Tommaso Traetta

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Traetta, Tommaso


Born Mar. 30, 1727, in Bitonto, near Bari; died Apr. 6, 1779, in Venice. Italian composer.

Traetta was a student of N. Porpora and F. Durante, and his first opera was performed in 1751 in Naples. He worked in various towns in Italy and served as court conductor from 1768 to 1775 in St. Petersburg, where he composed and staged the operas Antigono in 1772, Amore e Psiche in 1773, and Lucio Vero in 1774. Traetta composed many other operas, including one for a libretto by C. Goldoni; he also wrote oratorios and church music.


Nuóvo, A. Tommaso Traetta, grande musicista. Bitonto, 1938.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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The fourth chapter is dedicated to the elogi of Francesco Mancini, Pasquale Cafaro, Antonio Sacchini, Leonardo Leo, Francesco Durante, Tommaso Traetta, Nicola Sala, and Nicolo Piccinni.
Giving some examples of works by Christoph Willibald Gluck and Tommaso Traetta, the author demonstrates that the most featured keys tend to be E--flat major.
The collection includes 15 manuscripts known as the Venice series of the Scarlatti's Sonatas; the Sonatas by Sebastiano de Albero; the Scarlatti's 'Serenata a quattro voci; works by David Perez, Tommaso Traetta, Leonardo Vinci, Pasquale Cafaro, Leonardo Leo, and Johann Adolf Hasse are preserved in other 40 manuscripts.
All the more monolithically posited is Feldman's hermeneutic reading of Tommaso Traetta's Didone abbandonata (in "Abandonments in a Theater State, Naples, 1764").
This paper discussed the Italian opera collection at the Mariisnky Theatre Music Library, which contains works that chart the assimilation of Russian and Italian operatic styles: Francesco Araya's Cefal and Prokris, Tommaso Traetta's cantata Astrea Placata, and Giovanni Paisiello's Naine or Magical Rosane.
Chapter 3 ("The Beginning of Reform: Enea nel Lazio") fuses the primary themes of inquiry outlined earlier in the book with a focus on the presentation of Tommaso Traetta's Enea nel Lazio at Turin as the harbinger of innovation, the emergence of Cigna, and the recognition of the Regio as a center of innovation in Italian theater.
Folge, includes sixteen such pieces written for operas composed by Pasquale Anfossi (3), Domenico Cimarosa (3), Francesco Bianch i (2), Florian Leopold Gassmann (2?), Giuseppe Gazzaniga, Pietro Alessandro Guglielmi, Giovanni Paisiello, Antonio Salieri, Giuseppe Sarti, and Tommaso Traetta. Haydn composed seven of these arias for soprano Luigia Polzelli, one each for the soprano Barbara Sassi, tenors Prospero Braghetti and Leopold Dichtler, and basses Santi Nencini and Luigi Rossi, and four for unidentified singers.
The story of Iphigenia and her various trials and tribulations had great appeal to eighteenth-century composers, including Jommelli, Tommaso Traetta, and Gluck.
And a predictable, mainly admirable group of studies by Klaus Hortschansky (who includes in his discussion, and illustrates, porcelain figures from the world of theater), Jorg Riedlbauer, Helga Luhning, Michael Schwarte, and Thomas Betzwieser, is devoted to the operatic life of Mannheim; Tommaso Traetta's Sofonisba, Ignaz Holzbauer's Gunther von Schwarzburg, and Georg Joseph Vogler's Der Kaufmann von Smyrna receive special attention.