translated by B. C. van Goeris), In German (as Der Korsar oder Die Liebe unter
Amsterdam 1802 (revived 1819). Jen Seeleuten), Mannheim I I May 1800; Berlin
In Russian, St. Petersburg 5 August 1819; Mos- 10 November 1800 (revived Kgst. 30 November
cow 22 December 1819. 1827); Budapest 13 October 1800; Prague 16
In German (translated by L. Angely), Weimar October 1814; Vienna, Kä. 28 July 1821 (revived.
I7 February 1823; Berlin, Kgst. 25 October 1824. Jos. 4 June 1833). A translation by Bürde called .
Der Korsar aus Liebe was used at Breslau 17 April
PARADIS: Rinaldo und Alcina 1801 and Hanover 26 September 1805.
Summer. Prague In English (as The Pirate of Genoa, translator
Text by L. von Baczko (published in 1794), after unknown), London, LY.5 September 1828.
Ariosto. Three acts. In Polish, Wilna 18 May 1818.
On Maria Theresia von Paradis, the blind pian- Beethoven used the air Pria ch'io l'impegno for
ist and composer, see F. Niecks in The Monthly the variations of his clarinet trio,Op.lI (1798).

533 534
1797 ANNALS OF OPERA

PORTUGAL: Le Donne cambiate I798

220ctober. Venice, S. Moise
DALA YRAC: Gulnare Oll
Text by G. M. Foppa (one of the latest versions L'Esclave persane
of the Devil to par story, see 1731). Two acts.
9 January. Paris, O.c,
Successful in Italy, where it was sometimes
Text by B. J. Marsollier. One act.
produced as 11 Ciabattino, Il Diavolo a quattro, or
In French also, Ghent 1798; Brussels 16 January
Il Calzolaio. Milan, Sc. March IS01, etc. At
1799; Hanover 24 August 1803; Moscow 7 Oc-
Ancona IS02 as L'allegro Ciabattino (probably
tober 1809; Bemc 26 Fcbruary 1819; revived at
Portugal's opera).
the Odeon, Paris IS May IS2S.
In Italian also, given at Dresden 2 October 1799 In German (translated by H. G. Schmieder),
(with a new [male by Gestewitz) ; Trieste 26 De- Berlin 12 August 1801.
cember 1799; Lisbon Spring IS04; Paris 27 March In Swedish (translated by J. D. Valerius),
IS06; London, Pantheon 27 February IS12. Stockholm 19 October IS01.
In Portuguese (as 0 Sapateiro) , Lisbon IS02 and In Spanish, Madrid 23 February 1802.
revived 25 June IS14 (as 0 Mestre Biajo Sapateiro). In Russian (translated by D. N. Barkov), St.
In Polish (translated by L. Osinski), Warsaw Petersburg 25 November 1818.
IS1O. In Polish (translated by L. A. Dmuszewski),
Warsaw 3 December 1820.
MEDERITSCH and WINTER:
Dutch translation by M. G. Engelman pub-
lished 1807.
BabyIons Pyramiden A German version of the libretto, by F. K. Lip-
250ctober. Vienna, W. pert, was composed by Süssmayr (produced
Vienna 5 July 1800).
Text by E. Schikaneder. Two acts.
First act composed by Mederitsch, second act
KAUER: Das Donauweibchen
bv Winter. Oneof the better works of the Zau-
11 January. Vienna, Leop.
b;rjlöte school. Also given at Budapest 2 May
IS04; Prague 23June ISI5. Text by K. F. Hensler (Ein romantisches komisches
There occurs in the second act a "Todverkün- Volksmärchen l1Iit Gesang nach einer Sage der Vor-
digung" which according to Bücken is well zeit). Three acts.
worth comparing to that in Die Walküre. Kauer's most popular work. A second part (by
the same authors) was given at the same theatre
on 13 February 1798, a third part, Die Nymphe
der Donau (text by T. Berling, music by Bierey)
I. WALTER: Doktor Faust at Ali:ona 25 July 1801; Vienna, Leop. 4 February
28 December. Bremen 1803; Hamburg 15 March 1803; a fourth part,
Hulda, die Nixetlkönigin, oder das Fest der Treue
Text by H. G. Schrnieder (Eitle Origitlal-Oper), (music by C. F. Ebers), at Poznan 22 July 1804.
based on the original version ofGoethe's tragedy. There was also an interlude Das Nixenreich oder
Four acts. Drei Tage in den Fluten (text by H. G. Schmieder,
Hanover 11 June 1798, erc. On rhis earliest Faust music by Friedrich Adam Hiller, the son of the
opera, see P. Spitta's study in his Zur Musik Singspiel composer), produced Schleswig and
(IS92 ). Bremen 1802; Altona 14 April 1803; Vienna 10
Revived Regensburg 1819 (with new libretto August 1805. And, finally, there was a "Seiten-
by C. A. Mämminger). stück" by Hensler and Kauer, called Das Wald-

535
 ANNALS OF OPERA

weibchen, produced Vienna, Leop. I April 1800 First part (music by Kauer and Davydov), St.
and Hamburg 3 February 1804. Petersburg 7 November 1803; Moscow 1804.
At the Leopoldstadt theatre the first part was Second part (music by Kauer, Davydov and
given until 1839, the second part unti! 1821. On Cavos), St. Petersburg 17 May 1804; Moscow
suburban stages of Vienna we fmd the first part 18°5·
as late as in 1875. At Berlin the firstthree partswere Third part (music by Davydov alone), St. Pe-
produced on 13 April 1801, 3 February 1802 and tersburg 6 November 1805; Moscow I Novem-
25 April 1805 respectively. During the first half ber 1807.
of the 19th century the Donauweibchen was fre- A fourth part, with music by Cav03, was given
quently revived in Germany (the first two parts at St. Petersburg on 12 January 1807 and at
at Hamburg on I February and 8 March Moscow on 23 May 1824; this fourth part was
1849). revived at St. Petersburg in 1852-54.
Adapted to local use we find versions like Die
Saalnixe, etc. (see, for instance, Journal für Lite-
ratur, Kunst, Luxus und Mode, 1823, p.639).
PAER: La Virtu al Cimento
Outside Austria and Germany, Das Donau- January. Parma
weibchen was given at: Text by A. Anelli (founded on Boccaccio's story;
AMSTERDAM 18 October 180! (in German) and originally called Griselda, and first set to music by
Auturnn 1805 (in Dutch, translated by A. Fokke Piccinni, Venice, S. Sam. 8 October 1793; rectify
Simonsz). Engländer in Neues Archiv für Sächsische Ge-
TEMESVAR 26 November 1801 (in German). schichte und Altertumskunde, 1929, p.219). Two
BERNE 1803 (in German). acts.
BUDAPEST 1804 (in German). One of Paer's best and most successful works:
HAGUE 19 December 1809 (in Dutch). Milan, Sc. 24 May 1799, etc.; in Italy given unti!
LEMBERG 21 March 1814 (in Polish, as Syrena z 1832, mostly as Griselda.
Dniestru, translated by D. Jakubowicz and J. N. In Italian also Vienna 29 November 1799;
Kammski, with additional music by K. Li- Dresden September 1800; Barcelona 4 Novem-
phlski, the famous violinist; this was an adap- ber 1801; Paris 18 June 1803; Oporto 13 May
tation of the second part; the first part followed 1806; Lugano 4 October 1806 (inauguration of
on 30 May 1814). the first theatre there); Amsterdam 1807; Lisbon
GOTHENBURG 22 April 1827 and STOCKHOLM 24 29 May 1808; London 13 January 1816.
February 1844 (in Swedish, translated by E. W. In German (translated by Bürde), Breslau 19
Djurström). March 1802; (translated by J. J. Ihlee), Frankfort
COPENHAGEN 27 July 1827 (in German). 23 August 1802; Hamburg 23 March 1804; Ha-
HELSINKI 20 June 1830 (in German). nover 3 January 1816; (translated by M. G.
NEW YORK 17 December 1859 and 30 January Lambrecht) Munich 21 October 1804. In German
1867 (in German). also, St. Petersburg Spring 1814.
RIGA 12 February 1870 (in German). In Polish (translated by J. F. Kr6likowski),
Particularly successful in a Russian version by Wilna 15 October 1809 and Warsaw 1818.
N. S. Krasnopolsky (parts 1,2,3) and Shakhovsky In Swedish (translated by C. G. Nordforss),
(part 4)-Krasnopolsky's text being adapted from Stockholm 28 February 1810.
Hensler, while Shakhovsky's is entirely new-as In Russian (translated by P. A. Katyenin), St.
Lesta, Dnyeprovskaya Rusalka (Lesta, the Dnyepr Petersburg 3 November 1817.
Nymph), wich additional music by Cavos and In Spanish, Madrid 4 October 1817.
Davydov: In French, Antwerp 20 November 1817.

537
 ANNALS OF OPERA

PORTUGAL: Fernando nel Messico there until 1846); Oels 15 February 1800 (trans-
16January. Venice, S. Ben. lated by A. von Kotzebue) ; Berlin 15 August 1800
(translated by C. A. Herklots); Vienna, W. 13
Text by F. Tarducci. Three acts.
May 1801 (translated by K. Vio; revived 2 Oc-
Written for Elizabeth Billington.
tober 1815), etc. Poznan 30 July 1804 (Kotzebue's
In Itallan also, Trieste 2 October 1799 (libretto
translation); Moscow 8 January 1820.
altered by G. Artusi); London 31 March 1803;
In Swedish (translated by C. Envallsson),
Lisbon Summer 1805 (altered and reduced to
two acts). Stockholm 25 April 1799; Lund 22 September
1808.
In English, London, Hm. 17 July 1799 (in two
DALAYRAC: Alexis ouL'Erreur acts, as The Castle ofSorretlto, adapted by G. Col-
d'un bon Nre man and H. Heartwell, music arranged and
24 January. Paris, Th. Feydeau enlarged by Attwood; a one-act translation by
Text by B. J. Marsollier. One act. Heartwell had been published earlier in the same
In French also Brussels 17 July 1798; Aachen year, but was not acted, being "too simple for
17 August 1800; Vienna 6 September 1809; an English stage").
Beme 17 February 1819. In Danish (translated by J. Baggesen), Copen-
In German (translated by C. A. Herklots), Ber- hagen 30 January 1801.
lin 27 December 1802; (translated by J. von Sey- In Russian (translated by D. N. Barkov),
fried), Vienna, W. September 1805; Budapest Moscow 1802 (revived I December 1819); St.
6 June 1806; Prague Summer 1807. Petersburg 12 May 1814.
In Danish (translated by N. T. Bruun) , Co- In Hungarian (translated by F. S. Deaky), Clau-
penhagen 30 September 1803. senburg 23 December 1822.
An Italian translation by G. Ricchi was pub- Italian translation by T. de Lellis published
lished in 1804; a Dutch translation by J. M. Naret 1804.
Koning in 1830. There are two more German versions, by Ch.
Revived Buenos Aires 19 September 1831 (in M. Franke, Leipzig 1800, and by J. D. von Apell,
French). Cassel I 801.

DELLA MARIA: Le Prisonnier ou KUNZEN: ErikEjegod

La Ressemblance 30 January. Copenhagen
29 January. Paris, O.C. Text by J. Baggesen (originally writtenforJ.A.P.
Text by A. Duval (founded on Kotzebue's Schulz). Three acts.
comedy Der Gefangene). One act. Given at Copenhagen until 1827.
Della Maria' s most popular work. Given in
Paris until 1839. GAVEAUX: Leonore ou
In French also, Brussels 25 June 1798 (revived L'Amour conjugal
15 December 18%2); Amsterdam 1798; Rotter-
dam 24 April 1799; Hanover 22 December 19 February. Paris, Th. Feydeau
1803; Moscow 6 October 1808; Vienna 20 June Text by J. N. Bouilly (Fait historique). Two acts.
1809. Brussels 29 June 1799. The first setting of the
In Dutch (translated by P. J. Uylenbroek), Fidelio story; for Paer's and Beethoven's operas
Amsterdam 1798 (revived 1816). see 1804 and 1805; for an account of Gaveaux's
In German, Mannheim 9 June 1799; Frankfort opera see G. Serneres's Episodes d'Histoire Musi-
23 January 1800 (translated by J. J. Ihlee; given cale (1914).

539 540
 ANNALS OF OPERA

WEIGL: Das Dorfim Gebuer~e The libretto was originally intended for Mo-
17 April. Vienna, B. zart, then olfered to Dittersdorf; eventually first
set by Friedrich Fleisehmann, whose opera was
Text by A. von Kotzebue. Two acts.
first produced at Weimar 19 May 1798 (see W.
Oels II January 1800; Hamburg 14 August
Deetjen in Shakespeare jahrbuch, vol. 64, 1928).
18II; Berlin 20 May 1814; Hanover 21 May
Reichardt's opera also given at Leipzig 14 Jan-
1815, etc.; in German also, Budapest 1825; last
uary 1800; Dessau 7 March 1800, etc.
revived Königsberg 28 January 1833; Basic 9 De-
Revived Berlin 3 August 1825.
cember 1842.
In Polish (translated byK.Brodzinski), Warsaw
1818. DELLA MARIA: L'Opera-Comique
Anonymous DlItch version published 1807. 9 july. Paris, O.C.
Text by J. A. P. de Segur and E. Mercier-Dupaty.
BOIELDIEU: Zorai"me et Zu/nar One act.
10 May. Paris,O.C. After Le Prisollllier, the composer's second great
Text by C. Godard d' Aucour de Saint-Just. Three success of that year; in Paris given until 1839; in
acts. French also Brusscls 17 November 1798 (revived
24 December "1840); Hanover 21 November
Boieldieu first greater success. In French also
1803; Moscow 27 October 1808; Vienna 9 July
given at Brussels 28 November 1799; Brunswick
1803; Cassel 181I. Revived, with so me altera- 1809.
In Spanish (translated by V. R. de Arellano),
tions, Paris 25 J une 1824.
In Spanish, Barcelona 18 September 1802. Madrid 19 May 1801.
In Rllssian (translated by P. N. Kobyakov), In German (translated by F. K. Hiemer), Stutt-
St. Petersburg 30 December 1813; Moscow 19 gart 13 July 1801; Mannheim 19 March 1802;
February 1818. " (translated by H. G. Schmieder), Budapest 1 Jan-
In Danish (translated by N. T. Bruun), Copen- uary 1802; (translated by G. F. Treitschke),
hagen 29 January 182 I. Breslau 24 February 1802; Bcrlin 15 October
1803; Vienna 28 January 1804, etc.
In Danish (translated by A. G. Thoroup), Co-
WINTER: Das Labirint oder
penhagen 6 May 1802; Christiania 12 February
Der Kampf mit den Elementen 1806; revived Copenhagen 3 March 1849 (new
12 jUlle. Vienna, W. translation by N. V. Dorph).
Text by E. Schikaneder. Two acts. In Swedish (translated by C. G. Nordforss),
A sequel to his ZauberJlöte libretto, but not very Stockholm 22 July 1803; Lund 20 August 1807;
successfuI. Outside Vienna produced only on few Malmö 19 January 1810.
German stages: Berlin 18 Jllly 1803; Frankfurt In Polish (translated by J. Adamczewski),
30 March 1806; Nllremberg 16 October 1807; Warsaw 1806.
Königsberg 1821; Clausenburg 23 December In Russian, St. Petcrsburg 4 J une 1822.
1822 (parts only); Budapest 24 November 1828. Dutch translation by J. de Quack published
Revived at Kiel 23 October 1930 as PapageI/os 1802.
Hochzeit (arranged by G. Hartmann).
CHERUBINI: L' Hotellerie portugaise*
REICHARDT: Die Geisterinsel 25july. Paris, Th. Feydeau
6 july. Berlin, O. Text by E. Aignan. One act.
Text by F. W. Gotter and F. H. von Einsiedel In German (translated by G. F. Treitschke),
(founded on Shakespeare's Tempest). Three acts. Vienna 22 September 1803; Leipzig December

54 1 542
 ANNALS OF OPERA

1803; Berlin 16 April 1804, etc. Revived Carls- AMSTERDAM November 1805 (music arranged and
. ruhe 3 November 1893 (revised by F. Motd); enlarged by Pucitta) .
Magdeburg July 1917 (rt.-modelled by B. LONDON 19 June 1806 (pasticcio; frequendy re-
Engelke). vived until28 February 1824).
ANTWERP 29 June 1818.
DALAYRAC: Leon ouLe Chateau BERLIN 7 June 1822; Hamburg 6 July 1822, etc.
LISBON 27 April 1822.
de Montenero
EDINBURGH 3 January 1828.
150etober. Paris,O.C
NEW YORK 20 April 1829 (pasticcio; revived 3
Text by F. B. Hoffman. Three acts. November 1847 !).
In French also, given at Brussels 24 March PffiLADELPffiA 5 May 1829 (first Italian opera
1800; Brunswick e.1802; Stockholm 14 July there).
1803; Hanover 26 April 1804; Moscow 28 Sep- DUBLIN Autumn 1829.
tember 1808; Beme I June 1809. ST. PETERSBURG 1830.
In German (translated by J. J. Ihlee), Frankfort In Spanish, Madrid 20 June 1806; Buenos Aires
1801; Berlin 17 September 1802 (with additions 181 3.
by B. A. Weber); Aachen,1802; Breslau 12 Au-
gust 1803; Munich 1803; Vienna, W. December
1804; Budapest 2 December 1805; Prague Sum- ZUMSTEEG: Die Geisterinsel
mer 1807; Hamburg 7 December 1812. 7 November. Stuttgart
In Swedish (translated by J. D. Valerius), Text by F. W. Gotter and F. H. von EinsiedeI
Stockholm 16 December 1805. (the third setting of their Shakespearean libretto
In Polish (translated by K. Hebdowski), War- in this year). Three acts.
saw 1809. Zumsteeg's most important work. Schleswig
In Russian (translated by D. I. Vyelyashev- 1800; Hamburg 18 November 1803; Breslau
Volyntsov), Moscow 27 February 1812; St. Pe- 9 April 1805; Leipzig 1806; Würzburg 29 June
tersburg Spring 1812. 1808; Königsberg 1809; Mannheim 28 January
In Spanish, Madrid 25 July 1812. 1817. Revived at Stuttgart 10 June 1814 and once
In Danish (translated by N. T. Bruun) , Co- more as late as 26 September 1889.
penhagen 28 May 1813 (given until 1852). (For a detailed analysis of this Tempest opera
see T. F. K. Amold's Gallerie der berühnrtestetJ
MAYR: Che Originali Tonkünstler . .. part I, pp.44-96.)
180etober. Venice, S. Ben.
Text by G. Rossi. One act.
DELLA MARIA: L'Oncle Valet
This farsa was the first great success of the
German-Italian composer; frequendy produced 9 Deeember. Paris, O.C
as 11 Fa/latieo per la Musica, Il Pazzo per la Musica, Text by A. Duva!. One act.
La Musieomania, Il Trionfo della Musica; Milan, In French also given at Brussels 9 June 1799, ete.
Sc. 7 March 1801, etc. In Swedish (translated by J. D. Valerius),
In Italy until about 1830; outside Italy, in Ita- Stockholm 10 August 1802.
lian, given at: In German (translated by G. F. Treitschke),
BARCELONA 3 June 1802. Vienna, Kä. 2 November 1803 and W. the very
VIENNA 9 May 1803. next night; (translated by C A. Herklots), Berlin
DRESDEN November 1803 (as La Mlisicolllallia). 2 January 1806; Hamburg 12 January 1806, etc.
PARIS, TH.I. 7 October 1805 (revived 9 December Revived Berlin 21 August 1817 (new translation
18 I 5). by May).

543 544
 ANNALS OF OPERA 1799

PORTUGAL: Non irritare le Donne VAL. FIORAVANTI: Le Cantatrici

ovvero Il chiamantesi Filosofo villane*
27 December. Venice. S. Moise Jalluary. Naples, Fior.
Text by G. M. Foppa. One act. Text by G. Palomba. Two acts.
Fioravanti' s greatest success and one of the most
In Italian also. Paris I May 1801 (at the opening
popular Italian cornic operas of that period.
of the new Theatre-Italien, under Dlle Mon-
Given in a reduced I-act version (text adapted
tansier's management).
by G. M. Foppa) as Le Virtuose ridicole at Venice,
Revived Trieste Carnival 1807 (as 11 Filosofo,
S. Moise 28 December 1801. First given at Milan,
enlarged to two acts, additional music by N.
Sc. 19 April 1802.
Giuliani); Venice, S. Ben. 9 March 1822.
In Italian also:
Date of first performance according to Car-
BARCELONA 9 August 1802.
valhaes and all other authorities; 1798 libretto
LISBON 12 OctoberI803, Oporto 19 NovemberI805.
printed. But according to the Gazzetta dei Teatri
DRESDEN 1804.
di Venezia (contained in the Teatro Moderno Ap-
VJENNA I September 1804 (frequently revived
plaudito), at the T. S. Moise the operas Furberia
until23 May 1840).
e Puntiglio (by Bemardini) and Fedelta ed Amore
AMSTERDAM Carnival 1806 (in German 5 January
aUa Prova (by Gazzaniga) were given that night.
182 5).
Portugal's opera only occurs at the T. S. Bene-
PARIS, TH.I. 30 January 1806 (frequently revived
detto 16 October 1799.
until 1842).
ST. PETERSBURG 1829, Odessa Summer 1839.
DEVIENNE: Les Comediens ambulans LONDON 27 May 1842.

28 Dccembcr. Paris, Th. Feydeau BERLIN, RGST. 16 May 1844.

Very successful also on German stages (as Die
Text by L. B. Picard. Two acts.
Sällgcrinnen auf dem Lande, translated by J. C.
In French also, Ghent 1799; Brussels 19 April
Grünbaum) : Frankfort 4 May 1806; Hamburg
1800, etc.
2January 1810; Berlin 19 December 1810; Beme
In German (translated by G. F. Treitschke),
3 February 1812; Munich 1812; St. Petersburg
Vienna 23 J anuary 1805; Würzburg 29 February
1813; Prague 30 January 1814; Vienna, Leop.
1808, etc.
10 September 1814. etc.
In Danish (translated by N. T. Bruun), Co-
In Russian (translated by G. Vyen), St. Peters-
penhagen 19 May 1810.
burg May 1804; Moscow 2 September 1808.
In Spanish, Madrid 15 July 1809.
In Polish (translated by J. F. Kr6likowski),
1799 Wilna 1807 and Warsaw 1818.
SALIERI: Falstaff osia Le tre Burle* Copenhagen 5 June 1827 (in German) and I
September 1828 (in Danish, translated by.J. L.
3 Jalluary. Vienna, Kä. Heiberg).
Text by C. P. Defranceschi (from Shakespeare). Last revived in Italy at Florence, T. Niccolini
Two acts. 4 September 1870.
In Italian also. Dresden 26 October 1799. Same of the more recent revivals in German
In German (translated by C. A. Herklots), were at Basic 21 January 1842; Coburg I June
Berlin 16 December 1799. 1852; Dresden 9 March 1861 and 2 September
(Beethoven uscd the air La stessa, la stessissillla 1877; Königsberg 13 November 1873; Hamburg
from this opera for piano variations in 1799.) 8 March 1880.

545
 1799 ANNALS OF OPERA 1799
Berlin, Fr. W. 11 October 1890 (revised by E. In Russian, Moscow 30 September 1811.
Pohl, re-orchestrated by G. Lehnhardt); Glad- Italian translation by G. Ricchi published 1804.
bach April 1930 and Erfurt 3 September 1931 Given in London 26 October 1805 by a Ger-
(new German version by A. Haelssig). man troupe at the Sanssouci Theatre; an English
The date of the first performance is wrongly two-act version by J. Kenney, music by M. P.
given as 1803 by many authorities. The original King (Matrimony) was produced in London, D.1.
libretto reads "per quart' opera deI conente anno 20 November 1804; New York 17 May 180S;
1798"; Fioravanti states in his autobiographical Dublin 26 January 1806.
sketch (Turin, Biblioteca Civica; first publication
in IJ Tiberino, 23 March 1840), that it was given P AER: Camilla ossia Il Sotterraneo
"neI Carnevale i798-entrando il '99".
23 February. Vienna, Kä.
Text by G. Carpani (translated from Marsollier's
DALAYRAC: Adolphe et Clara OU French libretto, see 1791). Three acts.
Les deux Prisonniers In Italian also given at Prague 1799; Dresden
10 February. Paris,O.c. 1800; Parma Carnival 1802; Paris 15 September
1804; Bologna 1805; Milan, Sc. 27 October 1807;
Text by B. J. Marsollier. One act.
Amsterdam 1808; Madrid 17 NovemberI809 (as
Very successful in Paris; last revived at the O.C-
11 Sotterraneo); Naples, T. Fondo Summer 1810;
3 May 1849; at the Galerie Vivienne I I N ovem.
London 12 May 1812 (revived 3 April 1819).
ber 1895.
In German (translated by J. J. Ihlee), Frankfort
In French also, Brussels 4 August 1799 (re-
4 July 1799; Budapest c.i800; Breslau 12 March
vived Il.January 1852); Berne 3 October 1801;
1800 (translated by Bürde); Berlin I I February
Hanover 22 June 1803; Königsberg 1805; Mos-
1801; Schleswig and Munich 1801; Aachen 1802;
cow 28 September 1808; Vienna 18 June 1809;
Weimar 23 January 1802 (translated by C. A.
Stockholm 24 Oetober 1812; Berlin, Kgst. 4June
Vulpius); Hamburg 18 December 1803; Bremen
182); Mexico 1826; New York 23 August 1827;
1803-04; Hanover 26 August 1807; Vienna, W.
Buenos Aires 26 November 1827.
5 June 1808; Berne 7 February 1812; Prague 17
In German (translated by C. A. HerkIots),
August 1814. Revived in German, CarlsruheMay
. Schleswig 1800; Berlin 9 March 1801; Munich
1846.
1801; Vienna, W. 1801 and Kä. 4 June 1810;
In Polish (translated by W. Boguslawski),
Breslau 23 November 1801; (translated by F. K.
Warsaw 1810.
Hiemer), Stuttgart 20 March 1801; Hamburg 23
In Russian (translated by R. M. Zotov), St. Pe-
October 1801; Berne 1804; Poznan 27 January
tersburg 27 December 1824.
1805; Vienna 4 June 1810; Prague 6 February
In Italy popular during the first half of the 19th
1814. Another German translation by W.
century; last revived at the T. Niccolini, Florence
Lohmann published 1808. Revived Berlin, Fr. W.
24 October 1870.
22 July 1852 (translated by 1. Schneider).
In Spanish (translated by E. Tapia), Madrid
29 January 1801.
BERTON: Montano etStephanie
In Swedish (translated by C. G. Nordförss), 15 April. Paris, O.C.
Stockholm 3 March 1801; Malmö 6 March 1807; Text by J. E. B. Dejaure (founded on an episode
Lund 14 August 1807. in Ariosto' s Orlando furioso). Three acts.
In Danish (translated by J. Baggesen), Copen- The libretto had first been offered to Gretry;
hagen 17 De~ember 1801. see on the origin and production of the work the
In Dutch (translated by H. H. Klijn), Amster- chapter "Berton" in Adolphe Adam's Derniers
dam I 802; revived Amsterdam 1826; Hague 1829. Souvenirs J'un Musicien (1859).

547
1799 ANNALS OF OPERA 1799

After a few performances prohibited by the The earliest opera of Spontini whieh bccame
police; given with a new third act (text by G. M. known outside Italy: Paris 10 February 1804;
Legouve) 4 May 1800 (at the O.c. until 1827); in Dresden 1805.
French also Ghent 1799; Brussels 8 July 1800;
Berne 29 January 1806; Hamburg 24 February S ÜSSMA YR: Soliman der Zweite
1809· oder Die drei Sultanninen
In German (as Rosamunde, translated by J. von 1 Oetober. Vienna, Kä.
Seyfried), Vienna, W. 2 May 1810; revived in
Text by F. X. Huber (based on a Freneh libretto
German, Weimar 16 February 1845.
by Favart, 1761). Two acts.
In Danish (translated by N. T. Bruun), Co-
Popular on German stages; Berlin 15 April
penhagen 24 May 1821.
1800; Brcslau 31 Oetober 1800; Budapest, c.
In Russian, St. Petersburg 29 January 1836.
1800; Hamburg I September 18OJ; Temesvar
Italian translation by G. Ferretti published
17 Deeember 1801; Sehlcswig 1802; Prague 1810;
1806.
Berne 2 March 1812; Hanover 26 March 1817,
etc. Revived Vienna, Leop. 5 November 1813.
M A Y R: Adelaide di Guesclino Given on German stages until about 1828.
May. Venice, F.
1 Beethoven published variations on a theme
Text by G. Rossi (fotmded on Voltaire's tragedy). from this opera (Tändelll und Scherzen) in 1799.
Two acts.
In Italian also, Prague 1802; Vienna 24 March MEHUL: Ariodant
1802 (with additional music by A. Cartellieri); 11 October. Paris, O.c.
Dresden 1807; Amsterdam January 1817~ Text by F. B. Hoffman (the same subjeet as in
In German, Frankfort Spring 1804; Hamburg BeJ;tOn's MOllfallo ef Sfephallie, see above). Three
I December 1815; Würzburg 7 May 1819. acts.
Aceording to Bücken this opera is an import-
MEHUL: Adrien ant landmark in the development of Leitmotiv
4 JUlle. Paris, O. technique.
Text by F. B. Hoffman (founded on Metastasio's In Freneh also, Liege 9 January 1802; Brussels
Adriano in Siria). Three acts. 27 January 1803.
The opera was to be given in March, 1792 as In Russian (translated by D. I. VyeIyashev-
Adrien, Empereur de Rome (libretto printed), but Volyntsov), Moscow 1803.
the production was not allowcd then. Mehul In German (translated by J. von Seyfried),
took the overture from an earlier opera Horatius Vienna, W. 16 February 1804 (with additions by
Codes. I. von Seyfried); Berlin I June 1816.
Given in Paris until 1803; outside Francc, only In Swedish \t~anslated by C. G. Nordforss),
Rheinsberg 23 May 1801 (in French). Stockholm 18 January 1808.
A parody Rien ou Peu de chose, by Lapierre de
Chateauneuf, was performed in Paris, Galte I July W. MÜLLER: Die TeuJelsmühle
1799· am Wienerberg
12November. Vienna, Leop.
S P 0 N TI NI: La finta FilosoJa Text by K. F. Hensler (Ein iJ"sferreichisches Volks-
Summer. Naples, T.N. märchen mit Gesang flach einer Sage der Vorzeit).
Text by D. Pieeinni (a new version of L'Eroismo Four acts.
ridicolo, by the same authors. Produeed at the One of the most popular of Müller's works,
same theatre in Carnival, 1798). Three acts. given all over Central Europe.

549 550
1799 ANNALS OF OPERA 1800
In German, Agram 7 Jlll1e 1802; Beme 1803;
1800
Poznan 9 August 1804 (as Die Schwarzthaler
Mühle am Wienerberge) ; Mannheim 6 January eHER UBINI: Les deux Journees*
1805; Altona 29 June 1806; Bremen 1807-08 (as 16 January. Paris, Th. Feydeau
Die Teufclsmühle am Blocksberge); Brünn 1808; Text by J. N. Bouilly (colI/Mie lyrique). Three acts.
Berlin 18 Deeember 1824; Helsinki 15 Deeem- Cherubini's most important work; even more
ber 1837; New YorkJune 1858 and 12 February sueeessful in Germany than in Franee. Given at
1873· the O.c., Paris until 1830 and revived 7 April
In Russian (translated by Sokolsky), Moseow 1842.
14 November 1816. In Freneh also, Brussels 10 Deeember 1800;
In Czeeh (translated by J. N. Stepanek), Prague Brunswiek 1801; Hague 29 August 1801; Beme
14 February 1830 (revived 25 February 1844). 5 Oetober 1801; Hanover 9 August 1803; St.
A sequel Otto von LÖlVcIIstein, produeed at Petersburg 1804; Moseow 12 Oetober 1808;
Vienna, Leop. 24 June 1815, was given for ten New Orleans 12 March 18n; NewYork23 July
nights only. The first part was revived at the 18 2 7.
Kaiserjubiläums-Stadttheater, Vienna, on 20 No- In German (as Der Wasserträger, translated by
vember 1899 (celebrating the looth anniversary H. G. Schmieder), Frankfort 5 July 1801; Berlin
of the first performance). 15 March 1802, ete. Given at Vienna, W. 13 Au-
gust 1802 (as Graf Arl1la/ld) and Kä. the very next
(K RAU S ) : Aeneas i Carthago night (as Die Tage der Gefahr, translated by G.
18 NovclI/ber. Stockholm F. Treitschke). In German also Beme 1803;
Text by J. H. Kellgren. Prologue and 5 acts. Budapest 20 April 1804; Agram 18 August 1804;
Kraus' s most important work, performed 7 Pragl1e 17 October 1813; Amsterdam 5 Novem-
years after his death (although finished already ber 1823; Bl1charest 21 December 1830; He1sinki
in 1782). 9 April 1834; Reval 1896. (For a German sequel
In Frcneh, St. Petersburg c.1806 (concert per- see 1806.)
formance lll1der Neukomm). In English (as The Escapes; or Thc Water
A parody by J. D. Valerius, Sköll Kirstin ach Carrier, translated by T. Holcroft, musie arranged
Matts Halle, was produced at Stockholm on 29 by Attwood), London, c.G. 14 Oetober 1801;
April 1802. rcvived c.G. 6 November 1824; Princess's 27
Oetober 1875; and by the R.C.M., Savoy 24
BERTON: Le Delire ouLes Suites Jlll1e 1886 and H.M.'s 21 November 191L In
d'une Erreur English also, Boston 20 January 1872; New York
7 Dccclllber. Paris, O.c. IO February 1872, etc. (translated by A. Baildon).
Text by J. A. de Rcvcroni Saint-Cyr. One act. In Danish (translated by N. T. Bruun), Co-
In Freneh also, Brussels 24 April 1801; Moscow penhagen 14 April 1803.
8 October 1808; Vienna 14 September 1826; re- In Swedish (translated by E. U. Nordforss),
vived Paris, O.C. 26 May 1843. Stockholm 2 Dccember 1803.
Given at Madrid in two different Spanish ver- In Polish (translated by W. Boguslawski),
siom, 9 December 1801 (translated by D. Solis) Warsaw, Mav 1804; Wilna 1806.
and 29 April 1806 (translated by F. Enciso Castri- In Rl1ssia; (translated by V. A. Levshin),
llon) ; in Spanish also, Buenos Aires 1828. Moscow 1804; St. Petersburg 19 February 1813.
In Russian (translated by P. N. Semenov), St. In Czech (translated by S. K. Machacek),
Petcrsburg 25 May 1812; Moscow 23 Septem- Prague 25 April 1824.
ber 1816. In Hlll1garian (translated by F. S. Deaky) ,
In Germ:m, Vicnna 4 February 1831. Clausenburg 24 April 1827.

55 1 55 2
1800 ANNALS OF OPERA 1800

In Itali:m (translatcd by G. Zaffira), London, B. A. WEBER: Mudarra

D.L. 20 Junc 1872 (with rccitatives by Costa). 10 March. Berlin, O.
An anonymous Dutch translation was pub- Text by C. A. Herklots. Four aets.
lished at Amstcrdam in 1801, an Italian transla-
The most important work of the Berlin eon-
tion by P. Andolfati in 1804.
ductor; unsueeessful. Also Breslau 28 July 1800.
The chief work of Cherubini (who was him-
self an Italian) does not seem to have been pro-
LEBRUN: Marcelin
dueed in Italy at all.
Still revived in Germany and c1sewhere; in a 22 March. Paris, Th. Feydeau
new version by E. Pasque, music arranged by F. Text by F. Bemard-Valville. One aet.
Langer, it was produeed at Mannheim 25 March In Freneh also, Liege 5 July 1801, ete.
1903 (with a prologue made up from Cheru- In Spanish (as EI Marcelino), Madrid 25 Au-
bini' sEIisa, see 1794); a new German version by gust 1801.
E. Bloch was published in 1932. Revived at In German (as Pachter Robert, translated by J.
Prague 18 November 1932 (in Czeeh, Maeha- von Seyfried), Vienna, W. 19 Oetober 1803;
cek's translation revised by F. V. Autrata); re- Leipzig Spring 1805; Berlin 15 Oetober 1805;
vived at Leningrad Spring 1933 (in Russian). Budapest 6 Jun'e 1806; Munieh 1808; St. Peters-
burg 1808; Prague Spring 1821; Vienna, Kä. 20
September 1822, ete. Given on German stages
until 183 I.
In Swedish (translated by c. G. Nordforss),
WINTER: Marie von Montalban
Stockholm 20 June 1804.
28 January. Munieh
Text by K. Reger (founded onJ. N. Komareek's REICHARDT: Lieb' und Treue
tragedy of the same tide, 1792, whieh was a sequcl 31 March. Berlin, O.
to K. M. Plümieke'sLänassa, the German version Text by the composer (who used for his Lieder
of A. M. Lemierre's La Veuve de Malabar). Four poems by Goethe, Herder, Salis, and folk songs).
aets. One aet.
One of Winter' s most important operas. The first "LiederspicI" (a sort of Q.erman
In German also, Berlin 29 Deeember 1800; equivalent to the Freneh "vaudeville"). See A.
Vienna 26 July 1803; Prague January 1809, ete. M.Z., 22 July 1801, where Reiehardt explains
The Iatest revivals were at Frankfort 17 July the meaning of the new form invented by him;
1815; Dresden 22 February 1821; Hanover I De- see also Journal des Luxus und der Moden, 1800,
cember 1822. P.481. The Liederspiel was given in Berlin until
In Polish (translated by W. Boguslawski), 1816.
Warsaw 1805. Also Breslau 5 September 1800; Königsberg
1800; Bremen 1804--05; Schaffhausen 22 August
1809; Hamburg 26 June 18II, ete.

FOMIN: Amerikantsi
TARCHI: D'Auberge en Auberge
AMepIfKaHr(hI
Oll Les Preventions
19 February. St. Petersburg 26 April. Paris, O.c.
Text by A. 1. Klushin. Two aets. Text by E. Mereier-Dupaty. Three aets.
The voeal score of this Russian eomie opera The most sueeessful of Tarehi's six Freneh
was published in 1893. comie operas.

553 554
1800 ANNALS OF OPERA 1800
In French also, Drusscls 9 April 1802; Brun- In German (translated by G. F. Treitschke),
swick 1803. Vienna 20 June IS04.
In German (as Dic zl/Jcy Posten, translated by In Polish (translated by B. Kudliez), Warsaw
G. F. Treitschke), Vienna 18 January 1804; ISI3·
Munich 19 August IS08, ete. Parodies: Je ne sais qui Oll Les Exaltes de Cha-
In Danish (translated by N. T. Bruun) , Co- relltin, by P. Y. Barre,J. E. Despreaux, M. Dieu-
penhagen 9 January lS06. lafoy and A. de Chazet, Th. du Vaudeville 16
An English translation by J. Wild (From [nn June IS00; Betowski ou L'[sle des Cygnes, by F.
to [lIn) was published in 1805; it does not seem P. A. Leger, P. A. Vil!iers, and R. C. G. de Pixe-
to have been aeted. reeourt, Th. des Troubadours 7 July ISOO.
A Dutch translation by A. Fokke Simonsz was
published in the same year.
M A Y R: Il Carretto de! Venditore
Thc subject beeame a favourite with Italian d'Aceto
librettists and composers: Di Loeanda in Loeanda 28June. Veniee, S. Angelo
e sempre in Sala, text by L. Buonavoglia, musie Text by G. M. Foppa (founded on a play by
by Mayr (Veniee 5 June 1805); Amor tutto !linee, Mereier). One act.
see 1805; Di Posta in Posta, text by L. Romanelli, In Italian also given at Dresden November
musie by V. Lavigna (Milan 2 July IS0S). IS02; Vienna 17 September IS03; Barcelona 22
Deeember I S03; Amsterdam I SoS; London,
KU N ZEN: Min Bedstemoder Pantheon 27 February IS12; Lisbon 22 July
15 May. Copenhagen 1814; Madrid 30 July IS21.
Text by E. de Falsen (after Prinee Hoare's My In Portuguesc, Lisbon 17 August ISIO.
Grand.Mother). Two aets. In German (translated by 1. K. Kollmann),
Given at Copellhagen until I S34. Vienna, Leop. 25 June IS16; Graz 8 February
1828; Wlirzburg 19 Oetober 1829.
SALIERI: Cesare in Farmacusa BOIELDIEU: Le Calife de Bagdad
2 JUlle.Vienna, Kä. 16 September. Paris, O.c.
Text by C. P. Defrancesehi. Two aets. Text by C. Godard d'Aueour de Saint-Jtlst. One
In Italian also, Praguc Caminl I SOl and aet.
Dresden February I S02. One of the most suecessful works of ßoiel-
In German, translated by J. J. Ihlee, Frankfort dieu's pre-Russian period. Givcn at thc OiG.
I ROI; tr:mslated by G. F. Treitsehke: Prague 15
until 1836 :md reyiyed there 27 April ISSI and
J'nuary 1802; Hamburg 12 August IS03; Buda- I S Deeember 1875; reYivcd at thc Fantaisies-
pest 26 Oetober rH03; Berlin 16 Oetober 1804; Parisieimes 16 March IS67.
Vienna, W. November rH08. In' French also, Ghent 1800; ßrusscls 6 March
I ROI; Hague 7 November 1801; HanoYer 30
BOI EL DIE U : BeniolVSki Oll Les Exiles August 1803; ßrunswick 1803; St. Petersburg
du Kamchattka 1804 and Moseow 10 Oetober 1808; New Orleans
8June. Paris, O.c. 25 Deeember 1805; Berne 15 June 1809; Vienna
Text by A. Duval ({ounded on a pby by A. von 2 July 1809; Stockholm April 1813; New York

Kotzebue). Three acts. 27 August IS27·

Giyen at the O.c. llIltiI IH2H; since 20 July In Spanish (transbted by E. Tapia), Madrid
IH24 in a new version. 4July IgOI.
In Frcnch also, Liege 13 March 1802; Bnms- Ih German (transbtcd by J. A. Bcrgk :md F.
wiek March 11\03; Brussds J1 December IH03. Laun), Ham burg [4 May I X02; (transbtcd by

555
 1800 ANNALS OF OPERA 1800

C. A. Herklots) Berlin 18 March 1803; Vienna, In German, Breslau 28 May 1802; Berlin 16
W. July 1804; Budapest I January 1810; Prague October 1803.
7 August 1814, etc. Revived Frankfort 14 Sep- In Poli~h (translated by W. Merlini), Wilna
tember 1876 and 20 April 1878; Breslau Febniary 16 May 18n; Cracow December 1821.
1890; Königsberg I I March 1939 (new German
version by F. Schröder). DALAYRAC: Maison cl vendre
In Danish (translated by T. Thaarup), Copen- 23 Oclober. Paris, O.c.
hagen 30 January 1804. Text by A. Duva!. One act.
-In Russian (translated by E. Lifanov), St. Peters- Of Dalayrac's numerous comic operas, this
burg January 1806; Moscow 12 May 1811. was probably the most successful one; fre-
_In Polish (translated by 1. A. Dmuszewski), quently revived at different Paris theatres during
Warsaw 1807. the i9th century; and lately O.c. 26 October
In Swedish (translated by C. G. Nordforss), 19II; Tr. 1. 19 Jimuary 1924; O.c. 5 April 1932.
Stockholm 23 May 1808. Revived at The Hague as Iate as April 1940.
In English (adapted by T. J. Dibdin), London, In French also, Brussels 24 March 1801; Bruns-
Hm. I I May 1809; New York 14 October 1829· wick 1806; Moscow 20 Gctober 1808; Berne
An anonymous Dutch translation was publish- 17 June 1809; Vienna 24 August J809; Stock-
ed in 1802; an Italian translation by A. Zanchi holm June 1813; New York 13 July 1827;
in 1804. Calcutta 28 September 1836.
In Spanish (translated by F. Enciso CastriIl6n),
REICHARDT: Tamerlan Madrid 9 July 1801; Buenos Aires July 1821
160ctober. Berlin, O. (Bosch) and/or 21 September 1826 (Keil)").
In German (translated by Po K. Hiemer), Stutt-
Text by J. O. H. Schaum (translated from a
French libretto by E. Morel de Chedeville). Four gart 5 March 1802; Mannheim 31 October 1802,
etc.; Schleswig 1806; Hanover 25 May 1807.
acts.
In English (adapted and enlarged to 2 acts by
The opt:ra had been written for Paris in 1786;
but it was not performed there, the composer J. Cobb, with same new music bYM' I{elly) ,
London, D.L. 17 November 1802 and New York
suddenly being forced to return to Berlin after \

the death of Frederick the Great. See Reichardt' s 25 May 1803.

In Danish (translated by R. Frankenau), Co-
pamphlet, All das /lllIsikalische Publikum seine
penhagen 30 November 1802.
franziisischell Opern Tall/erlall ulld Pal/tlufc be-
In Swedish (translated by C. G. Nordforss),
Ir~fJend (1787). The original libretto was eventual-
Stockholm JI July 1808; Gothenburg 10 De-
Iy set to music by Winter, see 1802.
cembcr Iil13; revivcd Stockholm 14 September
1860 (new Swed"ish version by- F. Arlberg).
SALIERt: Angiolina ossia 11 Matrimonio In Dutch (translated by C. A. van Ray), Am-
per Susurro sterdam 1809.
220ctaber. Vienna, Kä. In Russian (translated by Adamovich), Mos-
Text by C. P. Defi'anceschi (founded on Bcp'- cow 15 January 1824.
Jonson's EpicoclIl'). Two acts. An Italian translation by G. Piazza was pub-
In ltalian also given at London 29 December lished at Venice in 1804.
1801 (as Al/gcli/1a, text altcred by 1. da Ponte);
Pi-ague 10 February 1802; Dresden March 1803; C. M. VON WEBER: Das Waldmä'dchen
Bologna May 1807; Paris 5 April 1809; I'lorence; _ 24 Novcmber. Freiberg (Saxony)
T. Cocomero Autumn 1807 :md T. dei Risoluti, Text by C. von Steinsberg. Two acts.
Summer 1815. Wcbcr's first performed opera. Given also at

557 55 8
1800 ANNALS OF OPERA IS()(H)I

Chemnitz 5 December 1800 (as Das stumme In Czech (translated by J. N. Srepanek), Prague
Waldmädchen) and Vienlla, Leop. 4 December 21 January 1844.
1804 (as Das Mädchen im Spessarter Walde); it Frequendy revived in Germany during the
should be mentioned that the latter has been first half of the century; the latest revival was at
attributed to Wenzel Müller, in W. Krone's Kroll's, Berlin 15 August 1858.
book on that composer (1906) as well as in F. It was probably also a German version of
Hadamowsky's Das Theater in der Wiener Leopold- Paer's opera that was given at the German Stadt-
stadt (1934). The opera was probably given either Theater, New York, on 31 December 1859.
under the name or with additional music by A vocal score, edited by R. Kleinmichel, was
Müller, who then was conductor at the Leopold- published as late as 1890.
stadt Theatre (and was, some years later, to be
succeeded by Weber at Prague).
See on this opera Weber's Autobiographische 1801
Skizze (ISI8): "Ich schrieb die vom Ritter von
(CIMAROSA): Artemisia
Steinsberg gedichtete Oper: das Waldmädchen,
welche in November 1800 auch da gegeben 17 January. Venice, F.
wurde und sich dann später weiter verbreitete Text by 'Jamejo Cratisto" (pseud.) Dramma tra-
als mir lieb sein konnte (in Wien 14 mal gegeben, gico per musica. From Giomale dei Teatri di Venezia
in Prag ins Böhmische übersetzt und in Peters- (contained in 11 Teatro Moderno Applaudito) it
burg mit Beifall gesehen)". As to the perform- appears that the author was Count Giovanni
ances at Prague and St. Petersburg, mentioned Battista Colloredo.
by Weber, no trace of them could be discovered; Cimarosa's last opera (performed a few days
nor could they be verified by Weber's son as after his death); only two of the three acts were
early as in 1864. finished.
Of the music, two fragments only have been Given also at Rome Carnival 1806; Lisbon
preserved. For the new version, Si/vatla, see 1810. Summer 1806; Florence Autumn 1806 and Sum-
mer 1813; Parma Carnival 1807; Dresden and
Naples 1807.
PA ER: Poche, ma buone, ossia Cimarosa had written an opera on the same
Le Donne cambiate subject some years earlier: L'Artemisia, Regina di
18 December. Vienna, Kä. Caria, produced Naples, S.C. June 1797. This
Text by G. M. Foppa (first set to music by Portu- was a setting of a different libretto, by M. Mar-
gal, see 1797). Two acts. chesini.
The alternative tide in a MS score at the
Florence Conservatorio is La Moglie ravveduta. BERTON: Le grand Deuil
In Italian also, Prague 25 January 1802; Dres- 21January. Paris,O.C.
den 30 April 1817. Text by J. B. Vial and C. G. Etienne. One act.
Very successful in a German version by M. Outside Paris given at:
Stegmayer (as Der lustige Schuster, or Die Weiber- BRUSSELS 16 December 1801 (in French).
kur): Frankfort 13 M~rch 1802; Bremen 1804-05; VIENNA, w. 3 February 1804 (in German).
Leipzig 13 December 1805; Berlin 25 May 1807; BRUNSWICK SUMMER 1804 (in French).
Basle 9 March 1809; Vienna, W. 27 April 1809 COPENHAGEN I October 1804 (in Danish, trans-
(additions by 1. von Seyfried and J. G. Lickl); lated by L. Kruse).
Prague August 1810; St. Petersburg 1810; BERLIN 20 January 1806 (in German).
Berne 12 February 1812; Hanover 26 January MOSCOW 14 January 1808 (in Russian).
1825; Amsterdam 7 March 1825. ST. PETERSBURG 1810 (in German).

559 560
1801 ANNALS OF OPERA 1801

HAMBURG 14January 1812 (in German). In Dutch (translated by V. Vreedenherg), Am-

WARSAW 1813 (in Polish, translated by B. Kud- sterdam 1809.
licz). The score is dedicated to "General Bonaparte,
KÖNIGSBERG 1820 (in German). Premier Consul de la Rcpublique Fran~aise".

NICCOLINI: I Baccanali di Roma H I M M EL: Frohsinn und Schwärmerei

21 J a/luary.
Milan, Sc. 9 March. Berlin, O.
Text by L. RomaneIli. Two acts. Text by C. A. Herklots. One act.
Niccolini's most important opera; first grcat Popular "Liederspiel" (see Reichardt, 1800),
success of Angclica Catalani. given on many German stages. Hamburg 15
Outside !taly, given at Lisbon 24 June 1804 April 1806, etc.
and St. Petersburg 4 August 1804.
ORLANDI: Il Podesta di Chioggia
H ÄFFNER: Renaud
12 March. Milan, Sc.
29 Januar)'. Stockholm
Text by A. Anelli. Two acts.
Text by N. B. Sparrschöld (translated from J. J. Successful in. Italy; given at Venice, S. Luca
Leboeuf's French version of Gamerra's Armida, 22 August 1801 as Il Deputato di Rocca; at Milan,
see 1772). Three acts. T. Lentasio, March 1807 as 1/ Podesta di Foggia.
The last opera of the Swedish composer. In Italian also, Lisbon Spring 1804; Vienna 23
October 1805; Paris 3 December 1806.
MEHUL: L'Irato ouL'Emporte*
18 February. Paris,O.C. REICHARDT: Jery und Bätely
Text by B. J. Marsollier (comidie-parade). One 30 March. Berlin, O.
act.
Goethe's text (first prodllced with music by C.
Very successful in Paris; given at the O.C.
S. von Seckendorff at Weimar 12 July 1780; first
until 1833 and revived there 28May 1852; Th.
published 1790). One act.
L. 16 November 1868; Galerie Vivienne 15 Oc-
Given in Berlin until 1825; produced by
tober 1896, and again O.c. 20 December 1899
Goethe hirnself at Weimar 9 June 1804; Ham-
and 17 October 1917.
burg 16 September 18n; Bresla1l9 January 1816.
In French also, Liege 9 August 1801; Brussels
Revived Hamburg 1881; Weimar 16 June
6 July 1802 (revived 13 February 1902); Hanover
1916.
29 August 1803; Brunswick 1803; Moscow 20
October 1808; revived LyonsJune 1931. R. KREUTZER: Astianax
In German (as Der Tollkop); translated prob- 12 April. Paris, O.
ably by H. G. Schmieder), Altona 7 August
Text by J. E. B. Dejaure. Three acts.
1802; Hamburg 10 August 1802; Berlin 22 June
Given in Paris until 1816.
1804, etc.; St. Petersburg 1810; (as Die Tempera-
mente, translated by J. von Seyfried), Vienna, W.
9July 1803; revived Weimar 26 September 1832
M A YR: Ginevra di Scozia
(as Der zällkische Onkel, translated by C. Götze). 21 April. Trieste

In Spanish, Madrid 21 July 1803. Text by G. Rossi (after Ariosto). Two acts.
In Polish (translated by Matuszewski), Warsaw Written for the inauguration of the Teatro
180 5. Nuovo, Trieste.
In Swedish (translated by C. G. Nordforss), Milan, Sc. 26 December 1802, etc.; in Italy
Stockholm 25 August 1808. given until 183 I.

561
1801 ANNALS OF OPERA 1801
In Italian also Vienna 27 October 1801 (with Schikaneder's old "Freyhaus" theatre "auf der
some additional music by Weigl); Berlin Feb- Wieden".
ruary 1804; Munich 13 July 1805 (revived Au- Produced with a prologue by Schikaneder,
tumn 1818); Weimar II November 18n; Corfu Thespis Traum.
Carnival 1828.
In German, Frankfort 26 December 1802 (as
FARINELLI: Teresa e Claudio
Ariodante); Lübeck 21 July 1806; Budapest I2
October 1807. 9 September. Veniee, S. Luca
In Polish (translated by W. Boguslawski), Text by G. M. Foppa (founded on a comedy by
Warsaw 1809; Wilna 22 March 1810. Greppi). Two aets.
One of the best and most successful operas of
Farinelli.
EBERL: Die Königin der schwarzen Outside Italy given at Vienna 23 September
Inseln 1802 (asL'Amore irritato della Difficolta, with addi-

23 May. Vienna, Kä. tional music by Weigl); Barcelona 4 November

Text by J. Schwaldoplcr (after Wieland). Two 1803; Lisbon Winter 1804; Amsterdam 1808;
acts. London 13 April 1809; Mllnieh Summer 1817.
The only surviving opera of the famous Vien-
nese pianist; overture printed. DALAYRAC: Leheman ouLa Tour
de Newstadt
PAER: Achille 12 December. Paris,O.C.
6June. Vienna, Kä. Text by B. J. Marsollier. Three acts.
Text by G. de Gamerra. Two acts. In French also, Brussels 14 June 1802 (revivcd
In Italian also Prague 18°3; Dresden 7 April 17 January 1819); Brunswick 1803·
1804; Paris, Th. des Tuileries 31 January 1808 More successful in Germany where it was one
(first act) and 19 March 1808 (second act); Mann- of the favourite "rescue operas" of that period
heim 24 May 1812; Forll Spring 18J6; Milan, (first translated by G. 1. P. Sievers).
Sc. 26 December 1816. Given at Vienna, W. May 1803 (revived 6
In German, Frankfort n April 1802 (revived July 1824); Berlin 7 June 18°3; Munich 1803 (as
6 April 1823 and 4 January 1835); Stuttgart De- Macdonald, translated by C. M. Heigel; revived
cember 1805; Berlin 15 October 1810; St. Peters- 25 July 181I and 2 November 1819); Budapest
burg 1810; Budapest 12 August 1812; Hanover 29 August 1803 (revived 30 July 1827); Schles-
24 April 1815; Copenhagcn 4 March 1820; wig 1804; St. Petersburg 27 September 1810;
Prague 1825; Riga 1825. Hambllrg 27 May 1812; last revived Weimar 4
In Polish (translated by J. Adamczewski), September 1830.
Warsaw 3 December 1808 (with additional mll- In Swedish (translated by C. G. Nordforss),
sie by J. Elsner). Stockholm 13 May 1805.
In Polish (translated by J. Baudouin), Warsaw
IS07.
TEYBER: Alexander
In Russian (translated by R. M. Zotov), St.
13 June. Vienna, W. Pctersburg 3 February 1823; Moscow 7 Decem-
Text by E. Schikaneder (Grosse heroische Oper). ber 1824.
Two acts. A Dutch translation by C. A. van Raij was
Written for the inauguration of the "K.K. pllblished in 18J3, a Danish translation by N. T.
priv. Theater an der Wien" which succeeded Bruun in 1814.
1801-02 ANNALS OF OPERA 1802.

TRENTO: Quanti Casi in SCHALL: Domherren i Milano,

un Giorno! eller De uventede Gaester
DecemlJer. Venice, S. Ben. 16 March. Copenhagen
Text by G. Artusi. One act. Text by N. T. Bruun (after a French play by A.
Trento's most succcssful work; given at Leg- Duval, Le Souper imprevu, ou Le Chanoine de Mi-
horn Carnival 1803 as Gli Assassini. lan). Two acts.
Outside Italy given at Lisbon 1803; Barcelona The most successful of Schall's operas, given
4 June 1805 (as Roberto Capo d'Assassini); Am- at Copenhagen until 1833.
sterdam Carnival 1806; London 3 February 1807
(as Roberto /'Assassino); Dresden 1808; Paris 29 MEHUL: Une Folie
August 1808 (as La Foresta di Nicobar); revived
MunichJanuary 1819; Cremona Carnival 1823. 5 April. Paris, O.C.
Text by J. N. Bouilly. Two acts.
The most sllccessful of Mehul's cornic operas.
In French also Brussels 6 September 1802;
r802
Ghent 16 July 1803; Hanover 4 August 1803;
MA YR: I 1Uisteri Eleusini Brunswick 1803; Berne 5 March 1806; New
Orleans 30January 1808; Moscow I2June 1809;
16January. Milan, Sc. Vienna 22 June 1809; Florence April 1839 (by
Text by G. Bernardoni. Two acts. amateurs, at Prince Poniatowsky's).
Given at Venice Spring 1804 as Polibete. In German (five different versions):
Revived at Milan, Sc. 28 February 1807, with BERLIN 28 March 1803 (as Je toller, je besser, trans-

additions; Naples, S.c. 22 November 1809. lated by C. A. Herklots).

In Italian also, Lisbon 7 November 1807; Paris HAMBURG 4 May 1804 (asJe toller,J( besser, trans-

15 January 1814 (the first act at NapoIeon's priv- lated by C. A. Herklots).

ate "Thcatre des Tuileries" 6 January 1814); WEIMAR 2 June 1804 (as Je toller, je besser, trans-

Madrid 19 November 1821 (as Antinoo in Eleusi). Iated by C. A. Herklots).

VIENNA, W. 24 May 1803 (as Die beiden Füchse,
translated by J. von Seyfried).
DALAYRAC: L'Antichambre Oll BERNE SUMMER 1804 (as Die beiden Füchse, trans-
Les Valets entre eux lated by J. von Seyfried).
POZNAN 17 August 1804 (as Die beiden Füchse,
26 February. Paris, o.c.
translated by J. von Seyfried).
Text by E. Mercier-Dupaty. One act. MUNICH 17 July 1807 (as Die beiden Füchse, trans-
Given there in 1802 only once; far more suc- lated by J. von Seyfried).
cessful in a new version as Picaros ct Diego 3 May PRAGUE 1807 (as Die beiden Fiichse, translated by
1803 which held the boards until 1837. J. von Seyfried).
In French also, Brussels 25 November 1803; LUCERNE 1810 (as Die beiden Füchse, translated by
St. Petersburg 1804; Moscow 7 Octobcr 1809. J. von Seyfried).
In German (as Die Glücksritter, translated by MOSCOW 30 September 1820 (as Die beiden
C. A. Herklots), Berlin 26 September 1804. Füchse, translated by J. von Seyfried).
In Spanish (translated by F. Enciso Castrill6n), MANNHEIM 3 July 1803 (as Vetter Jacob, translated
Madrid I January 1807. by F. K. Hiemer).
In Swedish (translated by J. E. Brooman), FRANKFORT 29 January 1804 (as List und Liebe,
Stockholm 18 October 1813. translated by J. J. Ihlee).

566
1802 ANNALS OF OPERA 1802
STUTTGART 8 April 1804 (as List und Liebe, trans- In German (translated by I. F. Castelli), Vien-
lated by J. J. Thlee). na, W. 23 October 1806; Budapest 18 April
SCHLESWIG 1804 (as Wagen gewinnt, translated by 1808; Prague Autumn 1810; Berlin 27 October
G. F. Treitschke). 1824.
VIENNA, KÄ. 22 June 1809 (as Wagen gewinnt, The overture of this opera was a concert
translated by G. F. Treitschke). favourite until c.1850.
In Spanish (translated by M. Bellosartes),
Madrid I January 1803.
BERTON: Le Concert interrompu
In Swedish (translated by C. G. Nordforss),
Stockholm I February 1804; Lund 29 July 1808; 31 May. Paris,O.C.
Malmö 2 December 1810. Text by B. J. Marsollier and E. G. F. de Favit:res.
In Hungarian, Clausenburg 14 February 1806. One act.
In Russian (translated by V. A. Levshin), Mos- In French also Ghent 1802; Brussels 9 Novem-:-
cow 17 July 1807; St. Petersburg Summer 1810. ber 1803; Hamburg July 1805, etc.
In Polish (translated by W. Pekalski), War- In Spanish, Madrid 9 December 1804.
saw 1808; wilno 18 January 1811. In German, Berlin 26 January 1807.
Never given at Copenhagen (see Dupuy, In Danish (translated by N. T. Bruun), Co-
1806). penhagen 11 December 1807.
A Dutch translation of the libretto (by C. In Swedish (translated by C. G. Nordforss),
Vreedenberg) was published in 1803. Stockholm 3 February 1813.
An English version by G. Colman, Love Laughs In Polish (translated by W. Boguslawski),
at Locksmiths, was given in London, Little Hm. Warsaw 1816.
25 July 1803 (new music by M. KeIly; see his A
Reminiscences, Vol. n, p.197: "The original music ' L e T1.1
MEHUL: resor supposeI Oll
was very good but not calculated for an English
audience; I therefore recomposed the whole mu-
Le Danger d' ecouter aux Portes
sie"). KeIly' s version was also given in Dublin 29 July. Paris, O.c.
February 1804; New York 23 May 1804 (revi- Text by F. B. Hoffman. One act.
ved 28 September 1849) and on many other In Paris last revived on 16 July 1824.
American stages as weIl as at Cape Town in In French also, Ghent 1802; Brussels IJanuary
1838. 1803; Hanover 12 March 1804; Brunswick
Another English translation, probably by J. Spring 1804; Beme 28 June 1809; Vienna 2 No-
Wild, was published in 1804. vember 1809; Stockholm April 1813; Calcutta
Mehul's original was revived at the O.C. on 12 October 1836.
20 November 1843, at the Gaite on 6 December In German (translated by J. von Seyfried),
1874; at Buenos Aires by a French company in Vienna, W. 10 August 1803; (translated by D.
1852; in German, Frankfort 13 March 1840 and Jäger), Berlin 7 October 1803; Munich 1807;
January 1864; Berlin, Kroll's 5 August 1851; (translated by G. L. P. Sievers), Hamburg 30 De-
Dresden 25June 1854; Königsberg 23 May 1874; cember 1807.
Prague November 1934. In German also, Prague Summer 1807; St.
Petersburg 1809; Moscow 25 December 1819.
CATEL: Semiramis Last revived Munich 22 June 1852; Dresden 19
4 May. Paris, O. January 1857·
Text by P. Desriaux (based on Voltaire's tragedy). In Danish (translated by N. T. Bruun), Co-
Three acts. penhagen 17 May 1804; revived Bergen 7 Octa-
Catel's first opera. Given in Paris until 1810. ber 1855.

568
1802 ANNALS OF OPERA 1802

In Swcdish (translated by C. G. Nordforss), eonfusingly as Fioravanti aetually wrote an opera

Stockholm 22 Fcbruary 1805; Gothcnburg 8 of that tide, produeed at Milan in January 180j.
July 1805· A eompanson of me libretti shows mat me Lon-
In Spanish (translated by F. Eneiso Castrill6n), don Orgoglio has nothing to do with me Milan
Madrid 12 May 1805. Orgoglio, and is identieal with La Capricciosa
In Russian (translated by A. V. Luknitsky), pentita); Lugano 1810; Munieh I I Oetober 1816.
St. Petcrsburg 17 February 1807; Moseow 26
February 1807. TRITTO: Cli Americani
In Hungarian (translated by J. Horvam),
4 November. Naples, S.c.
Clausenburg 30 March 1807.
Text by G. Rossi. Two aets.
In Polish (translated by B. Kudliez), Warsaw
One ofTritto's best works. Lisbon 4 Novem-
1812.
ber 1803. New version (Gonzalvo), Naples 13
An Italian translation by P. Grappdli was
August 1805; revived PaduaJune 1819.
published in 1805; anothcr by G. M. Foppa
(from Seyfried's German version) in 1808.
A Duteh translation by J. de Quaek and B. A.
MEHUL:Joanna
Fallee was published in 1813. 23 November. Paris, O.C.
Text by B. J. Marsollier. Two aets.
WINTER: Tamerlan In German, Vienna, W. 14 Deeember 1803
(very sueeessful there); Budapest I January 1805;
14 September. Paris, O.
Würzburg 6 August 1809.
Text by E. Mord de Chedeville (based on Vol-
taire's Orphelin de la Chine; originally written PAER: I Fuorusciti di Firenze
for Reiehardt in 1786; see 16 Oetober 1800).
27 November. Dresden
Four aets.
Winter's only Freneh opera. Revived in Paris Text by A. Anelli. Two aets.
1 February 1815. The first opera Paer wrote for Dresden; one
In German (translated by J. von Sonnleithner), of his most sueeessful works.
Vienna 9 April 1805 (in eoneert form) and W. In Italian also, Pugue Deeember 1802; Vienna
I9June 1812 (wim additions by I. von Seyfried); 31 July 1804; Parma Carnival 1805; Naples 13
Budapest 18 Oetober 1814; Würzburg 19 Oetober 1810; Milan, Sc. 8 February 1814; Paris
Oetober 1814. 20 March 1819; Barcelona 5 July 1819.
In German (translated by C. W. Franke),
Breslau 2 Oetober 1804; Leipzig 19 Oetober
VAL. FIORAVANTI: La Capricciosa
1804; Hamburg 3 February 1807; Weimar 19
pentita Deeember 1807; Prague 1808; Berlin 17 June
2 Oetober. Milan, Sc. 1813; Munieh 1814, ete.
Text by L. RomaneIli. Two aets. In Danish (translated by A. G. Oehlensehläger),
Very sueecssful in Italy; given at Turin, T. Copenhagen 30 Oetober 1823.
Carignano Autumn 1806 as_La Sposa corretta; at In English (as The Freebooters, translated by H.
Veniee Autumn 1810 as Capriccio e Pentimento; Napier, musie arrangcd by W. Hawes), LOI~:lon,
revived Veniee 25 Deecmber 1832. Ly. 20 August 1827; New York 24 Deeember
Outside Italy: Vienna 26 June 1805; Paris 5 1827; Edinburgh 8 March 1830.
September 1805 (revived 21 Oetober 1817 as La Date of first performance aeeording to J'•.4rnal
Sposa stravagante); Amsterdam 1807; London 6 des Luxus und der Moden, 18°3, p.40. In most
January 1809 (under the original tide) and revi- books of referenee the Vienna 1804 production
ved 7 February 1815 (as L'Orgoglio avvilito, rather is wrongly stated to have been me original one.

57°
 ANNALS OF OPERA

ISOUARD: Michel-Ange In Swedish (translated by C. G. Nordforss),

11 December. Paris, O.C. Stockholm 29 April I8r3.
In Russian, Moscow 3r Januar)' 1822.
Text by E. J. B. Delrieu. One act.
Parodies: La Niere de ma Tante Aurore ou La
Isouard' s first greater success; in Paris given
until r829.
Manie des Romans, by J. A. Jaquelin, Th. des
Jeunes Artistes 8 March r803; La Famille de ma
In French also, Ghent r802; Brussels 28 March
Tante Aurore ou La Matinee romanesque, by P.
r803; Hamburg Summer r803; Brunswick
Thenard, Brest 29 December 1803.
Spring r804; Hanover 3 July r805.
In Dutch (translated by C. Vreedenberg), Am-
sterdam r803. RIGHINI: Gerusalemme liberata ossia
In German (translated by C. A. Herklots), Armida al Campo de Franchi.
Munich r803; Vienna, Leop. r June 1804; Ber- .La Selva incantata
lin 2r January r805, etc.; revived Mannheim 28 17 January. Berlin, O.
June r835.
Text by A. de' Filistri da Caramondani (after
In Spanish, Madrid r3 June 1804.
Tasso).
In Polish (translated by L. A. Dmuszewski),
Righini's most important work (consisting of
Warsaw r8I2.
two 2-act operas).
In Danish (translated by N. T. Bruun), Copen-
One of the last Italian works produced at the
hagen I January r820.
Berlin o. Revived Berlin 15 Oetober r8I! (in
German, translated by C. A. Herklots) and r7
1803 December r8r5 (in Italian).
In Swedish (translated by C. G. Nordforss),
BOIELDIEU: Ma Tante Aurore Stockholm 26 January 183r; an earlier Swedish
Oll Le Roman impromptu version had already been published at Gothen-
13January. Paris,O.C. burg in 18r9 (for a concert performance?).
Text by C. de Longchamps (on the tide-page of
the libretto: " ... siffie en trois actes le 23 nivose, LAVIGNA: La Muta per Amore
applaudi en deux le 25 du meme mois ... "). ossia 11 Medico per Forza
Given at the O.C. until r836; revived Th. L. r8
24 January. Milan, Sc.
October I85r; Galerie Vivienne 5 April r894;
Text by G. M. Foppa. One aet.
Tr. L. 15 January r921.
The first and most suceessful opera ofLavigna,
In French also Ghent 18°3; Brunswick and
wllo was maestro al cembalo at the Scala, and
Hamburg 18°3; Brussels r 8 March r 8°3; Hanover
later became die teacher of Verdi.
IO March r804; St. Petersburg 1804; Stockholm
1805; Beme 19 February r806; Moseow 24 Oe-
tober 1808; Vienna r3 August r809; New
MEHUL: HeUna
Orleans r8ro; New York r8 July r827. 1 March. Paris, O.C.

In German (translated" by M. G. Lambrecht), Text by J. N. Bouilly and J. A. de Reveroni

Vienna, W. I! April 1804; (translated by C. A. Saint-Cyr. Three acts.
Herklots); Altona 6 July r806; Berlin 23 Mareh In French also, Brunswick Spring 1804; Brus-
r807· se1s r9 August 1804; Moscow r6 October 1809.
In Spanish (translated by F. Enciso Castri1l6n), In German (translated by G. F. Treitsehke),
Madrid 2r December r803. Vienna 22 August 1803; Berlin r4 November
In Danish (translated by T. Thaarup), Copen- r803; Schleswig r804; Budapest 16 December
hagen 19 March r8r2. r807; Munich r8ro; Praguc 4 January 1815 (one

57r 572
 ANNALS OF OPERA

additional air by Weber); revived Dresden 22 In Spanish (translated by F. Enciso CastriIl6n),

April 1817 (additions by Paer and Nasolini); Madrid 16 January 1805.
Vienna, Jos. I September 1827. In Danish (translated by N. T. Bruun), Copen-
In Dallish (translated by N. T. Bruun), Co- hagen 14 May 1805.
penhagen 20 November 1806. In Polish (translated by K: Brodzmski), War-
In Polish (translated by J. Adamczewski), saw 1816.
Warsaw 1807.
In Russian, Moscow 4 March 18I2. P AER: Sargino ossia L' Allievo
Italian translation by F. G. Galli published 1805. deli' Amore
(The overture to this opera anticipates the
26 May. Dresden
famous trumpet-call in Fidelio.)
Text by G. M. Foppa (founded on MonveI's
c. M. VON WEBER: PeterSchmoll French libretto, see 1788). Two acts.
One ofPaer's most successful works.
und seine Nachbarn*
In Italian also, Prague 15 September 1804;
March! Augsburg
Vienna 25 February 1807; Amsterdam 1809;
Text by J. Türk (founded on a novel by C. G. Milan, Sc. 5 March 1814; Naples, T. Fondo 1815;
Kramer). Two acts. Trieste 8 April 1828.
Weber's second opera, written at Salzburg in
In German (translated by C. M. HeigeI),
1801-02; exact date of production unknown;
Munich 13 July 1804; (translated by J. J. Ihlee),
failure. Libretto lost; score preserved and printed
Hanover 2 September 1804; Frankfort 9 Sep-
in 1926; the opera was revived at Lübeck De-
tember 1804; Vienna, W. 4 February r806; Ber-
cember 1927 (new dialogue by K. Eggert).
lin 3 February 1808; Praguc 1808; Hamburg 13
October 1809, ctc. Also Amsterdam 20 Novem-
PAISIELLO: Proserpine
ber 1824; Budapest 26 January 1829; Antwerp
29 March. Paris, O.
5 August 1831; Bucharest 19 January 1834; last
Quinault's text (first set to music by LuIly, see given Lemberg 5 June 1838; Casscl 24 October
168o), reduced to 3 acts alld altered by N. F. 1839; Riga 1843.
Guillard. In Swedish (translated by C. G. Nordforss),
The only French opera ofPaisiello, then "Pre- Stockholm 19 May 1806.
mier Maitre de Chapelle et Compositeur au In Polish (translated by W. Boguslawski),
Service de S.M. le Roi de Naples; actuellement Warsaw 1811.
employc po ur composer et diriger Ja Musique In Russian, St. Petersburg 29 December 1815.
particuliere du Premier Consul". In Danish (translated by N. T. Bruun), Co-
Unsuccessful (14 performances) and never re- penhagen 3 I January 1820.
vived. (Date of first performance according to A.M.
ISO U A R D : Les Confidences z., v, p.622. Engländer in Neues Archiv fiir
Sächsische Geschichte und Altertumskunde, 1929,
31 March. Paris,O.C.
gives June 6th on p.209, June 26th on p.220.)
Text by A. G. Jars (not by F. B. Hoffinan as so me
books of reference havc it). Two acts.
In French also, Brusseis 2 October J 803; Ham-
WINTER: La Grotta di Calipso
burg 1804; Berne 5 March 1806. 31 May. London, Hm.
In German, Vienna 23 July 1804 (as Die Ver- Text by L. da Ponte. Two acts.
wechslungen, translated by M. G. Lambrecht); The first opera Winter wrote for London; very
Berlin 24 September 1805 (as Die vertrauten successful there (with Elizabeth Billington).
Nebenbuhler, translated by C. A. Herklots). In German, Munich 17 April 1807.

573 574
 ANNALS OF OPERA

CANNABICH: Palmer und Amalia 1807, etc. Bamberg 26 October 1808 (E. T. A.
Hoffmann' s debut as conductor); Budapest 14
August. Munich
April 1813; Prague 19 April 1814; Helsinki 26
Text: a German version, by an unknown trans- February 1838. Last revived in German: Königs-
lator, of Pigault-Lebrun's French libretto (see berg 25 December 1851.
1797). Three acts.
In Spanish, Madrid 4 November 1804.
Unsuccessful: " .•. da man ohnehin in diesem
In Polish (translated by K. Hebdowski), War-
Werke die Quintessenz Mozartischer und Cheru-
saw 1808; Cracow 14 September 1809.
binischer Melodien zur Genüge antrifft. Für das
In Swedish (translated by C. G. Nordforss),
seltene Vergnügen aber, ohngefähr ein Dutzend
Stockholm 18 April 18II.
Opern mit einem Male zu hören, wird hiermit
In Russian (translated by D. I. Vyelyashev-
dem Verfasser des Werkes gebührender Dank
Volyntsov), St. Petersburg 15 May 1815; M05-
abgestattet" (A.M.Z., 1803, nO.49).
cow 5 October 1815.
In Hungarian (translated by J. Kiss), Clausen-
PAVESI: Un Avvertimento ai Gelosi burg 29 January 1836.
27 August. Venice, S. Ben. N ever given at Copenhagen as J. A. P. Schulz's
Text by G. M. Foppa. One act. opera on the same subject (see 1787) was very
successful there.
The first ofPavesi's numerous operas.
Successful in Italy; given at Naples, T. N. The libretto was again used by Boieldieu,
Spring 1805 as La Scuola de' Gelosi; Milan, Sc. whose setting was produced at the French Opera,
6 November 1813. St. Petersburg 17 March 1804.
In Italian also Barcelona 2 August 1804; Am-
sterdam 1808; Paris 27 May 1809; Cagliari, FEDERICI: Zaira
Sardinia Carnival 18n; Munich 31 August 1816;
Lisbon 1819; Madrid 29 October 1821.
3 September. Milan, T. Carcano
Text by M. Bocciardini. Two acts.
BERTON: Aline, Reine de Golconde There is much that is dubious in the history of
this opera. Written for the inauguration of the
2 September. Paris, O.c. new Teatro Carcano, Milan, as generally stated.
Text by J. B. C. Vial and E. G. F. de Favieres (a But from aremark in Sorge's Teatri di Palermo
new version ofSedaine's libretto, see 1766). Three it would appear that the opera originally was
acts. performed at the T. di Santa Cecilia, Palermo, in
Berton's most· successful work. Given at the 1799; and Florimo records an opera by Federici
O.C. until 1830 and revived at the Opera Na- under the title of 11 Trionfo della Religione as hav-
tional (Boulevard du Temple) 16 November ing been produced at Naples, T. N. in 1802,
1847 (re-scored by Adam). which has the same characters as Zaira. The
In French also, Brussels 4 January 1804; Brun- original Milan bill of 1803 attributes the opera
swick 1804; Hanover 3June 1806; Berne I2June not to Vincenzo Federici, as generally stated, but
1809; Stockholm 2 April18n (privately); New to the much less well-known Francesco Federici
Orleans Spring 1825; and probably New York ofGenoa.
29 August 1827. Outside Italy (in Italian) given at Vienna 25
In German (translated by C. A. Herklots), July 1805; Dresden 20 May 1807; Lisbon 22June
Berlin 3 March 1804; (translated by G. F. Treit- 1808; Madrid 22 January 1809; London 26 De-
schke), Vienna 6 March 1804; Frankfort 7 April cember 1810; Paris 20 June 1817.
1805; Munich 1807; Hamburg n September In Polish, Warsaw 1810.

575
 ANNALS OF OPERA

CHERUBINI: Anacreon Oll r804

L' Amour fugitif*
DALAYRAC: La jeune Prude, Oll
4 Oetober. Paris, O.
Les Femmes entre eIies
Text by R. Mendouze. Two acts.
14 January. Paris,O.c.
Unsuccessful: outside Paris only given at the
Redoutensaal, Vienna, on 14 April 1805 (in con- Text by E. Mercier-Dupaty. One act.
cert form; German version by M. Stegmayer). Given in Paris until 1827; in French also Brus-
This opera-ballet contains a famous ovcrture sels 25 September 1804; Beme 23 June 1809;
and the beautiful air Jeunes filles al/x regards doux. Moscow 24 February 1810.
In German (as Die Spröde auf der Probe), Vienna
29 December 1804.
ISOUARD: Le Medecin Turc In Russian, Moscow 1805.
19 November. Paris,O.c. In Polish (translated by W. Pekalski), Warsaw
30 December 1821.
Text by P. Villiers and A. Gouffe. One act.
A Dutch version by M. G. Engelman was pub-
Given at the O.C. until 1827; in Frcnch also, lished in 1810.
Brussels 21 February 1804; Brunswick I I June
1804; Moscow 16 May 1807; Beme 15 July 1809.
DALAYRAC: Une Heure de Mariage
In German, Vienna, Kä. May 1804; Frankfort
September 1805, etc. 20 March. Paris, O.C.

In Spanish (translated by F. Enciso Castrill6n), Text by C. G. Etienne. One 'act.

Madrid 14 October 1804. Last revived in Paris, O.C. 17 December 1849
In Russian (translated by A. V. Luknitsky), and Tr. L. 15 January 1921.
St. Petersburg 19 November 1810. In French also, Brussels I August 1804; Brun-
In Polish (translated by L. A. Dmuszewski), swick Summer 1804; St. Petersburg March 1805;
Warsaw 1816. Hamburg 8 August 1805; Moscow 1 October
1808; Beme 31 May 1809; Stockholm April
1813; New York August 1830.
MAYR: Alonso e Cora In German, Berlin 14 February 18°5, etc.
26 December. Milan, Sc. In Spanish, Madrid 21 February 1805.
Text by G. Bemardoni. Two acts. In Danish (translated by N. T. Bruun), Co-
penhagen 23 December 1806.
In Italian also, Vienna I J une 1804; in German,
In Swedish (translated by C. G. Nordforss),
Frankfort April 1805.
Stockholm 25 Fe.bruary 1809.
Revived in a new version by F. Berio di Salsa,
In Polish (translated by W. Boguslawski),
as Cora, Naples S.C. March 1815, and in Ger-
Warsaw 1813.
man, Vienna 3 October 1822 (with additional
A Dutch version by C. van der Vijver was
music by Weigl).
published in 1807.

FARINELLI: I Riti d'Efeso WINTER: 11 Trionfo dell' Amor

26 Decembe;. Venice, F. fraterno
Text by G. Rossi. Two acts. 22March. London, Hm.
Given in Italy until 1822. In Italian also, Text by L. da Ponte. Three acts.
Vienna 19 December 1804 (With2 airs byWeigl); In German, Munich 13 January 1805; Vienna
Lisbon 13 May 1806; London 7 March 1815. December 1806 (in concert form).

577
 ANNALS OF OPERA

In French, Paris, O. 19 August 1806 (as Castor HIMMEL: Fanchon, das Leiermädchen
et Pollux, music adapted to a libretto by E. Morel
16 May. Berlin, O.
de Chcdeville which was founded on the older
text by P. J. J. Bernard, see 1737). Text by A. von Kotzebue (foundcd on a French
The statement in Gugitz's Da Ponte biblio- vaudeville by J. M. Pain and J. N. Bouilly).
graphy that the libretto was not printed, is not Three acts. .
correct. Very popular in Germany ; in Berlin given
until 1853. Breslau 9 November 1804; Poznan
PUCITTA: La Burlafortunata ossia 18 February 1805; Hamburg 19 July 1805; Han-
over 9 September 1805; Munich 1805; Königs-
I due Prigionieri
berg 1805; Prague May 1807; Vienna, W. 13
9 April. Venice, S. Moise July 1808 (revived Kä. 18 June 1817; 3 Decem-
Text by G. D. Camagna (founded on Marsol- ber 1834; and Leop. 3 November 1846); in Ger-
lier's Adolphe et Clara, see 1799). One act. man also St. Petersburg 12 February 1806; Vii-
In Italian also, Zara 1805; Amsterdam 1806; puri (Finland) 20 October 1825. Last revived
Paris 10 June 181I (as Ado/fo e Chiara) ; London Königsberg 3 November 1855 and 9 December
26 May 1814; Munich 26 July 1816; Vienna 16 1909.
March 1817; Barcelona 8 January 1821. Revived In Dutch (translated by A. Fokke Simonsz),
Milan, T. Carcano July 1833- Amsterdam 1806.
In Spanish (as EI Matrimonio reunido, translated In Danish (translated by N. T. Bruun), Co-
by F. Enciso Castrill6n), Madrid 2 January 1818;
penhagen 29 October 1814.
Mexico 1826.
In Polish (translated by W. Boguslawski),
Warsaw 1820.
GENERALLI: Pamela nubile In Swedish (translated by J. E. Remmer),
12 April. Venice, S. Ben. Stockholm 28 Oetober 1822; Gothenburg 27
Text by G. Rossi. One act. April 1827.
Generali' s first great success.
Outside Italy: Vienna 29 July 1805 (as La
VOGLER: Samori
Virtu premiata per Amore); Barcelona 16 January
1806 (revived 22 December 1817); Amsterdam 17 May. Vienna, W.
Carnival 1806; Dresden 1810; Paris 8 December Text by F. X. Huber. Three acts.
1810; Munich 40ctober 1816; Lisbon Winter
Important work of the famous theoretician,
1819. Revived Milan, Sc. 18 October 1823.
but unsuccessfuI.
Darmstadt 30 June 18rr; Breslau rr March
WINTER: 11 Ratto di Proserpina 1818.
3 May. London, Hm. Most Viennese authors (M. Voll, T. von Frim-
Text by L. da Ponte. Two acts. mel, K. Glossy) give May 7 as the date of the
Writteii for E. Billington and J. Grassini (see first performance and so does Thayer. May 17 is
Kelly's Reminiscences, II, p.216). Winter used given by the reviewers in the Allgemeine Musi-
parts of the music from his 0rfer/est, 1796. kalische Zeitung and other journals.
Revived London 20 July 18 I 5; Paris 7 Decem- C. F. Becker, one of the first compilers of a
ber 1816. kind of referenee-book for musical dates (1849)
In German (translated by J. Schlett), Munich has 18 May, and he usually is just one or two
15 January 1808. days wrong.

579 580
 ANNALS OF OPERA

G AV EA U X: Un Quart-d' Heure In ltalian also, Barcelona 25 August 1807;

de Silence Amsterdam 1808; Dresden 1810; Munich Sum-
mer 1816; London 25 May 1820 (privately per-
9 ]I/Ile. Paris, O.c.
formed at the Dutch Ambassador's as 11 Monte di
Text by Guil1et. One act. San Bcmardo, in concert form); Madrid I I Jan-
In French also, BrusscIs 3 January 1805, etc. uary 1823.
In Spanish (translated by F. Enciso Castrill6n), In Polish (translated by A. Rutkowski), War-
Madrid 30 May 1806. saw 1810 (with additional music by ]. EIsner).
In Russian (translated by S. N. Glillka), Mos-
cow 31 December 1807; St. Petersburg 13 De-
cember 1824. LESUEUR: Ossian ouLes Bardes
In Polish (translated by K. Brodzinski), War- 10 ]uly. Paris, O.
saw 1817. Text by P. Dercy and]. M. Deschamps. Five aets.
For a German version of the text, sec 1805.
The ~rst ne,,: opera at the Acadc~
A Swedish version by C. G. Nordforss, with
de Muslque; ~thct-~_· 17. Napoolleeoonn.,
new music by]. B. Struwe, was given at Stock-
to whom the score is dedicated, attended the
holm 21 March 1810.
second perfonnance on 13 July; it was the first
opera he heard as Emperor; he had suggested the
GAVEA UX: Le Bouffe et Ie Tailleur subject himself (the German writer]. G. Sulzer,
21 jUlle. Paris, Th. Montansier in his Theorie der schönen Künste, 1771-74, was the
Text by P. Villiers and A. Gouffe. One act. first to recommend Ossian as a subject suitable
Given at the O.c. until 1836; revived 10 De- for operatic treatment).
cember 1895 at the Galerie Vivienne and 17 Parts of Lesueur's work were revived at the
March 1899 at the Th. 1. de la Renaissance. Paris Opera on 25 May 1916.
In French also, BrusscIs 7 January 1805 (fre- There were at least three parodies of Ossian
quently revived in Belgium until about 1890); produced at the minor Paris theatres in 1804:
StockholmJune 1813; Berne 6 March 1819; Ber- Bombarde, ou Les Marchands de Chansons, by Alexis
lin, Kgst. 25 May 1825; Vienna 9 August 1826; Daudet, J. Servieres and F. P. A. Leger, Th. Mo-
New York 20 Al!Igust 1827; London, St. J.'s 22 liere, 19 July 1804; Ossian Cadet, ou Les Guim-
January 1849. bardes by E. Mercier-Dupaty, A. de Chazet, and
In Russian (translated by P. A. Vyazemsky), C. F. Moreau, Vaudeville Th. 30 July 1804; Oh!
St. Petersburg 24 September 1813. Given at Mos- que c'est sciant, ou Oxessian, by F. Cornu and
cow on 22 October 1808 in French, 10 May 1816 M. A. M. Desaugiers, Th. Montansier 3 Septem-
in Russian, and 22 January 1820 in German. ber 1804.
In Swedish, Stockholm 24 November 1813.
In Polish (translated by A. Zolkowski), War- PORTUGAL: L'Oro non compra Amore*
saw 1816.
Autumn. Lisbon, S.c.
A Dutch version by ]. de Quack and B. A.
Fallee was published in 1812. Text by G. Caravita (founded on Bertati's Villa-
For a German opera on the same subject, see nella rapita, see 1783). Two acts.
In Italian also, Milan, Sc. 5 November 1808,
1814·
etc. Rio de Janeiro 17 December 18n (revived
MA YR: Elisa 22 August 1817); Paris 23 December 1815;
5]uly. Venice, S. Ben. Munich 14 November 1817; revived at Lisbon
Text by G. Rossi (founded on Saint-Cyr's 31 January 18 2 5.
French libretto, see 1794). Two acts. In Spanish, Madrid 18 June 1819.

581 5 82
 ANNALS OF OPERA

P AER: Leonora ossia L' Amore In Spanish (translated by F. Enciso Castrill6n),

coniugale* Madrid 4 November 1805.
3 Oetober. Dresden The printed score contains an Italian translation
by G. L. Balochi.
Text probably by the Dresden singer, G. Cinti
(Italian version of Bouilly' s French libretto, see
1798). Two acts. r805
On the debated question whether Beethoven
knew Paer's opera before writing Fidelio, see T.
B. A. WEBER: Die Wette
Frirnrnel, Beethoven-Handbueh, TI, pp. 3-6, and 21 January. Berlin, O.

Winton Dean in the Beethoven Companion. Text, a German version of Guillet's French lib-
In Italian also given at Prague 1805; Vienna retto Un Quart-d'Heure de Silenee (see 10804). One
March 1806 (privately at Prince Lobkowitz's; act.
see Journal des Luxus und der Moden, 1806, p.287 Given at Hamburg 17 June 1808 as Nur ein
and P.440); Fontaineble~u 8 November 1809; Viertelstündchen geschwiegen; Munich 1812; in
Florence, P. Spring 1812; Naples, T. Fondo Sum- German also, Prague 8 April 1815.
mer 1816.
In German (translated by F. Rochlitz, as Leo- WINTER: Zaira
nore oder Spaniens Gefängnisse bei Sevilla); Vienna 29 January. Landon, Hm.
8 February 1809; Stuttgart 19 November 1809; Librettist unknown. (Perhaps the text was written
Frankfort 4 June 1810; Berlin n July 1810; by Filippo Pananti, who at that time was "poeta
Munich 1813, etc. Revived Dresden 14 March in titolo, un piccolo Metastasio" at the King's
1821 (seven years after the fmal version of Fidelio). theatre; see his letter of 7 February 1806, pub-
GNECCO: Filandro e Carolina lished in Giornale Storieo della Letteratura Italiana,
1892. Zaira rnight have been his work, as the
Oetober. Rome, Valle
librettos of all other operas produced in London
Text by the composer. One act.
between 1805-{)7 are accounted for. But accord-
Successful in Italy. Given with alterations,
ing to Lipowsky the text was by Da Ponte,
Genoa February 1810 (as Clementina e Roberto),
founded on Voltaire's tragedy.) Two acts.
and revived there Spring 1825.
The most important of Winter's London
In Italian also, Fiume Auturnn 1805 (enlarged
operas (overture taken from Maria von Montal-
to 2 acts); Dresden 1806 (as Filandro e A/fonsina);
ban, 1800). Revived there 17 February 1816.
Barcelona 6 September 1806; Lisbon Spring
In German, Munich 27 May 1816; Berlin 19
1807; Madrid 26 August 1808; Nice Carnival
October 1816.
18n; Trieste Spring 18II; Paris II Octoberr817.
Zaira was also to be performed in Paris on
SPONTINI: Milton* 5 March 1812, but withdrawn.
27 November. Paris, O.C.
Textby V. J. Etienne de Jouy and M. Dieulafoy WEIGL: Die Uniform
(fait historique). One act. 15 February. Vienna, Kä.
In French also, Brussels I April 1805; Hague Text by G. F. Treitschke (translated from an
1805· Italian libretto by G. Carpani). Two acts.
In German (translated by G. F. Treitschke), Stated to have been previously produced at
Vienna 24 September 1805; Berlin 24 March Schänbrur.n, in Italian, the Empress Maria The-
1806, etc. Revived Aachen 20 November 1829; resa singing the part of "Pauline" . It was not
Weimar 13 October 1834; Vienna 17 February possible to establish the date of that performance.
1 8 39. The autograph score at Vienna, however, is dated
1805 ANNALS OF OPERA 1805

1800. The opera was for some years very suc- HOFFMAN: Die lustigen Musikanten
cessful in Germany; Frankfort 16 September 6 April. Warsaw
1805; Berl.4I 9 December 1805; Hamburg 19 Au-
Text by C. Brentano. Two acts.
gust 1806; Hanover 1810, etc. In German also,
Given at Warsaw (which then was part of
Budapest 14 March 1808; Prague 1808.
Prussia, and where E. T. A. Hoffmann worked
In the originalItalian, Dresden January 1806
as an assistant judge) bya German company (see
(revised by Paer); Milan 2 April 1809 (revived
Zeitung für die elegante Welt, 1805, P.406). Score
Spring 1821); Turin, T. Carignano November
preserved at Paris Conservatoire. The opera was
1810.
revived at Hamburg 7 March 1924.
In Russian (translated by R. M. Zotov), St.
Petersburg 18 April 1817.
P. C. GUGLIELMI: La SceZta dello Sposo
ISOU ARD: L'Intrigue aux Fenetres 24 April. Venice, S. Moise
26 February. Paris,O.c. Text by L.Buonavoglia. One act.
Text by J. N. Bouilly and E. Mercier-Dupaty. Given at Rome, Ap. 28 December 1805 in an
One act. enlarged 2-act version (as La Vedova contrastata,
Given at the o.c. until 1827; Brussels 24June text altered by F. Tarducci). Milan, Sc. 6 Decem-
18 0 5. ber 1807, etc. Revived Palermo 1821 as I CO/l-
In German (translated by G. F. Treitschke), cOTTenti alle Nozze; Venice Carnival 1836 as I tre
Frankfort 16 September 1805; Vienna 17 January Pretendenti delusi.
1806; (translated by Haug) Stuttgart May 1806; Outside Italy, produced at Lisbon Spring 1806
(translated by K. Reinhard) Munich 1806; (as La Contessina contrastata) ; Barcelona 22 August
(Treitschke's translation again) Berlin 16 April 1806 (revived 5 October 1820); Amsterdam 1808;
1807 (with additions by F. L. Seidel and B. A. Dresden 13 September 1808; Paris 21 April 1810
Weber), etc. Last revived Hamburg 7 September (as La Vedova capricciosa); Vienna 24 September
1832· 1812 (under the original title) and 29 March 1817
In Spanish (translated by F. Enciso Castrill6n). (asLa Vedova contrastata) ; MunichJuly 1816; Her-
Madrid 14 October 1805. mannstadt and Kronstadt Summer 1821; Odessa
In Russian (translated by A. V. Luknitsky), October 1821; Stuttgart Autumn 1826.
St. Petersburg 7 June 1807. In German (translated by C. W. Haeser),
In Polish (translated by L. Osulski), Warsaw Prague 1808.
1807· In Spanish (translated by F. Enciso Castrill6n),
In Swedish (translated by C. G. Nordforss), Madrid 18 August 1817.
Stockholm 23 November 1807· According to Piovano, produced in London
In Danish (translatedby N. T.Bruun), Copen- 1829, a statement which I was unable to verify.
hagen I October 1813.
Dutch translation by C. A. van Raij published
ISOUARD: Le Dejeuner de Garfons
1812.
24 April. Paris, O.c.
SPONTINI: JuZie Oll Le Pot de FZeurs* Text by A. F. Creuze de Lesser. One act.
12 March. Paris, O.c. In French also, Brussels 19 November 1806.
Text by A. G. Jars. One act. In Danish (translated by N. T. Druun), Co-
In French also, Drussels 15 August 1805· penhagen 6 November 1809.
In German (trallSlated by G. F. Treitschke), In German (trallSlated by C. A. Herklots),
Vienna 24 September 1806; Berlin 5 December Berlin 25 June 18 I 3.
1808, ete. Revived Magdeburg 26 June 1825. In Russian (translated by I. 1. Valberkh), St.

585 586
 1805 ANNALS OF OPERA 1805

Petersburg 21 November 1814 and Moscow 14 25 May 1806 (in concert form); Amsterdam 14
December 1815. June 1815 (parts only).
In German, Frankfort 15 March 1808; Munich
GARCIA: EI Poeta Calculista 8 Fcbruary 1814; Presshurg January IS16 (as
28 April. Madrid Massinissa, translation G. Reinbeck); Hamburg
Text by the composer; monodrama (Tonadilla) 20 Deccmber 1816; Budapest 21 September 1818
which the famous singer wrote for himself. One (Reinbeck's translation).
act.
Produced at the Teatro de los Caiios del Peral. WEIGL: Vestas Feuer
In Spanish also, Paris 15 March 1809. 10 August. Vienna, W.
(See J. Tiersot in The Musical Quarterly, Vol. Text by E. Schikaneder (his last libretto). Two
XIII, 1927.) acts.
Also given at Frankfort Spring 1807; Budapest
BOIELDIEU: La jeune Femme Colere IOJuly 1809; Würzburg 15 September 1809, etc.
30 April. St. Petersburg This rather unimportant opera (see the review
Text by Claparede (a singer of the French opera in A.M.Z., Vol. VII, P.767, and the description in
company at St. Petersburg), founded on a comedy E. Komorzynski's Schikaneder) is of so me interest
by Etienne. One act. because Schikaneder originally wrote the libretto
The first successful work ofBoieldieu's Russian for Beethoven. A fragment of his setting (SI
period. First produced at the Ermitage; publicly pages; MS. in the library of the Gesellschaft der
6May 1805. Musikfreunde, Vienna) was identified by R. Bi-
In French also, Brusse!s 22 December 1805; berhofer in 1930. Both Beethoven's fragment and
Moscow 27 October 1808; Beme 29 May 1809; Weigl's autograph score were on view at the
Rouen 3 January I 8II; Paris, O.C. 12 October Vienna Haydn Exhibition, 1932.When Schikane-
1812 (given there until 1840); Stockholm May der became aware that Beethoven was not inter-
1813· ested in the plan any longer, he gave the text to
In German (translated by J. Sonnleithner), Weigl, who was less fastidious about the quality
Vienna 8 March 1809; Berlin, Kgst. I I August oflibrettos.
1828, etc.
In Swedish (translated by C. G. Nordforss), GNECCO: La Prova dJuna Opera seria
Stockholm 21 March 1808 (music arranged by 16 August. Milan, Sc.
J. B. Struwe); Malmä 7 February 1810. ...
Text by the composer. Two acts.
In Russian (translated by R. M. Zotov), St. According to G. Pavan, an enlarged version of
Petersburg I November 1821.
a one-act farsa, called La prima Prova delI' Opera
In Danish (translated by I. Nielsen), Copen-
Cli Orazi ed i Curiazi, text by G. Artusi, and first
hagen as late as 17 September 1863.
produced at Venice, S. G. Gr. 8 July 1803. One
of the most successful Italian comic operas of that
PAER: Sofonisba time, Given at Naples, T.N. 1807 as L'Apertura
19 May. Bologna, T. der Corso dcl Nuovo Teatro (reduced to one act). In Italy
Text by D. Rossetti (altered and reduced from an until about 1850.
earlier libretto by G. F. Zanetti, set to music by In Italian also, Barcelona 29 May 1806; Lisbon
Jommelii in 1746). Two acts. Summer 1806; Paris 4 September 1806 (revived
Written for the inauguration of the Teatro del 27 November 1810 and 28 October 1831); Brus-
Corso. In Italy given until 1820. sels 4 April 1810; Dresden 1815; Munich 22 July
In Italian also, Dresden 15 March 1806; Vienna 1818; London 23 June 1831 (frequently revived

588
 I80S ANNALS OF OPERA 180S
there until I S]ulle 1860); Berlin, Kgst. 14 August BEETHOVEN: Fidelio oder Die
1841; Dublill 2 September 1841; Copenhagen eheliche Liebe*
Camival 1843; Oran, Aigeria Spring 1843; Kla-
genfurt Autumn 184S; St. Petersburg 1846; 20 NOFember. Vienna, W.
Stockholm 1849 (Swedish translation in libretto Text: a German version, by J. Sonnleithner, of
by N. E. W. af Wetterstedt). Bouilly' s French libretto, Leollore ou L' Amour COI1-
In German, Breslau 1832; Vienna 12 October jugal (see 1798; see also Paer's Leo/lora, 1804).
18 39. Originally in three acts. In 1806 the opera was
altered and redueed to two aets by S. von Breu-
ning. In 1814 it was given its final form by G. F.
DALA YRAC: Gulistan Oll Le Hulla
Treitschke (2 acts).
de Samarcande
There were not more than three performances
30 Septelllber. Paris, O.c. in 180S. In its second version, Fidelio was pro-
Text by C. G. Etienne and A. E. X. Poisson de duced at the same theatre 29 March 1806; this
Lachabeaussicre. Three acts. time, there were only two performances. The
The most important ofDalayrac's later works. final version was given at the Kä. on 23 May 1814
At the O.c. givcn until 1829 and rcvivcd 10 Au- (C.Sso times to date).
gust 1844 (rc-scored by Adam). Revived at Beau- As to the four overtures of the opera: the so-
vais February 1930. called Leollore nO.2 was played at the first produc-
In French also, Brussels I I April 1806; Berne tion in I 80S; the Leonore nO.3 in 1806; the Fidelio
SJuly 1809; Moscow 8 February 1812; New York overture (in E major) in 1814 (for the first time
I August 1827 (according to J. Mattfeld; Odell 26 May; on 23 May the Prometheus or the Ruinen
does not rccord the performance). VOll Athw overture had been substituted). The
In German, Vienna 2 August 1806 (with addi- Leollore nO.l overture was written for a perfor-
tional music by 1. von Seyfried); Frankfort 3 I mance at Prague in May 1807; which did not
August 1806; Prague Summer 1807; Budapest take place.
8 June 1807; Munich 1808; Berlin, Kgst. 20 First produced at Prague, under Weber's direc-
March 1830. tion 27 November 1814 (according to Weber's
In Spanish, Madrid 23 October 1810. stage-diary; Thayer gives the date of21 Novem-
In Polish (translated by L. A. Dmuszewski), ber; Teuber 26 November); Leipzig IS February
Warsaw 1812; Wilna 2 October 1827. 181S and Dresden 12 April 181S (in the 180S ver-
sion) ; Bcrlin I I Octo ber 18 I S (68 S performances
until 1937); Graz S February 1816; Carlsruhe 10
P. C. GUGLIELMI: Amor tutto vince
March 1816; Budapest 6 May 1816; Hamburg
Autuntll. Naples, Fior. 22 May 1816; Cassel3 June 1816; Breslau 12 July
Text by G. Palomba (founded on Dupaty's 1816; Weimar 4 September 1816; Brünn 24 Feb-
D'Auberge en Auberge, sec 1800). Two acts. ruary 1817; Stuttgart 20 July 1817; Danzig 13
Very succcssful in Italy; given at Florence September 1818; Elbing 6 May 1819; Königsberg
Spring 1807 as Di una Locanda all , altra; Pavia December 1819; Munich I July 1821, etc.; most
Carnival 1814 as 11 Papirio; other alternative titles German stages produced the opera in the 'thirties.
were DOll Papirio and La DO/lna di piu Caratteri. In German also produced at Riga 22 June 1818 ;
In Italian also produced at Munich 29 June St. Petersburg Spring 1819; Amsterdam 13 No-
1817; Berne 12 July 1820. vember 1824; Paris, Th. 1. 30 May 1829; Stras-
Revived (in 3 acts) Florence, T. degli Arris- bourg 6 May 1832; London, Hm. 18 May 1832;
chiati 30 March 1872 and Rome, T. Rossini 12 ZurichJanuary 1834 (in concert form); BasIc 27
January 187S. February 1837; Liege 28 May 1838; Mitau (Lat-

L S9 0
1805 ANNALS OF OPERA 1805
via) 24 June 1839 (under Richard Wagner); Hcl- BUDAPEST 28 December 1839 (in Hungarian,
sinki 22 June 1841; Moscow Autumn 1842; Mar- translated by K. Lengey); in German earlier,
seilles July 1844; Brusscls 5 August 1844; New see ahove.
York 29 May 1856; Boston I April 1857; Stock- HELSINKI 22 June 1841 (in German) and 13 Octo-
holm 31 May 1863; Barcelona I I January 1921. ber 1876 (in Finnish).
The 1805 version, reconstructed by E. Prieger MOSCOW Autumn 1842 (in German) and 14 April
(published 1905) was revived at Breslau I March 188o at the Imperial College of Music (in Rus-
1886 (in concert form); Berlin 20 November sian, translated by O. A. Lepko).
1905 (on the stage, under Richard Strauss). At MARSEILLES July 1844 (in German) and 13 January
Trier (Trcves) on 8 October 1912, Fidclio was 1854 (in French).
produced with German recitatives by J. Doebber. BRUSSELS 5 August 1844 (in German); I Decem-

PARIS, TH. 1. 30 May 1829 (in German) ; Conser- ber 1847 (for the first time in French, translated
vatoire 22 June 1845 (in concert form); Th. I. by F. H.]. Castil-Blaze); I I March 1889 (new
31 January 1852 (in Itali,m, the London ver- French version by G. Antheunis, recitatives by
sion); Th. L. 5 May 186o (in French, translated Gevaert).
by J. Barbier and M. Carre); O.c. 30 Decem- DUBLIN 14 September 1854 (in Italian).
ber 1898 (in French, the Brussels 1889 version). ST. PETERSßURG Carnival 1863 (in Italian) and
The first French adaptation is the one con- 9 October 1905 (in Russian); in German much
tained in the full score pl1blished by Jacques earlier, see above.
Hippolyte Aristide Farrenc and intended PRAGUE 21 January 1870 (in Czech, translated by
for a production at the Odeon, Paris, prob- M.B.); in German much earlier, see above; in
ably in 1826, which did not take place. a new Czech version by V.]. Novotny, 2 De-
The names of the translators, etc. are not cember 1887.
known. "Paroies de MM. N ... and ... , CHRISTIANlA Spring 1876 (in Norwegian).
Arrangees pour la Scene Fran\=aise 'par MM. ]. EDINBURGH 25 November 1876 (in Italian).
T. et A. F." The last initials probably are those NEW ORLEANS I I December 1877 (in Italian).
of the publisher, Aristide Farrene. (Cf. the ROME, AP. 4 February 1886 (for the fmt time in
Introduction, p. xxiii); Opera, 13 January 1937. Italy and for four nights only); revived Turin
COPENHAGEN 17 September 1829 (in Danish, IO February 1927; Milan, Sc. 7 April 1927,
translated by C. N. Rosenkilde). etc.
STOCKHOLM 14 April 1832 (in Swedish, translated MEXICO 12 April 1891 (in English !).
by B. H. Crusell). MADRID November 1893 (in Italian, for the first
LONDON, HM. 18 May 1832 (in German); c.G. time in Spain); Barcelona II January 1921 (in
12 June 1835 (in English, translated by W. German).
McGregor Logan); H.M.'s 20 May 1851 (in ANTWERP 23 March 1895 (in Flemish).
Italian, translated by S. M. Maggioni, recita- ZAGREB 15 March 1898 (in Croatian, translated by
tives by Balfe); c.G. 27 May 1851 (in Italian, A. Harambasic).
under Costa); D.L. 20 Aprilr852 (in English, MONTE CARLO 5 April 1898 (in French).
translated by J. W. Mould); Ly. 2 November GENEVA 17 March 1899 (in French).
1876 (in English, translated by T. Oliphant). WARSAW 1919 (in Polish).
Rcvivcd Sadlcr's Wells 3 November 1937 (new RIGA 12 May 1925 (in Lettish, translated by E.
English version by E. ]. Dem). Virza); in German much earlicr, sec above.
NEW YORK 9 September 1839 (in English); 29 De- LJUBLJANA IO May 1927 (in Siovenian, translated
cember 1856 (in German); IO March 1882 (in by F. Buear).
Italian). ßUENOS AIRES 17 June 1927 (in Italian).
PHILADELPHIA 21 October 1839 (in English). ßUCHAREST October 193 I (in Rumanian).

591 59 2
180s-06 ANNALS OF OPERA 1806

TUCZEK: Lanassa BIEREY: Rosette, das Schweizer

13 Deeember. Budapest Hirtenmädchen
Text by the composer (founded on K. M. Plü- 3 February. Leipzig
rnicke's German version of Lemierre's tragedy, Text by c. F. Bretzner. Two acts.
La Veuve de Malabar). Three acts. Bierey's most successful work: Hamburg 4July
Tuczek's most successful German opera. Re- 1806 (as Drei Freier um eine Braut); Hanover S
vived Budapest IS February 1813. June 1809; Berlin 22 July 1812; Budapest 4 May
Also givenat Vienna, Leop. 4July 1810; Würz- 1818, etc. Last revived Weimar 6 December 1828.
burg 27 March I8IS.
GAVEA UX: M. des Chalumeaux ou
La Soiree de Carnaval
1806 17 February. Paris,O.c.
Text by A. F. Creuze de Lesser. Three acts.
CORRI: The Travellers; or, In French also, Brussels 29 May 1806; Berne
Music's Fascination 31 May 1809; Moscow 14 May 1810.
m Swedish, Stockholm 27 June 1808; Gothen-
22January. London, D.L. burg 19 May 181S.
Text by A. Cherry (All operatie drama). Five acts. In Dutch, Amsterdam 1808.
Corri' s most successful work; libretto reprinted In German, Berlin 23 December 1814.
8 times in 1806. Revived Paris, O.c. 26 January 1843; Galerie
Philadelphia 26 December 1808 (American Vivienne 26 February 1897.
adaptation by J. N. Barker).
Revived London, D.L. 13 May 1823 and 25 CHERUBINI: Faniska
April 1836.
25 February. Vienna, Kä.
"An opera on a novel plan ... the music of
which professed to describe the styles of the four Text by J. Sonnleithner. Three acts.
quarters of the world" (Parke, H, P.5). Cherubini's only German Singspiel. The Iiblet-
to appears to have originally been written in
Italian, by an unknown author, based upon R. C.
MEHUL: Les deux Aveugles de TolMe G. de Pixcrecourt's French melodramaLes Mines
de Pologne (1803).
28 January. Paris, O.c.
Cherubini (who knew no German) seems to
Text by B. J. Marsollier. One act. have composed the music to the Italian words
In French also, Brussels I December 1806; (which are to be found in the published score)
Stockholm May 1813. and Sonnleithner's German adaptation was writ-
In German, Vienna 31 October 1806; Weimar ten afterwards.
23 September 1809; Munich 1810; Berlin 10 No- Faniska was, in German, also given at Breslau
vember 1812. Last revived, Frankfort 10 Novem- 16July 1806; Hamburg 14 October 1806; Munich
ber 1850. October 1806; Berlin 2 February 1807; Budapest
In Russian (translated by A. V. Luknitsky), 23 February 1807; Prague 3 May 1807 (at the
Moscow 26 November 1807; St. Petersburg 24 inauguration of the first regular German opera-
January 1808. house there); Amsterdam 1809; St. Petersburg
In Spanish, Madrid 24 November 1810. 1815·
In Swedish (transbted by J. H. Callou de Last revived in Germany: Frankfort 8 Septem-
Villeneuve), Stockholm 28 October 1833. ber 1860.

593 S94
1806 ANNALS OF OPERA 1806

In Russian (translated by A. I. Sheller), St. Revived Munich 30 Mal' 1875 and (new trans-
Petersburg 7 December 1815; Moscow 4 June lation by o. Dcvrient), Carlsruhe 18 October
181 7. 1891; Munieh 31 Oetober 1894; Elberfeld 8 April
In Dutch, Amsterdam 1834 or earlier. 1900; Dessau 15 April 1904 and 10 April 1906.
The work was never produced either in France In Danish (translated bl' C. Borgaard), Co-
or in Italy. penhagen 7 July 1846.

HIMMEL: Die Sylphen DUPUY: Ungdom og Galskab eller

14 April. Berlin, O. List over List
Text by 1. Robert (the brother of Rahe! Vam- (Youth and Folly, or Trick upon Trick)
hagen), based on Gozzi's comedy La Donna Ser- 19 May. Copenhagcn
pente; the same comedy on which the text of Text by N. T. Bruun (translation from Bouilly's
Wagner's Die Feen (see 1888) is founded; see also Une Folie, see 1802). Two acts.
Casella's opera (1932). Three acts. The most successful Danish opera of that
Himmel's opera was revived in concert form period; given at Copenhagen 170 times until
at Frankfort 25 April 1863 (by the "Operngesang- 1880 and revived 26 December 19IO. The 200th
verein"). performance was on 5 March 1911.
In Swedish (translated by C. G. Nordforss),
BLANGINI: Nephtali ouLes Ammonites Stockholm 31 Oetober 1814.
In German (as List und Liebe, translated by G.
15 April. Paris, O.
Hartmann), Kiel 23 October 1930.
Text by E. Aignan. Three acts.
Blangini's best work. Brusse!s 15 December
1808.
CLASING: Mischelli und sein Sohn
In German (trans la ted by J. von Seyfried, with 30 May. Hamburg
additional music by J. von Seyfried), Vienna, W. Text by A. Kirchner (a singer at the Hamburg
17 December 18I2 and Kä. 16 May 1816. opera). Three acts.
A German sequel to Cherubini' s Deux journecs.
Also given at Hanover 9 November 1806.
MEHUL: Uthal
17 May. Paris,O.C.
DALA YRAC: Deux Mots ou Une
Text by J. M. B. Bins de Saint-Victor (imite
d'Ossian). One act.
Nuit dans la Foret
One of Mehul's most important works. In or- 9 jUlle. Paris, O.c.
der to create a gloomy and ml'sterious effeet, Text by B. J. Marsollier. One act.
Mehul wrotc his score without violins. Dalal'rac' s last great success; given at Paris,
In French also gi yen at B russels 17 March 1807. O.C. until 1828 and revived there on 30 August
A parody bl' J. M. Pain and P. A. Vieillard, 1862.
called Brutal, ou 11 vaut l11iellX tard que ja/Hais was In French also, Brussels 7 Deeember 1806; Mos-
produced at the Th. du Vaudeville, Paris 31 May cow IO Dccember 1810.
1806. In German (translated bl' C. A. Herklots),
The opera was particularly successful in Ger- Bcrlin 16 April 1807; Pragllc Summer 1807;
many: Stuttgart 30 November 1806 (translated Vienna, W. 9 Jull' 1807 (revivcd 12 Mal' 1823);
by F. K. Hiemcr); Berlin 3 October 1808 (trans- Munich 1807; St. Petersburg 18 August 18II;
bted by C. A. Hcrklots); Vienna 15 January Hamburg 30 October 18II; Budapest 6 August
1810; Prague 19 Oetober 1813, etc. 1815; Basle 16 Oetober 1835. Revived in Ger-

595
1806 ANNALS OF OPERA 1806

man: Prague February 1861; Königsberg 26 De- In Swedish (translated by C. G. Nordforss),

cember 1873. Stockholm 7 September r812.
In Polish (translated by W. Pekalski), Warsaw In Russian (translated by D. N. Barkov), St.
1808. Petersburg r May 1820.
In Russian (translated by I. I. Valberkh), St. In Danish (translated by T. Overskou), Co-
Petersburg 4 December 1809; Moscow 23 Feb- penhagen 3r May 1825.
ruary 1812.
In Czech (translated by J. N. Stepanek), GYROWETZ: Agnes Sorel
Prague 1815.
In Swedish (translated by C. G. Nordforss), 4 December. Vienna, Kä.
Stockholm 14 March 18r6. Text by J. Sonnleithner. Three acts.
In Danish (translated by N. T. Bruun), Co- Gyrowetz's first great Sllccess: Hamburg 14
penhagen r9 December r8r8. August r 807; Prague 6 February r 808; BerIin 15
In Hungarian (translated by F. S. Deaky), October 1809 (rcvived Kgst. I March 1834);
Clausenburg 8 March r823; Budapest r8 January Munich 18rr, etc.
1828. In German also, Blldapest 29 April 1812; St.
In English, Philadelphia r8 May r839 (as Two Petersburg January r8r4; Strasbourg 26 Septem-
Words, or A Night on the Forest; probably Dalay- ber 18r8; Berne r2 February 1823; Bucharest
rac's opera).
26January 1834.
A Dutch version by G. A. Engelman and C. In Polish (translated by J. Pawlowski), War-
van der Vijver was published in r806. saw r8r6.
An Italian translation by G. Bonfio was pub- In Danish (translated by N. T. Bruun), Co-
lished in r807. penhagen r6 May 1817.
In Hungarian (translated by F. S. Ddky) ,
MEHUL: Gabrielle dJEstrees Oll Clausenburg 27 April 1820; Budapest 23 January
1828.
Les Amours dJHenri IV
Agnes Sore! was given as festival opera for the
25 June. Paris, O.c. Vienna Congress on 4 March r81S, at a theatre
Text by C. Godard d' Aucour de Saint-Just. Three specially erected in the Augarten (Gyrowetz con-
acts. ducting).
In French also, Brussels 26 December r806;
Moscow r6 January r8r2.
In German (translated by G. F. Treitschke),
DALAYRAC: KoulouJ, Oll

Vienna, W. r5 June r807 (additions by I. von Les Chinois

Seyfried); revived Frankfort r January r822. 18 December. Paris,O.c.
In Polish (translated by W. Pekalski), Warsaw
Text by R. C. G. de Pixerecourt. Three acts.
1809.
In French also, Brussels 9 February 1808.
In German (translated by G. F. Treitschke),
BERTON: Les Maris Gar~ons Vienna 20 August 1808.
15 July. Paris, O.c. In Swedish (translated by C. G. Nordforss),
Text by C. Gaugiran-Nanteuil. One act. Stockholm 13 November r809.
Given in Paris until 1828; in French also, Brus- In Polish (translated by 1. A. Dmllszewski),
sels 3 October 1806; Berne 1807; Moscow 15 Oc- Warsaw 18r3.
tober 1808. A Danish version by N. T. Bruun was publish-
In Polish, Warsaw 1909. edin 1820.

S97
1806-07 ANNALS OF OPERA

M A Y R: Adelasia e Aleramo In Italian also, Vienna 26 May 1810 (43 per-

26 December. Milan, Sc. formances); Munich Spring 1818.
Text by 1. Romanelli. Two acts. In German (translated by F. K. Hiemer), Stutt-
In Italy given ulltil 1820. gart 18 May 1812; Darmstadt 26 December 1812;
In Italian also, Vienna 23 June 1807; Trieste Budapest 23 September 1813; Lemberg 13 April
Spring 1808; Munich 9 June 1808; London 10 1825·
January 1815. MEHUL:Joseph*
In German (translated by C. A. Herklots),
17 February. Paris,O.C.
Budapest 24 October 1808; Berlin 3 August 18 I I.
(The largo of the introduction to this opera is Text by A. Duval (drame meJe de chanfs). Three acts.
taken from the Don Giovanni overture.) Mehul's chief work.
In French also, Brussels 6 January 1808; Ham-
BOIELDIEU: Telemaque burg 29 March 1809; Beme9June 1809; Amster-
dam 1830, etc.
28 December. St. Petersburg
In German:
Text by P. Dercy (first set to music as TlIemaque
MUNICH 6 January 1809 (translated by M. G.
dans I'Isle de Calypso by Lesueur in 1796). Three Lambrecht).
acts.
VIENNA, w. 5 December 1809 (Kä. 14June 1815).
First performed at the Ermitage; three days
BUDAPEST 6 August 1810 (translated by F. J.
later publicly.
Hassaureck).
Translated into Russian by A. 1. Sheller, it was
BERLIN 22 November 18rr (translated by C. A.
given at St. Petersburg on rr September 1815. Herklots).
In German (translated by F. K. Hiemer),
BERNE 24 February 1812.
Stuttgart 23 October 1814.
PRAGUE 26 September 1813.
In Polish, Warsaw 24 August 1828.
ST. PETERSBURG 1815 and Moscow 5 August 1820.
Never given in Paris; Boieldieu introduced
DRESDEN 30 January 1817 (Weber's debut as con-
parts ofthe music iuto hisJean de Paris (see 1812).
ductor there; with a finale by F. Fränzl).
AMSTERDAM 4 September 1824 (Dutch translation
by M. G. Engelman published in 1808 already).
180 7
HELSINKI 19 November 1830.
P. c. GUGLIELMI: Guerra aperta BUCHAREST c.January 1834.
WINTERTHUR November 1840 (in concert form).
ossia Astuzia contro Astuzia
LONDON, D.L. 7 April 1841 (in concert form).
January. Rome, Valle
In Russian (translated by Brant), Moscow 20
Text by B. Mezzanotte (from a French comedy
January 1812; St. Petersburg 24 September 1813.
by A. J. Dumaniant). Two acts. In Polish (translated by W. Boguslawski),
Given in Italy until 1830. Warsaw 1812.
In Italian also, London 12 November 1809 (as In Danish (translated by N. T. Bruun), Co-
La Scomessa, text altered by S. Buonaiuti); Dres- penhagen 10 October 1816; Christiania Autumn
den 13 January I8IO; Mal~a 1812; Vienna 22
1829.
March 1817; Corfu Auturnn 1825. In Hungarian (translated by A. Lang), Clau-
senburg 23 December 1822; Budapest 7 Novem-
NICCOLINI: Traiano in Dada ber 1827.
3 February. Rome, Arg. In Italian (translated by F. S. Kandler), Milan
Text by M. A. Prunetti. Two acts. 30 March 1823 (privately performed as an ora-
Very successful in Italy. torio at Marchese Castelbarco's).

599 600
 ANNALS OF OPERA

In Czech (translated by J. K. Chmelensky), GYROWETZ: Ida, die Büssende

Prague 17 November 1824; Bmo 6 January 1839.
26 February. Vienna, W.
In English (translated by J. Webb), Birming-
harn 4 October 1826 (concert performance). Text by F. 1. von Holbein. Four acts.
In Flemish, Ghent 6 December 1841. (Flemish Hamburg 19 January 1808; Berlin 2 March
1808, etc.
translation by J. Dubuisson published 1874).
Revivals: In German also, Budapest 28 November 1808;
Prague 12 September 1819.
Paris: at the O.C. the opera was revived on
In Polish (translated by B. Kudlicz), Warsaw
II September 18S1, 18 August 1866, sJune 1882
18II (with additional music by J. Eisner).
and 24 November 1910; Th.L. 21 January 1862;
O. 26 May 1899 (recitatives by Bourgault-Du-
coudray). ISOUARD: Les Rendez-vous bourgeois
Windsor Castle 1 January 18S6 (concert per- 9 May. Paris, O.c.
formance; English version by W. Bartholomew,
Text by F. B. Hoffman. One act.
recitatives by W. G. Cusins).
Very successful in Paris; last revived at the
Stockholm IS October 18S6 (in Swedish, trans-
O.c. on 26 February 189S, 18 November 1915
lated by C. G. Nordforss and C. F. A. Holm-
and 14 October 1933.
ström; production planned and libretto printed
In French also, Brussels 9 August 1807; Beme
in 1817 already).
19 June 1809; Brunswiek 1810; Moscow 1 De-
New York May 18S7 (in German). cember 1810; Vienna 18 August 1826; NewYork
Orange 21 August 1869 (in French; open air 2sJuly 1827; Berlin 7 June 1828; London, St.J.'s
performance). 20 June 1836; Turin April 18S8; Barcelona 20
Prague 1 February 1892 (in Czech, new trans- November 1869.
lation by V. J. Novotny). In German (as Alle jürchtCll sich, translated by
In Croatian (translated by A. Harambasit), 1. F. Castelli), Vienna, W. 30 March 1808; (as
Zagreb 8 April 1899. Das Krähwinkler Rel1drz-votls, translated by H. G.
In German, Vienna 17 August 1908 (recitatives Schmieder) St. Petersburg 1810; (as Die HasCl/ in
by F. von Weingartner); Dessau 21 February der Hasellhride, translated by L. Angely) Berlin,
1909; Berlin 27 March 1909, etc. (recitatives by Kgst. S Mareh 1827 (this version was popular for
M. Zenger); Tsingtao May 1909; BasIc 21 April many years; revived Vienna, Ca. 21 April 1861);
1912. (as Das Lal/dhaus am Walde oder Eil/er fiirchtct sich
In Italian, Milan, Sc. 23 February 1899 (first vor dCIII AI/dererl, translated by H. Zunz) Stuttgart
and only stage production in Italy; new trans- c.Fcbruary 1828; (as Das Stclldicllcill, transIated by
lation by A. Galli). K. Blum) Berlin, O. 3I October 1839 (revived
17 March 1889).
In Spanish, Barcelona, Novedades September
In Russian (transIated by Y. I, Lizogub), St.
1900 (for the first time in Spain).
Petersburg 4 June 1810; Moscow IS December
Dublin, Antient Concert Rooms, ::9 April 1908
181 7.
(concert performance in English, translated by
In Swedish (transbted by C. G. Nordforss),
G. Emerson Scott).
Stockholm 7 February 1814.
London, c.G. 3 February 1914 (in German; In Dutch (translated by M. G. Engelman),
first amI only stage production in England). Amsterclam 1818 and Hague 1820.
In Estonian, Tallinn 1919. In Polish (translated by L. Matuszynski), War-
A Serbian translation by J. Grbt was published saw 27 June 1821 (revived (,1860, with additional
in ,SX9. Illusic by MonilJszko).

601 602
 ANNALS OF OPERA

W E I G L: Kaiser Hadrian Hoffmann eondueting); MUtueh 1820; Vienna,

21 May. Vienna, Kä. W. 3 I Janllary r822; Blldapest 1823; Prague 28
Text by J. C. Mayer. Three aets. Oetober 1837. Last revived Berlin, Fr.W. 26 Feb-
Frankfort 15 April 1808; Stuttgart I I Deeem- ruary 1852.
ber 1808; Munieh 29 January 1809; Hamburg In Rllssian, St. Petersburg 6 May 1816.
13 July 1810, cte. In Polish (translated by J. Kruszynski), War-
saw 1817.
In German also, Budapest 21 August 1809.

WEIGL: Adrian von Ostade

G YROWET z: Die Junggesellen-
3 Oetober. Vienna, Kä.
Wirtschaft
18 June.Vienna, Kä. Text by G. F. Treitsehke. One aet.
Text by G. F. Treitsehke. Onc aet. Very sllcccssful on German stages: Stuttgart
Leipzig 1808; Stllttgart 8 May 1809, ete. In 26 December 1808; Hamburg I June 18ro; Ber-
German also, Budapest 18 November 181!. Still !in 7 October r812; Budapest 28 June 1813;
popular in Germany during the 1820'S. Prague 4June 1814, etc.; Basle 17 Febrllary 1843;
In Freneh (as Le Menage de Car(ol1) , Liege 26 last rcvived Hamburg 16 January 1878.
November I82!. In Russian (translated by A. I. Shellcr), St.
Petersbllrg 30 Oetober 1820.
C AV 0 S: Ilya Bogatir
MJIbH-BoraTbIpb R Ö S LER: Elisene, Prinzessin
(Ilya the Hero) von Bulgarien
22 September. St. Petersburg 18 Oetober. Prague
Text by I. A. Kruilov. Four aets.
Text by I. F. Castelli (founded on 1. C. Caignicz' s
One of the better works of the Russian com-
melodrama, La Foret d'HermmlStadt, 1805). Three
poser. Revived Moseow 7 August 1823. acts.
First original opera prodllced at the new Ger-
VAL. FIORAVANTI: I Virtuosi man opera-house, Praglle (see 1806). Vienna,
ambulanti Leop. ro March 1809; Mllnieh r6 April r809, ete.
Revivcd Prague 20 April r815 (in German) and
26 September. Paris, Th.I.
28 September r827 (in Czeeh, trans la ted by S. K.
Text by G. 1. Baloehi (translated from Pieard's
Machacek).
Les Comediens ambu[ans, see 1798). Two aets.
(See on this opera J. F. Reiehardt's Vertraute
This was the first important Italian opera writ-
Briefe, nO.41, 15 April 1809.)
ten expressly for the Paris Thcatre-Italien (then
called Thcatre de l'Imperatriee). One of Fiora-
vanti's most sueeessful works. PERS UIS and LES UE UR:
In the original Italian, also given at London 3I Le Triomphe de Trajan
May 1808 (as La Virtuosa in Puntiglio); Naples,
Fior. Spring r8I6; Dresden 15 April 1820; Flo- 230etober. Paris, O.
renee November 1821 (as I Soggetti di Teatro). Text by J. A. Esmenard. Three acts.
In German (translated by C. A. Herklots), Written and produeed in order to celebrate
Frankfort 16 February 1808; Berlin 30 August Napoleon's return from Prussia. Given in Paris
r808; Hamburg 13 Oetober I8r2, ete.; Leipzig II9 times until 1827 (looth performance 9 Oeto-
II February 1814 (by Sekonda's troupe; E. T. A. ber r814).

603 604
 ANNALS OF OPERA

BIEREY: Wladimir, Fürst In Spanish, Madrid 10 July 1817.

VOll Novgorod In Polish (translated by L. A. Dmuszewski),
Warsaw 21 February IS21.
25 November. Vielll1a, W.
In Swedish (translated by A. Lindeberg),
Text by M. Stegmayer. Three acts.
Stockholm 3 January 1823 (with a prologue by
Hamburg 7 November IS0S; Breslau H No-
Berwald).
vember I S88; Prague January I S09; Budapest 2S
In Hungarian, ßudapest 21 April 1840.
May ISIO, etc. Revived Vienna 3I August 1824.
In Danish (tr:mslated by N. T. Bruun), Co-
In Czech (translated by S. K. Machacek),
penhagen 18 September 1844.
Praguc 26 Oetober IS2S.
In Flemish (translated by E. Hiel), Antwerp
16 December 1909.
SPONTINI: La Vestale* Some of the btest revivals: in Italian, Milan
16 Dccelllher. Paris, O. 16 December 1908 and Paris 24 January 1909;
Text by V. J. Etienne de Jouy. Three acts. Buenos Aires 21 May 1910; Barcelona 30 No-
Spontini's chief work. The text had originally vember 1910 (Catalan version by J. Pena pub-
been written for Boicldieu and was subscquently lished on that occasion); New York, M. 13 No-
refused by Mehul. Given at the Paris Opera 213 vember 1925 (first time there); Florence 4 May
times until 1857; IOoth performance 7 June IS16, 1933· In French, Brussels 18 December 1924 and
208th performmce 4 January IS30, last revival 27 November 1936. In German (new translation
17 March I S54; givcn there once more 24 January by H. Schaelfer), Düsseldorf March 1937.
1989, in Italian, by the company of the Scala, An open-air performance took place at the
Milan (see below). Arenes, Beziers, on 26 August 1906 (in French).
A parady, called La Marchalldc des Modes, was
produced at the Th. du Vaudeville, Paris 13 Jan-
uary I SoS; in French also at Rudolstadt I SII. r808
In French also given at Antwerp 6 September
IS09; Brussels 15 March ISIO; St. Petcrsburg 7 5 UTOR: ApolloJs Wettgesang
November 1812; New Orleans 17 February lS2S; 27 March. Stuttgan
Philadelphia 30 October IS2S (by a French troupe
Text by F. K. Hiemer (founded on d'Hele's
from New Orleans).
French libretto, Le Jugel1lelll de Midas, see 1778).
In German (translated by J. von Seyfried), Three acts.
Vienna 12 November ISI0; (translated by C. A. Sutor' s best work, successful in Germany:
Herklots), Berlin IS January 18II (100th perfor- Hamburg 25 July I8u; Hanover 8 June r817;
mance 6 October IS39); Stuttgarq AugustI8II; Munich 14 July I8IS; Dresden 11 September
Munich 14 January 1812; Hamburg 29 March 1815. 1820, etc. In German also, Budapest 18 Septem-
In German also, Brülll1 19 August I SI I; Prague ber r826.
October ISII; Budapest 26 June IS12; St. Peters-
burg January ISI4; Amsterdam r829; London,
WEIGL: Il Rivale di se stesso
c.G. 9 June r842.
In Italian (translated by N. Perotti), Dresden 18 April. Milan, Sc.
18ro; (translated by G. Schmidt), Naples, S.c. Text by L. Romanelli (from a German play by
8 September 18II (revived 8 Scptcmber 1813 and F. J. W. Ziegler, 1790). Two acts.
Spring 1818), etc.; Milan 19 Deccmber 1824; Lon- In Italian also, Parma 17 February 1810; Paris
don, Hm. 2 Deccmber 1826; St. Petersburg I S29. 20 September r81O; Dresden r812; Vielll1a 29
In Russian (transbted by A. G. Volkov), St. October r812; Lisbon Spring 1820. Revived at
Petersburg 18 April ISI4; Moscow 9 October 1823. Milan, Sc. 18 April 1818.

605 606
1808 ANNALS OF OPERA 1808

BOIELDIEU: Les Voitures versees ber 1808; in French also Hamburg 14 December
1809; Cassel Spring 18n; Rudolstadt 18n.
26 April. St. Petersburg
In German (translated by c. A. Herklots),
Text by E. Mercier-Dupaty (originally given in Berlin 20 March 1809; Vienna, W. 26 November
Paris, as a vaudeville, in 1806). Two acts. 18n (additions by I. von Seyfried); Riga 1822;
The most successful work of Boieldieu's Rus- Graz 23 February 1827.
sian period.
In French also produced Moscow 29 October
1808 and, with some alterations, Paris, O.C. 29 ORLANDI: La Dama Soldato
April 1820 and Brussels 3 August 1820. 20 September. Milan, Sc.
Given in Paris until 1836 and revived at the Text by C. Mazzola (first set to music by Nau-
O.c. 7 May 1852; 27 April 1868; and once more mann, see 1791). Two acts.
5 April 1932. In Italy given until 1837.
In Russian (translated by R. M. Zotov), St.
In Italian also, Londen 13 May 1813; Lugano
Petersburg 21 September 1818 and Moscow 6
1815; Munich September 1816; Barcelona 3June
February 1823.
1817; Vienna, W. 24 March 1818.
In German (translated by G. Döring), Frank-
In German (as Die weibliche Schildwache, trans-
fort Autumn 1821; (translated byJ. Kupelwieser),
lated by J. B. Krebs), Stuttgart January 1824;
Prague Autumn 1821; Riga 1825; Vienna 6 Sep-
Würzburg 18 January 1827.
tember 1826; Budapest 26 May 1827; Berlin,
Kgst. 18 October 1827.
In Danish (translated by T. Overskou), Co- WEIGL: Das Waisenhaus
penhagen 12 March 1829. 4 Oetober. Vienna, Kä.
Revivals: Munich 5 May 1902 (by the Or-
Text by G. F. Treitschke (but see below). Two
chesterverein) ; Berlin 5 November 1913 (as Der
acts.
Satansweg, new translation by G. Droescher);
One of W eigl' s most popular works.
Breslau 25 December 1913 and Graz March
In German also given at Budapest 12 March
1918 (as Das Loch in der Landstrasse, another new
1809; Frankfort 26 March 1809; Hamburg 22
translation by E. Freund); Paris, O.c. 5 April
June 1809; Munich 28 July 1809; Berlin 24 No-
1932 (in French).
vember 1809; Amsterdam 1810 and 18u; Prague
1816; Dresden 4 June 1817, etc.
R. KREUTZER: Aristippe In Czech (translated by S. K. Machacek),
Prague 12 March 1826.
24 May. Paris, O.
There seems to be something dubious about
Text by P. F. Giraud andM. T. LecIercq (comedie- Treitschke's authorship. An opera on the same
lyrique). Two acts.
subject (text by F. Moll) had been composed ~y
Successful in Paris; at the Opera given until the Strasbourg conducter, Stanislaus Spindler, In
1830; 100th performance 5 June 1822; Brussels 1807 (produced Strasbourg 1 December 1807 and
7 January 1818. Carlsruhe 10 Oetober 1808, in German, and re-
vived Strasbourg 23 February 1825, in French).
ISOU ARD: Un Jour aParis Oll See Journal des Luxus und der Moden, 1808, p.801;
La Le~on singuliere see also A.M.Z., 1819, p.699, and Spohr's Selbst-
biographie (1860), Vol. I, p.243. A. Schmidt
24 May. Paris, O.C. (Denksteine, 1848, p.186) establishes Treitsehke's
Text by C. G. Etienne. Three acts. priority by the simple means of post-dating the
Given in Paris until 1826; Brussels 23 Novem- production of Spindler's opera by 10 years!

608
 ANNALS OF OPERA 1809

GENERALI: Le Lagrime di 5 August 1829; Paris, Th.1. 3 June r830; Helsinki

una Vedova 12 Oetober 1830; Lueerne 26 August 1831 (see
Mendelssohn's letter to E. Dcvrient); zurich 3
26 D(,{(,I1l!Jer. Vcniee, S. Mois<:
April 1832 (in coneert form); London,Hm.25July
Text by G. M. Foppa. One aet.
1832; Bueharest Autumn 1833; Philadelphia 5
Sueeessful in Italy; first givcn at the Scala,
May r840; Ncw York 17 Deeembcr 1845 (re-
Milan 2r April ISr7; in Italian also, Barcelona
vived 6 Februar)' 1874).
25 January rRr6; Munieh 26 August r816; Paris
In Italian (translated by A. Wagner), Dresden
20 April I8r9; Lisbon 4 September r820; Her-
Autumn lXII; Milan 2 November 18r6 (in
mannstadt and Kronstadt Summer r 821; Vienna
2 aets).
6 September 1824.
In German (as Witlvcntrauer, translated by J. C. In F!eneh (translated by C. A. Sewrin and
Grünbaum), Vicnna 12 February r824 (revived Alissan de Chazet), privately produeed at Saint-
7 August 1840). Cloud 27 Oetober 1812 (as La Vallee Sliisse; it
was the favourite opera of the Empress Marie-
Louise); publicly Liege 27 February 1813 and
NICCOLlNI: Coriolano Paris, Odeon 6 February 1827 (as EI1lI1le!ille Oll La
26 DccclII!>cr. Milan, Sc. Familie SlIisse, musie arranged by P. Cremont).
Text by L. RomaneIli. Two aets. In Danish (translated by H. H. Seh0nberg),
In Italian also givcn at Vienna ro September Copenhagen 23 September 1814.
1810 md Lisbon 15 June 18r8. In Polish (translated by W. Boguslawski),
Warsaw 1815; Wilna 22 November 1825.
In Russian (translated by N. I. Greeh), St. Pe-
I809 tersburg 22 Deeember 1814; Moseow 17 April
181 7.
BI S HO P: The Circassian Bride
In Swedish (translated by M. Alten), Stoek-
23 Febmary. London, D.L.
holm 27 Oetober 1815.
Text by C. Ward. Three aets.
In Hungarian (translated by I. Dery), Clausen-
Produecd the night before the fire of Drury
burg 9 Mareh 1822; Budapest 17 September
Laue; the score was burnt but Bishop re-wrote
182 7.
the opera from memory and published it.
In Czeeh (translated by S. K. Maehacek),
Prague 28 Deeember 1823 (apart from isolated
WEIGL: Die SchweizerJamilie attempts in the 18th eentury, first opera ever sung
14 March. Vienna, Kä. in that language).
Text by I. F. Castelli. Three aets. In London, an operatie drama Lilla (text by
Weigl's most [amous work; given on every J. R. Planche) was produeed at c.G. 21 Oetober
Germm stage during the 19th eentury and pop- 1825 whieh eontained parts of the Schweizc~ra­
ular in many other countries as well. milie musie; the whole opera was given (in
After Vienna first produeed at Prague Autumn English, as The Swiss Family; or, Home, Sweet
1809; Budapest 30 January 1810; in Germany Home) at the Surrey Th. 27 June 1828 (by a
first Dessau January 1810; Munieh 28 January 'Juvenile Opera Company") and at the Hm. 25
1810; Hamburg 16 February 1810; Berlin 21 No- July 1832 (by a German eompany).
vember 1810, ete. The latest revivals of the opera seem to have
In German also given at St. Petersburg August taken plaee at Königsberg on 9 February 1902
18II; Berne 19 February 1812; Amsterdam 30 (redueed to one aet, revised by G. Hartmann aud
June 1824; Copenhagen 13 January 1827; Brussels . P. Frommer) and Munieh 13 Oetober 1918.

610
 ANNALS OF OPERA

LESUEUR: La Mort dJAdam et 18 I 4 (with spoken dialogue, text revised by L.

son Apotheose Giannetti); Rome, Valle Spring 1813; Trieste
Spring 1813; Milan, Sc. 2 July 1814 and all over
21 March. Paris, O.
Italy where it was given until about 1850, simply
Text by N. F. GuiJlard (based on Klopstoek's
as Ag/lese. For an early appreeiation see C. Ger-
drama). Three aets. vasoni, Nuova Teoria di Musica (1812), p.212.
Lesueur's last performed opera; unsuceessful
In Italian also given at: Dresden 1812; Weimar
(16 performances).
30 January 1813; Munieh 18 August 1816; Bar-
celona 14 Oetober 1816; London 15 May 1817
W E Y SE: Sovedrikken (revived 27 June 1820 and 28 July 1832); Paris
(The Sleeping-Draught) 24 July 1819; Odessa September !821 and about
21 April. Copenhagen the same time at Moseow; Lisbon 17 Deeember
Text by A. G. Oehlensehläger (founded on a 1823; Vienna 17 February 1825; Santiago, Chile
German libretto by C. F. Bretzner). Two acts. 1830; Liverpool 1831, as Il Padre e la Figliaj
Very successful at Copenhagen; given 100 Dublin 17 Deeember 1831; Mexico January
times until 30 May 1874, since 6 October 1821 1832; Edinburgh 24 December 1832; Cagliari,
in an enlarged 4-act version, and revived 12 Sep- Sardinia September 1835; Ajaccio, Corsica Car-
tember 1914. nival 1840.
In German (translated by C. A. Herklots), Ber-
EULE: Der Unsichtbare lin 27 January 1815; Vienna, W. April 1820;
7 July. Hamburg Budapest 7 August 1820; Amsterdam I Decc'm-
Text by K. L. Costenoble. One aet. ber 1823.
Successful in Germany: Breslau 9 January In Russian (translated by I. N. Svichinsky),
1810; Stuttgart 26 January 1810, ete; Berlin 25 St. Petersburg 11 February 1822; Moscow 18
April 1822; Dresden 15 July 1823; Pr;lgue II Jan- July 1823·
uary 1828; Basle 29 November 1837; the latest In Danish (translated by N. T. Bruun), Co-
revivals were at Leipzig 17 January 1846; Berlin, penhagen I September 1823.
Fr.W. 6 February 1853; Dresden 11 July 1863; In Polish (as Aniela), Warsaw 24 July 1830.
Darmstadt 5 February 1869.
SPONTINI: Fernand Cortez Oll
WINTER: Colmal La Conquete du Mexique*
15 September. Munich
28 November. Paris, O.
Text by M. von Collin (after Ossian). Three acts.
Text by J. A. Esmcnard and V. J. Etienne de Jouy
One ofWinter's best works, but unsuceessful.
(founded on A. Piron's tragedy). Three acts.
Libretto published in Collin's Dramatische Dich-
Given at the Paris O. C.250 times until 1840,
tungw, VOI. 11 (1813), as Caltholl und Colmal.
since 28 May 1817 in a revised version. The 100th
performance was on 12 February 1823. A parody
PAER: Agnese di Fitz-Henry ealled Relachc pOllr la Reperitioll <~el/(!ralc de Fernand
Oetober. Ponte d'Altaro (near Parma) Cortez, Oll Lc gralld Opera eil Provillce, by C. F.
Text by L. Buonavoglia (founded on Amelia Moreau, M. N. Balisson de Rougemont, and
Opie's tale The Father alld Daughter, 1801). Two P. A. Vieillard, was produced at the Th. du
acts. Vaudeville, Paris 21 December 1809.
First produeed at Villa Scotti, Ponte d'Altaro, Outside Paris given at:
near Parma; publicly Parma, T.S. Caterina DRESDEN March 1812 (in Italian, trans la ted by N.
Spring 18II, by amateurs; Naples, Fior. 1812 and Perotti).

611 612
 ANNALS OF OPERA

V1ENNA 26 May I8rz (in German, translated by In Freneh also, Beme 4.Tuly 1810; Brussels
I. F. Castelli); second version 3 Oetober 1818. 13 April 1814; New York 17 August 1827.
PRAGUE 9 September 1813 (in German; Webcr's In Swedish (translated by -G. F.
Abergsson),
dcbut as eonduetor there). .Stockholm II Dccember 1811.
BERLIN 15 Oetobcr 1814 (in German, translated In Russian (translated by F. F. Kokoshkin),
by J. o. H. Schaum); sceond vcrsion 20 April St. Petersburg 22 November 1813; Moscow
1818 (ncw translation by May); given there 29 December 1814.
161 timcs until T894. In Dutch (translated by M. G. Engelman),
BUDAPEST 4 January 1815 (in German). Amsterdam 1820.
ST. PETERSBURG 21 January 1820 (in Russian,
translatcd by D. N. Barkov) and November CHER U BINI: Pimmalione*
1838 (in German). 301VOllclIlber. Paris, Th. des Tuileries
NAPLES, s.c. 4 February 1820 (in Italian, trallSlated
Text by S. Vestris (pard)' founded on Sografl's
by G. Sehmidt; Rossini eondueting).
Italian version of Rousseau's Pygmalioll, see 1770
BRUSSELS 27 August 1822 (in Freneh).
and 1790). One act.
RIGA 1824 (in Gennan). Cherubini wrote this little Italian opera for
STOCKHOLM 13 Junc 1826 (in Swedish, translated
Napolcon's private theatre, wehre it was per-
by P. A. Granberg).
formed twice in 1809 and once more in 1812.
COPENHAGEN 19 January 1827 (in Danish, trans-
lated by N. T. Bruun).
WARSAW 6 Deeember 1845 (in Polish, translated
18ro
by J. Jasmski).
AMSTERDAM March 1846 (in German). MORLACCHI: Le Danaide
Never performed in London whcre an opera
11 February. Rome, Arg.
on the same subject by Bishop (text by J. R.
Text by S. Seatizzi (altered from Metastasio's
Planche, produced c.G. 5 November 182 3),
Ipcrmestra). Two aets.
although ullSuccessful barred the way to the
Morlaeehi's first sueeess. Dresden February
original.
I8rz (revived Deeember 1814 aIJd Deeember
Revivals:
1818). New version, Perugia 1816; Milan 2
ROME 4 May 1877 (by the Societa Musicale Ro-
March 1819.
mana; new Italian version by A. Zanardini).
NEW YORK, M. 6 January 1888 (in German, for
thc first time in America). ISOUARD: Cendrillon
LEIPZIG 10 May 1888 (in German). 22 Fcbruary. Paris, O.c.
PRAGUE 29 November 1900 (in German). Text by C. G. Etienne. Three aets.
MILAN, SC. 26 December 1916 (in Irali~n). Very sueeessful in Paris :md abroad. Given at:
BRUNSWICK 1810 (in Freneh).
SOLlE: Le Diable Cl quatre ou BRUSSELS 13 .Tune 1810 (in Freneh).
EISENSTADT, HUNGARY 9 September 1810 (in Ger-
La Fe1llme acariatre man, translated by H. Sehmidt).
30 NOl'c/Ilbcr. Paris, O.c. FRANKFORT I January 18 II (in German, translated
Text by A. F. Creuze de Lesser (a new version by H. Schmidt).
of Sedaine's libretto, sec 1756). Threc acts. STOCKHOLM 23 February I8II (in Swcdish, trallS-
Suceessful in Paris; last revived at the O.c. in lated by C. G. Nordforss).
1835 and at the Th.L. 15 Oetober 1853 (re-scorcd VIENNA, W. 2 April 181 I (in German).
by Adam). MOSCOW 27 May 1811 (in French).

613 614
1810 ANNALS OF OPERA 1810

BERLIN 14 June 18n (in German, translated by (The opera had been previonsly performed
C. A. Herklots); Munich 18n; Hamburg 26 before the Empress at Malmaison on 26 March
February 1812, etc. At Königsberg 1812 Ger- 1807.)
man translation by F. E. Jester as Prinzessin
Aschenbrödel. KUNZEN: Kaerlighed paa Landet
WARSAW 18n (in Polish, translated by W. Pe-
23 March. Copenhagen
kalski).
Text by N. T. Brutu'l (translated from Weisse's
BUDAPEST 13 February 1812 (in German).
Die Liebe auf dem Lande, see 176S). Three acts.
BERNE 4 April IS12 (in German).
Successful at Copenhagen; given there IS times
AMSTERDAM IS12 (in Dutch, translated by C. A. van
until ISIS.
Raij; an earlier translation by H. van Overvest
Kup had been published at Rotterdam in ISIO).
BRÜNN 21 September IS12 (in German). J. N. HUMMEL: Mathilde von Guise
COPENlIAGEN 20 October ISI2 (in Danish, trans- 26 March. Vienna, Kä.
lated by N. T. Bruun). Text: a German version, by an unknown trans-
PRAGUE I January ISI4 (in German) and 17. Oc- lator, of a French libretto by Mercier-Dupaty,
tober IS30 (in Czech, translated by J. N. Ste- set by Solie in ISOS. Three acts.
panek). The most successful opera ofthe famons pianist.
LEMBERG ISI4 (in German). V ocal score printed.
MADRID 9 January ISI5 (in Spanish). Revived, in a new version, Weimar 17 Feh-
AGRAM 16 September 1826 (in German). ruary IS21; Prague Spring IS22; Riga IS25 (in
NEW YORK 13 July IS27 (in French). concert form); Berlin 3 August 1833.
CLAUSENBURG 26 July IS34 (in Hungarian, trans-
lated by F. S. Deaky).
HELSINKl 22 January IS41 (in German). PUCITTA: La Vestale
Last revived in German: Königsberg n De- 3 May. London, Hm.
cember IS72; Mannheim 14 January ISS3. In Text: an Italian version of Etienne de Jouy's
French: Paris, O.C. 23 January IS77; Galerie Vi-
French libretto (see 1807). Two acts.
vienne 17 February IS96. The best of the numerous operas Pucitta wrote
Steibelt set the same libretto later in the same for London and for Angelica Catalani. V ocal
year (see below). In most countries Isouard's score printed. Also given at Lisbon. Carnival
opera was, after IS20, displaced by Rossini's even ISI6; Milan, T. Re July 1816, etc. Buenos Aires
more successful Cenerentola (see ISI7).
23 July 1828.
BISHOP: The Maniac; cr,
The Swiss Banditti CATEL: Les Bayaderes
13 March. London, Ly. 8 August. Paris, O.
Text by S. J. Amold. Three acts. Text by V. J. Etienne de Jouy. Three acts.
Bishop's first success as an opera composer; Catel's chief work. Given at the Paris Opera
26 performances. 140 times until 1828 (Iooth performance 13 No-
vember 1818); Brussels 25 Janllary 1820.
R. KREUTZER: Abel In German (translated by 1. F. Castelli), Vienna
23 March. Paris, O. 14 October 1813; (translated by C. A. Herklots),
Text by F. B. Hoffman. Three acts. Berlin I I March ISI4; Munich 31 January 1817.
Revived (in a reduced 2-act version as La Mort In Russian (translated by A. 1. Sheller), St. Pe-
d'Abel), Paris, O. 17 March IS23. tersburg 30 October 1820.

615 616
 1810 ANNALS OF OPERA 1810

A parody by J. T. Merle, E. T. M. Ourry, and C. M. VON WEBER: Silvana

A. de Chazet, called Les Baladin, was produced
16 September. Frankfort
at the Varictes, Paris, on S September 1810;
. Text by F. K. Hiemer (a new version of Steins-
another, by M. Dieulafoy and N. Gersin, called
. berg's Das Waldmädchen, see 1800). Three aets.
La Manufacture d' Indiennes, ou Le Trionfe du Schall
Weber's first greater sueeess: Berlin 10 July
et les Queues du Chat, was produced at the Th. du
1812; Prague 2 February 1817; Graz S January
Vaudeville on 8 September 18IO.
1818; Budapest 1820; Riga 1823; Lemberg 18so.
Revived Dresden 29 July 1855; Berlin, Kroll's
KIENLEN: Claudine von Villa Bella I Deeember 1858; Hamburg 5 January 1885 (text

9 September. Munieh re-written by E. Pasque, prologue, 4 aets, and

epilogue); musie arranged by F. Langer; this
Goethe's text (first set to musie by Beeeke, see
version was given at Berlin, Kroll's 17 July 1889
1780). Three aets.
abd on many other German stages; also Basle
The most sueeessful ofKienlen's works; given
also at Stuttgart IO March 18n and Berlin 30
29January 1886; Rotterdam 1890; Riga 1891.
Sill/alla was the first of Weber' s operas whieh
April 1818. The musie seems to be lost. was trans la ted into other languages:
See E. Holzer's study in Die Musik, VIII (1909), LONDON, SURREY 2 September 1828 (in English,
p.14S. Date of fmt performance, unknown to translated by C. A. Somerset).
Holzer, Zenger, ete., aeeording to Journal des PRAGUE 18 November 1832 (in Czeeh, translated
Luxus und der Moden, 1810, p.630. by J. N. Stepanek).
PARIS, ATHENEE 3 April 1872 (in Freneh, translated

GENERAL!: Adelina by V. Wilder and E. Mestepes).

HAGUE January 1873 (in Freneh, translated by
16 September. Veniee, S. Moise
V. Wilder and E. Mestepes).
Text by G. Rossi (melodral1ll1la sentimentale). One ANTWERP 17 February 1880 (in Freneh) and 2 Oe-
aet. tober 1897 (in Flemish).
The most sueeessful of Generali' s eomie operas.
Given in Italy until 1837; in a redueed version P AV E SI: Ser Marcantonio
as Luisina, Sinigaglia J uly 181 I ; Veniee, S. Moise
26 September. Milan, Sc.
Autumn 18II; Crema May 1814, and Urbino
Text by A. Anelli. Two aets.
Carnival 181S. First given at the Scala, Milan
Very sueeessful in Italy until about 1840, when
IO November 1816.
Donizetti's DOll Pasquale (see 1843) displaeed it.
In Italian also given at:
Given at Parma 15 November 18n as Bettina e
PARIS 20 June 1812. Marcalltollio.
MUNICH I June I81S. In Italian also, Paris 10 July 1813 (the first aet
VIENNA 26 November 1816. already 15 July 18II at Napoleon's private
BERNE 20 July 1820.
theatre); Barcelona 14 Oetober 1815; Munieh
ODESSA Oetober 1821.
20 September I 816; Dresden 20 Oeto ber 18 I7 ;
BARCELONA 25 February 1824. Vienna, W. 5 February 1818; Odessa Oetober
LONDON 19 March 1825. 1821; Corfu Autumn 1831.
LISBON 1826. In Spanish, Madrid 13 May 1817.
ST. PETERSBURGAutumn 1829. In German, Vienna, W. August 1821 ; Stuttgart
MEXICO 1834. Autumn 1828 (translated by J. B. Krebs); Cassel
In German (translated by F. K. Hiemer), Stutt- 16 September 1829, ete.; revived Vienna, Kä. 15
gart 23 March 1818, ete.; Amsterdam 1820. November 1842.

617 618
1810 ANNALS OF OPERA I8IO-1I

Carlo Fioras
FRÄNZL: tember 1937 and New York, 44th St. Theatre 8
oder Der Stumme itl der Sierra Morena November 1937.
The aria "Come facer", from this farsa was
160elober. Munich
afterwards introduced into 11 Barbiere di Siviglia,
Text by W. Vogel. Three acts.
• where it became the duet "Dunque io son" .
Successful in Germany: Berlin 12 February
1813, etc. BLANGINI: Le Sacrifice dJAbraham
In German also, Prague 19 Dccember 1813;
14 NOl'cmbcr. Cassel
Hanover I October 1815; St. Petersburg De-
Text by Colonel Saint-Marcel. 1 Three acts.
cember 1817.
In 1809 Blangini had been appointed court
Revived (under the tide of Car!c>s ROllla!di and
composer to Napolcon's brother Jerome, King
arranged as a melodrama with choruses, addi-
ofWestphalia, whose birthday was celebrated by
tional music by Lannoy), Vienna, W. 22 August
the production of this opera (originally written
1822; again Bcrlin, Kgst. 12 January 1827 and
for Paris).
Vienna, Jos. 8 August 1827.
In Russian (trans la ted by I. N. Svichinsky),
1811
St. Petersburg 10 February 1820 and Moscow
5 September 1821. BOIELDIEU: Rien de trop Oll
Les deux Paravents
STEIBELT: Cendrillon 6Ja/lllar)'. St. Petersburg
26 Oetober. St. Petersburg Text by J. M. Pain (originally performed in Paris
Text by C. G. Etienne (set to music by Isouard 180S as a vaudeville). One act.
earlier in thc same year, see above). Three acts. Paris, O.c. 19 April 18II; Brussels I I August
Successful in Russia; originally produced at 18II; in French also Casse! Spring 1812; Stock-
St. Petersburg by thc Frcnc\, troupe .and sub- holm May 1813.
sequently also in German 8 February 18II (trans- In German, Vienna 8 April 1812.
Iated by H. G. Schmieder) and Rnssian 12 May In Polish (translated by W. Boguslawski),
1814 (translated by A. V. Luknitsky). Warsaw 1819.
In Russian also, Moscow 23 February 1816.
MORLACCHI: Raoul di Crequi
April. Dresden
R 0 S SI NI: La Call1biale di Matrimollio*
Text by L. Romanelli (an Italian version ofMon-
3 November. Venice, S. Moise
ver s French libretto, see 1789; first set to music by
Text by G. Rossi (farsa, fOllnded on a comedy Mayr in 1809). Two acts.
by C. Federici). One act. The first opera Morlacchi wrote for Dresden
Rossini' s first performed opera. and one of his best works. "Questo mllsicale
Outside Italy, givcn at Barcelona 26 April dramma viene riputato il suo capo d'opera, es-
1816; Trieste 1822 (enlarged to two acts); Vienna sendo una musica di lIn genere affatto nllovo:
2 October 1834 (in German, as Der Brällt(~al1l al/S tutto il dramma e in un sol pezzo di musica senza
Canada, translated by J. C. Grünbaum) and 3 May recitative al cembalo, senza ritornelli, e senza soli-
1837 (in ltalian). loqllj, con orto spezie di coristi e con balli intrec-
After an interval of man)' years, the opera was ciati ai cori ed ai finali ... " (Gervasoni).
revived at Venice 10 April 1910; and again Turin
1 Aeeording to A.M.Z. Probably A. H. P. Tardieu
5 May 1927; Bologna 1I January 1934; Genoa
dc Saint-Mareel, "aneicn garde du eorps du eomte
February 1934; Pesaro 29 Februar)' 1936. d'Artois" (Qucrard) who collaborated with Blangini
In Italian also, Vienna, Stadttheater 22 Sep- on another oeeasion.

619 620
 r8II ANNALS OF OPERA I8n

C. M. VON WEBER: Abu Hassa/1* In Spanish, Madrid 18 August 18r8.

Mosca claimed to have used in this opera
4 jUlle. Munich
orchestra crescendo for the first time, earlier than
Text by F. K. Hiemer. One act. Rossini, to whom the innovation afterwards was
Stuttgart roJuly 18rr; Vienna, W. 28 May attribllted.
1813 (0. only 17 November 1872); Berlin 28 July
1813; Prague Summer 1819, etc.; slightly altered ISOUARD: Le Billet de Loterie
Dresden 10 March 1823; Riga 1824, etc. 14 September. Paris, O.c.
In German also, New York 8 September 1877; Text by A. F. CrellZe de Lesser and J. F. Rogcr.
Rotterdam 1882. One act.
In Danish (translated by T. Overskou), Co- In Paris given until 1833. In French also, Liege
penhagen I I March 1824. 2r Dccember 18II; Brussels 23 January 1812;
In English (translated by W. Dimond, music Cassel25 April 1812; New Orleans r816, etc.
adapted by T. S. Cooke), London, D.L. 4 April In German (translated by I. F. Castelli), Vienna
r 825; this version was also given at New York 5 Fcbruary r812; Prague 21 November 1813;
5 November 1827; Philadelphia 21 November Weimar 21 December 1814; Berlin 19 March
1827 and Dublin 10 April 1828. 1817 (translated by C. A. Herklots; given until
In French (translated by C. Nuitter and A. r850), Munich r822, etc. In German also, Agram
Beaumont), Paris, Th.L. II May 1859. 13 December 1838 (translated by G. Freund).
In Italian (translated by S. de Castrone, Mar- Revived Lemberg II March 1859 (in Polish);
chese dclIa Rajata), London, D.L. 12 May 1870 Amsterdam, Conservatoire June 1929 (in Dutch).
(recitatives by Arditi).
In Swedish (translated by A. Lindgren), Stock- GYROWETZ: Der Augenarzt
holm 1880 (revived 17 April 1901). 1 Oetober. Vienna, Kä.
In Hungarian (translated by E. Abranyi), Bu- Text by J. E. Veith (founded on a French libretto
da pest Fcbruary 1882. by A. Croizette and A. F. Chateauvieux, Les
In Flcmish, Antwerp 26 November 1898. Alleugles de Franeonville set by Lebrun and per-
Still given on German stages; last revived at formed Paris 28 April 1802); according to F. I.
Bcrlin 18 December 1936. von Holbein (preface in his Theater, Vol. II, 1812)
Outside Germany some of the latest revivals plagiarized from his own Die beiden Blinden, pub-
were at Basle 21 October 1924; New York 23 lished 1812. Two acts.
March 1934 and Biltmore Th. 9 June 1936 (new One of Gyrowetz's most successful works;
English version by A. Houghton); Cambridge given in Vienna 93 times (until 1817). Budapest
22 February 1938 (new English version by W. 13 January 1812; Würzburg 3 April 1812; Press-
Dean); Amsterdam October 1934 (by the Dutch burg 5 May 1812; Munich 28 July 1812; Berlin
Chamber Opera); Johannesburg March 1942. 14 August 1815 and all over Germany.
A French adaptation by A. Chalas and E. de
MO SC A: I Pretendenti delusi Montglave, La jeune Aveugle, was given at the
Odeon, Paris 2 March 1826.
7 September. Milan, Sc. A Czech version by J. K. Chmelensky was
Text by L. Prividali. Two acts. published (not produced) at Prague in 1833.
Successful in Italy.
In Italian also given at Barcelona 22June 1816; ISO U A R D : Le Magicien sans Magie
Munich 19 February 1818; Dresden 19 May 4 November. Paris, O.C.
r821; London 9 April 1822; Vienna 21 March Text by A. F. Creuze de Lesser and J. F. Roger.
1825· Two acts.

621 622
I8u ANNALS OF OPERA I8u-I2

In French also, Brussels 27 February 1812; Cas- ROMBERG: Die Ruinen von Paluzzi
sei Summer 1812. 27 December. Hamburg
In German Vienna, W. 22 April 1812. Text by J. F. Schink. Three acts.
In Dutch (translated by B. A. Fallee and C. A. The best opera of the famous violinist. Vocal
van Raij), Amsterdam 1813. score printed.
In Polish (translated by W. Boguslawski),
Warsaw 1819. I8I2
In Russian (translated by D. N. Barkov), St. ROSSINI: L'Inganno felice*
Petersburg 24 July 1820; Moscow 8 February 1822.
8January. Venice, S. Moise
An English version of the text, by W. H. Ha-
Text by G. M. Foppa. One act.
milton, was set by Blewitt and given at Dublin
Rossini' s first great success.
I March 1815.
Outside Italy (in Italian), also given at Barce-
lona 14 Decemberl815; Munich 25 June 1816;
ZINGARELLI: Berenice, Regina
Vienna 26 November 1816 (first Rossini opera in
d'Armenia Vienna; revived 4 May 1836); Lisbon 1817; Dres-
12 November. Rome, Valle den 3 January 1818; London I July 1819 (revived
Text by J. Ferretti (founded on Zeno's Lucio 5 July 1827); Paris 13 May 1819; Berne 17 July
Vero). Two acts. 1820; Rio de Janeiro I December 1824; Buenos
Zingarelli' s last opera. The often repeated Aires 8 June 1826; Santiago June 1830 (first opera
statement that it had a run of more than 100 per- in Chile); St. Petersburg 1830; Vera Cruz August
formances is, according to Cametti, much exag- 1831; New York II May 1833; Prague Spring
gerated. Copy of the libretto (unknown to Ca- 1833; Berlin, Kgst. 26 October 1850.
metti), recorded in Cat. BibI. Soleinne. In German (as Der glückliche Betrug) Weimar
1818; (as Die Getäuschten, translated by F. K. Hie-
SPOHR: Der Zweikampfmit mer), Frankfort November 1818; Stuttgart 14
der Geliebten May 1819; Berlin 27 September 1820; (as Glück-
15 November. Hamburg liche Täuschung, translated by J. c. Grünbaum),
Vienna 30 October 1823; Budapest 9 January
Text by J. F. Schink. Three acts.
Spohr's first performed opera; on his earlier 1826; Agram 1833.
In Spanish, Madrid 20 January 1820.
Alruna, see Journal des Luxus und der Moden, 1809,
In Polish (translated by K. Brodzmsky), War-
p.317; and E. Schmitz in Journal of the I.M.S.,
saw February 1820.
Vol. XIII (19II-I2).
In Danish (translated by N. T. Bruun), Co-
Revived Cassel 7 February 1840. French vocal
score (translated by H. Brovellio) published penhagen 5 March 1826.
In Hungarian, Clausenburg 28 May 1834 and
(c.1825).
Spohr afterwards introduced one air from this Budapest 12 September 1835.
Revived by the Societa Filarmonica, Naples
opera into his Faust (see 1816).
29 January 1872.
TOMASEK: Seraphine A French vocal score (Le Tra'itre dcmasquc,
translated by L. Danglas) was published at Brus-
15 December. Prague
sels (n.d.).
Text by J. Dambeck. Three acts.
The only opera by the Bohemian composer to WEYSE: Faruk
be produced. Neither the libretto seenis to have 30 January. Copenhagen
been printed, nor the music to have been preser- Text by A. G. Oehlenschläger. Three acts.
ved. Given at Copenhagen until 1834.

62 3
1812 ANNALS OF OPERA 1812

ISO U A R D :Lully et Quinault OU In German: Vienna, Kä. 28 August 1812 (trans-

Le Dejeuner impossible lated by I. F. Castelli); Vienna, W. 29 August
1812 (translated by J. von Seyfried); Monrepos
27 February. Paris,O.C.
28 September 1812 and Frankfort I I November
Text by P. C. Gaugiran-Nanteuil. One act.
1812 (translated by F. K. Hiemer); Berlin 25
Given at Paris until 1833; in French also, Brus-
March 1813 (translated by C. A. Herklots) ;
sels 31 May 1812; Cassel Summer 1812; New
Hamburg 21 January 1813; Munich 29 January
Orleans before 1825; Vienna 18 July 1826; New
1813; Brünn 15 March 1813; Budapest 1813; St.
York I September 1827.
PetersburgJanuary 1814; Prague 8 January 1814;
In German (translated by J. von Seyfried),
Beme I I March 1823; Helsinki 25 May 1830;
Vienna, W. 23 September 1813.
Bucharest 7 November 1830; Amsterdam Octo-
In Polish (translated by B. Kudlicz), Warsaw
ber 1836. The latest revival in Germany was at
1814·
Greifswald 30 January 1931.
In Danish (translated by N. T. Bruun), Co-
In English, London, C.G. 12 November 1814
penhagen 5 September 1820.
(translated by I. Pocock, music arranged by
(A Swedish 2-act version of the text by 1. E.
Bishop who added several numbers of his own);
Granberg was composed by Berens and produced
this version was also given in New York 25 No-
at Stockholm 15 November 1859.)
vember 1816 (before the French original was
given there on 6 August 1827). In English also,
ROSSINI: Ciro in Babilonia 0 sia
St. Louis 3 October 1837; Melboume 1862. Re-
La Caduta di Baldassarre vived London, Olympic 3I July 1869 (music
14 March. Ferrara arranged by W. F. Taylor).
Text by F. Aventi. Two acts. In Polish (translated by S. Regulski), Warsaw
Given in Italy until 1827. 1813·
In Italian also, Munich 27 October 1816; Vien- In Danish (translated by N. T. Bruun), Co-
na, W. 18 June 1817; Weimar 20 March 1819; penhagen I February 1815.
Dresden 2 October 1822; London, D.1. 30 Jan- In Spanish, Madrid I I May 1816.
uary 1823 (in concert form). In Italian, Naples, Fondo Spring 1816.
In Russian (translated by Prince P. N. Shali-
BOIELDIEu:Jean de Paris* kov) , Moscow 9 January 1818; St. Petersburg
4 April. Paris, O.c. 10 November 18I9.
Text by C. Godard d'Aucour de Saint-Just. Two In Swedish (translated by J. D. Valerius),
acts. Stockholm 21 May 1819.
One of Boieldieu's most famous works; the In Hungarian (translated by E. Paly), Clausen-
well-known cavatine Ah! qllel plaisir d' hre en burg I November 1825; Budapest 3 Novembe;:-
voyage was taken fr.am his Telemaque (see 1806). 1827.
Given at the O.c. until 1862 and revived at the In Czech (translated by J. N. Stepanek),
Galerie Vivienne, 13 December 1893. Prague 7 January 1827.
A parody by A. 1. D. Martainville and T. M. Dutch translation by J. C. Honig published
Dumersan, called Jean de Passy, was produced at Amsterdam 1813.
the Varietes 2 May 1812.
In French also given at Antwerp 30 July 1812; GYROWETZ: Federica ed Adolfo
Brussels 21 December 1812, etc.; Beme 23 Jan- 6 April. Vienna, Kä.
uary 1819; NewOrleans 1819; NewYork 6 Au- Text by G. Rossi. Two acts.
gust 1827; Amsterdam 1834; Rio de Janeiro Gyrowetz's first performed Italian opera; (an
Autumn 1846. earlier Semiramide, written for London in 1791,
626
1812 ANNALS OF OPERA 1812

had bcen destroyed in the fire of the "Pantheon" R 0 S S I NI: La Pietra de! Paragone*
on 14 Januar)" 17(2). Unsuccessful. 26 Scptel1l[,cr. Milan, Sc.
In Polish (translated by K. Tymowski), War- Text by L. RomaneIli. Two acts.
saw 1816.
Outside Italy (in Italian), also given at Muruch
July 1817; Oporto February 1821; Paris 5 April
ROSSINI: La Scala di Seta* 182 I; Lisbon 30 May 1821; Barcelona 9 June
1821; Cagliari, Sardinia Carruval 1836; Mexico
9 May. Venice, S. Moisc
1836.
Text by G. Rossi (founded on a French libretto In German (as WciberprolJCII, translated by J.
by Planard, L'Erhelle de Soie, set to music by Ga- von Seyfried), Vienna, W. 30 April 1821; Graz
vcaux in 1808). One act. 25 Februar)" 1822; (as Der Probierstein), Berlin,
Before 1940 this farsa was outside Italy only Kgst. 5 October 1827.
given at Barcelona 4 August 1823 and at Lisbon A pasticcio UII wrioso Accidellte, arranged by
24January 1825· A. Berrettoni and consisting chieBy of pieces
from La Pietra del Paragolle, was given at the Th. 1.,
Paris 26 November 1859. Theoriginal wasrevived
CATEL: Les Aubergistes de Qualitr at Warsaw9 March 1866 (in Italian), and Florence,
17 lUllc. Paris, O.c. T. Pagliano I September 1868.
Text by V. J. Etienne de Jouy. Threc acts.
Given in Paris until 1825; Brusscls 13 J uly 1813. ROSSINI: L'Occasionefa il Ladro*
In German (translated by J. von Seyfried), 24 l\'ol'cl1lber. V cnice, S. Moisc
Vienna, W. 5 Februar)' 1813; (translated by F. Text by L. Prividali. One act.
K. Hicmer), Stuttgart 27 June tHI3; Pragu~ I<)
Barcelona 18 JulI' 1822; Lisbon 6 February
September 1813; Agram J5 May I8IS; Dresden
1826; St. Pctersburg 1830; Lugano October 1833.
25 September 1817, etc. Revived Vienna 21 De-
In German, Vienna 27 August 1834.
cember 183 I.
Revived Pesaro ro July 18<)2 (at the Liceo
In English (as Thc blllkcepm adapted, by C. Rossini); Turin April 1913 (by the "Circolo degli
Cummins), Lecds September 182<). Artisti") ; Trieste June 1<)24 (at the T. Filodram-
matico); London, Litde Th. I4January 1<)2<) (in
English, by marionettcs).
PER S UI S: Jerusalem delivde
15 September. Paris, O.
WEIGL: Der Bergsturz
Text by L. P. Baour Lormi:m (after Tasso). Five
19 Deecmber. Vienna, Kä.
acts.
Text by J. A. F. Reil (founded on an actual event,
Persuis's most important work.
alandslip near Goldau in September 1806). Three
A parody by C. F. Mareau, E. T. M. Ourry,
acts.
and E. G. M. Theaulon de Lambert, called jemsa-
Weimar 18 November 1815; Darmstadt 15
lern dlshabillle was produced at the Vaudeville,
September 1816; Leipzig I5July 1818, etc.
Paris, on 3 October 1812.
In German (translated by J. von Seyfricd),
Vienna, W. II February 1815; Carlsruhe August MEYERBEER: Jephta's Gelübde
1820. 23 Deecmber. Munich
A Dutch translation by A. Loosjes was publish- Text by A. Schreiber. Three acts.
ed at Haarlern in 1813. Meyerbeer's fIrSt opera; given only twice.
 1813 ANNALS OF OPERA 181 3

~ossini's first wor/d sueeess; givcn on every

r8r3
Italtan and on most foreign stages; in London
MEYERBEER: Wirth und Gast, oder until 1858, in Ber/in until 1859, in Paris until
Aus Scherz Ernst 1862. The latest revival probably was at Dresden
27 Oetober 1871 (in German). Tancredi was also
6 Janllary. Stuttgart
the first cf Rossini's operas whieh was translated
Text by J. G. Wohlbrüek. Two aets.
into other languages. The first performances were
Re-modelled Vienna 20 Oetober 1814 (as Die
at:
beiden Kalifen); given also at Prague 22 Oetober
MUNICH August 1816 (in Italian) and 1821 (in
1815; and Dresden 22 February 1820 (as Alimelek).
German).
VIENNA 17 December 1816 (in Italian) and r2
R 0 S S I NI:Il Signor Bruschino ossia March 1818 (in German).
11 Figlio per Azzardo* DARMSTADT 26 December r8r6 (for the first time

Elld ofJallllary. Veniee, S. Moise in German, translated by F. K. Hiemer).

STUTTGART 20 February 1817 (translated by F. K.
Text by G. M. Foppa (founded on a Freneh
Hiemer).
comedy by Alissan de Chazet and E. T. M.
PRAGUE April 1817 (in German, translated by J.
Ourry). One aet.
This little work was unsuecessful and so on for-
c. Grünbaum) and 12 May 1825 (in ezeeh,
translated by J. Doueha).
gotten whcn Tallcrcdi and L' Italiana in Algeri
BARCELONA 5 May 1817 (in Italian).
came out in the same year. It was, however,
ST. PETERSBURG Autumn 1817 (in German);
frequently revived later on:
Spring 1829 (in Italian); and Deeember 1839
MILAN, CANOBBIANA 2 June 1844 (in Italian).
(in Russian).
PARIS, B.P. 28 Deeember 1857 (asBruschillo, French
MAYENCE 21 September 1817 (in German, Grün-
version by P. A. A. Pittaud de Forges and J.
baum' s version, at the inauguration of the ncw
Offcnbaeh).
"Grossherzoglieh-Hessisehe Nationalbühne").
MADRID, Z. 1 Junc 1858 (in Spanish, translated by
BERLIN, O. 5 January 1818 (in German, translated
L. de Olona and M. Pina).
by C. A. Herklots) and O. 12 F~bruary 1821
BERLIN, KROLL'S 13 June 1858 (in Freneh, by the
and Kgst. 21 July 1841 (in Italian).
Bouffes-Parisiens).
BUDAPEST 26 January 1818 (in Gern'lan) and 30
BRUSSELS 9 Oetober 1859 (in French, by the
Oetober 1827 (in Hungarian).
Bouffes-Parisiens).
WARSAW 1818 (in Polish, translated by K. Brod-
BERLIN, FR.W. 24 August 1862 (in German, trans-
Iated by J. c. Griinbaum). ziIlski); Wilnl 17 August 1827.
AMSTERDAM Deeember 1818 (in German) and
BOLOGNA, T. CONTAVALLI 19 May 1901 (in Italian).
1835 (in Freneh).
MILAN, T. D. V. 5 June 1917 (in Italian).
LONDON 4 May 1820 (in Italian) and Princess's
WIESBADEN 16 February 1932 (new German ver-
sion by L. Landshoff and K. Wolfskehl). I7 April 1843 (in English; translator not men-
NEW YORK, M. 6 Dcecmbcr 1932 (in Italian).
tioned).
COPENHAGEN 30 Oetober 1820 (in Danish, trans-
FLORENCE 6 May 1937, etc.
lated by N. T. Bruun) and November 1844 (in
Italian).
ROSSINI: Tancredi* PARIS, TH.I. 23 April 1822 (in Italian) and Odeon
6 Fcbruary. Venice, F. 7 September 1827 (in Freneh, translated by
Text by G. Rossi (lIIclodralllllla croico, founded on E. d' Anglemont and J. P. F. Lesguillon, music
Tasso'sGcmsalclI1l11c libcrata and Voltairc's tragedy arranged by J. F. A. Lemiere de Corvcy).
Tancrcdi). Two aets. LISBON 18 September 1822 (in Italian).

630
1813 ANNALS OF OPERA 181 3

MOSCOW 26 November 1825 (in Italian). the most famous French librettist of the 19th
MEXICO 29 December 1825 (in Spanish) and 4 century, A. E. Scribe, wrote his first opera text
August 1832 (in Italian). in the same year, 1813 (see note on Auber's Lei-
NEW YORK 3 I December 1825 (in Italian). eester, 1823).
CORFU Carnival 1826.
RIO DE JANEIRO 22 ]anuary 1826 (in Italian). ISOUARD: Le Prince de Catane
STRASBOURG February 1826 (for the first time in
4 March. Paris, O.c.
French, translated by Dussert; see A.M.Z.,
Text by R. R. 1. Castel. Three acts.
1826, p.687).
In French also, Brussels 7 ]uly 1814, etc.
AGRAM 6 May 1827 (in German).
In German (translated by ]. von Seyfried),
CLAUSENBURG 19 May 1827 (for the first time in
Vienna, W. 10 December 1813 (additions by I.
Hungarian, translated by E. Paly).
von Seyfried); Prague 12 ]une 1814; Budapest
BUENOS AIRES 3I May 1828 (in Italian).
19 ]une 1815. Revived Graz 4 November 1826.
BOSTON 2 September 1829 (in Italian; first Italian
In Spanish, Madrid 2 August 1817.
opera there).
In Russian (translated by A. I. She11er), St.
STO''';KHOLM 18 September. 1829 (in Swedish,
Petersburg 2 October 1817.
translated by]. 1. Abergsson; the first act al-
ready 25 October 1817, in concert form).
SANTIAGO, CHILE 1830 (in Italian).
PLANTADE: Le Mari de Circonstances
LIMA 1831 (in Italian). 18 March. Paris,O.C.
PHILADELPHIA 15 September 1831 (in Italian). Text by F. A. E. de Planard. One act.
BUCHAREST 29 December 1833 (in German). In Paris given until 183 I ; Brussels 13 October
HELSINKl 28 February 1834 (in German). 1813 (revived 31 October 1836).
BRUSSELS 24 March 1834 (in French, the Paris ver-
sion). CHERUBINI: Les Abencerages OU
DUBLIN 27 September 1834 (in Italian).
L' Etendard de Grenade*
BASLE 15 October 1834 (in German).
6 April. Paris, O.
Text by V.]. Etienne de ]ouy (founded on Flo-
MA YR: La Rosa rossa e la rian's noveI, Gonzalve de Cordove). Three acts.
Rosa bianca There were not more than 20 performances.
21 February. Genoa, S. Agostino Napoleon attended the first night.)
In German (translated by C. A. Herklots),
Text by F. Romani (founded on a French libretto
Berlin I I March 1828 (music revised by Spon-
by R. C. G. de Pixerecourt, set to music by Ga-
veaux in 1809). Two acts. tini).
Milan, T. Carc.]uly 1815, etc.; given at Nap-
les, S.C. Spring 1819 andVeniceAuturnn1819 as
R 0 S SI NI: V Italiana in Algeri*
Il Trionfo dell'Amicizia. Outside Italy: Munich 22 May. Venice, S. Ben.

May 1817; Lisbon 13 February 1822; Paris 6 May Text by A. Anelli (originally written for 1.
1823; Madrid I ]anuary 1824; Landon 16 Feb- Mosca and performed at the Scala, Milan 16 Au-
ruary 1828. gust 1808). Two acts.
La Rosa rossa e Ia Rosa bianea was the first text After Tancredi Rossini's second great success in
written by Felice Romani, who has been called this year. Given at Rome as 11 Naufragio felice
the best Italian librettist between Metastasio and (1815), and as Il Pampaluco (13 ]anuary 1816).
Boito. He wrote ab out 90 librettos, of which the Outside Italy:
musical settings amount to over 200. Incidentally, BARCELONA 29 August 1815 (in Italian).

632
18 1 3 ANNALS OF OPERA 18 1 3

MUNICH 18 June 1816 (in Italian; first Rossini DUBLIN 24 March 1838 (in Italian).
opera in Germany). CONSTANTINOPLE Carnival 1839 (in Italian).
MADRID 29 September 1816 (in Spanish). ORAN, ALGERIA Autumn 1842 (in Italian).
PARIS I February 18 I 7 (in Italian; first Rossini COPENHAGEN Carnival 1843 (in Italian).
opera in Paris). Given on Italian stages until about 1900 and
VIENNA, KÄ. 15 February 1817 (in Italian) and W. again sinee 1925.
January 1821 (in German). Revived New York 5 Dcecmbcr 1919 (in
LlSBON 22 June 1818 (in Italian). Italian); Turin 26 November 1925 (under V. Gui,
STUTTGART 6 September 1818 (for the first time at the inauguration of thc Teatro di Torino, late
in German, translated by J. C. Grünbaum) ; T. Scribc); Paris, Ch.E. 21 May 1929 (in Italian).
Cassel 23 November 1818; Hanover 27 De- FRElBURG 29 April 193 I (new German version by
cember 1818, etc. H. Röhr).
BUCHAREST 8 September 1818 (in German). PRAGUE 31 Deeember 1933 (for the first time in
LONDON, HM. 26 January 1819 (in Italian) and Czeeh).
Princess's 30 December 1844 (in English). LONDON, C.G. 16 May 1935 (in Italian).
GRAZ 6 February 1819 (in German). BUENOS AIRES I July 1938 (in Italian).
AMSTERDAM Summer 1819 (in German). BASLE II November 1938 (in German).
WARSAW 1819 and 8 December 1826 (in two diffe-
rent Polish versions by K. Brodzmski and by MEHUL: Le Prince Troubadour Oll
W. Boguslawski respectively). Le Grand Trompeur de Dames
BUDAPEST II October 1819 (in German) and 8
24 May. Paris,O.C.
January 1828 (in Hungarian).
Text by A. Duva!. One aet.
BERNE J4July 1820 (in Italian).
In Freneh also, Brusscls 9 January 1814; Liege
HERMANNSTADT AND KRONSTADT May 182I (in
24 Deeember 1814, etc.
Italian).
In Russian (translated by A. I. Sheller), St.
PRAGUE Carnival 1823 (in German).
Petersburg 30 Deeember 1816.
MEXICO 1824 (in Spanish) and November 1831
In German, Frankfort November 1814; Vienna
(in Italian).
24 September 1819.
BERLIN, KGST. 3 August 1825 (in German) and 22
November 1841 (in Italian).
BOI E L DIE U : Le nouveau Seigneur
BUENOS AIRES 9 July 1826 (in Italian).
CLAUSENBURG II February 1827 (for the first time
de Village
in Hungarian). 29.Tune. Paris, O.c.
AGRAM 1827 (in German). Text by A. F. Creuze de Lesser and E. G. F. de
ST. PETERSBURG 29 June 1829 (in Italian) and Favieres. One aet.
Spring 1837 (in German). Popular in Franee; given at the O.C. until 1898
SANTIAGO, CHILE 1830 (in Italian). and revived on 12 Deeember 1934.
RIO DE JANEIRO 9 October 1830 (in Italian). In Freneh also, Brussels 13 Oetober 1813 ; Berne
LIEGE 4 April 183I (in French, translated by F. H. 20 January 1819; Vienna 22 July 1826; Berlin
J. Castil-Blaze); a ncw French translation by 22 May 1828; Rio de Janeiro Autumn 1846; Lon-
thc composer C. Lccocq was published in 1893. don, St. J.'s 22 January 1849; Soerabaya 2 De-
NEW YORK 5 November 1832 (in Italian). eember 1867.
PHILADElPHIA 4 February 1833 (in Italian). In German (translated by I. F. Castelli),
MARSEIllES II March 1833 (in French). Vienna 24 May 1814; Frankfort November 1814;
BRUSSElS 6 October 1835 (in Frcneh). Berlin 24 May 1815; Prague 3 August 1815; St.
HAVANA February 1836 (in Italian). Petersburg 1815; Budapest 1815; Bueharest 20
18 1 3 ANNALS OF OPERA

November 1830, etc. Revived Munich 28 Sep- ROSSINI: Aureliano in Palmira

tember 1853; Dresden September 1862.
26 December. Milan, Sc.
In Polish (translated by L. A. Dmuszewski),
Warsaw 1815. Text by F. Romani. Two acts.
In Swedish (translated by J. C. Puke), Stock- Given in Italy until 1831; at Vicenza Summer
holm 20 January 1818; revived 13 December 1861 1817 and Venice Autumn 1820 as Zenobia. Out-
(new translation by F. A. Dahlgren). side Italy, Barcelona 12 August 1822; Lisbon 10
In Danish (translated by N. T. Bruun), Co- October 1824; Corfu Autumn 1825; London 22
penhagen 6 February 1819. June 1826 (not 16 May 1826 as stated in the
In Dutch (translated by M. G. Engelman), libretto); Buenos Aires 6 November 1829.
Amsterdam 1819; Hague 1831; astende 19 July In German, Graz 22 March 1827.
1840. Revived Amsterdam January 1935 (by the Rossini introduced parts of the music into his
Dutch Chamber Opera). Barbiere di Siviglia (see 1816).
In Russian (translated by A. 1. Pisarev), Mos-
cow 22 January 1824; (translated by R. M.
Zotov) St. Petersburg 10 May 1825. 181 4
In English (as My Lord is 1I0t I1IY Lord, adapted
by G. Dance), London, D.L. 29 January 1840; ISOUARD:Joconde ouLes Coureurs
New York 10 December 1349. d Aventures
J

28 February. Paris,O.C.
GYROWETZ: Robert oder Die Prüfung
Text by C. G. Etienne. Three acts.
15}uly. Vienna, Kä.
Given in Paris until the end of the century and
Text by F. X. Huber. Two acts.
revived at the Tr.L. 10 January 1918; revived at
" ... diese Oper hat Beethoven j.edesmahl als
Beauvais 5 March 193 I.
sie gegeben wurde, besucht, und äusserte dem G.
In French also, Liege 13 December 1814;
durch einen Händedruck, dass diese Oper vor
Brussels 9 January 1815 (revived 21 April 1884);
allen andern ihm am besten gefiele". This passage
Berne IO February 1819; Dublin 1824 (libretto
occurs in the manuscript of Gyrowetz's autobio-
Allen A. Brown Collection, Boston); New York
graphy, but was omitted in the printed edition
27 July 1827; Baden-Baden I August 1864·
(1848).
In German (translated by J. von Seyfried),
GARCIA: Il Califfo di Bagdad Vienna, Augarten Th. 12 March 1815 and Kä.
I April 1815; Budapcst 25 September 18 15;
30 September. Naples, Fondo
Prague 2 January 1816; Munich 5 January 1816;
Text by A. L. Tottola (founded on the French Berlin 26 April 1816 (translated here by J. O. H.
libretto by Saint-Just, see 1800). Two acts. Schaum), etc. Revived Vienna 19 November
Thc most successful opera ofthe famous singer. 1855, etc.; Munich 2 December 1870 (as Minllc-
Given also in Paris 22 March 1817 and Mexico fahrten, new German version by F. Grandaur).
Carniva11825. In Polish (translated by W. Pekalski), Warsaw
1815·
MA YR: Medea in Corinto* In Russian (translated by P. A. Korsakov), St.
28 November. Naples, S.c. Petersburg 7 February 1815; Moscow 22 Decem-
Text by F. Romani. Two acts. ber 1817.
Outside Italy given at Dresden 3 January 1821; In Spanish, Madrid 15 July 1816.
Paris 14January 1823; London 1 June 1826 (re- In Danish (translated by N. T. Bruun), Co-
vived H.M.'s as la te as 12 March 1850). penhagen 14 October 1817.
 1814 ANNALS OF OPERA

In Swcdish (translated by C. G. Nordforss), ROSSINI: 11 Turco in 1talia*

Stoekholm 14January IX20; revived 7 April 185R
14 Al/X"sl. Milan, Se.
(new translation by H. O. Wicselgren).
Text by F. Romani. Two aets.
In Norwegian, Christianil Autumn IS73.
Givcn at Viecnza 1816 as Jl Tutore i.fuso, at
In English (transbted b)' C. Sandey), London,
Rome Autul11n 1319 as La Capricciosa corretta;
Ly. 25 Oerober I X76.
last revived in Italy, Florenee, T. Niccolini 16
Mareh JRH2.
KLEINHEINZ: Harald Outside Ital y:
DRESDEN 30 November 1816 (in Italian).
22 March. ßudapest
MADRID 14 Oetober 1818 (in Spanish).
(German) text by M. Stegmayer. Three act\. STUTTGART 23 April 1819 (in German, translated
Vienna, W. 24 August 1815 (as Harald, der by F. K. Hiemer).
Kr(lncllrällber) . VIENNA, w. Mareh 1820 (in German, translated
On Kleinheinz, see A. Sandberger's stud)' in by J. von Seyfried) and Kä. I Mareh 1825 (in
his At/,~~elväh!tc Aufsätze zur Musikgeschichte, Vol. Italian).
ll, p.226 (1924). PARIS 23 May 1820 (in Italian).
BARCELONA 9 June 1820 (in Italian).
KUH LAU: Reverborgm LISBON 10 July 1820 (in Italian).
LONDON, HM. 19 May 1821 (in Italian) and D.L.
(The Brigands' Castle)
I May 1827 (in English, as Thc Tllrkish Laflcrs,
26 May. Copenhagen adapted by M. R. Lacy).
Text by A. G. Oehlensehläger. Three aets. MOSCOW 24 November IS2I (in Italian).
Kuhlau' s most sueeessful opera (his famous PRAGUE 3 January 1823 (in German).
Elverluif not being an oper:!, but a play with inei- ST. PETERSBURG I2 June 1823 (in Russian, traIlS-
dental musie); gi yen at Copenhagen until 1880. lated by A. I. Sheller) and Spring 1829 (in
In German (translated by Oehlensehläger Italian).
himself), Hamburg 22 Mareh 1816; Cassel28 July WARSAW 17 Mareh 1824 (in Polish, translated by
1819 (as Die Bt/r.~ Rache/aup); Leipzig 4 Septem- L. Osmski).
ber 1822; Riga 1822; ßreslau 26 February 1823. STOCKHOLM 21 April 1824 (in Swedish, translated
by]. E. Remmer).
BASTIA, CORSICA Carnival 1825 (in Italian).
POISSL: Athalia
BERLIN, KGST. I March 1826 (in German, trans-
3 ]II/lC. Munieh lated by K. von Holtei) and 18 September 1841
Text by]. G. Wohlbrüek (founded on Raeine's (in ItaIian).
tragedy). Thrcc aets. NEW YORK 14 Mareh 1826 (in Italian; revived I S
StLlttgart 21 May 181); Frankfort 17 Septem- Deeember 1840).
ber 1815; Prague 21 May 1816; Berlin 25 Feb- EDINBURGH 19 Deeember 1827 (in Italian).
ruary 1817, ete. Revived Munieh 5 Deeember DUllLlN 7 Oetober 1834 (in Italian).
1828. BUCHAREST Carnival 1847 (in Italian).

G UHR: Die Vestalin ISOU ARD: Jeamtol et Colin

3 ]Iwe. Cassel 17 Octaber. Paris, O.c.
Text:]. von Seyfried's German version ofEtienne Text by C. G. Etienne. Three aets.
de Jouy's Freneh libretto (see 1807). Three aets. Revived Paris, O.c. 17 June 1850 and 12 Octo-
Guhr's only opera; given at Cassel until 1821. her 1857.
18 14-1S ANNALS OF OPERA 181S

In French also, Brussels 7 December 181S; New In Russian (translated by N. V. Vsevolozhsky),

York 10 August 1827. St. Petersburg IS December 1817.
In German (translated by 1. F. Castelli), For a Swedish version of the libretto, see 1821.
Vienna 9 November 181S; Brünn 13 August
1817; Breslau 1817; Berlin 3 August 1821. K. KREUTZER: Die Alpenhütte
In Polish (translated by W. Boguslawski),
1 March. Stuttgart
Warsaw 1817.
Text by A. von Kotzebue. One act.
In Danish (translated by N. T. Bruun), Co-
The most popular of Kreutzcr's early works.
penhagen 6 October 1818.
Given also at Würzburg 27 April 181S; Frankfort
I I May 181 S; Donaueschingen 4 November
DRIEBERG: Der Sänger und 1819; Munich 2S August 1820; Vienna, Kä. 27
der Schneider July 1822, etc. Revived Freiburg 23 November
23 November. Berlin, O. 193 0.
Text: a German version (by the composer?) of
Villiers's and Gouffe's French libretto (see 1804). POl S S L: Der Wettkampf zu Olympia
One act. oder Die Freunde
Drieberg' s most successful work; given on Ger- 21 April. Munich
man stages until after 18so. Beme 19 February
Text by the composer (after Metastasio's Olim-
1823; Vienna, W. 20 July 1824; Gothcnburg piade). Three acts.
6 December 1832 (in German); Basle 23 Novem-
Stuttgart 3 November 181S; Darmstadt 14July
ber 1836; Agram 13 July 1839. 1816; Dresden 16 March 1820, etc.

KURPINSKI: Jadwiga,
COCCIA: Clotilda
Kr610wa Polska 8June. Venice, S. Ben
(Jadviga, Queen of Poland) Text by G. Rossi (founded on a French melo-
23 Dceember. Warsaw drama by 1. C. Caigniez). Two acts.
Text by J. U. Niemcewicz. Three acts. Coccia's most successful work; in Italy until
Successful on Polish stages. Wilna I November about 1860. Given at Turin Spring 1822 as La
1816, etc. Revived at Warsaw as late as October Foresta d'Hermannstadt.
1907· In Italian also, Lisbon 1818; Barcelona 19 Au-
gust 1819; Munich IS November 1819; Oporto
181 5 1820; Paris 20 May 1821; Dresden S January
1822; Palma, Mallorca Spring 1826; Mexico
CATR UFO: Felide Oll La jeune 1832; Odessa Summer 1839.
Fille romanesque
28 February. Paris, O.c.
R 0 S S I NI: Elisabetta Regina
Text by E. Mercier-Dupaty. Three acts. d' Inghilterra*
The most successful work of Catrufo, who 4 Oetober. Naples, S.c.
began as a composer ofItalian operas at Malta and Text by G. Schmidt. Two acts.
ended as a singing teachcr in London. Given at Venice December 1831 as I Paggi de
Given in Paris until I 82S; in French also, Beme Leiccster.
24 February 1819. Outside ltaly, given at Barcelona 27 August
In Polish (translated by Lipinski), Warsaw 1817; Dresden 24January 1818; London 30 April
1816. 1818; Munich 22 May 1818; Lisbon I I December
18 1 5 ANNALS OF OPERA 1815-16

1820; Paris 10 March 1822; Vienna, Kä. 30 May ROSSINI: Torvaldo e Dorliska
1822; Odessa 1830; Mexico 1834.
26 December. Rome, Valle
In German, Vienna, W. 3 September 1818;
Brünn 19 October 1818; FrankfortJanuary 1819; Text by C. Sterbini. Two acts.
Budapest 1 March 1819; Amsterdam Summer Given in Italy until 1840. Outside Italy: Bar-
1819; Graz 29 November 1819; Berlin 4 June celona 10 May 1818; Munich February 1820; Lis-
1824. Last recorded production, Würzburg 18 bon 7 August 1820; Paris 21 November 1820;
March 1841. Moscow 19 November 1825; St. Petersburg
In Russian (translated by A. I. Sheller), St. Spring 1829; Mexico 12 September 1831; Malta
Petersburg 27 April 1820. 1837; Ajaccio, Corsica December 1840; Oran,
Overture and fmale of this opera were taken Algeria Auturnn 1842.
from Aureliano in Pall1lira (1813). In German (translated by F. von Biedenfeld),
Vienna, W. 20 August 1821; Budapest 3 Decem-
ber 182 I ; Graz 4 December 1822; Prague 18 Feb-
CA V 0 S: Ivan Susanin ruary 1823; Frankfort August 1824; Berhn, Kgst.
I1saHh CycaHHHh 17 January 1829.
31 Oetober. St. Petersburg In Spanish, Madrid 23 June 1824.
Text by Prince A. A. Shakhovskoy. Two acts.
Moscow 14 January 1822. Revived at St. Pe-
tersburg in 1852. r8r6
Cavos's best work; regarded for 20 years as a
model of Russian national opera. When it was GENERALI: I Baccanti di Roma
replaced in 1836 by Glinka's Life for Ihe Czar 14January. Venice, F.
(dealing with the same subject) Cavos said (ac-
Text by G. Rossi. Two acts.
cording to Y. K. Amold): "Les vieux doivent
toujours ceder la place aux plus jeunes. E poi-Ia Milan, Sc. 29 January 1825, etc. Mostly given
sua musica e effettivamente migliore della mia, e as I Baccanali di ROl1la.
tante piu che dimostra un carattere veramente In Italian also, Trieste Spring 1816; Lisbon Sep-
nazionaIe" . tember 1823; Corfu Carnival 1827; Prague 12
July 1827; Barcelona 10 November 1827; Havana
Carnival 1840.
B 0 C H S A: La LeUre de Change Performed as an oratorio, Ozia, Florence 14
11 December. Paris,O.C. February 1836.
In German, Munich 23 March 1817; Darm-
Text by F. A. E. de Planard. One act.
stadt 25 August 1818; Vienna, W. I2June 1820;
;Bochsa's most successful work. Given in Paris Budapest 20January 1823.
unti11837-
In French also, Brussels 21 November 1816
(revived 25 February 1848); Beme 18 January WEYSE: Ludlams Hule
1819; Vienna 29 July 1826; New York 20 July (The Cave of Adullam)
1827. Revived as late as 1867-68 at Ghent.
30 January. Copenhagen
In German, Vienna 19 April 1819.
In English, London, Ly. 29June 1820 and Dub- Text by A. G. Oehlenschläger. Four acts.
!in 6 February 1821 (as Thc Prol1lissory Note, trans- Given at Copenhagen until 1861. An anony-
lated by S. Beazley?). mous German translation was published in
In Russian, St. Petersburg 30 September 1824. 1816.
1816 ANNALS OF OPERA 1816

ROSSINI: Almaviva 0 siaL'Inutile KRONSTADT AND HERMANNSTADT May 1821 (in

Italian).
Precauzione*
MADRID 25 August 1821 (in Italian) and 1 Oeto-
20 Febmary. Rome, Arg. ber 1824 (in Spanish).
Text by C. Sterbini (founded on Beaumarehais's ODESSA 3 I August 182I (in Italian).

Le Barbier de Seville). Two aets. LYONS 19 September 1821 (for the first time in

The title, 11 Barbiere di Siviglia, was first used at Freneh, translated by F. H. J. Castil-Blaze;
the T. Contavalli, Bologna 10 August 1816. First "d'apres Beaumarchais et le drame italien, pa-
produeed at Rome 20 February 1816 (not 26 De- roles ajustees sur la musique de Rossini").
BRUSSELS 3 Oetober 1821 (in Freneh).
eember 1816 as stated by Stendhal, nor 5 February
MARSEILLES 18 Dceember 1821 (in Freneh).
1816 as most books of referenee have it). See for
DUBLIN 7 January 1822 (in English) and 14.0eto-
further details, Music a/ld Letters, Vol. xx, nO.2
ber 1829 (in Italian).
(April 1939).
PHILADELPHIA I Mareh 1822; Baltimore 20 May
Outside Italy, given at:
1822, ete. (in English).
LONDON, HM. 10 Mareh 1818 (not 27 January
BERLIN, 0.18 June 1822 (in German; given there
1818, in Italian) and c.G. 13 Oetober 1818 (in
more than 500 times until 1937) and Kgst. 8
English, translated by J. Faweett and D. Terry,
May 1841 (in Italian).
musie arranged by Bishop).
ROTTERDAM 1822 (in Freneh).
BARCELONA 16 July 1818 (in Italian).
STRASBOURG 1822 (in Freneh).
MUNICH I January 1819 (in Italian).
COPENHAGEN 14 September 1822 (in Danish,
LISBON Camival 1819 (in Italian).
translated by T. Thaarup) and 10 May 1825
NEW YORK 3 May 1819 (in English; most probably (in German) ; given in a new Danish version
the c.G. version); 29 November 1825 (in by N. C. L. Abrahams 4 Mareh 1846.
Italian, at the opening ofGareia's first Ameriean ST. PETERSBURG 9 Deeember 1822 (in Russian,
season; first Italian opera ever given in New translated by R. M. Zotov); 1823 (in Ger-
York); 19 Oetober 1831 (in Freneh); and 4 man); 29 January 1829 (in Italian); revived
Deeember 1863 (in German). Leningrad 6 Mareh 1918.
GRAZ 27 May 1819 (for the first time in German, RIGA 1823 (in German) and II February 1922 (in
translated by 1. C. Kollmann). Lettish, translated by P. Lieit).
VIENNA, W. 28 September 1819 (in German); Kä. AMSTERDAM Oetober 1823 (in German); Spring
16 Deeember 1820 (in German) and 14 April 1825 (in Duteh); 1834 (in Freneh).
1823 (in Italian). EDINBURGH 21 June 1824 (in English) and 13 De-
PARIS, TH. I. 26 Oetober 1819 (in Italian; trus date eember 1827 (in Italian).
is unanimously given by all authorities while PRESSBURG 14 April 1825 (in German).
the printed libretto has the date of 23 Septem- BUENOS AIRES 3 Oetober 1825 (in Italian; first
ber 1819); in Castil-Blaze's Freneh version (see Italian opera ever given there).
below, under Lyons) produeed at the Odeon STOCKHOLM 25 Oetober 1825 (in Swedish, trans-
6 May 1824; T.L. 28 September 1851; Athenee lated by B. H. Crusell) and 1848 (in Italian).
3 November 1871; O.c. 8 November 1884. WARSAW 29 Oetober 1825 (in Polish, translated
PRAGUE 29 September 1820 (in German) ; 2 Feb- by W. Boguslawski) and Summer 1843 (in
ruary 1825 (in Czeeh, translated by S. K. Italian) ; Wilna 6 November 1827 (in Polish).
Maehacek); and 5 July 1843 (in Italian). MEXICO 23 February 1826 (in Spanish) and 29
BRUNSWICK 3 Oetober 1820 (for the first time in June 1827 (in Italian).
Northem Germany). CLAUSENBURG 3 February 1827 (in Hungarian,
BRÜNN 18 Deeember 1820 (in German). translated by J. Szerdahelyi).

644
1816 ANNALS OF OPERA

BUDAPEST 27 Oetober 1827 (in Hungarian; earlier LJUBLJANA 1905 (in Slovenian).
given there in German); Oetober 1847 (in SHANGHAI 1918 (in Russian).
ItaIian). BELGRADE 1920 (in Serbian).
HA VA NA 1828 (in Italian). SOFIA 29 Dccember 1922 (in Bulgarian).
SANTIAGO, CHILE Summer 1R30 (in Italian). TALLINN 1923 (in Estonian).
BERNE 27 July 1830 (in ItaIian); Geneva 16 No- KAUNAS 12 April 1924 (in Lithuanian).
vember 1831 (in Freneh); Lugano 1832 (in JERUSALEM 23 February 1927 (in Hebrew, trans-
Italian); BasIc 28 November 1834 (in German). lated by M. Freidmann).
CAGLIARI, SARDINIA Camival 1831 (in Italian). RABAT, MOROCCO May 1935 (in Freneh).
CORFU Autumn 1g33 (in Italian).
BASTlA, CORSICA Autumn 1933 (in Italian).
BOIELDIEU: La Fete du Village voisin
BUCHAREST 20 February 1834 (in German) ; Au-
t\1mn 1843 (in Italian); Oetober 1922 (in 5 March. Paris, O.c.
Rumanian). Text by C. A. B. Sewrin. Thrcc aets.
ATHENS August 1837 (in Italian; first Italian Very successful in Paris; last revived at the
opera there). F.P. II November 1868; at the o.c. 15 Janllary
HELSINKI Summer 1839 (in German) and 29 Sep- 1877; at the Galerie Vivienne 16 December 1895.
tember 1874 (in Finnish, translated by A. In French also, Ghent 3I July 1816; Brussels 27
Tömeroos). December 1816 (revived 6January 1883); Beme
ALGIERS Camival 1840 (in Italian). 6 March 1819; New York 16 July 1827; Florence
CONSTANTINOPLE December 1841 (in Italian). April 1839 (by amateurs at Prince Poniatow-
GUAYAQUlL, ECUADOR Spring 1843 (in Italian). sky's).
MALTA 1843 (in Italian). In German, Vienna 5 May 1817 (translated by
GHENT 19 May 1844 (in Flemish). l. F. Castelli); Berlin 28 Oetober 1817 (translat-
TRINIDAD Autumn 1844 (in Italian). cd by May); Budapest 10 May 1819.
BAHIA, BRAZIL June 1845 (in Italian). In Russian (translated by D. N. Barkov), St.
RIO DE JANEIRO Autumn 1846 (in Freneh) and Petersburg 2 March 1818.
about the same time in Italian. In Danish (translated by N. T. Brunn), Co-
SMYRNA Autumn 1847 (in Italian). penhagen 7 September 1821.
CHRISTIANIA (OSLO) August 1849 (in Italian) and
3 May 1913 (in Norwegian). ISOUARD: Les deux Maris
MELBOURNE 1856 (in English, translated by J. W.
18 March. Paris, O.c.
Mould).
BOGOTA, COLUMBIA 18 July 1858 (in Spanish). Text by C. G. Etienne. One act.
PORT LOUIS, MAURITIUS 1 Oetober 1860 (in In French also, Ghent 9 J une 1816, etc.
Freneh). In German (transbted by l. F. Castelli), Berlin
BATAVIA II September 1863 (in Freneh). 8 January 1819; Vienna 30July 1819·
QUEBEC 10 June 1864 (in ItaIian); see F. E. O.
Monek, My Calladian Leal'es, p.3 I. SCHALL: De tre Galninger eller
CAIRO Deeember 1869 (in Italian).
Kunster og Munterhed
ZAGREB 2 Deeembcr 1874 (in Croatian, translat-
cd by A. M. Bisean). 19 March. Copenhagen
CAPE TOWN 1875 (in Italian). Text by N. T. Bruun (founded on a French play
TIFLIS 1876 (in Italian). by J. H. F. La Marteliere, Les trois Espiegles, ou
KIEV 1876 (in Russian, translated by P. I. Kalash- Les Arts de la Folie). Two acrs.
nikov). Schall' s last opera.
1816 ANNALS OF OPERA 1816
LEBRUN: Le Rossignol SPOHR: Faust*
23 April. Paris, O. 1 September. Prague
Text by C. G. Etienne. One act. Text by J. K. Bemard. Two acts.
Very successful on French stages; given in Apart from Jessonda, Spohr's chief work. It
Paris until 1852 (looth 'performance 30 June had been written for the Theater an der Wien,
1820); Brussels 15 November 1816 (revived 20 Vienna (where Spohr was conductor from 1813-
December 1845); given at Ghent until 1872. 16) but was not given there before 1818 (only
In French also, New York 26 August 1833; the overture was played at a Vienna concert on
London, D.L. 18 July 1846. II December 1814).
In English, London, Princess's Th. 24 April After Prague (where Weber conducted the
1848 (music adapted by Loder). first performance), Faust was given at Frankfort
This opera was famous for its flute solos (HLe 15 March 1818; Vienna, W. 7 July 1818 (Kä.
Rossignol") played by the virtuoso, Jean Louis 7 August 1827); Budapest 19 November 1821;
Tulou. It was during a performance of Le Rossi- Königsberg 1825; Munich 1826; Berlin 14 No-
gnol (13 February 1820) that the Duke of Berry vember 1829.
was assassinated at the Opera. In German also, Paris, Th.I. 20 April 1830;
Amsterdam 1834; St. Petersburg December
CARAFA: Gabriella di Vergy 1839; London, Prince's Th. 21 May 1840.
3 July. Naples, Fondo In Czech (translated by S. K. Machacek),
Text by A. L. Tottola. Two acts. Prague 2 February 1833.
The best of Carafa's Italian operas. In French (translated by Clerisseau and D. E.
Outside Italy, given at Vienna I April 1824 de Groot), Marseilles 10 March 1837.
and Barcelona 7 September 1829. In Italian (translated by S. M. Maggioni), Lon-
don, C.G. 15 July 1852; this new version, for
HOFFMANN: Undine* which the composer had added recitatives, was
then produced in German at Munich 12 June
3 August. Berlin, Sch.
1853; Cassel 8 April 1854; Carlsruhe I March
Text by F. de La Motte Fouque (founded on his 1860; Dresden 5 October 1860.
own tale of the same tide). Three acts.
English vocal score (translated by J. W. Mould)
The chief musical work of the German novel- published 1852.
ist and composer; given in Berlin 14 times until The opera was revived at Brunswick 10 April
27 July 1817 when the destruction of the theatre 193 I (revised by W. Kleefeld).
by fire interrupted the course of performances.
Apart from a production at Prague in Spring
1821, which was a complete failure, Hoffmann's MEHUL: La Journee aux Aventures
opera was not revived until a hundred years later, 16 November. Paris,O.C.
at Aachen 30 June 1922 (libretto revised by H. Text by P. A. Capelle and L. Mezieres-Miot.
von Wolzogen); Bamberg 24 January 1926; and Three acts.
again Leipzig 14 October 1933. The vocal score In Paris given until 1826; in French also, Liege
was first published in 1908. (edited by H. pfitz- 22 March 1817; Antwerp 23 March 1817; Brus-
ner). sels 27Novemben817; Berne 15 March 1819,etc.
See on Undine, C. M. von Weber's article in In German (translated by T. Hell), Breslau
A.M.Z., March 19, 1817. September 1817; Vienna 11 April 1818; Ham-
(For a new setting of Fouque's libretto, see burg 26 July 1826; Berlin 9 December 1839.
1845; for Lortzing's opera on the same subject, In Russian, St. Petersburg 31 May 1819; Mos-
see 1846.) cow 3 February 1820.
1816 ANNALS OF OPERA 1816-17

In Danish (translated by C. J. Boye), Copen- BUENOS AIRES 22 August 1827 (in Italian).
hagen 7 September 1824· WARSAW 14 June 1828 (in Polish, translated by
D. Minasowicz) and Summer 1843 (in Italian).
ROSSINI: Otello ossia 11 Moro ST. PETERSBURG February 1829 (in Italian), 1835
di Venezia* (in German) and 26 October 1860 (in Russian).
4 Decenzber. Naples, Fondo EDINBURGH II December 1832 (in Italian).
Text by Marchese F. Berio di Salsa (after Shake- BUCHAREST 28 February 1834 (in German).
speare). 'Three acts. DUBLIN 23 September 1834 (in Italian).
Very successful in and outside Italy. First pro- BASLE 12 October 1835 (in German).
duced at: BRUSSELS 6 March 1839 (new French version by
MUNICH 13 September 1818 (in Italian) and 182I J. Lecomte and C. Bosselet).
(in German). AJACCIO, CORSICA Carnival 1840 (in Italian).
VIENNA, w. 19 January 1819 (in German, trans- COPENHAGEN Summer 1841 (in German) and
lated by F. von Biedenfeld); Kä. 29 April 1819 November 1841 (in Italian).
(in German, translated by J. C. Grünbaum) HELSINKI 17 October 1841 (in German).
and 13 March 1823 (in Italian). TRINIDAD Autumn 1844 (in Italian).
PRAGUE 25 April 1819 (in German) and 30 No- PARIS, O. 2 September 1844 (in a third French
vember 1825 (in Czech, translated by S. K. version by A. Royer and G. Vaez).
Machacek). BRUSSELS 23 December 1846 (French version by
GRAZ 3 November 1819 (in German). A. Royer and G. Vaez).
BUDAPEST 1819 (in German) and 19 November NEW ORLEANS February 1848
1827 (in Hungarian). RIO DE JANEIRO 6 August 1855 (in Italian).
LISBON 1820 (in Italian). GOTHENBURG 28 April 1862 (in German).
LEIPZIG 21 March 1820 (in German, Grünbaum's VALPARAISO 1868 (in Italian).
translation) . There were revivals (in Italian) at Cairo 2
FRANKFORT 9 April 1820 (in German, Grünbaum's November 1876; Madrid 26 February 1878;
translation) . Vienna 29 April 1878; Berlin, Kroll's 26 October
BERLIN, o. 16 January 1821 (in German) and 1878; Rome, C. 19 December 1880.
Kgst. 15 October 1841 (in Italian). Seven years later (1887) Verdi's Otello came
BARCELONA 10 May 1821 (in Italian). out and Rossini's opera fell into oblivion alto-
PARIS, TH. 1. 5 June 1821 (in Italian); for produc- gether, apart from two German revivals of the
tions in French, see below. oldcr opera at Praguc 3 June 1889 and Berlin,
LONDON, HM. 16 May 'I 822 (in Italian) and Prin- Kroll's 26 August 1889.
cess' s 21 March 1844 (in English, translated by
G. Soane).
RIGA 1823 (in German). 181 7
AMSTERDAM 1 November 1823 (in German);
1835 (in French); Autumn 1844 (in Italian). P. C. G UGLIELMI: Paolo e Virginia
LYONS 1 December 1823 (in French, translated
2 January. Naplcs, Fior.
by F. H. J. Castil-Blaze).
BRUSSELS 23 March 1824 (in French, translated Tcxt by G. M. Diodati (founded on Saint-Pü;rre's
by F. H. J. Castil-Blaze). story). Three acts.
PARIS, ODEON 25 July 1825 (in French, translated The last and most successful of the 42 operas
by F. H. J. Castil-Blaze). of the younger Guglielmi.
NEW YORK 7 February 1826 (in Italian). Last revived in Italy: Milan 3 January 1830
MEXICO 22 January 182~ (in Spanish). and Naples March 1832.

649 65 0
1817 ANNALS OF OPERA 18 1 7

Outside Italy given at Dresden 29 April 1818 SANTIAGO, CHILE Summer 1830 (in Italian).
(libretto revised by Celani); Munieh 26 April LIVERPOOL 1831 (in Italian).
1820; Odessa Oetober 1821; Barcelona 18 June BUCHAREST c. January 1834- (in German).
1823· CALCUTTA November 1834- (in Italian).
MALTA r835 (in Italian).
La Cenerento la ossia
R 0 S S I NI: MENTONE Spring 1835 (in Italian, first opera there).

La Bonta in Trionfo* AJACCIO, CORSICA Autumn 1835 (in Italian, at

the inauguration of the theatre there).
25}atlUary. Rome, VaUe
DUBLIN 3 Janlllry 1837 (in Italian).
Text by J. Ferretti (founded on Eticnne's Freneh
ALGIERS Carnival 1839 (in Italian).
libretto, see 1810). Two aets.
BRUSSELS Ma)' 1841 (in Italian) and 30 January
Very sueeessful aU over Italy; also given at:
1869 (in Freneh, translated by 1. E. Crevel de
BARCELONA 15 April 1818 (in Italian).
Charlemagne).
MUNICH 30 August 1818 (in Italian).
CEPHALONIA 6 November 184-1 (in Italian).
LONDON, HM. 8 January 1820 (in Italian) and
CONSTANTINOPLE Carnival 184-3 (in Italian).
C.G. 13 April 1830 (in English, as Cinderella;
SYDNEY 12 February 184-4- (in English, translated
or The Fairy Queen and the Glass Slipper, adapt-
by R. Thompson; first opera ever produeed
cd by M. R. Laey; this version also Edinburgh
in Australia).
7 February 1831; Dublin 1831, cte.); another,
COPENHAGEN Carnival 184-6 (in Italian).
anonymous, adaptation was givcn at D.L. 9
ATHENS Autumn 1852.
January 1837.
PRAGUE 4- Fcbruary 1870 (in Czceh, translated by
VIENNA, W. 29 August 1820 (in German, trans-
J. V. Stulc).
lated by F. von Biedenfeld); Kä. 30 March
A Greek translation by F. Crispi was published
1822 (in German; Rossini eondueting) and 17
at Patras in 1879.
May 1823 (in Italian).
Revivals:
BUDAPEST 30 Oetober 1820 (in Gcrman).
LONDON, SHAFTESBURY TH. 20 Oetober 1891 (in
LISBON 27 April 1821 (in ltalian). Italian).
HERMANNSTADT AND KRONSTADT Summer 1821 LIVERPOOL 11 May 1891 (in English, Laey' s ver-
(in Italian). sion revised by T. Robertson).
PARIS 8 Junc 1822 (in Italian). LONDON, GRAND (ISLINGTON) 3 Oetober 1892 (in
AMSTERDAM 5 February 1824- (in German, trans- English, Laey's versionrevised byT. Robertson).
Iated by J. H. Dessaur). In Spanish (translated by Guillermo Perdn y
CORFU Autumn 1824- (in Italian). Vico and Miguel de Palacios Brugeras, musie
BERLIN, KGST. 20 Oetober 1825 (in German, adapted by Ger6nimo Gimenez) Madrid 23 Feb-
translated by K. von Holtei) and 29 Deeember ruary 1916.
184-1 (in Italian). In Italian: Pesaro 29 February 1920; Rome 9
MOSCOW 5 November 1825 (in Italian). March 1920; Paris, Ch. E. 30 May 1929; Florenee
BUENOS AIRES 4- May 1826 (in Italian). 23 May 1933; London, c.G. 12 June 1934;
NEW YORK 27 June 1826 (in Italian) and 24- Jan- Milan, Sc. 27 January 1937; Buenos Aires 6 June
uary 1831 (in English, the London c.G. ver- 1939·
sion). In German (as Atlgeli/la, new German trans-
MEXICO August 1828 (in Italian). lation by H. Röhr), Hamburg 16 May 1929;
ST. PETERSBURG February 1829 (in Italian) and Zurich Autumn 1929; Vicnna 25 June 1930;
1831 (in Russian). Praguc September 1930; Berlin 26 April 1931.
RIO DE JANEIRO 9 July 1829 (in Italian). In Czeeh, Prague 27 February 1932.
WARSAW 29 August 1829 (in Polish). In Slovenian, Ljubljana 12 Oetober 1935.

65 1 652
181 7 ANNALS OF OPERA 1817

HEROLD: Les Rosieres ROSSINI: La Gazza Ladra*

27 January. Paris, O.C.
31 May. Milan, Se.
Text by G. Gherardini (founded on the Freneh
Text by E. G. M~ Theaulon de Lambert. Three
melodrama La Pie voleuse, by J. M. T. Baudouin
acts.
d' Aubigny and L. C. Caigniez). Two acts.
The best ofHerold's early operas. Given at the Outside Italy produeed at:
O.C. until 1826; revived Th. L. 5 June 1860 and
MUNICH November 1817 (in Italian) and 1826
F.P. 23 Oetober 1866. (in German).
In Freneh also, Antwerp 30 June 1817; Brus- GRAZ 6 January 1819 (in German).
sels 17 July 1817, ete.
VIENNA, w. 3 May 1819 and Kä. 5 July 1820 (in
In German (translated by A. von Kötzebue),
German, translated by J. von Seyfried; in
Frankfort Summer 1818, ete. rtalian 21 June 1822).
In Danish (translated by N. T. Bruun) , Co-
BUDAPEST 22 November 1819 (in German) and
penhagen 10 September 1819. 18 Deeember 1827 (in Hungarian).
In Russian (translated by A. 1. Sheller), St.
BARCELONA 2 Deeember 1819 (in Italian).
Petersburg 22 June 1820. BRÜNN 24 Mareh 1820 (in German).
USBON 21 August 1820 (in Italian).
WINTER: Maometto II HANOVER 29 Oetober 1820 (in German).
AMSTERDAM 1820 (in German).
28 January. Milan, Se.
ST. PETERSBURG 7 February 1821 (in Russian,
Text by F. Romani. Two aets.
translated by 1. N. Sviehinsky) and February
In Italian also, Naples, S.C. Summer 1818; 1829 (in Italian).
Dresden 10 Oetober 1818; in German (translat- LONDON, HM. 10 Mareh 1821 (in Italian); C.G.
ed by"K. Reger), Munieh 28 Mareh 1819; Darm- 4 February 1830 (in English, translated by E.
stadt II Mareh 1821. Revived Milan, Se. 24 Fitzball, as Ninetta; or, The Maid of Palaiseau,
January 1826. musie adapted by Bishop); revived with altera-
tions D.L. 13 Oetober 1838, as The Maid of
KUHLAU: Trylleharpen Palaiseau.
(The Magie Harp) MADRID 30 May 1821 (in Italian) and 20 January
1825 (in Spanish). ....
30 January. Copenhagen
PARIS, TH. 1. 18 September 1821 (in Italian) and
Text by J. I. Baggesen. Two aets. Failure. Odeon 2 August 1824 (in Freneh).
BERLIN II April 1822 (in eoneert form) and 31

CATEL: Wallace, ouLe December 1824 (on the stage, in German);

Menestrel ecossais Kgst. 13 December 1846 (in Italian).
DUBLIN 6 July 1822 (in an English adaptation,
24 March. Paris, O.c. Annette, music arranged by C. E. Horn) and
Text by J. V. Fontanes de Saint-Mareellin. Three Autumn 1829 (in Italian). ,
aets. ULLE 15 October 1822 (in French, translated by
Catel'5 last sueeess. F. H. J. Castil-Blaze).
Antwerp 7 Aprih818; Brussels 13 April 1818, BRUSSELS 27 November 1822 (in Freneh, trans-
ete. Revived Paris O.C. 4 December 1844 (lib- lated by F. H. J. Castil-Blaze).
retto revised by J. H. Vernoy de Saint-Georges, CLAUSENBURG 23 December 1822 (in Hungarian,
musie arranged by Boulanger). translated by E. PaIy).
In Russian (translated by D. N. Barkov), St. COPENHAGEN 19 February 1824 (in Danish, trans-
Petersburg 24January 1821. Iated by N. T. Bruun).
M 654
1817 ANNALS OF OPERA 181 7
WARSAW 22 February 1825 (in Polish, translated tion at Padua, given by Fetis, Clcmcnt-Larousse,
by L. Osillski, with new reeitatives by Kur- Riemann, ete., is not earreet; sec A. M. Z.,
pillski). Vol. XIX, p.6I2; G. R. Kruse in Zeitschr~ft für
RIGA 1825 (in German). Musikwissenschaft, Vol. I, p.404, while rectifying
MEXICO 13 September 1825 (in Spanish) and 1833 the year, gives the wrong month instead.)
(in Italian).
PHILADELPHIA Oetober 1827 (in Freneh). HEROLD: La Clochette Oll
EDINBURGH 10 January 1828 (in Italian).
Le Diable Page
BUENOS AIRES 29 November 1828 (in Italian).
180etober. Paris,O.C.
RIO DE ].'\NEIRO 30 June 1830 (in Italian).
SANTIAGO, CHILE 1830 (in Italian).
Text by E. G. M. Thcaulon de Lambert. Three
NEW YORK 28 August 1830 (in Freneh); 18 No-
aets.
Given in Paris until 1827. In French also,
vember 1833 (in Italian); and 14January 1839
(in English). Ghent 9 September 1818; Brussels 27 July 1819,
AGRAM 1831 (in German).
ete.; New York 28 Oetober 1831.
LIMA, PERU 3 November 183 I (in Italian).
In Polish (translated by L. A. Dmuszewski),
DASLE 28 January 1835 (in German); Lugano
Warsaw June 1818; Lemberg 7 January 1822.
In German (translated by G. F. Treitsehke),
1836 (in Italian).
MALTA Autumn 1839 (in Italian).
Leipzig r9 Deeember 1820; Vienna 20 June r821
STOCKHOLM 14 June 1843 (in Swedish, translated
(with two inserted songs by Schubert); Prague
by N. E. W. afWetterstedt). Auturnn 1821; Riga r823; Berlin 27 May 1825;
CONSTANTINOPLE Summer 1845 (in Italian).
Budapest 1826, etc.; in Germany given until
Given in Italy until 1858. Revived Paris, Th. 1846 (Weimar).
L. 23 April 1852 (in Freneh); London, c.G. 26 In Russian (translated by Ksilandr), St. Peters-
May 1860 and 5July 1883 (in Italian); New York burg 20 October 1819; Moseow 22 February
6 February 1872 (in English) and 9 November 1821.
1883 (in Italian). St. Petersburg 2 January 1873 An anonymous Italian translation, Il Campa-
Ilello ovvero Il Diavolo Paggio, was published at
(in Italian); Breslau 24 November 1937 (new
German version by A. Treumann-Mette). Milan as !ate as 1877.

POISSL: Nittetis ROSSINI: Armida*

29 JUlle. Darmstadt
11 November. Naples, S.c.
Text by the composer (after Metastasio). Three
Text by G. Schmidt (after Tasso). Three aets.
aets.
Rather unsuecessful in Italy (last revived
Also given at Munieh 2 January 1818; Berlin
Milan, Sc. 5 November 1836) and never per-
I Deeember 1819, ete.
formed in London (concert performance c.G.
30 January 1822), Paris or New York; in the
MEYERBEER: Romilda e Costanza original Italian, outside Italy only given at Buenos
19 JI/ly. Padua Aires 5 February 1828.
Text by G. Rossi. Two acts. Fairly popular in a German version by J. von
Meyerbeer's first Italian opera. Veniee 8 Oe- Seyfried, Vienna, W. I I December 1821; Buda-
tober 1817, ete. In Italian also, Munieh 8 No- pest I I March 1822; Prague 29 J une 1823; Graz
vember 1822. 18 February 1826; Hamburg 28 December 1827;
In Danish (translated by C. J. Boye and K. L. Berlin, Kgst. 15 November 1832; Bucharest 17
Rahbek), Copenhagen 29 January 1822. August 1834.
(The date of 19 July 1818 for the first produe- In Hungarian, Budapest Spring 1838.

655
 ANNALS OF OPERA 1818

PACINI: Adelaide e Comingio PARIS, O. 26 March 1827 (in Freneh, see above;
given there 187 times until 1865; IOoth per-
30 December. Milan, T. Re
formance 6 August 1838).
Text by G. Rossi (foundcd on a comedy by G. PERUGIA 4 February 1829 (first stage production
A. Gualzctti). Two acts. of the second version in Italy; givcn earlicr in
Pacini's 15th opera and his first greater success. conecrt form Rome 1827. Given at Parma 20
Given at Rome, Ap. 13 April 1819 as Isabella c May 1829 as Mose e Fnraone).
Florange; at Naplcs Summer 1819 as Adelaide ST. PETERSBURG Spring 1829 (as Pietro I'Eremita,
maritata e Co.ningio Pittore. first version) and 31 Dceembcr 1853 (as Zora,
In Italian also, Barcelona 25 September 1822 seeond version).
(as Comingio Pittore); Madrid 18 May 1823' HAMBURG 24 March 183 I (first production of the
Oporto 1825; Bernc November 1830; Mexico second version i.l German).
1835· ZURICH 19 April 1831 (in concert form).
In German, Munich 12 October 1820. VIENNA I June 1831 (in German) and 4 April
1836 (in Italian).
LONDON, C.G. 22 February 1833 (this was an
r8r8 English version by M. R. Laey, patched up
from Rossini's opera and Handel's oratorio
ROSSINI: Mose in Egitto*
Israel in Egypt, ealled The Israelitcs in Egypt; or
5 March. Naples, S.c. The Passage of tlie Red Sea; it was also given
Text by A. L. Tottola (azione tragico-sacra). in New York on 31 October 1842, Philadel-
Threc aets. phia 16 Deeember 1842, ete.).
Thc famous prcghicra, Dal tuo stellato sogIio, AGRAM 1833 (in German).
was added at a revival at the same theatre 7 March MEXICO 4 June 1833 (in Italian).
1819. Given in an enlarged Frencl ·aet version HAVANA 1834 (in Italian).

by G. L. Balochi and V. J. Etienne de Jouy, as NEW Y.QRK 2 March 1835 (first version) and 7 May
Moise ct Pharaoll, Oll Le Passage de In Mer Rot/ge, 1860 (second version, both in Italian); 3I Oc-
at the Paris Opera on 26 March 1827. From tober 1842 (in English, see above).
about 1R30 the opera was performcd on Italian CAGLIARI, SARDINIA 30 August 1835 (in ltalian).
stages somctimes in the first, sometimes in the BERLIN, KGST. 15 Oetober 1835 (in Germw) and
seeond version (Mosc Nuo:,o). 18 April 1842 (in Italian).
Given at: BASLE 22 April 1836 (in German).
BC'DAPEST 18 Deeember 1820 (for the first time ALGIERS Carnival 1840 (in Italian).
in German, as Elzia IlIld Osiride, translated by LIEGE 18 May 1842 (in German).
A. Feszteties). COPENHAGEN 20 September 1843 (in Danish,
VIEJIINA, W. 28 March 1821 (in German, translat- translated by N.C. L. Abrahams).
ed by J. von Seyfricd) and Kä. 6 Oetober 1824 CONSTANTINOPLE Spring 1844 (in Italian).
(in Italian). MALTA 1849-50 (in Italian).
FRANKFORT Spring 1822 (in German). LONDON, C.G. 20 April 1850 (as Zora; the seeond
LONDON, HM. 23 April 1822 (in Italian, as Pietro version).
I'Erclllitn). BRUSSELS 23 September 1850 (in Italian).
PARIS, TH. J. 20 Oetober 1822 (in Italian). RIO DE JAJIIEIRO 1858 (in Portuguese, translated
L1SBON 26 February 1823 (in Italian). by L. V. de Simoni).
PRAGUE 12 April 1823 (in Germ:m). WARSAW 1866 (in Italian).
DRESDEN 22 Oetober I H23 (in Italian). TIFLIS Spring 1868 (in Italian).
BARCELONA 23 June 1825 (in Italian). BUENOS AIR ES 26 Oetober 1870 (in Italian).

65 8
1818 ANNALS OF OPERA 1818

SYDNEY September 1873 (in Italian). MORLACCHI: Gianni di Parigi

KIEV 1877 (in Russian, translated by P. 1. Kalash- 30 May. Milan, Sc.
nikov).
Text by F. Romani (founded on Saint-Just'S
Revived in German: Prague 14 January 1894;
French libretto, see 1812). Two acts.
in Italian: Venice 26 December 1893; Milan, Sc.
In Italian also given at Dresden 17 April 1819;
12 September 1918; Florence 24 April 1935;
Naples, S.c. Spring 1820; Barcelona 5 October
Monte Carlo March 1937; Milan, Sc. 12 April
1825; Rome, T. Valle 10 May r826 (reduced to
1937· 1 act).
lvIase was frequently performed as an oratorio,
Revived Genoa Autumn 1836.
in concert form; by the Societa Filarmonica,
In German (as Die Prinzessin von Navarra),
Rome December 1827 (the Paris version, before
Vienna, W. 25 October 1820.
it was first staged at Perugia); New York 22 De-
ccmber 1832 (at the Masonic Hall; also before
the first stage-production); in London, Exeter MOSEL: Cyrus und Astyages
Hall 24 May 1878 (by the Sacred Harmonic 13 lUlle. Vienna, Kä.
Society under Costa, English version by A. Text by M. von Collin (founded on Metasta-
Matthison) ; at Bradford 30 November 1883 and sio's Ciro riconosciuto). Three acts.
Manchester 6 December 1883 (under Halle). Probably the last German opera which was
An open-air performance, in French, took founded upon a libretto by Metastasio; Poissl's
place at the Roman Theatre, Orange on 12 Au- (see 1814, 1815, 1817) and Mosel's musical
gust 1888. dramas were the last stragglers in the train of
Schweitzer's Alceste (see 1773), before German
ELSNER: Krol Lokietek czyli opera took a new turn after Weber' s Freischütz
Williczanki (see 1821).
(King Wladislaw, or The Vistula Maids)
3 April. Warsaw
Text by L. A. Dmuszewski. Two acts.
BOIELDIEU: Le petit Chaperon rouge
One of the better works of Elsner, who was 30 lune. Paris, O.c.
the teacher of Chopin. Text by E. G. M. Theaulon de Lambert. Three
Lemberg 23 May 1819; Wilna 25 September acts.
1821, etc. Last revived at the O.c. on 2 August 1860.
In French also, Antwerp 8 December 1818;
WEIGL: Nachtigall und Rabe Brussels 27 January 1819; Amsterdam March
20 April. Vienna, Kä. 1819, etc.; New Orleans January I82r; New
Text by G. F. Treitschke (foundcd on Etiennc's Yo~k 3'1" August 1827; Philadelphia Octo.ber
French libretto Le Rossigllo], see r8r6). One act. 1827; Calcutta 19 August r836.
Successfulon German stages: Frankfort Sum- In English (as Rose d'Al1lotlr, or, Little Red
mer r818; Leipzig 31 August 1818; Budapest 4 Ridillg Hat), London, c.G. 3 Dccember 1818;
January 1819; Prague Summer 1819; Berlin 12 another adaptation, by T. H. Reynoldson, was
September 1819; Munich r820. given at the Grecian Th. on 27 April 1844.
In German also, probably St. Petersburg r839. In German (translated by T. Hell), Breslau 24
In English, London, Surrey 8 May r828 (as March r8I9; (translated by G. F. Treitschke),
Die Nachtigall und der Rabe; or Damon and Phyllis). Vienna 27 March 1819; Budapest 5 July 1819;
Revived Vienna, 7 August r836; Munich I (translated by F. S. Krickeberg), Berlin 7 July
December 1866; and lately Hanover Summer 1819; Brünn 15 November 1819; Munich 1819;
r937 (at Herrenhausen Park). Prague Spring 1821; Riga 1822. Last revived,

660
1818 ANNALS OF OPERA 1818-19

Gotha 29 July 1893; Vienna 19 November 1895; Batton' s first and best work. In Frellch also,
Frankfort 27 November 1900. Brussels 7 June 1819.
In Russian (translated by R. M. Zotov), St. In Danish (translated by N. T. B~uun), Co-
Petersburg 28 August 1819; Moscow 21 De- penhagen 10 August 1819.
cember 1820.
In Danish (translated by N. T. Bruun), Co- R 0 S S I NI: Ricciardo e Zoraide
penhagen 29 October 1819.
3 Dccclllber. Naples, S.c.
In Polish (translated by J. F. Kr6likowski),
Text by Marchese F. Derio di S.alsa (follnded on
Warsaw 1820.
the poem Ricciardetto, by N. Forteguerri). Two
In Swedish (translated by C. G. Nordforss),
acts.
Stockholm 22 February 1830.
In Italian also given at Lisbon 13 July 1821;
In Flemish, Ghent I I May 1845.
Vienna 8 July 1822 (rcduccd to 1 act); Madrid
In Czech (translated by P.S.), Prague 12 March
19 November 1822; Dresden 12 April 1823;
18 54.
London 5 June 1823; Paris 25 May 1824; Malta
An Italian vcrsion by C. Bassi was announced
1825; Mexico 7 JlIly 1833. Revived Milan, Sc.
for performance at Milan in 1845 (libretto print-
13 October 1846.
ed) ; not produccd.
In German (trans.!ated by J. C. Griinbaum),
Vienna 3 October 1819; Stuttgart 1820; Buda-
GYROWETZ: Ilfinto Stanislao pest 1820; Munich 19 August 1821; Graz 6 No-
5 August. Milan, Sc. vember 1823, etc.
Text by F. Romani. Two acts.
(Verdi used the same libretto 22 years later.)
The only opera the Viennese composer wrote r8r9
for Italy.
F. BASILJ: GI' Illinesi
PACINI: Il Barone di Dolsheim 26 Ja/mary. Milan, Sc.
Text by F. Romani. Two acts.
23 September. Milan, Sc.
Thc best of Basilj's comic operas.
Text by F. Romani (founded on a novcl by Given at Rome 29 January 1820 as lsaura c
Pigault-Lebrun). Two acts. Ricciardo. Romani is mentioned as the author in
In Italy given until 1840, sometimes as Fede- the original libretto ; sec the bibliographieSby L.
rieo II Re di Prussia or as Il Barone di Felehcim. Lianovosani (1878), nO.22, and by G. Bustico
In Italian also, Munich 15 October 1819 (as
(R.M.I., 1917), no.26. But according to A. Ca-
La Colpa emClldata dal Valore); Barcelona 7 Sep- metti (La Musica Tcatrale aRoma Cellto Amli Ja,
tember 1820; London 22 January 1822; Madrid
1931) the text was written by C. Sterbini.
17 August 1822; Lisbon 20 August 1824; Bastia,
Corsica Autumn 1833; probably also Mexico
HEROLD: Les Troqueurs
(undated libretto printed).
In German, Vienna, W. 6 December 1821. 18 February. Paris,O.C.
In Spanish, Madrid 22 July 1824. Text by F. V. A. and L. C. A. d' Artois de Bour-
nonvillc (founded on Vade's libretto, see 1753).
One act.
BATTON: La Fenetre secrete Oll
Given in Paris until 1825; Brussels 12 Septem-
Une Soiree Ci Madrid ber 1819.
17 November. Paris, O.c. In Polish (translated by L. A. Dmuszewski),
Text by J. Desessarts d'Ambrevilie. Three acts. Warsaw 15 December 1820.

661 662
1819 ANNALS OF OPERA 1819

In German (translated by 1. F. Castelli), Vienna In German (translated by J. von Seyfried),

I May 1820; Berlin, Kgst. 2 July 1825; in a new Budapest 25 October 1820; Vienna, W. 16 Oc-
translation by C. A. L. von Lichtenstein : Berlin, tober 1821; Bucharest November 1830; Graz 21
O. I March 1831. September 1833.
Revived Hanover 19 January 1852 (Germ an
version by E. Pasque, Der Weibertauseh) ; Berlin, KURPINSKI: Zamek na Czorsztynie
Fr. W. 6 November 1880. czyli Bojomir i Wanda
(The Castle of Czorsztyn, or Bogumir
SPOHR: Zemire und Azor and Vanda)
4 April. Frankfort 11 May. Warsaw
Text by J. J. Ihlee (based on Marmontel's lib- Text by J. K. Krasmski. Two acts.
retto, see 1771). Three acts. One of the best works of the Polish composer.
Next to Faust and Jessonda Spohr's most suc- Lemberg 8 November 1819; Cracow 24 August
cessful work. 1820, etc.
In German also, Amsterdam e. January 1820;
Munich 1821; Vienna 20 December 1821, etc. CARNICER: Adele di Lusignano
In French (adapted by H. Brovellio), LilIe 18
15 May. Barcelona, T. Principal
April '1826.
Text by F. Romani (first set to music by Carafa
In Swedish (translated by B. H. Crusell),
Stockholm 1 December 1828. in 1817). Two acts.
In English, London, c.G. 5 April 183 I (as Carnicer's first (Italian) opera.
Azor and Zelllira; or The Magie Rose, translated
by W. Ball, music adapted by G. Smart); also MEYERBEER: Emma di Resburgo
Dublin 1831. 26June. Venice, S. Ben.
Revived (in concert form), Cassel24 February Text by G. Rossi. Two acts.
1862 and Berlin 17 November 1885. Successful in Italy.
In Italian also given Dresden 29 January 1820;
R 0 S S I NI: Eduardo e Cristina Barcelona 31 January 1829.
24 April. Venice, S. Ben.
In German (translated by May), Berlin I I Feb-
ruary 1820; Vienna, W. February 1820; Buda-
Text by G. Schmidt (originally set to music by
pest 20 February 1821; Brünn 19 March 1921,
Pavesi as Odoardo e Cristina and produced at
etc.
Naples, S.c. I Pecember 1810); altered for
In Polish (translated by K. Godebski), Warsaw
Rossini by A. L. Tottola and G. Bevilacqua-
6 April 1821.
Aldovrandini. Two acts.
A great part of the music is taken from earlier
unsuccessful works: 9 numbers co me from Ade- ROSSINI: La Donna del Lago*
[aide di Borgogna (Rome, Arg. 27 December 24 September. Naples, S.c.
1817), 7 from Ermiolle (Nap!es, S.c. 27 March Text by A. L. Tottola (founded on Scott's The
1819), and 3 from Ricciardo e Zoraida (see 1818). Lady of fhe Lake). Two acts.
Outside Italy given at Munich 26 January Very successful in Italy and abroad; given in
1821; Ljubljana May 1821; Lisbon 13 December London unti! 1851; in Paris unti! 1854; at Trieste
1822; Vienna 4 May 1824; Barcelona 10 N ovem- as late as in Autumn 1860.
ber 1824; Corfu Autumn 1824; Santiago, Chile The first performances were at:
1830; St. Petersburg 1831; New York 25 No- DRESDEN 29 September 1821 (in Italian).
vember 1834. MUNICH 8 December 1821 (in Italian).

663
 ANNALS OF OPERA 1819-20

LISBON 22 January 1822 (in Italian). In Italian also, Barcelona 23 August 1821;
VIENNA II Februar)' 1822 (in Gcrm:m, as Das Munich 13 June 1823.
Friillicill 1'(1111 Sec) am! 25 July 1823 (in Italian). In German (as Das Schloss Lowinsky, translated
MALTA 1822 (in Italian). by J. von Scyfricd), Vienna, W. 18 March 1824;
BUDAPEST 2 January IX22 (in German). Stllttgart I<) May 1824; Budapest 12 July 1824;
LONDON, HM. 18 February 1823 (in Italian) and Berlin, Kgst. 3 August 1827 (as KÖllig Stanislalls
D.L. 4 January 1827 am! c.G. 3\ January 1843 oder Wid;·n'c~<;cltllllg).
(in different anonymous Englisb vcrsions, that
at c.G. by M. Lemon, the music adapted SPONTINI: Oli/llpie*
by Tlllly).
22 Deccl/lbcr. Paris, O.
BARCELONA 17 May 1823 (in Italian).
ST. PETERSBURG T824 (in German) and 22 April Text by M. Dieulafoy and C. Brifaut (from
1830 (in Italian). Voltaire's tragedy). Threc acts.
PARIS, TH. I. 7 September 1824 (in ltalian) and Unsuccessful in Paris (given I I times only);
Odeon 3I October 1825 (in French, translated revived after revision 28 February 1826.
by J. B. Viollet d'Epagny and A. Rousse;\l1, In German '(translated by E. T. A. Hoffmann),
music arranged by Lemicre de Corvey). Berlin 14 May 1821 (as the first of his operas
GRAZ 13 September 1824 (in German). Spontini himself conducted there as Prussian
AMSTERDAM 15 Deccmber 1824 (in German) and Generalmusikdirektor); given in Berlin until
before 1834 in Dutch. 1870. In German also Dresden 12 November
BRÜNN 12 March 1827 (in German). 1825 (with additions by Weber); Darmstadt 26
L1FGE 16 April 1827 (in French). December 1858.
COPENHAGEN 29 January 1828 (in Danish, trans- Revived, Rome 12 December 1885 (in concert
Iated by J. L. Heiberg). form by the Socieel Musicale Romana).
NEW YORK 25 August 182<) (in French) and 16
December 1833 (in Italian).
ROSSINI: Bianca e Falliero ossia
STOCKHOLM 5 October 183 I (in Swedish, trans-
lated by J. L. Abergsson). Il Consiglio dei rre
BERLIN 15 October 1831 (in German). 26 December. Milan, Sc.
BRUSSELS 5 March 1832 (in French). Text by F. Romani (from A. Manzoni's tpQgedy,
MEXICO 10 December 1833 (in Italian). 11 Conte di Carmagnola). Two acts.
PHILADELPHIA 21 April 1834 (in ltalian). Given at Lucca Summer 1829 with the sub-
DUBLIN 24 January 1837 (in ltalian). title 11 Foscarini.
HAVANA Carnival 1840 (in ltalian). Outside Italy,Lisbon 3 July 1824; Vienna 19
AJACCIO, CORSICA Autumn 1840 (in ltalian). February 1825; Barcelona 13 January 1830. Last
RIO DE JANEffiO 1843 (in ltalian). revived Cagliari, Sardinia Autumn 1846.
VALPARAISO 1844 (in Italian).

STUNZ: La Rappressaglia 1820

2 Oetober. Milan, Sc.
A UBER: La Bergere Chatelaine
Text by F. Romani (originally callcd Il Contrac-
cambio, first set to music by Cordella and produced 27 Jarlllary. Paris, O.c.
at Rome in Carnival of that year). Two acts. Text by F. A. E. de Planard. Three acts.
The first and most successful opera of the Auber' s first greater success; given in Paris 55
Bavarian composer. times until 1828; Brussels 9 October 1820.

665 666
1820 ANNALS OF OPERA 1820

In German (translated by F. L. Rhode), Frank- OfSchubert's numerous operas, Die Zwillings-

fort 6 May 1821. brüder and Die Zauberhaife (see next entry) are
In Russian, St. Petersburg 10 June 1824. the only two which were produced in his life-
time; several more were given after his death;
Almazinde oder
P I X I S: see 1854 (Alfonso tmd Estrella); 1861 (Die Ver-
Die Höhle Sesam schworenen); 1896 (Der vierjährige Posten); 1897
(Fierrabras); 1918 (Fernando); and 1928 (Die
11 April. Vienna, W.
Freunde von Salamanca).
Text by H. Schmidt (first set to music by Bierey
in 1814). Three acts.
The first opera of the famous pianist; given SC HUB E R T: Die Zauberharfe*
also at Prague May 1820. 19 August. Vienna, W.
Text by G. E. von Hofmann (Zauberspiel mit
WEIGL: Baals Sturz Musik). Three acts.
13 April. Vienna, Kä. The music consisted of two overtures, five
Text by G. E. von Hofmann. Three acts. melodramatic pieces, and six choruses. Schubert
Given at Stuttgart August 1821 as Daniel in introduced one overture from the unsuccessful
der Lö'wengrube, the original tide which the Vien- work later on into Rosamunde, Fürstin VOtl Cypern,
na censor had objected to (see K. Glossy in Jahr- a 4-act play by H. von Chezy (who wrote the
buch der Grillparzer-GesellschaJt, VoL25 (1915), Euryanthe libretto for Weber in 1823); Rosa-
PP.244 f., 317 f. In German also, Budapest No- munde was produced at Vienna, W. 20 Decem-
vember 1821. ber 1823 with incidental music by Schubert (the
"Es ist dies nicht nur die gelungenste Arbeit famous ballets and entr'actes). The Zauberhaife
dieses Komponisten, sondern eines der herrlich- music was revived with A. Wilbrandt's play,
sten Produkte unseres Zeitalters" (A.M.Z., 17 Das Mäorchen vom Untersberg, Vienna 3I May
May 1820). 1884 (adapted by}. N. Fuchs), with Shakespeare's
TwelJth Night, Hamburg 1885 (adapted by H.
F. E. FES CA: Cantemire Kruse) , and with F. Raimund's play, Die gefes-
27 April. Carlsruhe selte Phantasie, Carlsruhe 13 March 1898 (adapted
Text by A. von Dusch. Two acts. by F. Motd), also at Berlin, Sch. 7 October 1921
Fairly successful in Germany; Weber was the and Vienna, B. 12 September 1936.
first to draw attention to Fesca as a gifted com-
poser; see his article in A.M.Z., 19 August 1818. PA C I NI: La Schiava in Bagdad
ossia 11 Papucciajo
SCHUBERT: Die Zwillingsbrüder* 28 Getober. Turin, T. Carignano
14 June. Vienna, Kä. Text by V. Pezzi (who is mentioned in later edi-
Text by G. E. von Hofmann (Posse mit Gesang). tions of the libretto) and not by F. Romani,
One act. to whom it is generally attributed. Römani's
Schubert's first performed work for the stage 11 Califf(1 e la Schiava (first set by Basilj,
(the dates of 14 January 1820 and I I June 1820, Milan, Sc. 21 August 1819) is a different text.
as given in so me books of referenee are not Two aets.
correct). Pacini's opera was given outside Italy at
Revived Vienna 25 January 1882 (revised by Madrid 27 August 1825 (in Spanish) and (in
J. N. Fuchs; again 22 November 1928); Stras- Italian): Barcelona 16 December 1822; London
bourg 4 February 1897; Lauchstedt 26 June 1938 30 December 1826; St. Petersburg Spring 1830;
(by the Leipzig University Collegium Musicum). revived Cagliari. Sardinia November 1839.

667 668
1820 ANNALS OF OPERA

MEYERBEER: Margherita dJAnjou Italian version by G. B. Scotti); Naples, S.c.

14 November. Milan, Sc. 4 October 1828.
GRAZ 2 July 1828 (in German).
Text by F. Romani (founded on a French melo-
DRESDEN 3 January r829 (in Italian).
drama by R. C. G. de Pixerecourt). Two acts.
PARIS, TH. I. 4 February 1829 (in Italian).
In Italian also, Munich February 1822; Dres-
BRÜNN 31 December r829 (in German).
den 20 March 1824; Barcelona IO May 1825;
BERLIN 25 January 1830 (in German).
London 12 January 1828; Madrid 14 March
ST. PETERSBURG 14 February 1830 (in Russian);
1836; Lisbon 22 October 1837.
December 1835 (in German); and Camival
In French (in 3 acts, translated by T. Sauvage,
'music arranged by P. Cremont), Paris, Odeon 1855 (in Italian).
PRAGUB March 1831 (in German) and 3 Decem-
I I March 1826; Brussels 2r December r826;
ber 1843 (in Czech, translated by E. Ujky).
Amsterdam Spring 1835; Hague 25January r839.
VIBNNA 4 July 1831 (in German).
In German, Graz 26 March 183 I ; Berlin, Kgst.
MBXICO 1832 (in Italian).
22 November r 83 r; Prague December 1831;
CORFU Autumn 1833 (in Italian).
Budapest February r832; Laibach 24 Janllary
LONDON, HM. 5 June 1834 (in Italian) and D.L.
1833, etc.
8 November 1836 (in English, translated by
J. R. Planche, musie arranged by T. S. Cooke).
NEW YORK 6 February 1835 (in Italian).
ROSSINI: Maometto II* OPORTO 1837 (in Italian).
3 December. Naples, S.c. ALGIBRS r 840 (in Italian).
Text by C. della Valle, Duke of Ventignano. BASLB 14January 1842 (in German).
Two acts. CONSTANTINOPLB 1844 (in Italian).
This first version was also prodllced at Vienna COPBNHAGBN 28 Oetober r845 (in Danish, trans-
22 January 1823 (in German, translated by J. C. lated by T. Overskou).
Grünbaum) and Lisbon 26 October 1826 (in Given in Italy until 1867. Rev ived in Germany:
Italian). Cologne 6 March 1880.
In 1826, Rossini adapted the Maometto music
to a new French libretto by L. A. Soumet and PA eIN I: La Gioventu di Enrico V
G. L. Balochi (in 3 acts), called Le Siege de Co- 26 Decl'mber. Rome, Valle
rinthe, and added so me new numbers. It was in Text by J. Ferretti (founded onShakespeare's
this French version that the opera became a great Henry IV). Two acts.
success. First produced at: The libretto is attributed to Ferretti by A.
PARIS, O. 9 October 1826 (given there unti11844; Cametti (who .seems to be the most reliable
IOoth performance 4 February 1839). authority), to G. Tarducci by Chiappari and
FRANKFORT 16 July 1827 (in German, translated Salvioli. Most books of reference and the British
by J. Kupelwieser). Museum Catalogue wrongly attribute it to F.
BARCELONA 24 July 1827 (in Italian, as L' Asscdio Romani (who wrote a libretto of the same title
di Corinto, translated by C. Bassi). r4 years later for Mercadante).
BRUSSELS 21 August 1827 (in French). Given at Milan, T. Re I July r823 (as La bella
BUDAPEST 3 December r827 (in German). Taflernaia ossia Lc Avven/ure d' urla Noue); last
PARMA 26 January r828 (first production of the revived Cagliari, Sardinia Camival r848.
second version in Italy; previously the work In Italian also, Munich January 1822; Lisbon
had been heard at a concert of the Accadcmia 22 August r823; Madrid 24 February r824; Zara,
Filarmoniea, Rome 27 December 1827. Given Carnival 1826; Bastia, Corsica Autumn 1833.
at Veniee, S. Ben. Spring 1828 as L'Asscdio di In Danish (translated by T. Overskou), Co-
Granata; at Gcnoa Spring 1828 in a different penhagen 28 October 1831.

670
1821 ANNALS OF OPERA 1821

1821 One of the border eases between Singspiel

with spoken dialogue, and play with inserted
GRAZIOLI: La Festa della Riconoscenza musical numbers. Included here as surviving only
o sia 11 Pellegrino bianco by means ofWeber's musie.
25 January. Rome, Ap. Stated to have been first set by Goethe' s
Text by J. Ferretti. Two aets. friend, Carl Eberwein, but apparently not pro-
The best of Grazioli's numerous operas; in dueed with his musie. Further settings were by
Italian also given at Malta 1822; Trieste 1823; J. P. C. Sehulz (Leipzig May 1812; Dresden
Lisbon 17 Oetober 1823. Revived Naples, T. 3 November 1812) and by 1. von Seyfried (Vien-
Rossini 1870. na, W. 19 Oetober 18i2). Weber's musie eon-
In German (translated by L. Ritter von Ritters- sists of thirteen numbers (choruses, ballets, melo-
berg), Prague 24 September 1825. dramas, ete).
Sueeessful in Germany; given at Berlin 115
ROSSINI: Matilde di Shabran 0 sia times until 1890; frequently revived up to the
Bellezza e Cuor di Ferro* present.
24 February. Rome, Ap. Outside Germany :
Text by J. Ferretti (an Italian version of Hoff- PRAGUE Deeember 1821 (in German) and 20 No-
man's Euphrosine, see 1790). Two aets. vember 1831 (in Czeeh, translated by J. K.
Paganini eonducted the first performance. TyI).
Successful in Italy; sometimes given as Corradino, COPENHAGEN 29 Oetober 1822 (in Danish, trans-
or as BelIezza e Cuor di Ferro. lated by C. J. Boye).
In Italian also given at Malta Carnival 1822;
RIGA 1823 (in German) and 1886 (in Lettish).
Vienna 7 May 1822 (revived 14 May 1856);
VlENNA, w. 5 July 1823 and B. 22 June 1825 (in
London, Hm. 3 July 1823 (revived c.G. 18 April
German); Graz 6 January 1825.
T854); Bastia, Corsica Autumn 1825; Lisbon
BUDAPEST 1824 (in German) and 4 Deeember
December 1825; Dresden 14 January 1826; Bar-
1827 (in Hungarian).
celona 28 April 1827; Madrid 7 November 1827;
WINTERTHUR I Oetober 1824 (in German); Beme
St. Petersburg February 1829; Rio de Janeiro 10
February 1829; Paris 15 October 1829; Odessa 8 Deeember 1826 (with puppets).
1830; Corfu Autumn 1833; New York 10 Feb- STOCKHOLM 20 Oetober 1824 (in Swedish, trans-

ruary 1834; Philadelphia 28 April 1834; Cagliari, lated by P. A. Granberg).

Sardinia 7 November 1835; Mexico 1837; Ce- LONDON, C.G. 28 April 1825 (in English, trans-

phalonia Carnival 1841; Bona, Aigeria Carnival lated probably by G. Soane or W. Ball, musie
1844; Geneva May 1845; Brussels 21 September arranged by W. Hawes) and St.J.'s 8 July 1853
1850. Last revived Florence 7 November 1892. (in German) ; revived D.L. 4 July 1881 (in
In German, Budapest 1823; Berlin 17 June German).
1827; Hamburg 22 June 1827; Prague 1827; ST. PETERSBURG 3 Oetober 1825 (in Russian,
Graz 6 September 1828; Bucharest 1834, etc. translated by A. Ivanov).
Revived Cologne 12 March 1852. PARIS, ODEON 17 November 1825 (in French,
In Spanish, Madrid 7 January 1826. translated by T. Sauvage, musie arranged by
P. Cremont; one night onlyl); Th.I. 12 May
c. M. VON WEBER: Preciosa* 1842 (in German); Th.L. 16 April 1858 (new
14 March. Berlin, o. Freneh version by C. Nuitter and A. Beau-
Text by P. A. WolfE Romantisches Schauspiel mit mont, with so me numbers from Weber's
Musik (founded on Cerva:ltes's story La Gita- Si/va/la).
nella). Four acts. AGRAM 15 May 1826 (in German).
1821 ANNALS OF OPERA 1821

CLAUSENBURG 30 January 1827 (in Hungarian, 1849, and O.c. 4 May 1872; Rio deJaneiro 1846;
translated by F. Komlossy). Buenos Aires 1852; New York 25 June 1852
W ARSA W 17 March 1827 and Lemberg 21 Decem- (parts, in concert form, at the "Chinese Museum"
ber 1827 (in Polish, translated by J. D. Minaso- already I August 1849); Turin April 1858; Mad-
wicz). rid, Z. July 1859; Barcelona 30 June 1866; Lisbon
GOTHENBURG 1 June 1827 (in German). 19 May 1878. Revived at The Hague as late as
HAGUE 8 July 1834 (in Dutch, translated by F. J. April 1940.
Kerkhoven, the translation already pl1blished In German (as Wie gerufen), Dresden 2 June
Amsterdam 1830). 1824 (in 2 acts).
NEW YORK, FRANKLIN TH. 9 March 1840 (in Ger- Revived (new German version by H. Brennert
man; by amateurs). and W. Kleefeld), Magdeburg 22 October 19°3;
CINCI!\lNATl 13 October 1846 (in German). Halle 30 April 1922, and again 8 June 1930.
BUCflAREST IRS3 (in Rumanian, translated by Ed. In Italian (translated by A. Zanardini, recita-
Wachmann). tives by P. Floridia), Milan, T.L. I I November
BERGEN, NORWAY 18 January 1857 (in Danish). 1895, etc.; Malta 1899; London, Prince ofWales's
HEL SINK I 12 May 1870 (in Finnish, translated by 16 February 1897; 22 May 1905 (at the inaugura-
P. Cajander). tion ofthe WaldorfTheatre); and 20 May 1915
LJUBLJANA 1881 (in Slovenian, translated by J. (by the Florence Ettlinger Opera School); Bl1enos
Cimperman). Aires 21 December 19°5; New York 9 December
DORPAT (TARTU) 24 April 1883 (in Estonian). 1909·
ANTWERP Qctoben890 (in Flernish). .In Spanish, Barcelona March 1924; Buenos
. -English version by L. C. Elson published Bos- AiresI924.
ton 1870; English vocal score (translated by J. In Danish (translation by P. BÜ'Im), Copen-
Troutbeck) published London 1879. Revived in hagen 1934.
English, London, Twentieth Century Th. I June
1940.
AIBLINGER: Rodrigo und Zimene
1 May. Munich
PAER: Le Maftre de Chapelle OU
Text by J. Sendtner (based on Comeille's Cid).
Le Souper imprevu Two acts.
29 March. Paris, O.c. The only (unsuccessful) German oper~of the
Text by S. Gay (founded on A. Duval's comedy Munich conductor.
Le Souper imprerJU ou Le Chanoine de Milan, 1796).
One act.
WEBER: Der Freischütz*
This litde opcra-comique, although it came 18 June. Bcrlin, Sch.
rather late to most countries, proved to be a much Text by F. Kind '(founded on a tale in J. A. Ape!
more lasting success than Pacr' s ambitious Italian and F. Laun's Gespensterbuch, 18II). Three acts.
serious operas, so much adrnired in their time; No other German opera had ever been so
given at the O.c. until 1914 and again 13 January successful and conquered so many and even the
1933 and frequently revived at other Paris theat- smallest stages in so short a time. The sooth per-
res, viz. Th.L. 28 September 1851; F.P. 18 No- formance at Berlin was on 18 December 1884, the
vember 1866; Nouveautes I April 1871; Tr.L. 800th on I I February 1929; given there 852 times
27 January 1915 and 13 November 1931. up to 1937.
Outside Paris (in French), also given at Ghent The first productions in Germany, in 1821 and
I I November 1821; Breslau April 1825; Berlin, 1822, were at:
Kgst. I June 1825; Vienna 20 September 1826; LEIPZIG 23 December 1821.
London, c.G. 13 June 1845, St. J.'s 15 January CARLSRUHE 26 December 1821.

673
1821 ANNALS OF OPERA 1821

BRUNSWICK 17 January 1822. ODESSA 1845.

DRESDEN 26 January 1822. SAN FRANCISCO Summer 1854.
HAMBURG 5 February 1822. STOCKHOLM 21 June 1863.
KÖNIGS BERG 25 February 1822. An anonymous German parody, called Samiel
CASSEL 1 March 1822. oder Die Wunderpille was published in 1824 and
HANOVER 12 March 1822. (translated into Danish by P. D. Faber) at Aarhus
FRANKFORT 31 March 1822. in 1825; produced in a Swedish version by C. A.
DANZIG 31 March 1822. F. Berggren, Stockholm 1 August 1830. (See for
STUTTGART 12 April 1822. other parodies, imitations, sequels, etc., P.A. Mer-
MUNICH 15 April 1822. bach in Zeitschrift für Musikwissenschaft, Vol. II,

LÜBECK 29 April 1822. p.642.)

WEIMAR 4 May 1822. Translated into other languages, the opera was
MANNHEIM 5 May 1822. produced at:
ELBING 25 June 1822. COPENHAGEN 26 April 1822 (in Danish, translated
DARMSTADT 4 August 1822. by A. G. Oehlenschläger); Christiania 1836.
NEUSTRELITZ 12 August 1822. STOCKHOLM 23 April 1823 (in Swedish, translated
WÜRZBURG 21 August 1822. by A. Lindeberg).
NUREMBERG 26 August 1822. PRAGUE 6 May 1824 (in Czech, translated by J. N.
AUGSBURG 30 August 1822. Stepanek); revived 24 February 1874 (new
BREMEN 26 September 1822. J.
Czech version by Böhm).
COLOGNE 3 November 1822. ST. PETERSBURG 24 May 1824 and Moscow 18 July
DÜSSELDORF 14 November 1822. 1825 (in Russian, translated by R. M. Zotov);
MAYENCE 16 November 1822, etc. in Italian, St. Petersburg Carnival 1855·
Productions in German, outside Germany, LONDON 22 July 1824 (in English; see below).
were at: PARIS 7 December 1824 (in French; see below).
VIENNA 3 November 182I. CLAUSENBURG 19 March 1825 and Budapest 21
PRAGUE 29 December 1821. December 1827 (in Hungarian, translated by
BRÜNN 29 March 1822. E. P:Hy).
BUDAPEST 13 May 1822. WARSAW 4 July 1826; Wilna 5 September 18 2 7;
GRAZ 24 June 1822. Lemberg 16 November 1827 (in Polish, trans-
STRASBOURG Autumn 1822. lated by W. Boguslawski); revived Lemberg
AMSTERDAM Autumn 1822. 17 September 1872 (new Polish version by
RIGA 7 October 1822. A. Urbanski).
BERNE 14 March 1823. AMSTERDAM 1827 (in Dutch).
ZURICH November 1823. FLORENCE 3 February 1843 (in Italian, translated
ST. PETERSBURG 19 January 1824. by F. Guidi, recitatives by C. Romani).
WINTERTHUR 1 November 1824. RIO DE JANEIRO 1848 (in French) and 28 Novem-
PARIS 12 May 1829. ber 1865 (in Italian).
VIIPURI 15 June 1829. BARCELONA 4 August 1849 and Madrid 21 Feh-
BRUSSELS 24July 1829. ruary 1874 (in Italian).
LONDON 9 May 1832. BERLIN, KGST. 5 December 1849 (in Italian, trans-
BUDAPEST 19 September 1833. J.
lated by A. Rossi; with Berlioz's recitatives).
BUCHAREST December 1833 or January 1834. VALPARAISO May 1854 (in Italian, with Berlioz's
PillLADELPHIA 23 March 1840. recitatives).
NEW YORK 22 January 1842. MILAN, T. CARCANO 24 June 1856 (in Italian, with
AGRAMJuly 1844. Berlioz' s recitatives).
1821 ANNALS OF OPERA 1821

BUENOS AIRES 14 September 1864 (in Italian, with course of the next months, viz. a melodrame by
Berlioz's recitatives). J. H. Amherst (Royal Amphitheatre 30 August
MILAN, SC. 19 March 1872 (new Italian version by 1824) and three more operatic versions:
A. Boito, recitatives by F. Faccio); Rome, Ap. SURREY TH. 6 September 1824 (Der Freischütz; or
26 November 1873; Venice, F. 19 March 1875; The Demon of the WolFs Gien, al1d the seven
Turin 17 November 1877; Naples, T. Bellini (harmed Bullets, adapted by E. FitzbalI).
3 April 1880. C.G. 14 October 1824 (Der Freischütz; or, The
HELSINKI 30 December 1873 (in Finnish, trans- black HUl1tsmal1 of Bohemia, adapted by J. R.
lated by A. Tömeroos; the second act only; Planche and B. Livius).
the whole opera not before 1924. D.L. 10 (not II) November 1824 (Der Freischütz,
ZAGREB 24 April r875 (in Croatian, translated by adapted by G. Soane, additional music by
P. Brani). Bishop).
CAIRO February r877 (in Italian). A travesty, Der Freischütz, by Septimus Globus,
MEXICO I April 1891 (in English!) and 29 Septem- Esq., was published in 1824; the half-tide reads:
ber 1894 (in Italian). "Der Freischiitz, a new muse-siek-all and see-nick
RIGA 1893 (in Lettish); revived 8 October 1930 performance from the new German uproar. By
(new translation by E. Melngailis). the celebrated Fllnnybear". It seems to bc identi-
LJUBLJANA 28 December 1893 (in Slovenian, cal with a parody produced at Edinburgh 26 May
translated by A. Funtek). 1825 (as Der Fryshot, or NU111ber Sevel1) as the
ANTWERP 3 October 1893 (in Flemish). words "muse-sick-alI" and "sec-nick" also occur
LISBON 1894 (in Italian). on the Edinburgh play-bill.
TALLINN 1919 (in Estonian). The German original (apart from a se1ection
BELGRADE 7 April 1924 (in Serbian; concert per- sung at c.G. 3 June 1829) was first produced in
formance; Serbian translation by J. GrCic, B. London, Hm. 9 May 1832 by a Germ:m company
BranCic, and M. Dimovic published al ready under the direction of the French composer Chc-
1900). lard. 1 In Italian, as Il fral1co Arciere, the opera was
SOFIA 19 May 1930 (in Bulgarian, translated by heard at c.G. 16 March 1850 (with recitatives by
H. Levensson). Costa).
The first London performance of Weber's Given at:
opera took place at the English Opera House EDINBURGH 29 Dccember 1824 (in English; the
(Lyceum), on Thursday, 22 July (not 23), 1824 as Lycellm version).
Der Freischütz; or, The sfl'cl1th Bullet (translation DUBLIN 17 February 1825 (in English) and 4 Oc-
by W. McGregor Logan 1 ), music adapted by W. tober 1865 (in Italian).
Hawes. Several other adaptations followed in the CAPE TOWN 1831 (in English).
SYDNEY 25 August 1845 (in English).
I Logan is mentioned as the translator in the vocal

score published by the Royal Harmonie Institution in

1824. Considering thc dose connection of William NEW YORK 2 March 1825 (in English; sub-tide,
Hawes with both the Lyceum and the Royal Harmonie The Wild HUl1tsmatl of Bohcmia, probably the
Institution (see Dia. Nat. Biog.) there is every reason
for assuming Logan's authorship. A. Nicoll (A History 1 It is generally stated that Der Freischütz was the first

clf Early Nineteenth CeJ/tllry Drama, Vol. n, p. 357) opera in London to have been sung in German. Strietly
attributes the first English version of Der Freischütz to speaking, the statement is not quite eorrect. Dalayrac's
John Oxcnford who, in 1824, was only a boy oftwelve. Adolphe et Clara (see 1799), had been produced in Ger-
Forty-two years latcr, Weber's opera was revived at man, by a company of children as early as 26 October
Astley's (2 April 1866), and a comparison ofthe libretto 1805 at the Sanssouci Th. See on that early German
("rewritten by John Oxcnford". Laey's Acting Edition, season in London the magazine London und Paris, Vol.
Vol. LXIX) with the 1824 score shows not a small degree XVI (1805), pp.3-12, and XVII (1806), PP.93-I08; and
of indebtedness to Logan's version. Journal des Lllxus und der Moden, 1806, p.S88.
1821 ANNALS OF OPERA 1821

C.G. version)!; 13 August 1827 (in Freneh, PARIS, CHATEAU D'EAU 1 July 1891 (new trans-
Castil-Blaze's version, see below); 8 November lation by L. V. Durdilly).
1827 (in English, the D. L. version); 29 January PARIS, CH. E. 2 April 1913 (new translation by
1834 (the Lyeeum version); 22 January 1842 (in G. Servicres).
German, by amateurs) and 8 Deeember 1845 PARIS, O. 29 Oetober 1926 (new translation by
(by professionals); 2 I Oetober 1850 (in Italian). A. Coeuroy).
PHILADELPHIA 18 Mareh 1825 (not Deeember 1824 (For details on the various Paris produetions,
as stated by W. B. Wood, RecoIlections, 1855, see J. G. Prod'homme in Le Menestrel Oetober
P.306) (in English, CG. version, with additio- 1926.)
nal musie by H. W. Darley); 3 Oetober 1827 BRUSSELS 9 Mareh 1825 (in Freneh, Castil-Blaze's
(in French); and 23 Mareh 1840 (in German). version).
BALTIMaRE Spring 1825 (in English). BRUSSELS 24 July 1829 (in German).
BOSTON 19 February 1828 (in English). BRUSSELS 20 April 1863 (in Freneh, Berlioz's ver-
ST. LOUIS 10 August 1837 (in English). sion).
HALIFAX, N.S. 9 January 1906 (in English). LIEGE 14 January 1867 (new Freneh version by
A. van Hasselt and J. B. Ronge).
PARIS, ODEON 7 Deeember 1824 (as Robin des Bois
ou Les trois BaIles, adapted by T. Sauvage and AUßER: Emma ouLa Promesse
F. H. J. Castil-Blaze; this version was very imprudente
sueeessful; given in Paris more than 100 times
and subsequently at Brusscls 9 Mareh 1825;
7July. Paris, O.c.
Bordeaux 30 June 1825; Marseilles 20 July Text by F. A. E. de Planard. Three aets.
1825; Rouen 19 August 1825; Nantes 29 Sep- Given at the O.C. until 1836 and revived there
tember 1825; Lyons 17 Oetober 1825; Lilie 24 April 1846.
27 Oetober 1825, ete.). In Freneh also, Liege 7 January 1822; Antwerp
PARIS, TH. I. 12 May 1829 (in German).
3 Mareh 1822; Brussels 23 July 1822, ete.
PARIS, O.C. 15 January 1835 (the 1824 version).
In German (translated by F. Ellmenreieh),
PARIS, O. 7 June 1841 (new Freneh version by
Berlin, Kgst. 3 August 1828 (redueed to one aet);
E. Paeini and H. Berlioz, reeitatives by Berlioz; (translated by K. J. Braun von Braunthai),
last revived there 3 July 1876 and 27 Oetober Vienna 20 Oetober 1835.
1905 and given 231 times up to 1906).
PARIS, TH. L. 24January 1855 (onee more the 1824
MERCADANTE: Elisa e Claudio ossia
version). L' Amore protetto dall' Amicizia*
PARIS, TH. L. 19 Deeember 1866 (new translation 30 Getober. Milan, Se.
by H. Trianon and G. F. E. Gautier). Text by L. Romanelli (founded on F. Casari's
1 There exists an adaptation of Der Freischütz by
play, .RoseIla). Two aets.
Washington Irving, written 1823-24 and published (as Mereadante' s first great sueeess; given all over
The Wild Hunsrsman) for the first time by the Boston Italy and at:
Bibliophile Society in 1924. Irving's version was written LONDON, HM. 12 April 1823 (in Italian) and Ly.
on a Central European journey he undertook in the
company of Barham Livins. The traces of their com-
5 September 1835 (in English, as No plot with-
mon work are easily to be detected in the printed edi- out Danger).
tion of Livius's own version (produced at CG., see BARCELONA 16 April 1823 (in Italian).
above). In the prcface Livius expresses his thanks to J. PARIS, TH. I. 22 November 1823 (in Italian).
R. Planche "for whatever of poetic merit this opera
VIENNA, KÄ. 10 July 1824 (in Italian) and Jos. 24
may possess" and "to another friend, whose name, were
he permitted, it would be his pride and his pleasure to July 1833 (in German).
declare, for various valuable hints and emendation". LISBON 22 September 1824 (in Italian).

680
1821-22 ANNALS OF OPERA 1822

DRESDEN 5 February 1825 (in Icalian). Revived, with alterations, at the same theatre
BUDAPEST 28 February 1825 (in German) and 6 January 1824 (text revised by J. Ferretti); Lisbon
7 November 1835 (in Hungarian). Winter 1825.
GRAZ4July 1827 (in German, translated by J. C.
Grünbaum). MORLACCHI: Tebaldo e Isolina
BERLIN, KGST. 18 October 1828 (in German, trans- 4 Fcbmary. Venice, F.
lated by J. c. Grünbaum).
Text by G. Rossi. Two acts.
ST. PETERSBURG Spring 1829 (in Italian) and 1831
Morlacchi' s most successful work; given at
(in Russian).
Naples Summer 1824 as Rambaldo ed [solina.
SANTIAGO, CHILE 1830 (in Italian).
In Italian also given at Barcelona 28 September
CAGLIARI, SARDINIA Carnival 183 I (in Italian).
1824; Lisbon 6 October 1824; Dresden 5 March
BUENOS AIRES 5 July 183I (in Italian).
1825; London 25 February 1826; Paris 31 July
CORFU 1832 (in Italian).
1827; St. Petersburg Spring 1829; Mexico 27 Oc-
MEXICO 1832 (in Italian).
tober 1831; Havana 1834; Cagliari, Sardinia Oc-
NEW YORK 18 October 1832 (in Italian).
tober 1835.
CLAUSENBURGJanuary 1833 (in Hungarian, trans-
In German (translated by T. Hell), Leipzig
Iated by J. Szerdahelyi).
13 November 1826'; Graz 19 July 1827; Prague
PHILADELPHIA 23 January 1833 (in Italian).
19 March 1829; Budapest 31 January 1835. (The
AJACCIO, CORSICA Autumn 1835 (in Italian).
German vocal score was arranged by Marschner.)
PRAGUE 10 October 1837 (in German).
In Russian, St. Petersburg January 1841.
DUBLIN 31 March 1838 (in Italian).
CEPHALONIA [15 Dccember] 1838 (in Italian).
ALGIERS Carnival 1839 (in Italian). (rSOUARD): Aladin ou La Lampe
CONSTANTINOPLE Summer 1842 (in Italian). mervei lleuse
Revived in Italy: Naples 13 May 1874 (by the 6 February. Paris, O.
Societa Filarmonica). Text by c. G. Etienne. Three acts.
Given at the O. 147 times until 1830; 100th
DUPUY: Felicie eller Den
performance I I February 1825. In French also
Romaneska Flickan
given at The Hague in 1834. This was Isouard's
19 Decelllber. Stockholm (d.I8I8) last work; it had been completed by
Text by L. Hjortsberg (translated from Mercier- A. M. Benincori, who did not live to see the pro-
Dupaty's French libretto, see 1815). Three acts. duction either (d. 30 December 1821).
Dupuy's second and last opera.
In Danish (translated by C. N. Rosenkilde),
Copenhagen 22 May 1823.
ROSSINI: Zelmira*
See on Dupuy, P. Long des Clavieres, in Schwei- 16 February. Naples, S.c.
zerisches Jahrbuch für Musikwissenschaft, Vol. IV, Text by A. L. TottoIa (founded on a French
1929 (where the date of the Copenhagen pro- tragedy by P. L. Buirette de Belloy, 1762). Two
duction is wrongly given as 1803). acts.
The first ofhis operas Rossini himself conduc-
ted in Vienna and London.
r822
In Italian also given at Vienna 13 April 1822;
DONIZETTI: Zoraida di Granata Lisbon 13 May 1823; London 24 January 1824;
28 January. Rome, Arg. Barcelona 6 May 1824; Moscow 12 November
Text by B. Mcrelli. Two acts. 1825; Paris 14 March 1826; Berlin, Kgst. 3 Feb-
Donizetti' s first greater sticcess. ruary 1834; Mexico 1836.

681 682
1822 ANNALS OF OPERA 1822

In German, Munich 12 November 1822; Given at the o.c. until 1833 and revived at the
Brünn November 1822; Lemberg 22 February Th.L. 14 December 1855.
1823; Budapest 1823; Prague 25 April 1824; In French also, Brusscls 9 January 1823; St.
Graz 3 January 1825; Amsterdam 1825, ctc. Petersburg 1824, etc.; New York 26 October
182 7.
Nurmahal
SPONTINI: In German (translated by 1. F. Castelli), Frank-
oder Das RosenJest von Caschmir fort September 1823; Vienna 21 November 1826;
Prague 28 November 1826; Budapest 9 February
27 May. Berlin, O.
1828; Berlin, Kgst. 30 August 1828, etc.
Text by C. A. Herklots (founded on Spicker's
In Russian (translated by A. P. Veshnyakov),
German translation ofMoore'sLalla Rookh). Two
St. Petersburg 8 December 1823; Moscow 20
parts.
December 1824.
Spontini's first German opera.
Revived Darmstadt 12 January 1834 and 6 May
(MEHUL): Valentine de Milan
1840; Berlin 23 October 1861.
(The bacchanale originally had bcen written 28 November. Paris, O.c.
for the 1817 revival of Salieri's Danaides [see Text by J. N. Bouilly. Three acts.
1784] at Paris.) Mehul's last work, completed by his nephew
Daussoigne and posthumously performed. Un-
CA R N I CER: 11 Dissoluto punito successful in Paris. In French also, Brussels 15
o sia Don Giovanni Tenorio April 1823.
In German (translated by G. Döring), Frank-
20 June.Barcelona, T. Principal
fort November 1823.
Adapted from Da Ponte. Two acts. In Russian (translated by A. P. Veshnyakov),
The first Don Juall opera written by a Spanish St. Petersburg 13 December 1824.
composer, but to Italian wards (cf. R. Mitjana, In Danish (translated by T. Overskou), Co-
Discantes y Contrapulltos, 1905, PP.74-75). penhagen 29 January 1829.

AL Y ABYEV: Lunnaya Noch, BISHOP: Maid Marian; or,

ili Domovye The Huntress oJ Arlingford
JIYHHaH Ho% HJIH ,IJ;oMoBhle 3 December. London, c.G.
(The Moon Night; or, The House Spirits) Text by J. R. Planche (follnded on T. 1. Peacock's
1 July. St. Petersburg noveI). A Legelldary Opera. Three acts.
Text by P. A. Mukhanov and P. N. Arapov. One of Bishop's best works (27 performances
Two acts. in London).
Mascow 3 July 1823. The most successful opera Also given at New York 9 January 1824 (as
of the Russian composer, who is best-known by Maid MarimI; or, Thc Merry Days of Robin Hood).
his songs, especially The Nightingale, which some-
times was used as "air de bravour" in the singing K. KREUTZER: Libussa
lesson of Rossini's Barbiere di Siviglia. 4 Decembcr. Vienna, Kä.
Text by J. K. Bernard. Three acts.
CARAFA: Le Solitaire Kreutzer's first great SllCCCSS; subsequently pro-
17 August. Paris,O.C. duccd at Budapest 3 March 1823; Brünn 29
Text by F. A. E. de Planard (founded on d'Arlin- March 1823; Prague 21 May 1823; Leipzig 29
court's noveI). Three acts. August 1823; Frankfort 31 August 1823; Berlin
Carafa' s most successful opera. 1 December 1823 (with additional music by K.
1822-23 ANNALS OF OPERA 18 2 3
Blum); Munieh 1824; Amsterciam 9 Jtme 1824, R 0 S S I NI: Semiramide*
ete. 3 February. Veniee, F.
In Danish (translated by C. N. Rosenkilde), Text by G. Rossi (founded on Voltaire's tragedy).
Copenhagen 29 January 1824. Two aets.
The last opera Rossini wrote in Italy. Very
sueeessful all over Europe.
REICHA: Sapho
In Italian also given at:
16 December. Paris, O. VIENNA, KÄ. 4 September 1823.
Text by A. J. S. Empis and H. Coumol. Three MUNICH Mareh 1824.
aets. LONDON, HM. 15 July 1824.
Thc last opera of the famous pianist; unsueeess- PARIS, TH. I. 8 Deeember 1825.
ful, given for 12 nights only. LISBON Carnival 1826.
DRESDEN 4January 1826.
OPORTO 27 January 1826.
RUZSICSKA: Bela Futasa BARCELONA 20 April 1826.
(Be1a's Flight) ODESSA 1826.
26 December. Clauscnburg MALTA 1827.
Text by P. Csery (bascd on a play by A. von ST. PETERSBURG February 1829.
Kotzcbue). Two aets. MEXICO 20 February 1832.
Budapcst 13 November 1827. This seems to be BERLIN, KGST. 23 September 1833.
the earliest extant example of Hungarian opera; DUBLIN 9 Oetober 1834.
it was popular until about 20 years later, when HAvANAJanuary 1835.
Erkel's nationaloperas were produeed. NEW ORLEANS 19 May 1837.
Revived Budapest 17 January 1836 and (ae- ALGIERS August 1837.
eording to Wurzbach) 24 February 1862. CORFU Carnival 1839.
(26 December is the earliest reeorded perfor- BRUSSELS 5 May 1841.
mance; the opera seems to date from the preeed- VALPARAISO 1844.
ing season.) COPENHAGEN Carnival 1845.
NEW YORK 3 January 1845 (parts already 29 April
18 35).
AMSTERDAM Oetober 1845.
1823 CONSTANTINOPLE 2 November 1845.
AU B ER: Leicester Oll Le Chateau RIO DEJANEIRO 1852.
de Kenilworth BUENOS AIRES 13 J une 1860.
CAIRO Mareh 1870.
25 Jalluary. Paris, O.c. In German, Budapest 6 March 1826; Graz 27
Text by A. E. Seribe and A. H. J. Melesville August 1829; Hamburg 18 February 1830; Berlin
(founded on Seott's noveI). Three aets. 15 May 1830; Brünn 7 November 1831; Prague
In Freneh also, Brussels I I August 1823. 12 April 1832; Vienna, Jos. 20 December 1832;
In German (translated by I. F. Castelli), Press- Bueharest I I November 1834; St. Petersburg
burg 25 Oetober 1826; Vienna 30 Oetober 1826; 18 37.
Graz 18 Oetober 1827; Hamburg 18 February In Russian (translated by A. I. Sheller), St.
1830; Berlin 15 May 1830, ete. Petersburg January 1836.
In Russian (translated by R. M. Zotov), St. In English (translated by T. H. Reynoldson),
Petersburg 14 October 1824 (with additional London, C.G. I Oetober 1842; Sydney and Mel-
musie by Cavos). boume 1866; New York 2 Oetober 1884.

685 686
 ANNALS OF OPERA 18 2 3
In French (translated by N. Lafont), Lyons O.c. 29 August 1848 and 7 May 1858; F.P. 26
15 December 1844; (translated by F. J. Mery, March 1868.
recitatives adapted by Carafa), Marseilles 1 April
1854; Paris, O. 9 July 1860. Another French ver- BERTON: Virginie
sion by L. Montdutaignywas published in 1847. 11 June. Paris, O.
In Czech, Prague 25 June 1864. Text by A. F. Desaugiers. Three acts.
An anonymous Dutch translation was publish- The most successful of Berton's grand operas
ed at Amsterdam in 1827. (given 32 times until 1827).
Last given in Paris 5 March 1874; Vienna 13
March 1877; Berlin (at the "Skating Rink") 6 SPOHR: Jessonda*
June 1882; London, C.G. 23 June 1885 (with
28 July. Cassel
Adelina Patti); New York 25 January 1895. Re-
Text by E. H. Gehe (founded on Lemierre's
vived at Lisbon 3 February 1904.
tragedy, La Veuve de Malabar). Three acts.
Revived at Rostock 18 March 1932 (new Ger-
Spohr's chief work; given in Germany
man translation by H. Bodenstedt, music revised
throughout the 19th century, and revived even
by A. Secker and O. Petersen); at Florence 28
in the 20th (Berlin, Morwitz-Oper 25 July 1907;
April 1940 (opening of the sixth Maggio Musi-
Hanover 22 October 1909, etc.). First produced
cale Fiorentino).
at Berlin 14 February 1825 (rooth performance
I May 1885).
BISHOP: Clari; or, The Maid
In German also, Amsterdam 1829; Budapest
ofMilan 29 October 1832; Prague 18 March 1834; Vienna,
8 May. London, C.G. Jos. 29 July 1836 and Kä. 22 October 1836; Lon-
Text by J. H. Payne (founded on Marmontel's don, Prince's 18 June 1840; Lemberg 18 Septem-
tale, Laurette). Three acts. ber 1841; Paris, Th. 1. 28 April 1842; Basle 17
New York 12 November 1823, etc. Given on January 1845; Philadelphia 15 February 1864;
minor London stages until 1854. Ghent 7 January 188!.
Revived at Seattle University in November In Swedish (translated by A. Lindeberg),
1928 . Stockholm 26 January 1826.
Bishop's most famous work, containing the In Czech (translated by J. N. Stepanek),
song Home, Swcet Home. A sequel, called Home Prague I March 1840.
Sweet Home or The Rantz des Vaches (libretto by In Italian (translated by S. M. Maggioni),
C. A. Somerset) was produced at c.G. 19 March London, c.G. 6 August 1853.
1829 and New York 25 May 1829. "An examina- French (translated by H. Brovellio) and Eng-
tion of the score of this work makes it apparent, lish (translated by W. Bartholomew) vocal
that Clari having outlived its popularity, a fresh scores published.
medium for the exploitation ofBishop's immor·- Never given in New York or in Italy.
tal balled was demanded ... " (F. Corder, in The
Musical Quarterly, Vol. IV, 1918). See on the vogue CARAFA: Le Valet de Chambre
of Clari also, willis T. Hanson's The Early Life of
16 September. Paris,O.C.
John Howard Payne (Boston 1913).
Text by A. E. Scribeand A. H.J. Melesville. Oneact.
Liege 21 November 1825; Brussels 26 Septem-
HEROLD: Le Muletier ber 1826 (revived 5 November 1841); revived
12 May. Paris,O.C. Paris, O.c. 2 July 1858.
Text by P. de Kock (after Boccaccio). One act. In German, Vienna 14 December 1830 and
Brussels 25 September 1823; revived Paris, 19 October 1840.

