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Titon Et L'Aurore

Titon Et L'Aurore

Date: 1753
Creator: Mondonville, Jean Joseph Cassanea de, 1711-1772
Description: This three-act opera (Monsigny's Op. 8) is dedicated to Monseigneur le Prince de Soubise and was premiered at L'Academie Royalle de Musique on 9 January 1753. This full score opens with a letter of dedication from the composer to his patron and closes with a document describing royal publishing privilege.
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Le roy et le fermier

Le roy et le fermier

Date: 1762
Creator: Monsigny, Pierre-Alexandre
Description: This three-act opera was premiered at the Comédie Italien on 22 November 1762.
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Le cadi dupé, opéra bouffon en un acte, representé sur le Théatre de l'opera comique

Le cadi dupé, opéra bouffon en un acte, representé sur le Théatre de l'opera comique

Date: 1761
Creator: Monsigny, Pierre-Alexandre, 1729-1817
Description: The figured bass is unrealized in the full score of this one-act comic opera. Sung French text is underlaid; spoken text is printed before and after each song.
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Le déserteur; drame en trois actes representé par les Comediens italiens ordinaires du roi le 6 mars 1769, Gravé par Mlle, Vendôme et le Sr. Moria

Le déserteur; drame en trois actes representé par les Comediens italiens ordinaires du roi le 6 mars 1769, Gravé par Mlle, Vendôme et le Sr. Moria

Date: 1769
Creator: Monsigny, Pierre-Alexandre, 1729-1817
Description: This three-act opera is dedicated to His Most Serene Highness Monseigneur Duke of Orleans and premiered on 6 March 1769 at les Comediens italiens ordinaires du roi. This full score opens with a letter of dedication from the composer to his patron.
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Plain and easy introduction to practical music

Plain and easy introduction to practical music

Date: 1771
Creator: Morley, Thomas, 1557-1603?
Description: In 1597, while Morley was negotiating for the patent, he wrote his musical treatise, A Plaine and Easie Introduction to Practicall Musicke. Although his preface contains the statement that he had “nothing better to do,” Morley probably knew publishing a treatise on the science of music would boost public interest in purchasing musical works. In addition, by publishing such a work, the English audience would view Morley as an authority in music (and he would become more likely to obtain the patent) (Smith, “Print Culture and the Elizabethan Composer,” 163). The work is practical, and is organized into three sections: teaching to sing simple song, teaching to sing two parts over a plainsong or ground, and teaching counterpoint.
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Les amours des dieux : ballet heroique

Les amours des dieux : ballet heroique

Date: 1727
Creator: Mouret, Jean Joseph, 1682-1738
Description: None
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Le triomphe des sens

Le triomphe des sens

Date: 1732
Creator: Mouret, Jean-Joseph, 1682-1738
Description: This opera (ballet héroique) is comprised of five acts with a prologue. It was premiered on 29 May 1732 at L'accademie Royale de Musique in Paris. This score opens with a letter of dedication from the composer "A Son Altesse Serenissime Monseigneur Le Prince de Dombes." Next, Mouret includes two tables of contents: one of the dances (Airs de Simphonie) and the other, of the arias (Airs à Chanter). The following pages lists other publications by Mouret including prices and where these items may be purchased. Vocal lines are set apart from instrumental ones by text underlay and, in the case of high voices, the use of the standard treble clef. (The violin parts use the French clef.
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Idomeneo : dramma eroico in tre atti, volume 2

Idomeneo : dramma eroico in tre atti, volume 2

Date: 1821
Creator: Mozart, Wolfgang Amadeus, 1756-1791.
Description: This score is special edition of Mozart's opera "Idomeneo" issued by subscription by J. Frey in ca. 1822. The cursive signature J. Frey appears in ink at the bottom of the t.p. This edition is in two volumes. Volume 1 lists the names of subscribers and has a table of contents for each of the three acts with the incipit of first lines of texts of arias, recitatives and choruses. Volume 1 also contains the overture of the opera and the first act. Volume 2 contains the second and third acts. According to New Grove, in 1780 Mozart received a commission to composed a serious opera on a libretto by the Salzburg cleric Giambattista Varesco, which the latter based on Antoine Danchet's Idoménée.
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Don Juan, oder, Der Steinerne Gast : komische Oper in zwey Aufzügen, volume 1

Don Juan, oder, Der Steinerne Gast : komische Oper in zwey Aufzügen, volume 1

Date: 1801
Creator: Mozart, Wolfgang Amadeus, 1756-1791. & Da Ponte, Lorenzo, 1749-1838
Description: By the time of Mozart and Da Ponte’s collaboration on Don Giovanni, the Don Juan legend had been represented in musical entertainments and on the popular stage a number of times. Although it was an unusual topic for Viennese court opera, the retelling of the Don Juan story was immensely appealing for the Italian troupe in Prague. Don Giovanni did eventually make its way to Vienna, but the opera did not meet the same success it had received in Prague.
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Don Juan, oder, Der Steinerne Gast : komische Oper in zwey Aufzügen, volume 2

