Cambridge University Press
978-0-521-81634-2 - Mozart on the Stage
John A. Rice
Index
More information
index
Adamberger, Valentin, 65, 98, 100, 216, 222
Afferri, Giuseppe, 12
Afﬂigio, Giuseppe, 56–57, 59
Aguiari, Lucrezia, 114–115
Albizzi, Luca Casimiro degli, 50
Alessandri, Felice, Il vecchio geloso, 206
Anderson, Emily, 244
Anfossi, Pasquale,
La ﬁnta giardiniera, 33, 218
Zenobia in Palmira, 126
applause, 5, 213–214, 220–221, 236–237
Aprile, Giuseppe, 52, 239
Ascanio in Alba, 1, 19, 25, 30, 51, 75, 161
composition, 99, 100
plot, 35, 36
reception, 5, 143
sets, 175
Attwood, Thomas, 250
audience,
in Milan, 198–199, 204
in Naples, 202–203
in Prague, 165
at rehearsals, 146
in Rome, 201–202
in Vienna, 165, 204–212
Auersperg, Countess Maria Josepha, 207,
225
autograph scores, 104–112
Bach, Johann Christian,
Adriano in Siria, 6
“Non so d’onde viene,” 130
backdrops, 174
Backhaus, Wilhelm, 233
Baglioni, Antonio, 40, 119–128, 131
Nuovi esercizi per il canto, 123–126
Baranius, Henriette, 231
Barbieri, Giovan Domenico, 162, 164
Barrington, Daines, 6–7
Barta, Joseph, Il mercato di Malmantile,
219
Bassi, Luigi, 156, 188, 190
Bastien und Bastienne, 19, 22, 161, 239
plot, 35, 36
Beaumarchais, Caron de,
Le Mariage de Figaro, 66
Tarare, 19
Bedini, Domenico, 121, 155, 229
Benedetti, Pietro, 45, 95
beneﬁt performances, 5–6, 233
Benucci, Francesco, 85, 118, 148,
209–212
Berlin, 230–231, 235
Bernasconi, Antonia, 117
Bertati, Giovanni,
Il convitato di pietra, 53, 121
Il capriccio drammatico, 53, 122
Bertolazzi, Lorenzo, 15
Bertoni, Ferdinando, 243, 247
Bettinelli, Saverio, 195
Binder, Baron, 69
Bittner, Norbert, 187–190
Boccherini, Giovanni Gastone, 60, 97, 98,
179
contract, 73
Le donne letterate, 60, 73, 75–76
Salieri’s relations with, 60, 75–76
Bondini, Caterina, 156
Bonno, Giuseppe, 58
Borghi, Giovanni Battista, 46
Borgini, Giuseppe, 245
Brandenburg, Daniel, 249
Braun, Peter von, 40
Bretzner, Christoph Friedrich, Belmont und
Constanze, 65, 81, 85
Burgtheater, 5, 56, 161, 162, 166, 168,
178
auditorium, 164, 165
backstage area, 173
boxes, 167
destruction, 163
division of parterre, 165
as “Nationaltheater,” 61
orchestra, 142–143
scenery, 176
stage, 174
Burney, Charles, 7, 142, 197, 204
Bussani, Francesco, 209, 211
270
© Cambridge University Press
www.cambridge.org
Cambridge University Press
978-0-521-81634-2 - Mozart on the Stage
John A. Rice
Index
More information
Index
cabals, 143–144, 213
Calvesi, Vincenzo, 118, 209, 211
Calzabigi, Ranieri de’, 60
Cannabich family, 102, 145
Carattoli, Francesco, 57
Carcani, Giuseppe, Tigrane, 28–29
Caribaldi, Gioacchino, 57, 119
Carlotti, Marchese, 14
Carl Theodor, elector of Bavaria, 146
Carnival
balls, 23–27
Italy, 11–13, 20
masks, 23, 29
Milan, 29, 199
Munich, 4, 27, 53, 54
and opera, 22–31
operatic season, 43, 199
Venice, 23, 24
Vienna, 3
Carpaccio, Antonio, 120
Caselli, Vincenzo, 15
Casetti, Salvatore, 15
Castiglione, Federico, 146
Cavalieri, Caterina, 65, 98, 176, 177, 210
Ceccarelli, Francesco, 116
Charrière, Isabelle de, 39
Cherubini, Luigi, 11
Chiesa, Melchior, 200
“Ch’io mi scordi di te”/“Non temer amato
bene,” K. 505, 130
Cicognani, Giuseppe, 15
Cigna-Santi, Vittorio Amadeo, Mitridate, 51,
52
Cimarosa, Domenico, 39, 46, 202
Gianina e Bernardone, 207
Il matrimonio segreto, 68
Le trame deluse, 207
La vergine del sole, 126
clavichord, 92, 98
Clavier, 92, 98, 138, 141, 145, 214
Clement XIII, pope, 51 .
