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Gennaro Antonio Federico (died Naples, 1744) was a Neapolitan poet and opera librettist. He is best remembered for his collaborations with G. B. Pergolesi including La serva padrona. [1]
Giovanni Battista Draghi, usually referred to as Giovanni Battista Pergolesi, was an Italian Baroque composer, violinist, and organist, leading exponent of the Baroque; he is considered one of the greatest Italian musicians of the first half of the 18th century and one of the most important representatives of the Neapolitan school.
Opera buffa is a genre of opera. It was first used as an informal description of Italian comic operas variously classified by their authors as commedia in musica, commedia per musica, dramma bernesco, dramma comico, divertimento giocoso.
The Querelle des Bouffons, also known as the Guerre des Bouffons, was the name given to a battle of musical philosophies that took place in Paris between 1752 and 1754. The controversy concerned the relative merits of French and Italian opera. It was also known as the Guerre des Coins, with those favoring French opera in the King's corner, and those favoring Italian opera in the Queen's corner.
La serva padrona, or The Maid Turned Mistress, is a 1733 intermezzo by Giovanni Battista Pergolesi (1710–1736) to a libretto by Gennaro Federico, after the play by Jacopo Angello Nelli. It is some 40 minutes long, in two parts without overture, and was written as light-hearted staged entertainment between the acts of Pergolesi's serious opera Il prigionier superbo. More specifically each of the two parts, set in the same dressing room, played during an intermission of the three-act opera to amuse people who remained in their seats.
Nicola Bonifacio Logroscino was an Italian composer who is best known for his operas.
Daniela Dessì was an Italian operatic soprano.
Lo frate 'nnamorato is a three-act commedia per musica by Giovanni Battista Pergolesi, to a Neapolitan libretto by Gennaro Antonio Federico, first performed in 1732.
Catone in Utica is an opera libretto by Metastasio, that was originally written for Leonardo Vinci's 1727 opera. Following Vinci's success, Metastasio's text was used by numerous composers of the baroque and classical eras for their own operas, including Pietro Torri (1736), Antonio Vivaldi (1737), Giovanni Battista Ferrandini (1753) and J. C. Bach (1761).
Rinaldo di (da) Capua was an Italian composer. Little is known of him with any certainty, including his name, although he was known to Charles Burney. He may have been the father of composer Marcello Bernardini.
Giovanni Battista Lorenzi was an Italian librettist. He was born in Puglia and died in Naples and was a friend of Giovanni Paisiello, with whom he collaborated on numerous operas.
Pasquale Errichelli was an Italian composer and organist based in the city of Naples. Trained at the Conservatorio della Pietà dei Turchini, his compositional output consists of 7 operas, 2 cantatas, 1 symphony, 3 sonatas, several concert arias, and the oratorio Gerosolina protetta. He was for many years the organist at the Cattedrale di Napoli.
Gennaro Manna was an Italian composer based in Naples. He was a member of the Neapolitan School. His compositional output includes 13 operas and more than 150 sacred works, including several oratorios.
Antonio Palomba (20 December 1705 – 1769) was an Italian opera librettist, poet, harpsichordist, and music educator. He also worked as a notary. Born in Naples, he became a teacher of the harpsichord at the Teatro della Pace in 1749. Most of his more than 50 opera libretti were comedic works written for composers of the Neapolitan school. He also wrote some works for performance in Florence, Bologna and abroad. He died in Naples in 1769; one of the victims of a fever epidemic in the city. Many of his libretti were set more than once to music, and composers continued to use his libretti up into the 1830s.
Il prigionier superbo is an opera seria in three acts, composed by Giovanni Battista Pergolesi to a libretto attributed to Gennaro Antonio Federico, and based on an earlier libretto by Francesco Silvani for Gasparini's opera, La fede tradita e vendicata. It was premiered at the Teatro San Bartolomeo in Naples on 5 September 1733 and received further performances in October. The opera, with its labyrinthine plot involving the rivalry of Metalce and Viridate for the hand of Rosmene, soon sank into oblivion, but its comic intermezzo, La serva padrona was to achieve considerable success when performed on its own.
The Teatro San Angelo or Teatro Sant'Angelo was once a theatre in Venice which ran from 1677 until 1803.
In music history, the Neapolitan School is a group, associated with opera, of 17th and 18th-century composers who studied or worked in Naples, Italy, the best known of whom is Alessandro Scarlatti, with whom "modern opera begins". Francesco Provenzale is generally considered the school's founder. Others significant composers of this school are Giambattista Pergolesi, Domenico Cimarosa and Giovanni Paisiello.
It is with the Neapolitan school...that the History of Modern Music commences—insofar as that music speaks the language of the feelings, emotions, and passions.
Adriano in Siria is a libretto by Italian poet Metastasio first performed, with music by Antonio Caldara, in Vienna in 1732, and turned into an opera by at least 60 other composers during the next century. Metastasio based the background of the story on late Classical works by Cassius Dio and Elio Sparziano.
L'Olimpiade is an opera in the form of a dramma per musica in three acts by the Italian composer Giovanni Battista Pergolesi. Pergolesi took the text, with a few modifications, from the libretto of the same name by Pietro Metastasio. The opera first appeared during the Carnival season of 1735 at the Teatro Tordinona in Rome and "came to be probably the most admired" of the more than 50 musical settings of Metastasio’s drama.
La contadina astuta, or Livietta e Tracollo, is an opera buffa composed by Giovanni Battista Pergolesi to a libretto by Tommaso Mariani. It was originally composed as an intermezzo for Pergolesi's opera Adriano in Siria but subsequently became popular in its own right and was performed throughout Europe. It premiered along with Adriano in Siria on 25 October 1734 at the Teatro San Bartolomeo in Naples.
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