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Stefano Castelvecchi
Index
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INDEX
Stage works (operas, plays and ballets) are indexed under title, with cross-references under any authors
named in the book. Other kinds of work are indexed under author.
absorption, 150–7, 178–9
Adelaide e Comingio (Rossi and Pacini), 217
Adelaide e Tebaldo (Rossi and Orgitano), 221
Adelaide maritata (Tottola and Fioravanti), 217
‘ad uso francese’, see ‘alla francese’
Agnese, L’ (Buonavoglia and Paer), 180
Albergati Capacelli, Francesco, marchese, 25, 104,
189, 227; see also Clementina e Dorvignì; Conte di
Commingio, Il
Alessandro nell’Indie (Metastasio and Bianchi), 107,
112, 122
Alessio ed Eloisa, ossia Il disertore (Angiolini), 123
Alfieri, Vittorio, 94
‘alla francese’, ‘ad uso francese’, 131, 162, 217
Amans malheureux, ou Le comte de Comminge, Les
(Baculard d’Arnaud), 163, 213
Amante militare, L’ (Goldoni), 97
Amor coniugale, L’ (Rossi and Mayr), 117, 221, 223
Amor figliale, L’ (Rossi and Mayr), 107, 123
Amori d’Adelaide e Comingio, Gli (Tottola and
Fioravanti), 217
Andrei, Antonio, 116
Andreozzi, Gaetano, see Pamela nubile (music by
Andreozzi)
Anelli, Angelo, see Griselda, La
Anfossi, Pasquale, see Antigono
Angiolini, Gasparo, see Disertore francese, Il;
Semiramide
Angiolini, Pietro, see Alessio ed Eloisa, ossia Il disertore
Antigono (Metastasio and Anfossi), 107
anti-sentimentalism, 188–209
Aristotle, 41, 85, 89
Arnault, Antoine-Vincent, 229–30
Arnold, Ignaz T. F. C., 184
Artaserse (Metastasio and Bertoni), 115–16
Arteaga, Esteban de, 28, 32
Artusi, Giulio, see Teresa vedova
audiences, constitution of, 57–9
Auerbach, Erich, 40–1
Axur, re d’Ormus (Da Ponte and Salieri), 210, 212, 219
Baculard d’Arnaud, François-Thomas-Marie de, 18,
104, 105, 106, 139, 155
Délassemens de l’homme sensible, 139–40, 141,
142–3, 158, 229
see also Amans malheureux, ou Le comte de
Comminge, Les
Badini, Carlo Francesco, see Disertore, Il (Badini and
Guglielmi)
Ballarini, Luigi, 112, 121
Balsamini, Camilla, 123
Barbier de Séville, Le (Beaumarchais), sentimental
vs. anti-sentimental in, 191–2, 195
Barbiere di Siviglia, Il (Sterbini and Rossini), 192
Baretti, Giuseppe, 20
Barré, Pierre-Yves, see Docteurs modernes, Les
Bartoli, Cecilia, 133
Battie, William, 144–5
Beauchêne, Edme-Pierre Chauvot de, 145–6
Beaumarchais, Pierre-Augustin Caron de, 46, 59,
60, 84, 104
Essai sur le genre dramatique sérieux, 76–8, 86,
88, 91, 110, 138
Lettre modérée sur la chute et la critique du ‘Barbier
de Séville’, 93
see also Barbier de Séville, Le; Deux amis, Les;
Eugénie; Mariage de Figaro, Le; Mère coupable,
La; Tarare
269
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Index
Beccaria, Cesare, Dei delitti e delle pene, 95, 96
Beethoven, Ludwig van, 161; see also Fidelio
Belisa (Winter and Pepoli), 181, 221–2
Benincasa, Bartolomeo, 189; see also Disertore, Il
(Benincasa and Bianchi); Disertore, Il
(Benincasa and Tarchi); Disertore, Il
(Benincasa–Prunetti and Fiodo)
Berlioz, Hector, 183
Bertoni, Ferdinando, 115; see also Artaserse; Quinto
Fabio
Béverlei (Saurin), 104, 107, 160
Bianchi, Francesco, see Alessandro nell’Indie;
Disertore, Il (Benincasa and Bianchi)
Boswell, James, 94
Bouilly, Jean-Nicolas, see Léonore
‘bourgeois’, meaning of in eighteenth century,
54–62