La clemenza di Tito, 19, 24, 30, 44, 155, 161,
214
“Ah perdona al primo affetto,” 229
“Che del ciel, che degli dei,” 237
“Come ti piace imponi,” 82
commission, 40, 42, 46
composition, 92, 101, 207
“Deh per questo istante solo,” 155, 181
ﬁrst performance, 218
“Non più di ﬁori,” 181, 229, 236–237
overture, 103
“Parto, ma tu, ben mio,” 229
plot, 35–37
reception, 228–229
© Cambridge University Press
271
rehearsals, 137
“S’altro che lagrime,” 181
“Se all’impero, amici dei,” 127–128, 181
scenery, 180–183, 186
“Serbate o dei custodi,” 186
simple recitative, 96
Clive, Margaret, 6
Coltellini, Celeste, 118, 211
Consoli, Tommaso, 52–53, 131
contracts for operatic composers, 40, 44,
46–50
copyists, 104–107, 235–236
Corneilson, Paul, 232
Cosı̀ fan tutte, 19, 41, 89, 120, 161
“Ah guarda sorella,” 108, 111
“Ah lo veggio,” 151
“Al fato dan legge,” 106, 108
“Alla bella Despinetta,” 106–108
autograph, 94, 104–112
as Carnival opera, 30
composition, 101
cuts, 151
“Di scrivermi ogni giorno,” 106
ﬁnale of act 1, 151
ﬁnale of act 2, 93, 151
“Fra gli amplessi in pochi istanti,”
110–111
Mozart’s fee, 68
“Non siate ritrosi,” 151
overture, 151
performing score, 151
“Per pietà, ben mio, perdona,” 105,
155
playbill, 158
plot, 35–37
reception, 219
rehearsals, 101, 118, 140, 144
scenery, 179–180
“Secondate aurette amiche,” 105
“Sento, o Dio, che questo piede,” 108
sketches, 93
“Soave sia il vento,” 108
“Tutti accusan le donne,” 105
“Un’ aura amorosa,” 106
Cremona, 14, 15
Crescentini, Girolamo, 41
Cuvilliés, François, 27, 162
Cuvilliés Theater, Munich, 26, 53, 55, 161,
162, 165, 170
auditorium, 28, 164, 165, 172
boxes, 28, 167
orchestra, 143
parterre, 165
reassembly, 163
stage, 27, 173, 174
www.cambridge.org
Cambridge University Press
978-0-521-81634-2 - Mozart on the Stage
John A. Rice
Index
More information
272
Index
Dal Prato, Vincenzo, 116, 119, 155
Dal Re, Marc’Antonio, 25, 28–29
Danzi Lebrun, Fransziska, 13
Da Ponte, Lorenzo, 66–67, 73–74, 85–86,
88–90, 148–150, 227
Il burbero di buon core, 66
Cosı̀ fan tutte, 89
Don Giovanni, 89, 186–189
Il ﬁnto cieco, 66, 219
Le nozze di Figaro, 66–67, 89
Il ricco d’un giorno, 66, 88
as stage director, 137
Dauer, Johann Ernst, 65, 216
De Amicis, Anna, 52, 95, 99, 115, 129, 130,
213, 218, 236
D’Ettore, Guglielmo, 44, 45, 52, 95
De Gamerra, Giovanni, Lucio Silla, 51, 78, 79,
181–185
Dell’Agata, Michele, 243
De Rogati, Francesco Saverio, 52
Diede, Louise von, 206–207
Don Giovanni, 19, 23, 30, 41, 53, 142, 147, 156,
161, 214
“Batti, batti bel Masetto,” 89
commission, 40, 234
delayed production, 30, 153–154
ﬁnale of act 1, 92
ﬁnale of act 2, 147, 187
ﬁrst performance, 156, 214, 216–217
“Il mio tesoro intanto,” 123
“Là ci darem la mano,” 89
Mozart’s fees, 68, 233, 234
“Non mi dir, bell’ idol mio,” 187
overture, 103–104
plot, 35–37
reception, 219, 227–228
rehearsals, 137, 147, 156
scenery, 179, 186–190
sketches, 92
