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Each presents the plot, background of the production, instrumental and vocal requirements, as well as scenic and costume needs, and both provide the entire text of the libretto in the original Italian, with an English translation.
Regrettably Grossert and Sandmeier muddy the water by comparing Twentieth-century versions of the libretto not with Morell's original but with earlier German versions,) Sandmeier's chapter on the many performances of Judas Maccabeus in Germany 1933-45 shows the oratorio being both further corrupted by National Socialists into a vehicle for warmongering racial triumphalism and cherished by the Judische Kulturbunde, where it figured in their debates about the existence and identity of Jewish music, The fugitive nature of Kulturbunde history makes this probably the most original as well as the most distressing part of the book.
The chapter on Metastasio's L'eroe cinese is the most extensive, offering more textual and dramaturgical analysis of the libretto.
An anonymous sheaf of arias, seven of them corresponding in texts to arias from the libretto of the Prague Argippo, was found in the Furst Thurn und Taxis Hofbibliothek in Regensburg.
Strohm scouts the idea that Zeno and Metastasio approved of their librettos being performed as plays without music, but they were sometimes so done, and, as he emphasizes in connection with Zeno's Teuzzone, they were designed to be dramatically self-sufficient - in other words, music-proof.
In 1636, the Grand Duke of Lithuania and the King of Poland, Wladslaw Vasa, introduced the first Italian opera, The Abduction of Helen, to the Vilnius stage, composed by Marco Scacchi to the libretto by Virgilio Puccitelli.
On the other hand, he sees a man who repeatedly sacrificed artistic integrity, accepted every libretto apparently without ever requesting revisions, played one publisher against another, and blamed others for his lack of success: his publisher Sonzogno for insufficient promotion, Ricordi for waging a war against him, and famous performers such as Enrico Caruso, Tita Ruffo, and Arturo Toscanini for not performing his works more often.
Words with music; creating the Broadway musical libretto.
And if Da Ponte's libretto had been set by Antonio Salieri, as was first planned - Vincent Novello's report is confirmed by John Rice's discovery of Salieri's music for the first two trios - then presumably Cosi would have sunk into the obscurity beclouding almost all the operas (and there were many) performed in Vienna in the 1780s.
Together the two men wrote the librettos for Offenbach's operettas La Belle Helene (1864), Barbe bleue(1866; "Bluebeard"), La Vie parisienne (1866; "Parisian Life"), and La Grande-Duchesse de Gerolstein (1867).
viii), and to base underlaid text on the principal musical source, Bartlet offers instead a "principal source complex," including the following items: the extensive set of parts found in the Bibliotheque-Musee de l'Opera (Paris), including parts originally copied for Versailles but reused in Paris, as well as parts originally copied for Paris (all revised numerous times for subsequent Paris revivals); a prepublication issue of the 1749 engraving of the score (a unique exemplar), extensively annotated by numerous hands, including the composer's, for the various Paris productions--that is, an item that other specialists in French opera have sometimes called a "production score"; the 1749 edition itself; and the published librettos of 1745 and 1749.
As Ledbetter himself points out, we have no evidence that either Gilbert or Sullivan corrected the proofs of librettos and vocal scores.
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