Bourru bienfaisant, Le (Goldoni), 195, 199
Brouette du vinaigrier, La (Mercier), 61, 221, 229
Brunetière, Ferdinand, 1
Buona figliuola, La (Goldoni and Duni), 25, 28
Buona figliuola, La (Goldoni and Piccinni), 14, 25–39
character types, 29–36
‘Che piacer, che bel diletto’ (aria), 33, 35
genre of, 29, 37–9, 224, 225
median style, 33–7, 38
‘Poverina, tutto il dì’ (aria), 36–7, 201–2
quality of libretto, 27–9
reception, 26–7
‘Una povera ragazza’ (aria), 35–6
Buona figliuola maritata, La (Goldoni and
Piccinni), 32
Buonavoglia, Luigi, see Agnese, L’
Burbero di buon cuore, Il (Da Ponte and Martín y
Soler), 195, 199
Burney, Charles, 38, 113, 115
Cabanis, Georges, 160
Cailhava d’Estendoux, Jean-François, 49, 86, 194
Calzabigi, Ranieri de’, see Orfeo ed Euridice
Camagna, Giulio Domenico, see Teresa e Wilk;
Verter
Camilla, ossia Il sotterraneo (Carpani and
Dalayrac), 162
Camilla, ossia Il sotterraneo (Carpani and
Paer), 53, 162
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Camilla, ossia La forza del giuramento (Carpani and
Fioravanti), 162
Camille, ou Le souterrain (Marsollier and Dalayrac),
53, 162
Caminer, Domenico, 103, 121
Caminer Turra, Elisabetta, 103–6
Composizioni teatrali moderne, 104–6
see also Disertore, Il (Caminer Turra)
Carattoli, Francesco, 32
Caravana del Cairo, La (Carpani and Grétry), 161
Caravane du Caire, La (Morel de Chédeville and
Grétry), 161
Carpani, Giuseppe, 115, 161–2, 166, 183, 186; see also
Camilla, ossia Il sotterraneo (Carpani and
Dalayrac); Camilla, ossia Il sotterraneo
(Carpani and Paer); Camilla, ossia La forza del
giuramento (Carpani and Fioravanti);
Caravana del Cairo, La; Lodoiska (Carpani and
Kreutzer); Nina, o sia La pazza per amore
(Carpani and Dalayrac); Nina, o sia La pazza
per amore (Carpani–Lorenzi and Paisiello);
Nina, o sia La pazza per amore
(Carpani–Lorenzi–Da Ponte and
Paisiello–Weigl); Pazza per amore, La;
Riccardo cor di leone; Spazzacamino principe, Lo
Carretto del venditore d’aceto, Il (Foppa and
Mayr), 221
Casaccia, Antonio, 182
Casorri, Ferdinando, see Disertore, Il (Casorri and
Gazzaniga)
Cenerentola, La (Ferretti and Rossini), 228
Cénie (Madame de Graffigny), 22–3, 25, 53–4, 60, 84
Chassiron, Martin de, 50
Cherubini, Luigi, 131; see also Lodoïska (FilletteLoraux and Cherubini); Pazza per amore, La
Cheyne, George, The English Malady, 142, 147
Cinti, Giacomo, see Leonora
Clementina e Dorvignì (Albergati Capacelli), 141,
163
Clémentine et Désormes (Monvel), 140–2, 163
Colbran, Isabella, 133, 187
Collé, Charles, 54, 84
Coltellini, Celeste, see under Nina, o sia La pazza per
amore (Carpani–Lorenzi and Paisiello)
comédie larmoyante, 49–51, 77, 225
Conte di Commingio, Il (Albergati Capacelli), 213
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Coqueley de Chaussepierre, Charles-Georges, see
Monsieur Cassandre, ou Les effets de l’amour et
du vert-de-gris
Corneille, Pierre, 70; see also Don Sanche
Così fan tutte (Da Ponte and Mozart), 182
Critic, The (Sheridan), 155, 177
Dalayrac, Nicolas, 160; see also Camille, ou Le
souterrain; Nina, o sia La pazza per amore
(Carpani and Dalayrac); Nina, ou La folle par
amour
Da Ponte, Lorenzo, see Axur, re d’Ormus; Burbero di
buon cuore, Il; Così fan tutte; Nina, o sia La
pazza per amore (Carpani–Lorenzi–Da Ponte
and Paisiello–Weigl); Nozze di Figaro, Le
decorum, 40–1
Defoe, Daniel, 56