dramma per musica, 20
Durante, Sergio, 96, 180–181
Duschek, Josepha, 130, 143
Edge, Dexter, 151
Elizabeth Wilhelmina, archduchess, 206, 211,
227
encores, 216, 220–221, 223, 237
ensembles, 137–139
Die Entführung aus dem Serail, 19, 21, 30, 41, 142,
161, 198, 216, 230–231, 235–236
arrangements for wind instruments,
233–234
autograph, 104
composition, 92, 98, 100
cuts, 104
© Cambridge University Press
“Frisch zum Kampfe,” 231
keyboard-vocal score, 233–234
libretto, 81–85
Mozart’s fee, 68
origins, 63–66
“Marsch, marsch, marsch!” 216
overture, 102–103
“O wie ängstlich, o wie feurig,” 100
plot, 35, 36
reception, 213, 219, 221–222
scenery, 179–180, 232
“Solche hergelauf’ne Laffen,” 100
“Wer ein Liebchen hat gefunden,” 82
Eszterháza, 91
Eybler, Joseph, 101
Fabris Afferri, Elena, 13
fees for operatic composers, 47–49, 57,
67–69, 233
Fel, Marie, 10
Ferdinand, archduke, 25, 47, 51, 197, 217
Ferrarese, Adriana, ii, 101, 155, 210
Ferrari, Giacomo, 40, 202–203, 230
ﬁnale, 74, 98, 101, 105, 106
La ﬁnta giardiniera, 19, 21, 30, 75, 161, 218
commission, 40
delayed production, 152–153
ﬁrst performance, 220, 254
introduzione, 34
origins, 54–56
plot, 31, 33–36
reception, 76, 144, 220
rehearsal, 152–153
La ﬁnta semplice, 19, 20, 56–59, 143
contract, 57
fee promised, 57, 68
origins, 114
rehearsal, 57, 144–145
Firmian, Carl Joseph, 9, 46–48, 197
Firmian, Franz Lactantius, 46, 47
Fischer, Ludwig, 65, 83, 100, 216, 222
Fischietti, Domenico, 21
Gli orti esperidi, 243
Florence, Teatro di Via della Pergola, 245
forestage, 173
Frank, Joseph, 21
Franz II (I), archduke, emperor, 137, 211
Frederick the Great, 196
Frye, Northrop, 34
Funck, Valerian, 27, 170
Gabrielli, Caterina, 44
Galliari, Bernardino, 175
Galliari, Fabrizio, 175, 184–186, 256
Galuppi, Baldassare, 94
www.cambridge.org
Cambridge University Press
978-0-521-81634-2 - Mozart on the Stage
John A. Rice
Index
More information
Index
Gasparini, Quirino, Mitridate, 52, 175
Gassmann, Florian, 40, 56, 60
Gatti, Luigi, L’olimpiade, 82
Gayl (theatrical painter), 189
Gazzaniga, Giuseppe,
L’amore costante, 122–123
Don Giovanni, ossia Il convitato di pietra, 53,
121–123
Il ﬁnto cieco, 62, 66, 219
Gellert, Christian Fürchtegott, 76
Gerl, Barbara, 191, 192
Gerl, Franz, 128, 154, 191, 192
Giardini, Felice, Il re pastore, 6
Gluck, Christoph, 11, 22, 58, 60, 62
Alceste, 208
Iphigénie en Aulide, 69
Orfeo ed Euridice, 4
Gnecco, Francesco, La prova di un’opera seria,
136
Goldoni, Carlo,
La ﬁnta semplice, 57
Le pescatrici, 40, 110
Il servitore di due padroni, 69
Goudar, Ange, 195
Graun, Carl Heinrich, Rodelinda, 196
Greppi, Antonio, 48
Grétry, André, 22
Grimm, Melchior, 11
“grosse Oper,” “grosse Opera,” 22
grottesco, 15
Guardasoni, Domenico, 41–42, 44, 46, 53,
119, 120, 127, 156, 180, 228
Guarducci, Tommaso, 239
Guglielmi, Pietro,
Adalinda, 202
La bella pescatrice, 210
Debora e Sisara, 126, 127