688
 ANNALS OFOPERA

AUBER: La Neige ou March 1824; Prague II March 1824; Carlsruhe

Le Nouvel Eginard 21 March 1824; Dresden 31 March 1824; Munich
21 December 1825; Berlin 23 December 1825;
80etober. Paris, O.c.
Graz I February 1827, etc. and all over Germany.
Te~t by A. E. Scribe and G. Delavigne (originally
In German also, produced at Budapest 30
wntten for Boicldieu). Four acts.
December 1826; Paris, Th.I. 14June 1831; Lon-
Given at the O.c. 176 times until 1841.
don, C.G. 29 June 1833 (revived Prince's 3 June
In French also, Brussels 5 February 1824; New
1840 and D.L. 13 June 1882); Zurich November
York 30 July 1827.
1837; St. Petersburg Winter 1840; Riga October
In German (translated by I. F. Castclli),
1842; New York, M. 23 December 1887.
Vienna 19 March 1824; Prague 26 June 1824;
I~ French (translated by F. H. J. Castil-Blaze),
Budapest 5 July 1824; Munich 30 July 1824;
Pans, O. 6 April 1831 (given 4 times only). Parts
(translated by F. Ellmenreich) Frankfort Sep-
of the Euryanthe music had already been used in
tember 1824; (translated by C. A. Herklots) Ber-
Castil-Blaze's pasticcio, La Foret de Senart ou La
lin 3 August 1824.
Partie de Chasse, produced at the Odeon, Paris 14
In German also, Riga 1825; Bucharest 1835;
January 1826 and at Brussels 20 October 1826.
Basle 8 November 1837; Helsinki 15 December
Euryanthe was revived at the Th.L. 1 September
1840. Revived Berlin, Kroll's 23 October 1858.
1857 (new French translation by A. de Leuven
In English (as The Frozen Lake), London, c.G.
and J. H. Vernoy de Saint-Georges); again 17
26 November 1824; previously Ly. 3 September
March 1895 (at the Concerts d'Harcourt; the
1824, adapted by J. R. Planche, music arranged
second act only; new French version by C. Grand-
by G. W. Reeve.
mougin and E. d'Harcourt); the whole opera, in
In Swedish (translated by N. E. W. afWetter-
concert form, by the Schola Cantorum 31 Jan-
stcdt), Stockholm 21 January 1825.
uary 1908.
In Danish (translated by A. G. Oehlenschlä-
In Swedish (translated by P. Westerstrand),
ger), Copenhagen 14 September 1825.
Stockholm 3 December 1838.
In Russian, St. Petersburg I I January 1827.
In Russian, St. Petersburg April 1885.
In Czech (translated by J. K. Chmelensky),
In Flemish, Antwcrp 6 October 1894.
Prague 18 November 1827.
In English (translated by W. Thornthwaite),
In Hungarian (translated by E. Paly), Clausen-
London, Daly's 30 October 1900 (by the R.C.M.).
burg 20 August 1830.
In Italian (translated by G. Macchi), Milan,
Leicester (see above) and La Neige were the first
Sc. 2 April 1902.
results of the prolific partnership between Auber
Frequently revived in Germany and Austria.
and A. E. Scribe which lasted until the latter's
The Euryanthe music was adapted to a new
death in 1861. Of some 120 librettos written by
libretto by H. J. Moser (Die sieben Raben) at Ber-
Scribe, alone or in collaboration with others, and
lin 5 March 1915.
produced in Paris between 1813 and 1870, no less
Revived Basle 21 March 1924 in aversion by
than 37 were set by Auber (who, on the
R. Lauckner and D. F. Tovey.
other hand, set to music only 9 more librettos
which were not by Scribe).
[ H A Y D N] : D~e Ochsen menuette
c. M. VON WEBER: Euryanthe* 13 Decernber. Vienna, W.
25 Oetober. Vienna, Kä. Text by G. E. von Hofmann (dealing with an
Text by H. von Chezy. Three acts. incident in Haydn's life). One act. .
. Weber's only grand opera (without spoken The music, compiled from Haydn's works,
dlalogue). Subsequently given at Frankfort 8 was arranged by I. von Seyfried, in Germany one
 ANNALS OF OPERA 1824

of the earliest examples of that sort of pasticcio. Dresden 6 January 1827; Barcelona 21 September
Very successful on German stages, Berlin, Kgst. 1828.
4 August 1824 1 and O. 4 August 1848; Hamburg
n May 1825; Hanover 26 May 1825; Prague
DONIZETTI: VAjo neU' Imbarazzo*
1831, etc. Revived Vienna, Kä. 12 September 4 February. Rome, Valle
1829 (in two acts); Leop. 22 September 1846; Text by J. Ferretti (founded on a comedy by G.
and W. 31 October 1857. In German also, New Giraud, first set to music by pilot~ in 18n). Two
York 7 December 1858. acts.
In Swedish (translated by C. G. Nordforss), Successful in Italy.
Stockholm 26 April 1826. In Italian also given at Vienna 2 April 1827;
Vocal score re-issued in 1927 (edited by G. Dresden 9 April 1828 (as 11 Governo aUa Casa);
Droescher). Barcelona 3 June 1828; Rio de Janeiro 14 July
Hofmann' s libretto was founded upon a French 1829; Lisbon 4 December 1837; Nice Carnival
comeaie-anecdote mme de vaudevilles, by J. J. Gab- 1840; Berlin, Kgst. 26 July 1841; Corfu Autumn
riel and A. J. M. Waffiard (Haydn ou Le Menuet 1842; Copenhagen Spring 1844; Constantinciple
du BCfUj), produced at the Th. du Vaudeville, Spring 1844; London, H.M.'s 28 July 1846 (as
Paris 12 November 1812, in which there were Don Gregorio).
five numbers by Haydn. There exists, however, Revived Milan 4 April 1866; Venice 12 Feb-
a forerunner dating from a time when Haydn was ruary 1879.
still alive, Le Menuet du Ba?uf ou Une Lefon de
Haydll, by J. B. Constantin, printed (and pro- MEYERBEER: 11 Crociato in Egitto*
duced?) at Verdun in 1805 (BibI. Soleinne, no. 7 March. Venice, F.
3053); here apparently the whole music was taken Text by G. Rossi. Two acts.
from Haydn's works. The last and most successful of Meyerbeer' s
Italian operas; Florence, P. 7 May 1824, etc.
B. KLEIN: Dido Given at Naples, S.c. 30 September 1826 as Il
150ctober. Berlin, O. Cavaliere d'Orville ill Egitto, at Rome Autumn
Text by L. Rellstab. Three acts. 1836 as Armando d'Orville.
The only performed opera of the Berlin con- In Italian also London 30 June 1825; Munich
ductor; it had been previously given in concert July 1825; Paris 25 September 1825; Barcelona
form at Hofrat Parthcy's on 9 April 1821; and 22 December 1825; Dresden 14 November 1826;
was revived, also in concert form, at Berlin on aporto Spring 1827; Lisbon 25 April 1828; Ha-
10 February 1855. vana 1828; Mexico 1837; Corfu Autumn 1838;
Constantinople Carnival 1839.
In German (translated by J. Kupelwieser),
r824 Pres9burg 7 actober 1826; Munich 14 Novem-
ber 1826; Graz I September 1827; Budapest 8
VACCAI: Pietro il Grande ossia
March 1828; Prague 20 March 1828; Vienna 24
Un Geloso nlla Tortura May 1829; Berlin, Kgst. 15 actober 1832; Ham-
17 Janllary. Parma burg 15 April 1832 (with new dialogue by F. L.
Text by B. Merelli. Two acts. Schmidt); Bucharest 1835.
Vaccai' s first greater sLlccess. In Russian, St. Peter3burg Spring 1841.
In Italian also, given at Lisbon 25 August 1824; Rcvivcd Mikn, Sc. 5 March 1859; Paris, Th.I.
27 March 1860; in German, Königsberg 14 April
1 At the opening of the sccond Berlin opera-hause,
the Königstädtisches Theater (cxisted until 30 June 1847 (transbted by F. Ellmenreich); Graz Decem-
1 851 ). ber 1860.
 ANNALS OF OPERA

AUßER: Le Concert ala Cour ou WÜRFEL: Rübezahl

La Debutante 7 Oetober. Prague
3 JUlle. Paris, O.c. Text by W. Marsano. Three acts.
Text by A. E. Scribe :md A. H.J. Mclesville. One Poplllar on German stages; Vienna, W. 10
act. March 1825; Leipzig 21 March 1825, etc.; Bllda-
Last revivcd at thc O.c. 17 October 1851 pest 30 May 1829.
(given there 246 times altogethcr). In Czech (translated by J. K. Chmclensky),
In French also, Brusscls 3I October 1824; Ber- Prague 30 Janllary IX3I.
lin 31 October 1835; Rio deJaneiro 1846; Lon-
don, St. J.'s 26 February 1849.
In German (translated by C. A. Herklots),
KUHLAU: Lulu
Berlin I I October 1825; (translated by F. Ell- 29 Oetober. Copenhagel1
menreich) Budapcst 3I March 1826; Prague 17 Text by C. F. Güntelberg (founded on a tale in
June 1826; Graz 31 July 1826; Mlinich 1826; C. M. Wieland's Dsehillllistall). Three acts.
Vienna, Jos. 10 Janllary 1827 (with additional
Danish romantic opera, given at Copenhagen
music by Riotte) and Kä. 9 March 1827; St. Pe-
unti1183 8.
tersburg 28 December 1836; last revived Frank-
A Swedish translation by P. U. Huldberg was
fort 25 November 1857; Breslall 29 April 1862.
published in 1835.
ln Swedish (translated by P. U. Huldberg),
Stockholm 7 February 1834.
In Danish (translated by T. Overskou), Co- AUßER: Leocadie
penhagen 28 Octo ber 1839.
4 November. Paris, O.c.
In Hllngarian (translated by E. Abranyi),
Blldapest as late as 3 March 1888. Text by A. E. Scribe and A. H. J. Melesville
(founded on Cervantes's story La Fuer~a de la
Sangre). Three acts.
PEELLAERT: Agnes Sorel
Given in Paris 120 times until 1831; in French
30 August. Brussels, M. also, Ghent 9 March 1825; Brussels 23 March
Text by J. N. Bouilly and E. Mercier-Dupaty 1825, etc.
(originally performed as a vaudeville in 1806). ln English, London, D.L. 17 December 1825
Three acts. (music arranged by B. Livius).
The opera had "six representations, chiffre In German (translated by K. A. Ritter), Munich
extraordinaire, 11 ce moment, pour une piece I2July 1825; (in another version by F. Ellmen-
bruxelloise" (Isnardon). reich, as Allatolie), Vienna 20 October 1827;
Also given at Ghent 19 January 1825, etc. Prague 1827; Graz 30 November 1831, etc.

VACCAI: La Pastorella Feudataria MIRECKI: Evandro in Pergamo

18 September. Turin, T. Carignano 26 Deeember. Genoa, S. Agostino.
Text by B. Merelli (follnded on Planard's Bergere Text by A. Peracchi (originally called Argene e
Cht1teleille, see 1820). Two acts. Dalmiro and composed by Stuntz, Turin 26 De-
In Italian also given at Dresden 20 April 1826; cember 1820). Two acts.
Lisbon 1826; Barcelona 20 December 1826; Paris, Probably the first opera written by a Polish
Th.I. 21 April 1827. composer for Italy; ran for 26 nights.
 ANNALS OF OPERA

BUDAPEST 15 June 1826 (in German) and 1 April

r825 1846 (in Hungarian).
LINDPAINTNER: Der Bergkönig VIENNA 2 August 1826 (in German, translated by

30 January. Stuttgart J. G. Seidi).

PRAGUE Autumn 1826 (in German) and IO March
Text by C. Hanisch. Three acts.
The same subject was treated by Spohr 2 1850 (in Czech, translated by J. PrazskY)·
NEW YORK I August 1827 (in French) and 8 Jan-
months later.
In German also, Budapest 31 October 1825. uary 1857 (in German).
COPENHAGEN I September 1827 (in Danish, trans-
MARSCHNER: Der Holzdieb* lated by T. Overskou).
22 February. Dresden LEMBERG 26 June 1828 (in Polish, translated by

Text by F. Kind. One act. F. K. BIotnicki).

WARSAW 8 November 1828 (in Polish, .translated
The litde work was not very successful at its
first appearance; but it was frequendy revived, by F. K. BIotnicki).
STOCKHOLM 3 April 1834 (in Swedish, translated
viz.: Leipzig 13 January 1850 (at the Conserva-
toire); Berlin, Kroll's 21 April 1853 (as Geborgt); by C. M. Craelius) and 22 June 1861 (in a new
Barmen 8 May 1856 (by amateurs); Hamburg Swedish version by F. A. Dahlgren).
CLAUSENBURG 2 November 1834 (in Hungarian,
18 January 1878; Hanover 9 May 1879; Königs-
berg 8 April 1902; Strasbourg January 1909; translated by J. Szerdahelyi; translation pub-
Rochester, N.Y., 27 May 1935 (in English); lished already Kassan 1830).
Amsterdam February 1935 (by the Dutch Cham- BASLE 13 March 1835 (in German).

ber Opera); Berlin, D.O. 8 October 1937 (revised BUCHAREST 1835 (in German).

by H. Burkard and O. Rombach). ST. PETERSBURG January 1836 (in German).

RIGA 1837 (in German).
S P 0 H R: Der Berggeist HELSINKI 28 June 1839 (in German).

24 March. Cassel RIO DE JANEIRO 1846 (in Frepch).

LONDON, ST. J.'s 13 March 1850 (in French).
Text by G. Dörmg. Three acts.
Written for the celebration of the wedding
ofPrince Bernhard Erich ofSaxe-Meiningen and SPONTINI: Alcidor
Princess Maria of Hesse-Cassel. 23 May. Berlin, O.
Also given at Leipzig 16 November 1825, etc.; (Original French) text by E. G. M. Theaulon de
Prague 24June 1837. Lambert, German version by C. A. Herklots.
Three parts.
A UBER: Le Ma~on
Written for thc celebration of the wedding" of
3 May. Paris,O.C. Prince Frederick of Holland and Princess Luise
Text by A. E. Scribe and G. Delavigne. Three ofPrussia.
acts. Given in Berlin until 1836, but nowhere else.
One of Auber's greatest successes; given at the
O.c. 525 times until 1896. Given on German
R 0 S SI NI:Il Viaggio a Reims ossia
stages even until about 1930. Outside Paris pro-
duced at: L' Albergo del Giglio d'Oro
BRUSSELS 15 September 1825 (in French). 19 June. Paris, Th. I.
BERLIN 19 March 1826 (in German, translated by Text by G. L. Balochi. Two acts.
C. A. L. von Lichtenstein) ; another translation, The first work Rossini wrote for Paris (for the
by K. A. Ritter, was used at Würzburg 19 coronation ofKing Charles x). Complete failure,
March 1828, etc. 3 nights only. Rossini used the greater part of the
1825 ANNALS OF OPERA 182 5
music for his Comte d'Ory (see 1828); after that, V accai' s greatest and last success; he wrote 9
another resurrection, in Italian, took place at the more operas, all of which were failures.
Th. I. 26 October 1848 as Andremo a Parigi ossia In Italian also given at Barcelona 26 May 1827;
L' Albergo di Piombieres (without most of the Paris I I September 1827; Lisbon Autumn 1828;
Comte d'Ory additions). London 10 April 1832; Mexico July 1841.
Revived at Vienna 26 April 1854 (as 11 Viaggio In German (translated by I. C. Kollmann),
a Vienna ossia L'AIbergo di ... ai Bagni di ... , Graz 12 October 1833; Budapest 31 July 1845.
Melodrama d'Occasione, [on Quadro allusivo).· After 1832, the penultimate scene ofthis opera was
frequently (in Italy nearly always) introduced into
CORDELLA: cU Avventurieri Bellini's Capuleti e Montecchi (see 1830); in this
6 September. Milan, Can. form parts of Vaccai' s setting were revived at
Text by F. Romani. Two acts. Hamburg as late as 8 September 1897.
Successful in ItaIy; revived at the Scala, Milan
28 April 1840. PACINI: L'ultimo Ciorno di Pompei
Also given at Lisbon 6 February 1826; Trieste 19 November. Naples, S.c.
Carnival 1827; Barcelona 19 September 1827. Text by A. L. Tottola (not founded on the novel
by E. Bulwer Lytton which was not published
DAVIES: The Forest Rose; or, until 1834). Two acts.
Ameriean Farmers Very successful in Italy; in Italian also given at
Vienna 17July 1827; Lisbon Autumn 1828; Mad-
70etober. New York, Chatham Th.
rid 7 September 1830; Paris 2 October 1830;
Text by S. Woodworth. Two acts.
London 17 March 1831; Mexico 31 July 1838.
Successful American pastoral opera, introduc- In German (translated by G. Ott), Stuttgart
ing the Yankee character of Brother Jonathan Summer 1829; Vienna 18 August 1832 (at the
(Jonathan Pioughboy). Th. in der Josephstadt which was then re-opened
Revived New York 8 March 1849 and 16 May as an opera-house under J. A. Stöger's manage-
1855· ment); Prague December 1834; Budapest I Au-
LISZT: Don San ehe ouLe Chateau gust 1835.
d'Amour* BOIELDIEU: La Dame blanehe*
170etober. Paris, O. 10 December. Paris,O.c.
Text by E. G. M. Theaulon de Lambert and De Text by A. E. Scribe (founded on Scott's Guy
Rance (founded on a story by Florian). Opera Mannering and The Monastery). Three acts.
Jeerie. One act. Boieldieu'schief work, and one of the greatest
The only opera of the (then 14 years old) com- successes of French opera-comique. The 1,000th
poser; given 4 times only. Rodolphe Kreutzer is performance at the O.C. was on 16 Deccmber
said to have helped with the orchestration. The 1862, the 1,675th on 12 March 1914; last revived
score was for many years thought to be lost, but there 7 January 1926; revived at Brussels 20 Oc-
recovered in 1903; see J. Chantavoine in Die tober 1936.
Musik, May 1904 (where the overture was printed Parodies: Les Dames aIa Mode (on Boieldieu' s
for the first time). opera and Rossini's Donna deI Lago) by N. Gersin,
N. Brazier, J. J. Gabriel, and A. Vulpian, Th. du
VACCAI: Ciulietta e Romeo Vaudeville 5 January 1826; La Dame jaune, at the
31 Oetober. Milan, Can. same theatre, 9 March 1826; La Dame noire ou Le
Text by F. Romani (after Shakespeare). Two Tambour el Ia Grisette, by C. Honore, Bordeaux
acts. February 1827.
 ANNALS OF OPERA

La Dame blanche was first produced at Rouen, CLAUSENBURG 15 August 1830 (in Hungarian,
the composer's native town, on 25 Febru2.ry 1826 translated by E. Paly).
and subsequently given all over France. BUCHAREST January 1834 (in German) and 1 Oc-
Outside France, the first performances were at: tober 1840 (in French).
LIEGE 13 March 1826 (in French). HELSINKI 14 April 1834 (in German).
BRUSSELS 6 April 1826 (in French). BASLE 24 October 1834 (in German).
VIENNA 6 July 1826 (in German, translated by ST. PETERSBURG 1835 (in German) and 19 February
I. F. Castelli); Graz 19January 1827. 1864 (in Italian, translated by M. M. Marcel1o,
BERLIN, o. I August 1826 (in German, translated recitatives by E. Bauer).
by C. A. L. von Lichtenstein) and Kgst. 2 No- CHRISTIANlA 1835 (in Danish).
vember 1826 (translated by L. Angely); there BATAvlA 10 October 1836 (in French; first opera
were other German versions by F. Ellmen- ever given there); Soerabaya 29 October 1866.
reich, J. B. Rousseau, and K. A. Ritter pub- RIGA 1837 (in German).
lished about the same time. The latest German RIO DE JANEIRO 1846 (in French).
version, by G. Brecher, published 1931. BUENOS AIRES 14 March 1852 (in French).
PRESSBURG 16 September 1826 and Budapest 23 BADEN-BADEN 15 July 1864 (in French).
October 1826 (in German). BARCELONA 23 June 1866 (in French).
LONDON, D.L. 9 October 1826 (in English, as The LISBON I I May 1878 (in French).
White Lady, translated by S. Beazley, music MEXICO 22 March 1879 (in French).
arranged byT. S. Cooke); C.G. 2January 1827 SARAJEVO 1882 (in German).
(as The White Maid, translated by J. H. Payne);
Hm. 9June 1834 (in German); and St.J.'s 31
January 1849 (in French). Revived by the Carl 1826
Rosa Company between 1873-83 in a new
English version by A. Matthison. MAURER: Der neue Paris
COPENHAGEN 30 October 1826 (in Danish, trans- 27 January. Hanover
lated by T. Overskou). Librettist unknown. One act.
NAPLES, FONDO Carnival 1827 (in Italian). In German also, Riga 18 October 1826.
PRAGUE 9 January 1827 (in German) and 17 April In English (as Not for me; or, The new Apple of
1853 (in Czech, translated by E. Ujky). Discord, translated by H. Napier, music arranged
STOCKHOLM 31 January 1827 (in Swedish, trans- by W. Hawes), London, Ly. 23 August 1828.
Iated by B. H. Crusell and N. E. W. afWetter- Produced in Russian (translated by N. I.
stedt) and 14 May 1863 (in German). Khmelnitsky), Moscow 3 July 1829 (as a vaude-
TRIESTE 7 July 1827 (in German). ville, with some new music by Verstovsky, f"'0-
WARSAW 23 August 1827 (in Polish, translated by bably partly in the original setting. as Maurer
W. Boguslawski). frequently collaborated with Verstovsky).
NEW YORK 24 August 1827 (in French); 23 April
1828 and 21 May 1832 (in English. the D.L.
SKROUP: Dratenlk
and C.G. versions respectively); 15 January
1864 (in German). (The Tinker)
AGRAM (ZAGREB) 2January 1828 (in German) and 2 February. Prague
7 January 1900 (in Croatian, translated by V. Text by J. K. Chmelensky. Two acts.
Badalic). First opera ever written to Czech words.
MOSCOW 1828 (in Russian). Given at Brünn 21 November 1840; revived at
AMSTERDAM 1828 (in Dutch); 1834 (in French); Prague 28 January 1865; 10 July 1895; 20 Feb-
October 1836 (in German). ruary 1926; and 28 May 1938.

699 700
 ANNALS OF OPERA

Skroup was the composer of the Czech natio- WEBER: Oberon; or, The Elf
nal hyrnn Kde domov muj? (Where is my Home?) King's Oath*
which first appeared in his incidental music to
Fidlovacka, a farce by J. K. Tyl (performed 21 12 April. London, C.G.
December 1834); the song was afterwards intro- Text by J. R. Planche (founded on W. Sotheby's
duced into the fmale of Drdtenfk. translation of C. M. Wieland's Oberon). Three
acts.
MERCADANTE: Caritea, Regina Given in London 31 times during the first
season and frequently revived afterwards; given
di Spagna
at D.L. 19 April 1841 in German; at H.M.'s 3
21 February. Venice, F. July 1860 in Italian, translated by S.M. Maggioni,
Text by P. Pola. Two acts. with recitatives by Benedict and additional music
Outside Italy: Barcelona I2July 1828; London [rom other works ofWeber.
26 July 1830; St. Petersburg I8JI; Lisbon Sum- Produeed at Dublin 1 February 1827 (in Eng-
mer 1834; Havana June 1836; Palma, Mallorca lish) and 8 Oetober 1863 (in Italian); Edinburgh
Carnival 1840; Mexico 6 September 1842. Mostly 26 August 1827 (in English); New York 9 Oeto-
given as Donna Caritea. ber 1828 (in English); Philadelphia 9 Mareh 1870
In German, Graz September 1831; Brünn De- (in Italian) ; Melboume and Sydney 1865 (in
cember 1833. English).
Outside the English~:;peaking countries,given at:
LEIPZIG 23 December 1826 (in German, translated
PEELLAERT: Teniers Oll La Noce
by T. Hell).
jlamande VIENNA, JOS. 20 March 1827 (text arranged by
9 March. Brussels, M. K. Meisl, music re-scored by Gläser); Kä. 4
Text by J. N. Bouilly and J. M. Pain. One act. February r829 (in the original form).
Successful in Belgium; Ghent 17 April 1828; BERLIN, O. 2 July r828 (previously given there
last revived at Brussels 2 December 1845. privately, at the publisher Schlesinger's in De-
cember r826; see H. Dom, Aus meinem Lebc/l,
Vol. II, p.roI).
FE TI S : La Vieille PRAGUE 4 Oe tob er 1828 (in German) ani6 Sep-
14 March. Paris,O.C. tember 1889 (in Czech, translated by V. J.
Text by A. E. Scribe and G. Delavigne. One act. Novotny).
The most successful opera of the famous writer BUDAPEST r8 May r829 (in German) and 29 Jan-
on music; given at the O.c. until 1840 and re- uary 1914 (in Hungarian, translated by S.
vived there II October I8S!. Hevesi).
In French also, Ghent 6 September 1826; Brus- AMSTERDAM r829 (in Dutch, translated by J. F.
sels II September 1826 (revived 20 Dccember Majofski).
1860); New York 20 July 1827; Calcutta 20 No- PARIS, TH.I. 25 May r830 (in German); Th.L. 27
vember 1838; Rio de Janeiro 1846. February 1857 (in French, translated by C.
In German (as Die liebe/lswürdige Alte, trans- Nuitter, A. Beaumont and P. de Chazot); Ren.
Iated by L. Angely), Berlin, Kgst. I June 1827. 10 April 1899 (new translation by L. V. Dur-
In English (as Love in Wrinklcs; or, The Russian dilly and M. Cam! fils).
Stratagem, adapted by M. R. Lacy), London, D.L. COPENHAGEN 31 January r831 (in Danish, trans-
4 December 1828; (as My old Woman, adapted by lated by A. G. Oehlenschläger); revived 18
G. Macfarren, music arranged by J. Blewitt) December 1886 (new Danish version by S.
Surrey 14 J anuary 1829· Bauditz and P. Krolm).

701 702
 ANNALS OF OPERA

RIGA 27 April 1832 (in German). A. Bodanzky). Revived in Italian (with spoken
GRAZ 22 February 1834 (in German). dialogue), Rome, T.R. 12 December 1938;
BASLE 15 April 1836 (in German). Milan, Sc. 26 March 1940.
LIEGE 18 May 1838 (in German).
TOULOUSE May 1846 (in French, as Huon de Bor-
BISHOP: Aladdin
deaux, translated by F. H. J. Castil-Blaze; an 29 April. London, D.L.
earlier French version, by J. Ramoux, was Text by G. Soane (Afairy opera). Three acts.
written for Lit~ge and published in 1832. Ac- Bishop's only opera without spoken dialogue.
cording to Annuaire Dramatique Beige, 1842, Commissioned by Elliston, then manager ofD.L.,
p.151, produced at Marseilles in 1833, a state- as a counter-attraction to Oberon, which was so
ment I could not verify). successful at the riyal house; but Aladdin was a
BRUSSELS July 1846 (in German); 16 November complete failure and had to be withdrawn after
1863 (in French, the Paris 1857 version); 23 a few nights.
November 1911 (new French version by M. Outside London, only given at Philadelphia
Kufferath and H. Cain, with Wüllner's recita- 12 November 1830.
tives).
LEMBERG 1850 (in German).
WOLFRAM: Maja und Alpino oder
STOCKHOLM 21 May 1858 (in Swedish, translated
Die bezauberte Rose
by C. W. A. Strandberg). 24 May. Prague
GHENT 20 February 1862 (in French). Text by E. H. Gehe (founded on E. K. F.
ST. PETERSBURG 1863 (in Italian; the London 1860 Schulze's poem Die bezauberte Rose, 1818). Three
version). acts.
ROTTERDAM 28 January 1865 (in German). The most successful of Wolfram's operas.
ANTWERP 27 February 1872 (in French) alld 17 Dresden 7 September 1826; Berlin 13 December
January 1914 (in Flernish). 1827, etc.
ROME 26 June 1882 (for the first time in Italy, in
concert form, by the Societa Musicale Roma-
BELLINI: Bianca e Gernando*
na). 30 May. Naples, S.c.
AGRAM (Zagreb) 15 October 1901 (in Croatian, Text by D. Gilardoni. Two acts.
translated by A. Schneider). Bellini's first publicly performed opera. The
MILAN, sc. 18 February 1913 (first stage produc- original tide, Bianca e Fernando, had to be changed
tion in Italy; new Italian version by A. Lega). because Fernando had been the name of the late
BUENOS AIRES 5 July 1913 (in Italian). King ofNaples.
SOFIA 28 September 1936 (in Bulgarian). Repeated Genoa 7 April 1828 (at the inaugu-
Of the numerous revivals and arrangements in ration of the Teatro Carlo Felice; text revised
Germany, the following should be mentioned: probably by F. Romani and the music by the
VIENNA 25 February 1881 (new German version composer and possibly Florimo, including an
by F. Grandaur, recitatives by F. wüllner). overture); Rome 31 July 1837.
WIESBADEN 16 May 1900 (arranged b.y G. von Outside Italy, only Barcelona 19 May 1830.
Hülsen, J. Schlar and J. Lauff).
COLOGNE 10 April 1913 (new German version by
HEROLD: Marie
G. Brecher, music rcvised by G. Mahler). 12 August. Paris,O.C.

BASLE 15 November 1930 (new version by Wein- Text by F. A. E. de Planard. Three acts.
gartner). Very successful in Paris; last revived at the
Revived at the Metropolitan, New York 28 Th.L. 14 September 1855; O.c. 10 July 1865;
December 1918 (in English, music arranged by Galerie Vivienne 6 December 1894.

703
 ANNALS OF OPERA

Outside Paris given at: C. CONTI: Olimpia

VIENNA 18 December 1826 (in German, translated
29 Oetober. Naples, S.c.
by I. F. Castelli).
Text by A. L. Tottola. Two acts.
BRUSSELS 18 January 1827 (in French).
Conti's best work; revived at Naples, S.C. on
BUDAPEST 15 March 1827 (in German).
9 October 1829.
HAMBURG 26 September 1827 (in German).
BERLIN, KGST. 7 November 1827 (in German).
AUßER: Fiorella
NEW YORK 18 August 1829 (in French).
CLAUSENBURG 7 September 1830 (in Hungarian,
28 November. Paris, O.c.
translated by P. Szilagyi). Text by A. E. Scribe. Three acts.
COPENHAGEN 25 September 1830 (in Danish, Revived at the O.c. 9 June 1848 (II8 perfor-
translated by T. Overskou). mances). In French also, Ghent 14 March 1827;
STOCKHOLM 17 December 1832 (in Swedish, Brussels 5 April 1827; New York 22 August
translated by J. E. Remmer). 1829.
PRAGUE 3 April 1840 (in German).
In German (translated by I. F. Castelli), Berlin,
LONDON, PRINCESS'S 18 January 1849 (in English,
Kgst. 14 March 1828; Pressburg 26 March 1828;
as Marie, the Foundling of the Lake, music ar- Graz 26 April 1828; Budapest 25 September
ranged by Loder). 1828; Prague 5January 1829; Vienna, W. 19 Feb-
BUCHAREST 1835 (in German). ruary 1829 (as Das Pilgerhaus) and Kä. 5 March
183I (as Fiorella). Another German translation by
F. Ellmenreich was published c.1830.
[ROSSINI]: 1vanhoe In Danish (translated by T. Overskou), Co-
15 September. Paris, Odeon penhagen 13 February 1838.
Text by E. Deschamps and G. G. de Wailly
(founded on Scott's novel). Three acts.
r827
One of the numerous Rossini pasticcios; music
fromSemiramide, Mose, Tancredi and GazzaLadra, DONIZETTI: Olivo e Pasquale
adapted to the new libretto by A. Pacini. 7January. Rome, Valle
In French also, Ghent 10 January 1827; Lille Text by J. Ferretti (founded on a comedy by A. S.
20 February 1827, etc. Sografi). Two acts.
In English (as The Maid ofJudah; or, The Knight Given in Italy until about 1870.
Templars, translated by M. R. Lacy), London, In Italian also produced at London 3I March
c.G. 7 March 1829; Dublin 30 June 1830; New 1832; Barcelona 6 February 1833; Bastia, Corsica
York 27 Februaryr832; Philadelphia 6 Marchr834. Autumn 1833; Lisbon 20 January 1836; Nice
In German, Coburg 1833. Autumn 1839; Berlin, Kgst. 8 January 1845;
Much confusion in books of reference has been Vienna 17 June 1847.
caused by the fact that the famous composer Gio- In German (translated by G. Ott), Graz 10
vanni Pacini (1796-1867) also wrote an (Italian) April 1830; Vienna, Jos. 5 October 1836.
Ivallhoe opera, performed Venice 19 March 1832
and (in German, translated by G. Ott) Vienna
PACINI: Cli Arabi nelle Callie ossia
14 February 1837. Apart from the subject, it has
nothing to do with our (French) Rossini pasticcio, 11 TrionJo della Fede
arranged by the less famous composer Antonio 8 March. Milan, Sc.
Pacini (1778-1866), father of Emiliano Pacini Text by L. Romanelli (founded on d'Arlincourt's
(18II-98), the librettist who translated Freischütz, novel Le' Renegat). Two acts.
Trovatore, etc., for the Paris Opera. One of Pacini' s most successful works.
 ANNALS OF OPERA

In Italian also produced at Vienna 22 May 1827; In Italian also given at Lisbon 4 March J839
Madrid 30 April 1829; Dresden 12 December and Barcelona 15 October 1840.
1829; London 12 May 1832; Ncw York 20Jan- In German (as Die Macht der kindlichen Liebe,
uary 1834; Philadelphia 23 April 1834; Lisbon translated by G. Ott), Graz 12 February 1829;
Summer 1834; Clausenburg 9 January 1836 (parts Berlin, Kgst. 3 May 1832; Vienna 3 August 1832.
only); Havana 29 January 1838; Odessa Autumn Revived (after Donizetti's death), Paris, Th.L.
1939; Nice Camival 1842; Mexico I2June 1842. 3I December 1853 (in French, as Elisabeth ou La
Revived (with seven additional numbers): Fille du Proscrit, translated by A. de Leuven and
Paris, Th.I. 30 January 1855 (as L'Ultimo dei L. L. Brunswick, music adapted by U. Fontana);
Clodovei ossia GU Arabi nelle Gallie). this version, re-translated into Italian, was given
at Milan, S. Radegonda 24 July 1854.
MENDELSSOHN: Die Hochzeit
des Camacho WEYSE: Et Eventyr i Rosenborg Have
29 April. Berlin, Sch. (An Adventure in Rosenborg Gardens)
Text by c. A. L. von Lichtenstein (founded on an 26 May. Copenhagen
episode from Cervantes's Don Quixote). Two acts. Text by J. L. Heiberg. One act.
Mendelssohn's first performed opera; given Very successful in Denmark; frequently re-
only once. (On earlier attempts see G. Schüne- vived at Copenhagen; the 165th performance
mann in Zeitschrift für Musikwissenschaft, Vol. v, was on 27 February 1917!
P·5 06 .)
Revived (in concert form): Frankfort 30 De-
cember 1860; Chicago I May 1875; Boston 19
CHELARD: Macbeth
March r88s (English version by A. L. Blandy); 29 June. Paris, o.
Berlin 9 February 1886. Text by C. J. Rouget de Lisle. Three acts.
Lichtenstein is mentioned as the author (zur The opera was a failure in Paris (5 nights only),
beibehaltenen Musik ... umgearbeitet) in the original but became successful in Germany (translated by
libretto. Goedeke (m, P.II04), attributes the text C. M. Heigel); Munich 25 August 1828, etc.
to Friedrich Voigts; Devrient (Erinnerungen) to In German also, London, Hm. 4 July 1832
"Klingemann". Probably he did not mean Kar! (under Chelard); Budapest 21 October 1837.
Klingemann, Mendelssohn' s friend and collabo- Revived Weimar 13 January 1861 (in an enlarged
rator in Die Heimkehr aus der Fremde (see 1851), 5-act version).
but the elder August Klingemann whose Don
Quixote und Sancho Panza oder: Die Hochzeit des DON I Z E T TI: 11 Borgomastro di Saardam*
Gamacho (music from different operas) had been
19 August. Naples, Fondo
produced at Berlin on 30 May 18II (overture by
Text by D. Gilardoni (founded on a French play
Seidel). Lichtenstein perhaps based his version on
by A. H. J. Melesville, J. T. Merle, and E. C. de
Klingemann's Dramatisches Spiel mit Gesang,
Boirie, 1818). Two acts.
which had been published in 1815.
Successful in Italy. In Italian also, Barcelona
16 December 1829.
DONIZETTI: Cli Esiliati in Siberia In German, Vienna, Jos. 16 September 1836;
ossia Otto Mesi in due are Berlin, Kgst. 3 August 1837.
13 May. Naples, T.N. In Hungarian (translated by K. Lengey) Buda-
Text by D. Gilardoni (from a melodrama by pest 1839.
R. C. G. de Pixerecourt which itself was founded (For a German opera on the same subject, see
upon the novel by S. Cottin, 1806). Three acts. Lortzing's Czaar und Zimmermann, 1837).

708
 ANNALS OF OPERA

SPOHR: Pietro von Abano ONSLOW: Le Colporteur Oll

13 October. Cassel L'Enfant du Bucheron
Text by K. Pfeiffer (founded on a story by 1. 22 November. Paris, O.C.
Tieek), originally written for Cursehmann (see Text by F. A. E. de Planard. Three aets.
1828). Two aets. The most sueeessful of Onslow's three operas.
Revived Munieh 13 April 1890. In Freneh also given at Ghent 13 February 1828
(until 1863!); Liege 25 February 1828; Brussels
30 Oetober 1828 (revived 17 May 1839), ete.
BELLINI: 11 Pirata*
In German (as Der Spion oder Alexis der Findling
27 October. Milan, Sc. im Walde, translated by J. Kupelwieser), Graz
Text by F. Romani based on the 3-aet melodrama 9 August 1828; Budapest 9 March 1829; Prague
Bertram 014 Le Pirate by Raimond, Isidore and J. S. May 1829, ete.; (as Der Hausirer, translated by
Taylor, 1826. Two aets given with two ballets. C. A. 1. von Lichtenstein), Berlin 19 August
Bellini' s first international sueeess; still oeeasio- 1828.
nally given in Italy; one of the latest revivals was In Danish (translated by J. 1. Heiberg), Co-
at Rome on I January 1935. penhagen 28 Oetober 1828.
In Italian also: In English (as The Emissary; or, The Revolt of
VIENNA 25 February 1828. Moscow, adapted by B. Livius), London, D.1. 13
DRESDEN 31 Oetober 1829. May 1831.
LONDON 17 April 1830.
MADRID 9 May 1830.
CARAFA: Masaniello, Oll
PARIS I February 1832. Le Pecheur napolitain
NEW YORK 5 Deeember 1832. 27 December. Paris, O.c.
USBON 7 May 1834. Text by C. Moreau and A. M. Lafortelle (the
HAVANA 1834. same subjeet as in Auber's La Muette de Portici,
MEXICO 16 January 1835. produeed at the Opera two months later).
ALGIERS Spring 1839. Given at the O.c. 136 times and revived at the
MALTA 1840.
Th. Chateau d'Eau 10 August 1882. In Freneh
BERLIN, KGST. 28 January 1843.
also, Ghent 19 March 1828; Amsterdath 1834,
ete.
ST. PETERSBURG Spring 1843.
VALPARAISO 1845.
BUENOS AIRES 1 January 1850. r828
In German (translated by G. Ott): Graz 20
DONIZETTI: L'Esule di Roma ossia
January 1830; Budapest 23 August 1830; Munieh
31 Oetober 1830 as Der Seeräuber; Prague Summer 11 Proscritto
1831; Berlin, Kgst. 31 August 18 3I ; Amsterdam 1 January. Naples, S.c.
1833 (here translated by F. Ellmenreieh); Agram Text by D. Gilardoni. Two aets.
1834; St. Petersburg I I November 1836; Vienna Given at Venice Spring 1831 as Settimio ossia
20 February 1840, ete. L' Esule di Roma.
In Freneh (translated by E. Duprez, musie In Italian also, London 4 February 1832; Mad-
adapted by P. Cremont): Lyons 24 February rid 21 May 1832; Corfu Autumn 1832; Cagliari,
1835; Toulouse 24 November 1835 (musie ar- Sardinia Autumn 1833; Ragusa Carnival 1838;
ranged by J. Cadaux); Liege 8 February 1836; Lisbon 13 June 1839; Nice Carnival 1840; Malta
Amsterdam Spring 1836; Brussels 10 August 1838. Summer 1841.

709 710
 ANN ALS OF OPERA

In German (translated by G. Ott), Graz I Au- sions by K. A. Ritter (Mannheim 14June 1829)
gust 1832; Vienna, Jos. 26 September 1832; and by T. von Haupt (Dessau 21 April 1830).
Prague March 1837. VIENNA, JOs. 9 April 1829 (as Die Stumme, oder
Untreue und edle Rache, translated by A. Prix);
MAURER: Aloise Kä. 12 February 1830 (Ritter's translation).
16 January. Hanover LONDON, D.L. 4 May 1829 (as Masaniello; or, The
Text by F. I. von Holbein (founded on a novel by Dumb Girl of Portici, translated by J. Kenney,
E. Wodomerius). Two acts. music adapted by T. S. Cooke and B. Livius);
The most successful opera of the well-known D.L. 24 March r841 (in German); c.G. 23
violinist. June 1845 (in French) and 15 March 1849 (in
In German also, Riga 22 July 1828; Hamburg Italian, translated by S. M. Maggioni).
30 August 1828; Vienna 9 July 1829; Dresden PRAGUE 30 July 1829 (in German) and 8 January
14 December 1834, etc. Revived Cassel 25 Feb- 1837 (in Czech, translated by J. K. Chmelen-
ruary 1869. sky). New Czech version by MuZik published
In Danish (translated by J. L. Heiberg), Co- 1891.
penhagen 29 January 1830. EDINBURGH 30 July r829 and Dublin 2 December
r 829 (in English).
AUßER: La Muette de Portici* AMSTERDAM 1829 (in Dutch, translated by C.
29 February. Paris, O. Vreedenberg); 1834 (in French) and r837 (in
Text by A. E. Scribe and G. Delavigne. Five acts. German).
Auber's most famous work, and one of the COPENHAGEN 22 May 1830 (in Danish, translated

greatest successes at the Paris Opera; the 100th by J. L. Heiberg).

performance there was as early as 23 April 1840, WARSAW 15 January 1831 (in Polish, translated by

the 500th 14 June 1880. Very successful in other J. D. Minasowicz).

countries as well, especially in Germany (at least AGRAM (ZAGREB) Summer 1831 (in German) and
five contemporary versions). It is well known 27 February r877 (in Croatian, translated by
that a performance (not the first performance J. E. Tomit).
though as sometimes stated) at Brussels 25 August NEW YORK 15 August 1831 (in French); 28 No-
1830, gave the signal to the outbreak ofthe Bel- vember 1831 (in English); November r854 (in
gian revolution, wruch led to the independence German); and 18 June r855 (in Italian).
of the country. TRIESTE Carnival 1832 (for the first time in Italian,
Outside France produced at: tramlated by C. Bassi, additional music by
RUDOLSTADT 16 October 1828 (for the first time Colla and Donizetti; subsequently given at
in German, translated by C. A. L. von Lichten- Venice, S. Ben. 21 November 1834; Rome 30
stein). May 1835; Naples 6 July 1836 (as Manfredi
ANTWERP 27 November 1828 and Brussels 12 Feb- Primo, Re di Napoli); Florence 8 September
ruary 1829 (in French). 1836; Milan 26 December 1838, etc.; given at
BUDAPEST 4 December 1828 (in German) and Rome Spring 1847 as 11 Pescatore di Brindisi; the
14 August 1841 (in Hungarian, translated by first French opera wruch made areal success in
P. Szilagyi; the translation already published Italy).
Kassan 1833). BUCHAREST 30 December r833 (in German) ; Jassy
BERLIN 12 January 1829 (in German, Lichten- February r842 (in German).
stein's translation); last revived there 24 April ST. PETERSBURG 25 January r834 (in German),
193 0. r847 (in Italian) and 8 December 1857 (in
HAMBURG 24 March 1829 (in German, translated Russ'ian); Moscow Camival r845 (in Italian)
by A. Lewald); there are other German ver- and 1858 (in Russian).

7I I 712
 1828 ANNALS OF OPERA 1828
BASLE 8 December 1834 (in German). In Russian, St. Petersburg 4 November 1833.
MADRID 19 November 1835; Barcelona 17 March In French (translated by J. Ramoux and A.
1841 (in Italian). Aulagnier), Liege 27 January 1845.
STOCKHOLM 19 March 1836 (in Swedish, trans- Anonymous Dutch translation published Am-
lated by B. H. Crusell). sterdam 1835.
BATAVIA Autumn 1836 and Soerabaya 26 October For the librettist's sources see Lindpainter, Der
1865 (in French). Vampyr, co1.715.
ST. LOUIS 3 August 1837 (in English).
LISBON 4 April 1838 (in Italian). DONIZETTI: La Regina di Golconda
HELSINKl 14 May 1841 (in German). 12 May. Genoa, C.F.
CAGLIAR1, SARDINIA Carnival 1843 (in Italian). Text by F. Romani (a new version of the 18th
CHR1STIANIA 28 April 1844 (in Norwegian). centuty subject, see 1766). Two acts.
SYDNEY 10 November 1845 (in English). First new opera at the Carlo Felice Theatre
RIO DE JANEffiO 1846 (in French) and May 1891 (opened 7 April 1828).
(in Italian). Outside Italy, given at Madrid 3 January 1842;
MONTEVIDEO October 1853 (in French). Lisbon 12 June 1842.; Cagliari, Sardinia Autumn
BUENOS AIRES 23 March 1854 (in French) and 19 184 2 ; Vienna 12 May 1843; Nice Autumn 1844;
February 1874 (in Italian). Barcelona 13 October 1849; St. Petersburg 18
MEXICO August 1854 (in Italian). January 1851. Revived Rome 3 December 1890.
SANTIAGO, CHILE 1858 (in French).
MALTA 1865 (in Italian). VERSTOVSKY: Pan Tvardovsky
CONSTANTINOPLE December 1869 (in Italian). TIaHb TBapgoBCIüil:
CAIRO 1870 (in Italian).
5 j,me. Moscow
LJUBLJANA 1904 (in Slovenian; earlier given there
Text by K. S. Aksakov. Three acts.
in German).
St. Petcrsburg 9 February 1829 (revived 1852),
etc. One of the more important works of the
MARSCHNER: Der Vampyr* pre-Glinka period of Russian opera.
29 March. Leipzig
MORLACCHI: Colombo
Text by W. A. Wohlbrück. Two acts.
The first of Marsclmer's more important 21jlme. Genoa,C.F.
operas. Text by F. Romani. Two acts.
In Germa 11 also, Blldapest 29 December 1828; Second new opera at the Carlo Fclice Theatre.
Praglle 1829; Amsterdam 1834; BasIc 4 February In Italian also, Dresden 2 May 1829; Leipzig
1839; Riga 1839-40; Graz 27 January 1849. 25 May 1830; revived Genoa Spring 1839; Sevilla
Given at the Vienna O. as late as 15 October June 1839.
IKK4; at Bcrli!l, Kroll's as late as 8 Jllly 1885 (0.
27 September 1890); and at Stuttgart (where MERCADANTE: Gabriella di Vergy
Lindpaintner's opera of the same tide, sec bclow, 8 August. Lisbon. S.c.
was very sllccessflll) as !ate as 8 Fcbruary 1891. Text by A. Profumo (pard)' taken from Totto\a's
Revivcd (in a ncw version by H. Pfitzner), Stutt- libretto of the same title, sec 1816). Two acts.
gart 28 May 1924; llerlin 2 April 1927; BasIc 7 Given in a new version (text altcred by E.
April 1927, etc. Bidera) at Genoa Spring IRp; Milan 27 March
In English (translated by J. R. Planche, music 1837; Naples, S.c. Winter 1839, etc.
arr:mged by W. Hawes), London, Ly. 25 August In Italian also, Barcelona 25 April 1837; Odessa
11129· Summer rS39; Trieste 5 Oerober rS39; Cagliari,

71 3
 ANNALS OF OPERA

Sardinia Autumn 1840; Dresden II February The librettos of both Marschner's and Lind-
1842; Malta 1852. paintner' s operas are founded on J. W. Polidori' s
In German, Prague 15 December 1841. tale The Valllpyre (first published in 1819 and then
considered to be the work of Byron), by way of
ROSSINI: Le Comte Ory* a French melodrame by C. Nodier, P. F. A.
20 August. Paris, O. Carmouche, and A. de Jouffroy (Paris 1820),
Text by A. E. Scribe and C. G. Delestre-Poirson. translated into German by L. Ritter in 1822.
Two acts.
The first of Rossini's two French operas; it R I ES: Die Räuberbraut
comprises the greater part of the music of 11
150etober. Frankfort
Viaggio a Reims (sec 1825) and 12 additional num-
Text G. Döring. Three acts.
bers.
Ries's most successful work. Leipzig 4 August
Very successful in Paris; given at the Opera
1829; Berlin 8 February 1831, etc.
434 times until 18 January 1884 (last revived
In German also, Paris, Th.I. 22 June 1830;
there 25 October 1880).
Amsterdam 1838.
In French also, Liege 27 February 1829; Ant-
In English (rival versions), London, Ly. 15July
werp 17 March 1829; Brussels 24 August 1829;
1829 (translated by E. Fitzball, music arranged by
New York 22 August 1831; London, St. J.'s 20
W. Hawes) and c.G. 22 October 1829 (trans-
June 1849; Baden-Baden 27 July 1863.
lated by I. Pocock).
In Italian (translator not mentioned), London,
In French (translated by J. Ramoux), Liege
Hm. 28 February 1829; Venice, S. Ben. 2 July
11 December 1839.
1829; Milan 10 May 1830; Barcelona 1July 1830;
According to the Vienna Allgemeine Thealer-
Rome 1I October 1830 (revived 9 October 1890);
zeitung (1829, p.470), Döring seems to have
Mexico 1833; Odessa 1839; St. Petersburg Carni-
altcred an earlier libretto, which was partly al-
val 1849; Malta 1870; Lisbon 20 March 1879.
ready composed by Ries. This accounts for the
In German (translated by F. von Biedenfeld),
fact that, besides Döring, two other authors are
Berlin, Kgst. Ir February 1829; Graz 30 March
mentioned as the librettist, viz., C. W. Haeser
1829; Budapest 8 August 1829; Prague 24 Octo-
(Riemann) and J. J. Reiff (Goedeke, m).
ber 1829; Vienna 3 November 1829; Bucharest
1834, etc. There were other German translations
by T. von Haupt, and by K. A. Ritter published CURSCHMANN: Abdul und Erinieh
about the same time. oder Die Toten
In Polish (translated by J. Slowaczynski), 29 Getober. Cassel
Warsaw 27 March 1830. Text by S. tor Hardt. One act.
In Russian (translated by G. A. Elkan), St.
The only opera of Curschmann who was a
Petersburg Winter 1838. pupil of Spohr. Vocal score published 1836.
Revived Paris, Petite Scene 5 June 1926 (in
French); Turin, T.R. March 1930 (in Italian).
SKROUP: Oldfich a Bozena
LINDPAINTNER: Der Vampyr 14 December. Prague
21 September. Stuttgart Text by J. K. Chmelensky. Three acts.
Text by C. M. Heigel. Three acts. Early Czech historical opera. Skroup's second
Munich 19 October 1828; Vienna 1 September attempt (see 1826).
1829; Brünn 12 March 1832, etc. Given at Linz In German (translated by F. V. Ernst), Prague
20 April 1840 as [solde, Gräfin von Port d'Amour. 12 February 1833; Coburg October 1835.
Last revived Stuttgart 21 December 1856. Revived Prague 7 November 1847 (in Czech).

715 716
 ANNALS OF OPERA

1829 BELLINI: La Straniera*

14 Febmary. Milan, Sc.
AUBER: La Fiancee Text by F. Romani (founded on d' Arlincourt's
10 January. Paris, O.c. novel L'Etrallgerc, 1825). Two acts.
Very successful in Italy and abroad. In Italian
Text by A. E. Scribe. Three acts.
also produced at:
Last revived at the O.c., Paris 10 February
DRESDEN 8 November 1830.
1858 (273 performances altogether); outside Paris
MADRID 3 December 1830.
produced at: LONDON, KING'S T. 23 June 1832.
BRUSSELS 8 April 1829 (in French). PARIS 4 November 1832.
BERLIN, KGST. 26July 1829 (in German, translated CORFU Autumn 1833.
by L. Angely) and O. 3 August 1829 (trans- NEW YORK IO November 1834.
lated by C. A. L. von Lichtenstein) ; other VIE!'INA 20 May 1835.
German versions by T. von Haupt and by F. LISBON 25 June 1835.
Ellmenreich were published about the same MEXICO 1837.
time. Given on German stages until I86I. OPORTO 1837.
NEW YORK 21 August 1829 (in French) and 30 ALGIERS Carnival 1838.
March 1832 (in English). CONSTANTINOPLE Carnival 1839.
GRAZ 7 September 1829 (in German). ODESSA Spring 1839.
LONDON, D.L. 4 February 1830 (in English, as MALTA Carnival I84I.
The Natiollal Guard; or Bridc alld 110 Bridc, trans- PALMA, MALLORCA Carnival 184I.
lated by J. R. planche. This version was also BERLIN, KGST. 23 Mal' 1842.
given at Edinburgh 22 December 1830; New SANTIAGO, CHILE 1846.
York 30 March 1832; and Philadelphia 13 May RIO DE JANEIRO 2 December 1846.
18 50 ). WARSAW June 1855.
BUENOS AIRES 9 April 1864.
PRAGUE September 1830 (in German).
BUCHAREST 1876.
BUDAPEST 17 January 183 I (in German).
In German (translated by G. Ott): Graz 19
VIENNA 21 April 1831 (in German, translated by
February 1831; Vienna 24 November 1831;
K. A. Ritter).
Praguc 26 Januar;- 1832; Berlin, Kgst. 3 February
COPENHAGEN 22 April 1831, Christiania 1834 (in 1832; Budapest 30 July 1832; Amsterdam 1834;
Danish, translated by J. L. Heiberg). Bucharest 1834; Agram May 1835; Basle 10 Feb-
ST. PETERSBURG 25 June 1832 (in Russian, trans- ruary 1840. Given on German stages until 1884.
lated by R. M. Zotov) and Februar)' 1834 (in In Danish (translated by J. L. Heiberg), Co-
German). penhagen 4 December 1834.
WARSAW 28 Jtme 1832 (in Polish, translated by In Htmgarian (translated by J. Szerdahelyi),
J. L. Piotrowski). Budapest 1837.
AMSTERDAM 1834 (in French). In Swedish (transbted by N. E. W. afWetter-
TURIN, T. CARIGNANO Autumn 1835 (in Italian). stedt), Stockholm 23 January 184I.
BASLE 13 November 1835 (in German). Still given in Italy; revived at the Scala, Milan
22 April 1935, as part of the commemorations on
BUCHAREST 1835 (in German).
the centenary ofBellini's death.
SANTIAGO, CHILE 185 I (in French).
Given at Stockholm 30 May 1835 as a comedy BOIELDIEU: Les det/x Nttits
(without music; Swcdish ver-ion by O. U. Torss- 20 Mal" Paris, O.c.
low). Text by A. E. Scribe and J. N. Bouilly. Three acts.

N 718
 1829 ANNALS OF OPERA 182 9
Boieldieu's last opera. disguises and with more or less essential alterations
In Freneh also, Liege I February 1830; Ant- in thc original libretto ; see be1ow, under London,
werp 20 May 1831; Brussels 15 Deeember 1831. Berlin, Milan, Rome, St. Petersburg, Warsaw,
In English, London, C.G. 17 November 1829 the various alternative titlcs. As late as in 1866 the
(as The Night before the Wedding, translated by eensor at Palermo demanded ehanges in the text.
E. Fitzball, musie adapted and enlarged by Bi- At Riga the opera had to be given as Karl der
shop; see Fitzball's Memoirs, Vol. I, Pp.183-192; Kühne right up to the end of the 19th century.
this version was also given at Sydney on 4 May Outside Paris, the opera was first produeed at:
18 74). BRUSSELS 18 March 1830 (in Freneh).
In German (translated by I. F. Caste1li), Buda- FRANKFORT 24 March 1830 (in German, translated
pest 21 Deeember 1829; Hamburg 23 April 1830; by T. von Haupt, music arranged by K. W. F.
Berlin, Kgst. 14 September 1830; Briinn 3 No- Guhr).
vember 1830; Prague 15 March 1832; Vienna BUDAPEST 27 March 1810 and 3 April 1830 (in
17 May 1834· German; divided into 2 parts of 2 acts eaeh);
In ~anish (translated by J. 1. Heiberg), Co- 9 May 1856 (in Hungarian, translated by 1.
penhagen 21 September 1832. Nadaskay).
In Russian (translated by D. T. Lensky), St. LONDON, D.t. I May 1830 (as Hofer; or The Tell
Petersburg 1834. of the Tyrol, adapted by J. R. Planche, musie
arranged by Bishop); D.L. 3 Dceember 1838
SPONTINI: Agnes von Hohenstaufen* (new English version by A. Bunn; music again
12 June. Berlin, O.
arranged by Bishop); H.M.'s 11 July 1839 (in
Italian) ; C.G. 6 June 1845 (in Freneh); the latest
Text by E. Raupaeh. Three aets.
revival in London was at the London Opera
Spontini's last opera. The first aet had already
House, Kingsway, 15 November 1911 (in
been given on 28 May 1827.
Freneh).
Revived Berlin 6 Deeember 1837 (eonsider-
GRAZ 12 May 1830 (in German).
ablyaltered).
VIENNA 24June 1830 and 22July 1830 (in German,
as at Budapest); very mutilated; with a11 the
ROSSINI: Guillaume Tell* original musie only 26 June 1848; in Italian
3 August. Paris, O. 9 April 1853.
Text by V. J. Etienne de Jouy and H. 1. F. Bis BERLIN, o. 18 Oetober 1830 (as Andreas Hofer,
(founded on Sehiller's drama). Four aets. translated from Planehe's English version by
Rossini's last opera and (apart from his Barbiere) C. A. 1. von Lichtenstein) ; Kgst. 7 June 1838
his greatest sueeess. After Guillaume Tell, he vo- (redueed to three aets, as in Paris); O. 60eto-
luntarily eoncluded his unpreeedentedly sueeess- ber 1842 (for the first time in the original form;
ful eareer and spent the last 39 years of his life Haupt' s translation).
without writing another opera. BRÜNN 24 November 1830 (in German).
The lOoth performance at the Paris O. was on PRAGUE 30 Deeember 1830 (in German) and 14
17 September 1834, the 500th on 10 February Deeember 1866 (in Czeeh, translated by J.
1868; givcn there 868 times until 1912 and re- Böhm).
viv:ed onee more 23 April 1932. The original 4- DRESDEN 28 January 183 I (aets 1-2, in Italian) and
aet version was redueed to 3 aets on I June 1831. 29 January 1831 (aets 3-4, in Italian).
First given in Italian at the Th.I. 26 Deeember LUCCA 17 September 1831 (in Italim, translated
1836. by C. Bassi); Florenee 27 Oetober 183 I; Nap-
On aeeount of its politieal subjeet, the opera les, s.c. Spring 1833 as Il Governatore Gessler
had to be given in many countries in different e Guglielmo Tell; ete. Given at Milan, Sc. 20
720
 ANNALS OF OPERA

December 1836 as Guglielmo Vallaee; at Rome PIXIS: Bibiana oder Die Kapelle
30 May 1840 as Rodolfo di Sterlinga. im Walde
NEW YORK 19 September 1831 (in English); 16
June 1845 (in French); 9 April 1855 (in Italun); 80etober. Aachen
and 18 April 1866 (in German). Text by L. Lax (founded on anovel by H. Cuno).
AGRAM (ZAGREB) 1834 (in German) and 12 May Three acts.
1887 (in Croatian, transbted by J. E. Tomi,). In German also given at Paris, Th.!. 1 May
ZURICH 1833 (in German). 1830 and Prague I2June 1830.
AMSTERDAM 1834 (in German) and 1835 (in
French).
HALEVY: La Dilettante d'Avignon
MADRID 19 November 1834 (in Italian).
MEXICO 16 September 1836 (in Italian). 7 November. Paris, O.c.
ST. PETERSBURG II November 1836 (in Russian, Text by F. B. Hoffnian and Leon Halevy (the
as Karl Smily [Charles the Bold], adapted by R. brother of the composer). One act.
M. Zotov); June 1838 (in German); Carnival Halevy's first success; given at the O.C. I19
1847 (in Italian, as Carlo il Temerario); Moscow times until 1836.
Autumn 1842 (in German).
In French also, Liege 16 December 1830; Brus-
LISBON 25 November 1836 (in Italian).
sels 28 August 1837.
COPENHAGEN Summer 1841 (in German, by a
company from Neustrelitz) and 4 September
1842 (in Danish, translated by T. Overskou); MARSCHNER: Der Templer und
Christiania (Oslo) 1851 (in Danish). die Jüdin
NEW ORLEANS 13 December 1842 (in French).
22 Deeember. Leipzig
BUENOS AIRES 30 August 1854 (in French) and 19
Text by W. A. Wohlbrück (founded on Scott's
November 1870 (in Italian).
Ivanhoe). Three acts.
WARSAW June 1855 (in Italian, as Carlo il Teme-
rario). Berlin 3 August 1831, etc. In German also
STOCKHOLM 4 June 1856 (in Swedish, translated
given at:
by C. W. A. Strandberg). BUDAPEST 7 May 1832.

HELSINKI 22 July 1857 (in German).

AMSTERDAM 1838.
HAVANA 1858 (in Italian). PRAGUE 4 October 1839.
SOERABAYA 16 November 1866 (in French). RIGA '1839-40.
ST. PETERSBURG 1840.
MALTA 1870 (in Italian).
LONDON, PRINCE'S 17 June 1840.
SYDNEY Autumn 1870 (in English).
GRAZ 7 March 1846.
RIO DE JANEIRO 20 June 1871 (in Italian).
BASLE 1 I December 1846.
BUCHAREST January 1876 (in French).
DUBLIN 4 April 1877 (in Italian). VIENNA 10 January 1849.

LEMBERG 21 May 1878 (in Polish). GOTHENBURG 27 January 1865.

LJUBLJANA 1902 (in Slovenian). NEW YORK 29 January 1872.

An open-air production at the Arenes, Ermont In Danish (translated by T. Overskou), Co-

(I.lear Enghien) took place on I June 1902. penhagen 21 April 1834.
Some of the latest revivals outside France were In Hungarian (translated by A. Rad6), Buda-
at New York, M. 21 March 1931; Leningrad pest 8 March 1890.
1932 (in Russian); Berlin, O. 3 March 1934 (new Revived (in a new version by H. Pfitzner).
German version by J. Kapp); Florence 9 May Strasbourg 20 April 1912; Cologne 25 September
1939 (at the fifth Maggio Musicale Fiorentino). 1913, etc.

721 72 2
 ANNALS OF OPERA 183 0

CHl3LARD: La Table et le Logement COPENHAGEN 19 May 1831 (in Danish, translated

24 December. Paris,O.C. byT. Overskou); Christiania 1833-
AGRAM (ZAGREB) 1831 (in German) and 15 Octo-
Text by J. J. Gabriel and T. M. Dumersan. One
ber 1887 (in Croatian, translated by A. M.
act.
Biscan).
In German (as Der Student), Munich 19 Feb-
PRAGUE 4 August 1831 (in German) and 3 Sep-
ruary 1832.
tember 1843 (in Czech, translated by J. J.
In English (as The Students of Jena; or, The
Kolar). Revived in new Czech translation 24
Fal1lily Concert, translated by J. R. Planche), Lon-
May 1910.
don, D.L. 4 June 1833 (with Maria Malibran).
WARSAW 13 August 183 I (in Polish, translated by
K. Forster).
NEW YORK 17 October 1831 (in French); 20June
I830 1833 (in English); 16 November 1858 (in Ger-
man); 21 December 1864 (in Italian).
A UBER: Fra Diavolo Oll L'Hotellerie
PHILADELPHIA 19 April 1833 (in English, trans-
de Terracillc* lated by J. T. Reynoldson).
28 January. Paris, O.c. STOCKHOLM 17 May 1833 (in Swedish, translated
Text by A. E. Scribe. Three acts. by B. H. Crusell) and 10 June 1863 (in German).
Two years after his most important grand CLAUSENBURG June 1833 (in Hungarian, translated
opera, La Muette de Portici, now Auber's most by J. Szerdahe1yi).
successful comic opera was produced; given at ZURICH 1833 (in German); Basle 8 October 1834,

the O.C. 909 times until 19II. etc.

Outside FI'ance: BUCHAREST 2 January 1834 (in German).
BRUSSELS 15 July 1830 (in French). CALCUTTA 31 October 1836 (in French).
BERLIN, KGST. 16 July 1830 (in German, translated HELSINKI 19 November 1840 (in German) and 29
by K. A. Ritter) and O. 3 August 1830 (trans- May 1874 (in Finnish, translated by A. Töme-
lated by K. Blum); Kgst. 18 Octo ber 1848 (in roos).
Italian, recitatives by C. E. di Barbieri) ; Vict. SYDNEY 14 August 1845 (in English).
Th. 24 May 1862 (in French). BUENOS AffiES Spring 1852 (in French) and 30 June
GRAZ 9 August 1830 (in German). 1887 (in Italian).
HAMBURG I I September 1830 (in German). BARCELONA I I November 1853 (in Italian).
VIENNA 18 September 1830 (in German). DUBLIN 6 August 1857 (in Italian).
BUDAPEST 23 October 1830 (in German) and 29 OPORTO 30 August 1861 (in Portuguese).
September 1835 (in Hungarian). MALTA 1866 (in Italian).
ST. PETERSBURG 26 January 1831 (in Russian, trans- FLORENCE 5 January 1867 (in Italian).
lated by A. Rotchev and R. M. Zotov); Feb- CAIRO 1870 (in Italian).
ruary 1834 (in German); Carnival 1858 (in TORONTO June 1874 (in English).
Italian). Revived Leningrad 25 September LISBON 17 March 1875 (in Italian) and 7 May 187 8
192 0. (in French).
LONDON, D.L. I February 1831 (as The DeviI's NAPLES, T. SANNAZARO I April 1875 (in Italian).
Brother, music arranged by A. Lee); c.G. 3 No- MEXICO I I May 1879 (in French) and 23 February
vember 1831 (translated by M. R. Lacy); 1895 (in Spanish).
St. J.'s 20 April 1849 (in Frellch); Ly. 4 July REVAL 26 Oetober 1882 (in German),
1857 (in Italian, translated by S. M. Maggioni, RIO DE JANEIRO May 1891 (in Italian).
with recitatives and so me new numbers). LJUBLJANA 1899 (in Slovenian).
BRÜNN 13 March 1831 (in German). MADRID 28 May 1919 (in Spanish, as Zerlina).

72 3 724
 ANNALS OF OPERA 1830

SOFIA 2 April 1924 (in Bulgarian; translation pub- BUCHAREST Autumn 1843.
lished already Varna 1905). RIO DEJANEIRO 1844.
RIGA 8 November 1924 (in Lettish; earlier given VALPARAISO 1844.
there in German). TRINIDAD Autumn 1844.
KAUNAS 23 September 1931 (in Lithuanian). BOSTON r3 May 1847.
Still given in France, Germany, and other PIDLADELPIDA 23 Deeember 1847.
countries ; revived in Italy, Turin 26 January 1929, NEW YORK 28 January 1848.
etc.; in London, R.C.M. 20 November 1934 and BUENOS AIRES 23 October r852.
Sadler's Wells 20 February 1935 (new English In German (translated by J. C. Grünbaum),
version by E. J. Dent). Berlin, Kgst. r8June 1832; (tanslated by G. Ott)
BEL L I NI: I Capuleti e i Montecchi* Graz 13 July 1832; Vienna, Jos. 23 November
1832 and Kä. I Deeember 1832.
11 March. Venice, F.
In German also, Brünn 10 April 1833; Prague
Text by F. Romani (founded on Shakespeare's 8 June 1833; Budapest 8 June 1833; Bueharest
Romeo and Juliet; first set to music by Vaccai, see 18 March 1834; Amsterdam 1836; St. Petersburg
1825; Romani made some alterations for Bellini's 1836; Basle 20 April 1836; Riga 1837; Liege 22
new setting). Four parts. May 1839; Helsinki 17 June 1839; Agram Au-
BeIlini introduced into this opera parts of tumn 1841; Gothenburg 26 January 1862.
his unsuccessful Zaira, written for the inaugura- (It may be mentioned that there are in the
tion ofthe Teatro Regio, Parma (16 May 1829). British Museum eopies of two German versions,
Beginning with a performance at Bologna on 27 the one translated by J. C. Grünbaum [Berlin,
October 1832, [Capftleti was nearly always given n.d.], the other translation by F. Ellmenreieh
with the last act substituted from Vaccai's Giu- [Breslau, n.d.], whieh are practically identical.)
lietta e Romeo (see 1825)1; the original form was In Hungarian (translated by J. Szerdahelyi),
restored as late as in Decembcr 1895, at Naples. Clausenburg 29 May 1836 and Budapest 18 Feb-
In Italian also produeed at: ruary 1839.
DRESDEN 1 Oetober 1831.
In Russian, St. Petersburg 1 March 1837.
MADRID 18 June 1832.
In Czeeh (translated by V. A. Swoboda),
PARIS, TH.I. 10January r833.
Prague 13 May 1838.
LONDON, KrNG'S T. 20July 1833.
In Danish (translated by N. C. L. Abrahams),
BERLIN, KGST. 5 June r834.
Copenhagen 25 January 1845.
CORFU 15 January r835·
ODESSA Carnival 1835. In Freneh (translated by G. Oppelt), Ghent
LISBON 9 February r835· 9 November 1845; Antwerp 5 January 185 1 ;
HAVANA I2January 1836. (translated by C. Nuitter), Paris, Ö. 7 September
MEXICO 1836. 1 8 59.

NEW ORLEANS 4 April 1837. In Polish (translated by J. B. Wagner), War-

DUBLIN 28 January r837. saw 10 April 1847.
VIENNA r8June 1839. Revived Turin on 26 December 1934.
ATHENS Carnival r841.
CEPHALONIA Carnival r841. WOLFRAM: Der Bergmönch
COPENHAGEN 24January 1841.
14 March. Dresden
CONSTANTINOPLE Autumn 1841.
ST. PETERSBURG 1843. Text by K. B. von Miltitz. Three aets.
1 Malibran was the first Romeo to substitute the
Successful on German stages: Prague 3 Oeto-
Vaccai score. ber 1831; Berlin 3 August 1832, ete.
 ANNALS OF OPERA

SPOHR: Der Alchymist Outside Italy, given at:

28 July. Cassel LONDON, HM. 8 July 1831 (in Italian; last revived
D.1. 1 August 1871), and Princess's 12 January
Text by "Fr. Georg Schmidt" (pseud. for K.
1847 (in English, translated by C. Jefferys).
Pfeiff"er), based on a story by Washington Irving.
PARIS, TH.I. 1 September 1831 (in Italian; first
Three acts.
Donizetti opera in Paris).
In German also, Prague 23 November 1838.
GRAZ 27 April 1832.
In English (translated by T. H. Bayly, the
MADRID 21 August 1832 (in Italian).
songs by E. Fitzball ; music arranged and enlarged
VIENNA, JOs. 31 January 1833 (in German, trans-
by Bishop), London, D.1. 20 March 1832.
lated by J. Kupelwieser).
Spohr's opera was revived at Essen on 28 May
BRÜNN 24 February 1833; Prague April 1834 (in
1925·
German).
VIENNA, KÄ. 26 February 1833 (in German, trans-
AU B ER: Le Dieu et la Bayadere ou lated by K. J. Braun von Braunthai) and 4 April
La Courtisane amGureuse 1835 (in Italian).
13 Oetober. Paris, O. BUDAPEST 29 August 1833 (in German) and 1840
Text by A. E. Scribe. Opera-ballet. Two acts. (in Hungarian, translated by R. Schodel-Klein).
Given in Paris 146 times until 1866; IOOth per- BERLIN, KGST. 26 August 1833 (in German) and
formance 4 June 183 8, last revival 22 January 1866. I July 1841 (in Italian).

In French also, Brussels 7 February 1833, etc. MALTA 15 September 1833 (in Italian).
In German (translated by C. A. 1. von Lich- LlSBON 23 February 1834 (in Italian).
tenstein), Berlin 8 April 183 I; Vienna 3 February DRESDEN 5 March 1834 (in Italian).
1832; Graz 4 February 1837; Prague 1848; Riga HAVANA 1834 (in Italian).
1851. The latest revival seems to have been at LE HAVRE 25 November 1835 (apparently for the
Hamburg 19 March 1881. first time in French, transtated by F. H. J. Castil-
In English (as The Maid ofCashmere, translated Blaze); Lyons February 1839; Lille 24 February
by E. Fitzball, music arranged by Bishop), Lon- 1839, etc.
don, D.1. 16 March 1833; (translated by J. H. MEXICO February 1836 (in Italian).
Horncastle) Grecian Th. 1 March 1844; Bishop's ODESSA 1836 (in Italian).
version was also given at New Y ork 3 October ZANTE 1837 (in Italian).
1836 and on many other English and American ANTWERP 7 March 1838 (in French).
stages. BRUSSELS 29 March 1838 (in French).
In Danish (translated by T. Overskou), Co- ST. PETERSBURG Spring 1838 (in German) and
. penhagen 28 May 1833. Carnival 1845 (in Italian) .
In Russian, St. Petersburg 24 November 1835. NEW ORLEANS 12 December 1839 (in French).
In Dutch, Amsterdam Spring 1836 (translation DUBLIN II September 1840 (in Italian); revived
published 1835). 13 September 1871.
In Swedish (translated by E. A. Wallmark), GENEVA Autumn 1840 (in French).
Stockholm 14 March 1863. NEW YORK 2 August 1843 (in French), 6 May 1844
(in English) and 7 January 1850 (in Italian).
PHILADELPHIA 7 October 1843 (in French), II
DONIZETTI: Anna Bolena* April 1844 (in English, translated by J. R. Fry)
26 Deeember. Milan, T. Carcano and 3 December 1847 (in Italian).
Text by F. Romani. Two acts. ATHENS Autumn 1843 (in Italian).
It was with this his thirtietll opera mat Doni- STOCKHOLM 17 June 1844 (in Swedish, translated
zetti entered me first rank of ltalian composers, by N. E. W. afWetterstedt).
rivalling Rossini and Bellini. HAGUE 1844 (in French).

728
 ANNALS OF OPERA

CONSTANTINOPLE Carnival 1844 (in ltalian). CORFU 9 December 1834 (in Italian).
SMYRNA Spring 1844 (in Italian). PRESSBURG 20 December 1834 (in German).
COPENHAGEN Spring 1844 (in Italian). PRAGUE May 1835 (in German) and 7 April 1865
RIO DE JANEffiO 1844 (in Italian). (in Czech, translated by B. Pdka).
WARSAW October 1844 (in Italian). NEW YORK 13 November 1835 (in English), 13
SANTIAGO, CHILE 1847 (in Italian). May 1844 (in Italian) and 4 January 1871 (in
LUGANO 1849 (in Italian). German).
BUENOS AIRES 17 December 1854 (in Italian). BOSTON 28 December 1835; Philadelphia 11 Feb-
Revived Milan 20 J anuary 1877; Brescia August ruary 1836; St. Louis 19 June 1838 (in English).
1879; and Leghorn II August 1881, and subse- HAVANA January 1836 (in Italian).
quently. MEXICO I February 1836 (in Italian).
BERLIN, O. 25 May 1836 (in German, translated by

1831 F. Ellrnenreich) and Kgst. 7 March 1842 (in

Italian).
CARNICER: Colombo DUBLIN 17 January 1837 (in Italian).
12 January. Madrid, T. del Principe BASLE 10 March 1837 (in German; revived 12
Romani' s text (first set to music by Morlacchi, see March 1902).
1828). Two acts. ST. PETERSBURG 29 May 1837 (in Russian) and
First Columbus opera wl'itten by' a Spanish com- Spring 1843 (in Italian) ; revived 10 October
poser. 1897 (in Russian).
LISBON 6 October 1837 (in Italian).
BELLINI: La Sonnambula* ANTWERP 10 January 1839 (in French, translated
6 March. Milan, T. Carcano by E. Monnier.
Text by F. Romani. Based on a ballet-pantomime BORDEAUX March 1839 (in French, translated by
by Scribe and Aumer, La Sonnambule ou l'arrivee E. Monnier.
d'un nouveau Seigneurwithmusic by Herold (1827), BRUSSELS 26 June 1839 (in French, translated by
which in its turn was derived from a comedie- E. Monnier; last revived 8 May 1933).
vaudeville by Scribe and Delavigne (1819). Two HELSINKI 7 July 1839 (in German), 1876 (in Swe-
acts. dish) and 8 February 1878 (in Finnish, trans-
Very successful and still given all over the world. . lated by A. Törneroos).
The first performances were at: ODESSA 19 September 1839 (in Italian).
LONDON, HM. 28 July 1831 (in Italian) and D.L. AMSTERDAM 1839 (in German) and Camival 1845
I May 1833 (in English, translated by S. Beaz-
(in Italian).
ley, music adapted by Bishop; Maria Mali- PALMA, MALLORCA Camival 1840 (in Italian).
bran's debut on the English stage); 100th per- NEW ORLEANS 14January 1840 (in French).
formance at c.G. 3June 1889; given there until ATHENS Spring 1840 (in Italian).
1911. WARSAW 2 June 1840 (in Polish, translated by
PARIS, TH.I. 28 October 1831 (in Italian) and Th.L. K. K. Kurpmski).
14 June 1867 (in French). AJACCIO, CORSICA Camival 1841 (in Italian).
BUDAPEST 5 December 1832 (in Germap.) and 19 CONSTANTINOPLE November 1841 (in Italian).
June 1841 (in Hungarian, translated by F. S. COPENHAGEN 4 November 1842 (in Italian) and
Deiky). 2 November 1864 (in Danish, translated by
MADRID 21 July 1834 (in Italian). A. M. Rosenkilde).
DRESDEN 27 September 1834 (in Italian).
STOCKHOLM 9 January 1843 (in Swedish, trans-
VIENNA, JOS. 12 November 1834 (in Gerrnan,
lated by N. E. W. afWetterstedt).
translated by G. Ott) and Kä. 15 May 1835 (in MALTA Camival 1844 (in Italian).
Italian). VALPARAISO 1844 (in ltalian).

73°
 ANNALS OF OPERA 18 31

AGRAM (ZAGREB) July 1844 (in German) and 30 Successful in Italy, especially at Naples where
October 1877 (in Croatian, translated by J. E. it was last revived on I I June 1891>.
Tornic). Outside Italy given at Malta Spring 1840;
BUCHAREST 17 February 1845 (in Italian). Corfu Carnival 1844; and Athens Carnival 1856.
SYDNEY 9 December 1845 (in English). A sequel Palmetella maritata (text by A. Passaro)
RIO DE JANEIRO 14 September 1846 (in Italian). was givell at Naples in 1837; unsuccessful, like
EDINBURGH 9 March 1847 (in English). most sequels.
CHRISTIANIA 23 January 1848 (in Danish).
BUENOS AIRES 27 January r850 (in Italian); last
revived 26 July 1934. HER 0 L D: Zampa ou La Fiancee
CHICAGO 29 July 1850 (in Italian; first opera there). de Marbre*
SAN FRANCISCO 12 February 1851 (in Italian; first
opera there). 3 May. Paris, O.c.
MARSEILLES 25 May 1852 (in French). Text by A. H. J. Melesville. Three acts.
MONTEVIDEO 1852 (in Italian). Very successful in Paris; the 300th performance
TUNIS March 1935 (in Italian). at the o.c. was on 12 November 1863; given
there 694 times until 1913.
The first performances outside France were at:
BERTIN: Fausto
MAYENCE 17 November 1831 (in German, trans-
8 March. Paris, Th.1. lated by F. Ellmenreich).
Text by the composer (based on Goethe's tra- HAMBURG 25 November 1831 (in German, trans-
gedy). Four acts. lated by F. Ellmenreich).
The first Italian Faust opera and probably the
GRAZ November 1831 (in German, translated by
only one ever written by a wo man composer; it
J. KlIpeiwieser).
was unsuccessful, but is rqjorted to have been not
ANTWERP 8 December 1831, Brussels 10 April
unworthy of its great subject.
1832, etc. (in French).
COPENHAGEN 20 January 1832; Christiania 31 May
REISSIGER: Die Felsenmühle 1841 (in Danish, translated by T. Overskou).
zu Estalieres BERLIN, o. 31 January 1832 (in German, translated

10 April. Dresden
by K. Blum) and Kgst. 23 April 1849 (in Ita-
lian).
Text by K. B. von Miltitz. Two acts.
BUDAPEST 10 March 1832 (in German) and 3 No-
The best opera of Reissiger, who was Marsch-
ner's successor at Dresden; popular overture. vember 1836 (in Hungarian).
Successful on German stages: Berlin 3 August BRÜNN 9 April 1832 (in German, translated by J.

1834; Prague 20 March 1840. von Seyfried).

In Danish (translated by T. Overskoll), Co- VIENNA 3 May 1832 (in German, translated by J.

penhagen 14 March 1833. von Seyfried).

In Hungarian, Clausenburg 21 June 1834; Bu- PRAGUE 28 September 1832 (in German) and 14
dapest 14July 1835. February 1841 (in Czech, translated by J. N.
In Russian, Moscow 1835. Stepanek; the first act only; the whole opera
15 October 1843).
LONDON, HM. 19 April 1833 (in German, with a
RAIMONDI: Il Ventaglio new fmale of the third act by J. N. Hummel);
19 April. Naples, Fondo Olympic 10 June 1833 (in English, as The Bridal
Text by D. Gilardoni (founded on Goldoni's Promise, adapted by J. Oxenford); D.L. 21
comedy of the same tide). Two acts. March 1836 (in English, as The Corsair, adapted

73 1 73 2
 ANNALS OF OPERA 183 1
byW. Ball); St.J.'s 16January 1850 (in Freneh); AUßER: Le Phi/tre
C.G. 5 August 1858 (in Italian).
20 June. Paris, O.
AGRAM (ZAGREB) 1833 (in German).
Text by A. E. Seribe. Two aets.
BOSTON 26 Jui y 1833.
NEW YORK 12 August 1833 (in Freneh); 29 March
Given at the Paris Opera 243 times until 1862;
1841 (in English, translated by W. H. Latham) ; lOOth performance 3 November 1837.
21 May 1862 (in German); and 17 Deeember In French also, Brussels 5 January 1832 (given
1866 (in Italian). until 1878); New York 9 August 1833; Arnster-
NAPLES, FONDO 28 Deeember 1833 ; Turin Autumn
dam 1834; London, D.L. 10 August 1846.
In German (translated by C. A. L. von Lichten-
1834; FlorenceJanuary 1835; Milan 2 Septem-
stein), Berlin 15 Oetober 1831; Vienna 3 April
ber 1835, ete. (in Italian, translated by G.
Schmidt); revived in a new translation by A. 1832; Brünn 15 October 1832; Graz 4 January
1834; St. Petersburg 1836 (pasticcio from Au-
Zanardini, with recitatives by A. Mariani,
ber's opera and Donizetti's Blisir d'Amore, arran-
Genoa Spring 1861; with recitatives by F.
ged by G. F. Keller).
Faccio, Milan, Sc. 19 January 1889.
In English, London, Olympie 27 Oetober
MOSCOW Winter 1833 (in Russian, translated by
1831 (as The Love Speil, or The Flirts ofthe Village,
D. T. Lensky).
music adapted by C. E. Horn); D.L. 3 Novem-
ST. PETERSBURG 3 June 1834 (in Russian); 1835 ber 1831 (as The Love Charm, or The Village Co-
(in German) ; and 29 November 1876 (in quette, translated by J. R. Planche, music arran-
Italian). ged by Bishop).
WARSAW 9 March 1834 (in Polish, translated by In Danish (translated by T. Overskou), Co-
J. Jasitiski). penhagen 22 May 1832.
CLAlTSENBURG 21 June 1834 (in Hungarian, trans- In Italian, Milan, T.L. S April 1900 (!); given
lated by J. Szerdahelyi). so late in Italy because Donizetti's Elisir d'Amore,
AMSTERDAM 1834 (in French) and Oetober 1836 produeed in 1832, barred the way to Auber's
(in German). opera on the same subjeet.
BUCHAREST 1834 (in German).
BASLE 18 February 1835 (in German).
STOCKHOLM 19 February 1838 (in Swedish, trans- RIES: The Sorceress
lated by P. Westerstrand) and 16 June 1863 (in
4 August. London, Adelphi
German).
Text by E. Fitzball (founded on C. F. van der
LISBON 3I July 1839 (in Italian).
velde's story Arwed Gyllenstjerna, 1822, translat-
BARCELONA 8 Oetober 1839 (in Italian).
ed into English 1827). Two acts.
HELSINKI 9 Oetober 1840 (in German).
After the great success his Räuberbraut (see
CHRISTIANIA 31 May 1841 (in Danish); Norwe-
1828) had had in London, Ries had been asked
gian translation by A. M. Rosenkilde published
to write an opera for the English stage;' it was a
1 848.
complete failure.
RIO OE JANEIRO Autumn 1846 (in French). "This opera was too heavy, and too Germanic,
BUENOS AIRES 4 July 1854 (in Freneh). and required, above all things, melody, without
MADRID, Z. I September 1859 (in Spanish, trans- which, no opera can ever sueeeed, whatever
lated by M. pastorfido and N. Serra) and 31 merit else it may possess" (FitzbalI's Memoirs,
Deeember 1862 (in Italian). Vol. I, p.213).
Still oceasionally revived in France and Ger- There is a German translation by J. B. Rous-
many; revived in English, Birmingham 20 Sep- seau, Liska, oder Die Hexe von Gyllensteen; but the
tember 1922. opera was never given in Germany.

733 734
 ANNALS OF OPERA

SCHNYDER VON WARTENSEE: Also given at Brussels 2 August 1832. This

Fortunat opera is recorded here as an example of collective
2 Oetober. Frankfort
work, not unusual in France in those years; the
Text by G. Döring. Three acts. nine joint composers, all of them more or less
The only opera of the German-Swiss composer renowned, were: Auber, Batton, Berton, Blan-
which was performed and of which the vocal gini, Boieldieu, Carafa, Cherubini, Herold, and
score was printed. Paer. The lion's share of the success went to
Auber (who had contributed only one duet).
L. RICCI: Chiara di Rosembergh
11 Oetober. Milan, Sc. MEYERßEER: Robert-Ie-Diable*
Text by G. Rossi (founded on Mad. de Genlis's
21 November. Paris, O.
novel Le Siege Je La Roehelle). Two acts.
Text by A. E. Scribe and G. Delavigne. Five acts.
Very successful in Italy, where it was given
Meyerbeer' s first French opera; one of the
until after 1880; one of the latest revivals was at
greatest operatic successes of all times. The looth
Venice on 25 December 1878.
performance at the Paris Opera was already on
In I talian also:
20 April 1834; the 500th on I March 1867; the
BARCELONA 23 October 1832.
600th on 26 January 1877; altogether, the opera
MADRID 3 December 1832
was given there 758 times until 9 August 1893
PARIS, TH. I. 6 November 1833.
and revived at the Gaite-Lyrigue 17 November
LlSBON 24 January 1834.
19II.·
DUBROVNIK (Ragusa) 1834.
CORFU Autumn 1834.
Given in London in two different English ver-
HAVANA March 1836.
sions on two consecutive days: at D.L. as The
VlENNA 28 May 1836.
Daemon; or, The Mystie Braneh 20 February 1832
LONDON, LY. 24January 1837.
(music adapted by Bishop), at C.G. as The FienJ-
MEXICO 1837.
Father; or, Robert of NormanJy 21 February 1832
ATHENS February 1840.
(adapted by M. R. Lacyl); but even earlier an
SMYRNA Summer 1840.
English parody (romantic anJ magical burletta) on
ALEXANDRIA Carnival 1842.
the opera had been produced at the Adelphi Th.
CONSTANTINOPLE Autumn 1843.
on 23 January of that year: Robert le Diable, the
BERLlN, KGST. 15 October 1843.
Devil's Son, by E. Fitzball and J. B. Buckstone.
NEW YORK 18 November 1844.
The French original was given at Hm. 11 June
VALPARAISO 1845.
1832, a German version atD.L. 18June 1841, an
STOCKHOLM 1849.
Italian version by S. M. Maggioni at H.M.'s
WARSAW 1851.
4 May 1847.
BUENOS AmES 23 December 1853.
Revived in English, Liverpool8 February 1888.
In German (translated by G. Ott), Vienna 22 Last revived at C.G. 25 October 1890 (in Italian;
July 1834; Budapest 8 July 1843. l00th performance there). After Paris and Lon-
In Spanish (translated by A. Roddguez), Ma- don produced at:
drid, Z. 10 June 1863. 1 "r attended one such mongre! representation, and
found in that piece of patchwork, The Demon, Meyer-
AUßER AND OTHERS: beer's best intelltions utterly destroyed; fine scenery and
La Marquise de Brinvilliers ignorant listeners could alone save this performance
from compiete failure. Drury Lane, in rivalry with
31 Oetober. Paris, O.C.
Covent Garden, wanted to produce another version,
Text by A. E. Scribe and F. H. J. Castil-Blaze. and having better singers partially suceeded; still there
Three acts. was no Meyerbeer in it". (Moscheles, Diary.)

735

,.-~,
 ANN ALS OF OPERA

LIEGE 26 March 1832; Antwerp 13 January 1833; the music had been used at the Canobbiana,
Brussels 10 October 1833, etc. (in French). Milan 24 March 1835, with a farce called
BERLIN, O. 20 June 1832 (in German, translated Baboon, Nano selvaggio, "sacrilegamente ae-
by T. Hell); Kgst. 23 February 1848 (in eompagnata" (Cambiasi).
Italian). BARCELONA 6 September 1845 (in Italian).
STRASBOURG I August 1832 (in another German ODESSA 12 December 1846 (in Italian).
version by E. Kneiff). VALPARAISO January 1847 (in Italian).
DUBLIN 26 November 1832 (in English) and 25 RIO DE JANEIRO January 1850 (in Italian).
September 1869 (in Italian). HELSINKI 25 June 1850 (in German) and 4 May
VIENNA, JOS. 22 June 1833 and Kä. 31 August 1877 (in Finnish, translated by A. Törneroos).
1833 (in German); revised V.O. 5 November BATAVIA Autumn 1850 and Soerabaya 23 No-
192 1. vember 1866 (in Freneh).
COPENHAGEN 28 October 1833 (in Danish, trans- CONSTANTINOPLE 27 October 1850 (in Italian).
lated by T. Overskou). ZAGREB (Agram) Spring 1852 (in Italian) and 29
NEW YORK 7 April 1834 (in English); 17 Decem- April 1876 (in Croatian, translated by I.Trnski).
ber 1841 (in Italian); 2 July 1845 (in French); MALTA 1852 (in Italian).
and 16 September 1856 (in German). MEXICO I Oetober 1852 (in Italian).
BUDAPEST 14 April 1834 (in German) and 26 CORFU February 1854 (in Italian).
March 1836 (in Hungarian, translated by J. BUENOS AIRES 9 July 1854 (in Freneh) and 3 March
Szerdahelyi). 1869 (in Italian).
BRÜNN 23 August 1834 (in German). MELBOURNE 1866 (in English).
ST. PETERSBURG 26 December 1834 (in Russian, As a euriosity, it may be mentioned that the
transla~ed by R. M. Zotov); November 1837 Revue et Gazette Musicale, 5 September 1841,
(in German) ; and Spring 1848 (in Italian). reeords a production of Robm le Diable at Port
THE HAGUE 1834 (in French). Louis, Mauritius, and another on 29 September
AMSTERDAM 1834 (in French). 1860. Yet, according to Seymour Hitie's TheJtre
PRAGUE 24July 1835 (in German) and 26 Novem- a Maurice (1917) Meyerbeer's opera was first
ber 1864 (in Czech, translated by B. Pdka). given there on 28 February 1873.
BUCHAREST 1835 (in German) and 15 January
1853 (in Italian). BELLINI: Norma*
BASLE 14 March 1836 (in German; the Strasbourg 26 Dccember. Milan, Sc.
version). Text by F. Romani (founded on L. A. Soumet's
CALCUTTA 4 November 1836 (in French) and tragedy (183 I) of the same tide). Two acts.
1869 (in Italian). After La Sonnambula Bellini's seeond great sue-
LAIBACH November 1836 (in German). eess in that year and perhaps thc most famous of
WARSAW 16 December 1837 (in Polish, translated all his operas. Given at Rome 18 January 1834 as
by L. A. Dmuszewski and J. Jasmski). La Foresta d' Irminsul.
LISBON 2 September 1838 (in Italian, translated Outside Italy given at:
by C. Bassi) and 14 January 1882 (in Portu- VIENNA II May 1833 (in German, translated by
guese). J. von Seyfried) and 29 April 1835 (in It~lian).
STOCKHOLM 10 May 1839 (in Swedish, translated LONDON, HM. 20 June 1833 (in Italian); D.L. 24
by B. H. Cruscll). June 1837 (in English, translated by J. R. Plan-
NEW ORLEANS November 1840 (in French). ehe); C.G. 10 June 1842 (in German).
PLORENCE, P. 26 November 1840 (in Italian, trans- MADRID 16 January 1834 (in Italian) and Spring
lated by F. Casuccini); given at Naplcs, S.c. 1846 (in Spanish); Barcelona 4June 1835 (in
29 July 1856 as Robcrto di Piccardia. Previously ltalian).

737
 ANNALS OF OPERA

BERLIN, KGST. 26 Mareh 1834 and O. 12 January MOSCOW April 1840 (in Italian).
1838 (in German); Kgst. 10 July 1841 (in ATHENS Spring 1840 (in Italian).
Italian). MALTA Spring 1840 (in Italian).
CORFU Autumn 1834 (in Italian). PHILADELPHIA 11 January 1841 (in English, trans-
BRÜNN 24 Oetober 1834 (in German). lated by J. R. Fry; the same night at two
BUDAPEST 3 November 1834 (in German) ; 28 Oe- different theatres!) and 13 November 1843 (in
tober 1837 (in Hungarian); and Oetober 1847 Italian).
(in Italian). NANCY January 1841 (in Freneh, translated by N.
PRAGUE 20 February 1835 (in German) and 7 Lafont).
April 1839 (in Czeeh, translated by V. A. NEW YORK 25 February 1841 (in English) and 20
Swoboda). September 1843 (in Italian).
LISBON Summer 1835 (in Italian).
STOCKHOLM 19 May 1841 (in Swedish, translated
ST. PETERSBURG November 1835 (in German); 15
by N. E. W. afWetterstedt).
Oetober 1837 (in Russian); and 1844 (in
DUBLIN 3 I August 1841 (in Italian).
Italian).
CONSTANTINOPLE 18 November 1841 (in Italian;
AGRAM (Zagreb) November 1&35 (in German);
first Italian opera there).
Spring 1852 (in Italian); and 2 Deeember 1876
JASSY 3I January 1842 (in German).
(in Croatian, translated by D. Demeter).
SMYRNA Summer 1842 (in Italian).
PARIS, TH.I. 8 Deeember 1835 (in Italian) and Th.
NEW ORLEANS 3 I Deeember 1842 (in Italian).
L. 14 June 1864 (in Freneh).
BUCHAREST 1842 (in German) and 15 September
MEXICO 12 February 1836 (in Italian).
1843 (in Italian, the first opera sung in Italian
LEMBERG 5 April 1836 (in Italian).
there). A Rumanian version by G. Asaehi had
CLAUSENBURG 23 May 1836 (in Hungarian, trans-
been published at Jassy in 1838; first opera lib-
lated by J. Szerdahelyi).
retto ever printed in Rumanian.
HAVANA 12 August 1836 (in Italian).
WARSAW Summer 1843 (in Italian) and 8 May
BASLE 6 Mareh 1837 (in German).
1845 (in Polish, translated by J. Jasmski).
WILNA and MITAU Summer 1837 (in German).
GUAJAQUIL, PERU Spring 1843 (in Italian).
LYONS 14 November 1837 (in Italian) and 18 De-
GIBRALTAR Summer 1843 (in ltalian).
cember 1841 (in Freneh, translated by E. Mon-
nier). RIO DE JANEIRO 17 January 1844 (in Italian) and
12 August 1858 (in Portuguese).
RIGA 23 Deeember 1837 (in German).
ALGIERS Carnival 1838 (in Italian). SANTIAGO, CHILE 1845 (in Italian).

LIEGE 10 May 183~ (in German). BUENOS AIRES 26 June 1849 (in Italian).

ODESSA Spring 1839 (in Italian). NIZHNY NOVGOROD 8 May 1850 (in Russian).

AMSTERDAM May 1839 (in German); anonymous SAN FRANCISCO February 1851 (in Italian).

Duteh translation published Utreeht, n.d. SYDNEY 16 February 1852 (in English).

HELSINKI 9 June 1839 (in German) and 16 De- CARACAS, VENEZUELA November 1854 (in Italian).

cember 1874 (in Finnish, translated by A. SOERABAYA 2 November 1866 (in Freneh).

Tömeroos). CAIRO 1870 (in Italian).

HAGUE Oetober 1839 (in Freneh, translated by E. ORANGE 23 August 1874 (in Freneh; open-air
Monnier) and September 1840 (in Italian). performance at the Roman Theatre).
PALMA, MALLORCA Carnival 1840 (in Italian). CAPE TOWN 1875 (in Italian).
COPENHAGEN 20 Mareh 1840 (in Danish, translat- CHRISTIANIA 1875 (in Norwegian).
ed by A. G. Oehlensehläger). LJUBLJANA 1896 (in Slovenian).
BRUSSELS April 1840 (in ltalian) and 18 Mareh SOFIA 1901 (in Bulgarian? translated by S. Chris-
1842 (in Freneh). tov published 1901).

739 740
 ANNALS OF OPERA 18 32

Still given in Italy and in other countries; some PALMA, MALLORCA Carnival r 840 (in Italian).
of the more recent revivals outside Italy were at: VIENNA, KÄ. 26 June 1844 (in Italian).
VIENNA 22 September 1927 (in German).
NEW YORK, M. 16 November 1927 (in Italian).
L. RICCI: Il nuovo Figaro
LONDON, C.G. 28 May 1929 (in Italian).
TRIPOLIS November 1934 (in Italian). 15 February. Parma
BUCHAREST February 1935 (in Rumanian). Text by J. Ferrctti. Two acts.
PRAGUE 20 February 1935 (in Czech). Given in Italy until 1863.
PARIS, o. I I June 1935 (in Italian). In Italian also, Corfu Autumn r833; Barcelona
BERLIN, D.O. March 1936 (new German version 18 December 1833; Madrid 3 April 1834; Lisbon
by W. Oehlmann). 9 June 1834; Havana Spring 1836; London, Ly.
12 December 1837; Vienna 19 May 1838; Malta
October 1838.
r832 In German (translated by J. C. Grünbaum),
Berlin, Kgst. 9 December 1834.
DONIZETTI: Fausta In Polish (translated by J. Checiriski), Warsaw
12 Jallliary. Naples, S.c. 23 March 1850.
Text by D. Gilardoni (libretto completed by the In Spanish (translated by A. Rodrfguez), Ma-
composer). Two acts. drid, Z. 20 September 1862.
In Italian also givcn at Madrid 23 January 1833;
Lisbon 1834; Havana 19 December 1837; Vienna
MARSCHNER: Des Falkners Braut
25 April 1841; London 29 May 1841; Valparaiso
1 845.
10 March. Leipzig
Last revived: Milan 26 Dccember 1859. Text by W. A. Wohlbrück (founded on a story
In German, Berlin, Kgst. 26 February 1835. by K. Spindler). Three acts.
In German also Berlin 10 Apri~ 1838, etc. In
TA UBERT: Die Kirmes English (as Rob of the Fell, translated by M. Le-
mon, mllsic adapted by F. Romer), London, Ly.
23 Jal1uary. Berlin, O.
7 July 18 38.
Text by E. Devrient. One act.
(Marschner dedicated the opera to King
Taubert's first and most successful opera. Rc- William IV.)
vived Carlsruhe 11 November 1855; Berlin 21
February 1889.
BERGGREEN: Billedet og Busten
MERCADANTE: I Normanni (Portrait and Bust)
a Parigi 9 April. Copenhagen
7 Febmary. Turin, T.R. Text by A. G. Oehlenschläger. Three acts.
Text by F. Romani. Thrce acts. Berggreen's only (unsuccessful) opera.
Successful in Italy. Also given at:
BARCELONA 1 August 1833 (in Italian). B RED AL: Bruden fra Lammermoor
VIENNA, JOs. 9 April 1834 (in German, translated
by G. Ott). 5 May. Copenhagen
BERLIN, KGST. r6 June 1835 (in German, translat- Text by H. C. Andersen (founded on Scott's
cd by G. Ott). Bride ofLammcrmoor). Four acts.
LISBON 19 August 1836 (in Italian). This Danish romantisk Syngestykke preceded
MEXICO 1837 (in Italian). Donizetti's Lucia di Laml1lcrllloor by three years.

741 742
 ANNALS OF OPERA 1832

DONIZETTI: L'Elisir d'Amore* BRUSSELS May 1840 (in Italian) and 15 March
1933 (for the first time in French, translated
12 May. Milan, Can.
by P. Spaak).
Text by F. Romani (founded on Seribe's Le
ODESSA Summer 1840 (in Italian).
Philtre, see 1831). Two acts.
One ofDonizetti's greatest sueeesses; still given HAVANA November 1840 (in Italian).
in Italy and sometimes revived in other countries. BASLE 9 December 1840 (in German).
Given at the Teatro Rossini, Turin Autumn 1 859 STOCKHOLM 10 December 1840 (in Swedish,
"tradot e ridot an dialet piemonteis da Anaclet translated by N. E. W. af Wetterstedt) and
Corno d'Alba". 1848 (in Italian).
The first performances were at: AJACCIO, CORSICA Carnival 1841 (in Italian).
BARCELONA 5 May 1833 (in Italian). ST. PETERSBURG June 1841 (in Russian); 1842 (in
MADRID 8 August 1833 (in Italian) and Z. 13 May German); and Autumn 1844 (in Italian); re-
18~ (in Spanish, translated by C. Frontaura vived in Russian, Leningrad Spring 1934.
and M. Pastorndo). AGRAM (ZAGREB) Autumn 1841 (in German and
CAGLIARI, SARDINIA Autumn 1833 (in Italian). in Italian) and 19 February 1887 (in Croatian,
LISBON 6 January 1834 (in Italian). translated by J. E. Tomie).
LUGANO 1834 (in Italian).
ALEXANDRIA 9 Oetober 1841 (in Italian; first
BERLIN, KGST. 26 June 1834 (in German, translated
opera there).
by J. C. Grünbaum) and 22 May 1841 (in
COPENHAGEN November 1841 (in Italian) and 16
Italian) ; O. 3 August 1837 (in German).
June 1856 (in Danish, translated by T. Over-
VIENNA 9 April 1835 (in Italian) and 2 Deeember
skou).
1837 (in German).
SMYRNA Carnival 1843 (in Italian).
MEXICO 1836 (in Italian).
PRAGUE 22 Oetober 1836 (in German) and 27 Jan- CONSTANTINOPLE Carnival 1844 (in Italian).
uary 1840 (in Czeeh, translated by J. N. Stc- RIO DE JANEIRO 1844 (in Italian).
panek). LA PAZ, BOLMA 1846 (in Italian).
LONDON, LY. 10 December 1836 (in Italian) and
BUENOS AIRES I January 1849 (in Italian).
Surrey Th. 29 May 1839 and D.L. 24 June
HELSINKl 21June 1849 (in German) and 12 De-
1839 (in English, translated by T. H. Reynold-
eember 1923 (in Finnish).
son); revived 9 March 1934 at Birkbeck Col-
CHRISTIANlA August 1849 (in Italian).
lege.
DUBLIN 27 February 1838 (in Italian). JASSY 1851 (in Rumanian? libretto published in
LEMBERG 10 March 1838 (in German). that year).
MALTA 1838 (in Italian). SAN FRANCISCO 1855 (in Italian).

NEW YORK 18 June 1838 (in English) and 22 May MELBOURNE 1856 (in English).
1844 (in ltalian). sÄe LUIZ, BRAZIL 1856 (in Portuguese; libretto
BUDAPEST July 1838 (in Germall). British Museum).
PARIS, TH.I. 17 January 1839 (in Italian).
VALPARAISO 1864 (in Italian).
WARSAW 26 January 1839 (in Polish, translated
CAIRO Deeember 1869 (in Italian).
by L. Osinski) and Oetober 1844 (in Italian).
BOSTON Spring 1887 (new English version by o.
CORFU Spring 1839 and Carnival 1843 (in Italian).
Weil).
ALGIERS Carnival 1840 (in Italian).
SOFIA 28 December 1934 (in Bulgarian).
PRESSBURG Spring 1840 (in Italian).
CLAUSENBURG 7 May 1840 (in Hungarian, trans- LJUBLJANA 14 Oetober 1938 (in Slovenian, trans-
lated by F. S. Deaky). lated by R. Petelinova).

743 744
1832 ANNALS OF OPERA r832

GENOVES: EI Rapto J. P. E. HARTMANN:

(The Robbery) Ravnen eller Broderprßven
16JI/ne. Madrid, T. de la Cruz (The Raven, or The Brother Test)
Text by M. J. de Larra. Two acts. 29 October. Copenhagen
The only opera Genoves wrote to Spanish Text by H. C. Andersen (founded on C. Gozzi's
words. Score preserved; librettQ lost. comedy, 11 Corvo, 1761). Three acts.
Revived Copenhagen 23 April 1865 (in an
enlarged 4-act version).
RASTRELLI: Salvator Rosa oder
Zwey Nächte in Rom WOLFRAM: Das Schloss Candra
22 July. Dresden 1 Decel1lber. Dresden
Text by J. P. T. Lyser (founded on E. T. A. Text by E. H. Gehe (Heroische Oper). Three acts.
Hoffmann's Signor Forl1lica). Two acts. Berlin 19 April 1833, Brünn October r836, ete.
After the liquidation of Italian opera at Dres-
den this was the first new German opera there. HEROLD: Le Pr! aux Clercs*
Also given at Berlin, Kgst. 3 August r833. 15 December. Paris, O.c.
Text by F. A. E. de Planard. Three aets.
A UBER: Le Serment OU Les In France regarded as H~rold's best work and
faux Monnayeurs still given there.
One of the greatest sueeesses at the o.c.: the
1 October. Paris, O.
I,oooth performance was on 10 October 187r,
Text by A. E. Scribe and E. J. E. Mazeres. Three the r,200th ro September 1878, the r,400th 17
acts. April r886; given there 1,589 times until 1898
Given at the Paris O. until 1849; IOoth per- and revived at the Tr. L. 25 February 1916 and
formance 30 March 1849. 21 January 1925; at the O.c. 15 December 1932.
In French also, Liege 9 March 1833; Brussels Outside France:
19 August 1834; Amsterdam Spring r836. LIliGE 8 April r833.
In English (as The Coiners; or, The Soldier's BRUSSElS 15 April r833, etc. (in Frcnch).
Oath, adapted by M. R. Lacy) , London, c.G. LONDON, ADELPHI 9 September 1833 (as The Court
23 March 1833. Masque; or, Richmond itllhe Olden Time, adapt-
In German (translated by "Dr. Petit"; pseud. ?), ed'by J. R. Planche, music arranged by W.
Hamburg 5 November 1833; Graz 10 April 1834; Hawes).
Vienna, Jos. 29 July r834 (with additional music LONDON, C.G. I April 1834 (as Thc Challenge,
by K. Kreutzer) and Kä. 29 October r834; Buda- adapted by H. M. Milner, music arranged by
pest 29 November 1834; Berlin, Kgst. 28 March T. S. Cooke).
1835; Prague May r835; Bucharest r835; last LONDON, ST. J.'S 2 May 1849 (in French).
revived Coblenz 3 December 1899. LONDON, C.G. 26 June 1880 (in Italian).
In Hungarian (transIated by 1. Balogh), Clau- BERLIN 26 September 1833 (in German, translated
senburg 2 December 1834. by C. A. L. von Liehtenstein).
In Russian, St. Petersburg Spring r840. BALTIMORE r4 October 1833.
In Italian, Florenee, P. Carnival 1852 (aecord- VIENNA, JOs. 17 October 1833 (in German, trans-
ing to U. Morini). lated by J. Kupelwie~er).
In Czech (translated by K. S.), Prague 3r Jan- VIENNA, KÄ. 6 March 1834 (in German, translated
uary 1866. by J. von Scyfricd).

745
 ANNALS OF OPERA 18 32-33

BUDAPEST 12 June 1834 (in German, translated by In Swedish (translated by U. E. Mannerhjerta),

J. von Seyfried). Stockholm 20 February 1837.
COPENHAGEN 28 October 1834 (in Danish, trans- In English (as The Eaglc's Harl11t) London, Sr.
lated by T. Overskou). J.'s 5 May 18n
BRÜNN 26 November 1834 (in German). First given at the Berlin O. 20 February 1855;
AMSTERDAM 1834 (in French). the latest revivals were at Hamburg 19 March
ST. PETERSBURGJanuary 1835 (in Russian, trans- 1881; Mannheim 31 May 1882; Bremen 18 April
lated by Gorskoy). 1883·
PRAGUE February 1835 (in German) and 14 No-
vember 1873 (in Czech, translated by E.
Ziingel).
TURIN, T. D'ANGENNES May 1835 (in Italian, as 11
Duello ossia 11 Prato degli Scrivani). DONIZETTI: 11 Furioso nell' Isola
BUCHAREST 1835 (in German). di San Domingo*
STOCKHOLM 31 October 1836 (in Swedish, trans-
Iated by G. G. Ingelman). 2 Ja/lUary. Rome, Valle
NEW YORK 3 July 1843 (in French). Text by J.Fcrretti (founded on an episode in Cer-
RIO DE JANEIRO 25 Scptember 1846 (in French). vantes's Don Quixotc). Two acts.
BUENOS AIRES Spring 1852 (in French). Given all over Italy and, in Italian, also at:
MADRID, Z. I September 1861 (in Spanish, trans- BARCELONA 3 May 1834.
Iated by N. de la Escosura). MALTA 1834.
BADEN-BADEN 20 July 1863 (in Frcnch). CORFU Autumn 1834.
BARCELONA 20 November 1869 (in French). VIENNA 22 April 1835.
NAPLES, T. FILARMONICO 15 June 1872 and T. Bel- LISBON 1835.
Iini 28 February I S80 (in Italian, translated by MEXICO Spring 1836.
T. Cottrau). HAVANA 1836.
LISBON 23 April 1878 (in French). LONDON, LY. 17 Deccmber 1836.
MEXICO 27 January 1881 (in French). NICE Spring 1837.
An English version by T. T. Barker, Tlzc Field ODESSA Summer 1839.
of Hallar, was publishcd at Boston in 1880. BRUSSELS May 1840.
LUGANO 1840.
GLÄSER: Des Adlers Horst CONSTANTINOPLE Spring 1842.
29 December. Berlin, Kgst. ORAN, ALGERIA Autumn 1842.
Text by K. von Holtei (founded on a story by ALEXANDRIA 1843.
Johanna Schopenhauer, thc mother of the phi- RIO DE JANEIRO 1 H44.
losopher; the text originally was written for BUCHAREST 1844.
Meyerbeer). Three acts. BUENOS AIRES 2 December 1848.
Gläser's most successful opera, given on every PARIS, TH.I. 2 February 1862.
German stage. In German, Viclma 29 January 1835; Budapest
Vicnna 14 June 1833; Prague 7 December 18 January 1836; Graz 18 March 1836; Berlin,
1833; Basle 14 December 1835. Kgst. I March 1838.
In German also, Amsterdam 1834; St. Peters- In Russian, St. Petersburg February 1839.
burg 16 Novcmber IR36; Budapest 16 January In French (translated by G. Oppelt), Brussels
18 37. 14 March 1844·
In Danish (translated by C. N. Rosenkilde), Revived by the Societa Filarmonica Dram-
Copenhagen 29 May 1835. matica, Trieste 8 December 1889.

747
 ANNALS OF OPERA

CO C C I A: Caterina di Guise In Hungarian (translated by J. Szerdahelyi).

14 Fcbmary. Milan, Sc. Budapest February 1839; Clausenhurg 31 Jan-
uary 1845.
Text hy F. Romani. Two aets.
In Italian (translated hy S. M. Maggioni ?),
Coeeia's hest work.
London, H.M.' s 29 March 185 I.
In Italian also, Madrid 3 May 1835; Lishon 7
In Russian (as GOllzago), St. Petershurg 14 Feh-
March r837; Vienna 15 April 1837; Odessa Sep-
ruary 1860.
temher r839.
In Czech (translated by E. ZüngeI), Prague 26
In German, Budapest 5 Deeemher 1835; Vien-
January 1869.
na,Jos. r4 April 1836.
For Verdi's opera on the same suhject, see 1859.

K. KREUTZER: Melusina
BELLINI: Beatrice di Tenda*
27 Febmary. Berlin, Kgst.
16 March. Vcnice, F.
Text hy F. Grillparzer (originally written for
Beethoven). Three aets. Text by F. Romani. Two acts.
Brünn 9 August 1833; Vienna, Jos. 9 April Very suceessful in Italy. Given at Trieste Au-
1835, ete. tumn 1837, as 11 Castello d'Ursitlo.
In Italian also:
LONDON 22 March 1836.
AUßER: Gustave III Oll
LISBON 8 May 1837.
Le Bal Masque VIENNA 15 June 1837.
27 February. Paris, O. MADRID and BARCELONA r2 Decemher 1837.
Text hy A. E. Serihe. Five aets. MALTA Camival 1840.
Given at the Paris Opera r69 times until 1859; ATHENS Summer r840.
100th performance 4 January r837. ZANTE 30 Decemher 1840.
In French also, Brussels and Liege r9 Fehruary PARIS, TH.r. 8 Fehruary r841.
r835; Hague and Amsterdam 1835, etc. MEXICO Septemher r8.p.
In English (translated by J. R. Planche, music HAVANA Autumn 184!.
arranged by T. S. Cooke), London, c.G. 13 No- BERLIN, KGST. 29 January r842.
vember 1833; New York 21 July 1834; Edin- NEW ORLEANS 5 March r842.
burgh 7 February r835; Sydney 23 Oetober 1845. COPENHAGEN December r 84Z.
In German (translated by C. A. L. von Lichten- AGRAM March 1843.
stein), Frankfort 21 August r834; Hamburg 29 LUGANO Oetoher 1843.
October 1834, ete.; (translated by J. von Seyfried BONA, ALGERIA Carnival 1844.
and G. E. von Hofmann) Vienna 26 September NEW YORK 18 March 1844.
1835; Graz 5 December 1835; Budapest 20 Feb- ST. PETERSBURG 29 November r845.
ruary 1836; Brünn r4 March 1836; Praguc 5 STOCKHOLM Summer r848.
April 1836, etc.; given at Weimar 16 February BUENOS AIRES 8 April 1849.
1836 in a German version by M. J. Seidel, with BRUSSELS 9 Oetober 18S!.
a new finale by J. N. Hummel; Berlin, Kgst. 23 BUCHAREST 1858.
February 1837; Basle 26 February r838; Agram CORFU 186z.
July r844; Helsinki 17 August 1856; Gothenburg In German (as Das Caste/! POil Ursillo, translated
12 January 1865 (apart from this German pro- by G. Ott), Vienna, Jos. 15 March 1836; Graz
duction the opera was on account of its subjeet 1 Jtme 1836; Prague 19 August 1836; Berlin,
never produced in Sweden). Last revived in Ger- Kgst. 29 December 1836; Budapest 28 April
many, Hanover 5 Oetober 1890. 1838; on German stages until ahout 1855.

749 750
 ANNALS OF OPERA 1 833

In Hungarian (translated by I. Jakab), Clausen- (with additional musie by K. Kreutzer); Prague

burg 9 April 1840. 10 March 1838, etc.
Frequently revived in Italy until c.19OO and In Danish (translated by T. Overskou), Copen-
again at Catania (Bellini's native town), 1 January hagen 24 May 1834; Christiania 1835.
1935· In Russian, St. Petersburg February 1835.

DONIZETTI: Parisina*
MARSCHNER: Hans Heiling*
17 March. Florence, P.
24 May. Berlin, O.
Text by F. Romani (founded on Byron's poem).
Text by E. Devrient. Prologue and 3 aets.
Three aets.
Marsehner's most important opera and one of
In Italian also, given at:
tlle chief works of German pre-Wagnerian
MADRID 27 August 1834.
romanticism. Prague 30 December 1840; Graz 7
LISBON 13 July 1836.
September 1844; Vienna 24 January 1846; Basle
HAVANA [17-.l"1ovember] 1836.
6 January 1862.
PARIS 24 February 1838.
In German also, Amsterdam c. March 1836;
LONDON 1 June 1838.
Budapest November 1856; Ghent 3 Deeember
DRESDEN 27 July 1839.
1880.
PALMA, MALLORCA 9 Oetober 1839.
In Danish (translated by C. F. Giintelberg),
V1ENNA 25 April 1840.
Copenhagen 13 May 1836.
ODESSA Summer 1841.
In Swedish (translated by C. W. A. Strand-
BERLIN, KGST. 5 November 1841.
berg), Stockholm I I Oetober 1865.
LIMA, PERU Spring 1843
In Czeeh (translated by A. E. MuZik), Prague
MEXICO 1843.
28 April 1889.
SMYRNA Spring 1844.
In Russian, Moseow I I May 190I.
VALPARAISO 1844.
In Croatian (translated by V. Badalic), Zagreb
BUDAPEST 25 January 1847·
2 February 1902.
MALTA 1848.
RIO DE JANEIRO June 1849.
NEW YORK 22 Oetober 1850. CARAFA: La Prison d'Edimbourg
BUENOS AIRES 18 November 1852.
20 July. Paris, O.c.
Revived Naples, T. Bellini August 1895 and
Text by A. E. Seribe and F. A. E. de Planard
August 1896.
(founded on Seott's Heart of Midlothian). Three
In German, Bueharest 1835; Graz 6 Novem-
aets.
ber 1841.
In French also, Amsterdam 1834; Liege 7 Jan-
(HEROLD): Ludovic uary 1835; Antwerp 21 April 1835, etc.
In German (translated by J. Kupelwieser),
16 May. Paris,O.C. Vienna, Jos. 3 February 1835; (translated by J.
Text by J. H. Vernoy de Saint-Georges. Two D. Anton) Frankfort 26 April 1835 ; Basle 8 Jan-
aets. uary 1836.
Herold~s last opera, eompleted by Halevy. In Russian (translated by R. N. Zotov), St.
Brussels 20 Deeember 1833, etc. Petersburg 25 Deeember 1836.
In German (translated by J. Cornet), Leipzig In English (as The Heart of Midlothian), Lon-
November 1833; (translated by F. Genee), Berlin, don, Princess's 18 April 1849 (with additional
Kgst. 12 December 1833; (translated by Baron v. musie by E. J. Loder).
Lichtenstein), Vienna, Jos. 13 September 1834 For an Italian version of the libretto, see 1838.

75 1 75 2
18 33 ANNALS OF OPERA 1833

CHERUBINI: AliBaba Oll LOBE: Die Fürstin von Grenada

Les Quarante Voleurs* oder Der Zauberblick
22 Jllly. Paris, O. 28 September. Weimar

Text by A. E. Serib~ and A. H. J. Mclesville. Text by the composer and K. Sondershausen.

Prologue and 4 aets. I Five aets.
Cherubini's last finished opera, partly utilizing The most successful of Lobe's five operas, a1l
the music of an earlier opera Koukourgi, written of them written for Weimar between 1821 and
in 1793 for the Th. Feydeau but not performed. .18«. Leipzig 20 August 1834, etc.
Given in Paris not more than 11 times.
In German (translated by J. C. Grünbaum), KREBS: Agnes Bernauer
Dresden 22 November 1834; Berlin 27 February 8 October. Hamburg
1835, ete.
Text by A. Lewai,!' Four acts.
Krebs's most successful opera. Revived in a
DONIZETTI: Torquato Tasso* new version (as Agnes der Engel von Allgsburg,
with recitatives instead of dialogue), Dresden 17
9 September. Rome, VaIle
January 1858 and again 25 Oetober 1863.
Text by J. Ferretti. Three aets. See on the origin of this opera, LewaId's ae-
Sueeessful in ItaIy; given at Naplcs, Fondo 4 count in his Ellropa, 1836, Vol. IV, P.139.
April 1835 as Sordello il Trovatore. In Italy until
1881.
DONIZETTI: Lucrezia Borgia*
In Italian also produeed at:
BARCELONA 21 February 1835.
26 December. Milan, Sc.
L1SBON 4 January 1837.
Text by F. Romani (after Victor Hugo). Pro-
logue and 2 aets.
DUBLIN 19 April 1838.
On many Italian stages this opera had to be
ALGIERS February 1839.
given in various disguises and undcr several ticles:
VIENNA 3 April 1839.
Florence 12 November 1838 as Ellstorgia da Ra-
ODESSA Spring 1839.
mano; Trieste Autumn 1838 as Alfonso Dt/Ca di
MARSEILLES Jtme 1839. Ferrara; Ferrara 14 April 1841 as Giovanna I di
LONDON 3 March 1840. Napoli; Rome 26 December 1841 as Elisa da
PALMA, MALLORCA Carnival 1841. Fosco. In Paris, on the other hand, Victor Hugo
SANTIAGO, CUBA 1841. (from whose drama Romani had taken plot and
BERLIN, KGST. 4 September 1841. tide) objeeted to the opera being performed in
AGRAM Autumn 1841. its original version and eventually succeeded; the
SMYRNA 1842. libretto was changed and the tide became La
Rinnegata. (This version was also given in Italy,
LUGANO 1842.
first at Turin in Camival 1847.) Onee more the
RIO DE JANEIRO 1843.
story was changed when the music was adapted
COPENHAGEN Spring 1847. to a Freneh libretto by E. Monnier (Nizza de
BRUSSELS 3 Fcbruary 1852. Grenade), Versailles 1842. In other countries Lu-
MONTEVIDEO 1855. crezia Borgia was given in its original form.
BUENOS AIRES 3 November 1857. VIENNA 9 May 1839 (in Italian) and 24 November
In German, Vienna, Kä. 10 January 1837 (and 1843 (in German, translated by J. Franke).
three days later at the Jos.); Graz 3I March LONDON, H.M.'S 6 June 1839 (in Italian) and Prin-
18 37. cess's 30 December 1843 (in English, translated

753 754
 ANNALS OF OPERA

by J. M. Weston). Last revived at c.G. 14 May ALGIERS Summer 1844 (in Italian).
1888. NEW YORK 25 November 1844 (in Italian); 18
LUGANO 1839 (in Italian). March 1856 (in German); and 13 October 1871
MADRID 4July 1839 (in Italian). A Spanish parody (in English).
by A. Azcona, called La Vcnganza de Alifollso, MALTA Autumn 1844 (in Italian).
was given at Madrid on 24 December 1846. BUCHAREST r845 (in Italian).
BUDAPEST 3 I August 1839 (in Hungarian, trans- CONSTANTINOPLE CarnivaI 1845 (in Italian).
Iated by 1. Jakab) and 28 February 1840 (in AMSTERDAM Autumn 1845 (in Italian) and March
German). 1846 (in German).
BERLIN, KGST. 14 Decelllber '1839 (in Gcrlllan, SANTIAGO, CHILE 1847 (in Italian).
transIated by W. H. CIaepius) and 1 May 1841 SMYRNA Autumn 1847 (in It.llian).
(in Italian); O. 27 March 1840 (in German). STOCKHOLM July 1848 (in ltalian) and 16 March
GRAZ 25 January 1840 (in German). 1853 (in Swedish, translated by A. Lindeberg).
PR~BURG Spring 1840 (in Italian). BUENOS AIRES 5 April 1849 (in ltalian).
LISBON 29 June 1840 (in Italian). HELSINKI 15 June 1849 (in German) and 26 Feb-
PARIS, TH.I. 27 October 1840 (since 14 January ruary 1875 (in Finrush, translated by A. Tör-
1845 as La Rin/legata, see above). neroos).
HAVANA 1840 (in Italian). CHRISTIANIA August 1849 (in Italian).
CEPHALONIA Carruval 1841 (in Italian). DUBLIN 17 September 1852 (in Italian).
LYONS 5 May 1841 (in Italian) and 6 March 1843 SYDNEY 1855 (in English).
(in French, as Nizza de Grenade; as LI/crece BOGOTA 29 July 1858 (in Spanish).
Borgia onIy 10 January 1862). T1FLIS Autumn 186r (in Italian).
MEXICO September 1841 (in Italian). CAPE TOWN 1875 (in Italian).
ODESSA November 184r (in Italian). A Bulgarian translation by V. Shak was pub-
COPENHAGEN November 1841 (in Italian) and r5 lished at Sofia in r891 (first opera libretto printed
April r859 (in Danish, translated by F. C. in that language).
Hillerup). Still given in Italy; one of the latest revivals
ST. PETERSBURG January r 842 (in German) ; Au- was at Florence on 24 April 1933 (at the fim
tUllln r844 (in Italian) ; and 1855 (in Russian). Maggio Musicale Fiorentino).
BRUSSELS r February 1842 (in French, as Lucrece
Borgia).
JASSY February 1842 (in German). r834
PRAGUE r6 March r842 (in German) and 26 May
K. KREUTZER: Das Nachtlager
1861 (in Czech; revived 26 January 1884).
VERSAILLES 3 r March 1842 (in French, as Nizza
von Granada
de Grenade, adapted by E. Monnier). 13]allilary. Vienna, J os.
AMSTERDAM 1842 (in Italian). Text by K. J. Braun von Braunthai (founded on
ZAGREB March r843 (in Italian) and 10 October a play by F. Kind). Two acts.
r874 (in Croatian). Kreutzer's most popular work, very success-
WARSAW Summer 1843 (in ItaIian) and 13 April fuI on German stages and still sometimes revivcd.
r846 (in Polish, transhted by L. Sygietyll.ski). An open-air performance took place at Zoppot
ZUR1CH September r843 (in German). in August 1909.
CORFU Autumn r843 (in Italian). After Vienlla, it was first given at Dresden 5
ATHENS October r843 ,(in Italian). April 1834; Graz 2 May 1834; Budapest r3 Oe-
NEW ORLEANS I I May r 843 (in Italian). tober 1834; Prague 22 November r834; Lemberg
PALMA, MALLORCA Spring 1844 (in Italian). 17 October 1835; Linz 1835; Berlin, Kgst. 15

755
 ANNALS OF OPERA

October 1836 (0. 4 August 1843); Vienna, Kä. C. LOEWE: Die drei Wünsche
9 March 1837; Strasbourg September 1838; 18 February. Berlin, Sch.
Basle 18 October 1839.
Text by E. Raupach. Three acts.
In German also, London, Prince's 13 May
The only performed Singspiel of the famous
1840; Riga 1840; Helsinki 3I January 1841; St. ballad composer, given three times at Berlin and
Petersburg 1841; Bordeaux 18 June 1841; Lyons
twice at Weimar (first 2 February 1835).
27 September 1841; Paris, Th.I. 3 May 1842;
Liege 22 May 1842; Agram March 1844; Brus- L. RICCI: Un' Avventura
sels 26 July 1844; Amsterdam 2 November 1848;
di Scaramuccia
Hoboken November 1853 (in concert form);
New York 15 December 1862; Philadelphia 17 8 March. Milan, Sc.
January 1863; Stockholm 28 May 1863. Text by F. Romani. Two acts.
In Czech (translated by J. N. Stepanek), Very successful in Italy. Also given at:
VIENNA 10 June 1835 (in Italian).
Prague 10 February 1839; revived 18 August
LONDON, LY. 29 December 1836 (in Italian) and
1889 (new Czech version by V. J. NovotnY).
In Swedish (translated by F. Arlberg), Stock- 23 August 1839 (in English, translated by E.
holm 29 February 1860. Fitzball).
CAGLIARI, SARDINIA Carnival 1837 (in Italian).
In English, Boston March 1869.
MADRID 18 February 1837 (in Italian).
In Croatian (translated by A. Senoa), Zagreb
LISBON I I February 1838 (in Italian).
21 October 1876.
DUBLIN 20 March 1838 (in Italian).
In Hungarian (translated by H. Bodorfi), Bu-
ZANTE Carnival 1840 (in Italian).
dapest 22 November 1888.
ODESSA Summer 1840 (in Italian).
In Slovenian (translated by J. Cimperman),
MEXICO 5 February 1842 (in Italian).
Ljubljana 1893.
VERSAILLES 24June 1842 (in French, translated by
In Flernish, Ghent March 1901. P. A. A. Pittaud de Forges, music arranged by
In Lettish, Riga 1902. Flotow).
BADEN (near VIENNA) 3 August 1843 (in German).
MARLIANI: 11 Bravo* MARSEILLES 23 May 1845 (in Italian).
GENEVA Autumn 1845 (in Italian).
1 February. Paris, Th.I.
CONSTANTINOPLE Carnival 1846 (in Italian).
Text by A. Berrettoni (founded on a novel by PARIS, TH.I. 26 February 1846 (in Italian).
J. F. Cooper). Three acts. WARSAW 22 December 1846 (in Polish, translated
In Italian also, Naples, S.c. 27 February 1836; by J. Jasmski).
Rome Spring 1842, etc. BRUSSELS 10 July 1851 (in French).
In English (as The Red Mask; or, The Council BUENOS AIRES 20 August 1851 (in Italian).
ofThree, adapted by J. R. Planche), London, D.L.
15 November 1834 (music arranged by T. S. VAN BREE: Saffo
Cooke; A. Nicoll, probably rnisinterpreting a 22 March. Amsterdam
passage in Planche's Autobiography, attributes the Text by J. van Lennep. Five acts.
music to the singer John Templeton)l. Successful Dutch opera, given for 17 nights
In German (translated by J. D. Anton), Vienna, running. A. Dupont (Repertoire Dramatique Belge,
Jos. 12 May 1835; Prague December 1835, etc. Vol. I, P.197) wrongly calls this a French opera
in 3 acts, performed at Antwerp, and says that
1 A History ofEarly Nineteenth Century Drama, Vol. ß,
p.370. See J. R. Planche, Reeol1eetions and Rejleetiolls, the libretto was not printed; a copy is in the Bri-
pp. I 50 and 152. tish Museum.

757
 ANNALS OF OPERA 1834

A UBBR: Lestocq OU L'Intrigue retto has been wrongly attributed to Byron (if.
et l'Amour Ayrton's Musical Library). Three acts.
This was the first new opera at the "English
24 May. Paris, O.C.
Opera House" (under which name the Lyceum
Text by A. E. Scribe. Four acts.
was re-opcned on July 14 of that year).
Given at the O.C. until 1840; in French also,
Brussels 28 October 1834; Amsterdam 1836.
In German (translated by C. A. L. von Lichten- PABR: Un Caprice de Femme
stein), Berlin, Kgst. IsJanuary 183S; Magdeburg 2JJuly. Paris,O.C.
3 February 1836 (conducted by Richard Wag- Text by J. P. F. Lesguillon. One act.
ner); Vienna, Jos. 12 November 1836 (as Liebe Pacr's last completed opera (performed 13
und Intrigue); Vienna, Kä. 13 March 1837 (as Der years after the preceding one).
treue Arzt); Budapest 20 February 1837, etc. Re- Also given in Danish (translated by C. Hvid),
vivedLeipzig 8 August 18S8; Brunswick 2S April Copenhagen 4 September 1838.
1860.
In English, London, C.G. 21 February 183S
LA URO ROSSI: La Casa disabitata
(as Lestocqj or, The Fete of the Hermiuzge, translat-
ed by....G. Macfarrcn, music arranged by T. s. 16 August. Milan, Sc.
Cooke). Text by J. Ferretti (founded on a comedy by G.
In Danish (translated by C. N. Rosenkilde), Giraud). Two acts.
Copenhagen S April 1836. Rossi' s first and greatest success. Given in a new
version as I falsi Monetari (sometimes with the
alternative tide, Don Eutichio e Sinforosa), Turin,
L. RICCI: GU Bsposti ossia T. Sutera 26 December 1843; Milan, T. Re 8
Bran due or sono tre April 1844; Cagliari, Sardinia Autumn 1844, etc.
JJune. Turin, T. d'Angennes Last revived in Italy: Milan, T. Carcano 26 De-
Text by J. Ferretti (fourtded on the comedy cember 1883 and Siena 22 March 1886.
Meneghin Pescena by G. Piorio). Two acts. Outside ltaly: Madrid, Z. 20 July 183S (in
Very successful in Italy. Italian) and 24 December 18S9 (in Spanish, trans-
In Italian also given at Barcelona 18 August lated by M. Pastorfido); Mexico 1837 (in Spanish)
183S; Cagliari, Sardinia Camival 1836; Madrid and 18S8 (in ltalian); in Italian also, Nice Au-
26 August 1836; Algiers January 1839; Agram tuIM 1844; Corfu Carnival 184S; Geneva 1 De-
1841; Bastia, Corsica 1843; Locamo June 1846; cember 184S; Copenhagcn Spring 1849; Lisbon
Lisbon 20 November 1848; Valparaiso June 18 S2. 18 January 18S2; Agram Autumn 18S2.
Revived Florence 9 July 1870; Padua February
1880; Malta 1887. BARNBTT: The Mountain Sylph
In Portuguese (translated by L. V. de Simoni),
Rio de Janeiro 20 April 18S8. 25 August. London, Ly.
In Spanish (trarulated by C. Frontaura), Ma- Text by T. J. Thackeray. Two acts.
drid April 1867. Bamett's most important work; it has been
called the first English opera since Ame's Ar-
t4Xerxes in 1762, and there is some truth in that
LODBR: Nourjahad statement in as far. as opera means only opera
21 July. London, Ly. without spoken dialogue. The Mountain Sylph
Text by S. J. Amold, originally set to music by opens the long series of more or less successful
Kelly and performed at D.L. 2S November 1813 English romantic operas, by Loder and Thomson
as Illusion, or The TranCe! of NourjahaJ. The lib- (who also begin in 1834), Balfe (183S), Hullah

7S9 760
 ANNALS OF OPERA

(r836), Rooke and Costa (r837), Benedict (r838), BUENOS AffiES II March 1852 (in French).
Hatton (r844), Wallace, Macfarren and Forbes BERLIN, FR.W. 23 July 1853 (in German) and Vict.
(r845), Lavenu (r846), etc. Given on many Eng- Th. 4 June 1862 (in French).
lish stages: Dublin May r 835; N ew Y ork r 5 Sep- TURIN April 1858 (in French).
tember r835 (music arranged by W. Penson); VIENNA 28 August 1858 (in German, translated
Philadelphia 28 January 1836; Edinburgh 21 Jan- by H. Proch).
uary 1837; Sydney 12 May 1846, etc. MADRID, z. July 1859 and Barcelona 14July 1866
Frequently revived; by the GuildhaIl School (in French).
of Music, London, as late as 5 July 1906. OPORTO 6 July 1861 (in Portuguese) and Li~bon
29 May 1878 (in French).
JENSEN: Robinson SOERABAYA 15 February 1867 (in French).
PRAGUE 25 January 1871 (in Czech, translated by
1 September. Copenhagen.
E. Züngel).
Text by G. Siesby. Three acts.
ORANGE 24 August 1874 (in French; open-air
The only (unsuccessful) opera of Jensen, who
production at the Roman Theatre).
was a pupil ofKuhlau.
HELSINKI 3I March 1889 (in Finnish, translated by
A. Tömeroos).
ADAM: Le Chalet* For Donizetti's opera on the same subject see
25 September, Paris, O.c. 1836. An anonymous Italian translation of the
Text by A. E. Scribe and A. H. J. Melesville. One libretto was published in 1876. The opera was
act. revived at Stuttgart September 1909 (in Ger-
Adam' s 10th French opera and his first great man); at Toulon December 1930 (in French).
success. In Paris even more popular than his Pos-
tillon de Longjumeau (see 1836). The l,oooth per- J. THOMSON: Hermann; cr,
formance at the O.C. was on 5 February 1873; The Broken Spear
the 1,500th on 12 January 1922. Still occasionally
270etober. London, ey.
revived on French stages.
Librettist unknOwll. "This young musician was
Outside France, given at:
elected professor of music in the University of
BRUSSELS 19 December 1834 (in French).
Edinburgh on the foundation of that chair in
ST. PETERSBURG 1835 (in Russian).
r838. His untimely death, which took place soon
COPENHAGEN 14 September 1836 (in Danish,
afterwards, deprived the world of a great and
translated by C. Borgaard).
rising genius" (G. Hogarth).
NEW YORK 22 September 1836 (in a mutilated
English version, as The Swiss Cottage) and 7
July 1843 (in French); 29 October 1855 (new
DONIZETTI: Gemma di Vergy*
English version by E. Seguin). 26 December. Milan, Sc.
STOCKHOLM 28 April 1837 (in Swedish, translated Text by E. Bidera (founded on A. Dumas's play
by B. H. Crusell). Charles VII chez ses Grands Vassaux, 183r). Two
NEW ORLEANS 22 November 1840 (in French). acts.
LONDON, C.G. 6 June 1845 (in French); revived In its time one of the most popular of Doni-
H.M.'s 26 December 1877 (in English, trans- zetti' s operas, especially so in Italy; but it was a
lator not mentioned) and c.G. 8 July 1899 (in great success in other countries as weIl:
French). MADRID 4 August 1836.
RIO DE JANEIRO Autumn 1846 (in French). LISBON 27 April r838.
FRANKFORT 8 December 1846 (ih German, trans- VIENNA 28 May r838.
lated by E. Hartenfels). MALTA 1838.

761
18 34 ANNALS OF OPERA 18 34-35

MARSEILLES May 1839. LISBON 21 January 1846.

CORFU October 1839. LOCARNO J une 1846.
ALGIERS 3 December 1839. MALTA 1849.
PALMA, MALLORCA Spring 1840. BUENOS AIRES 27 April 1854.
BRUSSELS 24 April 1840. Last revived Milan 26 December 1878.
HAGUE September 1840. In French (as La Petite Comtesse, translated by
NICE Autumn 1840. G. Escudier, music arranged by the composer's
HAVANA December 1840. brother, F. Ricci) , Paris, Th. Taitbout 21 February
CEPHALONIA Carnival 1841. 1876.
ZANTE 26 January 184I.
LUGANO March 184I. 1835
BERLIN, KGST. 6 May 184I.
ODESSA Summer 184I. BELLINI: I Puritani di Scozia*
AGRAM Autumn 184I. 25 January. Paris, Th.I.
COPENHAGEN November 1841. Text by C. Pepoli (founded on a play by F. An-
ATHENS 24 November 184I. celot and X. B. Saintine, Tites Rondes et Cava-
CONSTANTINOPLE January 1842. liers, 1833). Three parts.
LONDON 12 March 1842. Bellini' s last opera; he died on 24 September
MEXICO I July 1842. 1835, two days before the production ofhis rival's
NEW YORK 2 October 1843. Lucia di Lammermoor.
TRINIDAD Autumn 1844. Outside Paris, given at:
PARIS 6 December 1845. LONDON, HM. 21 May 1835 (in Italian) and Prin-
ST. PETERSBURG 1847. cess's 16 March 1843 (in English, translated by
BUENOS AIRES 21 April 1850. G. A. A'Beckett).
In Hungarian (translated by 1. Jakab), Budapest MILAN, SC. 26 December 1835; PALERMO 26 De-
1839 and Clausenburg 6 December 1842. cember 1835, etc. (Rome 6 February 1836 as
In German, Graz 17 June 1840; Budapest 12 Elvira Walton; Palermo Autumn 1840 as Elvira
June 1843. ed Arturo).
In French, Lyons April 1860. BERL1N, O. 10 February 1836 (in German, trans-
Revived in Italian: Malta 5 December 1883; lated by C. A. L. von Lichtenstein) and Kgst.
Mantua January 1888; Empoli I January 190!, 2 June 1841 (in Italian).
VIENNA, KÄ. 16 May 1836 (in Italian) and Jos. 6
L. RICCI: Chi dura vince February 1837 (in German).
MADRID 26 September 1836 (in Italian).
27 December. Rome, Valle BRÜNN 28 October 1836; Prague 18 March 1837
Text by J. Ferretti. Two acts. (in German).
Outside Italy, given at: BUDAPEST 10 December 1836 (in German).
CORFU Autumn 1840. DUBLIN 4 February 1837 (in Italian).
AGRAM Autumn 1841. LISBON 17 April 1837 (in Italian).
CAGLIARI, SARDlNIA Autumn 1842. COPENHAGEN 23 November 1838 (in Danish,
ATHENS February 1843. translated by C. F. Güntelberg) and 21 No-
ORAN, ALGERIA Spring 1843. vember 1845 (in Italian).
COPENHAGEN Carnival 1844. LAIBACH Dccember 1838 (in German).
N1cEJanuary 1845. BASLE 27 February 1839 (in German).
VIENNA 6 May 1845. THE HAGUE 20 April 1839 (in French, translated
BARCELONA 26 August 1845. by E. Monnicr).
 ANNALS OF OPERA

ALGIERS November 1839 (in Italian). Coppola's most successful work. Given in ltaly
ST. PETERSBURG January 1840 (in Russian) and until 1872. In ltalian also given at:
Spring 1843 (in Italian). MEXICO Spring 1836.
BRUSSELS 19 February 1840 (in French). VIENNA 9 April 1836.
LnLE 3 May 1840 (in French). LISBON I I May 1836.
MUNlCH 12 November 1840 (in German, new BARCELONA 31 May 1836.
translation by F. Ellmenreich). LONDON, LY. 7 January 1837.
HAVANA Carnival 1841 (in Italian). HAVANA 1837.
ALEXANDRIA Carnival 1842 (in Italian). DUBLIN 17 March 1838.
MEXICO Carnival 1843 (in Italian). ODESSA Spring 1840.
PffiLADELFffiA 22 November 1843 (in Italian). ATHENS Summer 1840.
NEW YORK 3 February 1844 (in Italian). LUGANO 1841.
PALMA, MALLORCA September 1844 (in Italian). COPENHAGEN November 1841.
MALTA 1845 (in Italian). BERLIN, KGST. 5 October 1842.
RIO DE JANEIRO 1845 (in Italian). NEW YORK 5 February 1847.
CONSTANTINOPLE December 1846 (in Italian). PARIS, TH.I. 6 May 1854.
BUENOS AIRES 25 July 1850 (in Italian). BUENOS AIRES 30 July 1855.
STOCKHOLM 7 April 1851 (in Swedish, translated In French (as Eva, adapted by A. de Leuven and
by A. F. Lindblad). L. L. Brunswick, additional music by N. Girard);
AGRAMJanuary 1852 (in Italian). Paris, O.C. 9 December 1839.
WARSAW 1852 (in Polish, translated by J. Che- In Portuguese, Rio de Janeiro 21 June 1858.
ciIiski).
AMSTERDAM 1853 (in Dutch).
HALEVY: La Juive*
SYVNEY Summer 1863 (in English).
HELSINKI 12 January 1898 (in Italian). 23 February. Paris, O.
Revivcd at thc Metropolitan, New York 18 Text by A. E. Scribe. Five acts.
February 1917; Florence 25 May 1933 (at the first Halevy's most famous work; given at the Paris
Maggio Musicale Fiorentino); Barcelona De- Opera 550 times until 1893; looth performance
cember 1934; Catania25January 1935. 3 June 1840; 500th 26 May 1886. Revived Gaite-
Lyrique 21 November 1903; O. 3 April 1933.
Last revived at Brussels 31 January 1938.
PERSIANI: Inez de Castro Outside France, given at:
28 January. Naples, S.C. BRUSSELS 23 December 1835, etc.
Text by S. Cammarano. Three acts. LEIPZIG 29 December 1835 (in German, translated
Persiani' s most successful opera, written for by C. A. L. von Lichtenstein).
Maria Malibran. Given all over Italy and in ltalian VIENNA 3 March 1836 (in German, translated by
also, at Madrid 3 May 1837; Lisbon 10 December J. von Seyfried and G. E. von Hofmann).
1838; Paris 24 December 1839; London 30 May BUDAPEST 25July 1836 (in German) and 6 August
184°. 1842 (in Hungarian, translated by I. Jakab).
BERLIN, KGST. 28 November 1836 and O. 12 Feh-
ruary 1847 (in German); last revived 29 No-
COPPOLA: La Pazza per Amore vember 1917.
14 February. Rome, Valle BRÜNN 6 March 1837 (in German).
Text by J. Ferretti (founded on G. B. Lorenzi's ST. PETERSBURG 23 October 1837 (in German);
ltalian version of Marsollier's Nina, see 1786 and 14 December 1860 (in Russian, translated by
1789). Two acts. N. I. Kulikov); 2 March 1872 (in ltalian).

766
 ANNALS OF OPERA

COPENHAGEN 25 May 1838 (in Danish, translated LIVERPOOL 270ctober 1888 (new English version
by T. Overskou). by W. Grist).
RIGA 1838 (in German) and 15 February 1927 (in LJUBLJANA 1901 (in SIovenian).
Lettish). OSLO 1921 (in Norwegian).
PRAGUE 25 July 1838 (in German) and 6 January BELGRADE 1922 (in Serbian).
1854 (in Czech, translated by A. C.). JERUSALEM 17 June 1924 (in Hebrew, translated
NEW ORLEANS 13 February 1844 (in French). by M. Freidmann); an earlier Hebrew version,
HELSINKI 26 March 1844 (in German) and 14 De- by S. Mavrik, had been published at Wilna in
cember 1877 (in Finnish, translated by A. 1886; another, by J. J. Lerner, at Warsaw in
Tömeroos). 1889·
NEWYORK 16July 1845 (in French); 30 Apri1I860 KAUNAS 6 March 1927 (in Lithuanian).
(in Italian) ; 23 September 1864 (in German) ; SOFIA 23 December 1927 (in Bulgarian).
20 May 1921 (in Yiddish); 16 June 1922 (in TALLINN 1931 (in Estonian).
Russian). BUCHAREST 1935 (in Rumanian).
BASLE 29 October 1845 (in German).
LONDON, D.L. 29 July 1846 (in French); c.G. 25 DONIZETTI: Marino Faliero*
July 1850 (for the first time in Italian, translated 12 March. Paris, Th.!.
by P. Giannone); and Surrey 21 June 1854 (in Text by E. Bidera (founded on Byron's drama).
English, translated by H. Drayton). As a drama, Three acts.
adapted from Scribe' s libretto by J. R. Planche, In ltalian also produced at:
La Juive had been given at D.L., London, as LONDON 14 May 1835.
early as 16 November 1835 (incidental music FLORENCE, T. ALFIERI April 1836.
by T. S. Cooke). This version was also given MILAN 19 August 1837.
at New York 11 March 1836 (music arranged HAVANA November 1837.
by W. Penson); Edinburgh IJune 1836, etc. MALTA 1838.
MONTEVIDEO 3 October 1853 (in French). LISBON 15 October 1838.
BUENOS AIRES 17 April 1854 (in French) and Sum- VIENNA, KÄ. 20 April 1839.
mer 1874 (in Italian). BARCELONA 8 August 1839.
WARSAW 8 February 1857 (in Polish, translated by ZANTE Autumn 1839.
J. CheciD.ski) and Spring 1871 (in Italian). ODESSA Summer 1840.
GENOA 6 March 1858 (in Italian, translated by CORFU II November 1840.
M. M. Marcello). MEXICO 4 August 1841.
BARCELONA I March 1859 (in Italian, translated NEW ORLEANS 22 February 1842.
by M. M. Marcello). COPENHAGEN Carnival 1843.
GOTHENBURG 3 November 1864 (in German). LIMA, PERU Spring 1843.
STOCKHOLM 6 June 1866 (in Swedish, translated BERLIN, KGST. 27 May 1843.
by A. Lindeberg). NEW YORK 15 December 1843·
SOERABAYA 11 January 1867 (in French). CONSTANTINOPLE CarnivaI 1844.
CONSTANTINOPLE 30 September 1869 (in Italian). ALGIERS Summer 1844.
LISBON 29 October 1869 (in Italian). VALPARAISO 1845.
CAIRO 1870 (in ltalian). BUCHAREST Autumn 1845.
SYDNEY Summer 1874 (in Italian). LA PAZ, BOLIVIA 1847.
MALTA 1877 (in Italian). BRUSSELS 21 January 1851.
MEXICO 31 March 1883 (in French). ATHENS Autumn 1853.
ZAGREB 5 May 1888 (in Croatian, translated by BUENOS AIRES 27 October 1853.
I. OreSkovic). In German (as Antonio Grimaldi, translated by
 ANNALS OF OPERA

G. Ott), Pressburg 18 February 1838; Vienna,Jos. In Polish (translated by J. Jasm.ski), Warsaw

21 April 1838; LembergJune 1838; Graz 19De- 12 August 1839.
cember 1838; (translated by W. H. Claepius) In Italian, Milan, S. Radegonda 13 May 1875.
Berlin, Kgst. 15 October 1839; Prague I2January
1840 • HÜTTENßRENNER: Leonore
In Hungarian (translated by 1. Jakab), Buda-
22 April. Graz
pest April 1840.
Text by G. von Leimer (founded on G. A.
In rrench (translated by L. Danglas), Ghent
Biirger's ballad). Two acts.
12 March 1852; Marseilles 14 March 1857.
The most important opera ofSchubert's friend
Revived at Verona 26 December 1887; Leghorn
Hüttenbrenner, who is now chiefly remembered
6 May 1888; Florence 23 November 1892.
as the egoistic keeper of the Unfmished SymphollY.
Leollore was revived at Graz on r6 June 1837
AUßER: Le Cheval de Bronze (in a new 3-act version, text altered by I. C.
23 March. Paris, O.c. Kollmann).
Text by A. E. Scribe (opera-feerique). Three acts. (First production 22 April, not IO June as
Given at the O.c. 106 times and revived at the sometimes stated.)
Opera (in a new version as opera-ballet) on 21
September 1857. LI N D B LAD: Frondörerna
In French also, Liege 28 December 1835;
(The Frondists)
Hague 1835; New Orleans 15 April 1836; Ant-
11 May. Stockholm
werp 7 December 1836; Brussels 7 March 1837;
Amsterdam 1837, etc.; Rio de Janeiro Autumn Text by N. J. Cervin-Steenhoff (founded on a
1846. French play by A. H. J. Melesville). Historisk Ko-
In English (translated by E. Fitzball, music /IIedi /lied Sällg. Three acts.
arranged 1 by RodweIl), London, c.G. 14 De- Revived Stockholm 1 December I860 (with
cember 1835; another translation, by A. Bunn, some new music) and again I9 September 1898.
was given at D.L. on 5 January 1836 (with the See F. H. TörnbIom in SI'C/lsk TidskriJt pr MII-
original music); revived at the Alhambra, London sikjorsklli/lg, Vol. XVI (1935).
4 July r881 as a Gralld Musical Spectaclc (new lib-
retto by G. H. H. Paul); New York 23 Oetober TRUHN: Trilby
r837 (in English) and 9 May 1842 (in French); 22 May. Berlin, O.
Sydney 3 March 1850 (in English). . Text by "L. W. Both" = L. Schneider (fotmded
In German (translated by C. A. L. von Lichten- on a vaudeville by Scribe and Carmouche, I 823;
stein), Berlin r5 July 1835; Vienna 5 January the subjeet is that of Nodier's story). One act.
r836; Graz 28 June 1836, etc. Revived Mtmich The same libretto was used by G, A. Schmitt,
30 December 1869 and (revised by E. Hmnper- whose setting WJS produced at Frankfort 2I
dinck) Carlsruhe 10 November 1889; Derlin 5 December I845.
May 1900; Prague 5 September I900.
In Danish (translatcd by C. F. Giintclberg),
GO M I S : Le Portefaix
Copenhagen 29 January I836.
16 Jlllle. Paris,O.C.
In Russian, St. Petersburg 29 Jmuary r837;
revived St. Pctersburg I l April I878 :mdMoscow Text by A. E. Scribe. Tlm~e aets.
2M January I900 (new Russian version by G. A. The most successful opera of ehe Spanish C0111-
Lishin). poser (who after I823 lived as a refugee in Paris
I "rnstc,d of bein~ Auhcr's last opera, it was (at kast
and LOlldon).
a ~rcat part of it) Rodwdl's last opcr.,". (Bulin.) In FreIIch also, Antwcrp 2r Deccmbcr 1835·

770
 ANNALS OF OPERA

In German (translated by J. Cornet, as Gasparo, LEMBERG 29 December 1838 (in German).

der Lasttri{ger
1l00I Gral1ada) , Brunswiek January LAIBACH (LJUBLJANA) February 1839 (in German)
1836; Berlin, Kgst. 16 March 1836; Hamburg 4 and 1907 (in Slovenian).
July 1836; ßudapest 10 November 1836, etc. ALGIERS Spring 1839 (in Italian).
In Danish (translated by C. F. Güntclberg), CORFU Spring 1839 (in Italian).
Copenhagen 8 March 1837. ODESSA Summer 1839 (in Italian).
BRUSSELS 5 September 1839 (in French).
CHELARD: Die Hermannsschlacht ZANTE Autumn 1839 (in Italian).
AMSTERDAM Deeember 1839 (in Freneh) and Au-
12 September. Munich
tumn 1844 (in Italian).
Text by K. Weichselbaumer. Five acts.
BUDAPEST 13 January 1840 (in German) and 4 Au-
Chelard' s most important work; faidy success-
gust 1846 (in Hungarian, translated by B.
ful in Germany.
Egressy).
ATHENS 23 January 1840 (in Italian, at the opening
DONIZETTI: Lucia di Lammermoor* of the T. Sansoni).
26 September. Naples, S.c. PRESSBURG Spring 1840 (in Italian).
Text by S. Cammarano (founded on Scott's STOCKHOLM 26 May 1840 (in Swedish, translated
novel). Three acts. from the Freneh version by L. A. Weser) and
The most famous ofDonizetti's serious operas. 3 July 1848 (in Itahan).
Still given in Italy and other countries. GENEVA Autumn 1840 (in French).
First performed at: HAVANA 27 Oetober 1840 (in Italian).
VIENNA 13 April 1837 (in Italian) and 28 January ST. PETERSBURG Deeember 1840 (in Russian); 1842
1843 (in German). (in German) ; and Spring 1843 (in Italian).
MADRID 2 August 1837 (in Italian) and 13 Feb- AJACCIO, CORSICA Camival 1841 (in Italian).
ruary 1847 (in Spanish, music adapted to a new LIMA, PERU 1841 (in Italian).
libretto by A. Azcona, called EI Sacrislall de Sall MEXICO 12 July 1841 (in Italian).
Lorellzo). COPENHAGEN November 1841 (in Italian) and 8
PARIS, TH.l. 12 December 1837 (in Italian); Ren. December 1857 (in Danish, translated by T.
6 August 1839 and O. 20 February 1846 (in Overskou).
French, translated by A. Royer and G. Vaez). NEW ORLEANS 28 December 1841 (in French).
LISBON 26 January 1838 (in Italian) ; a Portuguese ALEXANDRIA Carnival 1842 (in Italian).
parody by F. Palha, 0 Alldador das Allllas, was BATAVIA 1 Oetober 1842 (in French).
produced at Lisbon in 1850. ZURICH May 1843 (in German).
LONDON, H.M.'S 5 April 1838 (in Italian); Prin- NEW YORK 15 September 1843 (in Italian) and
cess's 19 January 1843 (in English); D.L. 16 July 17 November 1845 (in English, translated by
1845 (in French); 200th performance at c.G. G. Bowes and M. R. Lacy).
on 4 June 1902. SANTIAGO, CHILE 1844 (in Italian).
MALTA 1838 (in Italian). PALMA, MALLORcAJuly 1844 (in Italian).
BADEN (near VIENNA) 25 August 1838 (in German, WARSAW Oetober 1844 (in Italian) and 17 June
translated by G. Ott); Graz 12 September 1838. 1845 (in Polish, translated by L. Sygietynski).
BERLIN, KGST. 15 October 1838 (in German) and TRINIDAD 21 Oetober 1844 (in Italian; first opera
15 May 1841 (in Italian); O. 16June 1852 (in there).
German). BUCHAREST Autumn 1845 (in Italian) and 1903 (in
PRAGUE 27 October 1838 (in German, translated Rumanian).
by V. A. Swoboda) and 14 February 1864 (in CONSTANTINOPLE November 1845 (in Italian).
Czech). DUBLIN 31 August 1846 (in Italian).

77 1 772
18 35 ANNALS OF OPERA

RIO DE JANEIRO 28 December 1846 (in Italian). PREVOST: Cosimo

BUENOS AIRES 27 Oetober 1848 (in Italian) and
13 Gelober. Paris, O.c.
Spring 18SZ (in Freneh).
Text by A. Villain de Saint-Hilaire and P. Du-
CHR1STlANIA August 1849 (in Italian).
port. Two acts.
HELSINKI 20 June 1850 (in German) and 21 No-
The most successful ofPn:vost's operas.
vember 1873 (in Finnish, translated by A. Tör-
In French also, Brllssels 1 Janllary 1838;New
neroos).
York 22 July 1843.
TIFLIS Autumn 1853 (in Italian).
In English, London, St. J.'s 7 May 1838.
BOGOT..\]uly 1858 (in Italian).
Swedish version by L. A. Wescr published
SOERABAYA 20 February 1865 (in French).
18J7.
MELBOURNE 1865 (in English).
CAIRO Carnival 1870 (in Italian).
KlEV 1875 (in Russian, translated by A. Grigo-
BALFE: The Siege ofRochelle*
ryev). 29 Gelober. London, D.L.
ZAGREB 16 Februar)' 1878 (in Croatian, translated Text by E. Fitzball (founded on Mme de Genlis's
by J. E. Tomie). noveI). Two acts.
CAPE TOWN 1895 (in Italian). Balfe's first English opera (on the prodllction,
Some of the latest revivals were at: sec Fitzball's MCI//oirs, Vol. II, PP.17-27). Given
VIENNA 19 January 1929 (in Italian). in London for more than three months; last re-
SOFIA 29 April 1929 (in Bulgarian; translation vived Princess's 8 Gctober 1875. Dublin 4 May
published already at Shumen 1905). 1836; New York 9 April 1838; Sydne)' 3 August
ATHENS Summer 1933 (in Greek). 1848. Revived Birmingham January 1892 and
PRAGUE December 1934 (in German). 3 Februar)' 1893.
PARIS, o. 15 May 1935 (in Italian). In German (translated by A.J. Becher), Vicnna,
C.\RLSRUHE.2 July 1937 (new Gern13n version by W. 24 O~tober 1846.
H. Wolfram).
ROME 1 August 1937 (open-air performance at the RUOLZ: Lara
Baths ofCaracalla).
22.YOl'cl//bcr. Naples, S.c.
Text by E. Bidera (after Byron). Three acts.
VERSTOVSKY: Askoldova Mogila This opera was enthusiastically praised by
ACIW.lIbgOBa ~IOnI:Ia Alexandre Dumas in the Gazelle l\1/1sicalc.
(The Tomb of Askold)
28 Septel//ber. Moscow HALEVY: L'Eclair
Text by M. N. Zagoskin. Four aets. 16 Dcccl//ber. Paris,O.C.
Versrovsky's most succcssful work (the im- Text by J. H. Vemoy de Saint-Georges and F. A.
mediate forenmner ofGlinka' s A LiJJor fhe C::ar). E. de Planard. Three acts.
St. Petersburg S September 1841 (reaehed its Hdl':v;o's most successflll comic opera, pro-
100rh performance there in 1850, earlier than A duced in the SJme year as La J/li,'e, Given at the
L!(c Jor fhe Czar). Givcn on Russian stages O.c. more chan 300 times until 1879 and revived
throughout the 19th c('ntur:-; last revived at there 5 J une 1899; still popular in Francc.
Moscow in 1897. In Freneh also, Annverp 19 April 1836; Brussels
Produced also by a Russian comp'my in New 5 October 1836, etc; New Orleans 16 February
York 15 Dcccmber 1869 (first Russian opera in 1837; Amsterdam 1837; Florence April 1839 (by
Amcrica; English translation by O. Agrenev pub- amateurs, at Prinet' Poniatowsky's); New York
Iishcd on that occasion). 23 ]tme 18 43.

773 774
1835-36 ANNALS OF OPERA 1836

In German (translated by F. Genee), Berlin 3 MARSCHNER: Das Schloss am Ätna

August 1836; (translated by K. Holland), St. 29 January. Leipzig
Petersburg 28 Deeember 183 6 ; (translated by F. Text by A. Klingemann (originally called Adel-
Ellmemeieh), Munieh 24 November 1837; (trans- gunde). Three aets.
lated by J. von Ribies), Prague 3 Oetober 1840; Fairly sueeessful in Germany; last revived Bres-
Vienna, Jos. 23 November 1848 and Kä. 30 Au- lau 25 February 1848.
gust 1849· In Danish (translated by A. G. Oehlensehläger),
In Polish (translated by J. Jasinski), Warsaw 24 Copenhagen 2 May 1837-
September 1836.
In Czeeh (translated by J. Svat~k), Prague 9 Au-
gust 1863. DONIZETTI: Belisario*
In Russian, Moseow 6 February 1867. 4 February. Veniee, F.
In Italian, Naples 6 January 1884. Text by S. Cammarano. Three aets.
In Danish (translated by C. F. Güntelberg and Like most of Donizetti' s operas of the thirties,
E. Ch1'istiansen), Copenhagen 26 March 1886. sueeessful all over the world.
Revived (in F. Ellmenreieh's translation), Ha- In Italian produeed at:
nover 22 Oetober 1880 and on many other Ger- VIENNA 17 June 1836.
man stages; also at Rotterdam 1883; Strasbourg MADRID 22 November 1836.
30 March 1900, de.; in a new German version by LONDON I April 1837.
W. Kleefeld, as Der Schicksahtag, Halle 12 March LJUBLJANA 1837.
1922; Berlin, D.O. 21 February 1927. LISBON 7 July 18 37.
MALTA Carnival 1838.
ALGIERS 16 Oetober 1838.
COPPOLA: Gli Illinesi
ODESSA Spring 1839.
26 December. Turin, T.R. ZANTE Spring 1839.
Text by F.Romani (first set to ~usie by Basilj, see HAVANA February 1840.
1819, and rajJorzato e migliorato in gran parte for ATHENS Spring 1840.
Coppola). Two aets. PRESSBURG Spring 1840.

One of Coppola's better works; outside Italy LYONS 7 July 1840.

given at Lisbon 16 September 1839. GHENT 27 June 1841.
MEXICO September 1841.
CONSTANTINOPLE Spring 1842.
ALEXANDRIA September 1842.
BERLIN, KGST. 12 November 1842.

AUßER: Action RIO DE JANEIRO 1843.

PHILADELPHIA 29 July 1843.
23 January. Paris, O.c. BUCHAREST Auturnn 1843.
Text by A. E. Scribe. One aet. PARIS, TH.I. 24 Oetober 1843.
Last revived at the O.c. on 30 June 1852. ST. PETERSBURG Carnival 1844.
In Freneh also, Philadelphia 16 Oetober 1843; NEW YORK 14 February 1844.
Brusscls 16 January 1846; London, St. J.'s 12 VALPARAISO 1844.
March 1849. TRINIDAD Autumn 1844.
In German (translated by M. G. Friedrieh), AMSTERDAM Autumn 1844.
Vienna 3 July 1839. COPENHAGEN Carnival 1845.
(The tide has merely symbolieal meaning; the DUBLIN 3 September 1846.
action is in 18th-eentury Sieily). BUENOS AIRES 26 July 1851.

775
 ANNALS OF OPERA

MONTEVIDEO 1852. HAGUE II November 1837 (in French).

Revived in Italy at Venice 3 November 1889; BRUSSELS 15 November 1837 (in French; last re-
Pisa 8 August 1891; Leghorn 8 November 189l.' vived I October 1934).
In German (translated by V. A. Swoboda), MUNICH 22 May 1838 (as Die Anglicaner und Puri-
Prague 15 February 1838; Graz 3I August 1838; taner, Castelli's version altered by C. Birch-
(translated by J. Hähne!) Berlin, Kgst.28 April Pfeiffer); under the original tide 19 November
1838 (and O. 28 December 1841); Lemberg Sep- 1848.
tember 1838; Budapest 3 November 1838; BASLE 18 January 1839 (in German) ; Geneva Feh-
Vienna, Jos. 7 September 1839 and Kä. 12. No- tuary 1839 (in French).
vember 1839; Zurich September 1840; Jassy 9 BUDAPEST 6 March 1839 (in German, translated
February 1842; Agram March 1844; HeIsinki 5 by G. Ott) and 6 November 1852 (in Hunga-
July 1849; Gothenburg 1865; Reval 19 April rian, translated by L. Nadaskay).
1883· NEW ORLEANS 29 April 1839 (in French).
The latest revivals were at Vienna I I February VIENNA, lOs. 6 July 1839 (as Die Gibellinen in Pisa,
1888; Frankfort 24 March 1888; Basle 20 October translated by G. Ott); Brünn 14 December
1889; Coblenz 7 November 1899. 1839 (the same version).
In Russian, St. Petersburg December 1839· VIENNA, KÄ. 19 December 1839 (as Die Welfen und
In Hungarian (translated by F. Gyergyai), Bu- die Gibellinen; the opera was given in Austria
dapest 19 May 1841; Clausenburg 6 May 1842. in its original form only after the 1848 revoluti-
In French (translated by H. Lucas), Brusse!s 13 on: Prague 6 May 1848; Vienna 17 July 1848,
January 1843; Lilie 23 April 1848. etc); in Italian, Vienna 18 March 1876.
In Czech (translated by J. N. Stepanek), Prague LEMBERG' 10 March 1840 and Cracow 2 De("ember

1843· 1854 (in German).

In Polish (translated by J. Jasmski), Warsaw PRAGUE 30 May 1840 (in German) and 13 January
27 June 1850. 1850 (in Czech, translated by B. Pdka).
FLORENCE, P. 26 December 1841 (as GU Anglicani,
translated by F. Guidi); there are other Italian
MEYERBEER: Les Huguenots* versions by C. Bassi, S. M. Maggioni, P. Pe-
29 February. Paris, O. rego, M. M. Marcello. Given at Rome 19 No-
Text by A. E. Scribe (and E. Deschamps). Five vember 1864 (as Renato di eroenwald).
acts. STOC,KHOLM 10 May 1842 (in Swedish, translated
Meyerbeer' s most successful work. Given at the by P. Westerstrand).
Paris O. 1,080 times until 1914 and revived there BERLIN 20 May 1842 (in German); revived in a
13 January 1930 and 23 March 1936. looth per- new version by J. Kapp 1932.
formance 22 July 1839; 500th 4 April 1872; LONDON, C.G. 20 June 1842 (in German) ; c.G.
1,0OOth 16 May 1906. In Catholic countries plot 30 June 1845 (in French); C.G. 20 July 1848 (in
and tide had often to be changed (see be!ow, Italian) ; and Surrey 16 August 1849 (inEnglish,
under Munich, Vienna, Florence, Rome). It may translated by H. RusselI). 200th performance at
be noted that in London as weIl as in N ew Y ork, c.G. 20 July 1891; last revived there 30 May
Les Huguenots was given in French, German, and 1927 (in Italian).
Italian earlier than in English. ODESSA Autumn 1843 (in German).
First produced at: NEW YORK II August 1845 (in French); 24June
COLOGNE 21 March 1837 (in German, as Marga- 1850 (in Italian); 23 April 1866 (in German);
retha von Navarra); Leipzig 10 April 1837, etc. 6 December 1869 (in English).
(in German, as Die Hugenotten, translated by COPENHAGEN 28 February 1844 (in Danish, trans-
I. F. Castelli). lated by T. Overskou).

777 77 8
 ANNALS OF OPERA

HAVANA 1849 (in Italian). Venice, S. Ben. 30 September 1837; Milan 6 No-
ST. PETERSBURG Carnival 1850 (in Italian, as I vember 1837; Cagliari, Sardinia Autumn 1837;
Guelfi e i Ghibellini) and 2 February 1862 (in Lisbon 16 September 1838; Naples, S.c. Winter
Russian, translated by P. 1. Kalashnikov); given 1839; Madrid 12 December 1839; Malta Carnival
there in German, in concert form, March 1840 1840 (revived 1886); Corfu February 1844.
already; revived Moscow May 1934 (new A French translation by 1. Danglas was pub-
Russian version by V. Yepanechnikov). lished in 1854.
HELSINKIll June 1850 (in German) and 8 Decem-
ber 1876 (in Finnish, translated by A. Törnc- R. W AG N ER: Das Liebesverbot oder
roos).
RIGA 1850 (in German as Raoul und Valentine) and
Die Novize von Palermo*
19 December 1923 (in Lettish). 29 March. Magdeburg

BATAVIA 24 May 1851 and Soerabaya 28 Decem- Text by the composer (founded on Shakespeare's
be{.1866 (in French). Measurc for Measure). Two acts.
LISBON 31 May 1854 (in Italian). Wagner's first performed opera, given for one
BARCELONA I7 January 1856 (in ltalian). night only; the sccond performance was an-
DUBLIN I October 1857 (in ltalian). nounced but did not take place because "Bedlam
MADRID 9 February 1858 (in ltalian). broke loose behind the scenes" (E. Newman).
WARSAW 11 July 1858 (in Polish, translated by (See Wagner's report in Vol. 1 ofhis Gesammelte
J. B. Wagner). Schriften) .
ALGIERS November 1858 (in French). The opera was first published in 1922 (vocal
SYDNEY 10 AJlgust 1863 (in English). score) and 1923 (full score).
MEXICO November 1865 (in Italian). Revived Munich 24 March 1923; Berlin 20
CONSTANTINOPLE November 1866 (in Italian). January 1933 and on some other German stages.
MALTA 1869 (in Italian).
BUENOS AIRES 18 June 1870 (in Italian).
BALFE: The Maid of Artois
CAIRO 1870 (in Italian).
27 May. London, D.1.
RIO DE JANEIRO 14 September 1870 (in Italian).
Text by A. Bunn. Three acts.
CHRISTIANIA February 1876 (in Norwegian).
Written for Maria Malibran. Dublin 24 Oc-
BUCHAREST March 1876 (in French).
tober 1840; New York 5 November 1847; Phi-
ZAGREB 4 May 1878 (in Croatian, translated by
ladelphia 29 December 1847, etc.
H. Badalic).
Revived London, D.1. 8 October 1846 (with
LJUBLJANA 1904 (in Slovenian).
Ann Bishop).
SOFIA 23 January 1922 (in Bulgarian).
TALLINN 1924 (in Estonian, translated by H. Laur).
JERUSALEM 12 December 1926 (in Hebrew, trans-
DONIZETTI: 11 Campanello di Notte*
lated by A. Aschmann). 1 JUl1e. Naples, T.N.

KAUNAS 22 January 1932 (in Lithuanian). Text by the composer (founded on a French vau-
deville, La Sonl1ctte de Nuit, by 1. 1. Brunswick.
M. B. Troin, and V. Lherie, 1835). One act.
MERCADANTE: I Briganti
Written within one week in order to save an
22 March. Paris, Th.I. impresario from bankruptcy. Successful in Italy~
Text by J. Crescini (founded on Schiller's Die given sometimes as 11 Campanello dello Speziale
Räuber). Three acts. (Venice, S. Ben. 3 September 1853); in Italian
In Italian also given at London 2 July 1836; also, London, Ly. 30 November 1837 and St.J.'s

779
 ANNALS OF OPERA

14 November 1857; Dublin 3 March 1838; Bar- In English, London, Ly. 9 March 1841 (revived
. celona 11 May 1855; Brussels 11 April 1862; St. Gaiety 25 September 1870) .
Petersburg January 1864; Madrid 13 November . In Polish (translated by L. Matuszynski), War-
1869. saw 15 August 1845; Lemberg 28 January 1859.
In Spanish, Madrid 24 December 1842; re- In French (translated by H. Lueas), Paris, O.
vived Circo 3 November 1862 (new Spanish ver- 27 December 1853 (musie arranged by Adam, the
sion by M. Pastorfido). composer of Le Chalet, the Freneh original of
In French (as La Sollt/effe, translated by J. Donizetti's text).
RueHe), Paris 2 December 1865 (at the opening Revived Naples, T.N. 13 Oetober 1877; and
of the Fantaisies-Parisiennes). Lugano May 1933.
Revived New York, Lyceum 7 May 1917 (in
English, translated by S. Rosenfeld); Breslau 12 A D AM: Le Postillon de Longjumeau*
October 1923 (in German, translated by W.Klee- 130etober. Paris,O.C.
feld); Budapest 26 May 1926 (in Hungarian, Text by A. de Leuven and L. L. Bnmswiek. Three
translated by V. Hnyi). aets.
Outside Franee regarded as Adam's most po-
COPPOLA: Enrichetta BaienJeld
pular work, while in Paris Le Chalet was more
ossia La Festa della Rosa suecessful. The 500th night at the O.C. was on
:!9 ll/lle. Vienna, Kä. 24 October 1873; on 24 July 19°3, the eentenary
Text by J. Ferretti. Two aets. of Adam's birth, a performance was given at
In Italian also, produced at Milan 6 September Longjumeau; a eentenary performance at Long-
1836 and in some other Italian toWIIS. jumcau took plaee on 17 May 1936.
Outside Franee, given at:
MONPOU: Le Luthier de Vienne
ANTWERP 22 February 1837; Brussels 22 May 1837,
30 lUlle. Paris, O.C. etc. (in Freneh).
Text by J. H. Vernoy de Saint-Georges and A. de LONDON, ST. J.'S 13 March 1837 (in English, as
Leuven. One aet. Postilion I, translated by G. A. A'Beckett, musie
One of Monpou's better works. Liege 7 No- arrangcd by G. F. Stansbury); Greeian Th. 28
vember 1836; BrusscIs 8 February 1838; Hague August 1843 (in English); D.L. 9 July 1845 (in
September 1838. Freneh). Revi ved EIll pirc 21 August 1886 (as A
In Danish (translated by T. Overskou), Copen- Maidcll Wiji:); Edinburgh IO Deeember 1892;
hagen 12 September 1839. Dublin August 1893.
PRAGUE 11 May 1837 (in German, translated by
DONIZETTI: Betly ossia
V. A. Swoboda) and 27 June 1866 (in Czeeh,
La Capanna Svizzera* translated by B. Pdka).
24 All.~lISt.Naples, T.N. BERLIN 3 June 1837 (in German, translated by
Text by the composer (founded on Ser:be's Cha- M. G. Friedrieh).
let, see 1834). One aet. BUDAPEST 30 September 1837 (in German) and
Given on an enlarged 2-aet version at Palermo 29 November 1904 (in Hungarian, translated
Autumn 1836. by S. Varady).
In Italian also, Lisbon November 1837; Lon: LEMBERG IO Oetober 1837 (in German).
don, Ly. 9 January 1838; Dublin 3 March 1838; VIENNA 14 Oetober 1837 (in German).
Odessa Carnival 1841; Havana April 1842; Mad- COPENHAGEN 28 Oetober 1837 (in Danish, trans-
rid 15 September 1842; Lugano 14 Oetober 1846; lated by Th. Overskou).
Philadelphia 25 October 1861; New York 28 Oc- AMSTERDAM 1837 (in Freneh) and February 1846
tober 1861; Buenos Aires 13 April 1895. (in German).

o
 ANNALS OF OPERA

ST. PETERSBURG January 1838 (in German). tion from all quarters, her opera was a failure.
WARSAW 5 May 1838 (in Polish, translated by J. Parts of it were revived at Paris, in concert form,
JasiD.ski). on 6 July 1865. The vocal score was arranged by
BASLE 16 November 1838 (in German, translated Liszt.
by F. Ellmenreich). The statement in Riemann's Musiklexikon and
HELSINKI 17 July 1839 (in German) and 23 Sep- elsewhere that the opera was also produced at
tember 1930 (in Finnish). Munich in a German version by Charlotte Birch-
STOCKHOLM II February 1839 (in Swedish, trans- Pfeiffer is not correct. The German authoress had
lated by L. A. Weser). made a play out ofHugo's novel in 1830 already.
NEW YORK 30 March 1840 (in English); 16 June Meyerbeer tried to secure a German production
1843 (in French); and 9 December 1870 (in ofBertin's opera in 1838 (see his letter to Wilhe1m
German). Speyer of 6 July 1838, printedin Edward Speyer's
CHRISTIANIA 31 October 1841 (in Danish). biography ofhis father, 1925, p.20l), but did not
NEW ORLEANS II March 1845 (in English). succeed.
RIO DE JANEIRO Autumn 1846 (in French).
HULLAH: The Village Coquettes
BADEN-BADEN 15 August 1862 (in French).
MILAN, S. RADEGONDA 17 March 1875 (for the first
6 December. London, St.J.'s.
time in Italian; an Italian version of the libretto Text by Charles Dickens (the only opera libretto
by C. Bassi had been set by Coppola in he ever wrote; see The Musical World, 16 Feb-
18 38). ruary 1861, where arecord of this little work will
SARAJEVO 1882 (in German). be found). Two acts.
ZAGREB 17 September 1899 (in Croatian, trans- The Village Coquettes was performed in Danish
lated by M. Pogacic). (as Landligt Koketteri, translator not mentioned)
LJUBLJANA 1919 (in Slovenian). at Copenhagen 5 September 1862, apparently
without music.
Revived London, King's Hall 19 June 1924 (by
BENEDICT: Un Anno e un Giorno*
the Trinity College ofMusic, revised and with
190etober. Naples, Fondo additional music by F. Bridge).
Text by Marchese D. Andreotti. One act. Vocal score re-issued in 1935.
The last opera Benedict wrote in Italy before
he settled in London. GLINKA: Zhizn za Tsarya
In Italian also, London, Ly. 3I January 1837 JRH3Hh 3a IJ;apa*
(text altered by S. M. Maggioni). (A Life for the Czar) .
Revived London, Ly. 9 March 1871.
9 Dceember. St. Petersburg
Text by Baron G. F. Rozen. Four acts and epi-
BERTIN: La Esmeralda logue.
14 November. Paris, O. The first ofGlinka's two operas. After the more
Text by V. Hugo (from his novel, Notre-Dame de or less successful attempts of the 18th and early
Paris, 1831). Four acts. 19th centuries Glinka's work opens the history of
The first of a score of Esmeralda operas (see Russian opera proper.
Mazzucato 1838; Dargomyshsky 1847; Battista A Life fOT Ihe Czar was extremely popular all
1851; Fry 1864; Campana 1869; A. G. Thomas over Russia right up to the revolution of 1917
1883; F. Schmidt 1914). (and there have been attempts to adapt the music
Although this was, so to speak, the authorized to new librettos since, notably at Odessa in 1924,
operatic version of the famous novel, and although when the opera was retitled For the Hammer and the
Louise Bertin as the daughter of the proprietor of Sickle and given a solitary performance. It was re-
Le Journal des Debats enjoyed the highest protec- vived in its original form in Moscow on 21 Feb-
 ANNALS OF OPERA

ruary 1939 but with the tide ofIvan Susanin, which MONTE CARLO 29 February 1916 (in Russian).
had been Glinka's original tide. H.R.). NEW YORK 4 February 1936 (parts only; in con-
Every new season at St. Petersburg and Mos- cert form, by the Schola Cantorum). >
cow was opened with a performance of it. First SAN FRANCISCO 12 December 1936 (in Russian).
given at Moscow on 19 September r842. The STUTTGART May 1937 (in German).
rooth performance at St. Petersburg was in 18S1, BERLIN, O. 7 February 1940 (in German).
the 300th on I May 1868, the 400th on 22 Jan-
uary 1874, the sooth on 27 November 1879, the AU B ER: L' Ambassadrice*
660th on 9 December 1896. Given at Kazan 7 21 Deeember. Paris,O.c.
September r874, at the opening of the first opera- Text by A. E. Scribe. Three aets.
house there. Given at the O.C. 417 times until 1873 and
It took rather a long time before Glinka's revived at the Galerie Vivienne, Paris, on 19
opera was heard outside Russia and it has never November 1897.
become popular anywhere else; still, there are In French also, Brussels 27 July 1837; New
quite a number of productions to be recorded: Orleans 8 January 1841; Rio de Janeiro Auturnn
PRAGUE 29 August 1866 (in Czech; revived I June 1846.
1900). In Danish (translated by T. Overskou), Copen-
REVAL (TALLINN) IS March 1873 (in German). hagen I Septemb'er 1837.
MILAN, T. d. v. 20 May 1874 (in Italian, translated In German (translated by C. A. L. von Liehten-
by Mad. Santagano Gorchakov). stein), Berlin IS October 1837; Graz 6 September
RIGA 1878 (in German) and 1886 (in Lettish, fIrSt r838; Prague 20 April 1839; Vienna, Jos. 23 July
opera sung in that language). 1839 and Kä. 24January 1840, etc.; Zurieh 1852.
HANOVER 12 December 1878 (in German, trans- Another German translation by F. Ellmenreich
lated by R. Pohl). was also used at some theatres.
TIFLIS 9 December r880 (in Russian). London, St. J.'s S March 1838 (in English,
NICE 8 March r88r (in Italian, at the private translated by G. A. A'Beekett); Princess's 2 De-
theatre ofBaron Derwies) and 30 January 1890 cember 1847 (translated by ?); St.J.'s 27 January
(in French, translated by J. RueHe and M. 1849 (in French).
Delines). New York 26 May 1843 (in French) and 27
LONDON, C.G. r2 July 1887 (in Italian). January r8S1 (in English, translated by G. Loder).
BERLIN, VICT. TH. 6 May 1888 and KroH's 20 May In Swedish (tral 'ated by U. E. Mannerhjerta),
1908 (in Russian). Stoekholm r8 Mareh 1846.
COPENHAGENJune 1888 (in Russian). Madrid, Z. 14 September r8s8 (in Spanish,
MANCHESTER 9 July 1888 (in Russian, by the same translated by A. M. Segovia) and July 18S9 (in
touring company as in Berlin and Copenhagen; French).
subsequently given in some other English Revived Berlin, D.O. 24 Oetober r930 (as
towns). Vertauschte Rollen, new German version by A.
HELSINKI 13 December 1888 (in Russian). Guttmann and M. Barthel).
COBURG 22 October 1889 (in German). The heroine of the opera, the prima donna
PARIS, NOUVEAU TH. 19 October 1896 (in French; Henriette, was supposed to be a portrait of
one air from the opera had been heard at a Henriette Sontag.
Berlioz concert in Paris as early as 16 March
r837
184S).
POSEN (POZNAN) 2S December 1899 (in German, COSTA: Malek Adel
new translation by H. Schmidt). 14 Jamlary. Paris, Th.I.
HAMBURG 17 February 1900 (in German, Schmidt's Text by C. Pepoh (founded on S, Cottin's novel,
translation). Mathilde, 180S). Three acts.

786
 ANNALS OF OPERA 1837

Costa used parts of the musie of his earlier BARCELONA 7 November 1839.
opera, Malvina, produeed Naples, S.C. 7 Feb- LONDON 27 June 1840.
ruary 1829. Malek Adel was also given in London LISBON November 1840.
on 18 May 1837. CAGLIARI, SARDINIA Carnival 1841.
GHENT 30 June 184I.
L 0 R T Z I N G: Die beiden Schützen* MALTA 184I.
20 February. Leipzig CORFU Autumn 1841.
Text by the composer (founded on Patrat's BRUSSELS May 1842.
Meprises par Ressemblance, see 1786). Three aets. MEXICO 1842.
Lortzing' 5 first greater sueeess: Prague 9 Oeto- HAVANA 1842.
ber 1838; Berlin 16 August 1839; Vienna, Jos. AGRAM March 1843.
6 September 1843 (0. only 15 Oetober 1889); COPENHAGEN November 1843.
Basle 9 November 1845. NlCE Autumn 1844.
In German also Helsinki 13 July 1849; New SANTIAGO, CHILE 1847.
York 13 Deeember 1859. NEW YORK 14 February 1848.
Frequently revived in Germany; lately Magde- ST. PETERSBURG Spring 1848.
burg 17 April 1935 (as Der vertauschte Sohn, revis- BUENOS AIRES 29 October 1851.
ed by A. Treumann-Mette). PARIS 22 November 1858.
In Czeeh (translated by E. Züngel), Prague In German (translated by G. Ott), Graz and
1883· Brünn Summer 1839; (translated by J. C. Grün-
In English (as The Random Shot), London, St. baum), Berlin 3 August 1839; Vienna 5 Mareh
George's Hall 31 March 1898 (by the London 1842; Prague 24 March 1843 (as Bianca und
Aeademy of Musie). Elaisa); Budapest 5 October 1844; Riga 2 Fcb-
In Flernish, Antwerp Oetober 1910. ruary 1856.
Freneh voeal score (Les Meprises, translated by In Hungarian (translated by 1. Jakab), Budapest
L. Danglas) published Brussels 1865. Decern:ber 1838; Clausenburg 5 April 1846.
In Polish (translated by J. Jasinski), Warsaw
BARNETT: Fair Rosamond
31 July 1845.
28 February. London, D.L. In French (as Henriette d'Entragues, ou Un Pacte
Text by C. Z. Barnett and F. S. Shannon. Four sous Philippe l/J, translated by G. Oppelt), Brus-
aets. sels 9 February 1847.
Barnett' 5 seeond opera, less sueeessful than his In Swedish (translated by A. F. Lindblad),
Moulltain Sylph (see 1834). Stoekholm 19 January 1852.

MERCADANTE: 11 Giuramento*
GIRSCHNER: Undine
10 March. Milan, Sc.
Text by G. Rossi (founded on Vietor Hugo's 20 April. Danzig
Angelo). Three aets. La Motte Fouque's text (first set to music by Hoff-
Mereadante's chief work; very sueeessful in mann, see 1816), revised by the author. Three
Italy; given at Rome, Valle [4 September] 1839 acts.
as Amore e DOllere; revived Florence 16 March Previously heard in eoncert form with piano
1883; Bassano 18 January 1884; at Altamura accompanimellt at Berlin 19 May 1830. Fouque
(Mercadante's native town) 17 August 19II and preferred Girschner's setting bccause ofits grcater
againon27 April 1937. "Gemütlichkeit". There was a heated dispute
In Italian also: about this opera between the composer and F. H.
VIENNA 3 April 1838. Truhn; see A.M.Z., 1837.
1837 ANNALS OF OPERA 1837

A. THOMAS: La double Echelle In German (translated by G. Ott), Pressburg

17 November 1840.
23 August. Paris,O.C.
In French (translated by E. Monnier), Hague
Text by F. A. E. de Planard. One act. 1840; Rouen 15 February 1841; Brussels 31 Au-
Thomas's first opera; given at the O.C. 187 gust 1842.
times until 1845. In Hungarian (translated by 1. Jakab), Buda-
In French also, Antwerp 15 November 1837; pest 22 March 1841.
N ew Orleans J anuary 1841 ; Brussels 15 December In Russian, St. Petersburg Spring 1843.
1842; London, St.J.'s 2 March 1849.
In German (translated by K. Blum), Berlin 15 ROOKE: Ami/ie; or, TheLove Test
October 1838; Vienna 31 October 1838, etc.
2 December. London, c.G.
In English (as The Matrimonial Ladder, trans-
Text by J. T. Haines. Three acts.
lated by G. Macfarren), London, Ly. 25 March
Rooke's first opera (written as early as 1818;
1841.
cf. note on Hatton' s Pasqual Bruno, 1844). Success-
ful on English stages: New York IS October
DONIZETTI: Roberto d'Evereux, 1838; Dublin 10 November 1838; Philadelphia
Conte d'Essex* 19 November 1838.
29 Oetober. Naples, S.C. Revived Melbourne 1862 and Sydney Summer
1863·
Text by S. Cammarano (founded on F. Ancelot's
tragedy, Elisabeth d'Angleterre). Three acts. AUßER: Le Domino noir
Very successful in Italy; last revived Pavia 2 December. Paris, O.C.
Carnival 1882. Text by A. E. Scribe. Three acts.
In Italian also, given at: One of Auber's most successful cornic operas;
LISBON 13 July 1838. the 700th night at the O.C. was on 18 February
BARCELONA 29 November 1838. 1866, the l,oooth on 3 April 1882. Still given on
PARIS 27 December 1838. French stages as weIl a:: in other countries; last
HAVANA 1839. revived in Paris 10 June 1935 at the Th. Porte
BRUSSELS May 1840. St. Martin.
CORFU Autumn 1840. Outside France:
MALTA Carnival 1841. LONDON, C.G. 16 February 1838 (in English, trans-
ODESSA Spring 1841. lated by J. Kenney and]. M. Morton); abhdged
BERLIN, KGST. I2 June 1841. versions had been given: Olympic 18 January
LONDON 24June 184I. 1838 (adapted by c.]. Mathews, music arran-
LUGANO Autumn 184I. ged byW. Penson); Adelphi 22January 1838;
COPENHAGEN November 184I. and St. J.'s 29 January 1838. Other English
MEXICO 1842. versions: Litde Hm. 10 June 1846 (by B. N.
ATHENS December 1842. Webster); c.G. 20 February 1861 (newadap-
SMYRNA November 1843. tation by H. F. Chorley); the French original:
VIENNA 22June 1844. D.L. 10 August 1846 (by the Brussels company)
ST. PETERSBURG Carnival 1845. and St. J.'s 15 January 1849 (opening of the
CONSTANTINOPLE Summer 1845. first regular French opera season in London).
BASTIA, CORSICA Auturnn 1847. Revived in English by the Guildhall School of
NEW YORK 15 January 1849· Music 23 March 1904.
AGRAM Carnival 1852. ANTWERP 4 April 1838 (revived 21 March 1931);
BUENOS AIRES 26 May 1854. Brussels 18 April 1838, etc. (in French).

790
 ANNALS OF OPERA

BERLIN 16 June 1838 (in German, translated by LORTZING: Czaar und Zimmermann,
C. A. L. von Lichtenstein). oder Die zwei Peter*
AMSTERDAM 1838 (in French).
22 December. Leipzig
ST. PETERSBURG I January 1839 (in Russian).
COPENHAGEN 29 January 1839 (in Danish, trans- Text by the composer (founded on a French play
Iated by T. Overskou). by A. H. J. Melesville, J. T. Merle and E. C. de
PRAGUE 19 February 1839 (in German) and 12 Boirie, 1818). Three acts.
November 1869 (in Czech, translated by B. Lortzing's chief work; very successful in Ger-
PeSlca); revived 14 February 1891 (new Czech many, where it still holds the boards. Given at:
version by MuZik). BERLIN 4January 1839, etc.
CHRISTIANIA 29 May 1839 (in Danish); revived COPENHAGEN Summer 1841 (in German, by the

9 September 1901 (in Norwegian). Neustrelitz company) and 18 September 1846

NEW ORLEANS November 1839 (in French). (in Danish, translated by A. Vibe).
MADRID 22 February 1840 (in ltalian) and Decem- PRAGUE 5 November 1841 (in German) and 6
ber 1858 (in Spanish, translated by A. Arnao). Decembet 1846 (in Czech, translated by J.
HELSINKI 6 January 1841 (in German) and I No- Peclrca).
vember 1876 (in Finnish, translated by A. BASLE 9 March 1842 (in German).
Törneroos). VIENNA, JOs. 4 August 1842 and Kä. 22 October
LISBON 8 December 1841 (in Portuguese) and 16 1842 (in German).
April 1878 (in French). CHRISTIANIA 1842 (in Norwegian).
BUDAPEST 2 April 1842 (in Hungarian, translated LIEGE 20 October 1842 (in German).
by D. Lengyel). STOCKHOLM 6 November 1843 (in Swedish,
NEW YORK 7 June 1843 (in French) and 18 July translated by J. M. Rosen) and 22 May 1863 (in
1848 (in English). German).
STOCKHOLM 7 November 1845 (in Swedish, trans- ZAGREB March 1844 (in German) and 20 February
lated by N. E. W. af Wetterstedt; revived 6 1898 (in Croatian, translated by J. E. Tomit).
November 1930). AMSTERDAM April 1845 (in German) and 24 No-
VIENNA, w. I July 1846 and Kä. 28 July 1849 (in vember 1886 (in Dutch, translated by A. de
German); Graz 28 May 1850. Winter).
RIO DE JANEIRO Auturnn 1846 (in French). RIGA December 1845 (in German, as Flandrische
BASLE 12 March 1852 (in German). Abenteuer, Maximilian I being substituted for
BUENOS AIRES Spring 1852 (in French). Peter the Great).
TURIN April 1858 (in French). STRASBOURG 1846 (in German) and 19 April 1860
BADEN-BADEN 18 August 1862. (for the first time in French, translated by L.
BARCELONA 7 July 1868 (in French). a
Danglas, as Pierre le Grand Saardam).
WARSAW 1868 (in Polish, translated by L. Matus- BUDAPEST 15 January 1848 (in Hungarian).
zynski). HELSINKI 17 June 1849 (in German) and 23 Sep-
ZAGREB 3 March 1874 (in Croatian, translated by tember 1877 (in Finnish, translated by U. von
J. E. Tomit). Schrowe).
BUCHAREST March 1876 (in French). MILWAUKEE 8 April 1852 (in German).
MALTA 1878 (in Italian, translated by A. Zanar- NEW YORK 13 January 1857 (in German) and 8
dini). February 1882 (in English).
ROME II June 1891 (in Italian; apart from the BRUSSELS 9 October 1864 (in German) and 13 May
French production at Turin, for the first time 1867 (in French).
in Italy. For an Italian version of the libretto LONDON, GArETY 15 April 1871 (in English, as
see Lauro Rossi's Il Domino nero, 1849). Peter the Shipwright, translated by J. M. Mad-

791 79 2
 ANNALS OF OPERA

dox); revived Ly. 25 March 1893 (by the

R.A.M.).
1838
LJUBLJANA 3 October 1905 (in Slovenian). ADAM: Le fidele Berger
ST. PETERSBURG Spring 1907 (in Russian) revived
6January. Paris,O.C.
5 February 1919· Text by A. E. Scribe andJ. H. Vernoy de Saint-
TSINGTOU 1908 (in German).
Georges. Three acts.
OXFORD 25 November 1930 (new English version In French also, Brussels 12 February 1846;
by S. Austin and W. A. Halpern). revived with alterations, Paris, O.C. 14July 1851.
SOFIA40ctober 1933 (in Bulgarian). In German (translated by C. A. L. von Lichten-
CAPE TOWN Autumn 1937 (in German; first stein), Berlin, Kgst. 15 September 1838; Prague
opera sung there in that language). 12 March 1839; Vienna, Jos. 25 June 1839 (Kä.
16 September 1848); Budapest 19 September
VINC. FIORAVANTI: 11 Ritorno di 1839, etc.
Revived Prague 17 December 1869 and 18
Pulcinella dagli Studj di Padova
March 1886 (in Czech, translated by E. ZüngeI).
27 Deccmber. Naples, T.N.
Text by A. Passaro. Two acts. SALDONI: 1permestra
The most successful work of the younger 20 January. Madrid, T. de la Cruz
Fioravanti. Given at Malta 1838 as Il Ritorno di Metastasio's text (17«), altered and reduced to
Stenterello da Padova. 2 acts by I. Pasini.
Very successful in an adaptation for Northern Saldoni's first opera; successful in Spain. Re-
Italy, as Il Ritorno di Columella ossia 11 Pazzo per vived at Madrid 6 June 1843.
Alllore (libretto altered by C. Cambiaggio, reci-
tatives and some new picces by Eduardo Bauer): DONIZETTI: Maria di Rudenz*
Milan, T. Re 17 June 1842; Venice 14 September 30 January. Venice, F.
1842, etc. Last revived Leghorn 27 August 1877 Text by S. Cammarano. Three acts.
and Florence, T. Niccolini I I April 1902. Outside Italy, produced at Madrid 26 April
In Italian also produced at: Cagliari, Sardinia 1841; Corfu Autumn 1841; Lisbon 27 February
Autumn 1843; Copenhagen December 1843; 1842; Malta 1843; Alexandria 28 Dec'hnber
Odessa Summer 1844; Nice 31 December 18«; 1844; Barcelona 22 November 1845; Rio de
Madrid 26 March 1845; Constantinople February Janeiro 2 December 1851; Buenos Aires 25 Octo-
1846; Lisbon 29 April 1847; Brussels 17 March ber 1854.
1849; Santiago, Chile 1855; London, St. J.'s 10
November 1857; Mexico 8 December 1858; MAZZUCATO: Esmeralda
Paris 11 April 1867. 10 Fcbruary. Mantua

In Portuguese (translated by L. V. de Simoni), Text by F. de' Boni (founded on Victor Hugo's

Rio de Janeiro 24 November 1857. Notre-Dame de Paris). Four acts.
In Spanish (adapted by M. del Palacio), Mad- Mazzucato's most succcssful opera. Outside
rid, Z. 10 November 1859. Italy, given at Lisbon I January 1840; Barcelona
An English version by A. B;;ildon was announ- 14 November 1840.
ced for performance at the Academy of Music,
New York October 1871. Produced by the MARSCHNER: Der Bäbu
Parepa Rosa Company, not in New York, but 19Fcbruary. Hanover
probably in other American towns about the Text by W. A. Wohlbrück. Three acts.
same time. Libretto printed. Given also on some other German stages and,

793 794
 ..

ANNALS OF OPERA

in Danish (translated by T. Overskou), at Copen- In Spanish (as Susalla, adapted by M. Pastor-

hagen on I I April 1839. fido), Madrid 23 May 1867 (previously published
in 1859 as La Loca por Amor 0 Las Prisiones de
HALEVY: Guido et Ginevra Oll Edimburgo).
La Peste de Florence
A. THOMAS: Le Perruquier de
5 March. Paris, O.
la Regence
Text by A. E. Seribe. Five aets.
30 March. Paris,O.G.
Given in a redueed 4-aet version, Paris, O. 23
Oetober 1840. Text by F. A. E. de Planard and P. Duport. Three
In Freneh also, Amsterdam 1838; Hague Jan- aets.
uary 1839; Antwerp 27 February 1839; Brussels In Freneh also Brussels 25 Deeember 1838.
14 April 1845, cte.; London, C.G. I I June 1845 In German (translated by c. A. L. von Lichten-
(the first aet only). stein), Berlin, Kgst. 4 Deeember 1838 (with
In German (translated by J. C. Grünbaum), additional musie by Gläser); Prague 18 May
Hamburg 16 January 1839; Berlin, Kgst. 6 March 1839, ete.
18 39; Budapest 25 November 1839; Prague 30 In Danish (translated by T. Overskou), Copen-
April 1841; Vienna, Jos. 4 May 1841 and Kä. hagen 2 September 1839.
5 January 1844, ete.
Revived Paris, Th.I. 17 February 1870 (in BENEDICT: The GipsyJsWarning
Italian) ; O. Populaire 27 Oetober 1879 (in 19 April. London, D.L.
Freneh); Mannheim 3 April 1881 and Hamburg Text by G. Linley and R. B. Peake. Two aets.
20 March 1882 (in German). Benediet's first English opera. New York 20
April 1841, ete.
CARNICER: Ismalia ossia Morte In German, Lemberg 27 August 1839; Berlin,
ed Amore Kgst. 14 Oetober 1840 (translated by T. Hell);
Stuttgart 3 Oetober 1841 (translation revised by
12 March. Madrid, T. de la Cruz C. Gollmiek).
Text hy F. Romani (first set to musie by Merea- In Russian, St. Petersburg 1860.
dante in 1832). Two aets.
The last opera of the Spanish composer. DES SAU ER: Ein Besuch in Saint-Gyr
6 May. Dresden
F. RICCI: La Prigione dJEdimburg Text by E. von Bauemfeld. Three aets.
13 March. Trieste Dessauer's best work. Prague 3I January 1839;
Vienna 23 Oetober 1839, ete.
Text by G. Rossi (founded on Seribe and Plan-
ard's Freneh libretto, see 1833). Three aets.
BALFE: Diadeste; or,
In Italian also produeed at Cagliari, Sardinia
Carnival 1840; Vienna 2 April 1840; Barcelona The Veiled Lady
24 July 1840; Niee 22 November 1840; Malta 17 May. London, D.L.
1841; Odessa Autumn 1841; Copenhagen No- Text by E. Fitzball (founded on a Freneh libretto
vember 1841; Lisbon 12 Deeember 1841; Mexieo by L. pillet and A. Villain de Salnt-Hilaire, set
14 January 1842; Prague 5 April 1843; Warsaw to musie by Godefroid in 1836). Two aets.
Oetober 1844; Buenos Aires 7 Oetober 1853. Balfe' s first English eornie opera. (Diadeste is
In German, Hamburg 27 April 1842; Budapest the name of an Arabian game, not that of the
15 Oetober 1842. "Veiled Lady") Cork 28 July 1838.

795 796
 ANNALS OF OPERA

BALFE: Falstaff Revived in Paris 3 April 1913 (at the inaugu-

19}uly. London, H.M.'s ration of the Th. des Champs-Elysees); and in
Germany at Dresden 12 June 1929.
Text by S. M. Maggioni. Two acts.
The only ltalian opera Balfe wrote for London.
A D AM: Le Brasseur de Presto tl
CUY AS: La Fattuchiera 31 Oetober. Paris,O.C.
23}uly. Barcelona, T. Principal Text by A. de Leuven and L. L. Brunswick.
(Italian) text by F. Romani (originally called Three acts.
/smaUa, first set to music by Mercadante in 1832). Not very successful in Paris (revived Opcra-
Two acts. National 22 January 1848), but popular in other
The only opera of the Spanish composer, who countries.
died in 1839 at the age of 23. In French, Antwerp 14 March 1839; Brussels
I April 1839; Amsterdam 1839; New Orleans
MACFARREN: The Devil}s Opera November 1842.
13 August. London, Ly. In German (translated by J. Cornet), Hamburg
Text by G. Macfarren (the father of the com- 21 March 1839; Berlin, Kgst. 20 April 1839;
poser). Two acts. (translated by C. A. L. von Lichtenstein) Berlin,
Macfarren's first opera (a satire on the diabolic 0.28 April 1839.
features in Freischiitz, Robert le Diable and other In German also, Prague 23 August 1839; Riga
works then in vogue). Revived Taunton 13 Au- 1839; St. Petersburg 25 February 1840 (under
gust 1888. Adam's direction); Basle 23 March 1840; Vienna.
Jos. 10 July 1844 and Kä. 25 February 1851; New
BERLIOZ: Benvenuto Cellini* York 20 March 1855. Revived Munich 2 March
10 September. Paris, O. 1883; Berlin 3I December 1883; Gotha February
1904·
Text by L. de Wailly and A. Barbier. Two acts.
In Danish (translated by T. Overskou), Copen-
Berlioz's first opera; failure, 29 rehearsals-7
hagen 6 February 1840.
performances. Revived only 14 years later by
In Swedish (translated by N. E. W. afWctter-
Liszt, at;
stedt), Stockholm 25 March 1840.
WEIMAR 20 March 1852 (in German, translated by
In Polish (translated by J. B. Wagner), Warsaw
A. F. Riccius) and again 18 February 1856 (in
6 March 1841.
a new German version by P. Comelius).
In English, New York 23 March 1846; Phila-
LONDON, C.G. 25 June 1853 (in Italian, translated
delphia 27 April 1846.
by J. Nicodemo; under Berlioz).
In Czech (translated by J. Zelenka), Prague 22
HANOVER 2 February 1879 (in German ; under H.
March 1867 (reviyed 24 May 1890).
von Bülow).
For an Italian version of the libretto, see 1847.
PRAGUE 10 October 1894 (in Czech, translated by
V. J. Novomy).
BERLIN 21 November 1896 (in German).
DORN: Der Schöffe von Paris
STRASBOURG II Decembcr 1903 (in German). 13 November. Riga
V1ENNA 25 Fcbruary 1911 (in German). Text by W. A. Wohlbrück. Two acts.
ZURICH November 1912 (in German). Dorn's most successful opera.
ROTTERDAM Deccmber 1919 (concert perform- In German also, Königs berg 3 April 1840;
ance). Budapest 28 January 1841; Cologne 22 Novem-
GLASGOW 23 March 1936 (for the first time in ber 1843; Leipzig 10 September 1844, etc.; Berlin
English, translated by E. J. Dent). 6 February 1852.

797
 ANNALS OF OPERA

MERCADANTE: Elena da Feltre lived on for 5I years without writing another

26 December. Naples, S.c. opera (cf. co1.360 and 719). Balfe sang the name-
part in Farinelli.
Text by S. Cammarano. Three acts.
Successful in ltaly.
In ltalian also, Lisbon 4 April 1840; Barcelona LINDPAINTNER: Die Genueserin
9 May 1840; Vienna 20 May 1840; Malta Spring 8 February. Vienna, Kä.
1840; London, c.G. 15 January 1842 (in English, Text by C. P. Berger. Two acts.
translated by H. F. Chorley, as Elena Uberti) and Given at Breslau 8 March 1840 and on a few
H.M.'s 31 May 1842 (in Italian); Corfu Autumn other German stages.
1842; Amsterdam Autumn 1845.
KÜCKEN: Die Flucht nach
der Schweiz
26 February. Berlin, 0
ADAM: Regine ouLes deux Nuits Text by K. Blum. Two acts.
17 January. Paris,O.C. Successful Singspiel of the well-known Lied
Text by A. E. Scribe. Two acts. composer. Hamburg 10 October 1840 etc.
Brussels 14 April 1840; revived Paris, O.C.
16 June 1849. MERCADANTE: 11 Bravo*
In German (translated by C. A. L. von Lichten- 9 March. Milan, Sc.
stein), Berlin, Kgst. 24 August 1839. Text by G. Rossi and M. M. Marcello. Three acts.
Successful in Italy; given at Milan 40 nights
GRISAR: L'Eau merveilleuse running; last revived there at the T. Manzoni
30 January. Paris, Ren. 27 April 1893.
In Italian also given at Trieste 20 February
Text by T. Sauvage. Two acts.
1840; Vienna 12 April 1841; Lisbon 29June 1841;
Grisar' s first greater success (Flotow contri-
Barcelona 2 October 1841; Malta 1842; Agram
buted parts of the music).
March 1843; Amsterdam 26 February 1845;
Transferred to the O.C. on 18 November 1842
Havana 1847; Paris 12 May 1853; Rio de Janeiro
and given there until 1858.
1853; Constantinople Carnival 1854; Buenos
In French also, Brussels 7 August 1839; Ant-
Aires 13 May 1854; Corfu Autumn 1855; St.
werp 24January 1840; Amsterdam 1840, etc.
Petersburg Carnival 1856; Oporto 1858.
In English (as The Wonderful Water Cure, trans-
ln German (translated by J. C. Grünbaum),
lated by B. N. Webster, music arranged by T. G.
Berlin 2 October 1840; revived Hanover 30 Oc-
Reed), London, Hm. 15 July 1846.
tobor 1851.
In German (translated by Flotow under the
In Polish (translated by J. Checmsky), Warsaw
pseudonym of F. Marckwordt), Lemberg 1851;
17 March 1853.
Breslau I I July 1859; Vienna, W. September
1862.
A UBER: Le Lac des Fees
BARNETT: Farinelli 1 April. Paris, o.
8 February. London, D.L. Text by A. E. Scribe and A. H. J. Melesville. Five
Text by C. Z. Bamett (A serio comic opera). Two acts.
acts. Unsuccessful in Paris (30 performances only).
Bamett's third and last ope-ra; the composer In French also, Amsterdam 1839; Brussels I I
took his leave from the stage at the age of 37 and October 1846, etc.

799 800
 ANNALS OF OPERA

In English (adapted by C. Selby, with additio- In Polish (translated by P. Krzemillski), War-

nal music from Herold, Marschner and Merca- saw 21 October 185'4.
dante), London, Strand 13 May 1839 and (adapt-
ed by A. Lee), D.L. 26 October 1839. 1. LA C H N ER: Die Regenbrüder
In English also, New York I December 1845 20 May. Stuttgart
(translated by W. K. Northall).
Text by E. Mörike (the famous German poet and
In German (translated by J. C. Grünbaum),
novelist) and H. Kurz. Two acts.
Leipzig 31 December 1839; Berlin 14 October
Unsuccessful, not given on any other stage.
1840, etc.; Graz 5J une 1841; Riga 16 April 1845;
The libretto was published in Mörike's Iris,
revived Carlsruhe 17 April 1865; Stuttgart 24
1839·
September 1871.
In Polish (translated by J. Jasmski), Warsaw 30 MONTFORT: Polichinelle
March 1843.
14 June. Paris, O.c.
In Czech (translated by J. K. Tyl), Prague 9
Text by A. E. Scribe and C. Duveyrier. One act.
May 1847.
Montfort' s most successful opera.
In French also given at New York 19 May
BARTAY: esel 1843; Philadelphia 14 October 1843; Brussels
(The Trick) 7 January 1845; London, St. J.' S 22 January 1849.
29 April. Budapest
Text by I. Jakab. Two acts. NINI: La Marescialla d'Ancre
The first original Hungarian comic opera; pro-
23 July. Padua
duced at the Nemzeti Szinhaz, the first regular
Hungarian theatre at Budapest (opened 22 Au- Text by G. Prati (founded on A. de Vigny's
drama). Two acts.
gust 1837).
Very successful in Italy.
In Italian also, Barcelona 5 August 1843; Ca-
ROOKE: Henriquej or, The gliari, Sardinia Carnival 1844; Lisbon 4 April
Love Pilgrim 1845; Buenos Aires 20July 1855; Santiago, Chile
2 May. London, c.G. 1860.
Text by J. T. Haines. Three acts. (Date of first performance according to the
Rooke's last performed opera (given for five review in A.M.Z.)
nights only).
HALEVY: Le Sheri!
A. THOMAS: Le Panier jleuri 2 September. Paris, O.c.
Text by A. E. Scribe. Three acts.
6 May. Paris, O.C.
Never revived in Paris.
Text by A. de Leuven and L. L. Brunswick. One
In Danish (translated by T. Overskou), Copen-
act.
hagen I September 1840.
In French also. Brussels 28 September 1844;
In German (translated by V. A. Swoboda),
London, D.L. 23 July 1845; Buenos Aires 1852;
Prague 27 November 1840.
revived Paris, Th.L. 26 March 1854.
In German (translated by J. Franke), Vienna
13 November 1841.
ADAM: La Reine d'un Jour
In English (as The Fox and the Goose; or, The 19 Septel1lber. Paris,O.c.
Widow's Husband, adapted by B. N. Webster and Text by A. E. Scribe andJ. H. Vernoy de Saint-
D. Boucicault), London Adelphi 2 October 1844. Georges. Three acts.

801 802
18 39 ANNALS OF OPERA

In French also, Antwerp 13 February 1840; tered by B. Merelli (thenimpresario of theTeatro

Brussels 21 April 1840, etc.; revived Paris, Th.L. della Scala) and by T. Solera, the composer and
25 April 1854. librettist. Two acts.
In German (translated by C. A. L. von Lichten- Verdi' s first opera and, as such, fairly successful.
stein), Munich 23 March 1840; Berlin, Kgst. 14 Also given at Turin, Carnival 1.340, Genoa Jan-
April 1840; Hamburg 18 September I 840; Vienna uary 1841, and Naples, S.C. Spring 1841; Bar-
4 March 1842; Prague 1848, etc. celona I February 1842; Malta 1860.
In Danish (translated by T. Overskou), Copen- Revived Milan 17 November 1889; Chicago
hagen 14 April 1841. October 1903 (in concert form); Parma 6 Sep-
In English (adapted by J. T. Haines), London, tember 1913; Busseto (Verdi's native town) 30
Surrey 14June 1841. July 1939 (celebrating the centenary ofthe opera);
Buenos Aires, T. Colon 17 November 1939.
MARLIANI: La Xacarilla The Oberto libretto was set to music once more
by A. Graffigna; produced as I Bonijazi ed i Sa-
280etober. Paris, O.
linguerra, Venice, S. Ben. 28 March 1842 and as
Text by A. E. Scribe. One act (2 scenes).
Eleonora di San Bonijazio, Verona 11 March 1843.
Marliani's most successful work; given in Paris
A French translation by L. Danglas was pllb-
112 times until 1866 (Iooth performance II July
lished in 1855.
1862).
In French also, Brussels 9 April 1847.
In German (translated by J. Franke), Vienna
r84°
17 August 1841. SALDONI: Cleonice, Regina di Siria
In ltalian (as Lazzarello, translated by A. Ber- 24 January. Madrid, T. de la Cruz
rettoni), Venice, S. Ben. 23 February 1842; Milan
Librettist unknown (not even the composer
28 July 1842; Lisbon 5 May 1852.
himself in his Diecionario .•• de Musieos Espafioles
states whose text he used; probably it was a
SPERANZA: I due Figaro ossia reduced version ofMetastasio' sDemetrio ).Twoacts.
11 Soggetto d'una Commedia Barcelona 29 September 1841.
300etober. Turin, T. Carignano
Text by F. Romani (first set to music by Carafa in DONIZETTI: La Fille du Regiment*
1820). Two acts. 11 February. Paris, O.c.
Speranza's most popular work; given all over
Text by J. H. Vernoy de Saint-Georges andJ. F.
Italy and Lisbon 1841; Cagliari, Sardinia Autumn
A. Bayard. Two acts.
1841; Barcelona 14 February 1844; Odessa 23
Donizetti's first French opera and one of his
April 1844.
most popular works; equally successful in France,
Italy and other countries. The 600th performance
VERDI: überto, Conte di at the O.C. was on 29 September 1875; given
S. Bonifacio* there abollt 1,000 times until 1916.
17 November. Milan, Sc. Outside France:
Text: according to Verdi's own account the lib- COPENHAGEN 6 October 1840 (in Danish, trans-

retto had been given to him by one "Masini" lated by T. Overskou).

(recte Pietro Massini),conductor of a musical ama- MILAN 30 October 1840 (in Italian), translated by

teur society at Milan. The text, however, was not C. Bassi)l

written by Massini, but by a Milan journalist, 1 Another contemporary Italian version was by A.
Antoni6 Piazza; it was, in 1839, revised and al- Passaro.
 ANNALS OF OPERA

GENEVA Auturnn 1840 (in French). Vivandiere; or, The Daughter of the Regiment, was
LIEGE I I April 1841; Brussels 9 July 1841 (in produced at the Princess's 26 June 1848.
French). DUBLIN 14 October 1848 (in Italian).
VIENNA I I May 1841 (in Italian) and 23 Septem- HELSINKI I July 1849 (in German) and 14 March
ber 1843 (in German). 1876 (in Finnish, translated by A. Törneroos
CAGLIARI, SARDINIA Summer 1841 (in Italian). and K. Bergbom).
MALTA 1841 (in Italian). SYDNEY 1851 (in English).
LISBON 6 October 1841 (in Italian) and 19 May ZAGREBJanuary 1852 (in Italian) and II December
1878 (in French). 1901 (in Croatian, translated by F. Miler).
STUTTGART 21 November 1841 (in German, trans- BUENOS AIRES 12 March 1852 (in Freneh) and 20
lated by C. Gollmick). April 1854 (in Italian).
CHRISTlANIA 15 Deeember 1841 (in Danish). MEXICO II October 1852 (in Italian).
MA'DRID 31 January 1842 (in Italian);July 1859 (in SAN FRANCISCO April 1854 (in English).
French) and II September 1860 (in Spanish, BOGOTA, COLOMBIA 1858 (in Spanish).
translated by E. Alvarez as La Hija deI Regi- BADEN-BADEN 29 August 1862 (in French).
miento); an earlier Spanish version, by Jose SOERABAYA 19 Deccmber 1864 (in French).
Sanchez y Albarran, La Cantinera de los Alpes, CALCUTTA 1867 (in Italian).
music adaptcd by Ventura Sanchez Lamadrid, CAIRO 1870 (in Italian).
was produced at Cadiz [8 July] 1858. LJUBLJANA 1878 (in Slovenian).
BERLIN, O. 29 July 1842 (in German) and KGST. BRISTOL 13 October 1890 (new English version
28 December 1842 (in Italian). by O. Weil).
RIGA Autumn 1842 (in German). SHANGHAI 1898 (according to Gazzetta Musicale
PRAGUE 7 December 1842 (in German) and 29 di Mi/ano).
October 1843 (in Czech, translated by J. Pe- TALLINN 1915 (in Estonian).
circa). QUEBEC January 1931 (in French).
NEW ORLEANS 7 March 1843 (in French).
BUDAPEST 6 May 1843 (in German) and 14 March
NICOLAI: Il Templario
1844 (in Hungarian, translated by B. Egrcssy).
NEW YORK 19 July 1843 (in French); 5 June 1844 11 February. Turin, T.R.
(in English); and 15 May 1855 (in German). Text by G. M. Marini (founded on Scott's
BASLE 25 Oetober 1843 (in German). Ivanhoe). Three acts.
ODESSA Spring 1844 (in Italian). The most successful ofNicolai's Italian operas;
STOCKHOLM 9 June 1845 (in Swedish, translated given at Naples, S.c. 1840 and Auturnn 1843 as
by N. E. W. afWetterstedt). Teodosia ossia Il Tel11plario. Last revived in Italy,
BUCHAREST Carnival 1846 (in Italian). Leghorn 13 February 1879.
WARSAW 9 May 1846 (in Polish, translated by J. In Italian also, Trieste 19 September 1840;
JasiIiski). Vienna 31 May 1841; Barcelona 8 June 1841 (and
ST. PETERSBURG Carnival 1847 (in Italian) and in many other Spanish towns); Mexico 15 April
1855 (in Russian). 1842; Lisbon 18 May 1842; Cagliari, Sardinia
LONDON, H.M.'S 27 May 1847 (in Italian); Surrey Carnival 1843; Budapest July 1843; Palma, Ma-
21 December 1847 (in English, translated by llorca August 1844; Berlin, Kgst. 15 September
E. Fitzball) ; and O.c. 4 May 1872 (in French). 1844; St. PetersburgJanuary 1846; Copenhagen
An earlier adaptation by Fitzball, Madclaille; Spring 1846; BucharestI847; Malta1849; Buenos
or, Thc Daughtcr ofthc Regiment, had been given Aircs 25 September 1851; Nice February 1854;
at D.L. on 30 November 1843 as a play with Paris, Th.!. 28 January 1868; (and, according to
incidental musie. Another English version, La G. R. Kruse, also at Constantinople and New

805 806
 ANNALS OF OPERA

York; as far as New York is concemed, that In German (translated by C. A. 1. von Lichten-
statement is not correct). stein), Hamburg I February 1841; (as Die Römer
In German (translated by S. Kapper), Vienna in Melitone, Lichtenstein's version, altered by J.
20 December 1845. Kupelwieser) Vienna, Jos. 15June 1841 and Kä.
In French (translated by L. Danglas), Antwerp 13 October 1841; Budapest I I September 1841;
1-April 1861; Brussels 28 March 1862; Bordeaux Prague 16 October 1841; Graz 19 February 1842.
April 1864. In Italian (as I Martiri, re-translated byC.Bassi),
In Hungarian (translated by F. Ney) , Bu- Lisbon 15 February 1843; Madrid 20 February
dapest 30 June 1842. 1845; Barcelona 15 December 1849; London,
c.G. 20 April 1852.
MERCADANTE: La Vestale* In Italy the opera was performed only after
Donizetti's death, mostly in its original3-act form
10 March. Naples, S.C. as Poliuto: Naples, S.C. 30 November 1848;
Text by S. Cammarano. Three acts. Rome 26 December 1849 (as Paolina e Severo), etc.
Very successful in Italy; given at Rome Au- Poliuto, in Italian, was also given at Malta 1849;
turnn 1842 as Emilia. The latest revivals were at Boston 16 December 1849 (in concert form);
Milan, T.d.V. 18 April 1877; Siena 26 December Vienna 10 March 1853 (as Paolina e Poliuto);
1880; Altamura (Mercadante's native town) 17 Bucharest 1853; Rio de Janeiro 1853; Buenos
September 1895 and subsequently at Naples. Aires 8 March 1854; St. Petersburg December
In Italian also given at Barcelona 8 May 1841; 1854; Madrid 19 December 1854; Warsaw Au-
Malta 1841; Paris 23 December 1841; Vienna gust 1857; Mexico Octoberl858; Paris, Th.I. 14
2 April 1842; Lisbon 29 July 1842; Corfu and April 1859; New York 25 May 1859; Lisbon
Cagliari Auturnn 1842; Berlin, Kgst. 16 Novem- 17 October 1860; Sydney September 1873; Ber-
ber 1844; Bucharest 1847; Rio de Janeiro June lin, Skating Rink 8 April 1882; Santiago, Chile
1849; Agram January 1852; Havana 1855; 1883; Alexandria I August 1895.
Buenos Aires 1 September 1855; Mexico Decem- Revived in French, Paris, Chateau d'Eau 5June
ber 1855; Smyma 1867;'Santiago, . Chile 1868. 1884; in Italian, Bergamo 16 November 1907 (at
French vocal score (translated by 1. E. Crevel the inauguration of the T. Rubini); Malta 1926.
de Charlemagne) published.
CLAPISSON: La Perruche
28 April. Paris, O.c.
DONIZETTI: Les Martyrs*
Text by J. H. Dupin and P. F. Pinel Dumanoir.
10 April. Paris, O. One act.
Text by A. E. Scribe (founded on Comeille's Clapisson' s first greater success.
Polyeucte). Four acts. In French also, Brussels 3 September 1841;
The opera had originally been composed to an Antwerp 11 November 1841, etc.; New York
Italian libretto by S. Cammarano, Poliuto (3 acts). 24 May 1843; Philadelphia 17 Oetober 1843.
Written for the French singer, Adolphe Nourrit, Revived Paris, O.c. 23 April 1852 and 4 De-
and to be produced at N aples, but not passed there cember 1860; Galerie Vivienne 15 October 1896.
by the censor. In German (as Der Papagei), Vienna 13 Feb-
Not a great success in Paris (20 performances); ruary 1843.
but given in many other countries all the same.
In French also, Amsterdam 1840; Hague March AU B ER: Zanetta OU ] ouer avec le Feu
1841; Ghent 14 March 1843; Brussels 7 Decem- 18 May. Paris,O.C.
ber 1843; New Orleans 24 March 1846; Buenos Text by A. E. Scribe andJ. H. Vemoy de Saint-
Aires 21 April 1854. Georges. Three acts.

807 808
 ANNALS OF OPERA

In French also, Amsterdam 1840; Brussels 20 Verdi's second opera and, except for Falstaff
December 1845; London, St. J.'s 12 February (1893), the only comic opera he ever wrote.
1 849. Given at tl~e Scala o~ly once. Revived as Ilfinto
In German (translated by I. F. CasteIli), Prague Stanislao, Veniee, S. Ben. I I October 1845;
27 August 1841. Rome, VaIIe 9 February 1846; Na pIes, T.N. I I
In Danish (translated by T. Overskou), Copen- June 1859.
hagen 13 September 1841.
PENTENRIEDER: Die Nacht
LORTZING: Hans Sachs* zu Paluzzi
23 June. Leipzig.
2 October. Munich
Text by the composer and P. Reger (founded on
Text by J. von Forst. Three acts.
a play by J. L. F. Deinhardstein). Three acts.
Fairly successful in Germany: Leipzig 31 De-
Berlin 5 August 1841; Prague 8 October 1842,
cember 1840; Brunswick 16 September 1841, etc.
etc. Revived Mannheim 30 March 1883; Berlin
In German also, Budapest 3I July 1841.
18 November 1889 (in concert form); Hamburg
21 November 1889; Strasbourg 23 October 1901.
Lately revived in two modern adaptations: COPPOLA: Giovanna Prima, Regina
Stuttgart 5 May 1934 (libretto revised by O. di Napoli
Kühn, music arranged by H. Rücklos); Rostock 11 OctC'ber. Lisbon, S.c.
23 October 1934 and Berlin, D.O. 4 March 1936 Text by F. Romani (altered version of Lucrezia
(new libretto by P. HenseI-Haerdrich, founded Borgia, see 1833). Prologue and 2 acts.
on A. von Kotzcbuc's comcdy, Die dwtschen Successful at Lisbon, where Coppola had been
Kleinstädter, under the tide, Die kleille Stadt). appointed court conductor in 1839. Also given
Lortzing's HallS Sachs is intercsting as a fore- at Turin January 1844 and revived at Lisbon 3
runner of the Meistersinger. For a comparison of February 1866.
the two librettos see H. Laue, Die Opemdichtullg
Lortzillgs, p.102, e1;C. Some years earlier yet PACINI: Saffo*
another German composer, Gyrowetz, had
treated the same subject. His Hans Sachs was nevcr 29 NOl'el1lbcr. Naples, S.c.
acted, but parts of it were heard at concerts in Text by S. Cammarano. Three parts.
Vienna 26 December 1836 and again 26 Decem- Pacini's chief work. Very successful in Italy;
ber 1837. The librettist of Gyrowetz's opera is some of the latest revivals were at Parma 28 Sep-
unknown; the music was recovered in 1903 (see tember 1889; Rome 8 March 1900; Milan, Sc.
K. Mey, in Die Musik, May 1903). 29 January 191 I; Catania July 1939.
In Italian also given at:
ERKEL: Bathory Maria PARIS 15 March 1842.
VIENNA 2 June 1842.
8 August. Budapest
MALTA 1842.
Text by B. Egressy. Two acts.
MADRID 9 August 1842.
The first opera of the famous Hungarian com-
LISBON 23 March 1843.
poser. Given at Clausenburg on25 April 1846, etc.
CORFU Autumn 1843.
ODESSA Summer 1844.
VERDI: Ull Giomo di Regno* COPENHAGEN 3 November 1844.
5 Septelllber. Milan, Sc. BERLIN, KGST. 22 March 1845.
Text by F. Romani (first set to music by Gyro- CONSTANTINOPLE November 1845.
wetz, see 1818). Two acts. HAVANA 1846.

810
 ANNALS OF OPERA

BOSTON May 1847. BUDAPEST 12 March 1842 (in German, translated

NEWYORK 14June 1847. f
by Kupelwieser, as Die Templer in Sidon) and
BUENOS AIRES 15 September 1854. 3 April 1869 (in Hungarian, translated by G.
ST. PETERSBURG December 1854. Böhm).
MEXICO December 1857. ST. PETERSBURG Autumn 1842 (in Russian) and
W ARSAW December 1869. Carnival 1846 (in Italian).
SYDNEY 1871. BERLIN, KGST. 15 Oetober 1842 (in Italian) and O.
BUCHAREST 1871. 25 August 1852 (in German).
In English (translated by T. J. Serle, music LISBON II Deeember 1842 (in Italian).
adapted by J. L. Hatton), London, D.L. I April GENEVA Deeember 1842 (in French).

1843· NEW ORLEANS 9 February 1843 (in Freneh).

Spanish translation by Pio del Castillo pub- MILAN, SC. 16 August 1843 (in Italian).
lished Barcelona 1863. MADRID 26 August 1843 (in Italian).

LONDON, D.L. 18 October 1843 (in English, trans-

DONIZETTI: La Favorite* lated by E. Fitzball) ; C.G. 9 June 1845 (in

Freneh); H.M.'s 16 February 1847 (in Italian);
2 December. Paris, O. last revived at c.G. on 13 May 1896.
Text by A. Royer, G. Vaez (and A. E. Scribe). CAGLIARI, SARDINIA Autumn 1844 (in Italian).
Four acts. NEW YORK 25 June 1845 (in French); 40etober
(The opera originally was in three acts and 1847 (in English); 21 Deeember 1855 (in
called L' Ange de Niside and had been written for Italian).
the Th. de la Renaissance.) Richard Wagner ar- RIO DE JANEIRO Autumn 1846 (in Frcneh) and
ranged the vocal score. Given at the Paris Opera 1852 (in Italian).
more than 650 times until 1904; revived at the BUCHAREST 1847 (in Italian).
Th. Porte St. Martin 28 May 1934. Still on the ALGIERS Spring 1847 (in Freneh).
·boards in Franee and Italy. HAVANA 1849 (in Italian).
Outside Paris, given at: STOCKHOLM 9 Mareh 1850 (in Swedish, translated
LIEGE 26 Mareh 1841; Brussels 13 August 1841, by A. F. Lindblad).
etc. (in Freneh). BASLE 15 Mareh 1850 (in German).
HAGUE 20 April 1841 (in Freneh). WILNA 6 January 1851 (in Polish, translated by J.
CASSEL 3 I May 1841 (in German, translated by Checinski).
R. o. Spazier); Frankfort 27 September 1841, MALTA 1851 (in Italian).
ete. BRÜNN 17 November 1851 (in German).
VIENNA 26 Deeember 1841 (in German, as Richard MEXICO 25 May 1852 (in Italian).
utld Mathilde; given there as Leonore 4 Oetober BUENOS AIRES 22 July 1852 (in French) and 19 Oc-
1853; and II May 1864 (in Italian). tober 1855 (in Italian).
PADUA June 1842 (for the first time in Italian, DUBLIN 20 September 1856 (in Italian).
translated by F. Jannetti, as Leonora di Guzman; MELBOURNE 1858 (in English).
as La Favorita, translated by C. Bassi, Milan, Se. SOERABAYA 2 Januar)' 1865 (in French).
16 August 1843). Given at Veniee 1847 as La VALPARAISO 1865 (in Italian).
Favorita with fljfferent charaeters, Louis VII of CAIRO November 1870 (in Italian).
France being substituted for Alfonso XI of Cas- ZAGREB 4 December 1875 (in Croatian, translated
tile and Elda (a Greek girl) for Leonora di Guz- by I. Trnski).
man. In Italy also given as Daila (Rome 29 Sep- PRAGUE 6 December 1889 (in Czeeh, transIated by
tember 1860, text altered by G. Ceneetti) and V.J. Novotny).
as Riccardo e Matilda. CAPE TOWN 1895 (in Italian).

8II 812
 ANNALS OF OPERA

HELSINKI23 September 1896 (in Italian). AU B ER: Les Diamants de

LJUBLJANA 1902 (in Slovenian). la Couronne
6 March. Paris, O.C.
PONIATOWSKY: Don Desiderio Text by A. E. Scribe andJ. H. Vemoy de Saint-
26 December. Pisa Georges. Three acts.
Text by C. Zaccagnini (founded on a comedy by Given at the O.C. 379 times until 1889; revived
G. Giraud); sub-title: 11 Disperato per Eccesso di Marseilles 20 March 1896.
buon Cuore. Two acts. Outside France, given at:
Subsequently given at Venice 29 March 1841; BRUSSELS 25 November 1841 (in French).
Florence 22 June 1841; Naples, T.N. Summer NEW ORLEANS 3I March 1842 (in French).
1844, etc. MUNICH 15 Ju!y 1842 (in German, translated by
In Italian also, Paris 16 March 1858. V. A. Swoboda).
In Polish, Lemberg 12 February 1878. PRAGUE 13 August 1842 (in German) and 4 De-
cember 1865 (in Czech, translated by B. PeSka).
HOVEN:Johanna d'Arc HAMBURG 29 October 1842 (in German).
RIGA 1843 (in German).
30 Deccmber. Vienna, Kä.
AMSTERDAM 1843 (in Frellch).
Text by O. Prechtler (founded on Schiller's Die
BERLIN, O. I I February 1843 (in German) and
Jungfrau VOll Orleans). Five acts.
Vict. Th. 30 May 1862 (in French).
The most successful ofHoven's operas. Dresden
COPENHAGEN 17 February 1843 (in Danish, trans-
16 February 1845, etc.
lated by T. Overskou).
NEW YORK 14 July 1843 (in French).
LONDON, PRINCESS' S 2 May 1844 (in English, trans-
18 4 1
lated by T. H. Reynoldson); c.G. I I June 1845
HALEVY: Le Guitarrero (in French); D.L. 16 April 1846 (new English
version by E. Fitzball, additional music by H. B.
21 January. Paris,O.C.
Richards andJ. H. Tully); C.G. 3 July 1873 (in
Text by A. E. Scribe. Three acts. Italian, translated by G. Zaffira, recitatives by
In French also, Brussels 21 December 1841; A. Vianesi).
Hague August 1842, etc.
STOCKHOLM 17 September 1845 (in Swedish,
In German (translated by J. C. Grünbaum),
translated by N. E. W. afWetterstedt).
Casscl 29 September 1841; Berlin 15 October
RIO DE JANEIRO September 1846 (in French).
1841.
LEMBERG 1848 (in German).
In Italian, Malta 1890.
VIENNA 25 January 1849 (in German; revived 18
December 1884).
DONIZETTI: Adelia, ossia La Figlia BUENOS AIRES II April 1852 (in French).
deU' Arciere BOSTON 1854 (in English, FitzbaIl's version).
11 Febrttary. Rome, Valle SAN FRANCISCO 1854 (in English, Fitzball's ver-
Text by F. Romani (first set to music by Coccia in sion).
1834) and G. M. Marin! (who added a ncw third TURIN 3 April 1858 (in French).
act for Donizetti). Thrce acts. SYDNEY August 1863 (in English, thc D.L. ver-
Outside Italy, given at Lisbon 28 March 1842; sion).
Malta 1842; Madrid 23 September 1842; London tlARCELONA 20 October 1866 (in French).
I I March 1843. ST. PETERSBURG 15 January 1876 (in Italian).

81 3 814
 ANNALS OF OPERA
LISBON 26 April 1878 (in French). ESLAVA: 11 Solitario del Monte
NAPLES, TH. BELLINI 3.0 April 1879 (in Italian, Selvaggio
trallslated by M. M. Mareello, reeitatives by
E. Gelli). lune. Cadiz
MEXICO 8 May 1879 (in Freneh). Text probably an Italian version, by C. Bassi, of
BUDAPEST 1880 (in Hungarian, translated by K. Planard's Solitaire (see 1822), originally ealled 11
Abranyi). Solitario and first set by Persiani (Milan 20
MALTA 1890 (in Italian). April 1829). Three acts.
BARCELONA 22 August 1891 (Zarzuela buffa, 2 aets, The first of Eslava's (Italian) operas. Madrid
EI Collar de Perlas, text by Jose Mana Nogues 7 Deeember 1841.
and Rieardo Revenga, musie adapted by To-
mas Fcrnandez Grijal). KASTNER: La Maschera
17 lUlle. Paris,O.C.
BALFE: Keolanthe; or, The Text by J. de Wailly and A. J. F. Arnould. Two
UnearthIy Bride aets.
9 March. London, Ly. The most sueeessful opera ofKastner, who was
Text by E. Fitzball. Two aets. a theoretieian and writer on musie of eonsiderable
In English also, Melbourne May 1855. importanee.
In German( as Keolanthe, oder: Das Traumbild,
translated by C. Gollmiek), Vienna 3 Deeember B. BA S I L J : EI Contrabandista
1853 (enlarged 3-aet version, with seven addi- (The Smuggler)
tional numbers).
20 lune. Madrid, T. de la Cruz.
(Spanish) text by T. Roddguez y Diaz RubL
NICOLAI: 11 Proscritto Three aets.
13 March. Milan, Sc. Ras been ca lied, if not quite eorreetly, the first
Text by G. Rossi (originally written for Verdi). Spanish opera of the 19th eentury.
Three aets.
Nieolai's last Italian opera; given at Milan for F. RICCI: Corrado d'AItamura
one night only.
16 November. Milan, Sc.
In German (translated by S. Kapper), Vienna
3 February 1844; Berlin 19 November 1849. Text by G. Sacchero. Therc is an cdition of the
Revived Vicnna 9 Oetober 1857. libretto (Rome 1842) on the tide-page ofwhieh
the name of the authoris printed "Sauliero." Two
F. RICCI: Luigi Rolla e aets.
Micheiangelo Suceessful in Italy.
In Italian also, Vienna 21 April 1842; Barcelona
30 March. Florence, P.
20 May 1843; Paris 15 March 1844; London,
Tcxt by S. Cammarano. Thrce aets. H.M.'s 10 August 1844; Amsterdam Carnival
Suceess[ul in Italy; last revived Florenee 18 1845;. Copenhagen Deeember 1845; Lisbon 2
April 1876. February 1846; Boston September 1847; Santia-
In Italian also, Dresden 24 August 1843; Mad- go, Chile 1850; Malta 1851; Buenos Aires 12 May
rid 25 January 1845; Copenhagen November 1860.
1848; Warsaw August 1851; Lisbon 13 MaY1855; In German (translated by S. Schlesinger), Buda-
St. Petersburg 23 Deeember 1864. pest 27 August 1844.

815 816
 ANNALS OF OPERA

F. LACHNER: Catharina Cornaro, LORTZING: Casanova*

Königin von Cypern 3J Deeember. Leipzig
3 December. Munich Text by the composer (founded on a French
Text by A. Büssel (a Germ;m version of Saint- vaudeville, Casanova au Fort Saint-Andre, by c. V.
Georges's French libretto which he had sold to Varin, E. Arago and Desvergers). Three acts.
both Lachner and Halevy; the latter's setting was In German also, given at Riga December 1846.
produced in Paris three weeks later). Four acts. Revived Berlin 8 February 1888 (in concert
;Lachner's most important work. Successful on form); on the stage: Hamburg 4 December 1889;
German stages: Vienna 19 November 1842 (al- Leipzig 6 January 1900; Pyrmont 29 June 19°1;
tered); Berlin 15 October 1845, etc. In German Rostock 7 February 1904.
also, Brusscls 26 July 1846. A modern revival was at Wiesbaden 12 Sep-
Revived Mannheim 14 April 1878; Munich 4 tember 1925 (as Der Mazurka-Oberst oder Die
October 1891 and 5 May 1903. galante Festung, text revised by W. Jacoby, music
(For an English version of the libretto, see arranged by H. Spangen berg from Casanova and
Balfe's Daughter 0/ St. Mark, 1844.) other works by Lortzing).
18 42
HALEVY: La Reine de Chypre
AUßER: Le Duc d'Olonne
22 December. Paris, O.
Text by J. H. Vernoy de Saint-Georges. Five acts.
4 February. Paris,O.C.
Given at the Paris O. u8 times until 1878; Text by A. E. Scribe and X. B. Saintine. Three
looth performance 19 May 1854; last revival 6 acts.
August 1877; the vocal score was arranged by In French also, Brusscls 19 October 1842.
Richard Wagner. In German (translated by H. Börnstein), Berlin
In French also, Antwerp 2 February 1843; 13 November 1842; Prague 14 August 1843.
Brusscls 21 August 1844; New Orleans 25 March In Portuguese, Lisbon 26 February 1843.
1845; London, D.L. 7 July 1845; New York 10 In English (translated by T. H. Reynoldson),
September 1845; Buenos Aires 21 June 1854; London, Princess's Th. 14 April 1845.
Soerabaya 10 February 1865. In Norwegian (translated by A. Vibe), Chris-
In German (translated by J. C. Grünbaum), tiania 1847.
Leipzig 19 September 1842, etc.; Vienna 20 Feh- EU GEN (DUKE OF WÜRTTEMßERG):
ruary 1858.
Die Geisterbraut
In Italian, Florence 26 December 1842; revived
Parma 26 December 1882 (translat~d by A. Za- February. Breslau
22

nardini). Text by the composer (founded on the poem by

G. A. Bürger). Three acts.
DONIZETTI: Maria Padilla* Given at Breslau 26 timcs during the first sea-
26 Deeember. Milan, Sc. son. Revived Stuttgart 26 December 1880.
Thevocal score had been published already in
Text by G. Rossi (founded on a play by F. Ance-
1838.
lot). Three acts.
In Italian also, Lisbon 26 December 1845; VERDI: Nabucodonosor*
Malta 1846; Barcelona 15 August 1846; Vienna 9 March. Milan, Sc.
18 May 1847. Text by T. Solera (first offered to and refused by
In French (translated by H. Lucas), Versailles Nicolai). Four acts.
March 1845; Nantes 7 February 1850; Marseilles Verdi' s first great success and the first of his
5 May 1854. operas which made the composer's name known

817 818
 ANNALS OF OPERA

in other countries. Repeated at the Scala in the Still given in Italy; some of the latest revivals
next season, 13 August, and given there 67 times were at Florenee 22 April 1933 (opening of the
until 4 December 1842. first Maggio Musieale Fiorentino) and at Milan,
Outside Italy, produeed at: Sc. 26 Deeember 1933; revived at Amsterdam
VIENNA 4 April 1843 (in Italian; first Verdi opera November 1936 (in Italian).
in Vienna; in German 22 January 1848). Revived in Germany (after a long period of
CAGLIARI, SARDlNIA Auturnn 1843 (in Italian). oblivion) Mannheim 28 Oetober 1928 (new
LlSBON 29 Oetober 1843 (in Italian). translation by L. Sehottlaender) and subsequently
BARCELONA 2 May 1844 (in Italian). on many other German stages. Berlin, Berliner
BERLIN, KGST. 21 September 1844 (in Italian). Th. 4 April 1935 (by the 'Jüdischer Kulturbund").
STUTTGART 27 September 1844 (for the first time Cassel 25 Deeember 1939 (new translation byJ.
in German, translated by H. Proeh). Kapp, in whieh the Hebrews beeame enslaved
CORFU 28 September 1844 (in Italian). Egyptians in 568 B.C., and Zaecharia beeame the
MALTA Auturnn 1844 (in Italian). High Priest ofMemphis).
MARSEILLES July 1845 (in Italian). NETZER: Mara
ALGIERS Summer 1845 (in Italian).
16 March. Vienna, Kä.
PARIS 16 Oetober 1845 (in Italian).
Text by O. Preehtler. Three aets.
HAMBURG 29 Oetober 1845 (in Germall).
Netzer's most sueecssful work. Prague 10 No-
COPENHAGEN Camival1846 (in Italian).
LONDON, H.M.'S 3 Mareh 1846 (in Italian, as Nino)
vember 1843; Berlin 23 July 1844, ete.
and c.G. 30 May 1850 (as Anato).
BUDAPEST 31 August 1846 (in German), 2 January
DONIZETTI: Linda di Chamounix*
1847 (in Hungarian, translated by B. Egressy) 19 May. Vienna, Kä.
and Oetober 1847 (in Italian). Text by G. Rossi. Three aets.
CONSTANTlNOPLE Autumn 1846 (in Italian). The first of the two Italian operas Donizetti
HAVANA 1847 (in ltalian). wrote for Vienna (first given there in German 28
BUCHAREST November 1847 (in ltalian; Ruma- March 1849).
nian translations published Jassy 1851 arid TURIN, T. CARIGNANO 24 August 1842 and all ovcr
Bueharest 1856). Italy.
NEW YORK 4 April 1848 (in ltalian). BUDAPEST 10 September 1842 (in German, trans-
BRUSSELS 29 November 1848 (in Freneh, trans- lated by H. Proch) and 1844 (in Hungarian,
Iated by F. Gravrand and J. Guilliaume). translated by B. Egressy).
GRAZ 8 January 1849 (in German). PARIS, TH.I. 17 November 1842 (in Italian).
PRAGUE 5 Mareh 1849 (in German) and 7 Decem- HAMBURG 10 Dceember 1842 (in German).
ber 1868 (in Czeeh, translated by B. Pdka). BERLIN, O. 18 December 1842 (in German) and
LEMBERG 1850 (in German). Kgst. 8 September 1845 (in Italian).
BUENOS AlRES 22 August 1850 (in Italian). LONDON, H.M.'S I June 1843 (in ltalian) and D.L.
ZURICH 1851 (in German). 12 January 1848 (in English, translated by M.
ST. PETERSBURG 27 Deeember 1851 (in Italian). D. Ryan).
MONTEVIDEO 1852 (in ltalian). SEVILLA November 1843 (in Italian); Madrid 9
RIO DE JANElRO 1856 (in Italian). December 1843, etc.
MEXICO Deeember 1856 (in Italian). BRUSSELS 1 February 1844 (in French, translated
RIGA October 1858 (in German). by H. Lucas).
GOTHENBURG 1865 (in German). AGRAM March 1844 (in German).
ZAGREB I Oetober 1878 (in Croatian, translated PRAGUE 23 April 1844 (in German) and 5 January
by J. E. Tomi':). 1865 (in Czceh, translated by F. Martinee).

819 820
 ANNALS OF OPERA

CAGLlARI, SARDINIA 15 November 1844 (in Italian). LJUBLJANA 1932 (in Slovenian).
COPENHAGEN Carnival 1845 (in Italian). NEW YORK, M. I March 1934 (in Italian).
MALTA Carnival 1845 (in Italian).
ST. PETERSBURG February 1845 (in Italian) and ro ADAM: Le Roi d'Yvetot
March r861 (in Russian).
13 October. Paris, O.c.
CLAUSENBURG 29 March r845 (in Hungarian,
Text by A. de Leuven and 1. 1. Brunswick
translated by B. Egressy).
(founded on a poem by Beranger). Three acts.
CORFU Autumn r845 (in Italian).
In French also, Brussels 10 April 1843; London,
LISBON r9 October 1845 (in Italian).
St. J.'s I I February 1850; revived Paris, Th.L.
ZANTE November 1845 (in Italian).
5 January 1853.
BUCHAREST Carnival 1846 (in Italian) and 18 May
In German (translated by J. Franke), Leipzig
1885 (in Rumanian).
25 March 1843; Berlin 23 June 1844, etc.
NEW YORK 4 January 1847 (in Italian) and 4 Au-
gust 1847 (in English; Ann Bishop's American
debut).
R. WAGNER: Cola Rienzi, der Letzte
DUBLlN 28 April 1847 (in English) and 2r Feh- der Yribunen*
ruary r850 (in Italian). 20 Oetober. Dresden
HAVANA 1847 (in Italian). Text by the composer (founded on Bulwer
WARSAW II July r847 (in Polish, translated by J. Lytton's novel). Five acts.
Jasmski). In the same year as Verdi, Wagner had his first
BASLE IO November r847 (in German). greater success. Most stages, however, produced
STOCKHOLM r849 (in Italian; Swedish translation Rienzi only after Holländer, Tannhäuser, or even
in libretto by N. E. W. af Wetterstedt) and 21 Lohengrin, and so me other stages never at all.
April 1855 (in Swedish, translated by C. W. A. Given at Dresden sometimes in two parts and
Strandberg). on two subsequent nights (as Ricnzis Grösse and
BUENOS AIRES 4 October r849 (in Italian). Rienzis Fall, first on 23 and 24 January 1843).
RIGA r85I (in German). The 100th performance at Dresden was on 18
MEXICO 1852 (in Italian). December 1873, the 200th on 30 August 1908.
MONTEVIDEO 1852 (in Italian). After Dresden, given at Hamburg 21 March
CONSTANTINOPLE Camival 1854 (in Italian). 1844; Königsberg 1845; Berlin 26 October 1847,
SANTIAGO, CHILE r854 (in Italian). etc. At Berlin, given 155 times up to 1935 (revived
MARSEILLES 17 Decembcr 1855, Lilie 28 February I I March 1933).
r856, Lyons 6 April 1858 (in French). Outside Germany:
HELSINKI 30 July 1857 (in German) and 21 No- PRAGUE 24 October 1859 (in German).
vember r878 (in Finnish, translated by P. Ca- STOCKHOLM 5 June 1865 (in Swcdish, translated
jander). by F. Arlberg).
MELBOURNE 1861 (in English). GRAZ r3 November r865 (in German).
CALCUTTA 1867-68. ROTTERDAM 13 January 1868 (in German).
ATHENS 1874 (in Italian). PARIS, TH.L. 6 April 1869 (in French, translated by
BATAVIA 1892 (in Italian). C. Nuitter and J. Guilliaume).
Still given in Italy (Milan, Sc. 9 December VIENNA 30 May 1871 (in German).
1939); outside Italy, some of the more recent GHENT 22 March 1872 (in French).
revivals were at: ANTWERP 27 March 1873 (in French).
BERLIN, TH. D. W. 4 October 1899 (in German). VENICE 15 March 1874 (in Italian, translated by
ST. PETERSßURG February 1906 (in Italian). A. Boito); Bologna 14 November 1876; Rome
MONTE CARLO 21 March 191 I (in Itahan). 3 October 1880, etc.

821 822
 ANNALS OF OPERA 1842
BUDAPEST November 1874 (in Hungarian, trans- given there in ltalian (translated by V. Narducci)
lated by G. Böhm); revived March 1936. 20 January i899.
MADRID 5 February 1876 (in Italian; first Wagner Outside Russia produced at:
opera in Spain). PRACUE 16 February 1867 (in Czech, translated
RIGA 9 February 1878 (in German). by J. J. Kolir; revived 20 June 1886).
NEW YORK 4 March 1878 (in German); Phila- 11FLIS February 1881 (in Russian).
delphia 20 March 1878, etc. LJUBLJANA 3 November 1906 (in.Slovenian).
LONDON, H.M.'S 27 January 1879 (in English, HELSINKI 2 April 1907 (in Russian).
translated by J. P. Jackson); revived Lyric 27 PARIS, clLhELET 4 June 1909 (the first act only);
August 1909. CH. E. 24 May 1930, (the whole work, in Rus-
ST. PETERSBURG 3 November 1879 (in Russian, sian).
translated by G. A. Lishin); revived 7 Novem- SAN SEBASTIAN Oetober 1930 (in Russian).
ber 1923. LONDC)N, LY. 4 June 1931 (in Russian).
ZURICH 22 December 1880 (in German). RIGA 3 September 193 I (in Lettish).
ZAGREB 15 January 1901 (in Croatian, translated Still given in U.S.S.R.; produeed at Baku
by F. Miler). Spring 1937 (in Azerbaidzhan).
REVAL 1902 (in German). Ruslan i Lyudmila was the first opera founded
Catalan version by X. Viura and J. Pena pub- on oneoftheworks ofA. S. pushkin (1799-1837),
lished 1906. the great aniinating spirit of Russian musie in the
19th eentury. A list of operas taken from his
plays and poems will be found in Pamy A. S.
DIETSCH: Le Vaisseau-Fant8me
Pushkina (1900), pp. 124-131.
9 November. Paris, O.
Text by P. H. Fouchcr and B. H. Revoil (founded
on the scenario of Der fliegende Holländer which PA eIN I: La Fidanzata Corsa
Wagner had been forced to seil for 500 francs). 10 December. Naples, S.C.
Two acts. Text by S. Cammarano (founded 011 Merimee's
Dietsch's opera was a failure and givcn for I I Colomba). Three acts.
nights only (see G. Servieres, in his Episodes In ltalian also givel:. at Paris 17 November
d'Histoire Musical~, 1914). 1846; Lisbon 12 March 1848; Barcelona 18 Au-
Incidcntally, thc composer of Le Vaisseau- gust 1848; Rio de Janeiro 1850; Buenos Aires 17
Fant8me was to conduct Tannhäuser in Paris 19 February 1854.
years la ter.

L 0 R T Z I N G:Der Wildschütz oder

GLINKA: Ruslan i Lyudmila Die Stimme der Natur*
PyCJIaH'b H JIIO~MHJIa* 31 Decemher. Leipzig
9 December. St. Petersburg Text by the composer (founded on a play by A.
Text after Pushkin, partly drafted by K. A. Bakh- von Kotzebue Der Rehbock). Thrce aets.
turin, mainly by V. F. Shirkof, with additions by Very popular in Germany: Vienna, Jos. 18
N. Kukolnik, M. A. Gedeonov, one Markevitch August 1843 (Kä. only 21 January 186o); Bcrlin
and Glinka himself. Five acts. 24 Oetober 1843; Prague 3 February 1844; Graz
Glinka's second and last opera, equally impor- 3 May 1845; BasIc 18 Fcbruary 1846, ete.
tant if not quite as popular as A Lift for the Czar. In Gcrman also, Helsinki 30 Junc 1850; Mil-
(see 1836). Full score not published until 1878. waukee 1853; Ghcnt 18 April 1855 ; New York
First produced at Moscow in 1847. 300th per- 25 March 1859; Rotterdam Auturnn 1861; Phila-
formance at St. Petersburg 6 December 1893; delphia21January 1863 ; London,D.L. 3JulY1895.
823 82 4
1842-43 ANNALS OF OPERA

In Swedish (translated by G. L. Silverstolpe), STOCKHOLM 24 January 1872 (in Swedish, trans-

Stockholm 31 October 1849. lated by F. Arlberg).
In Czech (translated by E. Züngel), Prague BRUSSELS 6 April 1872 (in French, translated by
1882. C. Nuitter).
In Hungarian (translated by E. Abranyi), Buda- BUDAPEST 10 May 1873 (in Hungarian, translated
pest 10 February 1894. by K. Abranyi).
In Croatian (translated by M. Pogacic), Zagreb PHILADELPHIA 8 November 1876 (for the first
26 September 1899. time in America, in Italian).
In Flemish, Antwerp 9 November 1907.
NEW YORK 26 January 1877 (in English); 12 March
In English (translated by A. Houghton), Brook-
1877 (in German); and 31 March 1892 (in
Iyn, Little Th. 9 November 193 I and New York,
Italian).
Heckseher Th. 16 November 1931.
EDINBURGH February 1877 (in English).
DUBLIN 9 August 1877 (in Italian).
BOLOGNA 20 November 1877 (for the first time

18 43 in Italy, as 11 Vascello Fantasma, translated by

A. Giovannini); Turin 2 November 1886;
WAGNER: Der fliegende Holländer Rome, Ap. 3 April 1887; Florenee 23 May
2 January. Dresden 1887, etc.
NEW ORLEANS 29 November 1877 (in Freneh).
Text by the composer (founded on an episode in
GHENT 20 Deeember 1880 (in German).
Heine's Memoiren des Herrn von Schnabelewopski).
Three acts. COPENHAGEN 7 September 1884 (in Danish, trans-

Given at Dresden in 1843 four times ooIy and lated by A. Zinek).

not revived there until 1865; looth performance BARCELONA 12 Deeember 1885 (in Italian); Cata-

13 March 1884, 200th 2 January 1899, 300th 13 lan version by X. Viura and A. Ribera publish-
February 1910. ed 1904.
The next productions were at: BUENOS AIRES 9 August 1887 (in Italian).

RIGA 3 June 1843 (in German, under H. Dorn); MEXICO 3 April 1891 (in English).

in Lettish much later, see below. REVAL (TALLINN) 9 December 1892 (in German)

CASSEL 5 June 1843 (under Spohr). and 1925 (in Estonian, translated by H Kom-
BERLIN 7 January 1844 (500th performance 18 pus).
October 1936). LILIE 28 January 1893 (in French, for the first time

ZURICH 25 April 1852 (BasIe only 29 November in France); Rouen 12 February 1896, etc.,
1877). Lyons as late as 25 March 1909.
PRAGUE 7 September 1856 (Brünn only 2 Decem- LISBON March 1893 (in Italian).

ber 1871); in Czech much later, see below. GENEVA 27 December 1893 (in French).

VIENNA 2 November 1860. MOSCOW 18 February 1894 (in Italian) and 2 De-
ROTTERDAM 30 October 1869. cember 1902 (in Russian).
LONDON, D.L. 23 July 1870 (in Italian, as L'Olan- ANTWERP 30 January 1895 (in Flemish).
dese da/mato, translated by S. de Castrone, Mar- MONTREAL 3 April 1895 (i.n English; eoneert per-
chese dclla Rajata; the printed English version formance).
in the libretto by L. H. F. du Terreaux). First ZAGREB 28 March 1896 (in Croatian, trans]ated by
Wagner opera ever produced in London (con- F. Miler).
ductor: Arditi); Ly. 3 October 1876 (in Eng- MADRID 27 Oetober 1896 (in ltalian).
lish, translated by J. P. Jackson); D.L. 20 May PARIS, o.c. 17 May 1897 (in French); tra.."1sferred
1882 (in German). to the 0.27 December 1937.
GRAZ 29 Jul Y 1870. ST. PETFRSBURG 7 March 1898 (in German).

825 826
 ANNALS OF OPERA

LJUBLJANA 27 January 1900 (in Slovenian, trans- Outside Paris given at:
lated by A. Stritov). MILAN, SC. 17 April 1843, Turin, T. d'Angennes
HELSINKI 26 May 1900 (in German) and 2 Decem- in the same stagione, Naples, T.N. Summer
ber 1924 (in Finnish, translated by T. Muröma). 1843 and all over Italy.
CHRISTIANIA (OSLO) 9 May 19QI (in Norwegian). VIENNA 14 May 1843 (in Italian) and 4 October
LEMBERG 7 February 1902 (in Polish, translated by 1879 (in German).
T. Mianowski). LONDON, H.M.'S 29 June 1843 (in Italian) and
PRAGUE 17 December 1907 (in Czech, translated Princess's 23 October 1843 (in English, trans-
by V. J. Novotny). lated by T. H. Reynoldson).
RIGA September 1918 (in Lettish, translated by R. BRUSSELS Il August 1843 (in French, translated
Egle). by A. Royer and G. Vaez);
BUCHAREST 2 October 1922 (in Rumanian). LILLE 9 November 1843 (in French).
BELGRADE 6 November 1923 (in Serbian). CORFU 2 December 1843 (in Italian).
SOFIA 10 February 1930 (in Bulgarian, translated ST. PETERSBURG 1844 (in Italian).
by V. Bobchevsky). HANOVER 28 May 1844 (in German, translated by
Wagner was not the first to writc a Flying H. Proch).
Dutchman opera. Apart from Dietsch's Le Vais- DUBLIN 12 September 1844 (in Italian).
seau-Fant8me (see 1842), there was an English COPENHAGEN Carnival 1845 (in Italian).
melodrama The Flying Dutchmall; or, The Phan- MADRID 4January 1845 (in Italian) and [21 May]
tom Ship, textby E. Fitzball, music by G. Rodwell, 1863 (in Spanish, translated by M. Pastorfido).
performed at the Adelphi Th., London 1 January BRÜNN 7 February 1845 (in German).
1827 and in Ncw York 9 April 1827. On its BERLIN, KGST. 24 February 1845 (in Italian); O.
possible connection with Wagner's opera, see the 19 April 1852 (in German); Vict. Th. 4 April
study by W. A. Ellis in The Meister, February 1886 (in French).
1892. LISBON 30 November 1845 (in ltaIian).
NEW YORK 9 March 1846 (in English) and 29
DONIZETTI: Don Pasquale* November 1849 (in Italian).
JJanuary. Paris, Th.I. CLAUSENBURG 20 March 1846 and Budapest 1
Text founded on Anelli's Scr Marc'Antonio (see October 1846 (in Hungarian, translated by B.
1810), re-written by Donizetti hirnself and "Mi- Egressy).
chele Accursi", pseudonym ofG. Ruffini, who is WARSAW 20 August 1846 (in Polish, translated by
mentioned in later editions of the vocal score). J. Jasillski).
Three acts. MALTA 1847 (in Italian).
There has always been some unccrtainty as to CONSTANTINOPLE May 1847 (in Italian).
the author of the text and different names occur SANTIAGO. CHILE 1848 (in Italian).
in different books of reference. It is attributed to STOCKHOLM 1848 (in Italian) and 6 December
the Neapolitan Carlo Zanobi Cafferecci (1811-60) 1869 (in Swedish. translated by E. A. Wall-
by C. Martorana (Notizie biografiche, 1874) and in mark).
Wotquenne's catalogue of the library of the PRAGUE 1849 (in German) and 15 June 1869 (in
Brussels Conservatoire, Vol.II, p.IlO. Czech, translated by J. Böhm).
Donizetti's last great success and of his 66 BUBNOS AIRBS 16 May 1851 (in Italian).
operas the one which is most popular at present. MEXICO 1852 (in Italian).
A French parody Don Pasquale, Opera buffa, LIMA, PERU 1852 (in Italian).
meU de couplets, by P. A. Chapelle, was produced AMSTERDAM 1853 (in Italian).
at the Gymnase-Dramatique, Paris 14 March RIO DE JANEIRO 1853 (in Italian).
1843· MELBOURNE 1856 (in English).

828
 ANNALS OF OPERA

BUCHAREST 1857 (in Italian) and Autumn 1929 (in LONDON, C.G. 13 June 1845 (in French) and Gre-
Rumanian). cian Th. 13 Fcbruary 1849 (in English, trans-
PARIS, TH.L. 9 September 1864 (in Paris for the lated by J. H. Homcastle).
first time in French; O.C. 24June 1896). BASLE 10 October 1845 (in German).

CALCUTTA 1866 (in Italian). W ARSA W 1 Febrllary 1846 (in Polish, translated by

HELSINKI 22 May 1878 (in Finnish, translated by ]. Jasmski).

CLAUSENBURG 28 February 1846 (in Hungarian,
A. Tömeroos).
RIGA 1906 (in German).
translated by B. Egressy).
RIO DE JANEIRO Autumn 1846 (in French).
ZAGREB 19 October 1921 (in Croatian).
LISBON 27 May 1849 (in French).
LJUBLJANA 1925 (in Slovenian).
HELSINKI 25 June 1849 (in German).
SOFIA 8 April 1932 (in Bulgarian).
NEW YORK 10 May 1852 (in English) and 25 Jan-
KAUNAS 23 October 1936 (in Lithuanian).
uary 1875 (in German).
Still on the stage in many countries; a new
BERGEN 4 November 1855 (in Danish, translated
German version by 0.]. Bierbaum and W. Klee-
by E. B0gh; pasticcio).
feld was first produced at Frankfort 14 September
MADRID 1863 (in Spanish, translated by E. Alva-
1902; at Vienna 14 September 191I. Rcvived (in
rez).
English) Birrningham 4 July 1921; in Hungarian
Revived Plymouth 7 May 1870 (in English);
(new translation by V. Unyi) Budapest 26 March
Budapest 7 December 1889 (in Hungarian);
1931; in Russian, Leningrad 29 June 1931; in
Basle 19 March 1902 (in German) ; Oppeln,
Italian, last revived at New York, M. 23 February
Silesia 21 January 1930 (in German).
1935; London, C.G. 21 April 1937; first given at
(The hero of the opera is the famous castrato
Glyndeboume 28 June 1938.
Carlo Broschi, called Farinelli. The story has
nothing to do with the Devil to pay subject as
AU BER: La Part du Diable sometimes stated).
16Jatlllary. Paris,O.C.
Text by A. E. Scribe. Three acts. VERDI: I Lombardi alla
. Revived at the O.c. 4 September 1858 and prima Crociata*
25 March 1868. Given there 263 times altogether. 11 February. Milan, Sc.
Outside Paris, given at: Text by T. Solera (founded on T. Grossi's poem).
VIENNA, W. 8 July 1843 and Kä. 25 September Four acts.
1847 (in German, translated by H. Bömstein This first version of the opera was outside Italy
and C. Gollrnick). (in Italian), also produced at:
COPENHAGEN 31 July 1843 (in French). ODESSA March 1845.
BRUSSELS 29 August 1843 (in French). BARCELONA 7 Jurie 1845.
FRANKFORT 17 September 1843 (in German). BERLIN, KGST. 25 August 1845.
BERLIN 19 November 1843 (in German). CAGLIARI, SARDINIA 6 September 1845.
PRAGUE 17 February 1844 (in German) and 6 BUCHAREST Autumn 1845.
March 1853 (in Czech, translated by]. J. Lit- CORFU October 1845.
nensky); newtranslation by E.Züngel published ST. PETERSBURG November 1845.
1881. LONDO~, H.M.'S 12 May 1846.
STOCKHOLM 18 December 1844 (in Swedish, VIENNA 27 May 1846.
translated by L. A. Weser). COPENHAGEN Carnival 1847.
BUDAPEST21 December 1844 (in German) and 3 NEW YORK 3 Mlrch 1847. (First Verdi opera in
October 1846 (in Hungarian). New York.)

829
 ANNALS OF OPERA 1843

LISBON 16 March 1847. In Italian, Milan 16 March 1876.

MALTA 1847. Dutch version by J. Schmier published Amster-
PHILADELPHIA 17 July 1847. dam 1895.
HAVANA 1848.
STOCKHOLM 1849. BALFE: Le Puits d'Amour
CONSTANTINOPLE 1850.
20 April. Paris, O.c.
BUENOS AmES 26 April 1851.
MEXICO July 1852. Text by A. E. Scribe and A. de Leuven. Three
New French version, Jerusalem, translated by acts.
A. Royer and G. Vaez, with several additional The first opera Balfe wrote to French words.
numbers: Paris, O. 26 November 1847; in French In French also, Lyons 26 August 1843, etc.;
also, Brussels 15 July 1848; New Orleans January Brussels 28 December 1843.
1850; Soerabaya 24 October 1864. In English (as Geraldinej or, The Lovers Weil,
In Polish (translated by J. Jasmski), Warsaw translated by G. A. A'Beckett), London, Prin-
25 March 1848. cess's 14 August 1843.
In German (translated by J. von Seyfried), In Norwegian (translated by A. Vibe), Chris-
Hamburg 10 July 1849; Darmstadt 16 December tiania 1845.
1849; Graz 28 December 1861, etc. In German (as Der Liebesbrunnen, translated by
In Italian (re-translated by c. Bassi, as Gerusa- J. Kupelwieser), Vienna, W. 4 November 1845;
lemme): Milan, Sc. 26 December 1850; Constan- Hermannstadt 1850.
tinople January 1851 (as Giselda, libretto altered
by Tondi); Vienna 16 May 1853; Alexandria BUZZI: Saul
Spring 1855; Algiers Spring 1857; Oporto and 31 May. Ferrara
Seville 1858; Buenos Aires 20 November 1858; Text by C: Giuliani. Four acts.
Paris, Th.I. 10 January 1863 (in Paris for the first Successful in Italy: Rome 29 April 1845, etc.
time in Italian) ; Sydney Summer 1874. In Italian also, Buenos Aires 16 November
In Portuguese (translated by 1. V. de Simoni),
1854; Barcelona 31 October 1857.
Rio de Janeiro 1859.
In Russian (translated by P. 1. Kalashnikov),
Kiev 1872. DONIZETTI: Maria di Rohan*
In Dutch, Amsterdam 24 September 1895. 5 June. Vienna, Kä.
Revived in Italy at Turin, T.R. 16 December Text by S. Cammarano (originally called Il Conte
1926; Milan, Sc. 7 December 1931. di Chalais and set to music by LilIo in 1839). Three
acts.
In Italian also given at Paris 20 November
HALEVY: Charles VI 1843; Parma 1 May 1844, etc. (Napies Auturnn
15 March. Paris, O. 1844 and Rome 26 December 1846 as Il Conte di
Text by C. and G. Delavigne. Five acts. Chalais); Malta 1845; St. Petersburg Carnival
Revived, with some alterations, Paris, O. 4 1846; Corfu 5 January 1846; Barcelona 2 May
October 1847; Th.L. 5 April 1870. 1846; London, C.G. 8 May [not 8. April] 1847;
In French also, Brussels 2 October 1845; Hague Berlin, Kgst. 4 September 1847; New York 10
25 April 1846; New Orleans 22 April 1847; December 1849; Lisbon 2 February 1850; Con-
~uenos Aires 4 May 1854; Batavia 27 April 1866; stantinople 15 February 1850; Agram January
Barcelona 29 April 1871; Mexico 19 January 1852; Mexico 5 June 1852; Lima, Peru 12 June
1882; last revived Marseilles 8 April 1901. 1853; Buenos Aires I I December 1853; Bucha-
In German, Hamburg 13 February 1851. rest 1858.

832
 ANNALS OF OPERA

In Frcneh (translated by J. P. Loekroy and E. 15 January 1848; Graz 9 October 1852, etc.; Riga
Badon), Brussels 9January 1845. Auturnn 1856 and Helsinki 16 August 1857 (as
In G~rman (translated by J. Kupelwieser), Dom Vineellte).
Budapcst 4 January 1845; Vicnna 11 August In Czech (translated by J. A. Zabransky),
1849; Lemberg 1850; Prague 1851; Graz 20 Prague 8 November 1867.
Oetober 1853. The opera was revived in German at Carlsruhe
In Czeeh (translated by V. Zabransky), Prague on 10 March 190I; in Italian, Bergamo May 1909
14 May 1865. and Rome April 191I.
In Polish, Lemberg 30 November 1876. Never given in London (although a produe-
In Rumanian, Bucharest 1903. tion was planned in the 1860s and an Italian-
RevivedFlorence 8 Oetober 1885 and II Jan- English libretto was printed).
uary 1910; Vienna I April 1880 (in German) and
12 June 1910 (in Italian); Barcelona 27 November BALFE: The Bohemian Girl*
1906 (in Italian) ; Paris, O. 22 March 1917 (in
French). 27 November. London, D.L.
Text by A. Bunn (founded on La Gipsy, a ballet-
A. THOMAS: Mina Oll pantomime byJ. H. Vemoy de Saint-Georges, pro-
Le Menage atrois duced at the Paris Opera 28 January 1839, with
100etober. Paris,O.C. music by F. Benoist, A. Thomas and M. A. Mar-
Text by F. A. E. de Planard. Three acts. liani, itselfbased on Cervantes' s story La Gitanella).
In French also, Antwerp 17 November 1844; Three acts.
Brussels 20 January 1847, etc. Balfe's most popular work; in fact, the most
In German (translated by C. Gollmick), Lem- successful English opera of the early 19th century
berg August 1847. and about the only one whieh made headway in
other countries as weIl. The IOOth performance
DONIZETTI: Don Sebastien, at D.L. was as early as 13 November 1844; sub-
Roi de Portugal* sequently given at Dublin 24 June 1844; New
13 November. Paris, O. York 25 November 1844; Philadelphia 16 De-
Text by A. E. Scribe. Five acts. eember 1844; Sydney 15 July 1846; and in all
The last opera of Donizetti which was pro- English-speaking countries.
duced in his lifetime. Donizetti himself thought In English also, Toronto June 1874; New Or-
Don Sebastien to be his masterpiece; the disap- leans December 1876; Mexico 18 FebruarYOol884;
pointment caused by the failure aeeelerated the Cape Town 1887.
paralysis whieh finished his aetivity in 1844. 1 In Italian (as La Zingara), London, H.M.'s 6
Given at Paris 32 times until 1845. February 1858; Dublin 16 August 1858; New
In Freneh also, Antwerp 16 January 1848; York 10 January 1859, ete.
Brussels 5 April 1848, etc. In German (first translated by J. P. T. Lyser),
In Italian (translated by G. Ruffmi) , Lisbon Vienna, W. 24 July 1846 (Kä. I Oetober 1849,
4 May 1845; Milan 14 August 1847; Barcelona translated by J. Staudigl, with recitatives by H.
21 September 1848; Rio deJaneiro 1856; Buenos Proch); Hamburg 17 Deeember 1846; Brünn 15
Aires 13 Deeember 1856; Malta 1860; New York May 1847; Praguc 19 November 1847; Frank-
25 November 1864; Mexico 6 Deeember 1866. fort 22 Oetober 1849; Munieh I I April 1850;
In German (translated by L. Herz), Vienna 6 Berlin 15 Oetober 1850; Zurich Oetober 1854;
February 1845; Budapest 3June 1846; Prague 10 Amsterdam 9 Oetober 1855; BasIc I I October
October 1846; Drcsden 6J anuary 1848; Hamburg 1861; Gothenburg 1865; New York 19 Septem-
1 Not so; he died from the effects of syphilis. H.R. ber 1873.
 ANNALS OF OPERA

The latest revivals in German were at Chemnitz gmmädchen (enlarged to three acts) at Vienna r8
4 March r879; Berlin, Louisenstadt 20 July r881; December r852; Frankfort r6 February 1853;
Teplitz 10 February I886; Darmstadt 25 Novem- Berlin 22 March r8S3; Budapest 2IJanuary 1854;
ber r888; Coburg r7 May r892; Posen 30 April Prague 22 February r8S4; Riga 25 October r8ss;
r902. Amsterdam II December 1855; Helsinki 9 Au-
In Italian (translated by R. Paderni), Madrid gust r8S7, etc.
9 April r84S; Trieste 12 February r8S4; Brescia In Russian, St. Petersburg 8 May 1857; Mos-
Summer 1854; Bologna Auturnn r8S4, etc. cow r9 October 1866.
In Swedish (translated by A. T. Blanche), Translated into Italian by A. de Lauzieres (as
Stockholm 28 March r849. Alma l'Incantatrice, 4 acts), given at Paris, Th.1.
In French (translated by J. H. Vernoy de Saint- 9 April r878 and London, C.G. 9 July 1878. This
Georges, recitatives and two new arias by Du- Italian version was again translated into German
prato), Rouen 23 April 1862; Liege 9 February (by A. von W olzogen) and given as Alma at
1863; Paris, Th.L. 30 December 1869. Schwerin 28 February 1879.
In Croatian (translated by A. Senoa), Zagreb The German Indra was revived at Posen 24
5 October 1872. November r882; Cassel21 November r883; Ber-
A~cording to Morkov also given at St. Peters- lin, Louisenstadt Th. 12 July 1884; Basle 6 No-
burg between 1855-62, in Russian. vember 1889; Leipzig 18 September r892; Reval
A 50th anniversary performance took place at 1896; Coburg 22 November 1901; Elberfeld
D.L. on 27 November r893; a 75th anniversary October r902.
performance at the Shaftesbury Th. on 8 June
1918.
Still given on English provincial and amateur
18 44
stages; one of the latest productions was at Dublin ERKEL: Hunyady Lasz16
on 6 November r920; there was an open-air 27 January. Budapest
revival at Scarborough on 24 July 1939. Text by B. Egressy. Four acts.
Revived New York, Majestic 27 July 1933; Erkel's most famous work; in the history of
and, as a musical comedy, Gypsy Blonde, re- Hungarian music this opera holds the same posi-
written by K.Jones, lyrics by F. Gabrielson, Lyric tion as A Life Jor the Czar (see r836) in Russia,
Th. 25 June r934. Halka (r8S4) in Poland, or The Bartered Bride
(r 866) in Czechoslovakia. Very successful in
PACINI: Medea Hungary; the 200th performance at Budapest
was on 24 February 1874; the 300th on 24 No-
28 November. Palermo
vember r898; last revived there in September
Text by B. Castiglia. Three acts.
r933·
Outside Italy, given at Barcelona rs October
In Hungarian also, Clausenburg 26 April 1846;
r84S; Malta r8s8; Mexico 10 October r8s8; New
Temesvar 1852; Pressburg 1856; Vienna, W. 14
York 27 September 1860; Buenos Aires 7 June
August 1856 (by a company from Arad); Zagreb
1865; Rio deJaneiro Autumn r86s.
July r860.
In German (translated by A. Prasch), Prague
FLOTOW: L'Esclave de Camoens 27 October 1895.
1 December. Paris, O.c.

Text by J. H. Vernoy de Saint-Georges. HATTON: Pasqual Bruno

This opera, originally in one act, went through 2 March. Vienna, Kä.
several different versions ; translated into German (Original English) text by E. Fitzball, German
by G. zu Putlitz it was given as Indra, das Schlan- version by J. von Seyfried. Three acts.
 ANNALS OF OPERA

Unsueeessful in Vienna and never performed in BERLIN, KGST. 27 December 1845 (in Italian) and
England. 0.16 May 1859 (in German); revived 12 De-
"Hatton ... who, not being able to get it re- eember 1934 (new German version bYJ.Kapp).
presented, and not having the patience of Rooke, PARIS, TH.I. 6 January 1846 (in Italian, as 11 Pro-
to wait 20 years, took it over to Germany, had it scritto ossia 11 Corsaro di Vellezia, Vietor Hugo
translated into that language, and, on returning protesting against the use of the tide Ernal1i).
brought me a play-bill, thinking that I should be LILLE 8 January 1846 (in Freneh).
suffieiendy delighted, and perfeedy satisfied (as I CAGLIARI, SARDlNIA Carnival 1846 (in Italian).
was foreed to bel at seeing my name Herr Fixball CONSTANTINOPLE Carnival 1846 (in Italian).
inserted as the English author of the libretto" (E. COPENHAGEN Carnival 1846 (in Italian).
Fitzball, Thirty-five Years, Vol. H, P.158). MALTA 1846 (in Italian).
Hatton's seeond and last, equally unsueeessful, BUDAPEST 6 August 1846 (for the first time in
opera, Rosc; or, Lol'c's Rallsol1l, text by H. S. German, translated by J. von Seyfried) and 3
Edwards, was produeed 20 years !ater, London, February 1847 (in Hungarian, trans!ated by B.
c.G. 26 November 1864. Egressy).
LUGANO 10 Oetober 1846 (in Italian).
ST. PETERSBURG October 1846 (in Italian).
VERDI: Ernani*
HAVANA Camival 1847 (in Italian).
9 Mareh. Veniee, F. HAMBURG 20 January 1847 (in German).
Text by F. M. Piave (founded on Vietor Hugo's NEW YORK 15 April 1847 (in Italian).
drama Hemalli). Four acts. BOSTON 23 April 1847 (in Italian).
Even more sueeessful than Nabl/codollosor (1842) SANTIAGO, CHILE 1847 (in Italian).
and I L01llbardi (1843). GRAZ 7 September 1847 (in German).
Performed on every Italian stage in Europe and STOCKHOLM 1848 (in Italian) and 25 Ma)' 1853 (in
oversea. The Gazzctta Musicalc 1talialla' even re- Swedish, translated by G. L. Silverstolpe).
cords a performance at Manila (Philippines) on BUENOS AIRES 26 July 1849 (in Italian).
8 December 1888. Sometimes performed as Il CHRISTIANIA August 1849 (in Italian) and January
Proscritto (see Paris), El"ira J'Arag01la (Palermo 1876 (in Norwegian).
Camival 1845), Il Corsaro Ji Ve/lczia (NapIes, T. PRAGUE 15 December 1849 (in German) and 7
Fondo 1847). Still given in Italy and other September 1865 (in Czech, translated by B.
cOlmtries. Pdka).
VIENNA 30 May 1844 (in Italian) and 3 March MEXICO 15 May 1850 (in Italian; pardy or-
1849 (in German). chestrated by J. Bustamente).
LEMBERG 1850 (in German).
LISBON 1 January 1845 (in Italian) and 15 January
WARSAW 25 January 1851 (in Polish, translated by
1881 (in Portuguese).
MADRID 4 March 1845 (in Italian).
J. Checitlski); Wilna 2 February 1860.
DUBLIN 24 February 1851 (in Italian).
LONDON, H.M.'S 8 March 1845 (in Italian) and
SAN FRANCISCO February 1851 (in Italian).
Surrey Th. I November 1851 (in English,
ZAGREB 19 March 1852 (in Italian); April 1856 (in
translated by J. W. Mould); last revived Dal-
German) ; and 18 November 1871 (in Croatian,
ston Th. 6 March 1914.
translated by L. Vukotinovic).
ALGIERS 3 I May 1845 (in Italian).
ZURICH Januar)" 1853 (in German); Geneva 10
AMSTERDAM Al1tl1mn 1845 (in Italian). January 1865 (in French); but sec above, Lu-
PALMA, MALLORCA 27 November 1845 (in Italian). gano, for thc first performance in Switzerland.
BRUSSELS 17 Dceembcr 1845 (in Freneh, translated TIFLIS February 1854 (in Italian).
by M. 311d L. Escl1dier). CARACAS, VENEZUELA October 1854 (in Italian).

837
 ANNALS OF OPERA

RIO DE JANEIRO II November 1854 (in Italian). In German (translated by K. Klingemann),

SYDNEY April 1857 (in English). Cassel 20 August 1845.
BUCHAREST 1857 (in Italian) and October 1932 (in Revived Manchester 27 September 1877.
Rumanian).
HELSINKI 19 July 1857 (in German) and 4 January B 0 0 M: Necken, eller Elfspelet
1876 (in Finnish, translated by A. Tömeroos). (The Sprite; or, Elves' Play)
BOGOTA, COLOMBIA 1865 (in Spanish).
11 May. Stockholm
SOERABAYA 7 December 1866 (in French).
CAIRO December 1869 (in Italian).
Text by J. H. Meyersson. Three acts.
The only (romantisk) opera of the Dutch-
LJUBLJANA 1893 (in Slovenian).
Swedish composer.
CAPE TOWN 1895 (in Italian).
RIGA 30 January 193 I (in Lettish); earlier given
there in German. SALOMAN: Tordenskjold
A Bulgarian translation was published at shu- i Dynekilen
men in 1905. 23 May. Copenhagen
Text by H. Hertz (partly translated from a Ger-
AUBER: La Sirene man libretto by J. P. T. Lyser). Three acts.
26 March. Paris, O.C. The first opera of the Danish composer; the
Text by A. E. Scribe. Three acts. overture had been heard at a concert at Dresden
Successful in Paris; revived at the Th.L. 19 June on 14 February 1842.
1855, at the O.C. 4 November 1861 and 26 Jan-
uary 1887 (164 performances). COSTA: Don Carlos
In French also, Antwerp 2 November 1844; 20 June. London, H.M.'s
Brussels 18 November 1844, etc; New Orleans (Italian) text by L. Tarantini. Three acts.
1845; Buenos Aires II May 1854; London, St.J.'s Costa's last opera; umuccessful.
I July 1854·
In German (translated by J. Franke), Frankfort BALFE: Les quatre pils Aymon
I September 1844; Vienna, Jos. 21 September
15July. Paris,O.C.
1844; Berlin 15 October 1844; Würzburg 6 De-
cember 1844 (here, translated by H. Mainhardt); Text by A. de LellVen and L. L. Brunswick. Three
Graz I I October 1845; Prague 7January 1846, etc. acts.
In English (translated by G. Soane), London, Given in Paris 17 times only; not very success-
Princess's 14 October 1844; three days later ful in England either; but very popular on Ger-
another English version, by A. Bunn, was pro- man stages, where its success even surpassed that
duced at D.L. (music adapted by J. H. Tully). In of The Bohemian Girl (see 1843).
English also, New York 20 November 1854. In French also produced at Count Farrobo's
In Polish (translated by J. Jasinski), Warsaw I private theatre, Lisbon 10 May 1846.
January 1845. In English (as The Castle ofAymotl; or, The Four
In Swedish (translated by l M. Rosen), Stock- Brothers, translated by G. A. A'Beckett ?), Lon-
holm 30 October 1846. don, Princess's 20 November 1844.
In Russian, St. Petersburg October 185!. In German (translatod by J. Kupelwieser),
Vienna,Jos. 14 December 1844 and (translated by
J. von Seyfricd) Kä. 27 September 1845; Prague
BENEDICT: The Brides ofVenice 14 March 1845 (revived 22 January 1870); Frank-
22 April. London, D.L. fort 21 July 1845; Leipzig 29 August 1845; Ham-
Text by A. Bunn and the composer. Two acts. burg 12 September 1845; Basle I I February 1846;
 ANNALS OF OPERA

Amsterdam March 1846; Berlin Kroll's 6 June fu French (translated by M. and L. Escudier),
1852 (revived Woltersdorf Th. 18 December Antwerp 18 December 1849; Brest November
1877), etc.; on German stages until about 1880. 1850.
fu Hungarian (translated by B. Egressy), Buda- fu Hungarian, Budapest 9 December 1850
pest 1845; Clausenburg 3 November 1845. (translated by B. Egressy).
fu Italian (translated by S. M. Maggioni), Lon- fu German, Weimar 8 April 1856; Lemberg
don, H.M.'s II August 185I. April 1857.
Rumanian translation published Jassy 1851.
LV 0 V: Bianca und Gualtiero Revived New York 27 October 1886.
Revived in Italy, Siena 10 January 1892; Milan,
130ctober. Dresden T. Fossati 4 September 1903, etc.
(Original French) text by J. Guillou, German Revived in a new German version by R. Franz,
version by J. C. Grünbaum. Three acts. Halle 12 February 1929.
The first opera of the Russian composer. Given (From a note in a copy of the score it would
at St. Petersburg 9 February 1845 (in Italian). seem that I due Foscari was performed at Hong-
kong in Autumn 1870; see R. Franz in Zeitschr!{t
für Musik, 1929, P.7I.)
VERDI: I due Foscari*
3 November. Rome, Arg. SECHTER: AU Hitsch-Hatsch
Text by F. M. Piave (foundedonByron's drama).
12 November. Vienna,Jos.
Three acts.
Text by "Theodor Heiter" (pseudonym). Three
fu Italian also given at:
acts.
VIENNA 1 April 1845.
The only opera ofSechter, who was the teacher
BARCELONA 8 July 1845.
ofBruckner, and one of the most important Ger-
HAVANA 1846.
man theoreticians of the 19th century. Previously
CAGLIARl, SARDINIA 20 September 1846.
performed at Matzleinsdorf (near Vienna) at the
CONSTANTINOPLE 12 October 1846.
private theatre ofBaron Dietrich. Arecord ofthis
COPENHAGEN November 1846.
curious work will be found in Allgemeine Musika-
PARIS 17 December 1846.
lische Zeitung, 20 September 1871.
ST. PETERSBURG Carnival 1847.
LONDON, H.M.'S. 10 April 1847.
BOSTON May 1847. BALFE: The Daughter of St.Mark*
NEW YORK 9 June 1847. 27 November. London, D.L.
LUGANO 1848. Text by A. Bunn (founded on J. H. Vernoy de·
SANTIAGO, CHILE 1848. Saint-Georges's La Reine de Chypre, see 1841).
MALTA 1849. Three acts.
RIO DE JANEIRO 4 September 1849. Sydney 22June 1852; New York 18 June 1855,
BUCHAREST 14 January 1850. etc.
BUENOS AIRES 25 May 1850. A German translation byJ.P. T.Lyserwas pub-
BRUSSELS September 1850. lished in 1849; produced probably Lemberg 18so.
MEXICO December 1852.
GRAZ 6 June 1853.
OPORTO Carnival 1855.
MERCADANTE: Leonora
SYDNEY May 1868. 5 Decem];er. Naples, T.N.
In Polish (translated by J. Jashlski), Warsaw 24 Text by M. d'Arienzo. Four acts.
May 1849; Lemberg 3 August 1876. Given in Italy until 1876.

