666 The "pasticcios" were musical selections from Handel used by the composer Samuel Arnold.
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161 These works were published anonymously but Charles Burney, Smart's friend, attributes the libretto to Smart and pasticcios from Handel in his General History of Music.Burney, Charles. General History of Music. Vol IV, London: 1789. p.
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In the 18th century, opera pasticcios were frequently made by composers such as Handel, for example Oreste (1734), Alessandro Severo (1738) and Giove in Argo (1739), as well as Gluck, and Johann Christian Bach. These composite works would consist mainly of portions of other composers' work, although they could also include original composition. The portions borrowed from other composers would be more or less freely adapted, especially in the case of arias in pasticcio operas by substituting a new text for the original one. In late 18th-century English pasticcios, for instance by Samuel Arnold or William Shield, the "borrowed" music could be Irish or British folksongs.
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He sang in many different pasticcios and several bilingual operas – operas that were sung in both Italian and English – and had a benefit concert each year. His last known dramatic appearance was in Hamburg in 1722. He had earlier sung at Venice, Parma, Rome, Bologna, and Genoa.
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Nicholas (2006) attributes this to Kalkbrenner's inflated self-worth, but the rearranging of baroque and classical works was common practice until the late 19th century. Robert Franz, Felix Mottel and a host of lesser names added trombone and clarinet voices to compositions from Bach to Gluck. Together with Ludwig Wenzel Lachnith, a Bohemian horn player and composer, he produced a number of infamous pasticcios for the Paris Opera.
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Johann Kirnberger considered Stölzel to be one of the greatest contrapuntists, and illustrated his Die Kunst des reinen Satzes with music by Stölzel. C. P. E. Bach adopted several movements of Stölzel's Sechs geistlichen Betrachtungen des leidenden und sterbenden Jesus in his 1771 Lukas-Passion and his 1772 Johannes-Passion pasticcios. After C. P. E. Bach's death in 1788 three of Stölzel's cantata cycles were found in his legacy.
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He fled from the terror of the revolution in 1790, came back and henceforth eked out a meagre existence by giving private lessons and arranging operas and even oratorios for Parisian theatres. In 1801 he became instructor at the Paris Opera, but had to leave the following year, only to be reemployed in 1806. He died in Paris. He is remembered chiefly as a composer of pasticcios, using the music of several composers in one piece.
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This is a list of the complete operas of the French opera composer Adolphe Adam (1803–1856). Unless otherwise noted, all premieres took place in Paris. Best known for his opéras comiques, of which he wrote 36, Adam actually began his career with a series of 19 vaudevilles. He also composed three opéras, two opérettes, two pasticcios, one drame lyrique, one opéra-ballet and one scène- prologue, in addition to works variously designated as drama, drama with songs, historical melodrama and military spectacle.
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2 The first music by Handel presented in London may have been Agrippina's "Non ho cor che", transposed into Alessandro Scarlatti's opera Pirro è Dimitrio which was performed in London on 6 December 1710.Warrack, p. 336 The Agrippina overture and other arias from the opera appeared in pasticcios performed in London between 1710 and 1714, with additional music provided by other composers.Hicks (1982) Echoes of "Ti vo' giusta" (one of the few arias composed specifically for Agrippina) can be found in the air "He was despised", from Handel's Messiah (1742).
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In 1711 he created the title role in Handel's Rinaldo, a work whose immediate popularity was instrumental in the establishing of Handel's lengthy career in England. He also sang the title role in Handel's Amadigi in 1715 and continued to sing in London, usually in various pasticcios, until 1717. The eighteenth-century musicologist Charles Burney described Nicolini as "this great singer, and still greater actor", while Joseph Addison labelled him "the greatest performer in dramatic Music that is now living or that perhaps ever appeared on a stage". His Handel roles reveal that he possessed exceptional vocal agility and virtuosity.
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Letter to Giovanni Claudio Pasquini, 29 June 1748, in Raccolta di lettere scientifiche, familiari, e giocose dell'abate Pietro Metastasio romano, Rome, at the expence of Pietro Puccinelli, s.d., III, p. 338 (accessible online at Google Books). Caricature of Tesi (by Antonio Maria Zanetti) After further successful appearances at the Burgtheater in the latter half of 1748 and in 1749 (among others, in Niccolò Jommelli's Achille in Sciro and Didone abbandonata, both set to Metastasian libretti), and after having undergone a real tour de force of four new operas and two pasticcios in 1750, Tesi began to retire from her professional singing career.
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After the initial Royal Academy folded, Handel set up a second company of the same name, based at the King's Theatre, and for this purpose in 1729 he engaged Bertolli. She performed in approximately 15 of his operas, as well as works by Ariosti and a number of pasticcios. In 1733, however, she defected to the rival Opera of the Nobility, along with Senesino and Antonio Montagnana, where she sang in operas by Nicola Porpora (such as Polifemo) and Bononcini, in addition to Handel's Ottone.Grove In 1736, however, she returned to Handel for another year and performed in 4 or 5 of his works.
