La Virtù trionfante dell'amore e dell'odio overo Il Tigrane (RV 740) is a 1724 opera for the carnival season in Rome. It was a joint composition by Benedetto Micheli (Act I), Vivaldi (Act II) and Nicola Romaldi (Act III). The libretto was originally thought to based on that by Francesco Silvani already used in Venice in 1691, but has been identified as a libretto by Pietro Andrea Bernardoni used in Vienna in 1710.
Pietro Antonio Domenico Trapassi, better known by his pseudonym of Pietro Metastasio, was an Italian poet and librettist, considered the most important writer of opera seria libretti.
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.
The year 1724 in music involved some significant musical events.
The year 1725 in music involved some significant events.
Francesco Gasparini was an Italian Baroque composer and teacher whose works were performed throughout Italy, and also on occasion in Germany and England.
Francesco Domenico Araja was an Italian composer who spent 25 years in Russia and wrote at least 14 operas for the Russian Imperial Court including Tsefal i Prokris, the first opera in Russian.
Bernardo Sabadini was an Italian opera composer. He may have been a native of Venice. A number of his operas appear to have been revisions of works by other composers to an unknown extent. He died at Parma.
Ottone in villa is an opera in three acts by Antonio Vivaldi to an Italian libretto by Domenico Lalli. It was Vivaldi's first opera and premiered on 17 May 1713 at the Teatro delle Grazie in Vicenza. Lalli's pastoral drama is set in ancient Rome and was a condensed adaptation of Francesco Maria Piccioli's satirical libretto for Carlo Pallavicino's opera Messalina (1679). However, Lalli changed several of the characters in Piccioli's libretto. Messalina became an invented character, Cleonilla. Emperor Claudius became another Roman emperor, Otho (Ottone), who had already appeared as a protagonist in Monteverdi's L'incoronazione di Poppea (1642) and in Handel's Agrippina (1709).
Marco Marazzoli was an Italian priest and Baroque music composer.
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.
Giuseppe Maria Orlandini was an Italian baroque composer particularly known for his more than 40 operas and intermezzos. Highly regarded by music historians of his day like Francesco Saverio Quadrio, Jean-Benjamin de La Borde and Charles Burney, Orlandini, along with Vivaldi, is considered one of the major creators of the new style of opera that dominated the second decade of the 18th century.
Antonio Salvi was an Italian physician, court poet and librettist, active mainly in Florence, Italy. He was in the service of the grand-ducal court of Tuscany and the favourite librettist of Prince Ferdinando de' Medici. Salvi was one of the developers of the opera seria.
Giovanni Maria Ruggieri or Ruggeri was a Baroque composer from Italy. His dates of birth and death are uncertain, but he may have been born about 1665 in Verona and died around 1725. He is known to have flourished from 1689–1720.
The Teatro San Angelo or Teatro Sant' Angelo was once a theatre in Venice which ran from 1677 until 1803.
Anna Girò, also known as l'Annina del Prete Rosso, la Nina del Prete Rosso, or l'Annina della Pietà, was the stage name of Anna Maria(?) Maddalena Tessieri, an Italian mezzo-soprano/contralto of the 18th century. She is best remembered for her numerous collaborations with composer Antonio Vivaldi who wrote operatic roles for her. She is the singer who performed the greatest number of Vivaldi's operas, the one who kept them in her repertoire the longest time and who made them known across the largest geographical area.
Luca Antonio Predieri was an Italian composer and violinist. A member of a prominent family of musicians, Predieri was born in Bologna and was active there from 1704. In 1737 he moved to Vienna, eventually becoming Kapellmeister to the imperial Habsburg court in 1741, a post he held for ten years. In 1765 he returned to his native city where he died two years later at the age of 78. A prolific opera composer, he was also known for his sacred music and oratorios. Although his operas were largely forgotten by the end of his own lifetime and most of their scores lost, individual arias as well some of his sacred music are still performed and recorded.
GiustinoRV 717 is a 1724 opera by Vivaldi to a libretto by Nicolò Beregan. The opera was composed for the 1724 carnival season in Rome and premiered at the Teatro Capranica.
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.
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.