De Gamerra, Giovanni, 163; see also Intrapresa
dell’amore, L’; Solitari, I (De Gamerra);
Solitari, I (De Gamerra and Weigl)
Dejaure, Jean-Élie Bédéno, see Lodoïska, ou Les
Tartares
Dent, Edward, 127, 142
Déserteur, Le (Mercier), 25, 97, 99–102
impact in Italy, 103, 106–7, 111, 116, 123; see also
Disertore, Il (Caminer Turra)
Déserteur, Le (Sedaine and Monsigny), 97–8, 103,
106, 111, 115, 118–19, 123
Deserteur aus Kindesliebe, Der (Stephanie), 107
desertion, 94–7
in stage works, 78, 218, 228, 230; see also titles of
works beginning ‘Le déserteur’, ‘Der Deserteur’
and ‘Il disertore’
Desfontaines, Pierre-François Guyot, abbé, 50,
90–1
Destouches, 43
Deux amis, Les (Beaumarchais), 191, 194
Diderot, Denis, 59, 87, 103, 150, 152, 154, 159
on Aristotelian unities, 89
on bourgeois tragedy and serious comedy, 47,
53, 63–75, 92–3, 100
De la poésie dramatique, 64, 69–70
Entretiens sur ‘Le fils naturel’, 64–9
on Greuze, 150, 206
on the non-verbal, 71–2, 138, 189
Paradoxe sur le comédien, 64
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on Richardson, 16, 47, 72, 141
on tableaux, 72–4
on theatrical illusion, 64, 151, 155
see also Fils naturel, ou Les épreuves de la virtue, Le;
Père de famille, Le
Disertore, Il (Badini and Guglielmi), 102, 104
Disertore, Il (Benincasa and Bianchi), 103, 107–24
Benincasa’s preface to, 110, 111, 113–14, 120,
232–7
genre of, 103, 107–10, 111–14, 119–21, 224, 225, 231
music for Act 3, 114–15, 116–19
Pacchierotti as Gualtieri, 112–13, 115–17, 119, 121
revivals and reworkings, 121–3
Disertore, Il (Benincasa and Tarchi), 122–3, 224
Disertore, Il (Benincasa–Prunetti and Fiodo), 99, 123
Disertore, Il (Caminer Turra), 104, 105–6, 121
Disertore, Il (Casorri and Gazzaniga), 102
as Il disertor francese, 102, 123
reworkings, 123
Disertore francese, Il (Angiolini), 106–7, 111
Disertore per amore, Il (music by Sacchini), 102
Disertore tedesco, Il (Willi), 107
Docteurs modernes, Les (Barré–Radet), 149
Don Sanche (Corneille), 41–2, 67–8, 87
Dorval e Virginia (Foppa and Tarchi), 220–1
‘drame’, use of term in eighteenth century, 90–4
dramma giocoso, 29, 182
Dugazon, Rose Lefèvre, Madame, see under Nina,
ou La folle par amour
Duni, Egidio, see Buona figliuola, La (Goldoni and
Duni)
Durazzo, Giacomo, Count, 111, 121, 161
Elisa (Rossi and Mayr), 222
Eugenia (Foppa and Nasolini), 217–19, 225
Eugénie (Beaumarchais), 76, 78–9, 86, 91, 191
illustrations for, 79–84
impact outside France, 76, 106, 107, 197, 217–18
familial ties, emphasis on in sentimental culture,
17, 57, 61, 204
in bourgeois drama and opera, 69, 75–6, 82–4,
135, 136, 193–5, 227; see also under Nina, ou La
folle par amour
parody of in Le mariage de Figaro and Le nozze di
Figaro, 195–9
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Index
Farinelli, Giuseppe, see Pamela [maritata] (Rossi and
Farinelli); Teresa e Claudio
farsa, 181, 221
Fatal Curiosity (Lillo), 142
Fatal Extravagance, The (Hill), 44
Fatal Falshood (Hewitt), 142
Favart, Charles-Simon, 28
Favières, Edmond-Guillaume-François de, see Paul
et Virginie
Félix, ou L’enfant trouvé (Sedaine and Monsigny),
198
Ferdinand, archduke of Austria-Este, 161, 163
Ferdinand IV, king of Naples, 106, 125, 163–6, 215
Fidelio (Sonnleithner et al. and Beethoven), 107,
117, 221
Fielding, Henry, Shamela, 188
Fillette-Loraux, Claude-François, see Lodoïska
(Fillette-Loraux and Cherubini)
