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	Metastasio - Wikipedia, the free encyclopedia
		In La Romanina's house Metastasio became acquainted with the greatest composers of the day - including Porpora, from whom he took lessons in music; with Hasse, Pergolese, Alessandro Scarlatti, Vinci, Leo, Durante, and Marcello, all of whom were destined in the future to set his plays to melody.
		Metastasio's liaison with her became so close that it was believed they had been privately married.
		In 1755 the Countess Althann died, and Metastasio was reduced to the society which gathered round him in the bourgeois house of the Martinez.
	en.wikipedia.org /wiki/Metastasio (2066 words)

	Opera seria - Wikipedia, the free encyclopedia
		In 1722 Pietro Trapassi, called Metastasio, a brilliant and personable young poet, was called upon to supply a libretto as part of the festivities for the Empress of Austria's birthday.
		Under her wing, Metastasio produced libretto after libretto, and they were rapidly set by the greatest composers in Italy and Austria, establishing the transnational tone of opera seria: Didone abbandonata, Catone in Utica, Ezio, Alessandro nell' Indie, Semiramide riconosciuta, Siroe and Artaserse.
		For the librettos, Metastasio and his imitators customarily drew on dramas featuring classical characters from antiquity bestowed with princely values and morality, struggling with conflicts between love, honour and duty, in elegant and ornate language.
	en.wikipedia.org /wiki/Opera_seria (1111 words)

	METASTASIO - LoveToKnow Article on METASTASIO
		In La Romaninas house Metastasio became acquainted with the greatest composers of the daywith Porpora, from whom he took lessons in music; with Hasse, Pergolese, ScarIatti, Vinci, Leo, Durante, Marcello, all of whom were destined in the future to set his plays to melody.
		But the conventionality of all hiand plots, the absurdities of ~nany of his situations, the violence he does to history in the persons of some leading characters, his damnable iteration of the theme of love in all its phases, are explained and justified by music.
		Metastasios liaison with her became so close that it was even believed they had been privately married.
	18.1911encyclopedia.org /M/ME/METASTASIO.htm (3595 words)

	Metastasio
		Metastasio composed no less than eighteen hundred pieces, including twenty-eight grand operas, besides many of a shorter kind, a number of ballets and celebrations of festivals–a species of dialogue intermixed with musical airs and recitative, very frequently enlivened by dramatic action.
		It is to this very enlarged view of different countries, ages and manners that Metastasio owes all those ornamental features introduced into his lyric scenes, the great variety of his decorations and costumes and even that richness of local imagery in which his poetry abounds.
		By many of the Italians Metastasio has been ranked as a tragedian, but to this he is not entitled, nor ought he to be held out as a model in any species of composition but that of the opera.
	www.theatrehistory.com /italian/metastasio.html (865 words)

	Music Essays - Metastasio - The Forerunner Of Gluck
		Metastasio himself, who is often represented as the chief obstacle to the establishment of the modern lyric drama because he was opposed to Gluck, was no less anxious than Gluck (although in another fashion) to introduce into opera all the physiological and dramatic truth that was compatible with beauty of expression.
		Metastasio's first love was the daughter of the composer, Francesco Gasparini, the pupil of Corelli and Pasquini, the man who had mastered better than any other the science of bel canto and who helped develop the most famous singers: the teacher of La Faustina and Benedetto Marcello.
		Metastasio, a lover of bel canto and one of the last to preserve its true tradition, was unwilling to sacrifice it.
	www.oldandsold.com /articles18/music-10.shtml (3754 words)

	[No title] (Site not responding. Last check: 2007-10-21)
		Following the Arcadia idea Metastasio deletes every reference to the baroque and he goes backto the ancient Greek tragedy.Metastasio tries to make melodrama as a representation that links the nobility of the subject to a gorgeous show.
		Themes are taken from mythology or history and the main theme is always the conflict between opposite passions or between passion and duty.
		In fact he thinks that it's better to describe the conflicts and the emotions conducting to virtue.Metastasio is also considered the first artist of a mass literature, because he writes in a middle language.
	web.tiscali.it /gbgrassi/alef/saronno/metastasio.htm (228 words)

