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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Chapter 2 covers the period from 1700 to 1750 and is largely focused on Pietro Metastasio.
The latter quality was inextricably linked with opera seria and no more so than in the celebrated libretti of Pietro Metastasio, which were set time and time again by composers throughout the Italian peninsula and wherever the Italian style reigned supreme.
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.
3) PIETRO METASTASIO, Opere, Padova, Foglierini, 1811-1812, vol.
Dreams and fables I fashion," wrote 18th-century Italian poet and librettist Pietro Metastasio, "and even while I sketch elaborate fables and dreams upon paper .
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.
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.
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.
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.
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.
Artaserse was Vinci's most famous opera, written on the most frequently set libretto by the great Pietro Metastasio.
Chapters 1 and 9 contain sketches of eighteenth-century galant figures: Jean-Antoine Watteau, Farinelli, Pietro Metastasio, and Charles Burney in "Prologue: Three Rococo Idylls"; and Johann Christian Bach, Giovanni Paisiello, and Luigi Boccherini in the last, entitled "Three Apostles of the Galant Style.