841 842
 ANNALS OF OPERA

Outside Italy, Lisbon 13 April 1846; Madrid PRAGUE 21 November 1845 (in German) and 29
S June 1847; Berlin, Kgst. 13 November 1847; Mareh 1846 (in Czeeh, translated by V. A.
Copenhagen Carnival 1848; Rio de Janeiro 1853; Swoboda).
Buenos Aires 6 July 1855; Paris 8 January 1866. BASLE 2 January 1846 (in Germari).
LONDON, D.L. 6 June 1846 (in English, translated
NIEDERMEYER: Marie Stuart by A. Bunn, musie arranged by Benediet);
6 December. Paris, O. D.L. 21 May 1849 (in German);and C.G. 4
June 1864 (in Italian).
Text by T. Anne. Five aets.
WARSAW 20 June 1846 (in Polish, translated hy
Niedermeyer's best work (eontaining the fa-
J.Jasmski).
mous romanee Adieux donc, belle France).
LYONS 21 July 1846 (in German).
In German (translated by F. Gumbert), Stutt-
STOCKHOLM 22 January 1847 (in Swedish, trans-
gart 18 November 1877 and 20 April 1887.
lated by G. L. Silverstolpe).
REVAL Oetober 1848 (in German).
MEYERBEER: Ein Feldlager HELSINKI 13 June 1849 (in German) and 21 Oe-
in Schlesien tober 1875 (in Finnish, translated by A. Tör-
7 December. Berlin, o. neroos).
Text by L. Rellstab (Singspiel in Lebensbildern aus ST. PETERSBURG 13 November 1851 (in Russian)
der Zeit Friedrich's des Grossen). Three aets. and I I January 1862 (in Italian).
W ritten for the re-opening of the Berlin NEW YORK 29 November 1853 (in German) and
Opernhaus (after the fire of 18 August 1843). 20 April 1860 (in Italian) ; English version by
Given in Berlin 64 times until 17 Oetober 1894. D. Buek published at Hartford, Conneetieut
In German also, Vienna, W. 18 February 1847 1868.
(as Vielka, with Jenny Lind). Meyerbeer after- COPENHAGEN June 1858 (in German).
wards introdueed parts of the musie into his CLEVELAND 1859 (in German).
L'Etoile du Nord (see 1854). BRUSSELS 7 Mareh 1859 (in Freneh, translated by
G. Oppelt and A. Royer).
FLOTOW: Alessandro Stradella HAGUE 15 January 1860 (in Freneh, translated by

30 December. Hamburg G. Oppelt and A. Royer).

STRASBOURG 19 January 1860 (in Freneh, trans-
Text by W. Friedrieh. Three aets.
This opera is developed from a Freneh comeJie lated by G. Oppelt and A. Royer).
ROTIERDAM Autumn 1860 (in German).
me/te de chant by P. A. A. Pittaud de Forges and
MEXICO Spring 1861 (in Italian).
P. Duport, originally produeed, with so me new
MADRID, Z. 23 Oetober 1861 (in Spanish, trans-
airs by Flotow, at the Palais Royal, Paris 4 Feb-
ruary 1837. 1 Apart from Martha (see 1847), Flo- lated by L. Rivera and M. del Palacio).
PARIS, TH.I. 19 February 1863 (in ltalian, trans-
tow's most sueeessful work.
Given at: lated by C. Bassi).
GENOA Autumn 1863 (in Italian, Bassi's trans-
BERLIN 29 August 1845, ete. (in German).
lation).
VIENNA, W. 30 August 1845 and Kä. 9 September
SANTIAGO, CHILE 1869 (in Italian, Bassi's trans-
1845 (in German).
BUDAPEST 27 September 1845 (in German).
lation).
BUENOS AIRES 20 August 1872 (in Italian, Bassi'g
1 An English version The Musician ofVenice was pro-
translation).
duced at St. J.'s, London, 17 January 1838, according to
CHRISTIANlA 23 March 1875 (in Norwegian).
the play-bill with music by Pilati. The original French
vaudeville was given at the same theatre 2 February ZAGREB 9 Oetober 1875 (in Croatian, translated
1844. by 1. Tmski).
 ANNALS OF OPERA

SARAJEVO 22 October 1881 (in German). A French translation by L. Danglas was pub-
RIO DEJANEIRO 1889 (in concert form; in Italian). lished in 1855.
LJUBLJANA 1901 (in Siovenian).
ARRIETA: Ildegonda
28 February. Milan, Conservatorio
18 45 Text by T. Solera (first set to music by Solera
SPOHR: Die Kreuzfahrer himself, produced Milan 20 March 1840). Two
acts.
1 January. Cassel
The first opera of the Spanish composer.
Text by the composer (founded on a play by A. In Italian also, Madrid, Palacio Real 10 October
von Kotzebue). Three acts. 1849; Lisbon 6 February 1852.
Spohr's last opera. Berlin 26 July 1845, etc.
Revived Cassel7 April 1899 and Leipzig 8 Au-
gust 1902 (revised by F. Beier and M. Paar).
PACINI: Lormzino de} Medici
4 March. Venice, F.
MARSCHNER: Kaiser Adolph Text by F. M. Piave. Three acts.
Successful in Italy; revived Rome 3 January
von Nassau
18 54 (as Elisa Valasco); Naples March 1858 (as
5 January. Dresden Torrismondo, text altered by D. Bolognese).
Text by H. Rau. Four acts. In Italian also, Barcelona 24 February 1858;
(Wagner conducted the first performance.) Vienna 18 May 1859.
Hamburg 15 February 1845, etc.
Revived Berlin 13 April 1886 (in concert form,
by the Bloch'scher Opernverein).
ES SER: Die zwei Prinzm
April. Munich
11

H. RUN G: Stormm paa Kobenhavn Text by M. G. Friedrich (founded on a French

play by Scribe and Melesville). Three acts.
(Storm over Copenhagen)
Esser's last and best opera. Berlin 15 October
21 JarlHary. Copenhagen
18 46; Frankfort 5 April 1847; Brünn August
Text by T. Overskou. Five acts. 1847, etc.
The most successful of Rung's works; early
attempt at Danish historical opera. LORTZING: Undine*
21 April. Magdeburg
VERDI: Giovanna d}Arco* Text by the composer (founded on La Motte
15 February. Milan, Sc. Fouque's story). Four acts.
Text by T. Solera (founded on Schiller's drama). Successful in Germany: Hamburg 24 April
Four acts. 1845; Vienna, W. 20 November 1847 (0. not
One ofVerdi's less successful works. Given at until 4 December 1881); Berlin 28 September
Rome, Arg. 3 May 1845 and Naples, T. S. Fer- 1850, etc.
dinando Carnival 1855 as Orietta di Lcsbo. Last (?) In German also, Helsinki 14July 1849; Zurich
revived Milan, T. Castelli April 1876. 1853; New York 9 October 1856; Prague 18
In Italian also, Madrid 30 October 1846; Lisbon August 1864; Riga April 1865; Laibach 1870;
10 November 1847; St. Petersburg December Ghent 21 February 1881; St. Petersburg 16 No-
1849; Malta 1852; Buenos Aires 19 August 1854; vember 1887.
Santiago, Chile 1855; Vienna 2 May 1857; In Flemish (translated by J. Ferguut), Brussels
Mexico December 1857; Paris 28 March 1868. 19 December 1867.
p
 ANNALS OF OPERA

In Lettish, Riga 1893. Given at Philadelphia 16 times in 1845-46; re-

In Croatian (translated by F. Miler) , Zagreb vived (in Italia.'l, in an enlarged 4-act version)
10 December 1898. New York 29 March 1858. Fragments revived in
Still given in Germany. Revived Berlin, D.O. a concert version by O. Kinkeldey New York
16 August 1932. Lately (C.1934) revived at Stras- May 1929, at a Pro Musica concert.
bourg in a French version by 1. Mancini.

AUBER: La Barcarolle ouL'Amour PACINI: Bondelmonte

et la Musique 18 June. Florence, P.
22 April. Paris,O.C. Text by S. Cammarano. Three acts.
Text by A. E. Scribe. Three acts. Successful in Italy. Revived Milan, T. Carcano
In German (translated by G. Ball), Vienna, W. Autumn 1885.
5 September 1846 and Kä. 9 August 1849. In Italian also given at Malta 1847; Rio de Ja-
In English, London, Princess's 5 April 1847. neiro January 1851; Trieste 24 September 1853;
Given at Lisbon 1847 (in French) and July 1850 Odessa Carniva11855; Barcelona 8 April 1855;
(in Portuguese, translated by J. J. da Silva Mendes Buenos Aires 7 October 1860; Mexico 12 August
Leal). 1865·

DADDI: 0 Salteador
(The Highwayman) EspfN Y GUILLEN: Padilla 0
11 May. Lisbon EI Asedio di Medina
Librettist unknown. One act. (Padilla or the Siege of Medina)
Early Portuguese comic opera, performed at 9 July. Madrid, T. dei Circo
the private theatre of Count de Farrobo das La- Text by G. Romero Larrafiaga. Three acts.
rangeiras. Spanish opera, of which only one act was per-
formed.
BALFE: The Enchantress
14 May. London, D.1.
VERDI: Alzira*
Text by A. Bunn (translated from a French lib-
retto by Vemoy de Saint-Georges). Three acts. 12 August. Naples, S.C.
In English also, Philadelphia 31 January 1846; Text by S. Cammarano (after Voltaire). Two
New York 26 March 1849; Sydney 1851; San acts.
Francisco 1854. Unsuccessful, even in ltaly.
(This is not the English version of Balfe's In Italian also, Lisbon, Acc. Filarmonica 1847
L' Etoile de Seville as stated in Riemann' s Opern- and S.C. 29 October 1849; Barcelona 3 February
handbuch). 1849; Malta 1858.
In a German translation by 1. Riedinger, Alzira
FRY: Leonora was broadcast from Vienna 18 September 1936.
4June. Philadelphia
Text by J. R. Fry (the brother of the composer),
founded on E. Bulwer Lytton's The Lady 0/
FORBES: The Fairy Oak
Lyons). Three acts. 180ctober. London, D.1.
The "first publicly performed grand opera Text by H. C. Coape (according to the printed
written by a native American" (Vict. American libretto; A. Nicoll attributes the text to Fitzball).
Biography). Three acts. Forbes's only opera.
 ANNALS OF OPERA

R. WAGNER: Tannhäuser und der AMSTERDAM 24 March 18S8 (in German) and 17
Sängerkrieg auf Wartburg December 1895 (in Dutch); Rotterdam 28 De-
cember 1860 and Hague 26 October 1870 (in
19 Octaber. Dresden
German).
Text by the composer (Halldlung). Three acts. NEW YORK 4 April 18S9 (in German; first Wagner
Very successful at Dresden; given there with opera in America); 4 April 1888 (in English);
slightly alte red endings 4 September 1846 and 10 December 1909 (in French); Philadelphia
I August 1847. looth performance 12 December
12 February 1864; Chicago January 186S;
1872; sooth performance 16 November 1913 Boston 20 January 1871; Cincinnati 22 January
(sooth Berlin performance 26 August 1907). 1875 (in German).
The next productions were at Weimar 16 Feb- PARIS, O. 13 March 1861 (in French, translated by
ruary 1849 (under Liszt); Schwerin 26 January E. Roche, R. Lindau and C. Nuitter), with
18S2; Breslau 6 October 18S2; Freiburg 7 No- alterations and additions; withdrawn by the
vember 1852; Wiesbaden 13 November 1852; composer after the third night. Revived there
Frankfort IS January (not February) 18S3; Riga only 34 years later, on 13 May 1895; 100th per-
18 January 18S3; Leipzig 31 January 18S3; Posen formance 26 November 1900; 200th 26 July
22 May I 8S3; Darmstadt 23 October r 8S3; Ham- 1909.
burg I I November 18S3; Königsberg 18Novem- BUDAPEST 6 March 1862 (in German) and II
ber I 8S3; Cologne 2S November 18S3, etc.; given March 187I (in Hungarian, translated by K.
in 18 S3 and in I HS4 on abotlt I S new stages each. Abranyi).
Outside Germany produced at: HERMANNSTADT II August 1866 (in German).
RIGA 18 January 18S3 (in German) and 2 Decem- MUNICH I August IR67 (first German production
ber 1919 (in Lettish, on the opening night of of the Paris version).
the Latvian State Opera House). BOLOGNA 7 November 1872 (in Italian, translated
REVAL (TALW:;\f) January 18S4 (in German) and by S. de Castrone, Marchese della Rajata);
1930 (in Estonian). Trieste 16 November 1878; Rome, Ap. 18
GRAZ 20January 18S4 (not 20June 1854); for the April 1886; Venice 21 January 1887; Turin 26
first time in Austria and as the first Wagner December 1888; Naples 20 April 1889; Milan
opera in Austria. 26 December 1891; Genoa 19 January 189S, etc.
PRAGUE 2S November 18S4 (in German) and 28 BRUSSELS 20 February 1873 (in French).
January 1891 (in Czech, translated by V. J. No- LAIBACH (LJUBLJANA) March 1874 (in German)
votny). and 10 December 1901 (in Siovenian, trans-
ZUIHCll 16 February 18SS (for the first time in Iated by A. Stritov).
Switzerland; Basic 30 March r8S7, etc.). ST. PETERSBURG 2S February 1873 (in Russian,
ANTWERP 13 March 18ss (in German) ; 26 January translated by K. Svantsov; another Russian
18')4 (in Flcmish); and 2 December 1897 (in version, by G. A. Lishin, was publishcd in
Frcnch). 187S) and 8 January IR79 (in Italian).
STRASllounr. T2July r8ss (in German). COI'ENlIAGEN 17 March 187S (in Danish, translated
llEllLlN 7 January rils6 (in German). by A. Hertz).
CENEVA 23 May lilS7 (in German) and 29January CHRISTlANIA 18 November 1876 (in Danish, trans-
I R')S (in Freneh). lated by A. Hertz).
IlElSINKI S August 18S7 (in German) and 17 Oe- LONJ)ON, C.G. 6 May 1876 (in Italian); H.M.'s 14
tober I'.)!9 (in Finnish, translated byT. Muroma). February T 882 (in English, translated by J. P.
VIENNA, TflAUA TII. 28 August 1857 :md Kä. 19 Jackson); D.L. 23 May 1882 (in German); c.G.
November 18S9 (in German); the Paris version 27 May 18')6 (in Frellch, the Paris version);
22 November I il7S. looth c.G. performance 28 May 1906.

8so
 ANNALS OF OPERA

STOCKHOLM 16 August 1876 (in Swedish, trans- WALLACE: Maritana

lated by F. T. Hedberg).
15 November. London, D.1.
MOSCOW 8 February 1877 (in Italian) and 28 Jan-
Text by E. Fitzball (founded on the French play,
uary 1882 (in Russian).
Don Clsar de Bazan, by d'Ennery and Pinel
NEW ORLEANS 12 December 1877 (in Italian).
Dumanoir). Three acts.
WARSAW 29 April 1883 (in Polish, translated by
Wallace's first and most f-amous opera. Dublin
M. Radzikowski).
I July 1846; Philadelphia 9 November 1846;
BARCELONA II February 1887 (in Italian); Catalan
Edinburgh 15 December 1847; New York 4 May
version by J. Lleonart and A. Ribera published
1848; Sydney 19 April 1849, etc. In English also,
1904; another by J. Zanne and J. Pena published
New Orleans December 1876; Mexico 20 Feb-
190 7.
ruary 1884; Cape Town 1887.
MADRID 14 March 1890 (in Italian).
In German (translated by A. J . Becher), Vienna,
MEXICO 29 March 1891 (in English!).
W. 8 January 1848; Hamburg 16 February 1849;
LYONS 4 April 1892 (in French); Nantes 27 March
Prague I 85 I, etc.
1894; Marseilles I I March 1896; Rouen 22
In Italian (recitatives by T. Mattei), Dublin 4
January 1897; Lilie 18 March 1897, etc.).
March 1877; London, H.M.'s 9 December 1880;
RIO DE JANEIRO 30 September 1892 (in Italian).
New York 20 December 1885.
LISBON 23 December 1893 (in Italian).
Frequently revived on English stages and still
BUENOS AIRES 21 July 1894 (in Italian).
given in the provinccs. Thc so far latest revivals
ZAGREB 5 J une 1895 (in Croatian, translated by A.
in London were at the Ly. 22 May 1925; Old Vic
Harambasic).
30 March 193 I.
MONTREAL 29 April 1896 (in English; concert per-
formance).
ALGIERS 25 March 1897 (in Italian).
BALFE: L'Etoile de Seville
SANTIAGO, CHILE 24 July 1897 (in Italian). 17 Deccmber. Paris, o.
ALEXANDRIA 20 February 1898 (in Italian). Text by H. Lucas. Thrcc acts.
CAIRO Carnival 1901 (in French). Thc only opera Balfe wrote for the "Acadcmie
JOHANNESBURG 1905 (in English). Royale de Musiquc." Not very successful there
BUCHAREST 16 October 1929 (in Rumanian). (15 performances) and never given in England.
KAUNAS 26 October 1930 (in Lithuanian). In French also, Antwerp 13 March 1849.
SOFIA 30 January 1931 (in Bulgarian). German translation by C. Gollmick publishcd
of several parodies, the following three may 1847·
be mentioned:
Tannhäuser, Zukunftsposse in 3 Acten mit ver-
FL 0 T 0 w: Die Matrosen
gangener Musik und gegerlwärtigen Gruppirungen, 23 December. Hamburg
text by J. Nestroy (founded on a parody by H. Text by W. Friedrich. Four acts.
Wollheim, Breslau 1854) music by C. Binder, Berlin 17 July 1853; Vienna I I March 1854,
Vienna Leop. 31 October 1857. etc.
Panne-at4x-Airs, in 2 acts, text by Clairville, In Polish (translatcd by J. Jasitiski), Warsaw
music by F. E. Barbier, Paris, Th. Dejazet 30 17 June 1 84 8.
March 1861. (This was a new version of Le Nallfrage Je la
Ya-Mein-Herr, Cacophonie de I' Avenir, en 3 actes Meduse, text by H. and T. Cogniard, music by
entr'acte m~lee de chants, de harpes et de chiens savants, Flotow, Grisar, and Pilati: Paris, Ren. 3I May
text by Clairville, A. Delacour, and 1. Thiboust, 1839; Brussels 4 November 1839; Antwerp 6
with some new airs by V. Cheri, Paris, Varietes November 1839. The score was burnt and re-
6 April 1861. written by Flotow for the German stage).

85 2
 ANNALS OF OPERA

r846 BENEDICT: The Crusaders

26 February. London, D.L.
HALEVY: Les Mousquetaires
Text by A. Bunn. Three acts.
de la Reine One of Benedict's best works; more popular
3 February. Paris, O.c. in Germany than in England.
Text by J. H. Vernoy de Saint-Georges. Three In German (as Der Alte vom Berge, translated
acts. by G. Schilling), Prague May 1847; Stuttgart 23
Given at the o.c. until 1865 and revived 10 January 1848; Frankfort 6 September 1850;
January 1878; revived at Marseilles 8 March 1900. Munich 6 January 1854; Königsberg 10 March
In French also, Brussels 15 April 1846; Hague 1854, etc. Revived Hamburg 23 April 1868.
7 May 1846; London, D.L. 3 August 1846; New
Orleans November 1846; Madrid 1 October B. BASILJ: EI DiabIo Predicador
1853; Buenos Aires 4 May 1854; Turin April
(The Devil aPreacher)
1858; Rio de Janeiro October 1861; Berlin,
Victoria Th. 15 May 1862; Batavia 12 February 4 March. Madrid, T. de la Cruz
1866; Barcelona 7 July 1866; New York 9 Octo- Text by V. de la Vega (Drama Urico, imitaei6n de
ber 1866; Lisbon 27 April 1878; Mexico 25 Feb- la comedia antigua espaiiola). Three acts.
ruary 1879. Successful Spanish cornic opera; repeated Mad-
In German (translated by J. C. Grünbaum), rid 26 May 1847 and Barcelona 12 September
Berlin 22 July 1846; (translated by J. Kupelwie- 18 49.
ser), Vienna, W. 20 August 1846 and Kä. 5 Sep-
tember 1846 (with additional ffiusic by Reuling);
VERDI: Attila*
Lemberg April 1847; Prague 1850, etc. Revived 17 March. Venice, F.
Leipzig 23 June 1895. Text by T. Solera. Prologue and 3 acts.
In Danish (translated by C. Hvid), Copenhagen "Cet opera, un des plus faibles du mahre, n'a
7 October 1848. pas eu de succcs" (Clcment-Larousse). "None,
In Swedish (translated by N. E. W. afWetter- perhaps, of Verdi's works had kindled more
stedt), Stockholm 8 November 1848. enthusiasm in Italy or crowned the fortunate
In Russian, St. Petersburg 1855. composer with more abundant laurels than his
In English, Boston March 1882; New York 15 Attila" (B. Lumley, 1864).
February 1883. Given at Palermo Carnival 1854 as Gli Unlli cd
i Romani.
MACFARREN: An Adventure of Outside Italy:
Don Quixote COPENHAGEN Carnival 1847.

3 Febmary. London, D.L. MADRID 5 January 1847.

Text by G. Macfarren (the father of the com- LISBON 5 April 1847·

poser). Two acts. LONDON, H.M.'S 14 March 1848.

Macfarren's second opera. Unsuccessful. MALTA 1848.
HAVANA 1848.

PACINI: La Re~!?ina di Cipro CONSTANTINOPLE 1849.

7 Febmary. Turin, T.R. CHRISTIANIA August 1849.

Text by F. Guidi. Four acts. BUCHAREST 2 October 1849.

In Italian also, Lisbon 22 January 1848; Rio de NEW YORK 15 April 1850.

Janeiro 1852; Buenos Aires 26July 1854. VIENNA II June 1851.

 ANNALS OF OPERA

BUDAPEST Summer 1852. F Ü C H s: Guttenberg

RIO DE JANEIRO 1853. 1 April. Graz
BUENOS AIRES 23 September 1853. Text by O. Prechtler. Four acts.
MEXICO 31 August 1854. Füchs's most successful work: Brünn 18 Octa-
CARACAS 20 October 1854. ber 1846; Vienna, W. 19 November 1846 and
NICE 10 October 1863. Kä. 3 January 1852; Prague January 1847; Ham-
SYDNEY October 1870. burg 7 October 1847; Dresden 14 June 1848, etc.
In French (translated by 1. Danglas), Brussels In German also, Riga November 1857.
13 December 1850.
In German (translated by W. Haeser), Stutt- SCHINDELMEISSER: Der Rächer
gart 12 February 1854. 4 April. Budapest
In Spanish, Bogoti 1865. Text by O. Prechtler (founded on Corneille's
Revivals in Italy include Genoa 26 May 1880; Cid). Three acts.
Pisa I September 1889; Trieste 10 March 1894; The most successful opera of Schindelmeisser
Lodi, Collegio S. Francesco Carnival 1911. (then conductor of the German opera at Buda-
pest). G\ven also at Frankfort 23 December 1849;
Mayence 8 December 1850; Darmstadt 21 No-
LUX: Das Käthchen von Heilbronn vember 1852, etc.
23 March. Dessau
Text by F. Meck (founded on H. von Kleist's J. P. E. HARTMANN: LidenKirsten
drama). Five acts.
(Litde Christina)
. New version (prologue and 3 acts), Wiesbaden
12 May. Copenhagen
9 January 1847; Mayence 15 November 1852.
Text by H. C. Andersen. One act.
Revived Dessau I I December 1881 and May-
Very successful at Copenhagen; given since 29
ence 16 February 1900.
October 1858 in an enlarged 2-act version; last
revived there 27 February 1910 and 24 September
LISINSKI: Ljubav i Zloba 1922. The 200th performance was on 15 Decem-
(Love and Malice) ber 1912.
In Danish also, Stockholm 3 February 1928 (by
28 March. Zagreb
the Copenhagen company).
Text by D. Demeter. Two acts. In German, Weimar 17 January 1856.
The first Croatian opera; produced by ama-
teurs. Revived at Zagreb 21 October 1871 and
19 October 1895. .
BAZIN: Le Trompette de
According to contemporary journals, the opera M.le Prince
was orchestrated by F. Wiesner von Morgen- 15 May. Paris,O.C.
stern. Libretto printed in 1846 (copy British Text by A. H. J. Melesville. One act.
Museum) and 1872. cf. P. Loewe, in Der Merker Given at the O.c. until 1856.
(Vienna), 1917, p.232; and A. Dobronic, A Study In French also, Brussels 10 November 1846;
ofJugoslav Music, in The Musical Quarterly, Vol. Buenos Aires 14July 1854.
XII (1926). In German (translated by J. C. Grünbaum),
Lisinski's second and lase opera was produced Berlin 6 December 1849.
51 years after Ljubav i Zloba (43 years after the In Swedish (ttanslated by E. A. Wallmark),
composer's death, see 1897). Stockholm 19 September 1861.

855 856
 ANNALS OF OPERA

MANGOLD: Tanhäuser FLOTOW: L'Ame en Feine

17 May. Darmstadt 29 June. Paris, O.
Text by E. Duller. Three acts. Text by J. H. Vemoy de Saint-Georges. Two
acts.
Independent of Wagner. (Tannhäuser gets
In French also, Liege 8 February 1847; Ant-
married in the end !)Revived Darmstadt 17 Jan-
werp 2 December 1847; revived Paris, O. 4 No-
uary 1892 (as Der getreue Eekart, libretto revised
vember 1859.
by E. Pasque).
Like most operas of Flotow, L'.t1me eil Peine
was given under many different titles. In German
LORTZING: Der Waffenschmied* (as Der Fiirster, translated by G. N. Bärmann),
31 MaJ'. Vienna, W. Vienna 9January 1847; Hamburg 15 March 1847,
etc.
Text by the composer (founded on F. '11. Zicg-
In English (as Leoline), London, Princess's Th.
ler's comedy, Liebhaber rmd Nebertbuhler in einer
16 Oetober 1848.
Person, 1790; the same play on which Weigl's 11
In Polish (as Paola, translated by L. Matus-
Rivale di se stesso, see 1808, was bascd). Threc acts.
zynski), Warsaw 3 June 1852.
One ofLortzing's most successful works. Dres-
In Italian (translated by C. Bassi), Lisbon 29
den 29 November 1846; Basle 27 Oetober 1847;
Oetober 1852 (as Paula, l'Orfana tradita); Turin
Prague 1848; Graz 23 February 1850; Berlin,
30 November 1872 (as 11 Boseaiuolo ossia L'Anima
Kroll's 12 August 1850 (0. only 31 December
tradita).
1887); Vienna, Kä. 24 August 1865, etc.
In German also, Helsinki 6 July 1849; Gothen-
burg 9 October 1864; New York 4 February LI N D P AI N T N ER: Lichtenstein
1867 (revived 26 September 1925); Ghent 13 26 August. Stuttgart
October 1880; St. Petersburg I I September 1887. Text by F. von Dingelstedt (founded on a novel
In Czech (translated by J. Prazsky), Prague 21 by W. Hauff). Fivc aets.
January 1849; revived 25 August 1894 (new Written for the inauguration of the new court
Czech version by V.J. NovotnY). theatre, Stuttgart.
In Swedish, Stockholm I r December 1885.
In Hungarian (translated by A. Rad6), Buda- LODER: The Night Dancers
pest 17 January 1891.
280etober. London, Princess's
In Croatian (translated by M. Pogacic), Zagreb
23 March 1899. Text by G. Soane. Two acts.
Loder's best work. New York 6 Oetober 1847;
Sydney November 1847, ete.
GORDIGIANI: Consuelo Revived London, c.G. 10 October 1860. "The
6Jrme. Prague Princess's Theatre in Oxford Street was opened
(Italian) text by the composer (founded on G. for English opera in 1842 1 under the manage-
Sand's novel). Four parts. ment of Mr. Maddox, who earried it on tilllast
season, 1850. The pieces performed by him were
An isolated instance of an Italian opera pro-
duced at Prague in the 19th century. The com- chiefly versions of popular foreign operas. He
produced, however, two original English operas
poser was a teaeher at the Prague Conservatoire.
A German version, by C.Gordigiaru, was publish- of the highest merit, The Night Dmrcers (1846) and
King Charles the Secolld (1849): the one wild,
ed at Vienna.
(See on this production O. Teubcr, Ges(hi(hte 1 Viz. 26 December, with Bellini's La SOlJlJamb"la, in
des Prager Theaters, II, P.357.) English, under Schira.
 ANNALS OF OPERA 1847

romantic, and imaginative; the other gay, genial, In French also, Brussels 18 March 1847; Lon-
and full of English character; and 'both worthy to don, St. J.'s 2r May r849; Santiago, Chile 1851;
be classed among the most remarkable works of New York 20 August 1852.
the present century" (G. Hogarth, Memoirs, Vol. Revived Paris, Th.L. (Athenee) r2 September
Il, p,375). 18 71.
In German (as Die Königin von Leon), Vienna,
LAVENU: Loretta, a Tale ofSeville W. r5 July 1847; Leipzig r6 September r847;
9 November. London, D.L. Munich 3 October r847, etc. In German also,
Helsinki 14 July r850. Last revived Munich 17
Text by A. Bunn. Three acts.
January r879.
Written for Ann Bishop.
In English, London, Grecian Th. 14 February
r853·
MERCADANTE: Cli Orazi ed i Curiazi In Spanish (translated by Luis Cortes y Suana,
10 November. Naples, S.C. music adapted by Genoves), Valladolid [8 April]
Text by S. Cammarano. Three acts. r850.
Successful in Italy. Last revived Naples 21
March 1882. L. RICCI: 11 Birraio di Preston
In Italian also, Barcelona 24 August 1848; Lis- 4 February. Florence, P.
bon 9 April 1849; St. Petersburg December 1849; Text by F. Guidi (founded on De Leuven and
Malta 1853; Rio de Janeiro 1856. Brunswick's French libretto, see r838). Three
In Hungarian, Budapest 13 May 1848 (trans-
acts.
lated by B. Egressy).
Successful in Italy; in Italian also, Corfu 1854;
Barcelona 8 April r855; Mexico February 1857
BALFE: The Bondman (as IlEroe per Forza); London, St.J.'s 24 Novem-
11 December. London, DL. ber r857.
Text by A. Bunn (from Melesville's LeChevalier Revived Madrid 2 July r868; Genoa r6 March
de Saint-George). Three acts. r886; Lodi Carnival r890 (at the Collegio S.
In Gerrilan (as Der Mulatte, translated by J. C. Francesco).
Grünbaum), Berlin 25 January 1850.
WALLACE: Matilda ofHungary
F. MALIPIERO: Alberigo da Romano 22 February. London, D.L.

26 December. Venice, F Text by A. Bunn (his last libretto and .. one of the
Text by C. Berti. Three acts. worst librettos in existence", according to the
The most successful opera of Malipiero (the Dict. Nat. Biogr.). Three acts. Unsuccessful.
father ofG. F. Malipiero).
Revived at Venice, T. Apollo 27 November C. 1. A. VOGEL: Le Siege de
1869 and once more at the T. Goldoni 14 April Leyde, 1574
1886. 4 March. Hague
Text by H. Lucas. Four acts.
r847 One of the first original works produced at
the Royal French Opera at The Hague. The sub-
BOISSELOT: Ne touchez pas ala Reine ject had been suggested by King William Il of
16January. Paris,O.C. Holland.
Text by A. E. Scribe and G. Vaez. Three acts. Revived at the Hague in 1854 and as late as
Boisselot' s best work. February r 870.
860
 1847 ANNALS OF OPERA 1847

VERDI: Macbeth* Still given frequently; revived in Italy (Milan,

14 March. f1orenee, P. Sc. 26 Deeember I93 8); outside Italy, some of the
revivals up to 1940 were at:
Text by F. M. Piave (after Shakespeare). Four
aets. STOCKHOLM 15 Oetober 1921 (new Swedish ver-
sion by H. Key).
One of the best of Verdi' s earlier operas.
DRESDEN 21 April 1928 (new German version by
Given a11 over Italy and at:
G. GÖhler).
MADRID 20 February 1848 (in Italian).
ZURICH 1928 (Göhler's version).
WARSAW 1 January 1849 (in Polish, translated by
BERLIN I Oetober 1931 (Göhler's version).
J. Jasitiski). VIENNA 28 April 1933 (Göhler's version).
LISBON 13 January 1849 (in Italian).
PRAGUE Deeember 1935 (Göhler's version.)
MALTA 1849 (in Italian).
GLYNDEBOURNE 21 May 1938 (in Italian; for the
HAVANA 1849 (in Italian).
first time in England).
VIENNA II Deeember 1849 (in German) and 21
BUENOS AIRES 23 June 1939 (in Italian).
April 1851 (in Italian).
NEW YORK 24 April 1850 (in Italian).
CONSTANTINOPLE 1850 (in Italian). SALOMAN: Diamantkorset
BUDAPEST 1850 (in Hungarian, translated by B.
(Thc Diamond Cross)
Egressy).
20 March. Copenhagen
HANOVER 23 Deeember 1850 (in German).
RIO DEJANEIRO 25 Mareh 1852 (in Italian).
Text by T. Overskou. Three aets.
STOCKHOLM 29 April 1852 (in Swedish, translated
Saloman's best work. In German, Berlin 19
September 1848. In Swedish, Stoekholm 18 April
by C. W. A. Strandberg).
1886.
BUENOS AIRES 21 Mareh 1854 (in Italian).
ST. PETERSBURG Deeember 1854 (in Italian, as
Sivardo il Sassone). OFFENBACH: L'Alc8ve
SANTIAGO, CHILE 1855 (in Italian). 24 April. Paris
ATHENS 1856. Text by P. A. A. Pittaud de Forges and A. de
PRESSBURG 1856 (in German). Leuven. One aet.
GRAZ 22 September 1856. Offenbach's first operetta; score preserved.
MEXICO Deeember 1857 (in Italian). Produced at a concert at the Salle de la Tour
BUCHAREST 1858 (in Italian). d' Auvergne far Offenbach' s benefit, with orches-
DUBLIN 30 Mareh 1859 (in Italian). tra and scenery.
AMSTERDAM 1860 (in Italian). Also given at Cologne 9 January 1849 (in Ger-
PARIS, TH.L. 21 April 1865 (in Freneh, translated man, as Marielle oder Sergeant und Commandant,
by C. N uitter and A. Beaumont, with many translated by C. O. Sternau).
alterations and additions); an earlier transla-
tion, by L. Danglas, had been published in
18 53.
CAGNONI: Don Bucefalo
SYDNEY 1872 (in Italian). 28 Jllne. Milan, Conservatorio
ZAGREB 13 May 1886 (in Croatian, translated by Text by C. Bassi. Three acts.
1. Tmski). Cagnoni's first opera; very successful in Italy,
Macbeth was to be produeed in London in 1861 given there until 1888.
and again in 1870; both times the produetion did In Italian also, Lisbon I January 1850; Warsaw
not take plaee. A libretto, in English and Italian, 1853; Buenos Aires 17 Jlme 1854; Malta 1854;
was printed C.1850. Barcelona 22 January 1856; Constantinaple 1857;
861 862
 ANNALS OF OPERA

Dublin 21 September 1860; Marseilles April G. SCHMIDJT: Prinz Bugen,

1865; Paris 9 November 1865; New York 18 der e le Ritter
October 1867; Santiago, Chile 1868; St. Peters-
26July. Frankfort
burg 17 December 1868; London, c.G. 29 May
Text by A. Rost. Three acts.
1869; Vienna 16 April 1876 and 7 May 1881
Very successful, given on German stages until
(parts only).
1884·
In Spanish (translated by M. del Palacio), Mad-
In German also, Prague 1848; Riga 1849; Ber-
rid 18 October 1860.
lin, Kroll's 17 July 1850; Zurich 1850, etc.; New
In German (name-part sung in Italian), Berlin
York 26 May 1871 (as Prinz Eugen; oder, Der
19 May 1867.
Uhren händler au; dem Schwarzwald); revived
Brooklyn 21 February 1881.
VER D I: I Masnadieri*
22 July. London, H.M.'s DOPPLER: GrofB~njowsky
Text by A. Maffei (founded on Schiller's Die (Count Benyowsky)
Räuber). Four acts. 29 September. Budapest
The only opera Verdi wrote for London. (Hungarian) text by R. Köffmger (founded on a
Subsequently given at Rome, Ap. 12 February play by A. von Kotzebue). Three acts.
1848; Florence March 1848; Venice 10 May The first opera of the Hungarian composer.
1851; Milan 20 September 1853, etc.; Barcelona Revived in a new version, as Afanasia, Buda-
3 June 1848; Madrid 10 February 1849 (orches- pest, c. 30 January 1854.
trated by J. D. Skoczdopole); Lisbon 8 March In German, Würzburg 27 March 1852; Lem-
1849; Malta 1849; Rio de Janeiro 1849; Havana berg 26 December 1857.
1849; Lugano 1850; Brussels 3 October 1850;
Smyma 1851; Budapest Summer 1852; Athens MAILLART: Gastibelza, ouLe Fou
18 November 1852; Bucharest 1853; Odessa
de TolMe
Camival 1853 as Adele di Cosenza; Buenos Aires
15 November. Paris, Opera-National
I I September 1853; Vienna 3June 1854; Mexico
December 1856; New York 2 June 1860. Text by A. P. d'Ennery and E. Cormon (founded
In Hungarian (translated by 1. Nidaskay) on a French ballad Le FOll de ToIMe). Three aets.
Budapest 12 May 1853. In Freneh also, Antwerp 26 Oetober 1848;
fu French (translated by J. Ruelle), Paris, New Orleans November 1848; Brussels 30 Au-
Athenee 3 February 1870; (translated by 1.Danglas gust 1849; Buenos Aires 27 August 1854.
and M. and 1. Escudier) Lille 24 March 1870. There is a printed Italian version by C. Bassi;
Revived at Bergamo 26 December 1891 and but the opera does not seem to have been given
Milan, T. Fossati 29 August 1903. in Italy.
Revived at Barmen 29 March 1928 (for the Gastibelza was the opening opera of the third
first time in German, translated by R. Franz). Paris opera-house, the Opera-National, better
known under its later name of Theatre-Lyrique
(whieh it adopted 12 April 1852).
A. E. FES CA: Der Troubadour
25July. Brunswick FL 0 T 0 w: Martha oder Der Markt*
Text by F. Schmezer. Five acts. von Richmond
The composer of this Troubadour opera six 25 November. Vienna, Kä.
years before Verdi was the son ofF. E. Fesca (see Text by W. Friedrieh (operatie version of a ballet-
1820). pantomime, Lady Henriette ou La Servante de
 ANNALS OF OPERA

Greenwich, scenario by Vernoy de Saint-Georges, MARSEILLES 15 December 1858 (in French).

music by Flotow, Burgmül1er and Deldevez, first GENEVA 5 April 1859 (in French).
produced Paris, O. 21 February 1844). Four acts. DUBLIN 9 April 1859 (in Italian).
Flotow's most popular work. Subsequently MILAN, CANOBBIANA 25 April 1859 (in Italian).
given at:
BARCELONA 9 February 1860 (in Italian).
WEIMAR 16 February 1848.
ROTTERDAM September 1860 (in German).
DRESDEN and LEIPZIG I March 1848.
LISBON 27 February 1861 (in Italian).
BERLIN 7 March 1848, and all over Germany.
BUDAPEST II ]uly 1848 (in Hungarian, translated MADRID, Z. 13 March 1861 (in Spanish, translated
by J. Szerdahelyi). by E. Alvarez and M. del Palacio) and T.R.
PRAGUE 24 March 1849 (in German) and 17 Feb-
21 December 1861 (in Italian).
ruary 1850 (in Czech, translated by F. CenskY). MEXICO Springl861 (in Italian) and 18June 1869

RIGA 1849 (in German) and 1893 (in Lettish). (in Spanish).
LONDON, D.L. 4 ]une 1849 (in German); c.G. PALMA, MALLORCA Autumn 1861 (in Italian).

1 July 1858 (in Italian); D.1. 11 October 1858 MALTA 1863 (in Italian).
(in English, translated by T. H. Reynoldson). BATAVIA 15 January 1864 (in French).
New English version by E. J. Dent, published BUENOS AIR ES 1 ]une 1864 (in Italian).
1941. SANTIAGO, CHILE 1865 (in Italian).
HELSINKI 26 June 1849 (in German) and 27 April NAPLES, s.c. 24January 1865 (in Italian).
1876 (in Finnish).
RIO DE JANEIRO Autumn 1865 (in Italian).
WARSAW 20 January 1850 (in Polish, translated by
CAIRO January 1872 (in Italian).
J. Jasinski).
TORONTO 15 June 1874 (in English).
BASLE 8 February 1850 (in German).
STOCKHOLM 27 November 1850 (in Swedish,
CHRISTIANIA Autumn 1875 (in Norwegian).
translated by C. W. A. Strandberg). SARAJEVO 1882 (in German).
NEWYORK I November 1852 (in English); 13 March LJUBLJANA 1894 (in Slovenian, translated by A.
1855 (in German) ; 7 January 1859 (in Italian). Funtek).
COPENHAGEN 23 December 1852 (in Danish, trans- KAUNAS 15 September 1935 (in Lithuanian).
lated by C. Hvid and A. Zinck).
SAN FRANCISCO 1853 (in English). KALLIWODA: Blanda oder Die
ANTWERP 20 November 1854 (in German).
silberne Birke
SYDNEY 1855 (in English).
ZAGREB April 1856 (in German) and I January 29 NOl'clllher. Prague
1872 (in Croatian, translated by A. Senoa). Text by F. Kind (posthumous libretto of the
ST. PETERSBURG 1856 (in Russian, translated by N. Freischütz author). Three acts.
1. Kulikov) and Carnival 1859 (in Italian). The only opera of the well-known violinist
PARIS, TH.I. II February 1858 (in Italian, trans- and instrumental composer.
lated by A; de Lauzieres) and Th.1. 16 Dccem-
ber 1865 (in French, translated by J. H. Vernoy L 0 R TZ I N G: Zum Grossadmiral
de Saint-Gcorges).
BRUSSELS 13 February 1858 (for the first time in 13 Dcccl1Iber. Leipzig
French, translated by 1. Danglas). Text by the composer (founded on A. Duval's
STRASBOURG May 1858 (in anothcr French version, comedy, La Je/messe de HC/lri v). Three acts.
by 1. E. Crevel de Charlemagne). Vianna, Jos. February 1849, etc. Revived
ALGIERS Spring 1858 (in Italian) and Carnival 1861 Schwerin 26 April 1936 (rcvised by A. Treumann-
(in French). Mette).

86 5 866
 ANNALS OF OPERA

DARGOMUIZHSKY: Esmeralda 18 4 8
9CMepaJIbAa
17 December. Moscow
KITTL: Bianca und Giuseppe oder
Die Franzosen vor Nizza
Text by the composer (translated from Victor
Hugo's French libretto, see 1836). Four acts. 19 February. Prague
Dargomuizhsky's first opera. St. Petersburg Text by Richard Wagner. Four acts.
11 December 1851, etc. Given in Russia until Also given at Frankfort 11 April 1853; Graz
about 1876. 5 December 1854. Revived Prague 7 March 1857;
S May 1868; and 1 August 1886; Hamburg 2Jan-
uary 1886 (as Die hohe Braut, revised by H.
BALFE: The MaiiofHonour Zumpe).
20 December. London, D.1. In Prague also produced in a Czech version by
Text by E. Fitzball (the same subject as Flo- B. PeSka 20 September 1875.
tow's Martha, see above). Three acts. (Wagner had written the scenario at Königs-
berg in 1836, originally intending to set the
Balfe hirnself considered this opera his most
text hirnself; it is based upon a novel by one
fmished production-but it was unsuccessful.
Heinrich König. Later on, in 1842, at Dresden,
Wagner altered the libretto for Reissiger who,
AU B ER: Haydee OU Le Secret however, did not set it either. See E. Newman,
28 December. Paris,O.C. Richard Wagner, Vol.I, pP.216-17.)
Text by A. E. Scribe. Three acts.
Auber's greatest success after Le Domino noir G R ISA R: Gilles Ravisseur
(1837). Given at the O.c. 498 times until 21 February. Paris,O.C.
1898. Text by T. M. F. Sauvage. One act.
In French also, Antwerp 2 April 1848; Brussels Given at the O.c. until 18SS. Liege 18 February
9 August 1848, etc.; New Orleans 1849; Buenos 1849; Brussels 20 April 1849; Antwerp 7 Feh-
Aires IIJune 1854; Turin April 1858; Soerabaya ruary 18so, etc. Revived Paris, F.P. 21 December
11 November 1867; Barcelona 6 September 1868; Brussels 10 April 1864 and 21 July 1880.
1868; Lisbon 4 May 1878; New York 25 January
1879; Mexico 20 February 1879.
PIERS ON: Leila
In English (translated by G. Soane), London,
Strand 3 April 1848; another English version by 22February. Hamburg
H. F. Chorley was given at C.G. on 4 November Text by C. Leonhardt-Lyser (the wife of the
1848 (music adapted by 1. H. Lavenu). composer). Three acts.
In German, Cassel 20 August 1848; Munich The most important ofPierson's four German
8 October 1848; Vienna, Jos. 28 December 1848 operas (none of which was ever performed in
and Kä. 10 November 1849; Prague and Riga England).
1849; Berlin, Kroll's 8 May 1854.
In Polish (translated by J. Jasmski), Warsaw HACKLÄNDER: Soldatenleben
28 July 1849. 4June. Stuttgart
In Spanish (translated by R. Puente y Brafias, Text by the composer. Three acts.
music adapted by F. A. Barbieri), Madrid, Circo The only operatic attempt ofHackländer, who
22June 1871. was a popular novelist in his time. The opera was
Last revived, Nice January 1934. orchestrated by the singer Schlooz.
868
 ANNALS OF OPERA

CSASZAR: A Kunok In Freneh also, New Orleans l)eeember 1849.

(The Cumans) In German (translated by L. Rellstab), Berlin
8 April 1849, ete.; in German also, Riga 14 April
September. Budapest
16
1852; Prague 20 November 1856.
Text by HegyaIji. Four aets.
London, St.J.'s 7 January 1850 (in Freneh) and
The most successful of Csaszar's Hungarian
Prineess's 28 January 1850 (in English); New
operas. Given at Budapest more than 100 times.
Y ork 15 March 185 I (in English); St. Petersburg
In Hungarian also, Temesvar 15 June 1852;
Spring 1852 (in Russian, translated byP. S. Fedo-
Zagreb July 1860. Revived Budapest 15 May
rov); Warsaw 9 Oetober 1852 (in Polish, trans-
1904·
lated by J. Jasll1.ski); Milan, T. d. V. 5 l)eeember
LVOV: Undina 1876 (in Italian); Stockholm I April 1888 (in
Swedish).
YHgHHa
Revivedin Paris: Th.L. 15 Oetober 1860; O.C.
20September. St. Petersburg
14 Oetober 1875; Tr.L. 16 Oetober 1915.
Text by V. A. Sollogub (translated from a Freneh Revived in German: Cassel I September 1880;
libretto by Vemoy de Saint-Gcorges). Three acts.
Hamburg 28 September 1885; Carlsruhe 3 l)e-
In German (as Die Tochter der Wellm, trans-
eember 1900.
Iated by O. Prechtler), Vienna 30 Oetober 1852.

MIRO: A Marqueza 18 49
4 Getober. Lisbon A. THOMAS: Le Cai'd
Text by P. Midosi (founded on a Freneh libretto
La Marquise, by Vemoy de Saint-Georges, eom- 3 Jallliary. Paris,O.C.
posed by Adam in 1835). One aet. Text by T. M. F. Sauvage. Two aets.
The most sueeessful of Mir6' s Portuguese Apart from Mignon and Halldet, Thomas's most
operas. sueeessful work.
VERDI: Il Corsaro* In Freneh also, Brussels 26 August 1849; New
Orleans December 1850; LonJon, St.].'s 28 Jan-
25 Getober. Trieste
uary 1850; New York 28 June 1852; Buenos
Text by F. M. Piave (founded on Byron's poem). Aires Spring 1852; Turin 4 April 1858; Madrid
Four aets.
7 July 1859; Batavia 18 March 1864.
Of all Verdi operas 11 Corsaro was the least for-
In English (translated by B. N. Webster), Lon-
tunate one; it was repeated at Milan, T .. Careano
don, Little Hm. 18 June 1851; revivedManehester
7 February 1852; Modena 26 l)eeember 1852;
8l)eeember 1880 (translated by A. Matthison).
Turin Autumn 1852; Novara Camival 1853;
In German (translated by C. Gollmiek), Vienna
Veniee, F. February 1853; Malta 1853 and Nap-
29 August 1856; Berlin 22 September 1857;
les, S.c. 1854.
Prague May 1860, ete.
In Italian (translated by M. M. Mareello, reci-
HALEVY: Le Val d'Andorre tatives by P. Repetto), Milan February 1863;
11 November. Paris, O.c. Barcelona 25 August 1865; Florenee 7l)eeember
Text by J. H. Vemoy de Saint-Georges. Three 1877; Naples 4 August 1889.
aets. In Polish (translated by L. Matuszyllski), War-
One of Halevy' s greatest sueeesses. saw 1870.
Antwerp 19 February 1849; Brussels 14 March Last revived Paris, O.c. 16 February 19II and
1849, ete. Gaite Lyrique 18 May 1931.

870
 ANNALS OF OPERA

VERDI: La Battaglia di Legnano* ZURICH 26 November 1852 (in German).

27 January. Rome, Arg. PRAGUE November 1853 (in German) and4 Mareh
1865 (in Czeeh, trallslated by B. Pdka).
Text by S. Cammarano. Three acts.
AMSTERDAM Mareh 1857 (in German).
In Italy sometimes, and at Oporto 1858, given
as L'Assedio d'Arlem. In Italian also, Malta 186l. STOCKHOLM 18 May 1857 (in Swedish, translated
In a French 4-act version by M. Drack (Patria), by G. A. Elkan); revivcd 15 February 1897.
Verdi's work was chosen as the opening opera of TEMESVAR 2 Febru:lry 1858 (in German).
the new Thcatre du Chateau d'Eau in 1889; it BUDAPEST 19 Oetober 1859 (in Hungarian, trans-
was, however, not produced and has never been lated by L. Csepregi).
given in France. ANTWERP 9 January 1861 (in French, translated by
L. Danglas).
Revived Milan, Sc. 19 January 1916andBuenos
Aires 28 May 1916 (in Italian); Augsburg 20 PHILADELPHIA 16 March 1863 (in German).
March 1932 (in German, as Die Schlacht von Le- NEW YORK 27 April 1863 (in German) and 5 Fcb-
gllano, translatcd by F. X. Bayerl); Bremen 6 ruary 1886 (in English, translated by H. E.
Krehbicl).
March 1937 (:lS Das heilige Feuer, translated by J.
Kapp). LONDON, H.M.'S 3 May 1864 (in Italian, translated
by S. M. Maggioni); Adclphi II February 1878
(in English); and c.G. 16 Febrmry 1907 (in
GLÄSER: Bryllupet vet Corno-Seen Gcrm:ln).
(The Wedding on Lake Corno) BORDEAUX 1864 (in French).
29 January. Copenhagen WARSAW 1865 (in Polish, translated by J.Matus-
Text by H. C. Anderscn (founded on Manzoni's zewski).
I promessi Sposi). Three acts. PARIS, TH.L. 25 May 1866 (in Freneh, translated by
The most successful of Gläser' s three Danish J. Barbier).
operas; he had been appointed court conductor COPENHAGEN 14 September 1867 (in Danish,
at Copenhagen in 1842. translated by A. Zinek).
DUBLlN 24 September 1867 (in Italian) and 17 Oe-
tober 1877 (in English).
NICOLAI: Die lustigen Weiber
LAIBACH (LJUBLJANA) 27 February 1868 (in Ger-
von Windsor* man) :md 1920 (in Slovenian).
9 March. Berlin, O. ZAGREB 12 February 1876 (in Croatian, translated
Text by S. H. Mosenthal (from Shakespeare's The by A. M. Bisean).
Merry Wives of Windsor). Three acts. ABERDEEN 10 October 1877 (for the first time in
Nicolai's chief work and his last opera (d. I l Enghsh, translated by H. Hersee).
May 1849). SYDNEY October 1877 (in English).
W ritten for Vienna but refused there and event- NAPLES, T. BELLlN! I March 1889 (for the first time
ually produced at Berlin. Very popular on Ger- in Italy; new Italian version by S. de Castrone,
man stages, and successful also abroad; not even Marchese della Rajata; Milan, Se. as late as 5
Verdi's Falstaff (1893) was able to displace it. February 1912).
Given at the Berlin o. more than 300 times BARCELONA November 1895 (in Italian).
until 1926; the 250th performance was on 2 HELSINKI20 M:lY 1900 (in German) and 15 Feb-
March 1908. Subsequently produced at: ruary 1922 (in Finnish).
RIGA I December 1851 (in German) and27 March BELGRADE 1922 (in Serbian).
1923 (in Lettish). KAUNAS 15 May 1928 (in Lithuanian).
V1ENNA 12 February 1852 (with recitatives by H. SOFIA 13 December 1929 (in Bulgarian).
Proeh). TALLlNN 1930 (in Estonian).

872
1849 ANNALS OF OPERA 1849
BUCHAREST Spring 1934 (in Rumanian). HAMBURG 24January 1850 (in German, translated
Last rcvivcd in New York 22 April 1936 (by by L. Rellstab).
the Juilliard School of Music, Krchbiel's trans- AMSTERDAM 29 January 1850 (in German, trans-
lation); revived in Lcndon 6 July 1937 (by the lated by L. Rellstab).
R.C.M.). VIENNA 28 February 1850 (in German, translated
by L. Rellstab).
HERNANDO: Colegialas y Soldados USBON I April 1850 (in Italian).

(College Girls and Soldiers) ANTWERP 2 April 1850 (in French).

NEW ORLEANS 2 April 1850 (in French).
21 March. Madrid, Comedia
BERLIN 28 April 1850 (in German).
Text by M. Pina. Two acts.
BUDAPEST II June 1850 (in Hungarian, trans-
Although this is not the "first zarzuela" as it
lated by B. Egressy and J. Szerdahelyi).
has been called, not evcn the first zarzuela of the
BRUSSELS 6 September 1850 (in French); a Flernish
19th century, it certainly is the work which stands
parody by H. van Peene was given at Ghent
at the beginning of a new' school of Spanish
10 March 1851:
musical drama which, in the following years,
GRAZ 10 October r850.
slowly sccured victory ovcr the hitherto un-
PRAGUE 6 December 1850 (in German) and 5 De-
challenged die of Italian opera in Spain. After
cember 1875 (in Czech, translated by B. Pe'Ska).
Hernando, the chief composerS wereGaztambide,
BASLE 13 Decembcr 1850 (in German).
Barbicri, Arrieta, and Oudrid. The vocal score of
CONSTANTINOPLE Autumn 1851 (in Italian).
Colcgialas y Svldados was published in 1872.
ST. PETERSBURG 17 March 1852 (in Italian) and 24
December 1869 (in Russian, translated by P. 1.
iIMN ANDER: Les Montenegrins Kalashnikov) .
I
I 3 1 March. Paris,O.C. STOCKHOLM 8 November 1852 (in Swedish, trans-
Text iby J. E. Alboizc du Pujol and G. Labrunie lated by C. W. A. Strandberg).
de Nerval. Three acts. FLORENCE 26 Decembcr 1852 (for the first time in
The most succcssful work of the Bclgian com- Italy, in Italian).
poser. NEW YORK 25 November 1853 (in Italian); 7 May
Antwcrp 6 January 1850; Brussels 30 January 1872 (in German) ; and I January 1892 (in
1850, etc. French).
Revived Paris, O.c. 14 August 1858 (reduced DUBLIN 6 September 1855 (in Italian).
to two acts); last revived at Brussels 28 August MILAN sc. 1855 (in Italian, translation revised by
1880. L. Fortis).
REVAL March 1856 (in German, as Die Belagerung
MEYERBEER: Le Prophete* VOll Gellt).
16 April. Paris, O. HELSINKI 8 June 1856 (in German).
Text by A. E. Scribe. Five acts. HAVANA 1857 (in Italian).
The looth performance in Paris was on 14July MEXICO 8 June 1861 (in Italian).
1851; the 500th on 26 November 1898; last re- BARCELONA 21 January 1863 (in Italian).
vived there 26 February 1912. Outside Paris given ALGIERS Spring 1863 (in Italian).
at: MELBOURNE and SYDNEY Summer 1864 (in Eng-
LONDON, C.G. 24 JulI' 1849 (in Italian, translated lish).
by S. M. Maggioni); Surrey Th. 7 August 1854 NAPLES s.c. November 1865.
(in English); C. G. 23 June 1890 (in French); WARSAW 1867 (in Polish, translated by J. Che-
last revived at c.G. 15 May 1895 (150th per- cinski).
formance there). MALTA 1873 (in Italian).
 ANNALS OF OPERA 1849
BUENOS AIRES 22 August 1873 (in Italian). HERNANDO: EI Dlteltde
CAIRO February 1875 (in Italian). (The Ghost)
RIO DE JANEIRO Autumn 1876 (in Italian).
6 june. Madrid, Variedades
ZAGREB 20 March 1897 (in Croatian, translated by
Text by L. de Olona. Two acts.
F. Miler).
Very sueeessful zarzuela, running f or 120 nights.
Given at Brisbane, Queensland, in the universal
A seeond part, by the same authors, followed on
language, "Volapük," on I July 1889 (according
18 February 1851 at the Teatro Urieo Espanol;
to contemporary journals).
EI Ducllde was given at Barcelona Alltumn 1850;
Still on the stage in several countries ; revived
Mexico 15 Dceember 1854; and Buenos Aires
at Brussels I August 1926; Lcningrad Oetober
1856 as the first zarzuela there.
1934 (in Russian).

ADAM: Le Toreador Oll LAURO ROSSI: Il Domino nero

L' Accord parfait 1 Septcmber. Milan, Can.
Text by F. Rubino (founded on Seribe's Freneh
18 May. Paris,O.C.
libretto, see 1837). Three aets.
Text by T. M. F. Sailvage. Two acts.
Sueeessful in Italy; last revived Turin 12 June
Adam says in his autobiographieal notes that he
1873; Pistoia February 1878.
wrote the score in six days. Very successful in
In Italian also, Vienna 17 May 1851; Barcelona
Paris; the latest revivals at the O.c. were on 28
6 Deeembcr 1851; Malta 1852.
Deeember 1881, I June 1893, and 2 February
191 I.
In Frcnch also given at Brussels 13 November HALEVY: La Fee aux Roses
1849; London, St.J.'s 18 February 1859; Madrid, 1 October. Paris,O.C.

Z.July 1859; New York 18 October 1866; Bar- Text by A. E. Seribe and J. H. Vernoy de Saint-
celona 30 June 1868; Lisbon 29 May 1878. Georges. Three aets.
In Swedish (translated by C. W. A. Strand- In French also, Brussels 20 June 1850; New Or-
berg), Stockholm 23 November 1857. leans January 185 I.
In German (translated by R. SchickeIe and F. In German (translated by J. c. Grünbaum),
Rumpel, mllsic revised by M. Morris), Berlin, Leipzig 19 September 1850.
K.O. 27 March 1909; Praglle 18 August 1909. In Polish (translated by J. Checlllski), Warsaw
Revived Duisburg, Oetober 1929 (in German) ; 15 February 1855.
Johannesburg, Winter 1929 (in English). In Russian, St. Petcrsburg 1855.
Revived Paris, Galerie Vivienne 12 April 1897;
RolattdS Knappm oder
L 0 R T Z I N G: Geneva I I January 1898.
Das ersehnte Glück
25 May. Leipzig MACFARREN: King Charles II
Text by the composer, G. Meisinger, and C. 27 aerober. London, Prineess's
Haffner (see H. Laue, DieOpcmdichtungLortzing's, Text by M. D. Ryan (founded on the comedy by
pp.18o-186), founded on a tale by J. K. A. Mu- J. H. Payne). Two aets.
säus. Three acts. "The triumphant success achieved by Mr. Mae-
Berlin, Fr. W. 9 August 1862. RevivedBremen farren's new opera has been ehroniclet:l bythe
R March 1906 (revised by G. R. Kruse and P. No- whole of the metropolitan press. We have not
dermann) ; Berlin, Th.d.W. 27 Oetober 1906, ete. heard one dissentient voiee, nor read one dissen-
As Die Glücks/larrcn (new libretto by P. Hensel- tient opinion as to themerits of Killg Charles 11.
Haerdrieh), Rostoek and Cassel26 Oetober 1937. That it is the finest and most complete operatic

875
 ANNALS OF OPERA

work of a native musician ever produced on the Still given freqllcntly, revivcd Bcrlin 10 Dcccm-
stage is no less universally allowed. The produc- ber 1927 (in German, translated by G. Göhler);
tion of such a work and its reeeption must be Budapest March 1929 (in Hungarian, translated by
regarded as an epoch in the history of the music V. Unyi); New York, M. 21 Deeember 1929 (in
of the country". (Mllsical WarM, 3 November Italian); Vienna, Akademie Th. 14 March 1930 (in
18 49.) German) ; Lcningrad May 1936 (in Russian);
Zurich 1938 (in German).
FUERTES: EI Tio Caniyitas, 0 EI
MUl1do Nuevo di Cadiz GAZTAMBIDE: La Mensajera
(Goodfellow Caniyitas, or The New (The Errand Girl)
W orld of cadiz) 24 Deccl1lbcr. Madrid
NOl'cmbcr. Sevilla Text by L. de Olona. Two aets.
Text by J. Sanz perez. Two acts. Gaztambide' s first zarzuela; prodlleed at thc
Fuertes's best zarzuela; popular in Spain; Mad- T. Espaiiol (formerly T. dcl Principe).
rid, Circo Decem ber 1850, etc.
Also given at Mcxieo Spring 1855, ete. DOPPLER: Ilka, vagy:
A Huszartoborzo
VERDI: Luisa Miller* (Ilka; or, The Hussar Rccruiting)
8 Dcccl1lbcr. Naplcs, 5.C. 29 DecfllllJer. Budapest
Text by 5. Cammarano (from 5chiller's drama, Text by J. Janotyckh von Adlerstein. Three aets.
Kabale lind Liebe). Thrce aets. Slleeessful Hungarian comic opera; revived at
In Italian also gi ven at: Blldapest 29 Deeember 1892 and given there
MALTA 1850. until 1900.
MADRID 27 April 185I. In German, Pressburg November 1857; Ha-
LISBON 22 June 185 I. Ilover 26 November 1858; Viellna 23 Mareh I 867.
BARCELONA 25 October 185!.
VIENNA 20 April 1852.
PARIS 7 December 1852. 18 50
CONSTANTINOPLE Carnival 1853.
RIO DEJANEIRO 1853. HO V E N : Ein Abmteuer Carl
BUCHAREST 1853. des Zweiten
BUENOS AIRES 28 January 1854.
12 jalluary. Vienna, Kä.
NEW YORK 20 July 1854.
Text by S. H. von Moscnthal. One aet.
ST. PETERSBURG 1857.
Hoven's most sueeessflil work; subsequently
CORFU 1857.
givcn at Weimar 7 April 1850; Berlill, Fr. W. 19
BASTlA, CORSICA Carnival 1858.
November I 851; Dresden 29 November 1851,ete.
LONDON, H.M.'S 8 June 1858.
Revived at the Vienna Conservatoire March
WILNA 1873.
1879; and Lauchstedt 26June 1938 (by the Leip-
In German, Hanover 27 May 1851.
zig Univcrsity Collegium Musicllm).
In Hllngarian (translated by ß. Egrcssy), ßu-
dapest 30 May 18SI.
In Freneh (translated by TI. Alaffre and E. Pa-
G R ISA R: Les Porcherons
cini), Paris, O. 2 February 1853. 12 ja/ll/ary. Paris, O.c.

In English (translated by C. Jefferys), London, Text by T. M. F. Sallvagc and J. J. Gabriel. Thrce

Sadlcr's W clls 3 June 1858; Mclbollrne 1860. acts.
 1850 ANNALS OF OPERA 1850

Brussels 13 August IHSO; Antwerp 25 Oetober LISBON 22 February IH67 (in It:.lian; revived 7
1850, etc. Februar)' 1891).
Revived Paris, O.c. 26 August 1865. BUENOS AlRES 22 March 1867 (in Itali:tn).
German voeal score, transbted by C. Gollmiek, VIENNA IO May 1867 (with additions) (in Itali:lI1):
publishcd 185 r. SANTlAGO, CHILE 1867 (in Italian).
BADEN BADEN 12 August 1H67 (in Italian).
GADE: Mariotta ßERLlN, VICT. TH. 15 Oetober 1867 (in Italian).
ST. l'ETERSßURG 17 February 1868 (in Italian).
17 JallHary. Copenhagcn PRAGUE 20 J une 1869 (in Czceh, translated by J.
Text by C. Borgaard (foundcd on a eomedy by Böhm).
Seribe). Thrce aets. ßRESLAU 20 February 1870 (for the first time in
The only (unslleeessful) opera of the. famolls German; revived Stuttgart 6 March 1887).
Danish romantie composer. CAIRO March 1870 (in Italian).
ZAGREB 7 April 1874 (in Croatian, translated by
L. and F. RICCI: A. M. Bisbn).
SYDNEY Summer 1874 (in Italian).
Crispino e la Comare ossia
HELSINKI 188o (in Swedish, tr:lI1slated by R. Hertz-
Il j\1edico e la Morte berg).
28 February. Veniee, S. Ben. ßUCHAREST 1903 (in Rumanian).
Text by F. M. Piave (lIIelodral1ll11a falltastico-gio- Revived New York 18 January 1919; one of
coso, founded on a eomcdy by S. Fabbriehcsi, the latest revivals in ltaly was at Turin, T. Cari-
1835). Threc aets. gl1Jno 2 February 1937.
The most popubr werk of the brathers Rieei,
very sueeessful in Italy and abroad:
F. A. BARBIERI: Gloria y Peluca
CONSTANTlNOPLE Carnival 1854 (in Italian).
BARCELONA r8 March 1854 (in Italian). (Glory and Wig)
MALTA 1856 (in Italian). 9 March. Madrid, Variedades
LONDON, ST. J.'S 17 November 1857 (in Italian;
Text by J. de la Villa del Valle. One act.
bst revived Shaftesbury 19 Oetober 1891).
Barhieri's fmt zarzuela (of more than 70).
cADIZ [16 April] 1858 (in Spanish, translated by
J. Sanz Perez, musie adapted by V. Lama-
drid). ( T H R A NE) : Fjeldeventyret
RIO DE JANEIRO March I R61 (in Portuguese) and (MOl,mtain Adventure)
1875 (in Italian).
9 April. Christiania
PARIS, TH. I. 4 April 1865 (in Italian) and Athcnce
18 September 1869 (in French). Text by H. A. Bjerregaerd. Two aets.
NEW YORK 24 Oetober 1865 and Philadelphia 15 This first Norwegian opera had been printed as
Oetober 1866 (in Italian); New York 13 No- earlyas 1824 and givcn a eoneert performance at
vember 1882 (in English). Christiania in March, 1827 (see note in The Har-
WARSAW 9 Deeember 1865 (in Italian). monicoll, 1826, p.208). I
NEW ORLEANS 7 November 1866 (in Italian). Bergen 2 Oetober 1851; Copenhagen 26 May
MEXICO 22 November 1866 (in Italian). 18 58.
LIEGE 17 Deeember I866 (in Freneh, translated by In Swcdish (mnslated by C. A. K. Almlöf and
C. Nuitter and A. Beaumont). E. A. Wallmark), Stockholm I6 August 186r.
BRUSSELS 18 Deeember 1866 (in Freneh, translated Revived Christiania 5 April 1908 and still givcn
by C. Nuittcr and A. Beaumont). there as late as I929 and 1933.

880
 1850 ANNALS OF OPERA 1850

SKROUP: Libusin Snatek HALEVY: La Tempesta

(The Marriage ofLibussa) 8 June. London, H. M.'s
11 April. Prague (Original Freneh) text by A. E. Scribe (from
Text by J. K. Chmelensky. Three aets. Shakespeare's Tempest) , Italian version by P.
Giannone. Three acts.
Early Czeeh national opera (Smetana treated
the same subjeet in 1881). (Originally the libretto had been writtcn for
Mendelssohn). The only opera Halcvy wrote for
London; unsucecssful.
A. THOMAS: Le Songe In Italian also, Paris 25 February 185!.
d'une Nuit d'Ete
20 April. Paris, O.c. SCHUMANN: Genoveva*
Text by J. B. Rosier and A. de Leuven (not 25 June. Leipzig
founded on Shakespeare's A Midswnmcr Night's The original text, by R. Reinick, was altered by
Dream, but dealing with an episode in Shake- the composer himself, who based the libretto on
speare's life, with the poet himself, Queen Eliza- L. Tieck's and F. Hebbel's Ccnoveva dramas.
beth and Sir John Falstaff appearing in it). Three Four acts.
aets. Sehumann's only opera; it was ncver a success
Very sueeessful in Franee. although produced on scveral stages:
Revived at the O.c. 22 September 1859 and WEIMAR 9 April 1855.
17 April 1886 (with some new pieces) ; revived at CARLSRUHE 3 December 1867.
the Tr.L. 12 November 1915; at Lille as late as MUNICH 12 October 1873.
13 February 1936; at Brussels 27 September 1937. VIENNA 8 January 1874.

Outside Franee: WIESBADEN 7 February 1874.

HANOVER 14 November 1874.
LIEGE 24 March 1851; Brussels I July 1851, ete.
MANNHEIM 14 March 1875.
(in Frcneh).
BERLIN I March 1877.
NEW ORLEANS 1851 (in Freneh).
CASSEL 18 March 1878.
FRANKFORT 22 April 1852 (in German, translated
HAMBURG 8 January 1879.
by C. Gollmiek). FRANKFORT 15 October 1880.
NEW YORK 21 June 1852 (in Frcneh) and 15 Oe- BASLE 18 Fe br~ary 188!.
tober 1877 (in English, translated by M. A. COLOGNE 21 October 188!.
Cooncy). DRESDEN 24 January 1882.
VIENNA I2January 1854 (in German). AUGSBURG 14 March 1882.
February 1854 (in German).
BERLIN, FR. W. 2 ROTTERDAM 9 Dccembcr 1882.

GENEVA March 1854 (in Frcneh). DARMSTADT 27 March 1887.

PRAGUE 27 August 1902.
BUENOS AIRES 7 Oetober 1854 (in Freneh).
Revivcd Rudolstadt February 1935·
BARCELONA I August 1868 (in Freneh).
Outside the Gcrman-speaking countries given
L1SBON 10 April 1878 (in Freneh).
at:
MEXICO 24 April 1879 (in Frcneh). LONDON, D.L. 6 December 1893 (by the R.C.M.,
PADUA 24 February 1897 (in Italiall, translated by in Ellglish, translated by L. Vance; a concert
A. Zanardini). selection had been givcn by the Bach Choir at
GLASGOW 18 February 1898 (in English, as A Poet' s St. James's Hall, on 8 March 1887); R.C.M.,
Drcam, translated by W. B. Kingston). agam, 1910.
881 882
1850 ANNALS OF OPERA 18 50

PARIS 16 December 1894 (in concert form at the W. 1 July 1880; Hanover 9 December 1884;
Concerts d'Harcourt; in French, translated by Leipzig 25 December 1888.
E. d'Harcourt and C. Grandmougin). In Spanish (translated by M. Pina), Granada
ST. PETERSBURG 20 April 1896 (in Russian; in Ger- 27 May 1858 and Madrid, Z. 19June 1858; (trans-
man given there privatcly 24 February 1870 lated by C. Frontaura), Barcelona November
already). 1862; MexicoJuly 1893.
In Russian, Moscow 1869.
F. A. BARBIERI: Tramoya In English (translated by A. Baildon), London,
(The Trick) Ly. 21 September 1876; Boston 4 March 1885.
27 jUlle. Madrid, COIncdia In Swedish, Stockholm 13 September 1893.
Text by J. de Olona. One act.
This zarzuela was very successful in Spain and COSSOUL: A Cisterna do Diabo
South America. (The Devil's Cistern)
17 August. Lisbon
DE GIOSA: Don Checco Text by J. F. O. Romano. One :lct.
11 July. Naples, T.N. Early Portugucse comic opera, produced at the
Text by A. Spadctta. Two acts. Theatro do Gymnasio.
De Giosa's most popular work, according to
Clement "un des plus grands succes de l'opera R. WAGNER: Lohengrin
bouffe". 28 A/~~I/St. Weimar
One of the latest revivals was at Naples on 7 Text by the composer. Three acts.
December 1902. Written 1846-48. Originally intended to be
In Italian also given at Malta, Autumn 1854; produced at Dresden, but rejected there in 1848.
Barcelona February 1859; Santiago, Chile 1870; Produced by Liszt at Weimar when Wagner was
Cairo November 1870; Sydney January 1885. a political exile in Switzerland. He did not attend
In Portuguese (translated by L. V. de Simoni), a performance of Lvhcllgrill until after I I years (;:.t
Rio de Janeiro 17 November 1860. Vienna 15 May 1861). The next productions were
In Spanish (as Dc [rlc6,~llito, tr:mslated by C. at Königsberg 1853; Wiesbaden 2 July 1853;
Frontaura, music adapted by Luis Cepeda), Mad- Leipzig 7 January 1854; Schwcrin 15 January
rid, Circo 30 May 1861 and Mexico 29 Novem- 1854; Frankfort 12 April 1854; Darmstadt 17
ber 1892. April 1854 (not 1855); Breslau 31 October 1854;
Cologne 4 January 1855; Hamburg 19 January
ADAM: Giralda auLa
1855, etc.
nouvelle Psyche RIGA 5 February 1855 (in German) and 2 October
20 july. Paris,O.C. 1920 (in Lettish, translated by A. Anderson).
Text by A. E. Seribe. Three acts. PRAGUE 23 February 1856 (in German) and 12
Successful in Paris; revived at the O.c. 2K January 1885 (in Czech, translated by V. J.
March 1862 and 24 January 1883; Tr.L. 7 May Novotny; first Wagner opera sung in that
19 1 5. lallguage) .
In French also, Brusscls 20 December 1S50; VIENNA, o. 19 August 1858 (688 performances
Hague September J 85 I. until 1936).
In Portuguese, Lisbon December 1850. BERLIN, O. 23 January 1859 (745 performances
In German (translated by W. Friedrich), Berlin until 1935; 500th performance 23 March 19 (6 ).
25 February 1851; Vienna .4 Oetober 1851; ROTTERDAM 19 November 1862 (in German).

.
Prague 25 October IS55, etc. Rcvived Berlin, Fr. GRAZ 5 December 1863 .
18 50 ANNALS OF OPERA 18 50

BUDAPEST I December 18ö6 (in Hungarian, trans- MADRID 25 March 18~1; Barcelona 17 May 1882;
lated by G. Böhm and F. Ormai). Bilbao 17 June 1890 (in Italian); a fragment of
ST. PETERSBURG ;:6 Octob~r 1868 (in Russian, Lohc/l.~ri/l had been pcrformed at a concert at
translated by K. Svantsov); Moscow 3 I De- Bilbao as early as 1872. Catalan version by X.
cember 1881. Viura and ]. Pena published 19°5; Spanish
BRUSSELS 23 March 1870 (for the first time in (Castilian) version by A. Gil Y Gordaliza pub-
French, translated by C. Nuittcr). lished I9ID.
COPENHAGEN 30 April 1870 (in Danish, translated L1SßON 14 March 1883 (in Italian).
by A. Hertz). REVAL (TALLlNN) 15 March 1883 (in German) ;
HAGUE 30 November 1870 (in German) and 20 August 1913 (in Italian !); and 1927 (in Esto-
May 1871 (in French). nian, translated by G. Tuksam).
NEW YORK 3 April 1871 (in German); 23 March BUENOS !HRES 17 July 1883 (in Italian).
1874 (in Italian); and 20 January 1886 (in Eng- RIO OE JANEIRO 19 September 1883 (in Italian).
lish, translated by N. Macfarren). CHRISTIANIA 2 Deccmbcr 1885 (in Norwegian).
BOLOGNA I November 187I (in Italian, translated PARIS, TH. EDEN 3 May 1887 (in French); then
by S. de Castrone, Marchese della Rajata) ; Rouen 7 February 1891; Angers and Nantes
first Wagner opera in Italy; conductor, A. 21 February 1891; Lyons 26 Fcbruary 1891;
Mariani. Subsequently produced at Florence, Bordeaux 3 I March 1891; Paris, O. only 16
T. Pagliano 8 Deccmber 1871; Milan, Sc. 20 September 1891; Marseilles 26 February 1892;
March r873 (under Faccio); Trieste 4 October MOllte Carlo 8 March 1902.
1876 (under Mancinelli); Turin 14 March r877 MONTREAL 7 January 1888 (in English).
(under Pedrotti); Rome, Ap. 25 April r878 SANTIAGO, CHILE December 1889 (in Italian).
(under Ponchielli); Genoa r5 June r880 (under GENEVA 27 December 1889 (in French).
ManeineIli) ; Naplcs, S.c. 26 February r881; MEXICO 8 November 1890 (in Italian) and 8 April
Venice 2 January 1882 (under Usiglio), etc. 1891 (in English).
STOCKHOLM 22 January 1874 (in Swedish, trans- ZAGREB 28 June 1893 (in Croatian, translated by
lated by F. T. Hedberg). A. Harambasic).
LONDON, C.G. 8 May 1875 (in Italian); H.M.'s 7 BUCHAREST December 1893 (in Italian) and 8 De-
February 1880 (in English, translated by]. P. cember 1921 (in Rumanian, on the opening
Jackson); D.L. 18 May 1882 (in German). night of the Rumanian State 0Fera).
IDoth performance at c.G. 8 May 1899. MALTA 1896 (in Italian).
DUBLIN I I October 1875 (in Italian). ALEXANDRIA January 1897 (in Italian).
BASLE 8 December 1876 (in German) ; coneert LJUBLJANA 19 January 1899 (in Slovenian, trans-
performances al ready Berne I March 1873 lated by M. Markic).
(first act) and Zurich 13 March 1874. PERM 7 November 1899 (in Russian).
LEMBERG 21 April 1877 (in Polish, translated by HELSINKI2 May 1900 (in German) and 6 May 1920
A. Urbal1ski). (in Finnish, translated by P.]. Hannikainen).
NEW ORLEANS 3 December 1877 (in Italian) and CORFU 1902 (in Italiall).
4 March 1889 (in French). JOHANNESBURG 1905 (in English).
GHENT 22 October 1880 (in German) and 9 April MELBOURNE 30 March 1907 (first opera in Austra-
1888 (in French). lia sung in German).
ANTWERP 12 March 1881 (in German); 21 March KHARKOV 1925 (in Ukrainian).
1889 (in French); 15 December 1896 (in Flem- KAUNAS 3 February 1926 (in Lithunian).
ish). ATHENS November 1931 (in Italian).
NICE 21 March 1881 (in Italian); for the first time TOKYO 1932 (the first act, in concert form).
in France. SOFIA 5 September 1934 (in Bulgarian).

885 886
 ANNALS OF OPERA

ARRIETA: La Conquista di Granada In German (translated by A. Schirmer), Vienna,

100etober. Madrid, T. del Real Palacio Ca. 3 November 1860 (revived 3I March 1874).
In Swedish (translated by E. A. Wallmark),
(Italian) text by T. Solera. Three acts.
Stockholm 7 November 1868.
Rcvived Madrid, T. de la Plaza de Oriente 18
December 1855.
A UBER: L'Enfant prodigue
VERDI: Stiffelio* 6 December. Paris, O.
16 November. Trieste Text by A. E. Seribe. Five acts.
Auber's only opera on a biblical subject.
Text by F. M. Piave ("uno dei maggiori delitti
Given in Paris 44 tim es. In French also, Brussels
poetici del Piave". according to L. Miragoli),
4 April 1851.
founded on a French play by E. Souvestre and
In English (as Azael, the Prodigal, translated by
E. Bourgeois. Three acts.
E. Fitzball, musie adapted by H. Laurent), Lon-
Unsuccessful; given on a few Italian stages; at
don, D.L. 19 February 1851; New York 2 June
Rome 23 February 1851 and Florence 30 May
18 51.
1851 as Guglielmo Wellingrode; outside Italy,
In Italian, London, H.M.'s 12 June 1851; reviv-
Barcelona 20 October 1856.
ed Florence 12 September 1875.
Verdi revised this opera some years later for the
In German (translated by J. C. Grünbaum),
inauguration of the Teatro Nuovo, Rimini; it
Graz 22 October 1851; Vienna 21 November
was given there as Aroldo (4 acts) on 16 August
1851; Munich 15 March 1852, etc.
1857; this new version was somewhat more
suceessful; given at Rome 31 January 1858, ete.;
and, in Italian also, at Vienna 5 May 1858; Malta
1859; Buenos Aires 15 November 1860; Lisbon
25 November 1860; New York 4 May 1863; STRAKOSCH: Giovanna Prima
Mexico 23 September 1864; Rio de Janeiro No- di Napoli
vember 1864; Santiago, Chile 1865.
6 January. New York, Astor Place Opera House
Given on Italian stages until 1883 (Crema).
Librettist not mentioned; perllaps an altered ver-
French vocal score (translated by E. Duprez)
sion of A. Pendola's libretto of this title (set by
published C.I 865.
Granara, Venice 1836). Three aets.
The only Italian opera of the well-known im-
FL 0 T 0 W: Sophia Catharina oder presario, who was the brother-in-Iaw of Adelina
l)ie Gros~ürstin Patti.
19 November. Berlin, O.
Text by C. Birch-Pfeiffer. Four acts. l)ie vornehmen l)ilettanten
L 0 R T Z I N G:
Given on many other German stages and, in oder l)ie Opernprobe*
Swedish (translated by T. Knös) , at Stockholm
20 January. Frankfort
20 March 1852. Reviv.ed Berlin 5 Oetober 1858.
Text by the composer (founded on a Freneh play
by R. Poisson). One act.
M ASS E: La Chanteuse Voilee The last of Lortzing' s operas whieh was pro-
26 November. Paris, O.c. duced in his lifetime; he died at Berlin the day
Text by A. E. Scribe and A. de Leuven. One act. after the first performance at Frankfort.
Masse' s first greater success. Popular on German stages; Berlin, Fr.W. 28
In French also, Brmsels 7 March 1851; Lisbon September 1851; Vienna, W. 7 Oetober 1858,
1855; revived at the O.c., Paris 27 April 1863. etc. Revived Carlsruhe 16 October 1885; Dres-

888
 ANNALS OF OPERA 18 51

den 29 January 1893; Vienna, O. 10 February In Hungarian (translated by E. Abdnyi), Buda-

1899; Brünn 10 November 1901; Riga 10 De- pest 3 September 1887.
cember 1901; Graz 15 January 1902; Berhn,
KroIl's 5 December 1903, D.O. 12 May 1926, Th. RAFF: König Alfred
am Kurfürstendamm 27 November 1932.
9 March. Weimar
In Czeeh, Prague 10 Oetober 1915.
Text by G. Logau, altered by the composer. Four
Heard in London at a coneert of the Vienna
acts.
Sängerknaben on 9 Oetober 1934.
The first opera of thC" wcll-known instrumental
composer and friend of Wagner and Liszt. Also
BATTISTA: Ermelinda given Wiesbaden 28 August 1856 (rectify Rie-
15 Felmlary. Naples, T.N. mann's Musik/ex/kon).
Text by D. Bolognese (founded on Victor Hugo's
Notre-Dame de Paris). Four acts. VERDI: Rigoletto
Successful in Italy; given sometimes as Esme-
11 March. Venice, F.
ra/da. Revived Milan 28 April 1866; Parma 17
Text by F. M. Piave (founded on Victor Hugo·s
July 1883; Milan, T. Carcano August 1900.
Le Roi s'al1H1se and originally called La Malcdi-
In Italian also, Malta 1856; Lisbon 19 April
zione). Three acts.
1857·
Given on Italian stages also as Viscardeli(l
In Enghsh (translated by C. Jefferys), London,
(Rome 27 September 1851; Bologna 26 Dccem-
D.1. 30June 1856.
ber 1852); Clara di Pert (text altered by 1. L
Bardare, Naples, T.N. December 1853); Lionello
GRISAR: Bonsoir, M. Pantalon (NapIes 1858).
19 February. Paris, O.c. Outside Italy:
Text by De Morvan and]. P. Lockroy (founded VIENNA 12 May 1852 (in Itaiian) and 24 Novem-
onJ. Oxenford's play Twice Killed). One act. ber 1860 (in German).
The most successful of Grisar's works; given ßUDAPEST 18 December 1852 (in Hungarian,
at the o.c. until 1874; frequently revived on translated by 1. Nadaskay).
French stages, at Brusse1s as late as 28 October ßRÜNN 8 January 1853 (in German, translated by
1933. After Paris it was given at Antwerp 22 ]. C. Grünbaum).
April 18S!; Brussels 25 April 1851, ete. GRAZ 18 January 1853 (in German, translated by
In French also, NapIcs 22 May 1869. ]. C. Grünbaum).
In English, London, Adelphi 29 May 1851 (run- STUTTGART 30 January 1853 (in German, trans-
ning for 1)2 nights). lated by J. C. Grünbaum).
In German (translated by J. C. Grünbaum), PRAGUE 5 February 1853 (in German) and 10 Sep-
Vienna, W. 2 December 1851 (Kä. 15 September tember 1864 (in Czech).
1855; O. 3 April 1882); Munich 21 December ST. PETERSBURG 12 February 1853 (in Italian) and
1851; Dresden 9 February 1852; Berlin 13 June 18 November 1878 (in Russian, translated by
1853, etc. Re;vived in German, Hanover 30 Jan- G. A. Lishin).
uary 19II; Z~rich 18 October 1907. LONDON, C.G. 14 May 1853 (in Italian; 200th per-
In Polish (~ranslated by 1. Matuszynski), War- formance 3 June 191I); H.M.'s 25 November
saw 17 January 1852. 1886 (in French); c.G. 20 October 1909 (in
In Danish (translated by H. P. Holst), Copen- English, translated by N. Macfarren; People's
hagen 4 March 1867. 10 April 1912 (in Yiddish, translated by S. AI-
In Czech (translated by A. P.), Prague 28 April man). Revivcd Sadler's WeHs 24 February 1937
1871 (in German only 28 March 1905). (new English version by E.]. Dent).

890
185 1 ANNALS OF OPERA

WARSAW 1853 (in Polish, translated by J. Che- CAIRO December 1869 (in Italian).
cinski). KIEV 1876 (in Russian, translated by P. 1. Kalashni-
MADRID 18 October 1853 (in Italian); Spanish kov).
version by M. Capdepon published 19°3; Span- COPENHAGEN 18 September 1879 (in Danish,
ish parody by A. Pifiadas published 1881. translated by A. Hertz).
ATHENS 28 October 1853 (in Italian). LlVERPOOL August 1888 (in Russian).
LISBON 29 January 1854 (in Italian). CAPE TOWN 1895 (in Italian); Johannesburg
CONSTANTINOPLE Carnival 1854 (in Italian). March 1912 (in English).
TIFLIS February 1854 (in Italian). LJUBLJANA 1896 (in Slovenian).
NEW YORK 19 February 1855 (in Italian) ; 14 De- TUNIS 12 April 1903 (in Italian).
cember 1870 (in German) ; 27 January 1874 (in HELSINKI 24 April 1917 (in Finnish).
English); and 8 June 1922 (in Russian). SHANGHAI 1918 (in Russian).
BUENOS AffiES 16 June 1855 (in Italian). YOKOHAMA Autumn 1919 (in Italian).
HAVANA 1855 (in Italian). SOFIA 13 December 1920 (in Bulgarian, translation
RIO DEJANEIRO I2January 1856 (in Italian). published already at Shumen 1905); in 'German
PARIS, TH.I. 19 January 1857 (in Italian) and Th.L. 16 November 1938.
24 December 1863 (in French). TALLINN 1921 (in Estonian).
SANTIAGO, CHILE 1857 (in Italian). BELGRADE 1921 (in Serbian).
MEXICO 1857 (in Italian) and April 1893 (in Span- KAUNAS 3 November 1921 (in Lithuanian).
ish, translated by J. Vigil y Robles). JERUSALEM 30 October 1923 (in Hebrew, trans-
BUCHAREST 1857 (in Italian). lated by M. Frcidmann).
DUBLIN 4 August 1857 (in Italian).
BASTTA, CORSICA Carnival 1858 (in Italian, as Vis- ROSENHAIN: Le Demon de la Nuit
cardello). 17 March. Paris, O.
RIGA January 1858 (in German) and 1915 (in
Text by E. Arago andJ. F. A. Bayard. Two acts.
Lcttish).
The most successful opera of the Frankfort
BRUSSELS 22 November 1858 (for the first time in
composer (a new version of his German opera
French, translated by E. Duprez).
Liswenna, written in 1836, never performed).
AGRAM (ZAGREB) April 1859 (in Italian) and 13
In French also, Brussels 8 January 1852.
December 1873 (in Croatian, translated by A.
In German (translated by C. Gollmick), Frank-
M. Biscan).
fort 10 December 1851.
BERLIN, VICT. TH. 4 February 1860 (in Italian) ; O.
5 November 1860 (in Italian) and 15 March
ERNST II DUKE OF
1865 (in German).
NEW ORLEANS 19 March 1860 (in Italian).
SAXE-COBURG-GOTHA: Casilda
MARSEILLES 13 May 1860 (in French, for the first 23 March: Gotha
time in France). Text by "M.Tenelli" (pseudonym of J. H. Mille-
BASLE 31 January 1861 (in German). net). Four acts.
STOCKHOLM 3 June 1861 (in Swedish, translated The Duke's first greater success as an opera
by E. A. Wallmark). composer; given also at Vienna 18 August 1851;
SYDNEY November 1861 (in English). Berlin 19 November 1851, etc. Revived Gotha
MALTA 1863 (in Italian). 12 February 1888; Darmstadt and Leipzig 3 May
SMYRNA 1867 (in Italian). 1892.
SOERABAYA 27 January 1868 (in French). In French (translated by G. Oppelt), Brussels
CHRISTlANIA April 1868 (in Italian) and 20 Sep- 14 April 1852 and Ghent 19 March 1856.
tember 1915 (in Norwegian). In Italian, London, H.M.'s 5 August 1852.

891
 ANNALS OF OPERA

SAN E L LI: Il Fornaretto In Swedish, Stockholm 27 November 1901.

24 March. Parma In Hungarian (translated by S. Varady), Buda-
Text by A. Codebo. Three acts. pest 14 February 1909.
Of Sanelli's eleven 0peras the most successful
one. Also given as Piero di Vasco. Revived Parma
GOUNOD: Sapho*
9 March 1870; Milan, T. Carcano 12 July 1873. 16 April. Paris, O.
In Italian also, Trieste 26 December 185 I ; Val- Text by E. Augier. Three acts.
paraiso 1854; Buenos Aires 8 May 1858; Barce- Gounod's first opera.
lona 27 November 1859; Malta 1866. In Italian (translated by S. M. Maggioni), Lon-
don, c.G. 9 August 1851. Revived Paris, O. 26
ALARY: Le tre Nozze July 1858 (in a reduced two-act version) and
29 Mare/'. Paris, Th.I. again 2 April 1884 (in an enlarged four-act ver-
Text by A. Berrettoni. Three acts. sion); revived also Antwerp I February 1894.
This opera was famous for a polka duet sung
by Henriette Sontag and LabIache, both in Paris AUßER: Zerline ouLa
and London. Corbeille dJOranges
In Italian also, London, H.M.' s 8 May 185 land 16 May. Paris, O.
Madrid 27 March 1860. Text by A. E. Scribe. Three acts.
In French also, Brusscls 26 October 1851.
(MENDELSSOHN): Die Heimkehr In Italian, London, H.M.'s 22 July 1851.
aus der Fremde
10 April. Leipzig PETRELLA: Le Precauzioni ossia
Text by K. Klingemann. One act. Il Carnevale di Venezia
This "Liederspiel" had originally been written 20 May. Naples, T.N.
for the silver-wedding of the composer's parents Text by M. d' Arienzo. Three acts.
and had been privately performed at their housc Petrella's first greater success. Given in a ncw
at Berlin on 26 Dcccmber 1829. The first public version at Milan 16 February 1858. Frcquently
performance was at Leipzig on 10 April 18sr (not revived in Italy; at Rome, Arg. as late as 1924.
20 April as most books of referencc, following In Italian also given at Malta 1856; Barcelona
Lampadius, luve it), three years after Mcndcls- 1I April 1863; New York 3 April 1867; Santiago,
sohn's death. Subsequently given at Bcrlin, Fr.W. Chile 1869; London, Ly. 21 March 1871; St.
4 Deccmbcr 1851 and 0.30 Dccember 1851, etc.; Petersburg 18 January 1883.
Vienna, Jos. r8 August 1853 and Kä. 3 January In Spanish (translated by E. Noriega and V.
1862;Prague 16 Novcmber 1853; Lucerne 1867; d' Alcssio), Mexico 13 July 1890.
revived Stuttgart I I May 1879; Leipzig 4 No-
vember 1883; Frankfort 22 November 1883; Ber-
A. THOMAS: Raymond ouLe Secret
lin 2 October 1890 (at the Architektenhaus, by the
"Gesellschaft der Opernfreunde"); Breslau May de la Reine
1900; Bremen 3 February 1909. 5 Jlme. Paris, O.c.
In English (as SOli alld Strallgcr, translated by Text by A. dc Leuvcn and J. B. Rosier. Three
H. F. Chorley), London, Litde Hm. 7 July 1851; acts.
revived c.G. I I March 1861; Guildhall School U nsuccessful in Paris; Brussels 4 February 1852.
ofMusic 23 December 1896. Popular on German stages (translated by J. C.
In French (as List/ct/' Oll La Cillqllalltaillc, trans- GrÜllbaum): Frankfort 4 March 1855; Vienna,
Iated by J. Barbier), Paris, Th.L. 9 June 1865. Jos. April 1857; Graz 10 October 1857; Berlin,

893 894
 ANNALS OF OPERA

Wallner Th. 2 June 1861; Prague 1862, etc. DUPREZ: L'Abtme de La MaLadetta
Revived Schwerin 28 January 1870; Frankfort 19 November. Brussels, M.
6 January 1878.
Text by E. Duprez and G. Oppelt. Three acts.
Paris, Th.L. JJ March 1852 (as Joanita). (The
PA ULLl: Lodsen composer was the famous tenor and singing
(The Pilot) teacher.)
25 September. Copenhagen

Text by P. Chiewitz and A. F. von der Recke. PEDROTTI: Fiorina ossia La Fanciulla
One act. di Glaris
The on!y opera of Paulli who, as a conductor, 22 November. Verona
did much to popularize Wagner's music in Den-
Text by 1. SerenelIi Honorati. Two acts.
mark.
Pedrotti's first success.
In Italian also, Trieste 26 December 1852; War-
BOISSELOT: Mosquita la Sorciere saw 1853; Paris 8 December 1855; Barcelona 13
27 September. Paris, Th.L. June 1856; Rio de Janeiro 1857; Vienna 3 June
Text by A. E. Scribe and G. Vaez. Three acts. 1859; Lisbon JJ March 1863; Malta 1863.
Written for the re-opening of the third Paris In Hungarian, Budapest 1859.
opera-house, the "Theatre-Lyrique", then called
"Theatre National" (see 1847). Given also at F. DAVID: La Perle du Bnfsil
Brussels 24 December 1851. 22 November. Paris, Th.L.
Text by J. J. Gabriel and S. Saint-Etienne. Three
F. A. BARBIERI: Jugar con Fuego acts.
(Playing with Fire) The first opera of Davic, who then already
was famous as the composer ofLe Desert and other
6 October. Madrid, Circo
Odes-Symphonies.
Text by V. de la Vega (founded on the French In French also, Brussels 5 November 1852 ;
play La Comtesse d'Egl1lont by J. Ancclot and A. revived Paris, O.c. 17 May 1883; Rouen 30
Decomberousse). Three acts. January 1889.
Very successful zarzucla, frequendy revived in
Spain, where it still holds the boards. SKR 0 U P: Der Meergeuse
In Spanish also, Mexico I I April 1855 (first
29 November. Prague
zarzuela there); Havana March 1856; Buenos
Aires 1856; Lisbon 1 July 1859. Text by J. K. Hickel. Three acts.
In Portuguese (translated by J. F. de Castilhos), The last opera of the Czech composer; given
Rio de Janeiro 3 I August 1857. also at Rotterdam 17 April 1861 (whereSkroup
was the first conductor at the German opera-
house founded there in 1860).
FORONI: I Gladiatori
7 October. Milan, Can.
Text by G. Peruzzini (the original title Spartaco r852
had to be changed by order of the police). Pro-
logue and 3 acts. G R ISA R : Le Carillonneur de Bruges
The most successful ItaIian opera of Foroni, 20 February. Paris, O.c.
who, in 1849, had become court conductor at Text by J. H. Vemoy de Saint-Georges. Three
Stockholm. Last revived Turin 20 October 1883. acts.
 1 852 ANNALS OF OPERA 1852
In French also, Antwerp 2 December 1852; BRNO January 1936 (in Czech).
Brussels 9 March 1853, etc. Revived Antwerp TEL-AVIV 12 January 1938 (in Hebrew, translated
13 February 1897 (in Flemish). by E. Troche).

ADAM: La Poupee de Nuremberg ADAM: Le Farfadet

21 February. Paris, Th.L. 19 March. Paris,O.C.
Text by A. de Leuven and L. L. Brunswick. One Text by F. A. E. de Planard. One act.
act. Antwerp 6 February 1853; Brussels 9 January
1857, etc. Frequently revived in Paris, F.P. 3 Feb-
One of Adam's most long-lived operas.
ruary 1868; O. Populaire 30 December 1879;
In French also, Brussels 25 April 1852, etc.
O.C. 5 February 1899; revived at Grenoble 4
In Germ:m (translated by Herrmann), Berlin,
May 1931.
Fr.W. 26 November 1852, etc.; Vienna, Ca.
December 1860.
In Swedish (translated by C. W. A. Strand- PACIUS: Kung CarlsJakt
berg), Stockholm 25 November 1853. (King Charles's Hunting Party)
In English (as Dolly), Cork 26 December 1860; 24 March. Helsinki
London, Gaiety 22 August 1870. Another version
Text by Z. Topelius. Three acts.
(The Toy-Makcr, text and new music by G. Lin-
Generally regarded at the first Finnish opera;
ley) was given at c.G. 19 November 1861; and
but as a matter of fact the composer was German
an adaptation from the Swedish (!), by W.
and the opera was sung in Swedish. Performed by
Wardroper, at Sheffield 12 July 1886 (as The
amateurs; previously given there in concert form
Mirawlous Doll, with Adam's original music).
18 March 185!.
In Russian, St. Petersburg 22 May 1854.
In Swedish also, Stockholm I December 1856
In Polish (translated by L. Matuszynski), War-
(produced at the coronation ofKing Charles xv).
saw 30 September 1855.
Revived in Finnish (translated by J. Finne)
In Danish (translated by A. F. von der Recke),
Vüpuri (Viborg) 17 March 1905 and Helsinki 19
Copenhagen 23 November 1861; Christiania
April 1909.
1868.
In Hungarian (translated by M. Havi), Buda-
pest 16 May 1863. MASSE: Galatee
In Croatian, Zagreb 1865. 14 April. Paris,O.c.
In Finnish (translated by A. Tömeroos), Hel- Text by J. Barbier and M. Carre. Two acts.
sinki 4 January 1880. One of Masse's most successful works; given
Still popular in France and frequently revived at the O.c. throughout the 19th century and
in many other countries, viz.: revived there 23 January 1908; Tr.L. 10 October
FRANKFORT 18 September 1875 (new German ver- 19 1 5.
sion by E. Pasque). In French also, Brussels 22 September 1852
BERLIN, FR.W. 3 March 1880 (Pasque's version). (last revived 30 October 1904); Buenos Aires
VIENNA, W. 20 November 1880 and O. 23 Decem- 5 September 1854; New Orleans 1858; Madrid,
ber 1881 (Pasque's version). Z. 15 July 1859; Barcelona 28 October 1866;
RIGA 1895 (Pasque's version). New York 30 November 1866; Soerabaya 13
BASLE 28 March 1900 (Pasque's version). February 1868; London, O.c. 23 May 1872;
MONTE CARLO 17 November 1903 (in French). Orange 24 August 1874 (open-air performance);
BARMEN 28 February 1930 (in German). Berlin, Viet. Th. 7 April 1886 and Kroll's 22 April
ST. GALLEN 6 April 1931 (in German). 1902.
 ANNALS OF OPERA 18sa

In Danish (translated by A. F. von der Recke), BALFE: The Devil's in it

Copenhagen 22 September 1866. 26 Julr. London, Surrey
In Spanish (translated by F. Camprod6n and Text hy A. Bunn. Prologue and 3 acts.
E. Alvarez), Madrid 7 February 1868. Subsequently given at New York 17 Decem-
In German, Vienna 19 April 1869. her 1852 as Thc Basket Maker's Wife.
In Czech (translated by E. ZÜllgel), Prague 17 Revived London, Gaiety 14 June 1871 as Lettr the
December 1873. Basket Makcr (text re-written by J. P. SimfSon).
In Engüsh (translated by F. A. Schwab), Phila- Balfe hirnself, in a list of his operas (see C. L.
delphia 20 November 1886; New York 30 De- Kenney, A Memoir ofM. W. BaIfe, P.256) errone-
cember 1886; Bristol 8 October 1887. ously gives 1847 as the ycar ofthe first production
In Dutch (translated by J. Schmier), Amster- of The DeviI's in it, and his authority, of course,
dam 2 November 1889. has been followed by all biographers and books
of referencc. Nevertheless, no production took
OUDRID: Buenas Noches, Senor place hefore 1852.
Don Simon Yet another error is to be found in all biogra-
phies of Balfe and elsewhere, namely that The
16 April. Madrid, Circo
Dcvi/'s in it is an English version of Scribe's La
Text: a Spanish version, by L. de Olona, of Bon-
Part du Dieble libretto (set by Aubcr, see
osir, M. Palltalon (see 1851). One act.
1843). Bunn's and subsequently Simpson's, text
Successful zarzuela. Mexico 14 February 1854; has nothing to do with it, but is a new version of
Buenos Aires January 1858. the old English The Devil to par subject (see 173 I).
In Portuguese (translated by Q. Bocayuva),
Rio de Janeiro 30 October 1857.
RAIMONDI; Putifar-Giuseppe-Giacobbe
A sequel Pablito, by the same authors, was pro-
duced at Madrid on 24 December 1854. 7 August. Rome, Arg.
Text by G. Sapio (tre drammi lirici ill uno).
Three opera oratorios in one; they were per-
RUBINSTEIN: Dmitry Donskoy formed first one after the other and then simul-
ili Kulikova Bitva taneously (the same night, not as often stated on
,D;MHTpiH ,D;OHCKOH HJIH KymmoBa BHTBa four subsequent nights). An account of this
(Dmitry Donskoy; or, curious contrapuntal experiment will be found
The Battle of Kulikov) in Neue Berliner Musikzeitung, 1852, p.292; see
also C. Gray in The Music Review, February 1940.
30 April. St. Petersburg
Text by V. A. Solloguh and V. R. Zotov. Three
acts.
JULLIEN: Pietro il Grande
Rubinstein' s first opera. 17 August. London, C.G.
Text by S. M. Maggioni (translated from an
English libretto by M. D. Ryan). Three acts.
F. RICCI: 11 Marito e l'Amante The only opera ofJulüen who was the founder
9 June. Vienna, Kä. of the London Promenade Concerts and played
Text by G. Rossi. Three acts. an important part in the musicallife of London
In Italian also, St. Petersburg 2 December 1853. in those years. "The success of Pietro il Grande is
a
In French (as Une Fete Venise, translated hy beyond all dispute, and we have no doubt it will
C. Nuitter and A. Beaumont), Paris, Th.L. IS prove, for many years to come, one of the most
February 1872. attractive operas in the splendid repertory of the
Never given in Italy. Royal Italian Opera" (Musical World, 28 August

900
 ANNALS OF OPERA

1852). The opera was a complete failure; parts of the following years, very many Spanish zarzuela
it were given at a coneert in New York on 22 librettos were taken from French sourees). Three
September 1853. acts.
Popular in Spain; givcn in Summer 1855 at
ADAM: Si/hais Roi* Mexico and Havana; in 1856 at Lima (first zar-
4 September. Paris, Th.1. zuela there) and Buenos Aires.
Text by A. P. d'Ennery andJ. Brcsil. Three acts.
The third suecessful opera by Adam produced AUßER: Marco Spada
in that year. 21 December. Paris,O.C.
Frequently revived in Paris; Brussels 17 Jan-
Text by A. E. Scribe. Three acts.
uary 1853, ete.
Given at the O.C. 78 times.
In French also, Turin April 1858; New Orleans
Revived as a ballet, Paris, O. I April 1857 (as
10 April 1856; Soerabaya 21 Oetober 1864; Bar-
Marco Spada ou La Pille du Bandit, with additional
celona 15 October 1866; Lisbon 24 April 1878;
music from Fra Diavolo, Zerline, and La Fiancee,
Buenos Aires 13 September 1881; New York 29
choreography by Mazilier. The operatic version
November 1881; Mexico 10 February 1882.
was also given at:
In Czech, Prague 15 January 1875.
BRUSSELS 23 May 1853 (in French).
In Swedish (translated by E. A. Wallmark),
HANOVER 8 December 1853 (in German).
Stockholm 25 January 1882.
BERLIN, KROLL'S 12 March 1854 (in German).
In English (translated by W. Castle and J.
WARSAW 23 April 1854 (in Polish, translated by
Rosewald), NewYork 14 December 1882; (trans-
lated by V. Smith), Newcastle 20 February 1893;
J. Chccinski).
VIENNA, THALlA TH. 6June 1857 (in German, with
London, ParkhurstTh. (Holloway) 23 May 1893.
recitatives and additional music by H. Proeh).
In Norwegian, Christiania 1883.
STOCKHOLM 18 September 1867 (in Swedish,
In Danish (translated by S. Bauditz), Copen-
translated by A. E. Wallmark and C. O. Wij-
hagen 17 March 1889.
kander).
In German (translated by M. Schlesinger, music
Last given Mannheim 21 December 1881 (in
adapted by O. Nowack), Breslau 22 January
German).
1904; (translated by P. WoHf), Berlin, Morwitz
Auber's opera was never given in London; a
Oper 27 June 1908; Riga 1909; Prague 1909;
drama by J. P. Simpson, founded on Scribe's
Vienna, V.O. 4 October 191I.
libretto, with Auber's overture and incidental
Revived Sehwerin 29 September 1918; Berlin,
music by R. Stöpel, was produccd at the Prin-
D.O. 13 December 1924; Graz December 1928;
cess's Th. on 28 March 1853.
Vienna, V.O. 6 November 1937; Berlin, V.O.
February 1939.
In Bulgarian, Sofia 15 December 1930; in
Rumanian Bucharest Spring 1936. r853
Still popular in Francc as well as in other coun- VERDI: 11 Trovatore
tri es; rcvived in Paris, Th. Porte St. Martin
19January. Rome, Ap.
7 May 1934·
Text by S. Cammarano (founded on a Spanish
GAZTAMßIDE: EI Valle play by A. Garda Guticrrez, 1836).1 Four acts.
de Andorra The libretto was completed, after Cammara-
no's death, by 1. E. Bardare.
5 November. Madrid, Circo
Text by 1. de Olona (from J. H. Vernoy de 1 See C. A. Regensburger, Über den Trovador des
Saint-Georges's French libretto, see 1848; during Carcia CJltierrez, etc., 1911.

901 902
 ANNALS OF OPERA

One of Verdi' s most popular wodes, given all MEXICO 27 January 1856 (in Italian).
over the worid: MARSEILLES 22 February 1856 (for the first time in
CORFU Auturnn 1853 (in Italian). Freneh, translated by E. Paeini).
MALTA 1 October 1853 (in Italian). BRUSSELS 20 May 1856 (in Freneh).
TRIESTE 22 October 1853 (in Italian).
PRAGUE 19 July 1856 (in German) and 30 June
CONSTANTINOPLE Carnival 1854 (in Italian). 1861 (in Czeeh, translated by E. Züngel).
MADRID 16 February 1854 (in Italian).
BERLIN 24 March 1857 (in German).
ATHENS Spring 1854 (in Italian).
NEW ORLEANS 13 April 1857 (in French).
ODESSA 1854 (in Italian).
LEMBERG 23 January 1858 (in German).
VIENNA II May 1854 (in Italian); in German,Jos.
AGRAM (ZAGREB) April 1858 (in Italian) and 14
9 October 1857~Kä. 20 Deeember 1859.
February 1871 (in Croatian, translated by A.
WARSAW 1854 (in Italian) and 1859 (in Polish,
Senoa).
translated by J. Checmski).
MELBOURNE and SYDNEY 1859 (in English).
RIO DEJANEIRO 7 September 1854 (in Italian) and
ZURICH 1859 (in German).
2 January 1856 (in Portuguese, translated by
BASLE 20 January 1860 (in German).
Q. Bocayuva).
STOCKHOLM 31 May 1860 (in Swedish, translated
BUDAPEST 31 Oetober 1854 (in Hungarian, trans-
by C. W. A. Strandberg).
lated by L. N:idaskay).
ROTTERDAM Autumn 1860 (in German).
LISBON 8 November 1854 (in Italian).
CHRISTIANIA 8 July 1861 (in Danish).
PARIS, TH.I. 23 December 1854 (in Italian) and O.
12 January 1857 (in Freneh). HELSINKI 6 July 1862 (in Swedish) and 25 Novem-

BUENOS AIRES 4 January 1855 (in Italian).

ber 1870 (in Finnish, translated by A. Töme-
TEMESVAR 9 January 1855 (apparently for the first
raos).
time in German). VALPARAISO 1864 (in Italian).

ALEXANDRIA Spring 1855 (in Italian). COPENHAGEN 10 September 1865 (in Danish,

BRUNSWICK 20 April 1855 (in German).

translated by H. P. Holst).
BATAVIA 3 March 1866 (in French).
NEW YORK 2 May 1855 (in Italian) ; 4 Oetober
SMYRNA 1867 (in Italian).
1858 (in English, translated by T. T. Barker);
9January 1867 (in French); and 13 September CAIRO Carnival 1870 (in Italian).

1870 (in German). TORONTO 10 June 1874 (in English).

LONDON, C.G. 10 May 1855 (in Italian; 100th per- CAPE TOWN 1875 (in Italian).

formance 26 September 1902) and D.L. 24 TIFLIS 1875 (in Italian).

Mareh 1856 (for the first time in English, as LJUBLJANA 1894 (in Slovenian, translated by A.

The Gipsy's Vengeance, translated by C. Jeffe- Stritof).

rys). Revived Sadler's WeHs 25 January 1937 RIGA 1902 (in Lettish; earlier given there in Ger-

(new English version by E. J. Dent). man).

BRÜNN 25 August 1855 (in German). JOHANNESBURG 1905 (in English).

DUBLIN 3 September 1855 (in Italian). SOFIA 17 January 1914 (in Bulgarian; translation

GRAZ 29 September 1855 (in German).

published already Shumen 1905).
DARMSTADT r Deeember 1855 (in German, trans- BELGRADE 1920 (in Serbian).

lated by H. Proeh). JERUSALEM 2r Deeember 1924 (in Hebrew, trans-

ST. PETERSBURG December r855 (in Italian) and

lated by A. Asehmann).
22 December r859 (in Russian, translated by TALLINN 1926 (in Estonian).

T. M. Rudnev). KAUNAS 14 November 1929 (in Lithuanian).

EDINBURGH 2r January r856 (in Italian). SINGAPORE c.March 1932 (in Italian).

903
 ANNALS OF OPERA

ADAM: Le Sourd Oll RIO DEJANEIRO 1861 (in Portuguese, translated by

L' Auberge Pleine J. M. Machado de Assis).
VIENNA, QUAI TH. 18 October 1862 (in German) ;
2 February. Paris,O.C. revived O. 17 January 1884.
Text by A. de Leuven and F. Langle (founded on LEMBERG 10 November 1865 (in Polish, translated
a comedy by P. J. B. Choudard Desforges, 1790). by M. Radziszewski).
Three acts. BARCELONA 25 July 1866 (in French); revived
In French also, Brussels 22 December 1853; March 1924 (in Spanish).
New York 18 February 1870; Mexico 23 Feh- MILAN 16 September 1868 (in French).
ruary 1879. HELSINKI I February 1876 (in Finnish, translated
In Swcdish (translated by c. H. R ydberg), by A. Rahkonen).
Stockholm 29 November 1854. NAPLES 20 May 1877 (in Italian, translated by E.
In Spanish (translated by M. Pina), Madrid, Z. Golisciani; a later Italian version, by A. Za-
24 April 1859 (music adapted by M. Vazquez). nardini, was published in 1896).
In German (as Kein Platz im Gasthofe, trans- BUDAPEST 4 February 1879 (in Hungarian, trans-
lated by C. Juin) , Vienna, Ca. 2 December 1861. lated by G. Böhm).
In Russian, Moscow 1866. COPENHAGEN 9 February 1879 (in Danish, trans-
In Norwegian, Christiania April 1873. Iated by A. Zinck); revived 14 January 1928.
Frequently revived in Paris, at the o.c. as late MEXICO 23 March 1879 (in French).
as 12 February 1893 and 23 October 1934. BELGRADE 1883 (in Serbian, translated by J. N.
Marinovic).
MASSE: Les Noces deJeannette A Greek translation by G. Sklabos was pub-
lished in 1912.
4 Febmary. Paris,O.C.
Text by J. Barbier and M. Carre. One act. ARRIETA: EI Domino azul
Masse's most successful work; the I,oooth per- (The Blue Domino)
formance at the O.C. was on 10 May 1895. Still 19 February. Madrid, Circo
given on French stages.
Text by F. Camprod6n. Three acts.
Outside France:
The first of three successful zarzuelas by Arrieta
BRUSSELS 7 September 1853 (in French).
produced in that year.
DRESDEN 9 January 1854 (in German, translated
In Spanish also, Mexico I6June 1855; Havana
by I. Schuselka-Brüning).
1855; Buenos Aires November 1869.
BUENOS AIRES 28 May 1854 (in French).
In Portuguese (translated by Q. Bocayuva),
NEW ORLEANS November 1854 (in French).
Rio deJaneiro 8 May 1858.
NEW YORK 9 April 1855 (in English, as Georgette's
Wedding, translated by W. Harrison) and 28 Oc-
tober 1861 (in French); revived Boston 24 April
VERDI: La Traviata
1886 (new English version by F. A. Schwab). 6 March. Venice, F.
ST. PETERSBURG c.JanuaryI855 (in Russian). Text by F. M. Piave (founded on A. Dumas's La
STOCKHOLM 9 October 1855 (in Swedish, trans- Dame aux Camelias). Three acts.
Iated by J. C. S0ernström); revived 25 May The oper" was a complete failure at its first per-
1893· formance; on 7 March Verdi wrote to Emanuele
BERLIN 30 October 1857 (in German). Muzio: "La Traviata ieri sera fiasco. La colpa c
LONDON, C.G. 26 November 1860 (in English, rnia 0 dei cantanti ? Il tempo giudichera". It was
Harrison's translation) and O.C. 16 May 1872 triumphantly received in the same town, at the
(in French). Teatro S. Benedetto, on 6 May 1854; given at

906
 ANNALS OF OPERA

Rome, T. Apollo 30 Deeember 1854 as Violetta. MILWAUKEE 1861 (in German).

Outside ltaly: LILLE 26 November 1861 (for the first time in
MADRID 1 February 1855 (in Italian) and 1918 (in Freneh, translated by E. Duprez).
Spanish, adapted by L. Pascual Frutos). PRAGUE June 1862 (in German) and 13 ]une 1868
VIENNA 4 May 1855 (in Italian) and 5 February (in Czech, translated by ]. Böhm and E.
1879 (in German). Züngel).
MALTA 1 Oetober 1855 (in Italian). ZURICH 1863 (in German).
BARCELONA, 1. 25 Oetober 1855 (in Italian). STOCKHOLM 21 February 1868 (in Swedish, trans-
LISBON 29 Oetober 1855 (in Italian) and 14 May lated by E. A. Wallmark).
1878 (in Freneh). CHRISTIANIA April 1868 (in Italian) and 3 October
RIO DEJANEIRO 15 Deeember 1855 (in ltalian) and 1888 (in Norwegian).
19 Mareh 1862 (in Portuguese). ST. PETERSBURG 8 May 1868 (in Russian, trans-
LONDON, H.M.'S 24 May 1856 (in Italian) and Sur- lated by P. I. Kalashnikov).
rey Th. 8 ]une 1857 (in EngHsh, translated by CAIRO Deeember 1869 (in Italian).
T. H. Reynoldson); the 150th performance at LEMBERG II May 1872 (in Polish).
c.G. was on 22 May 1912. TlFLIS 1875 (in Italian).
BUENOS AIRES 10]une 1856 (in Italian). HELSINKI 21 August 1876 in Finnish, translated by
WARSAW Summer 1856 (in Italian) and 1865 (in A. Törneroos).
Polish, translated by J. Cheemski). HAVANA 1877 (in Italian).
MOSCOW 24 September 1856 (in Italian). COPENHAGEN 29 November 1887 (in Danish,
DUBLIN 14 October 1856 (in Italian). translated by S. Bauditz).
MEXICO November 1856 (in Italian). LJUBLJANA 1898 (in Slovenian).
NEW YORK 3 December 1856 (in Italian) and 4 SOFIA 10 February 1910 (in Bulgarian; translation

March 1886 (in English). published already at Shumen 1905).

PARIS, TH.I. 6 Deeember 1856 (inltalian)andTh.1. RIGA 1913 (in Lettish); earlier given there in Ger-

27 Oetober 1864 and O.c. 12 JUlle 1836 (in man.

Freneh, as Violetta). TALLINN 1915 (in Estonian).

SANTIAGO, CHILE 1857 (in Italian). YOKOHAMA Auturnn 1919 (in Italian).

MONTEVIDEO 1857 (in Italian). KAUNAS 31 December 1920 (in Lithuanian; first
HAMBURG 10 November 1857 (in German, trans- opera sung in that language).
lated by N. Frassini). BELGRADE 1921 (in Serbian).

BUDAPEST 10 November 1857 (in Hungarian, TEL-AVIV 28 ]uly 1923 (in Hebrew, translated by

translated by J. Pataki). A. Aschmann ; apparently first opera sung there

BUCHAREST 1858 (in Italian) and 1903 (in Ruma- in Hebrew).
nian). TRIPOLIS Mareh 1935 (in Italian).

GRAZ 21 July 1858.

AGRAM (ZAGREB) April 1859 (in Italian) and I I
GRISAR: Les Amours du Diable
Mareh 1879 (in Croatian, translated by J. E.
Tornit). 11 March. Paris, Th.1.
BASTIA, CORSICA Auturnn 1859 (in ltalian). Text by J. H. Vernoy de Saint-Georges. Four
AMSTERDAM 1860 (in Italian). acts.
MELBOURNE 1860 (in English). Brussels 5 November 1853; Geneva January
BERLIN, VICT. TH. 10 November 1860 (in ltalian); 1854, etc.
0.13 Deeember 1860. In Freneh also, New Orleans 1858; New ver-
BRUSSELS 6 Mareh 1861 (in Italian) and 20 Oetober sion Paris, O.C. 24 August 1863; revived Th. du
1865 (in French). Chatelet 18 November 1874 (with ballet music

908
 ANNALS OF OPERA

by Salvayre added); also given at Buenos Aires In Swedish (translated by F. Arlberg), Stock-
28 July 1876; Mexico 15 April 1879; revived at holm 30 December 1856.
Brussels 18 March 1882 and 7 September 1898; In German (as Jungfer Nachbarin, translated by
revived at Lyons 3I December 1890. K. Treumann, orchestrated by K. Krottenthaler),
In Spanish (translated by Ramon de Navarrete Vienna, Ca.3 March 1859; revived Vienna, K.O.
y Fernandez y Landa) Madrid I May 1871. 28January 1874; Berlin, Fr. W. 23 October 1874
(new translation by J. Hopp); late1y revived in a
MIGONI: Sampiero new German version by 1. Andersen, Essen 26
November 1926.
4 April. Lisbon, S.c.
(Italian) text by 1. Arceri. Three acts. ADAM: Le Bijou perdu
Successful at Lisbon.
6 October. Paris, Th.L.
Text by A. de Leuven and P. A. A. Pittaud de
BA Y: Lazarilla eller Sangerinden Forges. Three acts.
med S!oret Brussels 27 January 1854; Geneva, March 1854,
(Lazarilla, or The veiled Songstress) etc.
21 May. Copenhagen In French also, London, St. J.'s 7 JUIle 1854;
TurinApril 1858; New Orleans January 1861.
Text by A. F. von der Recke (from Scribe's and
Revived Paris, Athcnee 18 October 1873; Ga!.
De Leuven's La Chanteuse voi!ee, see 1850). One
Vivienne 13 November 1896; Ren. 10 March
act.
1900.
Bay's only opera; also given at Bergen on 10
(Adam introduced into this opera one air from
May 1857.
Rameau's Castor et Pollux, see 1737.)

ARRIETA: Ei Grumete
LI M N A N DER: Le Maltre Chanteur
(The Cabin Boy)
17 Oetober. Paris, O.
17 June. Madrid, Circo
Text by H. Tri:mon. Originally in 2 acts.
Text by A. Garda Guticrrez. One act.
Revived at the Paris Opera 5 March 1856 as
. In Spanish also, Mexico June 1855; Lisbon 1
Maxi/llilien; revived in a new 3-act version,
June 1870. (A sequel by the same authors La
Brusse1s 28 April 1874 (as Maximilien aFrallcfort,
Vuelta de! Corsario was given at Madrid on 18
text altered by H. Leroy); revived in 4 acts, again
November 1863.)
as Maxilllilien, Ghent 10 March 1876.

POISE: Bonsoir, Voisin OFfENBACH: Pepito

18 September. Paris, Th.L. 280etober. Paris, Varietes
Text by 1. 1. Brunswick and A. de Beauplan. Text by 1. Battu and J. Moinaux. One act.
One act. First given at the Bouffes-Parisiens 10 March
Poise's first (very successful) opera. 18 56.
Liege 13 December 1857; Antwerp 19 Decem- In French also, London, St. J.'s 24 June 1857;
ber 1858; Brussels 28 September 1863. Berlin, Kroll's 17 June 1858.
In French also, Baden-Baden 14 August 1861. This was one of the first successes of Offen bach
New York 26 October 1870; London, Royalty in Germany and Austria where it was given as
29 January 1873. Das Mädchen VOll ElizO/ldo (translated by J. C.
Revived Paris, F.P. I7 January 1866; O.c. 12 Grünbaum and T. Gassmann) : Vienna, Ca. 18
June 1872; revived Nice Spring 193 I. December 1858 (orchestrated by C. Binder);
Q 910
 ANNALS OF OPERA

Graz 3I March 1859; Prague 9 April 1859; Buda- NEW ORLEANS I April 1855 (in French).
pest May 1859; Berlin 8 November 1859, etc. LONDON, C.G. 19 July 1855 (in Italian, translated
In Croatian, Zagreb 1863. by S. M. Maggioni); D.L. 17 April 1890 and
In Polish (translated by L. Matuszynski), War- Kennington Th. 25 September 1901 (in Eng-
saw 1865. lish).
Last revived Prague, May 1934 (in German) V1ENNA 29 December 1855 (in German).
and Jerusalem 1934 (in Hebrew, translated by M. BUDAPEST 3I January 1856 (in Hungarian, trans-
Freidmann). lated by M. Havi).
ST. PETERSBURG 26 January 1856 (in Italian).
FLOTOW: Rübezahl ALG1ERS Spring 1856 (in French).
26 November. Frankfort MILAN 30 April 1856 (in Italian, translated by E.
Picchi).
Text by G. H. Gans zu Putlitz. Three acts.
NEW YORK 24 September 1856 (in Italian) and
Previously performed (in 2 acts) at Retzien, the
. 3 March 1876 (in English, translated by C. L.
estate of the librettist Putlitz, on 13 August 1852
Kellogg).
(privately). Berlin II January 1854, etc.
GENEVA 9 February 1858 (in French).
Revived Brunswick 10 March 1934 (revised by
PRAGUE 9 October 1858 (in German).
O. Felix and R. Senger).
GRAZ 20 December 1866.
MEXICO 19 November 1872 (in Italian).
MADRID 24 February 1877 (in Italian).
NAPLES, S.C. December 1879 (in Italian).
PETRELLA: Marco Visconti STOCKHOLM 2 December 1881 (in Swedish, trans-
lated by E. A. Wallmark).
9 February. Naples, S.C. BARCELONA 22 Oetober 1882 (in French).
Text by D. Bolognese. Three acts. ZURICH 15 December 1884 (in German).
Milan 26 December 1854, etc. Very successful LIVERPOOL I February 1889 (in English, translated
in Italy; last revived Rome I I March 1900. by F. W. Pratt).
In Italian also given at Madrid 9 January 1855; BUENOS AIRES 13 July 1889 (in Italian).
Vienna 13 May 1855; Barcelona 27 November
1855; Lisbon 6 January 1856; Mexico 17 Febru- MONIUSZKO: Halka*
ary 1859; Buenos Aires 27 April 1859; Rio de 16 February. Wilna
Janeiro 1860; Malta 1860.
Text by W. Wolski (founded on a story by K. W.
W6jcicki). Originally in 2 acts.
MEYERBEER: L'Etoile du Nord* Previously the opera had been produced pri-
16 February. Paris,O.c. vately at Wilna (Sala Miller) 20 December 1847
Text by A. E. Scribe. Three acts. by amateurs. Given in its fmal version, enlarged
Meyerbeer used parts of the music (6 numbers) to 4.acts, at Warsaw I January 1858.
ofhis Feldlager in Schlesien (see 1844). The most popular Polish opera ever written;
Given in Paris until 1887. The 100th perform- the 500th performance at Warsaw was on 9 De-
ance at the O.C. was as early as 16 February cember 1900, the 1000th on 8 October 1935. The
1855. Outside France: 4-act version was first produced at Wilna 26 No-
BRUSSELS 4 December 1854 (in French). vember 1860; subsequently given at Grodno and
STUTTGART 27 September 1854 (in German, trans- Kovno (Kaunas) 1861; Cracow I December
lated by L. Rellstab). 1866; Lemberg 17 March 1867, etc. Given at
AMSTERDAM 20 February 1855 (in German, trans- Poznan (Posen) 8 March 1873 in Polish and 25
lated by L. Rellstab). November 1898 in Germ an, translated by M.

9II 912
1854 ANNALS OF OPERA 18 54

Morris. In German also, Bydgoszcz (Bromberg) lau 28 November 1855; Vienna 20 February r8S7;
10 April 1899. Stettin 6 March 1857; Sondershausen 22 March
In Esperanto (translated by A. Grabowski) per- 1861. Sec on the origin of this Nihelungen opera
formed at Cracow August 1912. Outside Poland H. Dom's autobiographie sketches Aus meinem
produced at Leben, Vol. 11, p.40, ctc. The text (let alone the
PRAGUE 28 February 1868 (in Czech, translated by music) has hardly anything to do with Wagner
V.S.K.; revived 19 September 1886). whose Ring des NibelllllSCIl text had been privately
MOSCOW March r869 (in Russian, translated by printed in]anuary 1853.
N. 1. Kulikov; revived 20 September 1898 and It may be mentioned here that the suggestion
17 September r904). of tuming the Nibelungen subject into an opera
ST. PETERSBURG r6 February 1870 (in Russian). occurs-for the first time as far as I can see-as
RIGA r888 (in German). early as in r844 in F. T. Vischer's Kritische Gän.~e
VIENNA, EXHIBITION TH. 10 September 1892 (in (Vol. TI, P.399), where also a scenariois given. The
Polish) and V.O. 29 April 1926 (in German, idea was taken up by Louise Otto who, one year
translated by W. Klein). later, published in the Neue Zeitschrift für Musik
LJUBLJANA 15 November r898 (in Slovenian, (Vol. XXIII) aseries of articles on this subject con-
translated by P. Podravsky-Miklavec). taining also the beginning ofher-the first-Nibe-
NEW YORK ]une 1903 (in Russian); revived Mecca lungen libretto (which was to be set by N. W.
Temple 18 February 1940 (in Polish). Gade in r846). It was published as a whole at
MILAN 5 November 1905 (in Italian, translated by Gera in r852.
G. A. Bonoldi).
SOFIA 3 May 1921 (in Bulgarian). ERNST II DUKE OF
MILWAUKEE 13 May 1923 (in Polish). SAXE-COBURG-GOTHA:
BERNE ]anuary 1934 (in German). Santa Chiara
ZAGREB 20 March 1934 (in Croatian).
2 April. Gotha
HAMBURG 14 May 1935 (in German, translated by
Text by C. Birch-Pfeiffer. Three acts.
F. GreissIe).
The most im portant of the Duke' s operas. Suc-
BERLIN 15 November 1936 (in German, translated
cessful in Germany: Coburg 15 October 1854;
by F. GreissIe).
Hamburg 21 February 1855, etc. Also Graz 21
TALLINN 1937 (in Estonian).
Deccmber 1855; Vicnna, los. 13 March r8s8;
CLAPISSON: La Promise Prague April 1866. Last revived Hamburg 5 Feb-
ruary 189r; Berlin, KrolJ's 5 August 1891; Co-
16 March. Paris, Th.L.
burg 24 September 1893.
Text by A. de Leuven and L. L. Brunswiek (hista-
In French (translated by G. Oppelt), Paris, O.
riette provenrale). Three acts.
27 September 1855 and Brussels 19 April 1858.
Apart from Fanchonnette (see r856), this was
In Italian, London, c.G. 30 ]une 1877.
Clapisson's most popular work. Liege r4 Decem-
ber 1854; Antwerp 4]anuary 1855; Brussels 28
March 1855, etc.
BOVY-LYSBERG: La Pille
In French also, London, St.].'s I2]une 1854. du Carillonneur
17 April. Geneva
DORN: Die Nibelungen Librettist unknown. One act.
27 March. Berlin, O. Early example of a French opera originally
Text by E. Gerber. Five acts. produced in Switzerland. The score is lost. See
Fairly successful in Germany. Given at Weimar P. Long des Clavicres in Schweizerisches Jahrbuch
22]anuary r854; Königsberg 15 May 1855; Bres- für Musikwissenschaft, Vol. III (r928).

9 13
 ANNALS OF OPERA 1854
REYER: MattreWolfram Baden-Baden 22 July 1864. Given at the O.c.
20 May. Paris, Th.1. until 1866; revived Paris, Ren. 8 November
Text by F. J. Mery. One act. 1899·
Reyer's first opera. Revived Baden-Baden 24
July 1863; Brussels 26 September 1868; Paris, GOUNOD: La Nonne sanglante
O.C. 5 December 1873 and 7 February 1902;
180ctober. Paris, O.
Rouen I February 1905.
Text by A. E. Scribe and G. Delavigne (founded
on M. G. Lewis's novel The Monk). Five acts.
(SCHUBERT): Alfonso und Estrella*
The libretto had been refused by Halevy,
24 June. Weimar Meyerbeer, Berlioz, David, Grisar, Verdi and Cla-
Text by F. von Schober. Three acts. pisson before Gounod accepted it. Gounod' s
Written in 1821-22. Produced by Liszt (who second opera; failure, never revived.
published the first account of this opera in the
Neue Zeitschrift für Musik). Revived (in a new ver-
sion by J. N. Fuchs) Carlsruhe 22 March 1881; GAZTAMBIDE: Catalina
Cassel 8 December 1881; Mannheim 29 March 230clober. Madrid, Circo
1882; Vienna 15 April 1882; Berlin I I May 1882;
Text by 1. de Olona (founded on Scribe'sL'Etoile
Cologne 4 October 1882; Munich 26 November
du Nord, see above). Three acts.
1882; Hanover 10 December 1882, etc.
This zarzuela was also given at Mexico Sum-
mer 1856; Lisbon 25 June 1859; Havana 1868;
DUPRATO: Les Trovatelles Buenos Aires December 1869.
28 June. Paris, O.C.
Text by M. Carn! and J. Lorin. One act.
Du prato' s first and most successful opera; gi yen
BALFE: Pittore e Duca
at the O.C. 107 times until 1861. In French also, 21 November. Trieste
Liege 28 February 1858. Text by F. M. Piave. Prologue and 3 acts.
Revived London, H.M.'s 28 January 1882 (in
F. A. BARBIERI: Los Diamantes English, as Moro, thc Paillter of Alltwcrp, translated
de la Corona by W. A. Barrctt).
15 September. Madrid, T. del Circo The correct date of thc fIrSt production will be
Text by F. Camprod6n (founded on Scribe's lib- found in The Musical Warld, 1854, nO.49, p.809.
retto, see 1841). Threc acts. Both the composer himself (sec the facsimile list
Successful zarzuela; also given at Havana 1855; in C. 1. Kenlley's MenJOir of M. W. BalJe) and the
Mexico Summer 1856; Buenos Aires September English translator (see W. A. Barrett, Balje: His
1867. Lift alld Work, p.219) give the wrong date of
In Portuguese (trallslated by Q. Bocayuva), 18 56.
Rio deJaneiro May 1858.
L0VENSKJOLD: Turandot
BOULANGER: Les Sabots de 3 December. Copcltl1agen
la Marquise Text by H. H. Nycgaard (founded on Gozzi's
29 September. Paris, O.c. comedy). Two acts.
Text by J. Barbier and M. Carre. One act. The only (unsuccessful) opera of the Danish
Brussels 13 February 1857, etc. In French also composer.

915 916
18 55 ANNALS OF OPERA 18 55

r855 VERDI: Les Vepres Siciliennes*

13 June. Paris, O.
GRISAR: Le Chien duJardinier Text by A. E. Scribe and C. Duveyrier. Five acts.
16Jalluary. Paris,O.C. The first ofVerdi's two French operas; given
Text by J. P. Lockroy and E. Cormon. One act. in Paris 62 times until 1865.
Liege 7 October 1855, etc. In French also, Brussels 18 November 1856.
Revived Paris, O.c. 10 December 1866; given In Italian (as Giovanlla de Guzman, translated
at Brussels llntil abollt 1890. by A. Fusinato), Parma 26 December 1855;
In Czech (translated by J. J. Stankovsky), Milan, Sc. 4 February 1856 (translated by E.
Praglle 7 November 1872. Caimi), etc.
In German (translated by E. Mautner), Vienna Given at Naples, T.N. Spring 1857 as Gio-
18 February 1884. valllli di Sicilia and S.c. Autumn in the same year
Revived Antwerp 240ctober 1909 (in Flem- as Batilde di Turcllna.
ish). In Italian also: Barcelona 4 October 1856; Lis-
bon 12 March 1857; St. Petersburg 1857; San-
APOLLONI: L'Ebreo tiago, Chile 1857; London, D.L. 27 July 1859;
23 January. Venice, F. New York 7 November 1859; Constantinople
October 1860; Buenos Aires 23 May. 1862;
Text by A. Boni (founded on E. Bulwer Lytton's
Havana 1862; Malta 1862; Mexico November
Leila). Prologue and three acts.
1864; Sydney May 1870; Rio de Janeiro 1871.
Very successful all over Italy: Rome 20 No-
In Hungarian, Budapest 1856.
vember 1855 (as Lida di Granata), Milan 26 De-
In German (translated by K. F. Dräxler-Man-
cember 1855, etc.
fred) , Darmstadt 14 March 1857; Vienna 19
In Italian also, Barcelona 6 October 1855; Lis-
November 1857; Prague 1859; revived Darm-
bon 26 March 1856; Rio de janeiro Spring 1856;
stadt 12 September 1887; Hamburg 14 April
Malta 1857; Santiago. Chile 1864; Mexico 29
190 1.
January 1884; Buenos Aires 6 February 1905.
In Polish, Warsaw 1872.
The latest revivals in Italy were at Venice 4 May
Swedish translation by F. Arlberg published in
1901; Trieste 8 July 1905 (inauguration of the
1872.
new Politeama Minerva) ; Malta 14 February
Still given in Italy; revived Milan 21 February
1906; and Vicenza 8 April 1922 (celebratingApol-
1909, etc.; Palermo 3I March 1937; also Malta
loni's looth birthday).
December 1938.
Revived in a new German version by G. Bun-
HA L EV Y: J aguarita I' Indienne di: Stuttgart 27 November 1929; Zurich Decem-
14 May. Paris, Th.L. ber 1930; Basle I September 1932; revised by J.
Kapp, Berlin 5 June 1932·
Text by J. H. Vernoy de Saint-George and A. de
Leuven. Three acts.
In French also, Brussels 6 February 1856; New
OFFENBACH: Les deux Aveugles
Orleans 18 January 1859. 5July. Paris, B.P.
In German (translated by J. C. Grünbaum), Text by J. Moinaux (bol1follllerie). One act.
Hamburg 27 November 1858; AmsterdamJan- Written for the inauguration of the Bouffes-
uary 1859. Parisiclls and given there on the opening night on
Revived Paris, O.C. IO May 1869; O. Popu- the same bill with a prologue Elltrez, Messieurs,
laire 24 August 1886. Mesdames and another one-act operetta La Nuit
For an English version, see 1863. blanche, also composed by Offenbach.

917 918
 ANNALS OF OPERA 185S-S 6

Les deux Aveugles was also given (in Freneh), Ferrari's most successful opera. Given in ltaly
by the B.P. on their first tour at Berlin, Kroll's untill906.
10 Mareh 18S6; Vienna, Ca. 19 April 18S6; Ant- In Italian also, Malta 18S7; Barcelona 12 July
werp 21 November 18S6; London, St.J.'s 20May 1864; Santiago, Chile 1866; New York 10 De-
18S7 (opening night ofthe first season of the B.P. cember 1869; Philadelphia 13 January 1870;
in London, lasting until 14 July). Buenos Aires I I November 1870; Sydney 1871;
First given in: Oporto May 1890.
LONDON, HANOVER SQUARE ROOMS 27 June 18S6 In Portuguese (translated by J. M. Machado de
(in Freneh) and Gaiety IS April 1871 (in Eng- Assis) Rio de Janeiro 28 October 18S9.
lish, translated by H. B. Farnie) and 31 August
1874 (translated by A. Clements).
NEW YORK 26 August 18S8 (in Freneh) and 31
18 56
Oetober 18 S9 (in English, as Going blind, trans-
lated by M. G. Walcot). BOTTESINI: L'Assedio di Firenze
STOCKHOLM Oetober 18S8 (in Frcneh) and 31
21 February. Paris, Th.I.
January 18S9 (in Swedish, translated by A.
Text by C. Corghi (founded on a libretto Maria
Säfström),
de' Ried by F. Manetta). Four acts.
BUENOS AIRES 13 Oetober 1861 (in Freneh).
The first opera of the famous double-bass vir-
VIENNA, QUAI TH. May 1863 (in German, trans-
tuoso. Milan S September 1860, etc.
lated by K. F. Wittmann).
SAIGON Auturnn 1864 (in Freneh; first opera
there). AU B ER: Manon Lescaut
GRAZ 8 February 1866. 23 February. Paris, O.c.
DRESDEN 19 November 1866 (in German). Text by A. E. Scribe (founded on Prevost's
COPENHAGEN 20 May 1868 (in Danish, translated novel). Three acts.
by J. Petersen). The first operatic version of A. F. PrevOSt'S
VALPARAISO 1869 (in Freneh). novel (for Massenet's and Puccini's operas, see
Revived: Monte Carlo 7 May 1902; Paris, 1884 and 1893).
O.C. 14 Deeember 1910; London Ambassador's Revived Liege 12 February 187S; Paris, O.C.
I I May 1914 (in Freneh).
I February 1882.
"La perle de la partition est la Mort de Manon,
BRISTOW: Rip van Winkle page unique dans l'ceuvre d'Auber par sa simple
27 September. New York, Niblo's Garden grandeur et sa reelle emotion" (Malherbe).
Text by J. H. Wainwright (founded on Irving's
story). Three aets. CLAPISSON: La Fanchonnette
This early Ameriean opera was revived at New
1 March. Paris, Th.L.
York 9 November 1870, at Philadelphia 21 No-
vember 1870; and (in eoneert-form), New York Text by J. H. Vemoy de Saint-Georges and A. de
II December 1898.
Leuven. Three acts.
Clapisson's best work. Ghent 13 December
1856; Brussels 3 May 18S7, etc.
DE FERRARI: Pipele ossia
Revived Paris, Athenee 19 February 1873 and
Il Portinaio di Parigi Chateau d'Eau 23 July 1880.
25 November. Venice, S. Ben. In German (translated by A. Schwarz), Frank-
Text by R. Berninzone (founded on E. Sue's Les fort April 18S7; Vienna, W. 13 November
Mysteres de Paris). Three acts. 18S8.

919 920
1856 ANNALS OF OPERA 1856

PETRELLA: Elnava ossia Leningrad, Conservatory February 1936; Mos-

L'Assedio di Leida cow 1937.
Outside Russia:
4 March. Milan, Sc.
COPENRAGEN June 1888 (in Russian).
Text by D. Bolognese. Prologue and 3 acts. RELSINKI 27 January 1889 (in Russian) and 17
In Italian also given at Lisbon 16 September November 1937 (in Finnish).
1856; Malta 1857; Barcelona I October 1859. PRAGUE 23 November 1889 (in Czech, translated
by A. E. Muzlk).
ARDITI: La Spia BERLIN, KROLL'S 6 June 1908 (in Russian).
24 March. New York, Ac. of Music MONTE CARLO 25 March 1909 (in Russian).

Text by F. Manetta (founded on J. F. Cooper's PARIS, TR S.B. 2 May 19II (in Russian) and 3 May

The Spy). Three acts. 19II (!) (in Freneh).

Arditi, the composer of this Italo-American SAN FRANCISCO 10 January 1922 (in Russian).

opera, composer also of the famous waltz 11 Bacio, NEW YORK 8 May 1922 (in Russian).

played, from 1858 onwards, an important part in RIGA 23 Oetober 1923 (in Lettish).

the musicallife ofLondon. (See his Remitliscetlces, JERUSALEM 3 May 1926 (in Hebrew, translated by

1896, PP.32-34.) A. Aschmann).

J. Mattfeld in A Hutldred Years of Gratld Opera LONDON, LY. 18 May 1931 (in Russian).

in New York, pp.75 and 84, erroneously gives

1854 as the year of the production of La Spia).
OUDRID: EI Postill6n de la Rioja
7June. Madrid, Circo
ADAM: Les Pantins de Violette Text by L. de Olona. Two acts.
Successful. in Spain and South America. Re-
29 April. Paris, B.P.
vived Mexico July 1868; Buenos Aires March
Text by L. Battu. One act ..
1870.
Adam's last opera; he died 4 days after the first
night. PONCHIELLI: I Promessi Sposi
In Freneh also given at London, St. J.'s 22 May 30 August. Cremona
1857; Berlin, KroU's 18 June 1858; Brusscls 8 Text founded on Manzoni's novel. Librettist
Deeember 1859; New York 15 December 1863; unknown; in 1872 the text was revised by E.
Naples 3 August 1868. Praga. Four acts.
In German, Vienna, Quai Th. 7 September 1861. Ponchiclli's first opera. Revived (in a new ver-
In Croatian, Zagreb 1865. sion) Milan, Td.V. 5 December 1872 and Sc.
In Czech (translated by ;: Böhm), Prague 6 I l October 1874; Cremona 5 April 1891.
December 1867. In Italian also, Barcelona 7 August 1875;
In Slovenian, Ljubljana 1 May 1870 (first opera Bucharcst 1877; Malta 1877; Lisbon 8June 1886.
sung in that language). In English (translated by H. Hersee), Edinburgh
23 March 1881; revived Glasgow Summer 1931.
DARGOMUIZHSKY: Rusalka*
PycaJIKa SÖDERMAN: Hin Ondesfärsta
16 May. St. Petersburg Lärospan
Text by the composer (from Pushkin's dramatie (The Devil's First Lesson)
poem). Four acts. 14 Septelilber. Stockholm
Very successful in Russia; Moscow 1858, etc. Text by F. Arlberg (founded on a Freneh libretto
Given at St. Pctersburg on 16 February 1899 in by Scribe, Lc Diable d I'Ecole, set to musie by
Itdian (translated by V. Nardueci). Last revived langer in 1842). One act.

921 922
 ANNALS OF OPERA

Popular Swedish operetta, revived at Stock- BUDAPEST 14 January 1881 (in Hungarian, trans-
holm in 1871, 1882, 12 May 1910 and 1931. lated by J. Rikosi and L. Evva).
ZAGREB 19 January 1884 (in Croatian, translated
MAILLART: Les Dragons de Villars by J. E. Tomic).
19 September. Paris, Th.L. LIVERPOOL 18 January 1886 (as Pm/ette, adapted by
Text by J. P. Lockroy and E. Cormon. Three acts. W. Grist).
Maillart's most popular work;. very successful ST. PETERSBURG 3 October 1887 (in German).
in Paris (where it was transferred to the O.C. on CHRISTIANIA 9 February 1893 (in Norwegian).
6 June 1868) and in other countries: HELSINKI Summer 1899 (in German).
GHENT 3 April 1857 (in French); Brussels 7 May WARSAW 1902 (in Polish).
1857, etc. MOSCOW 1908 (in Russian).
GENEVA 14 April 1857 (in French). Some of the more recent revivals were at:
HAGUEJanuary 1858 (in French). BASLE 22 March W25 (in German).
ALGIERS June 1859 (in French). BERLIN, D.O. 13 January 1927 (in German).
NEW ORLEANS 1859 (in Freneh). BRUSSELS 27 Oetober 193 I (in Freneh).
BERLIN, FR.W. 29 November 1860 (in German, as PARIS, PORTE ST. MARTIN 3 June 1935 (in French).
Das Glöckchen des Eremiten, translated by G. Still given on French and German stages.
Ernst).
VIENNA 14 September 1861 (in German, as Das PEDROTTI: Tutti in Maschera
Glöckchen des Eremiten, translated by G. Ernst).
4 November. Verona
RIGA December 1861 (in German, as Das Glöck-
Text by M. M. Mareello (founded on Goldoni's
chen des Eremiten, translated by G. Ernst).
comedy, L' Impresario delle Smirne). Three acts.
STOCKHOLM 4 May 1863 (in Swedish, translated
Pedrotti's chief work. Frequently revived in
by E. G. Kolthoff). .
Italy; some of the latest produetions were at Trieste
MADRID [29 September] 1864 (in Spanish, trans-
5 December 1888; Nbvara November 1899;
lated by M. Pastorfido) and Circo 28 August
Verona May 1924; and Pesaro February 1930.
1871 (translated by R. Puente y Brailas).
In Itaüan also, Malta 1862; Barcelona 22 April
PRAGUE August 1866 (in German) and 4 February
1863; Vienna 18 May 1865.
1887 (in Czech, trans la ted by J. J. StankovskY)·
Given at ßudapest May 1859 (in German) and
ZURICH November 1867 (in German).
in the same year in Hungarian, tr:mslated by F.
BASLE 30 December 1867 .(in German).
Ney.
NEW YORK 22 April 1868 (in German) ; 10 May
In French (translated by C. N uitter and A.
1869 (in French); and 6 June 187R (in English).
Beaumont), Paris, Athenee 23 September 1869.
BARCELONA 20 June 1868 (in French).
In Croatian (translated by J. E. Tomic), Zagreb
COPENHAGEN 19 October 1870 (in Danish, trans-
I April 188o.
lated by H. P. Holst).
ODESSA October 1871 (in French).
MILAN, S. RADEGONDA I March 1875 (in Italian);
BAZIN: Maftre Pathelin
Naples 4 December 1875, etc. 12 December. Paris, O.c.
LONDON, GAIETY 24 June 1875 (in French) and Text by A. de Leuven and J. A. F. Langle. One
Folly 14 April 1879 (in English, as The Dra- aet.
goons, translated by H. Hersee). One of Bazin's most popular works; given at
MEXICO 3 February 1878 (in French) and 24 June the o.c. until 1869 and revived at the o. Popu-
1882 (in Spanish). laire 30 April 1887; revived at Marseilles 8 Feb-
LISBON 9 May 1878 (in French). ruary 1919; at Vetviers c. Oetober 1929.
LAIBACH 1880 (in German). In Freneh also, New York 4 Deeember 1869.

92 3 92 4
18 56-57 ANNALS OF OPERA 1857
In German, Berlin 21 January 1858. Apart fromkkoldova Mogila (see 1835), Ver-
In Danish (translated by o. Zinck) , Copen- stovsky's most popular work; given in Russia un-
hagen 10 March 1875 (revived 13 April 1912). til about 1900.
For a Swedish version, see 1858.
VERDI: Simon Boccanegra*
DOPPLER: Wanda 12 March. Venice, F.

16 December. Budapest Text by F. M. Piave (founded on a Spanish drama

Text by T. Bakody. Threc acts. by A. Garda Gutierrez). Prologlle and 3 acts.
The most successful of Dopplcr's Hungarian Outside Italy also Malta 1860; Madrid 7 Jan-
operas. uary 1861; Lisbon 29 October 1861; Buenos Aires
In German (translated by o. Prechtler), Vienna 28 June 1862. Revived in a neW version (libretto
27 September 1862; Stllttgart 6 March 1865; altered by A. Boito) Milan 24 March 1881, etc.
Dresden 4 June 1866; Riga 9 November 1867; This version was given outside Italy at Vienna 18
Darmstadt 19 May 1872; Posnan (Posen) 16 November 1882 (in German, translated by K. F.
November 1877. Niese); Paris 27 November 1883 and Buenos
In Polish, Lemberg December 1874. Aires 13 August 1889 (in Italian).
Again revived: Vienna 12 January 1930 (new
MASSE: La Reine Topaze German translation by F. Werfel); this version
was also given at Berlin 8 February 1930; Praguc
27 December. Paris, Th.L.
193 I; Basle 3 September 193 I, and on many other
Text by J. P. Lockroy and L. Battu. Three acts. German stages.
Given in Paris 170 times. Geneva 12 November Zagreb 14 May 1931 (in Croatian).
1857; Antwerp 13 April 1859; Brussels 17 Octo- New York, M. 28 January 1932 (in Italian; for
ber 1864, etc. the first time in America); revived 13 January
In German (translated by H. Proch), Vienna 19 1939. Revived at Buenos Aires 6 June 1935.
November 1858. Budapest June 1937 (in Hungarian) translated
In English (translated by J. Oxenford, music by K. Nadasdy.
adapted by G. Linley), London, H.M.'s 26 De-
cember 1860; (translated by F. A. Schwab), Bos-
ton 8 January 1889. GAZTAMBIDE: Los Magyares
12 April. Madrid, Z.

Text by L. de Olona. Four acts.

18 57 The first great success at the new Teatro de la
A. THOMAS: Psyche Zarzuela, Madrid, inaugurated 10 October 1856.
Los Magyares was also given at Lisbon 8July 1859;
26 Jalluary. Paris, O.C. Mexico 8 October 1868; and Buenos Aires 3 June
Text by J. Barbier and M. Carre. Three acts. 187°·
Revived Paris, O.c. 21 May 1878 (qew ver-
sion). A. PERl: Vittore Pisani
21 April. Reggio
VERSTOVSKY: Gromoboy
Text by F. M. Piave. Three acts.
rpOMo60H: Successful in Italy. Milan, Sc. 4 October 186o,
(Thunder) etc.
5 February. Moscow In Italian also, Barcelona 2 March 1859; Con-
Text by D. T. Lensky (foundcd on a poem by V. stantinople October 1860; Malta 1861; Buenos
A. Zhukovsky). Four acts. Aires Summer 1865.

92 5
 ANNALS OF OPERA

GASTINEL: L'Opera aux Fenetres (An earlier version, called Le Tresor aMathurin
5 May. Paris, B.P. had been given in concert form at the Salle Hertz'
Paris in May 1853). '
Text by Lud. Halevy (founded on a play by A.
The most popular of Off'enbaeh's numerous
von Kotzebue). One act.
I -aet operettas produeed before Orphee al/x Enfers
The most successful of Gastinel' s operettas. Re-
vived Nice April 1898. (1858).
Outside Paris, given at:
London, St. J.'s 5 June 1857 (in French) and
BERLIN, KROLL'S 17 June 1858 (in French, by the
Gaiety 19 April 1869 (in English, as An Eligible
Bouffes-Parisiens) and O. 13 December 1858
Villa).
(in German).
In German (translated by ]. C. GrÜl1baum),
VIENNA, CA. 160ctober 1858 (in German, translat-
Vienna, W. 4 February 1859; Breslau April 1859;
ed by K. Treumann, orchestrated by C. Binder).
Berlin, Fr.W. 19 January 1860, etc.
LEMBERG 3 January 1859 and Warsaw 20 March

LAS SEN: LandgrafLu dwigs Brautfahrt 1859 (in Polish, translated by]. B. Wagner).
PRAGUE 8 January 1859 (in German) and 20 May
10 May. Weimar
1865 (in Czech, translated by]. Böhm).
Text by E. Pasque (translated from a French lib-
GRAZ 15 January 1859.
retto, Le Roi Edgar). Five aets.
COPENHAGEN 5 March 1859 (in Danish, translated
The first of the three (unsuccessful) operas of
by A. F. von der Recke).
Lassen who, in 1861, succeeded Liszt as eonductor
BUDAPEST Mal' 1859 (in German) and 21 Novem-
at the Weimar Hoftheater.
ben860 (in Hungarian, translated by M. Feleki).
NEW YORK 18 March 1860 (in German); 6 Feb-
VIVIER: Spadillo le Tavernier
ruary 1864 (in Freneh); and 21 August 1868 (in
22 May. Brussels, M.
English).
Text by C. Michaels. One act.
LONDON, LY. q Mal' 1860 (in French) and New
The only opera ofVivier (who is better-known
Royalty 18 January 1862 (in English, translator
as the author of the famotis Traite complet d'Har-
not mentioned; this seems to have been the fmt
monie). production of an Offenbach operetta in Eng-
lish; not reeorded by R. N ortheott. There were
GAUTIER: Le Mariage extravagant
three later English versions, produeed in 1869,
20 June. Paris, O.c.
1871, and 1915).
Text by E. Cormon (founded on a eomedie-
BRUSSElS 9 ]une 1860 (in French).
vaudeville by M. A. M. Desaugiers and].]. C.
STOCKHOLM 29 Oetober 1860 (in Swedish, trans-
Mourier, 1812). One act.
lated by E. A. Wallmark, orehestrated by]. A.
Gautier's best work.
Söderman).
In Freneh also, Liege I January 1858; Brussels BASLE 10 ]anuary 1862 (in German).
1 February 1858. Revived Paris, O.c. 27 October
ZAGREB 8 November 1863 (in Croatian, translated
1871.
by]. Freudenreich).
In Swedish (translated by L. E. Granberg),
MOSCOW 1871 (in Russian).
Stockholm 26 February 1859.
MILAN 19 March 1875 (in ltalian).
BELGRADE 1884 (in Serbian, translated by J. N.
OFFENBACH: Le Mariage Marinovic).
aux Lanternes LJUBLJANA 1892 (in Slovenian).
100etober. Paris, B.P. TSINGTOU April 1908 (in German).
Text by "Jules Dubois" (pseudonym ofM. Carre TEL AVIV 12 Janu.uy 1938 (in Hebrew, translated
and L. Battu). One aet. by E. Troche).

927 928
 ANNALS OF OPERA

Revived Paris, O.c. 4 December 1919; Stock- Bruch's first opera (it had been privately given
holm 15 October 1927; Berlin, O. 31 December at F. Hiller's, Cologne 14 December 1856).
1930.
BALFE: The Rose ofCastille GOUNOD: Le Medecin malgre lui*
29 Oetober. London, Ly. 15 J anuary. Paris, Th.L.
Text by A. G. Harris and E. Falconer (founded Text: Moliere's comedy, with slight alterations
on a French libretto by d'Ennery and Clairville, by the composer, J. Barbier and M. Carre. Three
Le Muletier de TolMe, composed by Adam in acts.
1854). Three acts. Gounod' s first opera-cornique and his first grea-
Successful in London; the looth performance ter success. Revived Paris, O.C. 22 May 1872,15
at the Lyceum was on 9 October 1858. May 1886, 15 NovemberI902, and 24 March 1938.
Revived London 30 September 1871 at the Outside France, given at:
BRUSSELS 25 February 1859 (in French).
inauguration of the "Royal National Opera," St.
WARSAW October 1862 (in Polish).
James's Theatre; also Grand Th. Islington April
HAMBURG 22 November 1862 (in German, trans-
1907; Old Vic. October 1909 and April 1914.
Given at New York on 27 July 1864. lated by T. Gassmann).
SIOCKHOLM 14 December 1863 (in Swedish,
In German (translated by H. Proch), Vienna 5
February 1859. translated by E. A. Wallmark).
LONDON, C.G. 27 February 1865 (in English, as
Frequently revived on English provincial sta-
ges. Given at Dublin as late as 26 June 1920, at The Moek Doctor, translated by c. L. Kenney);
Birmingham 28 September 1922. revived Grand, Islington 24 November 1890
(translation revised by R. Temple); Avenue 26
February 1891 (by the R.A.M.), etc.
TAUBERT: Macbeth
COPENHAGEN 5 April 1876 (in Danish, translated
16 November. Berlin, O. by A. Zinck); revived (in a new German ver-
Text by F. Eggers (afterShakespeare). Five acts. sion by E. N. von Reznicekl, Berlin, K.O. 3
Given at Berlin unti11872; revived Magdeburg September 19IO and again, Kroll's 4 February
Ip April 1877. 1928.
PRAGUE 22 June 1911 (in Czech, translated by v.
FLOTOW: Pianella J. Novotny) and 27 August 1931 (in German).
27 Dewnber. Schwerin NEW YORK 10 May 1917 (in English, translated by
Text by E. Pohl (a German version of the Serva A. Mattulath).
Padrona subject, see 1733). One act. MONIE CARLO 5 January 1924 (produced by Dia-
In French (translated by o. Fere and Saint- ghilev, recitatives by E. Satie); in French also,
Yves) , Paris, Th. Dejazet 11 May 1860; New Cairo Spring 1938.
York 31 March 1864. Revived (in German) Bre- A new English adaptation, The Frantie Physi-
men 26 March 1881. dan; or, Three Drams ofMatrimonium, by A. Dean,
music arranged by M. Bartholomew, was pub-
lished at Newark, N. Y. in 1935 and produced at
r858 Juilliard School of Music New York 1936.
BRUCH: Scherz, List und Rache
14 January. Cologne PETRELLA:Jone
Text by L. Bischoff (reduced from Goethe's 4-act 26 January. Milan, Sc.
Singspiel, first set by P. C. Kayser in 1785-86). Text by G. Peruzzini (founded on E. Bulwer
One act. Lytton's The Last Days of Pompeii). Four acts.

92 9 93 0
 ANNALS OF OPERA

Very successful in Italy, given there until about HA L EV Y : La Magicienne

1910. 17 March. Paris, O.
Outside Italy (in Italian):
Text by J. H. Vemoy de Saint-Georges. Five acts.
MALTA 1861.
The last opera ofHaIevy which was produced
HAVANA 1862. in his lifetime; performed 42 times within one
NEW YORK 6 April 1863 (revived 18 October year, but never revived.
1886).
BARCELONA 3 October 1863. GEVAERT: Quentin Durward
BUENOS AIRES 21 July 1864.
25 March. Paris,O.C.
RIO DE JANEIROAutumn 1865. Text by E. Cormon and M. Carre (founded on
MEXICO 28 October 1865. Scott' s novel). Three acts.
NEW ORLEANS 8 February 1867. Brussels 5 October 1858; Ghent 17 December
ATHENS 1868. 1858; Antwerp 25 December 1859, etc. Geneva
LISBON 15 December 1869. 14 February 1890; Hague December 1891. Suc-
SYDNEY Autumn 1870. cessful in Belgium; last revived at Brussels 13 Oc-
BUCHAREST 187I. tober 1930.
VIENNA, w. 28 Jl1ly 1871. In Swedish, Stockholm 7 December 1865.
LONDON, BIJOU TH. 28 June 1876 (by amateurs).
In German (translated by O. Neitzel), Weimar
20 May 1888.
CAIRO January 1877.
ODESSA Carnival 1881.
PACINI: 11 Saltimbanco
SANTIAGO, CHILE 1883.
24 May. Rome, Arg.
Text by G. Checchetelli (originally called Pa-
G. SCHMIDT: Weibertreue oder gliaccio). Three acts.
Kaiser Konrad vor Weinsberg In Italian also given at Madrid 21 March 1859
and Barcelona 24 March 1859; Malta 1860; Bue-
16 Febmary. Weimar
nos Aires 7 November 1866.
Text by the composer. Three acts.
Berlin 30 March i 860, etc. Revived Zurich 22 MONIUSZKO:.Flis
November 1883.
(The Raftsman)
24 September. Warsaw
OFF E N B ACH: Mesdames de la Halle Text by S. K. Boguslawski. One act.
3 March. Paris, B.P. Lernberg 14 March 1860, etc.
Text by A. Lapointe. One act. Frequently revived in Poland ; Lemberg 9 May
In French also given at Berlin, Kroll's 7 July 1919; Poznan Summer 1931; Warsaw March
1858; Brussels 13 Jurte 1860, etc. 1932·
In German (translated by A. Berla), Vienna,
Quai Th. 22 February 1862; Berlin, Kroll's 6 Au-
OFFENBACH: Orphee aux Enfers*
gust 1867. 21 Oetober. Paris, B.P.

In Polish, Lernberg 19 April 1868. Text by H. Crerniel1x and Lud. Halevy (from a
In Czech (translated by J. Hanus), Prague 8 German scenario by Karl Cramer? See A. Hen-
June 1871. seler, OjJenbach, P.27S). Two acts.
Revived (in French), Monte Carlo 18 Decem- Of Offenbach's more than 100 works for the
ber 1908; Paris, O.c. 4 May 1940. stage, Orphee may be regarded as the most popu-

931 932
 ANNALS OF OPERA

lar one; given at the B.P. 227 nights running; BUENOS AIR ES 30 November 1866 (in French) and
revived in a new 4-act version (as opera-feeriqlle), October 1906 (in German).
Paris, Galte 7 February 1874; the 400th Paris per- MILAN May 1867 (in French).
formance was on 18 December 1862, the 800th NAPLES 23 September 1868 (in French) and 29
on 8 September 1874; the so far btest revival at May 1869 (in Italian).
the Th. Mogador in December 1931. ,"\ . MEXICO 22 June 1'869 (in Spanish).
Outside Paris given at: VALPARAISO 1869 (in French).
BRESLAU 17 November 1859 (for the first time in SYDNEY 1872 (in English).
German, transbted by L. Kaliseh). SOFIA Summer 1893 (in German; Bulgarian trans-
PRAGUE 3 I December 1859 (in German) and 15 lation by T.N. Shishkov published Vama 1892).
September 1869 (in Czech, translated by J. ZAGREB 19 April 1897 (in Croatian, translated by
Böhm and E. ZüngeI). P. Brani).
VIENNA, CA. 17 March 1860 (new Gennan version BELGRADE 1902 (in Serbian, translated by J. R.
by J. Nestroy). Odavic).
BERLIN, FR.W. 23 June 1860 (in German: 300th RIGA 5 March 1932 (in Lettish; earlier given there
performance 26 December 1870). in German).
BRUSSELS 28 June 1860 (in French). HELSINKI 15 March 1932 (in Finnish).
GRAZ 4 September 1860.
STOCKHOLM 13 September 1860 (in Swedish,
( F 0 R 0 NI) : Advokaten Patelin
trans la ted by E. A. Wallmark and C. A. K.
Almlöf); there are several other Swedish ver- 4 Deccmber. Stockholm
SlOns. Text by E. G. Kolthoff (translated from De Leu-
COPENHAGEN I I October 1860 (in Danish, trans- yen and LanglC' s French libretto, see 1856), lyrics
lated by H. P. Holst). by D. Hwasser and J. Jolin. One act.
NEW YORK March 1861 (in German) ; 17 January Produced at Stockholm three months after Fo-
1867 (in French); and 22 April 1874 (in Eng- roni's death; very successful there; revived in
lish). 1875,1879,1894,1908 and 1926.
WARSAW 1861 (in Polish, transbted by L. Matus-
, zYllski).
ST. PETERSBURG December 1861 (in German) and ERNST II DUKE OF
1869 (in Russian). SAXE-COB URG-GOTHA:
BUDAPEST 28 December 1861 (in German) and Diana VOlt Solange
12 May 1882 (in Hungarian).
ZURICH May 1862 (in German).
5 Deccmbcr. Coburg
AMSTERDAM 1862 (in German) and January 1865 Text by O. Prechtler. Five acts.
(in Dutch). Gotha 16 January 1859; Dresden 25 January
MADRID, Z. 27 March 1864 (in Spanish, translated 1859; Vienna 19 March 1859; Berlin, Kroll's 15
by M. Pina). July 1882.
CHRISTIANIA 1864 (in Norwegian). In German also, Rotterdam April 1874; Prague
RIO DEJANEIRO 3 February 1865 (in French). March 1875; Brünn 20 November 1875; Riga
MOSCOW 12 December 1865 (in Russian, translat- 1876; Reval November 1876; New York 9 Jan-
cd by V. A. Kruilov). uary 1891.
LONDON, IIM. 26 Dece'llbcr 1865 (in English, Last revived: Bremen 10 March 1892.
adapted by J. R. Planche) and St. J.'s 12 July Polish translation by J. Jasülski published 1860
1869 (in French); Northcott records four later French translation by H. Lefebvre published
English versions. 186 3.

933 934
18 58 ANNALS OF OPERA 1858

CORNELIUS: Der Barbier von Bagdad* First given at Berlin, Lessing Th. 28 June 1891
15 December. Weimar (by the Prague eompany); O. 6 November 1900
Text by the composer. Two acts. (revived I I Deeember 1907; 27 February 1922;
Cornelius' s first opera. At the first night, the 24 April 1929).
theatre became the battlefie1d between Liszt's and The original version in 1904 found a new ad-
Dinge1stedt's aQherents and as a result of the voeate in M. Hasse! and was revived at Weimar
events connected with the production, Liszt re- on 6 June of that year.
signed his post as court conductor at Weimar. In English (translated by M. E. Browne), Lon-
The opera was never given again in Cornelius's don, Savoy 9 Deeember 1891 (by the R.C.M.);
lifetimc. revived c.G. I I May 1906 (in German).
When revived 19 years later at Hanovcr 24May In Hungarian (translated by K. Abd.nyi), Bu-
1877 it was again a failure. dapest 30 Deeember 189I.
The seore was then reviscd and re-orehestrated In Flemish, Antwerp 8 Oetober 1904.
by F. Mott! and the new version was produeed at In Danish (translated by J. Lehmann), Copen-
Carlsruhe I February 1884. Only from that date hagen 21 November 1904.
onwards (and not even in its original form) Der In Russian, Moseow, Th. ZiminJanuary 1905.
Barbier von Bagdad was recognised, still very In Czeeh (translated by J. Vymetal), Prague
slowly and rell1etantly, as one of the masterpieees 21 Deeember 1906.
of German eomic opera. In Slovenian (translated by F. Buear), Ljubljana
The Motd version, after Carlsruhe, was given 29 May 1925.
at Munieh 15 Oetober 1885 (under H. Levi; with An open-air performance took place at Arnhem
new alterations) ; further produetions (in Ger- (Holland) 13 September 1925·
man):
HAMBURG 23 November 1886. BALFE: Satanella; or, The
COBURG 28 Oetober 1887.
Power 0f Love*
LEIPZIG II November 1887.
WEIMAR 15 January 1888.
20 December. London, C.G.
COLOGNE 3 January 1889. Text by A. G. Harris and E. Falconer (from Le-
BaNN 16 April 1889. sage's Le Diable boiteux). Four a,ets.
VIENNA 4 Oetober 1890. Sydney 6 July 1862; New York 23 February
DRESDj;N 22 Oetober 1890. 1863; Philadelphia 28 Oetober 1871. Revived
STUTTGART 8 May 1892. London, Gaiety 14 August 1875 and C.G. 26 Jan-
DARMSTADT 16 May 1895. uary 1884.
DÜSSELDORF 23 Oetober 1896.
HALLE 28 Oetober 1899. GAZTAMBIDE: EIJuramento
BASLE 23 February 1900. (The Oath)
FRANKFORT 18 March 1900.
20 Decftlll'cr. Madrid, Z.
ZURICH 2 November 1900.
Text by L. de Olona (partly founded on a Freneh
ROSTOCK 4 November 1900.
libretto La Rose de Nrotltlc). Three aets.
BROMBERG 23 April 190I.
GRAZ 2 November 190I.
Sueeessful in Spain.
Also given at Havana Autumn 1860; Buenos
In German also, Prague 30 September 1888;
Aires Deccmber 1867; Mexieo Summer 1868.
New Y ork 3 January 1890; Chieago 5 May 1890;
Rotterdam 3I Oetober 1900; Brünn 24 April Last revived at Madrid in Oetober 1933.
1901; Metz 28 November 1901; London, c.G. 1 See his pamphlet Peter Cornelius und sei" Barbier VOll
I I May 1906. Bagdad, die Kritik zweier Partituren, etc., 1904.

935 93 6
 ANNALS OF OPERA

COPENHAGEN 18 May 1867 (in Italian); revived

r859
25 September 1935 in the original Gustav J1l
VERDI: Un Ballo in Maschera* version (in Danish, translated by P. Biom).
CHRISTIANIA April 1868 (in Italian).
17 February. Rome, Ap.
SYDNEY 2 June 1868 (in Italian).
Text by A. Somma (founded on Seribe's Gus-
tave !II, see 1833). Three aets. RIGA 1869 (in German) and 14 May 1927 (in
Lettish).
Originally the opera was ealled La Vendetta
CAIRO Camival 1870 (in Italian).
in Domino and had been written for Naples; but
RIO DE JANEIRO 1871 (in Italian).
it was not allowed to be aeted for politieal rea-
HAVANA 1872 (in Italian).
sons; the libretto had to be ehanged and a gov-
WILNA 1873 (in Italian).
emor of Boston to be substituted for Gustav III,
GENE VA 29 April 1873 (in Freneh).
King of Sweden. In the original form the opera
GRAZ 27 February 1874.
was revived at Copenhagen on 25 September
MALTA 1876 (in Italian).
1935. Outside Italy given at:
ZAGREB 2 Oetober 1877 (in Croatian, trans la ted
LlSBON 15 April 186o (in Italian).
by r. Tmski).
PARIS, TH.J. 13 January 1861 (in Italian with the
scene transposed to Florence) and Th.L. 17 No- LAIBACH (LJUBLJANA) 1880 (in German) and 1927
vember 1869 (in Freneh, translated by E. (in Slovenian).
Duprez). HELSINKI 1879 (in Swedish, translated by R.
BARCELONA 31 January 1861 (in Italian). Hertzberg); 25 Oeto~er 1896 (in Italian) and
NEW YORK II February 1861 (in Italian);5 Feb- 26 April 1922 (in Finnish).
. ruary 1871 (in English) and II Deeember 1889 BUCHAREST April 1923 (in Rumanian; translation

(in German). published already Jassy 1864).

LONDON, LY. 15 June 1861 (in Italian). SOFiA 22 Oetober 1926 (in BuJgarian; translation

DUBLlN 25 September 1861 (in Italian). published al ready Vama 1905).

BERLlN 23 November 1861 (in Italian) and 12 Feb- KAUNAS 30 Oetober 1926 (in Lithuallian).

ruary 1873 (in German). TALLINN 1928 (in Estonian).

sr. PETERSBURG Deeember 1861 (in Italian). Given at Stockholm for the first time on 12
STUTTGART 6 Mareh 1862 (for thc first time in February 1927 (the reasons for this very /ate
German, translated by J. C. Grünbaum). production being obvious; a Swedish translation
BUENOS AIRES 4 Oetober 1862 (in Italian). of the libretto, however, by E. A. Wallmark had
LIMA, PERU 1863 (in Italian). been published at Stockholm in 1868 and another
BUDAPEST Deeember 1863 (in German) and 16 fOl Hclsinki in 1879 (see above).
January 1864 (in Hungarian, translated by G.
Böhm).
F. DAVID: Herculanum
VIENNA 1 April 1864 (in Ita!ian) and 19 November
r866 (in German). 4 March. Paris, O.
BRUSSELS 9 April 1864 (in Italian) and 5 March Text by F. J. Mery and T. Hadot. Four aets.
1872 (in Freneh). The work was originally called Le dcmicr
MEXICO August 1864 (in Italian). A,I/Ollr and lud been written for the Thcatre-Ly-
VALPARAISO 1864 (in Italiau). rique. Given in Paris 74 times until 1868; in
WARSAW 22 Oetober 1865 (in Italian). Freneh also Brusscls 29 November 1860.
PRAGUE August 1866 (in German) and 30 June In Italian (translated by M. M. Mareello), Sr.
1869 (in Czeeh, translated by E. Züngd). Perersburg 27 January 1865; Veniee 17 February
NEW ORLEANS 1 Februar)' 1867 (in Italian). 1870.

937
 ANNALS OF OPERA

(In 1867 Herculallum was awarded the prize of RIGA May 1862 (in German) and 19°2 (in Lettish).
20,000 francs, founded by Napoleon III for STOCKHOLM 5 ]une 1862 (in Swedish, translated
"I' Cl:uvre ou Ja decouverte la plus propre a ho- by E. A. Wallmark).
norer le pays".) MILAN, SC. I I November 1862 (for the first time
in Italian, translated by A. de Lauzieres).
GOUNOD: Faust* BERLIN 5 ]anuary 1863 (in German).
19 March. Paris, Th.L. GRAZ 8 ]anuary 1863.
Text by]. Barbier and M. Carre (foundcd on LONDON, H.M.'S I I ]une 1863 (in Italian); 23 ]an-
Goethe's tragedy). Five acts. uary 1864 (in English, translated by H. F. Chor-
Gounod's chief work and one of the most suc- ley; see C. E. Pearce, Sims Reelles, P.24I); 6 No-
cessful French operas ever written. First produced vember 1886 (in French). First given at c.G.
at the Th.L. in the form of an "opera-comique" 2 ]uly 1863; 200th performance thefe 6 ]une
with spoken dialogue; given there 57 times until 1893, 300th 10 May 1906. Faust was included
31 December 1859. The recitatives were added in every c.G. season from 1863 to 1911.
for a production at Strasbourg in April 186o; sub- ZURICH 1863 (in German).
sequently given at Rouen 16 April 1860 and all BUDAPEST 2 September 1863 (in Hungarian, trans-
over France. Iated by F. armai).
In Paris Faust was resumed at the Th.L. 18 De- DUBLIN I Oetober 1863 (in Italian).
cember 1862 (ISO more performances there and PHILADELPHIA 18 November 1863 (in German).
at its temporary branch, the Th. de la Renaissance, NEW YORK 25 November 1863 (in Italian); 18 De-
until 4 May 1868) and finally transferred to the cember 1863 (in German); 18 May 1868 (in
Opera (with the ballet music added) 3 March English); 27 April 1881 (in French); the Metro-
18 69. politan Opera House was inaugurated with a
500th Paris performance 4 November 1887. production of Falls: (in Italian) 22 October
1,000th " 14 Decemberr 894. 188 3.
1,5 00th " 1 ]anuary 1912. ST. PETERSBURG ]anuary 1864 (in Italian) and 27
2,000th " 3 I Deeember 1934. September 1869 (in Russian); revivedLeningrad
Outside France given at: 27 October 1922. -
LIEGE 5 March 1860 (in French). BARCELONA 17 February 1864 (in Italian).
GHENT 24 December 1860 (in French). SYDNEY Spring 1864 (in English).
DARMSTADT 10 February 1861 (for the first time in MALTA 1864 (in Italian).
German, translated by K. Gollmick; first given MEXICO 12 October 1864 (in Italian).
as Faust; Dresden 31 August 1861 as Margarete; COPENHAGEN 12 December 1864 (in Danish, trans-
Stuttgart 27 September 1861 as Gretehen). Ger- Iated by A. Hertz).
man parody Margarethe published Breslau 1862. WARSAW 1865 (in Polish, translated by L. Matus-
ANTWERP 15 February 1861 (in French) and 12 zynski).
December 1918 (in Flemish). LISBON 1 December 1865 (in Italian); 16May 1878
BRUSSELS 25 February 1861 (l,oooth performance (in French); and 8]anuary 1882 (inPortuguese).
26 November 1924). BATAVIA 20 ]uly 1866 and Soerabaya 14 Decem-
PRAGUE 24 October 1861 (in German) and 6 ]une ber 1866 (in French).
1867 (in Czech, translated by]. Böhm). HAVANA 1866 (in Italian).
AMSTERDAM 14 ]anuary 1862 (in French) and 16 BUENOS AIRES 22 August 1866 (in Italian).
October 1886 (in Dutch). NEW ORLEANS 20 November 1866 (in French).
GENEVA 23 ]anuary 1862 (in French). MOSCOW 22 November 1866 (in Russian, trans-
VIENNA 8 February 1862 (in German); 4 March Iated by P. I. Kalashnikov).
1876 (in Italian); and I I May 1928 (in French). NAPLES, s.c. Carnival 1867 (in Italian).

939 940
 ANNALS OF OPERA

CONSTANTINOPLE 12 February 1868 (in Italian). PRAGUE 25 February 186o (in German) and 12 Oc-
CHRlSTIANIA May 1869 (in Italian) and December tober 1862 (in Czech, translated by J. Prazsky).
1874 (in Norwegian). ßUDAPEST 17 November 1860 (in Hungarian, trans-
CAIRO January 1870 (in Italian). lated by L. Csepregi; revived Deeember 1917).
SMYRNA 1870 (in Italian). L1NZ 25 November 186o (in German).
RIO DE JANEIRO Ca rni val 1871 (in Italian). NEW ORLEANS 4 March 1861 (in Freneh).
LEMBERG 13 April 1872 (in Polish). LEMBERG 12 November 1861 (in German) and 22
ZAGREB 19 March 1873 (in Croatian, translated by March J 873 (in Polish).
A. Senoa). GRAZ 25 Oetober 1862.
HELSINKIlO February 1876 (in Finnish, translated NEW YORK 24 November 1862 (in Italian; revived
by A. Törneroos). 22 January 1925).
CARACAS, VENEZUELA Carnival 1881 (in Italian). BASLE 12 December 1862 (in German).
MANILA 20 October 1882 (in Italian). ALGJERS March 1864 (in French).
LJUBLJANA 1896 (in Slovenian). VIENNA I I March 1865 (in German).
BUCHAREST 1903 (in Rumanian). GOTHENBURG 1866 (in German).
JOHANNESBURG 1905 (in English). FLORENCE - 29 March 1867 (for the first time in

SOFIA 10 March 1910 (in Bulgarian; translation Italy; revived Naples, T. Fondo July 1873 and
published al ready Shumen 1905). Milan 26 March 1904).
CASABLANCA, MOROCCO April 1913 (in French). BARCELONA I I February 1868 (in Italian).

REVAL (TALLINN) 1913 (in Estonian). DUBLIN 14 September 1869 (in Italian).

SHANGHAI 1918 (in Russian). CONSTANTINOPLE 22 January 1870 (in Italian).

YOKOHAMA Autumn 1919 (in Italian). WARSAW Spring 1870 (in Italian) and 3 Deeember

KAUNAS 16 March 1922 (in Lithuanian). 1887 (in Polish).

BELGRADE 1922 (in Serbian). STOCKHOLM 23 May 1870 (in Swedish, translated

JERUSALEM 19 February 1924 (in Hebrew, trans- by E. A. Wallmark).

lated by A. Aschmann). HAVANA 1872 (in Italian).

ATHENS Summer 1933 (in Greek). MEXICO 28 August 1872 (in Italian).
BUENOS AIRES 7 September 1872 (in Italian).
RIGA 10 December 1873 (in German).
MEYERBEER: Le Pardon de Ploermel
MALTA 1874 (in Italian).
4 April. Paris, O.c. LISBON 28 April 1874 (in Italian) and 22 May 1878
Text by J. Barbier and M. Carrc. Three acts. (in Freneh).
Very successful in Paris; revived at the O.c. CAIRO March 1875 (in Italian).

27 August 1874, 23 May 1881, 6 June 1896 and HELSINKI 27 February 1878 (in Finnish, translated

16 March 1912. Last revived at Brusscls on I I by A. Törneroos).

January 1939· RIO DE JANEIRO 24 Oetober 1878 (in Italian).

Outside Franee (mostly given as Dillorah): BERLIN, O. 3I Oetober 188 I (in German) and

LONDON, C.G. 26 July 1859 (in Italian, translated Kroll's 13 October 1885 (in Italian).
by A. de Lauzieres) and 3 Oetober 1859 (in SANTIAGO, CHILE 1883 (in Italian).

English, translated by H. F. Chorley). ROTTERDAM II February 1885 (in German).

COBURG 6 December 1859 (in German, translated COPENHAGEN 14 December 1892 (in Danish).

by J. C. Grünbaum).
HAGUE 8 Deeember 1859 (in French).
FLOTOW: Veuve Grapin
BRUSSELS 23 Deeember 1859 (in Freneh). September. Paris, B.P.
21

GENEVA 5 January 186o (in French). Text by P. A. A. Pittaud de Forges. One-act

ST. PETERSBURG 4 February 1860 (in Italian). operetta.

94 1 94 2
 ANNALS OF OPERA 18 59-60

In French also, Brussels I January 1860. MADRID 4 September 1869 (in Spanish, translated
In G~rman (translated by the composer under by F. Moreno Godino and F. Bardan).
the pseudonym ofF. Marckwordt), Berlin, Fr.W. LONDON, PffiLHARMONIC II November 1871 (in
JIJanuary 1861; Vienna, Quai Th. 1 June 1861; English, translated by H. B. Farnie).
Budapest 7 June 1885. SYDNEY 1873 (in English, translated by G. Walch).
In Russian, St. Petersburg, February 1868. MEXICO 31 January 1874 (in French).
In Finnish, Helsinki, 27 March 1879. NAPLES 5 July 1879 (in Italian, translated by A.
Revived Berlin, Th.d.W. 6 November 1898 Sealvini).
and at the "Theater Die Rampe" as late as 18 No-
vember 1922.
KASHPEROV: Maria Tudor
7 Deeember. Milan, T. Carcano
SOBOLEWSKI: Mohega
Text by A. Ghislanzoni. Four acts.
11 Oetober. Milwaukee
Since 1788 (see note on Sacchini's Armida,
(German) text by the composer. Three acts.
1772), this WJS probably the first opera written by
One of the earliest Gcrman operas which had a Russian composer for Italy.
their original productions in the U.S.A. "Mohega In Italian also, Nice March 1860.
was probably the first operatic treatment of an
episode from the Revolutionary War, the libretto
celebrating the love and tragic end of Count Pu- MELLON: Victorine
laski and the Indian maid Mohega at the siege of 19 Deeember. London, c.G.
Savannah in 1779" (Dir!. AII/aie. Biogr.).
(Sobolewski was a native of Königsberg who Text by E. Falconer. Three acts.
settled in America in IR 59. Liszt had prodllced his Suecessful in Landon. Dublin 2 May 1861, etc.
opera, Komala at Weimar on 30 Octobcr 1858.) (Rectify A. Nicoll, A History ofEarly 19th Cel1-
tllry Drama, Val. H, p.300, where the name of the
composer is mis-spelt and the year 1839 is given
OFF E N B ACH: Genevieve de Brabant instead of 1859.)
19.VOl'e/l/[,er. Paris, B.P.
Text by A. Jaimc and E. Trcfcll. The original
2-act version was enlarged to 3 acts at the Menus- r860
Plaisirs 26 D~eembcr r867 (tcxt revised by H.
CrerniclIx) and to 5 aets Jt thc Galte 25 February CASPERS: Ma Tante Dort
I X75. Last revived in Paris 21 February 1908 (Th.
21 lal/uary. Paris, Th.L.
des Varictcs).
Outside Paris givcn Jt: Text by H. Cremieux (and, according to Goizet,
VlENNA, CA. 3 April 1861 (in German, translated E. Abollt). One act.
by E. Dohm, as Die sel/iil/e Magd/olle). Caspers' s most sllccessflll work; transferred to
BERLIN, FR.W. 1 JlIly rXor (in German, translated the O.c. on 17 September 1860. Brusscls I2Jan-
by E. Dohlll, :lS Die sehiillc Magcl/ol/c). uary 1861, etc.
PRAGUE F-:bru:lry I So.:!- (in German) and 13 May In German (translated by M. Oscar), Vienna,
1871 (in Czcch, transl.ltcd by J. HrubY). Qmi Th. I November 1860; Bcrlin, Fr.W. 26
NEW YORK 22 Oetober IXoS (in Frcnch) and 2 No- August 186r.
vember 1874 (in English). Revived (in Germ:ln), Leipzig 17 February
BRUSSELS 4 March I X09 (in French; the sccond 1903; Praglle 27 Janllary 1904; Berlin, Th.d.W.
version). 13 February 1904; Vicnna, O. 7 March 1914.

943 944
 1860 ANNALS OF OPERA 1860

MONIUSZKO: Hrabina AIX-LES-BAINS Summer 1930 (in French).

(The Countess) PARIS, TR.L. 13 November 1931 (in French).
7 Fchrllary. Warsaw
WALLACE: Lurline
Text by W. Wolski. Three acts.
23 February. London, c.G.
Successful in Poland; given at Lemberg 22
March 1872 (in German) and 22 October 1874 Text by E. Fitzball. Three acts.
(in Polish). Apart from Maritana, WalIace's most popular
Frequently revived in Poland; Warsaw Octo- work; it anticipates Wagner in having a scene at
ber 1929; Lemberg 1930. the bottom of the Rhine.
Given at Dublin 30 April 1861; Sydney Sep-
tember 1862; Cambridge, Mass. I June 1863 (in
GO UNO D: PhilCmon et Baucis
concertform); NewYork 13 May 1869 (in Eng-
18 February. Paris, Th.L. Iish and the very next night in Italian, translated
Text by J. Barbier and M. Carrc. Three acts. by G. Vacotti).
Brussels 21 February 1862; Antwerp 17 March In German (translated by J. Mielck), Königs-
1863, etc. More successful in a reduced 2-act ver- berg February 1863.
sion (Paris, O.c. 16 May 1876) ~bich was also Very successful on English stages; revived Li-
given at: verpool 22 January 1890 and London, D.L. 12
BASLE 23 May 1878 (in French). April 1890; given in the provinces as !ate as 1917.
VIENNA 4 October 1878 (in German, translated by
J. Hopp). PONIATOWSKY: Pierre de Medicis
STOCKHOLM 26 March 1879 (in Swedish, trans-
9 Mars. Paris, O.
lated by F. T. Hedberg).
Text by J. H. Vernoy de Saint-Georges and E.
PRAGUE 1 January 1880 (in German) and 28 No-
Pacini. Four acts.
vember 1892 (in Czech, translated by V. J. N 0-
Poniatowsky's first French opera and bis most
votny).
successful one.
BUDAPEST September 188o (in Hungarian, trans-
Given in Paris 47 times.
lated by K. Abrinyi).
In Italian (translated by A. Berrcttoni), Madrid
MADRID 24 March 1883 (in Spanish).
5 April 1863; Milan, Sc. 26 December 1869.
ST. PETERSBURG 28 December 1883 (in Italian,
(Thc composer was the nephew of the Napo-
translated by A. Zanardini).
leonic marshaI and a friend of Napoleon m.)
DRESDEN 3 September 1884 (in German).
LIVERPOOL March 1888 (for the first time in Eng-
A. PERl: Giuditta
lish, by amateurs); Birmingham 19 Novem-
ber 1892 (in concert form). 26 March. Milan, Sc.
LONDON, C.G. 24 October 1891 (in French) and Text by M. M. Marcello. Three acts.
D.L. 26 April 1894 (in English, translated by Peri's chief work.
J. Bennett). Outside Italy also given at Madrid 20 Novem-
BERLIN, KROLL'S 28 October 1892 (in French). ber 1861; Barcelona 5 November 1862; and New
NEW YORK 16 November 1893 (in English) and
York I I November 1863 (in Italian).
29 November 1893 (in French).
Revivals: OFFENBACH: Daphnis et Chloe*
LINZ 10 February 1900 (in German). 27 March. Paris, B.P.
CARLSRUHE 7 January 1904 (in German). Text by Clairville and J. Cordier. One act.
BERLIN, KURF. O. II December 19II (in German). In German (translated by G. Ernst), Berlin, Fr.
MONTE CARLO 10 January 1924 (in French). W. 23 December 1860; (translated by J. Nestroy),

945
 1860 ANNALS OF OPERA 1860

Vienna, Ca. 2 March 1861, Graz 30 November In French also, Paris, O.c. 7 June 1866; Brus-
1861, etc. Budapest March 1862 (in German) and sels 5 December 1867.
June 1862 (in Hungarian). In Swedish, Stockholm I I February 1868.
In Polish, Lemberg 24 November 1865. In English (as The Pet D(Jvr, translated by H. B.
In Czech (translated by C. Pilulka), Prague I I Farnie), London, Crystal Palace 20 September
May 1867; revived 14 March 1901 (new Czech 187°·
version by V. J. Novotny). In Danish (translated by A. Schwartz), Copen-
In Croatian, Zagreb 1868. hagen 27 April 1873.
In French, Brussels 3 June 1873. In Czech translated by E. Züngel), Praguc 22
In Swedish (translated by C. G. W. Michal), September 1873.
Stockholm 30 October 1886. In Italian, Bologna 23 February 1912.
Revived Monte Carlo 7 February 1907; in Ger- Revived Monte Carlo I January 1924 (pro-
man, Wiesbaden March 19II and Prague De- duced by Diaghilev; recitatives by F. Poulenc).
cember 1934.
GA UTIER: Le Docteur Mirabolal1
Z AJ C: Amelia ossia [1 Bandito 28 AU.~I/st. Paris, O.c.
14 April. Fiume Text by E. Cormon and H. Trianon. One J.et.
BrusscIs 12 October 1864; revived Paris, O.c.
Text: an altcred version of J. Crescini's I Br~~Q/lti
II JulI' 1868; Antwerp 5 February 1880.
(see 1836). Four acts.
In Russian, Moscow 1869.
Revived Zagreb 28 December 1872 (in Croa-
tian, translated by V. Gjorgjevic).
Zajc became conductor of the Zagrcb theatre MACFARREN: Robin Hood
in 1870 and was one of the first composers to 11 Getober. London, H.M.'s

write operas in the Croat language. Text by J. Oxenford. Three acts.

Successful in London; revived Crystal P:dJ.ce
II June 1872; National StandJ.rd Th. 29 April
(DONIZETTI): Rita ouLe Mari Battu*
1889; Princess's 7 August 1889. Revived Olt Bir-
7 May. Paris, O.c. mingham 18 February 1889.
Text by G. Vacz. One act.
The opera had been written in Summer 1840. MAI L L ART: Les Pechmrs de Catane
In French also, Brussels 27 December 1860; 19 Dac/Il"cr. Paris, Th.L.
revived Paris, O. Populaire 22 November 1879.
Text by E. Cormon and M. Carrc. Thrce acts.
In Italian, Na pies 18 May 1876 (revived Verona
In German (trJ.nslatcd by J. c. GrÜnbJ.um),
21 March 1924).
Hamburg 14 March 1862; Bcrlin, Fr.W. 4 Feb-
In Hungarian (translated by E. Kuliffay), BlIda-
ruary 1863.
pest 1879.
--- A Spanish version seems to be EI Proposito de
Mujer (text adapted by E. Alvarez), prodllced
DYUTSH: Kroatka
Madrid 1864. KpOaTRa
21 Dccelllher. St. Petcrshurg
GOUNOD: La Colombe Text by N. I. Kulikov. Four aets.
In Polish, Warsaw ]anllJ.ry 1861; revivcd St.
3 August. Baden-Baden Petersburg 12 November 1892.
Text by J. Barbier and M. Carre(after Lafontaine). The J.ltcrnative title in the vocal score is S"py-
Two acts. emitsi (Thc Rivals).

947
1860-61 ANNALS OF OPERA 1861

OFFENBACH: Barkouf WARSAW 1865 and Lemberg 23 November 1868

24 Decelllber. Paris,O.C. (in Polish, translated by J. B. Wagner).
ZAGREB 14 December 1865 (in Croatian, translat-
Text by A. E. Scribe and H. Boisseaux. Three
ed by S. Udbinski).
acts.
NEW YORK 14 September 1867 (in German); 21
Thc first work of Offenbach which was given
December 1868 (in French); 23 April 1883 (in
at the Opera-Comique; failure, 7 performances
Pnglish).
only.
BASLE II N0vember 1867 (in German).
Offenbach used parts of the music for his ope-
MILAN 16 September 1868 (in French).
retta Boule-de-Neige, text by C. Nuitter and E.
LONDON, GAIETY I July 1871 (in French) and
Trefeu; Paris B.P. 14 December 1871. Also per-
R.A.M. 11 December 1907 (in English, adapted
formedin German (translated byJ.Hopp), Vienna,
by L. H. F. du Terreaux).
Ca. 3 February 1872, Berlin, Vict. Th. 23 March
MOSCOW and ST. PETERSBURG 1874 (in Russian).
1872, Graz 30 December 1872, and in Czech
NAPLES 24 February 1875 (in Italian).
(translatcd by J. J. KoIar), Prague 19 June 1872.
Revived Prague 18 December 190I (new Czech
version by V. J. NovotnY). In French: Monte
Carlo 24 November 19°3; Paris, Tr. L. 28 Jan-
r86r
uary 1910.
MONIUSZKO: Verbum Nobile*
1 JallHary.Warsaw
AU B ER: La Circassienne
2 Fcbruary. Paris, O.c.
Text by J. Checmski. One act.
Successful in Poland; Lemberg 24 August 1872, Text by A. E. Scribe. Three acts.
etc. Given 49 times in 1861, but never revived.
Rcvived Lcmberg 1926; Poznan Summer 193 I. English vocal score (translated by T. Oliphant)
published 1861. For a German adaptation of the
libretto, see Suppe's Fatillitza, 1876.
OFFEN BACH: La Chanson de Fortunio
-' Jallltary. Paris, B.P. RUBINSTEIN: Die Kinder der Heide
Text by H. Cremicux and Lud. Halevy (a sequel
23 February. Vienna, Kä.
to A. de Musset's Le Cha/ldelier for whieh Offen-
Text by S. H. Mosenthal (founded in K. Beck's
bach had written one song in 1850). One act.
Givcn also at: Jallko). Four acts.
Rubinstein' s fmt grcatcr success as an opera
BRUSSELS 7 March 1861 (in French).
VIENNA, QUAI TH. 25 April 1861 (in German, trans-
composer.
In German also given at Weimar 8 Aprih862,etc.
lated by G. Ernst).
In Russian, Moscow 22 February 1867.
BERLIN, FR.W. 21 July 1861 (in German, translated
Revived Danzig 4 Oetober 1885; Cassel28 Oc-
by G. Ernst).
tober 1886; Prague 25 January 1891; Bremen 2
BUDAPEST January 1862 (in Hungarian).
PRAGUE June 1862 (in German) and 6 October
Deeember 1892; Berlin, KroU's 2 June 1893;
1865 (in Czech, translated by J. Böhm). Dresden 12 Deeember 1893.
GRAZ 3 September 1862.
STOCKHOLM 17 October 1862 (in Swedish, trans-
WALLACE: The Amber Wildl
Iated by E. A. Wallmark; revived 29 April 28 February. London, H.M.'s
1922). Text by H. F. Chorley (foundcd on W. Mein-
ST. PETERSBURG January 1864 (in German) and 4 hold's novel Die Bemslcillhcxc, translated as The
March 1905 (in French). AI/lber Wilcl, by Lady Duff Gordon). Four acts.

949 95°
 1861 ANNALS OF OPERA 1861

In Wallace' s opinion his best work but not very eember 1888. Again revived (in 5 aets), Paris, O.
successful. 27 Febrllary 1903 and, latc1y, Antwerp March
Revived Soutllport 12 January 1899 and Lon- 1931.
don (Clapham) 22 March 1899.
PEDROTTI: Guerra in quattro
ERKEL: Bank-Ban* 25 May. Milan, Can.
9 March. Budapest Text by M. M. Marec1lo. Three aets.
Text by B. Egressy (founded on a play by J. RemodelIed: Trieste 22 February 1862; Niee
Katona). Three aets. Carnival 1864.
After Hunyady Laszl6 (see 1844) Erkel's second
great national opera. I ~ DEFFEs: Le Caft du Roi
Given at Budapest C.300 tünes until 5 March
17 August. Ems
1934·
Text by H. Meilhae. One aet.
OFFENBACH: Le Pont des Soupirs* Deffcs's most sllccessful operetta.
23 March. Paris, B.P. Paris, Th.L. 16 November 1861; revived O.c.
Text by H. Crcmieux and Lud. Halcvy. Two acts. 2 September 1868 and 29 September 1889; in
Enlarged to 4 acts: Varit~tes 8 May 1868. French also Liege I March 1869.
In French also, ViennaJune 1861; ßrussels 20
August 1861; Buenos Aires 1870; New York 27 ( S C HUB ER T ) : Die Verschworenen
November 1871. oder Der häusliche Krieg*
In German (translated by J. Lasker), Vienna,
29 AUSIISf. Frankfort
Quai Th. 12 May 1862 (with additional airs by
Suppe); Berlin, Fr.W. 17 May 1862, Graz 20 Sep- Text by I. F. Castelli (the plot taken from Aristo-
tember 1865, etc. In German also, BudapestJune phanes's Lysistrata). One act.
1865. Composed in 1823. Of Schllbert's nllmerollS
London, St.J.'s 18 November 1872 (in English, operas which were produccd after his death (see
translated by H. S. Leigh); anothcr English ver- note on Die Zwilli11gsbrüder, 1820) this was the
sion, by H. B. Farnie (Vmice) , Alhambra 5 May most slleeessful one. It had been given in concert
1879. In English also, New York 20 April 1885. form at Vienna on 1 Mareh 1861 already (by the
Milan 1877 (in Italian). "Singverein", under J. Herbeek).
Revived Basle 26 March 1933 (new German After Frankfort produced at Vienna 19 Oeto-
version by O. Maag). ber 1861 and on many other German stages. In
German also, Budapest April 1862; Hoboken 21
REYER: La Statue March 1863; London, Crystal Palace 2 March
11 April. Paris, Th.L. 1872 (in coneert form); New York 16 Jl11le 1877;
Text by J. Barbier and M. Carrc. Threc acts. Prague 14 March 1880.
In German (translated by K. F. Dräxler-Man- In Freneh (as La Croisade des Dames, translated
fred and E. Pasque, with reeitatives instead of spo- by V. Wilder), Paris, F.P. 3 Fcbruary 1868.
ken dialogue), Weimar 8 April 1864; Darmstadt In Hungarian (translated by E. Kuliffay), Buda-
13 May 1864, etc. pest 15 April 1884.
In French, the new version was first given at In Russian, St. Petersburg. Conservatoire De-
Brussels 20 March 1865. cember 1898.
Revived Paris, O.c. 20 April 1878 and Ant- Revivals in the 20th ccntury include: Weimar
werp 21 April r881; in German, Weimar 30 De- 18 Oetober 19°3; Amsterdam 24 January 19II
I The opera was banned by the Austrian government (in German) ; Königsberg 20 Oetober 1919 (revis-
because ofits patriotic content. H.R. ed by R. Hirsehfeld); Stuttgart 2 July 1922 (new

951 95 2
 1861 ANNALS OF OPERA 1861-62

German version by R. Lauekner, music arranged BALFE: The Puritan's Daughter

by F. Busch and D. F. Tovey); this version was 30 November. London, c.G.
also given at Basle 15 April 1923; Budapest No-
Text by J. V. Bridgeman. Three acts.
vember 1928 (new Hungarian version by Z. Har-
New York II September 1869. Successfulon
sanyi); Vienna 14 October 1924 in a double bill
English stages; last revived Birmingham 25 Oc·
with the premiere ofSchoenberg's Die Glückliche
tober 1915; Dublin 9 june 1920; Leeds 22 Octo-
Hand; Berlin, Hochschule 27 November 1928;
ber 1920. '.
Monte Carlo Spring 1929 (the Paris 1868 version,
as Guerre et Amour). \
MOSONYI: Szep Ilo~ka
GOMES: Noite do Castello (Fair Ilonka)
(Night in the Castle) 16 December. Budapest
4 September. Rio de janeiro Text by M. Fekete (founded on Vörösmarty's
Text by A. j. Fernandes dos Reis (foundcd on a poem ofthe same tide). Five (produced in 4) aets.
poem by A. F. de Castilho). Three acts. Suecessful Hungarian comic opera. Mosonyi's
The first opera of the Brazilian composer. Per- first opera and the only one whieh was produeed
formed at the Theatro Lyrico Fluminense which during his lifetime (see 1934).
was the first theatre at Rio de janeiro where
operas were sung in the Portuguese language. ALARY: La Voix humaine
SIBONI: Carl den Andens Flugt 30 Decembl'r. Paris, O.

9 October. Copenhagen Text b1' A. J. Melesville. Twö acts.

This (unsuceessful) opera was commissioned by
Text by T. Overskou. Tl1ree acts.
the Paris Opera in order to make use of the
The last opera of the Danish-Italian composer
expensive settings and costumes of Wagner's
who was the son of the famous tenorist Giuseppe
Tannhäuser (hissed off the boards en 13 March of
Siboni (The hero of this opera is King Charles II
the same 1'ear). The action of La Voix humaine
of England.)
takes place at the 'Wartburg. The opera had 13
GLOVER: Ruy Blas performances (10 more than Tannhäuscr).
240ctober. London, c.G.
Text by the composer (founded on V. Hugo's
drama). Three acts. 1862
Glover's most suceessful opera. (Date of the
first performance verified from the contemporary
OFFENBACH: Monsieur et
papers; in the dictionaries there also oceur the Madame Denis
dates 21 October, 28 October and 31 Oetober.) 11 Jamtary. Paris, B.P.

VILBOA: Natasha ili Volzhskie Text b1' M. Laurencin and M. Delaporte. One
act.
Razboyniki
Particularl1' suecessful on German stages (trans-
HaTaIl.\a HJIII BOJIJ-RCIÜe Paa60ihunUI
lated b1' G. Ernst): Vienna, Quai Th. JI March
(Natasha, or The Volga Bandits) 1862 (Kä. 10 january 1870; last new work produ-
31 Oetober. Moseow ced there before the dpening of the Hof-oper);
Text by N. I. Kulikov. Two aets. Hamburg 22 May 1862; Berlin, FrW. 22 june
St. Petersburg 30 januar1' 1863. The onl1' per- 1862, Graz 10 December 1862, etc.; Frague De-
formed opera of the French-Russian composer. cember 1862 (in German) and 15 januar1' 1868
Vocal score published in 1861. (in Czech, translated by]. BuCinsky); Budapest

953 954
1862 ANNALS OF OPERA 1862
3 I July 1862 (in Hungarian, translated by K. Szer- eert form); on the stage, Manchester 10 March
dahelyi) and February 1863 (in German). Warsaw 1880; revived by the Guildhall Sehool of Musie,
1865 (in Polish, translated by L. MatuszYllSki). London II November 1909.
Zagreb 1865 (in Croatian); New York 16 July
1873 (in German). EICHBERG: The Doctor of Alcantara*
Revivcd in German: BasIc 23 Deeember 1929;
7 April. Boston
Munieh 1932; Prague, May 1934.
Text by B. E. Woolf. Two aets.
BENEDICT: The Lily ofKiliarney The most popular ofEiehberg's four Ameriean
"cornie operettas".
8 February. London, c.G.
New York 28 May 1866, ete. Libretto publish-
Text by J. Oxenford and D. Boucieault (founded ed Philadelphia 1870 and Boston 1879.
on the latter's play Co Ileen Bawn). Three aets. Outside the U.S.A. also given at Liverpool 21
Benedict's most sueeessful work; given in all Oetober 1873 1 (as The Village Doctor); London,
English-speaking countries, viz.: Dublin 21 April Connaught Th. (Iate Amphitheatre, Holbom) 1
1862; Edinburgh 19 April 1863; Mclboume 29 November r879; revived London, O.c. 6 Feb-
July 1864; New York 1 January 1868; Calcutta ruary r897 (byamateurs).
27 November 1875, ete. Produeed in a revised
version, London, Ly. 12 September 1876.
BERWALD: Estrella de Soria
Sueeessful also in a German version by F. von
Dingelstedt, as Die Rose von Erin: Brunswiek 28 9 April. Stockholm
January 1863; Hamburg 22 February 1863; Berlin Text by E. A. Wallmark (translated from a Ger-
9 February 1864, ete. man libretto by O. Preehtler). Four aets.
Still given on English provincial stages; last Sueeessful at Stockholm ; parts of the work
revived in London, c.G. I I September 1902; Old were revived there on 19 September 1898 (at the
Vic. 15 March 1928 and 14 March 1931. inauguration of the new opera-house); the whole
work on 15 November 1899.
F. HILLER: Die Katakomben
,
15 February. Wiesbaden F. DAVID: Lalla-Roukh
Text by M. Hartmann. Three aets. 12 May. Paris,O.C.

Sueeessful in Germany; in German also Rotter- Text by H. Lucas and M. Carre (from Moore's
dam 19 Deeember 1863. poem). Two aets.
The most important of David's operas. Given
GOUNOD: La Reine de Saba* in Paris until 1897.
28 February. Paris, O. In Freneh also, Liege 200etober r862; Brus-
Text by J. Barbier and M. Carn:. Four aets. sels 27 Oetober r862; Antwerp 29 Oetober r862;
In Paris given 15 times only. Geneva 19 January r864, ete.
In Freneh also, Brussels 5 Deeember 1862; New In German (translated by E. Pasque), Coburg
Orleans 12 January 11)99. 25 Deeember 1862; Mayenee 26 Deeember 1862;
Revived Marseilles 21 November 1900; Paris Munich r6 March 1863; Vienna 22 April 1863,
27 November 1900 (at the inauguration of the ete. Berlin, Meysel's Th. 7 August 1865.
Opera-Populaire). In Hungarian (translated by L. Csepregi), Bu-
In German (translated by E. Pasque), Darm- dapest 31 January 1863.
stadt 25 January 1863. 1 First noveity produccd by Carl Rosa' s Englisb Opera
In English (adapted by H. B. Farnie, as [rene),. Company (which had started with a performance of
London, Crystal Palaee 12 August 1865 (in eon- Wallace's Maritana, at Manchester I September 1873).

955
1862 ANNALS OF OPERA 1862

In Polish (translated by 1. Matuszyriski), War- BERLIOZ: Beatrice et Benedict*

saw 8 March 1866. 9 August. Baden-Baden
In Swedish (translated by E. A. Wallmark),
Text by the composer (founded on Shakespeare's
Stockholm I2January 1870.
Mucll Ado about Nothing). Two acts.
In Italian (translated by M. M. Marcello), Mi- The Baden-Baden production was in French;
lan, T. Re 7 September 1870. given at the Paris O.C. as late as 4June 1890.
In Russian, St. Petersburg 5 February 1884 and In German (translated by R. Pohl), Weimar 8
Moscow 10 February 1896. April 1863; Carlsruhe 6 April 1888 (with recita-
tives by F. Motd); Vienna 20 March 1890; Leip-
OFFENBACH: Bavard et Bavarde zig 27 March 1913 (re-modelled by J. Stransky
and W. Kleefeld); Plauen (Saxony) 25 September
11 June. Ems 1929.
Text by c. Nuitter (founded on Cervantes's in- Given for the first time in English (translated
termezzo Los Habladores). Two acts. by G. F. MacCrone) at Glasgow 24 March 1936.
Given.in an enlarged version, as Les Bavards,
Paris, B.P. 20 February 1863; Brussels 28 Decem-
ber 1867, etc.
RE Y ER: Erostrate
In French also, New York 9 December 1868; 22 August. Baden-Baden
London, Gaiety 1July 1871; Rio de Janeiro Sum- Text by F. J. Mery and E. Pacini. Two acts.
mer 1871. Produced at Baden-Baden by artists of the Paris
In German (as Die Schwätzerill VOll Saragossa, Opera. Paris, O. 16 October 1871 (performed
translated by K. Treumann), Vienna, Quai Th. there only twice). Revived Marseilles 17 October
November 1862; Frankfort 30 September 1863; 1899·
Berlin, Fr.W. 9 November 1863; Graz 14 Octo-
ber 1865, etc.; New York 28 October 1867. SUPPE: Zehn Mädchen und
In Russian, Moscow 23 January 1867. kein Mann
In Croatian (translated by D. Demeter), Zag- 250etober. Vienna, Quai Th.
reb 30 November 1867. Text by K. Treumartn (from a French libretto by
In Spanish (translated by S. M. Granes), Mad- a
A. Jaime and A. Choler, Six Demoiselles marier,
rid 15 April 1872. composed by Delibes in 1856). One act.
In Swedish (translated by E. 'A. Wallmark), One of Suppe's first great successes. (Oddly
Stockholm 21 June 1873. enough, Suppe, a native of Spalato and descen-
In Italian, Rome 7 March 1875. dent from a Belgian farnily, was prodaimed the
In Norwegian, Christiania 6 October 1910. German Offenbach-the real Offen bach being a
Revived Mil~n, T.L. 21 December 1915 (new native of Cologne!) Berlin, Fr.W. 3 May 1863
Italian version by C. Clausetti); Berlin, D.O. 4 and all over Germany; Basle 24 November 1865.
June 1919 (in German) ; Paris, O.c. 3 May 1924 In German also, New York 24 April 1867.
(in French). Given at the Vienna O. 15 April 1873 in an "en-
larged" version as 25 Mädchen und kein Mann.
ERKEL: Sarolta In Polish (translated by W. 1. Anczyc), War-
saw 1865 and Lemberg 11 April 1866.
26 JUlle, Budapest In Croatian (translated by J. Freudenreich),
Text by J. Czanyuga. Three acts. Zagreb 17 November 1866.
ErkeI's first comic opera. Revived Budapest 24 In Czech (translated by J. Böhm), Prague 27
January 1901. June 1867·

957
1862 ANNALS OF OPERA 1862-63

In Italian (as Lc Amazzo/li, translated by A. Revived in a new German version by F. Wer-

Sealvini), Milan, S. Rad. Carnival 1872; Modena, fcl: Altenburg 8 November 1925; Dresden 20
T. Aliprandi April IR73 (as Le Dorllle gHcrriere, March 1926; Vienna 27 November 1926; Berlin
additionalll1usic by P. Piaeenza). 30 April 1927; Basic 2 September 1927; Prague
In English (as Tell Orel/1, translated by A. Mat- 19 2 7.
thison), London, D.L. 2 Deeember 1874. Translated from W erfel' s version:
In Yiddish, Ncw Y ork 14 January 1887. STOCKHOLM 21 January 1928 (in Swedish).
In Hungarian (translated by E. Latabar), Buda- BUDAPEST 23 March 1929 (in Hungarian, translat-
pest IS Jannary IS97, ed by V. Linl'i).
In Finnish, Helsinki 20 March 1901. LEMBERG 1929 (in Polish).
Still oeeasionally revived on minor German LJUBLJANA 2 November 1930 (in Slovenian, trans-
stages. lated by N. Stritov).
RIGA 13 Deeember 193I (in Lettish).
VERDI: La Forza dei Destino* SOFIA 21 February 1934 (in Bl1lgarian).
10 N,JI'cmbcr. St. Petcrsburg LENINGRAD January 1935 (in Russian, aansbted
Text by F. M. Piave (founded on a Spanish drama by S. Levik; coneert performance).
by Angelo Pcrez di Saavedra, Duke of Rivas, DOll PRAGUE 13 April 1937 (in Czeeh).
Alflaro, 0 La Fllcrza de 5i/lo, 1835). Four aets. Danish translation by T. Thygesen published
First given in Italy: Rome, T. Apollo 7 Feb- 1937·
ruar)' 1863 (as DOll All'ara). Revived in Freneh: Brusscls 15 Oetober 1931.
In Italian also, Madrid 21 Februar)' 1863; New Revived in London: Old Vic. 10 April 1930 (in
York 24 February 1865; Vienna 2 Mal' 1865; English, translated by J. B. Gordon) and c.G. I
Buenos Aires 9 July 1866; London, H.M.'s 22 June 1931 (in Italian).
June 1867. Revivcd in Italian: Bucnos Aires July 1933;
New version (libretto altered by A. Ghislan- Tripolis November 1934.
zoni): Milan 27 February 1869, ete. Also, Buenos Very popular in haly and in many other
Aires 1869; Rio de J aneiro 187 I ; Lisbon 15 March countries.
1872; Cairo March 1873; Malta 1873; Paris 31
Oetober 1876; Berlin, Kroll's 12 Oetober 187S;
Corfu Auturnn IS81; Santiago, Chile IS83; St. 1863
Petersburg 7 February 1901.
In Hungarian, Budapest 9 November 1875. DOBRZYNSKI: Monbar czyli
In Croatian (translated by J. E. Tomit), Zag- Flibusterowie
reb II February 1882. (Monbar; or, The Filibusters)
In Freneh (translated by C. Nuitter and C. Du
Lode); Antwerp 14 Ma~~ 1883; Geneva 24 ]mmary? Warsaw
March 1884. Text by S. Pruszakowa and L. Paproeki (based on
In English (translated by P. E. Pinkerton), a story by C. J. van der Velde). Time aets.
Manchester 25 November 1909; London, Ken- A eoneert performance had been given at War-
nington Th. 2 September 1910. saw 1839.
In German (translated by J. c. Grünbaum), Parts of this Polish opera werc also given in
Hamburg 20 September 1913 (revised by G. eoneert form at Berlin 1845 alld 20 June 1846 ;
Göhler; this produetion was the beginning of the Dresden 20 January 1846; German translation by
Verdi "Renaissance" n10vement in Germany). Elkan.
Grünbaum's translation had been published in The overture was h~ard at a Leipzig eoneert on
186 3. 6 November 1845.

959
1 86 3 ANNALS OF OPERA

G. SCHMIDT: La Reole 1867; Hclsinki June 1899; Buenos Aires October

1906.
24 january. Breslau
In Croatian (translated by J. Freudenreich),
Text by C. Birch-Pfeiffer (originally written tor
Zagreb 2 February 1866.
Flotow). Three acts.
In Russian, Moscow 1867.
Successful in Germany: Dresden 16 September
In Polish (translated by W. L Anczyc), War-
1863; Berlin 24 October 1863, etc. Last revived
saw 24 November 1867.
Darmstadt 17 September 1874.
In Czech (translated by E. Züngcl), Prague 13
April 1872.
BALFE: The Armourer ofNantes In Swedish (translated by A. Jonason), Stock-
12 Fcbruary. London, c.G. holm 1875.
Text by J. V. Bridgeman (founded on Victor In Italian (as Le Collegiali), Venice, T. Malibran
Hugo's Marie Tudar). The acts. 30 December 1880.
Successful in London. In Rumanian, Bucharest 6 March 1908.
Revived Vienna, Redoutensaal 26 December
RUBINSTEIN: Feramors 1931.

24 February. Dresden SEROV:Judith

Text by J. Rodenberg (founded on Moore's IO~ue'b
poem). Two acts.
28 May. St. Petcrsburg
(Originally the opera was called Lalla Rooklz,
Text by the composer anel A. N. Maikov (found-
but the title was changed because of David's
ed on P. Giacometti's drama, Giuditta). Five acts.
opera on the same subject, see 1862.)
Serov's first opera, very successful in Russia.
New enlarged 3-act version: Vienna 24 April
Revived St. Petersburg 20 November 1874 and
1872; Berlin 4 March 1879. Revived Riga e. Jan-
given there until C.19I5.
uary 1909 (in German).
In Russian (translated by E. A. TL), St. Peters- In Russian also, Paris, Chatclet 7 June 1909
burg 6 May 1884 and revived 27 September 1898, (parts only).
etc.
Italian version by A. Zanardini published 1874. BR UCH: Die Loreley
14jullc. Mannheim
NO R 0 N HA: Beatrice di Portogallo Text by E. Geibcl (originally written for Men-
71'vfareh. Oporto deIssohn, of whose setting there exist only the
fmale of the first act, an "Ave Maria,'" and the
(Original Portuguese) text by C. Monthoro
chorus of the vintagers). Four acts.
(founded on Almeida Garrett's AI/to de Gil-Vi-
ecnte), Italian version by L. Bianchi. Four acts. Successful in Germany; revived (text altered by
The first opera of the Portuguese composer. O. Walther), Leipzig 9 September 1887; Breslau
4 March 1888; Cologne 5 January 1896; Stras-
bourg 26 March 1916 (first version). In German
s U P PE: Flotte Bursche also, Prague 8 December 1866; Rotterdam q N 0-
18 April. Vienna, Quai Th. vember 1868; Amsterdam 22 February 1869.
Text by J. Braun. One act. The fragments of Mendeissohn's setting had
Berlin, Fr. W. 3 December 1863 and all over been given first at a concert at Leipzig on 27
Germany where it is still occasionally revived. March 1851; on thestage, Leipzig I9January 1852;
In German also given at Budapest July 1863; Frankfort 16 February 1852, etc.; Prague 16 No-
Basle 17 November 1865; New York 25 October vember 1853; Basle 5 January 1854; Vienna,Jos.

961 962
1863 ANNALS OF OPERA 1863

November 1857 (Kä. 15 November 1860, in con- SK UHERSKY: Vladimlr, Bohuv

cert form); Berlin, O. 14 March 18 75; Cassel17 Zvolenec
January 1884; Wiesbaden 30 September 1884. In
27 September. Prague, Cz.
concert form also Birmingham 8 September 1852
(in English, translated by W. Bartholomew); Text by H. Mosteeky (after J. V. Fric). Four acts.
Thc first original Czech opera which was given
revived London, Twentieth Century Th. 1 June
at thc "Krilovske Zemske Ceske Prozatimni
1940. In Hungarian (translated by E. Abranyi),
Divadlo", the first t11eatre at Prague exclusively
Budapest I March 1891.
reserved for Czech plays and operas; this
Geibel's libretto was written in 1846-47, pub-
theatre was replaced by the "Narodni Divadlo"
lished in 1861 and dedicated to the memory of
in 1881.
Mendelssohn.

BI Z E T: Les Pecheurs de Perles*

OFFENBACH: Lischen et Fritzchen 30 September. Paris, Th.L.
21 July. Ems Text by E. Cormon and M. Carre. Three acts.
Text by "Paul Dubois" (pseudonym ofP. Boisse- In 1863 given for 18 nights only; the great
success of the opera camc many years after the
lot and C. Nuitter?; see A. Henseler, Offenbach,
composer's death:
P.468). One act.
MILAN 20 March 1886 (in Italian, translated by A.
Paris, B.P. 5 January 1864; Brussels 5 Septem-
Zanardini).
ber 1864, etc. AIX-LES-BAINS 8 August 1886 (first production in
In French also, Mexico 12 September 1875; France since 1863).
Naples, T. Sannazaro 1878. COBURG 14 November 1886 (in German, trans-
In German (first given as Franziisische Schwa- lated by F. Fremery).
ben, translated by P. Henrion), Vienna, Ca. 16 LISBON 1886 (in Italian).
April 1864; Berlin, Fr.W. 23 June 1864, etc.; GENEVA 3 March 1887 (in Frcnch).
Basle I I March 1868; Graz 14 August 1869. LONDON, C.G. 22 April 1887 (in Italian, as Lei/a)
London, St. J.'s 2 June 1868 (in French) and and 18 May 1889 (as I Pescatori di Perle).
Gaiety 9 August 1869 (in English, translated by BARCELONA 29 October 1887 (in Italian).
W. Guernsey). BRUSSELS 25 November 1887 (in French).

New York 25June 1868 (in French), 80ctober MEXICO 26 November 1887 (in Italian).

1868 (in English), and 26 May 1872 (in German). BUENOS AIRES 24 June 188R (in Italian).

In Russian, Moscow 1868; in English, Sydney BUDAPEST 25 Oetober 1888 (in Hungarian, trans-

1871; in Dutch, Hague 1872; in Finnish, Helsinki lated by E. Abranyi).

ST. PETERSBURG 15 January 1889 (in Italian).
1 October 1897.
PRAGUE 17 January 1889 (in Czech).
PARIS, GAlTE 20 April 1889 (in Italian; in Freneh,
(MARSCHNER): Sangeskönig Hiarne revived at the O.c. as latc as 24 April 1893).
und das Tyrfingschwert BERLIN, KROLL'S 10 June 1893 (in German).
PHILADELPHIA 25 August 1893 (in Italian) ; revived
13 September. Frankfort
16 May 1928.
Text by W. Grothe. Four acts. KHARKOV January 1898 (in Russian).
Marsehner's last opera, produced two ycars COPENHAGEN 25 February 1900 (in Danish, trans-
after his death. Reviv-:d Munieh 7 Mareh 1883 Iated by J. Lehmann).
(revised by H. Levi) and Hamburg 2 January ZAGREB 24 March 1900 (in Croatian, translated by

1884· V. Badalic).
 ANNALS OF OPERA

MALTA 1900 (in Italian). For the production at the Th.L., Berlioz divid-
RIO DE JANEIRO 30 August 1902 (in Italian). ed the original 3 acts of the second part into 5 acts
GRAz]anuary 1903 (in German). and addcd a prologue which served to replace the
MOSCOW 16 Dccembcr 1903 (in Russian). first part. The work was produced under the
WARsAw]anuary 1904 (in Polish). somewhat misleading title of Les Troyens (which,
LJUBLJANA 1906 (in Slovenian). in reality, is the title of the whole). Given at the
STOCKHOLM 5 November 1913 (in Swedish, trans- Th.L. 21 timcs until20 Dccember 1863.
lated by E. Grandinson). Revived in Paris, O.c. 9 ]une 1892 (for further
NEW YORK 13 November 1916 (in French; the revivals see 1890).
first two acts already II ]anuary 1896). Outside Paris, the second part was produced at
SOFIA 12 September 1927 (in Bulgarian). New York 26 February 1887 (in a concert version
AMSTERDAM ]anuary 1929 (in Italian). by F. van der Stucken, English translation by H.
RIGA 25 May 1933 (in Lettish). E. Krehbiel and]. S. Tunison); Carlsruhe 7 De-
SYDNEY 1935 (in English, translated by C. Pre- cember 1890 (in German, translated by o. Neit-
rauer). zel, music arranged by F. Motd); also given at
Still given on French and Italian stages; revived Munich 29 January 1893; Leipzig 27 June 1900.
at the O.c., Paris 17 March 1932 and 27 October Liverpool30 March :;897 (concert performance
1938; Berlin, O. 21 ]une 1934; atthe Scala, Milan in English, translated by F. Corder) ; revived in
23 February 1938. So farnever produced at Vienna. concert form Manchester 1 November 1928.
Moscow 26 December 1899 (in Russian, trans-
WALLACE: The Desert Flower lated by E. N. Kletkova).
120etober. London, c.G. An open-air performance took place at the Ro-
Text by A. G. Harris and T.]. Williams (founded man Theatre, Orange on 5 August 1905.
on Vemoy de Saint-Georges's and De Leuven's
Jaguarita I'IndiC/1/le, see 1855). Three acts. GAZT AMBIDE: La Conquista
Wallace's last opera. Also given at New York de Madrid
15 ]anuary 1868.
23 Deeember. Madrid, Z.
MACFARREN:Jessy Lea Text by M.]. de Larra. Three acts.
Also given at Havana 1868. The first and only
2 November. London, Gallery ofIllustration
Spanish zarzuela which was performed in Ger-
Text by J. Oxenford (fotmded on Scribe's Le many: Coburg 25 December 1878 (translated by
Phi/tre, see 1831). All opera di eamera. Two acts. A. Eilers).
Also given at New York 8 October 1868. Re-
vived London, Hm. II February 1886 (by the
R.A.M.); Kilbum Town Hall 9 May 1890. r864
BERLIOZ: Les Troyens aCarthage* MIRY: Bouchard d'Avesnes
4 November. Paris, Th.L. 5 Febmary. Ghent
Text by the composer (after Virgil). Prologue and Text by H. van Peene. Five acts.
5 acts. The most successful work of the Belgian com-
The second part ofBerlioz's Les Troye/lS (writ- poser. Liege 8 April 1864; Brusscls 16 December
ten 1856-58), consisting of8 acts (II scenes) alto- 1864, etc.; revived Brusscls 24 August 1871.
gether and published in 1864. The whole work A parody, by E. Humbert, called Botlehard pas
was not produced until 21 years after the com- d'Veine, Opera faite allee Peine, was published at
poser's death (see 1890). Brussels in 1864.
 ANNALS OF OPERA

(Date of tlrst performance wrongly givcn by BERLIN, KROLL'S 5 February 1893 and 18 April
Claeys and Wotquennc as 6 March 1862; by Du- 1902 (in French).
pont as 6 February 1863.) GLASGOW March 1894 (in English).
BARCELONA September 1900 (in Spanish).
ALGIERS Spring 1902 (in French).
PETRELLA: La Contessa dJAmaifi BREMEN 19 March 1903 (in German, translated by
8 March. Turin, T.R. A. Bertuch).
Text by G. Pcruzzini (founded on O. Fcuillet's BUENOS AIRES 8July 1911 (in French).
Da/i/a). Four acts. CAIRO Spring 1938 (in French).
Successful in Italy: last revived Milan 12 Octo- Still gi yen on French stages; an open-air per-
ber I S811; Foligno 13 February 18<)2; Florence 5 formance at St. Remy-de-Provence (where the
October 1897. opera had been written) took place on 7 Septem-
[n Italian also, Malta Jil65; 13ucnos Aires 29 ber 1913. Revived Paris O.c. 6 June 1939 in its
original version, reconstructed by Reynaldo Hahn.
June 1872; Mexico 3 October 1872; Barcelona 2 I
March 1874.
MAILLART: Lara
21 March. Paris, O.c.
GO UNOD: Mireille* Text by E. Cormon and M. Carre (after Byron).
19 March. Paris, Th.L. Three acts.
Text by M. Carre (founded on a poem by F. Mis- Brusscls 4 March 1865; in French also, Barce-
tral). Originally in 5 acts. lona 7 JulI' 1881.
The opera was givcn in a reduced 3-act version In Polish (translated by L. MatuszYIJski), War-
at the same theatre on 15 Decembcr 1864; revived saw 1864.
at the O.c. on 10 November 1874,29 November In Gennan (translated by E. Pasquc), Prague
188<;, 13 March 1901 (in 4 :Jets), etc. Galte-Lyri- 26 October 1864; Leipzig 2<) Gctober 1864; Co-
que I I May 1930. Outside Paris: logne 3 November T 864, etc. Revived Stuttgart
LONDON, H.M.'s 5 July 1864 (in Italian, translated 26 September IX7<).
by G. Zaffir<l); c.G. 10Jllne 1891 (in French); In English (translated by J. Oxenford), London,
and Gllildhall School of Music 4 December H.M.'s 31 January 11165.
1899 (in English, translated by H. F. Chorley).
DUBLIN 29 September 1864 (in Italian). FR y: Notre-Dame ofParis
PHILADELPHIA 17 November 1864 (in German; 4 May. Philadelphia
the first two acts only). Text by J. R. Fry (the brother ofthe composer),
ANTWERP 10 March 1865; Brussels 12 May 1865, founded on V. Hugo's novel. Four acts.
etc. (in French). Fry's second and last opera, produced at the
ST. PETERSBURG 9 February 1874 (in Italian). American Academy of Music, Philadelphia on
, VIENNA 26 April 1876 (in Italian). the above date (not in 1863 as many books of
GENEVA 12 April 1877 (in French); revived 19 reference have it).
January 1938.
ROME 3 I May 1880 (in Italian, by the Circolo MERMET: Roland aRoncevaux
Filodrammatico) .
CHlCAGO 13 September 1880 (in English). 3 Oelo[,tr. Paris, O.
NEW YORK 18 Decembcr 1884 (in Italian). Text by the composer. Fom acts.
NEW ORLEANS 29 Dccember 1884 (in Italian). Mermet's best work. Given at the Paris Opera
TURIN 20 October 1885 (in Itali:m). 65 times until 1867.
 ANNALS OF OPERA

In Freneh also, Antwerp 22 Mareh 1865; Ghent MILAN, T. RE 27 April 1867 (in Freneh).
28 Mareh 1865; Brussels I I May 1865, New ST. PETERSBURG 14 Oetober 1867 (in German) and
Orleans 1869; ete. Oetober 1868 (iri Russian, translated by K. I.
Revived Paris, O. Populaire 13 Oetober 1883; Babikov); revived 19 JUlle 1931 (new transla-
Amsterdam Spring 1887; Ghent 1888-89. tion by H. Erdman and V. Mass).
NEW YORK 3 Deeember 1867 (in German); 26
MACFARREN: Helvellyn March 1868 (in Freneh); and 13 April 1868 (in
English, translated by M. St. John); revived
3 November. London, c.G.
Boston 20 Oetober 1919 (new English version
Text by J. Oxenford (founded on Mosenthal's by A. Strong and C. H. Towne).
noveI, Der Sonllemvelldhof). Four aets. BASLE 24 February 1868 (in German).
Maefarren's last opera. NAPLES, T.N. 18 September 1868 (in Italian, trans-
lated by F. Mastriani).
BENEDICT: The Bride ofSong CAIRO 4 January 1869 (in Freneh).
3 Deccmber. London, c.G. WARSA W 1869 (in Polish, translated by J. Cheem-
ski).
Text by H. B. Farnie. One aet.
MADRID 1869 (in Spanish, translated by M. Pas-
Benediet's last opera. (Previously given in eon-
torfido and T. Fortun) and Cireo 31 Deeember
eert form at Hanover Square Rooms, London 23
1870 (translated by R. Puente y Brafias).
May 1864.)
L1SBON 1869 (in Portuguese, translated by J. da
Silva Mendes Leal).
OFFENBACH: La belle HeJene* BUDAPEST 14 September 1870 (in German) and
17 Dcccmbcr. Paris, Varictcs 7 Ocrober 1882 (in Hungarian).
Text by H. Meilhac and Lud. Halevy. Three aets. MEX1CO 6 January 1874 (in French).
One of Offenbaeh's greatest sueeesses, in Paris BUENOS AIRESOctober 1876 (in Spanish).
as weH as elsewhere. ZAGREB 14 February 1897 (in Croatian, translated
VIENNA, W. 17 Mareh 1865 (in German). by P. Brani).
PRAGUE 17 April 1865 (in German) and 6 August SOFIA 4 November 1935 (in Bulgarian).
1875 (in Czech, translated by S. Jiny). New German translation by L. Fl1lda 1931. An-
STOCKI-I0LM 1 I MlY 1865 (in Swedish, translated orher by E. Friedell alld H. Sassmann, 1l111sic ar-
by E. A. Wallmark). ranged by E. W. Korngold, Berlin, Th. am Kur-
BERLIN, FR.W. J3 May 1R6S (in German). fürstendaml11 15 June 193 I.
GRAZ 31 May 1865 (in Germln). Revived in London at the Adelphi 30 January
BRUSSELS 3 June J 865 (in Freneh). 1932 (new adaptation by A. P. Herbert).
HELSINKI I ~65 (in Swedish) and 4 May 1927 (in
Finnish).
PRESSBURG 28 Oetober 1865 (in German). F. A. BARBIERI: Pan y Toros
COPENHAGEN 24 November 1865 (in Dlilish,
(Brcad and Bulls)
translated by A. F. von der Recke).
CHRISTIANIA 13 May 1866 (in Danish, translated 22 DCCl'IlIbcr. Madrid, Z.
by A. F. von der Recke). Text by J. Picon. Thrce aets.
LONDON, ADELPHl 30 June J 866 (in English, as ßarbicri's most sueccssful zarzl1cla, very popu-
Helm; M, Ta/.:c/l ji-Olll fhc Cra/.:, adapred by F. br in Spain :md South Ameri'ea. Mcxieo 2 July
C. Burnancl) :\IId Sr. J.' S 13 July 1868 (in I S69, ctc.
Frellch). Frcql1cntly rcvivcd at Madrid l1p to thc prcscnt.
CONSTANTINOPLE April 1867 (in French). (The hero of rhe work is the paintcr Goya.)

97°
18 6 5 ANNALS OF OPERA 186 5

186 5 NEW YORK 1 December 1865 (in Italian) and 2 May

1871 (in German).
c. E. DI BARBIERI: Perdita oder HAGUE 25 December 1865 (in French).
ST. PETERSBURG 19 January 1866 (in Italian) and
Ein Wintermärchen
I I November 1890 (in Russian, translated by
11 January. Prague, G. G. A. Lishin).
Text by K. Gross (founded on F. von Dingel- BUDAPEST 15 Fcbruary 1866 (in Hungarian, trans-
stedt's German version of Shakespeare's A Will- hted by G. Böhm and F. Ormai).
ter's Tale). Four aets. VIENNA 27 February 1866 (in German) and 28
The most sueeessful work ofBarbieri, who was March 1876 (in Italian).
a pupil of Mereadante and a eonduetor in Hun- SYDNEY April 1866 (in English).
gary, Germany, and Rio de Janeiro. LEMBERG 27 December 1866 (in German) and 10
In German also, Budapest I I February 1865; March 1874 (in Polish).
Leipzig 9 May 1865; Graz 18 August 1867, ete. HAVANA I R66 (in Italian).
Berlin I I January 1870 (at Nowaek's Th.). GENEVA 19 February 1867 (in Freneh).
RIGA 13 March 1867 (in German).
LASSEN: Le Captif STOCKHOLM 28 April 1867 (in Swedish, translated
24 April. Brussels, M. by E. A. Wallmark).
Text by E. Cormon (dealing with an ineident in BRÜNN 30 April 1867 (in German).
the life ofCervantes). One aet. PRAGUE 8 May 1867 (in German) and 6 June 1884
In German (translated bv P. Cornelius), Wei- (in Czeeh, translated by E. ZüngeI).
mar 8 April 1869. NAPLES, s.c. November 1867 (in Italian).
ALGIERS March 1869 (in Italian).
(MEYERBEER): L' Africaine*
CONSTANTINOI'LE Spring 1869 (in Italian).
28 April. Paris, O. MONTEVIDEO Summer 1869 (in Italian).
Text by A. E. Seribe. Five aets. ALEXANDRIA 21 Oetober 1869 (in Italian).
Meyerbeer' s last opera; he had begun working GRAZ 23 November 1867 (in German).
at it as early as 1838, but it was not performed NEW ORLEANS 18 Deeember 1869 (in Freneh).
until a year after his death (original title, Vasco da LISBON 8 Jailllary 1870 (in Italian).
Ga/lla; several different versions before the fmal BUENOS AIR ES 2 June 1870 (in Italian).
one whieh was revised by Fctis). MALTA 1870 (in Italian).
The IOoth performance at the Paris O. took RIO DEJANEIRO 1870 (in It:,haii).
place within less than one year, on 9 March 1866; WARSAW 1R70 (in Polish, translated by L. Sygie-
given Ihere 485 times unti11893. tynski).
Outside Paris, produeed at: TIFLIS March 1872 (in Italian).
LONDON, C.G. 22 July 1865 (in Italian, translated MEXICO 8 Deeember 18J3 (in Italian).
by J. Nicodemo) and 21 Oetober 1865 (in CAIRO 18 Janl1ary 1876 (in Italian).
English, translated by C. L. Kenney). SANTIAGO, CHILE 1876 (in Italian).
MADRID 14 Oetober 1865 (in Italian, translated by ZAGREB 8 November 1879 (in Croatian, translated
M. M. MareeIlo). by J. E. Tomic).
BOLOGNA 4 November 1865 (in Italian, translated LAIBACH (LJUBLJANA) 1880 (in German) and 1895
by M. M. MareeIlo). (in Slovenian, transiatCll by F. Gangi).
BERLIN 18 November 1865 (in German, translated REVAL 1890 (in German).
by F. Gumbert; given there until 1917). HELSINKI 29 November 1896 (in Italian).
ANTWERP 25 November 1865; Brussels 30 No- Still given on Freneh and ltalian stages; revived
vember 1865 (in Freneh). in German, Vienna 30 Oetober 1935; in Freneh,

971 972
1865 ANNALS OF OPERA 186 5

Brussels 4 January 1938; in Swedish, Stockholm _ MUNICH 10 June 1865 (under H. von Bülow; re-
4 October 1938; in Italian, Rome 12 Decembcr peated 13 June, 19 June and 1 July 1865; 20
1937· June and 23 June 1869 when Bülow cut 83 bars
CORNELIUS: Der Cid from the score for the Vogls; also performed on
21 May. Weimar 28 June, twice in July, 18 August and 30
actober 1872; three further performances in
Text by the composer. Three aets.
1874 and 1875).
Cornelius's second opera, the last which was
WEIMAR 14June 1874 (under E. Lassen).
performed in his lifetime. Revived in a revised
BERLIN 20 March 1876 (under K. Eckert; 100th
version by H. Levi, Munich 21 April 1891; May-
performance I September 1907; 250th perform-
ence 8 January 1893; Dresden 17 January 1899;
ance 9 actober 1932).
Mannheim 26 February 1899; Prague 22 Septem-
KÖNIGSBERG 10 December 1881 (und er H. Seidel).
ber 1900. Revived in its original form (re-con-
LEIPZIG 2 January 1882 (under A. SeidI).
structed by M. Hasse), Weimar 9June 1904; Des-
LONDON, D.L. 20 June 1882 (under H. Richter).
sau 25 December 1913; Stuttgart 15 May 1938.
HAMBURG 23 November 1882 (under J. Sucher).
FACCIO: Amleto VIENNA 4 actober 1883 (under H. Richter; had
30 May. Genoa, C.F. been rehearsed there 77 times in 1862-63 !).
Text by A. Boito (after Shakespeare). Four acts. BREMEN 26 Dccember 1883.

Thc second and last opera of the famous con- DRESDEN 21 May 1884.

ductor. Milan, Sc. 9 February 1871, etc. Never FRANKFORT 15 actober 1884.

produced ou,tside Italy and, so far, never revived. CARLSRUHE 3 December 1884.
SONDERSHAUSEN 9 July 1885.
R. WAGNER: Tristan und Isolde
PRAGUE 29 April 1886.
10JUlle. Munich BAYREUTH 23 July 1886.
Text by the composer. Three acts. NEW YORK 1 December 1886.
Libretto fmishcd 18 September 1857, published BRESLAU 3 February 1888.
1858. Music writtcn I October 1857-9 August MANNHEIM 23 December 1888.
1859; full score and vocal score (by H. von Bü- NUREMBERG 27 January 1889.
low) published 1860. Wagner first thought of COLOGNE 18 February 1889.
producing Tristall at Rio de Janeiro (see his letter BERNE 18 March 1889.
of 5 May 1857); further projects included Stras- STRASBOURG 6 February 1890.
bourg, Paris, Prague, Carlsruhe, Vienna (first re- ROTTERDAM 22 March 1890.
hcarsed there 26 actober 1862), Weimar; in 1864 MAGDEBURG 27 March 1890.
Munich was decided upon. DÜSSELDORF 26 January 189I.
A parody, Tristanderl und Süssholde, music by HALLE 28 January 1891.
Rauchenecker, was produced at the Isar-Vorstadt DARMSTADT 5 April 189I.
Th., Munich 29 May 1865, earlier than the opera ZURICH 29 January 1892.
itself, thc performance of which was postponed BASLE 14 March 1892.
from week to week (after the dress rehearsal on EISENACH 23 March 1892.
I I May). BRÜNN 18 February 1893.
In order to show how very slowly Tristan und HANOVER 3 April 1893.
Isolde conquered town after town and country GRAZ 12 February 1894.
after country, the following list contains alI pro- BRUNSWICK 13 February 1894.
ducdons up to 1900 (and the more important ones ELBERFELD 8 March 1894.
after 1900). MAYENCE 15 February 1895·
Productions in German: BOSTON I April 1895.

R 973 974
1 86 5 ANNALS OF OPERA 1 86 5

CHICAGO 17 April 1895. In French (translated by V. Wilder), Monte

LÜBECK 22January 1896. Carlo 22 March 1893; Brussels 21 March 1894
AMSTERDAM 8 May 1896. (not 1893); Aix-Ies-Bains September 1897; Nice
STUTTGART 12 May 1897. February 189); Paris, Nouveau Th. 28 October
WIESBADEN 25 May 1897. 1899 (under Lamoureux who had conducted the
FREI BURG 16 March 1898. first act in concert form on 16 March 1884 al-
AACHEN 20 March 1898. ready); Lyons 6 March 1900; Cairo 1901; Paris,
ST. PETERSBURG 25 March 1898. Chateau d'Eau 1 June 1902 (under Cortot); Paris,
STETTlN 10 April 1898. O. 14 December 1904 (under Taffanel; new
COBURG 5 November 1899· French version by A. Ernst, L. de Fourcaud and
ULM 28 March 1900. P. Bruck); Geneva 25 February 1909; Paris, O.c.
DESSAU 5 April 1900. 26 May 1925 (new translation by M. Lena and J.
POSEN I October 1900. Chantavoine); Marseilles March 1928; Brusscls
GOTHA 25 January 1901. 19 February 1930 and Paris, O. 28 February 1936
AUGSBURG 17 March 1901. (new translation by G. Samazeuilh; IOoth Paris
BRUSSELS 6 May 1901. performance 22 June 1938).
CASSEL 16 June 190I. In English (translator not mentioned; there
HAGEN 27 November 1901. were printed versions by H. and F. Corder, 1882;
METZ 6 February 1902. F. Jameson, 1886; and A. Forman 1891): Liver-
REGENSBURG December 1902. pool 15 April 1898; London, Ly. 3 February
ERFURT 7 January 1903· 1899; HuJl, Leeds, Manchester, Glasgow, Edin-
ESSEN 24 January 1904. burgh Marchand April 1912 ;Johannesburg March
RIGA 4 November 1904. 1912; Cape Town 1912; Middlesborough 6
KIEL 5 April 1905. March 1914; New York 20 November 1920.
DORTMUND 24 February 1906. In Russian (translated by V. E. Cheshikhin), St.
WÜRZBURG 6 April 1906. Petersburg 17 April 1899; Moscow 12 November
HALBERSTADT 13 September 1906. 1909 (ncw translation by V. Kolomiitsov).
ROSTOCK 1907. In Hungarian (translated by E. Abrinyi), Bu-
GERA 1908. dapest 28 November 1901.
SCHWERIN 21 November 1909. Catalan version by J. Maragall and A. Ribera
ALTEN BURG 23 March 1913. published 1904; another by J. Zanne and J. Pena
PARIS, eH.E. 20 May 1914. 1906. Probably never produced in that language.
SALZBURG 5 August 1933 (!). In Swedish (translated by o. W. Peterson-Ber-
In Italian (translated by A. Boito), Bologna 2 ger), Stockholm 11 February 1909; Helsinki 23
June 1888 (under G. Martucci); Turin 14 Feb- April 1921.
ruary 1897; Barcelona 8 November Ü~99; Trieste In Czech (translated by V. J. N ovotny), Prague
25 December 1899; Milan, Sc. 29 December 1900 IO February 1913; Bmo 26 January 1922 and
(new translation by P. Floridia); Buenos Aires 1 Prague 18 December 1924 (new translation by K.
August 1901; Ravenna II May 1902; Rome 26 Burian).
December 19°3; Alexandria February 19°5; Ro- In Danish (translated by K. Gjellerup), Copen-
vereto 1905; Brescia 1906; Genoa 12 February hagen 14 February 1914.
1908; Naples, Parma, Lisbon 1908; Veruce Feb- In Croatian (translated by M. Nehajev), Zag-
ruary 1909; Palermo, Cesena 1909; Rio de J aneiro reb 29 June 1917.
27 May 1910; Madrid March 19II; Padua 1913; In Lettish (translated by A. Anderson), Riga 23
Montevideo Summer 1920. New Italian transla- April 1921.
tion by F. Gozo published 1934. In Flemish, Antwerp 3 February 1924.

975
1865 ANNALS OF OPERA 1865

In Duteh, Amsterdam Spring 1929. In Czech (translated by J. Böhm), Pragl1e 29

In Norwegian, Oslo Autumn 1932. October 1891.
In Rl1manian, Bueharest January 1934. Given for the first time in German (translated
by J. Sliwinski), Basle 20 September 1939.
SUPPE: Die schöne Galatea
30 June. Berlin, Meysel's Th. SEBOR: TempIafi na Morave
Text by "Poly Henrion" (pseudonym of1. Kohl (The Templars in Moravia)
von Kohlenegg). One aet. 19 Oetober. Prague, Cz.
The most sl1eeessful of Suppe' s early operettas; Text by K. Sabina. Three acts.
Vienna, Ca. 9 September 1865, ete.; Basle 23 Oe- The first ofSebor's five Czeeh 0Feras.
tober 1867; in German also, New York6 Septem-
ber 1867; St. Petersburg Oetober 1867; Riga 16 MARCHETTI: Romeo e Giulietta
Deeember 1867.
250etober. Trieste
In Polish (translated by F. Szober), Lemberg 9
Text by M. M. Mareello (after Shakespeare).
Deeember 1867.
In Croatian (translated by D. Demeter), Zag- Four acts.
Marchetti's first suceess. Revived Rome 10
reb 4 August 1868.
In Swedish (translated by J. Philipsson), Stock- April 1876.
holm 8 August 1868.
In English (as GanYl11ede alld Galatca), London,
SEROV: Rognyeda
Gaiety 20 January 1872 (translator not mention- POI'Hi.n;a
ed; eertainly not W. S. Gilbert as stated in The 8 November. St. Petersburg
Stage Cyclopaedia); New York 14 September 1882 Text by D. V. Averkiev. Five acts.
(pasticcio from Suppe' s operetta and from Masse' s Moscow 15 December 1868; Kiev 1873, etc.
Galatee, see 1852, arranged by 1. W. Noreross). Very suecessful in Russia; revived Moscow I I
In Italian, Turin Summer 1-875. Oetober 1897; St. Petersburg I I Oetober 1904.
In Hungarian, Budapcst 26 April 1876.
In Russian, Moseow 1894. BAZIN: Le Voyage en Chine
In Czeeh, Prague I 8 September 1894.
9 Deeelllber. Paris, O.C.
Frequently revived in many eountries. Last
Text by E. M. Labiehe and A. Delacour. Three
revived in London, Victoria Pahce 28 September
acts.
1936.
Bazin's most successful work. Last revived in
(The operetta was originally produced at Ber-
Paris, Ren. 31 December 1899; Th. Trianon 6 Sep-
lin, not at Vienna as usually stated.)
tember 1906; and Tr.1. 23 February 1915.
Outside France:
MONIUSZKO: Straszny Dwor* LIEGE 9 April 1866; Brussels 3 September 1866,
(The Haunted Castle) etc.
28 Septclllbcr. Warsaw VIENNA, W. 12 May 1866 (in German, translated
Text by J. Checiriski. Four acts. by J. C. Grünbal1m) and 27 May 1872 (in
Apart from Halka (see 1854) Monil1szko's chief French).
work. Very suecessf111 in Poland: Lemberg 18 STOCKHOLM 14 November 1866 (in Swedish,
January 1877, etc. Frequently revived on Polish translated by E. A.Wallmark).
stages. PRAGUE January 1867 (in German).
In Polish also, Vienna II September 1892 (at BERLIN, WALLNER TH. 2 July 1867 (in German);
the Exhibition Th.). revived Th.d.W. 15 September 1899.

977
1865-66 ANNALS OF OPERA 1866

COPENHAGEN 10 January 1868 (in Danish, trans- 1885 (libretto revised by V.J. Novotny); 12 May
lated by A. F. von der Recke; as pasticcio? 1903; I2 May 1916; 2 March 1924.
Offenbach is mentioned as the composer). In Czech also, Vienna 28 Mal' 1924 (by the
CHRISTIANIA 22 January 1869 (in Danish, trans- Olomouc opera company).
lated by A. F. von der Recke; as pasticcio?
Oifenbach is mentioned as the composer). MORALES: Ildegonda
LISBON 17 April 1869 (in Portuguese, translated by
A. Mendes Leal) and 25 May 1878 (in French). 27 jal/llary. Mexico
HAGUE 1873 (in Dutch, translated byC. P. T. Digot). (Italian) text by T. Solera (sec 1845). Time
LONDON, ROYALTY 13 February 1873 (in French) acts.
and Garrick Th. 5 June 1879 (in English; trans- Morale's setting was also given at Florence, T.
lator not mentioned). Pagliano on 6 March 1869.
BUENOS AIRES 1873 (in Frcnch). (An account of Jldcgo/lda-which was the first
NEW YORK 1 I January 1875 (in French). and probably still is the onl)' opera by a Mexic'.n
MEXICO January 1876 (in Freneh). composer ever pcrformed in Emope-will bc
BUCHAREST 1903 (in Rumanian). found in Thc Musical World, 2 June 1866.)
Still given on French stages; revived Montre.ll
January 1920; Geneva 9 April 1923; Antwerp 17 ( MO ZAR T ) : Zaide*
April 193 I, ctc.
27 jal/l/ary. Frankfort
FLOTOW: Naida Original text by J. A. Schachtncr, re-written by
Haui\a K. Gollmiek. Two aets.
11 December. St. Pctcrsburg This German Singspiel had been written prob-
(Original French) text by J. H. Vernoy de ably in 1779, for J. Döhm's troupe; Mozart left it
Saint-Georges and Leon Halevy, first called Le unfmished and without title (which was supplied
Vannicr and written for Paris in 1856; then trans- by Andre when he published the score in
lated into German by F. von Dingclstcdt, but not 18 3 8).
performed in Germany either. Frorn Dingel- Of Schachtner's libretto (on its source, sec ,\.
stedt's version it was translated into Russian. Einstein, in Acta Ml/sicologica, Vol. VIll, 1936)
Threc acts. only the I)'ries were extant. For the Frankfort
Revived Milan, T. Manzoni 7 June 1873 (in 1866 produetion the lost dialogue was re-writtcn
Italian, translated by G. Eisner); also Genoa 12 by K. Gollmick; overture and finale wen; addcd
November 1873, etc. by Anton Andre. Zaidc was rcvived at Vienn:::
In IR73 the opera was announced as new and 4 Oetober 1902 (revised by R. Hirschfeld, who
the fact of its having been produced in Russia altcred the libretto again and replaeed Andrc's
eight years earlier was forgotten; accordingly, no additions bysubstituting parts frol11 Mozart' sKii/iig
book of reference mentions the St. Petersburg Thamos rnusic); this version was also given at
performance. Carlsruhe 27 January 1903.
Further revivals: Carlsruhe 5 May I\JI7 (revis-
r866 ed by A. Rudolph); Zurich 22 June 1918 (by
puppets); Oldcnburg January 1927 (in the origi-
SM ETA NA: Branibofi V Cechach * nal form); Berlin, Th.indcr Klosterstrasse 10 April
(The Brandenburgers in Bohemia) 1928; Würzburg, July 1933 and Potsdarn, Ncues
5 january. Prague, Cz. Palais 7 June 1939 (revised by W. Meckbach).
Text by K. Sabina. Three acts. A French version by J. Chantavoine was pro-
Srnetana's first opera. Revived Prague 9 April duced at Monte Carlo 7 January 1930.

979
1866 ANNALS OF OPERA 1866

OFFENBACH: Barbe-Bleue* RIGA 1875 (in German).

SARAJE1iO 1882 (in German).
5 February. Paris, Varietes
HELSINKI Summer 1899 (in German).
Text by H. Meilhac and Lud. Halevy. Three acts. ZAGREB 5 October 1904 (in Croatian, translated
Like most Offenbach operettas of the 'sixties by F. Miler).
produced in every country, viz.:
LONDON, OLYMPIC 2 June 1866 (in English, as THOOFT: Aleida von Holland
Bluebeard repaired, adapted by H. Bellingham,
10 March. Rotterdam
music arranged by J. H. Tully); St. J.'s 28 June
(German) text by E. Pasque. Three acts.
1869 (in French); Gaiety 29 August 1870 (in
Thooft's only opera and the first opera by a
English, translated by C. L. Kenney).
Dutch composer which was produced at the Ger-
VIENNA, W. 21 September 1866 (in German, trans-
man Opera, Rotterdam (founded in 1860). Also
Iated by J. Hopp).
given at The Hague on 29 March 1871; revived
BRUSSELS 13 October 1866 (in French).
Rotterdam 28 March 1889.
STOCKHOLM 23 February 1867 (in Swedish, trans-
lated by E. A. Wallmark). J. T. RADOUX: Le Bearnais
BERLIN, FR.W. 13 March 1867 (in German, Hopp's
14 March. Liege
translation altered by E. Pohl).
Text by A. Pellier-Quengsy. Three acts.
BUDAPEST 5 April 1867 (in Hungarian, translated
Brussels 30 January 1868 (libretto altered by H.
by E. Latabar).
Kirsch). Revived Lille 30 October 1879.
MILAN, T.RE 3 May 1867 (in French).
COPENHAGEN October 1867 (in Danish).
MERCADANTE: Virginia*
LISBON 14June 1868 (in Portuguese, translated by
F. Palha) and 28 May 1870 (in Spanish). An- 7 April. Naples, S.C.
other Portuguese translation by A. Mendes Leal Text by S. Cammarano (founded on Alfieri's tra-
published 1868. gedy). Three acts.
GRAZ I June 1868 (in German.)
Mercadante's last opera, written in 1851, but
AMSTERDAM 1868 (in Dutch).
not allowed to be acted then. Revived Turin 30
NEW YORK 13 July 1868 (in French) and 15 Feb-
September 1877; Naples7 February 1901. Accord-
ruary 1870 (in German); 30 October 1886 (in ing to Clement, " ... aux yeux des connaisseurs
Yiddish). un des grands operas modemes soumis au juge-
NAPLES 27 July 1868 (in French) and 1869 (in
ment du public ...."
Italian, translated by F. Mastriani).
MADRID 1869 (in Spanish, translated by A. Pove-
ABERT: Astorga
dano y Vidal). 27 May. Stuttgart
LAIBACH 1870 (in German). Text by E. Pasque (dealing with incidents of the
VALPARAISO 1870 (in French). life of the composer Astorga, see 1709). Three
ODESSA 1870 (in Russian, translated by G. A. acts.
Lishin). Successful on German stages: Leipzig 29 Octo-
MEXICO 4 May 1871 (inSpanish). ber 1866; Prague 4 December 1866, etc.; Vienna,
SYDNEY 1872 (in English). Ca. 30 July 1870; Basle 17 February 1876; Graz
LBMBERG 13 December 1873 (in Polish, translated 16January 1880; Posen 1888. In Czech (translated
by L. Matuszynski). by J. Böhm), Prague 1876. French vocal score
PRAGUE 8 August 1874 (in Czech, translated by (translated by V. Wilder), published c.1870; an
E. Züngel and J. J. Stankovsky). intended production in Paris was frustrated by the
MALTA 1875 (in Italian). Franco-Prussian War.

981
1866 ANNALS OF OPERA 1866

FLOTOW: Zilda LJUBLJANA 15 February 1894 (in Slovenian, trans-

28 May. Paris, O.c. lated by A. Funtek).
STOCKHOLM 6 October 1894 (in Swedish).
Text by J. H. Vernoy de Saint-Georges and H. C.
Chivot. Two acts. STRASBOURG 27 January 1895 (in German).
In German (translated by M. A. Grandjean and LONDON, D.L. 26 June 1895 (in German) and S.'s
R. Gence), Prague 21 February 1867; Berlin, W. 21 November 1935 (in English, translated
Fr.W. 9 August 1867; Vienna, W. November by R. Newmarch).
1869, etc. ANTWERP 14 October 1895 (in Flemish).
In Spanish (translated by A. Mondcjar y Me:J.- RIGA 1895 (in German) and 28 October 1934 (in
doza and L. Pacheco), Madrid 1873. Lettish).
Some of the music ofFlotow' s Zilda was used in AMSTERDAM 4 October 1896 (in German), Decem-
Falme, by B. Bardi. Berlin, Th. d. W. 8 March ber 1902 (in Dutch) and January 1937 (in
Czech).
1925, etc.; Prague 1933.
BASLE 3 I March 1897 (in German).
SM ETA NA: Prodana Nevesta*
WARSAW September 1903 (in Polish).
(The Bartered Bride)
BUCHAREST 1903 (in Czech, by the Prague com-
30 May. Praguc, Cz pany) and 30 March 1908 (in Rumanian).
Text by K. Sabina. Three acts. MILAN, T.L. 9 October 1905 (in Italian, translated
Smetana's chief work; the most popular Czech by F. Ghione); revived Sc. 27 February 1935
opera ever written. Vcry successful at Prague (translation revised by L. Mandaus).
where it was repeated wich some alterations on BRUSSELS 23 February 1907 (in French, translated
29 January 1869, in a third version 1 June 1869 by R. BruneI).
and in its final version 25 September 1870, and BUENOS AIR ES 1 August 1907 (in Italian) and 9 Au-
where the looth performance was on 5 May 1882; gust 1934 (in German).
500th performance 8 August 1909; I,oooth per- NEW YORK 19 February 1909 (in German) and
formance 30 May 1927; 1,400th performance 16 15 May 1936 (in English, translated by G.
October 1938. The success of Tize Barlercd Bride Jones).
was limited to Slavonic stages until25 years later HELSINKI 29 March 1910 (in Finnish, translated by
when it was first given, in Czech, at the Vienna T. Wallenius).
Exhibition Theatre 1 June 1892 and, translated SOFIA 7 September 1912 (in Bulgarian).
into German by M. Kalbeck, at the Th. an der BELGRADE 1922 (in Serbian).
Wien 2 April 1893. BARCELONA 12 February 1924 (in Czech); Catalan
The first performances were at: translation by J. Pena and R. J. Sla by published
ST. PETERSBURG 11 January 1871 (in Russian, trans- in that year.
lated by P. I. Kalashnikov). Revived Leningrad TALLIN 1924 (in Estonian, translated by A. Trill-
25 May 1937 (new translation by Aleksyei Ni- järv).
kolaevich Tolstoy and V. Rozhdestvensky, PARIS, O.C. 26 October 1928 (in French, translated
founded on earlier translation by F. Kub). by R. Brunel and D. Muller).
ZAGREB 18 October 1873 (in Croatian, translated OXFORD 26 November 1929 (for the first time in
by A. Senoa). English, translated by A. Raleigh).
VIENNA 1 June 1892 (in Czech) and 2 April 1893 COPENHAGEN 15 May 1930 (in Danish, translated
(in German, see above); O. 4 October 1896. by H. H. SeedorffPedersen).
BERLIN IJuly 1893 (in German, at the Th. Unter CH1CAGO June 1933 (in Czech) and December
den Linden; O. 24 May 1894). 1933 (in English, translated by L. Bartusek).
CHICAGO 20 August 1893 (in Czech). KAUNAS 7 March 1934 (in Lithuanian).
BUDAPEST 21 September 1893 (in Hungarian, trans- __ MUN1CH 5 March 1940 (in new German version by
lated by K. Abranyi). Pavel Ludikar and Ilse Hellmich).
1866 ANNALS OF OPERA 1866

OFFENBACH: La Vie Parisienne* Thomas' s most successful work; the 500th per-
31 Oetober. Paris, Palais Royal formance at the O.c. was on 22 Octobre 1878,
Text by H. Meilhac and Lud. Halevy. Five acts. the l,oooth on 13 May 1894, the I,600th on 22
Even more successful than Barbe-Bleue earlier May 1927.
in the same year. Still given in many countries; Outside Paris, given at:
the latest revival in Paris was on 26 September ANTWERP 7 March 1867 (in French).
BRUSSELS 29 March 1867 (in French).
J934 at the Th. Mogador. Outside Paris given at:
GENEVA 28 January 1868 (in French).
BRUSSELS 30 January 1867 (in French).
WEIMAR 13 April 1868 (in German, translated by
VIENNA, CA. 3 J January 1867 (in German, trans-
lated by K.Treumann)and 5JulyI87I(in French). F. Gumbert).
BERL/N, FR.W. 22 May 1867 (in German). Revived VIENNA 24 Oetober 1868 (in German) and 9

in a new German version by P. Scher, Munich March 1876 (in Italian).

2 February 1929 and Berlin, Renaissance Th. PRAGUE 19 January 1869 (in German) and 15 No-

6 December 1929. vember 1884 (in Czech, translated by J. Böhm).

BUDAPEST 25 May 1867 (in German). BADEN-BADEN 4 September 1869 (new version

STOCKIlOLM 6 J une 1868 (in Swedish, translated

with recitatives instead of spoken dialogue).
by R. A. Gustafson). BERL/N 10 December 1869 (in German).

GRAZ 26 August 1868 (in German). TRIESTE 10 March 1870 (in Italian, translated by

NEW YORK 29 March 1869 (in French); 15 No- G. Zaffira).

vember 1869 (in German) ; 18 March 1884 (in LONDON, D.L. 5 July 1870 (in Italian) and H.M.'s

English, translated by H. B. Farnie). 13 January 188o (in English, translated by A.

MADRID, Z. 26July 1869 (in Spanish, translated by Matthison).
L. Rivera. An adaptation La Vida Madrilclia, by GRAZ 17 August 1871 (in German).

M. Pina, mllsic adapted by Sed6, T. Eslava, NEW YORK 22 November 1871 (in Italian); I I Oc-

April 1886). tober 1875 (in English, translated by c. L.

BASLE 30 March 1870 (in German). Kcllogg); I December 1879 (in French).
L/SBON 29 May 1870 (in Spanish). SI. PETERSBURG 26 December 1871 (in Italian); in

WARSAW 1871 ;md Lemberg 10 JulI' 1873 (in Russian Leningrad 27 November 1918 (if not
Polish, tr:mslated by J. ChcciIlski). earlier).
LONDON, HOLBORN TII. 30 March 1872 (in Eno-lish RIGA February 1873 (in German) and 28 February

transbted by F. C. Burnand; last revived L~Tic: 1926 (in Lcttish).

Hammersmith 18 April 1929 in a newadapta- STOCKHOLM 10 March 1873 (in Swedish, trans-

tion by A. P. Herbert and A. D. Adams). lated by F. T. Hedberg).

ST. PETERSBURG 9 October 1873 (in Russian). WARSAW 1873 (in Polish, translated by F.

MEXICO 10 February 1874 (in French). Szober).

NAPLES 1874 (in French). BUDAPEST 20 September 1873 (in Huno-arian

RIGA 1874 (in German).

translated by F. armai). ::>'

COPENHAGEN 15 November 1876 (in Dalüsh, trans- BARCELONA 13 February 1875 (in Italian).

bted by K. Moller and W. Faber). MILAN 6 May 1875 (in Italian).

PIlAGUE 1876 (in Czeeh, translated by J. J. Stan- L/SBON 22 March 1877 (in Italian) and I May 1878

kovskY)· (in Frcnch).

NAPLES, T. BELL/NI 15 February 1879.
MEXICO 28 Februar)" 1879 (in French).
A. THOMAS: Mignoll DUBLIN 18 August 1879 (in English, translated by
17 NOl'clllbcr. Paris,O.C. A. Matthison).
Text by J. Ihrbier and M. Carrc (founded on EDINBURGH I September 1879 (in English, trans-
G,~ethe' s rVilhcl'/l ]'v[ciSlcrs Lehrjahre). Three acts. Iated by A. Matthison).

986
1866-67 ANNALS OF OPERA 1867
COPENHAGEN 6 January 1880 (in Danish, trans- Verdi's second (and last) Freneh opera. Per-
lated by A. Hertz). formed in Paris 43 times in 1867.
CHRISTIANIAJune 1880 (in Norwegian). Outside Paris, given at:
BUENOS AIRES 1881 (in Freneh) and 8 May 1883 LONDON, C.G. 4 June 1867 (in Italian, translated by
(in Italian). A. de Lauzieres).
MELBOURNE 22 May 1882 (in English). BOLOGNA 27 Oetober 1867 (in Italian, translated
ZURICH 14 Deeember 1882 (in German). by A. de Lauzieres).
MALTA 1883 (in Italian). BRUSSELS II March 1868 (in Freneh).
AMSTERDAM I Oetober 1887 (in Dutch). BUDAPEST 14 Mareh 1868 (in Hungarian).
ATHENS 27 Oetober 1888 (in French; at the open- DARMSTADT 29 March 1868 (in German, trans-
ing of the new opera-house there). lated by M. R. Behr).
ZAGREB 20 May 1894 (in Croatian, translated by MALTA Carnival 1869 (in Italian).
M. Pogacic). ST. PETERSBURG I January 1869 (in Italian).
REVAL (TALLINN) 1896 (in German) and 1927 (in BARCELONA 27 January 1870 (in Italian).
Estonian). PRAGUE 13 Oetober 1870 (in German).
HELSINKI 19 November 1896 (in Italian); 2 Sep- LISBON 21 Deeember 1871 (in Italian).
tember 1900 (in Swedish); 6 November 1929 MADRID 15 June 1872 (in Italian).
(in Finni~h). BUENOS AIRES 17 June 1873 (in Italian).
LJUBLJANA 1905 (in Slovenian). NEW YORK L! April 1877 (in Italian).
BELGRADE 1921 (in Serbian). LEMBERG 8January 1878 (in Polish); revived 1933;
SOFIA 23 Deeember 1921 (in Bulgarian). Warsaw 1935.
KAUNAS 1 Oetober 1926 (in Lithuanian). SANTIAGO, CHILE 1883 (in Italian).
BUCHAREST March 1929 (in Rumanian). New version, redueed to 4 acts: 1
MILAN 10 January 1884, etc.
DRESDEN 31 January 1885 (German version by K.
186 7 F. Niese).
MEXICO 13 November 1886 (in Italian).
BAZZINI: Turanda Revivals:
13 January. Milan, Sc. MONTE CARLO 15 March 1906 (in Freneh).
Text by A. Gazzoletti (after Gozzi). Four aets. BERLIN 9 April 1907 (in Freneh, by the Monte
Bazzini's only opera; like Faeeio's Amleto (see Carlo Opera) and II Oetober 1913 (inGerman).
1865), written in a more serious style than the ZURICH Spring 19II (ü, German).
average Italian operas of those years; unsueeess- PARIS, GAlTE 2 June 191I (in Italian).
fu!. MILAN 26 Oetober 1912 (in Italian).
GRAZ 10 Oetober 1913 (in German).
BENOh: Isa NEW YORK 23 Deeember 1920 (in Italian).
PRAGUE April 1921 (in German) and 21 January
24 February. Brusse!s
193 I (for the first time in Czeeh, translated by
Text by E. Hiel. Three aets. K. Kügler).
Early Flernish opera, produeed at the Theatre HELSINKI 14 January 1932 (in Finnish).
du Cirque. VIENNA 10 May 1932 (new German version by F.
Werfe! and L.Wallerstein).
LONDON, C.G. I June 1933 (i11Italian) and S.'s W.
VERDI: Don Carlos* 6 Deeember 1938 (for the first time in English,
11 March. Paris, O. translated by S. Austin).
Text by F. J. Mery and C. Du Lode (founded on 1 Much further research has been made on the two
Schiller' 5 drama). Five acts. versions. H.R.
1867 ANNALS OF OPERA

STOCKHOLM 2 November 1933 (for the first time VALPARAISO 1869 (in French).
in Swedish). CAIRO December 1869 (in French).
BASLE 16 March 1934 (in German). CON5TANIfNOPLE January 1870 (in French).
BUDAPEST 29 March 1934 (new Hungarian version BARCELONA 2 I May 1870 (in Catalan, adapted by
by V. Linyi). 1. Llaurador).
BRUSSELS 10 January 1936 (in French). BUDAPEST I October 1870 (in German).
BERLIN 21 October 1936 (in German). SYDNEY 29 Januar;: 1871 (in English).
SOFIA 28 December 1936 (in Bulgarian). MEXICO 16 March 1871 (in Spanish).
GHENT 22 November 1937(in theoriginalFrench). BASLE 20 November 1872 (in German).
LEMBERG 30 December 1872 (in Polish).

MASSENET: La Grand' Tante BUENOS AIRES 1873 (in French).

PRAGUE I I J une 1873 (in Czech, translated by E.
3 April. Paris, O.c.
Züngel).
Text by J. Adenis and C. Grandvallet. One act.
Revived Leningrad 29 December 1922 (in Rus-
Massenet's first opera; it had 17 performances
sian) new German translation by W. Mehring
in 1867, but was never revived.
1931.

OFFENBACH: La Grande-Duchesse GOUNOD: Romeo etJuliette*

de Gerolstein* 27 April. Paris, Th.L.
12 April. Paris, Varietes Text by J. Barbier and M. Carre (after Shake-
Text by H. Meilhac and Lud. Halcvy. Three acts. speare). Five acts.
One ofOffenbach's gre:ltest successes; by July, Apart from Fallst Gounod's greatest success;
1873 it was stated to have been given on 65 French given in Paris 322 times at the Th. L., since 20
and 117 foreign stages. Produced at: January 1873 at the O.c., since 28 November
V1E~NA, W. 13 May 1867 (in German, translated 1888 at the 0; the 500th performance was on 7
by J. Hopp) and 25 MJY 1872 (in French). Graz January 1898. Outside Paris given at:
14 August 1867 (in German). LO:-.IDON, C.G. II July 1867 (in Italian, translated
BRUSSELS I June 1867 (in French). by G. Zaflira); c.G. 15 June 1889 (in French);
STOCKHOL:-.I 4 September 1867 (in Swedish, trallS- and D.L. 5 April 1890 (in English); Iooth per-
lated by E. A. Wallmark). formance at c.G. 29 July 1901.
NEW YORK 24 September 1867 (in French); 23 DRESDEN 30 November 1867 (in German, trans-
April 1868 (in English); and 12 January 1870 lated by T. Gassmann).
(in German). Offenbach's first great success in NEW YORK 15 November 1867 (in Italian); 14 Jan-
America. Salt Lake City I June 1869 (first uan· 1881 (in English); and 8 December 1893
opera there). (in French).
LONDON, C.G. 18 November 1867 (in English, NEW ORLEANS 24 February 1870 (in French).
translated by C. L. Kenney); in French St. T.s BRUSSELS 18 November IS67 (in French).
22June 1868; last revived Daly's 29 April 1937, MILAN 14 December 1867 (in Italian).
new English version b y G. P. Robinson. VIENNA 5 February 1868 (in Germ:m) and 23
BERLIN, FR.W. IO January 1868 (in German). March 1876 (in I talian).
RIO DEJA:-.IEIRO 29 February 1868 (in Portuguese). STOCKHOLM II June 1868 (in Swedish, translated
MILAN 4 September 1868 and Naples, T. Gregoire by E. A. Wallmark).
1872 (in French). WARSAW April 1869 (in Italian).
CHRISTIA:-.IIA Autumn 186$ (in Norwegian). PRAGUE 29 August 1869 (in Czech, translated by
MADRID 7 November 1868 (in Spanish, translated E. ZüngeI) and I I September 1873 (in German)
by R. Puente y Bragas). BERLIN 25 November 1869 (in German).
DUBLIN 10 May 1869 (in English). MOSCOW 21 February 1870 (in Italian).

990
1867 ANNALS OF OPERA

BUDAPEST 27 January 1872 (in Hungarian, trans- Gilbert( !). First given in New York on 13 August
lated by F. Ormai). 1875, etc.
ST. PETERSBURG 8 February 1872 (in Italian) and Revived London, Prince's 28 November 1921
23 January 1891 (in Russian, translated by N. and still in the "Gilbert-Sullivan" repertory (as
M. Spassky). Revived Leningrad 25 April 1920 the only operetta the text of which is not by
and 16 March 1936 (in Russian). Gilbert).
MADRID 19 November 1873 (in Italian).
HELSINKl 31 January 1879 (in Finnish) and 23 Jan- (MOZART) : L'Oie du Caire*
uary 1899 (in Italian). 6June. Paris, F.P.
MEXICO 19 December 1882 (in French) and 20 Original Italian text (L'Oca de! Cairo) by G. B.
September 1890 (in Italian). Varesco, French version by V. Wilder. Two acts.
BUENOS AIRES 20 August 1887 (in Italian). Mozart wrote this opera in 1783, but never
LISBON 18 December 1887 (in ~talian). fmished it; the fragments (8 numbers of the first
COPENHAGEN 20 March 1888 (in Danish, trans- act) were published by Andre in 1855. For the
lated by H. Drachmann). Paris production they were, together with parts
LIVERPOOL 15 January 1890 (in English, translated from another unfinished Mozart opera, Lo Sposo
by H. B. Farnie). de/uso, and from Mozart's additions to Bianchi's
BUCHAREST 23 April 1891 (in Italian). La Villanella rapita (see 1783), arranged by T. C.
ZAGREB 5 May 1894 (in Croatian, translated by Constantil1 and adapted to a new French libretto
M. PogaCic). by V. Wilder.
HONOLULU 1895 (in Italian). Previously, the fragments had been given in
LJUBLJANA 1907 (in Slovenian). concert form at Fr:mkfort in April 1860 (by the
JERUSALEM 14 April 1924 (in Hebrew, translated "Opern gesangverein"), and subsequendy at Mag-
by A. Aschmann). deburg 3 February 1861, Leipzig 5 December
KAUNAS II February 1925 (in Lithuanian). 1861, Jena 5 February 1862, etc.
RIGA 26 April 1928 (in Lettish). Wilder's French version was translated into
TALLINN 1928 (in Estonian, translated by S. Ma- German (by?) and produced at Berlin, Fr.W.
montov). 4 October 1867; Vienna, Ca. 15 April 1868;
SOFIA 17 March 1933 (in Bulgarian). Leipzig 17 April 1868; and Königsberg 25 Octo-
Still given in France, Italy and other countries. ber 1872.
The so far latest revival in London was at D.1. on The Paris version was also given in London,
26 June 1918. D.1. 12 May 1870 (in Italian, translated by G.
Zafhra, recitatives by Bottesini; the English ver-
sion in the printed libretto by 1. H. F. du Ter-
SULLIVAN: COX and Box reaux); Copenhagen January 1882 (in Danish).
11 May. London, Adelphi In the 20th century the following revivals and
Text by F. C. Burnand (from J. M. Morton's arrangements are to be recorded:
farce Box and Cox). One act. L'Oie du Caire, in Wilder's French version,
The first performance was a private one in May Paris, Tr. L)'C. 1 March 1918. L'Oca de! Cairo, in
1866 at Murray Lodge, Camp den HilI, the horne a concert arrangement by R. Schulze-Reudnitz,
of Arthur Lewis and his wife, the actress Kate Luccrnc 1935; in a new stage version by V.Mor-
Terry. It was first given in public by amateurs in tari, Salzburg 22 August 1936 (text revised by 1.
May 1867 for the benefit of the widow and chil- Cavicchioli) and Milan, Sc. 5 March 1940 (text
dren of the late C. H. Bennett; the first public per- revised by D. Valeri); finally, in a new adaptation
formance took place at the "Royal Gallery of by H. F. Redlich, Landon, Sadler' s Wells 30 Ma y
Illustration", London, on 29 March 1869 on the 1940 (in Italian).
same bill with No Cards, a piece by W. S. An attempt has also beeil made to adapt the

99 1 992
 ANNALS OF OPERA
musical fragments ofboth L'Oea dcl Cairo and Lo _ COHEN: Les Bleuets
Sposo dellIso to a German version of the libretto of
23 Oetober. Paris, Th.L.
the latteropera(whichhas been preserved :LoSposo
Text by E. Cormon and H. Trianon. Four acts.
dcluso assia La Ri !la li ta di tre D0/1Ile per U/I solo
Revived Landon, c.G. 3 July 1880 (in Italian.
AmGllte), text perhaps by L. da Ponte (see E. An-
as Estella, translated by A. de Lauzieres) ; Adelina
derson in Music and Leiters, April 1937); Mozart's
Patti sung the name-part.
mllsic, written in the same year as L'Oca dei Cairo,
consists of the overture, two airs, one guartet and
one terzet. Produccd as Der betragcnc Brälltigam, KASHPEROV: Groza
text by A. Schremmer, music arranged by L. rposa
Kusche, Gotha 28 February 1929. (The Tempest)
REINECKE: König Manfred 11 NO!lember. St. Petersburg and Moscow
Text by A. N. Ostrovsky (founded on his play
26 Jllly. Wiesbaden
of the same title). Four acts.
Text by F. Roeber. Five acts.
The first performance took place both at St.
The most important of Reinecke's five operas.
Petersburg and Moscow the same night.
Leipzig 25 May 1868, etc.
Revived Leipzig 23 April 1885; also St. Peters-
burg 26 April 1887 (in Russian, at the Musical BLODEK: V Studni
Dramatic Club). (In the WeIl)
LESCHETIZKY: Die erste Falte 17 NO!lelllber. Prague, Cz.
90etober. Prague, G. Text by K. Sabina. One act.
Text by S. H. Mosenthal. One act. Suceessful Czech cornic opera. Revived at Pra-
The only opera of the famous pianist. gue 2 December 1883, 7 December 1924, and
Successful on German stages: Wiesbaden 14 3 October 1934·
December 1880; Mannheim 19 April 1882; Vien- In Croatian (translated by J. E. Tornit), Zagreb
na 4 January 1883. 3 I Oetober 1885.
In Slovenian, Ljubljana 1889.
HERVE: VCEil creve In German (translated by F. Binder), Leipzig
12 Oetober. Paris, F.Dr. 29 October 1893; Vienna, W. September 1894
Text by the composer (folie musicalc). Three aets. (previously given there in Czech at the Jos. Th.
Herve' s first great success. 14 April 1893); Berlin, Th.d.w. 4 March 1902.
Revived Paris, Ren. 24 September 1881 (H. In Bulgarian. Sofia 20 April 1912.
Cremieux is mentioned as co-author in the 1881 In Czech also New York 6 March 1920 (at the
edition); Varietes 18 April 1896. Jan Huss Neighborhood House).
In French also, New York I I January 1869; (In this opera occurs an Interlllezzo silzjollico 23
Naples 15 June 1869; London, Globe 15 June years before Ca!lalleria rustiCGlla.)
1872; Mexico 25 January. 1874.
In German, Vienna, W. March 1868 (as Der
BORODIN: Bogatyri
Pfeilil1l Auge, transIated by J. Hopp); Berlin, Fr.
BOl'aTI>lprr
W. 22 May 1868 (as Flellr de Noblesse, translated
(Heroes)
by J. Stettenheim).
In English, London, Olympic 13 April 1868 (as 18 November. Moscow
Hit or Miss, transbted by F. C. Burnand); another Text by V. A. Kruilov. Opcra-jarce. Five acts.
adaptation, by H. B. Farnie, was given at the Borodin pardy eomposcd the music, pardy
O.c., London 21 October 1872. compiled it from operas by Meyerbeer, Rossini,

993 994
 ANNALS OF OPERA 1867-68
Offenbach, Cavos, Serov, Verdi, etc. (22 num- In Russian, Kiev 2 January 1887.
bers altogether); the score was arranged and or- In English (translator not mentioned), Man-
chestrated by I. N. Merten aud F. F. Buechner. chester 4 May 1917; London, D.L. 8 June 1917.
Apart from Prince Igor (see 1890), Borodin's only
work for the stage, a musical satire on Serov's
Rogneda (see 1865), and soon forgotten until 1922 I868
when I. Glyebov discovered the score at a Lenin-
grad library.1t was revived at the KameOlY Thea- BENDL: Leila
tre, Moscow 12 November 1936 with a ncw lib- 4 January. Prague, Cz.
retto by D. Byednuy, but after a few nights ban- Text by E. Krasnohorski (founded on E. Bulwer
ned by the Soviet authorities. See 1. Glyebov in Lytton's noveI). Five acts.
Revue Musicale (December 1929 and February
Bendl's first opera. Revived Prague 2 May
1930) and P. Lamm and S. Popov in SOllietskaya
1891.
Muzyka (January 1934.)
S A L 0 MAN: Karpatskaya Roza
OFF E NB ACH: Robinson Crusoe* :KapnaTcKaH Poaa
23 November. Paris, O.c. (The Rose of the Carpathian Mountains)
Text by E. Cormon and H. Cremieux. Three acts. 7 January. Moscow
Offenbach's second attempt at the O.c., like Original German text by W. Müller von Königs-
Barkouf (see 1860), a comparative failure (32 winter, translated into Russian by ? Five acts.
nights only). Also given at Stockholm on 23 May 1881 (in
In French also, Brussels 17 February 1868; New Swedish, as Karpathemas Ros, translated by F.
York 6 September 1875. The opera was (in a Ger- Hedberg). (An opera, written by a Danish com-
man version by E. Pasque) to bc produced at poser to German words, produced in Russian and
Darmstadt, but the performance was frustratcd in Swedish!)
by the Franco-Prussian war. Robinson Crusoe was
revived in German only about 60 years later:
Leipzig 21 September 1930; Zurich 31 December
AU BE R : Le premier Jour de Bonheur
1930; Prague Spring 193 I, etc. (as Robinsonade, 15 Fcbruary. Paris, O.c.
new libretto by E. Walther, music arranged by Text by A. P. d'Ennery and E. Cormon. Three
G. Winkler). Also given at Ljubljana 1932 (in acts.
Slovenian). An English version by A. Steme was The last great success of the then 86 years old
broadcast from London on 29 April 1937. composer. Given at the O.c. 175 times until
1 873.
In French also, Brussels 4 November 1868;
BIZET: La jolie Fille de Perth*
Geneva 26 January 1869.
26 Dccember. Paris, Th.L. In Czech (translated by E. Züngel), Prague II
Text by J. H. VeOloy de Saint-Georges and J. September 1868.
Adenis (founded on Scott's noveI). Four acts. In German (translated by E. Pasque), Munich
Brussels 14 April 1868, etc. Geneva 23 Novem- 27 September 1868; Leipzig II November 1868,
ber 1885. Revived Paris, O.c. 3 November 1890. etc.; Vienna, K.O. 7 November 1874; Brünn 14
In German (translated by J. Hopp), .Weimar 8 November 1876; Berlin, Fr.W. 15 January 1881.
April 1883; Vienna 5 May 1883, etc. In Hungarian, Budapest 17 December 1868.
In Italian (translated by A. Zanardini), Parma In Spanish (translated by L. Rodrfguez), Mad-
14January 1885, etc.; Barcelona September 1890. rid 1870.

995
1868 ANNALS OF OPERA 1868

BOITO: Mefistofelc* STOCKHOLM 26 February 1883 (in Swedish, trans-

Iated by E. A. Wallmark).
-' March. Milan, Sc.
DUBLlN 21 August I S84 (in English, translated by
Text by the composer (after Ga:the's Fallst). Pro-
T. Marzials).
logue, 4 acts, and epilogue.
COPENHAGEN 20 January 1885 (in Danish, trans-
At its first appearance this famom opera was a
Iated by S. Bauditz).
complete failure; given at the Scala three nights
MALTA 25 March 1886 (in Italian).
only. The great success camc eight ycars later,
NANTES 23 April 1887 (in French, for the first time
when M(:fist~Mc was revived, in an alte red ver-
in Francc).
sion, at Bologna 4 October IS75 and, with new
MEXICO 14 November 1888 (in ltalian).
alterations, at Venice 13 May 1876. Subsequently
BUCIIAREST 17 November 1891 (in Italian) and
given at Turin 26 December 1S76; Rome 4 April
December 192T (in Rumanian).
1877, etc.
CHRISTlANIA 14 May 1893 (in Norwegian).
Outside Iral)", produced at: VALPARAISO August 1895 (in Italian).
LONDON, H.M.'S 6 July 1880 (in Italian) and Marl- HELSINKI 28 November 1898 (in Italian) and 2
borough Th. (Holloway) 7 September 1912 (in Februar)' 1933 (in Finnish).
English); last revived at c.G. 25 May 1926 (in ZAGREB 13 April 1901 (in Croatian, translated by
Italian). F. Miler).
BOSTON 16 November 188o (in English, translated HAGUE January 1905 (in Italian).
by T. T. Barker). BERLlN 5 April 1907 (in French, by the Monte
NEW YORK 24 November 1880 (in Italian) and 28 Carlo company).
February 1881 (in English). PARIS, o. 9 Ma)' 1912 (in Italian) and Th.L. 25 De-
PHILADELPHIA 27 November 1880; Chicago 10 cember 1919 (in Frl'l1ch).
Decembcr 1880, etc. LJUBLJANA 1922 (in Slovenian).

BARCELONA T December IS80 (inltalian). ZURICH June 1926 (for the first time in Switzer-

WARSAW 19 December 1880 (in Italian) and 1882 land).

(in Polish, translated by M. Radziszewski). RIGA 27 September 1929 (in Lettish).

ST. PETERSBURG 24January T88 I (in Italian) and 17 An open-air performance at the RomanTheatre,
Dcccmber 1886 (in Russian, trallSlated by G. A. Orange, rook place on 6 August 1905 (inltalian).
Lishin).
PRAGUE 19 February 1881 (in Gernun, transbted A. THOMAS: Halldet*
by K. F. Niese) and 9 December 1885 (in Czech,
translated by V. J. Novotny; rcvived 5 May 9 l\1anh. Paris, O.
193 6). Text by J. Barbier and M. Carrc (after Shake-
COLOGNE 24 Februar)" 1881; Ham burg 26 Feb- speare). Five acts.
ruar)" ISST, etc. (in German). Vcry successful in Paris; 100th performance 20
LlSBON 24 Februar)' 18S1 (in Italian). March I X74; 200th 21 February 1883; 300th 5
BUENOS AIR ES 22 July ISS1 (in Italian). June lX99; la test revival 1 December 1933.
RIO DE JANElRO 26 September 1881 (in Italian). Outside Paris, given at:
VIENNA 18 March 1882 (in Gl'flllan) and 5 May LEIPZIG I April 1869 (in German, translated by
1884 (in Italian). W. Langhans).
BUDAPEST 24 April 1882 (in Hungarian, translated LONDON, C.G. 19 June 1869 (in Italian, translated
by A. Rad6). by A., de Lauzieres) and 22 June 1898 (in
BRUSSELS T9 January 1883 (in Frl'l1ch, transbted French); last revived there 3 Oetober 1910.
by P. Milliet) and 10 Ma\· 1910 (in Italian). BUDAPEST 19 March 1870 (in Hungarian, translat-
MADRID 27 Januar)' 1883 (in Italian). ed by G. Böhm).