	About the Website Handbook for Metastasio Research
		Pietro Metastasio (b.1698) was an Italian poet and librettist whose name, during the eighteenth century, was synonymous with all that was worthy in Italian serious opera, lyric poetry, and moral aspiration.
		Metastasio's works range from the 27 librettos for the Italian serious opera through a host of similar pieces for the Viennese court and chapel, to smaller sonnets and lyrical verses, while also embracing treatises on the Greek drama, the Aristotle Poetics and the Horace Ars Poetica.
		In short, "Metastasio" as a subject, touches upon matters relating to aesthetics, moral philosophy, art history, the history of literature, church history, the history of preaching, political, economic, and social history, musicology, classics, the history of theatre and upon musical and literary analysis and criticism.
	publish.uwo.ca /~metastas/newpages/pietro.html (636 words)

	Britannica Concise Encyclopedia - The online encyclopedia you can trust!
		In 1718 Metastasio entered the Accademia dell'Arcadia, and in 1719 he went to Naples where he was employed in a law office and gained acceptance in aristocratic circles through his voluptuous wedding poems.
		In honour of the birthday of the Empress of Austria, Metastasio composed Gli orti esperidi (1721), a serenata in which the principal role was taken by the prima donna Marianna Benti-Bulgarelli, called La Romanina, who became enamoured of the poet.
		In her salon Metastasio formed his lifelong friendship with the castrato male soprano Carlo Farinelli and came to know such composers as Nicola Porpora (from whom he took music lessons), Domenico Sarro, and Leonardo Vinci, who were later to set his works to music.
	www.britannica.com /ebc/print_toc?tocId=9052297 (559 words)

	DIDON-DIDONE
		We do not know if Metastasio was familiar with this tragedy, but whether he was or not, the authors of the Annales dramatiques clearly believe that Le Franc's idea of having Iarbas appear as his own ambassador has a French source, and not an Italian one.
		Metastasio's knowledge of this opera is unclear, but it seems improbable that he would not have heard of this opera when he set to work on his own, all the more so in that it was revived in 1704 and republished in that year.
		What is clear is that Metastasio used his materials to produce an opera that was extremely successful in its time, and that Le Franc drew upon the same or similar sources to produce a tragedy that helped establish his reputation in the 1730s.
	www.udel.edu /fllt/faculty/braun/DIDON-DIDONE.htm (3617 words)

	Serious and Comic Opera in Eighteenth-Century Italy
		Metastasio's libretti were immensely popular among composers of the period; as one source quotes, his twenty-seven dramas were given over one thousand different settings in the eighteenth century, some of them being set as many as seventy times each.
		The typical plot of Metastasio's dramas ended with an heroic deed or a renunciation of love by one of the principal characters, most commonly by the prima donna or primo uomo.
		Metastasio, in his dramas, standardized the placement of a solo aria at the end of most scenes, after which the singer would then make his dramatic exit.
	www.nthuleen.com /papers/M52opera.html (2059 words)

	HOASM: Metastasio [Pietro Trapassi]
		Metastasio inherited house, plate, furniture and money, which amounted to 15,000 scudi.
		In La Romanina's house Metastasio became acquainted with the greatest composers of the day, with Porpora, from whom he took lessons in music; with Hasse, Pergolesi, ScarIatti, Vinci, Leo, Durante, Marcello, all of whom were destined in the future to set his plays to melody.
		For sweetness of versification, for limpidity of diction, for delicacy of sentiment, for romantic situations exquisitely rendered in the simplest style, and for a certain delicate beauty of imagery sometimes soaring to ideal sublimity, he deserves to be appreciated so long as the Italian language lasts.
	www.hoasm.org /VIIIB/Metastasio.html (2185 words)

	Metropolitan Opera International Radio Broadcast Information Center - 2004-05 Broadcasts
		When Gravina passed away in 1718, Metastasio inherited his large fortune and was able to live comfortably for some time.
		When his funds dwindled, Metastasio apprenticed himself to a lawyer, who found that the young man’s poetic talents far exceeded his legal ones.
		Metastasio’s operatic career did not begin until his melodrama Orti Esperidi won him the admiration of famous Italian actress and singer Marianna Benti-Bulgarelli, nicknamed La Romanina.
	www.operainfo.org /broadcast/composer.cgi?id=100&language=1 (953 words)