Don Juan, oder, Der Steinerne Gast : komische Oper in zwey Aufzügen, volume 2

Date: 1801
Creator: Mozart, Wolfgang Amadeus, 1756-1791. & Da Ponte, Lorenzo, 1749-1838
Description: By the time of Mozart and Da Ponte’s collaboration on Don Giovanni, the Don Juan legend had been represented in musical entertainments and on the popular stage a number of times. Although it was an unusual topic for Viennese court opera, the retelling of the Don Juan story was immensely appealing for the Italian troupe in Prague. Don Giovanni did eventually make its way to Vienna, but the opera did not meet the same success it had received in Prague.
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Idomeneo : dramma eroico in tre atti, volume 1

Idomeneo : dramma eroico in tre atti, volume 1

Date: 1821
Creator: Mozart, Wolfgang Amadeus, 1756-1791.; Varesco, Giambattista. & Danchet, Antoine, 1671-1748.
Description: This score is special edition of Mozart's opera "Idomeneo" issued by subscription by J. Frey in ca. 1822. The cursive signature J. Frey appears in ink at the bottom of the t.p. This edition is in two volumes. Volume 1 lists the names of subscribers and has a table of contents for each of the three acts with the incipit of first lines of texts of arias, recitatives and choruses. Volume 1 also contains the overture of the opera and the first act. Volume 2 contains the second and third acts. According to New Grove, in 1780 Mozart received a commission to composed a serious opera on a libretto by the Salzburg cleric Giambattista Varesco, which the latter based on Antoine Danchet's Idoménée.
Contributing Partner: UNT Music Library
Les deux comtesses : opera bouffon imité de l'Italien et parodié sous la musique

Les deux comtesses : opera bouffon imité de l'Italien et parodié sous la musique

Date: 178u
Creator: Paisiello, Giovanni, 1740-1816 & Framery, Nicolas Etienne, 1745-1810
Description: Paisiello’s comic operas were some of the most successful of the time. In point of fact, his operas enjoyed 251 performances in Vienna between 1783 and 1792, compared to 63 performances of Mozart’s operas. The intermezzo Le due comtesse, which first appeared in Rome (with an all-male cast) on 3 January 1776, was translated to French and parodied by Nicolas Etienne Framery, who also adapted Paisiello’s Il barbiere di Siviglia for the Parisian stage.
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Barbier de Seville [Il barbiere di Siviglia] Opéra comique en quatre actes

Barbier de Seville [Il barbiere di Siviglia] Opéra comique en quatre actes

Date: 1789
Creator: Paisiello, Giovanni, 1740-1816; Beaumarchais, Pierre Augustin Caron de, 1732-1799 & Framery, Nicolas Etienne, 1745-1810
Description: None
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Pigmalion

Pigmalion

Date: 1773
Creator: Panard, Charles-François, d. 1765.
Description: This is the 1773 edition of the libretto to the comic opera and vaudeville, "Pigmalion" by Charles-François Panard and Thomas Laffichard. The opera premiered at the Paris Opéra Comique in 1735 . The plot is an adaptation of Ovid's story of Pygmalion, a sculptor who fell in love with a statue that he carved. Operatic and ballet representation of the subject of Pigmalion (or Pygmalion) became famous after Antoine Houdar de la Motte's entrée "La sculpture" for the ballet "Le triomphe des arts," which staged in 1700 at Académie Royale de Musique with music by Michel de la Barre. Page 16 of this edition was incorrectly numbered as number 10.
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Arianna e Teseo

Arianna e Teseo

Date: 1764
Creator: Pariati, Pietro, 1665-1733
Description: Libretto of the opera seria "Arianna e Teseo" by Pietro Pariati. The story unfolds in the island of Crete where several young Athenian men are brought to be ritually sacrificed, and Athenian maidens are to be delivered as victims to a minotaur that lives in a labyrinth. Among the Athenians is Arianna, the daughter of Minos (Minosse), King of Crete, who was abducted as a child by King Aegeus, and Teseo, Aegeus's son. Teseo is determined to kill the minotaur in order to save Arianna's friend Laodice, but Arianna believes that he loves her friend. In spite of her doubts, she hands over to Teseo the secret how to kill the minotaur and vanquish Tauride, King Mino's champion, which she overheard from Minos. The work ends with Teseo's victory over the minotaur and his reconciliation with Arianna.
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Beggar's opera

Beggar's opera

Date: 1735
Creator: Pepusch, John Christopher, 1667-1752. & Gay, John, 1685-1732.
Description: This is a 1735 fourth ed. of the three-act ballad opera "The beggar's opera" by John Christopher Pepusch and John Gay. It includes the score for the overture (for violins (2), viola, and bass ensemble) and the melodies of each song. The inscription, "Nos haec novimus esse nihil" (transl. as, We know these to be nothing) that appears on the t.p. is an epigram by Marcus Valerius Martialis from his Books of Epigrams. On the back of the t.p. appears the advertisement of these works printed by John Watts: Fifty one new fables in verse; The tunes to the songs in the Beggar's Opera, transposed for the flute; and Gay's opera "Achilles." A table of songs shows the first lines of text for each act. The item includes a list of characters.
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Serva padrona : intermezzo