Enea e Lavinia, 203
La pastorella nobile, 203
La quacquera spiritosa, 208, 219
Il re pastore, 243
Ruggiero, 12–13, 38
Le vicende d’amore, 210
Hafenecker, Anton, 162
Hagenauer, Lorenz, 57
Hansell, Kathleen, 96
Hasse, Johann Adolf, 58
Ruggiero, 2, 25, 144
Haydn, Joseph, 4, 91, 118, 140–141
L’incontro improvviso, 35
Heartz, Daniel, 34, 218, 246
Heger, Philipp and Franz, 26, 167, 172
Heinel, Anne, 198
Heufeld, Franz, 62–63
© Cambridge University Press
273
Holzbauer, Iganz, Günther von Schwarzburg, 13,
22
Hunter, Mary, 34
Idomeneo, re di Creta, 14, 19, 22, 75, 143, 236
“Andrò ramingo e solo,” 138
as Carnival opera, 30
commission, 40
composition, 116
cuts, 76–77, 81, 150
libretto, 76–81
overture, 102
plot, 35, 36
rehearsals, 117–118, 138–140, 145–147,
155
“Se il padre perdei,” 83
“Torna la pace al core,” 80, 150
illumination, theatrical, 30, 42
improvisation and embellishment, vocal,
154–155, 231
introduzione, 34, 97
Jacquin, Gottfried von, 153
Jadot, Nicolas, 162
Jélyotte, Pierre, 10
Jommelli, Niccolò, 52, 91–92, 119, 235, 242
Joseph II, emperor, 5, 41, 47, 57, 59, 61–62,
139, 144–145, 197–198, 206, 235
as commissioner of operas, 40, 62–64
as theater manager, 40, 61–62, 66, 67, 74,
85, 102, 118, 149–150, 176, 219, 223,
227
Kaiser, Margarethe, 113, 129
Kaunitz, Prince Wenzel Anton, 58, 197–198
Kazinczy, Franz, 215
Keith, Robert, 206
Kelly, Michael, 117, 138–139, 147–148,
201–202, 212, 224, 230
early musical experiences, 9–10
relations with Mozart, 128, 138–139
Klein, Anton, 39
Kleist, Franz Alexander von, 214
Kotzebue, August von, Menschenhaß und Reue, 1
Kuchař, Jan Křitel, 147
Lampugnani, Giovanni Battista, 117, 200
Lascaris, Count, 48
Legrand, Jean-Pierre, 78, 79
Le Gros, Jean, 92
Leopold II, archduke of Austria, grand duke
of Tuscany, emperor, 4, 24, 25, 41, 47,
121, 127, 218, 228
as theater director, 41, 176, 208, 219
Le Messier, Francesco Antonio and Giuseppe
Antonio, 262
www.cambridge.org
Cambridge University Press
978-0-521-81634-2 - Mozart on the Stage
John A. Rice
Index
More information
274
Index
librettists,
duties of, 73–75
Mozart’s relations with, 75–77
as stage directors, 73, 136–137, 177–179
Link, Dorothea, 255
Lisbon, 119, 235
Lobkowitz, Prince Joseph, 206
Lodron, Countess Theresa, 4
Lolli, Antonio, 13
Lolli Anelli, Brigida, 13
London, 5–10, 71
inﬂuence on Mozart’s development, 5
Lorenz, Michael, 184, 244, 248
Lucio Silla, 19, 51, 75, 161
“Ah se il crudel periglio,” 250
as Carnival opera, 30
composition, 95, 99, 115
contract, 47, 49–50
“Il gran Silla che a Roma in seno,” 34
Mozart’s fee, 49
orchestrally accompanied recitative, 96–97
“Parto, m’affretto,” 236, 250
plot, 35, 36
premiere, 213, 217–218
reception, 213
rehearsals, 146
scenery, 175, 181–186
“Il tenero momento,” 99
Maggiori Gallieni, Angiola, 15
Mandini, Stefano, 118, 211, 212
Mannheim, 13, 129, 233
Manservisi, Rosa, 219
Mantua, 14, 15