	Stonehouse, Alison (forthcoming) (Site not responding. Last check: 2007-10-21)
		The immense popularity of the works of Pietro Metastasio throughout eighteenth-century Europe is well established, and stands in stark contrast to the situation in Paris, where only ten musical settings of his works -- all but one considerably adapted from the original texts -- were performed, and none was an outstanding success.
		The primary focus of the dissertation is three re-workings of Metastasio's Demofoonte, the Cherubini/Marmontel setting of 1788, the Vogel/Desriaux of 1789, and a hybrid, quasi-pantomime version which appeared in print anonymously in 1779.
		The dissertation attempts to explain the disparity between the highly favourable critical opinion of Metastasio as a poet and the generally luke-warm assessment of the Metastasio-derived operas.
	www.sun.rhbnc.ac.uk /Music/Archive/Disserts/stonehse.html (288 words)

	Teatro: Tutte le informazioni su Teatro su Encyclopedia.it (Site not responding. Last check: 2007-10-21)
		Con la struttura del libretto definita sul piano metrico con la distinzione tra recitativi e arie, la lingua e la letteratura italiana acquistarono, nel Settecento, una diffusione internazionale e raggiunsero anche strati popolari (soprattutto nell'Ottocento).
		Il melodramma, che era già stato oggetto di un tentativo di regolamentazione da parte di Apostolo Zeno, trovò il suo maggiore interprete in Pietro Metastasio, che elaborò la riforma del teatro mediante soluzioni compositive ed assegnando alla parola la preminenza sulla musica e sugli altri elementi dello spettacolo.
		Metastasio creò un nuovo linguaggio sentimentale poetico che, impostosi grazie alla facilità comunicativa, influenzò Goldoni che, dalla cultura arcadica derivò l'istanza riformatrice, applicandola alla Commedia dell'Arte (teatro popolare), ma soprattutto apprese la lezione di una lingua semplice e comunicativa, tanto che i suoi testi reggono ancora oggi, come nessun altro del Settecento.
	www.encyclopedia.it /t/te/teatro.html (1328 words)

	PlaybillArts: Features: For the Greater Good
		Metastasio, perhaps to a fault, believed in the perfectibility of the enlightened monarch and in the capacity of his dramas to further moral improvement.
		As such, the passions need to be regulated by morality, i.e., Metastasio's "love of virtue," so that the desires to which they give rise do not lead to evil action.
		Further, Mozart and Mazzolà go beyond Metastasio in emphasizing the mutual esteem between Tito and the populace by significantly increasing the opera's choral content, both in individual choruses and in the finales of the two acts.
	www.playbillarts.com /features/article/1454.html (1528 words)

	AllRefer.com - Pietro Metastasio (Italian Literature, Biography) - Encyclopedia
		These librettos were set to music by many composers, including Gluck, Handel, Mozart, Pergolesi, and Rossini.
		Metastasio, with Apostolo Zeno, whom he succeeded as imperial poet laureate at Vienna, created the rigid opera seria (see opera).
		More articles from AllRefer Reference on Pietro Metastasio
	reference.allrefer.com /encyclopedia/M/Metastas.html (231 words)

	[No title]
		In 1728, Metastasio was still a young librettist at the beginning of his career.
		In fact, some characters and relationships are stronger in Metastasio’s original libretto than in Haym’s adaptation, but Haym’s work results in a libretto which fits Handel’s audience and performers, and it remains a very efficient dramatic version from which Metastasio’s dramaturgical qualities are not erased.
		Another fine moment is Cosroe’s aria ‘Gelido in ogni vena’ (Act III scene 4 – nowadays a Metastasio text that is well-known thanks to Cecilia Bartoli hallucinated performance of Vivaldi’s setting), in which the old king, responsible for his son’s death, realises that his son was innocent.
	gfhandel.org /reviews/hwv024hm.htm (1185 words)