997
1868 ANNALS OF OPERA 1868

BRUSSELS 26 December 1871 (in French). and S. Neumann), Copenhagen 20 Oetober 1870.
PRAGUE 4 January 1872 (in German). In Russian, Moseow 1872.
NEW YORK 22 March 1872 (in Italian) and 10 Feb- In English (translated by ]. H. ]arvis), New-
ruary 1892 (in Freneh). castle 15 March 1875 and London, Criterion 9
ALGIERS 8 October 1872 (in Freneh). Oetober 1875; (as The Pearl ofPekin) New York
ST. PETERSBURG 26 Oetober 1872 (in Italian). 19 March 1888.
BERLlN 14 April 1873 (in German). In Czech (translated by B. Pdka) , Prague 30
VIENNA 14]uly 1873 (in German) and 24 March Deeember 1875.
1878 (in Italian).
GENEVA 2 March 1875 (in Freneh). USIGLIO: Le Educande di Sorrento
VENICE, F. 26 February 1876 (in Italian).
BUENOS AIRES 6 September 1876 (in Freneh) and 1 May. Florence, T. Alfieri
1 September 1887 (in Italian); revived 25 ]une Text by R. Berninzone. Three aets.
1937· One of the few sueeessful Ita!ian eornie operas
LAIBACH 1877 (in German). of those years. Given in Italy somctimes as La
L1SS0N 17 March 1881 (in Italian). Figlia del Generale.
COPENHAGEN 20 November 1881 (in Danish, In Italian also, Vienna, Ca. 7 August 1872;
translated by H. P. Holst). Malta 1875; Bllenos Aires 25 November 1876;
BARCELONA 9 April 1882 (in Italian). Barcelona 28 Oetober 1882.
MEX1CO I April 1883 (in Freneh). In Spanish (translated by Franeiseo Luis de Re-
RIO DE JANEIRO Summer 1886 (in Italian). tes and Franeiseo Perez Eehevarda) Madrid, Z. 4
LEMBERG May 1904 (in Polish, translated by L. ]anllary 1872; Mexieo August 1890.
German). In German (as Das Pellsionat von Sorrent, trans-
AMSTERDAM ]anuary 1933 (in Italian). lated by F. Falzari), Berlin, V.O. 18 February
This opera seems to be the first in whieh a saxo- 191I.

LECOCQ:
-
phone was used in the orehestra.

Fleur-de-The
SMETANA: Dalibor*
16 May. Prague, Cz.
(Original German) text by]. Wenzig, translated
11 April. Paris, Athenee into Czeeh by E. Spindler. Three acts.
Text by H. C. Chivot and A. Duru. Three acts. Very sueeessful in Bohemia; the 200th perform -
Lecocq' s first great suecess. anee at Praglle was on 12 May 1914, the 300th
In French also, Brussels I ] uly 1868; Rio de on 10 March 1924.
]aneiro 16]anuary 1869; New York I February In Czeeh also, Vienna, Exhibition Th. 5 ]une
1869; Geneva 14 February 1869; Naples 30 March 1892.
1869; London, Ly. I2]une 1871; Mexieo 4 Feb- In German (translated by M. Kalbeck), Munieh
ruary 1874; Santiago, Chile 1875. 28 November 1894; Vienna4 Oetober 1897; Ber-
In Spanish (translated by M. Pastorfido and !in, Th.d.W. 12 September 1903, etc. Revived in
F. Moreno Godino), Madrid 14 November 1868. German, Vienna 2 March 1924; Prague May
In German (translated by E. Dohm), Berlin, 1930; Zurich Oetober 1930; Vienna 26 February
Fr.W. 13 ]anllary 1869; Vienna, W. I February 1938 (new translation by L. Wallerstein) ; Coburg
1869; Graz 28 ]anuary 1873, etc. 4 February 1940 and Bcrlin, O. 5 Oetober 1940
In Swedish (translated by E. A. Wallmark), (new translation by]. Kapp).
Stockholm 17 May 1869. In Croatian (translated by A. Harambasit),
In Norwegian, Christiania 1869. Zagreb 16 November 1895.
In Danish (translated by A. 1.. C. de Coninek In Slovenian, Ljubljana 1899.

999 1000
1868 ANNALS OF OPERA 1868
In Russian, St. Petersburg I I January 1900. BUDAPEST 8 September 1883 (in Hungarian, trans-
In Polish, Warsaw March 1902. lated by A. Varadi).
In Flemish, Antwerp 4 November 1902. BASLE 20 February 1885 (in German).
In Hungarian (translated by D. Vidor), Buda- BRUSSELS 7 March 1885 (in French, translated by
pest 23 October 1909. V. Wilder).
In Bulgarian, Sofia 15 September 1924. NEW YORK 4 January 1886 (in German) and 2
March 1892 (in Italian).
W A G N ER: Die Meistersinger STOCKHOLM 2 April 1887 (in Swedish, translated
by F. T. Hedberg).
von Nürnberg
MILAN 26 December 1889 (in Italian, translated by
21 jUlle. Munich A. Zanardini); Turin 28 December 1892; Ve-
Text by the composer. Three acts. nice26 December 1899; Rome 26 December 1901.
Libretto first published 1863; full score and vo- MADRID 3 March 1894 (in Italian).

cal score (by K. Tausig) 1868. On Wagner's sour- POSEN 3 March 1896 (in German).

ces and for a Meistersillger bibliography, see H. MANCHESTER 16 April 1896 (for the first time in

Laue, Die Opemdichtullg Lortzillgs (1932), p.83. English, translator not mentioned).
For earlier operas on the same subject, see 1840 LYONS 30 December 1896 (in French, translated

(Lortzing's Halls Sachs). by A. Ernst); Marseilles 23 February 1904, etc.

Of all Wagner operas Die Meistersillger was the PARIS, O. 10 November 1897 (in French) and Ch.
one which made its way most quietly and steadily, E. 27 May 1914 (in German).
and without that note of sensation and hostility so ST. PETERSBURG 15 March 1898 (in German) and
characteristic of the earlier (and later) operas. December 1912 (in Russian); revived Lenin-
Produced at: grad 4 May 1932.
DRESDEN 21 January 1869; Dessau 29 January BUENOS AIRES 6 August 1898 (in Italian).
1869; Carlsruhe 5 February 1869; Mannheim LlSBON January 1902 (in Italian).
5 March 1869; Weimar 28 November 1869; ANTWERP 16 January 1904 (in Flemish).
Hanover 26 February 1870; first given at Nu- BARCELONA January 1905 (in Italian) and 8 No-
remberg 24 March 1874. vember 1928 (in German) ; Catalan translation
VIENNA 27 Februar)' 1870 (first new work at the by J. Lleonart and A. Ribera published 1904;
Hof-Oper, opened 26 May 1869); Graz 7 another by X. Viura and J. Pena published
March 1878. 190 5.
BERLlN I April 1870 (400th performance 22 May RIO DE JANEIRO 3 August 1905 (in Italian).
1928). WARSAW 22 October 1908 (in Polish, translated
PRAGUE 26 April 1871 (in German) and 7 February by A. Bandrowski).
1894 (in Czech, translated by V. J. Novotny). MOSCOW J 2 September 1909 (in Russian, trans-
RIGA 4 January 1872 (in German) and 25 March lated by V. Kolomütsev).
1925 (in Lettish, translated by R. Egle). JOHANNESBURG 1913 (in English).
COPENHAGEN 23 March 1872 (in Danish, translated HELSINKr 17 November 1921 (in Finnish, trans-
by A. Hertz). lated by J. Finne).
ROTTERDAM 12 March 1879 (in German). MONTE CARLO February 1928 (in French).
LONDON, D.L. 30 May 1882 (in G~rman); CG. 13 ZAGREB J5 June 1929 (in Croatian).
July 1889 (in Italian, translated by G. A. Mazzu- MELBOURNE March 1933 (for the first time in Aus-
cato); and G:mick Th. 22 January 1897 (in tralia ?).
English). BUCIIAREST Dccember 1934 (in Rumanian).
AMSTERDAM 16 March 1883 (in German) and 12 CINCINNATI 20 March 1936 (in America for the
October 1900 (in Dutch). first time in English).

1001 1002
1868 ANNALS OF OPERA 1868

ADELBURG: Zrinyi Naples 3 March 1871; Mexieo I Januar,. 1874;

Zagreb 2 April 1891.
23 Jrmc. Budapest
In German (translated by R. Genee), Vienna,
Text by the composer (foundcd on T. Körner's
W. 9 January 1869 (the seeond version 25 April
drama). Five aets. 1878); Prague 12 August 1869; (translated by L.
The first opera of the wcll-known violinist;
Kaliseh), Berlin, Fr.W. 6 April 1870; Graz 25
mportant Hungarian national opera.
May 1871; New York II March 1874.
In Swedish (translated by R. A. Gustafson),
SEBOR: Husitsk6 Nevesta Stockholm 6 February 1869.
(The Hussite Bride) In Russian, St. Petersburg 1870; Leningrad 13
Oetober 1918 (trans la ted by V. Kruilov) and 25
28 September. Praguc, Cz.
Deecmber 1933 (translated by P. K. Veisbrem
Text by E. RüffeL Five aets.
and J. J. Sollertimsky); Moseow 14 July 1922
Sebor's most sueeessful opera: Revivcd at Pra-
(translated by M. Galperin).
gue 30 April 1884 and 2 August 1891.
In Spanish (translated by M. Pastorfido), Mad-
rid 4 September 1870.
OFFENBACH: L'Ile de Tulipatan In Polish (translated by J. Cheeinski), Warsaw
1874; Lemberg 29 Deeember 1875.
30 September. Paris, B.P.
In English (translated by F. Dcsprcz), London,
Text by H. C. Chivot and A. Duru. One aet.
Royalty 30January 1875; (translated by A. Mur-
Brussels 20 December 1868, ete. ray) Alhambra 9 November 1878; Cape Town
In German (translated by E. Pohl), Vienna, Ca.
1887·
5 May 1869; Berlin, FLW. 21 July 1869; Graz 25 In Italian, Milan 1876.
August 1869. In Yiddish, New Y crk I February 1887.
In Swedish (translated by B. F. Schöldström),
Frequently revived in many countries; Lon-
Stockholm 1871. don, King's Hall 17 January 1919 (in English);
In Russian, Moseow 1871.
New York 21 Deeember 1925 (in Russian, by the
In English (adapted by F. C. Burnand), Lon- Moscow Art Theatre); Berlin, Kroll's 27 March
don, o.c. 12 July 1873. 193 I (new German version by K. Kraus); Kaunas
In Italian, Modena, T. Aliprandi May 1873 (as
9 April 193 I (in Lithuanian).
Kakatoa XXII, Duca Jc//'Isole di Tulipata/l.)
Revived Monte Carlo 26 November 1909 (in
Freneh). In German (as Die glückliche II/sel, text by HOL S TEl N: Der Haideschacht
o. BlumenthaI, musie arranged by L. Sehmidt), 22 Getober. Dresden
Berlin, D.O. 26 April 1917; Vienna, V.O. 8 June Text by the composer (founded on a story by E.
1918. T. A. Hoffmanll). Three aets.
Hoistein's first and most sueeessful opera. Mu-
OFFENBACH: La Perichole* nieh I Deeember 1871, ete.
6 Getober: Paris, Varietes In German also, Rotterdam 31 January 1874;
Text by H. Meilhac and Lud. Halevy. Two Riga September 1875; Berlin, Louisenstadt Th. 2
aets. August 1883; Zurich 30 November 1885.
Brussels 5 Deeember 1868, etc. In an enlarged Last revived Brunswiek 29 May 1899; Elber-
3-aet version, Paris, Varietes 25 April 1874. feld '25 March 1901; Berlin, Morwitz-Oper 19
In French also, New York 4 January 1869; Rio June 1903.
de Janeiro Summer r869; Algiers r869; Buenos (The opera had already been given privately, in
Aires r870; London, Prineess's 27 June 1870; eoneert form, at Leipzig in April 1867.)
100 3 1004
1868-69 ANNALS OF OPERA

HERVE: Chilperic F. RICCI: Une Folie aRome

24 G(tober. Paris, F.Dr. 30 ]all!wry. Paris, F.P.
Text by the composer. Three acts. (Originalltalian) text by the composer, French
In French also, New York r June 1869; Lon- version by V. Wilder. Three acts.
don, Globe 3 June 1872; Bucnos Aires 1873. Re- Successful in Paris, rllIllling for 77 nights.
vivcd Paris, Varictcs I February 1895 (in a new In French also, Antwerp 10 February 1870;
vcrsion, libretto altered by P. Fcrrier). Brusscls II February 1870; Gcneva 1870, etc.
In English (translated by R. Reecc), London, In the original Italian, Florener, P. 2 Fcbruary
Ly. 22 January 1870; New York 9 December I87!.
1874; Sydney 6 February 1875. Revivcd London, (A. Hellihard, in 1870, devoted a special book
Coronct 9 Mareh 1903 (ncw English version by to this opera.)
A. M. Thompson and R. ManscH).
In Gcrman (translated by E. Jaeobson and W. CHAIKOVSKY: Voyevoda
Mannstacdt), Berlin, Th. Untcr den Linden 21 BoeBOj:(a
Deccmber r~95 ;Vienna, Ca. 28 November 1896, 11 Fclmtary. Moscow
crc.
Text by the composer and A. N. Ostrovsky
(At thc bcginning of I 869, dming the succcssful
(founded on a play by Ostrovsky). Four aets.
run of La N,ic!lOlc at thc Varicrcs and of Clzilperic
Chaikovsky's first opera; given for five nights
at the Folies-Dramatiques, a parody, caUed Clzil-
only. The composer destroyed the greater part of
pt1riclwlc, was produced ar the Alcazar, Paris.)
the music; only some fragments werc extant un-
til I93 5, whcn a copy of the score was reported to
have been diseovered at a Moseow library.
I869
NA P R A V N I K: Nizlzegorodcy KY ur: Wil!iam Ratcliff
HUn,ero P0j:(QbI BUJIbHM PaTIWHcpö
(The People of Nizhegorod) 26 Fcbruary. St. Petersburg
8]ml/lary. Sr. Percrsburg Text by A. N. Plesheheev (founded on Hcine's
Tcxr by P. I. Kalashnikov. Five aets. drama). Three acts.
The first oJ.'era ofNapravnik, who; from 1869 Revived Moseow 28 December 1900.
to 1915, WJS chief condl1cror at the Maryinski
Theatrr, St. Pctersburg. Rcvived Moscow De-
OFFEN BACH: Vert-Vert
cember 1884 and St. Percrsburg 7 December
1888. 10 March. Paris, O.c.
Also givcn in Czceh (translated by J. Hruby) , Text by H. Mcilhae and C. Nuitter. Thrce acts.
Prague 5 November 1875. Given at the O.c. 58 times.
In German, as Kakadu (transIated by J. Hopp),
S TAU FF ER:Die Touristen oder Vicnna, Ca. 3 February 1870; Berlin, Fr. W. 4
June 1870; Praglle 6Jllne 1870; Graz 12 Oetober
Das romantische Abenteuer
r871, etc.; New York 31 Oetober I870.
]anl/ary. Lllcerne Revivcd Berlin, Fr. W. 9 November r888.
Text by the composer. Three acts. In English (translated by H. Herman and R.
Onc of thc fcw early German-Swiss operas; ManseH), London, St. J.'s 2 May 1874.
revived on several stages; last given at Sr. GaU Ncw German version by K. Krauss published
in 1887. 1932·
100 5 1006
 ANNALS OF OPERA

MARCHETTI: Ruy Blas HERVE: Le petit Faust

3 April. Milan, Sc. 29 April. Paris, F.Dr.
Text by C. d'Ormeville (from Vietor Hugo's Text by H. Cremieux and A. Jaime. Three aets.
drama). Four aets. Herve' s most suceessful operetta, still given on
Marehetti's chief work; given in Italy until Freneh stages; the so far latest revival in Paris was
after 1930. at the Th. Porte St. Martin 19 December 1934·
Outside Italy, in Italian also, given at: In French also, Brussels 14 August 1869, etc.;
MALTA 1871.
New York 26 September 1870; Naples 2 April
LISBON 24 February 1872.
1871; Mexico 8 January 1874; Buenos Aires 1884.
BUENOS AIRES 10 June 1872. In Russian (translated by V. S. Kurochkin), St.
BARCELONA 28 August 1872.
Petersburg 1869.
MEXICO 23 Oetober 1872.
In English (translated by H. B. Farnie), Lon-
CAIRO II February 1873. don, Ly. 18 April 1870; New York 29 August
SANTIAGO, CHILE 1873.
1870.
HAVANA 1873. In German (translated by R. Genee), Vienna,
RIO DE J ANEIRO 9 August 1873.
W. May 1870; Berlin, Woltersdorf Th. 10 July
NEW YORK 14 Oetober 1874;
1872, ete.
SYDNEY November 1876.
In Italian, Naples 6 May 1871.
ST. PETERSBURG 12 November 1877.
In Swedish (translated by A. E. Hellgren),
LONDON, H.M.'S 24 November 1877 (byamateurs
Stockholm 29 October 1883.
at Albert Hall already 23 July 1875). Spanish version by Antonio Carra16n de La-
BERLIN, VICT. TH. 8 March 1882.
rrua published 1869.
HELSINKI 30 Deeember 1896.
MONTE CARLO 27 March 1919.
In Croatian (translated by J. E. Tomit), Zagreb OFFENBACH: La Princesse
20 May 1875. de Trebizonde
In Polish (translated by M. Radziszewski), 31 July. Baden-Baden
Lemberg 14 Deeember 1878.
Text by C. Nuitter and E. Trefeu. Two acts.
In Germ:m (translated by K. F. Niese), Dresden
Enlarged to 3 aets, Paris, B.P. 7 Deeember
6 September 1879.
1869; Brussels 9 February 1870.
In Czech (translated by E. Züngel), Prague
1881.
In Freneh also, Hague March 1870; Naples 4
In Enghsh (translated by W. Grist), Liverpool March 1871; Rio de Janeiro Summer 1871; Vien-
4 February 1886.
na, Ca. I July 1871; New York 10 September
1874; Mexieo January 1876.
In English (translated by C. L. Kenney), Lon-
V I AR D 0 T: Der letzte Zauberer don, Gaiety 16 April 1870; New York I I Sep-
8 April. Weimar tember 1871.
(Original Freneh) text by 1. S. Turgenev, German In Spanish, Madrid Spring 1870.
version by R. Pohl. Two aets. In Danish (translated by E. B0gh), Copenhagen
Also given at Carlsruhe 28 January 1870; Riga 26 Decem ber 1870.
1871. In Swedish (translated by C. G. W. Michal and
The only opera of the famous contralto whieh A. Bosin), Stockholm 21 January 1871.
was performed in publie. Previously it had been In German (translated by J. Hopp), Vienna, Ca.
heard at Turgencv's villa at Baden-Baden, with 18 March 1871; Prague 15 May 1871; Berlin,
piano aceompaniment, in Spring 1868. Fr.W. 30 June 1871; Graz 20 July 1871, ete. New

1007 1008
 ANNALS OF OPERA

York I4 December I882. Revived Berlin, D.O. STOCKHOLM 26 Oetober I90I (in Swedish, trans-
3 I December I932. Iated by S. Elmblad).
In Czech (translated by E. ZüngeI), Prague 9 NI CE I9 March I902 (for the first time in France;
June 187!. in Freneh).
In Rumaruan (translated by G. Bengescu), Bll- LYONS I April 1903 (in Freneh).
charest 1875. MILAN, SC. IO Deeember 1903 (in Italian, trans-
In Portuguese, Rio de Janeiro 1883. Iated by A. Zanardini).
In Croatian (transbted by G. Prejac), Zagreb ST. PETERSBURG 9 January 1906 (in Rllssian; in
6 January I907. German earlier; see the Ring, I876).
LEMBERG 13 February I908 (in Polish, translated
SEM E T : La petite Fadette by A. Bandrowski).
COPENHAGEN 2 May I908 (in Darush, translated
11 September. Paris, O.c.
by J. Lehmann).
Text by M. Carrc and G. Sand (follnded on the
PARIS, O. 17 November 1909 (in French; frag-
latter's nove! of the same title). Three aets.
ments had been given there on 6 May 1893 al-
Semet's best-known work; he had treated the
ready, and the opera had been heard in fuH at
same subject before, as a 2-act vaudeville, text by
a Lamoureux eoneert on 13 January 190I).
A. Bourgeois and C. Lafont, produced Paris,
ANTWERP I9 February I9IO (in Flemish, translated
Varictes 20 April 1850.
by W. Kloos).
In German (translated by N. Roda), Cologne
MADRID March 19IO (in Italian).
31 March I882.
BUENOS AIRES I I August I9IO (in Italian).
JOHANNESBURG I9I3 (in English).
R. W A G N ER: Das Rheittgold* RIO DE JANEIRO September 1922 (in German).
22 Septem!Jer. Muruch HELSINKI 13 March 1930 (in Finrush).
Text bythe composer; the first part ("Vorabend") ZAGREß 11 March 1935 (in Croatian).
ofWagner's Der Ri/lg des Nibclu/lge/l. One act (4 Catalan translation by S. Vilaregut published
scenes). 1902; another by J. Zanne and J. Pena published
The llnsatisfactory dress rehearsal took place on I9IO.
27 August.
For dates conceming the origin of the Ri/lg and HEl SE: Paschaens Datter
for productions of the whole cyde, sec I876. (The Pasha's Daughter)
Separately, Das Rhei/lgold was performed at:
30 September. Copenhagen
VIENNA 24 January I878 (in German).
PRAGUE I9 December I885 (in German) and 19 Text by H. Hertz. Four aets.
March 1915 (in Czech). The first opera of the Darush composer.
NEW YORK 4 January 1889 (in German) and IO
November I924 (in English). PETRELLA: I Promessi Sposi*
BUDAPEST 26 January I889 (in Hungarian, trans-
2 Oetober. Lecco
Iated by A. Rad6).
RIGA 26 October I890 (in German). Text by A. Ghislanzoru (founded on Manzoru's
ROTTERDAM 27 Oetober J 890 (in German). noveI). Four acts.
POSEN IO March I893 (in German). First performed at Leeco, the small town where
ZURICH 20 March I894 (in German). the action of Manzoru's novel takes plaee. Milan
BRUSSELS 3 I Oetober I898 (in Freneh, translated Oetober 1872; Naples, S.c. April 1873, etc.;
by A. Ernst; in German earlier; see the Ring, Buenos Aires 25 Deeember 1878. Suecessful in
1876). Italy; last revived Genoa 8 March I9I3.

Io09 10IO
 ANNALS OF OPERA 1869-70

OFFEN BACH: Les Brigands Harsanyi); Helsinki 22 November 1933 (in Finn-
10 December. Paris, Varietes ish); Monte Carlo 27 Deeember 1934 (in French).
Text by H. Meilhae and Lud. Halevy. Three aets.
Sueeessful in Paris; outside Franee given at: MONIUSZKO: Paria
VIENNA, W. 13 March 1870 (in German, translated 11 Decembcr. Warsaw
byE. Dohm). Text by J. Cheelliski (founded on C. Delavigne's
ANTWERP 29 Mareh 1870 (in Freneh).
tragedy). Three aets.
PRAGUE 30 June 1870 (in Czeeh, translated by E.
Suceessful in Poland; given at Warsaw until
Ziingel).
1887.
STOCKHOLM 27 August 1870 (in Swedish, trans-
lated by E. A. Wallmark). AUBER: Reve d'Amour
BERLIN, FR.W. 24 September 1870 (in German). 20 Decel1lber. Paris, O.c.
MADRID Oetober 1870 (in Spanish, translated by
Text by A. P. d'Ennery and E. Cormon. Three
M. Pina).
aets.
BUDAPEST 13 October 1870 (in German).
Auber' s 46th and last (unsuceessful) opera. (Au-
NEW YORK 14 November 1870 (in French); 2 Oe-
ber was then 88 years old; his first opera had been
tober 1873 (in German); and 9 May 1889 (in
produced in 1805.)
English, as Thc Brigallds, translated by W. S.
Gilben; this version was given at Plymouth 2
CAMPANA: Esmeralda
September 188<) and at the Avenue Th., Lon-
don 16 September 1889). 30 Decelllbcr. St. Pctersburg
GRAZ 26 November 1870 (in German). Text by G. T. Cimino (foundedon Vietor Hugo's
LONDON, GLüBE TH. 22 April 1871 (in English, as Notre-Dame de Paris). Four aets.
Falsacappa, translated by H. S. Leigh) and Ly. Written for Adelina Patti.
I July 1871 (in Freneh). In Italian also, London, c.G. 14 June 1870;
MILAN I I March 1872 (in Italian, translated by E. Homburg (ncar Frankfort) 29 August 1871;
Golisciani). Trieste January 1874; Mexico 24 September
BUENOS AIRES 1873 (in French). 1879. Revivcd Florcnce TO November 1890.
WARSAW 1373 (in Polish, translated by J. Checiü-
ski).
NAPLES, T. FILARMONICO 6 January 1874. 1 870
MEXICO 21 January 1874 (in Freneh).
UDBYE:Junkeren og Flubergvaesen
RIO DE JANEIRO 1875 (in French).
CHRISTIANIA 2 Deeember 1902 (in Norwegian). 7January. Christiania
Another Italian translation by L. E. Tettoni and Text by H. 0. BIom. One aet.
G. Gargano performed at Aneona 1874 and This operetta was the first Norwegian musical
Genoa 1875. work for the stage sinee Thrane's Fjeldcventyret
Still given in many eountries; some of the latest ($ee 1850) .
. revivals were at Paris, Galte Lyrique 10 Deeem-
ber 1921; O.c. 15 June 1<)3 I; Montreal Deeem-
PEREIRA: Eurico
ber 1923 (in Freneh); Stoekholm 30 August 1928 23 February. Lisbon, S.c.
(in Swedish); Carlsruhe 9 February 1930 (new (Italian) text by P. de Lima (follnded on the Por-
German version by E. Noether and O. F. Sehuh); tuguese novel Eurico 0 Presbytcro, by A. Hercula-
Stendal 2 April 1930 and Berlin, D.O. 29 May no). Four aets.
1932 (new German version by K. Kraus); Buda- Oporto 17 January 1874 (redueed to 3 acts);
pest I April 1933 (in Hungarian, translated by Z. Rio de Janeiro 1878.

IOII 1012
 ANNALS OF OPERA

GOMES: Il Guaranv* BRUSSELS 9 March 1887 (in French, translated by

V. Wilder).
19 March. Milan, Sc.
BUDAPEST 27 January 1889 (in Hllngarian, trans-
Text by A. Scalvini (founded on a novcl by Jose
Iated by G. Csiky).
d" Alencar), revised by C. d'Ormeville. Four acts.
R1GA 25 October 1889 (in German) and 13 Octo-
Gomes' s most successful work and the most out-
ber 1926 (in Lettish, translated by A. Anderson).
standing opera ever written by a Brazilian com-
GHENT 23 March 1890 (in German).
poser. Very popular and still being given in Brazil
COPEl'mAGEN 7 March 1891 (in Danish, translated
and Italy (Milan, T.L. 21 October 1936; Naplcs,
by K. Gjellerup).
S.c. January 1937).
MEXICO 14 April 1891 (in English I).
First produced at:
TURIN 22 December 1891 (in Italian, translated by
RIO DE JANElRO 2 December 1870.
A. Zanardini); Milan 27 December 1893, etc.
LONDON, C.G. 13 July 1872.
GENEVA IO March 1893 (in French).
BUENOS A1RES 27 June 1874.
PARIS, 0.12 May 1893 (in French); Lyons 4 Jan-
BARCELONA 7 March 1876.
llary 1894; Marseilles 9 April 1897, etc.
MONTEVIDEO 1876.
AMSTERDAM 24 November 1894 (in German) and
HAVANA 1878.
13 April 1897 (in Dutch).
ST. PETERSBURG 12 February 1879.
LONDON, C.G. 16 October 1895 (in English, trans-
MALTA 21 Octoher 1879.
Iated by H. and F. Corder) and 13 June 181)6
NICE I March 1880.
(in Frcnch I).
L1SBON 3I March 1880.
STOCKHOLM 7 November 1895 (in Swedish, trans-
MEX1CO December 1883.
Iated by o. Bensow).
SAN FRANCISCO 1884.
ZAGREB 16 April 1898 (in Croatian, translated by
NEW YORK 3 November 1884.
F. Miler).
In Croatian (translated by J. E. Tomic), Zagreb
BARCELONA 25 January 1899 (in Italian); Catalan
21 April 1883.
translation by X. Viura and A. Ribera published
19°3; another by J. Pena and J. Zanne published
R. WAGNER: Die Walküre* 1910; produced in Catalan, Barcelona January
26 JUIlC. Munich 19 12 .
Text by the composer. The second part ("Erster MADRID 29 Janllary 1899 (in Italian).
Tag") ofWagner's Rilzg dcs Nibelullgen. Three BUENOS AIRES IO May 1899 (in Italian).
acts. ST. PETERSBURG 7 December 1900 (in Russian,
As a single opera, Die Walkiire may be called translated by G. Tyumenev).
the most popular part of the whole cyde; in most CAIRO 1901 (in French).
towns and countries it was produced much earlier WARSAW 31 December 1901 (the first act only, in
than the other parts. Apart from the cyclic per- concert form; Polish version byT. Mianowski);
formances (see 1876), given at: stage production of the whole opera, Cracow
VIENNA 5 March 1877 (in German); Schwerin 7 August 1903 (Polish version by A. Bandrowski);
January 1878; Hamburg 30 March 1878, etc. there are two more printcd Polish translations,
NEW YORK 2 April 1877 (in German). by M. Radziszewski and by A. Bednarski, both
ROTTERDAM 17 April 1878 (in German). 190 3).
STRASBOURG 23 December 1883 (in German). MOSCOW 24 February 1902 (in Russian, translated
BERLIN 7 April 1884 (in German). by A. K. Abramova) and 20 March 1902 (in
PRAGUE 20 December 1885 (in German) and 14 German); revived Moscow, Bolshoi Th.21 No-
February 1916 (in Czech). vember 1940.
ZURICH 27 January 1886 (in German). REVAL (TALLlNN) 1902 (in German).

1013 1014
 ANNALS OF OPERA

ANTWERP II February 1905 (in Flemish). December 1933; revived in Germany both at
HELSINKl 3 April 1905 (in German) and 30 Sep- Hamburg and Schwerin on 15 October 1933
tember 1920 (in Finnish, translated by J. Finne). (new German version by H. and S. Scheffer).
MELBOURNE 1907 (in German).
LISBON 1909 (in Italian). DOPPLER:Judith
JOHANNESBURG March 1912 (in English).
jO December. Vienna, O.
RIO DE JANEIRO September 1913 (in Italian) and
Text by S. H. Mosenthal. Four acts.
September 1922 (in German).
The only German opera of the Hungarian com-
OSLO 24 August 1920 (in German).
poser.
BUCHAREST 8 November 1923 (in Rumanian).
First original production of a new work at the
LJUBLJANA 17 November 1929 (in Slovenian).
Vienna Hof-Oper (inaugurated 25 May 1869,
BELGRADE 17 May 1938 (in German, bythe Frank-
with a performance of Don Giovanni). The old
furt Opera Company).
Kämtnertor Theatre was officially closed 17 April
1870, but used for another five years as a house for
FlOTOW: L'Ombre lighter operas (fmally closed I September 1875,
7July. Paris, O.c. and then pulled down).

Text by J. H. Vemoy de Saint Georges. Three

acts. 18 7 1
Flotow's last great success; revived in Paris, O.
Populaire 30 April 1887 and 20 April 1900; O. C. BOTTESINI: Ali Baba
4June 1888; and Galerie Vivienne 25 October 18January. London, Ly.
1898. Text by E. Taddei. Four acts.
Outside Paris, given at: The famous double-bass virtuoso wrote this
BRUSSELS 19 October 1870 (in French). opera for the "Opera Buffa", newly established
GENEVA 31 March 1871 (in French). at the Lyceum on 3 May 1869. Revived in Lon-
ALGIERS 1871 (in French).
don, Garrick Th. 26 July 1924 (as a puppet opera,
VIENNA, w. IO November 1871 (in German, trans-
by the Teatro dei Piccoli).
lated by R. Genee).
BUDAPEST 18 November I 871 (in Hungarian, trans-
J. STRA uss: Indigo und die
lated by F. Ormai).
GENOA November 1871 (in Italian, translated by
vierzig Räuber
A. de Lauzieres); Turin 6 April 1872; Naples, 10 February. Vienna, W.
T. Sannazaro 8 December 1815, etc. Text by M. Steiner. Three acts.
CASSEL 7 February 1872 (in German). Strauss's first operetta; popular on German
HAGUE March 1872 (in French). stages. Graz I I May I 871 ; Berlin, Vict. Th. I Sep-
BERLIN 22 March '1873 (in Italian, privately at tember 1871 (text altered by E. Dohm), etc.
court); publicly Sch. 27 February 1875 (in Ger- In German also, New York 7 April 1875; Lai-
man). bach 1877; Brünn 18 February 1878; Prague 13
MADRID October 1873 (in Spanish). October 1878; Zurich 15 February 1881, etc.
NEW YORK 9 April 1875 (in Italian). In French (as Reine Indigo, adapted by A.Jaime
LONDON, H.M.'S I2 January 1878 (in English, trans- and V. Wilder), Paris, Ren. 27 April 1875; Brussels
Iated by G. A. A'Beckett). 24 June 1876; New York 14 December 1877;
BASLE 16 July 1883 (in French). Mexico 5 February 1878.
Revived in Italy, Rome 7 September 1892; In Russian, St. Petersburg 1875.
Pavia 10 June 1898; Milan 16 April 1900 and 26 In Italian, Naples 20 October 1875; Malta I 890.

101 5 IOI6
 ANNALS OF OPERA

In Polish, Lemberg 21 March 1876. In Spanish also, New York 20 Deccmber 1916;
In Spanish (translatcd by M. Pina), Madrid revived at Bucnos Aircs IO November 1934.
1877; (translated by A. Chavero) Mexico 20 De- In Italian (as L'Orfana di Lloret), Naples 31 July
cembcr 1878 (as Fantasca). 1879.
In English (translated by F. C. Burnand), Lon-
don, Alhambra 24 September 1877; (translated (SEROV): Vrazhya Sila
by M. Freeman and E. Smith) New York 25 Au- BpambH CMJIa
gust 1891. (The Power ofEvil)
The opcretta was revived in several different 1 May. St. Petersburg
versions : Vienna 9 October 1877 (as Kijnigin
Text by A. N. Ostrovsky, P. 1. Kalashnikov and
Indigo, re-adapted from the French by J. Braun);
N. F. Zhokhov (founded on Ostrovsky's play,
Vienna 15 June 1906 (as Tal/send und eine Nacht,
Don' t lilie as you' d likc to). Five acts.
music revised by E. Reiter, text re-written by
The opera was complcted by N. T. Solovycv
O. Stein and C. Lindau; this version was also
and produced three months after Serov\ deJt]'
given at Graz 29 October 1906; Prague Dccem-
(d. I February 1871).Moscow 15 DecemLc 18;<
ber 1907 and (in Rumanian) Bucharest 25 Febru-
etc. Vcry successflll in Rllssia; revived St. l'ctcrs-
ary 1908; Breslau 25 October 1925 (in the original
burg 26 September 1893; Moseow 7 Oetober
form); London, Rudolf Steiner Hall 30 January
1902; Petrograd December 1915.
1936 (as 1001 Nights, translated by A. Turner);
Nuremberg 30 August 1936 (as Eine Nacht am
Bosporus, new libretto, by G. Heidrich, music BRAGA: Reginella
arranged by E. Schliepe). 16 September. Lecco
Text by A. Ghislanzoni. Prologlle and 3 acts.
The most successful of Braga' s operas. Milan
CAGNONI: Papa Martin
3 I October 1872, etc.
4 March. Genoa, T. Nazionalc
Text by A. Ghislanzoni. Three acts. VERDI: Aida
Very successful in Italy; frequently revived,
24 Deccmber. Cairo
last at Novara in November 1933.
Text by A. Ghislanzoni (follnded on a scenario
In Italian also, Barcelona 22 October 1882;
by the egyptologist, F. A. F. Marictte, which was
Buenos Aires November 1883; Malta 1887.
frnished by C. Du Lode. Verdi hirnself had a
In English (as The Porter rf HavTe, translated by
rather important share in the libretto; see E. Istel
J. Oxenford), London, Princess's 15 September
in The Musical Quarterly, Vol. III [1917]. p. 34).
1 875.
Four acts.
ARRIET A: Marina* Written for the ceiebration of the opening of
the Suez Canal. Most successflll in Italy and all
16 March. Madrid, T.R.
over the world. There was an open-air prodllc-
Text by M. Ramos Carri6n (originally a 2-act tion at the Pyramids on 3 March 1912.
zarzuela, text by F. Camprod6n, produced at the Given at:
T. de! Circo on 21 September 1855, now trans- MILAN, sc. 8 February 1872, etc.; Naples, Sc. 3 I
formed into a grand opera and cnlarged to 3 acts). March 1873, Triestq Oetober 1873 (in Italian).
First opera ever sung in Spanish at the Madrid BUENOS AIRES 4 October 1873 (in Italian).
Court Theatre. Given at Havana Carnival 1872; NEW YORK 26 November 1873 (in Italian); 9
Mexico 4January 1879 and revived 7 September March 1881 (in English); 29 April 1881 (in
1919. French); and 12 November 1886 (in German) ..

1017 I018
 •

ANNALS OF OPERA

BERLlN 20 April 1874 (in German, translated by ATHENS June 1882 (in Italian).
J. A. Sehanz). ZURICH 5 March 1883 (in German).
VIENNA 29 April 1874 (in German) and 19 ]une COPENHAGEN 4 Oetober 1885 (in Danish, trans-
1875 (in Italian). lated by A. Zinck).
MADRID 12 Deeember 1874 (in Italian). CONSTANTINOPLE I Deeember 1885 (in Italian).
BUDAPEST IO April 1875 (in Hungarian, translated ROTTERDAM 1886 (in German).
by F. Ormai). REVAL (TALLINN) 1890 (in German) and 1922 (in
WARSAW 23 November 1875 (in Polish, translated Estonian).
by M. Radziszewski). HELSINKI 17 September 1896 (in Italian) and 17
ST. PETERSBURG I Deeember 1875 (in Italian) and April 1916 (in Finnish, translated byT.Muroma).
13 April 1877 (in Russian). MELBOURNE I June 1901 (in English).
PRAGUE I I Deeember 1875 (in German) and 15 AMSTERDAM 19 Deeember 1903 (in Outeh).
February 1884 (in Czeeh, translated by V. ]. CHRISTIANIA 6 November 1909 (in Norwegian).
Novotny). JOHANNESBURG March 1912 (in English).
PARIS, TH.1. 22 April 1876 (in Italian); in Freneh, SOFIA 19 May 1914 (in Bulgarian; translated by
Th.I. I August 1878 and O. 22 March 1880. V. Shak; already published 1896).
LONDON, C.G. 22 June 1876 (in Italian) and H.M.'s SHANGHAI 1918 (in Russian).
19 February 1880 (in English, translated by H. YOKOHAMA Autumn 1919 (in Italian).
Hersee) ; IOoth performance atc.G. 29]ulYI912. TEL-AVIV 20 November 1924 (in Hebrew, trans-
KIEV 1876; Khasan Spring 1878; Moscow 31 Au- lated by A. Sehlonsky).
gust 1879, ete. (in Russian, translated by G. A. KAUNAS 10 November 1927 (in Lithuanian).
Lishin).
RIO DE JANEIRO 2 Oetober 1876 (in Italian). SULLIVAN: Thespis; or, The Gods
LEMBERG 26 October 1876 (in Polish). Grown Qid
BUCHAREST November 1876 (in Italian) and Sep-
26 December. London, Gaiety
tember 1920 (in Rumanian).
Text by W. S. Gilbert (All el1fircly origillal grotes-
BRUSSELS 15 ]anuary 1877 (for the first time in
que opera). Two acts.
Freneh, translated by C. Nuitter and C. Du
First association between Gilbert and Sullivan.
Lode).
Of the musie only one song was published in
TIFLlS 18 January 8'17 (in Italian).
T

1 872.
MARSEILLES 3 I Janu~ry 1877 (in Freneh).
HAVANA 1877 (in Italian).
MEXICO I September 1877 (in Italian). r872
MALTA 15 Oetober 1877 (in Italian).
LlSBON 6 February 1878 (in Italian).
OFFENBACH: Fantasio*
MONTEVIDEO 1879 (in Italian). 18 Jal1uary. Paris,O.C.
STOCKHOLM 16 February 1880 (in Swedish, trans- Text by P. de Musset (founded on his brother
lated by H. Sandberg). Alfred de Musset's comcdy of the same tide).
LAIBACH (LJUBLJANA) 1880 (in German) and 1898 Three aets.
(in Slovenian). In Gennan (translated by E. Mautner and R.
ZAGREB I Oetober 1881 (in Croatian, translated Gence), Vicnna,W. 21 February 1872; Graz 17
by J. E. Tomic). Oetober 1872; Praguc 24 Oetober 1872; BerHn
SANTIAGO, CHILE Oetober 1881 (in Italian). Fr.W. 19 August 1873, ete.
GENEVA 15 Deeember 1881 (in Freneh). Revived Magdeburg June 1927 (as Der Narr
RIGA 21 January 1882 (in German) and 9 Septem- der Prinzcssill, new version by F. Gessner and E.
ber 1922 (in Lettish). Fischer).

1019 1020
 ANNALS OF OPERA

HOLSTEIN: Der Erbe VOtl Morley BERLIN, FR. W. 5 December 1872 (in German).
23 Jmltlary. Leipzig NEW YORK 23 December 1872 (in French); 17 July
1876 (in English); 29 October 1886 (in Ger-
Text by the composer (originally Des Bruders
man).
Heimkehr oder Der Erhe 1'(1/1 Morley). Three acts.
VIENNA, CA. 15 March 1873 (in German).
Successful in Gcrmany; Weimar 8 April 1874,
etc. In German also, Rotterdam 1875. LONDON, ST. J.'S 21 June 1873 (in French) and

Revivcd Frankfort 25 January 1895; Brunswick Gaiety 14 September 1874 (in English, as The
15 October 1899. Island ofBacllclors, adapted by R. Reecc).
STOCKHOLM 1873 (in Swedish, translated by C. G.
W.Michal).
MONIUSZKO: Beata
BUENOS AIRES 1873 (in French).
2 Fdmtary. Warsaw
MEXICO 7 January 1874 (in Frcnch).
Text by J. Checitlski. One act. MILAN II April 1874 (in French).
The last opera of the Polish composer. BRIGHTON 17 October 1874 (in English, translated
by J. Grantham).
(DARGOMUIZHSKY): Kamyeny Gost LEMBERG 15 July 1880 (in Polish).

KaMeHHhIll: rOCTh* BUDAPEST 5 January 1884 (in German).

(The Stone Guest) Czcch translation by J. J. Stankovsky publishcd

1874; Italian translation by A. Boito published
28 Fcbmary. St. Petersburg
18 77.
Text: Pushkin's dramatic poem (1830) without
alterations. Three acts.
This Russian opera on the Don Jllan subject was
BR UCH: Hermione
performed three years after Dargomuizhsky's 21 March. Berlin, O.
death; the work was orchestrated by Rimsky- Text by E. Hopffcr (founded on Shakespeare's A
Korsakov, the overture was written by Kyui. Winters Talc). Four acts.
Revived Moscow I January 1907; Petrograd
Cologne 12 December I 872; Dresden 24January
14 December 1915, etc. 1873, etc. Given on German stages until about
In Russian also, Salzburg 7 August 1928.
1900.
In Czech, Prague February 1935, by the Czech
Artists' Club (Umelecka Beseda).
VASSEUR: La Timbale d'Argent
LECOCQ: Les cent Vierges 9 April. Paris, B.P.
16 March. Brussels, F.P. Text by A. Jaime and J. Noriac. Three acts.
Text by H. C. Chivot, A. Duru, and Clairville. The first and most successful of Vasseur's 30
Three acts. operettas. The 300th performance in Paris was on
The first of aseries of very successful operettas I I January 1874.
written by Lecocq for Brussels. Produced there at In French also given at Brussels I August 1872,
the Th. des Fantaisies-Parisiennes; subsequently etc. Buenos Aires 1873; New York 24 August
given at Paris, Varietes 13 May 1872, and in many 1874; Naples, T. Filarmonico 1875; Mexico
other countries, viz. : January 1876.
ST. PETERSBURG October 1872 (in French) and In German, Vicnna, W. 16 November 1872.
1873 (in Russian, translated by G. Valyano). In Russian, St. Petersburg 1874.
MADRID November 1872 (in Spanish, translated In Italian, Bergamo 1874, etc.
by M. Pastorfido and A. Opiso). Revived Paris, F. Dr. II January 1897.

1021 1022
 ANNALS OF OPERA

PIERSON: Contarini oder BIZET: Djamileh*

Die Verschwörung zu Padua 22 May. Paris,O.C.

16 April. Hamburg Text by L. Gallet (founded on A. de Musset's

Namouna). One act.
Text by M. E. Lindau. Five acts.
When first produced in Paris given for 11 nights
Pierson's last opera (written as early as 1853).
only,andrevived there as late aS270ctoberI938.
Revived Dessau 24 April 1883 (as Fenice; this
Outside France given at:
is not a different work as stated in Riemann's
STOCKHOLM 25 February 1889 (in Swedish, trans-
dictionary).
Iated by E. G. Lundquist).
ROME 28 October 1890 (in Italian, translated by V.
PALADILHE: Le Passant* VaIle).
DUBLIN 10 September 1892 (in English, translated
24 April. Paris, O.c.
by J. Bennett).
Text by F. Coppce. One act. PRAGUE 17 September 1892 (in Czech, translated
Paladilhe' s first opera; unsuccessful, given in by V. J. Novotny) and 1915 (in German).
Paris for three nights onl)'. MANCHESTER 22 September 1892 (in English, trans-
In French also, Brussels 12 March 1874. lated by J. Bennett).
In Hungarian, Budapest 17 February 1873. BERLIN I October 1892 (in German, translated by
Revived St. Petersburg, March I 895 (privately); L. Hartmann).
Toulouse December 1905; Weimer 200ctober LONDON, C.G. 13 June 1893 (in French).
1907 (in German). ST. PETERSBURG II December 1893 (in Russian,
translated by N. M. Spassky).
BUDAPEST 6 April 1895 (in Hungarian, translated
A. FOERSTER: Gorenjski Slavlek
by E. Abdnyi).
(Nightingale of Carniola)
RIGA 2 April 1897 (in German).
27 April. Ljubljana VIENNA 22 January 1898 (in German).

Text by L. Pesjakova. (Lirilna Opereta). Two ZAGREB 13 May 1902 (in Croatian, translated by

acts. M. Nehajev).
One of the earliest Slovenian operas. Very suc- BASLE 13 March 1904 (in German).

cessful at Ljubljana where it was revived in a new BARCELONA April 1905 (in Spanish).

version (text revised by E. Züngcl) in 1896 and COPENHAGEN 9 September 1905 (in Danish, trans-

again 30 November 1922 and (with a new libretto lated by N. Lützh0ft).

by J. Vidmar) 23 November 1937 (music altered BELGRADE 1919 (in Serbian).
and enlarged by M. Polie, quasi as a new opera Revived London, c.G. 18 December 1919 (in
based on the tunes of the original work). English); Berlin, D.O. 15 September 1927 (in
German); Brussels, 15 March 1933 (in French);
Vienna 9 February 1938 (in German) ; Paris, O.c.
HRIMAL Y: Zaklety Princ 27 October 1938 (for the first time there since
(The Enchanted Prince) 1872). Apparently not yet produccd in America.
13 May. Prague, Cz.

Text by J. Böhm. Three acts.

PONIATOWSKI: Gelmina
Popular on Czech stages. 4 June. London, c.G.
In Croatian (translated by J. E. Tomi,), Zagreb (Italian) text by F. Rizzelli. Thrcc acts.
17 January 1885. Poniatowski's last opera; written for Adelina
Last tevived at Prague 6 December 1933. Patti.

102 3 102 4
 ANNALS OF OPERA

SAINT-SAENS: La Princesse Jaune* English versionsi; Edinburgh 22 June 1874 (in

English).
lzJune. Paris,O.C.
STOCKHOLM 1873 (in Swedish, translated by L.
Text by L. Gallet. One act. Strindberg).
Saint-Saens's first opera. ALEXANDRIA 1873 (in Freneh).
Revivcd Angers 7 February 1885; Paris, O.c. AMSTERDAM 1873 (in Freneh).
9 November 1906 and I I October 1935· NEW YORK 25 August 1873 (in Freneh); 29 Sep-
In German (translated by A. von Loen), Stutt- tember 1873 (in English); and 17 April 1874 (in
gart January 1880 (private performance at court). German).
This litde work set the fashion for Japanese sub- TURIN I October 1873 (in Freneh).
jects in opera. GENEVA 30 Oetober 1873 (in French).
BERLIN, FR.W. 20 November 1873 (in German,
MASSENET: Don eesar de Bazan translated by E. Dohm).
MADRID, Z. 6 Dceember 1873 (in Spanish, trans-
30 November. Paris, O.c.
lated by R. Puente y Brafias).
Text by A. P. d'Ennery and J. Chantepie (follnd-
VIENNA, CA. 2 January 1874 (in German).
ed on the play of the same tide by A. P. d'Ennery
MEXICO 4 January 1874 (in Freneh).
and P. E. Pine! Dumanoir, 1844). Three acts.
ALGIERS February 1874 (in Frcnch).
Massenct' s second opera.
PRAGUE 21 February 1874 (in German) and 4 Feb-
In German, Vienna, K.O. 4 October 18 74. ruary 1875 (in Czeeh, translated by J. Böhm).
In Swedish (transbted by E. A. Wallmark), RIGA 3 April 1874 (in German) and 20 Deeember
Stockholm 1879. 1927 (in Lettish).
In Portllguese, Lisbon April 1907. MOSCOW 1874 (in Russian, translated by V. S.
Revived in a new version: Geneva 20 January Kuroehkin).
1888; Antwerp 15 January 1889; Lyons 22 March MILAN, T.D.V. 25 July 1874 (in Italian, translated
1890; Nice 15 March 1895; Brusscls 16 Novem- by G. B.); Naples T.N. 1874.
ber 1896; Paris, Tr. L. 3 May 1912; Hague Feb- COPENHAGEN 18 September 1874 (in Danish,
ruary 1925. adapted by R. Sehr0der).
LEMBERG 18 September 1874 (in Polish, translated

LEe 0 C Q: La Pille de Madame Angot by J. Checmski and F. Szober).

BUDAPEST 2 December 1875 (in Hungarian, trans-
4 December. Brussels, Alcazar lated by L. Evva).
Text by Clairville, P. Siraudin, and V. Koning SYDNEY Auturnn 1877 (in English).
(founded on a vaudeville by A. F. Eve Maillot, MALTA 1879 (in Italian).
Madame AI/gof, Oll La Poissarde parVe/llIC, 1796). ZAGREB 5 November 1881 (in Croatian, translated
Three acts. by I. OreSkovic).
Leeoeq's most popular work and one of the SARAJEVO 1883 (in German).
most suceessful operettas of the post-Offenbach CAPE TOWN 1887 (in English).
period; given at Brussels (.500 nights running. HELSINKI Summer 1899 (in German).
Outside Brussels given at: Some notable revivals:
PARIS, F.DR. 21 February 1873 (500th performance PARIS, O.c. 16 February 1919 (for the first time at

27 Deeember 1874). that theatre).

LONDON, ST. J.'S 17 May [873 (in Freneh) and
1 See W. D. Adams, A Diaionary ofthe Drama, p.515.
Philharmonie 4 Oetober 1873 (in English, trans- For other French works on the same subject see A. Du-
lated by H. J. Byron); there are numerous other pont, Repertoire Dramatique Beige, Val. I, P.I47.

I025 1026
 ANNALS OF OPERA

LONDON, D.L. 2 July 1919 (new Enghsh version by LONDON, D.L. 22 September 1917 (in English,
D. C. Calthrop and G. Marsden). translated by R. Newmarch).
MOSCOW, ART TH. 16 May 1920 (in Russian, trans- MANCHESTER, 16 January 1918 (in English, trans-
lated by M. Galperin; Nemirovich-Danchen- lated by R. Newmarch).
ko's production, which was also given at Ber- CREFELD 19 December 1924 (in German, trans-
lin, Berliner Th. 22 October 1925 and New lated by H. Möller).
York 28 December 1925). BARCELONA 13 December 1927 (in Russian).
VENICE, T. MALTBRAN 23 September 1920 (in lta- In Western Europe the opera is known as lllall
!ian). Ihe Terrible (baptized thus by Diaghilev at the
BRUSSELS, M. 13 April 1921 (for the first time at Paris 1909 production).
that theatre).
The latest revival in Paris so far was at the Th. GOMES: Fosca*
Porte St. Martin 21 May 1934; revived at Cairo
16 February. Milan, Sc.
Spring 1938; at Stockholm 28 October 1939.
Text by A. Ghislanzoni. Four acts.
Buenos Aires 7 July 1877; Rio de Janeiro 15
July 1877, etc.
1 8 73 Revived Milan 26 October 1890, etc.; Malta
1900.
DIA z: La Coupe du Roi de ThuIe Still given in Brazil where the opera was last
10 Janllary. Paris, O. revived at Rio de Janeiro in August 1935.
Text by L. Gallet and E. Blau. Three acts.
The best ofthe three operas ofDiaz (who was J. STRAUSS: Der Karneval in Rom
the son of the well-known painter). The opera 1 March. Vienna, W.
was awarded the first prize in a competition Text by J. Braun, F. Zell, and R. Genee (founded
arranged by the Ministere des Beaux-Arts;it had on V. Sardou's Piccolino). Three aets.
21 performances. The libretto was also used by
Berlin, Fr.W. 25 April 1874, etc.
Bizet. In German also, Graz 23 Oetober 1873; Amster-
dam and Laibach 1876; Basle 19 November 1877;
R I M S K Y - KOR S A K 0 V: Pskovityanka New York I April 1881; Posen 24 May 1881;
rr CKOBUTHHKa* Riga 18 August 1881.
(The Maid of Pskov) In Itahan (translated by E. Go!isciani), Naples
13 Jalluary. St. Petersburg T.N.18n
In Czeeh (translated by E. Züngel) , Prague
Text by the composer (founded on a play by L. 1882.
A. Mei). Four acts. Revived (as Der blaue Held, new libretto by F.
Rimsky-Korsakov's first opera. Stollberg), Vienna, W. 18 October 1912; in its
Revived St. Petersburg 18 April 1895 and (with original form, Vienna, V.O. 20 June 1921; in a
a new prologue BoyarY/lya Vera Sheloga), Moscow new version by E. Rex (music revised by F. Mars-
27 December 1898 and St. Petersburg 10 Novem-
zalek), Dortmund 30 November 1937.
ber 1903.
Outside Russia given at:
PARIS, CHATELET 26 May 1909 (in Russian).
SKUHERSKY: Rektor a General
MILAN II April 1912 (in Italian, translated by M. 28 March. Prague, Cz.
Delines and G. Macchi). Text by E. Züngel. Three acts.
LONDON, D.L. 8 July 1913 (in Russian). The last and best opera of the Czech composer.

1027 1028
1873 ANNALS OF OPERA

DUPRAT: Pl:trarque GENEVA 17 March 1890 (in Freneh).

LONDON, P. OF W.'S. 13 December 1894 (in English
19 April. Marseilles
translated by R. Temple; R.C.M. perform-
Text by the composer and F. Dharmenon. Four ance).
acts. The opera was revived at the O.c. 23 March
Duprat's most suecessfu! work. 1898, in a reduced 2-act version by P. Gille. Still
Lyons 21 March 1874; Tou!ollSe 10 May 1875; givcn in France and sometimes revived in other
Paris, O. Populaire 11 February 1880. eoulltrics; Stuttgart 3 April 1930 (in German);
In Italian (translated by V. MeiIii), Milan 22 Londoll 20 JUlle 1939 (by the Webber-Douglas
November 1876. School, new English version by A. Webber).
Revived Toulon 16 Oetober 1924.
For a detailcd :lccount see A. Rostand, La M1/5i-
G. CORONARO: Utl TramOllfo
1"c a1I1ar.<1'il/" (1874), PP.163-179.
S AI/SI/SI. Milan, Conservatorio

DELIBES: Le Roi l'a dit* Text by A. Boito. One act.

Successful in Italy. In ltalian also, Chicago 25
24 May. P:lris, O.c.
May 1893.
Text by E. Gondinet. Three :lets. In German (translated by S. Arkel), Hamburg
After some 12 operettas, this was Delibes's first 18 April 1891.
attempt at eomie opera on a more ambitious seale.
Very sueeessful in Paris and abroad. Given at: GROSSMANN: Duch Wojewody
ANTWERP 18 August 1873 (in French).
(Thc Ghost of thc Voyvod)
V1ENNA, K.O. 20 April 1874 (in German, translated
by A. Schirmer); O. 20 September 1882. 250c/ober. Warsaw
CARLSRUHE 9 September 1874 (in German). Text by W. L. Anezyc. Three aets.
PRAGUE September 1874 (in German) and 9 Oe- Suceessful Polish eomic opera; Lemberg 22 Jan-
tober 1874 (in Czeeh, translated by E. Ziinge!). uary 1878, etc.
RIGA 1876 (in German). In Germ:ln (translated by A. Langer), Vielma,
BUDAPEST February 1877 (in German) and 22 K.O. 28 Jal1l1:lry 1877 and Berlin, Walhalla Th.
March 1879 (in Hungarian, translated by 1. 9 February 1884.
Huszar). , In Russian, St. Petersburg 26 December 1877.
STOCKHOLM 21 March 1877 (in Swedish, trans-
lated by F. T. Hedberg). (PACINI): Niccolo dei Lapi
BERLIN, 19 April 1877 (Sehirmer's translation re-
vised by F. Gumbert). 29 Octobcr. Florence, T. Pagliano
LAIBACH 1877 (Sehirmer's translation revised by Text (according to the printed libretto) by Pacini
F. Gumbert). hirnself; but it is chiefly taken from an earlier
COPENHAGEN 2 Deeember 1877 (in Danish, trans- opera of his, La PI/Ilizi,mc (text by G. Cencetti,
lated by H. P. Holst). produced Venice 8 March 1854). Three aets.
TEMESVAR 1883 (in German). Pacini's last performed opera; it had been writ-
ZAGREB 3 Oetober 1885 (in Croatian, translated ten for Rio de Janeiro as early as 1857; but the
by 1. Trnski). production announced there in September of that
BRUSSELS 9 April 1888 (in Freneh). year did not take place.
WARSAW 1888 (in Polish, translated by R. Moro- Revived Florence 8 July 1879, Leghorn 9 No-
zowiez). vember 1879.

1029 1030
 ANNALS OF OPERA

PINSUTI: 11 Mercante di Venezia r874

9 November. Bologna, T.C.
Text by G. T. Cimino (after Shakespeare). Four LAURO ROSSI: La Contessa di Mons
acts. 31 January. Turin, T.R.
Successful in Italy. The first and best of the Text by M. d'Arienzo (founded on V. Sardou's
operas of Pinsuti who, si!lce 1856, had been PaIrie). Four acts.
R.A.M. professor in London. Successful in Italy; Milan, Sc. 9 January 1877,
etc.
OFFENBACH: La joUe Parfumeuse
29 November. Paris, Ren. MUSORGSKY: Boris Godunov
Text by H. Cremieux and E. Blum. Three acts. BOPlIC rOAYHOB*
In French also, Brussels 29 November 1872; 8 February. St. Petersburg
Antwerp 20 November J874;- New York 31 Text by the composer "after Pushkin and Ka-
March 1875; Milan II May 1875; Mexico 6 Jan- ramzin", meaning Pushkin's drama of the same
uary 1876; Naples, T. Sannazaro 1878. title (1830) and N. M. Karamzin's History 0/ the
In German (as Schiin Röschen, translated by K. Russian Empire (1816-29). Prologue and 4 acts (9
Treumann, additional music by J. Brandi), Vien- scenes).
na, Ca. 6 November 1874; Berlin, Wallner Th. The original version of this most famous of aB
16 January 1875; Graz 4 September 1875; Lai- Russian operas, written in 1868-69, was rejected
bach 1878; Berne 9 December 1878; Brünn 19 by the St. Petersburg Imperial Opera in 1870. The
February 1879, etc. composer then partly re-wrote it in 1871-72 and
In English (translated by H.]. Byron), London, succeeded in getting this second version produ-
Alhambra 18 May 1874; (translated by C. L. ced. Three scenes were given on 17 February 1873,
Kenney), Birmingham 8 July 1875. and the whole opera one year later, 8 February
In English also, New York 5 October 1876. (27 January, Russianstyle), 1874. Cheshikhin (fol-
In Swedish (translated by E. G. Lundquist), lowed by Riesemann and many others) gives the
Stockholm 13 January 1891. incorrect date 5 February (24 January) 1874. The
In Spanish (translated by G. Jover and]. M. vocal score of the 1874 version was published in
Pous), Barcelona 3 I January 1908. that year and re-issued in 1926. After 26 perform-
Revived Munich 19 December 1899 (in Ger- ances the opera was withdrawn from the reper-
man); Monte Carlo December 1932 (in French). toire in St. Petersburg. It was first performed in
Moscow (Bolshoy Theatre) on 28 December 1888
GOBATTI: I Goti and from that date till 24 January 1890 had 10
30 November. Bologna, T.C. performances in Moscow. The opera was first
Text by S. Interdonato. Four acts. revived in the earliest ofRimsky-Korsakov's very
Gobatti's first opera. Very successful in Italy; much altered versions at St. Petersburg 10 De-
revived in a new version, Bologna 27 August cember 1896 (Great Hall of the Conservatoire),
1898 and Messina II February 1899. at Moscow by the Mamontov Opera Company,
Some Italian critics, during the seventies, called with Shalyapin, on 19 December 1898 and at the
Gobatti "the Italian Wagner" and set the boldest Bolshoy Theatre 26 April 1901, and again at St.
hopes in his further development; his following Petersburg by the Mamontov Company on 19
two works, however (Lux, 1875, and Cordelia, March 1899 (Great Hall of the Conservatoire)
1881), were failures; and Verdi called even I Goti and at the Maryinsky Theatre on 22 November
"il piu mostruoso aborto musicale che sia stato 1904. It was in the Rimsky-Korsakov version
mai composto". (which has been called a falsification) that

1 0 31 1032
1874 ANNALS OF OPERA

Boris Godunoll became known outside Russia and VIENNA, V.O. 4 November 1922 and O. 24 Octo-
this version is still given in many countries. ber 1925 (in German).
The first performances outside Russia were at: LISBON February 1923 (in Italian).
PARIS, O. 19 May 1908 (in Russian, with additional BASLE 2 September 1923 (in German).
music by Rimsky-Korsakov) 1 and 7 March COPENHAGEN 24 January 1924 (in Danish, trans-
1922 (in French). lated by J. Lehmann).
MILAN, SC. 14 January 1909 (in Itahan, translated BERLIN, V.O. 21 February 1924 and 0.18 February
by M. Dehnes and E. Palermi). 1926 (in German) and 12 May 1928 (in Rus-
BUENOS AlRES 13 September 1909 (in Italian, trans- sian).
lated by M. Dehnes and E. Palermi). RIGA 3 May 1924 (in Lettish; re-orchestrated from
RIO DEJANElRO 18 June 1910 (in Itahan, translated the 1874 vocal score by E. Melngailis).
by M. Delines and E. Palermi). MONTEVIDEO August 1924 (in Itahan).
PRAGUE 25 November 1910 (in Czech, translated HELSINKI 1 February 1925 (in Finnish, translated
by R. Zamrzla) and 1934 (in German). by M. A. Bergh-Wuori).
STOCKHOLM 5 November 19II (in Swedish, trans- BUCHAREST October 1925 (in Rumanian).
lated by S. Nyblom). SOFIA 14 June 1929 (in Bulgarian).
LEMBERG January 1912 (in Pohsh). KAUNAS 27 February 1930 (in Lithuanian).
MONTE CARLO 23 January 1912 (in Russian).
TALLINN 1930 (in Estonian, translated by S. Lipp).
LYONS 28 January 1913 (for thc first time in
VERONA 2 August 1930 (in Itahan; first open-air
French, translated by M. Dehnes and L. Laloy). performance).
NEW YORK 19 March 1913 (in Italian) and I I May
TURIN November 1931 (in Russian).
1922 (in Russian).
ANTWERP 14 October 1933 (in Flemish).
LONDON, D.L. 24 June 1913 (in Russian); Ald-
ATHENS March 1936 (concert performance).
wych 5 July 1916 (in French); and D.L. 2 June The original Boris as written in 1868-69 was
1917 (in English).
published for the first time in 1928 (edited by P.
BRESLAU 29 October 1913 (for the first time in
Lamm) and revived at:
German, translated by M. Lippold); Stuttgar:t
LENINGRAD !6 February 1928 and Moscow 21 Oc-
May 1921, Frankfort 25 September 1921, etc.
tober 1928 (in Russian).
BUDAPEST 20 Dccember 1913 (in Hungarian,
LONDON, s's WELLS 30 September 1935 (English
translated by S. Hevesi).
version by M. D. Calvocoressi).
BARCELONA 20 November 1915 (in Italian) and 16
PARIS, SALLE GAVEAU 3I December 1935 (concert
November 1922 (in Russian); Catalan trans-
lation by J. Pena published 191 5. performance; French version also by M. D.
BIRMINGHAM 23 February 1917 (for the first time
Calvocorcssi).
in English, translated by R. Newmarch). HAMBURG 22 January 1936 (in German, Lippold's

SHANGHAI 1918 (in Russian).

translation revised by H. Möller).
ZAGREB 23 December 1918 (in Croatian, translat-
ed by A. Schneider). PONCHIELLI: I Lituani
ROTTERDAM April 1921 (concert performance).
7 March. Milan, Sc.
LJUBLJANA 1 October 1921 (in Slovenian, trans-
lated by C. Golar). Text by A. Ghislanzoni (founded on A. Mickie-
BRUSSELS I2 Deccmber 1921 (in French). wicz's Konrad Wallenrod). Prologue and 3 acts.
SAN FRANCISCO 15 January 1922 (in Russian). Given at Milan in a new version on 6 March
1875 and revived there 4 April 1903.
1 For an account of the famous Diaghilev production
of 1908, see Chapter XXI of M. D. Calvocoressi's Musi- In Italian also, St. Petersburg 20 November
cia/lS Gallery (1933)· 1884 (as Aldolla); Buenos Aires 26 June 1889.

1033 1 0 34
 ANNALS OF OPERA

GOMES: Salvator Rosa* BUENOS AIRES 1875 (in French).

March. Genoa, C.F.
21
SYDNEY 23 August 1875 (in English).
LEMBERG 29 September 1875 (in Polish).
Text by A. Ghislanzoni. Four acts.
ST. PETERSBURG 10 October 1875 (in Russian).
Milan 10 September 1874, etc. Revived Rome
In French also, Mexico and Cairo December
27 October 1903.
18 75.
Outside Italy, given at Malta 1879; Athens
In Spanish (translated by J. Coll y Britipaja),
April 1880; Rio de Janeiro 17 August 1880 (reviv-
Madrid 1875; Havana 1876.
ed 7 September 1905); Buenos Aires 30 March
In Swedish, Stockholm 1876.
1897·
In German, Laibaeh 1876; Czernowitz 1878;
Revalz4 February 1879; Riga 3 December 1879;
KRETSCHMER: Die Folkunger
Sarajevo 1882.
21 March. Dresden In English, Cape Town 1887.
Text by S. H. Mosenthal. Five acts. In Croatian (translated by A. Schneider), Zag-
Kretschmer's first and best work. Successful on reb 23 April 1899.
German stages.
Given at Graz 5 February 1876; Riga 2 May SMETANA: DveVdovy*
1876; Vienna 23 September 1876; Berlin 27 Oe- (Two Widows)
tober 1876; Prague 21 December 1876; Rotter-
27 March. Prague, Cz.
dam Spring 1880; St. GaU April 1883; Posen
23 December 1883. Text by E. Züngel (founded on a comedy by P.
Revived Brünn 4 October 1892; Bremen 5 No- J. F. Mallefille). Two acts.
vember 1893, etc.; Erfurt 23 January 1900; Reval New version (with reeitatives instead of dia-
1900. logue), Prague 15 March 1878 and frequently
revived there since (175 performances until 1924).
LE C 0 C Q: GiroJU-Girofia In German (translated by R. Fels), Hamburg 28
December 1881 (first Smetana opera in Germany).
21 March. Brussels, Alcazar
Revived in German, Prague Oetober 1934. Given
Text by A. Vanloo and E. Leterrier. Three acts.
at Vienna 6 June 1924 (in Czech, by the Olomouc
Very successful all over the world. Given at:
Opera Company).
LONDON, O.c. 6 June 1874 (in French) and Phil-
In Croatian, Zagreb 16 March 1924.
harmonic 3 October 1874 (in English, transIat-
ed by C. O'Neil and C. Clarke); Edinburgh 14
June 1 R75 (in English).
J. STRAUSS: Die Fledermaus*
PARIS, REN. 11 November 1874 (in French) and 5 April. Vienna, W.
Vaudeville 3 June 19II (in German). Text by C. Haffner and R. Genee (from a French
BERLIN, FR.W. 22 December 1874 (in German). vaudeville, Le ReveilIon, by H. Meilhac and Lud.
VIENNA, CA. 2 January 1875 (in German). Halevy which, itsclf, was taken from a German
BUDAPEST 1875 (in German). comedy, Das Gefällgt/is, by R. Benedix). Three
MILAN 13 January 1875 (in Italian); Naples, T.N. acts.
1876 (in French). Strauss's most famous operetta. Given at:
NEW YORK 4 February 1875 (in French); IO March BERLIN, FR.W. 8 July 1874 (500th performance 18
1875 (in German); and 19 May 1875 (in Eng- June 1892).
Iish); revived Jolson's 22 November 1926 (in BUDAPEST 14 November 1874 (in German) and
French). 25 August 1882 (in Hungarian).
PRAGUE 31 March 1875 (in Czech, translated by NEW YORK 21 November 1874 (in German) and
B. Pdka). 16 March 1885 (in English).

10 35 10 36
 ANNALS OF OPERA

NAPLES, T."i. 26 June i 875 (in 1t~lian, tr~ns1ated by October 1894; at the Berlin 0.8 May 1899; at
E. Golisciani). the Metropolitan Opera House, New York 16
PRAGUE 7 Scpterilber 1875 (in Czcch, translated by February J905 (in German).
E. Züngcl) and 21 November 1875 (in Ger- Revived London, H.M.'s 4 July J9IO (new
man); rcvived 20 November 1888 (new Czech English version by A. Kaliseh).
translation by A. Wenig).. New Italian version, 11 Principe si diverte, Rome
BRÜNN 2 Oetober 1875 (in German). 22 March J934. New Freneh version, La Chauve-
STOCKHOLM 2 Deeember 1875 (in Swcdish, trans- SOl/ris, Paris, Th. Pigalle 28 November 1933.
Iated by E.· A. Wallmark). Reeent English and Ameriean adaptations are
AMSTERDAM J 876 (in German). Night Birds, by G. Unger and A. Anderson, Lon-
LAIBACH (L]UBLJANA) 1876 (in German) :md J899 don, Lyrie 30 Deeember 19II and (as The Merry
(in Slovenian). Countess), New York, Casino 20 August 1912. A
BASLE 12 November 1876 (in German).
WOllderful Night, by F. Todd MitehelI, New York,
LONDON, ALHAMBRA 18 Deeember 1876 (in Eng-
Majestic 3I Qctober J929. Challlpagne, Sec, by A.
lish, translated by H. Aide) and Royalty J Jin- Child and R. A. Simon, New York, Moroseo J4
uary (1895 in German). Oetober 1933.
RIGA 1877 (in German) and 15 April 1931 (in
Lettish). PEDRELL: L'ultimo Abenzerraggio
PARIS, REN. 30 Oetober 1877 (in French, as La Tzi-
14 April. Barcelona, L.
,~al/e, adapted to a new libretto by A. Dclacour
(Original Ca tal an) t~xt by the composer (after
and V. Wilder); Variet~s 22 April 1904 (trans-
Chateaubriand), versification byJ. B. Altes y Ala-
lated by P. Fcrrier).
bert, Italian version by F. de Paub Fors de Casa-
LEMBERC 29 March J 879 (in Polish); revivcd War-
mayor. FOl1~ acts.
saw 16 November J932 (new Polish translation
Pedrell's first opera. Revived Barcelona, TL.
by J. Tuwihl).
8 Oetober 1889.
COPENHACEN 9 May J 880 (in Danish, translated
by R. SchT0der).
~T. PETERSBURG Summer IHR1 (in RlIssian). FIBICH: Bukovin
SARAJEVO J~82 (in German). 16 April. Prague, Cz.
ZACHEß 20 October 1883 (in Croatian, translated
Text by E. Krasnohorska. Three acts.
by L. Varjacic).
Fibich's first opera.
IlRUSSnS 17 January 1886 (in German) and I Feb-
ruary 190() (in Freneh).
MADRID 1RH7 (in Spailish, transbted by F. J. 050r-
CHAIKOVSKY: Oprichnik
no, J. NOlllbcla, and A. Vidal y Llimona) and On pnQHIU,'h
24 February 1RHR (translated by C. Na- (The Lifc-Guardsman)
varro). 24 April. St. Petcrsburg
llUCIIAREST April I H')4 (in Gcrm:m) and Autllmn
Text by the composer (follnded on a drama by
1<)29 (in RlImanian).
I. 1. Lazheshnikov). Four aets.
CONSTANTlNOPLE 14 November 1903 (in German).
.Kicv 21 Dccembcr 1874; Moscow 10 May
BUENOS AmES October 1900 (in Cerrnan).
I H75, etc.
llELSINKI H September I ')21 (in Finnish). Rcvivcd St. Petcrsburg 30 Deccmber I R88 (at
S()HA I H Febnnry I <)27 (in ßlllgarian). the Conservatoire) :md 23 November 1893 (pub-
By J Silo the opcretta had heen prodllced on 171 licly); Moscow September 1<)11.
(;('rm;m St:lgcs. First givell :lt tbc Vienna O. 28 In Russi:lI1 also, Helsinki 24 March 190X.

1037
 1874 ANNALS OF OPERA

ERKEL: Brankovich György LONDON, D.L. 12 October 1878 and H.M.'s 20

20 May. Budapcst January 188o (in English, translated by J. Trout-
beck); P. ofW.'s 10 July 1889 (by thc R.C.M.).
Text by L. 6dry and F. Ormai (founded on a
ROTTERDAM March 1881 (in German).
play by K. Obernyik). Four acts.
PRAGUE 29 June 1883 (in German) and 4 Novem-
Given at Budapest until 1910. (The opera con-
ber 1909 (in Czech, translated by A. Wenig).
tains Turkish and Serbian folk-tunes.)
ZURiCH 29 February 1884 (in German).
NEW YORK 4 January 1886 (in English) and 15
HALLSTRÖM: Den Bergtagna March 1916 (in German).
(The Mountain Ghost) STOCKHOLM 30 April 1888 (in Swedish, translated
by F. Arlberg).
24 May. Stockholm
COPENHAGEN 10 May 1890 (in Danish, translated
Text by F. T. Hedberg (Sagaopera). Five acts.
by E. B0gh).
Successful Swedish opera, given at Stockholm
ANTWERP 16 February 1903 (in Flcmish).
85 times until 1910.
BUDAPEST 20 May 1909 (in Hungarian, translated
In German (translated by E. Peschier, revised
by D. Vidor).
by F. Grandaur), Munich 23 April 1876; Ham-
French adaptation by G. T. Antheunis, Le Dia-
burg 25 December 1876, etc.
ble a la Maisoll, madc for Brusscls 1889, printed
In Danish (translated by A. Hertz), Copenha-
but not performed; vocal score published.
gen 10 May 1876.
OFFENBACH: Madame ['Archiduc
(BALFE): 11 Talismano 310efahcr. Paris, B.P.
11 lune. London, D.L. Text by A. Millaud (the first act by H. Meilhac
Original English text (Tlze Kllight of the Leopard) and Lud. Halcvy). Three acts.
by A. Matthison (after Scott), Italian version by In French also given at Milan 19 May 1875;
G. Zaffira. Three acts. New York 6 September 1875; Mexico 25 Decem-
Balfe's last opera, posthumously produced. ber 1875; Buenos Aires 1877, etc.
In Italian also, Dublin 23 September 1874; in In English (translated by ?), New York 29 De-
the original English (as The Talisman), New York cembcr 1874; (adapted by H. B. Farnic) London,
10 February 1875. Rcvived (in English), Liver- O.c. 13 January 1876; Sydncy 15 September
pool 15 January 1891; and Monte Carlo 26 March 18 77.
1918 (as King Riehard in Palestille). In German (translated by J. Hopp), Vienna,
(Date of first performance I I June, not 11 Jan- W. 16 January 1875; Berlin, Fr.W. 3 July 1875;
uary, as stated in several books of reference.) Graz 24 August 1875; Prague and Laibach 1876,
etc.
In Italian (translated by E. Golisciani), Naples
GO E TZ: Der Widerspiinstigen Ziihmung* 8 May 1875.
11 Oetober. Mannheim In Czech (translated by B. Pdka), Prague 30
Text by J. V. Widmann (after Shakespeare). Four May 1875.
acts. In Swedish, Stockholm 1875.
Goetz' s first opera; rather successful in Ger- In Russian (translated by A. Y. von Asheberg),
many (though never a very popular work). Givcn St. Petersburg 1876.
at: Rcvivcd Paris, Varietes 10 October 1924; in a
VIENNA 2 February 1875 (in German). new German version by K. Kraus, Stendal 15
BERLIN II December 1876 (in German). January 1929; BasIc 5 October 1930; Praguc Feb-
RIGA 4 December 1877 (in German). ruary 1932.

1°39
 ANNALS OF OPERA

DVORAK: Kfal a UhUf sian), at the Novelty (Great Queen Street) Th.;
(King and Collier) first opera in London ever sung in Russian;
revived in Russian, Coliseum 19 February 1912
24 November. Prague, Cz.
and Wigmore Hall 24 November 1934 (in eon-
Text by B. Guldener. Three aets.
eert form).
Dvorak's first performed opera. Revived Pra-
PRAGUE 18 Oetober 1885 (in Czeeh).
gue 15 June 1887 (text alte red by V. J. Novotny)
BERLIN, VICT. TH. 15 May 1888 (in Russian; revised
and I November 1914 (revised by K. Kovaroyic);
Kroll's 23 May 1908, in Russian).
and, in an earlier eompletely different version
COPENHAGEN June 1888 (in Russian).
(1871) whieh had never been produced before
MANCHESTER 2 July 1888 (in Russian, by the same
and was reeovered in 1916, Prague 28 May 1929.
touring eompany as in Berlin and Copenhagen;
produeed in other English towns and eventually
BON A WI TZ: Ostrolenka in London, see above).
3 Dcccmbcr. Philadelphia RIGA 1893 (in German) and 1912 (in Lettish).
(Original German) text by P. Haimbach, English HELSINKIlO November 1896 (in Italian) and 2
version by H. M. Wetherill and G. W. Tryon. November 1932 (in Finnish).
Four aets. WARSAW Autumn 1897 (in Italian).
Revived London, St. George's Hall 2 April VIENNA 23 Oetober 1899 (in German).
1884· LlSBON 1904 (in Italian).
BARCELONA Autumn 1905 (in Italian).
BARBIERI: EI Barberillo de Lavapies MONTE CARLO 24 Marcl, 1906 (in Italian) and 26
(The Barber ofLavapies) February 1916 (in Russian); revived 3 March
18 Dccel1lbcr. Madrid, Z. 19 2 5.
Text by M. J. de Larra. Three acts. LEMBERG Spring 1909 (in Polish, translated by T.
Suecessful zarzucla.Frequentlyrevived on Span- Mianowski).
ish stages, at Buenos Aires as late as January 1936. BUENOS AIRES 3 I August 1909 (in Italian).
SOFIA 2 January 19IO (in Bulgarian).
PARIS, TH.S.B. 6 May I9II (in Russian) and 9 May
r875 191 I (in French).
SHANGHAI 1918 (in Russian).
RUBINSTEIN: Dyemon SAN FRANCISCO 17 January 1922 (in Russian).
,1J;eMOH"h
KAUNAS 16 June 1921 (in Lithuanian).
(The Demon) NEW YORK 13 May 1922 (in Russian).
25 Jatlllary. St. Petersburg TALLINN 1924 (in Estonian).
Text by P. A. Viskovatov (founded on Lermon- PHILADELPHIA 7 November 1928 (in Russian).
tov's poem). Three acts. TEL AVIV 2 June 1932 (in Hebrew, translated bYA.
Rubinsteiil's most successful opera. Aschmann).
Moscow 3 November 1879 (in Italian II Feb- Still revived in Russia now and then (Lenin-
ruary 1894); Odessa 25January 1892, and all over grad Conservatory Summer 1938).
Russia; the 100th performance at St. Petersburg
was on 13 October 1884. SCHIRA: Selvaggia
Outside Russia, given at: 20 FL'bmary. Veniee, F.
HAMBURG 3 November 1880 (in German, trans- Text by G. T. Cimino. Prologue and 3 acts.
lated by A. Offermann). Schira' s most important opera; sueeessful in
LONDON, C.G. 21 June ISgr (in Italian, translated Italy; also given at Barcelona on 25 November
by G. Vaeotti) and 22 Oetober I gRR (in Rus- 1 8 77.

1041
 1875 ANNALS OF OPERA

J. STRAUSS: Cagliostro in Wien BUDAPEST 28 October 1876 (in Hungarian, trans-

27 Febmary. Vienna, W. lated by K. Abrimyi).
Text by F. Zell and R. Genee. Three acts. ST. PETERSBURG 28 February 1878 (in Italian, trallS-
Berlin, Fr.W. 18 September 1875 (revived 14 lated by A. de Lauzieres) and 12 October 1885
May 1887), etc. (in Russian, translated by A. A. Gorchakova);
In German also, Budapest 1875; Graz 29 Sep- revived Leningrad 16 January 1933 (new trans-
tember 1875; Prague 13 October 1877; Czerno- lated by V. I. Epaneshnikov).
witz 1878, etc. STOCKHOLM 22 March 1878 (in Swedish, trallS-
In Czech (translated by E. ZüngeI), Prague ,19 lated by F. T. Hedberg).
June 1875. LONDON, H.M.'S 22 June 1878 (in Italian); 5 Feb-
English version by E. J. Austen published (md ruary 1879 (in English, translated by H. Her-
produced?) Chicago 1886. see); and 8 November 1886 (in French); first
produced at C.G. 2TMay 1882; I50th perform-
BIZET: Carmen* ance there 9 November 1909. A new English
3 March. Paris, O.C. version by J. and A. Galsworthy was published
Text by H. Meilhac and Lud. Halcvy (founded in 1932.
on Merimee's story); words of the Habanera by DUBLlN 9 September 1878 (in Italian).
Bizet himself. Four acts. NEW YORK 23 October 1878 (in Italian); 2 March
Bizet's chief work; his last opera; he died the d8I (in English); 2 May 1882 (in French); and
night of its 33rd performance, on 3 June 1875. 25 November 1885 (in German).
When first produced in Paris, given for 50 nights PHILADELPHIA 25 October 1878, etc. (in Italian).
only, during the season 1875-76; the great run MELBOURNE Summer 1879 and Sydney 13 De-
began after a revival on21 April 1883 (when Car- cember 1884 (in English).
/lien had already b~en performed in several other NAPLES, T. BELLlNI 15 November 1879 (in Italian).
countries, see bclow). HAMBURG 3I January 188o (for the first time in
The 500th performance at the O.c. was on 23 Germany).
Oetober 189[, the 1,080th on 23 December 1904, BERLIN 12 March 1880 (in German; given at the
the 1,200th on 1 January 1910; given there more O. 850 times until 1935).
th:ll1 2,200 times to date. Outside Paris, produced PRAGuE 29 March 1880 (in German) and 3 January
at: 1884 (in Czcch, transbted by E. Krilsnohorska).
VIENNA 23 October 1875 (in German, translated GENEVA 24 December I8So (in French).
by J. Hopp); he re the opera was performed not, ZURICII 19 January 1881 (in Ccrlllan).
as in Paris, with spoken dial~gL1e, but for the MEXICO Jt February J 88 [ (in French) and 7 June
first time with the reeitatives by E. Guiraud. 1883 (in Spanish, translated by A. Chavero).
There was also introduced the Gipsy danee R[ODEJANEIRO23 May lXXI (in Frelleh).
from Bizds La jo/ie Fille de Perth (later on MALTA I 8R [ (in Italian).
mostly replaced by dances from L'Ar/esiennc). BARCELONA 2 August IllRr (in Freneh).
The dillogue form WlS restored at Essen I92X, BUENOS AIRES 9 August I RH I (in Frellch) and 16
Vienna Oetober 1937, Munieh November 1938 JUlle 1883 (in Italian).
(new German version by C. Studer-Wcingart- R[GA 13 May 1883 (in Germall) and 1902 (in Let-
ner). Another new German version by G. tish). .
Brecher printed 1937. SANTIAGO, CHILE 1883 (in It;tli1n).
B'RUSSELS 3 (not I, 8, or 9) February 1876 (in TEMESVAR 15 December TX84 (in Gerwan).
French; 500th performance II October 1913). REVAl (TALLlNN) 12 Mar"h T~X5 (in German) alld
ANTWERP I April 1876 (in Freneh) and 6 February 1920 (in Estonian).
1919 (in Flemish). L1SBON November IRR) (in Italian).

1043 1044
 ANNALS OF OPERA 1875
AMSTERDAM 22 January 1887 (in Dutch). PRAGUE 24 January 1878 (in German) and 2 April
COPENHAGEN 24 April 1887 (in Danish, translated 1886 (in Czech, translated by V. J. Novotny).
by E. Bogh and H. P. Holst). TURIN 1 March 1879 (in Italian, translated by A.

HELSINKl IO February 1889 (in Russian); 14 March Zanardini).

1889 (in Swedish); and 3 December 1912 (in BERLIN 1 December 1879 (in German).
Finnish). ST. PETERSBURG 6 March J 880 (in Italian).
ZAGREB 18 June 1893 (in Croatian, translated by ROT'rERDAM May 1RHl (in German).
A. Harambasic). NEW YORK 2 December 1885 (in German) and 3

LAIBACH (LJUBLJANA) 1894 (in German) and 1896 April 1888 (in English).
(in Slovenian). MADRID January 1887 (in Italian).

CAPE TOWN 1895 (in Italian) and Johannesburg BOSTON 10 January 1888 (in English, translated by
1905 (in English). J. H. Comell).
CHRISTIANIA (OSLO) 7 May 1900 (in Norwegian, WARSAW 15 September 1891 (in Polish).

at the opening of the N orwegian State Opera- RIGA 1892 (in German) and 20 March 1935 (in
House); previously given there in 1880. Lettish).
SOFIA 9 March 1912 (in Bulgarian). ZURICH 15 March 1897 (in German).

SHANGHAI 1918 (in Russian). ANTWERP 8 February 1898 (in Flemish).

YOKOHAMA Autumn 1919 (in Italian). B'uENOS AIRES 4July 1899 (in Italian).

, BUCHAREST Spring 1920 (in Rumanian). AMSTERDAM I September 1899 (in Dutch).

SEATTLE 4 January 1922 (in Russian). ZAGREB 17 January 1900 (in Croatian, translated

BELGRADE 1922 (in Serbian).

by M. Pogacic).
MANCHESTER 12 April 1910 (in English).
KAUNAS 7 February 1924 (in Lithuanian).
LONDON, KEN!'IINGTON TH. 29 August 1910 (in
MOSCOW 4 June 1924 (as Karmcllcita i Soldat, Rus-
English).
sian adaptation from Mcrimce by K. A. Lip-
LJUBLJANA 1910 (in Slovenian).
skerov).
SOFIA 23 September 1935 (in Bulgarian).
KHARKOV 1925 (in Ukrainian).
BRUSSELS 5 October 1937 (for the first time in
TEL AVIV IO November 1925 (in Hebrew, trans-
French, translated by P. Solanges).
lated by A. Aschmann).
HELSINKl 31 October 1938 (in Finnish).
ATHENS November 1931 (in Italian).

TOKYO 24 March 1935 (inJapanese).

S ULLIV AN: Trial by Jury *
GOLDMARK: Die Königin von Saba* 25 March. Londön, Royalty
Text by W. S. Gilbert (A nol'cl afld original (atl-
10 March. Vicnna, O.
tata). One act.
Text b)' S. H. Mosenthal. Four acts. The only Gilbert-Sullivan operetta without
Goldmark's first andbest opera. spoken dialogue.
Very successful on German stages and abroad. Revived London, Savoy I I October 1884 and
The 100th performance at Vienna was on 21 22 September 1898; Prince's 6 January 1920, etc.
March 1897; at Budapest already on 22 February First given at New York, Eagle Th. 15 November
1897. 1875; Edinburgh 21 August 1876; Georg~town,
Produced at: British Guiana 15 April 1884. Given at Berlin,
BUDAPEST 18 March 1876 (in Hungarian, trans- Wallner Th. 14 June 1886 and Leipzig 1 August
lated by L. Doczy). 1886 (in English) and Alexander-Platz Th. 1 Oc-
HAMBURG 17 March I S77 (in German). tober 1892 (in German, translated by C. Carlotta).

1045
 ANNALS OF OPERA

SCHOLZ: Golo In Italian (translated by V. Bettdoni), Turin 15

4 April. Nurembcrg March 1881.
Revived (in a new version) Dresden 23 May
Text by the composer (founded on L. Tieck's
1891.
GcnoI1cva). Prologue and 3 acts. Weimar 9 May
187S, etc. Revived Frankfort 1 November 1891. OFFENBACH: La Creole
3 November. Paris, B.P.
RUBINSTEIN: Die Maccabäer
Text by A. Millaud, H. Meilhac and Lud. Halevy.
17 April. Berlin, O. Three acts.
Text by S. H. Mosenthal. Three acts. In German (translated by J. Hopp), Vienna,
The second successful opera by Rubinstein pro- W. 8 January 1876; Berlin, Wallner Th. 4 June
duced in 187S. 1876, etc.
In German also given at Praguc 10 October In Polish, Lemberg 30 September 1876.
187S; Vienna 24 February 1878, etc.; Riga 26 In English (translated by R. Reece and H. B.
March 1899. Revived Dresden 26 October 1904. Famie), Brighton 3 September 1877 and London,
In Russian, St. Pctersburg 3 February 1877; Folly IS SeptemberI877; revived (as The Comma-
Moscow 7 March 1883; Saratov 7 February 1893; dore) London, Avenue Th. 10 May 1886 and New
revived Moscow 17 Ocrober 1899. Y ork 4 October 1886.
Produced in a Hebrew translation by M. Freid- In French, Brussds 6 November 1877, etc.
mann at Jerusalem IS December 1925. In Spanish, Mexico 21 June 188S.
Revived (libretto re-written by A. Willemetz
MERTENS: Liederik, de Rentmeester and G. Delance) Paris, Th. Marigny IS December
(Liederik the Treasurer) 1934·
Al4gu5t. Antwcrp
LECOCQ: La petite Mariee
Text by P. Billiet. Thrce acts.
21 Decelllbcr. Paris, Ren.
In Flernish also, Amsterdam 9 May 1876; Brus-
sels 4 February 1879· Text by A. Vanloo and E. Leterrier. Three acts.
Revived Antwerp 24 February 1888 (in Frcnch, Successful on French stages: Brussds 24 Feb-
translated by G. Lagye); Amsterdam IS March ruar)' 1876; Antwerp 6 March 1876, etc.
1892 and Antwerp 26 December 1893 (in Flemish). In French also, London, O.c. 6 May 1876; Al-
giers July 1876; Lisbon, Madrid, Cairo December
SARRIA: La Campana delI' Eremitaggio 1876; NewYork 6 February 1877. Revived Paris,
Th. Moncey 6 August 1915; Th. Mogador 16
25 September. Naples, T. Mercadante
February 1921; Tr.L. 6 November 193 I.
Text by E. Cofino (founded on Les Dragons de vil- In Hungarian, Budapest 21 September 1876.
lars, by Lockroy and Cormon, see18 S6). Three acts. In Russian, St. Petersburg 17 October 1876.
The most successful of Sarria's eight operas. In Italian, Naples, T.N. I I November 1876.
Given in Italy until 1896. In German (as Graziella, translated by K. Treu-
In Italian also, Malta 1881 and Buenos Aires 6 mann), Vienna, Ca. II November 1876; Berlin,
February 1891. Fr.W. 23 August 1877; Zurich 18 December
1880, etc.
GRAMMANN: Melusine In Spanish, Mexico 18 November 1876.
25 September. Wiesbaden In Swedish (translated by C. G. W. Michal),
Text by the composer. Three acts. Stockholm 26 May 1877.
Successful in Germany; in German also, Rot- In Czech (translated by E. Zünge1), Prague
terdam 6 February 1878. 18 77.

1047
 ANNALS OF OPERA

In English (as The Scarlet Feather, adapted by H. NAPLE~, T.N. 25 November 1877 (in Italian, trans-
Greenbank), London, Shaftesbury Th. 17 No- lated by V. A. Bacichi) and T. Sannazaro 14
vember 1897. February 1881 (in German).
BERNE 3 December 1877 (in German).
BRÜLL: Das goldene Kreuz RIGA 14 December 1877 (in German).
22 Dcccmber. Berlin, O. LONDON, ALHAMBRA 20 June r878 (in English,

Text by S. H. Mosenthal (founded on a French translated by H. S. Leigh).

play, Catherine, by A. H. J. Melesville and N. REVAL 30 October 1878 (in German).

Brazier). Two acts. BRUSSELS 28 December 1878 (in French, translated

Brüll's most successful work, very popular in by F. Coveliers).

Germany. The 100th performance at Berlin was PARIS, NOUVEAUTES 15 March 1879 (in French,

on 20 August 1895. translated by A. Delacour and V. Wilder).

In German also given at Prague 1 July 1876; NEW YORK 14 April 1879 (in German); 22 April

Vienna 4 October 1876; Riga 1877; Rotterdam 1879 (in English, translated by J. B. Polk); and
2 November 1878; Basle 3 February 1879; New r40ctober 1887 (in French).
York 19 July 1879 (produced by a German Ge- LEMBERG 2r October 1879 (in Polish).

sangverein) and 19 November 1886 (at the Metro- BUENOS AmES 1881 (in French).

politan) ; Laibach 1880; Temesvar 1883. RIO DEJANEmo 6 December 1881 (in Portuguese,

In Czech (translated by J. Klima), Prague 12 translated by Ed. Garrido and A. Azevedo).

December 1876. SYDNEY October 1882 (in English).

In English (translated by J. P. Jackson), London, MEXICO 9 March 1884 (in English).

Adelphi 2 March 1878. TARTU (DORPAT) 1887 (in Estonian).

In Swedish (translated by F. T. Hedberg), ZAGREB 25 February 1899 (in Croatian, translated

Stockholm 8 September r879. by V. Badalic).

In Croatian (translated by M. Pogacic), Zagreb
I I March 1899. HOLSTEIN: Die Hochländer
Bulgarian translation by V. Shak published 16Jafluary. Mannheim
1 892.
Text by the composer. Four acts.
Dutch translation by C. L. Schenk published
Hoistein's last opera. In German also given at
1910.
Rotterdam 21 November 1877. Last revived AI-
tenburg 14 December 1900.
r876
SUPPE: Fatil1itza KYUI: Angelo
5 January. Vienna, Ca. AHlKeJIO
Text by F. Zell and R. Genee (founded on Scri- 13 Fe[,mary. St. Petersburg
be's Circassiefllle, see 1861). Three acts. Text by V. P. Burenin (founded on V. Hugo's
Suppe's first world success. Given at: drama). Four acts.
PRAGUE 12 August 1876 (in German) and 1876 (in
Revived Moscow 17 January 1901; St. Peters-
Czech, translated by E. ZüngeI). burg 24 January 1910.
LAIßACH, AMSTERDAM, BUDAPEST 1876 (in Ger-
man).
BERLIN, FR.W. 16 September 1876 (in German).
d' AR N E I R 0 : L'Elisire di Giovinezza
STOCKHOLM 15 and 16 November 1876 (in dif- 31 March. Lisbon, S.C.
ferent Swedish versions by A. Lindgrenand E.A. (Italial1) text by J. J. Magne. Four acts.
Wallmark). The first opera of the Portuguese composer.

1 0 49
 ANNALS OF OPERA

Given also at Milan on 2 June 1877. ZAGREB 18 May 1884 (in Croatian, translated by
According to Ricmann's Musiklexikon (Vol.I, J. E. Tomic).
p.62) this opera was rcvived in 1885 (as La Dere- BUENOS AIRES 28 June 1884 (in Italian).
litta). An opera of that tide was produced at Lis- PRAGUE 1884 (in German; revived 1937).
bon on 14 March 1885, text by R. Paravicini, WARSAW December 1884 (in Polish, translated by
founded on a nove\ by Ann Radcliffe. Perhaps the M. Radziszeski).
composer used parts of the L'Elisire di Giovinezza RIO DE JANEIRO 10 August 1885 (in Italian).
music for La Derelitta. MEXICO 14 October 1885 (in Italian).
L1SBON February 1886 (in Italian).
MERMET: Jeanne d'Arc NICE 29 December 1886 (in Italian).
MALTA 1887 (in ltalian).
5 April. Paris, O.
BRUSSELS 28 December 1887 (in French, translated
Text by the composer. Four acts.
by P. Solanges); revived 14 February 1939.
First new work produced in the new building
BERLIN 23 October 1889 (in German).
of the Paris Opera, Boulevard des Capucines
BUCHAREST 30 November 1889 (in Italian) and
("SaUe Garnier") inaugurated 5 January 1875
January 1921 (in Rumanian).
(operüng programme: overtures La MI/ette de Por-
STOCKHOLM 10 March 1 892 (in Swedish, translated
tid and Guillaume Tell; scenes fromLes Huguenots
by E. G. Lundquist).
and from Delibes's ballet, La Source; and the first
RIGA 1893 (in German) and 15 November 1928
two acts of La Juive).
(in Lettish).
Jeanne d'Arc was performed 15 times. ROUEN 14 March 1895 (in French).
CAPE TOWN 1895 (in Italian).
PONCHIELLI: Gioconda* HELSINKI 24 January 1897 (in ltalian) and 23 No-
8 April. Milan, Sc. vember 1927 (in Finnish).
Text by A. Boito (pseudonym "Tobia Gorrio"), GENEVA 3 April 1902 (in French).
founded on V. Hugo's Angelo. Four acts. HAGUE January 1905 (in Italian).
PonchieUi's most famous work; still very suc- MONTE CARLO 4 February 1908 (in French).
cessful in ltaly. MONTREAL 1914 (in French).
Outside ltaly given at: TRIPOLIS April 1928 (in Italian).
SANTIAGO, CHILE November 1882 (in Italian). KAUNAS 2 May 1929 (in Lithuanian).
ST. PETERSBURG 30 January 1883 (in Italian) and SOFIA 9 November 1934 (in Bulgarian).
February 1888 (in Russian, translated by G. A. LJUBLJANA 4 June 1938 (in Slovenian, translated
Lishin). by R. Petelinova).
BARCELONA 26 February 1883 (in ltalian). Apparently never produced in Paris.
LONDON, C.G. 31 May 1883 (in Italian) and Kenn-
ington Th. 6 May 1903 (in English, translated GUIRAUD: Piccolino
by H. Hersee).
11 April. Paris, O.c.
BUDAPEST 8 December 1883 (in Hungarian, trans-
Iated by V. Rad6); revived 22 February 1930 Text by V. Sardou and C. Nuitter. Three acts.
(new translation by V. llnyi). Guiraud's most successful work.
NEW YORK 20 December 1883 (in Italian) and 23 In French also, Brussels 4 November 1876 (re-
September 1913 (in English). vived 7 April 1902); Hague December 1876; Bue-
VIENNA 29 April 1884 (in ltalian) and 17 February nos Aires Autumn 1881; Mexico 28]anuary 1882;
1885 (in German). Geneva 24 April 1883.
WIESBADEN 5 May 1884 (in Germap, translated by In HWlgarian (translated by G. Böhm), Buda-
K. F. Niese). pest 1878.

1°5 1
 ANN ALS OF OPERA

In English (translated by S. Samuel), Dublin 4 The only opera ofDenza, who was the compo-
January 1879; London, H.M.'s 29 January 1879; ser of the famons Neapolitan song, Funiculi, Funi-
Edinburgh 3 September 1879, etc. will, and spent the greater part of his life, from
In Swedish (translated by E. G. Lundquist), 1879 until his death in 1922, in London.
Stockholm 1882.
R. WAGNER: Siegfried*
DVORAK: Vanda 16 AI/gust. Bayreuth
17 April. Prague, Cz.
Text by V. Bend-Sumavsky (translated from a R. WAGNER: Götterdämmerullg*
Polish libretto by J. Surzycki). Five acts. 17 Augl/st. Bayreuth
Failure; only the overture was printed. Revived Text by the composer. Sicgfried: Three acts. Göt-
Prague 3 May 1929· terdämmcnlllg: Prologue and 3 acts.
The last two parts of the tetralogy, Der Rillg
JONCIERES: Dimitri des Nibelu/lgell. The first two parts had been pro-
5 May. Paris, O.N.L. duced separately at Munich in 1869 and 1870. The
first cyclic performance of the whole work, under
Text by H. de Bornier and P. A. Silvestre (found-
the direction ofHans Richter and under Wagner' s
ed on Schiller's Dellletrius). Five acts.
personal supervision, took place at the Festspiel-
Written for the opening of the "Opera Natio-
haus, Bayreuth, on 13, 14, 16 and 17 August 1876.
nal Lyrique" (Iate Galte).
The text of Göttcrdällllllcrrmg, originally called
Joncicres's first success; revived Lille 17 March
Siegfrieds Tod, was written as early as in 1848 (fm-
1888; Paris, O.c. 5 February 1890; Ghent 7 No-
ished 28 November 1848). The other partsfollow-
vember 1894.
ed in reverse 'order: Siegfried text finished 24 June
1851, Walkr"ire I July 1852, Rhcillgold November
MARECHAL: Les Amoureux 1852; then Siegfried and Götterdämmemllgwere
de Catherine revised. The whole tetralogy was printed pri-
8 May. Paris,O.C. vatcly in January 1853.
Text by J. Barbier (founded on a story by Erck- Rhcillgold score finished 28 May 1854; Walküre
mann-Chatrian). One act. score finish cd March 1856; Si(:l?fricd music started
Marechal's first and best opera; Brnssels 12 22 September 1856; second act 30 July 1857. Inter-
September 1877, ctc. Revived at the O.C. 20 Feb- val of cight years. Scoring of Sie.l!fried resumed
July 1865; third act 1868; scorc tinished 5 Feb-
ruary 1888 and 30 January 1915.
ruary 1871. G,ittcrdällllllfrllllg scorc from 3 May
1873 to 21 November 1874.
CHAPI: La Hija de JeJte It was Wagner's wish that thc cycIc should be
(Jephthah' s Daughter) given everywhere as a whole or at least in the
11 May. Madrid, T.R. proper order. Yet most stages produced Die Wal-
(Spanish) text by A. Arnao. One act. klire first.
Chapi's first opera. First performances of SicgjTicd:
VIENNA 9 November r878.
BERLIN, o. 8 Deccmber 1885 (at the Victoria Th.
DENZA: Wallenstein earlicr, see bcIow).
13 May. Naplcs, T. Mcrcadante PRAGUE 9 January 1887 (in German) and 23 March
Text by A. Bruncr (founded on Schiller's tra- 1932 (in Czech, transbtet! by V. Kühnel).
gcdy). Fonf acts. NEW YORK 9 November 1887 (in German).

10 53 1054
 ANNALS OF OPERA

BRUSSELS 12 January 1891 (in French, translated TURIN 22 December 1895 (in Italian, translated by
by V. Wilder). A. Zanardini).
BUDAPEST 9 April 1892 (in Hungarian, translated ZURICH 4 February 1897 (in German).
by A. Rado). AMSTERDAM 15 May 1897 (in German).
MOSCOW 8 February 1894 (in Russian, translated BARCELONA 16 November 1901 (in Italian). Cata-
by Levental and A. K. Abramova). lan version by J. Zanne and A. Ribera publish-
ZURICH 29 November 1894 (in German). ed 19°1; another by X. Viura and J. Pena
AMSTERDAM 1 February 1895 (in German). 1906; Spanish (Castilian) version by E. Lopez
RIGA 28 March 1898 (in German). Marm published 1909.
MILAN 26 December 1899 (in Italian, translated by BRUSSELS 24 December 1901 (in French, translated
A. Zanardini). by V. Wilder and A. Ernst).
ROUEN 17 February 1900 (in French; for the first RIGA 25 February 1902 (in German).
time in France). PARIS, CHATEAU D'EAU 17 May 1902 and O. 23 Oc-
BARCELONA 15 November 1900 (in Italian); Cata- tober 1908 (in French).
lan translation by X. Viura and J. Pena pub- ST. PETERSBURG 2 February 1903 (in Russian).
lished 1904. COPENHAGEN 23 February 1905 (in Danish, trans-
MADRID 8 March 1901 (in Italian). lated by J. Lehmann).
MANCHESTER 18 October 1901 (in English, trans- STOCKHOLM 28 February 1907 (in Swedish, trans-
lated by H. and F. Corder). lated by S. Elmblad).
LONDON, CORONET 31 October 1901 (in English, ANTWERP 19 March 1910 (in Flernish).
translated by H. and F. Corder). BUENOS AIRES 14 July 1910 (in Italian).
PARIS, o. 3 January 1902 (in French, translated by MARSEILLES 7 November 1913 (in French).
A. Ernst). RIO DE JANEIRO 6 October 1922 (in German).
ST. PETERSBURG 17 February 1902 (in Russian, HELSINKI 7 April 1935 (in Finnish).
translated by G. Tyumenev). Apparently there were no separate productiolls
COPENHAGEN 22 April 1903 (in Danish, translated of Götterdämmerung in London.
by E. Christiansen). First cyclic performances of the complete
HELSINKI 15 October 1905 (in German) and 2 Jan- "Ring" tetralogy:
uary 1934 (in Finnish). BAYREUTH 13-17 August 1876.
STOCKHOLM 11 December 1905 (in Swedish, trans- MUNICH 17-23 November 1878.
lated by S. Elmblad). LEIPZIG 3-7 January 1879·
LEMBERG 21 February 1907 (in Polish, translated VIENNA 26-30 May 1879.
by A. Bandrowski). HAMBURG 188o.
BUENOS AIRES 29 August 1908 (in Italian). BERLIN, VICT. TH. 5-9 May 1881; Berlin,O. 8-17
ANTWERP 22 December 1908 (in Flernish). December 1888.
JOHANNESBURG 1913 (in English). Angelo Neumann's touring "Richard Wagner-
RIO DE JANEIRO 21 Septemöer 1922 (in German). Theater" performed the "Ring" (in German) at:
ZAGREB 26 May 1938 (in Croatian). LONDON, H.M.'S 5-9 May 1882.
First performances of Götterdämmerung: BRESLAU September 1882.
VIENNA 14 February 1879 (in German). AMSTERDAM 2-6January 1883.
PRAGUE 10 January 1887 (in German). BRUSSELS 23-27 January 1883·
NEW YORK 25 January 1888 (in German). BASLE 26-30 March 1883·
BERLIN, O. 27 September 1888 (in German). VENICE 14-18 April 1883.
BUDAPEST 10 December 1892 (in Hungarian, trans- BOLOGNA 21-26 April J 883.
lated by A. Rada). ROME 28 April-3 May 1883.
STRASBOURG 25 December 1894 (in German). TURIN 8-12 May 1883.

1°55 1 0 56
 ANNALS OF OPERA

TRIESTE 18-21 May 1883. In Spanish (translated by E. Alvarez), Madrid

BUDAPEST 23-27 May 1883. 1877·
GRAZ l-sJune 1883. In German (translated by G. F. Reiss), Ham-
PRAGUE 9-13 February 1887 (in German). burg 30 September 1877; Berlin, Fr.W. 9 Octo-
ber 1877; Vicnna. Ca. 23 February 1878; Brünn
NEW YORK 4-II March 1889 (in German).
22 November 1881, etc.
ST. PETERSBURG II-16 March 1889; Moscow 6-10
In Italian, Naples Circo Nazionale 13June 1878
April 1889 (in German, by Angelo Neumann's
(as Le tre Giovallllc).
company).
In English (translated by R. Reete), London,
BUDAPEST 20 JanuarY-4 February 1893 (in Hun-
Alhambra 28 March 1881; Ncw York 19 Sep-
garian; for the first time in a language other
tember 1887 (as The Marquis).
than German).
Revived Monte Carlo 16 April 1904 (in French).
RIGA November 1902 (in German).
BRUSSELS-IS-27 April 1903 (in French).
RENTE: Verde Gaio
STOCKHOLM 14-20 March 1997 (in Swedish).
(Light Green)
LONDON, C.G. 27 JanuatY-I February 1908 (in
English, translated by F. Jameson). 150etober. Oporto
MÖNTE CARLO 26-31 January 1909 (in French). Text by M. M. Rodrigues. Three acts.
LISBON Spring 1909 (in Italian). The most successful of Rente's numerous Por-
COPENHAGEN 30 April-s May 1909 (in Danish). tuguese operettas.
EDINBURGH28 February-s March 19IO(inEnglish).
ANTWERP April 1910 (in Flemish). GENEE: Der Seekadett
BARCELONA April 19IO (in Italian). 240etober. Vienna, W
LEMBERG February 19II (in Polish, translated by Text by F. Zell. Threc acts.
A. Bandrowski). Genee' s most successful operetta.
LEEDS 28 March-I April 19II (in English). In German also given at Berlin, Fr.W. 3 March
MANCHESTER 3-9 April 19II (in English). 1877; Laibach 1877; Brünn 3 May 1878; Czemo-
GLASGOW II-1S April 19II (in English). witz 1878; Riga 13 December 1878; Basie 21
~ARIS, O. 10-14 June 19II (in French) and Ch.E. April 1879; Posen 16 July 1879; Reval 16 July
June 1929 (in German). 1879; New York 27 October 1879; Rome 9
BUENOS AIRES Summer 1922 (in German). March 1882; Sofia Summer 1893; Helsinki
BUCHAREST 27 April-3 May 1938 (in German, by Summer 1899.
the Frankfort opera company). In Hungarian, Budapest February 1877.
SOFIA 10-1S November 1938 (in German, by the In Swedish (translated by E. A. Wallmark),
Frankfort opera company). Stockholm 3I January 1879.
ATHENS 26 November-2 December 1938 (in Ger- In Italian (as Lo Seaeehiere dclla Regitla, adapted
man, by the Frankfort opera company). by A. Scalvini), Naples, Circo Nazionale S Au-
gust 1879.
In French (translated by G. Lagye), Brussels 28
LA C 0 ME: Jeanne, Jeannette
January 1880; Rouen 19 April 1881.
et Jeanneton In English (translated by H. B. Farnie), London,
100etober. Paris, F.Dr. Globe 27 March 1880; New York 7 June 1880.
Text by Clairville and A.. Delacour. Three acts. In Polish, Lemberg 20 June 1880.
The most successful of Lacome's 23 operettas. In Danish, Copcnhagen 1883.
In French also, Liege 19 February 1877, etc.; In Croatian (translated by G. Prejac), Zagreb
New York 28 October 1878. 2 May 1909.

IOS7
 ANNALS OF OPERA

Still occasionally revived on rninor German Outside Paris, given at:

stages. BUDAPEST 16 June 1877 (in Hungarian, translated
by K. Abranyi).
ZAJ C: Nikola Subic Zrinski BRUSSELS 10 November 1877 (in French).

4 November Zagreb GENEVA 7 March 1878 (in French).

LONDON, C.G. 1 June 1878 (in Italian, translated
Text by H. Badalic (founded on the play by T.
Körner). Three acts. by A. de Lauzieres).
NEW ORLEANS 7 February 1879 (in English, trans-
The first Croatian national opera. Revived at
the inauguration of the new building of the N a- lated by C. Florio).
NEW YORK 8 September 1879 (in English, trans-
tional Theatre, Zagreb 14 October 1895; and at
Ljubljana 2 October 1900, in Slovenian. Still lated by M. X. Hayes) and 4 May 1882 (in
given in Yugoslavia. French).
VIENNA 5 January 1880 (in German, translated by
Vocal score published in 1889; libretto in 1876,
F. Gumbert).
1885, and 1901.
BUENOS AIRES September 1881 (in French).

SMETANA: HubiCka* MEXICO 23 December 1882 (in French).

STOCKHOLM 3 March 1886 (in Swedish, translated
(The Kiss)
by E. A. Wallmark).
7 November. Prague, Cz. NAPLES 29 January 1889 (in Italian).
Text by E. Krasnohorska (founded on a story by
K. Svetla). Two acts. COWEN: Pauline
Successful in Czeehoslovakia. Revived at Prague
22 November. London, Ly.
22 September 1900; 19 May 1909; 9 February
Text by H. Hersee (founded on E. Bulwer Lyt-
192 3.
In German (translated by 1. Hartmann), Leip- ton's The Lady ofLyons). Four acts.
zig 6 Oetober 1893; Vienna 27 February 1894; Cowen's first opera.
Berlin, Th.d.W. 4 Mareh 1902, ete. Revived (in
a new German version by 1. Sehottländer) Pra- CHAIKOVSKY: Vakula Kuznyets
gue 30 Mareh 1924; Aaehen 30 November 1926; BaRYJIa KyaHeQ'b*
Berne Oetober 1941. (Vakula the Smith)
In Slovenian (translated by A. Funtek), Ljub- 6 Deeember. St. Petersburg
ljana 1894. Text by Y. P. Polonsky (founded on Gogol's
In Croatian (translated by E. Kristan), Zagreb Christ/1/as Elle). Four aets.
18 April 1895. (Originally the libretto had been written for
In Polish, Lemberg Oetober 1901. Serov.)
In Flernish, Antwerp 7 January 1905. Revived in a new version as Chereviehki (The
In English, Liverpool 8 Deeember 1938 (by Little Shoes) Moseow 31 January 1887; trus ver-
amateurs). sion was vcry popular and has been frequendy
revived sinee (Petrograd I Deeembcr 1915, ete.).
MASSE: Paul et Virginie Outside Russia, given at:
15 NOflc/1/ber. Paris,O.N.L. NEW YORK 26 May 1923 (in Russian).
Text by J. Barbier and M. Carrc (foundcd on BARCELONA 17 Deeember )<)39 (in Rl'ssian).
Saint-Pierre's story). Three aets. MANNHEJM 2 Deeembcr 1932 (in German, trans-
Suceessful in Paris; revived at the O.C. 18 De- lated by H. Burkard, as Die goldenen Schuhe).
cember 1894; at the Gaite-Lyrique 15 September COLOGNE 29 December T932 (in German, trans-
1908. lated by M. Hofmüller, as Der Pantoffelheld).

1°59 1060
 ANNALS OF OPERA

(There is a third tide of this opera, Le Caprice SAINT-SAENS: Le Timbre d'Argent

d'Oxane, tmder whieh it was published in 1885.) 23 Februar)'. Paris, Th.L.
Text by J. Barbier and M. Carre. Four acts.
DE GIOSA: Napoli di Camovale
Brussels 10 February 1879, etc.
28 Deccmber. Naples, T.N.
In German (translated by H. Marion), Elber-
Text by M. d'Arienzo. Three aets. feld 5 February 1904; Berlin, National Th. 17
One of De Giosa's most popular works, very January 1905.
sueeessful in hai y. Revived Monte Ca rlo 26 February 1907; and,
In Italian also, Buenos Aires 2 September 1884. in a new version, Brussels 2 March 1914 (with
The latest revivals seem to have been at Malta recitatives, instead of the original spoken dia-
in Carnival 1903 and at Bari 5 May 1923. logue).

A UDRAN: Le Grand Mogol

r 8 77 24 Felm/ary. Marseilles
J. STRAUSS: Prinz Methusalem Text by H. C. Chivot and A. Duru. Three acts.
3 Jalluary. Vienna, Ca. Audran's first great success.
In French also given at Milan, T. Manzoni 20
Text by K. Treumann (translated from a Freneh
May 1879; Paris, Gaite 19 September 1884 (en-
libretto by V. Wilder and A. Delaeour). Three
larged to 4 acts); Antwerp 19 November 1886;
aets.
New York 26 September 1887; Mexico 28 De-
Suceessful on German stages; Berlin, Fr.W. 24
cember 1887; Zagreb I April 1891.
January 1878, etc.
In English (as The SHake Charmer), New York
In German also, Czemowitz 1878; Prague
29 Oetober i881; (translated by H. B. Farnie),
1878; Graz 15 March 1879; Zurich 2 MaY1880;
London, Comedy 17 November 1884.
New York 29 Oetober 1880; Posen 7 May 1881;
In German (translated by E. Jaeobson), Berlin,
Naples 2 January 1882; ,Moseow I884.
Fr.W. 18 April 1885.
Revived Berlin, Th.d.W. 9 February 1932 (text
Italian version by V. Valle published Milan
revised by B. Jenbach and P. Herz, musie arrang-
1886; Polish version by A. Kiezman published
ed by K. Panspertl).
Lemberg 1891; Greek version published Athens
In English (translated by H. S. Leigh), London,
190 9.
Novelty 19 May 1883; New York 25 June 1883.
Revived Paris, G.L. 4 March 1915 (in French);
In Croatian (translated by F. Miler), Zagreb 30
London, King's Hall 16 June 19I7 (in EngIish).
January 1904·

LAURO ROSSI: Biom GENEE: Nanon, die Wirtin vom

17 Jaul/ary. London, Queen's Goldenen Lamm
(English) text by F. Marshall (founded on Shake- 10 March. Vienna, W.
speare's Macbcth). Five acts. Text by F. Zell (founded on a comedy by E. G.
Sce on this rather strange Mac/.eth opera (the M. Theaulon and F. V. A. d' Artois). Three acts.
action of which was moved to Norway) J. Ben- Genee's most popular operetta. Given at Ber-
nett's amusing report in his Forty Year,' of MI/sie lin, Walhalla Th. 30 October 1883 (300th per-
(1908), P.264. The opera was a failurc and neither formance TI September 1884), etc.
text nor music secm to r.ave been preserved; it In German also, Budapest 29 January 1884; St.
was Rossi's last opera and the only one he wrote Petcrsburg 16 February 1884; Brünn 30 Septem-
to English words. Produced at the short-lived ber 1884; Riga 20 December 1884; New York 2
Queen's Theatre in Long Acre. January 1885; BasIc 23 January 1885; Reval 14
1061 1062
 ANNALS OF OPERA

February 1885; Prague 23 August 1885; Stras- 1000th performance at the F.Dr. was on 18 Oeto-
bourg 8 November 1885; Brussels 5 January ber 1886; frequently revived in Paris and still
1886; Copenhagen May 1897. given in France and in other countries.
In English (translated by L. C. Elson), New First produeed at:
Y orb9J une 18 85 ;Birmingham 16 SeptemberI8 89· BRUSSELS 29 September 1877 (in Freneh).
In Croatian (translated by I. Tmski), Zagreb 16 NEW YORK 22 Oetober 1877 (in English); 13 May
March 1886. 1878 (in French); and 1 Oetober 1881 (in Ger-
In Swedish (translated by E. A. Wallmark), man).
Stockholm 24 March 1886. MADRID 22 December 1877 (in Spanish, translated
In Polish, Warsaw 26 March 1886. by L. M. de Larra).
In Italian, Rome 23 October 1888. MEXICO 8 February 1878 (in Freneh) and 14 July
Frequently revived on German stages; in a new 1878 (in Spanish).
arrangement by A. Treumann-Mette Lübeck 6 LONDON, FOLLY 23 Fcbruary 1878 (in English,
February 1938. translated by H. B. Farnie and R. Reeee; this
production had a run of 705 nights).
GOUNOD: Cinq-Mars BUDAPEST 23 March 1878 (in Hungarian).
5 April. Paris, O.c. BERLIN, FR.W. 27 March 1878 (in German, trans-
Text by L. Gallet and P. Poirson (opera dialogue, lated by E. Dohm).
founded on A. de Vigny's novel). Four acts. EDINBURGH 17 June 1878 (in English).
Transformed into a grand opera in 5 acts: NAPLES 3 November 1878 (in Freneh) and 31 May
Lyons I December 1877. 1879 (in Italian, adapted by A. Sealvini).
Outside France, givcn at: LAIBACH (LJUBLJANA) 1878 (in German) and 1905
LIEGE 10 January 1878 (in Freneh). (in Slovenian).
BRUSSELS II January 187R (in French). STOCKHOLM 3 September 1878 (in Swedish, trans-
MILAN 19 January 1878 (in Italian, translated by A. lated by C. G. W. Michal).
de Lauzieres). VIENNA, W. 28 September 1878 (in German).
BARCELONA 29 January 1878 (in Italian, translated BRÜNN 12 March 1879 (in German).
by A. de Lauzii:n:s). PRAGUE 13 January 1880.(in German) and 1 July
ST. PETERSBURG 16 February 1878 (in Italian, trans- 1888 (in Czeeh, translated by E. Züngel).
lated by A. de Lauzieres) .. LEMBERG 18 February 1880 (in Polish).
BUDAPEST March 1878 (in Hungarian, translated BASLE 30 November 1880 (in French).
by K. Abranyi). BUENOS AIRES 1881 (in French).
NAPLES, S.C. April 1878 (in Italian). PORT ELIZABETH 1881 (in English).
MOSCOW 20 Decembcr 1885 (in Russian). RIGA 24 November 1881 (in German) and 1886
LEEDS 26 Oetober 1900 (in English, translated by (in Lettish).
W. Van Noordcn and S.]. A. Fitz_Gerald). ZAGREB 10 January 1882 (in Croatian, translated
LONDON, CORONET 17 November 1900 (in Eng- by]. E. Tomit).
lish, translated byW. Van Noordenand S.]. A. SARAJEVO 1882 (in German).
Fitz-Gerald). DORPAT (TARTU) 1885 (in Estonian).
CHRISTIANIA (OSLO) 12 September 1914 (in Nor-
PLANQUETTE: Les Cloches wegian).
de Corneville HELSINKI I I September 1928 (in Finnish).
19 April. Paris, F.Dr. KAUNAS 29 April 1932 (in Lithuanian).
Text by Clairvillc and C. Gabet. Three aets. CAIRO Spring 1938 (in Frcnch).
Planquette' s most popular work and one of the Thc so far latest revival in London was at the
most suecessful operettas of the 'seventies. The Prinee Edward Th. 16 March 1931; in NewYork
 ANNALS OF OPERA

at Erlanger's 2 November 1931; in Paris at the Th. ( G 0 E TZ) : Francesca da Rimini

Mogador 9 March 1940. 30 September. Mannheim
Text by the composer. Three acts.
MASSENET: Le Roi de Lahore* The opera was eompleted by E. Frank and pro-
dueed one year after Goetz's death. Also given at
27 April. Paris, O.
Leipzig II August 1881; Schwerin 25 January
Text by L. Gallet. Five acts. 1882; Hanover I May 1882, ete. Revived Baden-
Given at the Paris O. 57 times until 1879; reviv- Baden 27 September 1891 and Zurich 4 Deeem-
ed Marseilles 4 April 1905; Monte Carlo 13 Feb- ber 1901 (revised by R. Gound); onee more
ruary 1906; New York 29 February 1924 (in AachenJanuary 1925.
Freneh). Given in London. H.M.'s (by the R.e.M.) 3
First produeed at: Deeember 1908 (in English, translated by M. E.
TURIN 13 February 1878 (in Italian, translated by Browne).
A. Zanardini).
BUDAPEST 25 January 1879 (in Hungarian, trans-
BRÜLL: Der Landfriede
lated by K. Abrinyi). 4 Oetober. Vienna, O.
MUNICH 13 May 1879 (in German, translated by Text by S. H. Mosenthal (founded on a eomedy
F. Gumbert). by E. von Bauernfeld). Three acts.
LONDON, C.G. 28 June 1879 (in Italian). Suecessful on German stages; Berlin 18 Octo-
BUENOS AIRES 26 July 1879 (in Italian). ber 1877, etc.
RIO DEJANEIRO 13 Oetober 1879 (in Italian). In German also, Prague 19 June 1879.
PRAGUE 29 Oetober 1879 (in Czeeh) and 29 Oeto-
ber 1882 (in German). POISE: La Surprise de [JAmour
MADRID 14 February 1880 (in Italian).
310etober. Paris,O.e.
ST. PETERSBURG 10 February 1882 (in Italian).
NEW ORLEANS 1883 (in French).
Text by e. P. Monselet (founded on a play by e.
LISBON 3 April 1884 (in Italian).
e. de Marivaux). Two aets.
l\NTWERP 27 December 1894 (in French).
Liege 22 March 1880; Antwerp 23 Deeember
SANTIAGO, CHILE Autumn 1895 (in Italian).
1880, etc. Revived Brussels 15 April 1902.
ZAGREB 3 October 1900 (in Croatian, translated
by F. Miler). SULLIVAN: The Sorcerer
17 November. London,O.C.
MERTENS: Die zwarte Kapitein Text byW. S. Gilbert. Two acts.
(The Black Captain) At its first production ran for 175 nights; re-
vived (with alterations and additions), Savoy II
12 May. Hague Oetober 1884; Prince's 13 January 1920, ete.
(Dutch) text by R. Faassen. Four aets. First given in Ne\V York, Broadway Th. 21 Feb-
Mertens's best work. In Dutch also, Antwerp ruary 1879.
August 1877.
In French (translated by G. Lagye), Hague 13 CHABRIER: VEtoile*
February 1882. 28 Novcl/lber. Paris, B.P.
In German (translated by H. Flemmich), Ham- Text by E. Leterrier and A. Vanloo. Three acts.
burg' 21 February 1885. Chabrier's first work for the stage.
Revived Amstcrdam March I893 (in French) In German (as Seill Steril), Berlin, Fr.W. 4 Oe-
and Antwerp 15 March 1919 (in Flemish). tober I878; (as LazlIli), K.O. 4 February 1909.

ro65 ro66
 ANNALS OF OPERA

In Hungarian, Budapest 29 November 1878. on the stage c.G. 26 April 1909 (in French) and
In English (as Thc Mcrry Monarch, adapted hy Aldwych 14 October 1916 (in English).
J. C. Goodwin and W. Morse, music arranged by ANTWERP 7 December 1893 (in French) and 30
J. P. Sousa), NewYork, BroadwayTh. 18 August September 1934 (in Flemish).
1890; Boston 17 November 1890, etc. This ver- MOSCOW 8 January 1894 (in Italian).
sion was given in London as Thc Lucky Star at the ST. PETERSBURG 18 March 1894 (in French) and
Savoy 7 January 1899 ("founded on and adapted 1 December 1896 (in Russian).
from the French original ... and an American SARATOV 29 January 1895 (in Russian, translated
version thereof.... Some new dialogue by c. H. by A. A. Gorchakova).
E. Brookficld, new lyrics by A. Ross and A. Hop- MONTREAL 4 April 1895 (in concert form; in Eng-
wood, the whole revised and put together by H. lish).
Lenoir") with new music by I. Caryll (only small BUENOS AIRES 2 July 1896 (in Italian).
parts of Chabrier's original music were retained). BARCELONA 8 January 1897 (in Italian).
Revived in French, Brussels 16 January 1909; LISBON 1898 (in Italian).
Paris, Th. de l'Exposition 12 June 1925; Monte RIO DE JANEIRO 25 August 1898 (in Italian).
Carlo January 1934 (new libretto by R. Bergeret AMSTERDAM 18 January 1901 (in Dutch; Dutch
and G. de Saix). translation by J. Schmier already published in
18 97).
BERLIN 28 March 1901 (in German).
SAINT-SA:ENS: Samson und Delila*
RIGA 17 October 1901 (in German) and 8 Septem-
2 Deeember. Weimar ber 1924 (in Lettish).
(Original French) text (Sa11lS01l et Dalila) by F. Le- BRÜNN 30 December 1901 (in German).
maire, German version by R. Pohl. Three acts. BASLE 5 January 1902 (in German).

Saint-Saens's most famous opera; it came to WARSAW 1902 (in Italian).

France only many years after its first production: PRAGUE 6 January 1903 (in German) and II No-
Rouen 3 March 1890; Paris, Th. Eden 31 October vember 1933 (in Czech).
1890; Paris, O. 23 November 1892 (200th per- STOCK HOLM II February 1903 (in Swedish, trans-
formance 19 June 19°3; 500th performance 28 lated by K. Valentin).
June 1922). An open-air production at Orange MALTA 1904 (in Italian).
took pi ace on 16 June 1902. Given at: BUDAPEST 22 October 1904 (in Hungarian, trans-
BRUSSELS 5 May 1878 (in French, in concert form); lated by A. Rad6).
M. 25 October 1894. GRAZ 9 October 1905 (in German).
GENEVA II December 1891 (in French, on the COPENHAGEK 1RMarch 1906 (in Danish, translated
stage). by E. Christiansen).
NEW' YORK 25 March 1892 (in concert form); on LEMBERG April 1906 (in Polish, translated by A.
the stage 8 February 1895 (in French) and I I Bandrowski).
November 1913 (in English). VIENNA II May 1907 (in German).
FLORENCE, T. PAGLIANO 26 March 1892 (for the LJUBLJANA 1908 (in Slovenian).
first time in Italian, franslated by A. Zanardini). DUBLIN 1I Janllary 19!0 (in English).
ALGIERS Spring 1892 (in French). SOFIA 20 April 1912 (parts) and 2 February 1924
NEW ORLEANS 4 January 1893 (in Frcnch). (camplete, in BuIgarüli).
MILAN, SC. 27 January 1893 (in Italian) and 25 Feb- JOHANNESBURG 1913 (in English).
ruary 1910 (in French). ZAGREB 20 February 19; 4 (in Craatian, translated
CAIRO Fcbruary 1893 (in Italian). by J. Devic).
LONDON, C.G. 25 September 1893 (in English, BUClfAREST Autul11" 1920 (in Rumanian, trans-
translated by E. Ondin; cancert Ferformance); lated by D. Cllclin).

1068
 ANNALS OF OPERA

HELSINKI I February 1924 (in Finnish). In Swedish, Stockholm 17 August and 16 No:..
TEL AVIV 12 M~reh 1<)25 (in Hebrew, transbted vember 1878 (in different versions by E. A. Wall-
by A. Aschmann ; an earlier Hebrew version, mark and by E. G. Lundquist respectively).
by Ravreb, was produeed at the St. Petcrsburg In Itabn, Madrid September 1878; Turm
Conservatoire in Spring 1912). Autumn 1878; Naples, T.N. 1879.
KAUNAS 8 May I93I (in Lithuanian). In Hungarian (translated by J. Rikosi), Buda-
TALLINN 1933 (in Estonian). pest Oetober 1878.
ATHENS October 1935 (in eoncert form). In German (translated by H. Wittmann), Vien-
na, Ca. 9 November 1878; lkrlin, Fr.W. 24 No-
KRETSCHMER: Heinrich der Löwe vember 1878; Prague 14 Deccmber 1878; Lai-
bach Deeember 1878; Riga 19 March 1880; Zu-
8 Decel1lber. Leipzig
rieh 4July 1880.
Text by the composer. Four aets. In Polish, Lemberg 23 Oetober 1880.
Cologne 21 April 1878; Dresden 19 October In Czech (transbted by E. ZüngeI), Prague 14
1880, etc. Revived Leipzig 19 January 1886 and I July 1888.
February 1894. In Croatian (translated by J. E. Tomic), Zagreb
2 April 188<).

DVORAK: Selma Sedlak*

LANGE-MÜLLER: Tove (Thc Cunning Pcasant)
19]atlllary. Copenhagen 27 ]am/ary. Prague, Cz.
T cxt by the composer. Three aets. Text by J. O. Vescly. Two aets.
Lange-Müller's first opera. The seeond aet was, Very sueeessful on Czeeh stages. The latest re-
under the tide of Da gaar Dalls i B01;!;cgaard, re- vival at Prague was on I I Oetober I938.
vived at Copcnhagen on 10 January 1<)12. In German (translated by E. Züngel), Dresden
24 Oetober 1882; Hamburg 3 January 1883;
LECOCQ: Le petit Duc Vicnna I9 November 1885, etc.
25 ]m/llar)'. Paris, Ren.
Text by H. Meilhac and Lud. Halevy. Three aets. CABALLERO: EI Salto dei Pasiego
Frequcntly revived in Franee; the so far btest (The Leap of thc Highlandcr)
revival in Paris was at the Th. Mogador on 25 17 March. Madrid, Z.
March 1<)21, ~ Text by L. de Egllilaz. Threc aets.
In Frcl1ch'"1rlSo givcl1 at Brusscls 4 April 1878; Caballero's first sueeess as a composer of zar-
Amstcrdam I Oetober 1ll78; New York 12 April zuela Mexieo 25 Dcecmbcr 1881; Bucnos Aires
IR79; Mcxieo 13 AprillX79; Basle 14 Deeember 13 Oetober 1886.
IX80; Rio'deJaneiro 14 May 1881; Buenos Aires
September lX~I, etc.; LondolJ, Coronet 8 April
S U L LI V AN: H.M.S. Pinafore*
190 7.
In English (translated by S. and B. Rowe), Lon- 25 Mal" London, O.c.,
don, Philharmonie 27 April 1878; (translated by Text by W. S. Gilbert. (Sub-title, Thc Lass that
F. Williams :Illd T. R. Sullivan), Ne\v York 17 IOI'cd a Sailor.) T wo acts.
March IR79 and (adapted by H. C. Bmmer and Sullivan's first \vorld Sl1cecss. Bostc'll 25 No-
W. J. Hendcrson) 4 August IRR4. Hcvived Lon- vember 1878; S. Francisco 23 Dceember 1878;
don, King's Hall I<) May 1<)16; Brighton 7 July Philadelphia 6 Janmry 1879; New York 15 Jan-
19 16. uary 1879; CalcllttJ 1879; Cape Town 1880;

10 70
 ANNALS OF OPERA

Sydney 21 August 1880; Suva, Fiji Islands 12 Jan- the same night, 28 April, given at the Union
uary 1893. League Th. by Columbia College students; S
In English also, Mexico 23 February 1884; May at Wallack's Th. by Ford's Miniature Pina-
Berlin, Kroll's 27 November 1887. fore Company, and by another children's com-
In London ran for 700 nights. The 1,000tb pany at Haverley's Lyceum 12 May (matinee),
London performance was at tbe Savoy on 16 Sep- and at the same theatre the following night by
tember 1899. adults. 2 June Madison Square Th.; June, by
In German (translated by E. Dohm?), New amateurs at Staten Island; 9 July, a burlesque by
York 22 March 1879. Joe Burgess at Bovery Garten; I I August Aqua-
In Spanish, Madrid 188S? (anonymollS Spanish rium; 25 August Gilmore's Garden.
adaptation published in that year). As no appropriate copyright then protected a
A travesty by C. F. Pidgin, M.S.S. Pillback; or, pby originally produced in Europe, all those ver-
The white Lass tllat loved a colored Sailor, was copy- sions were pirated and more or less mutilated. The
righted (and produced?) at Boston in 1878. original operetta as produced in London was,
under Sullivan's own direction, performed at the
Dutch Pillafore, a translation into Pennsylvania
Fifth Avenue Th. 1 December, of the same year
German by A. C. Moss, was copyrighted in 1901.
1879; it ran until the end of the month, when The
A sequel, The Wreck of the Pillafore, by H. Lin-
Pirates of Penzallce had its first American produc-
gard, music by L. Searelle, was produced at the
ti on there (see 1879).
O.c., London 27 May 1882.
The following dates (taken from Vol.x of PARRY: Blodwen
G. C. D. Odell's Almals of the Nelv York Stage)
may serve to illustrate the unprecedented vogue 20 Jlme. Swansea
H.M.S. Pillafore had in New York. Text byW. Rowlands. Three acts. (This was a
It was first produced tb.ere at the Standard Th. concert performance.)
15 January 1879 (212 performances until 15 No- The first Welsh opera. Vocal score (Welsh ver-
vember). Rival productions followed at the Ly- sion by "Mynydogg", Richard Davics) published
ce um 23 January; Park Th., Brooklyn 3 Feb- 1915. Given in concert form at Abcrdare 25 De-
ruary; Fifth Avenue Th., Niblo's Garden, and cember 1886; Liverpool I August 1887; Merthyr
Novelty, Williamsburgh, all three 10 Februar)'; 26 Deccmbcr 1887; Cardiff 2 June 1890, etc. Rc-
next came a parod)', T.P.S. Callal Boat P;'Jafore, at vived Colwyn Bay 29 April T')l<) (bytheColwyn
Tony Pastor's Th. 17 February, and another bur- Bay Musical Socicty; first stage performance);
lesque at the Olympic, Brooklyn 24 February; Liverpool 5 May 1921 (by the Wclsh Operatic
the same night the original again at the Windsor Society).
Th. and 10 March at the Broadway Th., produced
by Gorman's Philadelphia Church Choir Com- SMETANA: Tajemstv{*
pany 1 17' March, Olympic Th., New York 20
(The Secret)
March, Brooklyn Athenäum, prodnccd by the
Young Apollo Club 22 March followed the Ger- 18 September. Prague, Cz.
man production at the Germania Th.,25 March Text by E. Krasnohorska. Three acts.
produced by amateurs at the Brooklyn Academy
Successful in Czechoslov.lkia. Revived at Pra-
of Music (and 25 April at the New York Aca-
gue 2 May 1901; 8 April 1913; 12 May 1922;
demyofMusic); GlobeTh. 21 April, byaChnrch
November 1938.
Choir, and one week later by a negro company;
In German (translated by M. Kalbeck), Vienna
1 This version was orchestrated by J. P. SOllSa. See 27 March 1895.
his recollections Marchillg alollS (1928), pp.62-64. In Slovenian, Ljnbljana 1922.
 ANNALS OF OPERA

COTTRA U: Griselda In Gcrl11an also, St. Gall 1 January J 882. Re-

vivcd at Stuttgart (where Abertwas court condue-
25 Septcl/lber. Tnrin, T. Alfieri
tor) 9 Oetober 18,87; 10 Oetober 18<)2; and 5
Text by E. Goliseiani. Four aets.
November I R99.
The most sueecssful of Cottrau' s operas; Malta
May I880; revived in a ncw version (rcdueed to
3 aets), Florenec IX Oetober 1890; Romc 15 d'IVRY: Les Amants de Veronf?
March 1902. 120elo{,er. Paris, Th. Ventadour
In Gcrman (translated by 1. Hartmalm), Press- Text by the eomposcr (founded on Shakespeare's
burg 29 Dcccmber 1898; Sondershal1sen 2 I Mareh ROll/CO alld JI/liet). Five aets.
1R99· Privatcly perforl11ed in Paris as early as in May
I867. Revived in Italian (translated by A. de
HEISE: Drot og Marsk Lauzieres), London, c.G. 24 May I879.
(King and MarshaI)
25 Septel/lber. Copenhagen HOF MAN N: Aennchen von Tharau
Text by C. Riclurdt (tragisk sallgdral1la). Four aets.
6 Novcl/lber. Hamburg
Very suceessf111 in Dcnmark; revived at Copen-
hagen 10 September 1909 and 15 September 1922. Text by R. Fels. Thrce aets.
In German (translated by A. Harbcher), Stutt- Suceessful in Germany; Berlin, Kroll's 2 July
gart 2 May 1906. I886 and 0.5 December IR89.
In German also, Riga IR79; Brünn 23 Septem-
ber 1879; Graz 7 November 1879; Rottcrdam 22
DES WER T: Die Albigenser December 1879; Basic 14 March 1884. Revived
1 Oelober. Wiesbaden Altenburg 28 Februar)" 1897.
Text by W. ~l111mann. Three acts. In English (translated by Mme Zoblinsky),
Frankfort 5 March 1880; Breslau 20 January Edinburgh 12 April 1880.
1884, etc.
In German also, Strasbourg 27 January 1881 J. STRAUSS: Blindekuh
and Ghent 30 March 188 I.
18 DccclIlbcr. Vienna, W.
In Freneh (transbted by G. Lagye), Antwerp
T5 March 1882. Text by R. Kneiscl. Three aets.
Berlin, Fr.W. 3 April IR79; 13rünn 20 Novem-
ber I879, ete. Revived Bremen 21 April 1937
GOUNOD: Polyeucte (text re-written by G. Quedenfeldt, musie revised
70ctober. Paris, O. and re-orchestratcd from the vocal score by F.
Text by J. Barbier and M. Carrc. Five aets. Werther).
Unsl1ccessf111 ( 29 performances); outside
Franee, onll' givcn at Antwerp 17 April 1879 and OFFENBACH: Madame Favart
.Geneva 28 April 1882.
28 Dccelllber. Paris, F.Dr.
Text"by A. Duru and H. C. Chivot. Three aets.
ABERT: Ekkehard Suceessful in Paris; revived there Th. Apollo 18
11 Oetober. Berlin, O. Oetober I91I and Tr.L. 3 November 1934·
Text bl' the composer (founded on J. V. von Outside Paris, given at:
Seheffcl's novcl). Five acts. VJENNA, w. 7 February 1879 (in German, traIlS-
Sl1eecssf111 in Germany. la ted by J. Hopp).

1073 1074
 ANNALS OF OPERA

LONDON, STRAND 12 April 1879 (in English, trans- nazaro 1881; St. Petersburg 12 November 1882;
Iated by H. B. Farnie; running for 502 nights); Sarajevo 1883; Amsterdam 8 January 1884.
revived King's Hall 21 January 1916. In Hungarian, Budapest Spring 1879; revived
NEW YOR.K 12 May 1879 (in French); 10 January 26 October 1913 (new Hllngarian version by Z.
1881 (in German); and 19 September 1881 (in Harsanyi).
English). In Swedish (translated by c. G. W. Michal),
STOCKHOLM 1879 (in Swedish). Stockholm I I December 1879.
LEIPZIG I June 1879 (in German). In Italian, Venice February 1880; Naples, Circo
BERLIN, FR.W. 15 August 1879 (in German). Nazionale 23 June 1880, etc.; Rio de Janeiro 9
BRUSSELS 15 October 1879 (in French). May 1883; Malta II January 1886 (as Fiammetta);
NAPLES, T. SANNAZARO 1879 (in French). new Italian version by A. Novelli published 1905.
BUDAPEST 13 November 1879 (in Hungarian). Revived Milan, T.d.V. September 1931 (with
MEXICO II January 1881 (in French) and 19 July recitatives by A. Bettinelli and G. Pavan).
188~ (in Spanish). In English (translatcd by D. Smith), Boston 10
LEMBERG 21 January 1881 (in Polish). May 1880; New York 17 May 1880; (translated
MILAN 21 August 1902 (in Italian). by H. B. Farnie and R. Reece), London, Comcdy
Revived in a new German version by A. Hane- 221\pril IS82; Sydney 7 April 1883; Johannes-
mann: Reichenberg 19 March 1920; in a new burg 1907.
Gennan version by S. Anheisser: Cologne Sep- In Polish, Lemberg 30 April 1880.
tember 1930; llerlin, Lessing Th. 25 December In Russian, St. Petcrsburg Summer 1881; rc-
1932· vived 24 May 1930.
In Frcnch (translated by H. C. Chivot, A. Duru
and G. Lagye), Brussels 3 February 1882; Paris,
r879 F.Dr. 29 March 1882; Mcxico April 1883; New
York 16 May I8S3; LisbonApril 1901.
BOTTESINI: Ero e Leandro In Spanish (translated by L. M. de Larra), Mad-
IlJalllwry. Turin, T.R. rid 12 December 1882.
Text by A. Boito (who origill.llly wrote the lib- In Portuguese (adaptcd by E. Garrido) Lisbon
retto for himself; it was also set to music by Man- 23 May 1884; Rio de Janciro 1885·
cinelli, see 1897). Thret: acts. In Czech, Praguc 6 September 1888.
Thc most successful opera of the famous dou- In Croatian (translated by l\. Harambasic and
ble-bass virtuoso. F. Miler), Zagreb 26 Mal' 1895.
Outside Italy, given at Buenos Aires I August First given at the Metropolitan New York :::
1879 and Aix-lcs-Bains September 1883. Jamm)" 193I (with recitatives by A. Bodanzky);
first given at the Vienna O. 2 June 1932.

S U P PE: Boccaccio*
SKIBINSKI: Verful CU Dor
1F"lmwry. Vicnna, Ca.
(The Summit ofDesire)
Text by F. Zell and R. Gt:Il~c. Thrce acts.
SuppC's most popular operetta. Subseqllcntly 6 Febmary. Bucharest
given at Frankfort 13 March 1879; Pragile 23 Original German text by Queen Elizabcth oe
M1rch 1879; Berne I4June 1879; Berlin, Fr.W. Rumania ("Cannen Sylva"), from tale of the
d

20 September 1879; Blldapest November 1879; Slmc tide, which was later published in thc
Stmbourg 27 January 1880; New York 23 April Queen' s Pelcsch-1Wärcllcl1; Rmnanian version by
1880; Riga 23 April 1880; Reval 12 November M. EmineSCll. One of thc earliest Rumanian
1880; Venice 6 Deccmber IgSo; Naples, T. San- operls (mug bv ltabn artists).

10 75
1879 ANNALS OF OPERA 1879

SAINT-SAENS: Etiemte Marcel Ver)" suecessflll in Russü; gi ven at St. Peters-

burg on 6 February 1898 in Italian (translated by
8 Fcbmary. Lyons
V. Narducci). Outside Russia:
Text by L. Gallet. Four acts.
PRAGUE 6 Decc~bcr 1888 (in Czech, translated by
Paris, O. Populaire 24 October 1884. In French
M. Cervinkova-Riegrova).
also, Aigiers Mar~h rR95.
HAMBURG 19 January 1892 (in German, translated
In Czech, Praglle 19 March 1887.
by A. Bernhard).
RcvivedMonte Carlo iMarch 1918 (in French).
LONDON, OLnJPIC 17 October 1892 (in English,
translated by H. S. Edwards) and c.G. 29 June
USIGLIO: Le Donne curiose
1906 (in Italian).
11 Felm/ary. Madrid, T.R.
NICE 7 March 1895 (in French, translated by M.
Text by A. Zanardini (founded on Goldoni's Delines).
comedy, 1753). Three acts. RIGA 1896 (in German) and 1912 (in Lettish).
In Italian also, Milan 2 August 1879; Naples,
ZAGREB 30 October 1897 (in Croatian, translatcd
T. Bellini 8 January 188o, ctc.; Malta 1882. SllC-
by J. Devic).
cessful on Italian stages; last given at Pisa 18 May
VIENNA 19 November 1897 (in German).
1889 and Facnza 5 January 1895·
BERLIN 22 September 1898 (in German) and
Kroll's Th. 25 May 1908 (in Russian).
NESSLER: Der Rattenfättger
MADRID 1898 (in Spanish, translated by A. Vidal
vOllHameln y Llil11ona).
19 March. Leipzig REVAL 1899 (in German).
Text by F. Hofmann (foundcd on a novel by J. WARSAW 4 May 1899 (in Italian).
W oUf). Fivc acts. MILAN, sc. 7"April 1900 (in Italian).
Sueecssful in Germany, given until about 1914. STRASBOURG 29 September 1901 (in German) and
Bcrlin 21 February 1880, etc. 1913 (in Estonian).
In German also, Strasbourg 15 January 1880; BUDAPEST 30 January 1902 (in Hungarian, trallS-
Riga 30 Novcmber 1880; Graz 21 December lated by S. Varady).
1880; Basle 20 November 1881; Prague 21 June LJUBLJANA 1903 (in Slovenian).
1882; Rotterdam 1 December r883; Moscow CONSTANTlNOPLE July 1903 (in Italian).
1884; Ghent 18 December r889; Reval r896; STOCKHOLM 12 October 1903 (in Swedish, trans-
Vienna, W. 30 April 1897. lated by E. A. WaIImark).
In English (translated by H. Hersee), Manches- AMSTERDAM January 1906 (in Italian).
ter 16 November 1882; London, c.G. 7 January HELSINKI 18 March 1906 (in Russian) and 26 April
188 4. 19°9 (in Finnish).
LEMBERG 30 October 1906 (in Polish, transbted by
CHAIKOVSKY: Yevgetty Onyegin* L. German).
EBreHiü OH"BrlIH'b PARIS, TII.S.B. 23 May 1911 (in Russian) and O. 9
29 March. Moscow Decel11ber 1915 (in French; two secnes only).
Text by the composer and K. S. Shilovsky (fOlmd- BUENOS AIRES 20 August 1911 (in Italian).
ed on Pushkin's poem). Threc acts. ANTWERP 8 November 1913 (in Flemish).
Fir:;t performed by the Imperial Collcge of COPENHAGEN 28 November 1915 (in Danish,
Music at the Lüde Theatrc, Moscow; publicly, translated by O. Rode and G. Hctsch).
Moscow 23 Janu:try 1881; St. Petersburg April MONTE CARLO 7 March 1916 (in Rllssian).
1883 (by the Musical Dral11atie Club) and 31 Oe- OSLO 29 Dcccmber 1917 (in Norwegilll).
tober 1884 (at the Imperial Theatre). SOFIA 10 Dcccmbcr 1919 (in B111gJriall).

1°77
 ANNALS OF OPERA

NEW YORK 24 March 1920 (in Italian; previously Lauzieres); in Russian, St. Petersburg Decem-
given there in concert form I February 1908, ber 1902 (at the Conservatoire) and 6 Novem-
in English). ber 1906 (at the Maryinski Th.).
BELGRADE 1921 (in Serbian). ANTWERP 30 December 1884 (in the original
SEATTLE 7 January 1922 (in Russian). French); Ghent 19 January 1885.
BASLE 4 March 1923 (in German). VlENNA 20 April 1885 (in German).
KAUNAS 24 April 1923 (in Lithuanian). NEW YORK 14 March 1887 (in English, translatcd
BUCHAREST Spring 1938 (in Rumanian). by J. P. Jackson).
ROUEN 14 February 1894 (in French).
WEISSHEIMER: Meister Martin BARCELONA 27 January 1898 (in Italian).

und seine Gesellen

14. April. Carlsruhe A UDRAN: Les Noces d'Olivette
Text by A. Schricker (founded on a story by E. 13 November. Paris, B.P.
T. A. Hoffmann). Three acts.
Text by H. C. Chivot and A. Duru. Three acts.
Leipzig 6 March 1880, etc; Beme 24 Novem-
In French also, Brussels 21 September 1880;
ber 1882. Revived Darmstadt I December 1901.
Naples 20 November 1880; New York 6 Decem-
(The date of the first performance is incorrectly
ber 1881; Mexico 5 February 1882.
given as 22 February 1879 or 22 March 1879 in
In Hlingarian, Budapest 8 September 1881
several boöks of reference.)
In English (translated by H. B. Farnie) , London,
Strand 18 September 1880 (runningfor 466nights);
CHABRIER: Une Education manquee*
New York 25 December 1880.
1 May. Paris In German, Vienna, Ca. 29 October 1881; Mu-
Text by E. Leterrier and A. Vanloo. One act. . nich 4 November 1883; Berlin, Th. V.d. Linden
Privately produced at the "Cercle de la Presse" 23 February 1895 (as Kapitän Caricciolo).
with piano accompaniment.
Revived with orchestra, Paris, Th. des Arts 9 OFFENBACH: La Fille du
January 1913; Monte Carlo 17 January 1924 (pro-
duced by Diaghilev, recitatives by D. Milhaud);
Tambour-Major*
Paris, O.C. 24 March 1938; Brussels 3 February 13 December. Paris, F.Dr.
1940. Text by H. C. Chivot and A. Duru. Three acts.
SEBOR: Zmafena Svatba The last of Offenbach' 5 works which was pro-
(The frustrated Wedding) duced in his lifetirne (d. 4 Oetober 1880). Success-
ful in Paris and abroad.
250etober. Prague, Cz.
In French also given at Liege 23 February 1880;
Text by M. Cervinkova-Riegrova. Three acts. Brussels 2 March 1880; Buenos Aires 1880; New
Sebor's last opera. Revived Prague May 1914. York 13 September 1880; Naples I December
1880; Mexico 18 January 1881~
RUBINSTEIN: Nero In German (translated by J. Hopp), Vienna, W.
1 November Hamburg 10 April 1880; Aachen I2 February 1881; Berlin,
(Original French) text by J. Barbier, German ver- Walhalla Th. 11 September 1883 (Hopp's trans-
sion by R. Pohl. Four acts. lation revised by A. Rheinisch).
In German also, Berlin 3 December 1880, etc. In English (translated by H. B. Famie),London,
Outside Germany, given at: Alhambra 19 April 1880; New York 4 October
ST. PETERSBURG 10 February 1884 and Moscow 19 1880. In other English versions by M. Freeman
March 1884 (in Italian, translated by A. de and E. Srnith, New York, Casino 16 Sep-

1079 1080
 ANNALS OF OPERA 1880

tember 1889; by F. Bowyer and W. E. Sprange, Sueeessful in Russia; Moseow Autumn 1892,
London, Coronet I Oetober 1900. ete.; rcvived St. Petersburg 10 Oetober 1894; 24
In Swedish (translated by E. A. Wallmark), March 1902; Moseow 9 May 1909; Petrograd 12
Gothenburg 16 Oetober 1880. March 1917, on the opening night of the Russian
In Hungarian (translated by L. Evva and J. B. State Opera-Hous~, later Maryinsky Th., after thc
Hy), Budapest 1880. revolution ofFebruary, 1917 1 ; Leningrad I Oeto-
In Flemish, Brusscls 9 Oetober 1885. ber 1921. Outside Russia, given at:
Revived Paris, Galte 27 March 1907 and 7 Oe- PRAGUE 3I August 1896 (in Czeeh, translated by
tober 1920; Milan 1907 (in Italian) ; London, V. J. NovotnY)·
Shaftesbury I June 1908 (in Freneh). Still given FRANKFORT 3 May 1900 (in German, translated by
on Freneh stages. Revived at Amsterdam Feb- A. Bernhard).
ruary 1940. LONDON, D.L. 26 June 1914 (in Russian).
RIGA 4 April 1922 (in Lettish).
SULLIVAN: The Pirates oJPenzance* LJUBLJANA 4 Oetober 1924 (in Slovenian).

30 Dcccmbcr. Paignton SOFIA 30 January 1925 (in Bulgarian).

BARCELONA 15 Deeember 1926 (in Russian); Ca-
Text by W. S. Gilbert. Two aets.
The production at the Bijou Theatre, Paignton talan version by J. Pcna and R. J. Slaby published
(Devonshire), was a copyright performance; the in that year.
OXFORD 24 November 1931 (in English, translated
next night, 31 Deeember 1879, the work was
produeed at the New Fifth Avenue Th., New by E. Agate ?).
York (as at Paignton with the suh-tide, Lo"c a"d
Duty). First given in London, O.C. 3 April 1880
CATALANI: Elda
(with the new sub-tide, Thc Sla"c of Duty; run- 31 jal/uary. Turin, T.R.
ning for 363 nights); Edinburgh 17 January Text by C. d'Ormeville (dra111111a fafltastico). Four
1881; Cape Town 1881, ete. aets.
In English also, Mexieo I Mareh 1884. Catabni' s first opera; it beeame a great sueeess
In German (translated by F. Zell and R. Genee), only 10 years bter when the composer revised it
Vienna, W. I Mareh 1889. under the new title of Lorcley (text alteted and
Revived Düsseldorf I Deeember 1936 (new redueed to 3 aets by A. Zanardini: azio/lc dra111-
German version by F. A. BeyerIcin). 111atica). It was produeed at the same theatre on
16 Februar)' 1890 and still holds the boards in
Italy.
r880 In Italian also given at:
ZENGER: Wieland der Schmied ODESSA Carnival 1901.
BUENOS AIRES 23 July 1905.
18 jalluary. Munieh
ALEXANDRIA Carnival 1907.
Text by P. Allfcld. Four aets.
LONDON, c.G. 12 July 1907.
The best of Zen ger' s four opcras. Revivcd in a
RIO DE JANEIRO 4 JUlle 1910.
ncw version, Munieh 5 April 1894·
MADRID April. 1916.
CHICAGO 17 January 1919.
RIMSKY-KORSAKOV: Maiskaya Noch
NEW YORK 13 February 1919.
MaifcKaH HOqb*
MALTA 1919.
(May Night) MONTEVIDEO 25 .AugustI920.
21 ja/ll/ary. St. Pctersburg
I At Moscow, the opcning bill (April 8), consistcd of
Text by thc composer (foundcd on a story by one act each frolll Glinka's RJ/sla/l i LYJldlllila (see 1842)
Gogol). Thrce aets. .nd frolll Rimsky-Korsakov's S"dko (see 1898).

1081 1082
1880 ANNALS OF OPERA 1880

SUPPE: Donna Juanita One of Rubinstein's best works; after the

second performance it was banned by the police
21 February. Vienna, Ca.
for political reasons. Revived only eight ycars
Text by F. Zell and R. Genee. Three aets.
later: St.'Petersburg 22 January 1888, then Mos-
Suppe's last great sueeess.
eow 25 Mar~h 1901, cte.
In German, Nuremberg 25 April 1880; Prague
I2June 1880; Berlin, Fr.W. 2 Oetober 1880; Bu-
dapest9 Oetober 1880; Trieste 20 Getober 1880; DELIBEs:Jean de Nivelle
Veniee 30 November 1880; Laibach, Bueharest 8 March. Paris, O.c.
and Czernowitz 1880; Naples February 1881; Te~t by E. Gondinet and P. Gille. Three aets.
New York 27 September 1881; Basle 17 January Given at the O.c. 100 times until 6 January
1883; St. Petersburg II April 1883; Sarajevo 1881 and revived at the Gaitc-Lyrique 5 Oetober
1883; Lodz 8 Deeembcr 1883; Amstcrdam 15 De- 1908. Outside Paris, given at:
eember 1883; Reval I2 March 1885; Sofia Sum- STOCKHOLM I December 1880 (in Swcdish, trans-
mer 1893. lated by F. T. Hedberg).
In Czeeh (translated by B. Pdka and E. Ziin- BUDAPEST 17 March 1881 (in Hungarian, rrans-
gel), Prague 1880. . lated by A. Varadi).
In Swcdish (translated by C. G. W. Michal), COPENHAGEN 17 March 1881 (in Danish, trans-
Stockholm 23 November 1880. lated by A. Zinek).
In Hungarian, Budapcst 25 Deeember 1880. VIENNA 29 March 1881 (in German, translated by
In English (transhted by?), New York 16 May F. Zell).
1881. GENEVA 19 April 1881 (in French).
In Russian, St. Petersburg Summer 1881. ST. PETERSBURG 14 December 1881 (UL Italian,
In Italian (translated by P. Morelli), Malta 1886. translated by A. Zanardini).
In Freneh (translated by E. Lcterrier and A. BRUSSELS 28 November 1882 (in Frelleh).
Vanloo), Brusscls 22 Oetober 1883; Paris, F.Dr.
4 April 1891.
CAUDELLA and OTREMBA: Oltenca
In Danish (translated by C. Kjerulf), Copen-
hagen J884. March. Jassy
In Spanish (translated by J. Molas y Casas), Text by G. Bengescu. Three aets.
Barcelona 20 September 1884; Mexico 14 May Early Rumanian cornic opera; .libretto printcd
1885. 1880.
In Croatian (translated by M. Pogacic), Zagreb
28 November 1905. VARNEY: Les Mousquetaires
Revived Berlin, Th.d.W. I2June 1926 (as Die au Couvent
grosse Unbekannte); New York, M. 2January 1932
16 March. Paris, B.P.
(in English, translated by A. Mattulath, with re-
Text by P. Ferrier and J. Prevel. Three acts.
eitatives by A. Bodanzky); Coblentz 6 Novem-
The most suecessful ofVarney's more than 30
ber 1937 (revised by A. Treumann-Mette).
operettas; still popular in France; the so far latcst
revival in Paris was at thc G.L. on 15 April 1924.
RUBINSTEIN: Kupyets Kalashnikov
In Freneh also given at Brussels 3 June 1880;
Ryrre1rh RaJIalliHHIWB10 Geneva 24 Septembcr 1880; Cairo 4 November
(The Mcrchant Kalashnikov) 1880; Mexico 7 Januar)' 1882; New York 25
5 Marcli. St. Petersburg April 1882; Buenos Aires 1882; Berlin, Apollo
r:
Text by N. Kulikov (founded on Lermontov's Th. 13 February 1893; London, Coronet 10 April
poem). Three acts. 190 7.
108 3 1084
1880 ANNALS OF OPERA 1880

In English (translated by H. B. Famie), Lon- ERKEL: Nevtelen Hösök

don, Globe 31 October 1880; BostonMarchl882. (Nameless Heroes)
In Spanish (translated by F. Serrat y Weiler and
30 November. Budapest
J. M. Casademunt), Barcelona 24 August 1881.
Text by E. T6th. Four acts.
In Russian, St. Petersburg Summer 1881.
In German (translated by J. Hopp and E. Maut- Revived Budapest 15 January 1916 (new lib-
retto by A. Kern and F. Martos, music revised by
ner), Vienna, W. 30 September 1881; Berlin,
N. Rekai).
Alexanderplatz Th. 21 March 1896.
In Italian (as All/ore ed Armi), Rome 15 January
MILLÖCKER: Apajune der Wassermann
1883·
18 Deeember. Vienna W.
MATHIEU: La Bernoise
Text by F. Zell and R. Genee. Three acts.
April. Brusscls, M.
1
Very successful on German stages for about 30
Text by L. Solvay. One act. years. Given at Pressburg 21 February 1881;
Revived Antwerp I I March 1897 (in French) Hamburg 6 May 1881; Brünn 8 October 1881;
and 5 October 1912 (in Flemish). Berlin, Fr.W. 10 December 1881; New York 13
January 1882; Temesvar 1882; Budapest 2 Oc-
J. STRA uss: Das Spitzentuch tober 1882; Prague 26 April 1883.
der Königin In Hungarian, Budapest 4 March 1881:
1 Oetober. Vienna, W. In English (translated by ?), New York 25 Feb-
Text by H. Bohrmann-Riegen and R. Genee ruary 1882.
(originally written for Suppe; a Cerva/ltes ope- In Croatian (translated by A. Harambasic)
retta). Three acts. Zagreb I I November 1885.
In German also, Berlin, Fr.W. 24 November
1880 (text revised by J. Rosen; last revived in POl SE: L'Amour Medecin
Berlin, D. O. 22 May 193 I); Czernowitz 20 Jan- 20 Deeember. Paris, O.C.
uary 1881; ßudapest 21 February 1881; Stras-
Text by C. P. Monselet (founded on Moliere's
bourg 24 February 1881; Brünn 5 March 1881;
comedy). Three acts.
Graz 20 March 188r; Zurich 12 August 188r;
Successful in Paris; given at the O.C. until
Frague 6 January 1883; New York I October
1898.
1883; Amsterdam I February 1884; Reval 1887.
In French also, Brussels 19 January 1887.
In Swedish (translated by E. A. Wall mark) ,
Stockholm 1881.
In English (translated by L. C. Elson), New
PONCHIELLI: 11 Figliuol prodigo
York 21 October 1882. 26 Deeember. Milan, Sc.
In Hungarian, Budapest 29 December r885. Text by A. Zanardini. Four acts.
In Croatian (translated by F. Miler), Zagreb Successful in Italy; the Iatest revivals were at
2 December 1910. Cremona I July 1934 (open-air performance) and
(Thc f.'lmous waltz, Rosen aus delll Süden, Milan, Sc. 26 December 1934. Outside Italy, only
consists of tunes from this operetta:.) given at Buenos Aircs 22 May 1897.

BUCK: Deseret; or, A Saint's AUDRAN: La Mascotte

Affiiction 28 Dccembcr. Paris, B.P.
Oetober. N ew Y ork, Haverley's
11 Text by A. Duru and H. C. Chivot. Three acts.
Text by W. A. croffut. Three acts. Audran's most popular operetta; the I,oooth
American comic opera, successful in the U.S.A. Paris performance was in December 1885, the

1085 1086
1880-81 ANN ALS OF OPERA 188r

1,700th on 29 August 1897; the so far latest re- (OFFENBACH) : Les Contes
vival at the Th. Porte St. Martin 13 May 1935.
d Hoffinaml*
J

Given at:
VIENNA, w. r2 February 188r (in German). 10 Fcbmary. Paris,O.C.
ANTWERP 24 March r881 (in Freneh). Text by J. Barbier and M. Carre (founded on a
BUDAPEST 10 April r88r (in Hungarian). play by the same authors, first produced at the
STOCKHOLM 28 April r88r (in Swedish, translated Odeon, Paris, 31 March 1851). Prologue, three
by E. G. Lundquist). acts and epilogue.
NEW YORK 5 May r88r (in English); 30 Novem- Carrc's name as joint librettist appears only in
ber 188r (in Freneh); and 5 Deeember 188r (in the first edition of the vocal score. In alliater edi-
German) ; revived Jolson's I Deeember 1926 tions Barbier alone is mentioned. The libretto was
(in Freneh). originally written to be set to music by Hector Sa-
BUENOS AIRES September 1881 (in Freneh). lomon. Offenbach did not live to finish the work,
BRIGHTON r9 September 1881 (in English, trans- which was orehestrated by E. Guiraud. The
lated by H. B. Famie and R. Reeee). drinking song and the famous barcaroie wer<:
LONDON, COMEDY 15 Oetober 1881 (in English) taken from Offenbach's German opera, Die
and Royalty 23 January 1888 (in French). Rhei/1/lixen (Vienna 1864).
BERLIN, Fr.W. 25 October 1881 (in German) and Very suceessful in Paris; given at the O.c. lor
Walhalla Th. 25 January 1888 (in"French). timcs in 188!. Revived Th.L. (Renaissance) 7
PRAGUE 8 November 1881 (in German). February 1893 and O.c. r3 November 19 I I
M1:XICO 4 January 1882 (in French) and 13 May (given there over 600 times to date).
1883 (in Spanish). Outside Paris, given at:
BARCELONA Summer 1882 (in French). VIENNA 7 December 1881 (in German, translated
COPENHAGEN 1882 (in Danish, translated by P. by J. Hopp; produccd at the "Ringtheater",
S0rensen). whieh was bumt down the night of the seeond
MILAN 30 November 1886 (in French) and 6 Oe- performance; this disaster always being asso-
tober 1889 (in Italian). eiated with Offenbaeh's work, the opera did
CAPE TOWN 1887 (in English). not become popular in Germany until about
ZAGREB 30 March IS91 (in French) and 9 Decem- 25 yelrs later. Given at Vienna, W. 8 June r8 83
ber 1897 (in Croatian, translated by S. Albini). (in Hungarian, by the Budlpest eompany); O.
RIGA and REVAL 1891 (in German). I I November 190r (in German).
BASLE 31 October 1894 (in German). GENEVA 8 April 1882 (in French).
LISBON May 1901 (in French). BUDAPEST r5 April 1882 (in Hungarian, translated
by A. V:iradi).
HAMBURG 20 September 1882 (in German).
r88r NEW YORK 16 Oetober 1882 (in Freneh) and 30
September 1913 (in English, translated by C. H.
STANFORD: Der verschleierte Profit Meltzer).
6 Febmary. Hanover MEXICO 15 Deeember 1882 (in Freneh).
Original English text by W. B. Squire (The Veiled PRAGUE Summer 1883 (in German) and 18 Oe-
Prophet of Khorassan, founded on Moore's Lalla tober 1888 (in Czeeh, translated by V. J. No-
Rookh), German version by E. Frank. Three acts. votny).
The first opera of the Irish composer. ANTWERP 30 November r883 (in French) and 25
Revived (with alterations), London, c.G. 26 January 1912 (in Flemish).
July 1893 (in Italian, translated by G. A. Mazzu- BERLIN, FR. W. 22 March 1884 (in German) ; re-
cato). vived K.O. 17 November r905 (new German

1088
1881 ANN ALS OF OPERA 1881

version by M. Morris; prologue, 3 acts and KHARKOV 1925 (in Ukrainian).

epilogue; with some ncw numbers from Offen- KAUNAS 12 November 1925 (in Lithuanian).
bach's original score and with recitatives in- TEL-AVIV 27 March 1939 (in Hebrew, translated
stead of spoken dialogue). This production (by by A. Aschmann).
H. Grcgor) rcached its 500th night on 24 Sep-
tember 1909 and scrved as a model for many
latcr revivals in Germany and e1sewhere. First CHAIKOVSKY: OrZeanskaya Dyeva
produccd at the Berlin O. 23 September 1915. ÜpJIeaHCKaH ,I1;1ma*
LEMBERG 1884 (in Polish, translated by A. Ur- (The Maid of Orleans)
banski).
25 February. St. Petersburg
WARSAW 1905 (in Polish, translated by A. Ur-
banski). Text by the composer (founded on V. A. zhu-
BRUSSELS 28 January 1887 (in French).
kovsky's Russian version of Schiller's tragedy).
STOCKHOLM 17 May 1889 (in Swedish, translated
Four acts.
by E. A. Wallmark). Revived Moscow 1899 and September 1907.
COPENHAGEN 1 January 1890 (in Danish, trans- In Czech, Prague July 1882 (first opera ofChai-
lated by E. Bogh). kovsky that was heard outside Russia).
BUENOS AIRES 1894 (in French) and 25 August
1921 (in Italian).
BASLE 27 November 1895 (in German).
WAELPUT: Stella
RIGA 3 December 1897 (in German) and 9 January 14 March. Brussels, Alhambra
1923 (in Lettish). (Flernish) text by I. Teirlinck and R. Stijns. Re-
ST. PETERSBURG 17 February 1899 (in Russian); vived Antwerp November 1890.
revived 31 January 1924·
ZAGREB 19 April 1902 (in Croatian, translated by
F. Miler).
PERFALL: Raimondin
LJUBLJANA 1902 (in Slovenian). 27 March. Munich
AMSTERDAM September 1902 (in Dutch). Text by H. T. von Schrnid. Five acts.
BOLOGNA 28 November 1903 (in Italian, translated
Leipzig 3 April 1882; Berlin 21 November
by A. Zanardini). 1882, etc. Given in a redllced 3-act version as Me-
BARCELONA April 1905 (in Spanish) and 5 February
lusine at Munich 30 September 1885.
1924 (in Italian).
REVAL (TALLINN) Spring 1905. (in German) and
1923 (in Estonian). GOUNOD: Le Tribut de Zamora
LONDON, ADELPHI 17 April 1907 (in German) and
1 April. Paris, O.
H.M.'s 12 May 1910 and c.G. 5 October 1910
Text by A. P. d'Ennery and J. Brcsil. Fonr acts.
(in English, transbted by E. Agate).
Given in Paris 50 times until 1885.
BUCHAREST Spring 1907 (in German) and Feb-
ruary 1926 (in Rumanian). In French also, Antwerp 16 November 1882;
JOHANNESBURG 5 March 1912 (in English).
Geneva 19 March 1885.
HElSINKI 14 April 1912 (in Swedish) and 22 April In Italian (translated by A. Zanardini), Turin 5
1925 (in Finnish). March 1882.
OSLO 14 December 1916 (in Norwegian). In German, Vienna 30 January 1883; Hambnrg
MALTA 1917 (in Italian). 25 February 1884; Prague 1892.
BELGRADE 1921 (in Serbian). The first act was revived at Monte Carlo 2
SOFIA 9 March 1922 (in Bulgarian). April 1918.

lOgo
1881 ANNALS OF OPERA I88J

S ULLIV AN: Patience; cr, ZAGREB 27 October 1933 (in Croatian).

Bunthorne's Bride* LJUBLJANA 11 April 1934 (in Slovenian).

25 April. London, O.c.

GOULA: A la Voreta de! Mar
Text by W. S. Gilbert. Two acts.
(On the Seashore)
In London ran for 578 nights. St. Louis 28 July
1881; New York, Standard Th. 22 September july. Barcelona, T. Principal
1881, etc. Text by D. Calvet. One act.
In English also, Berlin, Kroll's 30 April 1887; The first opera (or rather operetta) ever written
Vienna, Ca. 28 May 1887; Leipzig 2 July 1887; and sung in the Catalan language.
Budapest c.1887; Amsterdam I February 1888.
The Savoy Theatre, London, was inaugurated DVORAK: Tvrde Palice*
with Patience on lc> October 1881. (The Pigheaded Peasants)
A parody, Im-Patience, text by W. Browne, 2 Octoher. Prague, Cz.
music by F. Stanislaus, was produced at 'tiverpool
Text by J. Stolba. One act.
25 August 1884.
Revived Prague 8 September 19°1; 25 Sep-
tember 1910; 24 October 1913; and 31 August
J. HUBER: Irene 1928 .
3 jUlle. Stuttgart In German, Zurich Spring 1907.
Text by P. Löhmann (published as early as 1865).
Symphonic I-act drama, in some respect antici- HALLEN: Harald der Wiking
pating operas like R. Strauss's Salome, etc. 16 Oetober. Leipzig
Text by H. Herrig. Three acts.
SMET AN A: Libuse* In Swedish (translated by A. Lindgren). Stock-
holm 18 February 1884 (given there untilI912).
11 jUlle. Prague, Cz.
Parts of the opera were heard in coricert form
(Original German) text by J. Wenzig, translated
at Bcrlin on 4 April 1892.
into Czech by E. Spindler. Three acts.
The opera had been written in 1871-72; pro-
LI S Z T:Die Legende von der
duced only nine years later, at the inauguration of
the Czech National Thcatrc ("Narodnf Divad-
heiligen Elisabeth
10"), Prague; the theatre burnt down two months 230etober. Weimar
bter (12 August) and the new building, on 18 Text by O. Roquette. Prologue and 4 scenes.
November 1883. again was inaugurated with Li- First stage production of Liszt's oratorio (first
bufe. given at Budapest 15 August 1865, in Hungarian
Along with Da/ibor (see 1868) Smetana's most [Sze/lt Erzsebct Legeudaja] and Munich 24 Feb-
important serious Czech national opera. Revived ruary 1866, in German). Furth!!r operatic per-
at Prague 18 November 1902; 24 May 1915; 25 formances took pbce only after Liszt's death:
June 1920; 12 May 1924; and 18 May 1938 (C.200 VIENNA 25 December 1889 (in German).
performances altogether). The I,oooth Smetana PRAGUE 16 December 1890 (in Czech).
performance at Prague (counting a11 his operas) MUNICH 14June 1891.
was cclebrated with Lihufe, 27 August 1905. BUDAPEST 15 September 1891 (in Hungarian,
Given all over Czechoslovakia; also produced translated by K. Abrinyi; given therc until
at: 1933).
VIENNA 4 June 1924 (in Czech, by the Olomouc GRAZ 19 November 1892 (in German).
Opera Company). BRÜNN 18 November 1893 (in German).

1°9 1 1092
1881 ANNALS OF OPERA 188!

MANNHEIM 22 Dcccmber lR97 (in German). FIBICH: Blanik

GOTHA 6 March 1898 (in German).
25 ""ol'cl1Iba. Prague, Cz.
RIGA Dcccmber 1907 (in German).
Text by E. Kdsnohorska. Three aets.
NEW YORK 3 January 1918 (in Gcrman).
Fibich's second opera. Revived at Prague 4
BERLIN 27 January 1918 (in Germ an).
April 1894 allel 17 April 1925.

GURJAO: Idalia REINTHALER: Das Käihchen

3 lVOJlClIlbcr. ßclem do l':lfa von Heilbrol1ll
(Italian) text by the composer (who was a pupil 7 DaclIlbcr. Frankfort
of Pacini). Three aets. Text by H. Bulthaupt (fmmded on H. von
The vocal score of this early opera by a Bra- Kleist's drama). Four aets.
zilian compo~er was published at ßelclll da Pad After a com petition this opera had been chosen
in 1882. for the opcning night of thc ncw Frankfort opera
hause. ßcrlin 23 Mareh I XX<).

J. STRA uss: Der lustige Krieg

MASSENET: Herodiade*
25 NOJlcmbcr. Vienna. W.
19 DCCl'/lIhcr. ßrussels, M.
Text by F. Zell anel R. Genee. Three aw. Text by P. Milliet and "H. Grcmont" (G. Hart-
In German also, givcn at Berlin, Fr.W. I') l111- mann), fOllnded on a story by Fbubert. Four aets.
uary 1882 (300th performance 15 September One of Massenct' s most successflli works; still
1885); Brünn and Graz 11 February 18H2; Prague givCll on French stages.
12 Febrmry 1882; Naples 13 February 1882; Produccd :lt:
Posen 22 February 1882; New York J 5 M;uch MILAN, SC. 23 february I HX2 (in Italian, transbted
1882; BasIc 17 March I8H2; Stra,bourg 10 April by A. Zanardini, with SDrnc additions).
18112; Sarajevo 1882; St. Petcr,burg 20 lmuary ßUDAI'L,T 23 Deccmber I RR2 (in HUllgarian,
18X3; Riga 25 February 11\83; Dnrpat 8 July translateel by E. Abdn)i).
IR83; Czernowitz 1883; Mmcow 23 Dccembcr lIAMBUHC 20 Januar)' J XX3 (in (;crlllan, trambtcd
1884; Helsinki Summer 1900. hy G. F. Rcis<,).
In HUllgarian, Budapest 3 J January 18H2. NANTES 2<; March lilX3 (f,;r thc first timc m
In Czeeh (translated by E. bingel), Prague FrJllCe, in FreIIch).
IlHl2. I'HACUE 3 November IXX3 (in Cerman).
In English (translated by L. C. El,on), New I'AIUS, TII.1. I February J XX4 (in ltalian; in Frcnch
York 27 JU!Je IHX2; (translated by R. Rcecc), only 21 Oetober 1<)03 at the opening of the
London, Alhall1bra J 5 Oetober 18H2. ne\V "Thcatre-Lyricjue de Ja Gaitt').
[n Swcdi,h (translated by E. A. Walllllark), CE:'HOVA 10 Dcctmber 1XX4 (in Frcnch).
Stockholm 1S1l2. L1Sl!ON 1 XXo (in Italian).
In French (transbtcd by A. anel M. Hennn]tün), HlO Df JANEllHl 1SR<) (in Italian).
llrussch I<) November J 8S5 (music adapted by NLW OHLEANS 13 Fcbmary I X'j2 (in frclIch).
M. Kufferath). CAlJH> Ikcernber lX,)4 (in FrclIch).

In Croatian, Zagreb J Mal' 1<)00. ALGILHS Spring I X<)6 (in french).

In flcllli,h, Ghcnt N OV<:1l1 ber J <)0 I. IIACUL ])ccembcr 1ö<)o (in Frcnch).
FrcCjllcntly rcvived on (;enn;m ,tage,; revivcd AMSTFIWAM 1\-1:Irch 1<)00 (in Dutch).
in English, London, New Sr. P.mcras Th. 2 Feb- LOND()N, ce. 0 July 1')04 (in Frcnch, OlS Sn/Oll/In
wary 1<)3'). amI L.O.H. 15 Dccclllbcr 1<)11 (as lJ/rodiadl').

10<)3 10<)4
188r-82 ANNALS OF OPERA 1882

BUENOS AIRES 6 July 1907 (in Italian). Chapi's first successful zarzuela; very popular
NEW YORK 8 November 1909 (in French). in Spain, "causando un verdadero delirio de entu-
BARCELONA 13 December 1924 (in Italian). siasmo".
CASABLANCA, MOROCCO 14 April 1934 (inFrench). In Spanish also, New York 27 April 1917. Re-
An open-air performance at the Roman Thea- vived Madrid, T. Price March 1934.
tre, Orange, took place on 15 June 1902. First
given at the Paris O. 22 December 1921 and re-
MIHALOVICH: Hagbarth und Signe
vived there 3I December 1928 and 12 April 1935.
12 March. Dresden
Text by A. Stern (founded on a play by A. G.
1882 Oehlenschläger). Three acts.
Mihalovich's first opera; in Hungarian (trans-
RIMSKY-KORSAKOV: Snyegurochka lated by A. Viradi), Budapest 17 January 1886.
CHtrYPOlJKa*
(The Snow Maiden)
(DONIZETTI): 11 Duca d'Alba*
10 February. St. Petersburg
Text by the composer (founded on a play by A. 22 March. Rome, Ap.
N. Ostrovsky). Prologue and 4 acts. (Original French) text by A. E. Scribe, Italian
Moscow 7 February 1893; Kiev 16 January version by A. Zanardini. Four acts.
1896, etc. Revived Leningrad 28 April 1928 and The opera had been written for the Paris Opera
23 September 1934. Outside Russia, given at: in 1840, but was not produced then. Scribe after-
PRAGUE 29 March 1905 (in Czech). wards altered the libretto for Verdi; it became Les
PARIS, O.C. 22 May 1908 (in French, translated by Veprcs siciliennes (see 1855). Donizetti' s score was
P. Halperine and P. Lalo) and Ch.E. 9 February recovered at Bergamo in 1875 and completed by
1929 (in Russian). Matteo Salvi. After Rome it was given at Napl::s,
ZAGREB 28 June 1921 (in Croatian). Bergamo, Turin and at Barcelona 19 December
SEATTLE 5 January 1922 (in Russian). 1882 and Malta 1884.
NEW YORK 23 January 1922 (in French) and 9
March 1935 (in English).
BARCELONA 24 January 1922 (in Russian).
LUX: Der Scllmied von Rulda
BERLIN, V.O. 27 September 1923 (in German, 29 March. Mayence
translated by A. Bernhard). Text by L. Bauer. Three acts.
ANTWERP 8 November 1927 (in Flernish).
Popular on German stages during the 'eighties;
BUDAPEST February 1928 (in Hungarian).
also given at Strasbourg 21 March 1886; Basle 21
November 18~; Graz 23 March 1887.
SOFIA 8 September 1929 (in Bulgarian).
BUENOS AIRES 21 September 1929 (in Russian).
LONDON, SADLER'S WELLS 12 April 1933 (in Eng-
lish, translated by E. Agate). A. T H 0 M A S: Fran~oise de Rimini
TURIN November 1931 (in Russian). 14 April. Paris, O.
Text by J. Barbier and M. Carre. Prologue, 4 acts
CHAPI: La Te/llpestad and epilogue.
(Thc Storm) Thomas's last opera. Given in Paris 42 times
11 March. Madrid, T. de Jovcllanos unti118 85.
Text by M. Ramos Carri6n (founded on Erck- Outside Paris only given at Antwerp 11 De-
mann-Chatrian's Le Jtlif Polollais). Three acts. cember 1883 (in French).

1096
J882 ANNALS OF OPERA r882

LENEPVEU: Velleda AMSTERDAM 20 June 1905 (in German, under H.

Viotta).
4 July. London, c.G.
MONTE CARLO February 1913 (privately).
(Original French) text by A. Challamel and J.
ZUR1cn I3 April 1913 (in German, under L.
Chantepie (foundcd on Chateaubriand's Les Mar-
Kempter; the Swiss copyright had expired by
tyrs), Italian version by G. Vacotti. Four acts.
that time).
Written for Adclina Patti. Revived (in the
BUENOS AIRES 20 June 1913 (in Italian, translated
original French) Rouen 18 April 1891.
by A. Zanardini ' ; under G. Marinuzzi).
RIO DEJANEIRO 8 September 1913 (in ltalian, trans-
R. WAGNER: Parsifal lated by A. Zanardini; under G. Marinuzzi).
26 July. Bayreuth After 3I Decembcr 1913, Parsifal was first
Text by the composer (Eill Biilll1cllllleihfestspiel). given at Barcelona (in ltalian; the performance
Three acts. beg an at midnight!); a Catalan version by J.
Wagner's last opera. Written 1877-79; score Zanne and J. Pena had becn published in 1907).
fmishedJanuary 1882. Text published 1877 (first On I January 1914 also, Berlin, D.O.; Bremen,
English translation by H. ~nd F. Corder 1879). Brcslau, Kiel; Prague (both in German and in
Vocal score (by J. Rubinstein) 1882, full score Czech, translated by J. Vymetal); Budapest (in
1~85· German, at the Peaple's Opera); Bologna, Rome,
The production of Parsifal was limited to Bay- and Madrid (in Italian).
reuth until 30 years after the composer's death FRANKFORT and MAYENCE 2 January 19J4.
(rooth performance 19 August 1897). The copy- ST. PETERSBURG 3 January 1914 (in Russian).
right ran out on 31 December 1913. There are, FREJBURG and PARIS, 0.4 Januar)' 1914 (in French,
however, several performances before dut date translated by A. Ernst).
to be recorded. BERLIN, O. 5J;nuary 1914 (rooth performance 31
Private performances for King Ludwig of Ba- March 1923).
varia took place at Munich on 3, 5 and 7 May, and BRUSSELS 5 January 1914 (in French, translated by
5 and 7 November 1884; and on 26, 27 and 29 M. Kulferath and J. Gautier).
April 1885. MILAN, sc. 9 January 1914 (in Itabn, translated
Concert performances, more or lcss complete, by G. Pozza ' ).
were at: COLOGNE I I Januar)' 1914.
LONDON, ALBERT HALL ro November 1884 (under VIENNA, o. 14 January 1914.
J. Barnby). MARSEILLES and MONIE CARLO 20 January 1914 (in
NEW YORK 3 March 1886 (under W. Damrosch). French).
BOSTON 15 April 1891 (in English, undcr B. Lang). VIENNA, v.o. 25 Januar)" 1914.
AMSTERDAM 3 Decembcr 1896 (under H. Viotta), LONDON, C.G. 2 February 1914 (in German).
and in many other towns. LYONS 13 February 1914 (in French).
Stage procluctions, against the privilegc ofBay- ANTWERP 17 March 1914 (in Flcmish, translated
reuth and much discllSsed then, were at: by L. van Riel).
NEW YORK, M. 24 December 1903 (in German, DRESDEN 24 March 1914.
under A. Hertz, produced by H. Conried). GENOA 2 Mal' 1914 (in Italian).
BOSTON 17 October 1904 (in English, translated PARIS, CH.E. 3 June 1914 (for the first time there in
by J. P. Jackson; under W. H. Rothwell, pro- German).
duced by H. Savagc); subsequcntly given at
1 Dcsides Zanardini's and Pozza's, there are three
New York 31 October 1904 :md in other
more printed Italian versions of Parsi{al, by F. Verdi-
American tOWllS; at New Orleans 24 April nois, 1909; by G. Vaccaro, 1914; and by F. Spetrino,
1905; Mantreal April 1905. n.d.

1°97
 1882 ANNALS OF OPERA 1882
Up to I August 1914 also produced at Ham- PLANQUETTE: Rip van Winkle
burg, Königsberg, Barmen, Elberfeld, Stras- 140etober. Löndon, Comedy
bourg, Halle, Chemnitz, Wiesbaden, Leipzig,
(Original Freneh) text by H. Meilhae and P. Gille,
Nuremberg, Hanover, Stuttgart, Stettin, Cassel,
English version by H. B. Farnie. Sub-title: A
Weimar, Augsburg, ~osen, Munieh, Brünn, Pisa,
Romanee of Sleepy Hollow. Three aets.
Venice, Florence, etc.
Apart from Les Cloehes de Corneville (see 1877)
Some later productions :
the most suecessful ofPlanquette's more than 20
COPENHAGEN 9 April 1915 (in Danish, translated operettas. In London it ran for 328 nights: sub-
by J. Lehmann), sequently given at:
STOCKHOLM 21 April 1917 (in Swedish, translated NEW YORK 28 Oetober 1882 (in English).
by S. Elmblad). VIENNA, W. 22 Deeember 1883 (in German, trans-
LONDON, C.G. 17 November 1919 (in English). lated by F. Gumbert and E. Jacobson).
MANCHESTER 12 January 1920 (in English). BUDAPEST 28 Deeember 1883 (in Hungarian).
PRAGUE 14 April 1884 (in German).
NAPLES, s.c. 19 February 1921 (in Italian).
DRESDEN 3 May 1884 (in German).
LISBONSeptember 1921 (in Italian).
STOCKHOLM 1884 (in Swedish).
HAVANA 1921 (in Italian).
,PARIS, F.DR. 11 November 1884 (in Freneh).
ZAGREB 28 April 1922 (in Croatian). BRUSSELS 19 February 1885 (in French).
BASLE 20 September 1922 (in German). MEXICO 7 June 1885 (in Spanish, translated by J.
AMSTERDAM 10 April 1923 (in Duteh, translated Nombela).
by 1. van Riel). BERLIN, WALHALLA 13 November 1886 (in Ger-

BUDAPEST 1 June 1924 (in Hungarian, translated man).

by I. Kereszty and V. Linyi). MADRID 1909 (in Spanish, translated by R. Fer-

BUCHAREST Deeember 1932 (in Rumanian). nandez y Gonzalez).

Still given on Freneh spges. Revived'Paris, G.L.
HELSINKI1 March 1933 (in Finnish).
3 N ovember ~924; Monte Carlo Deeember 1929;
LJUBLJANA 14 April 1933 (in Slovenian, translated
Geneva February 1939.
by M. Polie).
RIGA 14 March 1934 (in Lettish).
BELGRADE June 1938 (in Serbian).
GRANDJEAN: Colomba
A Polish version by 1. Poplawski had been 150etober. Copenl!agen
published in i906. Text by H. P. Holst (founded on Merimec's
story). Three aets.
The most sueeessful of Grandjean' s operas.
DVORAK: Dimitrij*
8 Oetober. Prague, Cz. SMETANA: Certova Stena
Text by M. Cervinkova-Riegrova. Four aets. (The Devil' S Wall)
The seeond new opera at the new Czeeh Na- 29 Oetober. Prague, Cz.
tional Theatre (see I I lUlle 1881). New version, Text by E. Kdsnohorsk:L Three aets.
Prague 20 November 1883 and frequently re- Smetana's last perforrned opera (apart from the
vived there sinee (latest revival 27 April 1928). fragments of his unf.:nish<'d hol.::) Revived at
In Czeeh also, Vienna 2 JUlle 1892 (at the Prague 12 May 1904, 26 May 1909; 20May 1917;
Exhibition Theatre) and 14 May 1929 (at the and 2 February 1924.
Stadt Th. by a eompany from Bratislava). In Czech als,-" Vienna 30 May 1924 (by the
In Rumanian, Bueharest 1932. Olomoue Opera C"mpany). ,

I099 JIOO
 ANNALS OF OPERA 1882-83
A V D R AN: Cillette de Narbonne In Swedish (translated by E. A. Wallmark),
11 Novel/lber. Paris, B.P. Stockholm 2 May 1883.
In Italian (as Il Gu itarrero), Leghorn Oetober
Text by H. C. Chivot and A. Duru (partly
188 3.
founded on Shakespeare's Al/'s Well ThaI Ends
In English (translated by F. A. Schwab), New
Well). Three aets.
York 29 Oetober 1883 (revived 22 March 1913);
Sueeessful in Paris; the so far latest revival there
(translated by W. n. Kingston), London, Al-
was at the Th. Porte St. Martin on 24 June 1935.
hambra 12 April 1884.
In Freneh also givcn at BrusscIs·9 January 1883;
In Croatiall (translated by A. Harambasic),
Geneva 19 January 1883; Rio de Janeiro 28 June
Zagreb 15 March 1884.
188 3.
In Freneh (translated by A. Hennequin and A.
In English (translated by H. S. Clarke), London,
Vallabrcguc), Brussels 10 January 1885 (music
Royalty 19 November 1883.
adapted by M. Kufferath); (translated by E. Her-
In German (translated by F. Colberg), Berlin,
mil and A. J. Numcs) Paris, Menus-Plaisirs 18
Walhalla Th. 24 Oetober 1884; Vienna, W. 27
January 1889.
March 1885; Prague 20 June 1885; New York 22
In Spanish (translatcd by F.J. Osorno), Mexieo
May 1887.
22 July 1887.
In Croatian (translated by F. Miler), Zagreb
In Russian, Leningrad 26 Ma)" 1920. Russian
I Januar)' 1901.
translation by M. G. Yaron published 1930.
In Finnish, Hel;inki 23 April 1926.
SV LLl V AN:Iolanthe; or, Frequently revived on German stages; first
The Peer and the Peri* produeed at ehe Berlin 0.30 Deeember 1934 (re-
25 November. London and New York vised by R. Hagemann) ; at the Vienna O. 17 June
Text by W. S. Gilbert. Two aets. 193 6 .
Produeed the same night both at the Savoy Th.,
London, and at the Stan'dard Th., New York. In I883
London ran for 398 nights.
In English also, Mexieo 29 February 1884. MACHADO: Lauriane
9]anuaT}'. Marseilles
MI L L Ö C K ER: Der Bette/student (Freneh) text by A. GlIiou and J. J. Magne
6 December. Vienna, W. (founded on the play Les heaux Messieurs de Bois-
Text by F. Zell and R. Gence. Three aets. Dore, by G. Sand and P. Meuriee). Four aets.
Millöeker's most famous operetta. The first opera of the. Portuguese composer.
In German also given at Berlin, Fr.W. 24Jan- In Italian (translated by C. Fereal), Lisbon 2
uary 1883 (300th performance I June 1884); Graz February 1884 and Rio de Janeiro 13 Augustr886.
I I February 1883; Prague 17 Februar)' 1883;

Amsterdam 8 September 1883; Basle 26 Septem- K Y V I: Kavkasky Pletmik

ber 1883; New York 19 Oetober 1883; Bueha- RaBKaacKiti II.irEHHlIK'b
rest, Oetober 1883; Riga I November 1883; (The Captive in the Caucasus)
Strasbourg 8 November 1883; St. Petersburg 19
December 1883; Czernowitz and Temesvar 1883; 16 Februar}'. St. Petersburg
Reval 19 February 1884; Moseow 29 April 1884; Text by V. A. Kruilov (founded on Pushkin's
London, Royalty I2January 1895; Paris, Vaude- poem). Three aets.
ville 30 June 1911. Revived St. Petersburg 8 November 1907;
In Hungarian, Budapest 23 February 1883. Moseow 29 Deeember 1909.

T IIOI II 02
 ANNALS OF OPERA

In French (translated by L. de Mercy-Argen- A. G. THOMAS: Esmeralda

teau), Liege 13 January 1886.
26 March. London, D.L.
(The opera, originally in 2 acts, had been
written as early as 1857.) Text by T.J. H. Marzials andA. Randegger (after
Victor Hugo). Four acts.
Thomas's first opera. Revived London, c.G.
SAINT-SAENS: Renri VIII
12 July 1890 (in French, translated by P. Milliet)
5 March. Paris, O. and 3 January 1908 (in the original English).
Text by L. Detroyat and P. A. Silvestre. Four In German (translated by E. Frank), Cologne
acts. 14 November 1883; Hamburg 27 September
Successful on French stages; given at the Paris 1884; Berlin, Kroll's 26 August 1891.
Opera since 19 July 1889 in a reduced 3-act ver- In English, New York 19 November 1900.
sion; last revived there I December 1917; revived
at Brussels 14 October 1935. Given at: MACKENZIE: Colomba
FRANKFORT 16 February 1887 (in German, trans-
9 April. London, D.L.
lated by H. W olff).
MILAN 26 December 1895 (in Italian, translated Text by F. Hueffer (founded on Merimee's story).
by A. de Lauzicres). Four acts.
MOSCOW 9 February 1897 (in Russian, tr.anslated Mackenzie's first opera.
by S. E. Pavlovsky). In German (translated by E. Frank), Hamburg
LONDON, C.G. 14 July 1898 (in French). 27 January 1884; Darmstadt 29 April 1884.
ANTWERP 22 February 1900 (in French).
Revived London, H.M.'s II December 1909
PRAGUE 6 April 1900 (in German).
and 9 December 1912 (by the R.C.M., in a new
version, text altered and reduced to 3 aets by C.
MONTE CARLO 24 March 1908 (in French).
Aveling).
(Date of first performance 9 April, not 5 April
DOSS: Percifal as sometimes stated.)
8 March. Liege
Text by L. Bai!ly. Four acts. DELIBES: Lakme
Produced at the College St. Servais; revived 14 April. Paris,O.C.
publicly at Trcves in January 1909. Doss claimed Text by E. Gondinet and P. Gille. Three acts.
to have written this opera 4ialogue, unlike Wagner,
Delibes's most famous work; the 200th per-
in a "true Christia~ spirit". Vocal score published.
formance at the O.c. was on 30 April 1895; the
I,OOOth on 13 May 1931.
CAT ALANI: Dejanice Outside Paris, given at:
FRANKFORT 3 December 1883 (in German, trans-
17 March. Milan, Sc.
lated by F. Gumbert).
Text by A. Zanardini. Four acts. GENEVA 4 March 1884 (in French).
Successful in Italy; revived at Turin II Feb- ROME, ARG. 31 March 1884 (in Italian, translated
ruary 1920; Genoa 30 Oetober 1920; Milan, T.d. by A. Zanardini).
V. I March 1931, etc. PRAGUE 30 November 1884 (in Czech).
In Italian also, Nice028 February 1886; Malta ST. PETERSBURG 18 December 1884 (in Italian).
1924· LONDON, GAIETY 6 June 1885 (in French).
In German (translated by S. Heller), Prague 26 ANTWERP 25 December 1885; Brm;els 29 No-
November 1886. vember 1886 (in French).

II 0 3 II 04
 ANNALS OF OPERA 188 3

NEW YORK 1 March 1886 (in English); 2 April In German also, Budapest 10 November 1883;
1890 (in Italian); and 2J February 1892 (in Prague 19 Deeember 1883; Brünn 28 February
French). 18 84; Graz 13 SeptemberI RH4; Amsterdam 1885;
BUDAPEST 12 November 1887 (in Hungarian, Strasbourg 16 November I 81!6; B~slc 24 February
transIated by E. Abr.inyi). 1889; New York RJanuary 1890 (as T'C/Jctiollische
BUENOS AIRES 20 June 1888 (in Italian). Nächte); Reval I X90; Riga I X92; Sotia Autumn
LISBON January 1889 (in ltali:m). 1892; Hclsinki Summer lRS;9.
BERlIN, KROLL'S JO March 1889 (in Italian) and In English (tr:u;sbted by ?), New York 24 April
18 July 18~)1 (in Gmnan). I RR4.
STOCK HOLM 15 January 1890 (in Swedish, trans- In Italian, Venice Oetober 1888; Milan 9 April
lau·cl by E. A. Wallmark). 1889, ete.
AMSTEllDAJ\l 20 September 1890 (in Dutch, tr:ms- In Spanish, Buenos Aires 14 March 1890.
lated by E. van S.). In Croatian (transIated by F. Miler), Zagreb 19
MOSCOW T5 November 1892 (in Russian, trans- May 1896.
Iated by E. N. Kletkova). Frequently reviveJ in several countries: Buda-
NEW ORLEANS I February 1893 (in French). pest 1924 (in Hungarian); Vienna, O. 23 June
COPENHAGEN I Jal1l1Jry 1896 (in Danish, trans- 1929 and Berlin, O. 20 February 193I (new ar-
Iated by E. Christiansen). rangement by E. W. Komgold and E. Marisehka);
WARSAW October 1896 (in Italian). Monte Carlo 19 March 1930 (for the first time in
RIO DE JANEIRO I I August 1902 (in Italian). Freneh); Helsinki 13 May 1930 (in Finnish).
VIENNA 14 November 1904 (in German).
New arrangement by C. Hagemann 1934.
ZAGREß 20 March 19U (in Croatian, translated by
New arrangement by G. Quedenfeldt and
A. Kassowitz-Cvijic). E. Rex (text) and K. Tutein (musie) 1936.
HELSINKI 28 April 1915 (in Finnish).
lIVERPOGL 8 March 1918 (in English, translated by
C. Aveling). LANGE-MÜLLER: Spal1ske Studellter
OSLO 30 December 1918 (in Norwegian). 21 Oetober. Copenhagen
YOKOHAMA Autumn 1919 (in Italian). Text by W. Faber. Two aets.
BUCHAREST February 1922 (in Rumanian). Lange-Müller's best opep, sueeessful at Copen-
BELGRADE Oetober 1923 (in Serbian). hagen.
SOFIA 13 September 1926 (in Bulgarian). In German (translated by J. Christensen), Ham-
RIGA 30 April 1927 (in Lettish). burg 10 March 1884.
MALTA 1927 (in Italian). In Swcdish (translated by H. Christiernsson),
TALLINN 1930 (in Estoni:m). Stockholm 4 Mal' 1884.
ATHENS Deeember 1932 (in Greek).
KAUNAS 14 April 1934 (in Lithuanian).
RUBINSTEIN:
Sulamith aud Unter Räubern
J. STRAUSS: Eil1eNacht in Venedig
8 NOllclllbcr. Hamburg
30ciobcr. Berlin, Fr.\V. Two short operas, produccd on the same bill.
Text by F. Zell and R. Genee. Thrcc aets. Slilalllith (text by J. Rodcnbcrg, 5 secnes) was also
Written for the opening of the new Friedrieh- given at Berlin 4 May 1888 and AmstenlamJan-
Wilhclmstädtisehes Theater (Iate W oltersdorff- uary 1889 (both in COllcert form) and, in Russian,
Theater), Berlin. Subsequently given at Vienna, St. Petersburg 16 January 1901. Ullter Räubern
W. 9 Oetober 1883 and all over Germany and (text by E. Wiehert, I aet) also Berlin 24 April
Austria. 1893·

lIaS I I 06
 ANNALS OF OPERA

SAL V A YRE: Riccardo III Massenet's greatest success. The 500th perform-
ance at the o.c. was on 13 January 1905, the
21 Deccmber. St. Petersburg
800th on 26 April 1913; given there more than
Original French text by E. R. Blavet (after Shake-
1,700 times to date. Outside France, given at:
speare), Italian version by? Four a<;:ts.
BRUSSELS 18 March 1884 (in French; 500th per-
One of the last Itaiian operas originally pro-
formance 22 May 1934).
duced in Russia.
AMSTERDAM Spring 1884 (in French).
In French, Nice 29 January 1891; Rouen 22
LIVERPOOL 17 January 1885 (in English, translated
December 1893, etc. Revived Toulouse 26 No-
by J. Bennett).
vember 1910.
GENEVA 7 March 1885 (in French).
LONDON, D.L. 7 May 1885 (in English) and C.G.
19 May 1891 (in French).
PRAGUE 19 September 1885 (in Czech) and 26 De-
SULLIVAN: Princess Ida; or, cember 1904 (in German).
Castfe Adamant ST. PETERSBURG December1885 (in Russian, trans-
sJanllary. London, Savoy lated by N. M. Spassky) and October 1896 (in
Text by W. S. Gilbert. A respectJul operatic per- Italian).
version ofTennyson's Princcss. Three acts. NEW YORK 23 December 1885 (in ltalian) and 16
In London ran fot 246 nights. New York and January 1895 (in French).
Boston I I February 1884, etc. Revived London, BUENOS AffiES 19 September 1890 (in French) and
Prince's Th. 23 January 1922, etc. 27 September 1895 (in ltalian).
In German, Meran20 April 1901 (byamateurs). VIENNA 19 November 1890 (in German, trans-
lated by F. Gumbert).
REYER: Sigurd HAMBURG 31 October 1892 (in German, translated
by F. Gumbert).
7January. Brussels, M.
MILAN, T. CARCANO 19 October 1893 (in Italian,
Text by C. Du Lode and A. Blau. Four acts.
translated by A. Zanardini).
Reyer's most important work (produced after
NEW ORLEANS 4 January 1894 (in French).
an intervai of more than 20 years since Erostrate).
BARCELONA 29 December 1894 (in Italian).
First given in France at Lyons 15 January 1885.
MADRID 28 February 1895 (in Italian).
First given at the Paris O. I2June 1885; the 300th
LISBON 13 March 1895 (in Italian).
performance there was in June 1925, the latest
STOCKHOLM 18 January 1896 (in Swedish, trans-
revival 17 Oetober 1934. Still given on French
lated by F. Arlberg).
stages.
BATAVIA Autumu 1896 (in French).
Further productions in French: New Orleans
ZAGREB 23 January 1897 (in Croatian, translated
24 December 1891; St. PetersbUIg April 1894;
by :P. Brani).
Geneva 17 Jalluary 1896; Mexico May 1897;
MALTA 1898 (in Italian).
Alexandria 3 February 1901. _
RIGA 1898 (in German) and 29 September 1931
In Italian (translated by G. A. Mazzueato),
(in Lettish).
London, C.G. 15 July 1884; Milan, Sc. 26 De-
CORFU April 1900 (in Italian).
eember 1894.
cONSTANTINOPLEJuly 1900 (in Italian).
BERLIN, KROLL'S 24 April 1902 (in French) and O.
MASSENET: Manon* 1 December 1903 (in German).
19January. Paris,O.C. CRACOW July 1901 (in Polish).
Text by H. Meilhac and P. Gille (founded on WARSAW September 1902 (in Polish).
Prcvost's novel). Five acts._ BASLE 18 January 1903 (in German).

II07 lI08
 [884 ANNALS OF OPERA

BUDAPEST 22 December 1905 (in Hungarian, CHAIKOVSKY: Mazeppa

transIated by S. Varady). Ma3ena*
LJUBLJANA 1907 (in Siovenian).
15 Fcbmary. Moscow
RIODE JANEIRO Summer 1920 (in Italian).
Text by the composer and V. P.Burenin (founded
BUCHAREST February 192[ (in Rumanian).
on Pushkin's Po/tapa). Three acts.
SOfIA 3 December 1926 (in Bulgarian).
St. Petersburg 19 February 1884; Tiflis Autumn
TALLINN 1928 (in Estonian, translated by G.
1885, etc. Still given in Russia; revived Moscow
Tuksam).
1917; Kiev 9 March 1925, etc.
Outside Russia, given at:
MILLÖCKER: Gasparone LIVERPOOL 6 August 1888 (in Russian, by a touring
company).
26 jalluary. Vienna, W.
WARSAW March 19I2. (in Polish).
Text by F. Zell and R. Genee. Three acts. WIESBADEN 23 May 193 I (in German, translated
Successful on German stages; Prague 23 March by A. Simon).
[884; Dresden 13 April 1884; Berlin, Fr.W. 26 NEW YORK 4 February 1933 (in Russiall, by a
September 1884 (200th performance 16 April Ukrainian company, at the Mecca Temple).
r88S). VIENNA 21 April 1933 (in German, in concert
In Germall also, Moscow 1 January 1885; New form).
York 21 February 1885; Dorpat 29 May 1885; PRAGUE 15 September 1934 (in Czech).
Riga 2 October 1885; BasIc 8 December 1885; SOFIA 8 October 1937 (in Bulgarian).
Strasbourg 21 February 1886; Rotterdam 4 Feb-
ruary 1888; St. Petcrsburg 1889; Sofia Summer KISTLER: Kunihild
1893; Copenhagen May 1897. New version by
20 March. Sondershausen
E. StefEn and P. Knepler, Bcrlin 20 November
Text by F. von Sporck. Three acts.
193 I.
In Hungarian, Budapest 25 April 1884. Revived Würzburg 30 July 1893 (special fes-
tival performances); Stuttgart 24 May 1894;
In English (translated by ?), New York 21 Feb-
Munich 18 April 1896, etc. English translation by
ruary 1885 (at the Standard Th., the same day as
W. A. EIlis, published 1893.
in German at the Thalia Th.).
Kistler at that time was claimed by his adherents
In Swedish (translated by E. A. Wallmark),
to be Wagner's legitimate successor, chiefly on
Stockholm 1885.
the strength of KU/lilzild.
In Polish (translated by A. Kiczman), Warsaw
I I October 1886.
WEINGARTNER: Sakuntala
-In Croatian (translated by J. E. Tomil), Zagreb
27 October 1888. 23 Alarch. Weimar
In Italian, Milan 30 November 1889. Text by the composer (founded on Kalidasa's
In Spanish (translated by F. J. Osorno), Mexico Indian drama). Three acts.
17 June 1893· Weingartner's first opera. Also given at Danzig
17 February 1886.

GODARD: PCdro de Zalamea A. VON GOLDSCHMIDT: Heliantus

31 ja//Uary. Antwerp 26 March. Leipzig
Text by L, Detroyat and P. A. Silvestre (after Text by the composer. Three aets.
Calderon). Four acts. Goldsehmidt' s first and best opera; unsuecess-
Godard's first opera. fu!.
[ [09 IIlO
 ANNALS OF OPERA

FIBICH: Nevesta Messinska Still occasionally revived on minor German

(The Bride of Messina) stages (Berhn Plaza I February 1935).
28 March. Prague, Cz.
KOVAROVIC: Zenichove
Text by O. Hostinsky (founded on Sehiller's
(The Bridegrooms)
drama). Three acts.
13 May. Prague,'Cz.
Revived at Prague I May 1909; 26 Oetober
1920; and Autumn 1938. Text by A. Koukl (from S. K. Machacek's com-
edy of the same tide, 1826). Three acts.
STANFORD: Savonarola The first opera of Kovarovic, who from 1889
until his death in 1920 was the chief conductor of
18 April. Hamburg the Prague Narodnf Divadlo.
Original English text by G. A. A'Beekett, Ger-
man version by E. Frank. Prologue and 3 aets. PUCCINI: Le Villi*
In German also, London, c.G. 9 July 1884.
31 May. Milan, T.d.v.
Text by F. Fontana. One act.
S T A N F 0 R D: The Canterbury Pilgrims Puccini's first opera. New enlarged 2-act ver-
23 April. London, D.1. sion, Turin 26 December 1884 and Milan, Sc. 24
Text by G. A. A'Beekett. Three aets. January 1885. Suceessful in Italy; revived Rome
Unsueeessfullike Savonarola; l3irmingham 20 20 January 1925, ete.
May 1884, ete. . Outside Italy, given at:
BUENOS AIRES 10 June 1886 (in Italian).
NESSLER: Der Trompeter HAMBURG 29 November 1892 (in German, trans-

von Säckingen lated by 1. Hartmann) ; Frankfort 19 Novem-

4 May. Leipzig ber 1893, etc.
WARSAW 17 March 1893 (in Polish).
Text by R. Bunge (founded on]. V. von Sehef-
MANCHESTER 24 September 1897 (in English,
fel's poem). Four acts.
translated by P. E. Pinkerton).
Very popular on German stages.
NEW YORK 17 December 1908 (in Italian).
In German also, Basle 26 November 1884;
BUCHAREST c. December 1925 (in Rumanian).
Strasbourg 11 Deeember 1884; Berlin 10 January
VlENNA Spring 1938 (in German).
1885; Riga 18 April 1885; Prague 12 September
MANNHEIM 7 February 1940 (in German).
1885; Rotterdam 26 September 1885; Posen 20
December 1885; Vienna 30 January 1886; Reval
MANCINELLI: Isora di Provenza
18 April 1886; New York 23 November 1887;
St. Petersburg 1889; Ghent 18 October 1889; 20ctober. Bologna, T.C.
Brussels 12 November 1889; London, D.1. 8July Text by A. Zanardini (founded on Victor Hugo's
1892; Helsinki 8 May 1900. La Legende des Siecles). Three acts.
In Swedish (translated by E. A. Wallmark), Mancinelli's first opera.
Stoekholm 21 September 1886. In German (translated by S. Arkel), Hamburg
In Hungarian (translated by E. Abranyi), Bu- 21 April 1892.
dapest 6 November 1886.
In English (translated by ?), New Y ork 5 N 0- POISE:]oli Gilles
vember 1889. 100etoher. Paris,O.c.
In Polish, Lemberg April 1898. Text by C. P. Monselet (founded on Soulas d'AI-
In Croatian (translated by F. Miler) , Zagreb lainval's comedy, L'Emba"as des Richesses, 1725)
7 January 1899· Two aets.

1111 1112
 ANNALS OF OPERA 1885

Poise's last performed opera. ßrussels 7 Feb- In German also, Rotterdam 16 January 1886;
ruary 1885; Geneva 21 December 1888, etc. In Amsterdam 26 January 1886. Revived Darmstadt
German (as TOl/i's Schatz, translated by F. Fre- 22 October 1903.
mcry),~Berlin 3I Dccember 1885.
In Flcmish, revivcd Ghent Deccmber 1910. ZELENSKI: Konrad Wallenrod
Februar)'. Lemberg
MILLÖCKER: Der Feldprediger
Text by Z. Sarnecki and W. Noskowski (found-
31 October. Vienna, W.
ed on Mickiewicz's poem). Four acts.
Text by H. Wittmann and A. Wohlmuth. Three
The first opera of the Polish composer. Reviv-
acts.
ed Pozllan May 1923.
ßerlin, Walhalla Th. 10 Jmuary 1885, etc.
In Gcrman also, ßudapcst 20 December 1884;
Brünn 31 January 1885; Prague 9 April 1885;
HALLSTRÖM: Ncaga
New York I May 1885; Amsterdam 1885; Sara- 24 Febmary. Stockholm
jevo 1889. (Original German) text by "Carmen Sylva"
In English (as The Black Hussar, adapted by S. (Queen Elizabeth of Rumani:t), Swcdish version
Rosenfeld), New York 4 May 1885, etc. by F. T. Hedberg. Four acts.
In Polish (translated by M. TurczYllski), War-
saw 1887. JONCJ:ERES: Le Chevalier Jean
In Spanish (as EI AlcaIde di Strassberg, translated 11 ]Wareh. Paris, O.c.
by F.Jaques y Aguado, music adapted by M. Ta-
Text by L. Gallet and E. Blau. Four acts.
berner), Madrid 16 November 1888.
A failure in Paris. In Frendl also, Geneva 19
January 1886; Liege 31 January 1887.
T. D U BOI S : Aben Hamet
Successful on German stages (as johatl/l VOll
16 DecclIlber. Paris, Th.I.
Lothri/lgl'/l, translated by F. Gumbert; Cologne 26
Original French text by L. Detroyat, Italian ver-
November 1885; Berlin 17 April 1886; Frankfort
sion by A. de Lauzieres. Prologue and 4 acts.
7 October r886, etc.; Basle 31 December 1886.;
This was the last original production of an Ita- Riga 16 January 1887. Revived ßerlin, Th.d.W.
lian opera at Paris. (Previously heard privately at
22 March 1901.
Detroyat's on 25 May 1882.) The French version In Czech, Prague 17 March 1889.
was produced at Liege 12 March 1885; Paris I I Italian version by A. Zanardini published 1887.
December 1889 (privately); Antwerp I April
1892; Rennes 9 February 1397.
S ULLIV AN: The Mikado; or,
The Town ofTitipu*
188 5 14 ~lar(h. London, Savoy
VERHEIJ: Imilda Text by W. S. Gilbert. Two acts.
28 jal/uary. Rotterdam Sullivan's most successful operetta. In London
(German) text by W. W. S~alt. Four acts. ran for 672 nights; the 1,000th London perform-
In German also, AmstcrdamJanuary 181'6. ance was on 3 I Oerober 1896. Given at Chicago
6 July 1885; New York, People's Th., ßowery 10
DE HAAN: Die Kaiserstochter Jllly 1885 and Union Square Th. 20 July 1885
Felmlary. Darmstadt
1 (both pirated); Fifth Avenue Th. 19 August 1885
Text by W. Jacoby. Three acts. (legitimate) and Standard Th. 24 .August 1885
The most successful work of the Durch com- (pirated), etc.; Sydney 14 Oetober 1885; Cape
poser. Town 1889.

lII3 lII4
188 5 ANNALS OF OPERA 1 88 5

In English also, Berlin, Wallner Th. 2 June In Danish (translated by E. B0gh), Copenhagen
1886; Vienna, Ca. 1 September 1886; and in 13 March 1892.
many other German and Austrian towns as well In Italian (translated by G. Macchi), Florence,
as at Amsterdam 1 November 1887 and Copen- P. 5 December 1898.
hagen 1887 (Danish version in the printed libretto In Czech (translated by B. K. = Boleslav Ka-
by E. A. N yegaard); Rio de Janeiro 1890. lensky?), Prague 20 September 1903.
First given in German (translated by E. F. L.
Gauss) at New York 13 February 1886; Chicago
ERKEL: Istvcm Kirtlly
16 January 1887. Revived Cincinnati 7 January
1912. (King Stephen)
The Mikado was the only one ofSullivan's ope- 14 March. Budapest 1

rettas which had a great and lasting success out- Text by A. Varadi (founded on a play by L. Dob-
side the Anglo-Saxon countries. Following the sa). Four acts.
continental tours ofthe D'Oyly Carte Company, Erkel' s last opera; given at Budapest until 1930.
it was translated into German by F. Zell and R.
Genee and produced at Vienna, W. 2 March 1888.
PONCHIELLI: Marion Delorme
In German also given at Berlin, Fr.W. 6 De-
cember 1888 (200th performance 30 December 17 March. Milan, Sc.
1891); St. Petersburg 23 December 1888; Prague Text by E. Golisciani (founded on V. Hugo's
10 March 1889; Trieste 16 March 1889; Reval play). Four acts.
1889; Bucharest Summer 1890; Riga 1890; Basle Successful in Italy; given in a new version at
1 December 1892; He!sinki Summer 1899; Bue- Brescia 9 August 1885.
nos Aires October 1906. Produced at Vienna, Jos. In Italian also, Säo Paulo 13 May 1886 and Rio
29 January 1899 by a troupe of 38 children. First deJaneiro August 1886.
given at the Berlin O. 10 June 1900. A Gecman Revived Milan 15 April 1919.
parody, Der Miezekado, text by O. Ewald, music
by F. Beier, was first given at Casse!26 December
DELLINGER: Don Cesar
1886; Berlin, Wallner Th. 21 Decemberr887, etc.
In Hungarian, Budapest 10 December 1886 28 March. Hamburg
(probably pirated and orchestrated from the vocal Text by O. Walther (founded on the French pla y,
score); revived 25 February 1924. Don Cesar de Bazan, by d' Ennery and Pi ne! Duma-
In Russian, Moscow 30 April 1887 (by Stanis- noir). Three acts.
lavsky's "Alekseev" Circle). De!linger's best work and one of the most pop-
In French (translated by M. Kufferath), Brus- ular German operettas of the 'eighties. Budapest
sets 23 December 1889; apparently never given in 21 September 1885; Berlin, Walhalla 23 Septem-
Paris (perhaps on account ofLecocq's "Japanese" ber 1885; Vienna, Ca. 20 November 1885; Brünn
operetta Kosiki produced there in 1876). 7 February 1886; Posen 13 February 1886; Te-
In Swedish (translated by E. A. Wallmark), mesvar I I May 1886; NewYork6 October 1886;
Stockholm 22 January 1890; also given at Chris- Zurich and Riga 14 October 1886; St. Petersburg
tiania 17 July 1890 and Gothenburg 18 September 16 October 1886; Strasbourg 24 October 1886;
1890. An earlier Swedish adaptation, also by Prague 7 November 1886; Reval 1887; Sofia
Wallmark, had been produced at Stockholm on Autumn 1892.
24 November 1888 (music arranged by F. Ring-
1 First new opera produced at the Magyar Kiralyi
vall, from The Mikado and from Lecocq's Kosiki).
Operahaz (inaugurated 27 September 1884 with the
In Croatian (translated by A. Harambasic), first act of Erkel's Bank Ball and with the first act of
Zagreb 24 February 1892. Lohengrin).

1115 1116
1885 ANNALS OF OPERA 1885
In English (translated by W. von Sachs), Phila- ROZKOSNY: Popelka
delphia 29 March 1886; New York 3 May 1886,
31 May. Prague, Cz.
etc.
Text by O. HostinskY. Thre~ acts.
In Swedish (translated by H. L. Westin), Go-
Rozkosny's most popular work (a Czech Cin-
thenburg 18 February 1887 and (translated by E.
derella opera).
A. Wallmark), Stockholm 12 December 1887.
Revived Prague 14June 1902 and 22 September
In Spanish (translated by F.J. Osomo), Mexico
1908.
12 August 1893.
In Croatian (translated by F. Miler), Zagreb I
February 1896. A. RITTER: Der faule Hans
In Lettish, Riga 18 December 1931. 150etober. Munich
New arrangement by Hans Weissbach pub- Text by the composer (founded on a story by F.
lished 1935. Dahn). One act.
Successful in Germany; in German also, Riga
(HALEVY): Noah 1890; Prague 3 December 1901.
Revived Hamburg 28 February 1907; Berlin 8
5 April. Carlsruhe
March 1907; Dresden 13 February 1915; Munich
(Original French) text (No!) by J. H. Vemoy de December 1933.
Saint-Georges, German version by G. H. Gans zu
Putlitz. Three acts.
HaIevy's last opera, completed by Bizet, his J. STRA uss: Der Zigeunerbaron*
son-in-law. Also given on some other German 24 Oetober. Vienna, W.
stages and, in Polish, Warsaw 2 February 1887. . Text by I. Schnitzer (founded on M.J6kai's story,
Never produced in France, but French vocal score Saffi). Three acts.
published. Apart from Die Fledermatls (see 1874) Strauss's
most popular operetta; the 300th night was on 23
October 1903, the I,oooth Vienna performance
A. G. THOMAS: Nadeshda
on 19 April 1909. First given at the Vienna O. on
16 April. London, D.L. 26 December 19IO (produced byF. Weingarmer).
Text by J. R. Sturgis. Four acts. Outside Vienna, given at:
Successful on English stages; Dublin 27 August BUDAPEST 27 November 1885 (in German) and
1885, etc. 26 March 1886 (in Hungarian, translated by K.
Revived London, Duke's Hall 11 March 1921 Gerö and A. Rad6).
(by the R.A.M.); Glasgow 21 February 1927. BRESLAU 25 December 1885 (in German).
In German (translated by F. Fremery), Breslau BERLIN, FR.W. 5 February 1886 (in German; 200th
20 April 1890. performance 2 January 1887).
NEW YORK 15 February 1886 (in English, trans-
lated by S. Rosenfeld) and I April 1886 (in
(M ASS E): Une Nuit de CIeopatre
German).
25 April. Paris, O.c. RIGA 11 March 1886 (in German) and 1893 (in
Text by J. Barbier (founded on a story by T. Lettish).
Gautier). Three acts. ST. PETERSBURG 21 March 1886 (in German).
MassC's last opera. Geneva 14 April 1886, etc. WARSAW 1886 (in Polish, translated by M. Turc-
lIi German (translated by F. Fremery), Ham- zyriski).
burg 9 FebnllrY 1886. REVAL 16 October 1886 (in German).
Italian version by A. Zanardini published 1887. ROTTERDAM 10 November 1886 (in German).

1117 1118
1885 ANNALS OF OPERA 1885-86

AMSTERDAM 18 Deeember 1886 (in Duteh, trans- The 100th performance at the Paris O. was on
lated by B. Duplex). I October 1900; given thereuntil 1912; frequently
STRASBOURG 25 Dceember 1886 (in German). revived in FraIlee. Also given at:
\
ZURICH 30 Deeember 1886 (in German). ANTWERP 20 January 1887 (in French).
GENOA Oetober 1888; Milan 13 March 1890 (in FRANKFORT 1 Oetober 1887 (in German, translated
Italian, translated by R. Nigri and P. Ceresa). by M. Kalbeck).
TARTU (DORPAT) 1889 (in Estonian). VIENNA 22 November 1887 (in Gerrnan, translat-
ZAGREB 30 March 1895 (in Croatian, translated by ed by M. Kalbeck).
P. Brani). ROME C. 7 April 1889 (in Italian, translated by A.
PARIS, F.DR. 20 Deeember 1895 (in Freneh, trans- Zanardini) .
lated by A. Lafrique). NEW ORLEANS 17 February 1890 (in French).
COPENHAGEN May 1897 (in German). GENEVA 23 December 1890 (in Freneh).
BRUSSELS 28 February 1902 (in Freneh). NEW YORK 12 February 1897 (in French).
LJUBLJANA 1904 (in Slovenian).
BUENOS AIRES Oetober 1906 (in German). CHAUMET: Herode
BUCHAREST Spring 1907 (in German) and Septem-
6 Deccmber. Paris, Conservatoire
ber 1931 (in Rumanian).
Text by G. Boyer (poeme dramatiquc). One aet.
MOSCOW 1913; Leningrad 10 March 1922 (in
Chaumet's best work. Publicly performed at
Russian).
Bordeaux 30 January 1892.
HELSINKI 12 October 1927 (in Finnish).
JERUSALEM 16 Jurte 1932 (in Hebrew, translated by
H. Bregmann). MESSAGER: La Bearnaise
KAUNAS 16 Oetober 1934 (in Lithuanian). 12 December. Paris, B.P.
LONDON 12 February 1935 (in English, by ama-
Text by E. Leterrier and A. Vanloo. Three acts.
teurs, at Rudolf Steiner Hall). Messager' s first great suceess. Revived Paris,
STOCKHOLM 3I March 1938 (in Swedish, translated
Tr. L. II March 1925.
by S. Nyblorn). In Hllngarian, Budapest 26 February 1886.
SOFIA 12 Oetober 1938 (in Bulgarian).
In English (translated by A. Murray), Birming-
SOLOVYEV: Kordeliya harn 27 September 1886; London, Prince of
HOpAeJIiß Wales's 4 Oetober 1886; revived King's Hall 19
24 November. St. Petersburg January 1917. As jacquettc, New York 13 June
Text by P. K. Bronnikov (founded on V. Sar- 1887·
dou's La Haine). Four aets. In Czeeh (translated by V. J. N ovotny), Prague
Moseow 25 November 1888, ete. Revived St. 15 July 1892.
Petersburg 25 Oetober 1898; 19 Deeember 1902;
26 November 1909.
In German, Prague 18 August 1890 (revived 3
1886
September 1901). LITOLFF: Les Templiers
The opera Was first performed under the tide
25 january. Brussels, M.
of Mest (Vengeance); the subjeet has nothing to
Text by J. Adenis, P. A. Silvestre and L. Bonne-
do with King Lear.
mere. Five acts.
MASSENET: Le Cid* In German (translated by F. Gumbert), Bruns-
30 November. Paris, O. wiek 17 March 1889; Praguc 23 March 1890;
Text by A. P. d'Ennery, L. Gallet, and E. Blau Graz 6 February 1891. Revived Antwerp Oeto-
(founded on Comeille's tragedy). Four aets. ber 1912 (in Flemish).

lII9 II 20
1886 ANNALS OF OPERA 1886

KOVAROVIC: Cesta Oknem Musorgsky's original version (without Rim-

(The Way through the Window) sky-Korsakov's additions) was not published until
11 February. Prague, Cz. 1931.
Text by E. Züngel (founded on a comedy by
Scribe and Lemoine). One act.
CATALANI: Edmea
Revived Prague 9 December 1921. 27 February. Milan, Sc.
Text by A. Ghislanzoni. Three acts.
Successful in Italy.
(MUSORGSKY): Khovanshchina* In Italian also, St. Petersburg 28 March 1888;
XOBaHlD;HHa Mexico 16 November 1895; Moscow I June
21 February. St. Petersburg 1901. Revived Turin December 1909.
Text by the composer. Five acts.
The work was completed and orchestrated by
PERFALL:Junker Heinz
Rimsky-Korsakov. The first performance was a 9 April. Munich
private one and took place at the Kononov Thea- Text by F. Grandaur (founded on W. Hertz's
tre, produced by the "Musical Dramatic Club," Heinrich von Schwaben). Three acts.
under the direction ofE. Goldstein. Given in pub- In German also, Brünn 12 December 1886;
lic at Kiev 7 November 1892; Moscow, Th. Pre- Prague 14 March 1887; Linz 31 March 1887.
nishkov November 1892; St. Petersburg, Th. Revived Munich 8 February 1894; Wiesbaden 1I
Kononov 7 November 1893. First given at the June 1901 and Munich 24 April 1902 (as Jung
Imperial Th., St.Petersburg, on 20 November WH. Heinrich).
Outside Russia, produced at:
PARIS, CH.:E. S June 1913 (in Russian; altered from CHABRIER: Gwendoline
Rimsky-Korsakov's version by Stravinsky and 10 April. Brussels, M.
Ravel) and O. 13 April 1923 (in French, trans- Text by C. Mendes. Two acts.
lated by R. and M. d'Harcourt). In French also, Lyons 19 April 1893; Paris, O.
LONDON, D.L. I July 1913 (in Russian) and D.L. 27 December 1893 and revived there in an en-
26 October 1917 and C.G. 25 November 1919 larged 3-act version 3 May 1911 and 26 Novem-
(in English, translated by R. Newmarch). ber 1926; Geneva 16 March 1911; revived at
BARCELONA 12 December 1923 (in Russian). Brussels II February 1926. Still given on Frertch
FRANKFORT 19 February 1924 (in German, trans- stages.
lated by E. Fritzheim). In German (translated by F. Vogt), Carlsruhe
MILAN I March 1926 (in Italian). 30 May 1889; Leipzig 14 February 1890; Dresden
ZAGREB 19 June 1926 (in C~oatian). sJuly 1890; Munich 20 November 1890, etc.
RIGA 26 February 1927 (in Lettish).
PHILADELPHIA 18 April 1928 (in English). SAMARA: Flora Mirabilis
BUENOS AIRES 15 August 1929 (in Italian). 16 May. Milan, T. Carcano
LYONS 2 December 1930 (in Russian).
Text by F. Fontana. Three acts.
NEW YORK 7 March 1931 (in Russian). The first and best opera of the Greek composer.
TURIN November 1931 (in Russian). Given at the Sc., Milan 8 January 1887. In Italian
SOFIA S May 1933 (in Bulgarian). also, Corfu February 1889; Vienna, W. 24June
LJUBLJANA 28 September 1934 (in Slovenian). 1893·
BUDAPEST 29 December 1936 (in Hungarian, In German (translated by O. Berggruen), Co-
translated by K. Nadasdy). logne 7 November 1887.

II21 1122
1886 ANNALS OF OPERA

CHUECA and VALVERDE: rest Summer 1890; Solta AlItumn 1892; Hclsinki
La gran Via Summer 1898.
In Swedish (translated by E. A. Wallmark),
(The grcat Road)
Stoekholm 22 March 1888.
2 J/llr. Madrid, T. Felipe In Italian, Milan 17 September 1889; Barcelona
Text by F. Pcrez y Gonzalcz. Rcvista l1Iadrileiia Jl1ly 18 90.
comiea-liriea,jantastieo-ealhjera. One aet (5 seenes). In English (translated by ?), New York IM June
One of the greatest suecesses of the "genero 1892.
ehieo" of zarzucla (containing the famous mareh In Spanish (translated by V. A. Galicia), Mexi-
CJdiz). Very popular in Spain and South Ameri- eo 2 I Deeet11 ber 1895.
ca; Mexieo 9 May 1888; Buenos AiresJuly 1890, In Croatian (translated by F. Miler), Zagreb I
ete. May 1898.
In Spanish also, Milan 1889, etc. Still given on Still given on German stages; revived as Der
Spanish stages. Herzog VOll Mirellza (text by F. Giblhauser, musie
In French (translated by M. Ordonneau), Paris, arranged by F. Neupert), Fürth 4 January 1936;
Th. Olympia 25 Mareh 1896. as Das Heiratsllest (text by A. Treum~nn-Mette),
In English (as Castles ill Spaitl, adapted by C. Regensburg 25 January 1936.
Hamilton,lyrics by E. Ponsonby, musie arranged
by H. Fragson), London, Royalty 18 April 1906. A UDRAN: La Cigale et la Fourmi
In Italian, New York I July 1918. 30 Getober. Paris, Gaite
Text by H. C. Chivot and A. Duru. Three acts.
CELLIER: Dorothy In French also, Geneva 15 May 1888; Aigiers
25 September. London, Gaiety Deeember 1905.
Text by 13. C. Stephenson. Three acts. In English (translated by F. C. Bumand, addi-
Cellier' s most successflll operetta. tional ml1sic by I. Caryll), LOhdon, Lyrie 9 Oeto-
In London ran for 93 I nights (transferred 20 ber 1890 (given for 423 eonsecl1tive nights); New
Deeember 1886 to the Prince ofW~les's and 17 York 26 Oetober 1891 (revived 30 April 1913).
Deeember 1888 to the New Lyrie) and was reviv- In Italian, Turin 27 October 1898.
ed Trafalgar Square Th. 26 November 1892 and Revived Paris, Tr.L. 26 October 1915.
New Th. 21 December 1908. German translation by G. Neitzel published
New York 5 November 1887; Sydney 7 Sep- Cologne 1887.
tember 1889; Cape Town January 1890; Mont-
real February 1891, ete. KLUGHARDT: DitHochzeit
Still given on English stages. Also produeed at des Mönchs
Budapest, in Hungarian about 1890. i0 November. Dessall
Text by E. Pasql1c (fol1nded on a story by C. F.
MILLÖCKER: Der Vice-AdmiraL Meyer). Four acts.
9 Getober. Vienna, W. Given at Pragl1e 19 April 1888 as Astorre; reviv-
Text by F. Zell and R. Genee. Prologue and 3 acts. ed in a new version at Dessau 15 November 1889.
SlIecessful on German stages. Berlin, Fr.W. 29
Oetober 1886, ete.
GOLDMARK: Merlin
In German also, Budapest 29 November 1886; 19 November. Vienna, O.
St. Petersburg 8 Deeember 1886; Brünn 25 De- Text by S. Lipiner. Three aets.
eember 1886; Riga and Reval 1888; New York In German also, NewYork 3JanuarY1887; Ham-
24 Oetober 1889; Basle 26 January 1890; Bueha- burg 3Uanuary 1887; Dresden 21 April 1887, etc.

II23 II24
1886-87 ANNALS OF OPERA

In Hungarian (translated by 1. D6czy), Buda- Revived Glasgow 6 December 1920; London,

pest 26 September 1887. Prinee's Th. 24 Oetober 1921,ete.
In Czeeh (translated by V. J. N ovotny), Prague A parody, Ruddy Ccorgc; or, Robi" Red Breast,
23January lX90. by H; G. F. Taylor and P. Reeve was produeed at
Revived Frankf~.rt 14 February 1904 (altered) ; Toole's Th., London 19 March 1887.
Riga March 1907.
CORDER: Nordisa
NAPRAVNIK: Garold 26 jalltlarY Liverpool
fapOJIAb Text by the composer. Three acts.
23 Nove/1/ber. St. Petersburg Birmingham 22 Februar)' 1887; London, D.L.
Text by P. P. Veinberg (founded on a German 4 May 1887, etc. Fairly successful on English
play by E. von Wilden bruch). Five acts. stages.
In Czeeh, Praglle 23 March 1888. German ver-
sion by A. H. Petrick published. VERDI: Otello*
5 Febmary Milan, Sc.
PALADILHE: Patrie Text by A. Boito (after Shakespeare). Four acts.
20 Dccc/1/bcr Paris, O. After a long period of silen ce (his last opera,
Text by V. Sardou and L. Gallet (founded on apart from the revised SilllOIl Boccallegea, had been
Sardoll's play of the same title). Five aets. Aida, see 1871) this new work by the 74-years-old
Paladilhe's best work; revived Paris, O. 9 April composer had beeil looked forward to with the
1900 and 28 Oetober 1907; given there llntil 1916. utmost allticipation. Ofello became one ofVerdi's
In Freneh also, Ghent 25 January 1888; Ant- greatest successes and the first night at the Scala
werp 6 March 1888; Geneva 19 February 1901. (with Francesco Tamagno as Orello, Victor
Revived Brusscls IO September 1931. Maure! as Jago, and Romilda Pantaleoni as Des-
In Czech, Praglle 28 April 1887. demona) l11ay be called the culmination of his
[n Italian (translated by A. Zanardini), Rome whole career.
23 November 1889. Subsequently given at:
In German (translated by O. Neitzel), Ham- ROME 16 April 1887.
burg I Janllary 1890. VENICE 18 May 1887.
In Dmeh, Amsterdam I September 1898. BRESCIA II August 1887.
PARMA 14 Septem ber r 8 87.
TURIN 26 December 1887.
188 7 MODE NA II Januar)' 1888.
NAPLES 4 February 1888.
SULLIVAN: Ruddygore; or,
FLORENCE 24 April I X8t\.
The Witch' s Curse* TRENTO 10 June 188S.
22 jallHary London, Savoy FERMO 13 August 188S.
Text byW. S. Gilbert (drvdoped from his one- TREVISO 19 October 1888.
act operetta A.~cs Axo, prodllced with music by BOLOGNA 30 October 1888.
F. Clay at the Gallery of Illustration, London 22 GENOA 24 November r888.
N ovel11ber I 869).Two acts. (The name ofRlIddy- MESSINA 27 November r888.
gore was changet! into RlIddigore Iater on.) PALERMO Decel11ber J 888.
In London r:lIl for 2X3 nights. New York 21 TRIESTE :?o5 March 1889.
February 1887, etc. Wcllington (New Zealand) UDINE IO August 1889.
23 May 1895. LUCCA 2 September J 889, etc.

112 5 II26
1887 ANNALS OF OPERA 1887

Outside Italy, produced at: PARIS, O. 12 October 1894 (in French, translated
MEXICO 18 November 1887 (in Italian; pirated, by A. Boito and C. Du Locle) and Th.1. 13
orchestrated from the vocal score by P. Valline; April 1897 (in Italian) ; Rouen 1 February 1895,
the original was given there only on 18 Jan- etc.; Marseilles 9 March 19II; Lyons II July
uary 1890). 1914 (in Italian).
ST. PETERSBURG 8 December 1887; Moscow 8 ALEXANDRIA 9 January 1895 (in Italian).
April 1889 (in Russian, translated by N. M. MALTA 1897 (in Italian).
Spassky). COPENHAGEN 20 April 1898 (in Danish, translated
BUDAPEST 8 December 1887 (in Hungarian, trans- by S. Levysohn).
lated by A. Rad6). ZURICH 5 December 1898 (in German).
PRAGUE 7 January 1888 (in Czech, translated by ZAGREB 10 October 1899 (in Croatian, translated
V. J. Novotny) and 19II (in German). by M. PogaCic).
HAMBURG 31 January 1888 (in German, translated GRAZ 6 November 1900 (in German).
by M. Kalbeck); Munich 5 February 1888; MELBOURNE End of 1901 (in English).
Cologne 3 April 1888; Bonn 23 April 1888; BRUSSELS 22 February 1902 (in French).
Frankfort 29 September 1888; Bremen 12 Oc- L]UBL]ANA 1903 (in Slovenian).
tober 1888, etc. ' OSLO 1921 (in Norwegian).
BRÜNN 10 March 1888 (in German). SOFIA 17 May 1922 (in Bulgarian).
AMSTERDAM 10 March 1888 (in Dutch; pirated, HELSINKI 2 February 1923 (in Finnish).
orchestrated from the vocal score by J. Coe- ]ERUSALEM 27 April 1925 (in Hebrew, translated
nen); Rotterdam 1889 (in German). by Dushrnann).
VIENNA 14 March 1888 (in German) and 22 Oc- TALLINN 1929 (in Estonian).
tober 1909 (in ltalian). BUCHAREST December 1937 (in Rumanian).
NEW YORK 16 April 1888 (in Italian) and 6 Octa- KAUNAS 15 June 1938 (in Lithuanian).
ber 1903 (in English); Boston 30 April 1888;
Philadelphia 4 May 1888; Chicago 2 January RÜFER: Merlin
1890; San Francisco 12 February 1890. 28 February. Berlin, O.
BUENOS AIRES 12 June 1888 (in ltalian).
Text by L. Hoffmann (founded on C. L. Immer-
CONSTANTINOPLEAuturnn1888 (in ltalian;pirated).
mann's drama of the same tide). Three acts.
HAVANA 10 January 1889 (in Italian).
The first opera of the German-Belgian com-
LISBON 24 March 1889 (in ltalian).
poser.
LONDON, LY. 5 July 1889 (in Italian) and Marl-
borough Th. (Holloway) 26 April 1907 (in SAINT-SAENS: Proserpine
English). 16 March. Paris,O.C.
BERLIN 1 February 1890 (in German).
Text by L. Gallet (founded on a play by A. Vac-
STOCKHOLM 27 May 1890 (in Swedish, translated
querie). Four acts.
byH. Key).
Revived Paris, O.C. 29 November 1899.
MADRID 9 October 1890 (in Italian).
In French also, Alexandria 17 January 1903;
RIGAJanuary 1891 (in German) and 13 May 1926
MonteCarlo 5 March 1910; Brussels 7 April 1913.
(in Lettish).
In ltalian( translated byA.Galli),Lisbon JuneI9I4.
NICE February 1891 (in Italian).
MANCHESTER 8 October 1892 (in English, trans-
lated by F. Hueffer); Dublin August 1893, etc.
CLERICE: Le Meunier d}Alcala
WARSAW 3 October 1893 (in Polish, translated by 11 April. Lisbon, Th. Trinidad
Emes). (Original Portuguese) text by E. Garrido, French
RIO DE]ANEmO Summer 1894 (in Italian). version by A. Lafrique. The best work of the

II27 II28
r887 ANNALS OF OPERA 1887-88

Argentine composer (produced in Portugal, in CHAIKOVSKY: Charodyeka

French). Three acts. qapog'Bii!m*
Revived London, Prince of Walcs's II Feb-
(The Enchantress)
ruary r899 (in English, as Thc COqllcttC, adapted
1 ;\"ol'cl/lbcr. St. P~tersburg
by H. J. W. Dam and C. Bingham).
Text by I. V. Shpazhinsky. Four aets.
Moseow 16 Februar)' 1890, ete. Revived St.
PACIUS: Lorelei Petersburg 20 June 1902; Moscow 1916.
28 April. Hclsinki
E. Gcibcl's text (first set to music by Mendelssohn CHAPI: La Bruja
and Bruch, scc 1863). Four acts. (Thc Witch)
The last opera of the Finnish composer (pro-
Deccl1Iber. Madrid, Z.
10
duccd in Germ:ll1, by amateurs).
Text by M. Ramos Carri6n. Three acts.
As successful as his La TClIlpestad (see 1882).
CHABRIER: Le Roi malgre lui* Mexico 16 February 1895, etc.
18 May. Paris,O.C. In Czeeh (trans la ted by V. J. Novotny), Prague
13 Ndvember 1895.
Text by E. de Najac and P. Burani (founded on a
comedy by F. Ancclot). Three acts.
Chabrier's most successful opera and the last J. STRAUSS: Sil1lplizius
which was produced in his lifetime. 17 Decclllber. Vienna, W.
In German, Carlsruhe 2 March 1890, etc. Text by V. Leon. Thrce aets.
Rcvived Paris, O.c. 6 Novembcr 1929 (text Regarded by the composer as one of his best
revised by A. Carre) and 28 Januar)' 1937; Brus- works; but not nearly as successful as his former
sels 16 May 1931. operettas. Given at Prague IO November 1888;
Revived in German (new translation by 1. Graz 25 Deeember 1888 and Vicnna, W. 19 Sep-
Sachse), Hamburg 17 April 193 I; Prague 27 Au- tember 1894 in a new version (libretto altcred by
gust 193 I. 1. D6ezy); also Budapest c.1890 (in Hungarian);
revived at "Venedig in Wien", Vienna 5 July
RADEGLIA: Colomba 1902 (as Gräfin Pcpi, musie arranged from Sil/l-
plizius and Blindekllh, by J. Reiterer) ; this version
15JII/le. Milan, T.d.V.
was also given at Graz 22 November 1902, ete.;
Text by F. Fontana (founded on Merimec's story).
Berlin, Central Th. 27 February 1903.
Three acts.
The first opera of Radeglia (a native of Con-
stantinople who was the composer of the Turkish 1888
national hymn).
(c. M. VON WEBER):
ZÖLLNER: Faust Die drei Pilltos*
190et"bcr. Munich 20 Jalillar)'. Leipzig
Text by the composer (after Goethe). Prologue Original text by T. Hell (founded on a story, Dcr
and 4 acts. Brau/kall/pf, by C. 1. Seidel). Three aets.
In Gennan also, Prague 2 September 1888. The opera had been left unfinished by Weber
Revived Leipzig 26 February 1905; Antwerp in r821. After his death (r826) the fragments,
10 Oetober 1908 (in Flemish); Freiburg Summer seven picces, were given to Meyerbeer who, how-
.1929. ever, ncver made use of them. In 1888 the opera,

II30
1888 ANNALS OF OPERA 1888

was produced in a new arrangement of the text KEIL: Donna Bianca

by K. von Weber, the composer's grandson. The 10 March. Lisbon, S.C.
music was arranged and completed by Gustav
(Italian) text by C. Fereal (from Almeida Gar-
Mahler. Also given at Munich H. 10 April 1888;
rett's poem, Dona Branca). Prologue and 4 parts.
Prague 18 August 1888; Vienna 18 January 1889;
The first opera ofKeil, who was the composer
Berlin, Lessing Th. 4 July 1891 (by the Prague
of the Portuguese national hymn. Also given at
company).
Rio de Janeiro 6 October 1891 (in Italian).
Revived Weimar 5 November 1899; Prague
15 Npvember 1900; Frankfort 6 October 1901; HIGNARD: Hamlet
Hanover 29 August 1909; Riga 1911; Zurich 13 21 April. Nantes
January 19 15.
Text by P. de Garal (after Shakespeare). Five acts.
In Czech (translated by O. Zich), Prague Jan- The vocal score of this Harntet opera had been
uary 1917. published as early as 1868 (dedication dated 2
February 1868); it was not produced on account
F. RUNG: Det hemmelige Selskab of the great success obtained byThomas's opera
(The Secret Party) of the same title on 9 March 1868.
(See for an account of the work, CIement-
9 February. Copenhagen
Larousse's Dictionnaire des Operas.)
Text by S. Bauditz. Two acts.
Rung's only opera. LALO: Le Roi d'Ys*
7 May. Paris, O.c.
FRANCHETTI: krael Text by E. Blau. Three acts.
Lalo's most successful opera; still very popular
, 11 February. Reggio
in France. The 100th performance at the O.C.
Text by F. Fontana (Leggenda). Four acts. was on 5 June 1889, the 200th on 22 February
Franchetti's first opera. Outside Italy, given at: 1906; the 400th and last before it was transferred
HAMBURG 17 February 1890 (in German, translat- to the Opera on 6 January 1940.
ed by H. Wittmann). Outside Paris, given at:
PRAGUE 30 March 1890 (in Czech, translated by GENEVA 23 November 1888 (in French).

V. J. Novotny). AMSTERDAM December 1888 (in Dutch).

BUDAPEST 20 November 1890 (in Hungarian, ANTWERP and BRUSSELS 7 February 1889 (in

translated by A. Rad6). French).

NEW ORLEANS 23 January 1890 (in French).
NEW YORK 26 November 1890 (in Italian).
ROME 12 March 1890 (in Italian, translated by A.
ALEXANDRIA 19 January 1897 (in Italian).
Zanardini).
LISBON 1897 (in Italian). LONDON, C.G. 17 July 1901 (in French).
BUENOS AIRES 15 June 1901 (in Italian). PRAGUE 17 May 1902 (in Czech, translated by O.
LJUBLJANA 1903 (in Slovenian). Smrcka).
MOSCOW February 1906 (in Russian).

GODARD:Jocelyn NEW YORK 5 Janllary 1922 (in French).

BUCHAREST 1 October 1926 (in Rllmanian).
25 February. Brusse1s, M.
Text by P. A. Silvestre and V. Capoul (after (R. WAGNER): Die Feen*
Lamartine's poem). Four acts. 29 June. Munich
Also given at Paris, Chateau d'Eau 13 October Text by the composer (founded on Gozzi's com-
1888. edy, La Donna Serpente). Three acts.

113 1 1132
1888 ANNALS OF OPERA

Wagner's first opera, writtell at \Viirzburg in

r889
1H33. Vocal score published 1888.
Also given at Prague 8 February 1893 (in Ger- D V ORAK: Jakobfn*
man); revived Munich IR june 1910; Zurich 12 Fclm/(/ry. Prague, Cz.
Spring 1914; Stuttgart 19 November 1932.
Text by M, Cervinkova-Ricgrova. Three acts.
An English translation by T. RellSs (lyrics by
SlIcccssflll in Czechoslovakia; freqllently reviv-
A. V. Sinclair) was pllblished in New York 1894;
cd at Pragllc.
there is also a printed Catalan translation by j.
In Czech also, Vienna 5 May 1929 (by a com~
Zannc and J. Pena (1907).
pany from Bratislava); Barcelona February 1936.
In German (translated by A. Heller and H.
Grab), Teplitz-Schönau 12 December 1931; Pra-
SULLIVAN: The Yeomen ofthe Cuard;
glle May 1934.
or, The Merryman and his Maid In Croatian,Zagreb 19 March 1938.
3 October. London, Savoy In Siovenian (translated by V. Hrdcakova),
Text by W. S. Gilbert. Two acts. Ljllbljana 28 March 1938.
In London ran for 423 nights. First given at (During Nazi occupation ofCzethoslovakia tlIe
New York, Casino 17 October 1888, etc. character of Adolph was renamed Rudolph. H:R.)
In Gennan (as Capitän Wilsoll, translated by V.
teon and C. Lindall; pirated), Vienna, Ca. 2 Feb- BRETON: CU Amanti di Teruel
ruary 1889; Budapest 1889; Prague 23 Novem- 12 Fcbrtlary. Madrid, T.R.
ber 1890. Another German version, Der Kö'nigs-
(Original Spanish) text by the composer (found-
gardist (translated by F. Zell and R. Genee), cd on a pIay by J. E. Hartzenbusch), ltalian ver-
was produced at Bcrlin, Kroll's 25 December
sion by A. Zanardini. Prologue and 4 acts.
1889. In Italian also given at Barcelona I I May 1889.
In German (rranslated by F. Adler),Prague 22
HORNEMAN: Al.addin March 1891; Vienna 4 October 1891.
Bucnos Aires 23 August 1892 (in Italian) and
19 NOt/emhrr. Copenhagen
1910 (in Spanish).
Text by B. Feddersen (founded on A. G. Oehlen-
schläger's play). Four acts. MANDL: La Rencontre imprevue
Homeman's ooiy opera. Written to celebrate
16 March. Rauen
the 25th jllbilee of King Christian IX. Revived
Copenhagcn 4 April 1902. Text by A. Larsonneur. Oue act.
I!l Frcnch also, Hague c.r890.
In German (translated by o. Berggruen), Pra-
V AN DER LINDEN: Catharina gue r6 April 1890.
en Lambert V AN MILLI GEN: Brinio
24 Notlembrr. Amsterdam 20 April. Amsterdam
(Anonymolls Dutch) text by J. Van der W. (Dutch) text by M. G. L. van Loghem (founded
(founded on A. de LellVen and L. L. Bninswick's on a novel by J. Van Lennep). Four acts.
vaudeville, Lc Mariase au Tambour). Threc In Dutch also given at Antwerp 1 October
acts. 1895·
, Thc first new opera produced at the "Needer- (G. B. Shaw wrote a review of this opera; re-
landsche Oper", Amsterdam (founded 1886), of printed in his LOl1doll Music in 1888-89, pp.IOo-
which Van der Linden was the first conductor. rb3.)

II33 II34
 ANNALS OF OPERA 1889-90

PUCCINI: Edgar* PIZZI: William RatclifJ

21 April. Milan, Sc. 310etober. Bologna, T.C.
Text by F. Fontana (follnded on Mllsset's La Text by A. Zanardini (founded on Heine's tra-
Coupe et [es Levres).Follr aets. gedy). Prologue and 3 aets.
Revived in a new 3-aet version, Ferrara 28 Feb- Awarded the Baruzzi prize in 1888.
ruary 1892. In Gerni.an (translated by o. Neitzel), Elber-
In Italim also, Madrid 19 March 1892 and Bue- feld 21 March 1905.
!lOS Aires 8 JlIly 1905; revived Malta April 1920.

PHI L POT: Dallte and Beatrice

M ASS E N E T : Esclarmonde*
25 November. London, Gresham Hall (Brixton)
15 May. Paris, O.c.
Text by W. J. MiIIcr. Thrce aets.
Text by E. Blau and L. de Gramont (opera rOllla- Revived London, Shaftesbury 7 June 1918;
flesque). Prologue, 4 aets and epilogue. King's, Hammersmith 16 September 1920; c.G.
The 100th performance at the o.c. was as 17 Deeember 1920.
carly as 6 February 1890.
In Freneh also, Brussels 27 November 1889;
RUBINSTEIN: Goriusha
New Orleans 10 February 1893; Geneva 30
rOpIOIIIa
January 1897.
In Rllssian (translated by N. M. Spassky), St.
(The Sorrowful)
Petersburg 18 January 1892. 3 December. St. Petersburg
Revived Paris, O. 24 Dceember 1923 and I I Text by D. V. Averkiev. Four aets.
November 1931; Brussels 12 March 1934. Rubinstein's last opera. Revived Moseow 1901.

MUNCKTELL: I Firenze SULLIVAN: The Gondoliers; or,

29 May. Stockholm The King ofBarataria
Text by D. Fallström. One aet. 7 December. London, Savoy
Probably the first Swedish opera written by a
Text by W. S. Gilbert. Two aets.
women composer.
In London ran for 554 nights. First given at
GOMES: Lo Schiavo* New York, New Park Th. 7 January 1890; Cape
Town 1890 and in all English-speaking countries.
27 September. Rio de Janeiro
In German (translated by F. Zell and R. Genee),
(Italian) text by R. Paravieini. Four aets. Vienna, W. 20 September 1890; Berlin, Fr.W. 20
Produeed at the Teatro Lirieo Dom Pedro H.
Deeember 1890.
Also given at Sao Paulo I I November 1889. Last
revived at Rio de J;meiro in April 1938.
1890
SMAREGLIA: Der Vasall von Szigeth
40etober. Vienna, o. MILLÖCKER: Der arme Jonathan
(OriginaIItalian) text by L. Illiea and F. Pozza, 4 Jalluary. Vienna, W.
produeed in a German version by M. Kalbeck. Text by H. Wittmann and J. Bauer. Three aets.
Three aets. In German also, Berlin, Fr.\V. 16 January 1890;
In German also, New York, M. 12 Deeember Riga and Reval 1890; Bueharest Summer 1890;
189°. Prague 13 September 1890; Basle 10 Oetober
Revived Pola September 1930 and Trieste Oe- 1890; New York 2 January 1891.
tober 1930 (in Italian). In Hungarian, Budapest 14 March 1890.

II35
 ANNALS OF OPERA

In Russian, St. Petersburg 28 March 1890. SAINT-SAENS: Ascanio

In Polish (translated by J. KlcezyIiski) Lcmberg
21 A1arch. Paris, O.
1890.
Text by 1. Gallet (founded on A. DllInas's ro-
In Swcdish (translatcd by H. Mobnder), Stock-
m:lI1ce of the same title, 1843, and P. Meuriee's
holm 2 Oetober 1890.
play B('II/lclllilo Ccllilli, 1852). Five acts.
In English (translated by J. P. Jackson and R. A.
Revived Paris, O. 9 November 1921.
Weill), New York 14 Oetober 1890. In another
English adaptation (by C. H. E. Brookficld and
H. Grccnbank), London, Prince of Wales's 15 GASTALDON: Mala Pasqua !
June 1893 (with additional music by Albcniz). 9 April. Rome, C.
In Croatian (translated by P. Brani), Zagreb 9 Text by G. D. Bartoeci-Fontana (after G. Verga;
December 1894. a 2-aet version of the Ca/lallcria msticalla sllbjeet,
see bclow).
REYER: Salammb8 In Italian also, Lisbon 2 Februar)" 1891.
10 Fcbmary. Brusscls, M. •
Text by C. Du Locle (founded on Flaubert's COWEN: Thorgrim
noveI). Five aets. 22 April. London, D.1.
Reyer' s last opera. In France first given at Text by J. Bennett (founded on the Icclandie
Rouen 22 November 1890; Paris, O. 16 May romance, Vigilmd Ihc Fair). FOllr aets.
1892 (looth performance 17 June 1900). Dublin September 1890; Birmingham 24 Oe-
In Freneh also, New Orleans 25 January 1900; tober 1890, ete.
Cairo Januar)' 1901; New York 20 March 1901.
Revived Brusscls 15 October 1927; Paris, O. 3 SPINELLI: Labilia
June 1938. 7 May. Rome, C.
Text by V. Valle. One aet.
FIBICH: Namluvy Pelopovy This opera was awarded the sceond prize at the
(The Wooing ofPelops) Coneorso Sonzogno after Caf'allcria rIIsticana,
21 Fcbmary. Praglle, Cz. produeed ten days !ater.
Text by J. Vrehlicky. Four acts ..
The first part of Fibieh' s mclodramatie trilogy MASCAGNI: Cavalleria rusticana
(189D--91). Revivcd Prague 18 August 1905 aud 17 May. Rome, C.
I December 1923. Given at Vimna, Exhibition Text by G. Menasei and G. Targioni-Tozzetti
Th. 3JlIne 1892 (in Czech) and V.O. 9 April 1924 (founded on G. Verga's pIay of the same title).
(in Germau, translated by E. Grün). One aet (divided in two parts bythe ever-popular
intermezzo sinfonieo).
LOHSE: Der Prinz wider Wille/l Maseagni's first performed opera (his Gliglicl/llo
Ratcliß: produeed in 1895, was writtm before
27 Fcbmary. Riga CavaJ/cria, and Pillotta, prodlleed as 14te as 1932,
Text by R. Seuberlieh. Three aets. stiH earlier). Awarded the first prize in the (sec-
Given wirh alterations, Cologne I January ond) Concorso Sonzogno, 1888. The standard
1898; Hamburg 30 September 1898; Strasbollrg ,vork ofItaIian "crim/() beeamc an 11l1preeedentcd
27 Oetober 1898; Berlin, Th.d.W. 12 November world Slleecss at onee. Given a11 over Italy and at:
1!!98. Revived Leipzig 27 January 1919; Basle 8 STOCKHOLM 11 Deecmber J 890 (in Swedish,
Janllary 1()20; Gera Oetober J925. transbtcd by H. Kcy).

II37 II3 8
 ANNALS OF OPERA

MADRID 17 December 1890 and Barcelona 9 May NEW ORLEANS 3 January 1892 (in English) and 21
1891 (in Italian). January 1897 (in French).
BUDAPEST 26 Decembcr 1890 (in Hungarian, WARSAW 6 January 1892 (in Polish, translated by
translated by A. Rad6). A. Strzelecki).
HAMBURG 3 January 1891 (in German, translated LIVERPOOL 14 January 1892 (in English, translated
by O. llerggruen; Dresden 16 January 1891, by F. E. Weatherly).
etc.; given at Munich 22 January 1R91 as Ritter- PARIS, O.C. 19 January 1892 (in French, translated
lichkeit auf delll Dorfe). by P. Milliet) and Chatclet 23 May 1910 (in
PRAGUE 4 January 1891 (in Czech, translated by Italian).
V.J. Novotny) and 18 April 1891 (in German). BRUSSELS.25 February 1892 (in French).
BUENOS AIRES 28 February 1891 (in Italian). REVAL (TALLINN) 1892 (in German) and 1919 (in
MOSCOW 17 March 1891 (in Italian) and 8 April Estonian).
1892 (in Russian). ST. PETERSBURG 30 January 1893 (in Russian, trans-
VIENNA, o. 20 Mareh 1891 (in Cerman) and Ex- lated by M. M. Ivanov and N. M. Spassky).
hibition Th. 19 September 1892 (in Italian). ZAGREB 29 May 1893 (in Croatian, translated by
BUCHAREST April 1891 (in Italian) and 1903 (in A. Harambasic).
Rumanian). SOFIA Summer 1893 (in German) and 25 Novem-
BERLIN, LESSING 'FH. 13 June 1891 andO. 21 Octo- ber 1910 (in Bulgarian).
ber 1891 (in German); Th. V.d.L. 20 Septem- CAPE TOWN 1895 (in Italian);Johannesburg 1905
ber 1895 (in Italian). (in English).
RIGA 1891 (in German) and 1913 (in Lettish). I1ELSINKI5 May 1896 (in Italian) and 28 Novem-
LAIBACH (LJUBLJANA) 1891 (in German) and 1893 berI917 (in Finnish, translated by W. Sola).
(in Slovenian). CHRISTIANIA (OSLO) 1896 (in Norwegian).
PHILADELPHIA 9 September T 891; Chieago 30 Sep- SIMLA, PUNJAB Autumn 1901 (in English ?).
tember 1891; Boston 6 October 1891, ete. (in VIIPURl (VIBORG) 17 November 1908 (in Finnish).
Italian). SAIGON 1911 (in Italian).
RIO DEJANEIRO 10 September 1891 (in Italian). TOKYO January 1912 (in Italian).
BASLE 28 September 1891 (in German). BELGRADE 1920 (in Serbian).
COPENHAGEN 30 September 1891 (in Danish, OSAKA 23 March 1924 (in Itali:m).
translated by E. Bogh). KAUl\'AS 21 January 1925 (in Lithuanian).
NEW YORK 1 Oetober 1891 (the same day at two TEL-AVIV June 1925 (in Hebrew, translated by M.
different theatres, matinee at the Casino Th. Freidmann).
and evening at the Lennox Lyeeum, in Eng- Open-air performances of the opera took place
lish 1) and M. 30 December 1891 (in Italian). at the Lewinsohn Stadium, New York 21 Sep-
AMSTERDA:M 4 Oetober 1891 (in German) and 3 tember 1916; at the Piazza S. Marco, Venice 19
February 1892 (in Dutch). July 1928. Festival performances to cclebrate the
LONDON, SHAFTESBURY 19 October 1891 and c.G. 50th annivers;lry of the first production, conduet-
16 May 1892 (in Italian); IOOth performance at ed by the composer, took place at Venice, F. 19
c.G. 28 December 1907; Grand Th., Islington February 1940; Rome, T.R. 5 March 1940; Milan,
9 April 1894 (in English). Sc. 12 April 1940.
MEXICO 27 October 1891 (in Italian) andJuly 1893
(in Spanish, translated by J. R. de la Portilla). FERRONI: Rudello
LISBON 12 November 1891 (in Italian). 28 May. Rome, C.
MALTA Carnival 1892 (in Italian). Text by M. Zucchetti. One act.
I The first English translations wcre by W. G. D.y
The third prize opera of the Concorso Son-
and J. c. Macy, both 189 I. zogno.

II39 II4°
 ANNALS OF OPERA 1890

LA ~UX: Zai're A. RITTER: Wem die Krone?

2811-1'7)'. Paris, O. 8lune. Weimar
Text by E. Blau and L. Besson (founded on Vol- Text by the composer. One aet.
taire's tragedy). Two aets. Ritter's seeond and ]:rst opera. Produeed on the
Given in Paris 10 times only. same bill with a revival ofhis Der faule HallS (see
In German (translated by A. Harlaeher), Stutt- 1885). Berlin I Oetober 1892.
gart 10 Oetober 1895; Prague 9 Oetober 1903.
DE KOVEN: Robin Hood
MESSAGER: La Basoche 9 lUlle. Chieago
Text by H. B. Smith. Three aets.
30 May. Paris, O.C.
The most popular of De Koven's numerous
Text by A. Carre. Three aets. operettas. Very successful in the U.S.A. Boston
One of Messager's most popular works; reviv- 22 September 1890; New York ::8 September
ed at the O.c. 16 November 1900, 20 Deeember 1891, ete.
1919, 19 Deeember 193 land 3 I December 1939; Given in London, Camden Town Park Hall 20
revived at Brussels 27 Oetober 1939. September 1890 and Prince ofWales's Th. 5 Feh-
Outside Franee, given at: ruary 1891 as Maid Marian. (De Koven wrote a
BRUSSELS 4 Deeember 1890 (in Freneh).
sequel to Robin Hood, actually called Maid Mariall,
GENEVA 25 February 1891 (in Freneh).
and first performed at Philadelphia 4 November
HAMBURG 19 October IS91 (in German, as Die
190 1.)
zwei Kiilligc, translated by L. Hartmann). Frequently revived in New York; New Am-
BERLIN, FR.W. 29 October 1891 (in German, as
sterdam Th. 6 May 1912; Jolson's 18 November
Die Basochc, translated by R. Gence). 1929; Etlanger's 27 January 1932.
LONDON, R.E.O. 3 November 1891 (in English,
translated by A. H. G. Harris and E. Oudin);
the seeond and last produetion at the "Royal
(BORODIN): Knyaz [gor
Eng4sh Opera", after Sullivan's Ivanhoe (see RHHaL MropL *
18 9 1). (Prince Igor)
PRAGUE 26 February 1892 (in Czech, translated by 4 November. St. Petersburg
V. J. Novotny). Text by the composer (after a plan by V. V~
STOCKHOLM 21 May 1892 (in Swedish, translated Stasov). Prologue and 4 aets.
by E. A. Wallmark). Borodin worked at this opera from 1871 until
CHICAGO January 1893 (in English, translated by his death in 1887. It was eompleted and edited by
M. L. Ryley). Rimsky-Korsakov and Glazunov. First produccd
NEW YORK 27 February 1893 (in English, trans- at Moscow 3 I January 1898.
lated by M. L. Ryley). Outside Russia, given at:
TURIN 5 March 1893 (in Italian, translated by R. PRAGUE 8 June 1899 (in Czeeh, translated by A. E.
Leoncavallo and E. Gentili). MuZfk).
PARIS, CHATELET 19 May 1909 (parts only); the

E. M. BaSSI: Il Veggente whole opera, Ch. E. 27 January 1929 (in Rus-

sian).
4lulle. Milan, T.d.V. LONDON, D.L. 8 June 1914 (in Russian) and c.G.
Text by G. Macchi. One aet. 26 July 1919 (in English, translated by E.Agate);
In German (as Der Wanderer, translated by W. another English version, by H. Proeter-Gregg,
:Weber), Mannheim 7 December 1906. was produced at Leieester on 16 Oetober 1933.

II41
 ANNALS OF OPERA

MILAN, SC. 26 Deeember 1915 (in Italian, trans- Miss Decima, adapted by F. C. Bumand and P.
lated by A. Lega; revived there 28 February Reeve).
1940). NEW YORK 3 November 1891 (in English).
NEW YORK 30 Deeember 1915 (in Italian). STOCKHOLM 21 November 1891 (in Swedish,
BUENOS Aml:S 5 August 1919 (in Italian). translated by E. A. Wallmark).
SOFIA 29 September 1922 (in Bulgarian). VIENNA, W. 25 December 1891 (in German).
ZAGREB 16 December 1922 (in Croatian). PRAGUE 3 January 1892 (in Czech, translated by
BARCELONA 20 December 1922 and Madrid April V.J. NovotnY)·
1923 (in Italian). MEXICO 27 November 1892 (in Spanish, trarislated
MONTE CARLO II March 1924 (in French, trans- by E. Labrada).
lated by J. RueHe). GENOA I I September 1895 (in Italian).
BRUSSELS 14 November 1924 (in French, translat- LISBON April 1901 (in French).
ed by J. Ruelle). MADRID 27 April 1905 (in Spanish, translated by
MANNHEIM 15 March 1925 (in German, translated S. M. Granes).
by Mme. Aleksandrova). Spanish parody Miss' Erere, by Gabriel Merino
LYONS 4 February 1926 (in Freneh). y Pichilo, music by Lllis Amedo, Madrid 8 April
GENEVA 13 January 1928 (in Russian). 1893·
ZURICH 16 March 1928 (in German).
HELSINKI 18 September 1929 (in Finnish, translat- TRNECEK: Amaranta
ed by T. Muroma). 16 November. Praglle, Cz.
BUCHAREST December 1929 (in Rumanian).
(Original German) text by D. Homicke (founded
LJUBLJANA 4 Oetober 1930 (in Slovenian, trans-
on a poem by O. von Redtwitz), Czech version
lated by N. Stritof).
by 1. DolanskY. Prologue and 3 acts.
BEULIN I l Oetober 1930 (in German).
Tmecek's first Czech opera.
TALLINN 1932 (in Estonian).
SCHEVENINGEN September 1932 (in Russian).
ROME, ARG. 4 November 1932 (in Russian). (BERLIOZ): Die Eroberung Trojas*
STOCKHOLM II March 1933 (in Swcdish). 6 Deccmber. Carlsruhe
KAUNAS 9 Fcbruary 1935 (in Lithuanian). (Original French) text (La Prise de Troie) by the
ANTWEUP 29 February 1936 (in Flernish). composer (after Virgil), German version by O.
RIGA 6 November 1936 (in Lettish). Neitzel. Three acts.
BUDAPEST 20 January 1938 (in Hungarian, trans- The first part of Berlioz' s Les Troyens (publish-
lated by K. Nadasdy). ed 1864). Together with the revival (5 December)
AUDRAN: Miss Helyett of the second part (sec 1863) this was the first pro-
duction of the complete work (on two sllbsequent
12 November. Paris, B.P. nights, under the direction ofF. Mottl).
Text by M. Boucheron. Three acts. La Prise de Troic was first given in the original
Very suecessful in Paris. The 700th perform- French at Nice February 1891 (according to Cle-
ance at the B.P. was on 21 August 1892; given ment-Larousse, p. 905); Paris, O. 15 November
there 816 nights running; rcvived Ren. 7 April 1899·
1900, ete. In Italian (translated by A. Galli), Milan, 1'.L.
Outside France: 23 November 1899.
BRUSSELS 26 December 1890 (in French). Revived Geneva 22 November 1932 (in
BERLIN, WALLNER TH, 7 February IR91 (in Ger- French).
man, translated by R. Genee). Les Troyens (both parts) was revived ot:
LONDON, CRITERION 23 July 1891 (in English, as COLOGNF. 30-31 March 1898 (in German).

II43 II 44
 ANNALS OF OPERA 1890-91
BRUSSELS 26-27 Deeember 1906 (in French). LONDON, L.O.H. 29 May 1915 (in Russian).
STUTTGART 18 May 1913 (new German version by SAN FRANCISCO 9 January 1922 (in Russian).
E. Gerhäuser, musie arranged by M. von Schil- BARCELONA 1 Deeember 1922 (in Russian).
lings). HELSINKI 2 January 1923 (in Fi1lllish, translated by
ROUEN February 1920 (in Freneh); both parts in a M. A. Bergh-Wuori).
redueed 5-aet version (9 scenes). BUENOS AIRES 10 JUlle 1924 (in Russian).
PARIS, O. 10 June 1921 (in French); both parts in a KAUNAS 22 May 1925 (in Lithuanian).
reduced 5-aet version (9 scenes) ; revived Paris, NUREMBERG January 1926 (new German version
O. 5 JUlle 1939. by R. Lauekner).
BERLIN, o. 15 Jlme 1930 (in German, translated SOFIA 26 February 1926 (in Bulgarian).
and arranged by J. Kapp); 4 aets (6 secnes). TALLlNN 1926 (in Estonian, translated by S. Lipp).
GLASGOW 18-19 March 1935 (initscntiretyforthe COPENHAGEN 14 Deeember 1927 (in Danish, trans-
first time in English, translated by E. J. Dent). lated by W. van der Vliet and T. Krogh).
BUCHAREST Oetober 1928 (in Rumanian).
BRUSSELS 28 November 1931 (for the first time in
CHAIKOVSKY: Pikovaya Dal1la
Freneh; translator not mentioned).
IlImoBaß ,Il;aMa*
ZURICH May 1940 (in German).
(The Queen of Spades)
19 Deeen/ber. St. Petersburg
Text by M. 1. Chaikovsky (the brother of the
I89I
composer), founded on Pushkin's Ilovel. Thrce ZELLER: Der Vogelhändler
acts.
10 January. Vie1llla, W.
Apart from Yellgeny Ollegill (sec 1879), Chai-
kovsky's most sueeessful opera. Given at Kiev Text by M. West and L. Held. Three aets.
Deeembcr 1890; Moscow 16 November 1891; The most sueeessful ofZeUer's operettas. Given
Odessa 17 February 1892; Saratov 5 Deeember at:
1892, ete. Outside Russia: BERLIN, FR.W. 20 February 1891 (in German).
PRAGUE 11 Oetober 1892 (in Czech, translated by PRAGUE 1891 (in German).
V.J. Novotny). NEW YORK 5 Oetober 1891 (in English, as The
ZAGREß 27 December 1898 (in Croatian, trans- Tyroleall) and 26 Deeember 1892 (ü. German) ;
lated by F. Miler) . revived 4 March 1910 (in English).
.RIGA 19 April 1899 (in Russian); 2 February 1901 TRlESTE 1891 (in Italian).
(in German); and 1915 (in Lettish). REVAL 1892 (in German).
DARMSTADT II March 1900 (in Gcrman, translat- ZURICH 27 JUIle 1892 (in German).
cd by A. Bernhard). SOFIA Autumn 1892 (in German).
WARSAW 8 November 1900 (in Polish). MEXICO June 1893 (in Italian) and 3 September
VIENNA 9 Deeember 1902 (in German). 1893 (in Spanish).
LJUBLJANA 1905 (in Slovenian). STOCKHOLM 30 September 1893 (in Swedish,
MILAN, sc. 18 January 1906 (in Italian). translated by E. Högman).
BERLIN, 0.20 March 1907 (in German) and KroU's RIGA 1893 (in German).
22 May 1908(ill Russian). MILAN 8 January 1894 (in Italian).
STOCKHOLM 25 November 1909 (in Swcdish, ST. PETERSBURG 1894 (in German).
translated by E. Grandinson). ZAGREB 19 January J 895 (in Croatian, translated
NEW YORK 5 March 1910 (in German) and 10 May by A. Harambasic).
1922 (in Russian). MA:pRID 20 April 1895 (in Spanish, translated by
PARTS, TH.S.B. 8 June 19II (in Russian). J. R. de la Portilla).

II45
1891 ANN ALS OF OPERA 1891

LONDON, D.L. 17 June 1895 (in German). FR BIT AS GAZUL: Fra Luigi di Sousa
BRUSSBLS21 October 1896 (in French, translated·
19 March. Lisbon, S.C.
by G. Garnir and G. Lagye).
COPENHAGEN May 1897 (in German). (Italian) text by J. Romano and P. Bottini (found-
STRASBOURG 25 December 1897 (in German). ed on a play by Almeida Garrett). Three acts.
GHBNT December 1902 (in Flemish). The only opera of the Portuguese composer.
BUENOS AIRES October 1906 (in German).
JOHANNESBURG 1907 (in German; by amateurs).
PLATANIA: Spartaco
POZNAN 1912 (inPolish, translated by A. Kiczman).
Frequently revived on German stages. 29 March. Naples, S.c.
Text by A. Ghislanzoni. Four acts'
GAS T: Die heimliche Ehe Successful in ltaly; Rome 28 May 1891; Milan
23 January. Danzig 13 May 1893, etc.
Text by the composer (founded on G. Bertati's German version by E. Taubert published.
Matrimonio segreto, see 1792). Three acts.
Gast's only opera; highly praised by Nietzsche.
1I. BRANDTS-BUYS: AlbrechtBeiling
Vocal score printed in 1901 as Der Löwe von Vene-
dig, under wruch title the opera was revived at 29 March. Amsterdam
Chemnitz I I February 1933. (Dutch) text by M. A. Caspers. Four acts.
The opera had previously been performed as a
S ULLIV AN: Ivanhoe* concert drama. at the 15th Dutch national "Zan-
31 January. London, R.E.O. gersfeest", Amsterdam.
Text by J. R. 'Sturgis (founded on Scott's novel).
Five acts. PBSSARD: Les FoZies amoureuses
W ritten for the inauguration of the short·lived
Royal English Opera House, C,,-mbridge Circus. 1) April. Paris, O.C.
Sullivan's only grand opera, and probably the Text by A. Uneka and E. Matrat (founded on
only grand opera which was ever produced for a J. F. Regnard's comedy, 1704). Three acts.
continuous run (160 performances). The most successful ofPessard's comic operas.
In German (translated by H. Wittmann), Ber-
lin, O. 26 November 1895.
Revived London, C.G. 8 March 1910. (CORNELIUS): Gunlöd
:
6 May. Weimar
SBRRANO Y RUIZ: Irene de Otranto Text by the composer. Three acts.
17 February. Madrid, T.R. Cornelius's last opera, left unfinished at his
Text by J. Echegaray. Three acts. death in 1874, completed by C. Hoffbauer. First
The most successful ofSerrano y Ruiz's Span- produced under E. Lassen (who partly altered the
ish operas. orchestration). Also given at Strasbourg 20 March
1892; Carlsruhe 29 April 1892; ManDheim 23
MASSBNET: Le Mage* March 1893.
16 March. Paris, O. Revived in a new version by W. von Baus5-
Text by J. Richepin. Five acts. nem, Cologne 15 December 1906; Magdeburg
Given in Paris 31 times in 1891, but never 28 November 1907; Halle Spring 1918. Bauss-
revived. nem's version was also given in concert foml at
In French also, Hague 25 January 1896. VenIo, Holland 9 January 1910.
II47 II48
 1891 ANNALS OF OPERA 1891

FIBICH: Smfr Tantalüv VIENNA, O. 30 March 1892 (in German) and Ex-
(Tantalus's Atonement) hibition Th. 15 September 1892 (in Italian).
PRACUE 18 April 1892 (in Czech, translated by V.
z June. Prague, Cz.
J. NovotnY)·
Text by J. VrchlickY. Four acts.
LONDON, C.G. 23 May 1892 (in Italian).
Tbe second part of Fibich's melodramatic tri-
PillLADELPHIA 8 June 1892 (in Italian).
logy (189C>-91). Given at Antwerp 21 December
BUENOS AIRES 24 June 1892 (in Italian).
1893 (in Flemish). Revived Prague II June 1925
DUBLIN August 1892 (in English, translated by F.
(in Czech).
E. Weatherly).
RIO DEJANEIRO 16 October 1892 (in Italian).
BRUNEAU: Le Reve*
ZURrCH 6 January 1893 (in German).
18 June. Paris,O.C. NEW YOR]{ 31 January 1893 (in Italian).
Text by L. Gallet (founded on ZoIa's novel). Four MOSCOW 3 November 1893 (in Italian).
acts. ANTWERP 17 February 1894 (in French, translator
In French also given at London, C.G. 29 Octo- not mentioned).
ber 1891; Brussels 12 November 1891. LAIBACH 1894 (in German).
In German (translated by L. Hartmann), Kö- BARCELONA 8 December 1894 (in Italian).
nigsberg 19 January 1892: Hamburg 28 March STOCKHOLM 26 January 1895 (in Swedish, trans-
1892. lated by E. A. Wallmark).
Revived Paris, O.C. I May 1914; 12 Novem- MALTA 19o1 (in Italian).
ber 1925; 16 February 1939; Basle 30 May 1926 PARIS, TH. S.B. 9 May 1905 (in Italian).
(in French); Brussels 12 October 1933. LEMBERG 15 November 1906 (in Polish, translated
by A. Kiczman).
CARDOSO: 0 Burro do Senhor Alcaide USBON 1906 (in Italian).
(The Mayor's Donkey) MONTREAL 1911 (in Italian).
14 August. Lisbon, Th. da Avenida LYONS 17 July 1914 (in Italian).

Text by G. Lobato and J. da Camara. Three acts.

Successful Portuguese operetta, given at Lisbon FIBICH: Smrt Hippodamie
200 times until 1892 and subsequently produced
at Oporto and Rio de Janeiro.
(Hippodamia'S Death)
8 November. Prague, CZ.
MASCAGNI: L'Amico Fritz* Text by J. VrchlicIcr. Four acts.
31 October. Rome, C. The third and last part of Fibich's trilogy (see
Text by "P. Suardon" (pseudonym of N. Das- 21 February 1890 and 2 June 1891). The fiest
puro), founded on Erckmann-Chatrian's novel. cyclic performance at the Czech Opera House,
Three acts. Prague, was on 16-18 February 1893. Smrt Hippo-
After Cavalleria rusticana, Mascagni's greatest damie was revived at Prague 28 October 1925 and
succesS. Still very popular on ltalian stages. Out- 7 May 1932.
side Italy, given at:
BUDAPEST 23 January 1892 (in Hungarian. trans- MORALES: Cleopatra
lated by K. Abranyi).
PRANKfORT 12 March 1892 (in German, translated
14 November. Mexico
by M. Kalbeck). (Italian) text by A. Ghislanzoni. Four acts.
BHRLIN 19 March 1892 (in German, translated by The last opera of the Mexican composer (cf.
M. Kalbeck). 1865).

II49 IISO
 ANNALS OF OPERA

SPETRINO: Celeste CATALANI:La Wally*

3 December. Bucharest 20 January. Milan, Sc.

(Italian) text by A. Ghislanzoni (from 1. Maren- Text by 1. Ulica (founded on a German novel,
co's idillio campestre, 1868). Three acts. Die Geyer-Wally, by wilhelmine von Hillem).
One of the very few original ltalian operas pro- Four acts.
duced at Bucharest. Catalani's last and best opera. Given at:
HAMBURG 16 February 1893 (in German, translat-
ed by W. von Hillem, the author of the original
HUBAY: Alienor
novel.)
5 December. Budapest BUENOS AIRES 28 July 1904 (in Italian).
Text by A. Varadi (translated from a French RIO DE JANEIRO 7 October 1908 (in Italian).
libretto by E. Haraucourt). Four acts and epilo- NEW YORK 6 January 1909 (in Italian).
gue. MALTA 1909 (in Italian).
The first opera of the famous violinist. LISBON 1910 (in Italian).
BARCELONA 3 January 19II (in Italian).

BOURGA ULT-DUCOUDRAY: WARSAW January 1914 (in Polish).

MANCHESTER 27 March 1919 (in English, trans-
Thamara
lated by P. E. Pinkerton).
28 December. Paris, O. BUCHAREST January 1924 (in Rumanian).
Text by L. Gallet. Two acts. LJUBLJANA 1926 (in Slovenian).
, , Revived Paris, O. 23 January 1907. The only Revived Rome 10 Octoher 1920, etc. Still
opera of the "forgotten promoter of the modem given in Italy.
renaissance of French music" (Calvocoressi)
which was produced in his lifetime. ENN A: Heksen
(The Witch)
24 January. Copenhagen
Text by A. Ipsen (founded on a German play by
A. Fitger). Four acts.
J. STRAUSS: Ritter Pazman The most successful opera of the Danish com-
1 January. Vienna, O. poser. Also given at:
PRAGUE 1 June 1892 (in German, translated uy M.
Text by 1. D6czy (founded on an Hungarian
ballad by J. Arany). Three acts. von Borch).
MAGDEBURG 27 November 1892 (in German,
Strauss's only attempt at cornic opera proper.
Also given at Prague 24 April 1892 and Berlin 4 translated hy M. von Borch).
BERLIN 14 January 1893 (in German, translated by
June 1892. Revived Budapest Auturnn 1939 (in
Hungarian, translated by V. Unyi). M. von Borch). .
RIGA November 1893 (in German, translated by
M. von Boreh).
WEIS: Viola STOCKHOLM 9 January 1894 (in Swedish, trans-
17 January. Prague, Cz. lated by E. A. Wallmark).
Text by B. Adler, R. Subert and V. Novohradsky
(from Shakespeare's Twelfth Night). Three acts. MASSENET: Werther*
Revived (in German, as Die Zwillinge), Frank- 16 February. Vienna, O.
fort 16 December 1902; Berlin 22 December (Original French) text by E. Blau, P. Milliet and
1908; revived in Czech, Prague 28 February 1917 G. Hartmann (after Goethe), first produced in a
(as BUzenci). German version by M. Kalbeck. Four acts.

115 2
 ANNALS OF OPERA

Apart from A1anoll, Massenet's most popular SOFIA6 May 1920 (in Bulgarian).
opera. Given at: BELGRADE 1920 (in Serbian).
WEIMAR 13 November 1892 (in German). HELSINKI 28 January 1922 (in Swedish).
GENEVA 27 December 1892 (for the first time in MALTA 1922 (in Italian).
the original French). BUCHAREST February 1923 (in Rumanian).
PARIS, O.C. 16 January 1893 (in Frcnch). KAUNAS 2 January 193 I (in Lithuanian).
BRUSSELS 24 January 1893 (in French). The I,oooth performance at the Paris, O.C. was
CHICAGO 29 March 1894 (in French). on II October 1938. Still given on French and
NEW YORK 19 April 1894 (in French). Italian stages.
ST. PETERSBURG April 1894 (in French); 29 January
1896 (in Russian); 16 January 1902 (in Italian)1. (LACOMBE): Winkelried
Revived in Russian, Leningrad 10 December
17 February. Geneva
1920. '
Text by Moreau-Sainti and L. Bonnemere. Foue
LONDON, C.G. uJune 1894 (in French) and H.M.'s
acts.
27 May 1910 (in English, translated by H. G.
The first of three operas all produced after the
Chapman).
composer's death.
NEW ORLEANS 3 November 1894 (in French).
rn German (translated by H. Riemann), Cob-
MILAN, T.L. I December 1894 (in Italian, trans-
lenz 19 January 1896; Elberfeld 3 March 1900.
lated by G. Menasci and G. Targioni-Tozzetti).
KIEV January 1895 (for the first time in Russian,
translated by N. M. Spassky). GIORDANO: Mala Vita
BUENOS AIRES 17 July 1897 (in Italian). 21 February. Rome, Arg.
LISBON 28 Decemher 1898 (in Italian). Text by N. Daspuro. Three parts.
BARCELONA 29 April 1899 (in Italian). In Italian also, Berlin, Kroll's 13 February 1892;
RIGA IO November 1899 (in German) and 16 No- Vienna, Exhibition Th. 27 September 1892.
vember 1926 (in Lettish). Revived in a new version (as Il Voto), Milan,
BRÜNN 26 December 1900 (in German). T.L. IO November 1897.
ODESSA 13 January 1901 (in Italian).
PRAGUE 13 January 1901 (in Czech, translated by
DRAESEKE: Herrat
V.J. Novotny).
ZAGREB 29 October 1901 (in Croatian, translated
10 March. Dresden
by V. Badalic). Text by the composer. Three acts.
WARSAW November 1901 (in Polish, translated by Revived Dresden 7 October 19°5; Coburg 13
L. German). November 1906.
STOCKHOLM I December 1904 (in Swedish, trans-
lated by S. Nyblom). BENDL: DEte T&bora
RIO DE JANEIRO 12 August 1905 (in Italian). (The Daughter of the Camp)
ZURICH 20 October 1905 (in German)
March. Prague, Cz.
13
BERLIN, K.O. 12 September 1907 (in German)·;
Text by E. Krasnohorska. Three acts.
revived Kroll's 7 March 1926.
Revived Prague II October 1927.
COPENIIAGEN 22 September 1907 (in Danish,
translated by J. Lehmann).
LJUßLJANA 1909 (in SIovenian).
BR ÜLL: Gringoire
MONTREAL 1912 (in French). 19 March. Munich
1 Name part (origitlJIly tenor) rcwrittcn as baritone
Text by V. Leon (after the French play byT. de
for Mattia Dattistini. BanvilIe). One act.

II53 II54
 ANNALS OF OPERA 1892
1892
ApartfromDasgoldene Kreuz (see 1875), Brüll's In German (translated by F. Adler) Prague 8
,
greatest success. March 1893.
In German also given at Vienna 4 October
1892; Prague and Riga 1893; Colmar 27 Novem-
LEONCAVALLO: Pagliacci
ber 1896 and Strasbourg 28 November 1897. 21 May. Milan, T.d.V.

In Danish, Copenhagen 5 January 1902 . Text by the composer. Prologue and 2 acts.
The first of Leoncavallo's operas which was
CILEA: La Tilda performed, and his greatest success. Given at:
VIENNA 17 September 1892 (in Italian, at the Ex-
7 April. Florence, T. Pagliano
hibition Th.) and O. 19 November 1893 (in
Text by "A. Graziani" (pseudonym of A. Zanar-
German).
dini). Three acts. BERLIN, O. 5 December 1892 (in German, trans-
In Italian also given at the Exhibition Th., lated by L. Hartmann) and Th. U.d.L. 20 Sep-
Vienna 24 September 1892. tember 1895 (in Italian).
PRAGUE 10 February 1893 (in Czech, translated by
HOL: Floris V V.J. Novotny) and 1893 (in German).
9 April. Amsterdam BUDAPEST 28 March 1893 (in Hungarian, trans-

Text by M. Boddaert. Five acts. lated by A. Rad6).

