Perella, an interview with Amara Lakhous, and research studies on Apostolo Zeno
, Leopardi, Gadda, Camillo Pennati, as well as on key issues in Italian language and linguistics (an essay on Southern Italy's contributions to contemporary Italian language, the second part of a paper on Therese Labande-Jeanroy's Question de la langue en Italie, and a review article on Latin and Italian in the framework of linguistic superdiversity).
Among the drammi eroici or opere serie, the first case study discussion of Teuzzone by Apostolo Zeno
(from now on I refer only to the authors of the libretti since the music is not discussed at all in this book).
Este es en esencia el tema central del capitulo II,"Cervantes en escena: el libreto perdido de Apostolo Zeno
y Pietro Pariati" en el cual la estudiosa italiana restablece la paternidad de unas obras mal catalogadas como Don Chisciotte in corte della duchessa de Pasquini puesto en musica por Caldara y el Don Chisciotte in Sierra Morena de Pariati y Zeno con adaptacion musical de Francesco Conti.
Based on an exceptional libretto by Apostolo Zeno
, Atenaide was not a success when first performed in 1728.
As in previous chapters, a careful overview of each facet of Ifigenia's representation, including choice of the singers, composer, elements of production, and an examination of the libretto and its sources (especially the versions by Apostolo Zeno
and Mattia Verazi), is rendered.
Lo scambio epistolare fra Marmi e Muratori, iniziato sotto gli auspici di Apostolo Zeno
, occupa buona parte del volume 28 (pp.
Under Joseph I (1705-11), for example, the poet Silvio Stampiglia and the composer Giovanni Bononcini wrote most drammi per musica; under his successor Charles VI (1711-40), the poets Pietro Pariati and then Apostolo Zeno
collaborated with the musicians Fux, Caldara and Conti, though Zeno was spared the lighter or lesser genres, Fux had no hand in comedies, and Conti rarely set heroic drammi per musica.
Abstract: This paper focuses on the opera librettist Apostolo Zeno
and his indebtedness to the tre corone of Italian literature, Dante, Petrarch, and Boccaccio.
Naive continues its landmark series of Vivaldi operas with this dramatic new recording of Griselda (Venice, 1735), an opera based on a libretto by Apostolo Zeno
but shortened and adapted for Vivaldi by the Venetian dramatist, Carlo Goldoni.
Williams finds space, too, for a consideration of aspects of the texts Conti set; his roster of fine librettists for his cantatas and larger dramatic works included the Court poets Pietro Pariati, Apostolo Zeno
, and Silvio Stampiglia.