	CATHOLIC ENCYCLOPEDIA: Pietro Metastasio
		Of humble origins, his father, once a Papal soldier, was later a pork-butcher; Metastasio was placed in the shop of a goldsmith to learn his craft.
		She at once became attached to the young poet, commissioned him to write a new play, the "Didone abbandonata", had him taught music by a noted teacher, and took him to Rome and Venice with her on her professional tours.
		All the pieces of Metastasio took the popular fancy, chiefly because he sedulously avoided all unhappy dénouements, and, enlivening his efficacious dialogue with common sense aphorisms, he combined them with arias and ariettas that appealed to the many.
	www.newadvent.org /cathen/10234a.htm (380 words)

	Western Libraries - Music Library
		While our original policy was to acquire only those Metastasian-based works performed between the years 1780 and 1830 (to support the premise that opera seria had not entirely passed out of favour by 1780), that policy was subsequently broadened to include earlier works.
		In fact, several titles which pre-date Metastasio have been acquired, to determine the influence of the immediate predecessors of the Arcadian movement (i.e.
		Works based on Metastasio’s libretti are scattered throughout European libraries: some 400 composers were known to have set these texts.
	www.lib.uwo.ca /music/metastasio.html (324 words)

	Rhetoric and Baroque Opera Seria
		Metastasio’s dramas were set and reset by composers of all nationalities in the 18th century.
		While Metastasio’s works are considered the pinnacle of Baroque Dramma per musica there are arguments as to whose music fitted his words best.
		Metastasio’s own personal favourite was his near contemporary Johann Adolf Hasse (1699-1783).
	gfhandel.org /seria.htm (3108 words)

	Opera seria (Site not responding. Last check: 2007-10-21)
		More than anyone else's, the dramatic conventions expressed by the librettos of Metastasio crystallized the format of ''opera seria.'' In 1722 Pietro Trapassi, called Metastasio, a brilliant and personable young poet, was called upon to supply a libretto as part of the festivities for the Empress of Austria's birthday.
		Nicola Porpora, (much later to be Joseph HaydnHaydn's master), set it to music, and the success was so great that the famed Roman prima donna, Marianna Bulgarelli/, 'La Romanina,' sought out Metastasio, and took him on as her protegé.
		Greatly admired by fellow composers such as Ludwig van BeethovenBeethoven and Hector BerliozBerlioz, the three enjoyed greater critical acclaim than popular success, and following the Napoleonic era, when the brilliant, effervescent operas of Gioacchino RossiniRossini/ swept the continent with their vocal pyrotechnics, their classically austere operas fell out of fashion.
	www.infothis.com /find/Opera_seria (1015 words)

	Assisi apartments to rent assisi apartment Metastasio assisi apartments assisi
		In the garden of the Palace there is the church of St. Antonio, which is there since the 12th century and seat of the fraternity of St. Antonio.
		The palace, where the apartment is situated, has two entrances; the main entrance is along Via Metastasio and the secondary in the small square A. Luigi.
		Using the main door you enter a room belonging to the whole Palace: from there you go up the stairs (the building has an elevator too) and reach the second floor where you find a corridor common to the two apartments.
	www.assisionline.com /metastasio (263 words)

	Metastasio, Pietro -- Encyclopædia Britannica
		More results on "Metastasio, Pietro" when you join.
		With the rise of the music drama and the opera, Italian authors worked to an increasing extent with the lyric stage.
		He taught singing in Venice and Naples; among his pupils were the poet and librettist Pietro Metastasio and the celebrated castrati Antonio Uberti (known as “Porporino”), Farinelli, and Caffarelli.
	www.britannica.com /eb/article-9052297?tocId=9052297 (681 words)

	Baroque Composers
		In Vienna he renewed his acquaintance with Metastasio and was possibly going to set libretto of Metastasio's new L'Isola disabitata but was prevented by illness from doing so.
		In 1759 Porpora's Dresden pension was stopped due to the invasion of Saxony during the Seven Years War and it was at this time that Metastasio wrote to Farinelli, who was at the court of the King of Spain, to urge assistance for Porpora.
		He was appointed as 'another maestro di capella' at the Naples Conservatorio di S Maria di Loreto where he had been employed some 20 years before and he accepted a commission for the Teatro S Carlo.
	www.baroquecomposers.com /composer.htm?composer_ID=1 (2058 words)

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