Hol's first opera. Revived in a new version, LONDON, C.G. 19 May 1893 (in Italian) and 6 No-

Hague April 1902. vember 1895 (in English); looth performance

at C.G. 3 April 1920.
MOSZKOWSKI: Boabdil, der letzte NEWYORK 15June 1893 (in Italian); 18 December
1893 (in German); and 10 May 1895 (in Eng-
Maurenkönig
lish).
21 April. Berlin, O. BUENOS AlRES 20 June 1893 (in Italian).
Text by C. Wittkowsky. Three acts. DUBLIN August 1893 (in English, translated by F.
Moszkowski's only opera (containing the pop- E. Weatherly).
ular ballet music). STOCKHOLM 28 September 1893 (in Swedish,
In German also given at Prague 5 September translated by E. A. Wallmark).
1893· MEXICO 10 October 1893 (in Italian) and 3 Feh-
In English (translated by C. F. Tretbar), New ruary 1894 (in Spanish, translated by J. R. de la
York 24 January 1893. Portilla).
BASLE 29 October 1893 (in German).
CHAPUIS: Enguerrande MOSCOW 23 November 1893 (in Russian, trans-

9 May. Paris, O.C. lated by N. M. Spassky) and 22 January 1894

(in Italian) ; St. Petersburg 5 December 1893 (in
Text by V. Wilder (founded on a play by A. E.
Russian).
Bergerat). Four acts.
ZAGREB 22 April 1894 (in Croatian, translated by
Chapuis's first opera.
M. Pogaoc).
MALTA 1894 (in Italian).
BRETON: Garin, l'Eremita WARSAW 1894 (in Polish).
di Montserrat RlGA 1894 (in German), and 1913 (in Lettish).
14 May. Barcelona, L. BORDEAUX 26 November 1894 (in French, trans-
(Italian) text by C. Fereal. Four acts. lated by E. Crosti).
In Italian also given at Madrid 22 October BRUSSELS II February 1895 (in French, translated
1892; Lisbon 10 February 1903; Oporto 19O5. by E. Crosti).

IISS IIS6
 ANNALS OF OPERA

COPENHAGEN 3 May 1895 (in Danish, translated The mcst slIccessful opera of Mugnone (who
by E. Bf2Igh). was the first condllctor of Ca"allcria rusticana).
CAPE TOWN 1895 (in Italian); Johannesburg 1905 In Italian arso given at the Exhibition Th.,
(in English). Vienna 19 September 1892 and at Barcelona 1893.
HELSINlU 24 April 1896 (in Italian) ; 2 October
19II (in Swedish); 27 September 1919 (in FRANCHETTI: Cristoforo Colombo*
Finnish). .
60etober. Genoa, C.F.
LlSBON 1897 (in Italian).
LJUBLJANA 1899 (in Siovenian).
Text by L. Illica. Four acts and cpilogue.
PARIS, O. 17 December 1902 and O.C. 13 January
Written to celcbrate the 400th anniversary of
1910 (in French); Chatclet 23 May 1910 (in the discovery of America.
Italian. Given in an altcred version at Milan, Sc. 26
CHRISTIANIA 14 May 1906 (in Norwegian).
December 1892.
MADRID 1908 (in Spanish, translated by A. Osete).
Outside Italy, produced at:
HAMBURG 5 October 1893 (in German, translated
SOFIA 5 May 1909 (in Bulgarian; first opera wruch
was sung in that language). by L. Hartmann).
PRAGUE 10 June 1896 (in Czech, translated by V. J.
TALLINN 1912 (in Estonian).
YOKOHAMA Autumn 1919 (in Italian).
NovotnY)·
BUENOS AIRES 17 July 1900 (in Italian).
KAUNAS 23 September 1922 (in Lithuanian).
BARCELONA 15 November 1902 (in Italian).
BELGRADE 1923 (in Serbian).
MONTE CARLO 9 February 1909 (in Italian).
BUCHAREST December 1923 (in Rumanian); earlier
PHILADELPHIA 20 November 1913 (in Italian).
given there in Italian.
TEL-AVIV 9 January 1924 (in Hebrew, translated
Revived Milan 17 January 1923; Rome 7 Feb-
by M. Freidmarm). ruary 1923 (altered) ; Treviso 30 Oetober 1937.
ATHENS November 193I (in Italian).
BANTOCK: Caedmar
KEÜEY: Puritania; or, The Earl 18 Oetober. London, Crystal Palace
and the Maid ofSalem Text by the composer. One act.
9 June. Boston Bantock's first opera:Previously heard in con-
Text by C. M. S. MacLellan. Two acts. cert form, at the R.A.M. 12July 1892.
Subsequently given at New York 19 Septem-
ber 1892 and on several other American stages. RIMSKY-KORSAKOV: Mlada
MJIa;:J;a
BEMBERG: Elaine
1 Not1ember. St. Petersburg
5 July. London, c.G.
Text by the composer (founded on an earlier
(French) text by P. Ferrier (from Termyson's Russian libretto by S. A. GedeoIlov). Four acts.
Idylls of the King). Four acts. Originally, Mlada was commissioned by the
Written for Nellie Melba. In French also, New Russian Im pe rial Theatres to be written by Kyui,
York 17 December 1894. English version by E. Musorgsky, Rimsky-Korsakov, and Borodin col-
Oudin published 1894. lectively (one act to be set by each composer);
trus version was never fmished. In 1889 Rimsky-
MUGNONE: 11 Birichino Korsakov decided to re-write the whole work,
11 August. Venice, T; Malibran both text and music. His setting was revived at
Text by E. Golisciani (Bozzetto melodralllmatico). Moscow September 1913; Leningrad October
One act. 192 3.

II57
 ANNALS OF OPERA

KOV AROVI c: Noc Simona aJudy BLOCKX: Maitre Martin

(The Night of St. Simon and St. Jude) 30 NOl'elllber. Brusscls, M.
5 NOllelllber. Prague, Cz. Text by E. Landoy (founded on a story by E. T.
Text by K. Slpek (founded on P. A. de Abrcon's A. Hoffmalm). Four aets.
EI Sombrero de tres Pieos the same story from which
Hugo Wolf's Corrq!,idor and several other operas CHAIKOVSKY: Iolanta
were taken). Three acts. IOJIauTa*
18 Deeen/ber. St. Petcrsburg
MASCAGNI: I Rantzau Text by M. I. Chaikovsky (the brother of the
10 Nopcmbcr. Florence, P. composer), founded on H. Hertz's Danish play.
Text by G. Menasei and G. Targioni-Tozzetti Kong Renes Datter. One aet.
(founded on the comedy by Erckmann-Chatrian). Chaikovsky's last opera. and one of his most
Four acts. suecessful works. Along with lolanta. his famous
Also given at: ballet, Casse-Noisette. was produced for the first
VIENNA 7 January 1893 (in German, translated by time.
M. Kalbeck). First given at Moscow 23 November 1893.
BERLIN 25 February 1893 (in German, translated Revived at Leningrad 16 March 1922. Outside
by M. Kalbeck). Russia, given at:
PRAGUE 2 May 1893 (in Czeeh. translated by V.J. HAMBURG 3 January 1893 (in German, translated
Novotny). by H. Schmidt); Munich 20 May 1897-
LONDON, C.G. 7 July 1893 (in Italian). COPE~HAGEN 29 September 1893 (in Danish,
BIRMINGHAM October 1893 (in English, translated transbted by E. B0gh).
by F. E. Weatherly). STOCKHOLM 27 October 1893 (in Swedish. trans-
lated by E. G. Lundquist).
WEINGARTNER: Genesius RIGA 1894 (in German) and 26 May 1930 (in

15 November. Berlin. O. Lettish).

VIENNA 22 March 1900 (in German).
Text by H. Herrig. Three acts.
BOLOGNA 23 November 1907 (in Italian, trans-
Successful in Germany. In German also given
at Prague 10 October 1899. lated by A. Leawington).
HELSINKI 28 November 1917 (in Finnish, trans-
In Flernish, Antwerp 11 November 1905.
Revived Darmstadt 26 November 1917; Vien- lated by T. Muroma).
OSLO Mareh 1929 (in Norwegian, by students).
na, V.O. 8 October 1921.
BUDAPEST Spring 1929 (in Hungarian).

TASCA: A Santa Lucia SCARBOROUGH-ON-HUDSON 10 September 1933 (in

16 November. Berlin, Kroll's Russian; open-air performance).

LJUBLJANA 14 December 1938 (in Slovenian,
Text by E. Goliseiani and G. Cognetti. Two acts.
translated by M. Pugelj).
Tasca's best opera. Produced at Berlin in Italian,
and revived there at the Th.d.W. 10 November
1905. again in Italian. In Italian also Trieste 7
r893
March 1893; Vienna 4 October 1893; Genoa 22
May 1897. J. STRA uSS: Fürstin Ninetta
In German (translated by L. Hartmann), Pra- 10 Jalluary. Vienna, W.
gue 26 March 1893; Hamburg 29 May 1893. Text by H. Wittmann and J. Bauer. Three aets.
In English (translated by W. Grist), Manchester In German also, Berlin, Fr.W. 18 January 1893;
1 October 1894. Prague 15 March 1893; Laibach 1894; Lodz 1902.

II59 u60
1893 ANNALS OF OPERA

ALB[NIZ: The magie Opal J. Novotny) and November 1923 (in German).
LONDON, C.G. 14 May 1894 (in Italian) and Shaf-
19Jmntary. London, Lyrie
tesbur)' 15 February 1916 (in English, trans-
Text by A. Law. Two aets.
hted by M. Marras).
Transferrcd to thc Princc of Walcs's Th. II
MONTEVIDEO 15 August 1894 (in Italian).
April 1893 (as Tlzc magie Ril1g).
. PHILADELPHIA 29 August 1894 (in Italian).
In Spanish (as Lei Sortija, transhted by E. Sicrra),
MEXICO I I October 1894 (in Italian).
Madrid, Z. November 1893.
MALTA Carnival 1895 (in Italian).
WARSAW 23 January 1895 (in Polish, translated by
J. B. FOERSTER: Debora A. Kiezman).
27 Jal1l1ary. Praguc, Cz. ALEXANDRIA 20 February 1895 (in Italian).
Tcxt by J. K vapil (founded on a pIay by S. H. von SANTIAGO, CHILEJuly 1897 (in Italian).
Mosenthal). Thrce aets. NEW YORK 27 May 1898 (in Italian).
Foerstcr' s first opera. Revived Praguc 5January ATHENS 31 August 1898 (in Italian).
193 .0 AMSTERDAM 22 Oetober 1898 (in Italian).
TUNIS 1903 (in Italian).
MESSAGER: Madame Chrysanteme NICE 19 March 1906 (in Freneh, translated by M.
Vaueaire).
30 ]amwry. Paris, Rcn.
MARSEILLES 12 February 1907 (in Freneh, trans-
Text by G. Hartmann and A. Alexandre (found-
hted by M. Vaueaire).
ed on P. Loti's novel ofthe same title). Prologue,
ANTWERP 12 December 1907 (in Freneh, trans-
4 aets, and epilogue.
bted by M. Vaucaire) .
. Written for the inauguration of L. Dctroyat's
VIENNA, V.O. 22 Januar)' 1908 and O. 15 Oetober
short-lived "Thcatre-Lyrique de la Renaissance".
1923 (in German).
In French also given at Monte Carlo 20 De-
BERLIN, K.O. 16 Oetober 1908 (in German) and O.
eember 1901; Brussels 9 November 1906; Mont-
27 May 1929 (in Italian).
real 1912; Chieago 19 January 1920; New York
PARIS, CHATELET 9 June 1910 (in Italian).
28 January 1920; Quebee Summer 1929.
BRUSSELS 10 February 19II (in French).
Italian version by F. Cirilli published.
MONTREAL 1912 (in Italian).
GENEVA 24 January 1913 (in Freneh).
PUCCINI: ManonLeseaut* LJUBLJANA 1924 (in Slovenian).
I Fcbruary. Turin, T.R. ZAGREB 23 January 1926 (in Croatian).
(Anonymous) text by M. Praga, D. Oliva, and L. GOTHENBURG 1926 (in Swedish).
Illiea (founded on Prcvost's novel). Four acts. STOCKHOLM 22 November 1929 (in Swedish).
Pueeini's fmt grcat international sueeess; given COPENHAGEN 2 February 1930 (in Danish, trans-
all over Italy and at: latcd by T. Krogh).
BUENOS AIRES 8 June 1893 (in Italian). HELSINKI 27 February 1931 (in Finnish).
RIO DE JANEIRO 28 July 1893 (in Italian). RIGA 25 March 1938 (in Lettish).
ST. PETERSBURG 31 Oetober 1893 (in Itali:lll).
MADRID 4 November 1893 (in Italian).
VERDI: Falstaff*
HAMBURG 7 November 1893 (in German, trans-
Iated by L. Hartmann). 9 Fcbmary. Milan, Sc.
LISBON 2 February 1894 (in Italian). Text by A. Boito (founded on Shakespeare's Tize
BUDAPEST 17 'March 1894 (in Hungarian, trans- Mcrry Wives of Willdsor). Three aets.
lated by A. Rada). V crdi' s last, and, apart from Ull Giorno di Regno,
PRAGUE 24 April 1894 (in Czeeh, translated by V. produced 53 years carlier, his only eomie opera.

rr61 II62
 ANNALS OF OPERA

Given all over ltaly and at: LEMBERG Dccember 1930 (in Polish).
TRlESTE I I May 1893 (in Italian). AMSTERDAM November 193 I (in Italian).
VIENNA 21 May 1893 (in Italian) and 3 May 1904 ZAGREB 6 November 1937 (in Croatian).
(in German). BUCI1AREST April 1939 (in Rurnanian).
BERLIN I June 1893 (in Italian) and 6 March 1894 LJUBLJANA 22 April 1939 (in Siovenian, transbred
(in German). by J. Vidmar).
BUENOS AIRES 8 July 1893 (in Italian).
RIO DE JANEIRO 29 July 1893 (in Italian; the same (A.G.THOMAS): Thegolden Web
night at two different theatres).
15 Febmary. Liverpool
STUTTGART JO September 1893 (in German, trans-
Text by F. Corder alld B. C. Stephcnson. Three
lated by M. Kalbeck).
acts.
MExrco 7 October 1893 (in ltalian).
Thomas's last opera; produced one year aftcr
PRAGUE 16 November r893 (in Czech, translated
his death. The scorc was complctcd by S. P.
by V. J. Novotny) and 20 M;ly 1894 (in Ger-
Waddington. London, Lyric 1I March 1893;
man).
Glasgow 6 May 1893; Dublin August 1893, etc.
ST. PETERSBURG 29January r894 (in Russian, trans-
Revived Londort, Duke's Hall 18 March 1920 (by
lated by N. M. Spassky); revived 6 October
the R.A.M.).
192 5.
MADRID 10 February r894 and Barcelona 10 April
I 896 (in Italian). (BERLIOZ): La Damnation de Faust*
LISBON 27 February 1894 (in ltalian). 18 Fcbruary. Monte Carlo
PARIS, O.C. 18 April 1894 (in French, translated by Tcxt by thc composer and A. Gandonnicre (from
A. Boito and P. Solanges) and Chatclet 3 June G. dc Nerval's Frcnch vcrsion of Goethc's Faust).
I9JO (in ltalian). Five acts.
LONDON, C.G. 19 May 1894 (in Italilll) and Ly. 11 Originally a cantata (Legcl/de Dralllatiqlle for
December 1896 (in English, translated by W. soloists, chorus and orchcstra); first performecl as
B. Kingston, revised by F. H:ITt; R.C.M. per- such Paris, O.c. 6 Decembcr 1846, and sub sc-
formance ). qucntly St. Petcrsburg 15 March 1847; Moscow
COPENHAGEN 16 January 1895 (in Danish, trans- 18 April 1847; Bcrlin J9Jllnc 1847; London, D.L.
lated by E. B0gh). 7 Fcbruary 1848, etc. It was adapted for the stage
NEW YORK 4 Feb~uary 1895 (in Italian). by R. Gunsbourg (thc director of the Monte
ALEXANDRIA 23 February 1896 (in ltalian). Carlo Thcatrc), and the prodllction therc was the
STOCKHOLM 16 November 1896 (in Swedish, first notable achicvement of that institutc as one
translated by E. A. Wallmark). of the lcading operatic centrcs in Europe l .
SANTlAGO, CHILE 12 August 1898 (in Italian). La Dal//Ilation de Faltst was, as an opcra, also
STRASBOURG 7 February 1901 (in German). produced at:
ZURICH 8 April I90r (in German). MILAN, T.D.V. 21 April rR93 (in Italian, translated
RIGA 1902 (in Lettish). by E. GentiIi).
LYONS 28 February 1919 (in French). STRASBOURG 25 April 1893 (in French).
MONTE CARLO I April 1919 (in Italian). LIVERPOOL 3 Fcbruary 1894 (in English, translatcd ..
BRUSSELS 17 December 1920 (in French). by T. H. Friend).
CINCINNATl 22 August 1926 (in English). MOSCOW 5 March 1894 (in Italian) and 19 March
BUDAPEST 12 May 1927 (in Hungarian, translated 1907 (in Russian).
by V. Linyi). NEW ORLEANS 17 February 1894 (in French).
MALTA November 1929 (in Italian).
ANTWERP 15 February 1930 (in Flemish). 1 See Grovc's Dictiollary, 1940 edition, Vol.V1, P.258.

II63
 ANNALS OF OPERA

HAMBURG 30 Oetober 1902 (in German, translated (DELIBES): Kassya

by Minslaff).
24 March. Pal.'is, O.c.
PARIS, TH. S.B. 7 May 1903 and O. 10 June 1910
, Text by H. Meilhae and P. Gille (founded on a
(in French).
story by L. von Saeher-Masoeh). Four acts.
BUENOS 'AIRES 30 May 1903 (in Italian).
Delibes's last opera, produced two years after
BARCELONA 18 November 1903 (in Italian).
his death (orehestrated by Massenet). Unsuceess-
BUDAPEST 29 March 1904 (in' Hungarian, trans-
ful; given 8 times only and never revived.
Iated by A. Viradi).
RIO DE JANEIRO 17 September 1904 (in Italian).
LlSBON 1906 (in Italian).
BOEZI: Don Paez
BRUSSELS 21 February 1906 (in French). 25 March. Veniee, F.
NEW YORK 7 December 1906 (in French). Text by G. D. Bartoeci-Fontana (founded on a
ALEXANDRIA Carnival 1907 (in Italian). story by A. de Musset). One act.
BERLIN, K.O. 21 March 1907 (in German) and O. Boezi's only opera. Awarded the first prize in
4 April 1907 (in French, by the Monte Carlo the Coneorso Sonzogno, 1892, together with
company). Coronaro' s Festa a iWarina, see above.
GENEVA 27 March 1908 (in French).
LONDON, C.G. 26 May 1933 (in Italian).
VAN DER LINDEN: Leiden Ontzet
STOCKHOLM 1 February 1936 (in Swedish).
(The Relief ofLeyden)
RIGA 26 February 1937 (in Lettish).
1 April. Amsterdam
Still given on Freneh and Italian stages.
The concert version was heard in many more Text by E. van der Yen. Five aets.
countries ; even atTokyo 20 June 1936 (in French). The seeond and last opera of the Dutch com-
poser. Also given at Antwerp 12 Deeember 1893
MIHALOVICH: Toldi Szerelme (in Dutch).
(Toldi's Love)
March. Budapest
18
RAKHMANINOV: Aleko
Text by G. Csiky and E. Abrinyi (fromJ. Arany's AJIenO*
poem). Three aets. 9 A1ay. Moscow
Given at Budapest until 1911. Text by V. I. Nemirovieh-Danchenko (founded
on Pushkin's poem, Thc Cipsics). One act.
G. B. CORON ARO: Festa a Marina Revivt:d St. Petcrsburg 8 June 1899; Moseow
21 March. Veniee, F. I Deeember 19°3; Leningpd 10 April 1921; Mos-

Text by V. Fontana (B,'zzetto lirico). One aet. eow 1I Januar)' J 926.

In Italian also, VicnnJ, W. 10 June 1893; Ber- In Russian also, London, L.O.H. 15July 1915;
lin, Neues Th. 30 September 1895. rcvived Wigmore Hall 2I Oetober 1941 (in con-
This opera, together with Boezi's DOll Faez eert form).
(see below) was awarcled the first prize in the In Lettish, Riga I S Fcbruary 1932.
(third) Coneorso Sonzogno, 1892.
S eH] ELDER UP: SOl1ntagmorgen
KEIL: Irene 9 May. Munieh
221\!fan'h. Turin, T.R. (Origin:l! Norwegian) text by the composer, Ger-
Text by C. Fereal (L(~~gf1lda IIIisticn). Four parts. man version by E. Klingenfeld. One act.
In Itllian also, Lisbon 20 Februar)" 1896 (reviv- Schjcldcrup's first opera; produecd at the Ton-
cd November 1936). kiinstlerfest of the Allgemeiner Delltseher M usik-

u II 6 5 I I 66
1893 ANNALS OF OPERA

verein. Revived in Norwegian, Oslo 31 August In Italian, St. Petersburg 29 July 1894; Florence
1915 (as En HeIligaften). 26 March 1896.
Revived London, Grand (Croydon) 14 May
BECHGAARD: Frede 1920 (for the first time in English).
According to De Lara's autobiography also
11 May. Copenhagen
produced in German at Mayence, a statement I
Text by the composer. Three acts. could not verify.
Bechgaard's only opera. In German (translated
by M. von Borch), Prague 5 Oetober 1894.
(VILLANUEV A): Keofar
29 July. Mexieo
SMAREGLIA: Cornill Schut
Text by G. Larrafiaga. Three aets.
20 May. Prague, Cz.
Suceessful Mexican eomie opera; completed
(OriginaIItalian) text by L. Illica, Czeeh version after the composer's death by Juan Hemandez
by y. J. Novotny. Three aets. Acevedo.
In German (translated by L. Hartmann), Dres-
den 6June 1893; Vienna 23 November 1894.
In Italian, Trieste 17 February 1900 and revived FORSTER: Die Rose von Pontevedra
there 21 January 1928 (as Pittori Fiamminghi). 30 July. Gotha
Text by J. J. Geiger (scenario by the composer).
SAINT-SAENS: Phryne One aet.
In German also given at Pressburg 24 Jmuary
24 May. Paris, O.c.
1894 (libretto revised by M. Kalbeck) ; Vienna 10
Text by L. Auge de Lassus. Two aets.
April 1894; Hamburg 8 September 1894; Laibach
One of Saint-Saens's most sueeessful works.
1894; Prague 9 December 1894; Riga 28 January
Revived Paris, O.C. 13 January 19IO; Tr.L. I I
1898.
Deeember 1922; O.C. I I Oetober 1935. Outside
Franee, given at: UMLAUFT: Evanthia
STOCKHOLM 1I May 1894 (in Swedish).
GHENT 5 Oetober 1894; Brussels 2 Deeember
30 July. Gotha
1896; Antwerp 18 Deeember 1896 (in Freneh). Text by the composer. One aet.
GENEVA 28 March 1895 (in Freneh). In German also given at Dresden 22 August
MILAN 26 November 1896 (in Italian, translated 1893; Leipzig 24 October 1893; Riga 1895, etc.
by A. Galli). These two operas were awarded the first prize
ELBERFELD I I Oetober 1900 (in German). in a competition for German one-aet operas ar-
MONTE CARLO 3 April 1919 (in Freneh). .ranged by the Duke of Saxe-Co burg-Gotha
CAIRO Spring 1938 (in French). (rather on the lines of the Concorso Sonzogno;
there was, however, no German Cavalleria rusti-
cana to be discovered).
DE LARA: Amy Robsart
20 July. London, c.G. F. d'ERLANGER:Jehan deSaintre
(Original English) text by A. H. G. Harris (found-
ed on Seott's Kenilworth), produeed in a Freneh 1 August. Aix-les-Bains
version by P. Milliet. Three acts. Text by J. and P. Barbier. Two acts.
In French also, Monte Carlo 30 March 1894; d'Erlanger's first opera. In German (translated
Boulogne 22 AUgust.l 894, ete. by L. Hartmann). Hamburg 26 February 1894.

II67 II68
 ANNALS OF OPERA

SULLIVAN: Utopia (Limited); or, BERLIN 17 February r 894 (in German, translated
The Flowers 01 Progress by E. Taubert); Nuremberg 28 February ~894;
Frankfort 3 May 1894, etc.
70etober. London, Savoy
MOSCOW 15 April 1894 (in Italian).
Text by W. S. Gilben. Two acts. PRAGUE 5 January 1895 (in Czech, translated by
In London ran for 245 nights. New York 26 V. J. NovotnY)·
March 1894, etc. BUENOS AIRES 29 June 1898 (in Italian).

F. HUMMEL: Mara COWEN: Signa

11 Oetober. Berlin, O. 12 November. Milan, T.d.V.
Text by A. Dclmar. One aet. (Original English) text by G. A. A'Beckett, H. A.
SuccessfuI veristic opera of the CatJa/leria rusti- RudaII, and F. E. Weatherly (founded on Ouida's
(alla school. novel of the same title), Italian version by G. A.
In German also, Prague 25 January 1894; Vien- Mazzucato. Three acts.
na 4 October 1894; Laibach 1894; Riga 1896; In Italian also, London, c.G. 30 June 1894
Basle 3 March 1897; Meran 20 March 1901, etc. (reduced to two acts).
In Swedish, Stockholm 7 March 1894.
In Czech (translated by o. Kucera), Prague 28 BRUNEAU: L'Attaque du Moulin
November 1894. 23 Novcl11l,er. Paris, O.c.
In Italian, Florence 24 April 1895.
Text by L. Gallet (founded on a story in Zola's
In Siovenian, Ljubljana 1906.
Soirees de MMa/l). Four acts.
Successful in France; revived at the Gatte
d' ALBERT: Der Rubin Lyrique 16 December 1907; O.c. 2S March 1922.
12 Oetober. Carlsruhe Outside Paris, given at:
Text by the composer (from F. Hebbcl's comedy BRUSSELS 27 January 1894 (in French).

of the same title). Two acts. LONDON, C.G. 4July 1894 (in French).

d'Albert's first opera. Also given at Cassel 2 BRESLAU 5 November 1895 (in German, translated

June 1897. by H. B. Bolten-Bäckers).

GENEVA II December 1896 (in French).
MILAN, T.L. 8 January 1898 (in Italian, translated
AZZALI: Lhidiac
by A. Galli and A. CorteIla).
October. Bogoti
HAGUE November 1903 (in French).
Author of the (Italian?) text not mentioned. Leg- BARCELONA 7 January 1909 (in French).
genda Indiana. One act. NEW YORK 8 February 1910 (in French).
Probably the first original opera produced in NEW ORLEANS 19 January 1911 (in Freneh).
Colombia. Also given at Caracas, Venezuela 23 VIENNA, v.o. 13 March 1914 (in Germ:l'n).
February r897. BIRMINGHAM 15 October 1915 (in English, trans-
lated by F. E. Weatherly).
LEONCAV ALLO: I Medici LONDON, GARRICK 18 May 1917 (in English, trans-

9 November. Milan, T.d.v. lated by F. E. Weatherly).

Text by the composer. Four acts.
The first part of a trilogy, Crepuscu!um, the two
PIZZI: Gabriella
other parts of which Leoncavallo never finished. 25 November. Boston
Written before Pagliaeci. (Italian) text by C. A. Byme and F. Fulgonio.
Outside Italy, given at: Two acts.

I I 70
 ANNALS,OF OPERA

Written for Adclina Patti. New York 16 March MOSCOW 9 February 1896 (in Russian, translated
1894, etc. by E. N. Kletkova).
A copyright performance took place at St. COPENHAGEN January 1897 (in Danish).
George's Hall, London, the same day as in Boston ANTWERP 23 February 1897 (in French, translated
(English version by M. Marras). by C. MendCs) and 2 October 1902 (inFlernish).
Publicly performed in London, Albert Hall 2 MILAN, T. MANZONI 6 April 1897 (in Italian, trans-
June 1894 (in concert form, in Italian). lated by G. Macchi).
,CHRISTIANIA November 1897 (in Norwegian).
HUMPERDINCK: Hänsel und Gretel BRUSSELS 17 December 1897 (in French).

23 Deeemher. Weimar ROUEN II January 1899 (in French).

PARIS, O.C. 30 May 1900 (in French).
Text by A. Wette (the sister of the composer),
BARCELONA 27 January 1901 (in Italian; Catalan
from a tale by the brothers Grimm. Three acts.
translation by J Maragall and A. Ribera pub-
Humperdinck's first work for the stage.
lished in that year).
This fairy opera became at once a great success
CAIRO 1901 (in French).
not only for its own merits but because its sim-
plicity offereda welcome change from the "blood MADRID 4 December 1901 (in Italian).

and passion" standard of the l'erisl1lo of those WARSAW January 1902 (in Polish).

years. RIO DE JANEIRO 1 October 1902 (in Italian).

First given at Berlin 13 October .1894 (more SANTIAGO, CHILE 14 December 1902 (in Italian).
than 300 times until 1925) and all over Germany. HELSINKI 28 January 1903 (in Finnish, translated
STRASBOURG 9 November 1894 (inGerman). by L Mendelin).
BASLE 16 November 1894 (in German). BUENOS AIRES II June 1903 (in Italian).
GRAZ II December 1894 (in German).
TUNIS Spring 1909 (in French).
VIENNA 18 December 1894 (in German).
SHANGHAI November 1909 (in English).
LONDON, DALY'S 26 December 1894 (in English,
NEW ORLEANS 25 December 1909 (in French).
translated by C. Bache; looth performance 18
LISBON 1910 (in Italian).
April 1895) and D.L. 24June 1895 (in German).
JOHANNESBURG March 1912 (in English).
PRAGUE 1 January 1895 (in German) and 3 De-
cember 1895 (in Czech, translated by A. E. TALLINN 1913 (in Estonian).

MuZfk). BUCHAREST March 1925 (in Rumanian).

BUDAPEST 2 February 1895 (in Hungarian, trans- SOFIA II March 1932 (in Bulgarian).
lated by E. Abrinyi). Broadcast from Covent Garden, London 6 Jan-
AMSTERDAM 30 March 1895 (in German) and 1 uary 1923 (first broadcast of an opera in Europe) ;
September 1895 (in Dutch). 25 December 193 I first broadcast of an opera
STOCKHOLM 18 May 1895 (in Swedish, translated from the Metropolitan Opera House, New York.
by E. A. Wallmark).
LJUBLJANA 1895 (in Slovenian, translated by M.
Markic).
r894
RIGA 1895 (in German) and 1914 (in Lettish).
NEW YORK 8 October 1895 (in English) and 25 CHADWICK: Tabasco
November 1905 (in German).
29 January. Boston
ZAGREB 7 December 1895 (in Croatian, translated
by F. Miler). Text by R. A. Barnet (burlesque opera). Two acts.
ST. PETERSBURG 14January 1896 (in Russian, trans- The most successful of Chadwick's operettas.
lated by E. N. Kletkova). New York 14 May 1894, etc.

II71 1172
 ANNALS OF OPERA

ENNA: Cleopatra MASSENET: Thais*

7 February. Copenh~gen 16 March. Paris, O.
Text by E. Christiansen (founded on the novel by Text by L. Gallet (founded on A. France's novel).
H. R. Haggard). Three acts. Three acts.
In Dutch, Amsterdam 30 November 1897; Very successful in Paris; given there with alter~­
Antwerp 3 December 1898 (frequently revived). tions 13 April 1898; 100th performance 28 May
In German (translated by E. Klingenfeld), Bres- 1910; 300th 28 August 1924.
lau 25 December 1898; revived Berlin, V.O. 27 Outside France, given at:
January 1910; Zurich December 1910. BRUS~ELS 7 March 1896 (in French; last revived
French translation by G. Sandre published 7 March 193 8).
C.1900. GENEVA 25 March 1898 (in French).
MILAN, T.L. 17 October 1903 (in Italian, translated
by A. GaIli).
BRETON: La Verbena de la Paloma
LISBON December 1904 (in Italian, translated by
(The Festival of the Dove)
A. Galli).
17 Fcbruary. Madrid, T. Apolo BARCELONA 22 February 1905 (in Italian, trans-

Text by R. de la Vega(Sainete lirico). One act. lated by A. Galli).

Subtitle EI Boticario y las Challipas y Celos mal iST. PETERSBURG 27 March 1906 (in !talian) and

reprimidos. 19II (in Russian). '

Breton's most successful zarzuela, very popular TUNIS Februar)' 1907 (in French).
and still given in Spain and South America. NEW YORK 25 November 1907 (in French; revived
Buenos Aires 1894; Mexico I December 1894, 10 February 1939.
etc. BUENOS AIRES 21 July 1908 (in Italian).
Revived Madrid 7July 1921, ctc.; Buenos Aires WARSAW March 1909 (in Italian).
28 November 1934. HELSINKI 13 April 1910 (in French) and 9 Novem-
ber 1934 (in Finnish).
(C. FRANCK): Hulda* NEW ORLEANS 16 December 1910 (in French).
LONDON, C.G. 18 July 19II (in French); revived
8 March. Monte Carlo
14 May 1919 and 10 June 1926.
Text by C. Grandmougin (founded on a pIay by
LEMBERG May 1912 (in Polish).
B. Björnson). Four acts and epiIogue.
STOCKHOLM 2 December 191~ (in Swedish).
The first ofFranck's two opcras, both of which
RIO DE JANEIRO Summer 1920 (in Italian).
wcrc produced after his dcath.
MONTREAL 16 November 1920 (in French).
Also given at Thc Haguc, March 1895 and
Toulousc 8 April 1895. The third act was heard LJUBLJANA 1921 (in SIovenian).

at a CoIonne COllcert, Paris 16 October 1904. AMSTERDAM October 1921 (in Dutch) and No-
vember 1936 (in Italian).
BUDAPEST 1 May 1924 (in Hungarian, translated
J AQUES-DALCROZE: Janie
by K. Nadasdy).
13 March. Geneva MALTA 1929 (in Italian).

Text by P. Godet (founded on a story by G. de RIGA 7 November 1929 (in Lettish).

Peyrebrune). Three acts. SOFIA 1 November 1937 (in BuIgarian).

In German (translated by F. Vogt), Stuttgart CAIRO February 1939 (in French).

20 February 1895, etc. Still given on French and Italian stages.

II73 I I 74
 ANNALS OF OPERA

H. HUBER: Welifrühling clon, Aeolian Hall 12 September 1942 (in concert

form, in Russian).
28 March. Basle
Text by R. Wackernagel. Three acts. RAIMANN: Arden Enok
The first opera of the Swiss composer.
8 May. Budapest
ASPESTRAND: Die Seemansbraut (Original German) text by K. Gross (after Ten-
29 March. Gotha nyson's Enoch Arden), Hungarian version by A.
Text by the composer. Three acts. Rad6. One act.
Revivecl (in Norwegian) Christiania 8 May In German, Breslau 18 December 1896; Graz
1907 as the first opera by a native composer which 12 November 1897; Troppau 6 January 1898.
was proclucecl at the Norwegian Nationalteatret.
MASSENET: Le Portrait de Manon*
SPINELLI: A basso Porto 8 May. Paris, O.C.
18 April. Cologne Text by G. Boyer. One act.
(Original Italian) text by E. Checchi (founded on A sequel to Manon (see 1884), but not nearly as
a play by G. Cognetti), first produced in a Ger- successful (given at the O.C. until 1904). Outside
man version by L. Hartmann (with the ltalian France, given at:
title). Three acts. GENEVA 8 October 1894 (in French).

Spinelli's most successful work. BRUSSELS 22 November 1894 (in French).

In German also given at Basle 6 November NAPLES 15 December 1894 (in Italian, translated

1896; Berlin, Th.d.w. 2July 1897; St.Petersburg by A. Galli).

31 March 1898; Salzburg 23 April 1898; Prague ANTWERP 21 November 1895 (in French).

8 May 1898; Riga 6 December 1898; Posen 25 PRAGUE 28 December 1895 (in Czech, translated

December 1898; Reval 1900. by V. J. NovotnY).

In the original Italian, Rome, C. 11 March NEW YORK 13 December 1897 (in French).

1895, etc. ZAGREB 16 May 1898 (in Croatian, translatecl by

In Hungarian (translated by A. Rad6), Buda- F. Miler).

pest 25 April 1895. Revived Monte Carlo 14 December 1909; Pa-
In Dutch, Amsterdam 22 October 1897. ris, Tr.L. 27 September 1922; NewYork25 Feh-
In English (translated by P. E. Pinkerton), St. ruary 1933; still occasionally given in France.
Louis 8 January 1900; New York 22 January
1900; Brighton 17 March 1900; London, Coronet R. STRAUSS: Guntram*
14 November i9OO. loMay. Weimar
Revivedin German, Leipzig 18 February 1928; Text by the composer. Three acts.
Wiesbaden 1934. Strauss's first opera. Also given at Munich 16
November 1895; Prague 9 October 1901.
ARENSKY: Rafael Revived Frankfort 22 April 1910.
PaepaaJI'L Revised by the composer and produced
6 May. Moscow Weimar 20 October 1940.
Text by A. Kryukov. One act.
Written for the first Congress of Russian Art- HAARKLOU: Fragamle Dage
ists. St. Petersburg 25 December 1895, etc. Re- (OfOlden Days)
vived Moscow 4 October 1903; Leningrad 10 15 May. Christiania
April 1921. Text by H. Wiers-Jenssen. Three acts.
Also given at Barcelona, T. del Bosque, Sum- Apart from Thrane's (see 1850) and Udbye's
mer 1907 (in Italian, translated by L. Egidi). Lon- (see 1870) attempts, the first Norwegian opera.

1175 I I 76
 ANNALS OF OPERA

S.AMARA: La Martire MEXICO May 1897(in French).

23 May. Naples, T. Mercadante
RIO DE ]ANEIRO 5 September 1898 (in Italian).
GENEVA 28 March 1899 (in French).
Text by L. lllica (Nove/la seeneggiata). Three acts.
SAIGON Autumn 1900 (in French).
Milan 22 September 1894 (opening of the new
BERLIN, KROLL'S 22 April 1902 (in French) and 9
Teatro Lirico Intemazionale, late Canobbiana),
October 1902 (in German).
etc.
LISBON November 1909 (in French).
In Italian also, Betlin, Th.u.d.L. 14 September
BUCHAREST March 1922 (in Rumanian).
1895.
In French (translated by E. Crosti), Antwerp
25 March 1897; Paris, Varietes 21 July 1898. L. E. BACH: The Lady ofLongford
Revived in Italian, Malta 1913. In Greek, 21 July. London, C.G.
Athens Summer 1933. (Original English) text by A. H. G. Harris and
F. E. Weatherly, prodticed in an Italian version
MASSENET: La Nava"aise* by G. A. Mazzucato. One act.
20 June. London, c.G. Repeated London, D.L. 20 April 1896 (in Eng-
Text by J. Claretie and H. Cain (Episode lyrique). lish).
Twoacts. In German, Breslau 15 December 1897; Prague
Massenet's contribution to verum; ofhis three 7 January 1900; Hambutg 23 November 1900.

operas produced in that year, the most successful

one. After London, given at: FLORIDlA: Maruzza
BUDAPEST 4 October 1894 (in Hungarian, trans- 23 August. Venice, T. Malibran
lated by E. Abranyi).
Text by the composer. Three acts.
BRUSSELS 26 November 1894 (in French).
In Gerrnan (translated by L. Hartrnann) , Zurich
HAGUE 20 December 1894 (in French).
13 November 1896.
NUREMBERG 1 January 1895; Hamburg 2 January
1895, etc. (in German, translated by M. Kal-
beck). J. S T RAU S S : ] abuka oder Das Apfolftst
BORDEAUX 27 March 1895 (for the first time in 12 Oetober. Vienna, W.
France; in French). Text by M. Kalbeck and G. Davis. Three acts.
STOCKHOLM 18 May 1895 (in Swedish, translated Berlin, Fr.W. 7 November 1894; Laibach 1894;
by E. A. Wallmark). Prague 16 December 1895, etc.
PARIS, O.C. 3 October 1895 (in French); revived In Polish, Lemberg September 1901.
23 December 1928.
VIENNA 4 October 1895 (in German).
A UDRAN: L'Enlevement
MOSCOW 4 November 1895 (in Russian).
NEW YORK II December 1895 (in French).
de la Toledad
MILAN, sc. 6 February 1896 (in Italian, translated 170etober. Paris, B.P.
by A. Galli). Text by F. Carre. Three acts.
BELSINKI 28 October 1896 (in Italian) and 2 Oc- In French also, Brussels 2 September 1895;
tober 19II (in Finnish, at the inauguration of Geneva 24 January 1900, etc.
the Finnish National Opera-House, the "Suo- In German (translated by V. Uon and H.von
malainen Oopera"). Waldberg), Vienna, Jos. 10 October 1896; Ham-
ST. PETERSBURG 28 Nove~ber 1896 (in Italian) and burg 3 April 1897; Berlin, Lessing Th. 17 April
18 January 1897 (in Russian). 1897; Prague 24 June 1900.
NEW ORLEANS 5 January 1897 (in French). In Hungarian, Budapest 16 May 1899.

1177 1178
 ANNALS OF OPERA

In English (adapted by A. Moore and H. Revived London, Shaftesbury Th. 10 May

Wood), Windsor II April 1903; London, Ken- 1918; Edinburgh 10 April 1934.
nington 20 April 1903.
In Italian, Venice I I May 1903. REZNICEK: Donna Diana
16 Deeember. Prague, G.
ALBENIZ: San Antonio
Text by the composer (founded on Moreto's
'de la Florida
comedy in C. A. West's German version). Three
260etober. Madrid, T. Apolo acts.
Text by E. Sierra. One act. Successful on German stages: Carlsruhe 15
Barcelona 1894, etc. In French (as L'Ermitage April 1895; Riga 7 October 1896; Zurich 5 No-
Jleuri, translated by L. Soh;ay and R. Sand), Brus- vember 1897; Vienna 9 December 1898; Berlin
sels 3 January 1905. 30 April 1908.
Revived (text revised by J. Kapp) Wuppertal
HUBA y: A Cremonai Hegedüs 15 November 1933; Berlin 31 December 1933.
10 November. Budapest
(Original French) text by H. Beauclair (from F.
Coppee's puy, Le Luthier de Cremone, 1876), 18 95
Hungarian version by E. Abranyi. One act (2 N APRAVNIK: Dubrovsky
srenes).
Hubay's most successful opera.
Ay6pOBCKiö
,In German (translated by M. Kalbeck), Leipzig 15 January. St. Petersburg
22 September 1895; Prague13 October 1895; Text by M. I. Chaikovsky (after Pushkin). Four
Strasbourg 7 January 1896; J3asle 18 February acts.
1898. Napravnik's best-known work. First given at
In the original French, N ew Y ork 20 December Moscow 7January 1896 and on many other Rus-
18 97. sian stages (until after 1918). Also given at:
still given in Hungary. PUGUE 13 December 1896 (in Czech, translated
by V. J. Novotny).
SCHILLINGS: Ingwelde* , LEIPZIG 29 May 1897 (in German, translated by

13 November. Carlsruhe P. Bock).

BERLIN, KROLL'S 28 May 1908 (in Russian).
Text by F. von Sporck. Three acts.
s. FRANCISCO 14 January 1922 (in Russian).
Schillings's first opera. Wiesbaden 19 October
NEW YORK 13 June 1922 (in Russian).
1896; Munich 8 May 1897; Berlin 16 May 1899,
KAUNAS 7 February 1929 (in Lith~an).
etc.
RIGA 12 November 1933 (in Lettish; previously
Revived Stuttgart 6 November 1904; Breslau
21 January 1910; Dessau 5 February 19I1; Berlin given there in Russian).
3 May 1938 (text revised by the composer's
widow, B. von Schillings). VAVRINECZ: Rosmunda
3 I January. Frankfort -
MaCCUNN:Jeanie Deans (Original Hungarian) text by A. Zigany, German
15 November. Edinburgh version by L. Hartmann. One act.
Text by J. Bennett (after Scott). Four acts. In German also given at Prague 28 February
Successful in England and Scotland. London, 1895. '
Daly's 22January 1896. In Hungari~, Budapest 14 November 1900.

II 79 1180
 ANNALS OF OPERA

BLARAMBERG: Tushintsi BER UTTI: Tarass Bulba

TymHHuhl 9 March. Turin, T.R.
5 February. Moscow Text by G. Godio (after Gogol). Four acts.
Text from the play by A. N. Ostrovsky. Four acts. Buenos Aires 20 July 1895. The first opera of
The best-known work of the Russian com- the Argentine composer which was given in his
poser. native country.

HOLMES: La Montagne noire BRETON: La Dolores*

8 Febmary. Paris, O. 16 March. Madrid, i.
Text by the composer. Four acts. Text by the composer (founded on a play by J.
The last opera of the Irish-French woman com- Feliu y Codina). Three acts.
poser and the only one which was performed. Very successful Spanish opera; given at Madrid
Unsuccessful (13 performances). 63 nights, at Barcelona II2 nights running. Fre-
quently revived in Spain and South America, at
B. O. KLEIN: Kenilworth Barcelona as latc as in 1938.
13 Febrllary. Hamburg First given at:
Text by W. Müller (from Scott's noveI). Pro- BARCELONA, TIVOLI August 1895 (in Spanish).
logue anc\ 3 acts. MEXICO 30 November 1895 (in Spanish).
The only opera ofthe German-American com- BUENOS AIRES 18 January 1896 (in Spanish) and 1
poser. October 1896 (in Italian).
RIO DE JANEIRO 1 August 1896 (in Italian, trans-
MASCAGNI: Guglielmo RatclifJ lated by E. Golisciani).
16 Febmary. Milan, Sc. MILAN, T.D.V. 16 January 1906 (in Italian, trans-
Text: Heine's tragedy in A. Maffei's Italian ver- lated by E. Golisciani).
sion. Four acts. PRAGUE 18 February 1906 (in German, translated
The opera was written before Callalleria msti- by F. Adler).
calla. Also given at Buenos Aircs 23 October 1895 EnglishtranslationbyC.A.Byrnepublished I 90 7.
(in Italian); Stuttgart 27 October 1895 (in Ger- A parody, Do]orcs de Cabeza, by Salvador Mana
man, translated by E. Taubert); Amsterdam 10 Granes, music by Luis Arnedo, was produced at
March 1898 (in Italian). Madrid on 13 April 1895.
Revivcd Milan 18 June 1918; Barcelona 20 Jan-
uary 1919, etc. Still given in Italy. MASCAGNI: SilVa/1O*
25 March. Milan, Sc.
FIBICH: Boure Text by G. Targioni-Tozzetti (Draml/la I/larilla-
1 March. Prague, Cz. resco). Two acts.
Tcxt by J. Vrchlicky (from Sliakespearc's The In Italian also, given at Berlin,-Neues Th. 8 Oc-
Tcmpcst). Three acts. tober 1895.
Revived at Prague 19 Decembcr 1912; 23 Sep- In German (translated by A. Harlacher), Stutt-
tember 1920; and 1 March 1935. gart 28 March 1897.
Revived Malta 1926.
BRUCKEN-FOCK: Seleneia
5 March. Amstcrdam SMAREGLIA: Nozze Istriane
(Dutch) text by M. Constant. One -act. 28 March. Trieste
Revived Haguc, Junc 1900; Rotterdam Feb- T cxt by L. Illica. Three acts.
ruary 190~ (in conccrt form). Smarcglia's chicf work. GiVCll at Vcnice 9 May

I181 I182
1895 ANNALS OF OPERA

1905, etc.; Malta 1911; Prague 14 October 1896 KIENZL: Der Evangelimann *
(in Czech, translated by V. J. Novotny); Vienna, 4 May. Berlin, O.
V.O. 1 January 1908 (in German, translated by Text by the composer (founded on a storr by L.
F. Falzari. F. Meissner). Two aets.
Revived Pola 2 March 1920; Trieste 23 April Kienzl's best-known work, and one of the
1921, etc. most successful German operas between Wagner
An open-air performance at Pola took place in and Strauss. The looth performance at Bcrlin was
July 1933· on 28 February 1908; given there 172 .times until
1927. The 100th performance at Vienna was on
(GODARD): La Vivandiere 5 June 19 19.
1 April. Paris, O.c. Altogether, by 4 May 1935 (within 40 years),
Text by H. Cain. Three acts. the opera had been produced more than 5,300
This posthumous opera (produced three times. Jubilee performances took place at Graz
months after his death) was Godard's most sue- 27 April, at Vienna 5 May 1935·
eessful work; orchestration completed by P. Vi- First performed at:
da!. Given at: PRAGUE 29 September 1895 (in German) and 19
DÜSSELDORF 15 November 1895 (in German, October 1904 (in Czech, translated by P. Ne.,.
translated by H. B. Bolten-Bäckers). beskY)·
L1VERPOOL 10 March 1896 (in English, translated STRASBOURG 20 Oetober 1895 (in German).
by G. Whyte). BASLE 25 Oetober 1895 (in German).
BRUSSELS 21 March 1896 (in French). VIENNA II January 1896 (in German). \
MILAN, T.L. 22 September 1896 (in Italian, trans- BUDAPEST 7 March 1896 (in Hungarian, translated
Iated by A. Galli). by A. Rada).
LONDON, GARRICK 20 January 1897 (in English). LAIBACH (LJUBL]ANA) 1896 (in German) and 1907
PRAGUE 25 February 1897 (in Czech, translated by (in Slovenian).
V. J. NovotnY)· AMSTERDAM 22 December r896 (in Dutch).
MOSCOW November 1905 (in Russian). ZAGREB 27 April 1897 (in Croatian, translated by
GENEVA 19 March 1909 (in French). F. Miler).
MONTREAL 1913 (in French). LONDON, C.G. 2 July 1897 (in German) aud Prince
Revived Paris, O.c. 13 December 1914; ofWalcs's 20 July 1914 (in Inglish).
Brussels 18 April 1932. RIGA 22 February 1899 (in German, as Matthias
FTel/dh~fcr).
PFITZNER: Der arme Heinrich REVAL (TALLlNN) 1899 (in German) and 1925 (in
2 April. Mayence Estonian, translated by A. Trilljärv).
Text by J. Grun. Three aets. STOCKHOLM 6 February 1905 (in Swedish).
pfitzner' s first opera. LEMBERG 20 December 1906 (in Polish).
In German also given at Darmstadt 1 April LYONS 21 November 1908 (in French, as Lc Pre-

1897; Frankfort 7 Januar)' 1897; Prague 23 Sep- cl/CUT de St. Othmar, translated by L. Schneider).

tcmber 1899; Bcrlin 19 Decembcr 1900 (revived ANTWERP 6 February 1909 (in Flemish).
31 March 1927); Leipzig 5 DccemberI909; Stutt- COPENHAGEN 1911 (in Dani,h, tr:lIlslated by A.
gart 6 Deccmbcr 1910; Strasbourg 8 January Tofft, at the Dagmar Th.; at the Royal Th. 6
1911; Munich 29 May 1911;, Dortmul1 d 15 No- Deeember 1914).
vember 1912; Cologne 28 February 1913; Brünn HELSINKI 12 March 1914 (in Finnish).
8 May 1913; Mannheim 10 February 1915; LIVERPOOL 17 Aprill9T4 (forthe first time in Eng-
Vienna 17 March 1915; Zurich 10 September lish, as The Pious Beggar, translated by P. E.
192 4. Pinkerton).
 ANNALS OF OPERA 1895

CONSTANTlNOPLE February 1916 (in German; first PIERNE: La Coupe enchalltee

opera ever sung in German there). 24 August. Royan
CHICAGO 3 November 1923 (in German).
Text by E. Matrat (foundcd on a eomedy by
NEW YORK 1 January 1924 (in German).
Lafontaine and Champmeslc, 1688). Two aets.
DUBLIN 15 February 1924 (in English, as The
Revived, in a new one-aet version, Paris, O.C.
Apostle of SI. Olmar).
26 Deeember 1905 and 16 February 1919.
In German (translated by A. Harlaeher), Stutt-
ALBENIZ: Enrico Clifford gart 25 February 1907; Zurich 18 Oetober 1907;
8 May. Barcelona, L. and in a new translation by W. Ricdel (as Liehes-
erwachen), Nuremberg 3 May 1922.
(Italian) text by G. M. Arteaga y Pereira (trans-
Iated from an English libretto by F. B. Money-
ZÖLLNER: Der Überfall
Coutts). Three aets.
Of Albeniz grand operas on a larger seale, the 7 September. Dresden
only one which was performed. Text by the eompo,ser (founded on a story, Die
Danaide, by E. von Wildenbruch). Two aets.
Also given at Berlin 18 July 1896, ete.; Graz
JARNO: Die schwarze Kaschka 20 January 1903. Revived Vienna, V.O. 21 No-
12 May. Breslau vember 1914.
Text by V. Blüthgen. Four aets.
T ANEEV: Oresteya
Posen 5 February 1897; Berlin 5 JUlle 1898, ete.
ÜpeCTCH
For about five ycars vcry sueeessful in Germany.
29 Oeloher. St. Petcrsburg
Text by A. A. Venkstern (from Aesehylus's tri-
COWEN: Harold; or, logy). Thrcc parts.
The Norman Conquest Taneev's only opera. Revived Petrograd Oe-
8 }lilie. London, c.G. tober 1915.
Text by E. Malet (then British Ambassador to
ZAR A TE: La Fioraia di Lugano
Berlin). Three aets.
I NOl'embcr. Santiago
Cowen's last opera.
(Italian) text by thc composer.
Probably the first opera by a Chilcan composer
BENDL: Mati Mfla whieh was prodllced in his native eoLintry.
(Mother Mila)
25 JUlle. Pragllc, Cz.
SCHARRER: Die Erlösung
21 ;\'ovcl1lber. Strasbourg
Text by V. J. Novotny (translated from a Ger-
man libretto by A. Delmar). One aet. (Original Italian) text (La Rcdenziollc) by G. Me-
Bend!' s last opera. nasei, German version by R. Specht. Three aets.
Seharrer's only opera. Nurembcrg 1 Novem-
ber 1896, etc. In German also, Riga 1897.
PARRY: Sylvia
12 August. Cardiff T. DUBOIS: Xaviere
Text by M. Parry (Lcgendary grand opera). Three 26.'\'oPcll/ber. Paris, O.c.
aets. Text by L. Gallet (follndcd on a novel by F.
The last opera of the Welsh composer whieh Fabre). Idyllc draillariqllc. Thrce acts.
was performcd. Revived Paris, O.c. I S Janllary 1905.

II 86
 1895-96 ANNALS OF OPERA 1896

J. S TRA U S s: Waldmeister In German also, Metz 15 March 1898; Danzig

28 February 1900.
4 December. Vienna, W.
In Engüsh (translated by S. Rosenfeld), New
Text by G. Davis. Three acts.
York 17 February 1898; Boston 25 April 1898.
In German also, Berlin, Lessing Th. 2 May
1896; Prague 1896; Brünn 20 September 1896; HRIMALY: Svanda Dudtfk
Graz 17 October 1896; Basle 4 November 1896;
(Shvanda the Bagpiper)
Posen I January 1897; Riga 11 February 1897;
20 January. Pilsen
Reval 1897; New York29 November 1897; Hel-
Text by K. ZelenskY. Prologue and 3 acts.
sinkiJune 1899.
This seems to be the earüest opera written on
RIMSKY-KORSAKOV: Noch Pyered the favourite Czech subject (taken from a foIk-
tale by J. K. Tyl). Apart from Weinberger's weIl-
Rozhdyestvom known opera of the same tide (see 1927), there
Ho% TIepeA'L PmKAeCTBOM'L* are at least two more works based on the same
(The Night before Christmas) story, viz. a German opera by the Bohemian com-
10 December. St. Petersburg poser K. Weis, Die Dorfmusikanten, produced at
Text by the composer (after Gogol, üke chai- Prague I January 1905, and a Czech opera ballet
kovsky's Vakula Kuznyets, see 1876). Four acts. by K. Bendl, produced at Prague 29 April 1907.
Moscow 8 November 1898. Frequendy revived
on Russian stages, but never given outside Russia. PUCCINI: La Boheme *
February. Turin, T.R.
1
Text by G. Giacosa and 1. Illica (founded on the
1896 novel by H. Murger). Four parts.
After Le Villi (1884), Edgar (1889) and Manon
ALBENIZ: PepitaJimenez*
Lescaut (1893), Puccini's fourth opera, and even
sJanuary. Barcelona, L. more successful than ManonLescaut, as the follow-
(Original English) text by F. B. Money-Coutts ing records show:
(from a story by Juan Valera), Italian version by BUENOS AIRES 16 June 1896 (in Italian).
M . A. Galateri. One act (2 scenes). ALEXANDRIA 6 January 1897 (in Italian).
Albeniz's most successful opera. Given at: MOSCOW I February 1897 (in Italian).
PRAGUE 22 June 1897 (in German, translated by LlSBON 11 February 1897 (in ltalian).
O. Berggruen). MANCHESTER 22 April 1897 (in Engüsh, translated
BRUSSELS 3 January 1905 (in French, translated by by W. Grist and P. E. Pinkerton).
M. Kufferath). BERLIN, KROLL'S 22 June 1897 (in German, trans-
PARIS, O.C. 18 June 1923-{in French, new trans- lated by 1. Hartmann).
lation by J. de Marüave). RIO DE JANEffiO 2 July 1897 (in Italian).
(The opera was never given in Germany, as MEXICO 22 August 1897 (in Itaüan).
incorrecdy stated in Riemann' s Musiklexikon, LONDON, C.G. 2 October 1897 (in English) and I
Vol. I, p.23, in H. Klein's Musicians and Mummers, July 1899 (in Italian) ; I 50th performance I June
- P.259, and in many other books.) 1923·
VIENNA, w. 5 October 1897 and 0.25 November
CURTI: Lili-Tsee 1903 (in German).
12 January. Mannheim LOS ANGELES 14 October 1897 (in Italian).
Text by W. Kirchbach. One act. HAGUE 19 October 1897 (in Italian).
Curti's most successful work; Frankfort 4 June PRAGUE 27 February 1898 (in Czech, translated by
1896, etc. V. J. Novotny) and 3 May 1908 (in German).
1188
 ANNALS OF OPERA

BARCELONA 10 April 1898 (in Itali3n) and April OSLO Summer 1933 (in Italian).
1905 (in Spanish). An open-air performance took placc at Torre
ATHENS May 189S (in ltalian). de! Lago on 20 August 1930.
NEW YORK 16 May 1898 (in Italian) and 28 No-
vember 1898 (in English).
ENNA: Aucassin og Nicolette
PARIS, O.C. 13 June I S9~ (in Frendl, translated by
P. Ferricr; :!Ooth performance 30 November 2 Fe/mwry. Copenhagcn
190 7). Text by S. Michaelis (founded on the Frendl
MALTA lR9S (in Italian). 13th-eentury story). Four acts.
VALPARAISO 6 July 1898 (in Italian). In German (translated by E. von Enzberg),
WARSAW I Oetober 1898 (in Italian). Hamburg I I January IR97; Praguc 20 Februar:"
ZAGREB I I Oetober 1898 (in Croatian, translated 1 897.
by F. Miler).
SMYRNA Deeember 1898 (in Italian). DAMROSCH: The scarletLetler
HELSINKI 7 January 1899 (in Italian) :md 25 No-
vember 1918 (in Finnish).
10 February. Boston
ST. PETERSBURG 30 January 1899 (in Italian) and Text by G. P. Lathrop (founded on his father-in-
23 February 1900 (in Russian); revivcd 19 Sep- Iaw Hawthorne's famous romanee). Thrce acts.
tember 1924. The first opera of the Ameriean composer. Sub-
ALGIERS January 1899 (in Italian). sequently given at New York 6 March 1896.
TUNlS Spring 1899 (in Italian).
BUCHAREST November 1899 (in Italian) and De- FIBICH: Hedy
eember 1921 (in Rumanian).
ANTWERP II January 1900 (in Freneh).
12 Felm/ary. Prague, Cz.
BRUSSELS 25 Oetober 1900 (in Freneh). Text by A. Schulzova (founded onthe episode
RIGA I I Jannary 1901 (in German) and 21 No- from Byron's DOll Jllall). Four acts.
vember 1922 (in Lettish). Revived at Prague 9 November 1905; 6 Ma)"
GENEVA 17 Deeember 1901 (in Freneh) and Zurieh 1915; I I September 1925; and 10 March 1938.
18 November 1906 (in German).
PORT SAID April 1901 (in Italian). STANFORD: Shamus O'Brien
STOCKHOLM 29 November 1901 (in Swedish,
translated by S. Nyblom). 2 March. London,O.C.
LEMBERG 28 December 1901 (in Polish, translated Text by G. H. Jessop (A stary of Irclalld a Izlilldred
by L. German). ycars ago, founded on the poem by J. S. Le Fanu).
LJUBLJANA 1903 (in SJovenian). Two acts.
BUDAPEST 27 April 1905 (in Hungarian, translated Stanford's most popular opera; successful on
by A. Rada). English stages.
COPENHAGEN 22 Oetober 1908 (in Danish, trans- First given at New York 5 January 1897 (not
lated by S. Levyson). 1896 as T. A. Brown, A His!<'I'Y <1" (he 1'\CI/I Yor/.:
REVAL (TALLlNN) I9II (in German) and 1926 (in Stage, VoJ.m, P.4I5, h35 it).
Estonian, translated by H. Lam). In German (translaror not mentioned), Breslau
JOHANNESBURG Mareh 19I2 (in English). 12 April 1907 (with recitatives instead of spoken
BELGRADE 1920 (in Serbian). dialogue).
SOFIA 23 Jllne 1922 (in Bulgarian; tr:mslation pub- Revived London, H.M.'s 24 Mal' 1910; Dublin
lished already Rllstshuk 1<)05). I I August 1924; London, Guildhall School 26
KAUNAS 26 May 1927 (in Lithuanian). March 1936; Capetown 1939.

II 89 1190
 ANNALS OF OPERA

MASCAGNI: Zanetto* Revived at Stockholm in an enlarged 3-aet

version 15 March 1902 (as Valborgsmässa, new lib-
2 March. Pesaro
retto by E. von Enzberg, translated into Swedish
Text by G. Targioni-Tozzetti and G. Menasci
by A. Klinkowsträm).
(founded on F. Coppce's Le PassaHt). One aet.
Given at:
LONDON 23 June 18<)6 (privatdy, in Italian); re- HUBAY: A Falu Rossza
vived St. J.'s 8 Deeember 1908 (in English, by (Thc Villagc Vagabond)
students).
20 March. Budapest
VIENNA, w. I September 18<)6 (in Italian).
BRÜNN I January 1897 (in German).
Text by A. Varadi (founded on a play by E.
STUTTGART 28 March 1897 (in German).
T6th). Three aets.
LEIPZIG 14June 1897 (in German).
In German (translated by L. von Neugebauer),
NEW YORK 4 January 1898 (in Italian).
Vienna, W. 29 Oetober 1896; Berlin, Th.d.W.
MADRID August 1898 (in Italian).
8 Oetober 1902.
BUENOS AIRES 22 Deeember 193 I (in Italian).
Still oeeasionally revived in Ital)'. GOLDMARK: Das Heimchen am Herd
21 March. Vienna, O.
SULLIVAN: The Grand Duke; or,
The Statutory Duel Text by A. M. Willner (from Diekens's The
Cricket 01/ fhe Hearth). Three aets.
7 March. London, Savoy
One of Goldmark's more sueeessful operas;
Text by W. S. Gilbert (the last libretto he wrote
given at:
for Sullivan). Two aets.
BERLIN 27 June 1896 (in German).
In London ran for 123 nights.
BRÜNN 3 Oetober 1896 (in German).
In German, Berlin, Th. U.d.L. 20 May 1896.
BUDAPEST 4 Oetober 1896 (in Hungarian, traliS-
Revived London, King George's Hall 20 De-
latcd by E. Abrinyi).
cember 1924 (by the Sterling Mackinlay Operatie
Soeiety). Given at New York tor the first time as PRAGUE 18 Oetober 1896 (in German) and 13
!ate as 7 April 1937. March 1897 (in Czeeh, trans!ated by V. J. N 0-
votny).
LEONCAV ALLO: Chatterton RIG:\ (j November 1896 (in German).
BASLE 13 Nove~ber 18<)6 (in German).
10 March. Rome, Arg.
POSEN 4 Deeember 1896 (in German).
Text by the composer (from the play by A. de STRASBOURG 25 December 1896 (in German).
Vigny). Three aets. ZAGREB 30 March 1897 (in Croatian, translated by
This was Leoneavallo' s first opera; the libretto F. Miler).
had been published as early as 1877 (in 4 aets). STOCKHOLM 10 November 1897 (in Swedish,
Revived in a new version Niee 7 April 1905. translated by E. Högman).
In Italian also, RouCl1 11 May 1906 andin some ST. PETERSBURG 22 March 1898 (in German).
other Freneh towns; Malta 1910.
LONDON, BRIXTON 23 November 1900 (in Eng-
lish, translated by P. E. Pinkerton).
HALLEN: Häxfällal1
PHILADELPHIA 7 November 1<)12 (in English,
(Catching a Witch) translated by C. H. Mdtzer).
16 March. Stockholm CHICAGO 7 Deeember 1912 (in English, translated
Text by F. T. Hedberg (from a German play, by C. H. Meltzer).
Hexellfang, by H. Hopfen). Two aets. REVAL 1912 (in German).

II91 II92
 ANNALS OF OPERA

GIORDANO: Andrea Chenier* RIGA 21 January 1928 (in Lettish).

28 March. Milan, Sc. KAUNAS 21 September 1930 (in Lithuanian).
Text by L. Illiea. Four acts. TALLINN Oetober 1931 (in Estonian).
Giordano's most successful work. Still given in ATHENS November 1931 (in Italian).
Italy every seaSOIl, and lately revived in many SOFIA 15 January 1932 (in Bulgarian).
other eountries. BUCHAREST October 1932 (in Rumanian).
First productions were at: LJUBLJANA 17 May 1933 (in Slovenian, translated
NEW YORK 13 November 1896 (in Italian). by N. Stritov).
BRESLAU 28 January 1897 (in German, translated TRIPOLIS 10 February 1934 (in Italian).
by M. Kalbeek); Hamburg 5 February 1897, ALGIERS January 1935 (in Italian).
etc.
BUDAPEST 30 January 1897 (in Hungarian, trans- (C. FRAN CK): Ghiselle
lated by A. Rada).
6 April. Monte Carlo
MOSCOW 8 April 1897 (in Italian).
Text by G. Augustin-Thierry. Four aets.
PRAGUE 5 May i897 (in Czeeh, translated by V. J.
The second ofFranck's two operas which were
Novotny) and 24 October 18~7 (in German).
both produeed after his death. The orchestration
BUENOS AffiES 3 July 1897 (in Italian).
of Ghiselle was finished by several of Franek's
LYONS 29 Deeember 1897 (in French, translated
pupils.
by P. Milliet).
LISBON January 1898 (in Italian).
ALEXANDRIA February 1898 (in Italian).
ZICHY: AUr
ANTWERP 17 March 1898 (in French) and Autumn 11 April. Budapest
1938 (in Flernish). Text by the composer. Prologue and 3 aets.
RIO DE JANEffiO 12 August 1898 (in Italian). Ziehy's first opera. .
BARCELONA 13 November 1898 (in Italian). In German (translated by V. Leon), Carlsruhe
BERLIN, TH.D.W. 21 December 1898 (in German); 3 December 1897; Berlin 3 May 1898.
revived O. 15 June 1929.
HtAVANA Carnival 1900 (in Italian). SOUSA: EI Capitan*
MALTA 1901 (in Italian).
13 April. Boston
MANCHESTER ~ April 1903 (in English, translated
Text by C. Klein, lyrics by T. Frost. Three acts.
by P. E. Pinkerton).
The most successful operetta of the famous
LONDON, CAMDEN TOWN 16 April 1903 (in Eng-
American band leader.
lish) and c.G. II November 1905 (in Italian).
First given at New York, Broadway Th. 20
WARSAW January 1905 (in Italian).
April 1896 (not 1895 as T.A. Brown, A History
HAGUE February 1905 (in Italian).
of the New York Stage, Vol.m, p.414, has it).
PARIS, TH.S.B. 3 JUIle 1905 (in Italian).
Given in London, Lyric Th. 10 July 1899. Fre-
LEMBERG October 1907 (in Polish, translated by
quently revived in U.S.A., at Philadelphia as late
w. Brzezillski). as in March 1921.
VIENNA, v.o. 14 January 1909 (in German); re-
vived O. 28 January 1926 (in German) and 15
March 1935 (in Italian).
JONES: The Geisha
STOCKHOLM 17 April 1909 (in Swedish). 25 April. London, Daly's
MONTE CARLO i7 February 1923 (in ltalian). Text by O. Hall, lyrics by H. Greenbank. Two
HELSINKI 26 March 1926 (in Finnish). acts.
BASLE 17 June 1927 (in ltalian). The most popular of Jones's numerous ope-
ZAGREB 10 October 1927 (in Croatian). rettas; given at:

II93 II94
 ANNALS OF OPERA

NEW YORK, DALY'S 9 September 1896, and in a11 H. WOLF: Der Corregidor*
English-speaking countries. 7June. Mannheim
BERLIN, LESSING TH. I May 1897 (in German, Text by R. Mayreder (founded on P. A. de Alar-
translated by E. M. Roehr and J. Freund). con's story, EI Sombrero de tres Picos). Four acts.
VIENNA, CA. 16 October 1897 (in German, trans- Wolf's only completed opera; very celebrated;
lated by E. M. Roehr and J. Fretmd). but given only on rare occasions.
BUDAPEST 16 October 1897 (in Hungarian, trans- The first performances were at Strasbourg 29
lated by J. B. Fay and E. Makai). April 1898 (in a revised version); Prague 8 April
POSEN 6 November 1897 (in German). 1899; Graz 24 May 1902; Munich 4 November
BRÜNN 15 December 1897 (in German). 19°3; Vienna 18 February 1904; Hamburg 4
March 1904; Stuttgart 10 April 1904; Carlsruhe
LAIBACH (LJUBLJANA) 1897 (in German) and 1908
17 December 1905; Berlin, K.O. 15 January 1906,
(in Slovenian).
etc.
PARIS, ATHENEE COMlQUE 8 March 1898 (in French,
Given in London, R.A.M. 13 July 1934 (in
translated by C. Clairville, J. Lernaire, and A.
English, translated by G. Dunn).
Mars).
Fragments from Hugo Wolf's unfmished second
HELSINKISUmmer 1898 (in German). opera, Manuel Venegas (text by M. Hoernes, after
PRAGUE 23 October 1898 (in German) and I I May a novel by Alarcon, published 1902), were given
1899 (in Czech, translated by V. J. Novotny). in concert form at Mannheim I March 1903;
STOCKHOLM 24 October 1898 (in Swedish). Munich May 1932.
RIGA 3 February 1899 (in German) and 20 March
1929 (in Lettish). ZELENSKI: Goplana
ZAGREB 16 May 1899 (in Croatian, translated b)' 23 July. Craeow
M. Pogacic).
Text by L. German (founded on J. Slowacki's
REVAL 1900 (in German).
play, Balladyna). Three aets.
BASLE 22 October 1900 (in German). Zelenski's chief work; very sueeessful and fre-
GENOA 5 December 1900 (in Italian). quently revived in Poland.
BUENOS AIRES July 1901 (in Italian). First given at Lemberg 26 January 1897; War-
MONTE CARLO 2 December 1904 (in French). saw 8 January 1898. Revived Lemberg 10 Sep-
When first produced in London The Geisha had tember 1918; Warsaw 1921 and Deeember 1935.
a run of 760 nights. Czech translation by A. E. MuZfk published
1899.
So far, the latest revival in New York was on
5 October 1931 (at Erlanger's); in London 24
April 1934 (at the Garrick). At Berlin, the 500th
( S C HUB E R T) : Der vierjährige Posten
performance was on 6 September 1900, the 23 Septe/llber. Dresden
I,oooth 6 July 1904; it was ,evived there at the Text by T. Körner. One aet.
Staatsoper 30 December 1931. This Singspiel was composed in 1815; it was
never produced in Sehubert's Iifetime. In 1896 it
SETACCIOLI: La Sorella di Mark was given in an arrangement by R. Hirschfeld.
Subsequently produeed at Vienna 30 January
7 May. Rome, C.
1897; Prague 30 January 1897; Frankfort 31 Jan-
Text by E. Golisciani. Three aets. uar)' 1897, etc.
The most important of Setaeeioli' S operas; Revived in a new version by R. Lauekner (2
written for Gcmma BeIIincioni. acts), musie arr,mgcc1 by F. Busch and D. F

1I95 II9 6
 ANNALS OF OPERA

Tovey, as Der trcllc S"ldat. Stuttgart 2 July 1<)22; E. HARTMANN: Runenzauber

Basic 18 May 1924. 150ctober. Hamburg
In English (as Thc faitlzful SC/1;illcl, translated by (Original Danish) text by J. Lehmann (founded
S. Wilson), London, Court 12 June 1928; Glas- on H. Hertz's play, Svclld Dyrillgs HI/s), Gerinan
gow 24 March 1936. version by E. Klingenfcld. One act.
In Danish, Copenhagen 19 November 192R. Dresden 2 November 1896, etc.
In Danish (as RI15!"hild), Copenhagen 27 De-
ELLING: Kosakkerne cember 1896.
(The Cossacks)
AUDRAN: La Poupee
26 Septcmber. Christiania
21 Oetober. Paris, Galte
Text by E. H. Bull. Three acts. Text by M. Ordonneau. FOll[ acts.
The only opera of the Norwegian composer. Audran' s most popular operetta, still given in
Franee as weil as in other countries.
SCHARWENKA: Mataswintha , In Freneh also, Brussels 13 September 1897.
'etc.; Madrid and Lisbon Spring 1901.
4 Oetober. Weimar
In English (translated by A. Sturgess), London,
Text by E. Koppel (from F. Dahn's noveI, Ein Prinee of Wales's 24 February 1897 (nmning for
Kampf IIIIl ROlli). Fout aets. 576 nights; revived Daly's 24 Deeember 1931;
Thc opera lud prcviously been performed in H.M.'s 21 Deeember 1(35); New York 21 Oc'to-
conccrt form at Bahn 22 September 1894 and ber 1897, etc.
N ew Y ork 13 February 1896. On the stage, it was In German (translated by A. M. Willner), Ber-
revived at the Metropolitan, New York 1 April !in, Central Th. 7 January 1899; Vienna 10 Octo-
1907 (onc night onl)'). Scharwenka's only opera. ber 1899; Riga 6 Deeem ber 1899; Brünn 25 De-
cember 1899; Laibach IR99; Prague 16 Septem-
B L 0 C K X: De Herbergprinses ber 1900; Renl 1900; Zurich I February 1901;
New York 13 April 1903.
10 Oct"hcr. Antwerp
In Hungarian (translated by F. Reiner), Buda-
(Flemish) tcxt by N. de Tiere. TIme aets. pest 1899.
Bloekx's most sueecssful work, and one of the In Croatian (translated by F. Miler), Zagreb 23
masterpieces of Flemish opera. It was mostly October 1900.
given in a Frcneh version by G. Lagye, as Pril1ccsse In Spanish (translated by E. Gomez Gereda and
d'Al/b('~~c. A. Soler, music adapted by R. G. Calleja), Mad-
In French givcn at Ghent 9 March 1898; Brus- rid 18 April 1908.
sels 14 Deeember 1898; Antwerp 22 December In, Polish (translated by A. Kiezman), Poznan
11l98; Lilie 5 January 1899; Hague 18 February 1910.
IR99; Algiers Decembcr 1899; Marseilles 19 De- Italian version by C. Bcrtolazzi published Turin
cember 1899; Cairo 25 Deecmber 1899; Geneva 1 899.
6 Februarv 1900; Ncw York 10 March 1909.
S IBELI U S: Jungfruburen
In the ~riginal Flemish, Amstcrdam c.23 No-
vember 1903. (Maiden's Bowcr)
In German (transbted by C. Hebbel), Ham- 7 NOl'clllbcr. Hclsinki
burg 30 M,lreh 1905. (Swedish) text by R. Hertzberg. One act.
Freouently revivcd in BelgiulJ1; tbc btest reviv- This early work, produced by amateurs at the
al at krusscls was on 15 -November 1935 (in City Hall, Hclsinki, has remaincd the only opera
Freneh); at Antwcrp Oetober 1939 (in Flemish). of the famous Finnish composer.

1197
 ANNALS OF OPERA

P. and L. HILLEMACHER: Given in the same year at Olmütz 2 April 1897

Der Fluthgeist* (in German) and at Zagreb 5 November 1897 (in
Croatian, translated by J. Devic).
14 NOl'cl1llJer. Carlsruhe
(Original Freneh) text (Le Drac, founded on a play
by G. Sand and P. Meuriee) by L. Gallet, pro- VILHAR: Smiljana
dueed in a German version by E. Klingenfeld. 31 jal/uary. Zagreb
Three aets.
Text by M. Krekovic. Two aets.
The only opera of the two Freneh composers
The best of Vilhar's Croatian operas. In Slo-
(who always wrote in eollaboration) whieh was
venian, Ljubljana 1901.
produeed in Germany (under F. Mottl), and the
only one whieh was apparently never given in
Franee or Bclgium. (S CHUBERT): Fierrabras*
9 February. Carlsruhe
LEHAR: Kukuska Text by J. Kupelwieser after Calder6n'sLa Puente
27 NOl'cmber. Leipzig de Malltabilc, from A. W. von Sehlegel's Spani-
Text by F. Falzari. Three aets. sches Theater. Three aets.
Suecessful early folk-opera by the afterwards Written in 1823, but not produeed in ScllU-
eelebrated composer of operettas. bert's lifetime. Nor was it performed at Vienna as
In German also givcn at Königsberg 4 April earlyas 1861 (a statement whieh is to be found in
1897, etc. Riemann's dietionary and in many other books).
In Hungarian (translated by S. Varady), Buda- Parts of the opera had been given, in eoneert
pest 2 May 1899. form, at the Theater in der Josefstadt, Vienna
Revived in a ncw version, as Tatjana (text re- 7 May rX35 (under Konradin Kreutzer), and
written by M. K;lIbeck), Brünn24 February 19°5; again at the Redoutensaal, 28 February 1858
Vienna, V.O. 10 February 1906; in Hungarian, (linder J. Herbeck ; see E. Hansliek, AllS delll CO/l-
Budapcst zR April 1907. certsaal, P.148).
At Carlsruhe, 1897, the opera was produced in
B U N GER T: Odysseus' Heimkehr a revised version by O. Neitzcl (text) and F.
12 DccclIllu'r. Dresden Mott! (music). Apparentlynot given on any other
Text by the composer. Prologlle :lnd 3 acts. German stage.
The third part of Bungert' s tetralogy, Homeri- Rcvived at Brusscls 14 January 1926 (in French,
sche Welt (,ce rX9S, 1901, 1903). The third part transbted by P. Spaak).
was produced first. Parts of the opera were gi ven in concert form
Also givcn at Hamburg 16 November 1897 by the "Opera Circle," London 6 November
:md Berlin 3 I March r 898. 1938 (in German).

BEER: Der Strike der Schmiede

1897
18 February. Augsburg
NES VERA: Lesn{ Vzduch
Text by V. Leon (founded on a play by F. Cop-
(W oodland Air) pl~e). One aet.
23 jmlllary. Brno Sl1eecssful on Germ an stages; given at Nurem-
Text by the composer. One act. ,berg 29 May 1897; Cologne 22 Oetober 1897;
The most succcssful of Ndvera's tive Czech Hamburg I I January 189~; Berlin, Th.d.W. 29
operas. September I 898, etc.

I I 99 1200
 ANNALS OF OPERA

In German also, Brünn 23 September 1898; mund Th. 30 December 1909; Graz 5 March
Strasbourg Ir November r89R; Zurich 13 jan- 1910; Munich 28 August 1910; Berlin Lcssing
uary 1899. Th. 21 May 191,2.
In Hungarian (translated by S. Varady), Buda- In Italian, Turin 4 February 1911.
pest 4 October 1899.
Revived Vienna, V.O. 4 june 1919. DE LARA: Moina
14 March. Monte Carlo
BR UNEA U: Messidor
Text by L. Gallet. Two acts.
19 Febntary. Paris, O. Successful on French stages. In French also,
Text by E. Zola. Prologuc and 3 acts. Lille 18 November 1897; Ghent Dcccmbcr 1899·
One ofBruneau'smost important works. Given Also given at Trieste 4 April 1898 (in Italian)
in Paris until 1917. In French also, Brussels 10 and Düsseldorf 13 November 1906 (in German).
February 1898. (Date of the first performance 14 March ac-
In Gennan (translated by A. Briiggemann), cording to the play-bill; it is given as I I March in
Munich 15 january 1903. the vocal score and in the composer's autobio-
graphy.)
(LACOMBE): Meister Martin
und seine Gesellen FRANCHETTl: Il Signor
7 March. Coblcnz di Pourceaugnac
(Original French) text (Lc TO/I/lclicr de ./\,7I1rcnz berg) 10 April. Milan, Sc.
by C. Nnitter (founded on E. T. A. Hoffmann's Text by F. Fontana (from Moliere's comedy).
story), produced in a German version by H. Rie- Three acts.
mann. Two acts. Given in a revised version at Genoa 24 Novem-
Like Willke/ried (sec [8<)2), this opera was not ber 1897.·
produced until same )'ears after the composer's
death. CABALLERO: La Viejecita
d)INDY: Fervaal* (The üld W oman)
12.March. Brllssels, M. 30 April. Madrid, Z.
Text by the composer (.!lai(l1/ 'dr(/ll1atiqlle). Pro- Text by M. Echegaray.
logue and 3 acts. Successful (me-act zarzue1a. Given at Mexico 4
First given at the O.c., Paris IO May 1898; November 1897; Barcelona December 1897, ete.
revived Paris, O. 8january 1913.
German vocal score (translated by E. Klingen- LEONCAVALLO: La Boheme*
feld) published 1897. '
6 May. Venice, F.
Text by the composer (from H. Murger's noveI).
J. S TRA uss: Die Göttin
Conmlcdia lirica. Four acts.
der Vernunft W rittcn at the same time as Puccini' s opera of
13lHarch. Vienna, W. the samc tide, and produced 15 months later;
Text by A. M. Willner and B. Buchbinder. Thrce Leoncavallo's opera was much less successful.
acts. Still, it was given on many Italian stages, and at:
Strallss's last operetta. Stcttin 15 july 1897; Ber- HAMBURG 24 September 1897 (in German, trans-
!in, Th. U.d.L. 20 januar)' 1898. lated by L. Hartmann).
Rcvived in a new version as Reiche Mädchen RIGA 1897 (in German, translated by L. Hart-
(libretto re-written b)' F. Stollberg), Vienna, Rai- mann).

1201 1202
 ANNALS OF OPERA

BUDAPEST 27 November 1897 (in Hungarian, (LISINSKI): Porin

translated by A. Rad6). 2Oetober. Zagreb
VIENNA 23 February I R98 (in German) and 6 Oe-
Text by D. Demeter. Five acts.
tober 1907 (in Italian). Written about 1848-49. After LYllbal' i Zloha
PRAGUE 30 May 1898 (in German).
(see 1846) this was the seeond and last opera of the
NICE 23 February IH89 (in Freneh, translated by
Croatian composer. It was produeed 43 years after
E. Crosti). Lisinski's death. Sueeessful at Zagreb where it
PARIS, REN. 10 Oetober I R99 (in Freneh, translated
was last revived on 4 Oetober 1934.
by E. Crosti).
LlSBON 1900 (in Italian). ZEMLINSKY: Sarema
ANTWERP 5 February 1901 (in Frcneh). 10 Oeloh",. Mllnieh
GENEVA 21 March 1901 (in Freneh).
Text by A. Sehänberg (founded on a play by R.
BERL/N, K.O. I I Deeember 1905 (in German). von GottschjlJ, Die Rose /'0111 Kaukaslls). Three
MALTA 1920 (in Italian). acts.
In 1913 the libretto was re-issued under the Zemlinsky's first opera; awarded a prize in a
tide Mimi PitISOIl. competition irlstitllted bv Prince Luitpold ofJh-
varia. Also givell at Leipzig 15 May 1899.
NESvERA: Perdita Schön berg is mentiolled as the author of the
text in cOlltemporary reviews; he also arranged
21 May. Prague, Cz.
the vocal score of this ~pera writtl'll by his teacher
Text by J. Kvapil (from Shakespeare's A Wintcrs
and future brother-in-bw.
Tale). Prologue and 3 aets.
MaCCUNN: Diarmid
F. d'ERLANGER: Ines Mendo 2} Oetober. London, c.G.

10 July. London, c.G. Text by the Marquis of Lorne (J. G. Campbell),

founded on "heroie Celtic Icgends". Four J':ts.
Text by P. Decoureelle and A. Liorat '(after P.
Mcrimce's pb)"). Three aets. The seeond ;md last opera of the Scottish com-
In London produeed in Freneh (under the eom- poser. Edinburgh 0 November 1 R97, etc.
poser's pseudonym Frederie Rcgnal); in German
URS P R U eH: Das Ul1IllÖ,q lichstc
(as Das Erbe), Hambllrg S February 1898; Frank-
VOll Allem
fort 5 J une 1898.
In Russian, Moseow Janu;;ry 1905. 5 I\'o I 'elll!Jc', , Carlsruhe
Text by the composer (frol11 Lope de Vega's
comeJy, EI major illiposiblc). Prologlle and 3 acts.
BERUTTI: Pampa Successful in Germany; given at Darmstadt 25
27 Jllly. Ellenos Aires November lR97; Weimar 20 February 1898;
Text by G. Borra. Three aets. Leipzig 27 March 18')8; Cologne 20 October
The Argentine eomposcr's first opera on a 1898; ElbertCld 10 J:muary 1899; Frankfort 3 I
national subjeet. January I ~99, etc. In German also. Prague I Dc-
cember IR99.
PANIZZA: Il Fidanzato de! Mare E N NA: Pige'1 /11(',1 SVOlllstikkerne
15 A/~gIlSt. Euenos Aires (Thc Match Girl,
Text by R. Carugatti. One aet. 13 NO/lcllliw. Copenhagen
Panizza' s first opera; sueeessful in South A mer,- Text by the composer and O. Rode (from An-
iea. First given in ltal)' at Savona 28 June 1899. dcrsen's fairy tale). Olle act.

12°3 12°4
 ANNALS OF OPERA

Successful in DcnmJrk; also giv,'n at: MASSENET: Sapho*

AMSTERDAMJanuary 1900 (in Dutch).
2i Novcmber Paris, O.c.
BREMEN 2 November 19°° (in (;C'rrnan, translated
Text by H. Cain and A. Bemcde (founded on the
by E. von Enzberg and T. Rehbaum).
novel by A. Daudet). Five acts.
GRAZ 29 November 1900 (in German, translated
Outside France, given at:
by E. von EilZberg and T. Rehbaum).
MILAN, T.L. 14 April 1898 (in Italian', translated by
PRAGUE 25 Deccmber 1900 (in German) and 14
A. Galli).
July 1901 (in Czech).
GENEVA 25 November 1898 (in French).
STRASBOURG 28 Decembcr 1900 (in German).
LISBON Januar)' 1899 (in Italian).
VIENNA, JOS. 23 Februar)' 1901 (in German).
ALEXANDRIA 13 January 1899 (in Italian).
ZURICH 22 DeccI1-rher 1902 (in German).
ALGIERS March 1899 (in French).
WARSAW 1933 (in Polish).
BUENOS A[[m 4 June 1899 (in Italian).
MESSAGER: Les p'tites Michu RIO DE JANEIRO 15 AlJgust 1899 (in Italian).
BUCHARf.ST 21 Deccmber 1899 (in Italian).
16 iVovembcr. Paris, B.P.
ANTWERP 12 November 1901 (in Frcnch).
Text by A .. Vanloo and G. Duva!. Three acts.
HAGUE February 1903 (in Freneh).
One of Mcssagcr's most succcssful opercttas.
BRUSSELS 3 November 1903 (in Frcneh).
Frcqucntly revived in Paris and still givcn in
Revi vcd in a Ilew version at:
France. Also produccd at: '
PARIS, O.C. 22 January 190<) (in Frcneh).
ROME 23 March 1898 (in Itali:lIl, trans!ated by A.
NEW YORK 17 November 1909 (in F'reneh).
Signorelli).
MOSCOW Deccmber 1909 (in Russian).
BERLIN, METROPOL 25 Dccember 189X (in German,
NEW ORLEANS 27 Dceembcr 1913 (in Freneh).
translated by ß. H. Bolten-ßäckers).
BARCELONA 22 February 1919 (in Frcneh).
BRUSSELS 13 jallUary 1899 (in Freneh).
The latest revival at thc O.C., Paris, was on
VIENNA Hi September 1899 (in German).
23 February 1935.
REVAL 1900 (in German).
LISBON Spring 1901 (in Freneh).
CI LE A: L' Arlesiatla*
PRAGUE 14july 1901 (in Czc.::h, translated by V.
• J. Novotny). 2i Novemher Milan, T.L
ALGIERS March 1<)04 (in French). Text by L. Mareneo (founded on A. Daudet's
LONDON, DALY'S 29 April 1905 (in English, adapt- play). FOll[ aets.
cd by H. Hamilton, Iyrics by P. Grcenbank; Givcn at the same theatre in a redllecd 3-aet
ran for 401 nights). version Oll 22 Oetober 189X.
NEW YORK, GA!WEN TH. 3 I Januar)' 1907 (in Eng- Revivcd Naplcs, S.c. 2n March 1912 and again
lish). Como 16 January 1<)37, S. Relllo 22 February
ZURlcHJaulIary 1<)08 (in Gcrman). 1937 ete. Stuttgart 8 December 1940.
Enrico Carllso had his fmt grcat Sllcecss in this
C JI A PI: La Revoltosa opera.
(Thc Rcvolutionary Girl)
25 Novcmher. Madrid, T. A1'olo
MANCINELLI: Ero e Lealldro
Text by C. Fernandez Shaw and J. L6pez Silva. 301'\ol'elllbcr. M:!drid, T.R.
One act (3 scenes). Text by A. ßoito (first set to musie by Bottesini,
Sueccssflll z:lTzue!a of the gC/lfrO chico; given at see 1 R7<)). Three aets.
Mexico 26 February 18<)8, HuCllos Aires 1898, Maneinelli's setting was writtcn for the Nor-
and Oll many flther Spanish stages. Rl:vivcd at wich Festival, wherc it was performcd as a eon-
Bucnos Airesjanuary [<)3(,; lhreclona 1938. cert eantata on 8 Oetober 1S<)6 (in an English ver-

1205 1206
 ANNALS OF OPERA

sion by M. Marras). Produced on the stage at Heuberger's most successflll work. Given at:
Madrid at the above date and at: BERLIN, TH. U.D.L. JI March 1898 (in German).
TURIN I January 1898 (in Italian). BRÜNN 10 April 1898 (in German).
LONDON, C.G. II July 1898 (in Italian). PRAGUE 19June 1898 (in German) and 19January
NEW YORK 10 March 1899 (in Italian). 1899 (in Czech).
LISBON 1902 (in Italian). HELSINKI Summer 1898 (in German).
WARSAW 23 November 1902 (in Polish). BASLE 30 November 1898 (in German).
RIO DE JANEIRO 12 September 1905 (in Italian). ZAGREB 10 March 1900 (in Croatian, translated by
A. Schneider). .
REST ANO: Margherita d'Orleans REVAL 1900 (in German).

5 Decembcr. Turin, T.V.E. RIGA 21 November 1900 (in German).

Text by A. G. Lagomaggiore. Three acts. NEW YORK 24 May 1909 (in German) and 12 Feb-

Restano was one of the first Argentine com- ruary 1912 (in English, translated by S. Rosen-
posers whose operas were produced in Europe. feld and C. Kummer).
Frequently revived in Austria and Germany.
J AQUES-DALCROZE: Sancho Panza First given at the Vienna O. 24 January 1931 and
revived V.O. 31 December 1938.
13 December. Geneva
Text by R. Yve-plessis (after Cervantes). Four RIMSKY-KORSAKOV: Sadko*
acts.
CalVW
In German (translated by F. Vogt), Strasbourg
7Jatmary. Moscow
28 November 1902.
Text by the composer and V. I. Byelsky. Seven
FIBICH: Sarka scenes (to be divided into 3 or 5 acts.)
Given at St. Petersburg Spring 1898 by the
28 December. Prague, Cz.
Moscow company and 8 February 1901 at the
Text by A. Schlllzova. Three acts.
Maryinski Th. Successful in Russia; given 11l
One of the best works of the Czech composer;
other countries only many years later, viz.:
according to the writer in Grove' s Dictionary (3 rd
PARIS, CHATELET 6 June 19II (parts only; in
ed. 1927), "his finest achievement in dramatic
Russian); the whole opera at the Ch.E. 7 June
lyricism".
1930 (in Russian).
Very sllccessflll in Czechoslovakia; revived at
MONTE CARLO 19 February 1921 (in Russian).
Prague 15 October 1903; 15 December 1910; 18
ANTWERP 14 February 1925 (in Flemish).
February 1917; 6 November 1925; .and October
RIGA 15 October 1927 (in Lettish).
193 8.
PRAGUE 3 I January 1928 (in Czech, translated by
R. Medek and F. Pujman).
r898 BARCELONA 1928 (in Russian).

T 0 F F T: Vifandaka NEW YORK, M. 25 January 1930 (in French, trans-

lated by M. Delines).
1 January. Copenhagen
ZAGREB 28 June 1930 (in Croatian).
Text by E. Christiansen. Three acts.
BUENOS AIRES 1 August 1930 (in Italian, translated
Tofft's first .opera. Revived Copenhagen 1917.
by R. Külferle).
ROME, T.R. 4 April 193 I (in Italian, translated by
HEUBFRGER: Der Opernball R. Külferle).
5 January. Vienna, W. LONDON, LY. 9 June 1931 (in Russian).
Text by V. Leon and H. von Waldberg. Three SCHEVENINGEN September 1932 (in Russian).
acts. STOCKHOLM 17 November 1934 (in Swedish).

1207 1208
 ANNALS OF OPERA

SOFIA 17 May 1935 (in Bulgarian). BORCH: Si/vio

MILAN, sc. 2 February 1938 (in Italian).
7 March. Christiania
BUNGERT: Kirke Text by the composer and O. A. Srnirh. One aet.
The only opera of the Norwegian composer;
29 January. Dresden
a sequel to Callalleria rusticana.
Text by the composer. Prologue and 3 acts.
The first part of the tetralogy, HOl11erische Welt, DEFFES: Jessica
of which the third part had been produced in 1896
25 March. T oulouse
already. Kirke was also given at Hamburg 29 Sep-
tember 1899. ' Text by J. Adenis and H. ßoisseaux (from Shake-
speare's The Merchant of Venice). Four acts.
VAN DEN EEDEN: Numance The best work of Deffes, who was a pupil of
Fcbruary. Antwerp
2 Halevy.
Text by M. Carre fils and C. Narrey. Four acts.
SZTOJANOVITS: Ninon
The first opera of the Beigian composer.
, ' 27 March. ßudapest
THUILLE: Lobetanz Text by E. Abranyi (from a pby by Z. Thury).
6 Febmary. Carlsruhe Two acts.
Text by O. J. ßierbaum. Three acts. The first opera of the Hllngarian composer.
ThuiIIe' s most successful opera.
In German also given at: Berlin TO February KOV AROVI c: Psohlavci
1898 (revived 25 September 1913); Zurich 26 Oc- (Thc Dog Hcads)
tober 1899; Vienna 18 March I901; Strasbourg 4 24 April. Prague, Cz.
November 1905; Zoppot 30July 19II (open-air Text by K. Sipek (follnded on a novel by A. Jid-
performance); New York 18 Novemb4:r 19II; sek). Three acts.
Philadelphia 12 December 1911; Riga 1914. One of KovaroviC's most important works;
rev: ,red at Prague 28 October 1910 and 22 Sep-
MACHADO: Mario Wetter tember 1937.
7 February. Lisbon, S.c. In Czeeh also given at Cicero, Illinois 8 No-
Text by R. LeoncavaIIo (the composer). Three vember 1936 (by the Sterling Morton High
acts. School). German version by R. Bath pllblished
Successful (Italian) opera of the Portuguese 1900.
composer who was the director of the Lisbon In Slovenian, Ljllbljana 1902 (revived 1923).
Conservatoire.
SMYTH: Fantasio
NOSKOWSKI: Livia Quintilla
24 May. Weimar
16 Febmary. Lemberg
(Germ an) text by the composer (from A. de
Text by L. German. Three acts.
Musset's play). Two acts.
Noskowski's first and best opera. Warsaw 19
Smyth's first opera; also given at Carlsrllhe 10
April 1902.
February 1901.
DE LEVA: La Camargo
2 March. Turin, T.R. S. A. ROUSSEA u: La Cloche du Rhin
Text by G. Pessina. Four acts. 8 JUlle. Paris, O.
De Leva's only opera. Given in a new version Text by G. Montorglleil and P. TI. Ghellsi. 'fhree
at Naplcs, S.c. 23 April 1898. acts.

1209 1210
1898 ANNALS OF OPERA 1898,

The best of Rousseau's five operas; given 9 LAZZARI: Armor

times only. 7 November. Prague, G.
(Original French) text by E. F. Jaubert, German
HAUSEGGER: Zinnober version by the composer. Three acts.
19June. Munich Lazzari's first opera. In German also, Hamburg
Text by the composer (founded on E. T. A. Hoff- 24 October 1900.
mann's Klein Zaches). Three acts. In the original French, Lyons 22 November
Hausegger's second and last opera. 1905·

GRANADOS: Marfa del Carmen

SCHYTTE: Hero
12 November, Madrid, T. Parish
25 September. Copenhagen
Text by J. Feliu y Codina. Three acts.
Text by P. Levin. One act. Granados's first opera; successful on Spanish
A modem attempt at monodrama of the I 8th-
stages. First given at Barcelona 26 August 1899
century type.
and revived there in January 1934 and January
193 6.
NODERMANN: König Magnus
8 October. Hamburg
GIORDANO: Fedora*
(Original Swedish) text by B. Moerner, German 17 November. Müan, T.L.
version by the composer. One act. Text by A. Colautti (from V. Sardou's play).
The first opera of the Swedish composer; in Three acts.
Sweden only fragments were given in concert One of Giordano' s most successful works; still
form, at Malmö and Lund in December 1907. given in Italy every season.
Outside Italy, given at:
BUENOS AIRES 14 May 1899 (in Italian).
, d' ALBERT: Die Abreise* RIO DE JANEffiO 8 July 1899 (in Italian).
20 October. Frankfort MAYENCE 10 October 1899 (in German, translated
Text by F. von Sporck (founded on a play by A. by L. Hartmann).
von Steigentesch, 1813). One act. ALEXANDRIA January 1900 (in Italian).
One of d'Albert's most successful works and BARCELONA April 1900 (in Italian).
the best ofhis comic operas; given at: BRÜNN 21 April 1900 (in German).
BERLIN 24 February 1899 (revived II February VIENNA 16 May 1900 (in Italian).
1922). LISBON 1900 (in Italian).
STRASBOURG 4 January 1900 (in German). CAIRO Carnival 1902 (in italian).
PRAGUE 30 September 1900 (in German). ANTWERP 2 January 1902 (in French).
AMSTERDAM February 1902 (in Dutch). BUDAPEST 27 May 1902 (in Hungaria'n, translated
BASLE 13 March 1904 (in German). by S. Varady).
VIENNA 28 February 1905 (in German). MALTA 1902 (in Italian).
ZAGREB 29 October 1915 (in Croatian, translated ZAGREB 4 March 1903 (in Croatian, translated by
by K. Baranovic). F. Miler).
LONDON, KING'S (HAMMERSMITH) 3 September GENEVA 3 April 1903 (in French).
1925 (in English, translated by M. Bond and A. BERLIN, BERLINER TH. 1 August 1903 (in German)
Skalski). and Th.d.W. 15 November 1905 (in Italian);
BRUSSELS 7 November 1932 (in French, translated revived in German 22 January 1930.
by J. Benedict). PARIS, TH. S.B. 13 May 1905 (in Italian).

I2IJ 1212
 ANNALS OF OPERA

.\MSTERDAM March 1906 (in Italian). In German (translated by M. Kalbeck), Frank-

LONDON, C.G. 5 November 1906 (in Italian). fort 26 September 1899, etc. Revived Wuppertal
NEW YORK 5 December 1906 (in Italian). 18 April 1934.
MARSEILLES 5 March 1907 (in French). In French (translated by M. Vaucaire), Mar-
NEW ORLEANS 29 January 1908 (in Italian). seilles 15 November 191I.
RIGA 1909 (in German). In Russi:m, Moscow 1913.
WARSAW January 1910 (in Italian). In Polish, Poznan J93 I.
MONTE CARLO 15 March 1910 (in Italian). In Bulgarian, Sofia 27 Dccember 1937.
MONTREAL 1911 (in Italian).
BUCHAREST March 1925 (in Rumanian). CABALLERO: Gigantes y Cabezudos
LEMBERG 1927 (in Polish).
(Giants and Big-Heads)
SOFIA 22 March 1929 (in Bulgarian).
29 Novc/IJber. Madrid, Z.
TRIPOLIS November 1934 (in Italian).
BRUSSELS 1 April 1935 (in French, translated by
Text by M. Echegaray. One act (3 sccnes).
Successful in Spain; sec Grove's Dietionary,
R. Milliet).
Vol.v, p.779 (4th ed. 1940) where the litde work
KIENZL: Don Quixote is described.
In Spanish also given at Milan 2 October 1901.
18 NOl'embcr. Berlin, O.
Text by the composer (after Cervantes). Three
acts.
SERRANO: Gonzalo de C6rdoba
In German also, Prague 25 December 11'98; 6 Deeember. Madrid, T.R.
Graz I I February 1905. Text by the composer. Prologue aud three acts.
In Russian, Moscow 1911. Successful Spanish opera on anational subject.
Revived in a new version at Graz 1 May 1934
and Vienna 22 November 1936. RIMSKY-KORSAKOV:
MASCAGNI: Jris* Mozart i Salieri*
22 NOl'embcr. Rome, C. MOu;apT'b 11 CaJIbepl1
Text by L. IlIica. Three acts. 7 Dccembcr. Moscow
Given with some alterations at Milan, Sc. 19 Text: Pushkin's dramatic poem (1830). Two acts.
January 1899. First given at St. Petersburg March 1899. Out-
In Italian also: side Russia, produced only many years later, viz.:
BUENOS AIRES 22 June 1899. LJUBLJANA 9 January 1924 (in Slovenian).
BARCELONA 30 December 1900. LONDON, ALBERT HALL I I Oetober 1927 (in Rus-
CAIRO January 1901. sian); R.A.M. 10 December 1934 (in English,
LISBON 1901. transIated by G. Dunn).
MÖNTEVIDEO 10 August 1901. WARSAW Spring 1929 (in Polish).
PHILADELPHIA 14 October 1902. WÜRZBURG 26 April 1932 (in German, translated
NEW YORK 16 October 1902. by A. Bernhard).
RIO DE JANEIRO 23 September 1903. PARIS, O.C. 3 June 1932 (in Russian).
HAGUE April 1905. FOREST PARK, PA., UNITY HOUSE 6 August 1933 (for
MALTA 1907. the first time in U.S.A.).
ODESSA March 1908. Date of first production aeeording to GI yebov;
MONTE CARLO 27 March 1909. in the Russian edition of Rimsky-Korsakov' s
LONDON, C.G. 8 July 1919. Autobiography (1926) the date is given as 6:"19
ClIICAGO 5 November 1929. November 189H.

121 3 1214
 ANNALS OF OPERA

STENHAMMAR: Tirfing I899

9 Decel1l!,er. Stockholm
J. B. FOERSTER: Eva
Text by A. Boberg. Prologue, 2 acts, and epi-
1 January. 'Prague, Cz.
logue.
Stenhammar's first opera. Text by the composer (from G. Preissova's dra-
ma, Gazdina Roba). Three acts.
CHAPI:'Curro Vargas Successful in Czechoslovakia; the latest revival
10 Decembcr. Madrid, T. Parish at Prague so far was on 2 October 1926.
In German (as Marja, translated by J. Brandt),
Text by J. Dicenta and M. Paso. Three acts.
Vienna, V.O. 21 December 1915; Freiburg May
One of Chapi' s most im portant zarzuelas.
Also given at Barcelona July 1899, etc. 192 3.
In Slovenian, Ljubljana 1925.
'A parody, Curro Bragas, by Enrique Garcia
Alvarez and Antonio Paso, music by Ramon
EstelIes, was produced at the T. Apolo, Mal id ZICHY: Roland Mester
on 1 February 1899. (Master Roland)
10 January. Budapest
MESSAGER: Veronique Text by the composer. Three acts.
10 Decclllhcr. Paris, B.P. In German (translated by M. Kalbeck), Prague
Text'by A. Vanloo and G. Duval. Three acts. 21 January 1900; Hamburg 26 April 1900 and
Very successful in and outside Francs. Brunswick 29 April 1900.
In French also given at Brussels 19 January In Flemish, Antwerp 20 Oetober 1900.
1900; Lisbon Spring 1901; Gcncva I I February
1902; Bucharest Fcbn'arYI907;' Cairo Spring (CHABRIER): Briseis
1938. 14 Jatluary. Berlin, o.
In German (as Brigiue, translated by B. H. Bol-
(Original French) text (Briseis ou Les Amants de
ten-Bäckers), Vicnna, W. 10 March 1900; Co-
Corillth'e)'by E. Mikhael and C. Mendcs (founded
logne 28 October 1900; Riga 23 November 1901;
on Goethe's ballad, Die Braut VOll Coril1lh), Ger-
Berlin, Kroll's 13 September 1902.
man version by E. Klingenfeld,
In Italian, Milan 10 November 1904,
Chabrier's last opera; l1nfinished, only one of
In Greek, Athens Spring 1935.
the three acts was complcted.
Givcn in London, Coronet 5 May 1903 (in
Before the production at Berlin, the fragment
French); in English (translated by H. Hamilton,
had been heard at a Lamoureux concert in Paris
lyrics by L. Eldee and P. Greenbank), Apollo 18
on 3I January 1897. Prodl1ced Paris, O. 8 May
May 1904; this version ran for 495 nights. New
1899 and revived there 4 November 1916 (in
York November 1905. Revived Adclphi 3 April
French). In concert form also. New York 3 March
19 1 5,
1911 (in French).
SZABADOS: ABolond
(The Simpleton) GOLDMARK: Die Kriegsgefangene
29 Decel1l!'cr. Budapest 17 JOflllary. Vienna, O.
Text by J. Rakosi (fQundcd on a story by D. Text by uE. Schlicht" (pseudonym of A. For-
Malonyay). Three acts,' mey). Two acts.
Szabados' s most successful opera. (Originally, the oper.! was called Briseis, like
Revived at Budapest 14 March 19II and given Chabrier's work produced three days earlier,
there until 1920. although the subjects are ql1ite different.)

121 5 1216
1899 . ANNALS OF OPERA

In German also, Cologne 29 January 1899; KEIL: Serrana

Prague 3 March I H!)!), etc.
13 March. Lisbon, S.c.
In HlIngarian (translated by A. Rada), Buda-
(Original Portllgllese) text by H. Lopes de Men-
pest 6 April I H!)!).
donc,:a, prodllced in an Italian version by C. Fereal.
Very sllccessful at Lisbon, whcre it was revived
S. WAGNER: Der Bärenhäuter in March 1923, in November 1936, and once
22 Jalluary. Munich more in 1938.
Text by the composer. Three acts.
The first and most sllccessful opera of Richard (LORTZING): Regina, oder
Wag~er's SOll. Leipzig 29 Janllary 1899; Vienna Die Marodeure*
27 March IR!)9; Berlin J6 March 1900, etc.
21 March. Berlin, O.
In German also, Praglle 3 I May 1899; Riga 1
Text by the composer, revised by A. L' Arronge.
February J900; Berne 7 February 1900; Stras-
Three acts.
bourg 27 Janllary 1905. Still given in Germany.
Thc work had been written in 1848, but was
In HlIngarian (trans la ted by S. Varady), Buda-
not performed then because of its "revolutionary
pest 3 February 1900.
tendencies." The score was recovered at Wies-
baden in 1872 and revised for the 1899 prodllction
FALCHI: Il Trillo deI Diavolo by R. Kleinmichel.
29 Ja/llIary. Rome, Arg. Given on several other German stages; Ham-
Text by U. Flcres. Three acts. burg 4 October 1900, etc.
Falchi' s last and most successflll opera. Given in In German also, Strasbollrg I January 19°1;
many Italian towns; in Italian also, Alexandria 22 Riga November 1909.
February 1900.
(The hero of the opera is, of course, the famolls DE LARA: Messaline
violinist, Giuseppe Tartini, and its subject the
21 March. Monte Carlo
wcll-known anecdote of the origin of his Sonata
Text by P. A. Silvestre and E. Morand. Four acts.
deI Diavolo.)
De Lara's most successful opera.
In French also given at London, c.G. 13 JlIly
NEUVILLE: Tipheene 1899; Bordeaux February 1901; AlgiersJanuary
11 February. Antwerp 1902; New York 22 January 1902; Antwerp ·2
(Original French) text by L. Payen, Flemish ver- December 1902; Haglle 15 Janllary 1903; Paris,
sion by E. Kellrvcls. Two parts. Gaite-Lyriqlle 24 December 19°3; Geneva 2 Feb-
In Swedish, Stockholm 17 April 1901. ruary 1904; Cairo Carnival 1907; Tunis March
Revived Lyons 23 January 1906 (for the first 1920.
time in French). In Italian (translated by C. d'Ormeville), Mi-
lan, Sc. 7 April 1901.
In German (transhted by O. Rupertus), Co-
V I V ES: Don Lucas del Cigarral logne 2 Deccmber 19°5; Leipzig 25 October 1907.·
18 February. Madrid, T. Parish In English (translated by V. Blackburn), Lon-
Text by C. Fernandez Shaw and T. Luceno don, King's (Hammersmith) 22 January 1930.
(founded on F. de Rojas's comedy, Elltre Bobos Still given on Frenchstages. First produced at
anda el Juego). Three acts. Mollte Carlo on TlIesday 21 March 1899 (not 24
Vives's first important work. Barcelona June March as the composer himsclf says in his auto-
r899, etc. biography).

1217 1218
 ANNALS OF OPERA

HALLEN: Waldemarsskatten MASSENET: Cendrillon*

(Valdemar's Treasure) 24 May. Paris, O.c.
8 April. Stockholm
Text by H. Cain (after Perrault). Four acts.
Text by A. Klinkowström. Four acts.
The most important French opera of the Hämel
Written for the opening of the new building of
und Gretel school.
the Stockholm opera-house.
In French also given at Brussels 3 November
In German (translated by E. von Enzberg),
1899; Geneva 15 December 1899; AlgiersJanu-
Carlsruhe 29 March 1903. .
ary 1900; Hague April 1900; New Orleans 23
English translation by T. Stevens published
December 1902; Cairo Carnival 19C7; Buenos
190 5. Aires 10 September 1907; Philadelphia 6 No-
vember 19II; New York 26 February 1912;
STENHAMMAR: Das Fest
Montreal 24 December 1912.
aufSolhaug In Italian (translated by A. Galli), Milan, T.L.
12 April. Stuttgart 28 December 1899; Buenos Aires 13 August
Text from Ibsen's drama in M. von Borch'~ uer- 1908.
man version. Three acts. In English, London, Little Th. 24 December
In German also, Berlin 20 September 1905; 1928 (by puppets); revived Swindon (Wiltshire)
revived Dortmund 8 June 1912. 20 February 1939.
In Swedish (translated by S. Elmblad), Stock- In Spanish, Bogota, Colombia March 1933-
holm 31 October 1902. StiII given on French stages.

LE BORNE: Mudarra PIZZI: La Rosalba

18 April. Berlin, o.
31 May. Turin, T. Carignano
(Original French) text by L. Tiercelin and L.
Bonnemere, German version by A. Brunnemann. Text by L. IIlica (Novella scenica). One act.
Four acts. In English (translated by P. E. Pinkerton), Lon-
Revived in a new version Elberfeld 4 March don, C.G. 26 September 1902.
1904. Never given in France. In German (translated by L. Hartmann), Cass~l
21 October 1904; Berlin, K.O. 8 May 1908.
VANBIANCHI: La Nave
2May. Genoa, Politeama ZÖLLNER: Die versunkene Glocke
Text by G. Macchi (Dramma simbolico). Two acts. 8July. Berlin, Th.d.W.
The opera was awarded the first prize in the
Text by the composer (founded on G. Haupt-
Concorso Steiner, Vienna 1896.
mann's drama). Five acts.
ZöIlner's best opera.
v 0 G L: Der Fremdling In German also given at Metz 15 November
7 May. Munich 1900; Graz 18 December 1901; Vienna, V.O. 16
Text by F. Dahn (originally written for Gold- January 1906; Riga 5 May 1906; Zurich March
mark). Three acts. 1908; Amsterdam December 1908.
In German also, Groningen, Holland 13 April In Flernish, Antwcrp, 10 November 1906 (re-
19°1. vived 1926).
(The composer was the weII-known Tristan . Revived at Freiburg (the composer's horne
singer.) town), 16 April 1920; 5 July 1934; 4July 1939·
1219 1220
1899 ANNALS OF OPERA 1899-1900

BERUTTI: Yupanky v,
DVORAK: \....ert v'"
r. a -".aca *
25 July. Buenos Aires (The Devil and Kate)
(Original Spanish) text by E. Rodriguez Larreta, 23 November. Prague, Cz.
Italian version by G. Tarnassi. Three aets. Text by A. Wenig. Three aets.
An Inca opera; sl1ceessful at Bl1enos Aires; Revived Prague 7 June 1918 and 29 June 1927.
name-part created by Caruso. In German (translatrd by R. Batka), Bremen
ENNA: Lamia 27 April 1909; Brünn 22 September 1931; Vien-
na, V.O. 19 February 1932 (previously given
3 Oetober. Antwerp
there in Czeeh by the Olomoue eompany on 11
(Original Danish) text by H. Rode (founded on
JUIle 192 4).
a story by P. Mariager), Flernish version by?
In Slovenian (translated by Peterlin-Petruska),
Prologue and 2 acts.
Ljubljana 15 February 1923.
In Danish, Copenhagen 24 March 1901. Parts
In English (translated by N. Lindsay), Oxford
of the musie were afterwards used for Ung Elskov
22 November 1932.
(new libretto by P. A. Rosenberg, 2 acts, from a
story by K. Mikszath); first produeed as Heisse SC H IL LI N G s: Der Pfeiftrtag
Liebe (German version by W. Henzen), Weimar
26 Novel/lber. Sehwerin
2 December 1904; in Danish, Copenhagen March
Text by F. von Sporck. Three aets.
1912.
Carlsruhe 17 Deeember 1899; Strasbourg 23
RIMSKY-KORSAKOV:
Oetober 19°°; Hambllrg 31 January 19°1; Berlin
Tsarskaya Nyevesta* 17 September 1902, ete. In German also, Riga
l(apcKaH HeB'BCTa 1913. Revived Berlin 12 September 1931 (libretto
(The Tsar's Bride) . revised by the composer).
3 November. Moseow
Text by L. A. Mei. Three acts. S ULLIV AN: The Rose ofPersia; or,
First given at St. Petersburg 12 November 1901 The Story-Teller and the Slave
revived there 21 April 1922; 14 April 193 I; 2 De- 29 November. London, Savoy
eember 1936. Text by B. Hood. Two aets.
Outside Russia produced at: Sullivan's last suceess. In London ran for
PRAGUE 4 Deeember 1902 (in Czreh) and 1937 (in 213 nights. New Y ork 6 September 1901, ete.
German). Revived London, Prince's Th. 28 February 1935.
HELSINKII0 March 1906 (in Russian) amI 21 Jan- German version by C. Okonkowski published.
uary 1927 (in Finnish).
PARIS, TH. S.B. 16 May 1911 (in Russian).
SEATTLE 6 January 1922 (in Russian). I900
NEW YORK 9 May 1922 (in RlIssian).
BERLIN, TH.D.W. 24 March 1923 (in German,
PUCCINI: Tosca*
translated by A. Bernhard). 14 Jmlllary. Rome, C.
SOFIA 3 September 1923 (in Blllgarian). Text by G. Giaeosa and L. IIlica (founded on the
LJUBLJANA I May 1924 (in Sloveni:m). play by V. Sardou). Three aets.
ZAGREB 24 Oetober 1924 (in Croatian). Equally or even more sueeessful than La Bo-
LONDON, LY. 19 May 1931 (in Russian). heme, 1896. Given at:
TALLINN 1932 (in Estoni:m). BUENOS AIRES 16 June 1900 (in Italian).
BRUSSELS, M. 22 November 1938 (in French, trans- LONDON, C.G. I2JlIly 1900 (in Italian) and Shaftes-
lated by De Romanoff) . bury 20 Oetober 1915 (in English).

1221 1222
1900 ANNALS OF OPERA

CONSTANTINOPLE 8 September 1900 (in Italian). HELSINKI20 September 1905 (in Italian) and 15
RIO DE JANEIRO 13 September 1900 (in Italian). November 1919 (in Finnish).
MADRID 15 December 1900 (in Italian). LJUBLJANA 1906 (in Slovenian).
ODESSA 1 January 1901 (in Italian). GENEVA 7 Deeember 1906 (in Freneh).
LISBON 29 January 1901 (in Italian). BERLIN, K.O. 23 January 1907 and O. 4 Oetober
NEW YORK 4 February 1901 (in Italian) and 28 Sep- 1921 (in German).
tember 1903 (in English). VIENNA, V.O. 20 February 1907 and O. 26 January
MEXICO 27 July 1901 (in Italian). 1910 (in German) and 7 Oetober 1921 (in
SANTIAGO, CHILE 29 July 1901 (in Italian). Italian).
CAIRO 26 November 1901 (in Italian). LIVERPOOL 29 Oetober 1909. (in English).
BUCHAREST II February 1902 (in Italian) and Jan- COPENHAGEN 5 May 19IO (in Danish, translated
uary 1920 (in Rumanian). by K. Lindemann).
LEMBERG January 1902 (in Polish, translated by L. RIGA 19II (in German) and 18 September 1923 (in
German). Lettish, translated by B. Valle).
DRESDEN 21 Octobe~ 1902 (in Gcrman, translated REVAL (TALLlNN) 19II (in German) and 1925 (in
by M. Kalbeek). Estonian).
BUFFALO 17 November 1902 (for the first time in ZAGREB 6 Oetober 19II (in Croatian, translated
English, translated by W. B. Kingston). by M. Ibler).
MALTA 4 Mareh 1903 (in Italian). SHANGHAl 1918 (in Russian).
MONTE CARLO 28 Mareh 1903 (in Italian). YOKOHAMA Autumn 1919 (in Italian).
TUNIS 1903 (in Freneh, translated by P. Ferrier). OSLO 1921 (in Norwegian).
BELGRADE 1923 (in Serbian).
PARIS, O.C. 13 Oetober 1903 (in Freneh, translated
KAUNAS 28 Oetober 1')24 (in Lithuanian).
by P. Ferrier).
TEL-AVIV 22 January 1925 (in Hebrew, translated
WARSAW 6 November 1903 (in Italian).
by M. Freidmann).
PRAGU~ 21 Novcmbcrl')03 (in Czeeh, translated
SOFIA roJunc '925 (in Bulgarian).
by O. Smrcka) and 8 September 1904 (in Gcr-
man). BLOCKX: Thyl Uylenspiegel
BUDAPEST 1 Deeember 1903 (in Hungarian', trans- 18 Ja 11 11 ary. Brussels, M.
lated by S. Varady).
Text by H. Cain and L. Solvay. Threc aets.
STOCKHOLM 15 Febrnary 1904 (in Swedish, trans-
In Flemish, Antwerp 20 January 1900.
lated by S. Nyblom). Revived in a new version, Brusscls 12 Novem-
BRUSSELS 2 April 1904 (in Frcnch). ber 1920 (score rcvised by A. de Bocek).
GRAZ 10 Jllae 1904 (in Gcrman).
ANTWERP 2') November 1904 (in Frcneh).
BRETON: Raquel
HAGUE Deeembcr [904 (in Italian) and Februar)" 20 JClIlllary. Madrid, T.R.
1')05 (in Frcneh). Text by thc composer (founded on F. Grillpar-
NEW ORLEA"IS 25 Januarv 1l)0.) (in English); 26 zer's Dil' JIMill 1"'/1 Toledo). Four aets.
J).:ccmbcr 1<)07 (in Itali.II1); 2X Dccembcr l')Il
(in French).
ZEMLINSKY: Es war einmal
MOSCOW 1')05 and Sr. Pctersburg Dcccmbcr T<)O~ 22 Ja/lllary. ViClllla, O.
(in ltalic!n); Lcningrad Tl) September 1')24 as Text by M. Singer (founded on a triptych of
V Bork ZII KOIIIIIIIIIIII, lKW libretto by N. G. Danish folk tales by H. Draehmann). Prologue
Vinogradov and S. n. Sp.\ssky; as Tosca 25 and 3 acts.
May 1<)2<) and 5 November 1')34 (in Rnssian, Rcvived Manllhcilll May 1 <)12; in German also,
new translation b:; V. I. Epatleslmikov). l'ra~l1c OctnbLT 1l)12.

J223
1900 ANNALS OF OPERA 19CO

G. CHARPENTIER: Louise* MANCHESTER 17 October 1912 (in English, trans-

lated by H. G. Chapman).
2 Februar)'. Paris, O.c.
JOHANNESBURG 1913 (in English, translated by H.
Text by the composer (RoII/aI/11Iusical). Four acts. G. Chapman).
Charpentier's first opera. Ver)' sL1ccessful in ZAGREB 28 April 1919 (in Croatian, translated by
Paris right from the beginning. M.Ibler).
The 300th performance at the O.C. was on 19 LJUBLJANA 24 March 1922 (in Slovenian, translat-
March 191 I; 500th 17 January 1<)21; 800th 26 . ed by I. Sorli).
November 1931. Given all over Franee and at: COPENHAGEN 7 January 1923 (in Danish, translated
ALG1ERS January 1901 (in Freneh). by F. Bendix).
BRUSSELS 8 February 1901 (in French). RIO DE JANEIRO Summer 1926 (in Italian).
BUDAPEST 28 March 1901 (in Hungarian, translat- ATHENSJune 1932 (in Greek?).
ed by S. Varady). KAUNAS 9 November 1932 (in Lithuanian).
MILAN, T.L. 14 April, 1901 (in Italian, translated by SOFIA 6 March 1935 (in Bulgarian).
A. Galli). BUCHAREST January 1940 (in Rumanian).
ELBERFELD I January 19°2; Hamburg 3 January
1902; Leipzig 5 January 1902, etc. (in German, TRNECEK: Andrea Crini
translated by O. Neitzel). 2 Februar)'. Prague, Cz.
GENEVA 3 February 1903 (in French).
Text by B. BeneS. Three acts.
PRAGUE 13 February 1903 (in Czech, translated by
Trnecek's last opera.
V.J. Novotny); in German not before Autumn
193 8. S U K: Lesnoy Tsar
BERLIN 4 March ~903 (in German).
JItCHOÜ ll,aph
VIENNA 24 March 1903 (in German).
(The Forest King)
STOCKHOLM 4 May 1903 (in Swedish, translated
16 Fehruar)'. Kharkov
by E. A. Wallmark).
RIGA 30 Oetober 1903 (in German). (Czeeh) text by J. V. Frie (founded on a poem by
HAGUE January 1904 (in Freneh). K. H. Micha), Russian version by ? Four acts.
~EMBERG February 1904 (in Polish, translated by Suk's only opera. Also givcn at Prague 5 April
L. German). 1<)03 (in Czeeh).
BARC,ELONA 3 April 1904 (in Italian) and 13 Feb-
ruary 1919 (in French); Catalan translation by
d' ALBERT: Kain
J. Pena published 1904· 17 Fcbmary. TIerlin, O.
CAIRO Carnival 1907 (in French). Text by H. Bulthallpt. One act.
LISBON March 1907 (in Italian). In German also given at Prague 30 September
BRÜNN Mal' 1907 (in German). 19°0.
NEW YORK 3 January 1908 (in Fr'ench) and 30 De- In Danish (translated by S. Le",)'sohn), Copen-
eember 1913 (in English, translated by C. A. hagen 8 April 1904.
Byrn~).
SAIGON February 1908 (in Frcnch). GALEOTTI: Anton
LONDON, C.G. 18 June 1909 (in French) and Ald- 17 Febmar)'. Milan, Sc.
wych Th. 22 January 1917 (in English). j xt by L. Illiea. Prologuc, 2 acts, and epilogue.
BUENOS AIRES 2 Aügust 1<)10 (in Italian). Rcvived Mante Carlo 30 March 1924; Ghent
MOSCOW October 191 I; Lcningrad 7 November March 1925 (in Freneh, translated by L. Laloy).
1920 (in Rllssian). For an aeeount of this opera see ReF/lc Mllsicale.
MONTREALJanuary 1912 (in'Freneh). February 1930.

122 5 1226
1900 ANNALS OF OPERA 1900

WOLF-FERRARI: Cenerentola LANGE-MÜLLER: Vikingeblod

22 Fcbruary. Venice, r. (Vikings' Blood)
29 April. Copenhagen
Text by M. Pezzc-Pascolato. Three acts.
W olf-Ferrari' s first opera. Text by E. Christiansen. Four acts.
In German (translated by J. Schweitzer), Bre- Lange-Müller's last opera. Also given at Stock-
men 31 January 1902; Brünn January 1903. holm II March 1904 (in Swedish).
Revived (in a new German version by F. Rau),
Bremen 18 December 1937. MINHEJMER: Mazeppa
1May. Warsaw
HORAK: Babicka Text by M. Radziszewski (founded on J. Slo-
w~cki's tragedy). rour acts.
(Grandmother)
Minhejmer's best-known work; the opera had
3 March. Prague, Cz. been written as early as about 1875. Successful in
Text by A. Wenig (founded on astory by Bozena Poland; revived at Lemberg February 1910.
Nemcovi). Three acts and epilogue. Also given at Turin 1 November 1902 (in
The most successful opera of the Czech com- Italian, translated by L. Miller).
poser.
FA URE: Promhhee*
CATTELANI: Atahualpa 26 August. Beziers
10 March. Buenos Aires Text by J. Lorrain and A. F. Herold. Three acts.
(Italian) text by C. r. Scotti. Four acts. Faure's first opera. Produced at the Arenes,
The only opera of Cattelani, who was a native Beziers, in the open air. First given in Paris at the
ofParma and went to South America in 1886. Hippodrome 5 December 1907; at the O. 15
December 1907; revived Ch.E. 3 May 1924.

SC H JE L DER U P: Norwegische Hochzeit

E N NA: Prinsessen paa Aerten
17 March. Prague, G. (Thc Princcss on thc Pca)
Text by the composer. Two acts. 15 September. Aarhus
Revived in Norwegian (as Bmderovet), Oslo Text by P. A. Rosenberg (fwm H. C. Andersen's
1920. tale). One act.
Written for the opening of the new theatre at
C. ERLANGER: Le JuifPolonais Aarhus. Given at Copenhagen 5 January 1902 (at
11 April. Paris, O.c. the inauguration of the Folke Oper).
In German (translated by W. Henzen), Crefeld
Text by H. Cain and P. B. Gheusi (founded on
29 November 191R.
Erckmann-Chatrian' s novel COllte d' Alsace). Three
acts.
ZELENSKI: Janek
Successful in France; revived at the O.c. 15
January 1916 and 21 November 1933. 4 O[(ol>1'r. Lemberg
In German (translated by F. Vogt), Elberfeld Text by L. German. Two ~cts.
29 November 1900; Vienna 4 October 1906. (In Written for the lIl;).uguration of the Polish
Germany, however, the opera by K. Weis on the opera-house at Lembcrg (Lwow). Successful in
same subject, see 1901, was much more successful.) Poland; Cracow I2July I90[; Warsaw 27 April
In Russian, St. Petersburg 25 December 1904. 19°3·

1227 1228
 1900 ANNALS OF OPERA 1900
In Polish also, Kiev 1909. Rcvived Lemberg (FIBICH): Pad Arkuna
1926; Warsaw Spring 1932. (The Fall of Arcona)
VIVES: Euda dJUriach 9 NOl'elllber. Prague, Cz.
240ctober. Barcelona, Novedades Text by A. SChlllzova. Consists of a prologue
(Original Catalan) text by A. Guimeri (from his (He~'Sa) and 3 acts (called Dargurz).
tragedy, Le5 Monje5 de Sallt Aymant), produced in Fibich's last opera, prodllced 25 days after his
an Italian version by A. Bignotti. Four acts. death. Revived Prague 24 January 1925.
Revived at Barcelona January 1934.
RIMSKY-KORSAKOV: Skazka 0 LEONCAVALLO: Zaza*
Tsarye Saltanye 10 November. Milan, T.L.
CKaSKa 0 IJ;apt CaJITaH'l;* Text by the composer (follnded on the French
(The Tale ofTsar Saltan) play by C. Simon and P. Berton). Four acts.
Very successful in Italy and abroad. Given at:
3 November. Moscow
ANTWERP 6 February 1902 (in French).
Text by V. 1. Byelsky (after Pllshkin). Prologue HAGUE I March 1902 (in French).
and 4 acts. BUENOS AIRES 9 August 1902 (in Italian).
First given at St. Petersbllrg 4 January 1904. LILLE 22 January 1903 (in French).
Very successful in Russia. s. FRANCISCO 17 November 1903 (in Italian).
Outside Russia, given only many years later, MOSCOW Spring 1905 (in Russian).
viz. : PARIS, TH.S.B. 22 May 1905 (in Italian) and Tr. L.
BARCELONA 4 December 1924 (in Russian); Cata- 16 February 19II (in French).
lan translation by J. Pena and K. Gonsseff pub- BARCELONA 29 September 1905 (in Italian).
lished 1935. CASSEL 22 April 1906 (in German, translated by
RIGA 16 December 1925 (in Lettish). F. Wemer).
BRUSSELS 15 April 1926 (in French, translated by MALTA 1906 (in Italian).
L. Laloy). GENEVA 22 February 1907 (in French).
BUENOS AIRES 15 July 1927 (in Italian, translated ALEXANDRIA Carnival 1907 (in Italian).
by R. Küfferle). BUCHAREST Spring 1907 (in Italian).
AACHEN 2 March 1928 (in Germarl, translated by RIO DE JANEIRO 28 May 1907 (in Italian).
A. Bernhard). LISBON 1907 (in Italian).
PARIS, CH.Ii. 29 January 1929 (in Russian). BERLIN, K.O. 27 November 1908 (in German).
MILAN, SC. 19 March 1929 (in Italian). VIENNA, V.O. 5 April 1909 (in German).
KAUNAS 12 March 1932 (in Lithuanian). LONDON, CORONET 30 April 1909 (in Italian).
LONDON, s.'s WELLS II October 1933 (in English, RIGA 1909 (in German).
translated by E. Agate). PRAGUE 15 November 1909 (in Czech, translated
SOFIA 6 December 1933 (in Bulgarian). by A. Wenig).
PRAGUE 18 June 1935 (inCzech). MONTREAL 10 January 1913 (in French).
NEW YORK, ST. JAMES T. 27 December 1937 (in LEMBERG 1913 (in Polish, translated by A. Kicz-
English) as The Bumble Bee Prince. man).
(Date of first production, 21 October/2 No- NEW YORK, M. 16 January 1920 (in Italian).
vember, according to Rimsky-Korsakov's auto- BUDAPEST 18 May 1923 (in Hungarian, translated
biography; according to Central European peri- by D. Vidor).
odicals, the production was one week later, 9 Still given in Italy. One of the latest revivals
November 1900.) was at Milan, SC. JO April 1940.
x 1229 1230
11)00-01 ANNALS OF OPERA I<}OI

CAUDELLA: Petru Rarej BUONGIORNO: Das Mädchenherz

14 November. Bucharest 16 February. Cassel

(Original German) text by T. Rehbaum (founded (Original Italian) text by L. Illica (11 Cuore delle
on a story by N. Gane) , Rumanian version by?
Fanciulle), German version bv L. Hartmann. Four
acts.
Three acts.
In German also, Dresden 5 October 1901, etc.;
The most important work of Caudella, who
Brünn 13 October 1901; Graz 7 March 1<}O2;
was director of the Jassy Conservatoire and one
Metz 14 March 1902. .
of the earliest composers of Rumanian operas. For
In the originalItalian, Piacenza22 January 1903.
a detailed account, see Neue Zeitschrift für Musik,
1899, Nos. 49 and 50.
PIERNE: La Pille de Tabarin
PANIZZA: Medio evo Latino 20 Febmary. Paris, O.c.
Text by V. Sardou and P. Ferrier. Three acts.
17 November. Genoa, Politeama
Given at the O.C. 14 times in 1901; not revived
Text by L. Illica. Three acts. so far.
Buenos Aires 21 July 1901. (The date of first performance is incorrectly
(The work consists of three one-act operas, the given as 20 January, 8 February and 13 February
action of which is laid in different Latin countries in different books of reference.)
and in different medieval centuries.)
WEIS: Der polnische Jude*
3 March. Prague, G.
1901
Text by V. Uon and R. Batka (founded on Erck-
MASCAGNI: Le Maschere* mann-Chatrian's noveI). Two acts.
Weis' s most successful work. Given on German
17January. Milan, Sc.;.Rome, c.; Venice, F.; stages until 1930.
Turin, T.R.; Genoa, C.F.; Verona, T. Filarm. Produced at:
Text by L. Illica (Commedia lirica e giocosa). Pro- DRESDEN 7 September 1901 (in German).

logue and 3 acts. ZURICH 4 October 1901 (in German).

The opera had his first production at six Italian AMSTERDAM 10 March 1902 (in Dutch).

towns the same night; in a seventh town, BERLIN, KROLL'S 7 June 1902 (in German).

Naples, the first production was two nights later BUDAPEST 25 October 1902 (in Hungarian, trans-

(without the prologue). Unsuccessful; at Rome lated by D. Vidor).

(under the composer's own direction) the success VIENNA, w. 10 December 1902 (in German) and

was slightly better than elsewhere. Also given at Stadt Th. 19 May 1929 (in Czech).
Buenos Aires 2 July 1901. Revived (with altera- WARSAW 26 April 1906 (in Polish, translated by

tions) Turin 7 June 1916; Milan, Sc. 8 March W. Rapacki).

1931, etc. LJUBLJANA 1<}O6 (in Slovenian).
RIGA March 1907 (in German).
LEROUX: Astarte PRAGUE 25 November 1907 (for the first time
there in Czech, translated by P. NebeskY).
15 February. Paris, O.
ZAGREB 27 November 1916 (in Croatian, trans-
Text by L. de Gramont. Four acts. lated by M. Nehajev).
The first ofLeroux's operas which was given NEW YORK, M. 9 March 1921 (in English, trans-
in Paris (19 performances). lated by S. Spaeth and C. Cowdrey).
12 31 1 2 32
1901 ANNALS OF OPERA 1901

THUILLE: Gugelille MASCHERONI: Lorenza

4 lv[arc!J. Bremcn 13 April. Rome, C.
Text by O. J. Bierbaum. Fivc acts. T cxt by L. IlIica. Thrce acts.
Thuille's last opera. Also given at Darmstadt Written for Gemma Bellincioni. The first and
5 May 1901. most sl1ccessful opera of the famous conductor.
Given in a revised version at Brescia 3 September
BUNGERT: Nausikaa 19°1.
20 lv[arch. Dresdcn Also produced at:
COLOGNf: 14 November 1901 (in German, trans-
Text by thc composer. Prolbguc and 3 acts.
iated by T. Rehbaum).
The second part of his tetralogy Homerische
BUENOS AIRES 19 June 1903 (in Italian).
Welt (see 1896, 1H98, 1903).
BARCELONA 23 December 1903 (in Italian).
Also given at Hamburg 20 February 1902.
GHENT 19 November 1920 (in French, translated
by H. Balieus).
DIBBERN: Odja Revived in ltalian at Bari 12 February 1921.
29 March. Amstcrdam
Text by the composer. Three acts. BR UNEA U: L'Ouragan
(For an account of this Dmch opera, see Neue 29 April. Paris, O.c.
ZeitschriftFir Musik, 1901, NO.21-22.)
Text by E. Zola. Four acts.
In Russian, Moscow Spring 1905.
DVORAK: Rusalka*
The third act was revived at the Opera; Paris
31 March. Praguc, Cz. 17 Febrmry 1916.
Text by J. Kvapil. Three aets.
OfDvorak's 9 operas perhaps the most popular FL 0 N D 0 R: Mosul Ciokarlan
one. Very successful on Czech stages; revived at (Old Man Lark)
Prague 1 March 1915; I I Oetober 1924; 19June
1936. Given at: 4lv1tI)'. Czemowitz
LJUBLJANA 4 February 1908 (in Slovenian, trans- Text by the composer. One aet.
latcd by F. JuvanCic); rcvivcd in 1919 and 1940. Early Rumanian eomic opera, produced at
VIENNA 1910 (in Czech, by a company from Czernowitz (Ccrnal1ti) by the singing club "Ar-
Erno), :md 7 June 1924 (again in Czech, by a monia".
company from Olomouc). Also given at Bl1charcst, Oerober 1906 (by a
ZAGREB 18 April 1912 (in Croatian, translatcd by company from Hermal1nstadt).
A. Mitrovic).
BARCELONA 21 Fcbruary 1924 (in Czcch).
PADEREWSKI: Manru
LEMBERG 1929 (in Polish).
STUTTGART 5 October 1929 (in Gcrman, translated 29 Mal'. Dresden
by J. Will). (German) text by A. Nossig (founded on a nove!
BRÜNN 1930 (in Gcrman, translated by J.Will). by J. I. Kraszewski). Three acts.
CmCAGO, SOKOL HALL 10 March 1935 (in Czech). The only opera of the famous pianist (who was
KAUNAS 12 Novembcr 1937 (in Lithl1anian). Prime Minister of Poland in 1919) which was
The opera was annol1nccd for production at performed.
c.G., London in the scason of 1939. The pro- In Polish (translated by S. Rossowski), Lem-
duction did not take plaec. berg 8 June 1901; Warsaw May 1902; Kiev 1902.

12 33 1234
1901 ANNALS OF OPERA 1901

In German, Prague 24 November 1901; Zurich 6 April 1905; Praguc 12 February 1909; Leipzig
30 January 1902; New York 14 February 1902 15 October 1912; Strasbourg 9 February 1913;
and on other American stages. Berlin 14 December 1924..
Revived (in Polish), Poznan October 1930. Revived Vienna 25 March 1926; Frankfort 5
May 1939 (in a revised and much shortened
S T ANFOR D: Much Ado About Nothing version).
30 May. London, c.G.
Text by J. R. Sturgis (after Shakespeare). Four LEONI :Ib and Little Christina
acts. 14 November. London, Savoy
In German (translated by J. Bernhoff), Leipzig Text by B. Hood (founded on the story by H. C.
25 April 1902. Andersen). A Pieture in 3 Panels.
Revived London, R.C.M. 9 July 1935· Revived London, Daly's I I January 1904.
In German given at Prague 12 March 1905.
PFEIFFER: Le Legataire universel
MASSENET: Griselidis*
6July. Paris,' O.C.
20 November. Paris, O.C.
Text by J. Adenis and L. Bonnemere (founded
on the comedy by J. F. Regnard, 1708). Three Text by P. A. Silvestre and E. Morand (conte Iy-
acts. rique). Prologue and 3 acts.
Pfeiffer's most successful opera. In French also, Given at:
NICE 20 January 1902 (in French).
Brussels 3 November 1902.
ALGIERS March 1902 (in French).
BRUSSELS 18 March 1902 (in French).
MAJOR: Erzsike MILAN, T.L. 25 November 1902 (in Italian, trans-
(Eliza) lated by A. Galli).
24 September. Budapest ZURICH 6 Fcbruary 1903 (in German, translated
Text by A. Rad6. One act. by A. Ehrenfeld).
In German (translated by 1. Major) given at TUNIS April 1903 (in French).
Pressburg November 1906. BUENOS AffiES 14July 1903 (in Italian).
CAmO Carnival 1904 (in Italian).

SAINT-SAENS: Les Barbares GENEVA 23 Dcccmber 1904 (in French).

LISBON Fcbruary 1905 (in Italian).
23 Oetober. Paris, O.
NEW YORK 19 January 1910 (in Frcnch).
Text by V. Sardou and P. B. Gheusi. Prologue
CHICAGO 12 January 1917 (in French).
and three acts.
Rcvivcd Paris, O. 29 November 1922; Brusscls
In French also, Algiers February 1902; Barce-
14 March 1932; Toulouse March 1939·
lona 5 December 1908.
In Paris given wltil 1913 ; revived Monte Carlo R. STRA uss: Feuersnot*
26 March 1914.
21 November. Dresden
Text by E. von Wolzogen (Ein Singgedieht). One
PFITZNER: Die Rose vom Liebesgarten act.
9 November. Elberfeld After GUlltram (see 1894) this was Strauss's first
Text by J. GrWl. Prologue, 2 acts, and epilogue. greater success as an opera composer. Subsequent-
In German also given at Mannheinl24 January ly given at Frankfort 3 December 1901; Bremen
1904; Mwrich21 February 1904; Bremen 28 Feh- 30 April 1902, etc. Also given at:
euary 1904; Hamburg 12 January 1905; Vienna VIENNA 29 January 1902 (in German).

12 35 1 2 36
1901 ANNALS OF OPERA 1901-02

BERLIN 28 October 1902 (in German). BLOCKX: De Bruid der Zee

LONDON, H.M.'S 9 July 1910 (in English, ~ranslated (The Bride of thc Sca)
by W. Wallace).
301'·ol'l'lIIber. Antwcrp
BRUSSELS, M.16 March T91 1 (in French, translated (Flemish) text by N. de Tiere. Three acts.
by J. Marnold). After Herbergprinses (see IS96), Blockx's second
PRAGUE 12 November 1912 (in Czech, translated
great success as a composer ofFlemish folk opera.
by K. Sipek). Frequently revived in Bclgium. Given at:
MILAN, sc. 16 November 1912 (in Italian, trans-
BRUSSELS 18 October 1902 (in French, translated
Iated by O. Schanzer). by G. Lagye).
BUENOS AIRES 9 August 1913 (in Italian, translated
ROUEN 14 Januar)' 19°3, Lilie 2 April 1903, ctc.
by O. Schanzer). (in French).
Outside Germany, some of the latest revivals FRANKFORT 20 October 1903 (in German, trans-
were at Philadelphia I December 1927 (in Ger- lated by H. Marion).
man); Genoa I March 1938, (in Italian). AMSTERDAM February 1904 (in Dutch).
HAGUE March 1904 (in French).

KOVAROVIC: Na Starbn Bllidle ALGIERS February 1905 (in Frcnch).

GENEVA 20 March 1906 (in French).
(At the old Bleaching Ground)
The latest revival at Brusscls was on 8 October
22 NOl/embcr. Prague, Cz. 192 5.
Text by K. Sipek (founded on Bozena Ncm-
cova's novel Babilka, the same on which Horak's 1902
opera, see '1900, is based). Four acts. PEDRELL: I Pirenei
KovaroviC's most successful work; frequently 4Jal/llarr· Barcelona
revived on Czech stages. The latest revival at (Original Catalan) text by V. Balaguer, produced
Prague was on 5 September 1935. in an Italian version by C. M. Arteaga Pereira.
Prologue and 3 acts.
G. OREFICE: Chop in The first part of a trilogy, the two other parts
of which, La Ce!cstina, and Rail/llll/do Luho were
25 November. Milan, T.L.
never performed. Pedrcll's chief work.
Text by A. Orvieto. Four acts. Also given at Buenos Aires IO September 1910
Orefice's most successful opera (no doubt, (in Spanish, translated by G. Hermes).
owing to the fact that the greater part of the music The prologuc had been heard at the Liceo Be-
is founded upon melodies of Chopin himsclf). nedetto Marccllo, Venice on T2 March 1897
Outside Italy given at: already.
WARSAW II April 1904 (in Polish, translated by
M. Gawalewicz).
REZNICEK: Till Eulenspiegel
BUENOS AIRES 5 May 1904 (in Italian). 12 Jallllarr. Carlsruhe

PRAGUE 17 March 1905 (in German, translated by Text by the composer. Two parts and epilogue.
F. Werner). . Berlin 5 May 19°3, etc. Revived in a revised
PARIS, TH.S.B. 13 June 1905 (in Italian). version Cologne 17 June 1937.
MONTREAL 1912 (in Italian).
ZAGREB 13 March 1915 (in Croatian, translated by WEINGARTNER: Orestes
A. Mitrovic). 15 Fcbmarr. Leipzig
Revived in Polish at Warsaw Spring 1933. In Text by the composer (founded on Aeschylus's
Italian Malta 1935-36. trilogy). Time parts.

1237
1902 ANNALS OF OPERA 1902

Given at Nuremberg 27 April 1902; Berlin 14 The 100th performance at the O.c., Paris, was
June 1902; Hamburg 19 March 19°3; Frankfort on I February 1909; last revived there 12 Decem-
19 April 19°3, etc. In German also, Prague 6 May ber 1933. Revived at the Scala, Milan 9 March
1909· 193 8.

DLUSKI: Urvasi E. MOOR: La Pompadour

22 February. Cologne
February. Lemberg
(German) text by L. von Ferro and A. L. M06r
(Polish) text by the composer. Two aets. (the composer's wife), after Musset. Two acts.
Also given at St. Petersburg 25 March 1902 (in The first opera of the Hungarian composer.
Russian); a private performance in concert form Revived London, Savoy 26 January 19II (in
had taken place at St. Petersburg in June 1901 English, translated by A. Grein).
already.
FRANCHETTI: Germania
MASSENET: Le Jongleur 11 March. Milan, Sc.
Je Notre-Dame Text by L. Illica. Prologue, 2 acts, and epilogue.
18 February. Monte Carlo Successful in Italy where it was frequently re-
Text by M. tena (miracle). Three acts. vived until 1930.
One of Massenet' s best and most successful Outside Italy given at:
BUENOS AIRES 13 July 1902 (in Italian).
works. Subsequently given at:
MONTEVIDEO 21 August 1902 (in Italian).
HAMBURG 24 September 1902 (in German, trans-
lated by H. Marion). LISBON 18 February 1903 (in Italian).

PARIS, O.C. 10 May 1904 (in French). ODESSA 5 January 1904 (in Italian).

BRUSSELS 25 November 1904 (in French). ST. PETERSBURG September 1905 (in Russian).
LONDON, C.G. 13 November 1907 (in Italian).
GENEVA 29 November 1904 (in French).
CARLSRUHE 10 November 1908 (in German, trans-
ALGIERS January 1905 (in French).
HAGUE 30 January 1905 (in French).
lated by A. Brüggemann).
MALTA 1909 (in Italian).
MILAN, T.L. 18 October 1905 (in Italian, translated
by B. Montelioi). NEW YORK, M. 22 January 1910 (in Italian).

BERLIN, K.O. 23 November 1905 (in German). RIO DE JANEIRO 2 June 1910 (in Italian).

LISBON March 1906 (in Italian).

LONDON, C.G. 15 June 1906 (in French).
GERMAN: Merrie England
NEW YORK 27 November 1908 (in French). 2 April. London, Savoy

BUENOS AIR"ES 2 July 19II (in French) and 15 July Text by B. Hood. Two acts.
1915 (in Italian). The most popular of German's operettas. Fre-
GRAZ November 19II (in German). quently revived on English stages; the latest re-
VIENNA 23 December 19II (in German). vival on a professional stage in London was at the
MONTREAL 19I2 (in French). Prince's 6 September 1934.
ZAGREB 21 December 1912 (in Croatian, translated
by A. Kassowitz-Cvijic). SMYTH: Der Wald
LEMBERG 1912 and Warsaw April 1923 (in Polish, 9 April. Berlin, O.
translated by A. Kiczman). (German) text by the composer. Prologue, I aet,
PRAGUE Spring 1914 (in Czech). and epilogue.
RIO DE JANEIRO 15 September 1915 (in Italian). In German also given at London, C.G. 18 July
BARCELONA 14 February 1919 (in French). 1902; New York, M. II March 1903; Strasbourg
LJUBLJANA 1920 (in Slovenian). 21 February 1904.
1239 1240
1902 ANNALS OF OPERA 1902
(It is incorrectly stated in some books of refer- VIENNA 23 May 19II (in German).
euce that this opera had its first production at BUENOS AIRES 12 August 19II (in French) and 4
Dresden in September 1901. See the chapter A September 1920 (in Italian).
Winter of Storm in the composer's autobiogra- GENEVA 8 March 1912 (in French).
phical Streaks of Lift, 1921.) BIRMINGHAM 19 September 1913 (in English,
translated by E. Evans).
ST. PETERSBURG 1 November 1915 (in Russian).
BUSTINI: Maria Dulcis
BARCELONA, TIVOLI 1919 (in French); Catalan ver-
15 April. Rome, C. sion by J. Pena published 1931.
Text by E. Checchi (founded upon Berlioz's story ANTWERP II February 1920 (in Flernish).
Vieenza published in his Les Soirees de l'Orehestre, RIO DE JANEIRO Summer 1920 (in Itaüan).
1853). Three acts. ZAGREB 12 Decembcr 1923 (in Croatian).
Bustini's only performedopera. MONTE CARLO 6 March 1924 (in French).
LISBON Carnival 1925 (in Italian?).
COPENHAGEN 9 October 1925 (in Danish, trans-
D E BUS S Y: PelIeas et Melisande*
lated by K. Früs M011er and P. Wiedemann).
30 April. Paris, O.c. BUDAPEST 26 November 1925 (in Hungarian,
Text: M. Maeterlinck's play (1892), with slight translated by S. Varady).
alterations. Five acts. STOCKHOLM 18 January 1926 (in Swedish).
Debussy's chief work and one of the most im- AMSTERDAM 10 November 1927 (in French).
portant modern operas in general. It was not WARSAW 25 March 1928 (parts only, in concert
given on any other stage until 1907. form).
In Paris, the opera had 103 performances until CHAPI: Circe
1914 (100th: 28 January 1913); it was revived 7 May. Madrid, T.L.
after the war (and after the composer's death) on
Text by M. Ramos Carri6n. Three acts.
9 May 1919, reached the 200th performance on
This Spanish opera was written for the inau-
26 August 1929 and has been given at the O.c.
guration of the new Teatro Lirico, Madrid.
more than 250 times to date.
In Spanish also given at Buenos Aires 25 Octo-
Maeterlinck, who had protestcd against the
ber 1910.
production of the opera in 19°2, did not hear the
work until 27 January 1920 (in New York). P. and L. HILLEMACHER: Orsola
Outside France, given at: 21 May. Paris, O.
BRUSSELS 9 January 1907 (in French); Lyons 1
Text by P. B. Gheusi. Three acts.
April 1908, etc.
The only work of the two brothers who were
FRANKFORT 19 April 1907 (in German, translated
Prix-de-Rome winners which was produced at
by o. Neitzel); Munich 9 October 1908, etc.
the Paris Opera. Unsuccessful; five performances
NEW YORK 19 February 1908 (in French); Boston
only.
I April 1909; Chicago 5 November 1910, etc.
MILAN, sc. 2 April 1908 (in Italian, translated by
C. Zangarini) and 17 May 1925 (in French);
RENDANO: Consuelo
Rome 28 March 1909, etc. 24 May. Turin, T.V.E.
PRAGUE 28 September 1908 (in German) and I Text by F. Cimmino (founded on the novel by
November 1921 (in Czech). G. Sand). Prologue and 3 acts.
BERLIN, K.O. 6 November 1908 (in German). Rendano's only opera. Given at Stuttgart 27
LONDON, C.G. 21 May 1909 (in French) andH.M.'s March 1903 (in German, translated by A. Har-
6 June 1924 (in English). lacher); revived in German, Nuremberg 1924.

1241 1242
1902 ANNALS OF OPERA 1902

COQUARD: La Troupe Joliccrur CILEA: Adriana Lecouvreur*

30 May. Paris, O.C. 6 November. Milan, T.L.
Text by the composer (founded on a story by H. Text by A. Colautti (founded on the play by
Cain). Comedie musicale, prologue and 3 acts. Scribe and Legouve). Four acts.
Coquard's last opera; given 10 times only and
Cilea' s most successful work. Still given in
never revived.
ltaly.
Outside Italy, produced at:
BUNNING: Princesse Osra LISBON 1903 (in Italian).
14 July. London, C.G. BARCELONA 1903 (in Italian).
(French) text by M. Berenger (founded on astory BUENOS AIRES 7 July 1903 (in Italian).
by A. Hope). Three acts. HAMBURG IS November 1903 (in German, trans-
Bunning's only opera. English translation by lated by F. Wemer).
R. H. Elkin published 1902. WARSAW November 1903 (in Italian).
GENEVA 4 December 1903 (in French).
CAIRO Carnival 1904 (in Italian).
BLECH: Das war ich* ANTWERP 12 January 1904 (in French).
60ctober. Dresden ODESSA Spring 1904 (in Italian).
Text by R. Batka (founded on a play by J. Hutt LONDON, C.G. 8 November 1904 (in Italian).
after a tale by Boccaccio, 180S). One act. PARIS, TH.S.B. 2 May 1905 (in Italian). .
Blech's first success as an opera composer. MALTA 1905 (in Italian).
In German also given at Prague IS October ST. PETERSBURG February 1906 (in Russian).
1902; Zurich 22 December 1902; Berlin 28 March NEW ORLEANS S January 1907 (in French).
1903; Vienna 28 February 1905; Strasbourg 1906. NEW YORK, M. 18 November 1907 (in ltalian).
In Hungarian (translated by D. Vidor), Buda- HAGUEJanuary 1925 (in Italian).
pest 22 December 1903. SOFIA 13 January 1933 (in Bulgarian).
BUDAPEST 2 January 1934 (in Hungarian, trans-
lated by K. Nadasdy).
RIMSKY-KORSAKOV: Servilia MONTE CARLO March 1934 (in Italian).
CepBHJIia BORDEAUX 30 January 1935 (in French).
14 October. St. Petersburg TRIPOLIS March 1935 (in Italian).
Text by the composer (founded o~ a play by L. BUCHAREST Spring 1936 (in Rumanian).
A. Mei). Five acts. RIGA 3 September 1936 (in Lettish).
First given at Moscow IS November 1904. BERLIN, D.O. 24 March 1938 (in German, translated
Never produced outside Russia. by W. Dahms).
LJUBLJANA 16 March 1940 (in Slovenian).

ABBATE: Matelda
C. A. NIELSEN: Saut og David*
6 November. Kharkov
28 November. Copenhagen
Text by V. Soldani. One act.
In ltalian also given at Modena 23 November Text by E. Christiansen. Four acts.
1904; Malta 1907. Nielsen's first opera; successful on Danish
The only performed opera of Abbate, one of stages, revived at Copenhagen 6 December 1912
the last representatives of the 19th-century type and 27 February 1929. Also given in Swedish at
of wandering maestro; he was a conductor in Gothenburg 1929 and Stockholm 13 January
South America, Egypt, Holland, Russia, etc. 1931.

1243 1244
1902 ANNALS OF OPERA

NAPRAVNIK: Francesca da Rimil1i SALZBURG 7 August 1928 (in Russian; concert per-
<l>paH'Iecl\a Aa PnMHHH . formance, by a company from Leningrad).
DORTMUND 15 October 1929 (in German, as UII-
9 DecclIlbcr. St. Petcrsburg
hold Ohnescdc, translated by A. Bernhard).
Text by O. O. Palccek and E. P. Ponomarev
STOCKHOLM 25 April 1930 (in Swedish).
(founded on the play by Stephen Phillips). Fotlr
RTGA 2 I May T931 (in Lettish).
acts.
Napravnik's last opera. (Date of first perform-
ance aecording to the yearbook of the Russian
Imperial Theatres.) I903
d'INDY: L'Etranger
HAHN: La Carmelite 7 ja/lIIary. ßrusscls, M.
16 Dece/1lIJcr. Paris,O.c. Text by the composer (actioll /1IlIsicalc). Two acts.
Text by C. Mendcs. Four acts. d'Indy's most important work for the stage.
The first opera of the French-VeneZl1elall com- Given at thc Opera, Paris 4 December 1903 and
poser. Performed 17 times. revived there 31 October 1934.
In French also, Geneva 14 November 1913;
GOLDMARK: Berlichingen Götz Hague 5 February 1920; Barcelona 4 February
19 2 I.
16 Dece/1lbcr. Budapest
In Italian, Buenos Aires 14 June 1917 and Rio
(Original German) text by A. M. Willner (from de Janeiro 3 September 1917.
Goethe's play), Hungarian version by S. Varady. A Catalan version by J. Pena was publishcd in
Five acts. 1908.
In German (with some alterations), Frankfort
I February 1903 ; Linz 17 November 1904; Brünn D 0 P PER: Het Eerekruis
18 March 1905. Revived (in a revised version), (The Cross ofHonour)
Vienna 18 May 1910. 19 jatzuary. Amsterdam
Text by H. Engelen. One aet.
D E B 0 ECK: En Winternachtsdroom Revived Amsterdam 1910.
(A Winter Night's Dream)
20 Deccmbcr. Antwerp MASSENET: Marie-Magdeleine*
(Flemish) text by L. Du Catill. One act (2 scenes.) 9 Febmary. Nice
Revived in French (translated by B. Lagye),
Text by L. Gallet. Three acts.
Nantes 30 March 1913; ßrussels 21 December
Originally performed as an oratorio at the
192 3. Odeon, Paris I I April 1873 and elsewhere. On
the stage, it was first given at Nice, and subse-
RIMSKY-KORSAKOV: quently, in French, at The Hague April 19°3;
Kashchey Bessmyertny* Paris, O.c. 12 April 1906; Brussels 16 April 1908;
Ra~eH BeaCMepTHhlH
Algiers March 1910.
(The Immortal Kashchey)
25 Dece/1lber. Moscow d'HARCOURT: Le Tasse
Text by the composer. One act (3 scenes). 14 Fcbmary. Monte Ca rlo
First given at St. Petersburg 9 April 1905. Text by J. and P. Barbier. Three acts.
Outside Russia: In French also, Bordeaux 7 April 19°5; Ant-
BARCELONA 23 December 1924 (in Russian). werp 22 March 1906; Geneva 2 February 1912.

1245
1903 ANNALS OF OPERA 1903

HUB A Y: Moharozsa BRUSSELS 5 January 1907 (in French).

Frequently rcvivcd in France; one of the latest
(Moss-~ose)
revivals was ~t Monte Carlo December 1931.
21 February. Budapest

(Original German) text by M. Rothauser

(foWlded on Ouida's Two Little Wooden Shoes), c. ROSSI: Nadeya
HWlgarian version by B. Cziglanyi. Four acts. 5 May. Prague, G.
(Original Italian) text by L. Illica, German version
DUPUIs:]ean Michel by R. Batka. Prologue and 3 acts.
4 March. Brussels, M. In the originalItalian: Mantua 16January 1904;
Text by H. Vallier and G. Garnir. Four acts. revived Spezia 21 August 1920; Carpi Summer
Dupuis's first opera. Successful in Belgiutn; 192 5.
Antwerp 3 February 1905; Liege 17 February
1906, etc. PETERSON-BERGER: Ran
20 May. Stoc~olm
MISSA: Muguette
Text by the composer. Three acts.
18 March. Paris, O.C. Peterson-Berger's first opera; the text had been
Text by M. Carre fils and G. Hartmann (like published in 1898.
Hubay's HWlgarian opera, produced 4 weeks
earlier, founded on Ouida's Two Little Wooden
Shoes). Four acts.
KLOSE: Iisebill
Missa' s most successful work; given at the O.c. 7 June. Carlsruhe
18 times. Outside Franee: Text by H. Hoffmann (Dramatische Symphonie),
GENEVA 10 November 1903 (in French). fOWlded on a tale by the brothers Grimm. Five
HAMBURG 28 April 1904 (in German, translated scenes.
by L. Hartmann). Munich 29 October 19°5, etc. Revived Basle
MOSCOW January 1905 (in Russian). 3 January 1923, etc.
LONDON, H.M.'S 25 May 1910 (in English, trans-
lated by W. Wallace).
MI S S A: Maguelone
20 July. London, C.G.
HAESER: Hadlaub
(French) text by M. Carre fils. One act.
19 March. Zurich
In French also given at Besan~on 28 July 1904;
Text by the composer (founded on a story by G. Geneva 15 March 1905; Paris, Galte 31 March
Keller). Three acts.
1909·

TERRASSE: Le Sire de Vergy HOWLAND: Sarrona

16 April. Paris, Varietes 3 August. Bruges
Text by R. de Flers and G. A. de Caillavet. Three (English) text by the composer. Prologue and
acts. 1 act.
Terrasse's first successful operetta. Given at: In Italian (translated by R.P.G.), Florence, T.
ALGIERS January 1904 (in French). Alfieri 3 February 1906 and subsequentlyon other
MILAN 15 December 1904 (in Italian). Italian stages.
LONDON, APOLLO 30 September 1905 (in English, In English, New York, Amsterdam Th. 8 Feh-
translated by A. Sturgess, additional music by ruary 1910.
T. Wendt). In German, Philadelphia 23 March 19II.

1 2 47 1248
 19°3 ANNALS OF OPERA 19°3
MacALPIN: The Cross and revived on English stages; the !atest professional
the Crescent revival in London was at Daly's 26 April 1932.
22 NOllcmbcr. London, C.G.
POLDINI: A Csavarg6 es Kiralylany
(Anonymous) text founded on J.Davidson's Eng-
(The Vagabond and the Princess)
lish version ofF. Coppce's play POllr 1a COllromlC.
170c/ober. Blldapest
Four acts.
Awarded the Charles Manners prize of {,250 (Original German) text by A. F. Seligmann (from
for the best English opera. H. C. Andersen's story), Hungarian version by S.
Virady. One act.
Poldini' s first and most sllccessful opera.
BLECH: Alpenkiinig und
In the original German given at Praglle 29
Menschenfeind March 1906; London, c.G. II May 1906; Breslau
1 Oclober. Dresden 31 March 1907 Strasbourg January 1909;
Text by R. Batka (founded on F. Raimund's pla)" Vienna, V.O. II Oetober 1917.
of the same tide). Three acts.
Successful on German stages. Given at Zurich BUNGERT: Odysseus' Tod
11 December 1903; Prague 26 Deccmber 1903; JoOelober. Dresden
Graz 14 April 1904; Riga 30 December 1904; Text by the composer. Prologue and 3 acts.
Berlin, Kroll's 12 May 1906; Vienna, v.o. 2 The last part of his tetralogy, Homerische Welt
March 1911. (sec 1896, 1898, 1901).
Revived in a new version (as Rappelkopf), Ber-
lin, O. 2 October 1917. REBIKOV: Yelka
EJIRa
GILSON: Prinses Z011neschijn* (The Christmas Tree)
(Princess Sunshine) - JoOetober. Moscow
10 October. Antwerp Text by S. 1. Plaksin. One act (4 scenes).
(Flemish) text by P. de Mont. Four acts. Rebikov's most successful w9rk for the stage;
In French (translated by M. LcfC::vre), Brusscls given in many Russian towns; also at Praglle
9 September 1905. 27 November 1906 (in Czech, translated by 13.
Kalensky); Ljllblj:ma 1907 (in Siovenian).
GRECHANINOV: Dobrinya Nikitich* Revived Leningrad 15 January 1921; London,
Fortune Th. 17 February 1934 (in Russian).
,J:(06PbIHH H.HRI1TIPiö
270c/ober. Moscow GERLACH: Liebeswogen
Text by the composer. Three acts. Bremen
7 NOPclllber.
Grechaninov's first opera. Previously per- Text by the composer (after H. Heine). Gcspro-
formed in concert form at Count Sheremetiev's. cllClie Oper. One act.
Revived Petrograd 30 September 1916. Revived in a ncw version as Das ScegCSpCllst,
Altenburg 24 April 1914.
CARYLL: The Duchess oJDantzic
170etober. London, LI'. d' A~BERT: Tiefiand*
Text by H. Hamilton (from V. Sardou;s Madame 15 NOJlclIlber. Prague, G.
Sans-Gene). Three acts. Text by R. Lothar (follnded on a Catalan play,
Tbc best ofCaryll's nllmerOllS operettas. When Terra Baixa, by A. Gllimcd., 1896). Prologue and
first pmdl1ccd, ran for 236 nights. Frequendy 3 acts.
1249
1903 ANNALS OF OPERA

d'Albert's most popular work :md the most HELSINKI 8 January 1921 (in Swedish) and 9 Jan-
slIccessful opera of the German veristic school. uary 1931 (in Finnish). -
Given with so me alteratiollS at Leipzig 17 Feb- CLUS (CLAUSENBURG) 1924 anti Bucharest Spring
ruar)' 1904 and a11 over German y. First performed 1933 (in Rllmanian).
at: SOFIA 13 January 19211 (in Blligarian).
STRASBOURG I!l April 1906 (in German). KAUNAS 21 February 1928 (in Lithuanian).

ANTWF.RP 1 December 1906 (in Flemish). MONTE CARLO March 1931 (in French).

BF.RLIN, K.O. 9 Oetober 1907 (in Gennan; given BRUSSELS 7 November 1932 (in French).

there Illore than 400 times; first produced atthe CAJRO 1937 (in German).

O. !l February 1916). Successful as the opera was all over the world,
ZURICII 9 October 1907 (in German).
it does not appear to have ever been produced
either in Italy or in Paris.
RIGA November 1907 (in German) and 2 Novem-
ber 1920 (in Lcttish).
WOLF-FERRARI:
VIENNA 25 February 1908 (in Germall).

LAIBACH (LJUBLJANA) 1908 (in German) and 1909 Die neugierigen Frauen*
(in Slovenian). 27 November. Munich
STOCKHOLM 9 October 1908 (in Swedish, trans- (Original Italian) text by L. Sugano (founded on
lated by S. N yblom). Goldoni's Le Donne mriose), German version by
AMSTERDAM 23 October 1908 (in German) and H. Teibler. Three acts.
January 1931 (in Italian). Wolf-Ferrari's first great success; given at:
BUDAPEST 17 November 1908 (in Hungarian, BERIIN, TH.D.W. 14 January 1905 (in German).
translated by S. Varady). STRASBOURG 1905 (in German).
NEW YORK, M. 23 November 1908 (in German) VIENNA 4 October 1905 (in German).
and Century O.H. 17 March 1914 (in English). PRAGUE 8 October 1905 (in German).
COPENHAGEN 21 October 1909 (in Danish, trans- ANTWERP 28 October 1905 (in Flernish).
lated by J. Lehmatm). RIGA November 1905 (in German).
BARCELONA 18 January 1910 (in Italian, translated WARSAW December 1905 (in Poüsh).
by F. Fontana). BUDAPEST 24 April 1906 (in Hungarian, translated
LONDON, C.G. 5 October 1910 (in English, trans- by D. Vidor).
lated by R. H. Elkin). STOCKHOLM 15 May 1907 (in Swedish, translated

ZAGREB 18 November 1910 (in Croatian, trans- by E. Grandinson).

lated by F. Miler). NEW YORK, M. 3 January 1912 (for the first time in

WARSAW March 19II (in Polish, translated by I. the original Italian).

Ziolkowski). MILAN, SC. 16 January 1913 (for the first time in

NICE 21 March 19II (in French, translated by Italy).

J. Benedict). LJUBLJANA 1926 (in Slovenian).

GENEVA 21 November 19II (in French, translated

Revived at Berlin 20 June 1928 and still given
by J. Benedict). on German and other stages.
RaUEN 13 December 19II (in French, translated
by J. Bent:dict).
DAVIDOV: Potonuvshy Kolokol
REVAL (TALLINN) 1912 (in German) and 1923 (in
IIOTOHYBIIIH }\OJIOKOJI'b
Estonian). (The Sunken Bell)
OSLO 12 December 1913 (in Norwegian). 29 November. St. PetersbUIg
PETROGRAD 14 December 1915 (in-Russian); re- Text by V. P. Burenin (founded on the play by
vived 18 April 1926. G. Hauptmann). Four acts.

125 1 1252
1903 ANNALS OF OPERA 1903
The only opera of A. Davidov (who was a TRI ESTE 20 March 1904 (in Italian).
nephew of the famous 'cellist Karl Davidov). LISBON 1904 (in Italian).
Also given in German at Mayence 30 Sc ptember BUENOS AIRES 21 June 1904 (in Italian).
1908. CAIRO Carnival 1905 (in Italian).
PARIS, TH.S.B.4 May 1905 (in Italian) and O. 9
( C HAU S S 0 N ) : Le Roi Arthus
June 19I1 (in French).
30 November. Brussels, M.
GENEVA 8 December 1905 (in French, translated
Text by the composer. Three acts. by P. Milliet).
The only opera of Chausson which was pro- NICE 18 Dcccmber 1905 (in French, translated by
duced (four years after his death). The third act P. Milliet).
was revivcd at the Opera, Paris 30 March 1916. NEW ORLEANS 13 January 1906 (in French, trans-
The statement that Le Roi Art/llls was first lated by P. Milliet).
produced at Carlsruhc in 1900, to be found in
ANTWERP 8 Fcbruary 1906 (in French, translated
Riemann's Musiklexikoll, Vol.J, p.301, and in
by P. Milliet).
many other books of reference, is not correct.
MARSEILLES 29 March 1906 (in French, translated
Motd intended a production of the opera; but it
byP. Milliet).
did not take place.
STUTTGART 4 November 1906 (in German, trans-
lated by O. Neitzel).
MANEN: Acte
ZURICH November 1907 (in German, translated
3 December. Barcelona, L. by O. Ncitzel).
(Catalan) text by the composer. Four acts. NEW YORK 5 February 1908 (in Italian).
The most successful opera of the famous VIENNA, V.O. 18 October 19II (in German).
Catalan violinist.
BERLIN, K.O.1 November 19II (in German).
In German (translated by E. Schultz-Henke),
BUDAPEST 2 February 1912 (in Hungarian, trans-
Dresden 22 January 1908; Riga 1910.
lated by Z. Harsanyi).
Revived in a new version (as Nero ulld Akte),
MALTA 1920 (in Italian).
Carlsruhe 28 January 1928; Barcelona April 1933.
Still given in Italy; revived Milan, Sc. 5 De'-
In Finnish, Helsinki 1 October 1938.
cember 1927 (with alterations) and,lately, Milan,
KYUI: Mademoiselle Fifi Castello 25 July 1939.
Ma.n;eMyaaeJIb <DHtpH
15 Dccember. Moscow LEROUX: La Reine Fiammette
Anonymous text (founded on Maupassant's 23 Deecmber. Paris, O.c.
story). One act. Text by C. Mendcs. Four acts.
St. Petersburg January 1905, etc. One of Leroux's most successful operas.
Kyui's opera was announced for performance In French also produccd at Geneva 6 February
in London in 1915; owing to lack of public sup- 1906; Hague March 1906; Antwerp 8 November
port the season at the' London Opera-House 1906; Cairo, Carnival 1907; Lisbon December
(under V. Rosing) ca me to apremature dose and 1909; Bucnos Aires 24 April 19II; New York
the performance did not take place. 24January 1919.
In Czech (translated by O. Smrcka), Prague 13
GIORDANO: Siberia* October 1907.
19 Decclllber. Milan, Sc. Revived at the O.c., Paris 4 February 1910;
Text by L. Illica. Three acts. 27 March 1919; and 21 May 1935.
Very successful in Italy, and also given at: First given at Brussels 30 September 1939.

12 53 1254
1904 ANNALS OF OPERA 1904

MELCER: Marya
19°4 16 February. Warsaw
JANAcEK:Jejl Pastorkyna* Text founded on A. Malczewski's poem (like
(Her Foster-Daughter) many other Polish operas of the same tide). Three
21 January. Bmo acts.
Melcer's first opera and the only one which was
Text by the composer (founded on a story by
produced.
G. Preissova). Three acts.
The first opera of the Moravian composer
which was produced. The performance passed
PUCCINI: Madama Butterfly
almost unnpticed at that time, and it was only 17 February. Milan, Sc.
many years later that the opera became famous Text by G. Giacosa and L. lllica (from D. Be-
under the new tide of Jenufa. First given at the lasco's dramatization of a story by J. L. Long).
Czech opera-house, Prague 26 May 1916, and Originally in 2 acts.
subsequendy translated into German by M. Brod Given at the Scala one night only.
(from whose version most other translations were Produced in the fmal 3-act version at Brescia
taken). 28 May 1904 and all over Italy.
Givenat: Outside Italy given at:
VIENNA 16 February 1918 (in German) and 4 May BUENOS AIRES 2 July 1904 (in Italian).
1929 (in Czech, bya company from Bratislava). MONTEVIDEO 27 August 1904 (in Italian).

COLOGNE December 1918 (in German). ALEXANDRIA 19 December 1904 (in Italian).

ZAGREB 29 June 1920 (in Croatian, translated by CAIRO February 1905 (in Italian).

M. Nehajev). LONDON, C.G. 10 July 1905 (in Italian) and Lyric

LJUBLJANA 28 Oetober 1922 (in Slovenian, trans-

16 August 1907 (in English); 100th perform-
lated by N. Stritov). ance at C.G. 29 November 1919.
BUDAPEST 12 May 1906 (in Hungarian, translated
BERLIN 17 March 1924 (in German).
by S. Varady).
NEW YORK, M. 6 December 1924 (in German).
WASHINGTON 15 October 1906 (in English, trans-
BASLE 30 Oetober 1925 (in German).
lated by R. H. Elkin).
PRAGUE September 1926 (for the first time there
NEW YORK 12 November 1906 (in English) and
in German).
I I February 1907 (in Italian).
LEMBERG 1926 (in Polish). PARIS, O.C. 28 December 1906 (in French,trans-
BUCHAREST 1926 (in Rumanian). lated by·P. Ferrier); 100th performance IOApril
ANTWERP 8 January 1927 (in Flemish). 1912.
HELSINKI 21 March 1928 (in Finnish). SAN FRANCISCO I I March 1907 (in English).
TURIN RADIO 28 June 1936. BARCELONA 4 August 1907 (in Spanish).
RIO DE JANEIRO 6 September 1907 (in Italian).
BERLIN 27 September 1907 (in German, translated
s. WAGNER: Der Kobold
by A. Brüggemann).
29 January. Hamburg
PRAGUE 30 September 1907 (in Gerrrian) and 14
Text by the composer. Three acts. February 1908 (in Czech, translated by V. J..
One of the composer's most successful works; NovotnY)·
in German also given at' Prague 27 November VIENNA 3 I October 1907 (in German).
1904; Graz 3 December 1904; Vienna, V.O. 18 MADRID 20 November 1907 (in Italian).
January 1905; Riga February 1906; Berlin, Kroll' s LISBON March 1908 (in Italian).
6 July 1910 (revived O. 6 June 1939). ODESSA March 1908 (in Italian).

1 2 55 125 6
.
 ANNALS OF OPERA

MALTA 1908 (in Italian). In German, Frankfort 14 Janllary 1905.

WARSAW 1908 (in Polish, translated by A. Kicz- First given in Paris, O.c. 18 Janllary 1905 and
man). revived at the Opera 20 June 1919.
LJUBLJANA 1908 (in Slovenian).
RIGA October 1908 (in German) and 1924 (in RABA UD: La Fille de Roland
Lettish).
16 March. Paris, O.C.
STOCKHOLM 21 August 1909 (in Swedish, trans-
Text by P. Ferrier (founded on a play by H. de
lated by S. Nyblom).
Bornier). Four acts.
AMSTERDAM Spring 1909 (in French).
Revived Brussels 7 October 1921; Paris, O. 27
CHRISTIANIA 22 April 1909 (in Norwegian).
October 1922.
BRUSSELS 29 October 1909 (in French).
ZURICH November 1909 (in German).
DVORAK: Armida*
GENEVA JO November 1909 (in French).
SAIGON Spring 1910 (in French). 25 March. Prague, Cz.
SYDNEY April 1910 (in English). Text by J. Vrchlicky (founded on his Czech trans-
ZAGREB 7 October 1910 (in Croatian, translated lation of Tasso's La Gerusalcmme liberata). Four
by F. Miler). acts.
CONSTANTINOPLE January 1911 (in Italian). Dvorak's last opera. Revived Prague 30 De-
COPENHAGEN 15 October 19II (in Danish, trans- cember 1928; Brno February 1935.
lated by E. Christiansen).
JOHANNESBURG March 1912 (in English). DELIUS: Koanga*
REVAL (TALLINN) 1912 (in German) and 1927 (in 30 March. Elberfeld
Estonian, translated by A. Simm andJ. Zeiger). (Original English) text by c. F. Keary (from G.
PETROGRAD November 1915 (in Russian). w. Cable's novel The Grandissimes), German ver-
SHANGHAI 1918 (in Russian). sion probably by the composer or his wife. Pro-
HELSINKI 14 January 1920 (in Swedish) and 31 logue, 3 acts and epilogue.
March 1927 (in Finnish). Given in London, c.G. as late as 23 September
BUCHAREST Spring 1920 (in Rumanian). 1935 (in the original English, text revised by T.
BELGRADE 1922 (in Serbian). Beecham and E. Agate).
SOFIA 2 June 1924 (in Bulgarian).
KAUNAS 25 September 1924 (in Lithuanian). KOSMOVICI and SCHMEIDLER:
TUNIS Carnival 1927 (in Italian).
Marioara
TOKYO J930 (in Italian) ..
8 May. Bucharest
ATHENS November 193 I (in Italian).
TRIPOLIS November 1934 (in Italian).
Text from Carmen Sylva's play of the same tide.
Three acts.
Successful Rumanian opera.
SAINT-SAENS: Helene* Given in German at Prague 6 May 1905; Nu-
18 Fcbmary. Monte Carlo remberg April 1906; Czernowitz 28 December
Text by the composer. Four acts. J912; Vienna, V.O. 7 June 1914.
Written for Nellie Metba (and dedicated to "His
SOMMER: Rübezahl und der
Serenest Highness, Prince Albert I ofMonaco").
In French also given at London, c.G. 20 June
Sackpfeifer von Neisse
190 4. 15 May. Brunswick
In Italian (translated by A. Galli) , Milan, T.L. Text by E. König. Four acts.
26 November 1904. Sommer' s most popular work.

1257
 1904 ANNALS OF OPERA 1904

Given at Berlin 15 February 1905 and on many Successful in Poland ; revlved at Warsaw as late
other German stages. as 1925.

GILSON: Zeevolk
FILIASI:AfanuelAfenendez 150etober. Antwerp
15 May. Milan, T.L. (Original French) text by G. Gamir (founded on
Text by V. Eianchi and A. Anile. One act. Victor Hugo's poem Les pauvres Gens), Flemish
Along with Dupont's La Cabrera (sec next version by ? Two acts.
entry), awarded the first prize in the fourth (and In French (as Gens de Mer), revived at Brussels
last) Concorso Sonzogno, 1902. 16 December 1929.
Successful in Italy; also given at:
ZURICH 30 November 1904 (in German, trans- RIMSKY-KORSAKOV: Pan Voyevoda
lated by G. Droescher). l1aH'L BoeBo~a
WARSAW December 1904 (in Italian).
16 Oetober. St. Petersburg
CAIRO Camival 1905 (in Italian).
Text by I. F. Tyumenev. Four acts.
BRESLAU April 1905 (in German).
First produced at the inauguration of Prince
LISBON 1905 (in Italian).
Tsereteli' s private opera.
BUENOS AIRES 6 July 1905 (in Italian).
First given at Moscow 17 September 1905.
PRAGUE 2 November 1905 (in German).
In Polish, Warsaw Autumn 1905.
Revived at Leningrad, Conservatoire June
DUPONT: La Cabrera
1935·
16 May. Milan, T.L.
(Original French) text by H. Cain, Italian version TERRASSE: Afonsieur de la PaUsse
by A. Galli. One act. 2 November. Paris, Varietes
The second prize-opera in the Concorso Son- Text by R. de Flers and G. A. de Caillavet. Three
zogno (see preceding entry); more successful than acts.
Manuel Menendez. Given at: Successful operetta. Given at:
ZURICH 30 November 1904 "(in German, trans- BRUSSELS 4 November 1905 (in French).
lated by F. M. La Violette). MUNICH 21 April 1906 (in German, as Der Kon-
BUDAPEST 15 December 1904 (in Hllngarian, gress von Sevilla).
translated by S. Varady). BUDAPEST 12 January 1907 (in Hungarian).
WARSAW December 1904 (in Italian). ZAGREB 10 October 1907 (in Croatian, translated
CAIRO Camival 1905 (in Italian). by F. Miler).
FRANKFORT 14 January 1905 (in German). BOLOGN,A 24 November 1909 (in Italian).
PARIS, O.C. 5 May 1905 (in the original French). BERLIN, NEUES OPERETTENTH. I I May 1912 (in
LISBON 1905 (in Italian). German).
PRAGUE 2 November 1905 (in German). Revived Paris, Tr.L. 24 December 1924 and
MOSCOW 1908 (in Russian). Galtc-Lyrique 7 October 1930.
Given in France until about 1930.
AL FAN 0: Risurrezione*
STATKOWSKI: Philaenis 30 November. Turin, T.V.E.
14 September. Warsaw Text by C. Hanau (from ToIstoi's noveI). FOUf
(Original German) text by H. Erler, Polish ver- acts.
sion by the composer. Alfano's most successful work. Given at:
Awarded the first prize in the Moody-Manners BRUSSELS 18 April 1906 (in French, translated by
Competition, London 1903. P. Ferrier).

12 59 1260
 ANNALS OF OPERA 1904-05

BERLIN, K.O. 5 Ocrober 1909 (in German, trans- The most important opera of the Neapolitan
Iated by A. Brüggemann). composer (who died at Rio de Janeiro in 1934).
MODENA 18 February 19II (in Italian, with altera- In Italian also given at Turin 5 Deeember 1905
tions). and Madrid 26 February 19II.
"IOVARA 18 February 1911 (in Italian, with altera-
tions).
MADRlD 21 December 1911 (in Italian, with altera- 19°5
tions).
Revived: C H E LI U s: Die vernarrte Prinzess
NICE 8 March 1925 (in French). 15jo/lllory. Sehwerin
CHiCAGO 31 December 1925 (in French). Text by O. J. Bierbaum. Three aets.
PARIS, O.C. 14 April 1927 and 10 April 1934 (in The best of Chelius's three operas. Revived
French). ßrunswiek 8 March 1913; Cologne 12 May 1918.
\ANTrAGO, CHILE Summer 192X (in Italian).
TURlN, ToR. 6 Januar)" 1936 (in Italian).
MARTY: Daria
ßERLlN, v.o. 4 Oetober 193H (as Kotjl/scho, new
27 jOlll/ory. Paris, O.
German version by E. Orthll1ann and H. Hart-
leb). Text by A. Aderer and A. Ephraim (founded on
a story by V. G. Korolenko). Two aets.
LEONCAVALLO: Der Roland Marty's second and last opera. Also given in
von Berlin Swedish at Stockholm 7 Oetober 1907.

/3 DccclIlbcr. Berlin, O.
(Original Italian) text by the composer (founded
MON T E MEZ Z I: Giovanni Gallurese
on W. Alexis's novcl of the ~ame title, 1840, 28 jall//ary. Turin, T.V.E.
which was dramatized for Leoncavallo by E. Text b>' F. d'Angclantonio. Three aets.
Taubert), Gerll1an version by G. Droescher. Four Montell1ezzi's first opera. Milan I I N'ovember
aets. 19°5, tte.
The opera was commissioned by the Emperor Revived New York, M. 1\1 February 1925 (in
WiIliam H. SlIccessful at llerlin, given there 37 Italian).
times untill\lox.
In thc original Italian prödueed at Naples, S.c. MASSENET: Cherubin
19 January 1\105· 14 Felm/ory. MOllte Carlo
Text by F. cle Croisset and H. Cain (c{)/IlMic
OSTRCIL: Vlasty Skon dza/ltCc). Three acts.
(Vlasta's Death) In Freneh also given at Paris, O.c. 23 Ma)'
14 DecclIlbrr. Prague, Cz. 19°5; Antwerp 23 November 1905; Brussels 16

Text by K. Pippich. Three aets. Deeember 1905; Geneva 20 November 1908.

Ostrcil's first opera. The text had originally In German (translated by O. Neitzcl), Magde-
been written for Fibich. bur?; 10 April 190M.

GIANNETTI: Cristo alla Festa ESPOSITO: Il Borghese Gentiluomo

di Purim Fdmlory. Moseow
19 Dcecmllcr. Rio de Janeiro Text by P. de Ltlca (after Molicre). Three aets.
Text founded on r;. llovio's play'ofthe same title. One of the btest Italian opcras whieh had its
One aet. original prodtletiOll in Rtlssia.

1262
1905 ANNALS OF OPERA

In Italian also given at Milan, T. Fossati 22 May LE BOR'NE: Les Girondins

1906. 25 March. Lyons
By Eugenio, not MicheIe Esposito, to whom
Text by "Delormeil and P. BereI" (pseudonyms
the opera is ascribed in Riemann's Musiklexikoll.
of A. Lent:ka and P. de Choudens). Four acts.
In German (translated by O. Neitzel), Cologne
BRUNEAU: L'Enfant Roi 18 December 19IO. First given at Paris, Gatte 12
3 March. Paris,O.C. January 1912.

Text by E. Zola. Five acts. ZICHY: Nemo

This was the last of three original librettos Zola
30 March. Budapcst
wrote for Bruneau (see Messidor, 1897; L'Ouraga/l
1901; nearly all other operas of Bruneau are Text by the composer. Prologue and 3 acts.
founded upon Zola's works). Given in Paris 12 The second part of a Rtfk6czi trilogy (see 1909
times in 1905; never revived. and 1912); this second part was produced first.
Successful in Hungary; given at Budapest until
1918.
RESPIGHI: Re Enzo In German (translated by M. R. Abele), Press-
12 March. Bologna, T. del Corso burg 15 February 1906; Breslau4 December 1906.
Text by A. Donini (from Tassoni's poem La
Slcchia rapita, 1622). Three acts. HUMPERDINCK: Die Heirat
Respighi' s first opera. wider Willen
14 April. Berlin, O.
MASCAGNI: Amica Text by H. Humperdinck (the composer's wife),
from A. Dumas's Les DCllIoiselles de Saint-Gyr.
16 March. Monte Carlo
Three acts.
(French) text by "P. BereI" (pseudonym of P.de In Gennan also given at Brünn 14 November
Choudens), adapted for the stage by P. Collin. 19°5; Strasbourg 3 May 1906.
Two acts. Revivcd Leipzig 7 April 1935 (revised by
The only opera Mascagni wrote to French W. Humperdinck and A. Vogl).
words. Given at:
ROME 13 May 1905 (in Italian, translated by G. J. B. FOERSTER:Jessika*
Targioni-Tozzetti).
16 April. Prague, Cz.
BUENOS AIRES 8 August 1905 (in Italian, translated
Text by J. Vrchlicky (founded on Shakespearc's
by G. Targioni-Tozzetti).
The Merchant ofVellice). Three acts.
NIMES 17 August 1905 (in French; open-air per-
Successful on Czech stages; revived at Prague
formance).
19 Ocrober 1911; 16 January lQ20; 17 September
RIO DE JANEIRO 28 September 1905 (in Italian).
1928; and 29 December 1934. German version by
MOSCOW November 1905 (in Russian).
R. Batka published 19IO.
ROUtN 6 December 1905 (in French).
STETTIN 11 February 1906 (in German, translated
J AQUES-DALCROZE:
by O. Ncitzcl).
BARCELONA 1 January 1907 (in Italian).
Onkel Dazumal
ODESSA March 1908 (in Italian). 25 May. Cologne
MALTA 1912 (in Italian). (Original French) text by Franc-Nohain (Le BO/l-
Still occasionally revivcd in Ital)'; Milan, Cas- homilie Jadis, after H. Murger), first produced in a
tello 15 July 1939, ctc. German version by F. Karmin. One act.
 ANNALS OF OPERA

Jaques-Dalcroze's most successful work. SAMARA: Mademoiselle

In German also given at Berlin, K.O. I No- de Belle-lsle
vember 1906.
9 NOIJeml,er. Genoa, Politeama
In the original French at Paris, O.c. 9 Novem-
ber 1906; Tunis March 1908; Marseilles 10 Feb- (Original French) text by P. Milliet (after Dl1-
ruary 1909; Antwerp 25 March 1909; Monte m~), Italian version by A. GaUi. Four acts.

Carlo 7 December 1909. In ItaHan also given at Monte Carlo 6 February

Revived Geneva 9 Janl1ary 1919; Nice Decem- 1906; Milan 30 September 1906, etc.; Constan-
ber 1922; Paris, Tr.L. 25 March 1925. tinople Spring 1907.
In German, BerHn, K.O. 28 April 1909.
WEBBER: Fiorella
d' ALBERT: Flauto Solo
7 jUlle. London, WaldorfTh.
. 12 November. Prague, G.
(Original French) text by V. Sardou and B. P. Text by H. von Wolzogen. One act.
Gheusi, Italian version by G. Macchi. One act. Successful comic opera.
Webber's only opera. Revived in English by In German also given at Stuttgart 25 Januaf)'
the R.C.M., London 12 March 1928. 1906; Zurich 30 April 1906; Strasbo~rg 1906;
Riga September 1906; Vienna 28 November
LEONI: L'Oracolo 1906.

28 jUlle. London, c.G. In Flemish, Antwerp March 1909.

Revived Berlin,D.O. 29 Decemher 1922.
Text by C. Zanoni (from C. B. Femald's story
The Cat and tlu: Cherub). One act.
Leoni's most successful work; in Italian also
STOJANOVITS: A Tigris
given at New York 4 February 1915; Philadel- (The Tiger)
phia 10 April 1917; Chicago 28 June 1919; Rio de 14 November. Budapest.
Janeiro 18 July 1921; Buenos Aires 21 September Text by S. Varady (translated from a German
'921. libretto by R. von Perger). One act.
Revived New York, M. 26 March 1926 and 23 Stojanovits's first opera.
November 1931.
GO E T Z L: Zierpuppen
K. MOOR: Hjo~rdis 15 November. Prague, G.
220cfober. Prague, Cz. Text by R. Bath (founded on Molicre's Les Pre-
Text by F. Khol (from Ibsen's play Haermaendene cieuses ridicules). One act.
paa Helgcland). Four acts. Goetzl's most successful opera.
The most important work of the Czech com- Berlin, K.O. I November 1906; Graz 8 No-
poser. vember 1906; Zurich February 1909·
Given on German stages until J930.
GEORGES: Miarka
7 Noveml,cr. Paris, O.C. COERNE: Zenobia
Text by J. Richepin (founded on his novel Miarka 1 Duell/ber. Bremen

a
11/ Pille 1'0urs,', 1883). Prologue and 4 acts. Text by O. -Stein. Three acts.
Georges's best-known work. Revived Paris, O. The only opera of the American composer
16 january 1925 in a two-aet version with a which was performed; the first opera by an
prologue. American composer to be staged in Europe.

U66
1905 ANNALS OF OPERA 1905

GNECCHI: Cassandra* sches Volks Th. by the Breslau company); at

the O. only 14 Oetober 1918.
5 December. Bologna, T.C.
AMSTERDAM September 1907 (in German) and
Text by L. Illica. Prologue and 2 parts.
November 1907 (in Italian).
Revived in a new version, Ferrara 29 February
WARSAW 15 Oetober 1907 (in Polish).
1908.
STOCKHOLM 14 April 1908 (in Swedish).
In German (translated by L. Hartmann), Vien-
LISBON 1909 (in Italian).
na, V.O. 29 March,191r.
BARCELONA 29 January 1910 (in Italian).
In Italian, Philadelphia 26 February 1914.
MADRID 16 February 1910 (in Italian).
Gnecchi's fIrSt opera; it was the subject of a
BUENOS AlRES 13 June 1910 (in Italian).
musical sensation in 1909, when the Italian critic,
RIO DE JANEIRO 15 July 1910 (in Italian).
G. Tebaldini, pointed out strikinf! similarities be-
LONDON, C.G. 8December 1910 (in German).
tween theElektra of R. Strauss and Gnecchi' s Cas-
CAIRO February 19II (in Italian).
sandra (see R.M.I., March 1909: Tcleparia M/lsi-
BUDAPEST 19 Deeember 1912 (in Hungarian,
cale).
translated by A. Pasztor).
R. STRAUSS: Salome* COPENHAGEN Spring 1913 (in German, by the Kiel
9 December. Dresden company) and 26 April 1919 (in Danish, trans-
Text: Oscar Wilde's drama, as translated into lated by J. Lchmann).
German by H. Lachmann. One aet. ZAGREBI5 May 1915 (in Croatian, translated by
The work whieh established Strauss's fame as A. Mitrovic).
one of the leaders of modern opera. RIGA 24 Fehruary 1923 (in Lettish, translated by
Salome (at Dresden eondueted by Ernst von R. Egle).
Schueh) was next given in Germany at Breslau MOSCOW Spring 1925 (in Russian, translated by
28 February 1906 (under Prüwer); Nuremherg S. Lcvik and R. Serken).
18 May 1906 (under Ottenheimer); Leipzig 25 BUCHAREST Spring 1926 (in Rumanian, translated
May 1906 (under Hagel); Cologne 2 July 1906 by Coeoreseu).
(under Strauss himself). ANTWERP 6 Deeember 1927 (in Flemish).
Subsequently given at: LJUBLJANA 18 June 1828 (in Slovenian, translated
PRAGUE 5 May 1906 (in German) and 17 January by N. Stritov).
1923 (in Czeeh, translated by K. Kovarovic). HELSINKl 9 April 1930 (in Finnish).
GRAZ 16 May 1906 (in German; for the first time BELGRADE 1932 (in Serbian).
under the eomposer's direetion). ALGIERS Deeember 1933 (in Freneh).
BERLIN 5 Deeember 1906 (in German; given there Spanish version by L. Paris y Cadenas published
285 times until 1933). 1910; another by Eugenio Orrego Vieuna pub-
TURIN 22 December 1906, Milan, Sc. 26 Deeem- lished Buenos Aires 1935.
ber 1906. ;"bples I February 1908, ete. (in
Italian, translated byA. Leawington). WIDOR: Les Ncheurs de Saint-Jean
NEW YORK 22 January ,1907 (in German) and 2S
January 1909 (in Freneh). 26 Dcccmbcr. Paris, O.C.
BRUSSELS 25 March 1907 (for the first time in Text by H. Cain. Four aets.
French, translated by J. de Marliave and P. Widor's most sueeessful opera.
Gailhard) and 20 February 1914 (in German). In Freneh also, Geneva 2 April'1907; Antwerp
ZURICH 26 April 1907 (in German). 24 March 1908; Algiers November 1910; Hague
PARIS, CHATELET 8 May 1907 (in German) and O. March 1912. Revived Marseilles. 18 January 1917.
6 May 1910 (in Freneh). In German (translated by'O. Neitzel), Frank-
VIENNA 25 May 1907 (in German; at the Deut- fort 15 April 1906.

1268
 1905 ANNALS OF OPERA 1905-06

LEH ..Ü: Die lustige Witwe* In Finnish (translated by J. Finne), J-klsinki 30

30 Dcccmber. Vienna, W. January 1934.
Text by V. Leon and L. Stein. Three acts.
The most successful ofLehar's operettas; given
1906
all over the world; the following records are only
a very limited selection. MORERA: Emporium
In German, Hamburg 3 March 1906; Drünn 25 20 ja/ll/ary. Barcelona
March 1906; Prague 15 April 1906; Berlin, Ber-
(Original Catalan) text by E. Marquina, produced
liner Th. I May 1906; Riga December 1906;
in an Italian version by A. Dignotti. Three acts .
. Trieste 27 February 1907; Ducharest Spring 1907;
The most important opera of Morera, who
Constantinople 26 February 1909; New York
was a pupil of Pedrcll.
15 November 191!.
Revived at Barcelona February 1929.
In Czech (translated by P. Nebesky and J. Fo-
man), Prague 1906.
In Norwegian, Christiania 26 December 1906.
RAKHMANINOV: Skupoy Ritsar
In Russian, St. Petersburg 29 December 1906. CliyrroH PblI~a pb
In Swedish, Stockholm 22 January 1907. (The Miserly Knight)
In Croatian (translated by G. Prejac), Zagreb RAKHMANINOV: Francesca da Rimitti
20 February 1907.
<DpaHQeCKa ~a PMMHHH
In ltalian (translated by F. Fontana), Milan 27
24 jafluary. Moscow
April 1907.
In English (translated by E. Morton, Iyrics by Skl/poy Ritsar: 3 sccnes, text from Pushkin's dra-
A. Ross), London, Daly's 8 June 1907 (running matic scene; Francesca da Rillli/li: prologuc, 2
for 778 nights; revived Daly's 19 May 1923, for sccnes, and epilogue, text by M. 1. Chaikovsky.
222 nights; Ly. 28 May 1924 for 223 nights; Hip- Two short operas, produced on the same bill.
podrome 29 September 1932); New York, New Thc Miscrly K/light was also given at Boston 2
Amsterdam Th. 21 October 1907 (in German, December 1910 (apparently in German, translat-
Weber' s 15 November 19 I1; revived Knicker- ed by F. Fiedler; Baklanov sang the name part);
bocker's 5 September 1921; Jolson's 2 December Leningrad 20 May 192 I.
1929; Erlanger' s 7 September 193 I); Johannes-
burg 30 March 1908; Melbourne 16 May 1908. CONVERSE: The Pipe ofDesire
In Spanish (translated by Manuel Linares Rivas 31 jafluary. Boston
y Astray and Federico Reparaz) Madrid 8 Feb- Text by G. E. Barton. One act.
ruary 1909. Two other Spanish versions were New York 18 March 1910 (first work by an
published, by Bruno Güell 1910, and by A. Roger American composer produced at the Metropoli-
Junoi, Barcelona 1913. tan Opera House). Revived Boston 6 January
In French (translated by R. de Flers and G. 191I.
de Caillavet), Paris, Th. Apollo 28 April 1909
(I,oooth performance 16January 1914; revived
ST ATKOWSKI: Marya
Th. Apollo 17 April 1925; Gaite Lyrique I Sep- FcbTllary. Warsaw
tember 1934); Brussels 6 Januar)' 1910. Text founded on A. Malczewski's poem (cf. 16
In Polish (translated by A. Kiczman), Poznan February 1904; there are other operas on the
1909· same subject by M. Sohys, Lemberg 8 March
In Portuguese, Lisbon 1916. 1910; by W. GawrOllski, not performed; and by
In Lettish (translated by V. Zibelis), Jelgava H. Opiellski, Poznan 1924). Three acts.
(Mitau) 1929; Riga II March 1933. Revived Warsaw Februar)' 1921.

1269 1270
1906 ANNALS OF OPERA

DE LARA: Sanga A typical example of an opera which had only

a short vogue after its first production, and was
21 February. Nice
"discovered" agam many years later.
Text by E. Morahd arid P. de Choudens. Thrcc acts.
Given at:
Paris; O.C. 9 December 1908.
BERLIN, TH.D.W. 21 March 1906 (in German);

SAINt-SAENS: L'Ancetre revived O. 23 April 1937.

MILAN, T.L. 2 June 1914 (in Italian) ; revived Rome
24 February. Monte Carlo
Text by L. Augede Lassus. Three acts. 5 January 1940 •
ZURICH Novemher 1923 (in German).
In French also, Toulouse 5 January 1907; Paris,
BUENOS AIRES 21 June 1927 (in Italian).
O.C. 23 January 19II; Monrreal 1912; AntVierp
BUDAPEST 12 February 1928 (in Hungarian, trans-
12 Decetnbet 1912.
In German (translated by R. Batka), Prague I lated by V. Unyi).
BRÜNN 1928 (in German).
April 1908.
MOSCOW March 1933 (in Russian).
GA T T Y: Greysteel; ör t The Bearsarks VIENNA 25 February 1934 (in German).

come to Surnadale DRESDEN I September 1934 (in German).

ZAGREB 18 December 1934 (in Croatian).
J March. sheffield
LJUBLJANA 25 December 1934 (in Siovenian, trans-
Text by R. Gatty (the composcr's brocher),
lated by M. Polie).
founded on G. W. Dascnt's translation ofthe Ice-'
KAUNAS 26 April 1935 (in Lithuanian).
landic saga of Gisli, the Soursop. One act.
BRUSSELS 18 March 1938 (in French, translated by
Gatty's first opera. London, Crystal Pal. 24
G. Dalman).
May 1906 and Lyric 6 September 1907.
BUCHAREST5 November 1938 (in Rumanian).
Revived in an enlarged two-act version Lon-
don, Sadler's WeHs 23 March 1938.
C. ERLANGER: Aphrodite
(BIZET): Don Procopio* 27 March. Paris, O.C.
10 March. Montc Carlo Text by L. de Gramont (founded on the novel by
(Original Italian) text l by C. Cambiaggio (first set P. Louys). Five acts.
by Vincenzo Ficiravanti and others in 1844), pro- Very successful in Paris; the lOoch performance
duced in a Frcnch version by P. de Choudens and at the O.c. was on IS October 1913; given there
P. CoHin. Two aCts. about 180 times uhtil 1927.
The opera was written in 1858 and recovered In French also, Brussels 4 December 1919; New
from among Aubcr's possessiorts after his deach. York 27 February 1920.
Produccd in 1906 with French recitatives by C.
Malhcrbc. FRANCHETTI: La Figlia di Jorio
In French also given at Barcelona, T. del Bos- 29 March. Milan, Sc.
que Summer 1907; in Italian, Rome 19 April Text from G. d'Annunzio's tragedia pastorale of
1908.
ehe same title (1904). Three acts.
WOLF-FERRARI: Die vier Grobiane* In Italian also given at Buenos Aires 9 August
19 March. Munich 1906.
(OriginalItalian) text by G. Pizzolato (from 001- RASSE: Deidamia
doni's t qUdttTt) Rusteghi}, German version by H. 3 April. Brussels, M.
Teibler. Four acts. Text by the composer and L. Solvay (from A. de
1 Thc original text is a reduced version of Prividali's
Musset's La Coupe et fes Uvres). Four acts.
I Pretelldellli delI/si, see 1811. The first opera of che Belgian composer.

1271 1272
1906 ANNALS OF OPERA 1906

In French also given at Amsterdam Spring MASSENET: Ariane

J909; Antwerp 28 January J913.
31Oetober. Paris, O.
Text by C. Mendes. Five acts.
F. d'ERLANGER: Tess In French also, Brusse1s 23 November 1907,
10 April. Naplcs, S.c. etc.; Algiers April 1909.
In Italian (translated by A. Leawington), Turin
Text by L. Illica (founded on Thomas Hardy's
19 December 1907; Buenos Aires 6 August 1908.
Tcss 0/ the d' Urbervilles). Four acts. Revived Bordeaux 1924; Paris 21 February
In Italian also given at London, c.G. 14 July 1937 (at the re-opening of the Opera after the fire
J909· of 1936).
In German (translated by P. Somogyi), Chem-
nitz 15 January 19II.
DORET: Les Armaillis
In Hungarian (translated by D. Vidor), Buda- 9 November. Paris, O.c.
pe~t 9 April I91 I. Text by H. Cain and D. Baud-Bovy. Two acts.
The most successful opera of the Swiss com-
PAHISSA: La Preso de L/eida poser.
In French also given at Geneva 20 December
(The Prison ofLeyden)
I 1907; Liege June 1908; Antwerp 9 November
14 April. Barcelona, T. Principal 190 9.
Text by A. Gual. Five scenes. In German (translated by H. Marion), Zurich
Successful Catalan opera; Pahissa's first work 9 November 1910.
for the stage. Revived (in an enlarged 3-act version), Geneva
Afterwards expanded to three acts as La Prin- 28 November 1913; Paris O.c. 5 May 1930;
cesa Margarida, Barcelona, L. 8 February 1928. Strasbourg October 1933.
Revived Barcelona February 1936.
SMYTH: Strandrecht*
GANNE: Hans, le Joueur de FlUte* 11November. Leipzig
(Original French) text adapted from a Cornish
14 April. Monte Carlo
drama,Les Naufrageurs, by H. Brewster, produced
Text by M. Vaucaire and G. MitchelI. Three acts. in a German version by H. Decker and J. Bern-
The most successful of Ganne's light operas. hoff. Three acts.
Still popular on French stages. Smyth's most successful opera. In German also,
Givenat: Prague 12 December 1906.
MILAN 5 December J907 (in Italian, translated by In London first produced in concert forni. at
C. Zangarini). Queen's Hall 30 May 1908 (under Nikisch); on
BUENOS AIRES 10 May 1910 (in Italian", translated the stage, H.M.'s 22 June 1909 (as The Wrcckers,
by C. Zangarini). translated into English by the composer and A.
PARIS, TH. APOLLO 31 May 1910 (in French). Strettell).
NEW YORK 20 September 1910 (in English, trans- Revived in a reviseJ version, London, Sadler's
lated by A. S. Brennan). WeHs 19 April 1939.
BRUSSELS 15 Decembcr 1910 (in French).
BRESLAU 17 December 1910 (in German, trans-
C. A. NIELSEN: Maskarade*
lated by F. Falzari). November. Copenhagen
11

Last revived in Paris, Galte Lyrique 17 February Text by V. Andersen (after Holberg). Three acts.
1937· Regarded as the best Danish comic opera of

1273 12 74
 ANNA1.S OF OPERA 1907

modem times; revived at Copenhagen 17 Feb- and (according to reports in contemporary pa-
ruary 1918 and 21 February 1928. pers) also at Athens, Marseilles, Vienna and Bres-
lau (these performances I could not verify).
FIN 0: 11 Battista In Hungarian, Budapest 17 January 1908.
13 November. Turin, T.V.E. The opera was also produced in Italy, at the T.
Text by S. Fino, the brother of the composer. Vittorio Emanuele, Turin 10 July 1907. After that
Azione sacra. Three acts. performance Mascagni and his publishers took
In Italian also, Amsterdam I I December 1907; action, and as a result of the proceedings the new
Buenos Aires 20 August 1910. Cavalleria rusticana had to be withdrawn. The
In Croatian (translated by I. Vojnovic), Zagreb music was then adapted to a new libretto, written
22 May 1909. expressly for that purpose by the composer's
brother, and the new opera La Giostra dei Fa/chi
PIZZI: Vendetta was produced at Florence 18 February 1914 and
1 December. Cologne Milan 5 September 1917.
Text by A. Kaiser. Prologue and 3 acts.
MASSENET: Therese*
Revived Bergamo 14 September 1926 (in Ita-
Iian, as Ivania, translated by A. Lega). 7 February. Monte Carlo
Text by J. Claretie. Two acts.
SCHILLINGS: Moloch One of the more successful of Massenet's later
works. It was also given at:
8 December. Dresden
BERLIN II December 1907 (in German, translated
Text by E. Gerhäuser (founded on F. Hebbel's
by O. Neitzel).
tragedy). Three acts.
ALGIERS February 1908 (in French).
Schwerin 10 March 1907, etc.
GENEVA 18 February 1908 (in French).
In German also, Prague 1909. Revived Berlin,
TUNIS March 1908 (in French).
D.O. 7 November 1934.
ANTWERP 1 April 1909 (in French).
USBON November 1909 (in French).

1907 PARIS, O.C. 19 May 191I (in French).

BRUSSELS 28 October 19iI (in French).
LAMOTE DE GRIGNON: Hesperia NAPLES, T. BELUN! 28 November 19I1 (in Italian,
25 January. Barcelona, L. translated by A. Leawington).
Text by J. O. Bridgman. One act. COPENHAGEN 22 September 1918 (in Danish, trans-
The first opera of the Spanish composer. Given lated by J. Lehmarui).
at Madrid in 1909. LONDON, C.G. 22 May 1919 (in French).
Revived Paris. O.C. 6 February 1930; Brussels
BRUNEAU: Nais Micoulin 17 November 1930.
2 February. Monte Carlo
Text by the composer (from E. Zola's story, La RIMSKY-KORSAKov:Kuezh*
Douleur de Toine). Two acts. 20 February. St. Petersburg
Never given in Paris. Text by V. I. Byelsky. Four acts.
The full title reads: Skazanye 0 nevidimom gradye
MONLEONE: Cavalleria rusticana Kitezh i dyeve Fevronye (CKaaaHie 0 HeBH~HMOM'L
5 February. Amsterdam rpaA'B KHTelRb H A'BB'B ll>eBpoHie; The Legend
(Italian) text by G. Monleone (the brother of the of the invisible City of Kitezh and the Maiden
composer), founded .on the play by G. Verga. Fevronia).
One act. One of Rimsky-Korsakov's most successful
In ltalian also, London, Coronet 10 May 1909 works. Given at Moscow 28 February 1908 and

1275 1276
 ANNALS OF OPERA

frequently revived in Russia. Outside Russia lin, Th.d.W. 21 December 1907 and all over Ger-
given at: many, Austria, etc.
BARCELONA 2 January 1926 (in Russian); Catalan In German also, Riga 1907; Laibach 19°7, etc.
version by J. Pena and R. J. Slaby published in In Croatiall (translated by J. Devit), Zagreb 23
that year. November 1907.
LONDON, C.G. 30 March 1926 (in Russian, in con- In Rumanian, Bucharcst 17 March 1908.
cert form). In English (translated by J. W. Herbert), Phila-
P.\RIS, o. 7 July 1926 (in Russian, in concert form) delphia 6 January 1908; Ncw York, Broadway
and Ch.E. 19 February 1929 (in Russian, on the Th. 27 January 1908; London, Daly's 7 March
stage); French vocal score (translated by A. 1908 (Iyrics by A. Ross). Given in German at
Komarov) published; O.c. (in Russian) 6 Weber's, New York 25 December 191 I. Revived
March 1935. in English, London, Winter Garden 20 December
RIGA 7 September 1926 (in Lettish). 1934·
BUENOS AIRES 14 September 1929 (in Russian). In Italian (translated by R. Nigri), Milan 19
ANN AR BOR, MICH. 2 [ May 1932 (in concert form; November 1908.
in English, translated by L. Pargment). In French (translated by L. Xanrof and J. Chan-
MILAN, SC. 30 December 1933 (in Italian, trans- cel), Brussels 30 Januar)' 1910; Paris, Th. Apollo
Iated by R. Kiifferle). 3 March 1910; revived Paris, Porte St. Martin I I
BRNO 8 November 1934 (in Czech). June 1934.
DUiSBURG 14 May 1935 (in German, translated by In Spanish (translated by Fclipe Pcrez Capo,
E. Brockmann-Neubauer). Illusic adapted by Manuel Peris) Granada 24 May
ZAGREB 21 September 1935 (in Croatian). [910.
PHILADELPHIA 4 February 1936 (in Russian).
NEW YORK 3 March 1936 (in Russian).
ABRANYI: Monna Vauna
K.'\UNAS 22 November 1936 (in Lithuanian). 2 March. Budapest.

BERLIN 29 May 1937 (in German). Text by E. Abranyi, the father of the composer,
PRAGUE 22 April 193M (in Czech). founded on the play by M. Macterlinck. Three
BRUSSELS 30 April [939 (in concert form; 111 acts.
Russian). The best opera of the Hungarian composer.

DELI U s: Romeo und Julia AR R 0 Y 0: Amore e Perdizione

auf dem Dorfe* 2 March. Lisbon, S.C.

2/ FL'bmary. Bcrhn, K.O. (Italian) text by F. Braga (from a Portuguese

Text by the composer (founded on a story by G. noveI, Amor de Perdifao, by C. C. Branco who
Keller). Prologue and 3 acts. German text by Mrs. was the Minister ofEducation and Fine Arts in the
Jelka Delius, translated from a discarded English eabinet of thc last King ofPortugal). Three aets.
version by a friend ofDelius. The onl)" oper,a by a Portuguese composer
Dclius's most important opera. wllich was also produced in Germany (as Liebe
In English (as A VilIagc RO/1leo a/ld Juliet), Lon- IIlld Verdcrllcll, translated by L. Hartmann), Ham-
don, C.G. 22 February 1910; revived there 19 burg 25 January 1910.
March 1920 and once more at the R.C.M. 27
June 1934.
ZELENSKI: Stara Bas"
(The Old Tale)
STRA us: Ein Walzertraum 14 March. Lemberg'
2 March. Vienna, Ca. Text by A. Bandrowski (follnded on a story by
Text by F. Dörmann and L. Jacobson. Three aets. J. I. Kraszewski). FOllr acts.
Straus's most successful opcretta. Given at Ber- The last opera of the Polish composer.

1277
1907 ANNALS OF OPERA 1907

GRElINGER: Op Hoop van Zegel1 DU K A s: Ariane et Barbe-Bleue*

(On Board the "Hope ofBlessing") 10 May. Paris,O.C.
March. Amsterdam Text: M. Maetcrlinck's play (1902), with siight
(D,utch) text founded on H. Heijermans's pby of alterations. Three aets.
the same title). Four aets. Dukas's only opera. Sueeessful in Paris. Also
. Succcssful in Holland. Rcvived at The Hague given at:
October 1929. VIENNA, V.O. 2 April 1908 (in German, translated

In German (transbted by W. Ehrenberg), Ber- by H. La Violette).

Iin, Morwitz Oper II July 1901\. BRUSSELS 2 January 1909 (in Freneh).
NEW YORK 29 March 191 I (in French).

WETZ: Das ewige Feuer MILAN, sc. 17 April 19II (in Italian, translated by

19 March. Düsscldorf G. Pozza).

BUENOS AIR ES 7 July 1912 (in Italian) and 22 May
Text by the composer. One aet.
1934 (in Freneh).
Wetz's only performed opera. Hamburg 26
MADRID 15 February 1913 (in Italian).
February 1908, etc.
BASLE 16 Oetober 1923 (in Freneh).
PRAGUE 2) May 1925 (in German).
qROUX: Theodora
AMSTERDAM 20 November 1935 (in French).
19 March. Moute Carlo
LONDON, C.G. 20 April 1937 (in French).
Text by V. Sardou and P. Ferrier. Five aets. I\NTWERP November 1938 (in Flemish).
Also given at: Revived in Paris, O.c. 3 May 1921 and 0.26
BERLIN II April 1907 (in Freneh, by the Monte
Deecmbcr 1934.
Carlo company).
BUENOS AIRES 10 August 1907 (in Italian, transIat- LE BORNE: La Catalane
ed by A. Lcawington). 24 May. Paris, O.
MARSEILLES II March 1909 (in Frcnch). Text by P. Ferrier and L. Tiercelin (founded,like
MILAN, sc. 18 April 1909 (in Italian).
d'Albert's Tiefland, sec 1903, on A. Guimera's
Terra Baixa). Prologue and 3 aets.
CILEA: Gloria Unsuccessful; given 9 times on I)' and never
15 April. Milan, Sc. revived.
Text by A. Colautti. Three aets. (GLEASON): Otho Visconti
Revived in a new version, Naples 20 April 1932
4 June. Chicago
(text revised by E. Moschino).
Text by the composer. Three acts.
In German (translated by A. Neisser), Dort-
The only opera by the Americ:m composer
mund October 1938.
which was performed (if only some years after
FOURDRAIN: La Legende du his death). By the terms of his will other operas
left not to be performed until 50 years after his
Pont d' Argentan death on 6 Dccember 1903.
17 April. Paris,O.C.
Text by H. Cain and A. Bernede. One act.
MESSAGER: Fortunio
Produced in the same bill as Hillemacher' s, Circe. 5 June. Paris, O.c.
Successful in France. In French also, Lisbon De- Text by R. de Flers and G. A. de Caillavet (from
cember 1909. Revived Paris, O.C. 17 October A. de Musset's Le Chandelier). Five acts.
1922 • Successful in France; reduced to 4 acts, Paris,
In Flemish, Antwerp 9 November 1909. O.C. 12 November 1910; revived there 12 June

1279 1280
 ANNALS OF OPERA

1915 and still occasionally given on French pro- PARIS, VAUDEVILLE 16 June 19I! (in German) and
vincial stages. Scala 6 December 19II (in French).
Outside France given at: HELSINKI 14 April 1937 (in Finnish).
ANTWERP 12 November 1907 and Brussels 4 Jan- Like Die lllstige Witwe, see 1905, and Ein Wal-
uary 1908 (in French). zertraum, see above, 1907, and many other Vien-
BUDAPEST 22 December I907 (in Hungarian, nese dance operettas of those years, Die Dollar-
translated by S. Varady). prillzessin was prodllced sooner or later in most
PRAGUE 25 September 1909 (in Czech, translated countries all over the world. The above dates are
by J. Vymetal). only a limited selection. When first produced in
LISBON December I909 (in French). London, the operetta had a run of 428 nights; it
BUENOS AIRES Ir Jllly I9II (in French). was revived at Daly's 4 February 1925.

BITTNER: Die rote Gret LEROUX: Le Chemineau

26 Getober. Frankfort 6 November. Paris, O.c.
Text by the composer. Three acts. Text by J. Richepin. Four acts.
Bittner's first opera. Also given at Vienna IO Leroux's most successful work. Given at:
April 1908; Brünn May 1909 (in German). BRUSSELS 14 February 1908 (in French).
GENEVA 3 March 1908 (in French).

FALL: pie Dollarprinzessin HAGUE April 1908 (in French).

BUDAPEST 23 May 1908 (in Hungarian, translated
2 November. Vienna, W.
J. Heltai; revived 1933).
Text by A. M. Willner and F. Grünbaum. Three
LISBON 1908 (in French).
acts.
DÜSSELDORF 20 December 1908 (in German, trans-
The most sllccessful ofFall's numerous operet-
lated by o. Neitzel).
tas. Given at:
VIENNA 14 January 1909 (in German, translated by
BERLIN, N. SCHSPH. 6 June I908; in German also,
Riga I908, etc.
o. Neitzel).
PRAGUE 2 February 1909 (in Czech, translated by
MANCHESTER 24 December 1908 (in English,
J. Vymetal).
translated by B. Hood, lyrics by A. Ross).
LONDON, C.G. 12 October 1910 (in English, trans-
LONDON, DALY'S 25 September I909 (in English,
lated by W. Wallace).
translated by B. Hood, lyrics by A. Ross).
NEW ORLEANS 1 I February 191 I (in French).
ATLANTIC CITY, N.Y. 30 August 1909 (in English,
MONTREAL 1912 (in French).
translated by G. Grossmith).
CHICAGO 25 January 1919 (in French).
NEW YORK 6 September 1909 (in English, trans-
NEW YORK 3 I January 1919 (in French).
lated by G. Grossmith).
ANTWERP 2 October 1932 (in Flemish).
VENICE 13 February 1909 (in Italian).
Still given in France and Belgium; revived at
MADRID 16 October 1909 (in Spanish, translated
the O.c., Paris 9 January 1936 and 10 February
by Felipe Perez Capo, music adapted by Manuel
1940; at Brussels 21 March 1939.
Peris and Enrique Bru)~
ZAGREB 21 January 1910 (in Croatian, translated
by M. Pogacic).
GIORDANO: Marcella
PRAGUE 19IO (in Czech, translated by V. Mara). 9 November. Milan, T.L.
POZNAN 19IO (in Polish, translated by A. Kicz- (Original French) text by H. Cain and J. Adenis
man). Italian version by L. Stecchetti. Three acts.
NICE I I March 19II (in French, translated by H. In French (re-translated by J. Nougues) given
Gauthier-Villars and others). at Nice April 1909.

1281 1282
 1907-08 ANNALS OF OPERA 1908

In Italian, revived Milan, Sc. 23 April 1938. Mihalovich's last opera. In German, Vienna,
German version by F. Wahl pubhshed 1913. V.O. 17 April 1909.

MANCINELLI: Paolo e Francesca LAPARRA: La Habanera*

11 November. Bologna, T.C.
26 February. Paris, O.c.
Text by A. Colautti. One act.
Text by the composer. Thrce acts.
In Italian also, Lisbon March 1908; Buenos
Laparra's most successful opera. Given Jt:
Aires 4 July 1908; Barcelona 26 January 19 11.
FRANKFORT 29 November 1908 (in German, trans-
Revived Rome, T.R. 24January 1931.
lated by G. Droescher).
BERLIN 2 Decembcr 1908 (in German, translated
DE LARA: Solea
by G. Drocschcr).
19 Deccmbcr. Colognc
BRUSSELS 25 March 1909 (in Frcnch).
(Original French) text by J. R,ichepin, German LONDON, C.G. 18 July 1910 (in French).
version by O. Neitzel. Four acts. BOSTON 14 December 1910 (in French).
In Frcnch, Rouen 25 February 191 I. MILAN, SC. 12 Dccember 1912 (in Itahan, trans-
lated by R. Barabandy alld C. Vizzotto).
NEW YORK, M. 2 January 1924 (in French).
1908 Revivcd Paris, O.c. 14 October 1922; 7 Oc
GO L DM A R K: Ein Wintermärchen rober 1930; 12 March 1935.

2 Jalluary. Vienna, O.

Text by A. M. Willner (from Shakespeare's A PACCHIEROTTI: Eidelberga Mia!

Wintcrs Tale). Four acts. 27 February. Genoa, C.F.
Goldmark's last opera. Also given at: Text by A. Colantuoni (follndcd on W. Meycr-
BUDAPEST 30 April 1908 (in Hungarian, translated Förster's play Alt-Heide/berg). Three acts.
by 1. D6czy). In German (translated by O. Piltz), Vienna,
FRANKFORT 29 October 1908 (in German).
V.0.12 February 1909; Breslau I I February
TURIN 27 January 1909 (in Italian, translated by O.
19II.
Schanzer). IllItalian, Duellos Aires 12 August 1909.
MOSCOW 5 March 1909 (in Russian, translated by
Mclnikov).
BERLIN 17 May 1909 (in German).
J AQUES-DALCROZE: Les Jumeaux
BRÜNN May 1909 (in German). de Bergame
30 March. Brussels, M.
BLOCKX: Baldie
Text by M. Lella (after Florian). Two acts.
25 J anuary. Antwerp
Jaques-Dalcroze's last opera. Revivcd (in
(Flemish) text by N. de Tiere. Three acts. French), Nice April 1913; Geneva 9 January 1919.
Revived in a ncw version (as Licfdelied), Ant-
werp 6]anuary 1912.
SAMARA: Rhea
MIHALOVICH: Eliana 11 April. Florence, T. Verdi
16 February. Budapest (Original Frcnch) text by P. MiIliet, Italian ver-
(Original German) text by H. Herrig (from sion by A. GaIli(?). Three acts.
Tennyson's Idylls afthe King), Hungarian version Milan, Sc. 28 March 1910, etc. In ltalian also,
by E. Abranyi. Three acts. Cairo 27 February 19I1.

1283
 ANNALS OF OPERA 1908

SCHJELDERUP: Frühlingsnacht In French also given at Paris, Galte 22 April

1910; Geneva 12 November 1910; Marseilles 29
1 May. Dresden
November 1910. Revived Paris, O. 2 July 1919.
Text by the composer. One act.
In Czech, Prague May 1911.
In Norwegian (as Vaamat) , Oslo 31 August
(Mariotte's opera, although produced 3 years
1915· after Strauss's Salolllc, was written earlier than its
Revived in an enlarged 3-act version (as Liebes-
more successful rival).
/lächte), Lübeck 18 October 1934; in Norwegian,
Oslo 21 May 1935. BLECH: Versiegelt*
4 November. Hamburg
MERIKANTO: Pohjan Neito Text by R. Batka and A. S. Pordes-Milo (from
(The Maid ofBothnia) a play by S. Raupach, 1828). One act.
18Junc. Viipuri Blech's most popular work.
Text by A. Rytkönen (from the KalclIala). Three In German also, Berlin 2 December 1908;
acts. Strasbourg and Zurich February 1909; Vienna 4
This was the first opera ever composed to October 19°9; Prague 1911; Riga 191 I; New
Finnish words; written in 1898. Produced at Vii- York 20 Janua~' 1912; Philadelphia 30 January
puri (Viborg) in the open air. First given at Hel- 1912, etc.
sinki 17 November 1908. In Swedish, Stockholm 12 May 1910.
In Danish (translated by S. Levyson), Copen-
hagen 25 September 1910.
PANIZZA: Aurora In Croatian (translated by G. Prejac), Zagreb
5 Septcmbcr. Buenos Aires 17 March 1916.
(Original Spanish) text by 1:. Quesada, Italian In Slovenian, Ljubljana Autllmn 1923.
version by L. Illica. Four aets.
The opera was commissioned by the Argentine STRAUS: Der tapfere Soldat
Government for the opening season of the new 14 November. Vienna, W.
Teatro Colon, Buenos Aires. Text by L.Jacobson and R. Bernaller (from G. B.
Shaw's Arms and the Man). Three acts.
(GRIEG): Olav Trygvason Compared with other Viennese operettas of
those years Der tapfere Soldat was not so very
8 Oetober. Christiania
successflll in Allstria and Germany; BerIin, Th. d.
Text by B. Björnson.
W. 23 December 1908, etc. In German also, Lai-
Grieg's only opera; he left it unfinished after
bach 1910; Reval 19II, etc.
his death in 1907. Three sccnes onl"y are complete
In England and America, however, it was the
which were first heard in concert form at Chris-
most poplliar of Stralls's works. First given in
tiania 19 October 1889.
English as The Choeolate So!dier, (translated by S.
In 1908 they were given on the stage, on the
Stange), New York, Lyric 13 September 1909;
same bill with Olson's Norwegian two-act opera
London, Ly. 10 September 1910 (running for 500
Lajla. Grieg's semes were "revived at Los Angeles
nights).
June 1934· In Italian, Genoa 26 January 1910. In Spanish
(translated by Jose Zaldivar) Barcelona 19 Jan-
MARIOTTE: Salome uary I9II; (translated by Jose Marfa Marcin de
300etober. Lyons Eugenio) Madrid 22 April 19I I. In French (trans-
Text: Oscar Wilde's pi ay in its original French lated by P. Veber), Brussels 8 September 19II;
version. One act. Paris, Th. Apollo 7 November 1912.

1 28 5 1286
 ANNALS OF OPERA 1909

Revived Monte Carlo Dcccmber 1931 (in R. STRA USS: Elektra*

Freneh). The so far latest revival in London was
25 Jalluary. Dresden
at the Golders Green Hippodrome 18 Fcbruary
1941; in New York at St. j's 2 May 1934. Text by H. von HofmannsthaI (after Sophocles).
One aet.

OST R er L: Kunalovy Oci The first libretto Hofmannsthai wrote for

Strauss. The opera had not quite the same success
(Kunala's Eyes)
as Salomc four years earlier. Still, it was produeed
25 November. Prague, Cz. at:
Text by K. Masek (from a novcl by J. Zeyer). BERLIN 15 February 1909 (in German).
Three aels. VIENNA 24 March 1909 (in German).
Rcviv,d Prague 24 February 1929. MILAN, SC. 6 April 1909 (in Italian, translated by
O. Schanzer).
Z A N DON AI: 11 Grillo 'dei Focolare NEW YORK 1 February 19IO (in Freneh, translated
by H. Gauthier-Villars) and 3 Deeember 1932
28 November. Turin, Politeama
(in German).
Text by C. Hanau (founded on Dickens's The
HAGUE 12 February 19IO (in German).
Cricket on the Hearth). Thrce acts. LONDON, C.G. 19 February 1910 (in German).
Zandonai's first opera. In French (translated by
BUDAPEST II March 19IO (in Hungarian, trans-
M. Vaucaire), Niee 20 February 191 I.
lated by S. Varady).
Revived Faenza II Oetober 1919 (in Italian).
PRAGUE 25 April 1910 (in Czech, translated by K.
Koval'ovic)and 4 May 1910 (in German).
BRUSSBLS 26 May 1910 (in Freneh) and 18 Feb-
1909 ruary 1914 (in German).
HULL 28 February 1912 (in English, translated by
FEVRIER: Monna Vanna* A. Kaliseh).
10 January. Paris, O. ST. PETERSBURG 3 March 1913 (in Russian, trans-
Text by M. Maeterlinek (altered from his play of lated by M. A. Kuzmin).
the same title, 1902). Four aets. BASLE 23 January 1917 (in German).
Fcvrier's most important work. Sueeessful in HUENOS AIRES 6 July 1923 (in German).
Franee where it still holds the boards. Produced MONTEVIDEO August 1923 (in German).
at: ANTWERP 26 February 1929 (in Flemish).
BRUSSELS 27 January 1909 (in Freneh). PHILADELPIDA 29 Oetober 1931 (in German).
GENEVA 18 January 1910 (in French). PARIS, o. 25 February 1932 (in Freneh).
SCHWERIN 13 Oetober 1912 (in German, trans- A Catalan version by J. Pena was published in
lated by H. Liebstöckl). 1912;a Bulgarian version ~y V. Boyadyieva in
BERLIN,SCHILLER TH. 26 July 1913 (in German, 193 2 •
translated by H. LiebstöckI).
BOSTON 5 December 1913 (in French). NAYLOR: The Angelus
NEW YORK 17 February 1914 (in French).
27 January. London, C.G.
HUENOS AIRES 4 September 1919 (in Italian).
BARCELONA 5 January 1920 (in French). Text by W. Thorncly. Prologue and 4 aets.
MONTEVIDEO Autumn 1925 (in Italian). Naylor's only performed opera. Awarded the
RIO DE JANEIRO Summer 1926 (in Italian). Ricordi prize for the best English opera. Revived
Revived at the Paris Opera 2 February 1918 Cambridge 5 March 1914 (in eoneert form);
and 20 January 1937. London, c.G. 1 December 1921.

1288
 ANNALS OF OPERA 1909

Z ICH Y: Rak6ezy Ferene II April 1923. Open-air performance: Orange 22

30 January. Budapest April 193 I.
Text by the composer. Prologue and 3 acts. ROZYCKI: Boleslaw Smialy
The second part of Ziehy's RJk6czy trilogy (Boleslav the Bold)
(see 1905 and 1913). This seeond part was never
11February. Lemberg
given outside Hungary.
Text by A. Bandrowski. Three acts.
ALFANO: 11 Principe Zilah R6zycki's first opera.-

3 February. Genoa, C.F. GUNSBOURG: Le vieil Aigle

Text' by L. Illiea (from a French novel by J. Cla- 13 Fcbruary. Monte Carlo
retie). Prologue, 3 aets, and epilogue. Text by the composer. One act.
Given with alterations at Milan, T.d.V. 60e- Gunsbourg's first opera; orchestrated by L.
tober 1909. Jehin. Also given at:
PARIS, o. 26 June 1909 (in French).
NOUGUES: Quo Vadis COLOGNE 26 December 1909 (in German).
9 February. Nice BRUSSELS 19 May 19IO (in French).

Text by H. Cain (founded on H. Sienkiewicz's MOSCOW October 1912 (in Russian).

novel). Five acts. CHICAGO 19 January 1917 (in Freneh).

Nougues most suceessful opera. Given at: NEW YORK 28 February 1919 (in French).

PARIS, GAtTE 26 November 1909 (in French). BARCELONA 27 November 1919 (in French).

ANTWERP 18 January 19IO (in French). Revived at Monte Carlo, February 1935.
PRAGUE 19 April 19IO (in Germati, translated by
G FERRARI 1 : Le Cobzar
H. Liebstöekl).
VIENNA, V.O. 12 Oetober 1919 (in German, trans- 16 February. Monte Carlo
lated by H. Liebstöckl). Text by P. Milliet (from a Rumanian libretto by
WARSAW Oetober 1910 (in Polish). H. Vacarescu). Two acts.
MOSCOW October 19IO (in Russian). In French also, Aix-Ies-Bains 7 September
BRUSSELS 26 November 1910 (in French). 1909, etc. Paris, O. 30 March 1912.
GENEVA 13 December 19IO (in French). In German (translated by o. Neitzel), Cassel
PIDLADELPHIA 25 March 19II (in French). 26 November 1913.
NEW YORK 4 April 19II (in French). (Like Cavalleria rusticana, this opera contains an
MILAN, T.D.V. 3 May 19II (in Italian). Intermezzo sinfonico.)
LONDON, L.O.H. 13 November 19II (in Freneh;
at the opening of the new London Opera
REUSS: Herzog Philipps Brautfahrt
House, Kingsway). 22 February. Graz

BUDAPEST 7 Deeember 19II (in Hungarian; at Text by H. von Gumppenberg. Three acts.
the opening of the new People's Opera). The only opera of Reuss, who is better-known
RIGA 1912 (in German). as a composer of songs and instrumental musie.
BERLIN I7 February 1912 (in German; at the new
Kurfürsten-Oper). CHAPI: Margarita la Tornera
NEW ORLEANS 4January 1913 (in French). 24 February. Madrid, T.R.
BARCELONA 28 November 1920 (in French). Text by C. Femandez Shaw. Three acts.
Quo Vadis was a transitory sueeess in other Chapi's last opera (produced so me weeks
countries ; but it is still given on French stages; re- 1 The-composer, Gabrielle Ferrari, was one ofthe very
vived in Paris, Ch. E. 27 February 1920; G.L. 24 few women composers in France. H.R.

1289 1290
 ANNALS OF OPERA 1909

before his death) and one of his most important (M USORGSKY): Zhenitba
works. ' JKeHllTb6a
Ih Spanish also, Buenos Aires 12 November (The Marriage)*
1910. 1 April. St. Petersburg
MRACZEK: Der Traum Text from Gogol's comedy, called an Attempt at
Dramatie Musie in Prose.
26 February. Brünn Written in 1868; only the first act, consisting
Text by the composer (from F. Grillparzer's Der of 4 scenes, is finished. First heard in concert form
Traum ein Leben). Three acts. at Kyui's on 6 Gctober 1868 and in 1909 on the
Berlin 29 March 1912. stage of the Suvorin Theatre School, but with
piano accompaniment. First produced with or-
chestra at Petrograd 26 October 1917 along with
TINEL: Katharina the first production of Thc Fair of Sorochinfsy
27 February. Brussels, M. (q.v.).
Also given in Paris April 1923 (privately; in
(Original German) text by L. van Heemstede,
French, translated by R. d'Harcourt, music ar-
French version by F. van Duyse. Three acts.
, ranged by Ravel); Monte Carlo 7 January 1930
In German, Coblenz 3 March 1910. Revived
(orchestrated by M. Beclart d'Harcollrt).
Brussels 12 April 1930 (in French).
In German, Essen 14 November 1937.
(Katharina was frequently performed as an ora-
(See on The Marriage, C. Koechlin in Revue
torio, in concert form.)
Musicale, May 1923. and A. Sandulenko in The
Chesterian, 1934, No. II6.)
HÖEBERG: Et Bryllup i Katakomberne
(The Wedding in the Catacombs) HADLEY: Safii
4 April. Mayence
6 March. Copenhagen
(Original English) text by E. Oxenford, German
Text by S. Michaelis. Three acts. version by O. Neitzel. One act.
The only opera of the Danish composer. The first opera of the American composer
which was produced. Never given in America.

MONTEMEZZI: Hellera MASCHERONI: La Perugina

17 March. Turin, T.R. 24 April. Naples, S,c.
Text by L. Illica (founded on B. Constant's Text by L. Illica. Four acts.
Mascheroni's last opera.
Adolphe). Three acts.
Revived only 12 December 1937 (broadcast MASSENET: Bacchus
from Rome). 5 May. Paris, O.
Text by C. Mendcs. Four acts.
B RAU N FE L S: Prinzessin Brambilla Unsuccessful (6 performances) and never
revived.
25 March. Stuttgart
Text by the composer (founded on E. T. A. Hoff- KÜNNECKE: Robin's Ende
mann's story). Two acts. 5 May. Mannheim
The first of Braunfels's operas which was per- Text by M. Morris. Two acts.
formed. Revived in a new version, Hanover 15 The first opera ofKünnecke, who later made a
September 193 1. name as a composer of sllccessflll operettas. Given

129 1 1292
 ANNALS OF OPERA 1909
at Berlin, K.O. 23 March 1910; Hamburg 30 No- VIENNA 8 May 1929 (in Czech, by a eompany
vember 1910; Riga 19II; Basic 29 Oetober 19II, [rom Bratislava).
etc. SAN FRANCISCO 6 November 1933 (in English,
translated by P. Kerby).
COLIN: Maitena
CHICAGO 1934 (in English, translated by P. Kerby).
June. Bilbao BRUSSELS 20 November 1937 (in Freneh, translated
Text by E. Deerept. Two aets. by D. Calvoeoressi).
The first Basque opera, produeed at the Teatro HAGUE November 1938 (in Russian).
dos Campos-Elyseos, Bilbao, and repeated there
19 May 1910. D 0 P PER: William RatclijJ
Revived Madrid, Z., May 1928; in Spanish 190elober. Weimar
also, St. ]ean Pied-de-Port (Basses-Pyrcnees, Text from Heine's dramatic poem. Two aets.
Franee), September 193 r. The last opera of the Dutch composer. Revived
The work is frequently referred to as the first (in Flemish), Antwerp II March 1913.
Basque opera. It seems, however, to have been
produced not in the Basque language, but in d' ALBERT: Izeyl
Spanish; see Bulletin Frallfais of the l.M.S., 15 Oe-
6 NO/lc11Iber. Hamburg
tober 1910.
Text by R. Lothar (translated from a French play
by P. A. Silvestre and E. Morand). Three acts.
(RIMSKY-KORSAKOV) : In German also, Brünn, Mal' 1910.
Zolotoy Pyetushok In Swedish (transbted by E. Grandinsan),
30JIOTOH ntTYIlIOK'b Stockholm 2 November 1910.
(The Golden Cockerel) * HOL B R 0 0 K E: Pierrot alld Pierrette*
70elober. Moseow
11 N(1f1clllher. London, H.M.'s
Text by V. I. Byclsky (founded on a satirieal fairy
Text by W. E. Grogan (A lyrical musie drama).
tale by Pushkin). Three aets.
Two scenes.
Rimsky-Korsakov's last opera, produeed the
Holbrooke's first performed opera.
year after his death (and not in 1910 as many
books of referenee have it). One of his best and PRATELLA: La Sil1a d'Vargöun
most popular works. Outside Russia, given at:
4 Dcec11Iber. Bologna, T.C.
PARIS, O. 24 May 1914 (in Russian, as opera ballet,
ehoreography by M. Fokine) and 16 May 1927 Text by the composer (Seme della ROl11ag/la bassa
(in French, translated by M. D. Calvoeoressi). per la Musica). Thrce aets.
LONDON, D.L. 15 ]une 1914 (in Rllssian) and 19
Awarded the l3aruzzi prize in 1909. The eurious
]uly 1918 (in English, translated by E. Agate). title is the name oE the heroine, Rossellina dei
NEW YORK 6 March 1918 (in Freneh) and 28 March Vergoni, in the Romagnese dialect.
1932 (in Rllssian). Revived Milan, T.d.V. 7 October 1924.
BERLIN 18 ]une 1923 (in German, transbted by H. See on this opera, A. Toni in R.M.I., 1910.
Möller).
ANTWERP 24 November 1923 (in Flemish).
WO L F- FE R RAR I: Stlsannens Geheimnis*
TURIN, T.R. 17 February 1<)25 (in Italian). 4 DCCC/llbcr. Munieh
BUENOS AmES 2T ]uly 19:i5 (in Italian; revived 18 (Original Italian) text by E. Golisciani, German
]une 1937). version by M. Kalbeck. One aet.
WARSAW December T926 (in Polish). This intermezzo tllrtled out to be Wolf-Fer-
RIGA T 3 September 192R (in Lettish). rari's most successful work. It was givcn at:
Y 1293 1294
1909 ANNALS OF OPERA 1909-10

STRASBOURG 27 January 1910 (in German). 1912. Revived Helsinki 28 February 1923 and
PRAGUE 18 August 1910 (in German) and 13 Sep- 23 February 1935·
tember 1910 (in Czech).
VIENNA 4 October 1910 (in German). GATTY: Duke or Devil
STOCKHOLM II January 1911 (in Swedish, trans-
16 Dccember. Manchester
lated by S. Nyblom).
Text by I. Gatty (the brother of the composer).
NEW YORK 14 March 191 I (for the fmt time in the
A farcical Opera. One aet.
original Itaban).
Also given in London, Crystal Palace, 21 No-
ZAGREB 21 March 191 I (in Croatian, translated by
vember 191 I.
G. Prcjac).
A revised edition was published in 1924.
BASLE 21 April 1911 (in German).
LONDON; C.G. 1I July 191 I (in Italian) and 12 No-
vember 1919 (in English).
1910
BRUSSELS 28 October 1911 (in French, translated
by M. Kuffcrath). LEONCAVALLO: Maia
BUDAPEST 18 November 19II (in Hungarian,
15jalllwry. Rome, C.
translated by S. Varady).
(Original French) text by P. de Choudens, Italian
ROME 27 November 19II (in Italian); Milan, T.
version by A. Nessi. Three aets. The premiere was
d.V. 23 September 1915, etc.
conducted by Mascagni.
MANCHESTER 19 February 1912 (in English, trans-
In German (translated by G. Droescher), Berlin
Iated by C. Aveling).
18 March 191I.
BERLIN, KURF.O. 23 September 1912 (in German).
BUENOS AIRES 26 June 1913 (in Italian).
TOULOUSE December 1913 (in French).
S. WAGNER: Banadietrich
LEMBERG 1913 (in Polish). 23 january. Carlsruhe
COPENHAGEN 15 March 1914 (in Danish, trans- Text by the composer. Three acts.
Iated by J. Lehmann). In German also, Prague 20 November 1910;
MONTREAL 1914 (in French). Vienna 15 May 1912, etc.
MALTA 1916 (in Italian).
BARCELONA 2 December 1916 (in Italian). DUPONT: La Glu
PARIS, O.c. 28 June 1921 (in French).
26 jal1uary. Nice
LJUBLJANA Spring 1924 (in Siovenian).
Text by J. Richepin and H. Cain (dralJ/e lIIusical
CAPE TOWN 1924 (in English).
populairc), founded on Richepin's novel (1881)
SEVERAC: Le ecrur du Moulin and plal' (1883) of the same title. Four acts.
8 Decc/1/ber. Paris, O.c. In French also given at Rouen 4 Januarl' 191 I;
Brusscls II January 191 I; Antwerp 9 November
Text by M. Magre. Two acts.
1911; AIgiersJanuary 1913; Geneva 14 February
Scverac's only opera: Given at the O.c. 14
1913; Lyons 14 November 19J 4.
times in 1909-10; not revived.
The composer was descended from the Kings
ofAragon. MASSENET: DOll QuicllOtte*
19 Fl'brllary. Monte Carlo
MELARTIN: Aino
Text by H. Cain (afrer Cervalltes and J. Le Lor-
10 Dl'cl'lIIhcr. Helsinki rain's comedy, Ll' eln'Falicr de Ia Longue FigHre,
Text by J. Finne (from the Kalevala). 1906). Five acts.
Mclartin's only opera. An open-air perform- Massenct' s last grcat SlICCCSS. Given at:
ance took place at N yslott (Olofsborg) 3 July BRUSSELS 14 Mal' J910 (in Frcnch).

1295
1910 ANNALS OF OPERA 1910

MOSCOW 25 November 1910 (in Russian, trans- JOHANNESBURG March 1912 (in English).
lated by M. A. Kuzmin). . ANTWERP 12 November 1912 (in Freneh).
MARSEILLES 17 Deeember 1910 (in Freneh). NANTES 8 February 1913 (in Freneh).
PARIS, GAiTE 29 Deeember 1910 (in Freneh). BUDAPEST 3 May 1913 (in Hungarian, translated
NUREMBERG 31 March 1911 (in German, trans- by S. Hevesi).
lated by E. Huldsehinsky). BRUSSELS 9 Deeember 1913 (in Freneh).
NEW ORLEANS 27 January 1912 (in Freneh). MARSEILLES 24 March 1914 (in Freneh).
LONDON, L.O.H. 18 May 1912 (in Freneh). LONDON, SHAFTESBURY 28 Deeember 1915 and
GENEVA 8 November 1912 (in Freneh). c.G. 30 May 1923 (in English, translated by N.
PHILADELPHIA 15 November 1913 (in Freneh). Cox). R.C.M. 1930 (in Freneh).
NEW YORK 3 February 1914 (in Freneh). PARIS, TH.L. 10 Deeember 1919 (in Freneh).
RIO DE JANEIRO Summer 1926 (in Italian, trans- BERGAMO March 1920 (in Italian, translated by F.
lated by Cipriano di Rora). Casanova).
CATANIA 5 January 1928 (in Italian, translated by AMSTERDAM 20 May 1921 (in Freneh).
Cipriano di Rora). LYONS 19 January 1923 (in French).
TRIESTE 7 January 1928 (in Italian, translated by SANTIAGO, CHILE Autumn 1934 (in Freneh).
Cipriano di Rora).
BERLIN, KROLL'S 25 May 1928 (in Russian !).
BARCELONA 21 Deeember 1929 (in Freneh). BREVILLE: Eros Vainqueur
First given at the O.c., Paris 7 Oetober 1924 7 March. Brussels, M.
and revived there 10 January 1931.
Still given on Freneh and Italian stages; revived Text by J. Lorrain. Three aets.
at Brussels 10 November 1939. Breville's only opera. First given at Paris, Salle
Gaveau, in coneert form, by the "Sehola Canto-
rum," 4 February 1922; revived on the stage O.c.
NOUGUES: L'Auberge rouge 8 February 1932.

21 February. Niee
'Iext by S. Basset (after Balzae's story). Two aets. ZIeH: MaUfsky Napad
Paris, Tr. L. 21 Deeember 1911. (An Artist's Whim)
11 March. Prague, Cz.
DEBUSSY: L'Enfant prodigue Text by the composer (founded on a story by S.
Ceeh). One aet.
28 Febmary.London, c.G.
Zieh's first opera. Revived Prague 27 January
Text by E. Guinand. One aet.
1933·
Originally a scene lyriqru for soloists, chorus
and orenestra (the eomposer's Prix de Rome ean-
tata, published 1884). As a eoneert eantata it was GIORDANO: Mese Mariano*
sung at the Sheffield Festival, 8 Oetober 1908. In
17 March. Palermo
operatie form first produeed in London 1910, in
Freneh, and subsequently given at: Text by S. di Giaeomo. One aet.
ZURICH 9 November 1910 (in German, translated Sueeessful in Italy; in Italian also given at
by E. Huldsehinsky). Buenos Aires 23 July 1910.
BOSTON 16 November 1910 (in Freneh). In German (translated by M. Kalbeck), Lueerne
MAGDEBURG Deeember 1910 (in German). 8January 1933.
BARCELONA 26 January 1911 (in Catalan, trans- Revived in Italy at Genoa I March 1938; Milan,
Iated by J. Pena). Sc. 9 March 1940.

1297
1910 ANNALS OF OPERA 1910

BITTNER: Der Musikant The first opera of the American composer;

previously given in concert form at Pittsburgh,
12 April. Vienna, O.
Pa., 15 January 1906 and at a White House recep-
Text by the composer. Two acts.
tion in the presence ofTheodore Roosevelt.
Successful on German stages; given at Frank-
fort 29 October 1910; Berlin, Kroll's 30July 19I1, VAN OOSTERZEE: Das Gelöbnis
etc.
1 May. Weimar
In German also, Prague 191 I; Strasbourg 191 I;
RigaJanuary 1913. (German) text by G. Klett and L. Wittich
Revived Vienna 21 November 193 I. (founded on a story by R. Voss). Two acts.
The only opera of the Dutch wo man composer,
PETERSON-BERGER: Arnjlot who was a native of Batavia.

13 April. Stockholm
TERRASSE: Le Mariage de Telimaque
Text by the composer. Threc acts.
One of Peterson-Berger's most important 4 May. Paris, O.c.
works; revived at Stockholm 24 February 1922. Text by J. Lemaitre and M. Donnay. Five acts.
(The first act had been produced in the open Successful on French stages; outside France
air at Frösön, Jämtland, 21 June 1908.) given at Stockholm 8 March 1911 (in Swedish)
and Buenos Aires 25 June 1911 (in French).
PALMGREN: Daniel Hjort Revived Paris, O.c. 13 November 1913 (re-
duced to 3acts) and 29 October 1921.
15 April. Abo (Turku)
(Original Swedish) text by the composer (founded O'DWYER: Bithne
on a tragedy by J. J. WeckseIl). Five acts.
16 May. Dublin
Revived Hclsinki 20 February 1929 (in Finn-
ish, translated by K. Vesala and W. Sola). Text by T. O'Ccallaigh (O'Kelly), founded on
the Irish folk story Ea/! 1111 cheoil bhinn. Two arts.
BRÜGGEMANN: Margherita Apparently the first opera cver produced in
Erse. Vocal score and libretto (both in Erse and
18 April. Milan, Sc.
in English) printed.
(Italian) text by the composer (from Goethe's
Fllust). Four acts. USA N D I ZAG A: Mendi-Mendyian
Second part of an [ta!iarr Fallst trilogy; the two
21 May. Bilbao
other parts havc nN yet been performed.
(Spanish) text by J. Power. Usandizaga's first
opera.
SANCHEZ DE FUENTES: Dolorosa
2} April. Havana PIERNE: On ne badine pas
(Spanish) text by F. Uhrbach. Prologue and 2 acts. avec ['Amour
Probably the first opera of a Cuban composer 30 May. Paris,O.C.
which was also proJuccd in Europe: Turin 8 Au- Text by L. Lcloir and G. Nigond (founded on the
gust 19II (Italian version by G. Macchi). play by A. de Musset). Three acts.
Unsuccessful; performed 8 times only.
NEVIN: Poia
2} April. Berlin, O. GURIDI: Mirentxu
(Original English) text by R. Hartley (founded June. Bilbao
on Indianlegcnds collccted by W. MacClintock), Text by the composer and A. de Echave y Naza-
German version by E. von Huhn. Three acts. bai. Two acts.

1299 1300
1910 ANNALS OF OPERA 1910

The first opera of the Easque composer. GUNSBOURG: Ivan le Te"ible

In Spanish also given at Barcelona 23 January
200etober. Brussels, M.
1913 and Madrid, Z. 1914.
Text by the composer. Three acts.
Gunsbourg's chief work (orchestrated by L.
CLUTSAM: A Summer Night Jehin).
23 July. London, H.M.'s In French also, Monte Carlo 2 March 19II;
Text by the composer (founded on a story from Paris, Galte 31 October 191 I; Barcelona 27 No-
the Heptameron). One act. vember 1919; Rio de Janeiro 7 October 1922.
Given at c.G. later in the same year, 24 No-
MERIKANTO: Elinan Surma
vember 1910.
(Elina' s Death)
HAARKLOU: Marisagnet 17 November. Helsinki

(St. Mary's Legend) Text by J. Finne (founded on a play by G. A. von

Numers). Five acts.
17 Allgust. Christiania
Revived Helsinki 12 Dcccmber 1917 ancl 23
Text by A. Winge. Seven scenes. March 1933.
The last opera of the Norwegian composer. Also given in Estonian, at Tallinn (Reval) 1932.

ZANELLA: Aura RESPIGHI: Semirama

20 November. Bologna, T.C.
27 August. Pesaro
Text by 1. Finzi. Three acts. Text by A. Cere. Three acts. Respighi's second
opera; unsuccessful.
The first opera of Zanella, who had become
Mascagni's successor as director of the Liceo Ros- KAISER!: Stella Maris
sini, Pesaro, in 1905.
25 November. Düsseldorf
(Original French) text by H. Revers, German
FLORIDlA: Paoletta version by the composer. Three acts.
29 August. Cincinnati Successful on German stages; given at Graz
(English) text by P. Jones (founded on his story, November 1912; Luceme 1913; Berlin, Kur-
The Saered Mirror). Four acts. fürsten Oper 16 January 1913, etG.
First produced at the Ohio Valley Exhibition; In English, Liverpool 15 April 1919; London,
commissioned by the city of Cincinnati; revived King's, Hammersmith 23 May 1919 and Ly. 20
New York 21 March 1920 (in abridged form). August 1919.
Produced in England after the composer' s death
NEUMANN: Liebelei in 1917; see Thc MOl1thly Musical Record, January
18 September. Frankfort 1918 (account by the composer's widow).

Text from A. Schnitzler's play (without altera-

tions). Three acts.
BLOCH: Macbeth*
The most successful opera of the Moravian 30 NOl'cmbcr. Paris, O.C.
composer. Also given at: Text by E. Fleg (after Shakespeare). Prologue and
BERLlN, R.O. 20 January 19II (in German). 3 acts.
HELSINKI 18 October 19II (in Finnish). Bloch's only opera. Regarded by many critics
PRAGUE 14 November 19II (in Czech), as a most important work; unsuccessful (13 per-
VIENNA, V.O. 14 October 1913 (in German). l Belgian composer who changed his name to Oe
Revived Bmo 1930. Keyser during World War 1. H.R.

13°1 1302
1910 ANNALS OF OPERA 1910

formanees). Revived only after 28 years, at Naples, BARCELONA 24 April 1915 (in Italian).
S.C. 5 March 1938 (in Italian, translated by M. ZAGREB 28 Oetober 1916 (in Croatian, translated
Tibaldi Chiesa). by M. Nehajev).
LJUBLJANA 9 May 1928 (in Slovenian).

ZEMLINSKY: Kleider machen Leute BUCHAREST Oetober 1931 (in Rumanian).

TRIPOLIS November 1934 (in Italian).
2 Deeember. Vienna, V.O.
STOCKHOLM 29 Deeember 1935 (in Swedish).
Text by L. Feld (from a story by G. Keller). Pro-
tIELSINKI 21 Oetober 1937 (in Finnish).
logue and 3 aets.
Revived in a new version at Prague Mareh
1922; Düsseldorf November 1924; and again HUMPERDINCK: Königskinder*
Cologne 12 Oetober 1934; Zurieh 1935. 28 Deeember. New York, M.

Text by E. Rosmer. Three aets.

PUCCINI: La Fanciulla del West* Apart from Hämel und Gretel (see 1893) Hum-
10Deeember. New York, M. perdinek's most sueeessf111 opera. Königskinder
Text by G. Civinini and C. Zangarini (founded originally was a play by E. Rosmer with melo-
on D. Belasco's play, The Girl oft/le Golden West). dramatie music by Hl1mperdinek. In that form it
Three aets. was first produeed at Munieh 23 January 1897 and
Given at: subsequently at Vienna, W. 10 MaY1897; Prague
LONDON, C.G. 29 May 19II (in Italian) and D.L. 22 August 1897; Berlin II Mareh 1898; Riga 25
31 May 1917 (in English). Oetober 1898, ete. In German also, New York
ROME, C. 12 June 19II; Milan, Se. 29 Deeember 29 April 1898.
1912, ete. (in Italian). In English (translated by C. Armbruster), Lon-
BUENOS AIRES 25 July 191 I (in Italian). don, Court Th. 13 aetober 1897; in another Eng-
WARSAW 5 Oetober 19II (in Polish). lish version (by F. Langbridge and A. H. Ferro),
LIVERPOOL 6 Oetober 19II (in English, translated Dublin 4 September 1902 and New York 3 No-
by R. H. Elkin). . vember 1902.
ALEXANDRIA 19 February 1912 (in Italian). Parts ofHumperdinck's music were first heard
BUDAPEST 29 February 1912 (in Hungarian, trans- at a coneert at Heidelbcrg 3 June 1896.
lated by S. Varady). The operatic version was first produced atthe
MONTE CARLO 2 April 1912 (in Italian). Metropolitan, New York, in German, and sub-
PARIS, O. 16 May 1912 (in Italian). sequently at:
JOHANNESBURG April 1912 (in English). BERLIN 14 January 19I1 (in German).
M.ARSEILLES 8 November 1912 (in Freneh, trans- PRAGUE 15 January 19I1 (in German).
lated by M. Vaueaire). STRASBOURG 30 April 19II (in German).
BRUSSELS 17 Mareh 1913 (in Freneh) and 6 aeto- RIGA 19II (in German).
ber 1913 (in Italian). LONDON, C.G. 27 November 19II (in German).
BERLIN, D.O. 28 Mareh 1913 (in German, trans- MILAN, SC. 26 Deeember 191 I (in Italian, trans-
lated by A. Brüggemann). lated by G. Pozza and A. Lega).
RIGA 1913 (in German) and 16 Deeember 1926 (in BOSTON 16 April 1912 (in German).
Lettish). BUENOS AIRES 20 August 1912 (in Italian).
PRAGUE 1913 (in German). AMSTERDAM 1912 (in German).
MALTA 1913 (in Italian). BUDAPEST 8 aetober 1912 (in Hungarian, trans-
MOSCOW aetober 1913 (in Russian). lated by S. Varady).
VIENNA 24 aetober 1913 (in German); revived 18 BRUSSELS 25 Oetober 1912 (in French, translated
May 1936. by R. Brussel).

13 0 3 1304
 ANNALS OF OPERA 19II

VIENNA, V.O.21 December 1912 (in German) ; O. MILAN, SC. 1 March 1911 (in Italian, translated by
only 19 October 1938. o. Schanzer).
MOSCOW October 1913 (in Russian). PRAGUE 4 March 19II (in Czech, translated by K.
ZAGREB 18 December 1915 (in Croatian, trans- Sipek) and May 1914 (in German).
lated by A. Mitrovic). VIENNA 8 April 1911 (in German).
STOCKHOLM 30 December 1926 (in Swedish). BUDAPEST 21 May 19II (in Hungarian, translated
by S. Varady).
F. d'ERLANGER: Noel HAGUE 28 November 19II and Amsterdam
10 January 1917 (in German).
28 Decemher. Paris, O.c.
STRASBOURG 28 March 1912 (in German).
Text by J. and P. Ferrier. Three acts. LONDON, C.G. 29 January 1913 (in German) and
d'Erlanger's last opera. Sadler's WeHs 8 March 1939 (in English).
In French also, Chicago 8 January 1913; Phila- LAIBACH (LJUBLJANA) 1913 (in German) and 25
delphia 10 February 1913; Montreal 1913. March 1936 (in Slovenian, translated by N.
In Swedish, Stockholm 29 September 1924· Stritov).
BIRMINGHAM 29 September 1913 (in English,
H ÜE : Le Miracle translated by A. Kalisch).
30 December. Paris, O. NEW YORK 9 December 1913 (in German).
BUENOS AIRES 24 July 1915 (in Italian).
Text by P. B. Gheusi and A. Merane. Five acts.
RIO DE JANEIRO 10 September 1915 (in Italian).
Revived Paris, O. 18 November 1927.
ZAGREB 29 April 1916 (in Croatian, translated by
M. Nehajev) and 29 May 1938 (in German),
1911 by the Frankfort opera company.
COPENHAGEN 4 November 1916 (in Danish, trans-
v p oupev
OSTRCIL: lated by J. Lehmann).
(The Bud) AMSTERDAM 10 January 1917 (in German).
STOCKHOLM 20 April 1920 (in Swedish, translated
25 January. Prague, Cz.
by S. Nyblom).
Text by F. X. Svoboda. One act.
BARCELONA 2 April 1921 (in German) and No-
Successful in Czechoslovakia; revived Prague
vember 1934 (in Catalan, translated by J. Pena).
6 October 1919 and 22 October 1935.
WARSAW April 1922 (in Polish, translated by P.
In German (translated by A. Heller), Teplitz-
Maszyllski).
Schönau 25 February 1932.
HELSINKI 12 October 1923 (in Swedish).
ANTWERP 6 March 1926 (in Flemish, translated by
R. S T RAU S s: Der Rosenkavalier* A. M. Pols).
26 Jalluary. Dresden MONTE CARLO March 1926 (in French, translated
Text by H. von Hofmannsthai (Komödie für Mu- by J. Chantavoine).
sik). Three acts. PARIS, O. II February 1927 (in French, translated
Strauss's most popular opera; given at Nurem- by J. Chantavoine).
berg the next night, 27 January 19II; Munich I LYONS 22 February 1928 (in French, translated by
February 19II ; Bremen 28 February 19II; Frank- J. Chantavoinc).
fort I March 19II, etc. BUCHAREST October 1929 (in Rumanian, translat-
First given at Berlin 4 April 19II (300th per- ed by R. Steiner) and 4 May 1938 (in German).
formance 28 June 1933). RIGA 16 May 1930 (in Lettish).
Outside Germany, given at: SOFIA 10 May 1938 (in German).
BASLE 15 February 19II (in German). ATHENS 16 May 1938 (in German).

13 06
19II ANNALS OF OPERA 19II

HERBERT: Natoma HALVORSEN: Mot Nordpolen

25 Febmary. Philadelphia (To the North Pole)
Text by J. D. Redding. TIme acts. 6 April. Christiania
Successful in the U.s.A. Given at New.York, Text by V. Dybwad. Three acts.
M. 28 February 19II; Baltimore 9 March 19II; The only operetta of the well-known Norwe-
Chicago 13 December 191 I; Los Angeles 8 March gian composer and conductor.
1913; San Francisco 15 March 1913; revived at
the Century Th., New York 13 April 1914. LAPARRA: LaJota
(A copyright performance of Natoma took
26 April. Paris, O.C.
place at Ladbroke Hall, London, the same night
Text by the composer (Conte lyriqlle). Two acts.
as at Philadelphia.)
Mueh less successful than his Habanera, three
years earlier; given 8 times only and not revived
CONVERSE: The Sacrifice so far.

3 lo41rch. Boston RA VEL: L'Heure espagnole*

Text by the composer (Iyrics by J. A. Macy). 19 May. Paris, O.c.
Three acts. Text by Franc-Nohain (from his comedy of the
Converse's second and last opera. same tide, 1904). One act.
(The date of the first production is incorrectly Ravel's first and most Sllccessful ope~a. Given
reported as 16 November 1910 in H. C. Lahee's at the O.C. 9 times in 1911 and transferred to
Annals of Music ill Amcrica, and, consequently, in the repertory of the Opera on 5 December 192 I.
many other books of reference.) Given on many Freneh stages; the opera did
not make its way into other countries until after
the war:
ATANASOV: Borislav
LONDON, C.G. 24 July 1919 (in French).
};0pMC';IaB'b CHICAGO 5 January 1920 (in French).

4 March. Sofia· NEW YORK 28 January 1920 (in French) and Juil-
liard School 9 March 1936 (in English, trans-
Text by N. P. Popov. Four aets.
Iated by R. A. Simon).
One of the earliest original Bulgarian operas.
BRUSSELS 27 January 1921 (in Frrnch).
Libretto published at Plovdiv.
BASLE 15 May 1923 (in Frt;nch).
ROTTERDAM 13 October 1923 (in Dutch, trans-

SAINT-SAENS: Dijanire Iated by B. Verhagen).

PRAGUE 6 June 1924 (in German, translated by
14 March. Monte Ca r10
Leonhard and Strasser).
Text by L. Gallet. Four acts. HAMBURG 5 February 1925 (in German. translated
(Originally incidental music to Gallet' s tragedy, by Lconhard and Strasser).
performed atthe Arenes, Beziers, 25 August 1898 STOCKHOLM 24 September 1925 (in Swedish).
and Paris, Odeon II November 1898). Operatic TURIN, LD.L 18 May 1920 (in French).
version first produced at Monte Carlo and sub- BUDAPEST 29 March 1928 (in Hungarian, trans-
sequently at Paris, O. 22 November 19II (in lated by V. Unyi).
Freneh); Brussels 6 December 19II (in French); WARSAW 1928 (in Polish).
Dessau 1 January 1912 (in German, translated by LIVERPOOL 19 Octobcr 1928 (in English, trans-
P. Hiller); Chieago 9 Deeembcr 1915 (in. Iated by A. K. Holland; by amateurs, with
Italian). piano accompaniment).

13 0 7 1308
·1911 ANNALS OF OPERA 19II
MILAN, SC. 9 February 1929 (in Italian, translated Munich 10 December 191 I, etc. Revived
by P. Clausetti). Vienna April 1939.
BERLIN 27 September 1929 (in German).
BUENOS AIRES 20 September 1932 (in French). KIENZL: Der Kuhreigen
BUCHAREST November 1932 (in Rumanian).
23 November. Vienna, V.O.
AMSTERDAM 23 November 1933 (in French) and
Text by R. Batka (founded on a story by R. H.
26 March 1938 (in Dutch).
Bartsch). Three acts.
CAIRO March 1934 (in French).
Apart from Der Evangelimann (see 1895),
VIENNA 13 February 1935 (in German).
Kienzl's most successful opera; given at:
COPENHAGEN 25 January 1940 (in Danish, trans-
MAGDEBURG January 1912 (in German).
lated by G. Hansen).
PRAGUE January 1912 (in German).
LAIBACH 1912 (in German).
MASCAGNI: Isabeau* BERLIN, KURF. O. 7 September 1912 (in German).
2 JI/Ile. Buenos Aires PIDLADELPHIA 21 February 1913 (in French, trans-
Text by L. Illica. Three acts. lated by R. Brussel).
Very successful in many countries. Given (in NEW YORK 25 February 1913 (in French, trans-
Italian) at Rio de Janeiro 21 July 191 I; Milan, Sc. lated by R. Brussel).
and Venice, F. 20 January 1912; Madrid 17 De- BASLE 24 March 1913 (in German).
cember 1912; Malta 1914; Chicago 12 November LIVERPOOL 23 January 1914 (in English, as The
1917; New York 13 February 1918; Barcelona Da/lce oj Deatlz, translated by R. Sapio).
15 April 1920. LONDON, BOROUGH 13 July 1914 (in English, as
In German (translated by R. Cahn-Speyer), The Da/lce.ojDeath, translated by R. Sapio).
Vienna, V.O. 1 March 1913. ANTWERP II December 1914 (in Flemish).
Revived Vienna, O. 18 Oetober 1921; 28 Feb-
ZANDONAI: Conchita* ruary 1932; and 12 Janllary 1938.
140ctober. Milan, T.d.V.
(Original French) text by M. Vaucaire (follnded MAGN ARD: Berenice
on P. LOllYS' s novel, La Femme cf le Pa/ltin), Italian 15 Deccmber. Paris,O.C.
version by C. Zangarini. 1 Four acts. Text by the composer (founded on Racine's tra-
Zandonai's first great success; outside ltaly (in gedy). Three acts.
Italian) also given at Buenos Aires 14June 1912; The first of Magnard's operas which was per-
London, c.G. 3 July 1912; Rio de Janeiro 22 Jllly formed; his Gl/erCOCllr, written as early as 1900,
1912; San Francisco 28 September 1912; New was not produced until 1931 (q.v.). Performed
York, M. I I February 1913; Nice May 1914; 14 times in 19II-12, not revived.
Malta 1915.
In the original French (as La Femme et le Pantill) ,
Paris, O.c. I I March 1929.
WOLF-FERRARI: Der Schmuck
Still given in ltaly; revived Buenos Aires 30 der Madonna *
June 1939; Milan, Sc. 8 Deeember 1939. 23 December. Berlin, Kurfürsten-Oper
(Original Italian) text by E. Golisciani and C.
BITTNER: Der Bergsee Zangarini (I Gioie/li della Madonna), German ver-
9 November. Vienna, O. sion by H. Liebstöckl. Three acts.
Wolf-Ferrari's first and only attempt at tragic
Text by the composer. Prologue and 2 acts.
opera in the veristic style. Very successful, given
1 The libretto originally was written for Puccini. at:

1309 13 10
 1911-12 ANNALS OF OPERA 19 12

CHI CA GO 16 January 1912 (for the first time in STRASBOURG Oetober 1912 (in German).
Italian). STOCKHOLM 21 October 1912 (in Swedish).
NEW YORK, M. 5 Mareh 1912 (in Italian) and Cen- VIENNA 25 November 1912 (in German).
tury Th. 14Oetober 1913 (in English). BASLE 8 Deeember 1912 (in German).
LONDON, C.G. 30 May 1912 (in Italian) and 3 De- BRÜNN January 1913 (in German).
eember 1920 (in English). BUDAPEST 2 Mareh 1913 (in Hungarian, translated

PRAGUE May 1912 (in German). by V. Lanyi).

VIENNA, V.O. 2 Oetober 1912 (in German). LONDON, c.G. 24 April J913 (in German).

GENOA, C.F. 6 February 1913 (initalian). PRAGUE 1913 (in German).

ANTWERP 15 February 1913 (in Flemish). RIGA 1913 (in German).

GLASGOW 28 February 1913 (not 1912; for the ANTWERP January 1914 (in Flemish).

first time in English, translated by C. A veling). Revived Berlin, D.O. 4 February 1933·
COPENHAGEN Spring 1913 (in German, by the Kiel
eompany). ROPARTZ: Le Pays
LAIBACH 1913 (in German).
1 February. Naney
PARIS, O. 12 September 1913 (in Freneh, trans-
lated by R. Lara). Text by C. Le Goffic. Three aets.
. BRUSSELS 17 Oetober 1913 (in Freneh, translated
Ropartz's most important opera; given at
by R. Lara). Paris, O.c. 16 April 1913 and revived there 2
ZAGREB 17 Oetober 1913 (in Croatian, translated
February 1924. In French also, Geneva 8 February
1918.
by A. Mitrovic).
STOCKHOLM 4 Deeember 1913 (in Swedish, trans-
In German (translated by P. Magnettc), Alten-
lated by S. Nyblom). burg 24 April 1914.
BASLE 26 Decembcr 1913 (in German).
GENEVA 17 February 1914 (in Freneh). NOUGUES: L'Aigle
MALTA 1916 (in Italian).
2 February. Rouen
AMSTERDAM October 1916 (in Dutch).
Text by H. Cain and L. Payen (epopee lyriqllc).
MONTREAL 6 October 1917 (in English ?).
Three aets.
KAUNAS 17 November 1928 (in Lithuanian).
Given at Paris, Galte 18 November 1912 and
LEMBERG 1<)29 (in Polish).
revived there at the Vaudeville 3 April 1915.
RIGA 14 March 1931 (in Lettish).
In Russian, Moseow Oetober 1912.
BUCHAREST Mareh 1933 (in Rumanian).
MONTE CARLO Mareh 1933 (in Italian).
Rcvived with so me alterations at Hanover 23 LAZZARI: La Lepreuse*
Deeembcr 1933 (in German). 7 Fcbmary. Paris, O.c.
Text by H. Bataille (tragCdic lt:~cndairc). Three acts.
1912 Lazzari's most important opera.
WALTERSHA USEN: Oberst Chabert In German (translated by the composer and E.
Klingenfeld), Mayenee 4 Mareh 1913.
18 Jal/Hary. Frankfort
Revived Paris, O.c. 25 November 1922.
Text by the composer (founded onBalzae'sstory,
Lc Colonel Chabcrt). Three acts.
Waltershauscn's most sllccessflll work. Given
VAN DEN EEDEN: Rhena
at: 15 Fclmtary. Brus~cls, M.
BERLIN, KURF. O. 20 April 1912 (in German). Text by M. Carrc fils (founded on Ouida's story
LAIBACH 1912 (in German). Don Gestlaldo). Four aets.
13 II 1312
1912 ANNALS OF OPERA 1912

Van den Eeden's most successful opera; revived (28 February is wrangly given in the printed
at Brussels 7 February 1925 (in French); Amster- score as the date of the first performance.)
dam 15 October -1927 (in Dutch).
L. DU BOIS: Edenie
MAS SIlN E'r: Roma 7 March. Antwerp
17 Fcbmary. Monte Carlo (Original French) text by C. Lemonnier (from
Text by H. Cain (founded on D. A. Parodi's tra- his novel, L'J/e Vicrgc) , produced in a Flernish
gedy, ROflle vaincue). Five acts. translation by L. van Riel. Three acts.
The last of Massenet's operas which was pro- The last opera of the Be1gian composer.
duced in his lifetime (d. 13 August 1912). Given
at Paris, O. 24 April 1912 and revived there 29 PARKER: Mona
December 1917. 14 March. New York, M.
In French also, Cairo January 1913; Brussels 15 Text by B. Hooker. Three aets.
January 1913; revived Antwerp December 1924. The opera was awarded the $10.000 prize of the
Metropolitan Opera House.
H. HUBER: Der Silllplicius "MOlla remains the great American opera-the
22 Fdmwry. Basic strongest, most significant, most rewarding" (P.
Text by A. Mendclssolm-Bartholdy. Three acts. Rosenfeld, 1936).
Revived Basic 21 Januar)' 1926.
ZICHY: Rodost6
DE LARA: Les frais Masques 20 March. Budapest
24 February. Marseilles Text by the composer. Prologue, 2 parts and epi-
Text by C. Mere. Four aets. logue.
Paris, Ch.E. 23 Oetober 1913. The third part of Zichy's Rdkoczy trilogy (see
In German (translated by O. Neitzcl) 5 March 1905 and 1909).
19 1 3. Also given at Breslau May 1916 and Prague
In English, Grecnock (ncar Glasgow) 27 June June 1916 (in German, translated by J. Prüwer?).
19 19.
N.BERG:Leila DUPONT: La Farce du Cu vier
29 February. Srockholm 21 March. Brusse1s, M.
Text by the composer (from llyron's Giaollr). Text by M. Lena (founded on the French 15th-
Four acts. century p!ay). Two acts.
The first opera of the Swedish composer. Given at Lilie December 1912; Paris, Th.S.B.
28 May 1915, etc.
P ARELLl: I dispcttasiAl11anti Frequently revived in Bclgium and France.
6 March, Philadelphia
(BOURGA ULT-DUCOUDRA Y):
Text by E. Comitti. Olle act.
Subsequently given at Chicago 1 February Myrdhin
1913 (in Italian). 28 March. Nantes
In ltalian also, Milan. T. Carc. 22 May '919; Text by S. Arnaud. Four acts.
London, c.G. 10 March ,924. Given in Italy until Bourgault-Ducoudray's last opera, produced
193 0 . two years after his dcath.
In English (as A L""t'i"s Qllatrcl, translated by (12 Februar)' is wrongly given in the printed
A. Strettell), New York 9 March 1913. libretto as rhe date of the first performance.)

13 1 3 1314
1912 ANNALS OF OPERA 1912

WEIS: Utok ua Mlyu DE LARA: Narl

(The Attack on the Mill) 22 April. Paris, Galte
29 March. Praglle, Cz.
Text by J. Bois. Three acts.
(Original German) text by R. Batka (founded on In English (translated by E. Evans), London,
E. Zola's L' Attaqlle du Moulin), czech version by?
c.G. 18 Jllly 1919.
Three acts.
In German, Vienna, V.O. 13 March 1914.
HOLBROOKE: The Chi/dren ofDon
PEROSl: Pompeji Is]rme. London, L.O.H.
6 April. Vienna, V.O. Text by T. E. Ellis (the first part of a trilogy, The
Text by K. Schreder and R. and M. Prosl (follnded Cauldrotr of A,1/Iwell, fütmded on Welsh legends ;
on Bulwer Lytton's noveI). Four acts. see 1914 and 1929). Prologue and 3 acts.
Perosi's only opera. In German (translated by H. Schilling), Vienna,
V.O. 29 March 1923 (see for an account of the
C. RADOUX: Oudelette pecllliar circumstances of that Vienna production,
F. Weingartner'sLebenserinnerungen, Vol.u, 1929,
11 April. Brussels, M.
PP·37 1-74).
Text by R. Ledent. Three acts.
The most important opera of the Belgian com-
poser. SCHREKER: Der firne Klang*
18 August. Frankfort
BUSONI: Die Brautwahl*
Text by the composer. Three acts.
13 April. Hamburg Schreker's first opera (written 1903-09). Given
Text by the composer (founded on a story by E. at:
T. A. Holfmann). Three acts and epilogue. PRAGUE 20 May 1920 (in German).
Busoni's first performed opera. Given in a re- GRAZ Spring 1924 (in German).
vised version at Mannheim 24 May 1913. Revived LENINGRAD 9 May 1925 (in Russian).
Berlin, D.O. 7 January 1926. BERLIN II May 1925 (in German).
STOCKHOLM 28 September 1927 (in Swedish).

LACCETTI: Hoffmann
15 April. Naples, S.c. LEONCAVALLO: Zingari*
Text by V. Bianchi and T. Spada (dealing with
16 September. London, Hippodrome
the life ofE. T. A. Holfmann). Three acts.
Revived Naples, S.C. 30 January 1932. (ltalian) text by E. Cavacchioli and G. Emanuel
(after Pushkin). Two acts.
One of the operas the success of which was
MU LE: La Baronessa di Carini
interrupted by the war; given at:
16 April. Palermo MILAN, T.L. 30 November 1912 (in Italian).
Text by F. P. Mull:, the brother of the composer. CHICAGO 23 March 1913 (in Italian).
One act. MAYENCE 6 March 1914 (in German, translated by
Mule's first opera. RevivedNaplesMarch 1933; E. Thieben).
Malta 6 January 1934; Venice 18 January 1934; MALTA 1914 (in Italian).
Cairo February 1939 (in Italian). BUENOS AIRES 7 August 1916 (in Italian).

13 15 13 1 6
 ANNALS OF OPERA 1912-13

R. S T RAU S S : Ariadnc auf Naxos* ROZYCKI: Meduza

25 Octof,cr. Stuttgart 260erober. Warsaw
Text by H. von HofmannsthaI. Text by c. Jellenta. Three acts.
The second opera ofthe Polish composer (deal-
In its original form a one-act opera to be given
ing with incidents in the life of Leonardo da
after Moliere's Lc B(ll/~~L"(lis GClltilholllme (for
Vinci).
which Strauss wrote incidcntal music). In the
second (1916) version, the refcn:nce to Moliere CAMUSSI: La Dubarry
was dropped altogether and a scenic prelude was 7 NOl'cl1lber. Milan, T.L.
added instead. Text by c. Antona Traversi and E. Golisciani.
The first version was, in Gcrlllan, also produced Three aets and epiloguc.
at Zurich 5 Decelllber 1912; Praguc 7 Decelllber Camussi's first opera. In Italian also givcn at
1912; Berlin 27 February 1913; Alllsterdam 1914; London, c.G. 3 July 1913.
in English (translated by S. Maugham), London,
H.M.'s 27 May 1913. E N NA: Nattergallen
The second version was first prodllced at (The Nightingale)
Vienna 4 October 1916 and sllbscqllently given 10 NOllclllbcr. Copenhagcn

at: Text by K. Friis-M01lcr (from H. C. Andersen's

BERUN 1 November 1916 (in German). tale). Three acts.
ZURICH 28 January 1917 (by Mannheim Opera).
Written about the same time as Stravinskv's
BUDAPEST 19 April 1919 (in Hllngarian, translated
opera of thc same subject (sec 1914). '

by Z. Harsanyi).
GRAZ 12 March 1920.
ZANDONAI: Melenis
13 ~·ollclllber. Milan, T.d.V.
AMSTERDAM January 1924 (in German).
Text by M. Spiritini and C. Zangarini (founded
LONDON, C.G. 27 May 1924 (in German).
on a French poem by 1. Bouilhet). Three acts.
TURIN, T.D.T. 7December 1925 (in Italian, trans- Unsllccessful.
Iated by O. Schanzer).
STOCKHOLM 27 November 1926 (in Swedish). WIENIAWSKI: Megae
PHILADELPHIA 1 November 1928 (in German). 28 Deeember. Warsaw
BRUSSELS 17 March 1930 (in French, translated by Text by the composer and M. Synnestvedt. Three
P. Spaak). scenes.
HELSINKI 12 May 1931 (in Finnish, translated by Wieniawski's first opera; sllccessflll in Poland,
A. afEnehjelm). revived at Warsaw 1927; Lemberg 4 October
193 0 •
NEW YORK 5 Decembcr 1934 (at the ]uilliard
School, in English, translated by A. Kalisch). Also given in Rllssian, Petrograd March 1916
(as one of the extremely few Polish operas which
ROME, T.R. 28 March 1935 (in German).
were prodllced at the Imperial Theatre there) and
ANTWERP 28 September 1935 (in Flcmish).
at Moscow in 1920.
PARIS, eH.E. 10 September 1937 (in German).

G. OREFICE: Radda 1913

250etober. Milan, T.1. A UBERT: La Foret bleue
Text by c. Vallini (founded on a story by M. 7 jalll/ary. Geneva
Gorky). One act. Text by ]. Chenevicre (follnded on Perrault's
Orefice' s last opera. tale). Three aets.

13 1 7 13 18
19 13 ANNALS OF OPERA 19 13
Aubert's only opera. DAMROSCH: Cyrano
In French also given at Boston 8 March 1913 27 February. New York, M.
and revived Paris, O.c. 10 June 1924.
Text by W. J. Henderson (founded on the play
Broadcast from London 17 December 1928
by E. Rostand). Four acts. .
(English version by H. Klein).

PAHISSA: Gala Placidia GASCO: La Leggenda delle

15 J anuary. Barcelona, L. sette Torri
Text from A. Guimera's tragedy ofthe same tide. 2 March. Rome, C.
Three acts. Text by O. Schanzer (suggested by Dante Gabriel
One of the most important operas of the Cata- Rossetti water-colour, The Tune ofSeven Towers,
lan composer; successful in Spain; revived Bar- 1857). One act.
celona February 1933. Gasco's only performed opera.

DOHNANYI: Tante Simona FA URE: Penelope*

22 January. Dresden
4 March. Monte Carlo
Text by V. Heindl. One act.
Text by R. Fauchois. Three acts.
Dohnanyi's first opera. In German also, Berlin,
Faure's most important opera. First given at
D.O. 9 April 1913, etc.
Paris, Ch.E. 10 May 1913 and revived O.C. 20
In Hungarian (translated by V. Unyi), Buda-
January 1919 and 14 March 1931.
pest 1913 (at the People's Opera) and revived
Given at Brussels 1 December 1913 (in French);
there at the State Opera 6 December 1933.
Antwerp 15 March 1924 (in Flernish, translated
Rochester, N.Y. Eastrnan Theatre 27 May 1935
by M. Sabbe).
(in English).

FOURDRAIN: Madame Roland SCHREKER: Das Spielwerk und

die Prinzessin
12 February. Rouen
Text by A. Bemede and P. de Choudens. Three
15 March. Vienna, o. and Frankfort
Text by the composer. Three acts.
acts.
First produced at Vienna and Frankfort the
Paris, Galte 1 April 1914.
same night. Revived in a reduccd one-act version
d' OLLONE: Le Retour as Das Spielwerk, Munich 30 October 1920; May-
13 February. Angers ence 16 May 1929.
Text by the composer. Two acts.
d'Ollone's first opera. Revived Paris, O. 6 June
BRETON: Tabare
1919· .26 March. Madrid, T.R.
BUFFIN: Kaalje Text by the composer (founded on a poem by the
22 February. Brussels., M.
Uruguayan poet, J. Zorrilla de San Martin).
Three acts.
Text by H. Cain (founded on P. Spaak's comedy
Bret6n' s last greater success.
of the same tide). Three acts.
Buffm's first (and so far only) opera.
In French also given at Monte Carlo.14 March
FALLA: La Vie breve*
1914 and revived at Brussels 4 November 1921 1 April. Nice

(in an enlarged 4-act version) and again 13 Octo- (Original Spanish) text by C. Femandez Shaw,
ber 1936. French version by P. Milliet. Two acts.

1319 13 20
19 13 ANNALS OF OPERA 1913

Falla's first opera; it had been awarded the first MADRID 1915 (in Italian).
rrize in a competition by the Real Academia de PRAGUE 16 April 1916 (in Czcch).
Bellas Artes de San Femando in 1905, but the RIO DE JANEIRO 12 September 1919 (in Italian).
composer had to wait 8 years anel go to another BERLIN, D.O. 20 September 1919 (in German,
country to have it performed. translated by A. Brüggemann).
Given at: LISBON February 1920 (in Italian).
PARIS, O.C. 30 December 1913 (in French; revived MONTE CARLO 2 March 1920 (in Italian).
12 March 1928). VIENNA, V.O. 16 February 1922 (in German).
MADRID, Z. 14 November 1914 (for the first time ANTWERP February 1<)25 (in French).
in the original Spanish). HAGUEJanuary 1927 (in Italian).
BRUSSELS 12 April 1923 (in French). NlcE March 1927 (in French).
BUENOS AIRES 26 July 1923 (in Spanish). GOTHENBURG March 1927 (in Swedish).
NEW YORK, M. 7 March 1926 (in Spanish). LJUBLJANA 30 January 1928 (in Slovenian, trans-
GERA 13 November I926 (in German, translated lated by N. Stritov).
by L. Andcrsen) ..
PRAGUE November 1928 (in German, translated LAUNIS: Seitsemän Veljestä
by L. Andersen). (Seven Brathers)
MOSCOW () November 1928 (in Russian, translated
11 April. Helsinki
by K. A. Lipskerov).
Text by the composer (founded on a novel by A.
BU?APEST 19 November 1933 (in Hungarian,
Kivi). Four acts.
translated by K. Nidasdy).
Launis's first opera; revived Helsinki 21 No-
MILAN, sc. 30 January I934 (in Italian, translated
vember 1923.
by O. Andolfi).
BERLIN, HOCHSCHULE August 1936 (inGerman).
HELSINKI 23 March 1938 (in Finnish). LA T T ES: 11 hait une Bergere
16 April. Paris,O.C.
ZEHNTNER: Dorval, der Text by A. Rivoire (collte l1Ielodique). One act.
vierjährige Posten Successful in France; revived Paris, O.C. 26
4 April. Basle
June 1919 and given there until 1925.
In German (translated by R. Presber), Mayence
Text by the composer, founded on T. Kömer's
6 March 1914.
libretto (first set by Schubert in 1815; see
1896). One act.
Revivcd at Basle 2I January 1935 (as Amfeld der
(MASSENET): Panurge
Söldllcr, in two acts). 25 April. Paris, Gaitc
Text by G. Spitzmüller and M. Boukay (after
MONTEMEZZI: L'Amore dei tre Re* Rabelais). Haulte farce musica/e. Four acts.
The first of Massenet's posthumous operas,
10 April. Milan, Sc.
produced the year after rus death.
Text by S. Bmelli (from rus play of the same title
1910). Three acts.
Montemezzi' s most important opera; successful
(MARCELLO): Arianna*
in Italy and abroad. Given at: 27 April. V mice, Liceo
NEW YORK, M. 2 January 1914 (in Italian). Text by V. Cassani (illtreccio scellico-musica/e). Two
PARIS, CH.E. 25 April 1914 (in Italian). acts.
LONDON, C.G. 27 May 1914 (in Italian). The opera was written in 1727; it was not per-
BUENOS AIRES II July 1914 (in Italian). formed in Benedetto Marcello' s lifetime. An un-

1321 13 2 2
19 1 3 ANNALS OF OPERA 19 1 3- 1 4

dated libretto was printed, probably at Venice. Outside Italy given at Buenos Aires 27 May
The music was discovered in the Milanese private 1914 and Säo Paulo 12 August 1914.
collection of 1. Arrigoni (see his letter to 11
Bibliofilo in November 1884) and published in
1885 by O. Chilesotti in vocal score as VoLIv of
19 1 4
the Bibliotcca di Rarita Musicali. Parts of the music SAMUEL-HOLEMAN: La jeune
were performed in concert form under Chilesotti Fille Cl la Fenetre
at Turin 19 June 1886 and elsewhere.lt was from
7]a//ljary. Paris, Th. des Arts
the 1885 edition that, in 1913, the work was re-
Text by C. Lemonnier. One-act monodrama.
orchestrated (by Vittore Veneziani) and produced
Written in 1904. Produced at Paris by the Socicte
at the Liceo Benedetto Marcello, Venice, in con-
Frans:aise des Amis de la Musique. Revived Brus-
cert form.
sels 16 January 1926, by the Cercle artistique et .
G. CHARPENTIER:Julien ou littüaire.
La Vie du Poete
4 ]une. Paris,O.C.
WAGHALTER: Mandragola
Text by the composer. Prologue and 4 acts. 23 ]alluary. Berlin, D.O.
A sequel to LOllise (see 1900), but much less Text by P. Eger (from Macchiavelli's comedy).
successful (20 performances). Three acts.
Outside Paris, only given at New York, M. 27 Successful on German stages; revived at the
January 1914 (in French) and Prague 20 May 1914 same theatre 12 October 1919.
(in Czech). Never revived so far. In English (translated by A. Kreymborg), New
York 4 March 1925.
ALPAERTS: Shylock
22 Novel11ber. Antwerp CASADESUS: Cachapres
(Flernish) text by H. Melis (after Shakespeare). 2 February. Brussels, M.
Three acts. Text by H. Cain and C. Lemonnier (from Le-
The only opera of the Belgian composer. monnier's noveI, Un Male). Three acts.
Casadesus' s first opera.
WOLF-FERRARI: Der Liebhaber*
als Arzt USANDIZAGA: Las Golondrinas
4 December. Dresden (The Swallows)
(Originalltalian) text by E. Golisciani (L'Amore
4 FebTllary. Madrid, T. Price
Medico, from Molicre's comedy), German version
by R. Batka. Two acts. Text by G. Marunez Sierra. Three acts.
PRAGUE 2 February 1914 (in Czech).
Usandizaga's most important opera and one of
NEW YORK, M. 25 March 1914 (in the original
the outstanding works of modern Spanish music.
ltalian). Successful in Spain. Revived Barcelona 14 De-
TURlN, T.R. 6 March 1929 (in Italian). cember 1929; Buenos Aires 21 November 1934;
ROCH ESTER, N.Y. July 1934 (in English, as Dr. Madrid Summer 1935.
Cupid, translated by C. Aveling).
SMAREGLIA: L'Abisso*
MASCAGNI: Parisina 10 February. Milan, Sc.
15 Decelllber. Milan, Sc. Text by S. Benco. Three acts.
Text by G. d'Annunzio. Four acts (reduced to 3 Smareglia's last opera. Revived Trieste 26 Jan-
acts after the first performance). uary 1926.