Fils naturel, ou Les épreuves de la virtue, Le (Diderot),
46, 63–4, 193, 195
genre of, 65, 66–8, 70, 84, 92
tableaux, 73–4, 79
Finta giardiniera, La (Petrosellini and Mozart), 38,
225
Fiodo, Vincenzo, see Disertore, Il
(Benincasa–Prunetti and Fiodo)
Fioravanti, Valentino, see Adelaide maritata; Amori
d’Adelaide e Comingio, Gli; Camilla, ossia La
forza del giuramento (Carpani and Fioravanti);
Morte d’Adelaide, La
Florimo, Francesco, 38, 156, 185
Folies sentimentales, ou L’égarement de l’esprit par le
cœur, Les, 143–4
Fontenelle, Bernard Le Bovier de, 18, 42,
70–1, 85
Foppa, Giuseppe, see Carretto del venditore d’aceto,
Il; Dorval e Virginia; Eugenia; Inganno felice, L’;
Madre virtuosa, La; Teresa e Claudio
Franklin, Benjamin, 160
Frederick II, the Great, king of Prussia, 94
Frederick William I, king of Prussia, 94
Fréron, Élie-Catherine, 53, 74, 92, 93, 100
Frye, Northrop, 127
Gaiffe, Félix, 51, 52, 53, 90
Galiani, Ferdinando, abbé, 33, 106
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Gamester, The (Moore), 25, 46–7, 67, 84
as a model of bourgeois tragedy, 47–9, 65, 67,
75–6, 87
see also Béverlei
Garrick, David, 32, 46, 139, 154
Gaveaux, Pierre, see Léonore
Gazza ladra, La (Gherardini and Rossini), 124,
228, 230
Gazzaniga, Giuseppe, see Disertore, Il (Casorri and
Gazzaniga)
Generali, Pietro, 175; see also Pamela nubile (Rossi
and Generali)
Generosità d’Alessandro, La (Metastasio and
Tarchi), 122
Genlis, Stéphanie-Félicité Du Crest de SaintAubin, comtesse de, 106
genre mixture, see mixture
genre sombre, 49, 213–17
genre theory, writers on
Bakhtin, Mikhail, 5, 43
Croce, Benedetto, 1–2, 4, 5–6, 7–8
Derrida, Jacques, 2–3
Dewey, John, 4
Elliott, Robert C., 7, 8, 10
Ellis, John M., 210, 224
Genette, Gérard, 3
Hirsch, E. D., 4, 5, 8
Jauss, Hans Robert, 2, 4, 7, 8
Rosmarin, Adena, 10–11
Schaeffer, Jean-Marie, 11
Warren, Austin, 5
Wittgenstein, Ludwig, 6–9
Gerber, Ernst Ludwig, 26, 35, 38, 185
Gherardini, Giovanni, see Gazza ladra, La
Giffard, Henry, 32–3
Ginguené, Pierre-Louis, 26–7, 160
Giorgi Banti, Brigida, 116, 183
Giorgi-Belloc, Teresa, 133
Gluck, Christoph Willibald, 161; see also Orfeo ed
Euridice
Goldoni, Carlo
on Marsollier and Dalayrac’s Nina, 132, 155
reform of comedy, 18, 27
see also Amante militare, L’; Bourru bienfaisant, Le;
Buona figliuola, La (Goldoni and Duni); Buona
figliuola, La (Goldoni and Piccinni); Buona
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figliuola maritata, La; Pamela maritata
(Goldoni); Pamela, o sia La virtù premiata, La;
Teatro comico, Il; Vero amico, Il
Goldsmith, Oliver, 56, 84
Gonella, Francesco, see Lodoiska (Gonella and
Mayr)
Goudar, Ange, 107
Gozzi, Carlo, Count, 105
Graefer, John, 179
Graffigny, Françoise d’Issembourg
d’Happoncourt, Madame de, 158–9; see also
Cénie
Grave, Pierre-Marie, marquis de, La folle de SaintJoseph, 141, 155
Gravelot, Hubert-François, see Eugénie, illustrations
for
Greppi, Giovanni, ‘Teresa trilogy’, 222
Grétry, André-Ernest-Modeste, see Caravane du
Caire, La; Lucile; Richard Cœur-de-Lion; Zémire
et Azor
Greuze, Jean-Baptiste, 74, 160, 204
Cruche cassée, La, 204–6
Jeune fille qui pleure son oiseau mort, 150, 154, 206
Malédiction paternelle, La, 82, 119–20, 204
Griselda, La (Anelli and Piccinni), 218–19, 225
Grimm, Frédéric-Melchior, 54, 98, 100, 101, 160
Gualzetti, Giacomo Antonio, ‘Adelaide