Manzoli, Giovanni, 5–7, 9, 11–12, 44–45,
99
Mara, Gertrud, 115
Marchesi, Luigi, 41, 42, 52, 154, 176, 177, 203
Marchetti Fantozzi, Maria, 121, 228, 229
Maria Beatrice d’Este, 25
Maria Luisa, empress, 24, 26, 228
Maria Theresa, archduchess, 30
Maria Theresa, empress, 24, 46
Martı́n y Soler, Vicente, 41, 147
Andromaca, 136
L’arbore di Diana, 177, 210
Il burbero di buon core, 62, 66
Una cosa rara, 210
Masi Giura, Maria, 15
Maximilian, archduke, 52, 197
Mayer, Sebastian, 151–152
Mazzolà, Caterino, 82
La clemenza di Tito, 12, 82, 137
Ruggiero, 12
as stage director, 137
© Cambridge University Press
Mesmer, Franz Anton von, 161
Metastasio, Pietro, 6, 8–9, 22–23, 58, 95,
115
Adriano in Siria, 6
Artaserse, 16
La clemenza di Tito, 12, 14, 42, 82
Demetrio, 14
Demofoonte, 6, 7
Ezio, 5–7
Nitteti, 95
L’olimpiade, 61, 82
Il re pastore, 6, 52, 82
Semiramide, 31–34
mezzo carattere tenor, 120
Miklaszewicz, Antonia, 121, 229
Milan, 15, 43, 46
Archivio di Stato, 48
audience behavior, 204
Carnival, 29, 46
Teatro alla Scala, 198
see also Regio Ducal Teatro, Milan
Mitridate, re di Ponto, 19, 75, 143, 161, 200–201,
235
“Al destin che la minaccia,” 117, 194
as Carnival opera, 30
cast, 44–45
composition, 94–96, 99
contract, 48, 49
ﬁrst performance, 214, 220–221
march, 194
Mozart’s fee, 48, 68
orchestration, 194
plot, 35–37
reception, 220–221
rehearsals, 117, 135–136, 139–140, 145
scenery, 175, 193–194
Mithridates, king, 51
Mori, Maddalena, 15
Mortellari, Michele, Lucio Silla, 78, 79
Mosca, Carlo, 15
Mosel, Ignaz von, 60, 204–205
Mozart, Constanze, 104, 216
Mozart, Leopold, 20, 46, 47, 49–50, 57–59,
75–77, 88, 146–147, 236
and French music, 10
attitude to opera, 2–3, 6, 76
literary interests, 76–77
Mozart, Maria Anna, 92
Mozart, Wolfgang Amadeus,
as actor, 3
and anagrams, 241
and French opera, 10–11, 22
as keyboard player and composer, 6, 10
improvisation, 6–7, 15–17
and masks, 23
www.cambridge.org
Cambridge University Press
978-0-521-81634-2 - Mozart on the Stage
John A. Rice
Index
More information
Index
275
plot, 34–37
premiere, 143
reception, 210, 216, 219, 222–225
rehearsals, 138–139, 147–150, 230,
233
“Riconosci in questo amplesso,” 138–139
scenery, 179
sketches, 93
“Vedrò mentr’io sospiro,” 93
as operatic conductor (from the keyboard),
214–216
as polyglot, 11–13
procrastination, 102, 153
puberty, 18
recitative in everyday speech, 2
sense of hearing, 215
as singer, 6–7, 11, 15–17
and spoken theater, 1
as stage director, 156
travels, 5–18
see also titles of works
Mozart, Nannerl, 1, 6
Munich, 53–56, 76–81, 113, 220
Carnival, 4, 26, 53, 54
Redoutensaal (ballroom), 54, 254
see also Cuvilliés Theater and Theater am
Salvatorplatz
Muschietti, Pietro, 15
musici, 6, 9, 12, 15, 42, 116
Mysliveček, Joseph, 45–46
Armida, 198
L’oca del Cairo, 19, 85–87
opera buffa, Mozart’s use of the term, 19, 21
opéra-comique, 5
Mozart’s use of the term, 21
opera seria, 8–9, 21, 23, 198
