Cristoforo Ivanovich (1620–1689) was the first historian of Venetian opera, who also wrote several librettos.
Ivanovich was born in Budua (Budva), at the time part of Venetian Albania (now southeastern Montenegro). According to his own testimony, he descended from an old patrician family who settled Budva after leaving Cetinje.In 1655 he moved to Verona, where he was a member of the Accademia Filarmonica and of the Accademia dei Temperati. In 1657, he moved to Venice, the city where he remained throughout his life. There he became secretary of Leonardo Pesaro, Procurator of San Marco, and later, in 1676, was appointed canon of St Mark's Basilica. From 1663, he wrote several librettos for operas which were performed in the theaters of Venice, Vienna and Piacenza. He catalogued all opera performances held in Venice from 1637 until 1681 in his treatise Memorie teatrali di Venzia (Theatrical Memories of Venice), published in 1680 as part of collection Minerva al tavolino. He wrote all his works in Italian.
Almost all his librettos are drammi per musica.
Bernardo Pasquini was an Italian composer of operas, oratorios, cantatas and keyboard music. A renowned virtuoso keyboard player in his day, he was one of the most important Italian composers for harpsichord between Girolamo Frescobaldi and Domenico Scarlatti, having also made substantial contributions to the opera and oratorio.
Carlo, Count Gozzi was an Italian playwright and champion of Commedia dell'arte.
Giovanni Legrenzi was an Italian composer of opera, vocal and instrumental music, and organist, of the Baroque era. He was one of the most prominent composers in Venice in the late 17th century, and extremely influential in the development of late Baroque idioms across northern Italy.
Antonio Sartorio was an Italian composer active mainly in Venice, Italy, and in Hanover, Germany. He was a leading composer of operas in his native Venice in the 1660s and 1670s and was also known for composing in other genres of vocal music. Between 1665 and 1675 he spent most of his time in Hanover, where he held the post of Kapellmeister to Duke Johann Friedrich of Brunswick-Lüneburg – returning frequently to Venice to compose operas for the Carnival. In 1676 he became vice maestro di capella at San Marco in Venice.
Giuseppe Farinelli was an Italian composer active at the end of the 18th century and the beginning of the 19th century who excelled in writing opera buffas. Considered the successor and most successful imitator of Domenico Cimarosa, the greatest of his roughly 60 operas include I riti d'Efeso, La contadina bizzarra and Ginevra degli Almieri. More than 2/3 of his operas were produced between 1800-1810 at the height of his popularity. With the arrival of Gioachino Rossini his operas became less desirable with the public, and by 1817 his operas were no longer performed. His other compositions include 3 piano forte sonatas, 3 oratorios, 11 cantatas, 5 masses, 2 Te Deums, a Stabat mater, a Salve regina, a Tantum ergo, numerous motets, and several other sacred works.
Venetian Albania was the official term for several possessions of the Republic of Venice in the southeastern Adriatic, encompassing coastal territories in modern northern Albania and southern Montenegro. Several major territorial changes occurred during the Venetian rule in those regions, starting from 1392, and lasting until 1797. By the end of the 15th century, the main possessions in northern Albania had been lost to the expansion of the Ottoman Empire. In spite of that, Venetians did not want to renounce their formal claims to the Albanian coast, and the term Venetian Albania was officially kept in use, designating the remaining Venetian possessions in the coastal regions of modern Montenegro, centered around the Bay of Kotor. Those regions remained under Venetian rule until the fall of the Republic of Venice in 1797. By the Treaty of Campo Formio, the region was transferred to the Habsburg Monarchy.
Giovanni Faustini was an Italian librettist and opera impresario of the 17th century. He is best remembered for his collaborations with the composer Francesco Cavalli.
Carlo Francesco Pollarolo was an Italian composer, chiefly of operas. Born into a musical family, he became the cathedral organist of his home town of Brescia. In the 1680s he began composing operas for performance in nearby Venice. He wrote a total of 85 of them as well as 13 oratorios. His operatic style is noted for its development of arias accompanied by the orchestra and it shows some influence from the contemporary French opera of Jean-Baptiste Lully.
Giovanni Domenico Freschi was an Italian composer and Roman Catholic priest. From the age of 22 until his death he worked as a church musician and composer in Vincenza. He was also active as an opera composer from 1671 to 1685.
The Teatro alle Zattere on the Zattere promenade of Ognissanti district was a minor Venetian theatrical opera venue during the 1690s.
Marco Faustini was an Italian theatrical impresario and brother of the impresario and librettist Giovanni Faustini.
Francesco Maggiotto or Francesco Fedeli was an Italian painter born in Venice.
Count Nicolò Beregan was an Italian nobleman, lawyer and amateur opera librettist. His Giustino was first set to music in 1683 by composer Giovanni Legrenzi for Il Giustino, and later reused by both Vivaldi and Handel.
Sebastiano Biancardi, known by the pseudonym Domenico Lalli, was an Italian poet and librettist. Amongst the many libretti he produced, largely for the opera houses of Venice, were those for Vivaldi's Ottone in villa and Alessandro Scarlatti's Tigrane. A member of the Accademia degli Arcadi, he also wrote under his arcadian name "Ortanio". Lalli was born and raised in Naples as the adopted son of Fulvio Caracciolo but fled the city after being implicated in a bank fraud. After two years wandering about Italy in the company of Emanuele d'Astorga, he settled in Venice in 1710 and worked as the "house poet" of the Grimani family's theatres for the rest of his career. In addition to his stage works, Lalli published several volumes of poetry and a collection of biographies of the kings of Naples. He died in Venice at the age of 62.
Giovanni Filippo Apolloni was an Italian poet and librettist. Born in Arezzo, he has sometimes been referred to as "Giovanni Apollonio Apolloni", but the second given name is spurious. He served as the court poet to Ferdinand Charles, Archduke of Austria at Innsbruck form 1653 until 1659. On his return to Italy he entered the service of Cardinal Volumnio Bandinelli. After Bandinelli's death in 1667 Appolloni was in the service of the Chigi family in Rome and Siena for the rest of his life. He wrote the librettos for a number of operas, the most well-known of which were Antonio Cesti's L'Argia and La Dori, as well as several oratorios and the texts for cantatas by both Cesti and Alessandro Stradella.
Giacomo Maccari was an Italian opera composer.
Mario Aspa was an Italian composer. He composed over 40 operas, the most successful of which were Paolo e Virginia and II Muratore di Napoli. He also composed two ballets and a Requiem Mass which was performed on the death of Vittorio Emmanuele II in 1878.
Giovanni Maria Pagliardi (1637–1702) was an Italian composer. He became de facto maestro di cappella at Florence Cathedral from 1690, but did not formally gain the title till the death of his predecessor, Pietro Sammartini.
Giovanni Francesco Loredan was a Venetian writer and politician.
Gian Domenico Partenio was a Venetian composer of operas during the Baroque period. He served as vice maestro of St Mark's Basilica's Cappella Marciana from 1685, before succeeding Giovanni Battista Volpe as maestro di cappella from 1692 until 1701.