In:
Proceedings of the Royal Musical Association, Cambridge University Press (CUP), Vol. 104 ( 1977), p. 67-78
Abstract:
Carlo Goldoni left his native Venice to practise law in Tuscany for five years starting in 1743. Up to this point he had written some twenty comic librettos, most of them Intermezzi in two acts for two or three characters, but some of them full-length dramas in three acts for several characters. La Contessina , which ranks as the latest and finest of his dramas in the latter category up to this time, received its première in the San Samuele theatre at Venice during the Carnival of 1743. In his edition of the playwright's complete works, Ortolani suggests that Goldoni's model for La Contessina was a specific Neapolitan comedy, Madama Ciana , with text by Barlocci and music by Gaetano Latilla. The satire in both turns upon a poor family with pretensions to noble rank, manifested most appallingly in the person of the daughter and the question of her dowry. The music of the original production of La Contessina is lost; all we know is that the piece was a pasticcio, involving among others the young Jommelli. There were no revivals, which tells us something even so: Venice at this time was in no position to compete with Naples in the production of original comic operas.
Type of Medium:
Online Resource
ISSN:
0080-4452
,
2632-7724
DOI:
10.1093/jrma/104.1.67
Language:
English
Publisher:
Cambridge University Press (CUP)
Publication Date:
1977
detail.hit.zdb_id:
2049101-3
detail.hit.zdb_id:
2123679-3
SSG:
9,2
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