as Carnival entertainment, 27–30
Mozart’s use of the term, 19, 21
orchestras, 141–143
orchestration, 101
O’Reilly, Robert Bray, 71
overtures, composition of, 102–104
Owen, John, 226
Naples, 43, 202–203
Nasolini, Sebastiano,
Teseo a Stige, 208
Neßthaler (scenographer), 189
Niemetschek, Franz Xaver, 92, 120, 147, 215,
223–224, 229
Noiray, Michel, 249
Nostitz Theater (Theater of the Estates),
Prague, 24, 30, 161, 162, 167, 168, 172
auditorium, 164, 172
boxes, 167
division of parterre, 165
orchestra, 141, 170
present state, 163
scenery, 187
stage, 26, 174, 184, 190
Novello, Mary and Vincent, 216, 250
Noverre, Jean Georges, 70
Le nozze di Figaro, 2, 19, 30–31, 41, 89, 128, 153,
161, 206, 230
“Al desio di chi t’adora,” 155, 210
composition, 102
difﬁculty, 216, 222
“Dove sono i bei momenti,” 93
instrumental arrangements, 225,
234
keyboard reduction, 225
Mozart’s fee, 68
“Non più andrai farfallone amoroso,” 147,
148
origins, 66–67
playbill, 114, 124–127, 157, 158
Paisiello, Giovanni, 1, 39, 40
autograph scores, 96
Il barbiere di Siviglia, 35
Le due contesse, 206
La ﬁnta amante, 219
Le gare generose, 200
La molinara, 120
Nina, ossia La pazza per amore, 230
La passione di Gesù Cristo, 126
Pirro, 126, 127
Il re Teodoro in Venezia, 62, 68, 117, 177
Pannato, Giacomo, 13
Panzacchi, Domenico de’, 118
Parini, Giuseppe, Ascanio in Alba, 51
Paris, 10–11, 69–71
Parma, 114
parti cantanti, 101, 106, 116–117
Pasi Sarti, Camilla, 14
Pasqualini, Giuseppe, 15
pasticci, 5, 20
Paul Petrovich, grand duke, 24, 30, 197
Peretti, Nicolò, 9
Perini, Carolina, 121, 229
“Per pietà, bell’idol mio,” K. 78, 16
Persichini, Pietro, Andromeda, 126
Piccinni, Niccolò, 11, 22
Cesare in Egitto, 20
Le pescatrici, 113
plagiarism, charges of, 208–209
Platzer, Joseph, 176, 187–190
playbills, 158–160
plot, archetypes, 34–38
© Cambridge University Press
www.cambridge.org
Cambridge University Press
978-0-521-81634-2 - Mozart on the Stage
John A. Rice
Index
More information
276
Index
Potenza, Pasquale, 13
Prague, 91, 119, 123, 127, 214, 216, 224, 234
see also Nostitz Theater
Preisig (scenographer), 161, 180
Puchberg, Michael, 118, 140, 144
Quaglio, Lorenzo, 78
Raaff, Anton, 13–14, 80, 115–116, 118, 130,
138, 150
Ramm, Friedrich, 145
Rauzzini, Venanzio, 9–10, 95, 99, 213
Raiberti, Carlo Flaminio, 48
recitative,
orchestrally accompanied, 96–97
rehearsal of, 135–136, 140–141
simple, 95–96
Regio Ducal Teatro, Milan, 24–25, 29, 46,
161, 162, 164, 168, 255
auditorium, 164, 165
boxes, 166–167
destruction, 163
orchestra, 141–142, 170
stage, 174
stage design, 175, 184
rehearsal, 116–119, 135–141, 156
audience, 146
with full orchestra, 139–140
and publicity, 143–147
of recitative, 135–136, 140–141
with reduced orchestra, 139–140, 143, 145
schedule, 135–136
of staging and dialogue, 136–137
in the theater, 140
Il re pastore, 19, 30, 161, 197
“L’amerò, sarò costante,” 131