trilogy’, 217
Guglielmi, Pietro Alessandro, see Disertore, Il
(Badini and Guglielmi)
Hausvater, Der (Lessing), 197
Haydn, Joseph, 130; see also Vera costanza, La
Heinse, Wilhelm, 32, 33, 38
Helvétius, Anne-Catherine, Madame, 158–60
Helvétius, Claude-Adrien, 159, 160
Herder, Johann Gottfried von, 69
heroicomedy, heroicomic, 210, 211, 218, 219
Hewitt, John, see Fatal Falshood
Hill, Aaron, see Fatal Extravagance, The
Hogarth, George, 27, 33
Hume, David, 129
Hutcheson, Francis, 129
Inganno felice, L’ (Foppa and Rossini), 222
Intrapresa dell’amore, L’ (De Gamerra), 215
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Jacobshagen, Arnold, 219
Jaucourt, Louis de, 92
Jenneval, ou Le Barnevelt français (Mercier), 87, 229
Johnson, Samuel, 15, 67, 187, 211
Kelly, John, 21
Kemble, John Philip, 47
Kreutzer, Rodolphe, see Lodoïska, ou Les Tartares;
Paul et Virginie
La Borde, Jean-Benjamin-François de, 26
La Chaussée, Pierre-Claude Nivelle de, 18, 19,
49–52, 54, 59; see also Mélanide
Laclos, Pierre-Ambroise-François Choderlos de,
Les liaisons dangereuses, 168, 191, 200
La Harpe, Jean-François de, 86, 98, 188, 192–3
Lalande, Jérôme, 159
La Motte, Antoine Houdar de, 44–5, 47, 52,
193–4
Landois, Paul, see Silvie
Lanson, Gustave, 51, 53
Léonard, Nicolas-Germain
Lettres de deux amans, habitans de Lyon, 140, 141
Nouvelle Clémentine, ou Lettres de Henriette de
Berville, La, 141
Leonora (Cinti and Paer), 117, 221
Léonore (Bouilly and Gaveaux), 221
Leopold II, Holy Roman emperor, 180–1
Lepeintre, Pierre-Marie-Michel, 101–2
Lessing, Gotthold Ephraim, 69, 71; see also
Hausvater, Der; Miss Sara Sampson
Lichtenthal, Peter, 13, 185
Lignac, Louis-François-Luc de, 154
Lillo, George, see Fatal Curiosity; London Merchant,
The
Lodoiska (Carpani and Kreutzer), 162
Lodoïska (Fillette-Loraux and Cherubini), 162
Lodoiska (Gonella and Mayr), 162
Lodoïska, ou Les Tartares (Dejaure and Kreutzer),
162
London Merchant, The (Lillo), 25, 43–6, 67, 84
as a model of bourgeois tragedy, 47–9, 65, 67, 70,
75, 87
see also Jenneval, ou Le Barnevelt français
Lorenzi, Giovan Battista, see Nina, o sia La pazza
per amore (Carpani–Lorenzi and Paisiello);
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Index
Nina, o sia La pazza per amore
(Carpani–Lorenzi–Da Ponte and
Paisiello–Weigl); Pazza per amore, La; Socrate
immaginario, Il
Lucile (Marmontel and Grétry), 136, 137, 225,
227–8
Mackenzie, Henry, The Man of Feeling, 140,
141, 144
Madre virtuosa, La (Foppa and Portugal), 222
Marchand, Jean-Henri, see Vuidangeur sensible, Le
Marchesi, Luigi, 122–3
Marcolini, Maria, 123
Maria Carolina, queen of Naples, 125, 163–4, 166,
179, 231
Mariage de Figaro, Le (Beaumarchais)
sentimental vs. anti-sentimental in, 191–2, 195,
199–200, 206–8
tableaux, 199–200
Maria Theresa, Holy Roman empress, 161, 163, 180
Marie-Antoinette, queen of France, 101–2, 161, 231
Marmontel, Jean-François, 18, 47, 75–6, 87, 160; see
also Lucile; Zémire et Azor
Marsollier, Benoît-Joseph, see Camille, ou Le
souterrain; Nina, ou La folle par amour;
Vaporeux, Le
Martín y Soler, Vicente, see Burbero di buon cuore, Il
Mathon de La Cour, Charles-Joseph, 150, 154
Mayr, Johann Simon, 184–5; see also Amor
coniugale, L’; Amor figliale, L’; Carretto del
venditore d’aceto, Il; Elisa; Lodoiska (Gonella
and Mayr)
median style, 85–6, 184–5
in Goldoni’s La Pamela, 21–2
in Richardson’s Pamela, 15
