Pietro Metastasio


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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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Pietro Metastasio, Tutte le opera di Pietro Metastasio, a cura di Bruno Brunelli (Milan: Mondadori, 1943), vol.
The professional career of Pietro Metastasio began in Naples, but his cultural and literary standards depended more on the Roman tradition owing to the influence of his teacher, the academician Gian Vincenzo Gravina (d 1718), and then of his prima donna and friend, Marianna Benti Bulgarelli, `detta la Romanina'.
The doctor's corpulence is confirmed by Pietro Metastasio, who spent most of his life in Vienna and was also a close friend.
This work, Studies of the Eighteenth Century in Italy, brought to life for English readers the hitherto unexplored world of poet-librettist Pietro Metastasio and dramatists Carlo Goldoni and Carlo Gozzi.
Or consider the origins of Mozart's two-act serenata ll Re Pastore (1775) in a three-act dramma per musica (1751) by Pietro Metastasio.
RESUMEN: Este articulo analiza la traduccion castellana que realizo Candido Maria Trigueros en 1775-1776 de la serenata Endimione de Pietro Metastasio (1720-1721), muestra palpable de la preferencia del siglo XVIII por la poesia pastoril.
Otra importante critica contra el analisis de los defectos atribuidos a Metastasio por Arteaga procedia del ya citado Rubbi, que habia publicado previamente un Elogio di Pietro Metastasio (Venecia, 1782), y volvia a defenderlo de forma virulenta, aunque poco solida, en el quinto de los Dialoghi (pp.
Questo scritto utilizza essenzialmente l'Epistolario di Pietro Metastasio (1698-1782), per analizzare il suo rapporto di amicizia col <<ciambellano imperial cesareo>> di Maria Teresa, il conte udinese Daniele Florio (1710-1789), <<poeta de' Sovrani, Sovrano de' poeti>>, lungo tre direttrici adeguatamente approfondite.
Discussed only briefly is L'isola disabitata, the two-act azione teatrale from 1779 on a libretto by Pietro Metastasio, which is not yet available in the Joseph Haydn Werke, and the fragmentary Acide from 1763 (revised 1774) written before the composer's musical and dramatic potential was fully realized.
Such participation suggests, perhaps, elements in common between these genres, a notion supported by the works of Pietro Metastasio and their musical settings where clear parallels from both the literary and musical standpoints are apparent.
HAYDN'S LITTLE TWO-ACT L'ISOLA DISABITATA, to a text by Pietro Metastasio (the composer's only setting of a complete libretto by this poet), was given a rare and quite good performance in the 400-seat Piccolo Teatro of the Communale in Florence as part of the Maggio Musicale Fiorentino.