libretto, 77, 243
plot, 35, 36
Riedesel, Johann Hermann von, 235
Riesbeck, Johann Kaspar, 142
Righini, Vincenzo,
Demogorgone, 208
L’incontro inaspettato, 219
“Rivolgete a lui lo sguardo,” 108, 109, 112,
151
Rochlitz, Friedrich, 230–231
Rome, 43
audience behavior, 201–202
Teatro Alibert, 51, 248
Teatro Valle, 202
rondò (aria), 130, 154–155, 187, 203, 210,
236–237
Rosenberg, Count (later Prince) Franz Xaver,
40, 61, 64–65, 67, 102, 118, 148–150,
176–177, 223, 227
© Cambridge University Press
Rosselli, John, 195
Rottenhan, Count Heinrich, 228
Rousseau, Jean-Jacques,
Confessions, 199
Le Devin du village, 199, 239
Rubinelli, Giovanni, 41
Rußler, Karl, 13, 14
Rust, Giacomo, Il marito indolente, 208
Sacchini, Antonio, 11
Sales, Pietro Pompeo, Achille in Sciro, 55
Salieri, Antonio, 11, 22, 39–42, 47, 60–64,
97–98, 119, 137, 143, 144, 157, 177–179,
213
Axur re d’Ormus 68, 137, 207, 252
Il barone di Rocca Antica, 197
La calamita de’ cuori, 179
Cosı̀ fan tutte (fragmentary), 89
Cublai, gran kan de’ tartari, 244
Daliso e Delmita, 204–205
Les Danaı̈des, 69
Le donne letterate, 60–61, 64, 73, 75–76,
97–98, 157, 177, 213
Europa riconosciuta, 256
La ﬁera di Venezia, 179, 208, 211
La grotta di Trofonio, 37, 68, 118, 177, 211
Il mondo alla rovescia, 208
Der Rauchfangkehrer, 63–64, 68
Il ricco d’un giorno, 66, 88, 208, 210
La scuola de’ gelosi, 209
La secchia rapita, 206
Tarare, 39
La vestale, 40
Salvatortheater, see Theater am Salvatorplatz
Salzburg, 2, 3, 82, 146 .
Sartorini, see Benedetti, Pietro
Sarti, Giuseppe, 39, 147
Achille in Sciro, “Mia speranza io pur vorrei,”
203
Fra i due litiganti il terzo gode, 179–180, 209,
219
La giardiniera brillante, 54
Giulio Sabino, 154, 176
Scarlatti, Giuseppe, 60
scenery, see stage design
scenic stage, 173–174
scenography, see stage design
Schack, Benedikt, 128
Der Schauspieldirektor, 30
Schikaneder, Carl Joseph, 154
Schikaneder, Emanuel, 3, 41, 128, 152, 171,
191, 192, 225
Der Stein der Weisen, 191–193
Die Zauberﬂöte, 81, 160, 189
Schröder, Friedrich Ludwig, 64
www.cambridge.org
Cambridge University Press
978-0-521-81634-2 - Mozart on the Stage
John A. Rice
Index
More information
Index
Die Schuldigkeit des ersten Gebots, 40
Schütz, Carl, 166
“Se al labbro mio non credi,” 115–116, 130
Seeau, Count Joseph Anton von, 53, 54, 78,
139–140
Sensheim, Count, 145
Serini, Carolina, 12
Seyfried, Ignaz von, 2, 101, 215
Sigismundus Hungariae Rex, 3
singers, engagement of, 44–46
sketches, 92–94
Sophia Dorothea, grand duchess, 24
Lo sposo deluso, 19
Sprague, Catherine, 248
Stadler, Anton, 121, 229
stage design, 174–194, 210–211
backdrops, 174
borders, 174
cutout drops, 181
illumination, 174, 211
long sets, 181–194
short sets, 181–194
wing ﬂats, 173, 174, 184
see also names of scenographers
Der Stein der Weisen, 171, 192, 193
Štěpánek, Jan Nepomuk, 156
Stephanie, Johann Gottlieb, 64–66
Die Entführung aus dem Serail, 64–66, 81–85