see also under under Buona figliuola, La (Goldoni
and Piccinni)
Mélanide (La Chaussée), 49–50, 52, 84, 128
mélodrame, 85, 135
mental illness in eighteenth-century culture,
143–7, 157–60; see also under Nina, o sia La pazza
per amore (Carpani–Lorenzi and Paisiello);
Nina, ou La folle par amour; see also Agnese, L’;
Vaporeux, Le
Mercier, Louis-Sébastien, 46, 84, 104, 106, 149,
154, 160
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Du théâtre, 87–90, 92
see also Brouette du vinaigrier, La; Déserteur, Le
(Mercier); Jenneval, ou Le Barnevelt français
Mère coupable, La (Beaumarchais), 192
Metastasio, Pietro, see Alessandro nell’Indie;
Antigono; Artaserse; Generosità d’Alessandro, La
Miss Sara Sampson (Lessing), 47, 84, 111
Mistelet, 93
mixture (of genre or mode), 50, 68–9, 77, 84–5, 86,
211
and opera, 13–14, 98, 111, 210, 211, 219–23
mode, 35, 38, 185, 221, 225
mode mixture, see mixture
Monsieur Cassandre, ou Les effets de l’amour et du vertde-gris (attrib. Coqueley de Chaussepierre),
189, 194, 215
Monsigny, Pierre-Alexandre, see Déserteur, Le
(Sedaine and Monsigny); Félix, ou L’enfant
trouvé
Monvel, see Clémentine et Désormes
Moore, Edward, see Gamester, The
Morte d’Adelaide, La (Tottola and Fioravanti), 217
Mount Edgcumbe, Richard Edgcumbe, second earl
of, 115
Mozart, Wolfgang Amadeus, see Così fan tutte;
Finta giardiniera, La; Nozze di Figaro, Le
Nanine (Voltaire), 21, 106
Napoli-Signorelli, Pietro, 25, 28, 38, 98
Nasolini, Sebastiano, see Eugenia
Neuf Sœurs, Les (masonic lodge), 159–60
Nina, o sia La pazza per amore (Carpani and
Dalayrac), 131, 137, 139, 161–2, 172
Nina, o sia La pazza per amore (Carpani–Lorenzi
and Paisiello), 125–7, 130, 131, 163–87
Celeste Coltellini as Nina, 133, 156, 173
context of first production, 163–6
‘È sì fiero il mio tormento’ (aria), 166–7
genre of, 180–6, 218, 224
‘Il mio ben quando verrà’ (aria), 125, 156,
172–9, 186
‘Lontana da te’ (song with chorus), 137,
167–72, 186
mental illness, depiction of, 167–80
‘Mi sento . . . oh dio! . . . che calma!’ (finale),
179–80
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revivals and reworkings, 180–1
sentimental style, 166–79
see also relevant subentries under Nina, ou La folle
par amour
Nina, o sia La pazza per amore
(Carpani–Lorenzi–Da Ponte and
Paisiello–Weigl), 131, 180, 185
Nina, ou La folle par amour (Marsollier and
Dalayrac), 130–60, 161, 163–4
absorption, 153–6
and culture of sensibility, 134–5
familial ties, emphasis on, 136–7
genre of, 132, 182–3
‘Germeuil, ta Nina, loin de toi’ (song with
chorus), 137, 168, 170
literary sources, 139–43
Madame Dugazon as Nina, 132–3, 138, 144
mental illness and therapy, 133–4, 140–3, 143–4,
147–9, 153–5, 156
‘Quand le bien-aimé reviendra’ (romance),
175, 183
reception, 132–3
simplicity of plot, 133–4, 139
social order, portrayal of, 137–8
tableaux, 135–6, 137–8
Nougaret, Pierre-Jean-Baptiste, 91; see also
Vuidangeur sensible, Le
Nouvelles folies sentimentales, ou Folies par amour,
143–4
Nozze di Figaro, Le (Da Ponte and Mozart), 195–209
final scene, 207–8
‘L’ho perduta’ (cavatina), 201–4
‘Riconosci in questo amplesso’ (sextet), 197–9
sentimental vs. anti-sentimental in, 195–9,
200–9
tableaux, 200–1
opera semiseria, 13–14, 185, 211, 219–23, 228, 231
Orfeo ed Euridice (Calzabigi and Gluck), 111
Orgitano, Raffaele, see Adelaide e Tebaldo