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Her association with Handel can be dated to 1714, when he wrote the solo soprano role in the Ode for the Birthday of Queen Anne for her. She joined his company early that year, making her debut in Creso, a pasticcio. As the year went on she sang in revivals of Arminio and Ernelinda (both pasticcios, possibly with music by Nicola Haym); on several occasions new music was written for her. London audiences clearly gave her a good reception, and her career continued to prosper; she played the role of Almirena in a 1715 revival of Rinaldo, and originated the role of Oriana in Handel's Amadigi.
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In a 1717 revival of this opera Handel created a new scene for her and Nicolini, the brilliant castrato who had earlier originated the title role in Rinaldo. Around 1719 it seems that an illness caused her voice to drop from that of a soprano to that of a contralto. Upon the formation of Handel's Royal Academy of Music in 1719, Robinson was engaged on a yearly salary of £1000 and originated many new roles, most notably Zenobia (Radamisto), Irene (Muzio Scevola), Elmira (Floridante), Matilda (Ottone), Teodata (Flavio) and, most famously of all, the pathos-filled role of Cornelia in Giulio Cesare. She also sang in works by Bononcini and Ariosti, as well as a number of pasticcios.
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Her English career began shortly after her arrival, first performing in comprimario roles at the King's Theatre. Her profile rising gradually within the company, she soon appears in secondary roles, including breeches roles (for example: Taxiles (1743) and Cleon (1747–8), both in Rossane, and the giant Briareus in the première of Gluck's La caduta de' giganti in 1746). Her actual London début took place on 2 November 1742 at the King's Theater as Mahobeth in the pasticcio Gianguir with music by Giovanni Battista Lampugnani, Johann Adolph Hasse and Giuseppe Ferdinando Brivio. The latter's music will also be used in two other pasticcios produced at the King's Theatre during the 1740s: Mandane, premièred on 12 December 1742 (and later, L'incostanza delusa, premièred on 9 February 1745).
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For this company she also sang in seven operas by Attilio Ariosti, four by Giovanni Bononcini and two pasticcios. The enthusiasm of her supporters led to quarrels with the fans of Senesino, and later with those of Faustina Bordoni, whose London debut was in Handel's Alessandro (1726). In this opera the importance of the two ladies' roles had to be very carefully balanced, which at one point in the opera's plot made Senesino, playing the name part, look a complete fool. Her rivalry with Faustina, fanned by the press, eventually became scandalous when, in a performance of Bononcini's Astianatte (6 June 1727), attended by princess Caroline, "Hissing on one Side, and Clapping on the other" gave rise to "Catcalls, and other great indecencies".
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Grove Her great success induced her to remain in London, and thus she became associated with the establishment of Italian opera in England. She first appeared at Drury Lane Theatre, 29 January 1704, singing some of Greber's music between the acts of the play. Thenceforth she frequently performed not only at that theatre but at the Haymarket and Lincoln's Inn-Fields. She sang before and after the opera Arsinoe, in 1705; she similarly took part in Greber's Temple of Love, 1706, where, according to Burney, she was the principal singer; in Thomyris, Queen of Scythia, 1707, an opera partly arranged from Scarlatti and Buononcini, by Dr. Pepusch; Camilla, where she played Prenesto, 1707; Pyrrhus and Demetrius, as Marius, 1709; Almahide, the first opera performed here wholly in Italian, 1710; Hydaspes, 1710; Calypso and Telemachus, 1712 (as Calypso); Handel's Pastor Fido (as Antiocchus, the music demanding much executive power), and Rinaldo, 1712; Teseo, 1713; and the pasticcios Ernelinda and Dorinda, 1713.
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508 (accessible for free online at Google Books). According to Grétry's account, Duni – then a novice composer – went to visit Pergolesi shortly after the failure, calling him "maestro" and consoling him by saying that the opera he himself was soon to stage (Il Nerone, premiered on 21 May) was not worth a single aria from Pergolesi's work which had been so badly received by the public. decades later, namely that the performance was a total fiasco, so much so that during the disputes it provoked Pergolesi was hit on the head by an orange thrown by an angry member of the audience.Mellace Nevertheless, the opera rapidly won international fame and "over the next ten years Pergolesi's music all but monopolized L'Olimpiade pasticcios throughout Europe." Productions based on Pergolesi's setting were performed in various cities: in Perugia and Cortona in 1738, in Siena in 1741, perhaps in Florence in 1737, certainly in London in 1742,Monson. According to Monson, on the contrary, the pasticcio staged at the Teatro San Giovanni Grisostomo in Venice in 1737, albeit widely attributed to Pergolesi (and maybe containing some of his music), was mainly based on Vivaldi's 1734 setting.
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