Storace, Nancy, 118, 130, 209–212, 224
Storace, Stephen, Gli sposi malcontenti, 206, 207
Strasser, Barbara, 14
Suardi, Felicita, 95
Sukowaty, Wenzel, 107, 235, 236
Sulla, Lucius Cornelius, 51
Süssmayr, Franz Xaver, 96, 101, 215
Swoboda, Wenzel, 2, 216
Teyber, Therese, 65, 212
Theater am Salvatorplatz, Munich, 53, 55,
161–163, 254
Theater auf der Wieden, Vienna, 41, 161, 162,
168, 171, 192
acoustics, 201
auditorium, 164, 173
backstage area, 173
boxes, 167
destruction, 163
division of parterre, 165
orchestra, 141, 170
scenery, 171, 189–193
stage, 174
theaters,
auditorium, 164–173
boxes, 166–167
excessive heat, 207, 221
© Cambridge University Press
277
stage, 173–174
see also names of theaters and of cities
Thoenert, Medard, 188, 190
Tibaldi, Giuseppe, 12, 99
Tomaschek, Wenzel Johann, 123
Tomeoni, Irene, 210
Toricella, Christoph, 224
Tozzi, Antonio, Orfeo ed Euridice, 54, 56, 144
Traetta, Tommaso, 51, 247
tragédie lyrique, 10, 69–71
Travaglia, Pietro, 180–184
Troger, Herr von, 51
Turin 43, 48,
Teatro Regio, 44, 48, 94
Tyson, Alan, 105, 108, 151
Umlauf, Ignaz, 65
Uttini, Vincenzo, 15
“Va, dal furor portata,” 7
Valentini, Angelo, La clemenza di Tito, 14
Varesco, Giovanni Battista,
Idomeneo, 76, 78–81
L’oca del Cairo, 86–87
Venice, 43
Ascension Fair, 12, 43
Carnival, 23, 24, 49, 122
Teatro San Benedetto, 23, 24, 49
Vento, Matteo, Demofoonte, 6
Verona, 11–15
Verri, Pietro, 197
Vestri, Violante, 241
Vestris, Auguste, 198
Vicenza, 46, 52
Vienna,
Kärntnertortheater, 56, 176, 177
repertory system, 61–62, 97, 135, 158, 205,
209
Theater an der Wien, 163
theatrical year, 252
see also Burgtheater and Theater auf der
Wieden
Villeneuve, Luigia, 101
Violani, Valeriano, 41
Vivaldi, Antonio, 50
Ginevra principessa di Scozia, 46
Waldoff, Jessica, 34
Walter, Johann Ignaz, 65
Warsaw, 120, 126
Weber, Aloysia, 70, 129–130
Weigl, Joseph, 40, 215
La caffettiera bizzarra, 219
Il pazzo per forza, 208
La sposa collerica, 40
Wendling, Dorothea, 117–118
www.cambridge.org
Cambridge University Press
978-0-521-81634-2 - Mozart on the Stage
John A. Rice
Index
More information
278
Index
Wendling, Elisabeth, 13, 117–118
Wendling, Johann Baptist, 14
Wetzlar, Baron Raimund, 67
wing ﬂats, 173, 174, 184, 185
Woodﬁeld, Ian, 108, 109
Zacchiroli, Francesco, 198–199, 203
Zach, Andreas, 162
Zaide, 19, 35, 36, 63
Die Zauberﬂöte, 2–4, 19, 22, 128–129, 151–152,
161, 201, 219
“Bei Männern, welche Liebe f ühlen,” 226,
237
composition, 92, 101
“Der Hölle Rache,” 2
© Cambridge University Press
ﬁrst performance, 215
“In diesen heil’gen Hallen,” 154, 226
march, 101, 152
orchestration, 101
origins, 114
overture, 93, 101, 104, 152
“Pa . . . Pa . . . Pa . . . ” 151–152
playbill, 158–160, 189, 215
plot, 35
reception, 225–226
rehearsals, 151–152
sketches, 93
zecchini, 47
Zinzendorf, Count Carl, 118, 121, 205–212,
219, 222, 225, 227, 228
www.cambridge.org