Serva padrona : intermezzo

Date: [1804, 1805]
Creator: Pergolesi, Giovanni Battista, 1710-1736
Description: The intermezzo La serva padrona first appeared between the acts of Pergolesi’s Il prigioniero superbo in 1733. This was the standard way in which to present an intermezzo. The work served as comic relief in the midst of more solemn opera serie, and incorporated elements of the improvisational commedia del’arte tradition. For instance, the few characters are drawn from stock types, such as the servant Serpina.
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Servante maîtresse : comédie en deux actes mêlée d'ariettes

Servante maîtresse : comédie en deux actes mêlée d'ariettes

Date: 1755
Creator: Pergolesi, Giovanni Battista, 1710-1736 & Federico, Gennaro Antonio, 18th cent
Description: The intermezzo La serva padrona first appeared between the acts of Pergolesi’s Il prigioniero superbo in 1733. This was the standard way in which to present an intermezzo. The work served as comic relief in the midst of more solemn opera serie, and incorporated elements of the improvisational commedia del’arte tradition. For instance, the few characters are drawn from stock types, such as the servant Serpina.
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Tom Jones; comedie lyrique en trois actes

Tom Jones; comedie lyrique en trois actes

Date: 1766
Creator: Philidor, F. D. (François Danican), 1726-1795; Poinsinet, Antoine Alexandre Henri, 1735-1769; Davesne, Bertin, 1714-1742 & Fielding, Henry, 1707-1754
Description: Philidor’s Tom Jones is representative of the continental interest in English literature. Henry Fielding’s homonymous novel served as the foundation for Philidor’s opera, but Philidor pared down the story quite a bit, especially downplaying Tom’s philandering ways. Many secondary characters and situations were also cut, a common technique that librettists employ when adapting prose writings to the stage. Thus, a central plot unfolds in a manner that the audience can follow, and the length remains manageable for an evening’s entertainment.
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Iphigénie en Tauride. Tragédie lirique en quatre actes

Iphigénie en Tauride. Tragédie lirique en quatre actes

Date: 1781
Creator: Piccinni, Niccolò, 1728-1800 & Dubreil, Alphonse Ducongé, 1734-1801
Description: The contrast between Piccinni and Gluck can perhaps best be illustrated with Iphigénie en Tauride, as Piccinni’s opera appeared just two years after Gluck’s work on the same subject. In fact, supporters of Piccinni (“Piccinnistes”) hoped that the Italian composer would demonstrate the superiority of his style with Iphigénie, and scholars have used these settings to illustrate the difference between the two composers.
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Didon; tragédie lyrique en trois actes

Didon; tragédie lyrique en trois actes

Date: 1815
Creator: Piccinni, Niccolò, 1728-1800 & Marmontel, Jean François, 1723-1799
Description: With Didon, Piccinni demonstrated his ability to combine both Italian and French styles to create a compelling tragédie lyrique. The opera includes lyrical Italian melodies and a second-act finale, as well as French choruses and numbers that transition continuously without pauses. Didon was premiered at Fountainebleau on 16 October 1783, and it remained one of Piccinni’s most popular French operas, with performances through the first part of the nineteenth century. The story of Dido had been realized on the operatic stage before Piccinni’s setting, including Cavalli’s Didone (1641), Purcell’s Dido and Aeneas (c. 1689), and Vinci’s Didone abbandonata (1726) with a libretto by Metastasio.
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Buona figliuola : opera comica

Buona figliuola : opera comica

Date: 1767
Creator: Piccinni, Niccolò, 1728-1800; Goldoni, Carlo, 1707-1793 & Richardson, Samuel, 1689-1761
Description: Goldoni turned to Samuel Richardson’s novel Pamela, or Virtue Rewarded (1740) as the inspiration for his La buona figliuola. In 1750, he wrote the play Pamela nubile and then turned it into a libretto for Duni. Although Duni’s La buona figliuola (1756) was a failure, Piccinni’s setting in 1760 was a huge success. The hilarious comedy coupled with Piccinni’s sentimental treatment of Cecchina contributed to the popularity of the opera, which still receives performances to this day. Typical of opera buffe, La buona figliuola features chain-like finales that propel the plot and characters to the end of the act (at that time, sectional finales were new to Rome). Other features of his music that receive praise are the beautiful, Italianate melodies, energetic accompaniments, and the variety of musical treatment throughout the opera.
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Atys : tragédie lyrique en trois actes

Atys : tragédie lyrique en trois actes

Date: 1781
Creator: Piccinni, Niccolò, 1728-1800; Quinault, Philippe, 1635-1688 & Marmontel, Jean François, 1723-1799
Description: The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide.
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Atys : tragédie lyrique en trois actes

Atys : tragédie lyrique en trois actes

Date: 1780
Creator: Piccinni, Niccolò, 1728-1800; Quinault, Philippe, 1635-1688 & Marmontel, Jean François, 1723-1799
Description: The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide.
Contributing Partner: UNT Music Library