Ortes, Giammaria, abbé, 121
Pacchierotti, Gasparo, see under Disertore, Il
(Benincasa and Bianchi)
Pacchierotti, Giuseppe Cecchini, 115
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275
Pacini, Giovanni, 115; see also Adelaide e Comingio
Paer, Ferdinando, see Agnese, L’; Camilla, ossia Il
sotterraneo (Carpani and Paer); Leonora
Paisiello, Giovanni, see Nina, o sia La pazza per
amore (Carpani–Lorenzi and Paisiello); Nina,
o sia La pazza per amore (Carpani–Lorenzi–Da
Ponte and Paisiello–Weigl); Pazza per amore,
La; Socrate immaginario, Il
Palissot, Charles, 68, 69, 71, 138, 194
Pamela maritata (Goldoni), 19, 222
Pamela [maritata] (Rossi and Farinelli), 222
Pamela nubile (music by Andreozzi), 222
Pamela nubile (Rossi and Generali), 222
Pamela, o sia La virtù premiata, La (Goldoni), 14,
18–25, 84, 222
Pasta, Giuditta, 133
Paul et Virginie (Favières and Kreutzer), 220
Pazza per amore, La (Carpani–Lorenzi and
Paisiello–Cherubini), 181
Pepoli, Alessandro, see Belisa
Père de famille, Le (Diderot), 46, 63–4, 79–82
genre of, 65, 70, 84, 92
gestures and tableaux, 72, 73, 74, 79
impact outside France, 106, 107, 197
Philosophe sans le savoir, Le (Sedaine), 23, 60, 62, 76,
82, 84, 149
Piccinni, Niccolò, 160; see also Buona figliuola, La
(Goldoni and Piccinni); Buona figliuola
maritata, La; Griselda, La
Pichl, Václav, 161
Pinel, Philippe, 145, 146–7, 157–8, 160
therapy, theatre and Nina, 147, 149–50, 153
Pompigny, Maurin de, see Ramoneur prince, Le
Ponziani, Felice, 217
Pope, Alexander, 46
Portugal, Marcos António, see Madre
virtuosa, La
Proschwitz, Gunnar von, 91, 93–4
prose vs. verse, use of in bourgeois drama, 44–7,
51–4, 88
Prunetti, Michelangelo, see Disertore, Il
(Benincasa–Prunetti and Fiodo)
Pucitta, Vincenzo, see Teresa e Wilk; Verter
Quinto Fabio (Zeno and Bertoni), 112, 116, 118
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Index
Racine, Jean, 70
Radet, Jean-Baptiste, see Docteurs modernes, Les
Ramoneur prince, Le (Pompigny), 161
Rétif de La Bretonne, Nicolas-Edme, 92, 93
Malédiction paternelle, La, 82
Riccardo cor di leone (Carpani and Grétry), 162
Riccoboni, Luigi, 19, 42, 59
Richard Cœur-de-Lion (Sedaine and Grétry), 162
Richardson, Samuel, 59, 60
Clarissa, 16, 47, 99, 102
History of Sir Charles Grandison, The, 141,
142, 145
influence on European writers, 47, 72, 87, 155; see
also subentries for individual novels
Pamela, or Virtue Rewarded, 14–17, 32, 79, 135, 188;
see also Pamela, o sia La virtù premiata, La
reading ‘for the sentiment’, 187
Richardson’s novels as dramas, 47, 77
Roland, Marie-Jeanne Phlipon, Madame, 206
Rossi, Gaetano, see Adelaide e Comingio; Adelaide e
Tebaldo; Amor coniugale, L’; Amor figliale, L’;
Elisa; Pamela [maritata] (Rossi and Farinelli);
Pamela nubile (Rossi and Generali); Tancredi
Rossini, Gioachino, 175; see also Barbiere di Siviglia,
Il; Cenerentola, La; Gazza ladra, La; Inganno
felice, L’; Tancredi
Rousseau, Jean-Jacques, 128
Nouvelle Héloïse, La, 226
Sacchini, Antonio, see Disertore per amore, Il
Saint-Lambert, Jean-François, marquis de, 95–6
Saint-Pierre, Bernardin de, Paul et Virginie, 220
Salieri, Antonio, see Axur, re d’Ormus; Tarare
San Leucio, Utopian community of, see Nina, o sia
La pazza per amore (Carpani–Lorenzi and
Paisiello), context of first production
Saurin, Bernard-Joseph, see Béverlei
Scheibe, Johann Adolph, 34–5