1323 1324
 1914 ANNALS 01" OPERA

DUPUIS: HetLied van Heer Halewijn York 11 February 1919; Paris, Th.L. (Vaudeville)
14 Fcbruary. Antwerp 27 October 1919; Liege January 1921.

(Original French) text by L. Solvay, Flemish ver-

sion by H. Melis. Three acts. (PONCHIELU): I Mori di Valenza
The opera is developed from the composer's 17 March. Monte Carlo
Prix de Rome cantata (first performed at Brusse1s Text by A. Ghislanzoni. Four aets.
25 November 1903). Written in 1R79 but not performed in Pon-
chielli's lifetime. The work was diseovered in
Z A N DON AI: Francesca da Rimini* 1902 and orchestrated by A. Cadore. Subse-
19 Fcb",ary. Turin, T.R. quently givcn at Milan, Arena 19 July /914 and
Text by T. Ricordi (from G. d' Annullzio's tra- revived Cairo Camival 1931.
gedy, first produced with musical intermezzi by
Scontrino, Rome 9 December 1901). Four acts. MESSAGER: Beo(llrice
Zandonai's chief work; very successful in ltaly 21 March. MOllte Carlo
where it is still givell every seasoll. Milan, Sc. 22
Text by R. de Flers and G. A. de Caillavet. Four
February 1916, etc. Also produced at:
acts.
LONDON, C.G. 16 July 1914 (in Italiall).
In Frellch also, Buenos Aires 15July 1916; Rio
BUENOS AIRES 18 Mal' 1915 (illItalian).
de Janeiro 20 September 1916; Paris, O.c. 23 No-
RIO DE JANEIRO 6 September 1915 (in Italian).
vember 1917 and revived there 25 Oetober 1927.
NEW YORK, M. 22 Dccember 1916 (in Italian).
CHICAGO 5 January 1917 (in Italiall).
MALTA 1918 (in Itali:m). F. SCHMIDT: Notre Dame*
TRIESTE 14 December 1919 (in Italian). 1 April. Vienna, O.
CAIRO November 1920 (in Italian). Text by the composer and L. Wilk (after Victor
BRUSSELS 9 November 1923 (in French, translated Hugo). Two acts.
by M. Vaucaire). Sehmidt's first and best opera; also given at
LYONS 27 February 1924 (in French, translated by Budapest 14 Deeember J916 (in Hungarian,
M. Vaucaire). translated by V. Lanyi); Bcrlin 8 May J918 (in
ALTENBURG 19 March 1925 (in German, translated German) ; Ljubljana Autumn 1923 (in Slovenian).
by A. Brüggemanll). Revived at Vienna 14 December 1938.
BARCELONA 13 November 1926 (in Italian).
BUDAPEST 3 May 1929 (in Hllngarian, translated ALFANO: L'Ombra di Don Giovanni*
by V. Lanyi).
2 April. Milan, Sc.
HAGUEJanuary 1930 (in Italian).
WARSAW March 1932 (in Polish). Text by E. Moschino. Three acts.
LJUBLJANA 14 March 1935 (in Slovenian).
Revived Florence 28 May 194J (in a new
STOCKHOLM 26 October 1937 (in Swedish, trans- version, as Don Giovanni di Manara).
lated by R. Hylten-Cavallills.
LISBON Spring 1938 (in Italian). SINDING: Der heilige Berg
19 April. Dessau
(MASSENET): Cleopatre (German) text by D. Duncker. Prologue and 2
23 Febmary. Monte Carlo acts.
Text by L. Payen. Four acts. The only opera ofthe well-known Norwegian
The second of Massenet's posthumous operas. composer. Given at Oslo J6 November 193J in
In French also, Chicago 10 January 1916; New concert form.

13 2 5 1326
1914 ANNALS OF OPERA '19 I 4

KEUSSLER: Gefangnisse WEINGARTNER: Kain und .I!bel

22 April. Prague, G. 17 May. Darmstadt
Text by the composer (Sirifallisches Drama). Three Text by the composer. One act.
parts. Also given at Vienna 4 December 1914; Prague
Keussler' s first opera. 1915·
A Catalan translation by J. Pena was published
BACHELET: Scemo in 1925.
6 May. Paris, O.
Text by C. Mere. Three aets. SIEGEL: Herr Dandolo
Bachelet's first opera. Revived Paris, O.c. 20 23 May. Essen
May 1926. Text by W. Vesper (founded on an Italian com-
edy by G. Giraud). Time acts.
RA BAU D: MarouJ, Savetier du Caire* Siegel' s first opera; first produced at the Ton-
15 May. Paris,O.C. kÜllstlerfest of the Allgemeiner Deutscher Musik-
Text by L. Nepoty (from a story in the Arabian verein. Revived MlIIllch I<) July 1919 and once
Niglzts, in J. C. Mardrus's French version). Five more Lübeck April 1937.
aets.
Rabaud's best and most sueeessful work; givcn BIANCHINI: Radda
on many Freneh stages and at:
STOCKHOLM 16 Oetober 191 S (in Swedish, trans- 25 May. Paris, Gatte
lated by S. Nyblom). (Original Italian) text by P. Bianchini (founded
MILAN, sc. 24 March T917; Rome, C. 29 Decem- on a novcl by M. Gorki), French version by J. de
ber 1920, ete. (in Italian, translated by C. Clau- Marliave. Two acts.
setti). Bianchini's first opera. Revived in the original
BUENOS AIRES 24July 1917 (in Italian). Italian, Venice, F. 24 January 1924.
RIO DEJANEIRO S September 1917 (in Italian).
NEW YORK, M. 19 Dcccmbcr 1917 (in French) and ANDREAE: Ratcliff
21 May 1937 (in English, transbted by M.
Marshall and G. Mead).
25 May. Duisburg
::;ENEVA 18 January 19I8 (in French). Text from H. Heine's tragedy. Four scenes.
ßRUSSELS 8 May 1919 (in French). The first opera of the Swiss composer; first
BARCELONA, TIVOLI 19I9 and L. IS April 1922 (in produced at the Tonkünstlerfest of the Allge-
French); a Catabn version by J. Pena was pub- meiner Deutscher Musikverein. Zurich 11 April
lished in 1922. 1916.
ZURICn May 1<)24 (in German, translated by O.
STRAVINSKY: Rossignol*
Ncitzel).
CAIRO Carnival 1926 (in Italian). 26 May. Paris, O.
DESS,W 13 November 1926 (in German). (Russian) text by the composer and S. N. Mitusov
VIENNA 24 January 1929 (in German). (from H. C. Andersen's tale). Three acts.
ZAGREB 23 March 1929 (in Croatian). Stravinsky's first opera; the first act had been
ANTWERP 20 February 1937 (in Flemish). written in 1908-09, the second and third act in
First given at the Paris Opera 22 June 1928 1913-14. First produeed at Paris by B. Sanine and
(rcvived 10 Januar)' 1940); revivcd at the Scala, revived there 2 February 1920, with choreography
Milan I HJanuary 1939. Not yet produced in Eng- by L. Massine, as a symphonic ballet, called Le
Lind. Chant du Rossigno!. Outside Paris, given at:

1327 132 8
1914 ANNALS OF OPERA 19 1 4- 1 5

LONDON, D.L. 18 June 1914 (in Russian) and c.G. HOLBROOKE: Dylan: Son ofthe Wave
12 November 1919 (in English, translated by E.
4July: London, D.L.
Agate).
Text by T. E. Ellis. Three acts.
LENINGRAD Autumn 1920 (in Russian).
The second part ofhis Wclsh trilogy (see 1912
MANNHEIM 5 May 1923 (in German).
and 1929); this part had been published first (in
N!lW YORK, M. 7 March 1926 (in French, translated
1910).
by M. D. Calvocoressi).
MILAN, SC. 14 May 1926 (in Italian, translatcd by
R. Küffcrle). B 0 U G H TON; The Immortal Hour*
BUENOS AIRES 21l June 1927 (in Italian, tr:mslated 26 August. Glastonbury
by R. Küflerlc). Text adapted from the plays and poems ef"Fiona
BERLIN 16 June 1929 (thc ballet version). Macleod" (W. Sharp). Two acts.
PRAGUE May 1935 (in German). First given at the Old Vic., London 3I May
1920 (by the Glastonbury players); Birmingham

VIVES: Maruxa* 23 June 1921, and (by the Birtningham players)

London, Regent Th. 13 October 1922 (given for
28 May. Madrid, T.R.
216 nights). Further revivals: :t;.ondon, Kingsway
Text by L. P. Frutos. E.~loga ({rica. Two acts. 30 January 1926; New York 6 April 1926 (by the
One of the most successful works of the Span- Opera Players, Grove Street); Stroud, Glos. I I
ish cOmposer. Given at Barcelona, Novedades 21 September 1934; Londen, R.A.M. 11 July 1939.
September 1914 and L. 18 November 1916. Few English operas have enjoyed such a lasting
In Spanish also, New York 19 April 1919. Sllccess.
In Italian (translated by A. Nessi), Palermo 23
April 1924. TURINA: Margot
Still very popular in Spain and South America. 10 October.. Madrid, Z.

Text by G. Martfnez Sierra (Comeclia ({rica). Three

MACKENZIE: The Cricket on acts.
Turina's first opera.
the Hearth
6June. London, R.A.M.
Text by J. R. Sturgis (aftcr Dickens). Thre.:. acts. 19 1 5
Ravivcd at the R.A.M. 12 July 1922 and 15 July
1936. Publicly produced Glasgow 13 August FRANCHETTI: Notte di Leggenda
1923. The opera had been published as early as 14 J allllary. Milan, Sc.
1901. Text by G. Forzano. One act. .
Sllccessflll in Italy.
GRAENER: DonJuans letztes
. Abenteuer GI 0 R DAN 0: Madame Sans-Gene*
11 June. Leipzig 25 January. New York, M.
Text by O. Anthes. Three acts. Text by R. Simoni (from the French play by V.
Graener' s first success. Sardou and E. Moreau). Three acts.
In German also, Prague January 1920; Basie 12 Produced in New York in. Italian, and sllb-
May 1922; Berlin, D.O. 23 May 1924, etc. Re~ seqllcntly given at:
vived in a new version, Hamburg 25 October TURIN 28 February 1915; Milan, T.d.V. 18 Sep-

1935· tember 1915, etc. (in Italian).

1329· 133 0
 I9 I S ANNALS OF OPERA 1915

. MONTE CARLO 19 March 1916 (in French, trans- Schillings' s most successful work and one of the
lated by P. Milliet). most popular German operas ofthe 20th century.
PARIS, O.C. 10 June 1916 (in French, translated by After its success, the composer (who died in 1933)
P. MiIUet). did not write another opera.
MALTA 1917 (in Italian). In German also given at Vienna 4 October
BUENOS AIRES S August 1919 (in Italian). 1915; Balin 15 October 1915 (IOoth perform-
IlRESLAU 4 March 1931 (in German, translated by ance 8 June 1925); Prague 1 January 1910; Stras-
A. Brüggemann). bourg 6 February 11)16; Basic 3 Decembcr 1910;
Frequently revived in Italy. AmsterdamJanuary 1918; Barcelona 27 Janllary
1923; New York, M. 1 March 1923; Oslo May
LACCETTI: 11 Miracolo 192 3.
Fcbruary. Naples, S.c. In Lettish, Riga 16 May 11)23.
Text by E. Mosdüno (follnded on a Spanish story In Finnish, Hclsinki 22 April 1924.
by J. Zorrilla). Three acts. In Sweclish, Stockholm 2X October 1924.
Successful in Italy. In Russian, Lcningrad 27 March J926.
In Polish, Warsaw Dccember 1926.
PIZZETTI: Fedra* In French (translated by P. Spnk), Brussds 4
February 192X.
20 Marc1l. Milan, Sc.
Text by G. cl' Annunzio (originally published as a 1. NIELSEN: Isbella
tragedy in 1909). Three acts.
80erober. Copenhagen
Pizzetti's first opera and one of his most il11-
Text by P. A. Rosenberg. Onc act.
portant works. After the war revived at Parma 27
The first opera of the Danish com poser Lud"l f
January 1920 and.in Italian also given at Buenos
Nielsen (n:o relation to e. A. Niclsen).
Aires II August 1920; Montevideo August 1920;
.Rio-de Janeiro 3 September 1920; Lisbon Dccem-
NOV AK: Zv{kovsky Rarasek
ber 1926.
(The Imp of Zvikov)
In French (translated by A. Doderet), Paris, O.
7 Jlme 192 3.
10 Oetober. Prague, Cz.
Text from a cOl11edy by L. StroupdnickY. One
ROMANI: Fedra act.
3 April. Roine, e. Novik's first opera. Revived Prague 1 Decem-
Text by A. Lenzoni (raps(1dill tragica). One act. ber 1930.
Awarded the first prize in a competition ins ti- OLENIN: Kudeyar
tllted bythe CityofRome. Revived London, e.G. KYileflp
111 June 1931 (in ItaUan). 26 NOl'clII/JrT. Moscow
Text by the composer. Olenin's only opera.
PARKER: Fairyla/ld
1 Ju1y. Los AngeIes LEROUX: Les Cadeaux de Noel
Text by B. Hooker. Three acts. 25 Dcecmbcr. Paris,O.C.
This opera was awarded the $10.000 prize of Text by E .. Fabre (collte heroi"quc). One act.
the National Fede;-ation ofWomen's Clubs. Subsequentlygivenat Rome,°e. 3 March 1917;
Milan, Sc. 7 March 1917 (in French; first opera
SCHILLINGS: MonaLisa* ever sung there in a language other than Italian)
26 September. Stuttgart and 28 March 1917 (in Italian); Monte Carlo R
Text by B. Dovsky. Prologue, 2 acts and epilogue. April 11)17 (in French).

133 1 1332
19 16 ANNALS OF OPERA 1916·

1916 d' ALBERT: Die toten Augen*

5 March. Dresden
BARKWORTH: Romeo andJuliet (Original French) text by M. Henry, German
7January. Middlesbrough version by H. H. Ewers. Prologue and 1 act.
Text by the composer (arranged from Shake- (The French original Les Yetlx morts was first
speare). Four acts. published in La Rel1uc de Hollallde, October 1916.)
First given in London, Surrey 10 April 1920 One of d' Albert' s greatest successes; the opera
and revived at the R.C.M. 30 November 1926. was given at:
BERLIN, D.O. 26 October 1916 (in German).
STANFORD: The Criticj or, GRAZ November 1917 (in German).
An Opera Rehearsed BASLE 6 JanuarY1918 (in German).
COPENHAGEN 17 March 1918 (in Danish, trans-
14 January. London, Shaftesbury
lated by L. C. Nielsen).
Text by L. C. James (after Sheridan). Two acts. VIENNA, V.O. 19 February 1919 (in German).
The last of Stanford's operas which was pro- PRAGUEJanuary 1920 (in German).
duced in his lifetime. STOCKHOLM 27 September 1920 (in Swedish).
WARSAW Autumn 1920 (in Polish).
SM Y T H: The Boatswain's Mate*' BUDAPEST 12 November 1921 (in Hlmgarian,
28 January. London, Shaftesbury translated by A. Kern).
Text by the composer (founded on a story by W. CHiCAGO 1 November 1923 (in German).
W.Jacobs). One act. NEW YORK 3 January 1924 (in German).
Revived London, Old Vic 30 March 1922 and ANTWERP 27 September 1924 (in Flemish).
c.G. II June 1923. HAGUE January 1925 (in Dutch).
LJUBLJANA 1925 (in Slovenian).
GRANADOS: Goyescas* RIGA 12 September 1925 (in Lettish).
28 Jalluary. New York, M. ZAGREB 8 April 1933 (in Croatian).
Text by F. Periquet y Zuaznabar. Three scenes . SOFIA 11 April 1938 (in Bulgarian).
. Granados's last opera, the music made up
chiefly from his piano suite of the same title KORNGOLD: Violanta and
(1912). First Spanish opera produced in New Der Rin<~ des Polykrates
York. On his return to Europe the composer was 28 March. Munich
drowned when the "Sussex" was torpedoed in Two onc-act operas, produced on the same bill.
the Channel24 March 1916. TextofVidtlllta by H. Müllcr; tcxt of Der Ring des
Revived Paris, O. 17 Dccember 1919 (in Polykratcs from a comedy by H. Tewc1es (1889).
French, translated by L. Laloy); Buenos Aires 8 The first opcras of the then 19 year old com-
August 1929 (in Spanish); Milan, Sc. 28 Decem- poscr. Succcssful in Germany. Both operas were
ber 1937 (in Italian); Barcelona Summer 1940 (in sllbsequently given at Vienna 10 April 1916; Ber-
Spanish). lin 2 November 1917; Prague 1918; and, in
Swedish, Stockholm 19 Septembcr 1918.
WEINGARTNER: Dame Kobold Vi,,!anta was also givcn at Budapest 27 February
2} FclmlQr)'. Darmstadt 19T 8 (in Hungari:m, translated by K. Sebestycn)
Text by the composer (after Calderon). Three and New York 6 Novembcr 1926 (in German).
acts. Der Rillg des Pol)'krates was also givcn at Hel-
Berlin, D.O. 17 March 1916, etc. Revived sinki 14 March 1931 (in Finnish).
Basic 20 November 1932. Rcvived at Vienna 14 March 1929 (in German).

1333 1334
1916 ANNALS OF OPERA

J. BRANDTS-BUYS: Die Schneider Bienstock's last opera; revived Stuttgart May

von Schönau* 193 0 .

1 April. Dresden
BITTNER: Das höllisch Gold*
Text by B. Warden and I. M. Welleminsky.
Three acts. 15 October. Darmstadt
The most successful opera of the Dutch com- Text by the composer (from a play by Hans
poser. Sachs). One act.
In German also, Vienna 20 February 1917; Ber- Bittner's most successful opera; given at Vien-
!in, D.O. 2S October 1917; Baslel5 March 1929. na, V.O. 17 AprilI9I7; Berlin, D.O. 13 Dccem-
In Dutch, Amsterdam 1917. ber 1917; Prague 1918; BasIc 5 January 1919, etc.
Revived Vietma, O. 4 December 1925.
H. HUBER: Die schöne Bellinda
2 April. Beme NOV AK: Karlstejn
Text by G. Bundi. Prologue and 3acts.
18 Novembcr. Prague, Cz.
Successful in Switzerland; produced both at
Basle and Zurich II November 1917. Text by O. Fischer (fOlmded on a comedy by J.
VrchlickY). Three aets.
DUPUI5: La Passion Revived Prague 4 December 1930 and 24
March 1936.
2 April. Morlte Carlo.
Text by J. Mery and P. de Choudens. Four acts. HOLST: Sävitri*
Dupuis's chief work.
Ih French also, Liege 2 April 1920; Antwerp 5 Decclllbcr. London, Wellington Hall
December 1925; Brussels 4 December 1934· Text by the composer (An Episode Jrom the Ma-
Revived Liege December 1938; Brussds 21 häbharata). One aet.
March 1940. Holst' s first performcd opera; first produeed by
me London School of Opera; revived in London,
MOIilLEONE: Suona la Ritirata Lyric 23 June 1921; c.G. 28 June 1923; R.C.M.
23 May. Milan, T.L. 1926; Sadler's Wells 23 Oetober 1935; Oxford 9
Text by G. Monleone, the brother of the com- March 1937; Cincinnati Summer 1939.
poser (founded on a German play, Zapfenstreich,
by F. A. BeyerIcin). Three acts. KIENZL: Das Testamem
Revived in German, Cottbus 21 March 1926.
6 December. Vienna, V.O.
OE ROGA TIS: Huemac Text by thc c'omposer (founded on a story by P.
Roseggcr). Two aets.
22July. Buelllos Aries
. Bcrlin, D.O. 22 December 1916; Graz 27 Jan-
(Italian) text by E. Montagnc (Oll an lI/ca subject).
uary 1917, ete.
One act.
Also given at Rio deJanciro 13 September 1916
and revivcd at Buenos Aircs in 1932. LENDVAI: Biga
6 Deeember. Mannheim
BIENSTOCK: Sandro der Narr Text by M. von Zobeltitz (ftom G. Hauptmann's
24 September. Stuttgart play ofthe same tide). Eil/ Nocturnus. Seven scenes.
Text by "H. H. Hinzelmann" (pseudonym of K. Lendvai's only opera. Given in a new version,
M. von Levetzow and L. Feld). Thrce acts. Leipzig 15 October 1918.

1335
1916-17 ANNALS OF OPERA 1917

B RUN E AU: Les quatre ] ournees Nice 30 July 1938, and produced there on the
25 Deccl1Iber. Paris,O.C.
stage in March 1940.
Text by the composer (after Zola). Four acts.
Pcrformcd 8 times in 1916-17. Not revived
DE KOVEN: The Canterbury Pilgrims
so far. 8 March. New York, M.
Text by P. W. Mackaye. Four acts.
De Koven's first attempt at grand opera. Given
In 1916 was publishcd (and produced?) one of at Philadelphia 20 March 1917.
the earliest of the very few original Greek operas:

Ho Protomastoras ROZYCKI: Eros und Psyche

(The Master Mason) 10 March. Breslau
by M. Kalomoiris, tcxt from P. Psiloreites's trag- (Original Polish) text by J. Zulawski, German
edy (1910) of the same tide, 2 acts, with an inter- version by S. Goldenring and F. Leo. Five acts.
mezzo. The opera was revived in concert form at One of R6zycki's best works; awarded the
Athens in 1930 (to cclebrate the centenary of grand prize of the Polish State in 1931. First given
Greek independence). at Warsaw 2 September 1917 (in the original
For an account of the work, sce Rcvue Musicale, Polish).
October 1930. In Slovenian, Osijek, Jugoslavia Spring 1923
and Ljubljana 30 March 1927.
In Swedish, Stocl).holm 23 February 1935.
19 1 7
OBERLEITHNER: Der eiserne Heiland PUCCINI: La Rondine*
20 January. Vienna, V.O. 27 March. Monte Carlo
Text by B ..Warden and 1. M. Welleminsky. Text by G. Adami (translated from a German
Three acts. libretto by A. M. Willner and H. Reichert). Three
Oberleitner's most successful opera. Given at acts.
Berlin, D.O. 21 Scptember 19i8, etc. (Originally, the work had been planned as an
o In Hungarian, Budapest May 1918. Revived operetta for the Vienna Carl-Theater.) Produced
Vienna, O. 15 June 1930. at Monte Carlo in Italian; subsequently given at
Bologna 5 June 1917; Milan 7 October 1917;
Z E M L INS K Y: Eine jlorentinische Rome January 1918; Naples 26 February 1918,
Tragädie* etc.
BUENOS AIRES 24 May 1917 (in Italian).
30 January. Stuttgart
RIO DE JANEIRO 1 September 1917 (in Italian).
Text: Oscar Wilde's play in M. Meyerfeld's Gcr-
VIENNA, v.o. 9 October 1920 (in German, re-
man version. One act. translated by R. S. Hoffmann).
In German also, Vienna 27 April 1917; Prague MALTA 1921 (in Italian).
1917. Revived Brünn 1929.
MONTE CARLO February 1926 (this time in French,
translated by P. Milliet).
LA UNIS: Kullervo BUDAPEST April 1927 (in Hungarian, translated by
28 February. Helsinki Z. Harsanyi).
Text by A. Kivi (from the Kalevala). Three acts. KIEL 5 November 1927 (in German).
Revived Helsinki 19 April 1934. The opera was NEW YORK 10 March 1928 (in Italian) ; revived 17
broadcast in a French version by C. Boissard from January 1936.

1337
1917 ANNALS OF OPERA 1917

DETROIT 7 May 1935 (in English, translated by K. Both operas werc also given at Frankfort 2I
deJaffa). October 1918 and Ber/in 19 May 1921.
The opera was broadcast from London 24June Arlccchillo was revived at Vienna, V.O. II Feb-
1929 (English version by O. M. Craig). ruary 1926 and Prague June 1928 (in German).
Broadcast from London 27 Janllary 1939 (in Eng-
DE SABAT A: Il Macigno lish, translatt'd by E.J.Dent). In ltalian, Venice, F.
31 March. Milan, Sc. 30 Janllary 1940. Tural/dot was broadcast from
Text by A. Colantuoni. Three am. Turin 29 November 1936 (in Italiall).
Oe Sabata's first opera. Given at the Scala 3
times only. A new version under the title of
Drjada was given in Turin 12 November 1935. PFITZNER: Palestrina*
12 JUlle. Munich
ENNA: Gloria Arsena Text by the composer (Musikalische Legende).
15 April. Copenhagen Three acts.
Text by the composer and O. Hansen (after A. Pfitzner's mOst important work. Produced by
Dumas). Four acts. the Munich company subsequently at Basic 20
In German (translated by C. Wcchsclmann), November 1917; Beme 22 November 1917; and
Halle 28 April 1918. Zurich 24 November 1917.
MASCAGNI: Lodoletta* First given at Vienna 1 March 1919; Derlin II
October 1919; Ftankfort 211 March 1920; Cologne
30 April. Rome, C.
15 May 1920; Stllttgart 24 October 1920'and in
Text by G. Forzano (founded on Ouida's Two
many other German towns; also produced at Ant-
Little Wooden Shocs). Three acts.
werp February 1939 (in German, by the Cologne
Successful in haly.
opera company).
In Italian also given at Buenos Aires 29 JlIly
(It may be mentioned that there exists an earl;er
1917; Rio de Janeiro 17 September 1917; New
opera of the same title and on the same subject, a
York, M. 12 January 1918; Montevideo 1918;
Wort- IIIld TondichtllllgFir die Schall/lühl/", text and
Malta 1919; Lisbon JlIne 1939.
mllsic by M. E. Sachs, which was produced at
In German (translated by R. Datka), Vienna,
Regensbllrg 18 March Ill86).
V.O. 9 April 1920.

BUSONI: Turandot* and Arlecchino* (M USO R G S K Y): Sorochinskaya

11May. Zurich Yarmarka*
Two short operas, produced on the same bm.
COPOtIlifHCKaH HpMapKa
TI/randot (The Fair of Sorochintsy)
Text by the composer (from Gozzi's comedy).
Two acts. 260clober. Petrograd
Blisoni's music was dcvcloped from incidental Text by the composer (follnded on an episode
pieces written for Max Reinhardt's production of from Gogol's EllCl/illgS Oll a Farm near Dikanka).
Gozzi's play (in K. Vollmöller's Gertnan version) Three acts.
at Berlin, Deutsches Th. 27 October 1911 (and Musorgsky had beglln to work at this opera as
New Haven 31 December 1912 and London, St. early as 1875; he left it unfini,hed, without the
J.'5 18 January 1913 in an English version by J. greater part of the last :let and withollt orches-
Bithell). tration. Several attcmpts were made to restore
Arlecchino the opera. Prior to J917, the work had been hcard
Ein theatralisches Capriccio. One act. Text by the semi-publicly at St. PClcrsburg, Comedia Theatre
composer. 30 Decemba 1911.

1339 1340
1917 ANNALS OF OPERA 1917-18

Another version, with orchestration by Y. S. SEKLES: Scharazade

Saklmovsky, and with spoken dialogue supplied 2 November. Mannheim
by K. A. Mardzhanov, was produced at the Free
Text by G. von Bassewitz. Three acts.
Theatre, Moscow 3 November 1913 and revived
Sekles's first opera. Graz October 1919; Berlin
there on 10 January 1925.
5 June 1920, etc.
In 1917, the opera was produced in aversion by
C. Kyui (who added music of his own) at the COURVOISIER: Lallzelot und Elaine
Musical Drama Theatre. His version has since
3 November. Munich
been replaced by yet another one for which N. N.
Text by W. Bergh (after Tennyson). Four acts.
Cherepnin was responsibi.:, and it was in the
Courvoisier' s first opera; also given at Basle 28
Cherepnin version that the opera made its way
into many countries. It was first produced at April 1918.
Monte Carlo 17 March 1923 (in French, trans-
S. WAGNER: An allem ist
lated by L. Laloy) and subsequendy given at:
Hütchen schuld
BARCELONA 23 December 1924 (in Russian).
BRUSSELS 12 January 1925 (in French).
6 December. Stuttgart
BRESLAU 6 May 1925 (;n German, translated by Text by the composer. Three acts.
H. Möller). Revived Berlin, Hochschule für Musik 24

ZAGREB 3I June 1925 (in Croatian).

March 1934.
REICHENBERG Autumn 1928 (in German).
PFITZNER: Christelfleitl*
BUENOS AIRES 26 September 1929 (in Russian).
11December. Dresden
VIENNA 5 January 1930 (in concert form) and 13
February 1935 (on the stage; in German). Text by I. von Stach. Two acts.
(Developed from incidental music to I. von
NEW YORK, M. 29 November 1930 (in Italian).
Stach's Christmas play, first produccd at Munich
R1GA 18 February 19F (in Lettish).
II December 1906.)
LONDON, FORTUNE TI!. 17 February 1934 (in
Thc operatic version was also given (in Ger-
Russian) and c.G. 24- November 1936 (in Eng- man) at Strasbourg 13 January 1918; Berlin 19
lish, translated by E. Agate; revived Savoy 6 November 1921; Prague December 1921; Graz
October 1941 and Adelphi 2 Februar)' 1942 (in Dccember 1923; Zurich 17 December 1924; Basle
Russian).
17 December 1926; Vienna, V.O. 6 December
SOFIA 10 June 1930 (in Bulgarian).
193 8.
STOCKHOLM 19 November- 1938 (in Swedish,
HADLEY: Azora, Daughter
translated by W. Sebaldin and H. Sandberg).
TRIESTE 20 January 1940 (in Italian).
of Montezuma
Yet another v.:rsion, by V. Y. Shebalin and 26 Deccmbcr. Chicago
P. A. Lamm, was produced at Leningrad, Litde Text by D. Stevens. Three acts. .
Opera Theatre 2 [ December 1931 and Moscow New York 26 January 1918, etc.
12 January 1932.

KAUN: Sappho 1918

270 ao bcr. Leipzig NEVIN: The Daughter of the Forest
Text by the composer (from F. Grillparzer's play). 5 Jalluary. Chicago
Three acts. Text by R. Hartley. One act.
Kaun's first performed opera. Nevin's sccond and last opera.

1341 1342
1918 ANNALS OF OPERA

LAZZARI: Le Sauteriot In German (translated by W. Ziegler),

Frankfort 13 May 1922; Berlin, D.O. 16 January
19 january. Chicago
1929·
Text by H. P. Roche and M. Perier (founded on
Revived Budapest Spring 1937; in Hungarian
a German play by E. von Keyserling, Ein Früh-
also given at Florence 5 May 1938 (by a Hungar-
lillgsopfer). Three acts.
ian company at the Maggio Musicale Fiorentino).
In French also given at New York 11 February
1918; Paris, O.c. 8 April 1920.
In Flemish, Antwerp 1927.
GRAENER: Theophano
5 jUlle. Munich
RADEGLIA: Schaaban Text by O. Anthes. Three aets.
20 February. Vienna, V.O. In German also, Brünn June 1919.
(Original Turkish) text by Djelal Essad Bey, Ger- Revived in a new version (as Byzallz), Leipzig
man version by R. Batka. Three acts. 22 April 1922.
The last opera of Radeglia, who was the com-
poser of the Turkish national anthem. Probably M A R I N U Z Z I: ] acquerie
the first and only Turkish opera ever produced in 11 August. Buenos Aires
Europe; there is no record that the original was Text by A. Donaudy. Three acts.
performed at Constantinople at all. Marinuzzi' s most successful opera; in Italian
also, given at Rio de Janeiro 30 September 1918;
CADMAN: Shanewis Rome 6 March 1919, etc.; Chicago 17 November
23 March. New York, M. 1920 (at the inauguration of the Auditorium);
Text by N. R. Eberhardt. Two acts. New York 4 February 1921.
Cadman's first perfo~med opera. Revived Den-
ver, Colorado 5 December 1924; Los Angeles 24 (SCHUBERT): Femando*
June 1926.
18 August. Magdeburg
K L E N AU: Kjarta/l und Gudrun Text by A. Stadler. One act.
Written in 1815; produced only I03 years later
4 April. Mannheim
(music revised by B. Engelke).
Text by the composer. Three aets.
Revived in a new version as Gudnw allf 151a/ld,
Hagen, Westphalia 27 November 1924. NOETZEL: Meisicr Guido
15 September. carlsruhe
SCHREKER: Die Gezeichneten Text by the composer. Three acts.
25 April. Frankfort M uni eh 20 February 1920, etc. In German also,
Text by the composer. Three acts. Zurich February 1923. Revived Graz 7 May 1932.
Given at Munich 15 February 1919; Vienna 27
February 1920; Berlin 5 January 1921 and on STRAVINSK y: Histoire du Soldat
many other German stages. 28 September. Lausanne
Text by C. F. Ramuz (Histoire luc,jimee ef dansee).
BARTOK: A Kekszakallu Herceg Vara*
Two parts.
(Duke Blue-Beard's Castle) Certainly very far from bcing an opera in the
24 May. Budapest traditional sense of the ward, the work should
Text by B. Balizs. One act. nevertheless be recorded as an experimental at-
Bartok' s only opera. tempt at simphfying :lIld developing farms. See

1343 1344
 ANNALS OF OPERA 1918
Stravinsky's autobiography for details regarding s. WAGNER: Schwarzschwanenreich
the conception, composition, and production of
5 NOl'cmber. Carlsruhe
the work. After the war, givcn at:
Text by the composer. Three acts.
LONDON 20 July 1<)20 (in concert form, at Wig-
Given on many German stages and (in Ger-
more Hall; partsonly) and IOJulp927 (onthc
man) also at Antwerp 7 December 1937.
stage, by the Arts Theatre Club; English ver-
sion by R. Ncwmarch).
BRUSSELS 17 Januar)' 1<)23 (in concert form).
H. HUBER: Frutta di Mare
FRANKFORT 20 June 1<)23 (in concert form) and 10 24 NOl'cmbcr. Basic
June 1<)24 (on thc stlge); German version by H. Text by F. Karmin. Three acts.
Reinhart. Huber's last opera.
BERLlN 13 JlI1uary 1<)24 (stage; at thc Volks-
bühne). WEH R LI: Das heiss Eisen
NEW YORK 23 March 1<)24 (concert). 11 Decclllber. Berne
PARIS, CH.E. 24 April 1924 (stage).
Text from a play by Hans Sachs. One act.
ROME 8 April 1<)25 (stage; at the T. Odescalchi). Zurich 30 May 1920.
BRNO 24 November 1925 (in Czech).

ATHENS 28 January 1926 (concert). PUCCINI: Trittico*

VIENNA, v.o. II February 1926 (concert).
14 Decelllber. New York, M.
AMSTERDAM 27 February 1<)26 (in Dutch, trans-
Consists of three one-act operas; Il Tabarro, text
lated by M. Nijhoff). by G. Adami (founded on D. Gold's HOl/ppe-
BUENOS AIRES June 1926 (coneert). lande); SlIor Angelica, text by G. Forzano; Gianni
COPENHAGEN 27 May 1927 (in Danish, trans la ted Schicchi, text by G. Forzano.
by G. Hetsch, coneert). Performances of the whole triptych took place
WARSAW 8 December 1927 (in Polish, translated at:
by J. Tuwim). ROME, C. 11 January 191<) (in Italian).
PRAGUE ro Deccmber I <)27 (in Czcch) and Decem- BUENOS AIRES 25 June 1<)1<) (in Italian).
ber 1935 (in German). , RIO DEJANEIRO 22 September 1919 (in Italian).
CAMBRIDGE 7 November 1928 (stage perform- CHICAGO 6 Deeember 1919 (in Italian).
ance). LONDON, C.G. 18 June 1920 (in Italian) and Duke's
LIVERPOOL II January 1929 (stage perform:mce). Hall 13July 1937 (in English; R.A.M. perform-
BUDAPEST Spring 1929 (stage performance). ance).
BARCELONA Summer 1935 (in concert form). VIENNA 20 Oetober 1<)20 (in German, translated
TEL-AVIV November 1939 (in Hebrew, translated by A. Brüggemann).
by A. Hammeiri). STOCKHOLM 20 November 1920 (in Swedish).
HAMBURG 2 February 1921 (in_German, translated

MONTEMEZZI: La Nave* by A. Brüggemann):

PRAGUE 8 February J921 (in German, translated
1 November. Milan, Sc. by A. Brüggcmann).
Text by T. Ricordi (from G. d'Annunzio's trag..:' MONTE CARLO 24 March 1921 (in Italian).
ed y which had been first produeed with musical LJUBLJANA 10 June 1922 (in Siovenian, translated
intermezzi by Pizzetti at Rome 1I January 1908). by 1. 50rli).
Prologue and 3 acts. BUDAPEST 9 December 1922 (in Hungarian, trans-
In Italian also, Chicago 18 November 1919. lated by K. Nadasdy).
Revived Rome 14 December 1938. GHENT January 1923 (in French).

1345 1346
1918 ANNALS OF OPERA 1918- 19

BERNE Autumn 1924 (in German). J. B. FOERSTER: Nepremozeni

ZAGREB 12 May 1927 (in Croatian). (The Invincibles)
BERLIN 28 March 1928 (in German).
19 DeccmlJ/:r. Prague, Cz.
KAUNAS 13 January 1933 (in Lithuanian).
Text by the composer. Four acts.
SOFIA 20 January 1936 (in Bulgarian).
Revived Pragl1e 5 December 1929 and 17 SeF-
Besides (and in many cases before) the cyclic
tember 1936.
performances,. productions of the single operas
took place as folio ws:
1919
11 Tabarro
BERLIN, D.O. 26 March 1924 (in German). FEVRIER: Gismonda
ANTWERP 1924 (in French, translated by D. Gold). 14 jmmary. Chicago
MALTA Carnival 1924 (in Italian). Text by H. Cain and L. Payen (from V. Sardou's
OSLO February 1934 (in Norwegian). play). Four acts.
LONDON, s.'s W. 23 October 1935 (in English, In French also, given at New York 27 January
translated by H. Withers). 1919; Paris, O.c. 15 October 1919; GhentJan-

Suor Allgelica uary 1921; Geneva 16 December 1921; Cairo

LYONS March 1929 (in French, translated by P. Janl1ary 1922.
Ferrier).
LONDON, R.A.M. 21 July 1931 (in English, trans-
SANTOLIQUIDO: Ferhuda
Iated by H. Withers). 30 jamtary. Tunis
There was an audition of Suor Allgelica at the Text by the composer. Sccne di Vita Araba. Thrce
convent ofVicopclago (near Lucca) where Pue- acts.
cini' s e1dest sister was a nun. This scems to be the first and only Italian opera
originally produccd at Tunis. Vocal score pub-
Giallni Schicchi
lished.
BRUSSELS 5 January 1922 (in French, translated bv
P. Ferrier). ' .
(OFFENBACH) : Der Goldschmied
PARIS, O.C. 6 November 1922 (in French, trans-
von Toledo
Iated by P. Ferrier).
7 Fcbruary. Mannheim
BERLIN 25 April 1923 (in German).
GLASGOW 7 November 1923 (in English, trans-
Text by K. G. Zwcrenz (foundcd on E. T. A.
Iated by P. Pitt). Hoffmann's Das Fräulein 1'011 Scudcri). Thrce acts.
LONDON, C.G. 15 January 1924 (in English, trans-
Said to be a posthumous work of Offcnbach,
lated by P. Pitt). but rcally a pasticcio from his less known works,
COPENHAGEN 23 April 1924 (in Danish, translated
cspecially from Der schwarze Korsar (Vienna
by S. Levyson). 1872), arrangcd by J. Stern and A. Zamara.

ZURICH 14 February 1926 (in German).

In German also givcn at Vicnna, V.O. 10 Feh-
BUCHAREST April 1927 (in Rumanian). ruary 1920, etc; Brünn 1928.
AMSTERDAM December 1928 (in Italian). In English (translated by C. Aveling), Edin-
MALTA 1929 (in Italian).
burgh 16 March 1922; London, c.G. 4 May 1922.
HELSINKI 14 March 1931 (in Finnish). In Polish, Lemberg 1922.
RIGA 3 September 1932 (in Lettish).
NEW YORK 23 February 1933 (in English, at the
R. B 0 S SI: Passa la Ronda !
Juilliard School of Music) and 27 January 1936 3 March. Milan, T.L.
(at thc Metropolitan). Text by L. Orsini (from a play by R. Franche-
PRAGUE 13 January 1937 (in Czech). ville). One act.

1347
1919 ANNALS OF OPERA

In German (translated by W. Weber), Bremen SCHOECK: Don Ranudo de Colibrados

3 October 192 8.
16 April. Zurich
HUGO: The Temple Dancer Text by A. Rüeger (founded on Holberg's com-
edy of ilie same tide). Four acts.
BREIL: The Legend
The first great success of the Swiss composer.
12 March. New York, M. Given at Sttlttgart 26 November 1919; Basle 30
Two one-act operas by American composers. September 1920; Beme 7 November 1920, and
Text of The Temple Dancer by J. Bell-Ranske; revived in a reduced version Dresden 3 October
text of The Legend by J. Byme. Unsuccessful. 1930; Zurich 24 January 1931; Beme 30 October
1931 and September 1940.
BARRIOS and CAMPO: EI AvapiCs
8 March. Madrid, T.R. SAVIN: Ksenia
Text by T. Borras. Three acts.
29 May. Zurich
(For an account of this Spanish opera, see J. B.
Trend, A Picture of Modern Spain, P.179.) (Original Serbian) text by the composer, German
version by W. Haeser.
The first opera of the Serbian composer.
ME S SAG ER: Monsieur Beaucaire
7 April. Birmingham
(Original French) text by A. Rivoire and P. VIVES: Balada de Carnaval*
Veber (founded on a story by N. B. Tarkington). 5July. Madrid, Gran T.
English version by F. Lonsdale, lyrics by A. Ross.
Text by L. Femandez Ardavln and J. Montero.
Prologue and 3 acts.
One act.
Messager's last great success.
Barcelona 12 January 1920, ete.
In English subsequently given in London,
Prince's 19 April 19I9 (for 221 nights); New York
I I Dccember 1919; Montreal 18 October 1920; ZANDONAI: La Via della Finestra*
revived London, Daly's 16 November 193 I. 27 July. Pesaro
In the original French, Paris, Th. Marigny 21
November 1925; Monte Carlo November 1927. Text by G. Adarni (founded on a comedy by
Revived Paris, Galte Lyriquc 5 October 1929 and Scribe). Three acts.
3 I August 1935; Buenos Aires 23 June 1938. Successful in Italy; Rome 2 February 1920, etc.
Also Malta I March 1920.
Revived in a reduced two-act version, Trieste
Nausicaa
HAHN:
18 January 1923; Milan, Sc. 6 January 1930;
FA URE: Masques et Bergamasques* Pesaro July 1937·
10 April. Monte Carlo
Two short operas, librettos by R. Fauchois. BERUTTI: Cli Eroi
Nausicaa (2 acts) was also produced at Liege Feb-
ruary 1922 and revived at the O.c., Paris 18 JllI1e 23 August. Buenos Aires
1923. Masques et Bergamasques (divertissement lyri- (Original Spanish) text by the composer (folll1ded
que, I act) was first given at the O.c., Paris 4 on an episode in V. F. L6pez's novel, La Loca de la
March 1920 (revived 16 January 1930) and on Guardia), Italian version by E. Campana. Prologue
many other French stages; in French also, Cairo and 3 acts.
Spring 1938. The last opera of the Argentine composer.

1349 135 0
1919 ANNALS OF OPERA

GAITO: Cayo Petronio Börresen' s first opera.

2 September. Buenos Aires In Danish also given at Stoekholm 7 May 1927
(Italian) text by U. Romanelli. Three acts. (by the Copenhagen company); revived Copen-
Gaito's most successful opera; revived at Bue- hagen 29 August 1929.
nos Aires 12 July 1938.
SAMUEL-ROUSSEAU: Tarass Boulba
ATTERBERG: Härvard Harpolekare* 22 November. Paris, Th.1.
29 September. Stockholm Text by 1. de Gramont (after Gogol). Five aets.
Text by the composer. Two aets. Lyons 25 Mareh 1920, ete. Revived Paris, O.c.
Atterberg's first opera. In German, Chemnitz 10 March 1933.
March 1936.

R. S T RAU S s: Die Frau ohne Schatten* A.WOLFF: L'Oiseau bleu

100etober. Vienna, O. 27 Deeember. New York, M.
Text by H. von Hofmannsthai (from his story of Text trom M. Maeterlinck's play. Four acts.
the same tide). Three acts. In Freneh also given at Brussels 21 April 1920.
Not nearly as suceessful as his former works;
given at Dresden 22 Oetober 1919; Berlin 18
April 1920; and on other German stages. I920
In German also, Zurich 26 November 1932;
Veniee, F. 16 September 1934 (by the Vienna O. DE KOVEN: Rip van Winkle
company). 2Janrlary. Chieago
In Italian (translated by R. Küfferle), Rome, Text by P. W. Mackaye (after W. Irving). Three
T.R. 20 April 1938; Milan, Sc. 5 January 1940. acts.
New York 30 January 1920, ete.
RANGSTRÖM: Die Kronbraut*
21 October. Stuttgart
PEDROLLO: La Veglia
Text from A. Strindberg's Krol1bruden, in E.
2Jalluary. Milan, T.1.
Sehering's German version. Four acts.
The most important opera of the Swedish com- Text by C. Linati (founded on]. M. Synge's Thc
poser; first given in Swedish at Stockholm 30 Shadow of the Gien). One aeL
November 1922 and revived there 25 November In Italian also given at New York 20 Deccmber
1927 and 30 November 1936. 1924. Rcvived Vicenza 27 January 1932.
In German (as Die Totelllvaehe), Luceme 8 Jan-
DELIUS: Fennimore und Gerda* uary 1933.
210etober. Frankfort In English, London, Arts Theatre Club I2 May
(German) text by the composer. Zwei Episoden 1935·
alls dem Leben Niels Lyhlles nach dem Roman von
J. P. Jaeobsen. Dclius's last opera. LEVADE: La Rotisserie de la Reine
PMauque
BÖRRESEN: Den kongelige Gast 12 January. Paris, O.c.
(The Royal Guest) Text by G. Docquois (from Anatole France's
15 November. Copenhagen novel). Four acts.
Text by S. Leopold (founded on a story by H. Successful in France. Revived at the O.c. 1
Pontoppidan). One act. March 193 land 15 April 1937.

135 1 135 2
1920 ANNALS OF OPERA 1920

MACLEAN: Quentin Durward Revived in a new version at Altenburg 27 Jan-

13 January. Neweastle
uary 1924 and onee more at Weimar 13 June
1935·
Text by S. Ross (after W. Seott). Three aets.
London, Ly. 4 June 1920. DA VI CO: La Dogaressa
(The opera written in 1892 had been published 26 Febmary. Monte Carlo
as early as 1894.)
Text by G. M. Gatti. One aet.
S C H R E K ER: Der Schatzgräber Davieo's first opera.

21 January. Frankfort
Text by the composer. Prologue, 4 aets, and epi-
PEDROLLO: L'Uomo che ride
logue. fi March. Rome, C.
Sehreker' s most sueeessful opera. Text by A. Lega (from V. Hugo's L'Homme qui
In German also given at Zurich Deeember rit). Three aets.
1920; Graz 5 March 1922; Berlin 3 April 1922; Successful in Italy; Milan, T. Careano 20 Oeto-
Vienna 18 Oetober 1922; Basic 28 May 1923; ber 1921, cte.
Prague January 1924.
FEVRIER: La Damnation de
CA S S A D 0 : II Monaco nero
Blanchefleur
24 Jalltlary. Barcelona, L.
13 March. Monte Carlo
(Italian) text founded on a play by F. Soler.
Text by M. Lena. Two aets.
Cassado's only opera.
Bordeaux Deeember 1920, ete.; in Freneh also,
REZNICEK: Ritter Blaubart Liege March 1921.

29 Jal1uary. Darmstadt
Text by H. Eulenberg. Thrcc aets.
ALALEONA: Mirra
In German also given at Berlin 3I Oetober 31 March. Rome, C.
1920; Zurich Deeember 1921; Prague November Text by the composer (from V. Alfieri's tragedy).
1922; Graz Spring 1923. Two aets and an intcrlude.
Alaleona's only opera.
ME R I K A N T 0 : Regina von Emmeritz
30 Jalluary. Hclsinki E N NA: Komedianter
Text by W. Sola (founded on the play by Z.
8 April. Copenhagen
Topclius). Five acts.
Text by the composer and O. Hansen (founded
The last opera of the Fimush composer.
on V. Hugo's L'Homme qui rit, like Pedrello's
HADLEY: Cleopatra's Night Italian opera, produced one month earlier). Pro-
logue and 3 aets.
31 Jamlary. New York, M.
Revived at Copenhagen 30 Oetober 1929.
Text by A. L. Pollock (founded on T. Gautier's
Ulle Nuit de CJeopatre). Two aets.
The last opera of the Amcriean composer. GATTY: The Tempest
17 April. London, Surrey
KAUN: Der Fremde Text by R. Gatty (the brother of the composer),
23 Fcbruary. Dresden after Shakespeare. Three aets.
Text by F. Rauch (founded on the tale Gwatter Rcvivcd at thc Old Vic, London 24 April 1922;
Tod by the brothers Grimm). Four scenes. R.C.M. 1925.

1353 1354
1920 ANNALS OF OPERA 1920

J ANACEK: Vylety Pane Brouckovy* MORET: Lorenzaccio

(Mr. Broucek's Adventures) 19 May. Paris,O.C.
23 April. Praglle, Cz. Text from A. de Musset's play (without mlleh
Text by V. Dyck and F. S. Prochizka (after alteration). Four aets.
Svatopluk Cech). Consists of two' parts dealing Suecessful in Franee; in Freneh also given at
with Mr. Broucek's excursion to the moon, and Chieago 27 Oetober 1930.
to the 15th century. respectivcly. Rcvived Brno
January 1939. GURIDI: Amaya
22 May. Bilbao
BROGI: Isabella Orsini* (Basque) text by J. M. Arroita-Jiuregui (founded
24 April. Florence, Politeama on Alllaya 0 Los Vascos ('/l cl Siglo VfIl, a story by
Text by V. Soldani and E. Cosclschi (founded on Franeiseo Navarro Villosbda). Three aets and
F. D. Guerrazzi's novcl of thc same title). FOllT epilogue. First opera written to a Basque text.
acts. Very sueeessful in Spain and Somh America.
SucccIsful in Italy and South America;. Sao Revived at Bilbao September 1922; Madrid 1923,
Paulo Summer 1920, etc. ete.; Buenos Aires 19 August 1930; Barcelona
May 1934.
GRAENER: Schirin und Gertraude
A. K A L N I ~ S: Banuta
28 April. Dresden
29 May. Riga
Text by E. Hardt (from his comedy of the same
tide). Four acts. Text by A. Krüm~is. Four aets.
First Lettish opera produced at the newly-
Revived Zurich 12 Mal' 1926; Berlin 15 Sep-
founded Latvijas Nacionäla Opera, Riga (in au-
tember 1936.
gurated, with Tmlllhällscr, 2 December 1919). Re-
vived there 7 Oetober 1937. (Strietly speaking,
WEINGARTNER: Die DorJschule* Ball/Ha was not the ver)' first original Lettish
and Meister Andrea opera, having been preceded by an amateurish
13 May. Vienna, O. work, Spoku Stili/da, by J. Ozols, whieh was per-
Text ofboth operas by the composer; Die Dorf form cd at Riga as early as rRl)o.)
schule, founded on a Japanese play Tcrakoya. One
act. Meister Alldrca, from E. Geibel's pby. Two d'INDY: La Legende de
aets. Saint Christophe
Die Dorfschllie was subsequently given at: 6 jl/ne. Paris, O.
BRÜNN 1920 (in German).
Text b)' the composer. Three acts.
LJUBLJANA 1921 (in Siovenian).
BUENOS AIRES 6 July 1922 (in Italian).
RIO DE JANE1RO 5 Oetober 1922 (in Italian).
(STEPHAN): Die ersten Menschen
BARCELONA 17 February 1925 (in Catabn, trans- 1 july. Frankfort
lated by J. Pena). Text by O. Borngraebcr. Two aets.
CREFELD 7 Febrmry 1928 (for the first time in Stephan's only opera, prodUCl:J five years after
Germany). bis death.
BASLE 28 Oetober 1928 (in Gcrman). - Revived at Bochum 13 March 1922 (in concert
Meister Andrea was revived at Basle 28 Oeto- form); Crefcld 14 Junc 1927; Basic 27 March
ber 1928, and Heidelberg 1928. 1928.

1355 1356
1920 ANNALS OF OPERA I920

(H A C QUA R T ) : De triomfeerende Min FRANCKENS TEIN: Des Kaisers Dichter

(Love's Triumph) 2 NOIJc11Ihcr. Hamburg

Text by R. Lothar. Three acts.

7 July. Arnhern
(An opera dealing with the life of the Chinese
Text by D. Bllijsero. One act. poet, Li Tai Po.)
The first Dutch opera, written and pllblished as Successful on German stages; in German also,
earlyas 1680 (see 1680 for details) was produced Brünn 1927; revived Graz 21 February 1931, etc.
for the first time in 1920, undcr the direction of
P. A. van Wcsthrecne, who orchestratcd the work BR UNEA U: Le Roi Candaule
and added an overture. Produced by the Dutch 1 Decel11bcr. Paris, O.c.
Singing Club, "J. S. Bach"; the libretto was Text by M. Donnay. Five acts.
reprinted on that occasion. Given at'the O.c. 18 times in 1920-21, but not
revived so far.
G. F. MALIPIERO: Sept Chansons*
BRAUNFELS: Die Vögel*
10 July. Paris, O. 4 Dccemhcr. Munich
(Original Italian) text (Scttc Canzolli) by the com- Text by the composer (after Aristophanes). Two
poser; French version by H. Prunicres. acts.
The first of Malipiero's works for the stage Braunfels' s most successful opera; given at Ber-
which was produced. It consists of seven dramatic lin 20 December 1921; Graz 31 October 1923;
notturnos ("sette espressioni drammatiche"), call- Vienna, V.O. 21 January 1925, etc.
ed in the original: I Vagabondi; AVespro; 11
Ritomo; L' UIJbriaco; La Serenata; 11 Campanaro; KORNGOLD: Die tote Stadt*
and L'A/ba delle Ceneri. The whole [orms the 4 Decel1lber. Hamhurg and Cologne
second part of a trilogy L'OrJeide; the first part or Text by P. Schott (founded on G. Rodenhach's
prologue is called La Morte delle Maschere, the play Bruges-la-Morte). Three acts.
third part L' OrJeo ossia L' ottava Canzone (I Korngold's most successful opera; given at
act). VIENNA 10 January 1921 (in German).
The wh oIe trilogy was first produced at Düssel- NEW YORK, M. 19 November 1921 (in German).
dorf 3I October I925 (see 1925). The Sette Can- PRAGUE February 1922 (in German).
zoni, after the first production in Paris, were also ZURICH c. November 1922.
given at Aachen April 1924 (in German, translat- ANTWERP 6 January 1923 (in Flernish).
ed by W. Aron and E. Orthmann); New York BERLIN 12 April 1924 (in German).
29 March 1925 (in concert form); Turin 18 May BUDAPEST Spring 1925 (in Hungarian).
I926 (for the first time in Italy and in Italian); LEMBERG March 1928 (in Polish).
Rome 8 January I929, etc. AMSTERDAM Spring 1929 (in German).
For an account of the work see S. Goddard in Revived Vienna 6 May 1936 (in German).
The Chesterian, November 1930, and G. F. Mali-
piero, ibid., December 1930. SOMERVILLE: David Garrick
9 December. London, C.G.
PRATELLA: L'Aviatore Dro Text by the composer (from T. W. Rohertson's
play). Three acts.
4 September. Lugo Revived in a new version London, Queen's 2
Text by the composer. Three acts. March 1922 and once more Duke of York's 9
Pratella's chief work. June 193 2 .

z I357
1920-21 ANNALS OF OPERA 192 1

(LEONCAVALLO): Edipo Re* (The opera was written in 1913, but not pro-
duced until 7 years after the composer's death.)
13 December. Chicago
Text by the composer (after Sophocles). One act.
In Italian also given at New York 21 February
BÖRRESEN: Kaddara
1921; not produced in Italy before 1940 (but 16 March. Copenhagen
broadeast from Turin 13 Oetober 1939). Apart Text by C. M. Norman-Hansen. Three aets.
from several operettas which were also produced Probably the first opera deallng with an Eskimo
after his death, this was Leoneavallo' s last work subject.
for the stage. Also produeed at Brussels 17 Mareh 1924 (in
French, translated by P. Spaak) and Königsberg
31 January 1925 (in German, translated by B.
1921 Dumont du Voitel).
PET RA USKAS: Birute
16 February. Kaunas
MARSICK: La Jane
Text by the composer. 29 March. Liege
The first Lithuanian opera, produced at the Text by the composer (?). One act.
newly-founded Lithuanian National Theatre, Successful in Belgium; revived Liege February
"Lietuvos Valstybes Teatras". 1926 and Antwerp November 1926.

DE BOECK: La Route d)Emeraude VITTADINI: Anima allegra

25 February. Ghent 15 April. Rome, C.
Text by M. Hautier (founded on a novel by E. Text by G. Adami and 1. Motta (founded on a
Demolder). Five acts. Spanish comedy by the brothers Alvarez Quin-
The most suceessful opera of the Belgian com- tero). Three acts.
poser (not a ballet as stated in Riemann's Musik- Vittadini'smostsuccessful work; given onmany
lexikon). Frequently revived in Belgium; Ant- Italian stages and in Italian also, Barcelona April
1922; Palma, Mallorca May 1922; New York 14
werp 3 November 1922; lBrussels 12 November
1926 and 20 January 1939.
February 1923; Buenos Aires Summer 1924; Rio
de Janeiro 15 September 1924; S. Francisco 26
September 1925; Cairo January 1931.
DE LARA: Les trois Mousquetaires
In French (translated by J. Marcalti), Ghent 22
3 March. Cannes February 1922; Geneva 2 March 1926.
Text by H. Cain and 1. Payen (founded on the
play by A. Dumas and A. Maquet). Six scenes. MASCAGNI: 11 Piccolo Marat*
In English (translated by A. Kalisch), Newcastle
2May. Rome, C.
2 May 1924; London, Scala 17 June 1924.
Text by G. Forzano and G. Targioni-Tozzetti.
Three acts.
(DUPONT): Antar* Very successful in Itaiy and also given at:
14 March. Paris, O. BUENOS AIRES 20 September 1921 (in Italian).
Text by C. Ganem. Four :lcts. DRESDEN I I March 1922 (in German, translated
Dupont's last opera; successful in France; in by K. ScheidemanteI).
French also given at Antwerp 2 January 1922; COPENHAGEN 10 May 1922 (in Danish, translated
Ghent 23 January 1922; Brussels 10 November by J. Lehmann).
1922; Geneva 2 February 1923, etc. RIO DE JANEIRO 24 September 1922 (in Itallan).

1359 13 60
1921 ANNALS OF OPERA 1921

MALTA 1923 (in Italian). First produced on the stage of the Th. Jorat,
SZEGED Summer 1924 (in Hungarian). Mezieres, Switzerland.
BARCELONA 18 February 1926. In a revised concert version (3 parts) first given
PARIS, G.L. 12 November 1928 (in Italian). at Winterthur 2 December 1923 (in German,
translated by H. Reinhart).
W E L L ES z: Die Prinzessin Girnara The concert version was subsequently heard at
15 May. Hanover Brussels 16 December 1923; Paris, SaUe Gaveau
Text by J. Wassermann (Weltspiel und Legende). 19 March 1924; Hague 19 November 1924; Bue-
Two acts. nos Aires 28 August 1925; New York 26 October
W ellesz' s first opera; revived in a new version 1925; Rome 4 April 1926; Zurich 18 June 1926;
Mannheim 2 September 1928. Vienna 15 December 1926; London, Albert Hall
17 March 1927 (English version by E. Agate) ;
GATTY: Prince Ferelon; or, Leningrad September 1927; Athens December
The Princess's Suiiors 193 I; Viipuri December 1933; Tunis 1938.
On the stage, this work, after its first pro duc-
21May. London, Old Vic
tion, was given in Paris, Ch.E. 3 May 1924 (in
Text by the composer (A musical extravaganza).
French), and at Cambridge 10 May 1929 (in
One act.
English, translated by D. Arundell).
The opera had been previously produced by
the Florence Ettlinger Opera School on 27 No-
vember 1919. Revived London, R.C.M. 10 De- FRANCHETTI and GIORDANO:
cember 1930 and I June 1933. Giove a Pompei
5 Jllly. Rome, T. La Pariola
MEDI1'iS: Uguns un Nakts Text by L. Illica and E. Romagnoli. Three acts.
(Fire and Night) First produced at Rome in the open air; sub-
26 May. Riga sequently given at Venice, T. Malibran 17 July
Text by J. Rainis. Four acts. 1921, etc.
Successful Lettish opera; a second part followed
in December 1921. CAMPBELL: Thais and Talmaae
HINDEMITH: 13 Septel1lber. Manchester
Mörder, Hoffilung der Frauen and Text by C. H. Boume (founded on Anatolc
Das Nusch-Nuschi* France's noveI). One act.
CampbelI's only opera; successful on English
4 June. Stuttgart
stages.
Two one-act opcras. Text of Miirder, Hoffilun,~ der
Given at London, c.G. 8 November 1921 and
Praue/! by o. Kokoschka; text of Das Nlls(h-
revived London, King's (Hammersmith) 18 Sep-
NI/schi by F. Blei.
tember 1928 (and on ce more 15 January 1937,
Both operas werc also given at Prague April
broadcast).
1923. Das Nusdl-NlIS(/zi was rcvived in a ncw ver-
sion at Königsberg 22 January 193I, and also
given at Antwerp 2 March 1933 (in Flcmish). J ANACEK: Kilta Kabanovll*
23 November. Bmo
HONEGGER: Le Roi David* Text by V. Cervinka (foundcd on Ostrovsky's
JI/IlC. Mczicres
11 play, Groza). Threc acts.
Text by R. Morax (PSallllle drGIllGfi'lHc). Two Apart from J(jf Pa.(forkJlla (see 1904),Janal'ek's
parts. best-knov.rn work.
1921 ANNALS OF OPERA 1921 - 22

First given at Prague 30 November 1<)22 (in BERLIN <)October 1<)26 (in German, translated by
Czech) and January 1<)28 (in German). V. Miller).
In German (translated by M. Brod), Cologne LENINGRAD 18 February 1926 (in Russian).

9 November 1922; Berlin 3 I May 1926, etc. MOSCOW 1<)27 (in Russian).

In Slovenian (translated by N. Stritov), Ljub- LJUBLJANA 30 October J<)27 (in Slovenian, trans-

ljana 26 May 1934. lated by N. Stritov).

In Croatian, Zagreb 28 March 1936. (Broadcast B.B.e. 4 July 1935.)

1922
H Ü E: Dans l'Ombre de la Cathedrale
7 Deecmber. Paris, O.e. SI LV ER: La Megere apprivoisee
Text by M. Lena and H. Ferrare (from a novcl by 30 Jal/llary. Paris, O.
V. Blasco Ibaiicz). Three acts. Text by H. Cain and E. Adenis (from Shakc-
Hüc's most successful work. ' spearc's Tamillg of Ihc Shrcl/J in P. Delair's French
In French also given at Liege December J923 ; version, 1891). Four acts.
Geneva 22 January 1<)26; Antwerp 25 December Succcssful in France; in French also given at
1926; Algiers November J<)2R. Antwerp March J923 and Geneva 18 March 1<)24·

AL FAN 0: La Lecqgenda di Sakuntal a* ROOTHAM: The two Sisters

10 Dl'cl'/J/hcr. Bologna, T.C. ' 14 Febrtlary. Cambridge
Text by the composer (founded on the Indian Text by M. Fausset (founded on the ballad Tlre
play by Kalidasa). Three acts. twa Sisters o'Billllorie). Three acts.
Alfano' s first great success and one of his chief Rootham's only opera.
works. Given on many Italian stages and in Italian
also at BUCl10S Aires 5 August 1923, and sub- ZANDON AI: Giulietta e Romeo*
sequently at Montevideo. 14 Febrtlary. Rome, C.
In German (translated by A. Brüggemann), Text by A. Rossato (after Shakespeare). Thrcc
I)üsseldorf 25 May 1<)24. acts.
In Flemish, Antwerp 6 December 1<)24. One of the latest (and not the least successful) of
the numerous operatic works on that subject (sc.:
PROKOFIEV: 1776).
L' Amour des trois Oranges* Given all over Italy and at:
BUENOS A1RES 30 July 1922 (in Italian).
30 DccclIlbcr. Chicago
RIO DE JANEffiO 27 September 1922 (in Italian).
(Original Russian) text (LyulJOl' k trcll1 Apclsil/am)
GHENT January 1924 (in French, translated by P.
by the composer (from Gozzi's comedy), pro-
Spaak).
duced in a Frcnch version by V. Janacopulos.
MALTA Carnival 1925 (in Italian).
Four acts.
ALEXANDRIA March 1925 (in Italian).
Prokofiev's first performcd opera; an earlier
MAYENCE IO April 1927 (in German, translated by
work, [grvk, written before 1917, was not pro-
A. Brüggemann).
d uced until 1929 (see there).
L' Amour des Irais Orallc!?cs was subsequently
given at: VREULS: Olivier le Simple
NEW YORK 14 February 1922 (in French). 9 March. Brussels, M.
COLOGNE 14 March 1<)25 (in German, translated Text by J. Delacre. Three aets.
by V. Miller). The first opera of the Belgian composer.
1922 ANNALS OF OPERA 1922

ZICH: Vitui DONAUDY: La Fiamminga

(The Sin) 25 April. Naplcs, S.c.
14 March. Praguc, Cz. Text by A. Donalldy (the brother of the com-
Text by J. Hilben (from his pla)" of the same title, poser). One act.
r 896). Three acts. Donaudy's last opera.
Revived Pragllc I I April 1929.
SCHOECK: Venus
LU ALDI: La Figlia de! Re May. Zurich
10
18 March. Turin, T.R. Text by A. Rüeger (from a story by P. Merimee).
Text by the composer. Three acts. Three acts.
Lualdi's first grcatcr work for the stage; award- Revived in a new version, Zurich 26 Novem-
cd the Edith MacCormick prize in 1917. Success- ber 1933; Berne 22 April 1934.
ful in Italy. Revivcd Rome January 1939.
Z I L C HER: Doktor Eisenbart
DOHNANYI: A Vajda Tornya 21 May. Leipzig and Mannheim
(The Tower of the V oyvod) Text by H. W. von Waltershausen (from a play
19 March. Budapest by O. Falckenberg). Three acts.
Text by V. L:inyi (translated from a German lib- Zilcher's only opera.
retto by H. H. Ewers and M. Henry). Three acts.
In German (as Ivas Turm), Düsseldorf 2 March ME D I f'i S: Deevi un Cilveki
1926. (Gods and Men)
23May. Riga
HINDEMITH: Saneta Susanna*
Text by L. Paegles. Four acts.
26 March. Frankfort Lettish opera on an Egyptian subject.
Text by A. Stramm. One act.
Performed on the same bill with a revival ofhis
ZEMLINSKY: Der Zwerg
two other one-act operas (see 1921).
In German also given at Prague April 1923. 28 May. Cologne
Text by G. C. Claren (founded on O. Wilde's
(MASSENET): Amadis The Birthday of the Infanta). One act.
In German also given at Vienna 24 November
1April. Monte Carlo 1923; Prague Spring 1926; Berlin 22 November
Text by J. Claretie. Prologue and 3 acts. 1926.
The last of Massenet's posthumous works;
Amadis was written as carly as 1902. STRAVINSKY: Renard and Mavra*
In French also given at Bordeaux 19 December
3 June. Paris, O.
1922 and Geneva 9 Janua·ry. 1925.
Renard
(Original Russian) text by the composer (founded
FRANCHETTI: Glauco on Russian folktales), produced in a French ver-
8 April. Naples, S.c. sion by C. F. Ramllz; Histoire burlesque chanter et
Text by G. Forzano (follnded on a play by E. L. jouee. One act.
Morselli, 1919). Three acts. The work was written for Princess Edmond de
Franchetti' s last opera. Polignac's private theatre and had been perform-

13 66
1922 ANNALS OF OPERA 1922

ed there previously fo its produetion at the Opera. BACHELET: Quand la Cloche sonnera
Also given at 6 November. Paris, O.c.
NEW YORK 2 Deeember 1923 (in French, in con-
Text by Y. d'Hansewick and P. de Wattyne. One
cert form).
act.
BERLIN 7 June 1925 (in German).
Bachelet's most successful work, frequently
AMSTERDAM December 1933 (in Dutch, translated
revived on French stages.
by M. Nijhoff).
In French also, Basle 15 May 1923; Brussels 21
PRAGUE April 1935 (in German).
Deeember 1923; Antwerp October 1924; Geneva
Broadeast fromLondon 12 April 1935 (in Eng-
20 February 1925; Luxemburg November 1926.
lish, translated by c. D. Freeman).
Mavra
(Original Russian) text by B. Kochno (foundedon
LATTUADA:La Tempesta
Pushkin's The Little House in Kolomna), produced 23 November. Milan, T.d.V.
in a French version by J. Larmanjat. One act. Text by A. Rossato (after Shakespeare). Prologue
Previously to its produetion at the Opera, the and 3 acts.
work had been performed privately at the Hotel Lattuada' s first performed opera; successful in
Continental, Paris on 29 May 1922. Also given at Italy.
KIEL 7 November 1925 (in German, translated by
A. Eluehen). ROLAND-MANUEL: Isabelle
PRAGUE 1927 (in Czech; at the State Conserva- et Pantalon
toire). 11 December. Paris, Tr.L.
BERLIN 25 February 1928 (in German).
Text by M. Jacob. Two acts.
LENINGRAD Spring 1928 (in Russian).
Roland-Manuel's only opera.
LONDON 27 April 1934 (broadeast; in English).
In German (translated by A. Rebner), Kiel 7
PHILADELPHIA 28 December 1934 (in English,
November 1925.
translated by E. R. Bumess).

WILLIAMS: The Shepherds ofthe PIZZETTI: Debora eJaele*

delectable Mountains* 16 Decembcr. Milan, Sc.
11 Jllly. London, R.C.M. Text by the composer. Three acts.
Text from Bunyan's Thc Pilgrim's Progress. A One of Pizzetti's chief works; awarded a prize
Pastoral Episode. One aet. 1 by the Italian Academy in 1931. Revived at the
Vaughan Williams's first opera. Frequently Scala 30 December 1936. Outside Italy given at:
revived on English stages, viz., Clifton 13 Oeto- BUENOS A1RES 17 June 1923 (in Italian; revived

ber 1924; R.C.M. again 1926; London, Court 12 there Summer 1933).
HAMBURG 27 September 1928 (in German, trans-
June 1928; Edinburgh 29 April 1936; London,
R.C.M. 7 July 1936 ; Brunswiek23 February 1940. lated by A. BrüggemalUl).
BRUSSELS 23 March 1929 (in French, translated by

BOUGHTON: Alkestis Po SpaJ.k).

26 August. Glastonbury
Text from Euripides's tragcdy in G. Murray's
CRAS: Polypheme
English version. Two acts. 29 DCCC/llbcr. Paris, O.c.
London, c.G. I I January 1924. Text by A. Samain. Four acts.
1 Subsequently incorporated in the opera The Pilgrim' s Cras's only opera; awarded the prize of the
Progress. H.R. City of Paris in 192 I.

13 68
192 3 ANNALS OF OPERA 192 3

I923 FALLA: EI Retablo de Maese Pedro*

23 March. Sevilla
BIANCHINI: Il Principe e Nuredha Text adapted from a chapter in Cervantes's Don
24 January. Venice, F. Quixote. One act.
Text by M. Star (leggenda orientale). One act. First produced in concert form at the Teatro
In French (as Le Prince etlcharne), Monte Carlo San Fernando, Seville, and subsequently given at:
5 April 1923; Ghent February 1924. PARIS 25 ]une 1923 (in French, translated by G.].
Aubry); produced at Princess Edmond de Po-
lignac's private theatre; repeated 13 November
BA USSNERN: Satyros 1923 at the Concerts Wiener and rcvived at the
31 January.
Basle O.c. 12 March 1928.
Text by the composer (founded on Goethe's MADRID 28 March 1924 (in Spanish; in concert
poem). Prologue and 2 acts. form).
In German also given at Weimar 24 November CLIFTON (BRISTOL) 14 October 1924 (in English,

1923· translated by J. B. Trend).

BARCELONA 7 February 1925 (in Spanish).

MUd:: La Monacella della Fontana NEW YORK 29 December 1925 (in Spanish).
ZURICH 23 ]anuary 1926 (in German, translated
17 February. Trieste
by H. ]elmoli).
Text by G. Adami. One act. BRUSSELS 8 February 1926 (in concert form).
Along with Bianchini' s Il Prillcipe e Nuredha AMSTERDAM 26 April 1926 (in concert form).
(see above), awarded the prize of the Italian BUENOS AIRES ]une 1926 (in Spanish).
Government for 1922. Successful and frequently COLOGNE 13 ]anuary 1927 (in German).
revived in Italy. BERLIN 2 March 1927 (in German).
In Italian also, Lisbon May 1938; Rio de ]aneiro LONDON, COURT TH. 12 ]une 1928 (in English).
and Säo Paulo Summer 1938. VENICE, T. GOLDONI 10 September 1932 (in Ital-
ian); Florence, Palazzo Pitti 17 February 1934
SAMUEL-ROUSSEA U: Le Hulla (in concert form).
LISBON December 1936 (in concert form).
9 March. Paris, O.c.
OXFORD 30 November 1937 (in English).
Text by A. Rivoire. Four acts. PRAGUE December 1938 (in Czech, by the Prit-
Successful in France. In French also given at omnost Society).
Geneva 12 March 1925.

PAHISSA: Marianela
B. SCHUSTER: Der Dieb des Glückes
31 March. Barcelona, L.
10 March. Wiesbaden Text by J. and S. Alvarez Quintero (founded on
Text by the composer. Three acts. a novel by B. Perez Galdos). Three acts.
Successful in Germany; Berlin 12 ]une 1926.

RICCITELLI: I Compagnazzi
BERR: Der tote Gast 10 April. Rome, C.
23 March. BasIc Text by G. Forzano. One act.
Text by R. Lothar (founded on a story by H. Very successful in Italy.
Zschokke). Three acts. In Italian also produced at Buenos Aires 22 July
Berr's only opera. 1923 and New York, M. 2]anuary 1924.

1370
 ANNALS OF OPERA 192 3

RES PI GHI: Belfagor* SM Y T H: Fete galante

26 April. Milan, Sc. 41une. Birmingham
Text by C. Guastalla (founded on a comedy by Text by E. Shanks (founded on a story by M.
E. L. Morselli). Prologue, 2 acts, and epilogue. Baring). A Dance-Dream. One act.
In German (translated by R. S. Hoffmann), Subsequently produced at C.G., London I I
Hamburg 10 March 1925. June 1923 and at R.C.M. I925.
GA L: Die heilige Ente
29 April. Düsseldorf PALMER: Sruth Na Maoile
Text by K. M. von Levetzow and L. Feld. Ein
(The Sea of Moyle)
Spie/mit Giittern lind Me1lsche1l, prologue and 3 acts.
Gi!' s most successful opera. 251u1y. Dublin
In German also given at Berlin, D.O. I9 Sep- Text by T. O'Ceallaigh (T. O'Kelly), founded on
tember 1925; Prague I7 January I926. the Irish saga of Tize Childml of Lir.
ROZYCKI: Casanova Successful Irish opera, revived at Dublin 13
August 1924.
3 May. Warsaw
Text by J. Krzewinski. Prologue, 3 parts, and
epilogue. VIVES: Dona Francisquita
Successful in Poland. Revived Poznan February 17 Getober. Madrid, T. Apolo
I936.
Text by F. Romero and G. Femindez Shaw
Also given at Belgrade Spring I932 (in Serbian)
(from Lope de Vega's comedy, La discreta Ella-
and Antwerp 26 Novef!1ber I932 (in Flemish).
morada). Three acts.
NOV AK: Lucerna Successful Spanish comic opera; Barcelona, Ti-
(The Lantem) voli February 1924, etc. Revived in Spanish, Bue-
13 May. Prague, Cz. nos Aires 2 November I934.
Text by H. Jelinek (founded en a play by A. In French (translated by A. de Badet and R.
Jirisek). Four acts. Bergeret), Monte Carlo January 1934; Brussels 9
In Czech also given at Vienna, Stadt Th. 5 May June 1934; Vichy Summer 1934·
I929 (by a company from Bratislava). Revived
Prague 28 September 1930. REZNICEK: Holofernes
In Slovenian (translated by N. Stritov), Ljub-
ljana 8 October 193 I. 27 Getober. Berlin, D.O.
Text by the composer (founded on F. Hebbel's
HOLST: The perfect Fool* Judith). Two acts.
14 May. London, c.G. One of the numerous modem ludith operas.
Text by the composer. Olle act.
A symphonic suite from the opera had been
performed in London on I I December I92I. Suc- HUB A Y: Karenina Anna
cessful in London. 10 November. Budapest
ROUSSEL: Padmavati* Text by S. G6th (founded on Toistoi's novel).
111llze. Paris, O. Three acts.
Text by L. Laloy. Opera-ballet. Two acts. Successful at Budapest.
Rousse!' s first opera. Also given at Duisburg 22 October I932 and
Excerpts performed on B.B.C. 9 November Vienlla 9 February I936 (in German, translated
1937· by H. Liebstöckl).

I37 1 I37 2
19 23-24 ANNALS OF OPERA 192 4

J. B. FOERSTER: Srdce POL D I NI: Farsangi Lakodalom

(The Heart) (W cdding in Carnival)
15 No!'cmber. Prague, Cz. 16 February. Budapest
Text by the composer after Tolstoy. Prologue, Text by E. Vajda. Three acts ..
2 acts and epilogue. Successful Hungarian comic opera. Also given
Revived Prague I February 1930 and 28 at'Dresden 24 October I925 and Vicnna 22 Feb-
February 1936. ruary I926 (in German, translated by B. Diasy)
and London, Gaiety 6 October 1926 (in English,
as LOFe Adrift, translated by M. D. Calvocoressi).
PA UMGARTNER: Die Höhle
von Salamanca
LATTU ADA: Sandha
NOl'clI/bcr. Dresden
20
21Felmlary. Genoa, C.F.
Text by the composer (after Cervantes). One act.
Text by F. Fontana (tragedia illdialla). One act.
Given on some Gennan stages and also at
Successful in Ital)'.
Leningrad Spring 1928 (in Russian, by the Opera
Studio of the Leningrad Conservatoire), and by
CARTER: The white Bird
the Russian singers also at Salzburg 6 August
1928. 6 March. Chicago
Text by B. Hooker. One act.
BA TH: Bubbles Successful American opera. In German (trans-
26 November. Belfast lated by F. Rcmond), Osnabrück 15 November
Text from Lady I. A. Gregory's pby Spreadillg 1927. Revived (in English) New York 7 February
the News. One act. 1937·
In English also given at London, Scala I I June BARILLI: Emiral*
192 4. March. Rome, C.
11
(The opera is stated to luve been produced first Text by the composer. One act.
at Milan 3 January 1920, in Italian, as Bllbbole; I Barilli's first performed opera. Awarded the
could not find a rccord of that production.) State Prize of the ltalian Government in 1923.

MILHA UD: La Brebis egaree TOURNEMIRE: Les Dieux sont morts

10 Decem!,Cf. Paris, O.c. 19 March. Paris, O.
Text by F. Jammes (ROll/all IIlIlsica!). Three acts. Text by E. Berteaux. Two acts.
Milhaud's first opera. Revived in Gennan (as The only opera of the French organist, com-
Die Rückkehr, translated by E. Orthmann) Mann- posed in 1912.
heim 2 December 1929.
WELLESZ: Alkestis
20 March. Mannheim
19 2 4 Text by H. von HofmannsthaI (founded on
Euripides's tragedy). One act.
JONGEN: ThomasVAgnelet, Berlin, D.O. 1 Junc I930.
Gentilhomme de Fortune
14 Febmary. Brussels, M. SCHREKER: Irrelohe
Text by C. Farrcre (Roll/all musical). Four acts. 27 March. Cologne
The most important opera of the Bclgian com- Text by the composer. Three acts.
poser. Stuttgart 29 March I924, ctc.

1373 137+
 ANNALS OF OPERA

RABA UD: L' Appel de la Mer Boito had been working on this, his second and
last opera, for very many years. The project is
April. Paris,O.c.
10
mentioned in a letter as early as 1862. The text was
Text by the composer (from Synge's Riders to the
first published in 1901 as a poetic drama (in 5 acts).
Sea). One act.
At his deaeh in 1918 the work was still unfinished.
In French also given at Brussels 12 January
In 1924, the opera was produced in aversion by
192 5.
V. Tommasini and A. Toscanini.
In German (translated by G. Brecher), Leipzig
6 May 1927.
SOLTYS: Panie Kochanku
MACKENZIE: The Eve ofSt.John 3 May. Lemberg
16 April. Liverpool Text by H. Kopia (from a play byJ. I. Kraszewski,
Text by E. Farjeon. One act. 1867). Three acts.
Mackenzie's last opera. London, H.M.'s 26 The last opera of the Polish composer.
June 1924·
ROBBIANI: Anna Karenina
MA URICE: Andromeda 6 May. Rome, C.
23 April. Basle (Original French) text by E. Guiraud (after
(Original French) text by M. Maurice (the wife Tolstoi), Italian version by the composer. Three
of the composer), German version by H. v. acts.
Gumppenberg. Three acts. Awarded the State Prize of the Italian Govern-
In Gwnan also, Zurich 4 February 1925; Wei- ment.
mar 10 March 193 1.
SCHÖNBERG: Erwartung*
BERNERS: 6 june. Prague
Le Carrosse du Saint;..Sacrement Text by M. Pappenheim (Mimodrama). One act
24 April. Paris, Ch.E. (4 scenes).
Text from P. Merimee's play (1825). One act. Written in 1909, published 1916. First produced
Lord Berners's only opera. at the second LS.C.M. Festival; subsequently
given at:
WIESBADEN 22 January 1928 (in German).
(BOlTO): Nerone* BERLIN 7 June 1930 (in German).
May. Milan, Sc.
1 BRUSSELS 6 May 1936 (in French, translated by J.
Text by the composer. Four acts. Weterings).
Bologna 12 October 1924, etc.; Rome 25 Feh- Broadcast from London 9 January 1931 (in
ruary 1928 (inauguration of the Teatro Reale German).
dell' Opera). Open air performance: Udine 28
July 1928. Outside Italy given at: Ki'tENEK: Der Sprung über den Schatten
STOCKHOLM 9 April 1926 (in Swedish, translated
by H. Key). 9 june. Frankfort
BUENOS AIRES 22 May 1926 (in Itali:m). Text by the composer. Three acts.
RIO DE JANEIRO July 1926 (in Italian). Performed at the Tonkünstlerfest of the Allge-
SANTIAGO, CHILE Summer 1926 (in Italian). meiner Deutscher Musikverein.
CAIRO February 1928 (in Italian). In Russian (transbted by S. Y. Levik), Lenin-
STUTTGART 5 May 1928 (in German, translated by grad 21 May 1927; ehe first modern European
E. Lert). opera to be given in the Soviet Union.

1375 1376
 ANNALS OF OPERA 1924

ANDREAE: Abenteuer des Casanova don, H.M.'s 14 July 1924. In English also, To-
17 June. Dresden
ronto 193 I.
Revived at the R.C.M. 16 JUlle 1933 (in a re-
Text by F. Lion. Consists of 4 one-act operas.
vised version) and at Sadler's Wells 21 April 1937
Successful in Switzerland. Zurich 1925, etc. Re-
(in the original version).
vived Basle December 1938.
BOUGHTON: The Queen ofCornwali
S ACH S : Les Burgraves 21 August. Glastonbury
18 June. Paris, Ch.E. Text: T. Hardy's play (1923), with alterations.
Text from V. Hugo's drama. Four acts. Twoacts.
Sachs's only opera. Revived Liverpool 13 January 1927.
In French also given at The Hague, November (26 August is incorrecdy indicated as date of
1925 and Barcelona 5 February 1926. first perfor~ance in the printed score.)
LUALDI: Le Furie d'Arlecchino BANTOCK: The Seal Woman*
19 June. Buenos Aires 27 September. Birrningham
Text by L. Orsini (illterlllezzo gioeoso). One act. Text by M. K. Fraser (Celtiefolk-opera). Two acts.
In Italian also given at New York 20 December Bantock' s last opera.
1924; Venice, F. 30 April 1925, etc., Geneva 8 MILES: Markheim
April 1929.
13 Oetober. Clifton (near Bristol)
In German (translated by K. H. -Gutheim),
Hagen 26 May 1929. Text by the composer (from R. L. Stevenson's
Still popular in Italy. (Stated sometimes tohave story). Dramatic Sketch. One act.
been produced at the T. Carcano, Milan, as early (The opera had previously been heard, with
as 1915, a statement which I could not verify.)t piano accompaniment, at Shirehampton in 1922
and in London, Metropolitan Th. 10 February
A. PALMA: Nazdah 192 3.)
19 JUlle. Buenos Aires Revived Liverpool 17 February 1928, etc ..
(ltalian) text by G. de San Leo (founded onJ. M. SCHÖNBERG: Die glückliche Hand*
E<;:a de Queiroz's story La Nodriza). One act. 140ctober. Vienna, V.O.
The first opera of the Argentine composer.
Text by the composer (Drama mit Musik). One
] ACHINO: Giocondo e il suo Re act (4 scenes).
In German also given at Brcslau 24 March
24 JUlle. Milan, T.d.V.
1928; New York, M. 22 April 1930 (by the
Text by G. Forzano (founded on an episode in League of Composers); Berlin 7 June 1930.
Ariosto's Orlando furioso). Three acts. The work had been published as early as 1913.
Jachino's first opera. Successful in Italy; Rome
6 April 1926, etc.
KRENEK: Zwingburg
21 Oetober. Berlin, O.
WILLIAMS: Hugh the Drover; or, Text by F. Werfel, based on an anonymous sce-
Love in the Stocks* nario (Szenische Kawate). One act.
4July. London, R.C.M. Krenek's first work for the stage, written
Text by H. H. Child. Two acts. before Der Sprullg über den Sehattetl (see above).
Vaughan Williams's most successful work for A planned revival at Stuttgart in the late 1920S
the stage. Publicly performed 10 days later, Lon- was cancelled because ofits revolutionary charac-
1 First performance was on IO May I9I5 in a double
ter, but was at the same time rejected in Russia as
bill witb tbe composer's La Rosa di Saaron. H.R. reactionary.

1377
 ANNALS OF OPERA

MADETOJA: Pohjalaisia JA NA CE K: Lisky PFlhody Bystrousky*

(The East Bothnians) (The sIy little Fox)
25 Oe/ober. Helsinki 6 November. Bmo
Text by the composer (from a play by A. Järvi- Text by the composer (founded on a story by R.
luoma). Three acts. TesnohHdek). Three acts.
The most succcssful Firmish opera so far In Czech also, Prague 18 May 1925 (revived
written. Given at Helsinki 88 times until 1937. 3 1 May 1937).
Also produced at Kiel 4. November 1926 (in In German (translated by M. Brod), Mayence
German, translated by G. Schneid); Stockholm 13 February 1927.
27 April 1927 (in Swedish); Copenhagen Feb- Zagreb 9 February 1939.
ruary 1939 (in Danish).
SZANTO: Taifun
29 November. Mannheim
WIDOR: NeTto
(Original Hungarian) text by M. Lengyel, Ger-
27 Oe/ober. Paris, O. man version by J. Mohacsy. Three acts.
Text by M. Lena (from F. Mistra!'s poem). Four Szant6's only opera.
acts. Givenalso at Antwerp 7 November 1925 (in
Widor's last opera. Flemish); Budapest 26 February 1926 (in Hungar-
ian) Vienna, V.O. 21 February 1928 (in Ger-
man).
R. STRA USS: lntermezzo*
HAMERIK: Stepan
4 November. Dresden
30 November. Mayence
Text by the composer (Bürgerliche Komiidie mit
(Original Danish) text by F. Nygaard, German
sinfonischen Zwischenspielen). Two acts.
version by F. von der Stucken. Three acts.
In German also given Berlin at 28 March 1925;
In Flernish, Antwerp 21 March 1925; in Danish,
Graz 25 April 1925; Prague 1925; Zurich 15 June
Copenhagen 31 March 1926.
1925 (by Dresden Opera); Vienna 15 January
The first opera on a Soviet Russian theme.
1927; Beme 1929; Budapest 12 November 1929.
In Italian (translated by O. Schanzer), Barce-
MARQUEZ: Sor Beatriz
lona 16 November 1925.
20 Deecmber. Barcelona, L.
(Spanish) text by V. Gassol, founded on Maeter-
KAREL: ]lseino Srdce
linck's play. Two acts.
(Ilse's Heart) Marquez's only opera.
11 November. Prague, Cz.
Text by K. H. Hilar. Three acts. GIORDANO: La Cena delle Beffe
Kare!' s first opera. 20 December. Milan, Sc.
Text by S. Benelli (from his play of the same
BRA UNFELS: Don Gil von den tide, 1910). Four acts.
Successful in Italy; also given at:
grünen Hosen
BUENOS AIRES 28 August 1925 (in Italian).
November. M~ch
15 BARCELONA 7 November 1925 (in Italian).
Text by the composer (from Tirso de Molina's NEW YORK, M. 2 January 1926 (in Italian).
comedy). Three acts. GABLONZ 16 January 1926 (in German, translated
Vienna 7 May 1925. by E. Lert).

1379 1380
 ANNALS OF OPERA

PRAGUE 1926 (in German, translated by E. Lert). WOlF-FERRARI: Gli Amanti sposi
MALTA 1926 (in Italian). 19 Felmwry. Venicc, F.
CHICAGO 27 November 1<)26 (in Italian).
Text by G. Farzano (foundcd on Goldoni's co m-
WARSAW November J927 (in Polish).
edl' 11 Vt'llta.~lio). Three acts.
NICE 24 April 1930 (in Italian).
In German (as Das Licbcsballd der Marchcsa,
translated bl' F. Rau), Dresden 2 April 1925; Zu-
d' OllONE: L'Arlequin flch November 1<)26.
24 Deccl1lber. Paris, O.
Text by J. Sarment. Fivc acts.
CAMUSSI: Scampolo
In French also, Antwerp November 1925. 22 FeliTuary. Trieste
Text by D. Niccodemi (from his comedy of the
same title, 1<)16). Three acts.
19 2 5 Successful in Ital y.
In German, Dortmund 24 March 1939.
VOllERTH-UN: Island-Saga
17 jal/uary. Munich Z A N DON AI: I Cavalieri di Ekebu*
Text by B. Thiersch. Three acts. 7 March. Milan, Sc.
Given with altcrations at Weimar 211 February Text by A. Rossato (founded on S. Lagerlöf's
1926. Ciista Berli/lg). Four acts.
In German also, Hague 15 January J <)2<). Re- Successful in Italy; Rome 2R March 1925, etc.
vived Rostock 5 January 1940. Outside Ital)', given at:
BUENOS AIRES 2R July 1<)25 (in Italian).

A TTERBERG: Bäckahästen STOCKHOLM 20 November 1928 (in Swedish,

translated by S. Lindström).
(The River Horsc)
NUREMBERG 15 March 1<)30 (in German, trans-
23 ja/llwry. Stockholm Iated by E. Lert).
Text by A. Österling. Four acts. RIGA 16 October 1<)35 (in Lettish).
In German (as Das Wogellross), Dessau 27 No-
vember 1927. OVERHOFF: Mira
181vfarch. Essen
ETTINGER:Juana and Text by A. Hospelt. Two parts.
Der eifersüchtige Trinker Overhoff's first opera. Revived Heidelberg
7 Felm/ary. Nuremberg May 1934.
Two one-act operas, text by G. Kaiser and by F.
Freksa respectivcly. RAVEL: L'Enjant et les Sortileges*
Ettinger's first warks far the stage. 21 March. Morrte Carlo
Text by Colette (falltaisie lyriquc). Two parts.
MORENO-TORROBA: La Virgen Ravel's second and last opera.
de Mayo In French also givcn at Paris, O.c. I February
1926; Brussels 11 February 1926; San Francisco
14 February. Madrid, T.R. 19 September 1930; Florence, P. 2 May 1939.
Text by P. Max. One act. In Czech (translated by J. Fiala), Prague 17 Feb-
The best work of the Spanish composer. ruary I927.
192 5 ANNALS OF OPERA

In German (translated by E. Bloch), Leipzig 6 and produced there 14 February 1920, when the
May 1927 as Das Zauberwort. Vienna 14 March work received its first public stage performance at
1929. the third LS.C.M. Festival in a Czech version by?
Transferred to the repertory of the Paris Opera
17 May 1939. (BUSONI): Doktor Faust *
HOLST: At the Boar's Head 21 May. Dresden
Text by the composer. Consists of 2 prologues,
3 April. Manchester
1 scenic interlude, and 3 scenes.
Text by the composer (from Shakespeare's King Busoni's last opera, completed by P. Jarnach.
Henry IV). One act.
Also produced at Frankfort 29 June 1927; Ber-
London, Golder's Green Hippodrome 20 April
!in 27 October 1927; London, Queell's Hall 17
1925; R.C.M. 1926. Revived New York, Mac
March 1937 (in conccrt form; Eng!ish version by
Dowell Club 16 February 1935. E. J. Dent).
LUALDI: Il Diavolo nel Campanile* SC 0 T T: Der Alchimist
April. Milan, Sc.
21
28 May. Essen
Text by the composer (after E. A. Poe). One act. (Original English) text by thc composer, German
In German, Stuttgart 18 May 1938. version by H. Alldreae. Three scenes.
Scott's first (and so far only) opera.
(STANFORD): The Travelling
Companion VITT ADINI: Nazareth
30 April. Liverpool 28 May. Pavia
Text by H. Newbolt (from H. C. Andersen's Text by G. Adarni (from a story by S. Lagerlöf).
fairy-tale). Four acts. Visione lirica. One act.
Stanford's last opera. Published in 1919, it was In Italian also givcn at Monte Carlo, March
not performed until one year after the composer's 192 6.
death.
First produced by amateurs; on the professional WEISMANN : Leonce und Lena
stage, Bristol 25 October 1926. 21 June. Freiburg
Revived Falmouth 25 October 1934; London, Text by the composer (from G. Büchner's com-
Sadlcr's WeHs 3 April 1935. edy of the same title and with additions from W.
Cale). Three acts.
MARIOTTE: Esther Princesse d'Israel One ofWeismann's best works.
4 May. Paris, O.
Text from a pby by Andre Dumas and S. C. Le- ROUSSEL: La Naissance de la Lyre
conte. Three acts. 1 July. Paris, O.
Text by T. Reinach (founded on Sophocles's
S A TIE: Socrate* Iehneutai). One act (3 scenes).
Ma)'. Prague
Text from Plato' s dialogues in V. Cousin' s French
SCHIUMA: Tabare
version. Dralllc SYl1lpllOllique auee voix. Three parts. 6 August. Buenos Aires
Published in 1919; first public audition Paris, (Italian) text by G. C. Rovesi (founded on a poem
Soc. Nationale de Musique, 14 February 1920; by the Uruguayan poet, J. Zorrilla de San Mar-
written for Princess de Polignac's private theatre tin). Three acts.
 ANNALS OF OPERA

Schiuma's most successful work, frequently re- R. ·B 0 S SI: Volpino il Calderaio

vived at Buenos Aires.
13 November. Milan, T. Carcano

J OTEYKO: Zygmunt August Text by L. Orsini (from Shakespeare's The Tam-

ing of the Shrew). One act.
29 Augl/St. Warsaw In German, Lübeck 7 November 1937.
Text by the composer (from L. Rydel's trilogy,
1913). Five acts.
A. BERG: Wozzeck*
Successful in Poland: Lemberg 3 May 1926, ctc.
14 Deeember. Berlin, O.
LAND RE : Beatrijs Text from G. Büchner's drama (written 1836),
reduced to 15 scenes (against 25 in the original).
Oetober. Hague
Three acts.
Text by F. Rutten. Four acts.
Berg's first opera and one of the chief works of
In Dutch also produced at Paris, O. 19 February modern dramatic music. Given at Berlin 21 times
1926 (by the Hague company). until 1932 and subsequentlyon 16 other German
stages (Oldenburg 5 March 1929; then Essen,
KA UN: Menandra Aachen, Düsseldorf, Königsberg, Lübeck, Co-
29 Oetober. Brunswick, Kiel, Osnabrück logne, Gera, Brunswiek, Darmstadt, Frankfort,
and Rostock Freiburg, Wuppertal, Leipzig, Chemnitz, Mann-
heim).
Text by the composer and F. Jansen (founded on
Outside Germany given at:
the latter's poem Hypatia). Three acts.
PRAGUE II November 1926 (in Czech) (banned
First produced in four different towns the same
on 29 November because of disturbanees).
night.
LENINGRAD 13 June 1927 (in Russian).
Revived with alterations Bremerhaven 12
VIENNA 30 March 1930 (in German).
December 1926; Hanover 15 September 1928.
AMSTERDAM and ROTTERDAM October 1930 (in
German, by the Aachen company).
G. F. MALIPIERO: L'Orfeide*
PHILADELPHIA 19 March 1931 (in German).
30 Oetober. Düsseldorf ZURICH 17 October 193 I (in German).
(Original Italian) text by the composer, first pro- NEW YORK 24 November 1931 (in German).
duced in a German version by W. Aron and E. BRUSSELS 29 February 1932 (in French, translated
Orthmann. Three parts (see for details 10 July byP. Spaak).
1920). BRÜNN 6 December 1932 (in German).
In Russian given at Leningrad 24 November LONDON, QUEEN'S HALL 14 March 1934 (concert
1928; in the original Italian, Venice, F. 23 Feh- performance, in German).
ruary 1936.

J ANACEK: Sarka VREULS: Un Songe d'une Nuit d'ete

11 November. Bmo 17 December. Brussels, M.
Text by J. Zeyer. Three acts. Text by P. Spaak (after Shakespeare). Three acts.
This was Janacek's first opera, written as early Successful in Belgium.
as 1887. Revised 1888, 1918 and 1924. Third act Revived Ghent, February 1937 and in the same
orchestrated by Janacek' s pupil, O. Chlubna. month also given at Luxemburg.

1386
1925-26 ANNALS OF OPERA

LAPARRA: Le Joueur de Viole duced in a German version by W. Aron. One act

each.
24 Deccftlber. Paris, O.c. So (,r, the three operas have ncver been revived
Text by the composer. Four aets. as a trilogy: La BOf(cga da CafF was revived at Pola
Successful in Paris. In French also, Antwerp 27 March 1936 (in the origiIlll Italian).
January 1928. Sior Todero Broill%H was also givcn at Monte
Carlo Mlrch 1928 (in Italim) and at Antwerp 25
1926 April 1929 (in Flemish).
NOV AK: Deduv Odkaz
W E I LL: Der Protagonist*
(The Grandfather' S Will)
27 March. Dresden
16 January.
Brno
Text by A. Klistersky (founded on a poem by A. Text by G. Kaiser. One aet.
Heyduk). Three acts. Weill's first opera. Also given at Berlin, D.O.
In Czech also givenat Prague 22 December 1926. 14 Oetober 1928.

SHAW: Mr. Pepys GURLITT: Wozzeck

Fcbruary. London, Everyman
11
22 April. Bremen
Text by C. Bax. Ballad-Opera. Three acts. Text: a new setting of G. Büchner's drama, 6
Given at the Royalty, London 9 March of the months after A. Berg's opera of the same title.
same year. Eighteen scenes and epilogue.

HONEGGER: Judith*
(PUCCINI): Turandot*
13 February. Monte Carlo
25 April. Milan, Sc.
Text by R. Morax. Three aets.
Text by G. Adami and R. Simoni (after Gozzi).
Previously performed in a non-operatic ver-
Three aets.
sion, as a play with incidental music, at Mczieres,
PlIecini's last opera, completed, after his death
Switzerland 13 June 1925. The opera was also
in 1924, by F. Alfano who added the last duet and
given at:
the final scene. So far (i.e. 1940) the last world
ROTTERDAM 1926 (in concert form).
success in the history of opera. The first produc-
COLOGNE 13 January 1927 (in German, translated
tion (under Toscanini) was announced for 24 April
by L. Melitz).
but postponed to the day after. Subsequently, the
CHICAGO 27 January 1927 (in French).
opera was given at Rome 29 April 1926 and all
BOSTON II February 1927 (in French).
over Italy and at:
BRUSSELS 8 March 1927 (in French).
BUENOS AIRES 26 June 1926 (in Italian).
ZURICH 1927 (in German).
RIO DE JANEIRO July 1926 (in Italian).
ANTWERP 17 January 1931 (in Flemish).
DRESDEN 4 July 1926 (in Gcrman, translated by
NAPLES, S.C. 19 January 1937 (in Italian, translated
A. Brüggemann).
by G. Savagnolle).
VIENNA 14 Oetober 1926 (in German, translated

MALIPIERO: La Bottega da Caffe, by A. Brüggemann).

BERLIN 6 November 1926 (in German, translated
Sior Todero Brontolon and by A. Brüggemann).
Le Baruffe Chiozzotte NEW YORK 16 November 1926 (in Italian) ; Phila-
24 March. Darmstadt delphia 1 Deeember 1926, ete.
Trc Commedie Goldoniani, the original Italian text BRUSSELS 17 December 1926 (in French, trans-
adapted from three of Goldoni's comedies, pro- lated by P. Spaak).

13 87 13 88
 ANNALS OF OPERA

CAIRO March 1927 (in Italian). S. SALOMON: Leollora Christina

MONTE CARLO March 1927 (in Italian). 20 May. Copenhagen
BERNE March 1927 (in German).
Text by A. Barfoed. Four aets.
LONDON, C.G. 7 June 1927 (in Italian).
Salomon's first performed opera.
PRAGUE 10 June 1927 (in Czech, translated by J.
In Danish also produeed at StodJlOlm 7 May
Bole), and 14 March 1934 (in German).
1927 (by.the Copenhagen eompany).
BUDAPEST 14 November 1927 (in Hungarian,
translated by V. Unyi).
STOCKHOLM 29 Decembcr 1927 (in Swcdish).
CAETANI: Hypatia
BASLE 19 February 1928 (in German). 23 J\1ay. Weimar
PARIS, O. 2 April 1928 (in Frcneh). Text by the composer. Three aets.
ZAGREß 26 May 1928 (in Croatian). Revived BasIc 1 Deeembcr 1937.
MALTA 1928 (in Italian).
MELBOURNE 1928 (in Italian). SZYMANOWSKI: Krol Roger*
HAGUE and AMSTERDAM Oetober 1928 (in Italian).
19J"I1C. W:trSaw
BARCELONA Deeember 1928 (in Italian).
HALIFAX 27 September 1929 (for the first time in
Text by J. Iwaszkiewiez. Three aets.
English, translated by R. H. Elkin). Szymanowski's most important opera.
HELSINKl 13 November 1929 (in Finnish).
Suceessful in Poland; also given at Duisburg
28 Oetober 1928 (in German, translatcd by R. S.
RIGA 15 February 1930 (in Lettish).
ßELGRADE Summer 1930 (in Serbian).
Hoffmann) and Praguc 21 Oetober 1932 (in
SOFIA 10 Oetober 1930 (in Bulgarian).
Czeeh).
LJUBLJANA 23 April 1932 (in Slovenian, transbted
by M. Polie).
SCHJELDERUP: Sturmvögel
WARSAW December 1932 (in Polish). 19 Scplelll/'cr. Sehwerin
CAGLIARI, SARDINIA April 1934 (in Italian). Tcxt by thc composer. Three acts.
CLUJ 23 February 1936 (in Rumanian). Sehjelderup' s last opera.
In German also given at Osle>, Spring 1927 (by
CASTELNUOVO-TEDESCO:
the Sehwerin company).
La Mandragola
4 May. Veniee, F. BRYSON: The Leper's Flute
Text from Macchiavelli's eomedy. Three aets. 150elober. Glasgow
Castelnuovo-Tedeseo's first opera; awarded the Text by J. Colvin. Four aets.
prize of the Italian Government for 1925. Bryson's only opera.
In German (translated by R. S. Hoffmann), Subsequently given in London, Golder's Green
Wiesbaden 26 February 1928. Hippodrome 7 Deecmber 1927.
MILRA UD: Les Malheurs d'Orphee*
KODALY: Hary Janos*
7 May. Brussels, M.
160etober. Budapest
Text by A. Lune!. Three aets. Text by B. Paulini and Z. Harsanyi (founded on
In Freneh also given at Paris, Th. Fernina 27 a poem by J. Garay). Prologue, 5 parts, and epi-
February 1927; Buenos Aires 10 Oetober 1927; logue.
Amsterdam May 1928 (in eoneert form). Munieh Kodily's first opera (or rather ballad opera,
22 May 1931; New York, Town Hall (in eoneert founded upon popular Hungarian tunes). Suc-
form) 29 January 1927. eessful in Hungary.

13 89
 ANNALS OF OPERA 1927

In German (translated by R. S. Hoffmann), Co-

19 2 7
logne 26 September 193 I.
SCHOECK: Penthesilea
HI N DEM IT H: Cardillac* 8 JmlUary. Dresden
. 9 NOlJcmbcr. Dresden Text by the composer (from H. von Kleist's play
Text by F. Lion (founded on E. T. A. Hoffmann's of the same tide). One act.
Das Fräulein von Scudcri). Three acts. Sehoeck's chief work; given at Zurich 15 May
In German also given at Vienna 3 March 1927; 1928; Basle 22 May 1930; Berne 10 May 1936.
Prague March 1927; Berlin 30 June i928, etc. Revived Zurich 23 June 1939.
London, Queen's Hall 18 December 1936 (in
eoneert form; English version by F. H. White).
LA VIN A: La Espigadora
(The Gleaner)
d' ALBERT: Der Golem
12 January. Barcelona, L.
14 NovemlJer. Frankfort
Text by F. Pcrez Dolz.
Text by F. Lion. Three aets.
The most successful work of the Spanish com-
In German also given at: Berne. November
poser; awarded the first prize in a eompetition
1926; Brünn 1927.
arranged by the Liceo Theatre.
In Polish, Lemberg January 1928.

PEDROLLO: Delitto e Castigo IBERT: Angelique*

16 NOlJember. Milan, Sc. 28 January. Paris, Th. Beriza
Text by G. Forzano (founded on Dostoevsky's Text by Nino. One act.
noveI). Three acts. Ibert's first opera. Successful in Paris; revived
In German (translated by W. Dahms), Breslau at the O.c. 2 June 1930. Alsogiven at:
9 April 1930. BERLIN 27 September 1929 (in German, translated
by M. Pappenheim).
KRENEK: Orpheus und Eurydike* BRNO January 1936 (in Czech).
PRAGUE 13 January 1937 (in Czech).
27 November. Cassel
VIENNA, STADT TH. 22 September 1937 (in French).
Text by O. Kokoschka. Three aets.
NEW YORK 8 November 1937 (in French).

CADMAN: A Witch ofSalem

8 December. Chicago
MRACZEK: Herrn Dürers Bild
Text by N. R. Eberhardt. Two acts. 29 January. Hanover
Given on many Ameriean stages. Text by A. Ostermann (founded on a story Die
Wiesen Zaun by F. Ginzkey). Three acts.
In German also, Prague 13 November 1927.
J ANACEK: Vec Makropulos*
(The Makropulos Case)
18 Deccmber. Brno
ROZYCKI: Beatrice Cenci
Text by the composer (founded on K. Capek's 30 January. Warsaw
play of the same tide). Thrce acts. Text by the composer (founded on a play by J.
First given at Prague 1 Mareh 1928 (in Czech). Slowacki). Five acts.
In German (translated by M. Brod), Frankfort Suecessful in Poland. Revived Poznan January
14 February 1929; Vienna, W. Auturnn 1937. 193 6 .

1391 1392
1927 ANNALS OF OPERA 1927

KRENEK: Jonny spielt auf* TA Y L 0 R: The King' s Henchman *

10 February. Leipzig 17 February. New York, M.
Text by the composer. Two parts (II scenes). Text by E. St. Vincent MilIay. Three acts.
Krenek' s best-known work; for a few years The first opera of the American composer,
very successful, produced on most German stages which brought $n,504 to the box office and
and given in other countries as weil. The first remained in the repertory for 3 seasons.
productions were at:
PRAGUE June 1927 (in German). DELANNOY: Le Poirier de Misere
ZURICH 1927 (in German).
21 February. Paris, O.c.
BERLIN 8 October 1927 (in German).
Text by J. Limozin and A. de la Tourrasse (mys-
VIENNA 3I December 1927 (in German).
(rre). Three acts.
BUDAPEST 21 March 1928 (in Hungarian).
De1annoy's first opera, given in a double bill
ZAGREB I April 1928 (in Croatian).
with premiere of Pieme's Sophie Arnould, which
PARIS, CH.E. 21 June 1928 (in French, translated by
dealt with the famous French soprano.
N. Steinhoff and A. Mauprey).
LJUBLJANA 23 July 1928 (in Siovenian). PETERSON-BERGER: Adils ochElisiv
LENINGRAD 13 November 1928 and Moscow 15
27 February. Stockholm
May 1929 (in Russian, translated by M. Gal-
Text by the composer. Three acts.
perin and E. Gerken).
The last opera of the Swedish composer.
ANTWERP 22 November 1928 (in Flemish).
HELSINKI 16 December 1928 (in Finnish). WEILL: Royal Palace*
NEW YORK, M. 19 January 1929 (in German).
2 March. Berlin, Kroll's
RIGA 20 December 1929 (in Lettish).
Text by I. Goll. One act.
COPENHAGEN 9 Ocrober 1930 (in Danish, trans-
Weil!' s second opera; unsucccssful.
lated by M. Dam).
WARSAW Winter 1933 (in Polish). PICK-MANGIAGALLI: Basi e Bote
3 March. Rome, Arg.
GNECCHI: La Rosiera Text by A. Boito (written 1881, originally lll-
tended for himself; first published in La Lettura in
}2 Fcbmary. Gera 1914). Three acts.
(Original Italian) text by the composer and C. After several ballets this was Pick-Mangiagalli's
Zangarini (foundcd on A. de Musset's Oll 111' first opera; also given at Hamburg 31 January
badillc pas allee /' alllOur), German version by R. 1931 (in German, translated by W. Wolff).
Batka and H. Schilling-Ziemssen. Three acts.
In Gennan also given at Vienna, V.O. 3 I March
GAUBERT: Nai"la
19 2 8. 7 April. Paris, O.
In Czech, Plzc!] (Pilsen) 23 November 1927. Text by M. Una (collte orielltal). Three acts.
In the original Italian, Trieste 24 January 193 I, The fmt of Gaubert's operas which was pro,.
etc. duced at the Paris Opera (where the composer had
been chief conductor since 1920).

GRAEN ER: Hanneles Himl/lelfahrt WEINBERGER: Svanda Duddk*

17 Februar)'. Dresden and Breslau (Shvanda the Bagpiper)
Text by G. Graencr (the brother ofthe composer), 27 April. Prague, Cz.
founded on the pby by G. Hauptmann. Two acts. Text by M. KareS (cf. note on Hl'imalfs opera of
ßerlin, D.O. 3 June 1927, etc. the same title, 1896). Two acts.

1393 1394
 ANNALS OF OPERA 19 27

Weinberger' s first opera; one of the most sue- STRAVINSKY: Oedipus Rex*
eessful works ever written by a Czeeh composer, 30 May. Paris, Th. S.B.
in fact, after Smetana's PrOdatlil Ncvesta (see 1866) (Original Freneh) text by J. Coeteau (after Sopho-
about the only Czeeh opera the sueeess of whieh des), translated into Latin by J. Danielou. Opera
was not, more or less, limited to its eountry and Oratorio. Two aets.
language. In Paris produeed as an oratorio, in eoneert
Very sueeessful in Czechoslovakia; also given form, as in most countries. There were, however,
at some produetions on the stage, in Austria, Gcr-
BRESLAU 16 Deeember 1928 (in German, trans- many, and Ameriea.
lated by M. Brod). Given (everywhere in Latin) at:
PRAGUE May 1929 (for the first time in German VlENNA 23 February 1928 (first stage produetion).
there). BOSTON 24 February 1928 (in eoneert form).
BASLE 25 September 1929 (in German). BERLlN, KROLL'S 25 February 1928 (stag~).
LJUBLJANA 5 Oetober 1929 (in Slovcnian). NEW YORK 8 Mareh 1928 (eoneert) and 21 April
BERLlN 29 November 1929 (in German). 1931 (stage).
BUDAPEST April 1930 (in Hungarian). AMSTERDAM 24 April 1928 (eoneert).
ZAGREB 26 April 1930 (in Croatian). LENINGRAD May 1928 (stage).
VIENNA 16 Oetober 1930 (in German). LJUBLJANA 9 November 1928 (stage).
HELSINKI 21 November 1930 (in Finnish). BUDAPEST 14 Deecmber 1928 (stage).
RIGA 6 Deecmber 1930 (in Lettish). PHILADELPHIA ro April 1931 (stage).
SOFIA 6 November 1931 (in Bulgarian). BUENOS AIRES II August 1931 (stage).
NEW YORK, M. 7 November 1931 (in German). ZURiCH 1933 (stage).
ANTWERP February 1932 (in French). BARCELONAJanuary 1934 (stage).
COPENHAGEN 2I March I933 (in Danish). LONDON, QUEEN'S HALL 12 February ;936 (eon-
WARSAW 1933 (in Polish). een).
LONDON, c.G. II May 1934 (in German). FLORENCE 22 May 1937 (eoneert).
STRASBOURG 1934 (in Freneh).
BUENOS AIR ES 18 July 1935 (in German). MI L HAU D:Die Entführung der Euro pa*
LYONS January 1936 (in Freneh). Die Prinzessin auf der Erbse
T 0 eH:
Italian version by C. Castelfranehi published
HINDEMITH: Hin und Zurück*
Trieste 1938.
17 July. Baden-Baden
Three short oper.lS, produeed at the Chambcr
ALFANO: Madonna Imperia
Musie Festival, Baden-Baden. The fourth work
5 May. Turin, T. di T. on the bill was K. Weill's Mahagollny, a Songspicl
Text by A. Rossato (founded on one of H. de whieh was afterwards transformed into an opera
Balzae's COlltes drolatiques). One aet. (see 1930).
Sueeessful in Italy. In Italian also given at New Die Entfi"ihrung der Europa
York, M. 8 February 1928. (Original Freneh) text by H. Hoppenot (L'EII-
In German (translated by W. Klein), Vienna 23 levclllcllt d'Europc) , produeed in a German version
February 1928; Wiesbaden 26 February 1928. bv R. S. Hoffmann. Eight seenes. Belongs to a
s~ries of opera-lIIillutcs whieh was given in its
Gur: La Fata Malerba eutirety oue year later at Wiesbaden (see 1928).
15 May. Turin, T. di T. Die Prinzessin auf der Erbse
Text by F. Salvatori. Three aets. Text by B. Elbn (after H. C. Andersen). One
Gui' S only opera. aet. In German also, Basic 9 May 1928; Prague

1395
1927 ANNALS OF OPERA 1927
Decembef 1929. In English (translated by M. BRUSSELS 28 December 1927 (in French).
J. Farquhar), Ncw York9 June 1936 Biltmore Th. BERLIN, KROLL'S 27 September 1929 (in German,
Hin und zurück translated by M. Pappenheim).
Text by M. Schiffer. Sketch mit Musik. One act. Revivedin a new version (with reduced orches-
In German also, Basle 9 May 1928; Prague tration), at:
December 1929; Zurich 1930; Berlin 29 Novem- GENEVA 15 November 1934 (in French).

ber 1930. In Hungarian (translated by M. Uszl6), TURIN, T. DI TORINO December 1934 (in French).

Budapest 13 January 1929. In English Philadelphia PRAGUE April 1935 (in German).

22 April 1928. PHILADELPHIA 1 April 1937 (in English, translated

by L. N. Finley).
KORNGOLD: Das Wunder der Heliane* NEW YORK, NEW AMSTERDAM TH. 11 April 1937 (in

7 Oetober. Hamburg English) and 44th Street Th. 10 November

Text by H. Müller (founded on a play by H. Kalt- 1937 (in French).
neker). Three acts. VIENNA, STADT TH. 22 September 1937 (in French).

In German also, Vienna 29 October 1927; Ber- PARIS, O.c. 3 February 1938 (in French).

lin 5 April 1928, etc. ANTWERP 8 March 1940 (in Frcnch).

RESPIGHI: Die versunkene Glocke

RONEGGER: Antigone*
18,VoI'elllbcr. Hamburg
(Original Italian) text by C. Guastalla La Cam- 28 December. Brussels, M.
palla sommersa (founded on G. Hauptmann's play), Text by J. Cocteau (after Sophocles). Three acts.
German version by W. W olt[ Four acts. In Gennan (translated by L. Melitz), Essen I I
In German, revived at Zurich 17 November January 1928, etc.
1934· In English translated by F. Ferguson), New
In the original Italian first given at New York, York, American Laboratory Th. 24 April 1930.
M. 24 November 1928; Milan, Sc. 4 April 1929,
Revived Zurich 8 June 1934.
etc. Buenos Aires 2 August 1929.
In Flemish, Antwerp 31 March 193 I.
WOLF-FERRARI: Sly*
SAMUEL-ROUSSEA U: Le bon Roi
29 Decelllber. Milan, Sc.
Dagobert*
5 Dcccl11bcr. Paris, O.c.
Text by G. Forzano (founded on the prologue to
Shakespeare's The Tamillg of thl.' Shrew). Three
Text by A. Rivoire (founded on his comedy of
acts.
the same title). Four acts.
Very successful in France. The subtitle reads La Leggellda deI Dormietlte
In French also given at Algiers December 1928; risvegliato.
Antwerp January 1929; Brussels 28 November Successful in Italy and· other countries. Given
at:
193 2.
DRESDEN 15 October 1928, GRAZ 1 March 1929,
Revived Paris, O.c. 5 May 1938; Brussels 12
BERLIN I I May 1929 and BASLE 24 May 1929
January 1940.
(in German, translated by W. Dahms).
M IL HAU D : Le pauvre Matelot* ANTWERP January 1930 (in Flernish).
16 Decel/lber. Paris,O.C. BUDAPEST 3I January 1931 (in Hungarian, trans-
Text by J. Cocteau (Complaillte eIl trois actrs). lated by V. Unyi).
Milhaud's most successful work for the stage. RIGA 17 November 1932 (in Lettish).
Given at: VIENNA, V.O. 26 September 1934 (in German).

1397
1928 ANNALS OF OPERA

1928 In Slovenian (translated by N. Stritov), Ljub-

Ijana 15 October 1931.
LAZZARI: La Tour de Feu
16Janllary. Paris, O. G. F. MALIPIERO: Der falsche
Text by the composer. Three acts.
Harlekin
Revived Paris, O. 17 April 1939.
Film elfects for the fIrst time in opera occur in 8 March. Mayence
the third act of La TOllr de Feu. (Original Italian) text (li finto Arlecchino) by the
composer, German version by R. S. Holfmann.
BRUNEAU: Angelo, Tyran de Padoue Two parts.
16 January. Paris, O.c. (This short opera which was produced at May-
ence on a triple-bill with revivals ofToch's Prin-
Text by C. Mcrc (founded on V. Hugo's drama).
zessin auf der Erbse und Hindemith's Hin und
Five acts.
zurück, see 1927, forms part of a trilogy Misteri di
Given at the O.c. 19 times until 1929.
VC/lezia, see 1932.) Revived Budapest 28 February
K. H. DA VI D: Traumwandel 1932 (in Hungarian, translated by K. Nadasdy);
Stuttgart 18 May 1938 (in German). In the orig-
29 January. Zurich
inal Italian given at San Remo 5 March 1933;
Text by the composer (founded on a story by
Venice 18 January 1934, etc.; Amsterdam Feb-
Turgenev). Two acts.
ruary 1935; revived Rome 7 February 1939.
The most important work of the Swiss com-
poser.
Mud: Dafni
CHEREPNIN: 01-01
14 March. Rome, T.R.
31 Janllary. Weimar
(Original Russian) text from L. Andreev's play Text by E. Romagnoli (Pocma pastorale). Three
The Days of our Life (Dni nashci zhizni), German acts.
version by R. S. Holfmann. Three acts. The first new opera produced at the "Teatro
Cherepnin's first opera. Revived at: Reale deli' Opera", late T. Costanzi, Rome, in-
LJUBLJANA 16 October 1933 (in Slovenian).
augurated with Boito's Neronc, 28 February 1928.
NEW YORK 7 February 1934 (in Russian). Successful in Italy. Also given at Malta January
VIENNA 2 March 1934 (in German, by the Öster- 1933 (in Italian) ; Düsseldorf 14 January 1939 (in
reichisches Studio). German, translated by J. Popelka).

ZANDONAI: GiuliarlO FERROUD: Chirurgie

4 February. Naples, S.c. 20 March. Monte Carlo
Text by A. Rossato (founded on G. Flaubert's St. Text by D. Roche and A. G. Block (founded on a
Julien /' Hospitalier). Prologue, 2 acts, and epilogue. story by A. P. Chekhov). One act.
In Italian also given at Rio de Janeiro 15 Sep- Ferroud's first and only opera. In French also
tember 1928. given at Strasbourg 1928; Paris, Ch.E. 19 June
1929.
W EIL L: Der Zar lässt sich
photographieren* LILIEN: Beatrix
18 February. Leipzig 24 March. Antwerp
Text by G. Kaiser. One act. (Flemish) text by H. Teirlinck (from his novellk
In German also given at Berlin, D.O. 14 Octo- dien). Three acts.
ber 1928; Prague November 1928. Subsequently given at:

1399 1400
 ANNALS OF OPERA 1928

BRUSSElS 31 March 1928 (in French, translated by KRENEK: Schwergewicht; Der Diktator
the librettist himsclf). and Das geheime Königreich
HANOVER 14 April 1928 (in German, translated by
6 May. Wiesbaden
W. Klein).
PRAGUE 1 April 1931 (in Czech, translated by M.
Three one-act operas; text by the composer.
Harlassova-Schrädlova). Also produced at Berlin 2 December 1928.
BRÜNN 1931 (in German).
Schtvcr/ictvicht (sub-title Die Ehre der Natioll) was
also given at Prague December 1929 (in German) ;
Lemberg 1933 (in Polish); Amsterdam June 1934
ZADOR: A Holtak Szigete (by the Dutch Chamber Opera).
(The Island of the Dead)
29 March. Budapest
(SCHUBERT): Die Freunde
Text by V. L:inyi (translated from a German
von Salamanca
libretto by G. K. Zwerenz). Two acts.
Given in the original German at Carlsruhe 6 6 May. Halle
December 1928. Original text by J. Mayrhofer. Two acts.
Written in 1815; not performed in Schubert's
lifetime. Of the original libretto only thc lyrics
G. F. MALIPIERO: Filomela und ihr
are extant; for the Halle 1928 production new
Narr * dialogue was supplied by G. Ziegler.
31 March. Prague, G. Revived in another version (new libretto by
(Originalltalian) text by the composer (Filolllela H. Moericke and J. Raimer; prologue and 3 acts)
(' I' ltifatuato) , produced in a German version by at Basle 10 May 1934.
R. S. Hoffmann. Three parts.
Apparently never given in Italy or elsewhere,
TOFFT: Anathema
but in the original Italian broadcast from London
21 February 1936.
10 May. Copenhagen
Text by the composer (founded on a story by P.
Merimee). Prologue and 3 aets.
E T TI N GER: Frühlings Erwachen
After Vifal1daka, produced at Copenhagen 30
14 April. Leipzig years' earlier, this was Tofft' s second and last
Text from F. Wedekind's play of the same tide. opera.
Three acts.
DRAGOI: Napasta
MILHA UD: Der befreite Theseus 15 May. Bucharest
and Die verlassene Ariadne* Text from J. 1. Caragiale's play of the same title.
Three acts.
20 April. Wiesbaden
The most sllccessful opera of the Rumanian
(Original French) text byH. Hoppenot, produc-
composer.
cd in a German version by R. S. Hoffmann. Two
one-act operas of the same series of "opcras-
minutes" of which the first, Die ElltJülmmg der
PIZZETTI: Fra Gherardo
EI/ropa, had been produced at Baden-Baden the 16 May. MIlan, Sc.
year be fore (sec 1927). Text by the composer. Three acts."
All three operas were revived at Budapest 28 In Italian also, Buenos Aires 27 July 1928;
February 1932 (in Hungarian, translated by K. Rome 5 February 1929, etc. New York, M. 21
Nadasdy). March 1929.

1401 1402
1928 ANNALS OF OPERA 192 8
In German (translated by A. Brüggemann), MOSCOW, KAMERNY TH. 1930 (in Russian).
Hamburg 4 June 1931. BUDAPEST I September 1930 (in Hungarian, trans-
lated by J. Heltai).
R. S T RAU S s: Die ägyptische Helena* PARIS, TH. MONTPARNASSE 14 October 1930 (in

6JUlle. Dresden French, translated by N. Steinholf and A.

Text by H. von HofmannsthaI. Two acts. Mauprey); revived Th. de I'Etoile 28 Septem-
Produeed at: ber 1937.
NEW YORK, EMPIRE 13 April 1933 (in English, as
VIEKNA I I June 1928 (in German).
BERLIN 7 Oetober 1928 (in German).
The Threepenny Opera, trans la ted by C. cc::h-
NEW YORK, M. 6 November 1928 (in German).
ran and J. Krimsky).
LONDON, QUEENS' HALL 8 February 1935 (in con-
ZURICH 30 Deeember 1928.
GENEVA 20 September 1929 (in German).
cert form; English version by c. D. Freeman).
MONTE CARLO 15 February 1930'(in Freneh, trans-
Iated by R. Gunsbourg). J EREMIAS: Bratfi Karam~zovi*
HAGUE 26 April 1930 (in German).
8 Oetober. Prague, Cz.
ANTWERP 14 Oetober 1930 (in Flemish).
Text by J. Maria (after Dostoevsky). Three acts.
BUDAPEST 31 Oetober 1932 (in Hungarian, trans-
JeremiaS's first opera. Bmo 17 Oetober 1929.
lated by V. Linyi).
In German (translated by P. Eisner), Augsburg
STRASBOURG 5 Deeember 1932 (in German).
28 March 193 I; Beme 4 January 1932.
Given with some alterations at Salzburg 14
Revived in Czeeh, Prague 17 April 1935.
August 1933.

REUTTER: Saul* LOTHAR: Tyll

15 July. Baden-Baden 40etober. Weimar
Text: by A. Lemet-Holenia. One aet. Text by H. F. Koenigsgarten (Eine Ulenspiegel-
Reutter's first opera. Revived Prague April Oper). Three acts.
1935 (in German). Lothar' s first opera.
In German also given at Berlin, D.O. I Sep-
W EIL L: Die Dreigroschenoper* tember 1929; Basle 28 April 1930.
3 J August. Berlin, Th. am Schiffbauerdamm In Russian (translated by P. G. Antokolsky),
Text: a modern version of John Gay's The Beg- Moscow, Arts Th. 26 February 1931.
gar's Opera (see 1728), founded on a German
translation by E. Hauptmann, lyries by B. Brecht KROHN: Tuhotulva
(who also used ballads by F. ViII on and R. Kip-
(Deluge)
ling). Prologue and 8 scenes.
Very sueeessful in Germany; also produced at: 250etober. Helsinki
PRAGUE 3 I December 1928 (in German). Text by H. Haahti. Three acts.
VIENNA, RAIMUND TH. 9 March 1929 (in German). The only opera of the well-known Finnish
WARSAW 4 May 1929 (in Polish, translated by O. composer and musicologist.
Winbrun and W. Broniewski).
BASLE 3 I May 1929 (in German).
TOLDRA: EI Giravolt de Maig
AMSTERDAM Oetober 1929 (in Dutch).
(May-Dance)
COPENHAGEN, NY TH. 15 January 1930 (in Danish,
translated by M. Dam); revived Riddersalen 17 270etober. Barcelona
September 1937. Successful Catalan cornic one-act opera.
1928- 29 ANNALS OF OPERA

WETZLER: Die baskische Venus HOLBROOKE: Bronwen

18 November. Leipzig 1 Febmary. Huddersfield
Text by L. Wetzler (the wife of the composer), Text by T. E. Ellis. Three acts.
founded on a story by P. Merimee. Two acts.
The last part of the trilogy Thc Cauldron oJ
Wetzler's first opera. Also givcn at Basic 6 No-
Amlwen (see 1912 and 1914). This part had been
vember 1933.
published in 1922.

d' ALBERT: Die schwarze Orchidee

DOHNANYI: A Tenor*
Dccember. Leipzig
1

Text by K. M. von Levetzow (Opera grotcsca). 9 February. Budapest

Thrce acts. (Original German) text by E. G6th (founded on
The last opera of d'Albert which was produced C. Sternheim's comedy Biirger Schippel), Hun-
in his lifetime. Being of the jonllY spielt auJ school garian version by Z. Harsanyi. Three acts.
it was a transitory success on German stages. Succcssful in Hungary.
Berlin, D.O. 9 June 1929, etc. In German given at Nuremberg 24 February
1929; Berlin. D.O. 18 Dccembcr 1929; Prague
H 0 FF D I N G : Kejserens nye Klaeder 1930.
(The Emperor's New Clothes)
19 Deccl1lber. Copenhagen LATTUADA: Le Preziose ridicole
Text by the composer (founded on the tale by Q Febrtlary. Milan, Sc.
H. C. Andersen). Three scenes.
Text by A. Rossato (founded on Moliere's com-
H0ffding's first opera.
edy). One act.
Successful in Italy. Also given at:
BUENOS AIRES 17 August 1929 (in Italian).
I929 PRAGUE 13 April 1930 (in German, translated by
HOLST: Thegolden Goose W. Dahms).
ßERLIN 27 October 1930 (in German, translated
11 jal/Hary. Liverpool
by W. Dahms).
Text by J. M. Joseph (Choral Ballei), founded on NEW YORK, M. 10 Dcccmbcr 1930 (in ltalian).
a tale by the brothers Grimm. One act. ßRUSSELS 4 January 1932 (in French. translated by
First produced in the open air Warwick Castle P. Spaak).
4 July 19 z9· MALTAJanuary 1935 (in Italian).
Revived London Hyde PadeJuly 1935. CAIRO March 1935 (in Italian).
CLUJ, RUMAN1A 29 March 1936 (in Italian).
GIORDANO: Il Re HAGUE Dccember 1937 (in Italian).
12 jall 11 ary. Milan, Sc.
Text by G. Forzano. One act (3 scenes). LAPARRA: Las Toreras
In Italian also given at Buenos Aires 5 July
Febmary. Lille
1929. etc.
In German (translated by W. Dahms), Berlin Text by the composer (founded on a comedy by
5 November 1929; Prague 13 April 1930. Tirso de Molina). One act.
In Hungarian (translated by Karoly Krist6f), Successful on French stages; Bordeaux 14 Feb-
Budapest April [930. ruary 1930, etc.
192 9 ANNALS OF OPERA 192 9

WILLIAMS: Sir John in Love* KAMIN SKI : Jürg Jen atsch

March. London, R.C.M.
21 27 April. Dresden
Text from Shakespeare's The Merry Wives of Text by the composer (founded on C. F. Meyer's
Windsor. Four acts. noveI). Six scenes.
Revived at the R.C.M. 3 July 1939. Kaminski's first opera.
Revived in an enlarged version, Nuremberg
FEVRIER: La Femme nue 1937·

23 March. Monte Carlo PROKOFIEV: Le Joueur*

Text by L. Payen (founded on the play by H. 29 April. BrusseIs, M.
Bataille). Four acts. (Original Russian) text (Igrok, founded on Dos-
Successful on French stages. Paris, O.c. 25 toevsky's novel) by the composer, French version
April 1932; Algiers January 1933; Tournai No- by P. Spaak. Four acts.
vember 1933. The opera was to be produced at the Maryinski
Theatre, Petrograd, in 1917 (under the direction
CANTELOUBE: Le Mas of Albert Coates); because of the revolution the
performance did not take place.
3 April. Paris, O.
Text by the composer. Three acts. CASAVOLO: Il Gobbo deI Califfo
Canteloube's first opera; it had been awarded 4 May. Rome, T.R.
the Prix Heugel in 1925.
Text by A. Rossato. One act.
Successful in Italy. Also given at:
B R A ND: Maschinist Hopkins STUTTGART 29 October 1931 (in German, trans-
13 April. Duisburg lated by A. Brüggemann).
Text by the composer. Prologue and 3 acts. BUENOS AIRES 20 September 1932 (in Italian).
Also given at: STOCKHOLM 29 December 1938 (in Swedish,
ZURICH January 1930 (in German). translated by o. Ralf).
BERLIN, D.O. 22 March 1930 (in German).
PRAGUE 7 October 1930 (in Czech).
KOGO]: Crne Maske
STOCKHOLM 5 March 1931 (in Swedish).
(Black Masks)
KHARKOV 1931 (in Ukrainian). 7 May. Ljubljana
Text by J. Vidmar (founded on L. Andreev's play
TOVEY: The Br.ide ofDionysus ofthe same title). Two acts.
Kogoj's first opera. Important work of the
23 April. Edinburgh
modern Slovenian school.
Text by R. C. Trevelyan. Three acts.
Tovey's only opera. Revived Edinburgh 25 IBERT: Persee ef AndromMe Oll
April 1932. Le plus Heureux des Trois*
15 May. Paris, O.
LE VA D E: La Peau de Chagrin Text by Nino (after one of J. Laforgue' s Moralites
Paris, O.c.
24 April. l~~e/ldaires). Two acts.
Text by P. Decourcelle and M. Carre fils (from
H. de Balzac's noveI). Four acts. LATTUADA: Don Giovanni
Very successful on French stages. 18 May. Naples, S.c.
In French also given at Antwerp December Text by A. Rossato (founded on the Spanish
1929· drama by J. Zorrilla). Four acts.

1408
1929 ANNALS OF OPERA I9 29-30

HINDEMITH: Neues vom Tage* 3 I December I932. Given at Prague, May I932
8 jUlle. ßerlin, Kroll's (in German) and IO October I933 (in Czech).
Text by M. Schiffer. Thrce parts. COATES: Samuel Pepys
The last of Hindcmith's operas which was
produced in Gcrmany in pre-Nazi times. 21 Deccmbcr. Munich
(Original English) text by W. P. Drury and R.
GOOSSENS : Judith Pryce, produced in a German version by M.
Meyerfeld. One act.
25julle. London, c.G.
Coates's first performcd operJ.
Text by A. Bennett. One act.
Goossens's first opera.
In English also given at Philadelphia 26 De- I930
cember I929.
Rcvived 21 October I938 (broadcast from
IBERT: Le Roi d'Yvetot*
London). 15 jal1uary. Paris, O.c.
Text byJ. Limozin and A.de la Tourrasse. Four acts.
BOERO: EI Matrero In German (translated by O. Springer and W.
(The Rogue) Ullmann), Düsseldorf 20 February I936; Graz
12 july. Buenos Aires 28 November 1936; Prague December I937.
Text by Y. Rodriguez (Leyel1da dramatica). Three
Ki'~E N EK: Leben des Orest*
acts.
Successful Spanish opera. (Thc librettist is a 19 j al1uary. Leipzig
native ofUruguay). Text by the composer. Five acts.
Revived at Bucnos Aires 30 August I934 and Berlin 4 March I930, etc. The last ofKrenek's
25 July I93 6. operas which was produced in Germany in pre-
Nazi times.
N. BERG: Engelbrekt
BRA UNFELS: Galatea
21 September. Stockholm
26 jal1uary. Cologne
Text by the composer. Four acts.
Text by S. Baltus (Eil1griechisches Märchell). One
In German (translated by F. Tutenberg), Bruns-
act.
wick 8 December I933.
Berlin, D.O. 25 February 193 I.
RYTEL: Ijola SCHÖNBERG: Von heute auf morgen*
Gctober. Warsaw 1 February. Frankfort
Text from a play by J. Zulawski (I905). Four Text by "Max Blonda" (pseudonym). One act.
acts. After Erwartul1g and Die glückliche Hal1d (see
The first opera of the Polish composer. 1924), Schönberg's third work for the stage;
unsucccssful.
KihcKA: Bily Pan
(The white Gentleman) WEILL: Aufstieg und Fall der Stadt*
27 November. Bmo Mahagonny
Text by J. Löwenbach-Budin (founded on O. 9 March. Leipzig
Wilde's Cal1terville Ghost). Eleven scenes. Text by B. Brecht (originally a SOl1gspiel, first
In German (translated by P. Eisner, reduced to performed at the Chamber Music Festival, Baden-
6 scenes), Breslau I4 November I93 I; Vienna Baden 17 July 1927). Three acts.

I4 10
1930 ANNALS OF OPERA 1930
Also given at Prague May 1930; Berlin, Th. First givcn at Paris, SaUe Pleye! 6 December
am Kurfürstendamm 21 December 1931 ;Vienna, 1936 (in concert form); broadeast from London
Raimund Th. 26 April 1932. 16 January 1937 (English version by A. Perry);
In concert form also given at Paris 11 Decem- from Antwerp 17 January 1940 (Flemish version
ber 1932 (by the "La Serenade" society) and at by A. Van de Ve!de).
Rome 29 December 1933.

LETOREY: Le Sici/ien Oll ANTHEIL: Transatlantic

L'Amour Peintre 25 May. Frankfort
19 March. Paris,O.C. (Original English) text (The People's Choice) by
Text by A. Dumas (after Moliere). Two acts. the composer, produced in a German version by
R. S. Hoffmann. Three acts.
Given as part of a double bill with premiere of
Antheil' s first opera.
another opera based on a Moliere play, Omar
Letorey' s Le Sicilien ou l' Amour Peintre.
Revived Paris, O.c. 7 May 1935. DELANNOY: Le Fou de la Dame
(J ANACEK): Z Mrtveho Domu* ROSENTHAL: Rayons de Soieries
(From the House of the Dead) 2 JUlle. Paris, O.c.
12 April. Brno Le FOIl de lti Dame
Text by the composer (from Dostoevsky's novel). Text by J. Limozin and A. de Ja Tourrasse
Three acts. (chanson de geste). One act.
Janacek's last opera; after the composer's death Previously, the work had been performed in
completed by o. Zitek (text) and B. Bakala concert form at the seventh LS.C.M. festival,
(music). First given at Prague 21 February 1931 Geneva 6 April 1929.
(in Czech). Also given at Ljubljana 15 October 1931 (in
In German (translated by M. Brod), Mann- Slovenian, translated by N. Stritov).
heim 14 December 1930; Berlin 29 May 1931. Rayons de Soieries
Text by Nino. One act.
ALFANO: L'ultimo Lord
In French also given at Brusse!s 4 January 1932.
19 April. Naples, S.c.
Text by U. Falena. Three acts.
Monte Carlo April 1932 (in French, translated TOCH: Der Fächer
by H. Cain). Königsberg
8 J!ltIe.

PIZZETTI: Lo Straniero Text by F. Lion. Three acts.

First produced at the festival of the Allgemei-
29 April. Rome, T.R. ner Deutscher Musikverein.
Text by thc composer. Two acts.
Succcssful in Italy; Milan, Sc. 7 January 1931,
etc. SCHOECK: Vom Fischer un syner Fru*
In Italian also given at Buenos Aires 4July 1930. 3 Oetoz,er. Dresden
Text by the composer from P. o. Runge's low-
MILHAUD: Christoph Columbus* German version of Grimm's fairy-tale. Seven
5 May. ßerlin, O. scenes.
(Original French) text by P. Claudel, produced Zurich 24 J an uary 193 1; ßerne 30 Octo ber
in a German version by R. S. Hoffmann. Two 1931, etc. In German also, Strasbourg, Oetober
parts (27 scenes). 1933·
14II 1412
193° ANNALS OF OPERA 1930-31

G URLl TT: Soldaten HONEGGER: Les Aventures du

9 NOI'cl11bcr. Düsseldorf Roi Pausole*
Text by the composer (from a play by J. M. R. 12 DCCClIlI,cr. Paris, B.P.
Lenz, 1776). Thrcc aets. Text by A. Willcmctz (from a novel by P.
In German also, Prague 17 Januar)' 1931; Ber- Louys). Threc acts.
lin, D.O. 13 November 193 I. Honeggcr's first attcmpt as a composer of ope-
rettas. Sucecssful on Frcnch stages. In French also,
REZNICEK: Spiel oder Ernst? Gencva July 1932.
LOTHAR: Lord Spleen
11 Novcmber. Dresden
Spiel oder Ernst? 193I
Text by P. Knudsen. One aet. BRUNEAU: Virginie
In German also, Bcrlin 31 December 1930, etc. 7 ja/wary. Paris, O.
Prague June 193 I.
Text by H. Duvernois. Thrcc acts.
In Swcdish, Stockholm 27 September 1934. In
Thc last opera of thc then 74 years old com-
English (as Fact alld Fic(ioll, translated by H. Plea-
poser.
sants) , Philadelphia 1941.
Lord SpleeIl POUEIGH: Perkin
Text by H. F. Koenigsgarten (from Ben J onson' s 16 jal/uar)'. Bordeaux
Epicoene). Two acts. Text by P. B. Gheusi (after P. Harispe). Ugende
In German also, Berlin, D.O. 25 February basque, 3 acts.
1931 ;'Prague June 1931; Graz Autumn 1931, Paris, O. 26 January 1934.
etc.

GOTOVAC: Morana MONTEMEZZI: La Notte di Zoraima

29 Nouembcr. Bmo 31ja/lIIary. Milan, Sc.
(Original Croatian) text by A. Muradbegovic, Text by M. Ghisalbcrti. One act.
Czech version by?· Three acts. Successful in !taly. In Italian also, New York,
Successful Croat opera; subsequently given at M. 2 December 1931.
Zagreb 3 Oetober 193 I; Belgrade January 1932; In Swedish, Stockholm 16 October 193 I.
in Slovenian, Ljubljana 5 February 1933.
TA Y L 0 R : Peter Ibbetson
RATHA us: Fremde Erde 7 Fcbmary. New York, M.
Bcrlin, O.
10 DccCl1lbcr. Text by the composer and C. Collier (from the
Text by K. Palffy-Wanieek. Five :lets. Rathaus's nove! by G. Du Maurier). Three acts.
first opera. Successful on American stages.
FOREST: Camille
Dcccl11ber. Chieago
10
ROGER-DUCASSE: Catttegril
Text by the composer (like Verdi's Tral'iata 9 Februar)'. Paris, O.C.
founded on Dumas's La Dame al/x Call1elias). Text by R. Escholier. Four aets.
Prologue and 3 aets. Apart from a rnirnodrame Orplll!e (St. Peters-
First new opera produced at the Civie Opera burg 1914, Paris 1926, Hanover 1929), Roger-
House, Chicago, inaugurated (with Aida), 4 No- Ducasse's only work for the stage. Given at the
vember 1929. O.c. 18 times until 1932.

14 13 141 4
1931 ANNALS OF OPERA 193I
PER SIe 0 : La Bisbetica domata Successful in Italy. In Italian also given at Z urich
12 February. Rome, T.R. 31 May 1931; Malta 19 February 1934; Cairo
Text by A. Rossato (from Shakespeare's Taming 1936.
of the Shrew). Four acts. In German (translated by W. Dahms), Berlin
Persico's first opera. Successful in Italy. Naples and Cologne 21 October 1931.
S.c. 5 February 1935. Lettish translation by R. Egle published 1935.

LAPARRA: L'illustre Fregona KONJOVIC: Kostana

16 February. Paris, O.
16 April. Zagreb
Text by the composer (zarzuela, founded on a
Text founded on B. StankoviC's play of the same
story by Cervantes). Three acts.
tide. Five scenes.
Successful in France; Nice 20 February 1932,
Successful Croatian folk-opera. Also given at
etc. Revived Paris, O. 21 February 1940.
Ljubljana 7 November 1931 (in Slovenian, trans-
Also given at Stockholm 16 January 1932 (in
lated by N. Stritov); Brno September 1932 and
Swedish); Buenos Aires 30 July 1937 (in French).
Prague 14 December 1935 (in Czech, translated
HUBAY: Az Alarc by Z. Knitl).
(TheMask)
26 February. Budapest (MAGNARD): Guercoeur
Text by F. Martos and S. G6th (founded on a 24 April. Paris, O.
German play by R. Lothar). Three acts. Text by the composer. Three acts.
In German, Carlsruhe 12 November 1931. The work had been written as early as 1900.
The greater part of the score was burnt in the
WEINBERGER: Die geliebte Stimme war (when the composer was killed in the village
28 February. Munich of Baron, Oise, 3 September 1914). The opera
(Original Czech) text (Milovany RIas) by the was restored, from the manuscript of the second
composer (from a German novel by R. Michel), act and from the vocal score of the rest, by
produced in a German version by R. Michel. G. Ropartz.
Three acts.
YSA YE.: Pier li Houi'eu G. F. MALIPIERO: Komödie des Todes*
(Peter the Collier) 15 May. Munich
4 March. Liege (OriginaIItalian) text (Torneo Notturno) by the
(Walloon) text by the composer. One act. composer, produced in a German version by
The only' operatic attempt of the famous Bel- H. F. Redlich.
gian violinist, produced two months before his The work consists of seven nocturnes, ca.lled
death. He attended the premiere in an invalid in the original: Le Serenate; La Tormenta; La Fo-
chair. Given at Brussels 25 April 1931. resta; La Taverna de! Buon Tempo; 11 Foculare
(Since Hamal's 18th century comic operas, see spento; Il Castello della Noia; and La Prigione.
1757, this seems to be about the only modem
work written in the language of the Liege coun- HABA: Die Mutter*
try.) 17 May. Munich
WOLF-FERRARI: La Vedova scaltra* Text by the composer. Ten scenes.
5 March. Rome, T.R. The first opera written (or, at any rate, pro-
Text by M.Ghisalberti (from Goldoni's comedy). duced) in quarter tones. Awarded the Czecho-
Three acts. slovakian State prize in 193 r.

1416
1931 ANNALS OF OPERA 1931-32

WELLESZ: Die Bakchantinnen Sueeessful in the U.S.A. Publicly performed at

20 june. Vienna, O. 44th Street Th., New York 21 Deeember 1931.
Text by the composer (from Euripides' s tragedy). Revived Chieago 14 November 1936.
Two aets.

HONEGGER: Amphion* I932

23jlme. Paris, O.
Text by P. Valery (melodrame). One aet.
MILHA UD: Maximilien*
In German (translated by W. Klein), Zurieh 4 january. Paris, O.
14June 1933· Text by A. Lune! (translated from a German
libretto by R. S. Hoffmann, founded on F. Wer-
LEMBA: Armastusja Surm fers play juarez und Maximilian). Three aets.
(Love and Death)
Oetober. Tallinn SCHULHOFF: Plameny
Text by J. Oengo (founded on his poem Aegna). (Flarnes)
Five aets.
27 january. Brno
One of the earliest original Estonian operas.
Text by K. J. BeneS. Two aets.
VOLLERTHUN: Der Freikorporal Sehulhoff's first performed opera.

10 November. Hanover
GOLDS CHMIDT:
Text by R. Lothar (founded on Die Geschwister,
a story by G. Freytag). Three aets. Der gewaltige Hahnrei
Vollerthun's most sueeessful opera; given at 14 February. Mannheim
Berlin, D.O. 10 June 1933, ete. Text by the composer (from F. Cromme!ynek's
drama Le COCll magllifique). Three aets. Gold-
PFITZNER: Das Herz sehmidt' s first opera.
12November. Berlin, O. and Munieh
Text by H. Mahner-Mons. Three aets. HAGEMAN: Tragödie in Arezzo
Sueeessful in Germany. In German also given
18 February. Freiburg
at Brünn 24 November 1931; Prague 28 Novem-
ber 1931; Graz 16 January 1932; Vienna 28 Jan- (Original English) text by A. F. Goodrieh (from
uary 1932; Zurich 31 Janllary 1932; Strasbourg R. Browning's The Ri/lg a/ld the Book), produeed
27 Febrllary 1932. In Swedish, Stoekholm 14 in a German version by W. W olff and J. Kapp.
April 1932. Prologuc and 3 aets.
In German also given at Vienna,V.O. 19 March
G R A E N ER: Friedemann Bach 1935 (as Capo/lsacchi).
13NOl'cl1Iber. Sehwerin In the original English (as Caponsacchi), New
Text by R. Lothar. Thre<; aets. York, M. 4 February 1937.
Sueeessful in Germany; Berlin, D.O. 23 Jan-
uary 1932, ete. WEILL: Die BürgschaJt*
10 March. Berlin, D.O.
GR UENBERG: Jack alld the Beanstalk Text by c. Neher (follnded on a parable by J. G.
19 NOl'cmbcr. New York, Juilliard Sehool Herder). Prologue and 3 aets.
Text by J. Erskinc (A Fairy opera for fhe Chi/dlike). The last ofWeill's operas whieh was produeed
Threc aets. in Germanyin pre-Nazi times.

1418
1932 ANNALS OF OPERA 1932

RESPIGHI: Maria Egiziaca* HEGER: Der Bettler Namenlos

16 March. New York, Carnegie Hall 8 April. Munich
Text by C. Guastalla (Mistero. Trittico per Con- Text by the composer (an Odyssells opera). Three
ccrlo). Three episodes. acts.
Originally performed in concert form; later Vienna 10 November 1932, etc.
on also produced in operatic form. Given at:
ROME, AUGUSTEO 24 April 1932 (in Italian). KODAL y: Szekely Fon6*
BUENOS AIRES 23 July 1933 (in Italian). (The Spinning Room of the Szekelys)
PRAGUE October 1933 (in German).
24 April. Budapest
HELSINKI25 October 1933 (in Finnish).
MALTA Carnival 1934 (in Italian). Text by B. Szabolcsi. One act.
TUNIS April 1934 (in Italian). Devcloped from a short play with songs, pro-
PARIS, O.C. 1 June 1934 (in French, translated by duced at a Budapest cabaret about 1925. Very
J. Chantavoine). successful Hungarian ballad opera.
AMSTERDAM February 1935 (in Italian). Also given at Milan 14January 1933 (in Italian,
LONDON 11 April 1937 (in conn:rt form, at the as La Filanda Magiara, translated by R. Küfferle;
Hyde Park Hotel). the first Hungarian opera which was ever pro-
BUDAPEST 22 May 1939 (in Hungarian). duced in haly).
In German, Brunswiek 9 February 1938.
CASELLA: La Donna Serpente Clevcland 29 April 1939 (in English).
The opera was broadcast from London on 26
17 March. Rome, T.R.
May 1933 (English version by M. D. Calvoco-
Text by C. Lodovici (from Gozzi's comedy).
ressi).
Prologue and 3 acts.
In German (translated by H.F. Redlich), Mann- BAR A N 0 V I C: Strizeno-Koseno
heim 4 March 1934· (Shorn-MowIl)
MASCAGNI: Pinotta 4 May. Zagreb

23 March. San Remo Text by G. Krklcc. Thrce acts.

Succcssful Serbo-Croatian folk-opera.
Text by G. Targioni-Tozzetti. Two acts.
This was Mascagni' s first opera; writtcn as earl y
as 1880. The score had been lost for 50 years and
CASELLA: La Favola d'Orfeo
was recovered by chance. The composer himsclf 6 Septel1lber. Veniee, T. Goldoni
conducted Pil/olta at its first production, on the A new setting of the (wola by Angelo Ambro-
same bill with a performance of Ca/Jallcria Rusti- girll, detto Poliziano, which was first produced
calla, which was stated to luve bcCll the 13,oooth with incidental music by one Germi at the Ducal
representation of that work. court of Mantua, 18 July 1472. (First printed,
Bologna 1494). One act.
MARINUZZI: Palla de' Mozzi In Italian also given at Amsterdam February
5 April. Milan, Sc. 1935·
Text by G. Forzano. Three aets. In German (translated by H. F. Redlich), Stutt-
In Italian also given at Buenos Aires 1I July gart 18 May 1938.
1933· Produced at Veniee on the same bill with Mali-
In German (translated by V. Medicus), Berlin, piero's one-act symphonie drama Panthea (hardly
D.O. 12 April 1940. to be ealled an opera as it eontains no words).

1419 1420
193 2-33 ANNALS OF OPERA 1933

LU ALDI: La Granfeola Successful in U.S.A. Also given at Amsterdam

March 1934 (in Dutch).
10 September. Venice, T. Goldoni
Text by the composer (after a story by R. Bac-
R 0 B B I A NI: Romanticismo
chelli). One act.
10 Jalluary. Venice, F.
In Italian also, Malta January 1935.
In German (translated by R. Franz), Leipzig Text by A. Rossato (founded on a comedy by G.
March 1938. Rovetta, 1903). Three aets.
(The opera had previously been broadcast from
(d' ALBERT): Mister Wu* Turin 27 September 1932.)

29 Seplell/ber. Dresden
KAREL: Smrt Kmotficka
Text by "M. Karlev" (pseudonym of K. M. von
(Godmother Death)
Levetzow), founded on the English play by H. M.
3 Fcbmary. Bmo
Vemon and H. Owen. Three acts.
d'Albert's last opera; eompleted after his death Text by S. Lom. Three acts.
by L. Blech. Kare!' s most sueeessful opera.
Also given at Vicnna, V.O. 3 November 1932. In Czeeh also, Prague 3 I Mareh 1933; Bratis-
lava March 1935.
In Slovenian (translated by M. Polie), Ljubljana
S CHREKER: Der Schmied von Gent
7 November 1936.
29 Oetaber. Berlin, D.O.
Text by the composer (Gn'ssc Zauberrpcr), found- KARNAVICIUS: Grazina
cd on C. de Coster's SlIIcfsc SI11CC. Three acts. 16 Fcbmary. Kannas
Sehrekcr's last opera.
Text by K, Intiura (founded on a poem by A.
Mickiewiez). Five acts.
WEINBERGER: Lide Z Pokerflatu Written for the 15th anniversary of the inde-
19 NOflcl1lber. Bmo pendence of the Lithuanian State.
Text by M. KareS (from Bret Harte's The OUf-
of Poker Flat). Five aets.
,casfs ZANDONAI: La Farsa amorosa*
22 FebTllary. Rome, T.R.
G. F. MALIPIERo:Mysterium Venedigs Text by A. Rossato (founded on P. A. de Alar-
15 DeCC/l/ber. Coburg eon's EI Sombrero de fres Picos). Three aets and
2 scenie intermezzi.
(Original Italian) text by the composer, produced
Suceessful in Italy.
in a German version by R. S. Hoffmann.
In Freneh (translated by P. Spaak), Brussels 27
A trilogy, consisting of three parts, viz. Le
November 1933.
Aqlli/c di Aqllileia (3 scenes) ; Il fillto Arlccchillo
In Czeeh, Emo June 1936.
(see 1928); and I Corfli di Sall Mar((l (a one-act
draml1la I/llIs;cale without wo~ds).
PI] PER: Halewijn
1} }1111C. Amsterdam
1933 Text by E. von Lokhorst (founded on one of C.
de Costcr's Flemish Tales).
GR UENBERG: Emperor Jones*
Produeed at the e1cventh I.S.C.M. festival. The
7 Ja/lIlary. New York, M. composer had treated the same subject in achoral
Text by K. dcJaffa (from E. G. O'Neil!'s drama). work (first performed Amsterdam 27 Mareh
Seven seen es. 1922).

2A 1421 1422
 1933 ANNALS OF OPERA 1933-34
CANTELOUBE: Vercingetorix (HOFFMANN) : Aurora
26 June. Paris, O. 5 NOl'cmber. Bamberg
Text by F. I. von Holbein. Three acts.
Text by E. Clemente! and J. H. Louwyck. Four
The opera was written for the Bamberg theatre
acts.
(where E. T. A. Hoffmann was conductor from
R. STRAUSS: Arabella* 1808-12), c.18n, but the production did not take
place then. (The text was later set to music by Glä-
1 July. Dresden
ser whose setting was produced at Berlin, Kgst.
Text by H. von Hofmannsthai from his story 29 March 1836.) Hoffmann's score was recovered
Lucidor. Three aets. by M. Voigt at Würzburg in 1905 and was, in
Of Strauss' s later operas, the most sueeessful 1933, produced in a revised version by L. Bött-
one. Given at: cher. A duet from the opera was published by
BERLIN 12 Oetober 1933 (in German). E. Kroll in Zeitschrift für MlJsiklvissenschajt, Vol.lV
VIENNA 21 October 1933 (in German). (1921-'22).
OLOMOUC 1933 (in Czeeh, translated by O. F.
Babler).
STOCKHOLM 30 Deeembcr 1933 (in Swedish).
1934
ZURICH 28 January 1934. FERRARI-TRECATE: Le Astuzie di
BASLE 25 February 1934 (in German). Bertoldo
MONTE CARLO 9 Mareh 1934 (in Freneh, translated 10 January. Genoa, C.F.
by R. Gunsbourg). Text by C. Zangarini (founded on a comedy by
LONDON, C.G. 17 May 1934 (in German). O. Lucarini). Threc acts.
BUENOS AIRES 16 August 1934 (in German). Successful in Italy.
AMSTERDAM 29 November 1934 (in German).
BUDAPEST 28 Deeember 1934 (in Hungarian, trans- G. F. MALIPIERO: Die Legende vom
Iated by V. Unyi).
vertauschten Sohn
GENOA 27 February 1936 (in Italian, translated by
IJJaIllWY. Bnmswick
O. Schanzer).
(Original Italian) text (La Fal'ola del Figlio Catll-
PRAGUE December 1937 (in German).
biato) by L. Pirandello, produced in a German
version by H. F. Redlich. Three acts.
A. K A L NI 1'i s:Dzimtenes Atl110da In Italian, first given at Rome 24 March 1934
(The Country' s A wakening) (after rwo nights banned by the Fascist authorities
for reasons of"moral ineongruity").
9 September. Riga
Text by A. KrumI;Jis. Four aets. HAUG: Madrisa
Sueeessful Lettish historical opera. 15 Jallltary. Basle
Text by J. Jcgerlelmcr. Thrcc acts.
Successful Swiss folk-opera.
Z E M LI N S K Y: Der Kreidekreis
14 Oct(lber. Z urieh SHOSTAKOVICH: Lady Macbeth
Text from the homonymous play by "Klabund" Mtsenskago Uyezda*
(A. Henschke). Three acts. JIegu :Mal,6en Ml\eHCKaro Y1;3ga
In German also given at Stettin 16 January (Lady Macbcth of Mtsensk District)
1934; Berlin 23 January 1934; Prague 9 Decem- 22 January. Leningrad
ber 1934. Text by the comr-oser and A. Preis (founded on
In Czech, Bratislava December 1934. a novel by N. S. Lyeskov). Four acts.

142 3
 1934 ANNALS OF OPERA 1934

So far the most successful opera by a Soviet Welleminsky (founded on H. Heine's ballad Der
Russian composer; first given at Moscow two Schelm von Bergen), Swedish version by the com-
days later, 24 January 1934. A production of the poser. Three acts.
opera took place at the first Leningrad Theatre In German (as Flammendes Land), Brunswiek
Festival, 27 May 1934, when the work became 17 February 1934.
known to Western and American critics. Outside In Norwegian, Oslo 1934.
Russia given at:
CLEVELAND 31 January 1935 (in Russian). V. THOMSON: Four Saints*
NEW YORK, M. 5 February 1935 (in Russian).
in three Acts
PHILADELPHIA 5 April 1935 (in Russian).
8 February. Hartford, Conn.
STOCKHOLM 16 November 1935 (in Swedish,
translated by T. Rängstäm). Text by G. Stein (An Opera to be sung). In spite of
PRAGUE 29 January 1936 (in German).
the tide, the opera has, in true surrealistic spirit,
LJUBLJANA 12 February 1936 (in Siovenian, trans-
4 acts (and there are at least 15 Saints).
lated by N. Stritov). A concert performance had been given at Ann
LONDON, QUEEN'S HALL 18 March 1936 (concert
Arbor, Mich. 20 May 1933. In 1934 the work
performance, in English, translated by M. D. was produced by the Society of Friends and Ene-
Calvocoressi). mies of Modern Music at the opening of the
ZURICH 1936 (in German).
Avery Memorial Theatre, Hartford, in a stage
COPENHAGEN 10 October 1936 (in Danish, trans-
version by F. Ashton. The opera was sung by
lated by P. Ostroumoff). negroes. First given at New York, 44th Street Th.
20 February 1934.
ZAGREB 16 June 1937 (in Croatian).
BRATISLAVA 25 November 1938 (in Slovakian).
HANSON: Merry Mount
RESPIGHI: La Fiamma
February. New York, M.
10
23january. Rome, T.R.
Text by C. Guastalla (founded on a Danish play Text by R. L. Stokes (founded on a story by N.
~y H. Wiers-Jenssen). Three acts. Hawthome). Three acts.
Very successful in Italy; also given at: The first opera of the American composer.
BUENOS AIRES 6 July 1934 (in Italian).
Previously heard in concert form at Ann Arbor,
MONTEVIDEO July 1934 (in Italian). Mich. 20 May 1933.
BUDAPEST 16 April 1935 (in, Hungarian, translated
by K. Nadasdy); in Hungarian also, Milan, REFICE: Cecilia*
Sc. 12 January 1940 (by the Budapest com- 15 February. Rome, T.R.
pany). Text by E. Mucci (azione sacra). Three episodes.
CHICAGO 2 December 1935 (in Italian). Very successful in Italy; in Italian also given at
BERLIN 7 June 1936 (in German, translated by J. Buenos Aires 4 October 1934; Montevideo Oc-
Kapp). tober 1934; Malta 2 February 1935; Rio de
MORAVSKA O~TRAVA 3 March 1937 (in Czech, Janeiro and Säo Paulo July 1935; Santiago, Chile
translated by K. Kügler). September 1936.
LJUBLJANA 21 April 1937 (in Siovenian, translated
by N. Stritov). ANTHEIL: Helen retires
VIENNA 8 June 1937 (in German, translated by J.
28 February. New York, Juilliard School
Kapp).
Text by J. Erskine being a free adaptation of his
ATTERBERG: Fanal novel Th~ Private Life ofHelen ofTroy.
27 january. Stockholm The first opera of Antheil's which was pro-
(Original German) text by O. Ritter and 1. M. duced in America.,
1934 ANNALS OF OPERA 1934

LEMBA: Elga MONTE CARLO February 1936 (concert perform-

ance).
15 March. TaHinn
BUENOS AIRES 17 May 1936 (concert perform-
(Estonian) text by J. Oengo (from the play by
ance).
G. Hauptmann).
RIO DE JANEIRO Summer 1936 (concert perform-
ROCCA: Jl Dibuc ance).
BRUNSWICK 5 June 1937 (in German, translated by
24 March. Milan, Sc.
F. Schröder).
Text by R. Simoni (from the Yiddish pby by S.
FLORENCE 21 May 1939 (concert performance).
Anski). Prologue and 3 acts.
Successful in Italy; Rome 28 December 1935, GLIERE: Shakh-Senem
etc. Also given at: 4 May. Baku
WARSAW 22 May 1935 (in Polish).
Text by M. Galperin. FOUf acts.
DETROIT, MASONIC TEMPLE 6 May 1936 (in English,
An opera the music of which is founded on
translated by A. Coates). Azerbaidzhan tunes. Date of fIrSt performance
NEW YORK, CARNEGIE HALL 14 May 1936 (in Eng-
according to N. Slonimsky; according to Rie-
lish, translated by A. Coates). mann' s Musiklexikoll the work had been produced
ZAGREB 13 June /936 (in Croatian).
at Baku already in 1927. 1 For an account of the
BRATISLAVA 14 April 1937 (in Slovakian).
opera see Le Menestrel, July 6, 1934.
First given at Moscow 1938.
W IT K 0 W S K Y : La Prillcesse lointaine
26 March. Paris, O. HORTON: Kykunkor, the Witch
Text by the composer (founded on the play by 7 May. New York, Unity Theatre Studio
E. Rostand). Four acts. A dance opera the music of which is founded
Apart from a one-act opera-cornique produced upon African tunes; produced and performed by
at Nantes as early as 1891, Witkowsky's only negroes.
work for the stage. (The composer, Asadata Dafora Horton, is a
native of Sierra Leone.)
COLLINGWOOD: Macbeth
12 April. London, S:S WeHs OST R eIL: Honzovo Kralovstvl*
Text by the composer (from Shakespeare). Three Oohn's Kingdom)
acts. 26 May. Brno
Excerpts from the opera had previously been Text by J. Maranek (founded on a story by Tol-
given in concert form at Queen's Hall, London stoi). Seven scenes.
IO November 1927 (with piano accompaniment). Ostrcil's last opera.
Given at Prague 3 April 1935 (in Czech) and
STRAVINSKY: Persephone* January 1938 (in German).
30 April. Paris, O.
RABAUD: Rolande et le
Text by A. Gide. Melodrama, 3 parts; mostly
given in concert form.
mauvais Garfon
LONDON, QUEEN'S HALL 28 November 1934 (con- 28 May. Paris, O.
cert performance). Text by L. Nepoty. Five aets.
BOSTON, SYMPHONY HALL 15 March 1935 (concert In French also given at Buenos Aires 29 July
performance). 1938.
NEW YORK, CARNEGIE HALL 4 February 1936 (con- 1 Originally produccd 18 March 1927 as The Worker
cert performance). oJ Baku. H.R.
1934-35 ANNALS OF OPERA 1935

BOUGHTON: The Lily Maid SE Y M 0 UR: 111 the Pasha' s Garden

10 Scptcm/Jer. Stroud, Glos. 24 January. New York, M.
Text by the composer. Two acts. Text by H. C. Tracy (from a story by H. G.
London, Winter Garden 12 January 1937. Dwight). One act.
Seymour's first opera, given one performance
only.
(BLODEK): Zftek
3 Octobcr. Pragl1e, Cz. MULE: Liola
Text by K. Sabina. Originally in 3 acts,
2 Febmary. Naples, S.c.
Blodek's second and last opera, written as early
Text by A. Rossato (from a comedy by L. Piran-
as 1868. The first act was produced 60 years after
the composer's death, on the same bill with a dello; 1917). Three acts.
revival of his V Studni (see 1867). Sl1ccessful in !tal y.

M A RIO T TE: Gargantua

LLOYD: lernil1 17 Febmary. Paris,O.C.
61\'ovemhrr. Penzance Text by Armory (Scenes Rabclaisietlnes). Four
Text by W. Lloyd. A Ccltic saga-opera. Thrce acts. (produced in 3) acts.
London, Ly. 19 June 1935. Revived Paris, O.c. I December 1938.

HOLENlA: Viola MADETOJ A :Juha

17 NOl'embcr. Graz 17 Fcbruary. Helsinki
Text byO.Widowitz (from Shakespeare's Twelfth Text by die composer (from a novel by J. Aho).
Night). Prologue and 3 acts. Important modern Finnish opera.
In German also given at Munich November
1935· W AGNER-REGENY: Der Günstlillg*
(MOSONYI): Almos 20 Febmary. Dresden
6 Dccel11ber. Budapest Text by C. Neher (founded on G. Büchner's Ger-
Text by the composer (from a play by E. Szigli- man version ofVictor Hugo's Marie Tudor).Three
geti). Two acts. acts.
The opera was written as early as 1862; first The full tide reads: Der Giinstling oder Die letz-
produeed 64 years after the composer's death; ten Tage des grosseIl Herm Fabiano.
after Szep IlO/lka (see 1861) his second and last Successful in Germany. In German also, Graz
opera. 16 November 1935.
In Slovenian (translated by M. Polie), Ljub-
ljana 29 January 1936.
In French (translated by P. Spaak), Brussels 14
1935
February 1936.
MASGAGNI: Nerone
16 January. Milan, Sc. G U E R R I NI: La Vigl1a
Text by G. Targioni-Tozzetti (from a comedy by 7 March. Rome, T.R.
P. Cossa, 1872). Three acts. Text by the composer and A. Testoni (founded
Given on many Italian stages. In Italian also, on a 16th century story by A. F. Grazzini).Three
Zurich 16 June 1937. acts.

1429 143 0
1935 ANNALS OF OPERA 1935-36
HA H N : Le Marchand de Venise* Very successful in Russian; Moscow 8 January
21 March. Paris, O. 1936, etc.
Text by M. Zama~ois (after Shakespeare). Three In Ukrainian Dnyepropetrovsk January 1937;
acts. in Azerbaidzhan Baku March 1937.
Two days later on 23 March, Hahn's Malvina In Czech (translated by l. Urban) Bmo 31 Jan-
had its premiere at the Gaite Lyrique. uary 1937.
Revived Paris, O. 2 May 1938. In Latvian Riga 20 December 1940.

BENNETT : Maria Malibran GO T 0 VA C : Ero s Onoga svijeta*

(A Rogue falls from Heaven)
8 April. New York, Juilliard School
Text by R. A. Si mon. Three acts. 2November. Zagreb
The first opera of the American composer. Text by M. Begovic. Three acts.
Successful Croatian comic opera.
PIZZETTI: Orseolo* In Siovenian (translated by R. Petelinova),
4 May. Florence, T.C. Ljubljana 15 February 1938.
Text by the composer. Three acts. In German (translated by R. Dvörnik-Co-
Successful in Italy: Milan 15 January 1936, benzl). Carlsruhe 3 April 1938, etc. Berlin 29
Rome IO March 1936, etc. March 1940.
In Italian also, Buenos Aires 26 July 1938. In Croatian also givell at Frankfort 15 June 1939
(by the Belgrade company).
R. S T RAU S S : Die schweigsame Frau* In Bulgarian, Sofia 1940.
24 June. Dresden Italian translation by R. Nikolic published
Text by S. Zweig (founded on Ben Jonson's Trieste 1938.
Epicoene). Three acts. Withdrawn by the Nazis
after four performances because ofZweig's being
1936
Jewish. ALFANO: Cyrano di Bergerac*
In German also, Zurich 16 May 1936; Prague
22 January. Rome, T.R.
3 June 1937·
(Original French) text by H. Cain (from the play
In Italian (translated by o. Schanzer), Milan,
by E. Rostand), Italian version by C. Meano and
Sc. II March 1936.
F. Brusa. Four acts.
GERSHWIN: Porgy and Bess* In Italian also given at Buenos Aires 21 May
1937·
30 September. Boston
In the original French, Paris, O.c. 29 May
Text by Du Bose Heyward and Ira Gershwin
1936.
(adapted from a play by D', Bose and Dorothy
Heyward). Three acts. G. F. MALIPIERO: Giulio Cesare
Successful in U.S.A. First given in New York,
8 February. Genoa, C.F.
Alvin Th. 10 October 1935.
Text by the composer (after Shakespeare). Three
acts (7 scenes).
DZERZHINSKY: Tikhy Don*
In Italian also given at Buenos Aires 28 May
Tuxui1: ~~OH
1936; Rio de Janeiro August 1936, etc.; New
(The quiet Don) York, Carnegie Hall 13 January 1937 (in concert
220ctober. Leningrad form, in an abridged version).
Text from M. Sholokhov's novcl of the same In German (translated by G. C. Winkler), Gera
title. Four acts. 6 December 1938.

1431 143 2
 ANNALS OF OPERA

In French (translated by G. Dalman), Brussels

WOLF-FERRARI: 11 Campiello*
14 December 1936.
12 February. Milan, Sc. (Parts of the music are adapted from Rossini's
Text by M. Ghisalberti (from a comedy by C. own minor works.)
Goldoni). Three acts.
In German (translated by F. X. Friedl and the VLADIGEROV: Tsar Kaloyan
composer), Munich 27 December 1936; Berlin 20 ll;aph KaJIOHH'b
May 1937. 20 April. Sofia
Text by F. Popova-Mutafova. Four acts.
J. KALNIl'iS: Hamlets
The first opera of the well-known Bulgarian
17 February. Riga composer and violinist.
Text hy the composer (founded on the Lettish Also given at Ljubljana 15 May 1937 (in Slo-
version, by J. Rozes, of Shakespeare's tragedy). venian, translated by D. Svara).
Three acts.

N. BERG:Judith WILLIAMS: The poisoned Kiss, or

The Empress and the Necromancer*
22 February. Stockholm
Text by the composer (founded on the German
12 May. Cambridge
play by F. Hebbel). Five acts. Text by E. Sharp (A romantic extravaganza). Three
Produced at the opening of the International acts.
Music Festival, Stockholm. London, Sadler's Wells 18 May 1936; New
York, Juilliard School21 April 1937.
ENESCO: Oedipe*
PEDROLLO: L'Amante in Trappola
10 March. Paris, O.
22 September. Vicenza
Text by E. Fleg. Four acts.
Text by G. Franceschini. One act.
The first opera of the Rumanian composer
(written as early as 1921). Successful in Italy.
In German, as Die Liebhaben in der Falle,
Dortmund 24 March 1939.
USPENSKY: Farkhad i Shirin
25 March. Tashkent R 0 C CA: In Terra di Leggenda
An opera produced at the national opera-house 1 October. Bergamo
ofTashkent, capital of the Uzbek Soviet Republic
Text by C. Meano. Three acts.
in Central Asia (founded 1 November 1928).
(The opera had been previously given in con-
Presumably written in the Uzbek language (entry
cert form at the Palazzo dell' Arte, Milan, on 28
according to N. Slonimsky, Music since 1900).
September 1933.) .
Also given at Moscow May 1937.
ROUSSEL: Testament Teti' Karoliny*
PAUMGARTNER: Rossini in Neapel (Aunt Carolina's Will)
27 March. Zurich 14 November. Olomouc
Text by H. Adler. Three acts. (Original French) text (Le Testament de la Tante
Successful on German stages; given at Vienna Carotine) by Nino, first produced in a Czech ver-
3 January 1937; Prague February 1937; Dresden sion by J. Reisserova. Three acts.
10 April 1937, etc. In the original French. Paris, O.C. 11 March
In Swedish, Stockholm 26 November 1936. 1937·
1433 1434
 ANNALS OF OPERA 1937
In German, Prague 18 April 1937. MENOTTI: Ameliagoes to the Ball*
Roussel's last opera, produced the year before 1 April. Philadelphia
his death.
(Original Italian) text (Amelia al BalIo) by the
COATES: Pickwiek composer, first produced in an English version by
20 November. London, c.G. G. Mead. One act.
Text by the composer (after Dickens). Three acts. In English also, New York 11 April 1937 at the
The first opera of Coates which was produced N ew Amsterdam Th. ; 3 March 1938 at the Metro-
in London. politan Opera-House. In German (translated by
G. C. Winkler), Gera4May 1940.
1937 In the original Italian first given at S. Remo 4
April 1938.
KLENAU: Rembrandt van Rijn In Swedish, Stockholm 30 December 1939·
2JJanuary. Berlin, O.
Text by the composer. Four acts.
R 0 C CA: La Morte di Frine*
Successful in Germany.
24 April. Milan, Sc.
(RE S PI GHI) : Lucrezia* Text by C. Meano (Leggenda tragica). One act.
24 February. Milan, Sc. Rio de Janeiro Summer 1937, etc.
Text by C. Guastalla. One act (J momenti). (The work had previously been broadcast from
Respighi's last opera, completed by his wife, Turin 31 May 1936.)
Eisa Olivieri Respighi.
In Italian also given at Buenos Aires 13 August
GHISLANZONI: Re Lear
1937 and Rio de Janeiro Summer 1937· 24 April. Rome, T.R.
In Czech, Olomouc September 1937. Text by the composer (after Shakespeare). Three
In German (translated by G. C. Winkler), Gera acts.
4 MaY 1940. Successful in Italy.
(The work forms a trilogy with Maria Egiziaca,
see 1932, and the ballet CU Uccelli; they are now CASELLA: Il Deserto tentato
usually given on the same bill.) 6 May. Florence, T.C.
SCHOECK: Massimilla Doni Text by C. Pavolini (Mistera). One act.
First produced at the Maggio Musicale Fioren-
2 March. Dresden
tino. An opera glorifying the Abyssinian war.
Text by A. Rüeger (from H. de Balzac's novel).
Three acts. DAMROSCH: The Man without
Zurich 13 March 1937, etc. a Country
HONEGGER and IBERT1 : L'Aiglon* 12 May. New York. M.
March. Monte Carlo
11 Text by A. Guiterman (founded on a story by E.
Text by H. Cain (from the play by E. Rostand). E. HaIe), scenario by the composer. Two acts.
Five acts.
(A. BERG): Lulu*
Successful on French stages; Paris, O. 1 Sep-
2 June. Zurich
tember 1937; Brussels 6 November 1938.
(The opera was to be produced at Naples on Text by the composer (adapted from F. Wede-
28 February 1939; for political reasons the per- kind's plays Erdgeist and Die Büchse der Pandora).
formance was cancelled at short notice.) Three acts.
1 Honegger composed Acts 2, 3 and 4. Ibert Acts land
Berg's second and last opera; the work was not
S.H.R. quite finrshed at his dcath. Two acts and frag-

1435
1937-38 ANNALS OF OPERA 1938
ments of the third act were produced at Zurich. COELHO: Belkiss
(An orchestra suite from the opera had been heard March. Lisbon, Coliseu
in many countries in 1934-35).
Text from E. de Castro's drama, Belkiss, Rainha de
Saba (1894). Three acts.
GOOSSENS: DonJuan de Manara The most important of the very few original'
24 June. London, c.G. Portuguese operas of recent years. Awarded a
Text by A. Bennett. Four acts. prize in a Spanish opera competition.
See The Chesterian, nos.97 (1931), and 123 R. BlANCHI: Proserpina
(1935).
23 March. Milan, Sc.
WEINBERGER: Wallenstein Text by S. Benelli. Three acts.
18 November. Vienna, O. G. F. MALIPIERO: Antonio e Cleopatra
(Original Czech) text by M. KareS (from Schil- 4 May. Florence, T.C.
ler's tragedy), produced in a German version by
Text by the composer (after Shakespeare). Three
M. Brod. Six scenes.
acts.
In German (translated by G. C. Winkler), Bre-
WILLIAMS: Riders to the Sea* men 25 February 1939.
1 December. London, R.C.M.
HONEGGER: Jeanne d'Arc au Bucher*
Text by J. M. Synge. One act.
12 May. Basle
Publicly performed Cambridge 22 February
1938. Text by P. Claudel (Oratorio dramatique). Eleven
scenes.
1938 Also given at Orleans 6 May 1939; Paris, Palais
de Chaillot 13 JWle 1939; Brussels 25 February
MILHA UD: Esther de Carpentras* 1940.
3 February. Paris,O.C. HINDEMITH: Mathis der Maler*
'Text by A. Lune!. Two acts. 28May. Zurich
(The libretto had been published as early as Text by the composer. Sevcn scenes.
1928). In German also given at Amsterdam 9 March
1939 (by the Zurich company).
HOLST: The wandering Scholar* In English (translated by D. M. Craig), Lon-
21 February. London, Toynbee Hall don, Qu<.!en's Hall 15 March 1939 (in concert
Text by C. Bax. Produced by Toynbee Hall form).
Opera Club. KRENEK: Karl v*
15 June. Prague, G.I
VEREMANS: Anna-Marie Text by the composer (Bühnenwerk mit Musik).
22 February. Antwerp Two parts.
Text by F. Timmermans. Four acts. The opera was published in 1933; originally it
In Flemish also given at Cologne May 1938 (by had been written for the Vienna State Opera.
the Antwerp company). Fragments were performed at the I.S.C.M. Fes-
tival, Barcelona 18 April 1936.
LA T T U A DA: La Caverna di Salamanca
1 Kl'enek, who by this time was living in London,
1March. Genoa, c.F. would not risk flying over Nazi Germany to attend the
Text by V. Piccoli (after Cervantes). One act. premiere. H.R.

1437
193 8-39 ANNALS OF OPERA 1939-40
DUPERIER: Zadig SAU G U E T : La Chartreuse de Parme
17 June. Paris,O.c. 16 March. Paris, O.
Text hy A. F. Herold (from Voltaire's nove!). Text by A. Lune! (founded on Stendhal's nove!).
Four acts. Four acts.
R. STRAUSS: Friedenstag* PANIZZA: Bisanzio
26 July. Buenos Aires
24 July. Munich
Text by G. Macchi. Three acts.
Text hy J. Gregor. One act.
The opera had been written about 1925.
The Nazi officials virtually boycotted the
premiere as the opera glorified the Peace of MILHAUD: Medee*
Westphalia. 7 Oetober. Antwerp
In German also given at Zurich 4 February (Original French) text by M. Milhaud, the wife
1939; Berlin 8 March 1939; Graz May 1939; of the composer (after Euripides), produced in a
Vienna 10 June 1939, etc. Flemish version by A. 1. Baeyens. One act (3
In Italian (translated by R. Küfferle), Venice, F. scenes).
30 January 1940. The opera had been commissioned by the
English vocal score (translated by R. CapelI) French Government in 1938. First given in the
published 1938. original French at the Opera, Paris 8 May 1940.
WEILL: Knickerbocker Holiday* PRATELLA: Fabiano
26 September. Hartford, Conn. 7 Deeember. Bologna, T.C.
Text by M. Anderson. Two acts. Text by A. Beltramelli. Prologue, 2 acts, and
The first opera ofweill' s written and produced epilogue.
in America.
ROCCA: Monte Ivnor
R. STRA uSS: Daphne* 23 Deeember. Rome, T.R.
150etober. Dresden Text by C. Meano, afterWerfe!' s Die Vierzig Tage
Text by J. Gregor (Bukolische Tragödie). One act. des Mussa Deg. Three acts.
First produced on the same bill with a revival Budapest, in Hungarian (translated by V.
of Friedenstag (see above). Lanyi), 29 November 1940.
In German also, Berlin 8 March 1939; Vienna
25 April 1940; Graz May 1939, etc.
1940
In Flemish, Antwerp 7 October 1939.
In Hungarian, Budapest 15June 1940. FERRARI-TRECATE: Ghirlino
4 February. Milan, Sc.
LLOYD: The Serf
Text by E. Anceschi. Three acts.
20 Oetober. London, c.G.
Text by W. Lloyd (the father of the composer). ZANELLA: Il Revisore*
Three acts. 20 February. Trieste
1939 Text by A. Lega (founded upon Gogol's com-
edy). Three acts.
WOLF-FERRARI: La Dama boba*
1 February. Milan, Sc. VILLA-LOBOS: Izaht
Text by M. Ghisalberti (from a comedy by Lope 6 April. Rio de Janeiro
da Vega). Three acts. Text by F. Azevedo and E. Villalba. Four acts.
In German (translated by the composer and Concert performance. Written 1912-14, revis-
F. Rau), Mayence 18 June 1939; Berlin 22 June1939. ed 1932.

1439 1440
 1. INDEX OF OPERAS
with names ur composers and years of first performance under which they will be found. Titles are,
occasionaIly, shortened, and arranged in alphabetical order, disregarding the articles (in allianguages).
Modified letters, like Ä, Ö, 0, S, Ü, are treated as A, 0, 5, U. In order to keep the index within
reasonable bounds, no alternative or translated titles are listed as a rule. There are, however, cross-
references where the original title of a well-known opera is unfamiliar, as in the case of Mozart's
Don Giovanni (Il Dissoluto punito} or Smetana's Bartered Bride (Prodana Nelllsta).

A basso Porto (Spinelli), 1894 Adriana Lecouvreur (Cilea), 1902

A Ja Voreta del Mar (Goula), 1881 Adrien (Mehul), 1799
A Santa Lllr.ia (Tasca), 1892 Adventure ofDon Quixote (Macfarren), 1846
Abdul und Erinieh (Curschmann), 1828 .Advokaten Pathelin (Foroni), 1858
Abel (R. Kreutzer), 1810 Aeneas (J. W. Franck), 1680
Abd, see also Kain Aeneas, see also Dido, Enea, Ener, Trion.fi de! Fato
Aben Harnet (Dubois), 1884 Aeneas i Carthago (Kraus), 1799
Abencerages (Cherubini), 1813 Aennchen von Tharau (Hofmann), 1878
Abenteuer Carl des Zweiten (Hoven), 18,0 Aerndtekranz J. A. Hiller), 1771
Abenteuer des Casanova (Andreae), 1924 Africaine (Meyerbeer), 1865
AHme de la Maladetta (Duprez), 1851 Agatka (Holland), 1784
Abisso (Smareglia), 1914 Agnes Bernauer (Krebs), 1833
Abreise (d'Albert), 1898 Agnes Sorel (Gyrowetz), 1806
Abu Hassan (Weber), 18II Agnes Sorel (Peellaert), 1824
Accis y Galatea (Literes), 1708 Agnes von Hohenstaufen (Spontini) 1829
Achile et Polixcne (Colasse), 1687 Agnese di Fitz-Henry (Paer), 1809
Achille (Paer), 1801 Agrippina (Handel), 1709
Achille in Sciro (Draghi), 1663 Ägyptische Helena (R. Strauss), 1928.
Achille in Sciro (Caldara), 1736 Aida (Verdi), 1871
Achille in Sciro (Sarro), 1737 Aigle (Nougues), 1912
Achille in Sciro (Naumann), 1767 Aiglon (Honegger and Ibert), 1937
Acis and Galatea (Handel), 1732 Aino (Melartin), 1909
4cis et Galatee (Lully), 1686 Ajax (Bertin de la Doue), 1716
Acte (Manen), 1903 Ajo nell' Imbarazzo (Donizetti), 1824
Acteon (Auber), 1836 Aladdin (Bishop), 1826
Adelaide (Sartorio), 1672 AJaddin (Horneman), 1888
Adelaide di Guesc1ino (Mayr), 1799 Aladin (Isouard), 1822
Adelaide e Comingio (Pacini), 1817 AIar (Zichy), 1896
Adelasia e Aleramo (Mayr), 1806 AI:hc (Hubay), 193 I
Adele di Lusignano (Carnicer), 1819 Alarico il Baltha (Steffani), 1687
Adele et Dorsan (Dalayrac), 1795 Alba Cornelia (F. Conti), 1704.
Adelia (Donizetti), 1841 Albergatrice vivace (Caruso), 1780
Adelina (Generali), 1810 Alberigo da Romano (F. Malipiero), 1846
Adelheit von Veltheim (Neefe), 1780 Albigenser (Deswert), 1878
Adils och Elisiv (Peterson-Berger), 1927 Albion and Albanius (Grabu), 1685
Adlers Horst (Gläser), 1832 Albrecht Beiling (H. Brandts-Buys), 1891
Admeto (Handel), 1727 Alceste (Lully), 1674
Adolphe et Clara (Dalayrac), 1799 Alceste (Strungk), 1693
Adone (Monteverdi), 1639 Alceste (Gluck), 1767
Adonis, seel also Catena d'Adone, Geliebte Adonis, Alceste (Schweitzer), 1773
Venus and Adonis Alceste, see also Admeto, Alketis, Getreue Alceste
Adrast und Isidore (Kospoth), 1779 Alchimist (Scott), 1925
Adrian von Ostade (Weigl), 1807 Alchymist (Schuster), 1778

1441 1442
Alchymist INDEX OF OPERAS Amours du Diable

Alchymist (Spohr), 1830 Amadis de Grece (Destouches), 1699

Aleide al Bivio (Hasse), 1760 Amante di tutte (Galuppi), 1760
Alcidor (Spontini), 1825 Amante in Trappola (Pedrollo), 1936
Alcina (Handel), 1735 Amanti alla Prova (Caruso), 1783
Alcina, see also lsola de Alcina, Liberaz;c!rIc d; Amanti di Teruel (Breton), 1889
Ruggiero, Rinaldo Amanti generosi (Mancini), 1705
Alcione (Marais), 1706 Amanti Sposi (Wolf-Ferrari), 1925
Alcove (Offenbach), 1847 Amants de Verone (d'lvry), 1878
Aleida von Holland (Thooft), 1866 Amaranta (Tmecek), 1890
Aleko (Rakhmaninov), 1893 Amaya (Guridi), 1920
Alessandro (Handel), 1726 Amazone Corsara (C. Pallavicino), 1686
Alessandro, see also Superbia d' Alessandro Amazoni nell' Isole fortunate (c. Pallavicino),
Alessandro Magno (M. A. Ziani), 1679 1679
Alessandro nell' Indie (Corselli), 1738 Ambassadrice (Auber), 1836
Alessandro nell' Indie (Galuppi), 1738 Amber Witch(Wallace), 1861
Alessandro nell' Indie (Perez), 1745 Ambleto (Gasparini), 1705
Alessandro nell' Indie (J. C. Bach), 1762 Ambroise (Dalayrac), 1793
Alessandro nell' Indie (Sacchini), 1763 Äme en Peine (Flotow), 1846
Alessandro nell' Indie (Piccinni), 1774 Amelia (Zajc), 1860
Alessandro nel/' lndie, see also Cleojidl', Por" Amelia goes to the Ball (Menotti), 1937
Alessandro Severo (Lotti), 1716 Amelinde (J. J. Loewe), 1657
Alessandro Stradella (Flotow), 1844 Americani (Tritto), 1802
Alessandro Vincitor di se stesso (CavalIi), 1651 Americantsi (Fomin), 1800
Alexander (Teyber), 180! Ami de la Maison (Gretry), 177!
Alexis (Dalayrac), 1798 Amica (Mascagni), 1905
Alexis etJustine (Dezedes), 1785 Amico Fritz (Mascagni), 1891.
Alfonso und Estrella (Schubert), 1854 Amilie (Rooke), 1837
Ali Baba (Cherubini), 1833 Amitie 11 I'Epreuve (Gretry), 1770
Ali Baba (Bottesini), 1871 Amleto (Faccio), 1865
Ali Hitsch Hatsch (Sechter), I X44 Amor Contadino (Lampugnani), 1760
Alienor (Hubay), 1891 Amor contrastato (Paisiello), 1788
Aline (Monsigny), 1766 Amor d'un Ombra et Gelosia d'un Aura (D.
Aline (Uttini), 1776 Scarlatti), 1714.
Aline (Schulz), 1787 Amor marinaro (Weigl), 1797
Aline (Berton), 1803 Amor tirannico (Feo), 1713
Aline, see also Regina di Goleotlda Amor tutto vince (P. C. Guglielrni), 1805
Alkestis (Boughton), 1922 Amor vuol Sofferenza (Leo), 1739
Alkestis (Wellesz), 1924 Amore Artigiano (Gassmann), 1767
Almahide (G. Bononcini), 1710 Amore dei tre Re (Montemezzi), 1913
Almaviva (Rossini), 1816 Amore e Maesta (Orlandini), 1715
Almazinde (Pixis), 1820 Amore e Perdizione (Arroyo), 1907
Almena (Battishill and Ame), 1764 Amore in Musica (Boroni), 1763
Almira (Fedeli), 17°3 Amore industrioso (Carvalho), 1769
Almira (Handel), 1705 Amore Soldato (Sacchini), 1778
Almos (Mosonyi), 1934 Amore vuol Gioventu (Mariani), 1659
Aloise (Maurer), 1828 Amori d' Apollo e di Lel1cotoe (Rovettino), 1663
Alonso c Co ra (Mayr), 1803 Amore di Apollo e di Dafne (CavalIi), 1640
Alpenhütte (Krcutzer), 1815 Amour des trois Oranges (Prokofiev), 1921
Alpenkönig und Menschenfeind (Blech), '903 Amour filial (Gaveaux), 1792
Alzira (Verdi), 1845 Amour Medecin (Poise), 1~80
Amadigi di Gaula (Handel), 1715 Amoureux de Cathcrinc (Marechal), 1876
Amadis (Lully), 1684 Amoureux de quinze Ans (Martini), 1771
Amadis (Massenet), '922 Amours des Dieux (Mouret), 1727
Amadi~ d,· Gaule (J. C. Bach), 1779 Amoms du Diable (Gnsar), 1853

[443 1444
Amphion INDEX OF OPERAS Arsene

Amphion (Naumann), 1778 Arcadia in Brenta (Galuppi), 1749

Amphion (Honegger), 1931 Archers (Carr), 1796
Amy Robsart (Lara), 1893 Arden Enok (Raimann), 1894
An allem ist Hütchen schuld (S. Wagner), 1917 Aretusa (Vitali), 1620
Anacreon (Cherubini), 1803 Argia (Cesti), 1655
Anacreon chez Polycrate (Gretry), 1797 Ariadne (Kusser), 1692
Anathema (Tofft), 1928 Ariadne, see also Verlassene Ariadne
Ancetre (Saint-Saens), 1906 Ariadne auf Naxos (G. Benda), 1775
Andrea Chenier (Giordano), 1896 Ariadne auf Naxos (R. Strauss), 1912
Andrea Crini (Tmecek), 1900 Ariadne in Crete (Handel), 1734
Andromaque (Grctry), 1780 Ariane (Cambert), 1674
Andromeda (Giacobbi), 1610 Ariane (Massenet), 1906
Andromeda (Manelli), 1637 Ariane dans l'Isle de Naxos (Edelmann), 17~2
Andromeda (Reichardt), 1788 Ariane et Barbe-bleue (Dukas), 1907
Andromeda (Maurice), 1924 Arianna (Monteverdi), 1608
Andromeda, see also Persee Arianna (Marcello), 1913
Andromede (Dassoucy), 1650 Arianna e Teseo (Porpora), 1714
Angelique (Ibert), 1927 Ariarate (Tarchi), 1786
Angelo (Kyui), 1876 Ariodant (Mehul), 1799
Angelo (Bruneau), 1928 Ariodante (Pollarolo), 1716
Angelus (Naylor), 1909 Ariodante (Handel), 1735
Angenehme Betrug (Keiser and Graupner), 1707 Aristippe (R. Kreutzer), 1808
Angiolina (Salieri), 1800 Aristomene Messenio (Sances), 1670
Anima allegra (Vittadini), 1921 Arlecchino (BllSOni), 1917
Anna Bolena (Donizetti), 1830 Arlecchino, see also Furie d'Arlecchin(l
Anna Karenina (Robbiani), 1924 Arlequin (d'Ollone), 1924
Anna Karenina, see also Karenina Anna Arlesiana (Cilea), 1897
Anna-Marie (Veremans), 1938 Armaillis (Doret), 1906
Annette et Lubin (Blaise), 1762 Armastus ja Surm (Lemba), 1931
Anno e un Giomo (Benedict), 1836 Arme Heinrich (Pfitzner), 1895
Antar (Dupont), 1921 Arme Jonathan (Millöcker), 1890
Antichambre (Dalayrac, 1802 Armida (B. Ferrari), 1639
Antigona (Orlandini), 1718 Arrnida (Traetta), 1761
Antigona delusa da Alceste (P. A. Ziani), 1660 Armida (Salieri), 1771
Antigone (Zingarelli), 1790 Arrnida (Sacchini), 1772
Antigone (Honcgger), 1927 Arrnida (Naumann), 1773
Antigono (Hasse), 1743 Arrnida (Mysliveczek), 1779
Antigono (Gluck), 1756 Arrnida (Haydn), 1784
Antigono (Duran), 1760 Arrnida (Rossini), 1817
Antioco (Hasse), 1721 Arrnida (Dvorak), 1994
Antiope (C. Pallavicino), 1689 Armida, see also Gerusalemmc liberata, Renaud,
Anton (Galeotti), 1900 Rinaldo, Selva incantata.
Antonio e Cleopatra (G. F. Malipiero), 1938 Arrnida abbandonata(Jommelli), 1770
Apajune (Millöcker), 1880 Arrnidc (Llllly), 1686
Aphrodite (c. Erlanger), 1906. Arrnide (Gluck), 1777
Apollo deluso (Sances), 1609 Arminio (Steffani), 1707
Apollo et Hyacinthus (Mozart), 1767 Arminio (Handel), 1737
Apollo'sWettgesang (Sutor), 1808 Arminio (Hasse), 1745
Apotheke (Neefe), 1771 Arminius, see also Chi la dura la viI/ce, Thustlelde
Appel de la Mer (Rabaud), 1924 Armor (Lazzari), 1898
Arabella (R. Strauss), 1933 Armourer ofNantes (Balfe), 1!l63
Arabi nelle Gallie (Pacini), 1827 Amjlot (Pderscifi-Berger), 1910
Arbore di Diana (Martin y Soler), 1787 Aroldo (Verdi), see Stiffelio
Arbre enchante (Glllck), 1759 Arsene (Seydelmann), 1779

1445 1446
Arsene INDEX OF OPERAS Bhhory Maria
Arsene, see also Belle Arscne Avaro (Anfossi), 1775
Arsilda (Vivaldi), 1716 Aventures du Roi Paus oIe (Honegger), 1930
Arsinoe (Franceschini), 1676 Aveux indiscrets (Monsigny), 1759
Arsinoe (Clayton), 1705 Aviatore Dro (Pratella), 1920
Artamene (Gluck), 1746 Avventura di Scaramuccia (L. Ricci) , 1834
Artaserse (Hasse), 1730 Avventure amorose (Tritto), 1788
Artaserse (Vinci), 1730 Avventurieri (Cordella), 1825.
Artaserse (Gluck), 1741 Avvertimento ai Gelosi (Pavesi), 1803
Artaserse (Graun), 1743 Avviso ai Maritati (Isouard), 1794
Artaserse (Terradellas), 1744 Axur (Salieri), see Tarare.
Artaserse (Jommelli), 1749 Azcmia (Dalayrac), 1786
Artaxerxes (T. A. Ame), 1762 Azora (Hadley), 1917
Artemisia (Cimarosa), 1801
Arvire et Evelina (Sacchini), 1788 Baals Sturz (Weigl), 1820
Ascanio (Bemabei), 1686 Babicka (Horik), 1900
Ascanio (Saint-Saens), 1890 Bäbu (Marschner), 1838
Ascanio in Alba (Mozart), 1771 Babyions Pyramiden (Mederitsch and Winter),
Askoldova Mogila (Vertovsky), 1835 1797·
Asrael (Franchetti), 1888 Baccanali di Roma (Niccolini), 1801
Assedio di Firenze (Bottesini), 1856 Baccanti di Roma (Generali), 1816
Astarte (Leroux), 1901 Bacchus (Massenet), 1909
Astarto (G. Bononcini), 1720. Bäckahästen (Atterberg), 1925
Astianatte (Vinci), 1725 Bacocco e Serpilla (Orlandini), see Marito Giogatore
Astianatte (G. BOl1oncini), 1727 Bagarre (Maldere), 1763
Astianax (R. Kreutzer), 1801 Bakchantinnen (Wellesz), 193 I
Astorga (Abert), 1866 Balada de Camaval (Vives), 1919
Astrologi immaginari (Paisiello), 1779 Balders Dod (J. E. Hartmann), 1778
Astuzie di Bertoldo (Ferrari-Trecate), 1934 Baldie (Blockx), 1908
Astuzie femminili (Cimarosa), 1794 Ballerina amante (Cimarosa), 1782
At the Boar's Head (Holst), 1925 Ballo in Maschera (Verdi), 1859
Atahualpa (Cattelani), 1900 Banadietrich (S. Wagner), 1910
Atalanta (Handel), 1736 Banditi (Amold), 1781
Atalanta, see also Meleagro, Ril'ali concordi Bink-Ban (Erkel), 1861
Athalia (Poissi), 1814 Banuta (A. KalniIfS) , 1920
Attaque du Moulin (Bruneau), 1893 Barbares (Saint-Saens), 1901
Attila (Verdi), 1846 Barbe-bleue (Offenbach), 1866
Attilio Regolo (Hasse), 1750 Barberillo de Lavapies (F. A. Barbieri), 1874
Attilio Regolo (Jommelli), 1753 Barbier von Bagdad (Comelius), 1858
Atys (Lully), 1676 Barbiere di Siviglia (Paisiello), 1782
Atys (Piccinni), 1780 Barbiere di Sil'iglia (Rossi,!i), see Almavil'a
Auberge en Auberge (Tarchi), 1800 Barcarolle (Auber), 1845
Auberge rouge (Nougues), 1910 Bärenhäuter (S. Wagner), 1899
Aubergistes de Qualite (Catel), 1812 Barkouf (Offenbach), 1860
Aucassin et Nicolette (Grctry), 1779 Barone di Dolsheim (Pacini), 1818
Aucassin og Nicolette (Enna), 1896 Barone di Torreforte (Piccinni), 1765
Aufstieg und Fall der Stadt Mahagonny (WeiH), Baronessa di Carini (Mule), 1912
193 0 Bartered Bride (Smetana), see Prodana Nevesta
Augenarzt (Gyrowetz), 18ll Baruffe Chiozzotte (G. F. Malipiero), 1926
Augustus (Keiser), 1698 Basi e Bote (Pick-Mangiagalli), 1927
Aura (Zanella), 1910 Basilius (Keiser), 1694
Aureliano in Palmira (Rossini), 18 I 3 Baskische Venus (Wetzler), 1928
Aurora (Panizza), 1908. Basoche (Messager), 1890.
Aurora (Hoffmann), 1933 Bastien und Bastienne (Mozart), 1768
Avapies (Barrios and Campo), 1919 Bathory Maria (Erkel), 1840

1447 1448
Battaglia di Legnano INDEX OF OPERAS Bravo

Battaglia di Legnano (Verdi), 1849 Bettler Namenlos (Heger), 1932

Battista (Fino), 1906 Bianca e Falliero (Rossini), 1819
Bauce e Palernone (Cordeiro da Silva), 1789 Bianca e Gemando (Bellini), 1826
Bavard et Bavarde (Offenbach), 1862 Bianca und Giuseppe (Kittl), 1848
Bayaderes (Catel), 1810 Bianca und Gualtiero (Lvov), 1844
Beamais (J. T. Radoux), 1866 Bibiana (Pixis), 1829
Beamaise (Messager), 1885 Bijou perdu (Adam), 1853
Beata (Moniuszko), 1872 Billedet og Busten (Berggreen), 1832
Beatrice (Messager), 1914 Billet de Loterie (Isouard), 18II
Beatrice Cenci (R6zycki), 1927 Bily Pan (Kficka), 1929
Beatrice di Portogallo (Noronha), 1863 Biom (Lauro Rossi), 1877
Beatrice di Tenda (Bellini), 1833 Birichino (Mugnone), 1892
Beatrice et Benedict (Berlioz), 1862 Birraio di Preston (L. Ricci), 1847
Beatrijs (Landre), 1925 Birute (Petrauskas), 1921
Beatrix (Lilien), 1928 Bisanzio (Panizza), 1939
Befreite Theseus (Milhaud), 1928 Bisbetica domata (Persico), 1931
Beggar's Opera (Pepusch), 1728 Blaise et Babet (Dezede), 1783
Beiden Schützen (Lortzing), 1837 Blaise le Savetier (Philidor), 1759
Bela Futasa (Ruzcicska), 1822 Blanda (Kalliwoda), 1847
Belfagor (Respighi), 1923 Blanik (Fibich), 1881
Belisario (Donizetti), 1836 Bleuets (Cohen), 1867
Belkiss (Coellio), 1938 Blindekuh (J. Strauss), 1878
Bella Pescatrice (P. Guglielmi), 1789 Blodwen (Parry), 1878
Belle Arsene (Monsigny), 1773 Blucbeard, see Ariane, Barbe-bleue, Kekszakallu
Belle Esclave (Philidor), 1787 Herceg Vara, Raoul Barbe Bleue, Ritter Blaubart
Belle Helene (Offenbach), 1864 Boabdil (Moszkowski), 1892
Bellerofonte (Terradellas), 1747 Boatswain's Mate (Smyth), 1916
Bellerofonte (Mysliveczek), 1767 Boccaccio (Suppe), 1879
Bellerophon (Lully), 1679 Bogatyri (Borodin), 1867
Belmont und Constanze (Andre), 1781 Boheme (Puccini), 1896.
Belmont und Constanze (Dieter), 1784 Boheme (Leoncavallo), 1897
Bel0nnede Kiaerlighed (Scalabrini), 1758 Bohemian Girl (Balfe), 1843
1?eniowski (Boieldieu), 1800 Boleslaw Smialy (R6zycki), 1909
BenvellUto Cellini (Berlioz), 1838 Bolond (Szabados), 1898.
Berenice (Handel), 1737 Bon Roi Dagobert (Samuel-Rousseau), 1927
Berenice (Magnard), 19II Bondelmonte (Pacini), 1845.
Berenice, Regina d' Armenia (Zingarelli), 181 I Bondman (Balfe), 1846
Berenice vendicativa (Freschi), 1680 Bonsoir, M. Pantalon (Grisar), 1851
Bergcre Chatelaine (Auber), 1820 Bonsoir, Voisin (Poise), 1853
Berggeist (Spohr), 1825 Borghese Gentiluomo (Esposito), 1905
Bergknappen (Umlauff), 1778 Borgomastro di Saardam (Donizetti), 1827
Bergkönig (Lindpaintner), 1825 Boris Godunov (Musorgsky), 1874
Bergmönch (Wolfram), 1830 Borislav (Athanassov), 19II
Bergsee (Bittner), 19II Bottega da Caffe (G. F. Malipiero), 1926
Bergsturz (Weig!), 1812 Bouchard d'Avesnes (Miry), 1864
Bergtagna (Hallström), 1874 Bouffe et le Tailleur (Gaveaux), 1804
Berlichingen Götz (Goldmark), 1902 BOHle-de-Neige (Offenbach) see Barkouf
Bemoise (Mathieu), 1880 Boufe (Fibich), 1895
Bertoldo, Bertoldino e Cacasenno (Ciampi), 1748 Branibofi v Cechach (Smetana), 1866
Besuch in Saint-Cyr (Dessauer), 1838 Brankovich György (Erkel), 1874
Betly (Donizctti), 1836 Brasseur de Preston (Adam), 1838
Betrug durch Aberglauben (Dittcrsdorf), 1786 Bratfi Karamazovi (Jeremias), 1928
Bettelstudent (Winter), 1785 Brautwahl (Busoni), 1912
Bettelstudent (Millöcker), 1882 Bravo (Marliani), 1834

1449 145 0
Bravo INDEX OF OPERAS Catena d'Adonc
Bravo (Mercadante), 1839 Callirhoe (Destouches), 1712
Brebis egaree (Milhaud), 1923 Calypso, sec Grotta di Calipso
Brenno (Reichardt), 1789 Calypso and Telemachus (Galliard), 1712
Bride ofDionysus (Tovey), 1929 Camargo (Leva), 1898
Bride of Song (Benedict), 1864 Cambiale di Matrimonio (Rossini), 1810
Brides of Venice (Benedict), 1844 Camilla (Paer), 1799
Brigands (Offenbach), 1869 Camilla, see also TriolZfo di Camilla
Briganti (Mercadante), 1836 Camille (Dalayrac), 1791
Brinio (Milligen), 1889 Camille (Forest), 1930
Briseida (Rodriguez de Hita), 176R Camille, Reine des Volsques (Campra), 1717
Briseis (Chabrier), 1899 Campana delI' Eremitaggio (Sarria), 1875
Bronwen (Holbrooke), 1929 Campam'lIo di Notte (Donizetti), r 1\36
Bruden fra Lammermoor (Bredal), 1832 Campiello (Wolf-Ferrari), 1936
Bruid der Zee (Blockx), 1901 Cantarina (Haydn), 1767
Bruja (Chapi), 1887 Cantatrici villane (Val. Fioravanti), 1799
Bryllup i Katakombeme (Höeberg), 1909 Cantegril (Roger-Ducasse), 193 I
Bryllupet vet Como-Soen (Gläser), 1849 Canternire (F. E. Fesca), 1820
Bubbles (Bath), 1923 Canterbury Pilgrims (Stanford), 18~4
Bucheron (Philidor), 1763 Canterbury Pilgrims (Koven), 1917
Buenas Noches, Seiior Don Sim6n (Oudrid), Capitan (Sousa), 1896
18 52 Caprieciosa eorretta (Martill y Solcr), see Seola de
Bukovln (Fibich), 1874 Maritati
Buona Figliuola (Piccinni), 1760 Capricciosa pentita (Val. Fioravanti), 1802
Buona Figliuola maritata (Piccinni), 1761 Caprice amoureux (Duni), 1755
Buovo d'Antona (Traetta), 1758 Caprice de Femme (Paer), 1834
Burbero di buon Cuore (Martin y Soler), 1786 Captif (Lassen), 1865
Burgraves (Sachs), 1924 Capuleti ei Montecchi (Bdlini), 1!)30
Bürgschaft (Weill), 1932 Cara Mustapha (J.W. Franck), 16R6.
Burla fortuna ta (Pucitta), 1804 Caravanc du Caire (Grctry), 1783
Burro do Senhor Alcaide (Cardoso), YH91 Cardilbc (Hindemith), 1926
Carillonneur de Bruges (Grisar), yg52
Cabrera (Dupont), J904 Caritea, Rcgina di Spagna (Mercadante), 1826
Cachapres (Casadeus), 1914. Carl den Andens Flugt (Siboni), 1861
Cadeaux de No<'1 (Leroux), 19' 5 Carlo Fioras (Fränzl), r810
Cadi dupe (Monsigny), 1761 Carmclite (Hahn), 1902
Cadi dupe (Gluck), 1761 Carmen (Bizet), 1875
Cadmus et Hermione (Lully), 1673 Carretto de! Venditore d'Aceto (Mayr), 1800
Caduca de' Decemviri (A. Scarlatti), 1697 Carrosse du Saint-Sacrement (Bemers), 1924
Caduta dei Decemviri (Vinci), 1727 Casa disabitata (Lauro Rossi), 1834
Caduta de' Giganti (Gluck), 1746 Casanova (Lortzing), 1841
Caduta di Elio Seiano (Sartorio), 1667 Casanova (R6zycki), 1923
Caedmar (Bantock), 1892 CasmlOva, see also Abellteuer des Casanol'a
Cafe du Roi (Deffes), 1861 Cascina (Scolari), 1755
Cagliostro in Wien (J. Strauss), 1875 Casilda (Ernst Il), 1851
Caid (A. Thomas), 1849 Cassandra (Gnecchi), 1905
Cajo Fabricio (Hasse), 1732 Caslle of Alldalusia (Arnold), see Balldiri
Cajo Mario (Jommelli), 1746 Caslor alld Polll/x, see also TilZtaridi, Triof1{o delI' Amor
Cajo Marzio Coriolano (Ariosti), 1723 fra lerno -
Calamita de Cuori (Galuppi), 1752 CastOf ct Pollux (Ramcau), 1737
Calandro (Ristori), 1726 Castor et Pollux (Candeille), 1791
Calfurnia (Heinichen), 1713 Castore e PoIlu<;;e (Vogler), 1787
Calife de Bagdad (Boieldieu), 1800 Catalane (Le Borne), 1907
Califfo di Bagdad (Garcia), 1813 Catalina (Gaztambide), 1854
Caligula delirante (Pagliardi), 1672 Catena d' Adone (D. Mazzocchi), r626
1451 1452

/
Caterina di Guise INDEX OF OPERAS Cleopatra

Caterina di Guise (Coccia), 1833 Chi dura vince (L. Ricci), 1834
Catharina Comaro (F. Lachncr), 1841 Chi la dura la vince (Biber), 1687
Catharina Cornaro, see also Daughter of SI. Mark, Chi soffre, speri (V. Mazzoechi and Marazzoli),
Regina di Cipro, Reine de Chypre 1639
Catharina en Lambert (Van der Linden), 1888 Chiara di Rosembergh (L. Rieci), 1831
Catone in Utica (Ferrandini), 1753 Chicn du Jardinier (Grisar), 1855
Cavaliere errante (Traetta), 1778 Children in ehe Wood (Arnold), 1793
Cavaliere per Amore (Piccinni), 1762 Children ofDon (Holbrooke), 1912
Cavalieri di Ekebu (Zandonai), 1925 Chilonida (M. A. Ziani), 1709
Cavalleria rusticana (Mascagni), 1890 Chilperic (Herve), 1868
Cavalleria rusticana (Monleone), 1907 Chimera (Draghi), 1682
Cavema di Salamanca (Lattuada), 193 ~ Chirurgie (Ferroud), 1928
Caveme (Lesueur), 1793
Chocolate Soldier (Strauss) , sec T4pferc Soldat
Cayo Petronio (Gaito), 1919
Chopin (G. Orefice), 1901
Cecilia (Refice), 1934
Celeste (Spetrino), 1891 Christelflein (Pfitzner), 1917
Celos aun de! Ayre matan (Hidalgo), 1660 Christliche Judenbraut (Paneck), 1789
Cena delle Beffe (Giordano), 1924 Christoph Columbus (Milhaud), 1930
Cendrillon (Laruette), 1759 Cid (Comelius), 1865
Cendrillon (Isouard), 1810 Cid (Massenct), 1885
Cendrillon (Steibelt), 1 Sro Cid, see also Rodrigo
Cendrillon (Massenet), 1899 Cidde (Sacchini), 1769
Cenerentola (Rossini), 1817 Cifra (Salieri), see DamQ Pastorella
Cenerentola (Wolf-Ferrari), 1900 Cigale et la Fourmi (Audran), 1886
Cent Viergcs (Lccocq), 1872 Cillderella, see Ccndrilloll, Cenerelltola, Popc1ka
Cephal i Prokris (Araya), 1755 Cinese rimpatriato (Sellitti), 1753
Ccphalc et Procris (E. C. de Laguerre), 1694 Cinesi (Gluck), 1754
Cephale et Proeris (Grrtry), 1773 Cinq Mars (Gounod), 1877
Cephalus, see also CeltlS aUIl dcl Airc lIIata/l, Circassian Bride (Bishop), r 1\09
Rapime/lto di Cefalo Circassienne (Auber), 1861
Cert a Kaca (Dvorak), 1 S99 Circe (Keiser), 1696
Certova Stena (Smetana), 1882 Circe (Kciser), 1734
Cesare in Egitto (Giacomelli), 1735 Circe (Chapi), ~902
Cesare in Farmacusa (Salieri), 1800 Circe, see also Kirkc
Cesta Oknem (Kovai'ovic), 1886 Ciro (Cavalli), 1654
chalet (Adam), 1834 Ciro in Armenia (Agnesi), 1753
Chanson de Fortunio' (Offenbach), 1 ö61 Ciro in Babilonia (Rossini), 1812
Chantcusc voilcc (Masse), 1850 Ciro riconosciuto (Hasse), 1751
Chaplet (Boyce), 1749 Cistctna do Diabo (Cossoul), 1850
Charles II, see Af,c1Itcllcr Carl des ZlIJcitetl, Carl Clari (Bishop), 1823
den Andells Flugt, Kill/? Charles 11. Clarisse (Rocllig), 1771
Charles VI (Halevy), 1843 Claudine af Villa Bella (Schall), 1787
Charodyeka (Chaikovsky), 1887 Claudine von Villa Bclla (Beecke), 1780
Chartreuse de Parmc (Sauguct), 1939 Claudine von Villa Bella (Rcichardt), 1789
Chatterton (Leoncavallo), 1896 Claudine von Villa Bella (Kienlen), 1810
Che Originali! (Mayr), 1798 Claudius (Keiser), seiVerdammte Staat-Sucht
Chemineau (Leroux), 1907 ClcmeI12a di Scipionc (J. C. Bach), 1778
Cherchcuse d'Esprit, 1741 ClcmeI12a di Tito (Gluck), 1752
Cherevichki (Chaikovsky), see Vakula KflzlI)'c(S Clcmenza di Tito (Mozart), 1791
Cherokce (Storaee), 1794 Cleofide (Hasse), 173 1
Cherubin (Massenet), 1905 Cleonice (Saldoni), 1840
Cheval de Bronze (Aubcr), 1835 Cleopatra (Mattheson), 1704
Chevalier Jean (Joncieres), 1885 Cleopatra (Morales), 1891
Chi deli' altrui si veste ... (Cimarosa), 1783 Cleopatra (Enna), 1894
1453 . 1454
Cleopatra INDEX OF OPERAS Czar Saltan
Cleopatra, see also Antollio e Cleopatra, Morte di Contrabandista (B. Basilj), 1841
Cleopatra, Nuit de CIeopßtre Contrattempi (Sarti), 1778
Cleopatra e Cesare (Graun), 1742 Contrivances (Carey), 1729
Cleopatra's Night (Hadley), 1920. Convitato di Pietra (Righini), 1777
Cleopatre (Massenet), 1914 Convito (Cimarosa), 1781
Cloche du Rhin (S. A. Rousseau), 1898 Coq d'Or (Rimsky-Korsakov), see Zolotoy Pyetushok
Cloches de Comeville (Planquette), 1877 Coquette trompee (Dauvergne), 1753
Clochette (Duni), 1766 Co ra (Mehul), 1791
Clochette (Herold), 1817 Cora, see Alonso e Cora
Clotilda (F. Conti), 1706 Co ra och Alonzo (Naumann), 1782
Clotilda (Coccia), 1815 Coriolano (CavalIi), 1669
Cobzar (G. Ferrari), 1909 Coriolano (Niccolini), 1808
Ca:ur du Moulin (Severac), 1909 Coriolal1o, see also Cajo Marzio Coriolallo
Cola Rienzi (R. Wagner), 1842 Cornill Schut (Smareglia), 1893
Colegialas y Soldados (Hemando), 1849 Corrado d' Altamura (F. Ricci), 1841
Cclmal (Winter), 1809 Corregidor (H. Wolf), 1896
Colomba (Grandjean), 1882 Corsaro (Verdi), 1848
Colomba (Mackenzie), 1883 Cosa rara (Martin y Soler), 1786
Colomba (Radeglia), 1887 COS! fan tutte (Mozart), 1790
Colombe (Gounod), 1860 Cosimo (Prevost), 1835
Colombo (Ottoboni), 1690 Costanza e Fortezza (Fux), 1723
Colombo (Morlacchi), 1828 Coupe du Roi de Thule (Diaz), 1873
Colombo (Camicer), 1831 Coupe enchantee (Pieme), 1895
Colonie (Sacchini), see [sola d'Amore Cox and Box (Sullivan), 1867
Colporteur (Onslow), 1827 Credulo deluso (Paisiello), 1774
Columbus, see Christoph Columbus, Colombo, Cremonai Hegedüs (Hubay), 1894
Cristoforo Colambo Creole (Offenbach), 1875
Comcdiens ambulans (Devielille), 1798 Creonte (Bortnyansky), 1776
Comedy ofErrors, see Equivoci Crickct on thc Hearth (Mackcnzie), 1914
Compagnazzi (Riccitelli), 1923 Cricket Oll the Hearth, see also Crillo dei Focolare,
Comte d' Albert (Grctry), 1786 Heimchen am Herd
Comte d'Ory (Rossini), 1828 Crispino e la Comare (L. and F. Ricci), 1850
Concert ala Cour (Auber), 1824 Crispo (G. Bononcini), 1721
Concert interrompu (Berton), 1802 Cristo alla Fcsta di Purim (Giannetti), 1904
Conchita (Zandonai), 1911 Cristoforo Colombo (Franchetti), 1892
Confidences (Isouard), 1803 Critic (Stanford), 1916
Confusione nata dalla Somiglianza (Portugal), tme Maske (Kogoj), 1929
1793 Crociato in Egitto (Meyerbeer), 1824
Conquista di Granada (Arrieta), 1850 Croesus (Kciscr), 1711
Conquista de Madrid (Gaztambidc), 1863 Cross and the Crescent (MacAlpin), 1903
Consuelo (Gordigiani), 1846 Crusaders (Benedict), 1846
Consuelo (Rendano), 1902 Csavargo es Kiralylany (Poldini), 1903
Contadina astuta (Pergolesi), 1734 Csel (Bartay), 1839
Contadina di Spirito (Paisiello), see Finte Contesse Cud (Stefani), 1794
Contadina in Corte (Sacchini), 1765 Curioso indiscreto (Anfossi), 1777
Contadine bizarre (Piccinni), 1763 Curro Vargas (Chapi), 1898
Contarini (Pierson), 1872 Cymon (M. Ame), 1767
Conte Caramella (Galuppi), 1749 eyrano (Damrosch), 1913
Conte di bell' Umore (Bernardini), 1783 Cyrano di Bergerac (Alfano), 1936
Contes d'Hoffmann (Offenbach), 1881 Cyrus und Astyages (Mosel), 1818
Contesa dei Numi (Gluck), 1749 Cythere assicgee (Gluck), 1759
Contessa d' Amalfi (PetreIla), 1864 Czaar und Zimmermann (Lortzing), 1837
Contessa di Mons (Lauro Rossi), 1874 CzarSaltall (Rimsky-Korsakol'),seeSkazka 0 Tsarye
Contessina (Gassmann), 1770 Saltallye
1455 145 6
Dafne INDEX OF OPERAS Didone abbandonata

Dafne (J. Peri), 1597 Demetrio (Jommelli), 1749

Dafne (Gagliano), 1608 Democrito corretto (Dittersdorf), 1787
Dafne (Schütz), 1627 Democrito, see also Risa di Democrito
Dafne (Peranda and Bontempi), 1671 Demofoonte (Leo), 1735
Dafni (Astorga), 1709 Demofoonte (Gluck), 1742
DafiU (Mule), 1928 Demofoonte (Jommelli), 1743
Dal Male il Bene (Marazzoli and Abbatini,) 1653 Demofoonte (Graun), 1746
Dalibor (Smetana), 1868 Demofoonte (Hasse), 1748
Dama Boba (Wolf-Ferrari), 1939 Demofoonte (Portugal), 1794
Dama Pastorella (Salieri), 1780 Demon (Rubinstein), see Dyemon
Dama Soldato (Naumann), 1791 Demon de la Nuit (Rosenhain), 1851
Dama Soldato (Orlandi), 1808 Demophoon (Cherubini), 1788
Dame blanche (Boieldieu), 1825 Demophon (J. C. Vogel), 1789
Dame Kobold (Weingarmer), 1916 Desagravios de Troya (Marcinez de la Roca),
Damira placata (M. A. Ziani), 1680 17 12
Darnnation de Blanchefleur (Fevrier), 1920 Deseret (Buck), 1880
Damnation de Faust (Berlioz) r893 Desert Flower (Wallace), 1863
Danaide (Morlacchi), 1810 Deserteur (Monsigny), 1769
Danaides (Salieri), 1784 Deserto tentato (Casella), 1937
Danaides, see also Hypermnestra Desiderius (Keiser), 1709
Daniel Hjort (Palmgren), 1910 Dettes (Champein), 1787
Dans l'Ombre de la Cathedrale (Hüe), 1921 Deucalion og Pyrrha (Sarti), 1772
Dante and Beatrice (Philpot): 1889 Deux Avares (Gretry), 1770
Daphne (R. Strauss), 1938 Deux Aveugles (Offenbach), 1855
Daphnis et Alcimadure (Mondonville), 1754 Deux Aveugles de Tolede (Mehul), 1806
Daphnis et Chloe (Boismortier), 1747 Deux Chasseurs et la Laitiere (Duni), 1763
Daphnis et Chloe (Offenbach), 1860 DeuxJoumees (Cherubini), 1800
Dardanus (Rameau), 1739 Deux Maris (Isouard), 1816
Dardanus (Sacchini), 1784 Deux Mots (Dalayrac), 1806
Daria (Marty), 1905 Deux Nicodemes (Beffroy de Reigny), 1791
Darius, see DisJatta di Dario Deux Nuits (Boieldieu), 1829
Das war ich (Blech), 1902 Deux petits Savoyards (Dalayrac), 1789
.0' Auberge en Auberge (Tarchi), 1800 Devil to pay, 173 I
Daughter of St. Mark (Balfe), 1844 Devil's in it (Balfe), 1852
Daughter of the Forest (Nevin), 1918 Devil's Opera (Macfarren), 1838
David, see Rai David, Saul ag David Devin du Village (J. J. Rousseau), 1752
David Garrick (Somerville), 1920 Diable a quatre (Philidor), 1756
Debora (J. B. Foerster), 1893. Diable aquatre (Solie), 1809
Debora e Jaele (Pizzetti), 1922 Diabio Predicador (B. Basilj), 1846
Deduv odkaz (Novak), 1926 Diadeste (Balfe), 1838
Deevi un Cilveki (Med.iJ;lS), 1922 Diamantes de la Corona (F. A. Barbieri), 1854
Deidamia (Handel), 1741. Diamantkorset (Saloman), 1847
Deidamia (Rasse), 1906 Diamants de la Couronne (Auber), 1841
Dejanice (Catalani), 1883 Diana schernita (Cornacchioli), 1629
Dejanire (Saint-Saens), 191 I Diana von Solange (Ernst II), 1858
Dejeuner de Gar'Yons (Isouard), 1805 Diarnlid (MacCunn), 1897
Delia (Sacrati), 1639 Diavolo nel Campanile (Lualdi), 1925
Delire (Berton), 1799 Dibuc (Rocca), 1934
Delitto e Castigo (Pedrollo), 1926 Dido (B. Klein), 1823
Demetrio (Caldara), 173 I Dido and Aeneas (Purcell), 1689
Demetrio (Hasse), 1732 Dido, Königin von Carthago (Graupner), 1707
Demetrio (Pescetti), 1732 Didon (Piccinni), 1783
Demetrio (Perez), 1741 Didone (Cavalli), 1641
Demetrio (Gluck), 1742. Didone abbandonata (Sarro), 1724

1457 1458
Didone abbandonata INDEX OF OPERAS Drey Töchter
Didone abbandonata (Hasse), 1742 Don Giovanni Tenorio (Gazzaniga), 1787
Didone abbandonata (Jommelli), 1747 Don Juan (Albertini), 1783
Didone abbandonata (Traetta), 1757 Don Juan de Manara (Goossens), 1937
Didone abbandonata (J. Schuster), 177() Don Juans letztes Abenteuer (Graener), 1914
Dieb des Glückes (B. Schuster), 1923 Don Lucas de! Cigarral (Vives), 1899
Dieu et la Bayadcre (Auber), 1830 Don Paez (Boezi), 1893
Dieux sont morts (Toumemire), 1924 Don Pasquale (Donizetti), 1843
Difendere l'Offensore (Provenzale), 167M Don Procopio (Bizct), 1906
Diktator (Krenek), 1928 Don Quiehotte (Mmenet), 1910
Dilettante d' Avignon (Halcvy), 182<) Don Quixote (Kienzl), 1898
Dimitri (Joncieres), 1876 DOll Quixote, see also Advetlture ofDolI Quix,'/c, DMI
Dimitrij (Dvorak), 1882 Chisciotte, Hochzeit des Gamacho, Nouveau DOll
Dinorah (Meyerbeer), see Pardoll de P/oeflllf/ Quichotte, Rctahlo de Maese Pedro, Smlcho PatlZa
Diocletianus (J. W. Franck), 1682 Don Ranudo de Colibrados (Schoeek), 19T9
Discordia fortunata (Paisiello), 1775 Don Sanche (Liszt), 1825
Disfatta di Dario (Cafaro), 1756 Don Sebast;en (Donizctti), 1H43
Disfatta di Dario (Giordani), 1789 Don Trastullo (Jommelli), 1746
Disgrazie d'Amore (Cesti), 1667 Dofia Francisquita (Vives), 1923
Dispettosi Amanti (Parelli), 1912 Donauweibchen (Kauer), 1798
Dissoluto punito (Carnicer), 1822 Donna ancora e fedele (Pasquini), 1676
Dissoluto punito (Mozart), 1787. Donna Bianca (Keil), 1888
Dftc Tabora (Bendl), 1892 DOllna Caritea (Mercadatl/e), see Caritea
Djamileh (Bizet), 1872 DOJma de! Lago (Rossini), 1819
Dmitry Donskoy (Rubinstein), 18)2 Donna di Genio volubilc (Portugal), 17<Jö
Dobrinya Nikitich (Grechaninov), 1903 Donna Diana (Reznicek), 1894
Docteur MiraboIan (Gautier), 1860 Donna Juanita (Suppe), 1880
Doctor of Alcantara (Eichberg), 1862 Donna Serpente (Casclla), 1932
Doctor und Apotheker (Dittersdorf), 17H6 Donne cambiate (Portugal), 1797
Dogaressa (Davico), 1920 Darme cambiate (Paer), see Poche, ma imolle
Doktor Eisenbart (Zilcher), 1922 Donne curiose (Usiglio), 1879
Doktor Faust (I. Walter), 1797 DOImc curiose (Wo!f-Ferrari), see Ncugicrigetl Fralll'/l
Doktor Faust (Busoni), 1925 Dorf im Gcbucrge (Weigl), 1798
Dollarprinzessin (Fall), 1907 Dorfbarbier (Schenk), 1796
Dolores (Breton), 1895 Dorfdeputierten (E. W. Wolf), 1772
Dolorosa (Sanchez de Fuentes), 1910 Dorfdeputierten (Schubaur), 1783
Domherren i Milano (Schall), 1802 Dorfgala (Schweitzer), .1772
Domino azul (Arrieta), 1853 Dorfjahrmarkt (G. Benda), 1775
Domino nero (Lauro Rossi),. 1849 Dorfschule (Weingartner), 1920
Domino noir (Auber), 1837 Dori (Cesti), 1661
Don Bucefalo (Cagnoni), 1847 Doris (Schürer), 1747
Don Carlos (Costa), 1844 Dorothy (Cellier), 1886
Don Carlos (Verdi), 1867 Dorval, der vierjährige Posten (Zehntner), 1913
Don Cesar (Dellinger), 1885 Dot (Dalayrac), 1785
Don Cesar de Bazan (Massenet), 1872 Double Echelle (A. Thomas), 1837
Don Cesar de Bazan, see also Maritana. Double Epreuve (Gretry), 1782
Don Checco (Giosa), 1850 Dov' e Amore c Pied (Pasquini), 1679
Don Chisciotte (F. Conti), 1719 Dragedukken (Kunzen), 1797
Don Chiseiotte (Caldara), 1727 Dragon ofWantley (Lampe), T737
Don Desiderio (Poniatowski), 1840 Dragons de Villars (Maillart), 1856
Don Gil von den grünen Hosen (Braunfels), 1924 Dritenik (Skroup), 1826
Don Giovanni (Lattuada), 1929 Drei Pintos (c. M. von Weber), 1888
Don Giovanni (Mozart), see Dissoluto pUllito Drei Wünsche(C. Loewe), 1834
Don Giovatmi, see also Convitato di Pietra, Dreigroschenoper (Weill), 1928
Kamyeny Gost, Ombra di Don Giovanni Drey Töchter Cecrops (J. W. Franck), 1679
1459 1460
 Droit du Seigneur INDEX OF OPERAS Ermiriia sul Giordano
Droit du Seigneur (Martini), 1783 Elinan Surma (Merikanto), 1910
Drot og Marsk (Heise), 1878 Eliogabalo (Boretti), 1668
Dubarry (Camussi), 1912 Ehsa (Ruggeri), 1711
Dubrovsky (Napravnik), 1895 Elisa (Fux), 1719
Duc d'Olonne (Auber), 1842 Elisa (Naumann), 1781
Duca d' Alba (Donizetti), 1882 Elisa (Cherubini), 1794
Duch Wojewody (Grossmann), 1873 Elisa (Mayr), 1804
Duchess of Dantzic (Caryll), 1903 Ek:. e Claudio (Mercadante), 1821
Due Baroni di Rocca Azzurra (Cimarosa), 1783 Elisabetta (Rnssini), 1815
Due Castellani burlati (Fabrizi), 1785 Elisene (Rösler), 1807
Due Contesse (Paisiello), 1776 Elisir d'Amore (Donizetti), 1832
Duc Figaro (Speranza), 1839 Elisire di Giovinezza (d'Arneiro), 1876
Due Foscari (Verdi), 1844 Elnava (Petrella), 1856
Duc supposti Conti (Cimarosa), 1784 Elysium (Schweitzer), 1770
Duello (Paisiello), 1774 Emiral (Barilli), 1924
Duende (Hernando), 1849 Emma (Auber), 1821
Duenna (Linley), 1775 Emma di Rcsburgo (Meyerbeer), 1819
Duke or Devil (Gatty), 1909 Emperor Jones (Gruenberg), 1933
Dve Vdovy (Smetana), 1874 Emporium (Morera), 1906
Dyemon (Rubinstein), 1875 En casa de Nadie ... (Pacheco), 1770
Dylan (Holbrooke), 1914 Enchantress (Balfe), 1845
Dzimtencs Atmoda (A. KalniIfs), 1933 Enea e Lavinia (P. Guglielmi), 1785
Enea nel Lazio (Jommelli), 1755
Eau merveilleuse (Grisar), 1839 Enre et Lavinie (Dauvergne), 1758
Ebreo (Apolloni), 1855 Enfant et les Sortileges (Ravel), 1925
Echo et Narcisse (Gluck), 1779 Enfant prodigue (Auber), 1850
Echo und Narcissus (Brenner), 1<>93 Enfant prodigue (Debussy), 1910
Eclair (Halevy), 1835 Enfant Roi (Bruneau), 1905
Edenie (L. Du Bois), 1912 EngeIberta (A. Orefice and Mancini), 1709
Edgar (Puccini), 1889 Engelbrekt (N. Berg), 1929
Edipo Re (Leoncavallo), 1920 Enguerrande (Chapuis), 1892
Edmea (Catalani), 1886 Enlevement de la Toledad (Audran), 1894
Eduardo e Cristina (Rossini), 1819 Enrichetta Baienfeld (Coppola), 1836
Educande di Sorrento (Usiglio), 1868 Enrico Clifford (Albcniz), 1895
Education manquee (Chabrier), 1879 Entführung aus dem Serail (Mozart), 1782
Edwin and Angelina (Pellesier), 1796 Entführung der Europa (Milhaud), 1927
Eerckruis (Dopper), 1903 Ephesian Matron (Dibdin), 1769
Egisto (Cavalli), 1643 Epreuve villageoisc (Gretry), see Tllf!odore ct Pall!in
Egiziana (Vento), 1763 Equivoci (Storace), 1786
Eidelberga mia (Pacchierotti), 1908 Equivoci in Amore (A. Scarlatti), 1690
Eifersüchtige Trinker (Ettinger), 1925 Equivoci nel Sembiante (A. Scarlatti), 1679
Eiserne Heiland (Oberleithner), 1917 Eraclea (A. Scarlatti), 1700
Eithne (O'Dwyer), 1910 Erbe von Modey (Holstein), 1872
Ekkchard (Abert) , 1878 Ercole amante (Cavalli), 1662
Elaine (Bemberg), 1892 Ercole in Lidia (Rovetta), 1645
E!ai/le, see also La/lzelot II/ld E!ai/le Ercole in Tebe (Melani), 1661
Elda (Catalani), 1880 Eremit auf Formentara (P. Ritter), 1788
Electra (Häffuer), 1787 Erik Ejegod (Kunzen), 1798
Elcktra (R. Strauss), 1909 Erindo (Kusser), 1694
Elena da Feltrc: (Mcrcadante), 1838 Erinto (Kerll), 1661
Elfrida (Paisidlo), 1792 Erismcna (Cavalli), 1655
Elga (Lendvai), 1916 Erlösung (Scharrer), 1895
Elga (LcmbJ), 1934 Ermelinda (Battista), 1851
Ehina (Mihalovieh), J908 Erminia sul Giordano (M. A. Rossi), 1633

1461
Emani INDEX OF OPERAS Faruk

Emani (Verdi), 1844 Eva (J. B. Foerster), 1899

Emelinde (Philidor), 1767 Evandro in Pergamo (Mirecki), 1824
Ero e Leandro (Bottesini), 1879 Evangelimann (Kienzl), 1895
Ero e Leandro (Mancinelli), 1897 Evanthia (Umlauft), 1893
Ero s Onoga svijeta (Gotovac), 1935 Eve of St. John (Mackenzie), 1924
Eroberung Trojas (Berlioz), 1890 Evenements imprevus (Gretry), 1779
Eroe Cinese (Bonno), 1752 Eventyr i Rosenborg Have (Weyse), 1827
Broi (Berutti), 1919 Ewige Feuer (Wetz), 1907
Eros Vainqueur (Bn:ville), 1910 Ezio (Handel), 1732
Eros und Psyche (Rozycki), 1917 Ezio (Jommelli), 1741
Erostrate (Reyer), 1862 Ezio (Gluck), 1750
Erreur d'un Moment (Dezede), 1773 Ezio (Hasse), 1755
Erschaffene, gefallene und aufgerichtete Mensch
(Theile), 1678 Fabiano (Pratella), 1939
Erste Falte (Leschetizky), 1867 Fächer (Toch), 1930
Ersten Menschen (Stephan), 1920 Fair of Sorochinsk (Musorgsky), see Sorochinskaya
Erwartung (Schönberg), 1924 Yarmarka
Erzsike (Major), 1901 Fair Rosamond (Bamett), 1837
Es war einmal (Zemlinsky), 1900 Fairies (Smith), 1755
Esclarmonde (Massenet), 1889 Fairyland (Parker), 1915
Esclave de Camoens (Flotow), 1843 Fairy Oak (Forbes), 1845
Esiliati in Siberia (Donizetti), 1827 Fairy-Queen (Purcell), 1692
Esmeralda (Bertin), 1836 Falegname (Cimarosa), 1780
Esmeralda (Mazzucato), 1838 Falkners Braut (Marsc\1ner), 1832
Esmeralda (Dargomuizhsky), 1847 Falsche Harlekin (G. F. Malipiero), 1928
Esmeralda (Campana), 1869 Falstaff (Salieri), I79e}
Esmeralda (A. G. Thomas), 1883 Falstaff (Balfe), 1838
Esmeralda, see also Ermelinda, Natre-Dame Falstaff (Verdi), 1893 .
Espigadora (La Viiia), 1927 Falstaff, see also At' the Boar's Head, Gioventu di
Esposti (L. Ricci), 1834 Enrico V, Lustigen Weiber von Windsor, Sir
Esther (Strungk), 1680 John in Love
Esther de Carpentras (Milhaud), 1938 Falu Rossza (Hubay), 1896
Esther Princesse d'Israel (Mariotte), 1925 Farnille indigente (Gaveaux), 1794
Estrella de Soria (Berwald), 1862 FamilIe Suisse (Boieldieu), 1797
Esule di Roma (Donizetti), 1828 Fanal (Atterberg), 1934
Eteocle e Polinice (Legrenzi), 1675 Fanatico burlato (Cimarosa), 1787
Etienne Marcel (Saint-Saens), 1879 FarlOtico per la Musica (Mayr), see Che Originali
Etoile (Chabricr), 1877 Fanchon (Himmel), 1804
Etoile de Seville (Balfe), 1845 Fanchonnette (Clapisson), 1856
Etoile du Nord (Meyerbeer), 1854 Fanciulla deI West (Puccini), 1910
Etranger (d'Indy), 1903 Faniska (Cherubini), 1806
Euda d'Uriach (Vives), 1900 Fantasio (Offenbach), 1872
Eugene Onegin (Chaikovsky), see Yevgeny Otlyegin Fantasio (Smyth), 1898
Eugenia (Nasolini), 1792 Faramondo (Pollarolo), 1699
Eulenspiegel, see Thyl Uylenspiegel, Till Eulenspiegel, Faramondo (Handel), 1738
Tyll. Farce du Cuvier (Dupont), 1912
Eumelio (Agazzari), 1606 Farfadet (Adam), 1852
Euphrosine (Mehul), 1790 Farinelli (Bamett), 1839
Eurico (Pereira), 1870 Farkhad i Shirin (Uspensky), 1936
Euridice (J. Peri), 1600 Famace {Portal, 173 I
Euridice (G. Caccini), 1602 Famace (Traetta), 1751
Europa riconosciuta (Salieri), 1778 Farsa amorosa (Zandonai), 1933
Europe galante (Campra), 1697 Farsangi Lakodalom (Poldini), 1924
Euryanthe (c. M. von Weber), 1823 Faruk (Weyse), 1812

146 3
Fata Malerba INDEX OF OPERAS Flavius Bertaridus

Fata Malerba (Gui), J927 Fete du Village voisin (Boieldieu), T816

Fate (Ristori), 1736 Fete galante (Smyth), 1923
Fatinitza (Suppe), 1876 Fetes d'Hebe (Rameau), 173<.1
Fattuchiera (Cuyas), 1838 Fctonte (Jommelli), 1768
Faule Hans (A. Ritter), 18~5 Feuersnot (H.. Strauss), 1901
Fausse Magie (Gretry), 1775 Fevey (Pashkeevich), 1786
Fausses Apparences (Gretry), 177k Fiamma (Respighi), 1934
Faust (Spohr), 1816 Fiamminga (Donaudy), 1922
Faust (Gounod), IH59 Fiancec (Auber), 1829
Faust (Zöllner), 1887 Fidanzata Corsa (Pacini), 1842
Faust, see also Damnation de Faust, Doktor Fallst, Fidanzato de! Mare (Panizza), TH97
Fausto, Margherita, Mefistafelc, Petit Fallst Fidele 13erger (Adam), 1838
Fausta (Donizetti), 1832 Fidelio (Beethoven), 1805
Fausto (Berein), 1831 Fiera di Venczia (Salieri), 1772
Faux Lord (Piccinni), 1783 Fierrabras (Schuben), 1897
Faux Mendians (Gresnick), 1796 Figaro, sec Almavilla, Barbiere di Siviglia, Due
Favola d'Orfeo (Monteverdi), 1607 Figaro, Nozze di Figaro, NI/ovo Er,zaro
Favola d'Orfeo (CaseJla), 1932 Figlia de! Re (Lualdi), 1922
Favorite (Donizetti), 1840 Figlia di Jorio (Franchetti), 1906
Fede ne Tradimenti (Ariosti), T701 Figliuol prodigo (Ponchiclli), 1880
Fede tradita e vendicata (Gasparini), 1704. Filandro (Porpora), 1747
Fedelta premiata (Haydn), 1780 Filandro e Carolina (Gnecco), 1804
Federica ed Adolfo (Gyrowetz), 18 T2 Fille coupable (Boicldieu), 1793
Fedora (Giordano), 1898 Fille de Madame Angot (Lecocq), 1872
Fedra (Pizzetti), 1915 Fille de Roland (Rabaud), 1904
Fedra (Romani), 1915 Fille de Tabarin (Pierne), 1901
Fedul s Detmi (Martin y Sob and Pashkecvich), Fille du Carillonneur (Bovy-Lysberg), 1 ~54
179 1 Fille du Regiment (Donizetti), 1840
Fee aux Roses (Halevy), 1849 Fille du Tambour-Major (Offenbach), 1879
Fee UrgCle (Duni), 1765 Filomela und ihr Narr (G. F. Malipiero), 1928
Feen (R. Wagner), 1888 Filosofo di Campagna (Galuppi), 1754
Feldlager in Schlesien (Meyerbeer), 1844 Finta Amante (Paisiello), 1780
~e!dprediger (Millöcker), 1884 Filzta Call1eriera, see Gismotzdo
Fclicie (Catrufo), 1815 Finta Filosofa (Spontini), 1799
Felice (Dupuy), 182I Finta Giardiniera (Anfossi), 1774
Felix (Monsigny), 1777 Finta Giardiniera (Mozart), 1775
Fe!senmühle zu Estalieres (Reissiger), IR3 I Finta Pazza (Sacrati), 1641
Femme nuc (Fevrier), 1929 Finta Principessa (Cherubini), 1785
Fenetre secrete (Batton), 18 I 8 Finta Semplice (Mozart), 1769
Fennimore und Gerda (Delius), 1919 Finte Contesse (Paisiello), 1766
Feramors (Rubinstein), 1863 Finte Gemelle (Piccinni), 1771
Ferhuda (Santoliquido), 1919 Finti Eredi (Sarti), 1785
Fernand Cortez (Spontini), 1809 Finto Pazzo per Amore (Sacchini), 1765
Fernando (Schuben), 1918 Finto Stanislao (Gyrowetz), 1818
Fernando nel Messico (Portugal), 179S Fioraia di Lugano (Zarate), 1895
Ferne Klang (Schrekcr), 19T2 Fiorella (Auber), 1826
Fcrvaal (d'lndy), 1897 Fiorella (Webber), 1905
Fest auf Solhaug (Stenhammar), 1899 Fiorina (Pedrotti), 185 I
Festa a Marina (G. B. Coronaro), 1893 Fiskerne (J. E. Hartmann), 1780
Festa della Riconoscenza (Grazioli), 1821 Fjeldeventyret (Thrane), 1850
Festes de l' Amour et de Bacchus (Lulh·), 1672 Flaminio (Pergolesi), 1735
Festes de Thalie (Mouret), 1714 Flauto solo (d'A1bert), 1905
Festes Grecques er Romaines (Blamont), 1723 Flavio (Handel), 1723
Festes Venitiennes (Campra), 1710 FlavillS Bertaridus (Telemann), 1729
Fledermaus INDEX OF OPERAS Gensericus

Fledermaus (J. Strauss), 1874- Fmde (Bechgaard), 1893

Fleur-de-The (Lecocq), 1868 Frohsinn und Schwärmerei (Himmel), 1801
Fliegende Holländer (R. Wagner), 184-3 Frondörema (Lindblad), 1835
Flis (Moniuszko), 1858 Frühlings Erwachen (Ettinger), 1928
Flora (Gagliano and J. Peri), 1628 Frühhngsnacht (Schjelderup), 1908
Flora Mirabilis (Samara), 1886 Frutta di Mare (H. Huber), 1918
Florentinische Tragödie (Zcmlinsky), 1917 Fuorusciti di Firenze (Paer), 1802
Floridante (Handel), 1721 Fu bo contro al Furbo (Val. Fioravanti), 1796
Floris V (Hol), 1892
l d' Arlecchino (Lualdi), 1924-
Furie
Flotte Bursche (Suppe), 1863 Furio Camillo (Perti), 1692
Flucht nach der Schweiz (Kücken), 1839 Furioso nell' Isola di San Domingo (Donizetti
Fluthgeist (Hillemacher), 1896 18 33
Folie (Mehul), 1802 Fürstin Ninetta (J. Strauss), 1893
Folie a Rome (F. Ricci), 1869 Fürstin von Grenada (Lobe), 1833
Folies amoureuses (Pessard), 1891
Folkunger (Kretschmer), 1874- Gabriella (Pizzi), 1893
Foncarraleras (Galvan), 1772 Gabriella di Vergy (Carafa), 1816
Forest Rose (Davies), 1825 Gabriella di Vergy (Mercadante), 1828
Forct bleue (Aubert), 1913 Gabrielle d'Estrees (Mehul), 1806
Fomaretto (Sanelli), 1851 Gala Placidia (Pahissa), 1913
Fortunat (Schnyder von Wartensee), 1831 Galatea (Vittori), 1639
Fortune di Rodope (P. A. Ziani), 1657 Galatea (Schürer), 174-6
Fortunio (Messager), 1907 Galatea (Silva), 1779
Forza de! Destino (Verdi), 1862 Galatea (Braunfels), 1930
Forza deli' Amor patemo (Stradella), 1678 Galatea, see also Accis, Acis, Pygmalion, Schöne
Forza den' Amore eden' Odio (Araja), 1734- Galatea
Forza dena Virtu (Keiser), 1700 Galatee (Masse), 1852
Fosca (Gomez), 1873 Galieno (C. Pallavicino), 1675
Fou de la Dame (Delannoy), J930 Gare generose (Paisiello), 1786
Four Saints in three Acts (V. Thomson), 1934 Gargantua (Mariotte), 1935
Fra Diavolo (Auber), 1930 Garin (Breton), 1892
Fra due Litiganti ... (Sarti), 1782 Garold (Napravnik), 1886
Fra gamle Dage (Haarklou), 1894- Gasparone (Milläcker), 1884-
Fra Gherardo (Pizzetti), 1928 Gastibelza (Maillart), 184-7
Fra Luigi di Sousa (Freitas Gazul), 1891 Gazza Ladra (Rossini), 1817
Francesca da Rimini (Goetz), 1877 Gedultige Socrates (TelemJnn), 1721
Francesca da Rimini (Napravnik), 1903 Gefängnisse (Keussler), 1914
Francesca da Rimini (Rakhmaninov), 1906 Geheime Königreich (Kfenek), 1928
Francesca da Rimini (Zandonai), 1914 Geisha (Jones), 1896
Fran~oise de Rimini (A. Thomas), 1882 Geisterbraut (Eugen of Württemberg), 1842
Frascatana (Paisiello), 1774- Geisterinsel (Reichardt), 1798
Frate 'nnamorato (Pergolesi), 1732 Geisterinsel (Zumsteeg), 1798
Fratelli Rivali (Winter), 1793 Geliebte Adonis (Keiser), 1697
Frau ohne Schatten (R. Strauss), 1919 Geliebte Stimme (Weinberger), 193 I
Fredegunda (Keiser), 1715 Gelmina (Poniatowski), 1872
Freikorporal (Vollerthun), 1931 Gelöbnis (Oosterzec), 1910
Freischütz (C. M. von Weber), 1821 Gelosie fortunate (Anfossi), 1786
Fremde (Kaun), 1920 Gelosie villane (Sam), 1 '776
Fremde Erde (Rathaus), 1930 Geloso in Cimento (AnfoSSl), 1774
Fremdling (Vogl), 1899 Gemma di Vergy (Donizetti), 1834-
Freunde von Salamanca (Schubert), 1928 Genesius (Weingartner), 1892
Friedemann Bach (Graener), 1931 Genevieve cle Brabant (Offenbach), 1859
Friedenstag (R. Strauss), 1938 Genoveva (Schllmann), 1850
Frigga (Ahlström), 1787 Gensericus (Conradi), 1693

146 7 14-68
Gentle Shepherd INDEX OF OPERAS Guerra aperta
Gentlc Shepherd, 1729 Glauco (Franchetti), 1922
Genueserin (Lindpaintner), 1839 Gloria (Cilea), 1907
Germania (Franchetti), 1902 Gloria Arsena (Enna), 1917
Germanico sul Reno (Legrenzi), 1676 Gloria y Pe!uca (F. A. Barbieri), 1850
Germanicus (Grünewald), 1704 Glu (Dllpont), 1910
Gerusalemme distrutta (Zingarclli), 1794 Glückliche Hand (Schönberg), 1924
Gerusalemme liberata (Righini), 1803 Gobbo de! Califfo (Casavolo), 1929
Getreue Alceste (Schürmann), 1719 Golden Goose (Holst), 1929
Gewaltige Halmrei (B. Goldschmidt), 1932 Golden Web (A. G. Thomas), 1893
Gezeichneten (Schreker), 1918 Goldene Kreuz (Brüll), 1875
Ghirlino (Ferrari-Trecate), 1940 Goldschmied von Toledo (Offenbach), 1919
Ghiselle (c. Franck), 1896 Golem (d'Albert), 1926
Gianguir (Caldara), 1724 Golo (Scholz), 1875
Gianni di Parigi (Morlacchi), 1818 Golondrinas (Usandizaga), 1914
Gianni Schicchi (Puccini), 1918 Gondoliers (Sullivan), 1889
Giannina e Bernadone (Cimarosa), 1781 Gonzalo de C6rdoba (Serrano), 1898
Giasone (CavalIi), 1649 Goplana (Ze!enski), 1896
Gierusalemme liberata (c. Pallavicino), 1687 Gore Bogatir (Martin y Soler), 1789
Gigantes y Cabezudos (Caballero), 1898 Gorenjski Slavcek (A. Foerster), 1872
Gilles Ravisseur (Grisar), 1848 Goryusha (Rubinstein), 1889
Gillette de Narbonne (Audran), 1882 Goti (Gobatti), 1873
Ginevra di Scozia (Mayr), 1801 Götterdämmerung (R. Wagner), 1876
Gioconda (Ponchielli), 1876 Göttin der Vernunft (]. Strauss), 1897
Giocondo e il suo Re (]achino), 1924 Governatore (Logroscino), 1747
Giorno di Regno (Verdi), 1840 Goyescas (Granados), 1916
Giovanna d' Arco (Verdi), 1845 Gran Via (Chueca and Valverde), 1886
Giovanna Prima (Coppola), 1840 Gran"eola (Lualdi), 1932
Giovanna Prima (Strakosch), 1851 Grand Deuil (Berton), 1801
Giovanni Gallurese (Montemezzi), 1905 Grand Duke (Sullivan), 1896
Giove a Pomp ei (Franchetti and Giordano), 1921 Grand Mogol (Audran), 1877
Giove in Argo (Lotti), 1717 Grand'Tante (Massenet), 1867
Gioventu di Enrico V (Pacini), 1820 Grande-Duchesse de Gerolstein (Offenbach),
Gipsy's Warning (Benedict), 1838 1867
Giralda (Adam), 1850 Grazina (Karnavicius), 1933
Giravolt de Maig (Toldd), 1928 Greystee! (Gatty), 1906
Girello (Melani), 1670 Grillo de! Focolare (Zandonai), 1908
Girofle-Girofla (Lecocq), 1874 Gringoire (Brüll), 1892
Girondins (Le Borne), 1905 Griselda (G. Bononcini), 1718
Gismonda (Fevrier), 1919 Griselda (A. Scarlatti), 172I
Gismondo (Latilla), 1737 Griselda (Torri), 1723
Giuditta (A. Peri), 1860 Grisclda (Cottrau), 1878
Giuliano (Zandonai), 1928 Grisclda (Paer), see Virtu al Citllet1to
Giulietta e Romeo (Zingarelli), 1796 Grisclidis (Massenct), 1901
Giulietta e Romeo (Vaccai), 1825 Grof Benjowsky (Doppler), 1847
Giulictta e Romeo (Zandonai), 1922 Gromoboy (Verstovsky), 1857
Giulio Cesare (G. F. Malipiero), 1936 Grossmüthige Scipio (Krieger), 1690
Giulio Ces are in Egitto (Handel), 1724 Grossmiithigc Tomyris (Kciser), 1717
Giulio Sabino (Sarti), 1781 Grotta di Calipso (Winter), 1803
Giunio Bruto (Logroscino), 1748 Grotta di Trofonio (Salieri), 1785
Gillochi d'Agrigcnto (Paisicllo), 1792 Groza (Kashperov), 1867
Giuramcnto (Mercadante), 1837 Grumete (Arrieta), 1~53
Giustino (Legrenzi), 1683 Guarany (Gomez), 1870
Giustino (Handel), 1737 Gllcrcceur (Magllard), 1931
Gladiatori (Foroni), 1851 Gllcrra aperta (P. C. Gllglidmi), 1807

1470
Guerra in quattro iNDEX OF OPERAS Hochzeit des Mönchs

Gucrra in quattro (Pcdrotti), IM61 Heinrich der Löwe (StegmaIill), 1792

Gugelinc (Thuille), 1901 Heinrich der Löwe (Kretschmer), 1877
Guglielmo Ratcliff (Mascagni), IS95 Heinrich der Löwe, see also Enrico Leolll;'
Guido et Gincvra (Halcvy), r838 Heinrich der Vogler (Schürmann), 171X
Guillaume Tell (Grctry), 1791 Heirat wider Willen (Humperdinck), 1905
Guillaume Tell (Rossini), 1829 Heiss Eisen (Wehrli), 1918
Guitarrcro (Halcvy), 1841 Heksen (Enna), 9f2
Gulistan (Dalayrac), 1805 Helen retires (Antheil), 1934
Gulnare (Dalayrac), 1798 Helcna (Mehul), 1803
Gunlöd (Cornelius), 1891 Helena rapita da Paride (Freschi), 1677
Günstling (Wagner-Regeny), 1935 Helcna und Paris (Winter), 1782
Günther von Schwarzburg (Holzbaucr), 1777 Helene (Saint-Saens), 1904
Guntram (R. Strauss), 1894 Heliantus (A. von Goldschrnidt), !8M4
Gusta! AdolJ, see Konutlg Gustal Adolplzs Jagt Hellera (Montemezzi), 1909
Gustaf Wasa (Naumann), 1786 Helvellyn (Macfarren), 1864
Gustave 1II (Auber), 1833 Hemmelige Selskab (Rung), 188S
Gutsherr (Dittersdorf), 1791 Hemmelighedcn (Kunzen), 1796
Guttenberg (Füchs), 1846 Henri IV (Martini), 1774
Gwendoline (Chabrier), IH8() Henri IV, see also Gabrielle d'Esm!es,JcllIIe Henri
Hcnrico IV (Matthcson), 1711
H.M.S. Pinafore (Sullivan), 1871< Henrico Lcone (Steffani), 1689
Habanera (Laparra), 1908 Henrique (Rooke), 1839
Hadlaub (Haeser), 1903 Henry IV, see Gioventu di Ellrico V
Hagbarth und Signe (Mihalovich), I !lH2 Henry VIII (Saint-Saens), 1883
Haideschacht (Holstein), 1868 Herbergprinses (Blockx), 1896
Halewijn (Pijper), 1933 Herculanum (F. David), 1859
Halewijn, see also Lied van Heer Hall'lvijll Herkules, see Ercole and Nozze d'Ercolt·
Halka (Moniuszko), 1854 Hermann (]. Thomson), 1834
Hamlet (A. Thomas), 1868 Hermannsschlacht (Chelard), 1835
Hamlet (Hignard), 1888 Herrnione (Bruch), 1872
Harnlet, see also Ambleto, Am/eh' Hero (Schytte), 1898
Hamlets (]. KalniQ.s), 1936 Herode (Chaumet), 1885
Hanneles Himmelfahrt (Graener), 1927 Herodiade (Massenet), 18M!
Hans Heiling (Marschner), 1833 Herr Dandolo (Siegel), 1914
Hans Hüttenstock (Meyer von Schauensee), 1769 Herrat (Draesecke), 1892
Hans, le Joueur de Flute (Ganne), 1906 Herrn Dürers Bild (Mraczek). 1927
Hans Sachs (Lortzing), 1839 Herz (Pfitzner), 193I
Hänsel und Gretel (Humpcrdinck), 1893 Herzog Philipps Brautfalrrt (Reuss). 1909
Harald (Kleinheinz), 1814 Hesione (Campra), 1700
Harald der Wiking (Hallen), 188! Hesperia (Lamote de Grignon), 1907
Harold (Cowen), 1895 Heure de Mariage (Dalayrac), 1804
Harold, see Aro/do, Garold Heure Espagnole (Ravel), 19II
Härvard Harpolekare (Atterberg), 1919 Hija de Jefte (Chapi), 1876
Hary Janos (Kodaly), 1926 Hin und Zurück (Hindernith), 1927
Haunted Tower (Storace), 1789 Hipermestra (Cavalli), 1658
Häusliche Krieg (Schubert), see Verschworcnw Hippodamia, see Pe/ops, Smrt Hippodarnie
Häxfällan (Hallen), 1896 Hippolyte et Aricie (Rameau), 1733
Haydee (Auber), 1847 Hippolytus, see also Fedra, Ippolito, Phedre
Hedy (Fibich), 1896 Hironimus Knicker (Dittersdorf), 1789
Heilige Berg (Sinding), 1917 Histoire du Soldat (Stravinsky), 1918
Heilige Ente (Gai), 1923 Hjoerdis (K. Moor), 1905
Heimchen am Herd (Goldmark), 1896 Hochländer (Holstein), 1876
Heimkehr aus der Fremde (Mendelssohn), 1851 Hochzeit des Gamacho (Mendelssohn), 1827
Heimliche Ehe (Gast), 1891 Hochzeit des Mönchs (Klughardt), 1886
1471 1472
Hoffmann INDEX OF OPERAS Isis
Hoffmann (Laccetti), 1912 Ilya-Bogatir (Cavos), 1807
HojJmallll, see also Contes d'HojJmallll Imilda (Verheij), 1885
Höhle von Salamanca (Paumgartner). l!)~3 Immortal Hour (Boughton), 1914
Holger Danske (Kunzen), 1789 Impresario in Angustie (Cimarosa), 17So
Höllisch Gold (Bitmer), 1916 In Terra di Leggenda (Rocca), 1936
Holofernes (Reznicek), 1923 In the Pasha's Garden (Seymour), 1935
Holtak Szigetc (Zidor), 1928 Incognita perseguitata (Anfossi), 1773
Holzdieb (Marschner), 1825 Incontro improviso (Haydn), 1775
Holzhauer (Bcnda), 1778 Incoronatione di Poppea (Monteverdi), 164"
Honesta negli Amori (A. Scarlatti), 1(i~0 Indes galantes (Ramcau), 1735
Honzovo Krilovstvf (Ostrcil), 1934 Indigo (J. Strauss), 1871
Host-Gildet (Schulz), 1790 [Ildra (F]otoUJ), see Esclal'c de Ca/1l(lcllS
Hotellerie Portugaise (Chcrubini), 1 79~ Indtoget (Schulz), 1793
Hrabina (Moniuszko), 1860 Ines Mendo (F. d'Erlanger), 1897
Hubicka (Smetana), 1876 Inez de Castro (Persiani), 1835
Huemac (De Rogatis), 1916 Infedelta dclusa (Haydn), 1773
Hugh thc Drovcr (Williams), 1924 Inlcdelta fedele (Cimarosa), 1779
Hugucnots (Meyerbcer), 1836 Inganni felici (Pollarolo), 1695
Hulda (c. Franck), 1894 Inganno amoroso (P. Guglielmi), 1786
Hulla (Samuel-Rousscau), 1923 Inganno d'Amore (Bertali), 1653
Hunyady Liszlo (Erkcl), 1844 Inganno felice (Rossini), IRI2
Huron (Grctry), 1768 Ingwelde (Schillings), 1894
Husitski Ncvesta (Scbor), 186H Inklc and Yarico (Arnold), 1787
Hypatia (Caetani), 1926 Innocenza giustificata (Chelleri), 17i I
HypcTl/lIIcstra, sec also Dallaide, Dmlaides, Innocenza giustificata (Gluck), 1755
Hipcrmcstra, Ipcrmcstra Intermezzo (R. Strauss), 1924
Hypermncstre (Gervais), 1710 Intrigo amoroso (Pacr), 1795
lntrigue aux Fenetres (Isouard), 1805
I Fircuzc (Muncktell), 1889 lohnta (Chaikovsky), 1892
Ib and litdc Christina (Lconi), 1901 Iolamhe (Sullivan), 1 RRz
Ida, die Büssendc (Gyrowetz), I S07 Ipcrmestra (Gluck), 1744
Idalia (Gurjäo), ISST Ipermestra (Saldoni), 183X
I'dolo Cinese (Paisidlo), 1767 Iphismia, sec alsa lfigcllia
Idomcnce (Campra), 1712 Iphigenie t'n Alllide (GlllCk), 1774
Idomeneo (Mozart), 1781 Iphigenie cu Tallridc (Dcsmarcts and Carnpra),
Iernin (L1oyd), 1934 170 4
Ifigcnia (Jommelli), 1751 Iphigenie en Tallride (GlllCk), 1779
lfigenia in Aulidc (Caldara), 171 X lphigcnie cu Tauride (Piccinni), 17RI
Ifigcnia in Aulide (GratUl) , 17411 Ippolito cd Aricia (Tractta), 1759
lfigenia in Aulide (Chcrubini), 178S Irato (Mchul), 1 SOl
lfigenia in Tauride (Tractt:!), 1763 Irene (]. Huber), 18~1
Ifigenia in Tauride (Majo), 1764 Irene (Keil), 1893
Ifigenia in Tauridc (Galuppi), 176X Irene de Otrallto (Scrrano y Rlliz), r 8<)1
Ijola (Rytel), 1929 Iris (Mascagni), ] 898
Il ctait une Bergere (Lattes), 1913 Irrelohe (Schreker), J924
Ildcgonda (Arrieta), 1845 Irrlicht (Umlallff), 1782
Ildegonda (Morab), 1866 Irrwisch (Kospoth), J780
He de Tulipatan (Oftcnbach), I Sos Isa (Benolt), 1867
I1ka (Doppler), 1849 Isabeall (Mascagni), J91 I
IlIincsi (F. Basi(j), 18 H) IsabeUa Orsini (Brogi), 1920
Illinesi (Coppola), 1835 Isabelle et Gertrude (Blaise), 1765
Illustre Frcgona (Laparra), 1931 Isabelle et Pantalon (Roland-Manuel), 1<)22
Ilscbill (Klose), 1903 lsbdla (L. Nielsen), 1915
Ilscino Srdce (Km'I), 1924 Isis (Lully), 1677

1473 1474
Island-Saga INDEX OF OPERAS Junker Heinz
Island-Saga (Vollerthun), 1925 jephta, see Hija de jifte
Isle de Merlin (Gluck), 1758 Jephta's Gelübde (Meyerbeer), 1812
Isle des Foux (Duni), 1760 Jephte (Monteclair), 1732
Ismalia (Carnicer), 1838 jtfrusalem (Verdi), see Lombardi
Isola d' Amore (Sacchini), 1766 jerusalem, see also Distruzione, Gerusalemme,
Isola di Alcina( Gazzaniga), 1772 Gierusalemme
Isola del Piacere (Martin y Soler), 1795 Jerusalem delivree (Persuis), 1812
Isola disabitata (G. Scarlatti), 1757 Jery und Bätely (Reichardt), 1801
Isola disabitata (Traetta), 1768 Jessica (Deffes), 1898
Isola disabitata (Haydn), 1779 Jessika (]. B. Foerster), 1905
Isora di Provenza (Mancinelli), 1884 Jessonda (Spohr), 1823
Isse (Destouches), 1697 Jessy Lea (Macfarren), 1863
Issipile (F. Conti), 1732 Jeane Femme Colere (Boieldieu), 1805
Istvan Kiraly (Erkel), 1885 Jeune Fille ala Fenetre (Samuel-Holeman), 1914
Italiana in Algeri (Rossini), 1813 Jeune Henry (Mehul), 1797
Italiana in Londra (Cimarosa), 1778 Jeune Prude (Dalayrac), 1804
Ivan le Terrible (Gunsbourg), 1910 Jeune Sage et le vieux Fou (Mehul), 1793
[van the Terrible (Rimsky-Korsakov), see Pskovi- Joanna (Mehul), 1802
tyanka Jocelyn (Godard), 1888
Ivan Susanin (Cavos), 1815 Joeonde (Isouard), 1814
Ivanhoe (Rossini), 1826 Johanna d'Arc (Hoven), 1840
Ivanhoe (Sullivan), 1891 Joli Gilles (Poise), 1884
Izaht (Villa-Lobos), 1940 Jolie Fille de Perth (Bizet), 1867
Izeyl (d'Albert), 1909 Jolie Parfumeuse (Offenbach), 1873
Jone (Petrella), 1858
Jabuka (]. Strauss), 1894 Jongleur de Notre-Dame (Massenet), 1902
Jack and the Beanstalk (Gruenberg), 1931 Jonny spielt auf (Kl'enek), 1927
Jacquerie (Marinuzzi), 1918 Joseph (Mehul), 1807
Jadwiga (Kurpmski), 1814 joseph, see also Put!(ar
Jagd (]. A. Hiller), 1770 Jota (Laparra), 19II
Jaguarita l'Indienne (Halevy), 1855 Joueur (Prokofiev), 1929
Jakobin (Dvorak), 1889 Joueur de Viole (Laparra), 1925
Jaloux eorrige (Blavet), 1752 Jour aParis (Isouard), 1808
Jane (Marsick), 1921 Joumee aux Aventurcs (Mehul), 1816
Janek (Zelenski), 1900 Juana (Ettinger), 1925
Janie Jaques-Daleroze), 1894 Judith (Serov), 1863
Jardineros de Aranjuez (Esteve), 1768 Judith (Doppler), 1870
Jardinier et son Seigneur (Philidor), 1761 Judith (Honegger), 1926
Jason (Kusser), 1692 Judith (Goossens), 1929
jason, see also Giasone, Medea, Toisoll d'Or Judith (N. Berg), 1936
Jean de Nivelle (Delibes), 1880 Judith, see also Giuditta, Holl?(erncs
Jean de Paris (Boieldieu), 1812 Jugar con Fuego (F. A. Barbieri), 1851
Jean Michel (~upuis), 1903 Jugcment de Midas (Grctry), 1778
Jeanie Deans (MaeCunn), 1894 Juha (Madetoja), 1935
Jeanne d' Are (R. Kreutzer), 1790 Juif Polonais (c. Erlanger), 1900
Jeanne d' Are (Mermet), 1876 Juive (Halcvy), 1835
Jeanne d'Are (Honegger), 1938 Julia (Kusser), 1690
jeanne d'Arc, see also Giol'allna d'Arco, Johamla Julie (Dczede), 1772
d'Arc, Orleal1skaya DyelJa Julie (Spontini), 1805
Jeanne, Jcannette et Jeanneton (Laeome), 1876 Julien (G. Charpenticr), 1913
Jeannot et Colin (Isouard), 1814 Jumeaux de Bergam<: (Jaques-Dalcroze), 1908
Jehan de Saintre (F. d'Erlanger), 1893 Jungfruburen (Sibelius), r896
Jeji Pastorkyna (Janacek), 1904 J unggesellen- Wirtschaft (Gyrowetz), 1807
jenufa (jallalek), see Jeji Pastorkflla Junker Heinz (perfall), 1886

1475 1476
Junkeren INDEX OF OPERAS La Reole
Junkeren og Flubergvaesen (Udbye), 1870 König Alfred (Raff), 1851
Juramento (Gaztambide), 1858 König Magnus (Nodermann), 1898
JürgJenatsch (Kaminski), 1929 König Manfred (Reinecke), 1867
Königin der schwarzen Inseln (Eberl), 1801
Kaatje (Ruffm), 1913 Königin von Saba (q,oldmark), 1875
Kaddara (Börresen), 1921 Königskinder (Humperdinck), 1910
Kaerlighed paa Landet (Kunzen), 1810 Königssohn aus Ithaka (Hoffmeister), 1795
Kain (d'Albert), 1900 Konrad Wallenrod (Zelenski), 1885
Kain und Abel (Weingartner), 1914 Konung Gustaf Adolph (Stenborg), 1777
Kaiser Adolph von Nassau (Marse1mer), 1845 Kordeliya (Solovyev), 1885
Kaiser Hadrian (Weigl), 1807 Kosakkerne (Elling), 1896
Kaisers Dichter (Franckenstein), 1920 Kostana (Konjovic), 193 I
Kaiserstochter (Haan), 1885 Koulouf (Dalayrac), 1806
Kamyeny Gost (Dargomuizhsky), 1872 Krakowiaki i Gorale (Stefani), see Cud
Karenina Anna (Hubay), 1923 Kral a Uhlif (DvoHk), 1874
Karl V (Kfenek), 1938 Kreidekreis (Zemlinsky), 1933
Karlstejn (Novak), 1916 Kreuzfahrer (Spohr), 1845
Karneval in Rom (]o Strauss), 1873 Kriegsgefangene (Goldmark), 1899
Karpatskaya Roza (Saloman), 1868 Kroatka (Dyutsh), 1860
Kashchey (Rimsky-Korsakov), 1902 Kml Lokietek (Eslner), 1818
Kassya (Delibes), 1893 Krol Roger (Szymanowski), 1926
Kata Kabanova (]anacek), 1921 Kronbraut (Rangström), 1919
Katakomben (F. Hiller), 1862 Ksenia (Savin), 1919
Katharina (TineI), 1909 Kudeyar (OIenin). 1915
Käthchen von Heilbronn (Lux), 1846 Kuhreigen (Kienzl), 191 I
Käthchen von Heilbronn (Reinthaler), 1881 Kukuska (Lehar), 1896
Kaufmann von Smyrna (Holly), 1773 Kullervo (Launis), 1917
Kavkasky Plennik (Kyui), 1883 Kunalovy Ob (OstreiI), 1908
Kejserens nye Klaeder (H0ffding), 1928 Kung CarlsJakt (Pacius), 1852
KekszakallU Herceg Vara (Bart6k), 1918 Kunihild (Kistler), 1884
Kenilworth (Bo 00 Klein), 1895 Kt'mok (Csaszar), 1848
Kenilworth, see also Leicester Kupyets Kalashnikov (Rubinstein), 1880
1Zcofar (Villanueva), 1893 Kykunkor, the Witch (Horton), 1934
Kcolanthe (Balfe), 1841
Khovanshchina (Musorgsky), 1886 Labilia (Spinelli), 1890
Kinafarerne (Schall), 1792 Labirini (Winter), 1798
Kinder der Heide (Rubinstein), 1861 Labradoras de Murcia (Rodriguez de Hita): 1769
Kinder der Natur (Aspelmayr), 1778 Lac des Fees (Auber), 1839 -
King Arthur (Purcell), 1691 Lady of Longford (L. Eo Bach), 1894
King Charles II (Macfarren), 1849 Lady Macbeth Mtsenskago Uyezda (Shosta-
KiI(~ Le(/r, see Re Lear kovich), 1934
King's Henchman (Taylor), 1927 Laecherliche Printz Jodelet (Keiser), 1726
Kirke (Bungert), 1898 Lagrime di una Vedova (Generali), 1808
Kirmes (Taubere), 1832 Lakme (Delibes), 1883
Kitezh (Rimsky-Korsakov), 1907 LaIla-Roukh (Fo David), 1862
Kjartan lmd Gudrun (Klenau), 1918 Lamia (Enna), 1899
Kleider machen Leute (Zemlinsky), 1910 Lanassa (Tuczek), 1805
Knickerbocker HoJiday (Weill), 1938 Landfriede (Brüll), 1877
Knyaz Igor (Borodin), 1890 Landgraf Ludwigs Brautfahrt (Lassen), 1857
Koanga (Delius), 1904 Lanterna di Diogene (Draghi), 1674
Kobold (So Wagner), 1904 Lanze/ot und Elaine (Courvoisier), 1917
Komcdianter (Enna), 1920 Lara (Ruolz), 1835
Komödie des Todes (Go Fo Malipiero), 1931 Lara (Maillart), 1864
Kongclige Gast (Börresen), 1919 La Reole (Go Schmidt), 1863

1477 147 8
Lauriane INDEX OF OPERAS Lucio Papirio

Lauriane (Machado), 1883 Liebhaber als Artz (Wolf-Ferrari), 1913

Lavarandine (Zanetti), 1772 Liebhaber als Automat (Andre), 1782
Lazarilla (Bay), 1853 Lied van Heer Halewijn (Dupuis), 1914
Leben des Orest (Kfenek), 1930 Liederik (Mertens), 1875
Legataire universel (Pfeiffer), 1901 Lire Jor the Czar (Glitlka), see Zhiztl ::a Tsarya
Legend (BreiI), 1919 Lili-Tsee (Curti), 1896
Legende de St. Christophe (d'lndy), 1920 Lily Maid (Boughton), 1934
Legende du Pont d' Argentan (Fourdrain), 1907 Lily of Killamey (Benedict), 1862
Legende vom vertauschten Sohn (G. F. Mali- Linda di Chamounix (Donizetti), 1842
piero), 1934 Lindor und lsmene (Schmittbauer), 1777
Legende von der heiligen Elisabeth (Liszt), 1881 Liol!! (Mule), 1935
Leggenda delle sette Torri (Gasco), 1913 Lione! and Clarissa (Dibdin), 1768
Leggenda di Sakuntala (Alfano), 1921 Lisbeth (Gretry), 1797
Lehcman (Dalayrac), 1801 Lischen et Fritzchen (Offenbach), 1863
Leicester (Auber), 1823 Lisimaco (Pagliardi), 1673
Leiden Ontzet (Van der Linden), 1~93 Lisky prIhodi Bystrousky (Janacek), 1924
Leila (Pierson), 1848 Lisuart und Dariolettc (Hiller), 1766
Leila (Bendl), 1868 Lituani (Ponchielli), 1874
Leila (N. Berg), 1912 Livia Quintilla (Noskowski), 1898
Leocadie (Auber), 1824 Livietta e Tracollo, see COtltadilla astuta
Leon (Dalayrac), 179H Ljubav i Zloba (Lisinski), 1846
Leotlardo da Vitlci, see Medu::::a Lobetanz (Thuille), 1898
Leonce und Lena (Weismann), 1925 Locanda (Gazzaniga), 1771
Leonida in Tega (Draghi), 1670 Locanda (Paisiello), 1791
Leonora (Paer), 1804 Locandiera (Salieri), 1773
Leonora (Ml'rcadante), 1844 Lodoiska (Mayr), 1796
Lconora (Fry), 1845 Lodolska (Cherubini), 1791
Leonora Christina (5. Salomon), 192(} Lodoiska (R. Kreutzer), 1791
Leonore (Gaveaux), 1798 Lodoletta (Mascagni), 1917
Leonore (Hüttenbrenner), 1835 Lodsen (Paulli), 185 I
Leper's Flute (Bryson), 1926 Lohengrin (R. Wagner), 1850
Upreuse (Lazzari), 1912 Lombardi (Verdi), 1843
Lesnl Vzduch (Ndvera), 1897 Lord of the Manor (Jackson), nHo
Lesnoy Tsar (Suk), 1900 Lord Spleen (Lothar), 1930
Lestocq (Auber), 1834 Lorelei (Pacius), 1887
Lettre de Change (Bochsa), I S1 5 Loreley (Bruch), 1863
Letzte Zauberer (Viardot), 1869 Loreley (Catalani), see Elda
Leucippo (Hasse), 1747 Loreley (Mendelssohn), see !-oreley (Bmch)
Lhidiac (Azzali), 1893 Loreley, see also LI/rUne
Li Tai Po, scc·Kaisers Dichter Lorenza (Mascheroni), 1901
Liberazione di Ruggiero (F. Caccini). r(}25 Lorenzaccio (Moret), 1920
Liberta contenta (Steffani), 1693 Lorenzino de' Medici (Pacini), 1845
Libusc (Smetana), 1881 Loretta (Lavenu), 1846
Libusin Snatek (Skroup), 1850 Lotario (Handel), 1729
Libussa (K: Kreutzcr), 1822 Lottchen am Hofe (J. A. Hiller), 1767
Lichtenstein (Lindpaintncr), 1846 Louise (F. L. Benda), 1791
Lide z Pokerflatu (Weinberger), 1932 Louise (G. Charpentier), 1900
Liden Kirsten (J. P. E. Hartmann), 1 R4() Love in a Village (T. A. Ame), 1762
Lieb' und Treue (Reichardt), 1800 Loves of Ergasto (Greber), 1705
Liebe auf dem Lande (Hiller), 1768 Lucema (Novak), 1923
Liebe im Narrenhaus (Dittersdorf), 17X7 Lucia di Lammermoor (Donizetti), 1835
Liebelei (Neumann), 1910 Lucia di Lammermoor, see also Bruden fraLammcrmoor
Liebesverbot (R. Wagner), 1836 Lucile (Gretry), 1769
Liebeswogen (Gerlach), 1903 Lucio Papirio (Caldara), 1719
1479 1480
Lueio Papirio INDEX OF OPERAS Marcscialla d'Ancre
Lucio Papirio (Hasse), 1742 Mage (Massenet), 1891
Lucio Silla (Mozart), 1772 Magic Opal (Albcniz), 1893
Lucio Silla (J. C. Bach), 1774 Magicien sans Magie (Isouard), 181'
Lucio Vero (Fasch), 17Il Magicienne (Halevy), 1858
Lucio Vcro (Torri), 1720 Magnifique (Grctry), 1773
Lucio Vero (Sacchini), 1764 Maguelone (Missa), 1903
Lucrezia (Respighi), 1937 Magyares (Gaztambide), 1857
Lucrezia, see also Romanische Lticretia Maia (Leoncavallo), 1910
Lucrezia Borgia (Donizetti), 1833 Maid Marian (Bishop), 1822
Ludlams Hule (Weyse), 1816 Maid of Artois (Balfe), 1836
Ludovic (Herold), 1833 Maid ofHonour (Balfe), 1847
Ludovicus Pius (Schürmann), 1726 Maid of the Mill (Arnold), 1765
Luigi Rolla e Michelangelo (F. Ricci), ,H4' Maiskaya Noch (Rimsky-Korsakov). lK~o
Luisa Miller (Verdi), 1849 Maison a vendre (Dalayrac), 1800
Lully et Quinault (Isouard), I X1.! Maison isolee (Dalayrac), 1797
Lulu (Kuhlau), 1824 Maitena (Colin), 1909
Lulu (A. Berg), 1937 Maltre Chante ur (Linmander), I~S3
Lunnaya Noch (Alyabycv), I H22 . Mattre de Chapelle (Paer), 1821
Lurline (Wallace), 1860 Mattre Martin (Blockx), 1892
Lustige Krieg (J. Strauss), I11S, Maitre Pathelin (Bazin), 1856
Lustige Schuster (Standfllss), T75<) Mahre Wolfram (Reyer), 1854
Lustige Witwe (Lehar), T90S Maja und Alpino (Wolfram), 1826
Lustigen Musikanten (Hoffmann), I SOS Major Palmer (Bruni) , 1797
Lustigcn Weiber von Windsor (Nicobi), I H4'J Mala Pasqua ! (Gastaldon), 1890
Lllthicr dc Vicnne (Monpou), 1H36 Mala Vita (Giordano), 1892
Malek Adel (Costa), 1837
M. Attilio Regulo (A. Scarlatti), 171<) Malheurs d'Orphee (Milhaud). /926
M. dcs Chalumeaux (Cavcaux), T8M Malifsky Napad (Zich), 1910
Ma Tantc Aurore (Boic1dieu), rS03 Malmocor (Buini), 1728
Ma Tante dort (Caspers), ,S(,o Man without a Country (Damrosch), 1937
Macbeth (Chclard), I Xl7 Mandragola (Waghalter), 1914
Macbeth (Verdi), I H47 Mandragola (Castelnuovo-Tedesco), '926
Macbeth (Taubert), 1857 Maniac (Bishop), 1810
Macbeth (Bloch), /<)10 Manon (Massenct), 1884
Macbeth (Collingwood). /934 ."vIanoll, sec also Porlrait de iV!atlOll
Macbelh, see also Biom Manon Lescaut (Auber), 1856
Maccabäer (Rllbinstein), I X7S Manon Lescaut (Puccini), 1893
Macigno (Sabata), 19/7 Manru (Paderewski), 1901
Ma<;:on (Auber), T 825 Manue! Menendez (Filiasi), 1904
Madama Butterfly (Puccini), 1<)04 Maometto II (Winter), 1817
Madama Ciana (Latilla), 1738 Maometto II (Rossini), 1820
Madame Chrysantheme (Messager), I ~'J) Mara (Netzer), 1842
Madame Favart (Offcnbach), 1878 Mara (F. Hummel), 1893
Madamc I'Archiduc (Offenbach), IS74 Marcelin (Lebrun), 1800
Madame Roland (Fourdrain), 1913 Marcella (Giordano), 1907
Madame SallS-Gene (Giordano), 19/5 Marchand de Vcnise (Hahn), 1935
Mädchenherz (Buongiorno), 1901 ,"vIarchese Tulipallo (Paisiello), sec Fime CO/lleSse
Mademoiselle de Bellc-Isle (Samara), '90S Marchese Villano (Galuppi), 1762
Madcmoiselle Fifi (Kyui), 1903 Marco Attilio Regulo, sec M. Attilio Reg14l"
Madonna Imperia (Alfano), 1927 Marco Aurelio (Steffani), 1681
Madrisa (Haug), 1934 Marco Spada (Auber), 1852
Maestra (Cocchi), 1747 Marco Visconti (PetreIla), 1854
Maestro di Capella (Deller), 177' Man:chal ferrant (Philidor), 1761
Maga fulminata (Manelli), 163H Marescialla d'Ancre (Nini), 1839
14~2
Margarita la Tomera INDEX OF OPERAS Melnik

