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Antigona is a 1772 opera by Tommaso Traetta.
Antigona may also refer to:
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In Greek mythology, Antigone is the daughter of Oedipus and either his mother Jocasta or Euryganeia. She is a sister of Polynices, Eteocles, and Ismene. The meaning of the name is, as in the case of the masculine equivalent Antigonus, "worthy of one's parents" or "in place of one's parents". She is the protagonist of the Sophocles play named for her.
Josef Mysliveček was a Czech composer who contributed to the formation of late eighteenth-century classicism in music. Mysliveček provided his younger friend Wolfgang Amadeus Mozart with significant compositional models in the genres of symphony, Italian serious opera, and violin concerto; both Wolfgang and his father Leopold Mozart considered him an intimate friend from the time of their first meetings in Bologna in 1770 until he betrayed their trust over the promise of an operatic commission for Wolfgang to be arranged with the management of the Teatro San Carlo in Naples. His closeness to the Mozart family resulted in frequent references to him in the Mozart correspondence.
Antigone is the daughter of Oedipus and his mother Jocasta in Greek mythology.
Salvador Espriu i Castelló was a Catalan poet who wrote most of his works in Catalan.
Antigona (Antigone) is an opera in three acts in Italian by the composer Tommaso Traetta. The libretto, by Marco Coltellini, is based on the tragedy Antigone by Sophocles.
Dominik Smole was a Slovenian writer and playwright.
Caterina Gabrielli, born Caterina Fatta, was an Italian coloratura singer. She was the most important soprano of her age. A woman of great personal charm and dynamism, Charles Burney referred to her as "the most intelligent and best-bred virtuosa" that he had ever encountered. The excellence of her vocal artistry is reflected in the fact that she was able to secure long-term engagements in three of the most prestigious operatic centers in her day outside of Italy.
Antigona is an Italian opera in three acts by the Czech composer Josef Mysliveček set to a libretto by Gaetano Roccaforte. All of Mysliveček's are of the serious type in Italian language referred to as opera seria.
Romolo ed Ersilia is an 18th-century Italian opera in 3 acts by the Czech composer Josef Mysliveček composed to a libretto by the Italian poet Metastasio first produced in Innsbruck in 1765 with music by Johann Adolf Hasse. The drama was one of Metastasio's last, shortest, and least popular. Mysliveček's setting of 1773 was the only other one known to have been produced during the remainder of the eighteenth century. It includes significant alterations, in particular the introduction of new arias that augment the importance of certain characters and the re-ordering of existing arias. The alterations are not attributable. This opera belong to the serious type in Italian language referred to as opera seria. In Mysliveček's day, the opening aria, "Questa è la bella face," the duet that concludes the first act, and the quartet that concludes the second act were famed for their brilliance.
La clemenza di Tito is an 18th-century Italian opera in 3 acts by the Czech composer Josef Mysliveček. It was composed to a libretto by the Italian poet Metastasio that was first performed in 1734 with music of Antonio Caldara. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste. The cuts and changes in the text made for the 1774 performance of Mysliveček's opera are not attributable. All of Mysliveček's operas are of the serious type in Italian language referred to as opera seria.
La Calliroe is an opera in three acts by Josef Mysliveček set to a libretto by Matteo Verazi that is based on Greek legends about the Oceanid Callirrhoe. This opera belong to the serious type in Italian language referred to as opera seria. Vocal pieces from the opera composed for the singer Luigi Marchesi in the role of Tarsile were widely copied in eighteenth-century collections of operatic arias.
Demetrio is an eighteenth-century Italian opera in 3 acts by the Czech composer Josef Mysliveček. It was the composer's first setting of a libretto by the Italian poet Metastasio that was first performed in 1731, one of the most popular of the Metastasian librettos in Mysliveček's day. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste. The cuts and changes in the text made for the 1773 performance of Mysliveček's opera are not attributable. All of Mysliveček's operas are of the serious type in Italian language referred to as opera seria.
Ezio is an eighteenth-century Italian opera in 3 acts by the Czech composer Josef Mysliveček. It was the composer's first setting of a libretto by the Italian poet Metastasio that was first performed with music by Pietro Auletta in 1728, one of the most popular of the Metastasian librettos in Mysliveček's day. The story is based on incidents from the lives of the 5th-century Roman emperor Valentinian III and his general Aetius. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste. The cuts and changes in the text made for the 1775 performance of Mysliveček's opera are not attributable. All of Mysliveček's operas are of the serious type in Italian language referred to as opera seria.
Ezio is an eighteenth-century Italian opera in 3 acts by the Czech composer Josef Mysliveček. It was the composer's second setting of a libretto by the Italian poet Metastasio that was first performed in 1728, one of the most popular of the Metastasian librettos in Mysliveček's day. The story is based on incidents from the lives of the 5th-century Roman emperor Valentinian III and his general Aetius. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste. The cuts and changes in the text made for the 1777 performance of Mysliveček's opera are not attributable. All of Mysliveček's operas are of the serious type in Italian language referred to as opera seria.
Admeto, re di Tessaglia is a three-act opera written for the Royal Academy of Music with music composed by George Frideric Handel to an Italian-language libretto prepared by Nicola Francesco Haym. The story is partly based on Euripides' Alcestis. The opera's first performance was at the Haymarket Theatre in London on 31 January 1727. The original cast included Faustina Bordoni as Alcestis and Francesca Cuzzoni as Antigona, as Admeto was the second of the five operas that Handel composed to feature specifically these two prime donne of the day.
Daniel Evan Freeman is an American musicologist who specializes in European art music of the eighteenth century, in particular the musical culture of eighteenth-century Prague and the Bohemian lands. He is also active as a pianist and music editor.
Giovanni Ansani was an Italian tenor and composer.
Ipermestra is an opera libretto by Pietro Metastasio first set by Johann Adolph Hasse 8 January 1744, and in the November of the same year by Christoff Willibald Gluck.