Schizzi, Folchino, Count, 184
Scudo, Paul, 156
Sedaine, Michel-Jean, 59, 104; see also Déserteur, Le
(Sedaine and Monsigny); Félix, ou L’enfant
trouvé; Philosophe sans le savoir, Le; Richard
Cœur-de-Lion
Semiramide (Angiolini), 107
semiseria, see opera semiseria
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sensibility, literary and theatrical representations
of symptoms, 138–9, 188–9; see also Nina, o sia
La pazza per amore (Carpani–Lorenzi and
Paisiello), sentimental style
sensibility and sentiment, culture of, 127–30, 187,
229–30, 231
and mental illness, 143–7, 157–8, 160
see also anti-sentimentalism
Shaftesbury, Anthony Ashley Cooper, third
earl of, 129
Shakespeare, William, mode mixture in works of,
68, 211
Sheridan, Richard Brinsley, 223; see also Critic, The
Siddons, Sarah, 47
Silvie (attrib. Landois), 52–4, 67, 84, 98
Smith, Adam, 129
Société d’Auteuil, La, 159–60
Socrate immaginario, Il (Lorenzi and Paisiello), 166
Solitari, I (De Gamerra), 213, 215
Solitari, I (De Gamerra and Weigl), 212–15, 219, 225
Spazzacamino principe, Lo (Carpani and Tarchi), 161
Staël, Anne-Louise-Germaine Necker, Madame
de, 155
Steele, Richard, 43
Stendhal, 115
Stephanie, Gottlieb, the younger, see Deserteur aus
Kindesliebe, Der
Sterbini, Cesare, see Barbiere di Siviglia, Il
Sterne, Laurence, 142
Life and Opinions of Tristram Shandy, Gentleman,
The, 140
Maria, character of, 140, 142, 154
Sentimental Journey through France and Italy, A, 140
tableaux, 72–3, 79, 98, 136, 166, 194, 200; see also
under Fils naturel, ou Les épreuves de la virtue,
Le; Mariage de Figaro, Le; Nina, ou La folle par
amour; Nozze di Figaro, Le; Père de famille, Le
Taine, Hippolyte, 127
Tancredi (Rossi and Rossini), 123
Tarare (Beaumarchais and Salieri), 212
Tarchi, Angelo, see Disertore, Il (Benincasa and
Tarchi); Dorval e Virginia;
Generosità d’Alessandro, La; Spazzacamino
principe, Lo
Teatro comico, Il (Goldoni), 18
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Tencin, Claudine-Alexandrine Guérin, marquise
de, Mémoires du comte de Comminge, 213, 217
Teresa e Claudio (Foppa and Farinelli), 222
Teresa e Wilk (Camagna and Pucitta), 222
Teresa vedova (Artusi and Trento), 222
‘theatrical’ vs. ‘anti-theatrical’, 150–3
Tomeoni, Irene, 147
Tottola, Andrea Leone, see Adelaide maritata;
Amori d’Adelaide e Comingio, Gli; Morte d’
Adelaide, La
tragicomedy, tragicomic, 68, 211–15, 221
Traviata, La (Piave and Verdi), 228
Trento, Vittorio, see Teresa vedova
Valdastri, Ildefonso, abbé, 223
Vaporeux, Le (Marsollier), 156–7
Vera costanza, La (Puttini and Haydn), 225
Verdi, Giuseppe, 38; see also Traviata, La
Vero amico, Il (Goldoni), 67
Verter (Camagna and Pucitta), 222
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Vigée-Lebrun, Élisabeth, 125, 133
Voltaire, 18, 24, 42, 45, 59, 227
on desertion, 96, 101
on genre mixture, 50, 77, 84
see also Nanine
Vuidangeur sensible, Le (attrib.
Marchand–Nougaret), 215
Weigl, Joseph, see Nina, o sia La pazza per amore
(Carpani–Lorenzi–Da Ponte and
Paisiello–Weigl); Solitari, I (De Gamerra and
Weigl)
Whytt, Robert, 129
Willi, Andrea, see Disertore tedesco, Il
Winter, Peter von, see Belisa
Wollstonecraft, Mary, A Vindication of the Rights of
Woman, 229
Zémire et Azor (Marmontel and Grétry), 151–3
Zeno, Apostolo, 218; see also Quinto Fabio
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