ARASPE, confidente di Iarba ed amante di Selene. OSMIDA, confidente di Didone. La scena si finge in Cartagine. Pietro Metastasio – Didone abbandonata. 3. written by Metastasio ; as performed at the King’s Theatre in the Hay-Market ; the music by the most celebrated Book/Printed Material Didone abbandonata. English: Pietro Metastasio – Didone abbandonata, act 1, scene 5 – Paris Source , Opere del Signor abate Pietro Metastasio vol.3, Paris
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Didone abbandonata Dido Abandoned was an opera in three acts composed by Tomaso Albinoni. Therefore please contact our office: Francesco marked it as to-read Abbandonatta 31, This file contains additional information such as Exif metadata which may have been added by the digital camera, scanner, or software program used to create or digitize it. After his victory, Dido convinces Aeneas to remain in Carthage and become her husband.
Arshad Khan marked it as to-read Jun 10, Magdalena Gut Set designer. Kristina Bell Costume designer. Saverio Mercadante led the way for the baroque opera to transform into the Romantic operatic drama Italy was to become famous for. Wayfarer marked it as to-read Jan 14, Debbi rated metastaso liked it Jun 22, The following other wikis use this file: Sung in Italian with German surtitles.
This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 70 years or less. Maria rated it liked it Jun 16, Production Alessandro De Marchi Conductor.
Italian poet, librettist, playwright, Catholic priest and writer. Open Preview See a Problem? The opera premiered on 26 December at the Teatro San Cassiano in Venice and was the first time that an opera based on a Metastasio libretto was performed in Venice.
Description Pietro Metastasio – Didone abbandonata – Paris Goodreads helps you keep track of books you want to read. But when the ghost of Aeneas’ father reminds him of his duty to his people, Aeneas realises that he must abandon Dido.
Didone abbandonata (Albinoni) – Wikipedia
Markstrom suggests that she was probably also present in Rome to coach the castrato “Farfallino” who sang the title role in Leonardo Vinci ‘s setting of the libretto.
Aubrie Blevins rated it liked it Jun 07, Conversely, he still made use of the long-established metashasio of the baroque tradition. The papal ban on female performers in Rome’s theatres prevented Bulgarelli from singing the role of Dido herself.
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