In Portugal, by contrast, we find a series of phenomena, all with greater or lesser musical content: the operas by Antonio Jose da Silva ('The Jew') and his imitators; comedies of extremely diverse kinds; entremezes and farcas, etc.
Em Portugal, pelo contrario, existem uma serie de fenomenos, todos eles com maior ou menor conteudo musical: as operas de Antonio Jose da Silva ('O Judeu') e os seus imitadores; comedias extremamente diversas nas suas caracteristicas; entremezes e farcas, etc.
In Portugal, on the other hand, we find a series of phenomena, all with greater or lesser amounts of music: the operas by Antonio Jose da Silva, popularly known as 'the Jew' (1705-39), and his imitators; comedias of extremely diverse kinds; entremezes and farcas, (1) etc.
Quixote de la Mancha, by Antonio Jose da Silva, at the Teatro do Bairro Alto, up to the end of the Liberal Wars, following which this repertoire declined rapidly in the wake of the new dramatic paradigms of the Romantic era.
Between 1733 and 1738, Antonio Jose da Silva wrote eight dramas for the Teatro do Bairro Alto, described as 'operas' when published as volumes I and II of the Theatro Comico Portuguez, in 1744.
See David Cranmer, 'A Musica nas Operas de Antonio Jose da Silva, "o Judeu" ', paper presented at the Symposium Antonio Jose da Silva, Faro, November 2005, to be published in the proceedings.
Contrary to what Giuseppe Carlo Rossi claims, in his text 'A influencia italiana no teatro portugues do seculo xviii', in A Evolucao e o Espirito do Teatro em Portugal, 2[degrees] ciclo (Lisbon: O Seculo, 1947), the evidence for an element of parody of Italian opera in the theatre of Antonio Jose da Silva (see p.
1) The popularity of these narratives, reprints of those originally published in pamphlet form at the time of the disasters, was not lost on Antonio Jose da Silva, the dramatist and librettist.
XVIII) Antonio Jose da Silva (O Judeu) no Palco Joanino (Lisbon: Difel, 1998); see pp.
28) For the argumento, or plot summary, that headed the printed libretto for patrons to follow in the theatre see Antonio Jose da Silva (o Judeu).
See 'The Greatest Labyrinth: the Intrigue of Love and the Love of Intrigue in the Eighteenth-century "disperas" of Antonio Jose da Silva (o Judeu)', Journal of the Institute of Romance Studies, 3 (1994-95), 163-79.