Metastasio, Pietro

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Metastasio, Pietro

(pyĕ`trō mātästä`zēō), 1698–1782, Italian poet and librettist, whose original name was Antonio Bonaventura Trapassi. A prodigy at poetic improvisation, he became court poet at Vienna in 1729. He wrote melodious lyric verse; a masque, Gli orti esperidi (1721–22); and librettos of many operas, including Didone abbandonata (1724), Artaserse (1730, tr. 1761), La clemenza di Tito (1734, tr. 1811), and Il re pastore (1751, tr. 1765). These librettos were set to music by many composers, including Gluck, Handel, Mozart, Pergolesi, and Rossini. Metastasio, with Apostolo Zeno, whom he succeeded as imperial poet laureate at Vienna, created the rigid opera seria (see operaopera,
drama set to music. Characteristics

The libretto may be serious or comic, although neither form necessarily excludes elements of the other. Opera differs from operetta in its musical complexity and usually in its subject matter.
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). His melodrama Attilio Regolo (1750) is generally considered his masterpiece.

Bibliography

See his Dramas and Other Poems (3 vol., tr. 1800).

Metastasio, Pietro

 

(pseudonym of Pietro Trapassi). Born Jan. 3, 1698, in Rome; died Apr. 12, 1782, in Vienna. Italian poet and opera librettist.

In 1730, Metastasio became court poet of Vienna. His opera libretti are classical examples of opera seria. Almost all 18th-century composers who wrote operas on historical and mytho-logical themes—as well as composers of pastorals, serenades, and cantatas—used his texts, which were noted for their lofty imagery, subtle depiction of the lyrical states of the heroes, poetic refinement of language, and compositional balance.

Among Metastasio’s 27 opera libretti (dramma per musica) that were repeatedly set to music were Didone abbandonata (1724), Siroe (1726), Ezio (1728), Semiramide riconosciuta (1729), Alessandro neWIndie (1729), Artaserse (1730), Demetrio (1731), Demofoonte (1733), La clemenza di Tito (1734), Giro riconosciuto (1736), Temistocle (1736) Antigone (1743), and I! re pastore (1751).

REFERENCES

Stendhal. “Zhizneopisaniia Gaidna, Motsarta i Metastazio.” Sobr. soch., vol. 8. Moscow, 1959. (Translated from French.)
Russo, L. Metastasio. Ban, 1921.
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Para entonces ya "Maestro di Cappella" de Napoles, con el arribo de Carlos de Borbon, sus mecenas los Habsburgo se tuvieron que refugiar en Roma y con el apoyo de los duques de Maddaloni y los Colonna debuto en el Teatro Tordinona con L'Olimpiade, drama en tres actos sobre otro tema de Metastasio.
Apostolo Zeno stands today as a poster boy of eighteenth-century opera reform, as a precursor to Pietro Metastasio and his heroic dramas, and as a figurehead of the proverbial literary buon gusto that was espoused by the widespread and widely spreading Arcadian Academy.
Jeronimo Val, a diferencia de otros traductores de Metastasio, no estaba vinculado al mundo del espectaculo.
In 1733, the opera L'Olimpiade, whose libretto was written by Pietro Metastasio, poet in residence to the Habsburg Court, was first performed to great acclaim in Vienna; it later met with similar success in other European capitals, including London.
Martines's mentor was Pietro Metastasio and she studied with Haydn, performed at the court of Empress Maria Theresa and with Mozart, and wrote vocal, instrumental, and church music, oratorios, arias, sonatas, and concertos.
Metastasio e, infatti, fra i primi ad usare "l'imminenza del viaggio come espediente drammatico" (158), nello sviluppo dell'azione.
Tambien en el siglo XVIII, el italiano Pietro Metastasio --con certeza el poeta mas famoso de la epoca de toda Europa (fue el poeta oficial de la Casa Imperial de Austria)-- ejercio profunda influencia sobre los intelectuales que, en Brasil, se reunian en varias academias, cuya vision estetica se fundaba en los principios de la llamada Arcadia Romana, que era un grupo inspirado y patrocinado por la brillante Cristina, reina de Suecia entre 1632 y 1654, ano en que abdico y se mudo a Roma.
The show is being presented by Italy's award winning Teatro di Piazza o d'Occasione's visual theatre company and the Teatro Metastasio Stabile della Toscana.
Metastasio might have been describing the work of his contemporary Giambattista Tiepolo, whose art blended history, mythology, legend, and scripture in a grand manner.
Metastasio, in fact, takes advantage of the gendered culture of the ancient games to enervate his drama with even greater intensity.
Volumes iii and iv of the Theatro Comico Portuguez contain operas by Antonio Jose's imitators, performed at the Teatro do Bairro Alto or the Teatro da Mouraria prior to 1742, (6) and volume iii includes the first example of an adaptation 'ao gosto dos portugueses' [according to Portuguese taste] of a text by Pietro Metastasio (1698-1782), Austrian court poet and paradigmatic librettist of Italian opere serie.
As long as Casti was producing comic operas and Metastasio was adapting such fine music to thoughts full of charm and elevation, no pleasure was lost [at the theater], and reason gained a great deal there.