Margarita la Tomera (Chapi), 1909 Maskarade (C. A. Nie!sen), 1906

Margherita (Brüggemaim), 1910 Masnadieri (V'erdi), 1847
Margherita d' Anjou (Meyerbeer), 1820 Masques et Bergamasques (Faure), 1919
Margherita d'Orleans (Restano), 1897 Massimillo Doni (Schoeck), 1937
Margot (Turina), 1914 Massimo Puppieno (C. Pallavicino), 1684
Mari de Circonstances (Plantade), 1813 Mataswintha (Scharwenka), 1896
Mada de! Carmen (Granados), 1898 Mate!da (Abbate), 1902
Maria di Rohan (Donizetti), 1843 Mathilde von Guise (]. N. Hummel), 1810
Maria di Rudenz (Donizetti), 1838 Mathis der Maler (Hindemith), 1938
Maria Dulcis (Bustini), 1902 Matilda ofHungary (Wallace), 1847
Maria Egiziaca (Respighi), 1932 Matilde di Shabran (Rossini), 1821
Maria Malibran (Bennett), 1935 Matrimoni in Maschera (Rutini), 1763
Maria Padilla (Donizetti), 1841 Matrimonio per Concorso (]ommelli), 1766
Maria Tudor (Kashperov), 1859 Matrimonio segreto (Cimarosa), 1792
Mariage aux Lantemes (Offenbach), 1857 Miti MUa (Bendl), 1895
Mariage de Telemaque (Terrasse), 1910 Matrero (Boero), 1929
Mariage extravagant (Gautier), 1857 Matrosen (Flotow), 1845
Mariages Samnites (Gretry), 1776 Matti per Amore (Cocchi), 1754
Mariane!a (Pahissa), 1923 Mauritio (Gabrieli), 1686
Marianne (Dalayrac), 1796 Mavra (Stravinsky), 1922
Marie (Herold), 1826 Maximilien (Milhaud), 1932
Marie-Magdeleine (Massenet), 1903 Mazeppa (Chaikovsky), 1884
Marie Stuart (Niedermeyer), 1844 Mazeppa (Minhejmer), 1900
Marie von Montalban (Winter), 1800 Measure for Measure, see Liebesverbot
Marina (Arrietal, 1871 Medea (G. Benda), 1775
Marino Faliero (Donizetti), 1835 Medea (Pacini), 1843
Mario Wetter (Machado), 1898 Medea, see also Jason
Marioara (Kosmovici and Schmeidler), 1904 Medea in Atene (Gianettini), 1675
Marion De!orme (Ponchielli), 1885 Medea in Corinto (Mayr), 1813
Mariotta (Gade), 1850 Medecin malgre lui (Gounod), 1858
Maris Gar.yons (Berton), 1806 Medecin Turc (Isouard), 1803
Marisagnet (Haarklou), 1910 Medee (M. A. Charpentier), 1693
Maritana (Wallace), 1845 Medee (Cherubini), 1797
Marito e l' Amante (F. Ricci), 1852 Medee (Milhaud), 1939
Marito Giogatore (Orlandini), 1718 Mcdee etJason (Salomon), 1713
Markheim (Miles), 1924 Medici (Leoncavallo). 1893
Marouf (Rabaud), 1914 Medio Evo Latino (PaniZZ,l), 1900
Marqueza (Mir6), 1848 Medonte, Re di Epiro (Sarti), 1777
Marquise de Brinvilliers (Auber, etc.), 1831 Medoro (Gagliano), 1619
Martha (Flotow), 1847 Medoro (Luzzo), 1658
Martire (Samara), 1894 Meduza (R6zycki), 1912
Martyrs (Donizetti), 1840 Meergeuse (Skroup), 1851
Maruxa (Vives), 1914 Mefistofe!e (Boito), 1868
Maruzza (Floridia), 1894 Megae (Wieniawski), 1912
Marya (Melcer), 1904 Megere apprivoisee (Silver), 1922
Marya (Statkowski), 1906 Meister Andrea (Weingartner), 1920
Mas (Canteloube), 1929 Meister Guido (Noetzel), 1918
Masagniello (Keiser), 1706 Meister Martin (Weissheimer), 1879
Masaniello (Carafa), 1827 Meister Martin (Lacombe); 11197
Masaniello, see also Muette de Portici Meistersinger (R. Wagner), 1868
Maschera (Kastner), 1841 Meleagro (M. A. Ziani), 1706
Maschere (Mascagni), 1901 Melenis (Zandonai). 1912
Maschinist Hopkins (Brand), 1929 Melnik, Kold:lIl, Obmanshchik i Svat (Fomin),
Mascotte (Audran), 1880 1779

1483
Melomanie INDEX OF OPERAS Much Ado
Melomanie (Champein), 1781 Misteri Eleusini (Mayr), 1802
Melusina (K. Kreutzer), 1833 Mitridate Eupatore (A. Scarlatti), 1707
Melusine (Grammann), 1875 Mitridate in Sebastia (Aldrovandini), 1701
Melusine, see also Raimondin Mitridate, Re di Ponto (Mozart), 1770
Mcnandra (Kaun), 1925 Mitternachtsstunde (Danzi), 1788
Mendi-Mendyian (Usandizaga), 1910 Mlada (Rimsky-Korsakov), 1892
Mensajera (Gaztambide), 1849 Modista Raggiratrice (Paisiello), 1787
Mcprises par Ressemblance (Gretry), 1786 Moglie capricciosa (Gazzaniga), 1785
Mercante di Venezia (Pinsuti), 1873 Moharozsa (Hubay), 1903
Mercato di Malmantile (Fischietti), 1757 Mohcga (Sobolewski), 1859
Mercato di Monfregoso (Zingarelli), 1792 Moina (Lara), 1897
Merchant ofVeniee, see Jessiea, Marchand de Venise, Moissonneurs (Duni), 1768
Mereante di Venezia, Shyloek MolilJOra (Paisie/lo), see Amor contrastato
Meride e Selinuntc (Porsile), 1721 Moloch (Schillings), 1906
Merlin (Goldmark), 1886 Mona (Parker), 1912
Merlin (Rüfer), 1887 Mona Lisa (Schillings), 1915
Merlin, see also Isle de Merlin Monacella della Fontana (Mule), 1923
Merope (Torri), 1719 Monaco nero (Cassado), 1920
Meropc (Broschi), 1732 Monbar (Dobrzynski), 1863
Merope (Jommelli), 1741 Mondo alla Roversa (Galuppi), 1750
Merope (Terradellas), 1743 Mondo della Luna (Galuppi), 1750
Merope (Graun), 1756 Mondo della Luna (Haydn), 1777
Merope (Nasolini), 1796 Monna Vanna (Abranyi), 1907
Merrie England (German), 1902 Monna Vanna (Fevrier), 1909
Merry Mount (Hanson), 1934 Monsieur Beaucaire (Messager), 1919
Merry Wives of Windsor, see Falstaff Monsieur de la Palisse (Terrasse), 1904
Mesdames de Ja Halle (Offenbach), 1858 Monsieur et Madame Denis (Offenbach), 1862
Mese Mariano (Giordano), 1910 Montagne no ire (Holmes), 1895
Messalina (Lara), 1899 Montano et Stephanie (Berton), 1799
Messidor (Bruneau), 1897 Monte Ivnor (Rocca), 1939
Meunier d'Alcala (Clerice), 1887 Montenegrins (Lirnnander), 1849
Miarka (Georges), 1905 Montezuma (Graun), 1755
Michel-Ange (Isouard), 1802. MOllfezuma, see also Motezllma
Miehelangelo, see also Luigi Rolla Morana (Gotovac), 1930
Midas, 1762 Mörder, HofiD.ung der Frauen (Hindemith), 192I
Midas, see also Jugement de Midas Mori di Valenza (Ponchielli), 1914
Midsummer Night's Dream, see Fairies, Fairy Queen, Mort d' Adam (Lesueur), 1809
Songe d'une Nuit d'Ete Morte di Cleopatra (Nasolini), 1791
Mignon (A. Thomas), 1866 Morte di Frine (Rocca), 1937
Mikado (Sullivan), 1885 Morte di Sernirarnide (Borghi), 1791
Milicien (Duni), 1762 Morte d'Orfeo (Landi), 1619
Milton (Spontini), 1804 Mose in Egitto (Rossini), 1818
Min Bedstemoder (Kunzen), 1800 Mosquita Ja Sorciere (Boisselot), 1851
Mina (A. Thomas), 1843 Mosul Ciokarlan (Flondor), 1901
Mira (Overhoff), 1925 Mot Nordpolen (Halvorsen), 19II
Miracle (Hüe), 1910 Motezuma (Mysliveczek), 1771
Miracolo (Laccetti), 1915 Motezuma (Zingarelli), 1781
Mireille (Gounod), 1864 Mountain Sylph (Barnett), 1834
Mirentxu (Guridi), 1910 Mousquetaires au Couvent (Varney), 1880
Miriways (Telemann), 1728 Mousquetaires de la Reine (Halevy), 1846
Mirra (Alaleona), 1920 Mozart i Salieri (Rimsky-Korsakov), 1898
Mischelli und sein Sohn (Clasing), 1806 Mr. Pepys (Shaw), 1926
Miss Helyett (Audran), 1890 Much Ado about Nothing (Stanford), 1901
Mister Wu (d'Albert), 1932 Milch Ado about Nothing, see also Beatriee et BenMict

2B 1486
Mudarra INDEX OF OPERAS Notre Dame
Mudarra (B. A. Weber), 1800 Nephtali (Blangini), 1806
Mudarra (Leborne), 1899 Nephte (Lemoyne), 1789
Muette de Portici (Auber), 1828 Nepfemozeni (J. B. Foerstcr), 1918
Muguette (Missa), 1903 Nero (Meder), 1695
Muletier (Herold), 1823 Nero (Rubinstein), 1879
Musikant (Bittner), 1910 Nero, see also Acte, Octavia
Muta per Amore (Lavigna), 1803 Nerone (Orlandini), 1721
Mutio Scevola (Cavalli), 1665 Nerone (Duni), 1735
Mutter (Haba), 1931 Nerone (Boito), 1924
Muzio Scevola (Amadei, G. Bononcini, and Nerone (Mascagni), 1935
Handel), 1721 . Nerto (Widor), 1924
Myrdhin (Bourgault-Ducoudray), 1912 Neue krumme Teufel (Haydn), 1752
Mysterium Venedigs (G. F. Malipiero), 1932 Neue Paris (Maurer), 1826
Neues vom Tage (Hindemith), 1929
Na starem Bclidle (Kovarovic), 1901 Neugierigen Frauen (Wolf-Ferrari), 1903
Nabucodonosor (Verdi), 1842 Neu-modische Liebhaber Damon (Tdemann),
Nachalnoye Upravlenie Olega (Pashkecvich, 1724
Sarti, and Canobbio), 1790 Neusonntagskind (W. Müller), 1793
Nacht in Venedig (J. Strauss), 1883 Nevcsta Messinska (Fibich), 1884
Nacht zu Paluzzi (Pentenrieder), 1840 Ncvtclen Hösök (Erkcl), IRRo
Nachtigall und Rabe (Weigl), 181R Nibclungl'll (Dorn), 1854
Nachtlager von Granada (K. Kreutzcr), 1 g34 Nicandro e Fileno (Lorenzani), 16XI
Nadeshda (A. G. Thomas), 1885 Niccolo dei Lapi (Pacini), 1873
Nadeya (c. Rossi), 1903 Nicodcme dans la Lune (Belfro)" de Reigny),
Naida (Flotow), 1865 1790
Nall (Lara), 1912 N ight Dancers (Loder), 1 X46
Nai'la (Gaubert), 1927 Nikola Subic Zrinski (Zajc), 1876
Nai's Micoulin (Bruneall), 1907 Nina (Dalayrac), 1786
Naissance de la Lyre (Rousscl), 1925 Nina (Paisiello), 17 g9
Namluvy Pclopovy (Fibich), 1890 Nilla, see also Pazza per Amare
Nanon (Genee), 1877 Ninettc a la Cour (Duni), sec Caprice 1lI110Urcu.,·
Napasta (Dragoi), 1928 Ninon (Sztojanovits), 189R
Napoli di Carnovale (Giosa), 1876 Nitteti (Conforto), 1756
Narciso (Pistocchi), 1697 Nitteti (Holzbauer), 1758
Natasha (Vilboa), 1861 Nittetis (Poissi), 1817
Natoma (Herbert), 19II Niugg spar och Fan tar (Zander), 1784
Nattergallen (Enna), 19I2 Nizhegorodcy (Napravnik), 1869
Nausicaa (Hahn), 1919 No Song, no Supper (Storace), 1790
Nausikaa (Bungert), 1901 Noah (Halevy), 1885
Navarraise (Massenet), 1894 Noc Simona a Judy (Kovafovic), 1892
Nave (Vanbianchi), 1899 Noces de Jeannette (Masse), 1853
Nave (Montemezzi), 1918 Noces d'Olivette (Audran), 1879
Nazareth (Vittadini), 1925 Noch pered Rozhdestvom (Rimsky-Korsakov),
Nazdah (Pairna), 1924 18 95
Ne touchez pas a la Reine (Boissclot), 1847 NoCl (F. d'Erianger), 1910
Neaga (Hallström), 1885 Noite d~ Castello (Gomez), 1861
Nebucadnezar (Keiser), 1704 Non irritare le Donne (Portugal), 17911
Nebuchadnezzar, see also Nabucodonosor NOlme sanglante (Gounod), 1854
Necken (Boom), 1844 Nordisa (Corder), 1887
Nedza uszczesliwiona (Kamiellski), 1778 Norma (llellini), 183 I
Negligente (Ciampi), 1749 Normanni a Parigi (MercadaIlte), 1832
Neige (Auber), 1823 Norwegische Hochzeit (Schjelderup), 1<)00
Nemici generosi (Cimarosa), 1795 Notre Dame (Fry), 1864
Nemo (Zichy), 1905 Notre Dame (F. Schmidt), 1914

1488
Notre-Dame INDEX OF OPERAS Orpheus
Notre-Dame, see also Esmeralda Olimpiade (Jommelli), 1761
Notte critica (Gassmann), 1768 Olimpiade (Sacchini), 1763
Notte di Leggenda (Franchetti), 1915 Olimpiade (Mysliveczek), 1778
Notte di Zoraima (Montemezzi), 193 I Olimpiade (Cimarosa), 1784
Nourjahad (Loder), 1834 Olimpiade, see also Wettkampf zu Olympia
Nouveau Seigneur de Village (Boieldieu), 1813 Olimpie (Spontini), 1819
Nouveau Don Quichotte (Champein), 1789 Olivier le Simple (Vreuls), 1922
Novogorodskoy Bogatir Boyeslavich (Fomin), Olivo e Pasquale (Donizetti), 1827
1786 01-01 (Cherepnin), 1928
Nozze (Galuppi), 1755 Oltenca (Caudella and Otremba), 1880
Nozze d'Ercole e d'Ebe (Gluck), 1747 Ombra di Don Giovanni (Alfano), 1914
Nozze d'Ercole, e d'Ebe (Lima), 1785 Ombre (Flotow), 1870
Nozze di Figaro (Mozart), 1786 Omphale (Destouches), 1700
Nozze di Peleo e di Theti (Caproli), 1654 On ne badine pas avec I' Amour (Pierne), 1910
Nozze di Teti e di Peleo (CavalIi), 1639 On ne s'avise jamais de tout (Monsigny), 1761
Nozze lstriane (Smareglia), 1895 Onele Valet (Maria), 1798
Nuit de Cleopatre (Masse), 1885 Ondes första Lärospan (Söderman), 1856
Numance (Eeden), 1898 Onkel Dazumal (Jaques-Dalcroze), 1905
Numitore (Porta), 1720 Op Hoop van Zegen (Grelinger), 1907
Nuovo Figaro (L. Ricci), 1832 Opera aux Fenetres (Gastinel), 1857
Nurmahal (Spontini), 1822 Opera-comique (Maria), 1798
Nusch-Nuschi (Hindemith), 1921 Opernball (Heuberger), 1898
OpemprolJc (Lortzil1g), see Vomehmm Dilcttanterl
Oberon (Wranitzky), 1789 Oprichnik (Chaikovsky), 1874
Oberon (c. M. von Weber), 1826 Oracolo (Leoni), 1905
Oberst Chabert (Waltershausen), 1912 Orazi ed i Curiazi (Cimarosa), 1796
Oberto, Conte di S. Bonifacio (Verdi), 1839 Orazi ed i Curiazi (Mercadante), 1846
Oca de! Cairo (Mozart), see Oie du Caire Orazio (Auletta), 1737
Occasione fa il Ladro (Rossini), 1812 Orestes (Wcingartner), 1902
Ochsenmenuette (Haydn), 1823 Orestes, see also Lebel1 des Oresf
Octavia (Keiser), 1705 Oresteya (Tancev), 1895
Odja (Dibbern), 1901 Orfeide (G. F. Malipiero), 1925
Odysseus, see Ulysses Orfeo (Luigi Rossi), 1647
Odysseus' Heimkehr (Bungert), 1896 Orfeo (Sartorio), 1672'
Odysseus' Tod (Bungert), 1903 Orfeo, ed Euridice (Gluck), 1762
<Edipe (Enesco), 1936 Orfeo, ed Euridice (Bertoni), 1776
<Edipe a Colone (Sacchini), 1786 Orione (CavaUi), 1653
Oedipus, see also Edipo Re Orione (J. C. Bach), 1763
Oedipus Rex (Stravinsky), 1927 Oristeo (CavalIi), 1651
(Eil creve (Hervc), 1867 Orlando (Handel), 1733
Oie du Caire (Mozart), 1867 Orlando gcneroso (Steffani), 1691
Oiseau bleu (A. Wolff). 1919 Orlando Paladino (Haydn), 1782
Olav Trygvason (G!ieg), 1908 Orleanskaya Dyeva (Chaikovsky), 1881
Oldfich a Bozena (Skroup), 182H Oro non compra Amore (Portugal), 1804-
Olimpia (c. Conti), 1826 Oronte (Kerll), 1657
Olimpia vendicata (Freschi), 1681 Orontea (Cesti), 1649
Olimpia vendicata (A. Scarlatti), 1685 Orontea (Cirillo), 1654
Olimpiade (Vivaldi), 1734 Orontee (Lorenzani), 1688
Olimpiade (Pergolesi), 1735 Orphce aux Enfers (Offenbach), 1858
Olimpiade (Leo), 1737 Orpheus (Keiser), 1698
Olimpiade (Fiorillo), 1745 Orpheus, see also Euridice, Fal'ola d'Orfeo, Malheurs
Olimpiade (Galuppi), 1747 d'OrphCe, Morte d'Orfeo, Orfeo, Piallto d'Orfeo
Olimpiade (Hasse), 1756 Orpheus aus Thracicn (J. J. Loewe), 1659
Olimpiade (Traetta), 1758 Orpheus og Euridice (Naumann), 1786

14 89 149°
Orpheus INDEX OF OPERAS Persee
Orpheus und Eurydike (Kfenek), 1926 Pastor fido (Handel), 1712
Orseolo (Pizzetti), 1935 Pastor regie (B. Ferrari), 1640
Orsola (Hillemacher), 1902 Pastorale (Cambert), 1659
Ossian (Lesueur), 1804 Pastorella feudataria (Vaccai), 1824
Ostrolenka (Bonawitz), 1874 Pastorella nobile (P. Guglielmi), 1788
Otello (Rossini), 1816 Patience (Sullivan), 1881
Otello (Verdi), 1887 Patienza di Socrate (Draghi), 1680
Otho Visconti (Gleason), 1907 Patrie (Paladilhe), 1886
Ottone (Pollarolo), 1694 Patro Calienno de la Costa (A. Orefice), 1709
Ottone (Handel), 1723 Paul et Virginie (R. Kreutzer), 1791
Oudelette (Radoux), 1912 Paul et Virginie (Masse), 1876
Ouragan (Bruneau), 1901 Paul et Virginie, see also Paolo e Virginia
Pauline (Cowen), 1876
Pad Arkuna (Fibich), 1900 Pauvre Matelot (Milhaud), 1927
Padilla (Espin y Guillen), 1845 Pays (Ropartz), 1912
Padlock (Dibdin), 1768 Pazienza di Socrate (Caldara and Reutter), 1731
Padmavati (Roussel), 1923 Pazienza di Socrate (d' Almeida), 1733
Pagliacci (LeoncavalIo), 1892 Pazza per Amore (Coppola), 1835
Palazzo d' Atlante (Luigi Rossi), 1642 Pazzie degli Amanti (Pollarolo), 1701
Palestrina (Pfitzner), 1917 Peau de Chagrin (Levade), 1929
Palla de' Mozzi (Marinuzzi), 1932 Peche urs (Gossec), 1766
Palmer und Amalia (Cannabich), 1803 Pecheurs de Catane (MailIart), 1860
Palmira, Regina di Persia (Salieri), 1795 Pecheurs de Perles (Bizet), 1863
Pamela nubile (Generali), 1804 Pecheurs de Saint-Jean (Widor), 1905
Pampa (Berutti), 1897 Pedro de Zalamea (Godard), 1884
Pan Tvardovsky (Verstovsky), 1828 Peines et les Plaisirs de I'Amour (Cambert), 1672
Pan Voyevoda (Rimsky-Korsakov), 1904 Peintre amoureux de son Modele (Duni), 1757
Pan y Toros (F. A. Barbieri), 1864 PeIIeas et Melisande (Debussy), 1907.
Panie Kochanku (Soltys), 1924 Pelope (Jommelli), 1755
Panier fleuri (A. Thomas), 1839 Pelopida (Barthclemon), 1766
Pantins de Violette (Adam), 1856 Pelops, see Hippodamia, Namluvy Pelopovy
Panurge (Massenet), 1913 Penelope (Keiser), 1696
Panurge dans l'Isle des Lanternes (Gretry), 1785 Penelope (Galuppi), 1741
Paoletta (Floridia), 1910 Pcnelope (Piccinni), 1785
Paolo e Francesca (Mancinelli), 1907 Penelope (Cimarosa), 1794
Paolo e Virginia (P. C. Guglielrni), 1817 Pcnelope (Faun:), 1913
Papa Martin (Cagnoni), 1871 Penelope la Casta (c. Pallavicino), 1685
Pardon de Ploermel (Meyerbeer), 1859 Penelope neIIa Partenza da Sparta (Carvalho),
Paria (Moniuszko), 1869 17 82
Paride (Bontempi), 1662 Penthesilea (Schoeck), 1927
Paride e Elena (Gluck), 1770 Pepita Jimenez (Albeniz), 1896
Paris und Helena (Heinichen), 1710 Pepito (Offenbach), 1853
Parisina (Donizetti), 1833 Pepys, see Mr. Pepys and Samuel Pepys
Parisina (Mascagni), 1913 Percifal (Doss), 1883
Parsifal (R. Wagner), 1882 Perdita (c. E. di Barbieri), 1865
Parsifal, see also Percifal Perdita (Ndvera), 1897
Part du Diable (Auber), 1843 Perfect Fool (Holst), 1923
Partenope (Handel), 1730 Perichoie (Offenbach), 1868
Partenope (Hasse), 1767 Perkin (Poueigh), 193 I
Paschaens Datter (Heise), 1869 Perle du Bresil (F. David), 185 I
Pasqual Bruno (Hatton), 1844 Perruche (Clapisson), 1840
Passa la Ronda! (R. Bossi), 1919 Perruquier de la Rcgence (A. Thomas), 1838
Passant (Paladilhe), 1872 Persee (Lully), 1682
Passion (Dupuis), 1916 Persce et Andromede (Ibert), 1929

1491 1492
Persephone INDEX OF OPERAS Prc aux Clercs
Persephone (Stravinsky), 1934 Pirates (Storace), 1792
Perugina (Mascheroni), 1909 Pirates of Penzancc (Sullivan), 1879
Pescatrice (Piccinni), 1766 Pirenei (Pedrell), 1902
Pescatrici (Bertoni), 1751 Pirro (Paisiello), 1787
Peter Ibbetson (Taylor), 1931 Pirro, e Demetrio (A. Scarlatti), 1694
Peter Schmoll (C. M. von Weber), 11103 Pisistrato (Leo), 1714
Pcters Bryllup (Schulz), 1793 Pittor Parigino (Cimarosa), 1781
Petit Chaperon rouge (Boie!dieu), IS18 Pittore e Duca (Balfc), 1854
Petit Duc (Lecocq), 1878 Piu fede!e fd. i Vassalli (Gasparini), 1703
Petit Faust (Herve), 1869 Plameny (Schulhoff), 1932
Petit Matelot (Gaveaux), 1796 platee (Rameau), 1745
Petite Fadette (Semet), 1869 Plejades (Erlebach), 1693
Petitc Mariee (Lecocq), 1875 Poche, ma buone (her), 1800
Petrarque (Duprat), 1873 Podesta di Chioggia (Orlandi), 1801
Petru Rares (Caudella), 1900 Poeta CaIculista (Garcia), 1805
Pfeifertag (Schillings), 1899 Pohjalaisia (Madetoja), 1924
Phaedra, see Fedra, Hippolytus, PhMre Pohjan Neito (Merikanto), 1908
Phaeton (Lully), 1683 Poia (Nevin), 1910
Phaeton, see also Fetonte Poirier de Misere (Delannoy), 1927
Phamaces (Bates), 1765 Poisoned Kiss (Williams), 1936
Pharnaces, see Farnace Polichinelle (Montfort), 1839
phedre (Lemoyne), 1786 Polidore (Stuck), 1720
Philaenis (Statkowski), 1904 Polifemo (G. Bononcini), 1702
Philemon et Baucis (Gounod), 1860 Poliuto (Donizetti), see Mart)'rs
Philippe et Georgette (Dalayrac), 1791 Polly (Pepusch and Amold), 1777
philomele (La Coste), 1705 Polnische Jude (Weis), 1901
Philtre (Auber), 1831 Polyeucte (Gounod), 1878
Phryne (Saint-Saens), 1893 Polyphcme (Cras), 1922
Phryne, see also Morte di Frine Porno d'Oro (Cesti), 1667
Pianella (Flotow), 1857 Pomone (Cambert), 1671
Pianto d'Orfeo (BeIli), 1616 Pompadour (E. Mo6r), 1902
Piccolo Marat (Mascagni), 1921 Pompeji (Perosi), 1912
Piccolino (Guiraud), 1876 Pompeji, see also Ultimo Giort/o di Pompei
Pickwiek (Coates), 1936 Pompeo (A. Scarlatti), 1683.-----/
Pier li Hou'ieu (Ysaye), 1931 Ponce de Leon (Berton), .<797
Pierre de Medicis (Poniatowsky), 1860 Pont des Soupirs (Offenbach), 1861
Pierre le Grand (Gretry), 1790 Paar Soldier (Shield), see Shamrock
Pierrot and Pierrette (Holbrooke), 1909 Pope!ka (Rozkosny), 1885
Pietra del Paragone (Rossini), 1812 Porcherons (Grisar), 1850
Pietra simpatica (S. Palma), 1795 Porgy and Bess (Gershwin), 1935
Pietro il Grande (Vaccai), 1824 Porin (Lisinski), 1897
Pietro il Grande (Jullien), 1852 Poro (Handel), 173 I
Pietro von Abano (Spohr), 1827 Portefaix (Gomis), 1835
Pigen med Svovlstikkeme (Enna), 1897 Portentosi Effetti della Madre Natura (G. Scar-
Pikovaya Dama (Chaikovsky), 1890 latti), 1752
Pimmaglione (Cimadoro), 1790 Portrait de Manon (Massenet), 1894
Pimmalione (Cherubini), 1809 Postill6n de la Rioja (Oudrid), 1856
Pinotta (Mascagni), 1932 PostilIon de Longjumeau (Adam), 1836
Pipe of Desire (Converse), 1906 Potonuvshi Kolokol (Davidov), 1903
Pipele (De Ferrari), 1855 Potesta di Colognole (Melani), 1656
Pirame et Thisbe (Rebe! and Francceur), 1726 Poupe (Ostrcil), 19II
Piramo e Tisbe (Hasse), 1768 Poupee (Audran), 1896
Piramo e Tisbe (Rauzzini), 1775 Poupee de Nurembcrg (Adam), 1852
Pirata (Bellini), 1827 Pre aux Clercs (Herold), 1832

1493 1494
Precauzioni INDEX OF OPERAS Ratcliff
Precau~ioni (PetreIla), 1851 Psiche (Leardini), 1649
Preciosa (c. M. von Weber), 1821 Psiche (Badia), 1703
Premier Jour de Bonheur (Auber), 1868 Pskovityanka (Rimsky-Korsakov), 1873
Pres6 de Lleida (Pahissa), 1906 Psohlavci (Kovarovic), 1898
Pretendenti delusi (Mosca), 181 I Psyche (Locke), 1675
Pretendu (Gavinies), 1760 Psyche (Lully), 1678
Pretendus (Lemoyne), 1789 Psyche (A. Thomas), 1857
Preziose ridicole (Lattuada), 1929 p'tites Michu (Messager), 1897
Prigione d'Edimburg (F. Ricci), 1838 Puecefarbnen Schuhe (Umlauff), 1779
Prigioniero fortunato (A. Scarlatti), 1698 Puits d'Amour (Balfe), 1843
Prince de Catane (Isouard), 1813 Pupilla (d'Avossa), 1763
Prince Ferelon (Gatty), 1921 Puritani di Scozia (Bellini), 1835
Prince Igor (Borodin), see Knyaz Igor Puritania (Kelley), 1892
Prince Troubadour (Mehul), 1813 Puritan's Daughter (Balfe), 1861
Princess Ida (Sullivan), 1884 Putifar-Giuseppe-Giacobbe (Raimondi), 1852
Princesse de Trebizonde (Offenbach), 1869 Pygmalion (Coignet and J. J. Rousseau), 1770
Princesse jaune (Saint-Sacns), 1872 Pygmalion (G. Benda), 1779
Princesse lointaine (Witkowsky), 1934 Pygmalion, see also Galatea, Pigmaliol1, Pimma-
Princesse Osra (Bunning), 1902 glione, Schö"ne Galatea
Principe di Taranto (Paer), 1797
Principe e Nuredha (Bianchini), 1923 Quakera spiritosa (P. Guglielrni), 1783
Principe Zilah (Alfano), 1909 Quand la Cloche sonnera (Bachelet), 1922
Principessa d'Amalfi (Weigl), 1794 Quanti Casi inun Giorno! (Trento), 1801
Principessa Filosofa (Andreozzi), 1794 Quart-d'Heure de Silence (Gaveaux), 1804
Prinses Zonneschijn (Gilson), 1903 Quatre Fils Aymon (Balfe), 1844
Prinsessen paa Aerten (Enna), 1900 Quatre Journees (Bruneau), 1916
Prinz Eugen (G. :;chmidt), 1847 Queen of Cornwall (Boughton), 1924
Prinz Methusalem (]. Strauss), 1877 Queen ofSpad . (Chaikovsky), see Pikovaya Dama
Prinz wider Willen (Lohse), 1890 Quentin Durward (Gevaert), 1858
Prinzessin auf der Erbse (Toch), 1927 Quentin Durward (Maclean), 1920
Prinzessin Brambilla (Braunfels), 1909 Quinto Fabio (Bertoni), 1778
Prinzessin Girnara (Wellesz), 1921 Quinto Fabio (Bortnyansky), 1778
Prison d'Edimbourg (Carafa), 1833 Quo vadis (Nougues), 1909
Prisonnier (Maria), 1798
Prodana Nevesta (Smetana), 1866 Rächer (Schindelmeisser), 1846
Promesses de Mariage (Berton), 1787 Radarnisto (Handel), 172Ö
Promessi Sposi (Ponchielli), 1856 Radda (G. Orefice), 1912
Promessi Sposi (Pet~ella), 1869 Radda (Bianchini), 1914
Promethee (Faure), 1900 Rafael (Arensky), 1894
Promise (Clapisson), 1854 Ragonde (Mouret), 1714
Prophcte (Meyerbeer), 1849 Raimondin (Perfall), 1881
Proscritto (Nicolai), 1841 Rak6czy Ferenc 11 (Zichy), 1909
Proserpina (R. Bianchi), 1938 Ran (Peterson-Berger), 1903
Proserpilla, see also Pcm(ph,,"c, Ratto di Proscrpilla Rantzau (Mascagni), 1892
Proserpina rapita (CoJollna), 1645 Raoul Barbe Bleue (Gretry), 1789
Proserpine (LuUy), 1680 Raoul di Crequi (Morlacchi), 18II
Proserpine (Paisiello), 1803 Raoul, Sire de Crequi (Dalayrac), 1789
Proserpine (Saint-Sacns), I SR7 Rapimento di Cefalo (G. Caccini), 1600
Prosperica di Elio Seiano (Sartorio), 1667 Rappressaglia (Stunz), 1819
Protagonist (Weill), 1926 Rapto (Genoves), 1832
Protomastoras (Kalomoiris), 1916 Raqucl (Bret6n), 1900
Prova d'una Opera seria (Gnecco), 1805 Ratcliff (Andreae), 1914
Provede Troskab (T. C. Walter), 1774 Ratcl~ff, see also Gu.~lielmo Ratcliff and William
PruneUa, 17011 Ratd!!J
1495
 Rattenfänger INDEX OF OPERAS Rolands Knappen
Rattenfänger von Hameln (Nessler), 1879 Riet/zi (R. Wagner), see Cola Rienzi
Ratto della Sposa (P. Gugliclmi), 1765 Rigoletto (Verdi), 1851
Ratto delle Sabine (Agostini), 1680 Rigueurs du Cloitre (Berton), 1790
Ratto di Proserpina (Winter), 1804 Rinaldo (Handel), 171 I
Räuberbraut (Ries), 1828 Rinaldo, see also Renaud
Rauchfangkehrer (Salieri), 1781 Rinaldo und Alcina (Paradis), 1797
Ravnen (J. P. E. Hartmann), 1832 Ring des Polykrates (Korngold), 1916
Raymond (A. Thomas), 1851 Rip van Winkle (Bristow), 1855
Rayons de Soieries (Rosenthai), 1930 Rip van Winkle (Planquette), 1882
Re (Giordano), 1929 Rip van Winkle (Koven), 1920
Re Enzo (Respighi), 1905 Risa di Democrito (Pistocchi), 1700
Re Lear (Ghislanzoni), 1937 Risurrezione (Alfano), 1904
Re Pastore (Uttini), 1755 Rita (Donizetti), 1860
Re Pastore (Gluck), 1756 Riti d'Efeso (Farinelli), 1803
Re Pastore (Mozart), 1775 Ritornata di Londra (Fischietti), 1756
Re Pastore, see also Royal Shepherd Ritorno di Pulcinella (Vin. Fioravanti), 1837
Re Teodoro in Venezia (Paisiello), 1784 Ritorno d'Ulisse (Monteverdi), 1641
Regenbrüder (I. Lachner), 1839 Ritter Blaubart (Reznicek), 1920
Regina (Lortzing), 1899 Ritter Pazman (J. Strauss), 1892
Regina di Cipro (Pacini), 1846 Rivale di se stesso (Weigl), 1808
Regina di Golconda (Donizetti), 1828 Rivali concordi (Steffani), 1692
Regina von Emmeritz (Merikanto), 1920 Robert (Gyrowetz), 1813
Regine (Adam), 1839 Robert-le-Diable (Meyerbeer), 1831
Reginella (Braga), 1871 Roberto d'Evereux (Donizetti), 1837
Reine de Chypre (Halevy), 1841 Robin Hood (Shield), 1784
Reine de Saba (Gounod), 1862 Robin Hood (Macfarren), 1860
Reine d'unJour (Adam), 1839 Robin Hood (Koven), 1890
Reine Fiammette (Leroux), 1903 Robin Hood, see also Maid Marian
Reine Topaze (Masse), 1856 Robin's Ende (Künnecke), 1909
Rektor a General (Skuhersky), 1873 Robinson (Jensen), 1834
Rembrandt van Rijn (Klenau), 1937 Robinson Crusoe (Offenbach), 1867
Renard (Stravinsky), 1922 Rodelinda (Handel), 1725
Renaud (Häffuer), 1801 Rodelinda (Graun), 1741
Renaud d'Ast (Dalayrac), 1787 Rodost6 (Zichy), 1912
Rencontre imprevue (Gluck), 1764 Rodrigo und Zimene (Aiblinger), 1821
Rencontre imprevue (Mandl), 1889 Rognyeda (Serov), 1865
Rendez-vous bourgeois (Isouard), 1807 Roi Arthus (Chausson), 1903
Retablo de Maese Pedro (Falla), 1923 Roi Candaule (Bruneau), 1920
Retour (d'Ollone), 1913 Roi David (Honegger), 1921
Reve (Bruneau), 1891 Roi de Lahore (Massenet), 1877
Reve d'Amour (Auber), 1869 Roi d'ys (Lalo), 1888
Revisore (Zanella), 1940 Roi d'Yvetot (Adam), 1842
Revoltosa (Chapi), 1897 Roi d'Yvetot (Ibert), 1930
Rhea (Samara), 1908 Roi et le Fermier (Monsigny), 1762
Rheingold (R. Wagner), 1869 Roi l'a dit (Delibes), 1873
Rhena (Eeden), 1912 Roi malgre lui (Chabrier), 1887
Riccardo I (Handel), 1727 Roland (Lully), 1685
Riccardo III (Salvayre), 1883 Roland (Piccinni), 1778
Ricciardo e Zoraide (Rossini), 1818 Roland, see also Orlando
Richard Cceur-de-Lion (Gretry), 1784 Roland 11 Roncevaux (Mermet), 1864
Ricimero (Jommclli), 1740 Roland Mester (Zichy), 1899
Ricimero (Majo), 1758 Roland von Berlin (Leoncavallo), 1904
Riders to Sea (Williams), 1937 Rolande et le mauvais Garr;:on (Rabaud), 1934
Rien de trop (Boieldieu), 18II Rolands Knappen (Lortzing), 1849

1497 1498
Roma INDEX OF OPERAS Sarka
Roma (Massenet), 1912 Rusalka (Dargomuizhsky), 1856
Romanische Lucretia (Schweitzelsperger), 1714 Rusalka (Dvoi'ik), 1901
Romanticismo (Robbiani), 1933 Ruslan i Lyudmila (Glinka), 1842
Romeo and Juliet (Barkworth), 1916 Ruy Blas (Glover), 1861
Romeo and Juliet, see also Amants de Ver(l//(', Ruy Blas (Marchetti), 1869
. Capuleti e i Monteechi, Giulietla e ROmC(l
Romeo e Giulietta (Marchetti), 1865 S. Alessio (Landi), 1632
Romeo et Juliette (Steibelt), 1793 Sabinus (Gossec), 1773
Romeo et Juliette (Gounod), 1867 Sabots (Duni), 1768
Romeo und Julia auf dem Dorfe (Dclius), 1907 Sabots de la Marquise (Boulanger), 1854
Romeo und Julie (G. Benda), 1776 Sacrifice (Converse), 19II
Romilda e Costanza (Meyerbeer), 1817 Sacrifice d'Abraham (Blangini), 1810
Rondine (Puccini), 1917 Sadko (Rimsky-Korsakov), 1898
Rosa rossa e la Rosa bi an ca (Mayr), I Xr 3 Saffo (Bree), 1834
Rosalba (Pizzi), 1899 Saffo (Pacini), 1840
Rosamond (Clayton), 1707 Safie (Hadley), 1909
Rosamond (T. A. Arne), 1733 Sakuntala (Weingartner), 1884
Rosamond, see also Fair Rosamond al1d R"sl1l1l1lda Sakrmtala, see Legge71da di Sakuntala
Rosamund (Schweitzer), 1780 Salammbo (Reycr), 1890
Rose et Colas (Monsigny), 1764 Salome (R. Strauss), 1905
Rose of Castille (Balfe), 1857 Salome (Mariottc), 1908
Rose ofPersia (Sullivan), 1899 Salteador (Daddi), 1845
Rose vom Liebesgarten (Pfitzner), 1901 Saltimbanco (Pacini), 1858
Rose von Pontevedra (Forster), 1893 Sllto dcl Pasiego (Clblllero), 187X
Rosenfest (E. W. Wolf), 1770 Salvator Rosa (RastrelIi), 1832
Rosenkavalier (R. Strauss), 19l1 Salvator Rosa (Gomez), 1874
Rosette (Bierey), 1806 Samori (Vogler), 1804
Rosiera (Gnecchi), 1927 Sampiero (Migoni), 1853
Rosiere de Salency (Grctry), 1773 Samson cf Dalila (Saiut-Saiins), see SiIllS{l/l /lud
Rosieres (Herold), 1817 Dclila
Rosina (Shield), 1782 Samuel Pepys (Coates), 1929
Rosmene (A. Scarlatti), 1688 San Antonio de la Florida (Albeniz), 1894
Rosmunda (Vavrinecz), 1895 Sancho Pan~a (Philidor), 1762
Rossignol (Lebrun), 1816 Sancho Panza (Jaques-Dalcroze), 1897
Rossignol (Stravinsky), 1914 Sancio Panza (Caldara), 1733
Rossini in Neapel (Paumgartner), 1936 Saneta Susanna (Hindcmith), 1922
Rote Gret (Bittner), 1907 Sandha (Lattuada), 1924
Rothe Kaeppchen (Dittersdorf), 1790 Sandro der Narr (Bienstock), 1916
Rotisserie de la Reine Pedauque (Levade), 1920 Sanga (Lara), 1906
Route d'Emeraude (Boeck), 1921 Sänger und der Schneider (Drieberg), 18 I 4
Roverborgen (Kuhlau), 1814 Sangeskänig Hiarne (Marschner), 1863
Royal Palace (Weill), 1927 Sallt' Alessio (Landi), see S. Alessio
Royal Shepherd (Rush), 1764 Santa Chiara (Ernst II), 1854
Rübenzahl (J. Schuster), 17 89 Sapho (Reicha), 1822
Rübezahl (Würfel), 1824 Sapho (Gounod), 1851
Rübezahl (Flotow), 1853 Sapho (Massenet), 1897
Rübezahl (Sommer), 1904 Sappho (Kaun), 1917
Rubin (d'Albert), 1893 Sappho, see also Saffo
Ruddygore (Sullivan), 1887 Sardanapalus (Boxberg), 1698
Rudello (Ferroni), 1890 Sarema (Zemlinsky), 1897
Ruggiero (Hasse), 1771 Sargines (Dalayrac), 1788
Ruggiero, see also Liberaziolle di Ruggiero Sargino (Paer), 1803
Ruinen vom Paluzzi (Romberg), 18ll Sarka (Fibich), 1897
Runenzauber (E. Hartmann), 1896 Sarka (Janacek), 1925

1499 15°0
Sarolta INDEX OF OPERAS Signa
Sarolta (Erke1), 1862 Seemannsbraut (Aspestrand), 1894
Sarrona (Howland), 1903 Segadoras (Rodriguez de Hita), 1768
Satahe11a (Balfe), 1858 Seigneur bienfaisant (Floquet), 1780
Satiri in Arcadia (F. Conti), 1714 Seitsemän Veljestä (Launis), 1913
Satyros (Baussnern), 1923 Seleneia (Brucken-Fock), 1895
Saul (Buzzi), 1843 Seleuco (Sartorio), 1666
Saul (Reutter), 1928 Se!ma Sedhlk (Dvorak), 1878
Saulog David (c. A. Nie1sen), 1902 Se!va incantata (Righini), 1803
Sauteriot (Lazzari), 1918 Se!vaggia (Schira), 1875
Sävitri (Holst), 1916 Semirama (Respighi), 1910
Savonarola (Stanford), 1884 Semiramide (Rossini), 1823
Scala di Seta (Rossini), 1812 Semiramide riconosciuta (Hasse), 1744-
Sd.mpolo (Carnussi), 1925 Semiramide riconosciuta (Gluck), 1748
Scarlet Letter (Damrosch), 1896 Semiramis (Catel), 1802
Sce1ta dello Sposo (P. C. Guglielmi), 11lo5 Scmiramis, see also Morte di Semiramide, Vendetta
Scemo (Bachelet), 1914 di Nino
Schaaban (Radeglia), 1918 Sept Chansons (G. F. Malipiero), 1920
Scharazade (Sekles), 1917 Ser Marcantonio (Pavesi), 1810
Schatzgräber (Schreker), 1920 Seraglio (Dibdin), 1776
Schauspieldirektor (Mozart), 1786 Seraphine (Tomasek), 181I
Scherz, List und Rache (Bruch), 1858 Serenaden (Wedel), 1795
Schiava in Bagdad (Pacini), 1820 Scrf (Lloyd), 1938
Schiava ricol1osciuta (Piccinni), sec Stral'agal1ti Serment (Auber), 1832
Schiavo (Gomez), 1889 Serrana (Keil), 1899
Schiavo di sua Moglie (Provenzale), 1672 Serrurier (Kohout), 1764-
Schirin und Gertraude (Graener), 1920 Scrse (Handel), 1738
Schloss am Ätna (Marschner), 1836 Serva innamorata (P. Guglielmi), 1790
Schloss Candra (Wolfram), 1832 Serva Padrona (Pergolesi), 1733
Schmied von Gent (Schreker), 1932 Serva Padrona (Paisiello), 1781
Schmied von Ruhla (Lux), 1882 Serve Rivali (Traetta), 1766
Schmuck der Madonna (Wolf-Ferrari), 1911 Servilia (Rimsky-Korsakov), 1902
Schneider von Schönau (]. Brandts-Bll)'S), 1916 Servio Tullio (Steffani), 1685
Schöffe von Paris (Dom), 1838 Scsostrate (Hasse), 1726
Schöne Bellinda (H. Huber), 1916 Scsostri (Terradellas), 1751
Schöne Galatea (Suppe), 1865 Sbakh-Sencm (Glierc), 1934-
Schwarze Kaschka (Jarno), 1895 Shamrock (Shield), 1783
Schwarze Orchidee (d' Albert), 192X Shamus O'Brien (Stanford), 1896
Schwarzschwanenreich (S. Wagner), 19[X Shanewis (Cadman), 1918
Schweigsame Frau (R. Strauss), 1935 Shephcrds of thc dclectablc Mount,ülls (Wil-
Schweizerfamilie (Weigl), 1809 liams),1922
Schwergewicht (Kfenek), [928 Sherif (Halevy), 1839
Schwestern von Prag (W. Müller), [794 Shylock (Alpaerts), 1913
Scipio, sec C[c11Icnza di Scipione, Gr(1ssmiithi.lZl' Sij'etais Roi (Adam), 1852
Scipio, Sogllo di Scipiollc Siberia (Giordano), 1903
Scipione (Handel), 1726 Sicilien (Letorey), 1930
Scipione Africano (CavalIi), 1664- Siege de Corilltlze (Rossini), sec Jl.,1aol11ctr(11I
Scola de' Gdosi (Salieri),177H Siege de Leyde (c. L. A. Vogel), 1~47
Scola de Maritati (Martin y Soh), 1795 Siege of Bclgrade (Storacc), 1791
Scylla (Gatti), 1701 Siege of Rhodes (Locke), 1656
Scylla et Glaucus (Leclair), 1746 Siege of Rochelle (Balfe), 1835
Seal Woman (Bantock), J924- Siegfried (R. Wagner), 1876
Secret (Solie), 1796 Siface (Feo), 1723
Seekadett (Genee), 1876 Sifacc (Porpora), 1725
Seclewig (Staden), 164-4- Signa (Cowen), 1893
[501 1<;02
Signor Bruschino INDEX OF OPERAS Strike der Schmiede

Signor Bruschino (Rossini), I8I] Songe d'une Nuit d'~te (A. Thomas), 1850
Signor di Pourceaugnac (Franchetti), 1897 Songe d'une Nuit d'Ete (Vreuls), 1925
Signor Dottore (Fischietti), 1758 Sonnambula (Bellini), 183 I
Sigurd (Reyer), 1884 Sonnenfest der Braminen (W. Müller), 1790
Silla (Graun), 1753 Sonntag morgen (Schjelderup), 1893
Silla, see also LI/eio Silla Sophia Catharina (Flotow), 1850
Silla Dittatore (Vinci), 1723 Sor Beatriz (Marquez), 1924
Silvain (Gretry), 1770 Sorccrer (Sullivan), 1877
Silvana (c. M. von Weber), I8IO Sorccress (Ries), 183 I
Silvano (Mascagni), 1895 Sorcicr (Philidor), 1764
Silvio (Borch), 1898 Sorella di Mark (Setaccioli), 1896
Simon Boccan~gra (Verdi), 1857 Sorochinskaya Yarmarka (Musorgsky), 1917
Simplicius (H. Huber), 1912 Sosarme (Handel), 1732
Simplizius (J. Strauss), 188 7 Souliers mors-dores (Fridzeri), 1776
Simson und Delila (Saint-Sacns), 1877 Sourd (Adam), 1853
Sina d'Vargöun (Pratella), 1909 Sovedrikken (Weyse), 1809
Sinilde (Graun), 1727 Spadillo le Tavernier (Vivier), 1857
Sior Todero Brontolon (G. F. Malipicro), 1926 Spanske Studenter (Lange-Müller), 1883
Sir John in Love (Williams), 1929 Spartaco (Porsile), 1726
Sire de Vergy (Terrasse), 1903 Spartaco (Platania), 1891
Sirene (Auber), 1844 Spazzacamino Principe (Portugal), 1794
Siroe (Vinci), 1726 Speziale (V. Pallavicino and Fischietti), 1755
Siroe (Handel), 1728 Speziale (Haydn), 1768
Siroe (Hasse), 1733 Spia (Arditi), 1856
Siroe (Perez), 1740 Spiegel von Arkadien (Süssmayr), 1794
Skazka 0 Tsarye Saltanye (Rimsky-Korsakov), Spiegclritter (I. Walter), 1791
1900 Spiel oder Ernst? (Reznicek), 1930
Skupoy Ritsar (Rakhmaninov), 1906 Spielwerk und die Prinzessin (Schreker), 19 I 3
Sly (W olf-Ferrari), 1927 Spinalba (d'Almeida), 1739
Smiljana (Vilhar), 1897 Spitzentuch der Königin (J. Strauss), 1880
Smfr Tantaluv (Fibich), 1891 Sposa fedcle (P. Gugliclmi), 1767
Smrt Hippodamie (Fibich), 1891 Sposi malcontenti (Storace), 1785
Smrt Kmotficka (Karel), 1933 Sposo di tre (Cherubini), 1783
Snyegurochka (Rimsky-Korsakov), 1882 Sprung über den Schatten (Ki'cnek), 1924
Socrate (Satie), 1925 Srdce (J. B. Foerster), 1923
Socrate immaginario (Paisiello), 1775 Sruth na Maoile (Palmer), 1923
Socrates, see also Geduldige Socrates, PatiC1lza, Stara Bastl. (Zelenski), 1907
Pazienza di Socrate. Statira (A. Scarlatti), 1690
Sofonisba (Gluck), 1744 Statue (Brusa), 1756
Sofonisba (Traetta), 1762 Statue (Reyer), 1861
Sofonisba (Paer), 1805 Stella (Waclput), 1881
Sogno di Scipione (Predieri), 1735 Stel!a Maris (Kaiser), 1910
Sogno di Scipione (Mozart), 1772 Stepan (Hamerik), 1924
Soiree orageuse (Dalayrac), 1790 Stiffelio (Verdi), 1850
Soldat Magicien (Philidor), 1760 Stoertebecker (Keiser), 1701
Soldaten (Gurlitt), 1930 Stormen paa Kobenhavn (H. Rung), 1845
Soldatenleben (Hackländer), 1848 Strali d' Amore (Boschetti), 1616
Solea (Lara), 1907 Strandrecht (Smyth), 1906
Soliman den II (Kraus), 1789 Stranicra (Bellini), 1829
Soliman der Zweite (Süssmayr), 1799 Straniero (Pizzetti), J930
Solimano (Hasse), 1753 Straszny Dw6r (Moniuszko), 1865
Solimano (Perez), 1757 Stratonice (Mehul), 1792
Solitaire (Carafa), 1822 Stravaganti (Piccinni), 1764
Solitario del Monte Selvaggio (Eslava), 1841 Strike der Schmiede (Beer), 1897

15 0 3
Strizeno- Koseno INDEX OF OPERAS Tikhy Don
StriZeno- Koseno (Baranovic), 1932 Ternistocle (Porpora), 1718
Sturmvögel (Schjelderup), 1926 Temistocle (Bemasconi), 1740
Sulamith (Rubinstein), 1883 Tempest (Gatty), 1920
Summer Night (Clutsam), 1910 Tempest, see also Boufe, GeisterilIsei
Suona la Ritirata (Monleone), 1916 Tempesta (Halevy), 1850
Suor Angelica (Puccini), 1918 Tempesta (Lattuada), 1922
Superbia d'Alessandro (Steffani), 1690 Tempestad (Chapi), 1882
Surprise de l'Amour (Poise), 1877 Tcmplah na Morave (Sebor), 1865
Susannens Geheimnis (Wolf-Ferrari), 1909 Templario (Nicolai), 1840
Svanda Dudak (Hhmaly), 1896 Temple Dancer (Hugo), 1919
Svanda Dudak (Weinberger), 1927 Templer und die Jüdin (Marschner), 1829
Sylphen (Himmel), 1806 Templiers (Litolff), 1886
Sylvia (Parry), 1895 Tempo fa Giustizia a tutti (Paer), 1792
Szekely Fono (Kodaly), 1932 Teniers (Peellaert), 1826
Szep Ilonka (Mosonyi), 1861 Tenor (Dohnanyi), 1929
Teofane (Lotti), 1719
Tabare (Breton), 1913 Tcresa e Claudio (Farinelli), 1801
Tabare (Schiuma), 1925 Teseo (Handel), 1713
Tabarro (Puccini), 1918 Tess (F. d'Erlanger), 1906
Tabasco (Chadwick), 1894 Testament (Kienzl), 1916
Table et le Logement (Chelard), 1829 Testament Tety Karoliny (Roussel), 1936
Tableau parlant (Gretry), 1769 Teufel ist los (Standfuss), 1751
Taifun (Szanto), 1924 Teufel ist los (j. A. Riller) , see Verwandelten
Tajemstvi (Smetana), 1878 Weiber
Talestri (Maria Antoniä Walpurgis), 1760 Teufelsmühle (W. Müller), 1799
Talismano (Salieri), 1788 Teuzzone (Ariosti), 1727
Talismano (Balfe), 1874 ThaIS (Massenet), 1894
Tamerlan (Reichardt), 1800 Thais and Talmaae (Campbell), 1921
Tamerlan (Winter), 1802 Thamara (Bourgault-Ducoudray), 1891
Tamerlano (Handel), 1724 Theodora (Leroux), 1907
Taming ofthe Shrew, see Bisbetica domata, Megere Theodore et Paulin (Gretry), 1784
apprivoisee, Sly, Volpino il Calderaio, Widerspän- Theophano (Graener), 1918
stigen Zähmung Therese (Massenet), 1907
Tammany (Hewitt), 1794 Thesee (Lully), 1675
Tancia (Melani), see Potesta di Colognole Theseus (Löhner), 1688
Tancrede (Campra), 1702 Theseus, see also Befreite Theseus, Teseo
Tancredi (Rossini), 1813 Thespis (Sullivan), 1871
Tanhäuser (Mangold), 1846 Theti (Bertali), 1652
Tannhäuser (R. Wagner), 1845 Thetis, see also Nozze di Peleo e di Teti
Tante Simona (Dohnanyi), 1913 Thetis et Pelee (Colasse), 1689
Tapfere Soldat (Straus), 1908 Thetis och PeMe (Uttini), 1773
Tarare (Salieri), 1787 Thomas and Sally (T. A. Ame), 1760
Tarass Boulba (Samuel-Rousseau), 1919 Thomas l'Agnelet (Jongen), 1924
Tarass Bulba (Berutti), 1895 Thomyris (Pepusch), 1707
Tasse (d'Harcourt), 1903 Thomyris, see also Grossmuthige Tomyris
Tasso, see also Torquato Tasso Thorgrim (Cowen), 1890
Tebaldo e Isolina (Morlacchi), 1822 Thusne1de, 1749
Telemachus, see also Calypso, Kiinigssohn aus Thyl Uylenspiege1 (Blockx), 1900
Ithaka, Mariage de TeIemaque Tiefland (d' Albert), 1903
Telemaco (Gluck), 1765 Tigrane (A. Scarlatti), 1715
Telemaco (Sor), 1797 Tigrane (Hasse), 1729
Telemaque (Schürmann), 1706 Tigrane (Gluck), 1743
TeIemaque (Boieldieu), 1806 Tigris (Stojanovits), 1905
Tell, see Archers and Guillaume Tell Tikhy Don (Dzerzhinsky), 1935

15 06
Tilda INDEX OF OPERAS Uguns llll Nakts

Tilda (Cilea), 1892 Trial by Jury (Sullivan), 1875

Till Eulenspiegel (Reznicek), 1902- Tribut de Zamora (Gounod), 1881
Timbale d' Argent (Vasseur), 1872 Trilby (Truhn), 1835
Timbre d' Argent (Saint-Saens), 1 '8077 Trillo del Diavolo (Falchi), 1899
Tintaridi (Traetta), 1760 Triomfeerende Min (Hacquart), 1680 and 1920
TIo Caniyitas (Fucrtes), 1849 Triomphe de l'Amour (La Guerre), 1655
Tipheene (Neuville), 1899 Triomphe de la Paix (Gaultier), 1685
Tirfing (Stenhammar), 1898 Triomphe de Trajan (Persuis and L('stleur), 1807
Tiroler Wastel (Haibel), 1796 Trionfi de! Fato (Steffani), 1695
Tito (Cesti), 1666 Trionfo dell' Onore (A. Scarlatti), 1718
Tito Manlio (Abos), 1751 Trionfo dell' Amor fraterno (Winter), 1804
Tito Vespasiano (Hasse), 1735 Trionfo dell' Amore e delh Costanza (F. Conti),
Titon et l'Aurore (Mondonvillc), 1753 17II
Titus, see also Clemenza di Tito Trionfo della Fedclra (Maria Antonia Walpurgis),
Toberne (Bruni), 1795 1754
Toinon et Toinette (Gossec), 1767 Trionfo di Camilla (M. A. Bononcini), 169(\
Toison d'Or (J. C. Vogel), 1786 Trionfo di Camilla (Leo), 1726
Toldi Szerelme (Mihalovich), 1893 Trionfo di Clelia (Hasse), 1762
Tolomeo (Handel), 172R Trionfo di Clclia (Gluck), 1763
Tom Jones (Philidor), 1765 Trionfo di Clelia (Jommelli), 1774
Tonnelier (Audinot), 1761 Tristatl und Isolde (R. Wagner), 1865
Töpfer (Andre), 1773 Trittico (Puccini), 1918
Tordenskjold i Dynekilen (Saloman), 1844 Triumpf der Liebe (Stegmann), 1796
Toreador (Adam), 1849 Trois Fermiers (Dcz(:de), 1777
Toreras (Laparra), 1929 Trois Masques (Lara), 1912
Torquato Tasso (Donizetti), 1833 Trois Mousquetaires (Lara), 1921
Torvaldo e Dorliska (Rossini), 1815 Trompeter von Säckingen (Nessler), 1884
Tosca (Puccini), 1900 Trompette de M. le Prince (Bazin), 1846
Tote Gast (Berr), 1923 Troqueurs (Dauvergne), 1753
Tote Stadt (Korngold), 1920 Troqueurs (Herold), 1819
Toten Augen (d' Albert), 1916 Troubadour (A. E. Fesca), 1847
Totila (Legrenzi), 1677 Troupe Jolica:ur (Coquard), 1902
Tour de Feu (Lazzari), 1928 Trovatelles (Duprato), 1854
Touristen (Stauffer), 1869 Trovatore (Verdi), 1853
Tove (Lange-Müller), 1878 Troyens a Carthage (Berlioz), 1863
Traci amanti (Cimarosa), 1793 Trylleharpen (Kuhlau), 1817
Tragödie in Arezzo (Hageman), 1\!32 Tsar Kaloyan (Vladigerov), 1936
Traiano in Dacia (Niccolini), 1807 Tsarskaya Nyevesta (Rimsky-Korsakov), 1899
Trajan, see also Triomphe de Trajall Tuhotulva (Krohn), 1928
Trame deluse (Cimarosa), 1786 Turanda (Bazzini), 1867
Tramonto (G. Coronaro), 1873 Turandot (L0venskjold), 1854
Tramoya (F. A. Barbieri), 1850 Turandot (Busoni), 1917
Transaclantic (Antheil), 1930 Turandot (Puccini), 1926
Traum (Mraczek), 1909 Turco in Italia (Rossini), 1814
Traumwandel (K. H. David), 1928 Tushintsi (Blaramberg), 1895
Travellers (Corri), 1806 Tutti in Maschera (Pedrotti), 1856
Travelling Companion (Stanford), 1925 TvrdC Palice (DvoHk), 1881
Traviata (Verdi), 1853 Twelfth Night, see Viola.
Tre Amanti ridicoli (Galuppi), 1761 Two Sisters (Rootham), 1922
Tre Galninger (Schall), 1816 Tyll (Lothar), 1928
Tre Nozze (Alary), 1851
Tresor suppose (Mchul), 1802 Überfall (Zöllner), 1895
Trespolo :rutore balordo (Stradella), 1686 Ucccllatori (Gassmatm), 1759
Treuen Köhler (Schubaur), 1786 Uguns un Nakts (Medins), 1921
1508
 •

Ulisse INDEX OF OPERAS Virginia

Ulisse all' Isola di Circe (Zamponi), 1650 Verbena de la Paloma (Breton), 1894
Ultimo Abenzerraggio (Pedrell), 1874 Verbum nobile (MOnillszko), 1861
Ultimo Giomo di Pompei (Pacini), 1825 Vercingetorix (Canteloupe), 1933
Ultimo Lord (Alfano), 1930 Verdammte Staat-Sucht (Keiser), 1703
Ulysses (Keiser), 1722 Verde Gaio (Rente), 1876
Ulysses, see also Bettler Namenlos, Calypso, Verful cu Dor (Skibinski), 1879
Circe, Kirke, NatJsicaa, Odyssells, Penelope, Vergine de! Sole (Cimarosa), 1789
Ritorno d' Ulisse, Ulisse Verlassene Ariadne (Milhaud), 1928
Undina (Lvov), 1848 Vernarrte Prinzess (Chelius), 1905
Undine (Hoffmann), 1816 veronique (Messager), 1898
Undine (Girschner), 1837 Verschleierte Profet (Stanford), 1881
Undine (Lortzing), 1845 Verschworenen (Schubert), 1861
Ungdom og Galskab (Dupuy), 1806 Versiegelt (Blech), 1908
Ungleiche Heyrath (Telemann), 1725 Versunkene Glocke (Zöllner), 1899
Uniform (Weigl), 1805 Versunkene Glocke (Respighi), 1927
Unmöglichste von allem (Urspruch), 1897 Vert-Vert (Offenbach), 1869
Unsichtbare (Eule), 1809 Verwandelten Weiber (J. A. Hiller), 1766
Unter Räubern (Rubinstein), 1883 Vespasiano (c. Pallavicino), 1678
Unterbrochene Opferfest (Winter), 1796 Vespasiano, see also Tito Vespasiano
Uomo che ride (Pedrollo), 1920 Vestale (Spontini), 1807
Urvasi (Dluski), 1902 Vestale (Pucitta), 1810
Uthal (Mehul), 1806 Vestale (Mercadante), IH40
Otok na Mlyn (Weis), 19D Vestalin (Guhr), 1814
Utopia (Sullivan), 1893 Vestas Feuer (Weigl), 1805
Veuve Grapin (Flotow), 1859
V Studni (Blodek), 1867 Via della Finestra (Zandonai), 1919
Vaisseau-Fantomc (Dietsch), 1842 Viaggiatori felici (Anfossi), 1780
Vajda Tornya (Dohninyi), 1922 Viaggio a Reims (Rossini), 1825
Vakllla Kuznyers (Chaikovsky), 1870 Vice-Admiral (Millöcker), 1886
Val d' Andorrc (Halcvy), 1848 Vicende d'Amore (P. Guglielmi), 1784-
Valentine de Milan (Mchul), 1822 Vicende della Sorte (Piccinni), 1761
Valet de Chambre (Carafa), 1823 Victorine (Mellon), 1859
Valle de Andorra (Gaztambide), J852 Vie breve (Falla), 1913
Vampyr (Marschner), 1828 Vie Parisienne (Offenbach), 1866
Vampyr (Lindpainmcr), J82ll Vieil Aigle (Gunsbourg), 1909
Vanda (Dvofik), r876 Vieille (Fetis), 1826
Vasall von Szigeth (Smareglia), rSS<) Viejecita (Caballero), 1897
Vec Makroplllos (Janacek), 1926 Vier Grobiane (Wolf-Ferrari), 1906
Vecchio geloso (Alessandri), 1781 Vierjährige Posten (Schubert), 1896
Vedova scaltra (Wolf-Fcrrari), 1931 Vierjährige Posten, see also Dorval
Veggcnte (E. M. Bossi), 1890 Vifandaka (Tofft), 1898
Veglia (Pedrollo), 1920 Vigna (Guerrini), 1835
Velleda (Lcncpveu), r882 Vikingcblod (Lange-Müller), 1900
Vendemmia (Gazzaniga), 1778 Village Coquettes (Hullah), 1836
Vendetta (Pizzi), 1906 Villanella ingentilita (P. Guglielmi), 1779
Vendetta di Nino (Bianchi), 1790 Villanella rapita (Bianchi), 1783
Veneno es de Amor la Embidia (Duron), 1697 Villi (Puccini), 1884
Ventaglio (Raimondi), 183r Vi na (Zieh), 1922
Venlls (Schoeck), 1922 Vinganc;:a da Cigana (Leal Moreira), 1794-
Venus and Adonis (Blow), r684 Viola (Weis), 1892
Vcnus et Adonis (Desmarets), 1697 Viola (Holenia), 1934-
Vepres Siciliennes (Vcrdi), r855 Violanta (Korngold), 1916
Vcra Costanza (Anfossi), 1776 Virgen de Mayo (Moreno-Torroba), 1925
Vcra Costanza (Haydn), 1779 Virginia (Mercadante), 1866

1509 15 10
 •

Virginie INDEX OF OPERAS zelindor

Virginie (Berton), 1823 Wieland der Schmied (Zenger), 1880

Virginie (Bruneau), 1931 Wildschütz (Lortzing), 1842
Virtu al Cimento (Paer), 1798 William Ratcliff (Kyui), 1869
Virtuosa in Mergellina (P. Guglielmi), 1785 William Ratcliff (Pizzi), 1889
Virtuosi ambulanti (Val. Fioravanti), 1807 William Ratcliff (Dopper), 1909
Visitandines (Devienne), 1792 William Ratcliff, see also Guglielmo Ratcliff,
Vita umana (Marazzoli), 1656 Ratcliff
Vittore Pisani (A. Peri), 1857 Winkelried (Lacombe), 1892
Vivandiere (Godard), 1895 Wintermärchen (Goldmark), 1908
Vladirnir, Bohuv Zvolenec (Skuhersky), 1863 Winternachtsdroom (Boeck), 1902
Vlasty Skon (Ostrcil), 1904 Winters Tale, see Hermione, Perdita, Winter-
Voegge di ChOfontaine (Harnal), 1757 märchen
Vögel (Braunfels), 1920 Wirth und Gast (Meyerbeer), 1813
Vogelhändler (Zeller), 1891 Witch of Salem (Cadman), 1926
Voitures versees (Boieldieu), 1808 Wladimir, Fürst von Novgorod (Bierey), 1807
Voix humaine (Alary), 1861 Wozzeck (A. Berg), 1925
Vologeso (Rinaldo di Capua), 1739 Wozzeck (Gurlitt), 1926
Vologeso (Fischietti), 1764 Wreckers (Smyth), see Strandrecht
Vologeso (Jommelli), 1766 Wunder der Heliane (Korngold), 1927
Volpino il Calderaio (R. Bossi), 1925
Vorn Fischer un syner Fru (Schoeck), 1930 Xacarilla (Marliani), 1839
Von heute auf morgen (Schönberg), 1930 Xaviere (T. Dubois), 1895
Vornehmen Dilettanten (Lortzing), 1851 Xerse (CavalIi), 1654
Voyage en Chine (Bazin), 1865 Xerxes, see also Serse
Voyevoda (Chaikovsky), 1869
Vrazhya Sila (Serov), 1871 Yelka (Rebikov), 1903
Vylety Pine Brouckovy (Janicek), 1920 Yeomen of the Guard (Sullivan), 1888
Yevgeny Onyegin (Chaikovsky), 1879
Waffenschmied (Lortzing), 1846 Yupanki (Berutti), 1899
Waisenhaus (Weigl), 1808 Yvrogne corrige (Laruet~c), 1759
Wald (Smyth), 1902 Yvrogne corrige (Gluck), 1760
Waldemarsskatten (Hallen), 1899
Walder (G. Benda), 1776 Z Mrtveho Domu (Janicek), 1930
Wald mädchen (c. M. von Weber), 1800 Zadig (Duperier), 1938
Waldmeister (J. Strauss), 1895 Zaide (Mozart), 1866
Walküre (R. Wagner), 1870 Zaira (Federiei), 1803
Wallace (Catel), 1817 Zaira (Winter), [805
Wallenstein (Denza), [876 Zaire (La Nux), 1890
Wallenstein (Weinberger), [937 Zaklety Prine (Hfimaly), 1872
Wally (Catalani), 1892
Zamek na Czorsztynie (Kurpinski), 1819
Walzertraum (Straus), [907
Zampa (Herold), 183[
Wanda (Doppler), [85~
Wandcring Scholar (Holst), [938 Zanetta (Auber), 1840
Waterman (Dibdin), 1774 Zanetto (Mascagni), 1896.
Weibertreue (G. Schmidt), 1858 Zar lässt sieh photographieren (Weill), 1928
Weinlese (Schenk), [785 Zar IIlld Zimmermann (Lortzing), see Czaar und
Weinlese (Kuntzen), 1793 Zilllmermann.
Weltfrühling (H. Huber), 1894 Zauberflöte (Mozart), 1791
Wem die Krone? (A. Ritter), [890 Zauberharfe (Sehubcrt), 1820
Wereher (Massenct), 1892 Zaza (Lconeavallo), 1900
Wette (B. A. Weber), [805 Zbitenshehik (Bulant), 1787
Wettkampf zu Olympia (Poissi), 18[5 Zeevolk (Gilson), 1904
White Bird (Cartcr), 1924 Zehn Mädchen und kein Mann (Suppe), 1862
Widerspänstigen Zähmung (Goctz), 1874 Zelindor (Rebcl and Franeerur), 1745
151I 15 12
zelmira INDEX OF OPERA~ Zygmunt
Zc1mira (Rossini), 1822 Zitek (Blodek), 1934.
Zemire et Azor (Grctry), 1771 Zmarena Svatba (Sebor), 1879
Zemire und Azor (Baumgarten), 1776 Zolotoy Pyetushok (Rimsky-Korsakov), 1909
Zemire und Azor (Spohr), 1819 Zoraida di Granata (Donizetti), 1822
Zenichovc (Kovarovic), 1884 Zoralme et Zulnar (Boieldieu), 1798
Zenobia (Coerne), 1905 Zoroastre (Rameau), 1749
Zenobia di Palmira (Anfossi), 1789 Zoska (Kamienski), 1781
Zerline (Auber), f851 Zrinyi (Adclburg), 1868
Zhenitba (Musorgsky), 1909 Zrinyi, see also Nikola Subic Zrinski
Zhizn za Tsarya (Glinka), 1836 Zum Grossadmiral (Lortzing), 1847
Zierpuppen (Goetzl), 1905 Zvikovsky Rarasek (Novak), 1915
Zigeunerbaron (]. Strauss), 1885 Zwarte Kapitein (Mertens), 1877
Zilda (Flotow), 1866 Zwei Prinzen (Esser), 1845
Zingara (Rinaldo di Capua), 1753 Zweikampf mit der Geliebten (Spohr), 1811
Zingari (Leoncavallo), 1912 Zwerg (Zemlinsky), 1922
Zingari in Fiera (Paisiello), 1789 Zwillingsbrüder (Schubert), 1820
Zinnober (Hausegger), 1898 Zwingburg (Krenek), 1924
Zite 'n Galera (Vinci), 1722 Zygmunt August (Joteyko), 1925

1513
 11. INDEX OF COMPOSERS
Operas of which the librettos were writtcn, or partly written, by the composer, are marked with an *

Abbate, Genllaro (1874-1954) San Antonio de la Florida, 1894

Matelda, 1902 Enrico Clifford, 1895
Abbatini, Antonio Maria (1597-1680) Pepita Jimenez, 1896
Dal Male il Bene (with Marazzoli), 1653 see also col. 11 37
Abert, JohannJoseph (1832-1915) d'Albert, Eugen (1864-1932)
Astorga, 1866 *Der Rubin, 1893
*Ekkehard, 1878 Die Abreise, 1898
Abos, Girolamo (1719-1760) Kain, 1900
Tito Manlio, 1751 Tiefland, 1903
Abranyi, Emil (1882-) Flauto Solo, 1905
Monna Vanna, 1907 Izeyl, 1909
Adam, Adolphe Charles (1803-1856) Die toten Augen, 1916
Le Chalet, 1834 Der Golem, 1926
Le PostilIon de Longjumeau, 1830 Die schwarze Orchidee, 1928
Le fidele Berger, 1838 Mister Wu, 1932
Le Brasseur de Preston, 1838 see also col. 1280
Regine, 1839 Albertini, Gioacchino (1751-C.1812)
La Reine d'un Jour, 1839 Don Juan, 1783
Le Roi d'Yvetot, 1842 see also col. 358,454
Le Toreador, 1849 Aldrovandini, Giuseppe (c.1665-1707)
Giralda, 1850 Mitridate in Sebastia, 1701
La Poupee de Nuremberg, 1852 see also col. 121
Le Farfadet, 1852 Alessandri, Felice (1742-1798)
Si j' etais Roi, 1852 II Vecchio geloso, 1781
Le Sourd, 1853 see also col. 250, 416, 441
Le BijoLl perdu, 1853 Alfano, Franeo (1876-1954)
Les Pantins de Violette, 1856 Risurrezione, 1904
see also col. 3°5, 320, 360,413, 54 H, 575, 589, II Principc Zilah, 1909
613,782, 869 L'Ombra di Don Giovanni, 1914
Adelburg, August von (1830-1873) *La Leggenda di Sakuntala, 1921
*Zrinyi, 1868 Madonna Imperia, 1927
Agazzari, Agostino (1578-1640) L'ultimo Lord, 1930
Eumdio, 1606 Cyrano di Bergerac, 1936
Agnesi, Maria Teresa (1720-1795) sec also col. 1388
*Ciro in Armenia, 1753 d' Almeida, Francisco Antonio (18th cc.)
Agostini, Pier Simone (c.1650-C.1690) La Pazienza di Socrate. 1733
n Ratto delle Sabine, 1680 La Spinalba, 1739
Ahlström, Olaf (1756-1835) Alpaerts, Flor (1876-1954)
Frigga, 1787 Shylock, 1913
Aiblinger, Johann Kaspar (1779-1867) Alyabyev, Aleksandr Aleksandrovich (1787-
Rodrigo und Zimene, 1821 18 51 )
Alaleona, Domenico (1881-1928) Lunnaya Noch, 1822
*Mirra, 1920 Allladci, Filippo, see Mattei
Alary, Giulio Eugenio Abramo (18 14-1891) Andre, Johann (1741-1799)
Le tre Nozze, 1851 *Der Töpfer, 1773
La Voix humaine, 1861 Belmont und Constanze, 1781
Albcniz, Isaac (1860- I 909 ) *Der Liebhaber als Automat, 1782
The magie Opal, 1893 see also col. 252,255,284,328,332,344,350,
1515 1516
Andre INDEX OF COMPOSERS Auber

35 2,3 63,364,366,374,376,37 8,393,39 8, The Banditi, 1781

4°7, 414, 429, 437 Inkle and Yarico, 1787
Andreae, Volkmar(1879-1962) The Children in the Wood, 1793
Ratcli/f, -1914 see also col. 127, 150, 175, 223, 276, 282,
Abenteuer des Casanova, 1924 335, 357
Andreozzi, Gaetano (1775-1826) Arrieta (y Corera),Emilio (1823-1894)
La Principessa Filosofa, 1794 Ildegonda, 1845
see also col. 491 La Conquista di Granada, 1850
Anfossi, Pasquale (1727-1797) EI Domino azul, 1853
L'Incognita perseguitata, 1773 EI GruIhete, 1853
La frota Giardiniera, 1774 Marina, 1871
Il Geloso in Cimento, 1774 see also col. 873
L'Avaro, 1775 Arroyo, Joao (1861-1930)
La vera CostanZa, 1776 Amore e Perdizione, 1907
Il Curioso indiscreto, 1777 Asenjo Barbieri, Francisco, see Barbieri
I Viaggiatori felici, 178o Aspelmayr, Franz (1728-1786)
Le Gelosie fortunate, 1786 Oie Kinder der Natur, 1778
Zenobia di Palmira, 1789 see also col. 3II, 375
see also col. 261, 341, 371,408, 506 Aspestrand, Sigwardt (1856-1941)
Antheil, George (1900-1959) *Die Seemannsbraut, 1894
*Transatlantic, 1930 d'Astorga, Emanuele (1680-1757)
Helen retires, 1934 Dafni,1709
Apolioni, Giuseppe (1822-1889) see also col. 982
L'Ebreo, 1855 Atanasov, Georgi (1882-1931)
Araja, Francesco (c.1700-1767) Borislav, 19I1
La Forza deli' Amore e deU' Odio, 1734 Atterberg, Kurt (188 7-1974)
Cephal i Prokris, 1755 *Härvard Harpolekare, 1919
see also col. 292 Bäckahästen, 1925
Arditi, Luigi (1822-1903) *Fanal, 1934
La Spia, 1856 Auber, Daniel Franyois Esprit (1782-1871)
see also col. 395, 532, 621, 825 La Bergere Chatelaine, 1820
Arensky, Antony Stepanovich (1861-1906) Emma, 1821
Rafael, 1894 Leicester, 1823
Ariosti, Attilio (I666--c.1740) La Neige, 1823
La Fede ne Tradimenti, 1701 Le Concert ala Cour, 1824
Cajo Marzio Coriolano, 1723 Leocadie, 1824
Teuzzone, 1727 Le Mayon, 1825
see also col. 144 and Index of Librettists Fiorella, 1826
Arne, Michael (1741-1786) La Muette de Portici, 1828
Almena (with Battishill), 1764 La Fiancee, 1829
Cymon, 1767 Fra Diavolo, 1830
see also col. 244 Le Dieu et la Bayadete, 1830
Arne, Thomas Augustine (1710-1778) La Marquise de Brinvilliers, 1831
Rosamond, 1733 Le Philtre, 1831
Thomas and Sally, 1760 Le Serment, 1832
* Artaxerxes, 1762 Gustave IlI, 1833
Love in a Village, 1762 Lestocq, 1834
see also col. 89, u8, 16o, 255, 281, 459, 760 Le Cheval de Bronze, 1835
d'Arneiro, Jose Augusto Ferreira Veiga (1838- Acteon, 1836
190 3) L' Ambassadrice, 1836
L'Elisire di Giovinezza, 1876 Le Domino noir, 1837
Arnold, Samuel (1740-1802) Le Lac d,es Fees, 1839
The Maid of the Mill, 1765 Zanctta, 1840
Polly, 1777 (altered from Pepusch) Les Diamants de la Courorme, 1841
 Auber INDEX OF COMPOSERS Bart6k

Le Duc d'Olonne, 1842 Diadcste, 1838

La Part du Diable, 1843 Falstaff, 1838
La Sirene, 1844 Keolanthe, 1841
La Barcarolle, 1845 Lc Puits d' Amour, 1843
Haydce, 1847 Thc Bohemian Girl, 1843
L'Enfant prodigue, 1850 Lcs quatre Fils Aymon, 1844
Zerline, 1851 Thc Daughtcr of St. Mark, 1844
Marco Spada, 1852 The Enchantress, 1845
Manon Lescaut, 1856 L'Etoile de ScviUe, 1845
La Circassienne, 1861 Thc Bondman, 1846
Le premier Jour de Bonheur, 1868 The Maid ofHonour, 1847
Reve d'Amour, 1869 Thc Devil's in it, 1852
see also coI. II7, 330, 409, 453, 632, 710,900, Pittorc c Duca, 1854
105 I, 1271 Thc Rose ofC:tstille, 1857
Aubert, Louis Franc,:ois Marie (1877-1968) Satanclla, 1858
La Foret bleue, 1913 Thc Puritan's Daughter, 1861
Audinot, Nicolas Medard (173D-IRol) Thc Armourcr ofNantes, 1863
*Le Tonnelier, 1761 Il Talismano, 1874
Audran, Edmond (1842-1901) see also col. 167,480, 591,760, 800, XI7
Le Grand Mogol, 1877 Bantock, Granville (1868-1946)
Les Noces d'Olivette, 1879 *Cacdmar, 1892
La Mascotte, 1880 Thc Seal Woman, 1924
Gillette de Narbonne, 1882 Baranovic, Krdimir (1894-1975)
La Cigale et la Fourmi, 1886 StriZeno-Koseno, 1932
Miss Helyett, 1890 see also col. 12II
L'Enlevement de la Toledad, 1894 Barbieri, Carlo Emanuele di (1822-1867)
La Poupee, 1896 Pcrdita, 1865
Auletta, Pietro (1698-1771) sec also col. 723
. Orazio, 1737 Barbieri, Francisco Asenjo (1823-1894)
see also col. 138, 139, 169, 197,213,228,323 Gloria y Pe!uca, 1850
d'Auvcrgtle, Alltoille, see Dauvergnc Tramoya, 1850
d'Avossa, Giuseppe (1716-1796) Jugar con Fuego, 1851
La Pupilla, 1763 Los Diamal).tes de la Corona, 1854
Azzali, Augusto (18 ..-) Pan y Taros, 1864
Lhidiac, 1893 EI Barberillo de Lavapies, 1874
see also col. 867, 873
Bach, Johann Christian (1735-1782) Barilli, Bruno (1880- I 952)
Alessandro neU' Indie, 1762 *Emiral, 1924
Orione, 1763 Barkworth, John Edmund (1858-1929)
Lucio Silla, 1774 *Romeo and Juliet, 1916
La Clemenza di Scipionc, 1778 see also col. 353
Amadis de Gaule, 1779 Barnett, John (1802-1890)
see also col. 75, 220, 261 The Mountain Sylph, 1834
Bach, Leonhard Emil (1845)-1902) Fair Rosamond, 1837
The Lady of Longford, 1894 Farinelli, 1839
Bachelet, Aifred (1864-1944) Barrios, Angel (1886-1964)
Scemo, 1914 Ei Avapies (with Campo), 1919
Quand la Cloche sonnera, 1922 Bartay, Andras (1798-1856)
see also col. 191 Csel, 1839
Badia, Carlo Agostino (1672-1738) Barthelemon, Franc,:ois Hippolytc (1741-1808)
La Psiche, 1703 Pelopida, 1766
Balfe, Michael William (1808-1870) see also col. 222, 250
The Siege of Rochelle, 1835 Bart6k, Bela (1881-1945)
The Maid of Artois, 1836 A Kekszakallu Herceg Vara, 1918

1520
Bart6k INDEX OF COMPOSERS Berlio?

see also col. 464 I Capuleti e i Montecchi, 1830

Basilj, Basilio;(1803-1895?) La SonnambuIa, 1831
EI Contrabandista, 1841 Norma, 1831
EI DiabIo Predicador, 1846 Beatrice di Tenda, 1833
Basilj, Francesco (1767-1850) I Puritani di Scozia, 1835
GI' Illinesi, I 8I 9 see also col. 353, 523,698,727,858
see also col. 668, 775 Bemberg, Herman (1861-193 I)
Bates, William (d.C.1790) Elaine, 1892
Phamaces, 1765 Benda, Friedrich Ludwig (1752-1792)
Bath, Hubert (1883-1945) Louise, 1791
BubbIes, 1923 Benda, Georg (1722-1795)
see also col. 357 Ariadne auf Naxos, 1775
Battishill,Jonathan (1738-1801) Der Dorfjahrmarkt, 1775
Almena (with M. Ame), 1764 Medea, 1775
Battista, Vincenzo (1823-1873) Walder, 1776
Ermelinda, 185 I Romeo und Julie, 1776
see also col. 783 Der Holzhauer, 1778
Hatton, Desire Alexandre (1798-1855) Pygmalion, 1779
La Fenetre secrete, 18 I 8 see also col. 310, 3I1, 486
see also col. 736 BendI, Karel (1838-1897)
Baumgarten, Gotthilf von (1741-1813) Leila, 1868
*Zemire und Azor, 1776 Dlte nbora, 1892
see also col. 322 Mati Mfla, 1895
Baussnem, Waldemar von (1866-1931) see also col. [I 8S
* Satyros, 1923 Benedict,Julius (1804-1885)
see also col. I148 Un Anno e un Giorno, [836
Bay, Rudolph (1791-1856) The Gipsy's Warning, 1838
Lazarilla, 1853 *The Brides of Venice, 1844
Bazin, Francrois (1816-1878) The Crusaders, 1846
Le Trompette de M. le Prince, 1846 The Lily of Killarney, 1862
Maltre Pathelin, 1856 The Bride of Song, 1864
Le Voyage en Chine, 1865 see also col. 395, 702, 761, 844
Bazzini, Antonio (1818-1897) Bennett, Robert Russell (1894-)
Turanda, 1867 Maria Malibran, 1935
Bechgaard, Jn1ius (r843-1917) Benolt, Pcter Lconard Uopold (1834-1901)
*Frode, 1893 Isa, 1867
Drecke, Ignaz von (1733-1803) Berg, Alban (1885-1935)
Claudine von Villa Bella, 1780 Wozzeck, 1925
see also col. 468, 617 *Lulu, 1937
Beer, MaxJoseph (1851-1908) see also col. IJ 88
Der Strike der Schmiede, 1897 Berg, Natanael (1879-1957)
Beethoven, Ludwig van (1770-1827) *Leila, 1912
Fidelio, 1805 *Engelbrekt, 1929
see also col. 38!, 384, 460, 482, 514, 534, *Judith, 1936
540,545,55 0,553, 573,5 83,5 88 ,635,749 Berggreen, Andreas Peter ~Ldol-[880)
Beffroy de Reigny, Louis Abel (1757-1811) Billedet og Bustcn, 1832
*Nicodcme dans Ja Lune, 1790 Berlioz, Hcctor (1803-1869)
*Les deux Nicodcmes, 1791 Benvenuto Cellini, 1838
Belli, Domenico (c.I550-aficr 1618) *Beatrice et Bencdict, 1862
Il Pianto d'Orfeo, 1616 *Les Troycns a Carthage, 1863
Bellini, Vincenzo (1801-1835) *Die Eroberung Trojas, 1890
Bianca e Gcrnando, 1826 *La Damnation de Faust, 1893
Il Pirata, 1827 see also coI. 263, 264, 296, 676, 67'), 785, 916
La Straniera, 1829 and Index ofLibrettists.

152[ 1522
Bemabei INDEX OF COMPOSERS Bloch

Bemabei, Giuseppe Antonio (1649--1732) Proserpina. 1938

L' Ascanio, 1686 Bianchini, Guido (1885-)
see also col. 40 Radda, 1914
Bemardini, MarceIIo, called MarceIIo di Capua 11 Principe e Nuredha, 1923
(c. 1740-1 8 .. ) Biber, Heinrich Ignaz Franz von (1644-1704)
*Il Conte di bell' Umore, 1783 Chi la dura la vince. 1687
see also col. 545 Bienstock. Heinrich (1894-1918)
Bemasconi, Andrea (1706-1784) Sandro der Narr. 1916
Temistocle. 1740 Bierey, Gottlob Benedikt (1772-1840)
Bemers, Gerald Hugh Tyrwhitt-Wilson. Lord Rosette, das Schweizer Hirtenmädchen, 1806
(188 3- 195°) Wladirnir, Fünr von Novgorod, 1807
Le Carrosse du Saint-Sacrement, 1924 see also col. 536, 667
Berr, Jose'(1874-?) Bishop, Henry Rowley (1786-1855)
Der tote Gast, 1923 The Circassian Bride, 1809
Bertali, Antonio (1605-1669) The Maniac, 1810
Theti, 1652 Maid Marian, 1822
L'Inganno d' Amore. 1653 Clari. 1823
see also col. 45 Aladdin, 1826
Bertin. Louise Angelique (1805-1877) see also col. 89, 162.257,280,291,322, 383,
*Fausto, 1831 39 1.42 7,455,456,463, 61 3,626,654,678,
La Esmcralda, 1836 719, 720, 727, 729. 734, 73 6
Bertin de la Doue, T. (c.1680-1745) Bittner. Julius (1874-1939)
Ajax, 1716 *Die rote Gret, 1907
Berton, Henri Montan (1767-18«) *Der Musikant, 1910
Les Promesses de Mariage, 1787 *Der Bergsee, 1911
Les Rigueurs du Cloitre, 1790 *Das höllisch Gold, 1916
*Ponce de Leon. 1797 Bizet, Georges (1838-1875)
Montano et Stephanie, 1799 Les Pecheurs de Perles. 1863
Le Delire, 1799 La jolie Fille de Perth, 1867
Le grand Deuil, 1801 Djamileh, 1872
Le Concert interrompu, 1802 Carmen, 1875
Aline, Reine de Golconde, 1803 Don Procopio, 1906
Les Maris Gan;:ons, 1806 see also col. 1027, 1117
Virginie, 1823 Blaise, Benolt (17 ..-1772)
see also col. 230,242, 288, 292, 375, 459,478, Annette et Lubin, 1762
489,55 0 ,73 6 Isabelle et Gertrude, 1765
Bertoni, Ferdinando Giuseppe (1725-1813) see also col. 75, II7. 130, 179. 313
Le Pescatrici, 1751 BIamont, Fran'fois Colin de (1690-1760)
Orfeo, ed Euridice, 1776 Les Festes Grecques et Romaines, 1723
Quinto Fabio, 1778 Blangini, Felice (1781-1841)
see also col. 349, 367, 392 Nephtali. 1806
Berutti, Arturo (1862-1938) Le Sacrifice d' Abraham. 1810
Tarass Bulba, 1895 see also col. 427, 736
Pampa, 1897 Blaramberg, Pavel Ivanovich (1841-1907)
Yupanky, 1899 Tushintsi, 1895
*Gli Eroi, 1919 Blavet, Michel (1700-1768)
Berwald, Franz Adolf (1796-1868) Le Jaloux corrige, 1752
Estrella de Soria, 1862 Blech, Leo (1871-1958)
see also coI. 606 Das war ich. 1902
Bianchi, Franceseo (1752-1810) Alpenkönig und Menschenfeind, 1903
La Villanella ra pita, 1783 Versiegelt, 1908
La Vendetta di Nino, 1790 see also col. 142 I
see also col. 506, 992 Bloch, Emest (1880-1959)
Bianchi, Renzo (1887-1972) Macbeth, 1910

15 2 3
 Blockx INDEX OF COMPOSERS Boughton
Blockx,Jan (1851-1912) sec also col. 230, 234, 299, 345. 377
Maitre Martin, J ~92 Bononcini, Giovanni (1670-1747)
De Herbergprinscs, J896 Polifcmo, 1702
Thyl Uylenspicgel, 1900 Almahidc, 1710
De Buid der Zee, 1901 Astarto, 1720
Baldie, J903 Crispo, 172 I
Blodek, Vilcm (1834-J874) II Muzio ScevoJa (with Mauci :l11d Handel)
V Studni, 1867 J721
Zitek, 1934 Astianattc, 1727
Blow, John (1649-J708) sCc also col. 98, 1[7, IlS, 120, 123, 145, J47.
Venus and Adonis, c.1684 14 8 ,153,159
Bochsa, Robert Nicolas Charles (17~9-1856) Bononcini, Marc Antonio (1677-1726)
La Lettre de Change, 1815 II Trionfo di Camilla, 1696
Boeck, Auguste dc (1865-1937) Grisclda, 171S
En Wintcrnachtsdroom, 1902 ser also col. T53, 157
La Route d'Emeraude, 1921 llolltcmpi, Giovanni Andrea (1624- J 7°5)
see also col. 1224 *I1 Paridc, 1662
Boero, Fdipc (1884-1958) *Dafnc (with Pcranda), 1671
EI Matrcro, 1929 sec also col. 34, [41
Boezi, Erncsto (1856-J946) Boom,Jan van (IS07-IX72)
Don Paez, J 893 Necken, 1844
sec also col. 1165 Horch, Gaston (1871-1926)
ßoicldicu, Franc;ois Adricn (1775-1834) *Silvio, 1898
La Fille coupable, 1793 Boretti, Giovanni Antonio (C.1640-c.r673)
La Fanülk Suisse. 1797 Eliogabalo, 166R
Zorai'me et Zulnar, 1798 sec also col. 40
ßcniowski, 1800 Borghi, Giovanni 13attista (c.171 3-1796)
Le Califc dc ßagJad, 1800 La Morte di Semiramide, 1791
Ma Tante Aurore, 1 S03 Borodin, Alcksandr Porfyrcvich (1833-18117)
La jCUIlC Femmc Colere, 1805 Bogatyri, 1867
Telemaque, 1806 *Knyaz Igor, 1890
Les Voiturcs versees, 1808 see also col. 1158
Ricn dc trop, 18 I I Boroni, Antonio (1738-1792)
Jean de Paris, 18 I 2 L'Amorc in Musica, 1763
Le nouvcau Seigneur dc Village, 1813 sec also coL 298
La Fete du Villa ge voisin, 1816 ßörresen, Hakon (1876-1954)
Le petit Chaperon rouge, 1818 Den kongelige Gast, 1919
La Dame blanche, 1825 Kaddara, 1921
Lcs deux N uits, 1829 Bortnyansky, Dmitry Stepanovich (1751-1825)
see also col. 5°9, 576, 6°5, 689, 736 Crconte, 1776
Boismortier, Joseph Bodin de ((.1691-1755) Quinto Fabio, 1778
Daphnis ct Chloe, 1747 ßoschetti, Giovanni (c.1570-1622)
Boisselot, Xavier (18II-1893) Strali d' Amore, 16J6
Ne touchcz pas a la Reine, 1847 Bossi, Enrico Marco (1861-1925)
Mosquita Ja Sorciere, 1851 Il Vcggcnte, 1890
Boito, Arrigo (1842-1918) Bossi, Rcnzo (1883-1965)
*Mefistofcle, 1868 Passa la Ronda!, 1919
*Nerone, 1924 Volpino il Calderaio, 1925
see also col. 1400 and Bottesini, Giovanni (1821-1889)
Indcx of Librettists L'Assedio di Firenze, 1856
Bonawitz, Johann Heinrich (1839-1917) Ali Baba, 1871
Ostrolenka, 1874 Ero e Leandro, 1879
Bonno, Giuscppe (1710-1788) see also col. 992, 1206
L'Eroe Cincse, 1752 Boughton, Rutland (1878-1960)

1526
Boughton INDEX OF COMPOSERS Buongiomo

The Immortal Hour, 1914 see also col. 165, 184

Alkestis, 1922 Bruch, Max (1838-1920)
The Queen of Comwall, 1924 Scherz, List und Rache, 1858
*The Lily Maid, 1934 Die Loreley, 1863
Boulanger, Emest Henri Alexandre (1815-1900) Hermione, 1872
Les Sabots de la Marquise, 1854 see also col. 1129
see also col. 653, 922 Brucken-Fock, Emile van (1857-1944)
Bourgault-Dllcoudray, Louis Albert (184<r-19IO) Seleneia, 1895
Thamara, 1891 Brüggemann, Alfred (1873-)
Myrdhin, 1912 *Margherita, 1910
see also col. 60 I see also col. 1201, 1240, 1256, 1261, 13°3,
Bovy-Lysberg, Charles Samuel (1821-1873) 1322,1325,1331,1346,1363,1364,1368,
La Fille du Carillonneur, 1854 13 88,1404,1408.
Boxberg, Christian Ludwig (167<r-1729) Brüll, 19naz (1846-1907)
*Sardanapalus, 1698 Das goldene Kreuz, 1875
see also col. 93 Der Landfriede, 1877
Doyce, William (171<r-1779) Gringoire, 1892
The Chaplet, 1749 Bruneau, Alfred (1!\57-1934)
Braga, Gaetano (1829-1907) Le Reve, 1891
Reginella, 1871 L' Attaquc du Moulin, 1893
Brand, Max (1896-) Messidor, 1897
*Maschinist Hopkins, 1929 L'Ouragan, 1901
Brandts-Duys, Henry (185<r-1905) L'Enfant Roi, 1905
Albrecht Beiling, 1891 *Nais Micoulin, 1907
Drandts-Buys,Jan (1868-1933) *Les quatre Joumces, 1916
Die Schneider von Schöna\1, 1916 Le Roi Candaule, 1920
Draunfels, Walter (1882-1954) Angelo, Tyran de Padoue, 1928
*Prinzessin Brambilla, 1909 Virginie, 193 I
*Die Vögel, 1920 Bruni, Antonio Bartolomll1co (175 I - I H2 I)
*Don Gil von den grünen Hosen, 1924 Toberne, 1795
Galatea, 1930 Le Major Palmer, 1797
Bredal, Ivar Frederik (180<r-1864) Brusa, Giovanni Francesco (d. after 176H)
Druden fra Lammermoor, 1832 Lc Statue, 1756
Bree, Jean Bemard van (1801-1857) see als,) col. 232
Saffo, 1834 Bryson, Ernest (1867- I 942)
Breil, Joseph Carl (187<r-1926) Thc Leper's Flute, 1926
The Legend, 1919 Buck, Dudley (1839-1909)
Bret6n, T6mas (185<r-1923) Deseret, 18 Ro
*Gli Amanti di Terucl, 1889 see also col. 844
Garin, 1892 Buffm, Victor (1867-)
La Verbena de la Paloma, 1894 Kaatje, 1913
*La Dolores, 1895 ßuini, Giuseppe Maria (c.1695-1739)
"'Raquel, 1900 *Malmocor, 1728
*Tabarc, 1913 see also col. 138, 159
Dreville, Pierre de (1861-1949) Bulant, Jean (18th ct.)
Eros vainqueur, 1910 Zbitenshchik, 1787
Bristow, George Frederick (1825-IH98) Bungert, August (1845-1915)
Rip van Winkle, 1855 *Odysseus' IIcimkehr, 1 H9!!
Brogi, Renato (1873-1924) *Kirke, 1898
Isabella Orsini, 1920 *Nausikaa, 1901
Bronner, Georg (1666-1724) *Odysseus' Tod, 19°3
Echo und Narcissus, 1693 Bunning, Herbert (1863-1937)
Broschi, Riccardo ((.1701-1756) Princesse Osra, 1902
Merope, 1732 BlIongiorno, Crcscenzo (1864-1903)

15 28
Buongiomo INDEX OF COMPOSERS Carr
Das Mädchenherz, 1901 Esmeralda, 1869
Busoni, Ferruccio (1866-1924) see also col. 783
*Die Brautwahl, 19J2 Campbell, Colin Macleod (1890-1953)
*Turandot, 1917 Thais and Talmaae, 1921
* Arlecchino, 1917 Campo (y Zabaleta), Conrado dei (1879-1953)
*Doktor Faust, 1925 EI Avapies (with Barrios~ 1919
Bustini, Alessandro (1876-1970) Campra, Andre (1660-1744)
Maria Dulcis, 1902 . L'Europe galante, 1697
Buzzi, Antonio (1815-1891) Hesione, 1700
Saul, 1843 Tancrede, 1702
Iphigcnie en Tauride (with Demarets), 1704
Caballero, Manuel Fenundez (1835-1906) Les Festes Venitienncs, 1710
EI Salto del Pasiego, 1878 Idomcnee, 1712
La Viejecita, 1897 Camille, Reine des Voisques, 1717
Gigantes y Cabezudos, 1898 see also co1. 84, 154
Caccini, Francesca (1588-16 .. ) Cammsi, Ezio (1883-1956)
La Liberazione di Ruggiero, 1625 La Dubarry, 1912
Caccini, Giulio (U545-1618) Sdmpolo, 1925
n Rapimento di Cefalo, 1600 Candcille, Pierre Joseph (1744-1827)
L'Euridice, 1602 Castor et Pollux, 1791
see also co1. I, 2, 3, 4, 9, II see also co1. 191
Cadman, Clnrles Wakefield (1881-1946) Cannabich, Carl (1771-1806)
Shanewis, 1918 Palmer und Amalia, 1803
A Witch of Salem, 1926 Canobbio, Carlo (1741-1822)
Caetani, Roffredo (1871-19<51) Nachalnoye Upravlenie Olega (with pash-
*Hypatia, 1926 keevich and Sarti), 1790
Cafaro, Pasquale (c.1715-1787) Canteloube,Joseph (1879-1957)
La Disfatta di Dario, 1756 *Le Mas, 1929
see also co1. 463 Vercingetorix, 1933
Cagnoni, Antonio (1828-1896) Caproli, Carlo (C.1650)
Don Bucefalo, 1847 Le Nozze .di Peleo e di Theti, 1654-
Papa Martin, 1871 see also col. 41
Caldara, Antonio (1670-1736) Capua, Marcello di, see Bernardini
Ifigenia inA ulide, 1718 Capua, Rinaldo di, see Rinaldo
Carafa, Michele (1787-1872)
Lucio Papirio, 1719
Gabriclla di Vergy, 1816
Gianguir, 1724
Le Solitaire, 1822
Don Chisciotte, 1727
Le Valet de Chambre, 1823
La Pazienza di Socrate con due Moglie (with Masaniello, 1827
J. G. Reutter), 1731 La Prison d'Edimbourg, 1833
Il Demetrio, 1731 see also co1. 664, 687, 736, 803
Sancio Panza, 1733 Cardoso, Domingo Cyriaco de (1846-1900)
Achille in Sciro, 1736 o Burro do Senhor Alcaide, 189I
see also co1. 141, 151, 168, 171, 172, 179, 183, Carey, Henry (c.1687-1743)
184,185,191,192,196-203,208,210,214, *The Contrivances, 1729
215,219,225,233,238,251,271,294. 365, see also co1. 159, 163
410,512 Camicer, Ram6n (1789-1855)
Cambert, Robert (U628-1677) Adele di Lusignano, 1819
Pastorale, 1659 n Dissoluto punito, 1822
Pomone, 1671 Colombo, 1831
Les Peines et les Plaisirs de l' Amour, 1672 Ismalia, 1838
Ariane, 1674 Carr, Benjamin (1768-1831)
see also col. 33, 51, 55 The Archers, 1796
Campana, Fabio (1819-1882) see also co1. 163. 510
1529 153 0
Carter INDEX OF COMPOSERS Chapuis

Carter, Ernest (1866-1953) L'Erismena, 1655

The white Bird, 1924 L'Hipermestra, 1658
Caruso, Luigi (1754-1822) Ercole amante, 1662
L' Albergatrice vivace, 1780 Scipione Africano, 1664
Gli Amanti alla Prova, 1783 Mutio Scevola, 1665
Carvalho, Joao de Sousa (1745-1798) n Coriolano, 1669
L' Amore industrioso, 1769 see also col. 16,24,35,41,50,68,71,193,439
Penelope nella Partenza da Sparta, 1782 Cavos, Ca~terino (1776-1840)
Caryll, Ivan (1861-1921) Ilya-Bogatir, 1807
The Duchess of Dantzic, 1903 Ivan Susanin, 1815
see also col. 1067, II 24 see also col. 18o, 537, 538,685,995
Casadesus, Francis Louis (1870-1954) Cellier, Alfred (1844-1891)
Cachapres, 1914 Dorothy, 1886
Casavola, Franco (1892-1955) Cesti, Antonio (1623-1669)
Il Gobbo de! Califfo, 1929 Orontea, 1649
Casella, Alfredo (1883-1947). L'Argia, 1655
La Donna Serpente, 1932 La Dori, 1661
La Favola d'Orfeo, 1932 Il Tito, 1666
Il Deserto tentato, 1937 11 Porno d'Oro, 1667
see also col. 595 Le Disgrazie d' Amore, 1667
Caspers, Louis HcnriJean (1825-1861) see also col. 16, 28, 3I
Ma Tante dort, 1860 Chabrier, Alexis Emanuel (1841-1894)
Cassad6, Joaqufn (1867-1926) L'Etoile, 1877
Il Monaco nero, 1920 Une Education manquee, 1879
Castelnuovo-Tedesco, Mario (1895-1968) Gwendoline, 1886
La Mandragola, 1926 Le Roi malgre lui, 1887
Catalani, Alfredo (1854-1893) Briseis, 1899
Elda, 1880 see also col. 12 I 6
Dejanice, 1883 Chadwick, George Whitefield (1854-1931)
Edmea, 1886 Tabasco, 1894
La Wally, 1892 Chaikovsky, Piotr Ilyich (1840-1893)
Catel, Charles-Simon (1773-1830) *Voyevoda, 1869
Semiramis, 1802 *Oprichnik, 1874
Les Bayaderes, 1810 Vakula Kuznyets, 1876
Les Aubergistes de Qualite, 1812 *Yevgeny Onyegin, 1879
Wallace, 1817 *Orleanskaya Dyeva, 1881
Catrufo, Giuseppe (1771-1851) *Mazeppa, 1884
Felicie, 1815 Charodyeka, 1887
Cattelani, Ferruccio (1867-1932) Pikovaya Dama, 1890
Atahualpa, 1900 Iolanta, 1892
Caudella, Eduard (1841-1923) see also col. 480, I I 87
Oltenca (with Otremba), 1880 Champein, Stanislas (1753-1830)
Petru Rares, 1900 La Melomanie, 1781
Cavalli, Francesco (1602-1676) Les Dettes, 1787
Le Nozze di Teti e di Peleo, 1639 Le nouveau Don Quichotte, 1789
Gli Amori di Apollo e di Dafne, 1640 Chapi (y Lorente), Ruperto (1851-1909)
La Didone, 1641 La Hija de Jefte, 1876
L'Egisto, 1643 La Tempestad, 1882
Giasone, 1649 La Bruja, 1887
L'Oristeo, 1651 La Revoltosa, 1897
Alessandro Vincitor di se stesso, 1651 Curro Vargas, 1898
L'Orione, 1653 Circe, 1902
Xerse, 1654 Margarita la Tornera, 1909
II Ciro, 1654 Chapuis, Auguste (1858-1933)

1531 1532
Chapuis INDEX OF COMPOSERS Coccia

Enguerrande, 1892 Pimmaglione, 1790

Charpentier, Gustave (1860-1956) see also col. 3II, 474
*Louise, 1900 Cimarosa, Domenico (1749-1801)
*Julien, 1913 L'ltaliana in Londra, 1778
Charpentier, Marc-Antoine (1634-1704) L'Infedelta fedele, 1779
Medee, 1693 11 Falegname, 1780
see also col. 27 11 Pittor Parigino, 1781
Chaumet, William (1842-1903) Giannina e Bernadone, 1781
Herode, 1885 11 Convito, 1781
Chausson, Ernest (1855-1899) La Ballerina amante, 1782
*Le Roi Arthus, 1903 Chi delI' altrui si veste ... , 1783
Chelard, Hippolyte (1789-1861) I due Baroni di Rocca Azzurra, 1783
Macbeth,1827 L'Olimpiade, 1784
La Table et le Logement, 1829 I due supposti Conti, 1784
Die Hermannsschlacht, 1835 Le Trame deluse, 1786
see also col. 678 L'lmpresario in Angustie, 1786
Chelius, Oskar von (1859-1923) 11 Fanatico burlato, 1787
Die vernarrte Prinzess, 1905 La Vergine del Sole, 1789
Chelleri, Fortunato (1690-1757) 11 Matrimonio segreto, 1792
L'Innocenza giustificata, 17II
I Traci amanti, 1793
see also col. 77, 137, 163
Le Astuzie femminili, 1794
. Cherepnin, Alexandr Nikolaevich (1899-1977)
01-01,1928 Penelope, 179~
see also col. 369 I Nemici generosi, 1795
Cherubini, Luigi (1760-1842) Gli Orazi ed i Curiazi, 1796
Lo Sposo di tre, Marito di nessuna, 1783 Artemisia, 1801
La finta Principessa, 1785 see also col. 18o, 313,423,492
Ifigenia in Aulide, 1788 Cirillo, Francesco (1623-16 .. )
Demophoon, 1788 L'Orontea Regina di Egitto, 1654
Lodoiska, 1791 Clapisson, Antoine Louis (1808-1866)
Eisa, 1794 La Perruche, 1840
Medee, 1797 La Promise, 1854
L'HötelIerie Portugaise, 1798 La Fanchonnette, 1856
Les deux Journees, 1800 see also col. 916
Anacreon, 1803 Clasing, Johann Heinrich (1779-1829)
Faniska, 1806 Mischelli und sein Sohn, 1806
Pimmalione, 1809 Clayton, Thomas (c.r67O-C.I730)
Les Abencerages, 1813 Arsinoe, Queen of Cyprus, 1705
Ali Baba, 1833 Rosamond, 1707
see also col. 286, 330, 364, 368, 382, 417, 441, see also, 120, 172
45g, 46o, 466,468,475, 4 82 , 491, 575, 596, Clerice,Justin (1863-1908)
Le Meunier d' Alcala, 1887
73 6
Chueca, Federico (1846-1908) Clutsam, George H. (1866-1951)
La gran Via (with Valverde), 1886 * A Summer Night, 1910
Ciampi, Vincenzo Legrenzio (1719-1762) Coates, Albert (1882-1953)
Bertoldo, Bertoldino e Cacasenno, 1748 Samuel Pepys, 1929
11 Negligente, 1749 *Pickwick, 1936
see also col. 174, 206, 211, 229 see aL<o col. 1408
Cilea, Francesco (1866-1950) Cocchi, Gioacchino ('.1715-1804)
La Tilda, 1892 La Maestra, 1747
L'Arlesiana, 1897 Li Matti per Amore, 1754
Adriana Lecouvreur, 1902 see also col. 16, 195, 223, 229
Gloria, 1907 Coccia, CarIo (1782-1873)
Cimadoro, Giambattista (c.1761-1805) Clotilda, 1815

1533 1534
Coccia INDEX OF COMPOSERS Dalayrac
Caterina di Guise, 1833 Comelius, Peter (1824-1874)
see also col. 8I 3 *Der Barbier von Bagdad, 1858
Coelho, Ru}' (1891-) *Der Cid, 1865
Belkiss, 1938 *Gunlöd, 1891
Coeme, Louis Adolphe (1870-r9:::2) see also col. 797, 971
Zenobia, 1905 Coronaro, Gaetano (1852-1908)
Cohen, Jules (1835-190r) Un Tramonto, 1873
Les Bleuets, 1867 Coronaro, Gcllio Benvenuto (1863-1916)
Coignet, Horace (1736--1821) Festa a Marina, 1893
Pygmalion (withJ.J. Rousseau), 1770 see also col. II66
Colasse, Pascal (1649-1709) Corri, Domenico (1744-1825)
Achile et Polixene, 1687 The Travellers, 1806
Thetis et PeIee, 1689 Corselli, Francesco ((.1705-17 .. )
see also col. 237 Alessandro nell' Indie, 1738
Colin, Charles (18 ..-) Cossoul, GlIilherme (1828-1880)
Maitena, 1909 A Cist~ma do Diabo, 1850
Collingwood, Lawrance Arthllr (1 8H7-) Costa, Micheie (1808-1884)
*Macbeth, 1934 Malek Adel, 1837
Colonna, Pompeo (d. 1661) Don Carlos, 1844
La Proserpina rapita, 1645 see also col. 553, 591, 659, 678, 761
Conforto, Niccolo (1727-1765) Cottrau, Giulio (1831-1916)
Nitteti, 1756 Griselda, 1878
see also col. 225, 237 Courvoisier, Walter (1875-1931)
Conradi, Johann Georg (17th ct.) Lanzelot und Elaine, 1917
Gensericus, 1693 Cowen, Frederic Hymen (1852-1935)
Conti, Carlo (1796--1868) Pauline, 1876
Olimpia, 1826 Thorgrim, 1890
Conti; Francesco (1682-1732) Signa, 1893
Alba Comelia, 1704 Harold, 1895
Clotilda, 1706 Cras, Jean (1879-1932)
11 Trionfo deli' Amore, 17II Polypheme, 1922
I Satiri in Arcadia, 1714 Csaszar, György ((.1820-18 .. )
Don Chisciotte in Sierra Morena, 1719 A Kunok, 1848
L'lssipile, 1732 Cui, Cesar Antonovi(h, see Kyui
see also col. 135 Curschmann, Karl Friedrich (1805-184T)
Converse, Frcdcrick Shepherd (1871-1940) Abdul und Erinieh, 1828
The Pipe ofDesire, 1906 see also col. 709
*The Sacrificc, 1911 Curti, Franz (1854-1898)
Coppola, Pier Antoriio (1793-1877) Lili-Tsee, 1896
La Pazza per Amore, 1835 Cuyas [y Bores], Vicente (1816--1839)
G li Illinesi, 1835 La Fattuchiera, 1838
Enrichetta Baienfeld, 1836
Giovanna Prima, Regina di Napoli, 1840 Daddi, Joäo Guilherme (1814-1887)
see also co!. 783 o Salteador, 1845
Coquard, Arthur (1846--1910) Dalayrac, Nicolas (1753-1809)
*La Troupe Jolica:ur, 1902 La Dot, 1785
Cordella, Giacomo (17 86--1846) Nina, 1786
Gli Avventurieri, 1825 Azemia, 1786
see also col. 665 Renaud d' Ast, 1787
Corder, Frederick (1852-1932) Sargines, 1788
*Nordisa, 1887 Les deux petits Savoyards, 1789
see also Index of Librettists Raoul, Sire de Crequi, 1789
Comacchioli, Giacinto (17th ct.) La Soiree orageuse, 1790
Diana sehernita, 1629 Camille, 1791

1535
Dalayrac INDEX OF COMPOSERS Dezede

Philippe et Georgette, 1791 L'Enfant prodiguc, 1910

Ambroise, 1793 De Ferrari, S. A., see Ferrari
Adele et Dorsan, 1795 Deffes, Louis Pierre (18I~I900)
MarialUle, 1796 Le Cafe du Roi, 1861
La Maison isoIee, 1797 Jessica, 1898
Gulnare, 1798 De Giosa, Nicola, see Giosa
Alexis, 1798 De Haan, Willem, see Haan
Leon, 1798 De!annoy, Maree! (1898-1962)
Adolphe et Clara, 1799 Le Poirier de Misere, 1927
Maisün 11 vendre, 1800 Le Füu de la Dame, 1930
Lehcman, 1801 De Koven, H. L. R., see Koven
L' Antichambre, 1802 De Lara, Isidore, see Lara
La jcune Prudc, 1804 De Leva, Ellrico, see Leva
Une Heure.de Mariage, 1804 Delibes, Leo (I83~189I)
Gulistan, 1805 Le Roi l' a dit, 1873
Deux Mots, 1806 Jean de Nivclle, 1880
Koulouf, 1806 Lakme, 1883
see also p. col. 502, 678 Kassya, 1893
Damrosch, Walter JohalUles (1862-1950) see also coI. 958, 1051
The scarlet Letter, 1896 Delius, Fredcrick (1862-1934)
Cyrano, 1913 *Koanga, 1904
*The Man without a Country, 1937 *Romeo und Julia auf dem Dorfe, 1907
see also col. 1097 *Fennimore und Gerda, 1919
Danzi, Franz (1763-1826) Della Maria, Pierre Antoine Dominique (176~
Die Mitternachtsstunde, 1788 1800)
see also col. 344, 529 L'Oncle Valet, 1798
Dargomuizhsky, Aleksandr Sergyeevich (1813 Le Prisonnier, 1798
- 1869) L'Opera-cornique, 1798
*Esmeralda, 1847 Deller, Florian (172~1773)
*Rusalka, 1856 11 Maestro di Capella, 1771
Kamyeny Gost, 1872 Dellinger, Rudolf (1857-1910)
see also col. 783 Don Cesar, 1885
Dassoucy, Charles Coypeau (1605-1677) Denza, Luigi (184~1922)
Andromede, 1650 Wallenstein, 1876
Dauvergne, Antoine (1713-1797) De Rogatis, Pascual, see Rogatis
Les Troqueurs, 1753 De Sabata, Vicfor, see Sabata
~a Coquette trompee, 1753 Desmarets, Henri (1662-1741)
Enee et Lavinie, 1758 Venus et Adonis, 1697
see also col. 73, 128, 148 Iphigenie en Tauride (with Campra), 1704
Davico, Vincenzo (1889-1969) see also col. 324
La Dogaressa, 1920 Dessauer, Josef (1798-1876)
David, Felicien (1810-1876) Ein Besuch in Saint-Cyr, 1838
La Perle du Bresil, 1851 Destouches, Andre Cardinal (1672-1749)
Herculanum, 1859 Isse, 1697
Lalla-Roukh, 1862 Amadis de Greee, 1699
see also col. 916, 962 Omphale, 1700
David, Kar! Heinrich (1884-1951) Callirhoe, 1712
*Traumwandel, 1928 see also col. 154
Davidov, Aleksei Avgustovich (1867-1940) Deswert, Jules (1843-1891)
Potonuvshy Kolokol, 1903 Die Albigenser, 1878
Davies, John (17 ..-18 .. ) DevielUle, Franc;:ois (175~1803)
The Forest Rose, 1825 Les Visitandines, 1792
Debussy, Claude (1862-1918) Les Comediens ambulans, 1798
Pelleas et Melisande, 1902 Dezede, Nicolas (c.1745-1792)

1537 153 8
Dezede INDEX OF COMPOSERS Drieberg

Julie, 1772 Parisina, 1833

L'Erreur d'un Moment, 1773 Torquato Tasso, 1833
Les trois Fermiers, 1777 Lucrczia Borgia, 1833
Blaise et Babet, 1783 Gemma di Vergy, 1834
Alexis et Justine, 1785 Marino Faliero, 1835
Diaz (dc la Pena), Eugenio (1837-1901) Lucia di Lammcrmoor, 1835
La Coupe du Roi de Thule, 1873 Belisario, 1836
Dibbern, Kar! (1855-1919) *11 Campanello di Notte, 1836
*Odja, 1901 *Betly, 1836
Dibdin, Charles (1745-1814) Roberto d'Evereux, Comte d'Essex, 1837
Lione! and Clarissa, 1768 Maria di Rudenz, 1838
The Padlock, 1768 La Fille du Regiment, 1840
The Ephesian Matron, 1769 Les Martyrs, 1840
*The Waterman, 1774 La Favorite, 1840
*The Seraglio, 1776 Adelia, 1841
see also col. 175,222,226,241,258,277,283, Maria Padilla, 184 I
305, 315 Linda di Chamounix, 1842
Dieter, Christian Ludwig (1757-1822) *Don Pasquale, 1843
Belmont und Constanze, 1784 Maria di Rohan, 1843
see also col. 381, 394 Don Sebastien, Roi de Portugal, 1843
Dietsch, Pierre Louis Philippe (1808-1865) Rita, 1860
Le Vaisseau-Fantome, 1842 Il Duca d'Alba, 1882
see also col. 827 see also col. 288,315,618,712,734,742,762,
Dittersdorf, Karl Ditters von (1739-1799) 764·
Betrug durch Aberglauben, 1786 Dopper, Cornelis (1870-1939)
Doctor und Apotheker, 1786 Het Eerekruis, 1903
Democrito corretto, 1787 William Ratcliff, 1909
Die Liebe im Narrenhaus, 1787 Doppler, Albert Franz (1821-1883)
*Hironimus Knicker, 1789 Grof Benjowsky, 1847
*Das rothe Kaeppchen, 1790 Ilka, 1849
Der Gutsherr, 1791 Wanda, 1856
see also col. 422, 469, 542 Judith, 1870
Dluski, Erasmus (1857-1923) Doret, Gustave (1866-1943)
*Urvasi, 1902 Les Armaillis, 1906
Dobrzynski, Ignaz Felix (1807-1867) see also col. 265
Monbar, 1863 Dorn, Heinrich (1804-1892)
Dohnanyi, Ernö (1877-196°) Der Schöffe von Paris, 1838
Tante Simona, 1913 Die Nibelungen, 1854
A Vajda Tornya, 1922 see also col. 702, 825
A Tenor, 1929 Doss, Adolfvon (1825-1886)
Donaudy, Stcfano (1879-1925) Percifal, 1883
La Fiamminga, 1922 Draeseke, Felix (1835-1913)
Donizetti, Gaetano (1797-1848) *Herrat, 1892
Zoraida di Granata, 1822 Draghi, Antonio (1635-1700)
L' Ajo nell' Imbarazzo, 1824 Achille in Sciro, 1663
Olivo e Pasquale, 1827 Leonida in Tegea, 1670
Gli Esiliati in Siberia, 1827 La Lanterna di Diogene, 1674
n Borgomastro di Saardam, 1827 La Patienza di Socrate, 1680
L'Esule di Roma, 1828 La Chimera, 1682
La Regina di Golconda, 1828 see also col. 104, 120, 166, 172, and Index of
Anna Bolena, 1830 Librettits
*Fausta, 1832 Dragoi, Sabin (1894-1968)
L' Elisir d' Amore, 1832 Napasta, 1928
n Furioso nell' Isola di San Domingo, 1833 Drieberg, Friedrich von (1780-1856)

1539 1540
Drieberg INDEX OF COMPOSERS Erlebach

*Der Sänger und der Schneider, 1814 Cert a Kaca, 1899

Du Bois, Uon (1859--1935) RusaIka, 1901
Blenie, 1912 Armida, 1904
Dubois, Theodore (1837-1924) Dyutsh (Dütsch), Otto I. (C.1825-1863)
Aben Harnet, 1884 Kroatka, 1860
Xaviere, 1895 Dzerzhinsky, Ivan Ivanovich (1909--)
Dukas, Paul (1865-1935) Tikhy Don, 1935
Ariane et Barbe-Bleue, 1907
see also col. 464 Eberl, Anton (1766-1807)
Duni, Egidio Romoaldo (1709--1775) Die Königin der schwarzen Inseln, 1801
Nerone, 1735 Edelmann, Johann Friedrich (1749--1794)
Le Caprice amoureux, 1755 Ariane dans l'Isle de Naxos, 1782
Le Peintre amoureux de son Modele, 1757 Eeden, Jean Baptiste van den (1842-1917)
L'Isle des Foux, 1760 Numance, 1898
Le Milicien, 1762 Rhena, 1912
Les deux Chasseurs et la Lairicre, 1763 Eichberg,Julius (1824-1893)
La Fee UrgeIe, 1765 The Doctor of Alcantara, 1862
La Clochette, 1766 Elling, Catharinus (1858-1942).
Les Moissonneurs, 1768 Kosakkeme, 1896
Les Sabots, 1768 Elsner, Josef (1769--1854)
see also col. 130, 196, 229, 243, 313 Krol Lokietek, 1818
Duperier, Jean (1886-) see also col. 563, 582, 602
Zadig, 1938 Enesco, Georges (1881-1955)
Dupont, Gabriel (1878-1914) Oedipe, 1936
La Cabrera, 1904 Enna, August (1860-1939)
La Glu, 1910 Heksen, 1892
La Farce du Cuvier, 1912 Cleopatra, 1894
Antar, 1921 Aucassin og Nicolette, 1896
Duprat, Hippolyte (1824-1889) *Pigen med Svovlsrikkeme, 1897
*Petrarque, 1873 Larnia, 1899
Duprato, Jules (1827-1892) Prinsessen paa Aerten, 1900
Les Trovatelles, 1854 Nattergallen, 1912
see also co1. 835 *Gloria Arsena, 1917
Duprez, Gilbert Louis (1806-1896) *Komedianter, 1920
L'AMme de la Maladetta, 1851 Erkel, Ferenc (1810-1893)
Dupuis, Albert (1877-1967) Bathory Maria, 1840
Jean Michel, 1903 Hunyady Uszl6, 1844
Het Lied von Heer HaIewijn, 1914 B:I.nk-Ban, 1861
La Passion, 1916 Sarolta, 1862
Dupuy, Edouard (c.1770-1822) Brankovich György, 1874
Ungdom og GaIskab, 1806
Nevtelcrn Hösök, 1880
Felicie, 182 I
Istvan Kidly, 1885
see also col. 356, 567
see also co1. 685, II16
Duran, Jose (18th ct.)
Anrigono, 1760 Erlanger, Camille (1863-1919)
Dur6n, Sebastian (16 ..-i715) Le JuifPolonais, 1900
Veneno es de Amor Ja Embidia, 1697 Aphrodite, 1906
Dvorak, Antorun (1841-1904) d'Erlanger, Frederic (1868-1943)
KraJ a Uhllr, 1874 Jehan de Saintre, 1893
Vanda, 1876 Ines Mendo, 1897
Selma Sedlak, 1878 Tess, 1906
Tvrde Palice, 1881 Noel,1910
Dimitrij, 1882 Erlebach, Philipp Heinrich (1657-1714)
Jakobfn, 1889 Die Plejades, 1693

1541 1542
Ernst II INDEX OF COMPOSERS Fioravann

Ernst 11, Duke of Saxc-Coburg-Gotha (1818- Siface, 1723

18 93) Ferrandini, Giovanni (c.1715-1793).
Casilda, 1851 Catone in Utica, 1753
Santa Chiara, 1854 see also col. 36
Diana von Solange, 1858 Ferrari, Benedetto (1597-1681)
see also col. II68 *L' Arrnida, 1639
Eslava, Migue! Hilari6n (1807-1878) *11 Pastor regio, 1640
Il Solitario de! Monte Se!vaggio, 1841 see also Index of Librettit~
Espm y Guillen,Joaqum (1812-1881) Ferrari, Gabriella (1860-1921)
Padilla, 1845 Le Cobzar, 1909
Esposito, Eugcnio (18 .. -) Ferrari, Serafino Amadeo de (1824-rXXS)
Il Borghesc Gentiluomo, 1905 Pipele, 1855
Esser, Heinrich (1818-1872) Ferrari-Trecate, Luigi (1884-1964)
Die zwei Prinzen, 1845 Le Astuzie di Bertoldo, 1934
Esteve, Pablo (18th ct.) Ghirlino, 1940
*Los Jardineros de Aranjuez, 176X. Ferroni, Vincenzo (1858-1934)
see also coL 220, 244, 298 Rudello, 1890
Ettinger, Max (1874-1951) Ferroud, Pierre Octave (1900-1936)
Juana, 1925 Chirurgie, 1928
Der eifersüchtige Trinker, 1925 Fesca, Alexander Ernst (1820-1849)
Frühlings Erwachen, 1928 Der Troubadour, 1847
Eugen, Duke ofWurttemberg (17R~-18S7) Fesca, Friedrich Ernst (1789-1826)
*Die Geisterbraut, 1842 Cantemire, 1820
Eule, Carl David (177<'r-1827) see also col. 863
Der Unsichtbare, 1809 Fetis, Franc;:ois Joseph (1784-1871)
La Vieille, 182t1
Fabrizi, Vincenzo (c.1765-?) see also col. 14,77,518,656,971
Li due Castellani burlati, 17S5 Fevrier, Henri (1875-1957) .
see also col. 358, 441 Monna Vanna, 1909 .
Faccio, Franco (1840-1891) Gismonda, 191<)
Arnleto, 1865 La Damnation de Blanchefleur. 1920
see also col. 677, 733, 885,980 La Femme nue, 1929
Falchi, Stanislao (1851-1922) Fibich, Zdenko (1850-1900)
Il Trillo dcl Diavolo, 1899 Bukovfn, 1874
Fall, Leo (1873-1925) Blanfk, 1881
Die Dollarprinzessin, 1907 Nevesta Messinski, 1884
Falla, Manue! de (187<'r-1946) Nimluvy Pelopovy, 1890
La Vie breve, 1913 Smfr Tantaliiv, 1891
EI Retablo de Maese Pedro, 1923 Smrt Hippodamie, 1R91
Farinelli, Giuscppe (1769-1836) Boure, 1895
Teresa e Claudio, 1801 Hedy, 1896
I Riti d'Efeso, 1803 Sirka, 1897
Fasch, Johann Friedrich (1688-1758) Pid Arkuna, 1900
Lucius Verus, 17II see also col. 1261
Faure, Gabriel Urbain (1845-1924) Filiasi, Lorenzo (1878-1963)
Promethee, 1900 Manuel Menendez, 1904
Penelope, 1913 Fino, Giocondo (1867-1950)
Masques et Bergamasques, 1919 Il Battista, 1906
Fedeli, Ruggiero (c.165S-1722) Fioravanti, Valentino (1764-1837)
Almira, 1703 *Il Furbo contro al Furbo, 1796
Federici, Francesco (17 .. -18 .. ) Le Cantatrici villane, 1799
Zaira, 1803 La Capricciosa pentita, 1802
Feo, Francesco (1691-1761) I Virtuosi ambulanti, 1807
L'Amor tirannico, 1713 see also coL 402

1543 1544
Fioravanti INDEX OF COMPOSERS Füchs

Fioravanti, Vincenzo (T 799- T877) Forrest, Hamilton (1901-)

Il Ritorno di Pulcinella, 1837 *Camille, 1930
see also co1. 1271 Forster, Josef (1845-1917)
Fiorillo, Ignazio (1715-1787) Die Rose von Pontevcdra, 1893
L'Olimpiade, 1745 Fourdrain, Fclix (1880-1923)
Fischietti, Domenico (C.1720-aJtcr 1810) La Legende du POIlt d' Argenton, 1907
Lo Speziale (with V. Pallavicino), 1755 Madame Roland, 1913
La Ritornata di Londra, 1756 Fränzl, Fcrdinand (1770- 1833)
Il Mercato di Malmantile, 1757 Carlo Fioras, 18 JO
Il Signor Dottore, 1758 see also col. 600
Vologeso, Re de' Parti, 1764 Franccschini, Petronio (1650-1681)
see also co1. 302 L'Arsinoe, 1676
Flondor, Theodor Johannes von (IR .. -1908) see also col. 50, 1 T 2
*Mosul Ciokarlan, 1901 Franchetti. Alberto (T 860- 1942)
Floquet, Etienne Joseph (1748-1785) Asrael, 1888
Le Seigneur bienhisant, 178o Cristoforo Colombo, 1892
Floridia, Pietro (1860-l932) 11 Signor di Pourceaugnac, 11{97
*Maruzza, 1894 Gcrmania, 1902
Paolctta. 1910 La Figlia di Jorio, 1906
see also col. 674, 975 Notte di Leggenda, 1915
Flotow, Friedrich von (1812-1883) Giove a Pompei (with Giordano), 1921
L'Esclave de Camoens, 1843 Glauco, 1922
Alessandro Stradella, 1844 Franck, Ccsar (1822-1890)
Die Matrosen, 1845 Hulda, 1894
L'Ame en Peine, 1846 Ghisc1lc, 1896
Martha, 1847 see also col. 295
Sophia Catharina, 1850 Franck, Johann Wolfgang (C.1641-aJter 1695)
Rübezahl, 1853 Die drey Töchter Cecrops, 1679
Pianella, 1857 * Aeneas, 1680
Veuve Grapin, 1859 Dioc1etianus, 1682
N :lida, 1865 Cara Mustapha, 1686
Zilda, 1866 sec also col. 94, 155
L'Ombre, 1870 Franckcnstein, Clcmens von (1875-1942)
sec also col. 758, 799, 867, 961 Des Kaisers Dichter, 1920
Foerster, Anton (1837-1926) Francccur, Franc;:ois (1698-1787)
Gorenjski Slavcek, 1872 Pirame et Thisbc (with Rebel), 1726
Foerster, Joseph Bohuslav (1859-1951) ZClindor Roi des Sylphes (with Rebel), 1745
Debora, 1893 see also col. 73, 217
*Eva, 1899 Freitas Gazul. Francisco ck (1842-19 .. )
Jessika, 1905 Fra Luigi di Sousa, 1891
*Neprcmozeni, 1918 Frcschi, Giovanni Domenico (1640- 1690)
*Srdcc, 1923
Helena rapita da"Paride, 1677
Fomin, Yevstignei Ipatovich (1761-1800)
Berenice vendicativa, 1680
Melnik, Koldlln, Obmanshchik i Svat, 1779
Novogorodskoy Bogatir Boyeslavich, 1786 Olimpia vendicata, 1681
Amerikantsy, 1800 see also col. 16, 68, 77
sec also col. 369 Fridzeri, Alessandro (1741-1825)
Forbes, Henry (1804-1859) Les Souliers mors-dorc~s, 1776
The Fairy Oak, 1845 Fry, William Henry (1813-1864)
see also co1. 761 Leonara, 1845
Foroni, Jacopo (1825-1858) Notre-Dame of Paris, 1864
I Gladiatori, 1851 see also col. 783
Advokaten Pate1in, 1858 Füchs, Ferdinand (18II-1848)
see also col. 4 I 4 Guttenberg, 1684

1545
Fuertes INDEX OF COMPOSERS Gazzaniga

Fuertes, Mariano Soriano (1817-1880) La Fcdc tradita e vendicata, 1704

EI Tfo Caniyitas, 1849 Ambleto, 1705
Fux, Johann Joseph (1660-1741) see also col. U4, uS, 12!, 128, 141, 145, 151,
Elisa, 1719 156, 168, 196, 198, 199,214,365
Costanza e Fortezza, 1723 Gassmalill, Florian Lcopold (1729-1774)
Gli Ucccllatori, 1759
Gabrieli, Domenico (0655-1690) L' Amore Artigiano, 1767
Il Mauritio, 1686 La Notte critica, 1768
Gade, Niels Vilhclm (1817-1890) La Contessina, 1770
Mariotta, 1850 see also col. 2 I 6, 269, 284
see also col. 914 Gast, Petcr (1854-1918)
Gagliano, Marco da (C.1575-1642) *Die heimliche Ehe, 189!
La Dafne, 1608 Gastaldon, Stanislao (1861 - 19 39)
11 Medoro, 1619 Mala Pasqua !, 1890
La Flora (with J. Peri), 1628 Gastinel, LCon (1823-1906)
see also col. I, 2, 3 L' Opera aux Fenctrcs, 1857
Gaito, Constantino (1878-1945) Gatti, Tcobaldo di (C.1650-1727)
Cayo Petronio, 1919 Scylla, 1701
Gal, Hans (1890-) see also co!. 59
Die heilige Ente, 1923 Gatty, Nicholas Comyn (1874-1946)
see also col. 87, 253 Grcystecl, 1906
Galeotti, Cesare (1872-1929) Duke or Dcvil, 1909
Anton, 1900 The Tempcst, 1920
Galliard, Johann Ernst (1678-1749) *Prince Fcrelon, 1921
Calypso and Telemachus, 1712 Gaubert, Philippe (1879-1941)
Galuppi Baldassare (1706-17S5) Nalla, 1927
Alcssandro neU' Indie, 1738 Gaultier , Pierre (1642- I 697)
Penelope, 1741 *Le Triomphe de la Paix, 1685
L'Olimpiade, 1747 Gautier, Jcan Franc;:ois Eugcnc (1822-1878)
L' Arcadia in Brenta, 1749 Le Mariage extravagant, 1857
Il Conte Caramella, 1749 Le Docteur Mirabolan, 186o
Il Mondo della Luna, 1750 see also co!. 453
Il Mondo alla Roversa, 1750 Gaveaux, Pierre (1761-1825)
La Calamita de Cuori, 1752 L' Amour filial, 1792
Il Filosofo di Campagna, 1754 La Familie indigente, 1794
Le Nozze, 1755 Le petit Matelot, 1796
L' Amante di tutte, 1760 LConore, 1798
Le tre Amanti ridicoli, 1761 Un Quart d'Heure de Silence, 1804
11 Marchese Villano, 1762 Le Bouffe et le Tailleur, 1804
Ifigenia in Tauride, 1768 M. des Chalumeaux, 1806
see also col. 154, 171, 18o, 183, 188, 192,236, see also co!. 627, 631
286,291,358,397,4 18 Gavinies, Pierre (1728-1300)
Galvan, Ventura (18th ct.) Le Pretendu, 1760
Las Foncarraleras, 1772 Gaztambide, Joaquln (1822-1870)
Ganne, Louis Gaston (1862-1923) La Mensajcra, 1849
Hans, le Joueur de Flute, 1906 EI Valle de Andorra, 1852
Garcia, Manuel dei Po polo Vicente (1775-1832) Catalina, 1854
*EI Poeta Calculista, 1805 Los Magyares, 1857
Il Califfo di Bagdad, 18 I 3 EI Juramento, 1858
see also col. 643 La Conquista de Madrid, 1863
Gasco, Alberto (187SH938) see also col. 873
La Leggenda delle sette Torri, 1913 Gazzaniga, Giuseppe (1743-1818)
Gasparini, Francesco (1668-1727) La Locanda, 1771
Il piu fedel fra i Vassalli, 1703 L'Isola de Alcina, 1772

1547
•
Gazzaniga INDEX OF COMPOSERS Gluck
La Vendemmia, 1778 Madame Sans-Gene, 1915
La Moglie capricciosa, 1785 Giove a Pompei (with Franchetti), 1921
Don Giovanni Tenorio, 1787 La Cena delle Beffe, 1924
see also co!. 358, 489, 545 Il Re, 1929
Genee, Richard (1823-1895) Giosa, Nicola de (1820-1885)
Der Seekadett, 1876 Don Checco, 1850
Nanon, 1877 Napoli di Camovale, 1876
see also Index of Librettists Girschner, Karl Friedrich (1794-1860)
Generali, Pietro (1783-1832) Undine, 1837
Pamela nubile, 1804 Gläser, Franz (1798-1861)
Le Lagrime di una Vedova, 1808 Des Adlers Horst, 1832
Adelina, 1810 Bryllupet vet Como-S"en, 1849
I Baccanti di Roma, 1816 see also co!. 702, 796, 1424
Genoves (y Lapetra), Tomas (1806-1861) Gleason, Frederick Grant (1848-1903)
EI Rapto, 1832 *Otho Visconti, 1907
see also co!. 860 Gliere, Reinhold Moritsovich (1875-1950)
Georges, Alexandre (1850-1938) Shakh-Senem, 1934
Miarka, 1905 Glinka, Mikhail Ivanovich (1804-1857)
Gerlach, Theodor (1861-1940) Zhim za Tsarya, 1836
*Liebeswogen, 1903 *Ruslan i Lyudrnila, 1842
German, Edward (1862-1936) see also co!. 179, 641, 714, 773, 836, 1082
Merrie England, 1902 Glover, William Howard (1819-1875)
Gershwin, George (1898-1937) *Ruy Blas, 1861
Porgy and Bess, 1935 Gluck, Christoph Willibald (1714-1787)
Gervais, Charles Hubert (1671-1744) Artaserse, 1741
Hypermnestre, 1716 Demetrio, 1742
Gevaert, Fran~ois Auguste (1828-1908) Demofoonte, 1742
Quentin Durward, 1858 II Tigrane, 1743
see also co!. 177, 276, 592 La Sofonisba, 1744
Ghislanzoni, Alberto (1897-) lpermestra, 1744
*Re Lear, 1937 La Caduta de' Giganti, 1746
Giacobbi, Girolamo (1567-1629) Artamene, 1746
Andromeda, 1610 Le Nozze d'Ercole e d'Ebe, 1747
'Giacomelli, Geminiano (c.1692-1740) Sernirarnide riconosciuta, 1748
Cesare in Egitto, 1735 La Contesa dei Nurni, 1749
see also col. 137 Ezio, 1750
Giannetti, Giovanni (1869-1934) La Clemenza di Tito, 1752
Cristo alla Festa di Purim, 1904 Le Cinesi, 1754
Giannettini, Antonio (1648-1721) L'lnnocenza giustificata, 1755
Medea in Atene, 1675 Antigono, 1756
see also col. 85 11 Re Pastore, 1756
Gilson, Paul (1865-1942) L'lsle de Merlin, 1758
Prinses Zonneschijn, 1903 La Cythcre assiegee, 1759
Zeevolk, 1904 L'Arbre enchante, 1759
Giordani, Tommaso (c.1730-1806) L'Yvrogne corrige, 1760
La Disfatta di Dario, 1789 Le Cadi dupe, 1761
see also col. 160, 230, 250, 262, 280, 433 Orfeo, ed Euridice, 1762
Giordano, Umberto (1867-1948) II Trionfo di Clelia, 1763
Mala Vita, 1892 La Rencontre imprevue, 1764
Andrea Chenier, 1896 I1 Telemaco, 1765
Fedora, 1898 Alceste, 1767
Siberia, 1903 Paride e Elena, 1770
Marcella, 1907 Iphigenie en Aulide, 1774
Mese Mariano, 1910 Armide, 1777

2C 1549 1550
Gluck INDEX OF COMPOSERS Grechaninov
Iphigenic en Tauride, 1779 Morana, 1930
'Echo et Narcisse, 1779 Ero s Onoga svijeta, 1935
see also col. 8,79,80,185,205,225,233,247, GOllla,Juan (1843-1917)
25°,272,273,274,282,351,365,377,385, A Ja Voreta del Mar, 1881
410,431 Gounod, Charles Franc;:ois (18J8-J893)
(jnecchi, Vittorio (1876-1954) Sapho, 1851
Cassandra, J905 La Nonne sanglante, 1854
*La Rosiera, J927 *Le Medecin malgrc lui, J858
Gnecco, Francesco (1769-1 8 IO) Faust, 1859
*Filandro e Carolina, J 804 philemon et Baucis, J860
*La Prova d'una Opera seria, 1805 La Colomhe, J 860
see also col. 475 La Reine de Saha, 1862
Gohatti, Stefano (1852-1913) Mireille, 1864
I Goti, 1873 Romeo et J uliette, J 867
Godard, Benjamin (1849-1895) Cinq Mars, 1877
Pcdro de Zalamea, 1884 Polveucte, J 878
Jocelyn, 1888 Le Tribut de Zamora, J881
La Vivandiere, 1895 see also col. 353
Goetz, Hermann (1840-1876) Grahll, Lewis (d. after 1694)
Der Widerspänstigen Zähmung, 1874 Alhion and Alhanius, 1685
*Francesca da Rimini, 1877 see also col. 48, 54, 55
Goetzl, Anse1m (1876-1923) Graener, Paul, (J872-19+4)
Zierpuppen, 1905 Don Juans letztes Ahenteuer, 1914
Goldmark, Kar! (1830-1915) Theophano, 1918
Die Königin von Saha, 1875 Schirin und Gertraude, 1920
Merlin, 18H6 Hannclcs Himmelfahrt, 1927
Das Heimchen am Herd, 1896 Friedemann Bach, 193 I
Die Kriegsgefangene, 1899 Grammann, Karl (1842-1897)
Berlichingen Götz, 1902 *Melusine, 1875
Ein Wintermärchen, J908 Granados (y Campina), Enrique (1867-1916)
see also col. 1219 Maria del Carmen, 1898
Goldschmidt, Adalhert von (1848-1906) Goyescas, 1916
*Heliantus, 1884 Grandjean, Axel (1847-1932)
Goldschmidt, Berthold (1903-) Colomha, 1882
*Der gewaltige Hahnrei, 1932 Graun, Karl Heinrich (1704-1759)
Gomes, Antonio Car!os (1836-1896) Sinilde, 1727
Noite do Castello, 1861 Rodelinda, Regina de' Longohardi, J741
Il Guarany, 1870 Cleopatra e Cesare, 1742
Fosca, 1873 Artaserse, 1743
Salvator Rosa, 1874 Demofoonte, Re di Tracia, 1746
Lo Schiavo, 1889 lfigenia in Aulide, 1748
Gomis, Jose Melchor (1791-1836) Silla, 1753
Le Portefaix, 1835 Montezuma, 1755
Goossens, Eugene (1893-1962) Merope, 1756
Judith, 1929 see also col. 136, 154
DonJuan de Mafiara, 1937 Graupner, Christoph (1683-1760)
Gordigiani, Giovanni Battista (1795-1871) Der angenehme Betrug (with Keiser), 1707
*Consuelo, 1846 Dido, Koenigin von Carthago, J707
Gossec, Franltois Joseph (1734-J829) Grazioli, Filippo (1773-1840)
Les Pecheurs, 1766 La Festa della Riconoscenza, 182 I
Toinon et Toinette, 1767 Greher, Jakob (I673(?)-I731)
Sabinus, 1773 The Loves of Ergasto, 1705
sec also col. 57, 158,254,255,296 see also col. J23
Gotovac, J acov (1895-) Grechaninov, Aleksandr Tikhonovich (1864-)

155 1
Grechaninov INDEX OF COMPOSERS Gyrowetz

*Dobrinya Nikitich, 1903 Germanicus, 1704

Grelinger, Charles (1873-1942) see also col. 93
Op Hoop van Zegen, 1907 Guerrini, Guido (1890-1965)
Gresnik, Antoine Frederic (1755-1799) *La Vigna, 1935
Les faux Mendians, 1796 Guglielmi, Pietro (1728-1804)
Gretry, Andre Ernest Modeste (1741-1813) Il Ratto della Sposa, 1765
Le Huron, 1768 La Sposa fedele, 1767
Lucile, 1769 La Villanella ingentilita, 1779
Le Tableau parlant, 1769 La Quakera spiritosa, 1783
Süvain, 1770 Le Vicende d' Amore, 1784 •
Les deux A vares, 1770 La Virtuosa in Mergellina. 1785
L' Amitie al'Epreuve, 1770 Enea e Lavinia, 1785
L'Ami de la Maison, 1771 L'Inganno amoroso, 1786
ZeInire et Azor, 1771 La Pastorella nobüe, 1788
Le Magnifique, 1773 La bella Pescatrice, 1789
La Rosiere de Salency, 1773 La Serva innamorata, 1790
Cephale, et Procris, 1773 see also co!. 261, 276, 296, 396,433,442,445
La fausse Magie, 1775 Guglielmi, Pietro Carlo (c.1763-1817)
Les Mariages Sarnnites, 1776 La Scelta dello Sposo, 1805
Le Jugement de Midas, 1778 Amor tutto vince, 1805
Les fausses Apparences, 1778 Guerra aperta, 1807
Les Evenements imprevus, 1779 Paolo e Virginia, 1817
Aucassin et Nicolette, 1779 see also col. 176,555
Andromaque, 1780 Guhr, Karl Wilhelm Ferdinand (1787-1848)
La double Epreuve, 1782 Die Vestalin, 1814
La Caravane du Caire, 1783 see also co!. 720
Theodore et Paulin, 1784 Gui, Vittorio (1885-1975)
Richard Ca:ur-de-Lion, 1784 La Fata malerba, 1927
Panurge dans l'Isle des Lanternes, 1785 see also col. 87, 634
Les Meprises par Ressemblance, 1786 Guiraud, Ernest (1837-1892)
Le Comte d' Albert, 1786 Piccolino, 1876
Raoul Barbe Bleue, 1789 see also col. 538, 562
Pierre le Grand, 1790 Gunsbourg, Raoul (1859-1955)
Guillaume Tell, 1791 *Le vieü Aigle, 1909
Lisbeth, 1797 *Ivan le Terrible, 1910
Anacreon chez Polycrate, 1797 see also co!. II 64, 1403, 1423
see also col. 256, 281, 283, 479, 533, 548 Guridi, Jesus (1886-1961)
Grieg, Edvard (1843-1907) *Mirentxu, 1910
Olav Trygvason, 1908
Amaya, 1920
Grisar, Albert (1808-1869)
Gurjäo, Henrique Eulalio (1833-1885)
L'Eau merveilleuse, 1839
*Idalia, 1881
Gilles Ravisseur, 1848
Gurlitt, Manfred (1890-1972)
Les Porcherons, 1850
Bonsoir, M. Pantalon, 1851 W ozzeck, 1926
Le Carillonneur de Bruges, 1852 *Soldaten, 1930
Les Amours du Diable, 1853 Gyrowetz, Adalbert (1763-1850)
Le Chien du Jardinier, 1855 Agnes Sorel, 1806
see also col. 852, 916 Ida, die Büssende, 1807
Grossmann, Ludwik (1835-1915) Die J unggesellen-Wirtschaft, 1807
Duch Wojewody, 1873 Der Augenarzt, 18II
Gruenberg, Louis (1884-1964) Federica ed Adolfo, 1812
Jack and the Beanstalk, 1931 Robert, 1813
Emperor Jones, 1933 Il finto Stanislao, 1818
Grünewald, Gottfried (1673":'1739) see also co!. 384, 809
1553 15S4
Haan INDEX OF COMPOSERS d'Harcourt

Haan, Willem de (1849-1930) Neaga, 1885

Die Kaiserstochter, 1885 Halvorsen, Johan (1864-1935)
Haarklou, Johannes (1847-1925) Mot Nordpolen, 19II
Fra gamle Dage, 1894 Hamal,Jean Noel (1709-1778)
Marisagnet, 1910 Voegge di ChOfontaine, 1757
Haba, Alois (1893-1973) see also col. 1415
*Die Mutter, 1931 Hamerik, Ebbe (1898-1951)
Hackländer, Friedrich wilhelm (1816-1877) Stepan, 1924
*Soldatenleben, 1848 Handel, Georg Friedrich (1685-1759)
Hacquart, Carolus (c.I649-c.1730) Almira, 1705
De triomfeerende Min, 1680 and 1920 Agrippina, 1709
Hadley, Henry Kimball (1871-1937) Rinaldo, 1711
Safie, 1909 Il Pastor fido, 1712
Azora, Daughter of Montezuma, 1917 Teseo, 1713
Cleopatra's Night, 1920 Amadigi di Gaula, 1715
Haeser, Georg (1865-1945) Il Radamisto, 1720
*Hadlallb, 1903 Il Muzio Scevola (with G. Bononcini and
Häffuer, Johann Christian Friedrich (1759-1833) Mattei), 1721
Electra 1787 Il Floridante, 1721
Renalld, 1801 Ottone, Re di Germania, 1723
see also col. 491 Flavio, Re de' Longobardi, 1723
Hageman, Richard (1882-1966) Giulio Ces are in Egitto, 1724
Tragödie in Arezzo, 1932 Tamerlano, 1724
see also co1. II02 Rodelinda, 1725
Hahn, Reynaldo (1875-1947) Scipione, 1726
La Carmelite, 1902 Alessandro, 1726
Nausicaa, 1919 Admeto, Re di Tessaglia, 1727
Le Marchand de Venise, 1935 Riccardo I, Re d'Inghilterra, 1727
see also co1. 968 Siroe, Re di Persia, 1728
Haibel,Jakob (1761-1826) Tolomeo, Re di Egitto, 1728
Der Tiroler Wastel. 1796 Lotario, 1729
Halevy, Jacques Fromental Elie (1799-1862) Partenope, 1730
La Dilettante d' A vignon, 1829 Pora, Re dell' Indie, 1731
La )uive, 1835 Ezio, 1732
L'Eclair, 1835 Sosarme, Re di Media, 1732
Guido et Ginevra, 1838 Acis and Galatea, 1732
Le Sherif, 1839 Orlando, 1733
Le Guitarrero, 1841 Arianna in Creta, 1734
La Reine de Chypre, 1841
Ariodante, 1735
Charles VI, 1843
Alcina, 1735
Les Mousquetaires de la Reine, 1840
Atalanta, 1736
Le Val d'Andorre, 1848
La Fee aux Roses, 1849 Arminio, 1737
La Tempesta, 1850 Giustino, 1737
Jaguarita l'Indienne, 1855 Berenice, 1737
La Magicienne, 1858 Faramondo, 1738
Noah, 1885 Serse, 1738
see also col. 751, 817,916, 1051, 1210 Deidamia, 1741
Hallen, Andreas (1846-1925) see also col. Ul, II6, 125, 127, 128, 1.p, 143,
Harald der Wiking, 1881 159, 168, 181, 189, 198, 204, 201, 658
Häxfällan, 1896 Hanson, Howard (1896-)
Waldmarsskatten, 1899 Merry Mount, 1934
Hallström, Ivar (1826-1901) d'Harcourt, Eugcne (1859-1918)
Den Bergtagna, 1874 Le Tasse, 1903

1555
d'Harcourt INDEX OF COMPOSERS Hiller

see also col. 690, 883 La vera Costanza, 1779

Hartmann, Johan Ernst (1726-1793) L'Isola disabitata, 1779
Baldcrs D0d, 1778 La Fedelra premiata, 1780
Fiskerne, 1780 Orlando Paladino, 1782
Hartmann, Johan Petcr Emil (1805-1900) Armida, 1784
Ravnen, 1832 Die Ochsen menuette, 1823
Liden Kirsten, 1846 see also, col. 213, 217, 228, 273, 367, 389, 408,
Hartmann, Emil (1836-1898) 420,478,512,588
Runenzauber , 1896 Heger, Robert (1886-1978)
Hasse, Johann Adolf (1699-1783) *Der Bettler Namenlos, 1932
Antioco, 1721 Heiniehen, Johann David (1683-1729)
Il Sesostrate, 1726 Paris und Helena, 1710
Tigrane, 1729 Calfurnia, 1713
Artaserse, 1730 see also col. 93
Cleofide, 1731 Heise, Peter Arnold (1830-1879)
Cajo Fabricio, 1732 Paschaens Datter, 1869
Il Demetrio, 1732 Drot og Marsk, 1878
Siroe, Re di Persia, 1733 Herbert, Vietor (1859-1924)
Tito Vespasiano, 1735 Natoma, 19II
Lucio Papirio, 1742. Hernando, RafaeiJose Mafia (1822-1888)
Didone abbandonata, 1742 Colegialas y Soldados, 1849
Antigono, 1743 EI Duende, 1849
Semiramide rieonosciuta, 1744 Herold, LouisJoseph Ferdinand (1791-1833)
Arminio, 1745 Les Rosieres, 18 I 7
Leucippo, 1747 La Cloehette, 1817
Demofoonte, 1748 Les Troqueurs, 1819
Attilio Regolo, 1750 Le Muletier, 1823
Il Ciro riconosciuto, 1751 Marie, 1826
Solimano, 1753 Zampa, 1831
Ezio, 1755 Le Pre aux Clercs, 1832
Olimpiade, 1756 Ludovic, 1833
Alcide al Bivio, 1760 see also col. 736, 801
Il Trionfo di Clelia, 1762 Herve, Florimond Ronger, called (1825-1892)
Partenope, 1767 *L'CEii creve, 1867
Piramo e Tisbe, 1768 *Chilperic, 1868
Ruggiero, 1771 Le petit Faust, 1869
see also col. 135, 138, 139, 165, 173, 181, 187, Heuberger, Richard (1850-1914)
201,207,220,224,233,246,270,277,3 19, Der Opernball, 1898
337 Hewitt,James (1770-1827)
Hatton, John Liptrott (1809-1886) Tammanny, 1794
Pasqual Bruno, 1844 Hidalgo, Juan (17th ct.)
see also col. 761, 790, 8II Celos aun del Ayre matan, 1660
Hang, Hans (1900-1967) Hignard, Aristide (1822-1898)
Madrisa, 1934 Hamlet, 1888
Hausegger, Sieg mund von (1872-IS'48) Hillemacher, Lucien (1860-1909) and Paul (1852-
*Zinnober, 1898 1933)
see also col. 409 Der Fluthgeist, 1896
Haydn,Joseph (1732-1809) Orsola, 1902
Der neue krumme Teufel, 1752 Hiller, Ferdinand (18u-1885)
La Cantarina, 1767 Die Katakomben, 1862
Lo Speziale, 1768 . see also col. 930
L'Infedeita delusa, 1773 Hiller,Johann Adam (1728-1804)
L'incontro improviso, 1775 Die verwandelten Weiber, 1766
Il Mondo della Luna, 1777 Lisuart und Dariolettc, 1766

1557
Hiller INDEX OF COMPOSERS Hüe
Lottchen am Hofe, 1767 The golden Goos<.', 1929
Die Liebe auf dem Lande, 1768 The Wandering Scholar, 1938
Die Jagd, 1770 see also col. 91
Der Aemdtekranz, 1771 Holstein, Franz von (1826-1878)
see also col. 167,217,24°,241,247,258,313, *Der Haideschacht, 1868
318 ,32 1,3 23,345 *Der Erbe von Modey, 1872
Himmel, Friedrich Heinrich (1765-1814) *Die Hochländer, 1876
Frohsinn und Schwärmerei, 1801 Holzbauer, Ignaz (1711-1783)
Fanchon, das Leiermädchen, 1804 Nitteti, 1758
Die Sylphen, 1806 Günther von Schwarzburg, 1777
Hindemith, Paul (1895-1963) see also col. 2°3, 213, 3~3
Mörder, Hoffimng der Frauen, 1921 Honegger, Arthur (1892-1955)
Das Nusch-Nuschi, 1921 Le Roi David, 1921
Sancta Susanna, 1922 Judith, 19 26
Cardillac, 1926 Antigone, 1927
Hin und Zurück, 1927 Les Aventures du Roi Pausoie, 1930
Neues vom Tage, 1929 Amphion, 1931
*Mathis der Maler, 1938 L' Aiglon (with Ibert), 1937
see also col. 1400 Jeanne d'Arc au Bucher, 1938
Höeberg, Georg (1872-1950) Horoik, Antorun Vojtech (1875-1910)
Et Bryllup i Katakombeme, 1909 Babicka, 1900
H0ffding, Finn (1899-) see also col. 1237
*Kejserens nye Klaeder, 1928 Homemann, Christian Frederik Emil (1841-1906)
Hoffmann, Ernst Theodor Amadeus (1776-1822) Aladdin, 1888
Die lustigen Musikanten, 1805 Horton, Asadata Dafora
Undine, 1816 *Kykunkor, the Witch, 1934
Aurora, 1933 Hoven,]. Oohann Vesque von Pütdingen), 1803-
see also col. 576, 586, 604, 666, 788 and Index 188 3)
ofLibrettists Johanna d'Arc, 1840
Hoffmeister, Franz Anton (1754-1812) Ein Abenteuer Carl des Zweiten, 1850
Der Königssohn aus Ithaka, 1795 see also col. 480
see also col. 242 Howland, Legrand (1873-1915)
Hofmann, Heinrich (1842- I 902) *Sarrona, 1903
Aennchen von Tharau, 1878 Hfimaly, Adalbert (1842-1908)
Hol, Richard (1825-1904) Zaklety Princ, 1872
Floris V, 1892 Svanda Dudoik, 1896
Holbrooke, Joseph (1878-1958) see also col. 1394
Pierrot and Pierrette, 1909 Hubay, Jenö (1858-1937)
The Children ofDon, 1912 Alienor, 1891
Dylan: Son ofthe Wave, 1914 A Cremonai Hegedüs, 1894
Bronwen, 1929 A Falu Rossza, 1896
Holenia, Hans (1890-) Mohar6zsa, 1903
Viola, 1934 Karenina Anna, 1923
Holland, Jan Dawid (18th ct.) Az Alarc, 193 I
Agatka 1784 Huber, Hans (1852-1921)
Holly, Franz Andreas (1747-1783) Weltfrühling, 1894
Der Kaufmann von Smvma, 1773 Der Simplicius, 1912
see also col. 381 ' Die schöne Bellinda, 1916
Holmes, Augusta (1847-1903) Frutta di Mare, 1918
*La Montagne noire, 189,5 Huber,Joseph (1837-1886)
Holst, Gustav (r874-1934) Irene, 1881
*Savitri, 19 I 6 Hüe, Georges Adolphe (1858-1948)
*The perfeet Fool, 1923 Le Miracle, 1910
* At the Boar's Head, 1925 Dans J'Ombre de Ja Cathedrale, 1921
1559 1560
Hugo INDEX OF COMPOSERS Jullien
Hugo, Jolm Adam (1873-1945) Janacek, Leos (1854-1928)
The Temple Dancer, 1919 *Jejl Pastorkyna, 1904
HuJlah, John Pykc (1812-1884) Vylety Pane Brouckovy, 1920
The Villagc Coqucttes, 1836 Kata Kabanova, 1921
see also col. 760 *~isky Pvlhody ßystrousky, 1924
Hummel, Ferdinand (IX55-1928) Sarka, 1925
Mara, IX93 *Vec Makropulos, 1926
Hummel, Johalln Nepomuk (1778-1H37) *Z mrtvcho Domu, 1930
Mathilde von Guise, 1810 Jaques-Dalcroze, Emile (1865- 1950)
see also col. 732,749 Janie, 1894
Humperdinck, Engelbert (1854-1921) Sancho Panza, 1897
Hänsel und Gretel, 11:193 Onkel Dazumal, 1905
Die Heirat wider Willen, 1905 Les Jumeaux de Bergame, 1908
Königskinder, 1910 see also col. 179
see also col. 769 Jamo, Georg (1868-1920)
Hüttcnbrenner, Anselm (1794-1~611) Die schwarze Kaschka, 1895
Leonore, IH35 Jensen, Niels Peter (1802-1846)
Robinson, 1834
Ibcrt, Jacques (1890-1962)
Jcremias, Otakar (1892-1962)
Angelique, 1927
Brath Karamazovi, 1928
Persee et Andromcde, 1929
Le Roi d'Yvetot, 1930 see also col. 149
Jommelli, Niccolo (1714-1774)
L'Aiglon (with Honegger), 1937
Ricimero, Re dei Goti, 1740
d'Indy, Vincent (I851-I931)
*Fervaal, 1897 Ezio, 1741
*L'Etranger, 1903 Mcropc, 1741
*La Legende de St. Christophe, 1920 Demofoonte, 1743
see also tol. 5,6, 7, 22, 179 Don Trastullo, 1746
Isouard, Niccolo (1775-1818) Cajo Mario, 1746
L' Avviso ai Maritati, 1794 La Didonc abbandonata, 1747
Michel-Ange, 1802 Artasersc, 1749
Les Confidences, 1803 Demetrio, Re di Siria, 1749
Le Medecin Turc, 1803 L'Ifigenia, 1751
L'Intrigue aux Fenctres, 1805 Attilio Regolo, 1753
Le Dejeuner de Garyons, 1805 Pelopc, 1755
Les Rendez-vous bourgeois, 1807 Enca nel Lazio, 1755
Un Jour 11 Paris, 1808 L'Olimpiade, 1761
Cendrillon, 1810 Il Vologeso, 1766
Le Billet de Loterie, 18II Il Matrimonio per Concorso, 1766
Le Magicien sans Magie, 18II Fetonte, 1768
Lully et Quinault, 1812 Armida abbandonata, 1770
Le Prince de Catane, 18 I 3 11 Trionfo di Clelia, 1774
Jocönde, 1814 see also col. 214, 223, 229, 388
Jeannot et Colin, 1814 Joncieres, Victorin de (1839--1903)
Les deux Maris, 1816 Dimitri, 1876
Aladin, 1822 Le Chevalier Jean, 1885
see also col. 240, 6 I 9 Jones, Sidney (1869--1946)
d'Ivry, Richard (1829-1903) The Geisha, 1896
*Les Amants de Verone, 1878
Jongen, Leon (1884-1969)
see also col. 353 Thomas l'Agnelet, 1924
Jachino, Carlo (1889-1971) Joteyko, Tadeusz (1872-1932)
Giocondo e il suo Re, 1924 *Zygmunt August, 1925
Jackson, William (1730-1803) Jullien, Louis Antoine (1812-1860)
The Lord of the Manor, 178o Pictro il Grande, 1852
Kaiser INDEX OF COMPOSERS Kospoth

Kaiser, Alfred (1872-1917) Die grossmüthige Tomyris, 1717

*Stella Maris, 1910 Ulysses. 1722
see also Index of Librettists Der laecherliche Printz Jodelet, 1726
Kalliwoda, Johann Wenceslaus (1801-1866) Circe, 1734
Blanda, 1847 see also col. 92, 96, H2, 124, 125, 132, 166
Kalnins, Alfreds (1879-1951) Kelley, Edgar Stillman (1857-1944)
Banuta, 1920 Puritania, 1892
Dzimtenes Atmoda, 1933 Kerll, Johann Kaspar (1627-1693)
Kainins, Janis (1904-) L'Oronte, 1657
*Hamlets, 1936 L'Erinto, 1661
Kalomoiris, Manolis (1883-1962) Keussler. Gerhard von (1874-194:;)
Ho Protomastoras, 1916 *Gefängnisse, 1914
Kamienski, Maciej (1734-1821) Kienlen, Johann Christoph (1784-(.1830)
Nedza Uszczesliwiona, 1778 Claudine von Villa Bella, 1810
Zoska, 1781 Kienzl, wilhelm (1857-1941)
Kaminski, Heinrich (1886--1946) *Der Evangelimann, 1895
*Jürg Jenatsch, 1929 *Don Quixote, 1898
Karel, Rudolf (1880-1945) Der Kuhreigen, 19II
llseino Srdce, 1924 *Das Testament, 1916
Smrt Kmotficka, 1933 Kistler, Cyrill (1848- I 907)
KamaviCius, Jurgio (1885-1941) Kunihild, 1884
Grazina, 1933 Kittl, J ohann Friedrich (1806--1868)
Kashperov, Vladimir Nikitich (1827-1894) Bianca und Giuseppe, 1848
Maria Tudor, 1859 Klein, Bernhard (1793-1832)
Groza, 1867 Dido, 1823
Kastner, Johanl1 Georg (IRI0-1R67) Klein, Bruno Oskar (1858-19H)
La Maschera, 1841 Kenilworth, 1895
Kauer, Ferdinand (1751-11i31) Kleinheinz, Franz Xaver (1772-1832)
Das Donauweibchen, 1798 Harald, 1814
Kaun, Hugo (1863-1932) Klenau, Paul von (1883-1946)
*Sappho, 1917 *Kjartan und Gudrun, 1918
Der Fremde, 1920 *Rembrandt van Rijn, 1937
*Menandra, 1925 Klose, Friedrich (1862-1942)
Keil, Alfredo (1850-19°7) Ilsebill, 1903
Donna Bianca, 188R Klughardt, August (1847-1902)
Irene, 1893 Die Hochzeit des Mönchs, 1886
Serrana, 1899 Kodaly, Zoltin (1882-1967)
Keiser, Reinhard (1674-1739) Hary Janos, 1926
Basilius, 1694 Szekely Fono, 1932
Circe, 1696 Kogoj, Marij (1895-1956)
Penelope, 1696 Cme Maske, 1929
Der geliebte Adonis, 1697 Kohout, Joseph (c.1736--1793)
Augustus, 1698 Le Serrurier, 1764
Orpheus, 1698 Konjovic, Petar (1882-1970)
La Forza della Virtu, 1700 Kostana, 193 I
Stoertebecker und Joedge Michaels, 1701 Komgold, Erich Wolfgang (1897-1957)
Die verdammte Staat-Sucht, 1703 Violanta, 1916
Nebucadnezar, 1704 Der Ring des Polykrates, 1916
Octavia, 1705 Die tote Stadt, 1920
Masagniello furioso, 1706 Das Wunder der Heliane, 1927
Der angenehme Betrug (with Graupncr), 1707 see also 970, 1106
Desiderius, Koenig der Longobarden, 1709 Kosmovici, Georg (18 ..-?)
Croesus, 1711 Marioara (with Schmeidler), 1904
Fredegunda, 1715 Kospoth, Otto Carl Erdmann von (1753-1817)

1564
Kospoth INDEX OF COMPOSERS La Guerre

Adrast und Isidore, 1779 Kücken, Friedrich Wilhe1m (1810-1882)

Der Irrwisch, 1780 Die Flucht nach der Schweiz, 1839
see also col. 392 Kuhlau, Friedrich (1786-1832)
Kovarovic, Kare! (1862-1920) R0verborgen, 1814
Zenichovc, 1884 Trylleharpen, 1817
Cesta Oknem, 1886 Lulu, 1824-
Noc Simona a Judy, 1892 see also col. 761
Psohlavci, 1898 Künnecke, Eduard (181:15-1953)
Na starem Belidle, 1901 Robin's Ende, 1909
see also col. 1041, 1267, 1288 Kunzen, Friedrich Ludwig Aemilius (1761-1817)
Koven, Henry Louis Reginald de (1859-1920) Holger Danske, 1789
Robin Hood, 1890 Die Weinlese, 1793
The Canterbury Pilgrims, 1917 Hemmeligheden, 1796
Rip v:m Winkle, 1920 Dragedukken, 1797
Kraus, Josef Martin (1756-1792) Erik Ejegod, 1798
Soliman den H, 1789 Min Bedstemoder, 1800
Acneas i Carthago, 1799 Kaer!ighed paa Landet, 18 IO
see also col. 359 see also col. 326
Krebs, Kar! August (1804-1880) Kurpinski, Karol Kasimierc (1785-1857)
Agnes Bernauer, 1833 Jadwiga, Kr610wa Polska, 1814
Krenek, Ernst (1900-) Zamek na Czorsztynie, 1819
*Der Sprung über den Schatten, 1924 see also col. 501, 513, 655, 730
Zwingburg, 1924 Kusser, Johann Siegmund (1660-1727)
Orpheus und Euridike, 1926 Julia, 1690
*Jonny spielt auf, 1927 Ariadne, 1692
*Schwergewicht, 1928 Jason, 1692
*Der Diktator, 1928 Erindo, 1694
*Das geheime Königreich, 1928 see also col. 92.
*Leben des Orest, 1930 Kyui (Cui), Tsezar Antonovich (1835-1918)
*Kar! V, 1938 William Ratcliff, 1869
see also col. 23 Angelo, 1876
Kretschmer, Edmund (1830-1908) Kavkasky Plennik, 1883
Die Folkunger, 1874 Mademoiselle Fifi, 1903
*Hcinrich der Löwe, 1877 see also col. 1021, II58, 1292, 1341
Kreutzer, Konradin (1780-1849)
Die Alpenhütte, 1815 Laccetti Guido (1879-1943)
Libussa, 1822 Hoffmann, 1912
Melusina, 1833 11 Miracolo, 1915
Das Nachtlager von Granada, 1834 Laclmer, Franz (1803-1890)
sec also col. 745, 752, 1200 Catharina Cornaro, 1841
Kreutzcr, Rodolphe (1766-1831)
sec also col. 532
Jeannc d'Arc a Orleans, 1790
Lachner, Ignaz (1807-1895)
Paul et Virginie, 1791
Lodoi'ska, 1791 Die Regenbrüder, 1839
Astianax, 1801 see also col. 421
Aristippe, 1808 Lacombe, Louis (1818-1884)
Abel, 1810 Winkel ried, 1892
see also col. 697 Meister Martin und seine Gesellen, 1897
Kficka, Jaroslav (1882-1969) Lacome (d'Estaleux), Paul (1838-1920)
Bily Pan, 1929 Jeanne, Jcannette et Jcanneton, 1876
Krieger,Johann Philipp (1649-1725) see also col. 128
Der grossmiithige Scipio, 1690 Lacoste (d. after 1757)
Krohn, Ilmari (1867-1960) PhilomCle, 1705
Tuhotulva, 1928 La Guerre, Michel de (c. 16°5-1679)

15 66
La Guerre INDEX OF COMPO~ERS Lemba

Le Triomphe de l'Amour, 1655 Sandha, 1924

see also col. 38 Le Preziose ridicole, 1929
Laguerre, Elisabeth Claude de (165!H729) Don Giovanni, 1929
Cephale et Procris, 1694 La Caverna di Salamanca, 1938
Lalo, Edouard (1823-1892) Launis, Armas (1884-1959)
Le Roi d'Ys, 1888 *Seitsemän Veljestä, 1913
Lamote de Grignon,Juan (1872-1949) Kullervo, 1917
Hesperia, 1907 Lavenu, Louis Henry (1818-1859)
Lampe, John Frederick (1703-1751) Loretta, 1846
The Dragon ofWandey, 1737 see also coL 761, 867
Lampugnani, GiovanniBattista (1706-1781) Lavigna, Vincenzo (1776-1836)
Amor Contadino, 1760 La Muta per Amore, 1803
Landi, Stefano (,.1590-<.1655) see also coL 555
*La Morte d'Orfeo, 1619 La Villa (Manteola), Facundo de (1876-?)
n S. Alessio, 1632 La Espigadora, 1927
Landre, willem (1874-1948) Lazzari, Sylvio (1857-1944)
Beatrijs, 1925 *Armor, 1898
Lange-Müller, Peter Erasmus (1850-1926) La Upreuse, 1912
*Tove, 1878 Le Sauteriot, 1918
Spanske Studenter, 1883 *La Tour de Fell, 1928
Vikingeblod,19OO Leal Moreira, Antonio (17 •.-1841)
La Nux, Paul veronge de (1853-?) A Vingans:a da Cigana, 1794
Zaire, 1890 see also col. 491
Laparra, Raoul (1876-1943) Leardini, Alessandro (17th ct.)
*La Habanera, 1908 La Psiche, 1649
*La Jota, 19 I I Le Borne, Femand (1862-1929)
*Le Joueur de Viole, 1925 Mudarra, 1899
*Las Toreras, 1929 Les Girondins, 1905
*L'illustre Fregona, 193 I La Catalane, 1907
Lara, Isidore de (1858-1935) Lebrun, Louis Sebastien (1764-1829)
Amy Robsart, 1893 Marcelin, 1800
MOina,1897 Le Rossign04 1816
Messalina, 1899 see also col. 622
Sanga, 1906 Leclair, Jean Marie (1697-1764)
Solea, 1907 Scylla et Glaucus, 1746
Les trois Masques, 1812 Lecocq, Alexandre Charles (1832-1918)
Nail,I912 Fleur-de-The, 18,68
Les trois Mousquetaires, 1921 Les cent Vierges, 1872
Laruette, Jean Louis (1731-1792) La Fille de Madame Angot, 1872
Cendrillon, 1759 Girofle-Girofla, 1874
L'Yvrogne corrige, 1759 La petite Mariee, 1875
see also col. 246 Le petit Duc, 1878
Lassen, Eduard (1830-1904) see also col. 253, 289, 633, HI5
LandgrafLudwigs Brautfahrt, 1857 Legrenzi, Giovanni (1626-1690)
Le Captif, 1865 Eteocle e Polinice, 1675
see also col. 974, H48 Germanico sul Reno, 1676
Latilla, Gaetano (17II-1791) Totila, 1677
Gismondo, 1737 n Giustino, 1683
Madame Ciana, 1738 see also col. 42, 56, 189
see also col. 187, 206, 229, 252, 292 Lehu, Ferencz (1870-1948)
Lattes, Marcel (18 ..-) Kukuska, 1896
n etait une Bergere, 1913 Die lustige Witwe, 1905
Lattuada, Felice (1882-1962) Lemba, Arthur (1885-1963)
La Tempesta, 1922 Armastusja Surm, 1931
Lemba INDEX OF COMPOSERS Logroscino

EIga, 1934 Beatrix, 1928

Lemoyne,Jean Baptiste (1751-1796) Lima, Jeronymo Francisco de (1743-1822)
Phedre, 1786 Le Nozze d'Ercole, e d'Ebe, 1785
Les Pretendus, 1789 Limnander (de Nieeuvenhove), Armand (1814-
Nephte, 1789 18 9 2 )
.'ee also col. 446 Les Montenegrins, 1849
Lendvai, Erwin (1882-1949) Le Maltre Chanteur, 1853
EIga, 1916 Lindblad, Adolf Fredrik (1801-1878)
Lenepveu, Charles Ferdinand (1840-1910) Frondörerna, 1835
Velleda, 1882 see also col. 765, 788, 812
Leo, Leonardo (1694-1744) Linden, Cornclis van der (1842-1908)
Pisistrato, 1714 Catharina en Lambert, 1888
11 Trionfo di Camilla, 1726 Leiden Ontzet, 1893
Demofoonte, 1735 see also col. 452, Il33
L'Olimpiade, 1737 Lindpaintner, Peter Joseph von (1791-1856)
Amor vuol Sofferenza, 1739 Der Bergkönig, 1825
see also col. 126, 164, 184 Der Vampyr, 1828
LeoncavalIo, Ruggiero (1858-1919) Die Genueserin, 1839
*Pagliacci, 1892 Lichtenstein, 1846
*1 Medici, 1893 see also col. 444, 501, 713, 714
*Chatterton, 1896 Linley, Thomas (1733-1795)
*La Boheme, 1897 The Duenna, 1775
*Zaza, 1900 see also col. 89, 160, 161, 321, 322, 414
*Der Roland von Berlin, 1904 Lisinski, Vatroslav (1819-1854)
Maia, 1910 Ljubav i Zloba, 1846
Zingari, 1912 Porin, 1897
Edipo Re, 1920 Liszt, Franz von (I 8II-1 R86)
see also Index of Librettisrs Don Sanche, IS25
Leoni, Franco (1865-1949) Die Legende von der heiligen Elisabeth, 1881
Ib and little Christina, 1901 see also col. 263, 784, 797, 849, 884, 889,915,
L'Oracolo, 1905 927,935,943
Leroux, Xavier (1863-1919) Literes, Antonio (c.1665-1747)
Astarte, 1901 Accis y Galatea, 170S
La Reine Fiammette, 1903 Litolff, Henry CharIes (1818-IR91)
Thcodora,I907 Les Templiers, 1886
Le Chemineau, 1907 Lloyd, George (1913-)
Les Cadeaux de Noel, 1915 lernin, 1934
Leschetizky, Theodor (1830-1915) The Serf, 1938
Die erste Falte, 1867 Lobe, Johann Christi an (1797-IS81)
Lesueur, Jean Franr;:ois (1760-1837) *Die Fürstin von Grenada, 1833
La Caverne, 1793 Locke, Matthew (c.1630-1677)
Ossian, 1804 The Siege of Rhodes, 1656
Le Triomphe de Trajan (with Persuis), 1807 Psyche, 1675
La Mort d' Adam, 1809 see also col. 34, 57, 64
see also col. 599 Loder, EdwardJames (1813-1865)
Letorey Omer (1873-1938) Nourjahad, 1834
Le Sicilien, 1930 The Night Dancers, 1846
see also col. 3I 2 see also col. 647, 705, 752, 760
Leva, Enrico de (1867-1955) Loewe, Carl (1796-1869)
La Camargo, 1898 Die drei Wünsche, 1834
Levade, Charles Gaston (1869-1948) Loewe, Johann Jakob (1628-1703)
La Rotisserie de la Reine Pcdauquc, J920 Amelinde, 1657
La Peau de Chagrin, 1929 Orpheus aus Thracien, 1659
Lilien, Ignaz (1897-1964) Logroscino, Nicola (16g8-after 1765)

15 69 1570
Logroscino INDEX OF COMPOSERS Major
U Governatore, 1747 Phaeton, 1683
Giunio Bruto, 1748 Amadis, 1684
see also col. 195 Roland, 1685
Löhner, Johann (1645-1705) Armide, 1686
*Theseus, 1688 Acis et Galatee, 1686
Lohse, Otto (1858-1925) see also col. 3°,41,53, 54, 56, 57, 59,61,65,
Der Prinz wider Willen, 1890 71,77, 83, 84,94, 100, 107, 128, 174, 359,
Lorenzani, Paolo (c.1640-1713) 362 ,377,573
Nicandro e Fileno, 1681 Lux, Friedrich (1820-1895)
Orontee, 1688 Das Käthchen von Heilbronn, 1846
see also col. 20, 41, 107 Der Schmied von Ruhla, 1882
Lortzmg, Gustav Albert (1801-1851) Lvov, Aleksei Fedorovich (1798-1870)
*Die beiden Schützen, 1837 Bianca und Gualtiero, 1844
*Czaar und Zimmermann, 1837 Undina, 1848
*Hans Sachs, 1840
*Casanova, 1841 MacAlpin, Colin (1870-?)
*Der Wildschütz, 1842 The Cross and the Crescent, 1903
*Undine, 1845 MacCunn, Hamish (1868-1916)
*Der Waffenschmied, 1846 Jeanie Deans, 1894
*Zum Grossadmiral, 1847 Diarmid, 1897
*Rolands Knappen, 1849 Macfarren, George Alexander (1813-1887)
*Die vornehmen Dilettanten, 1851 The Devil's Opera, 1838
*Regina, 1899 An Adventure ofDon Quixote, 1846
see also col. 309, 647, 708, 1001 King Charles 11, 1849
Lothar, Mark (1902-) Robin Hood, 1860
Tyll,1928 Jessy Lea, 1863
Lord Spleen, 1930 Helvellyn, 1864
see also col. 358 see also ccl. 86, 761
Lotti, Antonio (c.1667-1740) Machado, Augusto (1845-1924)
Alessandro Severo, 1716 Lauriane, 1883
Giove in Argo, 1717 Mario Wetter, 1898
Teofane, 1719 Mackenzie, Alexander Campbell (1847-1935)
see also col. 41, 146 Colomba, 1883
L0venskjold, Hermann Severin (1815-1870) The Cricket on the Hearth, 1914
Turandot, 1854 The Eve of St. John, 1924
Lualdi, Adriano (1887-1971) Maclean, Alick (1872-1936)
*La Figlia deI Re, 1922 Quentin Durward, 1920
Le Furie d' Arlecchino, 1924 Madetoja, Leevi (1887-1947)
*U Diavolo nel Campanile, 1925 *Pohjalaisia, 1924
*La Gran"eola, 1932 *Juha, 1935
see also col. 369 Magnard, Alberic (1865-1914)
Luccio, Francesco (17th ct.) *Ben:nice, 19II
n Medoro, 1658 *Guercceur, 1931
Lully, Jean Baptiste (1632-1687) Maillart, Louis Aime (1817-1871)
Les Festes de l' Amour et de Bacchus, 1672 Gastibelza, 1847
Cadmus et Hermione, 1673 Les Dragons de Villars, 1856
Alceste, 1674 Les Pecheurs de Catane, 186o
Thesee, 1675 Lara, 1864
Atys, 1676 Majo, Francesco di (1732-1770)
Isis, 1677 Ricimero, Re dei Goti, 1751l
Psyche, 1678 Ifigenia in Tauride, 1764
Bellerophon, 1679 see also col. 236, 317
Proserpine, 1680 Major, Gyula (1858-1925)
Persee, 1682 Erzsike, 1901

1571 1572
Maldere INDEX OF COMPOSERS Mascagni
Maldere, Pierre van (1724-1768) Maria Antonia Walpurgis, Electress of Saxony
La Bagarre, 1763 ("E.T.P.A.") (1724-1780)
see also col. 185 *11 Trionfo della Fedelta, 1754
Malipiero, Francesco (1824-1887) *TaIestri, Regina delle Amazoni, 1760
Alberigo da Romano, 1846 see also col. 207
Malipiero, Gian Francesco (1882-1973) Mariani, Giovanni Battista (17th ct.)
*Sept Chansons, 1920 Amore vuol Gioventu, 1659
*L'Orfeide, 1925 Marinuzzi, Gino (1882-1945)
La Bottega da Caffe, 1926 Jacquerie, 1918
Sior Todero Brontolon, 1926 Palla de' Mozzi, 1932
Le Baruffe chiozzotte, 1926 see also col. 1098
*Der falsche Harlekin, 1928 Mariotte, Antoine (1875-1944)
*Filomela und ihr Narr, 1928 Salome, 1908
*Komödie des Todes, 193 I Esther Princesse d'Israel, 1925
*Mysterium Venedigs, 1932 Gargantua, 1935
Die Legende vom vertauschten Sohn, 1934 Marliani, Marco Aurelio (1805-1849)
*Giulio Cesare, 1936 11 Bravo, 1834
* Antonio e Cleopatra, 193 8 La Xacarilla, 1839
see also col. 5, 6, 18, 859, 1420 see also col. 834
Mancinelli, Luigi (1848-1921) Marquez (Puig), Antonio (1897-)
Isora di Provenza, 1884 Sor Beatriz, 1924
Ero e Leandro, 1897 Marschner, Heinrich August (1795-1861)
Paolo e Francesca, 1907 Der Holzdieb, 1825 .
see also col. 885, 1075 Der Vampyr, 1828
Mancini, Francesco (1679-1739) Der Templer und die Jüdin, 1829
Gli Amanti generosi, 1705 Des Falkners Braut, 1832
L'Engeibertha (with A. Orefice), 1709 Hans Heiling, 1833
see also col. 122 Das Schloss am Ätna, 1836
Mandl, Richard (1859-1918) Der Bäbu, 1838
La Rencontre imprevue, 1889 Kaiser Adolph von Nassau, 1845
Manelli, Francesco (1595-c.1667) Sangeskönig Hiame, 1863
L' Andromeda, 1637 see also col. 682, 716, 731, 801
La Maga fulminata, 1638 Marsick, Armand (1877-1959)
see also col. 15, 17, 18 La Jane, 1921
Manen, Joan (1883-) Martin y Soler, Vicente (1754-1806)
*Acte, 1903 U Burbero di buon Cuore, 1786
Mangold, Karl (1813-1889) Una Cosa rara, 1786
Tanhäuser, 1846 L' Arbore di Diana, 1787
Marais, Marin (1656-1728) Gore Bogatyr Kosometovich, 1789
Alcione, 1706 Fedul s Detrni (with Pashkeevich), 1791
Marazzoli, Marco (c.1619-1662) La Scola de Maritati, 1795
Chi soffre, speri (with V. Mazzocchi), 1639 L'Isola del Piacere, 1795
Dal Maie il Bene (with Abbatini), 1653 see also col. 18o, 385, 397, 458, 485
La Vita umana, 1656 Martinez de !a Roca, Joaquin (16 ..-17 .. )
see also col. 20 Los Desagravios de Troya, 1712
Marcello, Benedetto (1686-1739) Martini, Jean Pau! Egide (1741-1816)
Arianna, 1913 L' Amoureux de quinze Ans, 1771
Marchetti, Filippo (1831-1902) Henri IV, 1774
Romeo e Giulietta, 1865 Le Droit du Seigneur, 1783
Ruy Blas, 1869 see also col. 259
see also co!. 353 Marty, Georges Eugene (1860-1908)
Marechal, Henri (1842-1924) Daria,1905
Les Amouteux de Catherine, 1876 Mascagni, Pietro (1863-1945)
Maria, P. A. D. della, see Della Maria Cavalleria rusticana, 1890

1573 1574

/
Mascagni INDEX OF COMPOSERS Mehul

L' Amico Fritz. 1891 Mathieu, Emile (1844-1932)

I Rantzau, 1892 La Bemoise, 1880
Guglielmo Ratcliff, 1895 Mattei, Filippo (16 .•-17 .. , probably identical
Silvano, 1895 with Filippo Amadei)
Zanetto, 1896 n Muzio Scevola (with. G. Bononcini and
Iris, 1898 Handel), 1721
Le Maschere, 1901 see also col. 132, 133
Amica, 1905 Mattheson, Johann (1681-1764)
Isabeau, 1911 Cleopatra, 1704
Parisina, 191 3 Henrico IV, 1711
Lodoletta, 1917 see also col. 66, 90, 93, 96, 102, 111,133,143,
n Piccolo Marat, 1921 144,200
Pinotta, 1932 Maurer, Louis (1789-1878)
Nerone, 1935 Der neue Paris, 1826
see also col. 1210, 1276, 1301 Aloise, 1828
Mascheroni, Edoardo (1859-1941) see also col. 507
Lorenza, 1901 Maurice, Pierre (1868-1936)
La Perugina, 1909 Andromeda, 1924
Masse, Victor (1822-1884) Mayr, Johann Simon (1763-1845)
La Chanteuse voilee, 1850 Lodoiska, 1796
Galatee, 1852 Che Originali, 1798
Les Noces de Jeannette, 1853 Adelaide di Guesclino, 1799
La Reine Topaze, 1856 n Carretto del Venditore d' Aceto, 1800·
Paul et Virginie, 1876 Ginevra di Scozia, 1801
Une Nuit de Cleopatre, 1885 I Misteri Eleusini, 1802
see also col. 977 Alonso e Cora, 1803
Massenet, Jules (1842-1912) Elisa, 1804
La Grand'Tante, 1867 Adelasia e Aleramo, 1806
Don CCsar de Bazan, 1872 La Rosa rossa e la Rosa bianca, 1813
Le Roi de Lahore, 1877 Medea in Corinto, 1813
Herodiade, 1881 see also col. 478, 492, 523, 555, 620
Manon, 1884 Mazzocchi, Domenico (1592-1665)
Le Cid, 1885 La Catena d' Adone, 1626
Esclarmonde, 1889 Mazzocchi, Virgilio (1597-1646)
Le Mage, i891 Chi soffre, speri (with M. Marazzoli), 1639
Werther, 1892 Mazzucato, Alberto (1813-1877)
Thais, 1894 Esmeralda, 1838
Le Portrait de Manon, 1894 see also col. 783
La Navarraise, 1894 Meder, Johann Valentin (1649-1719)
Sapho, 1897 Nero, 1695
Cendrillon, 1899 Mederitsch, Johann, called Gallus (1752-1835)
Griselidis, 1901 Babyions Pyramiden (with Winter), 1797
Le Jongleur de Notre-Dame, 1902 MedU].S, Jänis (1890-1966)
Marie-Magdeleine, 1903 Uguns un Nakts, 1921
Cherubin, 1905 Deevi un Cilveki, 1922
Ariane, 1906 Mehul, Etienne Nicolas (1763-1817)
Therese, 1907 Euphrosine, 1790
Bacchus, 1909 Cora, 1791
Don Quichotte, 1910 Stratonice, 1792
Roma, 1912 Le jeune Sage et le vieux Fou, 1793
Panurge, 1913 Le jeune Henry, 1797
Cleopatre, 1914 Adrien, 1799
Amadis, 1922 Ariodant, 1799
see also col. 241, 920, 1166 L'Irato, 1801

1575
Mehul INDEX OF COMPOSERS Millöcker
Une Folie, 1802 Messager, Andre (18S3-1929)
Joanna, IR02 • La Bearnaise, 188S
Le Tresor suppost, 1802 La Basochc, 1890
Helcna, 1803 Madame Chrysantheme, 1893
Lcs dcux Avcuglcs de Tolcdc, 1Xoo Lcs p'titcs Michu, 1897
Uthal, 1806 Veronique, 1898
Gabrielle d'Estrecs, 1806 Fortunio, 1907
Joseph, 1807 Beatrice, 1914
Le Prince Troubadour, 1813 Monsieur Beaucaire, 1919
La Journce aux Aventures, I RIO Meyer von Schauensee, Franz Joseph Leonti
Valentine de Milan, 1822 (17 20- 1789)
see also col. 60S *Hans Hüttenstock, 1769
Melani, Jacopo (1623-1676) Meyerbeer, Giacomo (1791-IR64)
II Potesta di Colognolc, 16Yi Jephta's Gelübde, 1812
Ercole in Tebe, 1661 Wirth und Gast, 1813
Girello, 1670 Romilda e Costanza, 1817
sec also col. 20 Emma di Resburgo, 1819
Melartin, Erkki Gustaf (1875-J93 7) Margherita d' Anjou, 1820
Aino, 1909 II Crociato in Egitto, 1824
Melcer, Henryk (1869-1928) Robert-Ie-Diable, 183 I
Marya, 1904 Les HUgUCllOts, 1836
Mellon, Alfred (1820-1867) Ein Feldlager in Schlesien, 1844
Victorine, 18 S9 Le Prophete, 1849
Mendelssohn, Felix (1809-1847) L'Etoile du Nord, 18S4
Die Hochzeit des Gamacho, 1827 Le Pardon de Ploermcl, 1859
Die Heimkehr aus der Fremde, ISSI L' Africaine, 186S
see also col. 610, 882,962,963, 1129 see also col. 199, 747, 784, 797, 916, 994,
Menotti, Gian Carlo (1911-) 10SI, 1130
* Amclia goes to the Ball, 1937 Migoni, Francisco Xavier (1811-1861)
Mercadante, Saverio (179S-1 870) Sampiero, 18S3
Elisa e Claudio, 1821 Mihalovich, Ödön (1842-1929)
Caritea, Regina di Spaglla, 1826 Hagbarth und Signe, 1882
Gabriella di Vergy, 182S Toldi Szerelme, 1893
I Normanni a Parigi, 1832 Eli<ina, 1908
I Briganti, 1836 Miles, Philip Napier (186S-193S)
II Gi~ramento, 1837 *Markheim, 1924
Elena da Feltre, 1~3R Milhaud, Darius (1892-1974)
II Bravo, 1839 La Brebis egarce, 1923
La Vestale, 1840 Les Malheurs d'Orphee, 1926
Leonora, 1844 Die Entführung der Europa, 1927
Gli Orazi ed i Curiazi, 1846 Le pauvre Matelot, 1927
Virginia, 1866 Der befreite Theseus, 1928
see also col. s06, 670, 79S, 797,801,97' Die verlassene Ariadne, 1928
Merikanto, Oscar (1868-1924) Christoph Columbus, 1930
Pohjan Neito, 1908 Maximilien, 1932
Elinan Surma, 1910 Esther de Carpentras, 1938
Regina von Emmeritz, 1920 Medce, 1939
Mermet, Auguste (18 10-1889) see also col. 1079
*Roland a Roncevaux, 1864 Milligen, Simon van (1849-1929)
*Jeanne d' Are, 1876 Brinio, 1889
see also col. 480 MiIIöcker, Karl (1842-1899)
Mertens, Joseph (1834-1901) Apajune der Wassermann, 1880
Liederik, de Rentmeester, 1875 Der Bettclstudent, 1882
De zwarte Kapitein, 1877 Gasparone, ,884

IS77
Millöcker INDEX OF COMPOSERS Mozart

Der Feldprediger, Tl!l!4 L'Adone, 1639

Der Vicc-Admiral, 1886 II Ritorno d'Ulisse in Patria, 1641
Der arme Jonathan, T890 L'Incoronazione di Poppea, 1642
Mindhejmer, Adam ([831-[904) see also col. R, 16, 20, 24, 60
Mazcppa, [900 Montfort, Alcxandre (1803-1856)
Mirecki, Franz ([ 79 1- [l!(2) Polichinelle, IX39
Evandro in Pergamo, 1824 Moor, Emanuel (1863-1931)
Miro, Antonio Luiz (d. 1853) La Pompadour, [902
A Marqucza, 1848 Moor, Karel (1{l73-I945)
Miry, Karrl (1l!23-IX89) Hjoerdis, 1905
130uchard d' Avesncs, [H64 Morales, Mclesio (183R-1908)
Missa, Edmond Jcan Louis (1861-1\)[0) lIdegonda, 1866
MlIguettc, 1903 Cleopatra, 1891
Magurlone, [903 Moreno-Torroba, Federico (1891-)
Mondonvillc, Jean Joseph de (17ll-1772) La Virgen de Mayo, 1925
Titon ct I'Aurorc, 1753 Morera, Enrique (1865-[942)
*Daphnis et Alcimaduro, 1754 Emporium, 1906
sce also col. 57, 221 Moret, Ernest (I R..-)
Moniuszko, Stanislaw (181<)-1872) Lorenzaccio, 1920
Halb, 1854 Morlacchi, Francesco (1784-1841)
Flis, 1858 Le Danaide, 18 IO
Hrabina, 1860 Raoul di Crequi, 18ll
Verbum nobile, 1861 Gianni di Parigi, 1818
Straszny Dwor, 1865 Tebaldo e Isolina, 1822
Paria, 1869 Colombo, 1828
Beata, 1872 sec also col. 729
see also col. 602; 836 Mosca, Luigi (1775-1824)
Monleone, Domenico (1875- [942) I Pretendenti delllSi, 18 II
Cavallcria rusticana, 1907 see also col. 632
Suona la Ritirata, 1916 Mosel, Ignaz Franz von (1772-18«)
Monpou, Hippolyte (1804-1841) Cyrus und Astyages, 1818
Lc Luthier de Viennc, 1836 Mosonyi, Michael Brand, called (1815-1870)
Monsigny, Pierre Alexandre (1729-[l!17) Szep I1onka, IS61
Les Aveux indiscrets, 1759 * Almos, 1934
Le Cadi dupe, 1761 Moszkowski, Moritz (1854-1925)
On ne s'avisc jamais de tout, 176[ Boabdil, 1892
Le Roi et le Fermier, 1762 Mouret, Jean Joseph (168~-1738)
Rose et Colas, 1764 Les Festes de Thalie, [714
Aline, Reine de Golcondc, 1766 Ragonde, 1714
Le Deserteur, 1769 Les Amours des Dieux, 1727
La belle Arsene, 1773 see also col. 80, 138, 185
Felix, 1777 Mozart, Wolfgang Amadeus (I756-i79I)
see also col. 255, 259, 444 Apollo et Hyacinthus, 1767
Monteclair, Michel de (1667-1737) Bastien und Basticnnc, 1768
Jephte, 1732 La finta Semplicc, 1769
Montemezzi, Italo (1875-1952) Mitridate, Re di Ponto, 1770
Giovanni Gallurese, 1905 Ascanio in Alba, 1771
Hellera, 1909 Il Sogno di Scipione, 1772
L' Amore dei tre Re, 1913 Lucio Silla. 1772
La Nave, 1918 La finta Giardiniera. 1775
La Notte di Zoraima, 1931 Il Re Pastore. 1775
Montevcrdi, Claudio (1567-1643) Idomenco. 1781
La Favola d'Orfeo, 1607 Die Entführung aus dem Scrail, 1782
L' Arianna, 1608 Ocr Schauspieldirektor. 1786

1579 15 8o
Mozart INDEX OF COMPOSERS Noetzel
Le Nozze di Figaro, 1786 Atmida, 1773
JI Dissoluto punito, 1787 Alllphion, 1778
Cosl (m tu tte, 1790 E1is~, 1781
La Clemenza di Tito, 1791 Cora och Alonzo, 1782
Die Zauberflöte, 1791 GustafWasa, 1786
Zaide, 1866 Orpheus og Euridice, I7X(,
L'Oie .du Caire, 1867 La Dama Soldato, 1791
see also col. 126,169,171,186,200,219,293, sec alsi' col. 302
312 ,317,334,33 8,343,344,352,354,35 8, Naylor, Edward Woodall (1867-1934)
364,381,386,388,397,4°2,4°3,4°7,412, Thc Angelus, 1909
434,438,441,442,483,5°0,516,525,542, Ncefc, Christian Gottlob (1748-1798)
575 Die Apotheke, 1771
Mraczck, Joseph Gustav (1878-1944) Addheit von Veltheilll, 1780
*Der Traum, 1909 sec also col. ]21, 335, 344, 355,365,366,378,
Hcrrn Dürcrs Bild, 1927 385,415,418,422,447,449,451
Mugnonc, Lcopoldo (1858-1941) Nesslcr, Viktor Ernst (1841- 18<)0)
II Birichino, 1892 Der Rattenfänger von Hame·ln, 1879
Mulc, Giuseppc(1885-1951) Der Trompeter von S'ickingcn, 1884
La Baroncssa di Carini, 19I2 Ndver:1, Joseph (1842-1914)
La Monacella dclla Fontana, 1<)23 *LcSIlI V zduch, 1897
Dafni, 1928 Perdita, 1897
Liol!!, 1935 Netzcr, Joscph (1808-1864)
Müller, Wenzel (17Ö7-Ui35) Mara, 1841.
Das Sonncnfest der·13raminen, 1790 Neulllann, Franz (1874-1929)
Das Neusonntagskind, 1793 Liebelei, r910
Die Schwestern von Prag, 1794 NcuviIlc, Valtntin (I863-?)
Die Teufelsmühle am Wienerberg, 17<)9 Tiphcene, 1899
see also col. 416, 559 • Ncvin, Arthur Finle)' (1871-1943)
Muncktcll, Hclcna (I852-?) Poia, 1910
I Fircnze, I R89 The ])aughter ofthe Forest, 191~
Musorgsky, Modest Pctrovich (1839-1 XS I) Niccolini, Giuscppe (r763-r842)
*13oris Godunov, 1874 I Baccanali di Roma, 1801
*Khovanshchina, 1886 Ttaiano in Dacia, 1807
Zhenitba, 1909 Coriolano, 1808
*Sorochinska ya Yarmarka, i 91 7 Nicolai, Otto (1810-1849)
see also col. I I 58 Il Templario, 1840
Myslivcczek, Joseph (1737-1781) Il Proscritto, 1841
Il 13cllerofontc, 1767 Die lustigen Weiber VOll Windsor. 1849
Motezuma, 1771 sec also tol. 818
Olimpiade, 1778 Niedermcyer, Louis Abraham (1802-1861)
Armida, J779 Marie Stuart, 1844
Nie!sell, earl August (1865-1931)
Napravnik, Eduard Frantsrvich (1839-1916) Saul ag David, 1902
Nizhcgorodcy, 1869 Maskarade, r906
Garold, 1886 see also col. 1332
Dubrovsky, 1895 Niclsen, Llld~lf (1876-1939)
Franccsca da Rimini, 1903 Isbella, 1915
Nasolini, Sebastiano (1768- before 1806) Nini, Alessandro (1805-1880)
La Mortc di Clcopatra, 1791 La Marescialla d'Ancrc, 1H39
Eugenia, 1792 Nodermann, Prcben ([ 867-193°)
Merope, 1796 *König Magnus, 1898
sec also col. 523, 573 see also col. 875
Naumann, Johann Gottlieb (174 I-I SOl) Noctzel, Hermann (1880-T9St)
L' Achille in Sciro, 1767 *Meister Guido, 1918

15 81 15 82
Noronha INDEX OF COMPOSERS Pacini
Noronha, Francisco de Si (18~1881) *Kudeyar, 1915
Beatrice do Portogallo, 1863 d'Ollone, Max (1875-1959)
Noskowski, Zygmund (1846-1909) *Le Retour, 1913
Livia Quintilla, 1898 l'Arlequin, 1924
Nougu~, Jean (1875-1932) Onslow, Georges (1784-1852)
Quo vadis, 1909 Le Colporteur, 1827
L' Auberge rouge, 1910 Oosterzee, Comelie van (1863-)
L'Aigle, 1912 Das Gelöbnis, 1910
see also col. 1282 Orefice, Antonio (c.16go-c.1733)
Novak, Vitezslav (1870-1949) L'Engelberta (with Mancini), 1709
Zvfkovsky Rar;gek, 1915
Patro Calienno de la Costa, 1709
KarlStejn, 1916
Orefice, Giacomo (1865-1922)
Lucerna, 1923
Chopin, 1901
Deddv Odkaz, 1926
Radda, 1912
see also col. 5, 6, 7
Oberleithner, Max von (1868-1935)
Orlandi, Femando (1777-1848)
Der eiserne Heiland, 1917
Il Podesta di Chioggia, 1801
O'Dwyer, Robert (1860-1949)
La Dama Soldato, 1808
Eithne, 1910
Orlandini, Giuseppe Maria (1688-c.1750)
Offenbach, Jacques (1819-1880)
Amore e Maesta, 1715
L'Alcöve, 1847
Antigona, 1718
Pepito, 1853
11 Marito Giogatore, 1718
Les deux Aveugles, 1855
Nerone, 1721
Le Mariage aux Lantemes, 1857
see also col. 41, 110, 144, 159
Mesdames de la Halle, 1858
Ostrcil, Otakar (1879-1935)
Orphee aux Enfers, 1858
Vlasty Skon, 1904
Genevi~e de Brabant, 1859
KunaIovy 00, 1908
Daphnis et Chloe, 1860
Poupe, 1911
Barkouf, 1860
Honzovo Kcilovstvf, 1934
La Chanson de Fortunio, 1861
Otremba, Gustav (18 ..-?)
Le Pont des Soupirs, 1861
Olenca (with Caudella), 1880
Monsieur et Madame Denis, 1862
Ottoboni, Pietro (1667-1740)
Bavard et Bavarde, 1862
*11 Colombo, 16g0
Lischen ~t Fritzchen, 1863
see also Index of Librettists
La belle Helb1e, 1864
Barbe-Bleue, 1866 Oudrid (y Segura), Crist6bal (1~2S-1877)
Buenas Noches, Senor Don Slm6n, 1852
La Vie parisienne, 1866
EI Postill6n de la Rioja, 1856
La Grande-Duchesse de Gerolstein, 1867
Robinson Crusoe, 1867
see also col. 873
L'l1e de Tulipatan, 1868 Overhoff, Kurt (1902-)
La Penchole, 1868 Mira,1925
Vert-Vert, 186g
Les Brigands, 186g Pacchierotti, ubaldo (1877-1916)
La Princesse de Trebizonde, 186g Eidelberga mia, 1908
Fantasio, 1872 Pacheco, Fabian Garcia (c.1725-c.1808)
La jolie Parfumeuse, 1873 En Casa de Nadie no se meta Nadie, 1770
Madame r ArchidQc, 1874 Pacini, Giovanni (1796-1867)
La Creole, 1875 Adelaide e Comingio, 1817
Madame Favart, 1878 11 Barone di Dolsheim, 1818
La Fille du Tambour-Major, 1879 La Schiava in Bagdad, 1820
Les Contes d'Hoffmann, 1881 La Gioventit di Enrico V, 1820
Der Goldschmied von Toledo, 1919 L'ultimo Giomo di Pompei, 1825
see also col. 629, 958, 979, 995, 1025 Gli Arabi nelle Gallie, 1827
OIenin, Aleksandr Aleksyeevich (1865-1944) Saffo,I840

15 83
Pacini INDEX OF COMPOSERS Pashkeevich
La Fidanzata Corsa, 1842 La Modista Raggiratrice, 1787
Medea, 1843 L'Amor contrastato, 1788
Lorenzino de' Medici, 1845 Nina, 1789
Bondelmonte, 1845 I Zingari in Fiera, 1789
La Regina di Cipro, 1846 La Locanda, 1791
Il Saltimbanco, 1858 I Giuochi d' Agrigento, 1792
*Niccolo dei Lapi, 1873 L'Elfrida, 1792
see also col. 70S, 1093 Proserpine, 1803
Pacius, Friedrich (1809-1891) see also col. 16,41,69, 139,176,177,178,180,
Kung Carls Jakt, 1852 213,234,262,368,426,430,438,440,466,
Lorelei, 1887 473
Paderewski, Ignacy Jan (1860-1941) Paladilhe, Emile (I 844- 19~6)
Manru, 1901 Le Passant, 1872
Paer, Ferdinando (1771-1839) Patrie, 1886
Il Tempo fa Giustizia a tutti, 1792 Pallavicino, Carlo (c.1630-1688)
L'Intrigo amoroso, 1795 Galieno, 1675
Il Principe di Taranto, 1797 Il Vespasiano, 1678
La Virtu al Cimento, 179R. Le Amazoni nell'Isole fortunate, 1679
CamilJa, 1799 Massimo Puppieno, 1684
Poche, ma buone, 1800 Penelope la Casta, 1685
Achille, 1801 L' Amazone Corsara, 1686
I Fuorusciti di Firenzc, 1802 La Gierusalemme liberata, 1687
Sargino, 1803 L'Antiope, 1689
Leonora, 1804 see also col. 16, 17
Sofonisba, 1805 Pallavicino, Vincenzo (18th ct.)
Agnese di Fitz-Henry, 1809 Lo Speziale (with Fischietti), 1755
Le Maitre de Chapcllc, 1821 see also col. 3°2
Uu Caprice de Femme, 1834 Palma, Athos (1891-1951)
see also col. 167, 29T, 426, 474, 540, 573, 585, Nazdah, 1924
590 ,736 Palma, Silvestro (1762-1834)
Pagliardi, Giovanni Maria (17th ct.) La Pietra simpatica, 1795
Caligula delirante, 1672 Palmer, Geoffrey Molyneux (1882-)
Lisimaco, 1673 Sruth na Maoile, 1923
see also col. 140 Palmgren, Selim (1878-1951)
Pahissa, Jaime (1880-1969) *Danie! Hjort, 1910
La Preso de Lleida, 190(i Paneck, Johann Baptist (18th ct.)
Gala Placidia, 1913 Die christliche Judenbraut, 1789
Mariane!a, 1923 Panizza, Ettore (1875-1967)
Paisiello, Giovanni (1740-1816) Il Fidanzato de! Mare, 1897
Le flllte Contesse, 1766 Medio Evo Latino, 1900
L'Idolo Cinese, 1767 Aurora, 1908
Il Duello, 1774 Bisanzio, 1939
Il Credulo dduso, 1774 Paradis, Maria Theresia von (1759-1824)
La Frascatana; 1774 Rinaldo und Alcina, 1797
La Discordia fortunata, 1775 Parelli, Attilio (1874-1945)
Socrate immaginario, 1775 I dispettosi Amanti, 1912
Le due Contesse, 1776 Parker, Horatio William (1863-1919)
Gli Astrologi immaginari, 1779 Mona, 1912
La fmta Amante, 1780 Fairyland, 1915
La Serva Padrona, 178 [ ParrY,Joseph (1841-1903)
Il Barbiere di Siviglia, 1782 Blodwen, 1878
II Re Teodoro in Vcnezia, 1784 Sylvia, 1895
Le Gare gcnerose, 1786 Pashkeevich, Vasily Aleksyeevich (18th ct.)
Pirro, 1787 Fevey, 1786
Pashkeevich INDEX OF COMPOSERS Pfitzner

Nachalnoye Upravlenic Olega (with Sarti and Raimondin, 1881

Canobbio), 1790 Junker Heinz, 1886
Fedul s Detmi (with Martin y Soler) , Pergolesi, Giovanni Battista (1710-1736)
1791 Lo Frate 'nnamorato, 1732
Pasquini, Bemardo (1637-171°) La Serva Padrona, 1733
La Donna ancora e fedcle, 1676 La Contadina astuta, 1734
Dov'e Amore e Pieta, 1679 Olimpiade, 1735
Paulli, Holger Simon (1810-1891) Il Flaminio, 1735
Lodscn, 1851 see also col. 32, 81, 105, 184, 187, 188, 2II,
Paumgarmer, Bemhard (1887-1971) 222, 223, 225, 389, 390, 500
*Die Höhle von Salamanca, 1923 Peri, Achille (1812-1880)
Rossini in Neapel, 1936 Vittore Pisani, 1857
Pavesi, Stefano (1779-1850) Giuditta, 1860
Un A vvertimento ai Gelosi, 1803 Peri, Jacopo (1561-1633)
Ser Marcantonio, J810 La Dafne, 1597
see also col. 663 L'Euridice, 1600
Pedrell, Felipe (1841-1922) La Flora (with Gagliano), 1628
*L'ultimo Abenzerraggio, 1874 see also col. 3,4, 9, 10
I Pirenei, 1902 Perosi, Marziano (1875-1959)
see also col. 120, 300, 1270 Pompeji, 1912
Pedrollo, Arrigo (1878-1964) Persiani, Giuseppe (1799-1869)
La Veglia, 1920 Inez de Castro, 1835
L'Uomo che ride, 1920 see also col. 8I 6
Delitto e Castigo, 1926 Persico, Mario (1892-1977)
L'Amante in Trappola, 1936 La Bisbetica domata, 1931
see also col. 1354 Persuis, Louis Lue Loiseau de (1769-1819)
Pedrotti, Carlo (1817-1893) Le Triomphe de Trajan (with Lesueur),
Fiorina, 1851 180 7
Tutti in Maschera, 1856 Jerusalem delivree, 1812
Guerra in quattro, 1861 Perti, Jacopo Antonio (1661-1756)
see also col. 885 Il Furio Carnillo, 1692
Peellaert, August Philipp de (1793-1876) see also col. 77, 133, 151, 183, 190
Agnes SoreI, 1824 Pescetti, Giovanni Battista (C.1704-1766)
Teniers, 1826 Demetrio, 1732
Pelissier, Victor (17 ..-18 ..) see also col. 154, 171, 183
Edwin and Angelina, 1796 Pessard, Emile (1843-1917)
see also col. 4 14, 473 Les Folies amoureuses, 1891
Pentenrieder, Franz Xaver (1813-1867) Peterson-Berger, Olof Wilhe1m (1867-1942)
Die Nacht zu Paluzzi, 1840 *Ran, 1933
Pepusch, John Christopher (1667-1752) * Amjlot, 1910
Thomyris, Queen of Scythia, 1707 * Adils och Elisiv, 1927
The Beggar's Opera, 1728 see also col. 976
Polly (adapted by Amold), 1777 Petrauskas, Miskas (1873-1937)
see also col. 159 *Birute, 1921
Peranda, Marco Giuseppe (C.I600-1675) PetreIla, Errico (1813-1877)
Dafue (with Bontempi), 1671 Le Precauzioni, 185 I
Pereira, Miguel Angelo (1843-1901) Marco Visconti, 1854
Eurico, 1870 Elnava, 1856
Perez, Davide (17II-I778) Jone, 1858
Siroe, 1740 La Contessa d'Amalfi, 1864
Demetrio, 174J I Promessi Sposi, 1869
Alessandro nell'Indie, 1745 Pfeiffer, GeorgesJean (1835-1908)
Solimano, 1757 Le Legataire universeI, 1901
see also col. 228 Pfitzner, Hans (186!)-J949)
Perfall, Kar! von (1824-1907) Der arme Heinrich, 189'5
1587 1588
Phtmer INDEX OF COMPOSERS Ponchielli
Die Rose vom Liebesgarten. 1901 Il Narciso, 1697
*Palestrina. 1917 Le Risa di Democrito, 1700
Christclflein, 19 I 7 see also col. 47, 69, 364
Das Herz, 193 I Pixis, Johann Peter (1788-1874)
see also col. 647. 713. 722 Almazinde, 1820
Philidor, Franc;:ois Andre Danican (1726-1795) Bibiana, 1829
Le Diable a quatre, 1756, Pizzetti, Ildebrando (1880-1968)
Blaise le Savetier. 1759 f:edra, 1915
Le Soldat Magicien, 1760 *Debora e Jaele, 1922
Le Jardinier et son Seigneur, 1761 *Fra Ghera~do, 1928
Le Marechal ferrant, 1761 *Lo Straniero, 1930
Sancho Panc;:a dans son Isle, 1762 *Orseolo, 1935
Le Buchcron, 1763 see also col. 1345
Le Sorcier, 1764 Pizzi, Emilio (1861-~931)
Tom Jones, 1765 William Ratcliff, 1889
Emelinde Princesse de Norvcge, 1767 GabrieIIa, 1893
La belle Esclave, 1787 La Rosalba, 1899
see also col. 73, 167, 254, 259. 305, 313. Vendctta, 1906
361 Planquette, Robert (1848-1903)
Philpot, Stephen Rowland (1870-1950) Les Cloches de Comeville, 1877
Dantc and Beatrice, 1889 Rip van Winkle, 1882
Piccinni, Nicola (1728-1800) Plantade, Charles Henri (1764-1839)
La buona Figliuola, 1760 Le Mari de Circonstances, 1813
Le Vicende della Sorte, 1761 Platania, Pietro (1828-1907)
La buona Figliuola maritata, 1761 Spartaco, 1891
Il Cavalicre per Amore, 1762 Poise, Ferdinand (1828-1892)
Le Contadine bizarrc, 1763 Bonsoir, Voisin, 1853
Gli Stravaganti, 1764 La Surprisc· de l' Amour, 1877
Il Barone di Torreforte, 1765 L'Amour Medecin, 1880
La Pescatrice, 1766 Jolli Gilles, 1884
Le finte Gemelle, 1771 see also col. 275
Alessandro neII'Indie, 1774 Poissl, Johann Nepomuk von (1783-1865)
Roland, 1778 Athalia, 1814
Atys, 1780 *Der Wettkampf zu Olympia, 1815
Iphigenie en Tauride, 1781 *Nittetis, 1817
Didon, 1783 see also col. 431, 523,660
Le faux Lord, 1783 Poldini, Ede (1869-1957)
Pentlope, 1785 A Csavargo es Kiralyliny, 1903
see also co!. 59,77, 176,213,225,245,286,293, Farsangi Lakodalom, 1924
298, 327, 377, 385, 4 26 Pollarolo, Carlo Francesco (1653-1722)
Pick-Mangiagalli, Riccardo (1882-1949) Ottone, 1694
Basi e Bote, 1927 Gl'Inganni fclici, 1695
Pieme, Gabriel (1863-1937) Faramondo, 1699
La Coupe enchantee, 1895 Le Pazzie degli Amanti, 1701
La Fille de Tabarin, IgOl Ariodante, 1716
On ne badine pas avec l' Amour, 1910 see also col. 32, 104, 126, 139, 143, 147, 148,
see also col. 1394 149, 163, 169, 192,215,277
Pierson, Henry Hugh (1816-1873) Ponchielli, Amilcare (1834-1886)
Leila, 1848 I Promessi Sposi, 1856
Contarini, 1872 I Lituani, 1874
Pijper, Willem (1894-1947) Gioconda, 1876
Halewijn, 1933 Il Figliuol prodigo, 1880
Pinsuti, Ciro (1829-1888) Marion Delorme, 1885
Il Mercante di Vcnezia, 1873 I Mori di Valcnza, 1914
Pistocchi, Francesco Antonio (1659-1726) see also col. 885

159°
Poniatowski INDEX OF COMPOSERS Rastrelli
Poniatowski, Joseph (1816-1873) La Fanciulla del West, 1910
Don Desiderio, 1840 La Rondine, 1917
Pierre de Mcdicis, 1860 Trittico (Il Tabarro; Suor Angelica; Gianni
Gelrnina, 1872 Schicchi), 1918
see also col. 566, 646 , 774 Turandot, 1926'
Porpora, Nicola Antonio (1686-1766) see also col. 920, 1202,1309
Arianna e Teseo, 1714 Fucitta, Vincenzo (1778-1861)
Ternistocle, 1718 ' La Burla fortunata, 1804
Siface, 1725 La Vestale, 1810
Filandro, 1747 see also col. 544
see also col. 147, 181,207 Purcell, Henry (1659-1695)
Porsile, Giuseppe (1680-1750) Dido and Aeneas, 1689
Meride eSelinunte, 1721 King Armur, 1691
Spartaco, 1726 The Fairy-Queen, 1692
Porta, Giovanni (c.I69<r-1755) see also col. 159
Nurnitore, 1720
Famace, 1731 Rabaud, Henri (1873-1949)
see also col. 196 La Fille de Roland, 1904
Portugal, Marcos Antonio (1762-1830) Marouf, Savetier du Caire, 1914
La Confusione nata dalla Somiglianza, 1793 *L' Appel de la Mer, 1924
Lo Spazzacarnino Principe, 1794 Rolande et le mauvais Gar~on, 1934
Demofoonte, 1794 Radeglia, Vittorio (1863-1941)
La Donna di Genio volubile, 1796 Colomba, 1887
Le Donne cambiate, 1797 Schaaban, 1918
Femando nel Messico, 1798 Radoux, Charles (1877-1952)
Non irritare le Donne, 179M Oudelette, 1912
L'Oro non compra Amore, 1804 Radoux, Jean Theodore (1835-19II)
see also col. 167, 262, 545, 559 Le Bcamais, 1866
Poueigh, Jean (1876-1958) Raff, Joseph Joaquim (1822-1882)
Perkin, 1931 *König Alfred, 1851
Pratella, Francesco BaliIla (1880-1955) Raimann, Rudolf (1861-1913)
*La Sina d'Vargöun, 1909 Arden Enok, 1894
*L'Aviatore Dro, 1920 Raimondi, Pietro (1786-1853)
Fabiano, 1939 Il Ventaglio, 1831
Predieri, Luca Antonio (1688-1767) Putifar-Giuseppe-Giacobbe, 1852
n Sogno di Scipione, 1735 Rakhmaninov, Sergei Vasilevich (1873-1943)
see also col. 143, 325 Aleko, 1893
Prevost, Eugene Prosper (1809-1872) Skupoy Ritsar, 1906
Cosimo, 1835 Francesca da Rirnini, 1906
see also col. 344 Rameau, Jean Philippe (1683-1764)
ProkofIev, Sergei Sergyeevich (1891-1953) Hippolyte et Aricie, 1733
*L' Amour des trois Oranges, 1921 Les Indes galantes, 1735
*Le Joueur, 1929 Castor et Pollux, 1737
Provenzale, Francesco (c.1627-1704) Les Fetes d'Hcbe, 1739
Il Schiavo di sua Moglie, 1672 Dardanus, 1739
Difendere 1'0ff"ensore, 1678 Platee, 1745
see also col. 65 Zoroastre, 1749
Puccini, Giacomo (1858-1924) see also col. 84,237, 241, 412, 489, 910
Le Villi, 1884 Rangström, Ture (1884-1947)
Edgar, 1889 Die Kronbraut, 1919
Manon Lescaut, 1893 Rasse, Fran~ois (1873-1955)
La Boheme, 1896 *Deidamia, 1906
Tosca, 1900 Rastrelli,Joseph (1799-1842)
Madama Butterfly, 1904 Salvator Rosa, 1832

1591 1592
Rathaus INDEX OF COMPOSERS Rimsky-Korsakov
Rathaus, Karol (1895-1954) Reutter, Johann Georg (1708-1772)
Fremde Erde, 1930 La Pazienza di Socrate con due Moglie (with
Rauzzini, Venanzio (1746-1810) Caldara),173 1
Piramo e Tisbe, 1775 osee also col. 166, 172, 225
see also col. 287 Reyer, Ernest (1823-1909)
Ravel, Maurice (1875-1937) Maltre Wolfram, 1854
L'Heure espagnole, 19II La Statue, 1861
L'Enfant et les Sortileges, 1925 Erostrate, 1862
see also col. II20, 1292 Sigurd, 1884
Rebel, FranlYois (1701-1775) Salammbö, 1890
Pirame et Thisbe (with Francccur), 1726 Reznicek, Ernil Nikolaus von (1860-1945)
Zelindor (with Francccur), 1745 *Donna Diana, 1894
see also col. 73 *Till Eulenspiege~ 1902
Rebikov, Vladimir Ivanovich (1866-1920) Ritter Blaubart, 1920
Yelka, 1903 *Holofernes, 1923
Refice, Licinio (1885-1954) Spiel oder Ernst? 1930
Cecilia, 1934 see also col. 464, 930
Reicha, Anton (1770-1836) Ried, Federico (1809-1877)
Sapho, 1822 La Prigione d'Edimburg, 1838
Reichardt, Johann Friedrich (1752-1814) Luigi Rolla e Michelangelo, 1841
Andromeda, 1788 Corrado d'Altamura, 1841
Claudine von Villa Bella, 1789 Crispino e la Comare (with L. Jticd), 1850
Brenno, 1789 Il Marito e l'Amante, 1852
Die Geisterinsel, 1798 *Une Folie aRome, 1869
*Lieb' und Treue, 1800 see also col. 764
Tamerlan, 1800 Ricci, Luigi (1805-1859)
Jery und Bätely, 1801 Chiara di Rosembergh, 1831
see also col. 309, 344, 351, 562,604 Il nuovo Figaro, 1832
Reinecke, earl (1824-1910) Un Avventura di Scaramuccia, 1834
König Manfred, 1867 Gli Esposti, 1834
Reinthaler, Karl (1822-1896) Chi dura vince, 1834
Das Käthchen von Heilbronn, 1881 Il Birraio di Preston, 1847
Reissiger, Karl Gottlieb (1798-1859) Crispino e la Co mare (with F. Ried), 1850
• Die Felsenmühle zu Estalieres, 1831 Riccitelli, Primo (1880-1941)
see also col. 868 I Compagnazzi, 1923
Rendano, Alfonso (1853-1931) Ries, Fcrdinand (1784~1838)
Consuelo, 1902 Die Räuberbraut, 1828
Rente, Francisco Alves (1851-1891) The Sorceress, 183 I
Verde Gaio, 1876 Righini, Vincenzo (1756-1812)
Respighi, Ottorino (1879-1936) 11 Convitato di Pietra, 1717
Re Enzo, 1905 Gerusalemme liberata, 1803
Semirama, 1910 La Sclva incantata, 1803
Belfagor, 1923 see also col. 402
Die versunkene Glocke, 1927 Rimsky-Korsakov, Nikolai Andreevich (1844-
Maria Egiziaca, 1932 1908)
La Fiamma, 1934 *Pskovitvanka, 1873
Lucrezia, 1937 *Maiska;oa Noch, 1880
see also col. 5, 7, 515 *Snyegurochka, 18S2
Restano, Antonio (1866-?) *Mlada, 1892
Margherita d'Orleans, 1897 *Noch percd Rozhdestvom, 1895
Reuss, August (1871-1935) *Sadko, 1898
Herzog Philipps Brautfahrt, 1909 Mozart i Salieri, 1898
Reutter, Hermann (1900-) Tsarskaya Nyevcsta, 1899
Saul, 1928 Skazka 0 Tsarye Saltanye, 1900

1593 1594
Rimsky-Korsakov INDEX OF COMPOSERS Rossini

*Servilia, 1902 Rosenhain,Jakob (1813-1894)

*Kashchey Bessmyertny, 1902 Le Demon de la Nuit, 1851
Pan Voyevoda, 1904 Rosenthai, Manuel (1904-)
Kitezh, 1907 Rayons de Soieries, 1930
Zolotoy Pyetushok, 1909 Rösler,Joseph (1773-1812)
see also col. 1021, 1032, 1082, II21, II42 Elisene, 1807
Rinaldo di Capua (18th ct.) Rossi, Cesare (1858-1930)
Vologeso, Re dei Parti, 1739 Nadeya, 1903
La Zingara, 1753 Rossi, Lauro (1810-1885)
see also col. 285 La Casa disabitata, 1834
Ristori, Giovanni Alberto (1692-1753) II Domino nero, 1849
Calandro, 1726 La Contessa di Mons, 1874
Le Fate, 1736 Biom, 1877
see also col. 172 see also col. 791
Ri tter, Alexander (1833 - 1896) Rossi, Luigi (1598-1653)
*Der faule Hans, 1885 Palazzo d' Atlante incantato, 1642
*Wem die Krone? 1890 L'Orfeo, 1647
Ritter, Peter (1763-1846) see also col. 3 I, 41
Der Eremit auf Formentara, 1788 Rossi, Michel Angelo (d. aJter 1670)
Robbiani, Igino (1884-1966) Erminia sul Giordano, 1633
* Anna Karcnina, 1924 Rossini, Gioacchino (1792-1868)
Romanticismo, 1933 La Cambiale di Matrimonio, 1810
Rocca, Lodovico (i:895-) L'Inganno felice, 1812
II Dibuc, 1934 Ciro in Babilonia, 1812
In Terra di Leggenda, 1936 La Scala di Seta, 1812
La Morte di Frine, 1937 La Pietra de! Paragone, 1812
Monte Ivnor, 1939 L'Occasione fa il Ladro 1812
Rodriguez de Hita, Antonio (17 .. -1787) II Signor Bruschino, 1813
Las Segadoras, 1768 Tancredi, 1813
Briseida, 1768 L'Italiana in Aigeri, 18 I 3
La Labradoras de Murcia, 1769 Aurcliano in Palmira, 1813
Rocllig, Kar! Leopold (17 .. -1804)
II T urco in Italia, 18 I 4
Clarisse, 1771 Elisabctta, Rcgina d'Inghilterra, 1815
Torvaldo c Dor!iska, 1815
Rogatis, Pascual de (1881-)
Almaviva, 1816
Huemac, 1916
Otello, 1816
Roger-Ducasse, Jcan Jules Amable (1873-1954)
La Ccnerentola, 1817
Cantegril,193 1
La Gazza Ladra, 18 [7
Roland-Manuel (R. A. M. LCvy) (1891-) Armida, 1817
Isabelle et Pantalon, 1922 Mosc in Egitto, 1818
Romani, Romano (1881-1958) Ricciardo e Zoraide, 1818
Fedra, 1915 Eduardo e Cristina, 1819
Romberg, Andreas (1767-1821) La Donna del Lago, 1819
Die Ruinen von Paluzzi, 18I! Bianca e Falliero, 1819
Rooke, William Michael (1794-1847) Maometto II, 1820
Amilie,1837 Matildc di Shabran, 1821
Henrique, 1839 Zelmira, 1822
see also col. 761, 837 Semiramide, 1823
Rootham, Cyril Bradley (1875-1938) II Viaggio a Reims, 1825
The two Sisters, 1922 lvanhoc, 1826
see also col. 91 Le Comte Orv, 182H
Ropartz, Joscph Guy (1864-1955) Guillaume Teil, 1829
Lc Pays, 1912 see also col. 241, 360, 399,427,489,500,613,
see also col. 1416 615,6-22,683,698,727,994, 1051, 1434
1595
Rousseau INDEX OF COMPOSERS Salieri
Rousseau, Jean-Jacques (1712-1778) Ruzsicska, Ignac (1758-1823)
*Le Devin du Village, 1752 Bela Fuclsa, 1822
*Pygmalion (with Coignet), 1770 Ryte!, Piotr (1884-1970)
see also col. 174, 218, 220 and Index of . Ijola, 1929
Librettists
Rousseau, Samue! Alexandre (1853-1904) Sabata, Victor de (1892-1967)
La Cloche du Rhin, 1898 Il Macigno, 1917
Rousse!, Albert (1869-1937) Sacchini, Antonio Maria Gasparo (1730-1786)
Padmavati, 1923 Alessandro nell' Indie, 1763
La Naissance de la Lyre, 1925 L'Olimpiade, 1763
Testament Tery Karoliny, 1936 Lucio Vero, 1764
Rovetta, Giovanni (16 .. -1668) La Contadina in Corte, 1765
Ercole in Lidia, 1645 nfinto Pazzo per Amore, 1765
Rovettino, Giambattista (G. B. Volpe) (c.1620- L'Isola d'Amore, 1766
1692 ) n Cidde, 1769
GI' Amori d' Apollo e di Leucotoe, 1663 Armida, 1772
Rozkosny, Joseph (1833-1913) L' Amore Soldato, 1778
Popelka, 1885 Dardanus, 1784
see also col. 241 CEdipe a Colone, 1786
R6zycki, Ludomir (1883-1953) Arvire et Eve!ina, 1788
Boleslaw Smialy, 1909 see also co1. 195, 250, 261, 277, 944
Meduza, 1912 Sachs, Uo (1856--1930)
Eros und Psyche, 1917 Les Burgraves, 1924
Casanova, 1923 Sacrati, Francesco Paolo (d.1650)
*Beatrice Cenci, 1927 La Delia, 1639
Rubinstein, Anton Grigorevich (1829-1894) La fmta Pazza, 1641
Dmitry Donskoy, 1852 see also ~ol. 15, 16, 41
Die Kinder der Heide, 1861 Saint-Saens, Camille (1835-1921)
Feramors, 1863 La Princesse jaune, 1872
Dyemon, 1875 Le Timbre d'Argent, 1877
Die Maccabäer, 1875 Samson und Delila, 1877
Nero, 1879 Etienne Marce!, 1879
Kupyets Kalashnikov, 1880 Henry VIII, 1883
Sulamith, 1883 Proserpine, 1887
Unter Räubern, 1883 Ascanio, 1890
Goryusha, 1889 Phryne, 1893
see also col. 264 Les Barbares, 1901
Rüfer, Philippe (1844-1919) *Helene, 1904
Merlin, 1887 L' Ancetre, 1906
Ruggeri, Giovanni Maria (16 .. -17 .. ) Dejanire, 19II
Elisa, 17II see also coI. 265
see also col. 16, II 6 Saldoni, Baltasar (1807-1890)
Rung, Frederik (1854-1914) Ipermestra, 1838
Det hemmelige Selskab, 1888 Cleonice, Regina di Siria, 1840
Rung, Henrik (1807-1871) Salieri, Antonio (1750-1825)
Stormen paa K0benhavn, 1845 Armida, 1771
Ruolz, Henri (1808-1887) La Fiera di Venezia, 1772
Lara, 1835 La Locandiera, 1773
Rush, George (18th ct.) Europa riconosciuta, 1778
The royal Shepherd, 1764 La Scola de'Gelosi, 1778
see also co1. 230 La Dama Pastorella, 1780
Rutini, Giovanni Maria (1723-1797) Der Rauchfangkehrer, 1781
I. Matrimoni in Maschera, 1763 Les Danaides, 1784
see also col. 281, 306, 364 La Grotta di Trofonio, 1785

1597
Salieri INDEX OF COMPOSERS Scharrer

Tarare, 1787 Nachalnoye Upravlenie Olega (with Pashkee-

Il Talismano, 1788 vich and Canobbio), 1790
Palmira, Regina di Persia, 1795 see also col. 141, 180, 231, 442, 471, 484
Falstaff, 1799 Sartorio, Antonio (c.1620-1681)
Cesare in Farmacusa, 1800 Se!euco, 1666
Angiolina, 1800 La Prosperita di Elio Sciano, 1667
see also col. 315, 422, 461, 683 La Caduta di Elio Seiano, 1667
Saloman, Siegfried (1816-1899) L'Adeiaide, 1672
Tordenskjold i Dynekilen, 1844 L'Orfeo, 1672
Diamantkorset, 1847 see also col. 183
Karpatskaya Roza, 1868 Satie, Erik (1866-1925)
Salomon, - (c.1661-i731) Socrate, 1925
Medce et Jason, 1713 see also col. 930
Salomon, Siegfried (1885-) Sauguet, Henri (Jean Picrre Poupard) (1901-)
Leonora Christina, 1926 La Chartreuse de Parme, 1939
Salvayre, Gervais Bernard (1847-1916) Savin, Alexander (1881-1949)
Riccardo III, 1883 *Ksenia, 1919
see also col. 909 Scalabrini, Paolo (17 I 3- 1806)
Samara, Spiro (1863-1917) . Den bel0nnede Kiaerlighcd, 1758
Flora Mirabilis, 1886 see also col. 169, 186,200,207
La Martire, 1894 Scarlatti, Alessandro (1660-1725)
Mademoiselle de Belle-Isle, 1905 Gli Equivoci nel Sembiante, 1679
Rhea, 1908 L'Honesta ncgli Amori, 1680
Samuel-Holeman, Eugene (1863-1942) Il Pompeo, 1683
La jeune Fille a la Fenetre, 1914 Olimpia vendicata, 1685
Samuel-Rousseau, Marcel (1882-1955) La Rosmene, 1688
Tarass Boulba, 1919 La Statira, 1690
Le Hulla, 1923 Gli Equivoci in Amore, 1690
Le bon Roi Dagobert, 1927 Pirro, e Demetrio, 1694
Sances, Giovanni Felice (c.1600-1679) La Caduta de' Decemviri, 1697
Apollo deluso, 1669 Il Prigioniero fortunato, 1698
Aristomene Messenio, 1670 L'Eraclea, 1700
see also col. 29 Ii Mitridate Eupatore, 1707
Sanchez de Fuentes (y Pelaez), Eduardo (1874- Il Tigrane, 1715
1944) Il Trionfo dell'Onore, 1718
Dolorosa, 1910 Marco Attilio Regulo, 1719
Sanelli, Gualtiero (1816-1861) La Griselda, 1721
Il Fornaretto, 1851 see also col. 39, 59, 65, 68, 77, 98,99, 104, 117.
Santoliquido, Francesco (1883-1971) n8, 121, 122, 135, 148. 149, 158, 189,279,
*Ferhuda, 1919 534
Sarria, Errico (1836-1883) Scarlatti, Domenico (1685-1757)
La Campana dell'Eremitaggio, 1875 Amor d'un Ombra e Gelosia d'un Aura
Sarro, Domenico (1679-1744) Scarlatti, Giuseppe (1718-1777)
Didone abbandonata, 1724 I portentosi Effetti ..... 1752
Achille in Sciro, 1737 L'Isola disabitata, 1757
see also col. 199, 205, 236, 351 see also col. 139,236,288,299.1318
Sarti, Giuseppe (1729-1802) Schall, Claus (1757-1837)
Deucalion og Pyrrha, 1772 Claudine af Villa Bella, 1787
Le Gelosie villane, 1776 Kinafarerne, 1792
Medonte, Re di Epiro, 1777 Domherren i Milano, 1802
I Contrattempi, 1778 De tre Galninger, 1816
Giulio Sabino, 1781 see also col. 351
Fra due Litiganti, il terze gode, 1782 Scharrer, August (1866-1936)
IfUlti Eredi, 1785- Die Erlösung, 1895

1599 1600
Scharwenka INDEX OF COMPOSERS Schweitzer
Scharwenka, Xaver (1850-1924) *Der Schmied von Gent, 1932
Mataswintha, 1896 Schubaur, Johann Lukas (1749-1815)
Schenk, Johann (1753-1836) Die Dorfdeputierten, 1783
Die Weinlese, 1785 Die treuen Köhler, 1786
Der Dorfbarbier, 1796 Schubert, Franz (1797-1828)
Schillings, Max von (1868-1933) Die Zwillingsbrüder, 1820
Ingwelde, 1894 Die Zauberharfe, 1820
Der Pfeifertag, 1899 Alfonso und Estrella, 1854
Moloch, 1906 Die Verschworenen, 1861
Mona Lisa, 1915 Der vierjährige Posten, 1896
see also co!. II45 Fierrabras, 1897
Schindelmeisser, Ludwig (18II-1864) Femando, 1918
Der Rächer, 1846 Die Freunde von Salamanca, 1928
Schira, Francesco (1809-1883) see also co!. 656, 770, 1321
Selvaggia, 1875 Schulhoff, Erwin (1894-1942)
see also co!. 858 Plameny, 1932
Schiuma, Alfredo (1885-1963) Schulz, Johann Abraham Peter (1747-1800)
Tabare, 1925 Aline, Reine de Golconde, 1787
Schjelderup, Gerhard (1859-1933) H0st-Gildet, 1790
*Sonntagmorgen, 1893 Indtoget, 1793
*Norwegische Hochzeit, 1900 Peters Bryllup, 1793
*Frühlingsnacht, 1908 see also co!. 288, 540, 576
*Sturmvögel, 1926 Schumann, Robert (1810-1856)
Schmeidler, Conrad (18 ..-?) *Genoveva, 1850
Marioara (with Kosmovici), 1904 Schürer, Johann Georg (1720-1786)
Schmidt, Franz (1874-1939) La Galatea, 1746
*Notre Dame, 1914 Doris,1747
sef! also co!. 783 see also co!. 207
Schmidt, Gustav (1816-1882) Schürmann, Georg Caspar (c.1672-1751)
Prinz Eugen, der edle Ritter, 1847 Telemaque, 1706
*Weibertreue, 1858 Heinrich der Vogler, 1718
La Reole, 1863 Die getreue Alceste, 1719
Schmittbauer, JosephAloys (1718-1809) Ludovicus Pius, 1726
. Lindor und Ismene, 1777 see also co!. 85, 92, 103, 157, 186, 189, 190,
Schnyder von Wartensee, Xaver (1786-1868) 198, 200, 201, 203, 219
Fortunat, 1831 Schuster, Bemhard (1870-1934)
Schoeck, Othmar (1886-1957) *Der Dieb des Glückes, 1923
Don Ranudo de Colibrados, 1919 Schuster, Josef (1748-1812)
Venus, 1922 La Didone abbandonata, 1776
*Penthesilea, 1927 Der Alchymist, 1778
*Vom Fischer un syner Fru, 1930 Rübenzahl, 1789
Massimilla Doni, 1937 see also co!. 313, 388,475
Schönberg, Amold (1874-1951) Schütz, Heinrich (1585-1672)
Erwartung, 1924 Dafue, 1627
*Die glückliche Hand, 1924 see also co!. 24
Von heute auf morgen, 1930 Schweitzelsperger, Kaspar Kasimir (1668-after
Scholz, Bemhard (1835-1916) 1719)
*Golo, 1875 Die romanische Lucretia, 1714
Schreker, Franz (1878-1934) Schweitzer, Anton (1735-1787)
*Der feme Klang, 1912 Elysium, 1770
*Das Spielwerk und die Prinzessin, 1913 Die Dorfgala, 1772
*Die Gezeichneten, 1918 Alceste, 1773
*Der Schatzgräber, 1920 Rosamund, 1780
*Irrelohe, 1924 see also col. 213, 308, 3H, 342, 357, 375, 660
1601 1602
Schytte INDEX OF COMPOSERS Soltys
Schytte, Ludvig (1848-1909) Silva,]oäo Cordeiro da (18th et.)
Hero, 1898 Bauce e Palcl1\one, 1789
Scolari, Giuseppe (1720-1769) Silver, Charles (1868-1949)
La Cascina, 1755 La Mcgcre apprivoisce, 1922
see also col. 256, 268 Sinding, Christian (1856-1941)
Scott, Cyril Meir (I87~)-I970) Der heilige Berg, 1914
*Der Alchimist, 1925 Skibinski, Liubicz (18 .. -18 .. )
Sebor, Kare! (1843-1903) Verful cu Dor, 1879
TempIafi na Moravc, 1865 Skroup, Frantisck (1801-1862)
Husitska Nevcsta, 1868 Dratenik, 1826
Zmarena Svatba, 1879 Oldfich a Bozena, 1828
Sechter, Simon (1788-1867) Libusin Snatek, 1850
Ali Hitsch-Hatsch, 1844 Der Meergeuse, 185 I
Sekles, Bernhard (1872-1934) Skuhcrsky, Frantisek Zdenko (IH30-1892)
Scharazade, 1917 Vladimir, Bohuv Zvolcnec, IR63
Sellitti, Giuseppe (c.1710-17 .. ) Rektor a General, 1873
Il Cinese rimpatriato, 1753 Smareglia, Antonio (1854-1929)
see also col. 229, 282 Der Vasall von Szigcth, 1889
Semet, Theophile Aime Emile (1824-1888) Cornill Schut, 1893
La petite Fadette, 1869 N ozze Istriane, 1895
Serov, Aleksandr Nikolaevich (1820-1871) L' Abisso, 1914
*Yudith, 1863 Smetana, Bedfich (1824-1884)
Rogneda, r865 Branibofi v Cechach, 1866
*Vrazhya Sila, 1871 Prodana Nevcsta, 1866
see also col. 995, 1060 Dalibor, 1868
Serrano y Ruiz, Emilio (1850-1939) Dve Vdovy, 1874
Irene de Otranto, 1891 Hubicka, 1876
*Gonzalo de Cordoba, 1898 Tajcmstvi, 1878
Setaccioli, Giacomo (1868-1925) Libuse, 1881
La Sorella di Mark, 1896 Certova Stcna, 1882
Severac, Dcodat de (1873-1921) see also col. 836, 881, 1395
Le Creur du Moulin, 1909 Smith, lohn Christopher (1712-1795)
Seyde!mann, Franz (1748-1806) *The Fairies, 1755
Arsene, 1779 Smyth, Ethe! (1858-1944)
Seymour, lohn Laurence (1893-) *Fantasio, 1898
In the Pasha's Garden. 1935 *Der Wald, 1902
Shaw, Martin Fallas (1876-1958) Strandrecht, 1906
Mr. Pepys, 1926 *The Boatswain's Mate, 1916
Shield, William (1748-1829) Fete galante, 1923
Rosina, 1782 Sobolewski, Eduard (1808-1872)
The Shamrock, 1783 *Mohega, 1859
Robin Hood, 1784 Söderman,]ohan August (1832-1876)
see also col. 298, 361,404,414,429 Hin Ondcs första Lärospan, 1856
Shostakovich, Dmitry Dmitrcvich (1906-1975) see also col. 928
*Lady Macbcth Mtsenskago Uyezda, 1934 Solic,]ean Pierre (1755-1812)
Sibe!ius, leaD (1865-1957) Le Secret, 1796
] ungfruburen, 1896 Le Diable aquatre, 1809
Siboni, Erik (1828-1892) see also col. 167, 275
Carl den Andens Flugt, 1861 Solovyev, Nikolai Thcopemptovich (1846-1916)
Siegel, Rudolf (1878-1948) Kordeliya, 1885
Herr Dandolo, 1914 see also col. 1018
Silva (Gomes e Oliveira), Antonio da (d. after Soltys, Mieczyslaw (1863-1929)
181 7) Panie Kochanku, 1924
La Galatea, 1779 see also col. 12. 70

'.
Somerville INDEX OF COMPOSERS Strakosch

Somerville, Reginald (1867-?) Statkowski, Roman (186~1925)

*David Garrick, 1920. *Philaenis, 1904
Sommer, Hans (1837-1922) Marya, 1906
Rübezahl, 1904 Stauffer, Theodor (1826-1880)
see also col. 154 *Die Touristen, 1869
Sor, Fernando (1778-1839) Stefani,Jan (1746-1829)
Telemaco nella Isola di Calipso, 1797 Cud, czyli Krakowiaki i Gorale, 1794
So usa, John Philip (1854-1932) Steffani, Agostino (1654-1728)
EI Capitan, 1896 Marco Aurelio, 1681
see also col. 1067, 1071 Servio TlIllio, 1685
Speranza, Giovanni Antonio (18II-IXSO) Alarico il Baltha, 1687
I due Figaro, 1839 Henrico Leone, 1689
Spetrino, Francesco (1857-1948) La Superbia d' Alessandro, 1690
Ce!cste, 1891 Orlando generoso, 1691
see also coI. 1098 Le Rivali concordi, 1692
Spinelli, Nicola (1865-1909) La Liberta contenta, 1693
Labilia, 1890 I Trionfi del Fato, 1695
A basso Porto, 1894 Arminio, 1707
Spohr, Louis (1784-1859) see also col. 107, 114
Der Zweikampf mit der Geliebten, T >; r r Stegmann, Carl David (1751-1826)
Faust, 1816 Heinrich der Löwe, 1792
Zcmire und Azor, 1819 Der Triumpf der Liebe, 1796
jessonda, 1823 see also col. 333, 470, 472, 476, 483
Der Berggeist, 1825 Steibe1t, Daniel (1765-1823)
Pietro von Abano, 1827 Romeo etJuliette, 1793
Der Alchymist, 1830 Cendrillon, 1810
*Die Kreuzfahrer, 1845 see also ·col. 240, 353, 435, 615
see also col. )22, 608, 695, 716, 82) Stenborg, Carl (1752-1813)
Spontini, Gasparo (1774-1851) Konung GlIstaf Adolphs Jagt, 1777
La finta Filosofa, 1799 see also col. 170,251,252,272,277,305.328.
Milton, 1804 362, 376. 391,429
Julie, 1805 Stenhamnur, Vilhelm (1871-1927)
La Vestale, 1807 Tirfing, [898
Fernand Cortez, 1809 Das Fcst auf Solhaug. 1899
OJimpie, 1819 Stephan. Rudi (1887-1915)
:-J urmahal, 1822 Die ersten Menschen, 1920
Alcidor,18 2 5 Stoj:movits, Pcter Lazar (1877-1957)
Agnes von Hohenstauten, 182<) A Tigris, 1905
see also col. 4IO, 452, 632 Storan', Stephen (1763-1796)
Staden, Sigmllnd Theophilus (HI07-1(i55) Gli Sposi nulcontcnti, 1785
Scelcwia 1644 Gli Eqllivoci, T786
StandfllSs,"j'. C. (T7 .. -1756) The hallntcd Tower, 17:19
Der Teufel ist los, 1752 No Song, Illl Supper, 1790
Der lustige SChllst<:r, 175\! The Siege of ßclgradc, T791
see also col. 167, 2811 Thc Piratcs, 1792
Stanford, Charks Villiers (1852-1924) The Cherokce, 1794
Der verschleierte Profet, 1881 sec also col. 397. 4[R, 430, 437. 491,517
Thc Cantcrbllry Pilgrims, 1884 Stradclb. Alessandro (1642-1682)
Savonarola, 1884 La Forza deli' Amor patemo, 1678
Shamus O'Brien, 18<)6 Il Trcspolo TlItore balordo. 1686
:'vI.llch Ado about Nothing, 1901 see aiso col. 20, 40, 42, 43. 47
The Critic, 19[6 Strakosch, Moritz (I ~25-1 887)
Thc Travclling Companion, 1<)25 Giov;uma Prima di Napoli, 1851

1605 1606
Straus INDEX OF COMPOSERS Tasca

Straus, Oscar (1870-1954) Suk, Vasa (1861-1933)

Ein Walzertraum, 1907 Lesnoy Tsar, 1900
Der tapfere Soldat, 1908 Sullivan, Arthur Seymour (1842-1900)
Strauss, J ohann (1825-1899) Cox and Box, 1867
Indigo und die vierzig Räuber, 1871 Thespis; or, The Gods grown oId, lX71
Der Karneval in Rom, 1873 Trial by Jury, 1875
Die Fledermaus, 1874 The Sorcerer, 1877
Cagliostro in Wien, 1875 H.M.S. Pinafore, 1878
Prinz Methusalem, 1877 The Pirates ofPenzance, 1879
Blindekuh, 1878 Patience, 1881
Das Spitzentuch der Königin, 1880 Iolanthe, 1882
Der lustige Krieg, 1881 Princess Ida, 1884
Eine Nacht in Venedig, 1883 The Mikado, 1885
Der Zigeunerbaron, 1885 Ruddygore, 1887
Simplizius, 1887 The Yeomen ofthe Guard, 1888
Ritter Pazman, 1892
The Gondoliers, 1889
Fürstin Ninetta, 1893
Ivanhoe, 1891
Jabuka, 1894
Utopia (Limited), 1893
Waldmeister, 1895
The Grand Duke, 1896
Die Göttin der Vernunft, 1897
The Rose ofPersia, r 899
Strauss, Richard (1864-1949)
*Guntram, 1894 see also col. 172, II41
Feuersnot, 1901 Suppe, Franz von (1819-1895)
Salome, 1905 Zehn Mädchen und kein Mann, I !l62
Elektra, 1909 Flotte Bursche, 1863
Der Rosenkavalier, 19II Die schöne Galatea, 1865
Ariadne auf Naxos, 1912 Fatinitza, 1876
Die Frau ohne Schatten, 1919 Boccaccio, 1879
*Intermezzo, 1924 Donna J uanita, 1880
Die ägyptische Helena, 1928 see also col. 950, 951, 1085
Arabella, 1933 Süssmayr, Franz Xaver (1766-1803)
Die schweigsame Frau, 1935 Der Spiegel von Arkadien, 1794
Friedenstag, 1938 Soliman der Zweite, 1799
Daplme, 1938 see also col. 392, 536
see also col. 374, 386, 387, 591, 1091, II 84,1286 Sutor, WillleIm (1774-1828)
Stravinsky, Igor Fedorovich (1882-) Apollo's Wettgesang, 1808
*Rossignol, 1914 Szabados, Bela (1867-1936)
Histoire du Soldat, 1918 A Bolond, 1898
*Renard, 1922 Szant6, Tivadar (1877-1934)
Mavra, 1922 Taifun, 1924
Oedipus Rex, 1927 Sztojanovits, Jenö (1864-1919)
Persephone, 1934 Ninon, 1898
see also col. II20, 1318 . Szymanowski, Karol (1882-1937)
Strungk, Nikolaus Adam (1640-1700) " Krol Roger, 1926
Esther, 1680
Alceste, 1693 Taneev, Sergei Ivanovich (1856-1915)
see also col. 66, 70, 85, 94, 96 Oresteya, 1895
Stuck, Batistin (c.1680-1755) Tarchi, Angelo (1760-1814)
Polidore, 1720 Ariarate, 1786
see also col. 84. D'Auberge en Auberge, 1800
Stuntz,Joseph Hartmann (1793-1859) see also col. 426
La Rappressaglia, 1819 Tasca, Pier Antonio (1864-1934)
see also col. 492, 694 A Santa Lucia, 1892

1608
Taubert INDEX OF COMPOSERS Tritto

Taubert, Wilhe1m (18II-1891) Thomson, Virgil (1896-)

Die Kirmes, 1832 Four Saillts in three Acts, 1934
Macbeth, 1857 Thooft, Willem Frans (1829-1900)
Taylor, Joseph Deerns (1885-1966) Alcida von Holland, 1866
The King's Henchman, 1927 Thrane, Waldemar (1790-1828)
*Peter Ibbetson, 193I Fjcldevcntyret, 1850
Tchaikovsky, Piotr Ilich, see Chaikol1sky sce also col. II76
Tchcrepnin, Aleksandr NikolaflJich, see Clzereptlill Thuille, Ludwig (1861-1907)
Telemann, Georg Philipp (1681-1767) Lobetanz, 1898
Der gedultige Socrates, 1721 Gugcline, Igol
*Der neu-modische Liebhaber Damon, 1724 Tincl, Edgar (1854-1912)
Die ungleiche Heyrath, 1725 Katharina, 1909
Miriways, 1728 Toch, Ernst (1887-1964)
*Flavius nertaridus, 1729 Die Prinzessin auf der Erbse, 1927
sec also col. 93, 94, 101, 102, lO5, lO9, 1I7, Der Fächer, 1930
112,125,146,151,156, 15H, 166,174 sce also col. 14°°
Terradellas, Domenico (1713-1751) Tofft, Alfred (1865-1930)
Merope, 1743 Vifandaka, 1898
Artaserse, 1744 * Anathema, 1928
ncllerofonte, 1747 sec also col. 616
Scsostri Re d'Egitto, 175 I Toldra, Eduardo (1895-1962)
Terrasse, Claude (1867-1923) EI Giravolt de Maig, 1928
Le Sire de Vergy, 1903 Tomakk, WenzelJohann (1774-1850)
Monsieur de la Palisse, 1904 Seraphine, 1811
Le Mariage de Telcmaque, 1910 Torri, Pietro (c.1665-1737)
Teyber, Franz (1756-1810) La Merope, 1719
Alcxander, I 8 I ° Lucio Vero, 1720
scc also col. 4 I I Grisclda, 1723
Theile, Johann (1646-1724) sec also col. 149
Der erschaffene, gefallene und aufgerichtete TourIlcmire, CharIes (1870-1939)
Mensch, 1678 Les Dieux sont morts, 1924
see also col. 70, 94 Tovcy, Donald Francis (1875-1940)
rhomas, Ambroise (18II-1896) The nride of Dionysus, 1929
La double Echelle, 1837 sec also col. 690, 953, 1197
Le Perruquier de la Regence, 1838 Tractta, Tommaso (1727-1779)
Le Panier fleuri, 1839 Il Farnace, 1751
Mina, 1843 La Didone abbandonata, 1757
Le Cald, 1849 L'Olimpiade, 1758
Le Songe d'une Nuit d'Etc, 1850 nuovo d' Antona, 1758
Raymond, 1851 Ippolito cd Aricia, 1759
Psyche, 1857 I Tintaridi, 176o
Mignon, 1866 Armida, 1761
Hamlet, 1868 Sofonisba, 1762
Franc;:oise de Rimini, 1882 lfigenia in Tauride, 1763
see also col. 834, II 32 Le Servc Rivali, 1766
Thomas, Arthur Goring (1850-1892) L'Isola disabitata, 1768
Esmeralda, 1883 11 Cavalicre errante, 1778
Nadeshda, 1885 see also col. 18o, 299
The golden Web, 1893 Trento, Vittorio (1761-1833)
see also col. 783 Quanti Casi in un Giorno, 1801
Thomson, John (1805-1841) see also col. 420
Hermann, 1834 Tritto, Giacomo (1733-1824)
sec also col. 760 Lc Avventure amorose, 1788

1609 1610
Tritto INDEX OF COMPOSERS Vilhar

Gli Americani, 1802 Vasseur, Leon (1844-1917)

see also col. 358, 447 La Timbale d'Argent, 1872
Trnecek, Hanus (1858-1914) Vaughan Williams, Ralph, see Williams
Amaranta, 1890 Vavrinecz, Mauritius (1858-1QI3)
Andrea Crini, 1900 Rosmunda, 1895
Truhn, Friedrich Hieronymus (18II-1886) Vento, Matteo (1735-1776)
Trilby, 1835 L'Egiziana, 1763
see also col. 788 Verdi, Giuseppe (1813-1901)
Tuczek, Vincenz Franz (C.17ss-after 1820) Oberto, Conte di S. Bomfacio, 1839
*Lanassa, 1805 Un Giorno di Regno, 1840
see also col. 469 Nabucodonosor, 1842
Turina, ]oaql1.in (1882-1949) I Lombardi alla prima Crociata, 1843
Margot, 1914 Ernani, 1844
I due Foscari, 1844
Udbye, Martin Andreas (1820-1889) Giovanna d' ArCO', 1845
]unkeren og Flubergvaesen, 1870 Alzira, 1845
see also col. I I 76 Attila, 1846
Umlauf[, Ignaz (1746-1796) Macbeth, 1847
Die Bergknappen, 1778 I Masnadieri, 1847
Die puecefarbnen Schuhe, 1779 Il Corsaro, 1848
Das Irrlicht, 1782
La Battaglia di Legnano, 1849
see also col. 322, 365, 381
Luisa Miller, 1849
Umlauft, Paul (1853-1934)
Stifrelio, 1850
*Evanthia, 1893
Rigolctto, 185 I
Urspruch, Anton (1850-1907)
*Das Unmäglichste von Allem, 1897
Il Trovatore, 1853
La Traviata, 1853
Usandizaga,]ose Maria (1887-1915)
Mendi-Mendyian, 1910 Les Vepres Sicilicnnes, 1855
Las Golondrinas, 1914 Simon Boccanegra, ISS7
Usiglio, Emilio (1841-1910) Un Ballo in Maschera, 1859
Le Educande di Sorrento, 1868 La Forza del Destino, 1862
Le Donne curiose, 1879 Don Carlos, 1867
see also col. 885 Aida, 1871
Uspensky, Viktor Alcksandrovich (1879-1949) OtcHo, 1887
Farkhad i Shirin, 1936 Falstaff, 1893
Uttini, Francesco Antonio (1723-1795) see also col. 63, 66, 480, 572, 650, 661, B15,
Il Re Pastore, 1755 822, 863, S71, 916. (Ni, 1031, 1096, 1413
Thetis och Pelce, 1773 Vcrcmans, Rcnat (1894-1969)
Aline Drotning uti Golconda, 1776 Anna-Marie, 1938
see also col. 261, 288, 335,469 Verheij, Theodor (1848-1929)
lmilda, 1885
Vaccai, Nicola (1790-1848) Vcrstovsky, Alcksci Nikolaevich (1799-1862)
Pietro il Grande, 1824 Pan Tvardovsk)", 1828
La Pastorella Feudataria, 1824 Askoldova Mogila, 1835
Giulietta c Romeo, 1825 Gromcboy, 1857
sec also col. 353, 523, 725 sec also col. 700
Valverde, ]oaquin (1846-1910) Vesqllc FOII Piittlillgell, Johallll, see HOl'en
La gran Via (with Chueca), 1886 Viardot, Pauline (1821-1910)
Vanbianchi, Arturo (1862-1942) Der letzte Zauberer, l~()')
La Nave, 1899 Vilboa (Villebois), Knnst:mtin Pctrovich
Vall dell Eed<'ll,j. B., see EcdCII. (1817-1882)
Vall da Lilldell, c., see Lilldcn. N atasha, 1861
Varncy, Louis (1844-1908) Vilhar, Franje' Scrafin (1852-1928)
Lcs Mousquctaires au Couvent, 1880 Sl11iljana, I S97

16II 1612
Villa-Lobos INDEX OF COMPOSERS Weber

Villa-Lobos, Hector (1887-1959) Stella, 188 I

Izaht, 1940 Waghalter, Ignaz (1882-1949)
Villanueva, Felipe (1863-1893) Mandragola, 1914
Keofar, 1893 Wagner, Richard (1813-1883)
Vinci, Leonardo (1690-1730) *Das Liebesverbot, 1836
Li Zite 'n Galera, 1722 *Cola Rienzi, 1842
Silla Dittatore, 1723 *Der fliegende Holländer, 1843
Astianatte, 1725 *Tannhäuser, 1845
Siroe, Re di Persia, 1726 *Lohengrin, 1850
La Caduta dei Decemviri, 1727 *Tristan und Isolde, 1865
Artaserse, 1730 *Die Meistersinger von Nürnberg, 1X6X
see also col. 139, 16r, 165, 166, 172, 181, 192, *Das Rheingold, 1869
193,196,198,201, 203,208,224,229,256, *Die Walküre, 1870
270,334,13 18 *Siegfried, 1876
Vitali, Filippo (15 .. -16 .. ) *Götterdämmerung, 187ü
L' Aretusa, 1620 *Parsifal, 1882 '
Vittadini, Franeo (1884-1948) *Die Feen, 1888
Anima allegra, 1921 see also col. 231, 336, 359, 362, 455, 591, 595,
Nazareth, 1925 75 2,759,811, 81 7,845,857,889,895,914,
Vittori, Loreto (1604-1670) 94 6 ,954,1031, II03, lIla, II84, 1217
*La Galatea, 1639 Wagner, Sicgfried (1869-1930)
Vivaldi, Antonio (c.r675-1741) *Der Bärenhäuter, r899
Arsilda, Regina di Ponta, 1716 *Dcr Kobold, 1904
L'Olimpiade, 1734 *Banadietrich, 1910
see also col. rro, 189 * An allem ist Hütchen schuld, 1917
Vives, Amadeo (1871-lt)32) *Schwarzschwanenreich, 1918
Don Lucas deI Cig,lrral, 18<)<) Wagncr-Rcgeny, Rudolf (1903-1969)
Euda d'Uriach, IDoo Der Günstling, 1935
Maruxa, 1914 Wallace, WiUiam Vincent (1812-1865)
Balada de Carnaval, 1<)1<) Marit:ma, 1845
Dona Fr:mcisquita, 1<)23 Matilda of Hungary, 1847
Vi vier, AlbcrtJoseph (IXI6-1<j03) Lurlinc, 186o
Spadillo le Tavermcr, I x57 Thc Amber Witch, 1861
Vladigerov, Panchll (I x<)<)-) Thc Descrt Flowcr, J 863
Tsar KaIO\'an, 1<)36 sec also col. 761, 957
Vogel, Charlcs LOllls Adolphc (1802-1892) Waltcr, Ignaz (1759-1822)
Lc Siege de Leyde, 1S47 Der Spicgclritter, 1791
Vogcl, Johann Christnph (1756-17HX) Doktor Faust, 1797
La Toison d'Or, I/Sr, sce also col. 472
Demophon, 17x,) Walter, Thomas Christian (I749-I7X8)
Vogl, Heinrich (IX4S-I<)00) Den prowde Troskab, 1774
Der Fremdling, I S<)<) SC<' also col. 332
Vogler, C;corgJ7"cph (174<)-IXI4) Waltershausen, Hermann Wolfgang von (1882":'
Castore e l'olllllc, 17X7 1954)
Samori, 110:04 *Oberst Chabcrt, 1912
sec als<' col. 333, 344 SCl' als<' Index of Librettists
Vollerthun, Gcorg (1876-1945) Webbcr, Amhcrst (1867-1946)
Isbnd-Saga, 1<)25 Fiorella, 1<)05
Der Freikorporal, 1931 sce also col. 1030
Vreuls, Victor (IR76-1<)44) Weber, Bernhard Ansc1m (1766-1821)
Olivin le Simple, 1<)22 Mudarra, IXOO
Un Songc d'une Nuit d'Ete, 1925 Die W ctte, I X05
scc al>'o col. 360, 4°5", 414, 470, 499,53 I, 543,
WaeIput, Hendrik (1845-1885) 5H5

2D 16 13
Weber INDEX OF COMPOSERS Winter
Weber, Carl Maria von (1786-1826) *Meister Andrea, 1920
Das Waldmädchen, 1800 see also col. 601, 703, H18, 1316
Peter Schmoll und seine Nachbarn, 1803 Weis, Karel (1862-1944)
Silvana, 1810 Viola, 1892
Abu Hassan, 18II Der polnische Jude, 1901
Preciosa, 1821 Utok na Ml-yn, 1912
Der Freischütz, 1821 see also col. II88, 1224
Euryanthe, 1823 Weismann,Julius (1879-1950)
Oberon, 1826 Leonce und Lena, 1925
Die drei Pintos, 1888 Weissheimer, Wendelin (1838-1910)
see also col. 356,440,471,573,600,613,647, Meister Martin und seine Gesellen, 1879
648,660,666,667,668,702,797 Wellesz, Egon (1885-1974)
Wedel, S0ren (1765-1826) Die Prinzessin Girnara, 1921
Serenaden, 1795 Alkestis, 1924
Wehrli, Werner (1892-1944) *Die Bakchantinnen, 193 I
Das heiss Eisen, 1918 see also col. 31, 149, 217
Weigl,Joseph (1766-1846) Wetz, Richard (1875-1935)
La Principessa d' Amalfi, 1794 *Das ewige Feuer, 1907
L' Amor marinaro, 1797 Wetzler, Hermann Hans (1870-1943)
Das Dorf im Gebuerge, 1798 Die baskische Venus, 1928
Die Uniform, 1805 Weyse, Christoph Ernst Friedrich (1774-1842)
Vestas Feuer, 1805 Sovedrikken, 1809
Kaiser Hadrian, 1807
Faruk, 1812
Adrian von Ostade, 1807
Ludlams Hule, 1816
Il Rivale di se stesso, 1808
Et Eventyr i Rosenborg Have, 1827
Das Waisenhaus, 1808
Widor, Charles-Marie (1845-1937)
Die Schweizerfamilie, 1809
Der Bergsturz, 1812 Les Peche urs de Saint-Jew, 1905
Nachtigall und Rabe, 1818 Nerto, 1924
Baals Sturz, 1820 ' Wieniawski, Adam Tadeusz (1879-1950)
*Megae, 1912
see also col. 384,414,458,466,492,523,524,
Williarns, Ralph Vaughan (1872-1958)
56 3, 564, 577. 752, 857
Weill, Kurt (1900-1950) *The Shepherds of the delectable Mountains,
Der Protagonist, 1926 1922
Royal Palace, 1927 Hugh the Drover, 1924
Der Zar lässt sich photographieren, 1928 Sir John in Love, 1929
Die Dreigroschenoper, 1928 The poisoned Kiss, 1936
Aufstieg und Fall der Stadt Mahagonny, 1930 Riders to the Sea, 1937
Die Bürgschaft, 1932 Winter, Peter von (1754-1825)
Knickerbocker Holiday, 1938 Helena und Paris, 1782
see also col. 161, 1396 Der Bettelstudent, 1785
Weinberger, Jarornir (1896-1967) I Fratelli Rivali, 1793
Svanda Dudak, 1927 Das unterbrochene Opferfest, 1796
*Die geliebte Stimme, 1931 Babyions Pyramiden (with Mederitsch), 1797-
Lide z Pokerflatu, 1932 Das Labirint, 1798
Wallenstein, 1937 Marie von MontaIban, 1800
see· also col. I I 88 Tamerlan, 1802
Weingartner, Felix von (1863-1942) La Grotta di Calipso, 1803
*Sakuntala, 1884 Il Trionfo dell' Amor fraterno, 1804
Genesius, 1892 Il Ratto di Proserpina, 1804
*Orestes, 1902 Zaira, 1805
*Kain und Abel, 1914 Colmal, 1809
*Dame Kobold, 1916 Maometto 11, 18 I 7
*Die Dorfschule, 1920 see also col. 335, 344,454,492,524,557
161 5 1616
Witkowski INDEX OF COMPOSERS Zingarelli
Witkowski, Georges Martin (1867-1943) Giuliallo, 1928
• La Princesse lointaine, 1934 La Farsa amorosa, 1933
Wolf, Ernst wilhe1m (1735-1792) see also co. 353
Das Rosenfest, 1770 Zanella, Amilcare (1873-1949)
Die Dorfdeputierten, 1772 Aura, 1910
see also co!. 404, 432 Il Revisore, 1940
Wolf, Hugo (1860-1903) see also co!. 7
Der Corregidor, 1896 Zanetti, Franccsco (18th ct.)
see also co!. 11 59 Le Lavarandine, 1772
Wolf-Ferrari, Ermanno (1876-1948) Zarate, Eleodoro Ortiz de (1865-1953)
Cenerentola, 1900 *La Fioraia di Lugano, 1895
Die neugierigen Frauen, 1903 Zehntner, Louis (1868-?)
Die vier Grobiane, 1906 *Dorval, der vierjährige Posten, 1913
Susannens Geheimnis, 1909 Zelenski, Ladislaw (1837-1921)
Der Schmuck der Madonna, 1911 Konrad Wallenrod, 1885
Der Liebhaber als Arzt, 1913 Goplana, 1896 .
Gli Amanti sposi, 1925 Janek, 1900
Sly, 1927 Stara Basn, 1907
La Vedova scaltra, 1931 Zeller, Karl (1842-1898)
Il Campiello, 1936 Der Vogelhändler, 1891
La Dama boba, 1939 Zemlinsky, Alexander von (1872-1942)
see also co!. 178, 226, 24 I, 386 Sarema, 1897
Wolff, Albert (1884-1970) Es war einmal, 1900
L'Oiseau bleu, 1919 Kleider machen Leute, 1910
Wolfram, Joseph Maria (1789-1839) Eine florentinische Tragödie, 1917
Maja und Alpino, 1826 Der Zwerg, 1922
Der Bergmönch, 1830 Der Kreidekreis, 1933
Das Schloss Candra, 1832 Zenger, Max (1837-1911)
Wranitzky, Paul (1756-1808) Wieland der Schmied, 1880
Oberon, König der Elfen, 1789 see also co!. 440, 601, 617
Würfel, Wilhelm (1791-1832) Ziani, Marc'Antonio (1653-1715)
Rübezahl, 1824 Alessandro Magno in Sidone, 1679
Damira placata, 1680
Ysaye, Eugene (1858-193 I) Meleagro, 1706
*Pier li Hotüeu, 1931 Chilonida, 1709
see also co!. 47, 69, 121, 136, 163
Zador, Jenö (1894-1977) Ziani, Pietro Andrea (C.1620-1684)
A Holtak Szigete, 1928 Le Fortune di Rodope, e di Damira, 1657
Zajc, Ivan (Giovanni von Zaytz) (1832-1914) L'Antigona delusa da Alceste, 1660
Amelia, 186o see also co!. 157
Nikola Subic Zrinski, 1876 Zieh, Otakar (1879-1934)
Zamponi, Giuseppe (17th ct.) *Malii'sky Napad, 1910
Ulisse all'Isola di Circe, 1650 Vina, 1922
Zander, Johann David (17 .. -1796) see also co!. 11 3I
Niugg spar och Fan tar, 1784 Zichy, Geza (1849-1924)
see also co!. 362, 431 *Alir, 1896
Zandonai, Riccardo (1883-1944) *Roland Mester, 1899
Il Grillo del Focolare, 1908 *Nemo, 1905
Conchita, 1911 *Rak6czy Ferenc 1I, 1909
Melenis, 1912 *Rodost6, 1912
Francesca da Rimini, 1914 Zilcher, Hermann (1881-1948)
La Via della Finestra, 1919 Doktor Eisenbart, 1922
Giulietta e Romeo, 1922 Zingarelli, Nicola Antonio (1752-1837)
I Cavalieri di Ekebu, 1925 Motezuma, 1781
1618 ..
Zingarelli INDEX OF COMPOSERS Anonymous W orks
Antigone, 1790 Zumsteeg, Johann Rudolf (1760-1802)
Il Mercato di Monfregoso, 1792 Die Geisterinsel, 1798
Gerusalemme distrutta, 1794 sec also col. 344
Giulietta e Romeo, 1796
Berenice, Regina d' Armenia, IBn Anonymous W orks and Ballad Operas
sec also col. 353, 398,457 Prunella, 1708
Zöllner, Heinrich (1854-1941) The gentle Shepherd, 1729
*Faust, 1887 The Devil to pay, 173 I
*Der Überfall, 1895 La Chercheuse d'Esprit, 1741
*Die versunkene Glocke, 1899 Thusnelde, 1749
Midas,1762

1620
 IH. INDEX OF LIBRETTISTS
including authors from whos~ works opera hbrettos were taken; names of such authors, and dates
of first productions of such operas in itahcs. Dates in brackets refer to wrong or doubtful attri-
bution of authorship. For composers who were their own hbrettists see Index II; for translators, see
also Index IV.

A'Beckett, Gilbert Arthur, 1884, 84,93 Anceschi, Eho, 1940

see also col. 764, 782, 786, 8]2, 840, 1015, II05 Anczyc, Wladyslaw Ludwik, 1873
Ablesimov, Aleksandr Onesimovich, 1779 see also col. 958, 962
About, Edmond, 1860 Andersen, Hans Christian, 18]2, 32, 46, 49,
Abranyi, Emil, 1893, 98, 19°7, 08 97, 19 00 , 01, 03, 12, 14, 25, 27, 28
see also col. 255, 264, 621, 693, 825, 890,963, Andersen, Vilhelm, 1906
964,976,1024,1094,1111,1171,1177,1179, Anderson, Maxwell, 1938
II92 Andreae, Hehnut, 1925
Acciaiuoh, Filippo, 1670, 80 Andreev, Leonid Nikolaevich, 1928, 29
"Accursi, Michele", see Ruffmi, G. Andrei, Antonio, 1778
Adami, Giuseppe, 1917, 18, 19, 21, 23, 25, 26 see also col. 261, 287,383,393
Addison, Joseph, 17°7, 33, 49 Andreotti, Domenico, 1836
see also col. I I 5, 410 Anelli, Angelo, 1784, 98, 180!, 02, 10, 13, 43
Adenis, Edouard, 1922 d'Angelantonio, Francesco, 1905
Adenis, Jules, 1867, 67, 86, 98, 1901., 07 Anile, Antonio, 1904
see also col. 272, 275 Anne, Theodore, 1844
Aderer, Adolphe, 1905 d'Annunzio, Gabriele, 1906, 13, 14, 15, 18
Adler, B., 1892 Anseaume, Louis, 1757,58,59,59,60,60,60,60,
Adler, Hans, 1936 61,62,63, 66, 68, 69
Adlerbeth, Gudmund Göran, 1778, 82 see also col. 130, 210, 223
see also col. 407 AllSki, Salomoll, 1934
Adlerstein, see Janotyckh von Adlerstein Anthes, Ouo, 1914, 18
Aeschylus, 1895, 1902 Anton Ulrich, Duke of Brunswick, 1657, 59
Aho,juhani, 1935 Antona Traversi, Camillo, 1912
Aignan, Etienne, 1798, 1806 Apel,johann August, 1821
Aksakov, Konstantin Sergyeevich, 1828 Apolloni, Apollonio, 1655, 61
Alarc6n, Pedro Antonio de, 1892, 96, 1933 Arago, Etienne, 1841, 51
d'Albaret, 1746 Arany,janos, 1892,93
Alboize du Pujol, Jules Edouard, 1849 Arapov, Pimen Nikolaevich, 1822
Alcaini, Giorgio Giacomo, 1657 see also co!. 521
Alencar,jose de, 1870 Arceri, Luigi, 1853
Alexandre, Andre, 1893 Ardavin, L. F., see Fernandez Ardavin
Alexis, Willibald, 1904 Argyll, Duke of, see Campbell
Aljieri, Vittorio, 1866, 1920 d'Arienzo, Marco, 1844, 51, 74, 76
d'Allainval, see Soulas d'Allainval Ariosti, Attiho, 1702
Allfeld, Philipp, 1880 Ariosto, Lodovi'Co, 1619, 25, 58, 1735, 35, 72, 82,
Almeida Ga"ett,joäo Baptista de, 1863, 88,91 97, 99, 1801,,1924
Altes y Alabert, Juan 'ßautista, 1874 Aristophanes, 1861, 1920
Alvarez Quintero, Serafin and Joaquin, 1921, Arlberg, Fritz, 1856
23 see also col. 558, 757, 822, 826,910,918, 1040,
Amalteo, Aureho, 1650, 1705 1108
d' Ambreville, see Desessarts d' Ambreville d'Arlincourt, Charles Victor PrevJt, 1822, 27, 29
Ambrogini, Angelo, see Poliziani Armory, -, 1935
Ancelot, Franfois, 1835,37, 41, 87 Amao, Antonio, 1876
Ancelot, jacques Arsene Polycarpe Franfois, 1851 see also col. 791

2D2 1621 1622

c
Amaud INDEX OF LlBRETTISTS llcncdix

Amaud. Simone. 1\112 Banvillr, Tlll?odore de, 1892

Amold. SamuelJames. 1810. 34 Baour Lormian. Louis Pierre. 1812
see also col. 444. 478 Barbier. Auguste, 1838 ,
Amould, Auguste Jean Franc;:ois, 1841 Barbier, jules. 1852. 53. 54. 57, 57, 58. 59. 59, 6o,
Aron, Willi, 1925. 26 60,61,62,66,67,68,76,76,77,78.79, RI, 82,
sec also col. 1357 X5, 93, 1903
Arroita-Jaurrcgui, Jose Maria. 1920 see also col. 427, 478, 591, 872, 893
Arronge, Adolf, see L' Arronge Barbier, Pierre, 1893, 1903
Arteaga y Pereira.jose Maria de. IX95, 1902 Bardare, Leone Emanuele. 1853
d' Artois de Boumonvillc, Fran~ois Victor sec also col. 890, 902
Armand, 1819,77 . Barfoed, Aage, 1926
see also col. 230, 427 Barillg, Afal/riee, 1923
Artois de Bournonvillc, Louis Charlcs Achillc llarlocci, Giovanni, 1738
(pseud. Achille), 1819 Harnet, Robert Ayres, 1894
sec also col. 427 Barnett, Charles Zachary, 1837, 39
Artusi, Giulio, 1801, 05 Barre, Pierre Yon, 1787
see also col. 523, 539 see also col. 296, 359, 406, 419, 55('
Auenbruggcr, Leopold VOll, 17XI Bartocci Fontana, G. D., 189b, 93
Auge de Lassus. Lucicn. 1893, 190(' Barton, Andrew, 1767
Augier, Emile, 1851 Barton, Gcorge Edward, 1906
Augustin-Thierry. Gilbert, 1896 BarIsch, Rudolf Hans, 1911
Aureli, Aurclio. 1655, 57, 58. 60, 63. 6H, 72, 75, "Basset, Serge" (i.c. Paul Ribon), 1910
77.79,81,84.85, 8R, 93,1727 13assewitz, Gerdt von, 1917
see also col. 40, 92 Bassi, Calisto, 1841,47
Autreau. Jacgucs, 1745 see also col. 661, 669, 692, 720, 737, 778, 7i'l3,
Avcnti. Francesco, 1812 804, 808, 81 I, 83 I, R44, 858, 864
Averkiev, Dmitry Vasilevich, 1865, ~9 Bataille, Henry, 1912, 29
Azcvedo, Fernando, 1940 Batka, Richard, 1901,02,03,03, oS, oll, TI, 12,
[3, 18, 27
Bacchelli, Riccardo. 1932 see also col. 1210, 1222, 1264, 1271, '339
Baculard d' Art/arid. Frallfois 1"hollla5 A[arie, J 786, Battll, Leon, 1853, 56, 56, 57
88 see also col. 423
Baczko. Ludwig von, 1797 Baud-Bovy, Danicl, 1906
Badalic. Hugo. 1876 Ballditz, Sophus, Ill88
see also col. 779 sec also col. 702, 901, 908, 998
Badini. Carlo Francesco. 1782 Bal/dauin d'Aubiglly,]ea/1 Marie Theod",c, 1817
sec also col. 258, ]21, 349, 408 Bauer, Julius, 1890,93
Badoaro. Giacomo. 1641 Bauer, Ludwig Coelestin, 1882
Baeyens. Auguste L., 1939 Bauernfeld, Edllard von, 1838,77
Baggesen, jens Immanuel, 1789. 9B. 1817 Bax, Clifford, 1926, 1938
sec also col. 540. 547 sec also coI. 357
Bailly. L.. S.].. 1883 Bayard, Jean Fran"ois Alfred, 1840, 5 I
Bakhturin, Konstantin Aleksmdrovich, 1842 Beauclair, Henry, 1894
Bakody. Tivadar. 1856 13eaumarchais, Pierrc Augustin Caron de, 1782,
Balaguer. Victor, 1902 86,87,92, 1816
Balazs, Bela, 1918 "Beau plan, Arthur de" (i.c. Victor Arthur
Ballerini. Francesco, 17II Rousseau), 1853
sec also col. 135 Beck, Karl, 1861
Balochi. Giuseppe Luigi. 1807, 25 Begovi~, Milan, 1935
see also col. 584. 657, 669 Bclasco, David, 19°4, 10
Baltus. Silvia. 1930 Bell-Ranske, Jutta, 1919
Balzac. Honore de. 1910, 12,27.29.37 Beltramelli, Antonio, 1939
Bandrowski. Aleksmder. 1907.09 Benco, Silvio, 1914
see also col. 1002. 1010, 1014, 1055. 1057. 1068 Bcnedix, Roderich, 1874

162 3 1624
Benelli INDEX OF LlBRETTISTS Boissel

Benelli, Sem, 1913,24, 38 Bierbaum, Otto Julius, 1898, 1901,05

. Bend, Bohuslav, 1900 see also col. 829
Bend, Karel J., 1932 Bignotti, Angelo, 1900, 06
Benes-~umawsky, V., 1 8 7 6 , Billiet, Paul, 1875
Bengescu, George, 1880 Bins de Saint-Victor, Jacques Maximilien
see also col. 1009 Benjamin, 1806
Bennett, Amold, 1929, 37 Birch-Pfeiffer, Charlotte, 1850, 54,63
Bennett,Joseph, 1890,94 see also col. 778, 784
see also col. 945, 1024, 1061, lI08 Bis, Hippolyte Louis Florent, 1829
Benserade, Isaac de, 1672 Bisaccioni, Maiolino, 1645
Bbanger, Pierre Jean de, 1842 Bischoff, Ludwig, 1858
Beregani, Nicolo, 1666, 83, 1737 see also col. 451
"Berel, Paul," see Choudens Bissari, Pietro Paolo, 1661
Berenger, Maurice, 1902, Bjerregaerd, Henrik Anker, 1850
Berger, Carl Philipp, 1839 Björuson,Bjöms~eme, 1894, 1908
Bergerat, Auguste Emile, 1892 Blank, E., 1927
"Bergh, Walter," see Thiersch, Bertha Blasco lbanez, Vicente, 1921
Berio di Salsa, Francesco, 1816, 18 Blau, Alfred, 1884
see also col. 577 Blau, Edouard, 1873, 85, 85, 88, 89, 90, 92
Berlioz, Hector, 1902 Blavet, Ernile Raymond, 1883
Bemard, Joseph Karl, 1816,22 Blei, Franz, 1921
Bemard, Pierre Joseph Justin, 1737, 6o, 91 Block, Andre G., 1928
see also col. 579 Biom, H. 0., 1870
Bemard-V alville, Fran~ois, 1800 "Blonda, Max" (pseud.), 1930
Bemardoni, Giuseppe, 1802,03 Blum, Emest, 1873
Bemardoni, Pietto Antonio, 1703,06 Blum, Karl, 1839
Bemauer, Rudolf, 1908 see also col. 602, 685, 723, 732, 789
Bemede,.Arthur, IR97, 1907, 13 Blüthgen, Victor, 1895
Bemhoff, John, 1906 Boberg, Anna, 1898
see also col. 1235 Boccaccio, Giovanni, 1798, 1823
Bemini, Giovanni Filippo, (1680) Boccherini, Giovanni Gastone, 1772
Berninzone, Raffaele, 1855, 68 Bocciardini, Mattia, 1803
Berrettoni, Arcange1o, 1834,51 Bock, Johann Christoph, 1771
see also coI. 628, 8°3, 946 see also col. 250, 321, 324, 331, 368
Bertati, Giovanni, 1771,72,73,74,75,78,78,79, Boddaert, Maria, 1892
81,83,83,85,87,87,91,92,94,95,96,1804,91 Boguslawski, Stanislaw Kostka, 1858
Berteaux, Eugene, '1924 Boguslawski, Wojciech, 1778, 83,94
Berti, Cesare, 1846 see also col. 244, 279, 282, 293, 334, 340, 367,
Berton, Pierre, 1900 368, 370, 399, 412, 434, 437, 444, 4 83, '490,
Besson, Louis, 1890 497, 5Il, 520, 526 , 548, 55 2 , 553, 563, 56 8,
Bevilacqua-Aldovrandini, Gherardo, 1819 574, 578, 58o, 60o, 610, 620, 62 3, 633, 639,
"Bevis of Hampton," 1758 644, 676, 699
Beyerlein, Franz Adam, 1916 Böhm, Jindfich, 1872
see also col. 1081 see also col. 336, 36o, 494, 720, 828, 88o, 908,
Beys, Charles de, 1655 921, 928, 933, 939, 949, 95 8, 978, 98o, 982,
Bianchi, Luigi, 1863 986, 1026
Bianchi, Vittorio, 1904, 12 Bohomolec, Franciszek, 1778
Bianchini, Pepi, 1914 Bohrmann-Riegen, Heinrich, 1880
Bickerstaffe, Isaac, 176o, 62, 65, 68, 68, 69, 81 Boie1dieu, Jacques Fran~ois Adrien, 1793
see also col. 175 Boileau (Nicolas Despreaux), 1679
Bidera, Emanue1e, 1834, 35, 35 Boirie, Eugene Cantiran de, 1827,37
see also col. 714 Bois, Jules, 1912
Biehl, Charlotte Dorothea, 1774, 86 Boisseaux, Henry, 1860, 98
see also col. 266, 331,407,418 Boisse!, - , 1789
Boisse!ot INDEX OF LIBRETTISTS Bürger

Boisse!ot. Paul. 1863 Brcsil, J ules, 1852, 8 r I

Boito. Arrigo. 1865.73.76. 79. 87.93.97. 1927 Bressand, Friedrich Christian, 1690. 9i, 92, 93,
see also co\. 63 I. 677. 822.926. 973. 975. 1022, 93,94,94.96,9 8,1700
II28 Brctzncr, Christoph Fricdrich. 1779, 80. 8r, 82,
Bolognese. Domenico, 1851. 54, 56 82, 84, 1806, 09
see also co\. 846 see also co\. 368,460, 476, 479
Bonechi, Giuseppe. 1767 Brewster. Henry B., 1906
Boni. Antonio. 1855 Briani. F.• 1727
Boni. Filippo de', 1838 Bridgeman, John Vipon, 186r, 63
Bonnemere, Lione!. 1886.92.99, 190r Bridgman, J. Oliva, 1907
Borch. Marie von, 1899 Brifaut. Charles, 1819
see also co\. II52. 1167 Brod, Max, 1937
Borgaard, Carl. 1850 see also co\. 1255, 1336, 138o, 1391,1394, 14II
see also co\. 596. 761 Bronnikov. P. K .• 1885
Bomgraeber, Otto, 1920 Brooke, Frances, 1782
Bomier. Henri deo 1876, 1904 Browning. Robert. 1932
Borra. Guido. 1897 Brunati. Gaetano. 1785, 87
Borras (y Bermejo). Tomas, 1919 see also co!. 27°.462
Bostel. Lucas von. 1682. 86. 17II Bruner. Angelo. 1876,
"Both. L. W." (i.e. Louis Schneider), 1835 Brunnemann. A .• I 89~
Bottarelli. Giovanni Gualberto, 1741, 42, 63 Brunswick, Hon Levy, 1836, 36, 38. 39, 42, 44,
see also co\. 232, 250. 261, 273, 304 47, 52. 53, 54. 88
Bottini. P .• 1891 see also co\. 708. 766
Boucheron. Maxime. 1890 Brusa, Filippo. 1936
Boucicault. Dion. 1862 Brusa, Giovanni Battista. 1756
see also co!. 801 Bruun, Niels Thoroup, 1802. 06. 10, 16
BoujJIers, Stanislas Jean de. 1766 see also co!. 312. 395, 410, 428. 435. 486. 488.
Bouilhet. Louis. 1912 490.493.497. 510 , 514, 526 , 539. 54 1• 543.
Bouilly. Jean Nicolas, 1790, 97, 98. 1800,02,03. 545, 549, 55 2• 555, 564. 568. 571, 573. 574.
04. °4.05, 05, 06,22. 24. 26, 29 578. 580. 585, 586, 597.598, 600, 606. 612,
Boukay. Maurice. 1913 613,615.624, 625,626, 630, 635, 63 6 , 639.
Bourgeois. Eugene. 1850 646. 653. 654. 66r
Boume, C. Harold, 1921 Buchbinder, Bernhard, 1897
Boutet de Monvel. Jacques Marie, 1772, 73, 77, Büchner, Georg, 1925, 25, 26, 35
83.85,88.89.9 1,93. 1803,11 Buijsero. Diderick, 1680, 1920
Bovio. Giovanni. 1904 see also co\. 5I
Boyer. Georges. 1885,94 Buirette de Belloy. Fiene Laurent, 1822
Braccioli. Grazio. 1713 Bull, Edvard Hagerup, 1896
Braga. Francisco Joaquim da Costa, 1907 Bulthaupt, Heinrich, 1881, 1900
Brambilla. Antonio, 1792 Bulwer Lytton, Edward, see Lytton
Branco. C. C .• 1907 Bundi, Gian. 1916
Brandes. Johann Christian. 1775 see also co!. 373,918
Braun. Joseph. 1 86 3. 73 Bunge •. Rudolf. 1884
see also co\. 1017 Bunn,Alfred. 1836,43.44,44.45.46,46,46.47.52
Braun von Braunthai. Kar! Johann. 1834 see also co!. 720, 769, 839, 844
see also co\. 68o, 728, 756 Bunyan.John, 1922
Brazier. Nicolas. 1875 Buonavoglia, Luigi, 18°5, 09
see also co\. 230. 698 see also co\. 555
Brecht. Bertolt. 1928, 30 Buonazzoli. Cesare. (1704)
see also co!. 161 Buono, Luigi dei, 1793
Bredal. Niels Krog. 1772 "Burani, Paul" (i.e. Urbain Roucoux), 1887
see also co!. 229. 276, 284. 304, 305. 310, 314, "Burenin, Viktor Petrovich" (i.e. Count Aleksei
316.320.321, 324. 344 Zhasrninov), 1876. 84, 1903
Brentano, Clemens. 1805 Bürger, GottJried August, 1835, 1842
1628
Burgoync INDEX OF LIB RETTISTS Catharinc H
Burgoyne. Jolm. 1780 Capcllc, Pierre Adolphc, 1816
see al~ col. 414 sec also col. 532
Burnand. Sir Francis Cowlcy. 1867 Capoul. Victor, 188H
see also col. 969. 985. 993. 1003. 1017. II24. Caragialc, Joall Lu[as, 1928
1144 Carasalc. A.• 1726
Busenello. Giovanni Francesco. 1640.41.42 ) Caravita, Giuscppe. 1804
Russani. Giacomo Francesco. 1680. 1735 see also col. 262
Büsse!. Alois Joseph. 1841 Carey. Henry, 1737
Buti. Francesco. 1647. 54. 62 G~rmouche. Pierre Fran~ois Adrien. 1828. 28.35
Butturini. Mattia. 1793.96 see also col. 230
Bye!sky. Vladimir Ivanovich. 1898. 1900.07.09 Carpani. Giuseppc, 1789.99. 1805
Byrne. CharIes Alfred. 1893 sec also col. 406.414.419. 429. 445. 462, 470.
see also col. II82. 1225 488, 491
Byrne. Jacques. 1919 ) Carre. Albert. 1890
Byroll. George Gordon. Lord. (1828). (28). 33. sec also col. Il29
35.35.44.48.64.96. 19 12 Carrc, Fabrice, 1894 .
see also col. 760 Carre.Michel. 1852. 53. 54, 54. 57. 57. SR, 58. 59,
Cable. George Washillgtoll. 1904 59.60.60,60,61,62.62,63.64,64.66. 67, 68.
Cahusac. Louis de. 1749 69, 7~ 7~ 78. 81. 82
Caigllicz. Louis Charles. 1807. 15. 17 sec also col. 427.478,591
Caillavct. Gaston Arman de. 1903.04.07. 14 Carrc, Michel (the Younger), 1898.19°3.°3.12.
sec also col. 1269 29
Cain. Henri. 1894. 95. 97. 99. 1900. 00. 02. 04; see also col. 702
05. 05. 06. 07. 07. 09.10.10. 12. 12. 13. 14. 19. Carri6n. M. R. see Ramos Carri6n
21.22.3 6 .37 Cartier (de Marcienne), Pierre Robert de. 1757
see also col. 703 Carugatti. Romeo. 1897.
Caldas Barbosa. Domingos. 1794 Casari, F., 1821
Calder6n de la Barca. Pedro. 1660. 1884. 1897. Casini. Cesare Allgusto, 1782
19 16 Casori. Ferdinando, 1763
sec also col. 477 Casori. Gaetano, 1769
Cale. W. 1925 Caspers. M. A" 1891
Calvct (y Budalles). Damaso. 1881 Cassani. Vincenzo, 1723. 47. 1913
Calzabigi. Raniero de·. 1762. 67. 70. 70. 74. 75. Castcl. Rene Richard Louis, 18 I 3
76. 84. 86. 92 Castelli. Ignaz Franz. 1807, 09. 61
Camagna. Giulio Domenico. 1804 see also col. 468. 568, 602, 613,616. 622. 626,
Camara.Joao da. 1891 634, 646, 663. 684, 685. 689. 699. 7°5, 706,
Cambiaggio. Carlo. 1906 719, 777, 778. 809
see also col. 793 Castelli. Ottaviano, 1645
Cammarano. Salvatore. 1835. 35. 36, 37. 38. 38. Castcllo Bra/lco, Call1illo. 1907
40 .40.4 1.42.43.45.45.46 .49.49. 53. 6 6 Castct, Nicolas. 1763. 78
sec also col. 807 Casti. Giovanni Battista, 1784. 85
Campana. Erminio. 1919 sec also col. 422
Campbdl.John Gcorge. Marquis ofLornc. Duke Castiglia, Bcnedetto. 1843
of Argyll. 1897 Castil-Blaze, Fran~ois" Henry Joseph Blaze.
Campeggi. Ridolfo. 1610, called, 1831
Campistron.Jean Galbert "de. 1686. 87 sec also col. 77, 426, 427. 452. 478. 483. 501,
sec also col. 899 5°9,5 17.59 2 • 6 33, 643, 644,649. 654, 679.
Camprod6n (y Safont). Francisco. 1853.54.71 680. 690. 703. 728
Candi. Giovanni Pietro, 1705 Castillw. Alltollio Fcli[ia/IO de, 1861
Canid.. Domenico, 1747 Castr", EI/gmi" de, 1938
Caiiizares. Jose de, 1708 Catharine H, Empress of Rlls\ia, 1786. 86. 89.9°,
Capeci, Carlo Sigismondo, 1714, 28, 33,65,97 91 (the Empress's librettos were revised by her
see also col. 1 I I sccretary, Alcksandr Vasilcvich Khrapovitsky).
Capek, Karcl, 1926 sec also col. 370. 380, 389

1629
Cavacchioli INDEX OF LIBRETTISTS Constant

Cavacchioli, Enrico, 1912 Choudard Desforges, Pierre Jean Baptiste, 1784,

Cazotte, Jacques, 1768 87,90, 1853
Ceeh, Svatopluk, 1910, 20 Choudens, Paul de ("Paul Berel"), 1905, 05, 06,
Cencetti, Giuseppe, 1873 06, 10, 13, 16
see also col. 811 see also col. 423
Cere, Alessandro, 1910 Christi ansen, Einar, 1894,98, 1900,02
Cervantes Saavedra, Miguel de, 1719, 27, 33, 62, see also col. 775, 1055, 1068, 1105, 1257
68, 85, 89, 1821, 24, 27,33,43,62, 65, 80,97, Cicognini, Giacinto Andrea, 1649, 49, 54, 88
9 8, 19 10,23,23,3 1,38 Cigna-Santi, Vittorio Amedeo, 1770, 71, 81
Cervin-Steenhoff, Nicolaus Johan, 1835. Cimino, Giorgio Tommaso, 1869,73,75
Cervinka, Vincenc, 1921 Cimmino, Francesco, 1902
Cervinkova-Riegrova, Marie, 1879, 82, 89 Cinti, Giacomo, 1804
see also col. 1078 Civinini, Guelfo, 1910
Cesarotti, Me/ehior, 1790 "Clairville" (i.e. Louis Francrois Nicolaie), 1857,
Chabannes, M. A.]., see Rochon de Chabannes. 60, 72, 72, 76, 77
Chabanon, Michel Paul Guy de, 1773 see also col. 851
Chaikovsky, Modest Ilyich, 189°,92,95, 1906 Clagget, Walter, 291
see also col. 428 Claparede, -, 1805
Challamel, Jean Baptistc, 1882 Claren, Georg C., 1922
Chamfort, Nieolas, 1773 Claretie, Jules, 1894, 1907, 09,22
ChampmesIe, Charles Chevillet, eaUed 1895. Claudel, Paul, 1930, 38
Chantepie, Jules, 1872, 82 Clement IX, Pope, see Rospigliosi
Chapelle, P. A., see Laurencin, M. Clemente!, Etienne, 1933
Chateaubrialld, Fran(ois Rene de, 1874, 82 Coape, Henry C., 1845
Chateauvieux, Armand Francrois, 181 I Cobb, James, 1789, 91, 92, 94
Chatrian, Pierre: Alc:';alldrc, 1876, 82, 9/, 92, 1900, see also col. 430, 558
01 Cocteau, Jean, 1927, 27, 27
Chaueer, Geo.ßrey, 1765 Code bo, Andrea, 185 I
Chazet, (Andre Rene Polydore) Alisan de, /813 Coffey, Charles, 1731,52,56,59,97, 1852
see also col. 556, 582, 6IO, 617 Cofino, E., 1875
Checchetelli, Giuseppe, 185!! Cognctti, Goffredo, 1892, 94
Checchi, Eugenio, 1894, 1902 Cogniard, Hippolyte, 1845
Checinski,Jan, 1861,65,69,72 Co,~'liard, Theodore, 1845
see also col. 742, 765, 767, 800, ~12, 838, 874, Colantuoni, Alberto, 1908, 17
876, 891,902,903,907,970,9~5, 1004, TOll, Colautti, Arturo, 1898, 1902,07,07
1026 "Colette" (i.e. Sidonie Gabrielle Gauthiers-
Chekhov, Antoll Pavlol'icll, 1928 VilIars), 1925
Cheneviere, Jacques, 1913 Colle, CharIes, 1752, 70 , 77
Cherry, Andrew, 1806 Collier, Constance, 193 I
Chezy, Helmina von, 1823 Collin, Matthäus von, 1809, I X
see also col. 668 CoIlin, Paul, 1905, 06
Chiabrera, Gabricle, 1600, 16 Collorcdo, Giovanni Battist." 1801
Chiari, Pietro, 1762, 06, 66, 67 Colman, Francis, (1734).
Chievitz, Poul, 1H51 see also col. 142
Child, Harold Hannyngton, 1924 Colman, George (the EIder), 1792
Chivot, Henri CharIes, 1H06, 68, 6H, 72, 77, 78, see also col. 18o, 357
79, 79, 80, 82, H6 Colm:m, George (the Younger), 1787
see also col. I076 see also col. 376, 540, 567
Chmclt:nsky, Josef Krasoslaw, I 1126, 28, 50 Coltellini, Marco, 1763,65,68,68,69,70,71,75,
see also col. 494, 601, 622, 689, 694, 712 75
Choler, Adolphe (Saint-Agnan), 1862 see also col. 338
Chorley, Henry Fothcrgill, 1861 Colvin,Jan,1926
see also col. 263, 264, 373, 501, 790, 799, 867, Comitti, Enrico, 1912
1193, 940, 941, <)67 Constalll (de Rebeeque), Benjamin, 1909
Constant INDEX OF LIBRETT1STS Deschamps

Constant, M., 1895 Dahn, Fclix, 1885,96,99

Contini, Domenico Filippo, 1676, 79 Dambeck,Johann,1811
Cooper,James Fenrzimore, 1834,56 Danchet, Antoinc, 1700,02,04,10,12,17.6/
Coppcc, Franc;:ois, 1872,94,96,97, 1903 Dancourt, L. H., 1759, 64, 75
Corder. Frederick, IR93 DanieIou, j.. 1927
see also col. 687, 966, 976, 1014, 1055, 1097 Da Ponte, Lorenzo, see Ponte
"Cordicr, JuIes" (i.e. EIconorr TcnaiIIc de Dascnt Sir George Webbe, 1906
VlulabcIIe), IR60 Daspuro, NicoIo ("P. Suardon"), 1X91, 92
Corghi, Carlo, 1856 Daudet, Alphonse, 1897,97
Cormon,Eugene, 1847, 55, 56, 57, 58, 59,60,60, D' Avcnant, Sir William, 1656
03, (\4, (\5, (\7, 67, 68, 69, 75 Davesne, Bertin, 1765
CorncilIc, Pierre, 1650, 75, 78, 1723.35,42, 1821, David, Domenico, 1700, 23, 25
40, 46, 85 see also coI. 149.
CorneiIIe, Thomas, 1678, 79, 93, 1789 Davidson, John, 1903
Corradi, Giulio Cesare, 1676, 78, 86, 87, 95 Davis, Gustav, 1894, 95
Corsini, Ottaviano, 1620 Decker, H., 1906
Cortesi, Lodovico, 1659 Decomberousse. Alexis Barbe BetZOI/, /851
Corvo, Nicolo, 1709 Decoureelle, Pierre, 1897, 1929
Coselschi, Eugenio, 1920 Decrept, Etienne, 1909
Cassa, Pietro, 1935 De Forges, P. A. A., see Pittaud de Forges
CostenobIe, Karl Ludwig, 1809 Defranceschi, Carlo Prospero, 1799, 1800,00
see also col. 398, 524 Deinhardstein, Johann Ludzv(1? Ferdinand, 1840
Coster, Charles de, 1932,33 Dejaure,Jean Elie Bedeno, 1791,99,1801
Cottin. Sophil', 1827,37 "Delacour, AIfred" (i.e. AIfred Clnrlemagnc
CournoI, HippoIyte, IR22 Lartigue), 1865,76, 77
Cousin, Victor, 1925 see also col. 851. 1037, 1050
Cousin - , 1790 Delacre, J ules, 1922
Coutts, Francis Burdett, Baron Latymcr, see Delair, P., 1922
Money-Coutts Delaporte, Michel, 1862
Cramer, C. G., see Kramer Delavigne, Casirnir, 1843. 69
Cramer,Karl, 185 8 Delavigne, Germain, 1823,25,26,28, 31,43, 54
"Cratisto,Jamejo," see Collorcdo Delestre-Poirson, Charles Gaspard, 1828
Cremieux, Hector, 1858,59,60,61,61,67,69,73 Delmar, Axel, 1893,95
see also coI. 993 "Delormeil", see Lencka.
Crescini, Jacopo, 1836, 60 Delrieu, Etielme Joseph Bernard, 1802
Creuzc de Lesser, Augustin Franc;:ois, 1805, 06, Demeter, Dimitrije, 1846,97
09, II, II, 13 see also col. 739. 957, 977
see also col. 230 Demolder, Eugene, 1921
Croffut, WiIIiam Augustus, 1880 Demoustier, Charles Albert, 1792
"Croisset, Francis de" (i.e. Francis Wiener), 1905 Dennery, A. P., see d'Ennery
Croizette, Armand, 1811 Dercy, P.,l 1793, 1804,06
Crommelytzck. Fernand, 1932 Desaugiers, Auguste Felix, 1823
Cruz, Ramon de Ja, 1768,68,69,70, 72 see also coI. 410, 443
see also col. 215, 220, 225, 240, 269, 279, 284, Desaugiers, Mare Antoine MadeJeine, 1857
298, 308 see also co!. 410, 582
Csery, Pcter, 1822 Des Boulmiers, Jean Auguste J ulien, T767
CzigIanyi, BeIa, 1903 see also col. 252
Csiky, GergeIy, 1893 Deschamps, Ernile, 1826, 36
see also col. 10 I 4 see also col. 453
Cuinet DorbeiI, 1782
see also col. 343 1 Alphonse Fran~ois Dercy (stated to havc writteu

CUtZO, Heinrich, 1829 these librettos in the Author List of Washington Cata-
logue, p.1234) is a 19th ct. author. P. Dercy died before
Cuno, Mauritz, 1707 1804, acc. to the preface in the Ossian libretto; acc. to -
Czanyuga, J6zsef, 1862 Montgloud his real name was Palat.
Deschamps INDEX OF LIBRETTISTS Egressy

Deschamps, Jacques Marie, 1804 Du Conge Dubrellil, Alphonse, 1781

see also col. 478 Duller, Eduard, 1846
Desessarts d' AmbrevilIe, Joseph, 1818 DlI Lode, Camille, 1867,71,84,90
Desfontaines, Franc;:ois Guillaume, 1783, 85 see also col. 959, 1019, 1128
Desforges, J. B., see Choudard Desforges Dumaniant, AntoineJean, 1787, 88,1807
Desriaux, Philippe, 1786, 89, 1802 Dumanoir, P. F., see Pinel Dumanoir
Destouches, P. N., see Nericault Destouches Dumas, Alexandre (the Eider), 1834, 90, 19°5, 05,
"Desvergers" (i.e. Armand Chapeau), 1841 17, 21 "
Detroyat, Leonce, 1883, 84, 84 714.
see also col.
see also col. rr61 DultJas, Alexandre (the YOlmger), 1853, 1930
Devrient, Eduard, 18p, 33 Dumas, Andre, 1925, 30
see also col. 359,477,610 Du Maurier, George, (1835), 1931
Dharmenon, Fredcric, 1873 Dumersan, Theophile Marion, 18z9
Dicenta, Joaqufn, 1898 see also col. 197, 6z 5
Dickens, Charles, 1836,96, 1908, 14,36 Duncker, Dora, 1914
Dieulafoy, Michel, 1804, 19 Dunlap, William, 1796
see also col. 556, 617 see also col. 429
Dingelstedt, Franz von, 1846, 65, 65 Dupaty, E., see Mercicr Dupaty
see also col. 935, 955 Dupin, Jean Henri, 1840
Diodati, Giuseppe Maria, 1786, 86,94, 1817 see also col. 230
Djelal Essad Bey, 1918 DlIport, Paul, 1835, 38
Dmuszewski, Ludwik Adam, 1818 see also col. 843
see also col. 384, 536, 557, 571, 577, 589, 59 8, Duprcz, Edouard, 1851
606,635,656,662,737 see also coL 709,887,891,908,937
Dobsa, Lajos, 1885 Durandi, Jacopo, 1784
Docquois, Georges, 1920 Durazzo, Giacomo, 1755, 61
D6czy, Lajos, 1892 see also co1.255
see also col. I045, IIZ5, 1130, 1283 Du Roullet, see Lebland du Roullet
Dodsley, Robert, 1770 DlIru, Alfred, 1868,68,72,77,78,79,79,80,82,
Dolansky, L., 1890 86
Dolfino, Pietro, 1672 see also col. 1076
Donaudy, Alberto, 1918, 2Z Dusch, Alexander von, 1820
Donini, Alberto, 1905 Duval, Alexandre, 1798, 98, 1800,00,02,07, 13,
Donnay, Maurice, 1910,20 21,47
Döring, Georg, 1825, 28, 3 I "Duval, Georges" (i.e. Claude Rieux), 1897, 98
see also col. 607, 684 "Duvemois, Henri" (i.e. Henri Simon Schwaba-
"Dörmann, Felix" (i.e. Eelix Biedermann), 1907 cher), 193 I
Dostoevsky, Fedor Mikhailovich, 1926, 28, 29, DlIveyrier, Charles, 1839, 55
3° Duyse, Florimond van, 1909
Dovsky, Beatrice, 1915 Dwight, Harry Griswold, 1935
Drachmann, Holger, 1900 Dybwad, Vilhelm, 19II
see also col. 99 I Dyck, Viktor, 1920
Draghi, Antonio, 1669
Droescher, Georg, 1904 Eberhardt, NeUe Richmond, 1918, 26
see also col. 607, 691, 1259, 1284, 1296 Eberl, Ferdinand, 1786, (89)
Drury, William Price, 1929 see also col. 437, 447, 461
Dryden,John, 1685, 86,91,1710,67 Efa de Queiroz, Jose Maria, 1924
"Dubois, Jules" (pseud. of L. Battu and M. Echave y Nazabal, Alfredo de, 19IO
Carre), 1857 Echegaray (y Eizaguirre) Jose, 1891
"Dubois, Paul" (pseud. of P. Boisselot and C. Echegaray (y Eizaguirre), Miguel, 1897, 98
Nuitter?), 1863 Eger, Paul, 1914
Dubreuil, see Du Conge Dubreuil Eggers, Friedrich, 1857
Du Carillon, Leonce, 1902 Egressy, Beru, 1840, 44, 61 . ,
DucM (de Vancy), Joseph Franc;:ois, 1694, 1701, see also col. 772, 805, 819, 820, 821, 828, 830,
04,53 838, 841, 842, 859, 861, 874, 877

163 6
 Eg~taz INDEX OF LIBRETTISTS Ferrier
Egullaz, Luis de, 1878 Falena, Ugo, 1930
Einsiedel, Friedrich Hildebrand von, 1798, 98 Fallsträm, Danid, 18H9 "
see also col. 330,471,473 Falscn, EnevolJ de, 1797, 1800
Elizabeth, Queen of Rumania ("Carmen Sylva"), sec also col. 499, 504
18 79,85,19°4 "Falzari, Fdix" (i.e. Hans Hoffmann), 1896
Elkan, Benno, 1927 SCI' also col. 1000, 1183, 1273
Ellis, Thomas Evelyn (Baron Howard ele Fanzaglia, A., 1735
WaIden), 1912, 14,29 Farjeon, Eleanor, 1924
Emanuel, Guglielmo, 1912 Farnie, Henry Brollgham, 1864, H2
Eminescu, Mihail, 1879 see also col. 919, 944, 948, 95 I, 955, 985, 991,
Empis, Adolphe Joseph Simonis, 1822 993, 1008, 1040, 1048, 1058, 1062, 1064,
Engel, Johann Jacob, 1771 1075, 1076, 1080, 1085, 1087
Engelen, Henri, 1903 "Farrere, Clallde" (i.e. Frcderic Charles Bargone),
d'Ennery, Adolphe Philippe, 1845,47,52,57,68, 192 4
69,72, 81, 85, 85 Fattorini, Tebaldo, i675
Envallsson, Carl, 1784 see also col. 42
see also col. 138, 177,221,233,235,241,245, Fallchois, Rene, 1913, 19
·251, 252, 253, 254, 266, 267, 275, 278, 282, Fallsset, Marjorie, 1922
28 5, 287, 28 9, 294, 308, 344, 351, 356, 366, Faustini, Giovanni, 1643, 51
369,372,385,391,414,431,445,459,462, Favart, CharIes Simon, 1741, 53, 55, 59, 62, 65,
481,488, 501, 540 65, 66, 67,68, 68, 68, 70, 70, 73, 79, 82, 82, 83,
Ephralm, Armand, 1905 89,99
Erckmann, ElIlile, 1876, 82,91,92,1900,01 sec also, col. 53, 57, 69, 81, 84, 1°5, 123, 130,
"Erckmann-Chatrian," sec Er,klllallll, E., alld 13 8, 156, 179, 185, 194, 195, 196, 202, 210,
Chatriall, P. A. 218, 219, 221, 222, 223, 255, 259, 292, 372
Erler, Hermann, 1904 . Favart, Marie Jllstine Benoite, 1762
Erskine, John, 193 I, 34
. see also col. 130,218
Favicres, Edmond Gllillaume Fran<;:ois de, 1791,
EschoIier, Raymond, 1931
97,1802,03,13
Escuder, Juan Francisco, 1712
Feddersen, Benjamin, 1888
Esmcnard, Joseph AlphollSe, 1807,09
Federici, Camillo, 1810
Estcourt, Richard, 1708
Federico, Gennaro Antonio, 1732, 33, 35, 39, 54
Etienne, CharIes Guillaurne, IS01, 04,05,05, oS, 81,87, 1857
10, JO, 14, 14, 16, 16,17,18,22 Feind, Barthold, 1705,06,09
Etienne eiL' Jouy, Victor Joseph, I X04, 07, 09, 10, see also col. II 2, 124, 126
10,12,13,14,29· Fekete, Mihaly, 1861
see also col. 657 "Feld, Leo" (i.e. Leo Hirschfeld), 1910, 16, 23
Eulcnberg, Herbert, 1920 "Fels, Roderich" (i.c. S. Rosenfcld), 1878
Ellripides, 1922,24,31,39 sec also col. 1036
Enld, Johan, 1778, Ho Felit'l y Codina, Jose, 1895,98
Ewers, Hanns Heinz, 1916, 22 FeBouillot de Falbere, Charles George, 1770
Fereal, Cesare, 1888, 92, 93, 99
SCI' also col. I 102
F.B.A.F., Ahate, 1775 Fcmald, Chester Bailey, 1905
Fa:lSSen, Rosier, I H77 Fernandes dos Reis, Antonio Jose, 1861
Fahhri(hcsi, Sal"a:ore, 1850 Fernandcz Ardavin, Lllis, 1919
Faber, William; 18H3 Fernandez Shaw, Carlos, [H97, 99,1909,13
see also col. 9X 5 Fcrnandez Shaw, Gllillcrmo, 1923
Fabre, Emilc, 1915 Ferrare, Henry, 1921
Fahre, Fadillalld, 1895 Fcrrari, ßcnedetto, 1637, 38, 53,
Fabry, JaCljUeS Joseph, 1757 Fcrretti,Jacopo, ISJ1, 17,20,21,21,24,27,32,
Falbaire, C. G. F. de, sec Fenollillot eil' Falbaire 33,33,34,34.34,35,3 6 ,
Falckellbl'~s;,Otlo, 1922 sec also col. 549, 682
"FalcoIler, EJIl111nJ" (I.e. Eell1111nel O'Rourke), Fcrrier, Jeanne, 1910
IS57, 5 X, 59 Frrricr, Paul, ISSO, 92, 19°1, 04, 07, 07, 10

16 37
Ferrier INDEX OF LIBRETTISTS Gamerra

see also cClI. 427. 453. 482, 497, 1005, 1037. -v" France. Anatole. 1894. 1920, 21
II8g, 1223, 1256, 1260, 1347 Franceschini, Giovanni, 1936
Ferrieres. Alexandre de, 1776, 79 Francheville. Rohert, 1919
Ferro, L. von, 1902 "Franc-Nohain" (i.c. Maurice Legrand). 1905, I I
Feuillet, Octalle, 1864 Frank, Ernst. 1881, 84
Feustking, Friedrich Christian, 1704. 05 see also col. 1066, IJ04
see also col. II6 Fraser. Marjory Kennedy, 1924
Pielding, Henry, 1765 Frauendorf, Joh;;nn Christoph, 1706
see also COhr 89 Frederick H. King of Prussia, 1748, 53. 55, 56
Fievee. Joseph. 1790 see also co\. 106, 155, 198, 2°3, 204.313,557
Filistri da Caramondani, Antonio de', 1777, ll~, "Freksa, Friedrich" (i.e. Kurt Friedrich), 1925
89, 180 3 Freytag. Gustav, 1931
Filiette Loraux, Claudc Franryois, 1791 Friberth, Kar1, 1775
Finne, Jalmari, 1909, 10 Fric.JosefVacbv. 1863. 1900
see also col. 898, 1002, 1015. 1270 "Friedrich, M. G." (i. c. Friedrich Melchior
Fino, Saverio. 1906 Gredy), 1845
Finzi. Ida ("Haydee") 1910 see also col. 775. 782
"Fiona Macleod," see Sharp, W. "Fricdrich. W." (i.c. Friedrich Wilhe1m Riese),
Fiorio, Gaetano, 1834 1844.45.47
Fischer, Otokar. 1916 see also col. ~83
Fitger, Arthur, 1892 Frigimelica Reiberti, Girolamo, 1694. 1707
Fitzball, Edward. 1831.35.38.41,44, (45),45, Friis Mollcr, Kai, 1912
47. 60 see also col. 1242
see also co\. 654, 678, 716, 719, 727. 736, 75 H, Frost. Tom, 1896
769, 805. 812. 814, 827. 88~ Frugoni, Carlo Innocenzio, 1759, 60, ~7
Flaubert. Gustave, 1881,9°, 1928 see also col. 185,202,221
Fleg(enheimer), Edmond, 1910. 36 Frutos, L. P., see Pascual Frutos
Fleres. Ugo, 1899 Fry, Joseph Recse, 1845,64
Flers. Robert de (la Motte-Ango, Marquis de), see also co\. 728. 740
1903, 04, 07. 14 Fulgonio, Fulvio. 1893
see also col. 1269 Fuzelier, Louis, 1723, 27, 35
Florian,Jean Pierre Claris de, 1797, 1813,25,1908 see also col. 59, 66, 73, 76, 103, 105, 107. 108.
Fontana, Ferdinando. 11\84, 86, 87, 8R, 89, 97, 133·
192 4.
see also co\. 1251. 1269 Gabet, CharIes, 1877
Fontana, Vittorio, 1893 Gabriel (de LlIrieu),JulesJoserh, 1823,29,50,51
Fontanes de Saint-Marcellin, Jean Victor, 18I? see also co\. 197. 691. 698
Fontenelle. Bernard (Ie Bovier) de, 1678, 79, 89, Gabrielli. Diamante. 1649, 52
175 8 see also col. 3I
Foppa. Giuseppe Maria, 1792, 94, 96, 97, 98. Galateri, M. A., 1896
1800,00.01,03,03,03,08,12.13 Galiani, Ferdinando, 1775
see also col. 358, 546, 569 see also col. 64, 389, 399
Förg, Carl Josef. 1782 Gallet, Louis, 1872,72,73.77.77,79, 85, 85, 86.
see also co\. 279, 285,349 87.90.91,91.93,94,95.96,97,19°3, II
Forgeot, Nicolas Julien, 1787 Galli, Amintore. 1904, 05, 08
Forges, P. A. A. de, see Pittaud de Forges see also col. 601, II28. II44, II67, II70, II74,
Fors de Casamayor, Francisco de Paula, 1874 IJ76, JJ77, Il83. 1206, 1220, 1225, 12 36•
Forst, J. von, 1840 1257
Forteguerri. Niccolo. 1818 Galperin. Mikhail, 1934
Forzano, Giovacchino, 1915, 17. IX, 18, 21, 22, see also col. 1004. 1027, 1393
23, 24, 25, 26, 27. 29, 32 Galuppi. Antonio, 1760. 61
Foucher. Paul Henri, 1842 Gamcrra, Giovanni de, 1772, 72, 74, 77, 87, 95,
Fouque. Friedrich de La Motte. SCI' La Motte 97, 1801, CI
Fouqllc see also col. 494, 497
Gandormiere INDEX OF LIBRETTISTS Gonella
Gandonnierc, Almire, 1893 Giacosa, Giuseppe, 1896, 19°0, 04
Gane, Nikolae, 1900 Giannone, Pietro, 1850
Gancm, Chekri, 1921 see also co!. 767
Gans zu Putlitz, Gustav Heinrich, 1853, 85 Gide, Andre, 1934
see also col. 835 Giescke, Kar! Ludwig, 17S9, (90), 91
Garal, Pierre de, 1888 see also col. 242, 243, 379, 382, 426, 445, 459,
Garay, jJnos, 1926 476, 48o, 482, 490, 500, 508
Garda Gutierrez, Antonio, 1853, 53, 57 Gigli, Girolamo, 1701
Garnir, George, 1903,04 Gilardoni, Domenico, 1826, 27, 27,28, 31, 32
see also col. II47 Gilbert, Gabriel, 1672
Garrick, David (1755),67, 92 Gilbert, Sir William Schwenck, 1871, 75, 77, 78,
see also col. 89, 228, 283 7~ 81, 82, 84, 85, 87, 88, 89,93,96
Garrido, Eduardo, 1887 see also co!. 977, 991, IOll
see also col. 1050, 1076 Gille, Philippe, 188o, 82, 83, 84,93
Gassol, Ventura, 1924 see also co!. 1030
Gatti, Guido Maria, 1920 Gitlzkey, Frmlz Karl, 1927
Gatty, (David) Ivor (Vaughan), 1909 Giovannini, Pietro, 1781
Gatty, Reginald (Arthur Allix), 1906, 20 Giraud, Giovallni, 1824,34, 40, 1914
see also col. 502 Giraud, Pierre Fran"ois, 1808
Gaugiran-N anteuil, Charles, 1806, I2 Girzik, Franz Xaver, 1789
Gautier, Theophile, 1885, 1920 see also col. 371, 382, 383, 390, 396, 405, 409,
Gay, John, 1728,32,77,1928 417,423,437,444,447,450,511,512
Gay, Sophie, 182I Gisberti, Domenico, 1672
Gazzoletti, Antonio, 1867 Giuliani, Camillo, 1843
Gedeonov, M. A., 1842 Godard d'Aucour de Saint-Just, Claude, 1797,
Gedeonov, Stepan Aleksandrovich, 1892 98, 1800, 06, 12, 13, 18
Gehe, Eduard Heinrich, 1823,26,32 Godet, Phi lippe, 1894
Geibel, Emanuel, 1863, 87, 1920 Godio, Guglielmo, 1895
Geiger, J. J. (pseud. ?), 1893 Goethe, Johann Wolfgang von, 178o, 87, 89,97,
Genee, Richard, 1873, 74, 75, 76, 79, 80, 8o, 8o, 1800,01,10,3 1 ,58,59,66, 68,87,92,93,99,
81,82,83,84,86 19° 2,10,23
see also co!. 983, 1004, 100S, 1015, 1020, 1081, see also col. 328, 433, 494, 672
III5, II33, II3 6, II41, ll43 Gogol, Nikolai Vasilevich, 1876,80,95, '909, 17,
Genlis, Comtesse de (Stephanie Felicire Brulart de 19,4 0
Sillery), 1791, 1831,35 Gold, Didier, 1918
Gerber, E., 1854 Goldenring, Stefanja, 1917
Gerhäuser, Emil, 1906 Goldoni, Car!o, 1743, 48, 48, 49, 49, 49, 50, 50,
see also co!. I 145 51, 5~ 5~5~ 54, 55,55, 55, 55, 56, 5~ 5~ 58,
Gerstenberg, Heinrich Wilhellll VOll, 1775 58,59,60,60,60,61,61,63, (66), (67), 67,67,
German, Ludomir, 1896, 98, 1900 68,68,69, 70, 71, 72,73,74,76,77, 78, 79, 82,
see also col. 999, 1078, II53, II89, 1223, 1225 86,88,92,96,1831,56,79,19°3,06,25,26,26,
Gershwin, Ira, 1935 26,3 1,36
Gessner, Salolllon, 1770, 94 see also co!. 206,210, 342
see also col. 530 Goldsmith, Oliver, 1796
Gherardini, Giovanni, 1817 Golisciani, Enrico, 1878, 85,92, 92,96, 1909, II,
Gheusi, Pierre Barthelemy, 1898, 1900, 01, 02, 12,13
05,10,3 1 see also co!. 515, 906, IOII, 1028, 1°37, 1040,
Ghigi, Stefano, 1723, 29 II82
Ghisalberti, Mario, 1931,31,36,39, Goll, Iwan, 1927
Ghislanzoni, Antonio, 1859,69,71,71,71,73,74 Gollmick, Kar!, 1866
74, 86, 91, 91, 91, 1914 see also co!. 796, 805, 815, 829, S33, 852, 870,
see also co!. 959 878, 88 I, 892, 939
Giacometti, Paolo, 1863 Gondinet, Edmond, 1873, 8o, 83
Giacomo, Salvatore di, 1910 Gonella, Francesco, 1794,96
Goodrich INDEX OF LIBRETTISTS Harris

Goodrich, Arthur Frederick, 1932 Guichard, Jean-Franyois, 1763, 63, 78

"Gorky, Maksim" (i.e. Aleksei Maksimovich Guidi, Francesco, 1846, 47
Pyeshkov), 1909, 12, 14 see also col. 676, 778
"Gorrio, Tobia," see Boito Guillard, Nicolas Franyois, 1779, 84, 86, 87, 88,
G6th, Ernö, 1929 1803,09
G6th, Sandor, 1923, 31 see also col. 304
Gotter, Friedrich Wilhe1m, 1772, 75, 75,76 , 76, Guillet, P., 1804, 05
7 8,79,9 8,9 8 Guillou, Joseph, 1844
see also col. 282, 366 Guimeri (y Jorge), Angel, 1900, 03, 07, 13
Gottschall, Rudolf von, 1897 Guinand, Edouard, 1910
Gouffe, Armand, 1803,04, 14 Guiou, A., 1883
Gozzi,Carlo, 1806,32,54, 67, 88,1917,21,26,]2 Guiraud, Edmond, 1924
Gozzi, Gasparo, (1765) see also col. 1043, 1088
Greaner, Georg, 1927 Guiterman, Arthur, 1937
Gramont, Louis de, 1889, 1901,06, 19 Gl1ldener, Bernhard, 1874
Grandaur, Franz, 1886 Gumppenberg, Hans von, 1909, 24
see also col. 451, 494, 636, 703, 1039 Güntelberg, Christian Fredcrik, 1824
Grandi, Tommaso, 1776 see also col. 752, 764, 769, 77 1, 775
Grandmougin, Charles, 1894 Gl1stafIII, King ofSweden, 1773,86,87
see also col. 690, 883 see also col. 463
GrandvaIlet, Charles, 1867 Guy, Jean Henry, 1797
"Graziani, Anneldo, " see Zanardini
Grazzini, Antonio Francesco, 1935 Haahti, Hilja, 1928
Greenbank, Harry, 1896 Hadot, T., 1859
see also col. 1049, II37 Haeser, Christian Wilhe1m, (1828)
Gregor, Joseph, 1938, 38 see also col. 586
Gregory, Isabella Augusta, Lady, 1923 Haeser, Walter, 1919
"Grcmont, Henri," see Hartmann, Georges Haffner, Carl, 1849, 74
Grcnier, -, 1781 Hafner, Philipp, 1793, 94
Greppi, Giovanni, 1801 Ha~gard, Sir Henry Rider, 1894
Grillparzer, Franz, 1833, 1900,09,17 Haimbach, Philipp, 1874
Grimani, Vincenzo, 1709 Haines, John Thomas, 1837, 39
Gril1lm,jacob and Wilhe1m, 1893,1903,20,29,30 see also col. 803
Grogan, Walter E., 1909 HaIe, Edward Everett, 1937
Gross, Karl, 1865, 94 Halevy, Leon, 1829,65
Grossi, Tommaso, 1843 Halevy, Ludovic, 1857, 58,61,61,64,66,66,67,
Grossmann, Gustav Friedrich Wilhe1m, 1780 68, 69, 74, 74, 75, 75, 7 8
see also col. 326,400,408,459 see also col. 423
Grothe, Wilhe1m, 1863 "Hall, Owen" (i.e.James Davis), 1896
Grun, James, 1895, 1901 Hamilton, Henry, 1903
Grünbaum, Fritz, 1907 see also col. 1205, 1215
Grünbaum, Johann Christoph, 1844 Hanau, Cesare, 1904, 08
see also col. 500, 546, 609, 619, 624, 629, 630, Hanisch, Carl, 1825
633, 649, 662, 669, 681, 726, 74 2, 743, 753. Hansen, Olar, 1917, 20
788, 795, 800, 801, 813, 817, 853, 856, 859, d'Hansewick, Y., 1922
876, 888, 889, 890, 894, 910, 917, 927, 937, Haraucourt, Edmond, 1891
94 1,948,959 Hardt, Ernst, 1920
Gual (y Queralt), Adrian, 1906 Hardt, S. tor, 1828
Gualzetti, G. A., cal/ed "Eriso," 1817 Hardy, Thomas, 1906, 24
Guarini, Battista, 1712 Harispe, Pierre, 1931
Guastalla, Claudio, 1923, 27, 32, 34, 37 Harlez, Simon Joseph de, 1757
see also col. 7 Harris, Augustus Glossop, 1857, 58,63
Guerrazzi, Francesco Domenico, 1920 Harris, Sir Augustus Henry Glossop, 1893,94
Guichard, Henri, 1722 see also col. II41

1643
Harsanyi INDEX OF LlBRETTISTS Hoffmann

Harsanyi, Zsolt, 1926, 29 '''Henry, Marc" (i.e. Achille d'Ailly-Vaucheret),

see also col. 452, 498, 953, 1012, J076, 1254, 1916, 22
1317,133 8,1390,1406 Hensler, Kar! Friedrich, 1790, 98, 99
Harsdörffer, Georg philipp, 1644 Heptameron, 1910
Harte, Frallcis Bret, 1932 HerCl/lano, Alexandre, 1870
Hartley, Randolph, 19IO, 18 Herder,Johann GottJried von, 1800, 1932
Hartmann, Georges ("Henri Grcmont"), IS81, Herklots, Carl Alexander, 1800, 01, 22, 25
92, 93, 1903 see also col. 176,297, 385, 405, 420, 470, 474.
see also col. 301 477,490 , 499, 502 , 5°3, 504, 508 , 515, 5 17,
Hartmann, Ludwig, 1894,95, 1901 520-22, 524, 52 5, 527, 53 I, 532, 539, 540,
sce also col. I024, I059, I073, II 12, II41, II49, 544, 545, 547, 557, 56 5, 566 , 57 1, 572 , 573,
II56, II58, II59, U61, II67, Il68, II77, 575, 586, 595, 596, 599, 600, 603, 605, 608,
u88, 1202, 1212, 1247, 1220, _1247, 1267, 612, 615, 616, 622, 626, 630, 632, 689, 693
12 7 8 Herold, Andre Ferdinand, 1900, 38
Hartmann, Moritz, 1862 Herrig, Hans, 1881,92, 1908
Hartzenbusch, Juall Eugenio, 1889 Hersee, Henry, 1876
Hatton, Anne Julia, 1794 sec also coI. 872, 922, 923, 1019, I044, I051,
Hariff, WilheIm, 1846 I077
Hauptmann, Elisabeth, 1928 Hertz, Henrik, 1844,69,92.96
Hauptmann, Gerhart, 1899, 1903, 16, 27, 27, 34 Hertz, Wilhelm, 1886
Hautier, M., 1921 Hertzberg, Rafael, 1896
Hawthomc, Nathaniel, 189 6, 1934 sec also coI. '880, 938
Haym, Nicola Francesco, 1713,20,23,23,23,24, Hcyduk, AdoIf, 1926
24, 25, 27, 27, 28, 28 HeYl/lard, Dorothy, 1935
see also col. 95,99, 197 Heyward, Du Bose, 1935
Hcbbcl, Fricdrich, 185°,93, 1906, 23,36 Hickel,J. Kar!, 1851
Hedberg, Frans Theodor, 1874, 85,96 Hiel, Emmanuel, 1867
sec also col. 431, 851, 8S5, 945, 986, 996, I002, see also coI. 606
1029, I044, 1049, 1084, 1I14 Hiemer, Franz Kar!, r808, ro, II
"Heemstede, LCon van " (i.e. Leo Tepe), 1909 scc also coI. 447, 515, 523, 542, 547, .558, 566,
Heermann, Gottlob Ephraim, 1770, 72, 83, 86 595,599,600,617,624,626,627,630,638
Hegyalji, -,184M Hilar, Kare! Hugo, 1924
Hilbert, Jaroslav, 1922
Hcibcrg, Johan LlIdvig, 1827
Hili, Aaron, 1711
sec also col. 422, 465,546,665,710-12,717-19,
Hil/cm, Wilhe/mille VOll, 1892
769,771
Hinsch, Hinrich, 17°3, 07
Hcibcrg, Petcr Andrcas, 1792, 93
"Hinzelmann, Hans Heinz" (i.e. Kar! Michael
Hcidcgger, Jolm Jamcs, 1715
von Levetzow and "Leo Feld"), 1916
scc also col. 1 T7, lJ 9
Hjortsberg, Lars, 1821
Hcigd, Cäsar Max, I 1l21l
Haare, Prince, 1790, 1800
scc also col. 492, 564, 574, 70X , 715 scc also coI. 418, 436, 488
Hcijcrmalls, Hermall, 1907 Hoe, JohannJoachim, 17TI, 17
Heindl, Viktor, 1913 sce also col. 125
Heim', Heinrich, 1843, 69,90,95, 1903, 09, 14,34 Hoffman, Franc;:ois Benoit, 1786, 89, 90, 92, 93,
"Heiter, Theodor" (psclld.), 1844 96,97,9 8,99,99,1802, (03),07,10,21,29
Held, Ludwig, 1891 Hoffmarm, Ernst Theodor Amadeus, 1832, 68, 79,
d'Hclc, Thomas, 1778, 78, 79, 1808 81,9 2,97,98,19°9,12,12,19,26
"Hell, Theodor" (i.e. Car! Gottfried Thcodbr Hoffmann, Hugo, 1903
Winklcr), 188S Hoffmann, Leopold Alois, 1778
scc also col. 648,660,682,702,737,796 see also col. 118
Hl'Ildcrson, William Jamcs, 1913 Hoffmann, Ludwig, 1887
"Hcnrion, Poly" (i.c. Leonhard Kohl VOll Hoffmann, Rudolf Stephan, 1927,28, 28, 28, 28,
Kohlenegg), 1865 28, 30, 30, 32, 32
SCI' also col. 963 scc also col. 1338, 1371, 1389, 1390, 1391
\
1646
Hofmann INDEX OF L1BRETTISTS Kalbeck
Hofmann, Friedrich, 1879 Ipsen, Alfred, 1892
Hofmann, Georg Ernst von, 1820, 20, 20, 23 Irving, Washington, 183°,55, 1920
see also col. 749, 766 see also col. 679
Hofmannsthal, Hugo von, 19°9, H, 12, 19, 24, Ivanovich, Cristoforo, 166g, 73
28,33 see also col. 70
Holbein, Franz Ignaz von, 18°7, (H), 28, 1933 Iwaszkiewicz, Jaroslaw, 1926
Holberg, Ludvig af, 1906, 19
Holst, Hans Peter, 1882 Jacob, Max, 1922
see also col. 423, 889,9°4,923,933,999, 1029, Jacobi, Johann Georg, 1770 '
1045 Jacobs, William Wymark, 1916
Holtei, Karl von, 1832 Jacobsen, Jens Peter, 1919
see also col. 477, 638, 651 Jacobson, Leopold, 19°7, 08
Hood, Basil, 1899, 19°1,02 Jacoby, Wilhelm, 1885
see also col. 128 I see also col. 8I 8
Hooker, Brian, 1912, 15, 24 Jaffa, Kathleen de, 1933
Hope, Anthony, 1902 see also col. 1339
Hopfen, Hans, 1896 "Jaime, Adolphe" (the Younger; real name
Hopffer, Emil, 1872 Gern), 1859, 62, 69, 72
Hoppenot, Henri, 1927,28,28 see also col. 1016
Hornicke, Demetrius, 1890 Jakab, Istvan, 1839
Hospelt, Arthur, 1925 see also col. 751, 755, 763, 766, 769, 788, 790
Hostinsky, Otakar, 1884, 85 "Jamejo Crastisto," see Colloredo, G. B.
Hotter, -, 1701 James, Lewis Caims, 1916
Houdar de La Motte, Antoine, 1697, 97, 99, Jammes, Francis, 1923
1700,06,53 Janacopulos, Vera, 1921 \
Howard de WaIden, Baron, see Ellis, T. E. Janotyckh von Adlerstein, Janos, 1849
Huber, Franz Xaverl, 1796,99, 1804, 13 Jansen, Ferdinand, 1925
see also col. 392, 406 Jars, Antoine Gabriel, 1803,05
Hueffer, Francis, 1883 Järviluoma, Artturi, 1924
see also col. H27 Jaubert, Emest Fran~ois, 1898
Hughes, John, 1712 Jegerlehner, Johannes, 1934
Hugo, Victor, 1833,36,37,38,44,47,51,51,61, Jelinek, Hanus, 1923
63, 64, 69, 69, 76, 76, 83, 84, 85, 19°4, 14, 20, ' Jellenta, Cezary, 1912
20, 24, 28, 35 Jessop, George H., 1896
Huhn, Eugenie von, 1910 Jester, Friedrich Ernst, 1791,96
Hull, Thomas, 1765 see also col. 615
Humperdinck, Hedwig, 1905 Jevon, Thomas, 1731
Hunold ("Menantes"), Christian Friedrich, 1704 see also col. 52
Hutt,Johann, 1902 Jirdsek, Alois, 1898, 1923
Hvasser, Daniel, 1858 Jakai, Mor, 1885
Jolin, Johan Christofer, 1858
Ibsen, Henrik, 1899, 1905 Jones, Paul, 1910
Ihlee, Johann Jakob, 1793, 1819
Jonson, Benjamin, 1800, 1930, 35
see also col. 492, 520, 53 8, 539, 543, 548, 555, Joseph, Joseph Maron, 1929
566, 567, 574 Jouffroy, Achille de, 1828,28
Illica, Luigi, 1889, 92, 92, 93, 93, 94, 95, 96, 96 ,
Jünger, Joh~ Friedrich, 1791
98, 99, 1900,00, 00, 01, 01, 01, 02, 03, 03, 04,
05, 06, 08, 09, 09, 09, I I, 21
Kaiser, Alfred, 1906
Immermann, Karl, 1887
Kaiser, Georg, 1925, 26, 28
InCiura, K., 1933 Kalashrllkov, Piotr 1., 1869, 71
Interdonato, Stefano, 1873
see also col. 645, 659, 779, 831, 874, 89 2,908 ,
1 Ace. to Wurzbach, there are two authors of the same
name, F.X.H. from Bohemia, 17.. -c.1809, author of 94°,9 83
Soliman, and F.x.H. from Munderfing, Upper Austria, Kalbeck, Max, 1889,92,94, 1909
176~18 ..• author of Opferfest. see also col. 237,238,301,342,983, 1000,1072,
 Kalbeck INDEX OF LIBRETTISTS Laforgue
,
1120, 1127, II49, II59, II63, II68, II77, Koltho/f, Erik Gustaf, 1858
1179, II93, II99, 1214, 1216, 1223, 1298 see also col. 923
Kalevala, 19°8, 09, 17 Komareck, Johann Nepomuk, 1800
Kalidasa, 1884, 1921 König, Eherhard, 1904
Kaltneker, HallS, 1927 KO'lIig, Heinrich, 1848
Kapp, Julius, 1932 König, Johann Ulrich, 1715, 18, 19,21,27
see also col. 721, 778, 820, 838, 871,918, 1000,. see also col. 128
II45, II 8o, 1425 Königsrriarck, Maria Aurora von, 1679
Karamzin, Nikolai Mikhailol'ich, 1874 Koning, Victor, 1872
KareS, Milos, 1927, 32, 37 Kopia, Henryk, 1924
"Karlev, M.," see Levetzow, K. M. von Koppel, Ernst, 1896
Karmin, Fritz, 19°5, 18 Körner, Theodor, 1868, 76,96, 1913
Katona,J6zseJ, 1861 Korolenko, V. G., 1905
Keary, Charles Francis, 1904 Kotzebue, August von, 1788, 91, 98, 98,1800,04,
Keller, Gottjried, 1903, 07, 10 15,22, 42, 45, 47, 57
Kellgren, Johan Henrik, 1786, 99 see also col. 496, 653, 809
see also col. 296, 335 Koukl, Antonin, 1884
Keurvels, Edward, 1899 Kramer, Carl Gottlob, 1803
see also col. 453 Krasinski, J6zef Korwin, 1819
Keyserling, Eduard von, 1918 "Krisnohorski, Eliska" (i.e. Jindfiska Pechovi),
Khol, Frantisek, 1905 1868,74,76,78, 81, 82,92
Khrapovitsky, Aleksandr Vasilevich, see Catha- see also .col. 1044
rine II of Russia; see also col. 385 Kraszewski,J6zeJIgnacy, 1901,07,24
Kind, Friedrich, 1821,25,34,47 Krekovic, Milan, 1897
Kipling, Rudyard, 1928 Krklec, Gustav, 1932
Kirchbach, Wolfgang, 1896 Kruilov, Ivan Andreevich, 1807
Kirchner, Anton, 1806 Kruilov, Viktor Aleksandrovich, 1867, 83
Kivi, Aleksis, 1913, 17 see also col. 933, 1004
"Klabund" (i.e. AIfred Henschke), 1933 Krümins, Arturs, 1920, 33
Klistersky, Antorun, 1926 "Kryukov, A." (i.e. Michael Galucki?), 1894
Klein, Anton, 1777 . Krzewinski,Juliusz, 1923 .
Klein, Charles, 1896 Kukolnik, N., 1842
Kulikov, N. 1., 1'860,61, 80
Kleist, Heinrich von, 1846, 81, 1927
Klett, Gertrud Ingeborg, 1910 see also col. 766, 865, 9 I 3
Klingemann, August, 1827, 36 Kupelwieser, Josef, 1897
see also col. 607, 669, 692, 710, 728, 732, 746,
Klingemann, Karl, (1827), 51
752, 808, 812, 832, 833, 840, 853
see also col. 840
Kurz, Hermann, 1839
Klingenfeld, Emma, 1893,96,96,99
Kurz, Jo~;nn Joseph Felix von, called "Ber-
see also col. II73, 1201; 1312
nardon, 1752
Klinkowström, Axcl, 1899 see also col. 175, 176, 177, 226
see also col. II92 Kvapil, Jaroslav, 1893, 97, 1901
Klopstock, Friedrich Gottlieb, 1809
Klushin, Aleksandr Ivanovich, 1800 Labiche, Eugcne Marin, 1865
Kneisel, Rudolf, 1878 . La Brucre, C. A. L. de, see Ledere de La Bruere
Knudsen, Poul, 1930 Labrunie de Nerval, Gcrard de, 1849, 93
Knyazhnin, Yakov Borisovieh, 1787 Lachabeaussicre, Auguste Etienne Xavier de,
Kochno, Boris, 1922 1786
Kock, Paul de, 1823 La Chaussee, P. C. N. de, see Nivelle de La Chaussee
Koenigsgarten, Hugo Fritz, 1928, 30 Lachmaml, Hedwig, 1905
see also col. 188 Lafont, Joseph de, 1714, 16
Köffmger, Rudolf, 1847 LaJolltaine, Jean de, 174 1, 53, 59, 59, 59, 59, 60,
Kokoschka, Oskar, 1921, 26 61, 61, 63, 64, 66, 73, 86, 87, 1860, 95
Kölcr, Johann Martin, 1680 LaJorgue, Jules, 1929
16 50
 Lafortelle INDEX OF LIBRETTISTS Leopold
Lafortelle, A. M., 1827 Lebland du Roullet,. Fran~ois Louis Gaud. 1774,
Lafrique, Armand, 1887 84 t<
see also col. II 19 see also col. 295
Lagerlöf, Selma, 1925, 25 Lebreuf,JeanJoseph.1801
Lagornaggiore, A. G., 1897 see also col. 324
"Lalli, Domenico" (i.e. Sebastiano Biancardi), Lebrun-Tossa, Jean Antoine, 1796
17II, 13, 14, 15, 16, 17,20 Ledere. Michel. 1688
Laloy, Louis, 1923 Ledere de la Bruere. Charles Antoine. 1739. 84-
see also col. 387, 1°33, 1226, 1229, 1333, 1341 see also col. 72
t' La Marre, Abbe de, 1753 Ledercq. Michel Theodore,i808
La Marteliere,jean Henri Ferdinand, 1816 Leconte. Sebastien Charles. 1925
Lamartine, Marie Louis Alphonse de, 1888 Ledent. Richard. 1912
La Motte, A. H., see Houdar de La Motte Le Fanu. joseph Sheridan. 1896
La Motte Fouque, Friedrich de, 1816, 37, 45 Lefcvre de Marcouville, Pierre Augustin. 1760
Larnbrecht, Matthias Georg, 1788 see also col. 10 5
see also col. 538, 571, 573, 60G Lega. Antonio. 1920. 40
Landoy, Eugcne, 1892 see also col. 360. 702. II43. 1275. 1304
Langle, Ferdinand, 1853, 56, 58 Le Goffic. Charles. 1912
Unyi, Viktor, 1922, 28 Legouve. Emest. -1902
see also col. 7, 178,479,781,829, 878,960,9 89, Lehrnann. Julius. 1896
1051,1099,1151,1163,1272,13°8,1312,1319, see also col. 264. 936, 964, 1010. 1034, 1056.
1325,1326,1389,1398,1403,1423,1440 1099. II5J. 1251, 1268, 1276. 1295, 1306,
Lapointe, Arrnand, 1858 1360
La Ribadicre, de, 1759 Leitner. Gottfried von. 1835 "
Larrnanjat, Jacques, 1922 "Leloir. Louis" (i.e. Louis SalIot), 1910
La Roque, Antoine de, 1713 Le Lorrain.jacques, 1910
Larra (y Sanchez de Castro), Mariano Jose de, Lernaire. Ferdinand. 1877
1832. 63. 74 Lernaitre. Jules. 1910
Larranaga, Gonzalo, 1893 Lerner. Gaetano. 1721
Larranaga. G. R., see Rornero Larrai'iaga Le Mhe! d·Ouville. Antoine, 1760
Larreta. E. R .• see Rodriguez Larreta Lemierre. Antoine Marin. 1800. 05, 23
L' Arronge, Adolf, 1899 Lemoine, Gustave, 1886
Larsonneur. A.• 1889 Lernonnier, Carnille, 1912, 14. 14 ~
La SaUe d·Offernont. Adrien Nicolas de, 1766 Lernonnier, Pierre Rene,l 1761, 61
see also col. 210 Lena, Maurice, 1902, 08, 12, 20, 21, 24, 27
Lassus. L. A. deo see Auge de Lassus see also col. 976
La Serre, Jean Louis Ignace deo 1720.26 Leneka, Andre ("Delorrneil"), 1891, 1905
Lathrop, George Parsons, 1896 Lengyel, Menyhert, 1924
Laujon, Pierre. 1747, 71 Lennep, Jacob van, 1834. 89
" see also col. 57. 80. 130, 202 Lensky, Drnitry Tirnofeevich, 1857
"Laun, Friedrich" (i.e. Friedrich August Schulze), see also col. 719, 733
1821 Lellz,jacob Michael Reinhold, 1930
see also col. 556 Lcnzoni, Alfredo, 1915
"Laurenein. M.~'! (i.e. Paul Airne Chapelle). 1862 Leo, Felicitas, 1917
see also col. 827 "Leon, Victor" (i.c. Victor Hirschfeld), 1887.
Lauzieres (de Thernines), Achille de, 1884 92, 97, 98, 1901, 05
see also col. 836, 865. 940, 988, 993, 998. 1015, see als~ col. II 33, 1178, II94
1044, 1060. 1063. 1074. 1080. 1I03. III3 Leoncavallo, Ruggiero, 1898
Laval, -, 1783 see also col. I I 41
Law, Arthur, 1893 Leonhardt-Lyser, Caroline, 1848
Lax. Louis,l 1893 Leopold, Carl Gustaf af, 1787
Lazheshnikov. Ivan Ivanovich. 1874 see also col. 308, 359
1 Ace. to Goedeke. Vol. HP. p. 912. pseud. of Georg 1 Not Guillaume Antoine as stated in the Author List
Ernst Adam Wahlert. of Washington Catalogue, p. 1305.
Leopold INDEX OF LIBRETTISTS Maggi
Leopold, Svend, 1919 L6pcz, Viecnte Fedel, 1911)
"Lereno Secinuntino," see Caldas Barbosa Lapez Silva, Jose, 1897
Lermontov, Mikhail Yutevieh, 1875, 80 Lorenzi, Giovanni Battista, 1767, 74, 75, 79, 80,
Lemct-Holenia, Alexander, 1928 87, 89,9 1,95, 1835
Lersner, Friedrich Maximilian, 1722 see also col. 358
Lesage, Alain Rene 1752, 58, 64.93.185$ Lorin, Jules, 1 854
see also col. 69, 84 Lorne, Marquis of, sec Clmpbell
Lesguillon, Jean Pierre Fran~ois, 1834 "Lorrain, Jean" (i.e. Paul AlexanJre Martin
sec also col. 630 Duval), 1900, 10
Leterrier, Eugcne, 1874,75, 77,79, RS "Lothar, Rudolf" (i.c. Rudolf Spitzer), 1903,
see also col. ro83 09,20,23,31, JI, 3t
Leuven, Adolphe de (i.e. Adolphe de Ribbing), "Loti, Picrre" (i.e. Louis Marie Julien Viaud), 1893
1836,36,38,39,42,43,44,47,47,50,50, SI, Louis XVI, King ofFrance, 1783
52, 53. 53, 53. 54, 55, 56, 56, 58, 63, 88 see also col. 73, 489
see also col. 690, 708, 766 Louis XVIII, King ofFrance, see Provence
Levetzow, Karl Michael von. 1916, 23, 28. 32 Lourdet de Santerrc, Jcan Baptiste, 1759, 62, 82
Levin, Poul, 1898 sec also col. 130
Lewald, August, 1833 Louwyck, J. H., r 93 3
se!' also col. 501, 7II , 754 Louys, Picrre, 1906, 11, )0
Lewis, Matthew Gregory, 18.54 Löwenbach-Budln, Jan, 1929
Lherie. Vietor, 1836 Luca, Pasquale de, 1905
Lichtenstein, Carl August Ludwig von, 1827 LI/earini, Ostilio, 1934
sec also col. 663, 695, 699, 710, 7II, 717. 720, Lucas, Hippolyte, 1845,47,62
727, 734, 746, 749, 75 1, 759, 764, 766, 769, see also col. 777, 782, 817, 820
786,791,794,796,798,799,8°3,808 Lucchini, Antonio Maria, 17-17, 3 J, 6_~
Liebstöckl, Hans, 19J J Lucci'io (y Becerra), Tomas, lR99
see also col. 12!!7, 12R9. 1372 LllCini, GioVlnni Battista, 1690
Lima. Pedro de. 1870 Lune!, Armand, 1926, 32, 38, 39
Limozin, Jean, 1927, 30, 30 Lurieu, J. J. G. de, see Gabriel de Luricu
Linati, Carlo, 1920 Lycskol', Nikolai Semcllovich, 1934
Lindau, M. E. (pseud. ?). 1872 Lyser, Johann Peter Theodor, 1832, 44
Linley, George, 1838 see also col. 477, 834, 842
sec also col. 897, 925 LyttOtl, Edward Bulwer, Lord Lytton (1825), 42, 45,
Lion, Ferdinand, 1924, 26, 26, 30 55,58,68,76, 19 12
"Liorat, Armand" (i.e. Georges Degas), I R97
Lipiner, Siegfried, 1886 Macchi, Gustavo, 1890, 99, 1905, 39
Livigni, Filippo, 1774,80, 8r. 8r, 83,85,85,8), sce also col. 690, 1027, I I 16, II72, 1299
86.9 0 ,97 Macchiavelli, Niccolo, 1914, 2e
Lloyd, William, 1934, 38 AfacClilllock, Waller, 1910
Lobato. Gervasio, r891 Macfarren, George, 1838,46
Lockroy, Joseph Philippe, 1851,52,55,56,56,75 sec also col. 701, 759, 789
sec also col. 833 Macha, Karcl Hynek, 1900
Lode, C. du, sce Du Lode l'vfachalck, Sitl/COl1 Karcl, 1884
Lodovici, Cesare, 1932 see also col. 464, 479, 552, 604, 605, 608, 610,
"Logau, Gotthold" (i.e. Henrik Glogau), 1851 643,64~,649
Loghem, Martinus Gesinus Lambertus van, r8R9 Mackaye, Percy Wallace, 1917, 20
Lohmann, Peter, 1881 MacLellan, Charles M. S., 1892
Lokhorst, Emmy van, 1933 "Madeod, Fiona," sec Sharp, W.
"Lom, Stanislav" (i.e. Stanislav MojZfs), J933 MacNally, Leonard, 1784
Long, Jolm Luther, 1904 see also col. 414
Longchamps, Charles de, 1803 Macy, John Albert, 19I1
Lon.~us, 1759 Maeterlinck, Maurice, 1902, 07, 0"7, "09, 19, 24
Lonsdale, Frederick, 1919 Maffei, Andrea, r847, 95
Lopes de Mt'ndon~a, Henrique, 1899 Maggi, Giacomo, 1701
Maggioni INDEX OF LIBRETTISTS Mercier

Maggioni, S. Manfredo, 1838,52 Masek, K., 1908

see also col. 591, 648, 688, 702, 712, 723, 736, Mason, William, 1788
750, 778, 7 83,84 1, 873, 894, 9 12 see also col. 312
Magne, Jean Jacques, 1876, 83 Massini, Pietro, (1839)
Magre, Maurice, 1909 Masson de Pezay, Alexandre Frederic Jacques,
·Mahäbharata, 1916 . 1773
"Mahner-Mons, Hans" (i.e. Hans Possendorf) Matthison, Arthur, 1374
1931 see also col. 659, 699, 870, 959, 986
Maikov, Apollon Nikolaevich, 1863 Matrat, Emmanuel, 1891,95
Maillol, Eve, A. F., 1872 Maupassant, Guy de, 1903
Malczewski, Antoni, 19°4, 06 Maurice, Madeleine, 1924
Malet, Sir Edward Baldwin, 1895 Mauricius, Jan Jacob van, -1734
Mallejille, Pierre Jean Felicien, 1874 Mauro, Ortensio, 1689, 90, 91, 92, 93, 95
Malonyay, Dezsii, 1898 see also col. 38, 106, 155
Mancini-Mazarini, Filippo, 1681 Max, Paul, 1925
Manetta, Filippo, 1856, 56 Mayer, Johann Cölestin, 1807
Manfredi, Eustachio, 1709 Mayreder, Rosa, 1896
Manzoni, Alessandro, 1819, 49, 56, 69 Mayrhofer, Johann, 1928
Maquet, Auguste, 1920 Mazeres, Edouard Joseph Ennemond, 1832
MaHnek, Jifi, 1934 Mazzini, Cosimo, 1793
Marcello, Marco MarceIIiano, 1839,56,60,61,65 Mazzolit, Caterino, 1778, 81, 89, 91, 91, 1808
see also col. 700, 767, 778, 815,870,938,957,971 see also col. 41 I
Marchi, Antonio, 1735 Mazzucato, Giovanni Andrea, 1893,94
Mardrus, Joseph Charles, 1914 see also col. 1001, 1087, 1107
Marenco Leopoldo, 1891,97 Mead, George, 1937
Mari, Francesco, 1772 see also col. 1327
Maria, Jaroslaw, 1928 Meano, Cesare, 1936, 36, 37, 39
Mariager, Peter, 1899 Meck, Friedrich, 1846 .r--
Mariani, Tommaso, 1734, 65 Mei, Lev Aleksandrovich, 1873,99, 1902
Mariette, Franfois Auguste F'erdinand, 1871 Meijersson, Josef Henrik, 1844
Marini, Giovanni Battista, 1626, 1639 Meilhac, Henri, 1861, 64, 66, 66, 67, 68, 69, 69,
Marini, Girolamo Maria, 1840,41 74, 74, 75, 75, 78, 82, 84, 93
Marivaux, Pierre Carlet de Chamblain de, 1778, Meinhold, Wilhelm, 1861
18 77 Meisinger, Georg, 1849
Markevitch, -, 1842 Meissner, August Gottlieb, 1778, 79
Marliave, Joseph de, 1914 see also col. 377
see also col. 1187, 1267 MeisSller, Leopold Florian, 1895
Marmontel, Jean FranlYois, 1762, 68, 69, ·70, 70, Meister, - , 1707
71,71,71,73,75,76, 76,76,78,79,80,80,82, MelesviIIe, Anne Honore Joseph (Duveyrier),
83, 85, 88,90,91,95, 1819, 23 182 3,23,24,24,27,3 1,33,34,35,37,39,45,
see also col. 73, 101, 158, 258, 259 4 6, 4 6, 61, 75
Marquina (Angulo), Eduardo, 1906 Melis, Hubert, 1913, 14
Marsano, Wilhelm, 1824 Melosio, Francesco, 1653
MarshaII, Frank, 1877 Menasci, Guido, 1890,92,95,96
MarsolIier (des Vivetieres), Benolt Joseph, 1786, see also col. II53
89, 89,91,95,96,97,98,98,99,99, 1801,01, Mendelssohn-Bartholdy, Albrecht, 1912
02,02,04,06,06,35 MendCs, Catulle, 1886,99, 1902,03,06,09
Martinelli, Gaetano, 1765, 66, 81, 82, 89 see also col. II72
Martlnez Sierra, Gregorio, 1914, 14 Mendez, Moscs, 1749
Martos, Ferencz, 193 I Mendon;;:a, H. L. de, sec Lopes de MendönlYa
see also col. 1086 Mendouze, R., 1803
MartosceIIi, G., see Mercotellis Mennesson, - , 1716
Marzials, TheophilusJulius Henry, 1883 Merane, Andre, 1910
see also col. 998 Mercier, Louis Sebastien, 1800

16 55
Mercier-Dupaty INDEX OF LIBRETTISTS Motta

Mercier-Dupaty, Emanuel, 1798, 1800, 02, 04, Mitusov, Stcpan Nikolaevich, 1914
05,05,08,10,15,21,24 Moerner, ßirger, 1898
see also col. 582 Mohacsy, Jenä, 1924
"Mercotellis, Agasippo" (i.e. G. Martoscelli?), Moinaux, J ules, 1853, 55
17°9 Moliere (Jcan-Baptiste Poquelin), 1672, 75, 1779,
Mere, Charles, 1912, 14,28 81, 1858,80,97, 19°5,°5, 12, 13,29,3°
Merelli, Bartolommeo, 1822,24,24,39 see also coL 53, 64, 452;14 Il
Mfrimee, Prosper, 1842, 75, 82, 83, 87, 97, 1922, "Moli/Ja, Tirso de" (i.e. Gabriel Tel/cz), 1924, 29
24, 28, 28 Mohne, Picrre Louis, 1782
see also col. 1045 sec also col. 242, 261, 327, 335, 394, 399, 412,
Merle,Jean Toussaint, 1827,37 5°1
see also col. 6 I 7 Moll, Franz, 1808
Mery, Franc;:ois Joseph, 1854, 59, 62, 67 Moncrif, Franc;:ois Allgustin Paradis de, 1745,
see also col. 687 1758
Mcry, Jules, 1916 Money-Coutts, Francis Burdctt, 1895,96
Metastasio, Pietro, 1723,24,25,26,28,30,30,31, Moniglia, Giovanni Andrea, 1656, 58,61,79
31,3 1,32,32,32,32,33,34,34,34,35,35,35, Monleone, Giovanni, 19°7, 16
35,36,37,37,38,38,40,40,41,41,41,42,42, Monsclet, Charles Pierre, 1877, 80, 84
42,43,43,43,44,44,44,44,45,45,4 6,46 ,47, Mont, Pol de, 1903
47,48,4 8,49,49,49,5°,5°, SI, 52, 52, 53, 53, . Montagne, Edmundo, 1916
54,54, 55, 55, 56, 56, 56, 56, 57, 58, 58,60,60, Montdorge, Antoine Gautier de, 1739
61,62,62,62,63,63,63,64,67,67,68,71,72, Montero (Dclgado), Joaqllin, 1919
72,74, 74, 75,76,78,79, 79,84,88, 89,91,94, Monthoro, Carlos, 1863
(94,) 99,1810,15,17, 18,3 8,40 "Montorgueil, Georges" (i.e. Octave Lcbesgue),
see also col. 136, 329, 584,63 I 1898
Meurice, Paul, 1883,9°,96 Monvcl, j. M., see Boutet de Monvcl
Meyer, Conrad Ferdinand, 1886, 1929 Moor, A. L., 1902
Meyer, Wilhe1m Christian Dietrich, 1785 Moore, Thomas, 1822, 62, 63, 81
Meyerfeld, Max, 191 7, 29 Morand, Eugcne, 1899, 1901, 06, 09
Meyer-Fijrster, Wilhe1m, 1908 Morax, Rene, 1921, 26
Mezicres-Miot, Louis, 1816 Morbilli, Nicola Giuseppe, Duke ofSant' Angelo,
Mezzanotte, Bernardino, 1807 1756, 89
Michaelis, Sophus, 1896, 1909 Moreau, C., 1827
MichaeJs, Clement, 1857 Moreau, Emile, 1915
Michel, Robert, 193 I Moreau-Sainti, -, 1892
Mickiewicz. Adam, 1874, 85, 1933 Mord de Chcdeville, Etienne, 1783, 85, 1800, 02
Midosi, Paulo, 1848 see also col. 478, 497, 579
Migliavacca, Giovanni Ambrogio, 1753, 61, 79 Moreto (y Cabana), Agustin, 1894
"Mil&acl, E." (i.e. Georges Ephraim Michel), Moretti, Ferdinando, 1786, 88, 89, 90
18 99 Märicke, Eduard, 1839
Milhaud, Madeleine, 1939 Morris, Maximilian, 1909
Millaud, Albert, 1874,75 see also col. 433, 875,913, lO89
Millay, Edna St. Vincent, 1927 Morselli, Adriano, 1686, 94
Millenet,j. H., see Tenclli Morselli, Ercole Luigi, 1922, 23
Miller, W. j., 1889 Morton, John Maddison, 1867
Milliet, Paul, 1881,92,93,1905,08,09,13 see also col. 790
see also col. 997, II 04, Il40, II93, 1213, 1254, Morton, Thomas, 1793
1331,1338 Morvan, de, 1851,52
Miltitz, Karl Borromäus von, 1830, JI Moschino, Ettore, 1914, 15
Minato, Niccolo, 1654,64,65,66,67, 70, 70, 74, see also col. 1279
80,82,83,9 0,1700,09,11,21,3 1,33,3 8 Mosenthal, Salomon Hetmann, 1849, 50,61,64,
see qlso col. 145 67, 70, 74, 75, 75, 75, 77. 93
Mistral, FrMeric, 1864, 1924 Mostecki, Hynek, 1863
Mitchell, Georges,I906 Motta, Luigi, 1921
Motteux INDEX OF LlBRETTISTS d'Orvillt'

Motteux, Peter Anthony, [705,07 Novohradsky, V., IIl92

see also col. II4, II9 Novotny, Vaclav Juda, I!l93, 95
MotdeY,John, I73I see also col. 264, 3°1, 373, 44~, 493. 592, 601,
Mourier, J. J. Charles, 1857 702, 726,757, 797, ~12, !l27, 849, 1l84, 930,
Mucci, Ernidio, I934 945, 947, 950. 976. 98o, 997, IOor, 1019.
Mukhanov, Piotr Aleksandrovicb, I K~2 1024, 104J, 1046, I082. IORK, 1I20, 1I25.
Mule, Francesco Paolo, I9I2 1I27, Jl30, 1I31, II39, 1I41
Müller, Hans, I9I6, 27 "Nuittcr, Charles" (i.c. Charles Llllti, Etienne
Müller, Johann Samuel, I728 Truinet), I862. 63, 69, 69, 76, 97
see also col. 140, I 5 I sce also co1. 48, 50, 243, 497, 62 r, 672, 702, X22,
Müller, Wilhe1m, I~95 X26, 850, 86I, 879, MXS, X99, <)24, 949, 959.
Müller von Königswinter, Wol(~ang, I SoS I006, rOI9
Muradbegovic, Ahmd, 1930 .Vulnas, GUSla! AdoU'vcJlI, 191"
M/lrger, Henri, 1896,97, 1905 Nycgaard, Hans Haagen, I854
Murray, Gi/bert, 1922 Nygaard, Frederik, 1924
Musäus, johO//Il Karl AII~lIst, 1849
lvlusset, AlJrcd de, 1861, 72, 72, 89, 93, 1)8. 1901, Obernyik, Karl1ly. 1874
06,07, 10,20, 27 O'Ccallaigh, Tomas (O'Kcll y, Thomas), 1910,23
Musset, Palll de, IM72 Ödr}" Lchel, 1874
Oehlcnschläger, Adam Gottlob. I1l09, 12, q, 1('.
Najac, Emile de, n!1l7 32,82,88
Narrey, CharIes, 189X .'ce also col. 478, 570, 676, 6X9, 702., 739, 776
Nallarro Villoslada, Fral/cim l , '9~(' Ocngo, JlIlius, 193 I, 34
Neher, Caspar, 1932, 35 O'Hara, Kane, 1762
Neitzcl, OUo, 1890, 1907, 09 set! also col. 315
sec also col. 932, 966, 1124, 1125, 113(), 1200, O'Kceffc,John, 171lI, X3
1225, 124I, 1254, 1262, 1263, 1204, 120H, see alscJ col. 17)
I276, I21l2, 1290, 1313, 1327 O'Kclly, Thomas, s<'<' O'Ccaliaigh
Nclli, Jacopo Angelo, (1733) Oliva, Domenico, 1893
sec also col. 194 Olona (Gaeta), Josc de, I:l50
Ncmcova, Bozt'na, 1900, 01 Olona {Gacta}, Luis de, I X49, 49, 52. 52, 54, 56,
Nemirovich-Danchenko, Vladimir Ivanovich, 57,5 X
18 93 sec also col. 629
see also co1. I027 O'Ncil/, EI/gelle Gladstolle, 1933
Ncpoty, Lucicn, 19 14, 34 Opie, Amclia, 1809
Neri, Giovanni Battista, 1706 Opitz, Martin, 1627
Ncricault Destouches, Philippe, 1714 sec also col. 49
Nerval, G. de, sce Labrunic dc Ncrnl Oppclt, GlIstave, ISS1
Nessi, Angelo, 19IO sec als<> col. 726, 748, 71l8, 844, 892, <)14, 991
see also I 329 Ordonneau, Maurice, 1890
Newbolt, Sir Henry, 1<)25 see also col. 1223
Niccodemi, Dario, 1925 Orlandi, Luigi, 1687
Niemcewicz, Juli an Ursyn, Illq Ormai, Ferenc, 1874
Nigond, GabricI. J9IO see also col. 885, 940, 972, 91l6, 1015, IOI9
"Nino" (pseud.?), 1927, 29, 30, 36 d'Ormevillc, Carlo, 1869, 70, 80
Nil'elle de La Challssee, Piem C!alldc, /77 J see also col. 12I8
Nodier, Charles, 1828, 28, 35 d'Omeval, - 1758, 64
Nohain, Franc, see Franc-Nohain see also col. 59, 69
Noriac,Jules, 1872 Orsini, Luigi, I919, 24, 25
Noris, Matteo, J675, 77, 85,92,1719, (29), 32, 67 Orthmann, Erich, 1925
see also col. I48, 215 see also coI. 1261, 1357, 1373
Norman-Hansen, Carl Martin, 1921 Orvieto, Angiolo, I901
Noskowski, Wladislaw, 1885 d'Orville, A. J. de Valois
Nossig, Alfred, 190I sec also Valois d'Orville

1660
Ossian INDEX OF LlBRETTISTS Petrosellini
/
"Ossialt," 1804, 06, 09 Parodi, Dominique Alexandre, 1912.
Östcrling, Anders, 1925 Parry, Mendclssohn, 1895
Ostermann, Arthur, 1927 Pascual Frutos, Luis, 1914
Ostrovsky,Alcksandr Nikolacvich, 1867,09.71, see also col. 907
82,95,1921 Pasini, Ignazio, 183M
Ottoboni, Pietro, 1690 Paso, Manucl, 1898
see also col. I 14 Pasqualigo, Benedetto, 1718
"Ollida" (i.e. Marie Ltluise de La Ramce). 11:19J. Pasque, Ernst, 1857,66, 66, 86
'9°3,03,12.17 see also col. 517, 553, 618, 663. 857, 897, 951,
Ourry, E. T. Mallrict', 1813 955,956,968,995,996 /
see also col. 230, 617, 627 Pasquini, Giovanni Claudio, 1726, 27, 33,45,47
Overskou, Thomas, 1845. 47, 61 Passarini, Francesco, 1701
see also co!. 501, 532,598,607,621,670,684,693, Passaro, Andrea, 1837
696.699,706,721,722,724,727,731,732,734, see also col. 732, 804
737,744,747,752,767,772,779,781,782,786, Patrat, Joseph, 1786,95,1837
791,795,796,798,802,803,8°4,809,814 see also col. 437
Owell, Harold, 1932 Paulini, Bcla, 1926
Oxenford, Edward, 1909 Pavolini, Corrado, 1937
Oxenford, John, 1851,60,62,63,64 "Payen, Louis" (i.e. Albert Lienard), 1899, 1912,
see also col. 677, 732, 925, 968, 1017 14, 19,21, 29
OxenstJerna, Johan Gabriel, 1789 Payne, John Howard, 1823, 49
see also col. 699
P., C. F., 1734 Peacock, Thomas Love, 1822
Pacini, Emiliano, 1860, 62 Peake, Richard Brinsley, 1838
see also col. 679, 705, 877, 904 Peene, Hippolict van, 1864
Paeglds, Leons, 1922 see also col. 874
Paglia, Francesco Maria, 1698, 1709 Pellegrin, Simon Joseph de, 1713,20, 32. 33, 59
see also col. 99 see also col. 134, 324
Pain, Joseph Marie, 18°4, II, 26 Pellier-Quengsy, A., 1866
see also col. 595 Pendola, Agostino, (1836)
Palecek, O. 0., 1902 ) Pepoli, Alessandro, 1792
Palffy-Wanick, Kamilla, 1930 see also co1. 475
Pallavicino, Stefano Benedctto, 1689, 1719. 2], Pepoli, Carlo, 1835, 37
26,3 6 Peracchi, Antonio, 1824
Palomba, Antonio, 1737, 47, 63, 71 Perez di Saavedra, Altgelo, Duke ofRivas, 1862
see also col. 266 Perez Dolz, Francisco, 1927
Palomba, Giovanni, 1780, 83, 83, 83, 86, .86. 88, PCrez Galdoz, B., 1923
89,90, 93, 94, 99, 180 5 Perez y Gonzalcz, Fclipe, 1886
Pananti, Filippo, (1805) Perger, Richard von, 1905
Pancieri, Giulio, 1703, 05 Perier, Martial, 1918
Pappenheim, Marie, 1924 Perinet. Joachim, 1793,94
see also col. 1392, 1398 see also col. 434, 445, 462 , 464, 469, 470
Paprowski, Ludwlk, 1863 Periquet )' Zuaznabar, Fernando, 1916
Paravicini, Rodolfo, 1889 Perrault, Charles, 1763, 1899, 1913
see also col. 1051 Perrin, Pierre, 1659, 71, 74
Parfaict, Franyois, 1785 see also co1. 33, 51 .
Pariati, Pietro, 17°5,09, i4, 14, 19, 19, 20, 21, 23, Perruccio e Fardella:; Andi~a, 1672,78
25,34,40,5 1 see also co1. 65
see also col. lOS, 18o, 181 Persiani, Orazio, 1639
Parini, Giuseppe, 1770, 71 Peruzzini, Giovanni, 1851, 58, 64
Parisano, Giacomo Franccsco, 1629 Pesjakova, Lujiza, 1872
Parisetti, Flaminio, 1694 Pessina, G., 1898
Parnasso, "Felice" (pseud. of Giovanni Filippo Petrosellini, Giuseppe, 1761, 62, 63, 71, 73. 76,
Bernini?), 1680 78, 80, 81, 82, 95.
/
1661 1662
Peyrebrune INDEX OF LIBRETTISTS Psiloreites

Peyrebrune, George de, 1894 Poinsinet, Antoine Alexandre Henri, 1762, 63,
Pezze-Pa;Jcolato, Maria, 1900 64,65,67
Pezzi, Vittorio, 1820 see also col. 22 I
Pfeiffer, Karl, 1827, 30 Poirson, C. G., see Delestre Poirson
Phi/lips, Stephen, 1902 Poirson, Paul, 1877
Piave, Francesco Maria, 1844, 44, 45, 47, 48, 50, Poisson, Raymond, 1851
50, 51, 53, 54, 57, 57, 62 Poisson de Lachabeaussiere, Ange Etienne
Piazza, Antonio, 1839 Xavier, 1787, 1805
Picard, Louis Benoit, 1792,98, 1807 Pola, Paolo, 1826
Piccinni, Domenico, 1799 Polidori,John Wil/iam, 1828,28
Piccinni, Giuseppe Maria, 1783 Poliziano (Angelo Ambrogini), 1932
Piccioli, Francesco Maria, 1679 Pollock, Alice Leal, 1920
Piccoli, Valentino, 1938 Polonsky, Yakov Petrovich, 1876
Pic6n, Jose, 1864 Pompigny, Maurin de, 1794
Pigault-Lebrun, Charles Antoine Guillaume, Ponomarev, E. P., 1902
1796,97, 18°3, 18 Ponte, Lorenzo da, 1786, 86, 86, 86, 87, 87, 88,
Pillet, Leon, 1838 9°,95, 95, 1803, 04, 04, (05), 22
Pina (y Bohigas), Mariano, 1849 see also col. 322, 333, 372, 378,404, 441, 442,
see also col. 629, 884,905,933,985, 10ll, 1017 443, 459, 461, 466 , 4 85, 557, 993
Pinel Dumanoir, Philippe Franc;:ois, 1840, 45, 72, Pontoppidan, Henrik, 1919
85 Popov, Nikola P., 1911
Piovene, Agostino, 1721, 24 Popova-Mutatova, Fani, 1936
Pippich, Karel, 1904 Pordes-Milo, Alexander Sigmund, 1908
Pirandello, Luigi, 1934, 35 Porta, Nunzio, 1778, 82
Piron, Alexis, 1809 Postel, Christian Heinrich, 1693, 97, 98
see also col. 59, 116 see also col. 58
Pitra, Louis Guillaume, 1780 Poullain de Saint-Foix, Germain Franfois, 1772
Pittaud de Forges, Philippe Auguste Alfred, 1847, Power, Jose, 1910
53,59 Pozza, Felice, 1889
see also col. 629, 758, 843 Praetorius, Johann Philipp, 1725, 26, 34
Pixerecourt, Rene Charles Guilbert de, 1806, 06, see also col. 124, 151, 153
13,20,27 Praga, E., 1856
see also col. 556 Praga, Marco, 1893
Pizzi, Giovacchino, 1769 Pram, Christian Henriksen, 1795
Pizzolato, Giuseppe, 1906 see also col. 300
Plaksin, Sergei Ivanovich, 1903 Prati, Giovanni, 1839
Planard, Franc;:ois Antoine Eugene de, 1812, 13, Prechtler, Otto, 1840,42, 46, 46, 58, 62
15,20,21,22, 24,26,27, 32, 33, 35, 37,38, 38, see also col. 869, 925
41,43,5 2 Preis, A., 1934
Planche, James Robinson, 1822, 26 Preissova, Gabriela, 1899, 1904
see also col. 291, 427, 497, 610, 613,670, 678, Prevel, Jules, 188o
679, 689, 713, 717, 720 , 723, 734, 73 8, 746, Prevost, Antoine Franfois, 1856, 84,93
749, 75 2, 757, 767, 933 Prividali, Luigi, 18l1, 12
Planterre, Barthelemi Ambroise, 1794 see also col. 1271
Plato, 1925 Prochazka, Frantisek Seraf, 1920
Plautus, Marcus Accius, 1784 Profumo (Perfumo?), Antonio, 1828
Pleshcheev, Aleksei Nikolaevich, 1869 Prosl, Robert Maria (Robert and Maria?), 1912
Plümjeke, Karl Martin, 1800, 05 Provence, "Louis Stanislas Xavier, Comte de
Poe, Edgar Allan, 1925 (later King Louis XVIII), 1785
Poggi, Domenico, 1773 Prunetti, MicheIe Angelo, 1807
Pohl, Emil,1857 Prunieres, Henry, 1920
see also col. 309, 547,981, 1003 Pruszakowa, Seweryna, 1863
Pohl, Richard, 1869, 77, 79 Pryce, Richard, 1929
see also col. 785, 958 Psiloreites, Petros, 1916
Pushkin INDEX OF LIBRETTISTS Roger
Pushkin, Aleksandr Sergyeevich, 1842, 56, 72, 74, Reichert, Heinrich, 1917
79, 83, 84, 90, 93, 95, 98, 1900, 06, 09, 12, 22 Reiff, Johann Joseph, (1828)
Putlitz, G. H., see Gans zu Putlitz Reil, Johann Anton Friedrich, 1812
Puttini, Francesco, 1776, 79 Reinach, Theodore, 1925
Reinick, Robert, 1850
Queiroz, Eta de, see E(a de Queiroz Reisserova, Julie, 1936
Quesada, Ettore, 1908 Rellstab, Ludwig, 1823, 44
Quetant, Antoine Franyois, 176 I, 64, 96 see also col. 870, 874, 9II
see also col. 254 Reveroni Saint-Cyr, Jacques Antoine de, 1794,
Quinault, Philippe, 1672, 73. 74, 75, 75, 76, n 99, 1803, 04
80,82,83, 84,185, 86, 1719, 61, 77, 78, 79, Revers, Henry, 1910
79,80, 180 3 Revoil, Benedict Henri, 1842
see also col. 61, 64 Ricciardi, Giovanni Battista, 1686
Quintero, S. A. and J. A., see Alvarez Quintero Riccoboni, Francesco, 1760
see also col. 74, 75, 129, 156, 17°,179, 185, 191
Rabe/ais, Fran~ois, 1785, 1913,35 Richardson, Samue/, 1760, 65
Racine,Jean, 1748, 70, 74, 8o, 1814, 19 11 Richardt, Christian, 1878
Radet, Jean Baptiste, 1787, 90 Richepin,Jean, 1891, 19°5,07,07,10
see also col. 406, 419 Richter, Christian, 1678
Rad6, Antal, 1894, 1901 Ricordi, Tito, 1914, 18
see also col. 301, 722, 857, 997, 1009, 1055, Riel, Leo van, 1912
1068, HI8, 1127, II31, H39, II56, II61, see also col. 1098, 1099
1175, II 84, II89, II93, 12°3, 1217 Riemann, Hugo, 1897
Radziszewski, Maksymilian, 1900 see also col. 9, 14, 82,246, 384,423, 515, 656,
see also col. 906, 997, 1007, 1014, 1019, 1052 7 16, 784, 847, 890, 1023, 1°51, 1154, 1187,
Radziwill, Prince Maciej, 1784 12 53, 1359, 1428
Raffaelini, Francesco Maria, 1687 Rinuccini, Ottavio, 1597, 1600,02,08,27
Raimund, Ferdinand, 1903 Ristell. AdolfFredrik, 1777, 87
see also col. 668 see also col. 261, 359, 362, 372, 379, 380
"Rainis, J.," (i.e. Jänis PliekSans), 192 1 Ritter, L., 1828, 28
Rakosi, Jenö 1898 Ritter, 0., 1934
see also col. 924, 1070 Rivoire, Andre, 1913, 19, 23, 27
Ramos Carri6n, Miguel, 1871, 82, 87, 1902 Rizzelli, F., 1872
Ramsay, AUan, 1729 Robert, Ludwig, 1806
Ramuz, Charles Ferdinand, 1918, 22 Roberti, G. F., see Frigimelica Roberti
Rance, de, 1825 Robertson, Thomas William, 1920
Randegger, Alberto, 1883 Roccaforte, Gaetano, 1746, 51, 66
Rapparini, Giorgio Maria, 1680 Roche, Denis, 1928
Rau, Heribert, 1845 Roche, H. P., 1918
Rauch, Franz, 1920 Rochon de Chabannes, Marc Antoine Jacques,
Raupach, Ernst, 1829, 34, 1908 1780,89
Recke, Adolph Fredrik von der, 1851, 53 Rode, Helge, 1899
see also col. 897, 899, 928, 969, 979 Rode. ave, 1897
Redding, J oseph Deighn, 191 I see also col. 1078
Redlich, Hans Ferdinand, 1931, 34 Rodenbach, Georges, 1920
see also col. 7, 992, 1416, 1419, 1420, 1424 Rodenberg, Julius, 1863, 83
Redwitz, Oscar von, 1890 Rodrigues, Manuel Maria, 1876
Reger, Karl, 1800 Rodriguez, Yamandti, 1929
see also col. 653 Rodriguez Larreta, Endque. 1899
Regcr, Philipp, 1840 Roddguez y Diaz Rubt Tomas. 1841
Regnard, Jean Franyois, 1787, 1891, 1901 Roeber, Friedrich, 1867
see also col. 75 Rogati, Francesco Saverio de', 1770
Rehbaum, Theobald, 1900 see also col. 475
see also col. 375, 501, 1205, 1234 Roger, Jean Franyois, 18II, II

1665 1666
ctojas INDEX OF LIBRETTISTS Saracinelli

Rojas (Zorrilla), Francisco de, 1899 Rozen (Rosel1), Baron Georgy Fedorovich, 1836
Rolli, Paolo Antonio, 1720,20,21,21,26,26, '<,7, Rozes,Jülijs, 1936
27, 41, 41 Rozoy, Barnabe Farrnian de, 1774, 76
see also co!. 129, 131, 132, 140, 144, IS3 see also co!. 328
Rolt, Richard, 1764, 64 Rubino, Francesco, 1849
Romagnoli, Ettore, 1921, 28 Rudall, H. A., 1893
Romanelli, Luigi, 1801,02,06, oll, ) [, 12,21,27 Rüeger, Armin, 1919, 22, 37
see also co!. 555 Rüffer, Eduard, 1868
Romanelli, Umberto, 1919 Ruffmi, Giacomo, 1843
Romani, Felice, 1813, 13, 13, 14, 17, 18, IS, IX, see also co!. 833
19, 19, 19, 19, 20, (20), (20),25,25,27, 28, 28, Rullmann, Willielm, I 87~
29,30,30,31,31:,31,32,32,33,33,33,33,34, Runge, Phi/ipp Dito, 1930
35,38,3~ 3~ 40, 40, 41 Rutten, Felix, 1925
see also co!. 704 Ryan, Michael Desmond, 1849,52
Romano, Josc Filippe Ovidio, 1850, <)1 see also co!. 820
Romero, Federico, 1923 Rydel, Lucyan, 1925
Ro,ncro Larraiiaga, Gregorio, 1845 R ytkönen, Antti, 190X
Roouette, Otto, 1881
Ros;gger, Peter, 1916 Sabina, KareI, 1865,66,66,67, 1934
Rosenberg, Peter Andreas, 1900, 15 Sacchero, Giacomo, 1841
see also co!. 1221 Sacher-Masoch, L. lIon, 1893
Rosier, Joseph Bernard, 1850, 51 Sachs, Hans, 1916, 18
"Rosmer, Ernst" (i.c. Eisa Bcrnstcin-Porges), Saddumene, Bernardo, 1722
1910 "" " Saint-eyr, J. A., see Revcroni Sant-Cyr
Rosoy, B. F, de, see Rozöy Saint-Etienne, Sylvain, 1851
Rospigliosi, Giulio (Pope Clement IX), 1632,33, Sai/lt-Foix, G. F. P. de, see PoullaitJ de Saint-Foix
39,42, 53, (56) Saint-Georges, J. H., see Vernoy de Saint-
Rospigliosi, Jacopo, 1656 Georgcs
"Ross, Adrian" (i,c. Arthur Reed Ropes), 1~)l9 Saint-Hilaire, A., see Villain de Saint-Hilaire
see also co!. I067, 126<), 1278, 1281 Saint-Just, c., see Godard d' Aucourt de Saint-
Ross, Sheridan. 1920. Just
Rossato, Arturo, 1922, 22, 25, 27, 28, 2<), 2<), 29, Saint-Marccl (A. H. P. Tardieu de Saint-
31,33,33,35 Marccl?), 1810
see also co!. 7 Saint-Marcellin, J. V., see Fontanes de Saint-
Rosset/i, Dante Gabriel, 1913 Marcellin
Rossetti, Domenico, 1805 Saint-Pierre, JacqJjes Henri Bernardin de, !791,
Rossi, Gaetano, 1798,99, 1801,02,03, o.j., 04,10, 1817,76
ro, I~ I~ 13, 15, I~ I~ 1~ 19, 2~23, 24, 31, Saint-Victor, J. M. B., see Bins de Saint-Victor
3~ 38, 39, 4 I , .j.I, 4~ 52 Saintine, Xavier Boniface, 1835,42
Rossi, Giacomo, 17II, 12 Salis (Seewis), Johann Gaudenz von, 1800
Rost, Alexander, 1847 Salvadori, Andrea, 16I9, 28
Rostand, Edmond, 1913, 34, 36, 37 Salvatori, Fausto, 1927
Rothauser, M., 1903 Salvi, Antonio, 1715, 16, 18,25,25,27,29,32,35,
Rouget de Lisle, Claude Joseph, 1827 37, 37.4 1
Roullet, see Gand Lebland du Roullet see also co!. 203, 215
Rousseau, Jean Baptiste, 1697 Samain, Albert, 1922
Rousseau, Jean Jacques, 1752, 68, 70, 79, 90, 1809 San Leo, G. de, 1924
Rovesi, Giorgio Carlo, 1925 "Sand, George" (i.e. Baroness Amandine Aurore
Rovet/a, Gerolamo, 1933 Lucie Dudevant), 1846,69,83,96, 1902
Rowlands, William, 1878 Santerre, J. B. L. de, see Lourdet de Santerre
Roy, Pierre CharIes, 1705, 12 Sanz Perez, Jose, 1849
see also co!. 84 see also co!. 879
Royer, Alphonse, 1840 Sapio, Giuseppe, 1852
see also co!. 650, 771, 828, 831, 844 Saracinelli, Ferdinando, 1625

1668
 J

Sardou INDEX OF LlBRETTISTS Shanks

Sardou. Victorien. 1873. 74.76. 8j, 86. 98. '1900. Schreiber, Alois, IB12
01. 01. 03. 05, 07. 15, 19 Schricker, August, 1879
Sarment. Jean, 1924 Schubert. Karl Emil, 1775
Sarnecki, Zygmunt. 1885 Schulze, Ernst Konrad Friedrich, 704
Sauvage. Thomas Marie Fran~ois. IH39. 48, 49, Schulzova. Andka, 1896.97, 1900
49. 50 Schwaldopler. Johann, 1801 ,
see also coI. 230. 669. 672. 679 Schwann, Christi an Friedrich, 1773
Sbarra. Francesq). 1651.67.67.86 see also col. 254, 272, 305
Scalvini. Antonio. 1870 Seoll, Sir Walter, 1819, 23, 25, 26, 29, 3 2, 33, 35,
see also coI. 944. 959. 1058. 1064 40, 5 8,67, 74. 9 1, 93. 94, 95, 19 2 (1
Scarron. POlt!. 1726 Scotti, Carlo Francesco. 1900
Scatizzi. Stefano, 1810 Scribe. Augustin Eugcne, 1823,23,23,24,24,2),
Schachtner.Johann Andreas, 11166 25, 26, 2~28,28.29.29. 3~ 30, 3 1 ,3 1, 31,3~
Schanzer. Ottone. 1913 32,33,33,33,34.34,35,35,35,35,3 6 ,3 6,3 6,
see also coI. 1237, 1283, 1288. 1306, 1317, 1379, 36, J7, 38, 38,3 8,39,39,39,39,39,39,40,40,
1423, 143 I 40,41,4 1,4 2,43,43,43,44,45,45,47,47.49,
Schaum.Johann Orto Heinrich, 1800 49,49,5°,5°,5°,50,50,51'-51,52,53,54,54,
see also col. 506,613.636 54,54,55.56,56,59,60,61, 63, 65, 76, ~2, 86,
SchejJel. Joseph Victor VOl,. 1878, 84 19 02 • 19
Scheibe, Johann Adolf, 1749 see also coI. 632, 634, 900
Schering, EmU, 1919 "Secinuntino, Lereno," see Caldas Barbosa
SchiebeIer, Daniel, 1766 Sedaine, Jean Michel, 1756, 59,61,61,62,64,66,
Schiffer, Marcellus. 1927. 29 66,68,69. 70, 73, 76, n 79, 84, 86, 87, 89,9 1,
Schikaneder, Emanuel, (1789).91,94.95,96,97. 1803, 09, 28
98. 1801, 05 see also col. 69. 288, 295
see also coI. 285. 362, 4II. 422. 437 Segur, Joseph AlexanJre Pierre de, 1793, 9X.
Schiller. Friedrich VOll, 1829. 1836. 40, 45. 47. 49, see also col. 503
67, 76, 76,81,84, 1937 Seidel, Carl Ludll'ig, 1888
Schilling-Ziemssen. Hans, 1927 Seligmann, Adalbcrt Franz, 1903
Schink, Johann Friedrich, 18rr. II Sendtner,Jacob,1821
see also coI. 398 Serenelli Honorati, Luigi, 1851
Schlegel, AugJlSt. Willle/m VOll, 1897 Sertor, Gaetano, 1789
"Schlicht. Emil" (i.e. Alfred Forme)"). 1~99 Settle, Elkanah, 1692
Schmezer, Friedrich, 1847 Seuberlich, Rudolf, 1890
Schmid, Hermann Theodor von, 1881 Sewrin, Charlcs Augustin Bassompicrre, I ~ 1 0
"Schmidt. Fr. Georg." see Pfeiffer. Kar! see also col. 532, 610
Schmidt. Giovanni, 1815. 17. 19 Scyfried, Joseph von, 1814,44
see also col. 336.42°.6°5.613.733 see also coI. 314, 4II, 468, 492, 5°7, 539, 549,
Schmidt, Heinrich, 1820 550, 554, 561 , 566, 568, 569, 595, 6°5, 6 25,
see also coI. 6 I 4 626, 627, 628, 632, 636, 638, 654, 656, 657,
Schthieder. Heinrich Gottlieb. 1792. 97 664,666,732,738,746,747,749,766,831,
see also coI. 297. 341, 378. 385. 4°5, 423. 429, 838, 840
434, 43 6• 440. 444, 445. 44 8, 45 8, 459. 461 • Serler, Friederike Sophie, 1789
462, 464. 465, 470, 472,476,486.489, 507. Shadwell, Thomas, 1675, 78, 1731
536, 542. 552. 561, 602. 619 Sizakespearc, Willialll, 1692, 1705, 55, 76, 86, 96,
Schneider, Louis, 1835 98,98,99, 1816,25.27.3°,36.38,47,49, (50),
see also col. 416, 422. 423, 477. 479. 547 jO, 57, 62. 65. 65, 65, 67. 68, 72 • 73, 74, 77. 7F,
Schnitzer. Ignaz, 1885 82, 83, 87. 88. 9 2, 93, 95. 97. 98. 19°1, 05. 08.
Schnitzler, Arthur, 1910 " 10,13,16,20.22,22.22.25. 25. 25. 2 7,29.31-;
Schober, Franz von, 1854 34,34,35.3 6,3 6,37.3 8
Schön berg. Arnold, 1897 see also coI. 167,478,484,668.670
Schopellhauer, jolzatllla, 1832 Shakovskoy, Prince Aleksandr Aleksandrovich.
Schott, Paul, 1920 181 5 ''
Schreder, Kar!, 1912 Shanks, Edward Buxton. 1923

1670
 Shannon INDEX OF LIBRETTISTS Stephanie

Shannon, Mrs. F. S., 1837 Sonnlcithncr, Josef, lR05, 06, 06

Sharp, Eve!yn, 1936 see also col. 273, 464, 569, 587
Sharp, William ("Fiona Macleod"), 1914 Sophocles, 1909, 20, 25, 27, 27,36
Shaw, C. F. and G. F., scc Fcrnandez Shaw Sorcntino, Giulio Ces are, 1654
Shaw, Gcorge Bernard, 1908 Sotheby, Wi/liam, 1826
see also col. Il 34 Soulas d'Allainval, Leonor Jearz Christille, 1884
Sheridan, Richard Brinsley, 1775, 1916 Soumet, Louis Alexandre, 1831
Shilovsky, Konstantin S., 1879 see also coL 669
Shirkov, Valeryan Fedorovich, 1842 Souvestre, Emile, 18'50
Sholokhov, Mikhail, 1935 • Spaak, Paul, 1913, 25, 29
Shpazhinsky, Ippolit Vasilevich, 1887 see also coL 387,479, 744, 1200, 1317, 1332,
Sienkiewicz, Henryk, 1909 1360, 1364, 1368, 1386, 1388, 14°5, 1422,
Sierra, Eusebio, 1894 1430
see also col. 1161 Spada, Tullio, 19I2
Sierra, G. M., see Marnnez Sierra Spadctta, Almerindo, 1850
Siesby, Gottlieb, 1834 Sparrschöld, Nils Birger, 1801
Silv~, J. L., see L6pez Silva Specht, Richard, 1895
Silvani, Francesco, 1703,04, H, 15,21,27,29,35, Spicker, -, 1822
Spindler, Ervln, 1868, 81
43,44
Silvestre, Paul Armand, 1876, R3, 84, 86, 88,99, Spindler, Karl, 1832
Spiritini, Massimo, 1912
1901 , 09
Simon, Charles, 1900 Spitzmuller, Georges, 1913
Si mon, Robert Alfrcd, 1935 Sporck, Ferdinand von, 1884,94,98,99
see also col. 1038, 1308 Squire, William Barclay, 1881
.. 'Simonetti, Christian Ernst, 1726 Stach, Ilse von, 1917
see also col. 189 Stadler, Albert, 1918
Stampiglia, L. S., 1737, 37
Simoni, Renato, 1915, 26, 34
see also co1. 164
see also col. 467
Stampiglia, Silvio, 1696, 97, 1700, 04, 26, 27, 30
Singer, Maxim, 1900
see also col. 63, 74, 80, 82, 89, 136
Sipek, Kare!, 1892,98, 1901
Stankovit, Borislav, 1931
see also col. 1237, 1306
Stanzani, Tomaso, 1676, 1705
Siraudin, Paul, 1872
"Star, Maria" (i.e. Ernesta Stern), 1923
Slowacki,Juliusz, 1896, 1900,27 Stasov, Vladimir Vasilevich, 1890
Sm alt, W. W., 1885
see also col. 451, 496
Smith, Elihu Hubbard, 1796 "Stecchetti, Lorenzo" (i.e. Olindo Guerrini),
Srnith, Harry Bache, 1890
1907
Smith, O. A., 1898 Stefani, Vincenzo de, 1785
Soane, George, 1826, 46 Stegmayer, Matthäus, 1807, 14
see also col. 649, 672, 678, 839, 867 see also col. 422, 5Il, 519, 525, 559, 577
Soden, J ulius von, 1777 Steigentesch, August von, 1898
Sografi, Antonio Simone, 1790, 91, 91, 94, 94, Stein, Gertrude, 1934
96, 1809,27 "Stein, Leo" (i.e. Leo Rosenstein), 1905
Sola, Wäinö, 1920 Stein, Oskar, 1905
see also col. 63, Il40, 1299 see also col. 1017
Soldani, Valentino, 1902, 20 Steiner, Maxirnilian, 1871
Soler, Federico, 1920 Steinsberg, Carl Franz Guolfinger, Ritter von,
Solera, Temistocle, 1839, 42, 43, 45,45,46,50,66 1800, 10
Sollogub, Count Vladirnir Aleksandrovich, 1848, "Sterzdhal" (i.e. Marie Herzri Beyle), 1939
52 see also col. 643
Solvay, Lucien, 1880, 1900,06, 14 Stephanie (the Younger), Gottlieb, 1779, 82, 86,
see also col. 395, II79 86, 87, (89)
Somma, Antonio, 1859 see also coL 274, 282, 294, 316, 3 I 8, 32 8, 344,
Sondershausen, Philipp Carl Christian, 1833 366, 370, 376 , 3 88

1 67 1
Stephenson INDEX OF LIBRETTISTS Tronsarelli
Stephenson, Benjamin Charles, 1886,93 Teirlinck, Herman, 1928
Sterbini, Cesare, 1815, 16, 19 Teirlinck, Isidoor, 1881
Stern, Adolf, 1882 "Tenelli, M." (i.e. Johann Heinrich Millenet),
Sternheim, Carl, 1929 18 5 1
Stevens, David, 1917 Tennyson, A/fred, Lord, 1884,92,94,19°8, 17
SteVetlsOIl, Robert Louis, 1924 ~ Terzago, Ventura, 1681, 85
Stijns, Reimond, 1881 see also col. 40
Stokes, Richard L., 1934 nsnohUdek, R., 1924
Stolba, Josef, 1881 Testoni, Alfredo, 1935
Stramm, August, 1922 Teweles, Heinrich, 1916
Striggio, Alessandro, 1607 Thaarup, Thomas, 1790, 93
Strilldberg, August, 1919 see also col. 351,401,444, 557, 571, 644
Strollpd:nicky, Ladislav, 1915 Thackeray, ThomasJames, 1834
Strozzi, Giulio, 1639, 41 Theaulon de Lambert, Emmanuel Guillaume
Stucken, Frank von der, 1924 Marguerite, 1817, 17, 18, 25, 25, 77
Sturgis,Julian Russell, 1885,91,1901,14 see also col. 627
"Suardon, P.," see Daspuro Thielo, Carolina Amalia, 1772
Subert, R., 1892 Thiemich, Paul, 1693
SlIe, Eugcne, 1855 Thierry, G. A., see Augustin-Thierry
Sugana, Luigi, 1903 Thiersch, Bertha ("Walter Bergh"), 1917,25
Sumarokov, Aleksandr Petrovich, 1755 Thomas,Antoine Leonard, 1778
SlIrzycki,J., 1876 Thornely, Percival Ernest Wilfrid, 1909
"Svetld, Karolilla" (i.e. Johalla Mltzakovd), 1876 Thoroup, Adam Gottlob, 1796
Svoboda, Frantisek Xavier, 19II see also col. 243, 294, 319, 332, 352, 385,405,
"Sylva, Carmen," see Elizabeth, Queen of 412,433,462,478,525,542
Rumania. Thury, Zolt, 1898
Synge,Johll MiIlillgtoll, 1920, 24, 37 Tieck, Ludwig, 1827, 50, 75
Synnestvedt, Magnus, 1912 Tiercelin, Louis, 1899, 1907
Szabolcsi, Bence, 1932 Tiere, Nestor de, 1896, 1901,08
Szigligeti, Ede, 1934 "Timido," P. A., 1788
Szymanski, Stanislaw, 1781 Timmermans, Felix, 1938
Tolstoi, Lev Nikolaevich, 1904, 23, 24,34
Taddei, Emilio, 1871 Tonioli, G., 1791
Tagliazucchi, Giovanni Pietro, 1753, 55, 56 Topclius, Zachris, 1852, 1920
Tarantini, Leopoldo, 1844 Toth, Ede, 1880,96
Tarducci, Filippo, 1798 Totis, Giuseppe Domenico de, 1688
see also col. 586 Tottola, Andrea Leone, 1813, 16, 18, 19, 19,22,
Tarducci, Giuseppe, (1820) 25,26,28
Targioni-Tozzetti, Giovanni, 1890, 92, 95, 96, Tourrasse, A. de la, 1927, 30, 30
1921 , 32, 35 Tracy, Henry Chester, 1935
see also col. Ir53, 1263 Travaglia, Pietro, 1779
Tarkill,~toll, Newtoll Booth, 1919 Trefeu (de Treval), Etienne, 1859,69
Tarnassi, Giuseppe, 1899 see also co!. 949
Tassi, Niccolo, 1778 Treitschke, Georg Friedrich, 1805,07,07,08,18
Tasso, Torquato, 1633, 39, 86, 87, 1702, 11, 70, 71, see also co!. 292, 386,476, 477, 53 2 , 542, 544,
7 1 ,72,73,77,79,84,1801,03,12,13,17,19°4 545, 55 2, 555, 55 6, 567, 57 2 , 575, 583, 585,
see also col. 9 590, 597, 598, 608, 656,660
Tassoni, Alessandro, 1905 Treumann, Karl, 1862, 77
Tate, Nahum, 1689 see also co!. 910, 928, 957, 985, 103 I, 1048
Taubert, Emil, 1904 Trevclyan, Robert Calverley, 1929
see also col. 1I48, II70, II8I Trianon, Henri, 1853,60,67
Taunay, see Escragnolle Taunay see also col. 453, 679
Tchaikovsky, M. 1., see Chaikovsky Troin, Mathicu Barthelemy, 1836
Teibler, Hermann, 1903,06 Tronsarelli, Ottavio, 1626
Tryon INI;>EX OF LIBRETTISTS Vulpius
Tryon, George Washington, 1874 Velez de Guevara, Luis, 1786
Tschudy, Louis Theodore de, 1779, 84 Yen, Ernest van der, 1893
Tullio, Francesco Antonio, 1718 Vendramin, Paolo, 1639
see also col. 122 Venkstern, A. A., 1895
Turgenev, Ivan Sergyeevich, 186g, 1928 Verazi, Mattia, 1751, 55, 55, 62, 64, 68, 76, 78
Türk,Joseph,1 803 see also col. 321, 331, 340
Tyl,JosefKajetan, 1896 Verga, Giovanni, 189°,9°, 1907
see also col. 672, 701, 801, 1188 Vertlon, H. M., 1932 )
Tyumenev, I. F., 1904 ' Vernoy de Saint-Georges, Jules Henri, 1833, 35,
Uhrbach, Federico, 1910 36,38,39,40,40,41,41,41,43,43,44,45,46,
46,47, 48, 48, 48, 49, 52,52, 53, 55, 56, 58,60,
Vacarescu, Helene, 1909 • 63,65,66,67,70,85
Vacotti, Giuseppe, 1882 ) see also co!. 387, 653, 690, 835, 865
see also col. 946, 1041 Vesely, Josef Otakar, 1878
Vacqubie, Auguste, 1887 Vesper, Will, 1914
Vade, Jean Joseph, 1753, 59, 1819 Vestris, Stefano, 1809
see also col. 105, 130,210,219,221,227,242 Vial, Jean Baptiste Charles, 1801, 03
"Vaez, Gustave" (i.e. Jean Nicolas Gustave van see also co!. 503
Nieuvenhuysen), 1840,47, 51, 60, 826 Vidmar, Josip, 1929
see also co!. 650, 771, 828, 831 see also co!. 1023, II 64
Vajda, Ernö, -1924 Vigny, Alfred de, 1839, 77, 96
Valadier, - , 1791 Villa del Valle, Jose de la, 1850
Valera,Juan, 1896 Villain de Saint-Hilaire, Amable, 1835,38
Valery, Paul, 1931 Villalba, E., 1940
Valle, Cesare della, Duke ofVentignano, 1820 Villati, Leopoldo de, 1748
Valle, Vincenzo, 1890 Villiers, Pierre, 1803,04, 14
Vallier, Henry, 1903 see also col. 532, 556
Vallini, Carlo, 1912 Villifranchi, Giovanni Cosimo, 1686
Valois d'Orville, AdrienJoseph de, 1745 VilIon, Frarlfois, 1928
see also col. 56, 194 Villoslada, F. N., see Navarro Villoslada
Vanloo, Albert, 1874,75,77, 79, 85, 97, 98 Virgilius Maro, Publius, 1863,9° .J

see also col. 1083 Viskovatov, Pavel Aleksandrovich, 1875

Vanneschi, Francesco, 1746,46,47 Vismes (de Saint-Alphonse), Alphonse Marie
see also col. 208 Denis, 1779
Varadi, Antal, 1885,~I, 96 Vitturi, Bartolomeo, 1746
see also col. 1002, 1084, 1088, 1096, 1165 Vivario, Pierre Gregoire de, 1757
Varady, Sandor, 1902, 03, 05 " Vogel, Willielm, 1810
see also co!. 264, 782, 894, 1078, 11°9, 1199, Voigts, Friedrich, (1827)
1201, 1212, 1217, 1223, 1225, 1242, 1251, Voisenon, Claude Henri Fusee de, 1753, 54,70
12 56, 1259, 1281, 1288, 1295, 13°3, 1304, see also col. 372
13 0 6 Voltaire, Franfois Marie Arouet de, 1756, 65, 65,
Varesco, Giovanni Battista, 1781, 1867 68, 73, 90, 95, 99, 1802, 02, 13, 19, 23, 45, 90,
see also col. 126 1938
Varin, Charles Victor, 1841 see also col. 179, 584
Vaucaire, Mauri5=e, 1906, 11 Vörösmarty, Mihlzly, 1861
see also col. 1162, 1214, 1287, 1303, 1325 Voss, Richard, 1910
Veber, Pierre, 1919 Voyer d'Argenson, Antoine Rene de, 1741
see also co!. 1282 "Vrchlicky, Jaroslav" (i.e. Emil BohuS Frida),
Vega (Carpio), Lope de, 1897, 1923, 39 1890, 91, 91, 95, 1904,°5, 16
Vega, Ricardo de la, 1894 Vulpius, Christian August, (1789), (90)
Vega (y Cardenas), Ventura de la, 1846, 51 see also col. 285, 318, 341, 372, 379,411,423,
Veinberg, Piotr P., !886 432, 434, 447, 467, 468, 472, 476, 48o, 483,
Veith,Johann Emanuel, 1811 488, 492, 495, 500, 510, 512, 516, 518, 520,
Velde, Carl Franz van der, 1831, 1863 525, 526, 548
 W. INDEX OF LIBRETTISTS Zatfua
W., J. van der, 1888 "West, Moritz" (i.e. Moritz Georg Nitzel-
Wackernagel, Rudolf, 1894 berger), 1891
Waffiard, AlexisJacques Marie, 1823 Wetherill, H. M., 1874
see also col. 69 I Wette, Adelheid, 1893
Wagner, Richard, 1842,48 Wetzler, Lini, 1928 c
Wahlert, G. E. A., see Lax Wiehert, Ernst, 1883
,. WaiIly, Gabriel Gustave de, 1826 Widl, Rufmus, 1767
(
WaiIly, Jules de, 1841 Widmann, Joseph Victor, 1874
WaiIly, LCon de, 1838 Widowitz, Oskar, 1934
Wainwright, Jonathan Howard, 1855 Wieland, Christoph Martin, 1773, 8o, 89. 89,
Waldberg, Heinrich von, 1898 1801,24,26
see also col. I I 78 Wiers-Jenssen, Hans, 1894, 1934
Wallmark, Ernst Adam, 1862 Wilde, Oscar, 1905,08, 17,22,29
see also col. 177, 727, 828, 856, 88o, 888, 891, Wilden bruch, Ernst von, 1886,95
901, 902, 908, 912, 928 , 930, 933, 93 8, 940, Wilder, Victor, 1867,69, 77. 92
942, 949, 956, 957, 969, 972, 97 8, 9 81 , 989, see also col. 317,400, 618, 952, 976, 982, 1002,
( 990,998,999, 1010, 1025, 1037, 1049, 1058, 1006, 1014, 10161037, 1050, 1°55, 1056,
106o, 1063, 1070, 1078, 1081, 1089, 1093, Wilk, Leopold, 1914
1103, II05, lI09, lIll, llI5, lI17, 1124, Willemetz, Albert, 1930
1141, I I 44, lI50, I I 52, II56, 1163, lI71, see also col. 1048
1177, 1225 Williams, ThomasJohn, 1863
"Walther, Oscar" (te. Oscar Friedrich Kund), Willner, Alfred Maria, 1896,97, 1902, 07.08, 17
188 5 see also col. I 198 ,
see also col. 962 Windtm0I1e, Jens, 1758
Waltershausen, Hermann Wolfgang von, 1922 Winge, Anna, 1910
( Ward, Charles, 1809 Wittich, Luise, 1910
Warden, Bruno, 1916, 17 Wittkowsky, Carl, 1892
Wassermann, Jacob, 1921 Wittmann, Hugo, 1884,90,93
Wattyne, P. de, 1922 see also col. 1070, II 3 I, lI47
Weatherly, Frederick Edward, 1893,94 "Wodomerius, Ernst" (i.e. Gustav !lOIl Hccrillgen) ,
see also col. II40, lI50, lI56, II59, 1170 1828
Wecksell, jose!julius, 1910 Wohlbrück,Johann Gottfried, 1813, 14
Wedekilld, Fra/lk, 1928,37 Wohlbrück, Wilhe1m August, 1828, 29, 32, 38,
Weichselbaumer, Karl, 1835 38
Weidmann, Joseph, 1796 Wohlmuth, Alois, 1884
Weidmann, Paul, 1778, 85,96 W6jcicki, Kazimierz Wladyslaw, 1854
Weinwich, Nids Henrik, 1787 Wo!!f, julius, 1879
see also col. 345 Wol/I: Pius Alexander, 1821
Weiskern, Friedrich Wilhe1m, 1768 Wolff, Wemer, 1927, 32
see also col. 219, 233, 301 see also col. 1394
Weisse, Christian Felix, 1752, 59, 66, 67, 68, 70, Wolski, Wlodzimierz, 1854,60
71,85, 1810 Wolzogen, Ernst von, 1901
see also col. 230, 241, 417 Wolzogen, Hans von, 1905
Wellander, Johan, 1773 see also col. 647
Welleminsky, Ignaz Michael, 1916, 17, 34 Woodworth, Samuel, 1825
Wendt, Christian Gottlieb, 1729 W oolf, Benjamin Edward, 1862
see also coL 152, 155, 157, 158, 165, 166, 169
Wenig, Adolf, 1899, 1900 Ximenes, Ottavio, 1663
see also col. 1037, 1040, 1230
Wenzig, Joseph, 1868, 81 Yve-plessis, Robert, 1897
Werfe!, Franz, 1924, 1932
see also col. 926,960,988, 1440 Zaccagnini, Cassiano, 1840
.. West, Carl August" (i.e. joseph Schreyvoge!), Zaffira, Giuseppe, 1874
1894 see also col. 553, 814,967,986,99°,992,995
Zagoskin INDEX OF LIBRETTISTS Zwerenz
Zagoskin, Mikhail Nikolaevich, 1835 Zhokov, N. F.. 1871
Zamaco'is, Miguel, 1935 Zhukovsky, Vasily Andreevich. 1857. 81
Zamora, Antonio Vazquez de, 1697 Zibet, Cristofer Bogislaus. 1776
Zanardini, Angelo, 1879, 80, 82, 83, 84, 89,89,92 Ziegler, Friedrich Julius Wilhe1m. 1808, 46
set: also col. 297, 360, 613, 674, 733, 791, 817, Ziegler, Günther, 1928
881, 906, 945, 961, 964, 1002, 1010, 1014, Zigany, Arpad, 1895
1046, 1055, 1056, 1065, 1067, 1082. 1084, Zini. Saverio, 1779. 85. 87. 88, 89
1089, 1090, 1°94, 1098, 1104, 1108, 1114, Zobeltitz, Martha von, 1916
1112,1117, 1125,113 2,1134 Zola. Emile, 1891,93,97.1901.05.07.12,16
Zanetti. Girolamo Francesco. 1805 Zorrilla.Jose. 1915. 29
Zangarini. Carlo. 1910, 11, 11; 12, 27, 34 Zorilla de San Martin. Juan. 1913. 25
see also col. 532, 1241, 1273 Zotov. Vladimir Rafailovich, 1852
Zanobi Calferecci, Carlo. (1843) Zschokke, Heinrich. 1923
Zanoni, Camillo, 1905 Zucchetti; Modesto. 1890
ZelenskY. Karel. 1896 Zulawski, Jerzy, 1917. 29
"Zell, F." (i.e. Carnillo Walzel), 18n 75, 76, 76. ZÜllgel, Emanuel. 1873.74. 86
77, 79. 80. -80. 81, 82. 83. 84. 86 see also col. 747. 750, 762. 787. 794, 825, 829,
see also col. 1081, 1084. 1115, 1133, 1136 899, 904. 908 • 933, 937. 94 8• 962, 972, 9 81 •
Zeno, Apostolo, 1695,97.99, 1705.09. 11. 14. 99°;996.10°7,10°9.1011,1023.1028.1029.
16,18.18,18, 19.19, 1~20. 2~ 21.21,21,23. 1036, 1037, 1043. 104 8• 1049, 1055. 1064,
24,26.27,3 2, 32, 38, 39, 40, 41, 42, 43, 51, 51, 1070. 1083, 1093
62,64,64,66,78,78,1811 Zweig, Stefan. 1935
see also col. 108 Zwerenz. Karl Georg. 1919. 28
Zeyer.Julius. 1908.25

1680
 IV. GENERAL INDEX
containing (a) all persons not mentioned in Indexes Il and III; (b) a small selection of subjects, and (c)
countries and towns; under the names of the latter only cvents of so me significance are listed, as
important first productions, 'openings of thcatn.:s, ctc.

A., B. H. V. (Dutch translator), 321 Alcxander VIII, Pope, 87, 88

Aachen,722 Alexander, Grand Duke of Russia, 389
Aarhus, 1228 Alcxander Charles, Prince of Poland, 14
Abel, Carl Friedrich, 266 Alexandria, 744
Abele, Max Robert, 1264 d' Alibert, Giacomo, 42
Abcrgsson, Gustaf Fredrik, 614 Alinovi, G., 521
Abergsson, Johan Ludvig, 631, 665 Allacci, Leone, 9,19,28,29,30,35,46,47,64,72.
Abert, Hermann, 82, 178,207,219,265,297,299, 97, 133,208
306 ,449,454 Allan, Adam, 162
Abo (Turku), 1299 Alman, S., 890
Abrahams, Nicolai Christian Levin, 42g, 454, Almerici, Fabio, 15
644, 658, 726 Almlöf, Carl Anders Knut, 88o, 933
Abramova, A. K., 1014, 1055 Alphaud, Gabriel, 369
Abrinyi, Kornel, 815, 826, 850, 936, 945, 984, Alten, Martin, 395, 610
1044, 106o, 1063, 1065, 1092, II49 Alvarez, Emilio, 805, 830, 866, 899,947, [05S
Abyssinian War, 1436 Alvcri, Giovanni Battista, 96
Acevedo, Juan Hemandez, II68 Alxinger, Johann von, 372
Ackermann, Konrad Ernst, 247 Amalia wilhelmina of Bnmswick-Lüncburg,
Adam, Jenö, 87 Empress, 121
Adam, Johann August, 212 Ambros, August Wilhelm, 10
Adamczewski, Jak6b, 501, 542, 56 3, 573 American Operas, early, 297, 513, 524, 529,697,
Adamovich, - , 558 847, 919, 968
Adams, A. Davies, 985 Amcrican Operas in Germany, 1266, 1292, 1299,
Adams, William Davenport, 160, 1026
1374, 1412, 14 18
Ademollo, Alessandro, 20, 25,40, 45, 88, 280 Amherst, J. H., 678
Adler, Friedrich, II34, II56, rr82 Amsterdam 316, II33, II34, 1275 (sec also Dutch
Adler, Guido, 44, 45 Operas)
Agate, Edward, 1082, 1089, 1095, J 142, 1229, Andersen, Ludwig, 910,1321
1258, 1293, 1329, 1341, 1362 Anderson, Alfreds, 884,976,1014
Agnelli, Salvatore, 3I 5 Anderson, Arthur, 1038
Agram, see Zagreb Anderson, Emily, 325, 993
Agrenev, Olga, 773
Andolfati, P., 553
Ahlgren,J. S., 339
Andolfi, Otello, 1321
Aide, Hamilton, 1037
Andre, Anton, 980, 992
Aimon, LCopold, 283
Aix-les-Bains, II68 Anet,80
Ajaccio, 652 Angely, Louis, 533,602,699, 701, 717
Alaffre, Benjamin, 877 Angers, 1319
Albertin, Hvacinthe, 503 d'Anglemont, Edouard (Hubert Scipion), 630
Albini, Srecko, 1087 Anheisser, Siegfried, 342, 345, 1075
Albinoni, Tommaso, u8, 132, 134,137, [49,15 2, Ansbach, 66, 99, 103
204,207 Anschütz, Carl, 395
Aldridge, Ira, 303 Antheunis, Gentil Theodoor, 592, 1040
Aleksandrov, -, 526 Anthony (Clement Theodore), Prince ofSaxony,
Aleksandrova, Mme, 1143 446
d'Alessio, Viccnte, 894 Antokolsky, P. G., 1404

1681 16S2
 Anton GENERAL INDEX Barabandy

Anton.Johann Daniel. 477.752.757 Austria. see Graz. Innsbruck. Salzburg, Vienna

Antwerp. 69. II 09. 1209. 1221. 1440 (see also Autrata, Frantisek Vaclav. 553
Flemish Operas) Aveling, Claude. 297. II 04. lI05, 1295. 1311,
Anzengruber. Anne. 292 1323. 1348
Apell. Johann David von. 333. 362. 386. 527. 540 Avellino, Princess oft 26
Araignon, Jean Louis. 194 Avery, Emmett L.. 189
Arellano. Vicente Rodrfguez de. 427, 485. 523. Avignon.73
542 Ayrton. -, 760
Arena. Giuseppe. 200 Azcona. Agustfn, 755, 771
Arend,~ax,243,274 Azerbaidzhan. 824. 1428
Arend-Andrasch, Käthe, 243 Azevedo. A .• 1050
Arendsz. Thomas, 52.75.76
Argentine Composers (see also Buenos Aires). B., F. L. (French author), 443
1203. 1207 B., G. (Italian translator), 1026
d'Arien. Bemhard Christian, 365, 366,4°5. 4II, B .• ~. (Czech translator), 592
429.447 Babikov. Konstantin Ivanovich, 970
d·Arienzo. Nicola, 32 Babler, Otto Frantisek, 1423
Arkel. Sigmund. 1030, I II2 Baccelli. Domenico, 245
Arkwright, Godfrey Edward PelIew, 76, 89 Bachaumont, Louis Petit de, 272
Arlequin, Guillemain, 3I I Bache, Constance, 301, II71
Armbruster, Carl. 1304 Bacher, Otto, 448
Amedo. Luis. 1144. 1182 Bacichi, Vincenzo Antonio, 1050
Arnhem. 1357 Balio, 11 (wal tz by Arditi), 921
Arnim. Max. 155 Backer, Jan Auke, 310
Amold. Theodor Ferdinand Kajctan. 469, 544 Badalic, Viktor, 699. 752, 964, 1050, II53
Amold. Yury Karlovich. 641 Baden-Baden, 947, 958, 1008, 1396, 1403
Arrigoni, Luigi. 1293 Badet, Andre de, 1372
Arteaga. Stefano, 80 Badon, Edmond, 833
d' Artois, Comte, see Charles X. King of Francc Badovero, Camillo, 69
Arundell, Denis, 89, 19I. 1362 Baildon, Arthur, 552, 793. 884
Asachi, Gheorghe, 740 Baillot, Denis, 452
Aschmann, A., 779,904,9°8,922.941.991.1°42, Bailly, Jacques, 74, 77, 80, 105, 221
1045, 1069, logO Bakala, Bfetislav, 14II
Asheberg, A. Y. von, 1040 Baker, David Erskine, 175
Ashton, Frederic,I426 Baklanov, Georges, 1270
Asioli, Bonifazio, 475 Baku, 824, 1428
Asschenbergh, Hermanus, 310, 329, 462 Bala, Alessandro, 65
Assis,]. ~. M. de, see ~achado de Assis Balducci, -, 506
Astaritta, Gennaro, 313, 338, 369 BaIen,]. v~, 312
Asten, B. D., 332 Balestrieri, Lina, 46
Athens, 645, 768,987, 1337 Balieus, Hector, 1234
Attwood, Thomas, 540, 552 J3alisson de Rougemont, ~ichel Nicolas, 612
Aubert, Louis, 76 Ball, Georg, 847
Aubert, Mrs., II6, II7 Ball, William, 663,672,733
Aubry, Georges Je~, 1370 Ballad Opera, 159-164,'266,280
Auersperg, Prince Karl, 296. 372, 385, 389 Ballard, Christophe, 34
Augsburg, 573, 1200 Balle, -, 334
Augusta. Princes of Bavaria. 439 Ballot de Sovot, -, 202
Augusta. Princess of Saxe-Gotha. 187 Balogh, Istvan, 745
(
Aulagnier. A .• 714 Bamberg, 1424
Austen. E. J., 1043 Bambini, Eustachio, 138,210
Austin, Frederic, 160, 357 "Bandit Opera," 507
Austin. Surnner Francis. 793. 988 Banti, Brigitta, 296, 485, 523
Australia. 652, 874. 886 Barabandy, R., 1284

168 3
Barbcrini GENERAL INDEX Bernasconi
Darberini, Maffeo, Prince of Palestrina, 30 Becher, Alfred Julius, 774, 852
Barbier, Frcderic Etienne, 85 J Beck, Heinrich, 378, 500
Barbier, N., 108 Becker, Carl Ferdinand, 580
Barcelona, 246, 534, 1092 (see alsoCatalan Opcra~. Beckcr, Georg, 375
and Italian Operas in Spain) Becker, Wilhe1m Gottlieb, 355
Bardan, Fcderico, 944 Becking, Gustav, 153
Bardi, Denno, 9~ 3 Ilecklllann, Johann Friedrich GottlIeb, 258
ßardon, -, 296 Bcclar't d'Harcourt, Margucritc, 12<)2
Barini, Giorgio, 347 Bednarski, Alcksander, lOI4
Barker, James Nelson, 593 Beecham, Sir Tholllas, 125H
Barker, Theodorc T., 747, 9°3, 997 Behncken, Johann Heinrich, 17()
Barkov, Dmitry Nikolal'vich, 536. qo. 5')x. ()I 3. lIehr, M. R., <)88
623, 646, 653 !:leier, Franz, 845. 1 I 15
Barlow, Howard, 302 Bclem, 1093
!:lärm:mn, Georg Nicolaus, X5~ Belfast, 1373
Bamby, Joseph, 1097 Belgian Compmcrs, earl)', 26<), 6<)3, 701, 873
"Baroness" (singer; identical wirh Maria (;allia ?). Belgian Operas, sc,' Flemish Opcras. Walloon
<)9 Operas
13arrct, J ohn, 159 Bclgrano, Luigi Tomlllaso, 2]1
Ihrrett, William Akxandcr. <) I () Ilcllaigue, Camillc, 235
Barry, Spranger, 280 llcllincioni, Gemma, 11<)5, 12]4
Barthel, Max, 786 Bellingham, Henr)" <)81
!:lartholomew, MarshalI, 930 Bellosartes, Manuel, 567
Ihrtholomew, William, 601, 6xx. <j03 Bendix, Frits, 1226
Ihrtusek, Libushka, 984 Bcncdict, Jean, 1211, 1251
l3aruzzi, Cincinnato, '136, 12<)4 Benedito, Raraei, 17'
Basic, II75, '3'3, '3 21 , '340, '3()(), 1375· 14 2 4. Jknincori, Angelo Maria, 6S2
143 8 Ben nett, CharIes Henrv, <)'} 1
BasquL', Opera in, 1293, 1300. 139() Bcnoist, Franc;ois, 834 .
lhstia, 35<) Bensow, Oscar, 1014
Batavia, 700, 13°° Bentle)', Richard, 229
Bati, Luca, 4 Benucci, Franccsco, 364
Battistini, Mattia, 1153 Benvenuti, Giacomo, 5, 6, 7, 22, 23
ßauck, Wilhe1m, 454 Berend, Fritz, S5, 93
paudouin (de Courtcnay), Jan, 223, 253, 254. Berens, Hermann, 625
272, 2R3, 308, 3II, 314, 414, 464.564 Berezovski, Maksim Sosnovich, 354
Baudron, - , 31 I Bergamo, 1434
Bauer, Eduardo, 700, 793 Bergborn, K;larlo, 806
Baum, Josef, 144 Berger, Rudolf and L. ... , 342
Baumgarten, Carl Friedrich, 410 Ilergcret, Rene, 1067, J 372
Baurans, Pierre, 174. 1RH, 233 Berggrcn, Carl Anton Fredrik, 676
Bayer!, Franz Xavcr, S71 Ikrggrucn, Oscar, 1l22, II 34, 1139, II 87
Ba)'ly, Thomas Ha)'ncs, 727 ßergh-Wuori, Martti Alcxius, 1034, 1 146
Bayreuth, 1°54, 1097 Bergk, Johann Adam, 556
ßazo, Antonio, 244 Bergman, 13., 430
Beauhamais, Eugene, 43<) Bcrkcley, Gcorge Monck, 429
"Beaumont" (i.e. Alexandre Be:llllllc), 497, 621. Berb, Alois, 93 [
67 2 ,702,861,879,899,924 Berlin, 106, 107, 197, 199,201,204,209,221, 22H,
Bcaumont, E. G., 435 323,46<), 572, 647, 69 1, X43, Il05, 12<)9 and
Beaunier, A. L., 375 passil1J
"Deaunoir, de" (i.c. Akxandrc Lotus Bcrtrand Herling, Thomas, 536
Robineau), 43 I Bernacki, Ludwik, 362, 3H<)
lknley, Samuel, 455, 641, 699, 72J) Bernardi, Gian Giuseppc, 214, 226
Becc:\\;, Joachim, 132, 146 Bemasconi, Antonia, 296

168 5 1686
Beme GENERAL INDEX Böttcher

Beme, 1335, 1346 Boas, Hans, 438

Bemhard, August 1078, 1089, 1095, 1145: 12 14, Bobchevsky, V., 265, 827
1221, 1229, 1246 Bobrik, Günther, 472
Bemhard Erich, Prince of Saxe-Meiningen, 695 Bocayuva, Quintino (de Souza), 899, 903, 906,
Bemhardi, C., 82 915
Bemy, 220 Boccardi, M. A., 167
Berquin, A., 346 Bock, Philipp, II80
Berry, Charles Ferdinand, Duc de, 647 Bodanzky, Arthur, 86, 87, 451, 704, 1076, 1083
Berthevin, Jules Julien Gabriel, 346 Boderistedt, Hans, 687
Bertie, Peregrine, 52 Bodorfi, Henrik, 757
Bertin d' Antilly, Louis Auguste, 259 B0gh, Erik, 478, 830, 1008, 1040, 1045, 1089,
Bertolazzi, Carlo, 1198 II16, II39, II57, II60, ·II63
ßerton, Pierrc Montan, 67,72,74, 100, 110, 123, Bogota, II69
135, 179, 2II, 24 2 Böhm, Gusztav, 498,812,823,885,906, 937,972,
Bertuch, August, 968 99 8, 10 52
Bethune, Gilbert, 162 Böhm, Johann, 262,297,341,411,676
ßetteloni, Vittorio, 10411 Boissard, Charles, 1337
Bettinelli, Angelo, 1076 Boissy, L. de, 179
Beyerle, Bernward, 3 Boldini, Giovanni, 134, ISO, 154
Beziers, 606 Bole, Joh, 1389
Dianchi, Antonio, 252 Bologna, 8,60,158,166,172,197,231,270,299,
Biberhofer, Raoul, 588 418, and passim
Bie, Oscar, 342 Bolte,Johannes,97
Biedenfeld, Ferdinand Leopold Karl von, 642, Bolten-Bäckers, Heinrich Bcrnhard, II70, II83,
649,65 1,715 1205, 1215
Bigongiari, Marco, 211 Bombay, 349
Bigot, C. P. T., 979 Bond, Mervyn, 121 I
Bilbao, 886, 1223, 1293, 1300, 1356 Bonfio, Giacomo, 597 - - - .. -
Billington, Elizabeth, 363,493,523,539, 574,579 Bonin, Christian Friedrich von, 344, 365~oo~
Binder, Carl, 851, 910, 928 Bonito, Giovanni, 367, 383
Binder, Friedrich, 994 Bonivcnti, Giuseppe, 109, 112
Bingham, Clifton, II29 Bonlini, Giovanni Carlo, 18, 47, 50, 52, 68, 77,
Bioni, Antonio, IIO, 137 147, 153
Biern, Per, 674, 938 Bonnefoy de Bonyon, Frantyois Lambcrt de, 44.3
Birmingham, 1349, 1372, 1378 Bonnct-Bourdelot, Pierre, 80
Biscan, A. M., 645, 724, 872, 88o, 891 Bonnor, Charles, 361
Bishop, Ann, 78o, 821, 859 Bonoldi, Giuseppe Achille, 913
ßisson, Alexandre, 497 Borcke, Caspar Wilhelm von, 167
Bithell, Jethro, 1339 Bordeaux, 1414
Bitter, Carl Hermann, 451 Bordocchi, Francesco Maria, 50
Björn, Didrik Gabriel, 289, 486, 504 Bordoni (-Hasse), Faustina, 134, 149, 154, 155,
Blackburn, Vernon, 1218 157,207, 21 4
Blaire, Mrs., 273 Börnstein, Heinrich, 8I 8, 829
Blanche, August Theodor, 835 Borren, Charles van den, 21, 23
Blandy, Miss A. L., 706 Borrow, George, 362
Blaze de Bur)" Henri, 453 Bos, Salomon, 483
Blewitt, Jonathan, 623, 701 Bosch, Mariano G., 558
Blinzig, Enoch, 129 Boschot, Adolphe, 427, 453
Bloch, Egon, 553, 1383 Bosin, Axel, 1008
Bloch, Georg, 845 Bosselet, Charles, 650
Biom, Eric, 3°1,423 Boston, 956, II57, II70, II72, II90, II94, 1270,
BIotnicki, Franciszek Ksawery, 696 1307, 143 I
Blumenthai, Oscar, 1003 Botstiber, Hugo, 408
Blümml, Emil Karl, 301 Böttcher, Lucas, 1424

168 7 1688
Bouchard GENERAL INDEX Busch

Bouchard,Jean Jacques, 14 "Brother Jonathan," 697

Bourbon, Duc de, 3I 8 Brovellio, Henri, 623, 663, 688
Bourgeois, Auguste Anicet, 1009 '13rown, Allen Augustus, 504, 636
Bourgeois, Louis, 6 Brown, Thomas Allston, II90, II94
Bourn:e de Corberon, Marie Daniel, 249, 271 Browne, Marmaduke Edmonstone, 479, 936,
Bowcs, G., 771 1066
Bowyer, Frederick, 1081 Browne, Walter, 1091
Boyadyieva, Vera, 1288 Brownlow, William, 256
Boye, Caspar Johan, 649,655,672 Bru, Enrique, 1281
Boyer, - , 179 Bruck, Paul, 976
Brachvogel, Albert Emil, 440 Bruckner, Anton, 842
Bradford, T., 349 Brückncr, Alexander, 463
Braga, Theophilo, 2II Bruges, 1248
Braham,John,25 8,291,485,506 BruneI, Raoul, 984
Brahm, Moriz von, 305 Brünn, see Bmo
Branberger, Johann, 278 Brunswick, 36, 88,91,92,93,97, 103, 109, 136,
Brancic, B., 677 140, 145, 154, 156, 863, 1258, 1385, 1424
Brandl, Johann, 1030 Brusse!, Robert, 13°4, 1310
Brandt, Johannes, 1216 Brussels, 27, 58, 701, 7II, and passim
Brani, Petar, 677934,970, lIOS, 1II9, II37 Brzezinski, W., II93
Branicki, Franciszek Ksavery, Prince, 266 Bucar, Franjo, 396, 592, 936
Brant, -, 600 Bucharest, 886, 1076, II51, 1231, 1258, 1402
Bratislava, see Pressburg BucinskY,]., 954
Bray, William, 24 Bücken, Ernst, 535, 550
Brazil (see also Rio de Janeiro), 1013, 1028, 1093, Buckstone, John Baldwin, 736
II35 Budapest, 253,367,469,637,801,836, 856, 1086,
Brecher, Gustav, 699, 7°3, 1043, 1375 1I51, 1216, 1235, 1314 (see also Hungarian
Bregman, H., 1II9 Operas)
Breitkopf, Bemhard Christoph, 214 Buechner, F. .f., 995
Bremen, 535, 1233, 1250, 1266,1388 Buen Retiro, 193
Brender 11 Brandis, Gerrit, 394, 502 Buenos Aires, 644, 876, 1203, 1221, 1227, 1285,
Brennan, Algemon St. John, 1273 1309,1335,1344,135 0,135 1,1377,13 84,1409,
Brennert, Hans, 674 1440
Bresciani, D., 527 Bulatnitsky, E., 220
Breslau, 352,480,818,961, II85, 133 8, 1393 Bulgatian Operas, 752, (756), II57, 1308, 1434
Breuning, Stefan von, 590 Bülow, Hans von, 797, 973, 974
Bridge, Frank, 784 Bunner: H. c., 1069
Bring, S. C., 428, 454 Buonaiuti, Serafino, 493, 416, 599
Brinkman (van Streek), Anna Catharina, 488, 499 Bürde, - , 534, 53 8, 548
Biinkmann, N. G., 464 Burgess, Joe, 1°72
Brionne, Mme de, 3 II Burgh, Allatson, 70
Briseno, Ramon, 456 Burgmüller, Friedrich, 865
Brisk, - , 423 Burian, Kare!, 976
Bmo, II99, 1255, 1291, 1362, 1380, 1385, 1387, Burkard, Heinrich, 431, 695, 1060
14°9, 14II, 1413, 1418, 1421, 1422, 1428 Burlington, Richard, Earl of, 143
Broadcast of an Opera, first, II72 BurmaJill, Johann Heinrich, 257, 392
Brockmann-Neubauer, Elfriede, 1277 Bumess, E. Robert, 1367
Brodzmski, Kazimierz, 451, 541, 574, 581, 624, Bumey, Charles, 61, 62,98,99, II3, II4, II5, 123,
63 0,633 126, 129, 132, 137, 142, 144, 145, 147, 163, 173,
Broniewski, Wladyslaw, 1403 189,204,206,218,228,244,252,255,273,274,
Brookfield, Charles Hallam Elton,1067, II37 278,292,294
Brooman, Jan Erik, 565 Bursay, A., 495
Broschi, Carlo, called Farinelli, 168, 234, 830 Bury, Bemard de, 72
Brosses, Charles de, 80, 195 Busch, Fritz, 952, II96

1689 1690
Buschmann GENERAL INDEX Charlotte

Buschmann, Ehrenfried Enge/bert, 161 Carter, Thomas Charles, 276

Bustamente, Jacopo, 838 Cartellieri, Antonio, 549
Bustelli, Giuseppe, 277 Caruso, Enrico, 1206, 1221
Bustico, Guido, 662 Carvalhaes (Pereira Peixoto d'Almeida), MailOe!,
Buths, He/ene, 143 545
"Byednuy, Demyan" (i.e. Efim Aleksyccvich "Casaciello," Antonio Casaccia, called, 347
Pridvorov),995 Casademunt,Juan ManueI, 1085
Byron, Henry James, 1025, 1030 Casanova, Francesco, 1298
Casanova de Seingalt, Giacomo, 212
C., A. (Czech translator), 767 Caserta, 466
Cadaux, Justin, 217, 709 Cassani (singer), 123
C:idiz,816 Casse-Noisette (ballet by Chaikovsky), II60
Cadore, Arturo, 1326 Cassel, 620, 637, 688, 695, 7°9, 716, 727, 845,
Caffarelli, Francesco, 18R 12 32, 139 1
Cagliari, 402 Cast, early printed, 28
Cahn-speyer, Rudolf, 371, 1309 Castelbarco-Visconti, Cesare di, 600
Cailhava d'Estandoux, Jean Franrrois, 245 Castelfranchi, Cesare, 1395
Caimi, Eugenio, 918 . Castilhos, Jose Feliciano de, 895
Cairo, 1018 Castle, William, 901
Cajander, Paavo, 673, 82][ Castrone della Rajata, Salvatorc de, 373, 532,621,
Calcutta, 349, 456, 652 825, 850, 872, 885
Callegari, Giuseppe, 358 Castrovillari, Daniele, 16
Calleja, Rafael Gomez, II98 Casuccini, Francesco, 737
Callou de Villencuve, Jean Harald, 593 Catalan, Operas, (246), 10<)2, 1253, 12 73, 13 [<).
Calmus, Georgy, 138
14°4
Calthrop, Dion Clayton, 1027 Catalani, Angelica, 244, 561, 6[0
Calvocoressi, Michael 0., 1°33, 1034, Il51, 12<)3. Catelani, Angelo, 61, 62
1294,1329,1374,1420,1425 Cavicchioli, Luigi, 992
"Camargo," Marie Anne Cupis, called, 133 Celani, -,651
Cambiasi, Pompeo, 442,509,738 Celtic subjects, operatic, 1204, 137X, [429
Cambini, Giovanni Giuseppe, 347
Cencetti, Giuseppe, 811, 1030
Cambridge, 1364, 1434 Ccnsky, Ferdinand, !l05
Camerini, Paolo, 19
Cepl'da, Luis. 1183
Cametti, Alberto, 42, 183,623,662,670
Ceresa, Pacifico, I 119
Cammaert, Johannes Franciscus, 130, 218, 230. Cl'sarini, Carlo Francesco, 114
247,253,255,266, 26 7,270,272,275.3'5 Ceuta,245
Canada, 218, 645 Chabs, Alexandn:, 622
Cannabich, Christian, 344, 492
Champre, -, XI
Cannes, 1359
Chanccl, Jub, 1278
Capdepon, Mari:mo, 1l<)1
Chantavoinc,Jean, 478, 697, 976, <)Xo. I30(i. 14 I<)
Cape Town, )22,793
Chantilly. X3
CapelI, Richard, 1439
Capclli, G. M., lXX Chapl'lll', Pierre David Augustin, 259
Capranica, Mattro, 195 Chapman, Henry Grafton, 1153, 12Z0
Cardiff, 1 1X5 Chardiny, L. C. A., 412
Carcstino, GiovalUli, 181 Charlcs VI, Roman Emperor, "4, 141, qX, 149,
Carl Thcodor, Elector of Bavaria, 379 15 X, 21 3
Carlcz, Julcs. 27, [70 Charlcs /I, King 01' England, 31, 75
Carlotta, C. (pseud. ofSiegfricd Ehrcnbcrg). [04() Charlcs X, Kil;g ofFr;ncc, 67,387, ol)6
Carlsruhc, 667. 1°79, 1117, 1142, and passim Charlcs IV, King ofNaplcs, 193
Carmena y Milbn. Luis, 441 Charlcs XI, King of Swcden, 53
Carolet, Dmis, 52. 59, 73. 105,12<), [XS Charlcs XV, King ofSwcdm, 89X
Carralon dc Larrlla, Antonio, 100!l Charlcs Thcodorc, Elcctor of Bavaria, 37')
Carte, Richard d'Oyly, III5 Charlottc, Queen ofEngland, 30X
16<)[
Charlotte GENERAL INDEX Conried
Charlotte Augusta Matilda, Duchess ofWurttem- Clausenburg, 685
berg, 520 Clausetti, Carlo, 957, 1309, 1327
Charpentier, -, 61 Clausetti, Pietro, 202
Chassebras de Cramailles, Jacques, 70 Clavijo y Fajardo, Jose, 236
Chavero, Alfredo, 1017, 1044 Clay, Frederick, II25
Chayanova, Olga, 177, 371,496 Clement, Charles Fran/Yois, 194, 222
Chazot, Paul de, 702 Clement, Felix, 14,282,515. 529. 656, 854, 982.
Cherbuliez, Antoine Elisee, 426, 429 IIP, II44
Cheremetyev, Count, 297 Clements, Arthur, 919
Cherepnin, Nikolai Nikolaevich, 369, 1341 Clerisseau, -, 648
Cheri, Victor~ 851 Clermont, Louis de Bourbon-Conde. Comte deo
Cheshikhin, Vasily Evgrafovich, 451, 976, 1032 220
Chetwood, William Rufus, 160 Clifton, 1378
Chiappari, Giovanni, 670 Clitau, Thomas, 210
Chicago, 153,731, II42, 1280, 1342 , 1343, 1348, Closson, Ernest, 530
135 2 ,1359,1363,1374,1391,1413 Coates, Archie, 1427
Child, Alan, 1038 Coblenz. 1201
Chile, 1186 Coburg, 934. 1421
Chilesotti, Oscar, 1323 Cochran, Clifford, 1404
Chiusano, Tibero Carrafa, Pril1ce of, I 22 Cocorescu, -, 1268
Chlubna,Osvald, 1386 Coenen, Johannes. 1I 27
Chopin, Frederic, 659, 1237 "Coeuroy, Andre" (i.e. Jean Beline), 680
Choumansky, Olga, 369 "Colberg, F." (i.e. Ernst Schubert). nOI
Chretien des Croix, Nicolas, 4 Coleman, Charles, 34
Christensen, Jens, 1106 Coll y Britipaja, Jose, 1036
Christian VII, King ofDenmark, 210 Colla. Vincenzo, 712
Christian IX, King of Denmark, II 33 "Collective Operas", 735, 1158
Christian Ernst, Margrave of Brandenburg- Collier, Sir George, 321, 322
Bayreuth, 41 Collison-Morley, Lacy, III
Christiania, see 0510 CoIloredo, Hieronymus Count. Archbishop of
Christiemsson, Henrik, 1106 Salzburg, 325,467
Christina, Queen of Sweden, 27, 33, 34, 45, 69 Colman. F., 142
Christina of Lorraine, Grand Duchess of Tus- Cologne.929, 1175. 1240. 1264. 1275.1Z83. 1358,
cany, I 13 66. 1374. 1410
Christov, S., 740 Colombia. Opera in, 1169
Chrysander, Friedrich. 93. 96. 144, 147. 171. I t< I, Colonna, Lorenzo Onofrio, 60
44 1,442 Colonne, Edouard. 1173
Chudy, Joseph, 286 Comella, Luciano Francisco. 348, 3611. 379. 466,
Chute, John. 183 5° 1,5 19,5 27
Cibber, Colley, 113 Comic Opera. early. 111,38
Cibber, Theophilus, 162, 167 Comic Opera, first. at Vcnice, 126
Cifolelli, Giovanni, 352 Cornic Opera. see als(' Ballad Opera, Opera-
Cimperman, Joief. 673, 757 comique. Singspiel
Cincinnati, 1301 "Corno d'Alba. Anaclet" (pseud.), 743
Cinque, Giuseppe, 324 Compan. c.. 328
Cipolla, Francesco, 367, 383, 534 Competitions and Prizc Operas, 1094, 1138.
Cirilli, Filippo, 1161 1140,1165.1166,1168.1204,1219.1249,1259.
Claepius, Wilhelm Hermann. 755. 76<) 1288.1294,1321.1331,1338, 136R, 1374, 1376.
Claeys, Prosper. 967 1389. 1392. 1407. 14 16, 1438
ClairvilIe, Charles, 1195 Conci, Ciro. 475
Clarke, Campbell, lOH Concle, Louis II de Bourbon. Prince de. 84
Clarke, Henry Savile, 1101 Congreve, William, 114
Clarke, Jcremiah, 159 Coninck, Adolf Louis Charles deo 999
Claudius. Georg Carl, 383 Conried. Heinrich, 1097

2E 1693 1694
Constantin GENERAL INDEX Day

Constantin, Jean Baptiste, 691 Crosti, Eugcne, II56, II76, 1203

Constantin, Titus Charles, 400, 992 Crusell, Bernhard Henrik, 428, 591, 644, 663,
Constantinople, 740, II85 699, 713, 724, 737, 761
Contarini, Marco, 17, 68, 70 Cruz, Ivo, 7
Cook, Henry, 34 Csepregi, Lajos, 872, 942, 956
Cooke, Thomas Simpsoll, 171, 322, 506, 621, Cuban Opera, 1299
670, 699, 712, 746, 749, 757, 759, 767 Cuclin, Demetre, 1068
Cooney, Myron Ao, 881 Cummings, William Hayman, 86, 89, 145
Cooper, Martin, 241, 280 Cummins, Charles, 627
Copenhagen, 146, 210, 840, 845, 856, 862 (set' Curiel, Carlo Leone, 458
also Danish Operas) Cursi Cicinelli, Prince, 64
Copyright performances, 1081, II7I, 1307 Cusins, William George, 601
Cordara, Carlo, 80 Cuzzoni, Francesca, 146, 157
Cordella, Geronimo, 206 Cycle, earliest operatic, 44
Corder, Henrietta Louisa (born Walford), 976, Czarniawski, Cornelius, 514
1014, 1055, 1097 Czech Composers, early, 278, 292, 317, 365
Corfu, 257 Czech Operas, early, (416), (610), 701, 716, 896,
Cornell,John Henry, 1046 964,977,979,996,1000
Cornet, Julius, 751, 771, 798 Czernowitz (Cernauti), 1234
Cornu, Francis, 582 Cziglanyi, Bo, 1247
Corsi, Jacopo, I, 2
Corsica, see Ajaccio and Bastia Dahlgren, Fredrik August, 635, 696
Corte, Andrea della, see Della Cortl' Dahms, Walter, 1391, 1398, 1405, 1406, 1416
Cortella, Alessandro, II70 Dahnk-Baroffio, Emilie, 154, 162, 165
Cortes y Suana, Luis, 860 Dalman, Georges, 1272, 1434
Cortot, Alfred, 976 Dam, Henry Jo WO, II29
Cotarelo y Mori, Emilio, 39, 44, 80, 102, 127 Dam, Johannes, 178
Cottrau, Teodoro, 747 Dam, Mogens, 171, 1393, 1403
Coulanges, Philippe Emmanuel de, 88 Dampenet, -, 219
Courville, Xavier de, 21, 369 Dance, George, 635
Coveliers, Felix, 1050 Dangeau, Philippe de Courcillon, Marquis de,
Cowdray, Cecil, 1232 100, 105
Cowmeadow, Johann Wilhe1m, 417 Danglas, Louis, 624, 769, 780, 787, 792, 804, 807,
Cox, Nina, 1298 84~ 855, 861, 863, 865, 872
Cracow, II96 Danish Operas, early, 239, 325, 334, 362, 379,
Craelius, Carl Magnus, 696 441,464,483,5°2,5°7, 5I l , 519, 52 8, 532, 540,
Craig, Do Miliar, 21, 1339, 1438 555, 566, 596
Craig, Edward Gordon, 171 Danovsky, Bo, 457, 498
Cramer, Carl Friedrich, 319, 379, 421, 465 Danzig, 96, 788, li47
Crawford, Grace (Mrso Lovat Fraser), 177 Darley, Ho Wo, 679
Crema,200 Darmstadt, 655, 658, HIJ, 1328, 1333, 1336,
Cremata, Giovan Pietro, 3 [ 1354, 13 87
Cremona, 267,922 Das Gupta, Hemendra Nath, 456
Cremont, Pierre, 387, 4330, 526, 610, 669, 672, Dassori, Carlo, 474
709 Daudet, Alexis, 582
Crescendo, 206, 622 Daudet, Ernest, 484
Crevel de Charlemagne, Louis Ernest, 652, 807, Daunt, Olive, 75
865 Daussoigne, Louis Joseph, 5°3, 684
Crispi, Francesco, 652 Davidov, Kar! Yulevich, 1253
Croat Operas, 855, (947),1059, II99, 1204, 1415, Davies, Mary, 76
1420,1432 Davies, Richard, 1072
Croce, Benedetto, 64, 65, 98, 99, 102, 121, 173, Davy, -, 383
215, 291, 351 Davydov, Stepan Ivanovich, 537
Cross, Mrso (singer), 123 Day, Willard Go, II39
 Deaky GENERAL INDEX Dussert

Deaky, Fülöp Samuel, 464, 540, 552. 597, 598, Djurström, Erik Wilhelm, 416, 537
615, 729, 743 Drnitrevsky, Ivan Athanasevich, 245, 319, 437,
Dean, Alexander, 930 447,5II
Dean, Winton Basil, 583,621 Döbbelin, Theophilus, 245
Dechaux,]. B., 421 Dobronic, Anton, 855
Deduit, -, 484 Doche, Joseph Dennis, 197
Oe La Ferrniere, - , 367 Doderet, And're, 1331
Delage-Prat, Isabelle. 90 Doebber, Johannes, 591
Delance, Georges, 1048 Dogget, Thomas, 123
Delaporte (of Grenoble), 174 Dohm, Ernst, 943, 999, 10II, 1016, 1026. 1064.
Delautcl. George, 253 1071
Deldevez. Edouard Marie Ernest, 865 Dominique, Pierre Franrrois, 53, 59, 67, 73, 75, 77,
Delines, Michel, 785, 1027, 1°33, 1078, 1208 84,100, 105, 108, 129, 134, 138, 156
Della Corte, Andrea. 234, 268 Dornis, Guillaume Toussaint, 59, 95
Demar, Joseph Sebastien, 346 Donato, Antonio, 12
Denkmäler der Tonkunst Editions, 21, 44, 82, II9, Donaueschingen, 425
141,149,231,299,313,345,355,363,428,479, Doornik,]an Gerard, 289
494, 528 Dorph, Niels Vinding, 542
Dent, Edward Joseph, 20, 57. 78, 86, 87, 98, 104, Dorvigny, Louis Franrrois Archambal1lt, called,
136,159,195,205,239,265.334,388,428.456, 261,362,372
479, 494, 497. 591, 725, 797, 865. 890, 1145, Doucha, ]osef, 630
1340, 1384 Douglas, Walter Johnstone, 1030
Dente, ].,435 Dowd, Harrison, 342
Oe Romanoff, 1221 DOWIIes,J0hn, 57, 1I4
De Rosieres, -, 346 Doyle,]. c., 383
Derrick, Samuel, 222 Drack, Maurice, 871
Derwentwater, Lady Mary, 76 Draghi, Giovanni Battista, 57
Derwies. Baron, 785 Dräxler-Manfred, Kar! Ferdin:md, 918, 951
Dery, Istvan, 610 Drayton, Henry, 767
Deshayes, Pros per Didier, 261 Dresden. 41, 49, 85, 135, 167, 187, and passim
Despreaux, Jacql1es Etienne, 191, 295, 335. 362, Drozdowski,Jan, 514, 525
419, 556 Dlibinski, Max, 219
Despres, Jean Baptiste Denis, 296, 359, 478, Dublin, 125, 171,256,280, 1300, 1372
503 Dlibois de Jancigny, Jean Baptiste, 343
Desprez, Frank. 1004 DlibuissOll, Jaak, 601
Dessau, 855, 1224. 1326 Dlibuisson, Paul Ulric, 355, 370, 371, 398 • .j.07.
Dessaur.J. H .• 651 412,4 17,423,433, 447
Deutsch, Otto Erich. 471, 1278 Duisburg, 1328, 1407
Devic.]., 1068, 1078, 1200 Dlimont du Voitel, Brllllo, 1360
Deville, -, 319 DlIllcan, Elizabeth, 375
Devrient, Otto, 596, 707 Dunn, Geoffrey Thomas, 137, 138, 177, 17t!, [93.
Diabelli, Anton, 528 246,276,307,1196,1214
"Duplex, Bramah" (pseud.), 11I9
Diaghilev (Dyagilev), Sergei Pavlovich, 5I 5.930,
Dupont, Alexandre, 758, 1026
948, 1028, 1°33, 1079
Dupuis, Sylvain, 6
Dialect, Opera in, 227, 235. 272, 743, 1224,1412,
Duquesnoy, Charles Franrrois Honore; Lancrin.
1415
called, 431
Dibdin, Thomas J0hn, 557
Dura, Giuseppe, 121
Diderot, Denis, 173
Dliran, Francisco, 311
Dieke, Gertraude, 176
Durdilly, Louis V., 453, 478, 680, 702
Dielitz, Carl, 218 Durlach, 108
Dietrich, Baron ]oseph VOll, 842 Dushmann, -, 1128
Dimond, William. 395, 621 Dussek,Jan Ladislav, 488
Dimovic, M., 677 Düsseldorf, 1I8, 1279, 1302, 1371, 1385, 1413
Di6sy, Bela, 1374 Dusscrt, -, 631

1697
Dutch Operas GENERAL INDEX Fabbrini

Dutch Operas (see also Flemish Operas), 71, 758, Enciso Castrill6n, Felix, 531, 551,558, 565, 569,
1065, 1133, 1134, 1148, II55, II66, 1181, 1233: 571,574,577,579,5 81 ,5 84-86
1246,1279,1357,1385,1422 Enehjelm, Alexis af, 13 I 7
Dütschke, Hans, 132, 157, 165 Engel, Carl Dietrich Leonhard, 448
Duvert, Felix Auguste, 433 Engelke, Bernhard', 246, 543, 1344
Dvörnik-Cobenzl, Rosa, 1432 Engelman, Martinus Gerardus, 536, 578, 597,
600,602,614,635
Eaton, Wilfred, 163 Engländer, Richard, 49, 351, 361, 363, 401, 538,
Ebers, C. F., 536 574
Eberwein, Carl, 672 English Operas, earliest, 34, 57,75,77, !:!S, 89,91,
Eccles,John,159 112,118,126 '-
Eckcrt, Karl (Anton Florian), 444, 974 English Operas in Hamburg, 404, 480
Eckert, Victor, 309 English Operas in Russia, 256, 281, 303
Edelcrantz, Abraham Niklas, 380 English Parodies, Satires, Comic Operas, early
Edinburgh, 162, 1179, 1407 (see also Ballad Opera), 120,212,256,251,266,796
Edgcumbe, Richard, 2nd Earl of Mount English Romantic Opera, 760
Edgcumbe, IS0 ' Enzberg, Eugen von, 1190, 1I92, 12°5, 1219
Edwards, Henry Sutherland, 837, 107!! Epaneshnikov, V. 1., 1044, 1223
Eggert, Karl, 573 Epstein, Theodor, 451
Egidi, L., II76 Erdman, H., 970
Egle, Rudolfs, 827, 1001, 1268 Erdmann-Guckel, Hans, 5, 6
Egypt, see Alexandria, Cairo, Pyramids, Sucz Erdrnute Sophia, Princess of Saxony, 41
Canal Erdödy, Thomas, Count, 411
Ehlers, Wilhelm, 305 Ernst, Alfred, 976, 1002, 1009, 1055, T056, 1098
Ehrenberg, Walter, 1279 Ernst, Ferdinand V., 716
Ehrenfeld, Alexander , 1236 Ernst, G., 923, 946, 949, 954
Eichholz, Friedrich Wilhe1m, 221, 260 Ernyi, M., 346
Eilers, Albert, 966 Erse, Opera in, 1300, 1372
Einstein, Alfred, 23 1,242,273,280,343,426,438, Erskine, Thomas Alexander, Earl of Kcllv, 280
Eschborn, Natalie, see Frassini '
49 8,9 80
Eschenburg, Johann Joachim, 80, 244, 247. 258,
Eisner, Giusto, 979
Eisner, Paul, 1404, 1409 260, 261, 274, 290, 298, 3°5, 310, 337
Escosura, Narciso de Ia, 747
Eimer, Robert, 4,5,7,24,26,37,40, 8r, 88,114,
Escudier, Gaston, 764
154, ISS, 292
Escudier, Leon, 837, 842, 863
Elberfeld, 1235, 1258
Escudier, Marie (Pierre Yves), 837, 842. 863
Eldee, Lilian, 1215
Esgers, Johannes Nicolaas, 282
Elizabeth, Empress of Russia, 186
Eskimo subject, operatic, 1360
Elizabeth Christina, Empress, 114, 141, 14!! Esperanto, Opera in, 913
Elkan, G. A., 715, 872, 960 Essen, 1328, 1382, 1384
Elkin, Rosie Helen, 1243, 1251, 1256, 1303, 1389 EstelIes, Ram6n, 1215
Ellis, William Ashton, 827, 1I10 Estonian Operas, 1417, 1427
Elliston, Robert William, 704 Estreicher, KarI, I I
Ellmenreich, Franziska, 680, 689, 692, 693, 694- Eszterhaza, 291, 3°2, 331, 347, 35 8, 371,377,3 81,
699,706,709,717,726,730,732,765,775,783, 396,408
786 Eszterhazy, Valentin, Count, 484
Elrnblad, Sigrid, 1010, 1°55, 1056, 1099, 1219 Ettlinger, Florence, 674, 1361
Elson, Louis Charles, 673, 1063, 1085, 1093 Evans, Edwin, 1242, 1316
Eluchen, A., 1376 Evelyn, John, 24, 55, 57, 58
Elvervelt, Hendrik van, 197 Evva, Lajos, 924, 1025, 1081
Elzevier, Kornelis, 132 Ewald, Otto, 1I15
Emerson Scott, J., 601
Emes, -, 1I27 F., M. (Hungarian translator, M. Feleki?). 427
Ems, 952, 958, 963 Fabbrini, Giuseppe, 69, 106

1700
 .-J
Faber GENERAL INDEX Fox

Faber, Johann Heinrich, 235, 241,251,253,254, Feszteticz, Albert, 657

266,267,270,275,277,278,281, 283,294,298, Fiala, Jaromfr, 387, 1382
304,310,314,316,32°,321,326,329,331,332 Fiedler, Friedrich, 1270
Faber, Peter Ditlev, 676 Fiedler, Gottlieb, 82, 84, 87, 89, 92, 95, 97, 103
Fabre, Augustin, 77 Filfpek, Vaclav, 528
Fagan, Christophe Barthelemy, 242 Finale, 439
Faggioli, Michel Angelo, 122 Findeizen, Nikolai Fedorovich. 177, 256, 357,
Faixa;~anueIM., 301 441,451,496
Falk, Richard, 183, 400 Finley, Lorraine Noel, 1398
Fallee, Bemardus Antonius, 470, 501, 569, 581, Finnish Operas, (898), (1129). (1I98), 1295. 1300.
62 3 13 22 ,1337, 1353, 1379, 1404, 143 0
Färber, Siegfried, 279 Finzi, Aldo, 202
Farin de Hautemer, -, 219. 223 Fiocco, Pi~rre Antoine, 38, 56.67.75.81. 101
Farinelli, see Broschi, Carlo • Fiore, Stefano Andrea, 122
Farmer, Henry George, 306 Fischer, A., 414
Famese, Odoardo, Duke of Parma, 13 Fischer, Anton Joseph, 314, 462, 464
Famese, Ranuccio 11, Duke ofParma, 46 Fischer, Ernst, 1020
Farquhar, MarionJones, 1397 Fischer, Georg, 356
Farrene, Jacques Hippolyte Aristide, 591 Fisher,John Abraham, 353
Farrobo das Larangeiras, Conde, 840, 847 Fitz-Gerald, Shafto Justin Adair, 1063
Fassini, Sesto, 142 Fium~, 947
J Fatouville, Nolant de, 75 Flavigny, -, 321, 329, 331
Favart, Charles Nicolas Justin, 259 Fleischmann, Friedrich, 542
Fawcett, John, 643 Flemish Operas (see also Dutch Operas), 987,
Fay, J. Bela, 1081, I195 1047, logo, 1197, 1217, 1238, 1245. 1249. 1260.
Federici, Vincenzo, 442, 576 1283,1314,1323,1400,1437
Fedorov, P. S., 870 Flemrnich, Heinrich, 1065
Fehr, Max,196, 265 Fleurigny, Henri de, 235
Feildin~, Basil, 2nd Earl of Denbigh, 16 Flintberg, Carl Henrik, 222
Feleki, Mikl6s, 427. 928 Floncel, Albert Fran~ois, 49. 150
Felix, Oscar. 911 Flood, William Henry Grattan, 55, 85, 159
Fellinger. Robert. 472 Florence, 1-4,9, 10, and passim
Ferdinand 11. Roman Emperor. 10 Florence, Maggio Musicale Fiorentino. 191.687.
Ferdinand III. Roman Emperor. 29 721, 756, 765, 820, 1344, 1436
Ferdinand (IV). King of the Romans, 29 Florence. Teatro della Pergola, 35
Ferdinand IV (Ill of Sicily, I of the two Sicilies,), Florimo, Francesco, 65, 98, 139, 163,239,351,576,
King of Naples, 257, 29.5. 347. 704 70 4
Fe~dinand VI. King of Spain. 234 Florio, Caryl, 1060
Ferdinand. Archduke of Austria. 319. 347 Foa, Mauro, 62, 134, 179
'Ferdinand. Prince of Parma. 261 Fokine, Mikhail, 1293
Ferdinand Charles, Archduke of Austria. 29, 35 Fokke Simonsz, Arend, 494, 537, 555, 580
"Fere, Octave" (i.e. Charles Octave Mogeta), 925 Foman, Josef, 1269
Ferenczi, Zoltan. 263 Font, Auguste, 259
Ferguson, Francis, 139!; Fontainebleau, 71, 100, 105,217,224, and passim
Ferguson. Robert. 257 Fontana, Uranio, 708
"Ferguut,Jan" (i.e.Jan van Droogenbroeck), 846 ForkeI, Johann Nikolaus, 239
Fermin del Rey, 328 Forman, Alfred, 976
Femandez Grajal, Tomis, 815 Formenti, Lorenzo, 45l!
Femandez y Gonzales, Rogelio. 1100 Forster, Karol, 724
Ferradini, Antonio, 195 Fortis, Leone, 874
Ferrara, 625, 832 Förtsch, Johann Philipp, 94, 124'
Ferrarese, Adriana, 425 Fortun, Tomas, 970
Ferrari, G. G., 398. 420 Fourcaud, Louis de, 976
Ferro, A. H., 1304 Fox, George, 160

17°1 1702
Fragson GENERAL INDEX Gedda
Fragson, Harry, Il23 Freund, G., 622
Framery, Nicolas Etienne, 271, 2R4, 324, 340, Freund, Julius, II95
349, 399 Friedell, Egon, 970
Franchini, Domenico, 95 Friedl, Franz Xaver, 1433
"Francis," see ConlU, F. Friend, T. H., II64
Francis I, Roman Emperor, 186,234 Frigclius, P., 322
Francis H, Roman Emperor, 443, 504 Friis, F. A., 245, 247, 266,268,26<),274,290,299,
Francis Joseph I, Emperor of Austria, 493 318
Franca:ur, L.J., 133 Frimmcl, Theodor von, 58o, 583
Franke, Christian Wilhclm, 540, 570 Fritzheim, Ernst, 1120
Franke, Julius, 754,801,803,822, l!39' Froelich, Friedrich Heinrich Wilhclm, 483
Frankenau, Rasmus, 360,459,466,502,509,521, Frommer, Paul, 610
55 8 Frontaura (y Vizquez), Carlos, 743, 759, 883, 884
Frankfort, 260, 381, 493, 504, 509, 716, and Fuchs,Johann Nepomuk, 99, H2, 237, 255, 342,
passim 386, 501,667,668,915
Fransen, J., 219 Fulda, Ludwig, 970
Franz, J. W. T., 410 Fuller-Maitland, John Alexander, 89, 90
Franz, Rudolf, 842, 863, 1421 Funicull Funicula, 1054
Frasi, Giulia, 171 Funtek, Anton, 677, 866, 984, 1059
"Frassini, Natalie" (i.e. Natalie Eschborn, later Fürstenau, Moritz, 135
von Grünhof), 907 Fusinato, Amaldo, 918
Frederick IV, King öfDenmark, 146
Frederick H, Duke, later King of W urttemberg, G., R. P. (Italian translator), 1248
52° Gabiot de Salins, Jean Louis, 348
Frederick, Prince of Holland, 696 Gabrici, Edvige, 150
Frederick, Prince of Wales (son of Georgc II), Gabrie!son, Frank, 835
187 Gaetano, -, 218, 233, 247
Frederick Augustus, Princc of Brunswick-Ocls, Gailhard, Pierre, 1267
343 Galeati, Domenico Maria, 225, 231
Frederick Augustus H, Elcctor of Saxony and Galicia, Vicente A., II24
King ofPoland, 141, 187 Galli, Filippo Giuseppe, 573
Frederick Christian, Prince of Saxony, 207 Galsworthy, Ada, 1044
Freeman, C. Denis, 716, 1367, 1404 . Galsworthy, John, 1044
Freeman, Max, 1017, 1080 Gandolph, Maximilian, ltrchbishop of Salzburg,
Freiberg, 558 39
Freiburg, 1384, 1418 Gang!, Enge!bert, 972
Freidmann, M., 178, 646, 768, 892, 9I1, 1047, Garda Alvarez, Enrique, 1215
II40, II57, 1224 Gardi, Francesco, 358
Freisau/f, Rudolf von, 448, 451, 454 Gargano, G., 101 I
Fremery, Friedrich, 964, I II 3, I I 17 Garstang, Walter, 160
French,James Murphy, 228 Garulli, Valdo, 342
French Operas, earliest, 27, 32,40,51-53 Gasparini, Quirino, 316
French Operas in America, 147,254, 1330, 1352 Gassmalill, Theodor, 910,93°,990
French Operas in Dublin, 5°4, 636 Gatti, Carlo, 467
French Operas in Italy, 8o, 712 Gaudio, Antonio de!, 68
French Operas in London, see London Gauss, E. F. L., III5
French Operas in Portugal, 1128 Gauthier-Villars, Henry, 301, 1281, 1288
French Operas in Russia, 252, 5°9, 587, 599, 620 Gautier, J. F. E., 679
Freneh Operas in Spain, 80 Gautier, Judith, 1098
French Opcras-comiques, early, 130, 220, 224, Gavinics, - , 179
25 1 ,278 Gawalewicz, Maryan, 1237
Frcscobaldi, Girolamo, 159 Gawronski, Woitech, 1270
Freudenreich, Josip, 928, 958, 962 Gazal, Dr., 131
Freund, Erich, 607 Gedda, Giulio, 341

1703
Gehring GENERAL INDEX Graffigna
Gehring, Franz, 56 Giuliani, Nicolo, 545
Gelli, Ettore, 815 Giustiniani, Olimpia, 30
Geminiani, Francesco, 159 Gjellerup, Karl, 976, 1014
Gemmingen, Otto Heinrich von, 3I [ Gjorgjevic, Vladan, 94-7
Genee, Friedrich, 751, 775 Glastonbury, 1330, 1367, 1378
Genee, Rudolf, 422 Glasgow, 1390
Genest, John, 120, 164, 506 Glauche, Johann Georg, 146
Geneva,914,1154,1173,1207,1318 Glazunov, Aleksandr Konstantinovich, 1142
Genoa, 61, 107, 121, 2°3, 713, and passim Glehn, Professor von, 7
Gensh, Fedor Venyaminovich, 254,315 Glinka, Sergey Nikolaevich, 470, 525, 581
Gentil de Chavagnac, Marie Joseph, 410 "Globus, Septimus" (pseud.), 678
Gentili, Alberto, 62, 179 Glossy, Karl, 471, 580, 667
Gentili, Ettore, II41, I164 "Glyebov, Igor" (i.e. Boris Asafiev), 995, 1214
Gentleman, Francis, 262 Glyndebourne, 829, 862
George H, King ofEngland, 187 Goddard, Scott, 1357
George III, King ofEngland, 355, 520 Godebski, Ksawery, 664'
George, Landgrave of Hesse, 12 Godefroid, Jules Joseph, 796
Gera, 8, I393 Goedeke, Karl, 318,471,707,716
Gerber, Ernst Ludwig, 98, I15, 1]2, 141, 145 Goepfart, Karl Eduard, 494
Gerken, E., 1393 Goeris, B. C., van, 533
German National Opera Movement, 213, ]29, Gogel, Isaak Jan Alexander, 43 I
379,660 Göhler, Georg, 862, 878, 959
German Operas, earliest, 12, 23, 36, 66 Goizet, J., 944
German Operas in America, 943,1304 Goja, Hermann, 33 I
German Operas in Copenhagen, 146 Golar, c., 1033
'German Operas in London, see London Goldschmidt, Hugo, 10-17, 21, 25, 30, 35, 49,
German Operas in Paris, see Paris 65, 246, 265, 273
German Operas in Stockholm, I36, I54 Goldstein, Eduard Yulevich, II20
German Operas in Warsaw, 586 Golintsin, Prince Aleksei Ivanovich, 177, 389
German Pastoral Opera, early, 206 Gomez Gereda, Eduardo, II98 _
Germi, -, 1420 Gomperz, Leon, 357
Gerö, Karoly, II18 Gondot, Pierre Thomas, 148, 191,207, 288
Gersin, N., 197,617,698 Gonnsseff; Kallinik, 1229
Gervasoni, Carlo, 612, 620 Gonzaga, Charles 1I, Duke of Mantua, 27 ,
Gessner, Friedrich, 1020 Gonzaga, Francesco, Prince of Mantua, 5, 7
Gestewitz, Friedrich Christoph, 535 Goodwin, John Cheever; 1067
Ghelen, Jacob Anton von 213, 250, 257, 293 Gorchakova, Aleksandra A., 1044, 1068
Ghelen, Johann Leopold von, 173 . Gordigiani, Crescence, 857
Ghent, 966, 1359 Gordon, Lady Duff, 950
Gherardini, Marchese, 475 Gordon, John Barritt, 960
Ghione, Franco, 984 Gorskoy, - , 747
Giannetti, L., 612 Gotha, 342. 345, 351, 352, 361, 374, 892, II68,
Giardini, Felice, 208, 336, 402 I175
Giblliauser, Franz, I124 Gottsched, Johann Christoph, 48, III, 224
Giffard, William, 89 Götze, Conrad, 561
Gil Y Gordaliza, Antonio, 301, 886 Gound, Robert, 218, 1066
Gilardoni, Tommaso, 475 Gourbillon, C. Joseph Antoine de, 287, 424
Gimenez, Ger6nimo, 652 Gourgault Dugazon, J. B. Henry, 380
Gimma, Giacinto, 64 Goya y Lucientes, Francisco, 970
Ginguene, Pierre Louis, 245 ' Gozo, Federico. 975
Giorgi-Bert61a, Aureli<? de', 343 Grab, Hedda. 1134
Giovannini, Alberto, 826 Grabowski. Antoni. 913
Girard, N arcisse, 766 Gradenigo. Piero, 249, 250, 278
-Girardeau, Isabella, 123 Graffigna. Achille, 804

1706
 Graham --' GENERAL INDEX Harns
Graham, Harry, 508 Gumbert, Ferdinand, 843,971,986, 1029, 1060.
Gram, Hans, 254 1065, 1100, II04, II08, 1114, 1120
Granara, Antonio, 888 Günther, Dorothea, 6
Granberg, Per Adolf, 613, 672 Gürrlich, -, 384
Granberg (-Stjemström), Lovisa Elisabeth, 625, Gustafson, .Richard A., 985, 1004
92 7 "Gustave," see Vulpian, Adolphe
Grandinson, Ernil, 301,965, II45, 1252, Gustavus III, King of Sweden, 463
1294 .j Gutheim, Karl Heinz, 1377
Grandjean, Moritz Anton, 983 Guttenberger-Peler, Karl, 499
Grana, Salvador Mada, 957, 1044, II82 Guttmann, Alfred, 786 .
Grantham, john, 1022 Guymond de Latouche, Claude, 372
Grappelli, Paolo, 569 Gyergyai, Ferencz, 777
Grassini, Giuseppa, 579
Gravrand, Ferdinand, 819 Haas, Robert. 21,028, 145',216,250,273,279,313.
Gray, Cecil, 900 363,52 8
Gray, Thomas, 89, 183 Hadamowsky, Franz, 480. 559
Graz, 770, 856, 1290, 1429 Haelssig, Arthur, 547
Grae, Jov.W, 493, 601, 677 Haeser, Wilhe1m, 855
Grech, Nikolai Ivanovich, 610 Hagel, Richard, 1267
Greek, Opera in,196, 652, (1122), IH7 Hagemann, CarJ, 276, 1106
Greenbank, Percy, 395, 1205, 1215 Hagen, Hoiger, 301
Gregor, Hans, 1089 Hagen, Oskar. 147, 150, 152, 193
Gregory, Gaspard de, 408 Hague, The, 860, 1065, 1385
Grein, Alix, 1240 Hähnel, Julius, 777
Greissie, Felix, 913 Hallam, A., 161
Grenier, J., 56, 57, 65 . . Halle, 1402
Greuve, Gosenwijn Christi@ de, 511 Halle" Sir Charlcs, 373, 659
.-2 .j}rigoryev, ApolIon, 451, 773' Hallmim, Carl Israel, 170, 328, 362
Grimaldi, Nicolo, called Nicolino, 95, !I5, 123, Halperine, Pauline, 1095
126 Halpem, Wolf AbiraIn, 793
Grimani, Antonio,I9' , Hamann, Johann Georg, 125
Grimm, ~aron Friedrich M~lchior de, 21, 105, Hamburg, 48, 61, 63, 70, 72, 79, 93-95, 100, "02,
174, 227, 377, 38d 104.106, III, II2, u6, II7
Grist, William, 423, 501, 768, 924, 1007, Il59, Hamilton, Cosmo, II23
1,188 Hamilton, W. H., 623
Groot; Daniel Edouard de, 648 Hammeiri; Avicidor. 1345'
Groppo, Antonio, 50, 96 Hanau,328
,Grossmann, E., 510 Hanemann, A., 1075
Hannikainen, P. J., 886 "\
Grossmith, George, 1281
Hanover, 26, 85, 87, 90, 92, 97, 308, 7Il. 794 . ._'
Grove, George, 70, 140, Il64, 1207, 1214
.-.' . 1088, 1361, 1392, 1417
Grua, Stefan, 519 Hansen, Gunnar, 1309
Grün, Edmund, II37 Hansleutner, P. W. G., 41'
Gspan, Ignatius, 176. Hansliek, Eduard, 1200
Guadagni, Gaetano, 261 Hanson, Willis T., 687
Guarini, - , '127 Hanus, Josef, 931
,.Güell, Bruno, 1269 Harambasic, August, 498, 592, 601, 851, 1!86, "I
Guerin de Fremicourt, Jean Nicolas, 191, 372' 1000, 1045, 1076, 1086, 1102, 1115, 1140,
Guemsey, Wellington, 963 II 46
Gueullctte, Thomas-Simon, 59,174 d'Harcourt, Marguerite, 1120
Gugitz, Gustav, 301, .440, 579 . d'Harcourt, Raoul, 1[20, 1292
Gugler, Bemhard, 451 Harlacher, Augpst, 1073, Il41. II82, 1I86, 1245
Guilliaume, Jules, 819, 822 Harlassova-Schrädlova, Marta, 1401
Guimard, Mlle. 38o Hamy de GuervilIe, -, 218
Guldberg, Frederik H2Iegh, 421 Harris, William Henry, 6

1708 '
,,\
 Harrison GENERAL INDEX Hongkong
Harrison, William, 90S Herbeck, JohjU1Il, 952, 1200
Hart, Fritz (Bennicke), n63 Herbert, Alan Patrick, 970, 985
Hartenfels"Edwin,761 Herbert, Joseph W., 1278
Hartford, 1426, 1439 Herburger, Franz, 292
Hartleb, Hans, 1261 Herissant, Marie Nicole Estienne, 225, 234
Hartmann, Georg, 541, 596,610 Herman, Henry, 1006
Haselmeyer (manager); 483 Herrnes, Gualberto, 1238
Hassaureck, Franz Joseph, 600 HermiI, Edouard, 1102
Hasse, Faustina, see Bordorn Herrmanil, -, 897
Hasse, Max, 936, 973 -' Hertz, Adolf, 336, 373, 850, 885, N92, ~o, 987.
Hasselt, Andre van, 680 1001, 1°39
Haug, -, 585 _ Hertz, Alfred, 1097
Haupt, (Markus) Theodor von, 712, 715,717,720 Herz, Peter, 1061
Hausegger, Friedrich von, 409 Hertzenhjelm, Carl Johan, 296
Hauser, Miska, 456 Herz, Leo, 833
Haussner, Frcderic Guillaume, 516 Hess, Heinz, 61
Havana, 1299 Hesse-Rheinfels. Emest, Landgrave of, 8X
Havi, Mihaly, 897.911 Hetsch, Gustav, 3°7, 1078, 1345
Hawes, William, 89, 376,444, 4SS, 478, 527, 570, Hetsch, L., 414
672,677-78,700,713; 716, 746 Heufeld, Franz, 292
Hawkins, Sir John, 8S, II9, 144 Heugel, Jacques, 1407
Hayes, Maria Xilliena, 1060 Heulhard, Arthur, 1006
Heartwell, Henry, 540 Hevesi, Sandor, 342, 396, 702, 1033, 129X
Hebbel, c.; II97 Heward, Leslie, 342
Hebdowski, Kajetan, 463, 543, 576 Hiller, Friedrich Adam, 536
Hebrew, Opera in, 257, 768, 908, lOOg Hiller, Paul, 1307
Heiden, Nicolaus Adam, 384 Hillerup, Frederik Christian, 755
Heidrich, GUstav, 1017 Hirsch, Paul, 452
Heiffert, K., 161 Hirschfeld, Robert, 302,952,980, 1196
Heinemann, Ernst, 451 Hirth,Friedrich,477
Heinse, Wilhe1m, 206, 286 Hitchcock, Robert, 256, 280
Held, Michael, 425 Hitie, Seymour, 738
Helfert, Vladirnir, 216 Hnewkowsky, Sebastian, 494
Heller, Adolf, 1I34, 1305 Hock, Wilhelm, 255
Heller, Seligmann, II03 Hodges, Miss, 312
Hengren, A. Emil, 1008 Hoemes, Moritz, IIg6
Hellmich, Ilse, 984 Hoeven, Emanuel van der, 73
Helsinki (see also Finnish Operas), 898, II29, Hoffbauer, Carl, 1148
-1I98, 1295 Hofmann, Aloisius Fürchtgott von, 467
Heltai, Jenö, 1282, 1404 Hofmann, Melchior, 93
Henderson, William Edward Bonhote, 357 Hofmüller, Max, 1060
Henderson, W. J., 106g Hogarth, George, 348, 762, 859
Henisch, Carl Franz, 275 Högman, Ernst (Johan Sigurd), 1146, II92
Hennequin, Alfred, 1093, II02 Hohenrechberg, Johann Rudolf von, 13
Hennequin, Mauricc, 1093 J'Holbach, Paul Heinrich Dietrich, Baron,
Henninger, M. de, 230 174
Henri IV, King ofFrance, 3,4,339 Holcroft, Thomas, 244, 377, 427, 552
Henry, Prince ofPrussia, 444 Holland, Arthur Keith, 1308
Hensel-Haerdrich, Paul, 809, 875 Holland, Konstantin, 775
Henseler, Anton, 932, 963 Holmström, Carl Ferdinand Alexander, 601
Henzen, Wilhelm, 1221, 1228 Holstenius, Lucas, 18
Heppner, Antal, 377,409 Holzer, Ernst, 617
Heppner, Antal, 377, 409 Horne, sweet Horne, 687
Herald, Charles, 197 . Honey, R., 490
Herbage, Julian, 267 Hongkong, 842 '_--.1

1710
Honig GENERAL INDEX Jarvis

Honig. J. c.. 303. 626 Isabella ofBourbon-Parma. Empress. 247. 259

Hönicke. Johann Friedrich, 442 Isabella Clara. Archduchess of Austria. 27
Honort~. Charles. 698 Isnardon. Jacques. 693
Hoogstraaten. A. van. 527 Israel. Zwi. 255. 396
Hook. James. 3r6 Issy. 37
Hopp. Julius. 910. 945. 949. 981. 989. 993. 995. Istanbul. see Constantinople
1006. 1008. 1040. 1043. 1048. 1074. 1080. 1085. Istel, Edgar. 312. 344. 1018
1888 Italian Opera, outside Italy, first 8-9
Hopwood. Aubrey. 1067 Italian Opera. in America. 244. 671, 888. 921.
Horn. Charles Edward. 257. 498. 506. 654. 734 1303. 1346. 1419
Horncastle.J. H .• 727.830 Italian Opera. in Amsterdam. 1275
Horvath. J6zsef, 569 Italian Opera. in Denmark. 210
Houghton. Alan. 621. 825 Italian Opera. in Germany. 29
Houlton. Robert. 262 Italian Opera, in Ireland. 125
Howell. James. 3I Italian Opera. in London. see London
HreScakova. V •• tI34 Italian Opera, in Paris, see Paris
Hrubj. Jaröm1r, 943. 1005 Italian Opera. in Prague. 69. 148, 213, 277, 448.
liubertusburg. 199.200.207 491. 857
Huddersfield. 1406 Italian Opera. in Rumania, I I 5I
Hudson, George. 34 Italian Opera, in Russia. 179. 182.299. 369.380.
Huldberg. Per Ulrik. 693. 694 389.418.471,959. 1012. II07. 1243. 1262
Huldschinsky. Ernst. 1297 Italian Opera. in Portugal. 172. 194, 203. 234,
Hülsen. Georg von. 360. 703 3°6,337,374.401.416.465.5°8,582.714.810,
Humbert. Eugene. 966 909, 961. 1012. 1050. II 32. 1148. 1209. 1218.
Humperdinck. Wolfram. 1264 1278
Humphreys. Samuel. 169 Italian Opera. in Spain, 44. 169. 193. 225. 234.
Hungarian Operas. early. 685.801.809.836,864.
534. 629. 664. 795. 797. 804. 887. 103 8• 1077.
869. 87 8• 952 II34. ti55, 1206. 1229
Hungarian Operas in ltaly, 1343. 1420 Italian Opera, in Sweden. 230
Huszar.Imre. 1029
Ivanov. A.• 672
Hvid. Christopher, 760. 853. 865 Ivanov, Mikhail Mikhailo~lch, 1140
Hysel. Franz Eduard. 244

I.S.C.M.. see International Society fot Con- Jackson. John P .• 823. 825. 850, 885. 1049; 1080.
temporary Music ll37
Iacuzzi. Alfred. 209. 223. 278. 298 Jacobson. Eduard. 1005. 1062. Hoo
Ibler. M .• 1224. 1226 Jacquelin, Jacques Andre. $12
Icelandic subjects. operatic. 1138. 1271 Jadin, Louis Emmanuel. 259
Iffiand. August Wilhelm. 451 Jäger, Daniel. 568
Ilgener. Peter Florenz. 298 Jagodytiski, Stanislaw Serafm. I I
India. 349.456. II40 Jahn, Otto. 306, 471
Ingelman. Georg Gabriel. 747 Jakubowicz. Dominik. 537
Innocent X. Pope. 24 Jalowetz. Hans, 6
Innocent XI. Pope. 26 Jamaica. 159
Innsbruck. 33 James. Charles. 444
Instruments and Instrumentalists. 59.67,1°7.132. James, Reese D .• 498
142.205,249,5°9,534.595.647.711,866,993. Jameson. Frederick. 976, i057
1003. 1016. 1234- Jannetti. Francesto, Sn
Intermezzo. 120. 135. 137. 152. 173. 181, 204. Jansen. Lothar. 179. 502
217. 222,223. 303 Japanese. Opera in, 265. 1045
International Society for Contemporary Music Japanese operatic subject. first. 1025
(I.S.C.M.). Festivals. 334. 369. 437. 529. 1376, Jaques y Aguado. Federico. 1113
1384. 1412. 1422. 1438 Jarnach. Philipp, 1384 .
Ireland. see Belfast. Dublin and Erse Jarvis. J. H .• 1000
1711 1712
Jasmski GENERAL INDEX Knigge
JasiIlski, Jan, 61 3, 733, 737. 740, 75 8, 770, 775, Kayser, Philipp Christoph, 929
777,783,788,801,805,821,828,830,831,839, Kazan,785
841,844,852,861,865,867,870,934 Keller, G. F., 734
Jassy, 819, 1084 Kellner, Johann Martin, 330
Jefferys, Charlcs, 728, 877, 889, 903 Kellogg, Cbra Louise, 912, 986
Jehin, LCon, 1290, 1302 Kclly, Alfrcdo Fiorda, 558
Jelmoli, Hans, 1370 Kelly, Michael, 245, 347, 351, 357, 366, 376,418,
Jelyotte, Pierre de, 217 425,435,4~5,488,49I,506, 517, 523, 567,579,
Jenbach, Beb, 1061 759
Jeromc Bonaparte, King ofWestphalia, 367,620 Kemble, Jolm Philip, 491
Jerusalcm, sec Palcstine Kempter, Lothar, 1098
Jiny, St., 969 Kenney, Charlcs Lamb, 900, 916, 930, 971,981,
Johnsen, Hcnrik Filip, 170 989, 1008, 103 I
Joliveau, Nicolas Rene, 72 Kennel",JlIlles, 548,7 12,790
Jonason, Aron, 962 Kerby, Paul, 1294
"Jones, Graham" (i.e. MadcIcinc MarshalI), 984, Kereszty, lstvan, 1099
1327 Kerkhovcn, F. J., 673
Jones, Kenneth, 835 Kern, Aurcl, IOH6, 1334
Joseph I, Roman Emperor, 121 Kexcl, Olof, 470
Joseph Ir, Roman Empcror, 247, 260, 306, 313, Key, Helmer, 862, II27, II38, 1375
362,3 80,422 Kharkov, 1226, 1243
Joseph I, King of Portugal, 33 7 Khcvenhüller-Metsch, Johann Joseph, Fürst,
Joseph, Prinee of Portugal and Brazil, 374 295,3 15
Josephine, Empress of thc French, 452, 616 Khilkov, Andrei Yakovlevich, 308, 330
Joslin, -, 230 Khmelnitsky, Nikolai Ivanovich, 700
Josten, Werncr, 149 Kiczman, Adolf, 1062, II09, 1I47, u50, II62,
Jover, Gonzalo, 103 I 1198,1230,1239,1257,1269,1282
Jugoslav Opera, see Croat, Serbian, Slovcnian Kiczman, Anda, 497
Opera Kiel, 13~5
Juin, Carl, 303, g05 Kienlin, Jules, 497, 498
Jung, Vietor, 494 Kiesewetter, Raphacl Gcorg von, 140
Jungmann, Josef, 395 King, Matthcw Peter, 548
Junker, Hermann, 141, 149 Kingston, William Beatty, 881, II02, u63, 1223
JuvanCic, Friderik, 1233 Kinkcldcy, Otto, 848
Kinker, Johannes, 421
K., V. S. (Czech translator), 913 Kirsch, Hyacinthe, 982
Kadar, Jolantha von (Pukanszky-), 450, 469 Kiss, Janos, 43 I, 576
Kaernbach, Gustav, 107 Kjerulf, CharIes, 1083
Käfer, Johann Philipp, 129 Kleczynski, Jan, II 37
Kalensky, Bolcslav, III5, 1250 Klecfcld, Wilhelm, 501, 648, 674, 775, 781, 829,
Kalisch, Alfred, 1038, 1288, 1306, 1317, 1359 95 8
Kalisch, Ludwig, 933, 1004 Klecn,Johan Christoph, 138
Kalkbrenner, Christian, 45 2, 453 Klein, Herman, II87, 1319
Kalliwoda, Wilhelm, 477 Klein, Walter, 913, 1395,1401,1417
Kaminski, Jan Nepomucen, 447, 513, 537 Kleinmichel, Robert, 178, 560, I218
Kamper, Ottokar, 279, 389 Klctkova, E. N., 966, 1105, 1171
Kandkr, Franz Sales, 600 Kitchener, William, 127
Kapper, Siegfried, 8°7, 815 Klijn, Hendrik Harmen, 547
Karasowski, Moritz, 384 Klima, Jan, 1049
Kassowitz, Gottfried, 331 Kloos, Willem, 1010
Kassowitz-Cvijic, Antonije, 428, 1105, 1239 Kneiff, Eduard, 737
Kasteleyn, P. G., 310 Knepler, Paul, II09
Katyenin, Pavel Aleksandrovich, 538 Knigge, Adolf Friedrich von, 425, 461
Kaunas (Kovno), 1359, 1422 Knigge, Philippinc Eregine von, 425
 /

Knitl GENERAL INDEX Lamm

Knitl, Zdcnek, 1416 Kucera, Otakar, 1169

l(nös, Thekla, 887 Kuchad,]ohann Baptist, 494
Knudsen, Lars, 247, 251, 270, 272, 292, 340, 368, Kudlicz, Bonaventura, 472, 556, 561, 569, 602,
370,376,387, 39 8, ~P4, 43 1, 437, 481 62 5
Kobdius, ]ohann Augustin, 88 Kufferath, Maurice, 395, 7°3, 1093, 1098, 1102,
Kobyakov, Piotr Nikolaevich, 486, 5°5, 541 11I5, II 87, 1295
Koch, Heinrich Gottfrid, 323, 318 Küfferle, Rinaldo, 1208, 1229, 1277, 1329, 1351,
Koch, ]ohann August Christian, 270 1420, 1439
Köchel, Ludwig von, 51, 72, 498 Kügler, Kard, 988, 1425
Koechlin, Charles, 1292 Kühn, Oswald, 809
Kokoshkin, Fedor Fedorovich, 503,614 KühneI, Vojtech, 1054
Kolar, ]osef ]ii'i, 264, 724, 824,949 Kuliffay, Ede, 947, 952.
Kollmann, Ignaz Carl; 556,643,698,770 Kullberg, Herman Anders, 416, 497
Kolomiitsov, Viktor, 976, 1002 Kummer, Clare, 1208
Komarov, A., 1277 Kuntz,]ohann Paul, 142
Koml6ssy, Fercncz, 673 Kup, -,470
Komorzynski, Egon von, 494, 588 Kurochkin, Vasily Stepanovich, 1008, 1026
Kompus, Hanno, 826 Kusche, Ludwig, 993
Königsberg, 486, 1412 Küster, G. H., 339
K6nyi, ]anos, 264 Kuszewski, -, 321
Kopp,]., 264 Kutscher, Arthur, 325
Korsakov, Piotr Aleksandrovich, 636 Kuvichinsky, Semen, 395
Kosztolanyi, Dezsö, 238 Kuzmin, MiklIail Aleksyeevich, 178, 1288, 1297
Kotsi, P.]anos, 514, 528
Kramer, Christopher, 395 L., A. (German translator), 340
Krasnopolsky, Nikolai Stepanovich)460, 537 Laass, Bruno, 316
Krastel, Fritz, 255 Labarre, Trille, 414
Kratzer, Walentyn, 516 Labbet de Morambert, Antoine Jacques, 75
Kraus, Karl, 1004, 1006, 1011, 1040 Labey, Marcel, 6
Krauss, Rudolf, 251 Lablache, Luigi, 893
Krebs, Carl, 440 Laborde,Jean Benjamin de, 74,84,235,259
Krebs, ]ohann Baptist, 430, 477, 608, 618 Labrada, Enrique, II44
Krehbiel, Henry Edward, 400, 423, 872 Labroca, Mario, 87
Kretzschmar, Hermann, 21, 37, 51, 60, 61, 97, Lachnith, Ludwig Wenzel, 497
2°5, 234, 355, 507 . Lacombe, Jacques, 182, 227
Kreymborg, Alfred, 1324 Lacy, Michael Rophino, 387, 638, 651, 652, 658,
Krickeberg, Friederike Sophie, 660 7°1,705,723,73 6,745,77 1
Krimsky, ]errold, 1404 La Fermiere, see De La Ferrniere
Kristan, E., 1059 Lafont, Charles, 1009 )
Krizhanovsky, Zakhar, 272, 315, 380 Lafont, Numa,687,740
Krist6f, Karoly, 1405 Lafontaine, W., 197
Krogh, Torben, 146, 528, 1146, 1162 Lagye, Benoni, 1245
Krohn, Pietro K0bke, 702 Lagye, Gustave, 1047, 1058, 1065, 1073, 1076,
Kr6likowski,]6zefFranciszek, 538, 546, 661 II47, 1197, 123 8
Kroll, Erwin, 1424 La Haye, M. de, 37 /
Krone,Walter, 559 Lahee, Henry Charles, 400, 498,1307
Krottenthaler, Karl,910 Laibach, see Ljubljana
Kruse, Georg Richard, 307,656,806,875 Laicens, Linards, 457
Kruse, Laurids, 453, 533, 560 Lajarte, Theodore de, 59, 117, 131,2°3,237,385
Kruse, Heinrich, 668 La Laurencie, Lionel de, 77, 138, 159,220,223
Kruszysriki, ]an, 604 Lalin, Lars Samuel, 170,296,3°3,335,362,379
Krzerniriski, Piotr, 802 Lalo, Pierre, 1095
Ksilandr,-, 656' Lamadrid, Ventura, 879
Kyb, F. 983 Lamm, Pavel Aleksandrovich, 995, 1°34, 134 1

1716
 Lamoureux GENERAL INDEX Lianovosani

Lamoureux, Charles, 976, 1010, 1216 Lediard, Thomas, 150

Lampadius, Wilhclm Adolf, 893 Lee, Ernest Markham, 337
Landon, H. Robbins, 381 Lee, George Alexander, 723, 801
Landormy, P., 87 Lefebvre, Hippolyte, 934
Landshoff, Ludwig, 345, 629 Lefevre, Marccl, 1249
Lang, Adam, 519:600 Lefroid de Mereaux, Jean Nicolas Amedee, 327,
Lang, Benjamin, 1097 335
Langbridge, Frederick, 1304 Uger, Franc;:ois Pierre Auguste, 556, 582
Lange, Aloysia, 422 Legband, Paul, 176
Langer, Anton, 1030 Legouve, Gabricl Marie, 549
Langer, Ferdinand, 517, 553, 61R Lehnhardt, Gustav, 309, 547
Langford, Samucl, 301 Leibniz, Gottfried Wilhclm, 88
Langhans, Wilhclm, 998 Leigh, Henry Sambrooke, 951, 10lI, 1050, 1061
Langucdoc, 227 Leipzig, 92, II 1,217,288,290,292, and passim
Lanncrstjerna, Johan Magnus, 229, 406 Leitmotiv, 550
Lannoy,-, 619 Lellis, T. de, 500
Lapierre de Chateauneuf, Agricole Hippolyte, Lemaire, Jacques, 1195
349, 549 Lemberg, see Lwow
Lara, Rene, 1311 Lemiere de Corvey, Jean Fredcric Auguste, 630,
Lark, Kingsley, 302 665
La RoteIla, Pasquale, 245 Lemon, Mark,665,742
Larousse, Piere, 282,515,529,656,854, HP, H44 Lengey, K., 592, 708
Larra (y Wetoret) Luis Mariano de, 1064, 1076 Lengyel, Danicl, 791
Lasker, Julius, 951 Leningrad, see Sankt Petersburg
Laszl6, Markus, 1397 Lenoir, Helen (Mrs. d'Oyly Carte), 1067
Laszlo, Sebestyen, 498 Lenz, Leopold, 386
Latabar, Endre, 959, 981 Leon, Gotdieb von, 312
'Latham, W. H., 733 Leon, L., 312
Latin, Operas in, 293, 1396 Leonhard,-, 1308
Lattaignant, Gabriel Charles de, 210 Leoni, Myer Lyons, called, 348
Latvia, see Lettish Operas Leopold I, Roman Emperor, 44, 45, 47, 53, 78,
Latzko, Ernst, 397, 434 102
Lauckner, Rolf, 690, 953, 1146, 1196 Leopold 11, Roman Emperor, 471, 491, 500
Laudes, Joseph Gottwill von, 375 Leopold, Archduke of Austria, 295
Laue, Hellmuth, 809, 875, 1001 L'Epine, Francesca Margherita de, II5, 123
Lauff,Joseph von, 703 Lepko, O. A., 592
Laur, Hugo, 779, 1189 Leris, Antoine de, 50, 59, 77
Laurent, Henri, 888 Lerner,JosephJudah,768
Lausanne, 1344 Leroy, Hippolyte, 910
La Violette, F. M., 1259 Lert, Ernst, 1375, 1380, 1382
La Violette, Harry, 1280 Le Texier, - , 312
Lawes, Henry, 34 Lettish Operas, 1356,1361, 1366, 1423, 1433
Lawrence, William Jolm, 52, 55, 69, 115, 230, Levachoi, -, 293
256,404 Levasseur, F., 366
Laxenburg, 141, 145, IX6 Levemson, H., 677
Lazerini, Gregorio, 11 Levental, -, 1055
Lazzeri, Ghino, 312,410 Levi, Hermann, 451,935,963,973
Leawington, Alexander, II60, 1267, 1274, 1276, Levik, S. Y., 960,1268,1376
1279 Levshin, Vasily Aleksyeevich, 240, 260,282,287,
Lebrün, c., 501 306,310,34°,414,435,491,552,567
Lecco, 1010, 1018 Levyson, Salomon, 1128. II89, 1226, 1286, 1347
Lecocq Darcourt, Philippe Joseph Cesar, 429 Lewicki, Ernst, 386
Lecomte, Jules, 650 Lewis, Anthony, 76
Lecouppey de la Roziere, Jean Rene, 406, 419 "Lianovosani, Luigi", see Salvioli, Giovann;

1717 17 18
 Libretto GENERAL INDEX Lüderwald
Libretto, written by the composer, first instance, Lloyd, Robert, 230
lO Lobkowitz, Franz Maximilian, Princc, 583
Libretto, re-setting oE an older, 237 Loder Georgc, 786
Libretto, see also Cast, Translation Locn August von, 1025
Lichtenau, Wilhelmine, Countess oE, 490 Loewe, PI1ilipp, 855
LichtenthaI, Peter, 387 . Logan, W. MacGregor, 59T,677
Licit, Paula, 644 Lohnunn, Wilhelm, 547
Lickl, Johann Georg, 559 Lonati, A., 50
Liebrecht, Henri, 28, 139 London, sec English Operas, and passillI
LiederspicI, 554, 562 London, French Opera in, 48, 53, 54, 56, 790,
Litg~ 235, 982, 1103, 1360, 141~ 9 19
Lifanov, Evgraf, 557 London. Gcnnan Opera in, 548, 677
Ligne, Princ<; Charlcs Joseph de, 352 London, Italian Opera in, 99, 1I2-II5, 123,125
Lijnslager, P. F., 350 London, Russi:m Opera in, 1042
Lilij, Camillo, 41 London Promenade Concerts, 900
LilIe, 1406 London Theatres:
Lillo, Giuseppe, 8p Academy of Music, 54
Lima, 456, 902 Academy of Music, Handel's, 142
Linares Rivas v Astrav, Manucl, 1269- Drurv Lane, 609
Lind, Jenny, 843 ' Engli~h Opera-House, 1J41, 1147
Lindau, Carl, 1017, II33 London Opera-House, 1253, 1289
Lindau, Richard, Hso Ln-Cllln, 760, 1016
Lindeberg, Anders, 493, 606, 676, 6SS, 756, 767 Marylcbone Gardens, 175
Lindegren, Carl Johan, 33 I, 356, 403, 4 T4, 436, National Opera, St.James's, 929
4 X8,621 Pantheon, 324, 489
Lindemann, Kirstine, 1224 Princl'ss's,85 8
Lindgren, Adolf, 621, 1049, 1029 Queen's, Haymarket, II 3
Lindsay, Noc!, 1222 Queen's, Long Acre, 548
Lindsey, Mrs. (singer), 123
Ranclagh House, 175. 307
Lindström, Sven, 1382 Savoy, 1061
Linike, Johann Georg, 150 Waldorf, 674
Lingard, Horace, 1071
Long de Clavii:res, Pauline, 681, 914
Linlcy, Thomas (the Young;er), 348
Longinov, Mikhail Nikolaevich, 423
Lipowski, -,584
Lon;dalc, M., 463
Lipinski, - , 639
Loosjes, Adriaan, 627
Lipiriski, KarlJoseph, 537
Lipp, Scrgius, lOH, 1146 Loots, Cornc!is, 415, 481 -
Lippert, Kar! Fricdrich, 293, 448, 450, 459, 507, L6pez Marin, Enrique, 1056
536 Lorber, Johann Christoph, 5I
Lippold, Max, 1033, 1034 Lorcnz, Alfred, 68, 78, 83
Lipskcrov, K. A., 1045, I pI Lorie, Cornelis, 282
Lisbon,203, 306, 508, 517, 810, 11)2 (see also Los Angeles, 1331
Portuguese Operas, and Italian Operas in Louis XIV, King ofFrance, 30, )2, 37,40,42,53,
Portugal) 59,74,77
Lishin, Grigory Andreevich, 769, 823, 850, 890, Louis XV, King ofFrance, 74, 210, 335
972,981,997, 1019, IOSI . Louis, Dauphin (son of Louis XIV), 80, 84
Lithuanian, Opera in, 908, 1359, 1422 Louis, Dauphin (son of Louis XV), 210
Litnensky,J.J., 829 Louise Amalia, Princess, 199
Liverpool, II26, II 64, 1375, 1383, 1406 Louis XVI, King ofFrance, 489
Livius, Barham, 678, 679, 694, 710, 712 Lübeck,244
Lizogub, Yakov Ivanovich, 602 Lucas, Leighton, )22
Ljubljana (Laibach), 165, 1023, 1408 Lucerne, 307, 1005
Llaurador, Isidro, 990 Lucio, Gennaro, 347
Lleonart,Josep, 851, 1002 Lüderwald, G. E., 482-

1720
Ludikar GENERAL INDEX Maria
Ludikar, Pavel, 984 Mailly, M. de, 258
Ludwig 11, King ofBavaria, 1097 Maine (de Chatenay), Anne Louise Benedicte de
Ludwigsburg, 285, 290, 998 Bourbon, Duchesse du, 131
Lugano, 538 Mainhardt, H., 839
Lugo,1357 Maizony de Laureal, Joseph Franyois Stanislas,
Luin, Elisabeth Jeannette, 85 387
Luis de Retes, Francisco, 1000 Majofski,J. F., 702
Luise, Princess ofPrussia, 696 Major, Ida, 1235
Luitpold, Prince Regent of Bavaria, 1204 Makai, Emil, 1195
Luknitsky, Aristarkh Vladimirovich, 464, 465. Malherbe, CharIes, 920, 1271
569. 577, 585, 593, 619 Malibran, Maria, 723. 725, 729. 765, 780
Lumley, Benjamin, 854 Maillet, -,484
Lundgren, G. E., 379 Mallorca, see Palma
Lundquist, Ernst Gustaf, 1024, 1031, 1052, 1053. Malmstedt (-Lenngren), Anna Maria, 304, 310,
1070, 1160 322,332
Lüneburg, 356 Malta, 194
Lützh0ft, Nicolaus, 1024 Mämminger, C. A., 535
Lwow (Lemberg), 1023, 1114, 1209, 1228, 1239, Mamontov, Sergei, 991, 1032
1278, 1285, 1290, 1376, 1408 Manchester, 295,1362, 1383
Lynslager, Philip Frederik, 258, 267, 272, 277, Mancini, Louise, 151, 847
409 Mancini, Maria, 43,60
Lyons, 73, 31o, 1077, 1264, 1285 Mandaus, Ludek,984
M., F.W., German translator,l 247, 308 Mandersträm, Christofer, 274,314,326,330,335
Maag, Otto, 951 Manfredini, Vincenzo, 18o
Maccari, Alessandro, 187 Manila, 837
MacCormick, Edith, 1365 Mann, Erika, 294
MacCrone, Guy F., 191, 958 Manna, Gennaro, 215
Macdonald Ann, 302 Mannerhjerta, Ulrik Emanuel, 748, 786
Macerata, 40, 46 Manners, CharIes, 1249, 1259
Macfarren, Natalie, 885, 890 Mannheim, 265, 277, 338, 354 and passim
Machado de Assis, Joaquim Maria, 906, 920 Mannstaedt, Wilhelm, 1005
Macgregor Logan, W., see Logan Mansell, Richard, 1005, 1006
,Macharti, -, 73 Mantica, Francesco, 4
Mackinlay, Malcolm Sterling, II91 Mantua, 5, 7, 26,29, 192,794
Maclaren, Archibald, 162 Mantuani, Josef, 81
MacSwiney, Owen, 95, 99 Manzo, Luigi, 165
Macy, James Cartwright, 1139 Mara, Gertrud Elisabeth, 150, 246
Maddaloni, Duke of, 67 Mara, V., 1281
Maddoks, Mikhail Egorovich, 177,496 Maragall, Joan, 976, 1172
Maddox,John Medex, 792, 858 Marcalti,Jean,1360
Madrid (see also Spanish Operas, and Italian Marchand, Theobald, 247
Operas in Spain), 169, 193, 234, 848, 854, 873, Marcheix, Lucien, 14
876, 895, 1070, 1242 "Marchesi, Salvatore," sec Castrone della Rajata
Magdeburg, 78o, 84~, 1344 Marchesini, Marcello, 560
Maggiore, Francesco, 199 Marcouville, P. A. L. de, 105
Magnette, Paul, 1312 "Marckwordt, Ferdinand" (pseudonym ofFried-
Magni, Paolo, 158, rich von Flotow), 799, 943
Mague de Saint-Aubin, Jacques, 333,443 Mardzhanov, K. A., 1341
Mahler, Gustav, 703, II31 Marescalchi, Luigi, 244
Maidalchini, Andrea, 9 "Margarita," see L'Epine, F. M. de
Maikov, Vasily Ivanovich, 312 Margherita, Princess ofSavoy, 7
1 These translations are atttibuted to F.L.W. Meyer
by Sonneck und others; as Meyer was born in 1755
Margherita, Infanta of Spain, 44
he cannot have been the author. Maria, Princess ofHesse-Cassel, 695

1721 1722
Maria GENERAL INDEX Meini

Maria I. Queen ofPortugal. 374,401 Mass, V., 970

Maria Amalia of Austria. Archduchess of Parma. Massarotti, Angelo. 95
261 Massine, Leonid Fedorovich, 515, 1328
Maria Amalia ofSaxony. Queen ofNaples. 193 Masson, Paul Marie, 101
Maria Anna of Saxony. Electress of Bavaria. 207 Mastriani, Federico, 970, 981
Maria Anna. Queen of Spain. see Marianna Maszytiski, Piotr, 1306
Maria Anna Christina, Princess of Bavaria, 39 Mathews, Charles James, 790
Maria Antonia of Austria, Electrcss of Bavaria, Mathieu de Upidor, MichelJulien, 338
78,82 Mattei, Tito, 852
Maria Carolina of Austria, Queen of Sicily, 466 Mattfeld,Julius, 395, 589,921
Maria Casimira, Queen ofPoland, 129 Matthei, Alessandro, 10
Maria Josepha of Austria, Electress ofSaxony, 141 Mattioli, Andrea, 31
Maria Josepha of Austria (daughtcr of Maria Mattulath, Aliee, 3°1, 930, loR3
Theresa), 257, 295 Matuszewski, -,561
Maria Maddalena of Austria, Grand Duchess of Matuszewski,]., 872
Tuscany,1I Matuszynski, Leopold, 602, 782, 791, 85t!, 870,
Maria Ricciarda Bcatrice, Princess of Modena, 889, 897, 9II, 933. 940, 955, 957, 96R, 981
319 Maugham, WiIliam Somerset, 13 I7
Maria Theresa, Empress (wife of Francis I), 155, Maupin, Dlle, 108
186,208,261,345,347 Mauprey, Andre, 1393, 1404
Maria Theresa, Empress (wife of Francis II), 584 Maurel, Vietor, 1126
Maria Theresa of Austria, Queen of France, 30, Mauriee, Chades, 254
40,74 Mauritius, see Port Louis
Maria Theresa of Austria (sister of Joseph II), Mautner, Eduard, 917, 1020, 1085
Princess of Saxony, 446 Mavrik,S.,768
Mariani, Angelo, 733. 885 Max Emanuel, Eleetor ofBavaria, 78
Marianna (Maria Anna of Austria), Queen of MaxJoseph, Eleetor ofBavaria, 207,379
Spain, 27, 47 Max I Joseph, Elector, later King of Bavaria, 492
Marianna Vittoria, Queen ofPortugal, 306 Maximilian, Archduke (son of Maria Theresa),
Marie Antoinctte, Queen of France, 73, 242, 48\1 24 2, 345, 347
Marie Louise, Empress of the Freneh, 610, 616 May, - (Kriegsrat), 482,544, 613, 646, 664
MarineIli, Kar! von, 417 Mayenee, 630, 1096, II83, 1292, 138o, 1400
Marinovic,]. Nikola, 906, 928 Mayer, Anton, 87
Marion, Henriette, 1062, 1238, 1239, 1274 Mayer, H. von, 403
Marischka, Ernst, 1106 Mayer, Ludwig Kad, 242,313
Markic, Miha, 886, 117T Maycr-Reinaeh, Albert 228
Marnold,Jean, 1237 Mazarin,Jules, Cardinal, 18, 37, 54
Marolle, - de, 225, 246 Mazilicr, N., 902
Marpurg, Friedrich Wilhe1m, 224 Mazzinghi, J oseph, 324, 333,
Matras, Mowbray, II62, II71, 1207 Meekbaeh, Willi, 386,980
Mars, Antony, 1195 Medek, Rudolf, 1209
Marsden, G., 1027 Medici, Anna de', 29
Marseilles, 77, 385, 1029, 1062, 1102, 13 I 3 Medici, Cosimo II de', Grand Duke ofTuseany,
Marshall,Julian, 127 10
MarshalI, Madc1ei!J.e, see 'Jones, Graham." Mediei, Cosimo III de', Grand Duke ofTuseallY,
Marszalek, Franz, 1028 40
Martainville, Alphonse Louis Dieudonnc, 625 Mcdiei, Giovanni de', Prinec, 2
Mart:n de Eugcnio, Jose Mada, I2H6 Mediei, Margherita de', Duehess ofParma, 13
Martincc, Frantisek, 820 Medici, Maria de', Queen of Franee, 3, 4
Martinenghi, M., 72 Mediei, Mattias de', Prinee, 20
Martorana, Pietro, 827 Medicus, Valdo, 1419
Martucci, Giuseppe, 975 Meermann, Johan, 421
Masehek, V., 425 Mehring, Walter, 990
Mascheroni, Angelo, 423 Meini, Vineenzo, 1029

172 3
Meisl GENERAL INDEX Moras

Meisl, Karl, 702 Miler, Ferdo, 806, 823, 826, 847, 874, 982, 998,
Melani, Atto, 20 1014,1061,1065,1076,1085. 1089, IIOl, II06,
Melba, Nellie, II57, 1257 IlIl, Il17, II24, II45, II71, II76, II84, II89,
Melese, Pierre, 50, 74, 105 Il92, Il98, 1212, 1251, 1257, 1260
Melitz, Leo, 1387, 1398 Mililotti, Pasquale, 252
Melngailis, Emils, 677, 1034 Miller, Ladislao, 1228
Mehllkov,--, 1283 Miller, Vera, 1363
Melodrama, Monodrama, 310, 342,587, 1211 Milner, Henry M., 746
Meltzer, Charles Henry, 1088, II92 Milton,John,18
Melville, Lewis, 159 Milwaukee, 943
Mendelin, Irene, II72 Minasowicz,J6zefDyonizy, 650, 673, 712
Mendes Leal, Antonio, 979, 981 Mingotti, Angelo, 63
Mengelberg, Kurt Rudolf, 187 Mingotti, Regina, 207
Mengozzi, Bemardo, 364, 471 Mingozzi, --, 368
Menkema,].,253 Minorca, 159
Mennicke, Karl, 165 Minslaff, --, II65
Merbach, Paul Alfred, 432, 448,676 Miragoli, Livia, 887
Mitjana (y Gord6n), Rafael, 683
Mercure de France, 170, 186,212,223,242,251,
Mitrovic, Andro, 1233, 1237, 1268.13°5, 13II
260,335,431
Mitscha, Franz Adam von, 376
Mercy-Argenteau, Marie Clotilde Elisa beth Louise
Modena, MI, 36M
de, II03
Moericke, Hermine, 1402
Merino y Pichilo, Gabriel, 1144
Mogilcv, 38o
Merlini, W., 558
Mojsisovicz. Roderich von, 223
Merry, Robert, 361
Molander, Harald, 1137
Mersmann, Hans, 72, 103
Mobs y Casas, Juan, 1083
Merten, I. N., 995 Molkenbocr, H., 468
Merz, M., 375
Möller, Heinrich, 1028, 1°34, 1203. 1341
Merzlyakov, Aleksei Fedorovich, 460
Mf1JIler, Karl, 9M5
Mesmer, Anton, 300
Monari, Clemente, 158
Mestepes, Eugene, 618
Monck, Frances Elizabeth Owen, 645
Metzl, Lothar, 253 Mondejar y Mendoza, Angel, 983
Mexico, 399, 895,980, 1150, 116S Mongitore, Antonio, 64, 65
Mey, Kurt, 809
Mon~er, Etienne, 730, 739, 754, 755, 764, 790
Meyer, Friedrich Ludwig Wilhelm, 247, 2S7, Monodrama, see Melodrama
344,352,429,5 00 Montalto, Alcssandro Peretti di. Cardinal, 4
Meyer,Jan Coenraad, 496 Montansier, Marguerite Brunet, 417, 545
Meyer, Johann Gabriel. 44 Montdutaigny, Lucien, 687
Meyer, Ralph. 161 Mont.:, Dal. Cudinal, 4
Mezieres, 1361 Monte Carlo. 1164, 1173, T 194, and passim
Mianowski, Teodor, 1127, 1014, 1042 Montelioi. Biante, 1239
Michal, Carl Gustaf Wilhelm, 947, JOoS. 1022. Montemar, Jose Carrilla de Albornoz, Conde de,
1048, 1064, 1076, IOX3 127
Michel. Hertha, 3 I 3 Montespan, Franc;oise Athcnais dc Pardaillan,
Michclangclo Buonarroti, tlll' Y oUI1ger. 4 Marquise de, 61
Michl,Joseph,279 . Monteux, Pierre, Xl
Michniewski. Antoni. 350 Montford. R., :?.5X
Middlesbrough, 1333 Montglave, Eugcnc de, (,22
Mielck, Joh,,;mcs, 946 Montpellier, 227
Mikszath, KaIman. 1221 Monza, 426
Milan. 29.109.124.153,179. 11l3, 19~. 199.202. Moody, Fanny, 1259
2oH. 316, 319,324.327,365. 390. 377 Moore, Augustus, 1179
Milan. Opera-Hauses, 325, 353, 365. 4'3. 40 [, Mooser, R. Aloys, 201,463. 5' X
576• [177, 1332 Moras. -. 50 r

1725

/
Moreau GENERAL INDEX Nielsen

Moreau (de Commagny), Charles Fran~ois, 528, Napier, Hampden, 527, 570, 700
612, 627 Naples, 22,31,49,67,78,83,94,97,102, 104,115,
Morelli, Pietro, 1083 122,128,132,136,146,147,149, 158,163; 173,
Moreno Godino, Florencio, 944, 999 181, 184, 186, 187, 190, and passim
Morini, lJgo,426, 454, 745 Napoleon I, 452, 478, 490, 523, 529, 562, 565,
Morkov, V., 230, 835 573, 582,604,618,620,632,946
Mornington, Garrett Wellesley, Earl of: 256 Napoleon III, 939, 946
Morocco, see Ceuta Napoli-Signorelli, Pietro, 521
Morozowicz, Rufin, 1029' Nardis, Camillo de, 335
Morse, W oolson, 1067 Narducci, Virgilio, 824,921, 1078
Mortari, Virgilio, 137, 179,226,992 Naret Koning (-Majofski),J. M., 539
Morton, Edward, 1269 Naumburg, 117, 124
Morton, Sterling, 1210 Navarra, Francesco, 60
Moscheles, Ignaz, 736 y
Navarrette y Femindez Landa, Ramon, 909
Moscow, 155, 186, 1081 (see also Russian Operas) Navarro, Calixto, 1037
Moser, Hans Joachim, '145, 172, 189. 690 Neapolitan Opera, sec Naples
Moss, Alfred Charles, 1071 Nebesky,Pavel, 1184, 1232, 1269
Mossop, Henry, 280 Negroes, Operas sung by, 1426, 1428
Mottl, Felix, 171, 464, 543, 668, 935, 958, 966, Nehajev, Milutin, 457, 976, 1024, 1232, 1255.
1144, 1199, 1200, 1253 1304, 1306
Moulaert, Raymond, 23 Neisser, Arthur, 78, 1279
Mould,John Wray, 455, 591,645,648,837 Nejedly, Adalbert, 494
Moustou, - , 222 Nestroy,Johann, 851, 933, 946
Mozart, Konstanze, 492 Nett!, Paul, 69
Mozart, Leopold, 306, 320, 344 Neugebauer, Ladislaus von, II92
Mühle, Nikolaus, 357, 381 Neuhoff,Baron Theodore de, 4!I
MulJer, Daniel, 501, 984 Neuilly, Jacques Philippe Fyot de, 195
Müller, (c. H.?), 497 Neukomm, - , 551
Müller, Erich, H., 102, 162 Neumann, Angelo, 1056, 1057
Müller, F. c., 452 Neumann, Johann Leopold, 361,400
Neumann, Sophus, 1000
Müller, Johann Heinrich Friedrich, 175, 219, 226.
Neumeyer, Fritz, 228
36 3
Müller, T., 422 Neupert, Fritz, 1124
Neustadt (in Moravia), 312
Müller; Wilhelm, 444
Neustadt, S., 423
Miiller-Blattau, Joseph, 468
Neuville, - , 369
Munich,36,39,71,78, 82, 141, 150, 196,223,and Newcastle,1353
passim Newman, Emest, 780, 868
Münter, Friedrich, 362 Newmarch, Rosa, 984, 1028,1033, 1120, 1345
Muroma, Toivo, 428, 827, 849, 1020, II43, 1160 New York, 257, 513, 524, 697, 643, 9°3, 921,
Murray, Alfred, 1004, 1120 108 5, IIOI, 1303, 1304, 1314, 1320, 1333 and
MuZfk, August Eugen, 712, 752, 791, 922, 1142, passim; see also American Operas
1171, 1196 Ney, Ferenc., 807, 924
Muzio, Emanuele, 906 Neyts, Jacob TOllSSaint, 130, 210, 222, 223, 241,
Mynyddog, see Davies, Richard 245,247,251,253,255,258,266,267,270,272,
275,277,278,282,289,294,3°0,3°3,3°4,3°5,
Nadasdy, (Graff), KaIman, 87, 926, 1121, II43, 3°7,310,316,318,321,326,329,33°,332
1174,1244,1321,1346,1400,1401,1425 Nice, 1246, 1271, 1289, 1297, 1320
Nidaskay, Lajos, 720, 778, 863, 890, 903 Nicodemo, J., 797, 971
Nagel, Wilibald, 119 "Nicolino," see Grimaldi, N.
Naidenov, A., 428 Nicoll, Allardyce, 55, 57,99,113, !I5, 142, 160,
Naigeon,Jacques Andre, 223 20\1-,345,447,5 15,677,757,648,944
Nancy, 1312 Niecks, Friedrich, 533
Nantes, 1132, 1314 Nielsen, Ida, 587

172 7 1728
Nielsen GENERAL INDEX Paglicci-Brozzi

NieIscn, Lauritz Christian, 1334 Oliveira, ManueI, 178

Niemtschek, Franz, 454 Olivieri Respighi, Eisa, 1435
Niese, Kar! Friedrich, 247, 386, 451, 477, 926, Ollefen, Wo van, 434
988,997,1007,1051 Olomouc (Olmütz), 1434
Nidwiez, 412 Olsen, Oie, 1285
Nietzsche, Friedrich, 1147 Olufsen, Oluf Christian, 445
Nigri, Riccardo, 1119, 1278 O'Neil, Clement, 1035
Nijhoff, Mo, 1345, 1367 Ono,265
Nikisch, Arthur, 1274 Open-Air production, early, 362
Nikolic, Rikard, 1432 Opera-Ballet, Opera Ballo, 11, 101
Noether, Erich, 1011 Opera-comique,· see French Opera-comiquc
Nogues,Jose Mana, 815 Opienski, Henryk, 1270
NombeIi, Julio, 1037, 1100 Opiso, Antonio, 1021
Nomsz,Johannes,222 Oporto, 211, 961, 1058
Noorden, Walter van, 1063 Ordkovic, 1., 767, 1026
Norcross, 1. Wo, 977 Orff, Carl, 5,6, 8
Nordforss, Carl Gustav, 420, 434, 454, 466, 477, d'Origny, Antoine Jean Baptiste Abraham, 59
506,507,508, 510,521,522,526,533,538,542, Orleans, Jean-Baptiste-Gaston, Duke of, 4
547,550,554,557,558,561,564,567,568,569, Orleans, Marguerite Louise, Princess of (niece of
572, 574, 576, 57 8, 581, 585, 587, 596-98,601, King Louis XIV), 40
614,637,661,691 Orleans, Philippe H, Duke of, 134
Nordforss, Erik Ulrik, 552 Orrego Vicuna, Eugenio, 1268
Noriega, Eduardo, 894 Ortolani, Giuseppe, 200, 222, 239, 273, 312
Norlind, Tobias, 443 Oscar, Mo, 944
Northall, Wo Ko, 801 Osete, Antonio, 1157
Northcott, Richard, 928, 933 Osinski, Ludwick,287, 529, 535, 585,638,655,743
Northman, -, 99 Oslo (Christiania), 376,880,1012, J T76, 1197 (st'f'
NorwegianOperas, ~80, TOT2, 1175, 1T70, [197, also Norwegian Operas)
1210, 1285,13 01 ,1308 Osnabrück, 13 85
Notaris, Fran<;ois, 420 Osomo, FranciscoJavier, 1037,II02, TI09, 1117
Nothold, Franz, [69 Osthoff, HeImuth, 94
Nougaret, PiC'rrcJean llaptistc, T91 Ostroumoff, Paul, 1425
Nourrit, Adolphc, ~07 Ott, Georg, 698, 705, 706, 708, 709, 71I, 718, 726,
Novelli, Augusto, 1070 735,741,75°,768,771,778,788,79°
Nowack, Otta, 901 Ottani, Bemardo, 266 .
Numcs, Armand Juda, J 102 Ottenheimer, Paul, 1267
Nuiiez, Fernando, 416 Ottlik, Pilma, 193
Nuremberg, 23, 84, 1054, 1381 Otto, Louise, 914
Nyblom, Svcn (Halfdan), 1033, 1153, II89, 1223, Ottoboni, Cardinal, So, 88, 114
1251,1257,1295,1306, 13II, 1327, 1320 Oudin, Eugcne, 1067, II41, II57
Nyegaard, Emil Ao, 1II 5 Overvest Kup, Ho van, 615
Nymphenburg, 245 Ozols, Jckabs, 1356

Odavic, J. Rista, 934 Po, Ao (Czech translator), 889

OdelI, George Clinton Densmore, 2710 3 J " 395, Paar, Mathilde, 845
589, 10 7 1 Pacheco, Luis, 983
Odessa, 784 Pacini, Antonio, 705
Ochlmann, Wemer, 741 Pademi, Riccardo, 835
Offcrmann, Alfred, 1°41 Padua, 200, 271, 330,655, 802
Ogelwight, Hendrik, 332,435,439,45',504, 59T Paganelli, Giuseppe Antonio, 173
Ogho, Domcnico dall', 186 Pagani Cesa, Giuseppe Urbano, 329
Öhrwall, Nils, 258 Paganini, Niccolo, 671
Okonkowski, Georg, 1222 Page, Eugell Richard, 180
Oliphant, Thomas, 591,950 Paglicci-Brozzi, Antonio, 225

[730
Paignton GENERAL INDEX Pepys
Paignton, 1081 English, 120, 160, 190,256,262,678, 736, 1071,
Palacio, Manuel, del, 793, 844, 863, 866 1091, 1I26
Palacios Brugeras, Miguel de, 652 French, 52, 53,56-61,67,69,73-76, 8o, 81,84.
Palaprat, Jean, 73 100, 105-107, 1I7, 123, 129, 130, 134, 138,
Palella, Antonio, 163, 185,200 148, 156, 170, 179, 182, 185, 191, 194, 195,
Palermi, Emesto, 1033 202, 210, 218, 221. 227, 235, 237, 253, 261,
Palermo, 30, 197,294,835.1298,1315 265, 333, 335, 359, 362, 372,406,410,419,
Palestine, 908 429, 443, 532, 549, 55 6, 57 2• 582, 595, 605.
Pallia, Francisco, 771, 981 612, 617, 625, 627, 698, 827. 851, 1005
Palma di Mallorca, 239 German, 124, 330,676,827,973, III5
Paly, Elek, 452, 498, 626, 631, 654, 676, 6119, 700 ltalian, 737
Panard, Charles Frantrois, 77, 108. 194, 195.202 Portuguese, 71I
Panareo, Salvatore. 389, 399 Russian, 995
Pannain, Guido, 65 Spanish, 755, 1I44, 1182, 1215
Panspertl, Karl, 1061 Swedish, 17°,328,362,551
Pantaleoni, Romilda, 1126 Parthey, Gustav Friedrich Constantin, 691
Panum, Hortense, I Parvi, -,57,13° ,
Parepa-Rosa, Euphrosyne, 793 Pascal, Prosper, see Prosper-Pascal
Pargment, L., 1277 Paso, Antonio, 1215
Paris, see French Operas and passim. pasolini Zanelli, G., 484
Paris, English Opera in, 161 Pasta, Giuditta, 466, 518
Paris, German Opera in, 394,483 Pasticcio, 101, 119, 387, 427, 477, 491, 628,
Paris, Italian Opera in. 20, 25, 31,40,41,107,174. 69 0,69 1.70 5
203,300,439, 603,1113 Pastorfido, Miguel. 733, 743. 76o, 781, 796, 828.
Paris, Russian Opera in, 1033 923,970 ,999,1004,1021
Paris, Spanish Opera in. 585 Pasztor, Arp:id, 1268
Paris, Opera (Acadernie Royale dc Musiquc), Pataki, J6zsef, 907
48,52,53,17°. 3112. 473. S82, 105 1• 1274, 1394 Patti, Adelina, 687, 888, 1012, 1024. 1097. 117'
Paris. Opera-Comique (formerly Comedie-Ita- Patu, Claude Pierre, 161, 167
lienne). 259.5°8 Paul I, Emperor of Russia, 18o
Paris, other Theatres: Paul, G. Henry Howard, 769
Bouffes-Parisiens, 91S. 954 Pauli, -, 176
Champs-Elysees,79 8 Pavan, Giuscppe, 14, 139, 147,269,424,454,588,
Chateau d'Eau. 871 1076
Fantaisies-Parisicnncs,78t Pavia, 1384
Favart, 508 Pavlovsky, S. E., II03
Feydeau, 39~.4S7, 507 Pawlowski,J6zef,5911
Galte, 1094 Peake, Richard Brinsley, 181
Italien, S43. 60.1 Pearce, Charles E., 940
Lyrique, 864. 895 Pecirka, Josef, 792, 805
Monsieur, 457 Pederzuoli, Giovanni Battista, 67
Montansier, 39S Pekalski, Wojciech. 466, 470, 567, 57il, 597, 615.
Opera National Lyriqur. 105.1 636
Opera Populaire, 955 Peking, 245
Renaissance, 799, 116l Pelletan, Fanny, 274, 351
Parfs (y Cadcnas) Luis, 1261\ Pellissier, Jcan Baptiste, 489 ,
Parisau, Pierre Gcrmain. 419, 424 Pcna,]oaquim, 264, 428, 456, 498, 606, 823, 851,
Parke,William Thomas, 410. 429, 485,506,593 \. 886, 976, 984, 1002, 1033, 1°55, 1056, 1082,
Parma, 210,237,241,246, SOS. 531.538,611, 1098,1133,1225,1229,1242,1245,1277,1288,
742 ,893 1297,13 27,132 8,1355
Parmenticr. -.179,195 PCiiaflorida, Conde de, 253
Parodies: Penson, William, 761, 767, 790
Belgian, 352.966 Penzance, 1429
Danish, .p I, 465 Pepys, Samuel, 35,76

1731 1732
Perego GENERAL INDEX Povedano
Perego, Pietro, 77R Piltz, Ottomar, 1284
Peretti, Marchese, 4 Pilulka, C., 947
Perez Echevarrla, Francisco, 1000 Pinadas, Albar, 891
Perez Capo, Felipe, 1278, 12RI Pinkerton, Percy E., 147, 959, I II2, 1152, IJ75.
Perillo, Salvatorc, 243. 2R5, 306 II 84, II88, II92, II93, 1220
Perinello, Carlo, 3 Pio del Castillo, 8II
Perini, Giulio, 474, 475 Piotrowski,Jak6b,717
Peris, Manucl, 128 I i>iovano, Francesco, 132, 133,200,212, 267,470,
Perotti, Nicolo, 605,612 5110
Perrin, A. 5., 232 Pirckcr, FranzJoseph, 165
Perdn y Vico, Guillcrmo, 6p Pisa, 412
Perry, Amold, 1412 Pisarev, Aleksandr Ivanovich, 635
Peru, see Lima. Piticchio, Francesco, 364
Pesaro, 63, 185, 1191, 1301, 1350 ) Pitt, Percy, 1347
Peschier, Eugen, 1032 P)easants, Henry, 1413
Pdka, Bedfich, 501, 730, 737, 778, 782, 791, 814, Pleissncr, Heinrich Christian, 325, 354, 368
819,838,868,872.874,1000. 1010,10 1 4.1035. Pocchettini, Giambattista Luitprando, 45
1040, 1083 Pocock, Isaac, 455, 626, 716
Petelinova, Ruh, 744, 1°52, 1432 Podravsky-Miklavec, Peter, 913
Peterlin-Pctruska, -, 1222 Poffa, Giuseppe, 346
Pctersen,l ulius, 9 I 9 PogaCic, Milka, 783, 825, 857, 987, 991, 1046,
Petersen, -Ötto. 687 1049, 1083, II28, II56, II95, 1281
Petit, Dr. (pseud.?). 745 Pohl, Carl Fcrdinand, 228, 296, '363,409,440
Petrick, Alcxandcr Heinrich, 1125 Pohlenburg, F., 513
Petris, Carlo de, IIO, 121 Poinsinet (de Sivry), L<'uis, 235
Pfeffcl, Conrad Gottlieb, 266, 298 Polie, Mirko, 1023, 1099, 1272, 1281, 1389, 1422,
Philadelphia. 244, 298,544,847,968,1041,13°7. 143°
13 13, 143 6 Polignac, Mclchior de, Cardinal, 210
Philip IV, King ofSpain, 27,37 Polignac, Princesse Edmond de, 1366, 1370,1383
Philippines. see Manila Polish Operas, early (n), 365, 384, 402, 513, 639, /
Philipsson,Jonas.977 659,664, (694),932
Piaccnza, 46 Polk, Josiah B., 1050
Piacenza, Pasqualc, 959 . Pols, Andre M., 1306
Piazza, A., 525 Pompadour, Mme de, 217
Piazza, G., 403, 551 Ponsonby, Eustace, 1123
Piazzola, 68, 70 Pontau, Claude Florimond Boizard de, 59, 10R
Picchi, Ermanno, 912 Pope, Alexander, 159
Piccini, Giulio (called 'jarro"), 426 Popelka, Joachim, 1400
Piccinni, Louis Alexandre, 230 Poplawski, Leon, 1099
Piccinni, L., 406 Popo v, Mikhail Vasilevich, 400
Pichl, Wenzel, 406, 419 Popov, Scrgei Sergyeevich, 995
Pidgin, Charles FeIton, 1°71 Port Louis, Mauritius, 403, 738
Pierozynski, Leon, 247, 270, 3°6, 323, 337. 354. Portelance, Michel, 221
366,391 Portheim, Max von. 451
Pigeon de Saint-Pateme, -, 369 Portilla, Juan R. de la, 1139, 1146, II56
Pignatta, Pietro Romolo, 16 Portuguese Operas, 517,847,869,884,953, TOS8,
Piis, Pierre Antoine Auguste de, 296, 359 II49,1438
Pijpers, Pieter, 3.2'1, 335, 350, 406 Portuguese Opera in Germany, 1278
Pilati, Auguste, 843, 852 Potter, Cipriani, 171
Pilger, -, 433 Pottinger, 1., 349
Pillevesse. Jules Fran~ois, 197 ..- Pougin, Arthur, 38, 478
Pillnitz, 155,205,2°7 Poulenc, Fran~ois, 948
Pilotti, Gi~eppe, 692 Pous, Jose Mada, 103 I
Pilsen, 1188 Povedano y Vidal, Angel, 981

1733 1734
Pozza GENERAL INDEX Remond
Pozza, Giovanni, 1098, 1280, 1304 Radford, Evelyn and Maisie, 178, 182, 265, 360,
Prague,69,148,213,277,594,604,623,648,694, 373,387,493
704,857. li66, 868, 881,964,971,993,994,1023, Radiciotti, Giuseppe, 15, 19, 176
1028, 1036, 1038, 1041, 1070, 1072, and passim Rad6, Vilmos, 1051
(see also Czech Operas, and Italian Operas in Radzikowski, Maksymilian, 851
Prague). Raggi Saoli, Teresa, 61
Prasch, Alois, 836 Rahbek, Knud Lyne, 527,655
Pratt, F. W., 912 Rahkonen, Aleksander, 906
PraiskY,J., 696,857,942 Raij, C. A. van, 531, 564, 585,615, 62 3
Preibisch, Walther, 388 Raimer,Joseph,I402
Prejac, Gjuro, 1009, 1058, 1269, 1285, 1295 Raleigh, Alice, 984
Prerauer, C., 965 Ramondon, Lewis, 159
Presber, Rudolf, 1322 Ramoux, Joseph, 703,714,716
Pressburg (Bratislava), 371, 4II Rapacki, Wincenty, 1232
Preu, Friedrich, 375, 381 Rau, Franz, 1227, 1382, 143Y
Prieger, Erich, 591 Rauchenecker, -, 973
Priest,Josias,85 Raugel, Felix, 50, 375
Prina, Paul, 218 Ravreb, -, 1069
Priorato, Gualdo, Conte Goleazzo, 33 Ray, C. A. van, 558
Prix, Adalbert, 712 Raymond, Fanny Malone, 263
Prix de Rome Cantatas, tumedinto Operas, 1297, RebeI, Jean-Fery ("Rebe! pere"), XI, 146
1325 Rebner, Arthur, 1368
Peize Operas, see Competitions Recitative, 42, 78, 90
Proch, Heinrich, 762, 819,820,828,834, S71, 902, Reece, Robert, 1005, 1022,1048,1058,1064,1076
903, 925, 929 108 7, 1093
Procter-Gregg, Humphrey, II42 Reed,Joseph,282
Prosper-Pascal,395 Reed, Thomas German, 799
Prod'homme,Jacques Gabriel, 139,410,478,497, Reeve, George W., 689
498, 680 Reeve, Percy, II26, II44
Prot, F.J., 372 Reeve, William, 261, 383
Prota-Giurleo, U., 49, 64, 65 'Reeves, Sims, 160
Provenc;:al, Opera in, 272 \ Regensburg, 29
Prunieres, Henry, 14, 18,20,25,27,31, 71,81 Regensburger( Carl August, 9,
Prüwer,Julius, 1267, 1314
Puccitelli, Virgilio, 97
1\Reger, Max, 318
Reggio, 473, 926, 113 I
Puchrnayer, Antorun Jaroslaw, 494 \Regli, Francesco, 258
Puente y Brafias, Ricard o, 867, 923, 970, 989, Rego, Antonio Jose do, 402
1026 Regulski, Stanislaw, 626
Pugelj, Milan, 1160 Reichard, Heinrich August Ottobr, 252, 308,
Pugnani, Gaetano, 258 316, 320, 321
Pujman, Ferdinand, 1208 Reichel, Christian Heinrich, 380
Puke,Johan Carl, 635 Reichenburg, Louisette, 174
Puppet Operas, Puppets, 47, 68, 628, 1016, 1220 Reinagle, A., 410
Pyrarnids, 499, 1018 Reinbeck, Georg, 588
Reiner, Ferencz, 1198
Quack,Jan de, 542, 569, 581 Reinhard, Karl, 585
Quarter Tones, 1416 Reinhardt, Max, 1339
Quazza, Pio Felix, 185 Reinhart, Hans, 1345, 1362
Quebec, see Canada Reiss, Georg Friedrich, 1058, 1094
Quedenfeldt, Gustav, 1074, II06 Reiter, Ernst, 1017
Querard, Joseph Marie, 415, 620 Reiterer, Josef, II30
Quittard, Henri, 33, 35 Rekai, Nandor, 1086
Remmer,Johan Erik, 580, 638,705
Radcliffe, Ann, 1051 Remond, Fritz, 1374

1735
 Remusat GENERAL INDEX Rostand
Remusat, Pierre Fran.yois de, 57 Robertson, Tom, 652
Reparaz, Federico, 1269 Robineau, Alexandre Louis Bertrand, see "Beau-
Repetto, Pietro, 870 noir."
"Rescue Opera," 482, 564 Robins, William, 163
Resnier, Louis Pierre Pantaleon, 296,359 Robinson, G. P., 989
Reuchsel, Maurice, 255 Roche, Edmond, 850
Reucker, Alfred, 406 Rochefort, Jean Baptiste, 328
Reuling, Carl Ludwig, 230, 300 Rochlitz, Friedrich, 214, 451, 492, 583
Reuling, Ludwig Wilhelm, 853 Roda, N., 1009
Reuss, Theodor, II33 "Rodriguez Adolfo" (i.e. Ramon Rodrfguez
Reval, see Ta1linn. Correa and Gustavo Adolfo Becquer), 73 5,742
Revenga, FUcardo, 815 Rodrfguez, Luis, 996
Review, first German, 93 RodweIl, George Herbert Bonaparte, 769, 827
Rex, Eugen, 1028, 1106 Roehr, E. M., II95
Rey, Jean ßaptiste, 459 Roger Junoi, A., 1269
Reynolds; Alfred, 267, 299, 248 Rogge, Hendrik Cornelis, 349, 449, 452
Reynolds, Frederic. 463 Röhr,Hugo,634,652
Reynoldson,j. 1'.,660 Rojo,Juan Diego, 3II
~eynoldson, Thomas H., 456, 686,724,743,814, Rolandi, Ulderico, 14, 18, 35, 390
818, 828, 865,9°7 Rolland, Romain, 8, 14, 25, 35,65
Rheinisch, Albin, 1080 Romagnesi, Jean Antoine, 53, 59,67,73,75, 77,
Rheinsberg, 444- 100, 106, 108, II7, 129, 134, 13 R, 139, 156, 170.
Rhode, Friedrich Ludwig, 667 179, 185, 191
Rhode,Johann t;;;ttlieb, 397,476 Romani, Carlo, 676
Ribera, Antoni, 826, 851, 976, 1002, 1014~ 1056, Rombach, Otto, 695
1172 Rome, 5, 10, II-14, 16, 18,21, and passim.
Ribics;julius von, 775 Rome, Opeia-Houses, 14, 33, 42, 67,87,88,220.
FUechi, G., 523, 539, 548 1375, 1400
Rictius, August Ferdinand, 797 Romer, Francis, 742
Rich, Christopher, 99 Ronge,Jean Bapriste, 680
Richards, Alfred E., 166 Ronzi, Melchor, 485
Richards, Henry Brinley, 814 Roosevelt, Theodore, 1300
Richaud Martelly. Honore Antoine, 427 Rora, Cipriano di, 1297
Richelieu, Louis Fran.yois Armand Duplessis, Duc Rosa, Carl, 699, 956
. de, Marshall of Francc, 259 Rosamunde (Schubert's incidental music), 661:1
Richter, Hans, 974, 1054 Roseingrave, Thomas, 129
Ricordi, Giulio, 62 Rosen aus dem Süden (waltz), 1085
Riedel, Wolfgang, II86 Rosen,Johan Magnus, 792,839
Riedinger, Lothar, 433, 440, 480, 848 Rosen, J ulius, 1085
Riesemann. Oskar von, 1032 Rosenfeld, Paul, 1314
Riga, 332, 792, 849, 798. II37. 1356 (see also Rosenfeld, Sybil, 222
Lettish Opera). Rosenfeld. Sydney, 178,781, II13, lII8, II88, 1208
Rigel, HenriJoseph. 397 Rosenheim, Wilhelm von, 325, 435
Righenzi. c., 30 Rosenkilde, Adolf Marius, 730, 733
Rimbault. Edward Francis. 86 Rosenkilde, Christen Nieman, 591, 681, 685, 747.
Rimini,887 759
Ringvall, Frederik, II I 5 Rosewald,Julie,901
Rio de Janeiro. 5.12.953. 1033. II35. 1261,1440 Rosing, Vladimir, 1253
Riotte, Philipp Jakob, 693 Rosselli, G. B., Conte, 60
Rittberg. Charlotte, 276 Rossi, Carlo, 301, 515
Ritter, Karl August, 694, 695, 7x2, 715, 717. 723 Rossi, Georgio, 159
Ritter von Rittersberg. Ludwig. 671 Rossi,Joseph August, 676
Riva, G. A .• 284 Rossowski, Stanislaw, 1234
Rivera, Luis. 844,985 Rostand, A1eJcis, 1029

1737
Rostock GENERAL INDEX Sarego

Rostock, 1385 S., K. (Czech translator), 745

Rotchev, A., 723 S., P. (Czech translator), 661
Roth, Herman, 151,184 Sabadini, Bemardo, 58, 72, 104
Rother, Artur, 243,386 Sabbe, Maurits, 1320
Rothman, Göran, 261 Sachs, Curt, 106, 107
Rothmann, Johann Nepomuk, 325, 344~ 30 ) Sachs, Melchior Ernst, 134ö
Rothwell, Walter Henry, 1097 Sachs, William von, IIi7
Rotterdam, 896, 982,1113 Sachse, Leopold, 437. II29
Rouen, 5Il, II34, 1312, 1319 Säfström, August. ,pÖ, 919
Rouhier-Deschamps,1-,261 Saggione, Giuseppe Fedele, 114
Roullard, H. G., 462 Saigön, 919
Roullaud, Henri Jean, 356, 403 Sai~t;..Evremond, Charles Marguctel de Saint-
Rousseau, Auguste. 665 benis, Sie ur de, 48, 54
Rousseau,Joseph,91 Saint-Genies, Leonce de, 526
Rousseau, Jean Baptiste (German author). 699, Saint-Germain, 56, 58,60,69
734 Saint John, Molyneux, 970
Rowe, Bolton, 1069 "Saint-Yves" (i.e. Edouard Deaddc), 9.!9
Rowc, SavilIe, 1069 Saix. Guillot de, 1067
Royan, II86 Sakhnovsky, Yury Sergyecvich, 1341
Rozanov, F., 431 Salisbury, R. B., 357
Rozhdestvensky, V., 983 Salomon, Hector, 1088
RubineIli, Giovanni Maria, 150 Salvi, Matteo, 1096
Rubinstein, Joseph, 1097 Salvioli, Giovanni, 80, 250. 662, 61ö
Rücklos, Heinrich, 809 Salza, Abd-el-Kader, 18
Rudder, Arthur de, 9 Salzburg, 8, 83. 196, ll.93, 306, 345
Rudhart, Franz Michael, 440 SamazeuiIh, Gustave, 976
Rudnev, T. M., 903 Samuel, Sydney, 1053
Rudolph, Anton, 151, 183,306, 307. 327. 34.!, San. Ftancisco, 838
493,980 San Remo, 1419
Ruelle, Jules, 781, 785, 863, Il43 Sanchez Lamadrid, Ventura, 805
Ruggeri. Giovanni Maria, 16, u6 Sanchez y Albarran, Jose. 805
Rühs. C. F., 421 Sand, Robert, Il79
Ruloffs, Bartholomcus, 177, 255, 289, 305, joM, Sandberg, Hjalmar, 1019
314,316,33 2,414,474,491 Sandberg, Herbert, 1341
Rumanian Operas, (740), 1076, 1084, I.! 3 I , 1234, Sandberger, Adolf, 5, 33, 66, 84, 93, 103. 149,
1258, 1402 (1433) 637
Rumpel, Franz, 875 Sander, Christian Friedrich, 379
Rupertus, Otto, 121M Sander, Johann Daniel, 263, 335, 372
Russen, Henry, 778 Sandre, Gustave, 1I73
Russian Composers, early, 324, 354, J{>7 Sandulenko, A., 1292
Russian Operas, early, 230, 369, 424, 43X, 440, Sanine, Benoit, 1328
464,487,553,603,64 1,6 83 Sankt Pctersburg (Petrograd, Lcningrad), 179,
Russian Operas in America, 773 1006, 1081, 1260, 1340, 1424, 1431 (see also
Russian Operas in London, see London Russian Operas, and Italian Operas in Russia).
Russian Operas in Paris, see Paris Santagano Gorchakov, Mme, 785
Rust, Giacomo, 240, 278, 461 SantaIlier, F.• 501
Rutkowski, Roman, 582 Santiago di Chile, 456, 612, 624, u86
Rutland, Countess of, 52 Sandey, Charles, 337.637
Rydberg, Carl Hendrik, 905 Santvaras, S., 457
Ryley, Madeleine Lucette, 1I41 Sanvitale,J. A., 191
Ryk, F" 27 Sapieha, Prince, 242
Sapio,-'~omualdo, 1310
S., E. van (Dutch translator), 1I05 Sardinia, see Cagliari.
S.,]. M. (Spanish translator), 456 Sarego, Francesco, 250

1739 174°
 .--'

Sassmann GENERAL INDEX Schwab

Sassmann, H., 970 Schrnidl, Carlo, 14,246,358

Saulnier, N. S. Guillaume, 459 Schrnidt, August, 608
Saur,Joseph Henri de, 526 Schrnidt, F. L., 692
Savage, Henry Wilson, 1097 Schmidt, Gustav Friedrich, 67, 92, 93, 96, 1°3,
Savagnone, Giuseppe, 1387 109, 139
Saviotti,' Alfredo, 12, 15 Schmidt, Hans, 785, I160
Savorgnan, Girolamo, 530 Schmidt, Johann Friedrich, 340, 375
Saxe-Hildburghausen,Joseph Friedrich, Prince of, Schmidt, Johann Ludwig, 341
225 1 Schmidt, Leopold, 1003
Scacchi, Marco, 97 Schmidt, Ludwig, 313
Sceaux, 84, 131 Schmidtmann, G., 290
Schachner, Joseph Rudolf, 346 Schmier,]., 832, 899, 10611
Schacht, Theodor von, 139, 353 Schmitt, Georg Aloys, 770
Schack, Benedict, 437 Schmitz, Eugen, 623
Schaelfer, Heinrich, 605 Schneid, G., 1379
Schaffgottsch, Philipp Gotthard VOll, Princc- Schneider, A., 7°3, 1033, 1°35, 1208
Bishop of Breslau, 467 Schneider, Constantin, 83
Schanz,Julius August, 1019 Schneider, Louis (French author), 1184
Schatz, Albert, 135, 147, 192, 212, 225, 278, 356, Schneider, Max, 119, 124
363,370,37I,398,424,440,441,44R.451,454, Schobert, Johann, 254
458,4 69,47 1 Schodcl-Klein, Rosa, 728
Schelfer, Herbert and Siegfried, WIr. Schöldström, Birger Fredrik, 1003
Scheide mantel, Karl. 451, 477,1360 Scholz, Gisela and P. G., 294
Schenk, C. L., 1049 Sch0nberg, Hans Hendrik, 610
Scher, Peter, 985 Schönborn,-, 397
Scherillo, Michele, 121, 126, 347 Schönemann, Johann Friedrich, 167
Schering, Arnold, 188 Schopenhauer, Arthur, 747
Scheurleer, Daniel Franc;:ois, 24,71,219,4-+9 Schott, H. C., 294
Schiassi, Gaetano Maria, 137 Schottlaender, Leo, 820, 1059
SchiebeIer, - , 290 Schremmer, A., 993
SchickeIe, Rene, 875 Schröder, Friedrich Ludwig, 414, 440, 442, 44~,
Schiedermair, Ludwig, 130, 356, 380 45 1
Schilling, Gustav, 534,854 Schröder, Fritz, 557, 1428
Schilling, Hans, 1316 Schröderheim, E., 421
Schillings, Barbara von (Kemp-), 1179 Schreder, Richard, 1025, 1037
Schindler, B., 314 Schrowe, lJ. von, 792
Schirmer, Adolf, 888, 1029 Schubart, Christian Friedrich Daniel, 382
Schizzi, Folchino, 349 Schuch, Ernst von, 1267
Schlar, Joseph, 360, 703 Schueller, Johann Nepomuk, 384, 400
Schlegel, August Wilhe1m, 499 Schuh, Oscar Fritz, 101 I
Schleifer, Karl~ 294 Schüler, Hans, 532
Schlesinger, Martin, 702 Schultz, William Eben, 160
Schlesirlger, Maximilian, 901 ~chultz-Henke, E., 1253
Schlesinger, S(igmund?), 816 , Schultz, Helmut, 347
Schlett,Joseph, 523, 579 Schulz, Johann Philipp Christian, 672
Schletterer, Hans Michel. 176, 177,409 Schulz-Dornburg, Ellen, 91
Schliepe, Ernst, I017 . Schulz-Dornburg, Rudolf, 23
Schlonsky, A., 1020 Schulze, Walter, 92, 94
Schlooz (singcr), 868 Schulze-Reudnitz, R., 992
Schlösser, Rudolf, 353 Schünemann, Georg, 707
Schlosshof, 225 Schuselka-Brüning, Ida, 905
Schlotterbeck,Johann Friedrich, 375, 505, 520 Schütky, Franz Josef, 444
Schmelzer, Johann Heinrich, 69 Schütze, Johann Friedrich, 422, 467
Schmid, Christian Heinrich, 248, 329 Schwab, Frederick A., 899, 905, 925, -I 102

1741 1742
Schwanz GENERAL INDEX Soch

Schwanz, Athalia, 948 Sevilla, 243, 877, 1370

Schwartz, Frederik, 346,445 Seyfried, Ignaz von, 321, 352,414,519,550,559.
Schwarz, Adolf, 920 569,589,595,597,608,632,672,690
Schwarz,~ax, 363 Seyler, Abel, 329, 356
Schweitzer, Juli us, 1227 Shak, Vladislav, 756, 1020, I049
Schwerin, 929, 1222, 1262, 1390, 1417 Shakhovsky, -, 537 [?Shakhoy.sky librettist]
Schwetzingen, 241 Shaliapin, Faedor Ivanovitch, 1032
Scontrino, Antonio, 1325 Shalikov, Prince P. N., 626
Scores, earliest printed, 34, 127, 141,251,356,484 Shanghai, 806, 1224
Scotland, 162 Shebalin, V. Y., 1341
Scotti, Fabio, 611 Shedlock,John South, 9T
Scotti, Giovanni Battista, 370 Sheffield, 664
Searelle, Luscombe, I::J71 Sheller, A. 1., 395,407,481, 493, 496, 514, 526,
Sebaldin, W., 1341 529,595,599,604,616,632,634,638,641,653,
Sebastiani, Franz Joseph, 281 686
Sebesryen, Karoly, 1334 Sheremetyev, Aleksandr Dmitrevich, Count, 1249
Seckendor/f, Carl Siegmund von, 330, 562 Shishkov, T. N., 934
Secker, Adolf, 687 Siamese Ambassadors, 79
Sedgwick, Sidney Newman, 337 Siboni, Giuseppe, 853
Sed6, -, 985 Siena, 33
Sedtler, -,445 Sierra Leone, 1428
See, ~ax, 291 Sievers, Georg Ludwig Peter, 564. 56X
Seedo,-, 167 Signorelli, A., 1205
Seedorf Pedersen, Hans Hartvig, 238, 9li4 Silbum, Muricl, 266
Segovia (y Izquicrdo), Antonio Maria, 786 Silva MeI1des Leal, Joaquim Jose da, 847, 970
Seguin, Edward, 761 - Silverstolpc, Gudmund Leonard, 825, 838, 844
Seidel, Friedrich Ludwig, 5~5, .707 Simm, Ants, 1257
Seidel, Hugo, 974 Simon, Alfred, 11 IO
Seidel, MaximilianJoseph, 749 Simoni, Luis Vicente de, 658, 759, 793, 8] I, ~83
Seidl, Anton, 974 Simons, Rainer, 301
Seidl,Johann Gabriel, 690 Simpson, Jolm Palgrave, 900, 902
Seiffert, Max, Jl6, IR') Sinclair, A. V., II33
Sekolowski, -, 502 Singspiel, 167, 217,323
Sekonda,Joseph, 603 Sirotti, Francesco, 475
Selby, Charles, 80 I Skalski, Andre, 302, 12JI-
Semenov, Piotr Nikolacvich, 435,551 Sklabos, G., 906
Sem per, Gottfricd, 41 Skoczdopole,Juan D., 863
~enger, Rudolt~ 91 [ Skokov, Piotr Aleksandrovich, 324
Senoa, August, 757, 835, 865,9°4,941,983 Slaby, Rodolf]., 984, 1082, 1277
Septet, first operatic, I04 Slee, Norman, 357
Serbian Opera, 1350 (see also Croat Opera) Sliwiriski, Jan, 978
Serken, R., 1268 Sionimsky, Nicolas, 1428, 1433
Serle, Thomas, 8Il Siovenian Operas, (921), 1023, 1408
Serra, Narciso, 733 SlowaczYllski, Jedrzej, 715
Serrat y Weiler, Femando, 1085 Smart, Sir George Thomas, 663
Servieres, Georges, 497, 540, 680, 823 Smith, Dexter, 1076
Servieres,Joseph,5H 2 Smith, Edgar, J017, 1080
Sessi, Marianna, 475 Smith, Gertrude Parker, 14'.1
Seuerling, Carl Gottfried, 63 Smith, Herbert, 306
Seume, Johann Gottfried, 513 Smith, Valentine, 901
Se ver, G. H. F. T., 451 Smrcka, Otakar, 1132, 1~23, 1254
Sevigny, Marie de Rabutin-Chantal, Marquise Smyly, C. F., 349
de,53 Sodi,-Carlo, 138, 182,221

1743 [744
Soelberg GENERAL INDEX Stritof

Soelberg, R., 228, 248, 279, 2S~, 2<)2, 317, 324, Sprange, W. E., 1081
327, 336, 34 8, 350 Springer, Otto, 1410
Sofia, 1307, 1434 "Squallini," 281
Sokolsky, -,551 Sql1ire, William Barclay, 24, 79, 85, 205
Sokolovsky, - , 369 Stahl, Ernst Leopold, 386
Solanges, Paul, 1046, 1052, 1163 Stählin, Jakob von, 18o, 186
Solcinne, Martincau de, 57, 110, 161, 2fl, 219, Stange, Stanislaus, 1286
274, 346, 623, 691 Stanis'laus, Frederick, 1091
Soler, Antonio, 119R Stanislavsky, Konstantin Sergyeevich, 1II 5
Solerti, Angclo. 3, 6, 9. 10, 12 Stanislaw II August~s (Poniatowski), King of
Solis, Dionisio (Villanueva y Ochoa y), 52<), 55J Poland, 389,412
SoIlcrtimskY,J.J., 1004 Stankovsky,JosefJifi, 917, 923, 981, 985, T022
Somerset, CharIes A., 618, 687 Stansbury, George Frederick, 782
Somogyi. Peter. 1273 Staudigl,Josef,834
Son, J. C. van. 502 Stcele, Sir Richard, 140
Sondershausen. 1110 Steffan, Ernst, 1109
Sonneck, Oscar George Theodore, I. 2. 26, 28, Steglich, Rudolf, 145
34, 100. 101, II3, 138. 139, 147, 165,2°9.223. Steiner (publisher), 1219
225,229,247.262,267,271.278.298,299.311, Steiner, Rudolfi, 1306
356,358.370,399,422.424,433,440,449,458, Steinhoff (-Talion), Ninon, 1393, 1404
467,47 1,474,534 Stcpanek,Jan Nepomuk, 448,551,560,597,615,
Sonnichsen, Soren, 345 618,626,676,688,73 2,743,757,777
Sontag, Henriette, 786, 893 Stephen Francis, D~ke of Lorraine, see Francis I
Sonzogno,Edoardo,1138,1140,1165,1166,1259 Stern, Julius, 1348
Sophia Charlotte, Queen ofPrussia, 106, 107 Sternau, C. O. (pseud. of Otto Inkermann), 862
Sophia Eleonora, Princess of Saxony, 12 Sterne, Ashley, 995
Sorelli, M., 2I I
Stettenheim, Julius, 993
Sorensen, Peter, 1087 Stevens, Thomas, 1219
Sorge, Giuseppe, 576
Stevenson, John Andrew, 291
Sorli,Ivo,428, 1226, 1346
Sticotti, Antoine Jean, 59, 75, 77
Soulage, A., 255
Stieber, Hans, 91
Souper, Frances Oriana, 455
Stierle, - , 328, 341
Sourdeac, Alexandre de Rieux, Marquis de, 4X
Stjernström (-Granberg),Johanna Charlotta, 423,
Spaeth, Sigmund, 1232
Spangenberg, Heinrich, 818 90 5
Spanish Operas and Zarzuelas, early, 39, 102, 120, Stockholm, 136, 230, 328, 357, 400, 840, 1299,
127,300,3°2,3°3,307,314,362,587,729,745, 1313,1393,1433 (see also Swedish Operas)
816 Stoessel, Albert, 502
Spanish Operas in America, 1333 Stöffier, Johann Friedrich, 356
Spanish Operas in Germany, 966 Stöger,Johann August, 698
Spanish Operas in Paris, see Paris "Stoliberg, Ferdinand" (i.e. Felix Saiten), 1028,
Spassky, N. M., 991,1024, II08, II27, 1135,1140, 1201
1153, II56, II63 Stolpe,Johan Peter, 343,491
Spassky, S. D., 1223 Stöpel, Robert August, 902
Spazier, "Richard Otto, 811 Storace, Anna, 364,424
Spengel, Heinrich Ludwig von, 344 Storace, Stephen (the Eider), 175
Spetz,Johan Wilhe1m, 530 Strandberg, Carl Wilhe1m August, 414, 501,702,
Speyer; Edward, 784 721, 752, 821, 861, 865, 874, 875, 897,9°4
Speyer, Wilhe1m, 784 StranskY,Joseph, 315,958
Spiess, Christian Heinrich, 448, 449, 457 Strasbourg, 340, 939, II86
Spindler, Stanislaus, 608 Strasser, - , 1308
Spitta, Philipp, 223, 535 Strettell, Alma, 1274, 1313
Sporon, Benjamin Georg, 343 Strindberg, Ludvig, 1026
Sporon, Frederik Gottlob, 434, 501 Stritof, Anton, 827, 850,903

1745
Stritof GENERAL INDEX Tomic

Stritof, Niko, 960, 1143, 1194, 1255, 1268, 1306, Tapia, Eugenio, 547, 556
1322,1364,1336,1371,1400,1412,1416,1425 Tartini, Giuseppe, 1217
Strobel, Heinrich, 532 Tashkent, 1433
Strommel, Gottfried, 494 Tausig, Karl, 1001
Strong, Austin, 970 TayIor, Edward, 89
Stroud,I429 Taylor, H. G. F., II26
Strozzi, Pietro, 4 Taylor, Thomas WestonJohns, 191
Struve, -, 504 Taylor. William Frederick, 626
Struwe, Jakob Bemhard, 581, 587 Tebaldini, Giovanni, 3, 1267
Strzelecki, Adolf, 1140 Temesvar, 903
Stuart, James Francis Edward. the .. Old Temple, Richard Barker Colb, 930, 1030
Pretender," 63 Templeton, John, 757
Stuart. Robert Louis, 4, 22,151 Tenducci, Ferdinando, 261, 262,276,391
Stucken, Frank van der, 966 Tenschert, Roland, 294
Studer-Wcingartner, Carmen, 1043 Terreaux, L. H. F. du, 825,950,992
Stuk,J. Vaclav, 652 .J Terry, Charles Sanford, 33 8, 345
Sturgess, Arthur, II98, 1247 Terry, Daniel, 643
Stuttgart, 91, 229, 23 I, 251, 412, 544, 802. 858 Terry, Leonard, 235
and passim. Tessier, Andre, 55
Suarez y Panez, Pedro, 3I I Tessmer. Hans, 406
Subira, Jose, 39, 314 Tettoni. L. E.• 101 I
Sucher,Josef, 974 Teuber, Oscar, 279, 425, 448,449,59°, 857
Suez Canal, 1018 Teucher, C. F., 141
Sulhvan, Thomas RusselI. I06y Tham, Karel Hynek, 346
Sulzer,Johann Georg, 582 Tham, Vaclav. 416
Sumerau, Gottfried Freiherr von. 302 Thayer. Alcxander Wheelock, 58o, 590
Sundström, Einar, 231 Thenard, P., 257 '
Surrealistic Opera. 1426 Thicboust, Lambert, 851
Sushkova, Marya Vasilevna, 277. 321 Thiebcn, Emil, 1316
Svantsov, Konstantin, !150, 885 Thirouxd' Arconville,MarieGeneviveeCharlotte,
Svara, Danilo, 1434 161
Svacek,Josef,775 "Thoinan, Ernest" (i.e. Antoine Ernest Roquet),
Svichinsky~,I. N., 612,618,654 48,5 0 '
Swansea, 1072 Thompson, Alexander M., 1005
Swedish Operas. early, 230, 328, 350, 357, 400. Thompson, Edward, 160
408,421,443,446,468.551, 561 Thompson, Richard, 652
Swedlund, Helga. 20<) 'Thornthwaite, William, 690
Swiss Operas, early, 307, 735.914, 1005 Thümmel, Moritz August, von, 321
Swoboda, Vaclav Alois, 726, 739. 771. 777. 782. Thun, Johann Ernst von, Archbishop ofSaizburg,
802,814.844 83
Sygietynski, Leon. 755. 772,972 Thuring, HenriJoseph, 452
Szerdahelyi,J6zsef. 452, 644, 681, 696, 718, 724. Thygesen, Thyge, 960
726. 733. 737. 739, 75 0, 865. 874 Tibaldi Chiesa, Mary, 1303
Szerdahelyi, Kaiman, 955 Tickell, Richard, 162, 163
Szerelemhegyi, Andras, 325. 370 Tiersot,Julien, 217,587
Szilagyi. Palt 705 Timkovsky, lIya Fedorovich, 406
Szober, Feliks. 977, 986, 1025 Tipaldo, Emilio Amadeo de, 414
Tirabassi, Antonio, 9
Taberner, M .• III3 Todd MitchelI, Fanny, 1038
Taconet. Toussaint Gaspard, 212, 240 Tokyo, 265, 1045, 1165
Taffanel, Claude Paul. 976 Tolstoy, Aleksyei Nikolaevich, 983
Tallinn (Reval), 1417, 1427 Tomic, Josip Eugen, 457, 712 , 721, 731, 744, 773,
Tamagni. Giuseppe, 475 791, 792, 820, 907, 924, 959, 972, 994, 1007,
Tamagno, Francesco, 1126 1013, 1019, 1023, 1°52, 1064, 1070, IIO<)

1747
Tommasini GENERAL INDEX Vatielli
Tommasini, Vineenzo, 1376 Turkish Operas, (1039), 1343
Toms, Edward, 244 Turnau, Johann, 294
Tondi, -,831 Turner, Alan, 1017
Toni, Aleco, 434,1294 Turner, Margaret, 162
Tonioli, Girolamo, 323 Tutein, Karl, 1106
Torehi, Luigi, 3 Tutenberg, Fritz, 119, 338, 1409
Torgau, 12 Tuwin,Juljan, 1037, 1345
Törnbiom, Folke H., 770 Twiss, Riehard,245
Törneroos, Anders, 457, 498, 645, 677, 724, 730, Tymowski,J6zef, 62i
738,739,756,762,767,773,779,791,806,829, Tyrer, Anderson, 517
839, 844, 897,904,908,941,942 Tyumenev, G., 1014, 10SS (
Torre, Franeeseo della, 65
Torrefranea, Fausto, 80 U.S.A., see America
Torsslow, OlofUlrik, 717 Uboldi, Carlo, 401
Toseanini, Arturo, 1376, 1388 Ueeelli, R., 133
Tosi, Giuseppe Feliee, 63, 94 Udbinski, 5., 950
Touehemoulin, Joseph, 258 Uffenbaeh, Zaeharias Conrad von, 116, ISS
Toulouse, 1210 Ujky, Emanuel, 428, 670, 699
Towne, Charles Hanson, 970 Ullmann, Walter, 1410
Tr., E. A. (Russian translator), 961 Unger, Ernö, 302
Translation of Libretto, first instanee, 4 Unger, Gladys, 1038
Translation ofLibretto into English, first instanec, Urban,]., 1423
31 Urbanski, Aureli, 676, 885, 1089
Trautmann, Prokop, 341, 398, 418 Ursprung, Otto, 39
Tredyakovsky, Vasily Kirilovieh, 180 Uylenbroek, Pieter Johannes, 294, 3°4, 421, 527,
Trciehlinger, Wilhelm M., 246,358 539
Trend, John Brande, 1349, 1370 Uzbck,1433
Trento, Matthio, 38, 521
Tretbar, Charles F., 1155' Vacearo, Giovanni, 1098
Treumann-Mette, Arthur, 655, 787, 866, 1063, Vaehon, Pierre, 528
1083, 1124 Valabregue, Albin, 1102
Trial,Jcan Claude, 254 Valberkh, Ivan Ivanovieh, 523, 586, 597
Triebensee, - , 444 Valenti, -, 60
Trieste, 562, 800, 887,916,978,1182,1369,1382, Valentin, Karl, 1068
1440 Valentini, Giovanni (17th et.), 29
Trilljärv, Alexander, 984,1184 Valentini, Giovanni (18th et.), 418, 441
Trinidad, 772 "Valentini," Valentino Urbani, ealled, 99, 123
Tmski, Ivan, 738, 812, 844, 861, 93 ll , 1029 Valeri, Diego, 992
Troehe, Ephraim, 3°1, 898,928 Valerius, ]ohan David, 340, 400, 4°5, 407, 415,
Troeki, Ladislas von, 384 465,499,525,53°,531,536,543,544,551,626
Trost,Johann Matthäus, 129 Valle, Bernhards, 1294
Troutbcek,John, 336, 395,673, 1040 Valle, Vineenzo, 1024, 1062
Trusler, John, 175 Vallese, Tarquinio, 144
Tscreteli, Prinee A., 1260 Valline, Paolo, 1I27
Tsingtao, 601 Valyano, G., 1021
Tudor, Lady Mary, 76 Vanee, Louisa, 882
Tufts, George, 164 Vandall, Peder Topp, 275, 333
Tuksam, Georg, 456, 886, 1109 Vanderstop, Corne!ius, 162
Tully,]ames Howard, 665,814, g39, 981 Van de Ve!de, Anton, 1412
Tulou, Jcan Louis, 647 VarjaCic, Ljudevic, 1037
TlInis, 1358 Varnhagen, Rahe!, 595
TlInison,]oseph 5., 966 Vaseoneellos, Joaquim de, 21I
Turczynski, M., 1113, 1I18 Vasquez, M., 905
Turin, 36, 168,237,457,741, and passim Vaticlli, Franeeseo, 17

1749
Veisbrem GENERAL INDEX Wardroper

Veisbrem, P. K., 1004 Viura, Xavier, 823, 826, 886, [002, 1014. 1055.
Vendome, Louis Joseph, Duc de, Ho 1056
Veneziani, Vittore, 1323 Viviani, Giovanni Bonaventura. 42
Venice, 15-26,28,30,32,36, and passim Vizzotto. Carlo, 1284
Venice, first comic opera in, 126 Vlict.W. van der, II40
Vcnice,Opera-Houses, 8, 15-26, 28, 52, 60, 63, Vogel, Emil, 10
503 Vogl. Adolf, 1264
Venturi de! Nibbio, Stefano, 4 Vogler, Johann Gottfried. 93,359
Verdinois, Federico, 1098 Vogt, Felix, 526, II22. II73. 1207. 1227
Vergne. Alphonse. 387 Voigt, Max, 1424
Verhagen, Balthazar'.I30H Vojnovic, Ivo. 1275
Verismo. 1138, II69. 1171. II77, 1310 Volapük. Opera in, 875
Verona, 2 I 2, 238, 896, 924, 123 I Volkmann, Hans. I2T
Vcrsailles, 73. 76, 202, 267, 333-> 366, 376. 378. Völkner. Ch. F.. 484
403,409.4 12.4 15.420 Volkonsky, Prince and Princess, 282
Vesala. K .• 1299 Volkov, Alcksandr Gabrielovich. 293.510.005
Veshnyakov, A. P .• 339,430,684 Voll, Matthäus. 580
Vianesi, Augusto, 814 Vollmöller, Karl, 1339
Vibe, Andreas, 792, HI8, 832 Voroblevsky, Vasily Grigorevich, 235. 254. 285.
Viborg, see Viipuri 3°6,3 15,31 6,320
Vicenza, 410,49°, 1434 Voss,Julius von, 359
Vidal, Paul, 395, 1183 Vrecdenberg, c., 507, 5I1. 523, 562, 567. 571.
Vidal y Llimona, Andres, J037, 1078 712
Vsevolozhsky, Nikiti Vsevolovich, 507.640
Vidor, Dezsö, 1001, 1040, 1230, 1232, 1243, [252.
Vukocinovic. Ljudcvic, 838
1273
Vulpian, Alphonse ("Gustavc"), 698
Vieillard, Pierre Ange, called 'Jules," 595. Cu
Vyazemsky, Piotr Andreevich, 581
Vienna, 42, 44, 47, and passim
Vyelyashev-Volyntsov. Dmitry Ivanovich. 488.
Vienna Congress, Festival Opera, 598
543, 550. 576
Vienna, early Court Conductors, 29, 45, 109
Vyen. G., 546
Vienna, National-Singspiel, 362,363, 393
Vymctal,Josef. 936,1098,1281,1282
Vienna Theatres, 350, 417, 563, 564, 69H. 954.
1001, 1088
Wachmann, Eduard, 673
Vigee-Lebrun. Elisabeth Louise, 488
Waddington, Sidney Peine, II64
Vigil Y Robles, Jose, 891
Wagensei\, Georg Christoph, 173
VignoIa, Giuseppe, 107, 110 Wagner, Adolph, 610
Viipuri (Viborg), 63, 1285
Wagner,]. Bogdan, 726, 779, 798, 928. 950
Vijver, Co melis van der, 287, 578, 597 Wagrowski, Marcin, 528
Vilaregut, Salvador, 1010 Wahl, Fritz, 1283
Villeneuve, Louise, 420 Wakh, Gamet, 944
Villiers, George, Duke ofBuckingham, 120 Wakot, Maria Grace, 919
Vinacese, Benedetto, II5, 124 Waldersee, Paul, Graf von, 176
Vinogradov, N. G., 1223 Wallace, William, 1237, 1247, 1282
Vio, Carl, 540 Wallenius. Toivo, 984
Vio\, W., 451 Wallerstein, Lothar, 386, 387.988,1000
Viollet d'EpagnY,Jean Baptiste, 665 Walloon Operas, 235,1415
Viollier, Renee, 130 Walpole, Horace, 89, 229
Violone, Giovanni del, 114 Walre,Jan van, 312, 445
Viotp, Henry, 1097, 1098 Walsh,John. 123,204,2°5
Viotti, - , 398 WaIsh, Thomas]., 125
Virza, Eduard, 592 "Walter, Erich" (i.e. Erich Motz-Rappaport),
Vischer, Friedrich Theodor, 914 995
Viterbo, 9, 38 Walter, Franz, 338, 425
Vitzthumb, Ignace, 294, 352 Ward, Wil\iam, 162

1751 175 2
Wardroper GENERAL INDEX Zaccharelli

Wardroper, Walter, 897 Wiesner von Morgenstern, Franz, 855

Warsaw, 586 (see also Polish Operas) Wijkander, Carl Oscar, 902
Wasenholtz, Daniel L., 322, 335 Wilbrandt, Adolf, 668
Watten (manager), 532 Wild,James, 555, 567
Webb,John, 601 Wilder, Thornton Niven, 193
Weber, Franz Anton von, 356 Wilfoid, John, 159
Weber, Kar! von, Il31 Will, Josa, 1233
Weber, Max Maria von, 559 Willers, Wilhelm, 151, 155
Weber, Wilhclm, Il41, 1349 ' William H, German Emperor, 1261
Webster, Benjamin Nottingham, 790, 799, 801, William IV, King ofEngland, 742
870 William H, King ofEngland, 860
Wechsclmann, c., 1339 Williams, Fred, 1069
Weckerl in, Jean Baptistc, 49, 50, 197, 254 Williamson (manager), 404
Wcgierski, Tomasz Kajetan, 3Il Wilna, 912
Weichmaim, Christian Friedrich, 93 Wilson, Steuart, 1197
Weichsel, Charles, 261 Winbrun, 0., 1403
Weil, Oscar, 744,806 Winkler, Georg C., 995,1432,1435,1438
Weilen, Alexander von, 72, 82, Il4, 136 Winston,]., 391
Weil!, Ralph A., II 37 Winter, A. de, 792
Weimar, 309, 314, 326, 329,754, and passim Withers, Herbert, 1347
Weissbach, Hans, 1II7 Witsen Geysbeek, Pieter Gerardus, 482, 486, 507,
Weissenfels, 88 525
Wellington, Arthur Wellesley, Duke of, 256 Wittmann, Kar! Fricdrich, 919
Welsh, -, 383 Wladislaw IV (Sigismund, Prince, later) King of
Welsh Opera, first, 1072 Poland, Il, 14
Welsh operatic subjects, 1072, 1316, 1330, 1406 W oleott, John, 429
Wendschuh, Ludwig, 409 Wolf,Johannes, 80, 146
Wendt, Theodorc, 1247 Wolfenbüttel,26
Wenz,Josef,143 W olff, Hermann, 1103
Werner, Fritz, 1230, 1237, 1244 Wolf[, Paul, 901
Werner, Theodor Wilhe1m, 153, 345 Wolfram, iLinnsheinz, 773
Werther, Franz, 1074 W olfskchl, Kar!, 629
W,cser, Lars August, 771, 774, 783, 829 Wolzogen, Alfred von, 451,836
Wessei, Johan Herman, 252, 283, 308, 326, 356, Woman Composers, ear!y, I1, 95, 224, 533
366 ,40 3 Wood, Charles, 86
Westercamp, Char!es, 499 Wood,]. Hickory, 629, II79
Westerstrand, Per, 690,733,778 W ood, W illiam Burke, 679
Westin, Henrik Laurentius, III7 Wotquenne, Alfred, 26, 28, 53, 72, 88, 138, 159,
Weston,]. M., 755 239,243, 827,967
Westhreene, Pieter Anne van, 1357 Wüllner, Franz, 178, 703
Westrup, Jack Allan, 6 Wurzbach, Constantin von, 685
Weterings,J., 91,1376 Xanroff, Leon, 1278
Wetterstedt, Niels Erik Wilhelm af, 479, 589,
Yankov ich, -, 472
655,689,699,718,728,730,740,744,791,798,
805,'814,821, 853 Yaron, M. G., II02
Whincop, Thomas, I12 Yepanechnikov, Vera, 779
White, Felix H., 1391 Yiddish, Opera in, 767, 890
Whyte, George, I183 Yokohama, 1224
Wiedematm, Poul, 1242 Yurin, N., 501
Wiel, Taddeo, 68, 441, 474 Zablocki, Franciszek, 304, 333, 346
Wiener, -,1370 ZabranskY,]. A., 833
Wiesbaden, 955, 993, 1047, 1073, 1369, 1401, Zabransky, V., 833
1402 "Zaccharclli" (pseud. of Stanislas Champein),
Wieselgrcn, Harold Ossian, 637 46 5

1753 1754
Zagreb GENERAL INDEX ZurmühIen

Zagreb (Agram), 8SS, 947, 1°59, 1199, 1415 (see Ziegler, Wilhelm, 1344, 1402
also Croat Operas) Zinck, August, 826, 865, 872,906,930, 1020, 1084
Zaldivar, Jose, 1286 Zinck, Otto, 925
Zalewski, Andrzej, 384 Zinzendorf, Kar!, Graf, 236, 242, 255
Zamara, Alfred, 1348 Ziolkowski, Ignacy, 1251
Zamrzla, Rudolf, 1033 Zitek,Otakar, 14II
Zanchi, Alessandro, 557 Zoblinsky, Mme, 1074
Zanne, Jeroni, 851, 976, 1010, 1014, 1056, 1098, Zolkowski, Alojzy, 581
1133 Zoppio Turchi, Niccolo, 2, 28
Zannowich, 5.,475 Zotov, Rafail Mikhailovich, 420, 451, 548, 564,
Zaragoza, 127 585,587,607,635,644,661,676,685,717,721,
Zarzuela, see Spanish Opera 723,75 2
Zatta, Antonio, 239 Zschiedrisch, Carl August, 450, 512
Zehnmark, Ludwig, 330, 337, 345, 367, 398 Zumpe, Hermann, 868
Zeiger,]., 1257 Zunz, H., 602
Zeitz, 126 Zurich, 412, 1247, 1339, 1350, 1366, 1399, 1423,
Zelenka,J., 798 1433, 143 6, 143 8
Zelle, Friedrich, 79, 155 Zurmühlen, B., 340
Zibelis, Vitolds, 126g

1755